iMpulse Holiday Issue

[Richard F. Crum]

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MUSIC JOURNAL\ \_\ ...Music News Across The Net
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--December 10, 1994-------------Music Journal------------Volume I, Number 4--

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S P E C I A L H O L I D A Y I S S U E

[1] Letter from the Editors
[2] Production Notes

N E W S B E A T
[3] MusicFlash - Latest News Around the Music Industry

C O L U M N S
[4] What Alternative? (by Greg Bueno)
[5] Kaleidospace (by Jeannie & Pete)
[6] McLeod (by Sean McAfee)

C O V E R F E A T U R E
[F] iMpulse Editors Choice Awards - 1994
[F.1] INTERVIEW: They Might Be Giants by Bob Gajarsky
[F.2] Technology vs. Tradition by Louisia Sullivan
[F.3] Recording Tips by Wagaphonix
[F.4] Joe Jackson Talks by Dan Enright
[F.5] REVIEW: The Coolest Christmas by Bob Gajarsky

S E L E C T I O N S
[S] Genre-Specific News & Information
[S.1] Jazz [S.5] Classical
[S.2] Country & Western [S.6] Hard Rock/Heavy Metal
[S.3] Modern Rock [S.7] Rock/Popular/Top 40
[S.4] Rap/R&B/Urban [S.8] Techno/Dance

R E V I E W S
[R] How to Obtain Current and Back-Issue Review Supplements
[] Jazz (NEW)
[] Country/Western
[] Modern Rock (NEW)
[] Rock/Popular/Top 40 (NEW)
[] Techno/Dance

C O N T E S T
[C] Enter to win The Beatles Encylopedia!

T H E B A C K R O O M
[7] Upcoming events
[8] Net Resources [9] Staff Box & Contact Info

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:: Copyright (c) 1994 R&R Productions. All Rights Reserved. ::
:: Permission for non-commercial distribution is hereby granted, ::
:: provided that this file is distributed intact and unmodified, ::
:: including this copyright notice. iMpulse and related symbols are ::
:: trademarks of iMpulse Music Journal. (ISSN 1079-5430) ::
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:: All comments, opinions, views and statements represented herein ::
:: are of the author and do not necessarily reflect those of the ::
:: editor, publisher, iMpulse Music Journal or its staff. ::
:---------------------------------------------------------------------------:
:: Portions of iMpulse Music Journal are courtesy and copyright of ::
:: Warner Bros., The Source Magazine, and Consumable Online. ::
:: ::
:: Warner Bros. via e-mail at MaxW...@aol.com ::
:: The Source Magazine via e-mail at Rmsi...@aol.com ::
:: Consumable Online via e-mail at gaja...@pilot.njin.net ::
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:: iMpulse may be distributed only in electronic format. ::
:: iMpulse is available to the public FREE OF CHARGE via e-mail ::
:: only. Annual printed compendiums will be available at a future ::
:: date. To subscribe: ::
:: E-MAIL: imp...@dsigroup.com SUBJECT: SUBSCRIBE IMPULSE ::
:: GOPHER: Electronic Newsstand,gopher://enews.com ::
:: TELNET: Electronic Newsstand,telnet://enews.com,login:enews ::
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[1] Welcome to iMpulse!

We hope you enjoy our first Holiday Issue. The editorial staff has
compiled a list of what we believe to be the *best* of 1994 and given you
the first annual iMpulse Editors Choice Awards.

This issue we usher in 3 new editors: Andrew Hime, our new Techno/Dance
Editor; Deena Dasein, editing the Heavy Metal Section; and Michael Bell,
reporting on classical music news.

This will be the only issue we print during this busy season. We will be
back at the end of January and will be returning to our normal publishing
schedule. Over the break we will be preparing for our new WWW site. We
hope to have it functional early next year.

We wish you all a very safe and happy holiday.

Enjoy
R&R
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[2] PRODUCTION NOTES

iMpulse is produced and distributed in plain-text (ASCII) format. If you
want to print a copy of iMpulse, you will have the best results using
Courier 9 point type (or a similar monospace or fixed-space font) and
using a page width (or line length) of 75 characters. The format you see
on the screen will vary depending upon your mailer and your viewing and
editing software.

To find specific articles quickly, search using the codes in the Table of
Contents. For example, this section (Production Notes) is "[2]." To find
Louisa Sullivan's feature on Technology vs. Tradition, search for "[F.2]."

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[3] MusicFlash - Latest News Around the Music Industry

You probably remember that the last live appearance of The Beatles was on
the roof of their Apple building in Saville Row, London. This happened at
the very end of January 1969. The Beatles, with Julian Lennon, will appear
live to promote the single "Free as a Bird" . Although Julian is not on
the actual single, he will take the place of John. The show will probably
take place on the 12th of December. This will definitely be a surprise
appearance!

----

A pregnant Edie Brickell reunited with her old band for a group of shows
to benefit the 4-year-old daughter of a murdered friend. About 700 people
attended. Brickell is married to singer Paul Simon and is expecting their
second child in March.

----

Country singer Alan Jackson reached a $10 million publishing deal
Wednesday with Warner-Chappell Music. The agreement tops the $3 million
deal that veteran singer-writer Merle Haggard reached last year for
publishing rights to his hits.

-----

Rap musician Tupac Shakur was shot and wounded outside a Manhattan
recording studio just hours after a jury began deliberating whether he was
guilty of sexually molesting a fan. Tupac Shakur, one of the biggest stars
in rap music, and his road manager were found guilty Thursday of sexually
abusing a woman fan last year but acquitted on more serious charges of
sodomy and criminal weapons possession.

----

Gloria Estefan and her manager-husband, Emilio, gave birth Monday December
5 to a 6-pound, 14-ounce daughter. Emily Marie Estefan was born at Mount
Sinai Medical Center, and The Estefans have another child, 14-year-old
Nayib.

----

Covent Garden's Royal Opera House began handing out cough drops to its
audience after conductor Sir Georg Solti complained of wheezing and
snuffling among opera-goers. Opera House director Jeremy Isaacs appealed
on stage to the audience for everyone to help themselves to the lozenges.
But he made sure the lozenges were unwrapped first: ``There are two
intolerable things at the opera house: one is sitting next to someone who
cannot stop coughing; the second is one unwrapping sweet papers.''

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[4] *WHAT* ALTERNATIVE? by Greg Bueno

YOUR FAVORITE RECORDING ARTIST IS ONLY A TELNET AWAY

In the beginning (which for me was July 1993,) there was the Compact Disc
Connection, and it was good - especially since it was the only service of
its kind that I knew of.

Not any more.

In recent months, two additional online CD services - Noteworthy Music and
CDNow! - have given the Compact Disc Connection some worthy competition.
Net-connected consumers are already taking sides on the issue of which
service is better. Start a thread in rec.music.marketplace about these
services, and more than likely, a polite, though useless, flame fest will
start.

Of course, no one service is better than the other, but collectively, they
make music shopping hazardously easy. The following evaluation is, to
quote the standard disclaimer, my personal opinion. (Addresses are listed
at the end.)

THE COMPACT DISC CONNECTION (CDC) is, by far, the most established on the
Net, mostly due to its age, but partly from its Net savvy approach. The
CDC folks don't condescend to 'Netters with ad-hype. They tell you their
policies and you either give them your business or you don't.

The CDC also has a remarkable selection of major label, independent and
import releases at prices about $3 below list price. Whether you're
looking for Madonna or Richard Shindell, CDC can get it for you within a
week or so.

Their shipping policies favor Continental U.S. customers. For orders over
$100, shipping is free, otherwise you pay a flat $3.50. UPS Blue label
shipping is also available for certain destinations. Residents in Hawaii,
Alaska, Puerto Rico, and the Virgin Islands, however, must pay an air mail
rate of $6 for the first THREE CDs, and $0.50 for each additional, which
I think is a bit steep. They also levy a per-CD charge for overseas
shipment.

Their menu-driven interface, though easy to use, relies on the "q" key a
bit too much. To get from one menu to another requires at least two or
three "quits." Also, their selection process, which uses an abbreviation
of the label and catalog number, is cumbersome.

CDC accepts check, money order, and the two major credit cards. Granted,
transmitting your credit card number doesn't sound safe, but charging your
order is the fastest way to process it. They won't charge your order until
it's filled, and if you pay by check, the CDC won't lift a finger until
it's in their hands.

CDNow! offer pretty the same selection (in addition to videos) as the CDC,
but they differ greatly in terms of prices, shipping and interactivity.

For Continental U.S. residents, that means a higher total. For Alaskan and
Hawaii customers, the tally is cheaper by about $1. Both CDC and CDNow!
fill your order in a week or two.

Another area in which CDNow! beats the CDC is user-friendliness. CDNow!'s
telnet interface is extremely easy to use. Simply type in the name of and
artist or the title of an album, then follow the numbered instructions on
the screen. Before you know it, you've a few dollars poorer. Their WWW
pages are also attractive, although some of the data doesn't match the
telnet info. In addition, CDNow! provides an e-mail address where you can
send comments. Although CDC allows feedback, you must first telnet to
their site.

Like the CDC, CDNow! also accepts check, money order and credit cards.
Their policies are basically identical.

NOTEWORTHY MUSIC, on the other hand, had already established itself as a
mail-order service before its debut on the Internet. Not only do they
offer the cheapest prices (sometimes, $5 below list,) but they ship on the
same day that you place your order.

