records

Rip It Up, Issue 124, 1 November 1987, Page 34

records

The Proclaimers This is the Story Chrysalis The Proclaimed are gonna make unlikely pop stars; hailing from Auchtermuchty (a wee place in Fife just north of Edinburgh) the Reid twins, Craig and Charlie, decided in 1983 to burst out of their village and take 0n... well, other villages. The surprise was that last year the Housemartins took them under their wings and before you could say, “Hey Jimmy pass me a pint o’ heavy will ye?” the Proclaimed had supported their patrons on a hit UK tour and recorded This is the Story in two weeks earlier this year. Initially the whole thing sounds like a novelty acoustic bluegrass satire a la Topp Twins from two Buddy Holly/ Joe 90 lookalikes. But many a serious tale was told in jest and the amazing thing with this album is that with only their wits and acoustic guitars andthe odd bit of percussion to hide behind, the Reid Brothers have come up with some songs of rare quality and truth. ‘Throw the ‘R’ Away’ is a protest against the undermining of the Scot’s

accent (why do bands sing in American?) and a guarantee that the 12 songs here are thickly and naturally brogued. Related to that is ‘Trying to Get to the Part that Really Matters,’ which puts the “ABC of the heart” before style and appearances. ‘Letter from America’ is a gem about Scots abroad longing for the homeland (the most sentimental race on earth) and death is looked in the eye on ‘Sky Takes the Soul' and even worse, unemployment on ‘I Broke My Heart.’ Both fine songs but the showstopper has to be ‘The Joyful Kilmarnock Blues’ (birthplace and home of a certain writer), a sort of bluegrass holler that makes football a transcendental experience ... ie, he was pissed. Go tell it on a mountain — the Proclaimers are buying the next round. Topp Twins eat yer hearts out. George Kay Asleep at the Wheel 10 CBS Ah, yes, Western Swing. Count Basie on cactus juice, where the fiddle reigns supreme and sweet country voices flow like honey. Asleep at the Wheel have been riding the road that Bob Wills built since 1973, with an impressive collection of

great records, with 1975’s Texas Gold and the recent Best of being vital country records. Here’s number 10, with only Ray Benson remaining from the original lineup, and damn if it don’t still sound good. Especially ‘Coast to Coast’ and B J Shaver’s ‘Way Down Texas Way,’ with the great Johnny Gimble on fiddle. Another high is their version of Merrill Moore’s ‘House of Blue Lights,’ but things get a little weak with the Huey Lewis-produced ‘I Want a New Drug. ’ By the sound of that, they probably do. But it’s almost saved by rockabilly legend Ray Camp on slap bass. Personally I think western swing is one of the 20th century’s greatest creations, and it’s superfine to see great bands like Asleep at the Wheel still mining that Texas gold. Kerry Buchanan Yes

Big Generator WEA

Love them or not, there’s no denying that Yes have always been a group of the highest musicianship. Jon Anderson’s high, pure voice coupled with the incredible, powerful bass playing and vocal harmonies of co-founder Chris Squire is what mainly makes up the trademark affirmative sound. However, new

dimensions were added to their musical landscape by South African guitarist singer, producer Trevor Rabin (he’s also good on keyboards, bass and drums!) As well as having all the technical ability his guitaring gives Yes the harder edge that emerged on the previous most successful studio release 90125. Big Generator offers something different again, while still keeping the identity of this virtuostic band that been around for the best part of 20 years. A nice choral intro makes way for the pulsing ‘Rhythm of Love,’ which takes off into Rabin’s short sharp solo. Alternatively, the roomy ‘Shoot High, Aim Low’ highlights his very fluent acoustic skills with longtime Yes drummer Alan White laying down a wide ride and snare. For ‘Almost Like Love’ he switches to a tight driving beat, while Anderson's vocals skip cleverly over the top. Chris Squire is easily heard putting all five strings of his new bass to the test of the best (“The Fish” hasn’t used his old faithful Rickenbacker on these recordings). The title track is as close as it gets to anything on the last album, with the music and voices of the ‘Big Generator’ zapping from all directions and singing of experiencing psychedelic and things. ‘Love Will Find a Way’ is the single

that eomes across so refreshingly over FM and should stay on the airwaves all summer. Friendship is the theme for ‘Final Eyes,’ which follows and has more graceful acoustic guitar work and stacked vocals. Then it’s into Tm Running,’ the epic build-up track that most resembles the unbelievably difficult and intricate compositions of mid-period Yes. Moving from soft percussion and xylophone through a Brazilian/flamenco section, then spiralling to a peak of weird time signatures, it’s kinda like Drama without the Buggies. The album gently ends with a Jon Anderson song of peace called ‘Holy Lamb.' Big Generator is so good and colourful that something new can be discovered with each listening. Should you buy this purple and green LP (or red and yellow CD)? The answer can only be... YES! Geoff Dunn

