London Rock Garden

THE ALARM have the audacious aplomb to begin their set of jollies with aline-up comprising three acoustic guitars and a drummer. Singer Mike Peters strums away at a twelve string and with 'Shout At The Devil' begins the first in a series of passionate lyrical deliveries that, despite the possible limiations of the fragile backing, moves each number into the solid cast-iron realm.

In keeping with the self-financed and worth a listen single, 'Unsafe Building'/'Up For Murder', their live showing is split into acoustic and electric segments.

Mike switches top bass guitar and Eddie MacDonald takes up the lead electric pluck while Dave Sharp maintains his acoustic rhythm. Both take up a share of the vocal duties with as much depth and flair as Mike. To the group's credit, the swopping and mixture of instrumentation never intrudes on the overall character of the material.

Attentive listeners may detect a variety of influences. WIth the non-electric stuff, the spectre of skiffle (tea-chests to be emptied now, ready for the renaissance) is never far away. The three-part harmony in many of the melodies carries a mop-tops echo although the Peters coiffure is more Lammin than Lennon. 'Pavilion Steps' has some opening bars that recall to mind the Monkees' 'Last Train To Clarksville' and the ocassional addition of harmonica casts an air of Zimmerman '63.

The Alarm, however, are far from being empty-headed sixties revivalists. They use that decade's essence as a springboard and combine it with a cynicism blended with a courageous optimism that is relevant and right for the eighties.

Hopefully the urgent, emotional pop which they purvey will gradually grow into an even more challenging maturity.

At the Rock Garden there were two deserved and spirited encores. In this musical world of phoney fashion and narrow-minded trends, the Alarm may just be what's needed in '82.