Records

Rip It Up, Issue 67, 1 February 1983, Page 18

Records

Musical Youth The Youth of Today MCA 'Pass The Dutchie', one of last year's most appealing singles, opens this album and sets the tone for some amazingly strong and mature statements. Musical Youth are Dennis Seaton (15, vocals), Junior (15, drums) and Patrick Waite (14, bass), and Michael (13, keyboards) and Kelvin Grant (11, guitar and toasting). They were formed a couple.of years ago in their hometown of Nechells, Birmingham, by Junior and Patrick's father, Freddy. He was a member of the Techniques, a popular Jamaican vocal group of the sixties. Freddy himself did the vocals until Dennis took over. So, have they managed an album of any credit? Does 'Arry drink Steinies? The Youth of Today is the freshest, most invigorating slab of plastic I've heard in yonks. And it's not all fun, either. These kids care about their world and they're not altogether happy with it. 'Blind Boy' chides a backsliding youth who is rapidly heading for destruction. 'Youth of Today', the less successful follow-up single (can't understand why), expresses the dilemma of being young and 'under heavy manners'. Ditto 'Mirror Mirror'. 'Young Generation' says they come 'fe mash up de nation', and they're not fooling. There are also a couple of neat numbers on the agonies of adolescent love and some very tasty slices of dub. The rhythms sit nice and tight (a lot of polish and hard work has gone into this sound) and the approach throughout is thoroughly professional. . Musical Youth have made a

very important record. They've had a certain amount of guidance in the songwriting and production field, but this album is still their achievement. The youth better wake up to what's happening in their world and the grownups better get their act together and leave the youth a world to inherit. Without wanting to exaggerate, this record speaks for a generation. Duncan Campbell Andy Summers and Robert Fripp I Advance Masked A&M Summers has thankfully avoided the all too common solo project trap of trying to be something he is not. Rather than struggling along as a singing, songwriting one man band, he has stuck to what he knows. To project lyrics properly requires charisma (and no little ego) and Summers has wisely chosen to speak through his playing. And who better to enlist for a real musicians' album than the eminent Mr Fripp? Fripp's preciseness throughout contrasts ideally with Summers' freer playing. Naturally, the album is guitar-based, although guitar synthesisers appear more frequently than the old-fashioned axe. The two take turns with the lead role in some pieces and duet, in a manner that usually transcends the "duelling banjos" syndrome, on others. The album falls surprisingly close to a pop format. There are 14 tracks, each with its own distinct identity (never quite yer actual hook). However, it can also be listened to as a series of movements building an entirety. To call it background music would be dismissive, but it certainly doesn't shout. An honest, imaginative and competent album, without being earth-shattering. It's also better than the last Police album.

Russell Brown