]]]]]]]] ]]]]]]] ]]]]]]] ]] ]] ]]]]]]]] ]] ]] ]] ] ]] ]] ]] ] ]]] ]]] ]] ]] ]] ]] ]] ]] ]] ]] ] ] ]] ]] ]] ]] ]] ]] ]] ]]]] ]] ] ]] ]] ]]]]] ]] ]] ]] ]]] ]] ]] ]] ]] ]] ]] ] ]] ]] ] ]] ]] ]] ]] ]] ]] ]]]]]]]] ]]]]]]] ]]]]]] ]] ]] ]]]]]]]] ]] ]] ]]]]]]]] ]]]]]]]] ]]]]]]] ]]]]]] ]]]]]]]] ]]]]]]] ]] ]] ]] ]] ]] ]] ]] ]] ]] ] ]] ]] ]] ]] ]] ]] ]] ]] ]] ]] ]] ]]]]]] ]]] ]] ]]]]]] ]] ]]]] ]] ]] ]] ]] ]] ]] ]] ]] ]]] ]] ]] ]] ]] ]] ]] ]] ]] ] ]] ]]]]]]]] ]]]]]]]] ]]]]]]] ]] ]] ]]]]]]]] ]]]]]] I S S U E # 25 : J U N E 1 9 9 7 S E C O N D A N N I V E R S A R Y I S S U E ____________________________________________________________________________ - The Specialists - DJ Johnson.................Editor Wayne Burke................HTML coLeSLaw...................Graphic Artist Lauren Marshall............Administrative Assistant Louise Johnson.............Administrative Assistant Sarah Sterley..............Research Assistant - The Cosmik Writers - Ann Arbor, coLeSLAw, Robert Cummings, Shaun Dale, Phil Dirt, Keith Gillard, DJ Johnson, Louise Johnson, Steven Leith, Steve Marshall, Rusty Pipes, Paul Remington, John Sekerka and David Walley. ___________________________________________________________________________ T A B L E O F C O N T E N T S SOUND CLIPS: A listing of the sound clips available at the Cosmik Debris website at http://www.cosmik.com/cosmikdebris. EDITOR'S NOTES: A quick guide to this issue. WAYNE KRAMER - STILL DOIN' THE WORK: His life story would make a hell of a movie, but... who'd believe it? From his exploits with the seminal punk band The MC5 to his legendary inner struggles, there were plenty of chances for Mr. Kramer to go supernova. Today, however, he's far from burned out. Shaun Dale talked to Wayne as he was preparing to hit the road in support of his brand new album, Citizen Wayne. ANOTHER YEAR OF COSMIK CONVERSATIONS: As is our tradition, we celebrate our 2nd birthday by looking back at the interviews we did in the last year. 49 of them! Don't look for logical connections. Just go with the flow. CALL FOR THE SWINGSET POLICE: They may not like the term "power pop," but the brothers Braam make music that fits the description to a tee. As they prepare for their second album, Scott Braam took a break for this chat with DJ Johnson. THE FUTURE SOUNDS OF PARIS: What is that sound coming from Paris? Ann Arbor takes you on a quick tour of the City of Lights, where Daft Punk isn't the ONLY thing happening. ULTIMATELY BIRD: 42 years after his tragically premature death, Charlie "Yardbird" Parker remains one of the most intriguing figures in jazz history. Shaun Dale traces Bird's career and takes a close look (and listen) to a new 2-CD box of some of his most important musical contributions. TAPE HISS (John Sekerka): This month, John didn't get to do any interviews. Why? Because he was freezing his ass off on a glacier. Why? Well... read his diary and find out. RECORD REVIEWS: Bunches of stuff! Genre soup! And more of it than we've ever served before. BETWEEN ZERO & ONE (Steven Leith): Spam got ya down? Is your e-mail box no longer a safe haven? And is the motivation behind push media exactly what it seems, or will there be more at stake when push comes to shove? PHIL'S GARAGE (Phil Dirt): Seems like every musician has an opinion on the subject of vintage equipment. Some take it to the level of snobbery. Some take it with a grain of salt. As you will soon see, however, you should never take it at face value. WALLEY AT WITZEND (David Walley): On the anniversary of the Tienamen Square massacre, David Walley offers up a pair of fables to fit the occasion. STUFF I NOTICED (DJ Johnson): Radio, in most cities, has been dead so long that most of us can't remember the last time we anxiously tuned in to a favorite program. We hear about the rare great station here and there, but they may as well be on Mars because we don't live anywhere near them. Right? Well, you know what they say about the Internet bringing everything closer? Guess what! CLOSET PHILOSOPHY WITH RUSTY PIPES: In Rusty's first appearance, he forgot to introduce himself. This month, he backtracks a bit and tells it like he is. THE DEBRIS FIELD (Louise Johnson): June's offering of random bits of cool stuff. COSMIK CORRESPONDENCE: Some letters from our readers. WAYNE KRAMER CD GIVEAWAY/DRAWING: Enter to win a copy of Wayne Kramer's new CD, Citizen Wayne. 3 MINUTE REVOLUTION CD GIVEAWAY/DRAWING: Enter to win a copy of 3 Minute Revolution, the power pop comp from RPM Records! E-MAIL ADDRESSES OF THE COSMIK DEBRIS FOLK: And even some of our personal websites filled with evil and degradation the likes of which no one has... uh... wait. That wasn't us. ____________________________________________________________________________ SOUND CLIPS CURRENTLY AVAILABLE ON THE COSMIK WEBSITE Features - Wayne Kramer interview: 4 clips Swingset Police interview: 2 clips Charlie Parker article: 2 clips Reviews - The Heptones - "I Shall Be Released" The Looney Tunes - "Das Ergotaxion" M.C. Murph - "Go For The Snow" Frankie Paul - "A We Rule" Steve Turre - "Mingo N' McCoy" V/A: Mystery Train (Tony Rice Unit - "Old Train") Les Vice Barons - "Time Bomb" ___________________________________________________________________________ EDITOR'S NOTES By DJ Johnson Well, we made it. Cosmik Debris is officially two years old. We're marking the occasion in the same simple way we marked our first anniversary, with just one large collage made up of short pieces of every interview we did in the past year. Putting that piece together was a LOT more work than it was last year--we had 27 interviews our first year and something like 49 our second year--but it was also a lot of fun. Looking back isn't a bad thing, if it's done in moderation. We hope you enjoy that little look back in this issue. We begin year three in style. Shaun Dale's interview with former MC5 guitarist Wayne Kramer is one of our most interesting, and he is certainly one of the most historically important figures to grace Cosmik Debris. Moreover, Wayne is still making unique and powerful music. This interview took place the day before he began touring to support his new Epitaph album, Citizen Wayne. This man, as always, has a lot to say, so make sure you make some time to read that interview. You might also want to take a moment to enter your name for the CD drawing, because Epitaph and Cosmik are giving away five copies of the new CD. Elsewhere in this anniversary issue of Cosmik, you'll find Ann Arbor's report on the music scene in Paris (The Future Sound Of Paris), Shaun Dale's article about the legendary jazz saxophonist Charlie Parker, and my interview with Scott Braam of Swingset Police, a great new rock 'n' roll band from Lake Geneva, Wisconsin. What you won't find is the Tape Hiss interviews you're used to seeing. Besides being a disk jockey, a zine editor, and a valued member of the Cosmik Debris staff, John Sekerka is a glaciologist who spent the month freezing his ass off with several other cold scientists on some frozen island. That means he didn't get any interviews done. Instead, we offer his icy diary for your amusement. His interviews will be back next month. In our columns department this month, you'll find Rusty Pipes' formal introduction and hippy confessions. Phil Dirt has some information sure to interest folks on both sides of the surf equipment snobbery issue. Steven Leith shines a light on the murky issue of push media. David Walley (Walley At Witzend) offers up a pair of fables in honor of those who lost their lives in the Tianamen Square massacre, the anniversary of which was June 4th. And finally, I hope you'll take a look at my column, Stuff I Noticed, because I point you to a lot of excellent radio that's actually available on the Internet via Real Audio and Shockwave. And, of course, The Debris Field has a bunch of cool random stuff floating around in it, so go take a look. OH, and our review section is bigger than ever this month. That's about it. Enjoy, and stick with us as we start our third year. We're having fun, and we're looking forward to a lot more. DJ Johnson Editor ____________________________________________________________________________ STILL DOING THE WORK: A COSMIK CONVERSATION WITH WAYNE KRAMER Interviewed by Shaun Dale Talking to Wayne Kramer, one of the founding members of the MC5 and a significant figure in rock culture for 30 years, was a treat. It's just too bad that the written word is so inadequate in expressing the genuine warmth, humor and enthusiasm that continues to propel him toward new musical and personal horizons. Between the glory days of kicking out the jams with his Motor City homeboys and his new Epitaph release, "Citizen Wayne", Kramer collaborated with Johnny Thunders in the short lived Gang War, played with Was Not Was, and lost what he would certainly admit was too much time to dope, booze and jail. He's back, though, doing the work. With a great new album, a summer tour, and some valuable perspective on matters musical, social and political, Wayne Kramer is working hard to show us all what it means to, in his words, "live long, live strong and be creative." * * * Cosmik: I guess it's been almost 30 years ago since we first heard from the MC5, and now it's been over 25 years since there's been an MC5 and here's Wayne Kramer still kickin', still doing fresh exciting music. I want to talk about the new music, but I guess we've got to take note of the legend. Getting ready for this I ran into some posters from Grande ballroom in Detroit, which was a regular gig for the band...you guys played with everybody... Wayne: Everybody that was out there, and a lot of people that weren't touring bands, that were a little more stretched out. Some of my favorite memories are the gigs with Sun Ra and some of the more avant-garde stuff. Cosmik: That's interesting. The MC5 legend is about a phenomenal hard rock band, but you were also hanging with John Sinclair, who was coming from a different musical direction, from modern jazz... Wayne: Well, to me, it was all connected. To me it wasn't a great leap from Chuck Berry to John Coltrane. From the most intense Chuck Berry solo and the energy of that music to what Trane was doing with the sheets of sound, that was the next logical step, I reckon. Cosmik: You were probably one of the few reckoning that at the time, though those were the days when free form FM radio was a place where you could hear Chuck Berry and Sun Ra on the same station, even in adjacent cuts, and it did seem to make sense. But the business has become so much more compartmentalized now. Wayne: Oh, it's fuckin' awful now. Radio. Radio is the worst. They don't have a a clue what they're doing and they're scared to death and the greed level has everybody so nervous - they don't want to take a chance on anything. The only thing they'll play is stuff that sounds exactly like what they're playing. Which can really make trying to get your music played on the radio...it's gotten to the point now that we're not even going to mainstream radio with the record. It's a complete waste of time and energy and money.. We're gonna go, of course, to college radio and and go to the NPR style specialty shows that have a broader kind of vision, a broader sense of possibilities. Mainstream radio blows. And, you know, at the advent of FM radio in the late 60s it was exciting. You had your mainstream pop radio which was still more adventurous than radio is today, because you could hear something like the Yardbirds and then you could hear some mindless pop and now you hear just the Spice Girls and the Goo Goo Dolls. Cosmik: Yeah, that pretty much covers the range...of course there's a place for pop music... Wayne: Yeah, there's certainly more evil in the world than the Spice Girls, but I'm not sure what. (laughs) I like a great pop song as much as the next person, but the thing that really kills me is that there's room for specialty shows. I like the idea that at 6 o'clock the reggae show is going to be on and at 3:30 it's the punk rock show. They could be a little broader and more specific at the same time. But nobody asks me to program radio stations. Cosmik: We're seeing some of that develop on the Internet. As the audio quality improves, people are doing just that kind of specialty program straight over the Internet. Wayne: I just don't believe in insulting the audience's intelligence. I don't think there's anything I'm doing musically that isn't accessible. This is all good music. Cosmik: I think a lot of the bands on Epitaph are good examples. The label has a roster of smart, hard punk bands with a pop edge that are absolutely accessible. I know my kids snap them right up. But they don't hear them on the radio. It's very similar to the hip hop scene. Wayne: Yeah. Cosmik: Cause the kids who are really into hip hop and punk are listening to sounds that are never on the radio, or on TV, but they get known and get heard, and the market doesn't even know they're there. Which brings up a point. Epitaph has an image and a sound that it's pretty well known for. When I see the label, I have an idea of what I'm going to hear, but when I put on "Citizen Wayne", I didn't hear any of that. Wayne: (laughs) Well, I'm the house outer limits artist. I'm the house experimental guy, the cutting edge guy. That's my job in the sphere of it. It really speaks to Brett Gurewitz and the breadth of his vision. He's into quality. He likes good stuff. And he hears the stuff that I'm producing and he says "These are great records." The goal is to stay at the table, to put out a record every year, to tour every year. To stay on top of it. And he believes in what I'm trying to do. There've been a few great record men through the years. I think Mo Austin was one. I think Berry Gordy, for all his less than ethical business practices, was a great record man. He understood great music. Cosmik: He sure gave us some music I'd hate to live without... Wayne: Yeah. And Gurewitz kind of falls in that tradition of believing in his artists and supporting his artists. He's not trying to do everything for everybody. What he's doing is very specific and it includes room for Wayne Kramer, which is a pretty formidable task to undertake. I mean, realistically, we're reinventing the shit as we go along because who could imagine breaking a 49 year old anarchist guitarist? (both laugh) Cosmik: The first Epitaph album was "The Hard Stuff", and that sounded like an album by Wayne Kramer, the guy from the MC5... Wayne: Uh huh. Cosmik:...and the new album, "Citizen Wayne", is in a different space. New sounds, new approaches, are all over the album. How much of that is a result of working with David Was on this one? Wayne: Well, David was a great ally. We're homeboys and we share the same twisted musical worldview. We both love maximum rock and deep hard funk and avant-garde jazz. And we're both readers and writers and students of the world and history and we're both, you know, fairly insane. "The Hard Stuff" and "Dangerous Madness", I love both of those records, I'm very proud of them, but when it was time to make "Citizen Wayne" it was time to take a chance. It was time to grow and stretch and to make a more ambitious record. To start to bring in the many influences that I hear. At my core I'm a musician with big ears. I listen to everything and hear a lot of stuff that's going on. I thought, now it's time to go ahead and step on in there. I wanted to make a record that had harder beats and fatter guitar sounds. And I wanted to make a concept album. I wanted to talk about what it's like to have been Wayne Kramer up to this point. As an artist, part of my job is to expose myself. So I wanted to try to tell some of the story of what it was like to be in the MC5, and what it was like to go to jail, but to do it within my view and, well, not take myself too seriously, but to deal with the idea of doing this work as an adult. To do this work with meaning and passion, and to not try to be a kid. I'm not trying to be a teenager or a guy in my 20s. I'm in my middle adult period and it's fucking great. I'm better now than I was then. If you think I was good then, well look out now. I'm a better guitar player, a better songwriter, better singer, and I make better records these days. I guess what I'm saying is that our cultural icons don't have to be just Kurt Cobain and James Dean, but they can also be Pablo Picasso and Howlin' Wolf, people who worked on into their 30s and 40s and 50s and 60s. This big rock and roll lie of live fast, die young and leave a good looking corpse is bullshit. My motto is live long and live strong and stay creative. That's what keeps you alive. Cosmik: Absolutely. Do you know who Doc Cheatham is? Wayne: Oh, of course. Cosmik: Well, Doc Cheatham died today... Wayne: Oh no! Cosmik: ...and this is a cat who played with Bessie Smith and with Ma Rainey. And he never cut a record as a leader till he was in his 60s. Wayne: That's what I'm talking about. Some people come into their strength a little later in life. Cosmik: I remember a John Lennon quote from '63 or '64, when he was asked how long it would last and he said "I don't know, who'd want to listen to a 40 year old Beatle" and it turned out to be only everyone on the planet... Wayne: Well, now a great many of us have grown up with rock 'n' roll and we find you can continue to do this work with passion. Even though we are most definitely in a time of kiddie culture, of Beavis and Butthead and MTV and horseshit radio and Melrose Place, and we celebrate youth. This is still my idiom. And I'm determined to say something of meaning with it. I hope I'm speaking to the dignity of work, and the meaning of work, and the value of work. Our work is the most important thing that we do and it helps define who we are. Of course, that's part of the problem with the American promise. The shit didn't turn out quite the way they said it was going to. Big business makes more and more money every year but there seems to be less jobs. I don't care what Alan Greenspan and all the government economists say about the low unemployment rate. I don't see that out here on the ground. I see neighborhoods, huge neighborhoods in every city that I travel in, that are decimated because there's no work and people don't have a sense of possibilities. I'm trying to be a witness bearer and a truth teller. I don't think any thinking person can be an optimist, but I do think we can be prisoners of hope. Cosmik: Yeah. Last week I met Pete Seeger - one of my heroes - and he seems to have remained an optimist despite seeing everything he's worked for all his life crash to hell. But maybe it's not optimism, in the normal sense. Maybe it's that he's a prisoner of hope. If you're going to get up and do this tomorrow, there's got to be hope. Wayne: Yeah. Cosmik: Speaking of things not turning out the way they were going to, I'm reminded of two songs on "Citizen Wayne". "Revolution in Apt 29.", well, I guess all of us left over new lefties remember the 60s when we thought the revolution was happening and it kind of degraded into this white wine and revolution society that I think is brilliantly described in that song. Wayne: (laughs) Did you see Christagau's review in the Voice? I got it today. He gave "Citizen Wayne" an A-, despite, he said one problem. He said "Nobody in my Trotskyite cell would be so gauche as to serve chips with pesto." (both laugh) Cosmik: Well, he's obviously just not traveling in the right circles... Wayne: Yeah, he's with those low rent commies. I'm talking about the champagne Marxists here. Cosmik: Well, there went our revolution, and that song really got me. But the other one which really spoke to things not turning out the way we hoped, and which speaks to those work issues, is "Shining Mr. Lincoln's Shoes." Wayne: Yeah. Cosmik: That's music that needs to be made. I can't think of a better way to convey that message than music. Nobody's talking about working people and the working class anymore, it seems, except the old folkies and Wayne Kramer. Wayne: Well, there's an emphasis on the class differences in this country. You end up with the rich getting really richer and everyone else getting poorer. This concept of the working poor includes everybody who isn't rich. There's the realization that our generation isn't going to do as well as our folks did. My parents owned a home and all that in their 20s. I'm in my 40s and I still live in an apartment. Of course, I live a decidedly fringe lifestyle as a musician. It's exceedingly difficult to survive and to get ahead and to continue to do this work, but it goes across the board. I don't think it's any different for me than it is for anyone else. I look at what I spend for groceries and what I spend for the phone bill and prescriptions for the myriad things that happen to you and gasoline and repairs on my car and, you know, it's a struggle. I don't see anyone around me that isn't struggling. And in that area of the country that I come from, the rust belt, it's brutal. I go back to Detroit fairly regularly to play and I see a city where there's nothing left. They've wrenched the guts out of it and thrown it away and that goes for that whole area. Big business saw a way to cross out the unions and they took the business elsewhere, along with the basic concept of an honest day's pay for an honest day's work. Cosmik: And those are the same people who want to talk about values and why wives don't stay home to raise the children... Wayne:...because they can't afford to stay home! Cosmik: We'd all like to live in that world where our dads could raise the family on one good wage. The world that created the Detroit car culture that the MC5 grew out of. Wayne: Yeah, that sense of possibility, that you could have a new lifestyle, that you could reinvent things. I think that's the good news in punk rock, that essential message of do it yourself. That's important, the concept of self determination, that you can go out and do this and you don't have to go along with the program. That you can find a way to make this work, you can start your own band, your own punk rock record label, your own fanzine, you can make your own video documentary. Empower people, especially in a time when they're telling everyone to go along with the program... "We're selling you this shit, it's good shit, buy more of this shit - hell, you need Brut, you need 501s" you know? Get the fuck out of here. Don't tell me what I need. Cosmik: Well, that's one of the joys of rock and roll. It's why it's been the dominant musical culture in this country longer than any other style of music. Because no matter how high falutin' it gets, kids eventually decide they want to hear music they can play themselves. It always gets pulled back to something a kid can sit in his basement and produce. Wayne: Right, that's the wonderful thing about it. It has the ability to reinvent itself. By the way, how old was Doc Cheatham? Cosmik: Let's see, I think he was 92. Ninety something... Wayne: Ninety something will do. Damn. That's what I'm talking about. Long and strong. Because music is one of those things that's not really tied to youth. You can continue to develop your ideas and get more stretched out and get more technique. Cosmik: I think so. Some of the limitations of age can make you stronger in ways... Wayne: Absolutely. Cosmik: You might have to do things with more economy... Wayne:...which makes you a better musician. You look for meaning, for value. Because what's flash worth. It's bright and then it's gone. You want to say something that has some connection with people, that reaches people. That's what I was trying to do with "Citizen Wayne", to be sincere with people and to have the courage to tell the truth about what's happened to me and how things went. And to talk about what its like to do this work today as an adult and deal with real life issues that people have to contend with. The thing is, the intelligentsia know who Wayne Kramer is and the story of the MC5. Musicians know. But your average 19 year old baseball cap backwards wearing, baggy shorts, beerswilling, skate boarding suburban white kid does not know the story of Wayne Kramer or the story of the MC5 and doesn't give a shit really. But when he's exposed to it he'll say "Damn, this is bomb. There's really some shit here, what's going on?" It's really the last great untold story of the sixties. It's the missing link of our rock culture. What happened to that band from Detroit and that scene in Detroit? And that's what I was striving to do, to tell part of that story, because it's an important story to me. I think it bears telling. It's starting to get out now. Books like "Please Kill Me" go to some length to tell the story and Fred Goodman's book, "Mansion on the Hill." They both tell parts, but so far it's like a tribal oral history that gets handed on, from one band to the next, from one guitar player to the next. "Did you know about the MC5? Let me turn you on to the MC5." So in the continuity of my work, it seemed like this was time to take a bigger chance and make a more ambitious record and try to get some of this out... Cosmik: I was really pleased with the amount of attention "Please Kill Me" gave to the MC5 and the Detroit scene - they didn't pretend something happened in New York City in 1975 without any precedents... Wayne: Oh, it's a good book. In fact on our tour, we're starting our Citizenship tour on Wednesday, we've cooked up a deal with Legs McNeil and the publisher so we're going to give away a signed hardback every night. It'll be like a door prize. (laughs) Cosmik: One of the things you talked about in there that really rang true for me was about coming from the car culture and drag racing. And it goes back to the Chuck Berry car songs and the California hot rod music scene. Without fast cars, could there have been rock and roll? And what kind of rock and roll will we get when all the kids are forced to drive Datsuns? Wayne: Yeah, you can't write a rock song about a fuckin' Chevy Geo. To me it was all the same - drag racing and big supercharged engines and electric guitars, it was all in there together. Cosmik: Big engines and big amps. Wayne: It was the sound of liberation to me. Cosmik: Yeah, all I wanted was a Strat and a GTO with a four barrel. If I had those, I knew I could get girls, which pretty much wrapped up my teenage fantasy life. Wayne: I hear ya! Cosmik: Another story you tell on the album is the Chicago convention. There you were, the house band of the revolution, the only band to show up for Chicago '68. I don't know what that means to the kid in the baggy shorts... Wayne: Well, hopefully it's a strong enough song - like Chairman Mao said, bad art is bad for the revolution, so it's got to be good music. The musician in me strives to create the most beautiful music that I can make with the belief that there are other people out there that will find it beautiful as well. If that's the case, then maybe their ears open up to what the text is dealing with. Cosmik: Well, talking about being in rock and roll and getting older and keeping it vital, look at some of the names you cite in that song, Ginsberg and Burroughs and Mailer. I mean Allen just died, but Burroughs is still around and Mailer has a new book on the shelves. In that world, in literature, getting older and staying vital has always been accepted. Wayne: Yeah. Joyce wrote "Portait of a Young Man", but it was later when he wrote "Ulysses". It's all about doing the work. In the end, what did you do to leave the place better than you found it? And it's all in your work. I mean, I still believe in all those basic ideas. I believe in peace and in love and in self determination and justice. It seems like they're cliched or hackneyed expressions these days, but I think those are still where it's at and chief among them is the dignity of work, the value of work. Growing up in Detroit, it was an intrinsic part of the culture. Detroit didn't exist if it wasn't about working. That was the place you went if you wanted to get something built. Want to make something? Go to Detroit. They can make it there. And that was attitude that we carried to the MC5. We worked hard. People worked hard for their money and they wanted their bands to work hard. That was our attitude and it's still my attitude today. We're in an age of flaked and formed and prefabricated bands and I just wonder - I can't believe that anyone can find meaning in mindless manufactured music. You've got to put the ideas into it for them to get anything out of it. Cosmik: That's something I remembered while I looked at some of the old posters from the Grande Ballroom. The bills weren't only diverse, which was great, but you'd lay down your five dollars or whatever to get inside and you could hear five or six bands in a night. Now it's, what? U2's getting 50 bucks for the cheap seats in a stadium. Wayne: Well, those bills were part of a kind of rich cultural heritage that I was trying to tell the story of, from my unique Detroit perspective. It was such an amazing time. It was exciting. It was romantic and dangerous. Cosmik: Well, sometimes getting caught up in the romance could make the danger more severe. One of the tracks on "Citizen Wayne" is "Count Time", which is about some time you spent in jail. Wayne: Yeah, I was on my sabbatical. Cosmik: Well, it's nobody's childhood ambition, but when you go through the roll call of prisoners in the song, you realize it's not bad company. If you could have got them all in the same place at the same time you'd have had a hell of a band. Wayne: (laughing) You know, after I finished it, I realized I'd left out the whole contingent of white southern guys who went to jail. Johnny Cash, Merle Haggard, Steve Earl, I inadvertently left all those guys out. I just went with my cultural icons, the guys I was aware of who were mostly the jazz guys and hipsters. Maybe someday I'll have to write another one and include all the hillbillies. Cosmik: So you go from that one to a song that could have been a chapter in "Please Kill Me" which is "Snatched Defeat". Any reflections on that scene, what happened when you got out and tried to get back to playing music? Wayne: Well, I wrote a song with Farren on "The Hard Stuff" called "Junkie Romance" - this whole question of substance abuse and the war on drugs, this is a long running important issue with me. I really want to de-romanticize it. I want to pop the balloon on this myth that shooting dope makes you sexy, makes you a better guitar player, makes you somehow more charismatic. What it does do is it ends up fucking you up. It ends up wasting your time, and that's the most valuable thing you have. So in "Snatched Defeat" I tried to tell what it was like to try to be in a band with Johnny Thunders and how we could never really get anything going. We would always be on the verge of really accomplishing something and that funky behavior would destroy us. Which isn't to say that I'm anti-drug. I don't use drugs anymore but I'm pro-drug. I am anti-drug war and I'm anti this cowardly and ineffectual system that locks people up for what is essentially a medical problem and not a legal problem. I believe that in a free society you need a police department. There has to be some way to control the maniac aspect of life, and what the drug war does is undermine respect for policemen. It undermines respect for the law. It's a problem that the government has manufactured, beginning in the 30s with Harry Anslinger. It's created a situation where we have a million people in prison in America, and six hundred thousand of those people are in prison for substance related offenses. And they created the whole thing. They don't have the Commies anymore to call the boogeyman, so now it's the druggies. And the war is really a war on our people. In a sense it's a war on sick people. My idea is that in society, if someone needs a powder or a potion to get through the day, then that should be available to them. If they don't want to use that anymore, make that available to them too. But what they've managed to do is create incredibly powerful organized crime cartels that own Mexico, that own Columbia, and they accommodate them for their own political agendas. In the process they've chewed up two generations of people now. Cosmik: Well, as a parent who's still got some teenagers hanging around the house, and who was a part of a culture in which dope was frankly a pretty important element... Wayne: But they lied to us about marijuana. Cosmik:...Absolutely. But the challenge is how do you present that experience to your kids now. I go to back to school nights and hear people fretting about kids smoking dope and wondering what they're going to do, and my question is "What did *your* parents do?" The issue has never been whether people should do these things, it's that they want to do these things. If you want to create a drug-free society for some reason, you'll never do that by telling people they shouldn't use drugs. Wayne: And you won't. That has never existed and will never exist. Drugs have always been there and will always be there. Cosmik: They've been there since people discovered that if you ate the crushed grapes that had laid out in the sun for awhile you'd feel better than if you didn't. Wayne: Exactly. It becomes a matter of how do we successfully deal with this reality. The Europeans have a concept of harm reduction, which only makes sense. This shit of trying to legislate morality in this country is real damaging, because they're continuing to cultivate a permanent underclass by locking people up. They're making people more separated from their families, and more separated from their community and less equipped to deal with life on the street in this society. Cosmik: And as we're having this conversation, I'm sitting here sucking nicotine into my lungs, which in terms of harm reduction does more harm than anything I've used, and it's certainly the strongest addiction I've ever had. And I started doing that a long time ago, because I thought it would make me one of the cool people. And now there are kids who will never smoke, because they don't think it's cool. Wayne: Yeah, that makes sense. That's where the truth aspect comes in. Cosmik: Right. They didn't have to punish them to make them see it isn't cool... Wayne: No. They just told them the truth. This is really what the deal is with this. You can't say that pot and heroin are the same drug, because they're not. Cosmik: Absolutely. Actually, the best anti-drug pitch I ever heard was an old Frank Zappa spot he cut about speed. He basically said "Hey kid, if you do speed, you'll grow old before your time, your teeth will rot, it'll make you tired, it'll make your skin wrinkled and yellow. In fact, it will make you just like your mother and father." (laughter) Cosmik: Now that's the message. If you want to convince a kid, tell him it will make him just like his old man. Wayne: Yeah. But we get all this "just say no". Fuck that. Okay Nancy. You take a kid in the city, and he can't get a job and he looks around him and sees the homeboys slinging rock, and they're making three, four hundred a night. Hell, that's sneakers, that's food at home, that's status, that's power. Just say no? Hey, fuck you, Nancy. And the government created this situation. Cosmik: And your message is "hey, if you do this stuff it will fuck you up. It will keep you from doing what you want to do." I just finished writing a piece about Charlie Parker. Rhino has a new box set out and I was looking at this thing, at these 38 incredible tracks of music, and this guy died at 34 with the body of a 60 year old man. And all that incredible music was recorded in a 7 year span. What if he'd had ten years, or 17 years. Wayne: And that dope that they were using came into the black community on a deal that Lucky Luciano made with the government to get the Allies into Sicily. We'll look the other way when you come into Europe, and later you look the other way when we bring these powders in, and they flooded the black community with heroin. Cosmik: Well, there's always been a way to get those things to people they want to control. When I was in Vietnam, I became aware that heroin wasn't indigenous to Vietnam. The Vietnamese didn't grow poppies, didn't use heroin, didn't want heroin. It was brought in for us, for GI's. The brass needed to control the GI's to keep them from fragging their officers. It was about control. And you talk about that on "Citizen Wayne", in "Dope For Democracy." Wayne: And it's true. Nobody in the hood has DC-10s to fly the stuff in, or tankers. Cosmik: Let's walk through the rest of the album. "Doing The Work" is certainly a different Wayne Kramer song, but the notes say it all. "Doing the work. It saved me, really." Just staying on the music, I guess, is the reason you're still here. Wayne: Yeah. Yeah, truly. Cosmik: And then you cap it off with, of all things, a pretty song. Wayne: (laughs) Cosmik: Almost startled me there. "A Farewell To Whiskey", which is maybe your prisoner of hope song? Wayne: Maybe, yeah. Really just a lament, a fond look back on my vodka swilling days. It was good, in that it was necessary to some degree, but you're right. It gets in the way of what you really want to do. Nobody becomes a falling down drunkard or a degenerate dope fiend overnight. It's a long walk into the woods, and it's a long walk out of the woods. It's a long process. There's a point I reached where I finally made peace with the loss of the MC5, and some of my demons, some of the pain that I needed to dull up and escape, and I kind of dealt with those things. And I did the work that I needed to do contend with those things and find the right place to put them, and to reclaim those possibilities. So that tune, I was perhaps trying to do something that cut a little deeper into my emotional makeup, as a guitarist and just as a musician, I maybe tried to evoke that lament. Cosmik: It made me think of some of the melancholy Irish airs that are often played at the end of a night of rowdy rum and rebel songs... Wayne: Yeah. Actually, my wife was telling me about a 16th century composer who had a song called "A Lament to Whiskey", and years ago I tried to learn it, and it was just so complicated. And I was in the studio coming up with these ideas and everyone said, hey, that's kind of beautiful, let's cut that, and my wife was saying "Think about this, Wayne, think about it." And the more I thought about it, the more I thought that's what this is, my little lament to whiskey. Actually, to vodka in my case. Cosmik: Well, it created just a wonderful "ahhh" moment at the end of the album. I wasn't expecting it, I wasn't ready for it, and I loved it. Wayne: Oh, good. I'm so pleased. Cosmik: So now Wayne Kramer is clean, sober, happily married and ready to hit the road. Where will the tour take you? Wayne: Across these United States. 25 cities. We open in San Francisco on Wednesday (June 4) and then it does everything. Texas, up through the south, of course the east coast, then back through the midwest, the rust belt, Kansas City, Denver, Salt Lake, Boise, and then up to your neighborhood. We finish up in Seattle. Cosmik: Oh, great! Wayne: Yeah, I'm really looking forward to it. The band is just crackin'. The great Brock Avery is still with me on drums, and we have a new bassist this year, Doug Lunn, who is just a beautiful musician. He's worked with Herbie Hancock and Wayne Shorter. Actually, he's such a talented guy that I was almost afraid to ask him to take the gig. Because reality is that I do not have platinum selling records, and my gig is not that high paying a gig, and this is a guy who's used to getting the big bucks. But he said "Wayne, I've always wanted to work with you. I dig what you're doing." His schedule was open and he said "Count me in." He's just got real big ears and monster chops, so the music is really exciting. To me, that's the party. My party is when I get a chance to get on stage and play music. The chance to do a performance every night. I don't believe in the idea of getting up there and being a cover band for your records. I'm old school. I believe that this is a performance, and what happens that night is something unique and it happens on that night and only on that night. I build in spaces in the set where we don't know what we're going to play, and it will be different every night. And I encourage people to home tape. We go back and forward in time all the way. I could do anything. * * * Watch for Wayne Kramer on a stage near you soon. Whatever he does, you know he'll be doing the work. ___________________________________________________________________________ ANOTHER YEAR OF COSMIK CONVERSATIONS By the staff of Cosmik Debris Another year has passed, so it's time for our annual look back on the interviews from that year. These are just quick impressions from those interviews, little clips we found interesting on their own. As always, you can find all of these in our back issue section from the main homepage at http://www.cosmik.com/cosmikdebris. We were thrilled and honored to get a chance to talk to such a wide variety of artists, and... well, there are 49 interview clips here, so I'll shut up and we'll get right to it. HUEVOS RANCHEROS (Interviewed by DJ Johnson) Some musicians jealously guard their secrets, but not ol' Brent Cooper! In this segment, the Huevos Rancheros guitarist talks about titles and sounds. Cosmik: "What A Way To Run A Railroad" is another song that smokes. Gotta ask...how did you come up with that title? Brent: "Railroad" is great song to play live. The title is from Daffy Duck, I think -- just like "Please Pass the Ketchup" is from Daffy Duck. Cosmik: Cool! I guess this is the first time I've thought of Daffy as a solid rock and roll influence. "Smart Bomb" is straight forward, but you managed to get just a hint of surfy white noise in there. Brent: We had to write a song for the Mai Tai records SPY theme compilation. We originally recorded it live in Richie's garage and then added a friend playing organ to the 4-track. When we recorded it for DODGE, I added a second guitar track doing mostly feedback. If you listen closely you can hear one amp with tremolo on one side, and for the second track, it's on the other side doing the other guitar, so you get a wacky stereo effect. CURTIS MAYFIELD (Interviewed by DJ Johnson) Talking to the legendary Curtis Mayfield was a real joy. Here, we discussed his role as a voice of empowerment. Cosmik: Are you somewhat surprised to see that racial tension has survived the era of diversity education, affirmative action, and supposed enlightenment? Curtis: Well, I suppose I just might be, in ways. However, a lot of the racial tension is more of a surface thing that has always been played with the corporations and the people higher on the totem pole, in my opinion. And it'll probably always be used, here and there, when the higher-ups want to do something else, and they don't want the poor blacks--OR the poor whites--to see what they're doing. Cosmik: So many of your songs were songs of empowerment...songs with a positive message. Do you think that need is being filled today in popular music? Curtis: Well, I'd like to think so. It's my signature, anyway, to always speak on something, hopefully, that might be inspiring, or in depth as a love song, or just to lend an ear for food for thought in general. LANCE KAUFMAN (Interviewed by DJ Johnson) Harmless was a vehicle for Lance Kaufman's most intense and unusual writing, in which he used chaotic sounds to draw the listener to the point like a magnet. The former Yard Trauma keyboardist talked about that aspect of his music. Cosmik: The upheaval in [your] music is fascinating and dangerous. Are you attracted to chaos? Lance: Oh yes, very much so. I don't think I could listen to album-length constant noise that didn't have some kind of a structural point to guide it, because that can get as dull as listening to the same chord changes played the same way over and over again. But I like chaotic stuff a lot. There are some jazz players I like--mostly reed players--that tend to be pretty chaotic, like Roscoe Mitchell from The Art Ensemble. And then there's a New York player by the name of Marty Erlich that's real talented. And Oliver Lake, who has played with the World Saxophone Quartet, but has done a bunch of stuff with other people. And Arthur Blythe, and then a person who just died recently, Julius Hemphill, who was a great player. They don't all sound alike, but they all have that human screech, screaming, crying quality. Cosmik: How would you describe the role of the sax in Harmless? Lance: Well, it's obviously human voice-like, like screaming. Basically, it's the solo instrument. I don't know why I particularly wanted that sound, to tell you the truth, but I know I hear that kind of saxophone playing as speech; as speaking, or screaming, or crying or whatever. There may be some kind of connection there that I've never really thought about that much, but I think the decision for that sound was based on the fact that I liked the idea, musically. It actually looks like this up and coming version of Harmless may be saxophoneless. I may just do it as a trio. But it's still going to be the same thing. Instead of the saxophone screaming, probably in some way whatever keyboard things I'm doing will have the same kind of chaotic frantic thing going on, to some degree. It may be more subtle. If there was a guitar player, that's the sound I would want, you know. Kind of a constant barrage of sound rather than waiting to play a solo or playing some written line. I do like the idea of bombarding people with sound. I joke about being the Phil Specter of the avant-garde or something. (Laughs) KENNETH NEWBY & STEVE ROACH (Interviewed by John Sekerka) Right around the time of their