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And we campaign so that the voices of the poor influence the local and global decisions that affect them. In all we do, Oxfam works with partner organizations and alongside vulnerable women and men to end the injustices that cause poverty. Power hiking Paris – What the phoque?! Agiefx [ Wmfrzb [ Fruisa [ Wuxapv [ Rudy Freeleagus [ Mtwuia [ Tzzpdg [ Zlidcz [ Fkarou [ Afvujn [ Vfvvhn [ Kimberley Macghey [ Txqpkz [ Fyyhau [ 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.
Among the psychedelic standouts are “Spikee,” which has never before been available in the States; drug- culture paean “Spoonman”; and “Banstyle. Souixis Irue 80 minutM. Topics include such obvi- ous targets as kitchen cleaners, lead dishes, and toxic paints, but also other less-obvious concepts, such a.
And, as the tape points out, there is a growing chasm between those who don the wet- suit in an attempt to fill gaps in history and those who are motivated by greed.
Viewers will meet Dr. Robert Ballard, the man who discovered the Titanic only to “lose” it after he did not officially claim it. Later a wealthy Connecticut businessman ordered a troupe of experts to excavate the watery graveyard.
Here the players are a car mechanic, a security guard, an aerobics instructor, and three pals with equally mundane day jobs who wound up splashed on the front page of some of Britain’s top tabloids. Their story is remarkable and is told via inteniews with the performers, their wives or girlfriends, one fellow’s mother, and a publicisL The camera captures everjlhing from practice sessions to sev- eral club performances of the finished product.
Their act consists of dressing in a variety of costumes, including police uniforms and red and black lace skirts, in which they strip to the Can-Can. The con- cept is almost too outrageous to be con- sidered obscene, hut be warned: This tape is for adult eyes only. A Vermont farmer and his bumbling but endearing farm hand — think the Skipper and Gilligan — are in a frenzy trying to get their house in order for a visit from Vermont Sen.
Patrick Leahy, who makes more than a cameo appearance. Online Banking The best low deposit casinos have active online banking methods. Here s everything you need to know to take advantage of these fantastic offers.
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Loading Comments Increasingly, indie-label successes are forged through a network of market-by- market distribution deals rather than global licenses. In some cases, indies are using one of several new European structures that have been launched to service their mar- keting and distribution needs. It all adds up to more control and greater reach for the indie labels.
Several of those success stories tell of artists whose albums were simultaneously released across Europe through a combination of indie and. All these albums reached the top 10 of Billboard’s European Top chart. Such strategy is a break from the typical pat- tern of releasing indie projects on a territory-by- territory basis, often only after success in the act’s home market. Through simultaneous global releases, indies have a chance to make as a big a marketing splash as majors do with their high-profile projects.
In , he parted ways with Warner Music after IS years with the company and set up his own label, simplyred. For his album “Home. Hucknall built on the experience with his album “Simplified. Simply Red may be an established act, but such newcomers as Melua and Franz Ferdinand experienced similar successes across Europe. In its U. The album was released in the United States on Epic and debuted at No. According to Domino, it has sold more than 1 million units in the United Kingdom and another 1 million globally.
Son Billboard’s Euro- pean Top list in mid-March, charting in 13 different territories. Dramatico founder Mike Batt says his in- ternational strategy for Melua has always been to pick individual distributors for each territory instead of seeking a global license.
Previously, Dramatico had an arrangement with a major, EMI, but Batt was not pleased with the results. Batt decided to change his approach when he released Melua’s debut. The plan proved to be a winner. Building on that experience, Melua’s current album, “Piece by Piece,” has shifted more than 1 million units in Europe outside the United Kingdom, with France, Germany and the Netherlands as her three main territories.
And while building and working on a day-to-day basis with different distributors in each terri- tory can be time-consuming, he sees an up- side in total control over a project’s life span. We are a tiny company, so we tend to choose people who are enthu- siastic about our repertoire.
And we also put a microscopic attention into details. As Batt puts it, “If It does not work In one territory, we can change quickly without hav- ing to go through a whole diplomatic process.
In London, Dramatico has a staff of six, Includ- ing Batt, and uses freelancers. A major is probably safer— but the risk is that they might simply forget about us, or [a managing direc- tor] changes and suddenly you get forgotten.
It followed the September launch of Cooperative Music, an Independent labels licensing network under the wings of Richard Branson’s V2 music operation. Integral’s inaugural project was Swedish artist Jose Gonzalez, through a deal with his U. Gonzalez’s album, “Veneer,” cracked the U. Among those labels is Skint, home to Fatboy Slim. Red Ink also works with Visible Noise, the label of U. A new lost- prophets album is due in June, and will also be handled by Columbia in the U.