Unlike their competitors, however, Noteworthy has an incredibly imited
selection. Whereas CDC and CDNow! boast a collection of 100,000 CDs,
Noteworthy advertises a collection of 17,000, most of it major label
releases. Still, those 17,000 CDs are bargains even after all but the most
expensive shipping charges (FedEx). Shipping options range from parcel
post to Federal Express.

The telnet and WWW interfaces (through Netmarket) are virtually the same -
the telnet interface uses arrow keys while the WWW pages allow you to use
a mouse (depending upon your browser). Searching is very easy but
overly-picky as well. One misplaced space can foil a search attempt. One
tip: when looking for classical music, you might as well choose the browse
option.

The most notable option in the Netmarket interface is the Wish List. Once
you find what you like, put it on your wish list and buy it later. This
option, which also available on CDNow!, allows the budget-oriented to pace
their purchases.

Noteworthy purchases over the Net are through credit card only, allowing
them to ship on the same day. (Note: For all three services, you must
first set-up an account.) If you prefer to pay by check, you can set-up an
account over the phone by calling 1-800-648-7972. You can request a
catalog (updated quarterly) which contains an order form.

Overall, all these services are incredibly useful. If you're searching for
indies, go with CDNow! or the CDC. If you want a major label release, try
Noteworthy. No matter which service you choose, your favorite artist is
only a telnet away.

COMPACT DISC CONNECTION: telnet: cdconnection.com

CDNOW! telnet: cdnow.com, http://cdnow.com/

NOTEWORTHY MUSIC: telnet netmarket.com, http://www.netmarket.com/

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[5] Kaleidospace by Jeannie Novak & Pete Markiewicz

Jeannie & Pete will return next month. In place of there column here are
two responses to their last one.

----

I am writing regarding the article by Jeannie Novak & Pete Markiewicz
called "Record Labels are Moving Online".

The URL for Warner Bros. is incomplete. It is listed as
http://www.iuma.com, which is the home page for IUMA. Warner is a choice
off of that page, and it's URL is http://www.iuma.com/Warner.

Thanks.
-Michael Breen
UC San Diego Webmaster
MKB Studios
mbr...@infopath.ucsd.edu

----

In a previous issue of iMpulse (October 26th, 1994) Jeannie Novak & Pete
Markiewicz made the following prediction about the role of record labels
on the Internet:

We don't expect labels to swamp the growing number of independent Web
music sites. A hallmark of Net communications is that the size of the
group creating a promotion bears little resemblance to the quality of
the site. Thus, for the foreseeable future it will be possible for
independent musicians to create a Net presence rivaling that of the
largest corporations.

As much as I hate to say this, I think Novak and Markiewicz's conclusion
about the foreseeable future of major labels and the "balance of power"
between the majors, the independent labels, and individual artists on the
Internet is too optimistic. Even though I'd like to imagine a level
Internet playing field for musicians and record labels, I keep thinking
about the line from the Cyndi Lauper song "money changes everything."

Here is what I see happening:

- Electronic cash will make it possible for anyone on the Net to charge
for anything. This will fuel a commercial stampede onto the Internet
that will rival the chaos and intensity of the California gold rush
of 1849. Service and network providers are preparing for this right
now. All the major communications companies are building networks.
They are looking to make a lot of money when electronic cash becomes
available.

- Despite all the network construction, bandwidth will remain limited.
Unless bandwidth becomes magically unlimited (or at least increased
radically), it will become scarcer as more people flood onto the
Internet. With scarcity brings rising costs and calls for regulation.

- The Net will become regulated, at least to the extent to which the
phone system or the airwaves are regulated. It is ultimately
in the interests of Big Business to regulate the Net in order
to reduce competition. It is in the interest of government to
regulate the Net to guarantee an orderly tax-revenue stream
from Net activities.

- Big business and government have a long history of mutual
back-scratching. since big business has the funds for effective
lobbying, you can bet the regulatory terms will favor larger
businesses over smaller ones and individuals. I foresee license fees
and permits for commercial Net uses. Historically, license fees and
permit processes have been used not only to attempt to guarantee
minimum acceptable quality levels for products and services,
but also to limit competition, as is the case in the tavern industry.
(In my old home town of Pasadena, CA, the last time I checked a liquor
license cost something like $70,000 and there was a waiting list.)
The initial chaos will be used to justify competition-limiting
regulations that keep prices adequately high for those who remain
connected.

- As the Net becomes regulated and thus transactions become more
expensive, people will be less likely to browse they way they do now
and less likely to spend precious time (and money) on downloading
marginal or experimental products. People will expect and seek out
more polished, mass-market products.

- Companies that undertake better promotion and provide a
higher-quality product and better delivery will garner more
attention and business. Our local MacDonalds does much more
business than our local falafel hut, even though they are
right across the street from one another. MacDonalds
has better promotion, better product delivery (counter
service), easier access (more parking spaces), a more
universally-accepted product, and a consistent level of quality.

I'm not arguing that regulation will utterly banish all independent labels
and individual artists from using the Internet for music. I'm merely
arguing that barriers for entry will become much higher than they are now,
and competition will become much more fierce as costs rise. The Internet
will no longer be the relatively-level field that it currently is.

Larger labels will be better able to maintain visible presences than indie
labels and independent artists because the larger interests can afford
higher-speed net links, faster servers, and more storage space. Although
the space issue will be resolved (or at least mitigated) in the
relatively-near future by advances in mass storage technology, the issue
of bandwidth is here to stay for a long while.

Big labels have big-name artists, and can afford to advertise using a
variety of other media. They have the money to capture bandwidth
resources, both in terms of promotion as well as delivery technologies and
legislation (through lobbying). In general, we've only begun to see the
changes money and the promise thereof will make to the Internet.

Some might argue that the Internet and modern recording technology make it
possible for more artists than ever before to make high-quality, salable
recordings and distribute them over the net. While this is certainly
true, I don't believe that will have any significant effect on the major
labels.

I have an old 45 rpm recording of my mother singing, made when she was in
college. She was top-notch vocalist, with a good shot at a performing
career. A fellow student recorded her performance using a portable
disk-cutting lathe - this was before magnetic recording technology had
quite matured. It was around this time that Les Paul was making his
phenomenal multitrack recordings using disk lathes.

Today, anyone with an $800 DAT recorder can make a better-quality
recording than my mother could have hoped for on that portable lathe.
Digital recording technology - which includes digital recording, on-line
editing, digital mastering, and writable CDs - continues to drop in
price. However, my mother's performance was far better for its genre than
any of my performances have been for my genre, even with my modern DAT
equipment. It takes more than a DAT recorder and a Web page to produce
good or salable music.

Through the Internet an artist can gain some exposure and receive
important and useful feedback, but it doesn't create talent where none
existed before. Major artists, funded by major labels, will consistently
hire better talent, find the better songs, and make better recordings
overall.

In the long run I would expect labels on the Net to continue playing the
roles they've played to date. Novak and Markiewicz stated that they
believe the Internet is a place where major labels will look for talent.
I agree completely, since that is a continuation of their current role. I
also think that modern record labels will adapt well to the changing
technologies.

I believe the big labels still remember the lesson of their birth. Up
through the Great Depression of the 1930s, music publishers dominated
popular music in America because they controlled publishing rights and
sheet music distribution. Prior to the phonograph record, paper was the
only way to distribute music. However, they did not adapt to the modern
recording technologies, and importantly did not adapt to the changing
economics of record sales versus publishing royalties. Publishing
companies could have been the first record labels, but they either passed
up or never saw the opportunities. When sheet music sales plummeted during
the 1930's, the publishers fortunes faded. In the end, the major
publishing houses were purchased outright by record companies (who, since
they now owned the publishing houses could extract more profit from each
record sale). I don't think the managers of today's labels have forgotten
the lesson of "adapt or die," as evidenced by their movement onto the
Internet.

Some may comment that the major labels are being Jurassically-slow in
moving onto the Internet. Actually, I think they are moving remarkably
fast considering what's at stake. Issues such as how the Net affects
distributors and retail stores, not to mention the issue of piracy, are
life and death matters for a record label. For them to identify and move
on this opportunity a mere nine months behind Kaleidospace and the
Internet Underground Music Archive (IUMA) is nothing short of
extraordinary.

Businesses on the whole are moving remarkably fast onto the Internet, and
into the World-Wide Web (WWW) in particular. The Yahoo list of Web Sites
(Yahoo - A Guide to WWW, http://akebono.stanford.edu/yahoo/) has some
4,000 corporate page links. Music links are only about 1100 when I last
checked. No other category of link on Yahoo comes close in size to corp.
home pages. At least, that was the case when I last checked.

As I mentioned before, I think electronic cash will trigger the flood of
change. History shows that in the face of such change populist ideals and
practice do not compete on any sort of level playing field with
well-funded interests. Ultimately the labels, or perhaps independent
distributors or the Net equivalent of retail outlets, will push the
independents and individual artists down to second and third-tier players
in the music game on the Net, the same relative positions these players
occupy in the non-Net world.

History always repeats itself. For an example of this, I recommend the
book "Tube of Plenty," by Todd Gitlin. Although focused primarily on
television, Gitlin recounts the earliest days of radio, before there was
even advertising. Amateurs broadcast radio programs using primitive rigs
and radio was seen as a public treasure, open to all. Then, one day,
someone did the unspeakable: broadcast an advertisement. Although the act
was met with shock and denouncement, the rest, as they say, is history.

