I 29 Palms: Magic Man (IRS) One would gather from this that they like their Van Morrison. and perhaps feel a kinship with some of the Scottish acts ofthe past few years. There's no harm in that. considering they've produced a solid (if a bit anonymous) debut. with all the necessary piano and Hammond sounds. Very Celtic. as that style has now unversally become known. but likely to be overshadowed by others in similar vein. (AM) I The Beautiiul South: A Little Time (Go! Discs) Painful Dolly-l’arton-on-helium backing vocals intrude like some irritating gatecrasher on an otherwise standard Beautiful South offering— inoffensive. featherweight pop punctuated with meandering brassy interludes. Without the dippy hooks of ‘You Keep it All ln’.The Beautiful South Song becomes an incredibly bland affair. and this just floats past barely ruffling the conscience. (FS)_ I Smith and Mighty: Anyone. . .(Remix) (ttrr Records) That’s ‘Anyone . ..‘ as in ‘Anyone Who Had a Heart’. When this cover was first released in 1987. it apparently created a national focus on Bristol‘s dance scene. I can only assume that three years on. and a lot of dance music under the bridge. its influence has been considerably diluted through remix and general saturation of the market. And how could anyone hope to eclipse Cilla‘s dazzling rendition in the first place? (PS) I The Beyond: No Excuse (Big Cat) Mistake numcro uno was printing the lyrics on the sleeve. lfit had been left to the listenerto decipher the embarrassing ‘topical’ comment. The Beyond might still have emerged with some lyrical credibility. Fortunately the blunders end there. The press release issues a much-needed disclaimer over the song‘s relevancy to the Gulf Crisis and the reassured mosher can sit back and enjoy some Chilli l’cppcrs/ Soundgarden-type funk-thrash. Shadesof Jello Biafra in the vocals. and. lo and behold, a live




Back in the groove

Alastair Robertson has long supported US tenor saxophonist Spike Robinson j through his HEP Records outlet, but has 2 equally been chatting at the lack oi opportunities to hear that excellent , musician live in Scotland. Frustrated at the reluctance oi the promoting agencies to set up a return visit atter his Duniermline Jazz Festival appearance last year, Alastair has decided that sell-help is the only answer, and has arranged a Oueen's Hall date tor Spike on 5 October, in the company oi the Brian Kellock Trio, a judicious pairing ior what should be a 5 very enjoyable occasion. ;

It will be a busy start to the month ior I Kellock, since the John Rae Collective also launch a tour-date Scottish tour, opening at the Riverside Club in Glasgow on 10 October. The Collective continue to develop along highly productive lines, although their eagerly-awaited debut album, ‘The Dig It Smiles Again’, has still to see the light at day trom the iinancially troubled lona Records.

The Coilective‘s tour marks the return oi the Scottish Jazz Network to the promotional stage, ioliowing a structural re-organisatlon. As well as direct promotion, the SJN will now be acting as a development agency, and are able to otter advice and booking taciiities to other promoters and organisations around Scotland. in that capacity, they have assisted several Festivals, including Stirling earlierthis summer, and now Motherwell Music Festival, where the jazz names include

a». .

.. ,. / Spike Robinson: US tenormaestro

the Tommy Smith Quartet and Fionna Duncan.

The SJN have also booked this year‘s attractive Duniermline Jazz Festival on 14 October, oi which more next issue, and the not to be missed Very Big Carla Bley Band which will play its only Scottish date at the Aberdeen Alternative Festival on 18 October. Subsequent tours will include the state at the art tusion outtit Roadside Picnic in November and the mercurial Steve Williamson in January. With Assembly Direct also launching their new Ferguson-sponsored season later this month, Scottish jazz ians have much to look lorward to atter the customary September drought. See Listings tor concert details. (Kenny Mathieson)

In between days

So you want to be a rock’n’roll star? You want recognition, you want devotion, you want ABR men beating a path to your door. And you want to come away with a pretty penny at the end ol the day as well. So what do you do? The gospel according to Rachaka says: stick to your guns, do what you want to do and let the mountain come to Mohammad. Take the germ at an idea, add the iiexlbllity oi a venue like the Tramway and the beneiicence at a 1990 budget, mix in some triends also of a musical bent, and shake vigorously. Result: Music in Between, an esoteric cocktail comprising six concerts, tour groups and a glut oi aspirations. Whether by deiault or by administrative cock-up, responsibility ior organizing the event landed in the lap oiJane McFarlane, cellistwith the series' backbone, Rachaka. Initially, the idea was tor a series oi six Rachaka

concerts to slot between the three

35'] he List 28 September 7 ll October 19‘)”

separate works oi the Wooster Group residency (hence the name), but when that began to look like artistic and iinancial overkill, Jane enlisted the services oi triends Babel, Louise Rutkowski and Ross Campbell to diversitythe programme.

However, despite such musical breadth, there is more to bind the acts togetherthan mutual acquaintance, as Jane explains: ‘Everyone is at the same stage. We‘re getting a degree at notoriety in the music world and we want to promote ourselves. When you say words like “iniluences”, “styles”, “genres” and “ambience” it sounds as it it's got nothing to do with enjoyment, but all the music is ditterent and exciting.’

it’s the ‘ditterent‘ ratherthan the ‘exciting’ that has been latched on to, particularly by Rachaka enthusiasts.

Which is another good reason ior calling this series ‘Music in Between'. Rachaka diversity so much that their perch is becoming increasingly precarious. But along with optimism about the event’s potential, goes optimism torthe iuture in general: ‘Maybe we‘re creating another category that someone else will break down in a law years.‘ (Fiona Shepherd) Music In Between, Tramway, Glasgow, Tue 2, 9 and 16 and Wed 3,10 and 17.

sell out

Andrea Baxter tracks down drum virtuoso Keith LeBlanc. one-quarter of the compelling outfit Tackhead.

The new 'l'ackhead album is called Strange Things: a more subdued title than their last. Friend!) as a Hand Grenade. a hard-edged. street-sussed. highly danceable funk rap collision. 'l'ogether with a series of blistering live shows. Friend/y us a Hand (irenude capitalized on their existing cult audience. which lo} ally followed them through their various . incarnations as The Mal‘fia (backing Mark Stewart) and Barmy Army among others. With roots in the underground urban dance scene of

l l