Volume - II Issue - IV Summer/Back to School '89 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 1989 by Michael A. Murphy All original materials Copyright by the Author ======================================================================== Please send all suggestions/comments/requests concerning Network Audio Bits & Audio Software Review via E-Mail to: Michael A. Murphy - Anyone wishing to send U.S. Snail mail may write to: Network Audio Bits P.O. Box 328 Orono, Maine 04473 ======================================================================== CONTENTS Editorial Compact Disc Reviews 1) Down On The Floor - The Zulus 2) Home. - The BoDeans 3) The Real Thing - Faith No More (cassette) 4) Live In Paris - Burning Spear 5) Blaze Of Glory - Joe Jackson 6) Naked Move Star - Cindy Lee Berryhill 7) Chi-Town Budget Show - Don Dixon w/ Marti Jones 8) Live - The Smithereens 9) Only The Good Die Young - 45 Grave (cassette) 10) Kaleidescope World - Swing Out Sister 11) The Bobs 12) Fair And Square - The Washington Squares 13) O.F.R. - Nitro Record Reviews 1) Cloudland - Pere Ubu 2) Louise In Paris - Doug Orton 3) Believe It! - Joanna Connor 4) Jack Smith and the Rockabilly Planet 5) Step Stone - Walt Michael & Co. 6) Tuba City - Bim Skala Bim 7) Thrill Me Up - The Toasters 8) Love Warriors - Tuck & Patti Bits and Pieces - mini/capsule reviews of: 1) Smoldering Lunchbox - Common Ailments of Maturity 2) Tommy - As Performed by the London Symphony Orchestra and Chambre Choir with guest soloists (CD) 3) News - GAIA Records, Tiny Lights, Silos, Enigma/Restless phase out vinyl 4) Night Beat - Hank Crawford w/ Dr. John (LP) 5) Todd Rundgren Anthology (CD) 6) Utopia Anthology (CD) 7) Bruised Orange - John Prine (CD) 8) Just Like Heaven - Dinosaur Jr. (12" single) 9) More News Bits a) Laura Nyro Live At The Bottom Line b) My District - Vasily Shumov c) Groupa Kroovy - Kino d) Without You I'm Nothing - Sandra Bernhard Elton John Concert Review Concert Watch ======================================================================== EDITORIAL Welcome to the fifteenth issue of Network AUDIO BITS & Software Review! This issue is a bit overdue, but since it's chock full of information, I hope it makes up for being a little late. The *real* job has gotten in the way of getting this issue out as we've had a shortage of manpower and I've been working a lot of overtime! Unfortunately, leisure time projects like this (which I normally have a lot more time for!) have to simmer on the back burner. With what little leisure time I've had in the last month or two, I've managed to catch a few shows this summer. A review of Elton John's recent Great Woods show appears in this issue. I've also seen John Hiatt perform a solo acoustic show in front of about 250 people. Easily the best club show I've ever seen! Hiatt was funny, his songs sounded true with just an acoustic guitar (he played two songs with keyboard accompaniment) at his side. Most of the songs came from his two excellent A&M albums _Bring the Family_ and _Slow Turning_. I was really surprised by the number of people in the audience who really got into John's tunes. The audience was very responsive to what he did on stage. I also so Roger Miller (ex-Mission of Burma) perform while in Boston. His show featured a percussionist, whose name I forget, who was out of this world. This guy had a set of indian-style drums and his beat was down 'n dirty. Miller's guitar work sounded quite good, but was a bit overshadowed by the percussionist. As always, there's so much more that can be written about and only so much time to do it in. So, until next time, that's all I've got to say. Some regular business follows and then it's on to the reviews! Ratings guide: ***** Indispensable **** Merely excellent *** Solid ** So-so, but worthwhile * Don't bother 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. Thanks! ======================================================================== Down On The Floor Never Again The Zulus The Desired Effect Producer: Bob Mould T I Love This Life Engineer: Phil Greene R Back Slash 25828-2 A Big D Released: 1989 C Too Much Total Time: 43:57 K Skinny Dip Source - CD S Kings in the Queen City Directly From Our Heart to Yours Rating - *** Gotta Have Faith ----------------------------------------------------------------------- When the Love is Goob (I Mean Good) Beautiful Rain Home. Fire in the Hole The BoDeans Good Work Producer: Jim Scott & 'He & He' T No One Engineer: Timothy Powell R You Don't Get Much Slash/Reprise 25876-2 A Hand in Hand Released: 1989 C Worlds Away Total Time: 57:09 K Far Far Away From My Heart Source - CD (AAD) S Brand New Red River Rating - ***-1/2 Beaujolais Sylvia I'll Be There (VooDoo) Tied Down and Chained ----------------------------------------------------------------------- The Real Thing From Out of Nowhere Faith No More Epic Producer: Matt Wallace & FNM T Falling to Pieces Engineer: Matt Wallace R Surprise! You're Dead Slash/Reprise 25878-4 A Zombie Eaters Released: 1989 C Edge of the World Total Time: N/A K The Real Thing Source - Cassette S Underwater Love The Morning After Rating - **** Woodpecker From Mars War Pigs ----------------------------------------------------------------------- Spear Burning Live In Paris We Are Going Burning Spear The Youth Producers: Winston Rodney and T New Experience Nelson Miller R African Postman Engineer: Andrzej Gierus A Happy Day Slash 25842-2 C Woman I Love You Released: 1989 K Queen of the Mountain Total Time: 73:34 S Creation Rebel Source - CD (Digital) Mistress Music Built This City Rating - ***-1/2 The Wilderness Driver It's been a while since I've heard four (relatively) recent releases from one label that are both as varied as these four and as consistently good as these four. The third albums from the BoDeans and Faith No More (their 2nd Slash release) are both excellent, the live Burning Spear album shows, as well as any recording can, what live reggae is all about and the Zulus 'debut' album is a hard driving 1980s rock 'n roll cross between Creedence Clearwater Revival and Aerosmith, with a few eccentricities thrown in. The Zulus' album can almost be considered a 'best of' type of an album as it's a culmination of several years of work and setbacks, the songs represent material from a previous EP (only 2000 copies pressed), songs they've performed live, radio tapes and new material. The biggest problem the Zulus have had in the recent past was finding a name that someone else hadn't already taken. In 1982 Larry Bangor and three other members of Boston's Human Sexual Response left to form Wild Kingdom. The Mutual of Omaha (sponsor of the TV series "Wild Kingdom") eventually contacted the group and threatened a lawsuit unless the name was dropped. After settling on a new name, Gospel Birds, work was done on an EP. The day before the pressing a music publishing company called Gospel Birds Inc. was discovered, forcing the band to sacrifice another name. Finally the band settled on the Zulus and Slash Records took an interest. The Zulus hooked up with Bob Mould (Producer, ex-Husker Du member) to finally lay down tracks for _Down On The Floor_. Since several of the songs have been in the band's repertoire for a while, the album is rather tight and cohesive. They range from the slow, CCR/Fogerty sound- alike "Big D" to the bluesy, hard guitar-driving "The Desired Effect" and "Skinny Dip". When you stop and think about it, it's pretty amazing that this record was ever made. Lesser groups would have given up a long time ago. Hopefully, this will not become a pattern for future Zulus releases, though