Star Tribune from Minneapolis, Minnesota • Page 80

I 20 Juno 27, 1982 Minneapolis Tribune inger's new album abandons father's trade to cash in on pop Record reviews Jon Bream AV- 4 fit and "The Rocky Horror Picture Show." Plus there is an Oliver-Woollfe fireside chat that's not as bright as SCTV's McKenzie Brothers. The Woollfe Gang is too self-consciously weird. The duo has even come up with an unweird song called "I'm Weird," in which the singer, admits to paying taxes on time, playing etudes in being sensitive and. digging pornography, punk music, and "The Rocky Horror Picture Show" (obviously a big influence) The Woollfe Gang has a very theatri- cal sense to its music, almost to the point of being a charade. The pair's sense of humor leads you to wonder whether you're laughing at them or with them.

The Ono and Lennon tunes are the most effective ones here. The Woollfe Gang was clearly bitten by the couple, to whom this record is dedicated. As Oliver points out in the fireside dialog, his songs "aren't habit forming." He's right; the Woollfe Gang needs a lot more time to sharpen its fangs. Wiz," then "Gilligan's Island" could become "Wise Guy." Kid Creole and his Coconuts have been washed ashore in imaginary B'Dilli Bay on "an Island of sinners where crime is the passport and race music is the only way out" Kid Creole (August Darnell, formerly of Dr. Buzzard's Original Savannah Band) has concocted a delicious soul salad.

He has put together a seamless synthesis of various ethnic styles (funk, Latin, soul, reggae, rock, Calypso) with which his multiracial New York band seems comfortable. The music Is bright and crisp, much more accessible and than last year's quirky debut album. This is definitely '80s beach-party material. Put "Wise Guy" on the box, grab a Panama hat, a Hawaiian shirt and a pair of Foster Grants, and dance away on your own private island. Recent and Recommended: "Dr.

John Plays Mac Rebennack" (Clean Cuts); Fine Art, "Scan" (Good EP); Rick James, Dance wit Me" (Gordy single); David Jo- hansen, "Live It Up" (Blue Sky); if I'll A IlllR The Woollfe Gang: Tom Oliver and Roubye Woollfe. Kid Creole and the Coconuts. "Wise If "The Wizard of Oz" became ''The ROCKSOI mm i r1 7C I msmmm Music Down" is an unneighborly rocker (sans the roll) with a new-wave feel. Springsteen-philes should enjoy the soulful story of "Club Soul City" and the first recording of a long-time Springsteen concert favorite, "Rendezvous." Next time maybe Springsteen should just record his songs himself and let the capable Bonds carry his own load. Woollfe Gang.

"Apprenhentious" (We're Woollfe). Beware of the Woollfe Gang. This outfit has undertaken probably the most aggressive marketing campaign ever by a local band, especially an unestablished one. TV commercials, fancy parties for promoters and press, a weighty press kit, videotapes of their performancesa fan club, publicity photos taken by one of the area's top photographers, and enough phone calls to be a pain in the derierre. The big push is on behalf of a duo that made a record and has now performed three or four gigs with the backing of members of Doug Maynard's band.

Roubye Woollfe looks like the Goodyear Blimp disguised as a vamp with a big, talk-sing voice that's closer to the (il) legitimate stage than it is to, say Janis Joplin. In real life, she's Sherri Nelson, a thirtyish former rock-star interviewer from California. Her partner is Tom Oliver, a 41-year-old, gray-haired twig who reportedly used to be a computer analyst. He masquerades as a rock star, complete with Spandex jeans, tuxedo with tails, and a T-shirt emblazoned with "Star." Together, they write the songs. Or at least four of the seven tunes on the Gang's debut album.

The others are taken from John Lennon, Yoko Ono 'Escape Artist' is film with mystery, whimsy Griffith O'Neal, Raul Julia, Teri Garr, Joan Hackett and Gabriel Dell star in "The Escape Artist," a contemporary tale of mystery, suspense and whimsy from Orion Pictures. The movie also stars Desi Arnaz in his first movie in many years. A 1 Frankie Miller, "Standing on the Edge" (Capitol); "Safety Last" (Twin Tone EP); Stray Cats, "Built for Speed" (EMI); Richard and Linda Thompson, "Shoot Out the Lights" (Hannibal); The Waitresses, "I Know What Boys Like" (ZE single); Sipple Wallace, "Slppie" (Atlantic). gllCUlSIOI All PUTT BOAT BITT.OrUD.Tnifi iV- Mississippi River Jj i Cruise in the Historic Lm ww tm Ll Hiawatha Vallavf Narrated Siahheeina Crime Doily, Sunday I Holidays 11 A JA. 2 P.M.

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"Stars" if something Cash can be proud of. Cli it and last year's "Seven Year ijche," she is well on her way to blooming the next Linda Ronstadt, America's leading pop thrush, if Juiee Newton doesn't beat her to 1L $5r relationships seem to be the hief topic here. The emotions are 4Ye subtle than is usually the case with explicit country music, because a3ji has turned to rocker John JJatt, her husband Rodney Crowell ani herself for material. fash has a style of keeping a from songs without sacrificing Snpact. It works especially well on Siatfs "It Hasn't Happened Yet," a fortrait of post-breakup strength.

Hratt's "I Look for Love" would have fjfulmphed, too, if Cash had only refused the gender (she's presumably poking for a man, not a woman as Jatt's lyrics suggest) on this new- ave-sty led stroll. le singer samples other styles nging from rockabilly and a jazzy- iJties soft-shoe number to J-rock and unadorned ballads. tne title track is the most likely to ick; it's an overwritten ballad with stefully spare arrangement that gould catch on in both pop and coun- circles. ijCtold, a solid record. Qtry VS.

Bonds. "On the Line" (EMI). bast year, Bruce Springsteen served a Jjenef actor in the comeback of of his inspirations. Now Bonds 1 become something of a Spring-si in farm team. As with last year's "Dedication," Springsteen coproduced this album and wrote most of the songs.

Plus the cOyer design and lettering are similar to those on his recent "The Riv-ef' album. IMothing else, this record indicates wiat a remarkable passion Springsteen the singer brings to a song. Bands, a fine singer who is less ijjugh around the edges, can't cut it compared to the Boss, for whom tffise songs were tailored. It's most ejdent on "Out of Work," which is hath topical and catchy enough to be phit when interpreted with Springsteen's special conviction. BSnds does pay dividends, however, dCthe pair of tunes he wrote.

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