DALE - RIOT IN ENGLISH

I've picked this album to review because I recently purchased it in the original CD longbox!  Woo-Hoo!  For those of you who aren't familiar with Dale...  Think Missing Persons.  Dale Bozzio is the lead singer of the 80's New Wave band, Missing Persons.  She's most known for her perky vocal styling and signature scatting.  With high pitched yelps, hiccups and squeals, Bozzio bopped her way across the charts for the early part of the 80's and then kinda flat-lined when Missing Persons broke up.  In an attempt to redefine herself, she signed as a solo artist on Prince's Paisley Park label and released this little gem, "Riot In English".

'Simon Simon' is the opening track and it's a funky pop number using what I can only describe as a skidding drum effect throughout.  It was also a single for the album and probably the more popular or well known of the two released from this record.  There's a strong focus on beat which is more of a Minneapolis sound trick rather than a New Wave standard.  She was obviously trying to create a hybrid sound mixing her brand of pop with Prince's.  This is more apparent on the second track, 'Giddi Up Baby - Be Mine'.  Once again, that skidding drum beat is prevalent throughout.  You also get some strong punctuated synth lines reminiscent of a lot of the motifs The Time would use. 

'Overtime' is the first song that follows a more traditional New Wave formula in song writing.  The emphasis is on the melody here, which isn't exactly a trademark of hers in the past.  There are plenty of synth effects showcased in this song that were party tricks of Prince's in the past.  I suspect the album was recorded at Paisley Park using instruments and equipment Prince would normally use.  Hence the tendency to lean towards some of his standard sounds.  'Overtime' is an interesting song because Dale sings it in a lower key.  She still has her signature yips in the chorus, but she delivers most of the song in a reserved and sincere manner.  It's actually a great tune.

Because Paisley Park was his vanity label, most of the artists who released albums were offered a Prince song as part of their album.  Track 4 is Prince penned 'So Strong' and just like the title suggests, it's the strongest track on the album.  It's more fully realized, produced and performed than any of the others.  There's not a lot of room for Dale to vocalize.  One would assume, with such an animated voice as hers, Prince would've offered a track that would take advantage of her unusual delivery.  Instead, the track more or less reigns her in confines her.  Even though the song is amazing, it's disappointing to hear Bozzio in such a limited performance.

'Love Is Hard Work' always seemed like a power chord generic track to me.  Yet as I listened to it for this review, I actually put my finger on why it sounds like something I've heard 100 times before.  Cameo used to release albums with 1 or 2 great songs and then a bunch of R&B filler material that wasn't nearly as interesting or entertaining.  And this track sounds like one of those tunes.  I could hear this song on "Single Life" or "Word Up".  Come to think of it, most of the drum sounds on this record sound more like Cameo than Prince...  Sadly, it's not a great song for Bozzio.  It's followed by the title track, 'Riot In English'.  This track is an experimental disaster with Dale speaking the lyrics like she's reading a mystery novel to an audience.  The only singing is actually performed by the back up singer who sorta steals the show.  It's a strange song, definitely the odd duck in the bunch and even though the title is interesting, I'm not sure I would've picked it as the second single or named the album after it.

'He's So Typical' is another song that attempts to blend Dale's New Wave with the Minneapolis Sound.  You get the synth chords more in line with MS, but it's a Dale song in every other way and really allows her to break out and be herself.  She the most animated on this track and really cuts loose.  You actually start to think the word "typical" was invented just for her to speak.  'Ouch That Feels Good' is another New Wave track more in line with the early 80's New Wave sound.  It's not a strong tune, but it's enjoyable and Dale sounds more relaxed and her performance comes across more genuine and real.

'The Perfect Stranger' is the final track on the album and it was also included on the 'Simon Simon' single as the b-side.  It's an unremarkable track but still enjoyable.

Most of the artists that appeared on Paisley Park were innovative and different.  In this case, Dale sounded like she was trying to create a hybrid sound between the style of music that made her a star and the Minneapolis Sound that was still rockin' the charts.  I think it would've been more interesting to let her do her own thing completely separate from a producer.  With some freedom and at the height of her creative force, I think she would've tanked horribly or come up with something so amazing, her place in rock history would've been assured.  Instead, they took a safe route and attempted to create something that would please Prince's audience and Bozzio's.

It's not a bad outing, but not necessarily a great one either.  Of all her albums, this might be the only one that is currently out of print.  I'm not sure about the Missing Persons material.  I'd have to check.  Anywho...  My final words:  A HIT AND A MISS!

DALE - RIOT IN ENGLISH
01. Simon Simon
02. Giddi Up Baby - Be Mine
03. Overtime
04. So Strong
05. Love Is Hard Work
06. Riot In English
07. He's So Typical
08. Ouch That Feels Good
09. The Perfect Stranger

CAMEO - SINGLE LIFE

Cameo is a band I have a hard time with.  As I mentioned in a previous review, I like songs they do, but I usually find their albums a bit on the boring side.  I don't know the entire history of the group, but I can put something together based on what I hear on the records.

I suspect Cameo was a product of 70s funk.  They came in on the coat tails of bands like Earth, Wind & Fire, The Temptations, Cool & The Gang...  They play a lot of traditional soul funk.  Their songs are almost textbook in composition.  However, when the 80s started, the lead singer, Larry Blackmon discovered a persona he started to employ on certain songs.  That vocal delivery and his attitude when using this voice changed the fortunes of the band.  I'm not even sure what you'd call him.  But it's quite different from his other material.  The music is more rhythmically centered like much of the Minneapolis Sound then.  'Single Life' is a great example of this.  It may very well be the first track Cameo employed this method of song writing.  Blackmon still sings somewhat in a more traditional R&B manner, but the transition is evident.  The beat and drum sounds are deeper, more prominent and the keyboard melodies are stripped down to serve as accentuation for the drums.

