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>From: cs962@cleveland.Freenet.Edu (Colin P. Macinnes)
Bang Sonic!
the Atomic-Powered alt.rec.misc.music.comp E-mag
(Volume I, Issue 5) January 1994
In this issue:
Bjork
Nick Heyward
Adam Sandler
One Dove
Volume 7
Charts and Letters
- *******************************************
Bjork
Debut
(Elektra Records)
A LOVE FROM OUTTER SPACE
Head to toe, Bjork is different. No two ways about that really.
However, not different in a concerted, self-aware, They Might Be
Giants, sort of way (and that is in no way a swipe at TMBG). Anyone
as unique and foreign sounding as Bjork runs the risk of becoming a
novelty and being categorized as such. With Bjork though, there is a
quality which is completely odd, and completely genuine.
When the Sugarcubes first broke loose to become Iceland's greatest
contribution to pop culture since "Ice Hockey" (which actually came
from Kingston, Ontario) the first thing everyone latched on to was
Bjork's voice. She sounded defiant and vulnerable, childlike and
erotic, all in the same breath. With its quirky rhythm and Bjork's
vocals which alternated between a whisper and a scream, the
breakthrough single, "Birthday", swept over the North American
musical landscape like a brush fire. Exotic vocalists tend to come and
go quickly (see: Haza, Ofra) so the test would be whether Bjork could
evolve and continue to maintain the public's interest. Over the
course of three albums Bjork, and the Sugarcubes as a whole,
sounded increasingly focused, less disjointed, less edgy. Continuing
with this trend, Bjork's first solo album, "Debut", is just as diverse
(well almost as diverse) and far more maturely refined than
anything the Sugarcubes ever recorded.
KEEP ON MOVIN' . . .
Much of the credit for the groovy-smooth sound of "Debut" is
undoubtedly due to Nellee Hooper (of Soul II Soul fame). The album
covers a great deal of musical ground and yet hangs together as a
cohesive unit as it revolves around Hooper's easy-driving dance
sound. The tracks that do move away from the overriding theme
and into the quirky, are those on which Hooper relinquishes control
and allows Bjork to keep a hand on the production helm (see tracks 5
and 11).
The collection opens with the rhythmiclly hypnotic kettle drums of
the first American single, "Human Behavior". "The voice" is just as
wide ranging as ever, lashing out and soaring sweetly in equal
measure, but against a haunting backdrop of disco bliss, there is a far
greater sense of control. Half the album is spent in a similar vein.
Melodic, user-friendly dance songs with the exotic Bjork emoting in
the foreground. "Big Time Sensuality" is the stand out track on the
album, hands down. Triple-deep baseline and jabbing organ bits
(musically, a lot like Betty Boo's first album). Lots of growling and
howling. It covers the waterfront.
When the beat relents, which is fairly frequently, there are some
terribly interesting moments. Lots of strings and harps and
atmospheric noises. These songs help to make this seem more like a
traditional album, and less like a merciless nightclub. The closing
track, "The Anchor Song", is by far the strangest piece in the
collection. Just Bjork and an avant-gaurde horn section that sounds
as if it were borrowed from Elvis Costello's "Spike". No slick drums.
Not a baseline to be found. As Bjork sails off into "Debut's" sunset,
there is a sense that this is only the beginning.
Vital Statistics
Bjork - Debut
Released on Elektra
Catalog number 9 61468-2
Total playing time: 48:26
11 Tracks
Human behavior
Crying
Venus as a boy
There's more to life than this
Recorded live at the milk bar toilets
Like someone in love
Big time sensuality
One day
Aeroplane
Come to me
Violently happy
the Anchor song
Produced by Nellee Hooper and Bjork
- *******************************************
Nick Heyward
From Monday to Sunday
(Epic Records)
OBSCURITY KNOCKS
It was over a decade ago that a young Mr. Heyward led Haircut One
Hundred through a quintessential album of the early 80's, "Pelican
West". After the obligatory creative differences and legal
confrontations, Nick struck out on his own to embark on a solo career
that has not been without its auspicious moments.
