RECORDS

Rip It Up, Issue 31, 1 February 1980, Page 10

RECORDS

THE SPECIALS

The Specials Two Tone/Chrysalis Look, all the signs were there on the “Gangsters" fortyfive: Why must you record my phone calls? Are you planning a bootleg LP? Said you'd been threatened by gangsters Now it's you that's threatening me. A typically straight-from-the shoulder Jerry Dammers story fused with a ska beat and echo chamber to produce a creeping sense of fear and paranoia. The single had everything yet it took that little bit longer to appreciate. But people sat up and realised that the Specials weren’t just another five-black two-white seven piece ska band from Coventry with their own record label (2 Tone). To follow such an auspicious beginning Costello was used to produce this, their first album, and he shows that like his producer, Nick Lowe, he prefers to leave the sound ungarnished, he allows the natural rubbery exuberance of the Specials to come to the fore and, for drummer Brad, this really pays off as his drum sound certainly packs a clout. The band are relaxed and almost cocksure as they know damn well they are the best white exponents of what they are doing. Whether it’s on the cruising reggae of “Stupid Marriage” and “Doesn’t Make It Alright”, bouncing ska rhythms, “Monkey Man” and "Dawning of a New Era” or even (just) rock’n’roll as in Roddy Radiation’s “Concrete Jungle”, they have that authentic rightfeel that is the core of the best rock music. Dammers is a keyboards player of the Bob Andrews’ school which is saying something and as songwriter he doesn't miss much. He’s direct and colloquial, you’ll get no fancy metaphors or veiled references from this baby: Just because you’re nobody it doesn’ mean that you're no good. Just because there's a reason it doesn't mean it's understood. (“Doesn’t Make It Alright”) You 're done too much, much too young Now you’re married with a kid when you could be having fun with me. Ain't he cute, no he ain't, He’s just another burden on the welfare state. ("Too Much Too Young”) Despite a couple of weak songs Dammers has enough suss and raw ability to be fingered as one of the finds of last year, and that goes for the band an’ all. This album grows and becomes a habit, a good habit. C’mon and do da bluebeat. George Kay The Shoes Present Tense Elektra Black Vinyl Shoes was the first Shoes album, on PVC, a label which has also released such vital esoterica as the third from Big Star. Shoes made Black Vinyl in their lounge as a demo tape for friends and, maybe, the odd record company, so it sounded sorta hissy and weird when PVC made it into a real record in late 1977. A brilliant pop-rock collection it was too. Next came a one-off single “Tomorrow Night” on BomD which fulfilled all the promise of the

demo tape debut, and now a proper album recorded, interestingly enough, in England. (One look at the cover photo should tell you Shoes are undeniably American) (In fact, they’re from Zion, Illinois). Shoes are four, and three of them write. Very well. Guitarist Gary Klebe seems marginally the strongest, and the tougher bits on the album, so necessary to balance the breathy vocals and light-pretty-cute top to the music, are invariably his. The killer is that old Bomp single, done anew for Elektra, and a perfect AngloAmerican marriage of early shifting rhythm Kinks (the verse) and The Raspberries (the chorus). In support are a fat handful of gems “In My Arms Again”, "Listen”, “Too Late”, “Now And Then” ...riffs sometimes, melodies always. Present Tense is an excellent album. No-one is currently doing it better in the well-trodden post-Beatles post-Byrds field, and even if Shoes do inhabit a hithereto only moderately rewarding position in that genre between the perky commercialism of The Knack and the steamroller dynamics of Cheap Trick they will, like Dwight Twilley, hopefully keep making their music from there. After all, if Shoes really want to be megastars, would they let their leader call himself Gary Klebe? Roy Colbert Tom Petty and the Hearlbreakers Damn the Torpedoes Backstreet Tom Petty has had a hard time of late, with the breakup of Shelter Records and a lengthy hassle with MCA which led to him declaring bankruptcy and finally signing a deal giving him his own MCA distributed label, Backstreet Records. But all that is behind him now, and as this

album kicks you in the head with its opener, “Refugee'', you know that Tom Petty still has all his marbles. Not that Damn The Torpedoes contains any surprises. It’s simply another excellent Tom Petty album, which automatically puts it above just about anything else coming out of America these days. His ear for a good hookline has no equals, as he proves beyond any doubt in “Even The Losers”. "Shadow Of A Doubt” recalls “Magnolia" on You're Gonna Get It, but has that extra clout to it with the twin guitars of TP and Mike Campbell. A great combination. Campbell plays even better on the frantic "Century City”, and "Don’t Do Me Like That” (which has been Petty's biggest Stateside hit to date) actually pales alongside many of the other tracks here. "You Tell Me" is a lovely slow burner, and "Louisiana Rain" sees the city boy going country, featuring Campbell’s soaring slide guitar. Co-producer is Jimmy lovine, best known for stealing one of Springsteen’s best songs for Patti Smith, lovine knows his way around a studio, and the sparkle he puts into Petty's production is an asset. Three albums, each one a treasure. Add this to your collection and support Tom Petty. Right now, he needs the money. Duncan Campbell

