Funkyst

Rip It Up, Issue 60, 1 July 1982, Page 22

Funkyst

Stevie Wonder's Original Musiquarium I (Motown) It's a tribute to Stevie Wonder's output both in term of quality - and quantity -- that this 1 double album collection of greatest hits (plus four new songs) is only one of the many, possible selections , . that could be made from among his recordings of the last decade. Still, that said, Original Musiquarium I does contain most of ' what the hit collector will be looking for. These are the recordings that set the standards for the 70s and 80s and on this well thought out and (apparently) remastered compilation they all sound as fresh as ever. And, even if some of the new songs don't have quite the melodic sparkle of the older material here, they're still imbued with the joy and innocence that's made all of Wonder's work Such a delight. A great collection. Alastair Dougal Diana Ross All the Greatest Hits (Motown) Need more be said? This double album contains many of Ross' big hits, from her days with the Supremes (here treated in . a . shoddy 'Stars on 33' manner) all the way through to her recent hit 'Endless Love' with Lionel Richie. The four sides are organized for stylistic consistency; one side of slush soul ('Endless', 'Mahogany'), one side with Chic ('Upside Down', 'l'm Coming Out'), one side of her work with Nicholas Ashford and Valerie Simpson (The Boss', 'lt's My House') and, of course, the Supremes' side. Stacked back to back like this it all adds up to something less than . a:/ musically satisfying career. Erratic perhaps but all the high points are here. • - Alastair Dougal Luther Vandross Never Too Much' (Epic) ■ Luther Vandross is some romantic. The hit single (and title song) , from this album lays his sentimental credo on the line: A thousand kisses from you is. never too much A million days in your arms is ■ /never too much ... ' On this, his first ’ Epic album (after two unsuccessful albums on Atlantic);' Vandross steers these romantic sentiments and his fine, clear voice through a strong set of self-penned songs and Dionne Warwick's A House Is; Not. A ' Home'. The inclusion of this last .' song hints at the pop-soul combination Vandross is aiming for; . . .where the sweetness of the ■ ' emotions and arrangements ‘is-:, undercut by the tough funk of the rhythm 'section and the soul of the voice. And at least one track here ('l've Been Working') suggests that Vandross, now he's . found his audience, may be capable of great things. Alastair Dougal The Neville Brothers Fiyo on the Biyou (A&M) The Nevilles,. Art (43), Charles . (42), Aaron : (4o) and Cyril (32), loom large in the regional orbit of : New Orleans r; music. Art founded and Cyril sings .with' the Meters, and Aaron recorded' the original 1966 hit version of Tell It Like' It Is'. ! However, the expectation' that something vibrant and distinctive from . the regional tradition will distinguish the record from the" general run of.the pressing plant, is largely.- disappointed. This is a disparate collection of songs in which the differing styles are not synthesised so much as the songs are de-stylised into an overslick, homogenous mass. The record seems conceived purely as a showcase for. the undeniably ; impressive vocal accomplishments of the brothers. . A Great singing, flawless session . musicianship, - impeccable prod-' uction, merely result in a record which despite odd high spots, ;, never succeeds in being more than pleasant. Don Mac Kay Quincy Jones The Best of (A & M) , '. Once a jazz arranger of some - note, Quincy hit big with his score

for In The Heat Of The Night in 11967. He then spent most of the ensuing decade peddling big band MOR, with and without .vocal chorines. Things came right again in '79 when he masterminded Michael J's monster Off The Wall. Last year he again hit megaplatinum with his mega-produc-tion of the Chas Jankel penned 'Ai No Corrida'. That and Stevie Wonder's Betcha Wouldn't Hurt Me' are easily the best things here and they're both off The Dude album. PT Linx Go Ahead (Chrysalis) With their second album, Linx veer away from the funk stylings of their debut towards a lighter pop "approach." This change .-in emphasis, combined with David Grant's already lightweight vocals and a general drop in song quality, . results in Linx sounding closer than ever to something like lOcc. Those interested had better refer to their Intuition album. . AD Brandi Wells, Watch Out (Virgin) Eh? Album by black American woman gets release on,'English white boy label! No such contradiction- in the music though: glamourized pop-soul, smart and slick. Wells can disco stomp as well as most and turn in a lush ballad comparable to Dionne Warwick. Worthy but not exceptional. PT Yellowjackets (Warner Bros) The liner notes point out that this is a digital recording, free of all the imperfections of the normal process. That's the most interesting thing about the whole record. • Fine for audiophiles, who want to test the amount of flutter around their bottom. For the rest, it's just anonymous jazz-funk, technically fine, but unmemorable. . DC War, Outlaw (RCA) There was a time, about a decade ago (remember The World Is A Ghetto') .when War almost seemed to define, funk despite their music embracing AfroCuban, jazz, rock and blues. On Outlaw they also take in Caribbean) some Dr John-lsh gumbo and a ballad Lionel Ritchie would have been proud of. Strong performances too. Only complaint is that good three minute songs are stretched to over five, and half of Side Two is wasted on trite rapping. PT Pieces of a Dream (Elektra) •' Three Philadelphia musicians, all in their teens, but already gaining quite a reputation. , Grover Washington Jr produces, and plays, and a host of other session kingpins join in. Easy, sophisticated jazz-funk, just right for when the wine is chilled and the lights are low. Don't expect any surprises. DC Michael Henderson Slingshot (Buddah) As a bassist, Michael Henderson has recorded with Miles Davis (Bitches Brew, Live/Evil) and toured with Stevie Wonder and Aretha Franklin. As a singer he offers up his identity on the altar of black American • MOR. The tracks here alternate between illfocused exercises in hyperfunk and inadequate smooch-ups of other folks' ballads. Neither - are remotely necessary (though some peqple might at least find the cover stimulating). PT 45s ... from the gang who defy words, Kool & the Gang we get -'Get Down On It'/'Steppin'-Out' (De-Lite). Kool, funky and cheap, cos ya get the two best tracks from Something Special ... Donna Summer back with her bad girl persona on Quincy Jones produced Love > Is.. In Control' (Warners).' Neat riddums, inventive sound, but why more lyrics about triggers from cowboy boot city. Flip is yuck ... Skyy 12 inch of 'Call Me' : (Salsoul) is extended (6.21) Prince for your mother. The former's groove with Chic modesty in apparel. Fun ... representing England is Junior on Mama Used. :To Say'/'lnstrumental' (Mercury). Like Linx, he's mainstream U.S.A. funk-pop. Consciously derivative, great ditty, good singer. Bring on an album ... Temptations return to Motown with 'Standing On The Top Parts 1 & 2. Rick James wrote and guests and the result is a good Rick James record, Clinton for the masses,, complete with George's we need the funk' chorus. Fun but more Temptations, less Rick next time,, please. Murray Cammick