The Boston Globe from Boston, Massachusetts • 108

it tin iii ORNETTE COLEMAN HOWARD SHORE NAKED LUNCH: MUSIC FROM THE ORIGINAL SOUNDTRACK Milan Who would have thought Ornette Coleman would ever make a Hollywood the Spin Doctors' debut studio release crossed its desk. The New York City foursome has unfortunately received little promotional support, though that hasn't hindered the group in garnering an almost cultlike following of fans appropriately called Spinheads who were likened to Deadheads in a recent feature in Rolling Stone. The Doctors' Epic debut explores the spectrum of pop-oriented rock with upbeat cuts, like the first and best track, "Jimmy Olsen's Blues," the ditty "More Than She Knows," plus "Two Princes" and "Little Miss Can't Be Wrong" with their sing-along lyrics, and the starkly psychedelic "What Time Is It" Robert Starck EL DeBARGE IN THE STORM Warner Bros. soundtrack? Then I A i again, who would have thought Tinseltown would take any interest in William S. Bur-rough's "Naked But they made it to the big screen together, thanks to Howard JOHN RAITT, BARITONE HIGHLIGHTS OF BROADWAY; UNDER OPEN SKIES Capitol Double Play CD The many people who enjoyed the concerts Bonnie Raitt gave with her father John Raitt this summer may want to know about another nice thing Bonnie has done for her dad.

She has arranged for Capitol to reissue on a single CD two albums John Raitt made for the label back in the mid-1950s, an album of Broadway standards and an album of folk-songs and other light rial arranged in the Broadway manner. It is wonderful to have them back. Raitt was always a stage and later, television, star rather than a recording "personality." And from today's point of view just about every one of the 23 tracks is a masterclass in the vanished art of Broadway leading-man singing. What is remarkable about Raitt is how close it comes to being a masterclass in any kind of singing, for his performances are remarkable for all kinds of classical virtues. And Raitt closes the "Soliloquy" from "Carousel" uncut, as it was not at the Pops, with a ringing high b-flat! The Broadway album is the better, and it is fun to hear Raitt sing the women's songs as well as his own "I Got the Sun in the Morning" and "Hello, Young Lovers," for example.

The folk-song collection has great stuff "They Call the Wind Maria" and "Sweet Little Jesus Boy" but some of the arrangements are almost hilariously inappropriate. Still, this CD gives a lot of pleasure, and you don't have to be of a certain age to enjoy it thoroughly. Richard Dyer GRATEFUL DEAD TWO FROM THE VAULT Grateful Dead Records Further proof of the Dead's early electric magic is always an essential treat. This second entry in the "legal" bootleg CD series, recorded in 1968 at the LA Shrine Auditorium, is a two-hour improvisatory adventure that's as urgent and focused as a speeding cannon-ball. On "Dark Star," "The Eleven" and classic pieces from "Anthem of the Sun," Jerry Garcia goes at the jams with tireless invention, his sharp licks driving the band into geometric explosions.

Phil Lesh, too, just won't quit, his bass as frontal as Garcia's lead and Bob Weir's clanging rhythm. There are countless sublime moments: the smooth, bluesy segue into "Death Don't Have No Mercy," the jag in "Good Morning, Little Schoolgirl," the curfew plug getting pulled on "Morning Dew." But the highest peak is rediscovering Pigpen, blues cowboy, who died in 1973. His vocal riffs, especially on "Turn on Your Lovelight," set the band on fire. The Dead have gained a fine jazzy delicacy over the decades, but there's nothing like a dose of their youthful drive. The sound engineering is clear and intimate.

Matthew Gilbert SPIN DOCTORS POCKET FULL OF KRYPTONITE Epic -Shore's wise choice of Coleman (in )hoto) as the soloist in his score to Cronenberg's film. The soundtrack would be one-dimensional without Coleman. Appearing on 12 of the 18 tracks, he adds vulnerability and humor to an otherwise elegiac, portentious orchestral score. While the author's paranoia and despair permeate the soundtrack, "Writeman" captures his fierce gallows humor. Elsewhere, tracks that collage material over Coleman and the strings, such as "Interzone Suite" and "SimpaticoMisterioso," (which layers Monk's tune over the group) are among the best and closest in spirit to Burrough's cut-and-paste writing.

"BalladJoan," is one of several poignant Coleman ballads. An all-too-rare recordings from Coleman, and a good one. Ed Hazell The sweet singing El DeBarge's third solo flight adds a heavier funk accent to his usual sleek He co-produced it with Maurice White and they've come up with a punchy mix of bass heavy jams and seductive ballads. The most outstanding track is the jazz tinged "After the Dance" fired by the pungent guitar work of Lee Ritenour. "Leggs" is hot enough to boil water with and "Tip 0' My Tongue" is a tasty groove bolstered by Nathan East's bass lines.

The disc gets sidetracked with the message-heavy title track, an overproduced slice of hokum and "Another Chance," which traces too many familiar steps. The musicianship is consistently first rate, though, and the singer's vocals are as buttery as ever. Ken Capobianco The promotions department at Epic Records must have been asleep when fflWJlMW iuu.jtiLiiLi.mi. JULY 4th WEEKEND July. 2 July.

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