Steve Forbert Jackrabbit Slim Epic Carlene Carter Two Sides to Every Woman Warner Bros Steve Forbert and Carlene Carter arrived on the scene with a splash: their debut albums Forbert’s Alive on Arrival and Carlene Carter attracted reviews heralding significant new artists. Well, it’s follow-up time for both and the moment when the artist must turn that initial inspiration into the beginnings of a career. Forbert’s debut was buoyed by his infectious enthusiasm, with even the weaker songs redeemed by his high spirits and the strength of the best of the material. With veteran pop-

rock producer Joe Wissert at the board, Jackrabbit Slim replaces the rough edges of the debut with greater craft in the arrangements and instrumental hooks. Still, this album settles once and for all that Forbert is no new Bob Dylan this talent is too light and his message too trivial. But Jackrabbit Slim packages his skills in such an appealing way that, as with Alive on Arrival, his personality almost over-rides any doubts about his talent. Almost. Carlene Carter also moves upmarket with her second album, Two Sides to Every Woman. Here, she opts for New York session-man backing to replace the Rumour who did the duties on her debut. Predictably, they provide a glossier surface to the music than Graham Parker’s crew but Carter’s tough country voice cuts through and provides the edge that makes the bulk of this album a success. This time Carlene Carter has written most of the songs and, while there is nothing as remarkable as "Slow Dance” on the first album, the best material here suggests that Carter could yet develop into a major songwriter. Two to watch in the eighties. Alastair Dougal Marc Hunter Fiji Bitters CBS After Marc Hunter left Dragon it didn’t take long for the band to die. This vocalist had real public appeal. His leaving was for solo sites, this album the first. It’s good and easy, pleasant and tuneful, but for those Dragon fans who may be seeking it, it’s not the resurrection. Most of the tracks on Fiji Bitters are written by various combinations of Marc and/or Todd Hunter and/or Jenny Hunter-Brown. This gives them a kind of common denominator relaxation. Not to say the production is sloppy or soporific. No, it's a holiday mood and even in the melancholic songs, the album does not rend but romp. The single from the album is "Don’t Take Me", which is catchy pop but just short of that magic sure-fire-hit-ability. That's the other common factor not one of the tracks spells instant radio airplay by the currently cruddy standards. That's a shame because that’s where this kind of album belongs. In fact, the only dud is “Casablanca" and perhaps that’s just being contrary; Graham Brazier's song was very nicely recorded by Hello Sailor in very early days. • This album is not a rager to rattle the dead, but a collection of clear, catchy, up-beat songs. Look out for Marc HunteT on Sharon O'NeiH's TV special this month and you’ll see what I mean. Louise Chunn

Gruppo Sportivo Mistakes Sire This bunch of Dutch crazies do rock the singular honour of stealing just about everything that isn’t nailed down, from the piano intro in "Nut Rocker” (spotted on "Mission A Paris”) to a section of lyrics from Tom Petty's "Breakdown” (“Beep Beep Love”). Gruppo Sportivo occupy the same rocky plateau as the Tubes, taking a poke at whatever takes their fancy, from ultra-modern love to musical snobbery to the rat race. But their tongue is firmly in their cheek. Their musical roots are closer to 1962 than 1979. Listen to the note-for-note copy of the organ break from “Runaway” in "Superman”. Vocals are shared by the very strange Hans van den Burg and the delectable Gruppettes, Meike Touw and Jose van lersel. Van den Burg resembles an inmate from a concentration camp and sings like just about anyone you’d care to name. The stage act, apparently, is a riot. Mistakes confuse and amuses, and misses the target as often as it hits. But still, it's a diverting little exercise and keeps you on your toes. All the songs are the work of one Van DeFruits. Anyone who can write a song that goes: "I shot my manager, cause he used to keep my royalties" has to have something going for them. Duncan Campbell.