I wish I could be confident that this time it will be different, that the
Internet will be preserved for relatively unlimited public access with low
monetary barriers to entry. I wish it would keep its populist flavor,
which is why I contribute to Usenet newsgroups and to projects like
iMpulse. But I'm not terribly confident that it will, so I enjoy it while
I can. At least it's thrilling to know that we are pioneers in a
significant chapter of history - the settling of the Internet.

- Kameran Kashani
Silicon Graphics Computer Systems
ka...@sgi.com

----

For more information on Kaleidospace:

http://kspace.com gopher.kspace.com ftp.kspace.com

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[6] MCLEOD by Sean McAfee

This is the second in a series of occasional articles following a young
musician today as he tries to go from playing in a local band to creating
and selling a CD of his own music. Some names have been abbreviated to
protect the innocent and the guilty.

The Band Years

Barrie McLeod had decided early on that he wanted to be a musician. He
played with a few friends in a "band" that did talent shows and bar
mitzvahs. That wouldn't do. He needed real rock and roll.

He started playing around with some friends from high school. They called
themselves Liquid Eyes and began practicing together. Then, in 1986, a
man rode in out of the west - a childhood friend of Barrie's girlfriend.
He played lead guitar with a vengeance. Everything clicked, and soon the
band solidified. According to Barrie, "1986 to 1989 were serious years. I
had screwed around with them... but we were never too serious until Long
joined the band." They proceeded to get serious, and set out to write some
music and try to book gigs in clubs around the D.C. area.

The four rented a house in Rockville, Maryland and moved in together. The
basement was converted into a studio by gluing stolen carpet padding and
ceiling tile to the walls. A riser was built for the drum set, and Liquid
Eyes got to work polishing their sets. With Barrie writing most lyrics
and melodies, the other three band members ("Long" - guitar, T. - bass,
and S. - drums) easily fleshed out the tunes into songs they could play
live. Barrie handled lead vocals, acoustic guitar and keyboards and was
the band's frontman. He took Dylan McLeod as a stage name.

Shows were booked most often at The Grog, a club that prided itself on
showcasing new local talent. With their own equipment, plus begged and
borrowed lights, sound boards, and other gear, they began playing about
once a week. Long was a technical wizard, patching all the pieces
together into a single system.

Quickly the sets came together. The Grog was dark and hot, and usually
packed. Audiences liked them. They designed bumper stickers and T-shirts
to give out at the shows, and recorded a demo cassette on Long's 8-track.
The money was tight, as it always is for bands breaking in, but
professionally, things were moving along.

Personally, however, the band was beginning to feel the strain of living
and working together. "No one wants to see the same person all the time"
Barrie says "We got tired of looking at each other."

The band house was a noisy, smoke-filled collection of rooms, at least one
of which had a minor party going on at all times. People came and went at
any hour of the day or night. Long preferred to be awake between the
hours of 4 P.M. and 6 A.M., and to sleep during the day. His pale skin
spoke of his hours. S. tried to keep normal hours, especially when he was
the one working. Barrie and T. slept according to their moods.

At times all the band members held jobs, but most didn't last. Money was
borrowed from family on occasion. Only one band member had a girlfriend,
and this was cause for friction among them - jealousy or annoyance at
stolen time, no one would say. There was drinking. Lots of drinking.
This sometimes led to tension, especially when the discord was between the
stoners and the drinkers. Once a fist was put through a door.

Despite these problems, in 1988 the band moved to Austin, Texas, hoping to
capitalize on the new music scene there. While personalities were
clashing, the music was better than ever. They played several gigs,
actually getting some critical acclaim, before things fell apart.

Barrie, having written most of the material and being the frontman, was
considered de facto leader. T. decided he was leading the band in the
wrong direction and that the band needed to go heavier. T. knew Barrie
wouldn't go along with that, so he caused trouble among the band members,
hoping to get Barrie thrown out. Meanwhile, money was still a problem,
and what little they had was being mismanaged. Long tried to stay in the
background of the band and refused to deal with the situation. He and
Barrie eventually became estranged. Finally, Barrie was thrown out of the
band. It split up one month later.

Still in Austin, Barrie got together with Long once more to record a demo
of "Burn" at a studio in Austin. Although they had serious personality
clashes, the two were in sync musically. They got interest from some
labels, but nothing solid. They hooked up with S. and two others and
reformed Liquid Eyes. It lasted for 6 months.

Long says today, "It was too far too fast...Too much mundane life and not
enough music" Barrie is more succinct. "We were young and stupid."

Next: Musician Without a Band

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[F] iMpulse EDITORS CHOICE AWARDS 1994 by iMpulse Editors

What are the BEST of 1994?

The editors of iMpulse have taken a retrospective look at the music and
news of the last year and we have put together our own list. It represents
what we saw as the best artist, album and newcomer for each genre of music
that we cover.

What should we watch for in 1995?

In Jazz... It's not news to some, but free jazz is making a strong return
after years in exile. With saxophonists Charles Gayle and David S. Ware
leading the way, younger players like drummer Franklin Kiermyer and
veterans like Pharoah Sanders alike are starting to make music that takes
no prisoners.

Since moving to New York to study with Jaki Byard and Don Pullen several
years ago pianist D.D. Jackson, 27, has won over a number of influential
admirers, including saxophonist David Murray and violinist Billy Bang. His
debut recording, made in November with Murray and a rhythm section, will
be released by Justin Time in the spring.

In Modern Rock... Band masterminds Ken Stringfellow and Jon Auer proved
themselves to be intuitive power-pop wizards in the reunited Big Star.
If the Posies' contributions to various compilations this year is any
indication of what to come on next year's new LP, it should be quite a
treat indeed. The band may be handicapped by various lineup changes in the
past few months, but most likely the Posies' grace and vitality will
continue to shine through.

The most recent issue of _Option_ magazine identifies low-fi recording as
the latest indie buzz. Bands such as Sebadoh, Guided by Voices and
Pavement use simple, 4-track recording techniques and emphasize
heart-wrenching vocals. Major record labels are reportedly waiting in line
to get a chance at signing Sebadoh. Even though the Velvet Underground was
low-fi over 20 years ago, to new audiences, it sounds like a musical
revolution. Expect these bands to break big in 1995.

In Classical Music... Interest in early music will continue. Chant
rip-offs will plague us, but we can also hopefully look forward to some
undiscovered treasures from centuries ago. I also hope to see some more
interesting releases of minimalism like the Bryars and others

In Heavy Metal... Manowar, the greatest heavy metal band ever, if by that
term you mean heavy (on emotional impact, on musical virtuosity and on the
volume controls) will be releasing their next studio album on Geffen.

In Techno/Dance... Tony DiBart, if he can work up a full album. Moby may
finally break mainstream, providing quality sounds. Jungle music, too.

In Rap... Who to watch out for: Outcast, NAS, & The Lady Of Rage.

When we look back at 1994, what will we remember most?

That is the subject of the iMpulse Editors Choice Award. Laying aside all
subject headings and classifications what has captured the most interest
and left the most lasting impression on the calendar. This year's winner
was the only artist to play at both Woodstock II and Lollapalooza. Their
own tour, simple as it was, sold out constantly across the country. They
led the way in the merge of punk into mainstream MTV-Pop Rock history.
This year, the iMpulse Editor Choice Award goes to Green Day.

THE WINNERS------------------
->iMpulse EDITORS CHOICE AWARD: Green Day

CLASSICAL
->BEST CLASSICAL RECORDING: Memento Bittersweet (Catalyst)
->BIGGEST SURPRISE: Benedictine Monks of Santo Domingo _Chant_ (EMI/Angel)

HEAVY METAL
->BEST ARTIST/GROUP: Slayer
->BEST NEW ARTIST/GROUP: Machine Head (debut on Roadrunner)
->BEST ALBUM: _Nativity In Black: A Tribute to Black Sabbath_ (Columbia)

TECHNO/DANCE
->BEST ARTIST/GROUP: The Prodigy
->BEST NEW ARTIST/GROUP: Tony DiBart
->BEST ALBUM: The Prodigy, _Music For The Jilted Generation_ (Electra)

JAZZ
->BEST ARTIST/GROUP: Charles Gayle
->BEST NEW ARTIST/GROUP: Saxophonist Seamus Blake
->BEST ALBUM: Charlie Haden/Don Cherry/Ed Blackwell _The Montreal Tapes_
(Verve)

MODERN ROCK
->BEST ARTIST/GROUP: Counting Crows
->BEST NEW ARTIST/GROUP: In Perfect Bedlam
->BEST ALBUM: Nine Inch Nails _The Downward Spiral_ (Interscope)

ROCK
->BEST ARTIST/GROUP: John Mellancamp
->BEST NEW ARTIST/GROUP: Joshua Kadison
->BEST ALBUM: Shawn Colvin _Cover Girl_

RAP
->BEST ARTIST/GROUP: KRS-ONE
->BEST NEW ARTIST/GROUP: Wu-Tang Clan
->BEST ALBUM: Snoop Doogy Dog _Doggystyle_ (Death Row)

-----------------------------------------------------------------------------
[F.1] INTERVIEW: THEY MIGHT BE GIANTS by Bob Gajarsky

I recently caught up with John Flansburgh of They Might Be Giants.
Flansburgh and John Linnell comprise the main part of this group, best
known for their quirky songs such as "Don't Let's Start," "Ana Ng," and
"Birdhouse in Your Soul." On their most recent release, _John Henry_, the
duo employed several full-time musicians to add to their breadth and
depth.

