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Michael Geist, research chair of Internet and e-commerce law at the University of Ottawa, posted about it on his blog. His 1 1- page response, posted March 20, branded Geist as “misleading, incorrect and inconsistent,” and noted that the availability and consumption of P2P files nega- tively affects Canadians’ radio lis- tening and legitimate music purchasing. On a page study, the num- bers could probably support al- most any viewpoint.

But it does appear that apathy, according to Pollara respondents, and not downloading, might be the Cana- dian biz’s biggest enemy. Also, the outright demoniza- tion of file-traders may require a more nuanced approach.

Case in point? The demographic most likely to say that file-trading is the reason they are buying fewer CDs are to year-olds.

But the same age group is also the music industry’s best customer, buying music CDs and DVDs at almost twice the rate of those 25 and older. The first two orchestras to partner in the initiative are the New York Philharmonic and the tion in the iTunes newsletter. The orchestras also will pro- mote their projects via their Web sites, subscriber lists, program booklets and e-mail blasts. Orchestral releases typically achieve relatively low sales vol- umes.

That, plus high recording costs and strict union regula- tions have meant that most Los Angeles Philharmonic. Both are teaming up with Universal’s Deutsche Gram- mophon label to issue four dig- ital-only albums per concert season, along with potentially one physical disc per year, recorded at live concerts.

Each title carries a S9. The iTunes store is the exclusive partner for the launch, but Universal an- ticipates bringing other digital stores onboard at a later date. Universal says iTunes is plan- ning promotions for the launch on the store’s main page and classical page as well as men- American and many European orchestras, even those with the highest international profiles and reputations— including the New York and LA.

Philharmon- ics—have gone without record- ing deals for years. To make the performances available, the LA. Phil worked out a new performance agreement with the orchestra musicians. Sebastian will be honored with the Bill- board Hall of Fame Award for a stellar ca- reer that spans 30 years and more than 30 , albums. Both artists will receive their awards dur- ing the ceremony, which will be broadcast live on the Telemundo network from the Seminole Hard Rock in Hollywood, Fla.

Sebastian has written some of the most recognizable Latin songs, including ” Secreto de Amor” and “Juliantla. Shakira, today’s most successful Latin crossover star, is also one of the most altru- istic of contemporary artists. Shakira, who will perform at the show, is up for eight awards, including artist of the year in the Top Latin Albums and Hot Latin Songs categories.

Universal will avoid record- ing costs by having the orches- tras deliver their own record- ings, provided via partners such as radio broadcasters. Roberts hopes to create sim- ilar opportunities for interna- tional orchestras. The label group is in talks with several prominent European ensem- bles and announcements about additional partnerships are an- ticipated soon.

While the initial round of re- leases will be branded as “DG Concerts,” Universal Classics says that some of the forth- coming partnerships will be marketed in a “Decca Concerts” series, incorporating another of Universal’s prestigious imprints into the larger initiative. Bogdan Rosctc, managing di- rector of Decca Music Group, sees the initiative as “the chance to represent the rich everyday musical life of cities like New York and Los Angeles, which have been going unrecorded.

Phil’s initial iTunes packages offer some signature programming of contemporary music from its current “Mini- malist Jukebox” series.

The first two concerts, which were to be recorded March , arrive at iTunes March It is due March 28 on ITunes. And while lawmakers at least tem- porarily sidestepped the legal- ization of file-trading, they stepped right into another hor- net’s nest — insisting that digi- tal music services and devices play nice with each other.

The new legislation intro- duces the right to interoper- ability and challenges the notion that digital music retailers, like Apple’s iTunes Music Store, have the right to limit their serv- ice to proprietary devices, such as the iPod. French lawmakers voted to force digitally soldmusic to work with any digital music player or software. The Parlia- ment also mandated that digital rights management developers make public all information needed to reach interoperability. This would permit users to bypass DRM technologies in order to listen to digitalized music on any device.

The French government said the law is designed to ensure that no single company domi- nates the rapidly growing music download market.

The Cupertino, Calif-based company claimed the bill would “result in state- sponsored piracy. But Apple might want to con- sider the upside of the law. The ability to add music from other music services would make the iPod “more universal and versatile” and therefore more valuable. France’s digital music mar- ket grew exponentially last year, selling French minister of culture Re- naud Donnedieu de Vabres, who sponsored the bill , told Billboard in February that he did not want technology to serve as an alibi for any kind of “compartrnentaliza- tion.

The French industry has gen- erally welcomed the bill, though with reservation. This puts an end to disproportionate penalties such as sending an In- ternet user to jail,” Donnedieu de Vabres said during the debate. The lack of rules on how to apply those fines is a source of concern for the industry. The March 22 vote ended de- bate that started last Decem- ber. Two subsequent amendments that opened the door to the legalization of file- sharing — by way of a global li- cense — were temporarily adopted, but ultimately ex- cluded from the bill.

The legislation — which re- quires Senate approval — would put France in agreement with the European Union’s Copy- right Directive, which was passed in On the other hand, the older demographics — people and plus — showed a drop in total physical sales. The study also broke out music sales by dollars for var- ious age groups. As for the labels, the study found that traditional radio is on the downswing as a moti- vator to buy music, but “TV is really powerful” in driving sales.

That finding was not quantified in the study, but was conveyed anecdotally, Donio says. Other tactics to increase sales include pack- aging music soundtracks with movies or videogames, he says.

The study— which had 3. In other words. The survey also broke out re- spondents by how much they spend on music. Those buyers generally shop at a discount department store, but also shop for music at consumer electronics stores and online. Those respondents make music purchases on al- most five occasions 4.

Like the light buyers, they also tend to shop in mass merchants’ music depart- ments, but will also go to con- sumer electronics chains and online stores.

On each occasion, they spend 22 minutes in the music section. But the company Is just now moving into higher-margin packages.

The Tori Amos offer is part of Apple’s larger video bundling push that includes iTunes-only “video albums” offers of six to seven videos from an artist that have not been released as physical col- lections and “vingles” a bundled offer of a video and its corresponding single. Apple officials expect video collections to be a growing trend. But they’re great for well-established artists with a fan base behind them that wants more product. Cue says some of the most exciting opportunities are around products that have no equivalent In the physical world.

Yet, when asked what would encourage them to go to the store specifically to buy music, more than two-thirds of respondents — the No. The DualDisc and custom CDs from kiosks were also touted by about one- third of respondents. The survey also broke out shoppers in such categories as “impulse,” those who see something and buy it; “wan- derer,” or browsers; and “de- termined,” those who go to a store for a specific album. If those shoppers were to buy one more unit on just one occasion, U. If stores did a little better mer- chandising, there is plenty of reasonable upside.

