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                   I S S U E   #  25  :  J U N E   1 9 9 7

               S E C O N D   A N N I V E R S A R Y   I S S U E

____________________________________________________________________________

 
                        - The Specialists -

                DJ Johnson.................Editor
                Wayne Burke................HTML
                coLeSLaw...................Graphic Artist
                Lauren Marshall............Administrative Assistant
                Louise Johnson.............Administrative Assistant
				Sarah Sterley..............Research Assistant

                         - The Cosmik Writers -

   Ann Arbor, coLeSLAw, Robert Cummings, Shaun Dale, Phil Dirt, Keith
   Gillard, DJ Johnson, Louise Johnson, Steven Leith, Steve Marshall,
      Rusty Pipes, Paul Remington, John Sekerka and David Walley.

___________________________________________________________________________
			     
			       T A B L E   O F   C O N T E N T S


SOUND CLIPS: A listing of the sound clips available at the Cosmik Debris
   website at http://www.cosmik.com/cosmikdebris.


EDITOR'S NOTES: A quick guide to this issue.


WAYNE KRAMER - STILL DOIN' THE WORK: His life story would make a hell of a 
   movie, but... who'd believe it?  From his exploits with the seminal punk 
   band The MC5 to his legendary inner struggles, there were plenty of 
   chances for Mr. Kramer to go supernova.  Today, however, he's far from 
   burned out.  Shaun Dale talked to Wayne as he was preparing to hit the
   road in support of his brand new album, Citizen Wayne.


ANOTHER YEAR OF COSMIK CONVERSATIONS: As is our tradition, we celebrate our 
   2nd birthday by looking back at the interviews we did in the last year. 
   49 of them!  Don't look for logical connections.  Just go with the flow.
   

CALL FOR THE SWINGSET POLICE: They may not like the term "power pop," but 
   the brothers Braam make music that fits the description to a tee. As they
   prepare for their second album, Scott Braam took a break for this chat
   with DJ Johnson.


THE FUTURE SOUNDS OF PARIS:  What is that sound coming from Paris?  Ann Arbor
   takes you on a quick tour of the City of Lights, where Daft Punk isn't 
   the ONLY thing happening.


ULTIMATELY BIRD: 42 years after his tragically premature death, Charlie 
   "Yardbird" Parker remains one of the most intriguing figures in jazz
   history.  Shaun Dale traces Bird's career and takes a close look (and 
   listen) to a new 2-CD box of some of his most important musical 
   contributions.


TAPE HISS (John Sekerka): This month, John didn't get to do any interviews. 
   Why?  Because he was freezing his ass off on a glacier.  Why?  Well... 
   read his diary and find out.


RECORD REVIEWS: Bunches of stuff! Genre soup! And more of it than we've 
   ever served before.


BETWEEN ZERO & ONE (Steven Leith): Spam got ya down?  Is your e-mail box no 
   longer a safe haven?  And is the motivation behind push media exactly 
   what it seems, or will there be more at stake when push comes to shove?


PHIL'S GARAGE (Phil Dirt): Seems like every musician has an opinion on the 
   subject of vintage equipment.  Some take it to the level of snobbery. 
   Some take it with a grain of salt.  As you will soon see, however, you 
   should never take it at face value.


WALLEY AT WITZEND (David Walley): On the anniversary of the Tienamen Square
   massacre, David Walley offers up a pair of fables to fit the occasion.


STUFF I NOTICED (DJ Johnson): Radio, in most cities, has been dead so long
   that most of us can't remember the last time we anxiously tuned in to a
   favorite program.  We hear about the rare great station here and there,
   but they may as well be on Mars because we don't live anywhere near them.
   Right?  Well, you know what they say about the Internet bringing 
   everything closer?  Guess what!	 


CLOSET PHILOSOPHY WITH RUSTY PIPES: In Rusty's first appearance, he forgot
   to introduce himself.  This month, he backtracks a bit and tells it like
   he is.  


THE DEBRIS FIELD (Louise Johnson):	June's offering of random bits of cool
   stuff.


COSMIK CORRESPONDENCE:	Some letters from our readers.


WAYNE KRAMER CD GIVEAWAY/DRAWING: Enter to win a copy of Wayne Kramer's new
   CD, Citizen Wayne.


3 MINUTE REVOLUTION CD GIVEAWAY/DRAWING: Enter to win a copy of 3 Minute
   Revolution, the power pop comp from RPM Records!


E-MAIL ADDRESSES OF THE COSMIK DEBRIS FOLK: And even some of our personal
   websites filled with evil and degradation the likes of which no one 
   has... uh... wait.  That wasn't us.


____________________________________________________________________________

SOUND CLIPS CURRENTLY AVAILABLE ON THE COSMIK WEBSITE

Features - 

Wayne Kramer interview: 4 clips
Swingset Police interview: 2 clips
Charlie Parker article: 2 clips

Reviews - 

The Heptones - "I Shall Be Released"
The Looney Tunes - "Das Ergotaxion"
M.C. Murph - "Go For The Snow"
Frankie Paul - "A We Rule"
Steve Turre - "Mingo N' McCoy"
V/A: Mystery Train (Tony Rice Unit - "Old Train")
Les Vice Barons - "Time Bomb"

___________________________________________________________________________

EDITOR'S NOTES
By DJ Johnson

Well, we made it.  Cosmik Debris is officially two years old.  We're marking
the occasion in the same simple way we marked our first anniversary, with 
just one large collage made up of short pieces of every interview we did in
the past year.  Putting that piece together was a LOT more work than it was
last year--we had 27 interviews our first year and something like 49 our
second year--but it was also a lot of fun.  Looking back isn't a bad thing,
if it's done in moderation.  We hope you enjoy that little look back in this
issue.

We begin year three in style.  Shaun Dale's interview with former MC5 guitarist
Wayne Kramer is one of our most interesting, and he is certainly one of the 
most historically important figures to grace Cosmik Debris.  Moreover, Wayne
is still making unique and powerful music.  This interview took place the day
before he began touring to support his new Epitaph album, Citizen Wayne.  This
man, as always, has a lot to say, so make sure you make some time to read that
interview.  You might also want to take a moment to enter your name for the
CD drawing, because Epitaph and Cosmik are giving away five copies of the new
CD.

Elsewhere in this anniversary issue of Cosmik, you'll find Ann Arbor's report
on the music scene in Paris (The Future Sound Of Paris), Shaun Dale's article
about the legendary jazz saxophonist Charlie Parker, and my interview with
Scott Braam of Swingset Police, a great new rock 'n' roll band from Lake
Geneva, Wisconsin.  What you won't find is the Tape Hiss interviews you're 
used to seeing.  Besides being a disk jockey, a zine editor, and a valued 
member of the Cosmik Debris staff, John Sekerka is a glaciologist who spent
the month freezing his ass off with several other cold scientists on some 
frozen island.  That means he didn't get any interviews done.  Instead, we
offer his icy diary for your amusement.  His interviews will be back next
month.

In our columns department this month, you'll find Rusty Pipes' formal 
introduction and hippy confessions.  Phil Dirt has some information sure
to interest folks on both sides of the surf equipment snobbery issue.  
Steven Leith shines a light on the murky issue of push media.  David Walley
(Walley At Witzend) offers up a pair of fables in honor of those who lost 
their lives in the Tianamen Square massacre, the anniversary of which was
June 4th.  And finally, I hope you'll take a look at my column, Stuff I 
Noticed, because I point you to a lot of excellent radio that's actually 
available on the Internet via Real Audio and Shockwave.  And, of course, 
The Debris Field has a bunch of cool random stuff floating around in it, 
so go take a look.	OH, and our review section is bigger than ever this
month.

That's about it.  Enjoy, and stick with us as we start our third year.  We're
having fun, and we're looking forward to a lot more.

DJ Johnson
Editor

____________________________________________________________________________

STILL DOING THE WORK: A COSMIK CONVERSATION WITH WAYNE KRAMER
Interviewed by Shaun Dale


Talking to Wayne Kramer, one of the founding members of the MC5 and a
significant figure in rock culture for 30 years, was a treat. It's just
too bad that the written word is so inadequate in expressing the genuine
warmth, humor and enthusiasm that continues to propel him toward new
musical and personal horizons.

Between the glory days of kicking out the jams with his Motor City
homeboys and his new Epitaph release, "Citizen Wayne", Kramer
collaborated with Johnny Thunders in the short lived Gang War, played
with Was Not Was, and lost what he would certainly admit was too much
time to dope, booze and jail.

He's back, though, doing the work. With a great new album, a summer tour,
and some valuable perspective on matters musical, social and political,
Wayne Kramer is working hard to show us all what it means to, in his
words, "live long, live strong and be creative."


			 *          *          *


Cosmik: I guess it's been almost 30 years ago since we first heard from the
   MC5, and now it's been over 25 years since there's been an MC5 and here's
   Wayne Kramer still kickin', still doing fresh exciting music.
   I want to talk about the new music, but I guess we've got to take note
   of the legend. Getting ready for this I ran into some posters from
   Grande ballroom in Detroit, which was a regular gig for the band...you
   guys played with everybody...

Wayne: Everybody that was out there, and a lot of people that weren't touring
   bands, that were a little more stretched out. Some of my favorite memories
   are the gigs with Sun Ra and some of the more avant-garde stuff.

Cosmik: That's interesting. The MC5 legend is about a phenomenal hard rock
   band, but you were also hanging with John Sinclair, who was coming from
   a different musical direction, from modern jazz...

Wayne: Well, to me, it was all connected. To me it wasn't a great leap from
   Chuck Berry to John Coltrane. From the most intense Chuck Berry solo
   and the energy of that music to what Trane was doing with the sheets of
   sound, that was the next logical step, I reckon.

Cosmik: You were probably one of the few reckoning that at the time, though
   those were the days when free form FM radio was a place where you could
   hear Chuck Berry and Sun Ra on the same station, even in adjacent cuts,
   and it did seem to make sense. But the business has become so much more
   compartmentalized now.

Wayne: Oh, it's fuckin' awful now. Radio. Radio is the worst. They don't
   have a a clue what they're doing and they're scared to death and the
   greed level has everybody so nervous - they don't want to take a chance
   on anything. The only thing they'll play is stuff that sounds exactly
   like what they're playing. Which can really make trying to get your
   music played on the radio...it's gotten to the point now that we're not
   even going to mainstream radio with the record. It's a complete waste of
   time and energy and money.. We're gonna go, of course, to college radio
   and and go to the NPR style specialty shows that have a broader kind of
   vision, a broader sense of possibilities. Mainstream radio blows.

   And, you know, at the advent of FM radio in the late 60s it was exciting.
   You had your mainstream pop radio which was still more adventurous than
   radio is today, because you could hear something like the Yardbirds and
   then you could hear some mindless pop and now you hear just the Spice
   Girls and the Goo Goo Dolls.

Cosmik: Yeah, that pretty much covers the range...of course there's a place
   for pop music...

Wayne: Yeah, there's certainly more evil in the world than the Spice Girls,
   but I'm not sure what. (laughs) I like a great pop song as much as the
   next person, but the thing that really kills me is that there's room for
   specialty shows. I like the idea that at 6 o'clock the reggae show is
   going to be on and at 3:30 it's the punk rock show. They could be a
   little broader and more specific at the same time. But nobody asks me to
   program radio stations.

Cosmik: We're seeing some of that develop on the Internet. As the audio
   quality improves, people are doing just that kind of specialty program
   straight over the Internet.

Wayne: I just don't believe in insulting the audience's intelligence. I
   don't think there's anything I'm doing musically that isn't accessible.
   This is all good music.

Cosmik: I think a lot of the bands on Epitaph are good examples. The label
   has a roster of smart, hard punk bands with a pop edge that are absolutely
   accessible. I know my kids snap them right up. But they don't hear them on
   the radio. It's very similar to the hip hop scene.

Wayne: Yeah.

Cosmik: Cause the kids who are really into hip hop and punk are listening
   to sounds that are never on the radio, or on TV, but they get known and
   get heard, and the market doesn't even know they're there. Which brings
   up a point. Epitaph has an image and a sound that it's pretty well known
   for. When I see the label, I have an idea of what I'm going to hear, but
   when I put on "Citizen Wayne", I didn't hear any of that.

Wayne: (laughs) Well, I'm the house outer limits artist. I'm the house
   experimental guy, the cutting edge guy. That's my job in the sphere of
   it. It really speaks to Brett Gurewitz and the breadth of his vision.
   He's into quality. He likes good stuff. And he hears the stuff that I'm
   producing and he says "These are great records." The goal is to stay at
   the table, to put out a record every year, to tour every year. To stay on
   top of it. And he believes in what I'm trying to do. There've been a few
   great record men through the years. I think Mo Austin was one. I think
   Berry Gordy, for all his less than ethical business practices, was a great
   record man. He understood great music.

Cosmik: He sure gave us some music I'd hate to live without...

Wayne: Yeah. And Gurewitz kind of falls in that tradition of believing in
   his artists and supporting his artists. He's not trying to do everything
   for everybody. What he's doing is very specific and it includes room for
   Wayne Kramer, which is a pretty formidable task to undertake. I mean,
   realistically, we're reinventing the shit as we go along because who could
   imagine breaking a 49 year old anarchist guitarist?

(both laugh)

Cosmik: The first Epitaph album was "The Hard Stuff", and that sounded like
   an album by Wayne Kramer, the guy from the MC5...

Wayne: Uh huh.

Cosmik:...and the new album, "Citizen Wayne", is in a different space.
   New sounds, new approaches, are all over the album. How much of that
   is a result of working with David Was on this one?

Wayne: Well, David was a great ally. We're homeboys and we share the same
   twisted musical worldview. We both love maximum rock and deep hard funk
   and avant-garde jazz. And we're both readers and writers and students of
   the world and history and we're both, you know, fairly insane. "The Hard
   Stuff" and "Dangerous Madness", I love both of those records, I'm very
   proud of them, but when it was time to make "Citizen Wayne" it was time
   to take a chance. It was time to grow and stretch and to make a more
   ambitious record. To start to bring in the many influences that I hear.

   At my core I'm a musician with big ears. I listen to everything and hear
   a lot of stuff that's going on. I thought, now it's time to go ahead and
   step on in there. I wanted to make a record that had harder beats and
   fatter guitar sounds. And I wanted to make a concept album. I wanted to
   talk about what it's like to have been Wayne Kramer up to this point. As
   an artist, part of my job is to expose myself. So I wanted to try to
   tell some of the story of what it was like to be in the MC5, and what it
   was like to go to jail, but to do it within my view and, well, not take
   myself too seriously, but to deal with the idea of doing this work as an
   adult. To do this work with meaning and passion, and to not try to be a
   kid. I'm not trying to be a teenager or a guy in my 20s. I'm in my
   middle adult period and it's fucking great. I'm better now than I was
   then. If you think I was good then, well look out now. I'm a better
   guitar player, a better songwriter, better singer, and I make better
   records these days.

   I guess what I'm saying is that our cultural icons don't have to be just
   Kurt Cobain and James Dean, but they can also be Pablo Picasso and Howlin'
   Wolf, people who worked on into their 30s and 40s and 50s and 60s. This
   big rock and roll lie of live fast, die young and leave a good looking
   corpse is bullshit. My motto is live long and live strong and stay
   creative. That's what keeps you alive.

Cosmik: Absolutely. Do you know who Doc Cheatham is?

Wayne: Oh, of course.

Cosmik: Well, Doc Cheatham died today...

Wayne: Oh no!

Cosmik: ...and this is a cat who played with Bessie Smith and with Ma Rainey.
   And he never cut a record as a leader till he was in his 60s.

Wayne: That's what I'm talking about. Some people come into their strength a
   little later in life.

Cosmik: I remember a John Lennon quote from '63 or '64, when he was asked how
   long it would last and he said "I don't know, who'd want to listen to a
   40 year old Beatle" and it turned out to be only everyone on the planet...

Wayne: Well, now a great many of us have grown up with rock 'n' roll and we
   find you can continue to do this work with passion. Even though we are
   most definitely in a time of kiddie culture, of Beavis and Butthead and
   MTV and horseshit radio and Melrose Place, and we celebrate youth. This
   is still my idiom. And I'm determined to say something of meaning with
   it. I hope I'm speaking to the dignity of work, and the meaning of work,
   and the value of work. Our work is the most important thing that we do and
   it helps define who we are. Of course, that's part of the problem with
   the American promise. The shit didn't turn out quite the way they said
   it was going to. Big business makes more and more money every year but
   there seems to be less jobs. I don't care what Alan Greenspan and all
   the government economists say about the low unemployment rate. I don't
   see that out here on the ground. I see neighborhoods, huge neighborhoods
   in every city that I travel in, that are decimated because there's no work
   and people don't have a sense of possibilities. I'm trying to be a
   witness bearer and a truth teller. I don't think any thinking person can
   be an optimist, but I do think we can be prisoners of hope.

Cosmik: Yeah. Last week I met Pete Seeger - one of my heroes - and he seems
   to have remained an optimist despite seeing everything he's worked for all
   his life crash to hell.  But maybe it's not optimism, in the normal sense.
   Maybe it's that he's a prisoner of hope. If you're going to get up and do
   this tomorrow, there's got to be hope.

Wayne: Yeah.

Cosmik: Speaking of things not turning out the way they were going to, I'm
   reminded of two songs on "Citizen Wayne". "Revolution in Apt 29.", well,
   I guess all of us left over new lefties remember the 60s when we thought
   the revolution was happening and it kind of degraded into this white wine
   and revolution society that I think is brilliantly described in that song.

Wayne: (laughs) Did you see Christagau's review in the Voice? I got it
   today. He gave "Citizen Wayne" an A-, despite, he said one problem. He
   said "Nobody in my Trotskyite cell would be so gauche as to serve chips
   with pesto."

(both laugh)

Cosmik: Well, he's obviously just not traveling in the right circles...

Wayne: Yeah, he's with those low rent commies. I'm talking about the
   champagne Marxists here.

Cosmik: Well, there went our revolution, and that song really got me. But
   the other one which really spoke to things not turning out the way we
   hoped, and which speaks to those work issues, is "Shining Mr. Lincoln's
   Shoes."

Wayne: Yeah.

Cosmik: That's music that needs to be made. I can't think of a better way to
   convey that message than music. Nobody's talking about working people
   and the working class anymore, it seems, except the old folkies and Wayne
   Kramer.

Wayne: Well, there's an emphasis on the class differences in this country.
   You end up with the rich getting really richer and everyone else getting
   poorer. This concept of the working poor includes everybody who isn't
   rich. There's the realization that our generation isn't going to do as
   well as our folks did.  My parents owned a home and all that in their
   20s. I'm in my 40s and I still live in an apartment. Of course, I live a
   decidedly fringe lifestyle as a musician. It's exceedingly difficult to
   survive and to get ahead and to continue to do this work, but it goes
   across the board. I don't think it's any different for me than it is for
   anyone else. I look at what I spend for groceries and what I spend for
   the phone bill and prescriptions for the myriad things that happen to you
   and gasoline and repairs on my car and, you know, it's a struggle. I
   don't see anyone around me that isn't struggling. And in that area of
   the country that I come from, the rust belt, it's brutal. I go back to
   Detroit fairly regularly to play and I see a city where there's nothing
   left. They've wrenched the guts out of it and thrown it away and that
   goes for that whole area. Big business saw a way to cross out the unions
   and they took the business elsewhere, along with the basic concept of an
   honest day's pay for an honest day's work.

Cosmik: And those are the same people who want to talk about values and why
   wives don't stay home to raise the children...

Wayne:...because they can't afford to stay home!

Cosmik: We'd all like to live in that world where our dads could raise the
   family on one good wage. The world that created the Detroit car culture
   that the MC5 grew out of.

Wayne: Yeah, that sense of possibility, that you could have a new lifestyle,
   that you could reinvent things. I think that's the good news in punk
   rock, that essential message of do it yourself. That's important, the
   concept of self determination, that you can go out and do this and you
   don't have to go along with the program. That you can find a way to make
   this work, you can start your own band, your own punk rock record label,
   your own fanzine, you can make your own video documentary. Empower
   people, especially in a time when they're telling everyone to go along with
   the program... "We're selling you this shit, it's good shit, buy more of
   this shit - hell, you need Brut, you need 501s" you know? Get the fuck
   out of here. Don't tell me what I need.

Cosmik: Well, that's one of the joys of rock and roll. It's why it's been the
   dominant musical culture in this country longer than any other style of
   music. Because no matter how high falutin' it gets, kids eventually
   decide they want to hear music they can play themselves. It always
   gets pulled back to something a kid can sit in his basement and produce.

Wayne: Right, that's the wonderful thing about it. It has the ability to
   reinvent itself. By the way, how old was Doc Cheatham?

Cosmik: Let's see, I think he was 92. Ninety something...

Wayne: Ninety something will do. Damn. That's what I'm talking about.
   Long and strong. Because music is one of those things that's not really
   tied to youth. You can continue to develop your ideas and get more
   stretched out and get more technique.

Cosmik: I think so. Some of the limitations of age can make you stronger in
   ways...

Wayne: Absolutely.

Cosmik: You might have to do things with more economy...

Wayne:...which makes you a better musician. You look for meaning, for value.
   Because what's flash worth. It's bright and then it's gone. You want to
   say something that has some connection with people, that reaches people.
   That's what I was trying to do with "Citizen Wayne", to be sincere with
   people and to have the courage to tell the truth about what's happened to
   me and how things went. And to talk about what its like to do this work
   today as an adult and deal with real life issues that people have to
   contend with. The thing is, the intelligentsia know who Wayne Kramer is
   and the story of the MC5. Musicians know. But your average 19 year old
   baseball cap backwards wearing, baggy shorts, beerswilling, skate boarding
   suburban white kid does not know the story of Wayne Kramer or the story of
   the MC5 and doesn't give a shit really. But when he's exposed to it he'll
   say "Damn, this is bomb. There's really some shit here, what's going on?"
   It's really the last great untold story of the sixties. It's the missing
   link of our rock culture. What happened to that band from Detroit and
   that scene in Detroit? And that's what I was striving to do, to tell part
   of that story, because it's an important story to me. I think it bears
   telling.

   It's starting to get out now. Books like "Please Kill Me" go to some
   length to tell the story and Fred Goodman's book, "Mansion on the Hill."
   They both tell parts, but so far it's like a tribal oral history that gets
   handed on, from one band to the next, from one guitar player to the next.
   "Did you know about the MC5? Let me turn you on to the MC5." So in the
   continuity of my work, it seemed like this was time to take a bigger
   chance and make a more ambitious record and try to get some of this out...

Cosmik: I was really pleased with the amount of attention "Please Kill Me"
   gave to the MC5 and the Detroit scene - they didn't pretend something
   happened in New York City in 1975 without any precedents...

Wayne: Oh, it's a good book. In fact on our tour, we're starting our
   Citizenship tour on Wednesday, we've cooked up a deal with Legs McNeil
   and the publisher so we're going to give away a signed hardback every
   night. It'll be like a door prize. (laughs)

Cosmik: One of the things you talked about in there that really rang true for
   me was about coming from the car culture and drag racing. And it goes
   back to the Chuck Berry car songs and the California hot rod music scene.
   Without fast cars, could there have been rock and roll? And what kind
   of rock and roll will we get when all the kids are forced to drive
   Datsuns?

Wayne: Yeah, you can't write a rock song about a fuckin' Chevy Geo. To me
   it was all the same - drag racing and big supercharged engines and
   electric guitars, it was all in there together.

Cosmik: Big engines and big amps.

Wayne: It was the sound of liberation to me.

Cosmik: Yeah, all I wanted was a Strat and a GTO with a four barrel. If I had
   those, I knew I could get girls, which pretty much wrapped up my teenage
   fantasy life.

Wayne: I hear ya!

Cosmik: Another story you tell on the album is the Chicago convention. There
   you were, the house band of the revolution, the only band to show up for
   Chicago '68. I don't know what that means to the kid in the baggy
   shorts...

Wayne: Well, hopefully it's a strong enough song - like Chairman Mao said,
   bad art is bad for the revolution, so it's got to be good music. The
   musician in me strives to create the most beautiful music that I can make
   with the belief that there are other people out there that will find it
   beautiful as well. If that's the case, then maybe their ears open up to
   what the text is dealing with.

Cosmik: Well, talking about being in rock and roll and getting older and
   keeping it vital, look at some of the names you cite in that song,
   Ginsberg and Burroughs and Mailer. I mean Allen just died, but Burroughs
   is still around and Mailer has a new book on the shelves. In that world,
   in literature, getting older and staying vital has always been accepted.

Wayne: Yeah. Joyce wrote "Portait of a Young Man", but it was later when he
   wrote "Ulysses". It's all about doing the work. In the end, what did you
   do to leave the place better than you found it? And it's all in your
   work. I mean, I still believe in all those basic ideas. I believe in
   peace and in love and in self determination and justice. It seems like
   they're cliched or hackneyed expressions these days, but I think those
   are still where it's at and chief among them is the dignity of work, the
   value of work. Growing up in Detroit, it was an intrinsic part of the
   culture. Detroit didn't exist if it wasn't about working. That was the
   place you went if you wanted to get something built. Want to make
   something? Go to Detroit. They can make it there. And that was
   attitude that we carried to the MC5. We worked hard. People worked
   hard for their money and they wanted their bands to work hard. That was
   our attitude and it's still my attitude today. We're in an age of flaked
   and formed and prefabricated bands and I just wonder - I can't believe
   that anyone can find meaning in mindless manufactured music. You've got
   to put the ideas into it for them to get anything out of it.

Cosmik: That's something I remembered while I looked at some of the old
   posters from the Grande Ballroom. The bills weren't only diverse, which
   was great, but you'd lay down your five dollars or whatever to get inside
   and you could hear five or six bands in a night. Now it's, what? U2's
   getting 50 bucks for the cheap seats in a stadium.

Wayne: Well, those bills were part of a kind of rich cultural heritage that I
   was trying to tell the story of, from my unique Detroit perspective. It
   was such an amazing time. It was exciting. It was romantic and dangerous.

Cosmik: Well, sometimes getting caught up in the romance could make the danger
   more severe. One of the tracks on "Citizen Wayne" is "Count Time", which
   is about some time you spent in jail.

Wayne: Yeah, I was on my sabbatical.

Cosmik: Well, it's nobody's childhood ambition, but when you go through the
   roll call of prisoners in the song, you realize it's not bad company. If
   you could have got them all in the same place at the same time you'd have
   had a hell of a band.

Wayne: (laughing) You know, after I finished it, I realized I'd left out the
   whole contingent of white southern guys who went to jail. Johnny Cash,
   Merle Haggard, Steve Earl, I inadvertently left all those guys out. I
   just went with my cultural icons, the guys I was aware of who were mostly
   the jazz guys and hipsters. Maybe someday I'll have to write another one
   and include all the hillbillies.

Cosmik: So you go from that one to a song that could have been a chapter in
   "Please Kill Me" which is "Snatched Defeat". Any reflections on that
   scene, what happened when you got out and tried to get back to playing
   music?

Wayne: Well, I wrote a song with Farren on "The Hard Stuff" called "Junkie
   Romance" - this whole question of substance abuse and the war on drugs,
   this is a long running important issue with me. I really want to
   de-romanticize it. I want to pop the balloon on this myth that shooting
   dope makes you sexy, makes you a better guitar player, makes you somehow
   more charismatic. What it does do is it ends up fucking you up. It ends
   up wasting your time, and that's the most valuable thing you have. So in
   "Snatched Defeat" I tried to tell what it was like to try to be in a band
   with Johnny Thunders and how we could never really get anything going. We
   would always be on the verge of really accomplishing something and that
   funky behavior would destroy us.

   Which isn't to say that I'm anti-drug. I don't use drugs anymore but I'm
   pro-drug. I am anti-drug war and I'm anti this cowardly and ineffectual
   system that locks people up for what is essentially a medical problem and
   not a legal problem. I believe that in a free society you need a police
   department. There has to be some way to control the maniac aspect of life,
   and what the drug war does is undermine respect for policemen. It
   undermines respect for the law. It's a problem that the government has
   manufactured, beginning in the 30s with Harry Anslinger. It's created a
   situation where we have a million people in prison in America, and six
   hundred thousand of those people are in prison for substance related
   offenses. And they created the whole thing. They don't have the Commies
   anymore to call the boogeyman, so now it's the druggies. And the war is
   really a war on our people. In a sense it's a war on sick people. My idea
   is that in society, if someone needs a powder or a potion to get through
   the day, then that should be available to them. If they don't want to use
   that anymore, make that available to them too. But what they've managed
   to do is create incredibly powerful organized crime cartels that own
   Mexico, that own Columbia, and they accommodate them for their own
   political agendas. In the process they've chewed up two generations of
   people now.

Cosmik: Well, as a parent who's still got some teenagers hanging around the
   house, and who was a part of a culture in which dope was frankly a
   pretty important element...

Wayne: But they lied to us about marijuana.

Cosmik:...Absolutely. But the challenge is how do you present that experience
   to your kids now. I go to back to school nights and hear people fretting
   about kids smoking dope and wondering what they're going to do, and my
   question is "What did *your* parents do?" The issue has never been whether
   people should do these things, it's that they want to do these things. If
   you want to create a drug-free society for some reason, you'll never do
   that by telling people they shouldn't use drugs.

Wayne: And you won't. That has never existed and will never exist. Drugs
   have always been there and will always be there.

Cosmik: They've been there since people discovered that if you ate the crushed
   grapes that had laid out in the sun for awhile you'd feel better than if
   you didn't.

Wayne: Exactly. It becomes a matter of how do we successfully deal with this
   reality. The Europeans have a concept of harm reduction, which only makes
   sense. This shit of trying to legislate morality in this country is real
   damaging, because they're continuing to cultivate a permanent underclass
   by locking people up. They're making people more separated from their
   families, and more separated from their community and less equipped to
   deal with life on the street in this society.

Cosmik: And as we're having this conversation, I'm sitting here sucking
   nicotine into my lungs, which in terms of harm reduction does more harm
   than anything I've used, and it's certainly the strongest addiction I've
   ever had. And I started doing that a long time ago, because I thought it
   would make me one of the cool people. And now there are kids who will
   never smoke, because they don't think it's cool.

Wayne: Yeah, that makes sense. That's where the truth aspect comes in.

Cosmik: Right. They didn't have to punish them to make them see it isn't
   cool...

Wayne: No. They just told them the truth. This is really what the deal is
   with this. You can't say that pot and heroin are the same drug, because
   they're not.

Cosmik: Absolutely. Actually, the best anti-drug pitch I ever heard was an
   old Frank Zappa spot he cut about speed. He basically said "Hey kid, if
   you do speed, you'll grow old before your time, your teeth will rot, it'll
   make you tired, it'll make your skin wrinkled and yellow. In fact, it will
   make you just like your mother and father."

(laughter)

Cosmik: Now that's the message. If you want to convince a kid, tell him it
   will make him just like his old man.

Wayne: Yeah. But we get all this "just say no". Fuck that. Okay Nancy. You
   take a kid in the city, and he can't get a job and he looks around him
   and sees the homeboys slinging rock, and they're making three, four
   hundred a night. Hell, that's sneakers, that's food at home, that's
   status, that's power. Just say no? Hey, fuck you, Nancy.

   And the government created this situation.

Cosmik: And your message is "hey, if you do this stuff it will fuck you up.
   It will keep you from doing what you want to do." I just finished
   writing a piece about Charlie Parker. Rhino has a new box set out and I
   was looking at this thing, at these 38 incredible tracks of music, and
   this guy died at 34 with the body of a 60 year old man. And all that
   incredible music was recorded in a 7 year span. What if he'd had ten
   years, or 17 years.

Wayne: And that dope that they were using came into the black community on a
   deal that Lucky Luciano made with the government to get the Allies into
   Sicily. We'll look the other way when you come into Europe, and later
   you look the other way when we bring these powders in, and they flooded
   the black community with heroin.

Cosmik: Well, there's always been a way to get those things to people they
   want to control. When I was in Vietnam, I became aware that heroin wasn't
   indigenous to Vietnam. The Vietnamese didn't grow poppies, didn't use
   heroin, didn't want heroin. It was brought in for us, for GI's. The brass
   needed to control the GI's to keep them from fragging their officers. It
   was about control. And you talk about that on "Citizen Wayne", in "Dope
   For Democracy."

Wayne: And it's true. Nobody in the hood has DC-10s to fly the stuff in, or
   tankers.

Cosmik: Let's walk through the rest of the album. "Doing The Work" is
   certainly a different Wayne Kramer song, but the notes say it all. "Doing
   the work. It saved me, really." Just staying on the music, I guess, is
   the reason you're still here.

Wayne: Yeah. Yeah, truly.

Cosmik: And then you cap it off with, of all things, a pretty song.

Wayne: (laughs)

Cosmik: Almost startled me there. "A Farewell To Whiskey", which is maybe
   your prisoner of hope song?

Wayne: Maybe, yeah. Really just a lament, a fond look back on my vodka
   swilling days. It was good, in that it was necessary to some degree, but
   you're right. It gets in the way of what you really want to do. Nobody
   becomes a falling down drunkard or a degenerate dope fiend overnight.
   It's a long walk into the woods, and it's a long walk out of the woods.
   It's a long process. There's a point I reached where I finally made
   peace with the loss of the MC5, and some of my demons, some of the pain
   that I needed to dull up and escape, and I kind of dealt with those
   things. And I did the work that I needed to do contend with those things
   and find the right place to put them, and to reclaim those possibilities.
   So that tune, I was perhaps trying to do something that cut a little
   deeper into my emotional makeup, as a guitarist and just as a musician, I
   maybe tried to evoke that lament.

Cosmik: It made me think of some of the melancholy Irish airs that are often
   played at the end of a night of rowdy rum and rebel songs...

Wayne: Yeah. Actually, my wife was telling me about a 16th century composer
   who had a song called "A Lament to Whiskey", and years ago I tried to
   learn it, and it was just so complicated. And I was in the studio coming
   up with these ideas and everyone said, hey, that's kind of beautiful,
   let's cut that, and my wife was saying "Think about this, Wayne, think
   about it." And the more I thought about it, the more I thought that's what
   this is, my little lament to whiskey. Actually, to vodka in my case.

Cosmik: Well, it created just a wonderful "ahhh" moment at the end of the
   album. I wasn't expecting it, I wasn't ready for it, and I loved it.

Wayne: Oh, good. I'm so pleased.

Cosmik: So now Wayne Kramer is clean, sober, happily married and ready to hit
   the road. Where will the tour take you?

Wayne: Across these United States. 25 cities. We open in San Francisco on
   Wednesday (June 4) and then it does everything. Texas, up through the
   south, of course the east coast, then back through the midwest, the rust
   belt, Kansas City, Denver, Salt Lake, Boise, and then up to your
   neighborhood. We finish up in Seattle.

Cosmik: Oh, great!

Wayne: Yeah, I'm really looking forward to it. The band is just crackin'.
   The great Brock Avery is still with me on drums, and we have a new bassist
   this year, Doug Lunn, who is just a beautiful musician. He's worked with
   Herbie Hancock and Wayne Shorter. Actually, he's such a talented guy that
   I was almost afraid to ask him to take the gig. Because reality is that I
   do not have platinum selling records, and my gig is not that high paying
   a gig, and this is a guy who's used to getting the big bucks. But he said
   "Wayne, I've always wanted to work with you. I dig what you're doing." His
   schedule was open and he said "Count me in." He's just got real big ears
   and monster chops, so the music is really exciting. To me, that's the
   party. My party is when I get a chance to get on stage and play music.
   The chance to do a performance every night. I don't believe in the idea
   of getting up there and being a cover band for your records. I'm old
   school. I believe that this is a performance, and what happens that night
   is something unique and it happens on that night and only on that night.
   I build in spaces in the set where we don't know what we're going to play,
   and it will be different every night. And I encourage people to home tape.
   We go back and forward in time all the way. I could do anything.


			               *          *          *


Watch for Wayne Kramer on a stage near you soon. Whatever he does, you
know he'll be doing the work.


___________________________________________________________________________

ANOTHER YEAR OF COSMIK CONVERSATIONS
By the staff of Cosmik Debris

Another year has passed, so it's time for our annual look back on the 
interviews from that year.  These are just quick impressions from those
interviews, little clips we found interesting on their own.  As always,
you can find all of these in our back issue section from the main homepage
at http://www.cosmik.com/cosmikdebris.  We were thrilled and honored to get
a chance to talk to such a wide variety of artists, and... well, there are
49 interview clips here, so I'll shut up and we'll get right to it.


          
		   HUEVOS RANCHEROS (Interviewed by DJ Johnson)


Some musicians jealously guard their secrets, but not ol' Brent Cooper!  
In this segment, the Huevos Rancheros guitarist talks about titles and 
sounds.


Cosmik: "What A Way To Run A Railroad" is another song that smokes.  Gotta
   ask...how did you come up with that title?

Brent: "Railroad" is great song to play live.  The title is from Daffy Duck,
   I think -- just like "Please Pass the Ketchup" is from Daffy Duck.

Cosmik: Cool!  I guess this is the first time I've thought of Daffy as a
   solid rock and roll influence.  "Smart Bomb" is straight forward, but you
   managed to get just a hint of surfy white noise in there.

Brent: We had to write a song for the Mai Tai records SPY theme compilation.
   We originally recorded it live in Richie's garage and then added a friend
   playing organ to the 4-track.  When we recorded it for DODGE, I added a
   second guitar track doing mostly feedback.  If you listen closely you can
   hear one amp with tremolo on one side, and for the second track, it's on
   the other side doing the other guitar, so you get a wacky stereo effect.



               CURTIS MAYFIELD (Interviewed by DJ Johnson)


Talking to the legendary Curtis Mayfield was a real joy.  Here, we discussed
his role as a voice of empowerment.


Cosmik: Are you somewhat surprised to see that racial tension has survived
   the era of diversity education, affirmative action, and supposed
   enlightenment?
 
Curtis: Well, I suppose I just might be, in ways.  However, a lot of the 
   racial tension is more of a surface thing that has always been played
   with the corporations and the people higher on the totem pole, in my
   opinion.  And it'll probably always be used, here and there, when the
   higher-ups want to do something else, and they don't want the poor
   blacks--OR the poor whites--to see what they're doing.

Cosmik: So many of your songs were songs of empowerment...songs with a
   positive message.  Do you think that need is being filled today in 
   popular music?

Curtis: Well, I'd like to think so.  It's my signature, anyway, to always
   speak on something, hopefully, that might be inspiring, or in depth as
   a love song, or just to lend an ear for food for thought in general.



               LANCE KAUFMAN (Interviewed by DJ Johnson)


Harmless was a vehicle for Lance Kaufman's most intense and unusual writing, 
in which he used chaotic sounds to draw the listener to the point like a 
magnet. The former Yard Trauma keyboardist talked about that aspect of his 
music.


Cosmik: The upheaval in [your] music is fascinating and dangerous.  Are you
   attracted to chaos?

Lance: Oh yes, very much so.  I don't think I could listen to album-length
   constant noise that didn't have some kind of a structural point to guide
   it, because that can get as dull as listening to the same chord changes
   played the same way over and over again.  But I like chaotic stuff a lot.
   There are some jazz players I like--mostly reed players--that tend to be
   pretty chaotic, like Roscoe Mitchell from The Art Ensemble.  And then
   there's a New York player by the name of Marty Erlich that's real talented.
   And Oliver Lake, who has played with the World Saxophone Quartet, but has
   done a bunch of stuff with other people.  And Arthur Blythe, and then a
   person who just died recently, Julius Hemphill, who was a great player.
   They don't all sound alike, but they all have that human screech,
   screaming, crying quality.

Cosmik: How would you describe the role of the sax in Harmless?

Lance: Well, it's obviously human voice-like, like screaming.  Basically,
   it's the solo instrument.  I don't know why I particularly wanted that
   sound, to tell you the truth, but I know I hear that kind of saxophone
   playing as speech; as speaking, or screaming, or crying or whatever.
   There may be some kind of connection there that I've never really thought
   about that much, but I think the decision for that sound was based on
   the fact that I liked the idea, musically.  It actually looks like this
   up and coming version of Harmless may be saxophoneless.  I may just do
   it as a trio.  But it's still going to be the same thing.  Instead of
   the saxophone screaming, probably in some way whatever keyboard things
   I'm doing will have the same kind of chaotic frantic thing going on, to
   some degree.  It may be more subtle.  If there was a guitar player, that's
   the sound I would want, you know.  Kind of a constant barrage of sound
   rather than waiting to play a solo or playing some written line.  I do
   like the idea of bombarding people with sound.  I joke about being the
   Phil Specter of the avant-garde or something. (Laughs)



       KENNETH NEWBY & STEVE ROACH (Interviewed by John Sekerka)


Right around the time of their collaboration on the Halcyon Days project,
Kenneth Newby and Steve Roach were interviewed (separately) by John Sekerka
for his Tape Hiss program on CHUO FM in Ottawa.  As Cosmik Debris scarfs
up all of John's transcripts, we got to share the interview.  Here's a 
sampling.

					   (Newby)

Cosmik: Why is your record called Halcyon Days?

Newby: It came about in a backwards way. We were talking about when would
   be a good time to make this recording. It turned out the best time was
   right around the winter solstice: December 21st. It looked as if we'd be
   spending a couple of weeks in Steve Roach's studio in Tucson, Arizona. I
   made the connection to the Halcyon Days which are reputed to be the two
   weeks around the winter solstice, and I sent a fax saying that it was an
   auspicious time to do a creative project. We kind of left it at that
   until we had finished the music. We were sitting around, trying to
   decide what to call it, and Steve recalled my comment on the fax. We
   felt that it fit the spirit of the music.

Cosmik: Did all of the recording take place in Steve Roach's studio?

Newby: Pretty much. We spent eleven intensive days recording and mixing
   there, though we brought a little of the material with us. I had written
   computer programs to generate some textures and rhythms.

Cosmik: Were you at all affected by the atmosphere, working in the desert?

Newby: It's a really nice environment. The back of Steve's house opens out
   on to the desert. I was quite struck by it, never having experienced the
   American desert before. We took advantage of plugging into the environment
   and I'm sure it came through in the music to a degree.

