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                       MARCH, 1997 (Issue # 22)


                          - The Specialists -

                DJ Johnson.................Editor
                Wayne Burke................HTML
                coLeSLaw...................Graphic Artist
                Lauren Marshall............Administrative Assistant
                Louise Johnson.............Administrative Assistant and
                                           Keeper Of The Debris

                         - The Cosmik Writers -

   Jim Andrews,  Ann Arbor, coLeSLAw, Robert Cummings, Shaun Dale, Phil Dirt,
   David Fenigsohn, Alex Gedeon, Keith Gillard, DJ Johnson, Steven Leith,
   Steve Marshall, The Platterpuss, Paul Remington, and John Sekerka.


---------------------------------------------------------------------------


SOUND CLIPS (.WAV) AVAILABLE ON THE COSMIK WEBSITE THIS MONTH

There is one clip included with the Steven M. Martin interview.  The clip is
an example of the sound made by a theremin.

In the review section, you will find the following reviews:

THE BOSS MARTIANS (Surf/garage): "She's Creepy" - 354k
THE CONGOS (Reggae): "Rock Of Gibralter" - 350k
THE FREDRIC (60s psychedelia): "Henry Adams" - 293k
POISON IDEA (Hardcore/metal): "Alan's On Fire" - 218k
ROSE ROYCE (70s funk): "Love, More Love" - 370k
V/A: 3 MINUTE REVOLUTION (Power pop):
  1) Swingset Police - "54321" - 289k
  2) The Rockinghams - "Played A Trick" - 190k
BEN VAUGHN (Eclectic):
  1) "Heavy Machinery" - 227k
  2) "Seven Days Without Love" - 359k

All sound clips were sampled in mono at 11,025 hz/8 bit. This means the sound
quality isn't going to be stunning, but you also won't grow old waiting for
them to download.

If you have any thoughts on this subject and would like to share them, please
write to moonbaby@serv.net.  Thank you.

---------------------------------------------------------------------------


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



EDITOR'S NOTES: DJ introduces this unusual issue of Cosmik Debris, and
   announces the winners of the Brazil 2001 CD giveaway.


GADZOOKS! IT'S MOJO NIXON: From the rowdy rockabilly stage to a movie theater
   near you, Mojo Nixon keeps busy!  In this interview by Greg Nicoll, Mojo
   covers everything from life in B movies to his collaborations with Jello
   Biafra, Dave Alvin, the late Country Dick Montana, and others.


A MILLION POINTS OF REFERENCE - Building The All Music Guides: For people
   who take their music seriously, the pursuit of new listening experiences
   is a lifelong journey.  For those people, The All Music Guides are an
   invaluable set of reference books that not only tell them about an artist
   and his or her recordings, but also offer advice on best first purchases,
   landmark albums, and essential additions. In this interview, founder and
   Executive Editor Michael Erlewine and Editor-In-Chief Chris Woodstra
   discuss the AMG philosophy, the history of the series, and what the near
   future holds.


LABELED - DCC COMPACT CLASSICS: DCC's audio magician, Steve Hoffman, breathes
   new life into old recordings via the 24k gold CD and 180+ virgin vinyl
   formats and the use of nice warm vacuum tubes in his console.  In this
   interview by Shaun Dale, Hoffman spells out just what he does, what these
   enhanced formats do, and what it takes to get ahold of the original tapes
   in the first place.


TAPE HISS (John Sekerka):  It's a spooky theme!  First up, Coco The Electronic
   Monkey Wizard (Man...Or Astroman?) snickers and guffaws at us Earth geeks
   a little, then Steven M. Martin, director of the documentary Theremin: An
   Electronic Odyssey, talks about the world's most unusual and eerie sounding
   musical instrument.


RECORD REVIEWS: Our biggest batch of reviews yet, in a variety of flavors
   including punk, jazz, blues, ska, pop, Cajun, rap, country, folk, surf.
   soul, funk and more.


BETWEEN ZERO & ONE (Steven Leith): Scientific rules?  Moral issues?
   Pthpthpthpthplpthtpltht!!!  Send in the clones!


PHIL'S GARAGE (Phil Dirt): After hearing way too much bitching from the
   "young Surf traditionalists," Phil decides it's time to set the record
   straight on innovation.


STUFF I NOTICED (DJ Johnson): What's in a name?  A can of worms, that's what.
   At least when the name in question is E.E. Cummings!


THE DEBRIS FIELD (Louise Johnson):	A whole new spread of poems, quotes,
   jokes, book and movie reviews and...stuff!


HOW TO CONTACT US (OR WHERE TO SERVE THE SUBPOENAS): We love to hear from our
   readers, and we love to write back.  Here's where you'll find e-mail links
   to everyone on the Cosmik Debris staff.


---------------------------------------------------------------------------

EDITOR'S NOTES
By DJ Johnson

When people ask me what the hell we're trying to accomplish with Cosmik
Debris, I have a quick and honest answer for them.  We're trying to create
something that will make a certain type of person very happy.  People who
only care about one genre of music will get bored and stop reading Cosmik
in a big hurry because we don't dwell on any one genre for long.  But people
who love music and want to learn everything they can about as many different
styles as they can... those are the people that spend hours at a time on our
site.

In this issue of Cosmik Debris, we're going to bring you three interviews
that aren't about making music in the traditional sense.  They are about
people who help bring the music TO you in various ways.

For people who want to expand their record or CD collections without going
broke on bad albums, The All Music Guide is an indispensable tool.  Among
the dozens of record guides available today, the AMG finds no challengers.
The series now stands at four separate books: The All Music Guide (which
covers many genres in its 1,400+ pages), Jazz, Blues, and Rock.  And there
are more on the way.  AMG's online database has enough information to fill
a book approximately ten feet thick.  At the heart of all of that is founder
and Executive Editor Michael Erlewine.  We talked with Michael and
Editor-In-Chief Chris Woodstra about their entire operation.  You might
want to make a note to enter this month's drawing, too, as we're giving
away three full sets of the four books.

From the world of reference to the realm of sound.  We have reviewed many
24k gold CDs and 180+ vinyl audiophile releases from DCC Compact Classics,
and more often than not, the reviewer has felt compelled to mention the name
of the re-mastering engineer, heaping praise for a job well done.  That
engineer is Steve Hoffman.  It suddenly occurred to us that we needed to talk
to this guy.  Shaun Dale's interview with Hoffman reveals a man who cares
a great deal about the music he works with.  It also provides some good
non-techie information about gold versus aluminum.

From sound to the screen.  The second half of this month's Tape Hiss features
an interview with Steven M. Martin, director of the documentary, Theremin:
An Electronic Odyssey.  Martin's film looks at the life of Professor Termen,
inventor of one of the most unusual--and at the same time beloved--instruments
in the world.  The first half of Tape Hiss features an interview with Coco,
The Electronic Monkey Wizard, bassist of Man...Or Astro-Man?  Among the many
topics: MOAM's use of a theremin.  Small world.

Finally, we're thrilled to present an interview with musician and actor Mojo
Nixon.  When freelance writer Greg Nicoll asked me if Cosmik Debris would
be interested in this interview, I flipped.  They say you either love Mojo
or you hate 'im.  It would seem the Cosmik staffers are all firmly rooted
in the "love 'im" camp.  Greg sat down with Mojo on the set of his most
recent film, Raney, for a discussion that covered everything from life on
a movie set to his musical collaboration with Jello Biafra.  We Cosmikans
thank Greg for bringing this fun interview our way.

CONTEST WINNERS!  Okey doke, it's time to announce the five winners of last
month's drawing.  Each winner will receive a copy of Brazil 2001's outstanding
CD, Fist Full Of Sand.  Aaaaaand the winners are:

Claus Pedersen of Viby, Denmark
Steve Stokes of Los Angeles, California USA
Arthur Atrohin of Sankt-Peterburg, Russia
Kaj Olsen of Baltimore, Maryland USA
and Austin Swinburn... We're not sure WHERE Austin is from.  We had some
garbled data.  We do have his e-mail address, though, so we'll be in touch.

Congratulations to all five winners.  Believe me, you're gonna love this CD.

That's about it.  Time to get on with the March issue, our 22nd.  Enjoy!

DJ Johnson
Editor


----------------------------------------------------------------------------


GADZOOKS!!! IT'S MOJO NIXON!
An Interview with A Rock'n'Roll Madman
by Gregory Nicoll


The following conversation took place at the end of 1996 in  Senoia, Georgia.
Mojo Nixon -- the irreverent, outspoken musician best known for novelty hits
such "Elvis is Everywhere" and "Don Henley Must Die" -- spent several days
in the little southern town, working as an actor on the set of the independent
movie Raney. It was a sunny Friday afternoon when he took time out between
scenes to speak with me, seated on a bench beside a red brick building
decorated for the movie as a small general store.


                   *                *                *


GREGORY NICOLL: When I interviewed Dave Alvin last week, he asked me to say
   hello to you, Mojo.

MOJO NIXON: Dang! That guy still owes me $57!

GN: Why does Dave Alvin owe you money?

MN: Aw, it was a card game that me an' him, Country Dick Montana and John
   Doe were involved in, during the last Pleasure Barons tour. Dave's a
   little tight with money. He's not as free-wheelin' as I am. Me, Country
   Dick and John Doe were just buyin' everything, but ole Dave just holds
   onto that stuff. He's crazy. When we did the first Pleasure Barons tour
   in '89, he acted like the elder statesman, the old blues guy. And he's
   younger than I am! He's like 38. At the time he was 34 and acting like
   he was 57! On the first tour he was sick, he was gone all the time -- in
   the hospital. He claimed he was sick. I think he was just afraid of me
   and Country Dick. In fact once, in Vancouver, I had Country Dick over my
   head in an airplane spin and threw him into the crowd. The crazy thing
   was, they threw him right back onstage! Dave didn't wanna wrestle with
   us both onstage. He missed like half the shows, and once there was no
   straight man, it was like the World Wrestling Federation!

GN: Tell me about acting in movies. I know you were in Great Balls Of Fire
   with Dennis Quaid and Joe Bob Briggs.

MN: Yeah, and John Doe was in that too. That was the first thing I did, and
   I did a coupla other things -- The Super Mario Brothers Movie. I got to
   be in a scene with Dennis Hopper in that. He turned me into a giant lizard.
   You know, that Dennis Hopper, he might not be on drugs, but he's still
   crazy as hell!

GN: And coming from YOU....

MN: It's a compliment! [laughs] The thing is, when you got some
   obsessive-compulsive person, just 'cause they're not doing drugs doesn't
   mean they're, you know, straight. They're CRAZY! I mean, look at Martin
   Scorsese. I mean look at that LOOK on this face -- whrrnnngh! [laughs] I
   did that thing, and I just did something called Buttcrack: The Movie.
   Hopefully, Joe Bob Briggs is gonna be  reviewin' it. Hopefully, it's
   gonna be so bad that it's good. Kinda on purpose. Otherwise it's just
   gonna be so bad, it's just bad.

GN: I haven't heard of Buttcrack: The Movie. Who else is in that?

MN: I am THE STAR -- that's how pitiful things were! Hopefully it'll be
   somethin' like TOXIC AVENGER, but it could be Plan Eight From Outer
   Space. I did it up in Virginia last summer.

GN: So how'd you stumble onto this gig, and get this part in Raney?

MN: Chris Mills, some crazy guy here, is the one that got me involved. He
   has a friend named Tim who wrote a screenplay called Mojo's Coming. About
   two years ago they came to a gig and he said, "I'm writin a screenplay
   about you -- is that okay?" and I said okay, as long as I'm in it! It's
   about the ultimate Mojo fan who tries seven times to get to a Mojo Nixon
   concert and never makes it. And it's this giant quest, and at the end of
   the movie you see me playing, like, the end of "Elvis is Everywhere," and
   I'm sayin' "Hi, kid!" It's all about the Mojo music, the Mojo myth, the
   songs...but I'm NOT IN IT enough to screw it up! Then, about a year ago
   when Chris started working on Raney, he said "let's get Mojo involved!"
   One thing leads to another and pretty soon you're in bed with a monkey --
   with a video camera rollin'!

GN: Tell me about your role in Raney.

MN: I play Sneads Perry, a man who doesn't bathe and runs a country store.
   It says in the screenplay that his big activity is sitting on the front
   porch, counting whether there's enough Fords vs. Chevys pullin' up out
   front. It's supposed to be 1973 in Carolina. I grew up in Danville,
   Virginia. I know exactly who they're talking about. I kinda saw it as
   part Ernest T. Bass, part Rafe Hollister. I didn't shave for this, and
   look how they got me dressed -- I look like I was kicked off HEE HAW for
   being too dirty! I brought the hat myself, though. When I read the role,
   I went to my hat box and I got this out -- my huntin' cap! I figure I can
   ham it up pretty good. This film thing, if you do too much, the camera
   sees it. I'm acting like I'm trying to convince somebody in the park a
   half a mile away, you know, Shakespeare in the Park on acid. Whooow! I'm
   sure a little bit of me goes a long way. I just got through doin' a play
   in New York.  It was called GRAVEL'S FINE, where I played a snake-handling
   preacher. It was at this super-experimental ontological theater at St.
   Mark's Church, and they brought in me as an authentic hillbilly ringer,
   I guess. The damn snake BIT me, too! Didn't bite nobody else.

GN: I hope it wasn't a poisonous snake....

MN: No, but that doesn't matter. If you got the spirit, that's okay! [laughs]
   As it says in Mark:16! The whole crazy thing about snake-handling preachers
   and drinkin' strychnine is that it's been in the Bible since the year 400
   A.D., but not until 1910 in the hills of Kentucky did some guy decide to
   test it. It took Americans to find this out! Russians, English, French,
   none of them! They didn't wanna try it...but WE were the country that was
   strong enough -- and manly enough -- to start handling snakes! "They shall
   take up serpents and they shall not be hurt." That's what it says.

GN: But you were hurt.

MN: But not seriously. I was strong in the faith! [laughs]

GN: So what's happening with you, musically speaking?

MN: Well, I got an album that's fixin' to come out on Needletime Records,
   and it's called GADZOOKS!!!. It was supposed to come out last year, but
   the other record company went out of business. I'm like a one-man jinx.
   I could fuck up a one-man rock fight, tear up an anvil! [laughs] The
   album's got all my collected shit that's not on any one album. If you
   just had all the Mojo CDs, this would be the stuff you were missing --
   stuff off compilations, singles, movie soundtracks. I was in this awful
   Rock'n'Roll High School Forever movie. Luckily, nobody saw it. An awful
   sequel to Rock'n'Roll High School. Some woman from Texas directed it, and
   it's awful. I'm in it for five minutes and I'm okay, but then it just
   goes back on....

GN: What about your song on the Ramones tribute album, Gabba Gabba Hey?

MN: Oh, yeah. My version of "Rockaway Beach." No, I didn't put any of the
   covers on there. There's another whole album of me covering songs. On
   Gadzooks!!! there IS a song me and Country Dick thought we wrote, "Are
   You Drinking With Me, Jesus?" This is a true story. We were so high after
   an all night card game -- we decided we were gonna write some hits! We
   had to go to my house, where we had to act like we were straight for an
   hour while my wife and my son got ready to go to work and to school. We
   were out of our gourds, but we were gonna write some songs! So my wife
   and son leave, and we fall on the floor and start writing. Country Dick,
   I just kinda assumed he had half of the chorus off of some lyric sheet.
   Turns out he had every word except, like, two! And the music I had
   composed turned out to be almost the same as the guy who wrote it
   originally had composed. We didn't WRITE this song -- we COPIED IT DOWN!
   That one's on there.

GN: What else have you been up to?

MN: I did a country album with Jello Biafra. This was Cockamamie Scheme #337
   gone awry. Mojo and Jello go to Texas and do a country album. It's an
   okay album, but it was the most frustrating thing I ever did in my life.
   I wanted to KILL the boy. I mean, I wanted to pull his head off and shit
   down his neck, I did! It's just hard having two chiefs like that,
   diametrically opposed. That's what made it interesting -- that's also what
   made it hard.

GN: Tell me about Fish Karma. You produced two weird novelty records for him,
   right?

MN: Yeah, both his albums. He's just this guy, Jerry Owens. I think he's
   done being Fish Karma, and he's now a full time elementary school teacher
   in Arizona. A lot of what was the first record -- and the second -- were
   on tapes made a long time ago, '83 or '84. And it was, like, six years
   later that I did those albums. Somehow this all came about because of
   Jello Biafra. I was backstage and he had the same tapes I did, and he
   said he'd put it out, so I said I'd produce it. So it was Mojo --
   producing Fish -- for Jello! And Jello didn't like what I'd made, so I
   put it out myself through Triple X Records.

GN: Their catalog had a whole Mojo Nixon section in it.

MN: I had a Christmas album out on Triple X. I did several things through
   them with bands like the Dick Nixons that were never gonna make a record
   unless somebody went and helped them. If they'd tried to deal with a
   record company by themselves, they'd fuck it up. They'd be afraid, or
   think they were getting ripped off, or think there should be more money
   involved.

GN: They needed a mentor.

MN: Yeah, a demented mentor -- a de-mentor! And my purpose in all of that
   was just to get weirdo, unheard music out there. [burps] And also, it was
   doin' the same thing people did to help me, back when I first started.
   You know, people heard this crazy tape with this demented guy who wouldn't
   shut up....

GN: 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!

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

GN: Yeah, the Centerstage Theater.

MN: 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 takes you out and shows you titty
   bars.

GN: Did that tour come about because you're mentioned in the lyrics of their
   song "Punk Rock Girl"?

MN: We were both on Enigma Records. That's how it all happened. And we'd
   known each other for quite a while. We'd met. In fact, we had Thanksgiving
   at my house one time...this was years before all that. Joe, who sang the
   "Punk Rock Girl" song, that really got it going. I didn't know they were
   gonna do that or nothin' -- but Enigma went out of business during that
   tour. They spent their last two million dollars trying to make David
   Cassidy a star again. And here's this album I spent all this money
   making....I got Country Dick, John Doe, Bill Davis, this whole first
   post-cowpunk supergroup. But anyway, it went to hell.


[Nixon is called back to the set, where he performs in a scene involving a
Playboy Magazine. A character named Charles is about to buy it when suddenly
his wife walks up. He hastily pushes the magazine away. When the shot is
over, Nixon yells, "Pussywhipped!" Amid the crew's shrieks of laughter,
Nixon steps back outside.]


GN: Tell me about that scene you just played.

MJ: I'm selling PLAYBOYs under the counter, and ole Charles here, I think
   he's a regular customer. You know, he gets 'em every month. So we been
   outside talkin' and jokin' -- man stuff -- and I don't quite realize that
   those two are married and that she's gonna be upset. So I'm givin' him
   the magazine. Here ya go -- this month's issue! It's got Marilyn Chambers
   in it, and boy, has she got some nipples on her! And he's pushin' it away.
   He's embarrassed. I don't know why. [laughs]

GN: There sure are a lot of people here on the set.

MN: Oh, this is not too bad. I'd rather work on something like this where
   you've got 20 or 50 people working together to make a good movie, as
   opposed to 200 people and 50 million dollars, where everyone's just
   coverin' their ass. In fact, I've worked on these where nobody cares
   about anything but getting their paycheck -- they could be working at
   General Motors. Just making a living. They don't care.

GN: Like the Mario Brothers movie?

MN: Aw, yeah. That was a nightmare. Great Balls Of Fire, same
 thing. Just money. On Mario Brothers, I came to work one day and
 the director was crying. I said, this is not good. He's bawling,
 "Talk to my wife." It was a husband and wife team, and they were
 completely over their heads. Lately I haven't worked a whole lot.
 My wife had a baby, and I was home for a while takin' care of
 both of them. I named him Rafe Cannonball. He's two and half now,
 and he's got that name to live up to. Named after Rafe Hollister
 on The Andy Griffith Show. I had a buncha deals that all fell
 through. I'm about to run out of money, so I'll have to do
 something.

Movie Crewman: Mojo, we need you back on the set again.

MN: Aww, I just saw the First A.D. [Assistant Director] go to take a pee, so
   it's gonna be a minute.

GN: Wow, Mojo. That's business savvy. A director makes the movie, but the
   A.D. runs the movie.

MN: The director's got the genius, but somebody's got to be the field
   commander over these idiot troops.

GN: What happens in this next scene?

MN: I get laid at one point.

Movie Crewman: Yeah, she's puttin' her GOOD teeth in for ya!

MN: I put deodorant on the OUTSIDE of my clothes, too.

GN: So what's your position in the Ford vs. Chevy debate?

MN: Well, Ford means Fast-On-Race-Day. Friends don't let friends drive
   Chevys.

GN: I'm the grandson of a Ford dealer, but I only drive VWs.

MN: HEY! We defeated those people! Listen, I went to Germany last year, and
   those people are NOT our friends! I mean, the RUSSIANS are our friends!
   [pauses] But then, the only things I know about Germany are from WWII
   movies. You know, the Heidelberg ball bearing factory is my complete
   frame of reference -- the Battle of the Bulge, the Ardennes Forest. But
   the Germans are still mad about us bombing Dresden. I didn't have a good
   time there. Some bands go over there and do real good, but I think my
   thing is too American. I coulda swore they were beating me in my sleep
   with poles while I wasn't looking!


                   *                *                *


GREGORY NICOLL is a professional journalist and freelance writer who
covers the southeastern music scene for CREATIVE LOAFING Atlanta, a weekly
entertainment newspaper with a circulation of 230,000. He also writes
fiction, and his work has appeared in  anthologies such as 100 VICIOUS
LITTLE VAMPIRE STORIES, IT CAME FROM THE DRIVE-IN, SEX MACABRE, NEW
MASTERPIECES OF HORROR, and THE YEAR'S BEST HORROR STORIES. He loves
Volkswagens, raises his own chili peppers, and collects lever-action
saddle ring carbines.

E-mail address: g.nicoll@genie.com


---------------------------------------------------------------------------

A MILLION POINTS OF REFERENCE: Building The All Music Guides
An interview with Michael Erlewine and Chris Woodstra
(Interviewed by DJ Johnson)


Just move forward.  Good advice that Michael Erlewine followed years ago,
advice that helped him create one of the greatest collections of music
resource books on the planet.  The All Music Guides provide excellent
information on artists and their recordings, but they go much further
than that.  Music maps, arranged like flow-charts, show the evolution
of genres and sub-genres, and trace the chain of influences on various
instrumentalists.  Essays cover everything from definitions of genres
to lists and ratings of record labels and mail order companies. The album
listings include designations for landmark recordings, essential purchases
and logical first purchases.  The four existing books, Rock, Jazz, Blues,
and The All Music Guide (affectionately--and justifiably--referred to as
"the big book") are indispensable reference guides that help people seek
out new listening experiences without getting burned.  With the average CD
running about $15, such a reference guide is nearly worth its weight in gold.

Beginning with his days as lead singer and harmonica player for The Prime
Movers Blues Band, Michael Erlewine's thirst for knowledge led him down some
interesting roads.  Thirty years into his journey, he is the center of
Matrix, a company with many diverse interests including astrological
software, new age information, and large databases bursting with information
on movies and music.  To ensure that no minute of his day can be called
"spare," Michael serves as director of The Heart Center Karma Thegsum Choling,
an organization that translates and publishes the teachings of the Karma Kagyu
lineage of Tibetan Buddhism.  As his All Music Guide vision comes to fruition,
the Executive Editor is quick to give credit to the Matrix staff, and
particularly Vladamir Bogdonov (who is the technical wizard that makes the
website what it is) and the Editor-in-Chief, Chris Woodstra.

Chris' resume is impressive, to say the least.  He holds a B.S. in physics
and mathematics, spent years as a disk jockey hosting programs focusing on
nearly every musical genre, has a record collection that boggles the mind,
and has edited, and written for, several publications.  Working for Michael,
Chris finally found a place to put ALL of his knowledge to good use.

We caught up with Michael and Chris at an exciting time, as their newest
book, The All Music Guide To Country, had just been completed and sent
off to the publisher.  True to their workaholic reputations, they didn't sit
back and celebrate long.  Work has already begun on the 2nd edition of the
rock book, and initial preparations are underway for the project that will
immediately follow that.  Just move forward.



                   *         *         *          *


Cosmik: You know, I just spent a major portion of the day crawling around
   the website.

Michael: Oh, our website?

Cosmik:	It's incredible.  It's so complete.

Michael: Yeah, I think that we have more music data than anywhere else.

Cosmik:	What came first, the books or the website?

Michael: The books were first.

Cosmik:	How was the idea born?

Michael: The idea came from myself... It was pretty simple.  I had been a
   musician in the 60s, and had been in and out of music in different ways.
   Then I got to be into software as a software engineer, and run a company
   and all that jazz.  When CD players came out, I started buying music
   again.  I had sold a lot of my music.  I'd had rooms full of it, and
   then I didn't have so much vinyl anymore.  So I started buying stuff, and
   I kept getting stung.  You know, I thought I was getting Jerry Lee Lewis
   or Little Richard, but it turns out to be Little Richard thirty years
   later, but it wasn't clearly marked.  I really got irritated.  I've
   probably got hundreds of CDs that I've paid full price for that are
   essentially worthless to me.  So I got irritated by it.	I knew quite
   a lot about the industry, so I started looking at all the magazines and
   stuff, and that was kind of helpful.  Then I started contacting some of
   the people that I knew, and meeting some new people that were music
   writers just literally for them to tell me about this or that thing,
   believe it or not.  And I began to compile that data, because I'm an
   archivist, and at some point I just said "gee, other people besides me
   need this information."

Cosmik:	You had all this data, then... Was it enough to plug straight into
   the book, or did you have to organize teams of writers...

Michael: Oh no, I had to do all that.  I had to organize all the writers and
   everything they wrote.  The writing itself went through various re-writes,
   getting someone to cover this and getting someone to cover it better.  It
   just gradually grew.  And trying to find all the errors, and trying to
   get people to contribute...

Cosmik: Now that you have a full staff and editors, what's the process like?
   For example, what was involved in deciding what bands would be included
   and what bands wouldn't?

Chris: Well, we have to consider space.  We can't put everything in the
   printed books that we have in the database .  So it's mainly our in-house
   editorial staff deciding what should go in.  We try to have obscure and
   cult bands on kind of a rotating basis just to get as many people covered
   as possible.  A cult band that shows up in the first edition of the rock
   book may not make it into the second edition in favor of another one.

Cosmik: I was thinking that it would be hard enough to get all the bands that
   AREN'T cult bands in.

Chris: (Laughs) Yeah, it is.  It's very hard.  Narrowing down who goes into
   the books is probably one of the hardest parts at this point.

Cosmik: Is that something that might inspire arguments among the staff?

Chris: Yeah, quite a few.  Lots of late nights sitting around and arguing
   about it.  Sometimes at the last minute we have to drop things, and that
   becomes painful, too.  They're very carefully considered.  We try to give
   even coverage to everything.

Cosmik: How huge a task was it, and is it, to track down the errors?

Michael: Huge.  It still is.  It's incredible.  Nobody really has clean data.
   They all SAY they do, but the fact is it's almost literally impossible.
   And certainly money can't just solve it.  It's only solved by having
   people who really care about the music--and these are mostly collectors
   driven by their own pride and wanting to show you how wrong you
   are--correct you and point you in the right direction on errors that you
   would never get to.  We each have our favorite artists, but we don't
   personally love everyone.  Yet every artist is loved by somebody.  So get
   them fired up so they want to help you improve that coverage.  We've done
   a lot of that. In fact, we were written up in an early Wired magazine,
   and we talked about what I coined as "interactive data  cleaning," a
   convection-like cleaning.  You know, the whole thing cleans itself
   gradually.  Most people who organize this kind of data do it in a linear
   fashion where they pass over it once, checking it against a source, and
   that's it.  Where you invite people to constantly criticize and comment,
   you get a constant convection-like process of people going over the data,
   and if you post something that's wrong, even if it came from a user,
   someone else is pretty quick to point it out and rub your nose in it.

Cosmik:	If somebody on your website sees a list of musicians on an album, and
   they say "hey, this isn't the guy that played bass on that album," they...

Michael: ...they'll tell us.

Cosmik:	And then you'd go research that information?

Michael: Yeah, we would go research that... but not always. Now, again, this
   is fairly revolutionary.  Our approach is this: if we can find anything
   about it, we'll research.  But if we can't, our tendency--especially if
   we know the particular contributor, and we do get to know these guys--is
   to post it and let somebody else point it out if it's wrong.  And if they
   don't, then no one even cares.  The idea is simple.  None of the sources
   out there, none of the big companies check things more than once.  It's
   not like somebody's out there fact checking.  And if they were, they don't
   have access to the product.  Hundreds of thousands of items.  So how are
   you gonna get these things checked?  And obviously we are moving through
   here huge quantities of CDs where we either keep them or we have them
   for a time.  Those, we can be pretty sure of.  But what about the stacks
   of vinyl out there that you and I are never going to get our hands on?
   Somebody comes in and says "Bob so-and-so played bass on that."  Well,
   what are you gonna do with that piece of information?  Until you have
   something better, you might as well post it.  Yeah, it's a dangerous way
   of approaching it, but it gives us a lot more data than we'd be able to
   get in any other way, and it gradually refines itself.

Cosmik:	Does that go for everything?

Michael: Not on new stuff.  Anything new on CD, we've actually had the CD
   here, and you can be pretty darned sure of that information.  It's only
   the obscure stuff or...we're trying to document 78s and other stuff you're
   never going to get your hands on.  So it's either trust somebody or don't
   list it.

Cosmik:	I tested out the scope of your database by popping in some names that
   I consider pretty obscure.  I tried The Heats and was really surprised
   when some data came back.  I mean, they were a great band in the late 70s
   in Seattle, but they really only had regional success, and yet there they
   were.  I added a review, too.

Michael: Oh good!  We'll probably use the review if the editorial board
   approves it.

Cosmik:	How many reviews do you get from the public?

Michael: Not a ton.  And we don't usually take them.  You may get an e-mail
   back asking permission to use that review online, or they may use it to
   re-write it in our own language so we won't worry about you suing us down
   the road.  There are different avenues.  Someone will probably pass it on
   to an editor who actually knows who that band is, and they'll decide if
   what you've written is reasonable or not.  There's just a hundred ways to
   go about it.

Cosmik:	It's an interesting idea.  It advances the ideal of the Internet
   Community, too.

Michael: Yeah, we work with two or three hundred writers that are freelancers
   that write for music magazines.  We get them kind of on a downcycle and
   willing to work for less	or wanting to cover something in particular.
   We always pay right on time, which is something.  Writers don't usually
   get paid well.  We get 'em when they want to do some special work, or if
   they have some time that otherwise they're going to get zip from.  That's
   a lot of... the way we've done it.  Now that we're getting better known
   and we're part of a larger company, we have a larger budget and we can
   get more and more stuff done.  We just want to keep covering music
   thoroughly.

Cosmik: How did the database get online?

Michael: At some point the database became a gopher site as part of a local
   university here called Ferris University.  We had it as a gopher site for
   a while, and now it's available in a lot of forms.

Cosmik: How much traffic does the site get per day?

Michael: On our site, we get about 500,000 page views per day.

Cosmik:	Wow.

Michael: And that's with no advertising of any kind other than listing it
   in our books.

Cosmik:	Why don't you advertise?

Michael: We will.  We just haven't gotten around to it.  We've been so busy
   doing other stuff that it wasn't imperative.  It wasn't crucial to us.
   We didn't have to.

Cosmik:	Does it make money in any way now?

Michael: Not really, other than the references.  There are some pass-through
   references for purchasing to some other people that use our data, and we
   get a percentage of their sales.

Cosmik:	That would be like CD Now, CD Universe...

Michael: Exactly.  We get something from that, but it's really almost an
   afterthought.  But we will be doing all that.  We still think of this
   whole thing as young.  Not AMG so much as just the whole Internet selling
   thing.  We're waiting for MicroCash and stuff like that to happen.

Cosmik:	Do the writers that are off-site use the Internet to send reviews
   back and forth, Chris?

Chris: Yeah, that's actually made life a lot easier in the last few years.
   The Internet, and e-mail, have made the transfer of data so much easier.
   We don't have to deal with disks or scanning typewritten pages or things
   like that.  The process has been pretty streamlined.  I make assignments
   through e-mail and get the work back that way.  And they can also check
   to see how their work comes out.  They can just look at the site and
   make corrections, and also find the gaps that they need to fill.

Cosmik:	If someone does a review for, say, the jazz book, and they
   send it to you over the Internet, do you have it proofed and plugged
   straight into the online database ?

Chris: Most of the material would be available on our site before it comes
   out in a book.  You know, the books are nice because it's such an easy
   thing to browse through.  The site is still not perfect for boiling it
   down to country artists and browsing through it like a book.  I think
   there's always going to be a use for a book.