How busy was he this day? While I was conducting the interview, John was
doing his dishes - it's hard to do that when you're on the road most of
the time. He had been giving interviews for seven hours straight. But, in
between, he was told that the St. Louis show sold out in 90 minutes. The
hectic pace comes with the territory when you're as in demand as They
Might Be Giants.

Q: Your new album, _John Henry_, is the first album you've had a full band
on. What triggered the decision to implement a full backing band?

TMBG: Well, it was a practical thing - we were going out on a long tour in
the middle of 1992 (for _Apollo 18_) and we were trying to change up the
show. We had toured for a year solid in 1991 (for _Flood_) and then went
out in the beginning of 1992 as a duo and it struck us that even though we
had added a half dozen songs to the show, it was hard to make the show
seem different from what we had done in 1990. We didn't want to do a big
national tour that was the same as the 1990 show.

Q: That was when you had the backing music and such accompanying you?

TMBG: Yeah, we were working with a drum machine; we spent 1991 working on
_Apollo 18_ and not working on a live show, so we were trying to figure
out how to spice up the show. We decided to bring in some side musicians
to play a couple songs and at some point, we decided that might be too
weird to have someone on the road to play only three songs - it was an
indulgence of sorts. I had been playing drums in the show for a few songs
- which was interesting - so we were almost dipping our big toe in the
live rhythm section. We auditioned some people, rehearsed for a few weeks
with a five piece lineup and it started working. The audience's response
has been really receptive.

Over the last couple years, the lineup has changed a bit - Kurt (Hoffman,
horns) has left the band to work on some movie soundtrack projects. We're
now a six piece - we added Randy Ando, who plays trombone as well as tuba.
We're expanding - it's nice to have a full horn section.

Q: So, how long have you been together now - it must be nearing ten years?

TMBG: We've actually been together since 1983. We played in crummy clubs
for three years or so.

Q: What's the best and worst things about having a band playing behind
you?

TMBG: The best and worst parts are intrinsically linked. It's an
intimately more social thing - the up and down sides of that are a total
constant now. It's really fun hanging out with these people and it's
musically challenging to work with them; there are all sorts of levels to
pursue what you're doing. On a personal level, as a musician, it's really
opened up a whole new area for me. Writing for horns is really exciting,
hearing the music *become* a full blown band sound - I feel like I'm lucky
to hear these great players work on my songs. It's really wonderful and
rewarding to work with a great bunch of guys.

The other side - John and I have this responsibility of being band
leaders, which means to some extent, we have to think of ourselves as
bosses. For us, that's uncomfortable - we want to be fair, we want to do
right by these guys, but it makes things complicated. We've (the two
Johns) have always been self-contained which has been a strength, without
compromising a thing. We just did our own thing - but now we have to
figure out schedules that work for us - it's a whole new level of
complexity.

Q: I notice one song is written by four of you on _John Henry_ - "A.K.A.
Driver" - and the rest were written by you and John. Were there any
problems with that - songs that the other members contributed on, that
didn't make the final cut?

TMBG: No, not at all. John and I are the songwriters on the project -
we've been in the band for eleven years and to some extent, They Might Be
Giants is linked to the collaboration between the two of us. It's hard
for me to imagine how it could work any other way. When they are involved
in the writing process, they are credited, but the songs are pretty
arranged by the time they get to the band. They bring out the nuances in
the material, but the arrangements come down to me and John.

Q: Other than the band, how did _John Henry_ differ for you from the other
albums?

TMBG: It was the first record we made outside of New York City (in
Bearsville, New York).

Q: Was that in Todd Rundgren's studio?

TMBG: No. Bearsville was built by Albert Grossman (Bob Dylan's manager)
and was built to accommodate The Band. Rundgren worked as an engineer
there in the mid 1970s and then had his own studio elsewhere in the same
town. The reason people associate the two is because Todd Rundgren's
works came out on Bearsville Records. There's lots of studios up there -
Dreamland Studios is in the town next door and there are a couple other
studios as well in the area. Bearsville is a real "A" studio - super
swanky and all. It was different because we felt like we were moving - we
had to move all the equipment to make the record.

The best thing for us was that we took more time to make the record and
had an overabundance of material that was road tested from performing it
at shows. We never really slowed down once we started working with the
guys, between the _Apollo 18_ touring and making the record - we were
always adding new songs and working them out in front of the audiences.
That fleshed out a lot of the ideas in the arrangements.

The weird thing about being in a band that continues to record and has a
public life is that you wind up on the treadmill of writing, recording and
performing. There's times when you're recording material that you just
finished writing. When I listen to "She's Actual Size" (from _Apollo 18_),
I would be lying if I said that it didn't make me a little disappointed,
because the later performance versions of it have so much more spirit than
the recorded version. It was very tentative at the (recording) time
because it was just finished.

Q: So, at the time, it was your best version, but since that time you've
improved upon it.

TMBG: Yeah - and, it's not so much the arrangement, but the confidence we
have when we perform the song. It's frustrating to hear the "definitive"
version of the song - I think it's a solid song - to be a timid
performance. With _John Henry_, it was the exact opposite. We had the
opportunity to perform them and really nail down the best versions; we
took the extra time and I think it paid off in terms of quality.

Q: You mentioned about the "public life" - do you have any problems when
you go out, outside of touring, when you're just walking around?

TMBG: No, it's not that weird - by and large, because our faces aren't on
the record and our videos aren't in heavy rotation (on MTV), we don't have
any of those kinds of problems. We're definitely a kook magnet in some
ways, and we have had run-ins with people who would be better off in
institutions, but it's not a big celebrity crisis. We used to get
recognized by the local grocers who would see us on the "Joe Franklin
Show", however.

Q: A couple songs on the new album caught my attention - on "Subliminal",
what is the backwards message at the end of the song?

TMBG: It's the vocals and the drums of the song, played backwards. When
we were making the demos and fooling around, it sounded interesting, and
we thought it fit in with the song.

Q: "Meet James Ensor" is a song on _John Henry_ - can you tell us a little
about the man you wrote about? What prompted this?

TMBG: In my art history class, while in college, we were bored and all of
a sudden his works came up and we were surprised at how exciting it was.
He was an expressionist, like other 20th century expressionist painters,
who was ahead of his time and was very eccentric. The line "Dig him up
and shake his hand" is actually very specific - a parallel idea to a lot
of his paintings which involve resurrections, skeletons and puppets being
animated.

It's not an accident that the language of the song reflects his work. He
did a painting - titled something like "Self Portrait in 1970". It's a
skeleton, wearing his clothes. He became a phenomenon right before the
turn of the century. With the song, I'm trying to encapsulate the issues
of his life - an eccentric guy who became celebrated and was soon left
behind as his ideas were taken into the culture and other people became
expressionists.

Q: You also did a song about James Polk a while back, as a B-side to one
of your singles. Do you feel a need to write songs about unrecognized
people?

TMBG: Well, James Ensor isn't completely unknown; he's one of the lexicon
of modern painters. He's really fresh. I don't feel like I'm an advocate
of James K. Polk; in fact, the song is pretty easy on him - we could have
been much nastier on him. It's fun to write those kinds of songs.

Q: What are your favorite songs off of _John Henry_?

TMBG: I really like "End of the Tour"; I sort of regret that it's at the
end of the record, because I feel it's one of the strongest tracks. I
hope people notice it and don't skip through it.

Q: I think people who buy a They Might Be Giants album will listen to it
the entire way through; I don't think you attract the person who hears a
single on the radio and buys it for one or two songs, ignoring the rest of
the album. It seems that your fans appreciate the whole album.

TMBG: Well, I hope that's the case. I think our true fans are like that
but it's hard to tell. People get focused on singles.

Q: And, every moment you or any band is around, someone will accuse you of
being a sellout.

TMBG: Yeah, you know, I'm just looking forward to *being* a sellout.

Q: And making the money a sellout gets?

TMBG: Fuck yeah!! Why worry? Just one "Short People" and then you're all
set...

Q: Randy Newman now has the creative license to be himself again, and he's
financially set for life.

TMBG: I just want to go on the record as saying that Randy Newman is one
of my great influences. I think his case is a really interesting one; one
of my biggest fears is that a song of ours, which works on a sophisticated
level, becomes popularly misunderstood - that's certainly the case with
"Short People". If it was just an album cut, your appreciation for the
song would be completely different. You'd catch the subtleties and notice
its charm. But, because it was such a big hit, it's been completely
contextualized.

Q: People focus on one line, the refrain..."short people ain't got no
reason to live".

TMBG: A lot of people don't even get it - people just think it's real,
from a guy who doesn't like short people. They don't even know - it's a
two dimensional type of audience response that can happen. I feel lucky,
in a sense, that we haven't had that kind of success - and I worry that if
we ever did have a big hit single, it would be something running along
those lines.

Being popularly misunderstood...(Timbuk 3's) "The Future's So Bright, I
Gotta Wear Shades" is another one. It became this sort of frat-boy, creep
anthem.

