NEW ZEALAND

Rip It Up, Issue 192, 1 July 1993, Page 21

NEW ZEALAND

DAVE DOBBYN & THE STONE PEOPLE Lament for the Numb (Trafalgar/ East West) Expect the unexpected. Picture this: it's five years since Dave Dobbyn last released an album. One of our most prolific and passionate songwriters has been living in creative limbo all that time, doodling on the odd production and film project. He gets the chance of a lifetime — don't dream it's over — and goes to Los Angeles to record with Mitchell Froom. Disneyland turns into Fantasyland when two of Elvis Costello's Attractions are hired for the sessions. The songwriter ditches the songs he came with and writes a whole new batch. They're a return to the earliest days of his career, when power pop ruled and anger was the fuel. The record company hesitates; for a man whose last hits were the cute-as-a-bug 'Slice of Heaven' and the sentimental 'You Oughta Be in Love', turning out an amphetamined version of John Lennon's primal scream album doesn't seem the wisest move. But it turns out to be his strongest album yet. It's raw, honest, spontaneous: nothing about it is calculated or safe. There are no romantic serenades, the studio flair is hidden deep in the sparse arrangements, the musical styles leap about. It starts with the haunting, gloomy title track then leaps with windmill guitar chords into a punk thrash. Then there's a strange piano ballad with an irresistible chorus, but it'll never be covered by Annie Crummer. A tough riff turns into an Abbey Road mini-epic; there's an effortless political pop single, a nostalgic ode to a movie palace... there's a lot going on here, and it happens very quickly. At a time when every CD seems like a triple album, this clocks in at just 36 minutes. But he manages to pack 11 songs into thattime — and makes every moment count. Froom's masterstroke has been to make complex songs sound simple. He's hidden his eccentric instrumental seasonings deep in the mix, and brought Dobbyn's voice right up front. It's never been recorded so well, and the passion that emerges is compelling. The songs may be brooding or angry, but suddenly they soar into a glorious chorus that makes you return for more. The rhythm section of Bruce and Pete Thomas is unobtrusive, like a well-oiled machine; it's Dobbyn's ragged guitar that dominates. The Costello connection is obvious only on one song, but it's an intended tribute that unleashes the demon in Dobbyn's voice: he's having the time of his life. Comparisons could include Blood and Chocolate or a condensed White Album: dense, raw albums that weren't made with radio, or parties, in mind (though much of this works well live). Lament for the Numb: let the title be a warning. This is an album without compromise—the Pleaser now takes no prisoners. CHRIS BOURKE

THORAZINE SHUFFLE Stir (Cassette) Latest ina line of recent Auckland releases is this debut four track cassette from the darlings of the Alternative Top Ten, Thorazine Shuffle. Playing the more salubrious venues around town, Thorazine Shuffle are building a solid reputation as purveyors of angst-ridden and often twisted punk pop. Frisbee studios must take some credit for helping the drug-induced dancers mix the energy of live performance with just enough production value to unfold new gems on repeated listenings. The instant hooks are certainly there (the guitar line on the opening track 'Succumb' for example) but it's the more haunting dynamics of 'Blame' that appeal after greater exposure. The aforementioned track sounds like the perfect broken heart love song for a Thorazine gig finale. Hopefully (with the flute touches as well) this closing track is an indication of future gold. Passion and despair, I never knew Remuera had it so bad! LUKE CASEY LIFESIZE PLAYDOH MONSTERS Anita EP (Icon Records, Christchurch) Poor Anita McNaught having some Christchurch wanker called David writing quivering lyrics like this about her ("I stroke the static and I kiss, kiss, kiss my TV set"). Yeeuchhh!!! Three other songs here, 'Hatesong' is even more unappealing — aimed at an ex-girlfriend, the lyrics are nasty and they're sung in a sensitive alternative youth style that makes them even creepier. I guess David is now consoling himself over the break-up by putting that not-so-limp wrist to good use every time Anita pops up on the TV screen. DONNA YUZWALK STRAWPEOPLE Love Explodes (Pagan) Stephanie Tauevihi sings with all the restrained panache of Madonna on 'Like A Prayer'. Her voice interacts with an interesting shuffly backbeat, a very attractive song. 'Cruelty' is more arch — Pet Shop Boys meets Bono with some effective sounds and beats in the background, a streamlined yet evocative piece of urbane desperateness. D. YUZWALK HEADLESS CHICKENS Mr Moon (Flying Nun) Eeek! Chris Matthews sounds just like that dude from Sisters of Mercy doing a dance track — his vocals drip with portent and forboding, at least until chirpy Fiona chips in for the chorus. Three more tracks, 'lnside Track' hangs in a pop/ dance limbo, not deep enough to be a stonking dance track but the drum machine and moogish synth automate it too much to be pop. Quite 80s (Human Leagueish) actually. DONNA YUZWALK