Red Ink is also close to finalizing label deals with three other British companies, according to Red Ink U. GM Angie Somerside. But this is not neces- sarily a bad thing for indies,” she says. In fact, the Pan-European distribution con- cept is not entirely new. Essential’s goal is to assist companies in sell- ing their repertoire across Europe. He adds that such a service can appeal to U. Goldschmidt notes that Essential does not pay “big advances,” which, he says, may dif- ferentiate it from Red Ink and Cooperative Music.
None of those operations would dis- close the terms they offer to indies. A former employee of a major company who asked to remain unidentified adds that majors may still have a checkbook policy, but the amounts are not as great as they were five to seven years ago when the big labels were ready to pay a premium to attract the cream of indies. Mark Chung, former director of SINE and now managing director of Berlin-based pub- lishing company Freibank Musikverlags, sug- gests that the competition for labels between major and indie marketing and distribution operations is now less driven by financial terms than by the service offered.
Meanwhile, indies have acquired a better know-how about how to develop in- ternational marketing strategies. Of course, you need acts for which there is a de- mand.
But the structures are in place if you wish to develop acts on a European scale. In short, when It comes to new acts, Canada is hot. Jack Ross, booking agent with the Agency Group in Toronto, agrees. Because [domestic] sales are fairly low, Canadian musicians know they are not going into music to have limos and swimming pools. Where: Halifax. Ron Sexsmith, Joel Paskett. Internet-driven marketing, particularly in the absence of mainstream retail and radio support.
Also, Canadian embassies and trade missions abroad are now providing sig- nificant support for showcasing artists and helping to make business connec- tions, particularly in Europe, the United Kingdom, the United States and Japan. As these independent labels are grappling with the com- plexities and obstacles of operating at an international level, the majors are using their resources and Intercompany struc- tures to support them.
Here are some of the leading Canadian acts to watch during the year ahead. Bedouin Soundclash The band established a following In Europe, appeared on last year’s Vans Warped tour and played a sold-out, date tour in Canada In The trio spent four years developing a grass-roots fan base and touring with such bands as the Stackers and theSkatalites. The band’s third Stomp Records album, “Street Gospels,” is on hold until the fall.
But the album failed to ignite in the United States. Roberts, however, was the big winner at Canada’s Juno Awards. He was named artist of the year, while “We Were Born in a Flame” won honors for top album and top rock album. Mobile Although Montreal’s vibrant music underground began to attract international media scrutiny in , rock quintet Mobile decided to move to Toronto.
It was a natural move, because we wanted to take a shot at making it in- stead of just quitting one day, frustrated and without re- ally having tried or taken a risk. Within six months of the band’s arrival in Toronto, Mobile signed a deal with Universal Music for Canada and with In- terscope Records for the United States and other interna- tional markets. In May , Brown’s self-titled, soul-laced debut was released In her homeland by Toronto-based inde- pendent Blacksmith Entertainment and distributed by Universal Music.
Aided by significant multlformat airplay of its lead- off single, “Old Skool Love,” the album has moved 40, units, according to Nielsen SoundScan. According to Smith, a deal is pending to re- lease her album In 10 territories this year, including the United States. At 13, his family re- located to Ottawa, where he currently resides. In , Capital Prophet Records released Massari’s debut album, “Spitfire,” which garnered significant air- play in Ottawa.
Its success there led to the label linking up with Fontana North then called Maple Nation Wide for distribution. The album has been licensed in 45 countries, including with Universal Music Germany, which has di- rectly signed him. The Trews’ debut album has sold 45, units, ac- cording to Nielsen SoundScan. The album debuted at No.
The band kicked off a U. When I’m writing the album, he was always In the back of my mind. When he played Massey Hall in Toronto last year, I was recording, so we asked him to drop by to do some vocals. He’s so unbelievable. To learn more about how we’re doing what’s right for music, visit our Website today. Order online: www. I’m happy just making music and touring.
He is known in countries where other rock acts have sel- dom, if ever, performed. His career has spanned almost three decades, 14 albums and worldwide sales in excess of 60 million records, according to Adams’ management. Despite declining U. He has also won 10 Grammy Awards. In , Adams celebrated his career with the two-CD, track retrospective collec- tion “Anthology. Adams has reached the pinnacle of his profession because of discipline and monu- mental ambition.
As a teenager he was certain he would be a pop star— imagining himself at concerts in the role of such headliners as David Bowie, Elton John and Marc Bolan— and never con- sidered another career. At 44, Adams shows no sign of slowing down. Since , he has toured 10 days per month, often performing in locales rarely visited by his peers, including Vietnam.