this one was certainly worth the wait. The BoDeans third Slash release, _Home._, picks up where _Outside Looking In_ left off. After the September, 1987 release of _Outside Looking In_ the BoDeans spent the fall headlining in theatres and clubs and opening for U2. They were consequently named the "Best New American Band" in a _Rolling Stone_ Readers' Poll. The BoDeans original brand of rock 'n roll is captured well here by producer Jim Scott, the band's third different producer (T-Bone Burnett produced _Love & Hope & Sex & Dreams_, Jerry Harrison produced _Outside Looking In_). As the title of the new album implies, these new songs have a homey feel. "Beautiful Rain" expresses sentiments that could be felt by nearly anyone. "Good Work" has lyrics that a good portion of middle America can identify with, much like many of Bruce Springsteen and John Mellencamp's lyrics, and a driving neo-rockabilly feel and bounce that are extremely contagious. _Home._ recaptures a lot of the edge that was evident on _Love & Hope & Sex & Dreams_ and somewhat glossed over on _Outside Looking In_. The vocals of Sam Llanas and Kurt Neumann need a less glossy surrounding to shine and Jim Scott (and He & He, aka Sam & Kurt) has given them appropriate surroundings. The album was recorded in a warehouse in Milwaukee with a mobile unit, essentially providing a 'live' atmosphere for recording. What a neat concept! It's good to see a band get back to basics in this day and age of guitar track, drum track, etc recording. If you like CDs with extra tracks, there are three of 'em on this disc. _The Real Thing_ by Faith No More is the album that I've found toughest to review for this issue. No, it's not really all that hard to write about, but it is tough to write when you're cruising down I-95 with _The Real Thing_ cranked up in the car tape player. This cassette has been in my tape deck almost daily since it's release several weeks ago. At this point in the year I'd have to rank _The Real Thing_ in my top 5 of 1989 releases. Faith No More straddle a few genres on _The Real Thing_ (rap, hard rock, metal & even a jazzy tune), but the cement that holds everything together is Michael Patton's voice. It's the type of voice that you're either going to love or hate. I love it. On _The Real Thing_ Patton's voice has what might be called a buzz surrounding it that's hard to explain. It's what propels this from a better than average recording to one of the best of the year. There isn't a bad cut on this album. The lead single "From Out of Nowhere" is a good choice as the first single, being one of the more straight-ahead songs on the album. For a little more out and out power and force check out "Surprise! You're Dead!". "Zombie Eaters" is a complete contrast to "Surprise!", at least at first... The quiet, acoustic-style intro eventually turns into a pounding beat, slowly thumping its way along as Patton moves from a whisper to a shout, tossing in a bit of a rap along the way. The instrumental backing for "Edge of the World" sounds like it would make a great jazz/blues track and lends another dimension to Faith No More. And this is all on the first side of the tape...! Side two is almost as good as the first, though it's not quite as varied. It does contain a blistering version of Black Sabbath's "War Pigs", which a lot of people in this day and age might recognize as one of the themes used for Dennis Miller's Saturday Night Live newscasts. Perhaps unlike so many other releases, that manage to get the musical chemistry right while performing lesser material, Faith No More have written lyrics that make sense, evoke a variety of emotions and are not overtly offensive (hey, it's hard rock and you know someone's gonna take exception with their lyrics somewhere along the way!). They don't take the shortcuts that others have by using a plethora of four-letter words, etc. Faith No More and _The Real Thing_ have the potential here for a large hit without selling out to commercialism. I'm sure someone out there will disagree with me. The loss is theirs, in that case. The cassette (and I would assume the CD) has two extra tracks. Burning Spear captured live takes the reggae art form to it's hypnotic zenith. The spirit captured here cannot possibly be realized in a studio. These tunes have all been done well in a studio, but the feel and 'ambience' of this live performance could never be recreated in the studio. This disc lays down a groove that, once entrenched in it, you can't leave if you want to. The concert (or the disc, in this case) must run its course, insinuating itself in one's bloodstream, cleansing those tired arteries, and eventually passing out of one's system taking with it the impurities of the day's (or week's) toil. Most of the tunes here come from recent Burning Spear albums. A few older tunes have been included as well. The most entrancing tracks in this set are "Woman I Love You", "We Are Going" and "The Youth". ======================================================================== Tomorrow's World Blaze Of Glory Me and You (Against the World) Joe Jackson Down to London Producer: Joe Jackson T Sentimental Thing Engineer: Joe Barbaria R Acropolis Now A&M CD 5249 A Blaze of Glory Released: 1989 C Rant and Rave Total Time: 57:21 K Nineteen Forever Source - CD (DDD) S The Best I Can Do Evil Empire Rating - ***-1/2 Discipline The Human Touch Perhaps as much as David Bowie, Joe Jackson deserves to be considered as a chameleon of rock. On his previous 11 A&M albums he has drawn from a variety of styles, continuing to do so on _Blaze Of Glory_. Joe has always rejected the common idea that he is an artist who "always changes styles." Indeed, though he has always done different things on each album, the differences seem logical when you consider his entire recorded output. _Blaze Of Glory_ goes one step further in this process, merging his varied influences and elements of past works into one neat package. Joe's past albums have almost always had a concept or theme running through them. _Blaze Of Glory_ is no different, though it is a more story-like narrative beginning with "Tomorrow's World" (from a child's viewpoint) and ending with "Human Touch" (from the viewpoint of someone approaching age 40 - Joe is 34, by the way). Each song works individually, but are most effective when treated as part of the whole. The back cover of the CD mentions that the album is meant to be listened to as two continuous sequences of six songs. Listening and trying to pick out just two or three tracks that are better than the others is impossible. "Nineteen Forever" was the first single released. Along with the title track, "Tomorrow's World" and the instrumental "Acropolis Now", these tracks are the most likely to get significant radio airplay. _Blaze Of Glory_ is a fitting release to start what Joe has described as 'phase two' of his career, as it synthesizes, or consolidates, everything he has done so far. There are plans for a possible video and Joe is currently touring. Joe has a well-publicized aversion to the promo video format, but he is currently trying, as he puts it, "to find a way of doing something different, that doesn't make me look like a jerk." It will be interesting to see what he comes up with. I haven't tuned in MTV recently - maybe it's out already... ======================================================================== Naked Movie Star Me, Steve, Kirk and Keith Cindy Lee Berryhill Old Trombone Routine Producer: Lenny Kaye T Supernatural Fact Engineer: Knut Bohn R Indirectly Yours Rhino R2 70845 A Trump Released: 1989 C 12 Dollar Motel Total Time: 49:44 K Turn Off the Century Source - CD (AAD) S What's Wrong With Me Yipee Rating - *** Baby (Should I Have the Baby?) _Naked Movie Star_ is Cindy Lee Berryhill's 2nd album release. Her first was 1987's _Who's Gonna Save The World?