Daily Record from Morristown, New Jersey • Page 46

CM Daily ftaord, Northwtit N.J., Sunday, March 22, 1981 By JIM BOIIEN Staff Music Critic A' Carrier Of The Week Marcus Plato Denvilte This week's Carrier of the Week is a seventh grader with a route of 30-35 subscribers who went to Denmark with the Denville Soccer Pee Wee team last July. Marcus is also an honor roll student at Valleyview School and a member of the band there, in addition to playing in the Hub Soccer League. CAPTURED JOURNEY Columbia KC2 371M TURN BACK TOTO Columbia FC 36X1 Bands like Journey and Toto are business propositions first, artistic entities second. Both are made of music industry veterans: Journey's Gregg Rolie and Neil Schon were members of Santana; the members of Toto were (and continue to be) sought-after session players. Their success has as much to do with contacts they've made and the business mistakes they've learned not to repeat as with their music.

Although Journey's first three albums emphasized their instrumental proficiency, they didn't become successful until they simplified their repertoire and added a tenor lead singer, Steve Perry. CAPTURED, a twoeeord live set, summarizes the Perry era. and includes just about every popular song they've written, making it a bargain for fans. But journey's songwriting is lazy. "Wheel in the Sky" and "Anyway You Want It" show that they can write a hook, but having thought of one, they seem to have given up the effort.

The songs don't resolve themselves; they just repeat until exhaustion sets in. Toto's writing is a lot stronger, thanks to the presence in the band of keyboardist David Pa-ich. Even though they're made up of licks you've heard a hundred times before, Paich's songs are put together with some kind of design in mind: they have internal peaks and climaxes, and they all go somewhere. Naturally anything he comes up with is within the band's reach as instrumental technicians. But they fall short in the vocal department.

The singing, mostly by Bobby Kimball, is mostly cold and lifeless, and when another band member takes over (as guitarist Steve Lukather does on one song), it's merely incompetent. Both these bands exist to exploit the ignorance of a young audience. Perry lets the secret slip when he introduces "Walks Like a Lady" by asking the audience if they want to hear some blues. Of course the song has noth ing to do with the blues, but what does this crowd know? Despite the band's Incessant flattery of the audience (Perry thanks them for "letting us be on YOUR Journey's music, like Toto'i, Is an insult to the very people who buy it. DONT FOl ME, I'M LOST TOO PEARL HARBOUR Warner Brothers BSK 351S Last year Pearl Harbor and the Explosions came out of San Francisco with an album and a stage show that combined the rhythms of 60s Stax with a new wave Instrumental economy.

This promising band seemed to be just getting their footing when they split up. Pearl Harbor then went to England, where she added to her name, hooked up with members of the Clash and Ian Dury's Blockheads, and proceeded to record this surprising and delightful solo album. The surprise is that DON'T FOLLOW ME, I'M LOST TOO is almost all rockabilly, with honking saxes and shuffling drums leading the way. Harbour's original songs are snappy and funny, and she delivers them in a deep but playful voice that occasionally breaks into a charming squeak (as on the lines "Let's go upstairsCome on, you Everyone's having a great time, yet everything is disciplined too: there are no wasted words or licks. Pearl Harbour isn't lost she sounds like she's finally found herself.

TONGUE TWISTER SHOES Elektra CE-303 WORKING CLASS DOG RICK SPRINGFIELD RCA AFL1-3697 Remember the kind of 60s pop that featured jangling guitars, sweet vocal harmonies and lyrics about adolescent love? The Beatles pioneered this stuff, but better examples from-the 60s are songs like "Red Rubber Ball" by the Cyrkle, "Walk Away Renee" by the Left Banke and "Tell Her No" by the Zombies. Shoes, a quartet from Zion, Illinois, excell at this style. Their three breathy, nearly identical vocalists could all be younger brothers of Pail Record Toto the Zombies' lead singer; their songs are all love songs, usually about unrequited love, no less. This being IttHl, they have access to sophisticated production techniques that 60s bands didn't have, but they aren't crucial: their first album, recorded In a living room on primitive equipment, had exactly the same feel as TONGUE TWISTER, their third. Of course, these guys aren't adolescents anymore, and neither, I suspect, are most of their listeners.

Fortunately, there's just enough edge in the Instrumental work the distorted guitar on "Burned Out Love," for exampleto keep them from from sounding like wimps. Rick Springfield, who had a hit in 1972 with "Speak to the Sky," has intentions similar to Shoes', though perhaps more carnal than innocent. His best effort on this comeback album is "Jessie's Girl," which quite outdoes the Cars' similar "My Best Friend's Girl." Springfield's lyrics are witty know I feel so dirty when they start talking cuteI want to tell her that I love her but the point is probably and his delivery appropriately agonized, especially on the last four words of the line "And she's lovin' him with that body, I JUST KNOW IT!" The other songs have a few distinguishing touches the 30 seconds of blues-boogie guitar in "Red Hot and Blue Love," the electric piano and shimmering echo on the ballad "Inside Sylvia." But for the most part they share a consistent sound: the guitars pound, the background vocalist chime in shrilly, and everything is tuneful and catchy as can be. Uing live pop. "The Paper That Cares" If you are 12 years of age or older and would like to become a Daily Record carrier, call 538-2000.

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