Volume - I Issue - VI December 12th, 1987 Network AAA U U DDDD IIIII OOO A A U U D D I O O AAAAA U U D D I O O A A U U D D I O O A A UUU DDDD IIIII OOO BBBB IIIII TTTTT SSS B B I T S BBBB I T SSS B B I T S BBBB IIIII T SSS & Audio Software Review (c) Copyright 1987 by Michael A. Murphy All original materials Copyright by the Author ======================================================================== CONTENTS Editorial Compact Disc Reviews 1) Document - R.E.M. * By Greg Burris * 2) Door to Door - The Cars * By Robert Chambers * 3) Michael Brecker Record Reviews 1) Kat Dancin' - Frank Strazzeri 2) By George - George Cables 3) My, I'm Large - The Bobs Concert Watch ======================================================================== EDITORIAL Welcome to the sixth issue of Network AUDIO BITS & Software Review! In preparing this issue I ran into my first real case of Writer's Block. I also did not have access to this electronic media for a couple of lengthy periods of time (read as 'I do not have a terminal or PC at home') which made getting this issue out more difficult than in the past. It's also coming up on exam time which is always a hectic time of the year. I find that I'm busier now with my wife finishing up exams and school than I ever was when I took my own exams! And, of course, all this combined to make this issue a lot later than I would have liked it to be. And now, it figures, our link to the world (Yalevm) is down and probably won't be back up until Monday. On to better and brighter things... New in this issue are several Jazz reviews and a new section I've called Concert Watch. I'll try to provide as much concert information as I can, within reason, of course, and hopefully will be able to list not only U.S. dates, but also international dates. All concert information will be subject to change without notice. At the time of distribution, concert information will be as correct as possible. Chances are good that most of the concert dates listed will be for groups on independent labels who may be touring clubs and concert halls as opposed to arena shows. That does not preclude big name major label listings, but Concert Watch will lean more towards promoting up and coming independent groups and labels. Also, Robert Chambers has contributed his 2nd CD review in these pages with the Cars "Door to Door". And Greg Burris is contributing his first CD review with REM's latest, "Document". I hope you find this entire issue enjoyable and informative. Should you wish to order an album from any of the smaller labels found within Network Audio Bits, please include with your order request a small note letting the company know that you learned of their product through reading Network Audio Bits. I have been in contact with several record companies in order to provide a variety of music for these 'pages'. And I know these record companies will take the magazine and its readership much more seriously once they have an indication that word of their product is being spread and being heard. Now, on to the reviews! ======================================================================== Document Finest Worksong REM Welcome to the Occupation Producer: Scott Litt & REM T Exhuming McCarthy Engineer: Scott Litt R Disturbance at the Heron House I.R.S. IRSD-42059 A Strange Released: 1987 C It's the End of the World as We Total Disc Time: 39:34 K Know it (and I Feel Fine) Source - Compact Disc S The One I Love SPARS Code - Not Available Fireplace Lightnin' Hopkins Performance: 8 King of Birds Sound Quality: 9 Oddfellows Local 151 Textures. To me, R.E.M. has always evoked a sense of textures. Maybe it's a rough edge interweaved with soothing harmonies. Maybe it's a feeling of being dragged, kicking and screaming, into a dark room and having someone cover you with honey and roll you on burlap sacks. Maybe not. Everyone gets a little something different from this band and that's the way it should be! I love this band and you'll still find "Murmur", R.E.M.'s debut album, on my turntable at least once a month. "Document", R.E.M.'s fifth album is a very good release from a great band. I'm not going to "superlative" you to death; in my opinion this is not R.E.M.'s best release. But it is good. Very good. In fact, I think I'm beginning to like it more and more as I go along! This may be the release that will bring R.E.M. the much-deserved national acclaim that they have so successfully avoided (by choice) thus far. "Document" is definitely a step forward for this four-man band from Athens, Georgia. It is a more punchy sound than