						      (Roach)

Cosmik: What exactly is it about the desert that draws you?

Roach: The place is so quiet that all you can hear is your heart beating, the
   functions of your body and your thoughts racing around like a little
   hamster in a cage. Over time you get more and more comfortable with that
   deep silence. Creatively, the place that I arrive to in my consciousness
   when I'm in this kind of physical environment. I can create that kind of
   silence and solitude in a sound proof studio, but it has no comparison to
   when you're sitting on a mesa and can see for seventy miles. Yet there's
   an inverted sense of quiet that is powerful and profound. Hopefully the
   music that I create portrays the places I go. Beyond that it becomes kind
   of a moot point of trying to describe it in words. That's why I chose
   music as a medium, as opposed to being a writer or a visual artist.

Cosmik: I recall a review in which the writer said she put your tape on while
   driving in the desert, and only then did it make perfect sense. Is that
   the ideal listening experience: to match the environment?

Roach: It's one of the high points to experience the music at. From the
   feedback I get, people feel it in their own environment in different ways.
   Hopefully the creative act continues as people find new ways of having
   sound in their lives. It's not necessarily about having music; it's more
   about creating an hour of sound sanctuary or sculpture. The work is
   becoming more dimensional, textural and more related to a sense of
   location--not specific. Music without vocals offers an open end for the
   creative imagination to work with. I do have a lot of artists that use my
   music to create a kind of opening.



        THE PENETRATORS: Rip Thrillby (Interviewed by DJ Johnson)


Agent Rip Thrillby let us in on the secret behind one of The Penetrators'
most fascinating and fantasy-inspiring titles.


Cosmik: I'm dying to know what the inspiration was for "Night Of The Drunken
   Cheerleaders."

Rip: Quite often the titles come before the songs. We generally approach our
   music as though we're writing soundtracks for movies that haven't been
   made yet. Start with a situation in your head, and then try to come up
   with a lick or a chord progression that suggests the action you see in
   your mind. One night Trace and I sat down with a 12-pack and a pad of
   paper, and just made up song titles, and "Night of the Drunken
   Cheerleaders" was one of them. Talk about great movie material -- lust,
   mayhem, terror, and physically-fit babes. AIP Noir. We probably came up
   with 50 or 60 potential titles, and not long after that I came in and
   Trace was playing guitar. He said, "What does this sound like?" I
   immediately answered, "Sounds like drunk teenage girls, to me." We knew
   it had to be effervescent and bouncy, but creepy, too -- so we added
   the Twilight Zone-ish figure, which I had laying around, not knowing
   what to do with it. Putting songs together is a lot like building a
   jigsaw puzzle sometimes. But anyway, when I play Cheerleaders I think of
   gorgeous babes sprinting through bars, doing cartwheels. I like that.



                 UTAH PHILLIPS (Interviewed by Ann Arbor)


Folk legend Utah Phillips provided us with one of our coziest reads; a real
"siddown, sip from the jug, and listen to this"	conversation that we're very
proud to have presented.  Pick any clip from that interview and you'll find
something just as absorbing as the following.


Cosmik: So your response to the Korean War was to ride the rails?

Utah: [It] was to sort out my thoughts, to get away from the stink and the
   death and to try to cleanse my mind. It didn't work. The only thing that
   worked was the old, old formula which seems to have vanished from our
   culture. The Dean of Religion at Harvard University brought it up again
   in an article lately. The notion of repentance, atonement and forgiveness.
   Repentance, in secular terms, I'm not a Christian, repentance means
   acknowledging that you really blew it, that you made a dumb choice, and
   caused a lot of other people a lot of misery.  You were the one 7000 miles
   from your home not them, and you went there and caused them a lot of trial.
   Atonement means you've got to put it back somehow. You've got to use your
   life somehow to make the world a better place, to change the world. Like I
   say, the change begins with you. But you gotta somehow put it back.
   Through, in my case it was working in the Civil Rights movement, very
   briefly in Mississippi in voter registration. It was in the struggle to
   recognize mainland China in the '60s. Fairplay for Cuba. And finally,
   running for the U.S. Senate in Utah as a Peace candidate in 1968. We took
   6000 votes in a campaign against the War in Vietnam. And then of course
   there's forgiveness, and forgiveness begins where it started. The change
   begins with me, the forgiveness begins with me.  When I can begin to
   forgive myself for what I have participated in, for what I've been a part
   in. And when the people around me open up enough to what I'm doing with
   my life, to what I'm singing and what I'm saying to be able to say, "That
   did me some good. That helped me over a hard decision. That helped me
   over a hard time in my life." Then you've done that. That's what's
   happened in your life: repentance, atonement and forgiveness. That seems
   to work. I wish that I saw more of that among vets.

   I know that there are Vietnam vets who've gone back to Vietnam and worked
   with orphanages, and worked with agricultural programs. They've got it,
   they've figured it out. Mainly it's overcoming a crippling bitterness, a
   crippling anger, a sense of rage, of being outraged yourself that
   paralyzes you and prevents you from doing anything from hanging out on
   the streets to hanging out in the woods. That rage needs to be transformed
   into love and that love needs to be transformed into action. Like Dorothy
   Day said, the founder of the Catholic Worker, she described Ammon
   Hennessey as "Love in Action." She used Dostoevsky's words: "Love in
   action is harsh and dreadful, compared to love in dreams."



   THE BOMBORAS: Dave Klein & Shane Van Dyke (Interviewed by John Sekerka)


Every now and then, we get answers that boggle our minds and slow us down
for a moment or two.  The Bomboras' Dave Klein and Shane Van Dyke gave John
Sekerka one of those answers in this installment of Tape Hiss.


Cosmik: Can you set the stage for me?

Dave: Sure, there's four Showman amps, a drumset in the middle, a vintage 
   organ, a smoking volcano, a big cutout with our logo, and one or two 
   Go-Go dancers.

Cosmik: Wait a minute. A smoking volcano?

Dave: Yeah, we have a volcano that erupts during the show.

Shane: And billows smoke about the club.

Cosmik: Wow! I'd pay to see that.

Dave: It was so popular that someone stole the volcano. We had to make a 
   second one.
   
Cosmik: What actually comes out of the volcano?

Dave: Charcoal and fire - a lot of the audience get burned. That's what you 
   get for a $5 show. Actually the contents are a closely guarded secret. It
   erupts periodically throughout the set. That's all you need to know.



    DOWN BY LAW (Interviewed by Shaun Dale, with assist by DJ Johnson)


One of the purest rock and roll albums of the year was All Scratched Up, by
Down By Law.  The Los Angeles punk band had been on the road forever and a 
day by the time we caught up with them, and they looked dog tired... until
they hit the stage like a tsunami, bringing the packed house down with slam
bam rock, attitude, and sheer passion.  Before the show, Angry John DiMambro
(bass) and Sam Williams III (guitar) talked about the glamorous life of a 
punk star.


Shaun: So what's the story behind "True Music" on the new album?  Did
   you guys really make a show biz video that compromised your principles?

Sam: You'd have to talk to Dave about compromising principles, but we
   have made a few videos and the last two have been played on 120 Minutes.
   One of them quite regularly - "Radio Ragga."

John: "Independence Day" is like a minute fifteen seconds long.  US News
   did an article that said the longest and shortest videos ever on MTV
   were Michael Jackson's "Bad" for like 16:23 and Down by Law's "Independence
   Day" for 1:15.

DJ: What kind of reaction has there been to being on MTV - considering a
   lot of people get pissed off if a band gets on MTV...

John: There was one girl who - I don't know if she wrote a letter or
   wrote to the Unofficial Down By Law Homepage or what - but she wrote
   "I hate you guys, you've changed, burn in Hell, sellouts." Like this
   total stupid trash. I think it was off "Independence Day," not even
   "Radio Ragga."  [Ed. Note: The Unofficial Down By Law Homepage is
   located at http://www.undergrad.math.uwaterloo.ca/~sstackho/dbl/dbl.htm]

Shaun: Yeah, you're sellouts - you might be able to buy strings next week
   off the proceeds.

John: Something like that.  Yeah, I'm just rolling in dough right now.
   I don't know what to do with it all.  I think I'll buy a Kit Kat bar.



    THE HALIBUTS: Rick Johnson & Pete Curry (Interviewed by DJ Johnson)


In this segment of their September 1996 interview, The Halibuts' guitarists
Rick Johnson and Pete Curry talked about their many appearances on surf film
soundtracks.


COSMIK: How many surf film soundtracks have you done?

PETE: I don't know... The funniest one was...one of our songs was in the
   Sports Illustrated Swimsuit video that came out in 1995.  That was
   hilarious.  It was like, there was a bunch of Gary Hoey-type music for
   most of it, and all of a sudden, "The Natives Are Restless" [from the
   album CHUMMING] appeared.

RICK: Also, we did some stuff in a National Geographic program about Surfer
   Girls, and I just saw a commercial the other day, it's being replayed
   on, I don't know, WGN or TBS in a week or two.  It's a special on women's
   surfing.

COSMIK: Any inquiries about doing other soundtracks?

PETE: Well, Life On The Bottom hasn't been out long enough to have anything
   happen yet, I don't think.  It takes a little while for them to get around.
   We're hoping.

RICK: They kinda come out of the blue, sometimes.  The record gets given to
   somebody who likes it and calls you...somebody YOU didn't give it to.
   It just got passed along.  It's something we never pursued.  They just
   kind of pop up here and there, and it's pretty cool.

COSMIK: It had to be great the first time you ever watched a surf film and
   heard your music.

RICK: You know,	the most amazing thing I ever had was...one day I was doing
   my dishes and watching surfing on ESPN, and on comes "Skinny Dip," [from
   the album GNARLY, released in 1986] but it was by Mike Palm, and I didn't
   even know Agent Orange had recorded it.  And I'm standing in my kitchen
   going "what the hell is THAT!?"



              SKIP HELLER (Interviewed by John Sekerka)


Musician and producer Skip Heller has become quite well known for his 
association with the late great Les Baxter, one of the most important
figures in the development of that currently revitalized genre known 
as exotica.  In this moving clip, Heller gave credit... and condemnation
where it was due.


Cosmik: Looking over Baxter's discography, it seems that Capitol owns most of
   his releases. There have only been a couple of re-issues; are they going
   to cash in on the vast catalogue?

Skip: Cashing is a good way to put it. Les died last January, and basically,
   he died in debt. They're foreclosing on his house, and his daughter Leslie
   is really behind the financial eight ball. Capitol records are using Les'
   name and likeness to promote the new two disc set, but have not done
   anything to help his family. These contracts that were signed in the
   forties are antiquated by today's standards and the artists are not being
   treated right. Capitol asked Leslie for background help for the new
   releases which is quite ironic since they're not paying her for the use
   of her father's name. They own the music outright, so all they will pay
   her is publishing for the tunes he wrote. I'm not very thrilled with the
   situation.  When Asphodel released Incredibly Strange Music, they asked
   who should get paid directly. They didn't want any red tape. It's funny,
   the smaller labels, who don't have wheel barrows of money to throw around,
   are the ones who pay on time. For Lost Episode,  Dionysus paid for a month
   of Les' in-home nursing. I hate to be on a soapbox, but frankly if it was
   Johnny Cash, there'd be twenty people doing benefits in Nashville right
   now - as it should be. Yet somebody like Les or Korla Pandit are not
   afforded the same treatment.



         MERIDIAN ARTS ENSEMBLE (Interviewed by Paul Remington)


John Ferrari and Ben Herrington, of the phenomenal classical/jazz quintet The 
Meridian Arts Ensemble, took a quick look forward.


Cosmik: Where do you see the future of 20th century music going?

Ferrari: To the 21st century. [Laughter]

Herrington: I think that classical music and jazz music, and a lot of other
   kinds of styles have come to a point where the development of new forms
   of expression within those styles has been accelerated to the point where
   everything is moving very quickly. Everybody's searching for something 
   unique and new, and I think that we've come to a point in the development
   in the world community to where I see the future of these musics coming 
   together, and I think the people who are going to be doing the most
   innovation in future music are those that can combine elements of the 
   music of different cultures and different sets of aesthetics and combine
   them to make something new. And, that's what has always been done. For 
   instance, classical composers have always taken influences from the folk
   music of their region--Bartok, Stravinsky, everybody, even back as far as
   Bach and Mozart, have done that. But now, I think the crossover, or the
   cross-influences, are maybe more pronounced than they used to be.



               MOJO NIXON (Interviewed by Gregory Nicoll)


Rawkabilly madman Mojo Nixon was in the middle of making a movie called 
Raney when Greg Nicoll managed to sit him down for a chat.	In this 
segment, we find out that we fans are unholy-twisted... or that Mojo has 
the same uncle as the rest of us.


Cosmik: I have fond memories of seeing you on tour with the Dead Milkmen. You
   opened for them, and you were an impossible act to follow!

Mojo: That was true on that tour a lot. Was that where we played that big
   place in Atlanta?

Cosmik: Yeah, the Centerstage Theater.

Mojo: Well, given my druthers, I would always pick the middle in a three-band
   bill, because people get tired after three bands. The Milkmen wanted to
   headline, so I said okay, fine. That was the first real tour I did with
   another band. They had this non-drinking teenybopper crowd -- who LIKED
   what we did, but who liked what THEY did more. Their fans were like, the
   weirdest guy in high school listening to the weird record thing. Whereas
   my fans are more like the drunk uncle who takes you out and shows you titty
   bars.



     THE KEN ARDLEY PLAYBOYS: Bob Smith (Interviewed by John Sekerka)


Bob Smith revealed the secret behind his band's name during this Tape Hiss
interview with John Sekerka...


Cosmik: No disrespect, but why are we talking to Bob Smith and not Ken Ardley?
   What exactly is Ken's role in the band, or is that too embarrassing to
   bring up?

Bob: Well Ken is a very mild mannered typical bass player and he's not very
   good at interviews. In fact, he doesn't write any of the material, but he
   is definitely the leader of the band. When it comes to running the group
   it's up to myself and Vic Mount. Ken does come to the forefront when he
   sings 'Windmills of My Mind' though.

Cosmik: So why is the band named as such? Is it because Ken is so darn good
   looking?

Bob: (laughs) Well, I hate to give the game away, but obviously the name is
   a pun: The Ken Ardley Playboys, cuz we can hardly play.



    SUSAN AND THE SURFTONES: Susan Yasinski (Interviewed by DJ Johnson)


Surf guitarist Susan Yasinski had just returned from her first overseas tour
with her band, The Surftones, when we did this interview.  In this segment,
Susan, a major Beatles fan, discusses her time in Hamburg, Germany.


Cosmik: You just did a quickie tour of Germany, right?  How was it?
 
Susan: It was a lot of fun. I finally got to actually meet Gerd Dietrich,
   from Gee-Dee Music, and The Looney Tunes, especially Sebastian Hartmann.
   We had a great time with them. The gig was very well-promoted and
   well-attended. The whole Beatle/Hamburg thing was incredible. The club
   where we played, the Grosse Freihiet, was upstairs from the Kaiserkeller.
   I hadn't played live in a year and a half and had never played live with
   Judd and Dave. We had only three days' rehearsal so we were a bit nervous.
   Everything worked out fine.

Cosmik: Did you spend any time checking out the Kaiserkeller and thinking
   about the ghosts?  That's almost like hallowed ground for us 60s kids.

Susan: Oh, yes. When I first when downstairs to the Kaiserkeller no one else
   was there. After a few minutes Judd came down. It was almost like being in
   church. It was funny because we were talking in whispers until we realized
   what we were doing. Of course we did play "Cry for a Shadow" at the gig.
   Playing that song in Hamburg upstairs from the Kaiserkeller was something
   I never in my wildest dreams--and I've had some pretty wild ones--thought
   I would do.



                 THORAZINE (Interviewed by DJ Johnson)


Here's one to put in the "weird rock n roll stories" file.	 Philadelphia's
high voltage punk band, Thorazine, released an album called Crazy Uncle 
Paul's Dead Squirrel Wedding.  The cover featured a photograph of... well,
let Jo-Ann Rogan tell the story.


Cosmik: So who is Crazy Uncle Paul, and what's the story behind that cool 
   structure you named your album after?

Jo-Ann: Ok here is the tale... One nippy fall night, Ross, Dallas, and I
   went to a party.  Elliott was working at his soundman job, as usual.  It
   was a very boring party.  A guy walks up and says, "wanna see somethin'
   weird?"  We immediately say to him, "what can you shock us with?"   He
   had some Polaroid shots of the squirrels.  Our first question was "how
   did you get them to stand still?"  He proceeded with the story.

   Greg Baker was born and raised in rural Gettysburg, PA.  His great uncle
   Paul, who died in 1967, was an avid squirrel hunter.  He came up with the
   weird idea to stuff them.  His wife, Aunt Ruth, sewed the costumes on by
   hand!  I kid you not!  They modeled the wedding scene after the church
   they attended, going as far as using the remnants of the carpet that
   was in the church.  If you look very closely at the photos, there is one
   seat empty.  Uncle Paul died before the last seat was filled!  We saw
   this and had to have it for our album cover, which was as of that moment
   unrecorded.

   We set off to LA and recorded.  We returned after the long tour and
   recording session to find Greg MIA.  We hunted him down and went to his
   father's house in Gettysburg to shoot the wedding.  We set off on a snowy
   morning to Gettysburg.  We arrived and Greg proclaimed that his father hated
   everyone and stay out of his way.  While Nadine and Adina (photographers)
   were setting up, we met Greg's Dad.  He was so great to us.  He showed us
   his whole collection of Civil War guns and has invited us to come out
   again to go shooting. He offered up all the tasty tidbits on the Wedding
   and made us coffee!  The Baker family had one request.  They would like
   to donate the Dead Squirrel Wedding to a museum that would restore and
   display all 74 creatures.  If anyone wants to get in contact with the
   Bakers, they should write to us. (c/o Hell Yeah Records, PO box 1975,
   Burbank CA 91507.)  The end.



               DAVID WALLEY (Interviewed by Paul Remington)
		   

David Walley, the author of the Zappa biography "No Commercial Potential,"
talked about what it was like to have his subject turn against him.


Cosmik: How, specifically, did he trash you?

Walley: He gave interviews in Gallery magazine and in Penthouse where he
   characterized me as a psychotic--a disturbed person who had no
   understanding of what he (Zappa) was about. He said in interviews that I
   must have made it all up, that none of it had any basis in fact!

Cosmik: How did that feel, having your subject turn on you, so to speak?

Walley: I was really hurt by Frank's response to my book since I had nothing
   but respect for his work and what he was trying to do. I thought it was
   an unbelievably paranoid response, but in retrospect, I suppose it was a
   product of his world view (which I amply demonstrated) as well as the
   fact that indeed he was quite sheltered, or better, demanded that he be
   sheltered. He was most stung by what Captain Beefheart said, though I
   found what he had to say very accurate and telling. Frank was big for
   criticizing everyone else, but couldn't take the heat himself. He
   disparaged his old band, called Ray Collins in an earlier edition of my
   book before it was cut out because of bullshit legal pressure and because
   I could no longer produce the tape, "An archetypal acid burn-out victim,"
   which was a fair enough assessment--cruel, but fair enough if taken in the
   context with whatever else he was saying. Anyway, Frank's comments really
   got me, and in some ways, inhibited my confidence, though I did go on to
   write a biography on Ernie Kovacs, and that was in a way therapy because
   Kovacs was such a wonderful, quirky and brilliant man.



             THORNETTA DAVIS (Interviewed by John Sekerka)


Just after R&B belter Thornetta Davis' Sub Pop Records debut, she had this
discussion with John Sekerka on his Tape Hiss radio program.


Cosmik: Why has it taken so long to get a record out?

Thornetta: Actually, I recorded an album with The Chisel Brothers. We pumped
   it ourselves and sold it at gigs. We were doing blues, but you can't get
   rich singing the blues. I finally caught Sub Pop's attention, they
   approached me and asked if I wanted to do an album.

Cosmik: Let me get the picture here: there's you up front with a bunch of
   goateed pasty white guys playing rock in the background.

Thornetta: (Laughing) They're not goateed pasty white guys. They're cool guys.
   I worked with them about four years ago on their album. They used to be
   called Big Chief. I did background vocals for them. I did a lead vocal on
   "Mack Avenue Skull Game," and shortly thereafter Sub Pop approached me.



          THE BLACKEYED SUSANS (Interviewed by John Sekerka)
        
		
Phil Kakulas, of Australia's Blackeyed Susans, explained a rather funny
photograph of the band, as well as the meaning of "Snarski vs. Snarski."


COSMIK: I'd like to talk about your band photo in which you are about to do
   away with Elvis. I believe that is you with a gun under his chin.

PHIL: Yes. I have a love/hate relationship with the guy. I really adore him.
   I thought he had an incredible talent, but I find it hard to respect him
   for the way he wasted it. All those movies. All those lousy songs. The 
   story is a modern tragedy and there's a lot to be learned from it. We did
   a New Year's Eve show and called it 'The Blackeyed Susans Murder Elvis.'
   We took the best and worst, and put on a reverent tribute. We did stuff 
   from the Sun record and the '68 comeback - and then we'd do 'Smorgasbord'
   and 'Spinout.'

COSMIK: Tell me about Snarski vs. Snarski.

PHIL: Rob Snarski is our lead singer and his brother Mark sings for a Sydney
   band called Jackson Code. Every now and then the bands get together for 
   the Snarski vs. Snarski sibling rivalry shows. They're very competitive.
   It generally results in good and entertaining shows with encores that 
   might feature 'He Ain't Heavy, He's My Brother,' or something stupid like
   that. Then we argue who won. I must say that we won conclusively this 
   year. It was 4-5 in our favour.



            LOS STRAITJACKETS (Interviewed by DJ Johnson)


The guys in the ornate wrestling masks!  One of the finest bands in the 
instrumental rock and roll scene, Los Straitjackets got a huge boost when
they appeared, not once, but twice on Late Night With Conan O'Brien.  
Guitarist Danny Amis talked about that experience.


Cosmik: How did you end up doing the Conan O'Brien show?

Danny: It turned out Andy Richter was already a fan and had even used
   our music in some of his comedy bits. At the last minute one week,
   they needed to fill 4 minutes the following night and asked for us.
   It's always a real treat to do that show because everyone there is a
   fan and they're really nice to us.  The first time we did it, we gave
   Conan and Andy wrestling masks as a gesture of appreciation, and they
   wore them throughout the show's rehearsal.

Cosmik: Be honest now . . .How nervous were you all?

Danny: Pretty nervous the first time, but they were so nice to us we
   weren't very nervous at all the second time.



        THE BOSS MARTIANS: EVAN FOSTER (Interviewed by DJ Johnson)


With his band, The Boss Martians, Evan Foster has claimed a corner of the 
Seattle music scene as his own, performing an even blend of garage, surf, 
and pop that cooks better and better with each passing album.  When we
discussed the possible existence of new sounds for the genre, he had this 
to say:


Cosmik: You have a feeling for so many types of music, and so many directions
   have been taken with surf music... This is almost like my own personal
   stock question that I ask all the surf players I interview, because I'm
   personally very curious what they'll say, so I'll just go ahead and ask
   you now.  Is there some new direction you'd like to see someone take surf
   music, or that you'd like to take with The Boss Martians?

Evan: You know what?  This is gonna sound completely weird, but in answer to
   that question: yes.  There is a total tone and a total sound that I
   absolutely love and would bring into it, and I'm kind of bringing in on
   13 Evil Tales.  See, DJ, 13 Evil Tales, the LP that I'm working on right
   now, well I just got this wild hair and I said I really want to do a
   record that's totally Martians, but brings in all these different
   influences that we're into.  So I pulled out the Vox Tone Blender, man.
   Like, the fuzz box?  We busted out a few rave ups, man, and we've got
   some heavy Paul Revere and the Raiders kind of stuff going on.  There are
   a lot of different sounds going on in this new Boss Martians LP.  And,
   dude, there ARE some purist surf instrumentals as well, there's no doubt
   about that.  But the tone that I'm totally into and would like to see
   more of is one that would make the guys on Cowabunga [surf music e-mail
   list. Ed.] say "dude, pack it up and go home," ...DRY!  Dry, baby.

Cosmik: Really!?  Dry?

Evan: Totally!  Listen up, man.  The tone that I'd be totally into would be
   just Jazzmaster and Jaguar tone, like 12 or 13 gauge flatwound strings,
   through a Showman--dry!

Cosmik: Whoa.  So you're talking about a true Fender body-tone, then?

Evan: We're talking about a pristine Fender tone, man.  For example, my main
   rig is an L-series 1964 Fender Jaguar, Olympic white.  That's my guitar.
   I use .12 gauge flatwound strings.  And I'll be honest, occasionally I'll
   bump down to an .11 gauge when I want to be able to bend a little more, but
   I always use a wound G, no less than a .22 gauge.  I also have an Olympic
   white Strat that I use quite frequently like when we're doing overdubs and
   stuff where I need to overdub a rhythm track.  I run that into an October
   1964 black face Fender Reverb, and then I run that into a 1965 Fender
   Showman amp... I mean a stock Showman amp.  A single Showman head that
   dumps a full 85 watts, 8 ohms, into a single Showman cabinet with a single
   15 JBL D130-F speaker.  And that's my rig, right there.  But see, dude,
   the thing is that I love pristine tone so much.  One of the coolest things
   about The Fireballs, other than just like the studio tape echo, was the
   fact that these cats cut their tracks dry, man.  These dudes sat down with
   their guitars and these guys just...played...tunes!  And the thing is, it's
   all right there, all up in your face.  And there's nothing more embracing
   than the crystal clear low end punch of like a Fender Jag or a Jazz just
   being played through the Showman rig, man, just with those low E's--with
   the low strings just punching out of the D130's.  It's the ultimate tone,
   man.



                 JAN HAUST (Interviewed by John Sekerka)


The Punk Hole of Fame is an 18-part series of vintage Canpunk (6 available
now) in reissue and unearthed formats, unleashing music by the likes of
Teenage Head, The Viletones and The Ugly on the rest of the world. Organizer
and project brainchild Jan Haust talked about Chris Spedding and an unusual
recipe.


Cosmik: Say, Chris Spedding pops up on most of these releases. What's his
   connection with the project?

Jan: He's the first man to wrassle the Sex Pistols to the ground. He recorded
   and mixed 'Problems,' 'No Feelings' and 'Pretty Vacant' in five hours--the
   original versions. Then he did a couple of singles with The Vibrators. He
   worked with Chrissie Hynde, who was his girlfriend back then. Spedding is
   a musician's musician. He's played with everybody from Tom Waits to Elton
   John to Bryan Ferry to Liberace to Pete Townshend. He had a stopover here
   (Toronto) in '77 and was puzzled why none of these bands were signed by
   major labels since in England, all the punks were being scooped up. Now
   he's part of our post-production team. His feel for this material is
   what's so important, and he's a master musician and producer. I paired
   him with Peter Moore, who did the Cowboy Junkies' Trinity Session. One
   of his walls is covered with 50s and 60s vintage guitars and amplifiers,
   and the others with computers. That's his studio. Without Peter we wouldn't
   be able to present some of these titles cuz they need a lot of restoration.
   Tapes disintegrate, they have to be baked...

Cosmik: Wait a minute, you bake tapes?

Jan: Magnetic recording tapes have little bits of metal that are held onto
   the mylar by a bonding agent, and that adhesive deteriorates with time.
   These tapes will shed in a tape machine. What baking does is restore the
   bonding agent for a period of time such that a transfer to a digital
   format can be made before it quickly deteriorates again.

Cosmik: Baking tapes--that sounds like a recipe for disaster.

Jan: Never lost one yet.



                DAVID DIAMOND (Interviewed by Paul Remington)


One of our proudest moments came in February (1997) when Paul Remington
interviewed the brilliant classical composer, David Diamond.  The 81
year old Diamond gave us a memorable look back at his extraordinary life,
including memories of his close friends, many of whom are household names.
In this segment, he reflects on his friendship with Leonard Bernstein.


Cosmik:  How did your friendship with Bernstein enhance what you were doing?

Diamond: Well, remember, he was still a conducting student of Fritz Reiner's
   while at the Curtis Institute. He was composing at that time and had
   written theater music while he was at Harvard. But, he was working on a
   clarinet sonata, or maybe it was a violin and piano sonata that became a
   clarinet sonata. I didn't know him at all as a composer. But, he was a
   phenomenal pianist. From an orchestral score, he read through my 1st
   Symphony that way. He just knocked me out as a musician. He was just
   phenomenal . . . phenomenal. And so, as the years went on, he saw that
   I was being performed a great deal. Then he made that amazing debut with
   the New York Philharmonic, substituting very quickly for Bruno Walter.
   Then, suddenly, he was on the map as a conductor. Then he was given the
   City Center Orchestra, which was an orchestra that was put together for
   him. He wasn't paid a salary, but that orchestra that he built-up had
   marvelous programs. The second year he had that orchestra he did my 2nd
   Symphony, after he had heard Koussevitzky do it. Then, almost every other
   year he would perform a work of mine. And then he began to compose a lot.
   But, I guess I was the only one of the friends that felt he was a gifted
   composer. Copland didn't think he really had it as a composer. He thought
   he was very good for Broadway, but he didn't care for his composing. He
   didn't like Jeremiah whatsoever. Now, I thought Jeremiah was extraordinary.



                 RASPUTINA (Interviewed by John Sekerka)


Three women, three cellos, big sound.  The ladies of Rasputina perform in 
very old fashioned clothing, including corsets.  In this segment, John 
Sekerka asked about the conflict between sound and appearance.


Cosmik:  Getting back to the 21" [waist size] , is it true that all members of
   Rasputina favour these waist constricting devices of a by-gone era?

Melora:  Yes, at this point it's like a uniform. It's costume to us. We have a
   large collection of undergarments through the ages and that's what we wear
   when performing. It's very binding and constricting and we like to highlight
   our uptightness.

Cosmik:  Your music's not really retro, but your look is way retro. Aren't you
   afraid that too much attention will be paid to the look and not enough to
   the music?

Melora:  Anybody commenting on our look makes me a little uncomfortable. I
   know we're doing this, but we've done it for so long that it's a 'putting
   on a waitress uniform' feeling. Any aspects of sexuality shocks us. We
   feel we are very prim about what we're doing. If they hear the word
   underwear, people go crazy.



  JOE BERMUDEZ & MOBILE FIDELTIY SOUND LAB: (Interviewed by Cai Campbell)


Mobile Fidelity Sound Lab VP Joe Bermudez gave us a lot of info to chew on 
when Cai Campbell interviewed him for our "Labeled" feature in July of '96.
In this segment, he discussed the dawn of the CD era.


Cosmik:  Okay, now let's talk about analog versus digital.  At what point did
    Mobile Fidelity say, "We need to enter the digital market?"

JB:  Well I'll give you something that nobody else knows.  In 1982 we made
   the first demo CD's for Sony.  And it wasn't even available in the United
   States.  And we went into digital full-bore in 1983.  We saw it coming.
   We were involved, fortunately, because of our reputation, with some of the
   big companies prior to the United States market.  So we were ready.

Cosmik:  So you were on the cutting edge.

JB:  Oh yeah, absolutely.  We had the gold CD in 1987.  People didn't even
   compete with us until 1991 or 1992 with gold.

Cosmik:  So what is your feeling about digital, and Mobile Fidelity's
   position?

JB:  Well, Mobile Fidelity's position is that, you know, let's face it, 
   what we make, the gold CD, is our breadwinner, and it's the finest CD 
   available. 



              STEVE HOFFMAN (Interviewed by Shaun Dale)


Steve Hoffman is the only engineer that gets mentioned in Cosmik Debris 
reviews on a regular basis.  He does magic every time he remasters 
recordings for DCC Compact Classics' 24 karat gold CDs or 180+ virgin
vinyl.  Since DCC is Mobile Fidelity Sound Lab's chief competitor, we
figured we should run these clips back to back.  In this segment, Steve
describes his job.


Cosmik: So maybe you can walk me through your process a bit.  Say you decide
   to do "Chet Baker in New York".  You know who has the tape, so you get it
   and listen to it and do what?

Hoffman: OK, the first thing I do is listen to every copy I can find out
   there in the real world.  I check how the original LP sounds, the way
   the current CD sounds, the way the Japanese import LP sounded, just to
   get an idea of how it's supposed to sound.  Then I'll go through the
   original tape and I'll start messing around.  I'll try mastering it this
   way and... I use a lot of vacuum tubes in my console and I'll add some
   layers of tubes to hear what it sounds like that way and I'll try it
   several ways. I have the luxury of taking my time, of course, because
   that's one of the advantages of working for a small company.  We have
   about four releases or so a month as opposed to Warner Brothers Records
   that has about 39 releases a month.  So then, after I hear how it sounds
   in my car, how it sounds here, how it sounds there, then I'll finally do
   the final mastering and it will be made into a CD or an LP.  If it's
   going to be an LP I'll do the actual lacquer cutting and see what it
   sounds like there.  If it sounds good, we'll release it. If it doesn't
   sound as good as I think it could, I'll start over.  That's it. Every
   single time.



			  MARK NAFTALIN (Interviewed by DJ Johnson)


As keyboardist for The Paul Butterfield Blues Band in the mid 1960s, Mark
Naftalin performed some of the most important music of the era.  In this
segment, he discusses the evolution of the most important piece of all,
"East-West."


Cosmik: The story goes that "East-West" took on a life of its own and just
   kept evolving from performance to performance.  What kind of changes did
   it ultimately go through?
     
Mark: For one thing, the song grew longer.  As it reached full flower we 
   played it for an hour or more.  The song was a platform for a lot of
   experimentation.  There were also certain structural elements that shaped
   the performance.  Michael would periodically introduce a simple melodic
   passage which would then be ensemble-ized and become the starting point
   for a development and, usually, for some kind of energetic build-up.  And
   some of these melodies became thematic.  Over the fifteen months or so
   that we played "East-West" a lot of things happened.  A few of them are
   captured on the "East-West Live" album, which is our next release on
   Winner, due out September 3.  The album consists of three live versions of
   "East-West" and as you listen to them in sequence you get a sense of how
   fast things were changing in those days.  The third version, recorded
   about a year after the first, is much freer as a collective improvisation.
   On the other hand, some of Mike's most orbital playing is on the first
   version.  The first version has at least five sections, of which four
   sections, twelve minutes, were recorded.  The third version, which is
   close to half an hour long, has only three sections, but the sections
   themselves are more developed; there are sections within sections.  On the
   first version, Paul plays a beautiful, peaceful solo at the end.  The
   other versions end much more climactically and, on the third version, Paul
   doesn't play a solo per se, but contributes a lot of impressionistic stuff
   as part of the ensemble.  Billy Davenport, the drummer, is the one who
   held this piece together, in my opinion.  He carried the thing with power
   and control, from the beginning.  Listening now, he just sounds amazing.
   A bona fide monster.  We were really lucky to have Billy in the group.



            MAN OR ASTRO-MAN?: Coco The Electronic Monkey Wizard 
			         (Interviewed by John Sekerka)


Man Or Astro-Man Bassist--and scary alien--Coco The Electronic Monkey Wizard
appeared in the same issue as Steven M. Martin, director of the documentary
film THERAMIN.  We present clips of each, back to back, since they focus on
the same topic.

						     (Coco)

Cosmik: Being a big theremin buff, I have to ask when and how did you first
   get your hands on that crazy music contraption?

Coco: My very first theremin was built by an off-shoot research facility
   located in Atlanta. It was very primitive. In fact it only had volume
   control, ran off a 9 volt battery and could fit in a large pocket. It
   had a limited range of inaudible low to inaudible high frequency. One
   movement of a hair on your finger would cause an octave change in the
   pitch. Now I have a solid state model which can be thrown around the
   stage.

Cosmik: What do you think of the recent theremin revival?

Coco: I think it's great. I hope it'll stick around and not suffer the same
   fate as the first time around. The skill factor in playing ability is
   quite high - I can barely play a melody. I hope it won't deter people.
   It takes a lot of practice and a good ear to master.

							 (Martin)

Cosmik: How did you come across the theremin? It's a pretty obscure instrument.

Steven: I always liked the sound of a theremin. When I was a kid I really
   liked science fiction and monster movies, so I really liked that sound.
   The first time I consciously heard it was when my father let me and my
   brother stay up late to watch The Day the Earth Stood Still on television.
   We flipped over it. That movie's got everything: robots, Patricia Neal, a
   guy from outer space and the theremin. We started running around the house
   doing theremin noises. It was also a sound your parents hated. I always
   liked that sound and kept hearing it as I got older. I wasn't even
   planning on making a film about it, I just wanted to use it in the score
   of a movie I was making. I had never seen a theremin before. It's not
   like they're a household appliance. Trying to find someone who could
   actually play, as opposed to just making noise, led me to Clara Rockmore.
   I mentioned my problem to my attorney and he said, "that's funny, my
   mother's best friend is the world's greatest theremin player". So she set
   up a tea for us to meet. Clara turned me down. She was reticent and had
   no interest in playing on a score. In the course of the tea, the idea for
   the documentary was hatched.



      JON & THE NIGHTRIDERS: John Blair (Interviewed by DJ Johnson)


Easily the most popular artist of the 2nd wave of instrumental surf, John 
Blair's guitar playing led many kids to follow in his footsteps.  At the 
time of this interview (August, 1996), Blair had just released  Fiberglass 
Rocket, his first album in 11 years.


Cosmik:  How did the Nightriders get started?  Starting a surf band at
   that time wasn't a sure thing.

John:  It certainly wasn't a sure thing IF you went at it intentionally with
   the idea of getting a hit record, impressing some major label, making
   tons of money, etc.  With the Nightriders, the early days had no
   long-term plan or goals.  Everything we did in the beginning was
   intended to be a one-shot effort.  It's a long story, but I'll try to
   whittle it down a bit.  When I self-published the first edition of my
   book "The Illustrated Discography Of Surf Music" in 1978, I had a party
   to celebrate it at my house.  Three friends of mine and I jammed in my
   living room that night playing surf instros.  That little impromptu
   "group" featured a friend on bass, Jeff Nicholson.  
   
   A few months later, when the book had sold well enough to convince me 
   that there was still interest in this music after so long, I decided to 
   form a band strictly for the purpose of recording a 4-song EP and 
   marketing it myself.  I called up Jeff who ended up asking Dusty Watson
   to play drums.  One of the people who bought my book was an L.A. session
   guitarist named Ed Black (who was backing up Karla Bonoff at the time I 
   believe).  Ed wrote me a letter and indicated a strong interest in 
   instrumental rock. I called him up and asked him to play rhythm guitar
   for our "session." He agreed.  So, Jeff Nicholson, Dusty Watson, Ed
   Black, and myself made the record and I pressed up about 500 copies in 
   1979.  The record was brought to the attention of Greg Shaw, owner of 
   Bomp Records in L.A. Greg eventually phoned me up and asked if I would 
   produce an entire album of surf instrumentals.  If I did, Greg agreed 
   to release it on Bomp.  Not stupid enough to pass up an offer like that,
   I re-formed the band to go back into the studio for an album's worth 
   of tunes.  
   
   That album was "Surf Beat '80" which led, in turn, to our playing the 
   Santa Monica Civic a month or two later in front of 2000 people and opening
   for Dick Dale and The Surf Punks (by the time we did that show, Ed Black
   had other commitments and another friend of Nicholson's, Dave Wronski,
   was added on rhythm guitar).  That appearance led to our club dates,
   the Live at the Whisky-A-Go-Go album, our subsequent recordings and
   European tour, the movie soundtracks, and to the current album,
   "Fiberglass Rocket."  Nicholson moved out of state after we recorded
   our last album, "Stampede," and Pete Curry was added on bass before we
   started rehearsing for "Fiberglass Rocket" in the spring of '95.



              MICHAEL ERLEWINE (Interviewed by DJ Johnson)


Michael Erlewine, head honcho at the All Music Guide, talked about his work
and where he hoped to take it.


Cosmik:	What's your ultimate vision for The All Music Guide, books and database
   alike, Michael?

Michael: Just exactly what the title says.  All Music Guide.

Cosmik:	Everything.

Michael: Everything.  Just eventually more and more detailed.  A wonderful
   place to roam and to learn about music.  Part of our goal is to
   eventually have some AI [artificial intelligence] techniques, which
   Vladamir's an expert on, helping you to go from the things you know now,
   the music you like now, to something you THINK you might like, and help
   you get there without embarrassment.  Like I'm having trouble being crazy
   about rap...probably because I'm so old and everything.  But somebody
   introduced me to the Murk Artists.  It's kind of a version of rap stuff,
   but it's like dance music, and I do like dance music.  It's helping me
   get there.  Rap's not my favorite music, and I don't find myself putting
   it on to relax.  But at the same time, one of my good fortunes is that
   I've been able to appreciate almost all kinds of music, and I really
   value that trait. I really love country music... early country music,
   especially.  So when there's a kind of music I DON'T like that I know is
   likeABLE, then I would like to get there.  Sometimes I have to be educated.
   So one of the things we try to do is help people get from here to there,
   like a spider crawling across a great web handhold by handhold.  To me, a
   lot of what music is about is overcoming the fear of the unknown and always
   discovering something new.



           LAIKA & THE COSMONAUTS (Interviewed by John Sekerka)

That amazing surf band from Finland spent some time on the phone with John
Sekerka one sunny afternoon.  Here's a little snip.


Cosmik: You know surf music is quite popular in North America, so you'll be 
   greeted with open arms. But what does Finland think of all this?

Matti: We do play more gigs in the U.S., so we can say that we are more
   popular than back home. The tradition of guitar instrumental music in
   Finland is a long one. It's in a more calm style of The Shadows if I
   can use them as an example. It's something that people like to dance 
   to, in dance halls, using traditional dance steps like foxtrot. It's
   pretty impossible to do that with the tempos and rhythms of Laika & the
   Cosmonauts.

Cosmik: Tell me about "A-Treatment", my favourite Laika song.

