The Boston Globe from Boston, Massachusetts • 97

r7 "NJ. James Brown I'M REAL Scotti Brothers jf ames Brown has made some sordid headlines lately, includ- ing being arrested for possess- ing the drug PCP, better known New Grass Revival HOLD TO A DREAM MCA To bluegrass purists, amplifiers and drums are blasphemy. To those who see electric bluegrass as something less than the dawn of Armageddon, the music may be very satisfying. When New Grass Revival plugs in, it's not electricity we hear it is energy such as in "Can't Stop Now," for example. The sheer force of John Cowan's vocals is enough to raise roof JAMES BROWN Godfather back tops.

Yes. there are drums, but the real driving rhythm comes from Sam Bush and his percussive chops on the mando chorus of "At last I've found true love," lives up to our worst fears. "Hold On to Love" has a perky appeal; the techno-Latin romp "New Civilization" kicks in with bouncy horns; "Sundancing," a song about an Indian ritual, employs only percussion and keyboards for an interesting rhythm. Anderson moves closer to the Yes on "Top of the World," with screaming guitar fills by Toto's Steve Lu-kather over lurching orchestration. But glossy keyboards dominate here and Anderson's smarmy lyrics contribute to the schlock factor.

This is a record you can both love and hate. Paul Robicheau The Scorpions SAVAGE AMUSEMENT Polygram Germany's most successful group of all time fires away after a four-year studio hiatus, once again striking an appealing fine line between metal marauding and melodic hard rock. "Every Minute Every Day" is a rock 'n' roll tour de force, with its booming back beat emblazoned in brawny guitar licks augmented by Klaus Meine's muscular vocals. Meine is equally effective delivering gutsy tales of life on the road and the sexual ecsta-cies that lifestyle caters to. The suggestive title proves quite appropriate.

An ascending "Rhythm of Love" has a massive sound that digs in with relentless force. Founding member Rudolf Schenker's surging guitar soars with ve- as Angel Dust, and for allegedly beating his wife with a pipe. While his personal life may be a mess, this album shows that he has something left to offer musically. This is as raw an album of tribal street funk as you're likely to hear this year. Only Prince could match this album for sheer brute force and braggadocio.

Mixed with some gloating rap and hip-hop, it shows Brown right in step with the times, just as he was 25 years ago when he was the Godfather of Soul; and a decade ago when he was the Godfather of Disco in his "Sex Machine" phase. All of Brown's timeless tricks are here screeches, screams, groans and yelps of ecstasy. But he's prevented from doing just another star turn by the vigorous presence of Full Force, the New York band that helped turn out some light pop-funk ditties for Lisa Lisa Cult Jam. But here the band dives head first into rugged garage-funk. They write, produce and arrange the album, keeping the drums so prominent they nearly rip your ears out, while keeping special effects -other than some turntable scratching -to a minimum.

They allow Brown to rant, rave and improvise. He lashes out against crack one minute, then the next warns his many imitators: "All you copycats out there 1 ain't takin' no lip!" There's even an old-fashioned soul ballad or two for Brown's original fans, though most of this album is straight off today's streets. Steve Morse they revert to droning repetition, a lyrical overkill. Otherwise, they deliver songs with plenty of sting, but without the overplaying excessiveness that gives metal a bad name. Kevin Conned Jane Wiedlin FUR EMI-Manhattan Since the breakup of the Go-Gos, the all-female quintet which espoused a credo of fun-fun-fun, Belinda Carlisle has emerged as a certified chart-topper.

On her second solo album, Jane Wiedlin makes a bid to join her former mate on the hit parade. She's cast her lot with synth-friendly producer Stephen Hague (New Order, Pet Shop Boys, OMD) and concocted 10 spry, dance-happy tracks. The title tune is a glossy wash of programmed rhythms, catchy choruses and simple sentiments. "Inside a Dream," "Rush Hour" and "Lover's Night" are the most attractive. Wiedlin takes a lin.

Bela Fleck "Metric Lips" is another rhythmic tour de force that owes nothing to drums and everything to talent. The only disappointments are "How Bout You," an old number worn thin, and "I've Got Nothing To Say," a song that has nothing to say. These aside, you'll enjoy the album. Unless, of course, you're a purist. Jack Low Jon Anderson IN THE CITY OF ANGELS Columbia Old Yes fans put off by the recent commercial sound of that '70s progressive rock group will cringe at this latest solo effort by Yes lead singer Jon Anderson.

You could call this album "Jon Goes to Hollywood," since he mixes it up with guys from Toto and other slick Los Angeles musicians, producers and songwriters. Fluff-pop ballad "In a Lifetime," where his awkward croon builds to a geance, as Meine belts out the seductive synopsis. The record's lowlight, a boring "Media Overkill," is the one spot where BARBARA'S DANCE STUDIO Cushions. Mattresses and Bolsters. Covers To Go or Custom Made.

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June 16 THE SECRETS Back by popular demand, country classics to country rock. Look for Reggae and 50's Rock in the coming weeks! South Market Street, Faneuil Hall Marketplace, brought to you by Denmark's premium imported beer, Carlsberg Beer. For more information call 523-1300. If you have anorexia or bulimia, you Ve got our respect At The Renfrew Center respect is the basis for our program one of the most innovative, progressive and comprehensive eating disorder programs in the country. Where people actively participate in their treatment in a countryside setting.

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