their two previous releases, "Fables of the Reconstruction" and "Life's Rich Pageant". Bill Berry's drums are out front in the mix with Michael Stipe's lead vocals. Peter Buck's guitar assumes a variety of poses throughout, ranging from sitar to the Hendrix-like intro and fills of "Oddfellows Local 151". Mike Mills' bass carries the often meandering musical flow and his backup harmonies are again the perfect foil for Stipe's gruff-n- grumble lead vocals. The songs are finely crafted and seem to follow (or pursue?) a common theme. One can almost imagine an invisible thread connecting cut to cut. A couple of the songs on "Document" deserve mentioning outright. "Strange" is a driving rocker with a hook (sorry about that) that the band didn't write. The Stipe-Mills harmonies in the chorus grab you by the nose and pull you face-first into a frenzy as they chime: "There's something going on that wasn't here before Keep your eyes glued to the floor No one's going to say good night There's something going on that's not quite right. Uh-uh." "It's the End of the World As We Know It (And I Feel Fine)" is a fast-paced, highway driving romp that features Stipe sounding like a well-oiled salesman (and is one of the best song titles in years). One of the truly amazing aspects of this song is the number of words that can be recognized. Had this song been recorded a few years ago, the vocals might have been one long mumble. But not this time. This time the vocal layerings work, mate! "The One I Love" is the first single from "Document" and has already climbed higher than any of the band's previous singles (for any of you who care about that tripe). Don't get me wrong. I love the song. I just think it's a misplaced track; it seems to break the drive which the first six songs so successfully established. The next song, "Fireplace", picks up that flow. A heavy, gated reverb on Berry's toms and bass drum are used to nice affect here. So what is this "theme" of the album to which I earlier alluded? Who knows?!!! Stipe seems more than just a little disturbed seeing what's going on around him. He tries to get our attention with the "Listen to me! Listen to me!" refrain of "Welcome to the Occupation", warns us of our past mistakes in "Exhuming McCarthy", and then sums it all up by proclaiming this as a "crazy, crazy world" and these as "crazy, crazy times" in "Fireplace". Ain't it so. Nice job guys. Greg Burris ======================================================================== Door To Door Leave Or Stay The Cars You Are The girl Producer: Ric Ocasek T Double Trouble Engineer: Joe Barbarina R Fine Line Elektra/Asylum 9 60747-2 A Everything You Say Released: 1987 C Ta Ta Wayo Wayo Total Disc Time: 45:57 K Strap Me In Source- Compact Disc S Coming Up You Spars Code: AAD Wound Up On You Go Away Door To Door Performance: 9.5 Sound Quality: 10 After 3 years, the new Cars album is well overdue. When The Cars put out "Door to Door", top 40 radio stations immediately started playing "You Are The Girl" every hour. Although this is a good song, it seems strange, that with such a good selection, that we aren't hearing more from the album. This album follows somewhat on the heels of Heartbeat City, when Ric allowed Ben Orr to do "Drive" all by himself. I think The Cars realize they have a multitude of voices available to them, and now are starting to use the selection to the benefit of their audience. The actual music on this disc is refreshing. When I first played it I was really impressed, and about the first thing I thought was "Good, The Cars finally got off their asses and put some hard work into the songs and performance". And on to the tracks! The first track, "Leave Or Stay", is a good old fashioned Cars rockin' tune. It starts off with Ric Ocasek saying "Well?", and then Eliot Easton goes work on the guitar and makes a good job of it too. Track two, "You Are The Girl", is good, even though overplayed on the radio etc. Incidentally the MTV video for this song is rather humorous. Track three, "Double Trouble", another really vibrant piece... reminiscent of the first couple of cars albums.. It's certainly one of my favorites. "Fine Line".... Well, I find this song the only flaw in the disc. Normally with Cars songs, if they don't appeal to me at the start they will grow on me later. After repeated listenings to this song, and even seeing it performed live, I still don't like it. I find it slow and tedious. I get the feeling that since "Drive" was such a successful song that Ric figured, "Hmmm lets whip out another slow one and see what