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IN MUSIC NEWS

Die Toten Hosen learn English'
With U.S. Release On Atlantic

SEE PAGE 1 2

THE INTERNATIONAL NEWSWEEKLY OF MUSIC, VIDEO AND HOME ENTERTAINMENT

NOVEMBER 19, 1994

ADVERTISEMENTS

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Warner/Reprise's
Green Day Shows
'Maximum Vision'

■ BY DEBORAH RUSSELL

LOS ANGELES — "Longvicw."
the Green Day videorlip directed

by Mark Kohr of Satellite Films,

was honored Nov, i for Its rote in
advancing the career of the young
alternative rock act.

The Repiise/Warnor Bros, video
WOO the Maximum Vision award at
the HUh animal Billboard Music
Video Awards at the Loews Santa
Monica Hotel here. The dinner and
show were hosted by For-
l('<mi i it nnl mi jKUJi 4 s '

ASCAP To Honor
Billboard's 100th

■ BY TRUDl MILLER ROSENBLUM

NEW YORK— Billboard will receive a

citation honoring its llKrth anniversary
^-rrr--N. at the 27th annual

ASCAP-Deem.
Taylor Awards cer-
emony, to he held
Nov.:ioalASCAFs
lafjltljllll If I II heiv.
The awards recog-
nize outstanding print ami media rover-
age of music.

"Authors, journalists, and broad-
casters certainly help people every-
where understand and appreciate
music and the |>cople who write and
play it. It is natural for us to wish to

Young Ears Blur Country, Alternative

It's A 'Cowboy Hats & Flannel Shirts 9 Scene

■ BY ERIC BOEHLERT

NEW YORK— As the country and mod-
em rock radio formats continue to balloon,
inflated by an unprecedented number of
young fans, a curious listening habit is
emerging in |KK'keLs(»f the I T.S., notably in
the South and the
West: High school
and college-age fans
are punching back
and forth between al-
ternative and coun-
try radio stations,
snatching up (Jreen
Day and Travis TriU
records, and attending Tracy Lawrence
and Mazzy Star shows on alternate nights.

"The lines are blurring," says Dene
Hallani. PI) at country KKI1Q Houston.
"You don't have to l>e a 'country' person or
a 'modem n>ck' penon to listen [to those
formats). Young people like good music.
Wherever they find it is fine with them."

On paper, the formats apjiear to be

strange bedfellows, with country siip|H»-
sedly ap|>ealmg to a rural or suburban
demo, and modern rock theoretically
drawing in more eosmo|>olitan youths.
The fact is that vibrant acts have been
attracting new fans, causing the tw o for-
mats to expand in recent years, both

inching closer to the mainstivam and ac-
cumulating an ecltvtic array of listeners
who are nothing like the genres' stereo-
types. Increasingly, country and mod-
em rock, which traditionally have I toast-
ed strong cores of fans, are drawing
young listeners who just want to hear
hits, no matter the format.
"It's like two fat i»eople in a small room,"

Rastafarian Spirit Replacing
Violence In Dancehall Lyrics

■ BY PAUL L WEXLER

NEW YOKE — In a demonstration

of the government's power over

popular music, a
decree issued in
early 1994 by the
Jamaican Police
Commissioner has
been a primary /ac-
tor behind a sur-
prising shift in the
lyrical emphasis of
much of today's
dancehall reggae.

For the most part, daiieehall's
biggest hits moved the crowd with
lyrics about graphic sexuality,
gangsterism, gunplay, and violence

in general. But a song by Buju Han-
ton, "Murderer," released in early
*93. seems to have turned the lyrical
tide for dancehall. And over the
past 10 months,
such major reg-
gae DJs (rap-
pers) as General
Degree, Beanie
Man, Louie Cul-
ture, Terror Fab-
ulous, Terry
Ganzie, and Cap-
elton have scored
hits with songs
dealing with Bastafarian spiritu-
ality rather than guns and inter-
course.

tCimtiittit tl in, i><t<}<

says country consultant -lay Albright of
BP Consulting Group, describing the un-
likely overlap between the formats. "After
a while, they're liound to bump into each
other." Country and modem rock fonnais
have indeed Ijegun bumping lollies.
Josh Holmstcad.a jock at E1EE-KM
Houston, used to
program tlie young-
skewing country sta-
tion ETST (the
Twister! in Okla-
rraa City. "There
us no modem nn-k
ence in the market." he

says. "But I was wor-
ried for over a year that one would come in
and kick young country's butt, because the
same people who want to hear Ken Mellons
also listen to "Loser' by Beck. They love
them [Nith ... One night [the kids] are out
wearing eowix>y boots, the next night, eut-
ofl* flannel shirts."

Holmstead recalls how neighl>ors at
his Oklahoma City apartment complex
would dangle wire hangers out their
/('imtitnu'il tut i>ttff< ,Vt

P'Gram Slashes
Music Vid Prices

■ BY SETH GOLDSTEIN

NEW YORK— PoIyGram Video

wants music video buyers to listen up
^^^^^^ and take advan-

jO#, 1 * W rale a Motile enter-

BBBB %3*HaaT genre
i A
^^b^ar ^ra lagged
■■■■OBaaT jam

McCartney widening the circle
id" buyers beyond

hard-core fans.

Beginning Jan. 1, the New York-
based vendor will start selling for

iClliltitllll li III! (Htlfi .V'

HEATSEEKERS

Veruca Salt Vaults To No. 1
On 'American Thighs'

SEE PACE 24

Christmas without a Turkey...

Iterial

JIMMY buffett
NEIL diamond
LENA home
CHRISSIE hymde
ANTONIO carlos jobim
GLADYS knight/

STEVIE wonder
PATTI UibeUe
STEVE laivrence/

EYDIE gorme
LUIS miguel
LORRIE morgan
WOJilE nelson
LEND A rtmstadt
JON secada
FRANK sinatra, jr.

\mSnm

THE BEST IS YET TO COME...

• "SINATRA DUETS'* the ® Network television special airing the day after Thanksgiving!
• Duets II radio special November 18-20 — syndicated and syncopated on 400 stations
•"Start spreading the news..." Saturation TV, print, outdoor and transit campaigns
• Duets II star appearances at all launch parties
Swingin* corporate "tee-in"! Golf Magazine/Frank Sinatra Celebrity Golf Tournament, plus many other tie-ins
• Sinatra Tour '95: Once more a lucky nation experiences the century's top singing legend

Produced by fill Ftairone Co-Produced by Hand Caltanco Euxuttvc Producers Hun In i in Ron fUlWl md C*OI WMlllWI C1994 CdpAol Records, Inc

Copyrighted material

THE ROAD TO PLATINUM HAS BEGUN...

• Megadeth Youlhanasia Halloween promotion collects over I4().(H)0 "treats" on first week Soundscan
• Album debuts Top 5 The Billboard 200
• Top 5 in 19 other countries

• Special Limited Edition package (50.000) — sold out!

• TV and print campaign — it's huge and it's here
• Single "Train of Consequences" now has a million radio passengers — video working up a sweat in MTV rotation
• Megadeth Internet Web Site rivals Disney World in attendance

• All-Year World Tour — December '94 to December '95

Ptx!uc«l by Ma- Neman & Dave Muslanc lo> Zeus Proauce M.«io t» Ma* Norman & Dave MvM*ne ManaQemeir Lafjie Emenainmeiw Dwwjn 1994 Cnptd fleavOs ic

BRITISH
BROADCASTING
CORPORATION

THE LEGENDARY BBC BABIB RECORDINGS 1962-1965

•IN STORES DECEMBER 6
56 historic never-before-released tracks — the first studio Beatles recordings to come out in over two decades!

• Digitally mastered for release by legendary Beatles producer George Martin
• 2-CD. 2 cassette, or double limited edition vinyl set — complete 48-page color booklet including rare photos

• 6-song all-format radio sampler hits November 17!

• Single (non-album B-sides!) and video to follow hot on heels of album January '95
• Step-by-step marketing campaign accompanies release; TV and print attack to last into '95

• Massive co-op campaign in place through next year

• Tie-ins "here, there, and everywhere"!

EaecuOve Producer Geo<rjo Ma*>n 01994 /We Corps Ltd urde-i encli^we license to EMi Records Ltd

Copyrighted material

Theu Came.
Theu Saw.
Theu Plowed.

The band calls it "American
Roots Music." We call it
"Good Time Music For A Strange Time
World."

For The Tractors debut album, it's
all happening on the strength of the
most unique sound in Country today,
their runaway first single, "BABY
LIKES TO ROCK IT," and some of the
best reviews of the year:

In Just 10 Weeks-

•Bi(.lii!J:l:iUlJt)il

re mere hints of icing on an already
electable cake. Ultimately, it's a trib-
te to living on Tulsa time, which from
charm of this album, sounds very
indeed." -New Country Magmihb

But it doesn't stop there. With the
new single and video, "TRYIN' TO GET
TO NEW ORLEANS," the tour and more,
there's still a lot of ground yet to
cover.

In other words, The Tractors are just
.getting started. Climb aboard and
strap yourself in. From this point
on, it promises to be one wild ride.

Getman, Jamie Oldaker, Walt

No, 1 1N BILLBOARD

VOLUME 106 • NO. 47

• THE BILLBOARD 200 •

* MTV UNPLUGGED IN NEW YORK

NIRVANA • DCC

T
O

TOP CLASSICAL

* THE 3 TENORS IN CONCEPT 1994
CARRERAS, DOMINGO. PAVAROTT1 • ATUWIK

TOP CLASSICAL CROSSOVER

* THE PIANO • MICHAEL NY MAN ■ VIRGIN

I- >

COUNTRY

* STONES IN THE ROAD
MART CHAP1N CARPENTER • COLUMBIA

B
U

HEATS EE KERS

* AMERICAN THIGHS • VERUCA SALT • mpnty freshocc

JAZZ

* MTV UNPLUGGED ■ TONY BENNETT • COLUMBIA

JAZZ / CONTEMPORARY

* MIRACLES THE HOUDAY ALBUM • KENNY G • AWSTA

R&B

* MURDER WAS THE CASE
SOUNDTRACK • DEATH ROW /tNiBKCOfE

• rue um inn •

* I MC NU 1 1 DO "

# I'LL MAKE LOVE TO YOU • BOYZ II MEN • MOTOttN

ADULT CONTEMPORARY

* ALL 1 WANNA DO • SHERYL CROW • MM

COUNTRY

* SHUT UP AND KISS ME
MARY CHAPM CARPENTER ■ COLUMBIA

H
O

DANCE / CLUB PLAY

* DREAMER • UV/IN' JOY • MCA

T
S

riANTF / MAYI.SIWf^l tAI PC

umULC / [T1AAI ■ JlKULC J JHIXJ

* BRING THE PAIN • METHOD MAN • OEF iAMvRAL

N
G

LATIN

* M EL PRIME RO Nl EL ULTIMO • LOS REHENES - KXvovnA

L
E
S

R&B

* PRACTICE WHAT YOU PREACH • BARRY WHITE * AW

MOT RX.R AIPP1 AV

* 1 WANNA BE DOWN • BRANDY • ahantk

UatT DJCR ClfUitl CC CAI EC

MUI KfrtS llrSiLiLti SnLCJ

* FLAVA IN YA EAR • CRAIG MACK • BOY

—
28

RAP

* FLAVA IN YA EAR ■ CRAIG MACK • bad boy

KOLK / nUSUm IfUCK IKMLKS

* INTERSTATE LOVE SONG • STONE TEMPLE PILOTS * atlawpc

ROCK / MODERN ROCK TRACKS

* ZOMBIE • THE CRANBERRIES • ISLAND

TOP 40 AIRPLAY / MAINSTREAM

* ALL 1 WANNA DO ■ SHERYL CROW > \w

TOP 40 AIRPLAY / RHYTHM-CROSSOVER

* HERE COMES THE HOTSTEPPER • INI KAMOZE • COLUMBU,

unT 4 r\n a 1 DDI A V

H U 1 1 UU AIKI LAY

* I LL MAKE LOVE TO YOU • BOYZ II MEN ■ MOTOWN

HOT 1 00 SINGLES SALES

* HERE COMES THE HOTSTEPPER • INI KAMOZE • mHJuMfl

• TOP VIDEO SALES '

* SNOW WHITE AND THE SEVEN DWARFS

WALT DttMEY HOME VIDEO

LASERDISCS

* SNOW WHTTE AND THE SEVEN DWARFS

WALT DISNEY HOME VIDEO

MUSIC VIDEO

* BAR0RA - THE CONCERT ■ cOiUMBW MUSIC VIDEO

RENTALS

* JURASSIC PARK * MCA/ UNIVERSAL HOME MDEO

Henley: Farewell To A Good Day In 'Hell'

"Hell Freezes Over" (Geffen), the Eagles' first album of new
recordings in 14 years, entered stores this week with a flourish
amply justified by its 15 thoughtfully burnished and often bitter-
sweet tracks. But for Don Henley, who has just moved back to
his native Texas, this is the end of the iterance.

"I feel pretty good about the record,** says Henley, who re-
cently relocated from Los Angeles to Dallas with his fiancee and
plans to marry next May. "But I doubt, in all candor, that there'll
be another one. I think [first single] 'Get Over It' is good, and
I really like 'Learn To Be Still.' I also like the way we broke down
the live things [from the April 1994 MTV concert sessions] on
arrangements like 'Hotel California,' 'cause I don't think people
ever realized that song is a reggae song, with Spanish influences,
about the state of America. Talk about multicultural — it really
was.

"But I think that after this tour [set to resume in January after
an abrupt hiatus occasioned by Eagle Glenn
Prey's emergency stomach surgery], that'll be it.
At times, it's been very satisfying," Henley notes
with a heavy sigh. "And there's been pain in-
volved, as there always is in any endeavor of this
magnitude. Some of the things that broke us
apart years ago have not gone away, evidently.
I thought maybe they had. But somebody said to
me the other night, 'You know, all that stuff is
still there; just 'cause 14 years went by doesn't
mean it's gone.' "

Henley chooses his words with care, sounding
older and wiser than the only child who exited the
piney woods of East Texas in 1970 in search of
musical self-definition in the wilds of Los
Angeles. Leaving home in his late adolescence
with a combo called Shiloh, and achieving success
two years later with a new group that first coa-
lesced over beers at the Troubadour as Linda
Ronstadt's backing band, the literate Henley
helped the Eagles create a crisp rock compound
of regional roots music that perfectly embodied
the mood of displacement in the twilight of the
American Century.

Pulling away from an enervating past, hurrying toward a re-
ceding horizon, the Eagles' commanding music was the often-ag-
grieved oratorio of a generation gulled by instant gratification
and thus immune to greater contentment. The crackling tension
and acute yearning in the band's songs was a direct consequence
of the personalities intent on creating them. As with the original
versions, the emotional coloration of new live limnings of "Take
It Easy," "Tequila Sunrise," "Life In The Fast Lane," "In The
City" (with its droll coda of the Beatles' "Day Tripper"), and the
cante /lame wco-overtured "Hotel California" each displays in
anxious strokes the essence of a cruel dilemma. And the new
songs on "Hell Freezes Over," including "Love Will Keep Us
Alive," "The Girl From Yesterday," and the seemingly auspicious
"Learn To Be Still," all update/delineate the Eagles' problematic
outlook with stunning grace. Yet no description, however unerr-
ing, can ever be as satisfying as a solution.

"I think that's the history of a lot of bands," says Henley,
whose last solo album was "The End Of The Innocence" (1989).
"Everything is a matter of timing, and that was our time in the
'70s. But I had a really rough time when the Eagles got success-
ful; I got really confused for a while. I always go back to that

song by Paul Simon called 'Fakin' It.* Everybody in the
rock'n'roll business or the movies has that fear of being found
out. Deep down inside, they think or know they're not really as
good as everybody thinks they are, because there's no logic to
the star-making machinery in this country; even when you get
a body of work, it's not as respected as it might have been once.

"Songs like 'Get Over It' and 'Learn To Be Still' are opposite
sides of the same coin," he says. "One is talking about the winn-
ers who have an overblown sense of entitlement — and, of course,
we realize there arc people who are genuinely victimized in the
world — while 'Learn To Be Still* is about those who aren't intro-
spective enough. Sometimes, in order to see yourself as a part
of something, you need to go into the wilderness alone.

"As for the Eagles" — whose reconstituted ranks also include
Don Felder, Joe Walsh, and Timothy B. Schmit — "we've grown
in different directions now, as people should, and so we'll finish
our obligations and go our separate ways again.
And frankly," he says, chuckling, "I'm looking
forward to that. It's been very difficult., especially
for me, to develop a sense of self-worth that is not
attached to one's career, because we're taught we
arc what we do. But it must be done at some
point, and it generally comes later in life. My dad
was a role model for me, but he suffered from the
same malady: all his life was tied up in his work."

Born July 22, 1947, in Gilmer, Texas, and
reared 40 miles to the northeast in the Cass
County hamlet of Linden, Donald Hugh Henley
was the solitary son of NAPA auto-parts dealer
Con Junell Henley and the former Hughlcne
McWhorter. "My dad — who hated his name; just
plain C.J. was fine with him — sold parts out of his
shop from World War II until 1968, six days a
week, 6 in the morning until 6 at night. But you
have to sec it through his eyes: He grew up dur-
ing the Depression in a town called Como, where
his father was a farmer, growing cotton, corn,
and various other vegetables. My dad had to quit
school in the eighth grade and go to work in the
fields with his brother and sister to support the family. It was
very hard for him to take a break, give it a rest.

"I started a song about him once," Henley says. "But I never
finished it, and I'll give you two lines: 'He took the orders and
he tried to fill 'em/Daddy had a little business and the customers
killed him.' "

Henley says he is enjoying life in Dallas, the East Texas hub
that is a hilly vector nearly equidistant from Shreveport, La., and
the fabled border town of Texarkana. However, his curiosity with
these Southwestern crossroads is more than casual.

"Two great black artists were born in my hometown of Linden:
[blues guitar great] T-Bone Walker and [seminal ragtime composer]
Scott Joplin. Texarkana and a lot of places in the area are claiming
Joplin, but old-timers tell me he was born just outside my town. And
Shreveport is where Huddie Ledbctter [aka Ijeadbcllyl was born.

"There's great history in Dallas in the Deep Ell urn area, too; I'm
not the first person in Texas who's interested in the blues, but I'm
gonna record down here, with the songs tied musically, at least, to
my explorations. Thematically, I don't know where they're going."

After his fast lane redux, it sounds like Henley is, well, eager to
get over it and learn to be still. "That's what I've always wished for
fervently," he says, laughing. "Now 111 finally see what happens."

THIS WEEK IN BILLBOARD

MULTIMEDIA MUSIC ON THE MOVE

The music industry is rinding new ways to take advan-
tage of the interactive revolution. This week, Bruce Buck-
ley reports on a folk music tour inspired by an Internet
discussion group (see page 16), and Marilyn A. Gillen
has the story of Warner Bros. Records' new online jazz
promotion service (see page 58).

A COUNTRY CHRISTMAS

Nashville's major labels are promoting their artists'
Christmas albums with a new vigor. Music videos, com-
pilations, radio specials, and even holiday tours are in
the works. Edward Morris has the details. Page 35

RUSSIAN LABEL ASSN. ARRIVES

Russia's growing music industry finally has achieved a
longstanding goal with official recognition of the Russian
Phonographic Assn. (RPI). Europe's majors are eager to
assist Russian labels — and to make deals for their top
acts. Erkin Touzmuhammad reports. Page 41

Album Reviews

International

Artists & Music

Jazz/Blue Notes

Baptiste's Rhythm Section 29

Latin Notas

Between The Bullets

Lifelines

The Billboard Bulletin

The Modem Age

Boxscore

Music Video

Canada

Popular Uprisings

Chart Beat

Pro Audio

Classical/Keeping Score

R&B

Clip List

Radio

Commentary

Retail

Continental Drift

Shelf Talk

Country

Single Reviews

Dance Trax

Studio Action

Declarations of

Top Pop Catalog

Independents

Update

Enter*Active File

video Monitor

Executive Turntable

Vox Jox

Global Music Pulse
HH> Of The World

45
44

CLASSIFIED

Home Video

REAL ESTATE

Hot 100 Singles Spotlight

BILLBOARD NOVEMBER 19, 1994

Billboard

Editor in Chief TIMOTHY WHITE

■ EDITORIAL

Manaiing Editor KEN SCHUGEH
Deputy Editor: Irv Lcfttman
Ne« Editor. Susan Nunjiata

Director of Special Issues: Gene Sculatti. Dam Brady. Associate Director

Bureau Chiefs: Craig Rosen (LA), Bill Holland (Washington).

John Unnert (Caribbean and Latin America)

Art Director: left Nisbet. Assistant: Raymond Carlson

Copy Chief: Brace Janicfce

Copy Editors: Jon Cummmgs. Mansa Fo*

Radio: Phyllis Start*. Senior Editor (N Y ). Eric Boehtat Features Editor (N Y.)
Taleat: Melinda Newman. Editor (N.Y.)
Senior Writer: Ctins Moms (LA)
R&8 Music: I R Reynolds. Editor (LA.)

Country Music/Nashville: Edward Morns. Editor. Peter Cromn Assxiate Ed.
Dance Music: Larry Flick. Editor {N Y.)

Retail: Ed Chnstman, Senior Ed IN Y). Don Jeffrey. Associate Ed. (N.Y.)

Home Video: Scth Goldstein. Editor <N Y.I, Eileen Fitrpatnck. Associate Ed (LA)

Pro Audw/Techrtolofff: Paul Vema. Editor (N.Y )

Enter-Active: Marilyn A Gillen. Editor (NY)

Music Video: Deborah Russell. Editor (LA.)

Heatseekers Features Editor; Carrie Bomllo (LA.)

Staff Reporter: Trudi Miller Rosenblum (N.Y.)

Administrative/Research Assistant Tem Horak (N Y )

Editorial Assistant: Brett Atwood (L A.)

Contributors: Catherine Applefeld, Jim Bessman, Fred Bronson.

Lisa Collins. Larry LeBlanc. Jeff Levenson Mwa McCormick, Daind Nathan

Havetock Nelson, Deborah Evans Price. Heidi Waleson

International Editor in Chief: ADAM WHITE

European News Editor: Dormn«c Pnde

International Deputy Editor; Ihom Duffy

German Bureau Chief: Wolfgang Spahr

Tokyo Bureau Chief: Steve Mcdure

Far East Bureau Chief: \' >.e Levin

Special Issues Editor: Peter Jones (London)

■ CHARTS t RESEARCH
Associate Publisher: MICHAEL ELLIS
Director of Charts: Geoff Mayfield (LA.)

Chart Managers: Suzanne Baptiste (Senior Manager R&B/Reggae). Anthony

Colombo (Album Rock/New Age), Ricaido Compamoni (Dance).

Dave Elliott (Mot 100). Datu Faison (Rao/Jazz/

Gospel/World Music), Steven Graybow (Adufi Contemporary).

John Lannert (Latin). Mark Marone (Modem Rock/Studio Action).

Geoff Mayfield (Billboard 200). Marc Zubatfcm (Video/Classical)

Chart Production Manager: Michael Cusson

Assistant Chart Production Manager: Paul Page

Archive Research Supervisor: Silvio Pwtroluongo

Administrative Assistants; Steven Gxaybow (N Y ). Michele Botwin (LA.)

■ SALES

Associate Publisher/US.: JIM BELOFF

Advertising Services Manager: Michele Jacangelo

New York: Ken Karp. Norm Berkowitz. Hen Piotrowski.

Patricia A. Rod Jennings. Doug Ferguson. Gayle Finhelstein. Erica Bengtson

Classified (N T ) Jeff Serrette. Laura Rivchun

LA.: Jodie LeVitus. Gary Nuell. Deborah Robmson,

Lerte Stan. Atyse Zigman. Everyn Aszodi

Nashville: Lee Ann Photogto, Mary DeCroce

Associate Publishef/I ntt.: GENE SMITH

Europe: Christine Chinettj (London), Robin Friedman, Christopher Barrett

Tokyo: Bill Hersey, lokuro Akiyama

Southeast Asia: Grace Ip 310-330-/888 (LA.)

Milan: Udia Bonguardo. 011-393B-254-M24

Paris: Francos Mrilet. 33-MM9-2933

Melbourne: Amanda Guest. 011-613-824-8260/8263 (fail

Latin tonenca/Miarni: Angela Rodriguez. 305-441-7976

Mexico: Daisy Oucret 213-728-0134

■ MARKETING

Promotion Director: ELISSA TOMASETTI
Special Projects Coordinator: Melissa Subatch
Marketing/Publicity Coordinator: Maureen Ryan
Promotion Design Coordinator: Tony Santo
Circulation Manager: Jeanne Jamm
European Circulation Manager: Sue Dowman (London)
Assistant Circulation Manager: Adam Waldman
Circulation Promotion Account Manager; Tnsh Daly Louw

■ PRODUCTION

Director: MARIE R. GOMBERt

Advertising Production Manager: John Wallace

Associate Advertising Production Manager: Lydia Mikulko

Advertising Production Coordinator; Cindee Weiss

Editorial Production Manager: Terrence C Sanders

Assistant Editorial Production Manager Drew Wheeler

Specials Production Editor: Marcia Repinski

Systems/Technology Supervisor: Barry Btshm

Composition Technicians: Marc GiarjuintD Morns Kliegman. Anthony I, Stallmgs

Directories Production Manager: Len Durham

■ ADMINISTRATION

VP/Director of Licensing: Geoigma Chailis
Director of Research: Jane Ranzman
Directories Publisher: Ron Vnllman
On-Line Salts/Support: Lon Bennett
Distribution Director: Edward Skiba
Group Sales Manager: Jeff Somerstem
Billing: Debbie Liptzer
Assistant to the Publisher: Kara DioGuardi

PRESIDENT t PUBLISHER: HOWARD LANDER

■ BILLBOARD OFFICES:

New Yor* Washington. D C. Nashville

1515 Broadway 806 15th St N W 19 Music Squaie W

NY, NT 10036 flash 0C 20005 Nashville. TN 3/203

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fai 213-525-2394/2395 71-323-2316 sales fat 011-81-3-3499-5905

edfl 01 1-81-3-3867-061/

■ BPI COMMUNICATIONS editfa. 011-81-3-386/ 0216
Chief Executive Off.:** GERALD S. HOBBS

President & Chief Operating Officer Arthur F. Kingsbury
Executive ttce Presidents Join Babcock Jr., Martin R. Feely.
Robei* J Dowlmg, Howard Lander
Senior Vice Presidents Paul Curran, Ana Haire. RosaJee Loved
Vice Presidents Georgina Chailis. Glenn Heffernan
Chairman Emeritus W.D. Littleton)

Commentary

Music: The Gateway To Kids' Imaginations

1 BY RAFFI

In light of declining literacy rates and ed-
ucational performance among children, and
an upsurge in delinquency and in health-
care costs, I've been asking myself why our
society offers children so much entertain-
ment that is at odds with what educators
and child-development specialists prescribe
for children's formative years.

Here, in my words, are what the experts
tell us: Young children need to progress
along an inner timetable of growth and dis-
covery, with life-affirming imagery that re-
flects their innate beauty and so fosters
self-esteem. They need free time to wonder,
to exercise their imaginations, and dream
of how their souls might play on Earth and
touch the cosmos. Instead, in these TV-
dominant times, they are fed a diet of pre-
fab images in a sea of consuming pitches,
a quick-edit storm of need-creation that is
geared to sell things, not serve children.

Today, kids spend more time with TV
than with their parents and are exposed to
violent imagery so casually that it blends
into the scenery- This is as true of toys as
it is of programming. In such diverse places
as a suburban bowling alley in New York
state and at the Vancouver airport, I've
seen blood and gore \ideo machines — am I
alone in wondering who makes these
choices?

Of all the media children encounter, it is
the electronic baby sitter that needs re-
straint. Remember that TV is a non-segre-
gating medium, requiring no skills to

watch. Often, in order to sell the most, TV
ads take the lowest-common -denominator
approach when offering products to kids.
Besides the moral question of directly ad-
vertising to a most impressionable and vul-
nerable age group, how does it serve kids
to employ frenzy and violence as primary
selling tools? If we do not give children
more credit than that, how are they to feel
good about themselves, let alone grow up to

'Music can play
an uplifting
role.'

Rattl is a singer,
songwriter, and family
entertainer on
Vancouver-based
Troubador Records. He
is also a Goodwill
Ambassador for the
United Nations
Environment Program.

be responsible citizens?

Kids' popular heroes, including the
Mighty Morphin Power Rangers, Barbie
and Ken, rock stars, and wrestlers, are
hardly the stuff of role models. The trivial-
ization of kids' culture has a staunch oppo-
nent in a four-letter word that holds a world
of adventure: a book. In order to stimulate
children's imagination and so promote en-
lightened reasoning, video's assault needs
an equal-time rebuttal in good books. If we

want to raise sheep, that's one thing; but to
raise kids to be critical thinkers and crea-
tive solutionaries, they've got to be reading.

As fascinating as computers and CD-
ROMs are, we needn't hurry young chil-
dren to meet them. "Interactive" is the
shrewdest sales slogan since "new and im-
proved," but is ironically about relating to
a machine. In the formative years, kids
need to interact with nature and people, not
machines. As for giving children a "compet-
itive edge" early, I would say stop — what is
gained in conveying a harried sense of life
to those most needing to grow up with free
time? That's how they develop their most
powerful software — that of their minds and
hearts. Why rob pre-schoolers of the won-
drous time childhood offers?

Music to the rescue! It's hard to go
wrong singing a song. Like a prized book,
a quality children's recording is an unparal-
leled (HKfir-active tool of the wonder set
Music gives countless hours of listening
and imagining experience to kids, and, now
more than ever, it needs support at retail.

We build family when we help children
feel loved and needed by respecting their
dignity as whole people. We help them feel
connected when we consider their feelings,
and when our actions show that we care for
them. In all of this, music can play an uplift-
ing role — music that gives kids and families
a song in their hearts. When we target chil-
dren for respect instead of exploitation, we
will speed the turnaround in our communi-
ties and realize the greatest return for our
investment

LETTERS

IT STARTED WITH A SONG

The Billboard 100th Anniversary is-
sue is fantastic. I particularly enjoyed
Irv Lichtman's article, "It All Starts
With A Song."

Keith MarrJak
President
Hal Leonard Corp
Milwaukee

LAUDING VAUDEVILLE'S DEAN

The 100th Anniversary issue of Bill-
board is stunning. I very much enjoyed
reading it and seeing the reprinted obit-
uary of William Morris ("William Mor-
ris: Dean Of The Golden Age Of Vaude-
ville").

Owen Laster
Executive VP
William Morns Agency. Inc.

New York

U.K. AC STATION SEEKS RECOGNITION

In his article on U.K. commercial ra-
dio (Billboard, Oct. 29), Jeff Clark-
Meads describes Heart KM, the new
Midlands regional station, as "a pioneer
in the U.K. in the adult contemporary
format."

The Bay 96.9 FM launched with an AC
format 18 months earlier in the More-
cambe Bay and Lake District region of
northern England. In our first RAJAR
national audience survey, we went
straight to No. 1 in our own market, and
achieved the third-best figures out of 94

U.K. commercial stations surveyed. We
currently enjoy a weekly cume of 37% in
an area of 305,000 adults over 15 years
old.

We have been international members
of both the U.S.' National Assn. of
Broadcasters and the RAB since before
our launch. We also keep in close touch
with American consultants and broad-
casters, such as Chris Lytic, Robert
Richer, and Dennis Clark of KISS FM in
Los Angeles. We value our transatlantic
links highly, and ascribe a significant
part of our success to what we have
gained from our contacts with the great-
est free radio market in the world.

Julian Allitt
Managing director
The Bay 96 9 FM
Lancaster, U K.

