Volume - III Issue - II March/April 1990 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 1990 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) Equal Scary People - Sarah Hickman 2) Dig - Rob Mounsey & Flying Monkey Orchestra 3) Emotional Velocity - Craig Peyton & Ben Verdery * By Mike Dow * 4) By Heart - Weary Hearts * By Mike Dow * Record Reviews 1) The Silos 2) Intolerance - Grant Hart 3) Procedure - Blackgirls 4) March - Lene Lovich * By Rob Woiccak * 5) Hanna's Amorphous Hat - Nikki Meets The Hibachi 6) Dime Store Dream - The Magnolias 7) A Blues For Buddha - The Silencers * By Rob Woiccak * 8) Scar - Lush * By Rob Woiccak * 9) Under Towers - Arson Garden * By Rob Woiccak * 10) Flat Duo Jets * By Rob Woiccak * 11) Resin Cabin - The Singing Spoons 12) The Caution Horses - Cowboy Junkies 13) Indian Warrior - Havana Black 14) The Havalinas * By Rob Woiccak * 15) West Textures - Robert Earl Keen, Jr. 16) Blue Earth - The Jayhawks Bits and Pieces - mini/capsule reviews, news of: Eddy Grant, Pandoras, Tom Dreesen, New Releases, Guttersluts, Wallmen, Cathy Fink and Marcy Marxer, Gargoyles, Chet McCracken, Anne Howard Maxwell, Alannah Myles, Wendy MaHarry, Mrs. Robinson's Daughter, CD/LP availability update. New and Recent Release Information Concert Watch ======================================================================== EDITORIAL Welcome to the eighteenth issue of Network AUDIO BITS & Software Review! I'd like to start off by welcoming two new contributors to N-Audio Bits. Rob Woiccak has contributed several reviews to this issue and Andy Hong has contributed a short piece concerning CD/LP availability. Also, Mike Dow is back with a couple of reviews. Now, on to more serious matters. Normally I don't say a whole heck of a lot in this editorial space. I'm about to make a small exception. I don't know how many of you are/were aware of what was going on in Alabama over the course of the last 'n' months. Alabama record retailer Tommy Hammond was arrested in June of 1988 after selling a cassette of 2 Live Crew's _Move Somethin'_ to a police officer. Hammond was later found guilty of selling obscene materials and fined $500. Hammond appealed the decision and was cleared by an Alabama jury. This decision and its timing can only help in the battle against the censorship bills that many conservatives have brought before state legislatures. I know that I don't want some government entity telling me what I can and can't listen to or whether I can buy a certain title because I'm not over 18 (I am, but that's not the point). Much of the music that these people object to comes from areas and backgrounds that they can't comprehend. They see it as obscene, but they don't understand it - in part because they see only what they want to see and not the artistic merit of the work. There are many different worlds and viewpoints out there, even within very small geographical areas. Don't squelch their creativity by limiting their mode of expression! The laws of supply and demand will eventually weed out all the detritus and true crap. Ok. Off the soapbox... As always, I feel like there's so much more that I could/should include in this issue, but there are only so many hours in the day and days in the week. So, here's issue number 18. Hope you enjoy it and find the contents entertaining and useful. 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! ======================================================================== Equal Scary People Simply Sarah Hickman Last Night Was a Big Rain Producer: S. Hickman & Carl Finch T 500X (The Train Song) Engineer: Terry Slemmons R Song For My Father Elektra 60903-2 A Equal Scary People Released: 1989 C This is a Man's World Total Time: 39:08 K Meant to Be Source - CD (AAD) S Why Don't You I Wish I Were a Princess Rating - **** Under the Sycamore Tree I haven't been able to get this disc out of my player since it arrived a few weeks ago. This album was originally released on Four Dots Records and piled up local (Dallas, Texas) awards and recognition. It is to Elektra's credit that, upon signing Hickman, they chose to release _Equal Scary People_ on a national scale. In her mid-twenties, Hickman was born in Jacksonville, North Carolina and grew up in Houston, Texas. She attended college in Denton, Texas as a fine arts student. While there, she would do anything that came into her mind to get an audience's attention, from performing in a Halloween costume to "dueting" with Bing Crosby (actually just one of Bing's albums, with Sarah interacting with Bing's album cover). This sort of ingenuity and craziness lie just under the surface most of the songs on _Equal Scary People_. The Dallas Morning News described _Equal Scary People_ as "_Court And Spark_ in a good mood" - an apt description. Hickman's voice and attitude remind one a little of Christine Lavin, though her songs are generally more oblique than Lavin's - though no less wonderful. Hickman can probably be compared with almost any of the female folk/pop/rockers that have gained the world's attention over the past few years (Suzanne Vega, Tracy Chapman, Michelle Shocked, Indigo Girls, etc.). She fits right in with this diverse crowd, being like - yet so unlike - each of them. Sarah Hickman's individuality, intelligence and wit shine on _Equal Scary People_. Highly recommended! ======================================================================== 3 Moons Dig Green Feathers Rob Mounsey & Flying Monkey Orch. Mr. Graffito Producer: Rob Mounsey T Interlude: Dalmatia Engineer: Richard Alderson R We Swam the Blue Water Sona Gaia ND-62761 A Smoky Ridge Released: 1989 C Sway Way Back Total Time: 45:38 K Airships Source - CD Digital S Take the Pink Bus Interlude: Black Pearl Rating - ****-1/2 Codex Marine 3 Moons Again Gratitude Unless you've been living in a box, you're probably familiar with Rob Mounsey's work. Chances are that you're not familiar with his name, though. As a performer (principally on keyboards) and arranger, Mounsey has worked with Steely Dan ("Gaucho"), Donald Fagen ("The Nightfly") and Paul Simon ("Graceland"). Other credits include producing albums for Aztec Camera ("Love"), Bill Gable ("There Were Signs") and Michael Franks ("The Camera Never Lies", "Skin Dive", "Passionfruit"), arranging Madonna's 'Crazy For You' and Diana Ross' 'Why Do Fools Fall in Love', both number one hits, and performing on piano and synthesisers on Phil Collins' 'Against All Odds'. There's a funky, in-yer-face aggressiveness to many of the tracks on _Dig_ - that might sound out of place described as such, but believe me, there's nothing out of place here. _Dig_ doesn't fit neatly into any category. I can tell you what it's not, but I can't easily describe the music here with meaningful comparisons and mere words. Quite frankly, there are few recordings I've heard that can be easily compared to _Dig_. Mounsey has taken the one-man studio wizard setting (the Flying Monkey "Orchestra" are his electronic gadgets) and given it an entirely fresh feel for the nineties. It's not jazz, it's not new age, it's not space music, it's not electro-pop, it's not textured, ambient electronic music, it's not world music. If I had to describe _Dig_ in one word or less, it would have to be "funky". Maybe "new age with an attitude" is a little more accurate. Enough of trying to find a neat name to call the music style here... The first three tracks best express what I call "new age with an attitude", with aggressive percussion tracks and keyboards that enhance both the rhythm and melody. Mounsey uses repetition to his advantage, while also displaying inventive, expressive talents. He avoids hooks and cliches while still holding your interest completely. Tracks 