collaboration on the Halcyon Days project, Kenneth Newby and Steve Roach were interviewed (separately) by John Sekerka for his Tape Hiss program on CHUO FM in Ottawa. As Cosmik Debris scarfs up all of John's transcripts, we got to share the interview. Here's a sampling. (Newby) Cosmik: Why is your record called Halcyon Days? Newby: It came about in a backwards way. We were talking about when would be a good time to make this recording. It turned out the best time was right around the winter solstice: December 21st. It looked as if we'd be spending a couple of weeks in Steve Roach's studio in Tucson, Arizona. I made the connection to the Halcyon Days which are reputed to be the two weeks around the winter solstice, and I sent a fax saying that it was an auspicious time to do a creative project. We kind of left it at that until we had finished the music. We were sitting around, trying to decide what to call it, and Steve recalled my comment on the fax. We felt that it fit the spirit of the music. Cosmik: Did all of the recording take place in Steve Roach's studio? Newby: Pretty much. We spent eleven intensive days recording and mixing there, though we brought a little of the material with us. I had written computer programs to generate some textures and rhythms. Cosmik: Were you at all affected by the atmosphere, working in the desert? Newby: It's a really nice environment. The back of Steve's house opens out on to the desert. I was quite struck by it, never having experienced the American desert before. We took advantage of plugging into the environment and I'm sure it came through in the music to a degree. (Roach) Cosmik: What exactly is it about the desert that draws you? Roach: The place is so quiet that all you can hear is your heart beating, the functions of your body and your thoughts racing around like a little hamster in a cage. Over time you get more and more comfortable with that deep silence. Creatively, the place that I arrive to in my consciousness when I'm in this kind of physical environment. I can create that kind of silence and solitude in a sound proof studio, but it has no comparison to when you're sitting on a mesa and can see for seventy miles. Yet there's an inverted sense of quiet that is powerful and profound. Hopefully the music that I create portrays the places I go. Beyond that it becomes kind of a moot point of trying to describe it in words. That's why I chose music as a medium, as opposed to being a writer or a visual artist. Cosmik: I recall a review in which the writer said she put your tape on while driving in the desert, and only then did it make perfect sense. Is that the ideal listening experience: to match the environment? Roach: It's one of the high points to experience the music at. From the feedback I get, people feel it in their own environment in different ways. Hopefully the creative act continues as people find new ways of having sound in their lives. It's not necessarily about having music; it's more about creating an hour of sound sanctuary or sculpture. The work is becoming more dimensional, textural and more related to a sense of location--not specific. Music without vocals offers an open end for the creative imagination to work with. I do have a lot of artists that use my music to create a kind of opening. THE PENETRATORS: Rip Thrillby (Interviewed by DJ Johnson) Agent Rip Thrillby let us in on the secret behind one of The Penetrators' most fascinating and fantasy-inspiring titles. Cosmik: I'm dying to know what the inspiration was for "Night Of The Drunken Cheerleaders." Rip: Quite often the titles come before the songs. We generally approach our music as though we're writing soundtracks for movies that haven't been made yet. Start with a situation in your head, and then try to come up with a lick or a chord progression that suggests the action you see in your mind. One night Trace and I sat down with a 12-pack and a pad of paper, and just made up song titles, and "Night of the Drunken Cheerleaders" was one of them. Talk about great movie material -- lust, mayhem, terror, and physically-fit babes. AIP Noir. We probably came up with 50 or 60 potential titles, and not long after that I came in and Trace was playing guitar. He said, "What does this sound like?" I immediately answered, "Sounds like drunk teenage girls, to me." We knew it had to be effervescent and bouncy, but creepy, too -- so we added the Twilight Zone-ish figure, which I had laying around, not knowing what to do with it. Putting songs together is a lot like building a jigsaw puzzle sometimes. But anyway, when I play Cheerleaders I think of gorgeous babes sprinting through bars, doing cartwheels. I like that. UTAH PHILLIPS (Interviewed by Ann Arbor) Folk legend Utah Phillips provided us with one of our coziest reads; a real "siddown, sip from the jug, and listen to this" conversation that we're very proud to have presented. Pick any clip from that interview and you'll find something just as absorbing as the following. Cosmik: So your response to the Korean War was to ride the rails? Utah: [It] was to sort out my thoughts, to get away from the stink and the death and to try to cleanse my mind. It didn't work. The only thing that worked was the old, old formula which seems to have vanished from our culture. The Dean of Religion at Harvard University brought it up again in an article lately. The notion of repentance, atonement and forgiveness. Repentance, in secular terms, I'm not a Christian, repentance means acknowledging that you really blew it, that you made a dumb choice, and caused a lot of other people a lot of misery. You were the one 7000 miles from your home not them, and you went there and caused them a lot of trial. Atonement means you've got to put it back somehow. You've got to use your life somehow to make the world a better place, to change the world. Like I say, the change begins with you. But you gotta somehow put it back. Through, in my case it was working in the Civil Rights movement, very briefly in Mississippi in voter registration. It was in the struggle to recognize mainland China in the '60s. Fairplay for Cuba. And finally, running for the U.S. Senate in Utah as a Peace candidate in 1968. We took 6000 votes in a campaign against the War in Vietnam. And then of course there's forgiveness, and forgiveness begins where it started. The change begins with me, the forgiveness begins with me. When I can begin to forgive myself for what I have participated in, for what I've been a part in. And when the people around me open up enough to what I'm doing with my life, to what I'm singing and what I'm saying to be able to say, "That did me some good. That helped me over a hard decision. That helped me over a hard time in my life." Then you've done that. That's what's happened in your life: repentance, atonement and forgiveness. That seems to work. I wish that I saw more of that among vets. I know that there are Vietnam vets who've gone back to Vietnam and worked with orphanages, and worked with agricultural programs. They've got it, they've figured it out. Mainly it's overcoming a crippling bitterness, a crippling anger, a sense of rage, of being outraged yourself that paralyzes you and prevents you from doing anything from hanging out on the streets to hanging out in the woods. That rage needs to be transformed into love and that love needs to be transformed into action. Like Dorothy Day said, the founder of the Catholic Worker, she described Ammon Hennessey as "Love in Action." She used Dostoevsky's words: "Love in action is harsh and dreadful, compared to love in dreams." THE BOMBORAS: Dave Klein & Shane Van Dyke (Interviewed by John Sekerka) Every now and then, we get answers that boggle our minds and slow us down for a moment or two. The Bomboras' Dave Klein and Shane Van Dyke gave John Sekerka one of those answers in this installment of Tape Hiss. Cosmik: Can you set the stage for me? Dave: Sure, there's four Showman amps, a drumset in the middle, a vintage organ, a smoking volcano, a big cutout with our logo, and one or two Go-Go dancers. Cosmik: Wait a minute. A smoking volcano? Dave: Yeah, we have a volcano that erupts during the show. Shane: And billows smoke about the club. Cosmik: Wow! I'd pay to see that. Dave: It was so popular that someone stole the volcano. We had to make a second one. Cosmik: What actually comes out of the volcano? Dave: Charcoal and fire - a lot of the audience get burned. That's what you get for a $5 show. Actually the contents are a closely guarded secret. It erupts periodically throughout the set. That's all you need to know. DOWN BY LAW (Interviewed by Shaun Dale, with assist by DJ Johnson) One of the purest rock and roll albums of the year was All Scratched Up, by Down By Law. The Los Angeles punk band had been on the road forever and a day by the time we caught up with them, and they looked dog tired... until they hit the stage like a tsunami, bringing the packed house down with slam bam rock, attitude, and sheer passion. Before the show, Angry John DiMambro (bass) and Sam Williams III (guitar) talked about the glamorous life of a punk star. Shaun: So what's the story behind "True Music" on the new album? Did you guys really make a show biz video that compromised your principles? Sam: You'd have to talk to Dave about compromising principles, but we have made a few videos and the last two have been played on 120 Minutes. One of them quite regularly - "Radio Ragga." John: "Independence Day" is like a minute fifteen seconds long. US News did an article that said the longest and shortest videos ever on MTV were Michael Jackson's "Bad" for like 16:23 and Down by Law's "Independence Day" for 1:15. DJ: What kind of reaction has there been to being on MTV - considering a lot of people get pissed off if a band gets on MTV... John: There was one girl who - I don't know if she wrote a letter or wrote to the Unofficial Down By Law Homepage or what - but she wrote "I hate you guys, you've changed, burn in Hell, sellouts." Like this total stupid trash. I think it was off "Independence Day," not even "Radio Ragga." [Ed. Note: The Unofficial Down By Law Homepage is located at http://www.undergrad.math.uwaterloo.ca/~sstackho/dbl/dbl.htm] Shaun: Yeah, you're sellouts - you might be able to buy strings next week off the proceeds. John: Something like that. Yeah, I'm just rolling in dough right now. I don't know what to do with it all. I think I'll buy a Kit Kat bar. THE HALIBUTS: Rick Johnson & Pete Curry (Interviewed by DJ Johnson) In this segment of their September 1996 interview, The Halibuts' guitarists Rick Johnson and Pete Curry talked about their many appearances on surf film soundtracks. COSMIK: How many surf film soundtracks have you done? PETE: I don't know... The funniest one was...one of our songs was in the Sports Illustrated Swimsuit video that came out in 1995. That was hilarious. It was like, there was a bunch of Gary Hoey-type music for most of it, and all of a sudden, "The Natives Are Restless" [from the album CHUMMING] appeared. RICK: Also, we did some stuff in a National Geographic program about Surfer Girls, and I just saw a commercial the other day, it's being replayed on, I don't know, WGN or TBS in a week or two. It's a special on women's surfing. COSMIK: Any inquiries about doing other soundtracks? PETE: Well, Life On The Bottom hasn't been out long enough to have anything happen yet, I don't think. It takes a little while for them to get around. We're hoping. RICK: They kinda come out of the blue, sometimes. The record gets given to somebody who likes it and calls you...somebody YOU didn't give it to. It just got passed along. It's something we never pursued. They just kind of pop up here and there, and it's pretty cool. COSMIK: It had to be great the first time you ever watched a surf film and heard your music. RICK: You know, the most amazing thing I ever had was...one day I was doing my dishes and watching surfing on ESPN, and on comes "Skinny Dip," [from the album GNARLY, released in 1986] but it was by Mike Palm, and I didn't even know Agent Orange had recorded it. And I'm standing in my kitchen going "what the hell is THAT!?" SKIP HELLER (Interviewed by John Sekerka) Musician and producer Skip Heller has become quite well known for his association with the late great Les Baxter, one of the most important figures in the development of that currently revitalized genre known as exotica. In this moving clip, Heller gave credit... and condemnation where it was due. Cosmik: Looking over Baxter's discography, it seems that Capitol owns most of his releases. There have only been a couple of re-issues; are they going to cash in on the vast catalogue? Skip: Cashing is a good way to put it. Les died last January, and basically, he died in debt. They're foreclosing on his house, and his daughter Leslie is really behind the financial eight ball. Capitol records are using Les' name and likeness to promote the new two disc set, but have not done anything to help his family. These contracts that were signed in the forties are antiquated by today's standards and the artists are not being treated right. Capitol asked Leslie for background help for the new releases which is quite ironic since they're not paying her for the use of her father's name. They own the music outright, so all they will pay her is publishing for the tunes he wrote. I'm not very thrilled with the situation. When Asphodel released Incredibly Strange Music, they asked who should get paid directly. They didn't want any red tape. It's funny, the smaller labels, who don't have wheel barrows of money to throw around, are the ones who pay on time. For Lost Episode, Dionysus paid for a month of Les' in-home nursing. I hate to be on a soapbox, but frankly if it was Johnny Cash, there'd be twenty people doing benefits in Nashville right now - as it should be. Yet somebody like Les or Korla Pandit are not afforded the same treatment. MERIDIAN ARTS ENSEMBLE (Interviewed by Paul Remington) John Ferrari and Ben Herrington, of the phenomenal classical/jazz quintet The Meridian Arts Ensemble, took a quick look forward. Cosmik: Where do you see the future of 20th century music going? Ferrari: To the 21st century. [Laughter] Herrington: I think that classical music and jazz music, and a lot of other kinds of styles have come to a point where the development of new forms of expression within those styles has been accelerated to the point where everything is moving very quickly. Everybody's searching for something unique and new, and I think that we've come to a point in the development in the world community to where I see the future of these musics coming together, and I think the people who are going to be doing the most innovation in future music are those that can combine elements of the music of different cultures and different sets of aesthetics and combine them to make something new. And, that's what has always been done. For instance, classical composers have always taken influences from the folk music of their region--Bartok, Stravinsky, everybody, even back as far as Bach and Mozart, have done that. But now, I think the crossover, or the cross-influences, are maybe more pronounced than they used to be. MOJO NIXON (Interviewed by Gregory Nicoll) Rawkabilly madman Mojo Nixon was in the middle of making a movie called Raney when Greg Nicoll managed to sit him down for a chat. In this segment, we find out that we fans are unholy-twisted... or that Mojo has the same uncle as the rest of us. Cosmik: I have fond memories of seeing you on tour with the Dead Milkmen. You opened for them, and you were an impossible act to follow! Mojo: That was true on that tour a lot. Was that where we played that big place in Atlanta? Cosmik: Yeah, the Centerstage Theater. Mojo: Well, given my druthers, I would always pick the middle in a three-band bill, because people get tired after three bands. The Milkmen wanted to headline, so I said okay, fine. That was the first real tour I did with another band. They had this non-drinking teenybopper crowd -- who LIKED what we did, but who liked what THEY did more. Their fans were like, the weirdest guy in high school listening to the weird record thing. Whereas my fans are more like the drunk uncle who takes you out and shows you titty bars. THE KEN ARDLEY PLAYBOYS: Bob Smith (Interviewed by John Sekerka) Bob Smith revealed the secret behind his band's name during this Tape Hiss interview with John Sekerka... Cosmik: No disrespect, but why are we talking to Bob Smith and not Ken Ardley? What exactly is Ken's role in the band, or is that too embarrassing to bring up? Bob: Well Ken is a very mild mannered typical bass player and he's not very good at interviews. In fact, he doesn't write any of the material, but he is definitely the leader of the band. When it comes to running the group it's up to myself and Vic Mount. Ken does come to the forefront when he sings 'Windmills of My Mind' though. Cosmik: So why is the band named as such? Is it because Ken is so darn good looking? Bob: (laughs) Well, I hate to give the game away, but obviously the name is a pun: The Ken Ardley Playboys, cuz we can hardly play. SUSAN AND THE SURFTONES: Susan Yasinski (Interviewed by DJ Johnson) Surf guitarist Susan Yasinski had just returned from her first overseas tour with her band, The Surftones, when we did this interview. In this segment, Susan, a major Beatles fan, discusses her time in Hamburg, Germany. Cosmik: You just did a quickie tour of Germany, right? How was it? Susan: It was a lot of fun. I finally got to actually meet Gerd Dietrich, from Gee-Dee Music, and The Looney Tunes, especially Sebastian Hartmann. We had a great time with them. The gig was very well-promoted and well-attended. The whole Beatle/Hamburg thing was incredible. The club where we played, the Grosse Freihiet, was upstairs from the Kaiserkeller. I hadn't played live in a year and a half and had never played live with Judd and Dave. We had only three days' rehearsal so we were a bit nervous. Everything worked out fine. Cosmik: Did you spend any time checking out the Kaiserkeller and thinking about the ghosts? That's almost like hallowed ground for us 60s kids. Susan: Oh, yes. When I first when downstairs to the Kaiserkeller no one else was there. After a few minutes Judd came down. It was almost like being in church. It was funny because we were talking in whispers until we realized what we were doing. Of course we did play "Cry for a Shadow" at the gig. Playing that song in Hamburg upstairs from the Kaiserkeller was something I never in my wildest dreams--and I've had some pretty wild ones--thought I would do. THORAZINE (Interviewed by DJ Johnson) Here's one to put in the "weird rock n roll stories" file. Philadelphia's high voltage punk band, Thorazine, released an album called Crazy Uncle Paul's Dead Squirrel Wedding. The cover featured a photograph of... well, let Jo-Ann Rogan tell the story. Cosmik: So who is Crazy Uncle Paul, and what's the story behind that cool structure you named your album after? Jo-Ann: Ok here is the tale... One nippy fall night, Ross, Dallas, and I went to a party. Elliott was working at his soundman job, as usual. It was a very boring party. A guy walks up and says, "wanna see somethin' weird?" We immediately say to him, "what can you shock us with?" He had some Polaroid shots of the squirrels. Our first question was "how did you get them to stand still?" He proceeded with the story. Greg Baker was born and raised in rural Gettysburg, PA. His great uncle Paul, who died in 1967, was an avid squirrel hunter. He came up with the weird idea to stuff them. His wife, Aunt Ruth, sewed the costumes on by hand! I kid you not! They modeled the wedding scene after the church they attended, going as far as using the remnants of the carpet that was in the church. If you look very closely at the photos, there is one seat empty. Uncle Paul died before the last seat was filled! We saw this and had to have it for our album cover, which was as of that moment unrecorded. We set off to LA and recorded. We returned after the long tour and recording session to find Greg MIA. We hunted him down and went to his father's house in Gettysburg to shoot the wedding. We set off on a snowy morning to Gettysburg. We arrived and Greg proclaimed that his father hated everyone and stay out of his way. While Nadine and Adina (photographers) were setting up, we met Greg's Dad. He was so great to us. He showed us his whole collection of Civil War guns and has invited us to come out again to go shooting. He offered up all the tasty tidbits on the Wedding and made us coffee! The Baker family had one request. They would like to donate the Dead Squirrel Wedding to a museum that would restore and display all 74 creatures. If anyone wants to get in contact with the Bakers, they should write to us. (c/o Hell Yeah Records, PO box 1975, Burbank CA 91507.) The end. DAVID WALLEY (Interviewed by Paul Remington) David Walley, the author of the Zappa biography "No Commercial Potential," talked about what it was like to have his subject turn against him. Cosmik: How, specifically, did he trash you? Walley: He gave interviews in Gallery magazine and in Penthouse where he characterized me as a psychotic--a disturbed person who had no understanding of what he (Zappa) was about. He said in interviews that I must have made it all up, that none of it had any basis in fact! Cosmik: How did that feel, having your subject turn on you, so to speak? Walley: I was really hurt by Frank's response to my book since I had nothing but respect for his work and what he was trying to do. I thought it was an unbelievably paranoid response, but in retrospect, I suppose it was a product of his world view (which I amply demonstrated) as well as the fact that indeed he was quite sheltered, or better, demanded that he be sheltered. He was most stung by what Captain Beefheart said, though I found what he had to say very accurate and telling. Frank was big for criticizing everyone else, but couldn't take the heat himself. He disparaged his old band, called Ray Collins in an earlier edition of my book before it was cut out because of bullshit legal pressure and because I could no longer produce the tape, "An archetypal acid burn-out victim," which was a fair enough assessment--cruel, but fair enough if taken in the context with whatever else he was saying. Anyway, Frank's comments really got me, and in some ways, inhibited my confidence, though I did go on to write a biography on Ernie Kovacs, and that was in a way therapy because Kovacs was such a wonderful, quirky and brilliant man. THORNETTA DAVIS (Interviewed by John Sekerka) Just after R&B belter Thornetta Davis' Sub Pop Records debut, she had this discussion with John Sekerka on his Tape Hiss radio program. Cosmik: Why has it taken so long to get a record out? Thornetta: Actually, I recorded an album with The Chisel Brothers. We pumped it ourselves and sold it at gigs. We were doing blues, but you can't get rich singing the blues. I finally caught Sub Pop's attention, they approached me and asked if I wanted to do an album. Cosmik: Let me get the picture here: there's you up front with a bunch of goateed pasty white guys playing rock in the background. Thornetta: (Laughing) They're not goateed pasty white guys. They're cool guys. I worked with them about four years ago on their album. They used to be called Big Chief. I did background vocals for them. I did a lead vocal on "Mack Avenue Skull Game," and shortly thereafter Sub Pop approached me. THE BLACKEYED SUSANS (Interviewed by John Sekerka) Phil Kakulas, of Australia's Blackeyed Susans, explained a rather funny photograph of the band, as well as the meaning of "Snarski vs. Snarski." COSMIK: I'd like to talk about your band photo in which you are about to do away with Elvis. I believe that is you with a gun under his chin. PHIL: Yes. I have a love/hate relationship with the guy. I really adore him. I thought he had an incredible talent, but I find it hard to respect him for the way he wasted it. All those movies. All those lousy songs. The story is a modern tragedy and there's a lot to be learned from it. We did a New Year's Eve show and called it 'The Blackeyed Susans Murder Elvis.' We took the best and worst, and put on a reverent tribute. We did stuff from the Sun record and the '68 comeback - and then we'd do 'Smorgasbord' and 'Spinout.' COSMIK: Tell me about Snarski vs. Snarski. PHIL: Rob Snarski is our lead singer and his brother Mark sings for a Sydney band called Jackson Code. Every now and then the bands get together for the Snarski vs. Snarski sibling rivalry shows. They're very competitive. It generally results in good and entertaining shows with encores that might feature 'He Ain't Heavy, He's My Brother,' or something stupid like that. Then we argue who won. I must say that we won conclusively this year. It was 4-5 in our favour. LOS STRAITJACKETS (Interviewed by DJ Johnson) The guys in the ornate wrestling masks! One of the finest bands in the instrumental rock and roll scene, Los Straitjackets got a huge boost when they appeared, not once, but twice on Late Night With Conan O'Brien. Guitarist Danny Amis talked about that experience. Cosmik: How did you end up doing the Conan O'Brien show? Danny: It turned out Andy Richter was already a fan and had even used our music in some of his comedy bits. At the last minute one week, they needed to fill 4 minutes the following night and asked for us. It's always a real treat to do that show because everyone there is a fan and they're really nice to us. The first time we did it, we gave Conan and Andy wrestling masks as a gesture of appreciation, and they wore them throughout the show's rehearsal. Cosmik: Be honest now . . .How nervous were you all? Danny: Pretty nervous the first time, but they were so nice to us we weren't very nervous at all the second time. THE BOSS MARTIANS: EVAN FOSTER (Interviewed by DJ Johnson) With his band, The Boss Martians, Evan Foster has claimed a corner of the Seattle music scene as his own, performing an even blend of garage, surf, and pop that cooks better and better with each passing album. When we discussed the possible existence of new sounds for the genre, he had this to say: Cosmik: You have a feeling for so many types of music, and so many directions have been taken with surf music... This is almost like my own personal stock question that I ask all the surf players I interview, because I'm personally very curious what they'll say, so I'll just go ahead and ask you now. Is there some new direction you'd like to see someone take surf music, or that you'd like to take with The Boss Martians? Evan: You know what? This is gonna sound completely weird, but in answer to that question: yes. There is a total tone and a total sound that I absolutely love and would bring into it, and I'm kind of bringing in on 13 Evil Tales. See, DJ, 13 Evil Tales, the LP that I'm working on right now, well I just got this wild hair and I said I really want to do a record that's totally Martians, but brings in all these different influences that we're into. So I pulled out the Vox Tone Blender, man. Like, the fuzz box? We busted out a few rave ups, man, and we've got some heavy Paul Revere and the Raiders kind of stuff going on. There are a lot of different sounds going on in this new Boss Martians LP. And, dude, there ARE some purist surf instrumentals as well, there's no doubt about that. But the tone that I'm totally into and would like to see more of is one that would make the guys on Cowabunga [surf music e-mail list. Ed.] say "dude, pack it up and go home," ...DRY! Dry, baby. Cosmik: Really!? Dry? Evan: Totally! Listen up, man. The tone that I'd be totally into would be just Jazzmaster and Jaguar tone, like 12 or 13 gauge flatwound strings, through a Showman--dry! Cosmik: Whoa. So you're talking about a true Fender body-tone, then? Evan: We're talking about a pristine Fender tone, man. For example, my main rig is an L-series 1964 Fender Jaguar, Olympic white. That's my guitar. I use .12 gauge flatwound strings. And I'll be honest, occasionally I'll bump down to an .11 gauge when I want to be able to bend a little more, but I always use a wound G, no less than a .22 gauge. I also have an Olympic white Strat that I use quite frequently like when we're doing overdubs and stuff where I need to overdub a rhythm track. I run that into an October 1964 black face Fender Reverb, and then I run that into a 1965 Fender Showman amp... I mean a stock Showman amp. A single Showman head that dumps a full 85 watts, 8 ohms, into a single Showman cabinet with a single 15 JBL D130-F speaker. And that's my rig, right there. But see, dude, the thing is that I love pristine tone so much. One of the coolest things about The Fireballs, other than just like the studio tape echo, was the fact that these cats cut their tracks dry, man. These dudes sat down with their guitars and these guys just...played...tunes! And the thing is, it's all right there, all up in your face. And there's nothing more embracing than the crystal clear low end punch of like a Fender Jag or a Jazz just being played through the Showman rig, man, just with those low E's--with the low strings just punching out of the D130's. It's the ultimate tone, man. JAN HAUST (Interviewed by John Sekerka) The Punk Hole of Fame is an 18-part series of vintage Canpunk (6 available now) in reissue and unearthed formats, unleashing music by the likes of Teenage Head, The Viletones and The Ugly on the rest of the world. Organizer and project brainchild Jan Haust talked about Chris Spedding and an unusual recipe. Cosmik: Say, Chris Spedding pops up on most of these releases. What's his connection with the project? Jan: He's the first man to wrassle the Sex Pistols to the ground. He recorded and mixed 'Problems,' 'No Feelings' and 'Pretty Vacant' in five hours--the original versions. Then he did a couple of singles with The Vibrators. He worked with Chrissie Hynde, who was his girlfriend back then. Spedding is a musician's musician. He's played with everybody from Tom Waits to Elton John to Bryan Ferry to Liberace to Pete Townshend. He had a stopover here (Toronto) in '77 and was puzzled why none of these bands were signed by major labels since in England, all the punks were being scooped up. Now he's part of our post-production team. His feel for this material is what's so important, and he's a master musician and producer. I paired him with Peter Moore, who did the Cowboy Junkies' Trinity Session. One of his walls is covered with 50s and 60s vintage guitars and amplifiers, and the others with computers. That's his studio. Without Peter we wouldn't be able to present some of these titles cuz they need a lot of restoration. Tapes disintegrate, they have to be baked... Cosmik: Wait a minute, you bake tapes? Jan: Magnetic recording tapes have little bits of metal that are held onto the mylar by a bonding agent, and that adhesive deteriorates with time. These tapes will shed in a tape machine. What baking does is restore the bonding agent for a period of time such that a transfer to a digital format can be made before it quickly deteriorates again. Cosmik: Baking tapes--that sounds like a recipe for disaster. Jan: Never lost one yet. DAVID DIAMOND (Interviewed by Paul Remington) One of our proudest moments came in February (1997) when Paul Remington interviewed the brilliant classical composer, David Diamond. The 81 year old Diamond gave us a memorable look back at his extraordinary life, including memories of his close friends, many of whom are household names. In this segment, he reflects on his friendship with Leonard Bernstein. Cosmik: How did your friendship with Bernstein enhance what you were doing? Diamond: Well, remember, he was still a conducting student of Fritz Reiner's while at the Curtis Institute. He was composing at that time and had written theater music while he was at Harvard. But, he was working on a clarinet sonata, or maybe it was a violin and piano sonata that became a clarinet sonata. I didn't know him at all as a composer. But, he was a phenomenal pianist. From an orchestral score, he read through my 1st Symphony that way. He just knocked me out as a musician. He was just phenomenal . . . phenomenal. And so, as the years went on, he saw that I was being performed a great deal. Then he made that amazing debut with the New York Philharmonic, substituting very quickly for Bruno Walter. Then, suddenly, he was on the map as a conductor. Then he was given the City Center Orchestra, which was an orchestra that was put together for him. He wasn't paid a salary, but that orchestra that he built-up had marvelous programs. The second year he had that orchestra he did my 2nd Symphony, after he had heard Koussevitzky do it. Then, almost every other year he would perform a work of mine. And then he began to compose a lot. But, I guess I was the only one of the friends that felt he was a gifted composer. Copland didn't think he really had it as a composer. He thought he was very good for Broadway, but he didn't care for his composing. He didn't like Jeremiah whatsoever. Now, I thought Jeremiah was extraordinary. RASPUTINA (Interviewed by John Sekerka) Three women, three cellos, big sound. The ladies of Rasputina perform in very old fashioned clothing, including corsets. In this segment, John Sekerka asked about the conflict between sound and appearance. Cosmik: Getting back to the 21" [waist size] , is it true that all members of Rasputina favour these waist constricting devices of a by-gone era? Melora: Yes, at this point it's like a uniform. It's costume to us. We have a large collection of undergarments through the ages and that's what we wear when performing. It's very binding and constricting and we like to highlight our uptightness. Cosmik: Your music's not really retro, but your look is way retro. Aren't you afraid that too much attention will be paid to the look and not enough to the music? Melora: Anybody commenting on our look makes me a little uncomfortable. I know we're doing this, but we've done it for so long that it's a 'putting on a waitress uniform' feeling. Any aspects of sexuality shocks us. We feel we are very prim about what we're doing. If they hear the word underwear, people go crazy. JOE BERMUDEZ & MOBILE FIDELTIY SOUND LAB: (Interviewed by Cai Campbell) Mobile Fidelity Sound Lab VP Joe Bermudez gave us a lot of info to chew on when Cai Campbell interviewed him for our "Labeled" feature in July of '96. In this segment, he discussed the dawn of the CD era. Cosmik: Okay, now let's talk about analog versus digital. At what point did Mobile Fidelity say, "We need to enter the digital market?" JB: Well I'll give you something that nobody else knows. In 1982 we made the first demo CD's for Sony. And it wasn't even available in the United States. And we went into digital full-bore in 1983. We saw it coming. We were involved, fortunately, because of our reputation, with some of the big companies prior to the United States market. So we were ready. Cosmik: So you were on the cutting edge. JB: Oh yeah, absolutely. We had the gold CD in 1987. People didn't even compete with us until 1991 or 1992 with gold. Cosmik: So what is your feeling about digital, and Mobile Fidelity's position? JB: Well, Mobile Fidelity's position is that, you know, let's face it, what we make, the gold CD, is our breadwinner, and it's the finest CD available. STEVE HOFFMAN (Interviewed by Shaun Dale) Steve Hoffman is the only engineer that gets mentioned in Cosmik Debris reviews on a regular basis. He does magic every time he remasters recordings for DCC Compact Classics' 24 karat gold CDs or 180+ virgin vinyl. Since DCC is Mobile Fidelity Sound Lab's chief competitor, we figured we should run these clips back to back. In this segment, Steve describes his job. Cosmik: So maybe you can walk me through your process a bit. Say you decide to do "Chet Baker in New York". You know who has the tape, so you get it and listen to it and do what? Hoffman: OK, the first thing I do is listen to every copy I can find out there in the real world. I check how the original LP sounds, the way the current CD sounds, the way the Japanese import LP sounded, just to get an idea of how it's supposed to sound. Then I'll go through the original tape and I'll start messing around. I'll try mastering it this way and... I use a lot of vacuum tubes in my console and I'll add some layers of tubes to hear what it sounds like that way and I'll try it several ways. I have the luxury of taking my time, of course, because that's one of the advantages of working for a small company. We have about four releases or so a month as opposed to Warner Brothers Records that has about 39 releases a month. So then, after I hear how it sounds in my car, how it sounds here, how it sounds there, then I'll finally do the final mastering and it will be made into a CD or an LP. If it's going to be an LP I'll do the actual lacquer cutting and see what it sounds like there. If it sounds good, we'll release it. If it doesn't sound as good as I think it could, I'll start over. That's it. Every single time. MARK NAFTALIN (Interviewed by DJ Johnson) As keyboardist for The Paul Butterfield Blues Band in the mid 1960s, Mark Naftalin performed some of the most important music of the era. In this segment, he discusses the evolution of the most important piece of all, "East-West." Cosmik: The story goes that "East-West" took on a life of its own and just kept evolving from performance to performance. What kind of changes did it ultimately go through? Mark: For one thing, the song grew longer. As it reached full flower we played it for an hour or more. The song was a platform for a lot of experimentation. There were also certain structural elements that shaped the performance. Michael would periodically introduce a simple melodic passage which would then be ensemble-ized and become the starting point for a development and, usually, for some kind of energetic build-up. And some of these melodies became thematic. Over the fifteen months or so that we played "East-West" a lot of things happened. A few of them are captured on the "East-West Live" album, which is our next release on Winner, due out September 3. The album consists of three live versions of "East-West" and as you listen to them in sequence you get a sense of how fast things were changing in those days. The third version, recorded about a year after the first, is much freer as a collective improvisation. On the other hand, some of Mike's most orbital playing is on the first version. The first version has at least five sections, of which four sections, twelve minutes, were recorded. The third version, which is close to half an hour long, has only three sections, but the sections themselves are more developed; there are sections within sections. On the first version, Paul plays a beautiful, peaceful solo at the end. The other versions end much more climactically and, on the third version, Paul doesn't play a solo per se, but contributes a lot of impressionistic stuff as part of the ensemble. Billy Davenport, the drummer, is the one who held this piece together, in my opinion. He carried the thing with power and control, from the beginning. Listening now, he just sounds amazing. A bona fide monster. We were really lucky to have Billy in the group. MAN OR ASTRO-MAN?: Coco The Electronic Monkey Wizard (Interviewed by John Sekerka) Man Or Astro-Man Bassist--and scary alien--Coco The Electronic Monkey Wizard appeared in the same issue as Steven M. Martin, director of the documentary film THERAMIN. We present clips of each, back to back, since they focus on the same topic. (Coco) Cosmik: Being a big theremin buff, I have to ask when and how did you first get your hands on that crazy music contraption? Coco: My very first theremin was built by an off-shoot research facility located in Atlanta. It was very primitive. In fact it only had volume control, ran off a 9 volt battery and could fit in a large pocket. It had a limited range of inaudible low to inaudible high frequency. One movement of a hair on your finger would cause an octave change in the pitch. Now I have a solid state model which can be thrown around the stage. Cosmik: What do you think of the recent theremin revival? Coco: I think it's great. I hope it'll stick around and not suffer the same fate as the first time around. The skill factor in playing ability is quite high - I can barely play a melody. I hope it won't deter people. It takes a lot of practice and a good ear to master. (Martin) Cosmik: How did you come across the theremin? It's a pretty obscure instrument. Steven: I always liked the sound of a theremin. When I was a kid I really liked science fiction and monster movies, so I really liked that sound. The first time I consciously heard it was when my father let me and my brother stay up late to watch The Day the Earth Stood Still on television. We flipped over it. That movie's got everything: robots, Patricia Neal, a guy from outer space and the theremin. We started running around the house doing theremin noises. It was also a sound your parents hated. I always liked that sound and kept hearing it as I got older. I wasn't even planning on making a film about it, I just wanted to use it in the score of a movie I was making. I had never seen a theremin before. It's not like they're a household appliance. Trying to find someone who could actually play, as opposed to just making noise, led me to Clara Rockmore. I mentioned my problem to my attorney and he said, "that's funny, my mother's best friend is the world's greatest theremin player". So she set up a tea for us to meet. Clara turned me down. She was reticent and had no interest in playing on a score. In the course of the tea, the idea for the documentary was hatched. JON & THE NIGHTRIDERS: John Blair (Interviewed by DJ Johnson) Easily the most popular artist of the 2nd wave of instrumental surf, John Blair's guitar playing led many kids to follow in his footsteps. At the time of this interview (August, 1996), Blair had just released Fiberglass Rocket, his first album in 11 years. Cosmik: How did the Nightriders get started? Starting a surf band at that time wasn't a sure thing. John: It certainly wasn't a sure thing IF you went at it intentionally with the idea of getting a hit record, impressing some major label, making tons of money, etc. With the Nightriders, the early days had no long-term plan or goals. Everything we did in the beginning was intended to be a one-shot effort. It's a long story, but I'll try to whittle it down a bit. When I self-published the first edition of my book "The Illustrated Discography Of Surf Music" in 1978, I had a party to celebrate it at my house. Three friends of mine and I jammed in my living room that night playing surf instros. That little impromptu "group" featured a friend on bass, Jeff Nicholson. A few months later, when the book had sold well enough to convince me that there was still interest in this music after so long, I decided to form a band strictly for the purpose of recording a 4-song EP and marketing it myself. I called up Jeff who ended up asking Dusty Watson to play drums. One of the people who bought my book was an L.A. session guitarist named Ed Black (who was backing up Karla Bonoff at the time I believe). Ed wrote me a letter and indicated a strong interest in instrumental rock. I called him up and asked him to play rhythm guitar for our "session." He agreed. So, Jeff Nicholson, Dusty Watson, Ed Black, and myself made the record and I pressed up about 500 copies in 1979. The record was brought to the attention of Greg Shaw, owner of Bomp Records in L.A. Greg eventually phoned me up and asked if I would produce an entire album of surf instrumentals. If I did, Greg agreed to release it on Bomp. Not stupid enough to pass up an offer like that, I re-formed the band to go back into the studio for an album's worth of tunes. That album was "Surf Beat '80" which led, in turn, to our playing the Santa Monica Civic a month or two later in front of 2000 people and opening for Dick Dale and The Surf Punks (by the time we did that show, Ed Black had other commitments and another friend of Nicholson's, Dave Wronski, was added on rhythm guitar). That appearance led to our club dates, the Live at the Whisky-A-Go-Go album, our subsequent recordings and European tour, the movie soundtracks, and to the current album, "Fiberglass Rocket." Nicholson moved out of state after we recorded our last album, "Stampede," and Pete Curry was added on bass before we started rehearsing for "Fiberglass Rocket" in the spring of '95. MICHAEL ERLEWINE (Interviewed by DJ Johnson) Michael Erlewine, head honcho at the All Music Guide, talked about his work and where he hoped to take it. Cosmik: What's your ultimate vision for The All Music Guide, books and database alike, Michael? Michael: Just exactly what the title says. All Music Guide. Cosmik: Everything. Michael: Everything. Just eventually more and more detailed. A wonderful place to roam and to learn about music. Part of our goal is to eventually have some AI [artificial intelligence] techniques, which Vladamir's an expert on, helping you to go from the things you know now, the music you like now, to something you THINK you might like, and help you get there without embarrassment. Like I'm having trouble being crazy about rap...probably because I'm so old and everything. But somebody introduced me to the Murk Artists. It's kind of a version of rap stuff, but it's like dance music, and I do like dance music. It's helping me get there. Rap's not my favorite music, and I don't find myself putting it on to relax. But at the same time, one of my good fortunes is that I've been able to appreciate almost all kinds of music, and I really value that trait. I really love country