A guide to new and notable releases from Dave Stewart, Warrant, and Rush


Graded music reviews the week of September 14, 1990

Always is anonymous R&B, with not one hint of the sass that made Pebbles’ previous hits — ”Girlfriend,” ”Mercedes Boy” — so much fun. C-

Dave Stewart and the Spiritual Cowboys Dave Stewart and the Spiritual Cowboys (Arista; all formats)
In their self-titled album Dave Stewart and the Spiritual Cowboys, the Eurythmics’ instrumentalist sets out on his own, with diffuse results. His songs are refined, almost genteel. But hearing them is like meeting an intriguing guy at a party and an hour later finding you can’t remember a single thing he talked about. C

Hard-rock formula — and heaping portions of raunch — are about all you’ll find on Warrant’s second album, Cherry, which doesn’t have nearly the appeal of their platinum-selling debut. Exceptions: the one song on the album Warrant didn’t write, Blackfoot’s ”Train, Train,” and something called ”Ode to Tipper Gore,” a perversely charming collection of dirty-word sound bites, recorded live during Warrant’s many tours. CGreg Sandow

Music From The Body, by Ron Geesin and Roger Waters, is one to separate the serious Pink Floyd aficionados from mere dilettantes. The soundtrack to an obscure British film about the human body, this minor 20- year-old recording has little to do with the old band’s spacey acid rock or its subsequent stadium hits. Music From The Body’ consists of songs (only one of which strongly favors Roger Waters’ Floyd work) and drifting instrumental passages, all played sparely on acoustic guitar, a few strings, and simple keyboards, done up with a bit of studio flash and some appropriate physiological noises. While Waters’ involvement gives this pleasant disc its slight commercial significance, none but Floyd completists should feel compelled to own it. C-

Fitting between genuine old-timers and self-conscious revivalists are the Morells — a quartet (three men, one woman) from Springfield, Mo., responsible for this 1982 indie-label gem. If there were a musical equivalent of mom’s cooking, the multi-generational Morells would be it: nothing fancy, just tasty, filling, and a bit on the greasy side. Reissued with two previously unreleased tracks, Shake & Push twists and shouts with more than enough friendly, down-home spirit and polished bar-band musicianship to satisfy any rock & roll soul. B+

Boiled down to 28 essential tracks from 16 albums, Rush’s evolution from jamming metal power trio to improvising progressive rock ensemble takes only two hours and change. But for those of us who aren’t overly fond of bassist Geddy Lee’s joke voice or the group’s inanely self-important lyrics and aimless musical meanderings, that’s still no bargain. The representative selection of material in Chronicles assures broad fan appeal, but anyone devoted enough to own all three of the Canadian group’s live records will be disappointed by the absence of rarities and the skimpy liner notes. C-Ira Robbins

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