rpk@mit-vax.UUCP (Robert Krajewski) (06/28/83)
I'm posting this stuff to net.music because it seems to be more related to reviews of anything musical than just talking about records... >>Whatever<< Quartet -- Ultravox [Chrysalis album] Yawn. Even though the group seems to have an indentity of its own now, it's not an interesting identity. The remarkably clean sound that George Martin and Geoff Emerick (the same team that did Sgt. Pepper and Abbey Road) produce only emphasises the tedium. However, ``Reap the Wild Wind'' and ``Hymn'' are pleasant exercises in portentious synthpop. A Broken Frame -- Depeche Mode [Sire/Mute album] The upbeat synthpop band to end all upbeat synthpop bands lost their main songwriter and actually GREW in the process. Interesting use of rhythm boxes, heartfelt vocals, and refreshingly direct lyrics are the new fruits of this album. ``See You''is especially fine. ``Genetic Engineering''/``4-Neu'' -- OMD [Telegraph/Virgin single, Britsh import] The A-side is very catchy, but the toy piano makes the song sound too trebly and coy. The B-side is another foray into piano-drone mode (a la Martin Hannett) and is pretty good. War -- U2 [Island album] Do these guys ever do anything wrong ? A direct, more varied sound (some fiddles, horns, and acoustic guitars) is deployed on melodic and driving material. The band is playing better than ever, with Bono's vocals and the Edge's incredible guitar playing leading the sound. They deserve all the praise they have been getting lately. Junkyard -- the Birthday Party [4AD album, British import] This was released sometime last summer, but I'd just like to give it plug here. It's very noisy, witty, and rhythmic music that isn't for everyone. Although they're from Down Under, they don't come on with the same eager-to-please attitude of Men At Work or Olivia Newton-John (even though I do like Men At Work to some degree). The cover, by Ed ``Big Daddy'' Roth is the perfect answer to all those tasteful new wave art music designs. Porcupine -- Echo and the Bunnymen [Sire/Korova album] This album transcends any ``psychedelic revival'' tag people may put on it, but yes, it will remind you of those days gone by, especially with L. Shankar sitting in on a few cuts. Very good vocals and lyrics. Remix of ``Poison Arrow''/``Theme from Mantrap'' -- ABC [Mercury EP] A stretched out version of ABC's current US single, with a mellower sound balance and a flute arrangment. Nice stuff, as is the B-side, a slow, cocktail-lounge version of ``Poison Arrow,'' complete with simulated record scratches. ``Der Komissar'' -- Falco [A & M EP] ``Der Komissar'' -- After the Fire [Epic single] The original, in German, has better vocals, while ATF's version has a nice pop feel in the instrumentals. Too bad they could't be combined. A good dance tune either way. ``1999''/``How Come U Don't Call Me Anymore ?'' -- Prince [Warner Brothers single] The B-side is a ballad with soft percussion, piano, and gospel-style vocals, featuring some of the lascivious boy wonder's best singing yet. The A-side is an edited version of the apocolyptic partying anthem. ``Blue Monday''/``On the Beach'' -- New Order [Factory 12" single] Power, Corruption, and Lies -- New Order [Factory album] Packaged in a sleeve that looks like that of a floppy, the new single is a very good piece of gothic dance rock that leaps out of the speakers. The B-side is a dub of the A-side, an arrangement which may be great for DJs who want to scratch and whomp-mix the two sides at clubs, but is rather disappointing for those of starved for new material from the important band. The companion album is much more assured than 1981's Movement -- the vocals are mixed louder, the instrumentation sharper, the rhythms more danceable and urgent. The last cut, ``Leave Me Alone,'' is especially haunting, for it manages to be more upbeat than most things Joy Division ever did while still being majestic, though not pompous (cf. Ultravox). Too bad the first side is a bit weak in places. Nuts and Bolts -- Richard Barone and James Mastro [Passport album] Even though more aggressive-sounding music has permeated rock's mainstream and recently funk (Planet Rock and all that huevo stuff), these two members of the Bongos are making sure that 60s AM pop does not go unheard. Barone's side is more interesting (less a recreation, more percussive and convoluted) that Mastro's, but James does do an excellent cover of Tommy Roe's ``Dizzy.'' ``Get the Balance Right !'' -- Depeche Mode [Sire 12" single] This tune combines the old boppy feel of the group with a new sophistication in lyrics. Also included are a live version of ``Tora ! Tora ! Tora !'' and an instrumental ``The Great Outdoors.'' the Bangles [Faulty EP] Good clean fun from LA. GoGo's comparisons are likely, as both groups emphasise classic pop. However, the Bangles come from a punkier, almost psychedelic direction. The Key -- Joan Armatrading [A & M album] Although critics and a smallish group of fans have always been very appreciative of Joan Armatrading's music, commercial success has pretty much eluded her. This album is her direct salvo at the pop charts, and it should hit. Her melodies and lyrics are very assured, while the instrumentation is more aggressive. The production