Aerosmith Permanent Vacation WEA

It may seem like it but the dudes haven’t been on holiday since the original lineup reformed and recorded Done With Mirrors. That album (which had its label and cover printed backwards) didn’t take off sales-wise and wasn’t released here, nor the two live LPs that followed. Then of course along the way came the rap rehash with Run DMC of the old Aerosmith hit 'Walk This Way.’ Now they have returned with their real comeback and it’s a beauty. ’Hearts Done Time' puts them back in the saddle again with the pure rock ’n’ roll sound that’s been a big influence on just about every young Yankee rock band since. These songs highlight Aerosmith’s blues and dixie roots, particularly in ‘Hangman’s Jury’ and ‘Rag Doll.’ There’s a tale of mistaken gender of a groupie in ‘Dude (Looks Like a Lady)’and 'St John’confirms that singer Steven Tyler is one of the coolest. He and Mr Perry hit it off so well together musically, like in the calypso-flavoured ‘Permanent Vacation,’ and with brass section in ‘Girl Keeps Coming Apart,’ where Joe really goes for it. It is kind of like taking a trip to the Bahamas. Geoff Dunn

Def Leppard Hysteria Polygram It’s been a long time since the rock world was set alight with the massive Pyromania, and an even longer nightmare of events for the band responsible. Two attempts at producing Hysteria were scrapped and then drummer Rick Allen lost his left arm in an auto accident (now he plays ail his drum parts live on a specially designed kit). With Allen’s sound programmed into the mix the album is finally completed and Def Leppard rightfully return to the forefront with a loud roar! Understandably fans will be getting over the new album and tour, as they’ve been well rewarded for their patient waiting. ‘Animal’ and the title track may have a more commercial touch, but that doesn’t detract from the quality of the songs at all because

the arrangements and group effort is tops. ‘Rocket’ is a dedication to music stars of the past and has amazing drum and voice effects, while ‘Run Riot’ is rebel rousing rage. ‘Women’ and ‘Don’t Shoot Shotgun’ are also numbers that proudly continue the distinct Leppard sound, once again produced to the max by Matt Lange. Make the most of this exciting 64 minutes of rock, cos the next album probably won’t be till 1990 as Def Leppard are on the road for close to two years. Geoff Dunn

Various Artists Atlantic Soul Classics K-Tel

Soul as an academic musical genre began as a reaction to the European influence on black jazz. Bringing back the emphasis on blues, gospel and rhythm. Away from the cool school and into the hot.

It’s feeling above intellect, about intensity and rawness, emotions from pleasure to pain. About sin and divinity. About living lives and being human. Don’t mean a damn thing about colour, hell, Hank Williams has got soul.

Atlantic Records was one of the houses of soul, deep, gritty and positively Southern. Down home soul, compared to the city boys at Motown. Something like Otis Redding and Carla Thomas’s ‘Tramp,’ with that flat bottom rhythm and Otis and Carla throwing the dozens at each other. This sounds dirty when you listen to the little pop symphonies making up the Sound of Young America. So does the Wicked Pickett on ‘ln the Midnight Hour,’ this is about sex, all sticky and wet. Nothing to do whatsoever with the virginal Supremes saying ‘We Can’t Hurry Love.’ Atlantic had a lot of songs about pride and being someone, like Aretha’s ‘Respect’ and Sam and Dave’s ‘Soul Man.’ But if you want songs just about having fun, the Drifters’ ‘Under the Broadwalk’ just about defines that feeling.

Atlantic’s success relied a lot on its production and sound, with talented songwriters like Leiber and Stoller, producers like Tom Dowd, and musicians like Donald “Duck” Dunn and Steve Cropper making up the core. Making a hybrid of rural and urban sounds, their best results came with taking urban artists like Franklin and Pickett and going south to record with a mixture of black and white musicians, a linking of country and blues.

This is indeed an album of “soul classics,” none of which are tarnished by time nor bad cover versions that many would only have heard. Every track shines, from the celebratory rush of Arthur Conley’s ‘Sweet Soul Music,’ to the sad resignation of Otis Redding’s ‘Dock of the Bay.’

It’s more than essential to own these songs.

Kerry Buchanan