EXPOSING ALL ERAS OF MUSIC

The concept of teaching all eras of mu-
sic simultaneously, as Richard Henrick-
son puts forth in his letter (Billboard, Oct.
15), is one I have encouraged for more
than 30 years. My favorite music is classi-
cal music. As a pianist and composer, I
have played everything from Duke
Ellington to Babyface, from Mozart to
Stravinsky, from Beethoven to Stevie
Wonder.

During a lecture to a group of young,
aspiring keyboard musicians, I realized
that I was witnessing a dilemma: Because
of my classical studies and background, I

could read and play almost everything,
but these students would always be lim-
ited because their exercise of musician-
ship would be based upon pleasure and a
deliberate zest for greatness. Because of
the absence of classical studies in their
lives, they will never be able to take the
scores of the great masters and actually
understand what it is these musicians
have accomplished. While the great classi-
cal masters have no monopoly on genius
or creativity, our contemporary artists of-
ten lack depth, originality, form, and in-
tellectual challenge.

Manipulated public appeal (i.e., repeti-
tive playing of music on radio, television,
or video) should never be used as a stand-
ard by which we determine music to be
good or bad. Too much of our contempo-
rary music is contrived to reach a certain
end and to captivate a certain audience.

The promotion or promulgation of clas-
sical music is in real trouble. I am not the
most excited person when it comes to ex-
alting newcomer artists alongside the
likes of Mozart, Beethoven, Brahms, or
Tchaikovsky, but how else can new artists
and the public glimpse a master musician
in a society in which master musicians
have segregated themselves from the
general public and have availed them-
selves mostly to the intellectually learned
and affluent elite?

Griffin G. Haygood
Pianist/composer
Newport News. Va

Articles and letters appearing on this page serve as a forum lor the expression of views of general interest. The opinions offered here are not necessarily those of Billboard or its management-
Letters should be submitted to the Letters Editor. Commentaries should be submitted to Commentary Editor Susan Nunziata. Billboard. 1515 Broadway, New York. N.Y. 10036.

BILLBOARD NOVEMBER 19. 1994

COLLECTOR'S EDITION

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Music Biz Weighs Impact Of
Republican Hold On Congress

BY BILL HOLLAND

WASHINGTON, D.C.— Music in-
dustry officials say it is too early to
assess the impact of the Nov. 8 na-
tional and local elections, in which
Democrats across the nation were
ousted by Republican challengers.
However, there is some concern
over a political shift to the right, sig-
naled by the election results.

On Capitol Hill, the election
means a changing of the guard, as
Republicans will take control of
both the Senate and House for the

first time since 1954. This means
Republicans will take over the
chairs of all of the Senate and
House committees and subcommit-
tees.

Republicans also gained 11 new
governorships across the country,
giving them a gubernatorial majori-
ty for the first time since 1970, and
further signaling the electorate's
conservative mood.

Despite the change to GOP lead-
ership, most industry insiders could
see no major shift in congressional
(Continued on page 92)

Explores Shape Of Music To Come

Billboard Panelists Discuss Multimedia Future

■ BY MARILYN A. GILLEN

LOS ANGELES — The convergence
of music and multimedia is no longer
a question of whether, but of when
and in what forms.

"Next year you will see the larger
companies getting involved [in multi-
media] in a big way," said Tom Mc-
Grew, president of Multimedia Trad-
ing Co. and a consultant to EMI.
"And if it doesn't happen next year, it
will happen the year after."

That firm conviction — it will hap-
pen — proved a driving force for at-
tendees at the 16th annual Billboard
Music Video Conference and the de-

but MultiMedia Expo at the Loews
Santa Monica Hotel here Nov. 2-4, as
everyone from music video producers
to record label executives to comput-
er programmers scouted their places
in a changing landscape where tradi-
tional borders among disciplines are
blurring and traditional music and
video products are being redefined.
(For additional conference coverage,
see pages 47-48.)

Music videos on 5-inch discs, inter-
active record catalogs bypassing re-
tail, albums that are really CD-ROMs
in disguise, and \ideo games boasting
name-band soundtracks were only
some of the products displayed and

discussed as here-and-now examples
of that convergence.

In his Nov. 3 keynote address,
Warner Music Group chairman/CEO
Bob Morgado stressed the benefits to
all parties of "extending exposure op-
portunities" through these new me-
dia.

"We must work together to widen
the pipeline, to create new vehicles
and new avenues that will carry our
music and our images into the homes
of consumers," said Morgado.

He cited the potential revitalization
of the longform music video format
through "video CD" technology as
(Continued on page 93)

We Wish You A Marian Christmas. Columbia Records artist Marian Carey
celebrated the release of her first-ever Christmas album, "Merry Christmas," and
accepted two plaques during a party at New York's Rockefeller Center. The
plaques commemorate worldwide sales of more than 20 million copies of Carey's
"Music Box" album, and worldwide career sales of more than 55 million
recordings. Shown, from left, are Paul Smith, chairman, Sony Music Distribution;
Danny Yarbrough, president, Sony Music Distribution; Robert Bowlin. president,
Sony Music International; Randy Hoffman, Hoffman Entertainment; Carey; Don
lenner. president, Columbia Records; Mel llberman, chairman, Sony Music
International; and Thomas D, Mottola. president/COO, Sony Music Entertainment.

'CD Plus' Is The Word,
But What Is The Standard?

EMI Completes Executive Reorganization

Euro, Int'l Divisions United To Enhance Effectiveness

Vid Rentals Out
At Blockbuster
Music Outlets

■ BY ED CHRISTMAN
and DEBORAH RUSSELL

NEW YORK — Over the next three
years, Blockbuster Music will phase
video rental out of its stores in order
to carry more music inventory. In a
separate move, Blockbuster also is
preparing to roll out a store-within-a-
store, featuring licensed merchandise
from the Viacom properties.

Currently, the 540-store chain has
about 170 rental stores, down consid-
erably from the 325 rental units it had
in 1992-93, when it initially acquired
the chains that now make up Block-
buster Music.

Blockbuster Entertainment, based
in Fort Lauderdale, Fla., entered mu-
sic retailing by acquiring the Sound
Warehouse and Music Plus chains,
which, at the time, had 145 and 91 out-
lets, respectively, and both operated
combo stores. It then acquired the
270-unit Super Club Music chain,
which operated about 90 Turtles com-
bo stores.

Gerry Weber, Blockbuster Music
president, says, "Rental is a diminish-
ing portion of our business and,
where feasible, we are taking it out
and transferring the business to
Blockbuster Video, and expanding
the music offering."

He says that the chain is perform-
ing a similar exercise in Atlanta with
the former Turtles stores.

But the Sound Warehouse chain
(Continued on page 8$)

Spec's Exploring
Sale Prospects,
Seeking Suitors

NEW YORK — Spec's Music, one of
the oldest record chains in the busi-
ness, has announced that it has hired
Paine Webber to explore a potential
sale of the company.

In a press release issued Nov. i), the
company stated that, in addition to
exploring a sale of Spec's, Paine Web-
ber will review the company's other
strategic and financial alternatives.

Spec's is the dominant chain in
Florida, where it has 53 of its 56
stores. The chain also has three
stores in Puerto Rico. It was founded
(Continued on pageSJ)

■ BY DOMINIC PRIDE

LONDON— Ken Berry's long-await-
ed reshuffling of EMI Records Group
International has occurred, apparent-
ly with only one major casualty.

EMI Records Group International
was created earlier this year to over-
see all EMI record operations outside
North America (Billboard, June A).

EMI Records International divi-
sion president David Stockley left the
company Nov. 7, in the wake of the re-
organization at the company's
Gloucester Place headquarters in
London.

Stockley had responsibility for
most of the territories outside the
U.S., Japan, U.K., and continental
Europe. Key territories in his divi-
sion were Southeast Asia, Latin
America, Australasia, South Africa,
and Mexico. In the EMI hierarchy,
he had parity with EMI Records
Group U.K. & Eire president/CEO
Rupert Perry and EMI Europe
president/CEO Alexis Rotelli, both
of whom will continue to report to
Berry.

The EMI Records Internationa] di-
vision has effectively been disman-
tled, and most of the division's
staffers have been reassigned.

Berry says, "What we've done is ef-
fectively merge the Eui-opean and in-
ternational marketing functions.
What 1 wanted to do in these changes

was tie together the management sec-
tors, which previously had been
looked at individually. It's not intend-
ed to be anything else than la movel
to enable us to be more effective as a
group,"

DIMONT GETS NEW POST

Many of Stockley's duties will be
taken on by Charlie Dimont, current-
ly managing director of international
at Virgin Records. Dimont will be se-
nior VP of EMI Records Group Inter-

■ BY MARK DE2ZANI

MILAN — Italy's singer/songwrit-
ers are supporting an occupation at
the Rome headquarters of SIAE,
the national authors' rights society.

Authors, publishers, and artists
have declared a "|>ermanent assem-
bly" to protest the government's in-
action, which has left the SIAE with-
out leadership for four months,
blocking the distribution of rights
payments. They also are protesting
a new decree by the Berlusconi gov-
ernment that reduces copyright
payments for local TV and radio sta-
tions from 2.5'& to 0.1%, a move that

LOS ANGELES — The phrase "CD
Plus" has sprung to life full-grown,
appearing on the lips of record label
executives and other music industry
players seemingly overnight as the
term for a new breed of audio CDs
bOWting bonus multimedia video/text
information that does not alter the
audio-only playing exj)erience.

And the footrace to release such en-
hanced audio discs, by whatever name,
appears to have kicked equally sud-
denly into high gear, as expectations
grow that Sony and Philips, in con-
junction with software developer Mi-
crosoft, will soon announce a standard
for producing the "multisession" CDs.

Multisession CDs differ from other
"enhanced" CDs because they do not
put all the computer data on the first
track of a disc. Instead, multisession

national, with the company's South-
east Asian, South American, Aus-
tralasian, and Mexican chiefs report-
ing to him. Executives responsible for
licensee development worldwide will
also report to Dimont. The newly cre-
ated post sees Dimont reinstated as
Berry's right-hand man, a spot he
previously held when Berry was at
Virgin.

"Charlie has traveled to most of the
countries where EMI has compa-
(Contimwd on page 92)

could have serious implications for
international publishers and song-
writers* revenues.

Among the high-profile artists
who have participated in the occupa-
tion, which began Nov. 8 and was
still under way at press time, are
Ennio Morricone, Paolo Conte, 7mc-
chero Fornaeiara, Giarma Nannini,
and Riccardo Cocciante.

Although it is an independent
body, SIAE has been headed by a
government-appointed commission-
er since last year. Ex-SIAE presi-
dent Roman Vlad was appointed
commissioner to oversee the imple-
mentation of a more democratic con-

CDs disperse the computer data
among the audio tracks on a CD, in an
adaptation of the CD-ROM standard,
while the audio portion remains
playable on a standard audio CD
player.

The record industry has been con-
cerned about the "track one" ap-
proach because it i*e(|iu'res consumers
with conventional CD players to man-
ually skip over the first track on a disc
in order to access the audio tracks.

The term CD Plus is used in a
Recording Industry Assn. of America
subcommittee draft paper on multi-
mode discs that was obtained by Bill-
board. An RIAA representative says
the term is a working phrase that was
brought to the table early on by Sony,
and has "stuck more or less by de-
fault. But there's been no formal an-
nouncement of the fact that CD Plus
is what the industry as a whole has
decided to call iL"

Sony and Microsoft declined com-
ment on the subject. A Philips repre-
sentative says only that work is in-
deed under way to develop "a
modification of the CD-ROM stan-
dard for these tyiws of discs," noting
that Sony and Philips are involved be-
cause they are licensors of the sys-
tem, and that Microsoft "is a key play-
er in the computer world."

The Philips representative adds
that the RIAA is being kept in-
formed. However, the manufactur-
ers' expected announcement prior to
the setting of an industry standard
could once again create the potential
(Continued on page 8J,/

stitution, which should have led to
the election of a new, independent
president this fall. However, gov-
ernment approval of the new
statutes for the SIAE have been
blocked by political inaction, and
now the rubber stamping to extend
Vlad's term as commissioner has
also l>een blocked, leaving the SIAE
leaderless.

According to SIAE press director
SappO Matteueei, "Although [Italian
Prime Minister) Silvio Berlusconi's
cabinet issued a decree to confirm
Vlad as commissioner, the Corte di
Conti, which is an administrative tri-

(Contiiiued 0)i i>agt> up

Italian Songwriters Protest Void At SIAE

BILLBOARD NOVEMBER 19. 1994

Lester SiCC

" Hie Chief "

9ie gave us so much of fds time, his (qtowtege and his Cove.
He touched our Cives in so many wonderful ways.
Me made us feel important,
Me made us part of his f amity.
His Boundtess energy,
Mis zest for tife,
His fgen sense of humor,
His many acts of quiet charity,
His personat integrity,
And his Cove of the music Business and its pCayers
"Witttive in our hearts and minds forever.

Lester witf Be missed greatly By aCCof us.

His JoBete Music 5 amity

Artists & Music

ROCK

DANC E • COUNTRY • LATIN • CLASS

JAZZ

Atlantic Returns Germany's
Die Toten Hosen To U.S.

■ BY ELLIE WEINERT

and THOM DUFFY

MUNICH— Die Toten Hosen, one
of the most successful rock bands to
emerge from Germany in the past
decade, proudly claims the '70s
punk rock of the U.S. and U.K. as
its prime inspiration.

"All those punks are the reason
we exist," says lead singer
Campino, who, like his bandmates,
uses only his first name. "We don't
see ourselves as musicians, more as
fans of a movement."

So while the band has been ex-
panding its following in Europe this
fall with a recent British tour and
EP release on Virgin Records U.K.,
Atlantic Records in the U.S. rere-
leased the band's album "Learning
English, Lesson One" on Nov. 15.
The album is a tribute to punk, fea-
turing classic tracks and appear-
ances by members of the Ramones,
the Damned, Sham fi9, and others.
Originally released by Virgin
Schallplatten in Germany in 1991,
the album sold 250,000 copies in the
band's home market, according to
Virgin. It came out in the U.S. in
1992 on Virgin -affiliated Charisma

DIE TOrEN HOSEN

LEARNING ENGLISH, LESSON ONE •■ ■

Records.

"We had heard great things about
the band from our European affili-
ates, and we realized that they
didn't have a U.S. deal," says
Woody Firm, manager of opera-
tions and assistant to the general
manager of Atlantic Records. "The
band thought this album would be a
great way to introduce them to lis-
teners in the U.S. Although it had
been out briefly before, we felt that
it had not been fully exploited; not
enough people had been exposed to
it."

Die Toten Hosen will help pro-
mote "Learning English" with up-
(Continued on page 76)

Film, TV Shake Up Phillips' 'Martinis'

Virgin Hopes New Exposure Revives Album

■ BY CARRIE BORZILLO

LOS ANGELES — As Sam Phillips
gains valuable exposure in TV and
film, Virgin is using the opportunity
to give a renewed push to her third
pop album, "Martinis & Bikinis."

Even though the album never took
off as hoped, the company has
pledged its long-term commitment
to the title, which was released
March 8 (Billboard, July 9).

The week of Oct. 31, Virgin re-
serviced the first single from the al-
bum, "I Need Love," to album al-
ternative and modern rock radio.
The track originally was serviced to
album alternative outlets in Febru-
ary and to modern rock in March.
Virgin product manager Margi
Cheske says the label also will re-
service the video "when the time is
right."

The inclusion of Phillips' music in
TV programs and movies is part of
the label's latest marketing thrust.
The song and video for the second
single, "Baby I Can't Please You,"
aired on Fox-TV's "Melrose Place"
Oct. 10 and Oct. 24. and is included
on the show's Giant Records sound-
track, released Oct. 18.

In addition, Phillips recorded
Nancy Sinatra's "These Boots Are

Sam Phillips: Tm teaming a lot about acting.'

Made For Walkin'," a song she per-
formed regularly during her "Inde-
scribable Wow" tour in 1988, for the
upcoming Robert Altman film "Pret-
A-Porter."
"This is the tough, rockabilly ver-

sion that it was meant to be," says
Phillips.

The song is featured on the Co-
lumbia soundtrack, due Dec. 6, along
with tracks by U2, the Cranberries,
(Cmitiniwd mi jxige 76)

I.R.S. Reclaims
Cutting Edge With
'Six Sided Single'

■ BY BRETT ATWOOD

LOS ANGELES— I.R.S. Records,
which launched the careers of
R.E.M., Wall Of Voodoo, the Go-Go's,
and Fine Young Cannibals in the '80s,
is hoping to expose a new breed of
modern rock acts
in the '90s with a
long-term project
^^^^ dubbed "Six Sided
* >A Single."

^^^i^^JP seeking

signed talent for
■•^r»#l^% its continuing se-
ries of CDs devot-
ed to showcasing up-and-coming
modern rock acta.

Each volume in the "Six Sided Sin-
gle" series will feature two new songs
apiece from three unsigned alterna-
tive acts. "Six Sided Single: Vol. 1"
hits retail shelves on Tuesday (15),
and contains the I.R.S. debuts from
Albany, N.Y., act Bloom; San Anto-
nio, Texas, quartet Thirteen; and Los
Angeles newcomers Grin. The disc of-
fers these bands their first shot at na-
tionwide attention. I.R.S. is distrib-
uted by Cema.

'This is a rekindling of the original
I.R.S. mentality," says I.R.S. presi-
dent Jay Boberg. "We're anxious to
deal with self-starting bands who look
(Continued on page 91)

0'Donoghue Remembered
As Influential Humorist

Still Unforgettable. Capitol Records president/CEO Gary Gersh presents the
family of Nat King Cole with the label's Tower Of Achievement Award. The
presentation took place in the studio where Cole recorded many of his famous
songs (see page 26). Capitol artists become eligible for the award 1 5 years after
their first Capitol release and when total worldwide album sales exceed 10 million
units. Capitol recently released "Nat King Cole Greatest Hits,'* a compilation that
includes the duet version of "Unforgettable" with daughter Natalie. Shown, from
left, are Gersh; Natalie Cole; Cole s widow, Maria; and Cole's daughters Casey,
Carole, and Timolin.

NEW YORK— Michael O'Donoghue,
the songwriter/auth or/poet/broad-
caster and television and film writer
widely considered to have been the
most influential wit of the last 30
yearn, died Nov. 7 in Manhattan. He
was 54 years old.

Over the course of a career that be-
gan on the fringes of the beat scene
circa 1960, when he was attending
San Francisco State University and
the University of California at Berke-
ley, O'Donoghue worked as a classical
music DJ on WBBF-FM in Ro-
chester, N.Y., before gaining atten-
tion as a contributor to The Ever-
green Review, which ran his "Phoebe
Zeit-Geist" comic-strip parody and
later collected it in a successful book.

BMG Aims For U.S. TV With ABC Deal

BY DON JEFFREY

NEW YORK— BMG has taken a
long-awaited step into U.S. television
through a joint venture with the ABC
network, which will produce and dis-
tribute programming that features
BMG artists.

The first fruit of this labor will be a
one-hour prime-time special Dec. 17
called "Christmas At Home With The
Stars," in which artists like Aretha
Franklin, Toni Braxton, Vince Gill,
Kenny G, the Olsen Twins, and Amy

Grant will perform Christmas songs
and share holiday memories.

BMG says a soundtrack album
from this program is unlikely, but

HF-H-iF-lSMAN

US1C GROUP

that audio releases from future pro-
jects are anticipated.

Executives close to the venture say
future programming could include

talk shows hosted by BMG artists.
Another possibility is the use of
archival tapes of BMG artists in TV
documentaries.

The 50-50 partnership is between
BMG Entertainment North America,
a unit of Bertelsmann A.G., and the
ABC Television Network Group, a
subsidiary of Capital Cities/ABC Inc.
The venture will develop program-
ming for the ABC broadcast network
and cable networks in which ABC
holds stakes: 80% of ESPN. 50% of
(Continued on jxt</e 91)

Michael O'Donoghue, right, with wife
Cheryl Hardwick.

In the late '60s, he became a guid-
ing editor of The National Lampoon,
where he and colleague Doug Kenney
acquired national reputations as the
two funniest writers in America.
O'Donoghue created such unsparing
satires of Cold War machismo as
"Tarzan Of The Cows," "Battling
Buses Of World War II," and "The
Vietnam Baby Book," all the while
pushing the Lampoon to assume a
"no sacred cows" tone in its chroni-
cles of modern culture and its iffy so-
cial mores. Long before the notoriety
of Hunter S. Thompson and P.J.
O'Rourke (both of whom were admir-
ers), O'Donoghue's writing and char-
acterizations shone with what
O'Rourke called "his gift for combin-
ing the heroic with the banal, as in
(Continued on page S?)

BILLBOARD NOVEMBER 19. 1994

Come to the edge, he said.
They said: We are afraid.
Come to the edge, he said.
They came.

He pushed them... and they flew.

Guillaume Apollinaire

LESTER SILL

January 13, 1918 • October 31, 1994

His Loving Family

Artists & Music

Motown Debuts Interactive
Division, Games Imprint

■ BY MARILYN A. GILLEN

NEW YORK— Motown is motoring
onto the information superhighway
with the launch of a new interactive
division, Motown Interactive En-
tertainment Software, and an affili-
ated game imprint within that divi-
sion, dubbed Motown Games.

Motown Games will make its offi-
cial debut in January with the re-
lease of "RapJam Volume One," a
joint production with Mandingo En-
tertainment, which is headed by
Ron Sweeney.

The basketball game, which will
be launched on the Super Nintendo
platform, features a lineup of game
characters based on the acts Public
Enemy, Warren G, L.L. Cool J,
Queen Latifah, Yo Yo, House Of
Pain, Coolio, and Onyx.

Gamers choose one of five urban

courts on which to play — each with
a distinctive street setting and
unique musical "beat" — and then
assemble a team from among the
rap characters, each of whom has
characteristic "moves" they will
perform.

A separate soundtrack album fea-
turing hits from those artists,
strung together through the
"beats" from the game, will launch
just prior to the game's debut, ac-
cording to Motown president/CEO
Jheryl Busby.

A Sega Genesis version of the
game will follow early in 1995. CD-
based versions, featuring full musi-
cal soundtracks, are planned for the
future.

The artists participating in the
debut "RapJam," from a variety of
labels, also will film TV and radio

(Continued on page 93)

Ticketmaster Sets Clapton Club Strategy

2-Ticket, Credit Card Rule Intended To Cut Scalping

■ BY CARRIE BORZILLO

LOS ANGELES — To combat ticket
scalping and ensure that Eric Clap-
ton's fans have the opportunity to see
the artist's rare club appearances at a
reasonable price, Ticketmaster has
come up with an elaborate plan for
November shows in New York, Chica-
go, New Orleans, and Los Angeles.

In a rare move, Ticketmaster and
Creative Artists Agency, which books
Clapton, are allowing a maximum of
two tickets per customer, at $30 each,
available only via phone.

However, the tickets will not be
mailed out to customers. Instead,
fans, who must be at least 21 years
old, will receive vouchers in the
mail. The ticket buyers must bring a
voucher, a driver's license or a So-
cial Security card, and a credit card
to the club the day of the show in or-
der to pick up the tickets. After re-
ceiving the tickets, concert-goers
will be required to enter the venue

immediately.

No service charge will be billed to
the customer. Ticketmaster presi-
dent/CEO Fred Rosen says that
Ticketmaster has a special arrange-
ment with Clapton for the service-
charge fees. Rosen
declined to dis-
close details of the
arrangement.

Tickets go on
sale in each city
the week before
the scheduled
shows.

clapton According to

Tom Ross, head of
the music division at CAA, Clapton's
first club tour since the '60s will in-
clude stops at the House Of Blues in
Los Angeles Nov. 11-13; Buddy Guy's
Legends in Chicago Nov. 16-18;
House Of Blues in New Orleans Nov.
21-23; and Irving Plaza in New York
Nov. 26-28.
The tour is in support of his blues

album "From The Cradle" on
Duck/Reprise/Warner Bros., which is
No. 10 this week on The Billboard
200. Clapton completed an arena tour
in support of the album in San Jose,
Calif., Nov. 4.

"This was Eric's idea to play clubs
and get back to the roots of the blues,
and to give the average fan a chance
to see him," says Ross. "Obviously,
when you have a stadium artist play-
ing clubs, there are some dilemmas,
especially when the smallest club is a
200-seater like Buddy Guy's club. So
we put tables and chairs in to make it
comfortable, and the next dilemma
was how to get the tickets to the peo-
ple without scalpers."

Ross says the plan will give the "av-
erage fan" the chance to see Clapton
without paying exorbitant scalper
prices.

However, this method doesn't al-
low a fan without a credit card to
get into a show. The name on the

(Contin ued on page 75)

Carpenter Leads
Winners In D.C.
Music Awards

WASHINGTON, D.C— Election re-
sults of the musical variety were in
the news here Nov. 7, as the Wash-
ington Area Music Assn. announced
its annual awards.

WAMA prizes went to an array of
well-known and emerging hometown
talents gathered at the Washington
Hilton.

The award recipients are chosen by
WAMA members, which include
Washington area musicians, produc-
ers, and club and studio owners. The
awards are presented for accomplish-
ments in the period between Septem-
ber 1993 and September 1994.

Mary Chapin Carpenter, who still
hangs her hat in the Virginia sub-
urbs, was the biggest winner, taking
the top artist, songwriter, and coun-
try female vocalist awards, as well
(Continued on page 75)

Dynamic Duo. Martin Bandier, chairman/CEO of EMI Music Publishing,
congratulates songwrrting/producing team Jimmy Jam and Terry Lewis on their
first-ever woridwide co-publishing deal. The deal includes Jam and Lewis'
publishing catalogs Flyte Tyme Tunes, New Perspective Publishing, and Help
The Bear Music. Although EMI Music Publishing has represented Jam and Lewis
outside North America for several years, this is the first time the two have
entrusted any company with their entire catalog of work for the worid. Shown,
from left, are Bandier, Jam, and Lewis.

American Rides Into Rap
With Wild West Agreement

BY J.R. REYNOLDS

LOS ANGELES— In an attempt
to broaden its rap music base,
American Recordings has signed
Los Angeles-based Wild West
Records to a production and dis-
tribution deal.

The first release under the
arrangement, due Tuesday (15), is
the single "Mix Tapes" by hip-hop
artist the Nonce. The single was
originally released in August and
distributed by INDI, which has
been handling most of Wild West's
releases to this point.

An album by the Nonce, "World
Ultimate," is scheduled for a Feb-
ruary 1995 release.

The announcement was made by
Dan Charnas, director of hip-
hop/black music for American, and

Morris Taft Jr., president of Wild
West Records.

Taft founded Wild West Records
in 1989. A law school graduate, Taft
is a former music promoter and per-

WEST

RECORDS

sonal manager. He also owns the
publishing company Vent Noir Mu-
sic.

Says Charnas, "Morris repre-
sents the ideal combination of a

(Continued on yage 75)

EXECUTIVE TURNTABLE

BILLBOARD. Marcia Repinski is pro-
moted to specials production editor
for Billboard and associate editorial
production manager on Monitors in
New York. She was specials assis-
tant for Billboard and assistant edi-
torial production manager on Moni-
tors.

RECORD COMPANIES. Tony Bates is

appointed executive VP/CFO for
EMI Records Group International in
London. He retains his position as
CFO at Virgin Music Group.

A&M Records in New York names
Jim Phelan VP of A&R and Steve
Karas national director of publicity.
They were, respectively, founder of
the James Phelan Company, which
has represented more than 60 record
producers, and VP of publicity at
I.R.S. Records.

Greg Rogers is appointed senior
VP, Asia/Pacific, for MCA Music En-
tertainment International in Hong

»• A A

# /**> V

Kong. He was Asia/Pacific regional
director, music and computer soft-
ware, for the Walt Disney Co.

Paul Krige is named managing di-
rector of MCA Music Entertainment
Australia in Sydney. He was market-
ing manager for MCA within BMG
Australia.

MCA Records restructures its
press department, promoting Angee
Jenkins to VP of publicity in Los An-
geles, overseeing the West Coast
press department, and Fletcher
Foster to VP of electronic media in
Los Angeles. They were, respective-

ly, national director of publicity and
VP of public relations. Caroline
Prutzman, VP of public relations in
New York, oversees the East Coast
press department.

Lynn Shults is appointed VP of
media for Atlantic Records
Nashville. He was operations man-
ager/country music for Billboard.

George Nunes is promoted to VP
of sales for Capitol Records in Los
Angeles. He was senior director of
national sales.

Andy Olyphant is named West
Coast director of A&R at Almo

Sounds in Los Angeles. He was cre-
ative manager of A&R for Rondor
Music International.

Regina Joskow Dunton is ap-
pointed national director of publicity
for London Records in New York.
She was director of national publici-
ty for the PolyGram Label Group.

Lisa Swill is promoted to director
of human resources for Atlantic
Records in New York. She was man-
ager of human resources.

DISTRIBUTION. Tegra Little is pro-
moted to field sales manager, black

JOYCE VAN 2EEBHOECK

music, for WEA Corp. in Los Ange-
les. She was a sales representative.

PUBLISHING. Richard Joyce is

named director of marketing and
planning for ASCAP in New York.
He was a consultant with the firm
Booz Allen & Hamilton.

RELATED FIELDS. John Van Zee-

broeck is promoted to VP of opera-
tions for MCA Concerts Inc. in Los
Angeles. He was VP of finance.

BILLBOARD NOVEMBER 19, 1994

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the indulgences of United's renowned international flights on board our three-class service to Los Angeles and San Francisco from JFK. You'll be amazed
how much there is to be enjoyed between the coasts. Come fly the airline that's uniting the world. Come fly our friendly skies.

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Fax and modem with your PC.
Available after January, 1995.

Artists & Music

Folk Music Online, On The Road

Songwriters Brought Together Via Internet

■ BY BRUCE BUCKLEY

SYRACUSE, N.Y.— On the modern
folk music scene, it seems that
grass-roots ideas are spreading fas-
ter via computer than by traditional
word-of-mouth. Through the use of
the interactive computer bulletin
board Internet, folk enthusiast and
computer advocate Alan Rowoth
has organized a new songwriters'
showcase, featuring 24 artists,
called the Internet Quartets.

Although Kowoth has never
worked in the music industry, his
knowledge of the Internet and fa-
miliarity with the growing number
of folk music fans online proved to
be the tools needed to organize the
month-and-a-half venture.

As moderator of the folk music
discussion group on the Internet,
Rowoth used his access to new
American singer/songwriters to
bring the series together. "After
starting the discussion group, I rea-
lized how much great talent is out
there," he says. "It's like having
your ear to the ground; as soon as
something happens, we are aware of
it. It's like having thousands of

spies.

Rowoth compiled a list of his fa-
vorite artists, narrowing the roster
down to six groups of four acts,
including Buddy Mondlock, Barbara
Kessler, Martin Sexton, Catie Cur-

tis, Ellis Paul, Diane Ziegler, David
Buskin, Jabbering Trout, Erica
Wheeler, Bob Halligan, Tom Kim-
mel, Electric Bonsai Band. Greg
Trooper, and Cosy Sheridan.

"I really tried to balance the quar-
tets so that artistically there was in-
teresting diversity, but also there
were different artists within the
groups who would draw stronger in
different regions," he says.

On Oct. 6, the first of the quartets
set out to play an 11-club circuit
stretching along Interstate 90 from

Live Performances Get Off
The Ground On Sky Radio

I BY JIM BESSMAN

NEW YORK — Placido Domingo actu-
ally saluted his airborne opera listen-
ers, and while the Rolling Stones didn't
sing "Get OfT Of My Cloud," they too
flew the friendly skies of United Air-
lines in helping USA Today/Sky Ra-
dio's live in-flight concert presenta-
tions get off the ground.

Live shows are just the latest twist
on in-flight programming designed to
make the flying experience more en-
joyable. So far, United is the only air-
line carrying such a service.

The Stones' Oct. 10 New Orleans
concert was carried live and free to all
270 United domestic aircraft equipped
with the Sky Radio satellite reception

technology. The transmission followed
the inaugural Domingo performance at
Chicago's Ravinia Festival last June,
which was followed by a Yo-Yo Ma con-
cert there in August,

Some 20,000 flyers were able to tune
in to the Stones' feed; United Airlines
spokesman Tony Molinaro estimates
that 60% listened.