Various Artists Ak 79 Ripper Records In one way the title, AK 79, is an unfortunate choice. The quality of the album demands national rather than local attention. Let’s hope that misguided parochialism doesn’t prevent it getting that attention. . •• Before checking out the bands featured, a word about the sound quality. No, there’s nothing that sounds like it was recorded in a shoe box with a rusty knitting needle. However some of the contributors do live up to their garage band status. So, that's fair warning for the faint-hearted. Now for the bands six of them with two tracks apiece. I’m no Scavengers' fan. Still there’s no denying that these lads write a great melody and the "Mysterex” and ‘‘True Love” are two of their finest moments. In particular, the first boasts a catchy riff from the guitar of Johnny Volume. The Terrorways tracks, Sham’s “Never Been to Borstal” and Ray Columbus’ “She’s A Mod” are the only vinyl we will get from the band. Fortunately this recording goes a long way to capturing their live belt. To the last they are rough but invigorating. Similarly Proud Scum, arguably the only true Punk band we’ve had, do justice on record to their live kick. "I Am A Rabbit” and "Suicide” may be only for converts but there are enough of those to justify the inclusion. The surprise of the package is undoubtedly The Primmers. Though lyrically unexceptional, "Funny Stories" has a winner of a melody reinforced by a strong Chris Malloy bass hook. Their reggae-fied "Somebody’s Gonna Get Done” is an experiment which pays off abundantly. Any warning about dodgy sound quality can exclude The Swingers’ tracks, "Certain Sound” and "Baby”. Good sound quality, snappy lyrics and clever melody all testify to the band’s capabilities. Could be a bit more direct in the melody department but that is quibbling. Rapidly it is becoming obvious that Toy Love on record are radically different from the live band. Little remains to be said on the undoubted merits of either. "Squeeze” deserves all the praise that’s been heaped up on it and "Toy Love Song” is just as good. Some of the bands here may never be heard on record again. At least a couple will eventually get out their own albums. Together on one record they are worthy of anyone’s seven dollars. Dominic Free Weather Report 8:30 CBS A colleague of catholic, but jazz-oriented, tastes calls Weather Report "the group of the 80s.” That sort of shoot-from-the-lip hyperbole can prove embarrassing (ask Springsteen about the future of rock and roll), but the statement does bear consideration. First of all, given the diversity of music being produced today it's probably a safe bet that if there is to be a "group of the 80s” it hasn’t emerged yet. It is also probably a safe bet that as Weather Report has dominated and guided jazz in the late 70s so it will continue to do so.in the 80s. The part-live, part-studio double album, 8:30, would appear to be the key to bringing Weather Report to an even wider audience. The album is a showcase for the composing ancf performing talents of Zawinul (he’s dropped the Joe),

Wayne Shorter, and the group's newer members Jaco Pastorius and Peter Erskine. After many personnel changes Weather Report seems to have found its magic combination, and together the four swing as one, a true case of the sum being greater than the parts. 8:30 shows Weather Report as a band, melodic and muscular, continually exploring the new territory they have sign-posted for others to follow. Ken Williams Split Enz Beginning of the Enz Mushroom This sort of compilation album is generally intended to do one of two things embarass and exploit a band who have recently left a label, or make a little extra cash while everybody sits around waiting for the next smasheroo. Split Enz’ assay into the Christmas market definitely falls into the latter category. Although the bulk of the material on the album was recorded under previous management and recording deals, this is very much an official Enz presentation, complete with footnotes from Neil Finn. It contains all the band’s early recording, released and unreleased, including material from their ‘Studio One’ days on the NZBC. As well as these, there are remixed versions of "For You” and "Home Sweet Home” with plenty of surprises, esoteric and otherwise for the afficionado, and all other pr e-Mental Notes sides. As a picture of the origins of the current band it is rather misleading. On three of the tracks, Tim/Brian Finn is the only remaining End, and Philip Judd has full or part compositional credit on all of them. It is as much a guide to the Swingers as the Enz of the 80’s. Still, as anybody who saw the old band, or heard these songs originally will tell you, they are well worth preserving. I’d rather own this than a goldplated “Hermitt McDermitt” any day. Frank Stark Mark Williams Life After Dark CBS For a while it looked as if Mark Williams' departure for Australia, while the logical step, was a journey into darkness. In New Zealand he had become a moderately successful fish in a circular bowl of limited dimensions. His best records (such as his remake of Buddy Holly’s "It Doesn’t Matter Anymore”) were very good indeed, but he still seemed “promising", as they like to say when handing out awards. Moving on became inevitable, but was the lengthy silence that followed evidence of time in a cul-de-sac? Definitely not, to judge by Life After Dark. Produced in Sydney by Alan Galbraith, who also worked with Williams here, the album is evidence of a matured talent. Mark sings better than ever, and the arrangements give him the sort of support that one associates with the best of American soul music. The singer contributes five of the 10 songs himself, proving himself a more than capable song-writer. Mark Williams sings with soul, and I would rate this one of the best soul albums I have heard. If Kim Fowley can’t find a New Zealand Abba, here is a New Zealand Stevie Wonder, albeit resident in Sydney. Ken Williams

