Back in the Lounge

Rip It Up, Issue 22, 1 May 1979, Page 15

Back in the Lounge

Roxy Music

Manifesto

Polygram

Although the title and title track portend something different, Manifesto is a relatively light album from the re-formed Roxy Music, and it might therefore be tempting to dismiss it as yet another half-arsed reunion effort that someone should have smothered in the mother. Bui that’s too easy and wide of the mark. Any new Roxy Music album has a lot to live up to, following on stunners like For Your Pleasure and Stranded (..or you name ’em) and their last studio album Siren, a record of such lyric interest and instrumental power that any subsequent release would have to really jump to look it in the eye. Manifesto, probably wisely, makes no pretence at being a trail-blazer and is instead a collection of largely pop oriented material some of which is couched in a subtly textured lounge-funk that reminds me a little of The Commodores, or someone like them. The ‘new’ Roxy is Bryan Ferry, Phil Manzanera, Andy Mackay, Paul Thompson and ring-ins Gary Tibbs, Alan Spenner, and Paul Carrack. They play with little of the fire that ig-

nited parts of most other Roxy albums, there’s no “Street Life" or “Both Ends Burning”. There is, though, an attention to details within the traditional verse and chorus structures that gives density to what at first listen seems rather unadventurous music. The principals of Roxy Music are all prone to the occasional blooper but they have a consistently creative approach which shines through the craftsmanship and light touch of Manifesto. And as always the Ferry persona is never less than interesting. At the beginning of Manifesto he sings "I’m for life around the corner, that takes me by surprise”. It's not a convincing entry by any means. He sounds as if he could hardly be bothered getting off the sofa to answer the door let alone strut down life’s sidewalk with the “what else ya got?” bravado the lyrics suggest. However the closing lines provide a nice hint of awareness of exactly this contradiction.. “And when you find the answer, bring it home to me.’’., followed by a sort of mellow freak-out. You see he never intended to leave the house and curiously enough he knows it. I especially like “My Little Girl”, a Ferry/Manzanera composition on side two that has the lines, "There’s a small cafe where lovers take their time", which is just the sort of thing Ferry sings so well, you can probably hear him in your head. It’s these popier numbers on Manifesto that work best for me, “Trash' with its trashy organ, “My Little Girl”, “Dance Away", rather than the less immediate “Stronger Through The Years" and “Spin Around”. I’ve been playing this record a lot and I like it but I'm not sure how much, which is exactly how I’ve always felt about Roxy Music inexact. Let’s say it's much better than The Bride Stripped Bare which is an obvious but useful comparison. Terence Hogan

The Stranglers Live X Cert United Artists No doubt it's a dodgy business attempting to sum up an album in a word. Nevertheless you could safely call this album the essential Stranglers. Not because it is some greatest hits package in disguise. Far from that, several of the band’s standards are conspicuous by their absence. The reason is that The Stranglers have dispensed with any refinement and relied solely on the two essentials of their style an undeniable power and their abrasive macho stance. This is not to say that Dave Greenfield’s melodic support is lost altogether. But the rhythm section, especially the brutally powerful bass of Jean-Jacques Burnel, dominates the sound. As to the second essential frontman Hugh Cornwell plays the macho wide boy to the hilt. Limited the approach may be but the album has real vitality especially the first side openers “Grip" and "Dagenham Dave". So you know what to expect The Stranglers only more so. Put it this way, if you like The Stranglers despite their grossness you should at least listen to this album, if you like The Stranglers because of their grossness you should immediately buy this album.

Dominic Free

Tom Robinson Band TRB Two EMI Tom Robinson, the original Trendy Lefty, started out playing solo acoustic sets in London's gay clubs. The emergence of Punk gave rise to his hope of siring a new generation of ‘politicised’ musicians, committed to a Brave New World by roundly condemning the old one in song. His first album, Power In The Darkness, disappointed as many people as it impressed. High hopes' had been held for Robinson, after, the excellent singles, “2-4-6-8 Motorway” and "Glad To Be Gay”, but many felt the album, stressed the politics at the expense of the music. TRB Two is produced by Todd Rundgren, bringing the band's sound up much stronger than before, improving the album’s listenability immeasurably. Robinson is an able tunesmith, still displaying a debt to Raymond Douglas; Davies .in places, but nonetheless writing, strong, memorable melodies. A collaboration with Peter Gabriel produced the 'excellent "Bully For You", which, coupled with- the snarling "Blue Murder”, would make a first class single. "Law And Order”, sung by keyboards player lan Parker, could have been written' by Randy Newman, though singing about redneck cops in a pure Glasgow accent sounds - er - incongruous. < Robinson writes topical material, and New Zealanders: unfamiliar . with British life and politics might find some of the lyrics bewildering. Don't let that put you off. TRB have got the grit, though perhaps a gentle reminder is needed that you can't play guitar with a clenched fist.

Duncan Campbell