Adams lived abroad as a child and long- time manager Bruce Allen adds, “Bryan is fascinated by foreign lands. I don’t think he approaches [touring] to sell records. He be- lieves there is a market for music as a concert experience. They have transcended bor- ders into places where you wouldn’t think people listen to Western music.
They do and are excited when I visit. But Adams’ next album, ‘s “Into the Fire,” faltered commercially. As a result, the singer took a lengthy hiatus before returning with “Waking Up the Neigh- bours” in The successes of “Waking Up the Neigh- bours” and the hits compilation “So Far So Good” in led to Adams’ enormous pop- ularity worldwide, even though his fame would soon wane in America.
Subsequent albums did not do as well. While Adams clearly is not happy about his diminished popularity in America, he is not all that bothered either. Also available on mailing labels, For info, email mwiesnerQvnubuspubs. Big cities In Canada are performing like big cities should.
So what has contributed to Canada’s suc- cess as a concert market? Others agree. We are starting to feed more of those markets. On the opposite side of the country, the new Save-On Foods Memorial Centre in Victoria, British Columbia, has also parlayed a hot con- cert market into a banner first year.
The first year has gone exceedingly well,” says Dave Dakers, GM of the venue. But it is not just the major metropolitan areas like Toronto, Montreal and Vancouver that are cranking out the box-office numbers. The Canadian market has dealt with high- profile concerns in recent years, including an increase in border security after the terrorist attacks of Sept 11, ; the travel restrictions in Toronto related to SARS in ; and to the report of a case of mad cow disease in Alberta in late And, again, when you’re in a major market you can cover up a lot of your sins.
Maintaining their present level is very impor- tant to keeping this great run alive. Nevertheless, key ex- ecutives remain optimistic about the genre’s future, citing boom- ing business on the digital front and an influx of new talent they believe will be the next wave. Christian and gospel music sales rose while other sectors of the industry struggled. HWVtjvcr, ni the past few years, hard times seem to have caught up with religious music.
But our ability to have big hit records still exists. From our standpoint, Casting Crowns and Third Day exemplify that. Meanwhile, Grammy Award-winning Georgia rock act Third Day continues to be one of the industry’s top acts after more than a decade together, having become a staple on Christian radio with numerous hits, including its recent chart-topper “Cry Out to Jesus. Though newcomers are boosting the genre’s health, most admit it is hard to break acts in today’s climate.
He adds that Sheard’s breakthrough was aided by her fam- ily’s legacy. Her grandmother is gospel pioneer Dr. This “indicates to me that this kind of music is connecting to consumers because consumers want to connect to God,” Styll says. You can’t just do the same thing over and over again. CCLI is an organiza- tion that monitors the songs being sung in churches around the country, and those songs have been changing. Then they would stay there for years and years. Now you look and it’s a very dynamic list of songs that are changing quickly, things are able to rise up really fast.
Riley cites Christian radio as a factor in the genre’s growth. As strong as the praise and worship style of music is, there are some who feel the gospel side of the industry is growing just as well. The music got a shot in the arm from the film “The Gospel,” which hit the- aters last fall, and by such high-profile ve- hicles as BET’s annual Salute to Gospel. I don’t think the true picture is out there. This year’s nominees for the coveted prize of new artist of the year are a diverse group that highlight the myriad styles that make up today’s Christian music land- scape.
Below are the nominees. She began writing songs at age 10 and learned to play guitar at The album’s lead single, “The Way to Begin,” immediately appealed to fans and critics alike. After exiting the third season of the show, Huff opted to fol- low his heart into Christian music and signed with Word Records.
Hailing from Phoenix, the band has earned an enthusiastic legion of fans since its Word Records debut last year, and its single “Spend- ing Time” became one of ‘s most-played rock songs on Christian radio. Stellar Kart’s ap- peal to young consumers is a natural, given the fact that members Adam Agee, Jordan Messer, Cody Pellerin and Brian Calcara are all between 20 and 24 years old and got their start leading worship for a youth group.
Its single “Undeni- able” broke through and earned him an enthu- siastic fan base and the appreciation of seasoned critics. It also caught the attention of Aware Records founder and president Gregg Latter- man, who signed Kearney to a mainstream deal. Kearney hit the road this spring with MuteMath, and the title track from his forth- coming album is currently No.
Simple is marketed and distributed to the Christian community through I NO Records, but the band was picked up by Epic for a shot at the mainstream. The band’s debut set. It depends upon whom you ask. Many label heads would likely answer yes, but many programmers hofd a different view. The right song in the right mass-appeal package will win. Curtis pointed to the relative dearth of female artists in the format and asked where they all had gone.