Matti: The "A" stands for asparagus. That was an interrogation code name 
   that the CIA used in the fifties. First they pumped the person under 
   interrogation with some sedative and made him pass out.  Then they 
   pumped him with speed. I guess that's what makes a person tell the 
   truth. It's all instrumental, but you can pretty much hear the idea 
   from the song.



                  ROBERT RICH: (Interviewed by coLeSLAw)


Robert Rich's contributions to electronic, trance, ambient and other genres
are immeasurable.  One of the most fascinating aspects of his career is his
"sleep concerts": live performances where the audience brings sleeping bags
and pillows so they can sleep to his dream-like music.  That was the subject
of this segment of his Cosmik Debris interview.  Our graphic artist, coLeSLAw,
had never considered doing an interview before this, but he couldn't resist
the opportunity to talk to his musical idol. 


Cosmik: You've said in the past that you have not done sleep concerts in a 
   while... since 1986 I believe.  Is your main focus for live shows now
   leaning towards the more patterned polyrhythmic, earth-bound...if you
   will, pieces than your more expansive space-bound pieces?

Rich: Well, first of all I think most of my work has been fairly earthbound,
   even the longform music. But for the last ten years or so my concerts have
   been a lot more active. It's funny you should ask this now, because I have
   just started doing sleep concerts again, mostly on radio stations. The
   first was on KUCI in Irvine, CA, in May. In July I plan to do one on KFJC
   in the Bay Area. Then, in Autumn I'll head out nationwide to play a bunch
   of sleep concerts (some live, some radio) along with the shorter active
   concerts. I think the radio is a good medium for the very static music,
   since it works well in private, and it's more convenient for the listeners
   to spend the night at home. I think in many ways I feel most comfortable
   with the slow drone music. The rhythms don't come as easily for me, but I
   do really like playing the rhythmic stuff live. 

Cosmik: Lately, your work has been deemed "dark". How do you feel about that
   association?

Rich: Dark relative to what? Ministry or Yanni? I just think of it as shading,
   contrast, chiaroscuro. Beauty for me always contains a shadow - it's part
   of being mortal. I think some people are afraid to confront the shadows
   inside themselves. Like Sartre said, and Gautama before him, the
   foundation of human suffering comes from our fear of death. This isn't to
   say we should wallow in it, like teenage Goth kids. Lightness also has its
   place. It's just that I have trouble digesting saccharine.



   G.T. STRINGER: Jim Redgate & Trevor Ramsay (Interviewed by DJ Johnson)


Jim and Trev, of Australia's multi-genre wonder, G.T. Stringer, gave us one
of our more colorful interviews.  Here, we talked about the surfing thing.


Cosmik: Do you think surfing tunes you in to the music in any way?  Is there
   a connection for you, or a vibe that you get on the waves that you can
   translate into sounds?

Trevor: We'll Jim will probably say that I get my surfin vibe headed towards
   the bottom doing a nasty pearlin expedition on my mal! Maybe I'm just
   tryin to locate a suitable conch shell to augment my sax blowin exploits.
   I tend to enjoy surfing for the fun release it bring's to day to day
   things, I think it's part of riding longboards and longboarders in 
   general who seem to be a bit more easygoing and not into the general
   hassle scene. I'm not sure about a necessary connection with the music as
   such - look at them landlocked buddies Thee Phantom 5 - Todd told me once 
   their music is influenced by the tow truck business they run.

Jim: It's an attitude more than anything. Anyone who surfs will tell you 
   that the best way to wind down and mellow out is to catch some waves.
   You can be in the worst mood, but an hour or two in the ocean will sort
   you out. When you capture this in the music, as well as the adrenaline
   that you can experience, you have a true surf feel. 



                 PATTI CLEMENS (Interviewed by John Sekerka)


City Of Tribes is a very interesting record label that puts out music by
Ring, Trance Mission, Halcyon Days, and others of that upper-stratosphere
ilk.  Label honcho Patti Clemens, who is also half of Ring, talked about
the other half.


Cosmik: I was just spinning the latest Event Horizon, listening to Ring, which
   is your project.

Patti: Yes. I'm the vocalist and song-writer, working with Barbara Imhoff who
   plays a full concert harp. I call her my rock'n'roll harper. She's very
   powerful.		   

Cosmik: How big is that harp?

Patti: It stands about six feet tall. It's what angels play in heaven, it's
   all gilded, it's all gold, it has a crown on top.

Cosmik: How does she lug that monster around? Does she have a huge case?

Patti: There's a giant cover for it which looks like a hot oven pad. She can
   stick it in her car, but it takes two people to actually carry it.



                ERIC BENET (Interviewed by Shaun Dale)


In his April interview, R&B artist Eric Benet discussed the messages and 
power in his music.  As this interview was taking place, Benet's CD, True
To Myself, was selling like crazy in several countries, including Japan.
He had just returned from touring that country.


Cosmik: ...how important is it to use your music to have a positive social 
   impact?

Benet: Oh, it's very important.  You can only say "baby I love you, baby I
   lost you, I miss you and baby we have great sex" so many ways before it's
   like, "damn, don't you have anything else to sing about?" There are so many
   more relevant and pressing issues. For me, songwriting is an expression of
   what's in my heart and what's in my mind, and there's a lot more in my
   heart than just the love songs.  I think that anyone who's of at least
   functional intelligence can think of other things than what's going on in
   their love life and their own little personal world.

Cosmik: Well, that was part of the contradiction I saw at first, thinking,
   well, this guy's out of Milwaukee, where'd this come from.  Because for
   those of us that aren't there, or haven't been there, when we think of
   Milwaukee, we might tend to think of Richie and the Fonz.  But you're
   talking about things that we might associate with LA or New York City
   and it makes people realize those problems exist everywhere...

Benet: Hey, there's Compton all over, man, believe me.  Where I was raised
   there was a crack house on one side and a whore house on the other side
   and a drug house across the street.  I grew up in a very bad neighborhood.
   I mean, there was a lot of love there, and a lot of good there too, don't
   get me wrong, but there was a lot of evil around me. That's why family is
   such a beautiful thing to me.  We were raised in this terrible neighborhood
   but we were completely resiliant and shielded, not because my parents were
   so strict but because it was so loving.  So it was right there in my face,
   but I always knew right from wrong.  I was never tempted to do... I mean, I
   was curious to a point, but I guess when you're raised the right way the
   curiosity never turns into experimentation.  In a way, I guess my house
   was like the black Richie Cunningham and shit, but it wasn't because my
   surroundings were.  It was because my dad and my mom knew what they were
   doing.



             AL & JANIE HENDRIX (Interviewed by DJ Johnson)


The father and half-sister of the late Jimi Hendrix, in separate interviews,
each expressed their motivations for creating Experience Hendrix, the family
business that controls Jimi's music, image and likeness.


Cosmik: What are your hopes for Experience Hendrix?  What would you like to
   see it accomplish?

Al: To get out all material that we can of Jimi's in its original form and
   put it out the way Jimi would have put it out.  That's what it was all 
   about.  That's what he was writing it about.  Don't dress it up in any
   kind of different way than Jimi would of had it.

Cosmik: Twenty or thirty years from now, what effect do you hope Experience
   Hendrix will have had on Jimi's memory and his legacy?

Janie: That's why we started a family foundation.  We would like to continue
   to sponsor children's groups and youth groups and school programs.  I 
   would like to make sure that at least... This is a small number, because
   I think we'll do better than this, but I'd like to touch at least two 
   people's lives a year, where they say "because of you guys, I was able
   to..." whatever.  I've heard a lot of stories over the years where... for
   instance, Bob Dylan's guitar tech pulled me aside one day and said "You
   know, it's because of Jimi that I'm in this business.  I was in Manny's
   Music, I was plunking around on the guitar and not paying any attention,
   and they announced for everybody to get out, that the store was closing,
   and I wasn't paying attention.  Then I look up and there's Jimi standing
   over me.  The owners are like "Get out!  You've got to leave!"  And Jimi
   says "No, no, no.  He can stay.  It's cool.  He's not hurting anybody."
   And then he says "Jimi said to me, 'You know, I'm going to be down at the
   studio tonight if you want to come by.  Come by about eleven, eleven 
   thirty, that'd probably be a good time.' So here I am a 15 year old kid,
   I go to Electric Lady studios, I'm there till five in the morning KNOWING
   I'm gonna get killed when I get home, but I don't care.  I'm with my 
   friend, I'm listening to Jimi and he just jams out all these songs in one
   take for an album."  He said it was the most incredible experience in his
   life, and that's why he wanted to be in this business.  And that's what
   I want people to say.



        BRAZIL 2001: Bernard Yin (Interviewed by DJ Johnson)


Bernard Yin is one of those guitar players that other guitar players can't
stop talking about or listening to.  His band, Brazil 2001, plays such a 
diverse array of music that it's impossible to tag them with a genre.  In 
this segment, Bernard talked about diversity.


Cosmik: Playing such a diverse range of music means you'll have a smaller
   audience, since the majority of people can't deal with more than a few
   genres.  I guess the upside would be having a musically intelligent
   audience.  Do you find that's the case with your audience?

Bernard: It's of questionable Karma to judge differences between people, but
   there is no question that all sorts of folks love music regardless of
   their brain power. We seem to repel people who want to hear overtly
   primal alterna-fodder. Bummer, eh? That whole common denominator thing is
   a drag. It sometimes amazes me what blandness can pass as successful or
   potentially popular. It's not intentional that we alienate anyone. Both
   Bill and Larry of Brazil 2001 come from bands that were very
   straightforward and leaned towards simply rocking out and releasing
   certain demons. I do feel torn at times, though. I mean, for the pure
   rush, I think audiences who just wanna rock real hard are a beautiful
   thing. I once saw The Bad Brains in Tijuana and despite the political
   message in the music, it was very out of control and as much a pure party.
   That's a glorious thing! A studied band and studied music can be a
   dangerous thing! Yet another line to walk, eh? Shit! I try to make up for
   some of that dilemma by playing real loud, and Bill and Larry do hit hard.
   I do think that a great deal of people are stupid enough to accept
   anything once it's been mediated properly by validation media such as
   MTV and pop films. Strange music has had moments in the pop charts. What
   I am currently creating is really pretty tame. It's just an odd mixture.



          V. VALE & ANDREA JUNO (Interviewed by John Sekerka)

						 
In separate Tape Hiss interviews, John Sekerka talked to two of the most 
important and influential names in the zine counter-culture, V. Vale and
Andrea Juno.  Here are clips from each.

					        (V. Vale)

Cosmik: When did you first start publishing?

V: I started Search and Destroy twenty years ago. The reason you publish a 
   zine is to change the world, because you certainly aren't going to make
   any money at it. This was before punk rock was called punk rock. It not
   only documented what I think was a new emerging subculture, but also
   hopefully, catalyzed it. In the eighties I started another publication
   called RE/Search in a book format, which made it possible, 16 years 
   later, to earn a living. It takes so long to get enough distribution 
   and readership. Of course if you believe in what you're doing, you pay
   the price to do it. 

Cosmik: Were you the first zine publisher?

V: It was hard to publish zines before the mid seventies simply because 
   there weren't any Xerox machines around. Before then you'd have to have
   access to mimeograph machines, which was pretty awkward and specialized.
   Most zine publishers do a few, and lose their shirts. I knew in advance
   that I would spend everything that I had to keep it going, so I wasn't
   surprised when I lost money. That was my fate. The reason I didn't
   continue with Search & Destroy after starting RE/Search, was because the
   original movement is very personal and underground which in San Francisco,
   comprised a few hundred weirdos, loners and artists. That first movement
   was very social. Everyone knew each other by their first names. Of course
   it was too good to last. What drove it off, in my opinion, was this young
   macho white male element from the suburbs who started this slam dancing 
   and mosh pit gladiator stupidity. It didn't mean punk was invalidated, it
   just hadda go underground for a while. In my mind the true spirit of punk
   was resurrected in 1991 by the Riot Grrl movement. Riot Grrl is simply 
   punk rock principles - do it yourself - plus feminism. Of course that
   movement got maligned and attacked. Most of the originators got ashamed 
   of being these incredible pioneers. That shows the power of the mass 
   media: to take away your own power.

						      
							  (Andrea Juno)

Cosmik: When I spoke to V. Vale he talked as if the punk scene was the impetus
   for starting RE/Search. What were your initial interests?

Andrea: I wasn't so focused on the singular identity of punk rock, even 
   though it was really exciting in the late seventies - a really wonderful
   motley crew that was drawn to one or two clubs in the city, and there was 
   a whole international network before the mainstream took over. It crossed
   over a lot more territory than just music. Having a love for film,
   literature, art, and sussing out what seems to be going on in this culture
   that's falling apart - for me punk was more of what was interesting 
   artistically in that scene. Identifying solely on what you wear, what
   clubs you go to is very limiting. I've always wanted to expand the 
   concepts of the books.

Cosmik: Even though punk has been bought and accepted by mainstream America,
   there is still quite a lot of shock value left. What are you trying to do
   with books like  Concrete Jungle - which focuses on subjects like roadkill
   decay - are you trying to educate, enlighten or horrify?

Andrea: Educate, enlighten ... hopefully the books are fun without being 
   frivolous. They are trying to get people to look at a subject from a
   different viewpoint: askew, a little backwards, re-orient, to look at
   the environment in a way that's not quite so dogmatic, that covers a lot
   more levels and ramifications. Education without the hammer is a goal.



                 MAL SHARPE (Interviewed by Ann Arbor)


In the 1960's, as half of the brilliantly twisted comedy team, Coyle & Sharpe, 
Mal Sharpe took part in some of the greatest put-on's in history.  They would
approach a complete stranger on the street, stick a microphone in his face,
and solicit his reaction to one crazy idea or another.  These "Man On The
Street Interviews" are now legendary.  Ann Arbor conducted a very memorable
interview with Mal in December, 1997.  Here, they discuss one of Coyle &
Sharpe's funniest pranks, in which they told the subject there were groups
of people called Pescahumanists living as fish in the ocean, even trying to
convince him to join the group.


Cosmik:  So tell us a bit about the Pescahumanists.

Sharpe: Coyle and I used to do so many things like this:  Pescahumanists,
   underground rituals with animals and people and wolverines and bats.

Cosmik:  Tell us a bit about the mentality in the '60s that caused you to
   think about some of these things.

Sharpe: Well you know this stuff was recorded here in San Francisco in the
   early '60s.  This was before Kennedy was assassinated and the moonshot
   and all these sorts of things.  Pseudoscience had everyone in its sway,
   it still does, but even then.... Today you can picture someone being half
   human and half fish.  It's kinda getting there in a way, where we're using
   animal parts like pigs' heart valves...  But back then it was purely
   fantasy to us, it was beyond any kind of reality and that's what appealed
   to us.  Before we went out in the morning we would sit in a coffee shop
   and come up with concepts to talk about on the street that day.  Often it
   was just things we'd see, fish on the menu and we'd say "fishpeople" and
   Coyle, who had a great vocabulary, would say "Pescahumanists."  We'd go
   out on the street, stop someone and start to talk about "Pescahumanists."
   That's how those things happened. Sometimes we would do the same sequence
   several times over the course of months, you know, we wouldn't get a good
   victim.  So we would begin to develop a kind of plot or a world, the
   "Pescahumanist" world, things like this in our minds.  Then we would just
   look for a "victim."



              THOMAS DOLBY: (Interviewed by Keith Gillard)


In August of 1996, WebTV was not yet even a buzz in the public chatter.  Now,
ten months later, it's a hot item with heavy duty media support.  Musician
Thomas Dolby and his company, Headspace, were right in the thick of the 
project.  Dolby's involvement in the Internet community	was the topic of 
this section of his interview with Keith Gillard.


Cosmik:  Would you say that your Internet involvement stems from your
   work in multimedia?

Dolby:  I think probably my multimedia involvement led to my Internet 
   presence. I'm not a person that enjoys spending all of my waking hours
   at my computer. Given half a chance, I'll go off and go sailing on a
   lake or something like that.

Cosmik:  How do you see yourself progressing on the Internet, as a
   musician?

Dolby:  I would love to be in a position to release new songs on the 
   Internet, without having to go through any of the typical
   intermediaries, like A&R men and radio programmers and record store 
   owners.  Obviously, there's a current limitation in bandwidth, storage,
   and processing power.  But the scientists will work on those numbers 
   with or without me.  So I'm assuming that sooner or later it will be
   possible for me to start releasing music in that area, and I would just
   like to prepare for that.



             BETH CUSTER (Interviewed by John Sekerka)

Multi-instrumentalist Beth Custer (of Trance Mission and The Club Foot
Orchestra) was the subject of our very first Tape Hiss interview.  John
Sekerka's radio interview was transcribed for Cosmik Debris, and we've
been running two of his interviews every month since.  In this clip, Beth
talks about one of Club Foot Orchestra's many sidelights.


Cosmik: How did the Club Foot Orchestra get started recording music for silent
   films?

Beth: We had slogged around the clubs for years without much attention,
   starting in the early eighties at Club Foot. We'd play odd-metered dance
   music with a big horn section. After about five years we came upon the
   idea of playing live music to silent films and it just took off. For some
   reason it was a marriage made in heaven. Our fearless leader Richard
   Marriott wrote the first two scores, The Cabinet of Dr. Kaligari and
   Nosferatu. Then more members started writing. Metropolis and Buster
   Keaton's Sherlock Junior followed, and now everyone contributed to
   Pandora's Box. Somehow it works as a hectic collective with everyone
   sparring for scenes.

Cosmik: Recently I took in Charlie Chaplin's City Lights backed by a big
   orchestra.  He made that silent film even though talkies were the norm at
   that point. He wanted it to transcend language barriers and be an
   international event. I think that makes a lot of sense. Are there any
   silent films being made these days that you know of?

Beth: I know a couple of filmmakers who've done small silent films. We've
   done a couple of collaborations. I think it could be quite a great medium
   that could come much further.



          THE BLUEBEATS: Mike Drance, Steven Prisco and Russ Sisto 
		              (Interviewed by DJ Johnson)


Rock Steady is no longer a long lost form of music, thanks to bands like
NYC's The Bluebeats.  In this segment, they discuss that form.


Cosmik: What is it that appeals to you the most about rock steady as
   opposed to other forms of Jamaican music?

Mike: SOUL brother, SOUL!  And just beautiful music.

Steven: I love all of the island music, not just rock steady. Rock steady is
   cool because it is truly soul music.  Some of the songs are very passionate.
   Sometimes you get to play great grooves behind really beautiful melodies,
   and then sometimes it just plain rocks! It gets difficult at times to
   explain the difference between ska, rock steady and reggae as they cross
   over each other so often. Just the slightest variation of the rhythm or
   the strumming of the guitar can make a song sound totally different.

Russ: I love to play rock steady bass. There is nothing like it. It is
   simple, yet very focused and needs to be played just so. Check out "I'll
   Be Standing By" on our Dance With Me CD. That's an original rock steady
   bass line accented with Mike's guitar. To me that's what is unique about
   rock steady. It's the heartbeat.



         STORYVILLE: Malford Milligan (Interviewed by Shaun Dale)


Malford Milligan is a relative newcomer to the rock and roll warpath. When
we say "relative," we mean relative to his bandmates in Storyville.  Bassist 
Tommy Shannon and drummer Chris Layton had spent years as the rhythm section
for Stevie Ray Vaughan & Double Trouble.  Guitarist David Grissom had played
with Joe Ely and John Cougar Mellencamp.  And guitarist David Holt had worked
with Ely, Carlene Carter, and The Mavericks.  Milligan talked with Shaun Dale
about what it's like for a rookie to work with those players.



Cosmik: These guys in the band have been everywhere with everyone.  Does 
   that put any special pressure on you?  Do you feel that?

Malford: You know, when I first started I really felt it - I definitely felt
    it when I was on stage - but the deal was more and more we became
    closer by writing together, by trying to get this band off the ground
    and the whole bit and it's not a pressure that I even think about now.
    It's more or less what the song demands, you know...

Cosmik: I know you place an emphasis on songwriting as a team effort...

Malford: Exactly, I sure do.

Cosmik: How does that work?  Do you guys come together with pieces of songs?
   Do you all do this together in a room?

Malford: Sometimes.  A little bit of anything.  I know in Grissom's case, he
    brought some finished songs in we used on the record.  Right now I'm 
    working on a tune, in fact, just laying stuff down a cappella, and what
    I'll do is take that to David Holt or David Grissom and to the rest of
    the band and see if it's something we might want to explore doing, you
    know what I'm saying, and see if they get any ideas from it, and if
    they do it goes on from there. 'Cause David Holt or David Grissom can
    find the key that the song is in - I never even know what key I'm
    singing in.  I'm musically illiterate.



          KILLDOZER: Michael Gerard (Interview by John Sekerka)


Killdozer's front man, Michael Gerard, was one of the subjects of the 
Halloween issue's Tape Hiss interviews.  Here, Michael explains a 
cultural phenomenon called "Smut & Eggs."


Cosmik: I've read about Smut 'n' Eggs at Bennet's Supper Club. Can you fill
   me in?

Michael: You can get scrambled eggs and home fried potatoes for two dollars.
   Another fifty cents gets you the bacon. Happy hour is six to eight in
   the morning: one dollar Bloody Marys. They show pornographic movies on 
   the weekends, oh... up until eleven in the morning. It all comes to a
   grinding halt when one of the regulars was made to bring his kid in by 
   the wife. "Oh no Ralph's got the kid", and the videos have to be switched
   to the sports channel. The eggs are pretty good though.

Cosmik: Why did you move to the big city?

Michael: I thought in a big city they'd have Smut 'n' Eggs every day - not 
   just on the weekends.

Cosmik: And do they?

Michael: I haven't found 'em. There's places for breakfast and there's 
   places for smut, but not for both.



      THE UPPER CRUST: Marquis Mark (Interviewed by John Sekerka)


Sharing the Halloween Tape Hiss bill with Killdozer was The Upper Crust, 
an unusual rock and roll band that dresses in the costumes of 18th century 
nobility, including the powdered wigs, and sings songs about "Little Lord
Fauntleroy" and their "Rock And Roll Butler."  Having fun vamping it up to
the hilt, the Marquis fielded this question about a familiar sound in some
of their music.


Cosmik: How do you answer charges that you borrow your sound from AC/DC?

Marquis: We think they are fine men. The one problem that they bear is that
   they are Australian, but of course, one cannot be perfect. I feel it is 
   more a spiritual kinship, rather than an outright robbery. That is what 
   our legal council has advised us to say.

Cosmik: There are definite similarities between "Let Them Eat Rock" and "Let
   There Be Rock". Is that purely coincidental?

Marquis: Purely coincidental, my good man. How dare you suggest otherwise?



         STEVE VAI & JOEL THOME: Interviewed by Paul Remington


Guitarist Steve Vai and classical composer and conductor Joel Thome 
collaborated on a project at the Eastman School in Rochester New York
in October of '96.  Each man had played an important part in Frank
Zappa's life story, and Zappa had most certainly played a major part
in each of theirs.  This clip is longer than most of the others because
we didn't want to cut any essential parts of the conversation.  This was
a highly important moment that seems to have planted a seed.  That seed
may eventually grow into another chapter in the incredible Zappa story.

 
Cosmik: There's one thing I have to ask: David Ocker has said that he remembers 
   Frank asking you to do transcriptions of Greggery Peccary he had never 
   written down. He remembers seeing the transcriptions, and he has no idea
   what happened to them. Do you know?

Vai: [Looking surprised] I have them in my vault.

Cosmik: You have them in your vault.

Vai: In a big box that says "Project Peccary."

Cosmik: Will it ever see the light of day?

Vai: Well, Frank saw it.

Cosmik: Was he pleased with it?

Vai: Well, he wanted a complete score of Greggery Peccary.

Cosmik: Which there never was a complete score.

Vai: Well, there were bits and pieces here and there that he had, and I 
   rummaged through all of his stuff and got everything I could scavenge,
   you know? And then I just sat and went crazy trying to make a score.
   And, uh . . .

Cosmik: It sounds like trying to take Mahler's Tenth and finish it.

Thome: Uh huh! [Laughs]

Vai: I've got Frank's handwritten manuscripts for that.

Cosmik: Oh my God.

Vai: Don't tell his wife.

Thome: This is the first time that this riddle has been solved for me. When
   we were doing Zappa's Universe Frank called and said, "I'd really like 
   to hear Greggery Peccary with orchestra."

Vai: Oh yeah!

Cosmik: Oh yeah, absolutely!

Thome: I know who he was thinking about now. He must have been thinking 
   about Steve.

Vai: When I first heard Greggery Peccary I was in college and I had to stop
   the tape and go lay down because I couldn't believe one person had
   composed this. Amazing. I had never heard anything like it.

Cosmik: Why don't you do it? Why don't you pull it out and see if you can
   piece it together? 
   
   [a few minutes later] 
   
Cosmik: You have the perfect person by your side to help you complete such
   a project. I'm sure you'd love to see it completed. [Looks to Thome]

Thome: Oh yeah.

Cosmik: I could just see Steve working on it, his shiny hoofs up against the
   desk as he draws dots and lines on staff paper.

Vai: [Laughs]

Thome: Frank would love that!

Vai: Yeah, he really would.



               RANDY FULLER (Interviewed by DJ Johnson)


"I Fought The Law" is probably played a hundred times a day or more in this
country, and the song is over 30 years old.  The Bobby Fuller Four never 
really got a chance to see how far they could go, because Bobby was brutally
murdered in 1966.  Randy Fuller has spent the past 31 years wondering who 
killed his brother and why.  His life was changed in many ways when Bobby
died, because he not only lost a member of his family, he lost a promising
rock and roll career.  Randy was the bass player of The Bobby Fuller Four.
Our interview with Randy (one of the nicest people I've ever had the 
pleasure of talking to) covered a lot of turf before we wrapped up with 
this segment.  


Cosmik: I have one more question, if you don't mind getting philosophical 
   for a moment. When you look back at everything you lived through, are you
   still able to remember good times and enjoy the memories?

Randy: Some, yeah. The thing that I regret the most is not being together
   like I am now, to help my brother more--him help me and me help him--to
   do better, make the sound better, and everything else. I think my
   insecure attitude hurt us a lot. And then again it helped, in some
   ways. But I regret that because I think we'd of been even closer. We
   was pretty close, you know, but I think that would have helped us to be
   even closer, and then maybe things wouldn't have happened the way they
   did. I had a lot of good times, but I had a lot of rotten times, too.
   We worked really hard to do what we did. Bobby worked extremely hard
   to get just the little bit of fame we got, which was a very small
   amount, but we did do a little. I just regret the fact that he had the
   talent to do a lot more but didn't get a chance to go full blossom to
   see what could really be done.

   The good times... One of the greatest feelings in the world was hearing
   "Let Her Dance" on the radio for the first time. In Hollywood, goin'
   down the freeway, and all of a sudden, that started playin'. "Here's
   the new hit out by the Bobby Fuller Four."  Boy, and I'll tell ya, that's
   the greatest feelin' in the world.

Cosmik: Man... top of the world, huh?

Randy: Yeah. Because you know, to get a record on KRLA or KFWB, back in
   those days, was almost impossible for an unknown band. When Larry Nunes
   said he was gonna do these things for us, we was just kinda laughing
   under our jackets a little there, you know?  "Sure, he's not gonna do that."
   And all of a sudden, he says "You boys listen to the radio at one o'clock
   today. Your record's gonna be on there." We're like "sure, Larry."  We're
   drivin' down the street and it come on... boy... that's a great feelin'.
   You see yourself bein' a millionaire. But you never were, you know?

   I remember that Bobby had a credit card. We'd never had a credit card
   before, and he had a credit card up in New York. And that's one of the
   best times I can remember. I said "man, I sure am hungry," because all
   we'd been eatin' was like McDonalds burgers and cheap stuff, you know?
   He says "come on, we're gonna go eat somethin' good. Don't tell anyone
   else," you know... the other guys in the band. And we went into one of
   the top restaurants there--I forget the name of it--and he said "order
   anything you want."  And I ordered a cornish game hen dinner with grapes
   on it and everything (laughs), boy. And we talked and had the greatest
   time that night. And that was... that was a good feelin', you know?



            *                        *                         *


That wraps up another year of Cosmik Conversations.  We hope you enjoyed it.
Stay tuned for year three.


____________________________________________________________________________

Call For THE SWINGSET POLICE
Interviewed by DJ Johnson

The Braam brothers, Scott, Mike and Tom, have been rocking Wisconsin for
quite some time under the moniker of Swingset Police.  Recently, they
have turned up on a few compilation CDs, including RPM Records' 3 Minute
Revolution, finally bringing them to the attention of critics and fans
outside of their home state.  Their CD, recorded in 1995 and titled
Kadickadee Kadickadoo (A True Story), has nine good songs and one great one.
"54321" is Swingset Police at their rocking best.  Listening to that tune,
there's no way to avoid the term "power pop," as much as Scott Braam would
probably like to.  With their new CD in the works, the band is anxious to
show everyone what their music has evolved into over these past two years.


		     	  *                 *                *


Cosmik: How old were all of you when you first put a band together with all
   three brothers?

Scott: Well the band started in a very different way than most.  I mean Tom
   and Mike Braam founded it in about 1990, or around then. They had a lot of
   different people in and out of the band, and they just wrote some songs,
   learned a few covers and started playing live as Swingset Police.  But
   they soon met Bob and Sherry... no last names here [Laughs].  Anyway,
   they were married, and they played lead guitar and drums and had a bit of
   a recording studio set up in their basement.  Swingset then recorded
   their first album, which is out of print, and released it in 1993. It got
   some good reviews and helped them a bit, but soon after they broke up
   with them, and it was just Tom and Mike again. The brothers.  That's
   where I came in. I had been playing guitar only a year, and one day Tom
   called me and said "hey, how good are you on the guitar?" Well that was
   1994, about April.  And now it's three years later and Swingset Police is
   at its best as a rock 'n' roll band.  In those three years, we had many
   drummers and other people in and out of the band, but we still wrote
   songs and played live and recorded the second CD, Kadickadee Kadickadoo,
   in 1995, and released in on Black Vinyl Records. Since then we have met
   our new dream drummer, Marty Winer. He's great! He is Keith Moon and Ringo
   Star put together. I love him as a drummer and a man. He's the best thing
   to happen to us. I can't wait to record with him. Anyway, to get back to
   your question, Tom started when he was 21, Mike when he was 23 and me
   when I was 18. Now we are a bit older and a lot wiser.

Cosmik: What kind of material were you playing?  Have you always been into
   power pop?

Scott: When Swingset Police started they were a bit lighter a bit more pop
   rock then we are now.  As their song writing became better and more
   developed, so did their sound, and when I got in to the band three years
   ago it really took off as far as the rock 'n' roll stuff.  We write
   together, all three brothers, and we don't think of a style when we write.
   I mean we all like different things, but basically the same format.  I
   love Nirvana, Cheap Trick, REM, Led Zep and Neil Young. Tom loves The
   Clash and The Replacements, Mike loves the Beatles, The Byrds, The
   Romantics, The Beat, and The Plimsouls, and together we all love rock 'n'
   roll and we all are on the same page as far as song writing.  Power pop
   is not really a good term to me. It labels bands. I think pop rock 'n'
   roll is better, and that's what we are. Rock 'n' roll with guitars, drums,
   melodies, harmonies, and hooks.  Our new stuff since our last album is a
   bit more rock 'n' roll than pop, although we have a few new--as you would
   call them--power pop songs which would fit on our last album. So we are
   not going away from our roots, we are trying to step high above what we
   have done before.

Cosmik: Did the local music scene in Lake Geneva, Wisconsin, shape your
   music and influence it, or was it all music you were hearing on the
   radio?

Scott: What music scene in Lake Geneva? I mean besides the stories of Cheap
   Trick playing there a lot in the early 70's, and a few other bands, and us,
   that's about it.  As far as influences and radio and stuff, well yeah, I
   mean The Beatles are our main and first influence, but with some bands
   they stop there. We love everything from Sinatra to Nirvana, to the Everly
   Brothers, to the Sex pistols.  And to tell you the truth, radio sucks and
   it always will.  So pretty much I just listen to oldies or classic rock
   when I'm driving. I mean do I really want to hear Hootie and the Blowfish
   driving in my car? No, I want to hear AC/DC.  And by the way, the new
   Cheap Trick is the best album of this year so far. Please pick up a copy.
   It's the best they have been since about 1982, and they are getting no
   airplay, so fuck the radio.  Although we have been played a million times
   on Milwaukee stations, and in Chicago a few times, and all the college
   radio stations in Wisconsin. But it hasn't done that much for us.

Cosmik: When you got to this phase and came up with the name, how did you
   get to Swingset Police?

Scott: Swingset Police is from a Replacements song. I love them. So does Tom.
   It's from a song called "Asking Me Lies." It is a great song and a great
   band, and I think a pretty cool name.  We get the Police thing happening
   sometimes, but not often. People seem to really like our name. It was
   Tom's brain child. Actually, he wanted to call the band Garage Sale. I'm
   glad he picked Swingset Police.

Cosmik: How do you see your music?  If you had to describe the sound, and
   even the philosophy, what would you say?

Scott: To me and my brothers, our music is rock 'n' roll, with melodies, big
   guitars, hooks, and soul.  The song always comes first, not the guitar
   solo, or the clever lyric, or the egos of song writers.  We try to make
   rock 'n' roll songs that people will dig, and we would like if we sat down
   and listened to it. "Simple simple simple" is our theme, and we love to
   steal from our musical heroes, as all great bands do.  I see our music as
   the kind of music you love to drive about 100 miles per hour to, but then
   the next song you just want to sit back, smoke a joint and chill.  We are
   getting better at bringing our music up to 100% rock, then bringing it
   down to 50% rock. That's the key to the best bands.  Dynamics are so
   important.

Cosmik: I once interviewed a band from Nebraska called Matchbook Shannon who
   called their music "Cuddle Punk."  It was personal and sometimes
   confessional music, and that's something that a lot of women relate to.
   Some of your songs strike me as belonging to that little sub-genre.  Do
   you see a lot of women at your shows singing along, that seem to know the
   songs and get into them?

Scott: I hope so. We all love women, and usually there are a lot of women at
   our shows... if we can help it, that is. Yeah, our songs sometimes are
   clever and pop, so girls love them. "Sweethearts" on our album, I think I
   have gotten kissed more times just for that song than any other [Laughs].
   You can call it "cuddle punk," or "power pop", or whatever you want, but
   it's just rock 'n' roll, and I pray that the girls keep liking it. That's
   the key, you know... the girls.  That's why Tom writes so much about his
   girl of the moment [Laughs]. Songs about girls and pop rock 'n' roll just
   mix so well.

Cosmik: Yeah, that's the one great truth of pop. Worship girls, want girls,
   immortalize girls... Then there's "Sheila's On The Pill."  Is there a
   story behind that one that might make the Republicans shut us down?

Scott: No not really. It's a simple thing and a short story. It was "she
   lives on the hill," and Mike said "hey that should be 'Sheila's on the
   Pill.'" We all laughed and said "yeah right." Then Tom started singing
   that, and it stuck.  Of course the best thing is that you can put any
   name in there, so Tom has used that before to get the attention of some
   girl for me or for himself.  This song is always the kids' favorite. It's
   punky and corky, and they love that shit.  It's sorta a throw away song
   to me, and I'm so sick of it.  But we shall keep playing it probably
   forever. People like it.  As far as Republicans, fuck them, we are
   Democrats.

Cosmik: Who woulda guessed? [Laughs] "54321" is just plain great power pop...
   and whether you like the term or not, it definitely refers to a certain
   sound, and "54321" has it.  Who wrote that?  Was it written as it is now,
   or did you structure it in rehearsals?

Scott: We all wrote that, like we almost always do.  It was written in about
   20 minutes one night along with "Ripcord." It was a good night.  The
   lyrics were play ones, and then he ended up keeping them, but the bridge
   and verses were written, lyrics-wise, by Tom on the way to record it. He
   needed lyrics and he wrote them fast, and I'm not sure if they make much
   sense. [Laughs]  But that's rock 'n/ roll. Anyway, it's a pretty good song
   and it's a perfect first song on an album.  As always, if I have not said
   it before, for the last record, me and Mike did most of the arrangements
   and musical hooks, but Tom does lyrics and the melodies.  He's a great song
   writer. I respect him very much.  Some of our new stuff, me and Tom wrote
   together, or me and Mike wrote, or Tom and Mike wrote.  But when it all
   comes together, we all four, with Marty, put it together.

Cosmik: That one is on the 3 Minute Revolution comp CD on RPM Records.  I
   singled it out when I reviewed the CD as one of the best tracks.  Has
   that CD brought you some attention yet?

Scott: We have gotten a few responses from the 3 Minute Revolution comp CD.
   All have been good, and a few reviews and follow ups are actually the
   most we got from it, and this [interview], of course.  We won the
   Musician [magazine] Best Unsigned Band contest, and that's done about
   the same.  I mean it just proves that it's very hard to get anyone to
   want to sign your band or even look at them.  It's a terrible business.
   I hate it. It pisses me off when I see some of the crap out there. That's
   all I'll say about that.  But we ain't going anywhere and will be heard
   from again.  Our new stuff is too good to die without someone hearing it.
   I mean Chicago is great and we just started here, so we'll talk about this
   maybe by next summer. Hopefully we will be somewhere higher in our position
   than now.

Cosmik: What other comps have you been on?  In fact, why don't you just run
   down your discography right here so new fans can track it all down.

Scott: Pink Firmata music... We have like ten left, but if someone wants a
   tape, we'll make one for a few bucks.  If we ever did get signed, we would
   release, I think, Kadickadee Kadickadoo (a true story - BVR  black vinyl
   records), The Three Minute Revolution (RPM records), Musician Best
   Unsigned Band Contest 1996 (Musician Magazine release)... That one's hard
   to find.  The mix on the song "One Star" is a bit different on the
   recording on the comp.

Cosmik: What kind of gear do you use now?

Scott: We have never been gear heads, as we call them, but I'll tell you
   what we use. I use a Marshall 50 watt head two channel (clean, dirty),
   with a 4x12 Marshall speaker [cabinet]. I use a DOD chorus pedal, a
   reverb pedal, and my clean and dirty channels, with a Boss equalizer
   running through the amp for more low end.  It's a pretty simple thing.
   I have two guitars: a 1984 Strat with a hot rail pick up in the bridge,
   and a Telecaster shit guitar.  Tom uses a Mos Valve amp, clean and dirty
   and reverb, through a Rickenbacker black and white. It's beautiful, Mike
   uses a Fender Jazzmaster bass, through a Harke thing.  It always buzzes.
   He needs a new one [Laughs].  Marty uses Ludwig, and old ones at that.
   They are beautiful drums.

Cosmik: The booklet in your CD opens up to a full page... I don't know what
   to call it... A ton of scribblings in several different handwriting styles,
   or so it seems.  Some of it is simple stuff, some of it is very curious.
   What exactly is that?

Scott: That's a great question, and it's a long answer. If you want the long
   answer, that is. Well, what the hell. It started out when Tom opened up
   a Stones CD. I'm not sure which one... it could have been "Exile On Main
   Street."  A great CD and a great rock 'n' roll band. Well, in the sleeve
   it had a wall of sayings and shit. Tom thought that would be a cool thing
   to put in the middle of our CD sleeve since we had no money for much else.
   So he called up friends, family and girlfriends, and he asked for a quote,
   The first thing to come to their heads, and he wrote them down.  Then he
   added a bunch of his quotes, inside jokes, like  "Mike ran out of gas at
   the Wal Mart again."  If you knew Mike you would laugh. And we put them
   on a huge poster board and hung it in the "lounge," our party place,
   relaxing place, slash recording and writing place, slash get high and
   listen to albums place, and then as we thought of things we wrote them on
   there. Some are very easy to figure out others not so easy. But it's a
   pretty cool thing, and it's meant to read during the listening of the CD.
   But people look at it and say 'what the hell is this,' which is good, I
   guess.

Cosmik: It's a kick to read.  Some of it is funny even if you DON'T know
   Mike or whoever else.  Hey, it says here in fine print that you recorded
   this album in 1995.  What have you been doing since then?

Scott: We recorded it in the fall and winter of 1995. We lost our drummer
   and couldn't play for about three months until about April 1996, then
   when the CD came out that month, we played a lot in Milwaukee, like every
   weekend, and in Lake Geneva. We went on the radio stations and we got
   some good sales that summer, then a lot of personal stuff came up about
   that August. Tom moved to Chicago, I went back to school, Mike changed
   houses, our drummer started playing with his original band because he
   needed more money... So we didn't play again for about four months, which
   hurt the CD, I think. But then we found Marty and started playing again
   in January of this year. Now we are finally set with a drummer. Tom's in
   Chicago so we get the gigs easier and we are ready to roll. All through
   this time we never stopped writing songs, and that's why we have enough
   for a new CD right now. I love our new stuff. It's so much better than
   our old stuff, and I'm not lying, our live performance has [improved]
   about 100% and I can't wait to rock this summer.  Hopefully we are going
   to demo some songs soon, and then see if we can't get another little loan
   or contract from someone to record another CD. That's our goal right now:
   to play live, and record, and keep writing new songs. That's all I can
   say for now.

____________________________________________________________________________

THE FUTURE SOUNDS OF PARIS
By Ann Arbor

My friend Mark Turner proposed that we introduce adventurous listeners in
the San Francisco Bay Area to the current Paris music scene through a special
called "The Future Sounds of Paris" (Les Sons Futurs de Paris) as a part of
KFJC's "Month of Mayhem."  In preparing for "The Future Sounds of Paris" we
bought and listened to a rather large stack of CDs and records.  We also got
to interview some key artists from Paris.  We thought that you would also
enjoy knowing a bit more about what's happening in Paris these days.  Here's
a brief tour along with our playlist and a few reviews to whet your appetite.
So buckle your seat belts and off we go to the audio underground of Paris -
Bon Voyage!  ..Ann Arbor

                     *              *               *

Daft Punk - two Parisian guys who signed with Virgin Records and who have
caught the attention of many Americans in recent months with "Da Funk,"
"Musique," "Around the World," and their album "Homework" have also succeeded
in drawing attention to the rest of the music scene in Paris.  The
independent labels and artists in the nightclubs, raves and on the radio in
Paris are definitely worthy of more attention from this side of the pond.

