ENTERTAINMENT HIGH GEAR/FEBRUARY 1977

MIRACLE ROW

Miracle Row (Janis lan, Columbia Records) :.. Since Janis lan admitted to being bisexual veral months back in a Village Voice interview, she's become somewhat of a gay folk heroine. Ian has always expressed the darker reaches of personal emotional turmoil in her work. Her songs are racked with pain and a cynical romanticism which betrays a rejected, vulnerable psyche.

Miracle Row, lan's most recent entry, continues this tortured tradition with a particularly provocative selection entitled "Sunset of Your Life," a bitter commentary on old age backed only with keyboards. But not all is dismal. While lan pursues her sexually ambiguous, depressing, lyrics, the musical arrangements are rich, running the gamut from gentle ballad to Latin-influenced rock.

"Let Me Be Lonely" features a superb conga-guitar trade-off. In a subtle contrast, the opening chords of "Candlelight" are reminiscent of the old Gerry and the Pacemakers, "Don't Let the Sun Catch You Crying" but the song soon develops into lan's own incomparable style. Visual imagery, a quality few performers can color, is successfully displayed in "Will You Dance" as the listener is placed in the confines of an old Mexico town

cafe, passing throw-away thoughts under the hot sun.

lan cannot be cast in the Streisand genre as so many easy listening female artists are. She is in a class by herself, perhaps a New York folk punk. There's no openly lesbian love song this round, as was the case with "Roses" in her last LP, but no matter. Lyrically and musically, she has calculated an accessibility available to all.

As at times we all appreciate music that permits us to wallow in self-pity and defeat, Miracle Row is a must for the occasional melancholic romantic. lan continues to impress. Each of her efforts moves a significant notch over its predecessors. For a mainstream musician, her work is remarkably free of sexism (Wouldn't it be great if this could be traced to her reported visits to the Oscar Wilde Bookstore.)

in this time of packaged musical synthetics, Janis lan proves once again she is one artist worthy of acclaim. Miracle Row is highly recommended.

JANIS JAN MIRACLE ROW

DAVID BOWIE

LOW

Low (David Bowie, RCA Records)... The "king" of the now defunct bisexual glitter rock of the early 70's has reached a point in his career where he can do anything and get away with it. That's too bad, because if Low is an omen of things to come, Bowie's cult following is sure to diminish.

Bowie persists in his legacy of the unpredictable. This time out he's commissioned the services of Eno, former member of Roxy Music and a master of the moog synthesizer. It is Eno's presence which gives Low its flavor, but

it's rather indiscernable and frankly, not even up to par to Eno's usual products. Musically, Low is in the words of the liner notes, "all synthetics."

As with any Bowie album, this LP has a couple memorable cuts. "Sound and Vision" is a danceable figment with an infectious melody. And "What in the World" is a sound thumper, if for no other reason than it brings backs thoughts of the early Yardbirds. But "Speed of Life" sounds like a Stones rip-

off and Side 2 is a total waste unless you like ethereal chimes with hunting echo effects kind of like Lou Reed's Metal Machine Music, only funereal.

Bowie has already illustrated he's an accomplished actor (named best actor of 1976 for his role in "The Man Who Fell to Earth" by the National Science Fiction Film Guild), but unless Mr. Chameleon steps down from the musical clouds and soon even Bowiephiles might have second thoughts Ah, what some of us would give for a return to the Ziggy days...

THE REST OF MY LIFE

By Van Ault

In the sixties, one of Motown Records' leading hitmakers was Martha & the Vandellas, the female soul group that made such memorable hits as "Heat Wave," "Dancing In The Streets," "My Baby Loves Me," and "Bless You." The trio broke up in 1972, after which Martha Reeves, the lead singer and driving force of the groups, ventured out as a solo act. In 1974, she debuted as a soloist

with a brilliant, but commercially unsuccessful, album produced by Richard Perry for MCA Records. Now, in 1977, she emerges again with new record label (Arista) and a new album that returns her to the basic soul that propelled her to the top years ago.

All the sincerity and vitality of Martha Reeves' impressive vocal talents combine to make her new offering, "The Rest Of My Life," just as delightful, if not more so, than any of her past accomplishments. The material presented here is bright, diversified, and delivered by Martha in the deep, throbbing style for which she is known. The absolutely inspired production, imaginative arrangements, and solid backup lend credence to the fact that this album will stand out as one of Martha's all time greats, as well of Arista's most satisfying products on the market.

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For openers, there's ecstatic remake of "Higher & Higher," and the even titillating, "Second Chance," a disco tune that is bound to draw a lot of attention. The Ip's title track is a stunning triumph of Martha's true professionalism. "The Rest Of My Life" is a soulful balled which captures Martha's sharp phrasing and meticulous attention to tone. Although the lyrics may be considered somewhat trite, she injects such an overwhelming sincerity into them, that the song is instantly memorable.

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"Now That We Found Love," and "Strong Enough to Move Mountains" are both lengthy, intense expressions of emotion, the latter carrying a strong gospel flavor. Not to overlooked is Martha's unique version of the soul classic, "You've Lost That Loving Feeling," and "Love Blind," one of her own startling compositions.

Again, the emphasis in "The Rest Of My Life" is on sincerity.

It is totally devoid of pretention, and the Ip appears as something truly representative of Martha Reeves' life. The listener can't help but feel s/he is glimpsing personal aspects of the great sould stinger's own experience.

Perhaps it is the unique quality that distinguishes Martha Reeves from the world's other great singers.

NGTF

Page 17

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