SHIHAD Churn (Wildside) Since their debut EP Devolve, a couple of years ago, Shihad have grown away from straight speed metal to discover themselves and the rest of the world. Churn is a quantum step forward — it's the album followers of the band have been waiting for for quite a while. Like many superficially similar bands, Shihad use repetition as a bludgeon but they don't take it too far. This means it's powerful; dramatic and oppressive, rather than turgid and boring — full-on songs like 'Derail' and 'The Factory' take the violent route, making meaningful use of those pile driving industrial/ speed riffs that usually lie around the house all day and get in the way of the housework on other albums. On the other hand, 'I Only Said' is both atmospheric and accessible, but no less effective. There are lots of brilliant little details like the archaic otherworldly keyboards on 'Clapper-Loader', the unexpected guitar line on 'Bone Orchard', Tom Larkin's drumming on 'I Only Said' and samples throughout. The combination of Jon Toogood's songwriting and the band's brilliant musicianship takes

the heated anger and frustration of teenage metal, focuses it with the clear sight of adulthood and places it in a bleakly realistic fantastic setting to create a lament for the Modern Age. Churn, along with other outstanding NZ albums this year — Bailterspace's Robot World, Straitjacket Fits' Blow — is the sort of album that shows how patronising it is to describe NZ music as "world class". As far as I'm concerned Churn makes most of the so-called "world class" albums of its type look pretty ordinary. CAMPBELL WALKER THE BATS Silverbeet (Flying Nun) At a time when it seems that every old kiwi band, except for Toy Love, are either reforming or reissuing old material, it's gently reassuring to know that the Bats are still out there making new records. This, their fourth, was recorded in Stoughton Massachusetts with producer Lou Giordano who has previously worked with the likes of Sugar, Pere Übu, the Pixies and King Missile. This does not mean that Silverbeet is a grunge fest of immense proportions. Rather, it is simply another Bats record that is better

produced and with slightly more bottle than you would normally expect from them. / Because the band recorded this album song by song rather than by recording each instrument individually, it's most definitely, an album rather than simply a collection of songs. "The Bats in concept album shock!!"? No, it all comes together in much the same way as the Wedding Present's unbeatable Seamonsters album. Having said that you will need to spend some time with this album and take each song on its merits. It does contain more of the pop gems that first appeared on Daddy's Highway, it's just that they are harder to find. Maybe they're trying to shake off their good-old-down-on-the-farm knee-slap-ping image and become right difficult bastards. No chance. AUSTER CAIN U2 Zooropa (Island) A rum one, this. From being the darlings of post-punk, U2 sank to the depths of international superstardom and have been lambasted as the epitome of jaded stadium rockers with nothing left to say. To their credit they blew away plenty of cobwebs with last year's

Achtung Baby, but coming so hard on its heels Zooropa will probably be tested and found wanting. Trouble is, it smacks of trying too hard to be deep and meaningful while neglecting the melodic strength that was ever a U2 hallmark. Coupled with an all-perva-sive melancholy accentuated by the down-in-the-boilers production of Flood and Eno, Zooropa is fated to be filed under "difficult". Others have been here before. Bowie, Devo and Kraftwerk all drew futureworld pictures where people were mere ciphers. U2's attempt to gaze into the crystal ball opens in classic Eno style with sampled and treated voices from advertisements creating a Tower of Babel (Heavy Biblical Allustion No.l). The professed Christianity of three-quarters of U2 proved something of a burden to them: people kept asking the same dumb questions and they grew shy of answering. Bono is more upfront here on 'The First Time', sung as a hymn with Eno on piano and harmonium. The Edge once said that each U2 album bore the stamp of the band members' personalities and that some would dominate others. It's drummer Larry and bassist Adam who shine on Zooropa. Bono makes few attempts at the vocal gymnastics that seem to occur less frequently these days, while Edge's guitar only surfaces occasionally through the

murk. His major contribution is a deadpan recital of assorted don'ts on 'Numb' which may be as significant or insignificant as the conclusion on another track that "Some days are better than others." Johnny Cash takes a vocal spot on the concluding song 'The Wanderer' which has a gritty realism a la Nick Cave and I suppose gives U2 another guest celebrity to haul on stage, although a concert based around this work would be hardly rock n' roll. There is a video already shot to go with this album, which may explain its inscrutable nature. U2 urge buyers to join Amnesty International and Greenpeace so we know their hearts are still in the right place, but I fear Zooropa will be finally deemed toothless, obscure and dreary. DUNCAN CAMPBELL THE FALL The Infotainment Scam (Festival) It is indeed a funny old world where the new album by the Fall seems strangely familiar and immediately becomes a favourite. Normally you are just getting used to their last album when the new one comes out. Leaving major label Phonogram for Permanent records (home of John Martyn!) seems to have worked in the band's favour. Ironically, they have produced the Fall's most commercial sounding and instantly accessible work while Mark E. Smith's astute observations on England remain as amusing and varied as ever. Of course Smith is able to rant over a soundtrack provided by the best backing band in the world. He refuses to let them play for anyone else or to do anything that might be loosely termed "muso". Obviously this means that "the lads" are always ready when Smith is, to go into the studio and belt out those new songs in a manner which many have copied but none have beaten. In between times Smith observes and monitors everything around him. It's what keeps him going. Proof, if it is needed, is provided by disco, a cover of 'Lost In Music', 'Glam Racket' which takes a poke at Suede, or 'The League of Bald Headed Men' which has more

than a hint of grunge about it. And if you prefer yOur Fall more traditional try 'lt's A Curse' or the single 'Why Are People Grudgeful'. Accept no substitutes (Pavement anyone?), stick with the Fall, they never let you down. (Fall fans may be interested in the newly reissued CD of Slates and A Part of America Therein, 1981 currently available on import). ALISTER CAIN SOUL ASYLUM Grave Dancer's Union (Columbia) Soul Asylum are one of three bands (along with guitar luminaries the Replacements and Husker Du) that constituted the somewhat fabled 80s Minneapolis sound, said to be the precursor to the now much overhyped S**ttle revolution etc etc. It's interesting that these three so-called godfathers of grunge moved away from it as it got bandwagonised — Mould's Sugar album and Westerberg's recent 14 Songs being both predominantly pop. Grave Dancer's Union has similar moments — most notably the catchy operier 'Somebody To Shove' and strumming 'Runaway Train'. Basically though this is classic American rock n'roll, a sound frontman Dave Pirner says the band has been trying to capture all along. When you look back to the

