October 21, 2020

1986-01-11 – The Morning Call

1986 01 11 The_Morning_Call_Sat__Jan_11__1986_

. end of each Side, Palmer
calms the waters for a safe
return to shore with the en-
ticing R&B of "Trick Bag"
and a short reprise of the ti-
tle cut. Palmer, who recently
dallied with the Duran Duran
spinoff, Power Station,
seems in control of the
mood changes and musical
effects, but the concentra-
tion of dance-oriented rock
material makes the whole
effort seem superficaal. Fans,
however, wvll want to go
with the flow of "Riptide"




Genesis guitarist Mike
Rutherford is not new to the
solo record club, but this
one is his most adventurous
release yet. With a little help
from the Mechanics — vo—
calists Paul Carrack and Paul
Young, keyboardist Adrian
Lee and syn-drummer Peter
Van Hooke -— he has
penned an exciting collection
of ’805 keyboard—based mu-
sic. (Must've hurt for a gui-
tarist to pull his strings like
that.) Already a hit is the
haunting "Silent Running,"
but don't miss ”All I Need Is
a Miracle." And better still is
the straightforward, bright "I
Get the Feeling." ”Taken
in" is a bit on the lounge act
side. but may find favor with
the over-40 crowd. "Par
Avion" has a slow-bui|d at—
tack much like recent Phil
Collins material. And if
you've missed Genesis in
the band's early years,
check out the artsy "Hang-
ing By a Thread" and "A
Call to Arms." The key-
board armament makes
them attractive even today.
Rutherford is Mr Good-
wrench here,


Under A Raging




Question; Is "Under A
Ragin Moon" Daltrey's
"Big hill?” lt sure sounds
that way, as he seems to be
looking back longingly at the
days when his hair was long
and Keith Moon was blow—
ing up his drum kit But
though Daltrey yearns, it
also seems like he IS coming
to grips wnth not bein the
xoung lion any more rowls

oger, on "Move Better in


the Night,“ "Come on, I'm
ready to roar." That's good
news coming from one of
rock's all-time great voices,
who sings wuth passion and
adroitness here. The songs,
outside of two weak Bryan
Adams tunes, are hook-lad-
en and tack-sharp pop 4 The
title song, written by John
Parr (of all people), is espe-
cially pleasing, with its
rock-hard arrangement and
thundering, quick drum
solos by no less than seven
drummers. Extra—special ku-
dos go to members of Big
Country and others who
back Daltrey expertly and to
producer Alan Shacklock.
Like Pete Townshend, Dal-
trey seems to have found a
meaningful life after The

6;” D“, L,



it PM


“as- )Nxf'tz‘xzh ~M' ,wx‘b-r ‘


"I ain't gonna preach, no,
I ain't gonna teach," Alarm
vocalist Mike Peters cries in
"Deeside," a gritty anthem
about unemployment that
sounds remarkably like The
Clash at its peak That
phrase might also apply to
the underrated Welsh quar-
tet's new attitude. If you
were turned off by the min-
istry of British acoustic
bands singing about all that
is righteous vs. all that is un-
just, this is the first Alarm al-
bum that's goin to interest
you. Sincere fee ings and in-
tegrity remain, with a new
depth of message and, bless
their souls, some freshly un-
leased rock 'n' roll energy.
Now that he's gone beyond
acoustics, guitarist Dave
Sharp stands riff to riff with
U2 fretrnan The Edge and
Peters slaps statements
with the heartfelt emphasis
of a Bono, a Strummer, or
even a Springsteen. All of a
sudden, The Alarm really
rocks. Best cutS' all 11 of


What A Life!

Char ing, hard-edged but
thought ul rock IS what the
Dwnnyls are about, and wuth
this second LP, the Aussie
group continues to fare bet-
ter, artistically at any rate.
than most other of their
Down Under counterparts.
The ubiquitous Mike Chap-
man has done a good pro-