Cosmik:	And then there's the esthetic value of a book...

Chris: Yeah, it's nice to be able to hold a book in your hands, or read it
   before you go to bed.  I still prefer reading things on a page to reading
   things on a computer screen, as high tech as we are here.  And you can
   carry a book into a record store, too, and make your decisions that way.

Cosmik:	What goes into keeping the database running smoothly?

Michael: Our technical guy here is Vladamir Bogdonov, and he's just a
   tremendous technical design genius.

Cosmik:	He's a software engineer, isn't he?

Michael: Yeah, but he's a whole lot more than that.	 He's got a Ph.D. in
   mathematics and statistics.  He's designing a lot of the ways of
   recommending movies, combining data in odd ways, coming up with ways
   of relating things one to another, building clusters of things.  It's
   quite a creative staff here.

Cosmik: He's got a lot of data to deal with, too.

Michael: We've got about thirty people just entering data in one of our
   buildings. Last time I looked, just the north wall had 30,000 classical
   CDs stacked up against it waiting to be entered.

Cosmik:	Ah! Classical?  There's going to be a classical guide?

Michael: Getting ready to launch our classical solution pretty soon.

Cosmik:	That answers one of my questions I was saving for later.  That's
   going to be a monumental task.

Michael: A friend of mine who played keyboards in my band in the 60s,
   Robert Sheff--who now appears under the name of Blue Gene Tyranny--is
   an avant-garde classical composer.  He does our classic avant-garde
   section for the big book.  He came out and spent a couple months here
   and recorded the main themes from almost 20,000 classical compositions.
   PLAYED it into MIDI files.  So we're going to have those available so
   you can hear the theme from literally every Beethoven quartet and every
   Mozart piece you can think of.  It took a couple months of very dedicated
   work.  He didn't play the whole thing... just the theme.	 Almost 20,000
   of them!

Cosmik:	That's incredible.

Michael: It IS incredible, and I think you'll be seeing them pretty soon.
   You'll be able to download them as .WAV files, real time audio... a lot
   of people will be interested in them.

Cosmik:	Talk about monumental tasks!

Michael: Yeah, THAT was a big task.  One of the things I've learned is not to
   be afraid of big tasks.  Just do them one step at a time and pretty soon
   you're done.  Or else you're so deep into it you can't get your butt out.

Cosmik:	I guess if you didn't have that philosophy, none of this would have
   happened.

Michael: No, you can't be afraid of a big mess. (Laughs)

Cosmik:	Blue Gene Tyranny, huh?  That's a great stage name.	 He was in The
   Prime Movers, right?

Michael: Yes, he was.

Cosmik:	Some of our readers would never forgive me if I didn't ask you about
   that band.  First of all, that was a band that had Iggy Pop on drums,
   correct?

Michael: Yeah, Iggy Pop was on drums.  I was the lead singer, and I played
   amplified Chicago-style harmonica.

Cosmik:	I've never heard the band, but I've been told you played very
   authentic electric blues, like Paul Butterfield Blues Band did.

Michael: Yes, we were good friends with Butterfield.  I was a friend of
   Mike Bloomfield's.

Cosmik:	I interviewed Mark Naftalin [Paul Butterfield Blues Band's keyboardist]
   recently.

Michael: Oh yeah, Mark and I are friends, too.	Some of the stuff he just
   released, I recorded.  He's been releasing some Butterfield stuff that I
   recorded back in the 60s.

Cosmik:	You mean Strawberry Jam and East-West Live?

Michael: Well, I recorded one of the East-West pieces on the Live album.
   It's nice to hear it again.  Actually hearing that stuff in person was
   beyond belief.  Bloomfield was a monster and a very kind person to know.
   Do you have our blues book?

Cosmik:	Sure do!

Michael: I wrote the thing on Butterfield there, and the thing on Mark Naftalin.

Cosmik:	You write about the blues with a lot of passion.

Michael: Back in the late 60s, I interviewed--either video or audio--just
   about every black blues performer you could think of.  I met people like
   Sun House, spent whole nights drinking whiskey with Arthur "Big Boy"
   Cruddup and Big Mama Thornton and all kinds of people.  I'm very
   blues-oriented.  Our band was very authentic.  We had some talented
   people.  We just never recorded, which was mostly my fault.  We were
   courted by Motown at one point to be like a white group doing black
   music... but I wouldn't do anything they wanted us to do.  I was so
   obstinate.  They were driving us around in limousines, but I wouldn't
   do the tunes they wanted us to do.  We would only do the ones we wanted
   to do, from the heart, you know?  I wouldn't bow to them, so they weren't
   interested in us, and I didn't blame them.  They had their own idea of
   what they wanted us to do and I didn't care.  It would have been selling
   out.

Cosmik:	Didn't you ever record for yourselves?

Michael: Yeah, we did, but I don't know what ever happened to the tapes.

Cosmik:	So this is all lost in time.

Michael: Oh well.  You know, nothing's really lost.  I think William Blake
   said "nothing of equal value is lost."

Cosmik:	I'd go crazy if all my music was lost in time.  Okay, back to the
   books.  Once you had the idea together, you had the writers together...
   what was involved in the coordination process?  Who was going to do
   what, when, and so on?

Michael: Was, or is?  How did it come about, or how is it now?

Cosmik:	Oh, there's a difference?

Michael: The difference is simply that before, it was just me, period.  There
   wasn't anybody else.  Then I got some of the staff at my software company
   to work on it, and gradually we got a real staff.  The way it works now
   is probably more interesting than the way it did, because the way it did
   then was just any way I could MAKE it.  What we have now is a series of
   in-house editors, and some editors off site, through which we funnel data
   or lists of things.  Let's say we have so many lists to cover.  We have
   people who cover each of the major genres, and we tend to shuttle
   information to that editor, whether he's on-site or off-site, that's a
   specialist in that data.  One of our cardinal rules is that, in general,
   we try not to have anyone review music that they don't like.

Cosmik: THANK you!

Michael: That doesn't mean they like every piece, but if they don't like the
   genre, then they shouldn't be writing about it.  We still have stuff that
   we're constantly trying to get out of our database.  We had a guy who
   didn't like fusion.  A jazz writer.  And every time he'd get anything that
   was at all fusion like, he would just be cutting the hell out of it.  We
   try to remove that kind of bias.  There's no point in it.  Our whole
   approach is that for any artist, we'd like to show you the BEST of that
   artist, not argue that, say, Pat Boone should be doing anything at all.
   Certainly he should, because he did.  There's a lot of people who listen
   to him.  And I grew up dancing to his music, so it's no use trashing him
   to me just because he's a honky or whatever.  That's not the point for us.
   The point, for us, is if you're going to listen to Pat Boone, where are
   you going to get burned, and what's the best stuff he ever did?

Cosmik:	And that explains why a band that is widely disliked, or critically
   shunned, might have a four-star album in your books?  Because judged
   against the rest of their work, the album rates four stars?

Michael: That's exactly right.  We're not comparing apples to oranges.  For
   this band, or for Pat Boone, or whichever you want... this is his best
   stuff.

Cosmik:	I've never seen anyone else using that approach.

Michael: We also have a system of rating artists that's more conventional,
   that gives you more of an idea of their relative [importance].  But there's
   really not a lot of percentage... because you have a few huge figures like
   Dylan, and tons of middle figures and tons of low figures, and your
   statistical graphs are not going to look very good, if that's your
   approach.  Because the curve is all lower, not higher.  And if you rate
   everyone against themselves--which is what we all do in our own lives
   anyway, supposedly--then you see the best work of The Eagles or the best
   work of Led Zeppelin or whatever it is. We have a lot of essays and music
   maps that show the derivation of this and that, so in that way, it's
   pretty clear to see who the main figures are.  We're not trying to hide
   that.  We're just saying there's no point in rating all of Pat Boone's
   records one star because he's being compared, for the moment, to Bob
   Dylan or Little Richard.

Cosmik:	The Rolling Stone Record Guides drove me nuts because it at least
   seemed like they would trash whole genres.  They'd say every Black
   Sabbath album was uniformly worthless.  And almost anything else in the
   metal genre.

Michael: Well, it was fashionable then.  And they didn't like Pat Boone, for
   example. (Laughs)

Cosmik:	Didn't they? (Laughs) So you're careful about who you assign to what.
   Who makes those decisions?

Chris: A lot of times, specialists will come to us and offer their services
   for a small number of bands that they know very well, and we'll take that
   into consideration.  But the jobbing out is done, basically, right there
   in my office.  Myself, and Steven Thomas Erlewine, we're a little more
   hands-on at this point.  We look at each artist and decide who the best
   person would be for that.  All of our writers have their own strengths
   and areas of interest.  Some people are 60s garage rock experts, and we
   send them bands that are more in line with what they're into.

Cosmik: Which is great for someone like me, who didn't discover real garage
   music until a few years back and needs to be pointed in the right direction.

Michael: Another thing we do besides just rating the albums is we have a
   thing called "first pick" to show you roughly where to start.  Let's
   say your dad likes Frank Sinatra, or your dad wants to buy a Duke
   Ellington album for you but he knows nothing about it.  This helps him
   find out where the good ones are.  So he can go in and figure out, you
   know, out of three or four hundred albums that Ellington might have...
   how do you know what you're listening to is representative?  Are you
   listening to a good Ellington album, or is this one of his off-albums?
   In which case maybe you can't make a decision on whether or not you like
   Ellington because you don't know if this is the stuff they mean when they
   say listen to Ellington.

Cosmik: For each artist, you designate landmark albums, but they're not
   always, or even often, the ones designated as recommended first purchases.

Michael: Well, that's often true.  A good example would be Pet Sounds by The
   Beach Boys.  It's a landmark album, but it's not typical of The Beach
   Boys.  You wouldn't want to tell someone that that's The Beach Boys, get
   that one album and you'll have tasted them.  Because that's not really
   typical.  So you would send them to one of the collections that is more
   typical.

Cosmik:	Who made the decisions as to which albums would be first purchase,
   which were landmark... Well, landmarks are easier to figure out, but
   first purchase designation is more subjective...

Michael: We have many editors, who are experts, go through lists and mark them,
   and then we compare the lists and come to some kind of consensus	without
   degrading the consensus to a mere average.  One kind of jazz that I
   particularly like is called original funk, also called soul jazz.  In
   soul jazz, we might have a lot of jazz people rating it, but we have one
   guy, Atlantic producer Bob Porter,  who has actually produced a lot of this
   stuff and knows it inside and out.  We'd give his ratings greater weight
   than all the rest of the jazz guys, because he knows the stuff better.
   So we try to find consensus, but then we offset the consensus with someone
   who is a specialist in that style.

Cosmik:	Online, if you look up an album, there's actually a radio-button
   survey after each review that asks the public to rate the album, and asks
   if it should be designated a good first purchase, a landmark, and so on.

Michael: That's just for our information.  We do that just because we're
   interested.  We don't actually use those unless it's something we know
   nothing about at all.  We have it carefully marked in our database so
   we know where it came from.  As opposed to having nothing, again.  We're
   asking a lot of different kind of information there.  Obviously, everyone's
   going to be rating Green Day or someone... that loves them, so we get a
   hundred "best of everything" ratings, but that's not what we want.  But
   if somebody's [writing about] some obscure Brazilian artist that we can't
   quite get any information on, then we may look very carefully if they
   bother to go through, and we may actually put some of that up.

Cosmik:	I'd think you'd find the hardcore Internet music community would be
   looking at a lot more of the obscure stuff.  Wouldn't that be the case?

Michael: Yes, and we're trying to recruit those people.  We're reaching out
   into different music news groups, and slowly we want to go into all the
   pockets of music and find those people.  There's a lot of people who know
   music that are languishing with no one listening to what they have to say.
   We try to find those people, put them to work, pay them something, let
   them get their names in print, and actually pass on their thoughts to
   others.

Cosmik:	And that helps you, too, as you continue bringing in new genres.  Is
   there anything you don't wish to cover?

Michael: There's nothing we don't WISH to cover, but there's stuff that's
   HARD to cover.  Like we're trying to get into Latin American music, which
   is a growing phenomenon and a huge subset of music.  We've got all the
   cutsie stuff that you and I might know covered, but we don't have the raw
   stuff that's popular in Latin America covered yet.  That's a challenge I'm
   trying to figure out, and we're trying to GET it covered because...well,
   it's interesting music, for one.

Cosmik:	Is that something you're looking to put out in book form?

Michael: Well, SOMEONE should.  We're not even close to book on it because
   we don't have enough data.

Cosmik:	There's nothing available out there.

Michael: There's not anything available.  Yeah, I'd love to do a book on
   Latin American, Afro-American or Latin pop, because there's nothing out
   there.

Cosmik:	I understand there's a lot of desire on your part to do a world
   music book.

Chris: We actually had that scheduled a couple different times, but we just
   weren't able to pull it together in the standard that we had for the other
   books, so we've pushed it back once again.  But I think we'll probably
   have it by early next year.

Cosmik:	I'll tell ya, I'd sure love to see an All Music Guide to Reggae and
   other Caribbean music.

Michael: That would be cool, too.  Reggae has so many areas to it.

Cosmik:	And such a rich history, too.

Michael: It is.  We've worked with some good reggae people.

Cosmik:	Now you're working on a country book... or it's basically done, isn't
   it?

Chris: Actually, I just sent that off last week, and now we've switched gears
   into the second edition of the rock guide.

Cosmik:	How much time was spent on putting the country book together?

Chris: Oh... I would probably say a concentrated year.  We take on different
   projects.  We have a lot of things going on at once, so I'll just divide
   my time and set certain people aside to do just country.

Cosmik:	Will the country book follow the same format as you've used before?
   Will there be essays and maps?

Chris: Actually, we put together about 25 new essays, and each one has a new
   map with it, as well.  That's sort of the direction we go.  We try to
   improve each book.  This one was really a labor of love for all of us here,
   because we're all big country music fans.  And there has just never been
   a book out that did it justice, or treats it as a serious music.  So we
   finally got a chance to do that.  It has a strong history, and I'm hoping
   we covered it well.

Cosmik:	You're right.  There's nothing out there.  There's no great reference
   book.  And the thought of having an All Music Guide to Country, with your
   method of steering people to the right starting points, is very exciting.

Chris: Yeah, it's especially true in country music, where it's so hard to
   sort out these guys' discographies.  They have 300 albums and they'll
   change labels and rerecord their hits, which won't be quite as good as
   the originals, and that'll be all that's available... I collect George
   Jones, and sorting out his discography is almost an endless task. Finding
   the original song on CD that you're looking for and all that.  So a lot
   of research went into this book to help sort those things out.

Cosmik:	George Jones has done hundreds of recordings.

Chris: Yeah, I think I have 200, myself.  And the funny thing is, on the back
   of each album that I have, there are two more albums pictured that I'm
   never able to find.

Cosmik:	And it drives you nuts, right?

Chris: Yes.  It's endless.

Cosmik: How many artists are covered in the country book?

Chris: I think it's about 1000 artists.  It's going to be around 700...750
   pages.

Cosmik: When do you expect it to be out?

Chris: Could be out in the next month and a half, if there's not problems
   on the publisher's end.  I turned the book in last Friday, and I already
   have a rough printed version of it in my hands.  I got it yesterday.

Cosmik: Is this point in a project always pretty exciting?

Chris: Yeah, and there's a sense of relief when you can actually say "wow,
   we did it."

Cosmik:	I can't wait to see the music maps in that book.  I find the maps to
   be fascinating.  It's a great way to explain lineage and influence. Was
   that another area that was difficult to put together originally?	 In
   the jazz book, there are so many.

Michael: I know.  Yeah, I did most of those, originally.

Cosmik:	You did those yourself?

Michael: In the beginning, but I don't know how much of that's reflected now.
   Gradually, people who know a lot more than I do have gone over them, but
   the whole concept came from me.  We also have movie maps coming out, which
   are fun.

Cosmik:	Movie maps?

Michael: Well, like the history of Japanese cinema.  They should be available
   soon.

Cosmik:	I haven't had a chance to check out the All Movie Guide yet.  What is
   that like, scope-wise, compared to the music side?

Michael: The same.

Cosmik:	How long has it been going on?  As long as the music guides?

Michael: Almost as long, but not quite.

Cosmik:	Do you have books for that, too?

Michael: No, we haven't really come up with... There are so many movie guides
   out there.  We're trying to come up with our unique approach and we're not
   quite there yet.  But we will.

Cosmik:	I know about your music background with The Prime Movers and all, so
   I see where the music guides come in, but I didn't know about the movie
   thing.  Is that your second passion?

Michael: I was never a movie maker or anything, but I was a musician.  Music
   is something that I know a lot about.  I'm not an expert on film, I'm just
   a dangerous amateur...

Cosmik:	...you know what you like.

Michael: Yeah.  I've seen a ton of stuff.  I have a whole staff that does that.
   I'm not as attached to it as I am to the music.  We're slowly getting more
   and more control of it and we're getting experts in there that feel the
   same way about it that I do about music.	 I mean, I'm passionate about
   watching it.  I'm a great consumer, but I'm not an expert.

Cosmik:	Your website is really diverse.  Movies, music, new age things,
   astrology...

Michael: These are just all my hobbies, basically.  We're the largest
   astrology software company in the world.

Cosmik:	You can get lost for hours on that site.  I got lost for hours just
   playing with the music database.  Now I've got to check out the rest of it.
   There seems to be enough data for a dozen more music books, at least.  Do
   you have ideas about new things you'd like to bring in to the books,
   Chris?

Chris: Yeah, the books only scratch the surface of the data that we have.
   There's so many other ways to manipulate the data and put it on the
   printed page.  It comes down to a matter of space.  I know that with the
   last general guide, we could just barely fit all the artists we wanted
   into it.  Adding another element would have just made the book swell more.
   But we always have other ideas for books.  We'll do specific style books,
   or books of lists.  You've been through our site and seen all the formal
   information we have, like who played on what album?

Cosmik:	I had a blast in there looking up albums, clicking on each sideman
   and seeing what else he played on, looking for reviews...

Chris: Great!  That's good to hear.  Yeah, there's so much we can do with it.

Cosmik:	What were the biggest stumbling blocks for you, specifically, in
   putting these books together?  I know the obstacles would be different
   for each of you, because you came into this at different times.

Chris: Just having the standard problems where things aren't coming in on
   time.  When you use this many writers, it's hard to get everyone to come
   through at the right time, but for the most part we've been pretty lucky.
   And it's a massive amount of data.  The smallest piece of information
   needs to be checked and made consistent.	 When you're dealing with this
   much data, it's difficult to cover everything.  Just a simple thing like
   the label names and keeping them all consistent.  Is it Columbia?  Is it
   Columbia Legacy?  Is it CBS, or Epic?  That sort of information seems sort
   of trivial when you see it on the page, but each one of those little pieces
   is a huge project unto itself.

Cosmik: Doesn't sound trivial at all, especially to someone trying to track
   down a release who has been given the wrong label information, right?
   How about you, Michael?

Michael: Well, the biggest stumbling block was... everyone has up and down
   cycles, and when you're in a down cycle and you find yourself in the
   middle of an enormous impossible task, the obstacle is [the urge to]
   give it up.  The idea of "gee, what am I doing?  Nobody knows me, the
   music writers don't know me..."  And they just laughed and said "who are
   you," to begin with, and "who do you think you are?  WE'RE the writers!"
   And I said "yeah, I just want to organize you, right?"  But I'll tell you
   a little story about how I got through that.	 Another thing that I'm
   involved in is... we have a whole center here [at Matrix] that translates
   Tibetan Buddhist texts into English and transcribes them.  I've been doing
   that for years.  Buddhism isn't a religion, it's basically a psychology.
   A way of looking at and handling your own mind.  Early on, I was trying
   to put the first All-Music Guide book together and having a lot of trouble
   because no one would really help me.  It's the old chicken and the egg.
   If I were well known, they would help me.  But I wasn't.  I had nothing
   to give THEM at that point.

   At that time, I had a friend of mine that was a translator, and I'd given
   him some money to support his parents in India because they were poor.
   He was traveling with one of the very high Lama's... Not the Dali Lama,
   but someone LIKE that.  He was visiting this country.  And this particular
   man was the meditation master of this whole lineage.   Aside from being a
   meditation master, he also had a gift for doing this thing called a "mo,"
   which is kind of like an oracle... A divination.  And my friend called me
   and asked how I was doing, and I told him "I'm okay... I'm not doing great.
   I'm trying to do a book thing but I keep thinking 'am I totally stupid to
   be doing this, am I just wasting my time?'"  And he said "I know what I'll
   do, I'll have this great meditation teacher do a divination for you, even
   though he never does this for people... He'd do it for me.  I'll ask him
   what he has to say about this All Music Guide that you're doing."  He
   called me back a few days later and said "This is what the Lama said."
   He said he can see that this particular enterprise will be extremely
   successful way beyond my imagination, and that I should not look to the
   right or left. I should just keep on going.  And I had complete confidence
   in this particular person because he's a great teacher.  That really had
   a huge effect on the project in terms of making me NOT look right or left,
   NOT give up, but just move forward.

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.


                                -*-

Miller Freeman Books 6600 Silacci Way, Gilroy CA 95020.
1-800-848-5594  plus one overseas +1 408-848-5296
email mfbooks@mfi.com
URL: www.books.mfi.com

The All Music and All Movie databases can be found at www.thenewage.com


--------------------------------------------------------------------------

LABELED: DCC COMPACT CLASSICS - GOOD AS GOLD
Steve Hoffman Interviewed By Shaun Dale


Some nine years ago, DCC founder Marshall Blonstein hired a young engineer
away from MCA to take on the mastering duties at the DCC studios.  In that
time, Steve Hoffman has played an integral role in assembling one of the
finest re-issue catalogs in the music business and in creating some of the
most technically outstanding recordings you can find anywhere.

I caught up with Hoffman by phone while he was in the middle of a fight
with the flu, but he graciously took time to talk about music, recording,
the business generally and DCC in particular.  I only wish it was possible
to translate his infectious chuckle and enthusiastic, cooperative tone into
ASCII.  His insightful answers to my questions will have to do, and here
they are...


                     *            *              *


Cosmik: Hi, Steve.

Hoffman: Sorry about this raspy voice I have, but of course I have
   this LA illness...

Cosmik: Up here (I spoke with him from the luxurious Cosmik Annex in
   Seattle) we call it the Puget Sound crud. Everybody in town has it.

Hoffman: Well, so do I.

Cosmik: Well, I appreciate you taking the time through that to talk with me.

Hoffman: No problem.

Cosmik: This interview is for a semi-regular feature called "Labeled" that
   looks at record labels and the people working for them. To me DCC is,
   in a major way, Steve Hoffman.

Hoffman: Well thank you.

Cosmik: Looking at this stack of gold discs on my desk, the name Steve
   Hoffman is on all of them, and no one else from the label has their
   name on all of them.  How big an operation is DCC?  What does it look
   like if you go there?

Hoffman: Well, it's run from the men's room of the 76 station on sunset...

Cosmik: I've been to that men's room!

Hoffman: That's a great one. Actually, there's about 20 of us.  We're in
   Chatsworth, which is in the San Fernando Valley.  There's sales people
   and manufacturing people and legal people and creative people.  It's
   like any record company.  You know, people to do the artwork and the
   guys in the warehouse.  It's small, but everybody has their own job and
   it's quite a nice place, really.  I've almost been there ten years.  I
   don't know how that's possible, but its just a nice place to work.  A
   lot of industry veterans are there that can't seem to get along in the
   corporate world of music.

Cosmik: With all those people, it's hard to see where the musical people fit
   in and how many of those there are. Do you literally master every release
   for the label or do you get a break now and then?

Hoffman: The label founder Marshall Blonstein is the chairman of the board,
   and Marshall and I go over all our favorite music in our fevered little
   brains (and I do mean fevered at the moment).  Basically Marshall and I
   decide what we're going to release and then he goes to work negotiating
   and I go to work.  He does what he does so expertly and then I start.
   After we procure the master tape from the record company, I take it from
   there.  That's where it actually begins for me.

Cosmik: So you're very involved in the selection of the music the label
   releases.

Hoffman: Uh huh, although Marshall Blonstein has the last word. Our musical
   tastes are pretty much in sync.  We both have an astonishingly wider range
   of things we like to listen to - old jazz and pop stuff and modern stuff.
   We're just like two kids in a giant candy store when it comes to picking
   the music.

Cosmik: Having access to the Riverside catalog through Fantasy...

Hoffman: Is great!

Cosmik: Do you work with Joe Tarantino at Fantasy in making selections?

Hoffman: No, we know that catalog pretty well. We have a list of everything
   they have.  It's not all the artists and music.  A lot of it, especially
   with gold CDs, has to do with "How did this sound? How was it recorded?
   Can we improve it in any way?" and are both of us really happy.

Cosmik: Well, I've approached the label mainly as a jazz writer. I'm aware
   of the classic rock stuff and sometimes I get mad when that never comes
   to me, (Hoffman laughs) but it's hard to complain when the complete
   catalog of the Miles Davis Quintet is sitting in your review stack.  But
   I'm always impressed with the jazz releases you do for two reasons - first
   the taste in the releases.  Everything I've heard has been really enjoyed
   and I'm always declaring something the jazz re-release of the decade.
   Some of my readers must think I work for the label.

   The other thing is the sound.  It's always sharp and clear and I'm
   thinking that some of the masters you work with must need a lot of work.
   Some of this stuff was recorded in conditions that transcend the word
   primitive, yet you make them sound very fresh and alive.  What kind of
   source material do you get to work with?

Hoffman: It varies from album to album.  I have the same taste in how I listen
   to music as I had in high school.  I like it to sound a certain way and I
   have little tricks and tools to get it to sound that way.  But I have to
   say that a lot of the vintage material from the 1950's and 60's is
   incredibly well recorded, not in spite of the technology but because of
   the technology.  All vacuum tube microphones, very simple mike set ups,
   hardly any signal processing...it's like when you go to a club, and
   there's live music playing inside and you're standing in front of the
   club and you go "Wow, there's a band in there."  Well how did your ear
   know that that's a band instead of a P.A..  There's just that certain
   signal that says that's live music.  A lot of those old master tapes had
   that because, for example, a lot of the Miles Davis were done in Rudy
   Van Gelder's living room.  If you've visited a modern recording studio
   you know that if there are any live people there, they're isolated. One
   guy's behind this screen, one guy's behind that screen.  Well, in the old
   days they didn't know about that so they just stuck them all in a room.
   The sound was bouncing off all the walls, and it just sounds more
   natural that way. So it's a little bit me, it's a little bit them and we
   try to make it sound as lifelike as possible.

Cosmik: And it sounds great, which makes you wonder why they don't use more
   of those techniques more often now...

Hoffman: I think it's because the performers themselves start to panic unless
   there are 18 microphones on the drums.  I think it's just ingrained now
   that more means quality.

Cosmik: Well, I think it's chops that mean quality.

Hoffman: Yeah. Guys with those don't ever seem to care how many mikes are on
   them. Are you a musician?

Cosmik: Yeah, I play - or play at it.  So you've been with the label about
   ten years.  What did you do before then?

Hoffman: Nine years.  And I was with MCA records before that, pretty much
   doing the same thing.  I got that job right out of school, so I've been
   pretty much locked into the same kind of job since 1982.

Cosmik: You were doing re-issue work at MCA?

Hoffman: Yeah. The term that we came up with there for it was catalog
   development, which at the time sounded like hell, but for me it was
   like, well, I have seventy years of history here that I can play with.
   Elton John and Buddy Holly and Brenda Lee - everybody who was on any
   MCA owned label was all mine, so I had a good time there.

Cosmik: Doesn't sound like an awful thing at all.

Hoffman: No, it was a lot of fun actually.

Cosmik: So now you've got this terrific jazz catalog to work with.  What
   kind of decisions go into what kind of rock music gets the DCC treatment?
   You're drawing from a broader array of sources.

Hoffman: Yeah. Basically, we have a strong and loyal following.  People write
   us and fax us all the time what they think we should release.  Sometimes,
   you know, their ideas spark a little memory like "Oh yeah, that album.
   I wonder who owns that now."  But it's a double edged sword.  Everyone
   wants Sgt. Pepper on gold CD, but it's a tremendous legal morass.  That's
   the usual problem.  In the old days, like the 1950s, it was easier
   because the contracts the artists signed with the record labels were so
   much simpler and they're easier to negotiate now.  In the 70s and 80s,
   artists contracts became 90 to 100 page monstrosities, so in order for a
   record company to license us, this young upstart, to do one of its prize
   albums it takes a lot of grueling paperwork and time. So that has a lot
   to do with what we release.  A lot of people will go "Well, why don't you
   release the first Led Zeppelin album.  Didn't you think of that yet." No,
   gee, never thought of Zeppelin. Sorry.

   It's just that there's lawyers and Atlantic's not the owner, they're
   only the licensee in this country and who does own it and nobody's sure
   and how much money do they want and blah, blah, blah.  All that stuff is
   not my end of the business, but that's the end that tells me what I'm
   going to be working on, so it's not as easy as it might appear.

Cosmik: I'm sure it's not.  You mentioned people wanting Sgt. Pepper on a
   gold CD. From your perspective, what's the difference between a gold CD
   and a regular release, and what does that allow you to do technically
   that produces the added value in a gold CD.

Hoffman: The advantage of the gold is twofold. Take one of your aluminum
   CDs, hold it up to the light and through the label you'll see that there
   are pinholes in there.  Hold up one of our CDs and there are no pinholes
   Every one of those pinholes is something that your CD player has to hide.
   If your CD player is very good at hiding it, then you probably won't
   notice it.  On our CD, the surface is completely pitless.  It's a
   completely smooth CD.  Your CD player doesn't have to hide anything. It
   can concentrate on reproducing the sound normally and naturally.  That
   leaves me full reign to focus on each album without time constraints.
   So it's a combination of a really smooth surface and a lot of time.  So
   that's what you're paying for.  It's really half and half.  Half for my
   time and talent in remastering and also for the gold surface. Incidentally,
   the gold actually comes from a gold ingot from Fort Knox. They actually
   deliver the gold ingot to the manufacturing plant, they use it to make
   our gold CD run and then they return it to Fort Knox. That's hard to
   imagine, but it's really true.

Cosmik: They return the leftovers, huh?

Hoffman: They have to...

Cosmik: You do some high quality vinyl as well.

Hoffman: Absolutely.

Cosmik: We've all got stacks of old records and all of a sudden when we
   want to buy a record it's become an exotic audiophile item.  What are
   you doing with that vinyl that we weren't getting when we were buying
   nothing but records?

Hoffman: The things you'll notice about the new vinyl formulation is it's
   pure virgin vinyl, it's clean, there's no surface noise, no squish, it's
   180 plus thickness, it's thicker, it won't bend, it doesn't warp as
   easily. It's a lot harder to press that way because the vinyl is so
   thick. There's stringent quality control.  It's quite a complicated
   mechanical process and there's only one or two plants in the entire
   country that actually handle it. It's actually much harder to make one
   of those LPs than it is to make a CD of any type.  It's a real pain in
   the butt to do it the old fashioned way. That's why they're a little
   more than one might remember from the old days of Licorice Pizza or
   whatever record store may have been around.  Of course, these albums
   are mainly geared toward audiophiles and these people have very expensive
   equipment and they can hear a hair if it's out of place, so they're who
   we're actually selling these to and they're happy because they have this
   expensive equipment and they don't have anything to play on it except
   their old Bad Company albums. But a lot of audiophiles aren't happy with
   Creedence Clearwater.  They'd rather have some unknown classical ensemble,
   but we're not interested in furnishing that type of music.  That's not
   what we do.

Cosmik: So you're doing audiophile music for the masses...I'm not an
   audiophile. My system is pretty much cut and paste and I probably don't
   appreciate all the nuances.  I appreciate the fact that the music is
   available.

Hoffman: Exactly.

Cosmik: The gold CDs that I have, the format is not the most important thing
   to me - the tunes are the most important thing to me.  It's interesting
   to see your selections because when I think of "audiophile" I figure
   that's going to be music that's fairly inaccessible and that I probably
   don't want to hear, although it may be recorded beautifully.

Hoffman: (laughs) Exactly.  So what we're trying to do is to educate the
   audiophile and to get them to unbend a little bit.  Some of these
   audiophiles have to collect everything, so they have no choice, they
   have to buy the gold CD of Hotel California. But sometimes they'll
   actually play it and say "Hey, I like that song."  It may be some song
   that you and I have heard five thousand times but they're just hearing
   it for the first time and they go "Hey, I like this" and that's good.
   We try to spread the word that it's about the music and it's not about
   the equipment.

Cosmik: Of course, the other side of the coin is convincing the jazz fan
   like myself that it's worth thirty dollars to go buy the new Miles Davis.