"People who couldn't get a ticket to
the concert got a free one on us," says
Molinaro. "All the flight attendants
dressed up in their best rock'n'roll
garb, and at [the LA airport], we had
a Mick Jagger impersonator singing
the whole day!"

Additionally, the Stones concert was
promoted through program guides
(Continued on page IS)

Boston to Buffalo, N.Y., and finish-
ing off in New York City, Phil-
adelphia, and Alexandria, Va. One
week later, the next quartet set out
to do the same circuit. The tour ends
Nov. 22. The average club capacity
is 150 people.

Rowoth's interest in stalling the
series stemmed from his experience
at this summer's Kerrville (Texas)
Polk Festival. Inspired by all the
night campfire circles where artists
freely trade songs, Rowoth set out
to bring that same spontaneous, col-
laborative style to a stage setting.
Rowoth used his Internet connec-
tions and his own capital to launch
the project.

Like Rowoth, most of the per-
formers on the tour are involved
(Continued on fMigv Jrt)

Whirlwind. Carla Olson, center, celebrated the release of her 10th album, "Reap
The Whirlwind,'' on Watermelon Records during a performance/party at Los
Angeles' the Derby. Shown, from left, are the Knack's Doug Fleger, the Go-Go's
Kathy Valentine, Olson, and Paul Revere & the Raiders' Mark Lindsay and Keith
Allison. Both Valentine and Lindsay appear on Olson's record.

Luis Leaves Them Smiling. Singer Luis Miguel is presented with a plaque from the
James L. Knight Center for selling out three shows Oct. 6-8 at the Miami arena.
Shown, from left, are Knight Center GM Greg Fisher, Miguel. Knight Center marketing
manager Deborah Payne, and Knight Center operations manager Patrick Cumiskey.

Germs' Influence Continues To Spread;
Pearl Jam On Vinyl; Rundgren's New Score

UERM OF A GOOD IDEA: A tribute album saluting
seminal LJV. punk band the Germs is being oi-ganized by
Gasatanka Records head Bill Bartcll. The group's life was
short — dashed by the fatal 1979 overdose of lead singer
Darby Crash — but its influence was long. Another Germs'
musical footnote: The band's first drummer was a pre-Go-
< .<>'» Belinda Carlisle.

The album, "A Small Circle Of Friends," will feature
covers of Germs songs by several acts, including the Meat
Puppets, the Mehins, flKEHOSE's Mike Watt, Dino-
saur Jr's J Mascis, the Puzzled
Panthers (Sonic Youth's Thurston
Moore and the Beastie Boys' Mike
D), former Black Flag member
Kira Roessler, 1.7. the Posies, D
Generation, and Gumball.

The first single from the project)
coming this month, will be "Circle
One" by the Holez (members of
Hole and former Germs guitarist
Pat Smear), backed with "Shut
Down" by Mudhoney's Mark Arm
and Steve Turner (performing as
the Monkey Wrench). Although it would be romantic (and
very un-Germ-like) to think that the Holez song brought
Kurt Cobain's widow/Hole leader Courtney Love to-
gether with Smear in a post-Nirvana tribute of sorts, the
track was recorded in 1992, before Smear joined Nirvana.
The first video will be the Meat Puppets' version of "Not
Alright."

The single will come out on Bartell's Gasatanka label,
which is distributed through Dutch East India. However,
he says he is talking to sev eral major labels about putting
out the album. Look for it in late February or early March.

ThIS AND THAT: Epic will release Pearl Jam's 1991
debut, "Ten," on vinyl Nov. 22. It previously had been
available only on cassette and CD . . . Todd Rundgren is
writing the score for Jim Carrey's new movie, "Dumb And
Dumber" . . . The only non-score composition on the "In-
terview With The Vampire" soundtrack, coming from Gef-
fen Nov. 22, is a remake of "Sympathy For The Devil" by
Guns N* Roses. The track already has been shipped to ra-
dio, but no decision has been made whether to make a sin-
gle available commercially . . . Capitalizing on the popular-
ity of the movie "Pulp Fiction," MCA is releasing "Double
Feature: Soundtracks From The Quentin Tarantino
Films" Nov. 22. The two-CD set contains the soundtrack
to Tarantino's 1992 cult film "Reservoir Dogs," as well as
"Pulp Fiction." Also included is a 20-page booklet that fea-
tures Tarantino talking about his movies and music . . .
Sass Jordan appears as a rocker (Delilah from the band

by Melinda Newman

C-Section) on the Nov. 12 episode of TVs "Sisters." Her
|iart may turn into an ongoing role . . . David Geffen gives
a rare interview to Barbara Walters on "20/20" Nov. 11
. . . Chicago-based concert promoter Tinley Park Jam (an
offshoot of Jam Productions) and the Nederlander Organ-
ization announced Nov. S that they have joined forces to
present conceits at the New World Theater in Tinley Park,
111., and the Alpine Valley Music Theater in East Troy,
Wis. In the process, Nederlander will no longer present
concerts at Poplar Creek Music Theater in Hoffman Es-
tates, 111., which had competed di-
rectly with the New World Theater
(booked by Jam) for shows in the
Chicago area . . . The Rolling
Stones' Voodoo Lounge tour will
come to a television screen near you
when the band's Nov. 25 Miami
show is presented live IS a pay-per-
view concert. Ordering price is
$25.95 . . . Producer George Martin
was inducted into Hollywood's Rock
Walk Nov. 2 . . . Rush drummer Neil
Peart received the 1994 Buddy
Rich Lifetime Achievement Award Nov. 6. Previous win-
ners include Mel Lewis, Louie Bellson, and Max Roach
. . . Dana Miller, co-chairman of Entertainment Radio
Networks, has been named chair of AIDS Project Los
Angeles . . . The Beatles' "Live At The BBC" double al-
bum, coming from Capitol Nov. 29, will include snippets of
dialog from BBC interviews with the band, interspersed
with 56 tracks. The project will be available on vinyl.

Sisters doing it for themselves: The

Women In Music Business Global Conference, slated for
Nov. 18-20 in Nashville, has come up with a formidable
lineup of speakers and panelists, including Pam Lewis of
Doyle/Lewis Management and North/South Records;
Bonnie Garner of Rothhaum/Garner Management; Debra
Maffet, host of "TNN Country News"; and songwriter
Gretchen Peters. Interestingly enough, one of the sum-
mit's sponsors is Martin Guitars, which will endeavor to
find out why guitar purchases by females have dropped off
dramatically from the '80s.

On THE ROAD: Swing Out Sister has embarked on its
first U.S. tour. The outing lasts until Nov. 16 . . . Rob Rule
is opening for dada through mid-November. It will then
switch to warm up for Candlebox . . . Everything But The
Girl kicks off the second leg of its acoustic U.S. tour Nov.
16 in Atlanta . . . British sensation Echobelly and Rhode
Island's Scarce have teamed for club dates through Nov.
28.

BILLBOARD NOVEMBER 19. 1994

In Loving Memory

LESTER SILL

a great man.
a great music man.
a great friend.

Copyrighted material

Artists & Music

Wes Farrell Sued Over Benson Purchase

Accountant Sammis Says He Was Left Out Of Deal

ASCAP Embraces A Brave
New World Of Marketing

■ BY EDWARD MORRIS

NASHVILLE— Michael J. Sam-
mis, an accountant and assessor of
music business properties, has
sued Wes Farrell, president of Mu-
sic Entertainment Group in New
York, alleging breach of contract
and other offenses having to do
with MEG's purchase in 1993 of the
Benson Music Group.

The suit was filed Oct. 27 in U.S.
District Court in New York. It asks
that the court award Sammis a
minimum of $1,250,000 based on
five of his charges, plus an account-
ing of income from the Benson pur-
chase and punitive damages of an
unspecified amount.

According to the complaint, filed
by attorney Jonathan D. Davis of
the New York law firm Fredericks
& Davis, Farrell and Sammis first
met in 1989, at which time Farrell
"proposed to [Sammis] a business
proposition whereby the two of
them would work jointly in identi-
fying and evaluating music record-
ing and publishing concerns for po-
tential acquisition. 1 '

At the time of the meeting, Sam-
mis, who lives in Agoura, Calif.,
was working for the Ernst &
Young accounting firm. Farrell
agreed to find potential acquisi-
tions and investors, according to
the complaint. For his part, Sam-
mis would evaluate the properties,
draw up business plans for distri-
bution to potential investors, and
prepare and send offers to the com-
panies targeted for acquisition.

Farrell told Sammis he could not
pay him a salary for his services,
the complaint says, so instead he
offered Sammis equal share in any
equity arising from the acquisi-
tions, the post of chief economic of-
ficer, a position as a director of any
company acquired, and pay and
perquisites "on par with executives
in similarly situated positions."

Between their first meeting and
early 1993, the complaint contin-
ues, Sammis assessed and dis-
cussed with Farrell the acquisi-
tions of several publishing
companies, Benson among them.
Sammis says that he and Farrell
met together "several times" at the
1993 MIDEM music fair to discuss
acquiring Benson.

In May 1993, the complaint
states, Sammis phoned Farrell to

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discuss the sale of another publish
ing company they had been consid-
ering. During this conversation,
Farrell allegedly told Sammis that
Music Entertainment Group — an
organization he had formed with
Warburg Pincus & Co. — was going
to buy Benson, and that Sammis
would not be included in the deal,
nor would he serve as CFO or di-
rector once the acquisition was
completed.

"[Farrell'sl purported excuse for
excluding [Sammis]," the com-
plaint states, "was his purported

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inability to reach [Sammis] on the
telephone."

(An account of the Benson sale
appears in the Aug. 21, 1993, issue
of Billboard.)

Specifically, the complaint cites
six causes of action against Farrell:
breach of contract, breach of cove-
nant of good faith and fair dealing,
breach of fiduciary duty, unjust en-
richment, fraud and deceit, and en-
titlement to accounting. Sammis is
asking for a minimum award of
$250,000 for each of the first five
causes.

group. The Internet earned the act
Dave's True Story its spot on the
tour. "At first Alan didn't like our
CD; he thought it was too jazzy,"
says singer Kelly Flint. "But I was
determined to convince him other-
wise. So I kept sending him E-mail
about gigs we had and good press
we had received. By the time I met
with him in Kerrville, he had really
gained an interest in us."

Says Mondlock, "I've been famil-
iar with many of the people on the
tour for years. But it's great to now
be able to sing along with the songs
I've learned from hearing their al-
bums." Mondlock is a Nashville-
based singer/songwriter whose
songs have been recorded by such
(Continued on page JO)

The MARKETER: Although Rick
Joyce, chosen to be ASCAP's first di-
rector of marketing and planning
(Billboard, Nov. 5), says he might
have preferred that the "planning"
part of his job profile come before
that of "marketing," he insists that
marketing is not an oddly placed func-
tion in a performance rights group.

As an employee of the consulting
firm Booz Allen & Hamilton, Joyce
was part of the team that pored over
the inner workings of ASCAP, result-
ing in vast changes in the manage-
ment of ASCAP and the way it col-
lects royalties.
The changes
began to
emerge in Sep-
tember 1993.
"It became
clear to me
that there
wasn't a plan-
ning culture at
ASCAP. This
is not an indictment, but a reality," he
says.

"Our world is changing rapidly, and
we've got to be better at looking at
the future and preparing for it The
environment of change, from distribu-
tion to legislation to technology, is be-
coming the norm, not the exception."

Joyce sees marketing as "thinking
in a disciplined way" in a field of com-
petition featuring "classic share wars"
not unlike those between record com-
panies. "Do we fight over one-tenth of
a point of market share? We sure do.

"We've tended to be more collec-
tors than marketers. We want [for in-
stance] to communicate with our li-
censees and let them know why they
are valued customers of ours."

Joyce becomes a member of
ASCAP's management team; he re-
ports to CEO Dan Gold, whose own
ascension was a product of conclu-
sions reached by the $1 million Booz
Allen study that set in motion the big-
gest internal changes in the society's
80-year history. Joyce says he'll be
spending the next several months get-
ting the process in place. This is not
going to be an empire, and we're not
about to spend a lot of money. But
we've got to tell our story more force-
fully and effectively."

To be prepared for the normalcy of
change, Joyce says, is to be, above all,
stubbornly protective of the rights of
ASCAP's writer members. "The more
I became familiar with the challenges
ahead, the more I got to believe in the
absolute right of songwriters to get
their due in a world of hostile inter-
ests."

Porter on porter: tm 8 is

truly an age of discovery for show mu-
sic fans. For instance, a collection of
13 songs recorded in 1952 by Cole
Porter as demos for his show "Can-
Can" are to be released to the public
for the first time Nov. 15 by Koch In-
ternational. Besides the well-known
songs (i.e., "C'est Magnifique" ami "I
Love Paris"), the recordings include
five songs cut before the show's
Broadway opening. Also, the CD re-

prises 1935 recordings by Porter of
songs from "Jubilee," which were
originally released on a Columbia
Records tribute set 20 years ago . . .
The great songwriter is among those
Broadway personalities who'll be in-
ducted into the NYU Musical Theatre
Hall of Fame during a gala musical
celebration Nov. 16 at the University
Theatre. Besides Porter, other in-
ductees include Mary Martin, Irv ing
Berlin, and Yip Harburg. Other hon-
ors will go to Gwen Verdon, George
Abbott, and Betty Comden and
Adolph Green.

BmI'S In-

Flight Deal:
BMI has
signed a new
license agree-
ment with
Cambridge
E ntertain-
ment for its
audio client,
US Africa, for deliver}' of program-
ming for multiple in-flight audio chan-
nels. The agreement runs through
December 1995, and grants Cam-
bridge subscribers authorization to
use music provided by the company
from the performance rights group's
2.5 million-song catalog.

Musical homage to a city:

Composer Alan Menken and lyricist/
librettist Tim Rice are collaborating
on a new musical meant to celebrate
the 3,000th birthday of the city of Jer-
usalem, which King David proclaimed
the capital of Israel. The musical,
called "King David," will have one
performance in the city in 1996 and
then will play in other Israeli cities, as
well as 22 cities worldwide, among
them Paris, New York, Tokyo, and
Moscow. Menken and Rice are no cre-
ative strangers, having collaborated
on songs from "Aladdin" and the
stage production of "Beauty And The
Beast" Rice, of course, has worked
with Andrew Lloyd Webber on two
other notable musical theater works
whose themes were culled from the
Hebrew Testament and the New Tes-
tament: "Joseph And The Amazing
Technicolor Dream coat" and "Jesus
Christ Superstar."

CORRECTION: A reference to
Jay Morganstern in last week's
obituary on Lester Sill incorrectly
identified his relationship to
Warner/Chappell Music. He is ex-
ecutive VP/GM of the publishing
company, and worldwide CEO of
its music print division, Warner
Bros. Publications.

PrINT ON PRINT: The follow-
ing are the best-selling folios from
Warner Bros. Publications/CPP-
Belwin:

1. Neil Young, Unplugged

2. Passion, Vocal Selections

3. The Breeders, Complete

4. Led Zeppelin, Complete

5. Smashing Pumpkins, Siamese
Dream.

SKY RADIO PERFORMANCES GET OFF THE GROUND

(Continued from pttge 16)

placed on meal trays, posters at the
gates, and, in Chicago, an outdoor bill-
board.

A unit of the USA Today newspaper
company, USA Today/Sky Radio sup-
plies news, sports, and special events
programming — now including live mu-
sic — to more than 425 United, Delta,
and Northwest aircraft via a satellite
feed originating from the company's
Arlington, Va., studios,

"Live music in-flight is a very inter-
esting medium," says Sky Radio's ex-
ecutive VP, I.D. Brown. "When our
grandparents listened to Glenn Miller
on the radio, they'd sit and stare at the
radio set in the living room. Today, ra-
dio is something you listen to in the car,
when you're shaving, and so on. But
with Sky Radio, we return to the per-
formers the audience concentration
that our grandparents gave them:
Imagine someone strapped in, looking
out the window at the cloud tops, lis-
tening to a concert. It's a different ex-
perience. Domingo was so excited
about it that during the concert, he ac-
tually talked to the passengers in-flight
and asked them to join in and hum
along!"

Both Domingo and Yo-Yo Ma's per-
formances were secured via Sky Ra-
dio's marketing staff, says VP of radio
Holland Cooke, who notes that United
is a Ravinia corporate sponsor. The
Stones concert came through Sky Ra-
dio's association with Westwood One,
which syndicated the show to its radio
network affiliates.

"We're a *fiying affiliate,' " says
Cooke, noting that Sky Radio has also
aco^iired exclusive sky rights for news
programming from CNN and live
sports, and is seeking other sources.

"We're really blazing a trail, because
live in-flight rights were never con-
ceived of until we drilled a one-inch
hole into an airplane for installing the
[satellite] antenna and receiver,"
Cooke says. "Until then, there was no
live anything, unless the pilot tuned in
to a distant FM station for a big game
and it sounded like Czechoslovakia!"

Cooke adds that pay-per-view or
HBO concerts might also be pro-
grammed if they become available.
"Working out [the rights to] the MTV
Awards and Oscars would be wonder-
ful," says Molinaro, who adds that live
video transmission is also on the hori-
zon.

Cooke says Nielsen studies show
that 1,100,000 air travelers listen each
month on Sky Radio planes. "We're
now defining various degrees of time
sensitivity attached to entertainment
programming," says Cooke. He points
to other Sky Radio programs like a re-
cent "United Album Premiere" of Lyle
Lovett's "I Love Everybody," which
was supplied by AEI Music Networks
and went to United aircraft prior to
general radio servicing.

Contrasting Sky Radio with vari-
ous taped music channels also availa-
ble to headphone listeners, he says
that "if you're a frequent flyer, you
know which Barry Manilow song
comes on next, because you've al-
ready heard the tape. Live or real-
time programming not only gives you
more variety, but a totally different
flying experience."

FOLK MUSIC ON TOUR

(Continued from page 16)

with the folk music discussion

Words&Music

by Irv Lichtman

BILLBOARD NOVEMBER 19, 1994

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FOLK MUSIC ON TOUR

(Continued from jxige IS)

artists as Garth Brooks and Nanei
Griffith.

Although songwriters-in-the-
round concerts have become popu-
lar at many clubs across the country,
the idea of taking it on the road of-
fers a new element. "In a lot of
rounds, people only to get to ex-
change songs for one night. This
way, as we become more familiar
with each others' material, it's easier
to join in with a vocal harmony or a
second guitar part or even a har-
monica solo," says Michael McNe-
vin, a California-based songwriter
who has won all three of the Kerr-
ville/Sing Out-sponsored New Folk
competitions.

Reaction to the tour from club own-
ers and concertgoers has been gener-
ally good. "The shows have been very
well received," says Michael O'Leary,
owner of Milestones in Rochester,
N.Y. "The audience really comes to
listen to the music. The draw has
been good, and we often see the same
faces coming back each week-"

O'Leary attributes much of the
buzz about the Internet Quartets to
local radio support. Rochester album
rock station WMAX-FM sponsors the
"Acoustic Cafe" at Milestones, charg-
ing only $1.06 at the door and giving
airplay to upcoming acts. (In most
markets, the average ticket costs $7.)

In smaller cities such as Syracuse,
local radio support coupled with
strong interest in regional perform-
ers has led to sold-out shows. In
larger markets such as Philadelphia,
however, the opposite has been true.
"Some of the shows have been disap-
pointing. A main reason is that they
were added to the tour late, and we
didn't have the time to get radio (or)
any other promotion," Rowoth says.

As a whole, however, Rowoth and
most of the artists have been pleased
with the results of the series. "I base
the success of this tour on the excel-
lent CD sales and the mailing lists ac-
cumulated by the performers,"
Rowoth says. "We've sold at least as
many CDs as we have tickets. Some
people walk away with a handful of
CDs." Rowoth has no plans to release
a compilation CD of the tour because
of licensing complications.

"This follows what I've been doing
all year: trying to broaden my tour
base," adds Mondlock.

Rowoth and many of the perform-
ers have already expressed interest
in organizing another tour next year.
Having learned from initial setbacks,
he expects that, with better lead time
for promotion of the tour and the
increasing interest in the folk discus-
sion group, momentum will build for
future tours.

Reach For The
STARS!
MOVING?
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ARE YOU INTERESTED IN
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THE REAL ESTATE TO THE
STARS CLASSIFIED SECTION
EVERY WEEK IN BILLBOARD.

Continental Drift

SYRACUSE, N.Y.: Performing in front of the president has typically been
an honor reserved for top-name artists; however, on Oct. 19, Syracuse-
based a cappella group Shade V (pronounced Shade Five) took the stage
at a Democratic fundraiser in New York City attended by President Bill
Clinton, New York Gov. Mario Cuomo, and several major entertainers,
including Madonna, Alec Baldwin, Robin Williams, and Al Pacino.
"Singing in front of the president was the ultimate respect we felt could
Ik- paid to our music," says group founder Calvin "Nuse" Binns. "I felt
our work had finally paid off." Binns and fellow group members John
McCarthy, Joe Simpson, and Ralph Blackshear be-
gan singing together on the street comers of Syracuse's
Pioneer Village Housing Project. Years later, with the
addition of Eric Weiner, a Syracuse University music
major, the group's mix of R&B and hip-hop finally took
shape as Shade V. "Shade V is the blend of five very
different personalities," Binns says. "We all hear the
music in different ways, so when it comes together we
end up with something that's not like anything only one
of us could come up with." Fate intervened for the band shade v

during a stop in Albany on Mother's Day. While jogging
through the Empire State Plaza, Cuomo heard the group practicing and
stopped to listen and meet with the members. The conversation carried
back to Cuomo's office, where they talked for several hours. The governor
took particular interest in the band's original song, "My Mommy Is My
Daddy," which tells the story of four of the group's members growing up
in single-parent homes. In the end, Cuomo agreed to help the group out
as best he could by inviting them to sing at October's Democratic fund-
raiser. Since then, several major-label representatives who attended the
event have expressed interest in the band's talents. Contact Skip Webb at
315-438-5472. bkik;e buckley

MADISON, WIS.: "Folk soul" is the term used by the Common Faces to

describe their music. It is as descriptive a label as any for a band drawing
its sound from smidgens of country and zydeco, daubs of blues and jazz,
the steady tempo of rock, and the polyrhythms of world beat. This decidedly
happy music ("We're not a scowling band," says guitarist Asa Miura) made

the act a hit earlier this year on a
widening national touring circuit
(including New York's CB's Gal-
lery) and in the rock clubs and out-
door festivals of Wisconsin. Even
Europe has been receptive: The
Common Faces were on a tour this
fall that took them through five cit-
ies in Austria, plus gigs in Germany
and Slovenia. Although grunge is
one element that has not influenced the act, the Common Faces' three self-
released CDs were recorded at Butch Vig's Smart Studio (Vig completed
sessions on the band's second album as he began work on Nirvana's "Nev-
ermind"). The Vig connection, as well as the band's prodigious musical abil-
ities, has led to session work with Smashing Pumpkins, Vanilla Trainw-
reck, Black Market Flowers, Freedy Johnston, and others. Contact Asa
Miura at 608-274- 1386. have mihrssen

HIALEAH, FLA.: There aren't many bands in Florida that play a combination
of polka, country, and punk on instruments that range from an accordion
to a kazoo, calliope, and clarinet. In fact, there's only one. Who is it? I Don't
Know. A longtime local favorite noted for its wild and woolly live shows,
I Don't Know has ventured afield lately, playing in Tampa, Daytona, Gain-
esville, and Orlando, Fla., and in Austin, Texas. All this touring has sup-
ported the band's recent full-length
CD "Gullible's Travels," which has
sold more than 1,200 copies and has
European distribution. I Don't
Know comprises singer Ferny Coi-
pel, bassist Tony Landa, accordion-
ist Mark Ruiz, and drummer Izo
Bcsares, who are all in their mid-
208. "It's your run-of-the-mill high-
energy, orchestrated, non-stop
pogo-ing band," says the act's man-
ager, Rob Gelbman. "It's nursery
folklore mingling with a vaudevillian hard-core attitude." Local alternative
paper the New Times has said that I Don't Know is "the Marx Brothers
meets the Klezmer Conservatory." Future plans include a trip to Europe
next year and a return to the studio for more recording in December. Con-
tact Gelbman Management at 805-922-6737. sannkaschulman

THE COMMON FACES

I DON'T KNOW

BILLBOARD NOVEMBER 19. 1994

Artists & Music

RASTAFARIAN SPIRIT REPLACING VIOLENT THEMES IN DANCEHALL LYRICS

(('< mt iu tied fmm page 1}

Although none of these tracks
has crossed over to the American
R&B or pop charts, many have
achieved commercial success in
the global Jamaican-music scene.
Dreadlocks, the traditional Rasta
coif, have been gaining popularity
with many dancehall artists —
including Capelton and Buju Ban-
ton — whereas before, DJs prefer-
red a slick R&B or Westernized
look.

"A consciousness ( Rastafarian]
movement has been part of dance-
hall reggae for several years
now," says Murray Elias, Priority
Records' director of A&R/reggae.
"One reason that it has suddenly

ZIGGY MARLEY

blossomed in the last couple of
months is a commercially driven
reaction to the gun ban."

The ban on gun lyrics was
issued by Col. Trevor McMillan,
Jamaica's commissioner of police,
and discourages clubs and radio
from playing records with violent
messages.

"The commissioner instituted
the ban because he felt these lyr-
ics were creating an atmosphere
of violence and undermining the
authority of the police," says a
spokesman at the commissioner's
office in Kingston. According to
Carlene J. Edie, associate profes-
sor of political science at the Uni-
versity of Massachusetts,
Amherst, "The ban on gun lyrics
has largely to do with a tremen-
dous increase in the levels of ex-
tremely violent crime in Jamaica
over the past year."

Edie says the Jamaican murder
rate has been climbing steadily;
1993's victims included the popu-
lar reggae artists Panhead and
Dirtsman. Recently, Papa San,
Dirtsman's brother, was arrested
in Kingston on gun charges stem-
ming from an alleged shooting in-
cident.

The resurgence of a Rasta-in-
fluenced music scene may also re-
flect a fundamentalist spiritual
reawakening taking root in Ja-
maica. "The International Mone-
tary Fund's structural adjust-
ment program, which was
instituted in 1980, has been ex-
tremely burdensome and painful
for the majority of Jamaicans,"
says Edie. "Many people are

seeking religious options now, be-
cause the political parties seem to
have failed everybody. People are
looking for other options now. and
there has been a retreat into seek-
ing answers from religious organ-
izations. I'm not surprised to hear
that this is showing up in the mu-
sic."

HETURN OF THE 70s

Spirituality used to be a hot lyr-
ical topic in Jamaican music.
Called "conscious" or "culture"
reggae, the music's "reality" lyr-
ics often reflected social concerns
and a passionate belief in Rasta-
farianism.

The Jamaican religion has an
intense identification with the Old
Testament, but Rastas believe in
the divinity of Haile Selassie, the
late emperor of Ethiopia, the first
black leader to gain prominence
in Africa. His defeat of Musso-
lini's army in the mid-*30s made
him revered as the ultimate sym-
bol of black pride and power. Ras-
tas grow their hair into long, un-
combed dreadlocks in adherence
to a verse in the Old Testament
that prohibits shaving or cutting
parts of your hair; they use mari-
juana as sacrament to keep them
distinct from Western religions
that use wine; and they long to re-
turn to an idealized Zton some-
where in Africa, as promoted by
Marcus Garvey whom they con-
sider to be a prophet. Throughout
the '70s and into the first half of
the '80s, such reggae artists as
Burning Spear, Culture, Israel
Vibrations, and Bob Marley were
in the forefront of this movement.

Philip Smart, a reggae pro-
ducer, radio personality, and
owner of HC&F Studios on Long
Island, sees the return of cultural
lyrics as part of a larger cycle.
"Recently, reggae peaked out on
slackness [sexually graphic lyr-
ics], we peaked out on gun lyrics,
so now it's time for cultural lyrics
again. Culture was strong in the
late '70s, so what we are seeing is

TONY REBEL

the return of the '70s to the '90s."

In the latter half of the '80s,
Rastafarianism and cultural lyr-
ics became less popular. In the
last five years, Columbia's Tony
Rebel and Big Beat's Garnet Silk
were the lone Rastafarian voices
crying out in a dancehall wilder-

CUTTY RANKS

ness that was more concerned
with raw sex and gangster lyrics
than religion. But Banton's '93 hit
brought the first wind of change.

"Murderer," released on Mer-
cury, "changed everything," says
Carlton Barrett, record buyer for
Super Power Records, Brooklyn,
N.Y.'s most popular reggae music
retail outlet. Having hit No. 1 on
the dancehall club and reggae ra-
dio show charts in Kingston, New
York, and London, "Murderer"
boasted anti-gun lyrics stated in
specific Biblical terms. Although

'Some of us may
have previously
neglected it, but

the spiritual
consciousness has
always been there'

the single achieved a solid sales
base in the U.S. Jamaican com-
munity and received considerable
hip-hop club play, Banton is best
known in the States for his dance-
hall hit "Boom Bye-Bye," an anti-
homosexual song that was the
source of a big controversy in '92.

"The 'Murderer' record by
Buju Banton was the turning
point as far as dancehall DJs are
concerned, because Buju was the
leader within the dancehall," says
Lloyd Stanbury, vice chairman of
Grove Broadcasting, the company
that owns IRIE-FM, Jamaica's
all-reggae radio station. "Every-
one in Jamaica was very support-
ive of that song, because it came
at a time when there were serious
violent acts within the country."

Banton says, "Some of us may
have previously neglected it, but
the spiritual consciousness has al-
ways been there. Nothing but
consciousness can hold us to-
gether as a people. We have to use
music to motivate youths toward
positivity. We artists, whom the
people elect to hold the micro-
phone, we have to do something
besides just making the girls
jump up."

Says Rebel, "A youth like Buju
is my friend, and even before he
began to [grow dreadlocks], I
knew that he was a cultural youth.
Artists like Garnet and myself are
trying to create a balance where

cultural music can be commer-
cially accepted while bringing a
positive message."

Stanbury says that trend was
continued by this year's Reggae
Sunsplash Festival, held July 12-
15 in Kingston. "On the dancehall
night, Capelton was the artist
who got the most respect, and on
Friday night it was Garnet Silk.
On Saturday, it was Ziggy Mar-
ley. Capelton is probably the
most popular artist right now; he
has a number of records that are
moving in the direction of roots
and culture and positive conscious
lyrics."

On his records, Capelton often
invokes Haile Selassie, as he does
in the introductions to "The
Tour" — his reggae single that
was a hit on radio and in reggae
clubs in New York and King-
ston — and to "No Competition,"
released last summer on King-
ston's African Star label. Re-
cently spotted at Don One Sounds
in Brooklyn, Capelton's hair was
dreading nicely.

Although a totally conscious
dancehall record hasn't enjoyed
crossover success in the U.S.
since Junior Reid's "One Blood,"
such themes are beginning to
creep into records that can be
heard on R&B radio. The Jamai-
can rapper RavonVNo Guns, No
Murder," produced by WQHT
(Hot 97) New York air personal-
ity Funkmaster Flex, has gar-
nered airplay on rap and mix
shows across the country. The
popular anti-gun song includes
the conscious reggae line, "Step
up in a life and give thanks to the
father."

Could this mean that many of
the artists who have turned to
anti-gun and spiritual lyrics are
making a move based on commer-
cial considerations? "We don't
know if all of the artists who are
catching the cultural wave are se-
rious; maybe some of them have
hopped on the bandwagon," says
Rebel.

"Not everybody who dreads
their hair is a true Rasta," says
Cutty Ranks, who is in the midst
of recording his debut album for
Priority. "Some of these guys talk
about how they are a dread and a
Rastaman, but they are using it as
a disguise. Rastafari business
isn't what you have on your head,
it's what you have in your heart.