we can do.." It didn't work for me. It's worth judging for yourself, though, since the rest of the disc is so good. Track five: "Everything You Say": Now this is a great song. Ben Orr is the lead vocalist for this one. I never really knew what a talented singer he was until I saw/heard this song performed. It seems a tribute in some sense to country music, and in particular to the late Marty Robbins. The guitar is twangy (country twang, not Duane Eddy), and in certain parts, Ben Orr sounds almost identical to Marty Robbins. It's certainly uncanny.. The song is very appealing musically and lyrically. "Ta Ta Wayo Wayo": A strange little song... I can't figure out why they named this song as such. They do use the title in the song once though. This is a faster paced song, very energetic, and quite likeable. "Strap Me In": This is receiving quite a bit of airplay at present. I do like the song, but i find it gets a little repetitive. One can only be strapped in so many times... Track 8, "Coming Up You", is my favorite song in the slow vein. This has the mellow approach as did "Drive", well perhaps a little faster, but the general style is there. A very likeable tune. "Wound Up On You". Hmmm this is definitely typical of a Cars song. I wont say any more but give it a listen. Track ten: "Go Away". This is a very well done song, those 5 guys can really harmonize well when they put their minds to it. A definite plus. Finally, Track eleven. The title track to the disc.... This is a bit of an oddball song. It always leaves me feeling like something isn't finished. It has a fast paced worried sound with quick snappy lyrics. The guitar on this track is particularly good. At the end of the song, there is the sound of a door slamming shut. Quite a good close for a song. Somewhat similar to Pink Floyd's "Goodbye cruel world" from "The Wall". Overall, I recommend this disc highly. A must for all Cars enthusiasts, and a should-buy for those that like The Cars. I don't think you will be disappointed with the purchase. Robert ======================================================================== Brecker, Michael Sea Glass Michael Brecker T Syzygy Producers: Don Grolnick and R Choices Michael Brecker A Nothing Personal Engineer: James Farber C The Cost of Living MCA/Impulse MCAD-5980 K Original Rays Released: 1987 S My One and Only Love Total Disc Time: 54:28 Source - CD SPARS Code - DDD Performance: 10 Sound Quality: 10 The name Michael Brecker is synonymous with the tenor saxophone and in turn is also synonymous with excellence. Brecker, along with Sonny Rollins and one or two others, is the cream of the crop where saxophonists are concerned. But where Rollins has been a prolific leader throughout his lengthy career, Brecker has never been a leader. And he has played on over 400 albums. His credits include working with Steely Dan, Chick Corea, Billy Joel, Charles Mingus, Bruce Springsteen, Quincy Jones, Joni Mitchell, Frank Zappa, Herbie Hancock, Paul Simon, Parliament/Funkadelic, John Lennon, Freddie Hubbard, Dire Straits, Eric Clapton, and Frank Sinatra - among others. Brecker also played with his brother, trumpeter Randy, in a group called, appropriately, The Brecker Brothers for six years beginning in 1975. In 1979 the quintet Steps Ahead was formed and Brecker still co-leads along with vibraphonist Mike Mainieri. Here on his solo debut, Brecker returns to his jazz roots. He grew up listening to Cannonball Adderly, Miles Davis, Clifford Brown and John Coltrane. Here, with Kenny Kirkland, Charlie Haden, Jack DeJohnette, and Pat Metheny, Brecker burns, grooves, swings and cools in the space of 54+ minutes. On this 54+ minute CD is a bonus track, 'My One and Only Love', not available on either LP or cassette. 'Sea Glass' opens the disc in a smooth, mellow vein. Brecker's sax rides the waves of DeJohnette's cymbals. The sound is effortless and flows all around. 'Syzygy' is brimming with energy, frantic - yet controlled - for almost 10 minutes. 'Choices' is graceful while changing rhythms throughout. 'Nothing Personal' drives without the frantic feel heard on 'Syzygy' and Pat Metheny turns in an excellent solo. 'The Cost of Living' slows the disc down once again, but passionately. On 'Original Rays' Brecker showcases the EWI (electronic wind instrument), then returns to the tenor saxophone. 