I Tesla: Five Man Acoustical Jeni (Gallon) ‘We're gonna have a good time, ain‘t we Philadelphia? Let‘s kick some ass!’ Phew! This may be billed as an acoustic set, but subtle it ain’t. Somebody should at least have informed the drummer, who, in an hour of huffing and pounding, seems scarcely to have noticed that someone switched off the electricity a long time ago. Tesla play their open-tuned steel-strings the way they would flagellate Les Pauls in a balls-out confrontation with Iron Maiden. lt’s downhome, all right, if your home happens to be Dodgers Stadium.

‘I gotta tune up—weli, tune down, actually,‘ announces one of the guitarists helpfully, for any of us who may be trying to have our own acoustical jam at home and appreciate the efforts at technical accuracy. He doesn't say anything about tipping a pint of Jack Daniels down the gullet whilst gargling the opening lines of ‘Freebird’, but perhaps he thought we were doing that anyway.

A party album on a par with No Sleep Til Hammersmith, or, better still, Dare. l kid you not. (Alastair Mabbott)

I Brenda Kahn: Goldilsh Don‘t Talk Back (Community 3) The debut album from New York ‘anti-folk‘ artist Ms Kahn begins unpromisingly with a three-song descent into clumsy anti-American rant, epitomised by ‘Eggs on Drugs‘, a bad title fora worse song. You know the kind ofthing— those ‘political’ songs pimply youths trot out at student revues, all angst and acoustic guitars.

However, just when you think that Brenda Kahn might be a Yankee Billy Bragg in drag, side two arrives to bring magnificent, blissful relief. ‘lf Red Were Blue’ swaps the propaganda for personal observation and it works wonders, drifting along languidly a la Edie Brickell over a jazz-blues beat. In fact, when the lady has got a full band behind her, things brighten up immensely, with the swingalong Mary Margaret O’Hara verses of ‘This Land Is My Land’ and lively sentiment of ‘Waterloo Bridge’ eventually redeeming the project. Ultimately, and apart from the beautiful closing track ‘Eulogy For My Next Lover‘, it’s the solo numbers that let this otherwise attractive collection down. (Paul W. Hullah) I Damn: Bari Market: You‘re Ontae Plums (Grutl WII) At a time when any underground movement in Glasgow tends to be confined to Strathclyde Transport‘s ‘clockwork oranges’, Dawson are a necessity as much as a delight. in terms of the city's loosely defined thrash subculture, Dawson are at the top of the tree , marginally ahead of Badgewearer and Subliminal Girls. After all, they own a record label. However, you get the impression that the aspirations end there, which is a pity because it would be a shame to confine their national exposure to one John Peel session and a few cursory spins of this particular platter, which confirms the energy of the gigs, while adding multiple strings to their bow. Dawson move straight past Napalm Death, and beyond the quirky Dog Faced Hermans even, to deliver a funked-up as

often as punked-up set of blink-and-you’ll-miss- them Spiked numbers. There’s even an untitled (well, titles are hardly a priority here) ten-second rave masterpiece to close the album a confusing overture for Son of Barf Market perhaps? (Fiona Shepherd)

I leinyis: lelnyls (Virgin America) Oh dear, I think this record is trying to be sexy. Singer, Christina Amphlett, clutches herself on the sleeve wearing what appears to be a long string vest. To a soft rock backing she whispers 'A fool could see/ Just how much I adore you/ I get down on my knees/ I do anything for you’. Seductive or what? Collaborators Tom Kelly and Billy Steinberg, who have worked with Heart, Madonna, Cyndi Lauper, Tina Turner and Whitney Houston, get the best deal of all, managing to offload their second-rate songs on a band it would seem are too desperate to care. If plodding MOR rock and lyrics peppered with male fantasies are your idea of fun don‘t buy this record, get help. (James Haliburton)

I Various Artists: international (Mute) For over a decade , Mute Records has been home, at some point in their careers, to some of the most important artists working on the edge of the mainstream - DAF, Fad Gadget, Throbbing Gristle, Einsturzende Neubauten, Nick Cave . . . the list seems endless. The commercial success of Depeche Mode and Yazoo in the early 80s kept the label's profile and financial situation well above that of other independent labels. International explores its continuing commitment to the avant-garde and pop charts alike, showcasing

newer singings like lnspiral Carpets, AC Marias, Fortran 5 and Renegade Soundwave alongside stalwarts like Cave, Depeche Mode, Laibach and Erasure in the form of hard-to-find versions of their songs. For those well aquainted with Mute, it‘s a fine document of the label’s enduring quality control and for the rest it’s the perfect way to see just why Mute has survived, seemingly uncorrupted, for the past twelve years. (James Haliburton)

