45 REVELATIONS

45 REVELATIONS

Ken Barnes

If it weren’t for Suzanne Vega, the Bangles’ “Following” (import only) would be Single of the Month. A dramatic change of pace by bassist Michael Steele, it’s a sparse, moody, enchanting acoustic plaint and the best track on Different Light.

Hits and near-hits: Australia’s Pseudo Echo pull off the coolest cover coup of the year, super-charging an otherwise faithful rendition of Lipps Inc.’s ultra-happening disco novelty classic, “Funky Town,” with power chords for an instant smash.

I grew to greatly appreciate Crowded House’s “Don’t Dream It’s Over” for its clunky Beatlesque guitars and Procol Harum organ, and the New Zealand trio’s “Something So Strong” is similarly seductive, spotlighting fine harmonies. Added bonus: the last great Split Enz single, “I Walk Away,” in a new, galvanic version.

The Other Ones sound so much like the Pretenders at times it’s scary, but that’s never a black mark in my book, and “We Are What We Are” is just mysterious and catchy enough to enthrall.

Billy Idol in tuneful shock! “Sweet Sixteen” is a pretty, acoustic semi-ballad that’s really quite affecting, as opposed to affected.

Regina Belle has a big push behind her, and it’s merited—her first single, “Show Me The Way,” is the kind of gorgeously melodic midtempo groove piece I can’t get enough of, a cross between Mtume’s "Juicy Fruit” and “Sexual Healing.”

Howard Hewett has his best record since splitting Shalamar, “I Commit To Love,” another midtempo groove monster.

If you think Prince pumps out a pretty good Hendrix pose, check the flip of Jesse Johnson’s “Baby Let’s Kiss,” entitled “Fool’s Paradise.” The vocals are Princely, but Johnson jimmies Hendrix licks that would make Frank Marino turn purple.

Val Young and Rick James continue to make a great team; "Private Conversation” is rock-hard, a tougher Mary Jane Girls groove with pleasingly delicate touches. “Let’s Have Some Fun” by Merge Featuring Debbie A is yet another terrific present-day girl group dance record, one of a fabulous bumper crop this year (check Debbie Gibson’s “Only In My Dreams” as well).

Country contenders: Kathle Balllle of Baillie & The Boys has an emotion-packed voice showcased to aching perfection on the soaring “Oh Heart.” You’ve got to like Eddy Raven’s “You’re Never Too Old For Young Love” for its shameless Buddy Holly borrowings. Sawyer Brown’s “Savin’ The Honey For The Honeymoon has a crackling rockabiliy guitar intro and a few Elvis mannerisms in the vocal. And Ricky Van Shelton’s “Crime Of Passion’’ is a tuff-rocking, amusing, stylishlysung saga of robbery gone absurdly wrong.

Whatever you think of contemporary Christianity’s message and mission, the music can be as good as any genre’s. “Love Is Not Lost” by Leslie Phillips boasts a passionate vocal and punchy TBone Burnett production.

The Williams Brothers made teenybop records when they were 10 or so, the cute nephews of Andy Williams. Now they make edgy, compelling pop works like “Some Become Strangers” that promise great things. Producer Patrick Leonard (“Live To Tell”) strikes again.

Overseas overachievers: Three in a row for Julian Cope, as “Eve's Volcano” takes a poppier, Teardroppier tone than previous crunchers, and is an irresistibly giddy love song.

The Weather Prophets unleash a guitar down-pour on “She Comes In From The Rain,” while “Wide Open Arms” has a guitar solo to rival (and resemble) the crazed Music Machine manifesto, “Eagle Never Hunts The Fly.” More guitar-crushing on the Godfathers’ “Love Is Dead,” with an early Who break that leaves me grinning like an idiot.

Great intro (second time in a row) on the Ward Brothers’ “Why Do You Run,” and a likable chorus as well.

Canada’s next breakthrough act should be Luba—her Act Of Mercy is one long, raging, pleading emotional firestorm. The Partland Brothers have already broken through in the U.S. with “Soul City,” and their Canadian follow-up "Electric Honey” is even better, attractive technopop-rock with vocals more Evertys this time than Hall & Oates.

The Hoodoo Gurus never fail me, and “Good Times” is as goodtimey a pugnacious rocker as you could ask for, a representative (though not necessarily premier) track from a smokin’ LP. Flip side “Heart Of Darkness” is not on the album, but loud and brash enough to fit just fine and neatly wrap up another month’s fine, fine, superfine singles.

SINGLE OF THE MONTH SUZANNE VEGA “Luka”

The impact record of the year so far. I first heard it on a tape, noting with delight that Suzanne had gone folk-rock, with guitars chiming like bells. Then I noticed the lyrics. The first folk-rock song about a battered child is almost frighteningly powerful. The understated, defeated lyrics (“They only hit until you cry/And after that you don’t ask why/You just don’t argue anymore”) and typically deadpan Vega vocal add immeasurable punch, but it’s the dazzling guitars that pack the paradoxical wallop. You sing along blithely while feeling unbearably moved, and it’s a rare record that can tap at your fingers and tug at your heartstrings simultaneously.