4, 5 and 6 move away from the in-yer-face attitude, though "We Swam the Blue Water" is no less insistent, rhythmically, than the first three tracks. "Smoky Ridge" is the first track that comes close to the popular concept of a new age track. The marked contrast of "Smoky Ridge" to the previous tracks strengthens its minimal, barren feel. "Swing Way Back" (track 7) picks up the funky groove again, though "groove" doesn't begin to describe what's going on here. On the other side of the halfway point (13 tracks, 45+ minutes) of _Dig_, "Airships" gives the listener a welcome breather. This is the most textured, ambient piece on the disc. "Take the Pink Bus" returns to Mounsey's aggressive style and samples the voice of John Koenigsberg,a 2-year-old friend of Mounsey's. The Pepto Bismol-pink buses Mounsey's ridden in Haiti are the obvious basis for this track, though he tries (and succeeds) to express an urban chaos on this track, both cosmopolitan and Caribbean in flavor. Unlike a lot of studio "wizards" who throw in neat effects for the sake of the effect, Mounsey shows a restraint in his arrangements that emphasizes the music and effects he does use. There's not a lot of subtlety on _Dig_, but neither is _Dig_ at all heavy-handed. An impressive CD to usher in 1990. ======================================================================== Emotional Velocity Craig Peyton, Ben Verdery Producers: Craig Peyton Emotional Velocity Engineer : Craig Peyton T Lonesome Dove Mixed by : Craig Peyton R Love One's Lost A Our Land ND 62759 C Baby Released: 1989 K Play Ball Total Disc Time: S Sharing A Smile Source - Compact Disc Sacred Landing SPARS Code - ADD In This Moment Hearts Connecting to Hearts Tears of Joy Performance: 7 Sound Quality: 8.5 Imagine a combination of music from "Classical Gas" with a little of Kaege's electric guitar work, shades of Flim & the BBs, plus some homebrew classical guitar solo and you have a flavor of what Emotional Velocity is like. This disc offers a pleasant blend of electronic and acoustic improv work with a structured 'electronic' framework. All the music on the disc is rhythmically precise and flawless in its execution. Peyton and Verdery work well together in creating a style of jazz (Well, not Jazz, really, but about as close as you can get) which is easy to listen to and relaxing. I found the selections to be somewhat simplistic in their composition and arrangements. Considering the talent behind the music, I would have hoped for a little more intricacy or flare. Instead, the artists seem to stress simplicity and repetition of backup to support the main instrument's solo work. This works quite well with this style of music, but I found my attention span waning in some tracks due to the mellow mood created by the composer. On a more positive note, Peyton and Verdery are tight. Very tight. As I mentioned before, the music is rhythmically precise. I have rarely heard two musicians anticipate each other to the point heard on "Emotional Velocity". Their counterpoint and solo work is executed with amazing precision and thought. Where one may expect an emotional solo which reaches for the rhythm, the soloist actually supports the background with modal, melodic progressions. All in all, these musicians have their act together. With a little more pizazz in the composition area, they will definitely become well known. By Mike Dow ======================================================================== By Heart Weary Hearts Producer : Tim O'Brien Uphill Climb Engineer : Bil Vorn Dick T Honky-Tonk Blues Mixed by : Tim O'Brien R I Know The Way To You By Heart A Stallin' FF 70513 C Waiting For The King Released: 1989 K Stumblin' Stones S You're In My Heart Source - Compact Disc She Once Lived Here SPARS Code - AAD Poor Old Cora Will You Be There Power In The Blood Performance: 9.5 Sound Quality: 8.5 Guests: Shawn Camp - Fiddle, Jerry Douglas - Dobro Bluegrass is often a welcome change from the humdrum din of radio stations which insist on playing nothing but top-40. When I got the opportunity to listen to some "real" bluegrass (like the stuff I played years ago!) I jumped at it. The Weary Hearts take me back to the more traditional framework of grassroots bluegrass. Many of the successful, well known bands that record are interested in being as flashy and rhythmically accurate as possible. Many times the music is lost altogether when the competition of "who can outplay me" enters into the theme. The music on By Heart is of an entirely different sort. Melodically pure and concise without being too flashy, the Weary Hearts have embodied the real pulse of bluegrass into their music. Their solos are pure and flowing - never fighting to upstage the rhythm. The compositions themselves are clean and free from the ravages of 'modern day' rock-bluegrass. I have no doubt that with time and effort, the Weary Hearts will become a threat to the flashy, competitive bands that currently dominate the competitions. Of note on this CD are the solos by Jerry Douglas. His dobro work is superbly executed and lends to the music in a way that must be heard to be appreciated. In other songs, the fiddle work done by O'Brien and Camp shows two distinct styles which form a delightful framework of support and resiliency by the Weary Hearts. It unnerves me to see people who listen to these groups and think that such music is put together on stage. Hundreds of hours of practice and repetition go into creating the blend that is heard on By Heart. As a teacher of mine once said (as my fingers bled from too much guitar playing), "You don't get good without some good pain and good practice." With that in mind, I'll be looking forward to the next release by the Weary Hearts. By Mike Dow ======================================================================== The Silos Caroline The Silos Picture of Helen Producers: Peter Moore, Bob Rupe Commodore Peter & Walter Salas-Humara T Anyway You Choose Me Engineers: Peter Moore & Peter R Maybe Everything Yianilos A I'm Over You RCA 2051-4-R C Take My Country Back Released: 1990 K (We'll Go) Out of Town Total Time: 39:47 S Don't Walk That Way Source - Advance Cassette The Only Story I Tell Porque No Rating - ****-1/2 Here's to You The Silos are a success story waiting to happen. Their previous independently released albums (_About Her Steps_, _Cuba_) and EP (_Tennessee Fire_), and lead singer Walter Salas-Humara's solo album (_Lagartija_) have garnered them significant critical acclaim. Indeed, I feel that _Cuba_ is one of the best albums released in the last five years (ed. note - _Cuba_ was reviewed in Network Audio Bits #5, V. I Issue V). This album , the Silos major label debut, is the first Silos album since _Cuba_. It's been a long wait for those of us who eagerly looked forward to the next Silos release. Lack of money caused them to delay work on an album slated for late 1988 or early 1989 release, which, it turns out, may have been a blessing in disguise. Somewhere along this odyssey of critical acclaim, independently released (all previous Silos material is available on their own label, Record Collect) albums and tight money, RCA came along and signed the band. They hooked the Silos up with producer Peter Moore (Cowboy Junkies) and headed to Gainesville, Florida to lay down tracks for this album. This album has ingredients similar to the Silos past work - there's a story of a car journey, a couple of exquisitely Silosish love songs, and songs with simple, yet beefy arrangements. Some of the added beefiness in sound can be attributed to Moore's touch. While preserving the sound that makes the Silos what they are, his ideas fill out the sound in many ways, most of which are subtle touches - short, small strokes of his sonic paint brush. Listeners familiar with the Silos will probably be quite familiar with the tunes on this album. "Maybe Everything" appeared on their _Tennessee Fire_ EP and "I'm Over You" was recently released on an Independent Label Alliance compilation cassette. At least four of the other tracks were recorded for the independent release that never materialized. These were not released commercially, but advance cassettes of this material were available briefly in anticipation of that release. The Silos sound is unlike any other that I've heard - even the bands Rupe and Salas-Humara have produced don't show a lot of a Silos sound. A good deal of this might be attributed to Salas-Humara's vocals, which are beautiful and ugly, silky and rough, smooth and ragged. In short, his vocals are everything they need to be for the situation and the song. His voice may not be considered pure by purist standards, but Salas-Humara's distinctive vocals may well help land himself and the Silos a place in rock 'n roll history. The Silos RCA debut is a great collection of songs. I've become very familiar and comfortable with half of this album for almost a year. The new material and the new arrangements of some of the earlier songs are up to snuff. They aptly fill a void that the almost-three-year wait for a full length Silos release had created. Let's hope this album sells well enough and another Silos album is not quite so long in coming! ======================================================================== Intolerance All of My Senses Grant Hart Now That You Know Me Producer: Grant Hart T Fanfare in D Major (Come, Come) Engineers: Chopper Black and R The Main Tom Herbers A Twenty-Five Forty-One SST 215 C Roller-Rink Released: 1990 K You're the Victim Total Time: 38:44 S Anything Source: LP She Can See the Angels Coming Reprise Rating: ***-1/2 Both Grant Hart and Bob Mould (ex-Husker Du) have released albums recently that are very different from the thrashy wall of noise they produced together. Hart's _Intolerance_ would have fit in comfortably with a lot of late 60's psychedelic releases. _Intolerance_ is not as grandiose as a lot of the releases of that period, but it does capture some of the spirit of that era. The Beatles, Byrds, Dylan, Doors, Cream, Who, etc. - the spirit of their music is alive and well, thriving on Grant Hart's _Intolerance_. It's been given a wee dose of 90's flavoring (attitude-wise, not technologically - the album is refreshingly devoid of obvious technical effects that could detract, rather than enhance, a recording like this). "All of My Senses" makes use of some cheesy synths that give the tune a Doors sound. "Fanfare in D Major (Come, Come)" would have been right at home on several Who albums. Though this is a 'quiet' album compared with most of Husker Du's work, _Intolerance_ still has a lot of the rough edges that made Husker Du a groundbreaking band. That feel is probably furthered by Hart, the only instrumentalist who appears on the album. ======================================================================== Too Many Procedure Moonflower Blackgirls Window/Door Producer: Joe Boyd T Biting Engineer: Steve Gronback R The Thing is Mammoth MR 0017-1 A Loser Released: 1989 C Translator Total Time: 34:31 K Procedure Source - LP S A Visit to the Behaviorist Bathtub Rating - **** One Lie Hope Friends North Carolina's Blackgirls have a sound that is quite unique. Points of reference/similarities are far reaching and include the likes of, among others, Kate Bush, the Pogues, Jane Siberry, Suzanne Vega. The reason I mention the Pogues is that Blackgirls sound, at times, like a minimalist, acoustic Pogues fronted by Vega or Siberry. Comparisons are ultimately meaningless, though, because Blackgirls have forged a sound that is wholly their own. On _Procedure_ their sound is alternately sweet (with vocals, violin, piano & guitar all melting together) and irritating/violent (with vocals, violin, piano & guitar clashing). It is a tribute to the skill of both Blackgirls and producer Joe Boyd that the album retains continuity with songs that differ so much in attitude and style. Creating an album that is as intense, erratic, disturbing, beautiful and just plain fantastic as _Procedure_ is almost worthy of being called a miracle. That one can listen to _Procedure_ all the way through and end up able to make sense out of life (at least as well as before listening) is a relief. Blackgirls & Boyd have built a house of cards, but they've reinforced it with steel. All the places where one could teeter off the edge have been buttressed - the senses still expect to go off the edge, but a thin, but strong grip on firm ground remains. _Procedure_ is an experience worth having. I can't say that it's changed my life, but I do feel that I'm better off for having the experience. ======================================================================== March Life Lene Lovich T Wonderland Producer: Les Chappell R Nightshift Lene Lovich A Hold on To Love Engineer: Mark Reynolds C Rage Mark Gilbert K Natural Beauty Pathfinder PTF 8909-2 S Shadow Walk # Released: 1989 Vertigo # Running Time: 45:53 Sharman Source: CD Rating: ***-1/2 # - CD only Does anyone remember "I Think We're Alone Now"? You know, the song mutilated by Tiffany a few years ago. Well, Lene Lovich, who's also recorded that classic of teenage lust, has returned to the pop music scene after a six year hiatus with a vengeance. _March_ is full of the dancy pop hooks that made her a hit in the dance clubs way back when, however the self-imposed break from the industry has made her music more than just danceable, it's now also very listenable. In fact, I have a hard time envisioning anyone dancing to any tracks off this release except for maybe the single "Wonderland," which, I'm told, did very well in the European club scene last year after its August release. Being a pioneer of the electronic dance song, it is no surprise that _March_ is a synth-based production of many layers. Still there are healthy doses of horns, strings and other "real" instruments interspersed throughout. All of the music though merely provides a backdrop for Lovich's trademark quirky vocals which haven't changed a bit. _March_ is a great step forward for this veteran pop star; it shows both a smart pop sensibility, but also a maturation that six years of observing the decaying world of pop music would probably instill in anyone. By Rob Woiccak ======================================================================== Hanna's Amorphous Hat Nikki Meets The Hibachi Producer: Jerry Kee T Words and Paper Engineer: Not Credited R Quicksand Fairy Hotel A The One You Love Released: 1989 C Life is Just Like That Total Time: N/A K Differently Source - EP S Rating - **** Regardless of trends in the music business, there's always room for good music in my record library. Especially when the slab of vinyl/plastic contains tunes as unpretentious and rewarding as the five that appear on _Hanna's Amorphous Hat_. John Gillespie and Elaine Tola reach to the very heart of rock and folk on this five-song EP. Good songs recorded or performed in an acoustic, bare bones setting have a big appeal for me - the songs are out in the open, unadorned. They stand or fall on their own merits, not a stack of studio electronics (which does have it's place, certainly). The charm of this open, unadorned setting can add much to a song that may otherwise have been buried underneath the studio trappings. _Hanna's Amorphous Hat_ is just such a recording. Gillespie and Tola present five tracks that hold up extremely well to the close scrutiny they get in their very 'exposed' style. On the back of the EP jacket