Q: What were your goals when you were with Bar/None (recording label for
the first two albums) and how have they changed now that you're with
Elektra, a "major" label?

TMBG: That's a difficult question - our goals have always been to make the
best records we can. I think people put this great emphasis on how going
to a major label is a compromise and how an indie is not a compromise, but
from my point of view, it's always a struggle when you're doing this kind
of work. You are involved in making records, and just *finishing* a
record is a compromise. You're always dealing with other people, a
company and in a lot of ways I feel there is very little difference
between the two labels. There are lots of really nice people at both
labels, they're both helpful. I've never felt compromised being on
Elektra, or that we had to change anything.

The biggest change we had was between our first album on Bar/None, where
there were no expectations and our second album, where all of a sudden we
had an audience, and there was a momentum to our career. That was a
bigger challenge.

Q: Where do you get your influences for your writings, to hear others
music?

TMBG: Friends of ours turn us on to new groups. Being out on the road,
you end up meeting a lot of people and seeing a lot of shows as you go
along. I think you can't help it; you get caught up in the whole scene,
while being on the road. Being in the band also has increased our lexicon
of music - we all have diverse tastes in music.

Q: How do you feel about moshing at shows, either at your shows or in
general?

TMBG: I have mixed feelings about it. In a sense, I'm flattered by it; I
would never have imagined anyone would want to mosh at our shows. But,
having done shows where far too many people are moshing, and having seen
the entire focus of a show be spoiled by an overexcited group of people,
if I had to make one definitive statement, I would say, "Please don't
mosh. It takes away from other people's enjoyment". I've seen a lot of
people get hurt and I don't want anyone to get hurt at our shows. We take
a lot of time out of our days to put on a safe show. We're not ignorant
(of the things that can go wrong) and we're involved in our production.
When you start having crowds bashing into things, it increases the chances
of adversity.

Also, I hate feeling like someone's dad - "C'mon people, let's not kick
each other in the head" - I don't feel like that's my role, but, at the
same time, I don't want to sit there playing songs all night when some
drunk guy is kicking people in the head.

Q: What are your favorite song(s) to play live?

TMBG: The songs that I don't sing on at all are fun to play. Playing
"Don't Let's Start" is always a gas - it's got a lot of guitars, and
everyone knows it and digs it. It's kind of like "The Guitar," they're
fun to play.

Q: Do you still play "Stump-the-Band," where someone hollers out a song
and you try to play it?

TMBG: We've pretty much eliminated that part of the show. It's just too
hard to do anymore.

There is much more to They Might Be Giants than just playing and singing.
Flansburgh takes his work very seriously, without giving pat, "safe"
responses - his answers come from the heart. The same attitude goes into
the band's music - whether it's the bop of "Don't Let's Start" or the full
backing on TMBG's most recent single, "Snail Shell," They Might Be Giants
are a very serious band with a very fun sound.

[Originally appeared in Consumable Online]

-----------------------------------------------------------------------------
[F.2] TECHNOLOGY VS. TRADITION by Louisa Sullivan

The Revolution in the Music Biz

A dramatic metamorphosis in the music industry is occurring at this very
moment. Because of cyberspace, the industry will never be the same.
Whether this is positive or negative depends upon which side of the road
you're on. As a consumer or an artist, you'll reap the benefits. As an
industry insider, however, it could spell trouble.

Take, for example, the major labels. Currently, they have almost complete
control of music distribution. Without a major, a band doesn't have full
marketing potential. In the very near future, however, that will all
change.

Adam Cohen, a New Orleans based entertainment lawyer, describes the impact
of cyberspace and music distribution. "Most importantly", Cohen says, "is
that it has potential for becoming the dominant method for the
distribution of music commercially." He explains that a production
company will fund and produce a recording, and they will contract with a
marketing firm to provide all marketing services for the recording.
They'll pay for these services on a commission/royalty basis, then they
will put their release on-line where the consumer may purchase a recording
which will be transmitted directly into their house to be recorded on
site. The consumer will turn on his TV and switch to one of the music shop
channels and will scroll through new releases, old releases, whatever
strikes his interest. He can point and click and bring up a full
multimedia package on the band. Photos, videos, bios, music clips, and can
even check out touring schedules and purchase tickets to upcoming shows.
And if he likes the band, he can purchase recordings which will be beamed
into his house.

Cohen went on to state, "the implications of this new distribution system
are tremendous. If you accept this scenario, there is little or no role
for the major label." As for the economic implications of this, he says,
"Right now, manufacturing, distribution, and retail mark-up costs
represent approximately half, or about 8 dollars per unit of cost. With
this new distribution method, you'll save almost all of that cost. That
means at least double the gross profit for each CD sold."

So, who gets that extra profit? According to Cohen, if the artist gets
only ten percent of these additional profits, the artist will be realizing
almost a 100% increase in revenue per unit sold. If the artist gets more
than 10 percent, then profits increase even more dramatically.

Consequently, cyberspace has the potential to become the dominant means of
marketing music, leaving the major labels behind in a trail of dust. Or at
the very least, it will provide an equal level of competition for indie
labels and artists. It should be interesting to watch this revolution take
place.

-----------------------------------------------------------------------------
[F.3] RECORDING TIPS by Wagaphonix

The "Big" Acoustic Guitar Sound

Hello again, Wogaphonix here. More greetings from the Spider Cave.

Today I'd like to share some home recording techniques with you. I use a
Tascam 424 Portastudio (4-track cassette with hi-speed DBX), although
these sonic tips will work in any recording situation. Let's focus on
acoustic guitar - a common demo format. As in any discussion, you may not
agree with every point, but hopefully you will find something useful for
your application.

I combine two signals when recording an acoustic guitar. One signal comes
from a microphone placed five to seven inches from the sound hole. The
other signal comes from a pick-up on or in the guitar. Set your pan
control all the way to the left on one signal and all the way to the right
on the other. This will give you a very big guitar sound with a slight
off-phase effect. With your headphones on, use your EQ and levels to
balance the two signals and shape them to your liking. Then listen through
the speakers for the final balance. I never cared for the pick-up sound on
an acoustic by itself but when you blend it with a mike ... oo-la-la!

This technique has also served me well in live club situations. It doesn't
matter if your live set-up is stereo, its all in the blend!!

Tape Tip

Always use new tape!! It's worth it. Every time you start a new song use
new tape. Re-recording on old tape can result in drop-outs, flutter and
loss of high end. Many, many times I've worked far into the night in the
bowels of the Spider Cave only to discover my epic was ruined by old tape.
Use new tape!!

That's all for now. Hope to talk to ya soon ... WOGAPHONIX

P.S. I'm receiving e-mail at: WOGA...@aol.com

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[F.4] JOE JACKSON TALKS by Dan Enright

It's been three years since Joe released _Laughter and Lust_, so there has
been a lot of anticipation by his fans for his latest project _Night
Music_. What direction would the album take? Would he tour? Fans of Joe's
music and career wanted answers.

When _Night Music_ was finally released last September the postings on
jackson-list (an Internet mail group dedicated to discussing Joe Jackson)
were excited about the album and potential tour. The album was a natural
progression that needed several listens to absorb, said some. The most
challenging album yet (no small feat) said others.

When the tour dates were announced, many on the list were crushed. Joe was
only going to do 14 dates in North America before going to Europe, and
those 14 dates (in fact the whole tour it turns out) were small, intimate
concert halls. The Beacon in NYC is the biggest hall he'll perform in on
the North American leg of the tour. Several subscribers to the list made
it clear they'd travel as far as necessary (thousands of miles in one
extreme case) to see him perform. That kind of loyalty has been earned by
Joe's exceptional writing, composing, and performing career.

You can't imagine how excited I was when I found out I'd have a chance to
talk to him. First of all, Joe Jackson is very reserved. He's also witty,
intelligent, and passionate about his music. That made for a formidable
interview. Knowing how valuable his time is I was nervous about wasting
it, but he turned out to be a gracious gentleman who patiently (and
frankly) answered all my questions.

I was curious to find out about _Night Music_. With it's blend of pop and
classical elements, the multiple interpretations of the albums meaning had
been a constant topic on the mail list and in the album reviews. I asked
point blank what his interpretation was. He paused, then told me "I was
trying to make something beautiful and magical and seductive. A lot has
gone into this record. There's a lot of layers to it and I want people to
listen to it many times, be gradually drawn more and more into it. The
extent to which I've succeeded is not for me to say in the end. I don't
know that there is one literal interpretation that's the right one. I'm
conscious of a lot of different sides to it. It's nocturnal, obviously.
It's about dreams and it's reflective and philosophical I think. I'd say
this album comes from a deeper place than the last one did and most of the
one's before it. I'm trying to connect with people on that deeper level.
If it's less people then that's ... not really the point."

Our conversation then shifted to my observation that his career had
always involved experimenting and taking on challenges. He agreed, "Well I
think it should be a challenge. I mean, it's baffling to me that people
express surprise at the fact that I would experiment or try new things,
try to push the envelope a bit. But I think, if I as an artist can't do
that then what hope is there for the rest of us. If I can't be creative
then I might as well be working in a bank."

Then we moved on to the tour. Joe's performing with three other musicians,
two of them alumni of previous tours - Graham Maby (vocals, guitar, and
bass) and Sue Hadjopoulos (vocals and percussion). The third, Allison
Cornell, was unfamiliar so I asked about her. Joe told me, "She's the new
comer. She's a singer, plays violin and viola, and also plays keyboards.
She's very versatile, a really great musician. I'm lucky to have her."

