Background Nattering and Hot, Hot Percussion
`.- Sounds fill every crack on frrf t Sheila E.'s Romance 1600: Be -bop bass, timbal rolls, background nattering and hot, hot percussion. Sounds fill every crack: Be -bop bass abruptly in September of '77 when lines, trademark timbal rolls, back- Marc Bolan, the elflike singer/songwrit- ground nattering that sounds like stage er/guitarist/front man of the group, was actors in a crowd scene, and hot, hot killed in a car crash. percussion. Busy as it is, you can still The material here is from 1969 to make out individual instruments and 1973, the period of T. Rex's fullest flow- virtuoso turns. For a self -produced al- ering. Songs like "Ride a White Swan," bum, there's a healthy sense of per- "Jeepster" (which I once named a par- spective. akeet after), "Telegram Sam," "Metal Of course, endemic to anything self - Guru," and, of course, "Get It On" produced is self-indulgence. Ms. Es- sound as fresh now as when they were covedo's voice, while adequate, is new-surprisingly so. Other equally fine I. hardly the equal of her or her band's cuts have never been on a U.S. album playing. Her occasional spoken -word before, among them "Hot Love," "Raw 1.11-2b bits are embarrassingly inept. Can't Ramp," "Solid Gold Easy Action," "The say she doesn't have her own sound, Groover" and "Born to Boogie." 15, though, and her songwriting already Tony Visconti produced everything shows signs of shedding its purple here, and, more than a decade later, it Prince-liness.
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