"I am one of the guys who has
DJ'ri reality lyrics for years, until
people acted like they didn't want
to listen. People can DJ about
guns, but it depends on how you
write the lyrics. If you write gun
lyrics and tell people to shoot
other people, everyone knows
that is wrong. But if you write lyr-
ics about personal experience,
things that you see going on in the
street, or tell people to put down
the gun, then it's a different mat-
ter. I never promote violence; I
just write what I see."

Indeed, Ranks' cultural atti-
tude embodies the same type of
militance that helped enliven Bob
Marley's writing. "The politicians
and upper-class people don't give
the artists any support," Ranks

says. "When you DJ conscious
lyrics, especially if you talk about
the system and the corruption
you see in it, they don't like it."

MORE THAN A TREND?

Like the computer-generated
rhythms that seem to have a six-
month life span, topics in reggae
music also come and go. But some
observers say that the return to
conscious reggae, with its social
and Rastafarian themes, will not
be just another short-lived trend.

"This is what reggae is about:
positive, conscious, informative,
and educational," says Stanbury.
"This is going to be here for a
very long while, because it is go-
ing back to the roots."

Ranks is less certain. "You
never know if it's going to last," he
says. "Maybe a new DJ will come
on the scene with something else
that is not conscious, and the peo-
ple will get tired of hearing con-
scious lyrics and all those things."

The crossover potential of con-
scious lyrics in the U.S. is also un-
certain, according to Priority's
Elias.

For example, Rebel's conscious
1992 album "Vibes Of The Times"
failed to strike U.S. commercial
sparks despite its cultural mes-
sages. But the artist is enjoying
considerable crossover success
with "Weekend Love," his duet
with Queen Latifah, featured on
her Motown album. Interestingly,
the lyrics of "Weekend Love"
have little to do with conscious
reggae; instead, they deal with a
romantic tryst. And some of the
most popular Jamaican records to

BUJU BANTON

break outside of the community
are love songs, like those by J.C.
Lodge and Maxi Priest.

"The [conscious] movement will
live or die based on the records'
commercial acceptance on radio
here in America," he says. "And if
they don't find commercial ac-
ceptance here. I wouldn't be sur-
prised to see the movement dry
up in Jamaica."

But Elias is following the con-
scious reggae trend with great in-
terest. "I'm not closing the door
on it; I would sign the right artists
with the right material. Ulti-
mately, we'll have to see whether
religion is as exciting to the aver-
age American kid as guns and
sex."

BILLBOARD NOVEMBER 19, 1994

"Motto Lisa " Leonardo Da Vinci

"Sticky Fingers " The Rolling Stones

Everyone will notice
an original from Musicom.

TrfMona" noticed, surely your associates will. Even your friends. Everyone
I notices these museum quality lithographs from Musicom... the company that
JL hrings you the artists who brought you the music. There's no better way to
say "Happy Holidays," "Great Job " or simply "Hey.Thanks" to diat artist, manager,
agent, lawyer, promoter, ticket seller, music publisher, retailer, accountant or publi-
cist than with a gift even the most demanding "Big Wig" is sure to love!

You're an original... shouldn't the gift you give (even if it is to yourself) be an orig-
inal too? Musicom has captured the artwork of more than forty of the greatest
rock albums in a series of limited edition prints. Not posters-lithographs.
Choose from The Rolling Stones,The Beades,The Eagles, IJ2 and dozens more of
everyone's favorite Rock 'n Roll Legends, officially authorized and strictly limited
by the artists.

Each Musicom limited edition lithograph is handsomely matted, framed and fea-
tures a plate signature of either the visual or recording artist.
They even come witii their own certificate of authenticity to st^^
insure that each print is the "real thing." lwW*\ c

Attention: Key international territories are now open for distribution. Become part of the newest and
fastest growing segment of the collectibles marketplace. Please direct your inquiries to:

Musicom International, Inc. 812 W. Darby Road, Havertown, PA 19083
Telephone: 610.446.0620 Fax: 610.446.0771.
Attention: Denny So mac h President/CEO

To receive your free Musicom catalog and directions for
ordering call 610-4460620. Ask for Meg Vosburg. Tell her that
"Mona" wasn't the only one whose eyes popped when they
saw our ad. Better yet. . . send us a fax at 6 1 0-446077 1 . After
all, if music is their life, make sure Musicom is their gift.

Musk For Your Eyes"

Musicom is a public^ Iraded company (OTC MUSO)

BILLBOARD'S H E AT S E E K E R S ALBUM CHART

THIS
WEEK

LAST
WEEK

WKS. ON
CHART

COMPILED FOR WEEK ENDING NOV. 19. 1994 FRO!.' A '.-1 L:\AL SoundScjn
SAMPLE OF RETAIL STORE AND RACK SALES REPORTS COLLECTED. ■ g II 1
COMPILED. AND PROVIDED BY IHH 11

ARTIST TITLE

LABEL 1 KUUftf ft tlSTRtBIJIING LABEL (SUGGESTED LIST PRICE Oft EQUIVALENT FOR CASSFTTFjCO)

* + * No. 1 * ★ *

VERUCA SALT uitm mcsHUGC 24722,geft£n (io.wi 5 9Bi AMERICAN THIGHS

DEAD CAN DANCE «ao«?6»wu™[r bros uobehsdsi TOWARD THE WITHIN

MARTINA MCBRlDERCA6628Sl99a.l598l THE WAY THAT 1 AM

DES'REE ^f.jl.'l.SIC 64.124 EPIC 9 S5EL;.'15 ?=i 1 AIN'T MOVIN'

RAPPIN' 4-TAY mm. WW :ir; j. i: is: DON'T FIGHT THE FEELIN'

USHER IAFACE ?60C*A«ISTA (9 98115 981 USHER

LUCAS BIG SCAT 92467/AG (10 9*15 981 LUCACENTRIC

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DEADEYE DICK ichisav bkji in A DIFFERENT STORY

ARTIFACTS big mm 92357-hg 15 9B is 9B. BETWEEN A ROCK AND A HARD PLACE

PARIS PRIORITY 53882* (10.96/16.98) GUERRILLA FUNK

TYPE O NEGATIVE roamumner 9100 19 98-16.98I BLOODY KISSES

BUDDY GUY silvertone <1542jive no 9B15 9bi SLIPPIN' IN

WfBf 'f ffff ' n.i RACHELLE FERRELL

ADAM SANDLER warner BROS 45393I9 9BJI5 98! THEY'RE ALL GONNA LAUGH AT YOU

KENMELLONSEPiC53746i9 98EO,l5 98i KEN MELLONS

LARI WHITE RC« 66395 (9 98. 1 5 9B! WISHES

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LORDS OF ACID WHITE LBIS.AMEWCAN 45574-/WARNER BROS no 98'16 9B) VOODOO-U

ILL AL SKRATCH mercury 5?26«i- lia.MHMt.MI CREEP WIT' ME

"he Heatseeken, chart lists the best-selling titles by new and developing artists, defined as those who have never appeared in the
top 100 of The Billboard 200 chart. When an album reaches this level, the album and the artist's subsequent albums are immediately
ineligible to appear on the Heat&eehers chart. Alt albums are available on cassette and CD. 'Asterisk indicates vinyl LP is available
Albums with the greatest sales gains. £■ 1994, BiUboardvBPl Communications.

C 21 ,

VICIOUS EPIC STREET 57857'ZEPIC (9.98 £015.98)

DESTINATION BROOKLYN

22.

WHITEHEAD BROS, moiown 0346(9.98.13.981

SERIOUS

CRYSTAL WATERS mercury 522105 (10.98 ECY15.9BI

STORYTELLER

KIRK FRANKLIN AND THE FAMILY gospocentric 21 is/sparrow 19 9813 981 KIRK FRANKUN

SOUNDS OF BLACKNESS perspective 9006/A1M 19 96/15 98)

AFRICA TO AMERICA...

COMMON SENSE RELATIVITY 1208' [9 9816 98)

RESURRECTION

TONY TERRY VIRGIN 39861 110 98/15 981

HEART OF A MAN

CORROSION OF CONFORMITY Columbia 66208 (10.9a eQ'15.9bi

DELIVERANCE

LUSCIOUS JACKSON GRAND ROYAL 28358CAPITOL 110 96/15 98)

NATURAL INGREDIENTS

ACOUSTIC ALCHEMY grp 97B3 no 98. 16 9S>

AGAINST THE GRAIN

N-PHASE MAVLRICK.5IRE 45607/WARNER BROS. (9 9815 96)

N-PHASE

GRANT LEE BUFFALO SLASH 457U.WRISE 19.98/15.98)

M GHTY JOE MOON

(J3J

CARLOS VIVES POLYGRAM LATINO 516884 19 9613 98)

CLASICOS DE LA PROV1NCIA

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DIS-N-DAT EPIC STREET 57625-/EP1C (9 96 ECvT5.9B)

BUMPIN'

OADA IRS 27986 (9.96/15 981

AMERICAN HIGHWAY FLOWER

(3D

LOREENA MCKENNITT warmer BROS 45420 110.98715.98)

THE MASK AND MIRROR

MARCUS ROBERTS cc.uwsia 66437 no 9seq/15 9s>

GERSHWIN FOR LOVERS

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MELVIN RILEY mca 1 1016 (9.96)5 981

GHETTO LOVE

FREEDY JOHNSTON ELCKTRA61655 HO LIS M)

THIS PERFECT WORLD

(40.;

K-DEE iench mob 1002 00981 6 98/ ASS. GAS OR CASH (NO ONE RIDES FOR FREE)

POPULAR*UPRISINGS

ILLBOARD'S WEEKLY COVERAGE OF HOT PROSPECTS FOR THE HEATSEEKERS CHART

IY CARRIE BORZILLO

UOCIAL ACCEPTANCE:
Relativity's first release
aimed specifically at album al-
ternative radio is paying off
for singer/so ngwriter/guitar-
ist Lone Kent.

The American-born,
French-based artist's debut,
"Granite & Sand," released
Oct. 11 on Crammed/Relativ-
ity, mixes American roots
music with a European style.

"Social Situation" is gar-

Licking It Up. Marvin
Sease's second Jive
release, "Do You Need A
Licker?," is No. 22 among
Heatseeker titles in the
South Central region this
week. The R&B singer is in
the midst of some club
dates in the South. "Hittin' &
RunnhV " is the first single
for R&B and top 40 radio.

nering airplay on about 65 al-
bum alternative stations, ac-
cording to Paul Bibeau, rock
product manger at Relativitv.
KBCO Denver, KFOG San
Francisco, and KFMG Des
Moines, Iowa, are its early
supporters.

In addition, Chicago mod-
ern rockers WXRT and
WCBR are playing the single.

"This is our first real effort
to go out and build a story at
[album alternative]," says Bi-
beau. "And we've been wel-
comed with open arms."

To capitalize on the strong
airplay. Relativity is sending
Lone Kent on a 2o-market
promotional tour for radio in-
terviews and on-air perform-
ances. The tour, which began
Nov. 10 and wraps up Dec. f>.
also includes radio station-
sponsored shows, including
KBCO's "Rock And Roll Auc-
tion" at the Para-
mount Theater in
Denver on Satur-
day (19).

"We're trying to
have stations spon-
sor him at local
coffeehouses, too,
and we'd invite ra-
dio, retail, press,
and listeners," he
says.

SwEET Sixteen:
Once again, mod-
ern rock heavy-
weight KROQ Los
Angeles* program-
ming choices have
created a chain re-
action. This time
the heneficiary is the Lon-
don-based alternative band
Bush, on Los Angeles-based
indie Trauma Records.

KROQ began playing
"Everything Zen" and "Little
Things" from the band's de-
but, "Sixteen Stone," re-
leased Nov. 1, before the label
even serviced either song.

Now, WKQX (Q10I) Chi-
cago, KNDD (the End) Seat-
tle, KOME San Jose, Calif.,
and WCHZ (Channel Z) Au-
gusta, Ga., are also playing
"Everything Zen."

Animal Magnetism. Former Animal Logic singer Deborah
Holland is being embraced by album alternative radio with her
Dog & Pony Records debut, "Freudian Slip," which features
onetime bandmates Stewart Cope land and Stanley Clarke. It is
being played on KUT Austin, Texas, and KrQT Sante Fe, N.M.

REGIONAL HEATSEEKERS #1'S

THE REGIONAL ROUNDUP

Rotating top- 10 lists of best-selling titles by new b> developing artists.

PACIFIC

1. R.B.L. Pom*. Ruthless By Law

2. Dtid Cm Dance. Toward The Wtlhin

3. ftappfn' 4- Tay, °on'| FigM The Feelm'

4. Vcruca Salt. American Tn gtis

5. Part*. Guerrilla Funk

6. Dei tee. 1 Ain't MovitV

7. Lll V2 Dead. Dead Has Arise-.

8. Buddy Cuy, Shopta* In

9. Martina MtBnde. Trie Way Trial 1 Am
10, 0>u Down, Eiplicit Game

SOUTH CENTRAL

1. Ulnar, Usher

2. WMahaad Brat., Serious

3. Martina McBrldt . Th* Way That 1 Am

4. Lari White. Wishes

5. Veruca Salt, American Thigtis

6. Selena, Amor Prohibido

7. Ken Melleni, Hen Meltons

8. Rat h«H i FtrriB, Rache<ie Fe*re"

9. Tony Teny, Heart 01 A Man
10. La DHeteiula. La Oi'erenria

Rob Kahane. chairman of
Trauma, says the band was
one of the more popular
unsigned bands in England
and had been receiving a lot

of radio airplay. "One of the
producers at Radio 1 in
England tipped me off to the
band. They played the demo
of 'Everything Zen' and got a

huge response from it," he
says.

A video for the song, di-
rected by Matt Mahurin
{Alice In Chains, U2, Peter
Gabriel), was scheduled to be
shot in New York the week-
end of Nov. 11.

The band will make its first
U.S. appearance on Friday
(18) at an album-release
party and show at Dragonfly
in L.A.

Trauma plans to bring the
foursome back to the U.S. for
a tour in Jan-
uary. Plans to
include a snip-
pet of the video
and press kit on
America Online
are also in the
works, accord-
ing to Trauma
president Paul
Palmer.

Road work:

In an effort to
target alterna-
tive and urban
audiences. Vir-
gin is putting
s i n ge r/song-
writer Ben
Harper on the
road with funky alternative
rockers Luscious Jackson,
the soulful hip-hop act Spear-
head, and rap group the Fu-
gees.

The Luscious Jackson
dates run from Nov. 25- Dec. 6
and include in-stores in Seat-
tle, Portland, Ore., San
Francisco, Santa Barbara,
Calif., and San Diego.

Harper then hits the road
with Spearhead and the Fu-
gees from Dec. 8-22.

TlD BITS: Method Man

took the No. 3 slot on the Box
for the week ending Nov. 4
with the clip "Bring The
Pain," from his Def Jam/RAL
debut "Tical" . . . World Dom-
ination's Sky Cries Mary
makes an appearance on
"Late Night With Conan
O'Brien" Nov. 21 . . . Ameri-
can Recordings put a snippet
of the Johnny Depp and
Gibby Haynes-produced
electronic press kit for

Fossil Fuel. Fossil, which
is managed by CBGB's
owner Hilly Kristal, is
playing a few shows with
Black 47 and some solo
dates this month in support
of its debut EP, "Crumb,"
on hifi/Sire/Wamer Bros.
"Snow Day," a green-vinyl
10-inch, is due in late
November. The band's
self-titled album is due in
January. "Moon" is the first
offering for college, album
alternative, and modern
rock radio.

former Red Hot Chili Pep-
pers guitarist John Frus-
ciante on the Internet. Frus-
ciante's debut, "Niandra
Lades And Usually Just A T-
Shirt," is due Nov. 22.

BILLBOARD NOVEMBER 19, 1994

R&B

ARTISTS & MUSIC

Veteran Divas Find New Audiences

Franklin, LaBelle, Knight Bridge Generation Gap

I BY DAVID NATHAN

LOS ANGELES— Aretha Kranklin,
Patti LaBelle,
and Gladys
Knight, who en-
joyed their first
hit records in the
'60s, continue to
compete success-
fully on the Bill-
board R&B
franklin charts thanks to
high media pro-
files, frequent touring, and steady air-
play.

Says independent retailer George
Daniels of
George's Music
Room in Chicago,
"They're crossing
the generation
gap with their
music, and since
all three are
strong catalog
sellers, we're
finding that
young buyers who like their current
records are going back to buy their
older albums, too."

The three vet-
eran artists were
teenagers when
Franklin scored
her first chart
record in 1960
with "Today I
Sing The Blues."
Knight, with the
Pips, followed in
1961 with "Letter
Full Of Tears," while LaBelle, record-
ing with the Blue Belles, earned her
chart debut in 1962 with "I Sold My

KNIGHT

Heart To The Junkman."

James Miller, manager of the
Crenshaw/Los Angeles outlet of 16-
store, Chatsworth, Calif.-based
Tempo Records, agrees that sales
on Franklin, LaBelle, and Knight
have been good.

"Younger buyers have heard
these artists' names from their par-
ents. Now they're checking out their
music for themselves," he says.

Though each has found accept-
ance among younger audiences, in
part by working with contemporary
producers, they maintain their up-
per-demo fan base through their
trademark soulful vocals.

The current LaBelle single, "All
This Love," a cover of DeBarge's
Teddv Riley-produced hit from
1983, is No. 46 on the Hot R&B Sin-
gles chart.

The single, from LaBelle's MCA
album "Gems," released in June,
was preceded by "The Right Kind
Of Lover," produced and co-written
by Jimmy Jam & Terry Lewis,
which peaked at No. 8 in July.

Knight has spent 13 weeks on the
Hot R&B Singles chart with "I
Don't Want To Know," written and
produced by Babyface. The single is
from her second MCA solo album,
"Just For You," which was released
in late September.

Franklin recently enjoyed a 25-
week chart run with "Willing To
Forgive," produced and written by
Babyface and Daryl Simmons.

The Arista single peaked at No. 5
on the Hot R&B Singles chart and
is on the Hot R&B Recurrent Air-
play chart.

Tempo's Miller notes that sales on
Franklin's current Arista album.

"Greatest Hits (1980-1994)," were
spurred by exposure of the single,
which is included on the album.

Says Miller, "We got complaints
from people who wanted a brand-
new Aretha album, but they liked
'Willing To Forgive' so much, they
bought the [greatest hits] album,"
he says.

Jean Riggins, senior VP of black
music for Arista, admits that break-
ing Franklin's "Willing To Forgive"
was a major challenge.

"We had all the classic ingredi-
ents: a great artist, a great pro-
ducer, a great song, and a great
team working the record. But with
classic artists like Aretha, it hap-
pens on a record-by-record basis.

"We didn't deliver 'A Deeper
Love' Ithe first single from the
(Continued on next page)

Blackgirl Goes Black Tie. Kaper Records trio Biackgirl and vocalist Lawrence
Tolbert. left, congratulate songwriter/vocalist Isaac Hayes, center, at the 1 6th
annual Georgia Music Hall Of Fame Awards dinner Sept. 24 at the Georgia Worid
Congress Center. Hayes received a Georgy Award in the performance category
and was a 1 994 Hall Of Fame inductee. Blackgirl performed during the formal
dinner.

Doing Battle. Producer Battlecat. center, is shown with the members of MJJ/
Sony act Quo after he put the finishing touches on the rap duo's next single, "Quo
Funk." Battlecat's still-untitled debut album is scheduled to be released in early
1995 on his Maverick/WB-affiliated Lifestyles label.

Capitol Celebrates Work Of Nat King Cole;
Rhino Releases 6-CD R&B Retrospective

The

Rhythm

Frank Sinatra received the

UOLE'S CAPITOL ACHIEVEMENT: Nat King Cole
was honored posthumously by Capitol Records with its
Tower Of Achievement award during a gala celebration
Nov. 2. The event was held in the label's recording studios
in Los Angeles and was attended by representatives of the
entertainment industry - M well as political and other busi-
ness sectors.

Gary Gersh, president/CEO of Capitol, presented the
award to Cole's wife and
four daughters (including
Elektra artist Natalie
Cole).

"There is no one more
deserving [of the award]
than Nat King Cole," said
Gersh.

The Tower Of Achieve-
ment award was estab-
lished by Capitol Records
to honor artists on its label
for their "irreplaceable
contribution to music and
American popular culture."
award in 1993.

Cole was one of the first artists signed to Capitol in 1 943,
recording nearly 700 songs before his death in 1965 of lung
cancer.

His striking features and at-ease demeanor on his 1956
television program, "The Nat 'King' Cole Show," endeared
an entire nation. The show ran 64 weeks before being can-
celed due to lack of advertising — because, many say, the
program was hosted by a black man. However, the variety
show paved the way for increased on-camera opportunities
for other black entertainers.

At Capitol, the comfortably filled studio housed a festive
yet respectful atmosphere, one in w r hich attendees dis-
cussed and reflected on the career of a man who.se music
continues to touch the lives of millions. In an age when self-
denigrating lyrics and uninspired melodies are the rule,
the evening was a much-needed infusion of harmony.

MoRE HISTORY: Rhino Records has released "The
R&B Box: 30 Years Of Rhythm & Blues (1943-1972), a six-
CD collection chronicling black music from post-World
War II to the debut of disco.

Featured chronologically on discs are 108 original popu-
lar tracks. Included is a comprehensive, 60-page liner-note/
photo booklet.

by J. R. Reynolds

Rhino senior director of A&R James Austin and label
president Richard Foos, along with musician/writer/pro-
ducer Billy Vera, served as compilation producers for the
project. Suzan Jenkins, director of the Rhythm & Blues
Foundation, helped coordinate the project and penned the
introduction for the booklet Essays were written by Peter
Grendysa and Eugene Holley Jr.

Chipping in: Rapper

Scarface has donated
$5,000 to a flood-relief
fund-raiser, sponsored by
KBXX (The Box) Houston.
The artist's label, Houston-
based Rap-A-Lot Records,
kicked in another $10,000.
Funds collected from the
drive are being given to the
American Red Cross.

The artist's solo set,
"The Diary," debuted two
weeks ago at No. 2 on the
Top R&B Albums and The Billboard 200 charts.

MaRK YOUR CALENDARS: The 17th annual Black Ra-
dio Convention is set for April 14-15, 1995, at the Radisson
Hotel in Atlanta. The conference is slated to include the
usual workshops and educational sessions on programming,
management, engineering, music, and news, with special
emphasis on how college radio stations can merge onto the
information superhighway. For registration information,
contact Convention Chairman, Black College Radio, P.O.
Box 3191, Atlanta, GA 30302 . . . ASCAP is hosting its sec-
ond annual concert, "In Harmony With The Homeless,"
Wednesday (16) at the Troubadour in West Hollywood, Ca-
lif. The event offers an evening of songs written and per-
formed by professional songwriters in collaboration with
residents ami graduates of the Los Angeles Mission's non-
profit rehabilitation program for the homeless. For more
information, call 310-398-9650 . . . Cobo Exhibition Hall in
Detroit will be the site of the third annual "Franklin Schol-
arship Awards Dinner and Dance" Nov. 25. The awards
were conceived as a nonprofit event by Arista artist Aretha
Franklin. Ten graduating high school students will be
awarded for outstanding academic achievement Joining
Franklin during the festivities will be Warner Bros, artist
Tevin Campbell, who will perform. For ticket information,
call 313-894-5788.

BltLBOARD NOVEMBER 19, 1994

Bflbood TOP R&B ALBUMS

FOR WEEK ENDING NOV. 19, 1994 ■ ■ ■■^PMHbT ■ ■■V VIIIW^

COMPILED FROM A NATIONAL SAMPLE OF RETAIL
STORE SALES REPORTS COLLECTED, COMPILED,
AND PROVIDED BY SpundScan

THIS

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NAJEE EMI 3O789I10981598)

SHARE MY WORLD

PATTI LABELLE in* LCi670llO.98715.9B)

GEMS

TONI BRAXTON A' L/.F/.CE imr m $-« r> •»:$ w

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R. KELLY A 1 JIVE 41527 (10.98715.98)

12 PLAY

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KARYN WHITE WARNER BROS 454CO I109&'15 981

MAKE HIM DO RIGHT

LIL 1/2 DEAD PRIORITY 53937* (9 98/15.98) ■

THE DEAD HAS ARISEN

HEAVY D It THE BOYZ • UPTOWN 1EI998*/MCA (10.98/15.98)

NUTTIN BUT LOVE

(45)

NEW*

VICIOUS EPIC STREET 57857'EPIC [9.9S EQ 1 5.99) BE

DESTINATION BROOKLYN

OUTKAST • LAFACX 26O10*/ARISTA (9.98/15.981 SOUTHERNPLAYALISTICAOILLACMU7IK

PARIS PRIORITY 53882* 110-9816 98: B

GUERRILLA FUNK

(.48)

AARON HALL • SILAS IO810/MCA 19 98715.98)

THE TRUTH

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NEW*

IfRW^OB 1002 (10.98(16 98, m SSS ' ^ °" ^ <N0 0NE RI0ES F0R FREE)

MC EIHT FEATURING CMW •

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WE COME STRAPPED

WHITEHEAD BROS. MOTOWN 0346 (9.98713 981 B

SERIOUS

ILL AL SKRATCH MERCURY 522661* (10 98 EQ1S 98) B

CREEP WIT ME

[(53)

JANET JACKSON A* VIRGIN 87825 (10.98/16.98)

JANET.

DR. DRE TRIPLEX Sll/O* 110 96/16.98)

CONCRETE ROOTS

SNOOP DOGGY OOGG A' DEATH ROWLINTERSCOPE 92279VAG 110.98/15 98) DOGGY STYLE

ABOVE THE LAW Pl.THI ESS 5524*7ROA1IV*n MR 14 N

UNCLE SAM'S CURSE

COMMON SENSE relativity 1208* (9.98716.98) B

RESURRECTION

TONY TERRY VIRGIN T9B61 (99B/T5 981B

HEART OF A MAN

BABYFACE A' EA*C 53558* 110.98 EQ/16.981

FOR THE COOl IN YOU

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★ * * Pacesetter * ★ *

P^CTOE^lf^I'wifn AFRICA T0AMERIC * : "* JOURNEY OF THE DRUM

THE DAYTON FAMILY po broke 5433 (9 98715.981

WHAT'S ON YOUR MIND

WEST COAST BAD BOYS

NO LIMIT 7187SMG I9 9815 9B)

ANOTHA LEVEL OF THE GAME

THE JERKY BOYS • SEUECT 9241 l'/AG (10.98(1 5.981

THE JERKY BOYS 2

—

N-PHASE MAVEROVSJRE 45607/WARNER BROS 19 98715 981 B

M PhASF

NORMAN BROWN M0IA22 O30UMOTOWN (9.9813.93)

AFTER THE STORM

(66)

EIGHTBALL & MJG iuAvE ■•or: :J Jd:r _ , t;

ON THF OUTSIDE LOOK NG IN

ARETHA FRANKLIN • arista 18722 110.98/16.98)

GHLA1LSI HIIS 1198,0 I'JCM

SALT-N-PEPA A NEX* PLATEAU'LONDON 828392-.TSLAN0 (10 98'16 <

8! VFRY NECESSARY

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MARVIN SEASE JIVE 41549 (9.98/13 98)

IVj v 0U mi EDA: IC-:FR

GRAVEDIGGAZ GEE STREET 524016NTSLANO (9 98 ECV15.9B)

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LO-KEY? PERSPECTIVE 9010 19.98/15.98)

RACK 2 DA HOWSE

JOHNNY "GUITAR" WATSON WILAIA 71007- BELLMASK (9.9815

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WORD. .LIFE

JONATHAN BUTLER MERCURY t.2268? (ID 98 ELV15 981

HEAD TO HEAD

RAPPIN' 4-TAY CHRYSALIS 30889NEMK10.98715.981 B

DON'T FIGHT THE FEELIN

JAMIE FOXX FOX 66436 (9 9815 981

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105

SADE A' EPIC 531 78 110.98 EGYT6.98)

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7»

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M7ARIAH CAREY A Columbia 53205' (10.98 EO/16 96)

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103

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PRINCE • WARNER BROS 4S/O0 ( D.9HT6 981

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102

SOUNDTRACK A :l ARISTA 18699* (10.98(15.981

THF BODYGUARD

BARRY WHITE mercury 522459(10.98/15 981

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PMD PM0 66475-ARCA (9 9815.981

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BEASTIE BOYS / ■ . 8599* (10.98/15.98)

ILL COMMUNICATION

(95)

100

INCOGNITO TALKIN lOUD 522036*VEE(VE 19 98N3 9B; B

POSITIVITY

(96)

RE-ENTRY

ZAPP & ROGER • REPRISE 45U3/WARNER BROS. 110.98/1 5.9B)

Al . THI GREATEST Nils

ICECUBEA PRIORITY 53876* (10.98/15.981

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RE-ENTRY

DRU DOWN RELATIVITY 1222(9.98/16.96)

EXPL iCr GAMES

(9?)

RE-ENTRY

JODECI A UPTOWN 10915'MCAI10.9B/15.96)

DIARY OF A MAD BAND

100

■

EDDIE F. AND THE UNTOUCHABLES

LEI'S GET II ON

O Albums with the greatest sales gains this week. •Recording Industry Assn Of America (RIAA) certification lor shipment of 500,00 album units {250,000 tor fPsl A RIAA certification for shipment o( 1 million units (500,000 tor EPs), with multiptetinom titles indicated by a numeral fol-
lowing the symbol. 'Asterisk indicates IP >s available. Most tape prices, and CO prices tor Wf A and 6MG Wbets, are suggested lists Tape prices marked EQ. and all other CD prices, are equivalent prices, which are projected from wholesale prices Greatest Gainer shows chart's largest unit
increase Pacesetter nriicates biggest percentage growth Heatseeker Impact shows artists re-wved frcm Heatseet.ers th.s week BE indicates pa c .t r;r [-.re-v-it. • .•-,'.!-.r-r«.i- title '- 1994, fjilltJoani'BPI C-ommunicatiors. and SoundScan. Inc.

VETERAN DIVAS FIND NEW AUDIENCES BY BRIDGING GENERATION GAP

(Continued from preceding page)

'Greatest Hits' album] all the way,
although it was a very big club rec-
ord."

Riggins credits early support
from BET and high media visibility
as major factors in breaking "For-
give," which has sold more than
33f),000 units, according to Sound-
Scan.

Franklin's 1994 media appear-
ances include the Grammy Awards
show last March, during which she
received a Lifetime Achievement
Award, and guest shots on "Satur-
day Night Live," "The Late Show

With David Letterman," and Oprah
Winfrey's 40th birthday show (La-
Belle and Knight also appeared).

Riggins notes that Franklin
toured more than usual last spring
and summer, performing in New
Orleans, Atlanta, Detroit, Indiana-
polis, New York, and Washington,
D.C., where she also performed at
the White House.

Despite her reputation and past
success, airplay and sales were not
guaranteed. Says Riggins, "Early
on, we experienced a lot of resist-
ance from radio. We felt that 'Will-

ing To Forgive' was a take-no-pris-
oners record, and a lot of people
were surprised when it went top
five." The response to "Willing To
Forgive" and touring spurred album
sales, making the album Franklin's
first gold Arista set since 1986.

"Honey," the third single from
Franklin's greatest hits collection, is
in its 11th chart week. The album
has been on the R&B album chart
for 37 weeks.

As with Franklin, LaBelle's latest
work benefits from the use of hit-
making producers. Says Marilyn

Batchelor, national director of black
music marketing for MCA, "Jimmy
Jam and Terry Lewis and Teddy Ri-
ley skewed LaBelle's ['Gems'l al-
bum more toward a younger demo-
graphic."

The label conducted early setup at
retail in March and began teaser ads
for the LaBelle album in mid-April.
The artist has been on tour for most
of the year.

Batchelor says early club re-
sponse to "Lover" resulted in a se-
ries of remixes by MCA A&R execu-
tive James Broadway, Def Jef &

Meech Wells, and Darrin Friedman
and Hex Hector.

