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Breakthroughs

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Breakthroughs - 516-248-9600 " Number 53 Volume 11 No. 7 Published biweekly November 12,1984 by CMI Media 388 Repoders 834 Willis Ave., Albertson, NY 11507 FRANKIE GOES TO HOLLYWOOD BIG COUNTRY REDUCERS ..... • Welcome To The Steeltown Let's Go! Pleasuredome Mercury-PG Rave-On Island N/1/11/11 RADIO CLUBS RETAIL 1. U2 DAVID BOWIE U2 2. General Publ c Frankie/Hollywocd Prince 3. Let's Active Prince David Bowie Breakthroughs RADIO CLUBS RETAIL 1. REPLACEMENTS CULTURE CLUB HONEYDRIPPERS 2. Orch. Manoeuvres Hall/Oates General Public 3. XTC Maria Vidal XTC New Music (noo myoo-mic), n. 1. fresh, modern, novel, different, striking, [ better, the latest, anew. 2 the best rock, jazz, reggae, soul, dance music— from the world's noet innovative and dynamic musicians. CMJ New Music Report, November 12, 1984 RADIO CLUBS RETAIL 1. REPLACEMENTS 1. CULTURE CLUB 1. HONEYDRIPPERS 2. Orchestral Manoeuvres 2. Daryl Hall/John Oates 2. General Public 3. XTC 3. Maria Vidal 3. XTC 4. UB40 4. Sheena Easton 4. Replacements 5. Devo 5. Bronski Beat 5. Barbra Streisand 6. Honeydrippers 6. Bruce Springsteen 6. Chaka Khan 7. Get Smart 7. General Public 7. Style Council 8. Ministry 8. INXS 8. Devo 9. Nails 9. Paul McCartney 9. Daryl Hall/John Oates 10. Captain Sensible 10. Apollonia 6 10. Lou Reed RADIO CLUBS RETAIL 14 -ve 1,44arietia4k2 fire 1. U2 1. DAVID BOWIE 1. U2 2. General Public 2. Frankie Goes To Hollywood 2. Prince 3. Let's Active 3. Prince 3. David Bowie 4. Aztec Camera 4. Romeo Void 4. Bruce Springsteen 5. dB's 5. Wham! 5. Tina Turner 6. Ramones 6. Chaka Khan 6. Stevie Wonder 7. David Bowie 7. Tina Turner 7. Talking Heads 8. Hoodoo Gurus 8. Diana Ross 8. Madonna 9. Talking Heads 9. Culture Club 9. Huey Lewis And The News 10. Del Fuegos 10. Bronski Beat 10. Julio Iglesias -2- Columbia's Got The Music That Goes The Distance... ,a a I ji tout r THE BANGLES kr , 1984's #1 Breakthrough Band P . A.‘ e r£ a ll rei e°1/(dere EUROGLIDERS WRAS, WRPI, WICB, WOSR, WPGU and dozens more are gliding. Are You? 1111 PHILIP BAILEY From the LP destined to be the crossover hit of the year comes "Easy Lover," the sensational duet with Phil Collins. , o ROMEO VOID Your #1 Band is on the road. ,s .‘ Catch them if you can! c, Î ... And We Weleome Y OU To CM Music Marathon &:. the 1984 New Music Awards Colombia Record , ‘icmi. ‘i-ti.t DeNclopmelit e.* / 1PSEUDO ECHO Rid yourself of unsightly ivy. Tests have shown the ingredients in these three albums to be a significant anti-ivy agent. Used frequently, and with significant decibels, ivy has been demonstrated to scream, shrivel, and expire within weeks of the first blast. Go off the wall. Try new Pseudo Echo, The Del-Lords, and—for those hard to reach corners—The Red Hot Chili Peppers. From the laboratories of EMI America. The halls of rik EMI ivy will never be the same. Ni AMERICA CMJ New Music Report, November 12, 1984 JACKPOT! Essential New Music—As chosen by NMR's editorial staff These records demand your attention * * * Jackpot Stars * * * 11+ FICT.^e,t kiarnr .. Si 01X >lee FRANKIE GOES TO HOLLYWOOD Welcome To The Pleasure Dome (Island, 14 E. 4th St., 3rd Floor, New York, NY 10012)—A challenge to your every expectation—this is grand rock and roll cabaret at its very best. On this musically conceptual and lyrically (often) off-the-wall project. FGTH parades its faults (whiny vocals, over-dependency on production to cover lack of depth) with as much audacity as its strengths (Trevor Horn's grander-than-possible production, often brilliant hooks and lyrics). And they often go over the edge, only to bounce back with a smile. Why cover "Born To Run"? "Do You Know The Way To San Jose"? "Ferry Across The Mersey"? "War"? WHY NOT? None are "great" but all are brilliant in their sheer conception and execution. As is much of the rest: "Relax" and the whole suite on side one (climaxing with the title track), plus "Two Tribes," which is just brilliant. Why play Frankie Goes To Hollywood? They do whatever they feel like and do it very, very well. They've got balls. BIG COUNTRY Steeltown (Mercury, c/o PolyGram, 810 Seventh Ave., New York, NY 10019)—Musicians learn quickly that more is not necessarily better. Yet on Steeltown Big Country says to hell with that—piling on more guitar parts, heavier drums and even SHADOWFAX thicker Steve Lillywhite production—to surprisingly good effect. The only band member to show any subtlety whatsover is vocalist/songwriter Stuart Adamson, who sings with a little less hysteria, fewer yelps and knows when to shut up and let the music carry the day. And he's writing better