On subsequent records, the sound is more formulated and they deliver stronger material.  Here, the only song I find very appealing is 'Single Life'.  Of the rest of the songs, only 'Little Boys - Dangerous Toys' offers much musically.  'Urban Warrior' features an early rap.  Tame by more modern standards.  Half the record is mid tempo ballads.  Hardly worth spending much time there unless that kind of R&B is what you're into.

Arguably, the first track, 'Attack Me With Your Love' features Blackmon's vocals in the style I enjoy, but it centers too heavily on the other vocalists and still follows a more traditional style of R&B.  It's fine for what it is, but hardly the mind blowing strangeness of 'Single Life'.

I discovered Cameo when they performed 'Single Life' on Solid Gold.  It blew my mind.  I thought they were strange and freaky.  I ordered their tape at the local music store and actually had to wait for it to come in.  When I got it, I was singularly struck with the tune, but unimpressed with the rest of the cassette.  These many years later, even after purchasing the CD, my initial reaction remains my overall feeling for the disc.

My final words:  MIXED WITH STRONGER TRACKS FROM OTHER ALBUMS AND YOU GOT A WINNER.

CAMEO - SINGLE LIFE

01. Attack Me With Your Love

02. Single Life

03. I've Got Your Image

04. A Good-Bye

05. I'll Never Look For Love

06. Urban Warrior

07. Little Boys - Dangerous Toys

KON KAN - MOVE TO MOVE

I never knew much about Kon Kan when I bought this cassette. I can't even think why I bought it in the first place other than someone mentioned it was a great tape. Since then, I've found it on CD and I paid full price for it when I purchased it at Tower Records in Las Vegas. As I researched the group for this article, I discovered they were a Canadian outfit. I think they're based in Ontario.

Anyway... I really liked certain tracks by this group. Enough to buy it on CD when I found it. At the same time, I've noticed the group relies heavily on musical elements they take from other songs rather than writing original stuff. Some samples are blatant, like Nancy Sinatra's 'These Boots Are Made For Walkin'', Led Zepplin's 'Immigrant Song', Lynn Anderson's '(I Never Promised You A) Rose Garden' and Silver Connection's 'Get Up And Boogie (That's Right)'. They record a sample and play it over their own beats. But some are more subtle. 'I Can't Answer That' revolves so heavily around Cameo's 'Word Up' it's a shock not to hear Larry Blackmon's vocals.

I've never been a huge fan of sampling, but I will say this much for Kon Kan... They usually use the samples to good effect and the result is often enjoyable. I think the band has a solid foundation in beats. Even the songs written without sampling like 'Bite The Bullet', 'Glue & Fire' and 'Move To Move' have exciting rhythm sections. The music is interesting and aggressive enough to be fun even though the lyrics are often weak and generic.

The weak point on the record is the ballad 'Am I In Love'. It's truly a downer on an otherwise carefree dance album. I've read Kon Kan released other records after this one and were active for many years. They're totally defunkt now and I haven't heard anything other than this one shining example. I remember this music fondly from my childhood and strongly recommend it to fans of 80's New Wave/Dance music. What it lacks in lyrical depth and musical originality, it makes up in groovy beats and simple hooks. You might like it if you try it. My final words: GREAT ZONE OUT.

KON KAN - MOVE TO MOVE
01. Arts' In D Minor/Harry Houdini
02. Bite The Bullet
03. Move To Move
04. I Can't Answer That
05. I Beg Your Pardon (I Never Promised You A Rose Garden)
06. Am I In Love
07. Glue & Fire
08. It Doesn't Matter
09. Puss N' Boots/These Boots (Are Made For Walking)
10. Arts' In D Minor/Harry Houdini (Justin Strauss 12" Remix)
11. I Beg Your Pardon (I Never Promised You A Rose Garden) (12" Remix)

CAMEO - WORD UP!

Certain artists have sounds they're famous for. In the case of Cameo, it's an interesting situation. In the 80s and 90s, Larry Blackmon became famous for a particular sound. Whereas Prince made his trademark sound based on heavy synth melodies and the Linn Drum Machine, Blackmon did it through a combination of different things. He had unique vocal arrangements using an affected voice, interesting drum programing and trendy drum sounds. Even though nothing was really revolutionary about Cameo's music, it was distinct. To say it was exciting is an understatement. But it was also inconsistent.

On 'Word Up!' for example there are only two tracks that seem to fit this hit making formula of Blackmon. 'Candy' and 'Word Up' itself. Though the rest of the disc has some value as nice little jingles, they end up sounding more like traditional R&B. Massive amounts of this stuff has been released over the years and even though the subject matter struggles to find a unique perspective, it winds up sounding run of the mill.

Given the space age appearance of the band itself, you'd expect something more progressive and cutting edge. It's somewhat misleading. Both 'Word Up' and 'Candy' promise a new age revolution of sorts. But the rest of the disc fails to produce it. It never moves past the opening tracks. Blackmon used his hit making talents previously and since on various tracks. But it's the lack of more interesting material that left Cameo in a one-hit-wonder limbo. It would be nice to see Blackmon and friends come back and do something interesting nowdays. I'm kinda curious what they're up to.

With downloading what it is, if you have an interest in some Cameo tracks, do yourself a solid and skip the filler songs. Focus on the really good stuff. These days, bands need to write good songs all the way through the record if they want to sell more than a single. Back then, you sometimes took your chances. With 'Word Up!', I gambled and lost. My final words: GENERIC WITH A PINCH OF GENIUS.

CAMEO - WORD UP!
01. Word Up
02. Candy
03. Back And Forth
04. Don't Be Lonely
05. She's Mine
06. Fast, Fierce & Funny
07. You Can Have The World