Thursday, February 19,1981 page 12

‘b.,h.b.s.iv byline

Poor Mr. Robert Stigwood. The Bee Gees are suing him, and for unpteen millions no less. 'Ihe Saturday Night Fever Disco Boom has finally died a natural death. lately, it‘ seems that everything Stigwood toudied has turned into 24 carat lead. 'mrough the fog, however, springs the eternal light, and this week's coluIm finds us examining the newest of Stigwood's projects, the album "Times Square", which coincidently is also the title of his latest cine- matic venture.

Mr. Stigwood has . a penchant for producing films which seem to capit- alize on the public's tastes and trends. Some- times he is extremely

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successful, as shown in his .

best known work, "Saturday Night Fever", and then sometimes the resultant work is dismal, emplified in perhaps what could be ter— Ired the worst musical ever committed to film and vinyl, "Sgt. Peppers lonely Hearts Club Band". This new double albmn set "Times Square" (which could be sub-titled

S ti gw a 0d ’ s the "R. Stigwood Organi— _ zation junps on the new wave bandwagon") includes some gens of songs, as well as a few notorious clams.

'lhe first side contains perhaps the strongest collection of songs appearing on the album. All are beau- ticully crafted and performed

‘ and although diverse in

style, all detonstrate

the different approaches and techniques artists utilize in stating a similar message. The straight ahead Pod: 'n Poll shown on Suzi Quatro's "Rodc Har " contrasts well with the electronic wizardry of Gary Numan's, "Down in the Park". The bitd'ly rough—edged sound of Chrissy Hynde and 'Ihe Pre— tenders's "Talk of the Town" magnifies the snoothness of Roxy Music's "Same

Old Scene".

Perhaps the anthem (if any exists) of this urban new wave novement may well be the Talking Heads' "Life During Wartime". 'Ihe song emphatically states,

"this ain't no party, this ain't no disco. .this ain't no foolin' around." If any one song can portray

‘Times Square" 7

the urgency these lyrics command and require, this one song can, and indeed does so with a vengeance. . Other standout tracks include, "Walk on 'Ihe Wild Side" ' penned by one of the first young toughs, Lou Reed, and incidentally produced by David Bowie.

Also included are D.L. Byron's reworking of the old Smokey Rcbinson standard, "You can't Hurry love", and the Ranones "'I wanna be Sedated". 'Ihe majority of all the songs Whid’l appear on the disc are very good, some

. by well known perforners

(Patti Smith, Joe Jackson, XTC) , and some by unlmowns, or at least performers who are unknown to me. ('Ihe Ruts 'Ihe Cure), all giving credible performances.

I mentioned that this album also contains one or two songs of dubious quality° ’IWo of these songs are performed by the film's alleged star, R>bin Johnson. ‘lhis gravel voiced teenager cannot really sing. Added to this are lyrics which assume the buyer has seen the film. This makes for a less than L desirable standard.

Also included anong some bad new wave, is some pathetic middle of the road. What

M.O.R. is doing on an album of this subject is beyond me, I however, the times do remain and stick out not mlike the proverbial sore thumb. The youngest of the Brothers Gibb' lbbin, contributes

his limited vocal talents on "Help Me", insuring the next generation of post- pubesoent girls another

pop star from the Gibb

‘ brood.

Perhaps one can state that "Tires Square" is a double album‘ that should have been released as a single album set. Although there is a great deal of worthwhile material, the listener cannot help but tired in listening, to what, for all intents and Purl-Poses, is nusical filler. 'Ihe album retrains' a poor ex- cuse as the definative new wave conpilation, but it is a fairly credible

‘ soundtrack from a very,_

mediocre movie.

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