real songs. In "Big Sleep," for example, Charles Burchill's distant siren-like guitar and the gently tumbling rhythm fail to compensate for the lack of a sharp melody. The same is true of the quiet contrast of disco thump with the soft lyricism of guest Herbie Hancock's keyboard solo in "Hunter and the Hunted." But the erotic hook in singer Jim Kerr's beckoning croon during the lush "Someone Somewhere in Summertime" and the sultry ascending curves of "Promised You a Miracle" highlight the Minds' talent for turning clever tuneful phrases.

The oblique dream-sequence cut of the lyrics suggests Simple Minds may be too precious for their own good. But New Gold Dream has charms to suck you into deep, private reveries. After hearing the lullabye hum of Michael MacNeil's keyboards and the slight rocking lilt of the bass and drums in the instrumental "Somebody Up There Likes You," waking up may be very hard to do. (RS 393)

DAVID FRICKE