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Page 18 June 1988 Cassiar Courier

CRITICALNOTES #» “>

REBA MCENTIRE

THE 80'S PATSY CLINE

In June of 1982 I attended a week long celebra- tion in Nashville, Tennesse known as “Fan Fair’. From morning until evening the greats and near-greats per- formed for the fans that buy their albums and make them celebrities. Of the many performers I enjoyed that week one in particular caught my ear - Reba McEntire. Here was a young woman who possessed the vocal equipment of her idol Patsy Cline and delivered tunes with that same heartfelt expression. It is a voice of immense power, range and beauty of tone.

Her 1982 album “Unlimited’’ produced the successful singles “‘Can’t Even Get The Blues’, “You’re The First Time I’ve Thought About Leavin” and “I’m Not That Lonely Yet”. She was nominated for the Country Music Associations “Best Female Vocal” award for that

” year but did not win - she has however won each year

since. 1983 saw the release of her album “Behind the Scene” which proved a-.strong follow-up and produced such outstanding tunes as “You Really Better Love Me After This”, “‘Love Isn’t Love’’, “There Ain’t No Future In This” and “I’ve Sacrificed More Than You'll Ever Lose”. Reba often choses songs that trace a womans role in love relationships from both the positive and negative viewpoint. 1984 saw the release of “Just A Little Love” which proved not to be as tight a song package as previous albums but all the tunes were delivered with such emo- tional intensity that even a mediocore tune is raised above its standard. That same year Reba got to release an album closer to her heart entitled “My Kind of Country” with a notable absence of strings and background singers but full of fiddle licks and steél guitar. “Somebody Should Leave” written by Harlan Howard became a big hit from this album and he offered this composition to Reba because of her similarity to Patsy Cline. This song explored the all too common problem of parents staying together for the sake of the children. With the 1985 release of “Have I Got A Deal For You” Reba has hit her stride as both a singer, songwriter and co- producer. This is Reba’s most solid work to date and the album is filled with stellar tunes and maintains a nice pace throughout. Standout singles include Reba’s composition “Only In My Mind” plus “She’s Single Again”, “Red Roses Won’t Work Now” and “The Great Divide”. 1986 saw the release of “Whoever’s In New England” that was both the album title and first hit single. The ballad format dominates this album but the songs show more variety in lyrical content than melody. “If You Only Knew” offers an interesting perspective on relationships as the single woman advises the married woman to not envy her lifestyle filled with “lonely nights and empty I love you’s” but to stick with her husband. Within that same year Reba released

‘What Am I Gonna Do” a very uptempo album that”

dealt with various themes but felied less on the ballad format. 1987 has seen the release of what many critics have called her best work to date - “The Last One To Know”. The title track deals with betray] in a relation- ship while “I Don’t Want To Be Alone ” Reba’s latest

composition deals with the difficulties of women dating in the ninteen-eighties.

This album explored radically

But don’t wait until next winter.

your first choice.

DARI

BRIAN NICHOLSON

different themes - “The Stairs” deals with emotional and physical abuse in a marriage, while “Just Across The Rio Grande”’ deals with a Mexican viewing the wealth of the United States just a stones throw from his poverty. With

this type of material there is always the danger of giving

a performance so overwrought with emotion that it overpowers the lyrical content of the song - Reba happily Keeps this in check and delivers fine interpretations of the material. She concentrates on using her fine voice to develop a style that is forceful, urgent and dramatic.

Recording approximately two albums per year proved overkill for Willie Nelson but Reba has demon- strated a keen ear for picking good tunes, avoiding a formulaistic approach to recording and demanding more of herself with each performance. Reba has credited Patsy Cline as being her vocal role model it only seems fitting that she be in the lead of progressive country back to its roots. In concert Reba offers a tribute to Patsy by singing an acapella version of “Sweet Dreams” stretching words and syllables into sad, heartwrenching emotion, as pure in its misery and hurt as it is lovely in its sonic spendour. In concert she as a dynamo on stage, always moving and offering a program of old standards, gospel, tearjerkers and floorstompers. To discover why this woman has dominated the country music scene in the last few years just pick up any of the albums mentioned in this article and you will quickly hear what all the fuss is about.

LACY J. DALTON

“CRAZY BLUE EYES”

I have heard it said that Lacy J. Dalton “could sing the chrome off a trailer hitch”! My interpretation of this analogy is that she can strip off the gleam of musical pro- duction with the sheer power of her voice and convey heart and soul of a tune. Since country music deals with the ups and downs of life it needs a voice that can convey this message and in it Lacy has found a vocal gold-mine. . The voice can be described as grainy, coarse, husky - rough around the edges - it sounds as if it were nurtured on whiskey and cigarettes. This is a sound that you would expect to find in a small, cowboy bar - its owner worldly- wise to the pitfalls of life.

Lacy is more than a set of pipes but an accom- ©

plished songwriter who has penned most of her greatest hits. “Crazy Blue Eyes” told the story of a woman fatally

attracted to good-looking losers that quenched a physical »

desire but offered no hope for a future relationship. The singer requests no sympathy, only understanding of her desire to escape the “touch of a man who would brand me, to keep me around”. Her rendition of the classic “Tennessee Waltz” is performed in 6/8 time with the most gut-wrenching vocal that belies the usual wistful treat- ment of the tune. Her composition of “Losing Kind of Love” is the first country tune written by a woman deal- ing with the prospect of spending the night with a man not out of love or hope of it, but with the need to have him “‘standing in for a memory”. Where Loretta Lynn left off her writings of the woman’s side of relation-

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ships, Lacy has carried on the task but no longer feels compelled to portray the woman as a ‘virtuous’ loser of unrequited or lost love. The women in these songs have a very true sense of their equality and self-worth. Many contemporary female country singers would not even at-

_tempt Lacy’s blatantly honest “China Doll” “- I am not a’

china doll/ or a trophy for your wall/ not a notch and easy conquest/. you can brag about downtown/ I’m not a swinging door/ you can walk through like before/. and this warm-hearted woman/ don’t love you anymore .. . I won’t be your little china doll.” These are not songs with two sets of lyrics sung with a catchy chorus - they develop and explore a theme to the fullest - these are examples of intelligent songwriting. There is a wisdom to be found in such tunes as “Late Night Kind Of Lonesome” - “it comes from a longtime kind of lovin/the kind I had with you and left behind/its a fear of gettin older/gettin harder, getting colder/and its knowing you can’t go back/no matter what you do”.