_ which featured some poignant, straight-forward folk/rock tunes. _Naked Movie Star_ differs from _Who's..._ in that a lot of the tunes on the new release have more of an instrumental backing, using an organ on several tracks, giving it a warmer feel than her first recording. I prefer the more raw feel of her first album to the more produced feel of _Naked Movie Star_. However, Cindy seems to be an adventurous spirit here as she tries her hand at several different styles, ranging from the cool jazz feel of "12 Dollar Motel" to the homey, country- mellow feel of "Old Trombone Routine" to the rocking "Supernatural Fact". Some of this experimentation comes off really well ("12 Dollar Motel") and some of it misses the mark ("Yipee"). Artists, as well as people in general, need to stretch their limits every once in a while. Musicians have the advantage of being able to stretch their listeners' limits as well. Cindy Lee does that on "Yipee". "Yipee" is a 13+ minute track that is a mish-mash of feelings and contexts that's probably great to perform, but comes off as a being pretentious on a recorded media. Slimming down to 4 or 5 minutes would be beneficial to this track. Overall _Naked Movie Star_ is rather good. It's little experiments that hit are more frequent than the ones that miss. I'd prefer a little more starkness to the production, but if they were aiming for a warmer recording - they got it. ======================================================================== Chi-Town Budget Show Heart in a Box Don Dixon Borrowed Time Producer: Don Dixon T Your Sister Told Me Engineer: Not Credited R Girls L.T.D. Restless 72296-2 A February Ingenue Released: 1988 C Skin Deep Total Time: 44:30 K Renaissance Eyes Source - CD S Southside Girl Cat Out of the Bag Rating - *** Praying Mantis ----------------------------------------------------------------------- Live The Smithereens Producer: Not Credited T Blood and Roses Engineer: Not Credited R Behind the Wall of Sleep Restless 72242-2 A Beauty and Sadness Released: 1988 C Alone at Midnight Total Time: 24:40 K Strangers When We Meet Source - CD (AAD) S The Seeker Rating - *** ----------------------------------------------------------------------- Insurance From God Take Five Bad Love Only The Good Die Young My Type 45 Grave Dream Hits Producer: Paul B. Cutler T Consumers Engineer: Rob Stennet R Sheila Restless 72259-4 A Sorceress Released: 1989 C Death March Total Time: 53:29 K Journey's End Source - Cassette S Fucked By the Devil Evil Rating - ***-1/2 Party Time Black Cross Wax Akira Raideen Restless Records started a series a while ago called the Restless Performance Series which is available on compact disc and cassette. The titles that are available can usually be found at reasonable/budget-line prices. What you get for your budget-line dollars varies quite a bit, in both content and length. As evidenced above the music is varied, moving from, on these three recordings, the Beatle-ish/beatnik rock 'n roll of the Smithereens to the spirited, gritty rock of Don Dixon to the punk/attitude rock of 45 Grave. The playing times also vary on these recordings from just shy of 25 minutes to 53+, the latter (45 Grave) a bargain at budget-line prices. I was surprised by the shortness of the Smithereens CD because the performance this recording was taken from was also aired on MTV. The MTV broadcast was close to an hour long and featured almost all of the tunes from _Especially For You_ as well as the Who's "The Seeker" and another cover tune. I can't think of any reason why this disc has to be this short. It's too bad that someone didn't get the idea to release this in the same package (either vinyl, cassette or CD) as the _Beauty and Sadness_ reissue. The EP contains four songs (12+ minutes) and would have made a nice total package (nearing 40 minutes) along with the live tracks from this release. What the disc lacks in length it makes up for (at least a bit) in performance and content, these songs being among the best in the Smithereens repertoire. Though none of these three releases is a sonic masterpiece, they all give you a feeling of being there. The recordings, warts and all, are very good. Don Dixon's show features some of his better known songs in extended, crowd-pleasing versions. The material spans his two previous albums and some of these tunes may even have seen their birth as a part of Dixon's earlier band, Arrogance. While this album is almost 45 minutes long, I somehow always feel that it's over too soon. This is a must for any Don Dixon fanatic and can serve as a pretty good introduction/retrospective if you're not. The 45 Grave cassette is my introduction to this group (there's not enough time to find/hear everything!!!) and I can definitely say that I'm going to try to track down any recorded output of theirs. This recording is filled with raw energy and, though it has a couple of low points where the instrumentals wander a bit, is a good introduction to the band. I'm on the wrong coast (of the U.S) to gather much information about 45 Grave. I'm sure there are plenty of west coasters who know quite a bit more about the band, as they seem (from the liner notes) to have a fairly lengthy history. This recording was taken from a live show at Raji's in 1988. Dinah Cancer's vocals are the most striking thing about 45 Grave's live recording. At times she sounds like a cross between a psychedelic/punk combination of Grace Slick and a less sinister Wendy O. Williams (of Plasmatics *fame*). Indeed, 45 Grave have, apparently, always been involved with the lighter side of death/terror rock. Cool stuff! ======================================================================== You On My Mind Where in the World Kaleidescope World Forever Blue Swing Out Sister Heart For Hire Producer: Paul Staveley O'Duffy T Tainted Engineer: Paul Staveley O'Duffy R Waiting Game Fontana/Polygram 838 293-2 A Precious Words Released: 1989 C Masquerade Total Time: 59:38 K Between Strangers Source - CD (AAD) S The Kaleidescope Affair Coney Island Man Rating - ***-1/2 Precious Words (Instrumental) Forever Blue (String Mix) Masquerade (Instrumental) Swing Out Sister's _Kaleidescope World_ would have fit well in the Paisley Age of the late sixties and early seventies. Their sound on this CD is especially reminiscent of the Fifth Dimension and is easily as good as that group at their peak. With songs that display some elegant arrangements (Jimmy Webb arranged "Forever Blue" and "Precious Words") and intelligent lyrics, Swing Out Sister have crafted a smart-pop album in a disposable pop world. The CD contains four extra tracks - bonus song "Coney Island Man", a string remix of "Forever Blue" and instrumental versions of "Precious Words" and "Masquerade", which brings the CD to a total time just shy of an even hour. Fans of late sixties and early 70's pop should enjoy this disc. It's melding of 80's sense and technology with the sound of the past make a very nice disc. ======================================================================== Art For Art's Sake Prisoner of Funk The Bobs I Hate the Beach Boys The Bobs Bus Plunge Producer: Richard Greene T Cowboy Lips Engineers: Gary Clayton and R Helter Skelter Richard Greene A Through the Wall Kaleidescope F-18 C Be My Yoko Released on CD: 1987 K Lazy Susan Total Time: 47:38 S Nose to Nose Source - CD (AAD) Trash The Deprogrammer