music... early country music, especially. So when there's a kind of music I DON'T like that I know is likeABLE, then I would like to get there. Sometimes I have to be educated. So one of the things we try to do is help people get from here to there, like a spider crawling across a great web handhold by handhold. To me, a lot of what music is about is overcoming the fear of the unknown and always discovering something new. LAIKA & THE COSMONAUTS (Interviewed by John Sekerka) That amazing surf band from Finland spent some time on the phone with John Sekerka one sunny afternoon. Here's a little snip. Cosmik: You know surf music is quite popular in North America, so you'll be greeted with open arms. But what does Finland think of all this? Matti: We do play more gigs in the U.S., so we can say that we are more popular than back home. The tradition of guitar instrumental music in Finland is a long one. It's in a more calm style of The Shadows if I can use them as an example. It's something that people like to dance to, in dance halls, using traditional dance steps like foxtrot. It's pretty impossible to do that with the tempos and rhythms of Laika & the Cosmonauts. Cosmik: Tell me about "A-Treatment", my favourite Laika song. Matti: The "A" stands for asparagus. That was an interrogation code name that the CIA used in the fifties. First they pumped the person under interrogation with some sedative and made him pass out. Then they pumped him with speed. I guess that's what makes a person tell the truth. It's all instrumental, but you can pretty much hear the idea from the song. ROBERT RICH: (Interviewed by coLeSLAw) Robert Rich's contributions to electronic, trance, ambient and other genres are immeasurable. One of the most fascinating aspects of his career is his "sleep concerts": live performances where the audience brings sleeping bags and pillows so they can sleep to his dream-like music. That was the subject of this segment of his Cosmik Debris interview. Our graphic artist, coLeSLAw, had never considered doing an interview before this, but he couldn't resist the opportunity to talk to his musical idol. Cosmik: You've said in the past that you have not done sleep concerts in a while... since 1986 I believe. Is your main focus for live shows now leaning towards the more patterned polyrhythmic, earth-bound...if you will, pieces than your more expansive space-bound pieces? Rich: Well, first of all I think most of my work has been fairly earthbound, even the longform music. But for the last ten years or so my concerts have been a lot more active. It's funny you should ask this now, because I have just started doing sleep concerts again, mostly on radio stations. The first was on KUCI in Irvine, CA, in May. In July I plan to do one on KFJC in the Bay Area. Then, in Autumn I'll head out nationwide to play a bunch of sleep concerts (some live, some radio) along with the shorter active concerts. I think the radio is a good medium for the very static music, since it works well in private, and it's more convenient for the listeners to spend the night at home. I think in many ways I feel most comfortable with the slow drone music. The rhythms don't come as easily for me, but I do really like playing the rhythmic stuff live. Cosmik: Lately, your work has been deemed "dark". How do you feel about that association? Rich: Dark relative to what? Ministry or Yanni? I just think of it as shading, contrast, chiaroscuro. Beauty for me always contains a shadow - it's part of being mortal. I think some people are afraid to confront the shadows inside themselves. Like Sartre said, and Gautama before him, the foundation of human suffering comes from our fear of death. This isn't to say we should wallow in it, like teenage Goth kids. Lightness also has its place. It's just that I have trouble digesting saccharine. G.T. STRINGER: Jim Redgate & Trevor Ramsay (Interviewed by DJ Johnson) Jim and Trev, of Australia's multi-genre wonder, G.T. Stringer, gave us one of our more colorful interviews. Here, we talked about the surfing thing. Cosmik: Do you think surfing tunes you in to the music in any way? Is there a connection for you, or a vibe that you get on the waves that you can translate into sounds? Trevor: We'll Jim will probably say that I get my surfin vibe headed towards the bottom doing a nasty pearlin expedition on my mal! Maybe I'm just tryin to locate a suitable conch shell to augment my sax blowin exploits. I tend to enjoy surfing for the fun release it bring's to day to day things, I think it's part of riding longboards and longboarders in general who seem to be a bit more easygoing and not into the general hassle scene. I'm not sure about a necessary connection with the music as such - look at them landlocked buddies Thee Phantom 5 - Todd told me once their music is influenced by the tow truck business they run. Jim: It's an attitude more than anything. Anyone who surfs will tell you that the best way to wind down and mellow out is to catch some waves. You can be in the worst mood, but an hour or two in the ocean will sort you out. When you capture this in the music, as well as the adrenaline that you can experience, you have a true surf feel. PATTI CLEMENS (Interviewed by John Sekerka) City Of Tribes is a very interesting record label that puts out music by Ring, Trance Mission, Halcyon Days, and others of that upper-stratosphere ilk. Label honcho Patti Clemens, who is also half of Ring, talked about the other half. Cosmik: I was just spinning the latest Event Horizon, listening to Ring, which is your project. Patti: Yes. I'm the vocalist and song-writer, working with Barbara Imhoff who plays a full concert harp. I call her my rock'n'roll harper. She's very powerful. Cosmik: How big is that harp? Patti: It stands about six feet tall. It's what angels play in heaven, it's all gilded, it's all gold, it has a crown on top. Cosmik: How does she lug that monster around? Does she have a huge case? Patti: There's a giant cover for it which looks like a hot oven pad. She can stick it in her car, but it takes two people to actually carry it. ERIC BENET (Interviewed by Shaun Dale) In his April interview, R&B artist Eric Benet discussed the messages and power in his music. As this interview was taking place, Benet's CD, True To Myself, was selling like crazy in several countries, including Japan. He had just returned from touring that country. Cosmik: ...how important is it to use your music to have a positive social impact? Benet: Oh, it's very important. You can only say "baby I love you, baby I lost you, I miss you and baby we have great sex" so many ways before it's like, "damn, don't you have anything else to sing about?" There are so many more relevant and pressing issues. For me, songwriting is an expression of what's in my heart and what's in my mind, and there's a lot more in my heart than just the love songs. I think that anyone who's of at least functional intelligence can think of other things than what's going on in their love life and their own little personal world. Cosmik: Well, that was part of the contradiction I saw at first, thinking, well, this guy's out of Milwaukee, where'd this come from. Because for those of us that aren't there, or haven't been there, when we think of Milwaukee, we might tend to think of Richie and the Fonz. But you're talking about things that we might associate with LA or New York City and it makes people realize those problems exist everywhere... Benet: Hey, there's Compton all over, man, believe me. Where I was raised there was a crack house on one side and a whore house on the other side and a drug house across the street. I grew up in a very bad neighborhood. I mean, there was a lot of love there, and a lot of good there too, don't get me wrong, but there was a lot of evil around me. That's why family is such a beautiful thing to me. We were raised in this terrible neighborhood but we were completely resiliant and shielded, not because my parents were so strict but because it was so loving. So it was right there in my face, but I always knew right from wrong. I was never tempted to do... I mean, I was curious to a point, but I guess when you're raised the right way the curiosity never turns into experimentation. In a way, I guess my house was like the black Richie Cunningham and shit, but it wasn't because my surroundings were. It was because my dad and my mom knew what they were doing. AL & JANIE HENDRIX (Interviewed by DJ Johnson) The father and half-sister of the late Jimi Hendrix, in separate interviews, each expressed their motivations for creating Experience Hendrix, the family business that controls Jimi's music, image and likeness. Cosmik: What are your hopes for Experience Hendrix? What would you like to see it accomplish? Al: To get out all material that we can of Jimi's in its original form and put it out the way Jimi would have put it out. That's what it was all about. That's what he was writing it about. Don't dress it up in any kind of different way than Jimi would of had it. Cosmik: Twenty or thirty years from now, what effect do you hope Experience Hendrix will have had on Jimi's memory and his legacy? Janie: That's why we started a family foundation. We would like to continue to sponsor children's groups and youth groups and school programs. I would like to make sure that at least... This is a small number, because I think we'll do better than this, but I'd like to touch at least two people's lives a year, where they say "because of you guys, I was able to..." whatever. I've heard a lot of stories over the years where... for instance, Bob Dylan's guitar tech pulled me aside one day and said "You know, it's because of Jimi that I'm in this business. I was in Manny's Music, I was plunking around on the guitar and not paying any attention, and they announced for everybody to get out, that the store was closing, and I wasn't paying attention. Then I look up and there's Jimi standing over me. The owners are like "Get out! You've got to leave!" And Jimi says "No, no, no. He can stay. It's cool. He's not hurting anybody." And then he says "Jimi said to me, 'You know, I'm going to be down at the studio tonight if you want to come by. Come by about eleven, eleven thirty, that'd probably be a good time.' So here I am a 15 year old kid, I go to Electric Lady studios, I'm there till five in the morning KNOWING I'm gonna get killed when I get home, but I don't care. I'm with my friend, I'm listening to Jimi and he just jams out all these songs in one take for an album." He said it was the most incredible experience in his life, and that's why he wanted to be in this business. And that's what I want people to say. BRAZIL 2001: Bernard Yin (Interviewed by DJ Johnson) Bernard Yin is one of those guitar players that other guitar players can't stop talking about or listening to. His band, Brazil 2001, plays such a diverse array of music that it's impossible to tag them with a genre. In this segment, Bernard talked about diversity. Cosmik: Playing such a diverse range of music means you'll have a smaller audience, since the majority of people can't deal with more than a few genres. I guess the upside would be having a musically intelligent audience. Do you find that's the case with your audience? Bernard: It's of questionable Karma to judge differences between people, but there is no question that all sorts of folks love music regardless of their brain power. We seem to repel people who want to hear overtly primal alterna-fodder. Bummer, eh? That whole common denominator thing is a drag. It sometimes amazes me what blandness can pass as successful or potentially popular. It's not intentional that we alienate anyone. Both Bill and Larry of Brazil 2001 come from bands that were very straightforward and leaned towards simply rocking out and releasing certain demons. I do feel torn at times, though. I mean, for the pure rush, I think audiences who just wanna rock real hard are a beautiful thing. I once saw The Bad Brains in Tijuana and despite the political message in the music, it was very out of control and as much a pure party. That's a glorious thing! A studied band and studied music can be a dangerous thing! Yet another line to walk, eh? Shit! I try to make up for some of that dilemma by playing real loud, and Bill and Larry do hit hard. I do think that a great deal of people are stupid enough to accept anything once it's been mediated properly by validation media such as MTV and pop films. Strange music has had moments in the pop charts. What I am currently creating is really pretty tame. It's just an odd mixture. V. VALE & ANDREA JUNO (Interviewed by John Sekerka) In separate Tape Hiss interviews, John Sekerka talked to two of the most important and influential names in the zine counter-culture, V. Vale and Andrea Juno. Here are clips from each. (V. Vale) Cosmik: When did you first start publishing? V: I started Search and Destroy twenty years ago. The reason you publish a zine is to change the world, because you certainly aren't going to make any money at it. This was before punk rock was called punk rock. It not only documented what I think was a new emerging subculture, but also hopefully, catalyzed it. In the eighties I started another publication called RE/Search in a book format, which made it possible, 16 years later, to earn a living. It takes so long to get enough distribution and readership. Of course if you believe in what you're doing, you pay the price to do it. Cosmik: Were you the first zine publisher? V: It was hard to publish zines before the mid seventies simply because there weren't any Xerox machines around. Before then you'd have to have access to mimeograph machines, which was pretty awkward and specialized. Most zine publishers do a few, and lose their shirts. I knew in advance that I would spend everything that I had to keep it going, so I wasn't surprised when I lost money. That was my fate. The reason I didn't continue with Search & Destroy after starting RE/Search, was because the original movement is very personal and underground which in San Francisco, comprised a few hundred weirdos, loners and artists. That first movement was very social. Everyone knew each other by their first names. Of course it was too good to last. What drove it off, in my opinion, was this young macho white male element from the suburbs who started this slam dancing and mosh pit gladiator stupidity. It didn't mean punk was invalidated, it just hadda go underground for a while. In my mind the true spirit of punk was resurrected in 1991 by the Riot Grrl movement. Riot Grrl is simply punk rock principles - do it yourself - plus feminism. Of course that movement got maligned and attacked. Most of the originators got ashamed of being these incredible pioneers. That shows the power of the mass media: to take away your own power. (Andrea Juno) Cosmik: When I spoke to V. Vale he talked as if the punk scene was the impetus for starting RE/Search. What were your initial interests? Andrea: I wasn't so focused on the singular identity of punk rock, even though it was really exciting in the late seventies - a really wonderful motley crew that was drawn to one or two clubs in the city, and there was a whole international network before the mainstream took over. It crossed over a lot more territory than just music. Having a love for film, literature, art, and sussing out what seems to be going on in this culture that's falling apart - for me punk was more of what was interesting artistically in that scene. Identifying solely on what you wear, what clubs you go to is very limiting. I've always wanted to expand the concepts of the books. Cosmik: Even though punk has been bought and accepted by mainstream America, there is still quite a lot of shock value left. What are you trying to do with books like Concrete Jungle - which focuses on subjects like roadkill decay - are you trying to educate, enlighten or horrify? Andrea: Educate, enlighten ... hopefully the books are fun without being frivolous. They are trying to get people to look at a subject from a different viewpoint: askew, a little backwards, re-orient, to look at the environment in a way that's not quite so dogmatic, that covers a lot more levels and ramifications. Education without the hammer is a goal. MAL SHARPE (Interviewed by Ann Arbor) In the 1960's, as half of the brilliantly twisted comedy team, Coyle & Sharpe, Mal Sharpe took part in some of the greatest put-on's in history. They would approach a complete stranger on the street, stick a microphone in his face, and solicit his reaction to one crazy idea or another. These "Man On The Street Interviews" are now legendary. Ann Arbor conducted a very memorable interview with Mal in December, 1997. Here, they discuss one of Coyle & Sharpe's funniest pranks, in which they told the subject there were groups of people called Pescahumanists living as fish in the ocean, even trying to convince him to join the group. Cosmik: So tell us a bit about the Pescahumanists. Sharpe: Coyle and I used to do so many things like this: Pescahumanists, underground rituals with animals and people and wolverines and bats. Cosmik: Tell us a bit about the mentality in the '60s that caused you to think about some of these things. Sharpe: Well you know this stuff was recorded here in San Francisco in the early '60s. This was before Kennedy was assassinated and the moonshot and all these sorts of things. Pseudoscience had everyone in its sway, it still does, but even then.... Today you can picture someone being half human and half fish. It's kinda getting there in a way, where we're using animal parts like pigs' heart valves... But back then it was purely fantasy to us, it was beyond any kind of reality and that's what appealed to us. Before we went out in the morning we would sit in a coffee shop and come up with concepts to talk about on the street that day. Often it was just things we'd see, fish on the menu and we'd say "fishpeople" and Coyle, who had a great vocabulary, would say "Pescahumanists." We'd go out on the street, stop someone and start to talk about "Pescahumanists." That's how those things happened. Sometimes we would do the same sequence several times over the course of months, you know, we wouldn't get a good victim. So we would begin to develop a kind of plot or a world, the "Pescahumanist" world, things like this in our minds. Then we would just look for a "victim." THOMAS DOLBY: (Interviewed by Keith Gillard) In August of 1996, WebTV was not yet even a buzz in the public chatter. Now, ten months later, it's a hot item with heavy duty media support. Musician Thomas Dolby and his company, Headspace, were right in the thick of the project. Dolby's involvement in the Internet community was the topic of this section of his interview with Keith Gillard. Cosmik: Would you say that your Internet involvement stems from your work in multimedia? Dolby: I think probably my multimedia involvement led to my Internet presence. I'm not a person that enjoys spending all of my waking hours at my computer. Given half a chance, I'll go off and go sailing on a lake or something like that. Cosmik: How do you see yourself progressing on the Internet, as a musician? Dolby: I would love to be in a position to release new songs on the Internet, without having to go through any of the typical intermediaries, like A&R men and radio programmers and record store owners. Obviously, there's a current limitation in bandwidth, storage, and processing power. But the scientists will work on those numbers with or without me. So I'm assuming that sooner or later it will be possible for me to start releasing music in that area, and I would just like to prepare for that. BETH CUSTER (Interviewed by John Sekerka) Multi-instrumentalist Beth Custer (of Trance Mission and The Club Foot Orchestra) was the subject of our very first Tape Hiss interview. John Sekerka's radio interview was transcribed for Cosmik Debris, and we've been running two of his interviews every month since. In this clip, Beth talks about one of Club Foot Orchestra's many sidelights. Cosmik: How did the Club Foot Orchestra get started recording music for silent films? Beth: We had slogged around the clubs for years without much attention, starting in the early eighties at Club Foot. We'd play odd-metered dance music with a big horn section. After about five years we came upon the idea of playing live music to silent films and it just took off. For some reason it was a marriage made in heaven. Our fearless leader Richard Marriott wrote the first two scores, The Cabinet of Dr. Kaligari and Nosferatu. Then more members started writing. Metropolis and Buster Keaton's Sherlock Junior followed, and now everyone contributed to Pandora's Box. Somehow it works as a hectic collective with everyone sparring for scenes. Cosmik: Recently I took in Charlie Chaplin's City Lights backed by a big orchestra. He made that silent film even though talkies were the norm at that point. He wanted it to transcend language barriers and be an international event. I think that makes a lot of sense. Are there any silent films being made these days that you know of? Beth: I know a couple of filmmakers who've done small silent films. We've done a couple of collaborations. I think it could be quite a great medium that could come much further. THE BLUEBEATS: Mike Drance, Steven Prisco and Russ Sisto (Interviewed by DJ Johnson) Rock Steady is no longer a long lost form of music, thanks to bands like NYC's The Bluebeats. In this segment, they discuss that form. Cosmik: What is it that appeals to you the most about rock steady as opposed to other forms of Jamaican music? Mike: SOUL brother, SOUL! And just beautiful music. Steven: I love all of the island music, not just rock steady. Rock steady is cool because it is truly soul music. Some of the songs are very passionate. Sometimes you get to play great grooves behind really beautiful melodies, and then sometimes it just plain rocks! It gets difficult at times to explain the difference between ska, rock steady and reggae as they cross over each other so often. Just the slightest variation of the rhythm or the strumming of the guitar can make a song sound totally different. Russ: I love to play rock steady bass. There is nothing like it. It is simple, yet very focused and needs to be played just so. Check out "I'll Be Standing By" on our Dance With Me CD. That's an original rock steady bass line accented with Mike's guitar. To me that's what is unique about rock steady. It's the heartbeat. STORYVILLE: Malford Milligan (Interviewed by Shaun Dale) Malford Milligan is a relative newcomer to the rock and roll warpath. When we say "relative," we mean relative to his bandmates in Storyville. Bassist Tommy Shannon and drummer Chris Layton had spent years as the rhythm section for Stevie Ray Vaughan & Double Trouble. Guitarist David Grissom had played with Joe Ely and John Cougar Mellencamp. And guitarist David Holt had worked with Ely, Carlene Carter, and The Mavericks. Milligan talked with Shaun Dale about what it's like for a rookie to work with those players. Cosmik: These guys in the band have been everywhere with everyone. Does that put any special pressure on you? Do you feel that? Malford: You know, when I first started I really felt it - I definitely felt it when I was on stage - but the deal was more and more we became closer by writing together, by trying to get this band off the ground and the whole bit and it's not a pressure that I even think about now. It's more or less what the song demands, you know... Cosmik: I know you place an emphasis on songwriting as a team effort... Malford: Exactly, I sure do. Cosmik: How does that work? Do you guys come together with pieces of songs? Do you all do this together in a room? Malford: Sometimes. A little bit of anything. I know in Grissom's case, he brought some finished songs in we used on the record. Right now I'm working on a tune, in fact, just laying stuff down a cappella, and what I'll do is take that to David Holt or David Grissom and to the rest of the band and see if it's something we might want to explore doing, you know what I'm saying, and see if they get any ideas from it, and if they do it goes on from there. 'Cause David Holt or David Grissom can find the key that the song is in - I never even know what key I'm singing in. I'm musically illiterate. KILLDOZER: Michael Gerard (Interview by John Sekerka) Killdozer's front man, Michael Gerard, was one of the subjects of the Halloween issue's Tape Hiss interviews. Here, Michael explains a cultural phenomenon called "Smut & Eggs." Cosmik: I've read about Smut 'n' Eggs at Bennet's Supper Club. Can you fill me in? Michael: You can get scrambled eggs and home fried potatoes for two dollars. Another fifty cents gets you the bacon. Happy hour is six to eight in the morning: one dollar Bloody Marys. They show pornographic movies on the weekends, oh... up until eleven in the morning. It all comes to a grinding halt when one of the regulars was made to bring his kid in by the wife. "Oh no Ralph's got the kid", and the videos have to be switched to the sports channel. The eggs are pretty good though. Cosmik: Why did you move to the big city? Michael: I thought in a big city they'd have Smut 'n' Eggs every day - not just on the weekends. Cosmik: And do they? Michael: I haven't found 'em. There's places for breakfast and there's places for smut, but not for both. THE UPPER CRUST: Marquis Mark (Interviewed by John Sekerka) Sharing the Halloween Tape Hiss bill with Killdozer was The Upper Crust, an unusual rock and roll band that dresses in the costumes of 18th century nobility, including the powdered wigs, and sings songs about "Little Lord Fauntleroy" and their "Rock And Roll Butler." Having fun vamping it up to the hilt, the Marquis fielded this question about a familiar sound in some of their music. Cosmik: How do you answer charges that you borrow your sound from AC/DC? Marquis: We think they are fine men. The one problem that they bear is that they are Australian, but of course, one cannot be perfect. I feel it is more a spiritual kinship, rather than an outright robbery. That is what our legal council has advised us to say. Cosmik: There are definite similarities between "Let Them Eat Rock" and "Let There Be Rock". Is that purely coincidental? Marquis: Purely coincidental, my good man. How dare you suggest otherwise? STEVE VAI & JOEL THOME: Interviewed by Paul Remington Guitarist Steve Vai and classical composer and conductor Joel Thome collaborated on a project at the Eastman School in Rochester New York in October of '96. Each man had played an important part in Frank Zappa's life story, and Zappa had most certainly played a major part in each of theirs. This clip is longer than most of the others because we didn't want to cut any essential parts of the conversation. This was a highly important moment that seems to have planted a seed. That seed may eventually grow into another chapter in the incredible Zappa story. Cosmik: There's one thing I have to ask: David Ocker has said that he remembers Frank asking you to do transcriptions of Greggery Peccary he had never written down. He remembers seeing the transcriptions, and he has no idea what happened to them. Do you know? Vai: [Looking surprised] I have them in my vault. Cosmik: You have them in your vault. Vai: In a big box that says "Project Peccary." Cosmik: Will it ever see the light of day? Vai: Well, Frank saw it. Cosmik: Was he pleased with it? Vai: Well, he wanted a complete score of Greggery Peccary. Cosmik: Which there never was a complete score. Vai: Well, there were bits and pieces here and there that he had, and I rummaged through all of his stuff and got everything I could scavenge, you know? And then I just sat and went crazy trying to make a score. And, uh . . . Cosmik: It sounds like trying to take Mahler's Tenth and finish it. Thome: Uh huh! [Laughs] Vai: I've got Frank's handwritten manuscripts for that. Cosmik: Oh my God. Vai: Don't tell his wife. Thome: This is the first time that this riddle has been solved for me. When we were doing Zappa's Universe Frank called and said, "I'd really like to hear Greggery Peccary with orchestra." Vai: Oh yeah! Cosmik: Oh yeah, absolutely! Thome: I know who he was thinking about now. He must have been thinking about Steve. Vai: When I first heard Greggery Peccary I was in college and I had to stop the tape and go lay down because I couldn't believe one person had composed this. Amazing. I had never heard anything like it. Cosmik: Why don't you do it? Why don't you pull it out and see if you can piece it together? [a few minutes later] Cosmik: You have the perfect person by your side to help you complete such a project. I'm sure you'd love to see it completed. [Looks to Thome] Thome: Oh yeah. Cosmik: I could just see Steve working on it, his shiny hoofs up against the desk as he draws dots and lines on staff paper. Vai: [Laughs] Thome: Frank would love that! Vai: Yeah, he really would. RANDY FULLER (Interviewed by DJ Johnson) "I Fought The Law" is probably played a hundred times a day or more in this country, and the song is over 30 years old. The Bobby Fuller Four never really got a chance to see how far they could go, because Bobby was brutally murdered in 1966. Randy Fuller has spent the past 31 years wondering who killed his brother and why. His life was changed in many ways when Bobby died, because he not only lost a member of his family, he lost a promising rock and roll career. Randy was the bass player of The Bobby Fuller Four. Our interview with Randy (one of the nicest people I've ever had the pleasure of talking to) covered a lot of turf before we wrapped up with this segment. Cosmik: I have one more question, if you don't mind getting philosophical for a moment. When you look back at everything you lived through, are you still able to remember good times and enjoy the memories? Randy: Some, yeah. The thing that I regret the most is not being together like I am now, to help my brother more--him help me and me help him--to do better, make the sound better, and everything else. I think my insecure attitude hurt us a lot. And then again it helped, in some ways. But I regret that because I think we'd of been even closer. We was pretty close, you know, but I think that would have helped us to be even closer, and then maybe things wouldn't have happened the way they did. I had a lot of good times, but I had a lot of rotten times, too. We worked really hard to do what we did. Bobby worked extremely hard to get just the little bit of fame we got, which was a very small amount, but we did do a little. I just regret the fact that he had the talent to do a lot more but didn't get a chance to go full blossom to see what could really be done. The good times... One of the greatest feelings in the world was hearing "Let Her Dance" on the radio for the first time. In Hollywood, goin' down the freeway, and all of a sudden, that started playin'. "Here's the new hit out by the Bobby Fuller Four." Boy, and I'll tell ya, that's the greatest feelin' in the world. Cosmik: Man... top of the world, huh? Randy: Yeah. Because you know, to get a record on KRLA or KFWB, back in those days, was almost impossible for an unknown band. When Larry Nunes said he was gonna do these things for us, we was just kinda laughing under our jackets a little there, you know? "Sure, he's not gonna do that." And all of a sudden, he says "You boys listen to the radio at one o'clock today. Your record's gonna be on there." We're like "sure, Larry." We're drivin' down the street and it come on... boy... that's a great feelin'. You see yourself bein' a millionaire. But you never were, you know? I remember that Bobby had a credit card. We'd never had a credit card before, and he had a credit card up in New York. And that's one of the best times I can remember. I said "man, I sure am hungry," because all we'd been eatin' was like McDonalds burgers and cheap stuff, you know? He says "come on, we're gonna go eat somethin' good. Don't tell anyone else," you know... the other guys in the band. And we went into one of the top restaurants there--I forget the name of it--and he said "order anything you want." And I ordered a cornish game hen dinner with grapes on it and everything (laughs), boy. And we talked and had the greatest time that night. And that was... that was a good feelin', you know? * * * That wraps up another year of Cosmik Conversations. We hope you enjoyed it. Stay tuned for year three. ____________________________________________________________________________ Call For THE SWINGSET POLICE Interviewed by DJ Johnson The Braam brothers, Scott, Mike and Tom, have been rocking Wisconsin for quite some time under the moniker of Swingset Police. Recently, they have turned up on a few compilation CDs, including RPM Records' 3 Minute Revolution, finally bringing them to the attention of critics and fans outside of their home state. Their CD, recorded in 1995 and titled Kadickadee Kadickadoo (A True Story), has nine good songs and one great one. "54321" is Swingset Police at their rocking best. Listening to that tune, there's no way to avoid the term "power pop," as much as Scott Braam would probably like to. With their new CD in the works, the band is anxious to show everyone what their music has evolved into over these past two years. * * * Cosmik: How old were all of you when you first put a band together with all three brothers? Scott: Well the band started in a very different way than most. I mean Tom and Mike Braam founded it in about 1990, or around then. They had a lot of different people in and out of the band, and they just wrote some songs, learned a few covers and started playing live as Swingset Police. But they soon met Bob and Sherry... no last names here [Laughs]. Anyway, they were married, and they played lead guitar and drums and had a bit of a recording studio set up in their basement. Swingset then recorded their first album, which is out of print, and released it in 1993. It got some good reviews and helped them a bit, but soon after they broke up with them, and it was just Tom and Mike again. The brothers. That's where I came in. I had been playing guitar only a year, and one day Tom called me and said "hey, how good are you on the guitar?" Well that was 1994, about April. And now it's three years later and Swingset Police is at its best as a rock 'n' roll band. In those three years, we had many drummers and other people in and out of the band, but we still wrote songs and played live and recorded the second CD, Kadickadee Kadickadoo, in 1995, and released in on Black Vinyl Records. Since then we have met our new dream drummer, Marty Winer. He's great! He is Keith Moon and Ringo Star put together. I love him as a drummer and a man. He's the best thing to happen to us. I can't wait to record with him. Anyway, to get back to your question, Tom started when he was 21, Mike when he was 23 and me when I was 18. Now we are a bit older and a lot wiser. Cosmik: What kind of material were you playing? Have you always been into power pop? Scott: When Swingset Police started they were a bit lighter a bit more pop rock then we are now. As their song writing became better and more developed, so did their sound, and when I got in to the band three years ago it really took off as far as the rock 'n' roll stuff. We write together, all three brothers, and we don't think of a style when we write. I mean we all like different things, but basically the same format. I love Nirvana, Cheap Trick, REM, Led Zep and Neil Young. Tom loves The Clash and The Replacements, Mike loves the Beatles, The Byrds, The Romantics, The Beat, and The Plimsouls, and together we all love rock 'n' roll and we all are on the same page as far as song writing. Power pop is not really a good term to me. It labels bands. I think pop rock 'n' roll is better, and that's what we are. Rock 'n' roll with guitars, drums, melodies, harmonies, and hooks. Our new stuff since our last album is a bit more rock 'n' roll than pop, although we have a few new--as you would call them--power pop songs which would fit on our last album. So we are not going away from our roots, we are trying to step high above what we have done before. Cosmik: Did the local music scene in Lake Geneva, Wisconsin, shape your music and influence it, or was it all music you were hearing on the radio? Scott: What music scene in Lake Geneva? I mean besides the stories of Cheap Trick playing there a lot in the early 70's, and a few other bands, and us, that's about it. As far as influences and radio and stuff, well yeah, I mean The Beatles are our main and first influence, but with some bands they stop there. We love everything from Sinatra to Nirvana, to the Everly Brothers, to the Sex pistols. And to tell you the truth, radio sucks and it always will. So pretty much I just listen to oldies or classic rock when I'm driving. I mean do I really want to hear Hootie and the Blowfish driving in my car? No, I want to hear AC/DC. And by the way, the new Cheap Trick is the best album of this year so far. Please pick up a copy. It's the best they have been since about 1982, and they are getting no airplay, so fuck the radio. Although we have been played a million times on Milwaukee stations, and in Chicago a few times, and all the college radio stations in Wisconsin. But it hasn't done that much for us. Cosmik: When you got to this phase and came up with the name, how did you get to Swingset Police? Scott: Swingset Police is from a Replacements song. I love them. So does Tom. It's from a song called "Asking Me Lies." It is a great song and a great band, and I think a pretty cool name. We get the Police thing happening sometimes, but not often. People seem to really like our name. It was Tom's brain child. Actually, he wanted to call the band Garage Sale. I'm glad he picked Swingset Police. Cosmik: How do you see your music? If you had to describe the sound, and even the philosophy, what would you say? Scott: To me and my brothers, our music is rock 'n' roll, with melodies, big guitars, hooks, and soul. The song always comes first, not the guitar solo, or the clever lyric, or the egos of song writers. We try to make rock 'n' roll songs that people will dig, and we would like if we sat down and listened to it. "Simple simple simple" is our theme, and we love to steal from our musical heroes, as all great bands do. I see our music as the kind of music you love to drive about 100 miles per hour to, but then the next song you just want to sit back, smoke a joint and chill. We are getting better at bringing our music up to 100% rock, then bringing it down to 50% rock. That's the key to the best bands. Dynamics are so important. Cosmik: I once interviewed a band from Nebraska called Matchbook Shannon who called their music "Cuddle Punk." It was personal and sometimes confessional music, and that's something that a lot of women relate to. Some of your songs strike me as belonging to that little sub-genre. Do you see a lot of women at your shows singing along, that seem to know the songs and get into them? Scott: I hope so. We all love women, and usually there are a lot of women at our shows... if we can help it, that is. Yeah, our songs sometimes are clever and pop, so girls love them. "Sweethearts" on our album, I think I have gotten kissed more times just for that song than any other [Laughs]. You can call it "cuddle punk," or "power pop", or whatever you want, but it's just rock 'n' roll, and I pray that the girls keep liking it. That's the key, you know... the girls. That's why Tom writes so much about his girl of the moment [Laughs]. Songs about girls and pop rock 'n' roll just mix so well. Cosmik: Yeah, that's the one great truth of pop. Worship girls, want girls, immortalize girls... Then there's "Sheila's On The Pill." Is there a story behind that one that might make the Republicans shut us down? Scott: No not really. It's a simple thing and a short story. It was "she lives on the hill," and Mike said "hey that should be 'Sheila's on the Pill.'" We all laughed and said "yeah right." Then Tom started singing that, and it stuck. Of course the best thing is that you can put any name in there, so Tom has used that before to get the attention of some girl for me or for himself. This song is always the kids' favorite. It's punky and corky, and they love that shit. It's sorta a throw away song to me, and I'm so sick of it. But we shall keep playing it probably forever. People like it. As far as Republicans, fuck them, we are Democrats. Cosmik: Who woulda guessed? [Laughs] "54321" is just plain great power pop... and whether you like the term or not, it definitely refers to a certain sound, and "54321" has it. Who wrote that? Was it written as it is now, or did you structure it in rehearsals? Scott: We all wrote that, like we almost always do. It was written in about 20 minutes one night along with "Ripcord." It was a good night. The lyrics were play ones, and then he ended up keeping them, but the bridge and verses were written, lyrics-wise, by Tom on the way to record it. He needed lyrics and he wrote them fast, and I'm not sure if they make much sense. [Laughs] But that's rock 'n/ roll. Anyway, it's a pretty good song and it's a perfect first song on an album. As always, if I have not said it before, for the last record, me and Mike did most of the arrangements and musical hooks, but Tom does lyrics and the melodies. He's a great song writer. I respect him very much. Some of our new stuff, me and Tom wrote together, or me and Mike wrote, or Tom and Mike wrote. But when it all comes together, we all four, with Marty, put it together. Cosmik: That one is on the 3 Minute Revolution comp CD on RPM Records. I singled it out when I reviewed the CD as one of the best tracks. Has that CD brought you some attention yet? Scott: We have gotten a few responses from the 3 Minute Revolution comp CD. All have been good, and a few reviews and follow ups are actually the most we got from it, and this [interview], of course. We won the Musician [magazine] Best Unsigned Band contest, and that's done about the same. I mean it just proves that it's very hard to get anyone to want to sign your band or even look at them. It's a terrible business. I hate it. It pisses me off when I see some of the crap out there. That's all I'll say about that. But we ain't going anywhere and will be heard from again. Our new stuff is too good to die without someone hearing it. I mean Chicago is great and we just started here, so we'll talk about this maybe by next summer. Hopefully we will be somewhere higher in our position than now. Cosmik: What other comps have you been on? In fact, why don't you just run down your discography right here so new fans can track it all down. Scott: Pink Firmata music... We have like ten left, but if someone wants a tape, we'll make one for a few bucks. If we ever did get signed, we would release, I think, Kadickadee Kadickadoo (a true story - BVR black vinyl records), The Three Minute Revolution (RPM records), Musician Best Unsigned Band Contest 1996 (Musician Magazine release)... That one's hard to find. The mix on the song "One Star" is a bit different on the recording on the comp. Cosmik: What kind of gear do you use now? Scott: We have never been gear heads, as we call them, but I'll tell you what we use. I use a Marshall 50 watt head two channel (clean, dirty), with a 4x12 Marshall speaker [cabinet]. I use a DOD chorus pedal, a reverb pedal, and my clean and dirty channels, with a Boss equalizer running through the amp for more low end. It's a pretty simple thing. I have two guitars: a 1984 Strat with a hot rail pick up in the bridge, and a Telecaster shit guitar. Tom uses a Mos Valve amp, clean and dirty and reverb, through a Rickenbacker black and white. It's beautiful, Mike uses a Fender Jazzmaster bass, through a Harke thing. It always buzzes. He needs a new one [Laughs]. Marty uses Ludwig, and old ones at that. They are beautiful drums. Cosmik: The booklet in your CD opens up to a full page... I don't know what to call it... A ton of scribblings in several different handwriting styles, or so it seems. Some of it is simple stuff, some of it is very curious. What exactly is that? Scott: That's a great question, and it's a long answer. If you want the long answer, that is. Well, what the hell. It started out when Tom opened up a Stones CD. I'm not sure which one... it could have been "Exile On Main Street." A great CD and a great rock 'n' roll band. Well, in the sleeve it had a wall of sayings and shit. Tom thought that would be a cool thing to put in the middle of our CD sleeve since we had no money for much else. So he called up friends, family and girlfriends, and he asked for a quote, The first thing to come to their heads, and he wrote them down. Then he added a bunch of his quotes, inside jokes, like "Mike ran out of gas at the Wal Mart again." If you knew Mike you would laugh. And we put them on a huge poster board and hung it in the "lounge," our party place, relaxing place, slash recording and writing place, slash get high and listen to albums place, and then as we thought of things we wrote them on there. Some are very easy to figure out others not so easy. But it's a pretty cool thing, and it's meant to read during the listening of the CD. But people look at it and say 'what the hell is this,' which is good, I guess. Cosmik: It's a kick to read. Some of it is funny even if you DON'T know Mike or whoever else. Hey, it says here in fine print that you recorded this album in 1995. What have you been doing since then? Scott: We recorded it in the fall and winter of 1995. We lost our drummer and couldn't play for about three months until about April 1996, then when the CD came out that month, we played a lot in Milwaukee, like every weekend, and in Lake