Singles reviewed by Green

-- Melody Maker, August 14, 1982

Reviewed by Green of Scritti Politti

GREGORY ISAACS: "Night Nurse" (Island). A first division hero and influence of mine, the cool ruler laconically spoons over a typically simple and hard rydim. Not one of his greats but beautifully sung and bearing all the hallmarks of his extra-classic style which oozes and asserts the sense and rhythm of the righteous way of life.

It's a music you learn to live and love -- let's give him a good start with this first single from a new label and LP.

HAIRCUT ONE HUNDRED: "Nobody's Fool" (Arista). The most derivatives (or should that be "affectionate and accurate"?) run-through of the "Hard Day's Night" songbook to date. It also has easy-to-follow chord shapes and a sub-King Curtis sax break completes the proposal.

Inasmuch as the Beatles were divine and groovy then it's a good record. More catchy than memorable and a certain hit. An affectionate and accurate word of advice to the 'Cuts (I'm sure they get called that) would be to the effect that it's time for a change of wardrobe, a lesson in contemporary politics and a trip to the dentist for Les! 'N that's for sure. Apart from that, a lovely record.

ARETHA FRANKLIN: "Jump To It" (Arista). Aretha Franklin is unconditionally magnificent and this superb record is the best thing she's done for a long, long time. It has a rare awesome beauty and power and moves around an evocatively irresolved rhythm. Again, significantly, Aretha addresses herself to her own sex in tones and terms that renders a mere review irrelevant: she has such a political power. It's high time Aretha was restored to her place of honour.

STING: "Spread A Little Happiness" (A&M). From Dennis Potter's "Brimstone And Treacle"...I'm a big fan of Dennis Potter's writing, actually. But this exposes the inaccuracy of Sting's singing -- a rather poorly arranged stab at the genre of Thirties and Forties songcrafting (even Vic Godard has been doing better than this).

It all sounds remarkably half-hearted, but even as I speak "Spread A Little Happiness" is bounding up the Capital Radio listeners' chart so arguably Sting has his first novelty hit. For all that it's not very novel, nor does it exude the simple style and charm and soapy sexuality of what now must be THE classic Police hits.

DELTA 5: "The Heart Is A Lonely Hunter" (Pre). Produced by Colin Fairley who's a jolly good man. This is a Kid Jensen Show record, falling uneasily somewhere between the not-so-new rock and pop camps. Bits of it are very nice, so it's yet another curate's egg record (no it's not, it's on Pre). Yet again the hook owes something to Spaghetti Westerns, Leone and Morricone currently rivalling Lennon and McCartney in the hip (but not hep) influence stakes.

MODERN ROMANCE: "Cherry Pink And Apple Blossom White" (WEA). Ah, the rattle of timbales and Radio 2 trumpets. Pointless-possibly popular. Have these men no shame, let alone sense of style? Having done immense damage to the potential renaissance of salsa and bossa nova, they flabbily unleash themselves on what I take to be a grandparental ballroom cha-cha classic. I bet your granny could sing it better.

DURAN DURAN: "Save A Prayer" (EMI). I've badmouthed every Duran record to date (constructively of course!) and then found each one to have some element which sticks in my head -- often unwelcome. This seems to be totally bereft of any redeeming qualities at all. They're a bit like Japan with a few less O-levels, aren't they? I actually prefer Le Bon to Sylvian (aren't those ridiculous names revealing?)

There's a "sticky" bit in the middle of this which is the Morricone soundalike synth part, finished off with yet another predictable chord progression. Actually this may struggle to get into the charts at all, though with the state of record sales at the moment you never know. Is it true that Captain Sensible's record was the lowest-selling single ever to make number one?

RAH BAND: "Hunger For Your Jungle Love" (KR). A synthesizer impersonates two macaws and a loan before a lame vocal limps into the clearing. Now I know from experience that vocoders can be difficult buggers to work with but this must be the worst recorded use of this much underrated machine to date. Totally indecipherable -- with a melody to match.

EVELYN KING: "Love come Down" (RCA). This begins much more promisingly with a nice itch guitar and a passable bass synthesizer whomp BUT...it eventually reveals itself as an unremarkable song which appears to have failed to convince Evelyn of its worth as she gives it considerably less than her all. Still better than most this week, though.

PS: As I put the record back in its sleeve I catch myself whistling what passes for a hook. Is this significant?

NARADA MICHAEL WALDEN: "Summer Lady" (Atlantic). More irritated Fenders and rubbery bass Moogs make for the funkiest yet, but hasn't Walden some peculiar religious affliction? I've an indefensible distrust and loathing of any scientologist, seventh day adventist or whatever, and all their workings. Now I know this rules out the Jacksons and a surprising number of other American musicians -- so I'll allow the repulsive and clumsy lyrics to excuse me for being too kind about this one.

