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Salient. Official Newspaper of the Victoria University Students' Association. Vol 41 No. 18. July 24 1978

Evolving Stones — Some Girls

Evolving Stones

Some Girls

The Rolling Stones

The Stones non-musical image has changed; 'The dirty unwashed enemies of public society' now arrive via the same pages of Australian Women's Weekly as news of Princess Caroline nuptials.

Black and Blue was rum and coke music, very much a West coast sound and on the trend it seemed quite possible that their next record would be even more mushy. The further west you go in the US the closer to the Bee Gees noise you become. But despite the transistors renditions of 'Miss You' which doesn't do justice to the depth of sound this album is not really Maid back'. Jagger may look cute and charming on Radio with Pictures as he grins through 'Far Away Eyes' but the other tracks are less witty and sung with snarl reminiscent of the 'Let it Bleed' period.

If you enjoy the Stones, this record is very much their stuff (the future of rock and roll of ′64). They can still produce that sound and here it is again all tastefully wrapped in a clever sleeve; hours of guessing as to the selection of felt pen coloured faces.

The Rolling Stones music no longer has a uniform identity. After the last three albums only the most cliche addicted would instantly classify them rhythm and blues. Their sound is complex and for the uninitiate some listening may be required before any affinity is felt, but if you don't know their music this is as good as any to buy.

For the initiate who may be wondering if 'Some Girls' is worth the cost, our opinion is that it is. 'Miss You' isn't at its best on the radio — the Stones produce a layer of sound on sound to a much greater depth than most; on the radio the surface may be catchy but when we first heard it on that medium the horrible thought was that Disco had attracted yet another big name, (Another big name had contracted disco). But although the tune isn't the best on the album, ('Some Girls' got the vote) it is better than expected.

As with all Stones albums, the range of tracks is considerable (the other reason, to unpredictability of general concept, that they are so difficult to classify simply). 'Some Girls' is Rhythm and Bluesy; When the Whip Comes Down' more rocky, and 'Far Away Eyes' countryish.

Broadly the tracks separate into two styles: the atavistic numbers — 'Respectable', 'Shattered', 'When The Whip Comes Down' and 'Lies'. Vocals, strong on vigorous backing, in particular these tracks are notable for a fast energy (the Sex Pistols of the 60s, remember?) But not even amidst these four is there consistency of quality — after the theme line has been repeated 30 times in 4 minutes, even the most avid waits for some relief in the next example.

Most albums contain some fill — those forgotten tracks which when played occasionally on the radio, force us to try and recall which collection they came with —such a track is 'When the Whip...'. 'Far Away Eyes' continues the country trend, but is a little more tongue-in-cheek than, for example, 'Country Honk' on 'Let it Bleed'.

The other flavour is the modern Stones 'Beast of Burden' and 'Imagination' would fit on Black and Blue, but 'Before They Make Me Run' and 'Some Girls', although in this vein, have continued a real strength of vocals and density of instrumental to suggest that the Stones are moving on and not losing anything by the change. Chuck Berry has shown that adaptation isn't necessary for survival in the music biz, and Led Zeppelin have proved that quality isn't either, but the Stones are slowly evolving — we can't yet tell where — without becoming decadent and excessive.

This year has seen excellent albums abound, whatever your taste. This record can be seen in excellent contrast to the hideous tracks on the radio, so dominated by Disco Fever; also this record can rumble pleasantly in the background or add a little energy to a loud party - two uses for the price of one.

The Stones don't really stand as innovative, their roots are indistinct now, and the other groups of their epoch are gone or very altered, it makes them difficult to compare and difficult to even place in a context. If you don't like the Stones this record won't affect you but its content is very much of the type - heavy voiced Jagger and thick strong back-up. Thank heaven there are no symbols of comfortable wealthy indulgence, such as 15 minute drum solos.

Tim Brown

David McLean

Shameless Nostalgia

Jesus of Cool

Nick Lowe

The cover of this album really sums up its contents. Six photos of Lowe dressed in a style parodying the artists of the 60s. In one he looks like the peace-love period of the Move, in another he is grinning in all the boyish exuberance of a Peter Noone. In the corner of each photo is a jumble of letters that, deciphered, read "pure pop for now people" and that's exactly what this record is about. It is a blatant and shameless copy of the pop music of the 60s with an injection of Lowe's own teasing lyrics.

Every track on this album recalls the halycon days of the 60s. Lowe's lyrics are incisive and wrapped in an enticing melodic structure that disguises what is very often rather morbid. Lowe's voice is not very strong, he relies on multi-tracking and harmonies to give it some depth, however that is not necessarily a weakness. His soft whispery style sounds rather like Peter Noone's (RIP "Sleepy Joe").

The single off the album shows how Lowe can treat a murky subject. "I Love the Sound of Breaking Glass" is mellifluent and extremely listenable - the only connection between the music and the lyrics comes through a solitary tambourine sound. One is lead to believe that the singer is not really serious about the subject. In fact it's deliberately repetitive yet light melody stands as a parody of contemporary new wave songs that deal with similar topics in a way that brings a real (almost painful at times) connection between lyric and melody/beat.

"Little Hitler" deliberately recalls B. J. Kramer's "Little Children" in melody and vocal delivery, yet its lyrics deal with what is almost the precise opposite. "Shake and Pop" is a rock and roll type song similar to countless others produced in the 60s. In "Tonight", a typical teenage love ballad, Lowe sounds exactly fike Peter Noone. "Marie Provost" is a deliberate parody of songs that Dave Dee, Dozy, Beaky, Mick and Tich used to sing.

The song that I found most appealing was "Nutted by Reality" — a song about Castro. The song begins by attacking the Soviet puppet's masculinity, "Well I heard they castrated Castro, Heard they cut off everything he had...". The song begins with a virile reggae type beat but after Castro's plight has been described the song breaks into a commercial poppy calypso typical of Paul Simon. The song is about how what began as something laudable (Castro's 'spirit') has become nutted by reality. The medody mirrors this change. The song's tune is inoffensively pop, in fact it would have made the charts in the 'good ole days' before disco and Abba.

What is Lowe trying to do? Is he attacking the old pop music or praising it? I suspect that the album is tongue in cheek but despite that I can sense the twisted sort of admiration this guy has for the 60's pop. It's a great album if you're a sucker (like I am) for the British pop of the ′60s However like most of that music it becomes a bit boring after you've heard it countless times. Don't let that put you off the album because it really is a great party album and Lowe will pick up a lot of fans once the word gets round. There is nothing profound in the album, just a shameless and light-hearted romp with the past.

Paul McHugh