Alright, so here's a band with four albums to their credit, but it took until their third one (The Biggest Prize in Sport) before people began to notice them. Now the fourth LP is out. Called Concrete, on Polydor Records, it even goes beyond the last one as far as quality. Starting out with So Greedy, this LP has the earmarks of a smash. This song is an upbeat rocker in the fine tradition of 999. Following is ... what is this? A copy song?! Will wonders never cease. This is an excellent rendition of the old Sam the Sham & the Pharaohs classic Little Red Riding Hood. It even sounds as good as the original. The production chores were handled by Vic Maile and, as is his usual style, it is superb. Break It Up follows and is a bit slower than most of the others, but is still danceable, if the urge should hit. Next comes Taboo, another variance for these guys. This is beyond a doubt my fave cut. It is completely different from any other 999 song. The vocals are lilting, almost haunting. The tune contains a strong bass line with some keyboards hiding in the background. The beat is slow and very strong. Mercy Mercy is the next upbeat cut, followed by yet another copy tune. Never before have this group put a cover on an album, and this LP has not just one but two. The old Rolling Stones classic Fortune Teller closes out side one.
The second side begins with yet another surprise to 999 fans. We first hear keyboards and a bell chiming. What comes next is proof-positive that 'antmusic' (as put forth by Adam and the Ants) is here to stay. In this latest addition to the collection of 'Clint Eastwood spaghetti western theme-songs' done to rock and roll. Obsessed is simiilar in style to many of the songs from the Ants album Kings of the Wild Frontier, however, in my opinion, 999 out-Adams Adam on this one. Silent Anger is similar as well, but there are a few variations. We pick up the pace again with That's The Way It Goes. This song sounds much more like the 999 we've all come to know so well in the past. What ho, another twist! And instrumental tune this time. Bongos On The Nile doesn't have a single lyric. Don't You Know I Need You is another song in the tradition of the old 999 which brings us to the closing cut, Public Enemy No. 1, which is half-sung, half-spoken/chanted with, once again, the drum kit coming to the foreground. Some interesting things are done with the bass at the very end.
Aha! A new Hazel LP on Albion Records. I was beginning to wonder when it would come out and, at long last, here itis. This one opens with the title track, Cover Plus. Once this one passes into memory we are hit with Hazel's version of the Stranglers classic Hangin' Around (Hazel was dating The Stranglers leader Hugh Cornwell at this time). At first you may be lulled into thinking that Haze is doing a 'New Romantic' tune, but you soon realise it isn't. Hazel's smooth, whispery voice comes in and quickly changes when she reaches the chorus. Towards the end, Wes McGoogan's saxophone playing takes the helm. Legendary producer Tony Visconti gets the credit for production on this album. You may recall that Tony got the credit for production on Hazel's debut, the soundtrack for the film Breaking Glass. The next cut has special meaning for Hazel since it was her debut single, Ee-I-Addio. The catch is that the words to everything except the chorus have been changed. According to her press kit, this is a true story. She gets some assistance from her producer's two kids, Delaney and Jessica. Not For You is somewhat of a jilted love story where the 'victim' refuses to change her ideals for anyone. The strong drum beat makes this a good dance cut. Hold On is another rhythm-oriented cut dealing with someone who 'didn't hold on/to a dream/ain't it obscene?' Throughout this cut Hazel half sings, half whispers again. The side ends with so You're Born, which sounds a bit more like the tunes on her last LP, Sons and Lovers. Most of the other tunes have shown a definite 'maturity' in Hazel's musical style as she tries to include some new styles, sounds, etc. Hazel once again handled the writing cores on this one, with the exception of a few of the cuts.
Dawn Chorus begins the other side, jumping through a calypso/Spanish-influence in the background. The end sounds like a full orchestra. Animal Farm (We Will Be Happy) is a bit reminiscent of Eighth Day from the Breaking Glass soundtrack in its political biting sense. Funny that it should sound a bit like a certain explosive situation in Europe right now: 'And the pig got on his soapbox to say/don't you worry, don't you fuss/(and do as you're told)/all you have to do is follow us/(and they all sang)/we will be happy, we will be free ...' mm, sounds a bit like a situation here in the US as well. Runaway begins with a pipe organ and goes on to talk about people who run from things only to realise later that they're actually running from themselves. hazel's band, which is officiallly called Megahype now, do a couple of cover tunes. The first is by Jimmy Webb from 1967 and is another jilted love song, Do What You Gotta Do and which leads leads into a Lou Reed composition, Men Of Good Fortune. This rhythmic piece features a distinctive Kraftwerk-style electronic background. The ominous tone given to Hazel's voice with the use of echo is a good touch. That's Life (not the Frank Sinatra tune of the same name), thelast cut, isonce again about love gone sour. Once again Hazel's voice has a whispery feel until she reaches the chous when she belts it out as well as anyone. Once again the background carries a choral group and Wes's sax is tremendous as his instrument seems to cry out in anguish at the subject matter at hnd.
All in all I think this is a magnificent piece of vinyl and it's a shame that the big radio stations don't pick up on Ms O'Connnor and her band. That's alright, though, because this magazine (Moderne Muzik) is and always has been dedicated to Hazel and her philosophy of If Onlyl. Anyone who has been around Cleveland for the last year or so are pretty much aware of why. 'I WON'T BE THE ONE TO DESPAIR IN THE CHAIR OF IF ONLY ...'
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