earlier albums, it's obvious rock n'roll has been a constant thread throughout, even if as a subtext during the punk brashness of the Say What You Will LP. This album concentrates purely on that core sound. Occasionally that translates to stadium rock sized songs tha should do real well radio wise — 'April Fool' with its Pearl Jam riff, and 'Keep It Up' with a Na Na chorus, but these aren't a reflection of all the album has to offer. For the most part this is non-pretentious, no nonsense rock n'roll that regards grunge (rightly or wrongly) as youthful immaturity. TONY MILLER FUGAZI In On the Killtaker (Dischord) At last a new album from DC's politicore melodic punksters or whatever it is they are. Initially, Killtaker was to be produced by Steve Albini, but„unhappy with the mixes, Fugazi returned to Inner Ear Studios and have come up with one of their most cohesive sounding album yet. After last year's slightly weak sounding Steady Diet of Nothing, Killtaker is a real stride forward, a big clean blast. The whole deal kicks off with 'Facet Squad', a classic Fugazi full throttle moment, Mac Kaye screaming and guitars squealing. It's an apt way to start this album too, as it's Fugazi back on a more confrontational sound. Everything seems just a little more upfront, a little sharper. Killtaker is no flat out hardcore rekkid though, there's still all those little Fugazi traits here that have become so imitated nowadays. Mac Kaye and Icciotto trade vocal licks, there's great feedback moments and of course the rhythm section of Joe Lally and Brendan Canty in full swing. You can't beat a band who are fundamentally great and willing to try and stretch their sound out and try new angles, yet they can still

turn around and write something like 'You'd Make A Great Cop' which is anthemic punk rock, pure and simple. Killtaker certainly isn't the perfect Fugazi record but it's still going to be one of the best records you'll hear all year. . KIRK GEE NEIL YOUNG Unplugged (Reprise) This MTV unplugged format was almost invented for Young — his unique acoustic whine and armoury of non-amplified songs have always been an important part of his appeal and longevity in rock n'roll. Here he gets the medium and the excuse to re-interpret some of his landmark songs right from Buffalo Springfield to last year’s return-to-postures Harvest Moon. New fangled approaches greet a slow and moody 'Mr Soul', a magnificently aching 'Like A Hurricane' with only a pump organ holding up Young's cracking vocals and a 'Transformer Man' surprisingly suited to naked treatment. Elsewhere the remainder sticks pretty close to the originals with Young's mouth harp carrying the pain. Unless Dylan gets the notion, this Unplugged is destined to be the best of its kind. The whine stripped bare — the only way to be. GEORGE KAY CITIZEN BAND Rust In My Car (Sony) Back in the late 70s and early 80s when there was a healthy live circuit in New Zealand, people used to venture out to the pubs and clubs in their droves to get tanked up and have a good time or "rage” as it was known. Those that went to see Citizen Band were more or less guaranteed value for money as said combo always delivered the goods in a live situation. In short they used to kick arse. Now over ten years later comes

this fifteen track compilation which draws off their two studio albums. It is fair to say that the material has not dated particularly well. Sure it's good to hear 'I Feel Good' and 'Julia' again; even 'The Ladder Song', whilst no 'Stairway To Heaven', has stood up reasonably well. Sadly the same cannot be said for tunes such as 'Acrobats'. 'The Office Come Alive' or the plainly awful 'The Man's A Wonder'. There are some aged examples Of power pop in 'Dig That Tex' or 'Tex Goes to the Tinema' which raise a titter but overall the band that once brought us 'Rust In My Car' would be struggling to obtain a warrant of fitness with this vehicle. ALISTER CAIN THE WATERBOYS Dream Harder (Geffen) - WORLD PARTY Bang! (Ensign) Two bands closer than most — not only because World Party's Karl Wallinger was in the Waterboys until 1985 but also because echoes of shared godfather Dylan still reverberate through both bands.

The Waterboys' Mike Scott is your undisputed restless spirit what with his move from Scotland to Ireland after the band's initial grandiose phase. In Ireland he re-discov-ered his Celtic roots and did Fisherman's Bines and Room to Roam to prove it before moving to New York where he's now married, alcoholfree and discovering the power of the electric guitar and his own spir-

ituality. Scott's positivity is the main reason why Dream Harder is such a great album and right from the determined intent of "the new life starts here" of 'The New Life', it's clear that the guitar is going to be one of his major vehicles for conveying this new direction. The amazing, loping admission of his own spirituality on 'Glastonbury Song' is impossible to resist, as is the blazing guitar flurry of the pagan single 'The Return of Pan'. 'Suffer' comes on like Hendrix r n'b while 'The Return of Jimi Hendrix' is a dream Scott had of Hendrix reincarnated and in his stream-of-consciousness poetry and twisting guitars a rock n'roll world is saved, re-born. Wishful thinking but this is what Dream Harder is all

about — dream hard enough and the buoyant optimistic yearning for peace on the closing 'Good News' is a step closer to reality. There won't be a more positive or passionate album all year. World Party can't emulate this even though Wallinger's amicable departure from the Waterboys eight years ago has been justified by Private Revolution and 1990's excellent Goodbye [umbo. So Bang! is only their third album and its high tech sumptuous sound is one reason why it's a lesser beast than the lean Goodbye Jumbo.

Bang! is still a fairly fine album that doesn't quite string together the* diverse influences that jump around in Wallinger's songs. Taking a more personal rather than an environmental tance on this album, his jaunty minstrel urges result in likeable material in 'ls It Like Today' and 'Sooner or Later' and his humour is to the fore on the brief mock operatic 'And God Said ...'. But his best songs are a very Beatlesish 'Sunshine' and a funky 'Rescue Me' that owes its shirt to Prince and Inner City.