they list some of the inspirations/influences. Among them are Indigo Girls (an obvious inspiration, perhaps), Joan Armatrading and Blackgirls. From listening, one must also wonder if they've seen Michael Hedges perform. His live performances put forth a lot of the same sort of energy and fire that can be heard on _Hanna's Amorphous Hat_. This EP is generating quite a buzz with fairly small distribution. Indeed, "Differently" (easily the standout track on the EP) has been requested many times at WMEB here in Orono (where I do a show once a week). This is a good indication of the impact of the EP here, because most of the requests at WMEB are for older material. _Hanna's Amorphous Hat_ is available by writing to Nikki Meets The Hibachi, 204 Valley Park Drive, Chapel Hill, North Carolina 27514. Make a check for $7 (plus $2.40 for postage) payable to Andrew Peterson. ======================================================================== Asking the Time Dime Store Dream Pardon Me Magnolias, The Flowin' Thru Producer: Jim Rondinelli T Shirley's Looking Down Engineer: Jim Rondinelli R Don't See That Girl Twin Tone TTR 89159-1 A Coming On too Strong Released: 1989 C Folks On the Block Total Time: 31:47 K Fathers & Sins Source - LP S I've Been Gone In My Nightmare Rating - *** Red Light District Leave Ya At the Morgue The only problem I have with this album is also one of its virtues. Since _Concrete Pillbox_ and _For Rent_, the Magnolias sound really hasn't evolved/changed all that much. Sure, they did some slow songs on _For Rent_ (the excellent "Gangs in My Town" for one) for variety, but their basic sound really hasn't gone anywhere (not necessarily a bad thing), except it's been honed to a finer edge. On _Dime Store Dream_ their attack is straightforward, wid-western punk/grunge/rock that doesn't let up. Their modus operandi is short bursts of twin guitar noise/grunge with felt-more-than-heard bass and drums - the albums 12 tracks add up to only 32 minutes, only three songs crack the three-minute barrier. What this means for the listener is an album full of tunes that hit hard and fast, like a knife thrust quickly and neatly between a couple of ribs and pulled out so quickly that there's no trace of blood left on the knife. Their incisive attack is perhaps not quite so skilled as a surgeon might be, but they cut with the skill and style of a self- trained frontiersman who's learned to cope through experience. I was sort of hoping that this album would be a step onto a new plane for the Magnolias. Unfortunately, _Dime Store Dream_ is merely a solid album of thrashy, grungy rock/punk featuring the twin guitars of John Freeman and Tom Lischmann and a new rhythm section consisting of Kyle Killorin (bass) and Tom Cook (drums). Well, I'll look towards the next album and wait for these guys to knock my socks off. In the meantime, _Dime Store Dream_ is still going to get plenty of spins. Who knows, maybe after 25 or 50 spins it *will* knock my socks off! ======================================================================== A Blues For Buddha Answer Me The Silencers T Scottish Rain Producer: Flood & R The Real McCoy The Silencers A A Blues For Buddha Engineer: Gordon Rintoul C Walk With The Night BMG 9960-1-R K Razor Blades of Love Released: 1989 S Skin Games Time: Wayfaring Stranger Source: LP Sacred Child My Love Is Like A Wave Rating: **** Sand and Stars I guarantee that the latest from these Scottish popsters will grow on you. It may take a while (about ten listenings for me), but it will. Deceptively subtle in its delivery and utterly lacking in any pretentiousness, _A Blues For Buddha_ simply flows over the listener, slowly inundating him with its hooks. The most distinctive aspect of The Silencers is vocalist Jimme O'Neill. Both his singing and the band's musical style evoke aural images of Simple Minds, but O'Neill's passionate vocals and heartfelt lyrics lend a more personal feeling to their sound. The combination of O'Neill's singing and the consistently smooth musical quality makes this release an excellent followup to their debut album of two years ago, _A Letter From St. Paul_. _A Blues For Buddha_ will slowly catch you up in its melodic meanderings and leave you feeling happy. By Rob Woiccak ======================================================================== Scar T Baby Talk Lush R Thoughtforms Producer: John Fryer & A Scarlet Lush C Bitter Engineer: John Fryer K Second Sight 4AD JAD 911 S Etheriel Released: November 1989 Time: Source: EP Rating: *** Even among the alternative companies, a certain amount of imitation happens: the success stories of one label spawn a series of similar bands, often with an appreciable loss in quality. Hence, one might say that Lush is 4AD's Primitives. However, to do so would be an injustice. Unlike The Primitives, Lush presents a unified, psychedelic sound. Comprised of a dual attack of swirling, chiming guitars and Miki Berenyi's etheriel vocals, _Scar_ continues the sixties revival, but with a Nineties postpunk edge and energy. Lush's debut EP is a compelling listen, leaving you wanting more. It's a good thing then that their second EP, _Mad Love_, should be out in early March. ======================================================================== Under Towers Two Sisters (Love All Around Them) Arson Garden T Lash Producer: Albert Garzon R Not Long Before Engineer: Tom Herbers & A Under Towers Timothy Penn C Heat From A Radiated House Community 3 C3-1490 K Solitariat Released: 1990 S The Sways Time: Truer Words Were Never Spoken Source: LP Once Then Twice Removed Face of Resistance Rating: ***-1/2 Armistice Sounding like some sadistic surgeon grafted 10,000 Manics vocalist Natalie Merchant onto the body of an epileptic one-man band, Arson Garden's debut album is a raging whirlpool of erratic, driving rhythms and quirky, edgy guitarwork. However, despite the twisted and twisting melodies, singer April Combs' vocals seem somehow appropriate to the Garden's tone. Her voice croons through the music much in the same way that Merchant's used to before the Maniacs mellowed. Still, such a comparison would be simplistic. Combs posesses a feverishness about her that meshes well with Arson Garden's frantic pace, all the while maintaining a floating, airy quality. Arson Garden's musical contortions resemble, to a degree, those of the Throwing Muses. Pulsating in its energy, it washes over the listener in a torrent of distortion, but manages to avoid the feedback-drenched sound that often accompanies the effect (much as the Muses do). Interestingly, this album was produced at Prince's Paisley Park studios, but shades of the Purple One are absolutely absent. _Under Towers_ is an impressive debut, but is not an album for everyone. It is strangely melodic, but harshly so, making it one of the most intriguing albums that I've heard in a long while. By Rob Woiccak ======================================================================== Flat Duo Jets Flat Duo Jets My Life, My Love Producer: Mark Bingham T Please, Please Baby Engineer: Mark Bingham R When My Baby Passes By Kelly Keller A Madagascar Dog Gone DOG0004 C Mill Stream Released: 1990 K Baby Time: S Chiquita Source: LP Sing, Sing, Sing Wild, Wild Lover Rating: *** Tribute to Genie Pink Gardenia Man with the Golden Arm Dreams Don't Cost a Thing Strut My Stuff What's that? You want roots? Well, how about live one-take recordings to two-track in a garage? How about bluesy rock pulled straight from the beginnings of rock'n'roll? In the Flat Duo Jets, you can have both. From the South's heart of alternative music, these Athens, Georgia natives relive the days of Chuck Berry and Jerry Lee Lewis with all their passionate energy and fury. The