When I enquired how they met, Joe replied "I got a tip to go down to a
club and see her play. Then I just gradually got to know her. Without her
it would have to be more than four people, I think, because she really
does a lot of stuff." Maybe there's a lead on a band here I thought, so I
asked who she was performing with. The answer was reserved, "Just people
playing at the Bitter End in New York. Not anyone you'd of heard of."
Free-lancing, I probed? "Yeah, she's just been gigging around with all
kinds of different people." is Joe's reply. Since it appeared I wouldn't
get anymore information about Allison I turned my attention to the
performance itself.

I was curious to know what songs he'd be performing and their
arrangements. "Well, just about everything. In fact, I think, literally
every song we do sounds different to the original recording," was his
answer. Then I mentioned I'd been told he prefers performing to recording
and asked how they differed. He told me, "I've always like playing live
better than anything else. When you make a record... there's a feeling
that I don't actually know who I'm making it for. I feel there's an
audience out there but it's an abstract concept... that listening
audience. When you actually get up on stage and the people are there in
front of you, it all makes a lot more sense."

The subject of arranging _Night Music_ for a quartet brought us back to
the concept of challenges. He agreed, saying "Well of course Night Music
is rather different because I did play a lot of it myself. I wasn't
thinking about live performance at all. I was making the record because I
was trying to create this very special atmosphere. Now I have to figure
out how to do it [chuckle] after the event. Which is a different kind of
challenge."

Having seen Joe perform twice in the past, I asked if the current tour
would have the same attention to pacing that past tours had. "Well, I
always put a lot of thought in to the structuring of the show." he
replied. "Yeah, [chuckles] A lot of thought goes into that. I think it
doesn't with most peoples' shows. I must say, most shows I see I think are
boring. They're amazingly conservative. There are certain things that
everyone does, [chuckle] it's kind of funny to me. After about 15 minutes
you've pretty much seen it all. So I try to plan it out in a way that
keeps peoples' attention, that surprises people, that puts the music into
the right context so it all makes more sense. This tour's a little
different than some I've done in the past because it's so much more
intimate. I'm playing a lot of keyboards so there's not so much jumping
around. We're playing small places so I think it's priority is less
theatrical than some shows I've done in the past. More musically
challenging, I think. The emphasis is really on the music."

When I mentioned how excited I was to learn Sue and Graham would be
touring with him, he told me "Yeah, he's playing guitar as well as bass on
this. We're all switching around a lot, doing a lot of different things.
It's not like a big rock show. It's much more an intimate, chamber music
kind of thing. I think it has it's own charm. It's really a lot of fun.
It's very loose, much more loose than the last couple of tours. I mean,
the _Blaze of Glory_ tour had eleven people up there and you can't really
be that loose with eleven people [chuckles]... It was very planned out,
pretty much the same every night. With this line-up we can really
experiment a lot more and vary the show from night to night."

There you have it, straight from Joe's mouth to your eye. With a solid
ensemble ready (willing and able) to re-interpret his catalogue and
intimate venues for the presentation, this promises to be one of Joe's
most exciting tours - no small thing, as anyone who has seen him perform
will attest. If you're a fan, but don't have an opportunity to see him
during this mini-tour, don't despair. He intends to do a more extensive
North American tour in the spring, after his return from Europe.

JOE JACKSON PLUS GUESTS: NIGHT MUSIC TOUR

Jan 14, 1995 Guildford, Civic Hall
Jan 20, 1995 Portsmouth, Guildhall
Jan 21, 1995 London, Hammersmith Apollo
Jan 23, 1995 Bristol, Colston Hall
Jan 25, 1995 Nottingham, Royal Centre
Jan 26, 1995 Newcastle, City Hall
Jan 28, 1995 Manchester, (TBA)
Jan 29, 1995 Glasgow, Royal Concert Hall
Jan 30, 1995 Birmingham, Symphony Hall

[(c)1994 by 2/3X-PERTS]

The Modern Rock Review Supplement has a review of a recent Joe Jackson show.
-----------------------------------------------------------------------------
[F.5] REVIEW: _The Coolest Christmas_ (Oglio) by Bob Gajarsky

With the holiday season fast approaching, many labels are rushing to
release Christmas albums. Oglio Records has given music lovers an
especially palatable treat for the winter of 1994 with their compilation
collection, _The Coolest Christmas_.

_Coolest_ covers a wide range of Christmas songs from the 50s to the 90s
on the 14 song collection. The stand-out track is the David Bowie/Bing
Crosby duet, "Little Drummer Boy/Peace On Earth," which first appeared
in the 1977 special "Bing Crosby's Merrie Olde Christmas" and most
recently only appeared with special copies of Bowie's singles collection
as a 3" CD single.

The artists that are represented cover the musical gamut, from ye olde
Irish sound of "Jingle Bells" as sung by the Clancy Brothers, the classics
your grandparents grew up with such as "Let It Snow" by Dean Martin and
"Auld Lang Syne" by Guy Lombardo, artists of the 1960s (Beach Boys, Roy
Orbison, Temptations) through some of today's alternative acts (The Alarm,
Cocteau Twins)

Even the best selling holiday hit by Elmo and Patsy, "Grandma Got Run Over
By A Reindeer," is included here. This reviewer has no tolerance for the
song - but for most people, this song is a must around the holiday time.

All in all, Oglio has done another outstanding job with _The Coolest
Christmas_ compilation. If it is unavailable at your local store, you may
purchase it at the toll free number, 1-800-COOL-CDS.

Track listing: David Bowie/Bing Crosby - Little Drummer Boy/Peace On
Earth; The Alarm - Happy Christmas (War Is Over); Roy Orbison - Pretty
Paper; Clancy Brothers - Jingle Bells (Buala Bas); The Ventures - Sleigh
Ride; George Thorogood & The Destroyers - Rock & Roll Christmas; Eartha
Kitt - Santa Baby; Brenda Lee - Rockin' Around The Christmas Tree; Beach
Boys - Little Saint Nick; Cocteau Twins - Frosty The Snowman; Temptations
- Christmas Everyday; Dean Martin - Let It Snow! Let It Snow! Let It
Snow!; Elmo & Patsy - Grandma Got Run Over By A Reindeer; Guy Lombardo -
Auld Lang Syne

[Originally appeared in Consumable Online]

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_/\ / \__\___ \____________________________________________________________
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[1] Jazz [5] Classical
*[2] Country & Western [6] Hard Rock/Heavy Metal
[3] Modern Rock [7] Rock/Popular/Top 40
[4] Rap/R&B/Urban [8] Techno/Dance

*These Selections COMING SOON! (Editors are needed - contributions welcomed)

-----------------------------------------------------------------------------
[S.1] JAZZ Editor: James Hale

NEWS:
Iconoclastic bassist/composer Charles Mingus was honored at New York
City's Lincoln Center in October. Blues and Roots: The Music of Charles
Mingus marked the first time that the Jazz at Lincoln Center series has
showcased Mingus' extensive and varied canon. Included in the concert were
nine pieces, ranging from early compositions like _Story Of Love_ and
_This Subdues My Passion_ to _Pithecanthropus Erectus_ and _Duke
Ellington's Sound Of Love_. Among the featured performers were
saxophonists James Carter, Bobby Watson and Charles McPherson, trumpeter
Marcus Belgrave, trombonist Jimmy Knepper, pianist Kenny Drew Jr.,
bassists Charnett Moffett and Reginald Veal, and singer Kevin Mahogany.

The Thelonious Monk Institute of Jazz Performance at New England
Conservatory is searching for seven students to study in residence
tuition-free for two years. The residency begins in September 1995. The
deadline for applications is January 31. Details are available at
202-364-7272.

Sometimes smokey bars just won't do. Saxophonist Jan Garbarek and the
Hilliard Ensemble took the haunting polyphonic music from their ECM New
Series recording _Officium_ to cathedrals in New York, Washington, Chicago
and San Francisco in early December.

KEY RELEASES:
The first batch of releases from the new Postcards label includes a strong
outing by four veterans of the heady '60s -- Reggie Workman, Andrew Hill,
Sam Rivers and Julian Priester - along with drummer Pheeroan akLaff.
Issued under Workman's name as _Summit Conference_, the recording sounds
like four exceptional innovators digging the fact that they're still
around to make some noise.

Oud virtuoso Rabih Abou-Khalil continues to stretch perceptions of jazz in
the '90s. Joining Abou-Khalil on his new Enja CD, _The Sultan's Picnic_,
is harmonica soloist Howard Levy. Also on board are trumpeter Kenny
Wheeler, alto saxophonist Charlie Mariano, tuba player Michel Godard,
bassist Steve Swallow, and percussionists Mark Nauseef, Milton Cardona and
Nabil Khaiat.

The much-anticipated debut recording from tenor saxophonist Seamus Blake
is just out on the Dutch Criss Cross label. Entitled _The Call_, it
features guitarist Kurt Rosenwinkel, pianist Kevin Hays, bassist Larry
Grenadier and drummer Bill Stewart.
_____________________________________________________________________________
**************CHECK OUT THE JAZZ REVIEW SUPPLEMENT FOR REVIEWS***************

-----------------------------------------------------------------------------
[S.2] COUNTRY & WESTERN Editor: None

The Review Supplement has a copy of the CyberTalk Online interview with
Little Texas. See the REVIEWS Section for instructions on how to get a copy.