"We got a lot of early radio play
in the Mid- Atlantic and Southern re-
gions," says Batchelor. She notes
marked sales increases in LaBelle's
core markets: New York, Los
Angeles, Chicago, Atlanta, Wash-
ington, D.C., and her hometown of
Philadelphia.

Debuting at No. 8, "Gems" be-
came LaBelle's highest entry ever
on the R&B album chart. Says Bat-
chelor, "We're getting a lot of play
(Continued on page 32)

BILLBOARD NOVEMBER 19, 1994

billboard

FOR WEEK ENDING NOVEMBER 19. 1994

Hot R&B Airplay

Compiled from a national sample of airplay supplied by Buiadca-al Data Systems' Radio Track service. 77 R&B stations
areeteclrontcalty monitored 24 hours a day. 7 days a week. Songs ranked try gross impre***xis. computed by cross-
rBterendng exact lime of airplay wth Arbitron listener data This data is used m thp Hot R&B S.ngjes chart.

'—

S
i

TITLE

AGTIST 1 LABEL. DISTRIBUTING LABRl

ARTIST 1 LABEL/DISTRIBUTING LAB ELI

* * NO. 1 * *

43 9

WHET^AMAN CRIES

I WANNA BE DOWN

BRANDY CAT. A'.TICi 4«fclrtNal

YOUR LOVE ISA...

WHITFHFAti RROE il/OEOW'li

PRACTICE WHAT YOU PREACH

QARRE WHITE . ' . I 1 1 " i - 1

■1

DO YOU WANNA GET FUNKY

CfC MUSIC FACTOR* COC'JMDIAi

ON BENDED KNEE

Eil •-: II l/E'l MUTL.M.

WHEN YOU NEED ME

AARQN HALL iClLACMCAl

HERE COMES THE HOTSTEPPER

M ■ »'.' I2E .'CLIME A

TASTE YOUR LOVE

HORACE EE»'J'A"I UFT'JWN.'MCA

BEFORE 1 LET YOU GO

BLACKSTREET LINTER SCOPE)

NEVER AGAIN

INTRO ATlANTICi

U WILL KNOW

U M U IFIIACIE WFN UNITFFJJ iMFBCLJRY

S.I

1 NEVER SEEN A MAN CRY

SCARF ACF ;RAP A lOT.NCO TRYflE

BODY I SOUL

AS TA BAKER ElEATRAI

IUICY

THE NOTORIOUS BIG IBAD BOY/ARISTA;

I'LL MAKE LOVE TO YOU

BO'2 II WtN MOTEEA'M

WHERE IS MY LOVE!

EL L.EBARCE 'HEPRiEE

IF YOU THINK YOU'RE LONELY NOW

E I H.MIi V Li . C . E I.'! ■ Li

WHY NOT TAKE ALL OF ME

CASSFRINt FEATURING CATO iWB.i

BE HAPPY

E'Ecy J E.ICE JPlcY.N MCA

HUNGAH

i -P. ', WHITE WARNER BROE

CREEP ^

TAKE IT EASY

IJAJi .IC. I .M! it Ml E . 'II

AT YOUR BEST IYOU ARE LOVE1

AALIYAH ill ~ >i:' :; JNC LIVE

1 OONT WANT TO KNOW

GLADYS ANIGHT MCA.

YOU WANT THIS

JANET JACKSON I V RG Nl

THE MOST BEAUTIFULLEST . . .

KEITH MURRAY IJIVEI

BLACK COFFEE

EIEA.'Y 0 A THE B01I (UPTOWN MCA;

HIT BY LOVE

EE CE PEN.STON lAAMPERSPECTIVEl

HOW MANY WAYS

IONI BETAJETON [CAE ACL'ARIS 1 A,

ALL THIS LOVE

PATTI LABELLE il.'CA

FLAM IN YA EAR

CHAlEi MALIK KALl lKIY/ARi'EIAi

THUGGISH RUGGISH BONE

HEENE 1H1K.S N HARMONY (HlllHl 1 SS

STROKE YOU UP

CltANCaNG FACES ISSUED ROTTE'tWC- BEAT.

IF ANYTHING EVER HAPPENED TO YOU

LiEUE CECE .VINE'.. CA IEC_

SHAME

;'-..v.i i- ii -/.in':

WHERE DID WE GO WRONG

(JCACKGiRL IKAPEft.'RCA)

IF YOU LOVE ME

BROWNE-TONE IMJJ.'EPICi

CHOCOLATE

Y'N VEF IPMPERALTSLAND)

LETS TALK ABOUT IT

E'EN A' ^AEEE.-: EAE-WEETi

FORGET 1 WAS A "G"

WEIITEHEAD BROS (MOTOWN:

CAN U GET WIT IT

USHER (LAFACL'ARISTA)

JOY

BLACKSTREET LINTERSCOPE)

GET UPON IT

KEITH SWEAT ELCKTRAl

TOOTSEE ROLL

69BOYZ(RlP(T;i

I'LL TAKE HER

ILL AL SCRATCH 'MERCURY!

THINKING ABOUT YOU

FFIICA ADAMS "

5-43-2 (YOI TIME IS UP1

a E E.iA'.l

1 BELONG TO YOU

EON BRAXTON ICAEACLARISIAl

CAN'T HELP MYSELF

GERALD LE\ERT lEASTWEST!

THIS LOVE IS FOREVER

HOWARD HF'ATTT :CAl IBERI

OLD SCHOOL LOVIN'

CEEAN1E MOUHE " -

EVERYTHING IS GONNA BE ALRIGHT

SOUNDS OF BLACKNESS 1 PERSPECTIVE)

.'1

FA ALL Y'ALL

DA BRAT ISO SO OEf iCHAOSjCTX UMEAAJ

TURN DOWN THE LIGHTS

SHANK . MOTOWN

I'D GIVE ANYTHING

GFFtAI t lEYERT lEASTWESTJ

AGE AINT NOTHING BUT A NUMBER

A.'.l 1'-Ap HI ACE.i'.Plli IM IV>

WHEN CAN 1 SEE YOU

BASYFACE EPIC)

THE SWEETEST DAYS

VANESSA WILLIAMS iWINCvMFRCURy

1 APOLOGIZE

ANITA RAAfR FlFATRA.

6«

0.1

ROMANTIC CALL

E-AlhA EEAIUR.t.(jYU-YOlEPiC:

FOOLIN AROUND

CLANGING FACES : CICCC -""E'.HIE. UEA'

IT SEEMS LIKE YOU'RE READY

R KELLY UlvE

1 CAN GO DEEP

SILK IHOU.YWOODYJWC)

BREAKDOWN

FU SCHNICKtNS IJIVt)

GOING IN CIRCLES

ILITHFR VANDROS5 l v FF'IC)

CAN 1 STAY WITH YOU

KARYN WHITE IWABNER BROS 1

ALWAYS AND FOREVER

LUTHER YANDBOSS L.'EE'lC

DO YOU SEE

WARREN G .'IOC At. ir R Ac t SLAVE

THROUGH THE RAIN

TANYA BLDUNT ISLAND!

LETTTGO

PRINCE 'WARNER BROS )

NEVER LIE

E'E'V l.EE MCAi

tit

9TH WONDER (SLICKER THIS YEAR!

DIGABLE PLANETS (PENOULUMtMIl

TURN IT UP

RAIA-l.TF iPFPSPFCTlvF:

CONSTANTLY

It.'EJAEuRE (MCAI

( : Records with the greatest gam. c 1 994 BilltXHrdVBPI Communications.

HOT R&B RECURRENT AIRPLAY

NUTTIN- BUT LOVE

HCAV E C 1 'HE tJJYt i Lt=EUWN.'MEA(

BACK I FORTH

AALIYAH :6LACAGR0'JND JIVE

THE RIGHT KINOA LOVER

PATTt LABFLEE iWCAi

YOUR BODY'S CALLIN'

R KEEEY IJIVEI

SENDING MY LOVE

7VIANE 'LLEOWNTAOEOWN;

ALWAYS IN MY HEART

tEvir. CAt.'EEt: ,:..'..'- .'.ihVEH ER'IE

ANYTHING

SWV (RCAl

I'M NOT OVER YOU

a CE PERISTON (ASMPERSPECTIVEI

1 MISS YOU

AAFEON HAI 1 SllAS'MCA

WIUING TO FORGIVE

ARETHA FRANKLIN (ARtSTAI

ANY TIME. ANY PLACE

JANEE JACKSON (VIRGIN

SPEND THE NIGHT

N-PHASE IMAVEENCKSIREREPRISEJ

SOMEONE TO LOVE

MINT CONDITION (PERSPECTIVE)

WEEKEND LOVE

(Ji.'EEt. EAT IE AH fl/OTOWN)

I'M READY

JEV 1. CASK E'(l - V.E.c.'.EP EERCS

BELIEVE IN LOVE

TEDDY PENDE Rli-.Vv i i- ■ ■

BUMP N' GRIND

R KELLY JIVE

:::

YOU MEAN THE WORLD TO ME

' (Nl 0R.'..'EC'. CAE AC: .'.Rlc.E'.

BOOTI CALL

E:.*:> -CPEEE INEEPEOOPE

FUNKDAFIED

OA BRAE (SO SO DEFCHAOSCOI IIE.'RIA.

THE MOST BEAUTIFUL GIRL . . .

Pfi.NCE (NPGEEELLMARKl

THAT'S THE WAY LOVE GOES

JANET JACKSON (VIRGIN:

CAN WE TALK

'E.J'J CAMPBELL (EJ.VESE 'WARM i

JUST KICKIN' IT

ASCAPE ISO sodff.coiumbia;

HEY MR. D.J.

iHANE IELAVOR UNlTiEPICI

RKurrents tn titles wtiich have appeared on the Hot R&B
Singles, chart tor 20 weeks and have dropped bekw the too 50

R&B SINGLES A-Z

Rootiey Tuihs. BMl/MCA. BMl/traola Cl.ee Chce.
ASCAP/Sista Ol, ASCAP/TJikkisn, ASCAP)

55 S TH WONDER {SLICKER THIS TEAR) (Wide Grooves.
BMI/Gitro. BMI/EMI Btachwood. BMI)

75 ACTION (EMI Blackwood, BMI} HL

46 ALL THIS LOVE (lobete. ASCAP) WBM

48 ALWAYS AND FOflEVEH Iftriso^, ASCAP.flhna ASCAP)

13 AT YOUR BEST (YOU ARE LOVE) (Bovina. ASCAP/IMI
April. ASCAPr

72 BACK SEAT (WIT NO SHEETS) (BiSfisticA. BMl/Pac
Jam. BMI)

85 BACK UP OfF ME! (4 The tough ASCAP)
4 BEFORE I LET YOU GO (Ooonl. ASCAP/Zomba.
ASCAP/MCA ASCAP/Tsdei. ASCAP/Davey Pooh.
ASCAP/CTiauncey Black. ASCAP) WBM

11 BE HAPPY {MCA. ASCAP/Mary J Blip.ASQUYfriocti.
ASCAP/Twelve And Under , ASCAP/lustin Putlislinig
Co. ASCAP/EMIApnl, ASCAP)

60 BIOLOGICAL DIDN T BOTHER mm,. Lyrics
ASCAP/Chrysalis. ASCAP/^ttba. ASCAP/'Gabi.
ASCAP/1 1 C. ASCAP)

19 BLACK COFFEE (EMI April. ASCAP/Bee Mo Easy.

ASCAP/E.4. OiK It. ASCAP)
9 BODY t SOUL IEM1 Virgin. BM[/Shipwreck BMI/EMI
Virgin, ASCAP/Fulure f urnrtuid. ASCAP)

96 BOP GUN (ONE NATION) (Garcia Boogie. ASCAP/WB
ASCAP/Tieep Technok», ASCAPyFull Keel, ASCAP) WBM

38 BREAKDOWN (Zomti.,. BMLCPMK. BML^Saia.
BMinroutmaii. BMI) WBM

52 BRING THE PAIN 0

28 CANT HELP MYSELF (Jrycep BMI/Willesden,
BMvRamal, BMl/Clevetand s Own. BMl'Zomba, BMI)

16 CAN U GET WIT IT (DuSwrn^. ASCAP/tMl Aprf ASCAP)
54 CHOCOLATE llobele. ASCAP) WBM

7 CREEP (D-A.R.P-, ASCAP)

42 DO YOU WANNA GET FUNKY (Cole Clrvilles,
ASCAP/Duranman. ASCAP/EMI Virgin. ASCAP) HL

89 DREAM AWAY (FROM THE PAGEMASTER)
(Rea.song5. A5CAP/TCF, ASCAP)

57 ENDLESS LOVE (Pep. ASCAP/Brockman.
ASCAP/ltienong. ASCAP)

8fi ERROR OF OUR WAYS (Honey Of A 0' , ASCAP/Ternp
U. ASUP/Street lone BMH

83 EVERYTHING IS GONNA BE ALRIGHT iFlyte Tyme,
ASCAP^ew Hidden Valley. ASCttVCasa David.
ASCAP/EMI April, ASCAP) WBM

IB FA ALL VALL (So So Of. ASCAP/EMI April ASCAP/Air

Control ASCAP)
6 FLAVA IN YA EAR (For Ya Ear. ASCAP/Jamce Combs,

ASCAP/EMI April. ASCAP/Bee Ma Easy. ASCAP) HL
35 FOOLIN' AROUND IZomha BMI)

61 FORGET I WAS AG IWarnet ■ lameflane, BMI) WBM
15 Gr UP ON IT (Keith Sweal, ASCAP.17A ASCAP/WB

ASCAP/Scottsville. BMI/EMI BUdnwod. BMI) WBM
63 GIT UP. GIT OUT (Grut Booty, ASCAP/Chryulis.
ASCAP/Goodie Mob. BMI/r>eam»d Naze. BMI/Slitt
Shirt. BMI)

76 GROOVE OF LOVE (Ensign. BMt/Lane Brane,
BMl^amous ASCAP/Sufia Wuca. BMI)

3 HERE COMES THE HOTSTEPPER (Salaam Reml.
ASCAP/ Pine. PffS ■ 'Longitude BMI) WBM

53 HIT BY LOVE (EMI Virgin. ASCAP/Steven And Brendan.
ASCAP/CasactHla, ASCAP)

56 HONEY (Sony. BMt/Ecal, BMI)

14 HOW MANY WAYS/1 BELONG 10 YOU (Three Boy? From
NtmuiK ASGWttwani. ASW.lady AsNtr, BMVtay Brt
Afey, BMVOack Hard. KOFflmtoi. . : :.V v ,, , „ BMfl WBM

51 HUNGAH (Warner -Tamerlane, ASCAP/Hings Kid.

BMl/Fiyte Tyme ASCAP/EMI Amu ASCAP) WBM
26 I CAN GO DEEP (FROM A LOW DOWN DIRTY

SHAME) (Today s Crucial, BMI/Me And My Boy.

BMI/Wamer -Tamerlane. BMI) WBM

92 I CAN'T MAKE YOU LOVE ME (Altno. ASCAP/Brw
Blues, ASCAP.. Hayes Street. ASCAP) WBM

30 I'D GIVE ANYTHING (Full Keel. ASCAP/Farrenull.
ASCAP/F arret. Curtit. BMl/longrtude. BMI/Augirst
Wmd, SMI/Albert Paw. BM I/Curb songs. ASCAP/Mike
Curb. BMI) WBM

47 I DON'T WANT TO KNOW (Swy. BMI/Fut. BMI)

58 IF ANYTHING EVER HAPPENEO TO YOU (PSO Ltd .
ASCAP/Music By Candelight. ASCAP/Musm Corp. O!
Amenca, BMl/MCA. BMI/Nelana. BMI) WBM

32 IF YOU LOVE ME (Stone Jam. ASCAP/Ness. Kitty &
Capons, ASCAP/Onsha, ASCAP/WB, ASCAP/Brown
Girl. ASCAP/H e tit Ramtww ASCAP/EMI April,
ASCAP/Slow Flow, ASCAP)

8 I'LL MAKE LOVE TO YOU (Sofiy-Soncs BMltt-il, (JMDH
22 I'LL TAKE HER (Gatm ASCAP/Unan-Paul, ASCAP/1 1 C.

ASCAP/Deerj Soul, ASCAPiltl. ASCAP/EMI April. ASCAP)
74 I MISS YOU (3 Boyz From Newark, ASCAP/PolyEram
hil l. ASCAP/Sure Light. BMI)

31 I NEVER SEEN A MAN CRY (AKA 1 SEEN A MAN DIE)
iti The Water, ASCAP.fMI BUdtwaxl. BMl^aeTI Oh BMI)

2 I WANNA BE DOWN (Human Rhythm. BMLfttxing
Legend. ASCAP/Chrysalis. ASCAP) WBM

29 IUICV/UHBELIEVABU(Ieeree,ASCAP/lanice
Combs. ASCAP)

84 KISS AND SAY GOODBYE (EMI Blxkwcod
BMI/Nattahnam. BMI)

69 LETITGO (Controversy. ASCAP/WB. ASCAP) WBM
25 LETS TALK ABOUT IT (Divided. BMI/Zomba.
BMt'Ramal. BMl/Wamer- Tamerlane. BMI) WBM

93 A L I L SOMETHIN' (Gimme Some Hot Sauce.
ASCAP/More Better Grooves, ASCAP/Tunes On The
Verge Of Insanity. ASCAP/Famous. ASCAP)

88 LOVE SONG (Smoked Salmon. BMI)

97 HAKE IT RIGHT (Rhetl Rhyme. ASCAP/thnst Of Mind.
ASCAP/BMG. 8MI/G«1 (text Door, BMI)

24 THE MOST BEAUTIFULLEST THING IN THIS WORLD
(Zomtoa, ASCAP/llliotic, ASCAP/f nek Sermon,
ASCAP/EMI April, ASCAP/Bovina. ASCAP) WBM/HL

17 NEVER LIE (Hook. BMl/Zomiia. ASCAP 'lea spoon.
ASCAP) WBM

87 NONE OF YOUR BUSINESS (Sons Of K-o&s,

ASCAP/Out Of The Basement. ASCAP Alnad. BMI/Neit
Plateau. ASCAP) WBM

33 OLD SCHOOL LOVIN' (EMI Blackwood. BMI/Charrie
7. BMVlane Brane, BMI/Ensign. BMI/Suga Wuga.
BM L/Iunes On The Verge Of Insanity, ASCAP/Famous,
ASCAP/Too True, ASCAP)

12 OH BENDED KNEE (Flyle Tyme. ASCAP)

6B PARTY IPottstxirg, BMVHarncK BMllor^tude. BMI) WBM

59 PLAYA2 CLUB (Rag Top. BMI)

1 PRACTICE WHAT YOU PREACH (Seven. BMI/Supei,
BMl/Drvided. BMI/Zomua, BMLWamcr- Tamertane.
BMiyRamaJ, BMI) WBM

62 ROCKAFELLA {Funky HMe. ASCAP:<v1a1bJi BMI/Jim

Billboard.

FOR WEEK ENDING NOVEMBER 19, 1994

Hot R&B Singles Sales

Compiled from a national sub-sample of POS Ipo-i of vile) equipped key R4B retail stores which report number
of units sold to StwndScan, Inc. This data is used in the Hot R&B Singles chart.

SoundScan

liTBI

;

TITLE

AH LIST ilir.l CUiVHiHlI'iV. LABEL)

s
S

TITLE

AHTIST ILABELOISTRIBUTING LABEL)

* * NO. 1 * *

9TH WONDER (SUCKER THIS YEAR)

GIGABIT PlANfTS 1 PfNDllL UMTMi;

FLAVA IN VA EAR

BIOLOGICAL DIDN'T BOTHER

IMAQUILIE Q'NEAl U f\ i

PRACTICE WHAT YOU PREACH

HARRY WHIIF (AAMPf RVPFCEIVE i

1 DON'T WANT TO KNOW

GLADYS KNIGHI (MCAI

111

HERE COMES THE HOTSTEPPER

IM KAE'O'E ICUL IJMH'AI

HONEY

AKtTHA FBAT.MIN - ; 1 ■■

1 WANNA BE DOWN

FERANCE (ATLANTIC)

WHEN YOU NEED ME

AARON HALL I.SHAS WC.Ai

CREEP

III' lAEACE'ARISlAj

—

LOVE SONG

MICHAEL WALL LC.'t F'TiJNjAr O'J -^U.'O'f

BEFORE 1 LET VOU GO

EJIAr ...THEE I '.'I . "J

CAN'T HELP MYSELF

GCRALD LEVCRT :EASrwE5I!.

U WILL KNOW

R V U HI '- • MEN l!', ILIi' .MI E'cl iRf ,

YOUR LOVE IS A . . .

WHITEHEAD BROS IMOtOWNt

NEVER LIE

lE.'IMTURE I.VJl

WHEN A MAN CRIES

IONV TERNY (VIHGlHI

TOOTSEE ROLL

■ 1 BEJYJ RIP It

TIC TOC

LORDS Of THC LINDf^ROUNO -fi-DLLUW.

8 S

THE MOST BEAUTIFULLEST...

KEITH VHJEEFiAY 1JIVI

THROUGH THE RAIN

1 ANY* ML, JN1 ;:■ , " '. ■

THUGGISH RUGGISH BONE

UCVE EI.CCE l. IIARMCV E-'JE'ICE^E

WITHOUT A DOUBT

BLACK SHEEP ( MERCURY »

CAN U GET WIT IT

. M E - I - :.-

WHERE DID WE GO WRONG

BLACKUIRL (KAPEf.'ftAi

GET UP ON IT

KEITH SWEAT IFLEKTRAJ

LET'S TALK ABOUT IT

MEN AT LARGE lEAsT'-vf:.'

I'LL MAKE LOVE TO VOU

BLW II MEN IMOTOWNI

HUNGAH

KARYN WHITE ;WARf*ER BROS )

VOU WANT THIS

lANEE IACKSCN VIRC.IEJ

NONE OF YOUR BUSINESS

SALr-NffA 'INFJir PLAI t*L LLNtvir.

AT YOUR BEST {YOU ARE LOVE)

AALIYAH IliCACKGFEGUND JIVE!

—

1 MISS YOU

N II U (ARISTA)

BE HAPPY

WARE ! HCUJt lUHT'jVENiVCA)

BACK UP OFF ME!

DOCTOR CRE L ED LOVER 1 RElATIVITT i

FA ALL Y'ALL

CA BRAE I SO CO CEFC'IADE COLOMBIA:'

PARTY

m:a! ^'ii -,["■(- 1 ,

1 NEVER SEEN A MAN CRY

EOAREACE IRAC A COE NC'J TREBEI

—

FOOLIN' AROUND

rttf.rj r-vr. -rv f • --;•.! t

JUICY.UNBELIEVA8LE

IMF NDEOEEIIMIS H 1 G 'HAD HC- ARI.IA

BOOTI CALL

BLACKSTREET 'IITER^COPEj

HOW MANY WAYS

TONi BRAXTON I ' '■

TURN IT UP

RAJA-NEE (PERSPECTfVD

BRING THE PAIN

MEEHOD IJAN ' A,.' EEAClE-LANDi

BLOW1N' UP

QLIO(MJJ<tPIC)

BLACK COFFEE

I'EAVY C A THC BOEE U°TOWH,'MCAI

WHERE IS MY LOVE?

EL DEBARGE FEAT BABY FACE H'UVLt

BREAKDOWN

I.I .ECHNILHEI.E EMVE

MUCH LOVE

BOSSAWvi WO THE i;L^_,Nh iMiX-IH

STROKE YOU UP

DUNGING FACES ISPOILELJ ROTTFN3G BEATJ

THIS D.J.

WARREf. G , i'i7-h« r.LAM

1 CAN GO DEEP

SJLH 'hi ■! L'A'K.'l. il . E

THINGS IN THA HOOD

DFC (ASSAULTS IG B€AT,ATLANTIC>

I'LL TAKE HER

ILL AL SKRATCH (MERCURYI

= '

ACTION

ltOP.CH FABULOUS [EASTWESIl

ROCKAFELLA

RETlMAN iRACi: JAM..

TASTE YOUR LOVE

HORACE BROWN

BODY t SOUL

AMI.'. EE A 1 EE EEL' IRA

CHOCOLATE

YflN Vff iPyC.'RALISLANO)

PLAYAZ CLUB

RAPPIN'A EAYiCHRYhAIIEFIJi:

—

DREAM AWAY

FJAH'FACE 4 LISA STANSFIELD if CK ■

GIT UP, GIT OUT

Ccil'.AJE cAEACCAEEICEA

5.5

100% PURE LOVE

LHYSTAl WATERS iWErrlJUHYi

5-4-3-2 (TO! TIME IS UPI

IADL GIANI

KITTY-KITTY^

TAKE IT EASY

MAD LION IWECLXCXNERVOUSI

ONE LOVE

NAS ICOLUMBIA)

2 1

STRAP ON THE SIDE

SPICE 1 ITRIADi'JIVEl

BOP GUN (ONE NATION)

ICE CUBE 'RHUOHllYl

I'D GIVE ANYTHING

GERALD LCVERT lEJLSTWtsT)

BLACK SUPERMAN

ABOVE THE LAW (RUTHLESS/HELATIVITY)

DO VOU WANNA GET FUNKY

C .C EJJCIC FACTORY .COLUMBIA

OLD SCHOOL LOVIN'

CHANTF t,«OORE ■ 1 Ac Ui Ai

ENDLESS LOVE

LVANDNOSSAM CAREY EJ. JMBXAl

IF ANYTHING EVER HAPPENED TO YOU

BEBE k CECE WtNANS -~ A """JL :

Records witti the grealeM g*n, C 1994 BillOoard/BPI C^morncatwns and SoundScan, Inc.

Ertd BMI)

70 ROMANTIC CALL {Hmm; Im. |!P/„'-vinh. BMbZorriba.
ASCAP/Aurt Hilda. ASCAP/Street KnMled^. ASCAP) WBM

94 SLOW WINE (Tony loni lone, ASCAPyPn. ASCAP/Ttap
And More, BMI/Potygtam Int l. ASCAP)

71 SPACE IControversy ASCAP/WB. ASCAP)

78 STRAP OH THE SIDE iTakinc Care Of Business.. BMI)
21 STROKE YOU UP (fomba, BMI) WBM

64 THE SWEETEST DAYS (Spurt Line. BMiaonettudc
BMt/Bie MnlJgue, BMI/EMI Virpn. BMl/Kauoom.
ASCAP/Tamous, ASCAP)

44 TAKE IT EASY (Misam, ASCAP)

SO TASTE YOUR LOVE LZoniba, ASCAP/Horace Brwm.
ASCAP/My Two Sons. ASCAP/Vamssa ASCAP/Cryde
Otis. ASCAP/WB. ASCAP/Slone lam, ASCAP) WBM

65 TASTY (New Perspective. ASCAP)

77 THINKING ABOUT YOU (Nytasia, ASCAP/Ness. Nitty A
Capene. ASCAP/Wwne« Chapped ASCAP/P-Man, BMI)

79 THIS DJ. (Warren G ASCAP)

66 THIS LOVE IS FOREVER (Pcr«r Players. BMlU)lan£3
BM1Aa*A-a, ASCAPiWamer CKwpelt ASCAP)

45 THROUI»THERAWI(Ktoi>l W 10AStAP.>T^
23 THUGGISH RUGGISH BONE (Rultiless Attack,

ASCAP/Dollari-N-Sense, BMI.'lteenu. BMI)

67 TIC TOC (lOTIKi.ASCAP/Marley M.«l ASCAf'. EiMI
April. ASCAPI

W TOOTSEE ROLL iOrwnfoiv Quad, BMI)

82 TURN DOWN THE LIGHTS (Bobim. BMijMeflree.

BMl/Sony. BMI)
37 TURN IT UP IFlyte Tyme, ASCAP/EMI Apr* ASCAP/Tert-

Eight Tunes & Help II* Bear. BMlBtwma ASCAP) WBM
U WILL KNOW (FROM lASOH'S LYRIC) (Porygram.
ASOU'/Potygrarn Int'l ASCAP/Ah-choo. ASCAP/12 AM
ASCAPVelodies Nsnte, ASCAPI
VIBE (9 tti Town, ASCAP/Naucliry. ASCAP/Rrxlsones
ASCAP/Almo, ASCAP) WBM
WHAT MAKES A MAN (WANNA CHEAT ON HIS
WOMAN) IMCA. ASCAP/Daedle Dee. ASCAP)
WHEN A MAN CRIES Uareese. BMI)
WHEN CAN I SEE YOU (Sony, BMI/Ecaf, BMI)
WHEN YOU HEED ME (MCA ASCAP/Getlen.
ASCAP/Ronnie Onyx ASCAP)
WHERE DID THE LOVE GO (SAY WHAT, SAY WHAT.
SAY WHAT?) (The Lady Raars, BMI: Amplified Isvanm.
BMI/T girl, BMI/Warner Tamedan*. BMI) WBM
3S WHERE DID WE GO WRONG 1ATV BMl<PTjnriy Funk. BMI!
49 WHERE IS MY LOVE? <Ecaf BMI. Sony

BMI/'Rambush. ASCAP/MCA, ASCAP)
40 WHY NOT TAKE ALL OF ME (Alvie's House. BMI)
» WITH OPEN ARMS If eel Trie Beat. BMI/Stone

Diamand BMI) WBM
80 WTTHOUTADOUBT0»QLVgi^l«l,ASCAP,^

ASCAP/UWy ASCAP.fMI Apnl. ASCARBwro. ASCAP)
95 WORD IS BOND IBrand Nubian. ASCAP/Det Jam.
ASUP/Rushhwrn, AS CAP .'A.* rage. ASCAP/Buj,
ASCAP/loe's Songs. ASCAP)
43 YOUR LOVE IS A... (H&J. BMl/Sony. ASCAPI HL
10 YOU WANT THIS/70 S LOVE GROOVE (Black Ice.
BMVStone Agate. BMI/Flyte Tyme. ASCAP/Jotete.
ASCAP/EMI April. ASCAP) WBM

BILLBOARD NOVEMBER 19. 1994

$ 1

rRACTJ.CE MAKES PERFECT: "Practice What You Preach" by
Barry White (A&M) takes hold of the No. 1 position this week on the Hot
R&B Singles chart. White has had many hits in his 34 years of recording,
but it has been a while since he has enjoyed a No. 1 R&B single. In 1991,
"Put Me In Your Mix" made it to No. 2, but he hasn't had a No. 1 since
197Ts "It's Ecstasy When You Lay Down Next To Me," which stayed at
the top for five weeks. "Practice" is the only single besides "I'll Make Love
To You" by Boyz II Men (Motown) that is currently receiving monitored
airplay on all 77 stations. White's album "The Icon Is Love" (what a fitting
title) is this week's Greatest Gainer on the Top R&B Albums chart.

On YOUR MARK, GET SET, GO: "Before I Let You Go" by Black-
street (Interscope) has the second-largest increase in total points and
moves into the top five with ease. Although its increase in spins is mar-
ginal, the increase in audience is significant This means that "Before" is
staring to convert its daypart rotations into prime-time rotations. Hot on
Blackstreet's tail is "Creep" by TLC (LaFace). It boasts the largest gains
in total points — in fact, its increase is almost three times that of Black-
street's. Its huge rise is fueled by the single's release into the marketplace.
"Creep" debuts at No. 5 on the R&B Singles Sales chart. Another hot rec-
ord is "On Bended Knee," the second single from Boyz II Men's "II" (Mo-
town) and thus week's Hot Shot Debut at No. 13. "On Bended Knee" is
exploding at radio and is due in stores next week. The next couple of week
should be very interesting — who will be the first to cross the finish line?

