30 ~ Wednesday, September 30, 1992 - North Shore News

&

P™, EEE-LITE alights from infinity; Newfoundland fiddle
p. master shows he’s still spirited in his 70s; Roy
fe” Forbes is comfortably country.

Deee-Lite — Infinity Within,
Elektra Entertainment 1992

By all rights Infinity Within
should be an extremely funky
endeavor.

Bootsy Collins, Bernie Worrell,
Fred Wesley and Maceo Parker
have pedigree after all. Collins and
Worrell pretty much defined funk

_ as members of Parliament and
Funkadelic. Wesley and Parker
were the classic horns to punc-
tuate James Brown’s soul grit.

Save for the ska-toastin’ Two

Michael Becker
RECORD REVIEW

wear thin quickly. When the

Clouds Above Nine the funkmen
are firmly mixed in to provide the
supporting gloss of the Deee-Lite
‘90s disco patina.

There is one deliciously deee-
groovy blast — Runaway — on
which Lady Kier contorts the word
“free’’ into a five-syllable affir-
mation of escapist yearning.

Elsewhere, Lady Kier’s simplistic
environmentalist admonishments

Tachihara’s writing one-dimensional ©

From page 2%

oddly devoid of subtext, and the
reader is led by the hand to the
symbolism.

Although Wind and Stone is an

soapbox collapses you fail back to
the central demand of the potent
Deee-Lite debut: ‘I jus wanna |
jus wanna | just wanna hear a
good beat.’’

The disappointment about In-
finity Within is that the beats have
been fussed ever and brought to a
place where any !cose funk
sauciness succumbs to the slick.

unsatisfying read full of stilted lan- -

guage, it certainly raised questions
about untranslatabdle ethnicities.
Tachihara has neither a gift for
dialogue nor description but his
novel has thé formality ‘and sim-

Emile Benoit — Vive La Rose,
Denon 1992

Youngish Canucks may believe
that Canadian music begins and
ends this side of the Rockies with
Spirit of the West. If you venture
east, OK, there are Bare Naked
Ladies.

Look again and you'll find
Stampin’ Tom charting on college
radio.

Venture further, say to Black
Duck Brook, on the Port-au-Port
peninsula on the west coast of
Newfoundland, and discover the
fiddle music of Ernile Benoit.

Vive La Rose finds Benoit 74
years of age and spunky enough to
pop off a wonderful selection of
Jigs, reels and waltzes. French and
Scottish influence informs the
spirit of the musical heritage
Benoit has played a large role in
shaping throughout this century.

He’s raised 13 children, worked
as a fisherman, farmer, hunter,
blacksmith,’veterinarian and den-
tist and without formal training he

_ has written more than 200 musical
pieces. Many are now standards

plicity of things Japanese.

-One.burning question remains:
what is it about our culture that
the japanese find incomprehensi-

he?

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for a new generation.

The 13 timeless tracks here
feature Benoit on fiddle, vocals
and feet. He is supported by
friends on bodhran, bouzouki,
dobro, button accordion and jews
harp.

Roy Forbes — The Human
Kind, AKA Records 1992

Forbes partially dedicates the
album to his mother Margaret
Fellers, ‘for keeping my buggy
by the radio.”

Thank you, Margaret. Your son
does you and country balladry -
proud. C&W is bred in the bone
here in a labor of love.

Back in the times of Bim, the

music was shot through with
flashes of country. With The
Human Kind, Forbes distills the
goods with toe-tappin’ twang and
good-timey fiddle flourish.

Forbes penned half of the 14
tracks, and they stand the test of
inspired authenticity next to the
ghost of Hank Williams as con-
jured in Forbes’ version of Hank
Williams’ Alone And Forsaken.

Forbes’ one-of-a-kind keening
voice is a natural fit for the genre.
Add to it a sky big hurt and a hat
full of slow-burning emotive

embers and you’ve got a comfort-. ~

able CD round of soul-salving
cow-town sensibility.

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