rpk@mit-vax.UUCP (11/29/83)
Oh no, it's more record reviews:
Marshall Crenshaw: Field Day
[Warner Brothers, album]
While no one will deny that Marshall Crenshaw writes some of the most precise
and catchy songs this side of Buddy Holly, the first album did not depict him
as an consistently authoritative performer of his own material. Thus, the
enlistment of British whiz-producer Steve Lillywhite (XTC, U2, PGabriel, Joan
Armatrading, &c.). The sound is very solid (especially those drums) and warm,
without being heavy. I don't think the songs themselves are among his best
(though they aren't bad), sometimes they seem just a little too static. The
best song is ``What Time Is It ?'' a cover of an old 60's (pre-Beatles) doo-wop
tune.
Birdsongs of the Mesozoic:
[Ace of Hearts, EP]
What do they sound like ? Live, they've done an arrangement of ``The Rite of
Spring,'' the theme from ``Rocky and Bullwinkle,'' and a cover of Brian Eno's
``Sombre Reptiles.'' Consisting of a keyboard player, two players from the
now-defunct (and possibly legendary) Mission of Burma, Roger Miller and Martin
Swope, and Erik Lindgren, BotM make ``serious'' music with energy and dynamics;
you'd call it rock if they changed it to have more familiar chord progressions.
There are very beautiful passages and floor-pounding dissonant rhythm workouts.
I'd hate to be Roger Miller's piano, though he also shows a command of the
instrument, too. Recommended.
Sex Pistols: ``Anarchy In the UK'' b/w ``No Fun''
[Virgin, single, England]
Oh God, not another British Band ! Their Gimmick is no synths. And the video
isn't that good, either.
Holger Czukay/Jaki Leibzeit/Jah Wobble: Full Circle
[Trio, album, Japan]
This Japanese album is a compilation of two EPs that these three musicians have
put out in England. The music is a mix of reggae dub, ``found'' radio
broadcasts, and general atmospherics. Ex-PiL bassist Wobble provides a solid,
creative base throughout. The best cut is ``How Much Are They ?'' which
features all the ``progressive'' elements of the experiment, while still
being entertaining with the clever radio clip editing and the catchy theme.
Savage Republic: ``Film Noir'' b/w ``O Adonis''
[Independent Project, single]
This LA band has been lumped in the psychedelic revival category, but they
stand apart from the others because of their Wire-ish (circa ``154'') sound.
That means ominous minor chords, ``one-note'' guitar lines, and a dark sound
all around. It works to a very good effect on the A-side. The B-side features
an interesting treatment of the theme from the movie ``O Adonis,'' with
acoustic guitars and a more American feel. The sleeve is the best I've ever
seen from an American independent label.
Heaven 17: ``Temptation'' b/w ``We Live So Fast''
[BEF/Virgin, single, England]
Slick funk, but you can still tell there are human beings behind it. A-side has
great female vocal and string arrangement; the B-side whooshes along like a
Concorde from New York to Paris.
Ric Ocasek: ``Jimmy Jimmy''
[Geffen, single]
This is much snappier and grittier than anything on the album (or the original
version) because the New Models (from Boston) play on it. Possibly the best
(also the simplest) thing he's done since the first album.
Bananarama: ``Cheers Then''
[London, single, England]
Different, keyboard-based ballad, very gentle kiss-off. It's better to get
their singles this than the album ``Deep Sea Skiving.''
Eurythmics: Sweet Dreams (Are Made Of This)
[RCA, album]
Annie Lennox's voice and the sensitive arrangements of Dave Stewart make for
some of most supple and warm synth stuff today. It's another example of how
modern British pop bands are appropriate all the good American black music (disco,
soul, r & b) of the 60s, 70s, and the 80s and bringing it back to America,
though the Eurythmics obviously add many other touches like English folk and
psychedelia. The best non-single cuts on the album are ``The Walk,'' ``I Could
Give You a Mirror,'' and a sinister-sounding cover of Isaac Hayes' ``Wrap It
Up.''
--
``Bob'' Robert P. Krajewski ARPA: RpK@MC
MIT Local: RpK@OZ
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