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What
Tower lacks power in
unbalanced album
Tower of Power
Tower of Power
Cypress Records
The Tower of Power Horn Sec-
tion, occasional stars of Late Night
with David Letterman a la Paul
Schaeffer's illustrious guest list,
have come out with a new album,
self-titled as usual-
The quality of the new release is
overwhelmingly inconsistent, which
is a major disappointment
considering the talent of the band
members. While one piece will set
your limbs a-reelin and a-rockin with
an irresistible up-tempo riff that
would make Mrs. Magillacutty of
the Little Rascals shake, rattle and
roll, the next will be some soppy,
boneless piece of slop that should
only be played in the most
/ \
u~J 'VIE
Specializ
nauseating of dance studios.
The only rational explanation for
such an irrational and mediocre al-
bum is that the powerful Tower
must be in some desperate attempt
to appeal to the mass market of
junk, in the hopes that they can
make some mass dineros.
Songs like "Boys' Night Out"
will make you and your neighbors
gyrate beautifully as the inspiring
horns belt out their best. You can
ignore the rest.
-Akim D. Reinhardt
Lyle Lovett
Pontiac
MCA Records
typical country topics though with a
modern outlook. Emmylou Harris
contributes wonderful backing vocals
on two tracks, the best of which is
"Walk Through The Bottomland."
Side two, however, brings an
abrupt change of musical styles from
country to nightclub jazz. The steel
and acoustic guitars get thrown into
the closet and saxophones and a jazzy
piano are brought out. Even the
backing vocals change from country
to soulful. Expecting more country
sounds and receiving a horn section
and tinkling piano instead is unnerv-
ing at first. However, Lovett's ses-
sion players are equally adept at mel-
low jazz and pull off the change of
pace with few problems.
The ability to switch from coun-
try to jazz is great, but overall the
album is so perfectly played and pro-
duced that it becomes boring. This
puts the spotlight on Lovett's lyric
writing ability, which works as he
writes very well. But one gets the
feeling that if the musicians had been
allowed to stretch out more within
either the country or jazz framework,
the music could have been much
more interesting.
-Chuck Skarsaune
Lyle Lovett stretches out on new
release.
Salif Keita
Soro
Mango Records
The revolutionary Mali noble,
Salif Keita, an albino descendent of
Sondiata Keita (the 13th century
Mali empire builder), has just re-
leased Soro, his first solo album
since 1982. Since Keita's soulful
stints with the Ivory Coast based
Ambassadeurs, he has refined and
molded his music into a global per-
spective with a decidedly West
African whiplash. He has also joined
the extraordinary French/African fu-
sion scene in Paris as he teams up
on Soro with a variety of "hip"
musicians, both black and white.
"Wamba," Soro 's opener, starts
things off with a pulpy horn
flourish, then kicks into an
archetypal West African funk pulse
delineated by thousands of bar bands
there. The tune is flavored with
loping, Sahelian soul - that weird
intersection of Arabic, Spanish,
Afro-Cuban, Afro-American, and
ancient West African elements. But
the track really takes on weight
when Salif Keita begins singing.
His throaty, soaring cry erupts
See MUSIC, Page 10
The rap on Lyle Lovett is "New side of Pontiac, his second MCA
Country Traditionalist," and the first release, falls right into this label.
The sound is "LA Country"- highly
polished music, with super compe-
tent session players backing Lovett's
acoustic guitar and vocals. The ar-
rangements feature traditional country
instruments such as pedal-steel and
sing In The Latest Titles acoustic guitars, and the lyrics cover
they're
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SHEA
contnuedfrom Page 21
apart and watches they never wear.
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