Time Life says it has sold more than 1 million units of the multi-title series since it began marketing it via in- fomercials and TV ads in No- vember Time Life is no stranger to pushing sales of music and video series into the millions. Also notable in the case of “Hee Haw” is where and how the sales are made. Time Life executives say consumers pur- chased almost half of the ” Hee Haw” titles in stores like Wal- Mart and Target rather than over the phone, as is typically the case with many direct- response campaigns.

In fact, Time Life executives report the success of “Hee Haw” validates an expanding strategy to supplement direct- response sales with traditional retail distribution. Time Life has pushed select CD titles to merchants since the late s, but it is just starting to acquire retail-distribution rights for DVD product. The company is looking to ramp up retail presence of all product categories across the board. Risk diversification is cen- tral to the new strategy. Retail sales can add legs to a direct- response campaign.

Such sales can also offset TV ad- vertising expenses Time Life incurs promoting more mod- est-selling collections. TagWorld members will vote for the top 25 tracks from April 19 through May 23, and the movie’s producers will select the winner June 1. The movie, starring Samuel L. Jackson, opens Aug. The service has added a “demand” link to Its site, where users may request the bands they want to see perform.

Performers can also use the service to an- nounce their availability by adding a “demand me” link on their site or blog. Once created, the site adds links to social book- marking sites, sends e-mails and distributes e-stlckers to promote more fans to sign the “petition. Sony PlaySta- tion has delayed the much- anticipated PlayStation 3 until November, a full year after Microsoft introduced its up- graded gaming system.

Sony says It still hopes to ship 6 million units worldwide by the end of the year. It also confirmed It will introduce an online gaming and community service called PlayStation Net- work Platform to compete with Xbox Live.

Both allow gamers to play against each other on- line, as well as download other content to the consoles. Sony blamed the delay on difficulties surrounding final- izing the copyright-protection specifications of Its Blu-ray high-definition DVD standard. Rihanna has the top debut of the month as her new single “SOS'” debuts at No. Look for her new album this spring. Rock v. Take, for example, how dig- ital music is transforming today’s D — perhaps the old- est and most influential tastemaker of the music in- dustry.

One would think the vinyl-obsessed DJ crowd would resist replacing their coveted crates with digital files. Yet digital music has not only caught on, it has become an entrenched part of the craft. Williams is a hip-hop artist and producer who hosts a weekly rap show on WWPR New York, runs the Internet radio site furureflavasonline. They are taking ad- vantage of products and serv- ices specifically designed to pair the DJ with digital music.

Simply downloading digital files to a laptop would be of lit- tle use to a DJ without the abil- ity to manipulate those files like vinyl records on a turntable. That is where products like Ser- ato Scratch Live come in. Scratch Live, which began shipping in April , almost single-handedly opened the digital floodgates to the D community by providing the ability to play MP3 files through a special vinyl “rec- ord. To say that digital will re- place vinyl among DJs would be an overstatement.

Vinyl re- mains the heart and soul of the DJ, the badge that sets them apart. But for DJs traveling to shows across country, the prospect of replacing heavy cases of records with a hard drive made digital an easy sell. With DJs now armed with the means to utilize digital music files, multiple services have emerged to help DJs acquire them.

DJs are established taste- makers. Record labels often test new releases with DJs who can influence how tracks are received on the street through mix tapes and club dates.

As a result. DJs need to get new music before the general pub- lic. Downloading from iTunes is not enough. Even the venerable record pool — clubs that DJs join to ac- cess the newest music — has gone digital. Labels send pro- motional copies to the pool, often before servicing radio. The pool then distributes it to its members and acts as a feed- back conduit to the label. While many pools remain, there is a shift to online distri- bution. The largest digital pool.

Digiwaxx Media, maintains a database of 1 2. All have access to the same music, which they can preview before downloading as an unpro- tected MP3 or use the included label contact information to re- quest physical copies.

Digiwaxx requires users to complete an extensive feed- back form before allowing them to download tracks and then provides this data to the labels. I can be working DJs on the record, get it in the clubs and have my feedback before they even get a physical product.

But as useful as these digi- tal advancements have be- come, are they making the role of a DJ too easy? There is a cer- tain art to finding the right record and mixing it at a club.

As technology trumps tech- nique, anybody can become a DJ. Marl is not worried. He says digital, like CDs before it. All the technology in the world, he says, cannot re- place talent. Paradigm’s new Rock Monitor combines high- tech capability with a decidedly low-tech design— its outdoor speaker system is camouflaged as a lowly rock.

A rock made of titanium domes with a polypropylene cone, that Is. A mono option allows two speakers to work together as well. Each pound sealed cabinet is weather, water and UV resistant, available in three textured faux- stone finishes— fieldstone, northeastern dark gran- ite or western sandstone. It ships with a security spike to prevent theft.

Yet at this year’s South by Southwesl Music and Media Conference in Austin, it was clear that the playing field has not leveled so much as it has added another tier. What is emerging today is a record business with major la- bels, major indies and then everyone else. How to define that third tier and its protocol was the subject of much debate among indie- label executives in Austin.

While some fight for radio play, others are happy just to have their music downloaded for free on the Web. He added that market access is a big- ger concern and one that does not look to get easier for most independents. When radio was brought up the following day on a panel to discuss expectations for newer artists. Matador head Gerard Cosley dismissed the topic as ir- relevant.

Kunz ran into this columnist in the Austin Convention Center. He was most excited about “20 Years of Weird: Flaming Lips A hot subject was a recent Vic- tory Records e-mail that directed street teamers to move a com- petitor’s album from the front of store shelves Billboard, March Weitzer wondered if anyone would care if a major label were caught doing the same thing.

During this time of general industry un- certainty, independent labels, Rosenfeld said, should be “fo- cusing on having good rela- tionships with artists rather than trying to beat the major la- bels at their own game. But indies should not look to the Web as an equalizer, many cautioned. In an independent market overview discussion on the fest’s opening day.

Wind-up CEO Steve Lerner said the on- line business will soon “be about who has the power to buy space at these digital stores. Bar None pres- ident Glenn Morrow said he has talked to labels with similar set- ups as well as independents look- ing to take a percentage i y; ‘ V ‘i j ; of a band’s merchandise or tour revenue.

Such arrangements, he said, are interesting, but put a label in more of a man- agerial sort of role. Of course, a sense of humor goes a long way with all these differing viewpoints. There’s someone right there in your hometown who is looking out for you. WB Records Craig Aaronson. The music publishing industry faces its biggest threats and its greatest] opportunities. The CRB began proceedings last month to determine “reasonable rates and terms” for making and distributing phonorecords under section 1 1 5 of the Copy- right Act.

This is the first time the gov- ernment is considering rates for digital phonorecord deliveries DPDs and online subscrip- tions. When DPD rates were first set, the government simply adopted the statutory rate for mechanical licenses since on- line distribution was in such a nascent stage.