And just to be clever Wallinger has tacked on a Beach Boys send-up twenty-five minutes after the final song — just another example of the sort of imaginative, eclectic trick that keeps Bang! interesting without ever making it totally consistent or convincing. GEORGE KAY ROBERT PLANT Fate of Nations (Fontana) Rock's greatest singer has come up with the strongest and most diverse recording of the six albums he’s made since the demise of Led Zeppelin in 1980. Those who remember 'Kashmir' from Physical Grafitti will be flooded with memories when they hear the sweeping Eastern feel of 'Calling To You'. Perhaps the call is actually Plant's proud reply to Page's Led-filled project with David Coverdale. The exotic touch continues with 'Down To The Sea' which features a variety of instruments played mainly by bassist Charlie Jones who now happens to be his son-in-law, married to Carmen Plant. Fate of Nations is a very emotional release for Robert in more ways than one as he writes about his son KaraC who died at the age of six some sixteen years ago ('I Believe') and rediscovers the roots of his inspiration as a singer. There's three folk tunes, including a cover of 'lf 1 Was A Carpenter'. Echoes of the past also appear in 'Colours of the Shade' and the harmonica in 'Promised Land' wails so much it could alsmost make the levee break. The excellent 'Great Spirit' is soulful and bluesy, bringing new guitarist Kevin Scott Mac Michael to the fore. '29 Palms' is the most commercial track.

Plant's music has developed a refined eloquence over the years but Percy still rocks out with true bravado on tracks like 'Memory Song' and 'Network News' which manages to combine middle eastern instruments, environmentally conscious lyrics and a rhythmic beat that really hits the mark. Robet Plant is definitely back in top form. GEOFF DUNN MONSTER MAGNET Superjudge (Polygram) Monster Magnet's main monster Dave Wyndorf is a drug advocate, so I assume he tunes his guitar to the key of L. The band pose like they're on the back cover of the Stooges album (right down to the dilated eyeballs), and toss in such artful influences as Blowfly, Blue Cheer, and Black Sabbath, plus a Hawkwind cover, and the oft-quoted slogan on their first album Spine of God: "It's a satanic drug thing... you wouldn't understand," and I guess it all adds up to a better version of White Zombie 1 .

There's a storming start; 'Cyclops Revolution' is a wash of guitar fuzz, with great, funny words such as (as best as I can decipher them): "The sound of ringing bells/ Of cars smacking into trees," and "I'm gonna eat me a mountain/ A mountain of pills". Then 'Twin Earth', total task-centred riff hammery. And the title track, where Wyndorf yells "We're absolutely free," which is either (a) an epigrammatic summation of Sartre's existentialism, or (b) paying tribute to the second Mothers of Invention album, or (c) paraphrasing a special offer on a bonus Ginsu knife. ANDREW PALMER JUNGLE BROTHERS J Beez Wit the Remedy (Warner Bros) Let's get the review bit over with quickly. This is a pretty damn good album. It's nothing new and groundbreaking for rap, it's just the Jungle Brothers in fine form. They have their own sound, somewhere between all that hippy hop/ jazz funk stuff and the more traditional street rap. This album kicks along nicely, everything is in the right place and you remember how much you liked the other JBs stuff. Now you know that it’s a good album, 1 can tell you some neat things about it. What hit me was the fact that J Beez Wit the Remedy samples a whole bunch of stuff from first generation rap bands. There's the usual funk beats and melodies happening, the Meters, ZZ Hill and Fat Larry's Band all crop up; there's also a few strange samples like ‘l'm In Love With Indica' using 'Dirt' by the Stooges. But the fun really begins when you realise there's Public Enemy samples, Run DMC, Doug E. Fresh and a

whole bunch more. Hell, they even sample their own 'Jimbrowski' on 'Jimmy Weighs A Ton' (along with 'Jimmy' by KRS 1 and PE's 'Uzi Weighs a Ton'). Maybe if / Beez Wit the Remedy was an average album this would all be a dumb gimmick, but it's not. The Jungle Brothers have made another great album and in a strange way twisted rap back on itself. KIRK GEE PAULWESTERBERG 14 Songs (Sire) From the "they coulda been contenders" side of the rock n' roll tracks, Paul Westerberg's Replacements emerged from the arse-end of the 80s as rock also rans, scant years after being touted by no less than Rolling Stone as rock's brightest hope. That this reversal could have come about was testament to the band's belligerence, diffidence and total unwillingness to play the rock n’roll games and Westerberg's uncanny ability to snatch defeat from the jaws of victory. , The man with the dyslexic heart picks up the musical threads of his former band on his solo debut al-

bum, 14 Songs. Westerberg is truly in possession of one of rock's great fucked up voices — it's unhinged energy being driven by emotion, not technique. When he strains for a high note the cracks in his voice widen and you can almost hear his larynx pleading for mercy. It's edge-of-yer-seat stuff but it's alive, palpably real and vital. Musically, Westerberg is something of a rock traditionalist —many of his songs are built on bluesy riffing — but invariably with a twist. The slower numbers don't work quite so well, although 'First Glimmer' is an early highlight. Westerberg shows he's not adverse to some stylistic

dabbling, with the incongruous funk of 'A Few Minutes of Silence' (which works a treat) and some almost punk on 'Something Is Me' and 'Down Love'. The best tracks feature Westerberg blowing sohie big, stonking slices of sax. If you thought his singing was a wheeze, wait till you hear his sax playing — but it works cause the man knows what's right and 'Someone I Once Knew', 'Silver Naked Ladies', 'Mannequin Shop' and 'World Class Fad' prove it. Whether the.post-grunge generation care about Westerberg and his slightly skewed rock n'roll is a moot point, but there's near enough to 14 good reasons here to say that we should still care. MARTIN BELL GARY CLAIL Dreamstealers (BMG) That old saying that a million monkeys hitting typewriters randomly for a million years would eventually churn out a masterpiece (or something like that anyway) holds true for old Gazza ClaiL Only he hasn't created his masterpiece just yet. Dreamstealers is another release