I Saxon: Solid Ball Oi Rock (Virgin) Good bunch of lads, Saxon. If, like me, you’re ashamedly old enough to recall the sub-AC/DC thumpery of ‘Wheels Of Steel’ and ‘747 (Strangers in The Night)’, then read no further. Twelve years and ten albums on , nothing’s changed. Yes folks, this is Cock Rock at its groan-inducing loudest, its most insidiously sexist. Hey, Euro-girls, there‘s a track called ‘Bavarian Beaver’ wonder what that one’s about, nudge nudge! Bamsley bred, these boys look to Gillan, Blackmore, Osborne and Butler for inspiration, upholding a tradition they have no'need (nor desire) to reinvent or change. ‘Ten years of denim and leather‘, they boast on their old anniversary merchandise, and we’re squarely entrenched in Spinal Tap land: ‘Altar Of The Gods’, ‘Overture In B Minor -— Refugee’, ‘l‘m On Fire’. See, I don't even have to describe the music. You can hear it already. That‘s why regressive , 70$ pomp-metal like this is such a reassuring medium. lt’s got a language all of its own, self-contained and self-defining. Proof: ‘Bavarian Beaver‘ is an instrumental, but 1 bet

you still got the joke! Ha ha! Brilliant. (Paul W. Hullah)

I Steve Reich: The Four Sections (Eleiitra Nonesuch) The Four Sections is a major new addition to Steve Reich‘s steadily expanding discography. The four parts of the work examine three sections of the orchestra (strings, percussion and winds/brass) before bringing the full orchestra together in the final movement. it is written and scored in the more expansive orchestral style of The Desert Music, drawing on the rhythmic pulse of his earlier, sparser minimalist pieces, but with a much richer and more fully-fleshed harmonic and textural framework.

A cooler work than the brilliant Different Trains, it is nonetheless a superb and highly enjoyable piece of music, and is coupled on the disc with the Music for Mallet Instruments, Voices and Organ from 1973, a fine example of that spare early register. The London Symphony Orchestra under Michael Tilson Thomas perform the Sections, while Music is by his own ensemble, Steve Reich and Musicians. (Kenny Mathieson)

I Evidence: See You Later (Triple Earth/Trio) Reginald Perrin‘s super-eclectic septet Evidence have been one

ethnic and world music influences within a jazz-oriented context , but have not yet achieved the recognition their vibrant, infectiously joyful music merits. The release ofthis album may help expedite that failure. and will set your feet tapping. Material is all written by Perrin, with the exception of his own highly distinctive (and somewhat zany) rcggaefied arrangement of Eliington's much-covered ‘East St Louis Toodle-oo‘, while influences range from hop to salsa and all points in between. Reginald survived the culture-shock transition from New York to Helensburgh, and deserves to be heard. Be the first on your block. (Kenny Mathieson) I The Throhs: The Language Of Thieves And Vagabonds (MBA) Already favourites with Kerrang.’, and it‘s easy to see why. if Sweetheart (honest. that's what it says here) didn‘t sound quite so much like Alice Cooper, this could almost be a great album. As it is, it's a fine collection of state-of-the-art rock music, heavy on guitar solos and anthemic choruses. if you still care about the real music vs sampling debate then The Throbs are the boys for you - back to basics rock‘n‘roil, nothing new but not altogether derivative. (James Haliburton)


I GLASGOW BARROWLAND (041 226 4679) Jane‘s Addiction, 8 Mar; Jimmy Somerville, 11 Mar; The Big Dish, 13 Mar; The Pogues, 17 Mar; Goodbye Mr Mackenzie, 22 Mar; The Silencers,

19 Apr; Christy Moore,

4 May.

I GLASGOW CONCERT HALL (041 332 3123) The Supremes, 15 Mar; Everly Brothers, 18 May.

I GLASGOW PAVILION (041 332 1846) Gary Numan, 17 Mar; Tanita Tikaram, 18 Mar; lnThe Midnight Hour, 2—6 Apr. I GLASGOW SECC (041 227 5511) AC/DC, 20 Apr; Gloria Estefan, 23—24 Apr; Paul Simon, 31 May-1 Jun; Whitney Houston, 8 Jun, lnspiral

Carpets, 14 Jun; Chris Rea. 28 Nov.

I EDINBURGH OUEEN'S HALL (031 668 2019) Paul Brady, 5 Apr; The Silencers, 13 Apr.