Geneva. We went on the radio stations and we got some good sales that summer, then a lot of personal stuff came up about that August. Tom moved to Chicago, I went back to school, Mike changed houses, our drummer started playing with his original band because he needed more money... So we didn't play again for about four months, which hurt the CD, I think. But then we found Marty and started playing again in January of this year. Now we are finally set with a drummer. Tom's in Chicago so we get the gigs easier and we are ready to roll. All through this time we never stopped writing songs, and that's why we have enough for a new CD right now. I love our new stuff. It's so much better than our old stuff, and I'm not lying, our live performance has [improved] about 100% and I can't wait to rock this summer. Hopefully we are going to demo some songs soon, and then see if we can't get another little loan or contract from someone to record another CD. That's our goal right now: to play live, and record, and keep writing new songs. That's all I can say for now. ____________________________________________________________________________ THE FUTURE SOUNDS OF PARIS By Ann Arbor My friend Mark Turner proposed that we introduce adventurous listeners in the San Francisco Bay Area to the current Paris music scene through a special called "The Future Sounds of Paris" (Les Sons Futurs de Paris) as a part of KFJC's "Month of Mayhem." In preparing for "The Future Sounds of Paris" we bought and listened to a rather large stack of CDs and records. We also got to interview some key artists from Paris. We thought that you would also enjoy knowing a bit more about what's happening in Paris these days. Here's a brief tour along with our playlist and a few reviews to whet your appetite. So buckle your seat belts and off we go to the audio underground of Paris - Bon Voyage! ..Ann Arbor * * * Daft Punk - two Parisian guys who signed with Virgin Records and who have caught the attention of many Americans in recent months with "Da Funk," "Musique," "Around the World," and their album "Homework" have also succeeded in drawing attention to the rest of the music scene in Paris. The independent labels and artists in the nightclubs, raves and on the radio in Paris are definitely worthy of more attention from this side of the pond. Most of us probably became aware of the French hip hop scene a few years ago through MC Solaar, whose beautiful rapping French provided an appealing alternative to the obscenity-riddled Gangsta Rap prevalent in the U.S. Solaar's recordings went platinum and other French hip hoppers became popular (IAM, NTM). As French hip hop went mainstream, other beat-laden music emerged in various subgenres: acid jazz, house, techno, trip hop, drum 'n bass, trance, ambient. Laurent Garnier, considered by some to be one of the finest DJs in the world, is one of the driving forces behind F-Communications, the first Parisian independent label. Garnier's own recordings (e.g. 30 and Shot in the Dark) are almost all available on F-Communications. Other noteworthy F-Communications artists include St. Germain (Ludovic Navarre), Choice and Shazz. St. Germain combines a '60s bluesy quality with beats to create a most original sound (check out his "Boulevard" CD). Chris Le Friant a/k/a The Mighty Bop, Chris the French Kiss, Bob Sinclair and a host of other pseudonyms, and Alain (DJ Yellow) are the guys behind Yellow Productions. The Mighty Bop has also collaborated with La Funk Mob. Another Yellow Productions artist to check out is Dimitri from Paris whose quasi sentimental French string-laden music, combined with loops and ambient Paris sounds, offers yet another presentation of the Paris sound. Yellow's sound has strong links to the Parisian music of the past while being quite original in its own right (check out his "Sacrebleu" album). Versatile is a label masterminded by DJ Gilb-r, a well-known Radio Nova and nightclub DJ. Aside from Gilb-r himself, artists who have recorded on Versatile include: I:Cube, Cheek and Zend Avesta. Gilb-r remixed Laurent Garnier's "Crispy Bacon," and Garnier remixed Gilb-r's track called "Pressure." Another interesting trend in Paris is a renewed interest in the grandfathers of electronica: Jean-Jacques Perrey and Pierre Henry. Through new collaborations and remixes, the work of these 1960s electronic pioneers is becoming ever more relevant to today's scene. Thomas Bangalter and Guy-Manuel de Homem-Christo, best known as Daft Punk, in real life are neither daft nor especially punk. They spent about 20 minutes talking to us before DJing for a rave in San Francisco a few months ago. Despite signing with Virgin, each of them have their own independent record label so that they can continue doing their own work and can evolve in other directions. Thomas' label is called Roule and Guy-Manuel's is called Crydamoure. Thanks to Thomas and Guy-Manuel, more of the other independent artists in the Paris scene will be heard 'around the world'. Here are some recordings to look for: Compilations from Key Independent Paris Labels: F-Communications - has two compilations called "La Collection" (vols. 1 and 2) which provide a good showcase for the range of artists who record on this label. Most are house and techno. Yellow Productions - "La Yellow Collection" is an excellent introduction to the breadth of sounds from Yellow Productions artists: cheesy pseudo spy film soundtracks, trip hop, sultry chanteuses, French strings, and Brazilian dance influences. Another noteworthy Mighty Bop recording is "Autres Voix, Autres Blues." SourceLab - has released 3 compilation volumes since 1995. The newest one, volume 3 is as outstanding as its two predecessors. These compilations are great launching pads for some of the newest freshest Paris talent. http://www.caroline.com/associated/source/source.html What's Up Mixit - Mo 'DJ's Under a Groove - the 3rd release in this series is just starting to be available in the U.S.; in fact we haven't heard it yet. The first two showcased a number of unknowns who have since become more prominent. The liner notes provide an excellent "Who's Who" of the Paris scene. http://cermics.enpc.fr/~dh/yellow/nouvelle_vibe.html http://cermics.enpc.fr/~dh/yellow/nouvelle_vibe2.html For more ideas check out our playlist: http://www.cygnus.com/misc/kfjc/md/pl/1997-05-14/arbor.May.09.22.html If you have questions or want to know where to find some of the music mentioned here, write us: aarborkfjc@aol.com or mturner@netcom.com ____________________________________________________________________________ ULTIMATELY BIRD by Shaun Dale "If you don't live it, it won't come out of your horn." Charlie (Bird) Parker Charlie Parker, the Yardbird, was born on August 28, 1920, in Kansas City, Missouri. The time and place were providential, because by the time Parker reached adolescence, Tom Pendergast's political machine would create the conditions that made K.C. a mecca for jazz and blues artists. The town was wide open, with patronage dollars flowing into a thriving club scene that had grown up unconcerned with prohibition era restrictions that had affected some other cities. The machine that helped the music scene thrive wasn't an unqualified good thing, though. By the time Bird dropped out of school at 14 and lied about his age to scam a union card, that wide open environment had also exposed him to a drug market that was just as wide open. The habit that would become almost as large a part of his legend as his horn was thus born. Kansas City was an incubator for blues driven jazz bands led by men like Bennie Moten, Count Basie and Andy Kirk, and young Charlie Parker turned their club dates into an informal high school of his own. Lester Young was Charlie's first subject for special attention. Prez was playing with Count Basie and served as Parker's primary inspiration until Young departed from the K.C. scene for New York. Bird then fell under the spell of Buster (The Prof.) Smith and Tommy Douglas. Charlie Parker wasn't an immediate star in this music rich atmosphere (there's the legendary Reno Club jam during which drummer Jo Jones "gonged" him offstage with the crash of a cymbal). The scene was highly competitive, and the sax battles of the thirties are still topics of conversation today. By 1937, though, Bird was playing with Tommy Douglas' band, from which he moved on to the Jay McShann Band. In 1940, while still with McShann, Charlie Parker met a young trumpeter who was passing through as a member of Cab Calloway's orchestra. It is not reported that the earth shifted on it's axis when John Birks Gillespie and Charles Parker, Jr had their first encounter, but when they met again, the world of jazz would be moved, forcefully and irrevocably. Meanwhile, Parker continued to play with McShann, making trips to Chicago and making his first recordings as a McShann sideman in Dallas. In 1942, the band traveled to New York, and Bird never looked back. He adopted New York as his new base of operations. He played casual dates and jammed around town waiting for his union membership to transfer. When the papers were in order, he worked with bands led by Earl Hines and Billy Eckstine. It was in these bands that he renewed his acquaintance with Dizzy Gillespie. "When I first heard Charlie Parker, I said, `That's how our music should be played...'" Dizzy Gillespie Parker hit New York in the middle of the American Federation of Musicians recording strike of 1942/43 and cut a few sides as a sideman after it ended, but the great period of his recording career started with a pair of sessions for Guild Records in 1945. Parker and Gillespie had been playing their new music, be-bop, around town. It was fast and furious, displayed in small combo settings rather than full bands, and it was about to change everything. Those Guild sessions are also the place that a new Parker collection, "Yardbird Suite: The Ultimate Charlie Parker Collection" (Rhino), picks up. These are the only cuts which don't credit Parker as leader, since they were actually Dizzy's sessions. There was no one on the scene, however, that could have taken Bird's place on alto, or had the impact he had both in terms of composition and improvisation. Their act would soon be billed the Gillespie-Parker Band, and even here, that's what it truly was. The first six tracks on the new collection are from these session. It's hard to focus on how revolutionary these cuts were in 1945. "Groovin' High," "All The Things You Are," "Dizzy Atmosphere," "Salt Peanuts," "Shaw 'Nuff" and "Hot House" are all staples of the jazz repertoire today, and Parker's solos on them have been studied and transcribed by generations of up and comers. For good reason. These were the birth announcements of bop, and bop was going to grow up fast. Later in the year, Savoy Records gave Bird his first turn as leader. "Now's The Time" featured Gillespie as the pianist for Charlie Parker's Ree Boppers, with trumpet chores falling to young Miles Davis. Another of bop's founding fathers, Max Roach, appears on drums. "Ko Ko," Parker's interpretation of "Cherokee," is pulled from the same session, with Diz picking up the trumpet in place of Miles. This time the cut is credited to Charlie Parker's Ri Bop Boys. By the next year, Parker had traveled west with the Gillespie-Parker Band. Increasingly frustrated by Bird's erratic behavior, resulting in the need to have an alternate alto on hand to maintain a reliable lineup, Diz and Bird officially parted ways and Parker formed the Charlie Parker Septet. The new group, featuring Miles Davis, had a series of memorable sessions for Dial Records, a new label created expressly to capture the new music. These sessions produced Parker landmarks such as "Moose The Mooch" (a tribute to one of Parker's connections), "Yardbird Suite" and "Ornithology," Parker's memorable treatment of "How High The Moon." By late summer, though, the effects of his drug habit on both his mental and physical health led to his commitment to Camarillo State Hospital, north of Los Angeles. He finished off the year there, a time memorialized with "Relaxin' At Camarillo" at a Dial session later in the year. First, though, he took time to record with Erroll Gardner for Dial, represented here with "Cool Blues." He then formed one of the finest groups he led, Charlie Parker's All-Stars, featuring Miles on trumpet, Bud Powell on piano, Tommy Potter on bass and Max Roach on drums. The All-Stars recorded for Savoy , producing cuts like "Donna Lee" and "Chasing The Bird" before Duke Jordan replaced Powell. The group recorded as the Charlie Parker Quintet, occasionally expanding to the Charlie Parker Sextet with the addition of J.J. Johnson on trombone. They would appear on a series of Dial releases recorded throughout the year. Disc One of "Yardbird Suite" closes with several of these cuts, including "Dewey Square," "Bird Of Paradise," "The Hymn," "Embraceable You" and "Klactoveedsedstene." Disc Two opens with more of the same. With another AFM recording strike looming, Parker closed 1947 in the studio, building up a catalog of songs for future release. His last sessions for Dial produced "Scrapple From The Apple," "Out Of Nowhere," "Don't Blame Me" and "Quasimodo." The band, as the All-Stars, also slipped into the Savoy studios, where they laid down "Klaunstance." 1948 opened with another recording strike, which was destined to last throughout the year. Savoy's producer Teddy Reig was busy producing a series of surreptitious sessions, though, and by September he has lured a new lineup of the All-Stars (John Lewis (piano), Curly Russel (bass) and Max Roach (drums)) into the studio for "Parker's Mood." 1949 saw Bird touring Europe, working Norman Granz' landmark Jazz at the Philharmonic shows, witnessing the opening of the famous Birdland club in New York (Bird headlined the opening night show, which also featured his boyhood idol, Lester Young) and branching out into Afro-Cuban exploration with the Machito Orchestra. In November, he went into the Mercury studios with producer Norman Granz to undertake his most ambitious recording project to date, Charlie Parker with strings. Due to licensing difficulties, none of those tracks appear here, the only significant lapse in the collection. (The recordings are available on a 1994 Verve CD release, which is worth tracking down). Bird opened the 50's with a series of releases on Clef. "Bloomdido" featured Diz again, who was always happy to play with Bird when Bird was ready (and able) to play, along with Curly Russell on bass, Buddy Rich on drums and the immortal Thelonious Monk on piano. A series of lineups which included players like bassist Percy Heath and Latin percussionists Luis Miranda and Jose Mangual led to the release of "Star Eyes," "She Rote," "My Little Suede Shoes" and "Confirmation," all included here. The collection closes with three selections from a 1951 radio broadcast from Birdland, emceed by New York legend Symphony Sid. The band, Bird, Diz, and Bud Powell supported by Tommy Potter on bass and drummer Roy Haynes, delivers three classics of the bop repertoire, Dizzy's "Blue 'N' Boogie" and "Night In Tunisia" and Monk's "'Round Midnight." This was near the end for Diz and Bird. They would play together again, on TV the following year, and of course at the fabled Massey Hall concert in 1953. The fifties, though, saw a consistent decline in Charlie Parker's health, attitude and, too often, performances. Though he could still have moments of brilliance his career had reached the point at which some of the morbid members of his audience found it worth the price of a ticket to catch a glimpse of an idol possibly falling from his pedestal. The last four cuts of the set, "Just Friends," "What Is This Thing Called Love?," "East Of The Sun" and "Laura" are credited to Charlie Parker, with his Quintet & Strings. The Quintet and Strings are certainly, sometimes even audibly present. Bird himself is blowing fine. But the quality here is sorely lacking. These tracks, from 1952, serve little more purpose than to demonstrate that Charlie Parker could still play alto in 1952. I'd rather have heard proof that he could play in 1953 by having a taste of Massey Hall here, but I suspect the same licensing challenges that caused these cuts to serve in place of Parker's studio work with strings may have prevented that. The tracks are bunched at the end, and easy enough to ignore, and some Bird is better than no Bird at all, but this is the weakest link in an otherwise extraordinary package. "As with Mozart, the facts of Charlie Parker's life make little sense because they fail to explain his music. Perhaps his life is what his music overcame. And overcomes." Gary Giddins, "The Triumph of Charlie Parker" The 38 tracks on these two discs were produced in a seven year span that represents the creative peak of Charlie Parker's musical career. In those seven years, he as much as anyone irretrievably changed the nature of jazz and popular culture. Not only has every development in the last 40 years of jazz been in some manner a reaction to the bop revolution, but literature, painting, film - virtually every vehicle of creative expression has been touched by the spirit of Bird, Diz, Monk and the other creators of be-bop. By the time of his death at the age of 34, Charlie Parker had been burning the candle at both ends - one flame fueled by his musical vision and the other by his progressively more disabling drug use - for 20 years. The attending physician at his death, examining a body in which the heart, liver, lungs - virtually every physical system and organ - had failed estimated his age as some 30 years past the truth. Almost immediately, the graffiti appeared. "Bird Lives." The evidence is burned into the discs of Yardbird Suite: The Ultimate Charlie Parker Collection. Ultimate is a big word. The set is not exhaustive, certainly. The complete Savoy and Dial catalogs take up several discs each, including various outtakes. It's not definitive, I'm sorry to say, because of the licensing complications inherent to a project of this scale. It is, though, the first collection to cut across labels, producers and lineups and to present such a comprehensive, if not complete, look at his too short career as a leader and innovator. Ultimately, if you want to know jazz, you must know Bird. And ultimately, somewhere within these 38 tracks, Bird lives. Track List: Disc 1: Groovin' High * All The Things You Are * Dizzy Atmosphere * Salt Peanuts * Shaw 'Nuff * Hot House * Now's The Time * Ko Ko * Moose The Mooche * Yardbird Suite * Ornithology * Cool Blues * Relaxin' At Camarillo * Donna Lee * Chasing The Bird * Dewey Square * Bird Of Paradise * The Hymn * Embraceable You * Klactoveedsedstene Disc 2: Scrapple From The Apple * Out Of Nowhere * Don't Blame Me * Quasimodo * Klaunstance * Parker's Mood * Bloomdido * Star Eyes * She Rote * My Little Suede Shoes * Confirmation * Blue 'N' Boogie * 'Round Midnight * Night In Tunisia * Just Friends * What Is This Thing Called Love? * East Of The Sun * Laura ____________________________________________________________________________ TAPE HISS By John Sekerka Taking a vacation break from scribbling furiously for Tape Hiss, our Canuck correspondent spent three weeks with a group of nerdy scientists (glaciologists) in the far reaches of the Canadian Arctic on Elsemere Island (Agassiz Ice Cap) to dig snow, drill ice and cook food, in a lifeless white desert. A diary is all that remains..... Dear Sweetheart, 'tis Friday the 29th, or so my watch says, and my hands are starting to feel whole again. Besides digging the white stuff I've taken over as chief cook in camp - more out of necessity after the last barbecue fiasco. Being the lowest on the totem pole seniority wise, I also get to pull the glamour duty of a daily 6 am weather call. That consists of reading an outdoor thermometer, guessing at the wind speed (my favourite is seven knots from the SouthWest), cloud description (um, fluffy?) and elevation. Basically it's a 'yup, we're still here, and haven't resorted to eating each other' check in. If something does happen, the insane party has to be flown back to Resolute Bay, and I wouldn't wanna wish that on anybody. I'd rather be dinner, if truth be told. The flight in was on a rickety two-propeller craft, called a Twin Otter, that seats seven, has a 'no smoking' sign and two pilots that read the paper for most of the trip and was loaded down with double the legal weight in cargo. The flight's a beaut though: untouched snow drifts, frozen sea water and perilous mountains. Coming into camp--a flat piece of white land we would quickly mess up--was a tad exciting. The plane skids to a tire and ski landing which blows the white stuff everywhere. After a four and a half hour trip everyone scrambles out to form a pee circle, christening the land as ours. In lieu of a flag I suppose. After erecting a couple of Par Calls (large dome tents with wooden floors), two small tents for the foolhardy, a generator and a radio, we settle in for three weeks, the sole link to the outside world being the sore-throated alien rasping through Peter Frampton's voice decoder on the other end of the radio. I offer to cook the first meal and serve up a stir fry of veggies and marinated beef (saki, soya and pepper) in a garlic, honey and peanut sauce over rice noodles. The others think I'm a fag, but after a couple of meat and potato disasters (which is which?), happily let me have the run of cooking duties. Scientists are not reknowned for their cooking. The temperature is not as bad as I had feared: fluctuating between -30 and -5°C. And when the sun is beaming and the wind is down, you can banty around in a t-shirt. We have 24 hour daylight now, which means the sun dips toward the horizon at night and stays there before popping back up to a higher level in the morning. This can play havoc with sleeping habits, but does come in handy when ya have to work late. Because we were bogged in by a storm for a couple of days we worked a 24 hour shift to catch up, and the constant sun made it quite bearable. The fact that the sun just circles, there is nothing but snow on the horizon and that there are no life forms to speak of (us excluded), makes this surreal place seem very much like Venus. It's day four and I haven't changed my shirt, among other things. It's cold all the time and I haven't beaded a drop of sweat. I can't smell the others, but that may come. As for other functions, our camp looks like a fire hydrant, though no dogs are present. For emergencies the outhouse is located a good half mile away from camp. It's a small wooden box with a styrofoam seat, and an oil drum full of gasoline that serves two purposes: one as a deodorizer, the other as a smoking deterrent. Actually after the field season the whole thing is torched in a fitting fireworks farewell. There is a series of poles leading to the dump hut just in case you have to go in the middle of a white-out blizzard. Something I hope never to experience. Speaking of styrofoam, the snow is so hard that it squeaks like the stuff when walking. In fact it even digs like foam. We wind up sawing blocks and shoveling out our snow pits one cube at a time. The camp looks like a decimated scattering of pitiful igloos. Week two and everyone looks like they've just woken from a month long sleep. I'm getting hockey scores back from Resolute over the radio, a fair trade for the weather I think. We've assembled a big wind barrier (hut) for our piece de resistance we call Bertha - a menacing contraption of steel and wires and dials which might take us to China. 'Tomorrow we drill,' says fearless leader. I finish excavating a large walk-in pit for storing the ice cores we'll be excavating. It's a balmy -18°C out, sunny enough to bask during breaks. The warm spell covers the area with a spectacular layer of crystals. My hair feels sticky spiky. I dare not look into the sole mirror in camp (an old rear-view hanging on a tent entrance). An accidental glance of my shadow in the snow shows the making of a fine mohawk. I mull dreadlocks. Our evening ritual now consists of sitting around, drinking 40% hooch, trying hopelessly to find something interesting on the short wave, gobbling cookies and ridiculing my 'alternative' tapes. I make a note to pack cards next trip. Day ten. Enough is enough. We wash our hair, except for fearless leader, who maintains the dirty tradition of the pioneers. This also gives him plenty of elbow room. Drilling is going according to plan as we take out small ice cylinders a meter at a time on the ice cap until hitting bedrock some 125 metres below. A climate history dating back 10,000 years (the last great ice age), and hopefully a couple of buried aliens. Things go so smoothly we have time to ski-doo out to an old drill site and the infamous food pit. This is an emergency freezer hole used to store leftovers from previous digs with delectable items like twenty year old chicken, bags of lentils and gorgeous crystals on the walls. I'm well into The Shining, a more apropos novel I don't think I could have brought. Week three. Everybody's starting to get on each others' nerves. We pretty well do everything together - it's not like you can get away from it all. Cabin fever begins to set in, especially when the storm hits. Two solid days of nothin'. I'm surprised no one gets snuffed. A furious work load after the storm to catch up helps. We have to bug out a day early because of the stormy conditions so we turn on the overdrive. Our escape comes courtesy of local flying legend 'Dunc' who's 67 years young, wears brown polyester pants he keeps pulling up, untied work boots and a light windbreaker. No hat, no mitts, no parka, no sun glasses. Like it was June in Windsor or something. Dunc buzzes the camp several times before sliding to a smooth stop between the fuel drums and our awaiting gear (a foot away, no kidding). The trip back is a brilliant ride through the mountains as Dunc makes his own sporadic course. Beautiful, but y'know three weeks is enough. Run a hot bath and get rid of the mailman, ..your thawing mate ============================================================================ [[[[[[[[ [[[[[[ [[ [[ [[[[[ [[[[[[ [[ [[ [[[[[[ [[ [[ [ [[ [[ [ [ [[ [ [[ [[ [[[[[[[[ [[[[[[ [[ [[ [ [[[[[[ [[ [ [[ [[[[[ [[ [[ [ [[[ [ [ [[[ [[[ [[ [[ [[ [[[[[[ [ [[[[[ [[[[[[ [[ [[ [[[[[[ ============================================================================ GENE AUTRY: Sing Cowboy Sing (Rhino) Reviewed by DJ Johnson Over the course of 84 tracks (3 CDs), Rhino manages to pay tribute to America's favorite cowboy without turning it into a standard "Best Of Autry" comp. If you're only looking to collect his hit recordings, there are other collections that will do the job for less cash. Sing Cowboy Sing offers those tracks, but the real meat of the collection is the many tracks recorded during his hit radio program, Gene Autry's Melody Ranch, which ran from 1940 to 1956. If you weren't around in those exciting radio days, you might be surprised to hear Autry's renditions of not-so-cowboyish tunes like "Rudolph The Rednosed Reindeer," "Peter Cottontail," and "Frosty The Snowman." What you might not realize is the fact that Gene Autry was as much a hero to the youth of that era as Michael Jordan is to the children of today. Those tunes are here, alongside classic Autry numbers like "Tumblin' Tumbleweeds," "Souix City Sue," "Sing Me A Song Of The Saddle," "Rhythm Of The Range," "Don't Fence Me In," and his trademark, "Back In The Saddle Again." While the sound isn't particularly stunning, it's also not at all noisy. Those of you who have some of the other Autry compilation CDs will back me up when I say this is a major consideration. No hiss, no rumble, no hurricanes. No bass response, either, but life is full of little trade-offs. The energy and atmosphere of live performance are elements that the studio recordings didn't have, and for that reason, some of these versions are superior to the better known studio recordings. Sing Cowboy Sing is one of the rare box sets where the packaging deserves as much praise as the music. The 64 page booklet includes detailed notes on each track (often three paragraphs for one song), excellent photographs from the Autry Museum Of Western Heritage, and interesting bits like "The Cowboy's Code," which includes such rules as "[the cowboy] must not advocate or possess racially or religiously intolerant ideas." I guess Mark Furman won't be herding cattle in Idaho. Douglas Green's (Ranger Doug) affectionate biography completes the booklet. But it's the art that does it for me. I'm not sure who painted the movie posters way back when, but it was an art genre all its own, and this box set gives you plenty of it to gaze upon. Kudos to art director Julie Vlasak for putting together the most visually pleasing box set I've ever seen. Every piece of this package, from the art to the music itself, is first rate. TRACK LIST Disc 1: Back In The Saddle Again, Dust, Sing Me A Song Of The Saddle, Tumbling Tumbleweeds, The One Rose, That Silver-Haired Daddy Of Mine, Rhythm Of The Range, Blueberry Hill, El Rancho Grande, Mellow Mountain Moon, We Never Dream The Same Dream Twice, When You And I Were Young Maggie, Maria Elena, Be Honest With Me, Tears On My Pillow, The Yellow Rose Of Texas, Lonely River, Tweedle-O-Twill, At Mail Call Today, Don't Live A Lie, Don't Hang Around Me Anymore, I'll Be Back, Silver Spurs (On The Golden Stairs), I Wish I Had Never Met Sunshine, You Only Want Me When You're Lonely, You're Not My Darlin' Anymore, Oklahoma Hills Disc 2: Sioux City Sue, Someday You'll Want Me To Want You, Gonna Build A Big Fence Around Texas, The Old Lamplighter, San Fernando Valley, I'm A Fool To Care, Goodbye Little Darling Goodbye, You Can't See The Sun When You're Crying, I Tipped My Hat And Slowly Rode Away, The Angel Song, One Hundred And Sixty Acres, At Sundown, It Happened In Monterey, It Makes No Difference Now, The Singing Hills, You Laughed And I Cried, Pretty Mary, Mexicali Rose, Wave To Me, My Lady, Let The Rest Of The World Go By, Honey, I'm In Love With You (The Honey Song), Ole Faithful, Here Comes Santa Claus, You Are My Sunshine, Buttons And Bows, Blue Eyes Crying In The Rain, Shame On You, While The Angelus Was Ringing, Under Fiesta Stars Disc 3: Rudolph The Red-Nosed Reindeer, Mule Train, Dear Hearts And Gentle People, Chattanoogie Shoe Shine Boy, Peter Cottontail, Gone Fishin', Teardrops From My Eyes (with Jo Stafford), (I've Got Spurs That) Jingle, Jangle, Jingle, South Of The Border, The Last Round-Up, Don't Fence Me In, Ridin' Down The Canyon, I Was Just Walking Out The Door, You're The Only Star In My Blue Heaven, The Night Before Christmas Song (with Rosemary Clooney), Look Out The Window (with Rosemary Clooney), Frosty The Snowman, Somebody Bigger Than You And I, Have I Told You Lately That I Love You, I'm Thinking Tonight Of My Blue Eyes, Your Cheatin' Heart, I Hang My Head And Cry, It's My Lazy Day, You're The Only Good Thing That's Happened To Me, Harbor Lights, The Leaf Of Love, You've Got To Take The Bitter With The Sweet, Back In The Saddle Again (Closing Theme) BADFINGER: No Dice (24k Gold CD) (DCC) Reviewed by DJ Johnson Badfinger's debut album, Magic Christian Music, gave them their first hit in "Come And Get It," but Paul McCartney's involvement (he basically discovered and produced them, and even wrote "Come And Get It") may have kept the band from achieving a focused sound of their own. No Dice, primarily produced by Geoff Emerick, was one hell of a follow-up. It established the true Badfinger sound, broke them free of McCartney's creative grip, and produced one of the greatest pop songs of all time, "No Matter What." If you're teaching a class on pop song structure, this is the tune you should play on the first and last days of class. While everybody remembers "No Matter What," this is an album filled with excellent songs, from rockers like "I Can't Take It" and "Love Me Do" (no relation to The Beatles tune) to gorgeous ballads like "Midnight Caller," folk rockers like "Blodwyn," and moments of pure musical beauty like "We're For The Dark" and "Without You," the latter of which became a huge hit for Harry Nilsson. Five bonus tracks are included, with one from the Mal Evans sessions (Evans produced "No Matter What" and "Believe Me"), one started with Evans and finished with Emerick, and three produced by Emerick for a follow-up album that never materialized. All are worth hearing. Badfinger was clearly a band with considerable talent and range, but they were also a band destined for tragedy. Apple Records became a sinkhole, and Badfinger was one of their drowning victims. The band was derailed just when things were looking bright, and guitarist Pete Hamm decided to kill himself a year later. A decade after that sad event, bassist Tom Evans followed suit. Listening to No Dice, it's difficult to understand how a band with this much to offer could have been so badly mismanaged and neglected. It remains one of the greatest tragedies in rock history. This 24 karat gold CD sounds wonderful. I haven't heard the previous CD releases, but I have the original vinyl, and I can attest to the fact that the DCC disc approaches the warmth of the LP and far surpasses it in clarity and presence. Channel separation is perfect throughout, a fact best illustrated by listening to "No Matter What" in headphones. The twin rhythm guitar chops of Pete Hamm and Joey Molland bounce back and forth, following your blissful smile from ear to ear. Audio nirvana. Great albums deserve this kind of treatment, and this is certainly a great album. (To reach DCC, call 1-800-301-MUSIC) BEETHOVEN: Symphonies: No. 4 in B Flat Major, Op. 60; No. 7 in A Major, Op. 92. Nicolaus Esterhazy Sinfonia conducted by Bela Drahos. NAXOS 8.553477 [DDD] 75:28. Reviewed by Robert Cummings Here again we have Naxos entering heavily-trafficked repertory with a little-known ensemble, and led by an equally obscure conductor, the first flutist in the Budapest Symphony Orchestra. Even in the budget realm, this combination would seem a risky, if not foolhardy effort. But once more Naxos scores an upset, proving it has a nearly bottomless fund of untapped talent and resources. Actually, this is the fourth release in a cycle of the Beethoven nine symphonies (only the Ninth remains to be issued now), and if the previous three entries are on this level, I'd rank this set with my previous favorites, the Harnoncourt (Teldec), Bernstein (DG), and Jochum (Angel) sets. Simply put, there isn't a tempo in either of these two readings that doesn't sound absolutely right, a flourish that doesn't seem utterly natural, a quiet moment that doesn't mesmerize, a climax that doesn't seem the perfect culmination. When I listened to the finale of the Seventh (probably the greatest Beethoven symphony), I sat astounded, dazed, in seventh heaven (pun intended). I had to reach for Toscanini's NBC Symphony recording from Nov. 9, 1951. The Italian maestro was compelling, to be sure, but did not surpass Drahos in this movement. The dated mono sound, however, makes his recording a clear second choice. In the Fourth Drahos and his spirited players deliver an utterly effervescent performance, where detail emerges cleanly and orchestral balances seem perfect. This is one of the greatest Fourths ever committed to disc. The only quibble I have with this recording are the horn sonorities in the main theme of the first movement of the Seventh. They are rather too dominant for my tastes. But, I hasten to add, that is a minor quibble that hardly detracts from the overall effectiveness of the performance. The sound Naxos provides is excellent, as are the notes by the indefatigable Keith Anderson. Let me mention here that a critic with a major classical review journal has damned the first two issues in this cycle with faint praise. But trust me, I can say with total confidence that if you are looking for a compelling disc of these Beethoven symphonies, you can't lose with this recording. Highest recommendations. HECTOR BERLIOZ: "Te Deum" - Voices of Ascension Chorus and Orchestra, Young Singers of Pennsylvania. Conductor: Dennis Keene. (Delos Records DE 3200) Reviewed by Paul Remington "...the Te Deum was performed today with the most magnificent precision. It was colossal. My God, if only you had been there. I assure you that it was a tremendous work; the final movement surpasses all the enormities of which I am guilty up to now." (Letter from Hector Berlioz to Franz Liszt, 30 April, 1855) Berlioz' "Te Deum" is arguably the most profound and immense work in his illustrious body of compositional work. A composition of extremes, emphasizing the human existence in context with God, it takes a glorious approach to the sacred subject; a subject dear to Berlioz, and one he spent almost six years completing. Berlioz received no commission for the work, and during its creation, the work had no plan for performance. "Te Deum" is the sacred outpouring of a composer's expressive talents, and stands as one of the most revered and affecting ceremonial works of 19th century composition. The symbolic use of orchestration and acoustics are used throughout. The work was composed for an enormous space, with strategic placement of chorus, orchestra, and soloist. The space symbolizes the immense presence of God, emphasizing his omnipotence. The sheer size of acoustic space symbolizes how small mankind is against the Almighty, and is reminiscent of mans' innately subordinate position beside his Creator. The choral makeup resembles all of mankind, and consists of adult and children (male and female) vocalists. The presence of an organ and orchestra represents the Emperor or Pope. With such a solid conception, Berlioz' monumental concept took form with an astounding collection of singers and musicians. It truly is one of the great sacred works. The choice of acoustic space couldn't have been better. Chosen for this recording was the Cathedral Church of St. John the Divine, the largest sacred cathedral in the world. To give an idea of how large this cathedral is, the Statue of Liberty would comfortably fit under its apse. It stands 601 feet in length and vaults to a staggering 124 feet in height. Gigantic granite towers weigh-in at over 130 tons each. The nave, alone, spans 146 feet in width. Over 150 stained glass images line the endlessly rising walls. The narthex end of the cathedral features a stunning and massive circular floral stained glass window containing over 10,000 glass plates. A structure erected by immigrants and magnates over a century ago, the cathedral has been described as a "symphony in stone and glass." It is so immense, it's still under construction, and is currently only two-thirds built. St. John the Divine is perhaps the most perfect cathedral in the world today to receive a performance of Berlioz' "Te Deum". With an acoustical decay spanning many seconds in duration, the performance is swallowed in ambiance making the vocal and instrumental elements sound truly puny, yet wonderfully full and alive. This is just what Berlioz had envisioned. To fill this immense quantity of space, Berlioz orchestrated his work for both adult and children's choir. The adult choral group selected for this performance is an assemblage of 140 of New York's finest professional singers and represents the largest selection of professional vocalists ever to perform this work. The 140 member Young Voices of Pennsylvania perform the children's choral sections. The orchestra contains more than 100 members, with twice the number of wind and brass instruments, four pairs of cymbals and a military drum. And, of course, the organ is an integral function of this work, and acts as the backbone of the composition, swelling the music within its ambient environment. What is interesting in this recording is the well-balanced performance of soloist John Aler (tenor). Aler's vocal lines are superb, and not lost within the extremely live environment. His vocals are wonderfully blended with the surrounding instrumentation, and masterfully crafted by Berlioz. Mark Kruczek performs the organ passages flawlessly. His command of the Aeolian-Skinner organ is a superb compliment to the orchestral and choral grandeur of the work. This performance of Berlioz' "Te Deum" is an aural pleasure destined to make both the Catholic and Atheist alike feel the sheer magnificence of an Almighty, whether perceived as fictitious of real. The usual attention to detail is provided by Delos. Utilizing Delos' VR2 (Virtual Reality Recording) technology and "discrete surround sound", they have captured a truly magnificent live recording of an equally magnificent live performance. If only Berlioz were hear to witness this performance. Who knows, maybe he was. BLUE SANDELWOOD SOAP: Loring Park Love-Ins (Get Hip) Reviewed by Shaun Dale Those of a certain age will remember that at a certain time, you didn't have to go to San Francisco to wear some flowers in your hair - the Summer of Love was underway everywhere (by the way, the Summer of Love is now a trademark of Bill Graham Productions - far out, huh?) "Loring Park Love Ins" documents the psychedelic stylings of Minneapolis, Minnesota's very own Blue Sandelwood Soap. This is intentional anti-dance music, using abrupt changes in time signature to force audiences to sit down and listen. Of course, given the chemical stimulation that inspired the music (you don't think "Nickel Bag Of Blue" is about sandelwood soap, do you?), dancing was, if not dangerous, irrelevant. The lead instrument here is a Farfisa combo organ, with guitar relegated strictly to rhythmic support. The only exception is on the band's only single, "Friends I Haven't Met Yet," which featured lead violin and oboe. Groovy. But this is a lot of fun. If you were around for those times, you'll find yourself smiling and flashi...er, looking back fondly on a time when a song called "I Hear The Lightning Roar" was something you couldn't wait to hear. If you weren't there, well, this disc will tell you all, maybe more, that you need to know about the golden age of incense and peppermints. I didn't know this band, I didn't even know I wanted to. But I'm glad I do. Get Hip scores again. Track List: Friends I Haven't Met Yet * Nickel Bag Of Blue * How Can I Show My Love * Reborn In Eastern Meditation * Love Pirt! * Without A Sound * Did You See The Man * Just For The Moment * What Is Life * A Most Unusual Way * A Childlike Face * Love Is * That's Cool * Interludes * The Girl Stares Coldly * I See The Lightning Roar * Age Of The Magic Men * Northwest Airlines Demo BRAUNFELS: The Birds (Die Vogel). Hellen Kwon (Nightingale); Endrik Wottrich (Good Hope); Michael Kraus (Loyal Friend); Marita Posselt (Wren); Wolfgang Holzmair (Hoopoe); Iris Vermillion (First Thrush); Brigitte Wohlfarth (Second Thrush). Berlin Radio Chorus; German Symphony Orchestra, Berlin conducted by Lothar Zagrosek. LONDON 448 679-2 [DDD] 2 Discs - 2:18:46 Reviewed by Robert Cummings Because Walter Braunfels (1882-1954) was half-Jewish, he was dismissed from his position as director of the Academy of Music in Cologne in 1933 and performance of his music thereafter was forbidden. It didn't matter to the Nazis that Braunfels was a practicing Roman Catholic, only that half his blood was tainted by what they considered the most degenerate of non-Aryan races. They had at least one further reason to hate the composer: he had refused to write an anthem a decade earlier for their burgeoning political movement. And, too, Hitler and the Nazis were wrapped up in adulation for their musical hero from the past, the strongly anti-Semitic Richard Wagner, the perfect composer to fill their dubious bill. Secretly, though, they must have feared Braunfels might come to challenge their idol with his "entartete musik" (degenerate music). If this opera is typical of Braunfels' work, I'd say their fears may have been well founded. In the rubble that followed World War II, Braunfels, who had courageously remained in Germany, somehow managing to avoid extermination, reestablished the Cologne Academy of Music and resurrected his career as a concert pianist. But by then, he was a mostly forgotten composer, whose music was seen as rather old-fashioned by the younger generation. Until recently Braunfels has remained in almost complete obscurity, but, hopefully, this new London recording will change that. The Birds, first performed in 1920, is based on the Aristophanes' comedy of the same name. It is the story of two men, Good Hope and Loyal Friend, the first lamenting his mistreatment by women, the latter fleeing the decadence of art, who together find their fantasy world, the realm of the birds. They urge the birds to construct a fortress that will enable them to impose a heavy tax on the gods by controlling smoke from sacrifices by men which the gods need for nourishment. The birds comply and incur the wrath of Zeus, and their fortress is destroyed in a violent storm. The two men depart for civilization, but Good Hope, having earlier been kissed by the beguiling Nightingale, ponders that the brief intimacy has forever changed him. Not exactly your normal operatic plot, but the story is lively and quite witty, and a bit more involved than this capsule description, of course. Braunfels' music clearly shows the influence of Wagner (what German composer writing opera at that time didn't, though?) and Strauss. But from these elements Braunfels forged his own distinctive, eminently approachable style that becomes quite recognizable upon repeated hearings. Zagrosek's reading and the performances by his cast and orchestra are gripping and more than do justice to this wonderful score. Wottrich and Kraus are impressive in the male leads. Try the former's powerful rendering of the closing number, So ist dies alles