from ON-U Sound System — the tribal British dub squad renowned for their dirty rhythms and backbreaking bass. And like every other ON-U adventure it's very much pummel and miss. On the pummel side, the anthemic 'These Things Are Worth Fighting For' is as close to stadium dub as you're going to get, 'Who Pays The Piper' has the dance crossover attraction and ‘Speak No Evil' should filter through to the Stereo MCs rap pop crowd. It's Clail's fixation with 'everyday average' politically correct raps that start the cred sliding. Songs like 'lsolation' with "It was a Thursday

—the day the bubble burst/ spent so long -trying to paper over the cracks" are typical. Or what about 'Buzzword' with some geezer crooning "everything was 'wicked' - his favourite word" before bursting into a two minute bee impersonation (which sounds stupider than it reads). I mean what is he on about? Dreamstealers is far less sinister than Emotional Hooligan. The frown is lifting. But don't let that bother you too much—there's still a whopping great chip grafted onto Gazza's shoulder. And ON-U still sound like ON-U Sound. JOHN TAITE SENSUAL CLASSICS (Teldeo) Three Divergent Views. 1) We knew the ploys of marketing pop had reached classical music — Nigel Kennedy as the Springsteen of the violin anyone? But this album is something else. The sequence of sleeve photos portrays a Latino-looking couple in (early) stages of tearing each other's gear off. The implication is that the music will inspire us to similar abandon.

Truth to tell, nearly all the 16 tracks — with the exception of old Ravel's 'Bolero' — are more suitable accompaniment to the languid aftermath than the passionate build up. 2) We should abhor albums like this. After all rock/ pop fans rightly despise those 'Jive Bunny' or 'Beatles on 45' type ripoffs wherein great recordings get reduced to one chorus each and are lock-stepped together with some crapulent computer beat. Admittedly the classical bits and pieces here haven't been discofied — they're all extracted from full length recordings — but if Bach, Beethoven and the boys had intended this stuff to be listened to in five-minute sound-bites they wouldn't have poured their souls into full symphonies and concertos.

3) Who cares? This is the 90s and most radio and recording listeners are used to only five minutes at a time. It's also highly unlikely that most of us would sit down for a full Mahler symphony or Borodin string quartet anyway. So these snippets are better than nothing. Besides, one or two tracks may just whet appetites to spur investigation of a full work. (Though caution should be advised. For instance this smoochy little slice of Stravinsky is hardly indicative of the whole Firebird). An attempted conclusion: If you're a classical cognoscent stay clear. But for those of us who don't know shit from Chopin there's some extremely nifty little instrumentals in this collection. (Just don't expect them to improve your sex life). PETER THOMSON

DAVID SYLVIAN AND ROBERT FRIPP The First Day (Virgin) Robert Fripp is the only living "guitar legend" who matters any more. Although he's long since forsaken the title in its 70s sense, his willingness to boldly go into uncharted or discredited territory makes him one of the few musicians to be worthy of the term in even its vaguest sense. The First Day, however, isn't one of his (or Sylvian's) more groundbreaking experimental works. Instead, it's a collaboration on familiar ground by two experienced musicians who seem to have gelled together to produce an excellent album. The piece works around a theme of survivalism leading to self-reali-sation. David Sylvian's lyrics, either narrative ('Jean the Birdman', 'Firepower') or stream-of-conscious-ness ('God's Monkey', 'Darshan') are at least thought provoking, and his urgent but controlled singing makes them much more than that. But Fripp's the real star of the show. Something must have fired him up about this project because he's sounding more emphatic and powerful than he has for years. 'Brightness Falls' has his trademark urgent, judderingly potent riffing, while the magnificent 'Firepower' closes with an achingly cathartic extended solo. The guitar at the beginning of 'Darshan' pours into your brain like a flood of concrete, only to vanish and then start again. The First Day > definitely a cut above the average record produced by ex teen idols but both Sylvian and Fripp have always had the sort of musical integrity that meant they weren't ever going to release an Unplugged album. CAMPBELL WALKER THE REBIRTH OF COOL TWO Compilation (Polygram) I thought we just had the launch of Rebirth 111 recently. But it turns out that our #1 was Britain's #2 and the #3s were actually Brit imports — with the same songs as this, our Rebirth #2. Geddit? Oh well forgetit. It's another prime selection of those hip hop and jazz cross breeds. There's always something happening on the Rebirth compilations — but you've got to remember if you put it on in the afternoon you'll get a pleasant buzz. Listen to the sucker after the sun has gone down though and DAMN that groove gets in. The biggies are here. Ronny Jordan gives us a taste of his collaboration with Ray 'Opaz' Hayden (who's also here on 'Don't Say Nothin'). There's bursts from Courtney Pine, Stereo MCs (true!),froggy rapper MC Solar donates a jazzed up mix of 'Caroline' and members of the Young Disciples come together with Maxton Beesley under the name the