Hoffman: One of these times take the gold album out of your pile there and
   just go down to the record store and buy the 998 version and compare
   the two. You'll hear the difference, even on your cut and paste system.
   If you love a certain type of music and you want to hear the most - I
   mean if you love the movie Casablanca, do you want to watch it on a
   19 inch screen or do you want to watch it on a big giant screen?  It all
   depends on what you want.  If that film or that album is important in
   your life, then you'll spend the extra money on it.  I'm not saying that
   everyone should, I'm saying that if it's important enough, then you will.

Cosmik: I think the value is there.  Of course, without knowing too much of
   the technical side of it, I give you full credit for that value and
   ignore the gold.

Hoffman: (laugh) Thanks.

Cosmik: A lot of the releases are classic albums of whatever genre, done in
   their original packaging with their original notes and the glossy covers.
   They're done beautifully, but I don't suppose you're too involved in all
   that...

Hoffman: Oh no, that's all me.

Cosmik: You make those decisions too?  Great.

Hoffman: It all comes from me.  I do everything visually and audiolly (sic).
   I mean, I want the CD buyer to have the same album, the same experience
   as the person who used to buy the LP.  It's not fair that you can't see
   the original album art, or the original record labels.  As a kid I always
   loved looking at the labels and all that stuff so I try to incorporate
   that in our CDs.

Cosmik: That's one of the things I really enjoy.  I have a fairly good sized
   collection of jazz albums from the 50s, and a lot of what I know about
   jazz comes from what Leonard Feather or someone might have said on some
   album in 1956...

Hoffman: Absolutely.

Cosmik: Without those things a lot of the value would be lost for me.  The
   packaging is always exceptional.  That's one of the things I always
   appreciate about DCC.  But you do some other things as well.  There have
   been some interesting compilation pieces.  I was talking to my editor,
   DJ Johnson, about the "Monster Rock and Roll Show," for instance.

Hoffman: Yeah, that's a great one.

Cosmik: There are some interesting things there.  You know "Monster Mash" is
   going to make the cut, because it's got to, but there are other things,
   like a Five Man Electrical Band piece that no one was probably looking
   for...

Hoffman: That's right.

Cosmik: Were you involved in the track selection for that project?

Hoffman: In that particular case, no.  It was our friend Alan Warner who
   came up with the concept.  He's an English historian who knows oldies
   and it was his idea to mix the old advertisements with song.  All of us
   had a say in it by saying, like, I want "Purple People Eater" or I want
   "Monster Mash" or this or that, but basically that was Alan.  It was my
   job, of course, to find all the original tapes.  That was the hardest
   part because its not easy to find a good sounding stereo version of
   Monster Mash.  It's not one of those songs that's real handy in the
   vault so it took a lot of tracking down.

Cosmik: I imagine there were some legal complications in getting all the
   permissions too.

Hoffman: Absolutely.  That's the name of the game.  Every time you do a
   compilation you have to get the OKs  You have to be patient. It takes
   about a half a year to get everything.  But the record companies want to
   help you, it's not that they don't. Its just slow going, because, well,
   MCA's working on their current offerings. Its not their priority to drop
   everything and hunt around for a contact on some 1960s Bo Diddley
   record. They do what they can, and they're usually helpful.  It just
   takes patience.

Cosmik: You did a three disc series for Sony Special Products, the "Groove
   On" stuff, which I enjoyed a lot because there were some obvious tracks
   but there were a lot of non-obvious tracks there.

Hoffman: That's for sure.

Cosmik:  Was that commissioned work?  Did they pick them out and hire you
   guys to do this?

Hoffman: That was done by one of our consultants, George Nazar.  He just
   basically picked the songs that he liked, and I listened to them and
   said, "okay, okay, sure."  That was one of our smoothest projects.  It
   was one of our easiest to manufacture and to master because the music
   was fairly current, for a change, so it was easier to find all the tapes.

Cosmik: The only DCC release I've seen that doesn't have your name on it was
   "Politics As Usual."  I guess you weren't involved with that...

Hoffman: No, that was a bunch of radio guys who had fun doing that.  Of
   course, I mastered it, which didn't mean anything.  I mean, I wasn't
   involved in it creatively, so I can't comment on it except that it made
   me chuckle.

Cosmik: It was an interesting blast at everybody during a political year...

Hoffman: Yeah, that's what you do in an election year.

Cosmik: Made it pretty hard to figure out the ideological bias of the people
   at DCC.

Hoffman: (laughs) Yeah...

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.

Cosmik: So is the LP something that creates a particular problem for the
   sound, and having to start over, as opposed to a CD?

Hoffman: Well, yeah. A CD gives can be 80 minutes, almost. On an LP, once you
   get past 20 minutes a side, you're in big trouble.  As the stylus goes
   toward the center, the groove diameter gets smaller and smaller.  If it's
   too loud it will mistrack, if it's too quiet there's surface noise.  If
   there's a loud dynamic part the stylus might fly off the record, so its
   always harder. In the old days, in the 80s and the 70s and the 60s, in
   order to avoid those problems the cutting engineer just compressed
   everything.  He shaved off the low end, he shaved off the high end and he
   reduced the dynamic range.  For our LPs, we want to preserve all the
   excitement of the original take, so that makes it very hard.  It's a lot
   harder to do an LP than a compact disc.

Cosmik: Especially when one of the great things about the CDs, especially on
   my jazz discs, is hearing some of the alternate takes as bonus tracks,
   which just run the playing time longer.  Do those go on the LPs as well?

Hoffman: Sometimes they do, if I have room.  If I don't have room, then no,
   because if you put too much on a side of an LP, you really start losing
   sound quality.

Cosmik: So that's a sacrifice that the LP collector has to live with
   sometimes...

Hoffman: Yep, but the LP collector usually cries tears of joy that he can
   hear his favorite album again sounding great.  Because a lot of those
   fifties jazz LPs, although they're really nice to have, they don't
   really sound that great.

Cosmik: True. I know that now that I have these, I don't play those that
   often.

Hoffman: None of them do.  Because, you know, LPs by their very nature were
   always a compromise, but with CDs, not so anymore.

Cosmik: When you make that decision to put the bonus tracks on the CD, what
   kind of decision process is that?  I would guess there's often a whole
   lot more than you could use, or even would want to, because even in the
   good old days of people recording live in someone's living room, they
   didn't do everything in one take.  There must be a lot of tape around
   from some of those sessions.

Hoffman: There's some around.  Not as much as you might think.  If it's an
   alternate take that's interesting, if it doesn't embarrass anyone, if it's
   fun to listen to, I'll consider it.  I'm not a real big fan of alternates
   anymore.  I used to be.  In the eighties, I'd think, well, you want to
   hear everything.  In some cases, there's just more songs than they could
   squeeze on an album. So they chose the ones that they liked and just left
   the others in a can.  Now, there's more space. The songs are perfectly
   good...it all depends on how old it is, and what's the license of it and
   how many different things there are.  It could be very easy to put seven
   or eight different takes of a Wes Montgomery song on there, but after
   awhile, the final approved take is the one you keep coming back to,
   because that's the one they thought was the best and it usually is. It's
   kind of anticlimactic to end an album with something that's mediocre, so
   its not my favorite thing to do.

Cosmik: Sometimes there's a treat, though.  On the "Sound of Sonny", by
   Sonny Rollins, the "Funky Hotel Blues" was recorded for some other
   project at the same time.  I don't know what that project was, or where
   it went, if it's available, or if it will ever be available, but it's
   nice to have the track.

Hoffman: Absolutely.  Actually, that was a song that was in the can and
   they had a compilation album of various saxophone players in about 1964
   and they said "Oh yeah, we've got that left over Sonny Rollins song" and
   it was just an extra song, and it was a great song that was on the original
   tapes.  At a lot of labels, if it wasn't on the original album, it was
   razor bladed, so not every label kept their alternates and their outtakes.
   Only some did.

Cosmik: In another case, on "Chet Baker in New York" the "South Winds" cut
   was not an alternate cut of something on the album but something from
   the session that was put out on another compilation...

Hoffman: Right, "New Blue Horns." That was an extra song he felt like
   recording that day that was so long they couldn't squeeze it on the album,
   so they held it and since they paid him, they figured some day they would
   use it, and they did.  But it would be a shame to leave that off the album.
   It's as valid as any other song on there.

Cosmik: So do you think he recorded it with the thought that it would be on
   the album?

Hoffman: I don't think he even thought of that.  I think he just wanted to
   record that extra song.  It's like when you're in the studio and you hit
   a groove and you just plug ahead.  I think that's probably what happened.
   Of course, I don't know, because he's dead...

Cosmik: We'll have to call the psychic hot line and find out...

Hoffman: (laughs) Yeah, get Dionne on the phone and ask her.

Cosmik: So what do you listen to when you don't have to listen for a project?
   Is jazz the music you prefer, or do you like the rock stuff?

Hoffman: Actually, I've listened to a lot of Al Jolson recently. I have very
   quirky musical tastes.  I enjoy my job so much that usually the music I
   listen to in my off hours is the music I'm working on.  I love the
   oldies.  I love sixties and seventies.  I love jazz and classical,
   almost anything.  I'm one of those kind of guys, you know, Shaun.

Cosmik: I know what you mean.  I've probably got about 3500 recordings
   round here that run the entire gamut.

Hoffman: And you never know from hour to hour what you're going to want to
   hear.

Cosmik: Right.  That's part of the Cosmik Debris thing.  I've got about a
   dozen reviews coming up in the next issue that range from Italian
   baroque love songs to free jazz.

Hoffman: That's good.  You may be steering some loyal magazine person into
   some brand new form of music that they may never have experimented with.

Cosmik: That's always a hope, that someone will check in to find out what we
   think of the latest surf punk release and will find out about Italian
   baroque love songs sung by contraltos. Is there anything coming up at
   DCC that you want people to know about?  Is there an Al Jolson album in
   the future?

Hoffman: I don't think so.  It's hard to believe, but his original artist
   contract from the forties is one of the most iron clad.  For us to
   actually license him, it would be like a nightmare.  Even though I think
   about it in fun, in actuality it would be easier to license another
   album by the Doors.  So I don't think Jolson's going to be one of our
   releases this year, but one can always hope.

Cosmik: Anything exciting on the horizon you're free to talk about now?

Hoffman: I've been struggling over Jethro Tull's "Aqualung" for awhile and
   that will be out soon.  Some great jazz releases - Benny Carter, Earl
   Hines, Wes Montgomery's live album "Full House" with three bonus tracks.
   That's going to be good.  The tape just sounds so wonderful.  We're
   going to do an Art Pepper jazz thing, "Intensity", with three unissued
   tracks.  In the world of rock, another Badfinger, Bonnie Raitt's "Luck
   of the Draw" is coming out this week.  John Coltrane's "Lush Life" is
   coming out this week.  That's what's happening.

Cosmik: One last thing.  I noticed the Miles Davis Quintet releases were on
   DCC Jazz, while the other releases were all DCC Compact Classics.  Is
   that something you tried and gave up, or what?

Hoffman: There is an aluminum $10.98 DCC Jazz line, with some Mel Torme and
   a bit of this and that in there.  They thought they should use that
   label, but basically it's the same thing.

Cosmik: So they're still using that label for the aluminum CDs?

Hoffman: Yeah, and for some of the gold jazz.  It depends on whose in charge
   of what that day.

Cosmik: Hey, I though you were in charge of everything all the time!

Hoffman: (laughs) not *everything*...

Cosmik: Well thanks for leaving your sickbed to share some great insight into
   DCC, Steve.  I'll let you go take whatever the doctor prescribed and get
   some rest, but I really appreciate you're taking the time...

Hoffman: Well, thank you.



With that, Steve Hoffman left the line, headed, I hope, for a speedy
recovery so he can get back to the console and produce some more great
sounds for turntables and CD changers. Check out the Cosmik reviews this
month for new Miles Davis, Bill Evans Quintet, and Nat King Cole 24k gold
CDs. And watch for more DCC Compact Classic releases as their
terrific catalog and Steve Hoffman's impressive body of work continue to
grow.


[DCC releases can be ordered by telephone at 1-800-301-MUSIC.]


-------------------------------------------------------------------------

TAPE HISS
By John Sekerka


[The following interviews are transcribed from John Sekerka's radio show,
Tape Hiss, which runs on CHUO FM in Ottawa, Canada.  Each month, Cosmik
Debris will present a pair of Tape Hiss interviews.  This month, we're
proud to present interviews with Coco, of Man...Or Astroman, and Steven M.
Martin, director of the documentary film THEREMIN.



            *                  *                     *


MAN...OR ASTR-MAN?

That is the question. futuristic time traveler, electronic whiz and the
Man...or Astro-man? android, Coco the Electronic Monkey Wizard spills the
goods from his super secret laboratory via crackly transmitter.

JOHN: What planet are you from?

COCO: You've gotta stop looking at life with blinders on. Everything doesn't
   exist in a concrete form like a planet. Think about it: a planet is a
   silly thing. A sphere has the least amount of surface area of any object.
   So you're living on an object where you cram as much stuff as possible on
   the smallest available surface area for that given amount of mass. Kinda
   crazy. We don't exist on a planet. We exist on a vaporous form out in
   Grid Sector 26-B9. It's quite a ways from here. We really shouldn't be
   here.

(WOOF!)

JOHN: That sounds like Astro dog in the background.

COCO: Yes we conduct all kinds of experiments in the lab.

JOHN: Do you consider Man...or Astro-man? to be a rock'n'roll outfit?

COCO: We're scientists, we just happen to play rock'n'roll on tv.

JOHN: Can you reveal what you are working on in your super secret lab?

COCO: I can't be too specific. The records and music are just a by-product
   of what we're really doing down here.

JOHN: According to my information, you Coco, are a cybernetic life form
   built by your cohorts Starcrunch and Birdstuff.

COCO: This is true. As much as I'd love to forget it, I can't separate myself
   from the past. I was constructed primarily out of spare Atari 2600 parts.
   They did a pretty good job, probably a little better then they'd like to.
   The only thing lacking is a joy-stick, so I'm not anatomically correct.
   The joy-stick is on the drawing board, but we've got so many projects on
   the go, it's on the back-burner for now.

JOHN: I was surfing the Man...or Astro-man? web page and found a section
   outlining assemblage of a Tesla coil.

COCO: Aha!! That information wasn't meant for public consumption, you must
   have been digging since it's carefully hidden. We are taking a Tesla coil
   on the road. It's a nice addition to the brain washing devices that we
   currently have. We usually wield this thing out at the end of the show
   and throw a little lightning around the stage. It's a great combination:
   alcohol, loud music and about 200,000 volts.

JOHN: 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.

JOHN: 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.

JOHN: Coming from the future, it seems strange that you'd be obsessed with
   analogue, rather than digital technology.

COCO: I don't think I'm obsessed. It just so happens that in our use, the
   tonal qualities of analogue equipment are more pleasing to our ears. A
   bit of digital technology sneaks in though: you can always sample some
   great analogue sounds and reproduce all the hisses and cracks.

JOHN: You are one of the few groups releasing a large amount of vinyl.

COCO: We gotta be the in  thing. If you're gonna sell records, you gotta be
   the in  thing and that's what Man...or Astro-man? is all about: selling
   millions and millions and millions of records, getting really rich and
   leaving your planet. We have no use for your silly Earth money; we just
   wanna get outta here. If we could find the parts to our ship, or
   fabricate them, we'd be gone.

JOHN: So this is Gilligan's Island to you?

COCO: Basically yes, but that would make me Gilligan...

JOHN: You have a 5" single that I can't play on my turntable because the
   tone-arm switches off automatically.

COCO: You have to fix your turntable: there's a return switch that I suggest
   you take right out. Then it'll play everything - right across the paper
   label. We're thinking of putting out records in inch increments. The four
   and six inch formats have never been properly exploited.

JOHN: Enlighten me on the 'Maximum Efficiency Buddy System.'

COCO: In order to increase efficiency to near 100%, we have one current
   member of the staff along with three video partners take the stage. Thus
   we can play four different venues simultaneously. Another option is 'The
   Franchise.' That's when you and three of your friends pay us $1000 a
   piece, we train you for a couple of months, and you hit the road as
   Man...or Astro-Man?. Maybe the West coast, or Australia, meanwhile 5 or
   6 other groups would be touring as well. That way we can knock out several
   shows a night while we sit back and make some records.

JOHN: Wait a minute. I'm paying $1000 and then touring for you, so you can
   make more money?

COCO: Exactly. It's a beautiful plan. Sleep on it.

JOHN: Why is there a question mark at the end of Man...or Astro-man?

COCO: That's the eternal question. It is a beast from outer space born of a
   woman yet recreated by outer space. It loves like a man, but is it
   Man...or Astro-man?

..tape hiss



               *                  *                     *



AAAaaaoooOOOOoooOoowwWWWWwwoooooO.....THE THEREMIN

Sweeping this fad-starved continent is a crazy antique musical instrument
best known for emitting the eerie sci-fi sounds that laced fifties b-movies.
The theremin is a wondrous contraption of wires, coils and tubes, that is
played by waving your arms before two protruding antennas - one for volume,
one for pitch. The instrument is never touched!

A  brief blow-by-blow history capsule:

Lev Sergeivitch Termen was born a Leo on August 15, 1896 in St. Petersburg,
Russia. In 1918 while working on alarm devices for the government, Termen
(later Anglicized to the user friendly Leon Theremin) invented his magical
music box just as the civil war broke out. This was in fact, the origin of
electronic music. Ten years later he was granted a US patent and the theremin
was licensed by RCA. Theremin toured with his instrument, playing it for
enthusiastic audiences. His love interest at the time, and chief theremin
virtuoso, Clara Rockmore played the instrument like a fine tuned violin,
whipping off classical pieces to the amazement of America's upper class.
Theremin enjoyed the fine American life, living in New York, building a
studio, and marrying a black American dancer. In 1938, on orders from Stalin,
the NKVD (the predecessor of the KGB) kidnapped Theremin from his Manhattan
apartment and forced him to work on bugging devices. No one knew what
happened, as the professor simply disappeared off the face of the earth. His
wife died not knowing of her husband's fate. Little was heard until Theremin
resurfaced in the late eighties when the iron curtain came tumbling down.
Through Clara Rockmore's and Steven Martin's efforts, Leon Theremin returned
to the United States for a brief stay before his death on November 3, 1993
at the age of 97.

The recent rediscovery of the theremin can be chiefly attributed to the
fabulous documentary "Theremin: An Electronic Odyssey" - now available at a
hip video outlet near you. Here's a chat with director Steven M. Martin.

JOHN: Growing up, were you kidded about your name?

STEVEN: It was the most boring name on earth when I was a kid. The next
   thing you know Steve Martin turned into a phenomenal blockbuster. The
   only thing that would be worse was a name like Jerry Lewis. I've had to
   endure twenty years of "excuse me". There's also a famous animal trainer
   in LA with the same name. Now I'm Steve Martin, the theremin guy.

JOHN: 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.

JOHN: The film features a great sequence of wild characters with wonderful
   stories. Did you stumble upon this gold mine of links, or was there a lot
   of research involved?

STEVEN: There were no books on the theremin, thus there was no such research.
   I gathered a collection of theremin fans and fanatics, cross-referenced
   everything they knew, and put together a little information from a lot of
   places that yielded the big picture.

JOHN: Do you own a theremin?

STEVEN: Oh yeah, autographed by Professor Theremin himself I might add. And
   I just got a kit which Bob Moog [synthesizer guru] manufactures. This
   film has started a bit of a revival. There's a big demand from a
   generation of musicians who want to get back to more authentic electronic
   instruments.

JOHN: The theremin has been featured quite a bit over the past couple of
   years in alternative music circles...

STEVEN: I like how Jon Spencer Blues Explosion use it. Portishead* also use
   it, and Bruce Wooley, of all people.

JOHN: Yeah, from the Camera Club days: "Video Killed the Radio Star". I found
   the best source for theremin info to be on the Internet. There are several
   good web pages on the history, music, kits, and even those nutty
   Theremaniacs.

STEVEN: I couldn't be happier. I made the film to honour Professor Theremin
   for his contribution. We've created Theremania. It's terrific to resurrect
   something that's been long dormant for no other reason than people didn't
   know about it. Now it's out there.

JOHN: The theremin might fall into the kitsch aspect of the lounge scene. Do
   you think it has staying power, or will it be a fad?

STEVEN: I think it'll stick around because it's a stand alone musical
   instrument like a violin or a trumpet, it has its own particular tone
   colour and its own musical characteristics. It just happens to be
   electronic and played by moving your hands in the air around it. I hope
   we'll have another virtuoso like Clara Rockmore.

JOHN: How about Lydia?

STEVEN: Lydia Kavina is Theremin's great niece. She plays the title music
   for Ed Wood, and she worked at the Brooklyn Academy of Music with Robert
   Wilson and Tom Waits on their version of Alice In Wonderland. She's a
   good musician, but what Clara does is something else. I mean four octave
   staccato runs on a theremin? It's theoretically impossible!

JOHN: She plays it like a violin.

STEVEN: Absolutely. Her musical expression is unparalleled. It's funny,
   people want a theremin so they can sound like Clara. If you put a
   Stradivarius in my hands, it would still sound like Jack Benny.

JOHN: Not only is she a musical virtuoso, she's also a radiant screen star
   with a real presence.

STEVEN: She's one in a million. You can see why Theremin was so crazy about
   her.

JOHN: My favourite part in the film is after one of her interviews, Clara
   turns to the camera and cooly says "cut."

STEVEN: There were times when I wondered who the director was.

JOHN: Was it tough getting Brian Wilson for the film?

STEVEN: Initially. Layers of management... but I wrote him a personal letter
   and he said sure. Working with him was very intense, exciting and easy.
   If you're looking for a wild story, there isn't one. He's a really nice
   guy. Say, did you like the Jerry Lewis bit in the film?

JOHN: Oh yeah. I was a rabid Lewis fan as a kid, but I didn't remember that
   theremin scene. I think this'll spur people on to check out some of those
   old videos, especially The Day the Earth Stood Still.

STEVEN: I hope so.

JOHN: Are there other theremin type stories out there, or was this a once in
   a lifetime find?

STEVEN: I think there are a lot of stories like this. There's a real tendency
   in western Civilization to wait until someone dies to laud them. Ever
   heard of Raymond Scott?

JOHN: Yes indeed, there's a doozy of a story.

STEVEN: I may be doing a documentary on Michel Vicevitz. He's a real cool
   Dutch performer/musician who takes Theremin's ideas a step further in
   that he wires up his whole body with mercury switches and sonar so as he
   moves his body becomes a theremin. We introduced Theremin to Michel in
   Amsterdam and hooked up these devices to the professor. He was thrilled,
   like "wow, finally," here's this 95 year old guy wired up, moving around,
   making sounds only he could have dreamed up. It was pretty cool. In the
   thirties Theremin built a dance platform [the terpsitone] which the
   dancer could use as accompaniment because each movement was translated
   into a sound. We're going to build one at Harvard. Bob Moog from MIT said
   he'd help out.

JOHN: I know that Hal Willner produced the music for your film. Will there
   ever be a soundtrack?

STEVEN: We're hoping. Before the movie was done there wasn't much interest,
   but I think all that has changed.

...tape hiss

            *                       *                        *


(* Portishead have confessed that they don't use an actual theremin, but
   simulated the sound on a Roland SH-101.)


LIKE TO HEAR THE THEREMIN? You probably already have. Here's a quick source
   guide.

· The Auteurs: "Back With the Killer" (single)

· The Beach Boys: "I Just Wasn't Meant for These Times" (Pet Sounds ),
  "Good Vibrations", "Wild Honey", "She's Goin' Bald" (Good Vibrations )

· The Bonzo Dog Band: "Noises for the Leg" (Keynsham)

· Captain Beefheart: "Electricity" (Safe as Milk)

· Neneh Cherry (live)

· The Coctails: "Wood Bee" (Lounge AX compilation)

· Dinosuar Jr: "Outta Hand" (Without a Sound)

· Esquivel: "Cabaret Manana"

· Julianna Hatfield: "Dumb Fun" (Only Everything)

· Led Zeppelin: "Whole Lotta Love" (II), "In The Evening" (In Through
  the Out Door )

· Lothar & the Hand People: Space Hymn,  Presenting.

· Luna: "Sideshow" [credited but "Double Feature" sounds more plausible]
  (Penthouse )

· Man...or Astro-man?: various tracks on Project Infinity and Experiment
  Zero

· Marilyn Manson: "Dope Hat" (Portrait of an American Family)

· Mercury Rev: See You On the Other Side

· Monster Magnet: Dopes to Infinity

· The Muttonbirds: "The Queen's English" (Salty)

· Pere Ubu (live)

· The Pixies: "Velouria" and "Is She Weird" (Bossanova)

· Pram: "Meshes" (single)

· Harry Revel Orchestra: "Music Out of the Moon" (conducted by Les Baxter),
  "Peace of Mind" (theremin is overdubbed three times)

· The Rolling Stones: "200 Light Years from Home" (single)

· Todd Rundgren: No World Order

· Jon Spencer Blues Explosion: "Greyhound" (Orange with a theremin on the
  cover graphic)

· Matthew Sweet: "Lost My Mind" (100% Fun)

· Tesla: Bust a Nut

· Paul Weller: Stanley Road

SOUNDTRACKS:

Ed Wood
It Came From Outer Space
The Lost Weekend
Music For Films
The Red House
Rocketship XM
Spellbound
The Thing

HOW DO I GET MY HANDS ON A THEREMIN?

Electronic whiz Robert Moog started manufacturing theremins (before he came
up with the synthesizer) and his company (Big Briar: 554-C Riverside Dr.,
Ashville, NC, 28801, 1-800-948-1990, BigBriar@aol.com) is the chief source
for theremins to this day. Classic stand up theremins can run up to $3000 US,
but a nifty kit which includes Clara Rockmore's CD and an instructional video
tape can be had for $229 US.

WHERE ARE ALL THE COOL THEREMIN WWW SITES?

We dunno.  We know where SOME cool sites are, but not all of them.  Try these
URL's for size, and you'll probably find links to others once you get there.

www.nashville.net/~theremin/ - The Theremin Home Page

www.he.tdl.com/~enternet/teci/teci.html - Theremin Enthusiast's Club
International

www.lm.com/~dshu/theremin.html - Bob Moog's Theremin site

www.ccsi.com/~bobs/theremin.html - Bob Sexton's Theremin Page

ftp.ecn.nl/pub/misc/theremin - Dutch Energy Foundation: You'll find plans
and photos here.

www.shift.com/shift/reverb/theremin - Shift Magazine: Historical articles
and information on how to actually play a theremin.


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============================================================================



ADOLESCENTS: Adolescents  (Frontier - distributed by Epitaph Records)
Reviewed by Shaun Dale

Everything you need to know about Orange County (CA) teenage angst is
here - two albums and an EP worth.  That's the Adolescents self titled
1981 debut, the three track EP Welcome to Reality and guitarist Rikk
Agnew's solo effort All by Myself.  Actually, on All by Myself, Agnew
became guitarist, bassist, keyboardist, drummer and vocalist.

This is high powered punk and the Adolescents were a band lucky enough
to have the one ingredient needed to make the music work - a capable
vocalist.  Tony Cadena was able to deliver the lyrics of songs like "I
Hate Children" and "Kids of the Black Hole" convincingly.  Too many punk
bands of the period were more dependent on vocal enthusiasm than ability,
which is why so many of them are so hard to listen to now.  This music
continues to sound fresh - in fact, it would be easy to mistake it for a
new release, and a good one at that - largely, in my opinion, because
the vocal tracks are worth hearing over and over.

Which is not to dis the instrumental talents of the band.  With Rikk
Agnew and his brother Frank on guitars, Casey Royer on drums and Steve
Soto on bass, they were as able a unit as the music required.
Considerably more able than that at times, actually.  Certainly more
able than many of their peers.

Rikk Agnew had moved on by the time the Welcome to Reality EP was
produced, but he hadn't disappeared.  He needed all his time, I suppose,
to produce All By Myself which he did, indeed, perform all by himself.
His solo effort is a little more complex, lyrically, than the band's
music, but it fits in well here, continuing in a straight ahead hard
punk mode.

This 26 track CD is a valuable document in the history of Southern
California punk, but it's more than that.  The music is as vital today
as it was 16 years ago and it should be heard by people who were just
being born when it was recorded as well as some of us who were all grown
up by then and maybe not so likely to be found in the clubs it was born
in.

Track List:

Adolescents: I Hate Children * Who is Who * Wrecking Crew * L.A. Girl *
Self Destruct * Kids of the Black Hole * No Way * Amoeba * Word Attack *
Rip It Up * Democracy * Creatures

Welcome To Reality (EP): Welcome to Reality * Losing Battle * Things
Start Moving

All By Myself (Rikk Agnew): O.C. Life * "10" * Yur 2 Late * Everyday *
One Shot * Falling Out * Surfside * It's Doing Something * Fast *
Section 8



CHET BAKER: The Prestige Sessions (Prestige/Fantasy)
Reviewed by DJ Johnson

These three CDs puzzled me at first.  Each has its own name: Stairway To
The Stars, On A Misty Night, and Lonely Star.  Each is sold separately.
Each has the exact same liner notes.  Except for one tiny paragraph written
very recently, the text is a compilation of liner notes from each of the
five Prestige albums Baker stocked in a three day marathon recording
session in August of 1964.  Those albums, Smokin', Groovin', Boppin', Cool
Burnin', and Comin' On, are long lost in time, so this collection is very
exciting to Baker enthusiasts.  What puzzled me was the running order. Why
was the original running order of each album not followed here?  Was this
the actual order in which the songs were recorded?  Finally, I called
Fantasy Records and asked.  Mystery solved.  It's that damned 79 minute
limitation of the CD format again.	So the tracks are all here in the order
in which they would fit.

The sessions were something special.  Baker had just recently switched from
trumpet to flugelhorn, and by this point he was feeling very comfortable
with the new instrument.  His performance is solid throughout, and his tone
is superb.  Swing man Baker put together a quartet of bop specialists for
these sessions.  Pianist Kirk Lightsey had done some good work, but hadn't
really earned his wings yet.  These sessions would change that in a
hurry.  Drummer Roy Brooks had spent the previous five years with Horace
Silver's band, and had worked with Yusef Lateef prior to that.  I'm not sure
where bassist Herman Wright cut his musical teeth, but he was certainly up
to the task at hand.

What makes these recordings particularly satisfying is the fact that Baker
was comfortable enough with his own status to give the green light to another
member of the temporary quintet.  Tenor saxman George Coleman makes such an
impact and solos through so much of this material that one might think it
was his session.  These recordings were made not long after Coleman quit the
Miles Davis Quintet, and he may have felt he had something to prove.  His
solos are daring and complex, often dizzying and always impressive.  Baker
makes his points as well, matching Coleman jolt for jolt on several tracks
and even outdoing him on a few.  One such track is "Cherokee," which opens
the Stairway To The Stars disc.  After Coleman's fast and fluid solo, Baker
equals his speed but does it in warmer, richer tones.  The same can be said
of "Go-Go," a fast stepping number from On A Misty Night.  Baker's tone is
full, with just a touch of grit, offering a sharp contrast to Coleman's
smooth lightning runs.

Aside from those and a few other tracks, the music is mostly low key and
serene, a definite contrast to what Baker felt in his daily life.  He
was a drug addict and was in constant turmoil all through his life.  This
music soothes the soul.  Maybe it did the same for him for a while.	 Running
order aside, it's nice to have all this music together for perspective,
not to mention pure enjoyment.



BARE NAKED LADIES:  Rock Spectacle  (Reprise)
Reviewed by Shaun Dale

Live recordings can be a real hit or miss proposition.  While the
technical side of recording has long since solved most of the problems
of reproduction that plagued live recording in the past, there are some
performers who definitely benefit from the studio.  Going to the show
might be fun, even exhilarating, but for sheer listening the traditional
studio recording is often preferable.

Rarest of all is the live recording that makes you want to see the show.
Real bad. Now.

"Rock Spectacle" drove me straight to the web in search of touring info
on Bare Naked Ladies. (Damn - they're in the middle of a Northeast US
swing - Go West Young Men!)

Noted for lyrical as well as instrumental improvisation onstage, Bare
Naked Ladies deliver up performances that alternately amaze and amuse.
Principle song writer Steven Page can tell a story as well as Harry
Chapin could, make you laugh as hard as Tom Paxton can or just sit you
back in your seat saying "Wow - wish I'd written that!"

Mixing up double bass, accordion, keyboards, drums and bass, electric
and acoustic guitars into a succulent instrumental stew, the band sells
the songs with great taste.  The song *is* the thing for these guys, and
the songs are great.

"Brian Wilson" captures that sense of ennui that so often affects the
creative in a unique way.  "Straw Hat And Dirty Old Hank" is a
Chapinesque look at a celebrity stalker.  "Hello City" makes you want to
jump up and run downtown.  "If I Had $1000000" is funny as hell, and the
audience has as good a time with it as the band does.  The rest of the
tunes here are just as good, delivering a new favorite cut with each
listening.