Unquestionably, the high watermark in Nick's career came when not
one, but two of his songs played in the background during the big
high school dance scene in John Hughes' teenage epic, "Sixteen
Candles". Nick's next brief encounter with pop culture came during a
"60 Minutes" story on British military officers returning home after
years of colonial occupation in foreign lands. During an interview
with one particularly eccentric and disgruntled retiree, the former
officer flipped on the television and was confronted by Nick
Heyward's video for "Warning Sign". The gentleman then went on to
blame the ills of humanity in general and the decline of the English
Empire in particular on Nick (though he did not mention Nick by
name, the charge was probably more generally aimed at those of
Nick's ilk.) There were other appearances. Nick was the opening act
at Wham's momentous farewell concert at London's Wembley Arena.
It has been alleged that a song of his was used in the John Travolta
film "Perfect". It never made it on to the soundtrack (and I have
never seen the film so I can only pass along what I have been told.)
Nick also showed up to add his trademark guitar work to a
phenomenal (and painfully difficult to locate) single by the
Groovetrain called "Why did you do it?"
Then he was virtually unheard from. At least he didn't pop up on
any more American TV news magazines. The unkindest cut of all
came when a local columnist wrote in response to an inquiry "yes,
there actually was a band named 'Haircut 100'. I wouldn't have
believed it myself if I hadn't looked it up in my encyclopedia of
Rock-n-roll." The career of international pop star Nick Heyward was
faltering, to say the least.
THE RETURN OF JOLLY ST. NICK
On this fourth solo album (it really is his fourth, don't let him kid you
into forgetting "Postcards From Home" from 1986) Nick sounds like
the classic English songwriter he was destined to become. The sound
is vintage pop in the same ballpark as the Lilac Time, Black, Paul
Weller, or Bradford. Not as many trumpets as Nick used in the early
days, but plenty of string arrangements and jangly guitars. The
album sounds refreshingly unlike the vast majority of music
recorded during the past five years.
The first single released from the album, "Kite", is absolutely
beautiful. Soft-spoken, but with a cynical cast, it bounces along for
three minutes and is as catchy as a cold. It even contains a brief
trumpet bit which is extremely reminiscent of the horn blast in
Haircut 100's "Fantastic Day". The rest of the album is similar in tone
though the song styles vary greatly. "How do you Live Without
Sunshine" stands out in the middle of the album as an epic sized,
eight minute ballad, yet it doesn't seem out of place among four
minute love songs. Perhaps it is reminiscent of the Dream Academy,
but it is still a fast-moving eight minutes. It also helps that Nick
Heyward remains the hapless romantic throughout. He isn't out to
save the planet, or start a revolution. He just wants to end up with
the girl occasionally.
The other outstanding song on the album is "Diary". It is
considerably less delicate, harder edged than "Kite", yet it features a
fantastically melancholy string arrangement. Think the Beautiful
South. The song's mood lurks somewhere between embittered and
forlorn, yet Nick never lets the anger take control. That may be the
key element to the success of "From Monday To Sunday." Nick
Heyward sings through a range of emotions in these songs, but he
never lets them get in the way of a great, three minute pop record.
Vital Statistics
Nick Heyward - From Monday to Sunday
Released on Epic
Catalog number ek 57755
Total playing time: 46:01
12 tracks
He doesn't love you like I do
Kite
Into your life
Caravan
Ordinary people
How do you live without sunshine
January man
Mr. plain
These words
All I want you to know
Diary
Everytime
Produced by Nick Heyward
- *******************************************
Adam Sandler
They're all gonna laugh at you!
(Warner Brothers)
TRYING TO FIND SOMETHING TO LAUGH AT
During his brief appearances on M-TV's "Remote Control" Adam
Sandler managed to take mediocre material and make the most out
of it. Even on the lackluster Saturday Night Live he extracts the
maximum possible laugh potential from paper thin comedy premises.
Granted, Opera Man is a big waste of network airtime that could put
to more entertaining use by showing the "Emergency Broadcast
Signal" for three minutes. However, Sandler scores bonus points for
getting any comedy mileage at all out of Cajun Man.
The fact that Adam Sandler can be extremely clever makes this
album of sketch comedy and songs all the more disappointing. There
are bits and pieces that are funny, but they are remark
ably few and
far between. Most of the material is dull as dirt. The rest is so
unfunny it hurts to listen to it.
The language is extremely foul on many tracks. That usually
wouldn't be a problem, but here it seems like vulgarity is being used
as a substitute for wit and imagination. The Jerky Boys would be
drop dead funny with or without swear words. "Toll Booth Willie"
and the entire "Buffoon" series rely exclusively on the premise that
it's funny to hear someone spew blue language. Seventh grade boys
might laugh at these tracks. Probably not.