FASHION: "Love Shadow" (Arista). No bass synths, but Page One of the Learners Guide to Slap 'n' Pull Bass introduces us to "Love Shadow". I actually find this quite fascinating from the points of view of production and reverential nods to contemporary black music. I like it all except the ghastly sub-Grace Jones talking bit in the middle. Its sparseness works whereas the Rah Band and Evelyn King sound empty. Aren't they a most strikingly unattractive group, though?

CREATION REBEL: "Love I Can Feel" (Cherry Red). Another song written by John Holt, who's a sometime Second Division hero. Not one of his better efforts, however, and it certainly won't find a place in pop crossover, lover, rockers or roots hearts. Again the production falls into the "empty" rather than the "sparse 'n' classy" category.

I LEVEL: "Give Me" (Virgin). A better class of the Larry Graham style of bass playing. Quite nice and taut but otherwise this dumb misogynist jumble should never have been committed to tape, let alone vinyl. "Give me what you can't get back girl..." sings some pea-brained prannet over a completely insignificant rhythm. Loathsome.

JACKO: "Straining Our Eyes" (Chiswick). Surprisingly the first record this week to reveal the pervasive Bowie influence. Not bad, not good, but without contemporary resonance, which I suppose means it doesn't sidle up to, cut across, or spit in the face of the rest of the records that are popular and critically acclaimed. Produced by Dave Stewart of Hatfield & The North and "It's My Party" fame. Unmemorable, but he had a passable voice.

BILL NELSON: "Flaming Desire" (Phonogram). A classic synthetic drum clank and a predictably muted guitar sound lie behind an old fashioned Barcelona disco hi-hat. This ensemble propels Bill Nelson through a decidedly late-Seventies thing. "Sea creature -- sex creature, woman of love" he sings, before attempting and nearly pulling off a falsetto bit. This record is certainly trace-evidence of labour and David Bowie is inscribed throughout. Isn't Bill Nelson a likeable and admirable man?

PETER & THE TEST TUBE BABIES: "Run Like Hell" (No Future). A punk record!! The group members are called Derek, Peter, Ogs and Trapper, and Peter (I presume) sounds very much like a not-hoarse Joe Strummer, which is rare in itself. "Run Like Hell" is about the perils of daring to talk to another man's "bird" and the B-side, "Up Yer Bum", is evidence of the group's wit, insight and daring as well as their aptitude for disturbing popular consciousness. Truly sad and barely silly.

GEORGIE FAME: "The Hurricane" (My Records). Georgie Fame did make some great records and this in part regains that power. But the subject of the song si Alex Hurricane Higgins, which doesn't make for a worthy or convincing songs as far as I'm concerned.

More importantly, I wonder if Fame's age and era precludes him from merit, at least discursively. Having pondered this for a few moments I've decided that's not the case and Fame would regain interest and could (and should) were he a little more thoughtful, incisive, risky and hep -- now that's not asking much, is it?

MODERN ENGLISH: "I Melt With You" (4AD). English certainly -- Modern certainly not. I've a feeling this is an instance of the burgeoning new rock contra the mythical burgeoning new pop. And that means reverby drum kits and an unpalatable relentlessness. I'm sure they have a machine which just hums distortedly throughout all these records.

DEAD KENNEDYS: "Bleed For Me" (Statik). This pulls no punches lyrically -- it utilizes and exaggerates the most idiosyncratic elements of early John Lydon vocalising. Sound unconvincingly theatrical at most crucial junctures -- a bit like a leftist punk Meat Loaf. Despite the genuinely groovy lyrics this hammy Americana has my bullshit detector just ready to register. Structurally, the songs would support this thesis.

MARC BOLAN: "20th Century Boy" (EMI 4-track EP). Begins wonderfully with a ridiculous guitar sound that I'm suddenly seriously prompted to revive (the Gloria Jones backing singing style I'm already well familiar with). Surely not four of his very best but quite inspiring nevertheless -- Bolan was a great man and a complex phenomenon.

These tracks seem somehow woven and fuelled with some kind of desperation; I suppose they marked the beginning of the dog-end. More power and credit the Marc Bolan Fan Club -- join today!

B. B. KING: "One Of Those Nights" (MCA). A lovely, gentle, powerful, classy little record destined to sell...what...250 copies I guess. Don't believe for a second (as if you had any inclination to do so) that British radio isn't disgustingly racist. Anyway, I for one get the feeling that a blues boom is due.