853 lines
32 KiB
Groff
853 lines
32 KiB
Groff
>From: cs962@cleveland.Freenet.Edu (Colin P. Macinnes)
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Bang Sonic!
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the Atomic-Powered alt.rec.misc.music.comp E-mag
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(Volume I, Issue 5) January 1994
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In this issue:
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Bjork
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Nick Heyward
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Adam Sandler
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One Dove
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Volume 7
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Charts and Letters
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********************************************
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Bjork
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Debut
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(Elektra Records)
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A LOVE FROM OUTTER SPACE
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Head to toe, Bjork is different. No two ways about that really.
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However, not different in a concerted, self-aware, They Might Be
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Giants, sort of way (and that is in no way a swipe at TMBG). Anyone
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as unique and foreign sounding as Bjork runs the risk of becoming a
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novelty and being categorized as such. With Bjork though, there is a
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quality which is completely odd, and completely genuine.
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When the Sugarcubes first broke loose to become Iceland's greatest
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contribution to pop culture since "Ice Hockey" (which actually came
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from Kingston, Ontario) the first thing everyone latched on to was
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Bjork's voice. She sounded defiant and vulnerable, childlike and
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erotic, all in the same breath. With its quirky rhythm and Bjork's
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vocals which alternated between a whisper and a scream, the
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breakthrough single, "Birthday", swept over the North American
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musical landscape like a brush fire. Exotic vocalists tend to come and
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go quickly (see: Haza, Ofra) so the test would be whether Bjork could
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evolve and continue to maintain the public's interest. Over the
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course of three albums Bjork, and the Sugarcubes as a whole,
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sounded increasingly focused, less disjointed, less edgy. Continuing
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with this trend, Bjork's first solo album, "Debut", is just as diverse
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(well almost as diverse) and far more maturely refined than
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anything the Sugarcubes ever recorded.
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KEEP ON MOVIN' . . .
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Much of the credit for the groovy-smooth sound of "Debut" is
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undoubtedly due to Nellee Hooper (of Soul II Soul fame). The album
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covers a great deal of musical ground and yet hangs together as a
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cohesive unit as it revolves around Hooper's easy-driving dance
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sound. The tracks that do move away from the overriding theme
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and into the quirky, are those on which Hooper relinquishes control
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and allows Bjork to keep a hand on the production helm (see tracks 5
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and 11).
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The collection opens with the rhythmiclly hypnotic kettle drums of
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the first American single, "Human Behavior". "The voice" is just as
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wide ranging as ever, lashing out and soaring sweetly in equal
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measure, but against a haunting backdrop of disco bliss, there is a far
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greater sense of control. Half the album is spent in a similar vein.
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Melodic, user-friendly dance songs with the exotic Bjork emoting in
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the foreground. "Big Time Sensuality" is the stand out track on the
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album, hands down. Triple-deep baseline and jabbing organ bits
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(musically, a lot like Betty Boo's first album). Lots of growling and
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howling. It covers the waterfront.
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When the beat relents, which is fairly frequently, there are some
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terribly interesting moments. Lots of strings and harps and
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atmospheric noises. These songs help to make this seem more like a
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traditional album, and less like a merciless nightclub. The closing
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track, "The Anchor Song", is by far the strangest piece in the
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collection. Just Bjork and an avant-gaurde horn section that sounds
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as if it were borrowed from Elvis Costello's "Spike". No slick drums.
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Not a baseline to be found. As Bjork sails off into "Debut's" sunset,
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there is a sense that this is only the beginning.
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Vital Statistics
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Bjork - Debut
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Released on Elektra
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Catalog number 9 61468-2
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Total playing time: 48:26
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11 Tracks
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Human behavior
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Crying
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Venus as a boy
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There's more to life than this
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Recorded live at the milk bar toilets
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Like someone in love
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Big time sensuality
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One day
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Aeroplane
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Come to me
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Violently happy
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the Anchor song
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Produced by Nellee Hooper and Bjork
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********************************************
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Nick Heyward
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From Monday to Sunday
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(Epic Records)
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OBSCURITY KNOCKS
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It was over a decade ago that a young Mr. Heyward led Haircut One
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Hundred through a quintessential album of the early 80's, "Pelican
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West". After the obligatory creative differences and legal
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confrontations, Nick struck out on his own to embark on a solo career
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that has not been without its auspicious moments.
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Unquestionably, the high watermark in Nick's career came when not
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one, but two of his songs played in the background during the big
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high school dance scene in John Hughes' teenage epic, "Sixteen
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Candles". Nick's next brief encounter with pop culture came during a
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"60 Minutes" story on British military officers returning home after
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years of colonial occupation in foreign lands. During an interview
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with one particularly eccentric and disgruntled retiree, the former
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officer flipped on the television and was confronted by Nick
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Heyward's video for "Warning Sign". The gentleman then went on to
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blame the ills of humanity in general and the decline of the English
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Empire in particular on Nick (though he did not mention Nick by
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name, the charge was probably more generally aimed at those of
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Nick's ilk.) There were other appearances. Nick was the opening act
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at Wham's momentous farewell concert at London's Wembley Arena.