Most of us probably became aware of the French hip hop scene a few years ago
through MC Solaar, whose beautiful rapping French provided an appealing
alternative to the obscenity-riddled Gangsta Rap prevalent in the U.S.
Solaar's recordings went platinum and other French hip hoppers became
popular (IAM, NTM).  As French hip hop went mainstream, other beat-laden music
emerged in various subgenres:  acid jazz, house, techno, trip hop, drum 'n
bass, trance, ambient.

Laurent Garnier, considered by some to be one of the finest DJs in the world,
is one of the driving forces behind F-Communications, the first Parisian 
independent label. Garnier's own recordings (e.g. 30 and Shot in the Dark) 
are almost all available on F-Communications. Other noteworthy F-Communications
artists include St. Germain (Ludovic Navarre), Choice and Shazz. St. Germain
combines a '60s bluesy quality with beats to create a most original sound 
(check out his "Boulevard" CD).

Chris Le Friant a/k/a The Mighty Bop, Chris the French Kiss, Bob Sinclair and
a host of other pseudonyms, and Alain (DJ Yellow) are the guys behind Yellow
Productions.  The Mighty Bop has also collaborated with La Funk Mob. Another
Yellow Productions artist to check out is Dimitri from Paris whose quasi
sentimental French string-laden music, combined with loops and ambient Paris
sounds, offers yet another presentation of the Paris sound. Yellow's sound has
strong links to the Parisian music of the past while being quite original in
its own right (check out his "Sacrebleu" album).

Versatile is a label masterminded by DJ Gilb-r, a well-known Radio Nova and
nightclub DJ.  Aside from Gilb-r himself, artists who have recorded on
Versatile include: I:Cube, Cheek and Zend Avesta.  Gilb-r remixed Laurent
Garnier's "Crispy Bacon," and Garnier remixed Gilb-r's track called
"Pressure."

Another interesting trend in Paris is a renewed interest in the grandfathers
of electronica:  Jean-Jacques Perrey and Pierre Henry. Through new
collaborations and remixes, the work of these 1960s electronic pioneers is
becoming ever more relevant to today's scene.

Thomas Bangalter and Guy-Manuel de Homem-Christo, best known as Daft Punk, in
real life are neither daft nor especially punk. They spent about 20 minutes
talking to us before DJing for a rave in San Francisco a few months ago.
Despite signing with Virgin, each of them have their own independent record
label so that they can continue doing their own work and can evolve in other
directions.  Thomas' label is called Roule and Guy-Manuel's is called
Crydamoure. Thanks to Thomas and Guy-Manuel, more of the other independent
artists in the Paris scene will be heard 'around the world'.

Here are some recordings to look for:

Compilations from Key Independent Paris Labels:

F-Communications - has two compilations called "La Collection" (vols. 1 and
2) which provide a good showcase for the range of artists who record on this
label.  Most are house and techno. 

Yellow Productions - "La Yellow Collection" is an excellent introduction to
the breadth of sounds from Yellow Productions artists:  cheesy pseudo spy
film soundtracks, trip hop, sultry chanteuses, French strings, and Brazilian
dance influences. Another noteworthy Mighty Bop recording is "Autres Voix,
Autres Blues."

SourceLab - has released 3 compilation volumes since 1995.  The newest one,
volume 3 is as outstanding as its two predecessors. These compilations are
great launching pads for some of the newest freshest Paris talent. 
http://www.caroline.com/associated/source/source.html

What's Up Mixit - Mo 'DJ's  Under a Groove - the 3rd release in this series
is just starting to be available in the U.S.; in fact we haven't heard it
yet. The first two showcased a number of unknowns who have since become more
prominent.  The liner notes provide an excellent "Who's Who" of the Paris
scene.
http://cermics.enpc.fr/~dh/yellow/nouvelle_vibe.html
http://cermics.enpc.fr/~dh/yellow/nouvelle_vibe2.html

For more ideas check out our playlist:
http://www.cygnus.com/misc/kfjc/md/pl/1997-05-14/arbor.May.09.22.html

If you have questions or want to know where to find some of the music
mentioned here, write us:  aarborkfjc@aol.com or mturner@netcom.com


____________________________________________________________________________

ULTIMATELY BIRD
by Shaun Dale


        "If you don't live it, it won't come out of your horn."

                                          Charlie (Bird) Parker


Charlie Parker, the Yardbird, was born on August 28, 1920, in Kansas
City, Missouri.  The time and place were providential, because by the
time Parker reached adolescence, Tom Pendergast's political machine
would create the conditions that made K.C. a mecca for jazz and blues
artists.  The town was wide open, with patronage dollars flowing into a
thriving club scene that had grown up unconcerned with prohibition era
restrictions that had affected some other cities.

The machine that helped the music scene thrive wasn't an unqualified
good thing, though.  By the time Bird dropped out of school at 14 and
lied about his age to scam a union card, that wide open environment had
also exposed him to a drug market that was just as wide open.  The habit
that would become almost as large a part of his legend as his horn was
thus born.

Kansas City was an incubator for blues driven jazz bands led by men like
Bennie Moten, Count Basie and Andy Kirk, and young Charlie Parker turned
their club dates into an informal high school of his own.

Lester Young was Charlie's first subject for special attention.  Prez was
playing with Count Basie and served as Parker's primary inspiration until
Young departed from the K.C. scene for New York.  Bird then fell under the
spell of Buster (The Prof.) Smith and Tommy Douglas.

Charlie Parker wasn't an immediate star in this music rich atmosphere
(there's the legendary Reno Club jam during which drummer Jo Jones
"gonged" him offstage with the crash of a cymbal).  The scene was highly
competitive, and the sax battles of the thirties are still topics of
conversation today.  By 1937, though, Bird was playing with Tommy
Douglas' band, from which he moved on to the Jay McShann Band.

In 1940, while still with McShann, Charlie Parker met a young trumpeter
who was passing through as a member of Cab Calloway's orchestra.  It is
not reported that the earth shifted on it's axis when John Birks Gillespie
and Charles Parker, Jr had their first encounter, but when they met
again, the world of jazz would be moved, forcefully and irrevocably.

Meanwhile, Parker continued to play with McShann, making trips to
Chicago and making his first recordings as a McShann sideman in Dallas.
In 1942, the band traveled to New York, and Bird never looked back.  He
adopted New York as his new base of operations.  He played casual dates
and jammed around town waiting for his union membership to transfer.
When the papers were in order, he worked with bands led by Earl Hines and
Billy Eckstine. It was in these bands that he renewed his acquaintance with
Dizzy Gillespie.


        "When I first heard Charlie Parker, I said, `That's how
        our music should be played...'"
                                                Dizzy Gillespie

 
Parker hit New York in the middle of the American Federation of
Musicians recording strike of 1942/43 and cut a few sides as a sideman
after it ended, but the great period of his recording career started
with a pair of sessions for Guild Records in 1945.  Parker and Gillespie
had been playing their new music, be-bop, around town.  It was fast and
furious, displayed in small combo settings rather than full bands, and
it was about to change everything.

Those Guild sessions are also the place that a new Parker collection,
"Yardbird Suite: The Ultimate Charlie Parker Collection" (Rhino), picks
up.  These are the only cuts which don't credit Parker as leader, since
they were actually Dizzy's sessions.  There was no one on the scene,
however, that could have taken Bird's place on alto, or had the impact
he had both in terms of composition and improvisation.  Their act would
soon be billed the Gillespie-Parker Band, and even here, that's what it
truly was.

The first six tracks on the new collection are from these session.  It's
hard to focus on how revolutionary these cuts were in 1945.  "Groovin'
High," "All The Things You Are," "Dizzy Atmosphere," "Salt Peanuts,"
"Shaw 'Nuff" and "Hot House" are all staples of the jazz repertoire
today, and Parker's solos on them have been studied and transcribed by
generations of up and comers.  For good reason.  These were the birth
announcements of bop, and bop was going to grow up fast.

Later in the year, Savoy Records gave Bird his first turn as leader.
"Now's The Time" featured Gillespie as the pianist for Charlie Parker's
Ree Boppers, with trumpet chores falling to young Miles Davis.  Another
of bop's founding fathers, Max Roach, appears on drums.

"Ko Ko," Parker's interpretation of "Cherokee," is pulled from the same
session, with Diz picking up the trumpet in place of Miles. This time
the cut is credited to Charlie Parker's Ri Bop Boys.

By the next year, Parker had traveled west with the Gillespie-Parker
Band.  Increasingly frustrated by Bird's erratic behavior, resulting in
the need to have an alternate alto on hand to maintain a reliable
lineup, Diz and Bird officially parted ways and Parker formed the Charlie
Parker Septet.  The new group, featuring Miles Davis, had a series of
memorable sessions for Dial Records, a new label created expressly to
capture the new music.  These sessions produced Parker landmarks such as
"Moose The Mooch" (a tribute to one of Parker's connections), "Yardbird
Suite" and "Ornithology," Parker's memorable treatment of "How High The
Moon."

By late summer, though, the effects of his drug habit on both his mental
and physical health led to his commitment to Camarillo State Hospital,
north of Los Angeles.  He finished off the year there, a time memorialized
with "Relaxin' At Camarillo" at a Dial session later in the year. First,
though, he took time to record with Erroll Gardner for Dial, represented
here with "Cool Blues."  He then formed one of the finest groups he led,
Charlie Parker's All-Stars, featuring Miles on trumpet, Bud Powell on
piano, Tommy Potter on bass and Max Roach on drums.  The All-Stars
recorded for Savoy , producing cuts like "Donna Lee" and "Chasing The
Bird" before Duke Jordan replaced Powell.  The group recorded as the
Charlie Parker Quintet, occasionally expanding to the Charlie Parker
Sextet with the addition of J.J. Johnson on trombone.  They would appear
on a series of Dial releases recorded throughout the year.  Disc One of
"Yardbird Suite" closes with several of these cuts, including "Dewey
Square," "Bird Of Paradise," "The Hymn," "Embraceable You" and
"Klactoveedsedstene."

Disc Two opens with more of the same.  With another AFM recording strike
looming, Parker closed 1947 in the studio, building up a catalog of
songs for future release.  His last sessions for Dial produced "Scrapple
From The Apple," "Out Of Nowhere," "Don't Blame Me" and "Quasimodo."
The band, as the All-Stars, also slipped into the Savoy studios, where
they laid down "Klaunstance."

1948 opened with another recording strike, which was destined to last
throughout the year.  Savoy's producer Teddy Reig was busy producing a
series of surreptitious sessions, though, and by September he has lured
a new lineup of the All-Stars (John Lewis (piano), Curly Russel (bass)
and Max Roach (drums)) into the studio for "Parker's Mood."

1949 saw Bird touring Europe, working Norman Granz' landmark Jazz at the
Philharmonic shows, witnessing the opening of the famous Birdland club in
New York (Bird headlined the opening night show, which also featured his
boyhood idol, Lester Young) and branching out into Afro-Cuban exploration
with the Machito Orchestra.  In November, he went into the Mercury studios
with producer Norman Granz to undertake his most ambitious recording
project to date, Charlie Parker with strings.  Due to licensing
difficulties, none of those tracks appear here, the only significant
lapse in the collection. (The recordings are available on a 1994 Verve
CD release, which is worth tracking down).

Bird opened the 50's with a series of releases on Clef.  "Bloomdido"
featured Diz again, who was always happy to play with Bird when Bird was
ready (and able) to play, along with Curly Russell on bass, Buddy Rich
on drums and the immortal Thelonious Monk on piano.  A series of lineups
which included players like bassist Percy Heath and Latin percussionists
Luis Miranda and Jose Mangual led to the release of "Star Eyes," "She
Rote," "My Little Suede Shoes" and "Confirmation," all included here.

The collection closes with three selections from a 1951 radio broadcast
from Birdland, emceed by New York legend Symphony Sid.  The band, Bird,
Diz, and Bud Powell supported by Tommy Potter on bass and drummer Roy
Haynes, delivers three classics of the bop repertoire, Dizzy's "Blue 'N'
Boogie" and "Night In Tunisia" and Monk's "'Round Midnight."  This was
near the end for Diz and Bird.  They would play together again, on TV
the following year, and of course at the fabled Massey Hall concert in
1953.

The fifties, though, saw a consistent decline in Charlie Parker's health,
attitude and, too often, performances.  Though he could still have moments
of brilliance his career had reached the point at which some of the
morbid members of his audience found it worth the price of a ticket to
catch a glimpse of an idol possibly falling from his pedestal.

The last four cuts of the set, "Just Friends," "What Is This Thing Called
Love?," "East Of The Sun" and "Laura" are credited to Charlie Parker,
with his Quintet & Strings.  The Quintet and Strings are certainly,
sometimes even audibly present.  Bird himself is blowing fine.  But the
quality here is sorely lacking.  These tracks, from 1952, serve little
more purpose than to demonstrate that Charlie Parker could still play alto
in 1952.  I'd rather have heard proof that he could play in 1953 by having
a taste of Massey Hall here, but I suspect the same licensing challenges
that caused these cuts to serve in place of Parker's studio work with
strings may have prevented that.  The tracks are bunched at the end, and
easy enough to ignore, and some Bird is better than no Bird at all, but
this is the weakest link in an otherwise extraordinary package.

        "As with Mozart, the facts of Charlie Parker's life make
         little sense because they fail to explain his music.
         Perhaps his life is what his music overcame. And overcomes."
                        Gary Giddins, "The Triumph of Charlie Parker"

 
The 38 tracks on these two discs were produced in a seven year span that
represents the creative peak of Charlie Parker's musical career.  In
those seven years, he as much as anyone irretrievably changed the nature
of jazz and popular culture.  Not only has every development in the last
40 years of jazz been in some manner a reaction to the bop revolution,
but literature, painting, film - virtually every vehicle of creative
expression has been touched by the spirit of Bird, Diz, Monk and the
other creators of be-bop.

By the time of his death at the age of 34, Charlie Parker had been
burning the candle at both ends - one flame fueled by his musical
vision and the other by his progressively more disabling drug use - for
20 years.  The attending physician at his death, examining a body in
which the heart, liver, lungs - virtually every physical system and
organ - had failed estimated his age as some 30 years past the truth.

Almost immediately, the graffiti appeared.  "Bird Lives." The evidence
is burned into the discs of Yardbird Suite: The Ultimate Charlie Parker
Collection.  Ultimate is a big word.  The set is not exhaustive,
certainly.  The complete Savoy and Dial catalogs take up several discs
each, including various outtakes.  It's not definitive, I'm sorry to
say, because of the licensing complications inherent to a project of
this scale.

It is, though, the first collection to cut across labels, producers
and lineups and to present such a comprehensive, if not complete, look
at his too short career as a leader and innovator. Ultimately, if you
want to know jazz, you must know Bird.  And ultimately, somewhere
within these 38 tracks, Bird lives.

Track List:

Disc 1:  Groovin' High * All The Things You Are * Dizzy Atmosphere *
Salt Peanuts * Shaw 'Nuff * Hot House * Now's The Time * Ko Ko * Moose
The Mooche * Yardbird Suite * Ornithology * Cool Blues * Relaxin' At
Camarillo * Donna Lee * Chasing The Bird * Dewey Square * Bird Of
Paradise * The Hymn * Embraceable You * Klactoveedsedstene

Disc 2:  Scrapple From The Apple * Out Of Nowhere * Don't Blame Me *
Quasimodo * Klaunstance * Parker's Mood * Bloomdido * Star Eyes * She
Rote * My Little Suede Shoes * Confirmation * Blue 'N' Boogie * 'Round
Midnight * Night In Tunisia * Just Friends * What Is This Thing Called
Love? * East Of The Sun * Laura


____________________________________________________________________________

TAPE HISS
By John Sekerka


Taking a vacation break from scribbling furiously for Tape Hiss, our Canuck
correspondent spent three weeks with a group of nerdy scientists 
(glaciologists) in the far reaches of the Canadian Arctic on Elsemere Island 
(Agassiz Ice Cap) to dig snow, drill ice and cook food, in a lifeless white 
desert. A diary is all that remains.....


Dear Sweetheart,

'tis Friday the 29th, or so my watch says, and my hands are starting to feel
whole again. Besides digging the white stuff I've taken over as chief cook
in camp - more out of necessity after the last barbecue fiasco. Being the 
lowest on the totem pole seniority wise, I also get to pull the glamour duty
of a daily 6 am weather call. That consists of reading an outdoor thermometer, 
guessing at the wind speed (my favourite is seven knots from the SouthWest),
cloud description (um, fluffy?) and elevation. Basically it's a 'yup, we're
still here, and haven't resorted to eating each other' check in. If something
does happen, the insane party has to be flown back to Resolute Bay, and I
wouldn't wanna wish that on anybody. I'd rather be dinner, if truth be told.

The flight in was on a rickety two-propeller craft, called a Twin Otter, that
seats seven, has a 'no smoking' sign and two pilots that read the paper for
most of the trip and was loaded down with double the legal weight in cargo. 
The flight's a beaut though: untouched snow drifts, frozen sea water and
perilous mountains. Coming into camp--a flat piece of white land we would 
quickly mess up--was a tad exciting. The plane skids to a tire and ski 
landing which blows the white stuff everywhere. 

After a four and a half hour trip everyone scrambles out to form a pee circle, 
christening the land as ours. In lieu of a flag I suppose. After erecting a
couple of Par Calls (large dome tents with wooden floors), two small tents
for the foolhardy, a generator and a radio, we settle in for three weeks,
the sole link to the outside world being the sore-throated alien rasping
through Peter Frampton's voice decoder on the other end of the radio. 

I offer to cook the first meal and serve up a stir fry of veggies and marinated
beef (saki, soya and pepper) in a garlic, honey and peanut sauce over rice 
noodles. The others think I'm a fag, but after a couple of meat and potato 
disasters (which is which?), happily let me have the run of cooking duties. 
Scientists are not reknowned for their cooking.

The temperature is not as bad as I had feared: fluctuating between -30 and
-5°C. And when the sun is beaming and the wind is down, you can banty around
in a t-shirt. We have 24 hour daylight now, which means the sun dips toward 
the horizon at night and stays there before popping back up to a higher level
in the morning. This can play havoc with sleeping habits, but does come in 
handy when ya have to work late. Because we were bogged in by a storm for a
couple of days we worked a 24 hour shift to catch up, and the constant sun 
made it quite bearable. The fact that the sun just circles, there is nothing
but snow on the horizon and that there are no life forms to speak of (us
excluded), makes this surreal place seem very much like Venus.

It's day four and I haven't changed my shirt, among other things. It's cold
all the time and I haven't beaded a drop of sweat. I can't smell the others,
but that may come. 

As for other functions, our camp looks like a fire hydrant, though no dogs 
are present. For emergencies the outhouse is located a good half mile away
from camp. It's a small wooden box with a styrofoam seat, and an oil drum 
full of gasoline that serves two purposes: one as a deodorizer, the other as
a smoking deterrent. Actually after the field season the whole thing is
torched in a fitting fireworks farewell. There is a series of poles leading
to the dump hut just in case you have to go in the middle of a white-out 
blizzard. Something I hope never to experience.

Speaking of styrofoam, the snow is so hard that it squeaks like the stuff
when walking. In fact it even digs like foam. We wind up sawing blocks and
shoveling out our snow pits one cube at a time. The camp looks like a
decimated scattering of pitiful igloos. 

Week two and everyone looks like they've just woken from a month long sleep.
I'm getting hockey scores back from Resolute over the radio, a fair trade
for the weather I think. We've assembled a big wind barrier (hut) for our 
piece de resistance we call Bertha - a menacing contraption of steel and 
wires and dials which might take us to China. 'Tomorrow we drill,' says 
fearless leader. I finish excavating a large walk-in pit for storing the ice
cores we'll be excavating. It's a balmy -18°C out, sunny enough to bask 
during breaks. The warm spell covers the area with a spectacular layer of
crystals. My hair feels sticky spiky. I dare not look into the sole mirror
in camp (an old rear-view hanging on a tent entrance). An accidental glance 
of my shadow in the snow shows the making of a fine mohawk. I mull dreadlocks.
Our evening ritual now consists of sitting around, drinking 40% hooch, 
trying hopelessly to find something interesting on the short wave, gobbling
cookies and ridiculing my 'alternative' tapes. I make a note to pack cards 
next trip. 

Day ten. Enough is enough. We wash our hair, except for fearless leader, who
maintains the dirty tradition of the pioneers. This also gives him plenty of
elbow room. Drilling is going according to plan as we take out small ice 
cylinders a meter at a time on the ice cap until hitting bedrock some 125
metres below. A climate history dating back 10,000 years (the last great ice
age), and hopefully a couple of buried aliens. Things go so smoothly we have
time to ski-doo out to an old drill site and the infamous food pit. This is 
an emergency freezer hole used to store leftovers from previous digs with
delectable items like twenty year old chicken, bags of lentils and gorgeous
crystals on the walls. I'm well into The Shining, a more apropos novel I 
don't think I could have brought. 

Week three. Everybody's starting to get on each others' nerves. We pretty
well do everything together - it's not like you can get away from it all.
Cabin fever begins to set in, especially when the storm hits. Two solid days
of nothin'. I'm surprised no one gets snuffed. A furious work load after the
storm to catch up helps. We have to bug out a day early because of the stormy
conditions so we turn on the overdrive. Our escape comes courtesy of local
flying legend 'Dunc' who's 67 years young, wears brown polyester pants he
keeps pulling up, untied work boots and a light windbreaker. No hat, no
mitts, no parka, no sun glasses. Like it was June in Windsor or something.
Dunc buzzes the camp several times before sliding to a smooth stop between 
the fuel drums and our awaiting gear (a foot away, no kidding). The trip 
back is a brilliant ride through the mountains as Dunc makes his own sporadic
course. Beautiful, but y'know three weeks is enough.

Run a hot bath and get rid of the mailman,
..your thawing mate



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GENE AUTRY: Sing Cowboy Sing (Rhino)
Reviewed by DJ Johnson

Over the course of 84 tracks (3 CDs), Rhino manages to pay tribute to America's
favorite cowboy without turning it into a standard "Best Of Autry" comp.  If
you're only looking to collect his hit recordings, there are other collections 
that will do the job for less cash.  Sing Cowboy Sing offers those tracks, 
but the real meat of the collection is the many tracks recorded during his 
hit radio program, Gene Autry's Melody Ranch, which ran from 1940 to 1956.
		  
If you weren't around in those exciting radio days, you might be surprised 
to hear Autry's renditions of not-so-cowboyish tunes like "Rudolph The 
Rednosed Reindeer," "Peter Cottontail," and "Frosty The Snowman."  What you
might not realize is the fact that Gene Autry was as much a hero to the 
youth of that era as Michael Jordan is to the children of today.  Those tunes
are here, alongside classic Autry numbers like "Tumblin' Tumbleweeds," "Souix
City Sue," "Sing Me A Song Of The Saddle," "Rhythm Of The Range," "Don't Fence
Me In," and his trademark, "Back In The Saddle Again."  

While the sound isn't particularly stunning, it's also not at all noisy.  
Those of you who have some of the other Autry compilation CDs will back
me up when I say this is a major consideration.  No hiss, no rumble, no
hurricanes.  No bass response, either, but life is full of little trade-offs.
The energy and atmosphere of live performance are elements that the studio 
recordings didn't have, and for that reason, some of these versions are 
superior to the better known studio recordings. 

Sing Cowboy Sing is one of the rare box sets where the packaging deserves as 
much praise as the music.  The 64 page booklet includes detailed notes on
each track (often three paragraphs for one song), excellent photographs from
the Autry Museum Of Western Heritage, and interesting bits like "The Cowboy's
Code," which includes such rules as "[the cowboy] must not advocate or possess
racially or religiously intolerant ideas."  I guess Mark Furman won't be herding
cattle in Idaho.  Douglas Green's (Ranger Doug) affectionate biography completes
the booklet.  But it's the art that does it for me.  I'm not sure who painted
the movie posters way back when, but it was an art genre all its own, and this
box set gives you plenty of it to gaze upon.  Kudos to art director Julie 
Vlasak for putting together the most visually pleasing box set I've ever 
seen.  Every piece of this package, from the art to the music itself, is first
rate.  


TRACK LIST 

Disc 1: 
Back In The Saddle Again, Dust, Sing Me A Song Of The Saddle, Tumbling
Tumbleweeds, The One Rose, That Silver-Haired Daddy Of Mine, Rhythm Of The
Range, Blueberry Hill, El Rancho Grande, Mellow Mountain Moon, We Never Dream
The Same Dream Twice, When You And I Were Young Maggie, Maria Elena, Be 
Honest With Me, Tears On My Pillow, The Yellow Rose Of Texas, Lonely River, 
Tweedle-O-Twill, At Mail Call Today, Don't Live A Lie, Don't Hang Around Me
Anymore, I'll Be Back, Silver Spurs (On The Golden Stairs), I Wish I Had 
Never Met Sunshine, You Only Want Me When You're Lonely, You're Not My Darlin'
Anymore, Oklahoma Hills 

Disc 2: 
Sioux City Sue, Someday You'll Want Me To Want You, Gonna Build A Big Fence 
Around Texas, The Old Lamplighter, San Fernando Valley, I'm A Fool To Care,
Goodbye Little Darling Goodbye, You Can't See The Sun When You're Crying,
I Tipped My Hat And Slowly Rode Away, The Angel Song, One Hundred And Sixty 
Acres, At Sundown, It Happened In Monterey, It Makes No Difference Now, The
Singing Hills, You Laughed And I Cried, Pretty Mary, Mexicali Rose, Wave To
Me, My Lady, Let The Rest Of The World Go By, Honey, I'm In Love With You 
(The Honey Song), Ole Faithful, Here Comes Santa Claus, You Are My Sunshine,
Buttons And Bows, Blue Eyes Crying In The Rain, Shame On You, While The 
Angelus Was Ringing, Under Fiesta Stars 

Disc 3:
Rudolph The Red-Nosed Reindeer, Mule Train, Dear Hearts And Gentle People,
Chattanoogie Shoe Shine Boy, Peter Cottontail, Gone Fishin', Teardrops From 
My Eyes (with Jo Stafford), (I've Got Spurs That) Jingle, Jangle, Jingle,
South Of The Border, The Last Round-Up, Don't Fence Me In, Ridin' Down The
Canyon, I Was Just Walking Out The Door, You're The Only Star In My Blue 
Heaven, The Night Before Christmas Song (with Rosemary Clooney), Look Out 
The Window (with Rosemary Clooney), Frosty The Snowman, Somebody Bigger Than
You And I, Have I Told You Lately That I Love You, I'm Thinking Tonight Of 
My Blue Eyes, Your Cheatin' Heart, I Hang My Head And Cry, It's My Lazy Day,
You're The Only Good Thing That's Happened To Me, Harbor Lights, The Leaf Of
Love, You've Got To Take The Bitter With The Sweet, Back In The Saddle Again
(Closing Theme) 



BADFINGER: No Dice (24k Gold CD) (DCC)
Reviewed by DJ Johnson

Badfinger's debut album, Magic Christian Music, gave them their first hit in
"Come And Get It," but Paul McCartney's involvement (he basically discovered
and produced them, and even wrote "Come And Get It") may have kept the band
from achieving a focused sound of their own.  No Dice, primarily produced by
Geoff Emerick, was one hell of a follow-up.  It established the true Badfinger
sound, broke them free of McCartney's creative grip, and produced one of the 
greatest pop songs of all time, "No Matter What."  If you're teaching a class
on pop song structure, this is the tune you should play on the first and last
days of class.

While everybody remembers "No Matter What," this is an album filled with 
excellent songs, from rockers like "I Can't Take It" and "Love Me Do" (no
relation to The Beatles tune) to gorgeous ballads like "Midnight Caller,"
folk rockers like "Blodwyn," and moments of pure musical beauty like "We're
For The Dark" and "Without You," the latter of which became a huge hit for 
Harry Nilsson.	

Five bonus tracks are included, with one from the Mal Evans sessions (Evans
produced "No Matter What" and "Believe Me"), one started with Evans and 
finished with Emerick, and three produced by Emerick for a follow-up album
that never materialized.  All are worth hearing.

Badfinger was clearly a band with considerable talent and range, but they
were also a band destined for tragedy.  Apple Records became a sinkhole,
and Badfinger was one of their drowning victims.  The band was derailed
just when things were looking bright, and guitarist Pete Hamm decided to
kill himself a year later.  A decade after that sad event, bassist Tom 
Evans followed suit.  Listening to No Dice, it's difficult to understand 
how a band with this much to offer could have been so badly mismanaged and
neglected.  It remains one of the greatest tragedies in rock history.

This 24 karat gold CD sounds wonderful.  I haven't heard the previous CD
releases, but I have the original vinyl, and I can attest to the fact that
the DCC disc approaches the warmth of the LP and far surpasses it in clarity
and presence.  Channel separation is perfect throughout, a fact best 
illustrated by listening to "No Matter What" in headphones.  The twin rhythm
guitar chops of Pete Hamm and Joey Molland bounce back and forth, following 
your blissful smile from ear to ear.  Audio nirvana.  Great albums deserve
this kind of treatment, and this is certainly a great album. (To reach DCC,
call 1-800-301-MUSIC)



BEETHOVEN: Symphonies: No. 4 in B Flat Major, Op. 60; No. 7 in A Major, Op.
92. Nicolaus Esterhazy Sinfonia conducted by Bela Drahos. NAXOS 8.553477 
[DDD] 75:28. 
Reviewed by Robert Cummings

Here again we have Naxos entering heavily-trafficked repertory with a 
little-known ensemble, and led by an equally obscure conductor, the first
flutist in the Budapest Symphony Orchestra. Even in the budget realm, this
combination would seem a risky, if not foolhardy effort. But once more
Naxos scores an upset, proving it has a nearly bottomless fund of untapped
talent and resources. Actually, this is the fourth release in a cycle of
the Beethoven nine symphonies (only the Ninth remains to be issued now), 
and if the previous three entries are on this level, I'd rank this set with
my previous favorites, the Harnoncourt (Teldec), Bernstein (DG), and Jochum
(Angel) sets. 

Simply put, there isn't a tempo in either of these two readings that doesn't
sound absolutely right, a flourish that doesn't seem utterly natural, a quiet
moment that doesn't mesmerize, a climax that doesn't seem the perfect
culmination. When I listened to the finale of the Seventh (probably the 
greatest Beethoven symphony), I sat astounded, dazed, in seventh heaven (pun
intended). I had to reach for Toscanini's NBC Symphony recording from Nov. 
9, 1951. The Italian maestro was compelling, to be sure, but did not surpass
Drahos in this movement. The dated mono sound, however, makes his recording 
a clear second choice. 

In the Fourth Drahos and his spirited players deliver an utterly effervescent
performance, where detail emerges cleanly and orchestral balances seem 
perfect. This is one of the greatest Fourths ever committed to disc. 

The only quibble I have with this recording are the horn sonorities in the 
main theme of the first movement of the Seventh. They are rather too dominant
for my tastes. But, I hasten to add, that is a minor quibble that hardly
detracts from the overall effectiveness of the performance. 

The sound Naxos provides is excellent, as are the notes by the indefatigable
Keith Anderson. Let me mention here that a critic with a major classical 
review journal has damned the first two issues in this cycle with faint
praise. But trust me, I can say with total confidence that if you are looking
for a compelling disc of these Beethoven symphonies, you can't lose with this
recording. Highest recommendations. 



HECTOR BERLIOZ: "Te Deum" - Voices of Ascension Chorus and Orchestra, 
Young Singers of Pennsylvania. Conductor: Dennis Keene. (Delos Records 
DE 3200)
Reviewed by Paul Remington

"...the Te Deum was performed today with the most magnificent 
precision. It was colossal. My God, if only you had been there. I assure
you that it was a tremendous work; the final movement surpasses all the
enormities of which I am guilty up to now."

(Letter from Hector Berlioz to Franz Liszt, 30 April, 1855)

Berlioz' "Te Deum" is arguably the most profound and immense work in his
illustrious body of compositional work. A composition of extremes,
emphasizing the human existence in context with God, it takes a glorious
approach to the sacred subject; a subject dear to Berlioz, and one he spent
almost six years completing. Berlioz received no commission for the work,
and during its creation, the work had no plan for performance. "Te Deum" 
is the sacred outpouring of a composer's expressive talents, and stands as
one of the most revered and affecting ceremonial works of 19th century
composition.

The symbolic use of orchestration and acoustics are used throughout. The 
work was composed for an enormous space, with strategic placement of chorus,
orchestra, and soloist. The space symbolizes the immense presence of God,
emphasizing his omnipotence. The sheer size of acoustic space symbolizes 
how small mankind is against the Almighty, and is reminiscent of mans' 
innately subordinate position beside his Creator. The choral makeup resembles
all of mankind, and consists of adult and children (male and female) 
vocalists. The presence of an organ and orchestra represents the Emperor or
Pope.

With such a solid conception, Berlioz' monumental concept took form with an 
astounding collection of singers and musicians. It truly is one of the great
sacred works. 

The choice of acoustic space couldn't have been better. Chosen for this 
recording was the Cathedral Church of St. John the Divine, the largest
sacred cathedral in the world. To give an idea of how large this cathedral
is, the Statue of Liberty would comfortably fit under its apse. It stands
601 feet in length and vaults to a staggering 124 feet in height. Gigantic
granite towers weigh-in at over 130 tons each. The nave, alone, spans 146 
feet in width. Over 150 stained glass images line the endlessly rising walls.
The narthex end of the cathedral features a stunning and massive circular 
floral stained glass window containing over 10,000 glass plates.

A structure erected by immigrants and magnates over a century ago, the 
cathedral has been described as a "symphony in stone and glass." It is so
immense, it's still under construction, and is currently only two-thirds
built. St. John the Divine is perhaps the most perfect cathedral in the
world today to receive a performance of Berlioz' "Te Deum". With an
acoustical decay spanning many seconds in duration, the performance is 
swallowed in ambiance making the vocal and instrumental elements sound 
truly puny, yet wonderfully full and alive. This is just what Berlioz had 
envisioned.

To fill this immense quantity of space, Berlioz orchestrated his work for
both adult and children's choir. The adult choral group selected for this
performance is an assemblage of 140 of New York's finest professional
singers and represents the largest selection of professional vocalists ever
to perform this work. The 140 member Young Voices of Pennsylvania perform 
the children's choral sections. The orchestra contains more than 100 members,
with twice the number of wind and brass instruments, four pairs of cymbals
and a military drum. And, of course, the organ is an integral function of
this work, and acts as the backbone of the composition, swelling the music 
within its ambient environment.

What is interesting in this recording is the well-balanced performance of
soloist John Aler (tenor). Aler's vocal lines are superb, and not lost
within the extremely live environment. His vocals are wonderfully blended
with the surrounding instrumentation, and masterfully crafted by Berlioz.

Mark Kruczek performs the organ passages flawlessly. His command of the 
Aeolian-Skinner organ is a superb compliment to the orchestral and choral
grandeur of the work.

This performance of Berlioz' "Te Deum" is an aural pleasure destined to 
make both the Catholic and Atheist alike feel the sheer magnificence of an 
Almighty, whether perceived as fictitious of real.

The usual attention to detail is provided by Delos. Utilizing Delos' VR2 
(Virtual Reality Recording) technology and "discrete surround sound", they
have captured a truly magnificent live recording of an equally magnificent 
live performance.

If only Berlioz were hear to witness this performance. Who knows, maybe he was.



BLUE SANDELWOOD SOAP: Loring Park Love-Ins (Get Hip)
Reviewed by Shaun Dale

Those of a certain age will remember that at a certain time, you didn't
have to go to San Francisco to wear some flowers in your hair - the
Summer of Love was underway everywhere (by the way, the Summer of Love
is now a trademark of Bill Graham Productions - far out, huh?)

"Loring Park Love Ins" documents the psychedelic stylings of
Minneapolis, Minnesota's very own Blue Sandelwood Soap.  This is
intentional anti-dance music, using abrupt changes in time signature to
force audiences to sit down and listen.  Of course, given the chemical
stimulation that inspired the music (you don't think "Nickel Bag Of
Blue" is about sandelwood soap, do you?), dancing was, if not dangerous,
irrelevant.

The lead instrument here is a Farfisa combo organ, with guitar relegated
strictly to rhythmic support.  The only exception is on the band's only
single, "Friends I Haven't Met Yet," which featured lead violin and
oboe.  Groovy.

But this is a lot of fun.  If you were around for those times, you'll
find yourself smiling and flashi...er, looking back fondly on a time
when a song called "I Hear The Lightning Roar" was something you
couldn't wait to hear.  If you weren't there, well, this disc will
tell you all, maybe more, that you need to know about the golden age of
incense and peppermints.

I didn't know this band, I didn't even know I wanted to.  But I'm glad I
do.  Get Hip scores again.

Track List:

Friends I Haven't Met Yet * Nickel Bag Of Blue * How Can I Show My Love
* Reborn In Eastern Meditation * Love Pirt! * Without A Sound * Did You
See The Man * Just For The Moment * What Is Life * A Most Unusual Way *
A Childlike Face * Love Is * That's Cool * Interludes * The Girl Stares
Coldly * I See The Lightning Roar * Age Of The Magic Men * Northwest
Airlines Demo



BRAUNFELS: The Birds (Die Vogel). Hellen Kwon (Nightingale); Endrik Wottrich
(Good Hope); Michael Kraus (Loyal Friend); Marita Posselt (Wren); Wolfgang
Holzmair (Hoopoe); Iris Vermillion (First Thrush); Brigitte Wohlfarth (Second
Thrush). Berlin Radio Chorus; German Symphony Orchestra, Berlin conducted by
Lothar Zagrosek. LONDON 448 679-2 [DDD] 2 Discs - 2:18:46
Reviewed by Robert Cummings

Because Walter Braunfels (1882-1954) was half-Jewish, he was dismissed from
his position as director of the Academy of Music in Cologne in 1933 and
performance of his music thereafter was forbidden. It didn't matter to the
Nazis that Braunfels was a practicing Roman Catholic, only that half his 
blood was tainted by what they considered the most degenerate of non-Aryan 
races. They had at least one further reason to hate the composer: he had 
refused to write an anthem a decade earlier for their burgeoning political
movement. And, too, Hitler and the Nazis were wrapped up in adulation for
their musical hero from the past, the strongly anti-Semitic Richard Wagner,
the perfect composer to fill their dubious bill. Secretly, though, they must
have feared Braunfels might come to challenge their idol with his "entartete
musik" (degenerate music). If this opera is typical of Braunfels' work, I'd
say their fears may have been well founded. 

In the rubble that followed World War II, Braunfels, who had courageously 
remained in Germany, somehow managing to avoid extermination, reestablished
the Cologne Academy of Music and resurrected his career as a concert pianist.
But by then, he was a mostly forgotten composer, whose music was seen as 
rather old-fashioned by the younger generation. Until recently Braunfels has
remained in almost complete obscurity, but, hopefully, this new London 
recording will change that. 

The Birds, first performed in 1920, is based on the Aristophanes' comedy of
the same name. It is the story of two men, Good Hope and Loyal Friend, the
first lamenting his mistreatment by women, the latter fleeing the decadence
of art, who together find their fantasy world, the realm of the birds. They
urge the birds to construct a fortress that will enable them to impose a 
heavy tax on the gods by controlling smoke from sacrifices by men which the
gods need for nourishment. The birds comply and incur the wrath of Zeus, and
their fortress is destroyed in a violent storm. The two men depart for
civilization, but Good Hope, having earlier been kissed by the beguiling 
Nightingale, ponders that the brief intimacy has forever changed him. Not 
exactly your normal operatic plot, but the story is lively and quite witty,
and a bit more involved than this capsule description, of course. 

Braunfels' music clearly shows the influence of Wagner (what German composer
writing opera at that time didn't, though?) and Strauss. But from these
elements Braunfels forged his own distinctive, eminently approachable style
that becomes quite recognizable upon repeated hearings. 

Zagrosek's reading and the performances by his cast and orchestra are
gripping and more than do justice to this wonderful score. Wottrich and
Kraus are impressive in the male leads. Try the former's powerful rendering
of the closing number, So ist dies alles denn gewesen, wie? (CD 2, track 12)
to sample his transcendent talent. Hellen Kwon is positively angelic as
Nightingale, as immediately evidenced by her opening number, Liebwerte
Freunde (CD 1, track 2). Marita Posselt (Wren) is just as moving (her voice
is sweet and absolutely lovely), and the rest of the cast rises splendidly 
to the challenging occasion. London offers excellent sound and very 
intelligent notes. If you're interested in opera, especially in the works 
of Wagner and Strauss, you'll likely find this new issue quite enjoyable 
and fully worth the asking price.



CIRCLE JERKS: Group Sex (Frontier)
Reviewed by Shaun Dale

The fine folks at Epitaph continue to use their Frontier imprint to
release some of the great performers in punk history.  This time it's 14
tracks from the legendary Circle Jerks, ca. 1980.

Fast and furious, both in sound and spirit, the Circle Jerks come
through like a Yankee Sex Pistols with a difference - there's no McLaren
pulling the strings here.  These guys deliver from the heart, the head
and the groin.

It won't take much time to assimilate this essential document in punk
history.  The fourteen cuts run by in about 32 minutes.  Which is part
of the appeal, and most of the point.  Have something to say, spit it
out and rock your ass off.  Is that the bottom line, or what?

These tracks may be 16 years old, but they could have been laid down
last week, or next year.  This is the shit - the punk sound that
everyone was reaching for then and now and for as long as there's a crowd
of kids somewhere pissed off by stupidity and looking for a high energy
release.

You should own this CD.

Track List:

Deny Everything * I Just Want Some Skank * Beverly Hills * Operation *
Back Against The Wall * Wasted * Behind The Door * World Up My Ass *
Paid Vacation * Don't Care * Live Fast Die Young * What's Your Problem *
Group Sex * Red Tape



PAULA COLE: This Fire (Imago/Warner Brothers)
Reviewed by Steve Marshall

The first time I heard Paula Cole was about two years ago. She had just 
released her first album, Harbinger, and honestly, I didn't pay much
attention. A few months later, I saw her as the opening act for Sarah 
McLachlan and was blown away. Her performance was much more intense than
the soft-spoken tunes on Harbinger. From that point forward, I was a fan.
Since then, she's toured the world with Peter Gabriel, performed with
Melissa Etheridge on VH1 Duets, and released her second album, This Fire.

