BUSTER WILLIAMS—Dreams Come True (Buddah)::Much of this is sappy, as you’d expect, but just the weirdness of trying to convert a bass player into a commercially acceptable lead soloist makes the record worth nothing. Also pianist Kenny Barron and trumpeter Eddie Henderson lend jazz authenticity to a few cuts and the best of this sounds like a very low-keyed bop session while the worst sounds like a kind of ersatz disco. A doomed project, probably, but not without interest. R.C.W

THE TOURISTS—Reality Effect (Epic);: Okay,' so a few other scribes beat me to the Byrds and Renaissance comparisons in pigeonholing these coed Limey popsters. To get on with the annotating, let’s just say that the Tourists are so refined they make the Talking Heads sound like Sam the Sham on his wooliest nights—you fans who queue up for the powerpop proprieties will know who you are. Yes, and the Tourists would sound great on the radio if the democratic-eclectic (ca. ’65) playlists ever make a comeback. Some overexcitable types might even characterize this LP as “prepsychedelic,” when they hear Ann Lennox’s plunging-neckline organ on “In the Morning (When the Madness Has Faded).” R.R. GILL SCOTT-HERON & BRIAN JACKSON—1980 (Arista)::The usual collection of tracts, political, mystical, social, blended with joyously insinuating music. Scott-Heron never minces words and wouldn’t dream of sacrificing the thrust of his polemic for the sake of a welltuned phrase—he’s be a righteous bore if it weren’t for his melliflously soulful voice and mastery of the light-handed funk tune. For people who like to mellow out and be nagged at the same time. R.C.W.