Records

by Spence Rollin

Feargal Sharkey

till looking for a gift for that friend with esoteric tastes? Here are some

holiday ideas!

THE JESUS AND MARY CHAIN Psychocandy, Import, Blanco y Negor Now that the Smiths are suffering a violent critical backlash in the U.K., Britain's new #1 press darlings are the Jesus and Mary Chain, who have won celebrity for their sacrilegious name and often sexually graphic lyrics. Psychocandy, their current LP, is a great introduction to this band. The songs reflect the influence of '60s classics-lots of basic two-and-a-half minute pop-rock tunes set against a densely layered "wall of sound" (à la Phil Spector) and background noise (à la Velvet Underground). Although you might expect more melodic diversity from such an acclaimed group, there is a lot of intelligent and really fine talent here-evocative vocals by Jim Reid, excellent guitar work by William Reid, tantalizing lyrics (for example, the tongue-in-cheek macho narcissism of "The Living End"), and a driving, coherent, raw-but-disciplined overall sound.

COCTEAU TWINS

Tiny Dynamine, Import, EP, 4AD Echoes in a Shallow Bay, Import, EP, 4AD These two four-song EPS, released within days of each other, reaffirm the Cocteau Twins' status as one of the most exceptional groups around. Dynamine features "Ribbed and Veined," an instrumental of rare power and beauty, and the hypnotic "Plain Tiger." Echoes boasts "Melonella," influenced by post-bop jazz, and the lovely "Eggs and Their Shells." Often brilliant and never anything less than interesting, the Cocteaus' sound is original, mysterious, and strangely erotic, and Liz Fraser is certainly one of the most unusual and compelling vocalists to have emerged in recent years. Their music is a perfect accompaniment to almost any activity, from a rush-hour subway ride to a romantic evening at home.

MICRODISNEY

The Clock Comes Down the Stairs Import, Rough Trade Microdisney are an Irish band whose last LP title, We Hate You South African Bastards, was as blunt an anti-apartheid statement as you could ask for. Their music is far tamer than their lyrics, though (they've been inspired by the Beach Boys' Pet Sounds

and by the Byrds), and it is perhaps the juxtaposition of soft rock melodies and singing (by Sean O'Hagan) with biting, often disturbing tales and sentiments that makes The Clock Comes Down the Stairs a really intriguing album, which improves with repeated listening. Especially impressive tracks include the brooding "Are You Happy," "Begging-Bowl" (which is almost a slowdance number), "Genius," and "Birthday Girl."

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Friday, December 20 $7.00 cover charge after 9 pm. Music and Video Mix by Tripp.

Saturday, December 21st $10.00 after 11 pm Experience "Christmas in the Tropics" Performing Upstairs COOKIE WATKINS and band! Shows Midnight and 2 a.m. Dancing all Night on the lower level. Doors Open 10 p.m.

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THE GOLDEN PALOMINOS Visions of Excess, Celluoid

The Golden Palominos really consist of one person, drummer-producer-arranger Anton Fier, who has amassed a far-flung group of artists-including platinum producer Bill Laswell (Mick Jagger's She's the Boss), Michael Stipe (of REM), John Lydon (formerly Rotten), Richard Thompson, Jack Bruce (long ago of Cream), Carla Bley, Syd Straw, and Arto Lindsay-to contribute guest performances. On one hand, the sophisticated mixing that pervades the album seems to try to push these disparate artists into a uniform mold. On the other, some of the singers (Stipe and Lydon, for example) are so distinctive that their appearance on some cut and not other makes the LP somewhat disjointed. Nevertheless, Visions of Excess has some extraordinary moments. Stipe, always a welcome presence, particularly shines on "Clustering Train," Straw's vocals on "(Kind of) True" and "Buenos Aires" are haunting; and Thompson's guitar work here is often remarkable.

FEARGAL SHARKEY A Good Heart, Import, 12" single, Virgin Feargal Sharkey, formerly with the Undertones, is currently riding high on the U.K. charts with his first huge solo hit, "A Good Heart." This formulaic but irresistible pop song, written by 20-year-old Maria McKee of Lone Justice, could well make Sharkey a household word in the U.K. in 1986 (his debut album is due to be released here in January). Even though McKee's poignantly vulnerable lyrics do not seem quite credible coming from a man in his late 20s, you'll probably be too taken in by Sharkey's fetchingly emotional vocals and Eurythmics' David A. Stewart's hook-laden production to mind much. The two B-side cuts, "Ghost Train Blues" and "Anger Is Holy," are simpler, more sincere numbers, not as calculated to please, but which reveal more of the man and less of the pop star.

Current & out-of print titles PERIODICALS:

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NEW YORK NATIVE/DECEMBER 23-29, 1985 47