16 ~ Wednesday, August 2, 1989 - North Shore News

Stone Roses take listeners

on an extended trip

HEAVY PETALS knock the
noggin; Madonna’s gal pal
strikes a comic pose;
Peregrins let fly; Base and
Rock share Joy and Pain;
Straw susprises..

feet The Stone Roses, Silvertone
Records/BMG 1989 :

The choice -voices heard from
fortess England these days are

singing in the heady fields of circa
late-60s soft-psychedelia — fields
sown by groups like. the Beatles
and the Byrds. Love and Rockets,

The House Of Love, The Lilac

Time, XTC, My Bloody Valentine,
and- Robyn -Hitchcock ’n’ The
Egyptians, are wallowing in the
new dream time to mind-bending
effect.

: The Stone Roses, not a bunch to

rest on fresh laurels as neophyte
masters of the pop form, have the
jam to play around with <xtended

improvisation, a form once carried -
to its extreme conclusion by the in-

famous Iron Butterfly.

The result here, thanks in no
small part to sure production work
by John. Leckie (Simple Minds,

Wooden - Tops; Let’s Active,. The -

Fail) is a: powerful, arty rush of

mood and. melody.. Roses like to...
~ sound on this release.

play with raga, feedback and tapes
run in reverse...

‘It’s all swirling, evocative. ‘stuff, ‘
both the snappy bits, © Paisley.
break-outs like Elephant: Stone, or -

the extended trips, as in the
journey of redemption on J Am

‘The Resusrection. :

** Sandra Bernhard — | Without
You ru Nothing; Enigma Records

-.-She, of the perpetual lip-laden

pout, is showcased performing live
in‘New York.
“Comedienne Bernhard’s super-
hip. commentary (My father’s a
proctologist, my mother’s an
abstract artist — that’s how I view
the world) dispatches her targets
with quick irony. Along the way
she trashes WASPs, her critics,
Stevie Nicks and night-clubbing
homophobes.

From time to time, the verbal
barrage segues into song: and what
the hey! This caustic lady can real-

ly carry a tune, in an off-Broad-
way kind of way.

While most comedy albums die
after the first listening, Without
You I’m Nothing, being dense with
quirky music, memorable lines
and outrageous situational com-
edy, holds its own in the record
stack. :

MICHAEL N
BECKER

record review

eee* Peregrins, MCA 1989

The New York-based band puts
owt 2 potent debut. While just
recently signed to MCA, the core
of the group connected in the 70s
when Peregrins lead vocalist Didi
Steinschneider met guitarist Jeffrey
Dresher at the Rhode Island
School of Design.

-The band managed to snag pro-
ducer’ David-Kershenbaum, who’s
worked with Joan Baez, Tracy
Chapman and Joe Jackson, to
shape a super-charged folk-rock

Steinschneider’s change-is-
gonna-come vocals sound iike a
cross between 10,000 Maniacs’
Natalie Merchant and Grace Slick.
The group favors pretty melodies
and idealistic lyrics. Yet, fear not
ye rockers and rockettes, Peregrins
toughen up the wimp factor with
aggressive, straight-ahead musi-
cianship.

** Rob Base & D.J. E-Z Rock —
it Takes Two, PolyGram 1988;

- Joy And Pain 12°? Remix,
_ PolyGram 1989

‘Chances are, the boom-car you
were locked behind in traffic the

‘other day, the one that split your

windshield and rattled your
molars, was blasting these riffs.
Harlem hip-hop homeboys
Robert Ginyard (Rob Base) and
Rodaey ‘Skip’? Bryce (DJ E-Z
Rock) hit with a monster debut last
year that’s still doing respectable

ont business well into 1989.

Strolling the

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Classic soul samples power the
tracks with insta-pop hooks, the
obligatory drum machine pumps
up the dance groove, and Base
rocks the mike with suitably
street-wise vocal delivery.

*#ee* Syd Straw — Surprise, Virgin
Records 1589

This debut features the ex-
Golden Palominos sqngstress
working with a pack of hot cre-
ative types including Don Was,

f Richard Thompson, Ry Cooder,

Marshall Crensha'v, Daniel Lanois

' and Michaei Stipe.

A breezy country-folk feel belies
the emotional strength of the lyrics

carried. The New York club-

scene-hardened - Straw. is no
Nashville bimbette. Taken as an
entity, Surprise glows with an
assured sense of direction and
shires with life-affirmative expres-
sion.

Varied configurations of session
players and co-writers join Straw
to suz-in the momentum of
discovery in a kind of seazniess
smorgasbord of sound. The result
is a welcome surprise.

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