Duo Jets propel the listener back to that magical time through fourteen blistering examples of rock'n'roll in its most primitive and powerful form: the blues. And the Flat Duo Jets know the blues well. Extremely well. So, don't ever let anyone tell you that the Fabulous T-birds kept the true spirit of rock alive. Sure they might have been around longer than the Flat Duo Jets, but are they as good? I say not. Jet me to paradise! By Rob Woiccak ======================================================================== Gardens Note Resin Cabin Priority Singing Spoons Gift Horse Producer: Dave Murphy/the Spoons T Hold Me Down Engineer: Dave Murphy R Kinda Hard Manufacture MAN-5 A Memory Released: 1989 C No. 5 Total Time: N/A K No. 2 Source - LP S Spaceman Queen Helmet Rating - *** Chest Rabbit/With a Kiss Your Brilliant Return to Form Resin Cabin The Singing Spoons sound a little like what Violent Femmes might have sounded like if they'd tried to be Husker Du. This is not to say that Singing Spoons always reach heights so lofty, but they do manage to forge a distinctive sound or two amid the swirling, fuzzy guitars that dominate their music. There are a host of other bands that have released material in this general style - from pre-Iggy & the Stooges & Lou Reed/VU to Husker Du, Dinosaur Jr. & the Pixies. _Resin Cabin_ carves a nice little niche right alongside these legendary (and pseudo-legendary) groups and their albums. It won't usurp their territory, but there's still room out there for it. For more information on this, ahem, *quiet* little indie release, contact Manufacture Records at P.O. Box 37220, Tallahassee, Florida 32315-7220. ======================================================================== The Caution Horses Sun Comes Up, It's Tuesday Morning Cowboy Junkies 'Cause Cheap is How I Feel Producer: Peter Moore T Thirty Summers Engineers: Peter Moore and R Mariner's Song Tom Henderson A Powderfinger RCA 2058-4-R C Where Are You Tonight Released: 1990 K Witches Running Time: 44:32 S Rock and Bird Source: Advance Cassette Escape is So Simple You Will Be Loved Again Rating: ***-1/2 _The Caution Horses_ probably won't win the Cowboy Junkies much of a new audience. However, those who are already fans will embrace this new album warmly. Warmth is something that most of these tunes convey. Their seemingly lazy, hazy style and delivery allows you to feel as if it's always a warm summer day, too hot to do much except kick back with a cold pitcher of liquid refreshment and sink into oblivion. That's the biggest magic that the Junkies work - if their music appeals to you at all, then you're hooked, sucked right in by the gorgeous, husky vocals of Margo Timmins and the laid back country blues style of the rest of the band (Michael Timmins - guitar, Peter Timmins - drums, Alan Anton - bass). Producer Peter Moore, with his distinctive style of production, captures these tunes in all their lush majesty. The only track that didn't really grab me was the cover of Neil Young's "Powderfinger". Somehow the Junkies treatment of the song just doesn't sound right. Their style has done wonders with other covers ("Sweet Jane", "Walking After Midnight"), but "Powderfinger" just seems to lay there as it comes out of the speakers. ======================================================================== Indian Warrior Hoo Myself Havana Black Lone Wolf Producer: The Dynamic Duo T Speed Up Time Engineer: The Dynamic Duo R Season to Season Capitol C1-90567 A Run With Me Released: 1989 C Sense of Love Total Time: 38:26 K Shoot You Down Source - LP S Needs Must Indian Warrior Rating - *** Havana Black's _Indian Warrior_ sounds like it could be an extension of the music Free or Bad Company were doing in the early seventies. That sound is updated a shade for the nineties, but isn't far enough removed yet for the band to assert its own identity into the music. And this Finnish band certainly has an identity that they will eventually assert. With names like Crazy, Risto, Guts and J.T., Havana Black seem, at least on the surface, like any group of four friends who've developed a certain amount of comradery. These four just happen to have formed a band. One quote from their very strange bio rings very true. Lead singer, Guts, says "We're not a message band and we're not posers. We just want to play." This attitude comes through on the album, which makes it an interesting listen rather than a disposable piece of product. _Indian Warrior_ is a solid debut, but nothing too spectacular. It will be interesting to see where Havana Black go from this starting point. ======================================================================== The Havalinas High Hopes The Havalinas Not Alot to Ask For Producer: Don Gehman T Fill 'Em Up Engineer: Eric Westfall R There Was This Mother Elektra 60938-2 A Jesus and Johnny Released: 1990 C Sticks and Stones Total Time: 39:39 K Don't Feel Bad Source: LP S Good For Nothing Rag Inexperienced Rating: ***-1/2 Another Out Why Didn't I? If I were to draw a triangle with the Stray Cats, Bruce Springsteen and the House of Freaks at the apexes, the Havalinas would fit snugly inside. Playing a percussive brand of rockabilly fused with traditional rock, the Havalinas possess that same blue collar charm that propelled the E-Street Band to fandom. However, the topics of their songs reflect this more that the E- Street Band ever did. Where Bruce screeched about love on his motorcycle, the Havalinas deals with subjects such as the plight of the single mother ("There Was This Mother"), prejudice ("Sticks and Stones") and growing up ("Fill 'Em Up"). Vocalist Tim McConnell belts out the tunes in his strong voice, but does not outshine the band. Their rhythmic, upbeat rockabilly melds perfectly with his lead and not a note is wasted on an unneeded solo. It also worth noting that the bassist, Smutty, plays an upright acoustic bass, which along wit the acoustic lead guitar lends the Havalinas a distinctive, powerful sound. The combination of serious lyrics and serious, but fun, music makes for a solid debut. Catchy and moving, the Havalinas have something to say and do so in a very listenable way: so take heed. By Rob Woiccak ======================================================================== West Textures Sing One For Sister Robert Earl Keen, Jr. The Road Goes On Forever Producer: Jim Rooney T Maria Engineer: Bil Vorn Dick R Sonora's Death Row Sugar Hill SH-1028 A Mariano Released: 1989 C Don't Turn Out the Light Total Time: 37:58 K Leavin' Tennessee Source - LP S Jennifer Johnson & Me The Five Pound Bass Rating - ***-1/2 It's the Little Things Love's a Word I Never Throw Around Robert Earl Keen, Jr. is a part, indeed maybe the prize, of a bumper crop of recent Texas singer/songwriters who've given country and folk music a medicinal shot of moonshine. What's really compelling about Keen's music is that he's witty, thoughtful, thought provoking, wistful, longing (for love), and just plain fun (well, even the down songs are fun). Sometimes he's all of these things at once (as on "The Road Goes On Forever", a song that'll have you laughing, wondering and realizing that someone's life can really be like this), but usually his songs are focused on particular themes. A quick glance at the song titles will give you some indication of this, though his songs tend to go a lot deeper than your typical country fare. ======================================================================== Blue Earth The Jayhawks Two Angels Producers: Jim Rondinelli, Tom She's Not Alone Anymore Herbers & The Jayhawks T Will I Be Married Engineers: Dale Goulett, Tom R Dead End Angel Herbers & Jeff Bjork A Commonplace Streets Twin Tone TTR 89151-1 C Ain't No