THE LAST BEST HOPE FOR HUMOR
The best tracks on the album are the songs, which are a lot more
focused and well thought out than the sketches. "The Thanksgiving
Song" and "Lunchlady land" are both bizarre little tunes, reminiscent
of the "Sweatshirt" song from SNL. There are sketches that seem to
have some promise when they begin, but like most of the pieces on
SNL, run out of steam early and have no place to go.
It's very sad that this is such an uninspired piece of work. Adam
Sandler is a much funnier guy than "They're all gonna laugh at you!"
would suggest. Hopefully he'll flee the sinking Saturday Night LIve
ship soon and shrug off it's influence. Until then, they probably
aren't ALL gonna laugh at him.
Vital Statistics
Adam Sandler - They're all gonna laugh at you
Released on Warner Brothers
Catalog number 9 45393-2
Total playing time: 54:39
22 Tracks
Assistant principal's big day
The buffoon and the dean of admissions
Buddy
The longest pee
Food innuendo guy
The beating of a high school janitor
Right field
The buffoon and the valedictorian
Mr. Spindal's phone call
The Thanksgiving Song
The beating of a high school bus driver
Oh mom. . .
Fatty McGee
At a regular pace
The beating of a high school science teacher
The cheerleader
I'm so wasted
Lunchlady land
The beating of a high school spanish teacher
Tool booth Willie
Teenage love on the phone
My little chicken
Produced by Brooks Arthur
Featuring Adam Sandler, Rob Schneider, David Spade, Tim Meadows,
Tim Herlihy, Allen Covert, Robert Smigel, Conan O'Brien, Steve Koren,
Jennifer Lien, Meghan Andrews, Andrew Leeds and Sweet Margaret
Ruden
Parental advisory - explicit lyrics
- *******************************************
Volume Seven
(the Total Record Company)
THE FUNDAMENTALS
"Volume" is a 200 page, compact disc sized magazine, which comes
out three or four times a year. It includes a disk in the back cover
which contains "at least" fifteen previously unavailable tracks.
It is of English origin and therefore was somewhat pricey when it
first began to appear on these American shores. Men (and women)
were known to pay as much as $30 per issue at boutique record
shoppes. Now, however, "Best Buys" (the E-lectronics superstore
with a heart) is passing along the savings to you and offering issues
of Volume for a mere $13.99. This is not to be considered an
advertisement for the aforementioned retail giant, other outlets may
well be offering similar or superior bargains, however trendy music
stores in the Metro area continue to ask twice the Best Buys' price.
Volume. . . Debut. Debut. . . Volume.
"Volume" is akin to a similar English export of a decade ago, "Debut"
magazine. For roughly a dozen issues "Debut" chronicled the
pioneering acts of the day and included an LP of the most recent
material. Though wildly uneven, these records proved to be
historical documents, time capsules of an era that is, at this very
moment, being repackaged and sold off the nostalgia bandwagon.
But I digress. Because for all the future historical implications
"Volume" issues are nothing if not glimpses into the future of the
American music curve.
THE SOUND OF TOMORROW . . . TODAY
The impressive thing about "Volume" is that all of the tracks are
from new, forthcoming releases. So even though "Volume Seven" is
not exactly hot off the presses (and will only be less so by the time
you read this) the music is still yet to be discovered by Mr. and Mrs.
America. Even beyond the benefit of being the first on your block to
know the inside story on Sabres of Paradise, the disc hangs together
as a coherent, if somewhat uneven, look at the current state of
alternative pop music in England.
This issue's collection ranges from the heavy guitar driven pop of
Redd Kross to the lilting, barely-there remix from Seefeel with heavy
doses of dancy-dancy techno filling in the gaps. Of course the danger
with a disc like this is that there is a chronic lack of continuity, but
that isn't the case here. Teenage Fanclub establish the tone for the
set with a happy little two-minute instrumental that sounds as if it
came right out of 1985. The trio of live tracks from Verve, Sebadoh,
and Stereo MCs work together elegantly, each building on on the
energy of the preceeding track and developing momentum of its
own. Sub Sub are one of the big, outstanding surprises of "Volume
Seven". Smoother than smooth and fresher than fresh, they are the
heirs to the 808 State throne if they choose to be (don't believe th'
hype on certain usenet newsgroups, Norman Cook is not a member. -
Ed.). Little Axe make a phenomenal debut with the Tackhead team
of Sherwood, McDonald and Wimbish, recapturing the original On-U
Sound System vision which was so sorely lacking on the more recent
Tackhead recordings. The four brooding tracks in the middle of the
program cling together like a building storm. The Heroines break the
mood with their debut which sounds like the early, stompy Throwing
Muses recordings. The closing three songs from Delta Lady, Eat
Static, and Jesus Jones provide a high-energy, 15-minute-dance-a-
thon conclusion.
