ROCK • A • RAMA

ROCK • A • RAMA

This month’s Rock-A-Ramas were written by Billy Altman, Michael Davis, Rick Johnson, Richard Riegel, Richard C. Walls and Craig Zeller.

THE LOVE UNLIMITED ORCHESTRARise (Unlimited Gold/CBS):: In case you missed the presence of Mr. “Quittin’ just ain’t my shtick” and his mirror-topped sleeping bag during Camping With Barry White night on David Letterman, the sultan of sweat here aurally directs a bevy of other possible fun-filled group activities for your consideration. Such as: “Do It To The Music...Please,” a hearty peaen to thumpathumpa with bonus points for politeness; the technically fashionable “My Laboratory (Is Ready For You),” wherein B.W. entices us to “follow me to tranquility”—through a vocoder, no less (and you thought Neil Young sounded weird!); and the mellifluous apre-“Love’s-Theme”-acigarette hazy strains of “After Five,” with Barry variating on the ole “Moonlight Sonata” while synthesizers replicate the “Oooh, Baby”excess of yesteryear. If you need me, o great one, just grunt; I’ll be in my tent, testing out your patented strobe flashlight. B.A.

TRUE WEST (Bring Out Your Dead Records):: Dream Syndicate’s Steve Wynn co-produced this 5-song EP for True West and used to play with some of ’em in -the Suspects; their shared aesthetics show up in the form of the VU/TV roots these guys wear proudly on their guitar

straps. Their psychedelic garage band style has been pretty much defined before them but several of their songs work well despite their obvious derivations. “Hollywood Holiday” may be yet

another sleazy little sister of “Sweet Jane,” but its sharp-eyed observations and shattered guitar solo make it a near-classic in its Own right. Available through the usual indie distributors (JEM, Systematic, etc.). M.D.

THE HAWAIIAN pups-Split second

Precision (Portrait):: Cut rate generic synthdrone stuff here & it don’t sound any worse than the nationally-advertised brands of same. Noteworthy trivia about these particular canine communards is that they seem real intent on sounding just like Blondie (at least on “Trash” & “Young Boys”), a bizarre choice of role models in view of the almost universal abhorrence of the latter these days. Oh well, imitation is the sincerest form of commercial suicide, I alius say. Memo to Chris Stein: Ink H-Pup Tara Shanahan to your multimedia kennel roster pronto. She can do the heavier stunts when you film Deb’s life story.R.R. SHANNON JACKSON & THE DECODING SOCIETY—Street Priest (Moers Music import):: Following the movement of Jackson’s groundbreaking funk through his infrequent U.S. releases is pretty limiting; to keep up with the latest in post-harmolodic happenings, you have to scour the import bins as well. This album of all-new material was recorded between the last two and fits between ’em stylistically as well; it’s more controlled than Nasty and more intense than Mandance. Highlights include Vernon Reid’s playing on “Street Priest” and “Sperm Walk,” which reveals that he’s about the only guitarist around who’s managed to combine elements of both Hendrix and McLaughlin into an original style, and Melvin Gibbs’ bass solo on “Sandflower,” which could make you forget Stanley Clarke ever existed. (Distributed by Rick Ballard Imports, P.O. Box 5063, Berkeley, California 94705.) M.D.

BITTER SWEET ALLEY-Forever (USA):: Snappy, likeable set from local can’t-missers. All original tunes, ranging from energetic riff-rockers like hopeful-hit “Time To Move” to a brace of Beatle-underlined numbers such as the frankly catchy “Forever” or Dee-troit breakdown “Turn It Up.” And no harps anywhere. (Available from BSA, P.O. Box 114, Fraser, Ml 48026) R.J. RIUICHI SAKAMOTO & ROBIN SCOTT — Left Handed Dream (Epic):: Why Yellow Magic Orchestra’s monumental Technodelic LP remains unreleased in the States while various solo projects by these supreme technocrats of the East sneak into the stores is beyond me. Still, this international collaboration—which also includes contributions from Adrian Belew and the YMothers—is attractive on it’s own merits, as ingeniously altered dance rhythms mix effectively with subtle electronics and Scott’s postBowie vocals. More imaginative than anything Roxy’s come up with recently, anyway. M.D. THELONIOUS MONK-Brilliant Corners (Riverside):: This is one of the 40 jazz records recently re-issued by Fantasy with original covers and liner notes, its classic status guaranteed by the presence of Sonny Rollins and Max Roach as well as the darkly humorous and hiply unor-