End Released: 1989 K Five Cups of Coffee Total Time: 41:47 S The Baltimore Sun Source - LP Red Firecracker Sioux City Rating - **** I'm Still Dreaming, Now I'm Yours _Blue Earth_ will probably take a few spins to really dig in and get under your skin. When it does, this innocuous-seeming, pleasant, country/folk/rock album will surround you, engulf you, and start on that intravenous feed. Once inside, it'll grab hold of some of those vital organs (heart, lungs) with tracks like "She's Not Alone Anymore", "Red Firecracker" and "Commonplace Streets". The Jayhawks cast a worldly, world-weary eye and perspective on life, the universe and a bowl of chili. Tracks that capture this feel most effectively are "Dead End Angel", "Commonplace Streets" and "Ain't No End". Lead vocalist and chief songwriter Mark Olson's slightly reedy vocals and his seeming off-hand delivery emphasize the perspective. So, what's this distinctive band doing coming out of the Minnesota twin-cities tundra, more well known for their purples (Vikings & Prince) or their "underground" rock (Replacements, Husker Du)? Your guess is as good as mine... Perhaps they like the challenge of winning over a tough audience. The Jayhawks got their start playing local rock clubs. They were also instrumental in opening the eyes and ears of Minneapolis' West Bank clubs, that were traditionally conservative and R&B-only, in 1985. Shortly after that they released an eponymous debut album on Bunkhouse Records, which garnered them pockets of critical acclaim. ======================================================================== Bits and Pieces - Mini/Capsule reviews and Music news ----------------------------------------------------- Pieces contributed by Michael A. Murphy, Rob Woiccak and Andy Hong. Enigma Records has announced that it's rushing to release a single by Eddy Grant, "Gimme Hope Jo'Anna", an inspiring anti-apartheid anthem that reached the top of the charts in the U.K. in early 1988. Until now it has not been released in the U.S. Enigma's reason for rushing is, perhaps, twofold and obvious. They'd like to get this out to celebrate the release of Nelson Mandela. The positive publicity this release can generate is probably a pretty good move since Grant will have a full length album available this spring (scheduled release date is May 21st). Grant is best known in the U.S. for his hits "Electric Avenue" and "Romancing the Stone". The Pandoras have been making rock 'n roll with sexual themes for some time now. If they were males, their brand of lust-inspired, crank it out hard rock would get them attention in all sorts of conservative media. As it is though, their studio work has always left me feeling a little less than stimulated. Not so with _Live Nymphomania_, a 9-track, 31 minute CD released on the Restless Performance Series. This disc captures the band in the best possible setting - where these songs have a fertile audience, not a sterile studio, as their receptacle. With song titles like "Pacify Me", "He's Coming", "Craving", "Six Times a Day", "Bad Habit" and "Run Down Love Battery", you'll be hard at it until the batteries give out. Tom Dreesen - _That White Boy's Crazy_ (Flying Fish CD FF 70516 (1989)) _That White Boy's Crazy_ is a comedy recording. "So What", you say? Well, comedy albums are usually good for a few spins, but get old upon repeated listenings. Is this one any different? I can't tell you that yet. I haven't had this long enough to get tired of it. What makes a comedy album worth reviewing? Well, one thing that makes this one worth writing about (and listening to) is that it is (buzz phrase here) socially relevant. Dreesen is a white comic performing for a predominantly black audience on _That White Boy's Crazy_. Dreesen, who grew up in an integrated neighborhood and worked with Tim Reid (pre "WKRP in Cincinnati" & "Frank's Place") as a comedy duo, doesn't play favorites - he picks on black and white culture, and their interaction, equally. His topics include sports (the differences between white and black cheerleaders, basketball), colorful neighborhood people, dogs, families and funerals. All common and largely everyday topics which Dreesen turns into humor that everyone can relate to. There's an undercurrent of black/white differences in each skit, though many of these situations are not color dependent. We've all got relatives with funny habits, follow various sports and know the colorful neighborhood personalities. Dreesen's got the same relatives, follows sports and probably knows more colorful characters than most of us. His comedy uses all this, but doesn't abuse, which is what makes it possible for him to play to a predominantly black audience and still leave them laughing. _That White Boy's Crazy_ is an apt title and is just plain, good, (almost) clean fun. Look for some new albums in March and April from these Capitol artists: Johnny Clegg and Savuka (_Cruel, Crazy, Beautiful World_), MC Hammer (_Please Hammer Don't Hurt 'Em_), River City People (_Say Something Good_), The London Quireboys (_A Bit of What You Fancy_), solo Lloyd Cole, Eric Johnson (_Ah Via Musicom_), Peter Blakely (_Harry's Cafe de Wheels_), Stanley Jordan (_Cornucopia_), Dave Edmunds (_Closer to the Flame_), Heart (_Brigade_) and John Lennon (_Sometime in New York City_). Also due out soon is a new Skels album (_Be With That_) on Mystery Fez Records. The Guttersluts, aside from having a great name, have a demo cassette available with 5 tracks. _Street Corner Tarts_ features a sound that is a cross between the Bangles and the Wallmen, with the heavier emphasis on the Wallmen. If you've ever heard the Wallmen, you'll understand what I mean. The five tracks ("Housewife From Hillsdale", "I Would Have Love You Anyway", "Harley Thighs", (I'm Just a) Zoo (Inside)" and "Dr. Suess/Gimme Some Money") range in style from straight ahead, Valley- girlish punk rock ("Housewife..", "Harley Thighs") to 60ish psychedelia ("I Would Have Loved You Anyway"). If you're in California and you're near Fremont, CA on 3/30/90, check them out at Union Jacks, 350 Fremont Blvd, Fremont - 10pm. To check out their tape, write to: Suzanne Von Slut, 4240 Termin Dr. #208, Palo Alto, California 34306. Their cassette is available for $6. If you'd like, you can contact laurab@Sun.COM for information as well. Laura is the person who sent me their tape. She knows the band and is willing to try to answer any questions you might have. Speaking of the Wallmen, they also have a new tape out. _Nemllaw: You Are the Wallmen Today_ is markedly different from their previous work - at least on the surface. Rather than making their own tapes using blank 60 minute tapes, they've opted for professional packaging with the new one. Rest assured, though, that this new, slick, state-of- the-art packaging doesn't affect their music in the least. What's inside is still zany, wacky, silly and fun. One of the things I like best about the Wallmen is that even if you listen to their tapes dozens of times (at least the ones I have) you're still never sure what they're going to do next. This can make for a new listening experience each time you pop one of their tapes into your deck. For more information, write to: Wallmen, 7711 Lisa Lane, N. Syracuse, New York, 13212. _Nemllaw..._ is available for $4. If you like the Indigo Girls album(s), but are a wee bit put off by all the hype, fanfare and glistening production (I like their more raw indie album, _Strange Fire_, better than their major-label debut), do yourself a favor and find yourself a copy of Cathy Fink and Marcy Marxer's latest (Sugar Hill LP SH-3775). The instrumentation on this eponymous album is a little more elaborate than the Indigo's twin guitars (mandolin, banjo, dobro, hammered dulcimer) the sound/tone is a little less aggressive and the harmonies are just as sweet and forceful. This collection of mostly acoustic (fretless electric bass is used on two cuts) folk/bluegrass songs has a feel that combines olde-tyme and modern musical attitudes with scintillating results. If you have any trouble finding it locally, you can write to Sugar Hill Records, P.O. Box 4040, Duke Station, Durham, North Carolina 27706. Just when you think the 7-inch vinyl format is dying out, a band like the Gargoyles sees their way clear to release a four song 7-inch EP. The EP contains a potent wall of noise that harkens back to some of the sounds that Iggy & the Stooges used to make. Indeed, the Gargoyles cover "Kill City" to close out the EP. Their three originals are plenty potent, as well, mixing churning twin guitars, bass and drums in a haunting, eerie, mildly psychedelic fashion. Check out "Coke Whore" for the best example of this sound. This EP is available for $3 (plus $1 postage) from Suede Brain Operation, P.O. Box 170562, San Francisco, California 94117. Moving away from the bizarre and strange in rock 'n roll - if contemporary jazz blows your skirt up, there are a couple of CDs you should check out. Chet McCracken's _Flight To Moscow_ (Voss CD VCD2-72902, Time - 50:11) is a sizzling album that crosses a lot of genres. McCracken is best known for his work with the Doobie Brothers (he joined the band just before they recorded _Minute By Minute_). He's also recorded or toured with America, Delbert McClinton, Stevie Nicks, Tina Turner, Joe Walsh and Hank Williams, Jr. among others. _Flight To Moscow_ is propelled forward by McCracken's energetic, forceful drumming. McCracken is backed by members of his Jazz-Rock Orchestra (Brad Dutz - electric midi mallets, Chris Pinnick - guitars, Randy Strom - Chapman stick, Rich Grossman - fretted & fretless bass) and by Danny Pelfrey (saxes & flute) and Marty Grebb (saxophone). The music on _Flight To Moscow_ is based in jazz, but encompasses so many styles that it's hard to pin down into any category. It sort of sneaks into a little place all its own between the more aggressive rock instrumentals of Joe Satriani, Fire Merchants, etc. and the more obvious jazz of artists like Bobby Previte, Billy Hart, etc. Anne Howard Maxwell's _Shadow Of My Heart_ (Voss CD VCD2-72905, Time - 45:49) is the most recent of this jack-of-all-trades accomplishments. Maxwell is also a corporate executive, published author and financial manager. _Shadow Of My Heart_ features Maxwell's guitar and guitar synthesizer. Her style reminds me a little of George Benson, though Benson's work of the last 15 years or so is much more pop-oriented than anything on _Shadow_ (except maybe "One Wish" which is a soulful ballad). This resemblance is most notable on track 2, "Farrell River". Maxwell's guitar is the focal point of this album, though she's backed by a host of able players (Patrice Rushen, Carlos Vega, Eric Marienthal, among others). Alannah Myles (Atlantic Records) - reviewed by Rob Woiccak When listening to this release, I felt a conflict of emotions. Alannah Myles is a striking dark beauty from Toronto with an incredible, belting, throaty voice, but I couldn't help but feel like this album was not her work. The music feels forced in some places (a distinguishing mark of the industry) and except for the single "Black Velvet", "If You Want To" and the touching "Lover of Mine" -- the only song she had a hand in writing -- the songs are, well, canned. Even worse, her voice is downplayed by the overbearing guitars. This could have a been a very good release except for its poor production. Still, I can't help but admire her voice and hope that the future will be nicer to her. Wendy MaHarry (A&M Records) - reviewed by Rob Woiccak A very impressive debut from a talented pianist with one of those oh- so-sweet voices possesed only by Rickie Lee Jones, Joni Mitchell and Jane Siberry. Sprinkled throughout with a variety of strings and horns, she uses her music as the backdrop against which she paints her audial pictures. For instance, on "Madman's Got it Made," you feel the insanity in the harsh violins as well as in the lyrics. Layered, but minimalist in its instrumentation, Wendy MaHarry's debut is both enjoyable and demanding, and it demands your attention. Mrs. Robinson's Daughter (Carpe Diem Records) - reviewed by Rob Woiccak While she's opened for The Ramones, Mrs. Robinson's Daughter, also known as Rose, plays a pretty much straight ahead rock style, with a slight Southern flair as she is from Atlanta. This six song debut EP, while possesing a very solid sound, is not terribly spectacular, except for the female vocals that differentiate it from the average "boys with guitars" band. CD/LP availability update - by Andy Hong If you've been hesitant about buying a CD player because you're convinced that most "alternative" labels have a limited number of CD's in their catalogues, you may soon be changing your mind. A number of the smaller labels are releasing their whole catalogues on CD, and even a few are going to an "all-CD" format. A few months ago, Enigma and its related labels (Restless, Medusa, Metal Blade, etc) stopped servicing radio stations with vinyl. Last month, it was made public that Enigma would no longer release LP's on vinyl domestically. Instead, it will distribute only CD's and cassettes for all full-length new releases. A number of other distribution companies are also concentrating on CD's. Roadracer, Epic, and Chameleon are just a few that are issuing "CD-only" music, slowly phasing out their catalogues of regular vinyl releases. ======================================================================== NEW and RECENT RELEASES Aaberg, Philip Upright 1989 Windham Hill 48:23 Adam Ant Manners & Physique 1989 MCA 44:32 Adventures, The Trading Secrets With The 1990 Elektra 48:41 Agitpop Stick It! 1989 TwinTone 36:09 Barone, Richard Primal Dream 1990 MCA 46:06 Beautiful South, The Welcome To The Beautiful 1990 Elektra 50:15 Benjamin, Sathima Bea Love Light 1988 Enja 45:33 Black Uhuru Now 1990 Mesa 44:49 Blackgirls Procedure 1989 Mammoth 34:31 Blue Nile, The Hats 1989 A&M 38:34 Bonedaddys Worldbeatniks 1989 Chameleon 54:17 Boulding, Philip Harp - Song For 1989 Flying Fish 42:47 Brewer, Spencer Dorian's Legacy 1990 Narada 39:30 Cameron, Doug Mil Amores 1990 Narada 48:46 Chant, The Two Car Mirage 1989 Safety Net 74:47 Chicken Scratch Important People Lose The 1989 Community 3 N/A Chunky A Large And In Charge 1989 MCA 42:09 Colina, Michael Rituals 1990 Private Music N/A Colorcode Stevie Salas Colorcode 1990 Island 42:30 Cowboy Junkies The Caution Horses 1990 RCA 44:32 Cramps, The Stay Sick (Advance Casset 1990 Enigma N/A Crary, Dan Take A Step Over 1989 Sugar Hill 36:28 Crisis Party Rude Awakening 1989 Restless 42:13 D Mob A Little Bit Of This, A L 1989 FFRR/Polygram 57:00 D.O.A. Murder. 