The first thing you notice about This Fire, compared to Harbinger, is 
the increased intensity and power in the vocals. The emotionally charged
songs tell the story of a 'coming of age' for Cole. On the first track, 
"Tiger," she makes a reference to "Bethlehem" (a track from Harbinger) as
she sings "I've left Bethlehem and I feel free. I've left the girl I was
supposed to be." The autobiographical song grabs you and doesn't let go.
Peter Gabriel's influence is all over this song--both musically, and in
the vocal arrangement. 

"Where Have All the Cowboys Gone?" is the first single from This Fire.
Although the CD was released in 1996, it seemed that no one noticed her 
until recently. Since the song started getting airplay, she's been thrust
into the public eye. The song's runaway success was quite a surprise to 
Cole. "Throwing Stones" is an intense and powerful tune about a love gone 
sour. With lyrics like "...my anger is my best friend... be careful, I 
may bite your head off," Paula's pissed, and makes no bones about it. 

One of the best tracks on This Fire is "Mississippi." The song is a musical
roller coaster ride; starting with the tender Kate Bush-influenced intros
on the verses, climbing into a ferocious intensity on the choruses. 
"Nietzsche's Eyes" sounds a lot like a Tori Amos song, with its piano-based
arrangement. "Road to Dead" is another high point on the CD, sounding like
a Peter Gabriel song with Sarah McLachlan doing the backup vocals. Things
heat up again on "feelin' love." This smoldering cut literally oozes 
sensuality. "hush, hush, hush" is a lullaby-like duet with Gabriel,
featuring some poignant piano by Cole as the song closes to a close. 

Cole has come a long way musically since her first CD, producing a riveting
and compelling new collection of songs. This Fire is the most intense
performance by a female artist since Tori Amos' Little Earthquakes.



THE CRIMINALS: Never Been Caught (Lookout)
Reviewed by Shaun Dale

This young quartet is doing their best to keep hard core punk alive, and
by and large the patient is doing fine.

Covering such classic themes as puking and passing out, masturbation,
hating school, hating cops and hating girls that don't treat them right,
they demonstrate the requisite anger.  Song titles like "Parlez-vous Fuk
You?" and "Notes On A Barfbag" should keep them from getting swept up in
the MTV mainstream too soon.  They've adopted appropriately punk names,
as in Jesse Luscious (vocals) and Mike Sexx (bass) (guitarist Brady
Caesar and drummer Dan Ger round out the lineup).

So why am I vaguely dissatisfied with this disc?  I suspect the
Criminals fall victim to the same problem that has affected some of the
great bands of their chosen genre.  This is music that is most appealing
in a live setting, where the listener can feed on and share in the
expression of the attitude.  The attitude, after all, is damn near
everything in hard core punk.
 
If you've had the chance to see this band, this might be one of your
favorite albums.  If, like me, you haven't had the chance, well, you can
at least share my satisfaction that someone out there is doing what they
do.

Track List:

You Stupid Fuk * Never Been Caught * No Victim Here * Muerte * Dial H
For Homewrecker * Significative * Morning After * CST Bitch *
Parlez-Vous Fuk You? * My School Sucks * Girl With A Hole In Her Heart *
Criminal Rocknroll * Notes On A Barfbag (Final Approach) * I Feel Funny
* Latex Drool * Get Over It



ESQUERITA: Vintage Voola (Norton)
Reviewed by Shaun Dale

At first glance, Esquerita's massive pompadour, makeup and rhinestone
studded shades give the appearance of a Little Richard impersonator.
His rocking boogie piano and falsetto vocal stylings don't do much to
change the impression.

But don't leap to any hasty conclusions.  In a brief recorded interview
included on this disc, none other than Little Richard himself credits
Esquerita (born Eskew Reader, Jr.) as the originator of that piano
style.  As for the personal style, well, there's a debate on the
subject, but the nod for image leader seems to go to Little Richard.

But Esquerita could definitely rock, and there's plenty of evidence of
that here.  This is primarily a release for roots music completionists,
since seven of the ten tracks are pulled from a long lost stash of
acetate demos, with the consequent gaps in audio quality.  The others
are drawn from single releases on NRC and Cross-Tone Records.
Esquerita's Capitol sessions are absent on this release.

Audiophile considerations aside, if you care about where this thing
called Rock n' Roll came from, you'll find some answers here.  If you've
never heard the Voola, Esquerita's personal brand of rockin' boogie
blues, it's high time you did and this is a good place to start.

Track List:

Rockin' The Joint * This Thing Called Love * Please Come On Home *
Oh Baby * Sarah Lee * I Got A Lot To Learn * What Was Wrong * Sweet
Skinny Jenny * The Rock-A-Round * Dew Drop Inn * Little Richard
Interview



THE FLAMIN' GROOVIES: In Person!!!! (Norton)
Reviewed by Shaun Dale

KSAN was covering the closing days of the Fillmore West in June of 1971
with remote concert broadcasts, which resulted in the preservation of
this invaluable document of the Flamin' Groovies in their natural
habitat, a San Francisco stage.

By '71, the Groovies had moved past their origins in good time
psychedelia and had established themselves as one of the hardest rocking
bands in show business.  There's ample demonstration here that their
legendary reputation was well deserved.

Mixing some of their classic originals ("Road House," "Doctor Boogie,"
the immortal "Teenage Head") with great rock covers (notably "Shakin'
All Over," which makes the Who's "Live At Leeds" cut sound like a ballad,
and a great "Louie, Louie," which few others would have ventured to
present to a Fillmore audience).

Throughout, there's Cyril Jordan's guitar pushing and driving vocalist
Ron Loney to that high energy edge that made him one of the fabled rock
'n roll madmen.

Because some of the tracks have appeared elsewhere on Norton
compilations, the nice people at the record company decided to insure
full value by adding two cuts from a show at San Francisco's Matrix club
a year earlier.  This is especially nice since "I'm A Man" and "Headin'
For The Texas Border" feature original Groovie Tim Lynch on guitar and
on vocals for "Border" (Lynch had been replaced by James Ferrell by the
time of the Fillmore show).  The music is perfectly complementary to the
rest of the disc and Lynch's appearance makes an even more desirable
package for collectors.

This is great stuff, a perfect party album and a significant slice of
rock n' roll history.

Track List:

Into:I Can't Explain * Sweet Little Rock'n'Roller * Have You Seen My
Baby * Road House * Doctor Boogie * Slow Death * Shakin' All Over *
Teenage Head * Louie Louie * Walkin' The Dog * I'm A Man * Headin' For
The Texas Border



BEN FOLDS FIVE: Whatever and Ever Amen (550 Music)
Reviewed by Steve Marshall

Ironic, heartfelt, melodic, energetic and unique. All of these words 
accurately describe the music of this powerhouse trio (yes, there are only
three of them). Whatever and Ever Amen is the second album from the Chapel
Hill, NC band, and their 'major label debut.' The tracks were recorded in
Folds' living room, and mixed by Andy Wallace (Rage Against the Machine,
Jeff Buckley, Nirvana). Besides Bruce Hornsby, there haven't been many new
piano-based rock artists these days, but Ben Folds Five is one of the best.
Folds handles the lead vocals and attacks his piano with a ferocity 
reminiscent of a young Elton John. Bassist Robert Sledge evokes sounds of
Yes' Chris Squire with his fuzz bass, and Darren Jessee is the man
responsible for the manic drumming on the disc.

The CD gets off to a great start with "One Angry Dwarf and 200 Solemn Faces,"
a powerful track that dares you to sit still. "Fair" resembles 10CC at times,
although the vaudevillian chorus is kind of hokey. "Brick" is a tender tune
that sounds like "Alice Childress," a track from their first album. The 
vocals on the song bear a strong likeness to something you would hear on a
Utopia album. One of the tracks on the CD, "Song for the Dumped," saw its 
debut last year on the band's summer tour with Neil Young. The song is an
angry rocker with some excellent bass runs on the bridge. "Steven's Last
Night in Town" is a satirical, almost big-band sounding tune about a guy 
who doesn't know when to leave.

The first single/video from the album is "Battle of Who Could Care Less." 
This is one of those catchy tunes that will make you stand up and take 
notice. Folds' great lyrics and stellar musicianship on the ivories 
accentuate the fluid bass runs. Since I haven't heard their debut in its
entirety, I won't try to comment on how they progressed musically, etc. 
Suffice it to say that the sense of humor is still alive and well in the 
group's lyrics, and the attitude had remained intact as well. There's a 
hidden track after the last song on the CD, but I'm not gonna give it away.
You'll just have to hear it for yourself. Whatever and Ever Amen has a few 
weak spots, but overall, it's an entertaining disc that stands up to 
repeated listens. 



FAREED HAGUE: Deja Vu (Blue Note)
Reviewed by Steve Marshall

Fareed Hague was a mere 7 years old when Crosby, Stills, Nash & Young 
released their classic Deja Vu album. When the Chicago-born guitarist was
given the opportunity to record a jazz interpretation of the album, he 
jumped at the chance. He was already familiar with most of the songs, but
he knew them from the 1974 greatest hits album, So Far--not the Deja Vu 
album itself. This gave him an interesting perspective on the material.
Rather than looking at the project as simply an exercise in baby-boomer 
nostalgia; he could interpret the songs for what they were, and then expand
upon them. Hague's inspired  take on the album is one of three CDs in a new
'covers' series released on the Blue Note label. 

As the CD starts, you hear a solo acoustic snippet of "Teach Your Children"
(the song appears three times), before launching into the superb cover of 
"Carry On." From the first few seconds of the song, you know this CD is 
going to be something special. There's a lot of improvisation, but the song
always remains recognizable. Graham Nash's tunes have always leaned toward
sappiness (with a few exceptions), and "Teach Your Children" certainly falls
within that realm. Then again, without lyrics to interfere with things, you
don't have that problem. Tim Mulvenna's percussion on the track makes a 
world of difference, and adds a new sense of freshness to the song.

Hague used a Bic lighter to play 12-string slide on "Almost Cut My Hair,"
giving it a Delta blues feel. The strange thumping sound heard on the song
comes from Mulvenna's manta ray skin drum. The first time you hear it, 
you'll swear there's something wrong with your speakers. For "Woodstock" and
the title cut, Hague drastically reworked the songs. He picks the elements
of the basic melody on "Woodstock," then stretches out on several tangents
throughout the song. At first, "Deja Vu" (the song) resembles some of Pat
Metheny's older acoustic material. By halfway through the song, the Latin
percussion comes in, and suddenly it’s like you're listening to Al DiMeola.

"4+20" is very cool, and one of the better cuts on the CD. On "Everybody I
Love You," Hague plays with blinding speed. I had to check and make sure
John McLaughlin wasn't doing a guest spot on the song. It's that fast. The
percussion on the track is outstanding as well. The CD ends as it began, 
with a brief snippet of "Teach Your Children." As the first snippet begins, 
you hear a door open, Hague walks into the room, shuffles some sheet music 
around, and then starts playing. At the end of the second one, you hear him
pick up the sheet music, walk out of the room & close the door--giving the 
listener the impression that the CD was recorded in a single session.

Combining intricate arrangements with an almost orchestral richness, Fareed 
Hague took a great album and made it even better. Whether you're a CSNY fan,
or a fan of jazz guitar, this is a great CD.



HANSON: Middle of Nowhere (Mercury)
Reviewed by Shaun Dale

By now everyone has heard "MMMBop," the lead single off this disc, and
everyone seems to have passed judgment on it.  While Hanson bashing has
become a popular indoor sport among certain elements of the self styled
musical cognoscenti, it's another case of what the men don't know, the
little girls understand.

My judgment?  "MMMBop" is as fine a piece of teenage pop ear candy as
I've heard since a 12 year old Michael Jackson and his brothers gave us
"ABC".  Which is fitting, I suppose, because Hanson is another brother
act.  Are Isaac (16), Taylor (13) and Zac (11) the Jackson's of the
90's?  It'll be sometime in the 21st century before I'm ready to make
that call.  In the meantime, they've given us one fine summer single and
a pretty fine little album to back it up.

Not without help, of course.  With production help from Stephen Lironi
and the Dust Brothers and instrumental support from a sizable cadre of
LA session stars, the sound on the disc is bound to be professional.
While the brothers play guitar, keys and drums on the disc (exactly
where is not detailed) and three songs are completely self penned, they
also get help from such substantial song doctors as Mark Hudson, Ellen
Shipley and the legendary Mann and Weil.  (The Hansons are credited as
co-writers on all tracks).

But the heart of the sound are those heartfelt teenage vocals, and the
boys do just fine on that score.  Fine enough that you can expect to
hear a lot of Hanson this summer.  "Where's The Love" is another hook
laden pop tune that should show up on the airwaves when "MMMBop" starts
to fade and "Look At You" is, well, it's funky.  It really is.  And if
that doesn't make sense to you, well, the little girls will understand.

Track List:

Thinking Of You * MMMBop * Weird * Speechless * Where's The Love *
Yearbook * Look At You * Lucy * I Will Come To You * A Minute Without
You * Madeline * With You In Your Dreams * Man From Milwaukee (Garage
Mix)



THE HEPTONES: Sea Of Love (Heartbeat)
Reviewed by DJ Johnson

The first time I heard The Heptones I thought I'd died and gone to 
Heaven.  Over twenty years later, they still have the same effect on me.  
Beautiful, soulful three-part vocal harmonies that could melt butter, 
subtle and tasteful instrumental backing from some of the best reggae 
players in Jamaica, and production by the one and only Coxson Dodd 
added up to something special.  Sea Of Love offers a mix of classic 
soul covers ("Choice Of Color," "You've Lost That Loving Feeling," and
the title tune) and Heptones originals ("Joy Joy," "Please Be True," 
"Nine Pounds Of Steel"), along with a few other odds and ends over the
course of 16 tracks.  (Has anyone else noticed that Heartbeat Records is
totally hung up on the notion of 16 tracks per CD?  Just wonderin'...)
The most stunning tune of all is Bob Dylan's "I Shall Be Released," which
has been covered by nearly everybody, but never as beautifully as this.
With nary a weak song on the entire CD, this belongs in your early reggae
collection alongside The Melodians, Techniques, and all the Studio One
comps you should have if you're serious.



THE IMPACTS: Eternal Surf (Gee-Dee)
Reviewed by DJ Johnson

The Impacts were part of the first wave of instrumental surf music, making
their entrance around 1962.  What set them apart from the crowd was the slide
guitar work of Martin Brown.  35 years later they're still at it, and Brown's
haunting and mournful tone is still	setting them apart.  If you get goosebumps
listening to Santo & Johnny's "Sleepwalk," this album should be in your 
collection.  Brown turns a basically pretty song ("Polynesian Mood") into
something sublime with a slide part that could melt glass.  He'll get to you
again with "Loree's Song," freezing you in your tracks with a slide tone
from heaven, and if you haven't already blissed out by the time he's done 
playing, Mike Pano's smokey sax solos will take you the rest of the way. 
Eternal Surf is a beautiful album that draws from the exotic aspects of
surf music, serving just a few tracks of the fast stuff on the side.  Hearing
this album, it's hard to believe slide guitar hasn't become the norm in 
surf music.  You must hear this.  (Gee-Dee Music: Luruper Chaussee 125, Hs.
8a, D-22761 Hamburg, Germany.)



INDIGO GIRLS: Shaming Of The Sun (Epic)
Reviewed by Shaun Dale

Fans of Emily Saliers and Amy Ray, the Indigo Girls, will surely be
pleased by their latest effort. (Obligatory disclaimer - I'm one of
those fans.) Whether they'll win any new ones, well, they haven't done
anything here that departs radically from what's come before.

The Girls continue to dance on the border between folky pop and poppy
folk, which sounds accessible enough, and on that level it is.  There
are plenty of danceable rhythms and hummable melodies here.  But these
grrls have something to say, and to really appreciate the music you have
to really listen.  The earnestness of their message is demonstrated by
the list of "resources" supplies in the notes - contact addresses and
numbers for groups dedicated to environmental, international, political
and gay and lesbian activism.

Of course, some of us want a message in our music, at least some of it,
and the Indigo Girls do that as well as anyone on the contemporary
scene.  There are also some intensely personal songs and some densely
patterned imagery.  The songs do take a little effort to listen to, but
once the investment is made, there are some wonderful songs to hear.

If you're a fan, you're already on your way to buy this disc without
hearing from me.  If you're interested in a dozen cuts of richly
textured, impeccably performed songs that were crafted for their own
sake rather than the marketplace, head on out and look it up...

Track List:

Shame On You * Get Out The Map * Shed Your Skin * It's Alright * Caramia
* Don't Give That Girl A Gun * Leeds * Scooter Boys * Everything In Its
Own Time * Cut It Out * Burn All The Letters * Hey Kind Friend

		 

AHMAD JAMAL: Big Byrd: The Essence, Part 2  (Verve)
Reviewed by Shaun Dale

No one surpasses the superb pianist Ahmad Jamal at that most elusive
quality of great jazz playing, the art of finding the music between the
notes.  That art is amply demonstrated on the opening tracks of his new
Verve release, Big Byrd.

"Lament" and "There's A Lull In My Life" are presented simply, in a trio
with Idris Muhammad on drums and James Cammack on bass.  Jamal
demonstrates his ability to pull a dramatic range of textures from the
keyboard and to change mood and tempo seamlessly.  His accompanists have
played with him in many settings for many years and provide a firm and
effective base for Jamal's playing.

From the opening notes of the third cut, "Manhattan Reflections," it's
clear that a change is present.  After the briefest piano intro, Manolo
Badrena's Latin percussion cuts the air, soon to be followed by Joe
Kennedy, Jr. on violin.  Bassist Jamil Nasser, who played with Jamal for
a decade is reunited with him after a 20 year separation.  The quintet
allows Jamal to demonstrate his orchestral sense, the other landmark of
his artistry.  Kennedy's contribution here is outstanding.

Which moves us to "Big Byrd," the title cut, on which Kennedy drops
away and trumpeter Donald Byrd steps up.  It's a big step for Big Byrd,
as the re-formed quintet sets out on a 15 minute exploration of the
music between the notes, on the notes and under the notes.  Byrd's muted
horn buzzes, soars and seduces.  Ahmad Jamal provides a textbook
demonstration of the skill that made him Miles' favorite pianist and
musical mentor.  The rhythm section just cooks.

The two closing cuts bring back the original trio, augmented by
Badrena's percussion.  "Jamie My Boy" is followed by Cole Porter's "I
Love You."  The song may be a standard, but the performance is, again,
exceptional.

This disc is an unqualified treat, a rare addition to the legacy of a
true master.

Track List:

Lament * There's A Lull In My Life * Manhattan Reflections * Big Byrd *
Jamie My Boy * I Love You



WAYNE KRAMER: Citizen Wayne (Epitaph)
Reviewed by Shaun Dale

"Citizen Wayne" is the most ambitious effort yet in the illustrious
career of Wayne Kramer.  A largely autobiographical concept album, it
chronicles battles won and battles lost through a 30 year career that
started with the fabled MC5.

From his Detroit drag strip days, through the '68 Democratic Convention,
the disintegration of the musical and political scene that spawned the
MC5, a plunge into dope and booze that led to jail, and out the other
end as one of rock 'n roll's senior statesmen, the self described "49
year old anarchist guitarist" has led a life that wouldn't be believed
if it hadn't been lived.

Of such lives are great musicians made, though, and Kramer tells his
tale with appropriate levels of anger, humor and melancholy.  With
co-producer David Was (Kramer's resume includes a stint as guitarist for
Was Not Was), he has shaped 12 songs that are striking in their
individuality yet impressively cohesive.

While each song fills a specific space, creating an album that works best
taken as a whole, there are some standouts.  "Revolution In Apt. 29" is
an ironic look at "champagne Marxists."  "Shining Mr. Lincoln's Shoes"
tells the story of the condition of working people in the aftermath of
Reagan's American morning.  "No Easy Way Out" is one of the most honest
love songs I've ever heard.

"Snatched Defeat" is a rocking lament for Johnny Thunders, who was
Kramer's co-hort in the short lived punk band Gang War.  The last song,
"A Farewell To Whiskey," is a bittersweet instrumental that Kramer
describes as "a fond look back on my vodka swilling days."

But highlighting anything here risks overlooking something just as
special, and each song is so distinctive in presentation that any
listener's list of favorites is likely to be different than any other
listener.  There's one obvious solution.  Get this one yourself, and
listen to it.  Again and again...

Track List:

Stranger In The House * Back When Dogs Could Talk * Revolution In Apt.
29 * Down On The Ground * Shining Mr. Lincoln's Shoes * Dope For
Democracy * No Easy Way Out * You Don't Know My Name * Count Time *
Snatched Defeat * Doing The Work * A Farewell To Whiskey



GREG LAKE: From The Beginning - The Greg Lake Retrospective (Rhino)
Reviewed by DJ Johnson

After nearly 30 years as a recording artist, Greg Lake is finally represented
by an excellent compilation.  The Greg Lake Retrospective is a two CD set 
that traces Lake's career from King Crimson through the various incarnations
of Emerson, Lake and Palmer, to his solo work.  

Track selection was done by David McLees and Lake's long time manager and
friend, Bruce Pilato.  The collection begins with two King Crimson tracks,
"The Court Of The Crimson King" (the full length LP version) and "Cat Food."
As there are already something like 12,000 King Crimson collections on the
market, Retrospective moves onward at this point into the ELP years. 

The early ELP tracks were chosen, obviously, to best showcase Lake's greatest
strength, his stunning baritone voice, which can be huge and powerful and 
graceful and beautiful all at the same moment.  "Take A Pebble," "Lucky
Man," "Still You Turn Me On," "Knife Edge" and "From The Beginning" all 
offer prime examples of Lake's serene vocal delivery, while "Karn Evil 9: 1st
Impression - Part 2" is a perfect example of Lake in full vocal flight.  By
the way, that's the tune that most people assume is called "Welcome Back My
Friends To The Show That Never Ends."  Now you know.

The first few cuts of solo material were culled	from the ELP double LP, Works,
which was one of the more interesting concept albums of the decade.  The 
concept, basically, was for each of the three musicians to produce one side
of music, with all three sharing the load on side four.  Lake's side was a
masterwork of beautiful acoustic guitar music and deeply poetic lyrics.  And,
of course, that voice!  "C'est La Vie" and "Closer To Believing" rate time
capsule treatment.  Another cut from Works, "Father Christmas," has become 
a seasonal classic, and it's included on Retrospective, as well.  Lake's
1981 live recording of the King Crimson classic, "21st Century Schizoid Man"
closes disc one.

The second set begins with 8 solo cuts in a row, including "Nuclear Attack,"
"Retribution Drive," and "It Hurts."  Recorded between 1981 and 1983, each
song at least has Lake's stamp in some element or another, but there is the
same feeling of calculation to some of the tracks that infected so much of
the music of that time period.  "Manoeuvres" almost sounds like it was
calculated specifically for inclusion on some mega-buck film's soundtrack.
As much as I respect Gary Moore, he is no Pete Sinfield, and Lake was clearly
a far better composer when he wrote with Sinfield.

Two Emerson, Lake and Powell cuts, "Touch And Go" and "Lay Down Your Guns,"
are sandwiched between the solo tracks.  Released in 1986, "Touch And Go"
gave the band an MTV presence and a minor hit, and it doesn't sound too bad
a decade later.  Two previously unreleased solo tracks follow, the first a
completely forgettable bit of fluff called "Love Under Fire," the second a
synth-driven march titled "Money Talks" that seems promising but only delivers
a strong vocal performance.  The rest is soundtrack beat, soundtrack studio
performances.

Retrospective picks up speed on the backstretch, finishing with five tracks
from the re-formed Emerson, Lake and Palmer.  While there is no longer a 
magic spell with each song, and although modern digital technology may have
sucked a little of the warmth, there's still something special that happens
when Greg Lake, Keith Emerson and Carl Palmer kick it into gear.  "Paper
Blood" and "Black Moon" will never replace "Hoedown" and "Jerusalem," but
there's still something happening there that you can't get anywhere else.  

Though disc one is certainly far superior to disc two, the entire package
does exactly what it sets out to do, and that is present a chronological
overview of Greg Lake's recording career.  I had never heard some of the 
material on disc two, and while I don't expect most of those songs to grow
on me and become favorites, there is one thing about each and every one of
them that makes them worth hearing: the amazing baritone voice of Greg Lake.
And that's no small consideration.

TRACK LIST:

Disc 1: (King Crimson:) The Court Of The Crimson King (including The Return 
Of The Fire Witch & The Dance Of The Puppets) * Cat Food * (Emerson, Lake & 
Palmer:) Knife-edge * Lucky Man * From The Beginning * Take A Pebble (live 
at Mar y Sol, 1972) * (Pete Sinfield:) Still * (Emerson, Lake & Palmer:) 
Still...You Turn Me On * Jerusalem * Karn Evil 9: 1st Impression-Part 2 *
(Greg Lake:) I Believe In Father Christmas (original single version) * C'est 
La Vie * Closer To Believing * Watching Over You * 21st Century Schizoid Man 
(live at The Hammersmith Odean, 1981) 

Disc 2:(Greg Lake:) Nuclear Attack * Love You Too Much * It Hurts * 
Retribution Drive * The Lie * Let Me Love You Once * Manoeuvres	* I Don't 
Know Why I Still Love You * (Emerson, Lake & Powell:) Touch And Go * Lay 
Down Your Guns * (Greg Lake:) Love Under Fire * Money Talks * (Emerson, Lake & 
Palmer:) Black Moon * Paper Blood * Affairs Of The Heart * Daddy * Heart On 
Ice 



GREG LAKE: In Concert on the King Biscuit Flower Hour 
(King Biscuit Flower Hour)
Reviewed by Steve Marshall

I remember, probably around 1982, hearing this show from the Hammersmith 
Odeon in London on the radio. I taped it as it was being broadcast, and 
enjoyed it for quite a few years. Unfortunately, due to extreme overplaying
on my part, the tape finally died. I scoured the collector's circles for 
years afterwards looking for a copy. Everywhere I searched, the results 
were the same: nothing. A few years ago, King Biscuit announced plans to
start releasing things from their archives. Although there were no definite
plans to release this particular show, I kept my fingers crossed that I'd
soon be able to replace my worn out tape. In 1995, they released the concert
on CD, adding two songs from the show that weren't in the original broadcast. 

Now there is a new collector's version that contains everything from the 
original CD, plus two bonus tracks. More on those later. First, let's talk
about the concert itself. This was Lake's first solo tour. He played 
material from his entire career--King Crimson, ELP, and a handful of songs
from his solo debut. Lake was in fine form on vocals and guitar, and his 
band was superb. Ex-Thin Lizzy guitarist, Gary Moore handled the lead guitar
chores. Ted McKenna, from the Sensational Alex Harvey Band, played drums.
Tommy Eyre did a respectable job on the keyboards (considering the shoes he
had to fill), and Tristam Margetts played bass. 

The show kicked off with a stellar "Fanfare for the Common Man" and never 
looked back. Moore turned in an excellent performance on the song, and 
managed to sneak in a tease from "Killer" (a Moore original written for the
Cozy Powell album, Over the Top) during one of the solos. Moore adds a much
harder edge to Lake's music, and his considerable talents shine throughout 
the CD. There is one minor problem with the CD. The indexing on the first
two tracks doesn't correspond with the listing on the back of the jewel box.
It doesn't affect the music, of course, but if you go to track two expecting
to hear "Nuclear Attack," you'll have to sit through the first part of "Karn
Evil 9." Life's tough, eh? 
   
Following "Nuclear Attack," there are two more tracks from Lake's first solo
album--"The Lie," and the excellent "Retribution Drive." "The Lie" is much 
more powerful than the studio version, and "Retribution Drive" features some
great guitar work from Moore. Up next is what could easily be considered the
definitive "Lucky Man." The arrangement is slightly different, yet stays 
true enough to the original to keep it recognizable. ELP never came close to
this version of the song in concert. Lake's strong, passionate vocals on the
track sound better than ever.  

Lake and his band played a couple covers on the tour, too--"Parisienne
Walkways" (a smoldering blues workout from Moore's 1978 album, Back on the
Streets) and the Smokey Robinson/Beatles classic, "You Really Got a Hold On
Me." The latter is interesting the first time you hear it, but after that,
you'll end up skipping it. After another track from Lake’s solo debut, the 
band launches into the CD's creme de la creme, "21st Century Schizoid Man."
King Crimson fans won't want to miss this one. Wrapping things up on the 
original disc was an excellent version of the Crimson namesake, "In the Court
of the Crimson King." At 5:30, it's only about half the length of the studio
version, but they still do a great job on it. 

What if you're not satisfied with the stellar performances on this disc and
want more? Well, you're in luck. The new limited edition version of this CD
contains two bonus tracks--a short interview with Lake where he talks about 
the tour, and an exclusive live version of "C'est La Vie." The original
24-track master tapes for the London show were lost in a fire at the King 
Biscuit offices, so the song wasn't included on the original disc. Luckily
for us, they located a bootleg version of the song, and decided to include
it here as a bonus track. Recorded about a month later in New York, this 
rendition of the song is unlike any you've heard before. It's almost a metal
song now, with a screaming solo from Moore.  

The liner notes are almost identical between the two CDs. The booklet in the
collector's edition has an updated paragraph at the end, plus all the liner 
notes duplicated in French. There are also two photos that do not appear in
the original booklet. All the limited edition CDs are numbered, and 
autographed by Lake. The only catch is that the limited edition discs are 
not available in stores. You can order the CD by calling 1-800-820-4068, or
through the official Greg Lake website at (http://www.dynrec.com/lake). No
self-respecting Greg Lake fan should be without this CD. 



LESCHEA: Rhythm & Beats (Warner Brothers)
Reviewed by Shaun Dale

Leschea marries R&B and hip hop with a strong tilt toward the hip hop
side of the family.  She mines the rap mainstream for topics and beats,
but does it with an overlay of a soulful vocal style that produces a
more traditional musicality.  This might be the perfect disc to convince
a friend that there's more to "that rap stuff" than they might know.

There is, unfortunately, a little less here than there might be, but
only because Leschea is a bit less adventurous lyrically than could be
hoped for.  She varies between a tough girl stance, maybe just this side
of a G thang, and steamy romance.  Frankly, I learn just a bit more
about her particular 'hood (Brooklyn, around and about Fulton St.) than
I really need to know.  It's an unfortunate limitation because the
performances are consistently first rate.

It's a great start, though, and it sounds like she may have the chops
and smarts to survive in a very competitive market.  I hope so, because
I'd like to hear her branch out topically.  Meanwhile, it's just nice to
hear her at all...

Track List:

My Flow (intro featuring Paula Perry) * U Know The Place * Gimme Bass *
How We Stay * Let Me Sing It 2 U * Fulton St. * Let Me Know (featuring
Ike Dirty) * 3 To 5 * All On You * All This Love * High Velocity * Hip
Hop * Schea's World



THE LOONEY TUNES: Beyond The Dune (Gee Dee Music)
Reviewed by DJ Johnson

There have been a few major changes since The Looney Tunes' outstanding 1995
effort, Modern Sounds Of The Looney Tunes Band.  Kay Garbrecht (guitar) and
Thomas Ritter (bass) are out, and Thorsten Seif (bass) is in.  Notice that
there is no replacement for Garbrecht, and you have the key to what is most
different about Beyond The Dune.  Guitarist Sebastian Hartmann has taken
the Loonies in a new direction; a bit darker, a bit meaner, and a lot leaner.
Gone are the jangly trad rhythm guitar backdrops, replaced by the sheer 
powersoak of a single axe.  On some tracks the stripped down approach is 
perfect.  The Jesters cover ("Strange Man") thrives in this setting, thanks
in part to Seif and a bass tone that could level a small country.  Listening
to a few tracks, such as "Garsilamas" and "The Rise & Fall Of Flingel Bunt,"
I found myself wondering what Garbrecht might have added to the sound.  
Overall, however, I think it's an interesting direction that may just take a
little time for their fans to adjust to.  Meanwhile, new fans from the garage
side of the aisle will be discovering this great German band because "Das 
Ergotaxion" is a molten monster that can't miss.  Some may fault Sebastian
for this move, but you can't say it isn't gutsy.  (Gee Dee Music, Laruper
Chaussee 125, gewerbehof, Haus 8a, 22761 Hamburg, Germany. E-mail 
geedee@t-online.de)



LOS MOCKERS: The Original Recordings 1965-1967 (Get Hip)
Reviewed by DJ Johnson

They sounded like many other British invasion bands, but there was something
different about Los Mockers: they were from Uruguay.  You would never get 
that just from listening to these recordings.  It's obvious they rejected
the clean sounds of The Beatles and fell heads over heels in love with The
Rolling Stones.  My nine year old daughter was sitting in the room with me
while I was listening to this CD, and she kept insisting that "this is the
band that does that painting it black song!"  I had just convinced her that
she was wrong when the final track... "Paint It, Black," blasted out from
the speakers.  Now I'll never convince her because Los Mockers already DID
convince her.  What they do, they do very well.  In fact, they do The Stones
better than most, and even some R&B with a sound that might be their own.  
It's.... Naw, it's The Stones' sound.  Mockers... Oh! I get it now.  (Get 
Hip: PO Box 666, Canonsburg, PA 15317 USA)



MAD PROFESSOR: Dub You Crazy With Love (Ariwa/RAS)
Reviewed by DJ Johnson

The current champion of dub, Mad Professor, lives in two different musical
worlds: dub and lover's rock.  Lover's rock is basically soft pop 
music with a slight reggae feel.  The Prof is a production wizard on either
side of that coin.  This CD is his attempt to bring the two worlds together,
forming a bridge for fans from each side to cross over.  Will it work?  Hard
to say.  I still can't stand lover's rock, to be honest, so what I come away
with is a firm belief that Mad Professor could even make interesting dub out 
of ABBA tracks.  Which means yes, this is an intriguing and at times compelling
collection of dub tracks, and it does benefit from the occasional drop-in
of beautiful vocal harmonies.  The downside is that there are no sharp edges,
no dark clouds looming on painted horizons, no sense of danger.  Mad Professor's
greatest dub tracks positively radiate danger and mystery.  So that leaves us
with some very pretty dub.  It's certainly listenable.  It's just not going
to get a lot of mileage out of your imagination.



M.C. MURPH: Martyrs & Heroes (NQuit)
Reviewed by DJ Johnson

I was just about to give up hope.  The last twenty hip hop and rap albums I
had received were annoying.  Not much more than foot pumps for giant inflatable
egos singing about how big their penis' are and how women actually purchase
tickets and stand in line for a ride.  That is obnoxious, embarrassing and 
boring.  Along comes M.C. Murph to the rescue!  His music is ethereal and
penetrating, his messages are positive, and his lyrics seem to be about the
world around him (as opposed to the world as it WORSHIPS him, which is the
angle most acts come from now).  Melodic singing is juxtaposed with some of
the most rhythmically complex rapping to come along since The Disposable
Heroes Of Hiphopricy. While M.C. Murph's topics aren't as politically diverse
as The Heroes', they are certainly as immediate and important.  M.C. Murph
isn't a newcomer (he has many years worth of production credits), but he 
hasn't received the attention he deserves.  Hopefully this CD will find an
audience... perhaps one that's tired of the same ol' same ol'. (NQuit Records,
635 Esperanza Rd, Bosque Farms, NM 87068)



MILLENCOLIN: For Monkeys (Epitaph)
Reviewed by Shaun Dale

Millencolin may be based in Sweden, but they've got a finger on the
pulse of the American taste for poppy, ska flavored punk.  They describe
their third album as "less of ska...more of poppy, pushy songs..." but
the ska influence is still evident in a bunch of places, and you can
push more of the poppy songs my way anytime.

All the garden variety subjects are covered - playin' in the band,
broken hearts, lost idealism and the old enui. And monkeys.  OK, the
monkey stuff is a little off beat, but I've got to admit a grudging
admiration for anyone who can slip orangutans into a punk rock song.

The disc opens with "Puzzle," an introductory tune promising a tune or
two for most everyone, whether you're "feeling swell or feeling blue"
and they deliver on the promise.  Nothing startling original, maybe, but
altogether a well played, satisfying batch of "poppy, pushy songs."

Track List:

Puzzle * Lozin' Must * Random I Am * Boring Planet * Monkey Boogie *
Twenty Two * Black Gold * Trendy Winds * Otis * Lights Out * Entrance At
Rudebrook * Lowlife



WES MONTGOMERY: Full House (DCC)
Reviewed by Shaun Dale

DCC continues to compile one of the finest imaginable catalogs of jazz
reissues with this release of Wes Montgomery's terrific 1962 live
recording, "Full House."

Accompanying Montgomery here are Wynton Kelly (piano), Jimmy Cobb
(drums) and the great Paul Chambers (bass), who at the time were the
rhythmic core of the Miles Davis Sextet, and tenor saxophonist Johnny
Griffin.  The album was recorded by Wally Heider at the Tsubo club in
Berkeley, CA.

From the opening cut, "Full House," it's obvious that Wes is enjoying
the company he's keeping on this disc, as the rhythm section supports
and Griffin challenges him to stretch out in some fine solos.  There's
plenty of room left, though, for impressive breaks by Griffin and Kelly.

"I've Grown Accustomed To Her Face" is the vehicle for a dialogue
between Montgomery and Chambers that is truly impressive.  Wes carries
the melody with chords in his distinctive style, while Paul Chambers
does, as Paul Chambers tended to do, exactly the right thing at exactly
the right moment in response.  Cobbs brushwork subtly underscores and
accents the duo.

Dizzy Gillespie's "Blue 'n' Boogie" breaks the spell and gives Wes
Montgomery a chance to demonstrate the bop chops that he doesn't always
get credit for.  His opening solo eschews single note flash for chordal
brilliance and leads to a break by the rhythm section which demonstrates
Miles' wisdom in uniting the trio and Montgomery's in recruiting them
for this project.  Griffin slides in for his own take, and the spirit of
Charlie Parker seems to be somewhere in the room.  Wes returns to trade
licks with Griffin and the rhythm section leading to a tasty drum break
and a furious close.

"Cariba" puts the group in an Afro-Cuban mood and opens by highlighting
Paul Chambers and Wynton Kelly, which is a highlight indeed.  Montgomery
generously makes way for solos from Kelly and Griffin on his composition
before taking center stage with his own break, which gives way to the
ensemble to close.

"Come Rain Or Come Shine" and "S.O.S." are each offered in the
originally released tracks and in alternate takes that weren't selected
for reasons I'll leave it to you to deduce.  Montgomery was notorious
for perfectionism in recording, so he must have found a flaw somewhere
in the alternates.  I can't.

"Born To Be Blue" was recorded that night by Wes and the rhythm trio,
but not included on the original album.  According to producer Orrin
Keepnews, the omission was arbitrary, the result of having more than
enough excellent material on hand.  It's restoration on the CD is
welcome.

The reissue of this recording on DCC's 24 karat format is welcome, too,
and highly appropriate.  These are definitely 24 karat gold performances.

Track List:

Full House * I've Grown Accustomed To Her Face * Blue 'N' Boogie *
Cariba * Come Rain Or Come Shine * S.O.S. * Born To Be Blue (bonus
track) * Come Rain Or Come Shine (alternate take) * S.O.S. (alternate
take)



MONTY PYTHON: Four albums re-released on CD (Arista)
Reviewed by DJ Johnson

If a good portion of your youthful experience involved sitting in front of 
the TV set giggling, snickering, guffawing, and belly-laughing hysterically
at the antics of Monty Python, read on.  

Arista has just re-released four classic albums by the timeless British
comedy troop.  Working from the original masters, the sound has been 
vastly improved through 20-bit digital remastering, making formerly murky
recordings like Live At City Center far more audible and crisp.  "Crisp"...
Hmmm.  What a silly word.  No matter.

First on the list is Monty Python And The Holy Grail, or as the front cover
reveals, "The Album Of The Soundtrack Of The Trailer Of The Film Of Monty
Python And The Holy Grail."  Fans of the film who have never heard the 
soundtrack will be surprised to note the plethora of... "Plethora"... Dear
God, that one's even sillier than "Crisp."  Well anyway, there are a lot of
bits on the album that weren't in the movie.  For instance, Eric Idle, as
a radio announcer reporting the arrival of Hollywood's elite for the 
premier	of The Holy Grail, calmly describes the chaos as cars spin out of
control and smash into one another.  "And who's this coming through the
windscreen of the mini... Yes, it's lovely star Barbara Streisand, flying
through the air in a beautiful Bill Gibb creation.  And she's landed, half
on Roger Moore, looking quite well, and half on Jack Nicholson, who's not
so well.  And who's that under the back wheel?  It's... Yes, it's Faye 
Dunaway!  No... No, it's Victor Mature.  Yes, all the stars are here tonight."
As the film begins, John Cleese can be heard giving a droning commentary for
the first few minutes, right over the film dialogue, until someone finally
tells him to shut up.  From this point on, we get a great deal of the African
swallows, flying livestock, rude Frenchmen, cowardly knights, watery tarts,
horny maidens, murderous bunny rabbits and various shrubbery that made the 
film so damned memorable in the first place, plus some occasional added 
commentary.	 I'd love to tell you that you don't even need to be familiar 
with the movie to enjoy this soundtrack, but how the hell would I know?  I've
seen it like 70 times.

1975's Matching Tie And Handkerchief contains many of their most enduring 
bits, such as "Bruces," "Cheese Shop," and "Novel Writing," all tied together
by a wonderfully fuzzy stream of consciousness.  By the end of the disc, you
may be experiencing sweaty palms and uncontrollable drooling.  This pleases
the Pythons a great deal.  By the way, there IS some political incorrectness 
here, so if you're timid, run away.  Terriers and novelists fare badly, a 
ruthless plastic surgeon turns his patient into an elephant, and Oscar Wilde
is reduced to making silly farting noises, and all of this before lunch.  
The 20-bit digital sound is clear as a bell.