LISTEN-LISTEN, READ-READ
As if that were not enough, the magazine is worthwhile as well. The
graphics are slick and the tone is irreverent. Each band is given
ample space to explain themselves along with a fairly critical look at
each of their albums. In between there are humorous bits which ask
and answer questions such as "Would Duran Duran survive a Nuclear
Holocaust," as well as a "page to smell." Dry and clever in a typically
English way.
OWN A PIECE OF HISTORY
At $30 a pop, Volume Seven is an expensive way to be the hippest
kid in your neighborhood. However, for only $13.99 you'll be able to
look back years from now and remember all the fun you never had
during the no-so-roaring 90's.
Vital Statistics
Volume - Seven
Released on the Total Record Company via BMG (UK) Ltd.
Catalog number 7VCD7
194 Pages
Total playing time: 78:41
18 tracks
Teenage Fanclub - Belt
Radiohead - Stupid car (tinnitus mix)
Verve - South pacific (live and dangerous)
Sebadoh - Whitey peach (live and desirable)
Stereo MCs - Elevate my mind (live and delirious)
Sub Sub - Valium Jazz
Little Axe - 15 to 4 (debut)
Bang Bang Machine - Life's a gas
Marc Almond - Incestuous love
Slowdive - Some velvet morning
Seefeel - Come alive (remix)
the Heroines - the Kiss (debut)
the Boo Radleys - Barney
Redd Kross - Any hour every day
Sabres of Paradise - Lick wid nit wit (debut)
Delta Lady - Anything you want
Eat Static - Nucleus Trance
Jesus Jones - Machine Drug (remix)
Managing Editor Rob Deacon
- *******************************************
One Dove
Morning Dove White
(ffrr)
THE SOUND OF ONE HAND.
The name of this album says exactly what it is. It just isn't entirely
clear what it says.
One Dove have recorded the next great chill-out record. Even the
band members appear to be barely awake on the cover. However,
One Dove do not fit neatly into the dub-ambiant pigeonhole. In a
domain that is crying out for an infusion of new life and new ideas,
One Dove are poised to be the saviors of subtlety.
This is not wallpaper. "Morning Dove White" is not the ultimate,
barren landscape that extremists have been waiting for. There is
melody and rhythm as well as classic song structure. There are also
plenty of seven minute tracks that meander along with no particular
place to go. It's a beautiful ride, but it isn't for the impatient.
SPIN DRIFTING
The One Dove sound is probably somewhere on the musical
continuum between Massive Attack and the Orb. Deep, rolling dub
rhythms support an array of keyboards and the occasional guitar. In
both tone and style One Dove evoke memories of expertly crafted
Colourbox records from the mid-80's. The songs are rich with
atmosphere but don't get lost in atmospheric effects.
While the music is remarkably beautiful, the defining characteristic
of One Dove is Dot Allison's captivating voice. When she begins
"Fallen" by sighing "I don't know why I'm telling you any of this," it's
difficult to know whether to take it as a warning or a confession.
Though comparisons have been drawn between Dot (not to be
confused with Dot Warner) and Elizabeth Fraser of the Cocteau Twins,
she is probably more like a second cousin to Sarah Cracknell from
Saint Etienne. Either way it is a fantastic performance that gives this
record more warmth, more humanity, than the rest of the music
playing in chill-out rooms around the world.