I EDINBURGH PLAYHOUSE (031 557 2590) Freddy Jackson, 10 Mar; Deep Purple, 11 Mar;Tanita Tikaram, 17 Mar; Judas Priest, 28 Mar; Roy Chubby Brown, 29 Mar; Megadeth, 30 Mar; Alexander O‘Neal, 5 Apr; The Everly Brothers, 26 Apr.


I EDINBURGH OUEEN'S HALL (031 668 2019)John Rae Collective, 8 Mar; Tommy Smith, 15 Mar.

I EDINBURGH USHER HALL (031 228 1155) Edinburgh Highland Reel & Strathspey Society, 9 Mar; Edinburgh Gaelic

Choir, 23 Mar.

I GLASGOW CONCERT HALL (041 332 3123) Harry Connick Jr, 17 May.


I GLASGOW CONCERT HALL (041 332 3123) Boxcar Willie, 9 Apr; Howard Keel, 29 Apr; Elaine Paige, 13—14 May. I GLASGOW PAVILION (041 332 1846) Freddie Starr, 16—18 Apr; Billie Jo Spears, 28 Apr; A Slice of Saturday Night, 27 May—1 Jun; Glen Campbell, 15 Jun.

I GLASGOW SECC (041 227 5511)Tom Jones, 4 Apr; Shirley Bassey, 15 May.

I EDINBURGH PLAYHOUSE (031 557 2590) Johnny Mathis, 6—7 Apr; A Slice of Saturday Night, 3—8 Jun; James Last, 11—12 Jun.


I GLASGOW CITY HALLS (0412275511)SCO,27 Mar; SCO, 3 Apr; SCO, 26 Apr.

I GLASGOW CONCERT HALL (041 3323123) BBCSSO, 8 Mar; RSNO, 9 Mar; Moscow State SO, 11 Mar; RSNO, 16 Mar; BBCSSO, 22 Mar; RSNO, 23 Mar; BBCSSO, 5 Apr; RSNO, 6 Apr; SCO, 10 Apr; Oslo Phil, 12 Apr; RSNO, 13 Apr; SCO, 17 Apr; RSNO, 18 Apr; RPO, 19 Apr; RSNO, 20 Apr; BBCSSO, 26 Apr; RSNO, 27 Apr; Concertgebouw Orch, 21 May; LA Phil, 25—26 May; Tokyo 80, 8 Oct; Leningrad Phil, 21 Nov.

I GLASGOW RSAMD (041 332 5057) Mozart From A to Z, 8—9 Mar; Midday Concert, 8 Mar; Friends

of the Samaritans Concert, 8 Mar; Junior Dept Concert, 9 Mar; GCO, 10 Mar; Choral Concert, 14 Mar; Midday Concert, 15 Mar; Leningrad Exchange Concert, 18 Mar;

The Wallace Collection, 21 Mar; Midday Concert, 22 Mar; SEMC (Monteverdi), 22 Mar; Junior Dept Concert, 24 Mar.

I GLASGOW THEATRE ROYAL (041 331 1234) Scottish Opera: Falstaff, 16, 20, 27 Apr, 2, 22 May; The Barber of Se ville, 26, 30Apr,4,9, 17,25 May; Regina, 16, 18, 21,23 May.

I EDINBURGH PLAYHOUSE (031 557 2590) Scottish Opera: La Boheme. 19. 22 Mar; Fidelio, 20, 23 Mar; The Cunning Little Vixen. 21 Mar.


i l

HALL(0316682019) Meadows CO, 10 Mar; Auriol String Quartet, 11 March; Steve Martiand, 18 Mar; SEMC, 21 Mar; SCO, 30 Mar; SCO,6 Apr; Scottish Ensemble. 14, 20 April; SCO, 27 Apr; RNCM Wind Ensemble, 29 April; SCO, 2 May; Meadows CO, 18 May;Sinfonia, 16June. I EDINBURGH USHER HALL (031 2281155) RSNO, 8 Mar; George Watson‘s School Concert, 14 Mar; RSNO, 15 Mar; RSNO, 22 Mar; BBCSSO, 27 Mar; RSNO,5 Apr; EYO,7 Apr; Grand Piano Classics. 10 Apr: SCO._ll Apr; RSNO, 12 Apr; SCO, 18 Apr; RSNO, 19 Apr; Georgian State Symphony, 21 . 23 Apr; RSNO 26 Apr; Kevock Choir, 27 Apr; ERCU. ll May.

The List 22 February 7 March l99| 31