RECORDS

Rip It Up, Issue 50, 1 September 1981, Page 18

RECORDS

Greg Cobb

Siouxie and the Banshees Ju Ju Polydor , I With last years Kaleidoscope, the Banshee's established themselves as an important British recording act. Songs like 'Happy House' and 'Christine' verged on being commercial, without betraying their punk ethics. It is easy to see /u Ju as a successor to Kaleidoscope. The single, 'Spellbound,' is both gripping and memorable. The role of ex-Magazine guitarist, John : McGeoch, is now more important. His playing moves through the subtle melodies of , 'lnto the Light' and 'Arabian Nights' and into the twisted chords of 'Halloween'. Then it's time for 'Monitor', the Banshees at their] best. Side Two is a slightly different matter. 'Night Shift' continues Siouxie's fascination with the macabre. It meanders into 'Sin In My Heart', a first rate chant over cascading walls of drums and 1 guitars. The album closes with 'Voodoo Dolly', a cacophony.of wailing voice and discordant instrumentation. In a strange way, Ju Ju shows the Banshees mellowing. In the process, not only have they made themselves more accessible they have also produced a very J fine fourth album. Mark Phillips ■ - Eddy Grant Can't Get Enough Ice It's more than ten years since Eddy Grant had i his first hit 'Baby Come Back' with the Equals. The success of that song was based on a three note riff and chorus. Thirteen years or so on, Eddy has a hit based round a two note riff and a three note chorus. It may not be The same riff or-chorus as before, but , it's with the same kind of simple and effective songs that Grant continues to make his mark. . However, the same effects which make a song naggingly effective as a single, when ; spread over the course of an album, can pall swiftly. Grant's an awkward singer at best and the ; sparse guitar and synthesiser based instrumentation he uses fails to add sufficient colour to-save much of the material. There are some good songs here, as direct and effective ; as ever, ; yet < because e Grant provides all the backings singlehandedly, there's no. in; strumental interaction to make them into’ something special; , Grant may have parlayed his limited talents into a career but he -still has to learn that just because it's simple, it doesn't have to be simple minded. Alastair Dougal U-Roy Dread In A Babylon iVirginjam Prince Far I Showcase In A Suitcase Pre Rastafari, and by extension, reggae, have always believed in the power of the spoken word, as well as . the power of song : and dance. Biblical prophesies carry the same’weight, however they are delivered. This is L why the DJ's i of. Jamaica have made as much impact on the recording scene, as the singers and musicians. Their art is the spoken chant, intoning . their message over the rhythm. They started doing this over the records of others, then began recording their own works as they grew in popularity. Names like . Big Youth, Tapper Zukie, Mikey Dread

and Dillinger crop up. Sadly, we don't' see much of their product here. But all is not lost?] the two named .above are shining examples of the genre, and you can buy them here and now. U-Roy, born Ewart Beckford, started in the mid-60s, and King Tubby hired him as his first , DJ when he built a professional sound system in 1968. Both Tubby and Keith Hudson claim to have been the first to record Roy, who has since become a star in his own right. Duke Reid also laid claim somewHere^fl|H^H Prince Far I has been around about as long, and does most of his work at Jo Hookim's Channel One studios. On this album he works with the likes of ex-Congo Roy Johnson. Far I takes his work far more seriously than Roy, his toasting being more formal and gruff, but Johnson's vocals add a lighter- touch. Dread In A Babylon is more enjoyable, if only for Roy's wit. Both are eminently danceable, not at all high-brow, and should be given close scrutiny. Duncan Campbell David Johansen. Here Comes the Night Epic As former lead singer for the New York Dolls, David Johansen, for me at least, is a hero from way 1 back. Here Conies the Night is his ] third solo album; , it is also his most mature to date. After In', Style, Johansen was accused by many of selling out. A strange accusation when you consider that he traded a proven

formula for one that turned out to be commercially disastrous. Here Conies the Night is yet | another] change. Gone is longtime writing partner and fellow Doll, Syl Sylvain, and in comes ex-Beach Boy Blondie Chaplin. Also adding moral support is unsung hero Elliot Murphy. Although the rockers prevail, it is the less-frantic [numbers that give real proof of Johansen's writing ability. 'You 1 Fool You' and 'Havin' So Much Fun' feature his most accomplished lyrics so far a glimpse of love from a different angle. 'Marquesa De Sade' rumbas into searing guitar, and some majestic piano from Bobby Blain. Of the up-tempo songs, 'She Loves Strangers' and 'My Obsession' are perhaps the best. You can't please all of the people all of the time, but David Johansen tries his hardest. No matter what anyone tries to tell you, Here Conies the Night is a serious step in the right direction. Mark" Phillips ZZ Top El Loco Warner Bros The lil' ol' band from Texas have just released this, their seventh elpee, and a lil' peach it is, too. It kicks off with a sleazy, dirty-vocalled twelve bar got a girl, she lives on the hill/She won't do it, but her sister will" which sets the pace for a compelling first side. I Wanna Drive You Home' features superb slide guitar from Billy Gibbons. A strange encounter with ; whatever in '(I Wouldn't Touch \lt With A) Ten Foot Pole' leads] into 'Leila', a classic song of love lost, which surely deserves to be a huge hit, and the side winds up with 'Don't Tease Me'. Two continues in the Side Two continues in the same vein. 'lt's So Hard' falls into the same hypnotic feel as previous tracks. 'Pearl Necklace' features the pulsating rhythm section of. Frank Beard and Dusty Hill under the jangly Gibbons Les Paul. 'Heaven, Hell, or Houston' owes more to an obscene telephone call than anything else. 'Party On The Patio' rocks out like the ZZ Top of old. Great stuff. Subtle. Laid back mostly. But I love it y'all.