I Goodbye Mr Mackenzie: Love Child (EMI) ‘Love child. love child, Daddy's gone crazy, Mama‘s gone wild‘ should give you some clue that this isn‘t El Metcalfc‘s bid for the 1990 Booker. Probably the most commercial thing they‘ve got on tape at the
moment. but it feels like it was tossed out to keep up
their profile until the album‘s out. Catchy Bolancsque chorus. though. (AM)
I Nick Cave: The Ship Song (Mute) The disquietingly arid soundscape brings to mind Leonard Cohen. who, even in his most moving love songs could open the top of your skull and shovel in the fearoi the grave; and in Cave's universe, love and despair are inseparable bedfellows. ‘The Ship Song‘, pared down from
recording career was on hold lor the greater part at the Eighties. Indeed, alter starting oh the decade with a witheringly cool putdown oi Ronald Reagan in ‘B-Movie', his output has been slight apart lrom the follow-up electro-iunk single ‘Re-Ron’ in 1986- the most radical departure from the iazz-iunk style that has been his metier ior20 years—then, surprisingly,
i silence. The last time a Gil Scott-Heron album hit the racks was six years ago, and even that was a ‘Best Ot’ compilation.
Rather more worrying is that his last two visits to this area have showcased very much the same material as the tour-piece tormat he played with in His last Scottish dates proved that Gil 1935. one hopes that this was because Scott-Heron, iarirom being a mere there has been no new material to polemicist, has a showman’s knack tor promote Sinee1985’s ‘Re'hon'. father capturing an audience, whether Ioping than a eteahve dry-up. ‘soace Shuttle’.
Cave‘s usual wordiness. is on to the stage tor an easy-going rap the hlle 0' the Single Precedan his new one of his most affecting about the latest Presidential LP. suggests that It has been In the can pieces, and augurs well for doub|g-dea|ings’ or peaking with an i0! Willie.
the rest orthe album. intense tAngei Dust; babbling With no let-up oi the deprivation and melded '" 3m"- (AM) incoherently from a loetal position hypocrisy he has always attacked in
' "W" 1"“ ""“W behind his electric piano. song. we need him in the commentary mi" iii?" WWI”? ”, He’s no longer quite so youthiul as in box once again. (Alastair Mabbott) ﬁmsyb‘gauﬁi‘jﬁ $57ch the picture above, but it seems 5“ seehjhelen plavset the Queen's computers and strangely appropriate, since his He", Edinburgh on F" 9-
electro-shite. but a soulful. seductive rc-issue with a killer bass hook and Billie Ray Martin‘s milk and honey vocal. Along with A Guy Called Gerald‘s ‘Voodoo Ray‘. one ofthe finest house records produced. (TP) I Mary Coughlan: Invisible To You (WEI) God, does this woman sound like Tracy Thorn from Everything But The Girl. Jaunty but gentle. it has a sweet acoustic guitar sound with subtle keyboard embellishment and the sort of production that makes you think ‘Adult Orientated Rock'. But. thankfully. it lacks the melodrama ost Chapman, Ms Vega and Mr Cole. (TP)
I The Charlatans: Indian Rope (Dead Dead Good)
Not from Manchester. as
nam— . The mane attractio _
68 'IVOISSV'IO 9E )i'lO:l 98 NW 88 X308
some would have you habit;31:29:22.? insinuate...unite”... re-releasinothelirstsinoie. . ac (man). Mind “m, The Called Horse, do not encourage the Aside hem these "Phenngs 0' lllnlil Charlatans aren‘t exactly piercing oi the chest with sharpened eth'Wi and “We W" w'" 39“ BB trying to distance sticks and the suspension at the body Klng, Horse‘s ettorts at catching the themselves with their tram the apex at a ieepee with ropes public eye have not been what you’d o e “3’95"“dindinu'Tk' tied to said slicks. Such antics are ca" gallopihg- This, "tough. caused ""d'f‘n R05” 'Celndemt‘ neither big norsmart, and indeed, nor the hand no sleepless nights: ‘No. without some pain. And so, Horse, the neVe'; and l'” tellyou WhV-' Please d0- Rmcs‘ with "schc‘m band, stick to other, saier pleasures. ‘we the The Tithe "‘ 87v 3"“ "We 3'9 u u Hammond organ, but Like making music oi the burning blue 50 many WW” "0'" "‘9" Who really Tim's sweet-as-honey soul variety. like us. And we’ve never lost them.‘ vocals bear more than a ‘We've been away lor some time , , ,' To these old friends Horse hope to . . ' s . - ; Passing '“thl‘incc ‘0 says the cryptically named singer add some new buddies with their Kenny M‘lt meson work's ltf "in B"3“."‘s‘ (L5) called Horse. She‘s talking about the textured, classic sound. As torthe Polish composer Krzy szto ,1 i ’ ' ' ' ' ' ' I T T ' ‘ ’ 1 ,‘ f gap oi nigh on a year between Horse, Horse voice. problems With these PCHdCYCCki ‘5 awkward ' " ‘i .' i the band, releasing theiriirst sin le lor mysterious ‘nodules’ has Clearly leh n0 ° s s ‘1 Capitol, ‘You Could Be Forgiven‘?and oarbuncles on the larynx. ‘The Journcy from L m im, the appearance oi its successor, ‘The Speed . . .' smoothly demonstrates that IC fflbic to (V0 W) Id“ Speed oi the Beat at My Heart’. These Horse's mustang the" is deﬁnitely Sh" Romantic. missing months were not spent eating mighty. Not as sore as those stinks pemmican on an Indian reservation, though. (Craig McLean) The visit of Polish composer ‘but recording and remixing their Horse play Glasgow Mayiair on Sun 18, Krzysztot' Penderecki to conduct the imminent album, and sort or and Edinburgh Venue on Mon 19. Cracow Philharmonic. the lust oi the
28 The List 9 — 22 March 1990