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42 The List 3L 16July 195i


I Oeee-Lite: Infinity Within (WEA) Mid-1990. and Deec-Lite burst onto a waning dance scene with stunningoriginality‘ ' everybody dances for joy. Mid-1992. and Dcee-Litc‘s new single fails to hit the Top 40‘ nobody really notices. Has everybody lost their senses? Are Deec-Lite not the unchallenged Royal Family ofdance music? Alas. no. as it appearsthat the shiny happy people of two years ago have grinned themselves todeath. ‘lnfinity Within‘ presents them in serious mode. with their former I positivityseverely l tempered by the excesses i of war and (environ)mcntal destruction. Similarly. the psychedelic groove sound which so excited in 1990 has been abandoned fora more mellow house sound. and much ofthe album never seems to get going. Sadly. it seemsthat they have put all their energy into the consciousness-raising lyrics and forgotten about the tunes. Infinity may draw to a close sooner than they'd wished. (Philip ()gilvie) . I The Radium Cats: Other Worlds (Nervous) They've been threatening it for years. but at last the Edinburgh trio with the ceiling-grazingquiffs make their debut on Britain's leading psychobilly label. And it‘s the rockin‘est thing too. The extremely attractive. expensive-looking sleeve is a real eye-catcher. but the titles say it all: ‘Surfin‘ DOA‘. ‘My Girl Is Like Uranium'. ‘Zuvembi Stroll‘ - you name a ghoulish activity and they'll drape it in leopardskin. whack it behind the driving seat of a pink Caddyhcarse‘ flying saucer and kickstart the whole shebang with a few tasty guitar twangs. Fun for all the (Addams) family. (Alastair Mabbott) ITim Whitehead: Authentic (Jazz House)/B

Shops for the Poor: Visions

and Blueprints (No Wave) t Two highly contrasting

facesof British jazz. Ex-Loose Tubes saxman Whitehead is thoughtful and considered in his

exploration of

conventionally structured harmonic and rhythmic

I modes. with deft support

from pianist Pete Jacobson. B Shops. on the

_ other hand.comeblasting

in front left-field. fortified

by Peter Brotzmann's

roaring tenor sax. in a series of short. highly intense free-form ensemble collisions over clangorous industrial

. bass-lines. augmented by

two longer pieces. Both

' are better dipped into

than swallowed whole. (Kenny Mathieson)

I Various: Mo‘ Money Original Soundtrack (MM) Following the phenomenal success of the Juice soundtrack. producers and songwriters Jimmy Jam and Terry Lewis take on their first film score. In Britain. their work tends to be seen as emotionless studio-based pap. but they command the respect of

the industry. as can be

seen by the wealth of talent here: Luther Vandross (going swingbeat) and Janet Jackson: consistent soul crooners and lurvers Ralph 'I'resvant. Johnny Gill and (‘olor Me Badd; a brilliant street edge from MC Lyte. Big Daddy Kane and Public Enemy's Flavor Flav (at his best). and excellent uptempo performances from Mint Condition. Sounds Of Blackness and (‘aron Wheeler. The perfect tape to play in that open-top jeep that so many of us don‘t possess. (Philip ()gilvie)

I Elliott Carter: Orchestral Works (Virgin) (‘arter is regarded by some critics as the greatest living composer. but his work

requires sympathetic

listening. and highly

. committed performers.

(‘onductor ()liver

i Knussen and the excellent i London Sinfonietta are

undoubtedly that. and deliver superbly pointed and highly accurate performances ofthree diverse works. the tripartite Three Occasions for Orchestra ( 1986—9). his linear but complex Violin ( '(mcerto ( 1990) (both receiving their first recordings). and the rigorously conceived Concerto for Orchestra (1969). All three reveal his constant concern for structural lucidity within their challenging musical vocabulary. (Kenny Mathieson)


I Sweet Jesus: Real Babe (Rough Trade) ‘l‘on off-hand for its own good. ()ver a thin squall of guitars Sweet Jesus apply a slight patina of passion. But such is the gasping vagueness of the vocals. ‘Real Babe' Hits by leaving only the most indistinct of impressions. ((‘Mcl.) ' I Yo Yo Honey: Don't Come To Leave (Jive) Freudian slip of the fortnight. as it appears that this deep soul searcher is to be the swansong of Yo Yo l loncy in their current set-up. i.e. Mani and Anita are to part. I‘m afraid they‘re likely to leave without a hit. for despite wonderful mixes by Tony l lumphrics. this will struggle to hit Top 40. (P()) I Praga Khan: Rave Alert (Profile) ((i)ravc alert. The record companies and bedroom boffins have flooded the market with one piece of rave dirgc too many and the scene will soon die. Antidotes are to be found in mellow summer downbeats. So go on Praga. you keep . turningoutthis‘tcchno energy' drivel and the sooner we can all get back to the real world ofdance music. (P()) I Dina Carroll: Ain't No Man (A&M) Every once in a while. a singer turns up with an amazing ability to reach those notes which 5 ordinaryvocalistscan't. Dina (‘arroll used to sing with Quartz but outgrew them. so into the studio she went with Nigel Lowis and C. J. Mackintosh. The result is a most brilliant and sophisticated blend of urban dance and classical soul. (PC) I Carlene Davis: Dial My Number (Island) Only the West Indies could make a totally horizontal club record. and this ditty spent no less than ten weeks at the top oftheir hit parade. They‘ve tried to make it a club record but it sounds as ifeven David Morales has been on the ganja. More I: Aswad/Maxi Priest than SL2. I‘d advise you to open a can of Red Stripe l and take it ceeasy. (PO)