Apple Computer, America On- line. Sony Connect. Yahoo and MTV Networks. The groups will soon begin gathering evidence to support their positions. Meanwhile, Congress is still considering how lo reform the way section works. When it makes a move, “it will be the most fundamental change in the history of section ,” Is- raelite says. After Senate and House Judi- ciary subcommittee hearings — followed by a “discussion draft” of a bill from the Copyright Of- fice — sparked controversy last year Billboard, July 2, , pri- vate industry negotiations con- tinued between the NMPA and DiMA over a new blanket li- censing system for distribution of all digital products.

This li- cense would likely cover digital distribution of recorded compo- sitions via downloads, online subscription services offering temporary downloads, cell- phone delivery and retail kiosks. Current negotiations have reportedly narrowed to com- plicated issues surrounding reporting requirements and the structure of a licensing agency to administer the blan- ket licenses.

When most of the details get hammered out. Also on the agenda are issues surrounding high-definition and satellite radio. These serv- ices can deliver digital music to devices that, with new technol- ogy, are able to make and store perfect copies of recorded music for long time periods. The de- livery then becomes more like a download than a radio broad- cast, perhaps displacing a sale of the music.

The RIAA has taken the lead role for the music industry in ne- gotiations over an audio broad- cast flag or similar technology to protect content Billboard, March If the RIAA makes concessions re- garding content control in return for sound-recording perform- ance royalties, then the NMPA will likely enter the fray to pro- tect publishers and songwriters’ royalty rights.

Other matters on the agenda include anti-piracy legislation introduced by the Department of Justice, orphan works Bill- board, Feb. In John says. The Festival name has been dropped. International revenue in- creased 4. LoFru- mento attributes that to its MediaGuide technology and overall efficiency. He has worked with some of the world’s leading songwriters, including Cat Stevens, Dave Stewart. Robert Palmer and the mem- bers of U2.

In both roles, he reports to St. Mushroom was set up by Gudinski in He sold it to News Corp. News Corp. His first three signings for the com- pany—alternative acts Re- gurgitator, the Superjesus and the Whitlams— all en- joyed muttiplatinum domes- tic success.

FMR kept miss- ing out on getting bands and if they did get bands, didn’t have the resources to mar- ket them. John says that enticing Parisi back to Warner was a key part of his strategy for revamping the company. For most of the past decade, the country has had two rival annual award ceremonies. This year, there is just one. Both shows were launched in However, Promusi- cae scaled down the Premios Amigo gala in in protest of local piracy levels.

It did not present any awards at all in , nor will it this year. Despite Premios de la Mu- sica having the field to itself in , the televised event failed to capture the public’s imagination and viewing fig- ures were low. The organizers are now taking steps to raise its profile, drawing praise from their supposed rivals at record labels.

The gala May S in Madrid will be “a celebration of the survival of the Premios de la Musica as the national music awards. He suggests Lattanzi may have a strong future in the United States. Lattanzi’s debut album, “Lonely Nights in Paradise,” is due domestically in Septem- ber. John says no acts have been dropped since Warner bought FMR. Warner Music’s own direct domestic signings Shihad, Thirsty Merc, Magic Dirt and Evermore will choose whether they switch to Mushroom, but all new signings to Warner will go to the revived imprint.

Mushroom is now a Warner Music Australasia imprint. Parisi’s presence “made us feel comfortable going to a major label,” Crane says. One admirer is Sydney-based Andrew Klippel, managing director of production and manage- ment company the Engine Room, which licensed the Veronicas to Sire and the Vines to Capitol. With the acts that Parisi has signed, he’s about to enter a golden era. The key move sees the gala switch to a Friday from its previous Thursday night slot.

The gala was televised on public channel La2 and had an average audience of ,, representing an au- dience share in its time slot of just 0. It was tel- evised annually until , when Promusicae — then known as AFYVE — scaled it down on the grounds that a lavish live show was inappro- priate in times of severe piracy and sales decline.

The Premios de la Musica awards recognize only Span- ish-language artists. This year’s event features 28 Spanish categories voted for by AACM’s 5, members including artists, songwrit- ers, promoters and industry executives.

An additional Five honorary Latin awards chosen by the Premios de la Musica organ- izing committee will be pre- sented to non-Spanish acts. Those will be announced in- dividually in the weeks leading up to the ceremony. The Premios de la Musica nominees were announced March 13 billboard. EMI Spain duo Amaral also picked up four nominations. The company looked outside the music industry to find a replacement for Niel van Hoff, who exited the company in January billboard.

Adels has previous label experience with BMG. She joined the company’s parent media group Bertelsmann in as a sales and marketing executive before moving to BMG International in as director of European special marketing. Barrett is suing Universal Island Records and the Marley family claiming that he and the estate of his late brother, drummer Carlton Barrett, have not been paid royalties due to them under two recording agreements made by Marley in and The defendants claim that Barrett, now in his 60s, surrendered his right to further royalties in a agreement in which a payment of “several hundred thousand” U.

The hearing is scheduled to last three weeks. The British pop star’s five-times platinum compilation was one of eight albums to gain certification during the month. Platinum status is awarded to albums for European shipments in excess of 1 million units. Gorlllaz’ “Demon Days” Parlophone , also from , attained triple-platinum status. The show was broadcast live by Tokyo-based music TV channel Space Shower, which claims to reach 5 million Japanese households, mainly via cable.

The winners of 18 categories are decided by a panel of the station’s staff. One other category, the “your choice” prize, was voted for online by , viewers. Handleman’s U. Tesco is currently supplied by British wholesale distributor Entertainment UK. The Len Price 3 continues to impress us with their latest classic album.

If you are looking for an example of what defines garage rock, look no further. Has Oasis ever re- ally broken here? Docs America get excited about anything anymore? The answer is “maybe,” but we all have to get used to a permanently fragmented world where i success will happen but in a much more lim-. So keep your standards high and expectations and costs low, and we will be all right.

The rock’n’roll rebirth is on, baby! Helmed by GM Neil Lawi. Dunn and Lawi stress that, like the music industry, WWE is about enter- tainment. With its new music divi- sion — and with the help of in-house talent and established artists — their aim is to push the WWE brand further into pop culture. Last spring. It has sold , copies, ac- cording to Nielsen SoundScan. The sold-out event will be available via pay- per-view and as a webcast at wwe.

To be sure, the WWE reach is far and wide. Still, even with these numbers, many do not take the WWE brand seriously. In fact, one of Lawi’s priorities is to educate major and indie labels, artist managers and music publish- ers about the ways WWE champions music. Music World Entertainment’s Mathew Knowles. It will be accompanied by a WWE soundtrack through a label partner yet to be determined. As the country singer preps yet another summer mega-tour, it Is not a stretch to rank Chesney among country’s most successful touring acts of all time.