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It has been alleged that a song of his was used in the John Travolta
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film "Perfect". It never made it on to the soundtrack (and I have
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never seen the film so I can only pass along what I have been told.)
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Nick also showed up to add his trademark guitar work to a
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phenomenal (and painfully difficult to locate) single by the
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Groovetrain called "Why did you do it?"
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Then he was virtually unheard from. At least he didn't pop up on
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any more American TV news magazines. The unkindest cut of all
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came when a local columnist wrote in response to an inquiry "yes,
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there actually was a band named 'Haircut 100'. I wouldn't have
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believed it myself if I hadn't looked it up in my encyclopedia of
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Rock-n-roll." The career of international pop star Nick Heyward was
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faltering, to say the least.
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THE RETURN OF JOLLY ST. NICK
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On this fourth solo album (it really is his fourth, don't let him kid you
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into forgetting "Postcards From Home" from 1986) Nick sounds like
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the classic English songwriter he was destined to become. The sound
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is vintage pop in the same ballpark as the Lilac Time, Black, Paul
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Weller, or Bradford. Not as many trumpets as Nick used in the early
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days, but plenty of string arrangements and jangly guitars. The
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album sounds refreshingly unlike the vast majority of music
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recorded during the past five years.
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The first single released from the album, "Kite", is absolutely
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beautiful. Soft-spoken, but with a cynical cast, it bounces along for
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three minutes and is as catchy as a cold. It even contains a brief
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trumpet bit which is extremely reminiscent of the horn blast in
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Haircut 100's "Fantastic Day". The rest of the album is similar in tone
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though the song styles vary greatly. "How do you Live Without
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Sunshine" stands out in the middle of the album as an epic sized,
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eight minute ballad, yet it doesn't seem out of place among four
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minute love songs. Perhaps it is reminiscent of the Dream Academy,
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but it is still a fast-moving eight minutes. It also helps that Nick
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Heyward remains the hapless romantic throughout. He isn't out to
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save the planet, or start a revolution. He just wants to end up with
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the girl occasionally.
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The other outstanding song on the album is "Diary". It is
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considerably less delicate, harder edged than "Kite", yet it features a
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fantastically melancholy string arrangement. Think the Beautiful
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South. The song's mood lurks somewhere between embittered and
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forlorn, yet Nick never lets the anger take control. That may be the
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key element to the success of "From Monday To Sunday." Nick
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Heyward sings through a range of emotions in these songs, but he
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never lets them get in the way of a great, three minute pop record.
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Vital Statistics
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Nick Heyward - From Monday to Sunday
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Released on Epic
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Catalog number ek 57755
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Total playing time: 46:01
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12 tracks
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He doesn't love you like I do
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Kite
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Into your life
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Caravan
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Ordinary people
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How do you live without sunshine
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January man
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Mr. plain
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These words
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All I want you to know
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Diary
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Everytime
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Produced by Nick Heyward
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********************************************
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Adam Sandler
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They're all gonna laugh at you!
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(Warner Brothers)
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TRYING TO FIND SOMETHING TO LAUGH AT
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During his brief appearances on M-TV's "Remote Control" Adam
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Sandler managed to take mediocre material and make the most out
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of it. Even on the lackluster Saturday Night Live he extracts the
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maximum possible laugh potential from paper thin comedy premises.
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Granted, Opera Man is a big waste of network airtime that could put
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to more entertaining use by showing the "Emergency Broadcast
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Signal" for three minutes. However, Sandler scores bonus points for
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getting any comedy mileage at all out of Cajun Man.
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The fact that Adam Sandler can be extremely clever makes this
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album of sketch comedy and songs all the more disappointing. There
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are bits and pieces that are funny, but they are remark
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ably few and
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far between. Most of the material is dull as dirt. The rest is so
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unfunny it hurts to listen to it.
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The language is extremely foul on many tracks. That usually
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wouldn't be a problem, but here it seems like vulgarity is being used
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as a substitute for wit and imagination. The Jerky Boys would be
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drop dead funny with or without swear words. "Toll Booth Willie"
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and the entire "Buffoon" series rely exclusively on the premise that
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it's funny to hear someone spew blue language. Seventh grade boys
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might laugh at these tracks. Probably not.
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THE LAST BEST HOPE FOR HUMOR
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The best tracks on the album are the songs, which are a lot more
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focused and well thought out than the sketches. "The Thanksgiving
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Song" and "Lunchlady land" are both bizarre little tunes, reminiscent
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of the "Sweatshirt" song from SNL. There are sketches that seem to
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have some promise when they begin, but like most of the pieces on
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SNL, run out of steam early and have no place to go.