GaINING SPEED: "Can't Help Myself by Gerald Levert (EastWest)
makes a healthy 44-28 leap. This track was featured last year in the HBO
movie "Strapped." Some radio programmers liked it so much that they
taped it off the television so that they could broadcast it Now that it is
available as a single, it is picking up where its taped incarnation left off.
"Can't" is top 10 at WZAK Cleveland, WWDM Columbia, S.C., and WXOK
Baton Rouge, La. "I Never Seen A Man Cry" by Scarface (Rap-A-Lot)
wins the Greatest Gainer/Sales award this week. This song goes against
Scarface's hustler image. It is rap with a positive message about life and
death that will hopefully catch on. It debuts at No. 19 on the R&B Single
Sales chart, and is No. 3 at KMJQ in Houston. "Old School Lovin' " by
Chante Moore (Silas) is steadily increasing at radio, and moves 48-35 on
the overall chart. "Old School" ranks top five at KJLH Los Angeles,
WENN Birmingham, Ala., and WPLZ Richmond, Va. Her album will hit
the streets next week.

RECORDS TO WATCH: "If You Love Me" by Brownstone (MJ.I) is
developing nicely. This week it picks up five top five rankings, at KTOW
Tulsa, Okla., WOWI and WSVY in Norfolk, Va, and WKYS and WHUR
in Washington, D.C. "Forget I Was A 'G' " by the Whitehead Bros. (Mo-
town) earns the Greatest Gainer/ Airplay honors this week. This is another
single from the "Jason's Lyric" (Mercury) soundtrack, and is available on
the act's album "Serious" (Motown). It increases in audience by 68%, and
is breaking fast in Greensboro, N.C.; Houston; Shreveport, La.; and Ra-
leigh, N.C.

BUBBLING UNDER

HOT R&B
SIN6LES

$
§

i
s

TITLE

ARTIST ILAHEUDISTRIBUTING LABEL!

KITTY KITTY

69 80VZ (RIP IT)

BLOWIN UP

QUO (MJ-LEPIO

CONSTANTLY

IMMATURE IMCA

STAY THE NIGHT

GFRA1 D ALSTON (STRfFT UFTJSCOTTI BROS 1

MUCH LOVE

BOESAMN AND T.IE BLAKLAK ISM30TH SAJLN^

TAKE A TOKE

: ,,; M.,ic.,r, FAroRv it::) IMF- .\;

THE HUMP IS ON

J Li IT LL (ATLANTIC)

RETURN OF THE HIP HOP FREAKS

NICE & SMOOTH (RALTSLANDI

DOWN 4 WHATEVA

NUTTff NYCE IPCCKCTCWW«UYWXKWNB

BOUNCE

KANSAS CITY ORIGINAL SOUND IRCAI

ALL 1 NEED IS A CHANCE

TAKE £ (REPRISE!

PIMP OF THE YEAH

DRU DOWN (RELATIVITY!

HOLD ON

TANVA BLOUNT (ISLAND!

3E
I

LAST WEEK |

TITLE

ARTIST ILABEUDISTR1BUHNG LABEL)

ONE LOVE

NAS (COLUMBIA)

RUNNING AWAY

NICOLE (AVENUE)

NIKA

VIDOU5 [EPIC STREtDEPICI

LUCAS WITH THE LID OFF

LUCAS (BIG BEAT'ATLANTICI

SLVDE

CAMEO (WAY 2 fUNKTlffAGING BULL)

HEAVEN A HELL

RAEXWON TEAT. GHOST FACE KILLER (LOUD!

RICH GIRL

LOUOHIE LOU A MICHIE ONE IVP)

OVERJOYED

BOYS CHOIR OF HARLEM (EASTWEST)

BYE BYE

LADAE (ISLAND)

WHERE 1 WANNA BE BOY

MISSJONES (STEP SUN)

VOCAB

FUGEES(TPANZLATWCII£W)(filJfFHCllJSO

YOU FOR ME

E* GIRLFH'END iHtPHISEI

Bubbling Ur.de! lists the lop 25 singles under No. 100
which have not yet charted.

trisha
covington.

why
you
wanna
play me
out?

from her debut album, "call me.

Produced by Alan "BYRD" Tatum for LAO Music Group.
Mixed by Kenny Smoove for Spoiled Rotten Entertainment.
Management: Greg Park*

XtwM'Kig uiPMtl-« U« ft

COM \IHI\

BILLBOARD NOVEMBER 19, 1994

Billboard HOT R&B SINGLES

FOR WEEK ENDING NOV. 19, 1994 ■ ■ V ■ ■ W^^UW^ W>l ■ VIHB V

COMPILED FROM A NATIONAL SAMPLE OF R&B RADIO
AIRPLAY MONITORED BY BROADCAST DATA SYSTEMS,
R&B RADIO PLAYLISTS, AND RETAIL SINGLES SALES
COLLECTED, COMPILED, AND PROVIDED BY SoundScan

lllllll

THIS
WEEK

2 WKS
AGO

WKS. ON
CHART

TITLE

ph. i|:.ii> H -.;:ni. .vh irn

ARTIST

LABEL A NUMBER/WSTRIBUIING LABEL

* * * NO. 1 * * *

PRACTICE WHAT YOU PREACH immh.1 ♦ BARRY WHITE

B YVHETE.G LEVERT T MCHOLAS (B WWTE.G LEVERF.E T NICHOLAS) C, AAM >:77&T , ER5F'ECHVE

1 WANNA BE DOWN •

K CROUCH in crouch kjonesi

♦ BRANDY

(CUT) FX) ATLANTIC 87225

HERE COMES THE HOTSTEPPER •

S Rl Ml II KAM07E.S 6IB8S.KENNER .DOMINO AKONLEY.K. NIX,

» INI KAMOZE

(CI IMI (T; CGI IIMHJA 77F.I4

BEFORE 1 LET YOU GO

r RILEY |F RILEY. L 5YLVEIJ L j.f.l RILL*. L HA'INIBAL.EJ HQUiSII - :

♦ BLACKSTREET

IC. STFR..VJPI ; !

U WILL KNOW (FROM "JASON'S LYRIC )

B MCKNIGHI.O ANGELO IO ANGELO.L ARCHER)

» B.M.U. (BLACK MEN UNITED)

(CI ID) (V) MERCURY BSB 2DO

FLAVA IN YA EAR •

EAST MO 8EF IC.MACA EASY MO BEE]

♦ CRAIG MACK

IC) (D) IMI (T) BAD BOY 7-<XHJ 1 "ARISTA

CREEP

D AUSTIN 10 AUSTIN)

♦ TLC

I'LL MAKE LOVE TO YOU A

BABYFACE !BAByFACEI

♦ BOYZ II MEN

BODY & SOUL

A BAKER (E SHIPLEY. H TvUWE l S)

♦ ANITA BAKER

) ELEKTRA bA'i, D

YOU WANT THIS/70'S LOVE GROOVE

J JAMT LEWIS.) JACKSON U JACKSON ,J HARRI5 T IXWTS)

♦ JANET JACKSON

BE HAPPY

SEAN CCMBS.BOKE IW . BE IF.E A DFiVAt LE S COMBS 1 C OLIVIER

MARY J. Rl IGF

(CI (T| UPTOWN 54927.WCA

NEV

V»>

* * * Hot Shot Debut * * *

ON BENDED KNEE ♦ BOYZ II MEN

J JAM.' LEWIS 1) HARRIST LEWIS) EC) 00 MOTOWN B60 211

AT YOUR BEST (YOU ARE LOVE) •

♦ AALIYAH

ICl IT) IX) BLACKGROUNP 42239/JIVE

HOW MANY WAYS/I BELONG TO YOU

V HERBERT IV HERBERT, T BRAXTON N GORING, K VILLER P flELDE

• TONI BRAXTON

GET UP ON IT ♦ KEITH SWEAT (FEATURING KUT KLOSE)

K.SWEAT F.SCOTT IK. SWEAT. F SCOTT) IC) (M) IT1 ElXKTRA 64S06

CAN U GET WIT IT

♦ USHER

NEVER LIE*

C.ST0KES.C CLFENI IC bTOK.tV-" CUENII

♦ IMMATURE

!C) MCA 54850

FA ALL VALL ♦ DA BRAT

J DOPR1 U.EHJPFfl.DA BRAT) (C) IMI IT, 1X1 SO SO DET.'CHAOS /J'j'J-tjCOLUXIBIA

BLACK COFFEE

EASY IAO BEE P ROCh (EASY MOBEE.P ROCK.HEAW Dl

♦ HEAVY D & THE BOYZ

(O (IT (X) UPTOWN 54931.MCA

TOOTSEE ROLLA

95 SOUTH (OA S.W.A T TEAM)

♦ 69 BOYZ

<C)(M)(T)(X) RIP-IT 691)

STROKE YOU UP • ♦ CHANGING FACES

R KELLY ER KELLY) Id !F| IX!' SPOIL FO ROTYEN.'RIG BEAT 9R?7i ATLANTIC

I'LL TAKE HER ♦ ILL AL SKRATCH FEATURING BRIAN MCKNIGHT

LG.LOHIOER (M III ,1 'STONY P ) C i . T ; ix> MERCURY HOE l.M

THUGGISH RUGGISH BONE

I- J-lfLML i ..IDEE- BO',E

♦ BONE THUGS N HARMONY

ICl (Tl RUTHLESS 5527,RELATiVITY

THE MOST BEAUTIFULLEST THING IN THIS WORLD

E SERMON (K MURRAY. E SERMON I lASPFR.E ISIEY.M ISlEY R.B ISLEY O

♦ KEITH MURRAY

SLE V R ISLE - : (C) (M) IT) (XI JIVE 42249

LET'S TALK ABOUT IT

G LEV CRT 1 v l. (G LEVER) E NICHOLAS)

♦ MEN AT LARGE

1 CAN GO DEEP (FROM "A LOW DOWN DIRTY SHAME*} ♦ SILK

M CHAPMAN, FTHOMAS |M C HARM AN, TTHOMASJ. EVANS, K VON! ICl IF) IX) HO.LYWOOD 172MJIVE

5-4-3 2 (YO! TIME IS UP)

M C RODNEY M fAORALES - ' ' C HOUNEY U MORALES I

♦ JADE

CANT HELP MYSELF

G LEVERT 1 f.l< Hi:. A:, iG LEVFRT E NICHOLAS)

GERALD LEVERT

(CI ID) EASTWEST 98208

JUICY/UNBELIEVABLE •

SEAN COMBS.POKE (THE NOTORIOUS BE G 1

♦ THE NOTORIOUS B I G.

(CI ID) IMUTI BAD BOY 7-9004,'ARIST A

I'D GIVE ANYTHING

D FOSTER ICFAHREN 1 STLEI F V VIE AMFE)

♦ GERALD LEVERT

EC) ED) EASTWEST 98244

* * * Greatest Gainer/Sales * * *

1 NEVER SEEN A MAN CRY (AKA 1 SEEN A MAN DIE) ♦ SCARFACE

• JOROAN.M DEAN IB XOROAN.) JOHNSON.M DCAN) ICl RAP A IOT 3HAG ) YlOO IBYBC

IF YOU LOVE ME

D.HALL IG CHAMBERS.N GILBERT C HALL.K MADISON. E SERMON)

BROWNSTONE

IOMJJ 77732/EPIC

OLD SCHOOL LOVIN' ♦ CHANTE MOORE

L STEWABF.K HARRELL IC MOORE.P L STEWART T HARRFI l G STEWART S! STEWART tCt SILAS SA92SVUCA

WHEN YOU NEED ME

V BENFORD ~ HAI . Y BENEORD.R SPEARIAANl

♦ AARON HALL

EC) SILAS 54902AVECA

—

FOOLIN' AROUND CHANGING FACES

R KELLY |R KEllYl (C) SPOILED ROTTEMJIG BEAT 98207,'ATLANTIC

WHEN A MAN CRIES

.. BARNES, K BARNES : ! I

♦ TONY TERRY

EC) (T) VIRGIN 38450

TURN IT UP ♦ RAJA-NEE

-!,■ T LEWIS (J HARPIST ILWIS.RAJA-NE L ,H isl I T M I . r i I ;i l Y 1 ,1 = < <C) (Tl PERSPECTIVE 7A7?

BREAKDOWN ♦ FU-SCHNICKENS

R KIRKPATRICK IR ROACHFOHD.L MATURINE.R KIRKPATRICK.L ' ROUT MAN ROSER TROUTMANI (O IT) IX) JIVE 42244

WHERE DID WE GO WRONG

D SIMMONS 10 ALLEN)

♦ BLACKGIRL

WHY NOT TAKE ALL OF ME

CATO CCAIO)

♦ CASSERINE FEATURING CATO

WHEN CAN 1 SEE YOU •

BABYFACE.L A REID.D SIMMONS IBABYTACEI

♦ BABYFACE

ICE ID) (M) ET) EV) EX) EPIC 77550

DO YOU WANNA GET FUNKY

R al.TllES E SOLE (R CUVTLLES r COLE E RAMOS

♦ C+C MUSIC FACTORY

YOUR LOVE IS A...

K WHITEHEAD IK. WHITEHEAD, E JOHNSON UH DRE.SNOOPl

♦ WIIITri'fAD RR0S

TAKE IT EASY

KRS ONEIMAO LION

♦ MAD LION

ICl (M) (Tl WEFDFD ?01?fi.NERvOUS

THROUGH THE RAIN

K. JACKSON, E WHIIE P LAURENCE iK JACKSON. E WHITE ,B WILLIAMS)

♦ TANYA BLOUNT

ALL THIS LOVE

T RILEY (EL DEBARGEl

♦ PATTI LABELLE

ICl IF) MCA 54925

1 1

1 DON'T WANT TO KNOW

BABYFACE (BABYFACEI

♦ GLADYS KNIGHT

NEW|>

ALWAYS AND FOREVER

,v AFANAS FFF VAN! -:F.S( Tl h.':TR-(S

♦ LUTHER VANDROSS

ICl 401 IMI IV 7773EVEPK

WHERE IS MY LOVE? ♦ EL OEBARGE FEATURING BABYFACE

BABYFACE (El OEBARGE BARYI ACT I (Cj 10) (VI REPRISE TBI40

THIS
WEEK

2 WKS
AGO

WKS. ON
CHART |

TITLE ARTIST

PRODUCER ESONGWRIFERI LABEl A NUMBER, 1 DISTRIBUTING LAEEl

TASTE YOUR LOVE ♦ HORACE BROWN

D.HAEE [H. BROWN. BUFTN AXED TIM DAWG.D.HALL) ICl (M) (Il UPTOWN 546/2'MCA

HUNGAH ♦KARYN WHITE

J JAE.I, T.LEWIS IK. WEKTE.J.HARRIS.T. LEWIS) ICHD) FT) (V) ' WARNTft BROS. 1BI21

BRING THE PAIN ♦ METHOD MAN

PSlNSfRAKcEM V DIGGS) L: ■ ■ t." : l ■ : ■ 1 - XL 1 HAi -■■) 'K.S.'ISLAND

HIT BY LOVE ♦ CE CE PENISTON

SI.y.ilSHULX .RAfiL'N IS NlhOlA El JulH SOlllSHOCK.KARLIN.CUTFATHERI (C) ■ ASM ... ...

CHOCOLATE ♦ Y7N-VEE

O.RASHEEO (N.WALKER. M GAM MAGE R JAMES) Id iMl :T|. PMP'RAL B5T 5S2.TSLANO

9TH WONDER (SLICKER THIS YEAR) ♦ DIGABLE PLANETS

DIGABIF PI ANETS (E.IGABLE PLANnsi (C)ITI ' PENDULUM 0*91 ' '•'

HONEY ♦ ARETHA FRANKLIN

LA RElD. BABYFACE. D.SIMMONS I BABYFACE! (C) ID) ARISTA 1 2743

ENDLESS LOVE • LUTHER VANDROSS & MARIAH CAREY

W AEANASIEFF (L.RICHIE) S ( 1.' > (XI COLUMBIA 77629

IF ANYTHING EVER HAPPENED TO YOU ♦ BEBE 8. CECE WINANS

A MARFAN 1 1 1 F I EL.'-T AT». A RICH XI CAPITOL 5)1241

PLAYAZCLUB ♦ RAPPIN' 4-TAY

FRANKY IX ESIABAN (A FORTE) Id (Tl iXi CHRYSALIS 5B267XMI

NEW ►

BIOLOGICAL DIDN'T BOTHER ♦SHAQUILLE O'NEAI

LG lORIDER ISO'NEAL.P KARVEY.T PRENDATTI (C) RVE 42267

* * * Greatest Gainer/Airplay * * *

FORGET 1 WAS A J G' ♦ WHITEHEAD BROS.
.. /,h >-y;. k .vm!, -■-'.[: < i ■ ■'• (C) (Tl (X) MOTOWN 22 7 1

NE\

ROCKAFELLA REDMAN

■■1 ■|M,\t. iR HI ! :, r L M(il. U t\OW:LV- LL_[I'J:.,L l-AVV." lUJ ICl IMl IT) RAL 853 'Jdi H-l-VO

GIT UP, GIT OUT ♦ OUTKAST

OR&ANUED Nazi iJ, NATION * ytN,*Mi\.T UUHIC-N . liiPk-OWMMiED NOIZEKCI(M) (TJ(X1 LAF ACE 2-40SS/MISTA

E®

NEW ►

THE SWEETEST DAYS ♦ VANESSA WILLIAMS

- Timj|,'J.5 ;w ,Vf\LCMAN J LINC'.H GALDGT3f.Ji L C> l[il (VJ 1 1 1 WING 851 t 1 ' l'Mff)CUftT(

TASTY LO-KEY?

L. ALEXANDER ' ALEKANDER.T.TOLBWT WWK3HII (CI PERSPECTIVE 7476

THIS LOVE IS FOREVER ♦ HOWARD HEWETT

M.S£WARO,llHE\VETT (C COWAN.N KANIED (C) CALIBER 2008

TIC TOC ♦ LORDS OF THE UNDERGROUND

M MARL 10 *.(l l V V.A"I.^U>. ','A"'iry V-\Hi ■ ICl fMI (Tl PtNDULUW 1 -

PARTY ♦ DIS-N-DAT

[/naUOV,] MJSII.: CHiUif'l.l •: . ... \ \ HRVAM - V< C.\rJ.t ,■: ' -I IMI :T;. EPIC STREET 77j1CC*,'EPIC

LETITGO ♦ PRINCE

WINCE 1 PRINCE) K"; III) ifi '.Vj iXl WARNER BROS. IK7J

ROMANTIC CALL ♦ PATRA FEATURING YO-YO

HOWIE TEE IH.TEE.D 3MI Th-.Y WHI1AKERI (CI IMI (Tl EMC 77624

NEW ►

SPACE PRINCE

PRINCE IPRINCE) ICl :0)<Ti>:v;i (XI iVARNER BROi

BACK SEAT (WIT NO SHEETS) H TOWN

B BURRELL isl : (-. . ini ■ :-,HA,*AM,[; ICl (Ml (Tl LUKE 181

WHAT MAKES A MAN (WANNA CHEAT ON HIS WOMAN) ♦ iVR VIN Rll EY

M.RILET (M RILEY) (CI :T'MCA54792

(74;

NEW ►

1 MISS YOU ♦ N II U

V HERBERT (V HERBERT, C HOWARD) (C)lDIARISTA ]?76B

ACTION ♦ TERROR FABULOUS FEATURING NADINE SUTHERLAND

D KELLY ID KELLYI (C) lOl (Ml (T) EASTWEST 98260

GROOVE OF LOVE ♦ EBONY VIBE EVERLASTING (E V E.)

L STEWART K,H*R»ELL (P L STEWART.! HARRELL 1 X i I: GASOLINE ALLEY 549 ; 2,.T.1C*

THINKING ABOUT YOU FELICIA ADAMS

Ei WHITTISGTOMf I W'HTTINGTONj : I t.'-jf JvV't ^ tt

STRAP ON THE SIDE ♦.[lit ]

BLACKJACK II -ilMMO'l:-. c WILSON fl. Wit SON) lCI(T) JIVE 42222

THIS DJ. • ♦ WARREN G

WARREN Ciw t.RIF*IN) ICl IMl tn IX) VIOLA TOR *A| 853 236 BLANC

WITHOUT A DOUBT ♦ BLACK SHttP

BLACK SHEEP (BLACK SHEEC A'ELROD. ISLEY, 1 SiLEY, ISLEY, ISLEY .ISLEY JASPER; ICl lT! I MERCUR. ., ] •

WHERE DID THE LOVE GO (SAY WHAT, SAY WHAT. SAY WHAT?) SABELLE

SAL AH 'nAI.AH.'-nVHf I Lfc> M i ' : IX . TOMMY BOY 640*

TURN DOWN THE LIGHTS ♦ SHANICE

11D MLAH1HUH lb Wi\l-iJN,yCAKlMU«) ICl MOTUVl'* Z^LL.

EVERYTHING IS GONNA BE ALRIGHT ♦ SOUNDS OF BLACKNESS

.'■'.1 T .FWIS '.J HAPfi i 1 I nv i fJ Li>i.; ■i.'.h.V;..! i-.bAv D.I 1 CUT) PERSPECTIVE 74W

KISS AND SAY GOODBYE ♦ N-PHASE

J JEFFERSON iw lurt.1T/ in (D) VAvf Rn;v.;iRE ] H>,4 1 ■RF-'ftisF

BACK UP OFF ME! ♦ DOCTOR DRE & ED LOVER

DOCTOR ORE. ED LOVER, f MONEY, D*V'l O (ED LOVER T-MONEY' _ HM.Anvir* I; -

ERROR OF OUR WAYS THE TEMPTATIONS

D NELSON (0. WILLIAMS , M .FRA N KLIN . D . NELSON I ICl MOTOWN 226'J

NONE OF YOUR BUSINESS ♦ SALT-N-PEPA

5 A7CWIH AJOR,& AiOR.M O-LIVERI' (C) (D) (M) IT J (XI NEXT PLAII au LL'-JD^f^ 857 .'/e 1 "LATi L'

NEW ►

LOVE SONG MICHAEl WALI LOVE FOUNDATION

J SLAMM R MELNIK i -,i AM\1 k UELNIKI iCl IMI <T; IX) '-.Aiwrw

NEW ►

DREAM AWAY (FROM THE PAGEMASTER1 BABYFACE & LISA STANSFIELD

M.y-ilfK in .VAHVIM (OFOX 10020

WITH OPEN ARMS ♦ RACHELLE FERRELL

G DUKE IR FERRELL. D.ROPINSON) !C' V'ANHAl " AN ^.H^'I.tlCAPrCL

VIBE »ZHANE

NAJGHTY BY NATURE !R NEU r VILLE NAJGHTY BY NATJRE P TEM^ERTON) ICl (T! IXHLLTOW'4 226I:M0TOWN

100

1 CAN'T MAKE YOU LOVE ME NANCY WILSON

A FISCHER -!M REIDA SHAMBLIN) l COLUMBIA

A LIL' SOMETHIN' ♦ A FEW GOOD MEN

C SIEWART.S HALL IC.STEWART.S HALL) ICl (Oi (Mi 1 1) LAFAlJt 2-40 'H ARISTA

SLOW WINE ♦ TONY! TONI! TONE!

TON YiTONI TONE' iD.W-GGINS.THE WHOLE NINLB.ROSS) IC) WING 353 4 7 &' MERCURY

WORD IS BOND ♦ BRAND NUBIAN

IORO J A MAR (DfC'IAI HS.\(IIR" - HY,MriNTYRE,BAI 1 DUNCAN. STI lART ,Ff RRGNF.QORRIF: (MKT) ELEKTRA 66)91*

BOP GUN (ONE NATION) ♦ ICE CUBE FEATURING GEORGE CLINTON

QJUIJCE CUBE (ICE OJBE.Q D Ifl.Ci CLINTON JR G SHIDER.W MORRISON) ICJ (M) (T) (Xj PRIORITY 53155

MAKE IT RIGHT LISA STANSFIELD

B LAWPFSCE I 'if i'ANE Y R KFllY IR iA.VRENCE C fiFRNARD.S BENSON i (C) tHANT 18065

I'VE HAD ENOUGH ♦ CINDY MIZELLE

G.CHARLEY wr^TGN . i-A-VLEii ICl ID) EASTWEST 98257

ONE TOUCH ♦ PHIL PERRY

B i FASTMOtiD IJ r-iKINNFR.B . EA.VTMW.E): <C) GRPjVCA J054

100 | 84

BLACK SUPERMAN ♦ ABOVE THE LAW

COLD 187UM(i:OirJ lit? UM .KM G,K OSS. i RUSSELL) (C) (Tl RUTHLES5 55l£VRELATTVITY

C~) Records with (he greatest airplay and sales gams this week. ♦V deocip availability. • Recording Industry Assn. Of America (RlAA) certification lor sales ot 500.000 units. A R1AA cerlilication tor sales of 1 million units, with additional million indicated by a numeral following

the symbol. Catalog number is for cassette single. 'Asterisk indicates catalog number is lor cassette maxi-single; regular cassette single unavailable. iC) Cassette single availability. ID) CD single availability. (Ml Cassette maxi-singte availability, (Tl Vinyl maxi-single availability

(V) Vinyl single availability. IX) CD inaK'-yngli- iiVl|TjL;iI ly ■■■ \ '?■>■', t'i.il:.:.i- : IM'I Coinntunic ation^

BILLBOARD NOVEMBER 19, 1994

lit i 1 Cf - L i "I Cf

err

S£f(Sum> >r Mumc REmmn cow

R&B

Billboard*

FOR WEEK ENDING NOVEMBER 19, 1994

ARTISTS

U S I C

VETERAN DIVAS FIND NEW AUDIENCES BY BRIDGING GENERATION GAP

(Continued from page 27)

on different album cuts, and we're
confident that the early response on
the second single, 'All This Love,'
will help take the album to gold sta-
tus."

Batchelor contends that accept-
ance of LaBelle among younger con-
sumers is the result of her high me-
dia profile. "Patti's seen as hip . . .
and being on (the TV sitcom] 'Out
All Night' has definitely helped her
visibility with young audiences. She
includes music by Gerald Levert,
Boyz II Men, and Babyface in her
live show, and she's really an artist
who moves with the times."

While Franklin and LaBelle have
toured this year. Knight's market-
ing strategy has focused mainly on
television to maintain public aware-
ness. She is featured in an advertis-

ing campaign for "Aunt Jemima"
products. The artist also has a recur-
rent role as a nightclub owner on the
Fox police drama "New York Un-
dercover." In October, she per-
formed her current single on the
show.

Batchelor says Knight's new al-
bum, which was released in Sep-
tember and is her first new work in
2Vi years, has benefited from the art-
ist's media exposure. "We've been
getting good response, especially in
her key markets, which include the
San Francisco Bay area, Atlanta,
Detroit, and Las Vegas."

A cross-promotion between MCA
and American Greeting Cards at
rack accounts like Kmart and Wal-
Mart has added to Knight's visibil-
ity.

While "I Don't Want To Know"
peaked at No. 32 on the Hot R&B
Singles chart, it continues to move
on the R&B/ Adult chart in Airplay
Monitor, rising to No. 11 with 319
detections the week ending Nov. 4.

Batchelor says the album is selling
well in various markets, and notes
particularly favorable response from
radio and retail to the 1 1 -minute med-
ley featuring "If You Don't Know Me
By Now," "Love Don't Love No-
body," and a cover of the Boyz II Men
hit "End Of The Road."

The label is preparing to issue a
promo-only edit of Knight's "End Of
The Road" cover. A video of the song
featuring Knight and the group has
been completed. Plans are under way
for the artist to tour, but no dates
have been announced.

Celebrating 100 Years Of Unparalleled Coverage.

Billboard's lOOth Anniversary Issue

From carnivals and circuses, the rise of vaudeville, and the
invention of the player piano, nickelodeon and jukebox, to the creation of the
phonograph, radio, television and CD player, Billboard's anniversary issue
charts the history of the music industry, as well as Billboard's evolution from
1894 to the present. All the eras of music will be examined and celebrated, from
early jazz, to the rise of rock and roll, to rap and world music, and every
sub-genre in between inside our 200 + page centennial edition.

The most absorbing social history of entertainment ever put between two
covers, it is a collector's item and truly a once-in-a-century event.

Make sure you have issues for everyone in your organization! *

You may order single issues @ $15 each or take advantage of our
SPECIAL DISCOUNT BULK OFFER :
• ORDER 5 OR MORE ISSUES © $7 EACH •
• HARD-BOUND ISSUES @ $50 EACH •
• LIMITED PRINT RUN • RESERVE YOUR ISSUES NOW! •
• ISSUE DATE: NOVEMBER 1, 1994 •

BILLBOARD 100TH ANNIVERSARY ISSUE COUPON

(Pre-payment required - U.S. funds only) Send payment to:

Adam Waidman, Billboard, 1515 Broadway, 14th fl., New York, NY 10036

Enclosed is $ for # of issues. Phone ( )

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Charge to: American Express Visa Mastercard

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Issue date is November 1, 1994. Please allow 3-5 weeks for delivery. (Add an additional $5 per
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'Note: All active Billboard subscribers on our anniversary date c/ll/I/94 will automatically receive one copy of the anniversary issue.

Hot Rap Singles

THIS
WEEK

</> ft!
35

2 WKS
AG J

WKS. ON
CHART

COMPILED ' ROM A NATIONAL SAMPLE Of RETAIL STORE SALES REPORTS
COLLECTED. COMPILED. AND PROYIOED BY SoundScan

TITLE 11 Hill ARTIST

jAfttl A HJMHiR':: "

* * * No. 1 * * *

FLAVA IN VA EAR • ♦ CRAIG MACK

(CHD) (Ml 111 BAD BOT 7-900L/ARISTA I0wc«Ui>!No 1

TOOTSEE ROLL A ♦ 69 BOYZ

THE MOST BEAUTIFULLEST THING IN... ♦ KEITH MURRAY

. 'I.' | . « jive ;.'.'■;■.>

THUGGISH RUGGISH BONE ♦ BONE THUGS N HARMONY

: it. RLii.;r[.'.. - ■ - : ,',- . i -

FA ALL Y'ALL ♦ OA BRAT

i.' t: ii i jr.- hi;- , - - ; ,-. i lvwa

* * * Greatest Gainer* * *

1 NEVER SEEN A MAN CRY ♦ SCARFACE

. ft;.. 1 * I j T .isji", i riuo Ift.flF

JUICY UNBELIEVABLE • ♦ THE NOTORIOUS B I G.

BRING THE PAIN ♦ METHOD MAN

M - 01 i JAM RAI -■.! i ,1 AN

BLACK COFFEE ♦ HEAVY D 4 THE BOYZ

BREAKDOWN ♦ FUSCHNICKENS

I'LL TAKE HER ♦ ILL AL SKRATCH FEAT BRIAN MCKNIGHT

1 ? i

NEW ►

ROCKAFELLA ♦ REDMAN

PLAYAZ CLUB ♦ RAPPIN' 4-TAY

ID (TJ (XI CHRYSALIS SB267iEMI

GIT UP, GIT OUT »OUTKAST

iC) IMI It) Hi iA!~.:i . i- »' i"li.l'

TAKE IT EASY ♦ MAD LION

(C> IMI (II WEEDED 20I26NERVOUS

STRAP ON THE SIDE SPICE 1

. C ■ i T i JIVE 12232

9TH WONDER (SLICKER THIS YEAR) ♦ DISAB.i PLANETS

(Cl (II IA> PENDULUM &B159EU'

BIOLOGICAL DIDN'T BOTHER ♦ SHAQUILLE O'NEAL

(C)(Tl!X)Jl« 42267

NEW ►

LOVE SONG MICHAEL WALL LOVE FOUNDATION
:. .I.- i i f.AL'.io'i .'.:■:■:'!

TIC TOC ♦ LORDS OF THE UNDERGROUND

WITHOUT A DOUBT ♦ BLACK SHEEP

NONE OF YOUR BUSINESS ♦ SALT N PEPA

CJ2)

BACK UP OFF ME ♦ DOCTOR DRE 4 ED LOVER

(2$)

PARTY ♦ DISNDAT

(MI [TJ EPIC STREET 77*0O*itPIC

BLOWIN' UP (DON'T STOP THE MUSIC) ♦ QUO

(.. IV: :T)M i IPIC STREET 7757LEPIC

foe)

MUCH LOVE BOSSMAN AND THE BLAKJAK
'.i ii..;-. : i .-. ,ir.

