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Paul Bradle ' ' 'Yassau- Dangerous Acquaintances— Marianne Faithfull , This is quite simply one of the best rock albuns of the year. Faithfull has thrown off the shroud that inspired the' anger and despair of Broken English. In fact, on the opening cut she repeats, "I'm changing my'role in life." This tune, entitled "Sweetheart" sets the tone for the rest.of the l.p. The song has a distinct reggae feel — not what you might expect from Ms. Faithfull. "Intrigue" ,’ the l.p. '5 second track,

- also has a pleasant

surprise awaiting —- a horn section. Again, this; is not something we would expect, judging from Faithfull's past , material, yet it comple-. ments the mood of the song beautifully. . Most of the ranainin tunes on Dangerous Acq- aintances are set to—a— mid-tempo, heavy. rock beat, similar to Broken English.

The Music Beet ,

The UPEI SUN, November 12, 1981, page 9

the feeling that if the band Would just loosen up a little, they would regain their earlier form. As it stands,

The Police have abandoned the brash white-kid reggae that made them

so unique. Too bad.

5 Bad For Good — Jim

Steinhan

Meatloaf's lyricist has tried a solo venture. This is it and it's terrible. Todd Rundgren (over—) produced Bat gut of Hell and now—has produced the shit out of Bad For Good. He should have brains enough to stay away from these exercises in arrogance. As bad as Bat Out of Hell was (and it was pretty silly when you things about it), it had its moments.

However, Bad For Good is a totama—cle One cut, "Love and Death and an American Guitar" is gross beyond belief. This album should have been called Good For Nothing.

and one in America. As you can imagine, it's hard to write good material and perfect 1 your craft when you are constantly on, the road (on the talk show circuit as it were). This was painfully evident in Zenyatta Monodalta, a decent l.p. but sun—par for this band. An initial observ— ation is that this is ’ .t he first Police Album whose title is actually pronouncable. Below the surface, the material travels in'extremes. There are four very good cuts: "Spirits In the Material World", "ENer Little Thing She Does to Magic", "Invisible Sun", and "Darkness". However, the Police's songwriting continues to flounder. Some of the tunes on Ghost In The Machine are just ‘a series of sound effects, interupted by flat, lifeless riffing. The ‘Police are capable of more than this. '. ' Somehow you get

Faithfull still has a measure of gloom to - project. 4 But, wisely,- she isolates it so that when we do come across "So Sad" and "Truth Bitter Truth" we know she is sincere.

This is not a perfect album and it may take a couple of listens for you to adjust to Faithfull's ‘gravelly voice. But .when the songs hit home, they stay. All cuts are recommended, especially "Intrigue", "Eye Communication",

"So Sad", "Strange One", and "Easy in The City".

Ghost In the Machine - ' ~ The Police The age old conflict of commercial success versus artistic integrity has never been more than _ in the Police. Outlandos ,d'anor and Regatta de / Blanc had critics raving. iThen, all of a’ sudden the band had three hit _ singles in England ’(two of which were number 1)

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