Rating - ***-1/2 Eddie the Jinx Democratic Process Psyco Killer It's only fitting that I should go back in time a bit and put some words down on the Bobs first release. After reviewing _My, I'm Large_ and _Songs For Tomorrow Morning_ (issues #6 and #12 respectively) and learning of the existence of prior recorded material I sought to find a copy of that album. I ended up going directly to the source (Kaleidescope Records), though I've since seen a copy or two in record stores. If an a capella group can be said to have a raw sound, then this disc is somewhat raw compared with the others. The feel here is more one of experimentation and maybe a slight sense of wonder about the stuff they're committing to tape. As on the later discs there's plenty of humor here, both lyrically ("I Hate The Beach Boys", "Be My Yoko") and in The Bobs delivery. With the comfort that comes with familiarity, their later discs display a little more overall confidence. Always ones to do interesting covers, The Bobs cover two bizarre, but well known tunes here ("Helter Skelter" and "Psycho Killer"). Both are killer covers! Kaleidescope will tell you that sales of this recording always pick up when a new Bobs album comes out. I don't know if a new one is in the works, but I would expect one in the fall or winter. This CD features 4 bonus tracks ("Nose to Nose", "Eddie the Jinx", "Democratic Process" & "Psycho Killer") "Eddie the Jinx" is the only track that uses any instruments and was recorded in 1982, before Janie- Bob joined and before The Bobs transcended musical instruments. ======================================================================== Everybody Knows Fair And Square Fourth Day of July The Washington Squares Charcoal Producer: J. Steven Soles T The Pride of Man Engineer: David Kennedy R Neal Cassady Gold Castle D2-71319 A La Roue de Fortune Released: 1989 C Greenback Dollar Total Time: 38:30 K Join Together Source - CD S My True Love and I The Other Side of Sin Rating - **-1/2 All Over the World Fourth Day of July (Reprise) After so thoroughly enjoying the Washington Squares first album, I was really looking forward to hearing _Fair And Square_. My initial reaction was disappointment. Whether from expectations that were too high or not, I can't say. Over the last couple of months I've given this disc a chance to breathe and grow on me. It has. There are some excellent moments on _Fair And Square_, but it doesn't come close to matching the spirit of their first album. I really like Lauren Agnelli's "Charcoal" and the cover of Leonard Cohen's "Everybody Knows" is a good opening track. I've seen some negative print concerning "Neal Cassady", but this is also a track that I find quite likeable. In all, not a bad album, but not up to the standard set on their first release. Maybe if they can get Mitch Easter (producer of their debut) back to produce their next album... ======================================================================== O.F.R. Nitro Freight Train Producers: Michael Angelo, Jim T Double Trouble Gillette R Machine Gunn Eddie Engineer: Charlie Watts A Long Way From Home Rhino/Rampage R2 70894 C Bring it Down Released: 1989 K Nasty Reputation Total Time: 41:03 S Fighting Mad Source - CD Shot Heard 'Round the World O.F.R. Rating - *** It's a good thing I popped this disc into my player before looking at the band photos in the CD booklet! Nitro have to be one of the worst looking (mind you, I didn't say ugly) aggregations of hair and leather that I've seen! It is fortunate that one can fold up the booklet and let the tunes crank, though. _O.F.R._ is a guitar driven speed metal extravaganza that will get your blood moving and then set it on fire. Only on "Long Way From Home" do they slow things down to any sort of 'normal' pace. Some of the solos seem a bit gratuitous ("Machine Gunn Eddie", "O.F.R."), but they still blaze! After a few listens they even begin to make a little sense within the context of the songs. In the liner notes it is suggested that this disc be played at maximum volume: if it doesn't rip the flesh off your face, it ain't loud enough! Though I can't say that I've cranked it up THAT loud yet, I can say that the only way to listen to this is cranked way up. Great stuff to play in your car if you want to drive 150 miles an hour! Also great if you want to drive your parents or grandparents (and any dogs within hearing range) out of town! The best way to describe Jim Gillette's vocals is to envision Queen's title cut from the Flash Gordon Soundtrack and speed it up by a factor of 2 or 3. Scream, screech and howl are words that really don't apply to Gillette's voice and delivery, so there really aren't words that can adequately describe it. You'll just have to hear it to believe it. From the liner notes: "There were absolutely no harmonizers, pitch transposers, samplers, or VSOing used anywhere on this album. No tricks, No bullshit, just *BADBOY MOTHERFUCKIN' BALLS!*" Jim Gillette's vocals will make you wonder about this last statement, but this disc reminds me of Gene Wilder's line in the movie _Stir Crazy_ where he says "I've only got one speed... Balls Out!" ======================================================================== Cloudland Breath Pere Ubu Race the Sun Producer: Stephen Hague & Paul Cry Hamann Why Go it Alone? Engineer: Dave Meegan & Paul T Waiting For Mary Hamann R Ice Cream Truck Fontana 838 237-1 A Bus Called Happiness Released: 1989 C Love Love Love Total Time: 41:54 K Lost Nation Road Source - LP S Nevada Flat The Waltz Rating - **** Pushin' Monday Night _Cloudland_ is Pere Ubu's second release since reforming in '87-'88 after a six year hiatus. Longtime fans will find a very different 'feel' on _Cloudland_. It is very much a pop-oriented album, though it manages to stay away from the pitfalls and cliches that make a lot of pop music sound bland and overworked. Which is what one might expect in a pop album from this 'Avant-Garage' collection of personalities. Two of the best tracks on this LP (they're all good!), "Why Go it Alone?" and "Waiting For Mary", are featured back to back. "Why Go it Alone" has an ethereal backing that offsets David Thomas' vocals in a weird, but effective way. "Waiting For Mary" has an oppressive chorus for an otherwise bouncy (bouncy is the wrong word, but it'll have to do) tune that is both catchy and ominous. To borrow a current slang phrase (at least in these parts) _Cloudland_ is a way cool album. For someone like me, who's been familiar with Pere Ubu for a while, but hasn't been able to track down a lot of their albums, _Cloudland_ whets my appetite for more. You can bet I'll be searching a little more diligently for Pere Ubu albums the next time I go record hunting. ======================================================================== Kook-A-Luk-A-Mok Louise in Paris Louise In Paris Bar Baby Doug Orton John DeLorean Producer: Doug Orton T Bad to Worse Engineer: Dave Bryson R When Gene Pool DO28 A The Matador's Sigh Released: 1989 C After the Film Total Time: N/A K Sexual Frustration Source - LP S Free Barabbas Death in the House Satire Little Appendage Bye Rating - ****-1/2 The obvious immediate comparison one can make upon first hearing Doug Orton's _Louise In Paris_ would be with They Might Be Giants. Doug has featured the accordion of Bill Hensley in many of these songs. TMBG also feature the accordion prominently in their music. But where TMBG's music is wacky and electric, Doug Orton's melds traditional acoustic instruments and sounds into a fitting background for his cynical/satirical songs. Orton is backed by a number of notable members