If you would like to submit material for the C&W section of inquire about
becoming the editor contact the editor at <rfc...@clark.net>.

-----------------------------------------------------------------------------
[S.3] MODERN & ALTERNATIVE ROCK Editor: Jeff Neisel

NEWS:
So much for indie rock. Producer Brad Wood, best known for his work with
Liz Phair and Veruca Salt, has been snatched up by Capitol Records. He's
now producing Mother's new album. Wood essentially produced Phair's first
album for free, but it looks like his days of working for cheap are over.

IN THE STUDIO:
Tori Amos is recording a duet with R.E.M's Michael Stipe for the
soundtrack to _Don Juan DeMarco_ (due in Feb.). The film stars Johnny
Depp, Marlon Brando and Faye Dunaway. Amos is also recording a version of
vR.E.M.'s "Losing My Religion" for the soundtrack to John Singleton's
_Higher Learning_. If it appears Amos is well-connected with R.E.M.,
perhaps it's because she is reportedly dating Michael Stipe. And you
thought Stipe was homosexual.

In other news:

- Blind Melon is recording its second album with producer Andy Wallace.
- Eleven is recording a new album.
- Urge Overkill is recording a new album with the Butcher Brothers,
who produced its previous album, _Saturation_.

KEY RELEASES:
With the exception of Pearl Jam, few new albums are scheduled for a
December release. Looking ahead to January, Bettie Serveert, a band from
Amsterdam, will release _Lamprey_ on January 24. Kirsty MacColl will
release _Galore_ on January 24. The album includes duets with Evan Dando
of the Lemonheads. hHead, a band from Toronto which released an EP
earlier this year, will release a full length album called _Jerk_. The
Cruel Sea, which released _The Honeymoon is Over_ in Australia in 1993,
will release _Honeymoon_ in the states. The band recently won a total of
five Aria (the Australian equivalent of the Grammy's) awards. The
soundtrack to _My So Called Life_ will be released on January 24. It
includes new or hard-to-find releases from Sonic Youth, Juliana Hatfield
and Daniel Johnston. The Throwing Muses will release _University_ on
January 16. The soundtrack to the Jerky Boys' movie will include songs by
House of Pain, Collective Soul, Superchunk, Helmet and L7. The album is
due out January 24. Morrissey, once rumored dead by the British music
press, will release a new EP. Traci Lords, who maintains she cannot
remember any of her career as a porn star, will release a techno album. In
addition, Three Mile Pilot, The Wolfgang Press, Kendra Smith and The
Boredoms will release new material.

TOURS TO CHECK OUT:
Pearl Jam will tentatively embark on a nation-wide tour in January.
There's no word yet on who will replace fired drummer Dave Abbruzzese.
_____________________________________________________________________________
************CHECK OUT THE MODERN ROCK REVIEW SUPPLEMENT FOR MORE*************

-----------------------------------------------------------------------------
[S.4] RAP/R&B/URBAN Editor: Marcus Howard

NEWS:
Hip-Hop legend Slick Rick, who is currently serving a three to ten year
prison sentence for his part in a 1990 shooting incident, may soon be a
free man. Although I have heard nothing from official news sources, rumors
are circulating which indicate that he will soon be released. Another
indication is the recent release of his third album _Behind Bars_ which
features Warren G and Nice and Smooth among others.

Grand Puba, formerly of rap group Brand Nubian, has announced his intent
to rejoin the group in the future. The original group which consisted of
Grand Puba, Lord Jamar, and Sadat X, earned the respect of many hip-hop
fans with its first album release _One for All_. In spite of the group's
success, Grand Puba left in 1992 to pursue a solo career. Shortly after
his departure, the remaining group members released _In God We Trust_
which added to the group's success. Brand Nubian has recently released its
third album _Everything is Everything_ which should take the group to the
next level of success. The new album is on the mark, but I'm sure that the
return of Grand Puba will prove that there is always room for improvement.

Public Enemy is back on track in spite of skepticism by many critics who
feel that the group is all washed up. Earlier this year, group member
Flavor Flav was arrested for a charge of attempted murder. Television and
radio airwaves were filled with overly-dramatic versions of the incident,
which would put doubt even in the minds of the most die-hard Public Enemy
fans. Essentially, Flavor Flav was tried within the news media and the
verdict was guilty. The news media had many people believing that Flavor
Flav was is jail to stay and that Public Enemy could never survive the
blow. In spite of Flavor Flav's conviction by the news media, charges
against him were dropped. In addition to Flavor Flav's legal problems, the
group also faced the loss of two group members who were involved in
serious motorcycle accidents. With two broken legs, DJ Terminator X was
unable to perform and Flavor Flav was also out with a broken shoulder. The
good news is that the group has hurdled these obstacles and they are
currently on tour.

KEY RELEASES:
This has to be the most exciting time of the year for hip-hop fans. For
some fans it will be the most costly time of the year not only because it
is Christmastime, but also because several of the biggest names in rap
music have recently released new albums. Because there have been so many
new releases over the past month, I have not had the chance to listen to
many of them, but those that I have heard so far are certainly worth
checking out. The releases below that I have checked out are marked with
an asterisk (*). I plan to provide you with reviews of many of these
albums in the near future, but in the mean time you should check some of
them out for yourself.

- Digable Planets _Blowout Comb_ (Pendulum/EMI) *
- Da Lench Mob _Planet of Da Apes_ (Priority)
- Lords of the Underground _Keepers of the Funk_ (Pendulum/EMI)
- Shaquille O'Neal _Shaq Fu: Da Return_ (Jive)
- Brand Nubian _Everything is Everything_ (Electra) *
- FU-Schnickens _Nervous Breakdown_ (Jive)*
- Pete Rock and CL Smooth _The Main Ingredient_ (Electra)
- Redman _Dare Iz a Dark Side_ (RAL)
- Ice Cube _Bootlegs and B-Sides_ (Priority)
- Method Man _Tical_ (Def Jam)*
- Slick Rick _Behind Bars_ (Def Jam)
- Snoop Doggy Dogg and various artists _Murder Was the Case_ (Death Row)
- Scarface _The Diary_ (Rap-A-Lot)*
- O.C. _Word...Life_ (Wild Pitch/EMI)*
- Keith Murray _ The Most Beautifullest Thing in This World_ (Jive)
- Common Sense _Resurrection_ (Relativity)
_____________________________________________________________________________
*************CHECK OUT THE RAP/HIP HOP REVIEW SUPPLEMENT FOR MORE************

-----------------------------------------------------------------------------
[S.5] CLASSICAL Editor: Michael Bell

GREETINGS:
Hello and welcome to the new classical section in iMpulse magazine. One
of my goals is to cover some of the more unusual classical music, such as the
Argo titles mentioned below. I will also keep you informed of new
releases and reissues by some of the better known artists both past
and present. Hopefully, at some point in the near future I will be doing
full reviews of noteworthy releases.

NEWS:
Conductor Klaus Tennstedt has had to retire early due to health
problems. In the past, he battled throat cancer and is now said to be
suffering from problems with his inner ear. A handful of recordings still
await release. There is some possibility that he would
return periodically to make the occasional recording.

KEY RELEASES:
Cecilia Bartoli has a new recording on London of Mozart arias called
_Mozart Portraits_. It includes arias from _Cossi fan Tutti_, _Le Nozzi
de Figaro_, _Don Giovanni_, and others. For more on Bartoli check out her
new WWW page. http://arbornet.org/~stephens/bartoli/bartoli.html

Cellist Yo-Yo Ma has a new recording of 20th century works including the
premier recording of a work by Albert who died in 1992 at the age of 51.
Also on the Sony CD is an arrangement of the Bartok _Viola Concerto_ and
Bloch's _Shelomo_.

A new work of Hans Werner Henze has been recorded by Sony. It is a
Requiem scored for piano, trumpet, and chamber orchestra.

Previously unreleased recordings of the legendary pianist Horowitz are now
available from RCA on a CD called _Private Collection Vol. 1_. Live
recordings of works by Bach, Clementi, Mendelssohn, Chopin, Liszt, and
Rachmaninov are included.

Recordings on the Everest label are finally seeing their first reissue on
CD. Some of the first titles to be released are some of the Boult's
recordings of Vaughan-Williams, Stokowski's Richard Strauss and Malcolm
Arnold's performance of his own _Third Symphony_. Reports I have heard so
far contend that the sound of these CD reissues equal or better the
original LP issues that have long been treasured by audiophiles.

New recordings on the Argo label should be of interest to those looking
for something different. _The American Innovator_ salutes the piano works
of many of America's most original composers including Cowell, Davidovsky,
Nancarrow, Cage, Adams, and Ives. Performances are by Alan Feinberg, a
specialist in American piano music. For those that like more than one
piano - say, for example six pianos - there is the group Piano Circus.
Their new recording features works by Volans, Lang, Reich, and Moran.
Minimalisim fans, especially those who like it loud and fast, should check
out a new album called _Terminal Velocity_ performed by the new music
ensemble Icebreaker. Composers featured include Gordon, Andriessen,
Bryars, Gassick, and Lang. Lastly, Michael Nyman has arranged his music
from the movie The Piano into a _Piano Concerto_. He conducts the Royal
Liverpool Philharmonic Orchestra with Kathryn Scott at the piano.