'My One and Only Love' closes out the CD and opens with a superb Brecker solo. The rest of the group slowly and inconspicuously joins Brecker, allowing his sax to shine until he gives way to a Metheny solo over halfway through the piece. Brecker weaves his sax back into the musical tapestry to close out the piece and the disc. This debut album is overflowing with talent, support and enthusiasm. Kirkland's piano, DeJohnette's drums, Haden's bass, Metheny's guitars, and Brecker's sax and EWI (electronic wind instrument) blend together and shine individually on virtually every piece. From the frenetic pace of 'Syzygy' to the dark and quiet of 'The Cost of Living' these musicians swoop and soar until finally, the flight ends and we who listen depart, eager for more. Michael Brecker's solo debut is a must for any serious jazz collector/enthusiast. ======================================================================== Kat Dancin' Evidence Strazzeri, Frank T Kat Dancin' Producer: Frank Strazzeri R Bermuda Triangle Engineer: Peter Woodford A On the Delta Discovery DS-933 C Speak Low Released: 1987 K Sweet N' Low Total Disc Time: 42:43 S Remember Source - LP The Word Performance: 9 Sound Quality: 9 Pianist Frank Strazzeri, a Rochester, New York native, is literally unknown outside of music circles. He has appeared on over 60 recordings as a sideman and "Kat Dancin'" is his eighth recording as a leader. On most of his other recordings he has been featured on the electric piano which, Strazzeri says, "makes it impossible to recognize who's playing." "Kat Dancin'" features Strazzeri on piano, John Patitucci on bass, and Ralph Penland on drums. The LP contains five original Strazzeri tunes and Strazzeri's interpretations of Thelonius Monk's "Evidence", Kurt Weill's "Speak Low", and Irving Berlin's "Remember". The CD contains several extra songs. Strazzeri's piano is certainly a focal point throughout the album, but each player is allowed to express their own talents as well. "Kat Dancin'" is a showcase of how three men communicate musically in a jazz setting. "Evidence" opens the LP on an upbeat note then slows a bit with "Kat Dancin'", a melodic medium tempo piece. "Bermuda Triangle" picks the pace back up with Penland's high hat and Strazzeri's piano setting the pace. "On the Delta" ends the first side of the LP on a relaxing note. The second side opens with "Speak Low" which is a "today version," Strazzeri says, and is taken very fast. "Sweet N' Low" relaxes the tempo again and the Strazzeri slows things even more on "Remember". "The Word" closes side two of the LP in an upbeat, bebop fashion. All of these tunes move freely and fluidly throughout the album. Though tempo changes with almost every track change, the changes are smooth. Cohesion is a key word in describing this trio, this album and each song. Strazzeri proves here what other musicians have known for a long time. Frank Strazzeri can play the piano! If your local record shop doesn't carry LPs, tapes or CDs of the Discovery Record Group, then you can write to the company for a free catalog at: Discovery Records P.O. Box 48081 Los Angeles, California 90048 ======================================================================== By George George Cables T Bess, You is My Woman Now Producer: George Cables R My Man's Gone Now Engineer: Danny Kopelson A I Got Rhythm Contemporary C-14030 C Embraceable You Released: 1987 K Someone to Watch Over Me Total Disc Time: 39:13 S A Foggy Day Source - LP Digital Recording Performance: 8.5 Sound Quality: 9.5 "By George" features the music of George Gershwin played by pianist George Cables, backed by John Heard on bass, and Ralph Penland on drums on four of the six tunes on this record. "Embraceable You" and "Someone to Watch Over Me" are unaccompanied piano pieces. The name George Gershwin first calls to mind concert and/or show tunes rather than jazz, though his music is also closely associated with jazz. Many jazz artists have performed and interpreted Gershwin's music, adding their own touches to make it their own and sometimes using portions of Gershwin's music as a basis for their own jazz standards. For this record George Cables has chosen Gershwin music that has special meaning for him. "It's Gershwin as seen through my eyes," says Cables, "but still it seems to almost play itself. Cables was born in New York City on November 14, 1944. He was classically trained as a youth and attended the High School of Performing Arts. While he was there he discovered jazz. Keyboardists Herbie Hancock and Chick Corea impressed Cables, but he cites Miles Davis and his band as more of an influence than any one jazz pianist. Cable's playing is very adept and makes me wish I could see him perform in concert. His feel for Gershwin's tunes gives the listener a feeling of being