of the Indie music scene. David Immergluck (Ophelias, Monks of Doom), Leslie Medford (Ophelias), Eden Unger (Legal Reins), Dave Bryson (Mr. Dog) and Jon Marc Dunn (Mood Swing) all lend a hand. Though not strictly a rock record, _Louise In Paris_ refuses to be classified in any other way. The acoustic backdrop could lead one to call this folk music. The sinister, yet upbeat feel of several of the tracks takes _Louise In Paris_ out of the realm of traditional folk music. _Louise In Paris_ is one of the best things to spend time on my turntable recently. It's obvious that Doug Orton has a demented imagination. Only a person with such an imagination could make songs like "Kook-A-Luk-A-Mok" (an anti-Fascist song, sung from the perspective of the Fascist), "Louise In Paris", "John DeLorean", "The Matador's Sigh" (about two gays trying to get across the border), "Free Barabbas" (an evangelistic satire), "After the Film" (a song that asks the political question 'what will be the apolitical role?') and two songs on the topic of sex ("Sexual Frustration" and "Little Appendage") work together on one piece of vinyl. Indeed, Jerome Wilson wrote in the Sept/Oct 1988 issue of Option that "if I met this guy in a bar, I'd slowly ease away from him and his crazed ravings...". I'm willing to bet that Doug Orton is, for the most part, a regular guy. His music is another thing. And for that we can all be glad. _Louise In Paris_ may well be the product of a demented imagination, but that may be what it takes to make something original work in this day and age of drum machines and bottom-line ($), production line hitmakers. _Louise In Paris_ is fresh and inspired. ======================================================================== Believe It! Texas Flyer Joanna Connor He's Mine Producers: Joanna Connor, Jerry T Doctor Feelgood Del Giudice and R I'm Satisfied Michael Rasfeld A When You're Being Nice Engineer: Michael Rasfeld C Pack it Up Blind Pig BP 3289 K Everybody I Know Released: 1989 S Playing in the Dirt Total Time: 39:25 Soul's On Fire Source - LP Somebody's On Your Case Good Rockin' Daddy Rating - **** Over the next decade or so you can expect Joanna Connor to weave some new patterns into the fabric of the blues. Indeed, she's already a five year veteran of the Chicago blues scene. In October of 1984, at the age of 22, she got off a Greyhound bus and Chicago took notice. Her distinctive vocals and electrifying guitar style earned her some gigs with Johnny Littlejohn's combo and later with Dion Payton's 43rd Street Blues Band. In the autumn of 1987 Joanna was ready to form her own band, which she did while also touring with tenor saxman A.C. Reid. Her band became a full-time priority a few months later. One result of this full-time band is Joanna's debut album _Believe It!_. With a style distinctly her own, Joanna's album is one of the best recent blues releases I've heard. As comparisons are inevitable to Robert Cray's recent recordings, I'll mention that the best three word description of Joanna would be to call her a 'female Robert Cray'. But that might leave a mistaken impression. Like Cray, Joanna has taken the roots of the blues and turned them into an original sound for the 80s. Joanna's music does not imitate Cray, though, which is all the more obvious if you check out Joanna's cover of Cray's "Playin' in the Dirt". Two of the tunes on _Believe It!_ are Joanna's originals ("He's Mine" & "When You're Being Nice"). _Believe It!_ is a fine debut album from a performer who should be around for years to come. I'm looking forward to hearing more from Joanna. ======================================================================== Jack Smith & The Rockabilly Planet Blind Infatuation Jack Smith & The Rockabilly Planet Back Seat Lovin' Producer: Mary Smith T Hillbilly Girl in High Heels Engineer: Phil Greene R Honky Tonk Baby Flying Fish FF510 A River Diner Released: 1989 C Rockabilly on the Radio Total Time: 38:31 K Can't Get Over You Source - LP S Bayou Blues Evil Woman Rating - **** So Sad Swamp Surfin' Jack Smith and the Rockabilly Planet have roots that take in nutrients from the original rockabilly of the 1950s. Their songs are straightforward and uncluttered. It's very easy to picture these guys comfortably entrenched onstage at a small, filled venue with a crowd stomping, dancing and singing along. Songs like "Back Seat Lovin'", "Hillbilly Girl in High Heels" and "Honky Tonk Baby" might sound like stereotypical rockabilly song titles, but Jack Smith & crew manage to make these tunes sound true to their roots without becoming a stereotype or pale imitation. A quick glance at the back cover of the LP shows that Jack Smith and the Rockabilly Planet have been around for some time (at least 10 years). They are largely unknown, but with this excellent Flying Fish release, there is hope that that will change. If you like rockabilly at all, this album is a must. If you're looking for something old that's really new (or new but really old?), then give this album a spin. ======================================================================== Ashland Breakdown Step Stone Step Stone Walt Michael & Company Mary Queen of Scots, Final Producer: David Essig T March/Down the Brae Engineer: Bob Doidge R Long Roads Flying Fish FF480 A George Brabazon, Second Released: 1989 C Air/Charles O'Conor Total Time: 44:24 K Goodnight-Loving Trail Source - LP S Chinqui Pin Hunting/Rock the Cradle Joe Laura Jean/Cotton-Eyed Joe Reprise Montreal Reel/Bay of Fundy Rating - **** Shenandoah Dubuque/Pretty Little Indian Sing the Angels Way One listen to _Step Stone_ will tell you why Walt Michael & Company deserve their reputation of being one of the most sought after groups performing traditional musics today. With a nice mixture of traditional tunes, covers and two John Kirk originals, Walt Michael & Company both entertain and amaze. Variety, both instrumentally and stylistically, is strength on _Step Stone_. Their style includes bits of American country and folk music (Laura Jean/Cotton-Eyed Joe", "Shenandoah") and also draws from Irish, British and Scottish traditional music. Walt Michael's and John Kirk's vocals sound like a mingling of Willie Nelson and Dan Fogelberg. The twelve tracks here alternately are accompanied with vocals, with Kirk handling the lead vocals on four of those six tunes. Instrumentally and vocally, each member performs a variety of tasks, with John Kirk and Walt Michael as veritable jacks of all trades. Frank Orsini and Mark Murphy contribute fiddle & viola playing and bass & cello respectively. Both Orsini and Murphy sing bass an baritone vocals. ======================================================================== Tuba City Gopher Rodeo Bim Skala Bim Bangin' Producer: Bim Skala Bim w/ Bill On the Edge of a Knife Taylor T Shoes Engineer: Not Credited R Native Skaloid SKL 8003 A Groucho Go Ska Released: 1989 C Fathead Total Time: N/A K Hung Up Source - LP S Things You Do Let Me in Fred Rating - ***-1/2 Vin's Latin Ska Sunshine of Your Love There's a punk edge to _Tuba City_ that's evident from the start ("Gopher Rodeo" and "Bangin'"). It's more the attitude and subject matter ("Bangin' often mentions banging heads) than the actual sound that gives _Tuba City_ this feel. Indeed, with the pace they set on songs like "Shoes", "Bangin'" and "Gopher Rodeo" a lot of these tunes are more conducive to slam dancing than other forms of moving on the dance floor. To say that Bim Skala Bim have varied influences would be an understatement at least. Their energy and punk/ska/reggae tunes remind me a little of Bad Brains, though Bim