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It's very sad that this is such an uninspired piece of work. Adam
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Sandler is a much funnier guy than "They're all gonna laugh at you!"
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would suggest. Hopefully he'll flee the sinking Saturday Night LIve
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ship soon and shrug off it's influence. Until then, they probably
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aren't ALL gonna laugh at him.
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Vital Statistics
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Adam Sandler - They're all gonna laugh at you
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Released on Warner Brothers
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Catalog number 9 45393-2
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Total playing time: 54:39
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22 Tracks
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Assistant principal's big day
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The buffoon and the dean of admissions
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Buddy
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The longest pee
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Food innuendo guy
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The beating of a high school janitor
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Right field
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The buffoon and the valedictorian
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Mr. Spindal's phone call
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The Thanksgiving Song
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The beating of a high school bus driver
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Oh mom. . .
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Fatty McGee
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At a regular pace
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The beating of a high school science teacher
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The cheerleader
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I'm so wasted
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Lunchlady land
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The beating of a high school spanish teacher
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Tool booth Willie
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Teenage love on the phone
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My little chicken
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Produced by Brooks Arthur
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Featuring Adam Sandler, Rob Schneider, David Spade, Tim Meadows,
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Tim Herlihy, Allen Covert, Robert Smigel, Conan O'Brien, Steve Koren,
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Jennifer Lien, Meghan Andrews, Andrew Leeds and Sweet Margaret
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Ruden
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Parental advisory - explicit lyrics
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********************************************
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Volume Seven
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(the Total Record Company)
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THE FUNDAMENTALS
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"Volume" is a 200 page, compact disc sized magazine, which comes
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out three or four times a year. It includes a disk in the back cover
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which contains "at least" fifteen previously unavailable tracks.
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It is of English origin and therefore was somewhat pricey when it
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first began to appear on these American shores. Men (and women)
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were known to pay as much as $30 per issue at boutique record
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shoppes. Now, however, "Best Buys" (the E-lectronics superstore
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with a heart) is passing along the savings to you and offering issues
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of Volume for a mere $13.99. This is not to be considered an
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advertisement for the aforementioned retail giant, other outlets may
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well be offering similar or superior bargains, however trendy music
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stores in the Metro area continue to ask twice the Best Buys' price.
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Volume. . . Debut. Debut. . . Volume.
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"Volume" is akin to a similar English export of a decade ago, "Debut"
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magazine. For roughly a dozen issues "Debut" chronicled the
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pioneering acts of the day and included an LP of the most recent
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material. Though wildly uneven, these records proved to be
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historical documents, time capsules of an era that is, at this very
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moment, being repackaged and sold off the nostalgia bandwagon.
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But I digress. Because for all the future historical implications
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"Volume" issues are nothing if not glimpses into the future of the
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American music curve.
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THE SOUND OF TOMORROW . . . TODAY
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The impressive thing about "Volume" is that all of the tracks are
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from new, forthcoming releases. So even though "Volume Seven" is
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not exactly hot off the presses (and will only be less so by the time
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you read this) the music is still yet to be discovered by Mr. and Mrs.
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America. Even beyond the benefit of being the first on your block to
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know the inside story on Sabres of Paradise, the disc hangs together
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as a coherent, if somewhat uneven, look at the current state of
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alternative pop music in England.
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This issue's collection ranges from the heavy guitar driven pop of
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Redd Kross to the lilting, barely-there remix from Seefeel with heavy
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doses of dancy-dancy techno filling in the gaps. Of course the danger
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with a disc like this is that there is a chronic lack of continuity, but
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that isn't the case here. Teenage Fanclub establish the tone for the
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set with a happy little two-minute instrumental that sounds as if it
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came right out of 1985. The trio of live tracks from Verve, Sebadoh,
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and Stereo MCs work together elegantly, each building on on the
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energy of the preceeding track and developing momentum of its
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own. Sub Sub are one of the big, outstanding surprises of "Volume
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Seven". Smoother than smooth and fresher than fresh, they are the
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heirs to the 808 State throne if they choose to be (don't believe th'
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hype on certain usenet newsgroups, Norman Cook is not a member. -
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Ed.). Little Axe make a phenomenal debut with the Tackhead team
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of Sherwood, McDonald and Wimbish, recapturing the original On-U
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Sound System vision which was so sorely lacking on the more recent
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Tackhead recordings. The four brooding tracks in the middle of the
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program cling together like a building storm. The Heroines break the
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mood with their debut which sounds like the early, stompy Throwing
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Muses recordings. The closing three songs from Delta Lady, Eat
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Static, and Jesus Jones provide a high-energy, 15-minute-dance-a-
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thon conclusion.
