possibilities that have always been compressed under the glossy veneer of its sound. Naturally, Nelson provides most of the impetus with his Gibson ES 345, effortlessly synthesizing the growling, power-chord bottom and the supple, intuitively melodic passages on the top. Nelson makes excellent use of phasing, panning and doubling lines to ensure the ethereality of his sound. In fact, he sounds much better live than in the studio.

Side one is the "money" side, showcasing three of Be-Bop's most popular songs—the title tune, "Ships in the Night" and the single, "Fair Exchange." The Nelson/Be-Bop song formula works something like this: dramatic guitar intro followed by a staccato melodic passage that slowly (through what sometimes seem to be endlessly ornate transitions in terms of key changes and rhythm signatures) settles into a more accessible hard-rock groove. The better tunes, such as "Fair Exchange," use the most pared-down version of this formula, while less successful efforts ("Mill Street Junction" and "Blazing Apostles") extend the schematic beyond any hope of aural redemption. Throughout all of this, keyboardist Simon "Andy" Clark, bassist Charlie Tumahai and drummer Simon Fox amplify the melodic fireworks ignited by Nelson's guitar.

Vocally, Nelson still grates on the nerves. Breathy and somewhat precious, his voice lacks the drama of a David Bowie and invariably seems to be straining to hit the next high note. Something like Frampton. The lyrics range from serviceable to embarrassingly pretentious. Still, Nelson is undeniably one of the classiest guitarists in many years, and one can reasonably expect the lyrics and singing to get better as he and the group evolve. And although Be-Bop Deluxe won't be absorbed into the howling vortex of mainstream-rock with the fluid ease of a Peter Frampton, comparisons between this LP and Frampton Comes Alive! seem inevitable. (RS 249)

JEAN-CHARLES COSTA