Of the four albums reissued here, none benefits more from the sound enhancements
than Live At City Center.  If you've ever heard the LP, you know what murk
is all about.  All gone!  Even the most incidental background sounds are
clear and identifiable, and the dialogue is completely legible.  While the
applause once obscured sounds from the stage, there is now a clear separation
which, unless I miss my guess, has been accomplished with some creative EQ'ing.
The performance itself was brilliant.  Flawless execution of difficult bits
originally designed for television.  No simple task.  Recorded in 1976, the
program included a handful of their best known skits ("Nudge Nudge," "The
Lumberjack Song," "Travel Agent") and great little segues like "Short Blues"
(a one-line 15-second blues song).  The familiar material was spiced up by
adding words the BBC censors wouldn't allow them to use on their Flying Circus
television program.	 Live At City Center in not only THE essential Monty
Python album, but it's also quite possibly the best live ensemble comedy 
album of all time.  

1980's Contractual Obligation Album is clearly the weirdest Python on 
record.  Consisting mostly of songs, it baffled casual fans and delighted
the true Python faithful with a full compliment of politically incorrect
subjects and statements that guaranteed	a complete lack of radio support.
Like that was anything new for the Pythons!?  Ha!  If there was any doubt
about their feelings on the matter, "I Bet You They Won't Play This Song On
The Radio" removed it.  Wars were narrowly averted after various kings and
statesmen heard "I Like Chinese," "Never Be Rude To An Arab," "A Scottish
Farewell," and "Finland."  The few non-musical tracks are bloody classics,
too!  "Rock Notes" is one of Eric Idle's most brilliant bits.  If you ever
wondered where the name Toad The Wet Sprocket came from, give this track a
listen.  And how can you resist "Farewell To John Denver," in which the
Rocky Mountain Mildman is brutally strangled in mid-song?  Most wonderful
of all is "Bells," a frantically screamed conversation between a couple who
can barely hear one another over the unbelievably loud (and numerous) church
bells up the hill.  As the church breaks away from its foundation and slides
down the hill toward them, they fire a missile that reduces it to silent 
rubble.  "Well, I've always said there's nothing an agnostic can't do if he
really doesn't know whether he believes in anything or not."  Right!  Well,
I can't make a fair comparison of sound quality between this 20-bit CD and
the original LP because I don't have the LP.  I can only tell you it sounds
fantastic, as do the other three re-releases.  

All these years later, this stuff is still great fun to listen to.  Imitators
have come and gone, new styles of comedy have emerged, and P.C. rules have
colored our opinions of all of it.  Python, however, remains what it always
was: something completely different.



MORGAN HERITAGE: Protect Us Jah (VP Records)
Reviewed by Shaun Dale

A product of Morgan Heritage's collaboration with Kingston producer Bobby
Dixon, "Protect Us Jah" is an instant classic.

The progeny of Denroy Morgan have mastered the harmony stylings of the
great reggae vocal groups and applied them to a set of vitally conscious
songs.  Opening with Sly and Robbie supporting "Set Yourself Free" then
moving through fourteen more cuts featuring a group of musicians
centered around Danny Dennis (bass), Melbourne Miller (drums), Ernie
Wilks & Dalton Browne (guitars) and Benji Myers & Paul Crossdale
(keyboards), the vocal quintet deliver up a strong dose of social and
spiritual positivity.

Gramps, Lukes, Una, Mr. Mojo and Peter each make a strong contribution,
both in solo and harmony roles.  There are very strong individual voices
here, though the album does not credit the vocal solos, but they achieve
harmonies on par with such memorable groups as the Abyssinians.   On
cuts like "Mama & Papa" there's an R&B edge, using a call and response
style that would have been welcome in a Memphis studio in the sixties
(or any intervening decade, for that matter).

"Protect Us Jah" was the group's breakthrough single on the reggae
charts.  This is a group ready to chart in any category, though, and you
can help by snagging a copy of this disc.  The pleasure will be all
yours.

Track List:

Set Yourself Free * Exalt Jah * What Man Can Cry * People Are Fighting *
When Will We Decide * Mama & Papa * Let's Make Up * Africa, Here We Come
* The King Is Coming * Watch The Heathen * Let Them Talk * Protect Us
Jah * Love Is Flowing * Me Or You * Promise



MOTHERFUCKER 666: Motherfucker 666 (Get Hip)
Reviewed by Shaun Dale

With a name guaranteed to generate scads of Xmas purchases by
grandparents anxious to look hep and a lineup drawn from members of the
Pagans, the Angry Samoans and the Lazy Cowgirls (with a guest vocal
appearance by Hot Damn's Zebra Stripes), Motherfucker 666 have cranked
out a punk masterpiece.

Eight of the eleven tracks are products of various combinations of band
members (who include Mike Metoff (guitar/vocals), Keith Telligman (bass/
vocals), Alan Clark (drums) and Jeff Dahl (guitar/vocals)) but the real
treat here are the three covers.  The Stooges "Head On" may seem like a
natural punk cover, but wait till you hear what happens to Ray Davies
"Celluloid Heroes" and the Phil Spector girl group classic "Then He
Kissed Me" (featuring Zebra Stripes).

Rehearsed, recorded and mixed in three days, but millenia of cultural
decay in the making, this is just the thing to see you through the
fin de seicle.

Track List:

All Our Friends * I Don't Wanna * Celluloid Heroes * Just Another Day *
Byron's Calling * Then He Kissed Me * Best Of Times * Blues Theme From
Teengenerate Vs. Godzilla * Scourge * Head On * High For Christmas



MOZART: Sonatas for Piano and Violin: in F Major, K 377; in E Minor, K. 304; 
in F Major, K. 547; in E Flat Major, K. 481. Yefim Bronfman, Piano; Isaac
Stern, Violin. SONY SK 61962 [DDD] 78:22
Reviewed by Robert Cummings

Bronfman and Stern take an approach in these four works that veers toward 
neither confection nor meat and potatoes, settling rather on a Mozart who
is both graceful and tastefully muscular. The opening Allegro of K. 377 is
vivacious and witty, colorful and full of felicitous details. The Andante
that follows is insightfully rendered, with the wistfulness of the main 
theme captured to near perfection, and the ranging moods of the variations
that ensue handled deftly, especially by Bronfman, who appears the subtler
of the two. The finale again finds the pair right on target, striking that
balance between grace and brawn. 

Their performance of K. 304 may be the best of the bunch, though. Or maybe
it's just that I like this wonderful sonata a little better than the others.
The duo manage to wring some genuine and very convincing angst from the 
second movement, and capture the changing character throughout of the main
theme in the opening Allegro. 

The duo's K. 547 is a solid reading, though the first movement seems wanting
a bit for imagination and greater expressivity. Not that the performance 
here is bad; it's just that at times it sounds a bit stiff, making you wish
things were a tad more sprightly and elastic. The ensuing movements are
insightfully read, the second full of vigor and grace, and the finale 
encompassing the full expressive range of the theme and variations. Their
phrase endings are especially effective in Variations III and IV; and the 
introduction of each new variation is handled adroitly and with nearly all 
the sensitivity one could ask for. Try, for example, Bronfman's handling of
the opening of the fifth variation (track 8; 5:08), for solo piano, there 
being the clever illusion at the outset that you're listening to a transition.

K. 481 begins vigorously, but neither Bronfman nor Stern overlook the 
subtleties here, always maintaining a firm but flexible grip on the musical
trajectory. The Adagio is played ponderously yet sweetly, the profound 
character of the movement emerging in sadly singing tones and hushed 
utterances. This is playing on the highest level. The pair render the finale
with wit, and again show their deft ability to capture a kaleidoscopic range
of expression in their compelling enactment of the six variations.

Anyone doubting Stern's skills at this stage in his long, distinguished 
career ought to hear this disc. While Bronfman may be the more reliable of
the two, Stern more than holds up his end. Sony provides excellent sound 
and intelligent notes. There are many such Mozart sonata discs on the market
today (Neikrug/Zukerman on RCA and Haskil/Grumiaux on Philips to name just 
two), but with such impressive artistry as evidenced here, you can't go 
wrong purchasing this disc. 



ORIGINAL SOUNDTRACK: Mandela and de Klerk (Rhino/Showtime)
Reviewed by Shaun Dale

The soundtrack for the Showtime Original picture starring Sidney Poitier
and Michael Caine, this disc stars the compositions of South African
composer/producer/performer Cedric Gradus-Samson and the rhythms of his
country.

Using indigenous whistles, marimba and drum, along with keyboards
and some programmed percussion, Gradus-Samson has created a set of songs
which match the epic sweep of the movies subject, the demonstrations,
negotiations and actions which took Nelson Mandela from prison to the
presidency of his nation.

While there are only a few tracks featuring actual lyrics, voices are
used to tie the tracks together thematically.  Chants, cries and
whispers move from one cut to another, each carrying a different
dramatic purpose.  Lyrical songs include the thematic "Mandela: Symbol
To The World," "All African People" and the love theme "A Moment Of Your
Hand Touch."  "Mandela" and "Hand Touch" are presented in instrumental
arrangements, as well.

And, of course, there's a marvelous choral arrangement of "Nkosi
Sikelele," the South African National Album.

What's perhaps most amazing in this era of high tech sound track
production is the fact that these cuts were all recorded live and
produced from Gradus-Samson's Johannesburg treehouse studio (yep, I said
treehouse).  One of South Africa's best known composer/producers,
Gradus-Samson is branching out internationally, working on current
projects with Ice Cube and Jennifer Rush.

His work here is impressive, and thoroughly enjoyable even for those of
us who have not yet seen the film which inspired it.

Track List:

Nameless Faces/Sentence * Mandela: Symbol To The World (vocal) * Hand
Touch (instrumental) * Violence And Turmoil * Nkosi Sikelele * Trip To
Cape Town * A Dream In Transkei * The Boot * Moments Together * All
African People * A Cry For Freedom * Final Triumph * Thought Of Freedom
* A Moment Of Your Hand Touch (vocal) * Goodnight Mr. President *
Mandela: Symbol To The World (instrumental)



FRANKIE PAUL: A We Rule (RAS)
Reviewed by DJ Johnson

This is... what?  Frankie's 2,000 album?  He keeps cranking them out, and 
the quality remains high.  Remarkable. 	A We Rule is strong from beginning
to end, with a nice mix of pop-reggae ("Rub A Dub Market," "Stick A Sensi")
and conscious songs of praise ("Free Jah Children," "Rastafari Winner").
Frankie still knows how to present his music in a way that will appeal to 
broad range of people.  Sparse arrangements hinge on his echoed voice, 
stark keyboards croak slightly out of tune over rhythms and grooves that are 
so infectious it doesn't much matter if you understand the tale he's telling.  
For those who do understand, this is definitely a full plate.  Does anybody
remember the last bad Frankie Paul album?  Or ANY bad Frankie Paul album?
A We Rule continues the longest hitting streak in reggae.



PREACHER JACK: Return Of The Boogie Man (Rounder)
Reviewed by Shaun Dale

Preacher Jack has spent a few decades becoming a New England legend with
a country/boogie/gospel sound that sounds straight off the delta.  This
disc features five tracks culled from his early eighties Rounder albums
featuring Delaware Destroyers Billy Blough (bass) and Jeff Simon (drums)
and guitarist Sleepy LaBeef, and a gospel turn on "Just A Closer Walk With
Thee" with the Persuasions. There are also ten unreleased cuts featuring
Jack and his piano, which is more band than most folks ever get to play
with all by itself.

Preacher Jack *is* the Boogie Man, as in woogie.  Whether on solo
instrumentals like "Yancey's Bugle Call" and "Rounder Boogie," backing
his own impassioned vocals (this guy was Massachusetts born and bred?
No way.  Way.) or leading a band, his left hand thunders through like
a hypnotic force of nature. His right hand dances over the keys like
lightning, finding notes where there are no notes.

Mixing gospel standards, Hank Williams classics and nuggets from the Sun
Records catalog (Jerry Lee is an obvious influence), Preacher Jack gives
up 16 tracks of pure barroom joy.  If you missed him last time, the
Boogie Man has returned and there's still time for redemption.  As in
redeeming some greenbacks for your very own taste of boogie heaven.

Track List:

All By Myself * Say You'll Stay Until Tomorrow * Break Up * Yancey's
Bugle Call * The Public Is My Family, Music Is My Life * Go Tell It On
The Mountain * Mystery Train * Jessie's Boogie Woogie * I'll Be Your
Baby * Who Will Buy The Wine * Lovin' Up A Storm * Teardrop On A Rose *
Rounder Boogie * May You Never Be Alone Like Me * Be Careful Of The
Stones You Throw * Just A Closer Walk With Thee



PROKOFIEV: Piano Music, Volume 1: Toccata, Op. 11; Ten Small Pieces, Op. 12;
Sarcasms, Op. 17; Visions Fugitives, Op. 22; Four Pieces, Op. 4. Eteri 
Andjaparidze, Piano. NAXOS 8.553429 [DDD] 79:30
Reviewed by Robert Cummings

When I saw this disc listed at the Internet site of HNH, the parent company
of Naxos, I just knew we'd have to get it for review, since I'm a Prokofiev
aficionado from way back always interested in a new pianist taking on my
favorite composer's challenging music. True, there have been a plethora of
such discs of late to satisfy my ravenous appetite, but still. Perusing the
strange name of the pianist, I scratched my head and thought, "I can hardly
wait to hear how HE plays Prokofiev." Well, HE, as you might suspect, turned
out to be a woman--a strikingly beautiful one at that--as evidenced by a 
photograph on the back page of the album booklet, a photograph that displayed
a rather proud, somewhat defiant look on her face. And Andjaparidze 
(pronounced, I believe, AHND-YAHP-ARR-EED-SAY) turned out to play with an
authority and audacity to match that striking pose. 

She delivers the challenging Toccata with power and intense drive, equaling
or outplaying the likes of Horowitz and Lazar Berman (no mean feat!), though
not quite matching the manic and brilliant Byron Janis on his recently
reissued Mercury disc, with the Prokofiev Third and Rachmaninov First, from
the 1960s. In the Ten Small Pieces, she imparts a delicious decadence and 
sassiness to the Allemande (track 9), finding just the right mix of humor 
and savagery. The Harp Prelude (track 8) is perky, and full of life and 
vivacity; the opening Marche (track 2) is rendered with panache and mischief.
The whole set sparkles. 

The Sarcasms have never sounded as brutally sarcastic and defiant as here.
Andjaparidze zeroes in on that impudent side of Prokofiev's muse and delivers 
these five reckless pieces with such perversely appealing temerity, that 
you're completely won over in music that is otherwise a bit iffy. 

Of the twenty Visions, only two or three don't come off well: Nos. 6 and 8
are too slow; No. 16 sounds a bit hard and insensitive at the outset, then
too ponderous in the latter half. Andjaparidze often stretches tempos in 
this large collage of small pieces, but generally manages to unearth insights
not usually heard in them or to unleash her considerable virtuosity to wrest
every ounce of excitement from the music: try No. 14 (track 30), marked
feroce, if you want to hear this ferocious piece as you've never heard it
before, or sample No. 20 (track 36) to hear the depth and mystery in this
bizarre piece. In sum, this is at once the most thought-provoking and most
original set of the Visions I've ever heard. 

The Op. 4 pieces are also played with individuality and inspiring virtuosity.
The famous Diabolical Suggestion (track 40) will send chills up your spine.
Only Gavrilov and El Bacha have matched this kind of excitement in this
utterly hair-raising work, while scores of others have fallen short. Naxos
offers excellent sound, and the notes are certainly interesting though not 
always accurate. Yet another winner for Naxos. Is this the premier classical 
label or what?



RADISH: Restraining Bolt (Mercury)
Reviewed by Shaun Dale

If you've been paying attention, you've probably heard that Radish's
guitarist/vocalist/songwriter Ben Kweller is only fifteen years old,
and that the band's demo set off a major label bidding war that put
something in the seven figure range in the trio's pockets.

What has been hidden by the hype is that they've put together a pretty
decent little debut album.

In fact, if you've got a serious Nirvana jones, this is probably real
good stuff.  I don't, so I'm not sure, but Kweller is definitely a
talented kid.  There's not an insufferable amount of pretension in his
songwriting, his vocals are delivered confidently and he plays guitar
competently in a style that pays homage to one of his obvious musical
heroes, the late Mr. Cobain.

17 year old drummer John Kent and bassist Bryan Blur, 29, round out the
lineup and provide a stable foundation for Kweller's songs.

If they can keep up the pace through a few years and a couple more
albums, they might earn that signing bonus yet.  Meanwhile, this one may
not rock your world, but it rocks.

Track List:

Little Pink Stars * Simple Sincerity * Failing And Leaving * Dear Aunt
Arctica * Sugar Free * Today's Bargain * The You In Me * Still I Wait *
A Promise * Apparition Of Purity * My Guitar * Bedtime



BONNIE RAITT: Luck Of The Draw (DCC)
Reviewed by Shaun Dale

Luck Of The Draw was Bonnie Raitt's follow-up to her breakthrough
1989 release, Nick Of Time (make that "commercial breakthrough" -
Bonnie had a long reputation as a "musician's musician" prior to
becoming a multi-platinum recording star).

Capitalizing on her long tenure on the road, she called on a stellar
assemblage of friends (Delbert McClinton, Billy Vera, Bruce Hornsby,
Kris Kristofferson, John Hiatt, and the Tower of Power Horns, to name
just a few) and first call studio pros to create another commercial and
artistic success.  Producer Don Was helped get exactly what was needed
from each player and Bonnie was her always wonderful rocking, shuffling,
sliding and singing self.

This is certainly an album that belongs on most every shelf, but most of
you already know that.  And that's not what I really came to talk about.

I came to talk about vinyl.

180 gram pure virgin vinyl, to be exact.

I'm a long time fan of DCC's 24 karat gold disc format (and this
album is also available on gold disc) but this was my first opportunity
to check out the vinyl equivalent.  If you own a turntable, any
turntable, you simply have to check out this format, if not this
release.  You will hear things you have never heard.  If you don't own a
turntable, this is more than enough reason to get one.

I'm not talking high end audiophile gear here.  My rig is fairly plebeian,
but the difference is clearly noticeable.  Some credit, of course, goes
to the mastering master of DCC, Steve Hoffman, but I'm sure he'd be the
first to admit that the medium makes a difference.  If you've ever had a
question about the analog/digital debate (which I'm not trying to start
here, really...), just A/B one of these DCC vinyls with its CD
counterpart and...well, honest, I'm not trying to start an argument.

But really, you should check out some first rate vinyl, and Luck Of The
Draw is a fine way to do it...

Track List:

Something To Talk About * Good Man, Good Woman * I Can't Make You Love
Me * Tangled And Dark * Come To Me * No Business * One Part Be My Lover
* Not The Only One * Papa Come Quick (Jody and Chico) * Slow Ride * Luck
Of The Draw * All At Once



RUBE WADDELL: Hobo Train (Vaccination)
Reviewed by John Sekerka

Now yer talkin'! Rube Waddell, as y'all know, was the greatest baseball 
fireballer of 'em all. He'd set 'em up and mow 'em down at will. Famous for 
loadin' the bases, then calling in all fielders, and striking out the side,
Waddell was the stuff of legend. Before his starts, Rube would sit up in the
stands with the crowd, swig back a few, then jump down onto the field and go
about his business. He'd also disappear for long stretches, perhaps on a 
fishing trip, or maybe hanging out at the firehall, or wrasslin' alligators, 
or maybe leading a parade. Rube was Jethro from the Beverly Hillbillies - the
real deal. And just so's we all don't forget the man, up comes this wild trio
of rock musicians carrying Rube's name and tradition. Somethin' like the
Chickasaw Mudd Puppies on a hooch bender. 'The Rube Yelp,' a real dirt kicker
perfect for lighting bean farts around the campfire, starts side one of this
big ol' twelve inch black beauty vinyl slab. There's a lot of noise and twang
here, as the spirit of ol' Rube is surely pulsing through these boys' veins.
It's a dynamo record you'll wanna spin around and around, just don't go tryin'
the flip side, cuz there ain't nothin' there but a pretty picture. Nice part
is that you also get a little booklet of Rube trivia, anecdotes and time 
passers. Long live Rube Waddell! And remember kids, wherever there's a fire,
there's Rube Waddell.



PAUL SIMON: Graceland (Enhanced CD) (Warner Brothers)
Reviewed by DJ Johnson

Just over a decade has gone by since Paul Simon released Graceland to high
critical and popular praise, and the test of time has been passed with
flying colors.  Nobody is apt to argue its importance or its beauty.  This
re-release adds modern technology in the form of CD-ROM files that allow 
the listener to read lyrics on the computer screen, view the original hand
written lyrics, and watch video interviews with Simon and some of the 
amazing South African musicians who helped him create this wonderful album.
To hear Simon explaining in his own words what a lyric meant is worth the
cost of purchasing Graceland again.  The music itself, of course, is here
as well, and the disc will function normally in any player.	 In addition
to the original liner notes there is an interesting 8-page essay by Billboard 
editor Timothy White, who explains the politically charged climate that
Simon encountered and overcame.  The notes, videos, and interviews all lead
you toward the conclusion that Graceland was indeed important, but it still
only takes one listen to realize what a timeless masterpiece it is.

			   

SON VOLT: Straightaways (Warner Brothers)
Reviewed by Shaun Dale

Jay Farrar doesn't seem to be feeling so great these days, which works
out pretty well for those of us who like the melancholy country rock his
apparent depression produces.

Farrar, who contributes the tunes, vocals, guitar, organ and harmonica,
leads the quartet (including bassman Jim Boquist, drummer Mike Heidorn
and Dave Boquist on guitars, fiddle, banjo and lap steel) along with a
boost from Eric Heywood on pedal steel.

There's a range of sound on the disc that reaches from the grungy
"Caryatid Easy" to the straight honky tonk ballad feel of "Creosote,"
and Farrar's voice pulls the music back to the country even when the
instruments push off into other musical realms.  There's not much range
in the somber tone and subjects, though.  This is an album to search
the bottom of a bottle with.  If your mind's on a frolic or a filly,
there's stuff out there better suited to those pursuits.

Altogether, though, it's a worthwhile sophomore effort.  In fact, I
haven't felt this good about music that can make me feel this bad for a
while.

Track List:

Caryatid Easy * Back Into Your World * Picking Up The Signal * Left A
Slide * Creosote * Cemetery Savior * Last Minute Shakedown * Been Set
Free * No More Parades * Way Down Watson



STRAVINSKY: The Rake's Progress. Sylvia McNair (Anne Trulove); Anthony
Rolfe-Johnson (Tom Rakewell); Paul Plishka (Nick Shadow); Jane Henschel (Baba
the Turk); Jane Bunnell (Mother Goose); Donald Adams (Trulove). Tokyo Opera 
Singers; Saito Kinen Orchestra conducted by Seiji Ozawa. PHILIPS 454 431-2 
[DDD] Two Discs 2:16:33
Reviewed by Robert Cummings

When The Rake's Progress premiered in 1951, Stravinsky, a man brimming with
self-confidence from numerous past successes, suddenly found himself shaken 
by a cold reception for the new opera, his largest, grandest composition in 
any form. The younger generation and the trend-conscious saw the piece as 
old-fashioned, even inconsequential. For Stravinsky, a composer many view,
with good reason, as an ever-calculating careerist always striving to extend
his far-reaching influence and reputation, this was a devastating blow. He 
had always known he couldn't write attractive melodies like so many other, 
even lesser, composers, and so early on in his career he cultivated a keen
ability to compose ever-fresh, ever-innovative works that borrowed from past
practices and styles. The formula produced countless successes in many forms.
After the premier of The Rake's Progress, however, Stravinsky feared he was 
becoming a discardable relic, and thus made the regrettable decision to 
abandon his neoClassical style in favor of serial composition, a hardly new
musical idiom still. Stravinsky thus squandered his last two decades on a 
method rather alien to him.

This unfortunate outcome seems all the more tragic because The Rake's Progress 
has rightly come to be regarded as a masterpiece, one of the few operas from
the mid-twentieth century to gain widespread popularity, joining several by 
Britten and Prokofiev's War and Peace. Its plot, inspired by a series of 
paintings by 18th century artist William Hogarth, was set to a libretto by
W.H. Auden and Chester Kallman. By now the story is fairly well-known: Tom 
Rakewell (a rake, what else?), in love with Anne Trulove, goes off with his
new friend Nick Shadow (the devil, who else?) to London to a decadent life,
marries Baba the Turk (a bearded lady!) at the behest of Shadow, becomes 
financially ruined, defeats Shadow in a card game that wins him liberation
from his diabolical friend's influence but at the cost of his sanity. Moral:
idleness is the devil's work. Stravinsky's clever score so rightly captures
the essence of the characters and story here. What an utter delight it is!

In the recording under review Seiji Ozawa goes into competition with 
Stravinsky's own effort from 1964. And who wins? Is it Ozawa, with a rather
impressive cast of stars and state-of-the-art sound, or Stravinsky, with a 
roster of little-knowns and dated sonics? You expect me, after setting up
the obvious underdog, to say Stravinsky. Right?  But it's Ozawa that I'd 
choose. From his opening, which is lively and full of felicities, on to that
most bizarre, most compelling of scenes, the graveyard scene (CD 2, tracks 
6-9), and on to the closing epilogue, he animates the music, consistently 
finds the proper focus, and overall delivers an inspiring reading  that may
well set the standard for this opera. And his cast is uniformly splendid, 
both vocally and dramatically. Sylvia McNair as Anne Trulove is absolutely
delectable, superior to Stravinsky's very good Judith Raskin; and Anthony 
Rolfe-Johnson's Rakewell is completely convincing, making you wonder if the 
role could ever be sung better. Veteran Paul Plishka as Nick Shadow is
impressive, diabolically impressive in fact, and Jane Henschel as Baba the 
Turk is utterly delightful (try her marvelously witty Act II arias; CD 2, 
track 1). Stravinsky may point up some subtleties in the orchestration that
Ozawa misses on occasion, but on the whole the latter is more compelling,
and his little-known Japanese ensemble performs with vigor and commitment 
and sounds at least the equal of Stravinsky's Royal Philharmonic. Ozawa's 
recent, highly-praised Oedipus Rex offers further evidence that he is quite
attuned to this cosmopolitan composer's wide-ranging, yet nearly always
unemotional expressive idiom. 

There have been two other recent recordings of this opera: the Craft 
(Stravinsky's faithful assistant and sometimes ghost-conductor on certain
recordings) on Music Master Classics, with mostly unknown singers, and the 
Nagano on Erato with a stellar cast. Critical opinion has not prompted me to
seek either of them out, though. In the final analysis, Ozawa's Philips
recording is the one to have. Highly recommended. 



TUATARA: Breaking the Ethers (Epic)
Reviewed by Steve Marshall

When you combine the talents of drummer Barrett Martin (Screaming
Trees), bassist Justin Harwood (Luna), guitarist Peter Buck (R.E.M.), 
and saxophonist Skerik Walton (Critters Buggin), it would appear that 
this is just another alterna-rock supergroup. However in this case, 
nothing could be further from the truth. Breaking the Ethers is not a 
rock album. It's an instrumental collection of tunes that borrow heavily 
upon the genres of jazz and world music. According to co-founder Martin, 
the members of Tuatara just wanted to try something different.

The last Screaming Trees album, Dust, had elements of world music on it,
but nothing to this extent. The music on the CD ranges from funky jazz
excursions to steel drum workouts and cool, atmospheric soundscapes. 
There are several highlights -- "Saturday Night Church" (with Los Lobos'
Steve Berlin on bass penny whistle), "Dreamscape," and "Burning the Keys"
are but a few. None of the musicians left their respective bands to work
on this project. This was simply an opportunity for them to expand their 
horizons a bit. 

Breaking the Ethers is an interesting CD, and will probably surprise a 
lot of people. World music fans will be the band’s primary audience, 
but anyone with a musically open mind will probably enjoy it as well. 



STEVE TURRE: Steve Turre (Verve)
Reviewed by Shaun Dale

"Steve Turre" is a simple title for this ambitious undertaking, which
features 28 musicians in addition to the trombone/shell master himself.
It is also simply the only appropriate title.  The majesty and
brilliance of Turre's musical vision dominates every corner of every
track, regardless of the number of performers.

But the supporting cast is impressive enough to merit a roll call:
 
J.J. Johnson/Britt Woodman/Frank Lacy/Dough Proviance/Robin
Eubanks/Jimmy Bosch; trombones, Alfredo "Chocolate" Armeteros/Jon
Faddis/Randy Brecker; flugelhorns/trumpets, Willie Rodriguez/Stephen
Scott; pianos, Stefon Harris; vibes/marimba/balifon, Andy Gonzales;
bass, Akua Dixon; cello (fronting Quartet Indigo), Regina Carter;
violin, Portinho/Victor Lewis/Horacio "Negro" Hernandez; drums, Manny
O'Quendo/Milton Cardona/Kimati Dinzulu/Herculano Frederici; hand drums/
percussion, Romero Lubambo; guitar, Cassandra Wilson/Graciela Perez;
vocals.

And every player is needed to achieve this brilliant synthesis of
American, Cuban and Brazilian music.  Turre offers extensive notes
detailing the interplay of the ensemble and the solos, revealing his
admiration for the assembled players and his intentions regarding the
underlying structure of the pieces offered.

A note on the shells is due here.  Steve Turre was introduced to the
conch shell as jazz instrument during his tenure with Roland Kirk, and
he has become the undisputed master of their use.  If you haven't heard
(or can't even imagine) his conch shell solos, the ones here provide
more than enough reason to add this disc to your collection.  They are
hardly the only, or even the best, reason to do so, though.  There is
something astonishingly wonderful about every cut.

Steve Turre is touring with his Shell Choir this summer, and if he comes
anywhere near you, try to be there.  Whether you catch the show or not,
though, don't miss this disc.

Track List:

In A Sentimental Mood * The Emperor * Let It Go * Ayer Lo Vi Llorar *
Coastin' With Bobby * Steve's Blues * Inocencia * Mongo N' McCoy



VARIOUS ARTISTS: Alive And Kickin' - Big Band Sounds At M-G-M (Rhino)
Reviewed by DJ Johnson

Big Band music was the rock and roll of the 30s and 40s.  The kids got 
drunk, danced, fought, fell in love, and made out to the sounds of the 
Dorsey brothers, Harry James, Artie Shaw and other bandleaders of the day.
The motion picture industry picked up on it in short order and began making
movie stars out of those bandleaders.  Any American Movie Classics (AMC) 
addict has seen a zillion clips from the resulting films, as they're 
regularly shown between movies on that channel.  

Alive And Kickin' collects 23 tracks from MGM flicks like Broadway Rhythm,
Dancing Co-Ed, Ship Ahoy, and Thrill Of A Romance.  While the majority of 
the tracks involve one Dorsey or the other, there are also some excellent
performances by the bands of Vaughn Monroe, Bob Crosby, Kay Kaiser, Guy
Lombardo and Tex Beneke, with vocal performances that range from the sublime
(Frank Sinatra, Bob Eberly, Helen O'Connell) to the curious (June Allyson,
but it's strictly a matter of personal taste, I think).

Collectors should  note that these songs have never been available before,
and some of them never even made it past the cutting room floor at MGM,
though not because of the quality of the music.  While the sound quality 
might not create much of a stir in audiophile circles, it's at least worth
noting that stereo mixes were achieved in a few cases because the performances
had been miked from more than one angle.  On some tracks, hiss is at an 
annoying level for headphone users, but it's not an issue during normal 
speaker listening. Some tracks are brighter than others, but none have been
squashed and slaughtered by noise reduction (unlike tracks on many other big
band CDs I own).

The liner notes, written by author and music critic extraordinare Will 
Friedwald, are jammed with information about each band and track, and
cool bits of trivia about the films.  

Rhino didn't skimp on quantity, either, filling this baby to the brim with 
75:47 of dynamite music.  Much appreciated.


TRACK LIST: 

Opus One (Tommy Dorsey) * Irresistible You (Tommy Dorsey w/Skip Nelson and
the Sentimentalists) * One O'Clock Jump (Jimmy Dorsey) * I Cried For You
(Harry James & his Music Makers w/ Helen Forest) * I Fell In Love With The
Leader Of The Band (Tommy Dorsey w/ Virginia O'Brien) * Chattanooga Choo Choo
(Tex Beneke) * Hawaiian War Chant (Tommy Dorsey) * I'm Yours (Artie Shaw) *
Love On A Greyhound Bus (Guy Lombardo w/ Pat Kirkwood) * I Like To Recognize
The Tune (Vaughn Monroe w/ June Allyson & others) * Song of India (Tommy
Dorsey) * Star Eyes (Jimmy Dorsey w/ Bob Eberley & Helen O'Connell) * Do I
Love You? (Tommy Dorsey w/ The Pied Pipers) * The Donkey Serenade (Artie
Shaw) * In A Little Spanish Town (Bob Crosby w/ June Allyson & others) * I
Should Care (Tommy Dorsey w/ Bob Allen) * Shorter Than Me (Jimmy Dorsey w/
Buck & Bubbles) * Blue Skies (Tommy Dorsey w/ Frank Sinatra) * At Sundown 
(Artie Shaw) * Alive And Kickin' (Harry James w/ Nancy Walker) * Mississippi
Dream Boat (Kay Kaiser w/ Sully Mason & Marilyn Maxwell) * Lord And Lady Gate
(Jimmy Dorsey w/ Helen O'Connell) * Trumpet Blues (Harry James)



VARIOUS ARTISTS: Glass Flesh (Infinity Chair)
Reviewed by John Sekerka

As tribute records go this one has an interesting story. Glass Flesh is 
basically a pick of the litter from a three volume, fifty song cassette 
project that found life through the Internet. The object of desire being 
Robyn Hitchcock, a prolific writer who owns a fanatic following, to which
I must admit, I belong. Despite a plethora of records and two decades in 
the biz, Hitchcock remains somewhat of an enigma. His odd curio tales set 
to jangly guitar pop are a godsend in a land of poseurs and second rate
hacks. Oh, sorry, I'll get down off the pedestal now. Glass Flesh succeeds
as tribute because it is a labour of love, done up by musical fans, not
just a label roster shuffled into the studio to crack out an assembly 
line project. I can't say I've heard of any of these artists with the lone
exception of Vic Chesnutt, and that speaks for itself. The performances 
range from straight acoustic readings to quirky takes - Chesnutt's beat 
box version of 'She Doesn't Exist' is an eye-popper. Glass Flesh  is full
of great takes and anyone familiar with Hitchcock will relish this listen. 
Twenty tracks may seem like a full plate, but for real fans the entire 
cassette collection is a must, especially since it includes a breathtaking
version of 'Underwater Moonlight' by The Transparencies. This, by the way, 
is an ongoing project, so if you have a special Hitchcock cover you can
contact the folks responsible at: walden@universe.digex.net. You can also 
visit the site at: http://remus.rutgers.edu/~woj/glassflesh. Enough said.
(Infinity Chair Records - 5905 Greentree Rd., Bethesda, MD, 20817)


 
VARIOUS ARTISTS: Go Kart vs. The Corporate Giant (Go Kart)
Reviewed by DJ Johnson

Get this.  Get this.  GET THIS!  I always appreciate bang for the buck, and
there are 28 tracks by 20 bands spread over 73 minutes!  But that's no good
unless the music IS good, and this music cooks.  "Jerk Of All Trades," by
Lunachicks, bumps and grinds and basically sets the stage for the parade of
punk and power pop to come.  Talk about a monster roster: The Meatmen, Wives,
Weston, Buttsteak, Sea Monkeys, The Voluptuous Horror Of Karen Black, Canned
Travolta, Les Stitches, Berserk, Stress Magnets... and that's just for 
starters.  Most of this music is shot at you from a big ol' cannon, but
there are a few breaks in the action, such as the twisted  lounge tune,
"I Shot JFK," by Black Velvet Flag.  When I say lounge, I'm not talking 
about swank string sections.  I'm talking about the little airport lounge
with the four foot square stage.  I'm talking enough cheese to constipate
the nation.  Gotta love it!  The best of 'em all, at least to a guy like me
who just can't resist a well written power pop song, is "Rocket Girl" by
Shake Appeal.  Fantastic pop structure, great harmony vocals, and a winning
hook every twenty seconds or so.  Pop this!  It's up there with Redd Kross 
and Chixdiggit.	 The rest of the disc rocks like an avalanche, too.  Get
this! (Go-Kart Records: PO Box 20, Prince Street Station, New York, NY 10012.
Phone: 212-673-3380. E-Mail gokartrec@aol.com. Check out the website at
http://members.aol.com/gokartrec/homepage.html.)



VARIOUS ARTISTS: KCRW Rare On-Air Performances Volume Three (Mammoth)
Reviewed by Steve Marshall

If you live in or around the Los Angeles area, chances are you've probably 
heard Chris Douridas's morning show on KCRW, Morning Becomes Eclectic. At
various times during the week, they feature artists performing live in the
station's studios. This is the third CD in a series of these performances.
In keeping with the premise of the show's title, past installments have
included an eclectic mix of artists, to say the least. Leonard Cohen, Tori
Amos, Beck, Tanya Donnelly, Nick Cave, and Sebadoh are just a few of the
artists who have contributed tracks to the previous CDs. 

Volume 3 includes 14 tracks from artists who have graced the KCRW performance
studios over the last year; all recorded live with no overdubs. Some of the
artists featured include Patti Smith (with her first commercially available
live performance of "Dancing Barefoot"), Fiona Apple, Ben Folds Five, Guided
By Voices, and Stereolab (who contribute a new track called "Spinal Column").
Cowboy Junkies turn in an ethereal version of the Bruce Springsteen tune,
"State Trooper." Soundtrack maven Angelo Badalamenti teams up with Tim Booth
on the touching love song, "Fall in Love With Me."

Other highlights on the CD include Me'Shell Ndegeocello's sultry 
"Ecclesiastes: Free My Heart," the effect-laden guitar work on Luna's "23
Minutes in Brussels," and Gonzalo Rubalcaba's solo piano rendition of John
Lennon's "Imagine." Other tracks don't hold up quite as well. The songs by
Remy Zero, and The Wallflowers come across as uninspired and boring. Aside 
from those, Rare On-Air Volume 3 contains memorable performances by just 
about everyone involved.   



VARIOUS ARTISTS: MTV's Amp (Astralwerks/Caroline)
Reviewed by DJ Johnson

This is a collection of 13 electronic tracks performed by some of the best
artists from both Europe and North America.  Stylistically, it's a long
trek from sub-genre to sub-genre, which is good if you're looking for either
an overview or a quick snapshot of a moment in time, but not necessarily
so good if you're only tuned in to one of these sub-genres.  Why anyone would
limit themselves like that, I don't know, but some do.  Those people won't
appreciate the mesmerizing groove of "Busy Child" (Crystal Method), or the
bat-in-the-face rhythm of "Block Rockin' Beats" (The Chemical Brothers), or
the powerful drums & bass sounds of "Inner City Life" (Goldie) and "Ni Ten
Ichi Ryu" (Photek).  At least they won't pick D) all of the above.  But if
you ARE looking for a "here's what the scene is like right...NOW" disc, this
one will do the trick.



VARIOUS ARTISTS: Poptopia - Power Pop Classics Of The 70s, 80s & 90s (Rhino)
Reviewed by DJ Johnson

Glancing through the track list of Rhino's new 3-CD set, Poptopia, the first
thing I noticed was that a lot of these songs are obvious.  In fact, quite a
few of them have appeared on previous Rhino comps in the DIY series.  If I
put my rose tinted glasses on, I can imagine they appear here because they
fit so perfectly with the rest of this set, but I can't shake the notion that
it has more to do with licensing fees and availability.  There are many great
Flamin' Groovies tracks besides "Shake Some Action," and you'd think that
just about any other Bram Tchaikovsky tune would demonstrate power pop as 
well as "The Girl Of My Dreams."  Happily, this is my only bitch.  Poptopia
plays through like a well crafted feature film, unfolding the history of 
power pop as it happened from 1972 to present.  (No, they do not start with
The Who or Small Faces 60s music that gave birth to the form, but since these
CDs are sold individually, don't rule out future volumes.)

The CDs are arranged by decade.  The 70s disc begins, as it should, with 
The Raspberries' classic "Go All The Way," a tune that in a sense ushered
in much of the music collected here.  70s power pop purists will approve of
these selections.  After all, you can't argue with well crafted pop like
"Starry Eyes" (The Records), "Yellow Pills" (20/20), "Just A Chance" 
(Badfinger), "Come On, Come On" (Cheap Trick) and "I'm On Fire" (Dwight
Twilley Band).  Of course, a few of those purists will spit tacks over the
inclusion of The Knack's "Good Girls Don't," but they can get bent, because 
it's pure power pop and it belongs here, retarded sexuality and all.

The 80s disc begins, as IT should, with The Romantics' "That's What I Like
About You," and continues on through 18 tracks of pure power pop heaven.
The 1980s were my own personal era of power pop awareness, and I have to 
say that I find the track list extremely exciting.  Not only are the obvious
ones here (The Plimsouls' "Million Miles Away," Hoodoo Guru's "I Want You
Back," etc), but Rhino has stocked the disc with great lesser known cuts 
like "Hold On To Something" by Great Buildings (a band that later morphed
into The Rembrandts), "Going Down To Liverpool"	by The Bangles, "She Goes
Out With Everybody" by The SpongeTones (who had some of the best Beatles
clone-harmonies in the biz), and "Places That Are Gone" by Tommy Keane.
I remember getting ahold of a 12-inch single of that Keane track and trying
to turn friends on to it.  No takers.  Never heard a thing about it again
until now.  Makes my day to see it here along side these fantastic cuts.

For me, the biggest surprise is the 90s disc.  Having lost touch with both
radio and MTV (as opposed to going insane), most of this stuff was brand
new to me.  You probably know far more about this disc than I do.  All I 
can say is DAMN!  There's some excellent power pop still happening on some
of the major labels.  Matthew Sweet, Jellyfish, The Tearaways, The Rooks, 
Velocity Girl (okay, I knew that one), The Posies, Idle Wilds, Velvet 
Crush, Gigolo Aunts, Wondermints... these are great power pop bands that
can give us hope for the next decade.  

