Singles

Rip It Up, Issue 232, 1 December 1996, Page 32

Singles

Pick of the 45 RPMs this month has to be those enfant terribles of the mixing desk, the Chemical Brothers. They wrote ‘Setting Sun’ (Virgin) with Noel Gallagher, and he guests on vocals in this song that’s actually more notable for it’s inspired pilfering of the drum pattern andEeastern vibe of the Fab Four’s ground breaking ‘Tomorrow Never Knows’. It clatters along with the Brothers’ usual techno persistence and intutition for what makes intense, evocative pop.

Still with mixers extraordinaire means Tricky’s superb re-visit to Garbage’s ‘Milk’ (White). It’s one of four versions on the EP, but Tricky’s dangerous, menacingly atmospheric reading perfectly enhances the song’s restrained moodiness. And speaking of superb, the occasionally god-like Julian Cope has obviously decided his latest incarnation will be to write seamlessly lovely, fantastic pop songs like ‘Planetary Sit-In (Every Girl Has Your Name)’ (Echo). Definitely irresistable.

Leaving the month’s leaders we meet David Bowie’s ‘Telling Lies’ (Arista). A hyperactive percussion backdrop allows the Thin White One to deliver a controlled croon of the futuristc kind he used so well on Outside. ‘Telling Lies’ isn’t his best effort, but try the Adam F mix as the pick of the three on offer. Still in crooning mode, and they don’t come much more forlorn sounding these day than the loungiest of lizards, Bryan Ferry. ‘Dance With Life’ (Reprise) is a typical piece of Ferry melancholy. Dispensible. Continuing to make crime pay are the Fun Loving Criminals, who turn up with a couple of tasty versions of their signature hip-hop, ‘The Fun Loving Criminal’ (EMI). On board for the ride is a remix of the excellent ‘The Grave and the Constant’, and a live ‘Come Find Yourself’. Criminals give good value for your dollar. Next up Skip MacDonald’s Little Axe try to re-invent the blues on six remixes of ‘Storm is Rising’ (Wired),' but only succeed in reinventing tedium. And tedious is the only word to describe the half-dozen yawns through Joni Mitchell’s ‘Big Yellow Taxi’ (Reprise), while Australia’s Frente, once lightweights, discover some pop muscle on the fairly fine ‘What’s Come Over Me’ (White). Belief is suspended for Suggs ‘No More Alcohol’ claim (WEA). No more records either, please, Suggs. See ya.

GEORGE KAY