1990 Restless 42:24 Das Damen Mousetrap 1989 TwinTone 38:49 Davis, Michael Sidewalk Cafe 1989 Voss 42:33 Del Amitri Waking Hours 1989 A&M 45:48 Del Lords, The Lovers Who Wander 1990 Enigma 54:17 Dennerlein, Barbara Straight Ahead 1989 Enja 69:30 Desert Rose Band Pages Of Life 1990 MCA/Curb 40:04 Dirty Harry D-Bop 1989 Wing 24:50 Downing, Will Come Together As One 1989 Island 54:13 Dreesen, Tom That White Boy's Crazy 1989 Flying Fish 35:10 DVC Descendent Upheaval 1989 Manufacture N/A Eat Sell Me A God 1989 Fiction/Polyg 62:28 Evans, Gil - Orchestra Blues In Orbit 1985 Enja 36:20 Everything But the Girl The Language Of Life 1990 Atlantic 41:02 Ferguson, Maynard Big Bop Nouveau 1990 Intima N/A Final Notice - feat. Alph As You Wish 1990 Jazzline 56:16 Fink, Cathy & Marxer, Mar Cathy Fink & Marcy Marxer 1989 Sugar Hill 34:58 Fire Merchants Fire Merchants 1989 Restless/Medu 51:24 Forgotten Rebels (Untitled) 1989 Restless 33:18 Gargoyles Gargoyles 1989 Suede Brain O 09:41 Georgia Satellites In The Land Of Salvation 1989 Elektra 57:04 Glover, Crispin Hellion The Big Problem ^= The So 1989 Restless 43:07 God's Little Monkeys New Maps Of Hell 1989 Alias 38:10 Gonzalez, Jerry & The For Obatala' 1989 Enja 66:46 Gruntz, George Concert Ja First Prize 1989 Enja 55:45 Gun Taking On The World 1989 A&M 43:48 Guttersluts, The Street Corner Tarts 1989 Dirtbox 14:53 Hammill, Peter Out Of Water 1990 Enigma 45:15 Harris, Matt Hit And Run 1989 Voss 39:27 Hart, Grant Intolerance 1989 SST 38:44 Hartford, John &the Hartf Down On The River 1989 Flying Fish 30:27 Havalinas, The The Havalinas 1990 Elektra 39:39 Havana Black Indian Warrior 1989 Capitol 38:26 Heretix Gods And Gangsters 1990 Island 39:20 Hickman, Sarah Equal Scary People 1989 Elektra 39:08 Himmelman, Peter Synesthesia 1989 Island 60:52 Hollywood Joneses, The Tits And Champagne 1989 Trigon 18:32 Horny Genius Burn Your Sister 1989 Community 3 N/A Howard, George Personal 1990 MCA 50:23 I Love You Live 1989 Restless 15:14 Ibrahim, Abdullah MINDIF 1988 Enja 39:27 Indigo Zeros Naked 1989 Tombstone/CFY N/A Isley, Ernie High Wire 1990 Elektra 50:38 Janata Janata 1990 Mercury 47:17 Jayhawks, The Blue Earth 1989 TwinTone 41:47 Keen, Robert Earl Jr. West Textures 1989 Sugar Hill 37:58 Laibach MacBeth 1990 Restless/Mute 31:58 Lande, Art & Hunter, Holly Three Billy Goats Gruff & 1989 Windham Hill 40:23 Lilac Time, The Paradise Circus 1989 Fontana/Polyg 44:06 Little Angels Don't Prey For Me 1990 Polydor 49:22 Lovich, Lene March 1989 Pathfinder 45:53 Lowe, Nick Party Of One 1990 Reprise 36:04 MacDowell, Al Time Peace 1989 Gramavision 47:18 Magnolias, The Dime Store Dream 1989 TwinTone 31:57 Manchester, Melissa Tribute 1989 Polydor 38:08 Mantronix This Should Move Ya 1990 Capitol 38:02 Maxwell, Anne Howard Shadow Of My Heart 1989 Voss 45:49 MaHarry, Wendy Wendy MaHarry 1990 A&M 47:49 McCracken, Chet Flight To Moscow 1990 Voss 50:11 Midnight Oil Blue Sky Mining 1990 Columbia 46:52 Mingus, Charles Charles Mingus In Europe 1988 Enja 60:22 Mission U.K., The Carved In Sand 1990 Mercury 46:57 Mounsey, Rob & Flying Mon Dig 1989 Sona Gaia 45:38 Murphy, Peter Deep 1989 Beggars Banqu 54:00 Musselwhite, Charlie Ace Of Harps 1990 Alligator 44:21 MC Hammer Please Hammer Don't Hurt 1990 Capitol 45:01 MC Hammer Dancin' Machine 1990 Capitol 11:12 Negativland Helter Stupid 1989 SST 47:36 Nikki Meets The Hibachi Hanna's Amorphous Hat 1989 Fairy Hotel N/A No Man/No Man's Band feat Damage The Enemy 1989 New Alliance 43:02 Notting Hillbillies, The Missing...Presumed Having 1990 Warner Brothe 40:45 Oingo Boingo Dark At The End Of The 1990 MCA 43:36 Pandoras, The Live Nymphomania 1990 Restless 30:41 Parker, Graham Human Soul 1989 RCA 43:49 Parks, Van Dyke & Foster, The Fisherman And His Wif 1989 Windham Hill 50:09 Passion Fodder Woke Up This Morning... 1989 Beggars Banqu 46:49 Pettis, Pierce While The Serpent Lies Sl 1989 Windham Hill 35:18 Pine, Courtney The Vision's Tale 1989 Antilles 69:03 Pintar, Judith At Last The Wind 1989 Sona Gaia 42:57 Pritchard, Bill Three Months, Three Weeks 1990 Nettwerk/I.R. N/A Privateer Burnham Harbor 1989 Sextant 43:08 Psychefunkapus Psychefunkapus 1990 Atlantic 39:50 Rave-Ups, The Chance 1990 Epic 39:23 Redbone, Leon Sugar 1990 Private Music 34:59 Redd, Jeff A Quiet Storm 1990 MCA/Uptown 48:53 Renegade Soundwave Soundclash 1989 Enigma/Mute 49:55 Rogers, Roy Blues On The Range 1989 Blind Pig 43:04 Rollings, Matt Balconies 1990 MCA N/A Rosewoman, Michelle & Qui Contrast High 1988 Enja 53:24 Saffire - The Uppity Blue Saffire - The Uppity Blue 1990 Alligator 42:38 Scorpions Best Of Rockers 'N' Balla 1989 Mercury 55:07 Serah Flight Of The Stork 1990 Great Norther 54:48 Shocked, Michelle Live (possibly promo only 1990 Mercury 16:50 Silencers, The A Blues For Buddha 1989 RCA 53:35 Silos, The The Silos 1990 RCA 39:47 Singing Spoons Resin Cabin 1989 Manufacture N/A Smith Sisters, The Roadrunner 1989 Flying Fish 33:36 Soundtrack Born On The Fourth Of Jul 1989 MCA 56:40 Soundtrack Back To The Future Part I 1989 MCA 43:57 Splendorhead Mirth 1989 CFY Records N/A Stone Roses, The The Stone Roses 1989 Silvertone/RC 61:49 Sun Ra Out There A Minute 1989 Restless 52:51 Tacuma, Jamaaladeen Music World 1986 Gramavision 43:36 Tail Gators, The Hide Your Eyes 1990 Restless 34:18 Taylor, James 'J.T.' Master Of The Game 1989 MCA 45:11 They Might Be Giants Flood 1990 Elektra 43:25 Various Artists Legacy - A Collection of 1989 Windham Hill 57:19 Various Artists Requiem For The Americas 1989 Enigma 52:43 Various Artists Lambada Brazil 1989 Polydor 53:16 Vaughn, Ben Dressed In Black 1990 Enigma 42:54 Wall, Wendy Wendy Wall 1989 SBK 54:16 We Are Going To Eat You Everywhen 1989 TVT N/A Weary Hearts By Heart 1989 Flying Fish 30:03 Whipping Boy Crow 1989 CFY Records N/A Winston, George & Streep, The Velveteen Rabbit 198? Dancing Cat 32:41 Wolf, Peter Up To No Good 1990 MCA 43:23 Wonder Stuff, The Hup 1989 Polydor 39:51 XYZ XYZ 1989 Enigma 41:27 ======================================================================== CONCERT WATCH ***NOTE*** All information concerning concert dates is subject to change without notice. Michael Brecker will be appearing at the Blue Note in Tokyo, Japan (March 19th-24th), The Bottom Line in Nagoya, Japan (March 26th-28th) and The Blue Note in New York City (6/5). The Creatures will be appearing in Chicago, IL (3/24), San Francisco, CA (3/27), Los Angeles, CA (3/29) and Tijuana, Mexico (3/30). Dave Edmunds can be seen in Chicago, IL (3/24), Milwaukee, WI (3/25) Minneapolis, MN (3/26), Atlanta, GA (3/28), Memphis, TN (3/29), New Orleans, LA (3/30), Houston, TX (3/31), Dallas, TX (4/1), Phoenix, AZ (4/4), San Diego, CA (4/5), Universal City, CA (4/6) and San Francisco, CA (4/7 & 4/8). Dion, Graham Parker, Kim Wilson (Fabulous Thunderbirds), Steve Cropper and the Miami Horns appear with Edmunds. They will play dates in 24 cities across the U.S. Helios Creed can be seen at Smith College in North Hampton, MA (3/26), Middle East in Cambridge, MA (3/27), Maxwell's in Hoboken, NJ (3/29), CBGB's in New York City (3/30) and Khyber Pass in Philadelphia, PA (3/31). Law and Order will be appearing in Long Beach, CA at Bogart's (3/27), at The Whiskey in Hollywood, CA (3/28), Phoenix, AZ (3/29), Anaheim, CA (3/30), at Iguanas in Tijuana, Mexico (3/31), Santa Fe, NM (4/1), Las Vegas, NV (3/2), S.L. Obispo, CA (4/4), San Francisco, CA (4/5), Portland, OR (4/9), Seattle, WA (4/10), Vancouver, BC (4/11), Boise, ID (4/12), Salt Lake City, UT (4/13), and Denver, CO (4/16). They'll be appearing with Raging Slab on all dates. The two bands will be rotating headline status on the dates. The Little River Band are appearing with Warren Zevon in Australia throughout the month of April. Dates are April 3rd-8th at the Melbourne Hilton, April 9th-16th at the Sydney Hilton, April 17th-22nd at the Brisbane Hilton, April 23rd-29th at the Adelaide Hilton and May 3rd-6th at the Burswood Casino in Perth. Raging Slab will be appearing with Law and Order. See above for dates. The Roches will be appearing at the Theatre of Living Arts in Philadelphia, PA (4/6), Guthrie Theatre in Minneapolis, MN (4/12) and McArter Theatre in Princeton, NJ (4/14). Spread Eagle will be appearing at Monopoly's in Riverside, CA (4/6), at The Marquee in Westminster, CA (4/7), at X-Poseur 54 in Hollywood, CA (4/8) and the Roxy Theatre in Los Angeles (4/11). Warren Zevon can be seen along with the Little River Band throughout April in Australia (see above for dates). ========================================================================