I THE WHISTLEBINKIES GET HIP! (well almost) Yes, the ‘bag pipe blowing. . . crazy Scotsmen’ (as described in the press release) make an appearance on the title track of Cutting Crew’s forthcoming album, ‘The Scattering.’
I OTHER BITS AND PIECES: Wet Wet Wet’s second (proper) album is now scheduled tor the first week in October, with a single due in late August. Two tracks will be produced by Peter Wingiield, the rest by the band. . . Deacon Blue’s Ricky Ross recently met Keith Richards and was treated to a preview oi two tracks from the new Stones album (no, not the Stone Roses), on which he reports favourably. . . Texas will be releasing ‘Every Day Now' as the next single from their debut album.
I QUESTIONS URGENTLY DEMANDING ANSWERS. Part1: A member of which aspiring local band was forcibly removed from the stage at the recent 10,000 Maniacs gig in Glasgow? Part 2: Which local band were recently offered demo money by a major record company on the condition that they burnt their white T-shirts?
I THE AFT ERMATH OF DYLAN. CBS personnel and other liggers who had retired to the Holiday Inn following his Glasgow gig were suprised to find their celebrations(?) disturbed by some wandering stoned hippies demanding to know the whereabouts of their hero. Apparently they left satisfied when told that the great man had just departed in his space ship.
_ BOB DYLAN at the sscc
I The sense oi expectation and anticipation at the SECC was markedly different from most other events at the venue. This was after all a major event:
I, 3 ‘ I . ‘36 ' ,‘i
one of the integral iigures in rock history playing his iirst gig in Scotland for overtwenty years.
It also meant that it was always going to be difficult for Edie Brickell and the New Bohemians in their role as supporl band, particularly in the wake of what was to tollow, but their enthusiasm and sense of enjoyment was infectious. By the end of their set, this had communicated itselt to the audience, and Brickell’s hugely impressive voice, which does bear more than a passing resemblance to Rickie Lee Jones, shone through on the introspective ‘Circle’ and the thrash/country/folk crossover, ‘Keep Coming Back.’
Dylan appeared with three backing musicians; a brilliant guitarist, and a rhythm section which was solid if not spectacular. This left much of the success of the show down to Dylan himself, and unlike the support act, his lack of interest was marked. Not once did he look at or talk to either the audience or the other musicians.
However, the selection of songs in the set, which was just over an hour long, was more audience-pleasing, with most of the Dylan Greatest Hits finding their way in at some point, the version of ‘Like A Rolling Stone’ being one oi the few moments in the set to create the sort of excitement expected on a more consistent basis. The acoustic versions of ‘Mr Tambourine Man’ and ‘The Times They Are A Changin” may have had a certain amount of charm and nostalgia value, but in the cold light of day, their inadequacy was all too evident, while one surprisingly striking moment was the band rendition of ‘SiIvio' from the most recent, ‘Oown In The Groove’ album.
Pop Will Eat Itsall
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’Untitled’ by Wire's Robert Gotobad. sent out to drum up interest in ‘lBTABA.
I Aretha Franklin: Through The Storm (Arista)/Mavis Staples: Time Waits For No 0ne(PaisIey Park)/Chaka Khan: Life Is a Dance (Warner Bros). Three classic voices all using different techniques to revive/retain interest in their careers. Aretha goes for the duel approach, bringing In James Brown, Whitney Houston, Elton John and the Four Tops for different tracks. Needless to say, her voice destroys all of them (apart from Whitney). but whether any at the songs are worth fighting over is very debatable indeed. Best track is the self penned ‘He’s The Boy’ and while the re-recorded version of ‘Think’ retains little oi the charm oi the original, it stands out in this company.
Mavis Staples has gone to Prince for help, and the outcome is a splendid album, with her voice rejuvenated and finding itself in the company oi some awesome material, from the pen of both Prince and some oi the other writers involved. The sentimentality oi ‘The Old Songs’ and the up-tront sparseness of ‘interesting’ are worthy of the admission money alone.
Finally, Chaka Khan has been dragged screaming to the remixer against her wishes (the musician’s equivalent of going to the dentist), and the outcome in most cases is predictable. As she said herself ‘Who can improve “Ain’t Nobody”?’, and the answer is, clearly, not any oi the assorted egos put up to the task here. Perhaps Chaka suffers less at the hands of the remixer than others put to the torture recently (eg, Blondie).
Even so, in the presence of greatness (even if it is past its sell-by date) you expect quality, and to be presented with mediocrity amounted to a major disappointment. (JW)
I Pop Will Eat ltseli: This is This (RCA). Big surprise: the first PWEI stuti I’ve actually liked since seeing the band play ditties like ‘Candyosis’ in grotty dives three years ago, before their discovery oi hip-hop. They’ve been a crap live band anytime I’ve caught them since then, but on this record they marshall their forces for a hammering shot at the white hip-hop/rock medal. lcan’t fault it. So there. (AM)
I The Dog Faced Hermans: Every Day Timebomb (Demon Radge). Voices say the Hermans are not long lorthis world. It’ll be a shame. On a good night their
collective energy can make them one oi the most electrifying live bands in Scotland. ‘Every Day Timebomb’ is as physical as their debut- the drums gallop, the guitar slices, the bass sends mugs rattling off the shelves, and the trumpet punches Spanish-shaped holes through the wall of sound — but they haven’t moved on anywhere since then, unless you count the spaced-out hoedown of ‘John Henry’, which doesn’t work at all. The best of this, say ‘Frock’ and ‘Beautilul’, holds its head high, but how much more is there in the Hermans that’s trying to get out? (AM)
I Wire: IBTABA (Mute). At first, ‘IBTABA’ sounds a little cold, and that’s not just because it’s a live album devoid of audience response. The first side is made up oi Wiresongs that coniirm they've recovered their former snappiness, absent on their comeback, ‘The Ideal Copy’. The second side is dominated by a lengthy electronic Cabaret Voltaire/New Beat-type groove, which gives way to more prime Wire. Their dry approach - modern-day craftsmen who’d rather utilise precision tools than get their hands dirty— can make Wire albums slow growers, and this one is a little like an aural workbench ior luture records. Though they might deny it, their music goes for the head rather than the heart, but three or four listens to ‘IBTABA’ unlock its charm and reaps rewards. (AM)
Alastair Mabbott picks the Listen! lortnightly Hit List.
1. NENEH CHERRY: Raw Like Sushi (Circa LP)
2. THE CLAN: The Rake (New Alba LP) 3. DANNY WILSON: The Second Summer oi Love (Virgin 45)
4. THE ADULT NET: Edie (Fontana 12in track)
5. DANNY THOMPSON: Beanpole (Antilles LP track)
6. THE PASTELS: Holy Moly (Chapter 22 LP track)
7. BOB MOULD: Workbook (Virgin America LP)
8. VARIOUS NEW ZEALANDERS: In Love With These Times (Flying Nun Europe)
9. CLANNAD: Past Present (RCA LP) 10. CHRISTMAS: Stupid Kids (IRS 45)
48 The List 16 — 2‘) June 198‘)