Lacy’s music is not strictly country and she draws upon blues and a little bit of rock-and-roll in a very progressive style that has helped set the stage for some current top artists. In “Wild Turkey” she laments the problem of trying to simply have a drink in a bar while being ‘hit on’ by every cowboy who thinks she’s looking for a good time and tells one of her less- appealing admirers (with good-hearted humor) “that when it gets close to Thanksgiving/I’d hide if I were you”. Lacy addresses women’s problems but removes the guilt - there is no groveling, no self-condemnation - only a frankness with an occassional dose of anger. “Everybody Makes Mistakes” is her realistic look at casual love affairs and sincere admission of the conse- quences. After her initial success Lacy has been offered some very good tunes to record - “16th Ave” and “Old Yellow Car” are given fine interpretations that display her vocal talents.

Artistically the only problem plaguing Lacy has been the tendency for her producer Billy Sherill to offer the standard string arrangements and sweet- voiced background singers. Tammy Wynette broke from the Sherill mould and recaptured her audience and Lacy has been forced to make the same break from country pap. Her album ‘“‘You Can’t Run From Love” saw a return to some basic country with standout tunes “Over You”, “Too Late To Stop Loving You Now” and “Perfectly Crazy”. The follow-up album showed a great departure from concept and “Highway Diner” has a Springsteen-type sound to it and lyrically it covers various aspects of life in middle America. The reviews were all

‘ positive .and while I welcomed Lacy’s obvious growth

trend I preferred the more country sounding material.

The most recent album (seen but not as yet purchased) contains one side of new or unreleased ma- terial from past sessions and the other re-releases of tunes. I have not seen a review of this album or explanation for this compilation and can only wonder if Lacy is still recording for CBS? A change of record companies and producers might be just the shot in the arm that Lacy needs to get herself back on course - writing and singing the songs she first offered back in 1979. The trend towards a more raw country style is just perfect for her and hopefully we will soon see some new record- ings. This greatest hits album is a good introduction to the genius of Lacy J. Dalton but there are many gems to be found on her previously released albums.

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"FATHER OF THE YEAR

This special Father is chosen for

nomination to us by June 10th. Cassiar Lions Club Norm Cosnett, Box 454, Cassiar, B.C.

THE WARM, RELAXING KELOWNA LIFESTYLE

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Friday

“Our Lad | Lourdes |

ot

Fr. Joseph Nevers

SCHEDULE Saturday Mass 7:00 p.m. Sunday Mass 11:00 a.m.

Father has been away for the past couple of weeks, attending the Oblate Congress. The purpose of this meeting was to get an in-depth outlook on the situa- tion of the Priests future, in the next few years.

Mass was celebrated in Father’s absence by our Ministers of the Eucharist,Laurie Boguski, Jim McGill, and Jason Clark. It was great to see so many parishioners coming together to ou in a very real community spirit.

Religious Ed. ended with mass and a party on May 2, 1988. A total of 53 pupils were enrolled in various courses. A tremendous factor to the success of our Religious Ed. Program. is due to the commitment

‘of its teachers, Sister Claire, Marie Smith, Ruby Smith, -

Linda Cameron, Sandy Crawford and Francis Sherlock. Father’s lawn is already green and ready for

Chad Clark, Stephen Vidovic, Peter Mc-

Left to right: Guinness, Bishop Tom Lobsinger, Stephanie Slana, Allan Artico, and Stan McGill. :

SUMMER DEASE DAYS JUNE 24, 25, & 26

DEASE LAKE LAKE TROUT DERBY

IST PRIZE $2,000.00 2ND PRIZE $1,000.0

3RD PRIZE $ 500.00

Rules and entry at Dease Lake Shell Dave Lawrence 771-3141 or 771-4511

Casino Nite 9 - 1 Dance 9 - 2 featuring the

Boulder City Outlaws Other events include baseball, the second annual Tanzilla Butte Contest, and a

Kids fishing for age 15 and under.

ission ;

Cassiar Courier June 1988 Page 16 His tulips and daffodils

its first mowing of the season. are out-and blooming, : A special welcome to all the new people in our parish. Coffee and juice are served after the Sunday Service. Please come downstairs and join us.

by Louise Clark

Left to right: John Tyne, Sinead pee uinness Michelle McGill, and Allan Vidovic.

Province of British Columbia

TENDERS INVITED

Janitorial Contract Ministry of Highways Good Hope Lake

Tender documents may be obtained from Government a4) Agent’s Office, Cassiar, B.C. or from 4825 Keith

Avenue, Terrace, B.C. V8G 1K7 from April 25th,

1988. Sealed Tenders will be received at 4825 Keith

Avenue, Terrace, B.C. V8G 1K7 until 3:00 p.m.

June 17th, 1988 and will be opened in public at jj

that time.

For further information call R. Peters or M. Janes in Terrace at 638-3221.

9 ENTRY FEE $20.00