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LISTEN-LISTEN, READ-READ
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As if that were not enough, the magazine is worthwhile as well. The
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graphics are slick and the tone is irreverent. Each band is given
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ample space to explain themselves along with a fairly critical look at
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each of their albums. In between there are humorous bits which ask
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and answer questions such as "Would Duran Duran survive a Nuclear
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Holocaust," as well as a "page to smell." Dry and clever in a typically
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English way.
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OWN A PIECE OF HISTORY
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At $30 a pop, Volume Seven is an expensive way to be the hippest
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kid in your neighborhood. However, for only $13.99 you'll be able to
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look back years from now and remember all the fun you never had
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during the no-so-roaring 90's.
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Vital Statistics
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Volume - Seven
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Released on the Total Record Company via BMG (UK) Ltd.
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Catalog number 7VCD7
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194 Pages
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Total playing time: 78:41
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18 tracks
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Teenage Fanclub - Belt
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Radiohead - Stupid car (tinnitus mix)
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Verve - South pacific (live and dangerous)
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Sebadoh - Whitey peach (live and desirable)
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Stereo MCs - Elevate my mind (live and delirious)
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Sub Sub - Valium Jazz
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Little Axe - 15 to 4 (debut)
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Bang Bang Machine - Life's a gas
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Marc Almond - Incestuous love
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Slowdive - Some velvet morning
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Seefeel - Come alive (remix)
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the Heroines - the Kiss (debut)
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the Boo Radleys - Barney
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Redd Kross - Any hour every day
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Sabres of Paradise - Lick wid nit wit (debut)
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Delta Lady - Anything you want
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Eat Static - Nucleus Trance
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Jesus Jones - Machine Drug (remix)
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Managing Editor Rob Deacon
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********************************************
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One Dove
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Morning Dove White
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(ffrr)
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THE SOUND OF ONE HAND.
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The name of this album says exactly what it is. It just isn't entirely
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clear what it says.
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One Dove have recorded the next great chill-out record. Even the
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band members appear to be barely awake on the cover. However,
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One Dove do not fit neatly into the dub-ambiant pigeonhole. In a
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domain that is crying out for an infusion of new life and new ideas,
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One Dove are poised to be the saviors of subtlety.
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This is not wallpaper. "Morning Dove White" is not the ultimate,
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barren landscape that extremists have been waiting for. There is
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melody and rhythm as well as classic song structure. There are also
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plenty of seven minute tracks that meander along with no particular
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place to go. It's a beautiful ride, but it isn't for the impatient.
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SPIN DRIFTING
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The One Dove sound is probably somewhere on the musical
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continuum between Massive Attack and the Orb. Deep, rolling dub
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rhythms support an array of keyboards and the occasional guitar. In
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both tone and style One Dove evoke memories of expertly crafted
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Colourbox records from the mid-80's. The songs are rich with
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atmosphere but don't get lost in atmospheric effects.
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While the music is remarkably beautiful, the defining characteristic
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of One Dove is Dot Allison's captivating voice. When she begins
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"Fallen" by sighing "I don't know why I'm telling you any of this," it's
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difficult to know whether to take it as a warning or a confession.
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Though comparisons have been drawn between Dot (not to be
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confused with Dot Warner) and Elizabeth Fraser of the Cocteau Twins,
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she is probably more like a second cousin to Sarah Cracknell from
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Saint Etienne. Either way it is a fantastic performance that gives this
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record more warmth, more humanity, than the rest of the music
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playing in chill-out rooms around the world.
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Vital Statistics
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One Dove - Morning Dove White
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Released on ffrr
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Catalog number 162 351 042-2
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Total playing time: 69:57
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11 tracks
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Fallen
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White Love (guitar paradise mix)
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Breakdown (cellophane boat mix)
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There goes the cure
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Sirens
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(the transient) Truth
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My friend
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Why don't you take me
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White love (piano reprise)
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White love (radio mix)
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Breakdown (radio mix)
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Produced by Andrew Weatherall and One Dove
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One Dove are:
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Dot Allison
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Jim McKinven
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Ian Carmichael
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********************************************
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Hit Lists From Around The World
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(what everyone else is listening to)
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The biggest hits of 1993 on the MTV European Top 20
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Top 20 of 1993
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--------------
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1. What is love Haddaway
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2. Living on my own Freddie Mercury
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3. (I can't help) Falling in love with you UB40
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4. What's up? 4 Non Blondes
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5. Two princes Spin Doctors
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6. Tribal dance 2 Unlimited
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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
|
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20. Would I lie to you ? Charles & Eddie
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|
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United States
|
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Top 20 Singles of 1993
|
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|
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1. DREAMLOVER - Mariah Carey (#1 / 17 weeks)
|
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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)
|
|
|
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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.)
|
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|
|
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)
|
|
|
|
|