Subterraneans. Rebirth Two is a more mellow affair. Whereas the first edition carried the theme 'the spirit of the drum' this is all about 'a deeper shade of blues'. It'll probably have more staying power in the long run because the songs place more emphasis on the jazz this time round rather, than the hip hop. . A strong compilation that should swing anyone into the spirit of cool. JOHN TAITE PAW Dragline (A&M) The trouble with the world today is, there's too much art and not enough quality control. Too many people are . getting a modicum of educationand deciding that they're meant to be artists. So there is a glut of bad novels, dull movies, mediocre paintings and WAY WAY WAY too many bands out there today! . Does the world need Paw? Hell no! We already have a million like 'em and about a hundred who did it better, first. Paw sound like a lukewarm stew made of off-cuts from Dinosaur Jnr, Nirvana, SPUD, Buffalo Tom, Blind Melon and Violent Femmes and the singer sounds like ■he's spent too many years singing into a hairbrush in front of his bedroom mirror. This record could be seen as an excercise in putting off the day when you've got to face up to the fact that you're never gonna make it as an artist and have to earn your living in some more prosaic fashion, like rock critic. And also it's way too Jong. DONNA YUZWALK DONALD FAGEN Kamakiriad (Reprise) This album reminds me of an anecdote about the late novelist Graham Greene who once entered a newspaper competition to write in the style of Graham Greene. He came second. Given Donald Fagen's 11 year absence from recording one could almost imagine some desperate management company resorting to a similar ploy in the hope of finding a suitable replacement. Indeed Fagen's musical gifts and inspired perversity with words have been sorely missed. The problem is, were such a

competition to be held Kamakiriad would be lucky to be placed second. It's got the right sound, the meticulous production and those familiar jazz-inclined grooves but little else. At most only a couple of the tunes are catchy enough to have made it onto his past albums. Moreover while the lyrics may contain the cryptic cleverness of old, none of them possess either the scabrous, cynical wit of the Steely Dan years or the clear-eyed incisiveness of Fagen's superb solo set The Nightfly. Along with former partner Walter Becker (who produces Kamakiriad) Donald Fagen was one of the paramount pop talents of the 70s. Following the dissolution of Steely Dan Fagen went on to release only one new collection in the 80s, yet The Nightfly remains among the great albums of that decade. In contrast, Kamakiriad is unlikely to even be ranked among the comebacks of 93. Let's hope it's merely the first step in a major talent recovering from creative block. PETER THOMSON VERVE A Storm In Heaven (Virgin) This Wigan four piece has been heralded as the future of rock. Though it's probably just because they're great fun to write about. Verve are to rock what the Orb is to techno. Laid back isn't the pjirase. Sprawled out perhaps. If you desperately need reference points try trancey side of the Doors or U 2— but they are peerless. Verve are foggy nights and slow summer afternoons. They're lying on-your back in the middle of the ocean and confronting a cyclone. And it's impossible to define their atmosphere without spurting out some ridiculous imagery. Everything is relaxed, sensations are emphasised. Lead singer Richard floats through, is consumed by and somehow directs an endless sea of enveloping guitar. There isn't any lunatic pace to hide mistakes — you're right up there, taking in all the intricate subtleties. And so the Verve onslaught begins, lulling you and then lashing out with a climactic burst of fury. Listen to the tidal 'Slide Away' or the relentless 'Butterfly' and you'll know exactly what I mean. A Storm In Heaven doesn't con-

tain their previous singles ('Gravity Grave' and 'She's a Superstar') but it's still an essential chapter of the word according to Verve. It's worth buying for the amazing artwork alone (which can provide an insight into the songs when the words elude you). Verve don't comply with the mainstream ideal enough to become the future of rock. They couldn't care less. Just as well, really. JOHN TAITE DEAFENING DIVINITIES WITH AURAL AFFINITIES (Beggars' Banquet) Another UK indie compilation for people with more discretionary income than is good for them*. It actually features almost as many American acts as English ones but with a track from Carl McCoy (ex Fields of the Nephilim) and two from Bauhaus's Daniel Ash (one solo, one as Love and Rockets) it can hardly help but have that pig-ignorant limey wannabe-mysterious feel. Of course Mercury Rev tower over all contenders, offering a dizzy whir! of tuned percussion and cheap synth sounds which follows their recent 'The Hum Is Coming From Her' single in demonstrating that they're at least as much a lunatic fringe jazzy band as an indie rock group. Main, featuring half of Loop, take guitar-drone-trance theory further than most anyone else outside My Bloody Valentine, and Terminal Power Company mix a Godflesh style monster noise with an early

Sisters kitsch romanticism. Aside from that things look pretty grim: Loop's other half, the Hair and Skin Trading Company, sound exactly like an inferior Bailter Space, Polyphenus mix rock the way the kids like it with vaguely eerie organ music, McCoy (whose imaginative new band name is "the Nefelim") now sounds like Iron Maiden if anyone cares, and Radical Spangle, Sundial and especially Carnival Art play guitar-noise pop too dull to speak of. MATTHEW HYLAND GURU Jazzmatazz (Chrysalis) Everyone who heard Gang Starr’s 'lt's A Jazz Thing' said the same thing: "Would've been a great instrumental”. Of course, such words wholly usurped the entire purpose of a jazz and hip-hop hybrid (ie the need for a rap vocal), but that's everyone for you. A more constructive and case appropriate criticism might have been: "Would've been better with Schoolly D on the mike" (this would entail altering the title to "It's AJazzThing, Motherfucker"). Or a less constructive, though sympathetic defence: "Could've been worse with Tom Cochrane on the mike" (new title: "It's A Jazz Thing, and I Can't Sing"). Guru is the vocal half of Gang Starr, and Jazzmatazz represents a full album of Jazz meets Rap introductions. The formula it follows is to take a hip-hop/ "Lord of the

