The Los Angeles Times from Los Angeles, California • 297

CALENDAR UtNtnAL nsVr wmrnr PUBLIC with special guest THE BUDDY SYSTEM CAL. STATE FULLERTOH TITAH GYM in association win A S. CSUF DECEMBER 21 sort of assurance that permeates several cuts, plus the musical muscle to back it up. She's bypassed the safe, adult-contemporary route in favor of more rugged, funk-based terrain. (C.J.) 18.

THE BANGLES, "Different Light," Columbia. The quartet's third album is its first to escape the faint taint of nostalgia. The sound is still retrograde, but overall, it's a more happily and wilfully '80s record than its predecessors. It's the kind of unassuming delight that's apt to collapse under the weight of too much praise and scrutiny. (C.W.) 19.

TINA TURNER, "Break Every Rule," Capitol. Each of the chart-stompers spawned by Turner's "Private Dancer" LP is re- hard to hang on to doubts in the face of a record as delightful as this. (S.P.) 27. FREDDIE JACKSON, "Just Like the First Time," Capitol. Jackson stretches out from ballads in this impressive follow-up to his million-selling debut: The best cuts here are uptempo.

But Jackson has yet to establish a clear identity. He has the quality and stylistic range to become an important singer, but he needs to avoid the sound-alike trap. (P.G.) 28. STEVE WINWOOD, "Back in the High Life," Island. There's an inexplicably holy quality about Winwood's voice, and it's perfectly matched with his current material.

This is a decidedly tasteful record, but the themes faith, enough fleet-fingered fretwork to satisfy the most animated air-guitarist. Diehard fans of the English quintet will be more than satisfied with this banging, epic metal, but the songwriting isn't strong enough to convince the unconverted. Jon Matsumoto 24. DURAN DURAN, "Notorious," Capitol. Duran's collaboration with producer Nile Rodgers doesn't come close to the funked-up ideal of his old group Chic, but he's helped the band come up with its least objectionable, most listen-able batch of songs.

Some of them even seem to be about somethingwhich, if you've followed Duran's dubiously enigmatic lyrical canon, is quite an accomplishment. (C.W.) e-8 BOINGO HOLIDAY DANCEJPAYk NEXT T- 7 "fctntJIU FRIDAY SATURDAY SUNDAY -1 JVttcMBER DECEMBER DECEMBER HOLLYWOOD PALLADIUM 1 26 27 28 SOUTHERN CALIFORNIA RAP FESTIVAL SPM UTFO TRINERE JS REALROXANNE ERIC SIR MIX-A-LOT MONICACiVlC STRYPER mZ WITH SPECIAL GUEST SATURDAY ALCATRAZZ Lionel Satisfying James Taylor of Kool and a social conscience, from full funk to wimp pop. SANTA MONICA CIVIC in association with mighty fortress productions KMC BON JOVI 5.5 8PM WITH SPECIAL GUEST CINDERELLA WEDNESDAY JANUARY 21 LONG BEACH ARENA 25. PRETENDERS, "Get Close," Sire. Chrissie Hynde easily the sexiest white female pop singer currently working the boards is backed by a new crop of musicians, but it doesn't matter who plays behind her.

She's Billie Holiday, Bacharach David and the Shangri-Las all rolled up into one fantastic package, and the core of this excellent album is its five rapturously romantic love songs. (K.M.) 26. TALKING HEADS, "True Stories," Sire. An enormously winning work featuring relaxed, good-natured and effortlessly charming songs. In a way it's disappointing to find a band that once broke new ground settling into a comfortable niche, but it's GEORGE CARLIN 8PM FRIDAY JANUARY 23 Bangle Susanna Still retro, but a more 80s sound.

confusion, a yearning for spiritual clarity allow it to add up to more than a catalogue of pointless, polished licks. (K.M.) 29. VARIOUS ARTISTS, "Top Gun" sound track, Columbia. Is it any wonder this is the smash sound track LP of the year? Essentially a cross-marketing tool for an enormously successful movie, it contains hit singles by Berlin and Kenny Loggins, and the likes of Loverboy are also represented. Is it any wonder that it's one of the artistic washouts of the year? (D.S.) 30.

PETER CETERA, "SolitudeSolitaire," Full Moon. Outside the context of his former group Chicago, Cetera's vocals seem chillingly robotic. Part of the problem is that the songs lean heavily on technorhythm riffs that encourage a clipped, bloodless vocal style. (P.G.) 31. VARIOUS ARTISTS, "Stand By Me" sound track, Atlantic.

If we are indeed forever doomed to a majority of new movies being accompanied by sound tracks full of rock songs, we can only hope that a lot of those films are period pieces as is "Stand by Me," the best excuse for a late-'50svery-early-'60s oldies compilation since "Diner." (C.W.) 32. HUMAN LEAGUE, "Crash," Even production wizards Please Turn to Page 66 LONG BEACH TERRACE THEATER modeled in this unfocused grab-bag. It's hard to believe that the yowling cat who created her early records is the same ultra-cool chanteuse who saunters through "Break Every Rule." (Kristine Mc-Kenna) 20. EDDIE MONET, "Can't Hold Back," Columbia. Coming back after a three-year layoff, Money sounds tentative and lacking in self-confidence.

His voice is strong and the best songs are the ones he co-wrote, but the album is padded and everything is buried under characterless production. (S.H.) 21. BILLT JOEL, "The Bridge," Columbia. Joel's melodies are instantly hummable and radio loves his melodramatic voice, but the melodrama wears thin when each ballad is bigger and boomier than the last, and the melodies can't help mealy-minded songs like "Modern Woman." (S.P.) 22. GENESIS, "Invisible Touch," Atlantic.

Could easily pass as a Phil Collins album. His thin voice and familiar song-writing dominate, with only occa-. sional evidence of input from Mike Rutherford and Tony Banks. Maybe the record was made to provide material for the next season of "Miami Vice." (S.H.) 23. IRON MAIDEN, "Somewhere in Time," Capitol.

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To BvnnpwMNT charge by phone call (213) 480-3232, (714) 140-2000. For the Hollywood Palladium call Chargeline (213) 688-7380. For advance concert Information call: AVALON CONCERTUNE (213) 976-2R0C 55C plus loll it any Pick op your copy at newsstands everywhere or Charge by phone (2131 tSO-3232 Tx'w CONCERT TICKETS MAKE GREAT CHRISTMAS GIFTS mm SUNDAY, DECEMBER 21, 1986PAGE 65.