FRIDA—Something’s Going On (Atlantic):: Sure is, as Anni-Frid Lyngstad proves conclusively that there is, indeed, life after ABB (or is that BBA?). Frida’s sharp, clear “it’s still Sven ’n’ Lars to me” vocal enunciations only serve to help heighten the tension on the smash title track (RUSS BALLARD?? AGAIN???); of course, that screaming-mimi guitar solo and producer Phil “How’m I doin’?” Collins’ ominous Excedrin headache no. 4173 drumming don’t hurt none, neither. Other highlights here include Phil’s perfectly executed Robin Gibb falsetto swam dive on the Frida/Collins duet, “Here We’ll Stay,” a rather robust reading of Bryan Ferry’s “The Way You Do,” and the lilting “Threnody,” with lyrics taken from a poem by the combination Joan Rivers/Lydia Lunch of yesteryear, Dandy Dot Parker. B.A. THE MORELLS-Shake And Push (Bor rowed):: As the Skeletons in ’81, this band made “Trans Am” the cruising anthem of the year. And while nothing on Shake And Push can quite surpass “Trans Am,” it still gets down as The Great Lost Party Hearty LP of ’82. Relying chiefly on obscure and fascinating covers (like Roy Montrell’s incendiary “That Mellow Saxophone”), they deliver the goods with a maximum of uninhibited enthusiasm amidst an everpresent atmosphere of let-the-good-timesroll-roll-roll. My current faves are “Gettin’ In Shape” (the definitive Gary U.S. Bonds tribute) and “Go Ahead” (sung with spring chicken fervor by pianist Maralie who’s a grandma in her spare time). (Available from Borrowed Records, 2820 West State, Springfield, Missouri, 65802.) C.Z.

THE SPONSORS (Plexus):: You could say that looks are deceiving, except that the Sponsors’ album cover doesn’t even have much of that anyway, just some vague graphics and naty a mention of either song titles or band personnel. But beneath this unassuming exterior beats an impressive little record with a heart full of intensely fragile songs worn right out on the band’s pop pure sleeves. Bob Kern’s quirky, introspective vocals move haltingly (and I mean haltingly—this guy turns “Situation” into a 10 syllable affair) over a lean, hungry instrumental backdrop, resulting in the kind of bittersweet, troubled music that’s sure to stick to any Left Banke-leaning psyche. Case in point: the haunting, caught-between-the-lines “Love I Can’t Wait,” with a sound so spare that its guest star tambourine seems like manna from 1966 heaven. B.A.