28 - Wednesday, December 6, 3789 -

North Shore News

10,9, 8, 7,

S WE say buy-buy to

the close of another
i year, here’s the top-
per-most of the 10 pop-
per-most releases featured in
this space during 1989. Take
note of who has been nice
and naughty and deck the
halls with the sound of
music accordingly.
Boogie Down Productions —
Ghetto Music: The Blueprint Of
Hip Hop, BMG/Jive 1989

Street-wise rap deployed to
educate and motivate, the sound
ranges from austere bass-bombing
exercises to righteous reggae riff-
ing. The happening voice of hip
hop, KRS-One, e2ses off on the
self-love strut and pumps up the
Boogie Down posse for an
eniightening bit of consciousness
raising.
tou Reed — IJew York, Sire Re-
cords/WEA 1989
Lou redeems himself for past

BECKER

record review

mediocrities. Ripping chords and
feedback set the tone as Reed
regales the listener with concen-
trated narratives. Reed gives the
goods on victims and victimizers.
The petty dramas turn pertinent
within the context of urban en-
tropy and systemic poverty. The
rebe} has rediscovered his sense of
outrage. Lou’s back. He’s mad.
He's bad.
The Neville Brothers — Yellow
Muon, A&M Records 1989

The Neville’s moon is a
nourishing moon of subsiarice.
Canadian production whiz Daniel

Get ready
for Xmas
shopping!
Here are
the 10 best
releases

of 1989

Lanois and his buddy Brian Eno
infuse the proceedings with an airy
resonance. The Neville mix of
worid-beat, funk, blues and
brother/sister-embracing senti-
ments makes for some magical
moments, The release includes
some haunting Bob Dylan covers.
Sweet-throated brother Aaron
warbles a soulful version of Sam
Cooke's A Change Is Gonna
Come.
Tom Petty — Full Moon Fever,
MCA Records 1989

if you liked Petty as a Travelling
Wilbtry, you'll love this one. It’s
an extension of a creative chord
first struck during that megaband’s
sessions. Jeff (ELO) Lynn produced
and co-wrote most of this Petty
project minus the Heartbreakers.

The result is a happy and readily
likeable set of tunes. Petty’s keen
nasal voice and twangin’ guitar
sound are the definitive vehicle for
Lynn's rootsy reading of rack ‘n
roll.
k.d. lang and the reclines — Ab-
solute Torch And Twang, Sire Re-
cords 1989

Canada’s own country vixen
returns to basic couniry-swingtime
after firting with high falutin pro-
duction values on !ast year's

Owen Bradley collection.

It’s a marvellously maudlin mess
of tunes and the singer's brenco-
busting voice becomes richer anc.
more refined with every successive
recording project.

Pierce Turner — The Sky And The
Ground, Beggars Banquet 1989

Pierce who? Check this guy ous.
Intimations of a young Peter
Gabriel here. The music is grace-
ful, emotionally rich, classically
structured and mighty addictive.
The singer's vocal phrasing is
chopped into offbeat mantra
packages, with each song opening,
with a child-like simplicity and
gradually building in melodic
complexity. The muses are work-
ing double time for this Irishman.
The Stone Roses, Silvertone Re-
cords/BMG 1989

The choice bands crossing the
water from fortress Englana this
year are harvesting a new
psychedelic dream time. It’s swirl-
ing, evocative stuff and this unit is
on top of the form. The Roses like
to bend minds with an arty rush of
taga, feedback and guitar jam. The
result is a pleasing portion of pop
Paisley perfection.

Frankie Armstrong, Dave Van
Ronk — Let No One Deceive You:
Songs Of Bertolt Brecht, Aural
Tradition Records 1989

The two artists trade songs from
the Brecht-Weill Berlin theatre
classic, The Three Penny Opera,
and other Brecht plays and poems.

Two very different passions are
advanced here. Armstrong's insis-
see Top
Page 30

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