From: awrc@dcs.ed.ac.uk (Al Crawford)
Subject: Review From The Crypt: Dave Ball - In Strict Tempo (1983)
Reply-To: awrc@dcs.ed.ac.uk (Al Crawford)
Organization: The University Of Edinburgh - Department Of Computer Science
Date: Mon, 4 Jan 1993 19:10:32 GMT
Followup-To: rec.music.misc


Dave Ball		In Strict Tempo		Some Bizzare 814 518 2 [UK]

	Total Running Time: 40 min 11 sec

	1.	Mirrors				02:22
	2.	Sincerity			05:07
	3.	Passion Of A Primitive		04:11
	4.	Strict Tempo			03:42
	5.	Man In The Man			03:44
	6.	Only Time			01:02
	7.	Life Of Love			03:00
	8.	Rednecks			04:32
	9.	American Stories		12:22

Dave Ball, currently half of The Grid, is probably best known for his time
in Soft Cell where he was "the fat one who plays the keyboards." Perhaps
not exactly the most flattering sobriquet, and certainly one that doesn't
recognise Ball's considerable contribution to Soft Cell's success but when
you compare his extremely low profile at the time with Almond's colourful
and flamboyant personality, his relative anonymity isn't surprising.

This, Ball's only solo album, now re-released on CD, originally appeared
back in 1983 at the height of Soft Cell's success. It didn't attract much
attention at the time, partly because nobody had a clue who the hell Dave
Ball was but mainly because, while this album does have its moments, it's a
rather patchy effort.

The disc is a mix of instrumental and vocal tracks, with vocals by both
Ball himself and guests. It gets off to a good start with the pleasant
string-driven instrumental "Mirrors" featuring violin and viola by Gini
Hewes (didn't she end up as Gini Ball?) and Ann Stephenson. Very nice, if a
little short. Next is the first vocal track, "Sincerity", which features
the erm, distinctive tones of Genesis P. Orridge (of Throbbing Gristle and
Psychic TV infamy). Musically it seems to tread familiar Soft Cell
territory (you could almost imagine Marc Almond is about to break in at any
moment) but Orridge's flat, deadpan monotone is curiously appropriate.
Intriguing in a strange way.

The first dud is "Passion Of A Primitive", a not-unpleasant but rather
bland instrumental that's pretty disposable. The almost-title track "Strict
Tempo" features Gavin Friday of the Virgin Prunes (what strange friends
Dave has). Although his vocal excesses do get a little annoying at times
and the lyrics are somewhat unsubtly sexual, it's an excellent track and
perversely catchy.

Genesis P. Orridge makes his second appearance on "Man In The Man" in which
he almost manages to out-sleaze even Marc Almond with his half-spoken,
half-sung lounge-lizard routine. Despite the song being written entirely
(music and lyrics) by Orridge, Ball manages to stamp it with the Soft Cell
sound, resulting in a song that matches up rather well beside the likes of
"Baby Doll" from Soft Cell's _The Art Of Falling Apart_.

"Only Time" is a good (but short) synth track, where Ball's vocals make
their first appearance. The impression we get here is that while he doesn't
have a very good voice, it's sufficient for the minimal, almost spoken
lyrics here. "Life Of Live" seems to confirm this, but is otherwise
unremarkable.

Then, alas, we reach "Rednecks", a song so bad it's wonderful. It's Ball's
attempt at faux-country & western, with the man himself on vocals. It
becomes quickly apparent that his voice is quite astonishingly bad and that
the song sounds very stupid indeed (given the subject material and style)
because Ball doesn't even attempt an American accent. It really has to be
heard - it's a cute idea for a novelty song that falls flat on its face and
then sinks without trace. Maybe with a vocalist who could sing...

"American Stories" is an overindulgent instrumental, split into several
"movements" that goes on waaaaay too long. Ball partially succeeds in his
aim of attempting to paint a picture of the seedier side of US life, and
his jazzy sounding music interspersed by appropriate tape snippets
certainly capture an American flavour, but the track is also quite
seriously boring and I rarely find myself listening to it right through.

Like I said, a mixed bag. The P. Orridge and Friday tracks work well, as
does "Mirrors". "Rednecks" may not work at all, but it certainly provides
entertainment value. The rest of the material is, however, eminently
forgettable and really not worth bothering about. There's nothing here to
really *condemn* or avoid like the plague, but the album's a little too
patchy to warrant much in the way of praise.

Erland Rating: +1

-- 
			Al Crawford - awrc@dcs.ed.ac.uk
	  Department Of Computer Science, The University of Edinburgh
   Rm 1410, JCMB, Kings Buildings, Mayfield Rd, EDINBURGH, EH9 3JZ, Scotland
	     Tel: +44 (0) 31 650 5165  Fax: +44 (0) 31 667 7209
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