THIS D.J. • ♦ WARREN G

(:■ iw: ii, ix . LiiA'iift.ftAi .'.i . -i r-,i iNii

THINGS IN THA HOOD ♦ DFC

r iM: id ASSAUlTiBtG BEAT 9B231/ATLANTIC

ACTION ♦ TERROR FABULOUS FEAT NADINE SUTHERLAND

NEW ►

KITTY-KITTY ♦ 69 BOYZ

(CXMI IT) (XI RIP-IT 6921

ONE LOVE ♦ NAS

(Ml 11) (X) COLUMBIA 7 7673*

BOP GUN (ONE NATION)* ICE CUBE FEAT. GEORGE CLINTON

BLACK SUPERMAN ♦ ABOVE THE LAW

if id RuiHtrj^ wimiiii . i.

LUCAS WITH THE LID OFF ♦ LUCAS

HIP HOP RIDE ♦ DA YOUNGSTA'S

; il, .: IA.1WF .1 WTO

RE-ENTRY

PIMP OF THE YEAR ♦ DRU DOWN

HEAVEN & HELL RAEKWON FEAT. GHOST FACE KILLER

BUCK EM DOWN ♦ BLACK MOON

1.' ' ■ .VII K .'i ,'IvM RVIIHS

AFRO PUFFS ♦ THE LADY OF RAGE

tC) (M) IT) (X) DEATH HOW 'IMEHSCOPE 'J8233AG

ROMANTIC CALL ♦ PATRA FEATURING YO YO

WORD IS BOND ♦ BRAND NUBIAN

(Ml (T) ELEXTRA 66191 ■

FUNKY Y-2-C ♦ THE PUPPIES

(C! IMI :•: ;> il.-. . '.':' ■'.

NUTTIN- BUT LOVE ♦ HEAVY D 4 THE BOYZ

: il,' ' i i'-. i.v, ! , Ml i

1 GOT A LOVE ♦ PETE ROCK 4 CL. SMOOTH

I ) IW ID IKK1RA hj',; 1

1 USED TO LOVE H E R. ♦ COMMON SENSE

GUERRILLA FUNK ♦ PARIS

FUNKDAFIEO A ♦ DA BRAT

RETURN OF THE HIP HOP FREAKS ♦ NICE 4 SMOOTH

M ■ Mi- ft'.- '.-ft' .LAN;-.

NO GUNS, NO MURDER » RAYVON

FANTASTIC VOYAGE A ♦ COOLIO

(CI (Ml IT} [X] TOMMY BOY 7617

( *) Records wrth the greatest sales gains Hits week. ♦ VideoctiD availability- • Recording Industry Assoc .ai or,
at America (RIAA) certification lor sales of 500.000 unite. A RIAA certification for sales of 1 million units. Catalog
no. is lor cassette single. * Asterisk indicates catalog number is for cassette maxi-singte; cassette single unavailable.
(C) Cassette single availability. (D) CO single availability. (M) Cassette ma-i single availability. (T) Vinyl maxl-smgle
availability. (X) CO maxi-single availability. © 1994, Billooard/BPI Communications, and SoundScan, Inc.

BILLBOARD NOVEMBER 19. 1994

Dance

ARTISTS & MUSIC

M People's 3rd deConstruction Set To Bear 'Fruit'

rRUITY FOLKS: Afl M People mas-
termind Mike Pickering awaits the
Nov. 14 European release of his band's
thinl deConstruction effort. "Bizarre
Fruit," he takes a moment to stretch
hack and smile at the memories of a
year overflowing with breakthroughs
and victories for the band.

It all began at the top of 1904 with
"Klegant Slumming," an album that
railed against the creative parameters
of dance music with its equally meas-
ured blend of English house and Philly
soul rhythms. Crafty concoctions like
"Moving On Up" and "One Night In
Heaven" were not cast in the standard
mold of long and loose anthems that
casually amble from one idea to the
next in the space of seven-or-so min-
utes. Instead, these tracks were richly
layered, bite-sized treats that were
streetwise, but also accessible to the
tight confines of three-to- four-minute
radio slots. To ears dulled by too many
sprawling, one-dimensional records,
this album's concise and tuneful de-
meanor sounded downright revolution-
ary.

"Dance music is part of the main-
stream in the K.K., and I think that re-
moves some of the pressure and stigma
from the whole process of making
dance music records." says Pickering.
"We have never been contrived or cal-
culated in the way we approach music.
Our only conscious decision is to work
hard enough to hear growth in our
songs. That's what makes the success
all the sweeter and more rewarding."

Among those rewards are a string of
multiformal hits around much of the
world; an extensive, sold-out Eurepean
concert tour that touted a sizzling 10-
piece lineup; and a long-deserved con-
nection with a r.S. major label. Since
the start of its pact With Epic Records
last spring, M People has ruled Bill-
board's Club Play chart, cracking the
top half of the Hot 100 with "Moving
On Up."

M People's rale as a club community

Billboard.

HOT

FOR WEEK ENDING NOV. 19. 1994

CtUB PLAY

1. LAV DOWN YOUR PAIN IONI CHILDS

ccrrcN

2. JAM BALA MSM (MIAMI SOUND

MACHINE) CXKJNT UOON

3. LUCKY YOU THE LIGHTNING SEEDS

4. AWAY FROM HOME DR. AL8AN lkic

5. FUNKY JUMPY MUSIC THE CHOSEN

FEW MAX,

MAXI SINGLES SAIES

L SCALP OEM SUPER CAT Columbia

2. WHEN WE DANCE STING MM

3. FREE MY LOVE INTONATION
FEATURING KRISSY MtTRorauMN

4. NIKA VICIOUS tttcsTRfET

5. BEHIND BARS SUCK RICK ou jam

Breakouts Titles with future chart potential,
based on club play or sates reported this week.

ambassador to the pop mainstream
was solidified last month when "Ele-
gant Slumming" won the British Pho-
nographic Industry's coveted Mercury
Prize for album of the year, an honor
heretofore bestowed upon rock bands.
"It shook a lot of people up in the pi-ess

that a dance band won the award— the

vitriol was brilliant," Pickering says
with a piideful laugh. "Not everyone
wants to face the truth that more peo-

by Larry Flick

pie here go to clubs than to rock gigs."

After such a sterling year, the pres-
sure 1 to reach higher artist ic and com-
mercial plateaus could paralyze the
most confident mind. In assembling
"Bizarre Fruit." Pickering and part-
ners Paul Heard and Heather Small
bypassed such mental drama by diving
into an intensive, four-month marathon
of wiiting and recording that allowed
little time to acknowledge outside
voices or opinions.

"We didn't agonize over what we
were going to do," he says. "We just
got mi with making music, hi the end,
I think we got a fresher sound by doing
it that way."

He's right. Although "Bizarre Fruit"
follow s a familiar stylistic thread, it ac-
tually surpasses its predecessor in
quality. "Sight For Sore Eyes" kicks
off the set with a rubbery, house-
rooted hassline, coated with a rolling
piano line that is spiced with a tangy
salsa twist. The usually haughty and
controlled Small anchors the cut with
a performance that pleasantly sur-
prises with its playful tone. In fact.
Small's relaxed maturity and bmadly
developed |)alette of vocal colors gives
"Bizarre Fruit" much of its overall
bite — whether she is slinking over the
raw funk ground of "Piwious Pearl" or
waxing philosophical on the wistful fu-
ture smash "Search For The Hero."

"The combination of being on the
road and having a strong vocal coach
has extended Heather's range, and
made her a confident interpretive
singer," Pickering says.

With their creative pieces in place,
M People are currently propping for
another year on the road. A tour of the
I'.K. and Europe begins Dec. 10, and
primarily will bring the act into 10.000-
cajKicity venues — except for the occa-
sional multi-night stint at a favorite old
club. "Bizarre Fruit" is not planned for
stateside release until March, but Pick-
ering is already eyeing the [xxssibility
of a U.S. jaunt in the spiing.

The likelihood of the band having
similar success here seems solid. Epic
is now plotting a radio plan for "Ex-
cited," the third U.S. single from "Ele-
gant Slumming." After that, we hear
that the label will join the workiwide
band w agon for "Open Up Your Heart,"

the second single from "Bizarre Finit."
In the meantime, import hounds can

delight in the Hed Hoys' [xist-produc-
tion, as well as an upcoming, promo-
only E-Smoove remixes of "Sight For
Sore Eyes." Sounds like the start of an-
other banner year.

'The most anportant thing for us is
to make sure that nobody gets left be-
hind," Pickering says. "We haven't
changed our ideals. We're just a bunch
of clubbers who make music we love."

SwiNGIN" SINGLES: "Little"
Louie Vega does an excellent job of re-
casting Groove Collective's funky
acid-jazz throwdown "Whatugot" into a
viable house mover without losing the
seductive, jazzy feel of the original re-
cording. In fact, he wisely pulls out a
few retro ideas of his own, transform-
ing the track into a direct descendent
of the disco-era musings of Patrick Ju-
vet and the Sulsoul Orchestra. A less
confident producer might have been
daunted by the array of live instru-
ments found in the original arrange-
ment, but Vega has clearly examined
each sound and found a comfortable
home for it in his musical format A
sparkling gem, available on Giant
Steps/Reprise,

Former Electribe 101 chanteuse
Billie Ray Martin christens her new
solo deal with the WEA-distributed
Magnet Records by issuing "Your Lov-
ing Anns," a spirited foray into trance-
carpeted hi-NRG territory. Her dis-
tinctively creamy voice has seldom
sountled so strong and worldly, giving
the song's romantic prose a decidedly
dark and anxious edge. Martin's origi-
nal production with the Grid hits been
tweaked nicely by Junior Vascjuez and
Diss-Cuss. and could open club doors
on iMith sides of the Atlantic. Can't wait
for an entire album.

lUGGETS: New York's ever-active
Strictly Rhythm Records will soon take
a momentary swim away from its
house base into calmer musical waters
with "The Deep & Slow: A Collection
Of 12 Chill-Out Tracks." Not merely
another ambient album, this set ex-
plores a variety of downtempO vibes,
ranging from acid-jazz to quasi-new
age/electro-pop styles. The project will
be launched with a fine Josh Wink
composition, "Higher State Of Con-
sciousness," which will U' available on
a 12-inch pressing. Other notahle cuts
on the album include "The Deep &
Slow" by Ray Castoldi and "Sunchild"
by David Alvarado. Bari G., VP of
promotion at Strictly Rhythm, says
this set and Wink's single will also
mark the label's maiden voyage into
adult contemiHtrary and progressive-
jazz radio formats . . . The folks at
Chaos Recordings have smart ly chosen
to give Youssou N'Dour's next single,
"Undecided," a dubby vil>e by enlisting
world-beat twirlers Deep Forest to
l»ost -produce the already jwtent jam.
Look for it at the end of this month.
Chaos is also propping for the January
release of "You," the second single
from Euro-dance act Staxx Of Joy. We
are pleased to note that Carol Learn-
ing is the diva in residence. If that is
not enough, look for "SanoNviches," a
silly but cute debut jam by hip-hop
newcomer Count Bass D. It sews

A Notorious Release. New York-
based indie Notorious Records hosted
a bash at Club USA to celebrate the
success of its first single, "Release
Me." by Industry In its initial weeks of
circulation, the track has attained
breakout status on Billboard's Club
Play chart and is a mainstream
dancefloor smash in the U.K. Between
gigs at clubs around the U.S., the act
is preparing its second release.
Pictured, from left, are Industry group
members Julissa. Christopher
Joannou. and Tosh

spine-crawling guitar riffs over a
groove that is drenched with acid-jazz
juices . . . The push behind Deee-Lile's
"Dewd r ope In The Garden* 1 continues
with "Call Me," a fun li'l single that
benefits from a slew of remixes by Ral-
phi Rosario, Rob Sherwood, Haui,
Method One. and D.I Icee that dabble
in a variety of trend-conscious sounds
and moods. We would still love to see

Elektra take the downtempo, wickedly
contagious "Say Ahhh!" to top 10 . . .
Retro-heads will be pleased to learn
that Canadian disco act Lime has
dipped into its catalog of disco cuties
and reconstructed the hit "Your Love"
for the house generation. The track
marks Lime's resuirection under the
name Step By Step for the Rutherford,
N.J. -based BGM America Records . . .
The MootmHif-distributed After Dark
Records continues to mine club ground
l>eyond its initial freestyle turf with a
pair of notable house-driven singles.
Producer Peter Presla comes on with
a tribal vibe with "Nokimhoda Dance."
which kicks requisite African chants
with rambling percussion and an elas-
tic hassline. It's familiar but festive.
The same can be said for "Cheba
Chant" by X-Files, the brainchild of
Clayton Counsil and Andre Bagley.
This fairly simple exercise in crowd
arousal gets its grit from urgent bass
percussion interplay that is reminis-
cent of the classic 70s funk of Kool &
the (Jang and Brass Construction . . .
In the Nov. 5 edition of "Dance Trax."
the name of the grand prize winner of

island Records' "The Adventures of

Piiscilla, Queen Of The Desert" con-
test was incorrect. The lovely drag
queen's name is Chicklet.

TaKE A BOW: Congrats to the win-
ners in the dance music categories at
Billlioard's Music Video Awards, which
were handed out recently in Los
Angeles. Janel Jackson's "if." di-
rected by Dominic Sena, was cited as
best clip, while CS1 took best new art-
ist clip for "Cantaloup," which was di-
rected by Charles Witlenmeier.

your asia music partner

labels, master deals and publishing
enslng arrangements

compact discs, records and tapes

VALENTINE MUSIC CENTRE
VALENTINE MUSIC PRODUCTIONS PTE LTD

»01-29f3Q'3t<32 Paradfc Centre. Singapore 0718
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BILLBOARD NOVEMBER 19. 1994

Country

Labels Up The Ante On Xmas Sets

Promos Include Videos, Radio Specials, Tours

Mac Attracts. MCA Records' Mac McAnally. second from left, accepts
congratulations following his showcase at Nashville's Bluebird Cafe. Shown with
him. from left, are Ronnie Brown, associate manager of A&R for MCA/Nashville;
T.K. Kimbrell. McAnally's manager; and Tony Brown, president of MCA/Nashville.

■ BY EDWARD MORRIS

NASHVILLE— The major countiy la-
bels are promoting their new Christ-
mas albums with a variety of efforts
that range from simple music videos to
full-fledged radio tours.

This year, there IK relatively few
new holiday titles. They include John
Anderson's "Christmas Time" (BNA),
Sammy Kershaw's "Christmas Time's
A Comin'" (Mercury), Trisha Year-
wood's "The Sweetest Gift" (MCA),
and the various-artist compilations
"Giant Country Christmas, Vol. 1" (Gi-
ant) and "A Tejano Country Christ-
mas" (Arista Texas).

What's Next, A Tribute To Tributes?

Expect The Fanciful As Onslaught Continues

He RE'S TO . . . : Those who are supposed to know
such things assert that the torrent of country tribute
albums will recede to a trickle in 1995. Well, that's not
what we hear. Our aggressively informal survey of Mu-
sic Row studios, saloons, and four-wheel drive vehicles
with clean tires suggests that there are going to be
more such albums — not fewer — in the months soon to
come. Of course, most of these projects are still in the
talking stage, and we can't vouch for their solidity.

In the wake of "Skynyrd Frynds," we're told you can
expect "[James] Taylor's Troubadours," "|.Iohnl
Denver's Disciples," and "[Engelbert) Hum|K'rdinck*s
Hordes." Also in the works: "Coe Dependents: A Salute
To David Allan Coe." "Wasn't That A Time? Country
Recalls The Music Of The Energy Crisis Years." "Pur-
ple Rinse: The Ladies Of The Grand Ole Opry Sing
Prince (Or Whatever The Hell That Little Feller ('alls
Hisself)," and the long-ru-
mored "Larry Gatlin Cel-
ebrates Himself." Now,
what have you heard?

Making the

Hounds: Nashville broke
its previous fund-raising
efforts this year for the
T.J. Martelf Foundation,
bringing in more than
$310,000 to date. Liberty
Records chief Jimmy
Bowen served as fund-

Nashville

Scene

raising chairman for the 1994 campaign, and Paulo Ja-
nkowski was Nashville events chairman ... Mark
Chesnutt has scored his first platinum record with "Al-
most Goodbye" on MCA Records. Chesnutt now rec-
ords for MCA's Decca label ... On a recent visit to
check out the new facilities at Ruddy Killen's Stock-
yard Restaurant & Bullpen Lounge, we were overjoyed
to again hear the silvery voice of Vicki Brower. who
is now a house regular. Brower was a longtime backup
singer for Mickey Gilley, and— as Vicki Rae Von—
had an album out in 1987 on the old Atlantic America
label. She charted twice that year, with "Not Tonight
I've Got A Heartache" and "Torn Up." Her husband,
Stuart Brower. has been touring as a drummer in
Jo-el Sonnier's band . . . Laura Flager, formerly ad-
ministrative assistant at Pro Tours, is the new radio
promotion coordinator for Decca Records . . . "Flowers
On The Wall," the Lew DeWitt composition that won
the Statler Brothers national prominence in 1965, is
on the "Pulp Fiction" soundtrack. The song was a No.
2 country and No. 4 pop hit. and went on to win a
Grammy. DeWitt, who sang tenor for the Statlers. left
the group in 19H2 and died in 1990 . . . Amy Grant and
Vince Gill have a song, "House Of Love." in the upcom-

ing Michael Keaton/Geena Davis movie "Speechless"
. . . Barbara Mandrel I played a "sinister psychiatrist"
on a recent episode of ABC-TVs "The Commish."

Nancy Cardwell is the new special -projects coordi-
nator for the International Bluegrass Music Assn. in
Owensboro, Ky. She steps into the post vacated by Jon
Hartley Fox, who has started a management agency
for bluegrass acts. The 1BMA is now offering tapes of
the seminars presented at its World Of Bluegrass trade
show and convention in September. The tape titles are
"The Information Superhighway." "Making The Most
Of Showcasing," "The Art Of Negotiating," "Knowing
The Bluegrass Mind," "The Bluegrass Performer And
Television," "The Business Of Songwriting: Copy-
rights, Publishing, And Licensing," "Success Stories:
Kids And Bluegrass," "Starting A Successful Concert
Series," and "Alternative Bookings: Beyond The
Usual."

Production has started
on a TV special. "Tootsie's
Orchid Lounge: Where
The Music Began." It
chronicles the famed
downtown-Nashville bar
that once was the favored
hangout of Grand Ole
Opry stars and the song-
writers who vied for their
attention. Willie Nelson
and Jimmy Dean will
host the (SO-minute syndi-
cated show, which is tentatively scheduled to begin air-
ing next June . . . TNN's "Music City Tonight" has been
nominated for a CableACE award in the best music se-
ries category. It will compete with "MTV Unplugged"
and "VH1 Presents." Country songwriter Hugh
Prestwood is in the running for best original song (for
"The Song Remembers When"). Winners will be an-
nounced in January.

MARK YOUR CALENDAR: The Boston Bluegrass
Union hosts "A Bluegrass Summit To Benefit Don Sto-
ver," Nov. 20 at Somerville Theater in Somerville,
Mass. Proceeds will be donated to cover Stover's recent
medical expenses. Stover is a native of West Virginia
who pioneered bluegrass music in and around Boston.
Performing will be Bela Fleck, Tony Trischka, Bill
Keith. Jim Rooney, John Kossbach, Laurie Lewis &
Grant Street. Chesapeake, and the Joe Val All-Stars
. . . Patty Loveless will be the grand marshal in the
Nashville Gas Christmas Parade Dec. 4 . . . Acts that
want to be considered for showcasing at the 1995 Inter-
national Bluegrass Music Assn. convention can submit
credentials and audition material to the IBMA talent
showcase committee through Jan. 15.

by Edward Mortis

"We're viewing ['A Tejano Country
Christmas'] as more than just your
basic Christmas record," says Ca-
meron Randle, VP/GM of Arista Texas.
With its Latin emphasis, Randle notes,
the album provides an alternative to
conventional "Currier & Ives" Christ-
mas songs. In addition, the compilation
serves as a vehicle from which country
stations can reach out to their Spanish-
s|x. i aking listeners (half the tracks are
sung in Spanish). Randle also says that
the album will help to introduce all five
acts on the Arista Texas roster.

The album has spawned one music
video: Freddy Fender's "Blanca Navi-
dad" (White Christmas). The clip was
shot this summer on South Padre Is-
land in Texas and offers a whimsical
tropical take on the winter holiday.

The video has been serviced to CMT,
regional Spanish-language music-video
shows, and the national Unmsion and
Telemundo networks. "Blanca Navi-
dad" has also been included on a reel
with Alan Jackson's Christmas music
video from last year. "I Only Want You
For Christmas," and his new video,
"Holly, Jolly Christmas."

TNN has scheduled three "Music
City Tonight" shows in Deeeml)er to
showcase Arista Texas acts and their
Christmas music. Joel Nava, the only
artist with one of his own compositions
on the album ("Mama's Bov"), will visit

all 34 radio stations that report to
trade magazine Radio Y Musica.

The album has been sent to all re-
letting and non-re|)orting countiy ra-
dio stations and to about 200 Spanish-
language stations. Arista is also plan-
ning a tie-in with Justin Moots for- an
in-store promotion, details of which are
still being worked out.

Mercur/ Records is distributing ra-
dio specials on Kershaw's "Christmas
Time's A Comin' " and Kathy Mattea's
Grammy-winning "Good News" album
from last year. Mattea also will spot-
light the album via her status as CMT's
"Showcase Artist Of The Month" for
December. (Mercury has licensed
"Good News" to Light Records for dis-
tribution in Christian bookstores).

Kershaw has a music video for the ti-
tle cut from his album, featuring an ap-
pearance by renowned Cajun artist
Wayne Toups. Mattea has two music
videos from "Good News": "There's A
New Kid In Town" {first released last
year) and the new "Mary, Did You
Know."

Mercury has sent two-sided shelf
Garde to retailers to spotlight the two
albums.

MCA has released a music video and
single, "It Wasn't His Child," from
Yearwood's album, and will soon re-
lease the single "It Won't Be The Same
(Coiitinmd on ggflg -i?)

BNA 's New Anderson Promo
Geared Toward Truckers

NASHVILLE— BNA Entertainment
is joining with the National Auto/
Truckstops chain in a massive promo-
tion of John Anderson's new "Coun-
try 'Til I Die" album. The arrange-
ment will put cassette versions of the
album in more than 180 locations
across the U.S. and spotlight them
with a variety of in-store, print, and
radio campaigns.

Anchoring the promotion is the
"Country Til I Die Sweepstakes," the
grand prize of which is a lifetime sup-
ply of BNA albums and an all-ex-
penses-paid trip for two to Nashville.

The December/January issue of
"Road King" — a magazine for profes-
sional drivers — will carry a cover
blurb on the promotion, as well as a
four-page, four-color insert about the
sweepstakes. Approximately 250,000
free copies of each issue of the maga-
zine are distributed through truck-
stops nationwide. Signs touting the
"Country Til I Die" promotion will be
featured on the racks holding the
magazine. There will be ads in "Over-
drive" and 'Truckers' News" as well.

Also during December and Jan-
uary, radio ads for the promotion will
run on the Interstate Radio Network
and on trucker programs on clear-
channel stations WBAP Fort Worth,
Texas; WLW Cincinnati; and WWL
New Orleans. Anderson will speak on
the ads. and "Countiy Til I Die" will
he the background music. The spots
will run from Nov. 28-Jan. 1.

Nashville-based Buntin Advertis-

ing has created table tent-cards, poet-
era, gas-pump toppers, and dump
bins with header cards for each loca-
tion. The bins will contain not only the
spotlight album, but also Anderson's
new Christmas al-
bum, "Christmas
Time," and the re-
mainder of his
BNA catalog.
BNA will provide
copies of the al-
bum and Ander-
son's "Country Til
anderson I Die" music video
for in-store play.
BNA says that it will use "four or
five" suppliers, through BMG Distri-
bution, to get the album into the par-
ticipating outlets.

Although truckstops normally
mark up prices for frontline albums
substantially beyond what they sell
for in regular record stores, BNA has
arranged for the Anderson cassette
to sell for $9.98.

In February, Anderson will make a
personal appearance ( but will not per-
form) at a cocktail party during the
National Assn. Of Truck Stop Opera-
tors (NATSO) convention in Nash-
ville. The event is expected to attract
2,500 registrants.

In addition to the grand prize, the
"Country Til I Die Sweepstakes" will
offer 50 first-place prizes of a com-
plete John Anderson BNA album cat-
alog and an autographed photo.

EDWARD morris

BILLBOARD NOVEMBER 19. 1994

d-iil j hit oni inr

Billboard till 1 liUUN

FOR WEEK ENDING NOV. 19. 1994 ■ ■ ■ ■ H

'■llf PIMPI CO COMPILED FROM A NATIONAL SAMPLE OF AIRPLAY SUPPLIED BY
BJP 11 ullllllLCu BROADCAST DATA SYSTEMS RADIO TRACK SERVICE. 115 COUNTRY
W _" JL ^J«r„5f STATIONS ARE ELECTRONICALLY MONITORED 24 HOURS A DAY 7 DAYS
|| ■ JfaTRAnifS A WEEK. SONGS RANKED BY NUMBER OF DETECTIONS

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i-l 5
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PRODUCER rSONGWRITERI LABEL A NUWBER'TJISTRIBUTISG LABEL

* + * NO. 1 * * *

SHUT UP AND KISS ME l mm *t no. l ♦ MARY CHAPIN CARPENTER

J J EN NINGS.M.C. CARPENTER IM.C. CARPENTER J IC1 :v} COLUMBIA 77696

I'LL NEVER FORGIVE MY HEART BROOKS & DUNN

V. i DUNN.C DILLON) sV) ARISTA 1-2779

1 GOT IT HONEST ♦ AARON TIPPIN

S.GIBSON IA.TIPPIN.B.BURCH.M FJOHNSON) [CI (V) RCA 62947

1 SEE IT NOW ♦ TRACY LAWRENCE

J.STROUD IP.NELSON.L BOONE.WLEE) C . ATLANTIC 87199

CALLIN' BATON ROUGE ♦ 1ARTH BROOKS

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J.5TROUD - E-TEO ~L L.H MUPRAM. ^ JAO i 1CI (V) WANT I806S

TEARDROPS ♦ GEORGE DUCAS

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HARD LOVIN' WOMAN ♦ MARK COLLIE

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KICK A LITTLE ♦ LITTLE TEXAS

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WHAT THE COWGIRLS DO ♦ VINCE GILL

T BROWNfVL.'i f- !,ii"i:-FN. . MCA 54879

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THIRD RATE ROMANCE ♦ SAMMY KERSHAW

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YOU AND ONLY YOU ♦ JOHN BERRY

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THE BIG ONE GEORGE STRAIT

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STORM IN THE HEARTLAND ♦ BILLY RAY CYRUS

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IF YOU'VE GOT LOVE JOHN MICHAEL MONTGOMERY

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LITTLE HOUSES ♦ DOUG STONE

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1 SURE CAN SMELL THE RAIN ♦ BLACKHAWK

M BPIGMT.T DUBOIS . . ARP-~r W »LD»l[XiE: v ARtSTA 1-2718

WHAT THEY'RE TALKING ABOUT ♦ RHETT AKINS

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II IK V RflV IIIMKIT * ■ ■ ' 1-- DNQ

J CUPTT IJ.CUP1T.J HONETCUTT.K.MELLONSl ICHVI EPIC 77579

HEART TROUBLE MARTINA UCBRIDE

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WE CAN'T LOVE LIKE THIS ANYMORE ALABAMA

G FlrNDIS. ALABAMA 1 1 IAS P.'.ro M06LEY) IC) (V) RCA 62897

SHE DREAMS ♦ MARK CHESNUTT

M WRIGHT (G. HARRISON, T. MENS Yl (C) (V) CCCCA 54BB7

THE CITY PUT THE COUNTRY BACK IN ME ♦ NEAL MCCOY

B.BECKETT '.' GfGER .'. '/ U -L 1 S , '.! m JFFMAfi ; :Cl Vj ATLANTIC 67213

NOBODY'S GONNA RAIN ON OUR PARADE ♦ KATHY MATTEA

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S RIPLEY Wfi OKMOND RIPLEY ./* RICHMOND: ■ ARISTA 1-2717

EUGENE YOU GENIUS ♦ BRYAN WHITE

B J WALKER JR K LEHMM", i. WILSON 11 . A.VSONi ICi IV) ASTLUM 64510

UNTANGLIN' MY MIND ♦ CLINT BLACK

J " M.HKCMM ICI (Vi RCA 62933

LONG LEGGED HANNAH (FROM BUTTE, MONTANA) ♦ JESSE HUNTER

B BECKETT B TANKERSLEY ii MUNTERi tVi BNA 62976

WHEN LOVE FINDS YOU ♦ VINCE GILL

T .BROWN (V GILL M.OMAST.ANi (C) (VI MCA 44937

TILL 1 WAS LOVED BY YOU ♦ CHELY WRIGHT

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TAKE ME AS 1 AM ♦ FAITH HILL

S HENDRICKS ■ b \ ■■ f.-':.: K.sTAUY: WARNER 8«0S. ALBUM CUT

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NEW ►

* * * Hot Shot Debut * * *

Ml VIDA LOCA (MY CRAZY LIFE) ♦ PAM TILLIS

P.TILLIS.S.FEHELL IP.T1LUS.J LEAR/1 (V) ARISTA 1-2759

WHEN THE THOUGHT OF YOU CATCHES UP WITH ME ♦ DAVID BALL

BCHANCEY [ BALL ICi :V 1 WARNER BROS. 18081

PICKUP MAN ♦ JOE DIFFIE

J SLA'E.. DIFME iH PERC'EW.x. r. PHILLIP' (C! IVI EPIC 77715

i'SR'i
WPJ

MAYBE SHE'S HUMAN 4 KATHY MATTEA

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NOW 1 KNOW ♦ LAR1 WHITE

G.FUNOISE -ai-.: c. GREEN* B COWI (CUV) RCA 62896

WHEREVER SHE IS ♦ RICKY VAN SHELTON

B CHANCEY P.WORIEY U MOUSE 1 J ARRAflfj.i Ci i v: COLUMBIA 77f 51

***AlRPOWER***

THIS IS ME ♦ RANDY TRAVIS

' LEMMNG :T -jh*f|RO.T MCHUGH.' iCi Vi AARp-.L-i :•>■■: : : -

HAS ANYBODY SEEN AMY ♦ JOHN & AUDREY WIGGINS

, Art . rr.Tr-ip. . vr.-.f^ : .iEr,P-: [CI |V)MERCURV B 58920

HERE 1 AM ♦ PATTY LOVELESS

E.GOROY.H (TARAIAI (C) (V) EPIC 77734

***AlRPOWER***

YOU JUST WATCH ME TANYA TUCKER

J CRUTCHFIElC iR GILES .8 REliAN) LVi LIBERTY 7*053

SUMMER IN DIXIE ♦CONFEDERATE RAILROAD

EJ BtOiin (. ROB&IN.G LE'/INEI . . ""LANTI'I S2 r -'. 1

NEW ►

THIS TIME ♦ SAWYER BROWN

V MILLER. M MCANALLY (M M'LLER IV MCAI.ALL*: :Ci CURB 76930

THArS WHAT 1 GET (FOR LOSIN' YOU) HAL KETCHUM

A Rl i N -LEi Pl-jM • A H',:tl'__'. -1 * E" Ll'L M i CURB ALBUM CUT

THE POWER OF LOVE LEE ROY PARNELL

S HENDRICKS - " i . > :. : if-.: if, (C) (VI ARISTA 1-2747

MAN OF MY WORD COLLIN HAYE

J HOBBS.E EEAY "WOflLEY * 5HAMBL N G BURR I L ii EPK 77632

SHE THINKS HIS NAME WAS JOHN ♦ REBA MCENTIRE

1 hhi nv. tvvt ( Mih'i -r. i i--.'\ (CI (VI MCA 54899

NOT A MOMENT TOO SOON ♦ TIM MCGRAW

j STROUD. B GAlLIMORE IW.PERRY.. BAR NHl LL i CURB ALBUM CUT

OLD ENOUGH TO KNOW BETTER ♦ WADE HAYES

D COOK 0 RAiUS iV MAYES l ICI (Vi COLUMBIA 77739

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bntb NUI IHbLHbAIIN KIND ♦ bJKUUKb & UUNN

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NEY

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5 BUCKINGHAM . 0 N 5 ACRE L. WILSON i (CI IV) COLUMBIA 77708

GONE COUNTRY ALAN JACKSON

K STEGALL i.B WJILL ■ ARiSTA ALBUM CUT

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WntN TUU WALft IN 1 ML MUUIVI w rf\M 1 ILLIb

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A uUUU YLAK l"UK 1 ML KUbts • LatUKut JUNto (Si HLAN JMLI^bUIN

B AHERN (J.CHESNUTl )C)<V) MCA 54969

THE RUNNING KIND ♦ RADNEY FOSTER

S HHHtlL H ■ ■'-■HI- IM HAGGARIj:i (V) ARISTA 1-2758

(!)