All he lacks is longevity. Remarkably, Chesney has headlined full time for only five years, yet his fan base has ex- ploded. In that same time pe- riod, rock’s most consistent seller, Dave Matthews Band, has drawn 4. Chesney’s promoter, Louis Messina of the Messina Group, admits even he is sometimes amazed at the business Chesney does.

Why wouldn’t they come back? Last year, Chesney played three stadiums. There has not been a full-blown coast-to-coast sta- dium tour in years, but Messina maintains that the Chesney team makes the stadium dates work financially. UpFront 4.

So It’s even more Impor- tant that we keep our ticket price affordable. Country music bookers tend to cooperate when It comes to staggering on-sale dates and holding concert dates in a given market.

O’Toole comes to Live after serving more than seven years with what is now Live Na- tion. She worked with Lucas at the Indianapolis-based promo- tion company he founded. Sun- shine Promotions later acquired by SFX , from to Louis office. It doesn’t have to be in the Midwest, it could be any- where in the country. We make decisions in minutes, not weeks. It’s very ful- filling personally. While Messina cut his teeth in rock, even before leaving his VP role at Clear Channel Entertain- ment, Messina was becoming better-known as a country pro- moter.

He still produces coun- try’s top touring artist. Kenny Chesney, and also works with Gretchen Wilson and others. They re- mind me so much of how it used to be. Orders payable in U. All sales are final. March 3. Celt Feb 4 8.

House of Blues Concerts. Albany, N. San Francisco. A creative soul guilty of being too musically curious, overly enthusiastic and too involved In other artists, Burnett has consistently put his solo career on hold while inspiring, facilitating and mentoring others. But the songster in Burnett has finally won out. A: A couple of years ago, I was asked to work on it. I was afraid someone would make a hash out of it.

To have a bad version of Johnny Cash’s story would be the most terrible thing in the world. I in- vited Joaquin and Reese to my house, hung out with them, heard them sing. We bonded strongly. We all cared about Johnny and June and agreed to treat their lives and music with great respect.

That was a daunting task. Q: What was your role? A: I kept telling them, “We can do this,” even when serious burdens came up about doing it right. Q : As a producer, you are highly regarded far getting the best out of an artist. How do you achieve that? A: Someone told me a story about when Marlene Dietrich first came to Hollywood.

It took 18 months for filmmakers to learn how to light her. Basi- cally, I do the audio version of lighting someone. I always try to round up the best material and then find a way to put it in the best possible light. Q: How did you hook up with Cassandra Wilson to produce her new album? I loved them. Craig and 1 worked to- gether on soundtrack-oriented music for TV program] “Cross- ing Jordan,” where we used a lot of original tracks. Cassan- dra came to L. When she was ready to work on her new album, she called and asked if I could produce it, and I said yes immediately — even though I’m trying not to produce records anymore.

Q: Why not? A: The best job in show busi- ness is to be a free-standing artist — to have your own sched- ule. When you’re producing, you’re not allowed to set your own calendar to the same de- gree. I love the studio, and I love making music, but being a pro- fessional record producer, un- less you’re someone like Dr.

Dre, is a tough job. I’m mildly interested in continuing to pro- duce if it’s the right situation. But now it’s my default position. Q: Why the long gap between albums? A: I’ve been busy. But I’m tak- ing the year off to write songs and play shows. I’ve been wait- ing to do this for a long time. I started writing here and there and wanted to get a group of songs together that would have a resonance.

I wanted to talk about now, the period of time I ‘m living in. Q : How would you characterize where you are “living” today? A: This is a comedy record. All the songs are comedies. I hope they resonate that way. I don’t know if they’re funny because that’s an essential ingredient to comedy.

If they’re not funny, well, I don’t know. Q: Are you excited about touring the new material? A: It’s been 20 years since I’ve gone on the road with a band. It feels like heaven to get on a bus like Buddy Rich or Count Basie. You create your own bubble and move around the country in your own reality. It’s a completely irresponsible place to be. We’ll play good-sounding rooms on the first stage of the tour. By then, who knows, I might say I can’t Q: Who is on the tour with you?

A: Jim Keltner on drums, who I’ve known for 30 years, and Marc Ribot on guitar, who I’ve known for 20 years, plus Kee- fus Ciancia on keyboards and Dennis Crouch, this great rockabilly bass player from Arkansas.

We all have a tremendous amount of chem- istry. I started out as a record producer when I was a kid be- cause I was the worst player in the bands 1 played in. I always felt terrible. But finally, I’ve found the right combination of guys who I can feel com- fortable with while being the worst player on the stage.

Will there be a breakout single on the album? A: I don’t know what that means anymore. That’s not the world I’m living in. But, who knows, there might be one, but not on radio. One could break out at a basketball game. Q: Were you surprised by the suc- cess of O Brother”? A: I expected it to penetrate. The movie theater is a great radio station where you’re in the dark and listening to music.

It’s Red Rat”. Bill Holland Washington. Editor N Y. Editor N. Eileen FiUpatrich, Associate Eil. Fred Bronson, Lisa Cotlins. Laify LeBianc. Moira McCormick, David Nathan. Mana Manlidic.

Bell Sales Manager. NT U«? The company says its weak release schedule in the first half of the year was to blame for the fall in profits. The absence of new albums from international and region- al stars in the second quarter meant that fewer records were sold and that the unit cost of thase sold was higher PolyGram warned of the effect of its weak release schedule in a profits warning issued in the spring Billboard, April 4 and agiiin in announcing its firet-quarter results Billboard, May 2.

Comijaring the first half of this year with the first. Simultaneous- ly, the independent record retail sec- tor is at its lowest ebb. Indie stores continued their decline in and fell from a total of 2, in to 1, last year, according to the British Phono- graphic Industry BPI Statistical Handbook , published July At the same time, the number of food- and-household-goods supermarkets selling music rose from in to 1, in When these stores are included in the total, “music is now available in more nontraditional outlets than ever,” the BPI.

Within that, the advance of the supermarkets is pronounced. The Tesco chain increased its music outlets from in to last year, while Sainsbury rose from to in that time. The specialist retailers have, though, provided some counterweight to that trend. HMV continued its steady expansion to finish with stores, and Virgin has steadily grown throughout the ’90s to end last year with 80 outlets. In a period of transition, PolyGram’s ability to achieve this positiTO trend firmly demonstrates the dedication of our staff around the world.

PolyGram reports in Dutch guilders. The e. Spirited Gathering. Notable names in the music industry recently gathered at the New York restaurant Sardi’s for a luncheon to kick off this year’s fund-raising campaign for City of Hope. This year’s activities will culminate in a gala dinner Nov. All true Monk devotees readily devour every tid- bit of information or retelling of the seminal tales of Monk-dom.