The packaging is quite spiff.  Liner notes include remembrances of many of
the artists, including Eric Carman, Todd Rundgren, Peter Case, Marshall
Crenshaw, and Ken Stringfellow, an approach that personalizes the music 
and gives one some insight to the times and circumstances around the songs.
The picture under each CD tray is a phonograph with a 45 playing on it, and
when you move the jewel box back and forth, the record spins and the tone
arm moves.  Nice touch!  Truth is, these three CDs could have been wrapped
in blank plastic envelopes with no other packaging at all.  Good pop is 
all you need.  


TRACK LIST - Disc One: The 70s.

GO ALL THE WAY (Raspberries) * COULDN'T I JUST TELL YOU (Todd Rundgren) *
ABRACADABRA (HAVE YOU SEEN HER?) (Blue Ash) * SEPTEMBER GURLS (Big Star) *
JUST A CHANCE (Badfinger) * I'M ON FIRE (Dwight Twilley Band) * SHAKE SOME 
ACTION * (Flamin' Groovies) * BABY IT'S COLD OUTSIDE (Pezband) * COME ON, 
COME ON (Cheap Trick) *  WHERE HAVE YOU BEEN ALL MY LIFE (Fotomaker) *
I WANNA BE YOUR BOYFRIEND (The Rubinoos) * STARRY EYES (The Records) *
GIRL OF MY DREAMS (Bram Tchaikovsky) * CRUEL TO BE KIND (Nick Lowe) * GOOD 
GIRLS DON'T (The Knack) * TOO LATE (Shoes) * YELLOW PILLS (20/20) * ROCK N 
ROLL GIRL (The Beat) 

Disc Two: The 80s.

WHAT I LIKE ABOUT YOU (The Romantics) *  BABY IT'S YOU (Phil Seymour) * HOLD
ON TO SOMETHING (Great Buildings) * TELL THAT GIRL TO SHUT UP (Holly & The 
Italians) * A MILLION MILES AWAY (The Plimsouls) * SHE GOES OUT WITH EVERYBODY 
(The SpongeTones) * WHENEVER YOU'RE ON MY MIND (Marshall Crenshaw) * I WANT
YOU BACK (The Hoodoo Gurus) * EVERY WORD MEANS NO (Let's Active) * CRYBABY 
(Utopia) * GOING DOWN TO LIVERPOOL (Bangles) * LOVE IS FOR LOVERS (The dB's) *
WHATEVER HAPPENED TO FUN (Candy) * PLACES THAT ARE GONE (Tommy Keene) * 
BEHIND THE WALL OF SLEEP (The Smithereens) * LISA ANNE (Bill Lloyd) * SHE'S 
SO YOUNG (The Pursuit Of Happiness) * THERE SHE GOES (The La's)

Disc Three:	The 90s.

I'VE BEEN WAITING (Matthew Sweet) *  THAT IS WHY (Jellyfish) * TWISTERELLA 
(Ride) * COPE (Gigolo Aunts) * ROLLIN' DOWN THE HILL (The Rembrandts) * 
JESSICA SOMETHING (The Tearaways) * SOLAR SISTER (The Posies) * PROTO-PRETTY
(Wondermints) * INTO YOUR ARMS (The Lemonheads) * LADY IN THE FRONT ROW 
(Redd Kross) * SAME THING (The Grays) * REASONS (The Rooks) * TRAMPOLINE (The
Greenberry Woods) * I CAN'T STOP SMILING (Velocity Girl) * HOLD ME UP (Velvet
Crush) * THE PARTY RAGES ON (Zumpano) * EVERY MINUTE (P. Hux) * YOU'RE ALL 
FORGIVEN (Idle Wilds)



VARIOUS ARTISTS: The Real Authentic Sound Of Studio One (RAS)
Reviewed by Shaun Dale

In the late 1980's RAS Records connected with Coxson Dodd's famous
Studio One to produce two compilations of songs using the classic Studio
One rhythm of "Full Up."  These albums, "Dance Hall Session" and "All
The Same Rhythm" have now been made available on CD for the first time,
both on a single disc.

This is more than a marvelously entertaining recording, though it is
certainly that.  It is an essential demonstration of the crucial role of
rhythm in reggae music, and of the central role of Coxson Dodd and
Studio One in defining those rhythms.  When you say "reggae" to someone
only casually informed about the music, the audio impression they will
pull up from memory will sound very much like the music on this disc.
For good reason.  If rhythm is central to the genre, "Full Up" is
central to the rhythm.

There are 18 tracks here, altogether, including Dodd's original rhythm
track and a "wild mix" of the same.  Sixteen separate artists put down
sixteen separate vocal, instrumental and lyrical interpretations and, in
the process, create a body of distinctive yet cohesive music.

"The Real Authentic Sound Of Studio One" is essential for those who want
to play or truly understand the music.  It is pure joy for those whose
joy is found purely in listening.

Track List:

Earl Sixteen/Musically Crucial * Horace Martin/Gimme Fe Me Corn * Little
John/Who Beg No Get * Hugh Griffith/So Secure * Hugh Griffith/Dance Hall
Session * Hortense Ellis/Sweetheart * Carlton Livingston/Predicting Your
Future * Mikey Jarrett/Get You Green Card * Full Up (original mix) *
Dillinger/Jamaican Collie * Barry Brown/Asking You To Leave * Michigan &
Smiley/Thank You Jah * Freddie McGregor/Africa Here I Come * Full Up
(wild mix) * Tennessee/What a Gwan * Lone Ranger/Three Mile Skank *
Frankie Paul/Rub A Dub With Feeling * Ethiopians/Naw Give Up



VARIOUS ARTISTS: Seventeen And A Half Is Still Jailbait (Nitro)
Reviewed by DJ Johnson

18 tracks (listed as 17 and 1/2) of snarly, crunchy pop-punk tunes from 
Nitro/Demolition Derby Records in Belgium.  This disc is in high gear all
the way, kicked there by an assortment of Norwegian and Spanish bands, 
along with just a few from elsewhere on the planet.  My favorite Norwegian
band of all time, The Basement Brats, pop up with their first single since
lead singer Magnum Olsen left the band.  I tried not to like it.  Honest I
did.  But while it IS sorely lacking in vocal attitude, it still has that
Wall-O-Brats sound behind it, and that just rocks.  Magnum's new band, 
Dammit, makes their debut here as well, and things are lookin' bright for
their future.  "So Much To Do" is a basic tune, but it drips attitude and
power.  Other standouts include The Grey Spikes, The Abusers, Bonk, and
Anal Babes (is that a band, or a video title?), all of which shake the 
rafters.  And with the subject matter of some of these tracks, Jailbait is 
not for the faint of heart.	 Buy it for your grandma if you don't believe
me.  You'll see.  (Nitro/Demolition Derby Records, c/o Kris Verreth, 
Tervuursestwg, 217 - 1820 Perk - Belgium.  E-Mail demderby@tornado.be)



VARIOUS ARTISTS: Steel Rails (Classic Railroad Songs Vol. 1)
VARIOUS ARTISTS: Mystery Train (Classic Railroad Songs Vol. 2) (Rounder)
Reviewed by Shaun Dale

Rounder has released one of the greatest collections of folk, country
and bluegrass music available, cleverly disguised as a two volume set of
train songs.

Trains, of course, carry passengers, freight and mail.  They also carry
a rich cargo of history, romance and legend.  All that is collected
here, presented by a stellar roster of artists.

Let's see, Roy Acuff, Utah Phillips, Jimmie Rodgers, Alison Krauss,
David Grisman, Doc Watson, Sons of the Pioneers, Johnny Cash, the Carter
Family, Bob Wills & His Texas Playboys, Hank Snow, the Stanley Brothers,
Flatt & Scruggs...had enough?  That's just the beginning.

The 28 tracks on these two discs (they're separate releases, but I
couldn't begin to choose a favorite) are like 28 train cars filled with
separate and priceless treasures.  If you care about the American
musical tradition, you'll love this stuff.  If you're overdue for an
introduction to that tradition, I couldn't recommend a better way to get
acquainted.

Track List:

Steel Rails:  Roy Acuff/Wabash Cannonball * Johnson Mountain Boys/Orange
Blossom Special * Utah Phillips/Daddy, What's A Train * Jimmie Rodgers/
Jimmie The Kid * Kieran Kane/Ramblin' Man * Alison Krause/Steel Rails *
Del McCoury/Trainwreck Of Emotion * Hugh Moffatt/Slow Moving Freight
Train * Tom Russell/Lord Of The Trains * Peter Rowan/Last Train * David
Grisman with Doc Watson & Alan O'Bryant/Nine Pound Hammer * Sons Of The
Pioneers/The Golden Train Comes Down * Guy Clark/Texas, 1947 * Kate
McKenzie/Pan American Boogie

Mystery Train:  Johnny Cash/Casey Jones * Whitstein Bros./Freight Train
Boogie * Steve Goodman/City Of New Orleans * Sleepy LaBeef/Mystery Train
* Carter Family/The Cannonball * Flat & Scruggs/Big Black Train *
Delmore Bros. & Wayne Raney/Red Ball To Natchez * Bob Wills & His Texas
Playboys/Take The "A" Train * Hank Snow/Waiting For A Train * Patsy
Cline/Life's Railway To Heaven * Tony Rice Unit/Old Train * Jim & Jesse/
Bringin' In The Georgia Mail * Stanley Bros./Train 45 * Mary McCaslin/
Last Cannonball



VARIOUS ARTISTS: Total Togetherness, Vol. 6 (VP Records)
Reviewed by Shaun Dale

The reggae scene is so amazingly diverse and dynamic, with a seemingly
endless stream of new artists, styles and studios to discover and, of
course, a substantial roster of favorites to keep up with, that even a
casual effort to stay informed is a daunting task.

That's why a new compilation is always a welcome addition to my reggae
rack.  VP Records' new entry in the "Total Togetherness" series is
especially welcome.

Mixing up dance hall, lover's rock, pop and conscious stylings (with an
uptempo pass at the macarena to round things out), there's a bit here
for everyone, and every bit of it good.  From the opening bars of Lady
Saw's dancehall rap "Not In Love" to the closing notes of "Shine," a
fine reggae ballad by Kerry, there's non-stop music to smile at, dance
to and think about here.  If you know reggae at all, you're bound to
find a favorite artist or two in here, and some new names and sounds to
boot.

"Total Togetherness, Vol. 6" is a fine collection, a service to the
reggae community and a party on a disc.  Check it out.

Track List:

Lady Saw/Not In Love * General Degree/Woe, Woe, Woe * Papa San/Jeanie *
Bushman/Call The Hearse * Sophia George/Tell Me * Junior Tucker/Falling
In Love With You * Ghost/Your Style * Niggah Mikey/Macarena Dance *
Spragga Benz/Got To Go * Beenie Man & Tanto Metro/Middle Of The Night *
Mikey Spice/I Need More * Richie Stephens/Bull In A Pen * Sanchez/Step
In My Room * Bobby Crystal & Cudjo Banton/Rose Garden * Ghost/Because
You Love Me * Frankie Paul/We Got It * Kerry/Shine

  

LES VICE BARONS: Steel Blue Moods (Nitro/Demolition Derby)
Reviewed by DJ Johnson

Every time I put this CD in the player, I start getting hyperactive before 
the play button is even pushed!  That's how hot and powerful this music is. 
Just the anticipation moves my feet.  You should see me when the music 
actually STARTS!  Or... maybe you shouldn't.  The point is, Les Vice Barons
kick hard and often on Steel Blue Moods. 

With their unique blend of surf, garage, and exotic musical cheeses, this 
band ought to appeal to a huge cross section of the record buying public and
rack up Nirvana-like sales figures in no time flat.  Ha!  Who said life is 
fair?  Incredible to think that only a small group of lucky people will ever
hear this amazing--and possibly definitive--version of "Time Bomb."  Talk
about your dangerous guitar tones!  I think this guy was using The Who's PA
system as his freakin' PRE-amp!	 It growls and slashes and just narrowly
avoids bursting into flames.  Is this the same guy playing the tasteful
tremolo parts on the slightly soulful "No Way To Behave?"  I don't have a
clue about who is and who isn't in this band, but the keyboard player
impresses me.  Not that he or she plays anything that would challenge Keith
Emerson, mind you, but because the tone is different in every song and it 
always adds intensity and texture without being distracting.

The kinky attitude of Les Vice Barons touches nearly every track, but the one
that twists the envelope until it rips is "Shaft In Matongue," a whoda-thunkit
marriage of surf, Shaft waka-waka back-alley funk, and 60s hipster music.
Laugh In's party sequences should have been draped in this music, but the
band probably would have insisted that Goldie wear the nazi outfit instead 
of Artie Johnson.  The album ends on an equally twisted note with the 
ultimate mystery track - ultimate because the mystery isn't just the lack of
documentation in the liner notes.  You'll see, if you're one of the lucky
ones that tracks this hot disc down.  Here's the first clue	to help you on
that quest.  Nitro/Demolition Derby Records, c/o Kris Verreth, Tervuursestwg,
217 - 1820 Perk - Belgium.  E-Mail demderby@tornado.be.  



WEBER: Quintet for Clarinet and Strings, Op. 34; David Shifrin, Clarinet; 
Ani Kavafian and Maria Bachmann, Violins; Paul Neubauer, Viola; Fred Sherry,
Cello. Grand Duo Concertant, Op. 48; Seven Variations, Op. 33; David Shifrin,
Clarinet; David Golub, Piano. Introduction, Theme and Variations, Op. Posth.
David Shifrin, Clarinet; Cho-Liang Lin and Toby Hoffman, violins; Paul 
Neubauer, viola; Gary Hoffman, cello. (DELOS DE 3194 [DDD] 69:40)
Reviewed by Robert Cummings

Normally, when a disc like this passes muster, I close with a kind of 
cautionary recommendation, something like the following: "If the clarinet 
is in your field of interest, then this CD will appeal to you." I must
announce right off, however, that I'm going to dispense with any such 
qualifying statement in this notice because the music and performances here
offer such irresistible appeal that almost anyone interested in classical 
music will love them. And I hasten to point out that I have never been 
particularly partial to the clarinet, or to clarinet-dominated chamber music. 

David Shifrin plays with accurate intonation, seemingly perfect breath 
control, subtle manipulation of dynamics, and an all-encompassing technique
that never appears strained in these challenging pieces. He is abetted 
throughout by musicians of high caliber, most of whom are well-known 
performers in their own right: Cho Liang-Lin is a violinist who appears to
have a superstar career ahead of him; and Kavafian, Sherry, Golub and the 
others are all eminently respected artists. 

The beguiling Quintet by Carl Maria von Weber (1786-1826) is the lead-off
piece here, and what a piece it is! It is full of color and wit, expressive
depth and harmonic subtlety. It's just the work to draw the novice or 
skeptic into the world of the clarinet. If the verve and high spirits of the 
first movement somehow don't move you, try the dark lyricism of the second, 
or the mocking exchanges that brighten the Menuetto (the cello's shadowing
of the clarinet beginning at :13 and occurring throughout is deliciously 
witty), or the brilliance and charm of the clarinet writing in the vivacious
finale. 

The Grand Duo Concertant is hardly less appealing. Weber invests this music 
with the same forward-looking spirit as in the Quintet, but, in the absence 
of string accompaniment, supplies a brilliant piano part nearly the equal to
that of the clarinet. Weber was, after all, a virtuoso pianist, and composed
effectively and fairly extensively for his instrument, though often in only 
accompanimental roles (for flute and clarinet in particular). The work is in
three movements, the central one of which is an atmospheric and intense 
Andante, framed by a colorful Allegro and an infectiously ebullient Rondo.
Try the magic moment in the second movement, at the end of the angst-ridden 
piano solo (track 6; 2:36), when the clarinet reenters to exquisitely demure
accompaniment from the keyboard. 

The remaining works, the Seven Variations and Introduction, Theme and 
Variations, are delightful bonuses, even if the authorship of the latter 
piece is in question. Delos offers splendid sound and intelligent notes, 
and even goes so far as to give four pages of notes in large print and
simple language for children. Shifrin is a major artist, both interpretively
and technically, and elevates this issue into competition for chamber music
disc of the year. Need I write "recommended"?



XTC: Oranges & Lemons (Geffen/Original Master Recording)
Reviewed by John Sekerka
	    
Lest you think I've fallen from a tree and lost all sense of time, lemme 
explain, this release is one of these new fangled super sounding gold discs.
They look swell, come in an eye-popping CD-popping jewel case, and they cost 
a bundle. Something for those audio buffs out there who spend spare time 
huddled under earphones, tweaking equalizers and the such. Me, I like my 
rock any way I can get it: on the hi-fi, on the tinny car radio, on the 
Close 'n' Play. Rock is rock. But then again, curiosity is another matter.
I must admit to having a bit of a saliva run when opening this little
beauty - it really looks like a jewel, not a record. At first the sound 
doesn't seem so unusual, but when I crank the volume, over and over, I 
can hear the technology at work. Everything is crystal clear. The separation
is astounding: drums to the left, guitars on the right, voices swirling 
above. It helps to have XTC playing, the premier pop masters of the eighties.
Oranges & Lemons being their Magical Mystery Tour, a pompous, self-indulgent,
over-orchestrated masterpiece. It may not have the song power of other 
releases, but it uses the most instruments, and that is important here. The
gold disc technology shines, but is it really necessary?  Nope, but that 
shouldn't stop you, and boy does it ever look swell on the mantelpiece
underneath my velvet Elvis.



FRANK ZAPPA: Have I Offended Someone? (Rykodisc)
Reviewed by Steve Marshall

The US Constitution states the following: "Congress shall make no law respecting 
an establishment of religion, or prohibiting the free exercise thereof; or 
abridging the freedom of speech, or of the press; or the right of the people 
peaceably to assemble, and to petition the Government for a redress of 
grievances." 

From as far back as the 60's, Frank Zappa was always a proponent for the right 
to free speech. If the lyrics to these songs were printed in a book, no one 
would blink an eye. Yet for some reason, once they're heard in a musical 
context, people get upset. Considered by many to be some of his best material, 
this politically incorrect collection of songs is sure to please the legions of 
Zappa fans out there. Naturally, when you try to create a 'best of' album, there 
are always things that have to be left off--especially with the wealth of 
material that Zappa released over the years. In 1995, Rykodisc released the 
excellent Strictly Commercial, a collection of classic material suitable for 
radio play. As great as this CD was, there were other songs  that, because of 
the intended format, could not be included. Those songs, or at least some of 
them, appear on the new disc.

Have I Offended Someone was one of the last things Frank produced before he 
died. Although Zappa didn't provide any type of notes with the master tape, this 
compilation is probably closer to his idea of a greatest hits album. These are 
the songs that got people up in arms. Songs like "Bobby Brown Goes Down," 
"Titties and Beer" and "Dinah Moe Humm" are just a few of the many tracks that 
attract fans to his music. While this is an excellent primer for the 
uninitiated, the people who will benefit most from this CD are the ones who 
already have the original CDs. Most of the tracks have been remixed and/or 
reconstructed by FZ himself. 

"Bobby Brown Goes Down" is the first track on the CD; and features new 
background vocals, as well as a new mix. "Disco Boy," "Goblin Girl," "In 
France," "He's So Gay" and "We're Turning Again" have all been remixed, and 
"Goblin Girl" is a bit slower now. Zappa created yet another edit for "Titties 
and Beer"; and reworked "Dinah Moe Humm" to include a few lines from "Montana" 
(both tracks originally appeared on the 1974 classic, Over-Nite Sensation). 
Other highlights include previously unreleased live versions of "Tinseltown 
Rebellion" (this tune was always better when performed on stage) and "Dumb All 
Over." The latter includes the only FZ guitar solo on the disc. 

There are three tunes that should have been left off in favor of better ones: 
"Goblin Girl" (what's so offensive about this one?), "SEX," and "Yo Cats." Aside 
from those three tunes, this is a great disc. The two live tracks are worth the 
price of the CD by themselves--everything else is a bonus. Can you say Volume 2? 

____________________________________________________________________________

COSMIK QUICKIES - Short little reviews for people who are in a big hurry.




AMBROSIA: Anthology (Warner Brothers)
Reviewed by Steve Marshall

One of the most sought after groups on CD is Ambrosia. Their albums have
never been available on compact disc in the US, and only a select few have 
been released overseas. Finally, after all these years, the band has just
released their first compilation disc. Most of the big FM hits are 
included--"Nice Nice Very Nice," "Holdin' On to Yesterday," "Time Waits For
No One," and "Life Beyond L.A."--as well as the MOR tracks "Biggest Part of
Me" and "How Much I Feel." Ambrosia fans will be excited to see *anything* 
by the band on CD, but hardcore fans will be disappointed in the song
selection. On a positive note, the liner notes are informative and the 
sound quality is impeccable.



ARGENT: All Together Now (Koch International)
Reviewed by Steve Marshall

When you think of Argent, you normally think of one song--"Hold Your Head
Up." All Together Now is the album where the song originally appeared. It 
made stars out of the band, even if it was just for this one song. The thing
most people don't know is that they released a number of other albums as 
well. Most of them were nothing spectacular, but there were a few (like In 
Deep) that had some great songs on them. The reissue contains all the songs
from the original album, plus 7 bonus tracks--including "Closer to Heaven"
(the excellent B-side to "Hold Your Head Up") and three tracks from In Deep,
including the classic "God Gave Rock and Roll to You." All Together Now was
never a great album on its own, but the bonus tracks make it a worthwhile
addition to your collection.



ATARI TEENAGE RIOT: Burn, Berlin, Burn! (Grand Royal)
Reviewed by John Sekerka

Techno Power Ranger Nazis from Quentin Tarrantino video hell thrash the 
joint in a Tasmanian devil twister ride. Take MTV, Sega, Microsoft and 
Nike... every micro-edit commercial, toss 'em inna blender, puré for fifty
minutes and you've yourself a migraine of massive proportions. Brings a new
meaning to stimulus overload. Course the kids'll eat it up. Surge protector
mandatory.



THE BOSS TWEADS: 7" (Get Hip)
Reviewed by DJ Johnson

"Goin' Away" is one of the coolest garage tunes of the 60s, and that's saying
a lot.  Great Farfisa organ, simple bass and drums, unobtrusive guitar...
Does that sound bad?  No, the song was the thing.  Structure.  Had they ever
run into a motivated manager or at least somebody with access to a recording
studio, who knows what they could have done?  Sadly, "Goin' Away" and "It's
Best You Go," the contents of this single, are all there is.  File under "must
have."  (Get Hip: PO Box 666, Canonsburg, PA 15317. Phone: (412) 231-4766. 
Fax: (412) 231-4777.)



THE CONTINENTAL CO-ETS: Let's Live For The Present/Ebb Tide (Get Hip)
Reviewed by Shaun Dale

Did you ever dream that Josie and the Pussycats were real girls with
cute outfits and their own record.  Put on this 45 and make your dreams 
come true. (Get Hip: PO Box 666, Canonsburg, PA 15317. Phone: (412) 231-4766.
Fax: (412) 231-4777.)



DVORAK: Symphony No. 9 in E Minor, Op. 95 (From The New World); Kodaly: Hary
Janos--Suite*. New Philharmonia Orchestra, Netherlands Radio Philharmonic 
Orchestra* conducted by Antal Dorati. LONDON Phase 4 Stereo 448 947-2 [ADD]
67:09
Reviewed by Robert Cummings

Remember London's "Phase 4 Stereo"? Remember the close-up, multi-miked sound
that afforded the ear the luxury of vividly hearing inner detail that even
the composer may have intended to keep in the background? Well, here's a
reissue of material from 1967 (Dvorak) and 1975 (Kodaly) that contains all
the supposed sins of that notorious method of sound recording. I can well
remember the detractors, purists who considered Phase 4 excessive. Well, it
doesn't sound egregious here; in fact, it's a rather unique aural experience:
the sound jumps out at you, detail is abundant, and balances are accurate. 
Oh, the performances? Dorati's New World is among the best I know, and his
Hary Janos is hardly less compelling. As a budget offering, you can't pass
this one up. 



THE FANTASTIC DEEJAYS: 7" (Get Hip)
Reviewed by DJ Johnson

OOOOooookay, now this is what 60s garage music was all about.  Jangly 12
string guitar with just enough fuzz to make it fluid, adrenaline-drenched
drumming, thudding bass, and spine-tingling vocal harmonies, all mixed by
a Neanderthal with tinnitus.  Results: Murk, mud, reverb, more murk, haze,
and a layer of cool.  The way it oughta be.  "Fight Fire" is a cover of 
a John & Tom Fogerty number from their pre-CCR band, The Golliwogs, and I
personally like this version better than the original.  It's the murk!  What
can I say?  The B-Side begins with an original, "Get Away Girl," which is
just a tad on the dark side. (It's my turn to see you die?) The record 
concludes with their Town & Country Lancers shoe store commercial, a track
that has apparently been quite collectable over the years.  It's the only
throwaway of the three, and it's just a bonus track, so this one still gets
an enthusiastic recommendation.  (Get Hip: PO Box 666, Canonsburg, PA 15317.
Phone: (412) 231-4766. Fax: (412) 231-4777.)



FORTUNE & MALTESE AND THE PHABULOUS PALLBEARERS: 7" (360 Twist)
Reviewed by DJ Johnson

Phantastic trad garage band with obvious admiration for Paul Revere and Sam 
The Sham.  The A-side, "Genie In The Lamp," is an instant classic, and though
the mix kinda stomps the vocals to the bottom, it's worth the effort to try
to decipher the lyric.  An amusing take on the old genie story, this one 
includes an outrageous wish and a foregone comeuppance.  Lots o' fun.  The
flip, "Vampira," has guts and power to make up for what it lacks in originality
and hooks.  It's a damned good rocker that has no choice but to sound pale in
comparison to the A side.  Well worth owning.  They're definitely one of the
best guitar & organ garage bands around. (360 Twist: PO Box 9367, Denver, CO
80209. Phone: (303) 975-1080.  Fax: (303) 975-1084.)



FRANCHOMME: The Virtuoso Cello. Roel Dieltiens, Lidewij Scheifes, cellos;
Ensemble Explorations. (HARMONIA MUNDI HMC 901610 [DDD] 68:33)
Reviewed by Robert Cummings

This disc presents twelve pieces by Auguste Franchomme (1808-1884), eight of
which are for two cellos, the remaining four for solo cello and string
quartet augmented by a double bass. Franchomme was an extraordinary cello
virtuoso in mid-nineteenth century France (perhaps the greatest of his time)
and wrote music to showcase his transcendent skills. Most of the music here
is tuneful and light and will appeal to those who are fanciers of the cello 
or of string music in general. Dieltiens and Scheifes perform with 
sensitivity and virtuosity, and do full justice to these works. Harmonia
Mundi provides excellent notes and full-bodied sound. If this is your bag,
don't hesitate. 



THE LET DOWNS: 7" (360 Twist)
Reviewed by DJ Johnson

If David Byrne had fronted The Chocolate Watch Band, I think it woulda sounded
something like this.  Genuine energy pours from both tracks, "Atlanta" and
"Flash & Crash," with maybe just a little more testicle showing on the latter.
The soaring organ flurries tie all the renegade guitar tones together nicely.
If I could just get past that feeling that Byrne has a hobby... (360 Twist:
PO Box 9367, Denver, CO 80209. Phone: (303) 975-1080.  Fax: (303) 975-1084.)



SHENG: The Song of Majnun. Raymond Very (Majnun); Ana Maria Martinez (Layla);
Jill Grove (Layla's Mother) Grant Youngblood (Layla's Father). The Houston 
Grand Opera Orchestra conducted by Ward Holmquist; Chorus preparation,
Richard Bado. DELOS DE 3211 [DDD] 56:34 (73:49 with interview) 
Reviewed by Robert Cummings

Here is an opera by contemporary composer Bright Sheng that should garner 
some attention from the world's opera houses but, regrettably, probably 
won't. Shanghai native Sheng moved to New York in 1982 and forges elements 
from several cultures in his opera, sounding somewhat like an Asian Bernstein.
The work is described as a Persian Romeo and Juliet, and while that depiction
is not completely accurate, it does give a good sense of the tragic love 
story here. The Houston cast of little-known singers is surprisingly good,
as is the chamber-sized ensemble who capture the exotic orchestration in this
splendidly-recorded effort in convincing style. If you're in the market for
something quite new and fairly approachable in opera, you ought to give this
thoroughly compelling work a try. Delos fills out the disc with a very 
interesting seventeen minute interview with the composer and his librettist
Andrew Porter. 
 

 
SWELL: Too Many Days Without Thinking (Beggars Banquet)
Reviewed by John Sekerka

Just like every Swell record before, Too Many Days Without Thinking  is a 
dreamy guitar and drum scape that locks into a series of serious grooves,
one that takes a spell to take in, and one that stands high above anything
being released these days. It is, in a word ... uh, swell. Swell parley a
haunting Velvet Underground guitar drone to mesmerizing proportions by 
adding an infectious sweet factor. This time around the band shows off a
lyrical strength which was previously clouded over by melodies and pleasure
jams. David Freel's words of wisdom are easily discerned upon first listening. 
Few bands can offer up more than a couple of catchy tunes per disc, Swell 
manages to turn the trick for the entire record. I said: FOR THE ENTIRE 
RECORD! If you think bands like Tortoise are big news, get a hold of this,
cuz Swell have been playing in these experimental waters for a long time. 
Trust me, once the bug bites, you will be smitten. 



VARIOUS ARTISTS: Holidays In The Sun (Visionary)
Reviewed by John Sekerka

'The mother of all punk gigs' .... so claims the disclaimer, and if you're a
fan of the original U.K. scene, you must agree. Three long days at Blackpools' 
Winter Gardens brought out a who's who of the British punk scene. Sham 69, 
G.B.H., The Damned, Anti Nowhere League, UK Subs, 999, Vibrators, Buzzcocks...
it's an impressive list of old farts squeezing into their ripped jeans one
more time. And by gub if they don't sound swell, cranking out the classics 
in a bizarre retro-fest made plausible with the success of the recent Sex 
Pistols frenzy. Some of the biggies are notably absent on this document, 
probably due to record company legal hassles, but that don't take away from 
the spirit. Besides, there were (are) a slew of lesser lights that deserve 
their day in the sun. Bands like TV Smith and Slaughter & The Dogs were 
big stuff across the ocean but never dented North America. Here's a chance
to catch up. It's also great to hear XRay Specs like it was 1976 all over 
again. A very spirited live record you should make your own. (Visionary - PO
Box 30, Lytham St. Annes, FYS 1RL, England)


___________________________________________________________________________

BETWEEN ZERO & ONE
By Steven Leith


WHEN PUSH COMES TO SHOVE

Push Technology is making a big splash in the computer press these
days.  The Ziff-Davis (ZD) family of publications are all singing the
praises of Push-Tech.  In fact it is hard to find anything but glowing
praise for Push Technology in the computer media.  It must be great,
right?  Once you know what push is you will see why publishing giants
like ZD are behind it 110%.

Until now, the Net was merely a collection of files on a world-wide
client-server system.  If you want data that is stored on Network A, you
request that data from Network A.  With Push, Network A can send the
data to you continuously.  This can be by arrangement, like the
bandwidth hog Point-Cast, or it could be just another unwanted spam.

Push is Orwellian new-speak for Broadcast.  So far the only Push in wide
use on the Net is e-mail.  That is about to change.  It is hoped that
Pushing web pages will turn the Net into another broadcast medium.  Then
the Net will be safe for profiteering.

Another stated use for Push is on Intranets.  Now that the workplace is
going digital, bosses have discovered that e-mail can be ignored.  But
when the boss sends a memo in Push, it can take over your browser, and
jump in your face.  Neat, huh?

So why are the media giants so hot and sweaty about Push?  Duh, they are
in the business of controlling channels of information.  What better way
to control what you see than by sending their version of the facts
continuously across the Net.

In the early days of the Net, free thinkers proclaimed that information
wanted to be free.  They were enthusiastic that the Net was a new
paradigm based on many to many, not the old broadcast paradigm of one to
many.

What this idealism failed to take into account was that profit is not
massive if people are left alone to use only what they need.  Humans are
not born consumers.  Only by intrusive advertising, and manipulated news
can people be turned into consumers.

Enter the savior of the Net, Push Technologies.  With Push the big
players can limit the number of information options.  In the disguise of
altruism, Push will protect us from the horror of information overload. 
Push will send to our desktop all the News that’s fit for consumption.

Given the success of the broadcast paradigm the Pushers are backing a
winner.  We the consumer will always choose easy over hard.  We have
already voted (with our remote control buttons) that we prefer soft news
over hard news.  We want infotainment not information.  So, toss me that
remote and lets consume some content.


__________________________________________________________________________

PHIL'S GARAGE
By Phil Dirt

                      
					      SOUNDS OF THE SURF

There's been a lot of talk over the last 15 years about the classic surf
sound. It seems there are always newcomers asking how to get it, old
timers remembering their own version of the "real sound," and arm-chair
dictators putting forward unbelievably uniformed and illogical arguments.

Looking at vintage album jackets, you'll see a variety of rigs. For
instance, the Ventures had their Mosrite endorsement all over their
album jackets. There's Johnny Fortune with his gorgeous white
Jazzmaster, and the Astronauts with their Jaguar/Showman combos, and
many others. There's an outboard reverb on every lead guitar, and on
most rhythm guitars. There's a piano or sax too, relegated to support
roles.

If you look to the King of the Surf Guitar, you'll find Dick Dale with
his Stratocaster, a pair of twin 15's and Showman heads, and outboard
reverb. He used trumpet instead of sax.

                 NOTHING IS EVER AS SIMPLE AS IT SEEMS...

The trouble is, things aren't always what they seem. I mean, if you
look again at those vintage album jackets, with a bit of historical
background, it's really quite different than you thought at first glance.
For instance, the Ventures had their Mosrite endorsement on everything, 
alright, and that could easily lead you astray, since it is generally 
thought they used Fender gear on stage and in the studio. You also should
avoid them as a model. Highly successful in multiple genres including surf,
and widely known, they weren't really a surf band. The Ventures were the
perennial chameleons of instro rock, copping the style du jour, as it
were.

Then there's the Astronauts. They had the classically defined sound that
the purists worship. They had exactly the right gear, and played exactly
the right tunes. They were the embodiment of the powerhouse three guitar
lineup, later used by Jim Messina, among others. But how authentic were
they? The Astronauts were the original accidental surf band. They were
from Boulder, Colorado, played late fifties folk like "Green Back
Dollar" and "Tom Dooley," and "Chuck Berry" vintage rock 'n' roll. One
day in an A&R office at RCA, a call comes, interrupting their pitch. The
astute A&R genius puts his hand over the phone, and asks if they play
"surf music," probably having no idea at all what that might be. The
Astronauts say "yeah, sure, of course!" Presto! Instant surf band on a
major label. Suddenly realizing what they'd gotten themselves into, they
ran right out, bought some surf records, bought the "right" gear, and
shazam, they were a surf band on RCA!. The label assigned Al Schmidt to
produce and Lee Hazelwood and Jimmy Haskell to write a few nifty originals,
and the rest is history, as they say.

                    DOES THE KING CALL THE TUNE?

And how about the King? Sure, Dick Dale used his famous gold Strat, and
occasionally an acoustic guitar. You know his sound, right? You've heard
his albums, or at least some tracks on CD. But, if you think his albums
represent the sound of Dick Dale & the Del-tones, think again. In the
studio, it was Dick Dale on lead and vocal, and occasionally Del-tone
Art Munson on bass. The rest of the band was populated with the usual
studio suspects: Glen Campbell, Leon Russell, Hal Blaine, etc. On stage,
it wasn't the trim 4 or 5 piece heard on record, it was a big band with
multiple horns, keys, a chorus, another guitar, etc. Besides, Dick was
among the few surf players using a Start with a .58 or .60 gauge low-E.
Most used the Jaguar or Jazzmaster. Dick's amp was unusual, too. Not only
was it tweaked by Leo Fender incessantly, but Dick used two Showman heads
and two twin 15" JBL custom cabinets, and two Outboard reverbs. He also 
used trumpet as the lead horn instead of sax, because that's what he played
best.

                           THE "MOTO" CROSS

The Belairs, who were almost as influential as Dick Dale--more so among
the "South Bay" surf bands--had a totally dry sound most of the time,
and when Paul Johnson did succumb to the call of the reverb, he used it
sparingly. His lead player, Eddie Bertrand, liked the Dick Dale sound and
playing style better, so he left to form Eddie & the Showmen. And, if
you're a stickler for details, "Mr. Moto" was recorded several months
before "Let's Go Trippin'", and sounds nothing like any of the surf
sound "standards" since established, though neither does "Let's Go
Trippin'."

             FAST FORWARD TO THE DIGITAL WORLD OF HIGH TECH

Today, it's a murky bog that you must traverse to figure out what is and
isn't the surf sound. The equipment is all over the map, some bands
sticking to the purist notions, others using the latest technology to
the max, and many more using a hybrid of the two. Just look at the
contrast between the Eliminators, who have an absolutely true sixties
sound, and the Mermen, who use three or four heads and cabinets of various
vintages and a staggering array on multiplexed effects, all fed by one
guitar on which Jim Thomas plays the lead lines and the rhythm
simultaneously. They also blend the trad base with modern psych and prog
elements, like feedback and major sustain.

It's not just the new comers that are experimenting either. Tom
Stanton's remarkable band, the Surf Kings, features Mermen/Hendrix
inspired sounds and styles laid over a truly classic bed. Tom knows
exactly what he's doing, and has more right than most to do it. During
the heyday of surf, he was a member of the legendary Crossfires, the
totally killer surf band that evolved into the Turtles. The Surf Kings
do "Fiberglass Jungle" like it was written yesterday instead of 35
years ago. Tom's rig is a blend of the two decades.

                        REPLICATED AUTHENTICITY

And how about those many bands unable to find--let alone afford--vintage
equipment. They are using the Fender reissue outboard reverb tank, or
other reintroduced gear for that matter. The hard core players will tell
you it's just not the same, but then no two units turned out in '63
sounded alike anyway. It was an imprecise design with primitive circuit
devices. These bands get a good approximation of a simulated authentic
replica of the real surf sound, what ever that is.

                            STILL THE KING...

So, how about we just look at what Dick Dale is playing today? Maybe the
King can clear up the confusion over what surf is today. Maybe he's done
playing "Dick Rock" and has acknowledged his throne. Dick still shreds
on his gold Start, playing faster and harder than guitarists half his
age. He still uses 2 heavily modified amp rigs, one on each side of the
stage, and 2 twin 15" custom JBL cabinets...the JBL's are custom, not
the cabinets. That should settle that, right?

Well, maybe. Perhaps the future is in the King's hands...as captured on
film in Felton on May 17, 1997. Liberating, isn't it?!

[photos: Jim Rivas]


__________________________________________________________________________

WALLEY AT WITZEND
By David G. Walley


			 How Four Hundred Flowers Bloomed

Once upon a time in a far eastern capital, a mid-level party
functionary was talking to his only son, a university student who
was seated atop an improvised trash can and park bench barricade in
Tianamen Square.

"You must come down from there at once," pleaded the father,
"it casts dishonor upon our family."

"If I leave now, more dishonor will be cast upon it," replied
the son as he was putting the finishing touches on a bed sheet
ideogram which read "Down with the Corrupt Leader."

The father was aghast as his only son and his friends gaily
waved it to the approval of the milling throngs. "Don't you realize
how privileged you are to be in university? or how hard your mother
and I worked? The Ministry gives out very few appointments to
people of my rank."

"That's just it, Pop, the university should be open to anyone
who passes the entrance exams, not just the offspring of officials.
Isn't this supposed to be The People's Republic?"

The old man had been having discussions like this since the
kid turned 14, but he'd always chalked it up to youthful
exuberance, idealism or plain adolescence. He knew that all this
demonstrating was play-acting, child's play. His son was too young
to remember the sorrow and pain of the Great Leap Forward, the
Cultural Revolution which he and his wife had barely survived. He
owed his life to the Party which rescued him from digging potatoes
in the North. He again recalled with horror the excess zeal of the
Red Guards who'd stoned his father, a school teacher, to death.
Such barbarous acts no longer seemed possible now there was
Progress and a kind of economic stability. Middle Level
Functionaries like himself were starting to reap some benefits,
and his son's admission to university was one.

"I'll buy some noodles, ok? It must get cold up there at night,"
said the old man.

As they ate, they watched the crowds ebb and flow. The old man
knew he was taking a big chance being seen there but it was
important to understand what was happening to his son, his friends
and to China. Funny, here they were talking politics, something
they rarely if ever did at home. He sensed that change was in the
air. How uncanny.

     "I'm afraid with all this demonstrating you're neglecting your
studies," the old man felt compelled to say.

"These are my studies, Pop. This is history in the making."
The old man inwardly winced remembering his own youthful dreams
long ago. "We're not just doing this for ourselves but for all
the people."

Into the square at that precise moment came a large plaster
cast of Lady Liberty wheeled by an exuberant crowd of art students.
Not bad, thought the father knowing the shortages of art supplies at
the college, shortages which his department, The Ministry of
Education, had caused. They joined the spontaneous cheering which
came from young and old, from students, factory workers, People's
Militia, and even the police. This was a real celebration, not some
hollow-eyed exercise in Red Guard fanaticism, the father inwardly
noted.

"Look son, I'm late for work," the old man stuffed some money
into his only son's jeans and melted into the crowd.

Slowly and with great care he threaded his way through the crowds
to reach the ministry where the mood was somewhat disconnected.
Fidgeting at his desk, he was preoccupied with what his son had
said, and mused about his own life and purpose. Had he strived and
suffered so his son could throw it all away in a rash act, for a
college prank? But what of the others? The common people, what were
they doing there? Certainly the way things were there was no future...
"We're doing this for all the people, Pop," he heard his son repeat
over and over.

All the people?