Vital Statistics
One Dove - Morning Dove White
Released on ffrr
Catalog number 162 351 042-2
Total playing time: 69:57
11 tracks
Fallen
White Love (guitar paradise mix)
Breakdown (cellophane boat mix)
There goes the cure
Sirens
(the transient) Truth
My friend
Why don't you take me
White love (piano reprise)
White love (radio mix)
Breakdown (radio mix)
Produced by Andrew Weatherall and One Dove
One Dove are:
Dot Allison
Jim McKinven
Ian Carmichael
- *******************************************
Hit Lists From Around The World
(what everyone else is listening to)
The biggest hits of 1993 on the MTV European Top 20
Top 20 of 1993
--------------
1. What is love Haddaway
2. Living on my own Freddie Mercury
3. (I can't help) Falling in love with you UB40
4. What's up? 4 Non Blondes
5. Two princes Spin Doctors
6. Tribal dance 2 Unlimited
7. Life Haddaway
8. All that she wants Ace of Base
9. I will always love you Whitney Houston
10. Dreams Gabrielle
11. Go west Pet Shop Boys
12. I'd do anything for love (But I won't do that) Meat Loaf
13. Runaway train Soul Asylum
14. I feel you Depeche Mode
15. Informer Snow
16. Oh Carolina Shaggy
17. Sing hallelujah! Dr. Alban
18. Cats in the cradle Ugly Kid Joe
19. Are you gonna go my way Lenny Kravitz
20. Would I lie to you ? Charles & Eddie
United States
Top 20 Singles of 1993
1. DREAMLOVER - Mariah Carey (#1 / 17 weeks)
2. THAT'S THE WAY LOVE GOES - Janet Jackson (#1 / 16 weeks)
3. CAN'T HELP FALLING IN LOVE - UB40 (#1 / 18 weeks)
4. WEAK - SWV (#1 / 17 weeks)
5. LOOKING THROUGH PATIENT EYES - P.M. Dawn (#1 / 17 weeks)
6. LOVE IS - Vanessa Williams & Brian McKnight (#1 / 20 weeks)
7. I HAVE NOTHING - Whitney Houston (#1 / 16 weeks)
8. TWO PRINCES - Spin Doctors (#2 / 20 weeks)
9. IF I HAD NO LOOT - Tony! Toni! Tone! (#2 / 17 weeks)
10. IF - Janet Jackson (#2 / 15 weeks)
11. BABY, I'M YOURS - Shai (#3 / 19 weeks)
12. FREAK ME - Silk (#3 / 19 weeks)
13. ANOTHER SAD LOVE SONG - Toni Braxton (#2 / 16 weeks)
14. COME UNDONE - Duran Duran (#2 / 15 weeks)
15. ORDINARY WORLD - Duran Duran (#1 / 13 weeks)
16. I WILL ALWAYS LOVE YOU - Whitney Houston (#1 [#1] / 11
weeks [14 weeks])
17. DON'T WALK AWAY - Jade (#6 / 20 weeks)
18. RIGHT HERE (HUMAN NATURE) - SWV (#3 / 15 weeks)
19. HAVE I TOLD YOU LATELY - Rod Stewart (#3 / 15 weeks)
20. THE RIVER OF DREAMS - Billy Joel (#3 / 16 weeks)
(other happenin' singles that charted in America last year -Ed.)
52. CONNECTED - Stereo MC's
54. REGRET - New Order
56. BREAK IT DOWN AGAIN - Tears For Fears
78. THE CRYING GAME - Boy George
83. EVERYBODY HURTS - R.E.M.
US Singles for the week ending January 8, 1994
1 Hero-Mariah Carey
2 All For Love-bryan Adams/Rod Stewart/Sting
3 All That She Wants-Ace Of base
4 Again-janet Jackson
5 Gangsta Lean-DRS
6 Breathe Again-Tonix Braxton
7 Whoomp! (There It Is)-Tag Team
8 What's My Name-Snoop Doggy Dogg
9 I'd Do Anything For Love-Meat Loaf
10 Said I loved You..but I Lied-Michael Bolton
US Albums for the week ending January 8, 1994
1 Music Box-Mariah Carey
2 Vs.-pearl Jam
3 Doggy Style-Snoop Doggy Dogg
4 The One Thing-Michael Bolton
5 Duets-Frank Sinatra
6 Bat Out Of Hell II-Meat Loaf
7 janet.-Janet Jackson
8 The Beavis & Butthead Experience-Beavis & Butthead
9 Common Thread: Songs Of Eagles-various Artists
10 River Of Dreams-Billy Joel
UK Singles for the week ending January 8, 1994
No. 39: Tag Team - Whoomp! There It Is
No. 36: Bjork - Big Time Sensuality
No. 26: Pet Shop Boys - I Wouldn't Normally Do This Kind Of Thing
No. 25: Hulk Hogan and Green Jelly - I'm The Leader Of The Gang
No. 20: Frankie Goes To Hollywood - The Power Of Love
No. 19: Pearl Jam - Daughter
No. 18: Shabba Ranks - Family Affair
No. 17: M People - Don't Look Any Further
No. 16: EYC - Feelin' Alright
No. 15: Haddaway - I Miss You
No. 14: Mariah Carey - Hero
No. 13: Peabo Bryson and Regina Belle - A Whole New World
No. 12: Janet Jackson - Again
No. 11: Bryan Adams - Please Forgive Me
No. 10: D:ream - Things Can Only Get Better
No. 9: Meat Loaf - Bat Out Of Hell
No. 8: Meat Loaf - I'd Do Anything For Love
No. 7: K7 - Come Baby Come
No. 6: Bee Gees - For Whom The Bell Tolls
No. 5: Dina Carroll - The Perfect Year
No. 4: East 17 - It's Alright
No. 3: Mr Blobby - Mr Blobby
No. 2: Take That - Babe
No. 1: FIRST WEEK. Chaka Demus and Pliers - Twist And Shout
(Each week James Masterton posts a phenominal analysis of the
English chart to rec.music.misc. Highly recomended. -Ed.)
