CHRISTGAU CONSUMER GUIDE

CHRISTGAU CONSUMER GUIDE

Robert Christgau

In which Consumer Guide gives up the funk. Below find the beginnings of a retrospective re the recorded Parliafunkadelicment Thang, omitting Fuzzy Haskins solo, the Horny Horns, and God knows what other spinoffs. Funkadelic is a great group that doesnt make “good albums." Not that theyre into singles, unfortunately—just that theyre weird and inconsistent. And so those albums that happened to come my way, obviously deficient in taste and strangely made, rarely crossed the threshold of my consciousness—although I did give Take It To The Stage a B+ once. And now I have some catching up to do. So do you. “Assalam Aleikoum Africa Volume One (Progressive and Popular Music of West Africa)" (Antilles)::Unlike John Storm Roberts Africa Dances anthology (still available for $5.98 plus tax from 123 Congress Street, Brooklyn NY >11201), this LP and its companion come from one location—Abidjan, Ivory Coast. Thus, theyre a little limited. On this one, the same musicians tend to reappear in different permutations, and their interests are more specifically “progressive" than “popular" (which can mean almost anything in a place where folk culture still thrives). That is, they like horns—great sax break on the catchy “Dogbo Zo NWene"—and are fascinated by electric guitars. Something called “Ode to Hendrix" is pretty remarkable, as is the title cut and much of Charles Ataganas bass playing, but the same cannot Jbe said of “Live in Peace," which clocks in at a progressive 11:39 and supports neither its length nor its English lyric. Even the middling music here is interesting by definition, and a lot of it is more than middling, but some of it is less. B

“Assalam Aleikoum Africa Volume Two (Traditional and Modern Folk Music of West Africa)" (Antilles)::Once again theres a key word in parentheses—“modern." A lot of this would seem to be popularized folk music in the manner of the Weavers if not the Kingston Trio, which might bother an ethnomusicologist or a tribesman but neednt concern ignorant people like you and me. Basically, what we have here is a selection of time-tested melodies translated into our musical language—and translated roughly enough to convey authenticity, since what passes for slick in Abidjan wouldnt last a hairdresser on Lenox Avenue til coffee break. B +

BOOTSYS RUBBER BAND: “Ahh...The Name Is Bootsy, Baby!" (Warner Bros.)::This isnt as rich in riffs as Stretching Out In Bootsys Rubber Band. But although Bootsys comic concentration takes a certain toll in tightness and drive, this record does do about 90 per cent of what the Ohio Players (or the Fatback Bands) funk albums do instrumentally while offering priceless insight into obscene phone calls and cannabis cunnilingus. Free your ass and your mind can come along for the ride. B

BURTON CUMMINGS: “My Own Way To Rock" (Portrait)::As RCAs most recent Guess Who anthology (Greatest of as opposed to Best of) , demonstrates, this transparent egoist has always had a way with a song, and although it took me eight months to own up to it, I rather liked his solo debut—the first hit, “Im Scared," a skeptics uncommitted prayer for faith, was downright interesting, and the jazzy mock-up of former bandmate Randy Bachmans biggest hard-rock smash an inspired joke. But here Cummings himself moves toward hard rock, which always seems to bring out the sexism in him—a sexism especially repellent because it serves as an outlet not for taboo class animosities but rather for the familiat old bourgeois arrogance/self-hate. So its only poetic justice that his way with the song should desert him this time out. C

DETROIT EMERALDS: “Feel the Need" (Westbound)::The first version of the early disco classic this album is named after, then entitled “Feel the Need in Me," moved like a crack diesel; it quickened one whole side of what would have been a pretty good LP in any case. The LP was called You Want It, You Got It, its now out of catalogue, the remade track moves more like a monorail, and while in the end I dont appreciate the streamlining (especially since the B side is quite schlocky), its the only one youve got. Still sounds pretty good. B

BRYAN FERRY: “In Your Mind" (Atlantic):: Ferrys best-realized solo album makes clear that his problem isnt so. much his coldness as the hopeless romanticism of his shattered and half-realized dreams. I suspect that if he even convinced large numbers of people to care about his obsessions, the result would be a rather distressing mass escapism. B +

PETER FRAMPTON: “Im In You" (A&M):: Like Steve Miller, Frampton is a medium-snazzy guitarist taking no chances on an absurdly salable formula this time out; the only development is that this album has a kinda “live" feel, yknow? Yet although Millers more the rock and roller, its him I cant stand. Reasons: Frampton sounds completely unsmug, an achievement in a star of his magnitude, and he doesnt need a face lift. I mean, if you want to be cute, you might as well go all the way. C + ARETHA FRANKLIN: “Sweet Forgiveness" (Atlantic)::When I work at listening, I can tell that she still sings real good. C +

