The Original Sin

AMG Review of The Original Sin

Ralph Heibutzki
All Music Guide

Cowboys International epitomized the British post-punk era's here-today-gone-tomorrow spirit. The band's lone album made Melody Maker's Top 20 poll in 1979; barely six months later, only keyboardist Evan Charles and singer Kevin Lockie remained from an original lineup that boasted founding Clash drummer Terry Chimes. Lockie had nibbled around the margins of Britain's new music scene. He'd collaborated with Public Image Ltd. guitarist Keith Levene, but didn't end up joining. The overall feel here is futuristic and high-tech; Charles" keyboards dominate the songs, which are built around clanging, minimalistic riffs. Lockie's craggily detached vocals definitely echo David Bowie and the Psychedelic Furs' Richard Butler on the best tracks: "Pointy Shoes," "Thrash," and the doleful allad "Here Comes a Saturday." A hint of swirling Eno-esque mantra runs through other tracks, such as on the instrumental "'The No Tune.'" It's too bad that Levene didn't become a full-time member himself, since his guitar cameo on "Wish" is truly exciting, bearing every trace of the harsh, metallic squawk that couldn't find an outlet in the Clash. So-called "aquarium guitarist" Rick Jacks sounds fairly pedestrian by comparison -- although, to be fair, he's got little to do with arrangements that confine him to rhythmic punctuation. However, nothing separated these Cowboys from countless other bands plowing the same weary post-punk furrow; Lockie's cryptic lyrics lacked the moxie needed to overtake flashier rivals like Echo & the Bunnymen, or Siouxsie & the Banshees. Lockie went solo, moved to New York, and made several dance records before leaving the business. This album is solid and well-executed, but little more than an interesting period piece.