The Party ruled for all the people though there always seemed
to be exceptions, certain officials who always had more privileges
than others. Yes, and that was because--he stopped his thought, and
again his mind returned to his son and the others on the
barricades, and as the weeks wore on, he found himself inexorably
drawn back there again and again to the hybrid life in the square.

After a few weeks, everyone was wondering when the next step
would be taken and what the Leader would do. Martial law had been
declared but nothing much had happened, thank God. A rumor grew to
a certainty that an assault was imminent, and that sent the old man
back to the Square to save his son.

"The People's Army will never attack the people," declared his
only son.

"But you'll lose your status as a university student when this
runs its course," replied the father. "Think of your future."

"I am, pop, that's why I'm here. That's why we're all here.
And you should join us too," the son held out his hand.

"I must think, I need to walk around, to inhale this air of
freedom which fills your lungs," said the old man as he
disappeared into the crowd and let it take him where it would.

It was nine o'clock when he returned to the square rife with
rumors that troops were on the move. Agilely, the old man climbed
onto the barricade to take his place beside his son. "There's no
way the People's Army would dare interfere with the will of the
people, that much I have absorbed,"  he said to his son as the
young people prepared themselves for another all-night vigil.

At midnight on the seventh week of the Occupation, tanks and
troops of the 28th Division rolled across Tianamen Square and over
the barricades manned by the old man, his only son and his friends.
All were killed.

MORAL: When one hundred flowers are crushed, four hundred
bloom in their place.


		       *               *                *


				      SCHOOL'S OUT

The faculty lounge at Beijing University was quiet now that a
majority of students, fearing the inevitable reprisals sure to
follow the bloodbath at Tienamen Square ten days before, left
before exams. It was barely safe for a Sovietologist, an American
Studies expert, and an Economist who were having a cup of tea and
comparing notes on their respective sabbaticals leaves. Like
everyone else they were discussing the recent troubles, but very
quietly.

The three colleagues had somehow survived the Cultural
Revolution, though they all had done some hard time in the provinces
digging potatoes and wearing dunce caps. It was as if the inmates
were running the asylum, observed the American Studies expert.
"We've come a long way with Deng, and everyone has benefited by
contacts with the West."

The Sovietologist had spent the year in Moscow at the
University boning up on the culture of peristroika and making
significant additions to his collection of Russian Orthodox
religious miniatures. He whispered this sotto voce while checking
the table lamp on the coffee table for bugs. One couldn't be too
careful these days.

Having returned from extended leave at Berkeley, the American
Studies Expert agreed. He had enjoyed his stay there immensely, and
found the Americans hospitable, though try as he might, he never
found a really authentic Chinese restaurant, even in San Francisco.
He was glad his specialty was in demand now as his academic
contacts abroad would prove useful. Though he was heartened by the
students' enthusiasms for democracy, he was wary because he was
never really sure whether their demonstrations were spontaneous or
stage-managed by the liberals or the hard-liners.

The Sovietologist agreed. "The politics of China are much more
levantine than mere Marxist-Leninism, and what is 75 years of
socialist piffle compared with 5000 years of Imperial deception and
intrigue?"

The Economist remained mum; in his year in Hong Kong, he knew
that the possibilities for enrichment would be limitless even if
the British were pulling out in 1999. While his friends were
scheming for more academic perks, he'd salted away US dollars in
Vancouver, and when the moment was propitious, he's quietly
disappear and re-emerge in the import-export business there. He'd
had it up to here with all the intellectual cloak and dagger
bullshit too, having spent the Cultural Revolution living in a
closet for 10 months while the students who couldn't even spell
their names smashed blackboards and giggled. Still he was thankful
the Party approved of Capitalist ventures now.

However, just as they were finishing their tea and rice cakes,
the door of the lounge burst open and in rushed an official in the
company of two armed guards.

"You are all under arrest," said the Official imperiously.
"For what," sputtered the Sovietologist.
"We have done nothing, we haven't even been in the country,"
said the American Studies expert.
"I've lectured to no traitors," added the Economist.
"You intellectuals, what do you know of party discipline and
the demands of the leader," snorted the Official. "You perform no
useful work for The People and are all guilty of consorting with
foreigners. Take them away, guards."

Quickly the three professors were frog-marched down the corridor,
onto the quad and into a waiting troop carrier never to be heard
from again.

MORAL: Now you see it, now you wish you hadn't.
-or-
Deng today, gone tomorrow.


____________________________________________________________________________

STUFF I NOTICED
By DJ Johnson


"Radio is the worst. They don't have a a clue what they're doing and they're
scared to death and the greed level has everybody so nervous - they don't 
want to take a chance on anything. The only thing they'll play is stuff that
sounds exactly like what they're playing...  We're gonna go, of course, to 
college radio and and go to the NPR style specialty shows that have a 
broader kind of vision, a broader sense of possibilities. Mainstream radio
blows." 

     - Wayne Kramer (From this very issue of Cosmik Debris)


Everybody remembers where they were when certain devastating events transpired.
I was only four when JFK was killed, but I can still remember everything about
the moment our family heard the news.  I was 21 when John Lennon was killed, 
and I can still remember every detail about the moment I heard.  My parents
know exactly what they were doing when FDR died.  And I can vividly recall
exactly what I was doing, thinking, and seeing the moment radio died.

Radio died at different times in different cities.  In Seattle, it got real
sick when KRAB went off the air.  That was the station that planted the seed
of the idea for Cosmik Debris.  Their idea of a half hour set was to sprinkle
some Judas Priest, Mozart, Bob Marley, Lefty Frizzell, and Amon Duul around 
some stellar bit of history like, say... a rare live bootleg recording of
Woody Guthrie, and then share historical information about all of it.  They
went off the air, eventually, and that would have been the death of radio in
my hometown if KCMU hadn't been there.  Based at the University of Washington,
KCMU was the classic college station.  Genres were separated for specific
programs, and sometimes collided into a big beautiful mess for others.  After
a respectable period of mourning for KRAB, I turned my radio to KCMU and
pulled the dial off, throwing it in the bottom drawer of my dresser, figuring
I'd never need it again.

Radio died in Seattle the day KCMU replaced several key managers, including
the program director.  The new PD was a schmuck who believed in the accountant
method of radio station management.  Play music that is at the top of the pop
charts.  You know... crap.  I remember the moment I tuned in and heard some
Madonna tune.  It was raining, one of my living room light bulbs burned out
ominously, and I stared at my radio for an hour before depositing it next to
its knob in the bottom dresser drawer.

Since that terrible day, Seattle radio has been a wasteland of classic rock,
all talk, and "young country" stations.  The same situation exists in hundreds
of cities across the North American continent, and in those cities you'll
find many people just like me who angrily chastise the radio industry for 
treason against art and music.  In OTHER cities, however, you'll find great 
college and community supported	radio stations that still play real music
and still believe in diversity.  

Great, huh?  What are you gonna do, move to another city just to hear great
radio?  Well... yeah, okay, I can see doing that.  But now you don't have to.
Even though radio is dead and gone in Seattle, I'm listening, at this very
moment, to a great ska program.  Neat trick, huh?  Well, the program (called
Ska's The Limit) is on KDHX, a community supported station just outside of
St. Louis, Missouri.  No satellite dish needed.  Just a sound card, a modem,
and a plug-in for my web browser.  

Real Audio and Shockwave, competing audio streaming formats, are both available
for download at no charge.  I recommend getting both, because there are many
great stations online, some using Real Audio, some using Shockwave, and you
really should have all options open.  And more stations are popping up every
day!  KDHX is just the tip of the iceberg, but I want to focus on it for 
purposes of this column just to give you an idea of what is available out 
there.

Right off the bat, you need to know that the sound quality is not going to 
make you very happy at first.  If you were listening to live Netcasts as 
recently as three months ago, you were hearing what sounded like 1920s
radio, all distortion, static, and tin.  Like all Internet technologies, 
audio streaming is constantly making huge strides.  As I listen to The 
Toasters over my PC speakers, I realize it now sounds like a 1960s transistor
radio, and that's a big improvement.  No fizz, no bzzz, much less tin.  Oh
sure, there's still a touch of distortion and an overall flatness, but I can
live with that tradeoff because I know that in two hours from now I'll be
listening to Reggae Zone on KDHX.  I know that I'll be rockin' around on 
Monday night to garage and surf with Koop and Jeff on The Wayback Machine.
I don't care if it isn't perfect.  If I ever start to care, I'll just do 
a quick sweep of the FM dial.  Four stations will be playing "Layla" and two
will be playing "Achy Breaky Heart."  The choice is clear.

Of course, there is a downside.  You could become a Netcast junkie.  On KDHX
alone there are enough programs to keep a true music fan glued to the computer
day and night.  I have a list taped to my wall that includes Juxtaposition
(multi-genre program), Grand Tour (new indie releases), Chicken Shack (blues),
The Wayback Machine (garage, surf), Ska's The Limit, Reggae Zone, Sabados
Tropicales (Caribbean music), Positive Vibrations (dancehall reggae), St.
Louis Brainsandwich (bluegrass), Musique Des Bayous (zydeco), Down In The
Alley (swing), Jazz Makkah (avant-garde), Gabriel's Tin Pan Alley (blues),
and about a dozen others.  No, I don't get to hear them all, but just having
the selection is a dream come true!  As I say, this is all one station, too.
Factor in the programming on several other stations, and you are officially
in radio heaven!

KDHX is exactly what radio ought to be, and there are many other community
stations out there that pay their communities back just as handsomely.  As
these stations join the online community one by one, the Net becomes much
more than the wonder it already was.  The continuing improvements in audio
streaming technology bode well for the future.  In fact, I'd bet that it won't
be more than a year before the average user can get near-CD quality sound
from these Net-based radio stations.  As it is, this low quality transmission
of the latest Skinnerbox tune suits me just fine.  You too?  Well, if not,
you could always catch one of the six stations in your city playing "Freebird"
right this second.

-----------------------------------------------------------------------------

A FEW HINTS FOR FINDING GREAT RADIO ON THE NET

Timecast is an excellent web site that has a searchable database of Real
Audio site links.  You can search by keywords, genres, or any way you
want.  It's located at http://www.timecast.com.	 HINT: Searching for keywords
like "community" and "college" turn up several stations like KDHX.

KDHX FM 88's homepage is located at http://www.kdhxfm88.org/, and there is 
a very helpful program schedule there.  If you'd like to check them out
right this moment, and you already have Shockwave installed on your computer,
just point your browser to http://www.concept2000.com/xdm2.0/live/kdhx.xdm
to tune directly in to their feed.

Another great use of sound streaming, and one which makes ME a happy guy, 
can be experienced at http://www.raremusic.com.  You'll find vintage songs
in Shockwave format, and if you are even a casual collector, you'll be 
drooling over this guy Steve Albert's record collection. 

See you next month.


___________________________________________________________________________

CLOSET PHILOSOPHY
With Rusy Pipes


		         It Was Thirty Years Ago Today...

I jumped into Cosmik Debris for the first time last month without a lot of 
fanfare, ranting about the V-chip when none of you dear readers had even 
asked for it, so maybe it's time to identify myself and whatever the hell 
"Closet Philosophy" is. 

OK, I admit it, I fancy myself a philosopher. My last college course in it
was more than 25 years ago, but I like to think I'm fairly well read on the
Big Questions. I call myself a Closet Philosopher because it's almost a 
taboo subject. Most people react like, "what, you want me to have a 
thought-out opinion on something? How queer!"  I usually don't even bring 
it up, no matter how much I love a good philosophical joust. When someone 
does pop the rare inquiry about philosophy or religion, these days it seems
like they're almost always coming from a tight-laced chapter-and-verse point
of view. They'll find me armed and dangerous...

So what religion am I? Zen-Christian-Taoist. The underlying joke being if
you can figure out what that is, please tell me! Other times I may describe
myself "just an old reformed hippie."  Nothing quicker than the prefix "just"
to belittle something, right? Well the truth is, I am still searching, still
learning, still meditating on it all, a habit carried over from those old 
days when a whole generation had Love on their lips, was trying to find God
and would often talk all night about it. I don't suffer any illusions that 
the Hippies had all the answers, but still, there's something there. Hippie
attitudes sure didn't bring out the changes we thought they would in those
naive early days, though.

In my day job I now wear a tie, a close caricature of the same workaday 
types I never thought I'd be. I wear it uncomplaining like a kind of disguise.
Most people haven't the foggiest idea about how wigged out I once was, with
a pony tail almost reaching my belt, trying to saturate my bloodstream with
cannabinol and playing tons of that old psychedelic crap on the radio all
night long. I say crap because at least 75% of it was preposterous and 
pretentious; but the remainder was unique, golden and helped change the
world. 

I don't regret those days, but I have moved on with the times. Politically
I'm still very left compared to those I work with--not revolutionary left 
and quite a lot more to the center than I was--but left all the same. I still
fume at profit-uber-alles capitalists and fire-n-brimstone fundamentalists.
What small worlds these people must live in! Whatever the faults and excesses
of the Sixties, turning your brain off and reciting dog-eared dogma is not
the answer. Like George Carlin says, "I have this moron thing I do that's 
called THINKING," and I like to think there remains a glowing ember of that
old Hippie Hope that somehow we can all become better people. We were flat
wrong about a lot of things, but not about that. Don't misunderstand, I'm 
not recommending a return to anything, I just think we should feel thankful
for what we have and fan the ember once in a while by doing something 
positive without worrying about the payoff.

So why do I feel this way? What the hell happened to me?

Three decades ago a great paradigm-shifting boulder was tossed into the
collective pond of the psyche and a tremendous wave rippled through the 
culture. Personally, the wave didn't hit me full force until I got out 
of high school about two years later. I wasn't there in San Francisco for
the much ballyhooed "Summer of Love," but I certainly felt it from afar.
Everything changed; an entire generation decided that the materialistic 
American Dream they'd been raised on was not what they wanted. A lot of 
that wave's energy is now dissipated but many things remain. It exists in
waves still lapping at far away shores, too small to measure most of the
time, but still breaking, reflecting, remultiplying and returning in new
forms. 

The pond of course had to be in the right place to be hit by the boulder, 
and more about the pond in a moment, but what exactly was that boulder
composed of? One big component was an audio sculpture known as Sergeant 
Pepper's Lonely Hearts Club Band. In May of 1967 that most influential 
Beatles album immediately became a staple of the new free-form FM radio 
that so many young Americans were just discovering. Revolver, Rubber Soul,
even the movie Help all contained experimental sounds that hinted at the 
coming psychedelic explosion, but this earlier work was still part of a
machine bent on making commercial product for AM radio. Sergeant Pepper 
was a departure, full of stretched and bent things that would never raise
an eyebrow today, but made a damn fine boulder back then. It had no hit
single (well, Lucy charted briefly) and even came with paper cut-outs to 
play with, a collage cover worth hours of close scrutiny and, gasp, complete
lyrics! "Do you think the Liverpool Lads are trying to tell us something?" 
"Who or what are those friends he'll get by with?" "Look at the initials of
Lucy in the Sky with Diamonds!" "A circus?" "Were they laughing or crying
there?" "A fox hunt!?" "4000 holes in Blackburn Lankashire!?" "Is that note
ever going to end?"  

A new spiritualism was being born.  It was already starting to happen in 
'66, after the boulder hit in '67 practically overnight an entire the new
culture spread all over the country. In Haight Ashbury there was a traffic
jam of kids who wanted in. The pond would never be the same.

That solution in the collective pond had been first stirred by the Beat 
Generation in the years following the Second World War. (Did you know that
in wartime suicides go down? In war there is no room for philosophy, no time
for contemplation. In peacetime more thoughts turn inward.) The Beats did
not reach very many but a subculture of jazz, drugs and angst began in the
Fifties, curiously in a decade fondly remembered by today's men of power as
the quintessential period when everything was right (too much Happy Days?). 
But memory is selective, there was overt struggle like civil rights and 
there was psychic struggle under the surface. The culture of mass affluence
collided with fears of mass nuclear annihilation in the minds of the most
well-educated, idealistic generation ever. It was the first generation
stimulated by TV, the first to know what a computer was, the first to hear
"God is dead," the first to know LSD. 

Sergeant Pepper legitimized drugs to that generation. But the point was not
to get "fucked up." That aberration came later (and still haunts us today). 
No, in the early Acid Tests of Kesey and the Pranksters, in the first
glimmerings of Flower Power, at the Gathering of the Tribes, Love-Ins and
Monterey Pop, the point of drugs was to get in touch with reality and 
ultimately to talk to God. 

But why this religious aspect? Powerful drugs were not new. LSD was legal up
to at least 1965. The CIA certainly did their experiments. Tim Leary and 
Richard Alpert (now better known as Baba Ram Das) first got theirs from the
Psychology Department of Harvard. It was a curiosity, it need not have become
a movement. And why did it explode from San Francisco?

I've come to believe that the real philosophical bedrock of the whole
movement, that amorphous cosmic free-spirited love-attitude that so affected
my generation was engendered by Alan Watts. 

Who??

I'm not surprised at your reaction, because he's one of the better kept
secrets of the 20th Century.  If you know who he is, you're a step ahead of
everyone else. If you've read his books or heard his lectures then you have
my permission to stop reading because you probably have a good idea what a
"Zen-Christian-Taoist" might be. (And you thought I was going to rhapsodize
about Non-Commissioned Officer Pepper for a whole column!)

Alan Watt is my favorite philosopher. He popularized, or demystified, 
Buddhism for the West. He was an ordained Episcopal minister for a time. He
illuminated Hinduism and Taoism for the West too. He promoted Zen. Yes, he
knew what LSD could do first hand, but he didn't promote it as a cultural
cure-all like Leary. He knew Leary well though, along with Alan Ginsberg 
(there's a tape I've heard of them all rapping on Watts's boat in Sausilito),
also Ram Das, Aldous Huxley, Krishmamurti and many others. He gave talks, he
wrote books. He often called himself an entertainer instead of a philosopher.

The reason I credit him with authoring much of the original Hippie mind set
is that, in addition to hundreds of lectures, he broadcast a weekly radio 
show on philosophy for much of the early Sixties over KPFA in Berkeley. You
know, the Berkeley that was the home of the Free Speech movement, the one 
that's across the bay from SAN FRANCISCO. It was these regular infusions of
Oriental thought, made digestible for Westerners, that kept popping up in 
the lyrics of the new music and in the minds of starry-eyed kids. 

Born in 1915 in England, Watts was endeavoring to explain Buddhism in books
as early as 1932, and strangely became a Christian minister here in America
in 1945. In 1950 he went back to writing, mainly on Buddhism again, but he
also researched Hinduism and Taoism. He didn't adhere to any particular sect
but seemed most at home with Japanese Zen Buddhism and D. T. Suzuki as his
main mentor. He also was very familiar with psychoanalysis and its methods 
but his approach to philosophy was anything but clinical. As he said in his 
autobiography:

	"[All my books arrive] at the same destination, as the spokes of a wheel
    converge at the hub from separate points on the rim. Taking the premises
	of Christian dogmatics, Hindu mythology, Buddhist psychology, 
	psychoanalysis, behaviorism, or logical positivism, I have tried to show
	that all are aiming, however disputatiously, at one center."

Many of his lectures are preserved on tape which is how I re-encountered him
in the mid-Eighties as they were broadcast posthumously here in Los Angeles.
(The first encounter was his film on Tibetan Buddhism that I saw in high
school.) Listening to Watts I found that I agreed with him more than any
other person that I'd ever heard before. It all sounded so familiar with his
rich images drawn from many traditions. All the inarticulate muddlings of 
the Sixties came into sharp focus along with other deeper concepts from 
ancient sutras. Most importantly Watts made no claim of a special channel to
God, that his view was the only way, that some sort of hellfire awaited if
you didn't heed him. He was always positive, with a wonderful laugh, saying
Life and Reality, Self and Other was all one thing, a Cosmic Jazz that was
always in harmony.

I've listened avidly to those old lectures. I think Alan Watts would probably
laugh if he read that I blamed the Summer of Love on him. He always was
debunking cause-and-effect relationships.  He'd probably like it better if 
I said that he was a big reason why the pond was ready to receive the 
boulder, thirty summers ago.

So are you still with me? For the record, my favorite drug these days is 
caffeine. Pot makes you lazy, but treated like a sacrament once in a while it
can really open doors. LSD scares me. If it was the right circumstances I
might try it again but frankly I can't imagine what those circumstances are.
As Frank Zappa said, "music is the best." If you're interested in finding 
out more about Alan Watts, check out http://users.ccnet.com/~rudra/mea.htm
(Mastering Enlightenment Arts) on the web or your local library.  Or you can
try http://www.alanwatts.com.  

This column turned into mostly history not philosophy, and was a bit long
winded at that, so maybe next month we'll get into something more engaging.
Till then the Closet is closed; thanks for reading.


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               July's random gathering of things, items & stuff!

***


DENIAL AIN'T JUST A RIVER...


whatever you do
don't kill yrself

be a victim

let them torture you
lie to you
call you names
let them smile
as they twist
yr nipples and
throw rotten vegetables

throw up
endure the pain
endure the cramps
ulcers
parasites
indigestion
headaches
tumors
the size of cincinatti

get into yr pain
it's natural
it's there for a reason
pain is good
pain is our friend
just don't do
the dr. kevorkian thing
life is beautiful, dammit
pull yrself up
by the bootstraps
stand in the fire
knees together
feet apart

suck up to people
you can't stand
apologize for things
you didn't do
kiss ass
right on the mouth
come out of the closet
when you weren't even in
to begin with
start at the bottom
claw your way
to the top

don't just delay gratification
forget about it all together
stay with it
stay miserable
stay hungry
stay detached
stay out of touch
as a matter of fact
don't touch
don't touch anyone
don't let them touch you
don't touch it
for gods sake
don't touch it
take cold showers
get out of the bathroom
as soon as possible

don't inhale
don't drink the water
don't ask
don't tell
don't call
don't write
don't think
don't trust anyone
don't pick it
it'll never heal
don't talk about it
it only makes it worse

believe that constipation
absolves responsibility

believe that which does not kill you
makes you bite down harder

embrace the dark
black hole
of the soul
it's good for you
makes hair grow
on yr chest

what's the matter
with you anyway?
you think yr different?
you think yr special?
you must have done something
to bring this on
yr being punished
for something
you thought you got away with
when no one was looking
well guess what?
god was looking
god can see through walls
god can see into yr heart
god knows when you are sleeping
he knows when yr awake

so get over it
get a job
get a life
get a raison d'être
and remember
it's all karma
it's all in the genes
it's all been done before
so
relax

or i'll kill you

Copyright(c)Paul McDonald 1997
All Rights Reserved
Paul@louisville.lib.ky.us


***


A fierce gust of wind blew 45-year-old Vittorio Luise's car into a river near
Naples, Italy, in 1983. He managed to break a window, climb out, and swim to
shore where a tree blew over and killed him.


***


THE DAYTRIPPERS
director: Greg Mottola
players: Hope Davis, Parker Posey, Liev Schreiber
music: unobtrusive background fare
reviewed by: John Sekerka

While most families get in the station wagon and head out of the city, The
Daytrippers sees a suburbanbunch head back downtown. Forget Chevy Chase's
vacation yarns, this flick actually has some funny moments. Cleverly and
quickly, the family scene is set over a breakfast ritual, before the herd
piles into the car and into big city adventure. We have a hen-pecked husband,
two rebellious yet obedient daughters, a nervous intellectual boyfriend and
a domineering, doting, manipulative mother. Anne Meara steals the show as
the lovable family dictator, ordering the convoy like Rommel in a tank. She
dominates the film like she dominates her family. The reason for the
excursion, suspicion of infidelity, takes a back-seat as the suburbanites
tackle Manhattan. Liev Schrieber is especially engaging as the educated
twit boyfriend Carl, swimming in his grandiose philosophies, entertaining
the family with his Dogman novel, espousing the virtues of aristocracy,
before coming down to earth in a series of nasty bumps. It's not like we've
never seen the dysfunctional family outing before, but seldom does it work
this smoothly. The dialogue is brisk without sounding scripted, and there's
always the main plot line keeping the movie focused, which, by the way,
rolls to a great ending.


***


An unidentified English woman, according to the London Sunday Express, was
climbing into her bathtub one afternoon when she remembered she had left some
muffins in the oven. Naked, she dashed downstairs and was removing the
muffins when she heard a knock at the door. Thinking it was the baker, and
knowing he would come in and leave a loaf of bread on the kitchen table if
she didn't answer, the woman darted into the broom cupboard. A few moments
later, she heard the back door open and, to her eternal mortification, the
sound of footsteps coming toward the cupboard. It was the man from the gas
company, come to read the meter. As he opened the cupboard, the woman
stammered, "Oh, I was expecting the baker!" The gas man blinked, excused
himself, closed the cupboard and departed.


***


NEWS RELEASE

House Plans "Corrupt Politicians Protection Act" To Shield Members From
Ethics Investigations

     The Congressional Accountability Project is criticized as "The
Corrupt Politicians Protection Act of 1997," a secret House plan
to curtail the internal policing of corruption, abuse of power,
and influence-peddling in the U. S. House of Representatives.
The plan is being prepared by the House Ethics Reform Task Force,
a bi-partisan group of lawmakers chaired by Reps. Bob Livingston
(R-LA) and Ben Cardin (D-MD).

     The plan, according to the Capitol Hill newspaper Roll Call,
would erect new barriers to prevent Americans from filing ethics
complaints against House members.  These complaints from non-House
members are crucial to the enforcement of House Rules that
protect the public against corruption and wrongdoing in the House
of Representatives.

     Current rules already make it difficult for citizens to file
ethics complaints in the House of Representatives.  Without
complaints from outsiders, it is unlikely that many ethics
proceedings -- particularly those against powerful House members
-- would ever be undertaken by the House Ethics Committee.

     "Republican and Democratic career politicians want to shield
themselves from Ethics Committee investigations," said Gary
Ruskin, Director of the Congressional Accountability Project.
"That's why they want to pass the Corrupt Politicians Protection
Act -- to take the House's internal corruption cops off the
beat."

     Under House Committee on Standards of Official Conduct Rule
14, persons who are not members of the House of Representatives
may file an ethics complaint only with a letter of transmittal
from a House member or three letters of refusal from such
members.

     According to Roll Call, the Task Force is planning to
prohibit the filing of complaints by three letters of refusal.
This would likely prevent the initiation of some ethics
investigations, particularly against powerful House members,
because House members are usually unwilling to directly challenge
the propriety of a powerful member by providing a letter of
transmittal.  Complaints against House Transportation Committee
Chairman Bud Shuster (R-PA) and House Majority Whip Tom DeLay
(R-TX) were filed last year by the Congressional Accountability
Project with three letters of refusal.

     According to Roll Call, the Task Force is planning to
"eliminat[e] news accounts as the grounds for outside complaints"
-- even though many recent ethics cases were initially based on
news accounts.  Those cases include: former Speaker Jim Wright
(D-TX), former Senator Bob Packwood (R-OR), House Speaker Newt
Gingrich (R-GA), former Rep. Barbara-Rose Collins (D-MI), House
Transportation Committee Chairman Bud Shuster, and House Majority
Whip Tom DeLay.

     The members of the House Ethics Reform Task Force include
Reps. Mike Castle (R-DE), Martin Frost (D-TX), Porter Goss (R-FL),
Joe Moakley (D-MA), Nancy Pelosi (D-CA), Gerald Solomon (R-NY),
Louis Stokes (D-OH), and Bill Thomas (R-CA).  House Ethics
Committee Chairman Jim Hansen (R-UT) and Ranking Member Howard
Berman (D-CA) are ex officio Task Force members.

     On February 12, House Republican and Democratic leadership
announced a moratorium on ethics investigations and complaints in
the House.  That moratorium -- a "police holiday" for House
members -- is currently shielding Reps. Shuster, DeLay, and Jerry
Costello (D-IL) from ethics investigations.

     "It is outrageous that House members have voted themselves a
 'police holiday,'" Ruskin said.  "House leaders should call off
the 'police holiday,' and stop protecting House members from
ethics investigations based on credible allegations of corruption
and wrongdoing."

PLEASE DISTRIBUTE WIDELY

Gary Ruskin
Congressional Accountability Project	|   Internet:	gary@essential.org
1611 Connecticut Ave. NW, Suite 3A
Washington, DC 20009
Phone: (202) 296-2787  Fax: (202) 833-2406


***


Hitting on the novel idea that he could end his wife's incessant nagging by
giving her a good scare, Hungarian Jake Fen built an elaborate harness to
make it look as if he had hanged himself. When his wife came home and saw
him, she fainted. Hearing the disturbance, a neighbor came over and, finding
what she thought were two corpses, seized the opportunity to loot the place.
As she passed by Mr. Fen, her arms laden with booty, the outraged and suspended
Mr. Fen kicked the neighbor stoutly in the backside. This so surprised the lady
that she had a heart attack and died. Mr. Fen was acquitted of manslaughter
and he and his wife were reconciled.


***


In 1976 a 22-year-old Irishman named Bob Finnegan was crossing the busy Falls
Road in Belfast when he was struck by a taxi and flung over its roof. The
taxi drove away and, as Finnegan lay stunned in the road, another car ran
into him, rolling him into the gutter. It too drove on. As a knot of gawkers
gathered to examine the magnetic Irishman, a delivery van plowed into the
crowd, leaving in its wake three injured bystanders and an even more battered
Bob Finnegan. When a fourth vehicle came along, the crowd scattered and only
one person was hit... Bob Finnegan. In the space of 5 minutes, Finnegan
suffered a fractured skull, broken pelvis, broken leg, and multiple
abrasions. Hospital officials, however, said he would recover.


***


TO THE TUSKEGEE DOCTORS

To which Hippocrates
did you swear your placebo oath;
injecting the sugared water
into the veins of the darkened martyrs;
their dying eyes affixed in trust
on those bright stars and bold stripes;
as a fair haired clerk
files away your useless data.

I bathe in the thick, black mud,
to hide the shame
of the color of my skin.

Copyright (c) David E. Cowen 1997
All Rights Reserved


***


Mike Stewart, 31, of Dallas, Texas, was filming a movie in 1983 on the
dangers of low-level bridges when the truck he was standing on passed under a
low-level bridge... and killed him.


***


ARE YOU EXPERIENCED
by Noel Redding & Carol Appleby (Da Capo)
$13.95

THE INNER WORLD OF JIMI HENDRIX
by Monika Dannemann (St. Martin's Griffin)
$14.95

reviewed by John Sekerka

Twenty-six years after his death Jimi Hendrix remains a headliner. Consistent
posthumous record sales makes Hendrix a star well into the nineties. And now
a couple of books appear to fan the fire even brighter. Noel Redding used to
play bass in The Experience, which in itself leads to suspect reasoning for
his book: bandwagon. Oddly enough Redding proves to be not only an
interesting character in his own right, but he's also an adequate story teller.
And stories he tells. A bit of a surprise is that besides the obvious excess
stories (sex, drugs and rock'n'roll, right?), Redding's book flows best when
he's recounting the very early, struggling days, beginning as a youngster
just scraping by, learning to play guitar, meeting his idols, forming bands,
touring (comically disastrous), in the pre-Beatles England days. Truly
wonderful stuff. The arrival of Hendrix means a whirlwind career of new highs,
and lows. With success comes excess, mismanagement and turmoil. Nothing new
here, and it's only at the end of the book where matters pick up again. There
Redding deals with Hendrix's death. Without pointing fingers, some very
puzzling facts are presented, insinuating that foul play may have been at hand.

What Redding alludes to, Monika Dannemann hammers home. Dannemann, Hendrix's
apparent (?) fiancee at the time was with him during the last few days.
Methodically, she recounts the final hours, offering a number of possibilities.
The official word was choking on vomit, but Hendrix was still alive upon
arrival at the hospital and a simple tracheotomy should have done the job.
The quack doctor in charge seems to have disappeared off the face of the earth.
There are several suspicious factors at play, and Dannemann pretty well zeroes
in on Hendrix's sleazy agent Frank Jefferey (the devil himself according to
Redding), who not only stood to gain much in royalties, but also a million
dollar insurance policy. He was also about to get dumped by Hendrix. Soon
thereafter Jefferey disappeared, apparently perishing in an airplane crash.
Very suspicious indeed. Makes for great reading too. Sad part is that you gotta
wade through most of this sappy book to get to the goods. Dannemann comes off
as a bit of a flake, expounding on Jimi like he was the organic Messiah. It's
also littered with her tasteless paintings: Jimi playing guitar on top of the
White House as a flying saucer hovers above. Black velvet stuff, folks. Shortly
after completion of this book Dannemann too passed away. The mystery grows and
grows.


***


ACTUAL NEWSPAPER HEADLINES

If Strike isn't Settled Quickly, It May Last a While

Cold Wave Linked to Temperatures

Enfields Couple Slain; Police Suspect Homicide

Red Tape Holds Up New Bridge

Deer Kill 17,000

Typhoon Rips Through Cemetery; Hundreds Dead

Man Struck by Lightning Faces Battery Charge

New Study of Obesity Looks for Larger Test Group

Astronaut Takes Blame for Gas in Spacecraft

Kids Make Nutritious Snacks


***


While motorcycling through the Hungarian countryside, Cristo Falatti came to
a railway line just as the crossing gates were coming down. While he sat
idling, he was joined by a farmer with a goat, which the farmer tethered to
the crossing gate. A few moments later, a horse and cart drew up behind
Falatti, followed in short order by a man in a sports car. When the train
roared through the crossing, the horse startled and bit Falatti on the arm.
Not a man to be trifled with, Falatti responded by punching the horse in the
nose. In consequence, the horse's owner jumped down from his cart and began
scuffling with Falatti. The horse, which was not up to this sort of
excitement, backed away briskly, smashing the cart into the sports car. At
this, the sports car driver leaped out of his car and joined the fray. The
farmer came forward to try to pacify the three flailing men. As he did so,
the crossing gates rose, strangling his goat. At last
report, the insurance companies were still trying to sort out the claims.


***


Two West German motorists had an all-too-literal head-on collision in heavy
fog near the small town of Guetersloh. They were going in opposite directions
and each man was guiding his car at a snail's pace near the centerline of the
road. At the moment of impact, their heads were both out of the windows when
their heads smacked together. Both men were hospitalized with severe head
injuries. Their cars weren't scratched.


***


On First Reading Jack Kerouac's
                               ON THE ROAD

                         Down and Out in Kentucky

                                 Part IV

                             For Madmen Only


We'd just finished our second fifth of Southern Comfort
and the mescaline was kickin in
Jimi Hendrix crosses borders threatening to ascend towards heaven
with lightning and thunder he plays Dylan's "All Along The Watchtower"
stereo loud as it will go
here in the only underground bookstore in Kentucky
For Madmen Only
shelves and bins stocked with books and records from
City Lights and Bookpeople    San Francisco
Atlantis and Alligator    New Orleans
teas and herbs  candles and incense from mountain communes
turquoise blue Spiritual Sky
and next door in
The Store
our head shop
paraphernalia   water beds   posters   GROW YOUR OWN
blankets and clothes from India   native American jewelry
and we're serving the new consciousness
inspired by the one and only King of the Dharma Bums   Jack Kerouac
and yes there's Lawrence Ferlinghetti
and Gary Snyder   Richard Brautigan   Ken Kesey
Allen Ginsberg   William Carlos Williams   William Blake
Hermann Hesse   Knut Hamsun   Dostoevski   Nietzsche
Bukowski   Thomas Merton   The Dalai Lama   Gandhi
Burroughs   LeRoi Jones   Diane di Prima  and more more more
with Robert Johnson   Hound Dog Taylor   Howlin Wolf   Hendrix
and always Bob Dylan    Bob Dylan   Bob Dylan
on the stereo
but we're Down and Out in Kentucky
failin like no others dare fail
and we're always on the outside   outsiders   outlaws
bein told you don't fit you ain't shit what the fuck you doin here
and so On The Road
is where we live travelin   travelin   travelin
in search of IT
headed out of Kentucky cross America coast to coast
down to Mexico determined to
keep on keepin on truckin til the wheels fall off and burn
just passin thru searchin searchin yes after all these years
still searchin for IT and yet somewhere somehow one day one moment
at the heights of Machu Picchu we went further in traveled deeper
on the inner road    we entered the kingdom
and in the heart of The Big Bang Epiphany we discovered
that the power and the glory of IT is bound in the grace
of forgiveness   of Beating Karma through love
of persevering through desperate circumstances so now
we GO GO GO   we Never Give Up   recognizing Now that
The Road   that Jack Kerouac's Road   that our Road
always leads On.

for Kevin Ring

copyright 1997 Ron Whitehead
down & out in kentucky
1st day of spring
3/20/97


***


A man hit by a car in New York in 1977 got up uninjured, but lay back down in
front of the car when a bystander told him to pretend he was hurt so he could
collect insurance money. The car rolled forward and crushed him to death.


***


HOW TO WRITE GOOD

Avoid alliteration.  Always.

Prepositions are not words to end sentences with.

Avoid cliches like the plague.  (They're old hat.)

Employ the vernacular.

Eschew ampersands & abbreviations, etc.

Parenthetical remarks (however relevant) are unnecessary.

It is wrong to ever split an infinitive.

Contractions aren't necessary.

Foreign words and phrases are not apropos.

One should never generalize.

Eliminate quotations.  As Ralph Waldo Emerson once said:
    "I hate quotations.  Tell me what you know."

Comparisons are as bad as cliches.

Don't be redundant; don't more use words than necessary;
    it's highly superfluous.

Profanity sucks.

Be more or less specific.

Understatement is always best.

Exaggeration is a billion times worse than understatement.

One-word sentences?  Eliminate.

Analogies in writing are like feathers on a snake.

The passive voice is to be avoided.

Go around the barn at high noon to avoid colloquialisms.

Even if a mixed metaphor sings, it should be derailed.

Who needs rhetorical questions?


***


Surprised while burgling a house in Antwerp, Belgium, a thief fled out the
back door of the house, clambered over a nine foot wall, dropped down, and
found himself in the city prison.


***


J. Edgar!

By Tom Leopold and Harry Shearer
Music By Peter Matz
Directed By Harry Shearer

Produced by L. A. Theater Works

Starring Kelsey Grammer, John Goodman, Harry Shearer, Don Castalenada,
Christopher Guest, David L. Lander, Michael McKean, Tom Leopold, Marian
Mercer and others

Review by Rusty Pipes

Do you have to know history to enjoy J. Edgar?  Maybe not, but it helps.

Harry Shearer recently replayed this 1994 gem of a radio musical on Le Show,
his weekly radio show. I liked it a lot when I heard the premiere, but the
second time through was enough to convince me I had to get a copy. Harry of
course is famous for doing multiple voices on The Simpsons and he's also a
refugee from Spinal Tap, Saturday Night Live and the Credibility Gap. Tom
Leopold, who gets writing credit before Harry, is not as well known to me
but he pops up from time to time on Le Show in various "Yvonne De La Femina"
put-ons. If he's the prime force in writing this, my hat's off to him.

J. Edgar of course is J. Edgar Hoover, the first director of the FBI who was
posthumously exposed as a transvestite homosexual a couple years ago. Kelsey
Grammer stars as J. Edgar, who is having his life pass before him on his
deathbed. The parade starts all the way back in high school and rapidly moves
into his promotion to the Bureau, where he meets his "Lifetime Assistant"
(that's what he was really called), Clyde Tolson, played wonderfully fey by
John Goodman. Shearer gets to play both Walter Winchell and the Negro attendant
in the two bathroom scenes. The play moves on through the many decades of his
directorship and the ups and downs of their relationship.

Does this material sound too provocative for a musical to you?  It was staged
as a live radio play and though it's not a high budget production with full
orchestra, it has a Broadway quality to it. Grammer displays a surprisingly
good singing voice that I've never heard on Cheers or Fraser. The recurring
"Once Upon a Face" theme is actually pretty endearing now that I've had the
opportunity to hear it several times. Musically the biggest laughs come when
J. Edgar's secretary, Helen, who's always pining for him, breaks into a love
ballad that mutates through a tango and into a bluesy burlesque that Hoover
has to pour cold water on. That's topped however when our hero goes to a party
in disguise as "Mary."

The play's humor isn't directed at Hoover's gay relationship itself, it's
actually played rather tenderly. Rather its central irony is generated by the
pressures of a thoroughly closeted man living a lie while in a position of high
power.  Hoover was greatly feared for his files and the play certainly
advances that as the reason he held the directorship for so many decades. But
worse, apparently the Mob knew of his tastes and it's believed that's the
reason the FBI didn't quash them in their early years.  The Director insisted
over and over there was no organized crime problem. Right.

In addition to the play, on the first cassette there's a bonus interview with
the play's authors masquerading as "Lucien Brooks Atkinson" and "Vaughn
Longacre," discussing the writing of the play and other ersatz projects, a
hoot I don't remember from the original broadcast. The live recording does
show off a couple flaws here and there, but it's minor. There's zip for liner
notes and there's reference to a J. Edgar book that's not part of the package,
but all in all I'm thrilled to have it in my collection.

By the way, you won't find J. Edgar in stores. L.A. Theater Works' The Play's
the Thing series is an ongoing set of radio theater performances that feature
many famous actors and actresses, obviously in it for the artistic
satisfaction. They are all recorded before live audiences in Santa Monica,
California, at the Doubletree Guest Suites. You can attend new productions
and of course there are cassettes available. I recommend Larry Gelbart's
Mastergate and Tim Robbins's Mayhem the Invasion off the top of my head. No
website yet, but you can email at latworks@aol.com or call for the catalogue
at 800 708-8863.


***


SUBMISSIONS! JOKES, QUOTES, POEMS, RECIPES, REVIEWS, FEEDBACK! GENERAL GOOD
JUNK! We need 'em, you got 'em! write this down: aquaria@serv.net needs you!


***

---------------------------------------------------------------------------

           E-MAIL ADDRESSES FOR CONTACTING COSMIK DEBRIS' WRITERS


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               Shaun Dale...............stdale@well.com
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			   Paul Remington...........prem@frontiernet.net
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           Cosmik Debris' WWW site..http://www.cosmik.com/cosmikdebris

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           at http://haven.uniserve.com/~liquid