The top 10 Australian singles chart
For the week ending January 7, 1994
1. PLEASE FORGIVE ME - Bryan Adams [7 weeks at #1]
2. BOOM SHAKE THE ROOM - D.J. Jazzy Jeff and The Fresh Prince
3. ALL THAT SHE WANTS - Ace Of Base
4. SHOOP - Salt 'N' Pepa
5. ALL FOR LOVE - Bryan Adams, Rod Stewart and Sting
6. THE WEIGHT - Jimmy Barnes and The Badloves
7. CREEP - Radio Head
8. GOT TO GET IT - Culture Beat
9. MOVING ON UP - The M-People
10. HERO - Mariah Carey
This list comes from: jamie@yoyo.cc.monash.edu.au (Jamie Scuglia)
AUSTRIAN TOP 20 SINGLES OF THE YEAR 1993
1 What's up 4 NON BLONDES
2 All that she wants ACE OF BASE
3 What is love HADDAWAY
4 No limit 2 UNLIMITED
5 Can't help falling in love UB40
6 Would I lie to you CHARLES & EDDIE
7 Living on my own FREDDIE MERCURY
8 I will always love you WHITNEY HOUSTON
9 Informer SNOW
10 Mr. Vain CULTURE BEAT
11 Runaway train SOUL ASYLUM
12 Life HADDAWAY
13 Koa Hiatamadl HUBERT VON GOISERN
14 Oh Carolina SHAGGY
15 Love line UNIQUE 2
16 Love sees no colour U 96
17 Die da DIE FANTASTISCHEN VIER
18 Heal the world MICHAEL JACKSON
19 Somebody dance with me D.J. BOBO
20 I'd do anything for love MEATLOAF
This list from: sluka@kirk.fmi.uni-passau.de (Bernd Sluka)
BAVARIAN TOP 15 (singles), 12/31/93
1. I'd Do Anything For Love MEATLOAF
2. Please Forgive Me BRYAN ADAMS
3. The Sign ACE OF BASE
4. Go West PET SHOP BOYS
5. Living On My Own FREDDIE MERCURY
6. Alles nur geklaut DIE PRINZEN
7. U Got 2 Let The Music CAPELLA
8. Cryin AEROSMITH
9. Get-A-Way MAXX
10. Maximum Overdrive 2 UNLIMITED
11. Boom! Shake The Room JAZZY JEFF
12. Piece Of My Heart INTERMISSION
13. What's Up? 4 NON BLONDES
14. Feels Like Heaven C. COOKIE
15. Wir zwei allein DAVID HASSELHOFF
This list provided by: fany@fons.nbg.sub.org (Martin Sluka)
- *******************************************
Upcoming Releases of Note or Interest
(a few good reasons to go on living)
Normally there would be an extensive, up to the minute list of all the
wonderful new recordings slated to arrive in stores over the coming
months. Unfortunately, the holidays have wrought their usual havoc
and the list is unavaliable at this time.
Suffice it to say that the evasive Morrissey is still scheduled to come
out early in February. The long awaited American release of Paul
Weller's second solo album is due out in late February. Beyond that,
you are on your own.
