lw Iw r ,w ,.., r VIICI in cc <:k"X3::<:SS::i>:% iiSii;:=f:'i 5:: ;:; i:% 55 k:<::<>Y."'"::"::a;:?:-::<;->:!;;:;:as::"r:SS i'Y<:::::>i:r: ;:;"::: " ;;.::".. :>: Small steps The Crossing Big Country Polygram Records By Larry Dean W HEN DYLAN started honing his chops on a vintage Stratocaster 'round the time of Highway 61 Revisited, many-a devout Dylanite grew aghast that Mr. Z had abandoned his ample acoustic for this noisier and less attrac- tive hunk of wood 'n' wire. The result - for those who stuck around for master- works like Blonde On Blonde, and even the rest of the ranks, I mean, the crew who dropped out of the fan club - was a thing called, with greater ferociousness, Folk-Rock, hyphen in- tact. Today, it flourishes in the music of' Don Maclean and the now-defunct-but- always-inevitably-remembered Ea- gles, and in the trendy clangings of Big Country. One would assume, with so much hype and good press, that Big Country is a band worth noticing. No. I mean let's be simple - no. Not that The Crossing isn't a solid effort - in fact, it is every bit as sturdy as the maple that made up Dylan's electric guitar's body; but it is such a limiting and self- conscious disc that it wears thin ex- tremely fast and doesn't remain long in memory. What is it, then, that makes up The Crossing? Well, producer Steve Lillywhite is much in demand these days, having turned out fine records for the likes of Peter Gabriel, U2, XTC, and Siouxsie and the Banshees. His trademark 'big drum' sound (also known in the trade as the Phil Collins Roll) and ballsy guitar quality are brought out quite effectively on The Crossing, and he would seem the producer for this type of music. Hey, side one even kicks off with "In a Big Country," complete' with rebel yell from vocalist Stuart Adamson (ex of Skids) and Mark Brzezicki's tumultuous drums. My point here, however, is that this is a moment of ex- treme predestination, and by now just a little bit tiresome. Maybe a Casiotone would have helped (just kidding!). The Crossing sounds like the soun- dtrack to a travelogue about Scotland, complete with down-home images via the lyrics and yee-hah guitar riffs. If the motif had been a Spanish one, we would find Adamson and Co. in matador garb on the back cover - 'stead, though, it's a more casual denim jacket and flannel approach, furthered by some delicate soft touch photography. Dexy's Midnight Runners 1983 this ain't, but it still suggests that our boys are holding up their end of the ethnocentric tartanhood. Nearly every tune on The Crossing has some faintly folky feel to it, either courtesy of guitar riffs, or through Adamson's throaty vocals. Sometimes it works - as in "The Storm," a. beautifully lilting song which sounds like Richard Thompson in a spunky mood - and other times it flops, as, for example, in "Close Action," seemingly' based loosely on Eugene O'Neill's ex- pressionist drama, The Hairy Ape. Now the attacks and semi-praises are coming from all sides here...and in the course of rambling, the valuable points have been overlooked or sputtered, so let it be said: Big Country are com- petent and even -Oh Boy! - good musicians with a penchant for too many deedleedeedlees. The riffs soar, but this stuff isn't too far removed from Molly Ballet Espanol Ballet Nacional Espanol University Musical Society Power Center 8 p.m .,Wednesday, September 28 By Ellen Rieser T OE SHOES and plies will be flash- ing again this year in the Power Center as the "Choice Series" kicks off its 1983-84 season with the Ann Arbor premier of Ballet Nacional Espanol. The 50-member company prides itself on its ability to present the three major Spanish dance styles: Spanish ballet, which descended from the dances of the Spanish Royal Court; Spanish folk dan- cing; and the flamenco style, which was derived by Spanish gypsies from Moorish dances. For its September 28th performance at the Power Center Ballet Nacional Espanol presents a program that will provide the local audience with an op- portunity to experience each of these very different dance styles. The program will lead off with Sonatas, music and choreography by Antonio-Ruiz Soler, " principal choreographer of the troupe. Sonatas should provide an excellent example of Spanish Ballet. Zapateado, the company's second piece will be performed by Paco Romero, with choreography by Soler and music by Sarastate. Although the company did no release a description of the dance, the Zapateado is a Spanish dance for a solo performer marked by rhythmic tapping of the heels. Big Country: Down-home style Hatchet territory...Makes one wonder if the band doesn't do the patented pen- dulum-guitar choreography on stage, as well. And while The Crossing dishes up some swell tunes (must also mention the nicely built-up music in "Porroh- man," and the music and lyrics of "In- wards," The Crossing's finest song), it sure has its stinkers, too (Isn't "Fields of Fire" a revamped "Should I Stay Or Should I Go?"). Gosh, this must all sound pretty damn unconvincing, but the matter at hand indicates that Big Country is no big thing and certainly not interesting beyond a few good songs... nothing great. This doesn't mean I'd ever pass up a free ride to Scotland or the White Cliff region, where B.C. hail come from - one thing beneficial about The Crossing: it makes a great postcard - but a tepid record. The final piece on the program will be Soler's version of the famous character ballet, The Three-Cornered Hat (El Sombrero de Tres Picos"). Originally presented in 1919 by Diaghilves's Ballet Russes, it is a remarkpble collaboration of artistic talent, featuring original music by de Falla, choreography by Massine, and scenery and costumes by Picasso. Although Ballet Nacional Espanol's production features different choreography, it maintains the de Falla score and uses reproductions of the Picasso originals. The ballet tells the witty narrative of how a miller and his beautiful wife cleverly thwart an elderly official bent on her seduction. With its bouncy music and broad humor, The Three- Cornered Hat is liable to be the hit of the evening. And Ballet Nacional Espanol, the first dance company to be sponsored by the Spanish government on a permanent basis, may even be the hit of the season. I /i. % VA ' " ' / r + " - 1 /fi - II ,. Stew Art Garden Potato Skins jPanTree Potato Skins Mexican Skins Potato Skin Platter 1.00 OFF 330 E. Liberty ANY OF THE ABOVE. Ann Arbor, MI USE THIS TONGUE AS A COUPON Good Mon.-Fri. f rr \ Open 24 Hours, f ...... .. .-.- r ti(I ----- Ballet Nacional Espanol: On their toes 12 W eekencVSentemer.2. 19 4 ')' +x -------------