denn gewesen, wie? (CD 2, track 12) to sample his transcendent talent. Hellen Kwon is positively angelic as Nightingale, as immediately evidenced by her opening number, Liebwerte Freunde (CD 1, track 2). Marita Posselt (Wren) is just as moving (her voice is sweet and absolutely lovely), and the rest of the cast rises splendidly to the challenging occasion. London offers excellent sound and very intelligent notes. If you're interested in opera, especially in the works of Wagner and Strauss, you'll likely find this new issue quite enjoyable and fully worth the asking price. CIRCLE JERKS: Group Sex (Frontier) Reviewed by Shaun Dale The fine folks at Epitaph continue to use their Frontier imprint to release some of the great performers in punk history. This time it's 14 tracks from the legendary Circle Jerks, ca. 1980. Fast and furious, both in sound and spirit, the Circle Jerks come through like a Yankee Sex Pistols with a difference - there's no McLaren pulling the strings here. These guys deliver from the heart, the head and the groin. It won't take much time to assimilate this essential document in punk history. The fourteen cuts run by in about 32 minutes. Which is part of the appeal, and most of the point. Have something to say, spit it out and rock your ass off. Is that the bottom line, or what? These tracks may be 16 years old, but they could have been laid down last week, or next year. This is the shit - the punk sound that everyone was reaching for then and now and for as long as there's a crowd of kids somewhere pissed off by stupidity and looking for a high energy release. You should own this CD. Track List: Deny Everything * I Just Want Some Skank * Beverly Hills * Operation * Back Against The Wall * Wasted * Behind The Door * World Up My Ass * Paid Vacation * Don't Care * Live Fast Die Young * What's Your Problem * Group Sex * Red Tape PAULA COLE: This Fire (Imago/Warner Brothers) Reviewed by Steve Marshall The first time I heard Paula Cole was about two years ago. She had just released her first album, Harbinger, and honestly, I didn't pay much attention. A few months later, I saw her as the opening act for Sarah McLachlan and was blown away. Her performance was much more intense than the soft-spoken tunes on Harbinger. From that point forward, I was a fan. Since then, she's toured the world with Peter Gabriel, performed with Melissa Etheridge on VH1 Duets, and released her second album, This Fire. The first thing you notice about This Fire, compared to Harbinger, is the increased intensity and power in the vocals. The emotionally charged songs tell the story of a 'coming of age' for Cole. On the first track, "Tiger," she makes a reference to "Bethlehem" (a track from Harbinger) as she sings "I've left Bethlehem and I feel free. I've left the girl I was supposed to be." The autobiographical song grabs you and doesn't let go. Peter Gabriel's influence is all over this song--both musically, and in the vocal arrangement. "Where Have All the Cowboys Gone?" is the first single from This Fire. Although the CD was released in 1996, it seemed that no one noticed her until recently. Since the song started getting airplay, she's been thrust into the public eye. The song's runaway success was quite a surprise to Cole. "Throwing Stones" is an intense and powerful tune about a love gone sour. With lyrics like "...my anger is my best friend... be careful, I may bite your head off," Paula's pissed, and makes no bones about it. One of the best tracks on This Fire is "Mississippi." The song is a musical roller coaster ride; starting with the tender Kate Bush-influenced intros on the verses, climbing into a ferocious intensity on the choruses. "Nietzsche's Eyes" sounds a lot like a Tori Amos song, with its piano-based arrangement. "Road to Dead" is another high point on the CD, sounding like a Peter Gabriel song with Sarah McLachlan doing the backup vocals. Things heat up again on "feelin' love." This smoldering cut literally oozes sensuality. "hush, hush, hush" is a lullaby-like duet with Gabriel, featuring some poignant piano by Cole as the song closes to a close. Cole has come a long way musically since her first CD, producing a riveting and compelling new collection of songs. This Fire is the most intense performance by a female artist since Tori Amos' Little Earthquakes. THE CRIMINALS: Never Been Caught (Lookout) Reviewed by Shaun Dale This young quartet is doing their best to keep hard core punk alive, and by and large the patient is doing fine. Covering such classic themes as puking and passing out, masturbation, hating school, hating cops and hating girls that don't treat them right, they demonstrate the requisite anger. Song titles like "Parlez-vous Fuk You?" and "Notes On A Barfbag" should keep them from getting swept up in the MTV mainstream too soon. They've adopted appropriately punk names, as in Jesse Luscious (vocals) and Mike Sexx (bass) (guitarist Brady Caesar and drummer Dan Ger round out the lineup). So why am I vaguely dissatisfied with this disc? I suspect the Criminals fall victim to the same problem that has affected some of the great bands of their chosen genre. This is music that is most appealing in a live setting, where the listener can feed on and share in the expression of the attitude. The attitude, after all, is damn near everything in hard core punk. If you've had the chance to see this band, this might be one of your favorite albums. If, like me, you haven't had the chance, well, you can at least share my satisfaction that someone out there is doing what they do. Track List: You Stupid Fuk * Never Been Caught * No Victim Here * Muerte * Dial H For Homewrecker * Significative * Morning After * CST Bitch * Parlez-Vous Fuk You? * My School Sucks * Girl With A Hole In Her Heart * Criminal Rocknroll * Notes On A Barfbag (Final Approach) * I Feel Funny * Latex Drool * Get Over It ESQUERITA: Vintage Voola (Norton) Reviewed by Shaun Dale At first glance, Esquerita's massive pompadour, makeup and rhinestone studded shades give the appearance of a Little Richard impersonator. His rocking boogie piano and falsetto vocal stylings don't do much to change the impression. But don't leap to any hasty conclusions. In a brief recorded interview included on this disc, none other than Little Richard himself credits Esquerita (born Eskew Reader, Jr.) as the originator of that piano style. As for the personal style, well, there's a debate on the subject, but the nod for image leader seems to go to Little Richard. But Esquerita could definitely rock, and there's plenty of evidence of that here. This is primarily a release for roots music completionists, since seven of the ten tracks are pulled from a long lost stash of acetate demos, with the consequent gaps in audio quality. The others are drawn from single releases on NRC and Cross-Tone Records. Esquerita's Capitol sessions are absent on this release. Audiophile considerations aside, if you care about where this thing called Rock n' Roll came from, you'll find some answers here. If you've never heard the Voola, Esquerita's personal brand of rockin' boogie blues, it's high time you did and this is a good place to start. Track List: Rockin' The Joint * This Thing Called Love * Please Come On Home * Oh Baby * Sarah Lee * I Got A Lot To Learn * What Was Wrong * Sweet Skinny Jenny * The Rock-A-Round * Dew Drop Inn * Little Richard Interview THE FLAMIN' GROOVIES: In Person!!!! (Norton) Reviewed by Shaun Dale KSAN was covering the closing days of the Fillmore West in June of 1971 with remote concert broadcasts, which resulted in the preservation of this invaluable document of the Flamin' Groovies in their natural habitat, a San Francisco stage. By '71, the Groovies had moved past their origins in good time psychedelia and had established themselves as one of the hardest rocking bands in show business. There's ample demonstration here that their legendary reputation was well deserved. Mixing some of their classic originals ("Road House," "Doctor Boogie," the immortal "Teenage Head") with great rock covers (notably "Shakin' All Over," which makes the Who's "Live At Leeds" cut sound like a ballad, and a great "Louie, Louie," which few others would have ventured to present to a Fillmore audience). Throughout, there's Cyril Jordan's guitar pushing and driving vocalist Ron Loney to that high energy edge that made him one of the fabled rock 'n roll madmen. Because some of the tracks have appeared elsewhere on Norton compilations, the nice people at the record company decided to insure full value by adding two cuts from a show at San Francisco's Matrix club a year earlier. This is especially nice since "I'm A Man" and "Headin' For The Texas Border" feature original Groovie Tim Lynch on guitar and on vocals for "Border" (Lynch had been replaced by James Ferrell by the time of the Fillmore show). The music is perfectly complementary to the rest of the disc and Lynch's appearance makes an even more desirable package for collectors. This is great stuff, a perfect party album and a significant slice of rock n' roll history. Track List: Into:I Can't Explain * Sweet Little Rock'n'Roller * Have You Seen My Baby * Road House * Doctor Boogie * Slow Death * Shakin' All Over * Teenage Head * Louie Louie * Walkin' The Dog * I'm A Man * Headin' For The Texas Border BEN FOLDS FIVE: Whatever and Ever Amen (550 Music) Reviewed by Steve Marshall Ironic, heartfelt, melodic, energetic and unique. All of these words accurately describe the music of this powerhouse trio (yes, there are only three of them). Whatever and Ever Amen is the second album from the Chapel Hill, NC band, and their 'major label debut.' The tracks were recorded in Folds' living room, and mixed by Andy Wallace (Rage Against the Machine, Jeff Buckley, Nirvana). Besides Bruce Hornsby, there haven't been many new piano-based rock artists these days, but Ben Folds Five is one of the best. Folds handles the lead vocals and attacks his piano with a ferocity reminiscent of a young Elton John. Bassist Robert Sledge evokes sounds of Yes' Chris Squire with his fuzz bass, and Darren Jessee is the man responsible for the manic drumming on the disc. The CD gets off to a great start with "One Angry Dwarf and 200 Solemn Faces," a powerful track that dares you to sit still. "Fair" resembles 10CC at times, although the vaudevillian chorus is kind of hokey. "Brick" is a tender tune that sounds like "Alice Childress," a track from their first album. The vocals on the song bear a strong likeness to something you would hear on a Utopia album. One of the tracks on the CD, "Song for the Dumped," saw its debut last year on the band's summer tour with Neil Young. The song is an angry rocker with some excellent bass runs on the bridge. "Steven's Last Night in Town" is a satirical, almost big-band sounding tune about a guy who doesn't know when to leave. The first single/video from the album is "Battle of Who Could Care Less." This is one of those catchy tunes that will make you stand up and take notice. Folds' great lyrics and stellar musicianship on the ivories accentuate the fluid bass runs. Since I haven't heard their debut in its entirety, I won't try to comment on how they progressed musically, etc. Suffice it to say that the sense of humor is still alive and well in the group's lyrics, and the attitude had remained intact as well. There's a hidden track after the last song on the CD, but I'm not gonna give it away. You'll just have to hear it for yourself. Whatever and Ever Amen has a few weak spots, but overall, it's an entertaining disc that stands up to repeated listens. FAREED HAGUE: Deja Vu (Blue Note) Reviewed by Steve Marshall Fareed Hague was a mere 7 years old when Crosby, Stills, Nash & Young released their classic Deja Vu album. When the Chicago-born guitarist was given the opportunity to record a jazz interpretation of the album, he jumped at the chance. He was already familiar with most of the songs, but he knew them from the 1974 greatest hits album, So Far--not the Deja Vu album itself. This gave him an interesting perspective on the material. Rather than looking at the project as simply an exercise in baby-boomer nostalgia; he could interpret the songs for what they were, and then expand upon them. Hague's inspired take on the album is one of three CDs in a new 'covers' series released on the Blue Note label. As the CD starts, you hear a solo acoustic snippet of "Teach Your Children" (the song appears three times), before launching into the superb cover of "Carry On." From the first few seconds of the song, you know this CD is going to be something special. There's a lot of improvisation, but the song always remains recognizable. Graham Nash's tunes have always leaned toward sappiness (with a few exceptions), and "Teach Your Children" certainly falls within that realm. Then again, without lyrics to interfere with things, you don't have that problem. Tim Mulvenna's percussion on the track makes a world of difference, and adds a new sense of freshness to the song. Hague used a Bic lighter to play 12-string slide on "Almost Cut My Hair," giving it a Delta blues feel. The strange thumping sound heard on the song comes from Mulvenna's manta ray skin drum. The first time you hear it, you'll swear there's something wrong with your speakers. For "Woodstock" and the title cut, Hague drastically reworked the songs. He picks the elements of the basic melody on "Woodstock," then stretches out on several tangents throughout the song. At first, "Deja Vu" (the song) resembles some of Pat Metheny's older acoustic material. By halfway through the song, the Latin percussion comes in, and suddenly it’s like you're listening to Al DiMeola. "4+20" is very cool, and one of the better cuts on the CD. On "Everybody I Love You," Hague plays with blinding speed. I had to check and make sure John McLaughlin wasn't doing a guest spot on the song. It's that fast. The percussion on the track is outstanding as well. The CD ends as it began, with a brief snippet of "Teach Your Children." As the first snippet begins, you hear a door open, Hague walks into the room, shuffles some sheet music around, and then starts playing. At the end of the second one, you hear him pick up the sheet music, walk out of the room & close the door--giving the listener the impression that the CD was recorded in a single session. Combining intricate arrangements with an almost orchestral richness, Fareed Hague took a great album and made it even better. Whether you're a CSNY fan, or a fan of jazz guitar, this is a great CD. HANSON: Middle of Nowhere (Mercury) Reviewed by Shaun Dale By now everyone has heard "MMMBop," the lead single off this disc, and everyone seems to have passed judgment on it. While Hanson bashing has become a popular indoor sport among certain elements of the self styled musical cognoscenti, it's another case of what the men don't know, the little girls understand. My judgment? "MMMBop" is as fine a piece of teenage pop ear candy as I've heard since a 12 year old Michael Jackson and his brothers gave us "ABC". Which is fitting, I suppose, because Hanson is another brother act. Are Isaac (16), Taylor (13) and Zac (11) the Jackson's of the 90's? It'll be sometime in the 21st century before I'm ready to make that call. In the meantime, they've given us one fine summer single and a pretty fine little album to back it up. Not without help, of course. With production help from Stephen Lironi and the Dust Brothers and instrumental support from a sizable cadre of LA session stars, the sound on the disc is bound to be professional. While the brothers play guitar, keys and drums on the disc (exactly where is not detailed) and three songs are completely self penned, they also get help from such substantial song doctors as Mark Hudson, Ellen Shipley and the legendary Mann and Weil. (The Hansons are credited as co-writers on all tracks). But the heart of the sound are those heartfelt teenage vocals, and the boys do just fine on that score. Fine enough that you can expect to hear a lot of Hanson this summer. "Where's The Love" is another hook laden pop tune that should show up on the airwaves when "MMMBop" starts to fade and "Look At You" is, well, it's funky. It really is. And if that doesn't make sense to you, well, the little girls will understand. Track List: Thinking Of You * MMMBop * Weird * Speechless * Where's The Love * Yearbook * Look At You * Lucy * I Will Come To You * A Minute Without You * Madeline * With You In Your Dreams * Man From Milwaukee (Garage Mix) THE HEPTONES: Sea Of Love (Heartbeat) Reviewed by DJ Johnson The first time I heard The Heptones I thought I'd died and gone to Heaven. Over twenty years later, they still have the same effect on me. Beautiful, soulful three-part vocal harmonies that could melt butter, subtle and tasteful instrumental backing from some of the best reggae players in Jamaica, and production by the one and only Coxson Dodd added up to something special. Sea Of Love offers a mix of classic soul covers ("Choice Of Color," "You've Lost That Loving Feeling," and the title tune) and Heptones originals ("Joy Joy," "Please Be True," "Nine Pounds Of Steel"), along with a few other odds and ends over the course of 16 tracks. (Has anyone else noticed that Heartbeat Records is totally hung up on the notion of 16 tracks per CD? Just wonderin'...) The most stunning tune of all is Bob Dylan's "I Shall Be Released," which has been covered by nearly everybody, but never as beautifully as this. With nary a weak song on the entire CD, this belongs in your early reggae collection alongside The Melodians, Techniques, and all the Studio One comps you should have if you're serious. THE IMPACTS: Eternal Surf (Gee-Dee) Reviewed by DJ Johnson The Impacts were part of the first wave of instrumental surf music, making their entrance around 1962. What set them apart from the crowd was the slide guitar work of Martin Brown. 35 years later they're still at it, and Brown's haunting and mournful tone is still setting them apart. If you get goosebumps listening to Santo & Johnny's "Sleepwalk," this album should be in your collection. Brown turns a basically pretty song ("Polynesian Mood") into something sublime with a slide part that could melt glass. He'll get to you again with "Loree's Song," freezing you in your tracks with a slide tone from heaven, and if you haven't already blissed out by the time he's done playing, Mike Pano's smokey sax solos will take you the rest of the way. Eternal Surf is a beautiful album that draws from the exotic aspects of surf music, serving just a few tracks of the fast stuff on the side. Hearing this album, it's hard to believe slide guitar hasn't become the norm in surf music. You must hear this. (Gee-Dee Music: Luruper Chaussee 125, Hs. 8a, D-22761 Hamburg, Germany.) INDIGO GIRLS: Shaming Of The Sun (Epic) Reviewed by Shaun Dale Fans of Emily Saliers and Amy Ray, the Indigo Girls, will surely be pleased by their latest effort. (Obligatory disclaimer - I'm one of those fans.) Whether they'll win any new ones, well, they haven't done anything here that departs radically from what's come before. The Girls continue to dance on the border between folky pop and poppy folk, which sounds accessible enough, and on that level it is. There are plenty of danceable rhythms and hummable melodies here. But these grrls have something to say, and to really appreciate the music you have to really listen. The earnestness of their message is demonstrated by the list of "resources" supplies in the notes - contact addresses and numbers for groups dedicated to environmental, international, political and gay and lesbian activism. Of course, some of us want a message in our music, at least some of it, and the Indigo Girls do that as well as anyone on the contemporary scene. There are also some intensely personal songs and some densely patterned imagery. The songs do take a little effort to listen to, but once the investment is made, there are some wonderful songs to hear. If you're a fan, you're already on your way to buy this disc without hearing from me. If you're interested in a dozen cuts of richly textured, impeccably performed songs that were crafted for their own sake rather than the marketplace, head on out and look it up... Track List: Shame On You * Get Out The Map * Shed Your Skin * It's Alright * Caramia * Don't Give That Girl A Gun * Leeds * Scooter Boys * Everything In Its Own Time * Cut It Out * Burn All The Letters * Hey Kind Friend AHMAD JAMAL: Big Byrd: The Essence, Part 2 (Verve) Reviewed by Shaun Dale No one surpasses the superb pianist Ahmad Jamal at that most elusive quality of great jazz playing, the art of finding the music between the notes. That art is amply demonstrated on the opening tracks of his new Verve release, Big Byrd. "Lament" and "There's A Lull In My Life" are presented simply, in a trio with Idris Muhammad on drums and James Cammack on bass. Jamal demonstrates his ability to pull a dramatic range of textures from the keyboard and to change mood and tempo seamlessly. His accompanists have played with him in many settings for many years and provide a firm and effective base for Jamal's playing. From the opening notes of the third cut, "Manhattan Reflections," it's clear that a change is present. After the briefest piano intro, Manolo Badrena's Latin percussion cuts the air, soon to be followed by Joe Kennedy, Jr. on violin. Bassist Jamil Nasser, who played with Jamal for a decade is reunited with him after a 20 year separation. The quintet allows Jamal to demonstrate his orchestral sense, the other landmark of his artistry. Kennedy's contribution here is outstanding. Which moves us to "Big Byrd," the title cut, on which Kennedy drops away and trumpeter Donald Byrd steps up. It's a big step for Big Byrd, as the re-formed quintet sets out on a 15 minute exploration of the music between the notes, on the notes and under the notes. Byrd's muted horn buzzes, soars and seduces. Ahmad Jamal provides a textbook demonstration of the skill that made him Miles' favorite pianist and musical mentor. The rhythm section just cooks. The two closing cuts bring back the original trio, augmented by Badrena's percussion. "Jamie My Boy" is followed by Cole Porter's "I Love You." The song may be a standard, but the performance is, again, exceptional. This disc is an unqualified treat, a rare addition to the legacy of a true master. Track List: Lament * There's A Lull In My Life * Manhattan Reflections * Big Byrd * Jamie My Boy * I Love You WAYNE KRAMER: Citizen Wayne (Epitaph) Reviewed by Shaun Dale "Citizen Wayne" is the most ambitious effort yet in the illustrious career of Wayne Kramer. A largely autobiographical concept album, it chronicles battles won and battles lost through a 30 year career that started with the fabled MC5. From his Detroit drag strip days, through the '68 Democratic Convention, the disintegration of the musical and political scene that spawned the MC5, a plunge into dope and booze that led to jail, and out the other end as one of rock 'n roll's senior statesmen, the self described "49 year old anarchist guitarist" has led a life that wouldn't be believed if it hadn't been lived. Of such lives are great musicians made, though, and Kramer tells his tale with appropriate levels of anger, humor and melancholy. With co-producer David Was (Kramer's resume includes a stint as guitarist for Was Not Was), he has shaped 12 songs that are striking in their individuality yet impressively cohesive. While each song fills a specific space, creating an album that works best taken as a whole, there are some standouts. "Revolution In Apt. 29" is an ironic look at "champagne Marxists." "Shining Mr. Lincoln's Shoes" tells the story of the condition of working people in the aftermath of Reagan's American morning. "No Easy Way Out" is one of the most honest love songs I've ever heard. "Snatched Defeat" is a rocking lament for Johnny Thunders, who was Kramer's co-hort in the short lived punk band Gang War. The last song, "A Farewell To Whiskey," is a bittersweet instrumental that Kramer describes as "a fond look back on my vodka swilling days." But highlighting anything here risks overlooking something just as special, and each song is so distinctive in presentation that any listener's list of favorites is likely to be different than any other listener. There's one obvious solution. Get this one yourself, and listen to it. Again and again... Track List: Stranger In The House * Back When Dogs Could Talk * Revolution In Apt. 29 * Down On The Ground * Shining Mr. Lincoln's Shoes * Dope For Democracy * No Easy Way Out * You Don't Know My Name * Count Time * Snatched Defeat * Doing The Work * A Farewell To Whiskey GREG LAKE: From The Beginning - The Greg Lake Retrospective (Rhino) Reviewed by DJ Johnson After nearly 30 years as a recording artist, Greg Lake is finally represented by an excellent compilation. The Greg Lake Retrospective is a two CD set that traces Lake's career from King Crimson through the various incarnations of Emerson, Lake and Palmer, to his solo work. Track selection was done by David McLees and Lake's long time manager and friend, Bruce Pilato. The collection begins with two King Crimson tracks, "The Court Of The Crimson King" (the full length LP version) and "Cat Food." As there are already something like 12,000 King Crimson collections on the market, Retrospective moves onward at this point into the ELP years. The early ELP tracks were chosen, obviously, to best showcase Lake's greatest strength, his stunning baritone voice, which can be huge and powerful and graceful and beautiful all at the same moment. "Take A Pebble," "Lucky Man," "Still You Turn Me On," "Knife Edge" and "From The Beginning" all offer prime examples of Lake's serene vocal delivery, while "Karn Evil 9: 1st Impression - Part 2" is a perfect example of Lake in full vocal flight. By the way, that's the tune that most people assume is called "Welcome Back My Friends To The Show That Never Ends." Now you know. The first few cuts of solo material were culled from the ELP double LP, Works, which was one of the more interesting concept albums of the decade. The concept, basically, was for each of the three musicians to produce one side of music, with all three sharing the load on side four. Lake's side was a masterwork of beautiful acoustic guitar music and deeply poetic lyrics. And, of course, that voice! "C'est La Vie" and "Closer To Believing" rate time capsule treatment. Another cut from Works, "Father Christmas," has become a seasonal classic, and it's included on Retrospective, as well. Lake's 1981 live recording of the King Crimson classic, "21st Century Schizoid Man" closes disc one. The second set begins with 8 solo cuts in a row, including "Nuclear Attack," "Retribution Drive," and "It Hurts." Recorded between 1981 and 1983, each song at least has Lake's stamp in some element or another, but there is the same feeling of calculation to some of the tracks that infected so much of the music of that time period. "Manoeuvres" almost sounds like it was calculated specifically for inclusion on some mega-buck film's soundtrack. As much as I respect Gary Moore, he is no Pete Sinfield, and Lake was clearly a far better composer when he wrote with Sinfield. Two Emerson, Lake and Powell cuts, "Touch And Go" and "Lay Down Your Guns," are sandwiched between the solo tracks. Released in 1986, "Touch And Go" gave the band an MTV presence and a minor hit, and it doesn't sound too bad a decade later. Two previously unreleased solo tracks follow, the first a completely forgettable bit of fluff called "Love Under Fire," the second a synth-driven march titled "Money Talks" that seems promising but only delivers a strong vocal performance. The rest is soundtrack beat, soundtrack studio performances. Retrospective picks up speed on the backstretch, finishing with five tracks from the re-formed Emerson, Lake and Palmer. While there is no longer a magic spell with each song, and although modern digital technology may have sucked a little of the warmth, there's still something special that happens when Greg Lake, Keith Emerson and Carl Palmer kick it into gear. "Paper Blood" and "Black Moon" will never replace "Hoedown" and "Jerusalem," but there's still something happening there that you can't get anywhere else. Though disc one is certainly far superior to disc two, the entire package does exactly what it sets out to do, and that is present a chronological overview of Greg Lake's recording career. I had never heard some of the material on disc two, and while I don't expect most of those songs to grow on me and become favorites, there is one thing about each and every one of them that makes them worth hearing: the amazing baritone voice of Greg Lake. And that's no small consideration. TRACK LIST: Disc 1: (King Crimson:) The Court Of The Crimson King (including The Return Of The Fire Witch & The Dance Of The Puppets) * Cat Food * (Emerson, Lake & Palmer:) Knife-edge * Lucky Man * From The Beginning * Take A Pebble (live at Mar y Sol, 1972) * (Pete Sinfield:) Still * (Emerson, Lake & Palmer:) Still...You Turn Me On * Jerusalem * Karn Evil 9: 1st Impression-Part 2 * (Greg Lake:) I Believe In Father Christmas (original single version) * C'est La Vie * Closer To Believing * Watching Over You * 21st Century Schizoid Man (live at The Hammersmith Odean, 1981) Disc 2:(Greg Lake:) Nuclear Attack * Love You Too Much * It Hurts * Retribution Drive * The Lie * Let Me Love You Once * Manoeuvres * I Don't Know Why I Still Love You * (Emerson, Lake & Powell:) Touch And Go * Lay Down Your Guns * (Greg Lake:) Love Under Fire * Money Talks * (Emerson, Lake & Palmer:) Black Moon * Paper Blood * Affairs Of The Heart * Daddy * Heart On Ice GREG LAKE: In Concert on the King Biscuit Flower Hour (King Biscuit Flower Hour) Reviewed by Steve Marshall I remember, probably around 1982, hearing this show from the Hammersmith Odeon in London on the radio. I taped it as it was being broadcast, and enjoyed it for quite a few years. Unfortunately, due to extreme overplaying on my part, the tape finally died. I scoured the collector's circles for years afterwards looking for a copy. Everywhere I searched, the results were the same: nothing. A few years ago, King Biscuit announced plans to start releasing things from their archives. Although there were no definite plans to release this particular show, I kept my fingers crossed that I'd soon be able to replace my worn out tape. In 1995, they released the concert on CD, adding two songs from the show that weren't in the original broadcast. Now there is a new collector's version that contains everything from the original CD, plus two bonus tracks. More on those later. First, let's talk about the concert itself. This was Lake's first solo tour. He played material from his entire career--King Crimson, ELP, and a handful of songs from his solo debut. Lake was in fine form on vocals and guitar, and his band was superb. Ex-Thin Lizzy guitarist, Gary Moore handled the lead guitar chores. Ted McKenna, from the Sensational Alex Harvey Band, played drums. Tommy Eyre did a respectable job on the keyboards (considering the shoes he had to fill), and Tristam Margetts played bass. The show kicked off with a stellar "Fanfare for the Common Man" and never looked back. Moore turned in an excellent performance on the song, and managed to sneak in a tease from "Killer" (a Moore original written for the Cozy Powell album, Over the Top) during one of the solos. Moore adds a much harder edge to Lake's music, and his considerable talents shine throughout the CD. There is one minor problem with the CD. The indexing on the first two tracks doesn't correspond with the listing on the back of the jewel box. It doesn't affect the music, of course, but if you go to track two expecting to hear "Nuclear Attack," you'll have to sit through the first part of "Karn Evil 9." Life's tough, eh? Following "Nuclear Attack," there are two more tracks from Lake's first solo album--"The Lie," and the excellent "Retribution Drive." "The Lie" is much more powerful than the studio version, and "Retribution Drive" features some great guitar work from Moore. Up next is what could easily be considered the definitive "Lucky Man." The arrangement is slightly different, yet stays true enough to the original to keep it recognizable. ELP never came close to this version of the song in concert. Lake's strong, passionate vocals on the track sound better than ever. Lake and his band played a couple covers on the tour, too--"Parisienne Walkways" (a smoldering blues workout from Moore's 1978 album, Back on the Streets) and the Smokey Robinson/Beatles classic, "You Really Got a Hold On Me." The latter is interesting the first time you hear it, but after that, you'll end up skipping it. After another track from Lake’s solo debut, the band launches into the CD's creme de la creme, "21st Century Schizoid Man." King Crimson fans won't want to miss this one. Wrapping things up on the original disc was an excellent version of the Crimson namesake, "In the Court of the Crimson King." At 5:30, it's only about half the length of the studio version, but they still do a great job on it. What if you're not satisfied with the stellar performances on this disc and want more? Well, you're in luck. The new limited edition version of this CD contains two bonus tracks--a short interview with Lake where he talks about the tour, and an exclusive live version of "C'est La Vie." The original 24-track master tapes for the London show were lost in a fire at the King Biscuit offices, so the song wasn't included on the original disc. Luckily for us, they located a bootleg version of the song, and decided to include it here as a bonus track. Recorded about a month later in New York, this rendition of the song is unlike any you've heard before. It's almost a metal song now, with a screaming solo from Moore. The liner notes are almost identical between the two CDs. The booklet in the collector's edition has an updated paragraph at the end, plus all the liner notes duplicated in French. There are also two photos that do not appear in the original booklet. All the limited edition CDs are numbered, and autographed by Lake. The only catch is that the limited edition discs are not available in stores. You can order the CD by calling 1-800-820-4068, or through the official Greg Lake website at (http://www.dynrec.com/lake). No self-respecting Greg Lake fan should be without this CD. LESCHEA: Rhythm & Beats (Warner Brothers) Reviewed by Shaun Dale Leschea marries R&B and hip hop with a strong tilt toward the hip hop side of the family. She mines the rap mainstream for topics and beats, but does it with an overlay of a soulful vocal style that produces a more traditional musicality. This might be the perfect disc to convince a friend that there's more to "that rap stuff" than they might know. There is, unfortunately, a little less here than there might be, but only because Leschea is a bit less adventurous lyrically than could be hoped for. She varies between a tough girl stance, maybe just this side of a G thang, and steamy romance. Frankly, I learn just a bit more about her particular 'hood (Brooklyn, around and about Fulton St.) than I really need to know. It's an unfortunate limitation because the performances are consistently first rate. It's a great start, though, and it sounds like she may have the chops and smarts to survive in a very competitive market. I hope so, because I'd like to hear her branch out topically. Meanwhile, it's just nice to hear her at all... Track List: My Flow (intro featuring Paula Perry) * U Know The Place * Gimme Bass * How We Stay * Let Me Sing It 2 U * Fulton St. * Let Me Know (featuring Ike Dirty) * 3 To 5 * All On You * All This Love * High Velocity * Hip Hop * Schea's World THE LOONEY TUNES: Beyond The Dune (Gee Dee Music) Reviewed by DJ Johnson There have been a few major changes since The Looney Tunes' outstanding 1995 effort, Modern Sounds Of The Looney Tunes Band. Kay Garbrecht (guitar) and Thomas Ritter (bass) are out, and Thorsten Seif (bass) is in. Notice that there is no replacement for Garbrecht, and you have the key to what is most different about Beyond The Dune. Guitarist Sebastian Hartmann has taken the Loonies in a new direction; a bit darker, a bit meaner, and a lot leaner. Gone are the jangly trad rhythm guitar backdrops, replaced by the sheer powersoak of a single axe. On some tracks the stripped down approach is perfect. The Jesters cover ("Strange Man") thrives in this setting, thanks in part to Seif and a bass tone that could level a small country. Listening to a few tracks, such as "Garsilamas" and "The Rise & Fall Of Flingel Bunt," I found myself wondering what Garbrecht might have added to the sound. Overall, however, I think it's an interesting direction that may just take a little time for their fans to adjust to. Meanwhile, new fans from the garage side of the aisle will be discovering this great German band because "Das Ergotaxion" is a molten monster that can't miss. Some may fault Sebastian for this move, but you can't say it isn't gutsy. (Gee Dee Music, Laruper Chaussee 125, gewerbehof, Haus 8a, 22761 Hamburg, Germany. E-mail geedee@t-online.de) LOS MOCKERS: The Original Recordings 1965-1967 (Get Hip) Reviewed by DJ Johnson They sounded like many other British invasion bands, but there was something different about Los Mockers: they were from Uruguay. You would never get that just from listening to these recordings. It's obvious they rejected the clean sounds of The Beatles and fell heads over heels in love with The Rolling Stones. My nine year old daughter was sitting in the room with me while I was listening to this CD, and she kept insisting that "this is the band that does that painting it black song!" I had just convinced her that she was wrong when the final track... "Paint It, Black," blasted out from the speakers. Now I'll never convince her because Los Mockers already DID convince her. What they do, they do very well. In fact, they do The Stones better than most, and even some R&B with a sound that might be their own. It's.... Naw, it's The Stones' sound. Mockers... Oh! I get it now. (Get Hip: PO Box 666, Canonsburg, PA 15317 USA) MAD PROFESSOR: Dub You Crazy With Love (Ariwa/RAS) Reviewed by DJ Johnson The current champion of dub, Mad Professor, lives in two different musical worlds: dub and lover's rock. Lover's rock is basically soft pop music with a slight reggae feel. The Prof is a production wizard on either side of that coin. This CD is his attempt to bring the two worlds together, forming a bridge for fans from each side to cross over. Will it work? Hard to say. I still can't stand lover's rock, to be honest, so what I come away with is a firm belief that Mad Professor could even make interesting dub out of ABBA tracks. Which means yes, this is an intriguing and at times compelling collection of dub tracks, and it does benefit from the occasional drop-in of beautiful vocal harmonies. The downside is that there are no sharp edges, no dark clouds looming on painted horizons, no sense of danger. Mad Professor's greatest dub tracks positively radiate danger and mystery. So that leaves us with some very pretty dub. It's certainly listenable. It's just not going to get a lot of mileage out of your imagination. M.C. MURPH: Martyrs & Heroes (NQuit) Reviewed by DJ Johnson I was just about to give up hope. The last twenty hip hop and rap albums I had received were annoying. Not much more than foot pumps for giant inflatable egos singing about how big their penis' are and how women actually purchase tickets and stand in line for a ride. That is obnoxious, embarrassing and boring. Along comes M.C. Murph to the rescue! His music is ethereal and penetrating, his messages are positive, and his lyrics seem to be about the world around him (as opposed to the world as it WORSHIPS him, which is the angle most acts come from now). Melodic singing is juxtaposed with some of the most rhythmically complex rapping to come along since The Disposable Heroes Of Hiphopricy. While M.C. Murph's topics aren't as politically diverse as The Heroes', they are certainly as immediate and important. M.C. Murph isn't a newcomer (he has many years worth of production credits), but he hasn't received the attention he deserves. Hopefully this CD will find an audience... perhaps one that's tired of the same ol' same ol'. (NQuit Records, 635 Esperanza Rd, Bosque Farms, NM 87068) MILLENCOLIN: For Monkeys (Epitaph) Reviewed by Shaun Dale Millencolin may be based in Sweden, but they've got a finger on the pulse of the American taste for poppy, ska flavored punk. They describe their third album as "less of ska...more of poppy, pushy songs..." but the ska influence is still evident in a bunch of places, and you can push more of the poppy songs my way anytime. All the garden variety subjects are covered - playin' in the band, broken hearts, lost idealism and the old enui. And monkeys. OK, the monkey stuff is a little off beat, but I've got to admit a grudging admiration for anyone who can slip orangutans into a punk rock song. The disc opens with "Puzzle," an introductory tune promising a tune or two for most everyone, whether you're "feeling swell or feeling blue" and they deliver on the promise. Nothing startling original, maybe, but altogether a well played, satisfying batch of "poppy, pushy songs." Track List: Puzzle * Lozin' Must * Random I Am * Boring Planet * Monkey Boogie * Twenty Two * Black Gold * Trendy Winds * Otis * Lights Out * Entrance At Rudebrook * Lowlife WES MONTGOMERY: Full House (DCC) Reviewed by Shaun Dale DCC continues to compile one of the finest imaginable catalogs of jazz reissues with this release of Wes Montgomery's terrific 1962 live recording, "Full House." Accompanying Montgomery here are Wynton Kelly (piano), Jimmy Cobb (drums) and the great Paul Chambers (bass), who at the time were the rhythmic core of the Miles Davis Sextet, and tenor saxophonist Johnny Griffin. The album was recorded by Wally Heider at the Tsubo club in Berkeley, CA. From the opening cut, "Full House," it's obvious that Wes is enjoying the company he's keeping on this disc, as the rhythm section supports and Griffin challenges him to stretch out in some fine solos. There's plenty of room left, though, for impressive breaks by Griffin and Kelly. "I've Grown Accustomed To Her Face" is the vehicle for a dialogue between Montgomery and Chambers that is truly impressive. Wes carries the melody with chords in his distinctive style, while Paul Chambers does, as Paul Chambers tended to do, exactly the right thing at exactly the right moment in response. Cobbs brushwork subtly underscores and accents the duo. Dizzy Gillespie's "Blue 'n' Boogie" breaks the spell and gives Wes Montgomery a chance to demonstrate the bop chops that he doesn't always get credit for. His opening solo eschews single note flash for chordal brilliance and leads to a break by the rhythm section which demonstrates Miles' wisdom in uniting the trio and Montgomery's in recruiting them for this project. Griffin slides in for his own take, and the spirit of Charlie Parker seems to be somewhere in the room. Wes returns to trade licks with Griffin and the rhythm section leading to a tasty drum break and a furious close. "Cariba" puts the group in an Afro-Cuban mood and opens by highlighting Paul Chambers and Wynton Kelly, which is a highlight indeed. Montgomery generously makes way for solos from Kelly and Griffin on his composition before taking center stage with his own break, which gives way to the ensemble to close. "Come Rain Or Come Shine" and "S.O.S." are each offered in the originally released tracks and in alternate takes that weren't selected for reasons I'll leave it to you to deduce. Montgomery was notorious for perfectionism in recording, so he must have found a flaw somewhere in the alternates. I can't. "Born To Be Blue" was recorded that night by Wes and the rhythm trio, but not included on the original album. According to producer Orrin Keepnews, the omission was arbitrary, the result of having more than enough excellent material on hand. It's restoration on the CD is welcome. The reissue of this recording on DCC's 24 karat format is welcome, too, and highly appropriate. These are definitely 24 karat gold performances. Track List: Full House * I've Grown Accustomed To Her Face * Blue 'N' Boogie * Cariba * Come Rain Or Come Shine * S.O.S. * Born To Be Blue (bonus track) * Come Rain Or Come Shine (alternate take) * S.O.S. (alternate take) MONTY PYTHON: Four albums re-released on CD (Arista) Reviewed by DJ Johnson If a good portion of your youthful experience involved sitting in front of the TV set giggling, snickering, guffawing, and belly-laughing hysterically at the antics of Monty Python, read on. Arista has just re-released four classic albums by the timeless British comedy troop. Working from the original masters, the sound has been vastly improved through 20-bit digital remastering, making formerly murky recordings like Live At City Center far more audible and crisp. "Crisp"... Hmmm. What a silly word. No matter. First on the list is Monty Python And The Holy Grail, or as the front cover reveals, "The Album Of The Soundtrack Of The Trailer Of The Film Of Monty Python And The Holy Grail." Fans of the film who have never heard the soundtrack will be surprised to note the plethora of... "Plethora"... Dear God, that one's even sillier than "Crisp." Well anyway, there are a lot of bits on the album that weren't in the movie. For instance, Eric Idle, as a radio announcer reporting the arrival of Hollywood's elite for the premier of The Holy Grail, calmly describes the chaos as cars spin out of control and smash into one another. "And who's this coming through the windscreen of the mini... Yes, it's lovely star Barbara Streisand, flying through the air in a beautiful Bill Gibb creation. And she's landed, half on Roger Moore, looking quite well, and half on Jack Nicholson, who's not so well. And who's that under the back wheel? It's... Yes, it's Faye Dunaway! No... No, it's Victor Mature. Yes, all the stars are here tonight." As the film begins, John Cleese can be heard giving a droning commentary for the first few minutes, right over the film dialogue, until someone finally tells him to shut up. From this point on, we get a great deal of the African swallows, flying livestock, rude Frenchmen, cowardly knights, watery tarts, horny maidens, murderous bunny rabbits and various shrubbery that made the film so damned memorable in the first place, plus some occasional added commentary. I'd love to tell you that you don't even need to be familiar with the movie to enjoy this soundtrack, but how the hell would I know? I've seen it like 70 times. 