New Music
Billy Idol
"Whiplash Smile "
This ain't no "White
Wedding. .. "
This ain't no "Rebel Yell... "
This ain't no "Midnight
Hour. .."
This is a "Whiplash Smile!"
Billy Idol fans have spent the
last two and one-half years
waiting for the release of this
album. It's a pity that they
waited so long for so little. Idol
has managed to take the worst
aspects from his last album and
combine them into a vinyl
hodgepodge. This record is full
Review by
Brett Bigham
of confused guitars, cluttered
lyrics and shouting instead of
vocals.
Idol's first two albums wen*
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full of slick dance music, and
his third and largest seller.
‘•Rebel Yell," combined pop
and Idol's punk music past to
create a sound all his own. It is
here on "Whiplash Smile" that
this pop/dance influence has
dissipated and left an angry
sounding Idol to try and
recreate the magic he had.
The opening cut. "World's
Forgotten Boy," has Idol at
tempting different levels of in
tensity that merely come out as
different styles of slurring So
meone forgot to tell Idol that
lyrics have a purpose. It is easy
to picture him trying to sing
with his trademark sneer as he
recorded this song.
“To Be A l,over” is a better
attempt at the music that Idol is
known for. but the only time it
rises above medi<x:re is when
the female back-up singers
drown him out. I doubt that,
without Idol's reputation, this
song would ever have gotten
any radio airplay.
"Soul Standing By" sports
great guitar riffs by Steve
Stevens, and the song is more
stylized than most on this
album. Idol slides in and out of
his higher and lower ranges,
and it does make for an effective
contrast.
"Sweet Sixteen" follows and
is the best song of the side. It is
a slower, more deliberate at
tempt at gaining radio airplay.
Its countrylike sound offsets it
from the rest of the album and
makes it even more enjoyable
for its differences.
"Man For All Seasons"
finishes the A side, and of all
the fast songs on the album, it is
by far the easiest to understand.
Idol chooses to bottom his voice
nut for most of the song, and in
between shouting, it is
effective.
"Don't Need A Cun" has a
strong underlying syntho-pop
sound and is one of the most ef
fective on the album. It slips in
to "Beyond Belief." and as a
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package, the two songs place
the B side above the A side
stylistically. They both have a
rich sound and are the only two
cuts where Stevens' guitar does
not become overpowering.
“Fatal Charm" is a harder
sounding song with pounding
guitar and drums. It is the only
fast song on the B side that ac
tually pulls out of cluttered
mediocrity. The differences bet
ween the two sides of the album
are immeasurable, however.
Where the A side is almost en
tirely screamed, and the guitars
are two decibels too loud, the B
side has more artistic attempts
and is closer to Idol's older
style. It is not dance music, but
it is listenable. The remaining
songs on the side follow the
same tactics.
Aside from the fact that the
majority of this album sounds
unprofessional and poorly
recorded, there are a few slower
songs that prove to be excep
tions. It's a shame Idol didn't
use his vacation from the music
world to create what could have
been the triumph of his career.
Alabama
“Alabama Greatest Hits”
There are people in this country
who work hard everyday
And not For fame or fortune do
they strive. .
Hut the fruits of their labor
Aw worth mow than their pay
And it's time a few of them wew
recognized.
There are few country groups
as popular as Alabama, follow
ing hit after hit album they have
released this, their greatest hits
album, along with two new
singles. "She and I" and "The
Fans." Both singles are destin
ed to be gold records.
"She and I" is an upbeat
country dance song that praises
the simple life of two people
creating their own world. As a
tribute to their followers, the
band has recorded an emotional
thank you, “The Fans.” Sadly,
the two new songs are the
weakest on the album. But
when put up against Alabama's
greatest it's understandable.
"Mountain Music” begins
with a short dialogue and quick
ly works into an ode to the
American way of life. It is
quick-tempoed and enjoyable.
As the song begins to slow, fid
dles yank the tempo up to a
frenzy, and the song ends on an
incredibly energetic beat. The
following tune, "Feels So
Right," slowly rolls in and is of
fset by the fast-paced fiddles as
they fade out. It is a rich and
beautiful song that has deep
vocals and carefully supportive
instrumentals.
“Old Flame" is a twangy
song that contains excellent
subdued guitars and simple har
monies to back up the lead
vocals. The song has little build
to it. however, and slips into
repetition. “Tennessee River"
and "My Home's In Alabama."
recorded live, add another
dimension to the album. It's
hard not to get caught up in
music where you can hear the
audience and the performers en
joying themselves. These two,
especially "My Home's In
Alabama." art! excellent ex
amples of how live music can
create new levels in today's
recordings.
Side two begins with the hit.
"Love In The First Degree,"
and it proves to be one of the
most stylized and perfected cuts
on the album. The vocals slide
into new ranges, and the
backups are especially strong.
“40-Hour Week (For A
Livin')'' is an upbeat salute to
the workers of America, ft has
great lyrics, and its high energy
is country at its best. "Why
Lady Why" follows, and its
slow, dreamy guitars pull the
listener into another of the
facets that Alabama creates. It is
a sad. pleading song with sup
portive instrumentals.
With these songs in its reper
toire. it is easy to see how
Alabama has been a continuous
source of country music
favorites.
Everything But The Girl
"Baby, The Stars
Shine Bright"
Goodbye Hobby Kennedy
In the White House fast asleep
Gottdnight lackie Kennedy
America is free.
Cheap and easy.
In recent months the British
have been exporting several
groups that rely not only on
female vocals but on rich or
chestrated melodies.
Everything But the Girl exploits
Tracey Thorn's vocals to the ut
most. and Ben Watt’s musical
composition is nothing short of
extraordinary.
From the opening cut. "Come
On Home." the listener is
treated to an incredibly full
sounding precision album. This
group has created a fully round
ed and perfected style. It is not
syntho-pop or blues...if
anything it slides more toward a
big-band-era sound. The cut.
"Don't Leave Vie Behind." is a
musical plea not to be left in the
past. Its incredible horn ar
rangements flank the lead
vocals and ride it to an incredi
ble height.
“Country Mile'1 takes
Thorn's vocals and lounges
with them at the bottom of her
range. The emotions she packs
into her voice pull this song
through its thick musical back
ing. "Cross My Heart" is a slick
dance number that tiecame
popular in the United Kingdom
and has received some airplay
in the United States. The horns
again deserve mention as they
put the music in a class above
most popular music.
"Don’t Let the Teardrops
Rust Your Shining Heart” is
probably the strongest cut on
the album. The piano accom
paniment weaves in and about
the vocals and makes for a
beautiful performance. This
song could easily lie a crossover
hit (country and popular music
airplay) in the United States if it
got the station time it deserves.
“Sugar Finney" is a tribute to
the late Marilyn Monroe, and
the lyrics are poignant and sad.
The song takes an upbeat tempo
and almost slides into a disco
sound. It is a good song but
lacks the orchestral depth that
this album sports. The lyrics,
however, do not need strong
musical support and almost
could make the song alone.
"Come Hell Or Highwater" is
the most country-styled song on
the album. The lyrics would be
right at home on a gospel
album, and Thorn shows more
range in this piece thun any
other. . . .