Of MONK course, your rem- iniscences were joyful to read, as well as your apprecia- tion of Monk’s stature. I have loved Monk music from the moment a friend played me “Ruby, My Dear” 25 years ago. To this day, he is an icon of inspiration, as a musician, as an American, and as a man. Thanks for sharing. I appreciate the fact that you could write it in a matter-of-fact way. Thanks again. John J- Ahearn Cambridge. N-Y- lOtHfi. Phoir and Morshall Crenshaw are In the spotlight.

Convention drows record numbers despite Texas heat wave. British cabaret singer Jane ivlcDonald evades club singer stigma. Pmiem»iiiiimb 79 Almost. II1 83 Music Video: Fesfivnls to showcase leading directors’ work. He was Draper’s death came as a huge shock to a gospel community that had viewed him as a solid force on its increasingly competitive choir scene since his Word Records debut, “Do It Again.

It got its first pro- fessional break singing backup on Shirley Caesar’s release, “I Remember Mama. A move to Warner Alliance in yielded two releases — “Gotta’ Feelin’ ” and his current album, “Reflections,” which was released in April.

Stressing pro- fessionalism, Draper said once that his vision was “to present a better and more disciplined choral sound and to show that gospel choirs are not just about the shouting, but the performance and the message. Draper is survived by his moth- er, Marie Draper; a sister, Tere- sa; and his fiancee, Patrina Smith, who is a member and co-director of the Associates.

He will be remembered in a series of memo- rial services, beginning with a private funeral July 24 in Mem- phis and culminating with a memorial service at the Gospel Music Workshop of America, where he had been scheduled to perform.

A date for the memorial service had not been set by press time. Rodgers has acquired Touchwood Distribution and renamed the com- pany Sumthing Distribution to coin- cide with the launch of his Sumthing Else Records label.

The first release from the Sumthing label will be a live album from Chic, recorded in Budokan, Japan, in on the day before the group’s co-founder, Bernard Edwards, passed away. That album will also include the last four studio tracks completed by Edwards and Rodgers. Touchwood, a 4-year-oId company previously affiliated with the label of the same name, is currently on the map through the distribution of the self-titled album from the DLR Band, the latest project from David Lee Roth.

The set has scanned 28, units since its release in June, according to SoundScan. Terms of the acquisition were not disclosed. As to why he acquired a distri- bution company, Rodgers says, “I really wanted to be in a position to influence the des- RooGEHs tiny of product, especially my own product. The company also is still distrib- Good As Gold. Pat Boone’s Gold Label record company, whose roster includes Patti Page and Glen Campbell, recently announced a merger with Hon- est Entertainment, a label boasting pop standards, jazz, classical, and Celtic acts.

The newly formed endeavor will strive to market pop standards music to the over demo, Shown cementing the deal, from left, are Honest Entertain- ment owner Jim Long and Boone. Ryko will remain under the current management of label co-founders Don Rose and Arthur Mann. An Islandlife spokeswoman de- clines to comment, and Ryko exec- utives were unavailable at press time. The bulk of the funds generat- ed by the label’s sale are expected to be disbursed to Ryko creditors and Genesis Merchant Group, a San Francisco-based investment company that is an equity owner in the label.

Islandlife, the parent company of the new multifaceted enter- tainment venture formed by Chris Blackwell after leaving PolyGram Billboard, May 16 , is said by sources to have signed a letter of intent to purchase Ryko in April Billboard, May 9.

Islandlife has just is. Distribution and marketing of those releases was slated to be handled by Ryko, based on a short-range deal agreed to between the two companies, while the due diligence and other steps necessary to close the deal were being completed, ed christm. Sumthing Distribution is overseen by Irv Biegle, president. Biegle’s his- tory in the record business includes stints at Motown, Bell Records, Casa- blanca Records, and Boardwalk. In addition, the Boston Ckmsulting Group has been hired to assist in the process.

Nine business sectors arc cov- ered by the first lineup of teams: publishing, global marketing, global manufacturing and logis- tics, finance, human resources, information technology, business and legal affairs, real estate, and purchasing. Four of these sectors have two team leaders, one from each com- pany’s relevant department. In bu. Staff were asked for “full cooperation” in the process and informed that, in the coming weeks, tlie. Dropping to No. The big question is whether the adult departure will significantly affect VSDA attendance.

Retailers, even those who don’t carry porn, like to see the sights and collect per- formers’ autographs. However, Fishbein says, “I can’t tell you if we had any influence. Without the Expo nearby,.

The House vote on H. However, insiders also forecast that final agreement in the House may come only after a jurisdiction “turf” battle on the floor between members of the. Judiciary Commit- tee and the Commerce Committee. A growing debate over copyright and licen.

Extends public invitation to Rammstein to record with them “anytime, anywhere. Sprints to stage and proceeds to get inappropriately jiggy wit it.

Lil’ Kim, The Notorious B. Silkk The Shocker. Mia X. Lil’ Kim. The Notorious B. Mooradian advocated, howev- er, that labels continue expanding into digital distribution as a means of undermining the demand for pirated music online. The pervading issue at the con- ference, of which Billboard was a sponsor, proved to be whether it is fair for record labels to collect an additional licensing fee from compa- nies transmitting digital music over the Internet.

The battle pits new media collec- tive the Digital Media Assn. DiMA vs. The debate was slated to be dis- cussed July 23 in Wa. Ultimately, we be- lieve the labels will make a lot more money and sell a lot more records if they make it easier for us instead of increasing our costs. Atlantic Records U. Sony is doing the same Billboard, July All the clashing opinions aside, the wealth of announcements at and sur- rounding the conference indicates that the new media business contin- ues to grow rapidly.

At the time, Tyrrell was believed to have been the first African- American to hold the title of senior VP at the company, Alexenburg says. Tyrrell also was a pioneer as a major-label black e. In recent years, he was a con- sultant and personal manager.

He conceived and founded the PACE Scholarship Fund to benefit high school gradu- ates with intentions to go to college. He is survived by his wife. Mitchell Wolk, VP of finance and administration for RED Distribu- tion, which has launched the new label, says, “We’re becoming a bridge between the gaming world and the music world. There has been a surge of inter- est in game soundtracks following the revitalization of the industry through the development of more advanced gaming platforms and the increased penetration of personal computers into homes.

Other labels in recent years have tried to market game soundtracks but without much sales success so far. They were, respectively, VP of international marketing and man- ager of sales. Collin A. They were, re- spectively, senior director of na- tional publicity and Los Angeles regional promotion rep at Revolu- tion Records.

He was director of marketing. She was director of finance and administra- tion at BMG International. She was senior account executive at DL Media. He was director of sales at Honest Entertainment. GoodNoise Corp. They were, respec- tively, president of Records and an entertainment lawyer. They were, respectively, director of film and TV music, manager of TV music licensing, and film and TV music assistant. Which male artist has the most Top 10 hits?