leans a little more towards pop than the hardcore of the Bad Brains. They do some fairly straight reggae on "Native", a slow, cool tune. Their version of "Sunshine of Your Love" comes off quite well. Guess it's time for a reggae/ska band to cover a Clapton (Cream) tune rather than the other way 'round (Marley's "I Shot the Sheriff"). Bim Skala Bim also borrow some jazz influences. Some of the jazzier cuts here remind me a little of early Chicago tunes. This is also true for the some of the tunes on the Toasters album (also reviewed in this issue). If your local record store can't locate a copy of either the Bim Skala Bim or Toasters albums, write to Celluloid Records, 330 Hudson Street, New York, New York 10013. ======================================================================== Thrill Me Up Go Girl The Toasters Don't Blame Me Producer: Not Credited T Haitian Frustration Engineer: Not Credited R Decision At Midnight Skaloid SKL 8001 A Frankenska Released: 1989 C Thrill Me Up Total Time: N/A K Ska Killers Source - LP S Johnny Go Ska Keep On Going Rating - ***-1/2 Rhapsody in Bluebeat It's really difficult to pin down exactly what type of group the Toasters are. Ska is descriptive, but it's an all enveloping term that, in the end, only vaguely describes the Toasters' music. Their tunes range from the horn-filled jazz/dance/funk of "Don't Blame Me" to the out and out reggae of "Haitian Frustration". There's also a touch of what I call the 'Brit-pop sound' found on "Decision At Midnight". With group founder Rob Hingley coming to New York from London, I guess this isn't really a surprise. Some other tracks that should heat up your insides are the title track, "Frankenska" and "Ska Killers". There's a sense of urgency and immediacy on this record, especially on "Johnny Go Ska", which is heavily based on "Johnny B. Goode". In all, a lot of good, clean, ska fun here. Judging solely from this LP, the Toasters sound like a great band to catch live in a small to medium sized venue. ======================================================================== Love Warriors Love Warriors Tuck & Patti Honey Pie Producer: Patti Cathcart T They Can't Take That Away From Me Engineer: Tuck Andress R Hold Out, Hold Up and Hold On Windham Hill Jazz WH-0116 A Cantador (Like a Lover) Released: 1989 C On a Clear Day Total Time: 46:41 K Europa Source - LP S Castles Made of Sand/Little Wing Glory Glory Rating - **** If it's Magic There's not much I can say about _Love Warriors_ that I didn't say about Tuck & Patti's earlier Windham Hill Jazz release _Tears Of Joy_ (reviewed in issue #8, May, 1988 - ed.). Patti Cathcart's voice can make almost any song sound good. Tuck's guitar backing is inventive and at times adventurous. The duo perform a wide spectrum of covers on _Love Warriors_ including Hendrix' "Castles Made of Sand/Little Wing", Stevie Wonder's "If It's Magic", Lennon/McCartney's "Honey Pie", Burton Lane and Alan Lerner's "On A Clear Day" and an instrumental cover of Carlos Santana and Tom Coster's "Europa". As on the first album, _Love Warriors_ was recorded live in the studio with no overdubs. _Love Warriors_ is an excellent second effort from this duo that lives up to, but doesn't quite match the overall excellence of _Tears Of Joy_. If you've only heard tracks from _Love Warriors_, by all means also check out _Tears Of Joy_! ======================================================================== Bits and Pieces - Mini/Capsule reviews -------------------------------------- Take A Flock Of Seagulls and Tears For Fears. Twist them together and then rotate 90 degrees. Stick what you get in front of a funhouse mirror. What you see in the mirror will be Common Ailments Of Maturity. Knowing that Common Ailments Of Maturity were at one time members of a popular St. Louis cover band that featured A Flock Of Seagulls and Tears For Fears tunes is a definite plus in hearing these influences in their original music. Their original music is just that, original, but one can find echoes of their past if one knows to look. Common Ailments Of Maturity's _Smoldering Lunchbox_ is aptly titled. There are points on the album where CAM might be trying to smother a smoldering lunchbox with, oh, say a sledge hammer. Their combination of noise - fuzz guitar, synths and drums - shreds your listening environment while feeling strangely comfortable. "Carpetbag", "Mental Block", "Stake" and "Drop Dead" are the best tracks on this intriguing LP. Common Ailments Of Maturity moved to Boston in 1986 after scouting around to find a city that was receptive to the eclectic musical ideas they wanted to pursue. Unfortunately, their music doesn't fit neatly in the established world - popular or underground - their early days in Boston were lean, though they seem to have taken root, if not blossomed, in the hub city. Common Ailments Of Maturity have released an EP in addition to the _Smoldering Lunchbox_ LP. They've also appeared on some Boston band compilation albums which have featured Throwing Muses and Big Dipper - both of whom experienced a surge in popularity after appearing on a compilation with CAM. The future of Common Ailments Of Maturity is uncertain. Synthesist Dennis Plinn was supposed to take a break from music in 1989. This would leave just drummer Lawrence Dersch and guitarist/vocalist Timothy Ratdiet. It will be interesting to see what they do next. For more information about _Smoldering Lunchbox_ or Common Ailments Of Maturity write to: Extremely High Quality Records, P.O. Box 51, Boston, MA 02141. In the reissue business timing is often an important factor in how well a new reissue will sell. The timing factor for the reissue of _Tommy_ (Rhino CD R2 71113, Time - 70:53, AAD), as performed by the London Symphony Orchestra & Chambre Choir with guest soloists, couldn't be much better. The Who (Daltrey, Townshend and Entwistle are among the guest soloists) have been a high profile band again since early in the year. The renewed interest in the Who and their performances of the rock opera _Tommy_ in New York and Los Angeles give this version of _Tommy_ a little boost. Other artists featured in guest roles are Ringo Starr, Steve Winwood, Richie Havens, Sandy Denny, Rod Stewart, Graham Bell, Maggie Bell, Merry Clayton and Richard Harris. This 1972 recording could easily spark numerous discussions of which _Tommy_ recording is better, but it's really like comparing apples to oranges. Though the Who's rock opera and this London Symphony Orchestra recording feature the same material, the two treatments are very different. The recording is quite excellent with very little hiss evident. I enjoy both versions and find that they can peacefully coexist in my collection. Rhino has reissued _Tommy_ in all three formats. This recording should have a broad appeal and advantage should be taken of its re- availability. Prior to its reissue I'd only seen two (both looking old and beat up) copies of this on vinyl. GAIA Records has gone out of business. This may not mean much to a lot of people, but it means that those of us who have been waiting for the new Tiny Lights album to be released will have to wait even longer. Tiny Lights are shopping the album around for another deal. In other record deal news, The Silos were expected to sign a major label deal sometime in August. The last I knew was that they were entertaining several offers, sifting through them to pick the best. Look for an album in early 1990. If the album turns out half as well as the six track pre-release cassette that I've heard, it's gonna be a killer! The Enigma and Restless labels have begun phasing