1975's Matching Tie And Handkerchief contains many of their most enduring bits, such as "Bruces," "Cheese Shop," and "Novel Writing," all tied together by a wonderfully fuzzy stream of consciousness. By the end of the disc, you may be experiencing sweaty palms and uncontrollable drooling. This pleases the Pythons a great deal. By the way, there IS some political incorrectness here, so if you're timid, run away. Terriers and novelists fare badly, a ruthless plastic surgeon turns his patient into an elephant, and Oscar Wilde is reduced to making silly farting noises, and all of this before lunch. The 20-bit digital sound is clear as a bell. Of the four albums reissued here, none benefits more from the sound enhancements than Live At City Center. If you've ever heard the LP, you know what murk is all about. All gone! Even the most incidental background sounds are clear and identifiable, and the dialogue is completely legible. While the applause once obscured sounds from the stage, there is now a clear separation which, unless I miss my guess, has been accomplished with some creative EQ'ing. The performance itself was brilliant. Flawless execution of difficult bits originally designed for television. No simple task. Recorded in 1976, the program included a handful of their best known skits ("Nudge Nudge," "The Lumberjack Song," "Travel Agent") and great little segues like "Short Blues" (a one-line 15-second blues song). The familiar material was spiced up by adding words the BBC censors wouldn't allow them to use on their Flying Circus television program. Live At City Center in not only THE essential Monty Python album, but it's also quite possibly the best live ensemble comedy album of all time. 1980's Contractual Obligation Album is clearly the weirdest Python on record. Consisting mostly of songs, it baffled casual fans and delighted the true Python faithful with a full compliment of politically incorrect subjects and statements that guaranteed a complete lack of radio support. Like that was anything new for the Pythons!? Ha! If there was any doubt about their feelings on the matter, "I Bet You They Won't Play This Song On The Radio" removed it. Wars were narrowly averted after various kings and statesmen heard "I Like Chinese," "Never Be Rude To An Arab," "A Scottish Farewell," and "Finland." The few non-musical tracks are bloody classics, too! "Rock Notes" is one of Eric Idle's most brilliant bits. If you ever wondered where the name Toad The Wet Sprocket came from, give this track a listen. And how can you resist "Farewell To John Denver," in which the Rocky Mountain Mildman is brutally strangled in mid-song? Most wonderful of all is "Bells," a frantically screamed conversation between a couple who can barely hear one another over the unbelievably loud (and numerous) church bells up the hill. As the church breaks away from its foundation and slides down the hill toward them, they fire a missile that reduces it to silent rubble. "Well, I've always said there's nothing an agnostic can't do if he really doesn't know whether he believes in anything or not." Right! Well, I can't make a fair comparison of sound quality between this 20-bit CD and the original LP because I don't have the LP. I can only tell you it sounds fantastic, as do the other three re-releases. All these years later, this stuff is still great fun to listen to. Imitators have come and gone, new styles of comedy have emerged, and P.C. rules have colored our opinions of all of it. Python, however, remains what it always was: something completely different. MORGAN HERITAGE: Protect Us Jah (VP Records) Reviewed by Shaun Dale A product of Morgan Heritage's collaboration with Kingston producer Bobby Dixon, "Protect Us Jah" is an instant classic. The progeny of Denroy Morgan have mastered the harmony stylings of the great reggae vocal groups and applied them to a set of vitally conscious songs. Opening with Sly and Robbie supporting "Set Yourself Free" then moving through fourteen more cuts featuring a group of musicians centered around Danny Dennis (bass), Melbourne Miller (drums), Ernie Wilks & Dalton Browne (guitars) and Benji Myers & Paul Crossdale (keyboards), the vocal quintet deliver up a strong dose of social and spiritual positivity. Gramps, Lukes, Una, Mr. Mojo and Peter each make a strong contribution, both in solo and harmony roles. There are very strong individual voices here, though the album does not credit the vocal solos, but they achieve harmonies on par with such memorable groups as the Abyssinians. On cuts like "Mama & Papa" there's an R&B edge, using a call and response style that would have been welcome in a Memphis studio in the sixties (or any intervening decade, for that matter). "Protect Us Jah" was the group's breakthrough single on the reggae charts. This is a group ready to chart in any category, though, and you can help by snagging a copy of this disc. The pleasure will be all yours. Track List: Set Yourself Free * Exalt Jah * What Man Can Cry * People Are Fighting * When Will We Decide * Mama & Papa * Let's Make Up * Africa, Here We Come * The King Is Coming * Watch The Heathen * Let Them Talk * Protect Us Jah * Love Is Flowing * Me Or You * Promise MOTHERFUCKER 666: Motherfucker 666 (Get Hip) Reviewed by Shaun Dale With a name guaranteed to generate scads of Xmas purchases by grandparents anxious to look hep and a lineup drawn from members of the Pagans, the Angry Samoans and the Lazy Cowgirls (with a guest vocal appearance by Hot Damn's Zebra Stripes), Motherfucker 666 have cranked out a punk masterpiece. Eight of the eleven tracks are products of various combinations of band members (who include Mike Metoff (guitar/vocals), Keith Telligman (bass/ vocals), Alan Clark (drums) and Jeff Dahl (guitar/vocals)) but the real treat here are the three covers. The Stooges "Head On" may seem like a natural punk cover, but wait till you hear what happens to Ray Davies "Celluloid Heroes" and the Phil Spector girl group classic "Then He Kissed Me" (featuring Zebra Stripes). Rehearsed, recorded and mixed in three days, but millenia of cultural decay in the making, this is just the thing to see you through the fin de seicle. Track List: All Our Friends * I Don't Wanna * Celluloid Heroes * Just Another Day * Byron's Calling * Then He Kissed Me * Best Of Times * Blues Theme From Teengenerate Vs. Godzilla * Scourge * Head On * High For Christmas MOZART: Sonatas for Piano and Violin: in F Major, K 377; in E Minor, K. 304; in F Major, K. 547; in E Flat Major, K. 481. Yefim Bronfman, Piano; Isaac Stern, Violin. SONY SK 61962 [DDD] 78:22 Reviewed by Robert Cummings Bronfman and Stern take an approach in these four works that veers toward neither confection nor meat and potatoes, settling rather on a Mozart who is both graceful and tastefully muscular. The opening Allegro of K. 377 is vivacious and witty, colorful and full of felicitous details. The Andante that follows is insightfully rendered, with the wistfulness of the main theme captured to near perfection, and the ranging moods of the variations that ensue handled deftly, especially by Bronfman, who appears the subtler of the two. The finale again finds the pair right on target, striking that balance between grace and brawn. Their performance of K. 304 may be the best of the bunch, though. Or maybe it's just that I like this wonderful sonata a little better than the others. The duo manage to wring some genuine and very convincing angst from the second movement, and capture the changing character throughout of the main theme in the opening Allegro. The duo's K. 547 is a solid reading, though the first movement seems wanting a bit for imagination and greater expressivity. Not that the performance here is bad; it's just that at times it sounds a bit stiff, making you wish things were a tad more sprightly and elastic. The ensuing movements are insightfully read, the second full of vigor and grace, and the finale encompassing the full expressive range of the theme and variations. Their phrase endings are especially effective in Variations III and IV; and the introduction of each new variation is handled adroitly and with nearly all the sensitivity one could ask for. Try, for example, Bronfman's handling of the opening of the fifth variation (track 8; 5:08), for solo piano, there being the clever illusion at the outset that you're listening to a transition. K. 481 begins vigorously, but neither Bronfman nor Stern overlook the subtleties here, always maintaining a firm but flexible grip on the musical trajectory. The Adagio is played ponderously yet sweetly, the profound character of the movement emerging in sadly singing tones and hushed utterances. This is playing on the highest level. The pair render the finale with wit, and again show their deft ability to capture a kaleidoscopic range of expression in their compelling enactment of the six variations. Anyone doubting Stern's skills at this stage in his long, distinguished career ought to hear this disc. While Bronfman may be the more reliable of the two, Stern more than holds up his end. Sony provides excellent sound and intelligent notes. There are many such Mozart sonata discs on the market today (Neikrug/Zukerman on RCA and Haskil/Grumiaux on Philips to name just two), but with such impressive artistry as evidenced here, you can't go wrong purchasing this disc. ORIGINAL SOUNDTRACK: Mandela and de Klerk (Rhino/Showtime) Reviewed by Shaun Dale The soundtrack for the Showtime Original picture starring Sidney Poitier and Michael Caine, this disc stars the compositions of South African composer/producer/performer Cedric Gradus-Samson and the rhythms of his country. Using indigenous whistles, marimba and drum, along with keyboards and some programmed percussion, Gradus-Samson has created a set of songs which match the epic sweep of the movies subject, the demonstrations, negotiations and actions which took Nelson Mandela from prison to the presidency of his nation. While there are only a few tracks featuring actual lyrics, voices are used to tie the tracks together thematically. Chants, cries and whispers move from one cut to another, each carrying a different dramatic purpose. Lyrical songs include the thematic "Mandela: Symbol To The World," "All African People" and the love theme "A Moment Of Your Hand Touch." "Mandela" and "Hand Touch" are presented in instrumental arrangements, as well. And, of course, there's a marvelous choral arrangement of "Nkosi Sikelele," the South African National Album. What's perhaps most amazing in this era of high tech sound track production is the fact that these cuts were all recorded live and produced from Gradus-Samson's Johannesburg treehouse studio (yep, I said treehouse). One of South Africa's best known composer/producers, Gradus-Samson is branching out internationally, working on current projects with Ice Cube and Jennifer Rush. His work here is impressive, and thoroughly enjoyable even for those of us who have not yet seen the film which inspired it. Track List: Nameless Faces/Sentence * Mandela: Symbol To The World (vocal) * Hand Touch (instrumental) * Violence And Turmoil * Nkosi Sikelele * Trip To Cape Town * A Dream In Transkei * The Boot * Moments Together * All African People * A Cry For Freedom * Final Triumph * Thought Of Freedom * A Moment Of Your Hand Touch (vocal) * Goodnight Mr. President * Mandela: Symbol To The World (instrumental) FRANKIE PAUL: A We Rule (RAS) Reviewed by DJ Johnson This is... what? Frankie's 2,000 album? He keeps cranking them out, and the quality remains high. Remarkable. A We Rule is strong from beginning to end, with a nice mix of pop-reggae ("Rub A Dub Market," "Stick A Sensi") and conscious songs of praise ("Free Jah Children," "Rastafari Winner"). Frankie still knows how to present his music in a way that will appeal to broad range of people. Sparse arrangements hinge on his echoed voice, stark keyboards croak slightly out of tune over rhythms and grooves that are so infectious it doesn't much matter if you understand the tale he's telling. For those who do understand, this is definitely a full plate. Does anybody remember the last bad Frankie Paul album? Or ANY bad Frankie Paul album? A We Rule continues the longest hitting streak in reggae. PREACHER JACK: Return Of The Boogie Man (Rounder) Reviewed by Shaun Dale Preacher Jack has spent a few decades becoming a New England legend with a country/boogie/gospel sound that sounds straight off the delta. This disc features five tracks culled from his early eighties Rounder albums featuring Delaware Destroyers Billy Blough (bass) and Jeff Simon (drums) and guitarist Sleepy LaBeef, and a gospel turn on "Just A Closer Walk With Thee" with the Persuasions. There are also ten unreleased cuts featuring Jack and his piano, which is more band than most folks ever get to play with all by itself. Preacher Jack *is* the Boogie Man, as in woogie. Whether on solo instrumentals like "Yancey's Bugle Call" and "Rounder Boogie," backing his own impassioned vocals (this guy was Massachusetts born and bred? No way. Way.) or leading a band, his left hand thunders through like a hypnotic force of nature. His right hand dances over the keys like lightning, finding notes where there are no notes. Mixing gospel standards, Hank Williams classics and nuggets from the Sun Records catalog (Jerry Lee is an obvious influence), Preacher Jack gives up 16 tracks of pure barroom joy. If you missed him last time, the Boogie Man has returned and there's still time for redemption. As in redeeming some greenbacks for your very own taste of boogie heaven. Track List: All By Myself * Say You'll Stay Until Tomorrow * Break Up * Yancey's Bugle Call * The Public Is My Family, Music Is My Life * Go Tell It On The Mountain * Mystery Train * Jessie's Boogie Woogie * I'll Be Your Baby * Who Will Buy The Wine * Lovin' Up A Storm * Teardrop On A Rose * Rounder Boogie * May You Never Be Alone Like Me * Be Careful Of The Stones You Throw * Just A Closer Walk With Thee PROKOFIEV: Piano Music, Volume 1: Toccata, Op. 11; Ten Small Pieces, Op. 12; Sarcasms, Op. 17; Visions Fugitives, Op. 22; Four Pieces, Op. 4. Eteri Andjaparidze, Piano. NAXOS 8.553429 [DDD] 79:30 Reviewed by Robert Cummings When I saw this disc listed at the Internet site of HNH, the parent company of Naxos, I just knew we'd have to get it for review, since I'm a Prokofiev aficionado from way back always interested in a new pianist taking on my favorite composer's challenging music. True, there have been a plethora of such discs of late to satisfy my ravenous appetite, but still. Perusing the strange name of the pianist, I scratched my head and thought, "I can hardly wait to hear how HE plays Prokofiev." Well, HE, as you might suspect, turned out to be a woman--a strikingly beautiful one at that--as evidenced by a photograph on the back page of the album booklet, a photograph that displayed a rather proud, somewhat defiant look on her face. And Andjaparidze (pronounced, I believe, AHND-YAHP-ARR-EED-SAY) turned out to play with an authority and audacity to match that striking pose. She delivers the challenging Toccata with power and intense drive, equaling or outplaying the likes of Horowitz and Lazar Berman (no mean feat!), though not quite matching the manic and brilliant Byron Janis on his recently reissued Mercury disc, with the Prokofiev Third and Rachmaninov First, from the 1960s. In the Ten Small Pieces, she imparts a delicious decadence and sassiness to the Allemande (track 9), finding just the right mix of humor and savagery. The Harp Prelude (track 8) is perky, and full of life and vivacity; the opening Marche (track 2) is rendered with panache and mischief. The whole set sparkles. The Sarcasms have never sounded as brutally sarcastic and defiant as here. Andjaparidze zeroes in on that impudent side of Prokofiev's muse and delivers these five reckless pieces with such perversely appealing temerity, that you're completely won over in music that is otherwise a bit iffy. Of the twenty Visions, only two or three don't come off well: Nos. 6 and 8 are too slow; No. 16 sounds a bit hard and insensitive at the outset, then too ponderous in the latter half. Andjaparidze often stretches tempos in this large collage of small pieces, but generally manages to unearth insights not usually heard in them or to unleash her considerable virtuosity to wrest every ounce of excitement from the music: try No. 14 (track 30), marked feroce, if you want to hear this ferocious piece as you've never heard it before, or sample No. 20 (track 36) to hear the depth and mystery in this bizarre piece. In sum, this is at once the most thought-provoking and most original set of the Visions I've ever heard. The Op. 4 pieces are also played with individuality and inspiring virtuosity. The famous Diabolical Suggestion (track 40) will send chills up your spine. Only Gavrilov and El Bacha have matched this kind of excitement in this utterly hair-raising work, while scores of others have fallen short. Naxos offers excellent sound, and the notes are certainly interesting though not always accurate. Yet another winner for Naxos. Is this the premier classical label or what? RADISH: Restraining Bolt (Mercury) Reviewed by Shaun Dale If you've been paying attention, you've probably heard that Radish's guitarist/vocalist/songwriter Ben Kweller is only fifteen years old, and that the band's demo set off a major label bidding war that put something in the seven figure range in the trio's pockets. What has been hidden by the hype is that they've put together a pretty decent little debut album. In fact, if you've got a serious Nirvana jones, this is probably real good stuff. I don't, so I'm not sure, but Kweller is definitely a talented kid. There's not an insufferable amount of pretension in his songwriting, his vocals are delivered confidently and he plays guitar competently in a style that pays homage to one of his obvious musical heroes, the late Mr. Cobain. 17 year old drummer John Kent and bassist Bryan Blur, 29, round out the lineup and provide a stable foundation for Kweller's songs. If they can keep up the pace through a few years and a couple more albums, they might earn that signing bonus yet. Meanwhile, this one may not rock your world, but it rocks. Track List: Little Pink Stars * Simple Sincerity * Failing And Leaving * Dear Aunt Arctica * Sugar Free * Today's Bargain * The You In Me * Still I Wait * A Promise * Apparition Of Purity * My Guitar * Bedtime BONNIE RAITT: Luck Of The Draw (DCC) Reviewed by Shaun Dale Luck Of The Draw was Bonnie Raitt's follow-up to her breakthrough 1989 release, Nick Of Time (make that "commercial breakthrough" - Bonnie had a long reputation as a "musician's musician" prior to becoming a multi-platinum recording star). Capitalizing on her long tenure on the road, she called on a stellar assemblage of friends (Delbert McClinton, Billy Vera, Bruce Hornsby, Kris Kristofferson, John Hiatt, and the Tower of Power Horns, to name just a few) and first call studio pros to create another commercial and artistic success. Producer Don Was helped get exactly what was needed from each player and Bonnie was her always wonderful rocking, shuffling, sliding and singing self. This is certainly an album that belongs on most every shelf, but most of you already know that. And that's not what I really came to talk about. I came to talk about vinyl. 180 gram pure virgin vinyl, to be exact. I'm a long time fan of DCC's 24 karat gold disc format (and this album is also available on gold disc) but this was my first opportunity to check out the vinyl equivalent. If you own a turntable, any turntable, you simply have to check out this format, if not this release. You will hear things you have never heard. If you don't own a turntable, this is more than enough reason to get one. I'm not talking high end audiophile gear here. My rig is fairly plebeian, but the difference is clearly noticeable. Some credit, of course, goes to the mastering master of DCC, Steve Hoffman, but I'm sure he'd be the first to admit that the medium makes a difference. If you've ever had a question about the analog/digital debate (which I'm not trying to start here, really...), just A/B one of these DCC vinyls with its CD counterpart and...well, honest, I'm not trying to start an argument. But really, you should check out some first rate vinyl, and Luck Of The Draw is a fine way to do it... Track List: Something To Talk About * Good Man, Good Woman * I Can't Make You Love Me * Tangled And Dark * Come To Me * No Business * One Part Be My Lover * Not The Only One * Papa Come Quick (Jody and Chico) * Slow Ride * Luck Of The Draw * All At Once RUBE WADDELL: Hobo Train (Vaccination) Reviewed by John Sekerka Now yer talkin'! Rube Waddell, as y'all know, was the greatest baseball fireballer of 'em all. He'd set 'em up and mow 'em down at will. Famous for loadin' the bases, then calling in all fielders, and striking out the side, Waddell was the stuff of legend. Before his starts, Rube would sit up in the stands with the crowd, swig back a few, then jump down onto the field and go about his business. He'd also disappear for long stretches, perhaps on a fishing trip, or maybe hanging out at the firehall, or wrasslin' alligators, or maybe leading a parade. Rube was Jethro from the Beverly Hillbillies - the real deal. And just so's we all don't forget the man, up comes this wild trio of rock musicians carrying Rube's name and tradition. Somethin' like the Chickasaw Mudd Puppies on a hooch bender. 'The Rube Yelp,' a real dirt kicker perfect for lighting bean farts around the campfire, starts side one of this big ol' twelve inch black beauty vinyl slab. There's a lot of noise and twang here, as the spirit of ol' Rube is surely pulsing through these boys' veins. It's a dynamo record you'll wanna spin around and around, just don't go tryin' the flip side, cuz there ain't nothin' there but a pretty picture. Nice part is that you also get a little booklet of Rube trivia, anecdotes and time passers. Long live Rube Waddell! And remember kids, wherever there's a fire, there's Rube Waddell. PAUL SIMON: Graceland (Enhanced CD) (Warner Brothers) Reviewed by DJ Johnson Just over a decade has gone by since Paul Simon released Graceland to high critical and popular praise, and the test of time has been passed with flying colors. Nobody is apt to argue its importance or its beauty. This re-release adds modern technology in the form of CD-ROM files that allow the listener to read lyrics on the computer screen, view the original hand written lyrics, and watch video interviews with Simon and some of the amazing South African musicians who helped him create this wonderful album. To hear Simon explaining in his own words what a lyric meant is worth the cost of purchasing Graceland again. The music itself, of course, is here as well, and the disc will function normally in any player. In addition to the original liner notes there is an interesting 8-page essay by Billboard editor Timothy White, who explains the politically charged climate that Simon encountered and overcame. The notes, videos, and interviews all lead you toward the conclusion that Graceland was indeed important, but it still only takes one listen to realize what a timeless masterpiece it is. SON VOLT: Straightaways (Warner Brothers) Reviewed by Shaun Dale Jay Farrar doesn't seem to be feeling so great these days, which works out pretty well for those of us who like the melancholy country rock his apparent depression produces. Farrar, who contributes the tunes, vocals, guitar, organ and harmonica, leads the quartet (including bassman Jim Boquist, drummer Mike Heidorn and Dave Boquist on guitars, fiddle, banjo and lap steel) along with a boost from Eric Heywood on pedal steel. There's a range of sound on the disc that reaches from the grungy "Caryatid Easy" to the straight honky tonk ballad feel of "Creosote," and Farrar's voice pulls the music back to the country even when the instruments push off into other musical realms. There's not much range in the somber tone and subjects, though. This is an album to search the bottom of a bottle with. If your mind's on a frolic or a filly, there's stuff out there better suited to those pursuits. Altogether, though, it's a worthwhile sophomore effort. In fact, I haven't felt this good about music that can make me feel this bad for a while. Track List: Caryatid Easy * Back Into Your World * Picking Up The Signal * Left A Slide * Creosote * Cemetery Savior * Last Minute Shakedown * Been Set Free * No More Parades * Way Down Watson STRAVINSKY: The Rake's Progress. Sylvia McNair (Anne Trulove); Anthony Rolfe-Johnson (Tom Rakewell); Paul Plishka (Nick Shadow); Jane Henschel (Baba the Turk); Jane Bunnell (Mother Goose); Donald Adams (Trulove). Tokyo Opera Singers; Saito Kinen Orchestra conducted by Seiji Ozawa. PHILIPS 454 431-2 [DDD] Two Discs 2:16:33 Reviewed by Robert Cummings When The Rake's Progress premiered in 1951, Stravinsky, a man brimming with self-confidence from numerous past successes, suddenly found himself shaken by a cold reception for the new opera, his largest, grandest composition in any form. The younger generation and the trend-conscious saw the piece as old-fashioned, even inconsequential. For Stravinsky, a composer many view, with good reason, as an ever-calculating careerist always striving to extend his far-reaching influence and reputation, this was a devastating blow. He had always known he couldn't write attractive melodies like so many other, even lesser, composers, and so early on in his career he cultivated a keen ability to compose ever-fresh, ever-innovative works that borrowed from past practices and styles. The formula produced countless successes in many forms. After the premier of The Rake's Progress, however, Stravinsky feared he was becoming a discardable relic, and thus made the regrettable decision to abandon his neoClassical style in favor of serial composition, a hardly new musical idiom still. Stravinsky thus squandered his last two decades on a method rather alien to him. This unfortunate outcome seems all the more tragic because The Rake's Progress has rightly come to be regarded as a masterpiece, one of the few operas from the mid-twentieth century to gain widespread popularity, joining several by Britten and Prokofiev's War and Peace. Its plot, inspired by a series of paintings by 18th century artist William Hogarth, was set to a libretto by W.H. Auden and Chester Kallman. By now the story is fairly well-known: Tom Rakewell (a rake, what else?), in love with Anne Trulove, goes off with his new friend Nick Shadow (the devil, who else?) to London to a decadent life, marries Baba the Turk (a bearded lady!) at the behest of Shadow, becomes financially ruined, defeats Shadow in a card game that wins him liberation from his diabolical friend's influence but at the cost of his sanity. Moral: idleness is the devil's work. Stravinsky's clever score so rightly captures the essence of the characters and story here. What an utter delight it is! In the recording under review Seiji Ozawa goes into competition with Stravinsky's own effort from 1964. And who wins? Is it Ozawa, with a rather impressive cast of stars and state-of-the-art sound, or Stravinsky, with a roster of little-knowns and dated sonics? You expect me, after setting up the obvious underdog, to say Stravinsky. Right? But it's Ozawa that I'd choose. From his opening, which is lively and full of felicities, on to that most bizarre, most compelling of scenes, the graveyard scene (CD 2, tracks 6-9), and on to the closing epilogue, he animates the music, consistently finds the proper focus, and overall delivers an inspiring reading that may well set the standard for this opera. And his cast is uniformly splendid, both vocally and dramatically. Sylvia McNair as Anne Trulove is absolutely delectable, superior to Stravinsky's very good Judith Raskin; and Anthony Rolfe-Johnson's Rakewell is completely convincing, making you wonder if the role could ever be sung better. Veteran Paul Plishka as Nick Shadow is impressive, diabolically impressive in fact, and Jane Henschel as Baba the Turk is utterly delightful (try her marvelously witty Act II arias; CD 2, track 1). Stravinsky may point up some subtleties in the orchestration that Ozawa misses on occasion, but on the whole the latter is more compelling, and his little-known Japanese ensemble performs with vigor and commitment and sounds at least the equal of Stravinsky's Royal Philharmonic. Ozawa's recent, highly-praised Oedipus Rex offers further evidence that he is quite attuned to this cosmopolitan composer's wide-ranging, yet nearly always unemotional expressive idiom. There have been two other recent recordings of this opera: the Craft (Stravinsky's faithful assistant and sometimes ghost-conductor on certain recordings) on Music Master Classics, with mostly unknown singers, and the Nagano on Erato with a stellar cast. Critical opinion has not prompted me to seek either of them out, though. In the final analysis, Ozawa's Philips recording is the one to have. Highly recommended. TUATARA: Breaking the Ethers (Epic) Reviewed by Steve Marshall When you combine the talents of drummer Barrett Martin (Screaming Trees), bassist Justin Harwood (Luna), guitarist Peter Buck (R.E.M.), and saxophonist Skerik Walton (Critters Buggin), it would appear that this is just another alterna-rock supergroup. However in this case, nothing could be further from the truth. Breaking the Ethers is not a rock album. It's an instrumental collection of tunes that borrow heavily upon the genres of jazz and world music. According to co-founder Martin, the members of Tuatara just wanted to try something different. The last Screaming Trees album, Dust, had elements of world music on it, but nothing to this extent. The music on the CD ranges from funky jazz excursions to steel drum workouts and cool, atmospheric soundscapes. There are several highlights -- "Saturday Night Church" (with Los Lobos' Steve Berlin on bass penny whistle), "Dreamscape," and "Burning the Keys" are but a few. None of the musicians left their respective bands to work on this project. This was simply an opportunity for them to expand their horizons a bit. Breaking the Ethers is an interesting CD, and will probably surprise a lot of people. World music fans will be the band’s primary audience, but anyone with a musically open mind will probably enjoy it as well. STEVE TURRE: Steve Turre (Verve) Reviewed by Shaun Dale "Steve Turre" is a simple title for this ambitious undertaking, which features 28 musicians in addition to the trombone/shell master himself. It is also simply the only appropriate title. The majesty and brilliance of Turre's musical vision dominates every corner of every track, regardless of the number of performers. But the supporting cast is impressive enough to merit a roll call: J.J. Johnson/Britt Woodman/Frank Lacy/Dough Proviance/Robin Eubanks/Jimmy Bosch; trombones, Alfredo "Chocolate" Armeteros/Jon Faddis/Randy Brecker; flugelhorns/trumpets, Willie Rodriguez/Stephen Scott; pianos, Stefon Harris; vibes/marimba/balifon, Andy Gonzales; bass, Akua Dixon; cello (fronting Quartet Indigo), Regina Carter; violin, Portinho/Victor Lewis/Horacio "Negro" Hernandez; drums, Manny O'Quendo/Milton Cardona/Kimati Dinzulu/Herculano Frederici; hand drums/ percussion, Romero Lubambo; guitar, Cassandra Wilson/Graciela Perez; vocals. And every player is needed to achieve this brilliant synthesis of American, Cuban and Brazilian music. Turre offers extensive notes detailing the interplay of the ensemble and the solos, revealing his admiration for the assembled players and his intentions regarding the underlying structure of the pieces offered. A note on the shells is due here. Steve Turre was introduced to the conch shell as jazz instrument during his tenure with Roland Kirk, and he has become the undisputed master of their use. If you haven't heard (or can't even imagine) his conch shell solos, the ones here provide more than enough reason to add this disc to your collection. They are hardly the only, or even the best, reason to do so, though. There is something astonishingly wonderful about every cut. Steve Turre is touring with his Shell Choir this summer, and if he comes anywhere near you, try to be there. Whether you catch the show or not, though, don't miss this disc. Track List: In A Sentimental Mood * The Emperor * Let It Go * Ayer Lo Vi Llorar * Coastin' With Bobby * Steve's Blues * Inocencia * Mongo N' McCoy VARIOUS ARTISTS: Alive And Kickin' - Big Band Sounds At M-G-M (Rhino) Reviewed by DJ Johnson Big Band music was the rock and roll of the 30s and 40s. The kids got drunk, danced, fought, fell in love, and made out to the sounds of the Dorsey brothers, Harry James, Artie Shaw and other bandleaders of the day. The motion picture industry picked up on it in short order and began making movie stars out of those bandleaders. Any American Movie Classics (AMC) addict has seen a zillion clips from the resulting films, as they're regularly shown between movies on that channel. Alive And Kickin' collects 23 tracks from MGM flicks like Broadway Rhythm, Dancing Co-Ed, Ship Ahoy, and Thrill Of A Romance. While the majority of the tracks involve one Dorsey or the other, there are also some excellent performances by the bands of Vaughn Monroe, Bob Crosby, Kay Kaiser, Guy Lombardo and Tex Beneke, with vocal performances that range from the sublime (Frank Sinatra, Bob Eberly, Helen O'Connell) to the curious (June Allyson, but it's strictly a matter of personal taste, I think). Collectors should note that these songs have never been available before, and some of them never even made it past the cutting room floor at MGM, though not because of the quality of the music. While the sound quality might not create much of a stir in audiophile circles, it's at least worth noting that stereo mixes were achieved in a few cases because the performances had been miked from more than one angle. On some tracks, hiss is at an annoying level for headphone users, but it's not an issue during normal speaker listening. Some tracks are brighter than others, but none have been squashed and slaughtered by noise reduction (unlike tracks on many other big band CDs I own). The liner notes, written by author and music critic extraordinare Will Friedwald, are jammed with information about each band and track, and cool bits of trivia about the films. Rhino didn't skimp on quantity, either, filling this baby to the brim with 75:47 of dynamite music. Much appreciated. TRACK LIST: Opus One (Tommy Dorsey) * Irresistible You (Tommy Dorsey w/Skip Nelson and the Sentimentalists) * One O'Clock Jump (Jimmy Dorsey) * I Cried For You (Harry James & his Music Makers w/ Helen Forest) * I Fell In Love With The Leader Of The Band (Tommy Dorsey w/ Virginia O'Brien) * Chattanooga Choo Choo (Tex Beneke) * Hawaiian War Chant (Tommy Dorsey) * I'm Yours (Artie Shaw) * Love On A Greyhound Bus (Guy Lombardo w/ Pat Kirkwood) * I Like To Recognize The Tune (Vaughn Monroe w/ June Allyson & others) * Song of India (Tommy Dorsey) * Star Eyes (Jimmy Dorsey w/ Bob Eberley & Helen O'Connell) * Do I Love You? (Tommy Dorsey w/ The Pied Pipers) * The Donkey Serenade (Artie Shaw) * In A Little Spanish Town (Bob Crosby w/ June Allyson & others) * I Should Care (Tommy Dorsey w/ Bob Allen) * Shorter Than Me (Jimmy Dorsey w/ Buck & Bubbles) * Blue Skies (Tommy Dorsey w/ Frank Sinatra) * At Sundown (Artie Shaw) * Alive And Kickin' (Harry James w/ Nancy Walker) * Mississippi Dream Boat (Kay Kaiser w/ Sully Mason & Marilyn Maxwell) * Lord And Lady Gate (Jimmy Dorsey w/ Helen O'Connell) * Trumpet Blues (Harry James) VARIOUS ARTISTS: Glass Flesh (Infinity Chair) Reviewed by John Sekerka As tribute records go this one has an interesting story. Glass Flesh is basically a pick of the litter from a three volume, fifty song cassette project that found life through the Internet. The object of desire being Robyn Hitchcock, a prolific writer who owns a fanatic following, to which I must admit, I belong. Despite a plethora of records and two decades in the biz, Hitchcock remains somewhat of an enigma. His odd curio tales set to jangly guitar pop are a godsend in a land of poseurs and second rate hacks. Oh, sorry, I'll get down off the pedestal now. Glass Flesh succeeds as tribute because it is a labour of love, done up by musical fans, not just a label roster shuffled into the studio to crack out an assembly line project. I can't say I've heard of any of these artists with the lone exception of Vic Chesnutt, and that speaks for itself. The performances range from straight acoustic readings to quirky takes - Chesnutt's beat box version of 'She Doesn't Exist' is an eye-popper. Glass Flesh is full of great takes and anyone familiar with Hitchcock will relish this listen. Twenty tracks may seem like a full plate, but for real fans the entire cassette collection is a must, especially since it includes a breathtaking version of 'Underwater Moonlight' by The Transparencies. This, by the way, is an ongoing project, so if you have a special Hitchcock cover you can contact the folks responsible at: walden@universe.digex.net. You can also visit the site at: http://remus.rutgers.edu/~woj/glassflesh. Enough said. (Infinity Chair Records - 5905 Greentree Rd., Bethesda, MD, 20817) VARIOUS ARTISTS: Go Kart vs. The Corporate Giant (Go Kart) Reviewed by DJ Johnson Get this. Get this. GET THIS! I always appreciate bang for the buck, and there are 28 tracks by 20 bands spread over 73 minutes! But that's no good unless the music IS good, and this music cooks. "Jerk Of All Trades," by Lunachicks, bumps and grinds and basically sets the stage for the parade of punk and power pop to come. Talk about a monster roster: The Meatmen, Wives, Weston, Buttsteak, Sea Monkeys, The Voluptuous Horror Of Karen Black, Canned Travolta, Les Stitches, Berserk, Stress Magnets... and that's just for starters. Most of this music is shot at you from a big ol' cannon, but there are a few breaks in the action, such as the twisted lounge tune, "I Shot JFK," by Black Velvet Flag. When I say lounge, I'm not talking about swank string sections. I'm talking about the little airport lounge with the four foot square stage. I'm talking enough cheese to constipate the nation. Gotta love it! The best of 'em all, at least to a guy like me who just can't resist a well written power pop song, is "Rocket Girl" by Shake Appeal. Fantastic pop structure, great harmony vocals, and a winning hook every twenty seconds or so. Pop this! It's up there with Redd Kross and Chixdiggit. The rest of the disc rocks like an avalanche, too. Get this! (Go-Kart Records: PO Box 20, Prince Street Station, New York, NY 10012. Phone: 212-673-3380. E-Mail gokartrec@aol.com. Check out the website at http://members.aol.com/gokartrec/homepage.html.) VARIOUS ARTISTS: KCRW Rare On-Air Performances Volume Three (Mammoth) Reviewed by Steve Marshall If you live in or around the Los Angeles area, chances are you've probably heard Chris Douridas's morning show on KCRW, Morning Becomes Eclectic. At various times during the week, they feature artists performing live in the station's studios. This is the third CD in a series of these performances. In keeping with the premise of the show's title, past installments have included an eclectic mix of artists, to say the least. Leonard Cohen, Tori Amos, Beck, Tanya Donnelly, Nick Cave, and Sebadoh are just a few of the artists who have contributed tracks to the previous CDs. Volume 3 includes 14 tracks from artists who have graced the KCRW performance studios over the last year; all recorded live with no overdubs. Some of the artists featured include Patti Smith (with her first commercially available live performance of "Dancing Barefoot"), Fiona Apple, Ben Folds Five, Guided By Voices, and Stereolab (who contribute a new track called "Spinal Column"). Cowboy Junkies turn in an ethereal version of the Bruce Springsteen tune, "State Trooper." Soundtrack maven Angelo Badalamenti teams up with Tim Booth on the touching love song, "Fall in Love With Me." Other highlights on the CD include Me'Shell Ndegeocello's sultry "Ecclesiastes: Free My Heart," the effect-laden guitar work on Luna's "23 Minutes in Brussels," and Gonzalo Rubalcaba's solo piano rendition of John Lennon's "Imagine." Other tracks don't hold up quite as well. The songs by Remy Zero, and The Wallflowers come across as uninspired and boring. Aside from those, Rare On-Air Volume 3 contains memorable performances by just about everyone involved. VARIOUS ARTISTS: MTV's Amp (Astralwerks/Caroline) Reviewed by DJ Johnson This is a collection of 13 electronic tracks performed by some of the best artists from both Europe and North America. Stylistically, it's a long trek from sub-genre to sub-genre, which is good if you're looking for either an overview or a quick snapshot of a moment in time, but not necessarily so good if you're only tuned in to one of these sub-genres. Why anyone would limit themselves like that, I don't know, but some do. Those people won't appreciate the mesmerizing groove of "Busy Child" (Crystal Method), or the bat-in-the-face rhythm of "Block Rockin' Beats" (The Chemical Brothers), or the powerful drums & bass sounds of "Inner City Life" (Goldie) and "Ni Ten Ichi Ryu" (Photek). At least they won't pick D) all of the above. But if you ARE looking for a "here's what the scene is like right...NOW" disc, this one will do the trick. VARIOUS ARTISTS: Poptopia - Power Pop Classics Of The 70s, 80s & 90s (Rhino) Reviewed by DJ Johnson Glancing through the track list of Rhino's new 3-CD set, Poptopia, the first thing I noticed was that a lot of these songs are obvious. In fact, quite a few of them have appeared on previous Rhino comps in the DIY series. If I put my rose tinted glasses on, I can imagine they appear here because they fit so perfectly with the rest of this set, but I can't shake the notion that it has more to do with licensing fees and availability. There are many great Flamin' Groovies tracks besides "Shake Some Action," and you'd think that just about any other Bram Tchaikovsky tune would demonstrate power pop as well as "The Girl Of My Dreams." Happily, this is my only bitch. Poptopia plays through like a well crafted feature film, unfolding the history of power pop as it happened from 1972 to present. (No, they do not start with The Who or Small Faces 60s music that gave birth to the form, but since these CDs are sold individually, don't rule out future volumes.) The CDs are arranged by decade. The 70s disc begins, as it should, with The Raspberries' classic "Go All The Way," a tune that in a sense ushered in much of the music collected here. 70s power pop purists will approve of these selections. After all, you can't argue with well crafted pop like "Starry Eyes" (The Records), "Yellow Pills" (20/20), "Just A Chance" (Badfinger), "Come On, Come On" (Cheap Trick) and "I'm On Fire" (Dwight Twilley Band). Of course, a few of those purists will spit tacks over the inclusion of The Knack's "Good Girls Don't," but they can get bent, because it's pure power pop and it belongs here, retarded sexuality and all. The 80s disc begins, as IT should, with The Romantics' "That's What I Like About You," and continues on through 18 tracks of pure power pop heaven. The 1980s were my own personal era of power pop awareness, and I have to say that I find the track list extremely exciting. Not only are the obvious ones here (The Plimsouls' "Million Miles Away," Hoodoo Guru's "I Want You Back," etc), but Rhino has stocked the disc with great lesser known cuts like "Hold On To Something" by Great Buildings (a band that later morphed into The Rembrandts), "Going Down To Liverpool" by The Bangles, "She Goes Out With Everybody" by The SpongeTones (who had some of the best Beatles clone-harmonies in the biz), and "Places That Are Gone" by Tommy Keane. I remember getting ahold of a 12-inch single of that Keane track and trying to turn friends on to it. No takers. Never heard a thing about it again until now. Makes my day to see it here along side these fantastic cuts. For me, the biggest surprise is the 90s disc. Having lost touch with both radio and MTV (as opposed to going insane), most of this stuff was brand new to me. You probably know far more about this disc than I do. All I can say is DAMN! There's some excellent power pop still happening on some of the major labels. Matthew Sweet, Jellyfish, The Tearaways, The Rooks, Velocity Girl (okay, I knew that one), The Posies, Idle Wilds, Velvet Crush, Gigolo Aunts, Wondermints... these are great power pop bands that can give us hope for the next decade. The packaging is quite spiff. Liner notes include remembrances of many of the artists, including Eric Carman, Todd Rundgren, Peter Case, Marshall Crenshaw, and Ken Stringfellow, an approach that personalizes the music and gives one some insight to the times and circumstances