Records

Rip It Up, Issue 96, 1 July 1985, Page 28

Records

Various Artists Massive Virgin After a drought that only the Ethiopians could understand, reggae is finally returning to the local release shelves. With imports ranging from S2O to $25 per LR it's a relief synonymous with the title of this compilation LP British reggae is continuing to seek its own identity, particularly through the up-and-coming dancehall DJs, or MCs as they're now known. King of the MCs is Smiley Culture, whose debut single, ‘Cockney Translation' opens this album (the follow-up Police Officer', has become a popular import item here). The rapid-fire talkover style sounds monotonous at first, until you get into the riddim and the story told in the lyrics. Even funnier is Pato's "Alio Tosh', a generation gap story narrated over an effervescent electronic skank. Rhythm machines are now com-

monplace in reggae, with varying results. Different strokes, I guess. Side one is a mixture of dancehall stylee, including Shine Head’s intriguing remakes of 'Billy Jean’ and ‘Mama Used To Say', incorporated here in a medley. Barrington Levy's UK hit 'Here I Come’ is just a pale retread of his 'Under My Sensi’, and Frankie Paul, the golden throat, steals the show with 'Pass the Tu-Sheng-Peng’ (a ganja song, if you can't guess). Side two features Lovers Style, with the exception of Tyrone Taylor's mellow, rootsy 'Cottage In Negril'. Maxi Priest weighs in with 'Should I', a tasty sampler for his forthcoming LR but Hugh Porter's 'Woman (Feel The Feeling)' just pips it on vocal strength. Watch the new release bins from now on, with Festival about to unleash a brace of excellent compilations and Jayrem beginning a promised series of releases with the Gregory Isaacs/Dennis Brown LP Judge Not. Massive opens the gates. Long time we nuh have no nice time ... Duncan Campbell

Fats Domino Super Hits Here’s Little Richard The Bobby Darin Story Sound Value Three collections of hits, all at a budget price, from three very distinct 50s artists. Fats Domino Super Hits contains 16 of the biggest of Fats’ innumerable hits, all of which feature his amiable, steady-rolling style and warm charm. Compiled by the worthy Bruce Ward, it's a solid compilation. In contrast, Here's Little Richard features possibly the wildest of all the rock ‘n’ roll wild men. Some of these recordings may share similar musical accompaniment to Fats' (indeed, some include the same musicians) but here the intent is quite different. This man is dangerous. As Little Richard explained it: “I came from a family where my people didn't like rhythm 'n' blues. Bing Crosby, 'Pennies From Heaven', Ella Fitzgerald was all I heard. And I knew there was something that could be louder than that, but I didn't know where to find it. And I found it was me.” This material is an international

treasure and it's a joy to have 17 of the original hits available again. Applause, applause! Last and I'm afraid to say least is The Bobby Darin Story. Darin’s an interesting if minor figure who issued several respectable rock ‘n’ roll songs before hitting it real big with 'Mack the Knife’, the showbiz style of which presaged the remainder of his career. I still remember Darin on the Dean Martin Show in the 60s, performing some very convincing protest-rock. It would have been interesting to have something of this era, but this album collects all Darin’s biggies from the 50s for anybody seeking them out. Alastair Dougal Venom Possessed Neat According to your tastes, Venom are either the answer to your best dreams or your worst nightmares. Absolutely over the top, they make Motorhead sound like Bronski Beat. On this, their fourth album (virtually indistinguishable from the previous three) they continue with

their sole theme of devil-worship. Most tracks are taken at 200 mph and with guitars, vocals and kitchen sink literally screaming at you, it takes a while for the ears to adjust to the onslaught. When they finally do slow down (on the title track) it’s like having your teeth worked over by the school dental nurse with the old slow drill. Trying to impress your denim and leathered buddies? This is the one to play ’em. Want to clear the room of malingering nerds at the end of a party? Here's the solution. An English import brought to you by that enterprising local label, Jayrem. Thanks Jim. Chris Caddick Nile Rodgers B-Movie Matinee Warner Bros Once upon a time, Nile Rodgers was guitarist in disco band Chic and, with bassist Bernard Edwards, he wrote and produced their songs. But things changed when his production and playing on Bowie’s Let's Dance rocketed Nile the “producer" into the limelight. Since then, Nile the “name” appears on albums by

big shots Mick Jagger, Bryan Ferry, Madonna and the Thompson Twins. With Chic in recess, Rodgers appears to be taking his own recording career more seriously than in 1983 when he released his solo debut, Adventures in the Land of the Good Groove, an LP that showcased his production wizardry but consisted largely of doodles rather than ditties. On B-Movie Matinee, Nile’s energy is directed more towards songwriting and playing, while the production is shared with Tommy ■Rock’ Jymi. So we get 1985 Nilestyle more lurching, quirky popfunk. There are several hot tracks 'Groovemaster’ and 'Plan 9' are exceptional and the single 'Let's Go Out Tonight’ and ‘State Of Mind’ are very well crafted songs. Despite his role as producer for the stars, B-Movie Matinee proves that Nile Rodgers is still a significant innovator in the boogie field and this may be as near as we get to a new Chic album this year. Recommended.

Murray Cammick