out vinyl, issuing new titles only on compact disc and cassette. I can certainly understand this as a business decision, but it hurts those of us who dislike pre-recorded cassettes and are willing to take a chance on a vinyl recording for $5-7 (or less), but are unwilling to risk $12-15 on the same title on CD. I'm sure there will always be some labels issuing vinyl, but this trend is not encouraging for those of us who still think there's a place for vinyl as a recording media. Hank Crawford's latest album (_Night Beat_, Milestone LP M-9168, Time - 39:50) opens with a funky cover of an Isley Brothers tune ("For the Love of You"). The presence of Dr. John's New Orleans funk piano/organ is immediately felt. This cut integrates Crawford's alto sax, Dr. John's keyboards and Melvin Sparks guitar into a funky, jazzy eight minute romp. The album changes tempos throughout, slowing to a comparative crawl with Mac Rebennack's original "Mobile Bay" and on "What a Wonderful World". Charlie Parker's "K.C. Blues" can get your feet movin' and toes tappin'. Crawford's background is impeccable. He cut his chops playing with Ike Turner in Memphis as well as backing artists like Ruth Brown, Bobby Bland, B.B. King and others when they played Memphis. He went on to become a mainstay of Ray Charles' late fifties band (and musical director, as well). _Night Beat_ is Crawford's fourth collaboration with Dr. John (aka Mac Rebennack). _Midnight Ramble_ (M-9112) and _Indigo Blue_ (M-9119) are also available on Milestone Records. The most interesting things about the Todd Rundgren and Utopia Anthology CDs are not necessarily the music/songs. Each title, the Todd Rundgren is a two disc set - the Utopia is one disc, contains very informative liner notes (by Bud Scoppa) and discographies. Song lyrics are also enclosed. The care in assembling these anthologies should not go unnoticed. Both Rhino and Todd Rundgren should be praised for their efforts. Rundgren himself supervised the production of his solo anthology and also assisted with the Utopia anthology. The music on each anthology includes a nice helping of hit songs that even a casual listener ought to be familiar with. The solo anthology contains the near-classics "We Gotta Get You a Woman", "Hello It's Me", "I Saw the Light", "Can We Still Be Friends" and "Bang the Drum All Day". The Utopia anthology spans mostly the *band*'s more mainstream efforts including "Love in Action" and "Love is the Answer". Each anthology is available in all three formats (Rundgren - _Anthology (1968-1985)_, Rhino R2 71491, two CDs, Time - 96:41, Utopia - _Anthology (1974-1985)_, Rhino R2 70892, 1 CD, Time - 64:18) and the compact disc versions contain extra tracks, 4 extras on each title. With the exception of collecting all of the Rundgren/Nazz/Utopia albums, these sets serve (and were designed to serve) as a definitive body of Rundgren/Utopia works. They accomplish this task using just over 2-1/2 hours worth of material. If you're a hardcore Todd fan, you might complain that there's not enough material here from the more eccentric Rundgren recordings. This is a valid point in that, while not skimping on the two-disc set, there is still plenty of room to fit more tunes. The extra songs on the Utopia disc make it a very nice hour+ disc. John Prine's Oh Boy Records has obtained the rights to reissue Prine's three Asylum albums on Compact Disc, making them available for the first time ever on Compact Disc. The first of these CD-only issues, _Bruised Orange_, is available now at most retail outlets or by mail order for $15.00 (+$2.00 S&H for 1st item, 50[ each additional item) from Oh Boy Records, P.O. Box 36099, Los Angeles, California 90036-0099. _Bruised Orange_ contains some classic Prine tracks, including "Fish and Whistle", "That's the Way the World Goes 'Round", "Bruised Orange (Chain of Sorrow)" and "Aw Heck". The sound on _Bruised Orange_ is quite excellent. The CD booklet, while not lavish, does contain song lyrics and credits, which a lot of reissues tend to overlook. The only negative about this disc is its length. At 32:47 it's a bit on the short side. Since receiving this just about a week ago, this disc has spent a significant amount of time in my player. It's short, but the music is worth every penny. Prine's latest regular release on Oh Boy, a live album, is a double album set that fits onto one compact disc. If you like Prine and want a little bit more for your CD dollar, check out his live release. It contains 19 tracks and at least four of the songs that are available on _Bruised Orange_. It's also available at the address above. Dinosaur Jr. have released a 3 song 12" 45 on SST that features a kick-ass cover of the Cure's "Just Like Heaven". Dinosaur Jr. takes the song and reworks it with some grungy guitar and some vocal muscle. If you're a Cure fan you probably won't like what they've done, but I think it blows the doors off the Cure's version! All three of the tracks are on one side of this 12". Side two is used for some vinyl artwork - raised pictures of various body organs (the brain, the lungs, intestines, a tooth and others). There's also a box of Rice Krisp pictured. If there's some significance to that, I'm sure not clued in... It's still an awfully cool thing to do with side of vinyl that isn't used for music. Some other news of note: Laura Nyro has released a double live album (_Laura Nyro Live At The Bottom Line_, YL6430) on Cypress Records. The recording is taken from her summer, 1988 tour, her first concert tour in 10 years. Haven't had a chance to spin the whole thing yet, but what I've heard sounds quite good. Gold Castle has two recent releases that are worthy of note if only for their points of origin. Vasily Shumov's _My District_ and Kino's _Groupa Kroovy_ are among the few recent Russian albums to be released in the states. These releases are notable as much for the undercurrent of the political clime as they are for their music. Both of these releases will take some time to grow on one, mainly because their lyrics (with translations provided in the liner notes) are mostly Russian. My ears certainly aren't used to Russian... The music on each of these releases is enjoyable and there's a ponderous, gloomy feel to several of the tracks on each release. Sandra Bernhard has released a recording of her Broadway show (_Without You I'm Nothing_, Enigma 73369) that comes off as a little shallow on record. Her forte, from the times I've seen her in various television performances, is in the ludicrous and silly, and the spontaneous idiocy/inspiration that make her appearances on Late Night w/ David Letterman so much fun to watch. This recording feels too planned. She does prove that she *can* sing, though. Maybe she'll make a rock record sometime and give Madonna a run for her money! ======================================================================== Elton John Concert Review (originally run in the August 4th edition of the Bangor Daily News) As promised the costumes were subdued (very much so for Elton John!)