around the songs. The picture under each CD tray is a phonograph with a 45 playing on it, and when you move the jewel box back and forth, the record spins and the tone arm moves. Nice touch! Truth is, these three CDs could have been wrapped in blank plastic envelopes with no other packaging at all. Good pop is all you need. TRACK LIST - Disc One: The 70s. GO ALL THE WAY (Raspberries) * COULDN'T I JUST TELL YOU (Todd Rundgren) * ABRACADABRA (HAVE YOU SEEN HER?) (Blue Ash) * SEPTEMBER GURLS (Big Star) * JUST A CHANCE (Badfinger) * I'M ON FIRE (Dwight Twilley Band) * SHAKE SOME ACTION * (Flamin' Groovies) * BABY IT'S COLD OUTSIDE (Pezband) * COME ON, COME ON (Cheap Trick) * WHERE HAVE YOU BEEN ALL MY LIFE (Fotomaker) * I WANNA BE YOUR BOYFRIEND (The Rubinoos) * STARRY EYES (The Records) * GIRL OF MY DREAMS (Bram Tchaikovsky) * CRUEL TO BE KIND (Nick Lowe) * GOOD GIRLS DON'T (The Knack) * TOO LATE (Shoes) * YELLOW PILLS (20/20) * ROCK N ROLL GIRL (The Beat) Disc Two: The 80s. WHAT I LIKE ABOUT YOU (The Romantics) * BABY IT'S YOU (Phil Seymour) * HOLD ON TO SOMETHING (Great Buildings) * TELL THAT GIRL TO SHUT UP (Holly & The Italians) * A MILLION MILES AWAY (The Plimsouls) * SHE GOES OUT WITH EVERYBODY (The SpongeTones) * WHENEVER YOU'RE ON MY MIND (Marshall Crenshaw) * I WANT YOU BACK (The Hoodoo Gurus) * EVERY WORD MEANS NO (Let's Active) * CRYBABY (Utopia) * GOING DOWN TO LIVERPOOL (Bangles) * LOVE IS FOR LOVERS (The dB's) * WHATEVER HAPPENED TO FUN (Candy) * PLACES THAT ARE GONE (Tommy Keene) * BEHIND THE WALL OF SLEEP (The Smithereens) * LISA ANNE (Bill Lloyd) * SHE'S SO YOUNG (The Pursuit Of Happiness) * THERE SHE GOES (The La's) Disc Three: The 90s. I'VE BEEN WAITING (Matthew Sweet) * THAT IS WHY (Jellyfish) * TWISTERELLA (Ride) * COPE (Gigolo Aunts) * ROLLIN' DOWN THE HILL (The Rembrandts) * JESSICA SOMETHING (The Tearaways) * SOLAR SISTER (The Posies) * PROTO-PRETTY (Wondermints) * INTO YOUR ARMS (The Lemonheads) * LADY IN THE FRONT ROW (Redd Kross) * SAME THING (The Grays) * REASONS (The Rooks) * TRAMPOLINE (The Greenberry Woods) * I CAN'T STOP SMILING (Velocity Girl) * HOLD ME UP (Velvet Crush) * THE PARTY RAGES ON (Zumpano) * EVERY MINUTE (P. Hux) * YOU'RE ALL FORGIVEN (Idle Wilds) VARIOUS ARTISTS: The Real Authentic Sound Of Studio One (RAS) Reviewed by Shaun Dale In the late 1980's RAS Records connected with Coxson Dodd's famous Studio One to produce two compilations of songs using the classic Studio One rhythm of "Full Up." These albums, "Dance Hall Session" and "All The Same Rhythm" have now been made available on CD for the first time, both on a single disc. This is more than a marvelously entertaining recording, though it is certainly that. It is an essential demonstration of the crucial role of rhythm in reggae music, and of the central role of Coxson Dodd and Studio One in defining those rhythms. When you say "reggae" to someone only casually informed about the music, the audio impression they will pull up from memory will sound very much like the music on this disc. For good reason. If rhythm is central to the genre, "Full Up" is central to the rhythm. There are 18 tracks here, altogether, including Dodd's original rhythm track and a "wild mix" of the same. Sixteen separate artists put down sixteen separate vocal, instrumental and lyrical interpretations and, in the process, create a body of distinctive yet cohesive music. "The Real Authentic Sound Of Studio One" is essential for those who want to play or truly understand the music. It is pure joy for those whose joy is found purely in listening. Track List: Earl Sixteen/Musically Crucial * Horace Martin/Gimme Fe Me Corn * Little John/Who Beg No Get * Hugh Griffith/So Secure * Hugh Griffith/Dance Hall Session * Hortense Ellis/Sweetheart * Carlton Livingston/Predicting Your Future * Mikey Jarrett/Get You Green Card * Full Up (original mix) * Dillinger/Jamaican Collie * Barry Brown/Asking You To Leave * Michigan & Smiley/Thank You Jah * Freddie McGregor/Africa Here I Come * Full Up (wild mix) * Tennessee/What a Gwan * Lone Ranger/Three Mile Skank * Frankie Paul/Rub A Dub With Feeling * Ethiopians/Naw Give Up VARIOUS ARTISTS: Seventeen And A Half Is Still Jailbait (Nitro) Reviewed by DJ Johnson 18 tracks (listed as 17 and 1/2) of snarly, crunchy pop-punk tunes from Nitro/Demolition Derby Records in Belgium. This disc is in high gear all the way, kicked there by an assortment of Norwegian and Spanish bands, along with just a few from elsewhere on the planet. My favorite Norwegian band of all time, The Basement Brats, pop up with their first single since lead singer Magnum Olsen left the band. I tried not to like it. Honest I did. But while it IS sorely lacking in vocal attitude, it still has that Wall-O-Brats sound behind it, and that just rocks. Magnum's new band, Dammit, makes their debut here as well, and things are lookin' bright for their future. "So Much To Do" is a basic tune, but it drips attitude and power. Other standouts include The Grey Spikes, The Abusers, Bonk, and Anal Babes (is that a band, or a video title?), all of which shake the rafters. And with the subject matter of some of these tracks, Jailbait is not for the faint of heart. Buy it for your grandma if you don't believe me. You'll see. (Nitro/Demolition Derby Records, c/o Kris Verreth, Tervuursestwg, 217 - 1820 Perk - Belgium. E-Mail demderby@tornado.be) VARIOUS ARTISTS: Steel Rails (Classic Railroad Songs Vol. 1) VARIOUS ARTISTS: Mystery Train (Classic Railroad Songs Vol. 2) (Rounder) Reviewed by Shaun Dale Rounder has released one of the greatest collections of folk, country and bluegrass music available, cleverly disguised as a two volume set of train songs. Trains, of course, carry passengers, freight and mail. They also carry a rich cargo of history, romance and legend. All that is collected here, presented by a stellar roster of artists. Let's see, Roy Acuff, Utah Phillips, Jimmie Rodgers, Alison Krauss, David Grisman, Doc Watson, Sons of the Pioneers, Johnny Cash, the Carter Family, Bob Wills & His Texas Playboys, Hank Snow, the Stanley Brothers, Flatt & Scruggs...had enough? That's just the beginning. The 28 tracks on these two discs (they're separate releases, but I couldn't begin to choose a favorite) are like 28 train cars filled with separate and priceless treasures. If you care about the American musical tradition, you'll love this stuff. If you're overdue for an introduction to that tradition, I couldn't recommend a better way to get acquainted. Track List: Steel Rails: Roy Acuff/Wabash Cannonball * Johnson Mountain Boys/Orange Blossom Special * Utah Phillips/Daddy, What's A Train * Jimmie Rodgers/ Jimmie The Kid * Kieran Kane/Ramblin' Man * Alison Krause/Steel Rails * Del McCoury/Trainwreck Of Emotion * Hugh Moffatt/Slow Moving Freight Train * Tom Russell/Lord Of The Trains * Peter Rowan/Last Train * David Grisman with Doc Watson & Alan O'Bryant/Nine Pound Hammer * Sons Of The Pioneers/The Golden Train Comes Down * Guy Clark/Texas, 1947 * Kate McKenzie/Pan American Boogie Mystery Train: Johnny Cash/Casey Jones * Whitstein Bros./Freight Train Boogie * Steve Goodman/City Of New Orleans * Sleepy LaBeef/Mystery Train * Carter Family/The Cannonball * Flat & Scruggs/Big Black Train * Delmore Bros. & Wayne Raney/Red Ball To Natchez * Bob Wills & His Texas Playboys/Take The "A" Train * Hank Snow/Waiting For A Train * Patsy Cline/Life's Railway To Heaven * Tony Rice Unit/Old Train * Jim & Jesse/ Bringin' In The Georgia Mail * Stanley Bros./Train 45 * Mary McCaslin/ Last Cannonball VARIOUS ARTISTS: Total Togetherness, Vol. 6 (VP Records) Reviewed by Shaun Dale The reggae scene is so amazingly diverse and dynamic, with a seemingly endless stream of new artists, styles and studios to discover and, of course, a substantial roster of favorites to keep up with, that even a casual effort to stay informed is a daunting task. That's why a new compilation is always a welcome addition to my reggae rack. VP Records' new entry in the "Total Togetherness" series is especially welcome. Mixing up dance hall, lover's rock, pop and conscious stylings (with an uptempo pass at the macarena to round things out), there's a bit here for everyone, and every bit of it good. From the opening bars of Lady Saw's dancehall rap "Not In Love" to the closing notes of "Shine," a fine reggae ballad by Kerry, there's non-stop music to smile at, dance to and think about here. If you know reggae at all, you're bound to find a favorite artist or two in here, and some new names and sounds to boot. "Total Togetherness, Vol. 6" is a fine collection, a service to the reggae community and a party on a disc. Check it out. Track List: Lady Saw/Not In Love * General Degree/Woe, Woe, Woe * Papa San/Jeanie * Bushman/Call The Hearse * Sophia George/Tell Me * Junior Tucker/Falling In Love With You * Ghost/Your Style * Niggah Mikey/Macarena Dance * Spragga Benz/Got To Go * Beenie Man & Tanto Metro/Middle Of The Night * Mikey Spice/I Need More * Richie Stephens/Bull In A Pen * Sanchez/Step In My Room * Bobby Crystal & Cudjo Banton/Rose Garden * Ghost/Because You Love Me * Frankie Paul/We Got It * Kerry/Shine LES VICE BARONS: Steel Blue Moods (Nitro/Demolition Derby) Reviewed by DJ Johnson Every time I put this CD in the player, I start getting hyperactive before the play button is even pushed! That's how hot and powerful this music is. Just the anticipation moves my feet. You should see me when the music actually STARTS! Or... maybe you shouldn't. The point is, Les Vice Barons kick hard and often on Steel Blue Moods. With their unique blend of surf, garage, and exotic musical cheeses, this band ought to appeal to a huge cross section of the record buying public and rack up Nirvana-like sales figures in no time flat. Ha! Who said life is fair? Incredible to think that only a small group of lucky people will ever hear this amazing--and possibly definitive--version of "Time Bomb." Talk about your dangerous guitar tones! I think this guy was using The Who's PA system as his freakin' PRE-amp! It growls and slashes and just narrowly avoids bursting into flames. Is this the same guy playing the tasteful tremolo parts on the slightly soulful "No Way To Behave?" I don't have a clue about who is and who isn't in this band, but the keyboard player impresses me. Not that he or she plays anything that would challenge Keith Emerson, mind you, but because the tone is different in every song and it always adds intensity and texture without being distracting. The kinky attitude of Les Vice Barons touches nearly every track, but the one that twists the envelope until it rips is "Shaft In Matongue," a whoda-thunkit marriage of surf, Shaft waka-waka back-alley funk, and 60s hipster music. Laugh In's party sequences should have been draped in this music, but the band probably would have insisted that Goldie wear the nazi outfit instead of Artie Johnson. The album ends on an equally twisted note with the ultimate mystery track - ultimate because the mystery isn't just the lack of documentation in the liner notes. You'll see, if you're one of the lucky ones that tracks this hot disc down. Here's the first clue to help you on that quest. Nitro/Demolition Derby Records, c/o Kris Verreth, Tervuursestwg, 217 - 1820 Perk - Belgium. E-Mail demderby@tornado.be. WEBER: Quintet for Clarinet and Strings, Op. 34; David Shifrin, Clarinet; Ani Kavafian and Maria Bachmann, Violins; Paul Neubauer, Viola; Fred Sherry, Cello. Grand Duo Concertant, Op. 48; Seven Variations, Op. 33; David Shifrin, Clarinet; David Golub, Piano. Introduction, Theme and Variations, Op. Posth. David Shifrin, Clarinet; Cho-Liang Lin and Toby Hoffman, violins; Paul Neubauer, viola; Gary Hoffman, cello. (DELOS DE 3194 [DDD] 69:40) Reviewed by Robert Cummings Normally, when a disc like this passes muster, I close with a kind of cautionary recommendation, something like the following: "If the clarinet is in your field of interest, then this CD will appeal to you." I must announce right off, however, that I'm going to dispense with any such qualifying statement in this notice because the music and performances here offer such irresistible appeal that almost anyone interested in classical music will love them. And I hasten to point out that I have never been particularly partial to the clarinet, or to clarinet-dominated chamber music. David Shifrin plays with accurate intonation, seemingly perfect breath control, subtle manipulation of dynamics, and an all-encompassing technique that never appears strained in these challenging pieces. He is abetted throughout by musicians of high caliber, most of whom are well-known performers in their own right: Cho Liang-Lin is a violinist who appears to have a superstar career ahead of him; and Kavafian, Sherry, Golub and the others are all eminently respected artists. The beguiling Quintet by Carl Maria von Weber (1786-1826) is the lead-off piece here, and what a piece it is! It is full of color and wit, expressive depth and harmonic subtlety. It's just the work to draw the novice or skeptic into the world of the clarinet. If the verve and high spirits of the first movement somehow don't move you, try the dark lyricism of the second, or the mocking exchanges that brighten the Menuetto (the cello's shadowing of the clarinet beginning at :13 and occurring throughout is deliciously witty), or the brilliance and charm of the clarinet writing in the vivacious finale. The Grand Duo Concertant is hardly less appealing. Weber invests this music with the same forward-looking spirit as in the Quintet, but, in the absence of string accompaniment, supplies a brilliant piano part nearly the equal to that of the clarinet. Weber was, after all, a virtuoso pianist, and composed effectively and fairly extensively for his instrument, though often in only accompanimental roles (for flute and clarinet in particular). The work is in three movements, the central one of which is an atmospheric and intense Andante, framed by a colorful Allegro and an infectiously ebullient Rondo. Try the magic moment in the second movement, at the end of the angst-ridden piano solo (track 6; 2:36), when the clarinet reenters to exquisitely demure accompaniment from the keyboard. The remaining works, the Seven Variations and Introduction, Theme and Variations, are delightful bonuses, even if the authorship of the latter piece is in question. Delos offers splendid sound and intelligent notes, and even goes so far as to give four pages of notes in large print and simple language for children. Shifrin is a major artist, both interpretively and technically, and elevates this issue into competition for chamber music disc of the year. Need I write "recommended"? XTC: Oranges & Lemons (Geffen/Original Master Recording) Reviewed by John Sekerka Lest you think I've fallen from a tree and lost all sense of time, lemme explain, this release is one of these new fangled super sounding gold discs. They look swell, come in an eye-popping CD-popping jewel case, and they cost a bundle. Something for those audio buffs out there who spend spare time huddled under earphones, tweaking equalizers and the such. Me, I like my rock any way I can get it: on the hi-fi, on the tinny car radio, on the Close 'n' Play. Rock is rock. But then again, curiosity is another matter. I must admit to having a bit of a saliva run when opening this little beauty - it really looks like a jewel, not a record. At first the sound doesn't seem so unusual, but when I crank the volume, over and over, I can hear the technology at work. Everything is crystal clear. The separation is astounding: drums to the left, guitars on the right, voices swirling above. It helps to have XTC playing, the premier pop masters of the eighties. Oranges & Lemons being their Magical Mystery Tour, a pompous, self-indulgent, over-orchestrated masterpiece. It may not have the song power of other releases, but it uses the most instruments, and that is important here. The gold disc technology shines, but is it really necessary? Nope, but that shouldn't stop you, and boy does it ever look swell on the mantelpiece underneath my velvet Elvis. FRANK ZAPPA: Have I Offended Someone? (Rykodisc) Reviewed by Steve Marshall The US Constitution states the following: "Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances." From as far back as the 60's, Frank Zappa was always a proponent for the right to free speech. If the lyrics to these songs were printed in a book, no one would blink an eye. Yet for some reason, once they're heard in a musical context, people get upset. Considered by many to be some of his best material, this politically incorrect collection of songs is sure to please the legions of Zappa fans out there. Naturally, when you try to create a 'best of' album, there are always things that have to be left off--especially with the wealth of material that Zappa released over the years. In 1995, Rykodisc released the excellent Strictly Commercial, a collection of classic material suitable for radio play. As great as this CD was, there were other songs that, because of the intended format, could not be included. Those songs, or at least some of them, appear on the new disc. Have I Offended Someone was one of the last things Frank produced before he died. Although Zappa didn't provide any type of notes with the master tape, this compilation is probably closer to his idea of a greatest hits album. These are the songs that got people up in arms. Songs like "Bobby Brown Goes Down," "Titties and Beer" and "Dinah Moe Humm" are just a few of the many tracks that attract fans to his music. While this is an excellent primer for the uninitiated, the people who will benefit most from this CD are the ones who already have the original CDs. Most of the tracks have been remixed and/or reconstructed by FZ himself. "Bobby Brown Goes Down" is the first track on the CD; and features new background vocals, as well as a new mix. "Disco Boy," "Goblin Girl," "In France," "He's So Gay" and "We're Turning Again" have all been remixed, and "Goblin Girl" is a bit slower now. Zappa created yet another edit for "Titties and Beer"; and reworked "Dinah Moe Humm" to include a few lines from "Montana" (both tracks originally appeared on the 1974 classic, Over-Nite Sensation). Other highlights include previously unreleased live versions of "Tinseltown Rebellion" (this tune was always better when performed on stage) and "Dumb All Over." The latter includes the only FZ guitar solo on the disc. There are three tunes that should have been left off in favor of better ones: "Goblin Girl" (what's so offensive about this one?), "SEX," and "Yo Cats." Aside from those three tunes, this is a great disc. The two live tracks are worth the price of the CD by themselves--everything else is a bonus. Can you say Volume 2? ____________________________________________________________________________ COSMIK QUICKIES - Short little reviews for people who are in a big hurry. AMBROSIA: Anthology (Warner Brothers) Reviewed by Steve Marshall One of the most sought after groups on CD is Ambrosia. Their albums have never been available on compact disc in the US, and only a select few have been released overseas. Finally, after all these years, the band has just released their first compilation disc. Most of the big FM hits are included--"Nice Nice Very Nice," "Holdin' On to Yesterday," "Time Waits For No One," and "Life Beyond L.A."--as well as the MOR tracks "Biggest Part of Me" and "How Much I Feel." Ambrosia fans will be excited to see *anything* by the band on CD, but hardcore fans will be disappointed in the song selection. On a positive note, the liner notes are informative and the sound quality is impeccable. ARGENT: All Together Now (Koch International) Reviewed by Steve Marshall When you think of Argent, you normally think of one song--"Hold Your Head Up." All Together Now is the album where the song originally appeared. It made stars out of the band, even if it was just for this one song. The thing most people don't know is that they released a number of other albums as well. Most of them were nothing spectacular, but there were a few (like In Deep) that had some great songs on them. The reissue contains all the songs from the original album, plus 7 bonus tracks--including "Closer to Heaven" (the excellent B-side to "Hold Your Head Up") and three tracks from In Deep, including the classic "God Gave Rock and Roll to You." All Together Now was never a great album on its own, but the bonus tracks make it a worthwhile addition to your collection. ATARI TEENAGE RIOT: Burn, Berlin, Burn! (Grand Royal) Reviewed by John Sekerka Techno Power Ranger Nazis from Quentin Tarrantino video hell thrash the joint in a Tasmanian devil twister ride. Take MTV, Sega, Microsoft and Nike... every micro-edit commercial, toss 'em inna blender, puré for fifty minutes and you've yourself a migraine of massive proportions. Brings a new meaning to stimulus overload. Course the kids'll eat it up. Surge protector mandatory. THE BOSS TWEADS: 7" (Get Hip) Reviewed by DJ Johnson "Goin' Away" is one of the coolest garage tunes of the 60s, and that's saying a lot. Great Farfisa organ, simple bass and drums, unobtrusive guitar... Does that sound bad? No, the song was the thing. Structure. Had they ever run into a motivated manager or at least somebody with access to a recording studio, who knows what they could have done? Sadly, "Goin' Away" and "It's Best You Go," the contents of this single, are all there is. File under "must have." (Get Hip: PO Box 666, Canonsburg, PA 15317. Phone: (412) 231-4766. Fax: (412) 231-4777.) THE CONTINENTAL CO-ETS: Let's Live For The Present/Ebb Tide (Get Hip) Reviewed by Shaun Dale Did you ever dream that Josie and the Pussycats were real girls with cute outfits and their own record. Put on this 45 and make your dreams come true. (Get Hip: PO Box 666, Canonsburg, PA 15317. Phone: (412) 231-4766. Fax: (412) 231-4777.) DVORAK: Symphony No. 9 in E Minor, Op. 95 (From The New World); Kodaly: Hary Janos--Suite*. New Philharmonia Orchestra, Netherlands Radio Philharmonic Orchestra* conducted by Antal Dorati. LONDON Phase 4 Stereo 448 947-2 [ADD] 67:09 Reviewed by Robert Cummings Remember London's "Phase 4 Stereo"? Remember the close-up, multi-miked sound that afforded the ear the luxury of vividly hearing inner detail that even the composer may have intended to keep in the background? Well, here's a reissue of material from 1967 (Dvorak) and 1975 (Kodaly) that contains all the supposed sins of that notorious method of sound recording. I can well remember the detractors, purists who considered Phase 4 excessive. Well, it doesn't sound egregious here; in fact, it's a rather unique aural experience: the sound jumps out at you, detail is abundant, and balances are accurate. Oh, the performances? Dorati's New World is among the best I know, and his Hary Janos is hardly less compelling. As a budget offering, you can't pass this one up. THE FANTASTIC DEEJAYS: 7" (Get Hip) Reviewed by DJ Johnson OOOOooookay, now this is what 60s garage music was all about. Jangly 12 string guitar with just enough fuzz to make it fluid, adrenaline-drenched drumming, thudding bass, and spine-tingling vocal harmonies, all mixed by a Neanderthal with tinnitus. Results: Murk, mud, reverb, more murk, haze, and a layer of cool. The way it oughta be. "Fight Fire" is a cover of a John & Tom Fogerty number from their pre-CCR band, The Golliwogs, and I personally like this version better than the original. It's the murk! What can I say? The B-Side begins with an original, "Get Away Girl," which is just a tad on the dark side. (It's my turn to see you die?) The record concludes with their Town & Country Lancers shoe store commercial, a track that has apparently been quite collectable over the years. It's the only throwaway of the three, and it's just a bonus track, so this one still gets an enthusiastic recommendation. (Get Hip: PO Box 666, Canonsburg, PA 15317. Phone: (412) 231-4766. Fax: (412) 231-4777.) FORTUNE & MALTESE AND THE PHABULOUS PALLBEARERS: 7" (360 Twist) Reviewed by DJ Johnson Phantastic trad garage band with obvious admiration for Paul Revere and Sam The Sham. The A-side, "Genie In The Lamp," is an instant classic, and though the mix kinda stomps the vocals to the bottom, it's worth the effort to try to decipher the lyric. An amusing take on the old genie story, this one includes an outrageous wish and a foregone comeuppance. Lots o' fun. The flip, "Vampira," has guts and power to make up for what it lacks in originality and hooks. It's a damned good rocker that has no choice but to sound pale in comparison to the A side. Well worth owning. They're definitely one of the best guitar & organ garage bands around. (360 Twist: PO Box 9367, Denver, CO 80209. Phone: (303) 975-1080. Fax: (303) 975-1084.) FRANCHOMME: The Virtuoso Cello. Roel Dieltiens, Lidewij Scheifes, cellos; Ensemble Explorations. (HARMONIA MUNDI HMC 901610 [DDD] 68:33) Reviewed by Robert Cummings This disc presents twelve pieces by Auguste Franchomme (1808-1884), eight of which are for two cellos, the remaining four for solo cello and string quartet augmented by a double bass. Franchomme was an extraordinary cello virtuoso in mid-nineteenth century France (perhaps the greatest of his time) and wrote music to showcase his transcendent skills. Most of the music here is tuneful and light and will appeal to those who are fanciers of the cello or of string music in general. Dieltiens and Scheifes perform with sensitivity and virtuosity, and do full justice to these works. Harmonia Mundi provides excellent notes and full-bodied sound. If this is your bag, don't hesitate. THE LET DOWNS: 7" (360 Twist) Reviewed by DJ Johnson If David Byrne had fronted The Chocolate Watch Band, I think it woulda sounded something like this. Genuine energy pours from both tracks, "Atlanta" and "Flash & Crash," with maybe just a little more testicle showing on the latter. The soaring organ flurries tie all the renegade guitar tones together nicely. If I could just get past that feeling that Byrne has a hobby... (360 Twist: PO Box 9367, Denver, CO 80209. Phone: (303) 975-1080. Fax: (303) 975-1084.) SHENG: The Song of Majnun. Raymond Very (Majnun); Ana Maria Martinez (Layla); Jill Grove (Layla's Mother) Grant Youngblood (Layla's Father). The Houston Grand Opera Orchestra conducted by Ward Holmquist; Chorus preparation, Richard Bado. DELOS DE 3211 [DDD] 56:34 (73:49 with interview) Reviewed by Robert Cummings Here is an opera by contemporary composer Bright Sheng that should garner some attention from the world's opera houses but, regrettably, probably won't. Shanghai native Sheng moved to New York in 1982 and forges elements from several cultures in his opera, sounding somewhat like an Asian Bernstein. The work is described as a Persian Romeo and Juliet, and while that depiction is not completely accurate, it does give a good sense of the tragic love story here. The Houston cast of little-known singers is surprisingly good, as is the chamber-sized ensemble who capture the exotic orchestration in this splendidly-recorded effort in convincing style. If you're in the market for something quite new and fairly approachable in opera, you ought to give this thoroughly compelling work a try. Delos fills out the disc with a very interesting seventeen minute interview with the composer and his librettist Andrew Porter. SWELL: Too Many Days Without Thinking (Beggars Banquet) Reviewed by John Sekerka Just like every Swell record before, Too Many Days Without Thinking is a dreamy guitar and drum scape that locks into a series of serious grooves, one that takes a spell to take in, and one that stands high above anything being released these days. It is, in a word ... uh, swell. Swell parley a haunting Velvet Underground guitar drone to mesmerizing proportions by adding an infectious sweet factor. This time around the band shows off a lyrical strength which was previously clouded over by melodies and pleasure jams. David Freel's words of wisdom are easily discerned upon first listening. Few bands can offer up more than a couple of catchy tunes per disc, Swell manages to turn the trick for the entire record. I said: FOR THE ENTIRE RECORD! If you think bands like Tortoise are big news, get a hold of this, cuz Swell have been playing in these experimental waters for a long time. Trust me, once the bug bites, you will be smitten. VARIOUS ARTISTS: Holidays In The Sun (Visionary) Reviewed by John Sekerka 'The mother of all punk gigs' .... so claims the disclaimer, and if you're a fan of the original U.K. scene, you must agree. Three long days at Blackpools' Winter Gardens brought out a who's who of the British punk scene. Sham 69, G.B.H., The Damned, Anti Nowhere League, UK Subs, 999, Vibrators, Buzzcocks... it's an impressive list of old farts squeezing into their ripped jeans one more time. And by gub if they don't sound swell, cranking out the classics in a bizarre retro-fest made plausible with the success of the recent Sex Pistols frenzy. Some of the biggies are notably absent on this document, probably due to record company legal hassles, but that don't take away from the spirit. Besides, there were (are) a slew of lesser lights that deserve their day in the sun. Bands like TV Smith and Slaughter & The Dogs were big stuff across the ocean but never dented North America. Here's a chance to catch up. It's also great to hear XRay Specs like it was 1976 all over again. A very spirited live record you should make your own. (Visionary - PO Box 30, Lytham St. Annes, FYS 1RL, England) ___________________________________________________________________________ BETWEEN ZERO & ONE By Steven Leith WHEN PUSH COMES TO SHOVE Push Technology is making a big splash in the computer press these days. The Ziff-Davis (ZD) family of publications are all singing the praises of Push-Tech. In fact it is hard to find anything but glowing praise for Push Technology in the computer media. It must be great, right? Once you know what push is you will see why publishing giants like ZD are behind it 110%. Until now, the Net was merely a collection of files on a world-wide client-server system. If you want data that is stored on Network A, you request that data from Network A. With Push, Network A can send the data to you continuously. This can be by arrangement, like the bandwidth hog Point-Cast, or it could be just another unwanted spam. Push is Orwellian new-speak for Broadcast. So far the only Push in wide use on the Net is e-mail. That is about to change. It is hoped that Pushing web pages will turn the Net into another broadcast medium. Then the Net will be safe for profiteering. Another stated use for Push is on Intranets. Now that the workplace is going digital, bosses have discovered that e-mail can be ignored. But when the boss sends a memo in Push, it can take over your browser, and jump in your face. Neat, huh? So why are the media giants so hot and sweaty about Push? Duh, they are in the business of controlling channels of information. What better way to control what you see than by sending their version of the facts continuously across the Net. In the early days of the Net, free thinkers proclaimed that information wanted to be free. They were enthusiastic that the Net was a new paradigm based on many to many, not the old broadcast paradigm of one to many. What this idealism failed to take into account was that profit is not massive if people are left alone to use only what they need. Humans are not born consumers. Only by intrusive advertising, and manipulated news can people be turned into consumers. Enter the savior of the Net, Push Technologies. With Push the big players can limit the number of information options. In the disguise of altruism, Push will protect us from the horror of information overload. Push will send to our desktop all the News that’s fit for consumption. Given the success of the broadcast paradigm the Pushers are backing a winner. We the consumer will always choose easy over hard. We have already voted (with our remote control buttons) that we prefer soft news over hard news. We want infotainment not information. So, toss me that remote and lets consume some content. __________________________________________________________________________ PHIL'S GARAGE By Phil Dirt SOUNDS OF THE SURF There's been a lot of talk over the last 15 years about the classic surf sound. It seems there are always newcomers asking how to get it, old timers remembering their own version of the "real sound," and arm-chair dictators putting forward unbelievably uniformed and illogical arguments. Looking at vintage album jackets, you'll see a variety of rigs. For instance, the Ventures had their Mosrite endorsement all over their album jackets. There's Johnny Fortune with his gorgeous white Jazzmaster, and the Astronauts with their Jaguar/Showman combos, and many others. There's an outboard reverb on every lead guitar, and on most rhythm guitars. There's a piano or sax too, relegated to support roles. If you look to the King of the Surf Guitar, you'll find Dick Dale with his Stratocaster, a pair of twin 15's and Showman heads, and outboard reverb. He used trumpet instead of sax. NOTHING IS EVER AS SIMPLE AS IT SEEMS... The trouble is, things aren't always what they seem. I mean, if you look again at those vintage album jackets, with a bit of historical background, it's really quite different than you thought at first glance. For instance, the Ventures had their Mosrite endorsement on everything, alright, and that could easily lead you astray, since it is generally thought they used Fender gear on stage and in the studio. You also should avoid them as a model. Highly successful in multiple genres including surf, and widely known, they weren't really a surf band. The Ventures were the perennial chameleons of instro rock, copping the style du jour, as it were. Then there's the Astronauts. They had the classically defined sound that the purists worship. They had exactly the right gear, and played exactly the right tunes. They were the embodiment of the powerhouse three guitar lineup, later used by Jim Messina, among others. But how authentic were they? The Astronauts were the original accidental surf band. They were from Boulder, Colorado, played late fifties folk like "Green Back Dollar" and "Tom Dooley," and "Chuck Berry" vintage rock 'n' roll. One day in an A&R office at RCA, a call comes, interrupting their pitch. The astute A&R genius puts his hand over the phone, and asks if they play "surf music," probably having no idea at all what that might be. The Astronauts say "yeah, sure, of course!" Presto! Instant surf band on a major label. Suddenly realizing what they'd gotten themselves into, they ran right out, bought some surf records, bought the "right" gear, and shazam, they were a surf band on RCA!. The label assigned Al Schmidt to produce and Lee Hazelwood and Jimmy Haskell to write a few nifty originals, and the rest is history, as they say. DOES THE KING CALL THE TUNE? And how about the King? Sure, Dick Dale used his famous gold Strat, and occasionally an acoustic guitar. You know his sound, right? You've heard his albums, or at least some tracks on CD. But, if you think his albums represent the sound of Dick Dale & the Del-tones, think again. In the studio, it was Dick Dale on lead and vocal, and occasionally Del-tone Art Munson on bass. The rest of the band was populated with the usual studio suspects: Glen Campbell, Leon Russell, Hal Blaine, etc. On stage, it wasn't the trim 4 or 5 piece heard on record, it was a big band with multiple horns, keys, a chorus, another guitar, etc. Besides, Dick was among the few surf players using a Start with a .58 or .60 gauge low-E. Most used the Jaguar or Jazzmaster. Dick's amp was unusual, too. Not only was it tweaked by Leo Fender incessantly, but Dick used two Showman heads and two twin 15" JBL custom cabinets, and two Outboard reverbs. He also used trumpet as the lead horn instead of sax, because that's what he played best. THE "MOTO" CROSS The Belairs, who were almost as influential as Dick Dale--more so among the "South Bay" surf bands--had a totally dry sound most of the time, and when Paul Johnson did succumb to the call of the reverb, he used it sparingly. His lead player, Eddie Bertrand, liked the Dick Dale sound and playing style better, so he left to form Eddie & the Showmen. And, if you're a stickler for details, "Mr. Moto" was recorded several months before "Let's Go Trippin'", and sounds nothing like any of the surf sound "standards" since established, though neither does "Let's Go Trippin'." FAST FORWARD TO THE DIGITAL WORLD OF HIGH TECH Today, it's a murky bog that you must traverse to figure out what is and isn't the surf sound. The equipment is all over the map, some bands sticking to the purist notions, others using the latest technology to the max, and many more using a hybrid of the two. Just look at the contrast between the Eliminators, who have an absolutely true sixties sound, and the Mermen, who use three or four heads and cabinets of various vintages and a staggering array on multiplexed effects, all fed by one guitar on which Jim Thomas plays the lead lines and the rhythm simultaneously. They also blend the trad base with modern psych and prog elements, like feedback and major sustain. It's not just the new comers that are experimenting either. Tom Stanton's remarkable band, the Surf Kings, features Mermen/Hendrix inspired sounds and styles laid over a truly classic bed. Tom knows exactly what he's doing, and has more right than most to do it. During the heyday of surf, he was a member of the legendary Crossfires, the totally killer surf band that evolved into the Turtles. The Surf Kings do "Fiberglass Jungle" like it was written yesterday instead of 35 years ago. Tom's rig is a blend of the two decades. REPLICATED AUTHENTICITY And how about those many bands unable to find--let alone afford--vintage equipment. They are using the Fender reissue outboard reverb tank, or other reintroduced gear for that matter. The hard core players will tell you it's just not the same, but then no two units turned out in '63 sounded alike anyway. It was an imprecise design with primitive circuit devices. These bands get a good approximation of a simulated authentic replica of the real surf sound, what ever that is. STILL THE KING... So, how about we just look at what Dick Dale is playing today? Maybe the King can clear up the confusion over what surf is today. Maybe he's done playing "Dick Rock" and has acknowledged his throne. Dick still shreds on his gold Start, playing faster and harder than guitarists half his age. He still uses 2 heavily modified amp rigs, one on each side of the stage, and 2 twin 15" custom JBL cabinets...the JBL's are custom, not the cabinets. That should settle that, right? Well, maybe. Perhaps the future is in the King's hands...as captured on film in Felton on May 17, 1997. Liberating, isn't it?! [photos: Jim Rivas] __________________________________________________________________________ WALLEY AT WITZEND By David G. Walley How Four Hundred Flowers Bloomed Once upon a time in a far eastern capital, a mid-level party functionary was talking to his only son, a university student who was seated atop an improvised trash can and park bench barricade in Tianamen Square. "You must come down from there at once," pleaded the father, "it casts dishonor upon our family." "If I leave now, more dishonor will be cast upon it," replied the son as he was putting the finishing touches on a bed sheet ideogram which read "Down with the Corrupt Leader." The father was aghast as his only son and his friends gaily waved it to the approval of the milling throngs. "Don't you realize how privileged you are to be in university? or how hard your mother and I worked? The Ministry gives out very few appointments to people of my rank." "That's just it, Pop, the university should be open to anyone who passes the entrance exams, not just the offspring of officials. Isn't this supposed to be The People's Republic?" The old man had been having discussions like this since the kid turned 14, but he'd always chalked it up to youthful exuberance, idealism or plain adolescence. He knew that all this demonstrating was play-acting, child's play. His son was too young to remember the sorrow and pain of the Great Leap Forward, the Cultural Revolution which he and his wife had barely survived. He owed his life to the Party which rescued him from digging potatoes in the North. He again recalled with horror the excess zeal of the Red Guards who'd stoned his father, a school teacher, to death. Such barbarous acts no longer seemed possible now there was Progress and a kind of economic stability. Middle Level Functionaries like himself were starting to reap some benefits, and his son's admission to university was one. "I'll buy some noodles, ok? It must get cold up there at night," said the old man. As they ate, they watched the crowds ebb and flow. The old man knew he was taking a big chance being seen there but it was important to understand what was happening to his son, his friends and to China. Funny, here they were talking politics, something they rarely if ever did at home. He sensed that change was in the air. How uncanny. "I'm afraid with all this demonstrating you're neglecting your studies," the old man felt compelled to say. "These are my studies, Pop. This is history in the making." The old man inwardly winced remembering his own youthful dreams long ago. "We're not just doing this for ourselves but for all the people." Into the square at that precise moment came a large plaster cast of Lady Liberty wheeled by an exuberant crowd of art students. Not bad, thought the father knowing the shortages of art supplies at the college, shortages which his department, The Ministry of Education, had caused. They joined the spontaneous cheering which came from young and old, from students, factory workers, People's Militia, and even the police. This was a real celebration, not some hollow-eyed exercise in Red Guard fanaticism, the father inwardly noted. "Look son, I'm late for work," the old man stuffed some money into his only son's jeans and melted into the crowd. Slowly and with great care he threaded his way through the crowds to reach the ministry where the mood was somewhat disconnected. Fidgeting at his desk, he was preoccupied with what his son had said, and mused about his own life and purpose. Had he strived and suffered so his son could throw it all away in a rash act, for a college prank? But what of the others? The common people, what were they doing there? Certainly the way things were there was no future... "We're doing this for all the people, Pop," he heard his son repeat over and over. All the people? The Party ruled for all the people though there always seemed to be exceptions, certain officials who always had more privileges than others. Yes, and that was because--he stopped his thought, and again his mind returned to his son and the others on the barricades, and as the weeks wore on, he found himself inexorably drawn back there again and again to the hybrid life in the square. After a few weeks, everyone was wondering when the next step would be taken and what the Leader would do. Martial law had been declared but nothing much had happened, thank God. A rumor grew to a certainty that an assault was imminent, and that sent the old man back to the Square to save his son. "The People's Army will never attack the people," declared his only son. "But you'll lose your status as a university student when this runs its course," replied the father. "Think of your future." "I am, pop, that's why I'm here. That's why we're all here. And you should join us too," the son held out his hand. "I must think, I need to walk around, to inhale this air of freedom which fills your lungs," said the old man as he disappeared into the crowd and let it take him where it would. It was nine o'clock when he returned to the square rife with rumors that troops were on the move. Agilely, the old man climbed onto the barricade to take his place beside his son. "There's no way the People's Army would dare interfere with the will of the people, that much I have absorbed," he said to his son as the young people prepared themselves for another all-night vigil. At midnight on the seventh week of the Occupation, tanks and troops of the 28th Division rolled across Tianamen Square and over the barricades manned by the old man, his only son and his friends. All were killed. MORAL: When one hundred flowers are crushed, four hundred bloom in their place. * * * SCHOOL'S OUT The faculty lounge at Beijing University was quiet now that a majority of students, fearing the inevitable reprisals sure to follow the bloodbath at Tienamen Square ten days before, left before exams. It was barely safe for a Sovietologist, an American Studies expert, and an Economist who were having a cup of tea and comparing notes on their respective sabbaticals leaves. Like everyone else they were discussing the recent troubles, but very quietly. The three colleagues had somehow survived the Cultural Revolution, though they all had done some hard time in the provinces digging potatoes and wearing dunce caps. It was as if the inmates were running the asylum, observed the American Studies expert. "We've come a long way with Deng, and everyone has benefited by contacts with the West." The Sovietologist had spent the year in Moscow at the University boning up on the culture of peristroika and making significant additions to his collection of Russian Orthodox religious miniatures. He whispered this sotto voce while checking the table lamp on the coffee table for bugs. One couldn't be too careful these days. Having returned from extended leave at Berkeley, the American Studies Expert agreed. He had enjoyed his stay there immensely, and found the Americans