-----------------------------------------------------------------------------
[S.7] HEAVY METAL/HARD ROCK Editor: Deena Dasein

NEWS:
Success is leaving an indie for a major label, right? At least it always
used to be a one-way road. No longer. Sepultura's last album, _Chaos
A.D._, was released on Epic. Now the band may be returning to the friendly
confines of Roadrunner, who found them in Brazil and released their
previous albums. Fudge Tunnel is making the same u-turn. Their latest,
_The Complicated Futility of Ignorance_, was on Earache, not Columbia.

Metal has added to the I-way congestion. Megadeth's full house of sound,
sights, and games can be found at WWW (http://bazaar.com/) or anonymous
FTP (bazaar.com). Slayer, with video clips and album art, calls American's
WWW address (http://american.recordings.com) home.

Red Light artists Skatenigs, touring in support of their recently released
_WHAT A MANGLED WEB WE WEAVE_, couldn't get a green light for their gig in
Des Moines. Their name was hyper-offensive to some African-American
Iowans. So the self-proclaimed equal-opportunity offensiveness band,
featuring hardcore and metal-backed performance art, canceled their show.
Across the ocean the municipal authorities in Willisau, Switzerland
(another minor metropolis) banned Slayer's performance after listening to
their new _Divine Intervention_. They concluded that the band would be a
baneful influence on the Willisau youth. And German authorities banned
both live and recorded versions of Cannibal Corpse.

Remember "Metalshop," the syndicated weekly metal radio show? It may be
long-gone but plans are underway for a new and improved model called
"Pure Concrete." Debuting in January '95, it will be a joint undertaking
by Sony, Warner, and Concrete Marketing.

Taime Downe gives spot-changing leopards a run for their money. The
former Faster Pussycat is now doing his thing for the industrial outfit
Pigface. What a protean animal!

What's in a name? Bolt Thrower still exists, despite a new vocalist
(Martin Van Drunen from Pestilence replaced Karl Willetts) and a new
to-be-named-at-a-later-date drummer.

IN THE STUDIO:
King Diamond, the band (not to be confused with the band that King Diamond
also sings and writes for, Mercyful Fate) is completing their latest record.
Like the current King Diamond release _TIME_, the new album, to be called
_SPIDER'S LULLABY_, will be released by Metal Blade. Diamond at least is
out of the studio, since Mercyful Fate is touring in Europe in November
and will hit the States after the new year.

Guitarist Jeremy Wagner is taking time from writing some really horror-ful
short stories to record with the rest of his band, Broken Hope. Given some
of the new song titles ("Penis Envy" and "Fricassee Of Me") his seriously
warped mind is probably best kept in the northern Illinois studio.

Slayer's new drummer, ex-Forbidden Paul Bostaph, brilliantly replaced the
irreplaceable Dave Lombardo. Lombardo has exchanged one drum throne for
another, bashing and stomping for his new band Grip, Inc. The rest of the
group is made up of Jason Vie Brooks (formerly of Heathen) on bass,
ex-Despair Waldemar Sorchta on guitar and studio knobs, and vocalist Gus
Chambers. They are recording their debut in Germany.

TOURS TO CHECK OUT:
Danzig, metal's Lizard King, is out supporting _Danzig 4_.

M.O.D., Pro-Pain and Headlock

Testament (the new and improved version featuring James Murphy)
with Downset

KEY DECEMBER RELEASES:
No Presents for Christmas - they've all been released this year or are
on-hold for January and February.

-----------------------------------------------------------------------------
[S.7] ROCK/POPULAR/TOP 40 Editor: Karen Lee Kanter

Karen is off for the holiday. Watch for her to return in January!
_____________________________________________________________________________
**********CHECK OUT THE ROCK/POP/TOP 40 REVIEW SUPPLEMENT FOR MORE***********

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[R] Album reviews for the following genres are available:
____________________________________________________
| SELECTION | MAIL CODE | This Issue |
|----------------------+----------------|------------|
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| Techno/Dance | TECHNO | Old |
| Rock/Pop/Top40 | ROCK | New |
| Jazz | JAZZ | New |
| Country&Western | COUNTRY | Old |
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REVIEWS SUPPLEMENT, send mail to the following address:

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"The Ultimate Beatles Encyclopedia," by Bill Harry (Hyperion), $19.95, trade
paperback, is the most comprehensive volume ever produced on the lives and
careers of the world's most popular rock group. With more than 1,500 entries
and 300 photos, many previously unpublished, the book covers every detail of
Beatles history: songs, albums, club and concert dates, TV appearances, films
and personal moments.

RULES:
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Send along your event submission to imp...@dsigroup.com

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[8] NET RESOURCES

Music related resources available on Internet. If your favorite area
isn't listed here, please send us a note and we'll add it.

Musical Lists of Lists <updated>
via finger mkw...@sdcc13.ucsd.edu
via anonymous FTP at:
ftp.uwp.edu /pub/incoming/misc.music.files/lomml OR
/pub/music/misc/mail.lists.music
server.berkeley.edu /pub/misc/lomml

For fans of Eric Clapton: the Slowhand Archive is available through anonymous
FTP to daacdev1.stx.com in the pub/slowhand/ directory. The FAQ, kept in
the info subdirectory, has notes on joining the mailing list and accessing
the WWW sites. Also at the archive: a big collection of GIFs, text files
of lyrics and guitar tablature, all past digests, interviews, etc.

A Short List of Music WWW Sites:

Bliss Productions -> http://www.breakfast.com:2500/breakfast/it/bliss.html
DDV Studios -> http://underground.net/Ddv_html/DDV_home.html
MKB Music Studio -> http://orpheus.ucsd.edu/mbreen/mkb_music/index.html
Nanophonix -> http://www.cs.washington.edu/homes/map/nanophonix.html
4AD Discography -> http://isvpc146.isv.uit.no/eyesore.html
American Recordings -> http://american.recordings.com/
Bedazzled Records -> http://www.iuma.com/Bedazzled/
Breakfast Records -> http://www.breakfast.com:2500/
Catasonic -> http://underground.net/Weba/catasonic.html
Charnel Music -> http://www.msen.com/~ecook/charnel.catalog.html
Choke, Inc. -> http://zapruder.pds.med.umich.edu/uwi/sounds/choke/choke.html
DGC -> http://www.iuma.com/DGC/
Discography of 4AD, by group -> http://isvpc146.isv.uit.no/html/group.html
Flat Field Records -> http://www.eskimo.com/~flatfld/index.html
Geffen Records -> http://geffen.com/
Grand Royal -> http://www.nando.net/music/gm/GrandRoyal/
Harbor Records -> http://www.iuma.com/Harbor/
Heyday Records -> http://www.iuma.com/Heyday/
Mammoth Records -> http://www.nando.net/mammoth/mammoth.html
Moonshine Music -> http://underground.net/Moonshine/moon.html
N-Fusion Records -> http://www.service.com/n-fusion/home.html
Pan Handler Production -> http://panhand.ucsd.edu/
Quagmire -> http://www.iuma.com/Quagmire/
Silent Records America -> http://www.iuma.com/Silent/
TeenBeat -> http://www.iuma.com/TeenBeat/
Warner Bros. Records -> http://www.iuma.com/Warner/
World Domination -> http://underground.net/Worlddom/worlddom.html

-----------------------------------------------------------------------------
[9] STAFF & CONTACT INFORMATION

_____________________________________________________________________________
iMpulse Music Journal Staff
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Richard F. Crum EDITOR-IN-CHIEF

Roger L. Yee PUBLISHER
-----------------------------------------------------------------------------
EXECUTIVE EDITOR Bill Paige
CONTRIBUTING EDITOR Randy Silver
SENIOR COPY EDITOR Kameran Kashani
CLASSICAL EDITOR Michael Bell
JAZZ EDITOR James Hale
METAL EDITOR Deena Dasein
MODERN ROCK EDITOR Jeff Niesel
RAP/R&B/URBAN EDITOR Marcus Howard
ROCK EDITOR Karen Lee Kanter
TECHNO/DANCE EDITOR Andrew Hime
COPY EDITOR Gina Caputo
PRODUCTION ASSISTANT Michael Hall

COLUMNISTS
"Kaleidospace" Jeannie Novak & Pete Markiewicz
"What Alternative?" Greg Bueno
"McLeod" Sean McAfee

CONTRIBUTORS
Bob Gajarsky, S.E. Lee, Caroline Von B., Louisa Sullivan, Amy Steele,
Corey Allen, Kimberly Theodore, Violent Lilac, StrangeBrew, Dixie Flatline,
Jody Whitesides, Wagophonix, A.D. Rubin, Miles Goosens, Kori G, Dan Enright

AFFILIATES
The Source Magazine, Consumable ONLINE, Warner Bros. Online

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[Richard F. Crum]

[ Article crossposted from alt.best.of.internet ]
[ Author was Richard F. Crum ]
[ Posted on 12 Dec 1994 20:37:17 GMT ]

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MUSIC JOURNAL\ \_\ ...Music News Across The Net
\/_/

The First Annual "iMpulse Music Journal - Special Holiday Edition"
Is Now Available!

In this years edition:

- The iMpulse Music Journal 1994 Editors Choice Awards!
- Interview with They Might Be Giants!
- Interview with Joe Jackson!
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