Michael Becker
RECORD REVIEW

CCARTNEY AND
Youth let flow an
ambient stream: of

dance-track consciousness;
Mavericks renew country;
Alison Krauss unites with
Cox family for a bluegrass
super session.

The Fireman — Strawberries
Oceans Ships Forest, Parlophone
1993 :

Odd couple Paul McCartney (he

of Liverpudjian quartet fame) and
Youth (producer of the latest
Crowded House disc as well as
past blasts from PM Dawn, U2
and De La Soul) team up to con-
 struct.a nine-track stack of instru-
mental music designer-made for
. UK clubland denizens.
. For McCartney it’s a bid to
rekindle the spirit of 1968 and

“+e the White Album’s groundbreak- -

ing track Revolution 9, an experi-
“ment that took the rest of the |
world 20 years to catch up.
“This unexpected excursion
“redeems McCartney for the
‘lumpy Paul Is Live pap he
choked us with last year.
|. For the mysterious British pro-
ducer Youth the project likely
offered a chance to reduce to
essentials some past soundscapes
. .Created for others. . ” ae
“* It's a less aggressive breed of
techno, coming as it does with-
out the frenetic beats per minute -
and digital voodoo usually asso-
_ ciated with the genre. McCartney
-and friend, purists they are, limit
themselves to “real” instruments
and drums as matrices for the
cut-and-paste sampled vocals.

cy

| THE

rowan

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That said, their ambient dov-
dles do share structural kinship
with the outpul of UK dance-
floor pioneers Art of Noise.

Be warned: Strawberries
Oceans Ships Forest is ane com-
position mixed nine ways.
Although there are some interest-
ing patterns, aural wallpaper it is

— nothing more.
The Mavericks —- What A Crying
Shame, MCA Records 1994

Decadent Nashville fixtures
like George Jones pad out their
releases with loony tunes of the
caliber of High-Tech Redneck an
his latest disc of the same name,
Erstwhile Nashville fundamental-
ists like Conway Twitty now play
the never-ending Grand Ole
Opry showcase in the sy
Youngish country stars like Garth
Brooks let ego bloat beyond the
reach of talent.

The next wave of country tra-
ditionalists is layirig claim to the
Nashville legacy having studied
past masters and applying tested
styles to solid new songs. Case in
point, Kentucky’s Marty Brown
and his ongoing affair with the
ghost of Hank Williams. Case in
point, Florida’s The Mavericks |
and their tip of the cowboy hat to
everyone from Ray Price and
Buck Owens to Roy Orbison and
the early incarnation of Elvis.

The Mavericks’ 1992 debut,
while weakened by jingoism and
unfocused production, showed
sparks of something good in the
making. -

Working with Nashville pro-
ducer Don Cook this time out

PARK ROYAL

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(Cook produced Twitly’s last the
band sounds clean and classic.
There are no duct songs here
either, Mavericks’ singer, pur
larist, songwriter Raul Malo pens
some preat hurting tunes and
chooses his cover material well,
Jesse Winchester’s O What A
Thrill and Bruce Springsteen's All
That Heaven Will Allow comple-
ment, but the strongest moments
came with Malo’s collaborative
song-writing results. | Should
Have Been True, swelling
orchestral strain and all, conjures

Tia

|

{

Roy Orbison brilliantly.
Alison Krauss & The Cox Family .
Know Who Holds
Tomorrow, Rounder Records
1994

A consistent set of gospel
songs performed by some of the
best contemporary bluegrass
musicians working the field,./
Know Who Halds Tomorrow
offers a sublime introduction to
Alison Krauss.

Krauss produced and arranged
the set, but it’s her fidelle-playing,

_ her flawless voice and the spell *

woven within effortlessly rich
vocal harmony arrangements that
makes this one special. _

The material ranges from pub-
lic domain gospel standards circa
the American Civil War to a
cover version of Paul Simon’s
Loves. Me Like A Rock,

{f getting right with Jesus
makes you squirm, check out
1992's Alison Krauss and Union
Station release Everytime You
Say Goodbye, also on Rounder.

NORTH SHORE'S BEST ENTERTAINMENT vA LUE |
NEW PROGRAMS START THIS FRIDA’ |

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) Emily Murphy House benefit matinee 2:00pm Sunday “The Black Stallion’”* |

EEKENI JE 90.PARK ROYAL SOUTH’ *'926-669

A little bit of local lore »

TWENTY YEARS before Vancouver put down roots, the first
shipment of lumber toll the tiny North Shore community of
Moadyville. The year was 1864.

We you find thar bit of history at all titilating, the North
Vancouver Museunr and Archives has got just the thing for you.

Museum director Robin Inglis and historian Gabrielle Kahrer
are hosting a pait of evening presentations examining the facili-
ty’s current exhibits, The Watertront Transformed and Logs to
Lumber, being held, respectively, on March 3 and March 10
frony 7:30 lo 9:30 pom, ;

The lectures will be followed by guided Saturday: morning
walks through the forest on March 5 and along the waterfront
an Mareh 12,

Tickets are $15 for the series or $5 for cach event.

Book early through 987-5618 as only 20 spaces are avail-
able tor the walks and 30 spaces for the lectures. :

The North Vancouver Museum is located in Presentation
House at 209 W. 4th St. in North Van and is open trom noon to
5 p.m, Wednesday to Sunday. :

>» I

Expires April 30, 1994

HL MINUTE. |.
OW CHANGE.”

° CENTER ,°

f ¥-08 WRE 1362 Marine Drive, North Vancouver & ‘

980-9715 B

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