While they have a large and fervent following, both in the States and
in their native Canada, I hadn't heard their previous work.  I'll be
tracking it down now, though, and watching for the next one, too.

And I'll be seeing the next show near me.

Track List:

Brian Wilson * Straw Hat And Old Dirty Hank * Break Your Heart * Jane *
When I Fall * Hello City * What A Good Boy * The Old Apartment * Life,
In A Nutshell * These Apples * If I Had $1000000



BEAUSOLEIL: L'amour ou La Folie (Rhino)
Reviewed by Shaun Dale

Hoo Boy!  Five new Michael Doucet tunes, a variety of tried and true
Cajun standards like "Valse a Pop" and the "Eunice Two Step" and some
marvelous guests and surprises...and I got it just in time for Fat
Tuesday!

You may get it a little later, but you should get it.  Beausoleil may
be the definitive Cajun band on today's scene.  Their commitment to the
tradition (and their facility with it) doesn't hinder their willingness
to take a few liberties with it, though.  In fact, their well deserved
position of esteem in Cajun country may be what allows them to invite
Richard Thompson aboard for a ripping electric guitar lead (on "L'amour
ou la Folie) or Tex-Mex legend Augie Meyers in for a swamp-pop scorcher
("Can't You See (Tu Vas Voir)).

The departures from the Cajun canon are fun, but they also point up just
how well grounded this band is in the heart of the bayou tradition.
Michael Doucet's voice and fiddle lead the way, delivering the French
lyrics in a manner designed to touch even the heart of Anglophones like
me and leading one of the finest instrumental ensembles to be found in
any genre.

Michael Doucet is a fine flat picker in a band where the rhythm guitar is
an essential element of the sound.  Jimmy Breaux is as good an
accordionist as you could want.  Add Al Tharp on bass and banjo, Billy
Ware on percussion and vibraphone and Tommy Alesi on drums and you've got
one great band.

On top of all that, there's a roster of nine guest artists (including
Thompson and Meyers) adding touches of guitar, keyboards, clarinet, lap
steel, dobro, sax, mandolin, Hammond and piano - all done up just right
in all the right places.

Enough already. I'm gonna hit the replay button.  You go buy the disc...

Track List:

Newz Reel * Les Blues de Creve Faim * L'amour ou la Folie * It's A Sin
To Tell A Lie * Eunice Two-Step * Charivari * Boudreaux * Valse a Pop *
Can't You See (Tu Vas Voir) * Les Blues de la Prison * Danse Caribe *
Valse J'Aime * Courir avec Walker * Ma Vie S'est Arretee



BEETHOVEN: Piano Sonatas: No. 30 in E, Op. 109; No. 31 in A flat, Op. 110; No.
32 in C Minor, Op. 111. Alfred Brendel, Piano. PHILIPS 446 701-2 [DDD] 66:01
Reviewed by Robert Cummings

This release marks the completion of Brendel’s third recorded cycle of the
thirty-two Beethoven piano sonatas. His second one, spanning the 1970s, was
also for Philips, and his first, from the 1960s, was for Vox. Brendel has
also recorded the five Beethoven piano concertos three times. Has there been
another pianist to have thrice traversed these monumental sets? To my
knowledge, there hasn’t. It is well known that Brendel has devoted much time
to Beethoven away from the recording studio as well, having on occasion
played the complete sonata cycle over a period of several successive
concerts. He has also studied and written extensively about Beethoven’s
music. What I guess I’m saying, albeit in a rather circuitous fashion, is
that Alfred Brendel must be regarded as one of the world’s foremost
authorities on the performance and analysis of Beethoven’s piano music.
Auditioning the disc under review confirms his preeminence in this hallowed
corner of the repertory.

Brendel’s account of the E Major Sonata is a tad faster than his earlier
Philips rendition, but does not take a significantly different interpretive
stance. The newer performance is both high-caloric and muscular, and more
often looks forward to the Romantic movement than backward at the Classical
period. The earlier Philips recording is clearly a more pristine, leaner
rendering of the work, yet is rooted in the same pianistic framework of
judicious tempos, scrupulous adherence to the composer’s directions, and
facile technical control, while eschewing the least hint of virtuosic
grandstanding. Either version is good, then, but I’ll opt for the newer,
somewhat more substantive reading.

The A flat Sonata is played with virtually the same arsenal of pianistic
virtues and, again, is superior to the earlier, slightly superficial Philips
account. Here Brendel catches the beauty, the lightness, the depth, the
humor, all in proper measure and all in a rich, gorgeous tone that has
evolved over the years from the leaner, less legato-laden style of his
earlier years.

Speaking of his earlier years, Brendel’s Op. 111 rendition on Vox seems
quite typical of his pianism then, and offers considerable contrast to the
newer version. It’s a performance that certainly is compelling, if a bit
less probing than his latest account. Even though there’s much to commend
in his youthful first foray--and in the first Philips effort, as well--I
personally favor the newer reading. When you listen to the sublime fifth
variation and recapitulation of the main theme in the second movement, you
notice greater depth, greater monumentality, a sense that you are being
transported to the profound spiritual planes that so clearly occupy the
final pages of Beethoven’s last piano sonata. And try the fourth variation
(track 9; 6:44), where Brendel’s dexterously inflected, adroitly agitated
enactment of this rather threadbare, yet miraculously rewarding thematic
digression points up its auguring of much of the syncopated music of the
twentieth century. (Did Beethoven here foreshadow rock-and-roll?)

There have been many fine pianists who have recorded the Beethoven sonatas
with acclaim, including Richard Goode (a pair of his releases didn’t impress
me favorably, though), Vladimir Ashkenazy (about whom I’ll refrain from
commenting until I review his new London re-release of the last five sonatas
in the next issue--stay tuned), and the justly praised Artur Schnabel.
Brendel certainly takes his place among the greatest Beethoven interpreters
of any time, and this disc finds him at his most inspiring. Philips supplies
sumptuous sound and informative notes. Strongly recommended.



BJORK: Telegram (Elektra)
Reviewed by Keith Gillard

Bjork's new album is a collection of remixes and new versions of material
from her last album, "Post," plus one new track.  I was expecting great
things from this disc, and looked forward to it immensely.  However, although
some of the new versions are brilliant, many disappointed.

Bjork says that she looks on remixes as her doing a duet with the remixer.
I do not subscribe to this opinion, in much the same way that I do not accept
Natalie Cole's "duet" with her father, or the recent Frank Sinatra "duets" as
duets - many of the artists involved never met Sinatra until after the piece's
completion.  Some of the pieces on "Telegram" are indeed duets, in that they
are new versions of the pieces done with different producers or arrangers.
But most of these pieces are just remixes: Someone has taken samples of Bjork
and used them as raw musical material for their own piece.  Not that there is
anything wrong with that, but it's not a duet!

But this is not the place for long diatribes.  Here's what I liked about
"Telegram":

The one new song on "Telegram" is "My Spine," a duet with percussionist Evelyn
Glennie.  Glennie plays mostly exhaust pipes on this piece, bringing melodies
and percussive beds out to support Bjork's vocal to wonderful effect.  This
is a fascinating piece, probably the best on the disc, but don't expect to
hear it on the radio.

"Hyperballad" was my favourite track from Post, and here Bjork reprises it
with the Brodsky Quartet.  This lovely song works very well in a minimalist
acoustic arrangement.  The range of sounds the Brodsky Quartet are able to
produce and use musically within the piece is remarkable, particularly in the
final verse.  I particularly appreciate that this piece has been compressed
very little, leaving it with a very large dynamic range.

The new version of "Isobel" is very nice, arranged in a Brazilian style by
Eumir Deodato, who was responsible for the gorgeous strings on the Post
version.  Here, it is presented with a more conventional ensemble: Guitar,
bass, drums, percussion, strings, voice.  The feel is funky, with bossa nova
undertones.  The press release adds that it is a live recording, which is
also appreciated.  I would not say that this arrangement is superior to the
brilliant version on Post, but it is certainly its equal.

Drum'n'bass specialist Dillinja did a great job on his remix of "Cover Me."
Dillinja has taken drum samples from a variety of sources and switches between
different drum kit sounds from time to time.  This is a great effect, as most
drum'n'bass producers acquire all their drum sounds from the same source.
Here, although the reconstructed beats are very simple (in comparison to many
of the drum'n'bass beats released recently), Dillinja has created a sense of
fragmentation using sound rather than rhythm.

"Army of Me" is remixed by Graham Massey of 808 State, which is only
appropriate - he wrote the piece with Bjork in the first place.  I have
never heard anything by Graham (or for that matter, anyone in 808 State)
that I did not love.  In this mix, he takes "Army of Me" further than on
Post, although it lacks the vocal.  Thankfully, he has substituted the
Led Zeppelin "When the Levee Breaks" drum loop of the original with another,
equally-heavy but less identifiable loop.

What I didn't like about "Telegram":

"Possibly Maybe" is remixed by Mark Bell of LFO fame.  Very disappointing.
The premise is simple: slow-swung heavy drums, disturbing electronic
atmospheres, and vocals pitch-shifted into complex chord shapes that make
the melody almost unrecognizable.  But the premise isn't enough.  It goes
nowhere.

Outcast have remixed "Enjoy" into a dismal distorted soup.  The first two
minutes are interesting enough, but by the time you've listened to them,
your ears are better served by moving on to the next track.  Almost nothing
is left of the vocal line, and the arrangement is simply not strong enough
to support itself.

"I Miss You" is redone with Dobie, in a '90's New York R&B/rap style.  If
it weren't for the rap in the middle, I would probably prefer this version
to the one contained on Post (or the version for the brilliant video,
directed by John K.).  Not that I don't appreciate rap, but I find this
"let's-stick-a-rap-in-the-middle-of-the-tune-for-cross-genre-radio-support"
approach to arrangement and pop promotion distasteful for the most part.
If the piece actually did call for another voice, it would be fine.  But in
these lyrics, Bjork is alone: "I miss you, though I haven't met you yet."
Why would she be joined by a male voice rapping about also missing this
mysterious "you"?  For those of you who love the earlier version, don't
worry - it's a bonus track.

In addition to music, the packaging requires comment.  The only place the
track listing appears is on the CD itself.  The tracks are not named or
numbered on the case nor in the inset.  So, if you're lucky enough to be
able to see through your CD player AND read tiny text spinning several times
a second, then you can know what you're listening to as you listen to it.
Clark Kent, you're in luck.

As you can see, I really like half the pieces on the disc, and actively
dislike three.  As for the other two, indifference.  Unfortunately, for all
the brilliance shown in the five good tracks, the number of disappointing or
even insulting remixes forces me to not recommend Bjork's Telegram.  Perhaps
her next remix project, e-mail, will be better.

TRACK LIST:

Possible Maybe (Lucy Mix by Mark Bell) * Hyperballad (Brodsky Quartet
Version) * Enjoy (Further Over The Edge Mix by Outcast)	* My Spine (duet
with Evelyn Glennie) * I Miss You (Dobie Rub Part One - Sunshine Mix) *
Isobel (Deodato Mix) * You've Been Flirting Again (Flirt Is a Promise Mix
by Bjork) * Cover Me (Dillinja Mix)	* Army of Me (MasseyMix) * Headphones
(0 Mix by Metri) * I Miss You (Original Mix)

Songwriting: 6/10
Production:	6/10
Performance: 7/10
Overall: 6/10



BLACKHAWK: Strong Enough (Arista)
Reviewed by DJ Johnson

Sure is nice to know there are still bands in Nashville that have their
roots in classic country and not in early-80s Journey.  While so many
other acts subscribe to the theory that all you have to do is wear a
cowboy hat while playing wimpy pop and you're a country star, this trio
sprinkles the rock and roll like a fine spice over a solid country base.
Strong Enough is alive with outstanding gospel-influenced vocal harmonies
and classic country instrumentation.

The songs are about love, loss, and human weakness--not exactly new ground
for country music, but here it's done well--and even the occasional small
moment of victory.  In "King Of The World," for instance, the mood is
cautiously optimistic: "I didn't need no money, I didn't need no time.  I
didn't need nothin' but my own piece of mind.  And to know that a voice like
a whisper is bound to be heard, for just one moment, I'm the king of the
world." Quite a contrast to "Hook, Line and Sinker," which begins with "The
first thing she done when they set her free from the women's correctional
facility..."  See, that's what's fun about good country music: they write
about some seriously twisted situations.

The musicians that backed the trio are all buttkickers with great country
chops.  Instead of following the Nashville formula (hiring session dudes),
Blackhawk recorded with its own road band, and that probably has a lot to do
with the strength and energy of Strong Enough.  Good decision.



PAT BOONE: In a Metal Mood: No More Mr. Nice Guy (MCA/Hip-O)
Reviewed by Steve Marshall

Unless you've spent the last few months under a rock, you probably know that
'Mr. Clean' himself, Pat Boone recently released a new CD of hard rock classics.
Boone's long time fans aren't quite sure what to make of it. For those of you
who may not have this CD yet, it's uhh . . . well, it's interesting. Are there
really screaming guitars on the songs? Some of them, yes. Is it really a 'metal'
album? Of course not. Imagine songs by the likes of Judas Priest, Deep Purple,
AC/DC, Metallica, Guns N' Roses, and Led Zeppelin done big-band style, with an
occasional electric guitar solo thrown in here and there, and you'll get the
idea. The whole album was recorded live to two-track in the studio.

Is it as bad as everyone has said? It depends on what you're expecting from it.
Some of it is truly entertaining (though not necessarily in a positive way).
Boone is backed by an excellent band of musicians, some of whom played on his
earliest material. Then there are the special guests: Ritchie Blackmore and
Dweezil Zappa play guitar on "Smoke on the Water." Ronnie James Dio heard that
Boone wanted to record "Holy Diver." Once Dio found out the song was going to be
recorded on his birthday, he couldn't resist stopping by to contribute backing
vocals.

One of the most memorable tracks on the CD is Van Halen's "Panama." The lyrics
on this one were cleaned up a bit. Instead of the line where David Lee Roth
sang about how he wanted to 'reach down.. between my legs.. and ease the seat
back,' Boone wants to "reach down, and put my seat belt on." Let's say
(hypothetically, of course) that you make it through "Panama." What else is in
store? How about a big band version of "Enter Sandman"? I have to admit, the
band really cooks on this one. This song is one that's gotten the religious
community up in arms. But wait--there's more!

"Paradise City" is another 'highlight.' The band really gets a workout on this
one. If you like big band jazz, you may actually enjoy this version. Unless, of
course, you're not into screaming guitar solos. Boone slows it down on a couple
of the songs. "Love Hurts" isn't really that different from anything else he's
done over the years. He also does a cover of "The Wind Cries Mary." When you
consider that the song's a ballad to begin with, it's not that bad. If you think
about it being a Hendrix tune, that's another story.  If you've managed to make
it this far, you're in for a 'reward.' Boone saved the 'best' tracks for last.

How can you do an album of metal covers without doing an Ozzy tune? Prepare
yourself. Boone does a swinging lounge version of  "Crazy Train"--complete with
backup singers going "crazy, crazy train.. choo choo!" Tom Scott (sax)
contributes an amazing solo on the track, and several others on the CD as
well. The disc winds up with Boone's orchestrated version of "Stairway to
Heaven." Just imagine Sammy Davis, Jr. crooning on these two tunes and you'll
get the idea.

In a Metal Mood takes rock to a new level. Not even William Shatner can go where
Pat Boone's gone on this album. He approached the songs with a real sense of
sincerity (even if the idea did begin as a joke). Boone put together a killer
band for the album, and should be commended for taking a chance. Is it something
that you'll to want to hear more than just as a novelty? Probably not--but if
you're a fan of any of the bands covered on the CD, you owe it to yourself to
check it out.



THE BOSS MARTIANS: 13 Evil Tales (Dionysus)
Reviewed by DJ Johnson

Evan and the boys are back with 13 excellent tracks that run the gamut from
instro-surf to hot rod vocal tunes.	I've been a fan of this band since the
first time I saw them play live in 1995, but I've never thought of their
music as having an edge or an attitude.  I've always thought of it as very
well played and carefully controlled surf.  Well, nothing on 13 Evil Tales
threatens to lose control, but there is a definite attitude to the instro
tracks--a bit of menace--that makes this album even more satisfying than the
rest.

Vocal tracks like "Gonna Have Fun Tonight" and "C'Mon Jenny" are classic
Martians, but the menace creeps into other vocal tracks like "Tombstone
Track," "Mean Model A," and especially the soon to be classic "She's Creepy."
Now there's a track that has the cool factor and mysterious vibe to blow away
Nuggets-style garage aficionados.  The fun factor is bumped up by "Long
Haired Lenny," a mischievous little high-speed variation on the Suzie-Q riff
supporting some very funny lyrics.

Three spins later, this is definitely my fave Boss Martians record.  Evan's
guitar playing continues to mature.  How much better can it get?!  Film at
11. (Dionysus Records: PO Box 1975, Burbank, CA 91507)



DAVID BOWIE: Earthling (Virgin)
Reviewed by Steve Marshall

David Bowie has never been one to conform to what other artists are doing.
He draws upon whatever musical influences he's into at the time, then
transforms them into something new and unique. You want a disc to test your
sound system? This is the one. The songs on Earthling are hard hitting and
aggressive. The industrial blast of "Little Wonder" practically explodes
out of your speakers to start off the disc. Bowie came up with a great hook
on the chorus, and Byron Allred's drumming on the track is spectacular.

One of the best tracks on the CD is "Seven Years in Tibet." The eerie vocals
on the verses quietly slither from the speakers, only to knock you out of
your seat with the aural assault on the chorus. "I'm Afraid of Americans" is
another great song, with a major Nine Inch Nails influence. In an unprecedented
move for a major artist, Bowie debuted the first single ("Telling Lies") on
the Internet last summer. A different version of the song appears on the new
CD. Bowie is clearly stoked on this CD, and deservedly so. Earthling contains
some of his best and most innovative work to date.




BR5-49: Live From Robert's/BR5-49 (Arista Nashville)
Reviewed by Steve Marshall

One of the hottest groups on the country circuit these days is BR5-49. The
band took its name from the classic Junior Samples skits on Hee Haw. Live
From Robert's, the band's debut, was recorded at Robert's Western World in
Nashville--a combination boot emporium/drinking establishment. The members
of BR5-49 all bring a multitude of influences to the group. While their
roots are firmly planted in traditional country--Hank Williams Sr., Merle
Haggard, Johnny Horton, Ernest Tubb & Bob Wills--there's another group of
influences that bring a definite edge to the music. How many groups can
claim to be into the artists mentioned above - plus surf, punk, ska, James
Brown, and Sonic Youth?

Live From Robert's is a fine debut. Rather than writing stereotypical songs
about women, pickup trucks, and getting drunk, BR5-49 injects a keen sense
of humor into their material, as showcased on "Me 'n' Opie (Down by the Duck
Pond). Yes, it seems the boys are also big fans of The Andy Griffith Show.
"Me 'n' Opie" is a song about the show's 'lost episode' - a hilarious story
of  "drug abuse and sexual deviance." This tune alone is worth the price of
the CD. Also, don't miss "18 Wheels and a Crowbar." It's got a percolating
Duane Eddy-like riff that just won't quit. This is one of those songs that
keeps going through your head from the first time you hear it.

Originally released last September (on Hank Williams, Sr.'s birthday), the
band's self-titled full length CD is highly recommended too. The bluesy
shuffle of "Even if its Wrong" starts off the disc. The song features some
fine pedal steel work by Don Herron. Up next is the track that earned the
band its first Grammy nomination, "Cherokee Boogie." It's an old Moon
Mullican cover, performed here in updated Johnny Horton style. "Little
Ramona" is a catchy tune about leaving your punk rock roots for good ole
hillbilly music, and has been getting some major airplay on the east coast
these days.

There are a few covers on the CD--including a rocking version of Mel Tillis
and Webb Pierce's "I Ain't Never." "Chains of This Town" is a Tex-Mex tune
that's also been getting a lot of airplay. The chorus on "Are You Gettin'
Tired of Me" has a curiously strong resemblance to the recurring Hee Haw
skit with Grandpa Jones about bad luck ('if it weren't for bad luck, I'd
have no luck at all,' etc.). "One Long Saturday Night" brings the CD to a
close with its raucous surf/rockabilly guitar licks. All too soon, the disc
ends as it began--with the sweet sound of vinyl, in all its scratchy glory.

BR5-49 is a band to keep your eye on. Their musicianship allows them to
achieve a true, authentic country/honky tonk sound, and their outside
influences and offbeat sense of humor should keep things fresh and
interesting for years to come.



BROOKS AND DUNN: Borderline (Arista)
Reviewed by DJ Johnson

This is the 4th go-round for Kix Brooks and Ronnie Dunn, whose first album,
Brand New Man, is still on the Billboard country charts five years after it's
release.  In that five years, they have become one of the premier live acts
on the country circuit.  Here's a quick tutorial for newbies: Brooks is the
one with the big black cowboy hat, while Dunn wears no hat.  I guess it's
just that he's a little bit country, while HE'S a little bit rock and roll.
Dunn stands still and sings.  Brooks runs around like Jerry Lewis just gave
him a hotfoot.  Dunn looks serious.  Brooks looks downright dangerous.
There, now that you can tell 'em apart, we can continue.  Ronnie Dunn stepped
up his legend a bit with his absolutely perfect performance of "My Maria."
This is the first cover tune they've ever done--the original was done about
20 years ago by the late B.W. Stevenson--and it's hard to imagine a better
fit.  Aside from that tune and the honky tonkin' "Mama Don't Get Dressed Up
For Nothin," Borderline is much too pop-ballady for my tastes.  What they
do, they do very well.  I'd sure like to hear these boys do a whole album of
kickin' honk, though.



JUNIOR BYLES: Curly Locks - The Best Of Junior Byles & The Upsetters
1970-1975 (Heartbeat)
Reviewed by DJ Johnson

Reggae history buffs and collectors absolutely need this CD.  Junior Byles
made some of the best reggae records of the early 70s, but many of his
deepest and most powerful sides are long lost... or WERE long lost. Rescued
at last, these 22 tracks sound fantastic.  Clean sound, great bass presence,
only occasional distortion.  Lee "Scratch" Perry produced these sessions and
The Upsetters provided the backing.  Always a nice combination that translated
to great reggae grooves with a little bit of soul for flavor.  The simplicity
of each track--usually just guitar, bass, drums and keyboards behind the
vocal--adds charm to an already moving collection.  In the past year, I've
made a point of complaining about the liner notes (or lack thereof) on many
Heartbeat releases.  I'm VERY happy to report that the notes for Curly Locks
are interesting, educational and thorough, right down to a track-by-track
description of the music.  When releasing music of such historical importance,
a label has a responsibility to pack as much information as possible into
the liner notes.  After reading these notes, you'll have at least a basic
understanding of Junior Byles the vocalist, the man, and the tragic figure.
The music itself is absolutely essential.



NAT KING COLE: Love Is The Thing (DCC 24k Gold CD)
Reviewed by DJ Johnson

While it's the King Cole Trio's jumpin' swing that really gets me going,
I think you'd have to be a pretty cold hearted SOB not to get goosebumps
from an incredible vocal album like this.  Love Is The Thing was recorded in
1957, and it is definitely a pop album.  But what a pop album it is!  Nat's
voice--arguably the most beautiful male voice in pop history--is smooth as
honey on these twelve original and three bonus tracks.

Love Is The Thing has been run through the presses a few times since its
initial run, but due to a studio mishap a few tracks no longer exist in
stereo.  Since the world was extremely focused on stereo in that era, the
mono mixes of these songs weren't even included.  Consequently, Love Is
The Thing hasn't been seen in its proper length and running order since
that first run.  Until now.  The pristine mono tracks, "Maybe It's Because
I Love You Too Much" and "Love Letters," sound superb.  The three bonus
tracks, "Someone To Tell It To," "The End Of The Love Affair," and "If
Love Ain't There" were recorded in 1963 for Where Did Everyone Go, and they
seem right at home on this disc.  And there's a nice little gift hidden,
mystery-track style, at the end of the set: "Stardust."  This is the same
recording as track 2, presented here without any embellishment on Nat's
voice.  No reverb, just a touch of EQ.  This track shows that Nat King Cole's
voice was the genuine article.

DCC's Steve Hoffman has done another stellar job with the master (see our
interview with Hoffman in this issue of Cosmik).  I haven't had the original
album for almost 20 years now, but if I remember correctly, it was a noisy
and problematic recording.  After the DCC treatment, there is still some
serious microphone pop (hey, Nat was a breathy singer, whattaya gonna do?),
and a few odd electronic interference noises that were probably the product
of archaic stereo recording equipment.  Despite these problems, the overall
sound quality is extremely high.  Gordon Jenkins' studio orchestra sounds
vibrant and clean, with acoustic bass so present you can feel it.  Best of
all, Nat's voice sounds so full and rich it's like he's in the room.  Which
is actually just a bit spooky.  Not to be morbid, but... hearing him sounding
this alive makes it seem very odd that he's been gone for over thirty years.
"And even though our castles crumble and fall, we have the right to laugh
at them all.  For love is still king.  Love is the thing."



BOOTSY COLLINS: Ah...The Name Is Bootsy, Baby (Warner Bros)
BOOTSY COLLINS: Ultra Wave (Warner Bros)
Reviewed by DJ Johnson

It took a long long time, but labels are starting to focus much deserved
attention on their funk catalogs from the 1970s.  Warner Brothers has been
particularly active lately.  The amazin' Bootsy Collins collection has begun
to trickle down.

Ah...The Name Is Bootsy, Baby was first released in 1977, when disco was
king and I was nauseated.  Funk fans weren't exactly strangers to Bootsy,
as he'd played with James Brown, Funkadelic and Parliment.  Bootsy's Rubber
Band made its debut in 1976, with this album coming the following year.
There's no way to adequately describe Bootsy's elastic bass playing to a
BootsyVirgin, but I'll give it a shot: it grooves, it stretches, it slides
and it spanks, turns corners, does flips, loop-de-loops, and it cranks.

The music is a mix of poppin' funk, sci-fi street sounds, and love ballads,
with the one constant being that bass.  I mean... it's that BASS, man!  This
album should be required listening for all young bassists.

Ultra Wave was originally released in 1980 as the R&B world was going through
a brand new identity crisis.  Disco was washed up as a fad, but there was as
yet no outcry for the return of roots funk.  Bootsy didn't even blink.  Ultra
Wave was by no means his strongest album, nor was it even close, but it had
cool grooves a plenty.  While everybody else was trying to find a fallback
position somewhere between genres--call it fusco, call it dink, it's all the
same--Collins and company came out groovin' just like the good ol' days.

Critics weren't exactly universally kind to Ultra Wave, but the fact is that
"Mug Push," "It's A Musical," and "Sound Crack" all ignite with that Bootsy
groove, and that makes this release well worth picking up.



THE CONGOS: Natty Dread Rise Again (RAS)
Reviewed by DJ Johnson

Here's dedication.  The Congos formed in 1975, and after hooking up with Lee
"Scratch" Perry, they recorded an influential album called Heart Of The
Congos.  After the famous fire that wiped out Perry's Black Ark Studio, the
members of The Congos went off to various solo projects and studio gigs, but
they never formally disbanded, despite all appearances to the contrary.

Natty Dread Rise Again arrives as a contender for a few different award: it
may take the award for "Longest Studio Time To Create An Album," because they
recorded the first tracks 14 years ago!  As my grandfather always said, "if
you want to do something right, take your time.  If you want to do something
wonderful, take all the time you need."  That seems to be true, as the other
award this album deserves is a Grammy.  It also deserves the lasting respect
of those of us who long for conscious roots reggae.  Their music is deep in
the way that Marley's music was deep, commenting on oppression and injustice,
and pledging undying faith in Jah.

The tendency of the uninformed may be to cast The Congos as throwbacks, so
make sure you tell those people The Congos are authentic.  They're from
that time, and much of this album was recorded in that bygone era.  Good
news from RAS, by the way: The four original Congos--Cedric Myton, Watty
Burnett, Congo Ashanti Roy, Prips and Watty Burnett--are together and strong,
and they are touring the United States.  Mark that concert as a must-see.



MILES DAVIS QUARTET: The Musings Of Miles (DCC)
Reviewed by DJ Johnson

Recorded on June 7th, 1955, The Musings Of Miles presents Davis at an
important juncture in his career.  One year after kicking heroin and
just months before hooking up with John Coltrane, Musings displayed an
emerging star with a new confidence.  The Quartet was a fantastic unit:
Philly Joe Jones on drums, Red Garland on piano, Oscar Pettiford on bass
(until Paul Chambers arrived on the scene shortly thereafter) and, of
course, Davis on trumpet.

His own composition, "I Didn't," displays a newfound confidence	and a
quickly maturing tone that would soon make him the most influential
trumpet player since Louie Armstrong.  A terrific track, "I Didn't"
features wonderful interplay between Jones and the always amazing
Pettiford, with Philly keeping up a train-shuffle with brushes.

While Davis may have learned from his old boss and pal, Dizzy Gillespie,
and moved on, he was still more than happy to acknowledge the man: "A
Night In Tunisia" sparkles under Davis' direction, swinging from
Pettiford's finest and most unusual work of the set.  The bass part in the
intro is the closest thing to Pettiford's own unique style that you'll find
here. Elsewhere on the album, he plays extremely well, but within the Miles
Davis framework.

The final track, "Green Haze," swims in luxurious 12-bar blues, stirred
to perfection by Philly Joe and his brushes and punctuated by Pettiford's
wistful bass solo.  A perfect ending.

The sound throughout this CD is appropriately warm.  DCC's 24k gold
treatment, and Steve Hoffman's usual high standards in the mastering
process, make this an indispensable	item for anyone attempting to build
an extraordinary jazz CD library.  The inclusion of original liner notes
and the use of high grade paper for the insert--both of which are the rule
with DCC releases--is frosting on the cake.



THE DERAILERS: Jackpot (Watermelon)
Reviewed by John Sekerka

Easy to spot these boys, for lead Derailer Tony O. Villanueva owns the
slickest do in the biz - greased back sides with a jet black wire spike
brush cut on top. It looks like something a golfer might find mighty
tempting - to brush off his cleats that is. Appearances, as important as
they may be, are not everything, and The Derailers offer a swell listening
time as well. A smooth mix of traditional twang, a bit of swing and an
honest delivery. Songs of love, heartache, hurt and longing, this is weepy
country folks, but a good half hour cry does everyone good. The good news
is that The Derailers keep the beat up so you can do-se-do while mending
that broken heart. With former Blaster Dave Alvin at the production helm
this platter has the quality stamp of approval. Don't mistake Jackpot for
the sugary country pop slop that soaks up commercial airwaves. This is what
new country should be. Get your cowboy boots and hankies ready.




BILL EVANS QUINTET: Interplay (DCC Jazz)
Reviewed by Shaun Dale

This re-issue of the 1962 Riverside release finds pianist Bill Evans,
whose greatest fame as a sideman probably came with Miles Davis in the
"Kind of Blue" period, leading a quintet made up of himself and four of
the giants of the contemporary jazz scene of the time.

Freddie Hubbard was moving from his relatively mainstream period with
the Jazz Messengers into the era which would make him one of the most
notable free jazz players.  Guitarist Jim Hall had played everything
from swing with Goodman and Ella to hard bop with Sonny Rollins.  He had
previously worked with Evans in a duo setting.

Percy Heath was best known as the bass in the Modern Jazz Quartet,
which added another component to the quintet's sound as he brought that
groups lyrical, neo-classic feeling to the rhythm section.  The drummer
on hand was "Philly" Joe Jones and he, well, he was "Philly" by Gawd JOE
JONES!

The five came together to produce this set of five standards and one
Evans original ("Interplay") that could be a standard in anyone's
repertoire to good advantage.  The CD release includes, as a bonus, an
alternate cut of "I'll Never Smile Again" which could well have been the
official take on the original release.

The combination of Evans spacious, lyrical style combines perfectly with
Hubbard's muted but adventurous contributions. Hall's swing sensibility
in taking what might ordinarily have been the sax parts with his guitar
lends a richness to the sound.  That richness is important when the
melody trio is set against a rhythm section with the strength and
inventiveness of Heath and Jones.

This is a landmark album, catching five of the finest at a pivotal time
in the history of jazz.  DCC has given it well deserved landmark
treatment, producing it in their 24 karat gold format with mastering by
the always able Steve Hoffman.  Once again, DCC provides a must have
recording for collectors which deserves to be more than collected - it
deserves to be heard often and widely.

