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The thing that seems to distinguish Chiswick from the other
record companies of the same type is that they're prepared to
totally play to their hunches. Unlike, for example, Stiff, it seems
that anybody who signs with Chiswick is regarded as an album
artist, and to prove it, artefacts are upcoming from Johnny Moped,
the Radiators From Space, Skrewdriver, and best of all, from the
compulsively athletic Radio Stars, which will go alongside this first
album on the label, and its companion Motorhead. That's faith, and
such a commodity is sadly lacking among other record companies
at the moment. So why don't I particularly rate the Count Bishops? Well, it's probably to do with the fact that I, along with Malcom Mclaren (or so I've read), used to go and see the Stones up to four times a week around this time fifteen years ago (Sunday afternoon at Ken Coyler's, Sunday evening at the Crawdaddy, for which I still have my membership card, Monday night at the Marquee, and Wednesday at the Eel Pie Island, if they were on). In those days the stones were about a million times more exciting and accessible than they are now, and they've never recaptured even one per cent of that excitement since about 1964, the year I saw the Paul Butterfield Blues Band at the Golders Green Refectory (to which the same applies). What's wrong with the Count Bishops for me is that they seem to be very like a 1969 Stones, or the Pretty Things at almost any point in their career, except they don't have the distinctiveness of either. A lot of that's to do with their songs, which are generally indifferent. That's the originals of course, because lots of bonus points are scored by anyone who reurrects the Standells, even if they got the title wrong, although covering Savoy Brown almost erases this advantage. There are five originals out of twelve, and only one, 'Stay Free' by guitarist Zenon de Fleur (a likely story), is better than wallpaper, with guitar not unlike Quiver's 'Reason For Staying'. Happening to meet Zenon at the Nashville, I expressed my opinion that his group's writing doesn't cut it yet, and he seemed a bit disgruntled. Hardly strange, I suppose... If it's of any interest (and it probably isn't), I suggest more careful choice of songs next time. EG, if you're determined to do a Chuck Berry, how about 'Our Little Rendevous' or 'Don't Lie To Me' instead of boring stuff like 'Down Te Road Apiece'? And why do Elmore James when the Fleetwood Mac reissues are flooding the market? The Kinks isn't such a great idea either, but I'll be waiting for you to do 'Dirty Water' on the next album. So don't let me down, Zenon... Album review by John Tobler - First published in Zig Zag #76, Sept 1977. |
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