Singles

Rip It Up, Issue 21, 1 April 1979, Page 15

Singles

GEORGE KAY

After last issue’s motley parade of 45’s this month's releases come on like a full scale revival: First and probably best is the fascist but chic chiming power chord push of Siouxsie and the Banshees’ “Hong Kong Garden’’. Emphatic forceful melody reinforced by some interesting, almost innovative lead guitar from John McKay, it has already been hailed as a classic. Good, but not that good. It’s on their soon-to-be-released album The Scream. From the new to the old and Keith Richards goes back where he started (which isn’t really a bad place to be) and does a fine Dave Edmunds’ impersonation on the vintage “Run Rudolph Run” and a sleepy version of Jimmy Cliff’s “The Harder They Come" on the flip. Kid’s got taste but a couple of self-penned numbers would have been preferable. The Feelgoods meanwhile do everything right and do what they do best on “Down at the Doctors”, throbbing R&B with guitarist John Mayo trading muscle with Lee Brilleaux, but old sweats like the Feelgoods have this sort of thing down to a fine art. The Stranglers have produced some of the best jukebox hits in the last couple of years but they have a lot to answer for with their dire inappropriate version of “Walk On By”. Hugh Cornwall is hardly a pop romantic “Sometimes you’re gonna get some stick.” New Virgin signings, The Members take the sentiments of the Monkees' “Pleasant Valley Sunday” and the Kinks’ “Autumn Almanac”,

reverse them and add some Joe Strummer vitriol to come up with a nicely controlled and

dynamic “Sound of the Suburbs”. If this is indicative of their ability then they should go far. Tom Robinson has a mission in life other than being Britain’s most humourless derivative songwriter, that of being left wind media man via his songs. On “Bully For You” he is still preaching, but Peter Gabriel's powerful melody arrogantly gives Robinson his best song to date. Like Springsteen’s salvage of the ailing Patti Smith on "Because the Night.” U.K. Squeeze cruise pleasantly enough on the swaying “Goodbe Girl”, and the Rubinoos prove that they are worthy new Raspberries with a sleek 1977 version of the Tommy James’ classic “I Think We’re Alone Now”. About time the Beserkley catalogue was released here. "A Stitch in Time” and the man in the leotards is back again (lan Anderson, who else?) with his band of merry minstrels and another hearty tune. Anderson’s forced wryness and self-satisfied tone have long since discredited Jethro Tull, and this 45 is unfortunately no exception. "High On Your Love” and Rick James puts his best foot forward on some fairly predictable Tamla-disco, and on “Cool Meditation Third World continue on their smooth path of blending reggae rhythms with glossy sould harmonies. Burton Cummings turns out another gushing, and dare I say it, convincing ballad in “I Will Play a Rhapsody”. Only if you insist. On “I Will Be in Love With You" Livingstone Taylor sounds too much like his brother. Heavily orchestrated love songs I thought were a thing of the past. Sadly Eddie Rabbit’s “Every Which Way But Loose” is a thing of the present and uses every country cliche in the book. Still I suppose its only a movie theme. Keep your jukebox well oiled. . The whispy acoustic “Dog and Butterfly” makes a change from Heart’s previously aggressive line in singles but it's tacky philosophical romanticism is too much for me. Still with females and Tanya Tucker is certainly one of the few women around that could sing “Not Fade Away” and sound like she meant it. Chunky and raunchy with a mouth harp in there somewhere, it’s not to be dismissed as just another version of that old classic. "You Can't Win" is a funny title for ex-child protege Michael Jackson, who just turned twenty last year. He is still one of the soul voices around, and this song with disco rhythms, natch, is okay but no more. Kim Fowley adopted sons of the suburbs, New Zealand’s own Street Talk make an eclectic bid for superstardom with the 12 inch "Street Music”. Springsteen in sentiment and pacing, with touchs of Phil Lynott in vocal delivery and a Terry Hogan Murray Cammick cover, they have all angles covered. Densely produced, it's definitely a fine song of the times and they deserve to make it on opportunism alone.