ROCK A RAMA

ROCK A RAMA

PAT METHENY & LYLE MAYS—As Falls Wichita, So Falls Wichita Falls (ECM):: The title track (and first side of this album) is mainly a feature for Mays synthesizer with guest rhythms by Nana Vasconcelos—pretentious, maybe, rambling, definitely, but it shore is purty. The second side is more conventional Metheny stuff, which for some is some of the finest of individual guitar stylings amidst superior post-fusion concepts, for others tedious and bloodless excursions to the far side of precious. And for me, a distinct comedown from 80/81, but pleasant enough. R.C.W.

THE TIME (Warner Bros.):: This is more what 1 had in mind when 1 got that disappointing Sue Ann album last month: real Minneapolis (!) punky-wa've, soul/DOR fusions, fit to be listed as at least Billy J. Kramer-like shock troops to Princes Beatleish leadership of the scene. Besides owning all the synth syncopations I always listened to Kraftwerk for, The Time sure dont worship Gamble & Huffs everything-isblandly-groovy Lord; their hiply hip After High School" even mentions The Draft, and whens the last time you heard ahout that iri a song you could dance to? Cool, as the man says. R.R.

This months Rock-A-Ramas were written by Richard C. Walls, Richard Riegel, Rob Patterson, Micharl Davis, Iman Lababedi and J. Kordosh.

THE EQUATORS-Hot (Stiff America):: Maybe its the scarcity of ganja in the U.K.. that keeps this young black British bands blend of reggae rhythms and ska pacing so far from mellow, although I suspect that its the proximity to hard-driving rock acts, which inspires groups like Steel Pulse and the Equators to play with such punchy verve. The Equators frantic shuffles remind me of the young Muhammed Ali, and Bob Andrews (from the Rumour) bright production flourishes (acoustic piano and full-throated Hammond organ, which arent usually so prominent on reggae discs) maintain interest when the sameness of tempo cuts in. Lead vocalist Donald Bailey is an adept stylist, and on two cuts guitarist Dennis Fletcher sings in a timbre and style hauntingly reminiscent of Bob Marley. Plus, the albums two instrumentals, especially Rankin Discipline," are quirky and catchy as hell. Blighty may be dank and chilly, but the Equators are a hot as a Jamaican summers day. R.P.

WOODY SHAW-United (Columbia); The Iron Men (Muse):: During the late 70s, with Miles Davis out of action and Freddie Hubbard funking up every other album, trumpeter Woody Shaw began to make a name for himself. But United, another strong, straightforeward statement, is getting lost in the hubbub over Miles successful comeback; not only that, but its got to compete with a earlier Shaw, session thats even stronger. Recorded four-and-a-half years dgo. The Iron Men boasts the saxes of Anthony Braxton and Arthur Blythe, plus a rhythm section of equal ability, stretching Woodys post-pop bag into some unique shapes that Shaw fills up with a whole lot more than hot air. Mutually inspirational music, for musician and listener alike. M.D.

THE AU PAIRS-Playing With A Different Sex (Human Records—Import):: Its another way to fake. .." Orgasms that is—one of the things that' the Au Pairs sing about. Others include wife-beating, mind manipulation, 32 female prisoners in an Armagh jail and sexual stereotyping. All against a hot-house hard rock backdrop which sent this debut straight into Britains top ten. And 1 havent even mentioned Lesley Woodssublime vocals. I.L.

DURAN DURAN (Harvest):: Bonnie Prince Charlies not the only public charge giving the U.K: a bad name with us common folk this summer. The same thing happened in the early 70s: England had put out some of the best rock V roll ever during the past decade, and all of a sudden you had all these monarchist-sympathiser bands like Yes and Jethro Tull who. were determined to refine the living daylights out of all the magnificent rock their fellow citizens had fought on the beaches etc. to express. Its fine with me to list the Sex Pistols and Clash right up there with Shakespeare and the Beatles, but elsewhere Englands late-70sseem to be running aground. Ive had this disc on my turntable over and over, but its so bloody invisible, aurally speaking, that I still dont know what Duran Duran are all about. They do play a lot of synthesizers, and look fashionably underfed. Anybody who actually knows whether these guys are New Romantics or whatever is welcome to send me hate mail c/o this mag. R.R.

CHARLES MINGUS—Mingus At Monterey (Prestige):: The mighty madman Mingus in a live performance from the 64 Monterey Jazz Festival. Mingus may be due for a bit of re-evaluation (in a recent downbeat article, ex-Mingus trombonist Jimmy Knepper spent the better part of a bitter interview debunking the myth of Mingus as savage genius; or at leqst genius), but not by me. The concert here starts put a little averagely with an Ellington medley but takes off with a soulful and rousing rendition of Orange Was The Color Of Her Dress, Then Blue Silk" and climaxes with the famous program piece Meditations Of Integration"—one of Mingus most beautiful melodies leading into and out of alternately sloppy and fiery solos with ensemble backing and group improvs. Just the way we like it. The main stars this time around are Jaki Byard, piano, Charles McPherson, alto sax, and1 John Handy, tenor sax. A classic set. R.C.W.

FRANK ZAPPA—Tinsel Town Rebellion (Barking Pumpkin):: Der Franzl ist gar nicht brav; er ist ein schlimmer Bub! R.R.

HOOKS—Lipstick On Your Collar b/w Young & Boring (Hooks Records 45):: For you never-say-die punks, here's the first 45 from the (oh noooooo!) L.A.-based Hooks. Well, where else could they be from??

Geographical prejudice aside, Hooks turn in a , hotchacha version of the why-washt-it-coveredbefore history of the world that actually says something! Turn it over, and the group-penned Young & Boring" isnt exactly from the La Brea tarpits, either. Take it from me, the Plasmatics, would love to be this bunch of San Andreas saboteurs, or even just good friends. Available way on the other coast from Hooks Records, 23 East 10th Street, NY 10003.10th Street?! J.K. THE SWINGING MADISONS (Select):: This Gotham aggregation seems like the kind of band the terminally hip in Noo Yawk would really hate, so I suppose thats why their record company enclosed so many happy L.A. press notices. Kristian Hoffman is the main agitator in these Madisons, and I tend to like his approach on this LP-sized EP. Rockabilly-swing" is the hyphenated genre that best fits the music on here, but Id buy it for the satire if I were you. Guilty White Liberal" and Put Your Bra Back On" are fine summer-replacement Tubes songs, now that the actual Toobies have decided to mush off into the frozen wasteland of R.E.O. Spudwaggin pop. How come the tipsheeters wont allow us to have novelty hits on the radio anymore? R.R.