Track List:

You And The Night And The Music * When You Wish Upon A Star * I'll Never
Smile Again * Interplay * You Go To My Head * Wrap Your Troubles In
Dreams * I'll Never Smile Again (Alternate Take)



ARETHA FRANKLIN: Love Songs (Rhino)
Reviewed by Shaun Dale

Rhino's latest dip into the Atlantic Records R&B catalog has produced a
disc destined for "desert island" status for fans of the Queen of Soul.

Not a "greatest hits" collection (though there are many *great* hits
included), this is a compilation of some of Aretha's more upbeat
material from the years 1967 through 1976.  A similar collection of her
matchless heartbreak songs from the same period would be a perfect
accompaniment (are you listening, Rhino?).  I'm tempted to say that that
combination would be all the Aretha you'd ever need, but there's never
enough Aretha Franklin.

Did I mention I'm a fan?

Among the 16 tracks on the CD are some must-have performances that even
those only casually acquainted with her recordings will know as Franklin
classics ("Baby I Love You" and "(You Make Me Feel Like) A Natural
Woman," etc.) but there are also a variety of less often heard
gems here.  Her cover of Sam Cooke's "You Send Me" is a revelation.
It's said that Cooke's original was the record that moved Aretha from
straight gospel work to the R&B arena.  If Cooke had heard this track
when he was still with the Soul Stirrers, well, Aretha might have
reversed history and moved him out of gospel instead.

While there is abundant tenderness and sensuality in many of these
performances, Aretha provides considerable evidence that a love song can
rock hard.  Even at the softest moments, there is an energy and a depth
that most singers can only reach at the top of their form.  Aretha
Franklin *lives* at the top of her form, and you should grab these 16
pieces of proof as soon as the store opens.


Track List:

Baby I Love You * I Say A Little Prayer * You Send Me * (You Make Me
Feel Like) A Natural Woman * Day Dreaming * This Girl's In Love With You
* You And Me * Call Me * A Brand New Me * Oh Me Oh My (I'm A Fool For
You Baby) * I'm In Love * Look Into Your Heart * If You Don't Think *
Ain't Nothing Like The Real Thing * Crazy He Calls Me * Something He Can
Feel



THE FREDRIC: Phases And Faces (Arf! Arf!)
Reviewed by DJ Johnson

Michigan psych-pop from the late 60s that is light as souffle, and sometimes
nearly as tasty.  Phases And Faces was the title of their 1968 album, which
has become quite the collector's item, and it's presented in its entirety
here along with three tracks recorded for a 2nd album that never materialized.
"Five O'Clock Traffic" is the tune that pops up in conversation and on
compilations, and it's here along with the flipside, "Red Pier." The inclusion
of that 45 completes this collection.

For my money, the coolest tune is "Henry Adams," probably because it's just
a little bit darker and more mysterious than the other songs.  Despite a few
songs that make Paper Lace sound like metalic devil worshipers, this is a
highly enjoyable listen for your more whimsical moods. (ARF ARF: P.O. Box
465, Middleborough, MA. 02346 USA)



GIANT ANT FARM: Dressed In Milk (Vaccination)
Reviewed by John Sekerka

When the opening track pits traditional Klezmer music with AC/DC and The
Pixies, and it all sounds like Tom Waits, you know there's something worthy
of an ear prick. Giant Ant Farm like to throw everything into the pot, stir
it up, and let the sparks fly. Mixing 'Alabama Song' with 'Sweet Home
Alabama' and 'A Cowboy's Work is Never Done' has to rank as one of the
grandest morphs ever attempted. Sonny Skynyrd Morrison - you betcha. If you
think this type of thing wears thin quickly, you are correct, but the band
is way ahead of you, cutting the album at a merciful six tracks, two of
which are actual originals. And while you're marvelling at the carnival
emanating from your speaker, there's ample time to read a seven page comic
by Chuck Squire. It all comes gorgeously presented in a long cardboard
foldout format, complete with groovy organic/mechanic doodles by Dave
Cooper. It's like Christmas all over again.



DEXTER GORDON:  Blue Dex - Dexter Gordon Plays the Blues (Prestige)
Reviewed by Shaun Dale

You can play a lot of blues without ever playing a note of jazz, but you
can't play much jazz at all without coming across the blues.  It may be
the improvisational space that comes with the 12 bar form, or their
common heritage as an African-American musical form, but blues chops
have always been one of the basic elements in judging the quality of a
jazz player's skill.

Even with the advent of free jazz, and the rejection of formalized
forms and meters that came with it, players continued to quote the
blues, or use them as takeoff points for more adventurous explorations.

The disc before us, Blue Dex, is a collection of nine blues recordings
done by tenor saxaphonist Dexter Gordon with a variety of bands between
1969 and 1973.  The sidemen included are too numerous to detail, but a
notable inclusion is Gene Ammons, another tenor player with whom Dex
blew some memorable sax "battles" in the Billy Eckstine band of the
1940's.

Dexter Gordon was there for the beginning of bebop, a contemporary of
Bird, Miles and Diz, and was one of the brightest lights before he lost
a decade or so to a junk addiction that took him out of the spotlight.
It didn't diminish his skills, though, and by the time these tracks were
laid down he was long since clean and at the top of his form.  Seven of
these tracks are on various releases, but it's worth hearing them
juxtaposed as they are here.  The disc is worth the effort to find,
though, if only for the two unreleased alternate tracks that are
included.

Gordon's own "Sticky Wicket" features Gillespie big band veteran James
Moody in a tenor battle with Prez that brings out the best of both
players.  The Jay McShann/Charlie Parker composition "The Jumpin' Blues"
features Prez quoting the original Bird solo and then stretching it
into something personal and memorable.

Every cut is a keeper, though.  This is a fine collection and belongs in
your collection whether your interest is in blues, jazz or just damn fine
music.

Track List:

Sticky Wicket * The Panther * Blue Monk * Lonesome Lover Blues * The
Jumpin' Blues * Oh! Karen * Gingerbread Boy



BERNARD HERRMANN: The Film Scores: The Man Who Knew Too Much: Prelude;
Psycho: A Suite for Strings; Marnie: Suite; North By Northwest: Overture;
Vertigo: Suite; Torn Curtain (Excerpts); Fahrenheit 451: Suite for Strings,
Harps and Percussion; Taxi Driver: A Night-Piece for Orchestra. Los
Angeles Philharmonic Orchestra conducted by Esa-Pekka Salonen. SONY 62700
[DDD] 76:45
Reviewed by Robert Cummings

As film score buffs know, the masterpiece here is the music from Psycho.
Without doubt, this score registers the coldest, most insensitive depiction
of movie characters in film history. There is not a note of sympathy for the
desperate but likable embezzler, Marion Crane (Janet Leigh). Nor is there a
hint of understanding for her deranged murderer, Norman Bates (Anthony
Perkins). The music is hard as ice and just as chilling. If you’re one of
the few who hasn’t seen Psycho, you must realize that this coldness and
insensitivity are deliciously appropriate for what is, after all, a black,
albeit terrifying, comedy.

The shrieking string glissandos from The Murder (track 6) are so convincingly
horrifying that they sear the musical psyche indelibly, leaving you with a
bad taste in your mouth to accompany your perversely satisfied ears. But it’s
the opening Prelude (track 2) that rises to an even higher artistic plateau:
this two-minute cue so perfectly captures the desperation, the darkness, the
twistedness of the film’s characters and happenings. The anxiety in the
rhythm, the madness in the ostinato, and the urgency in the searching violin
theme combine here to produce one of the most intense opening sequences ever
written for a film. The Finale (track 12) is pleasingly morbid, with not a
hint of consolation or feeling.

The rest of the selections on this disc are a mixed bag. The Marnie music is
good, as is the brief number from North By Northwest. The five cues from
Taxi Driver show Herrmann at his least effective, least Herrmannesque. The
slices from Vertigo and Torn Curtain are effective when accompanying their
respective films, but don’t stand up as well alone. The remainder of the
music is a rather middling affair.

Esa-Pekka Salonen seems at one with Herrmann’s varied musical persona,
whether it’s in the chill of Psycho’s strings, or in the mystery of the
Prelude from Fahrenheit 451, or in the ebullience and humor of the Overture
from North By Northwest. As you listen to this disc, close your eyes and you
can see the knife and the shower curtain and Marion Crane’s terror, or you
can envision Scottie Ferguson (Jimmy Stewart) grappling with vertigo and
villainy.

The Los Angeles Philharmonic plays superbly, and is captured in splendid
sound by Sony’s engineers. Fine notes, too, by the eminent musicologist
Alex Ross. Despite my carping about certain mediocrities in some of this
music, I highly recommend this disc mainly because of that most compelling
of Herrmann’s film scores, Psycho.



THE KINKS: To the Bone (Guardian)
Reviewed by Steve Marshall

The Kinks have always been one of the most overlooked and underrated bands
to come out of England. Let's face it--they had some tough competition in the
early years. The Beatles, The Rolling Stones and The Who all started out
around the same time. Still, The Kinks had quite a few hits of their own.
The latest release from the band, To the Bone, is a collection of newly
recorded Kinks classics, and the band's first compilation to include tracks
covering their entire career. The tracks range from scaled-down unplugged
versions, to all-out electric performances.

"All Day and All of the Night" opens the first CD, and it rocks like no
other version you've heard. The one complaint I've always had with The Kinks
in concert is the sing-alongs, and unfortunately this CD is no exception.
The difference this time out is an extremely enthusiastic audience, and a
performance to match. Half-brothers Ray and Dave Davies, along with the rest
of the band, play every note as if their lives depend on it.

Several of the songs were recorded live at the band's Konk Studios, where
they brought in a handful of fans and friends to give the songs a more
intimate feel. It's interesting to hear the band's hits (as well as some of
the lesser known tracks) played acoustically. "Apeman" is great as always,
and older tracks like "Tired of Waiting" and "Sunny Afternoon" really benefit
from the updated arrangements. "Do it Again" starts out acoustically, segues
into a brief collage of early tracks, then rocks out on an electric version
of the song that puts the original to shame.

The second disc is the better of the two. Starting with the ever-poignant
"Celluloid Heroes," disc two winds its way through an updated version of
"Set Me Free" and several more hits. "Lola" is here (of course), but another
sing-along mars the otherwise spirited performance. Just once, I'd like to
hear a live version of this song without the crowd trying to sing along.
"Come Dancing" is one of those songs that always seemed just a little too
happy to me. The new version is more powerful than the original, and comes
across much better.

The next five songs in a row are some of the best tracks on To the Bone.
Starting with the 1964 B-side, "I'm Not Like Everybody Else" (which features
some excellent leads from Dave) and going through "Dead End Street," the band
rocks. Things slow down temporarily for an acoustic version of "A Gallon of
Gas," only to rock out again on the band's first hit, "You Really Got Me." To
the Bone also features two new tunes--"Animal" (which sounds like a Tom Petty
song) and the title track (which, at times, is eerily similar to "Spooky" by
The Classics IV).

When all is said and done, To the Bone shows just how many great songs Ray
Davies has written over the years. It makes an excellent starting point for
those who may be just discovering The Kinks, and it's a great collection for
longtime fans too.



MASS PRODUCTION: Firecrackers - Best Of Mass Production (Rhino)
Reviewed by DJ Johnson

Here we have one of the reasons I'm so happy with Rhino's Urban division:
they're not just looking at old 70's R&B charts and dumping out what was
popular.  They are going after all that which grooves.  This one grooves
in the Earth, Wind & Fire/Commodore's tradition of rich production with
a nasty undertow.  Was Mass Production a huge factor in the history of
funk?  Nope.  They were occasional players on our radios and not much more.
But a second listen reveals some great rhythms and sharp playing all around.
not to mention top notch singing from Agnes "Tiny" Kelly and the rest of the
crew.  "Firecracker" is the one you're apt to remember, and it sure enough
has its thing going, but the second track, "Can't You See I'm Fired Up" is
the one that should have put 'em over the top.  It's got atmosphere, an
almost-but-not-quite disco kick drum beat, and best of all, it has Kevin
"D'no" Douglas' bass, which is right in the slot and driving.  That song
only got to #43 on the R&B charts and #nowhere on the pop charts.  A Shame.
This collection keeps getting better as it goes along.  Despite the
pressure R&B bands of the late 70s and early 80s faced in their label's
offices, Mass Production continued to play roots funk, and when they did go
for the 1-2-3-4 disco kick drum beat, they spiced it up with so much funk
you really didn't mind.  This CD has twelve tracks and only one ballad.
That means more bounce to the ounce and a great addition to your funk section.



DREW MINTER & THE ARTEK-458 STRINGS: Love Letters from Italy (Lyrichord)
Reviewed by Shaun Dale

This recording of vocal and instrumental music from 17th century Italy
is a bit outside my usual listening and reviewing range, but it's also
one of the more enjoyable pieces I've stumbled across lately.

First of all, I'm a sucker for countertenor voices, and Drew Minter
delivers a virtuoso performance.  There are relatively few men who can
sing an octave above the tenor range without breaking into falsetto, and
when a capable performer delivers in that range it is something special
indeed.

The ARTEK-458 string ensemble is the perfect compliment, offering the
voices of early music instruments such as the 8 course lute, the 5
course baroque guitar, viola da gamba and the Italian triple harp.
Gwendolyn Toth provides both direction and considerable keyboard talent
on the harpsichord, virginal and organ,

The songs themselves are special in part because they *are* songs - both
sacred and secular.  The period from which they are drawn is the point
at which the modern conception of song originates.  The lyrics are
primarily drawn from Catholic liturgy and love poetry, and include some
of the earliest operatic arias.  The instrumental pieces are baroque in
character but distinctively Italian.

You will hear things here you will not here elsewhere, at least not
often.  An uncommon repertoire, distinctive instrumental voicings and a
remarkable vocal talent combine for a rare and always pleasurable
listening opportunity.  This recording is both historically valuable and
artistically noteworthy.

Track List:

Aria di passacaglia (Girolama Frescobaldi) * Toccata (Frescobaldi) * Odi
quel rosignuolo (Sigismundo d'India) * Io vidi in terra (Marco da
Gagliano) * Toccata per liuto (Frescobaldi) * Lettera amarosa (Claudio
Monteverdi) * Cantada a voce sola sopra il passacaglio (Giovanni Felice
Sances) * Pianto della Madonna (Monteverdi) * La Madalena ricorre alle
lagrime (Domenico Mazzochi) * Ricercar: Grave; Allemande; Largo; Presto
(Mazzochi) * Rimbombava d'intorno (Antonio Cesti)



THE MONKEES: The Monkees (Sundazed)
THE MONKEES: More Of The Monkees (Sundazed)
Reviewed by DJ Johnson

Two confessions in one review: I love The Monkees, and I'm a sucker for
colored vinyl.  When Sundazed announced they were putting out the first
five Monkees albums on vinyl, they caught my interest.  When they dropped
the little bomb that the vinyl was going to be Lifesaver-colored, I
hyperventilated!  Okay, okay, I realize it's usually just a cool marketing
trick, but if you know the guys at Sundazed, then you know they're just as
into the colors as I am...and YOU probably are, truth be known.

It's always a good idea to start at the beginning, so let's take a look at
The Monkees' self-titled debut.  Facts: They didn't play their own stuff,
but they sure as hell sang.  The players were studio heavyweights like Hal
Blain, Glen Campbell, Sonny Curtis, and James Burton.  The songs, most of
them written by Tommy Boyce and Bobby Hart, were some of the best little
pop tunes of the 60s.  The liner notes, printed on the back of a full sized
photo of Mickey Dolenz (remember, kids: there's a different Monkee in every
box of Sundazed Monkee Flakes!), offer some great insights that even the
various biographies have missed.  Didja know, for example, that "Last Train
To Clarksville" was only written as an afterthought when Boyce and Hart
realized there weren't enough songs to finish the album?!  NO!!!  Yes!  Okay,
maybe you knew that one... Didja know that Nesmith's voice was different
for the first year and a half because he still had his tonsils, but as soon
as they were removed, his vocal quality changed?!  Didja know that The
Monkees were spoiled rotten brats that pulled many a power-play?  Yeah, I
knew that one too, but there's more evidence of it here, in case you're
interested.  Here's one I didn't know: Peter Tork actually DID play on the
debut. He played acoustic guitar on Nesmith's "Papa Gene's Blues."  Cool!

What would a modern re-ish be without bonus tracks?  On The Monkees,
you get an alternate version of "I Don't Think You Know Me" and an early
version of "I Can't Get Her Off My Mind," which they would re-record later
for the Headquarters album.  This was definitely the tastier version.
Final fact about this release: It's ORANGE!

More Of The Monkees goes one better by bringing you THREE bonus tracks:
an alternate version of "I'll Spend My Life With You," an unissued version
of "Don't Listen To Linda," and an alternate mix of "I Don't Think You Know
Me."  Again, terrific liner notes with all kinds of insights.  And which
Monkee did you get, Deej?  DAVY!!  Yep, a full color pic of David to go
with my full color pic of Mickey to make me wanna get the 3rd and 4th discs
to finish the set and that makes me wonder... what's the picture inside the
FIFTH album?  If there was any justice in this world, it would be a pic of
Boyce and Hart.  Naw, probably a group shot.  Oh well.

The sound is nothing special on either album, but then that's not the point.
My old vinyl copy of More Of The Monkees was so bad, I actually thought the
lyric was "The clothes you're wearing, girl, are causing <POP> epping stone,"
so I'm just damned glad to get a fresh popless vinyl copy.  A GREEN fresh
popless vinyl copy!	 Happy happy! (Sundazed: PO Box 85, Coxsackie, NY 12051.
Toll-free order hotline: 1-800-295-8079.)



MU-ZIQ: Urmur Bile: Trax, Volume 1, Volume 2
(Astralwerks / Caroline)
Reviewed by Keith Gillard

I was first introduced to mu-Ziq (the "mu" is normally written as is the
Greek character mu, which looks somewhat like a backwards "u") through the
"Trance Europe Express" discs.  Since then, Mike Paradinas, the man
responsible for mu-Ziq, has turned his ear towards drum'n'bass.

This disc is divided into two volumes, with four songs each.  It really does
work best in two separate listens, as the first volume has a different mood
than the second.  I preferred the second volume to the first, but not by a
wide margin.

The disc begins with the title track, featuring swirling arpeggios and a
great middle breakdown section.  However, it is probably the weakest track
on the disc.

The second track, "Let Let," begins with a jazzy interlude (Ornette Coleman's
"Virgin Beauty"), and then proceeds to fragmented beats using silly cartoony
sounds.  Squeaks and boings combine with hyperactive breakbeats to create
frenzied but amusing rhythmic beds.  As well, Paradinas is not content to
merely establish one groove and keep it going - he evolves and changes the
groove as the piece goes on.

"M5 Saabtone" continues the use of silly sounds in a drum'n'bass context.
Minimalist silliness goes on for three minutes before the melody is revealed.
It is good to hear more people using melody and song structure in various
genres of techno.  Even at its most minimal (as it is here), the melody is
evocative and effective, and is a welcome contrast to the beats.  The chords
in the bridge are particularly nice.

"Fine Tuning" uses some dance hall reggae sounds in a decidedly non-reggae
fashion.  In fact, it is strongly reminiscent of The Art Of Noise.  It then
moves on to lounge-influenced territory.

Volume 2 opens with "The Hydrozone," alternating between a more conventional
drum'n'bass track and ambient soundtrack.  "The Hydrozone" takes the listener
on an emotional ride, and is very effective as both a dance track and a mood
piece.  Equal parts Goldie and Vangelis.

"1 Hip 007*" (the asterisk seems to be part of the title) begins with an
energetic beat which gradually slows without adjusting pitch to half its
rate.  This is an interesting effect that I don't believe has been used
before.  The beat is dirty and aggressive, but again is combined with an
ambient section.  After about seven minutes, a melody enters the mix, and
it's as if we've moved on to a different song.  The aggressive beat rejoins
the piece after a few minutes, and plays out to the end of this thirteen
minute track.

"Hornet" combines forwards and backwards drum loops into an interesting
breakbeat.  The heavily distorted bass melody is absolute camp/kitch fun,
too happy for its own good and grinning all the way to oblivion.  This piece
also changes mood dramatically in the middle, switching to an early-seventies
soul tune, while retaining and increasing the drum'n'bass edge.  It just gets
stranger (and cooler) from there.

The disc concludes with "The Phonic Socks," with more frantic fragmented
beats.  Unfortunately, my copy of the disc skipped badly, but I didn't
notice at first, as the beats were already so fragmented that it seemed in
keeping with the piece.  This is probably the most danceable piece on the
record.

The packaging for "Urmur Bile" is stark but effective.  The tracks are
clearly listed with their lengths, and all copyright information is listed.
This is very much appreciated, given techno artists love of mysterious
packaging.

Overall, I can recommend "Urmur Bile" to anyone who likes drum'n'bass or is
interested to see where techno is going.  It is definitely best thought of
as two EP's, either one of which would be worth getting on its own.

TRACK LIST:

Volume 1: Urmur Bile * Let Let * M5 Saabtone * Fine Tuning
Volume 2: The Hydrozone * 1 Hip 007* * Hornet * The Phonic Socks

Songwriting: 7/10
Production:	9/10
Performance: 8/10
Overall: 8/10



NEW YORK SKA-JAZZ ENSEMBLE: Low Blow (Moon Ska)
Reviewed by DJ Johnson

The second outing by this super-project is every bit as wonderful as the
debut, and that was no easy task!  These players now have the initial
familiarization phase out of the way and they've grown into an even more
cohesive unit.

The list of names is almost as impressive as the sound they make together:
"Rock Steady" Freddie Reiter (tenor sax), Johnnathan McCain (drums) and Rick
Faulkner (trombone), all from The Toasters; Cary Brown (keyboards) and Victor
Rice (bass), both from The Scofflaws; and Devon James (guitar) from The
Skatalites.  How could they miss?!

With fresh grooves a'flying, NYSJE continues to pay homage to its diverse
influences.  John Coltrane's "Naima" is treated with a surreal ska 2-4
piano chop and superbly understated drumming from McCain.  Reiter, faced
with the task of covering the greatest sax player in history, doesn't
shrink a bit.  His approach is deeply emotional and quite beautiful.
Faulkner follows suite with equal feeling.  These are truly great players.

Otis Redding gets his due respect, as well, as NYSJE brings Steve Pietaster
in to sing "Mr. Pitiful."  The performance is somewhat subdued next to Otis'
original, but it is oh so smooth and sweet.  Cannonball Adderly's "Jive Samba"
retains its feel while still sneaking that 2-4 accent in.  It continues to
amaze me how so many diverse musical pieces can be interpreted as ska without
the slightest loss of quality.  Try that with any other genre.

The band's originals continue to be the secret ingredient in NYSJE.  From the
memorable melody of "Centrifuge" to the irresistible drive of "Gene Ammons,"
which benefits from some incredible tone from bassist Rice, Faulkner continues
to create valuable new material for the ska community to absorb.  Check out
"Professor Bebop," his wonderful high-stepper that sounds like the best
possible result of Booker T meets Mancini.  Reiter's "Low Blow," which leads
off the album, is moody and shadowy, giving everyone a chance to introduce
their sounds via brief solos.  Rice and Brown each contribute solid tunes as
well.

It's very encouraging to know this band wasn't a one-off.  With the continued
success of each players main gigs, there's always the chance that each NYJSE
release could be the last.  Personally, I'd like to see them have a long and
happy association, as long as the results are like this.



LEE OSKAR (FEATURING FURASAWA): Free (Avenue Records)
Live At The Pitt Inn (Avenue Records)
Reviewed by Shaun Dale

Lee Oskar, best known to American listeners for his work with War and to
musicians for his signature brand of harmonica, is a consistent presence
in the Asian jazz charts.  For instance, last year he hit number two on
the Japanese jazz charts with an album recorded for a Korean label.

These two re-releases, recorded in 1981 and 1982, give some historical
perspective on that Asian success.  Recorded with the Japanese fusion
band Furasawa and produced by Toshikatsu Kawamura, they reveal elements
of the Danish born harp master's skills that had been less evident in
the denser funk mixes of War.

1981's "Free" is billed as Oskar featuring Furasawa, but the reverse
might be more accurate.  I'd like to know more about the band itself,
but the notes provides are, charitably, sketchy at best.  But while
Oskar's harp gets a fair share of the solos here, there are also
extended leads on guitar, keyboards and tenor by the uncredited
musicians in Furasawa.

The lack of *credit is a shame, because I'd like to track these guys down
and see what, if anything, they're playing now.  The album is a textbook
demonstration of the early 80's fusion sound by a band that is always
competent and sometimes brilliant.  Oskar played well in that context,
but he didn't dominate no matter how strong his chops because he was
fronting a fine band.

By the time they recorded 1982's "Live at the Pitt Inn," Oskar *was* a
more dominant instrumental voice in the band, and a had a more dominant
role in the set selection as well, apparently.  On "Free," he had two
solo and one shared writing credit, with everything else being billed to
Furasawa as a group.  On "Live," only "Ima Haru" and "Ano Koro" are
credited to the band (Oskar shares credit on the latter) and they are
the only cuts reprised from the studio album.

The rest of the live set moves into a funkier groove that is more
familiar to those who know Lee Oskar as the harmonica player in War.
In fact, the set includes a ten minute rendition of War's "Promised
Land," and it's a very enjoyable ten minutes.

The live tracks display the same high level of musicianship on the part
of all the players as is found on "Free," though Oskar's role is
somewhat more prominent.

Both albums are full of good music.  If I had to pick, I'd probably go
for the live one, but I'd hate to have to pick.

Track Lists:

Free:  Ima Haru * Boogie Man Lives In Tokyo * Kana Kana * Kyon * Song
       For Marjory * Ano Koro

Live at the Pitt Inn:  Ima Haru * BLT * Promised Land * My Road * Our
      Road * Ano Koro



ROBERT PALMER: The Very Best of Robert Palmer (Guardian)
Reviewed by Steve Marshall

Robert Palmer seems to be the epitome of classic rock these days. How often
have you seen a commercial on TV for a classic rock station--or worse yet,
actually turned on a classic rock station--without hearing "Bad Case of
Loving You" or "Addicted to Love"? Well, Palmer has a new label, and they
have just released a new greatest hits CD. Unfortunately, there's no material
here prior to 1978. You won't be sneaking through the alley with Sally when
you hear this CD.

Instead, you're left to suffer through an absolutely awful "Addicted to Love
'97" and a mediocre cover of the Staple Singers classic, "Respect Yourself."
Guardian should have taken the opportunity to release something more
comprehensive. They could have left off tracks like "Some Guys Have All the
Luck" (Palmer's original actually makes Rod Stewart's version sound good) or
"You Are In My System," and put on "Sneaking Sally Through the Alley" or
"You're Gonna Get What's Coming."

On a positive note, they did include 2 Power Station songs and Palmer's
rendition of "Mercy Mercy Me/I Want You." The bad thing about this particular
cut is the placement on the CD. It comes right after "Every Kinda People" and
the musical arrangements are so similar it almost sounds like the same song.
On top of all this, the liner notes are practically nonexistent. Unless you're
a completist, avoid this CD like the plague.



KORLA PANDIT: Odyssey (Fantasy)
Reviewed by DJ Johnson

No other form of music provides opportunities for escapism the way exotica
does.  The sounds of far away places, however synthetic their origins, can
transport your mind in moments.  Les Baxter, Martin Denny, Esquival and most
of the others created the sounds with large bands or even orchestras.  Korla
Pandit did it all on his own.

"We bring you musical gems from near and far, blended into a pattern of
glorious harmony."  So said narrator Dave Ballard at the start of each
performance of Korla Pandit's TV show in the 1950s.  Pandit performed in a
suit, tie and bejeweled turban, coaxing beautiful and exotic sounds from a
piano and an organ, all the while staring with hypnotic eyes directly into
the camera.  Even when he appeared to be holding perfectly still, the jewel
hanging from the turban trembled, catching the light and adding to the
mesmerizing effect of his eyes.  On a stage behind him and to his left,
all kinds of interpretive dancing was going on.  It was a highly unusual
program.

Odyssey is a repackaging of two of Pandit's 1959 albums on Fantasy Records,
Music Of The Exotic East, and Latin Holiday.  One track from the former,
"Procession Of The Grand Moghul," was left off due to the time limitations
of the CD format.  The remaining 20 tracks range from wonderfully surreal
(pick one!  They're all over the place!) to light and happy ("Festival Of
The Flowers") to downright absurd (the sloppily botched "Miserlou," long
before Dick Dale got ahold of it).  The sound is remarkably full though at
times the hiss is so bad it almost sounds like someone left a faucet running
in the foreground.  Goes with the territory.  The liner notes, written by
Skip Heller, don't give much information about these recordings, but they
do offer a nice overview of just who the hell Korla Pandit is and was.

With the lounge revival still going strong, Pandit finds himself in the
limelight for the first time in decades.  Tapes of his television shows
are available, recordings are popping up here and there, and Lance Kaufman
has taken his dead-on tribute, Karla Pundit, to the live stage.  Which is
all so odd, because just a few years ago, this stuff was considered geeky.
Better pick this one up now while it's still cool to do so.  It's worth it.



UTAH PHILLIPS: Good Though! (Philo)
Reviewed by DJ Johnson

Bruce "Utah" Phillips' first album is a natural starting point for anyone
who wants to begin exploring this great storyteller's music.  Originally
released in 1973, Good Though mixes relaxed studio settings and a few live
performances of alternately profound and hilarious folk songs.  A throwback
to the great train-hopping folk singers of the depression, Utah sings songs
of aimless travel and hobo ethics.  "Frisco Road" conveys the frustration
a train-hopper feels when forced by circumstance to thumb rides on the
highway.  Out of his element and longing for the rails, he lays out a
romantic picture of where he'd rather be.

"Have you seen the morning sun putting the shadows on the run
As you were climbing out of some old refer hole?
High above the roaring wheels, then you know just how it feels
to ride the tops and watch the praries roll."

Flip that romantic image until its dead opposite, and you discover the
other side of Utah: "Moose Turd Pie," long considered one of his classic
recorded moments, is not a song at all, but a great story about working
for the Sante Fe Railroad waaay out in the desert.  The food they were
provided was terrible, but if you bitched about it, you became the new
cook.  After being saddled with the job, Utah tells of his brilliant idea
to cook a moose turd pie, knowing that SOMEBODY would complain.  Sure
enough, somebody throws down his fork and screams "My God! That's moose turd
pie! ...It's GOOD, though..."	As is this wonderful album by one of our true
national treasures.



PLACEBO: Placebo (Elevator Music/Caroline)
Reviewed by Keith Gillard

I have always been interested in music released on the Caroline label.  I
have yet to find a single Caroline artist that disappointed.  However, my
experience with Caroline has to this point been entirely electronic music.
This month, I received my first Caroline non-electronic record - Placebo's
eponymous debut.  And did it disappoint?  Nope, not one bit.

Placebo make intelligent energetic post-punk guitar pop.  This trio is very
tight, with Robert Schultzberg's drumming being almost machine-like.  The
vocalist, Brian Molko, has a sort of androgynous quality similar to Geddy
Lee of early Rush.  Their overall sound, save the vocals, is very reminiscent
of Joy Division/New Order, with numerous other Manchester influences.
Perhaps this is the work of producer Brad Wood, who has done an admirable
job on this record.

Highlights: "Bionic" is elegant in its simplicity.  "Harder, faster... None
of you can make the grade."  It feels very much like New Order's "Low-life"
album with grunge overtones, particularly that Peter Hook bass and Stephen
Morris drumming.

"36 Degrees" is a high-speed pop powerhouse.  Drummer Schultzberg is amazing,
maintaining 16th notes at a ridiculously fast tempo.  The energy level does
not let up until the seventh track, "I Know," which begins with an acoustic
guitar and conga, and then proceeds to a slow tempo power ballad feel.
Schultzberg impresses further by playing didgeridoo on this powerful piece.

The last "official" track, "Swallow," is another low-tempo piece featuring
New Order-style toms and a telephone line vocal.  It's very nice, but it's
really the instrumental bonus track that follows that takes the cake.  With
its Moog bassline and lovely piano melody, it is a gorgeous soundtrack-like
piece, equal parts Gary Numan and Joy Division, without being too derivative
(although I did catch myself singing "Atmosphere" to it).

Even the packaging gets a thumbs up.  The high contrast crimson and teal
colour choices make it an eye-catching package, with track listing and band
line-up easily found and readable.

Was there anything I didn't like about Placebo?  No, nothing.  I can
heartily recommend it to a wide range of people.  Those who love punk and
post-punk guitar pop will enjoy it.  Fans of bands like New Order (such as
myself) will also find something here that appeals.  If you appreciate good
songwriting and very tight tasteful playing, you will enjoy Placebo.