slowly surrounded and captured, though an occasional chord or phrase leaps out at you. There were one or two places, most notably in "My Man's Gone Now" where I almost wished that a trumpeter could briefly turn this trio into a quartet. The rest of the music is most definitely suited and arranged for a piano led trio and, more specifically, for George Cables. This is indeed an album where the music is seen through his eyes. And you won't need a rose colored hearing aid to know that this is indeed an excellent album. Contemporary Records is a part of the Fantasy Record Group and if your local record store does not carry their products you can write to Fantasy for a catalog and information at: Fantasy Inc. Contemporary Records Tenth and Parker Berkeley, California 94710 If not already out, Cables is due to release another album where he is teamed up with alto saxophonist Frank Morgan, also a Contemporary recording artist. ======================================================================== Bobs, The My, I'm Large My, I'm Large Helmet Producer: The Bobs My Husband Was a Weatherman Engineers: Gary Clayton & others T Mopping, Mopping, Mopping Great Amer. Music Hall GAMH-001 R Bulky Rhythm Released: 1987 A You Really Got a Hold on Me Total Disc Time: 40:51 C Johnny's Room Source - LP K Please Let Me Be Your Third S World Country Valentino's Performance: 9.5 Banana Love Sound Quality: 9.5 Little Red Riding Hood My Shoes The Bobs are an a cappella group who have recorded two albums. The first album, "The Bobs", is on Kaleidoscope Records and their second album is "My, I'm Large" on Great American Music Hall Records (GAMH-001). "My, I'm Large" is the first product released from GAMH Records. The Bobs (Bob for "Best Of Breed," as in a dog show) are Gunnar Bob Madsen, Richard Bob Greene, Matthew Bob Stull and Janie Bob Scott. Their music is different from what one normally associates with a cappella music. Their music has been described as Nu-Wave A Cappella, which is close, but not truly accurate. The Bobs have a little more punch and humor in their music than either the Nylons or the Manhattan Transfer, two of the most well known a cappella groups. "My, I'm Large" has some very amusing lyrics and vocalizations. It's hard to transfer the humor inherent in their music to print because the blending of voices and tonal structures have as much to do with the humor as the words themselves. Hearing these songs is the only way to truly appreciate them. I get the feeling that there aren't too many subjects that The Bobs would not try to tackle humorously in their songs. Relationships, childhood memories/fantasies, other types of music, natural disasters, politics, and love are all covered on "My, I'm Large". Over the course of several more albums I am sure they will tackle other topics with wit and style. Madsen and Greene write the originals that The Bobs perform. 10 of the 12 songs on "My, I'm Large" are original Bobs songs. If you cannot find "My, I'm Large" in your favorite record store, it is available from either: Great American Music Hall Records 859 O'Farrell Street San Francisco, California 94109 (415) 885-5006 or Fantasy Records Inc. Tenth and Parker Berkeley, California 94710 ======================================================================== CONCERT WATCH ***NOTE*** All information concerning concert dates is subject to change without notice. The Bobs will be busy as the new year takes off. They will be appearing at the Julia Morgan Theater in Berkeley, CA on New Year's Eve. Then they will appear for January dates at: Lloyd's (1/7/88 - Hartford, CT); Town Crier (1/8/88 - Millbrook, NY); The Barns (1/9/88 - Wolf Trap, VA); Taft School (1/10 - Watertown, CT); Iron Horse (1/11 & 1/12/88 - Northampton, MA); Reed College (1/16/88 - Portland, OR); Backstage (1/17/88 - Seattle, WA). George Cables will be playing 3 dates in the southwest in the coming week with his trio. The places and dates are: Chuy's (12/15/87 - Tempe, AZ); Gentle Bend (12/16/87 - Tucson, AZ); and El Farol (12/17 & 12/18/87 - Santa Fe, NM). Sonny Rollins is scheduled to appear on the West Coast for a couple of dates in February. He will appear at the Palace in Los Angeles on 2/11/88 and then at Bimbo's in San Francisco on 2/13/88. Art Farmer will be at Five Mile House in Baltimore on 12/15/87. And in February he will appear at the Village Vanguard in New York from the 2nd through the 7th. Farmer will perform with a quintet for these dates featuring saxophonist Clifford Jordan. ========================================================================