| From rock and pop to second-line neoclassicism and cocktailfunk, the Neville Brothers have made lots of commendable albumssince 1977, when the four of them invested their collective 80-plusyears of professional experience in a single group. But onlyYellowMoon (A&M) has accomplished their cherished goalof taking New Orleans into the future. Though gumbo purists willclaim that producer Daniel Lanois, a longtime associate of new Nevillessideman Brian Eno, isn't greasy enough, the old beats are therein all their sweet, swaying syncopation. And if Lanois downplaystrap drums in favor of subtler percussion devices, getting a coollysublime sound that's sophisticated without ever whispering lounge,the material thrives under the treatment: from black history lessonslike "My Blood" and "Sister Rosa" to New Orleans neoclassics like"Voo Doo" and "Wild Injuns," these are the group's most articulatesongs ever. And then there are the voices. It's no surprise thatbrother Aaron sings the shit out of "With God on Our Side"--thisman has sung the shit out of the Mickey Mouse Club theme. But waittill you hear what brother Art, aided by a cunning bottleneck guitar,does with "The Ballad of Hollis Brown." Fine Young Cannibals'The Raw and the Cooked (I.R.S.) isn'tsublime, or ridiculous either. Slight, maybe--entertaining. Frontedby the cutting vocal attack ofSammy and Rosie Get Laid sexsymbol Roland Gift and completed by onetime English Beat bass-and-guitarDavid Steele and Andy Cox, the Cannibals have turned from bastardska to the undeniable pop English Beat mastermind David Wakelinghas jawed about since he broke up the band. The techno rhythms evokeboth Hot Chocolate (rememberYou Sexy Thing?) and up-to-the-minutedance music, and Gift's affectations are affecting. WithSheDrives Me Crazy mounting the charts as I write, this one couldmake somebody rich. Enjoy. Playboy, Mar. 1989
 | Feb. 1989 | Apr. 1989 |  |
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