disappointing after the rasping " Evil Walks" and the infectious, Stones-like riffs of "COD." While the band's current approach is well-suited to its arena level of popularity, its calculation has replaced the edge of maniacism and sense of humor that by John Swenson the group once stood for. Even though they've progressed individually as musicians, it may well be that ACIDC have lost the identity AC/DC salute the British blues with which the late lead singer Bon Scott infused them. Stewart returns to classic form Rush - Exit... Stage Left (Mercury) At first glance this album may seem like just another Christmas-time live two-record package. But Exit .. Stage Left represents the coming of age of Canada's greatest band and one of the finest heavy-metal outfits to come out of the '70s proliferation of that style. The difference between this record and the first Rush live LP , All the World's a Stage, shows just how far the band has come in the last few years. Stage was an energetic but somewhat leaden account of the band's live strengths at a time when the members of Rush will now freely admit they were struggling. The sound quality of that first live record disappointed them, but the record consolidated their audience at a crucial point and gave them breathing space to come up with a fresh approach to their sound, which proved to be the turning point in A C/DC bang out quivering blues that serve as vehicles for Angus Young's Rush's career. stately guitar solos. The improvement in playing quality and material since the first live album are suggested by the civil war-era is apparent from the outset of this AC/OC - For Those about piece on the jacket cover. " Put the record, which opens with the group's to Rock (We Salute You) Finger on You ," a medium-tempo anthem-like "The Spirit of Radio. " (Atlantic) rocker, has Johnson gurgling his best Alex Lifeson spins giddying figures on Robert Plant bluesisms before the his guitar, before Geddy Lee's ful l­ AC / DC's eighth LP shows them track segues neatly into the strutting throated bass and Neil Peart's consolidating their position as the vamp of " Let's Get It Up," which powerful drums carry the song into its latest exponent of hard British blues­ matches Angus Young's best Leslie majestic first verse. The band's rock. In the tradition of Humble Pie , West-style guitar solo with Johnson's multifaceted sound images pour Led Zeppelin and to some extent rasping delivery. " Inject the Venom" through as Lee's foot pedal Mountain (which though not a British is another medium-tempo Zeppelin synthesizers and sequencers and band, exemplified the style), AC / DC fudge rocker that paves the way for Peart's galaxy of percussion bang out thick and quivering blues the album's hottest track, the instruments blend into a rich and structures that serve as vehicles for firebrand " Snowballed." Producer subtle sonic contrast to Lifeson's stately guitar solos and theatrical, Robert John " Mutt" Lange pulls out all shrewd slabs of processed guitar. blues based vocalizations. the stops here for a beautifully The one-two punch from Moving The title track, which kicks off the engineered multi-stage Young solo Pictures, "Red Barchetta" and " YYZ ," album, is a slow funk crawl that intercut with an exciting Who-style follows, the former featuring Lifeson features Brian Johnson's yowling rhythm guitar chord sequence that and the latter showcasing Peart's Geordie vocals, and provides sounds like Pete Townshend playing exquisite drum solo. "Jacob's AC / DC's current stage act with the "Baby Don 't You Do It. " Ladder," " Free Will" and " Tom flamboyant rounds of cannon fire that Side Two of the record is Sawyer" provide further high points CIRCUS /53 on a record that really doesn't have a title track here he attempts to rhythms and the Burundi Black beat single bad moment. If you haven't reproduce that move with less that has provided the rhythmic root to listened much to the group, Exit is a success. While his singing is up to its all of Adam's work since he hooked perfect place to start. If you like Rush usual standard, the backing, up with Malcolm McLaren. Adam Ant already this is the record you've been particularly in the rhythm section, can't match Stewart's vocal range and waiting for. sounds too th in to carry the weight. power, but he manipulates his facade " Young Turks," on the other hand, more shrewdly, forcing imagery of accomplishes the trick effortlessly. An surrealism on " Picasso Visita el Rod Stewart - Tonight I'm even cagier move, though, is Planeta de los Simios," referencing Yours (Warner Brothers) Stewart's recasting of the Rolling his heroic cameo mythologies with "5 Adam and the Ants - Stones' disco smash, " Miss You," as Guns West" (cowboys), " Mowhok" Prince Charming (Epic) the funk strut "Jealous," which is (Indians), "Stand and Deliver" easily one of the LP's high points. (highwaymen) and " Ant Rap" (ants). Was Screaming Lord Sutch, the Elsewhere, Tonight I'm Yours offers The title track isn't just the most '60's madman with a penchant for a return to Stewart's classic strengths important cut on the record, it's a pirate outfits, the first new romantic? as an intepreter of ballads (Paul transcendent piece of pop Is Adam Ant the latest of the Mods? Carrack's " How Long," Bob Dylan's commentary, merging Adam's Little has changed since the days " Just Like a Woman" and several of musical policy with a statement of when Rod (the Mod) Stewart was his own: "Only a Boy," "Sonny" and purpose to which he ties current Britain's fave teenage heartthrob, as " Never Give up on a Dream"). "Tora, events. This is the flip side of the Sex Adam's cleverly calculated appeal Tora, Tora (Out with the Boys)" Pistols' renegade "God Save the proves. Both Rod and Adam's explodes with the devil-may-care Queen." Where the Pistols were personae provide a glittery facade frenzy that characterized Stewart's calling for anarchy, Adam is linking that is skillfully wallpapered over a boozy sessions with the Faces. the Royal Wedding and Prince musical strategy that recycles proven Finally, Rod dips into the history Charle's charismatic appeal to the formats in a novel yet safely derivative books to dig up the Rock and Roll new romantics' fashion policy (" Don't fash ion. Trio's rockabilly classic, "Tear It Up." you ever stop being dandy/ showing Stewart arrived at his most Adam Ant's th ird LP shows him to me you're handsome"). He backs it successful formula in the late '70s by be deftly developing his own strategy. with a crude and insistent electro- incorporating the disco process into Prince Charming is a heady blend of chant. With this one song Adam Ant "Da Ya Think I'm Sexy," and on the funk jazz, punk rock, South American has earned his stripes. 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