- *******************************************
The Next BIG THING
by Frankie Machine
Another casuality of the holiday season. Our man at the "Blue Marlin
restaurant and raw bar" has been mysteriously unavaliable for
comment. Messages have been left with the waitstaff, but his
barstool has been inexplicably vacant since shortly before the Rose
Parade. It is extremely unlikely that there is a connection.
For the uninitiated, this space is generally filled with Frankie's acute
observations of coming trends in popular music. Sadly, the
magnitude of his keen insight is matched only by the frequency of
his irratic behavior.
Good luck Frank, wherever you are. -Ed.
- *******************************************
Mail from YOU to US
(write us at ai983@freenet.buffalo.edu)
Dear Bang,
Nice work on the Zine. I enjoyed the article on the Harry Connick
Jr. Christmas album though I was disappointed by your failure to
make any remark or reference to stuffing Jill Goodenough's stockings.
I have a question for Mr. Machine (The Next BIG THING) about a
trend I have spotted Last year Natalie Cole resurected her deceased
father's career with a chart topping duet. More recently, Frank
Sinatra's half hearted and largely uninspired "Duets" brought Ol'
Blue Eyes more attention than he has had since he married Mia. Do
you see a trend? Are overblown, pompous pop stars from years
gone by going to innundate us with career saving duets? I heard
rumors of a Tony Bennette / Red Hot Chili Peppers project. Should I
live in fear of a Perry Como / Pearl Jam pairing?
-Ian Bayne
Frankie replies
Ian,
I think I need only point to the first Beavis and Butthead single,
which is a duet with Cher singing "I Got You Babe" to say that this is
definitely a trend to be reckoned with. However, with any luck at all
this will run its course before Elvis Presley gets involved.
Dear Bang,
Is this where I write to get free stuff?
-Steve Jenkins
Steve,
We think you want Details Magazine. They give away a lot of great
free stuff. The internet address for them is:
"Detailsmag@aol.com"
-Ed.
Dear B.S.,
I have a general rant that really doesn't have anything to do with
you or anyone you know, but your going to get to hear it anyway. Do
you, or anyone you associate with know anything about the English
television series "Lipstick on Your Collar"? I saw one episode and
never saw it again. It featured big, surreal production numbers and
naked women. . . I am on a quest to find out all that there is to
know.
-Jonathon Liss
Jonathan,
Sorry, no information. However, we have assigned a team of
reaserchers to "find out all that there is to know" and communicate it
back to you. Mentioning surreal production numbers and naked
women always peaks the interest of our research staff. If anyone
has information concerning the series in question (or any other show
with surreal production numbers and naked women) let us know and
it will be included in the next issue. Good question, we'll be sure to
send you lots of free stuff.
-Ed.
Hey-
Something was messed up with the color pictures in the December
issue. They didn't quite look right. I think you screwed something
up.
-Randy Straughn
Randy,
The December issue's pictures were indeed, as you so eloquently put
it, "messed up." We had hoped to pass it off as some sort of wacky
techno graphic, but you caught us. We are still on the steep end of
the learning curve and a lot of the technical difficulties we are
running into will be solved in time. We hope. In the meantime,
thanks for your help in identifying the bugs. No, really. Thanks.
-Ed.
- *******************************************
Bang Sonic! is published once a month as both a stand alone
Macintosh document and as a text only file. This goes without saying
and yet, somehow, it needs to be said: if you don't have a Macintosh,
read the "text only". If you do have a Macintosh, get the stand alone
"doc" and de-bin-hqx it. It's just that simple. The choice is yours.
Bang is avaliable in a few Usenet groups. Look for it in:
alt.zines
alt.music
misc.writing
rec.mag
rec.music.misc
rec.music.reviews
Technical difficulties not withstanding Bang Sonic! will also be
avaliable via:
FTP:
etext.archive.umich.edu
Gopher:
etext.archive.umich.edu
gopher.well.sf.ca.us
You can also get a copy of the most recent issue by writing to us at:
ai983@freenet.buffalo.edu
Bang Sonic! is edited and allegedly managed by Colin P. Macinnes.
Lending invaluable assistance with the more mundane aspects of day
to day life are:
Assistant Editors-
J.Patrick Ronan & Todd Matthews
Writers-
D. Carver
J. Burnett
B. Crull
T. Scodwell
Advice and Bartending-
Scott P. Higgins
Special thanks to X-Mag Czar, Jeff Hansen.
"Thank you. Goodnight everybody!"
-Yakko Warner (Animaniac)