Thighs" beat, inject it with a nominally "jazz" drum fill (cymbal tsskks), over which Guru does his rap thing and whichever guest artist toots or tinkles their thing. The finest collaborations come from trumpeter Donald Byrd (who's no stranger to non-jazz, given his excellent "Thank You for Funking Up My Life" funk crossover in 78) on the opening 'Loungin'. And Brand New Heavies vocalist N'Dea Davenport, whose cruise through 'When You're Near’ neatly compliments Guru's wonky wordage. And overall it's a fairly refined, if somewhat restrained, semi-success. A. PALMER DIFFERENT TRACKS Sampler of Contemporary Music From Aoteoroa . (Rattle) The Different Tracks compilation release from the Rattle label is a sound sampling of New Zealand's music intelligentsia. Nothing here is simple. This is music as soundscape, aural exploration. The exponents of this on Di fferent Tracks have been playing live for many years in concert halls, cafes, galleries et al. These are not artists you're likely tohear down the pub on a Saturday night, although the most accessible track, 'My Pagan Love' by Brendon Power and Steve Garden, would go down a treat anywhere. It’s the most straightforward track here. The rest of this disc is music for musicians (and critics, formal and armchair alike). What is happening

herejs experimental and accomplished. The musicianship is outstanding and in the case of the guitarists — Peter Haeder with opener 'Q' and Gitbox Rebellion's Nigel Gavin with 'Continental Divide' — virtuoso. Most tracks are polyrhythmic, ie. no common time, and cyclical. This is what we've come to expect from From Scratch. Here they've captured their sound precisely with lots of space, among the clapping and chanting on 'Fax To Paris'. Much of the instrumentation falls outside the norm, I still haven't figured out what a 'zoom' is. The last three tracks 'Tumbling Strains', the second movement from Peter Scholes' 'lslands IP and 'Matres Dance' I enjoyed the most. They are classical in form, contemporary in approach and stand above par. Any of these three would sit easily among international company such as Sctilthorpe or Maxwell-Davies. The liner declares "new music for open ears". Mine are cloth, this is one to leave lying on the coffee table. BARBIE RONNIE WOOD Slide On This CHARLIE WATTS QUINTET A Tribute to Charlie Parker (Continuum/ Festival) What do the Stones do when the juggernaut stops rolling? Produce two albums that couldn't be more dissimilar, other than they're both labours-of-love of surprising quality. Ron Wood may have the image of the perennial party animal, but with Slide On This it's time to take him seriously. Co-produced with flair and creativity by Wood with Bernard Fowler, it's mostly hi-tech rock with warmth and wit. There are Stones rockers, as you'd expect, but there are also swift genre changes that make it a colourful, satisfying record. Ron Wood has tried hard to be interesting — as Jagger did on his last solo effort — whereas Keith just riffs away in his sleep (sometimes literally: that's how he wrote 'Satisfaction'). Highlights range from the stupid-rock cover of Johnny Taylor's 'Testify' to the acoustic folk of 'Breathe On Me’, which could come from 'Maggie May' era Faces. If Rod Stewart made a record as good as this, critics wouldn't know what to do with themselves. Charlie Watts, meanwhile, sticks to the genre he's loved since

childhood: classic bebop. He started his Tribute to Charlie Parker as a children's book 30 years ago, and recently taped his jazz quintet performing this live tribute. Bebop is an exciting form the brilliance of which has been watered down by years of cocktail players. Here Watts's British jazzers perform admirably, giving the music the adrenalin rush of Parker's heydey. The tunes can soar into the intellectual stratosphere, then return to almost become pop songs, as they quote familiar hooks and signature riffs. My favourite moments are when the trumpet and sax players dance together in unision, linked like ice skaters as they perform dazzling feats of fancy. The first half of this CD also features Bernard Fowler reading from the children's book; in the second half, the quintet are joined

by a wonderfully creative string section; They have a conversation with the brass as they push the musical envelope together. Neither album will change the world, but both are unexpected delights. So is the elaborate packaging: Wood and Watts' other connection is that before giving up their day jobs, they were both what used to be called "commercial artists". CHRIS BOURKE LULU Independence (Parlaphone) How to bring a terrific pop voice out of retirement in middle age? The approach here has been to team Lulu up with several hot young British producers and a selection of new and old material. (Fair enough, it worked a treat for Tina Turner with

Private Dancer). The title track — and album opener — is a cracker and could easily become a big mover on discerning dancefloors. There's also a very smart Bee Gees number featuring Barry Gibb's backup vocals and co-produced by ex-hubbie Maurice. Unfortunately elsewhere the synthfunk arrangements tend to stomp on the tunes. Champaign's old 'How 'Bout Us' is clubbed unconscious and even an on-form Bobby Womack can’t rescue his guest duet. Lulu sounds a little more comfortable on the ballads towards the end of the album but by then there's been too many lost opportunities. Independence is by no means a total failure; it's just not the triumphant return one might have hoped for from its opening track. PETER THOMSON

KINGMAKER Sleepwalking (Chrysalis) Thought by many to be heirs to the Jam's intelligent passion-based trio assault, Hull's Kingmaker have deservedly been placed between the shiny indie category and the grimier proletariat thrust of Mega City 4 and Carter. This, their second album, steers them away from those pigeon holes towards the ambivalences of Suede and the more accomplished musical horizons of the Wonderstuff. But enough of the reference points and on to the music where vocalist/ guitarist Loz has taken on gender bending and so there's a healthy measure of camp amongst the raunch of 'Queen Jane' and in the cha-cha of'Help Yourself'. Last year's 'Armchair Anarchist' single is pro-