is by Steve Lillywhite (except for Val Garay on two cuts). The Days Of Wine and Roses -- Dream Syndicate [Ruby/Slash album] The 60s are back with a vengeance in California. This is not MTV ``new wave,'' it's good ol' noisy rock and roll complete with feedback, strong melodies, and Lou-Reed-like vocals. Highly recommended, especially if you're waiting for the second coming of the Velvet Underground. The Photographer -- Philip Glass [CBS album] For anybody who's REALLY into minimalism, this is going to be a disappointment. Philip Glass was only a rigourous minimalist for a few years at the beginning of his career; he used the forms to create rather dramatic pieces (like the masterwork ``Einstein On the Beach'') that took tens of minutes to build instead of tens of measures later on. Anyway, there's an interesting attempt at a song form here (``A Gentleman's Honor''), and side 1 is a good introduction to his work if you're not sure you'd be into this sort of thing. Baselines -- Bill Laswell [Elektra/Musician album] Bill Laswell is the bassist for Material, an avant-garde-jazz/funk/punk unit out of Manhattan (via Celluloid Records of France) that also dabbled into commerical dance funk on their second album. He steps out on this disc to display not only his considerable technique at electric bass, but also his knack for composing and fleshing out jazz pieces (well, don't think they'll sound like George Benson) that stick to your eardrums, even when they incorporate musical strangeness. Also appearing on the album are Fred Frith, guitar artiste extraordinaire, and drummer Ronald Shannon Jackson. ``Lined Up''/``Hapax Legomena'' -- Shriekback [Warner Brothers/Y 12" single] Shriekback specialises in the kind of dark, dubby, funk that English white boys just can't resist; these guys do it the best on the A-side of this record, that is, with the least pretension to being truly funky. However, it does create ``an atmosphere you can dance to.'' The B-side seems like wierdness for wierdness' sake to me. ``Na Na Hey Hey Kiss Him Goodbye'' -- Bananarama [London single] Ah, Bananarama have the good taste in covering this obscure mid-70s hit by the group Steam. Pop heaven occurs during the ``na na na na''s. ``Two Hearts Beat As One'' -- U2 [Island 12" single, British import] A very strong single. The A-side is a club remix of the current U.S. single by Steve Lillywhite. The B-side has the British version of ``New Year's Day,'' which adds an extra verse, a longer intro, and a dub-style drum track. Following that is another remix of ``Two Hearts'' by Francois Kevorkian, which is just as long as the album version, but redone for the dance floor. ``Great Fire'' -- XTC [Virgin 12" single, British import] >From the forthcoming album ``Mummer,'' one of my all-time fave Britpop groups have come up with a rather Beatlesque number -- especially when the string arrangement clicks in ! ``Church of the Poison Mind'' -- Culture Club [Virgin 12" single, British import] In my opinion, this is the group's best single yet. A very Motown-ish arrangment drives this tune, which almost rocks -- but it's still more a soul record. No syrup in the production this time, and Boy George gets to show how much his voice can do. One tune on the B-side (also on the 7" version) called ``Man Shake'' is pretty interesting, too. No album until September or so. ``When Boys Talk'' -- Indeep [Sound of New York 12" single] One of the more consistent disco groups to appear in the last year has released yet another hit. The vocals are very much in the rap style, with a rather stark backdrop (bass, rhythm guitar, rhythm box). Great fun, and you close-minded rock and rollers oughta take a listen to it. Let's Dance -- David Bowie [EMI America album] A cynic may say ``Oh no, now Bowie is playing yet another role: the Well-Adjusted Family Man,'' but this is quite an entertaining album. The arrangement are inspired by early r&b, but there are modern touches all around. The first side, which leads off with an anthem for the age, ``Modern Love,'' is the best. Subterranean Jungle -- Ramones [Sire album] The Ramones are back with their awesome buzzsaw sound, but they're older and wiser now. The cover version of ``Time Has Come Today'' illustrates their strength: a sound no one can duplicate, good taste in oldies, and a clean production that actually helps the record seem more aggressive. Murmur -- R. E. M. [IRS album] I'm not going to flame about how this album unpretentiously combines 60s innocence and psychedelia with 80s D.I.Yism and just plain old good tunes to result in one of the finest records of 1983. So just go out and buy it. The Hurting -- Tears for Fears [Mercury album] OMIGOD, it's, like, another synth band from like, England, y'know ? I'm sure there are plenty of you out there who feel the same way. Well, I assure you, these guys are different: [1] They're human, but not obsessed with bubblegum-pop-radio love. [2] They realise that acoustic instruments and synths that can sound like them may not be trendy, but they work and relieve the electric drone syndrome. [3] They write good songs that would sound decent on any kind of instrument. It's quite a surprise. ``Bob'' Robert P. Krajewski ARPA: RpK@MC UUCP: ...!mitvax!rpk ...!mitccc!rpk