Russell Morris Band Foot In The Door Mushroom In the early 70s Russell Morris had a string of hit singles in Australia and New Zealand. He specialised in emotive ballads delivered in his distinctively husky voice. But the Russell Morris of 1980 is an entirely different proposition. This new album with his new band is solidly in the Little Feat funk vein. All the material is medium paced rock with a punchy delivery from the band. Morris' fans may not welcome the change but the album is a success on its own terms. Though the approach is all too familiar these days, the vocals by Morris give the sound sufficient. individuality. Another bonus is the nicely understated guitar of Joe Amenta, heard to best effect on “The Sky is Falling". I’ve got to admit to disappointment on finding that there was no "Rachel's Coming Home" or “On The Wings Of An Eagle” on the album. But the only reasonable criterion for a musician's success is proficiency in a chosen style. In that perspective Morris has made a successful return to recording. Dominica Free

Ellen Shipley RCA The promo sheet for this new album had such a heavy line in hyperbole that I wondered if the album could live up to the sterling work of RCA’s publicity department. Shipley is “unique”, "no producer's puppet”, "never able to conform” and "makes rock and roll as it was meant , to be made, as an expression of anger, dissatisfaction and independent individuality.”; ' V- . Working in much the same area as the recent Ellen- Foley album, Ellen Shipley, has managed to come up with a strong debut. The songs, within their fairly standard rock format, are intelligent witness the feminist line in “Man of the World” or the disillusionment of "Heroes of Yesterday”. Sometimes images work effectively as in "Catch the Cobra" with its striking harpsichord and percussion colouring', sometimes . they are miscalculated as in the trite "Stray Dog”: Stray Dog, stay away from my home Stray Dog, ain't gonna throw you no bone - A worthwhile album, although one wonders whether Ms Shipley will ever be more than promising debut in the "cut-throat world of rock’n’roll.” William Dart Sid Vicious Sid Sings Virgin When an artist dies the business vultures move in. Tracks laid down in impromptu jam sessions, sloppy live performances recorded on pocket cassettes and studio outtakes are all; dusted down, souped up and promoted as Never Before Available tidbits. ■ Sid Sings is actually worse than most other posthumous competitors for two reasons firstly* the sound quality is the pits, even by bowleg standards and secondly, let's be honest, Sid was never a rock performer/entertainer or whatever. He was the spokesman or figurehead of punk, a charismatic guy who insulted the right people and captured the cheap press’s hunger for a punk stereotype so they

could blitz the public with sensationalism like "Do You Want YOUR Son To Look Like THAT". Sid then couldn’t play bass and he couldn't sing but it didn’t matter then. It matters now because one John Varnom, responsible for Carri On, Some Product and now Sid Sings, commented recently on the Carri On fiasco: ■ "I gave back to the business what I calculate it has given me in just short of a decade minutes of complete trash.” As the saying goes would you buy a used car from this man? George Kay Village People Live and Sleazy RCA Four sides of good-timey disco from the boys who have put Vaseline Villas on the lips of every teenager in the Western World. It’s a fun album, proving that these guys can in fact perform a whole concert with their tongues firmly in their cheeks. "Hot Cop" does not have the same thrill when it is not followed by “My Roomate" and "Ups and Downs”. Their three big numbers, "Macho Man", "YMCA" and "In the Navy" have been considerably pepped up in pace from their studio versions. “In Hollywood (Everybody is a Star)” is the boys’ version of what Ray Davies was saying rather more elegantly .in "Celluloid Heroes”. “Fire Island” and "San Francisco (You’ve Got Me)” show the group eulogising other Stateside funspots. Obviously the sound of the album is not quite so rich as the studio recordings, but live disco is really something" of a paradox anyway. Of course Village People are a commercial product, and could slip down the well lubricated path to oblivion, but they represent only the tip of the gay disco iceberg in the States and their humour is only too welcome in an area where it is not often apparent. William Dart Pink Floyd The Wall CBS It would be difficult to think of a band as insular or complacent as Pink Floyd in the seventies. Since Dark Side of the Moon they have become increasingly redundant and removed from what many thought to be the pulsebeat of rock’n’roll. The Wall changes all that. ", Years in the making, The Wall is a modern allegory of how, right from birth, we erect various communication barriers, and interspersed through this theme Waters makes references to the band's own self-imposed isolation. Sides One and Two carry the concept with ease; flowing from scene to scene with each song linked by spoken sequences courtesy, no doubt, of Bob Ezrin, Floyd have sharpened their previous heads-in-the-sand approach to a keener more concise angle. Sides Three and Four lose momentum in their over melancholic pre-occupations and in the downright clumsiness of "The Trial” but the songs, by and large, remain. disciplined and thoughtful. The Wall, like most other double albums, could have been paired to maybe three sides "maximum of watertight music, but, as percentages, go, that’s still pretty high. What’s new is that Waters and his three mates are back in the running as a ROCK band and it would be unwise and unjust to pass up this ambitious if flawed "double album on the evidence of their last few records. George Kay