thodox title cut, one of Monk s finest ever. Balue Bolivar Ba-lues-are” is more or-dee-nairy, but “Pannonica,” with Monk on celeste, and a solo version of “I Surrender, Dear” are both prime examples of the late pianist’s witty sadness.. .in all, one of those classic albums which still sounds exciting, still sound alive, and, thanks to yet another spasm of corporate generosity from Fantasy Records, is still cheap. R.C.W.

Q-FEEL (Jive/Arista):: Synthpop-dontstop’s so established by now that the studio-musician contrivances of same are really starting to ooze out of the stateoftheart tape machines. Q-Feel, previously renowned as the auteurs responsible for “a track on a highly successful U.K exercise album” apply their squeaky-clean brain waves to wallpapering yer rec room with aural.. ,uh.. .would you believe a track called “Electric Feet”? Many prominent rock writers have already voted QFeel’s record as the current title Most Likely To Have Been On Casablanca If It Had Come Out In 1978. R.R.

WAITRESSES—Bruiseology (Polydor):: Patty’s out and Holly’s in. Then Holly’s out. Then Chris is out. Then Patty’s back. By the time you read this Debbie Harry could be running the show. Whenever that revolving door leading to headWaitress stops spinning there’s one thing that will have remained the same: Bruiseology is a quintessential victim of the sophomore jinx. It’s loaded with pathetic jazz-rock excursions, pointlessly verbose lyrics and a steady stream of tired blood coursing through Ms. Donahue’s veins. One welcome exception is the devilishly sly spin she puts on “Make The Weather,” which would make a swinging farewell hit for the band should they decide to pack it in. Whoever they may now be. C.Z.

FOOLS FACE-Public Places (Talk):: It’s tempting to call these charmingly soft poppers Beatles-lovers, but Fools Face’s true infatuation seems to lie more with once-removed, ’70s Beatles-worshippers like the Raspberries and Pezband. You know the style: all the bright & cheery & innocent adjectives apply here, too. But not just innocence, as Fools Face also boast clever hooks and lyrics, refreshing brevity, and hip-hip sax breaks (just where you don’t expect ’em.) A real sleeper pop gem for our eternally dozing pop season. Fools Face, P.O. Box 4406, Springfield, MO 65808. R.R.

YARDBIRDS (Epic):: Finally, an American reissue worthy of the Yardbirds’ special status as one of the handful of crucial bands responsible for moving British rock past its blues and pop boundaries into psychedelia and beyond. This album contain^ all 10 tracks from 1966’s U.S. Over Under Sideways Down LP plus several bonus goodies, including Jeff Beck’s blues extravaganza, “The Nazz Are Blue,” the chaotic-butcollectable Beck-Page collaboration, “Psycho Daisies,” and the monumental 45, “Happenings Ten Years Time Ago.” A great start here, Epic; now how about reissuing Having A Rave Up intact or maybe Little Games with the final few singles added on? M.D.

ROMAN HOLLIDAY (Jive/Arista EP):: Nobody can beat those pesky Britons at unearthing lost, good-old-American pop styles us natural bom-but-foggy Yanks should know (more) about. Roman Holliday are out to reclaim & proclaim those ’40s-Hollywood-swing vocal glossies that jump ’n’ jive Joe Jackson’s been on the verge of discovering his last couple albums or so. An OK record here, especially when the leftoverskanky horns put a real edge on the glossiness, but undoubtedly the gobs in Roman Holliday will be remembered best for their trademark sailor caps. Gene Kelly, call your office. R.R.