TRACK LIST:

Come Home * Teenage Angst * Bionic * 36 Degrees	* Hang On To Your IQ *
Nancy Boy * I Know * Bruise Pristine * Lady Of The Flowers * Swallow *
+ Bonus Track

Songwriting: 8/10
Production:	8/10
Performance: 8/10
Overall: 8/10



POISON IDEA: Feel The Darkness (Epitaph)
Reviewed by DJ Johnson

The killers and still champions!  Just as mean and hard as ever, Poison Idea
can still skate down that razor-fine line between hardcore and metal like
no other active band.  "Alan's On Fire" explodes into a pinwheeling wall of
sound solid enough to fling yourself from.  Jerry's vocal approach remains
powerful and frightening to small children, while Pig Champion still looks
like he'd just as soon kill you as play for you.  Attitude like this would
have done wonders for Pat Boone, doncha think?  There's adrenaline oozing
from every track, and they jam it all into 80s-style speed structures that
frequently threaten to fly off the tracks, but only occasionally do.  For
rookies looking for comparisons, I don't have any.  But I will say that there
are different types of dark music:  there's the supernatural dark music
(Sabbath) and there's the scary-dudes-gonna-cut-you-for-fun dark music.
That's Poison Idea.  I mean, just look at the cover!  They've got a gun to
poor ol' Tiny Tim's head, fer Chrissakes!  So check it out.  What's the
matter?  Scared?



PROKOFIEV: Symphonies: No. 1 in D “Classical”; No. 2 in D Minor;
Dreams, Op. 6 (Symphonic Tableau); Autumnal Sketch, Op. 8.
National Symphony Orchestra of Ukraine conducted by Theodore
Kuchar. NAXOS  8.553053 [DDD] 72:58
Reviewed by Robert Cummings

On rare occasions this reviewer hears a recording whose performance and
sonic properties are of such an extraordinary quality as to leave him
astonished, drained, in a state mere words cannot describe. This Naxos
disc brought on such an occasion, owing mainly to the utterly riveting
performance of that most intractable but compelling of Prokofiev Symphonies,
the “iron and steel” Second, from 1924-25.

Conductor Kuchar’s reading is unrelentingly savage and grim throughout the
titanic, frantic first movement. And his interpretation of the
theme-and-variations second movement catches the wistfulness, the mischief,
and once again the savagery in proper measure. His orchestra plays as if
possessed of a drive, a frenzy, a commitment to this brazen work I’ve never
encountered before. This is truly a thrilling performance of thrilling music
that must be heard to be believed! The sixth variation in the second
movement (track 14), for example, is rendered with such deliciously wanton
power and virtuosic intensity that you’re apt to wonder if your speakers
will survive the excitement and aural assault: violently insistent horns,
tubas and brass, underpinned by thundering, angry drums, bellow a boisterous
motif from the first movement as if preparing for musical Armageddon; then
the acid-drenched strings dig into the otherworldly variation with utterly
convincing playing as the passage builds to the inexorable spasmodic
explosion of the stomping, all-decimating tutti march. The hallucinatory
fourth variation (track 12) is rendered with a hypnotic fervor that captures
the full measure of mystery and menace. But then every note in this
two-movement, 37-minute symphony is played with the last ounce of commitment.

There have been twelve recordings of this work, and I possess nine of them.
The three I don’t have (Bruck, Kitayenko, and Grin) have received some
critical plaudits, but consensus has not prompted me to seek them out. This
Naxos disc is by far the most compelling rendition of the Second Symphony
you’re likely to find for a long time to come. Jarvi/Chandos, Ozawa/DG,
Weller/London, and Rostropovich/Erato all have much to offer in this work,
but each is a clear second to this Kuchar recording.

If this disc had only the Second Symphony on it I would still turn in an
enthusiastic endorsement, but it has more, considerably more. Kuchar serves
up a slow, rather aggressively modern account of the ever-popular Classical
Symphony that might make you rethink this otherwise seemingly elegant piece.
And he gives us two very early, very interesting works by Prokofiev, the
obsessive Dreams and the Rachmaninov-inspired Autumnal Sketch (also known
simply as “Autumn”). His readings here are at least on the level of previous
offerings from Jarvi/Chandos and Ashkenazy/London. Ates Orga’s notes are
decent, and Naxos provides demonstration-caliber sonics.

If the dissonant, modernist side of Prokofiev is your cup of tea, by all
means acquire this splendid disc. But even if it isn’t, at least half of
this issue is worth purchasing anyway, especially at Naxos’s budget price.
This is the best album by far in Kuchar’s on-going distinguished Prokofiev
survey. Highest possible recommendations!



PURCELL: Airs & Duets. Jeffrey Dooley, Countertenor; Howard
Crook, Tenor; Louise Shulman, Daniel Reed, Violins; Mary
Springfels, Viola da Gamba; David Carp, Recorder; Dennis
Godburn, Recorder & Bassoon; Edward Brewer, Harpsichord.
LYRICHORD  LEMS8024 [ADD] 46:48 (Bonus CD Sampler
included: 56:48)

Reviewed by Robert Cummings

This CD is a re-release of LP material from the late 1970’s, and documents
vivacious performances of works by England’s first musical giant, Henry
Purcell (1659-95). In recent times there has been growing interest in his
music; yet just twenty years ago he was still caviar on the musical menu,
better known to some, even in his homeland, as the composer of the theme
upon which Benjamin Britten wrote variations in his famous A Young Person’s
Guide To The Orchestra. The British label Hyperion has recently been
devoting a massive series to the works of Purcell, a project that would
have been almost inconceivable a generation ago. Now that this previously
neglected composer is receiving his just due, you can sample a quite
attractive recording which may well have contributed significantly to his
recent rise.

If it doesn’t bother you that many of the pieces here are drawn from larger
sets--that is, if you don’t mind hearing an individual selection apart from
the full context in which it was intended to be heard--then this disc is
certainly highly recommendable. There are many delicious moments here. In
Vain the Am’rous Flute (track 4) is a beguiling duet, where countertenor
Dooley and tenor Crook combine to produce an aural treat of distinction and
beauty. The pair render Sound the Trumpet (track 6) with ebullience and
vocal pyrotechnics to astonish the ear. In Here Let My Life (track 12) Crook
is touching, fully capturing the poignancy and sorrow of this tender
outpouring. There isn’t really a cue on the entire disc that doesn’t contain
fine singing and fine music. Dooley and Crook are magnificent, hardly less
than ideal throughout the program. The instrumental contributions, especially
of harpsichordist Brewer, are to be commended as well.

Lyrichord’s sonics are excellent and the notes by Alexander Blachly are
informative and interesting. No doubt, you’ve noticed in the headnote that
this issue contains a second disc, a so-called “sampler.” It features a
selection by the popular group Minstrelsy from their album Music from
Renaissance & Baroque, and from the immensely successful Istanpitta I disc,
and from many others. The bottom line is here, if you like early music,
you’ll be richly rewarded by this Lyrichord offering.



JEAN-PIERRE RAMPAL: Romantic Music for Two Flutes and Piano
Jean-Pierre Rampal (flute), Claudi Arimany (flute), John Steele Ritter
(piano) (Delos DE 3212)
Reviewed by Paul Remington

The title of this CD does not sound all that unusual, does it? The fact two
flutes are the featured instruments in a collection of material arranged for
trio ensemble is far from unusual. You can thank Jean-Pierre Rampal for that.
He's single-handedly put the flute on the map as a respected solo and lead
instrument. And the selection of material on his latest CD, superbly produced
by Delos Records, proves beyond any measure of a doubt that Rampal is a the
master of the flute.

Rampal is accompanied by Claudi Arimany on flute and John Steele Ritter on
piano. Rampal, without a doubt, has little-to-no complaints about his
supporting cast. Both Arimany and Ritter splendidly play their way through
these works with authority and grace. Rampal maintains exceptional balance
with his performance, not "stealing the show," or detracting attention away
from his accompanists.

The material included in this release is, primarily, a collection of material
Rampal and the ensemble performed at the Hollywood Bowl the week prior to the
recording sessions (recorded July 14-16, 1996).

Rampal has chosen a wide range of music for this CD--from Mozart to Doppler.
Some may be surprised to hear both the Star Spangled Banner and Yankee Doodle
in Doppler's Fantasy on four familiar American melodies titled Duettino
Americain. Doppler's passion for the flute made him Europe's leading flutists
in the 19th century.  Duettino Americain was composed in 1841, 17 years prior
to his settling in Vienna. In Vienna, he became both the conductor and first
flutist for the court opera. He later was appointed professor of flute at the
Vienna Conservatory. It's not surprising Rampal would choose Doppler's work
in this collection of material.

Doppler's Andante and Rondo--delicately Romantic in both conception and
performance--is played with a most personal flair. Also performed is Doppler's
La Sonnambula, Paraphrase en souvenir de Andelina Patti. Dedicated to the
great soprano style of Andelina Patti, Doppler makes use of Vincenzo Bellini's
operatic style in a cleverly transcribed duet for two flutes.

Mozart's Andante (from the Sonata in D Major, K.488) is another example of
how Rampal so effectively brings the flute to the forefront. This bouncy
little piece comes alive under the breath of Rampal. Originally written for
two pianos, the composition has been re-arranged and transcribed for two
flutes and piano. The melodic content is nicely preserved, with flute
accompaniment providing harmonic balance and melodic dialog.

Theobald Bohm's Trios Duos de Mendelssohn et Lachner is a three movement
vocal duet written by Mendelssohn. Each movement is performed Allegro and is
a non-literal transcription of Mendelssohn's original work. Bohm's
embellishment of harmony when transcribing this work for piano and two
flutes works quite well, and adds a pleasing and energetic addition to the
CD's list of works.

The final composition is the Grand Concerto Fantasy on Themes from Verdi's
Un ballo in maschera, composed by European flutist and composer Luigi Hugues.
Hugues originally performed this work with his bother, Felice, accompanying
on piano. This is a wonderful conclusion that becomes a workout for each
flutist, forcing them to scale numerous and difficult musical passages.

Surprisingly, Rampal's first vocation was not the flute; it didn't even
involve music. He intended to be a doctor. While in medical school Rampal
continued playing the flute, which he learned as a child with his father's
support. His father emphasized there was no future in music, although there
was for medicine, and through his father's influence, Rampal attended
medical school.

Rampal views these life differences with curious similarity: "I can see . . .
a parallel between surgery and music. Surgery is a precise exercise. Music
must also be precise. Imprecise music lacks technique. If a surgeon is
imprecise, it's dangerous for the patient." His view of both medical and
music experience seems to be well amalgamated, although Rampal openly admits
pursuing medicine was his father's idea. "I never regretted not becoming a
doctor . . . At the end, my father gave me the blessing to become what I am."

And what Rampal has become is the first flutist to sell the flute as an
instrument worthy to be featured by a virtuoso musician--a musician such as
Jean-Pierre Rampal. As Rampal states, "[The flute]--an instrument that,
until recently, was regarded as frail and exotic--has become hearty, lively,
and brilliant."

Rampal's latest release, through Delos records, is a light and tender
collection of material very well performed. The recording is crisp and
bright with solid signal levels; characteristic of many Delos releases. For
Rampal newcomers and fans of-old, it is a recommended purchase.



THE ROCK*A*TEENS: Cry (Daemon Records)
Reviewed by Greg Nicoll

"I walk a dark and unholy land," declare the Rock*A*Teens in "Never Really
Had It," the opening track of their second album, CRY -- and they mean it.
Like some snake-handling preacher raising a new convert from black baptismal
waters, producer Rob Gal has brought frontman Chris Lopez' voice up from the
dark wash of shuddering guitar chords and wild whirlpools of reverb where
it was nearly lost on their debut disc. If the first Rock*A*Teens album
belonged between Lou Reed's Metal Machine Music and Captain Beefheart's
Trout Mask Replica, this one should be filed between William Faulkner's As
I Lay Dying and Flannery O'Conner's Wise Blood.

Strong in the faith, Lopez howls with the visionary insight of a man who's
been burnt by the heat of hell and returned to tell the tale, often sounding
like some demented brethren of the Bunnymen's Ian McCullough and 16
Horsepower's David Eugene Edwards. He cries out, "Sweet Jesus, take my head
in your hands/Cause I feel myself goin' down to the southland where it
began," as he loses his grip on "Black Ice" and the Twilight Zone melody
chimes from one of the Rock*A*Teens' three overheated guitars.

Chris Verene's long, hard-driving drum intro opens "I Am Forgetting," in
which Lopez goes from a whisper to a scream, rhyming "forgettin'" with
"armageddon." On "Nightmare" his intonation of the title alone is enough to
inspire bad dreams up and down Elm Street, an effect enhanced by Kelly
Hogan's haunting banshee wail and a bit of backward masking at the fadeout.
"The Rockabilly Ghetto" may be the first-ever authentic Cabbagetown blues,
a boiling stew of bizarre circus music and otherworldly piano as Lopez lopes
past slums and crackhouses. For the doom-drenched "Losers, Weepers" Lopez
eerily describes holding five silver daggers in his hand; but on the disc's
thumping finale "Your Heart or Your Life," he mixes menacing passion with
passionate menace and threatens to remove the organ with his blades. The
track ends as weird astro-noises stop short in sheer terror when Lopez,
flashing even more edge in his voice than in his hand, gives a final,
frantic shriek of "Cut!"



ROSE ROYCE: Rose Royce II (Warner)
Reviewed by DJ Johnson

Do you remember these guys?  They had one of the biggest hits of the disco
era.  "Carwash" isn't here, but what IS here may thrill and baffle you in
turns.  Warner's Black Music Ol' Skool division, which recently kicked us
some Bootsy, Graham Central Station and Ashford & Simpson, kind of took me
by surprise when they rereleased this puppy.  You know, "one of these things
is not like the other..."  Well, okay, forget that the disc opens with pure
schmaltz.  "Wishing On A Star" is so limp they oughta draw a chalk outline
around it.  And forget the two other songs that make that one sound like
heavy metal.  What you actually have here, believe it or not, is a cool
relic of the funk era, packed with great grooves and very little disco.

"You Can't Please Everybody" is classic funk in the Tower Of Power and Sly
Stone sense of the word.  Rose Norwalt's vocals were fantastic.  What ever
happened to her?  Write me if ya know.  She had the ability to convey coy
innocence, strength and sexiness all at once.  "Do Your Dance" slides
farther down funky street with a buzzin' bouncin' bass line and a cool
erotic chorus.  "Do your dance to the rhythm of the drums - We're just
havin' fun."  Mmmm hmmm. When Rose says it, it sounds tasty.

After some more fluff at track 5, the album ends with a triple play, each
tune funkier, nastier, and, God help me for sayin' it... groovier than the
last.  "Love, More Love," and "Funk Factory" are unknown classics, but the
final track, "It Makes You Feel Like Dancin'" is gonna please the most
people.  Why?  Because this is Rose Royce, and they're remembered for disco.
This is the only track on the CD than can be called disco--due only to the
relentless kick drum and the 8:43 length--but it's still got that nasty
funky thang going.  I confess: I expected this whole CD to be disco crapola.
My mistake.  Where was I when this shit was new?



SCHUMANN/BRAHMS: Schumann: Violin Concerto in D Minor, Op. Posth. Joshua
Bell, Violin; Brahms:  Violin Concerto in D Major, Op. 77;  The Cleveland
Orchestra conducted by Christoph von Dohnanyi. LONDON 444 811-2 [DDD] 68:00
Reviewed by Robert Cummings

Bell turns thirty this year and is already a big-name violinist. Hearing him
in these two works affirms the correctness of that coveted status. He has
technique, a gorgeous, if slightly icy, tone, and a mature interpretive
sense. In short, he has all the tools necessary to continue the rise to the
top of his trade.

Bell’s reading of the Brahms may not be revelatory (whose of late has been,
though?), but neither will it detract from his meteoric ascent. This is a
fine account, with intelligent phrasing, scrupulous attention to detail, a
subtle, well-judged use of portamento, and a technique that can summon both
a feline finesse for moments of delicacy and a lean, lionesque attack for
assertive passages. The cadenza (Bell’s own devising) is surprisingly
interesting and expectedly well-played (track 1; beginning at 17:24). The
delicious swagger in Bell’s rendering of the double-stopped theme in the
finale is another highlight here. Recent recordings of some merit in the
Brahms have been the Zukerman/Mehta (RCA) and Mullova/Abbado (Philips). I’ve
had a predilection for the Kremer/Bernstein (DG) from the early digital era.

But the Schumann… This may be the primary reason to purchase this disc. As
the reader may know, this work from 1853 languished in obscurity, unperformed
until 1937, owing to the artistically myopic vision of Joseph Joachim, whose
violinistic virtuosity was surpassed only by his musicological stupidity in
surpressing the work after Schumann’s incarceration in an insane asylum where
the composer spent the last two years of his tragic life. Luckily Joachim
didn’t destroy or lose the score poor Schumann had written for him, but
placed it instead in the Prussian State Library from where his great-niece,
violinist Jelly d’Aranyi, rescued it in the 1930s. It has steadily grown in
popularity over the years and is now rightly entering the standard repertory.

Bell declares his special affinity for this work in a note included in the
album booklet, and his committed playing corroborates his strong feelings.
He catches those elusive, emotionally neutral elements in the first movement
with the appropriate classical grace and muscle. He renders the beautiful
second movement with tenderness, and never succumbs to any tendency to
overstate the main theme’s sweetness with too much vibrato or other
affectation. Bell reads the finale with energy and wit, but doesn’t skirt
the quirkiness (vague hints of the composer’s insanity shortly to come or
just typical Schumann?).

I don’t want to make it sound as though this disc is strictly Bell’s show.
Christoph von Dohnanyi leads the Cleveland Orchestra with an insightful
baton throughout. He draws crisp, powerful playing from his Clevelanders in
the Brahms and just as alert and incisive support in the Schumann. And, oh,
how he so beguilingly reads the opening orchestral crescendo of the Schumann,
teasing out neurotic indecision, mystery, beauty--all in just four measures!
This is a moment to savor! Good notes and excellent sound by London.
Recommended.



STEPHEN SCOTT:  The Beautiful Thing (Verve)
Reviewed by Shaun Dale

Whither jazz?

In the midst of all the wonderful reissues of classic jazz albums,
largely brought on by the desire to have them in the CD format, there
is new music being produced.  Much of it, though, causes those of us
who love jazz to wonder where the genre is going, and who is going to
take it there.

Say "jazz" to many casual listeners and you might conjure up a number of
impressions.  Is it the increasingly challenging experiments in free
jazz that many find increasingly inaccessible?  Or is jazz destined to
be taken over by the "mellow jazz" players like Kenny G - a commercial
but not particularly inspired FM programming category for people whose
ears hurt when rock is on?

Maybe it will simply be an archival source of material for fossilized
reproduction by the Wynton Marsalis school of traditionalism.

Well, I think I've heard the future of jazz, and it sounds a lot like
Stephen Scott.  A decade has passed since a teenaged Scott appeared on
the scene in Betty Carter's band.  Now, at 27, he's developed a distinctive
voice and has taken his place as an innovative and accomplished leader in
his own right.

The Beautiful Thing is destined to be a landmark in the jazz lexicon.
Joined by some of the best young players on the scene, Stephen Scott
pays ample tribute to the jazz tradition.  More than that, though, he
stretches into new territory without leaving the audience too far
behind.

Working from the traditional piano trio with Dwayne Burno on bass and
drummer Victor Lewis, Scott adds sidemen in interesting and effective
arrangements as the songs call for them.  His original compositions,
the title track and five others ("Forevermore," "The Heretic,"
"Afterthoughts and Reflections," "Statement to Tarif" and "What Words
Will Never Say") are impressive, as are his selections of cover material.

Scott's range is demonstrated in his covers of Wayne Shorter's "Oriental
Folk Song" and Ornette Coleman's "Lonely Woman," which come from
different schools of jazz but become complementary in Scott's hands. Two
Benny Dorham tunes - "Blue Bossa" and "La Mesha" - pay tribute to the
Afro-Latin roots of jazz without descending into caricature.

His treatment of the traditional "This Little Light of Mine" is another
nod to roots, in this case gospel roots, but delivered in a contemporary
voice.  The "I Love Lucy" theme is presented by the trio, unadorned at
first and then taken into a fully realized and impressive improvisational
space.

Among the sidemen are guitarist Russell Malone (whose contribution to
"The Beautiful Thing" is particularly noteworthy), percussionist Steve
Kroon, Kenny Garret and Jesse Davis on alto, Ron Blake and Branford
Marsalis on tenor, with veteran drummer Dion Parson joining Scott and
Burno in the trio setting for the final cut.  In every combination,
however, Scott is clearly the leader.

His leadership isn't through domination, it's through vision.  The disc
is presented as a whole work by a man who knows where he wants to go.
And when he gets there, it's a beautiful thing...

Track List:

Forevermore * Blue Bossa * The Beautiful Thing * The Heretic * Oriental
Folk Song * I Love Lucy * This Little Light Of Mine * Afterthoughts And
Reflections * Statement To Tarif * Lonely Woman * La Mesha * What Words
Will Never Say



MIKE & PEGGY SEEGER: American Folk Songs For Children (Rounder)
Reviewed by John Sekerka

Gather 'round kiddies, this is your ultimate song collection. You don't need
to look anywhere else. I'm not kidding, this mammoth two CD set contains 94,
count 'em 94 songs. Some, like the 21 second 'Eency Weency Spider' rarely
get past verse one, while others, like the six minute 'Frog Went A-Courtin,'
are a hefty length. You see, Peggy and Mike Seeger play the songs as they see
fit, and if twenty seconds will do, then twenty seconds will do. Pretty well
near every traditional song from the hills is covered, and you might
recognize such classics as 'Skip-A To My Lou' and 'Jim Crack Corn,' but it
is the likes of 'This Lady She Wears a Dark Green Shawl' and 'Johnny, Get
Your Haircut' that make this comp shine.

The songs are as true to tradition as possible, not the sanitized, edited
versions that we are familiar with these days. Topics such as sex, death,
jealousy and violence are covered in a frank and open manner. Hell, just
listen to 'Down By The Greenwood Sidey-O,' a tale of murdered babies that
return to haunt their wicked mother. Now before you go calling the
authorities you must remember that there is purpose behind all of these
songs, and that is to educate, not to fluff over reality. And in the old
days, that was done in song. These songs were originally recorded by Ruth
Crawford Seeger (mother of guess who) back in 1940. They are a part of
American history, and a rich tradition of story telling, served up humbly,
honestly and in a stark manner by her offspring. Move over Raffi.



MATTHEW SHIPP QUARTET: Critical Mass  (2.13.61)
MATTHEW SHIPP DUO (WITH ROSCOE MITCHELL): 2-Z (2.13.61)
Reviewed by Shaun Dale

Pianist Matthew Shipp produces jazz at the edges - taking his various
vessels toward the horizon where modern jazz intersects with the music
of modern composers like Varese or Partch and turning abruptly for an
island somewhere in the distance no one has ever charted.

"Critical Mass" features Shipp with Mat Maneri on violin, William Parker
on bass and drummer Whit Dickey.  Shipp has worked with Parker and
Dickey in a trio setting and Maneri is a fine addition, using his violin
to set up a fine tension and interplay with the piano.

The first two cuts, "Critical Mass" and "Virgin Complex," are complex and
intriguing, setting the disc's thematic context (the title is a
reference to Shipp's use of an abstract rendering of a church mass as
his platform) but the quartet definitely hits their stride on "Density
and Eucharist," the 20 minute plus third track.  Maneri's work on this
cut is particularly noteworthy as he bows, plugs and stretches every
note possible out of his instrument.  Shipp's extended solo is
impeccable and the bass and drums, a "rhythm section" in the traditional
context, provides far more than rhythm.

On 2-Z, Shipp works with Roscoe Mitchell on alto and soprano sax.  The
duo setting allows Mitchell to take on the role of the rhythm instrument
at times and Mitchell is more than capable of taking the lead.  Both are
comfortable working as an improvisational duet - Shipp having done some
notable work with William Parker and Mitchell working with trombonist
George E. Lewis and pianist Borah Bergman in duo settings.

Working with Mitchell's sax puts 2-Z in a jazz category that may be
more accessible to those unfamiliar with free jazz, and if I had to
recommend one of these releases, it would probably be 2-Z.

I don't have to, though.  I get to recommend them both, and I do.  This
won't be the easiest music you listen to this year.  In fact, the joy of
this kind of music is partly the real work involved in truly listening.

It will be among the *best* music you'll hear, though.

Track Lists:

CRITICAL MASS: Critical Mass * Virgin Complex * Density and Eucharist

2-Z: 2-Z, parts 1-11 (The Physics of Angels)



SHOSTAKOVICH: Symphony No. 8. Dallas Symphony Orchestra
conducted by Andrew Litton. DELOS  DE3204 [DDD] 59:17
Reviewed by Robert Cummings

Shostakovich’s fifteen symphonies fit nicely into three equal groups: the
good (Nos. 1, 4, 5, 9 and 15), the bad (Nos. 2, 3, 7, 11 and the absolutely
awful No. 12), and the superb (Nos. 6, 8, 10, 13 and 14). Of the latter group
No. 8 is, in my view, the greatest. I always welcome a new recording of this
powerful, rich, tragic, and enigmatic work. But any new entry must deal with
the likes of Jarvi/Chandos and Kondrashin/BMG-Melodiya (possibly available
only as an import). How does Litton fare against this stiff competition? The
answer to that question is more complex than you might think.

First, the sound of Delos’s “Virtual Reality Recording” technique here is
superb throughout, with detail abounding delightfully. The only sonic
drawback is the timpani, which have a rather spongy sound, most especially
so in the frenetic climax to the third movement. This flaw may be more due
to acoustics or to the drums themselves than to the recording quality.
Everything else, though, emerges clearly and in fairly true timbres.

Litton begins the first movement with a deliberate tempo, which allows him
to point up the grimness and tension in the string writing. At 4:57 (track 1)
he accelerates and maintains the quicker pace for most of the rest of the
long, Mahleresque movement. Some may not like this slightly controversial
gear shift here, but Litton makes a good case for his approach by maintaining
proper orchestral balances and by drawing superb playing from his Dallas
players. Almost all conductors of this work that I’ve heard--Jarvi, Haitink,
Solti, Rozhdestvenky, Previn, Kondrashin and others--are slower here. The
development goes well, with the passage leading to the fugal march, and the
march itself, sounding impressive. I do wish, however, the cor anglais solo
that follows would have screamed out in a bit more anguish. If the
performance were judged on this movement alone, I would give the edge to
Jarvi and Kondrashin over Litton and the others.

But in the ensuing movements Litton improves. His Allegretto is brilliant
and nasty, with much virtuosic orchestral playing; next follows the mad,
scherzoish third movement, where the race to the explosive finish line is
fraught with suspense and sonic thrills. His Passacaglia is brooding and
profound and the finale ghostly and sad, with contrapuntal lines well
delineated.

If Jarvi’s approach can described as weighty and grim, and Kondrashin’s as
raw and intense, then Litton’s is by comparison suave and incisive. If you
prefer a more mellow reading of this symphony, then this splendidly recorded
Delos disc may be for you. Certainly, if it’s not quite at the top of the
heap, it’s near it, and superior to most other competitors I’ve heard.
Excellent notes by Laurie Shulman.



TEACHER RAS SAM BROWN: History, Past & Present (RAS)
Reviewed by DJ Johnson

I can tell you what the concept of this recording is, but there's no way,
even with a sound clip, to adequately relate what it's really about.  Teacher
Ras Sam Brown is a poet and a Rasta elder who claims to have been blessed
with a vision that laid out the history of the planet and mankind.  Though
there are individual track names, there is no need for them, as Brown simply
speaks throughout the album, telling the tale as only he knows it.  The music
acts as a pulpit from which he preaches this gospel in a hypnotically
compelling voice.  The music does indeed go through changes, as does mankind
in Brown's story, but the titles should only be seen as bookmarks.  This is
a single piece.

Brown's words have been transcribed and printed in the CD booklet, and they
make absorbing reading.  Roots Radics guitarist Dwight Pinkney played a huge
role in the production and performance of this piece, handling producing,
engineering, arranging, editing and guitar duties.  This being no ordinary
project, he deserves much respect for bringing it all together.

This is not background music.  It demands attention.  I recommend that you
put the headphones on and curl up with the booklet so you can follow along.
Even if you don't buy into Teacher Ras Sam Brown's version of the history
of mankind, this is a fascinating experience.



TEN YEARS AFTER: Ssssh/Cricklewood Green (Mobile Fidelity Sound Labs)
(Ultradisc II 24k gold CD)
Reviewed by DJ Johnson

As a young boy and the proud owner of my first electric guitar in the early
1970s, I had some very specific goals. 1) Practice day and night so that I
may be good enough to get lots and lots of girls, 2) practice some more so
I may figure out how to make sounds as heavy as Tony Iommi (Black Sabbath)
did, and 3) practice for years and years and years so I may eventually be fast
and fluid enough to be qualified to carry Alvin Lee's spit bucket. I eventually
became one the fastest players in town, but not fast enough to even play a
Lee riff without having to apologize afterward.  The thing was, you could play
so fast the notes all blurred together, and that was kinda cool, but only
Alvin could make each note weep at high speed.

Ten Years After's two best albums have been joined together on one 24k gold
disc by the folks at Mobile Fidelity Sound Labs.  Ssssh, originally released
in 1969, contains some of the bands finest and truest blues moments.  More
people remember "Good Morning Little Schoolgirl," and the track deserves its
lofty place in rock lore, but "The Stomp" is pure blues magic.  An original
Lee composition, it predates The Rolling Stones "Shake Your Hips" by over
two years, and it bears more than a passing resemblance.  For gritty guitar
tone, there's nothing quite like "I Woke Up This Morning," which closes out
Ssssh on a thundering note.	 Ssssh was most definitely an electric blues
album.  For their next project, the band would bring in some new elements.

Cricklewood Green begins at track 9 with "Sugar The Road," a departure from
the formula that delves into drony psychedelic territory.  If it doesn't
feel like blues during the majority of the tune, the "problem" is remedied
when Lee kicks into hyperdrive for the solo.  The music explodes, with Leo
Lyons (bass), Chick Churchill (organ) and Ric Lee (drums) shinning just as
brightly as Alvin.  "50,000 Miles Beneath My Brain" further explores and
tests the psychedelic ground that they would finally claim on 1972's A Space
In Time.  "Love Like A Man" is only remembered by serious TYA fans, mostly
because the song everyone else knows them for, "Goin' Home," is so
overwhelmingly famous.  Too bad.  "Love Like A Man" is a great tune and an
underappreciated landmark that still sounds powerful.  The hidden prize in
this box, however, is "Me And My Baby," a jumpin' swing-blues original in
the tradition of B.B. King.  Lee solos, but the other three are the stars of
this track, as they show themselves to be a real honest to God blues band.

Kudos to Mobile Fidelity's sound people.  These albums never sounded this
good.  The hiss level has been greatly reduced.  Listening to the original
vinyl of Cricklewood Green, particularly the quiet intro to "Love Like A Man,"
one is bombarded with hiss.  Here, it is just a whisper, yet the high end
doesn't seem to have been sacrificed.  Separation is as good as you can
expect, considering--and this is mostly speculation on my part--the album
was recorded with the band playing live in the studio without much use of
baffles (padded partitions used to prevent microphones intended for one
instrument from picking up the sound of other instruments).  Since you can
hear Ric Lee's snare wires rattling when Lyon's or Lee hit a low note, I
think this is a safe bet.  Best of all, the reverb space seems far better
defined than it did on the original release.  With music this dreamlike,
that reverb space is extremely important.  I give this one a very high
recommendation.



VARIOUS ARTISTS: Hang the DJ: Modern Rock 1986-88 (Rhino)
Reviewed by Steve Marshall

Finally--a new collection of 80's music that doesn't suck. The last good
one was the Greenpeace Rainbow Warriors collection in 1989. Hang the DJ is
an excellent series of three individually available CDs (one for each year).
Instead of just putting out the same old schlock that keeps getting reissued,
Rhino went after the more obscure tracks: things played on college radio
stations, songs from movie soundtracks, etc. There are a few cuts from the
majors, but overall the CDs lean toward the less mainstream acts--and not
necessarily their biggest hits. The result is a great collection of tunes,
with a few hard-to-find tracks as icing on the  cake.

1986's disc starts off with "Panic" by The Smiths. Granted, the CDs got
their name from the song's chorus, but do we really need to hear Morrissey's
incessant whining? I know I don't. The good thing about this is that just
about everything else on the disc is better. Siouxsie & the Banshees' "Cities
in Dust" is here, along with The Alarm and one of their best, "Strength."
There are several other highlights too, like "Pleasure and Pain" from
Divinyls, "Desire (Come and Get It)" by Gene Loves Jezebel, and Guadalcanal
Diary's college classic, "Cattle Prod." The superstars make a few appearances
on these discs too.  Pretenders, Depeche Mode and Eurythmics all have tracks
on this one.