lyrics, too, singing about love without mountains exploding or fields catching fire. Side two is where it all comes together—try "Tall Ships Go." "Girl With The Grey Eyes," "The Great Divide" and "Just A Shadow." REDUCERS Let's Go (Rave-On, P.O. Box 1388, New London, CT 06320)—The Reducers haven't wasted any time in getting their 2nd album out. This time they've eliminated any quirky over-anxiousness that at times permeated their self-titled debut LP. The band has cleaned up and filled out their sound (e.g. sustained rhythm chords) without losing any of its fire. There's plenty here that ROCKS such as "Rocks," "Let's Go," "Maximum Depression," "That's Fine" and "Your Mother." The songs are treated in the concise, classic rock form (two or three minutes, keep the change) and speak of more of the same suburban, post-teen dilemmas pointed out on their first album. However, the subtle development in songwriting encourages the listener to want to hear more as they continue to grow. SHADOWFAX The Dreams Of Children (Windham Hill, Box 9388, Stanford, CA 94305)— DREAM SYNDICATE Shadowfax's previous LP made great strides in crossing jazz onto progressive formats— and The Dreams Of Children stands to do the same. The sheer talent showcased here is undeniable—the instruments long ago mastered, Shadowfax never lets one instrument get in the way of the "sound." Atmospheric at the base, various sounds are layered on: a soaring synthesized (?) flute on the title cut; various natural rhythms (from clay pots to rattles to aturtle shell) on "Above The Wailing Wall" and "Shaman Song:" violin and sax on the Metheny-ish "Snowline;" and stone flute on the multi-rhythmic LP opener "Another Country." Progressive rock stations may do best, however, with "The Big. Song," which starts slow, but builds nicely and features a strong guitar solo at the end. DREAM SYNDICATE This Is Not The New Dream Syndicate Album. .live (EP) (A&M, 1416 N. LaBrea, Hollywood, CA 90028)—A fine way to keep the Dream Syndicate name out there, this is. Five songs recorded in Chicago (by WXRT) should satisfy the purists who still like the band better live, even if Medicine Show is (in our humble opinion) one of the LPs of 1984. Exquisitely recorded and performed, and it all sounds great; four are from Medicine Show ("Bullet With My Name On It," "Armed With An Empty Gun,' •"The Medicine Show" and "John Coltrane Stereo Blues") and one from Days Of Wine And Roses, "Tell Me When It's Over." A pleasant surprise, this EP should set an example for record companies: it's an easy way to keep fans happy and keep an artist's career DAVID JOHANSEN moving between LPs. DAVID JOHANSEN Sweet Revenge (Passport, c/o JEM, 3619 Kennedy Rd., South Plainfield, NJ 07080)—Davey Jo's solo career has spawned some cherished vinyl efforts (not to mention some great live shows) and one that even had a go at the commercial marketplace: the Animals medley back in 1982. And recently Staten Island's living legend has been sporting an alter ego in Buster Poindexter—appearing with the Banshees of Blue in aclub/lounge act covering traditional and nostalgic ballads and blues classics with arefined hipster air to them. On his debut JEM release he updates his approach and sound, employing lavish production and stylish electronic instrumentation to disguise and augment an otherwise standard rock format. This record doesn't hit on just one listen; but play it through two or three times and the subtleties of the arrangements, the personality of the songwriting and the crispness of DJ's voice begin to jump out at you. It should satisfy both college and commercial requirements. Our favorites include "Big Trouble," the comedic rap "King Of Babylon" (a great segue with Steve Martin's "King Tut") and "The Stinkin' Rich." But the two standouts are the humble ballad "In My Own Time" and "I Ain't Workin' Anymore." What a concept. JOHN CALE Comes Alive (Ze, c/o Island, 14 E. 4th St., New York, NY 10012)— JOHN CALE Recorded live in London at the time Caribbean Sunset was released (early 1984), the sound here opens up (brightness and intensity, with a punch to the drums) as the studio constraints disappear. Cale uses the same line-up as on Caribbean Sunset yet chooses to stay away from those tracks. Instead we get a smattering of Cales rockers including "Never Give You Up," the cold, slapping "Evidence," the Mott/Hunter feel of "Dead Or Alive" and the tres humorous "Ooh La La." We're also treated to abumped-up version of his buddy Lou Reed's "Waiting For The Man," as well as a desolate version of Elvis's "Heartbreak Hotel," featuring Cale solo on piano (where he is most effective).
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