Who has the most consecutive years with a Top 40 single? What are the top HOT f “Love” songs of all time? Put your product on the top of everyone’s list! Bonus distribution at the show! With 41 number 1 hits to their name, Alabama is virtually unsurpassed. Join Billboard in saluting the successes of the global powerhouse knowm as Virgin. Ad Close: Aug. Close: Aug. AdQose: Aug. If this is a taste of what she can do on her own, it will work.

We did an exclusive mailing to top mix-show jocks,” he says, to kick off the label’s pre-release campaign for the album. On Aug. As an indication of the act’s bur- geoning popularity, its album, “Sehn- sucht,” broke into the top of The Billboard in the July 25 issue at No. The album, which moves up this issue to No. PolyGram Germany president Wolf-D. Tues- day 28 , its band name will become a self-ful- filling prophecy. In addition to being one of the all- time best-selling artists in Japan, the group has garnered 13 hit singles that have sold some 13 million copies.

It has also toured in support of each project, reaching an audience high of , fans over the course of 10 dates in In addition, the act has been active in TV and film sound- tracks, video game soundtracks, and producing other artists.

In short. Dreams Come True is a household word in Japan. The band’s attempt to crack the U. In recent years, the act has bro- ken through in Hong Kong and Tai- wan, selling more than , copies of its album, “Love Unlimited,” in the latter territory, according to Sony Music Entertainment. That Smith’s Oscar-ceremony per- formance should coincide with his signing to DreamWorks in, according to the label, a happy coincidence.

But judging from the unprecedented packed houses at recent gigs and Smith’s unlikely spot on the Acade- my Awards show, the hit film’s sound- track helped alert others to his tal- ent “XO,” due Aug. Smith applies a sweet-voiced aesthetic and caustic, poetic word- play to lyrics on indie rock’s standby topics; hard drugs, failed relation- ships, angst, and insecurity “XO” compris- es more full-band material — fea- turing Smith playing most in- struments — while retaining SMITH the intimacy and immediacy of his solo acoustic work.

But Smith has flourished in the studio with a full range of instru- ments available to him; piano factors heavily into the mix on this album. Jones beUeves in des- tiny, as the name of his first single from his band’s Aug. It re- newed my inter- est in the biz. He had set last May 31 as a resignation date. It takes a lot of mental energy to be down, and I experienced some really bad downs. They would become the core of Mr. Jones makes me think I had been looking in the WTong mirror for joy and happiness.

I just needed to let my creative juices flow,” year-old Ah Dee says. We were living on the edge. I put it on, heard five songs that were all potential singles, and wanted to know more. Lauren was on vacation, so I tracked [Ali Dee] down myself, and we hit it off.

Schnapf, Wood, Kill Rock Stars owner Slim Moon, and Smith’s man- ager Margaret Mittleman all name the artist’s strong vision as a chief virtue, one that adds to his value for the label.

But that vision also makes Smith a challenge to market. The program, which de- buted July 6, surprises people who have submitted a videotape explaining the influence a musical artist, sports figure, or actor has had on them by flying them with a friend or parent to meet and interview that per- son. Inspired by the parade of celebrities who host their own talk shows, Jeremiah Bosgang, VP of series development at MTV, thought “Wouldn’t it be interest- ing to see a regular person inter- view their idol?

Not just a fan who’s infatuated with a celebrity, but someone who genuinely knows about that individual’s life work and how it’s made an impact on that person,” he says. Of course, that does bring up the issue of stalkers trying to get close to their prey by appealing to the fanatic. One of the nicest aspects about the show is that those selected clearly aren’t VJs-in-training or actor-wannabes. They are real people, some of whom are naturals in front of the camera, others who tug at their clothing, are inarticulate and nervous, and are incredibly endearing.

Despite the advance work, Bosgang says, people are still genuinely surprised when they’re told they’re being whisked away to meet their idol. Bosgang swears that the fans’ questions are their own. And in a way, the series is about showing how the smallest of gestures — a phrase by Melinda Newman in a song, a role in a movie that made someone laugh at an otherwise tremendously dark period in his or her life — can reverberate in someone’s soul and effect change.

And help the fan, just as someone else may have aided that person’s idol, reach his or her dreams. Hoft’- ever, Bosgang says, depending upon “viewer response,” the show may continue. The BSO’s album, “Guitarslinger,” failed to make the chart. While Setter’s manager, Dave Kaplan, is more than willing to concede that Setzer’s success is partly due to the swing movement sweeping the country, he’s quick to add that this is al.

For five years, he’s crisscrossed the countrj; every year going up to larger and larger venues without benefit of radio or video play. So there has to be a tip of the hat to word-of-mouth from all that tour- ing—that can’t be underestimated. Set- zer’s song is also being worked at top 40, hot AC, and triple-A radio.

Keener ears than mine pointed out that Joe ftsci, whose upcoming Columbia set we wrote about last issue, also had an album out in the ’60s on Brunswick Records. By and large, I kind of stay out of it” Mittleman observes that “Elliott understands what he has to do, but he won’t compromise himself or put himself in a place where he seems fake or not organic.

That hap- pened with Elliott” Moon likens Smith to R. We want to continue that process while broadening the base but make sure it’s about subtlety. We constantly sell all three of his records. None of Smith’s fans are going to be disappointed with ‘XO. Composed and arranged by Rodney Jerkins. All music by Rodney Jerkins. Monica’s vocals produced by Dallas Austin and Rodney Jerkins.

In keeping with its namesake’s strong U. De Vries produced most of the tracks on the album, mixed another handful, and also performs a coolly updated version of the classic “Avengers” theme.

The first single from the album, to debut Aug. Ashtar is represented by two tracks on the album: on one, they perform with guest vocalist Louise Post of Veruca Salt, while there’s a Sinead O’Connor appearance on the guitar-driven rocker “Summer’s End.

Holmes and LeLsegang are quick to note that they’re look- ing for a permanent female vocalist. It’s not going to be a Massive Attack kind of thing. Holmes says he and Leisegang have written vocal parts for most of an album’s worth of songs and hope to h’dve an album out in the winter While the soundtrack gave many of its featured arti.

And I had to work out what that would mean in the ’90s. I was looking for a meeting place between cultural sophistication and pop sensibiUty. Slated to hit retail just tiefore the Aug. The digitally remastered album will feature new artwork and new notes about the film and its music from director and e. Bad news for fans who can’t get enough of Homer, Bart, and company.

Rhino Records has put on indef- inite hold its foUoft’-up album of music from “The Simpsons. While the Chicago- based guitar-and-drum combo has built an indie rock credibility among the local music scene’s hipster con- tingent. And when it came time to pick a producer, we weren’t interested in ereryone who’s making records now: I mean, we couldn’t real- ly call the Dust Brothers.