vocative and humorous and on 'Sequinned Thug' and 'Pyromaniacs Anonymous' they get close to the psychotics behind inner city decay and drill it home with energy and panache. Kingmaker won't save the world but Sleepwalking shows that, like the Jam, they're prepared to confront and articulate its problems in a rock n'roil setting that has become too complacent. GEORGE KAY RICK JAMES Greatest Hits KOOL AND THE GANG Best of (1969-1976) This is funk and boogie as you're heard it before, though not for a while. Or as an introduction working equally as well. Do you wanta party? Either of these discs will have you shakin your groove thang all night long. Kool and the Gang are that — fatally, fabulously cool. Slinky grooves in all the right places. Searing brass arrangements, strutting bass, scat guitar and masses of voices. Yet they turn in some sweet melodic lines, verging on jazz when trumpet, sax or flute take flight. Pick of the tracks for me were 'Jungle Boogie', 'Summer Madness' and 'Love 'and Understanding (Come Together)'. Reminded me of Marco Parker and Earth, Wind and Fire without the cosmic consciousness. Rick James Greatest Hits falls under the black funk flag. Coming onto the scene at the height of the disco evolution in the late 70s, he carried

super heavy funk into the 80s. He must've been an influence on everyone from Prince (check out the dress sense) to Living Colour. From the house that Gordy built, Motown again showing how it's done. Represented here is the early stuff like 'Mary-Jane' (which must be a favourite turn of phrase for James as he later produced the Mary-Jane Girls) right up to super hit 'Super Freak'. Both James and Kool and the Gang have been sampled many times and Rick James transformed into hit material for MC Hammer. You've heard the samples, now buy the discs. Essential for party animals or anyone proclaiming interest in soul and funk. BARBIE DANNY GATTON Cruisin' Deuces (Elektra) If the guitar ace at the local instrument store came out from behind his counter, this is the kind of record he'd make. Gatton suffers from the session musician syndrome: all flash but no feel or flair. The result is very clean bar-band rock in a variety of grooves. This is Gatton’s fourth record (a previous outing was called Redneck Jazz: the mind boggles) and to avoid the instrumentals of the past he's brought in friends such as Delbert McClinton and Rodney Crowell for the vocals on a nondescript bunch of songs. A highlight however is the 'Sun Medley' with its perfectly EQ'd Scotty Moore guitar echo. The same kind of anal

retentive obsession appears in the credits, where no less than 17 (count 'em!) guitars are thanked. For geeky guitar students who haunt music shops. CHRIS BOURKE CLANNAD Banba (BMG) When it comes to evoking medieval mistiness, Clannad have no peers. Their music has always depended on casting a spell or a mood of atavistic melancholy but too often this spell has been broken by token MOR lapses. On Banba they avoid the temptation to be too contemporary by keeping the odd saxophone or guitar flourish well integrated into their overall theme of Celtic consistency. Speaking of which 'Na Laethe Bhi' and 'Ca D'e Sin Do' N Te Sin' are beautiful skin-crawling Gaelic laments from which there is no recovery, your waking hours are haunted. Even the theme to The Last of the Mohicans (T Will Find You') is sensitively insistent, and for more poignancy 'Harry's Game' style try 'Mystery Game' or the traditional airs of the instrumental closer 'A Gentle Place'.

Banba is that rare event — a good Clannad album — because their quintessential calm is, for once, left undisturbed. GEORGE KAY MICHAEL FRANKS Dragonfly Summer (Reprise) Back in the mid 70s a lot of people became agreeably diverted by the emergence of Michael Franks, a fey singer and witty wordsmith who employed the tastiest jazz-rockers to politely perform his slight tunes. Trouble was each subsequent album was just like the last. So here’s a quick consumer checklist to tell

them apart: 1) the sleeve photo (this one doesn't feature either Franks or a Paul Gaugin painting). 2) the lyrics — not so much wry these days as just clever (like reworking TS Eliott for the album's opening line). 3) the occasional guest vocalist (duets here with Dan Hicks and Peggy Lee) 4) the credits. This time they include thanks to Franks's lawyers,

his homeopath, his vegetarian chef and someone responsible for 'inner tennis'. PETER THOMSON FRONT 242 Up Evil (Sony) The theory goes that industrial noise terrorists are to dance what grunge was to rock' And if Nine Inch Nails are Nirvana and Neubauten are Sonic Youth, Belgium's Front 242 are probably Helmet — hard, raging and a couple of steps away from the scene. The problem with industrial has always been its reputation. They're still battling the image of those early 80s 'lets hit corrugated iron and scream’ or 'blender falling down the stairs' albums. It's much more than that. Front 242 offer huge dollops of synthetic noise smeared over pounding rhythms and digitally ravaged vocals. They're about aggressive electronic nightmares, offering the option to rage into the future rather than pine for the past. And with the mixing 1 abilities of Andy 'Nirvana' Wallace they've created an album full of songs (yes, songs!) which takes them beyond the faceless noise of their past. Up Evil is the perfect spike for a techno diet and the perfect mixer for heavy noise freakage. Very listenable. Very nasty. JOHN TAITE BUDDY GUY Feels Like Rain (Sil vertone/ BMG) Buddy Guy emerged in the late 60s as the sun set on the Chicago electric blues scene, and to this day Eric Clapton sings his praises. Guy's slash-and-burn guitar style can be dazzling, particularly when combined with harp player Junior Wells, but it led to the dreadful excesses of blooze rock. After years playing to college audiences and hanging round with the wrong crowd — white — Guy's incendiary fretwork can become overblown.. ' ' Here he kicks for touch with a lot of guests to broaden the audience demographic: Bonnie Raitt, John Mayall, Paul Rodgers, Travis Tritt and the guys from Little. Feat. The songs are covers carefully chosen for student parties: Marvin Gaye, James Brown, Muddy Waters. Highlights are a stately version of John