ROCK-A-RAMA

ROCK-A-RAMA

This month’s Rock-A-Ramas were written by Richard Riegel Michael Davis and Jon Young.

SUSSMAN LAWRENCE Pop City (Orange)

Powerpop ain’t dead yet, we just didn’t hear from all the provinces during the first go-round. These guys hail from Minnesota’s Twin Cities stronghold, and even though they can’t afford to move into Prince’s purple-lawned neighborhood just yet, they sound like potential airwave contenders. Lead singer/songwriter Peter Himmelman’s been billed as another E. Costello, and the voice and phrasing fit, even if he’s apparently no angrier than the (come to think of it) contempo pals-withDaryl-Hall Elvoid himself. Bright pop with echoes of the Rascals, Turtles, etc., this double-length cassette zips by like an authentic replica of ’60s AM radio. Even the dull songs (there are a couple, just as in the catalogues of the enshrined Beatles et al.) are three minutes or less worth of dullness & then it’s time for another neon-sweatshirt goodie, real quick. Naturally (they’re post-modern). Orange Records, P.0. Box 0316, Minneapolis, MN 55401. R.R.

EUROGLIDERS This Island (Columbia)

Folks who like their bands to slide into neat little categories should steer clear of This Island, an engaging debut that presents one red herring after another. To start with, these jokers aren’t Euro at all—they’re Australian. Plus, they blaze through the big, wide world of pop like there’s no tomorrow, stopping to visit a dizzying number of styles. Your tour begins in Fleetwood Macdom with “Heaven” and “Someone.” Then, it’s on to the dancefunk pulse of “No Action,” followed closely by “Maybe Only I Dream,” a perky easy-listening bauble worthy of Sheena Easton. By the time you’ve reached the Siouxsie-like dirge of “Cold Comfort,” chances are you’ll be completely discombobulated. Of course, this speaking in many voices indicates the Eurogliders don’t yet have one of their own. But there’s enought heartbreak in Grace Knight’s singing and enough smarts in Bernie Lynch’s songwriting to suggest these talented Aussies will hit their stride, and soon. J.Y.

THE WILDE KNIGHTS Beaver Patrol (Voxx)

In my more lucid moments, I’ve listed Paul Revere & the Raiders’ “Just Like Me” as The Greatest Pop Single Ever, so you can bet I was hepped up when I discovered that this ’60sgarage-band docudisc contains the original version of that timeless tune. Save yer astonishment, though, as the Revere “Just Like Me” still knocks the Wilde Knights’ archetype into a 3-cornered hat. Which maybe proves that even 1965 quasi-punk bands needed all the production money could buy. But echochambered or not, this album is a real good portrait of a Northwest band going thru all the style, name, and personnel changes ’60s rock evolution dictated—they opened that new-frontiered decade with hopefully cheesy keyboard instrumentals, and departed it amid the inevitable psychobabble dissolutions. The Wilde Knights (a.k.a. Furys, Pipers IV, etc.) achieved their best moment ever, in this title tune, a punko classic distinguished by burbling organ and quaintly stinky lyrics. R.R.

MOTORHEAD No Remorse (Bronze/Island)

Those who know, know that Motorhead has been in a class by itself for the past six years or so. While most other metal bands energetically recycle early 70s rock cliches, Motorhead mows ’em down with speed and power equalled by no one. This two-record “Best-of” is a mite expensive, but well worth it. Fastway fans can find much of Fast Eddie Clarke’s best work with the band—he’s on 18 of the 24 tracks— plus there are four tunes by the all-new configuration of Motorhead. Lemmy’s found two sizzlestring guitarists and drummer Pete Gill sounds like he might fill Philthy Animal Taylor’s footsteps yet. M.D.