Cheap Trick, that kind of stuff,” says Lucas. Other surprises on the album include a guest guitar solo by the Stone Temple Pilots’ Dean DeLeo on “Cool Magnet” and an indistinguish- able sound on “Fine And Good,” which Lucas explains: “We put tinfoil on the piano strings and through the strings of a string guitar to make it vibrate more, and we ran it through a bimch of effects. It’s actually a com- bination of those sounds.

Island has a lot of road work in store for Local H, whose last album, “As Good As Dead,” was powered by tw-o solid years of touring as well as airplay for “Bound For The Floor” A fht-week, headhning, all-ages club tour is scheduled to kick off Sept We’re planning more road work, because they’re gcxxi at that” The label is also banking on early acceptance at radio to help launch “Pack Up The Cats.

The record is amazing. I wTote to a kid who had a Local H fan Web site over a year ago and posted my screen name, and I still get 20 E-mails a day from kids on the. We put together a mail- ing list from that, and we’re sending them stickers to let them know the album’s coming.

Swibet- 4. Boxscisres should be subrntted to: Rob Evans. When an album reaches this level, the altxim and the arttsl’s subsequent albums are immedi- ately Ineligible lo appear on the Heatseekers chart, AJI albums are available on cassette and CO. Atlanta’s RA. Parental Advisory soaks in the love from its hometown as the act’s first album or DreamWorks. The hip-hop trio, made up of Big Reese.

Ivlello, and K. P, has honeci its chops over the years working with local production team Organized Noize on its “Ghetto Street Funk” debut and uses no sam- ples in Its music. Das, who studied in India for several years, specializes in a mix of contemporary world music and Hindu devo- tional chants.

Monster Junkies. MoRttar Mairwt PDwcrlrio 3. Mjrii Wllh W,-j. CtMpttn Comin’ ARhal 6. SMMiwhitt Sevtnauit 7. UnhSeiOoM’n «. Pyiw Riw Sylk 9. VWon 01 DiMrdor Imonnt 2. SawMdwtt SeveoduM 3. MenMar MafiNt ftMi«rtrlp 6. Ctvambar 1. Cleopaira Co-rif Atcfia! Haattw Nwa S-rvi 9. Mayhem product manager Paula Hogan says the label has held con- tests with Metal Maniacs magazine and indie metal re- tailers.

In conjunc- tion with the band’s first U. Note- worthy names throwing an Weather Girls. New York- based quartet 4Kast. The act, whose single “I Tried” ships to radio Aug. Although there are a few cliche cov- ers of standards like “Tequila,” the act spices up Mozart’s “Night Music” into something one might hear in the air on an island paradise. Tk A veteran pop craftsman who emerged at the height of the new wave frenzy of the early ‘SOs, Marshall Crenshaw has only flirted with the acclaim he so desen’es.

Consisting mostly of demo versions of songs that would uind up on Crenshaw’s albums and singles, the disc includes a smattering of early studio sessions, radio broad- casts, and live dates. Among the high- lights are the demo of Crenshaw’s breakthrough hit, “Someday. Columbia, and RCA, among other labels, during his Promethean prime.

And his singing, dancing take on Dvorak’s pastoral “Sei-enade In E” will charm the hard- est of hearts. Aeneas” that. The cen- terpiece of the Rachmaninoff disc is the compo. He hadn’t conducted it since,. The disc also featiu’es Rachmaninoff’s “Vocalise. EWdence of Jennings’ own rocking streak breaks through now and then and, although he tries his best to croon, the fore- shadowing of his rough, authoritative Outlaw voice was beginning to make itself known.

He was an artist in search of an identity, but the artistry still shines through. This was very much a work in progre«s but a reward- ing one. For track-to-track sub- tlety, poignant wit, and no-bullshit pronouncements that carry real poetic weight, Phair is the backstairs bard without peer “Big Tall Man” rolls with grand car-radio ease, “Love Is Nothing” has a sad candor that’s unforgettable, and “Johnny Feelgood” and “Baby Got Going” rock with fierce sensuality.

But then Liz Phair starts to play “Go On Ahead” or “Perfect World” and creates a new space for pride in the timeless humanity of honest music. Billy JM Watket Jr. The centerpiece here is “The Eleventh Commandment,” an emotionally and musi- cally overwrought sermon preceded by the equally dramatically overdone instrumen- tal “Dark Secrets.

The real gem here, though, is the Bill Anderson- Steve Wanner song “Make Sure You’ve Got It All,” a classic country weeper about the consequences of the breakup of a romance: “Just leave the floor to catch me when I fall,” sings Raye as his once inamorata cleans out the house.

With hit tracks like “Chameleon,” the Columbia “Head- hunters” album was an icon of the times and a template for lesser imitators. On the heels of a Legacy reissue of that album, the band has re-formed in part for Verve: Executive producer Hancock guests on four tracks, and the original core of ace reed man Bennie Maupin, bassist Paul Jackson, and percussionist Bill Summers is joined by drummer Mike Clark.

A cou- ple of tracks recall past glories, yet the bulk of this disc is woefully passfi — the tunes with guest vocalist N’Dea Daven- port formerly of the Brand New Heavies and keyboardist Billy Childs are particu- larly weak. Still, the partj’ atmosphere will attract many, and the Headhunters sans guests can still kick it Uve. Con- tact Subtitled “Music For A Restoration ‘Tempest,’ ” this album features songs and instru- mental pieces by Henry Purcell and Matthew Locke that tie in to Restora- tion-era revivals of Shakespeare’s magi- cal work.

The whole set is marked not only by remarkable scholarship but by spirited playing and singing. All albums comnrtercially available m the U. Send country albums to Chet FBppo.

Billboard, 49 Music Square W.. Luv Me The beat is a serious booty shak- er, and the vocal chemistry between Shag- gj’ and Janet is explosive. An outta-da-box smasheroo if there ever was one. Everything about this sin- gle is subtle, from the shuffle beat to Rich’s deeply soulful performance. It would’ve been so easy and even some- what logical for Rich to come on hard and aggressive on the introductory single from such a crucial project.

The fact that he’s trusting his creative vision so thor- oughly speaks volumes. It also leaves you wanting to hear more. If you need a fresh twist on a familiar sound, check out the rhythm remixes of “Doin’ Just Fine. There’s also an engaging Spanish-language version in both down- and uptempo incarnations. In other words, there’s no excuse not to sup- port this fine recording. There’s literally something for everj’one here.

Opening as a melodic ballad, the. CorOes, C. On this first peek into their new album, “Dearest Christian. They still wax warmly poetic about life’s daily strug- gles, and they still delight in wrapping their music in lush, almost orchestral instrumentation. Will pop programmers living on a steady diet of boy groups and hip-hop have a taste for such a gourmet musical treat? Justice prevailing, they will. Regardless, sophisticated listeners craving a superior ballad should not wait for radio to tell them to embrace this gem.