hospitable, though try as he might, he never found a really authentic Chinese restaurant, even in San Francisco. He was glad his specialty was in demand now as his academic contacts abroad would prove useful. Though he was heartened by the students' enthusiasms for democracy, he was wary because he was never really sure whether their demonstrations were spontaneous or stage-managed by the liberals or the hard-liners. The Sovietologist agreed. "The politics of China are much more levantine than mere Marxist-Leninism, and what is 75 years of socialist piffle compared with 5000 years of Imperial deception and intrigue?" The Economist remained mum; in his year in Hong Kong, he knew that the possibilities for enrichment would be limitless even if the British were pulling out in 1999. While his friends were scheming for more academic perks, he'd salted away US dollars in Vancouver, and when the moment was propitious, he's quietly disappear and re-emerge in the import-export business there. He'd had it up to here with all the intellectual cloak and dagger bullshit too, having spent the Cultural Revolution living in a closet for 10 months while the students who couldn't even spell their names smashed blackboards and giggled. Still he was thankful the Party approved of Capitalist ventures now. However, just as they were finishing their tea and rice cakes, the door of the lounge burst open and in rushed an official in the company of two armed guards. "You are all under arrest," said the Official imperiously. "For what," sputtered the Sovietologist. "We have done nothing, we haven't even been in the country," said the American Studies expert. "I've lectured to no traitors," added the Economist. "You intellectuals, what do you know of party discipline and the demands of the leader," snorted the Official. "You perform no useful work for The People and are all guilty of consorting with foreigners. Take them away, guards." Quickly the three professors were frog-marched down the corridor, onto the quad and into a waiting troop carrier never to be heard from again. MORAL: Now you see it, now you wish you hadn't. -or- Deng today, gone tomorrow. ____________________________________________________________________________ STUFF I NOTICED By DJ Johnson "Radio is the worst. They don't have a a clue what they're doing and they're scared to death and the greed level has everybody so nervous - they don't want to take a chance on anything. The only thing they'll play is stuff that sounds exactly like what they're playing... We're gonna go, of course, to college radio and and go to the NPR style specialty shows that have a broader kind of vision, a broader sense of possibilities. Mainstream radio blows." - Wayne Kramer (From this very issue of Cosmik Debris) Everybody remembers where they were when certain devastating events transpired. I was only four when JFK was killed, but I can still remember everything about the moment our family heard the news. I was 21 when John Lennon was killed, and I can still remember every detail about the moment I heard. My parents know exactly what they were doing when FDR died. And I can vividly recall exactly what I was doing, thinking, and seeing the moment radio died. Radio died at different times in different cities. In Seattle, it got real sick when KRAB went off the air. That was the station that planted the seed of the idea for Cosmik Debris. Their idea of a half hour set was to sprinkle some Judas Priest, Mozart, Bob Marley, Lefty Frizzell, and Amon Duul around some stellar bit of history like, say... a rare live bootleg recording of Woody Guthrie, and then share historical information about all of it. They went off the air, eventually, and that would have been the death of radio in my hometown if KCMU hadn't been there. Based at the University of Washington, KCMU was the classic college station. Genres were separated for specific programs, and sometimes collided into a big beautiful mess for others. After a respectable period of mourning for KRAB, I turned my radio to KCMU and pulled the dial off, throwing it in the bottom drawer of my dresser, figuring I'd never need it again. Radio died in Seattle the day KCMU replaced several key managers, including the program director. The new PD was a schmuck who believed in the accountant method of radio station management. Play music that is at the top of the pop charts. You know... crap. I remember the moment I tuned in and heard some Madonna tune. It was raining, one of my living room light bulbs burned out ominously, and I stared at my radio for an hour before depositing it next to its knob in the bottom dresser drawer. Since that terrible day, Seattle radio has been a wasteland of classic rock, all talk, and "young country" stations. The same situation exists in hundreds of cities across the North American continent, and in those cities you'll find many people just like me who angrily chastise the radio industry for treason against art and music. In OTHER cities, however, you'll find great college and community supported radio stations that still play real music and still believe in diversity. Great, huh? What are you gonna do, move to another city just to hear great radio? Well... yeah, okay, I can see doing that. But now you don't have to. Even though radio is dead and gone in Seattle, I'm listening, at this very moment, to a great ska program. Neat trick, huh? Well, the program (called Ska's The Limit) is on KDHX, a community supported station just outside of St. Louis, Missouri. No satellite dish needed. Just a sound card, a modem, and a plug-in for my web browser. Real Audio and Shockwave, competing audio streaming formats, are both available for download at no charge. I recommend getting both, because there are many great stations online, some using Real Audio, some using Shockwave, and you really should have all options open. And more stations are popping up every day! KDHX is just the tip of the iceberg, but I want to focus on it for purposes of this column just to give you an idea of what is available out there. Right off the bat, you need to know that the sound quality is not going to make you very happy at first. If you were listening to live Netcasts as recently as three months ago, you were hearing what sounded like 1920s radio, all distortion, static, and tin. Like all Internet technologies, audio streaming is constantly making huge strides. As I listen to The Toasters over my PC speakers, I realize it now sounds like a 1960s transistor radio, and that's a big improvement. No fizz, no bzzz, much less tin. Oh sure, there's still a touch of distortion and an overall flatness, but I can live with that tradeoff because I know that in two hours from now I'll be listening to Reggae Zone on KDHX. I know that I'll be rockin' around on Monday night to garage and surf with Koop and Jeff on The Wayback Machine. I don't care if it isn't perfect. If I ever start to care, I'll just do a quick sweep of the FM dial. Four stations will be playing "Layla" and two will be playing "Achy Breaky Heart." The choice is clear. Of course, there is a downside. You could become a Netcast junkie. On KDHX alone there are enough programs to keep a true music fan glued to the computer day and night. I have a list taped to my wall that includes Juxtaposition (multi-genre program), Grand Tour (new indie releases), Chicken Shack (blues), The Wayback Machine (garage, surf), Ska's The Limit, Reggae Zone, Sabados Tropicales (Caribbean music), Positive Vibrations (dancehall reggae), St. Louis Brainsandwich (bluegrass), Musique Des Bayous (zydeco), Down In The Alley (swing), Jazz Makkah (avant-garde), Gabriel's Tin Pan Alley (blues), and about a dozen others. No, I don't get to hear them all, but just having the selection is a dream come true! As I say, this is all one station, too. Factor in the programming on several other stations, and you are officially in radio heaven! KDHX is exactly what radio ought to be, and there are many other community stations out there that pay their communities back just as handsomely. As these stations join the online community one by one, the Net becomes much more than the wonder it already was. The continuing improvements in audio streaming technology bode well for the future. In fact, I'd bet that it won't be more than a year before the average user can get near-CD quality sound from these Net-based radio stations. As it is, this low quality transmission of the latest Skinnerbox tune suits me just fine. You too? Well, if not, you could always catch one of the six stations in your city playing "Freebird" right this second. ----------------------------------------------------------------------------- A FEW HINTS FOR FINDING GREAT RADIO ON THE NET Timecast is an excellent web site that has a searchable database of Real Audio site links. You can search by keywords, genres, or any way you want. It's located at http://www.timecast.com. HINT: Searching for keywords like "community" and "college" turn up several stations like KDHX. KDHX FM 88's homepage is located at http://www.kdhxfm88.org/, and there is a very helpful program schedule there. If you'd like to check them out right this moment, and you already have Shockwave installed on your computer, just point your browser to http://www.concept2000.com/xdm2.0/live/kdhx.xdm to tune directly in to their feed. Another great use of sound streaming, and one which makes ME a happy guy, can be experienced at http://www.raremusic.com. You'll find vintage songs in Shockwave format, and if you are even a casual collector, you'll be drooling over this guy Steve Albert's record collection. See you next month. ___________________________________________________________________________ CLOSET PHILOSOPHY With Rusy Pipes It Was Thirty Years Ago Today... I jumped into Cosmik Debris for the first time last month without a lot of fanfare, ranting about the V-chip when none of you dear readers had even asked for it, so maybe it's time to identify myself and whatever the hell "Closet Philosophy" is. OK, I admit it, I fancy myself a philosopher. My last college course in it was more than 25 years ago, but I like to think I'm fairly well read on the Big Questions. I call myself a Closet Philosopher because it's almost a taboo subject. Most people react like, "what, you want me to have a thought-out opinion on something? How queer!" I usually don't even bring it up, no matter how much I love a good philosophical joust. When someone does pop the rare inquiry about philosophy or religion, these days it seems like they're almost always coming from a tight-laced chapter-and-verse point of view. They'll find me armed and dangerous... So what religion am I? Zen-Christian-Taoist. The underlying joke being if you can figure out what that is, please tell me! Other times I may describe myself "just an old reformed hippie." Nothing quicker than the prefix "just" to belittle something, right? Well the truth is, I am still searching, still learning, still meditating on it all, a habit carried over from those old days when a whole generation had Love on their lips, was trying to find God and would often talk all night about it. I don't suffer any illusions that the Hippies had all the answers, but still, there's something there. Hippie attitudes sure didn't bring out the changes we thought they would in those naive early days, though. In my day job I now wear a tie, a close caricature of the same workaday types I never thought I'd be. I wear it uncomplaining like a kind of disguise. Most people haven't the foggiest idea about how wigged out I once was, with a pony tail almost reaching my belt, trying to saturate my bloodstream with cannabinol and playing tons of that old psychedelic crap on the radio all night long. I say crap because at least 75% of it was preposterous and pretentious; but the remainder was unique, golden and helped change the world. I don't regret those days, but I have moved on with the times. Politically I'm still very left compared to those I work with--not revolutionary left and quite a lot more to the center than I was--but left all the same. I still fume at profit-uber-alles capitalists and fire-n-brimstone fundamentalists. What small worlds these people must live in! Whatever the faults and excesses of the Sixties, turning your brain off and reciting dog-eared dogma is not the answer. Like George Carlin says, "I have this moron thing I do that's called THINKING," and I like to think there remains a glowing ember of that old Hippie Hope that somehow we can all become better people. We were flat wrong about a lot of things, but not about that. Don't misunderstand, I'm not recommending a return to anything, I just think we should feel thankful for what we have and fan the ember once in a while by doing something positive without worrying about the payoff. So why do I feel this way? What the hell happened to me? Three decades ago a great paradigm-shifting boulder was tossed into the collective pond of the psyche and a tremendous wave rippled through the culture. Personally, the wave didn't hit me full force until I got out of high school about two years later. I wasn't there in San Francisco for the much ballyhooed "Summer of Love," but I certainly felt it from afar. Everything changed; an entire generation decided that the materialistic American Dream they'd been raised on was not what they wanted. A lot of that wave's energy is now dissipated but many things remain. It exists in waves still lapping at far away shores, too small to measure most of the time, but still breaking, reflecting, remultiplying and returning in new forms. The pond of course had to be in the right place to be hit by the boulder, and more about the pond in a moment, but what exactly was that boulder composed of? One big component was an audio sculpture known as Sergeant Pepper's Lonely Hearts Club Band. In May of 1967 that most influential Beatles album immediately became a staple of the new free-form FM radio that so many young Americans were just discovering. Revolver, Rubber Soul, even the movie Help all contained experimental sounds that hinted at the coming psychedelic explosion, but this earlier work was still part of a machine bent on making commercial product for AM radio. Sergeant Pepper was a departure, full of stretched and bent things that would never raise an eyebrow today, but made a damn fine boulder back then. It had no hit single (well, Lucy charted briefly) and even came with paper cut-outs to play with, a collage cover worth hours of close scrutiny and, gasp, complete lyrics! "Do you think the Liverpool Lads are trying to tell us something?" "Who or what are those friends he'll get by with?" "Look at the initials of Lucy in the Sky with Diamonds!" "A circus?" "Were they laughing or crying there?" "A fox hunt!?" "4000 holes in Blackburn Lankashire!?" "Is that note ever going to end?" A new spiritualism was being born. It was already starting to happen in '66, after the boulder hit in '67 practically overnight an entire the new culture spread all over the country. In Haight Ashbury there was a traffic jam of kids who wanted in. The pond would never be the same. That solution in the collective pond had been first stirred by the Beat Generation in the years following the Second World War. (Did you know that in wartime suicides go down? In war there is no room for philosophy, no time for contemplation. In peacetime more thoughts turn inward.) The Beats did not reach very many but a subculture of jazz, drugs and angst began in the Fifties, curiously in a decade fondly remembered by today's men of power as the quintessential period when everything was right (too much Happy Days?). But memory is selective, there was overt struggle like civil rights and there was psychic struggle under the surface. The culture of mass affluence collided with fears of mass nuclear annihilation in the minds of the most well-educated, idealistic generation ever. It was the first generation stimulated by TV, the first to know what a computer was, the first to hear "God is dead," the first to know LSD. Sergeant Pepper legitimized drugs to that generation. But the point was not to get "fucked up." That aberration came later (and still haunts us today). No, in the early Acid Tests of Kesey and the Pranksters, in the first glimmerings of Flower Power, at the Gathering of the Tribes, Love-Ins and Monterey Pop, the point of drugs was to get in touch with reality and ultimately to talk to God. But why this religious aspect? Powerful drugs were not new. LSD was legal up to at least 1965. The CIA certainly did their experiments. Tim Leary and Richard Alpert (now better known as Baba Ram Das) first got theirs from the Psychology Department of Harvard. It was a curiosity, it need not have become a movement. And why did it explode from San Francisco? I've come to believe that the real philosophical bedrock of the whole movement, that amorphous cosmic free-spirited love-attitude that so affected my generation was engendered by Alan Watts. Who?? I'm not surprised at your reaction, because he's one of the better kept secrets of the 20th Century. If you know who he is, you're a step ahead of everyone else. If you've read his books or heard his lectures then you have my permission to stop reading because you probably have a good idea what a "Zen-Christian-Taoist" might be. (And you thought I was going to rhapsodize about Non-Commissioned Officer Pepper for a whole column!) Alan Watt is my favorite philosopher. He popularized, or demystified, Buddhism for the West. He was an ordained Episcopal minister for a time. He illuminated Hinduism and Taoism for the West too. He promoted Zen. Yes, he knew what LSD could do first hand, but he didn't promote it as a cultural cure-all like Leary. He knew Leary well though, along with Alan Ginsberg (there's a tape I've heard of them all rapping on Watts's boat in Sausilito), also Ram Das, Aldous Huxley, Krishmamurti and many others. He gave talks, he wrote books. He often called himself an entertainer instead of a philosopher. The reason I credit him with authoring much of the original Hippie mind set is that, in addition to hundreds of lectures, he broadcast a weekly radio show on philosophy for much of the early Sixties over KPFA in Berkeley. You know, the Berkeley that was the home of the Free Speech movement, the one that's across the bay from SAN FRANCISCO. It was these regular infusions of Oriental thought, made digestible for Westerners, that kept popping up in the lyrics of the new music and in the minds of starry-eyed kids. Born in 1915 in England, Watts was endeavoring to explain Buddhism in books as early as 1932, and strangely became a Christian minister here in America in 1945. In 1950 he went back to writing, mainly on Buddhism again, but he also researched Hinduism and Taoism. He didn't adhere to any particular sect but seemed most at home with Japanese Zen Buddhism and D. T. Suzuki as his main mentor. He also was very familiar with psychoanalysis and its methods but his approach to philosophy was anything but clinical. As he said in his autobiography: "[All my books arrive] at the same destination, as the spokes of a wheel converge at the hub from separate points on the rim. Taking the premises of Christian dogmatics, Hindu mythology, Buddhist psychology, psychoanalysis, behaviorism, or logical positivism, I have tried to show that all are aiming, however disputatiously, at one center." Many of his lectures are preserved on tape which is how I re-encountered him in the mid-Eighties as they were broadcast posthumously here in Los Angeles. (The first encounter was his film on Tibetan Buddhism that I saw in high school.) Listening to Watts I found that I agreed with him more than any other person that I'd ever heard before. It all sounded so familiar with his rich images drawn from many traditions. All the inarticulate muddlings of the Sixties came into sharp focus along with other deeper concepts from ancient sutras. Most importantly Watts made no claim of a special channel to God, that his view was the only way, that some sort of hellfire awaited if you didn't heed him. He was always positive, with a wonderful laugh, saying Life and Reality, Self and Other was all one thing, a Cosmic Jazz that was always in harmony. I've listened avidly to those old lectures. I think Alan Watts would probably laugh if he read that I blamed the Summer of Love on him. He always was debunking cause-and-effect relationships. He'd probably like it better if I said that he was a big reason why the pond was ready to receive the boulder, thirty summers ago. So are you still with me? For the record, my favorite drug these days is caffeine. Pot makes you lazy, but treated like a sacrament once in a while it can really open doors. LSD scares me. If it was the right circumstances I might try it again but frankly I can't imagine what those circumstances are. As Frank Zappa said, "music is the best." If you're interested in finding out more about Alan Watts, check out http://users.ccnet.com/~rudra/mea.htm (Mastering Enlightenment Arts) on the web or your local library. Or you can try http://www.alanwatts.com. This column turned into mostly history not philosophy, and was a bit long winded at that, so maybe next month we'll get into something more engaging. Till then the Closet is closed; thanks for reading. ============================================================================ - % @ ]]]]]]]]]] . " ~ + . ]]] ]] ]] ]]]] , ^ . ]]] ]]]]] ]] < ]]] ]] ]] ]]]] & # ]]] ]] ]] ]] ! ^ | . """ "" "" """" ]]]]] ]]]] ]]]] ]]]]] ]]]]]] ]]]] - \ ~ ]] ]] ]] ] ] ]] ] ]] ] ` ? $ ]] ] ]]]] ]]]] ]] ]] ]] ]]] ~ ` ]] ]] ]] ] ] ]] ]] ]] ] l """"" """" """"" "" "" """" `"" ]]]]] ]]]]]] ]]]] ]] ]]]]] @ : ]] ]] ]] ]] ]] ]] / + ]]]] ]] ]]]] ]] ]] ] | ]] ]] ]] ]] ]] ]] ! : "" """" """" """"" """"" + . July's random gathering of things, items & stuff! *** DENIAL AIN'T JUST A RIVER... whatever you do don't kill yrself be a victim let them torture you lie to you call you names let them smile as they twist yr nipples and throw rotten vegetables throw up endure the pain endure the cramps ulcers parasites indigestion headaches tumors the size of cincinatti get into yr pain it's natural it's there for a reason pain is good pain is our friend just don't do the dr. kevorkian thing life is beautiful, dammit pull yrself up by the bootstraps stand in the fire knees together feet apart suck up to people you can't stand apologize for things you didn't do kiss ass right on the mouth come out of the closet when you weren't even in to begin with start at the bottom claw your way to the top don't just delay gratification forget about it all together stay with it stay miserable stay hungry stay detached stay out of touch as a matter of fact don't touch don't touch anyone don't let them touch you don't touch it for gods sake don't touch it take cold showers get out of the bathroom as soon as possible don't inhale don't drink the water don't ask don't tell don't call don't write don't think don't trust anyone don't pick it it'll never heal don't talk about it it only makes it worse believe that constipation absolves responsibility believe that which does not kill you makes you bite down harder embrace the dark black hole of the soul it's good for you makes hair grow on yr chest what's the matter with you anyway? you think yr different? you think yr special? you must have done something to bring this on yr being punished for something you thought you got away with when no one was looking well guess what? god was looking god can see through walls god can see into yr heart god knows when you are sleeping he knows when yr awake so get over it get a job get a life get a raison d'être and remember it's all karma it's all in the genes it's all been done before so relax or i'll kill you Copyright(c)Paul McDonald 1997 All Rights Reserved Paul@louisville.lib.ky.us *** A fierce gust of wind blew 45-year-old Vittorio Luise's car into a river near Naples, Italy, in 1983. He managed to break a window, climb out, and swim to shore where a tree blew over and killed him. *** THE DAYTRIPPERS director: Greg Mottola players: Hope Davis, Parker Posey, Liev Schreiber music: unobtrusive background fare reviewed by: John Sekerka While most families get in the station wagon and head out of the city, The Daytrippers sees a suburbanbunch head back downtown. Forget Chevy Chase's vacation yarns, this flick actually has some funny moments. Cleverly and quickly, the family scene is set over a breakfast ritual, before the herd piles into the car and into big city adventure. We have a hen-pecked husband, two rebellious yet obedient daughters, a nervous intellectual boyfriend and a domineering, doting, manipulative mother. Anne Meara steals the show as the lovable family dictator, ordering the convoy like Rommel in a tank. She dominates the film like she dominates her family. The reason for the excursion, suspicion of infidelity, takes a back-seat as the suburbanites tackle Manhattan. Liev Schrieber is especially engaging as the educated twit boyfriend Carl, swimming in his grandiose philosophies, entertaining the family with his Dogman novel, espousing the virtues of aristocracy, before coming down to earth in a series of nasty bumps. It's not like we've never seen the dysfunctional family outing before, but seldom does it work this smoothly. The dialogue is brisk without sounding scripted, and there's always the main plot line keeping the movie focused, which, by the way, rolls to a great ending. *** An unidentified English woman, according to the London Sunday Express, was climbing into her bathtub one afternoon when she remembered she had left some muffins in the oven. Naked, she dashed downstairs and was removing the muffins when she heard a knock at the door. Thinking it was the baker, and knowing he would come in and leave a loaf of bread on the kitchen table if she didn't answer, the woman darted into the broom cupboard. A few moments later, she heard the back door open and, to her eternal mortification, the sound of footsteps coming toward the cupboard. It was the man from the gas company, come to read the meter. As he opened the cupboard, the woman stammered, "Oh, I was expecting the baker!" The gas man blinked, excused himself, closed the cupboard and departed. *** NEWS RELEASE House Plans "Corrupt Politicians Protection Act" To Shield Members From Ethics Investigations The Congressional Accountability Project is criticized as "The Corrupt Politicians Protection Act of 1997," a secret House plan to curtail the internal policing of corruption, abuse of power, and influence-peddling in the U. S. House of Representatives. The plan is being prepared by the House Ethics Reform Task Force, a bi-partisan group of lawmakers chaired by Reps. Bob Livingston (R-LA) and Ben Cardin (D-MD). The plan, according to the Capitol Hill newspaper Roll Call, would erect new barriers to prevent Americans from filing ethics complaints against House members. These complaints from non-House members are crucial to the enforcement of House Rules that protect the public against corruption and wrongdoing in the House of Representatives. Current rules already make it difficult for citizens to file ethics complaints in the House of Representatives. Without complaints from outsiders, it is unlikely that many ethics proceedings -- particularly those against powerful House members -- would ever be undertaken by the House Ethics Committee. "Republican and Democratic career politicians want to shield themselves from Ethics Committee investigations," said Gary Ruskin, Director of the Congressional Accountability Project. "That's why they want to pass the Corrupt Politicians Protection Act -- to take the House's internal corruption cops off the beat." Under House Committee on Standards of Official Conduct Rule 14, persons who are not members of the House of Representatives may file an ethics complaint only with a letter of transmittal from a House member or three letters of refusal from such members. According to Roll Call, the Task Force is planning to prohibit the filing of complaints by three letters of refusal. This would likely prevent the initiation of some ethics investigations, particularly against powerful House members, because House members are usually unwilling to directly challenge the propriety of a powerful member by providing a letter of transmittal. Complaints against House Transportation Committee Chairman Bud Shuster (R-PA) and House Majority Whip Tom DeLay (R-TX) were filed last year by the Congressional Accountability Project with three letters of refusal. According to Roll Call, the Task Force is planning to "eliminat[e] news accounts as the grounds for outside complaints" -- even though many recent ethics cases were initially based on news accounts. Those cases include: former Speaker Jim Wright (D-TX), former Senator Bob Packwood (R-OR), House Speaker Newt Gingrich (R-GA), former Rep. Barbara-Rose Collins (D-MI), House Transportation Committee Chairman Bud Shuster, and House Majority Whip Tom DeLay. The members of the House Ethics Reform Task Force include Reps. Mike Castle (R-DE), Martin Frost (D-TX), Porter Goss (R-FL), Joe Moakley (D-MA), Nancy Pelosi (D-CA), Gerald Solomon (R-NY), Louis Stokes (D-OH), and Bill Thomas (R-CA). House Ethics Committee Chairman Jim Hansen (R-UT) and Ranking Member Howard Berman (D-CA) are ex officio Task Force members. On February 12, House Republican and Democratic leadership announced a moratorium on ethics investigations and complaints in the House. That moratorium -- a "police holiday" for House members -- is currently shielding Reps. Shuster, DeLay, and Jerry Costello (D-IL) from ethics investigations. "It is outrageous that House members have voted themselves a 'police holiday,'" Ruskin said. "House leaders should call off the 'police holiday,' and stop protecting House members from ethics investigations based on credible allegations of corruption and wrongdoing." PLEASE DISTRIBUTE WIDELY Gary Ruskin Congressional Accountability Project | Internet: gary@essential.org 1611 Connecticut Ave. NW, Suite 3A Washington, DC 20009 Phone: (202) 296-2787 Fax: (202) 833-2406 *** Hitting on the novel idea that he could end his wife's incessant nagging by giving her a good scare, Hungarian Jake Fen built an elaborate harness to make it look as if he had hanged himself. When his wife came home and saw him, she fainted. Hearing the disturbance, a neighbor came over and, finding what she thought were two corpses, seized the opportunity to loot the place. As she passed by Mr. Fen, her arms laden with booty, the outraged and suspended Mr. Fen kicked the neighbor stoutly in the backside. This so surprised the lady that she had a heart attack and died. Mr. Fen was acquitted of manslaughter and he and his wife were reconciled. *** In 1976 a 22-year-old Irishman named Bob Finnegan was crossing the busy Falls Road in Belfast when he was struck by a taxi and flung over its roof. The taxi drove away and, as Finnegan lay stunned in the road, another car ran into him, rolling him into the gutter. It too drove on. As a knot of gawkers gathered to examine the magnetic Irishman, a delivery van plowed into the crowd, leaving in its wake three injured bystanders and an even more battered Bob Finnegan. When a fourth vehicle came along, the crowd scattered and only one person was hit... Bob Finnegan. In the space of 5 minutes, Finnegan suffered a fractured skull, broken pelvis, broken leg, and multiple abrasions. Hospital officials, however, said he would recover. *** TO THE TUSKEGEE DOCTORS To which Hippocrates did you swear your placebo oath; injecting the sugared water into the veins of the darkened martyrs; their dying eyes affixed in trust on those bright stars and bold stripes; as a fair haired clerk files away your useless data. I bathe in the thick, black mud, to hide the shame of the color of my skin. Copyright (c) David E. Cowen 1997 All Rights Reserved *** Mike Stewart, 31, of Dallas, Texas, was filming a movie in 1983 on the dangers of low-level bridges when the truck he was standing on passed under a low-level bridge... and killed him. *** ARE YOU EXPERIENCED by Noel Redding & Carol Appleby (Da Capo) $13.95 THE INNER WORLD OF JIMI HENDRIX by Monika Dannemann (St. Martin's Griffin) $14.95 reviewed by John Sekerka Twenty-six years after his death Jimi Hendrix remains a headliner. Consistent posthumous record sales makes Hendrix a star well into the nineties. And now a couple of books appear to fan the fire even brighter. Noel Redding used to play bass in The Experience, which in itself leads to suspect reasoning for his book: bandwagon. Oddly enough Redding proves to be not only an interesting character in his own right, but he's also an adequate story teller. And stories he tells. A bit of a surprise is that besides the obvious excess stories (sex, drugs and rock'n'roll, right?), Redding's book flows best when he's recounting the very early, struggling days, beginning as a youngster just scraping by, learning to play guitar, meeting his idols, forming bands, touring (comically disastrous), in the pre-Beatles England days. Truly wonderful stuff. The arrival of Hendrix means a whirlwind career of new highs, and lows. With success comes excess, mismanagement and turmoil. Nothing new here, and it's only at the end of the book where matters pick up again. There Redding deals with Hendrix's death. Without pointing fingers, some very puzzling facts are presented, insinuating that foul play may have been at hand. What Redding alludes to, Monika Dannemann hammers home. Dannemann, Hendrix's apparent (?) fiancee at the time was with him during the last few days. Methodically, she recounts the final hours, offering a number of possibilities. The official word was choking on vomit, but Hendrix was still alive upon arrival at the hospital and a simple tracheotomy should have done the job. The quack doctor in charge seems to have disappeared off the face of the earth. There are several suspicious factors at play, and Dannemann pretty well zeroes in on Hendrix's sleazy agent Frank Jefferey (the devil himself according to Redding), who not only stood to gain much in royalties, but also a million dollar insurance policy. He was also about to get dumped by Hendrix. Soon thereafter Jefferey disappeared, apparently perishing in an airplane crash. Very suspicious indeed. Makes for great reading too. Sad part is that you gotta wade through most of this sappy book to get to the goods. Dannemann comes off as a bit of a flake, expounding on Jimi like he was the organic Messiah. It's also littered with her tasteless paintings: Jimi playing guitar on top of the White House as a flying saucer hovers above. Black velvet stuff, folks. Shortly after completion of this book Dannemann too passed away. The mystery grows and grows. *** ACTUAL NEWSPAPER HEADLINES If Strike isn't Settled Quickly, It May Last a While Cold Wave Linked to Temperatures Enfields Couple Slain; Police Suspect Homicide Red Tape Holds Up New Bridge Deer Kill 17,000 Typhoon Rips Through Cemetery; Hundreds Dead Man Struck by Lightning Faces Battery Charge New Study of Obesity Looks for Larger Test Group Astronaut Takes Blame for Gas in Spacecraft Kids Make Nutritious Snacks *** While motorcycling through the Hungarian countryside, Cristo Falatti came to a railway line just as the crossing gates were coming down. While he sat idling, he was joined by a farmer with a goat, which the farmer tethered to the crossing gate. A few moments later, a horse and cart drew up behind Falatti, followed in short order by a man in a sports car. When the train roared through the crossing, the horse startled and bit Falatti on the arm. Not a man to be trifled with, Falatti responded by punching the horse in the nose. In consequence, the horse's owner jumped down from his cart and began scuffling with Falatti. The horse, which was not up to this sort of excitement, backed away briskly, smashing the cart into the sports car. At this, the sports car driver leaped out of his car and joined the fray. The farmer came forward to try to pacify the three flailing men. As he did so, the crossing gates rose, strangling his goat. At last report, the insurance companies were still trying to sort out the claims. *** Two West German motorists had an all-too-literal head-on collision in heavy fog near the small town of Guetersloh. They were going in opposite directions and each man was guiding his car at a snail's pace near the centerline of the road. At the moment of impact, their heads were both out of the windows when their heads smacked together. Both men were hospitalized with severe head injuries. Their cars weren't scratched. *** On First Reading Jack Kerouac's ON THE ROAD Down and Out in Kentucky Part IV For Madmen Only We'd just finished our second fifth of Southern Comfort and the mescaline was kickin in Jimi Hendrix crosses borders threatening to ascend towards heaven with lightning and thunder he plays Dylan's "All Along The Watchtower" stereo loud as it will go here in the only underground bookstore in Kentucky For Madmen Only shelves and bins stocked with books and records from City Lights and Bookpeople San Francisco Atlantis and Alligator New Orleans teas and herbs candles and incense from mountain communes turquoise blue Spiritual Sky and next door in The Store our head shop paraphernalia water beds posters GROW YOUR OWN blankets and clothes from India native American jewelry and we're serving the new consciousness inspired by the one and only King of the Dharma Bums Jack Kerouac and yes there's Lawrence Ferlinghetti and Gary Snyder Richard Brautigan Ken Kesey Allen Ginsberg William Carlos Williams William Blake Hermann Hesse Knut Hamsun Dostoevski Nietzsche Bukowski Thomas Merton The Dalai Lama Gandhi Burroughs LeRoi Jones Diane di Prima and more more more with Robert Johnson Hound Dog Taylor Howlin Wolf Hendrix and always Bob Dylan Bob Dylan Bob Dylan on the stereo but we're Down and Out in Kentucky failin like no others dare fail and we're always on the outside outsiders outlaws bein told you don't fit you ain't shit what the fuck you doin here and so On The Road is where we live travelin travelin travelin in search of IT headed out of Kentucky cross America coast to coast down to Mexico determined to keep on keepin on truckin til the wheels fall off and burn just passin thru searchin searchin yes after all these years still searchin for IT and yet somewhere somehow one day one moment at the heights of Machu Picchu we went further in traveled deeper on the inner road we entered the kingdom and in the heart of The Big Bang Epiphany we discovered that the power and the glory of IT is bound in the grace of forgiveness of Beating Karma through love of persevering through desperate circumstances so now we GO GO GO we Never Give Up recognizing Now that The Road that Jack Kerouac's Road that our Road always leads On. for Kevin Ring copyright 1997 Ron Whitehead down & out in kentucky 1st day of spring 3/20/97 *** A man hit by a car in New York in 1977 got up uninjured, but lay back down in front of the car when a bystander told him to pretend he was hurt so he could collect insurance money. The car rolled forward and crushed him to death. *** HOW TO WRITE GOOD Avoid alliteration. Always. Prepositions are not words to end sentences with. Avoid cliches like the plague. (They're old hat.) Employ the vernacular. Eschew ampersands & abbreviations, etc. Parenthetical remarks (however relevant) are unnecessary. It is wrong to ever split an infinitive. Contractions aren't necessary. Foreign words and phrases are not apropos. One should never generalize. Eliminate quotations. As Ralph Waldo Emerson once said: "I hate quotations. Tell me what you know." Comparisons are as bad as cliches. Don't be redundant; don't more use words than necessary; it's highly superfluous. Profanity sucks. Be more or less specific. Understatement is always best. Exaggeration is a billion times worse than understatement. One-word sentences? Eliminate. Analogies in writing are like feathers on a snake. The passive voice is to be avoided. Go around the barn at high noon to avoid colloquialisms. Even if a mixed metaphor sings, it should be derailed. Who needs rhetorical questions? *** Surprised while burgling a house in Antwerp, Belgium, a thief fled out the back door of the house, clambered over a nine foot wall, dropped down, and found himself in the city prison. *** J. Edgar! By Tom Leopold and Harry Shearer Music By Peter Matz Directed By Harry Shearer Produced by L. A. Theater Works Starring Kelsey Grammer, John Goodman, Harry Shearer, Don Castalenada, Christopher Guest, David L. Lander, Michael McKean, Tom Leopold, Marian Mercer and others Review by Rusty Pipes Do you have to know history to enjoy J. Edgar? Maybe not, but it helps. Harry Shearer recently replayed this 1994 gem of a radio musical on Le Show, his weekly radio show. I liked it a lot when I heard the premiere, but the second time through was enough to convince me I had to get a copy. Harry of course is famous for doing multiple voices on The Simpsons and he's also a refugee from Spinal Tap, Saturday Night Live and the Credibility Gap. Tom Leopold, who gets writing credit before Harry, is not as well known to me but he pops up from time to time on Le Show in various "Yvonne De La Femina" put-ons. If he's the prime force in writing this, my hat's off to him. J. Edgar of course is J. Edgar Hoover, the first director of the FBI who was posthumously exposed as a transvestite homosexual a couple years ago. Kelsey Grammer stars as J. Edgar, who is having his life pass before him on his deathbed. The parade starts all the way back in high school and rapidly moves into his promotion to the Bureau, where he meets his "Lifetime Assistant" (that's what he was really called), Clyde Tolson, played wonderfully fey by John Goodman. Shearer gets to play both Walter Winchell and the Negro attendant in the two bathroom scenes. The play moves on through the many decades of his directorship and the ups and downs of their relationship. Does this material sound too provocative for a musical to you? It was staged as a live radio play and though it's not a high budget production with full orchestra, it has a Broadway quality to it. Grammer displays a surprisingly good singing voice that I've never heard on Cheers or Fraser. The recurring "Once Upon a Face" theme is actually pretty endearing now that I've had the opportunity to hear it several times. Musically the biggest laughs come when J. Edgar's secretary, Helen, who's always pining for him, breaks into a love ballad that mutates through a tango and into a bluesy burlesque that Hoover has to pour cold water on. That's topped however when our hero goes to a party in disguise as "Mary." The play's humor isn't directed at Hoover's gay relationship itself, it's actually played rather tenderly. Rather its central irony is generated by the pressures of a thoroughly closeted man living a lie while in a position of high power. Hoover was greatly feared for his files and the play certainly advances that as the reason he held the directorship for so many decades. But worse, apparently the Mob knew of his tastes and it's believed that's the reason the FBI didn't quash them in their early years. The Director insisted over and over there was no organized crime problem. Right. In addition to the play, on the first cassette there's a bonus interview with the play's authors masquerading as "Lucien Brooks Atkinson" and "Vaughn Longacre," discussing the writing of the play and other ersatz projects, a hoot I don't remember from the original broadcast. The live recording does show off a couple flaws here and there, but it's minor. There's zip for liner notes and there's reference to a J. Edgar book that's not part of the package, but all in all I'm thrilled to have it in my collection. By the way, you won't find J. Edgar in stores. L.A. Theater Works' The Play's the Thing series is an ongoing set of radio theater performances that feature many famous actors and actresses, obviously in it for the artistic satisfaction. They are all recorded before live audiences in Santa Monica, California, at the Doubletree Guest Suites. You can attend new productions and of course there are cassettes available. I recommend Larry Gelbart's Mastergate and Tim Robbins's Mayhem the Invasion off the top of my head. No website yet, but you can email at latworks@aol.com or call for the catalogue at 800 708-8863. *** SUBMISSIONS! JOKES, QUOTES, POEMS, RECIPES, REVIEWS, FEEDBACK! GENERAL GOOD JUNK! We need 'em, you got 'em! write this down: aquaria@serv.net needs you! *** --------------------------------------------------------------------------- E-MAIL ADDRESSES FOR CONTACTING COSMIK DEBRIS' WRITERS DJ Johnson (Editor)......moonbaby@serv.net Ann Arbor................Nprice@aol.com coLeSLAw.................coleslaw@serv.net Robert Cummings..........rcumming@csrlink.net Shaun Dale...............stdale@well.com Phil Dirt................reverb@cruzio.com Keith Gillard............liquid@uniserve.com Louise Johnson...........aquaria@serv.net Steven Leith.............leith@speakeasy.org Lauren Marshall..........Ocean@pluto.njcc.com Steve Marshall...........SteveM@pluto.njcc.com Rusty Pipes..............RustyKLST@aol.com Paul Remington...........prem@frontiernet.net John Sekerka.............jsekerka@gsc.NRCan.gc.ca Sparky Lou...............sparkylou@hotmail.com David Walley.............dgwalley@bcn.net Cosmik Debris' WWW site..http://www.cosmik.com/cosmikdebris Subscription requests....moonbaby@serv.net coLeSLAw's gAllARy is at http://www.serv.net/~coleslaw/ Shaun Dale's web site is at http://www.zipcon.com/stdale Phil Dirt's Surf Site is at http://members.cruzio.com:80/~reverb/central.html Keith Gillard's "Liquid Records WWW site is located at http://haven.uniserve.com/~liquid