Besides tracks by R.E.M. and Red Hot Chili Peppers, the 1987 disc caters toward
the more 'underground' acts. Most of the artists on this disc have larger fan
bases outside the US. Julian Cope's "World Shut Your Mouth" was one of the
coolest songs released that year, along with Love and Rockets' "No New Tale to
Tell" and "4th of July" from X. The 1987 CD has a couple of covers too--"Hazy
Shade of Winter" by The Bangles, and 10,000 Maniacs' rendition of "Peace Train."
Also included are tracks from Concrete Blonde,  Public Image Limited, The
Sugarcubes, and Psychedelic Furs (the only artist to appear on all three discs).

The 1988 disc is a bit more eclectic than the others. Starting with The Church's
debut single in the US, "Under the Milky Way," and then moving through tracks by
The Primitives, Billy Bragg, & Jane's Addiction, the 1988 disc covers a bit
more musical territory than the other two. Transvision Vamp's "Tell That Girl
to Shut Up" and Peter Murphy's "All Night Long" are two of the highlights.
The award for the strangest sequencing of songs in the series goes to this
disc--Ministry's "Stigmata," followed by the stark contrast of  Cowboy Junkies'
"Sweet Jane."  Everything But The Girl wraps things up on the 1988 disc with
their track from the She's Having a Baby soundtrack, "Apron Strings."

All three discs include 18 tracks, and excellent liner notes. There was a lot
more going on in the music world during the 80's than just Dexy's Midnight
Runners, Culture Club and Duran Duran, and this series does a fine job of
assembling it. If you're one of those people who think the 80's were, musically,
a waste of time, check out the Hang the DJ series and see what you missed.



VARIOUS ARTISTS: Peace In The Valley (Arista)
Reviewed by DJ Johnson

My personal feeling is that the best country music has always been that
which is at least partially rooted in gospel.  Peace In The Valley is
the best thing I've heard coming out of Nashville in years.  The roster
of talent is outstanding, as is the song selection.

Diamond Rio--a group I'm usually unimpressed with--knocked me out with
their powerhouse version of "Walking In Jerusalem," which opens the CD.
The most impressive thing is that the power is totally generated by the
vocal harmonies.  After an opener like that, there was a real danger of
a downhill slide, but with songs like "We're All God's Children" (Alan
Jackson), "Why Me, Lord?" (Steve Wariner), "I Ain't Singin' That Song
No More" (Brooks & Dunn), "Peace In The Valley" (Tammy Graham) and others
equally spiritual and riveting, the slide never starts.

To actually stand out on a collection like this is quite an accomplishment.
Blackhawk's faithful rendering of the gospel standard "Farther Along" is
so inspirational it almost drove ME to church.  (Trust me... that's big.)
Pam Tillis' version of the Cat Stevens classic, "Morning Has Broken,"
caught me completely off guard.  I'd never paid attention to the song, and
hadn't realized it was indeed a spiritual.  Her beautiful voice and Darrell
Scott's fine acoustic guitar picking give the song a whole new lease on
life.  And Michelle Wright's performance of the Curtis Mayfield-penned
"People Get Ready" closes the album with a feeling of faith and hope.

Peace In The Valley contains some of the most beautiful music you're likely
to hear this year.  You don't have to be a church-going God-fearing person
to get caught up in the beauty and spirituality of these performances.  I'm
living proof of that.



VARIOUS ARTISTS: The Sugar Hill Records Story 5-CD Box Set (Rhino)
Reviewed by DJ Johnson

If you worked at a radio station in the 80s, you couldn't help but see those
Sugar Hill 12 inch records in the "out" pile.  White pop radio stations weren't
gonna play that stuff, so out it went.  One of the perks of radio is you can
take stuff home when the station doesn't want it.  I must have had three dozen
Sugar Hill 12's, and I sure wish I knew where they were today.

Sugar Hill was one of the most beloved labels of its time, and also one of
the most reviled, depending on who you asked.  It was labeled "rap," and
while there was certainly some rappin' going on, most of this music was
hip hop.  They just didn't know what to call it, at first.  Unlike much of
today's rap, this music was drenched in funk with deep grooves everywhere.
Grandmaster Flash, Busy Bee, Sylvia, Crash Crew,	Trouble Funk, Super-Wolf,
The Sugarhill Gang, West Street Mob, Funky 4 + 1, The Sequence, Spoonie Gee,
the fantabulous Melle Mel and others created street music for the people
that pop forgot.  In the years before self-indulgent egotism reduced most
rap to penis-measurement contests, there was this thing called social
commentary--a GOOD thing that is all over this set--in which disaffected
youths would voice their concerns about life in their neck of the world.
A great example is "The Message," by Grandmaster Flash & The Furious Five.
(As opposed to The Funky Four or The Treacherous Three, both of which also
appear in this set.)  Flash describes the fight against insanity in an
insane world.  "Don't push me cuz I'm close to the edge.  I'm trying not to
lose my head.  It's like a jungle sometimes.  It makes me wonder how I keep
from going under."  By the way, that particular track appears on disc three,
AND on the special bonus disc...or platter, in this case.

Yep!  Hot damn!  Rhino's thrown in a 12 inch EP--I'm talkin' bout the real
thing, baby.  Vinyl!--with four versions of The Message.  If that's not cool
enough, they used the original 12 inch cover design: solid light blue with
Sugar Hill spelled out in a twisting, multi-colored candy cane!
Meeeeeemorieeees...

Just about every artist appears multiple times, and some of them have enough
tracks to rate their own disc.  (But they mixed it up just for fun, y'know?)
Grandmaster Flash, The Sugarhill Gang, and Melle Mel are all over the five
discs, but that's fair since they were also all over the Sugar Hill release
roster in days of yore.  No bitching here.  The track selection is brilliant.

The set comes with great liner notes that tell the story nearly as well as
the music does.  As usual, Rhino went all out.  Gotta love that Urban dept!
Most of the versions included in this box set are not the dinky little AM
radio edits.  These are 8 and 10 minute tracks filled with great grooves and
brutal beats.  Funk fans who never gave this stuff a chance really need to
do so now.  If they can't find something to like, I don't want to know what
the funk THEY were listening to.

TRACK LIST

DISC ONE: Rapper's Delight (Sugarhill Gang) * Funk You Up (The Sequence) *
Rapper's Reprise (Sugarhill Gang) * Super-Wolf Can Do It (Super-Wolf) *
Hot Hot Summer Day (Sugarhill Gang) * And You Know That (The Sequence) *
Freedom (Grandmaster Flash & The Furious Five) * Monster Jam (Spoonie Gee
meets The Sequence) * Baby Let's Rap Now (The Moments) * People Get On Up
(Positive Force)

DISC TWO: 8th Wonder (The Sugarhill Gang) * That's The Joint (Funky 4 + 1) *
The Birthday Party (Grandmaster Flash) * Check It Out (Wayne & Charlie, The
Rapping Dummy) * The Adventures Of Grandmaster Flash On The Wheels Of Steel
(Grandmaster Flash) * Showdown (The Furious Five meets The Sugarhill Gang) *
Let's Dance (Make Your Body Move) (West Street Mob) * Spoonie Is Back
(Spoonie Gee) * Apache (Sugarhill Gang) * It's Nasty (Genius Of Love) (Grand
Master Flash & The Furious Five)

DISC THREE: Hi Fellas (Trouble Funk) * Sing A Simple Song (West Street Mob) *
It's Good To Be The Queen (Sylvia) * The Lover In You (Sugarhill Gang) *
The Message (Grandmaster Flash & The Furious Five) * Whip It (Treacherous
Three) * Scratching (Crash Crew) * Ooh Baby (West Street Mob) * Scorpio
(Grandmaster Flash & The Furious Five) * Making Cash Money (Busy Bee) *
Here Comes The Bridge (Sequence)

DISC FOUR: Message II (Melle Mel & Duke Bootee) *  Breaking Bells (Take Me
To The Mardi Gras) (Crash Crew) * Yes We Can-Can (Treacherous Three) *
The Word Is Our (Sugarhill Gang) * New York New York (Grandmaster Flash &
The Furious Five) * Girls (Sugarhill Gang) * Kick It Live From 9 To 5
(Sugerhill Gang) * Break Dance Electric Boogie (West Street Mob) * All Night
Long (Waterbed) (Kevie Kev) * At The Ice Arcade (Chilly Kids) * White Lines
(Don't Don't Do It) (Grandmaster & Melle Mel) * We Are Known As Emcees (We
Turn Party's Out) (Crash Crew)

DISC FIVE: Jesse (Grandmaster Melle Mel) * Beat Street (Grandmaster Melle Mel
& The Furious Five) * Livin' In The Fast Lane (Sugarhill Gang) * We Don't
Work For Free (Grandmaster Melle Mel & The Furious Five) * Step Off (The
Furious Five featuring Cowboy, Melle Mel & Scorpio) * Xmas Rap (Uncensored
version) (Treacherous Three) * Busy Bee's Groove (Busy Bee) * Turn It Up
(Treacherous Three) * The Down Beat (Sugarhill Gang) * Vice (from Miami Vice)
(Grandmaster Melle Mel) * Outta Control (Miracle Mike & The Ladies Of The
80s) * Street Walker (Mass Production with Grandmaster Melle Mel) * The
Message ('97 Dungeon Mix) (Grandmaster Flash & The Furious Five)



VARIOUS ARTISTS: 3 Minute Revolution (RPM USA)
Reviewed by DJ Johnson

Oooooh, how long has it been since I heard this many great unknown bands
on one disc?  The general spectrum here places folk-rooted power pop at
one end and plain ol' big-chord power pop at the other.  25 songs by 25
bands from all over North America, with a heavy compliment of Baltimore
bands--because RPM is based there and because the bands kick ass--all with
at least one thing in common: they submitted songs that were three minutes
or less.

The collection is charged with the task of bringing down the mediocre
empire--corporate rock radio--or at least striking the first blows of
the revolution.  Don't wait for a telethon.  Buy this thing.  There's some
terrific power pop here.  The Bardots' "Gloriole" works a touch of drone
into a dreamy state of psychedelic pop without losing the power.  Swingset
Police is one the coolest discoveries in years.  Three brothers who recorded
their debut album in their parents garage, Swingset Police's philosophy is
nicely summed up by their note in the press kit that reads "We make rock
and roll music, and we don't think it's going to be a problem."  Their
track, "54321," is all of the good things power pop ought to be.  Hooky,
driving, energetic and catchy.  Look out for these boys from Wisconsin.

Among the better known bands, The Shambles stands out thanks to their
typically flawless song structure.  "Delve Into Everything" is a touch
more lightweight than most of their material, but you can't argue with
a tune that immediately gets stuck in your head, now can you?  "Junior
High Girl Drunk," by the put-outs, drives like crazy and still has time
to deliver a message.  Lyrics were an important consideration when RPM
was searching for this material, which is great news for lyric hounds
like myself.  Most of the songs have something to say.  I love a good
"call-em-like-ya-see-em" lyric, like Oral Groove's "Fan The Flame," which
includes such observations as "What's this thing you call your competitive
side? I really think it's jealousy that you try to rationalize."

No clunkers here.  Just 25 cool songs in 66 minutes.  Will the revolution
succeed?  As I reach up to turn off the radio, which has been playing
a Whitney Houston song for the past 4 minutes, I can only hope so.  (RPM
USA: PO Box 10216, Baltimore, MD 21234.  Phone: 717-630-2792.  E-mail:
link@sun-link.com)

TRACK LIST:

She Said (The Montgomery Cliffs) * Played A Trick (The Rockinghams) * 54321
(Swingset Police) * Sandy To The Stars (Wunderband) * Delve Into Everything
(The Shambles) * Bonded To You (The Revelers) * Lamented Love (Dark Side) *
Vacuum (Douglas Chay) * Something Bit Me (Vinyl Devotion) * Republican Jerk
(The Marmalades) * Everyone Is Special (The Meanwhiles) * Innocence Ignorance
(The Pleasantries) * Three Days (The Jigsaws) * Your My Star (The Jennifers) *
Junior High Girl Drunk (the put-outs) * Mr. Maybe (Serene Dominic & The Semi
Finalists) * Just Good Friends (Kevin Bowie) * Meet The Great Life (Ciao
Bella) * Forgiven (Mudwheel) * Gloriole (The Bardots) * Fan The Flame (Oral
Groove) * Metro Park (Planet 10) * Hummingbird (Ward Morgan) * Bread 1977
(Sidedoor Johnnies) * A Song Called Bye (the appleseeds)



VARIOUS	ARTISTS: Time Machine (Stomp)
Reviewed by John Sekerka

Shimmering mop tops, black turtlenecks and big fat gold medallions - that's
how I remember The Gruesomes, a band who ignored their lack of innate
musical talent by thrashing away at sixties garage nuggets in a fitting
tribute that had the kids bopping. The Gruesomes came and went. We had fun.
This was retro shtick, before retro shtick took over the world. Alas The
Gruesomes are no more, joining a parade of grand party bands that sauced up
the Canadian music scene for the last decade. Nostalgic? Enter Time Machine,
a crankin' comp jammed with twenty-eight numbers that, besides making for
swell party music, prove that The Gruesomes were not alone.

Spanning the great Canadian map, we get bands from Vancouver to Calgary, to
Windsor to Montreal, in what appears to have been a national phenomena. As
is the case with most of these Pebbles-like comps, the choicest cuts come
from virtual unknowns (the ones who don't measure up to has-been, cuz they
never were in the first place). Care for some superb surf tunes? May I
suggest The Surfdusters, or maybe The Treblemakers? Dig that creepy Cramps
hoodoo? Then The Cryptics are for you. Maybe you like the romantic sounds
of the French with your garage sampling? Then I would point you in the
direction of Les Minstrels and Platon et Les Caves. There's something here
for everyone and it all rocks. The good news is that some of these bands are
still current, and available for your next soiré. Dig in. (Stomp, 370 Putney
St. Lambert, PQ, Canada, J4P 3B6, 514-845-2660, email: BH28@musicb.mcgill.ca)



VARIOUS ARTISTS: Working Class Hero (A Tribute to John Lennon) (Hollywood)
Reviewed by Shaun Dale

Hey kids!  Get your fix of your fave "alternative" bands singing golden
oldies and help get kittens and puppies fixed at the same time!

That's the idea behind this disk, a collection of 15 John Lennon songs
performed by an eclectic collection of musicians, with a healthy chunk
of the royalties and profits going to the Humane Society's spaying and
neutering campaign.

Which is a good thing.

The disc is a pretty good thing to.  The quality of the performances
seems to lie in direct proportion to the artists' ability to retain
their own identities.  A few can't resist the temptation to pay tribute
to John Lennon by sharing their John Lennon impressions with us, which
is a shame.  After all, the man himself did it first and better.

But why quibble.  Even the performances which aren't among my favorites
feature songs which often are, and a few cuts here are real gems.

Blues Traveler, for instance, does a fine job with "Imagine", which has
been covered as much or more than any Lennon tune.  Hard to imagine
finding any new ground to cover on this one, but the vocal is convincing
and the harmonica flourishes are just about right.

The Screaming Trees' "Working Class Hero" come dangerously close to the
impression line, but there's an effective string arrangement and I just
happen to love the song.

Cheap Trick open "Cold Turkey" with a deceptively acoustic interlude
before blasting off into their trademark power chord attack.  The Minus
5 do a respectable turn on "Power To The People" and Candlebox's "Steel
and Glass" is another standout track.

The biggest surprise comes from Mary Chapin Carpenter, who might seem
out of place on an album crowded with rock bands, but whose sensitive
and effective rendition of the seldom heard "Grow Old With Me" makes her
a welcome addition.

The greatest disappointment may come from George Clinton, not because
his interpretation of "Mind Games" is flawed in any significant way, but
because my hopes were so high when I saw his name on the cover.

All told, though, there are plenty of fine tunes, plenty of fine
performances and a good cause behind the whole thing.  For Lennon
aficionados and pet lovers, it's a must.  For everyone else, it's a
pretty good thing...

Track List:

Red Hot Chili Peppers/I Found Out * Mad Season/I Don't Want To Be A
Soldier * Candlebox/Steel and Glass * Blues Traveler/Imagine * Screaming
Trees/Working Class Hero * The Minus 5/Power To The People * The
Magnificent Bastards/How Do You Sleep? * Flaming Lips/Nobody Told Me *
Super 8/Well, Well, Well * Cheap Trick/Cold Turkey * Collective Soul/
Jealous Guy * Sponge/Isolation * Toad the Wet Sprocket/Instant Karma! *
Mary Chapin Carpenter/Grow Old With Me * George Clinton/Mind Games



BEN VAUGHN: Rambler 65 (Rhino)
Reviewed by John Sekerka

Gather round kids, cuz the latest recording fad is comin' yer way. Remember
that Unplugged mania? How about the lo-fi revolution? Well Ben Vaughn is
here to spearhead the latest trend. You see, Ben has plugged himself in:
into his car, that is. Yup, that's right, Ben's new album was recorded
entirely in the back seat of his '65 Rambler American. No fooling, this
stunt's for real. There's always been a car fascination with rock'n'roll,
but never before has anyone attempted to mate the two in quite this fashion.
And frankly, when you hear the results, you gotta wonder why no one's ever
jumped in the back seat before.

Surrounded by vintage guitars, some tiny keyboards, a snare drum, a turntable,
some microphones, a lot of wires and one quart of Quaker State, Vaughn has
created the coziest studio ever, and a warm, immediate sound as well. When
Vaughn sings a love ode to 'Heavy Machinery,' you know he's cooing at a
four-wheeled beast. Don't mistake this for some gimmicky redneck car
infatuation. Ben Vaughn's a primo writer and musician who's been churning
out wickedly superb rootsy rock for years. And if you dug his gorgeous Mono
USA  record a couple of years past, you'll devour this one. Rambler '65
just happens to be recorded in a quirky fashion, which only adds to the
charm of this project. Who says there are no originals left? Just remember
not to try this in your Japanese sub-compact because, besides owning
head-turning lines, the '65 Rambler also had great leg room.



ALAN VEGA, ALEX CHILTON & BEN VAUGHN: Cubist Blues (2.13.61)
Reviewed by Shaun Dale

Every time I put this on I expect Harvey Keitel to come into the room
with a loaded gun and a threatening line scripted by Quentin
Tarentino.  In other words, this music sounds a lot like Straw Dogs
looks.

Recorded over the course of two nights in a Manhattan studio likened to
Philip Marlowe's office, this is an experiment in using jazz
improvisational technique in the rock form, and the experiment, for the
most part, works.

Multi-instrumentalists Chilton (guitar, piano, synthesizer, bass, drums)
and Vaughn (bass, piano, drums, guitar) craft a series of dark, moody
settings for Alan Vega's vocal improvs, which evoke reminders of
Morrison, Presley and a werewolf stuck in mid-transition. He pleads,
rocks, howls and threatens and does it all with an intensity that might
not be possible if the material were rehearsed and familiar.

There are moments here where you wonder where they're headed, which is
as it should be.  There are also moments where they seem to be lost,
which may be inevitable.  The overall result, though, is a valuable
document of the creative work of three fine artists in a setting that
I'd like to see more rock artists take on.  Improvisation is - or should
be - more than jamming over a well rehearsed chord pattern.  It's a step
over the creative edge with your eyes closed.  When it works at all, it
can produce an artist's finest efforts.  This works.

The sessions sat unreleased for a couple years until Henry Rollins'
label 2.13.61 resurrected them for release.  The more I hear of the
2.13.61 catalog, the more I appreciate Rollins.  This is worth looking
for and listening to and I'm glad someone made it possible.

Track List:

Fat City * Fly Away * Freedom * Candyman * Come On Lord * Promised Land
* Lover of Love * Sister * Too Late * Do Not Do Not * The Werewolf *
Dream Baby Revisited



MUDDY WATERS: Electric Mud (MCA/Chess)
Reviewed by Steve Marshall

MCA recently reissued the album hailed by some blues purists as the worst
blues album ever recorded--Muddy Waters' Electric Mud. Originally released
in the spring of 1968, Electric Mud was Waters' first excursion into the
world of 'psychedelia.' Since they were marketing Waters (at the time)
primarily to the white hippies, it made sense to Marshall Chess (son of
Leonard Chess, founder of Chess Records) that Waters should do an album like
this. Unfortunately, it presented a problem when Waters tried to play the
songs live. He didn't like having to perform in front of a huge stack of
amplifiers to achieve the sound of the album.

Is Electric Mud really as bad as they say? It depends on the context in
which you listen to it. As a blues/rock album, it's not that bad. As with
most albums from the psychedelic era, there's a lot of channel fading
(vocals in one channel, music in the other, then vice versa, etc.). However,
there are still some great guitar licks being thrown around, especially on
"I Just Want to Make Love to You," "She's Alright" (which segues into a "My
Girl" jam), and "Mannish Boy." The interesting thing here is that, according
to the liner notes, none of the guitar work is by Waters himself.

As a straight blues album, it's a joke. The majority of the players on
Electric Mud were actually avant-garde jazz musicians, and most of them
were not able to adequately span the two genres. Gene Barge's wailing tenor
sax on the album is out of place and annoying. It just doesn't work. The
cover of "Let's Spend the Night Together" is probably more noteworthy than
any other cut on the album. It's been called 'unintentionally hilarious,'
among other less-than-flattering remarks. I'll just call it . . .  different.
Imagine Waters trying to sing the lyrics to the music of "Get Ready." You
get the idea.

So what's the bottom line? Is this CD worth picking up or not? It depends
on what type of blues you're into. If you're a purist, you probably already
know to skip this one. If blues/rock is more your style, or you're just
discovering the master, it's worth a listen, but check out some of Muddy's
more traditional work first.



THE X-RAYONS: (Demo tape)
Reviewed by DJ Johnson

The X-Rayons, from Chapel Hill NC, approach instro from an unusual angle.
A little bit surf, a little bit rock, and just a dash of Memphis soul.
There are very few guitar solos, at least in the traditional sense.	 Instead,
they layer textures.  A fat rhythm guitar tone, a deep and fluid bass tone,
a reverb drenched guitar doing picking patterns, and lots of cymbal splash.
"Cascade" lacks a solid hook, but as a musical texture it has a lot going
for it.  Each of these five songs leaves me with the feeling that something
cool is happening here, but wouldn't it be nice if somebody would let rip
with a tasty solo?  (I found myself wishing The Impalas' sax guy would do
some recording with these boys.)  At times, there is a dreamy quality to this
music not unlike the quieter moments of G.T. Stringer's tunes, and that's
when I like The X-Rayons the most.  At their worst, they can have a somewhat
soundtracky feel, but at least it seems to be a surf flick.  They're on the
right track.  It'll be fun to keep an eye on them and see what phase two is
like. (For information, head to http://www.mindspring.com/~mnick/xrayons.html
or send e-mail to mnick@mindspring.com)



YES: Keys to Ascension (CMC International/Yes Records)
Reviewed by Steve Marshall

When it comes to the world of progressive rock, one of the genre's most
successful groups is Yes. While they survived numerous personnel changes over
the years, the diehard fans didn't always approve. The lineup on Keys to
Ascension is the one considered by most to be the definitive Yes--Jon Anderson
on vocals, Chris Squire on bass, Steve Howe on guitar, Rick Wakeman on
keyboards, and Alan White on drums. Roger Dean--whose talents have graced the
covers of every Yes album since 1971's classic, Fragile--did all the artwork
for the new album.

You can't help wondering when bands supposedly past their prime release albums
like this. Is it a 'contract album'? Are they just going through the motions?
Whether this is a contract album or not doesn't matter. Starting with the
perennial concert opener, "Siberian Khatru" and going right through the set
closing "Starship Trooper," the band is in surprisingly fine form. Anderson's
voice hasn't suffered at all over the years. He hits the notes he was able to
hit 25 years ago with ease. The bulk of this double CD comes from three shows
in San Luis Obispo last March. Keys includes almost 95 minutes of music from
those concerts.

Modern technology brings advantages the band didn't have during the Yessongs
era. Howe doesn't have to play the intro to "Roundabout" on the electric
anymore. He plays it here on the acoustic (as it should be), and it sounds
better than ever. Another cool thing about Keys is the selection of live
material included--about half of it is available commercially for the first
time. "The Revealing Science of God" and Paul Simon's "America" are
outstanding, much better than the studio versions.

Keys also contains two new tracks (totaling almost 30 minutes), although
neither one struck me as anything that required a second listen. They weren't
bad, but the highlights are definitely the live tracks. The CDs come packaged
in a cardboard slipcover, which holds the jewel box and a small poster. The
booklet contains complete lyrics to all the songs, along with photos from the
three shows. The sound quality is superb. It's too bad Yessongs never sounded
like this.

---------------------------------------------------------------------------

COSMIK QUICKIES: Quick little reviews for people in a big freakin' hurry!



BRENDAN BENSON: One Mississippi (Virgin)
Reviewed by John Sekerka

Brendan's an unassuming looking bloke: all skin and bones and bed hair. He
plays guitar and he sings. He does it well. Cleverly well in fact, effortlessly
spilling sweet pop laced with ladada's and ooowheee's and corny rhymes and
guitar chords you've heard millions of times. Y'see Brendan Benson has the
gift. The gift of writing and playing smart-allecky pop that'll make teenagers
bop. He's like Pete Townshend (whom he apes on the cover) playing Beatles
tunes. Can't miss - though talents tend to get lost in the music supermarket
out there these days. Search him out okay?



BLUR: Self titled (EMI)
Reviewed by John Sekerka

Look, here's really no need to mention Blur in these pages. We know they
suck, and that supposed Oasis/Blur rivalry is just a bunch of publicity crap
dreamt up by those funny accented snoots across the big pond to make us
believe it's The Beatles and Rolling Stones all over again. Well it ain't.
In fact, it's down right tepid, this supposed music war is. Anyway, the
reason that Blur even gets a smidgen of ink here, is that for some unearthly
reason they forgot themselves and actually made a tiny nugget of rock. I'm
referring to track two, appropriately titled 'Song 2' - guess the boys were
in quite a quandary as to what they've done, that they couldn't bring
themselves to name this aberration. It's a wild guitar driven chunk of two
minute renegade rawk. That's the good news. Bad news is that there are
thirteen unlucky and painful poppy dogs keeping it company. Woof woof.



BRAHMS: Piano Works Vol. 9: 51 Exercises, WoO 6. Idil Biret,
Piano. NAXOS 8.553425 [DDD] 69:37
Reviewed by Robert Cummings

No, you’re not seeing things: someone DID record these exercises. And
that someone is the distinguished Idil Biret, whose Brahms cycle has
been receiving considerable attention. Actually the disc serves a very
valuable purpose for piano students (advanced students, that is--these
are difficult). Biret goes about this collection in earnest, infusing
as much vitality and personality into them as one could hope. It struck
me that if you want to hear how “Brahms the minimalist” might have
sounded, this disc provides more than a clue. Naxos provides good notes,
fine sound, and 88 tracks! For Brahmsians, piano students, and fans of
Ms. Biret.



NAFTULE BRANDWEIN: King Of The Klezmer Clarinet (Rounder)
Reviewed by John Sekerka

With the new found Klezmer music craze it's inevitable that historical
recordings resurface as roots are searched out. Thus we go back to the 1920s
when two fierce rivals were battling it out with their clarinets. Dave Tarras
was the stoic, professional player with a flawless technique. Naftule
Brandwein was the crazy improvisationalist who would get stinky drunk and
play in an Uncle Sam outfit wrapped with blinking Christmas lights. No
contest by today's standards - but in those days it was Tarras who achieved
fame, glory and success. Brandwein had but a handful of records and a long
infamy streak to his name. Unfortunately he passed on in 1963 before Klezmer
music made a dramatic comeback - something that would surely have revived
the true king of the Klezmer clarinet. Enough history, let's get onto the
record. Culled from old 78s in the twenties and a brief 'comeback' recording
in 1941, this twenty-five track collection shows off Brandwein as a young
and brash soloist who could reel off lightning fast runs that astonish to
this day. His music was not only technically challenging, it was spright
and happy, showing a man who must have been something to see on stage. And
if only half the stories are true, then Naftule Brandwein is surely the
greatest music entertainer to drop his pants in performance.



EUGENE CHADBOURNE: Jesse Helms Busted With Pornography (Fireant)
Reviewed by John Sekerka

Any record with a humungous Lefty Frizzel medley deserves your time. Eugene
Chadbourne remains one of the most misunderstood musicians of our time, and
for good reason. Besides the Frizzel ode, what we have here is quite
inexplicable. There are moments of sweet country plucking, wayward experimental
goop, and spotty sloppy jams. Running throughout is a bluegrassy polka beat
and some bizarre no punches pulled pot shots at Jesse Helms. Impeccable
guesting from the likes of The Legendary Stardust Cowboy, Lol Coxhill, and
the rhythm sections of defunct bands The Violent Femmes and Camper Van
Beethoven, make this somewhat of a supersession, that miraculously gels with
repeated listens (or drinks). Billed as a C&W Opera, this record will no
doubt rattle more than a few brain cells out there.



CHRISTIAN DEATH: Only Theatre Of Pain (Frontier/Epitaph)
Reviewed by DJ Johnson

Rikk Agnew was a blue-jeaned punk one day, and a makeup-wearing hairspray
fiend the next.  Well, it seemed like it, anyway.  From The Adolescents to
Christian Death in the blink of an eye.  I love The Adolescents, and that
made it hard for me to like Christian Death when this album came out in
1982.  Well, I've grown up.  Now I can see that this stuff is moody, dark,
twisted, mysterious... everything you want from a goth band.  The ones I
begrudgingly enjoyed back then are here: "Burnt Offerings" hasn't lost its
impact 15 years later, and "Stairs: Uncertain Journey" still sounds like my
worst Exorcist inspired nightmares.  This time around, I caught on to the
killer mind trippers like "Prayer" and "Desperate Hell" that are more like
field recordings from the pits of Hades than song structures.  There isn't
much 80s metal that still sounds heavy.  This does.



DEBUSSY: Preludes: Books I and II; Estampes; Two Arabesques;
Reverie; Masques; Isle of Joy; D’un cahier d’esquisses; Morceau
de concours; Danse bohemienne; Nocturne; Images; Pour le piano.
Jean-Yves Thibaudet, Piano. LONDON  452 022-2 (Two discs)
[DDD] 78:39; 78:39.

Reviewed by Robert Cummings

Here are two well filled, sensitively rendered discs, the first volume in a
complete traversal of Debussy’s solo piano music. Robert Casadesus and Paul
Jacobs have traveled this highway with acclaim, and Thibaudet makes his mark
here now to impressive effect, as well. While his The Engulfed Cathedral may
be a bit stiff and slow, his Arabesques sparkle, and most of the preludes are
interpreted with insight and technical adroitness. London provides marvelous
close-up sonics, not at odds with Debussy’s idiom as some would claim. You
get a third disc here, too, featuring Thibaudet discussing Debussy in four
languages. A rewarding effort.



COBRA VERDE/LEAVING TRAIN: Split single (Get Hip)
Reviewed by DJ Johnson

Cleveland's Cobre Verde turns in a darkly disturbing reading of The Easybeats'
"For My Woman," bringing out a Stones-On-Nyquil kind of psychedelia I never
would have expected.  Very cool.  The flipside of this splitter features
Leaving Train's cover of Third Bardo's "Five Years Ahead Of My Time."  Lazy
Cowgirls drummer Allan Clark rocks VERY hard throughout this psych treatment
that is so gone it even outpsyches the Cobre Verde track on the other side.
If you're into mind trips, climb aboard.  (Get Hip Recordings: PO Box 666,
Canonsburg, PA, 15317. (412) 231-4766.)



RICHARD DANGEL: New Evidence (Suspicious Records)
Reviewed by John Sekerka

Hard to imagine that Richard Dangel was a fiery rock guitarist fronting a
crack band that played for hysteric teenagers. That was thirty years ago
with the Wailers, a hot group duking it out with The Sonics for bragging
rights to the American Northwest. Now Dangel dabbles in cool modern jazz
circles, laying down sweet and smooth licks as if "Louie Louie" never
happened. Basically a solo guitar record, with the odd blast from the horn
section, New evidence flows effortlessly as Dangel creates his own fusion
sound: a little bit rock, a dash of blues and some solid jazz. Dangel shows
off his impeccable technique, especially on several blues-tinged numbers
like "In a Certain Mood" and "Same Old Blues." For most of the disc, the
guitar is in check, seldom deviating from a well traveled straight course,
but Dangel lets it fly during "Time Takes Time," showing that he can still
let loose when the time is right.  They say Jimi Hendrix used to crowd the
stage to watch Dangel play in the glory days. It's a wonder such a well
respected musician has managed to stay in obscure shadows for so long.