They should simply seek it out themselves. With an apparent pas- sion for 70s-styled AM radio hits, produc- er Steve Greenberg fills the arrangement with a barrel of tasty sound ejects, while never distracting the listener from the group’s jovial vocals or the song’s. Programmers, take heed! And everj’one else should take advantage of the chance to check out the Baha Men as they open Hanson’s tour of the States. Wolinsky, R. WTiile there’s something downright magical about the original version that’.

With the right edit, the MuCrae’ti sultry performance on this skit- tling drum’n’bass ditty is truly like a breath of fresh air The confidence behind her vocal is matched by a romantic.

Although producers David Wolin- skj- and Rod Gammons should not have had to pump the track up to a disco pace in its remixes, it will certainly give lazy ci-ossover programmers what they need — even though what they really need to do is simply play the more adventurous and memorable original version.

Zierra is an exotic young woman with a smoky alto voice that is well-suited to the track’s fiashy beats and fiamenco guitar nourishes. Producer Diamond wise- ly doesn’t go overboard in an effort to transform the song into an anthem. Rather, he keeps the keys minor and the string effects dark and haunting. A solid offering well worth investigating. Contact: M Seal, N. As the track builds to a grinding cli- max.

Hall unleashes a guttiu-al growl that is an excellent contrast to the sUck croon- ing that he’s known for There’s no question about this single’s commercial future.

Mid- summer airwave saturation is imminent. If the vocals are as smooth as those of this Washington, D. Featured on the act’s debut disc. Rather, it calls playas on the carpet for their tiretl ways with a firm, almost unforgiving hand.

Producer Rome keeps the groove lean, but with a sprinkling of ear-tickling sound effects and keylKjard loofis. Meanwhile, the group members counter their note- perfect vocals with an occasional snarl that gives ’em as much In common intriguing male newcomer, who does a respectable job of matching her subtext- soaked performance.

Unfortunately, the somewhat-dated tone of the production may keep trend-conscious programmers from playing this lovely recording. It shouldn’t stop loyalists from seeking it out, though — particularly since the CD pressing of this single also offers another rarity: the jazz-kissed “Forever With You.

OMtOoiaitAon Mutlc. Producers Victor Sanchez and Ray Diaz distinguish their potent but mildly familiar composi- tion by inviting Little Tiger to inject a splash of reggae toasting. It’s a festive twist that will help “Aye Party” draw the deserved interest of peak-hour program- mers. Le«is, D. It’s a lightly percussive ballad fueled by ear- nest, ultimately heartwarming lyrics. The chorus rises to a mild rock HoLuish that lets Grant effectively flex the raspy under- tow of her voice.

AC radio domination is a given. But, really, this is the kind of cozy tune that younger audiences living on a steady diet of Shania TV-ain’s “You’re Still The One” should also find irresistible. It’s time for top 40 programmers to get off the stick and start playing it. Nifty company, eh? She gets her long-deserved chance to shine as an artist on this sterling first single from a full-length debut destined to make her a major star.

It will lie easy to draw compariwon. Keep a close eye and ear on this one. It’s gonna be huge. A bit too sophisticat- ed and smart for top 40, this is perfect for adult-oriented stations in need of some- thing fresh and uptempo. More akin to Sublime than the Beastie Boj’s, however, the song makes no pre- tense of being rap.

Catchy rock refrains tell a story of fighting and making up, while fast-paced, stream-of-consciousness silliness fills the verses — “Like Kurosawa I make mad filnWKay I don’t make filma’ But if I did they’d have a. A video game voice proclaims the title repeatedly, adding to the song’s unusually dark feel, while the Beasties work their self-referential old-school call-out magic. There’s not a lot new happening here, but who wants innovation from hip-hop’s eter- nal teenagers?

We want the straight-up stuff, and on “Intergalactic” they deliver. Mixing every- thing from Latin-sounding percussion to swing horn riffs, Suggs challenges your hips to keep up with the shifting beat that touches everything from a ska to a neo- pop groove.

Suggs’ var. There’s no doubt that hardcore fans will jump on this one. The next phase is pop domination. And with a hook as hot as the one served here, mass approval is inevitable. Cassette, vinyl ot CD singles equally appropriate lor more than one tormat are reviewed in the category with ttie broadest audierv:e.

Send coptes to Larry Ftkck. Y Cootnbutors: Doug Reece LA. And, as is clear from this concert video, Aimed last December during two performances on a Warner Bros, soundstage, he clearly is basking in the chance to blast fans back in time with all the classics, while his new album, “Premonition,” proves he can still rock.

A consummate performer from start to finish, Fogerty peppers his songs with anecdotes, including a tribute to the ampHfier that he has used since he made his first hit record and the fact that he still sings “Joy Of My Life” to his wife every night. Augmenting Fogerly’s prowess is a top-notch assemblage of backing musicians and singers, which includes the Fairfield Four on several numbers. I amazed with the analysis you made to create this actual submit incredible.

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Failing to look past the cost on a quote can commonly bring about an internet growth job to become a devastating mess. In the on-line globe where anybody can conceal behind some expensive graphics as well as case to be a specialist, it is very important to assess the firm you might be dealing with to ensure you will not be remaining in the cool 3 months down the line with a damaged web site.

Will I be linked to this firm after conclusion? The future of any type of company in open market doubts. Make certain that you can carry on to an additional internet advancement firm after the first stage of your task is done.

If the business is using just their internal code, you will certainly discover an extremely tough time discovering a person to proceed service your task. Nevertheless, if they based your application or site on a utilized system, such as Drupal or Joomla, discovering an additional company must confirm reasonably simple. Do they have any kind of instances of internet applications they have established? Certain, they may have the abilities despite their do not have a profile, however, you do not wish to be a guinea pig.

Do they fulfill your assumption of high quality? Since we understand they have established at the very least a couple of points, ask on your own, would certainly I more than happy if my job ended up such as this?

Please, do not anticipate the potential programmer to boost simply for your job. Do they have any kind of SEO competence? Google qualities websites services not just on keyword phrases and also web link, however additionally on elements such as the filling time of a web page. Ensure that the advancement group you will work with are cognizant of the on-page elements that online search engine keep an eye out for. Will they supply inexpensive upkeep?

All internet application services de will certainly require continuous upkeep, specifically safety updates versus brand-new hazards. Ensure that a well-considered upkeep strategy is consisted of in the quote.

You might additionally wish to ask for a regular monthly record to watch on what they are doing. Final thought Now you ought to have sufficient info to criteria a couple of internet advancement companies versus each various other.

Once more, I will certainly highlight, look past the rate — you might also obtain a significantly much better outcome at a reduced price! Posted in Uncategorized and tagged web design , web development. Has anyone vaped Goddess Vapor Vape Juice? It — is impossible. Thanks very nice blog! Thanks, quite nice post. I do trust all of the ideas you have offered in your post. Is anyone here in a position to recommend Bridal and Wedding Lingerie?

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