FUNKADELIC: “Hardcore Jollies" (Warner Bros.)::It may be that the Parliafunkadelicment Thang has made more good music than any other rock group in America over the past five years. But even Cosmic Slop, their best LF, is inconsistent, while Tales of Kidd Funkadelic links my favorite of their songs, with 16 minutes of organdominated instrumental (which is quite listenable, actually). Perhaps The Best of the Early Years: Volume One, newly available on Westbound, is the best introduction, especially for the songoriented. But this debut for Warners, released last fall and graced by exemplary Mike Hamptons guitar on the title cut and exemplary post-backlash soulgroup harmonies throughout, gives a better sense of how their raunchy, surrealistic black vaudeville flows. Oth-. er Funkadelic LPs are showing up in discount bins; buy whatever you find. ABOB HADLEY: “Tunes from the Well" (Kicking Mule)::I love John Fahey, but Im no aficionado of the school of solo guitar hes inspired— attempted visionaries like Robbie Basho and Leo Kottke lack his courage and clarity while most of the others are just folkies with new chops. Hadleys a folkie, too—his vision is more earthbound than Faheys. But it does deserve to be called a vision. (Available from Disconnection, Box 544, NYC 10009.) . B

JOHN L.: “Stay Up" (Virtu):: For me, this is a first—a calypso artist who sings about subjects I know something about in an accent I can understand. Granted, I cant really judge how he stacks up against the competition—no more than adequately would be my guess—but I suspect that if “Alien" were on the same side as “Identity" and (yes) “Meshuggener", Id get more than a mild kick when this showed up at the end of the stack. (Address: 132 East 26th Street, NYC 100.10.) BBOB MARLEY & THE WAILERS: “Exodus" (Island)::As with so many black artists fronrrthis country, the lyrics on Marleys newest seem a little perfunctory, mixing vague politics of dubious depth with hackneyed romantic sentiments of dubious depth, and so what? Marley is not obliged to devote himself to propaganda. As with so many black artists from this country, the music is primary here; a message appropriate to his condition is conveyed by the unrushed rhythms and the way the sopranos share equally with the instruments and the new wariness of his phrasing and dynamics. Some of the cuts are flat, but if the OJays were to come through on five or six—including two as' striking as “Jamming" and “So Much Things To Say"—wed call it a solid, enjoyable album at least. Thats what it is. B +

MIGHTY* DIAMONDS: “Ice On Fire" (Virgin):: Just as an assassination TURN TO PAGE 71 attempt doesnt commit Bob Marley to propaganda, so the best reggae album of 1976 doesnt commit the Mighty Diamonds to the music of Jamaica. Here they bid to become just another black harmony group, yoking Allen Toussaints production to the Kingston beat and covering “Tracks of My Tears" (well). We could use another black harmony group, but unfortunately, Toussaint isnt noted for His work with groups, and like most harmony-group albums (not to mention reggae albums), this bogs down in undistinguished tunes; it sounds samey even as it switches unpredictably from Toussaint songs to Mighty Diamond originals.

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PARLIAMENT LIVE: “P-Funk Earth Tour" (Casablanca)::The most successful house of the Thang is also the least interesting. The voices and instruments are too strictly defined, the humor 'too distinct from the musical gestalt. This live double-LP is attractive not only because it includes snatches of Bootsy and Funkadelic, but because its dirtier than Parliament Studio. Those suspicious of the live double-LP as a form should probably start with Chocolate City or Mothership Connection, but for me, getting to like George Clintons music was mostly a matter of loosening up, and this helped a lot. B + “SCARLET RIVERA" (Warner Bros.)::Those who call this the worst record ever made (Ive met two) must only listen to sidepeoples albums when the sidepeoples are Dylans (or “his," as the notes here would have it). In fact, many sidepeople stretch out one or two decent melodies and some banal ones into an instrumental LP. Although come to think of it, most of them come up with eight cuts, not six. And most of them can improvise some. Hmm. DJAMES TAYLOR: “JT" (Columbia)::James sounds both awake— worth a headline in itself—and in touch; maybe CBS gave him a clock radio for opening an account there. “Handy Man" is a transcendent sex ballad, although we may weary of it by Labor Day, while “I Was Only Telling A Lie" and “Secret OLife" evoke comparison with betters on the order of the Stones and Randy Newman, so that the wimpy stuff—which still predominates—sounds merely laid-back in contrast. Best since Sweet Baby James, shit—some of this is so wry and lively and committed his real fans may find it obtrusive. B

“38 SPECIAL" (A&M)::For this group, booked by Ronnie Van Zants agent, managed by his manager, and led by his kid brother, some special Inspirational Verse: “Its a Saturday night ordinary/All the pros know what dues to pay/Aint really good for nuthin/Cept to take some other rockers chance away. " D +

PETER TOSH: “Equal Rights" (Columbia)::Whats most impressive about this music is its sinew. The tracks are strong, yet although they usually include at least seven, instrumental parts, they never sound lush, full, or even jubilantly multi-percussive which, given Toshs ominous stance, is a good thing. Yet while Toshs lyrics are more correct politically than Marleys, they are only marginally more eloquent, and his singing is rather less eloquent. B +

“STEVE WINWOOD" (Island):: Combined with Stomu Yamashtas ersatz electronic classicism on Go, Win woods meandering seemed vaguely interesting. On its own again, it just seems vague. C-

NEIL YOUNG: “American Stars n Bars" (Reprise)::The first side, recently recorded, is Youngs roughand-tough version of L.A. country rock, featuring a female backup duo called the Bullets and climaxing with “Bite the Bullet," his sharpest cut since “Tonights the Night." The second is a journey through the past that perhaps should have stayed in the outtake can. On one tune, Neil turns into a salmon while masturbating in front of the fireplace;-in another, he and Crazy Horse somehow take the wind out of “Like a Hurricane," which blew everybody away at the Palladium last fall. B +