DONALD FRASER: Mozart TV (Delos 3222)
Reviewed by Paul Remington

Mozart fans will surely be reaching for tomatoes with this one. If you don't
have a sense of humor and appreciation for stale arrangements intended to be
consumed strictly as entertainment, stay away from this release. Touted to
be common TV themes in the style of Mozart, this disk takes us through the
most nauseating collection of material, loosely based on the compositional
style of Mozart--loosely, I state. I do question whether Mozart would ever
approach these pieces in the same way the arranger of these ditties has.
Donald Fraser is the one to cast your tomatoes. Imagine yourself enjoying
short arrangements of the theme to M*A*S*H, Bewitched, Green Acres, Cheers,
The Mary Tyler Moore Show, Star Trek: Voyager, The Brady Bunch, Taxi, Friends,
Mr. Ed, and a stomach-turning rendition of the theme to Jeopardy featuring a
ridiculous introduction on harpsichord. And this sells? To be fair, the
performance is very good, and the recording is first rate. A daunting 60
minutes in length, it feels more like I've sat through a performance of the
Ice Capades. Let's hope this isn't a trend about to explode.



FUNK INC.: Urban Renewal (Prestige/Fantasy)
Reviewed by DJ Johnson

Bobby Watley still lays down smooth blankets of Hammond B3 sound.  Twenty
some years after packing it in, Funk Inc. rises again.  Their music leans
more toward jazz and blues than funk, led by Watley's cool touch and the
dreamy understated sax work of Teddy Patterson.  I suspect there could be
some crossover here as well, if the lounge crowd gets wind of it.  Tracks
like "Sneaky" and "Memphis Underground" have just enough swankiness.  More
likely, however, Funk Inc. will find its new audience among the light jazz
aficionados.  And that's a genre that could use a good soul infusion right
about now.



HANDEL: Arias and Instrumental Music from the Operas Alcina,
Julius Caesar, and Rinaldo. Graham Pushee, Countertenor;
Australian Brandenburg Orchestra (on period instruments); Paul
Dyer, Artistic Director. ABC CLASSICS  8.770014 [DDD] 65:35
Reviewed by Robert Cummings

Handel and Baroque opera fanciers should find this disc quite attractive.
Graham Pushee, a singer unfamiliar to me, sings with intelligence and
feeling, and is well supported by these Australian players. Bramo di
trionfar (track 2) is sung with both ebullience and grace, while Mi
lusinga il dolce affetto (track 4) is delivered with tenderness and
affecting simplicity. For vocal fireworks try Venti turbini (track 14),
where Pushee  displays an impressive technique and control. He deserves
to be better known, but is clearly hampered by the limitations of
countertenor repertory. Texts are provided, the notes are informative,
and the sound is excellent.



THE HECTICS: 4 song 7-inch EP (360 Twist)
Reviewed by DJ Johnson

Four high-voltage garage tunes from Anika, Juli and Dan.  The second track
on side one, "Dance With Me," is hard magic and is clearly worth the price
of the record all by itself.  The other three songs range from fair to
filler, but... did I mention how great "Dance With Me" is?!  It is.  The
white vinyl doesn't displease me, either! (360 Twist Records: PO Box 9367,
Denver, CO 80209, USA. (303) 715-1858.)



HOOSEGOW: Mighty  (Homestead)
Reviewed by John Sekerka

Recording in the traditional vocal and guitar blues style, Hoosegow pits the
sultry smooth voice of Queen Esther with the string bending bottleneck work
of Elliott Sharp. A stunning contemporary piece of work that owes much to
the past while keeping quite fresh. Only Cassandra Wilson is tackling
innovative music as this.



THE IN-SECT: Outside Her/That's Your Problem (Drink 'N' Drive)
Reviewed by The Platterpuss

The sleeve is designed to resemble the first Beau Brummels album and, while
I might not have automatically made that connection on my own, there are
some similarities especially on the A-side in the overall folk-rock feel in
general, and the moody vocal harmonies in particular.  The flip is in a more
upbeat R&B vein and is a cover of an old Dutch Outsiders song. Both sides
work very well and make me anxious to hear more from these guys. (PO Box
771101, Lakewood OH 44107)



JOSEPH MOSKOWITZ: The Art Of The Cymbalom (Rounder)
Reviewed by John Sekerka

Sporadic recordings culled from as far back as 1916, this historic overview
features the maestro of the Hungarian cymbalom - a keyboardless piano
contraption and a staple of Gypsy music. Joseph Moskowitz was a transplanted
Romanian Jew (to Manhattan) who learned this 'unacceptable' (not found in
orchestras) instrument from his father. The cymbalom is difficult to master,
quite heavy and very obscure, but for ragtime Klezmer music few things sound
finer. This is the ultimate in happy feet music and makes one wish Moskowitz
was dragged into the studio on a more frequent basis.




PEARL SCHWARTZ: 3 song 7-inch EP (1+2)
Reviewed by DJ Johnson

Well!  I NEVER!!!  I listened to this record four times... FOUR TIMES!
Loving every second, every pounding drum, every unintelligible utterance,
every wall-of-guitar sound blast and every ripping bass note before I ever
read the back cover.  On that back cover are the words to "Teenage Bitch."
I, well, umm, you know... Does TIPPER know about this record?!  If I had
known this girl was singing about being slammed to the ground, stripped down
to just her bobbysocks and saddleshoes and given a tongue bath, well... I
don't know WHAT I would have done, but I'm pretty sure I would have done it
more than four times. (1+2 Records: Clean Nishi-shinjuku, Nishi-shinjuku
7-5-6, Shinjuku, Tokyo 160, Japan.  Distributed in America by Get Hip
Recordings, 412-231-4766)



THE SLOW SLUSHY BOYS/KRAVIN A'S: Split 45 (Larsens)
Reviewed by The Platterpuss

Although I really dug the Kravin A's album a few years ago, here they do a
rather weak and pointless version of Smokey Robinson & The Miracles' "Shop
Around" that just goes nowhere. On the flip however, the SSBs turn in a
moody garage number, "Say You Will," that I really like a whole lot as it
sounds like something off of the first Music Machine album. (116 rue du Crey,
73230 St. Alban Leysse, France)



STEEL MINERS: Let's Roll/What Can You Do (7-inch) (Get Hip)
Reviewed by DJ Johnson

Not bad, but not the best they can do.  The drumming on the flipside is so
over the top that it makes the rest of the band flail desperately to keep
up.  While that can be a great thing at times, this isn't one of those times.
Still, if you're into chaotic noise and muscle for muscle's sake, this could
turn your crank. (Get Hip Recordings: PO Box 666, Canonsburg, PA, 15317.
(412) 231-4766.)



VARIOUS ARTISTS: Totally Rewired #8 (Acid Jazz/Hollywood)
Reviewed by DJ Johnson

Semi-eclectic compilation that covers a fair chunk of stylistic ground and
visits, in the process, various genres that are commonly mislabeled as acid
jazz.  From poppy electronic (The K. Collective's "Never Stop") to hip hop
(Ace Of Club's "Everything' Going To The Beat"), there's one common thread,
and that is the moody vibe.  Which is why I keep playing it.  Also featuring
tracks by Emperor's New Clothes, Piece Of Mind, Humble Souls, D-Influence,
A Man Called Adam, Terry Callier, City Lix featuring Carol Riley, The Brand
New Heavies, and The Quiet Boys featuring Galliano.



VIVORAS: By Myself/Wonderbra Bitch (7-inch) (Get Hip)
Reviewed by DJ Johnson

Cool powerchord garage from Madrid, Spain.  Led by two former members of
Pleasure Fuckers, Vivoras have the power and the attitude to please the
US and British punk crowds.  "By Myself" is fine, but the flip, "Wonderbra
Bitch," is definitely the most fun.  The buzzsaw bass and the bandsaw guitar
just tear the hell out of the track while Norah delivers amusing and cynical
lyrics.  A very cool 7-incher for your collection. (Get Hip Recordings: PO Box
666, Canonsburg, PA, 15317. (412) 231-4766.)


-------------------------------------------------------------------------

BETWEEN ZERO & ONE
By Steven Leith


I VANT TO BE ACLONE

I for one think cloning is a great idea.  I realize that it is a long
way off.  The media hype not withstanding, recent cloning experiments
were feeble attempts compared with what needs to be done.  I just hope
we don't have to wait too long.  The power for good that can come from
cloning technology is staggering.

Just think what it can do for endangered species.  For example you could
clone the last remaining honest politician.  Future generations would
get the chance to see what an honest politician was like.  But we better
hurry, we are running out of time on this one.

Cloning could create new businesses.  Having a party?  Don't settle for
an Elvis impersonator.  Hire the real Elvis to drop in and eat all your
twinkies and drink all your liquor.

There is a dark side.  Marriage will continue its slide toward
redundancy.  Why get married if all you need to do is scrape some skin
off and go to the lab for a baby you?

Law enforcement will have to find a new way to identify people, since
clones will have the same finger prints and genetic codes.  The right to
life crowd will have to figure out if that toenail clipping has a right
to life and should be cloned.

We could force generals to clone themselves so entire armies are made up
of just a few career grunts.  We could force murderers to pay for the
cloning of their victims, who would then become their personal prison
guards.  I could have a clone write my columns when I get too busy with
life.  The good ideas are endless.

Next time someone worries out loud about the dangers of cloning just
remind them that a clone is just another word for identical twin.
Everybody likes twins and triplets and quadruplets, and so why not
clones?


---------------------------------------------------------------------------

PHIL'S GARAGE
By Phil Dirt

SURF AT THE FRINGES

Imagine a debate between conservatives and liberals where the liberal
argues for conserving the past and the conservative argues for natural
evolution. This is exactly what is afoot today. This nastiest of all
polarizing conflicts exposes the curious underbelly of supporters and
foes on both sides. It is often exemplified by emotional and
contradictory positions, inflated rhetoric, and in some cases, extreme
actions. Case in point, Surf retro versus envelope pushing.

History plays a big part in this tension, both because of it and despite
it. When Surf first emerged, it was just instrumental rock n roll. It
was surfers that first were drawn to the new variant, and they did what
they still do... dub any music they like as Surf Music. The fledgling
genre was practiced almost exclusively by non-surfers, and it was a
living evolving idiom, fast becoming a genre. Within the first few years
of its life, it went from the dry delicate guitar interplay of the
Belairs through the heavy handed staccato style of Dick Dale on to the
damped reverb sound of the Chantays and finally merged with space, Latin
jazz and Mariachi via the Nocturnes and others. Surf was clearly on an
evolutionary path. Its near-complete disappearance at the hands of the
British Invasion stop that evolution cold in its tracks. For the next
twenty-plus years, Surf was a frozen form, worshipped as an historical
treasure to be preserved intact.

Indeed, for the first ten years of the Surf Revival, the primary
practitioners were purists. From the inauspicious launch from John
Blair's living room with his seminal Jon & the Nightriders and the Surf
Raiders, through the eighties with bands like the Shockwaves, few pushed
the envelope successfully. When they did, they were viewed suspiciously.
Notable exceptions were the Insect Surfers with their desert sounds and
twin lead duels, the Mallards with their edgy effected guitar, and the
Thrusters with their Sex Pistols approach to Hendrix at the Wedge. This
was augmented by the inclusion of some Surf classics in the sets of
non-Surf bands fronted by surfers, like Agent Orange and the Radio
Birdman.

As the eighties came to an end, the genre restarted its evolution.
Quietly at first, almost unnoticed, the new life began to drift from the
traditional sounds and instruments towards infusions of jazz, psych,
garage, punk, pop, techno, and more.

In 1988, Jim Thomas breathed the first life into the Mermen with a
back-room recording of some tunes he had just written inspired by Dick
Dale and others. Others would follow, bringing in many influences and
ideas previously unknown in Surf. If you listen to the new young
purists, you'd think this was sacrilege, but notice the vintage artists
on this brief influences and elements list:

Surf and...
Captain Beefheart: Reventlos
Country: Dave Myers & the Surftones, Junior Brown
Folk Rock: Van Slyke, Fairport Convention
Frank Zappa: Pollo Del Mar
Jazz: GT Stringer, Jim Waller & the Deltas
Lounge: Four Piece Suit, Astronauts
Mariachi: Dave Myers & the Surftones, Nocturnes, GT Stringer
Metal: Thrusters, Reventlos
Psychedelic: Mermen, Vibrasonic, Yeah Yeah Noh, Index, Iron Butterfly,
Aqua Velvets
Punk: Agent Orange, Squid Vicious
Punk: Torpedoes, Thrusters, and Chachi, Boba Fett & the Wookie
Rockabilly: Reventlos, Cadillac Angels, Buzzy Frets & his Surfabilly
Orchestra, Snake-Out, Johnny Waleen
Ska: the Halibuts, the Fender Four, Bad Manners
Southwest Desert: Insect Surfers, Pollo Del Mar
Space: Nocturnes, Vibrasonic
Spaghetti Western: Death Valley, Insect Surfers, Aqua Velvets

It is ironic that the folks who want to preserve surf in a sort of living
museum, who are so vehemently opposed to bringing in influence such as
psychedelia and jazz, are protecting a genre that was full of these very
influences. Psych was already creeping in before it even had a name, and
it was a foundation part of the sound of Iron Butterfly. Numerous of the
West Coast surf bands in the mid sixties were influenced heavily by West
Coast jazz, lounge, and Latin, and took those sounds with them into garage
and psych bands like the Index. There is not a more clear an example of a
song on the cusp than Johnny Walleens "Mystery Train" with its Pipeline
guitar and pure Rockabilly vocal style.

Imagine explaining to an alien that yesterday's evolution is pure and
today's is pollution, that change must stop to protect life, which is,
at its root, change.

Hell, its arguable that one of the first rock songs named specifically
for a drug was "L.S.D. 25," the B-side of the Gamblers' "Moon Dawg."

It is the very revitalization of Surf Music via the new evolution that
has brought it back to life. The bands with the buzz are the bands at
the edges, with the exception of the lo-fi or vinyl worshippers, who are
at odds with this.

This is where it gets really funny, because the alternative people seem
to be the ones shunning the alternative to yesterdays sound. What's
stranger yet is that the holy war is one sided. The retro folks seem to
attack everyone else at every turn, sure the war is to the death, while
the new Surf crowd hardly seems to notice, loving the traditional sounds
just as much as the bleeding edge sounds.

This is, of course, the story of all life, and of social and technological
change. Curious!


---------------------------------------------------------------------------


STUFF I NOTICED
By DJ Johnson

WARNING: CONTENTS UNDER PRESSURE. MAY EXPLODE WITHOUT PROPER VENTILATION.

This'll kill ya.  Well, anyway, it nearly did me.  In the last issue, we
interviewed David Diamond, an outstanding classical composer with a life
story that made for fascinating reading.  Paul Remington did a fantastic
job in both preparing for and carrying out the interview.  It was a good
read.  Cosmik's policy of covering all forms of music with an eye toward
the best each genre has to offer... well, it comes with a question mark.
When we do our first reggae interview, will our readers shrug and skip to
the punk interview instead?  David Diamond was our first pure classical
interview, and to my surprise, that interview generated more e-mail than
any other feature in Cosmik's brief history.  Are you impressed?  Wait.

The first message simply said "you sure don't know your English Lit, do
you?"  Within hours, there were many similar messages, though most of them
were much clearer.  It seems that when Diamond mentioned his close friend,
E.E. Cummings, we printed it as E.E. Cummings.  Outraged Cummings fans
were all too anxious to point out that Cummings always used all lower case.
Embarrassed, I used a text editor to globally change all occurrences of E.E.
Cummings to e.e. cummings.

The second salvo slammed into the beachhead at approximately noon the
following day.  "No, you idiot!  There are no periods!  It's simply ee
cummings!"  Could this be?  Could the first group of anal retentives have
missed such an important detail?  Was this second group that much more
retentive?  Soon, I received messages from an e-mail list, to which I
subscribe, claiming it was "e.e. cummings."  "Why would he do that," I asked?
"Why would he intentionally belittle himself by claiming he didn't rate
capitalization?"  The answers I received were wildly inconsistent.  They
broke down more or less into the following categories:

 * The author's greatness transcended the petty symbolism of upper case.

 * The author saw himself as a very small spark in the celestial fireworks
   show.

 * The author felt capitalization was a grandiose gesture on an intellectual
   par with	accessorizing a tuxedo with a belt that sports the wearer's name
   on the buckle.

 * The author was odd.

By 11pm on February 7th, 48 hours after the issue came out, I had changed
the Diamond piece four times.  At that point, it was resting comfortably
with "e.e. cummings" installed as the winner.  Now, there's something else
you need to know in order for this story to make sense.  I go through a sort
of hell on Earth from the 1st through the 5th of every month as I put Cosmik
Debris together, HTML it, troubleshoot it, and finally get it out onto the
Net.  I have a self-imposed deadline (11:59pm on the 6th of each month) and
I give myself hell if I miss it.  Once an issue is online, I never want to
see it again.  At least for a while.  The LAST thing I want to do is spend
days and days editing and re-editing a piece because of something like this!
I become grumpy and difficult to be around.  I've been told I can get a bit
scary, too.  That being said, let's move forward in our story.

I received e-mail from someone who had done his thesis on eE.eE. cCummings.
I was assured that the proper way to write the name was "e e cummings."  I
asked why he had chosen that, and he dipped into his vat of knowledge and
said "I don't know.  Who cares?  It's the way he wanted it."  I blinked at
the screen four or five times just to make sure I was seeing spaces between
the e's, and then I asked him the big question.  "Am I seeing spaces between
the e's?"  I received his reply within three minutes of sending the question.
"Yes, there are spaces, but no periods."  Shortly thereafter, yet another
version of the David Diamond interview was in place.  I remember breaking
pencils over and over until they were just sawdust on my office floor.

More letters poured in.  I began to chew my nails and swear at my cats.  More
letters arrived, and then some people wrote some more letters.  God, I hate
eE.E.e cCuUmMMmIiNnGgSs!  I hate the pretentious shit for doing this to me!
Was this his sick twisted way of ensuring that he would be talked about for
generations to come?  I DON'T CARE!  End of story.

Except that it wasn't.  By this point, the e-mail was broken up into a pile
from people who didn't care, a pile from people who cared but not enough to
involve themselves to the point of actually researching it for me, and a pile
from people who were sure I was gonna be Hitler's roommate in hell for this
unconscionable act of sacrilege.  I whined, spat, moaned and bitched, and
Paul Remington--ever the practical one--decided to ask David Diamond, who,
after all, was eEEEeieio cCKkCuuhhMMings good friend. After Paul explained
the situation, he asked Diamond to put the issue to rest once and for all.
"This is unfortunate," the 81 year old composer opined.  "In the 1930s, a
publisher published a group of his poems.  In these poems, Cummings flippedly
spelled his name in lowercase by accident."  "MUH ATHIDUNTH??," I now exclaim
as I chew my tongue into a bloody pulp.  "The publisher assumed this is
how Cummings wanted his name spelled," continued Diamond, "and today, pockets
of writers document his name improperly, mostly due to poor research on the
part of the writer.  Every letter I have from Cummings has his signature
spelled with two upper-case E's, with the last name in initial caps."

You know how writers and readers are: they'll refuse to buy that.  They'll
need more.  Diamond obliged.  "An article, entitled "Spring," was written on
this very subject," he continued, "discussing how E.E. Cummings name should
be spelled.  It's in the Julliard library.  The article was written by Norman
Freedman, who was very close with E.E. Cummings, as was I.  In this article,
he recounts what I also experienced, and that's Cumming's frustration towards
the continual misspelling of his name.  The article was sponsored by the E.E.
Cummings Society."

I needed one more for the bottom-liners.  "In short," said Diamond, "Cumming's
name should ALWAYS be spelled in initial caps, never in lowercase.  Not only
is it correct, but it is how he wanted it to be spelled."

I quickly wrote this column--up to this point, of course--and then loaded my
e-mail program, hitting "check new mail" every five seconds for a good three
or four hours, waiting for the next anal retentive E.E. Cummings complaint.
I was now armed and knowledgeable, and I was spoiling for a fight.  Finally,
a message popped into my mailbox with the header "You goofed."  I nearly
passed out from the adrenaline rush as I loaded his message.  "You obviously
didn't do your research," the letter said, "or you would know 'Circle Sky'
wasn't a brand new Monkees tune."


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             Random stuff for your entertainment.  Happy scrolling!


						Edited by Louise Johnson


A Portrait of the Poet as a Young Dog Wrestling With Angels

Some glad morning when this life is o'er
I'll Fly away
To my home on God's celestial shore
I'll fly away
I'll fly away Oh Glory
I'll fly away
When I die Hallelujah bye and bye
I'll fly away

as a child I was discovered by deerhunter Thanksgiving morn
in midst of worst blizzard to ever hit
western Kentucky wilderness
sucking the milk I was
of wild dog Bitch mother
while pack she led looked on
deerhunter man fired shotgun
both barrels blowing her head clear of body
and I've been wrestling with angels ever since

how is it that some people always seem to know
from where it was they started
and where they're gonna go
I have never been that sure
I can never get a hard fix on my life before
my mom's head was blown off
me lying there sucking til the breast run dry
not even realizing til I started crawling around
that something surely must be wrong
that something surely must be wrong
when I recognized her eyes staring deep into mine
her head about four feet away
from where I once again nestled her dry breast
attempting one last time to draw milk from where it wasn't
the pack long gone
so by the time I put two and two together I
alone
was wrestling with a stranger the deerhunter
and I've been wrestling with angels ever since

Some glad morning when this life is o'er
I'll Fly away
To my home on God's celestial shore
I'll fly away
I'll fly away Oh Glory
I'll fly away
When I die Hallelujah bye and bye
I'll fly away

12/31/96
copyright 1996 Ron Whitehead
RWhiteBone@worldnet.att.net


***


Reaching the end of a job interview, the Human Resources Person asked the
young programmer, "And what starting salary were you looking for?"

The programmer said, "In the neighborhood of $75,000 a year, depending on
the benefit's package."

The HR Person said, "Well, what would you say to a package of 5-weeks
vacation, 14 paid holidays, full medical and dental, company matching
retirement fund to 50% of salary, and a company car leased every 2 years -
say, a red Corvette?"

The programmer sat up straight and said, "Wow!!!  Are you kidding?"

And the HR Person said, "Certainly, ...but you started it."


***


LOUIS SARNO:
Bayaka - The Extraordinary Music Of The Babenzele Pygmies

[CD & BOOK]
(Ellipses Arts)
Reviewed by John Sekerka

Similar to the Baka Beyond project of two years past, this documentary
package captures a magical moment frozen in time: the daily routine of the
Bayaka and their music. The Babenzele is the easternmost clan of Aka, who
reside between the Ubangi and Sangha rivers. This is Congo, Cameroon, Gabon
and Central Africa territory. Outside of a few visiting Brits with recorders,
the pygmies have resided pretty much in isolation, not affected by the
industrial influence from the rest of the world. They've lived as they've
always lived, simple, prosperous and happy. They also make beautiful,
natural music which is a part of their lives. All that is changing as the
outside world creeps in, and that is the crux of this book by Louis Sarno.
The music remains their link to the past. It is not taught. It doesn't have
to be. The Bayaka grow up singing, playing and dancing. Sarno takes us
through their lives National Geographic style, as he joins their ranks. The
text is quite interesting and the accompanying CD acts as a superb soundtrack.
Very nice.


***


The Goodtimes Virus will re-write your hard drive. Not only that, but
it will scramble any disks that are even close to your computer. It will
recalibrate your refrigerator's coolness setting so all your ice cream goes
melty. It will demagnetize the strips on all your credit cards, screw up
the tracking on your television and use subspace field harmonics to
scratch any CD's you try to play.

It will give your ex-girlfriend your new phone number. It will mix Kool-aid
into your fishtank. It will drink all your beer and leave its socks out on
the coffee table when there's company coming over. It will put a dead kitten
in the back pocket of your good suit pants and hide your car keys when you
are late for work.

Goodtimes will make you fall in love with a penguin. It will give you
nightmares about circus midgets. It will pour sugar in your gas tank and
shave off both your eyebrows while dating your current girlfriend behind
your back and billing the dinner and hotel room to your Visa card.

It moves your car randomly around parking lots so you can't find it.  It
will kick your dog. It will leave libidinous messages on your boss's voice
mail in your voice! It is insidious and subtle. It is dangerous and
terrifying to behold. It is also a rather interesting shade of mauve.

Goodtimes will give you Dutch Elm disease. It will leave the toilet seat
up. It will make a batch of Methamphetamine in your bathtub and then leave
bacon cooking on the stove while it goes out to chase gradeschoolers with
your new snowblower.

Goodtimes will tie up your phone for hours getting to know the person
behind 900-horoscopes. Goodtimes will eat all your birdseed and blame it
on squirrels. Goodtimes will steal your dishes and return them, crusted
with the  remains of Ben & Jerry's Cherry Garcia icecream, overflowing
in your sink.

Goodtimes will deliver your e-mail into the claws of your ex-girl-friend.
Goodtimes will download pornography to your hard disk.  Goodtimes will
reprogram your VCR to tape Barney.  Goodtimes will make changes to your
autoexec.bat file that will run on the first Tuesday after a Monday in a
leap year.

Goodtimes will ruin stories that your wife is telling by blurting out the
punchline. Goodtimes will follow you around a busy downtown area until
you find a parking spot, and just as you pull ahead of it to parallel
park it will dart in behind you, park crookedly and walk off down the
street pretending it doesn't hear you yelling obscenities at it.

Goodtimes will pull the bookmarks out of your bedside reading. Goodtimes
will ring your doorbell and ask you to consider its religion just as you
are arguing on the phone with the pest control people and the rice is just
starting to burn on the stove. Goodtimes will leave your gas cap on top
of the pump. Goodtimes won't shut the faucet all the way of so it drips all
night. Goodtimes will cancel your doctor's appointment.

Goodtimes will leave stuff indistinguishable from cat vomit on the
carpet.  Goodtimes will change the format of your favorite radio station
to something you don't like. Goodtimes will set your sundials an hour slow.

You've been warned!!!


***


ANSWERING MACHINE

My answering machine won't go away
Ubiquitous, it haunts my dreams
As the latest in a long line
Of urban mythological archetypes

I obsess over the greeting
I obsess over the messages
I obsess over the dial tones
Music that makes the tape rewind

What if it grows of its own accord
The software taking on an elegant sort of
Silicon Spirituality
And like some high tech frontal lobe slam dance
It srouts modems
Cameras
Faxes
Cable TV
Satellite Dishes
All to make sure
I got the divine wind
Of the universe

Maybe then it would solve all my problems
Tell me when to bathe
Who to date
What investments to make
What's wrong with me, spiritually, when I have a fever

My answering machine keeps me awake with its silence
And I listen...

Jesus on the line?
Buddha on the line?

A telephone exists in time
An answering machine defies time

My answering machine is my guru
Connecting my consciousness and unconsciousness
Leaving a symbol of transformation
At the tone

This channel has the answer
This channel may be my only hope
This channel explains why I'm too scared
To answer the phone
This channel could very well contain
The All Knowing Disembodied Voice of Wisdom
That guides my actions
Sitting at the very Throne of my Being
Chanting the Mantra of my Soul...

Provided I don't erase the message by mistake.

Copyright (c) Paul McDonald 1996
All Rights Reserved
Paul@louisville.lib.ky.us


***


THE ALL MUSIC BOOKS
Reviewed by DJ Johnson

There's a bit of confusion over these two titles, The All Music Book of Hit
Albums and The All Music Book of Hit Singles.  They are not part of the All
Music Guide series, nor do they have any connection to those books in any
way, save one: they share the same publisher, Miller Freeman.  Now that the
confusion is put aside, let's take a look at these books on their own merit.

The album book presents top ten album charts for each month between January,
1960 and December, 1994.  The more recently updated singles book covers the
top twenty for each month between January of 1954 through March of 1996.
Billboard Magazine (US) and Record Retailer (UK) provided the chart info for
both books, with early singles information coming from New Musical Express.

What's fun about all this?  How come it's so easy to lose yourself in books
like these, even if you're somewhat disgusted with the whole concept of easily
manipulated record charts?*  It's a blast from the past.  Albums and songs
you've long forgotten flash before you eyes, along with memories of what
was going on in your life when they were hits.  Just as a certain song can
take you back to a moment in time, a list of twenty of the songs you heard
day in and day out can bring memories of entire phases of your life.  This
phenomenon is helped along a great deal by the side-bar anecdotes about the
happenings of each month in pop music history.

From a researcher's perspective, both books pass the usefulness test.
Besides chart positions, there are indications for number of weeks in the
top twenty (or ten, for album charts), top position on the other chart (UK
or US), previous month's position, record label, gold or platinum sales
status, and whether or not it was the artist's first time on the charts.

In the few weeks I've had access to these books, they've come in handy a
few times when I was researching for reviews, and I expect they will be
valuable tools for some time to come, but I consider that it's secondary
charm.  Statistics are nice, but there's nothing like curling up with books
like these and remembering the good ol' days.

(*For an interesting description of chart manipulation, see the interview
with Pete Shelley [Buzzcocks] in the March 1996 issue of Cosmik Debris.)


***


A man was wandering in the woods pondering all the questions of life,
universe, and his own personal problems.  The man could not find any
answers so he sought help from God.

"God!?  God?!  Are you there God?!", he shouted.

God responded, "What is it my son?"

"I have a few questions, mind if I ask?"

"Go right ahead, my son...anything," God said.

"God, what is a million years to you?"

God said, "A million years to me is only a second."

"Hmmm," he wondered.  Then he asked again, "God, what is a million
dollars worth to you?"

God said, "A million dollars to me is only worth a penny."

The man lift his eyebrows and proceeded to ask a final question. "God
can I have a penny?"

And God cheerfully said, "Sure!!.....in a second."


***


ALL NIGHTER AT DEPARTMENTAL DORM

an empty room;
I am my only companion
except for these dead men in the trees.

A jagged shard of light
broken through a torn shade
is smothered by a band of dust--
diminutive angels hovering in a hot cross current;
is that what heaven is?
Are these the dead men in the trees?

The leaves of the books turn;
I look up, stretch and ask
where are my signless crossroads,
the points of no return
that cast my die;
how am I facing
a dim light on a blank wall
staring at these dead men in the trees.

The rusted heater at my feet groans and stamps
like an impatient horse,
tied at a post, wanting to run through the grass,
ignoring these dead men in the trees.

What is the light in these words;
dull twists of a flat blade;
why did I not see sparks
showering from the black anvil,
or the fine flaws in the metal
as it was being forged;
who now mocks whom,
these dead men in the trees.

Outside there is no sound
but the clinking of the emptied bottles and cans
from the sleepers of the street
collecting breakfast change in their plastic homes;
uncaring for the revelry
that produced their meal;
a revelry that did not invite me;
I was being introduced
to the dead men in the trees.

Copyright (c) David E. Cowen 1995
All Rights Reserved
Ripford@aol.com
http://members.aol.com/ripford/homepage/cowen.htm


***


ACTUAL NEWSPAPER HEADLINES

1.  Something Went Wrong in Jet Crash, Expert Says

2.  Police Begin Campaign to Run Down Jaywalkers

3.  Safety Experts Say School Bus Passengers Should Be Belted

4.  Drunk Gets Nine Months in Violin Case

5.  Survivor of Siamese Twins Joins Parents

6.  Farmer Bill Dies in House

7.  Iraqi Head Seeks Arms

8.  Is There a Ring of Debris around Uranus?

9.  Stud Tires Out

10. Prostitutes Appeal to Pope


***

THE LOST HIGHWAY

David Lynch
Bill Pullman, Patricia Arquette, Balthazar Getty
volume extremities mixed tape rock
reviewed by John Sekerka

Folks seem to be at opposite ends on this one, and that alone should make
it a worthy see. Here's my two cents. As far as I can see, David Lynch has
become infatuated with abstract painting (his other hobby) and tries
valiantly to paint on screen. Lost Highway  is a moody mess in which the
plot twists itself into a pretzel. Bill Pullman is transposed into a young
garage mechanic. Patricia Arquette gets a hair job and comes back to life.
Robert Blake, in creepy mime/Nosferatu make-up, calls himself up on the
phone. Or maybe not. We're never really sure if we're watching real time or
dream time. Suffice to say, the movie looks and sounds great, after all it
is Lynch behind the wheel. Though some of the shadow might scenes are so
real ya can't see much of anything, a point well made. I was trying hard to
follow the story line, but gave up about halfway through, and then started
to enjoy the movie. I don't think Lynch wants us to play sleuth, he just
wants to present a series of events, fuck with our minds for a couple hours,
and then maybe, see us in our nightmares. Lost Highway  is very much a dream
sequence movie where nothing can be taken at face value. Then again, I could
be way off base, and maybe Lynch is trying to say something vital and
earth-shattering. In that case, he lost me completely.



---------------------------------------------------------------------------

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