... John appeared in a light purple, very ordinary suit. His band were largely dressed in black. The gray and black stage set looked sharp, while staying away from the flash of previous tours. Elton John's U.S. leg of his world tour is now almost a week old. On Tuesday and Wednesday, Aug. 1st & 2nd, he played two sold out shows at Great Woods in Mansfield, MA (45 minutes south of Boston). His current show features a good mix of the new and the old. He opened his Wednesday night show with four well known tunes (Benny & the Jets, Island Girl, Harmony and Tiny Dancer) before playing the title song from his upcoming album. _Sleeping With The Past_ is due out in mid-late August. John's show featured four tunes from _Sleeping With The Past_ including the rocking "Healing Hands" (to be released as the first single) and the ballad "Sacrifice", which could be his best collaboration with lyricist Bernie Taupin in years. Taupin, John said, was somewhere in the crowd on Wednesday night. The sold out crowd of 15,000 was enthusiastic throughout the 2-1/2 hour show. After a polite response to the first new song everyone was on their feet dancing to "The Bitch is Back" which John segued into the Stones' "Brown Sugar". After mixing up the rockers and the slower paced songs for the first part of the show, John sang five slow songs (Sorry Seems to Be the Hardest Word, Daniel, Candle in the Wind, Sacrifice and Blue Eyes) accompanying himself on electric piano, with the crowd singing along on all but the new song "Sacrifice". The new tunes weren't the only thing new about John's show. His band features a new drummer and a new bassist to go along with longtime members Fred Mandel (keys and guitar) and Davey Johnstone (guitar). Three female backing vocalists, whose soulful call and response with John highlighted the introduction to a rocking "Sad Songs (Say So Much)", are also a recent addition to John's touring band. Conspicuously absent was John's concert grand piano, which was replaced by a Roland electric piano. This allowed him to face the crowd at center stage, which he could not do with the concert grand. It also allowed him to be more intimate with the crowd (if intimacy can be obtained with 15,000 screaming fans). After John's solo break the band came back on stage and rocked the house down for the rest of the night. Even the slower songs "Come Down in Time" and "Don't Let the Sun Go Down On Me" were infused with energy. The show closed with two encores, finally ending with an extended version of "Rocket Man" in which John had the entire crowd involved singing/shouting. The stage lights stayed with the crowd hoping for more. The arena lights came on though, signifying that John had given his all for another night. John played 27 songs spanning 20 years, from 1970's _Tumbleweed Connection_ to his upcoming release _Sleeping With The Past_. This tour and new album are said to be another step in John's comeback. To the 15,000 fans at Great Woods, you couldn't prove that John had ever been gone long enough to need to come back. ======================================================================== CONCERT WATCH ***NOTE*** All information concerning concert dates is subject to change without notice. The Call will be on the road throughout September on the east coast. They can be seen at the Flood Zone (Richmond, Va - 9/6), the Bayou (Washington, DC - 9/7), the Berklee Performance Center (Boston, MA - 9/9), Pearl Street (Northampton, MA - 9/11), the Living Room (Providence, RI - 9/12), Toad's Place (New Haven, CT - 9/14), the Ritz (New York City - 9/15), Airport Music Hall (Allentown, PA - 9/16), Breedings (Lexington, KY - 9/19), Phoenix Hill Tavern (Louisville, KY - 9/20), Kent State University (Kent, OH - 9/28) and West Virginia University (Morgantown, WV - 10/2). Caterwaul will be performing at the I-Beam in San Francisco on 9/13, the Cactus Club in San Jose, CA on 9/15, Bogarts in Long Beach, CA on 9/22 and Cal Poly St. University in Pomona, CA on 10/5. David Lanz will be touring Japan in November. Tentative dates are 11/12 thru 11/18. Prior to going to Japan he will be performing at the Russian River Fest. in San Francisco on 9/10 and at the Spokane Convention Center in Spokane, WA on 9/30. Elton John will be performing shows throughout September and October. He'll be at the Riverbend Music Center in Cincinnati, OH on 9/12 and 9/13, Starwood Amph. in Nashville, TN on 9/15, Lakewood Amph. in Atlanta, GA on 9/16 and 9/17, the Civic Arean in Pittsburgh, PA on 9/19, the Charlotte Coliseum in Charlotte, NC on 9/22, the Dean Smith Center in Chapel Hill, NC on 9/23, the Montreal Forum in Montreal, Quebec on 9/25 and 9/26, the Toronto Skydome on 9/27, the Spectrum in Philadelphia, PA on 9/29 and 9/30, Madison Square Garden in New York City on 10/3, 10/4, 10/6 and 10/7, the Sun Dome in Tampa, FL on 10/10, the Leon Co. Civic Center in Tallahassee, FL on 10/11, the Miami Arena on 10/13 and 10/14, the Orlando Centroplex in Orlando, FL on 10/15, Capital Centre in Landover, MD on 10/18, the Coliseum in New Haven, CT on 10/20 and the Centrum in Worcester, MA on 10/21 and 10/22. Fine Young Cannibals can be seen with Neneh Cherry throughout September. They'll be at the Fox Theatre in Detroit, MI on 9/8, Blossom Music Center in Cuyahoga Falls, OH on 9/9, the Aragon Ballroom in Chicago on 9/10, the Beacon Theatre in New York City on 9/12 and 9/13, the Garden State Arts Center in Holmdel, NJ on 9/15, Lake Compounce in Bristol, CT on 9/16, Jones Beach Theatre in Wantagh, NY on 9/17, Great Woods in Mansfield, MA on 9/19, Montreal Forum, Montreal, Quebec on 9/21, Kingswood Music Theatre in Toronto, Ontario on 9/22, Mann Music Center in Philadelphia, PA on 9/24, Constitution Hall in Washington, DC on 9/26, Cameron Indoor Stadium in Durham, NC on 9.27, the Civic Center in Atlanta, GA on 9/28, the Starplex Amph. in Dallas, TX on 10/1, Gammage Auditorium in Phoenix, AZ on 10/3, Starlight Bowl in San Diego, CA on 10/4, Irvine Meadows in Laguna Hills, CA on 10/6, Universal Amph. in Universal City, CA on 10/7 and 10/8, Cal Expo Amph. in Sacramento on 10/12 and the Shoreline Amph. in Mountain View, CA on 10/13. Meatloaf's act can be caught at Parker's in Seattle, WA on 9/6, Starry Nights in Portland, OR on 9/7, the Cabaret Club in San Jose, CA on 9/9 the Roxy in Los Angeles on 9/11, Iguanas in Tijuana, Mexico on 9/13, Paradise Alley in Las Vegas on 9/14, Taste of the WestEnd in Dallas, TX on 9/16, Sneakers in Austin, TX on 9/17, Rockefeller's in Houston, TX on 9/19, Tipitina's in New Orleans on 9/20, The Moon in Tallahassee, FL on 9/22, Sharkey's in Panama City, FL on 9/23, Kahootz in Ocala, FL on 9/25, Brassy's in Cocoa Beach, FL on 9/26, Papa's in Jacksonville, FL on 9/27, Carefree Theatre in W. Palm Beach, FL on 9/29 and Summers in Ft. Lauderdale, FL on 9/30. Michael Brecker has some dates scheduled for November. He can be seen at Lawrence University in Appleton, WI on 11/11, Stockton St. University in Pomona, NJ on 11/17, Philadelphia, PA on 11/18 and Harrisburg, PA on 11/19. Tom Petty & the Heartbreakers can be seen at Great Woods in Mansfield, MA on 9/8, Memorial Auditorium in Rochester, NY on 9/9, Ohio Center in Columbus, OH on 9/10, Coliseum in Hampton, VA on 9/12 and the Dean Smith Center in Chapel Hill, NC on 9/13. The Swans can be seen at the Cat's Cradle in Chapel Hill, NC on 9/15, Club 1313 in Charlotte, NC on 9/17, the Uptown Lounge in Athens, GA on 9/19, the Cotton Club in Atlanta, GA on 9/20, Einstein a Go-Go in Jacksonville, FL on 9/21, the Masquerade Club in Tampa, FL on 9/22, The Kitchen Club in Miami Beach on 9/23, Tipitina's in New Orleans on 9/25, Fitzgerald's in Houston, TX on 9/26, Liberty Lunch in Austin, TX on 9/27, Club Clearview in Dallas, TX on 9/28, The Palace in Hollywood, CA on 10/4, the I-Beam in San Francisco on 10/5, One Step Beyond in Santa Clara on 10/6, Berkeley Square in Berkeley, CA on 10/7, Pine Street Theatre in Portland, OR on 10/9, University of Washington in Seattle, WA on 10/10, the Town Pump in Vancouver, BC on 10/11, the Speedway Club in Salt Lake City, UT on 10/14 and the Garage in Denver, CO on 10/16. ========================================================================