The gamecock. (Columbia, S.C.) 1908-2006, October 06, 1980, Page Page 8, Image 8
Welch 'i
irnprov
By David Baker
For a while, it looked as if
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guitarist Bob Welch was
going to be a flash-in-the-pan
as a solo artist. After a wellreceived
1977 debut,
"French Kiss," and a string
of hit singles, Welch released
two unsuccessful albums in
1979, "Three Hearts" and
"The Other One." The latter
didn't even dent Billboard's
top 100.
The problem of inane
lyrics is a problem on
Welch's newest release,
"Man Overboard," but at
least he has put fire back
into his melodies. Thus, the
new record, while it isn't half
as good as "French Kiss," is
two times better than
Welch's 1979 efforts.
The title cut begins with a
melodramatic, somewhat
James RnnHich flnnricK
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which leaves us yearning for
Paul McCartney's "Live and
Lei Die." The lyrics deal
with boredom.
The next song, "Justine,"
is highlighted by a jazzy
saxophone solo by Marty
Jourard. Synthesizers hide
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where the song could just as
well have been an instrumental.
Welch's voice is in top
form, though, on "Nightmare,"
the album's most
distinctive cut. Lilting guitar
Conroy
from page 7
that produced "Kramer vs.
Kramer."
\ Claiming that he is still not
accustomed to success,
Conroy said, "It still shocks
me. I had completely given
upon 'Santini.' and now it's
a hot movie. Then suddenly
two filmmakers want
'Lords of Discipline."'
If Conroy isn't accustomed
to success yet, he should be.
His first successful book,
"The Water is Wide." was
made into a film in 1974 and
the recently released "The
Great Santini" is drawing
even greater crowds.
Conroy says he is happy
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his books, even though he
doesn't work closely on
them.
"About the only times to go
to the set is to take my
family. They love it. Me, I
just get nervous, and the
guys on the set get nervous,
so I don't hang around long."
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s latest
ed
wwi iv ciuu imaginative lyrics
add immeasurably to the
song, and the synthesizers
pop up only in the right
places.
Side one closes with
"B666," a jarring, demented
track about the impending
arrival of the anti-Christ.
This song features yet
another soaring,
melodramatic intro. Not
surprising, since the song
was orchestrated by Jack
Nitzsche, famous for his film
scores. Welch's voice is
again so swamped in
production, including an
echo chamber, that one is
hard pressed to make out
more than one-third of the
words. With these words,
that may be a blessing in
disguise.
With its pretty ballads and
mid-tempo rockers, side two
is more typical of Welch than
the hard-edged cuts on side
one. Side two begins with
'Tlnn'l t>,.oU r* 1
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Things," the album's first
single. The track is notable
only for Welch's stunning
guitar work and for a brief
appearance by Norton
Buffalo on harmonica.
"The Girl Can't Stop" is
one of the album's most
memorable tunes. The
lyrics, about an actress
consumed by the desire for a
Hollywood career, aren't
half-bad, either. "Jealous "
the next cut, isn't the
scorching Robert Palmer
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Bob Welch's latest album
Kiss," but is an improveme
song from Secrets, but a
romantic semi-ballad. It's
pleasant enough, but obviously
filler material.
The deja vu one ex
periences while hearing
"Fate Decides" makes it a
hot prospect for radio airplay.
The song's "ooh-ooh"
chorus is stolen outright
from the 1960s hit,
"Suspicion," but the song
has a sufficient number of
original elements to keep
Welch from being taken to
court on plagiarism charges.
Ex-Eagle Randy Meisner
contributes background
vocals on the cut, which is
the best Welch has to offer us \
on side two. 1
1
The final cuts, "Reason" 1
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offering opportunities for q
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may not equal "French
nt over his last two.
and "Those Days Are
Gone," are the worst things
Welch has rwnrrfoH cinnn Kic
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cover version of The Beatles'
"I Saw Her Standing There"
on "Three Hearts." The first
is a labored attempt at being
meaningful, while the latter
is a fake-Beach Boys lament
on growing up surrounded by
sand.
mi- - * ?
inougn "Man Overboard"
is an improvement on
Welch's most recent albums,
it's a far cry from being in
the same class as "French
Kiss" or any of his later
records with Fleetwood
Mac. He might get a couple
of hit singles from it, but he's
going to have to work on his
lyrics if album number five
is going to be worth its
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1 on 1 en
FICTION
1. "Firestarter" Stephen King I
2. "Rage of Angels" Sidney Sheldon
3. "The Fifth Horseman" Collins & Lapierre
4. "The Key to Rebecca" KenFollett
5. "The Tenth Commandment" .... Lawrence Sanders
j 6. "Music for Chameleons" Truman Capote
7. "The Bourne Identity" Robert Ludlum
8. "The Ring" Danielle Steel
9. "Fanny" Erica Jong
10. "Random Winds" Belva Plain
I NON?FICTION
1. "Crisis Investing" Douglas R. Casey
2. "No. 1" Martin & Golenbock
i 3. "The Sky's the Limit" Wayne Dyer
4. "Shelley" Shelley Winters j
5. "Free to Choose" Milton & Rose Friedman
6. "Nothing Down" Robert Allen
7. "Breaking Cover" Gulley with Reese
j 8. "Craig Claiborne's Gourmet Diet"
Claiborne with Franey j
9. "Goodbye Darkness" William Manchester
10. "How You Can Become Financially Independent by
Investing in Real Estate" Albert J. Lowry !
(Courtesy of Time, the weekly news magazine)
jRead the Gamecock!
| If you cannot read. ?
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itions require problem-solvers who have
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