THERE GOES MY HEART ♦ THE MAVERICKS

D.COOK (H.t/ALO.KOSIAS, (C) CVI MCA 54909

(68:

THE GIRL FROM YESTERDAY EAGLES

lA'.IFSI tMMNtivf, A ..:(■■ (GFREY 1 TEMPCHINI GEFFEN ALBUM CUT

GOIN' THROUGH THE BIG D MARK CHESNU1 1

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SHE SHOULDT/E BEEN MINE ♦ WESTERN FLYER

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TILL YOU LOVE ME ♦ REBA MCENTIRE

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ELVIS AND ANDY ♦ CONFEDERATE RAILROAD

fl BECKETT (C.WISEMAN) (C) I v ! ATLANTIC 87229

WATERMELON CRAWL ♦ TRACY BYRD

J CRUTCMFTELD 18. BROCK Z TURNER I (C) (VI MCA

NEW It

THE FIRST STEP TRACY BYRD

J CRUTCH FIELD 0 CRt! CK V YMQWP50tN) [CI (VI MtCA 54MS

WHO'S THAT MAN ♦ TOBY KEITH

N LARhin.h SMEDO 'l HtUHi .ijhv POLYDOR 853 358

HIGH HOPES AND EMPTY POCKETS ♦ TERRY MCBRIDE & THE RIDE

J LEO Aiicsi i i-T-E.r^ ■', . MCA 54936

NlbHl lb TALLIN IN MY HtAKI UIAMUNU KIU

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1 TRY TO THINK ABOUT ELVIS ♦ PATTY LOVELESS

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GIRL THANG TAMMY WYNETTE (DUET WITH WYNONNA)

B BECKETT 1 K ItlNTON.M lAYflOL'RN.. RODMAN I EPK AlbllM HUT

COUNTRY 'TIL 1 DIE ♦ JOHN ANDERSON

, -I--.;. :. iNivri-ji, t ^sm - r ;n;fs. .-.r.ic ichvj i-.na i".;-^--,

WHEN 1 COME BACK (1 WANNA BE MY DOG) ♦ GREG HOLLAND

M.WRIGHT (C WISEMAN A ANCERiON ICi (Vl WARNER BROS 18033

DOWN ON THE FARM ♦ TIM MCGRAW

J 5Tf- 0 u:i,B GAiilMORE :«. K P K L L i lA!!ETE" ! CURB ALBUM CUT

WHERE THERE'S SMOKE ♦ ARCHER/PARK

R SCRUGGS ( B. P. BARKER . M . COLLI El ICI <V) ATLANTIC 8721 1

XXX'S AND OOO'S (AN AMERICAN GIRL) TRISHA YEARWOOD

n NTl HSTINSON ; -..■-•.lii. v -Er- , (C) (VI MCA 54898

( ) Records showing an increase in detections over the prevwus week, regardless ol chart movement. Airpower awarded to those records
which attain 2500 detections (or the first time. ♦ Videocl.p availability. Catalog number is tor cassette single, or vinyl if cassette is unavailable.
(C) Cassette single availability. (D) CD single availability. (Ml Cassette ma*i-single availability. (T) Vinyl maxi-smgle availability CV) vinyl single
availability. (X) CO maicl-slngte availability, e 1994. BlilboarovBPI Communications.

THIRD ROCK FROM THE SUN ♦ JOE DIFFIE

J.SLATE.J.D1FF1E IJ GREEUEBAUM S WHI^EJ MARTINI (CI IVI EPIC 77577

due

COVER-TO-COVER COUNTRY

JOEL WHITBURN'S

TOP COUNTRY SINGLES
1944-1993

The Complete Chart History of America s Hottest Music Format ... A
Mammoth. Artist-By-Artist Listing of Every Record to Appear on Billboard's Country
Singles Charts from January. 1944 through November. 1993!

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• BILLBOARD CHART DATA

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• Peak Chart Position • Total Weeks Charted

• Chart Oetout Date A Much Morel

• CLOSE-UP PHOTOS OF THE TOP 1 0O ARTISTS

Right With Their Chart Discographtes

• DETAILED BIOGRAPHIES

On Nearly Every Country Artist

• INFORMATIVE TITLE TRIVIA NOTES

For l.OOOs of Titles

• ALL-TIME TOP 400 ARTISTS RANKINGS

• COMPLETE ALPHABETICAL SONG TITLE SECTION

• THE RECORD-HOLDERS SECTION

Artists & Records That Achitrwed the Greatest
All-Trme Success'

• CHRONOLOGICAL LISTING OF ALL *\ HITS

Size: 7" x 9'rV'. Hardcover only Over 575 pages

OVER 2.100 ARTISTS & NEARLY 16.000 TITLES!

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TOP COUNTRY SINGLES

1944-1993 t 60.00

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MnORWnM MhVM S30S2 0200 I
Phone 414 251 5408

Fax 414-25 1-9452 i

BILLBOARD NOVEMBER 19, 1994

Country

Spotlight Shines On Jackson's Songwriting

ARTISTS & MUSIC

■ BY PETER CRONIN

NASHVILLE— With nine No. 1 hits
and countless best-of awards tinder his
big belt buckle. Alan Jackson has be-
come one of an increasing number of
artist/writers — including Dwight Yo-
akam, Vince Gill, Garth Brooks, Mary
Chapin Carpenter, and Clint Black —
who have reached the top of the coun-
try heap. But Jackson is quietly achiev-
ing something that has eluded those
other famous songwriters: More and
more of his songs are becoming hits for

some of his Nashville contemporaries.

As an artist, Jackson couldn't be
stronger, and he currently occupies
three slots on Billboard's Hot Country
Singles & Tracks chart. The title song
from his latest album, "Livin' On
Love," finally drops out of the No. 1
slot after three weeks there; mean-
while, "A Good Year For The Roses,"
his duet with country legend George
Jones (from Jones' "Bradley Bam Ses-
sions" album), is No. 66, and persistent
radio play has pushed "Gone Country,"
a much-talked-about cut from his latest

Murphey Debuts On lonesome Dove'

NASHVILLE — Michael Martin
Murphey will debut on the syndi-
cated television show "Lonesome
Dove: The Series" the week of Nov.
20 in the rale of a singing cowboy.

Murphey will play "Murph," an un-
dercover Pinkerton detective who
functions as a singing and guitar-
playing cowboy.

According to Murphey, who crea-
ted the role, his character is a com-
posite of three historical figures: D.J.
O'Mallev, who wrote the western

classic ''When The Work's All Done
This Fall"; Jules Verne Allen, a radio
star of the 1920s and former Texas
Ranger who billed himself as the
"Singing Cowboy"; and Charles Sir-
ingo, a cowboy who became a Pinker-
ton detective.

In his first appearance on the se-
ries, Murphey sings "Yellow Rose Of
Texas" and two new original songs.

On Dec. 13, Warner Western will
release Murphey *s "America's
Horses" album.

LABELS UP THE ANTE ON XMAS SETS

(Continued /mm page Jo)

This Year" from Vince Gill's 1993 col-
lection "Let There Be Peace On
Earth."

BNA will release a single and music
video, "Christmas Time," from John
Anderson's new album, and is prepar-
ing u radio s|>eciaJ that will be used to
promote the album next year.

Lome Morgan is drawing attention
to her 1993 album "Mem" Christmas
Pram London" with a 17-date Christ-
mas tour. At each date, she will per-
form with a local orchestra. Her itiner-
ary takes her in November to
Milwaukee {25), Cleveland (26), Her-
shey Park, Pa. (27), and Columbia, S.C.
(29), and in December to Winston-Sa-
lem, N.C. (2), Ocean City. Md. (3),
Charleston, W.Va. (n), Columbus, Ohio
(6), Wheeling, W.Va. (7), Muskegon,
Mich. (9), Auburn Hills, Mich. (10),
Merrillville, Ind. (11), Syracuse, N.Y.
(13), Portland. Maine (14), Springfield,
Mass. (16), Lowell, Mass. (17), and
Binghamton, N.Y. (18).

"Giant Country Christmas, Vol. 1"
features cuts by Clay Walker, Carlene

Carter, Kenny Rogers, Daron Nor-
wood, Orrall & Wright, Deborah Allen,
Laura Vida, Dennis Robbins, Rhonda
Vincent, and Chad Mullins.

Besides these major country titles.
Sparrow Records has released a vari-
ous-artists collection, "Heart Of
Christmas." Artists appearing on the
album are Paul Overstreet, Billy Dean,
Steve Wariner, Ricky Van Shelton,
John Berry, Glen Campbell, Charlie
Daniels, Doug Stone, Fmmylou Harris,
Restless Heart, and Suzy Bogguss.
Most of the songs are previous re-
leases.

New titles from independent blue-
grass labels include the Nashville Su-
perpickers' "Pickin' On Christmas"
(CMH) and the various-artists "Blue
Ridge Mountain Christmas" (Pinecas-
tle).

Last year's best-selling country
Christmas albums were Gill's "Let
There Be Peace On Earth," Jackson's
"Honky Tonk Christmas," Morgan's
"Merry Christmas From London,* and
Garth Brooks* "Bevond The Season."

album, up to No. 65. In addition, his hit
version of Eddie Cochran's "Summer-
time Blues" is No. 14 on the Hot Coun-
try Recurrents chart.

. But it's his co-
writing credits on
Clay Walker's "If I
Could Make A Liv-
ing" and on new-
comer Chely
Wright's "Till I
Was Loved By
You" that are
jackson catching the atten-
tion of "song peo-
ple" like Donna Hilley, president CEO
of Sony Tree Music Publishing.

"Alan Jackson's songs are being rec-
orded by other artiste right now, while
he's at the height of his career, because
they're not gimmicky — they're about
real life," says Hilley. "Artists' careers
span a shorter period of time than they
did in the past. I really don't know how-
many of today's artists are going to
have the staying power of a Willie Nel-

son or a Merle Haggard, but Alan will."

Jackson got his first taste of outside
songwriting success in 1991, when
Randy Travis had solid hits with two
songs, "Better Class Of Losers" and
'Together Forever," that he co-wrote
with Jackson.

"That was the first time I ever had
another artist have a hit with a song of
mine, and I loved it," Jackson says.
"When I first came to Nashville, I'd
newer thought of myself as a writer. I
was more of a singer who just wanted
to make records."

As his strong chart presence clearly
shows, Jackson has long since reached
that goal, and though he plans to keep
his career as an artist in high gear,
songwriting is becoming more of a pri-
ority for the singer.

"Hopefully, if my career dies down
or I get sick of touring, I can continue
writing," he says. "I feel real close to
that singer/songwriter side. Careers
come and go, but a good song can make
or break an artist."

Young Country. Three bright new
country acts cozy up for their fans at a
recent Country America magazine
party in Nashville. Shown, from left, are
River North Records artist Ronna
Reeves and Polydor's Davis Daniel and
Chely Wright,

COUNTRY SINGLES A-Z
PUBLISHERS/PERFORMANCE RIGHTS/SHEET MUSIC

TITLE (PubMhe Licensing Org i Sheet Music foil

13 BABY LIKES TO ROCK IT (ttamer-Iameilartr 8 Ml; Boy

Rocking. eMI/Chmqaupm 8MI> WBM
7 'HE BIG ONI • BM
41 CHUN' BATON ROUGE IComlxne. *SCAPtMI

Blackwood 8 Ml) Hi
12 THE CITI PUT THE COUNTRY BACK IN HE ISuteen

Stan. BMI/Du>e Stars ASCAP) Ml

35 COUKTRf "TIL I DIE (Alma ASCAP 'Holmes Creek
ASCAP,1rving. BMI/Baby Oumpl.n BMI) WBM

26 DOCTOR TIME IW H M . SESAC.'lorrg Acre SESAC/
lambs. ASCAP! WBM

36 DOWN ON THE FARM (Teias Wedge ASCAP. 1 No osi
Heads BUI) WBM

10 ELVIS ANO ANDY lAlmo ASCAP) WBM

52 EUGENE TOU GENIUS Ifomba. ASCAP.'Catth Tn* Baal
ASCAP) WBM

11 THE FIRST STEP (Sltajdacaslei BMI.'lar» Kale. BMI,.'
EMI Aou ASCAP/ldes 01 Mtxrt ASCAPI

GS THE GIRL FROM YESTERDAY |Red Cloud ASCAP/Nigfrt
RiMf ASCAP)

U GIRL THING (W8 ASCAP, rtamer-Tameriarte. BMI}
WBM

29 COIN' THROUGH THE BIG D | Maipop BMI/Wildxountrr
BMl/Rouit S<i BMl/Soags 0t Jasper BMi/CMi
Blackwood BMI)

(5 GONE COUNTRY iPo-pi'sm lull ASCAP/Ranger Bob
ASCAP) HI

66 A GOOD YEAR FOR THE ROSES (Son, Tree BMl!
A3 HARD LOVIN WOMAN (Music Corp 04 AmtntA. BMI/
Mark Conn. BMl/Sort) Tree BMI.'Don Cook GMWomba
ASCAP /Inspector Bartow. ASCAP) HL'WBM
SB HAS ANYBODY SEEN AMY (Reyniong. BMI. Howe Sound

U Cross Keys ASCAP) HI
49 HEART TROUBLE H'ving. BMI;uitiema<cb BMI)
59 HERE I AM (MorganaetV.e. ASCAP'Pookie Bear, ASCAP)
72 HIGH HOPES AND EMPTY POCKETS IWB ASCAP/) E
Robmsongs ASCAP)
3 IF I COULD MAKE A LIVING ilotn Coigns BMl/Mjnan

BMl.-Seventh San ASCAP/MaUie Ruth ASCAPI WBM
S IF YOU'VE GOT LOVE (Lave This Ia«n, ASCAP/MCA.
ASCAP) HL/WBM
40 I GOT IT HONEST lAcuH-Rose, BMIfBig Bobcat BMC

Bruce Buret, SESAO WBM
39 I LL NEVER FORGIVE MY HEART (Son, Tree BMl.

She -* billy r. Ml Acutl Rns; BMIi
2 I SEE IT NOW (Sony Tree BMlfSon, C'oss Keys

ASCAP/WB ASCAP) HL'WBM
9 I SURE CAN SMELL THE RAIN lAlabama Band BMc

Rick Hj ASCAP) WBM
34 I TRY TO THINK ABOUT ELVIS (MCA. ASCAP.Gary Burr
ASCAPI HL

10 JUKEBOX IUNKIE iCupit BMI. Cup: Memanes, ASCAPI
5 KICK A LITTLE (Square West ASCAP/Howhn Hits
ASCAPI WBM

47 LITTLE HOUSES lAabama Band ASCAP.' Wildcat/ntry
ASCAP/At till Rose BMI)
4 LIVIN' ON LOVE (Yee Haw ASCAPI WBM
53 LONG LEGGED HANNAH (FROM BUTTE. MONTANA)

{Meal And Three BMf/Ensign, BMI) HL

23 MAN OF MV WORD (Hayes StrteL ASCAP/ A I mo. ASCAP/
Allen Sn-antbhn ASCAP/MCA ASCAP/Gary Burr, ASCAP)
HL'WBM

56 MAYBE SHE'S HUMAN {living. BMI/Coltei Bay. BMI/

Careeis-BMG. BMI/Dao Layng. BMI)
55 Ml VIDA 10CA (MY CRAIY LIFE) iBens Future. BMI/

Sony Tree, BMi/OrearnCatcher ASCAP)
33 RIGHT IS FALUN' IN MY HEART IEMI Blackwood. BMI,

I nee Manor. BMI/Right Key BMI) HL
51 NOBODY'S GONNA RAIN ON OUR PARADE iLirgituce

BMI/Rio len. BMI.'Reynsong. B Mi/Howe Sound BMI)

HL'WBM

24 HOT A MOMENT TOO SOON iZomba ASCAP/Sun Bob
ASCAPI

19 NOW I KNOW (Sony Tree BMI.'Don Cook 6MI) HL
64 OLD ENOUGH TO KNOW BETTER ISany Tree BMI)
IB PICKUP MAN .Songwriters Ink, BMi'Tem Wedge.
ASCAP) HI

62 THE POWER OF LOVE (Sony Cross Keys ASCAP) HI
61 THE RUNNING KIND (Sony Tr M , BMI)

50 SHE 0 REAMS {lYVner-Tamertan*. B Ml, 'Pair it i Joseph.

BMl/Sony Coss Hays ASCAP/Miss Dot ASCAP.B'ass

Ring. ASCAP) HL 'WBM
69 SHE SHOULD'VE BEEN MINE [Songs 01 Grand

Coalition B Ml Songs Of Grand Alliance ASCAP/Hoosier

ASCAP)

25 SHE'S NOT THE CKEATIN' KIND {Sony Tree. BMI/
Snuwbtliy BMI) HL

63 SHE THINKS HIS NAME WAS JOHN iBasti, ASCAP/8'ue
Water ASCAP/M ghty Nice BMI E ue Watef BUI) HI

1 SHUT UP AND KISS ME (Why Wall ASCAP)
4« STORM IN THE HEARTLAND (Pier Rwj, BMI/lsMm
Rp<e BMI)

60 SUMMER IN DIXIE (Sony Coss Keys. ASCAP)

16 TAKE ME AS I AM {title 8>g Town 8MI/Ame<>c»n Made

BMl/AJt Over Town BMl/Sony Tree BMI) HL'WBM
42 TEARDROPS iPolygtam Ifll i. ASCAP/Veg-O-Music.

ASCAP/SongsOtPolyGram BMI/SongsOt McR>da BMl!

22 THAT'S WHAT I GET IFOR L0SIN YOU) (This Big
ASCAP/Basn, ASCAP/Blue Water, ASCAP/Songs 01
Portugese ASCAP/Foreshadow, BMI) HI

26 THERE GOES MY HEART ISony Tree BMI.Raul Mala
BUl/Songs 0' PolyGrem 6M|/Sev«n Angels, BMI) HL

6 THIRD RATE ROMANCE {Fourth Floor ASCAPWB
ASCAP) WBM

3B THIRD ROCK FROM THE SUN (Major Bob ASCAP/Rio
Bran, BMI/'Stroudataster. BMl'Baby Mae. BMI) WfiM

20 THIS IS ME IGreal Cumberland, BUl/Oiamand Struck
BMI/Kicking Bird. BMI)

11 THIS TIME {Trivehn Zoo, AS CAP/ Beginner ASCAP)
54 TILL I WAS LOVED BY YOU (Ten Ten ASCAP/Mattre
Ruth, ASCAP.'Se.entti Son, ASCAPI

30 TILL TOU LOVE ME (Little Bug Town BMI/Amencan
Made BMI.'MCA ASCAP/G»i| Burr. ASCAPI

14 UHTAHGLIN' MT MIND (Blackened. BMflruiag, BMI/
Sony Tree. BMI/Sierra Mountain, BMI) HL'WBM

31 WATERMELON CRAWL <Acu« Rose BML'Coourrv BMI)
WBM

11 WE CAN'T LOVE LIKE THIS ANYMORE (Alabama Band
ASCAP, 1 Wildcountry, ASCAP- 1 Warner- Tamerlane. BMI/
New Works. BMII WBM

44 WHAT THE COWGIRLS 00 iBiiteh!. BMI/Er-gHhtown,
BMI) WBM

48 WHAT THEY'RE TALKING ABOUT (Sony Doss Keys,
ASCAP, So ^ Tree BMl/Tenlee BMI) HL

74 WHEN I COME SACK (I WANNA BE MY DOG) CAlmo.
AS CAP/ Mighty Nice. BMI/AI Andersongs, B Ml/Blue
Water. BMI)

15 WHEN LOVE FINDS YOU {Benefit. BMI/Edward Grant,
ASCAP,'Mi0dle C ASCAP) WBM

17 WHEN THE THOUGHT OF YOU CATCHES UP WITH ME
(EMI Blackwood. BMII HL

27 WHEN YOU WALK IN THE ROOM f Ml BMI/Unarl BMI)
WBM

75 WHERE THERE'S SMOKE {Tom Co&ns 8MI/BMG
ASCAP) WBMi'HL

57 WHEREVER SHE IS (Sony Tree 8 Ml/Alabama Band
AS CAP/ Wildcountry. ASCAP) HL'WBM

32 WHO'S THAT MAN iSongs Of PolyG'an. BMiyiokeco.
BMI) HI

3T UK'S ANO 000'S (AN AMERICAN GIRD (Sony Cross
Keys. ASCAP/Motht' D» e ASCAP/AuguSt W>nd, BMI/
Great Broad 8MI/loft»lude BMI) HL/WBM

45 YOU AND ONLY YOU (Great Cumberland BMI/Otamond
Struck. BML'WB ASCAP/Might Be ASCAP) WBM

21 YOU JUST WATCH ME IDme Stars ASCAP) HL

HOT COUNTRY

BE MY BABY TONIGHT

5 ItENC.RIC-S i E Hl.L.r. FAGAN:

♦ . C H N MICHAEI MCNTGOMfRY
;.:i.v.'n:

DREAMING WITH MY EYES OPEN

♦ CLAY WALKER

GIANT

WHISPER MY NAME

« LEHNING IT BRUCEI

♦ RANDY TRAVIS
WARNER F-RH-

•

LOVE S LITTLE STRONGER

.'. L - . - 1 1 ! . L 1 I ' . I , M

♦ DIAMOND RiO
.'.!■; 1

;

WINK

e HL; n n h mi- lhl: i hf-:«:

♦ NEAL MCCOY
ATLANTIC

HANGIN' IN

J CHUTCHRELD (S BOGARD.R GILES)

♦ TANYA TUCKER
LIBERTY

WISH 1 DIDN'T KNOW NOW

♦ TOBY KEITH
MCRCURf

NATIONAL WORKING WOMAN'S HOLIDAY

f CANN0N.N WtUON iR MUllfMIlP IERRYJ H RrCKSi

♦ SAMMY KERSHAW
t.-L": i ">'

EVERY ONCE IN A WHILE

M HRk.H! 1 1:. I-,,,-. .H -ALU '. ':.l| RHLNSur, (' ^.W- r.'

♦ LACKIIAY^K

API F*

;

WHAT'S IN IT FOR ME

C hOV.AI)t: :J JAHPARL' G BUHR:.

JOHN BERRY
LIBERTY

SHE CAN'T SAY 1 DIDN'T CRY

:. bUC. f.GMAI,' il l.'Sl'T'f. h /.ILSCN

♦ RICK TREVINO
COLUI/BIA

HARD TO SAY

v Ml llep v >.-:j.v:lt •: l-^llt

♦ SAWYER BROY^N

CURB

THEY DON'T MAKE EM LIKE THAT ANYMORE

C FARREN i. STEELE C TARRENT

BOY HOWDY

CURB

RECURRENTS

SUMMERTIME BLUES

K STEGALL IE COCHRAN,: CAPE llAPTi

♦ A[ AN .JACKSON
ARISTA

WALKING AWAY A WINNER

♦ KATHY MATTEA

MERCURY

THE MAN IN LOVE WITH YOU

T BRFYA'N F. STRAIT N COREF f. HARJi;;

♦ GEORGE STRAIT

MCA

r -

THAT AIN'T NO WAY TOGO

D COC'l I HLNL PICf.SiR CUNT, K BPL'JKI 1 [WF

♦ BROOKS S, DUNN

ARISTA

INDEPENDENCE DAY

" rtORlFT 1 FEA' F." Mi::BF, 1..- PETERS

♦ MARTINA MCBRIDE
RCA

THINKIN' PROBLEM

♦ DAVID BALL

'.'.' APNF " "PI

: r <

DON'T TAKE THE GIRL

' PI i ■' :. '. ■,' P- MAP I'J . .'. m\ i -.

♦ TIM MCr.UAW

CURB

FOOLISH PRIDE

♦ TRAVIS TRITT
V.'APF.FA ppir.

1 SWEAR

♦ JOHN MICHAEL MONTGOMERY

A' .AM

LIFESTYLES OF THE NOT SO RICH k FAMOUS

J LPU It'HFIELD ip H LL >V TESTER

♦ TRACY BYRO

FACA

PIECE OF MY HEART

1 fIENLRICKS IB PERM... RAGAYOYI

♦ FAITH Hill
.'.. -'.1 I- PP.

WILD ONE

I. f.ENI PICPL ■ PL".: H P'F.f .-. PAVI F-'.J.

♦ FAITH HILL
YYARNER BROS.

♦ VtdtrOCiip availability Re«ufftnls are lilies which have already Appeared on the top 75 Singles & Tracks chart lor 20 weeks and have
dropped below the top 20. Commercial availability is not indicated on the recurrent chart.

BILLBOARD NOVEMBER 19, 1994

Billboard TOP COUNTRY ALBUMS

COMPILED FROM A NATIONAL SAMPLE
OF RETAIL STORE AND RACK SALES
REPORTS COLLECTED. COMPILED. AND
PROVIDED BY SoundScan

■ ■■■■II

THIS WEEK

LAST WEEK

«
s

I
cj
z

O
«j

ARTIST TITLE

LABEL & NUMBER/DISTRIBUTING LABEL (SUGGESTED LIST PRICE OR EQUIVALENT FOR CASSETTEXO)

PEAK POSITION

* * * No. 1 * * *

MARY CHAPIN CARPENTER

COLUMBIA M32^0NV (10.98 lQ'itY98,> iMtiualNo 1

STONES IN THE ROAD

THE TRACTORS • ARISTA 18728 (9 98.15 9BI ■

THE TRACTORS

TIM MCGRAW A' CURB 77659 19 98/13 98)

NOT A MOMENT TOO SOON

ALAN JACKSONA ARISTA 18759110981598)

WHO 1 AM

BROOKS & DUNN ARISTA 18765 110 98 15 98)

WAITIN' ON SUNDOWN

VINCE GILL A MCA 11047 110981598)

WHEN LOVE FINDS YOU

TRACY LAWRENCE ATLANTIC S2656/AG 110.9815 98)

1 SEE IT NOW

* * * Greatest Gainer * * *

VARIOUS ARTISTS MCA 11097'Uu.9&'16 98)

SKYNYRD FRYNDS

JOE DIFFIE • EPIC 64357.SCW U0.98 EQ'15 9B)

THIRD ROCK FROM THE SUN

JOHN MICHAEL MONTGOMERY A stiuuic TU55*AG(!D

9ai5.98l KICKIN'ITUP

SerS^™^* eh you might be a redneck if...

REBA MCENTIRE A KA L0994 |I0.9S.'1».9B)

READ MY MIND

CLINT BLACK RCA 66AI9(10.98.'16 9S)

ONE EMOTION

DAVID BALL • WARNER BROS 45562 19 98'15.98)

THINKIN' PROBLEM

•:

LITTLE TEXAS WARNER BROS. 45739 110 9815 98)

KICK A LITTLE

CLAY WALKER GIANT 24582 110.9805.981

IF 1 COULD MAKE A LIVING

TOBY KEITH POLYDOR 523407 1)0 98.15 98!

BOOMTOWN

ALABAMA RCA 66410 (10 98.15 96)

GREATEST HITS VOL. 3

GARTH BROOKS A ' LIBERTY 80657 110 98 )6 9a)

IN PIECES

BLACKHAWK • ARISTA 18708(9.98.15 98)

BLACKHAWK

DOLLY PARTON COLUMBIA 66123rSONY (10 98 EO/16 98)

HEARTSONGS

THE MAVERICKS • mca 1096 1 >9 9ft! 5 9S> IB

WHAT A CRYING SHAME

TRACY BYRD MCA 10991 (10.98 )5.981

NO ORDINARY MAN

FAITH HILL • wflnNTR RR.ns (9 9«.'i h qr:

TAKE ME AS 1 AM

SAMMY KERSHAW MERCURY 52?125i10 96ECV15.9B)

FEEI IN' GOOD ERA '(

★ * * Hot Shot Debut* * *

NEW ►

WILLIE NELSON ubertyssk 30420,'EM 110.9816 98)

HEALING HANDS OF TIME

PATTY LOVELESS EPIC 64)aaS0NY 19 98 EL>')5 981

WHEN FALLEN ANGELS FLY

109

i J * CK ^vw A A L0T ABOUT LIVW (AND A LITTLE 'BOUT LOVE)

MARTINA MCBRIDE • RCA 66788 (9 98 1 5 98) BB

THE WAY THAT 1 AM

VARIOUS ARTISTS A COMMON THREAD THE SONGS OF THE EAGLES

123

MARY CHAPIN CARPENTER A

COLUMBIA 48881 .SONY 110 98 ECt'15 9SI

COME ON COME ON

JOHN BERRY # UBERTV 804/2 (9 98.1 3.981 rS

JOHN BERRY

BROOKS & DUNN A ARISTA 18716(10.98,15.981

HARD WORKIN' MAN

REBA MCENTIRE A MCA 10906(10 9815 98)

GREATEST HITS VOLUME TWO

MARK CHESNUTT CtCCA )1094.MCA 110 98)15.98)

WHAT A WAY TO LIVE

217

GARTH BROOKS A LIBERTY 9J866 19 98 13.98)

NO FENCES

THIS WEEK

lo
3

§
s

O
g

ARTIST TITLE

LABEL t Nil MBE R'DISTRIBU! i NG LABEL iSLXJGESTC 0 LIST PRIC£ OR FQUIVWENT)

8
s

112

GEORGE STRAIT A' MCA 10651 110.91115.98)

PURE COUNTRY > SOUNDTRACK)

PAM TILLIS • AftlSTA 18758(9.98/1 5.961

SWEETHEART'S DANCE

169

BROOKS & DUNN A' ARISTA 18658 19 98/15.98)

BRAND NEW MAN

LITTLE TEXAS A WARNER BROS 45276 l9.9tV15.98)

BIG ■ ML

2 b

TRAVIS TRITT • warner Bros *5603 ho.9b/15.98)

TEN FEET TALL & BULLETPROOF

KEN MELLONS EPIC 53746,'SONr 19 98 EQ 15 98) B

KEN MELLONS

LARI WHITE RCA 66395 19 9H> i5 mB&

WISHES

★ Pacesetter* ★ *

DIAMOND RIO ARISTA 1874519 98,15.98) LOVE A LITTLE STRONGER

GARTH BROOKS A LIBERTY 90697 19 9613 96)

GARTH BROOKS

y A 1 Rlt ?H S . ART,STS KEITH WHITLEY/A TRIBUTE ALBUM

COLLIN RAVE • EPjC (9 98 EQ/15 981

EXTREMES

DWIGHT YOAKAM A' REPRISE 4524 L.WARNER BROS . <10.9£

'15 9B) THIS TIME

114

VINCE GILL A' MCA 10630)10.9615.96)

1 STILL BELIEVE IN YOU

NEAL MCCOY • ATLANTIC 82 568-AG 110.98' 15 9«i BB

NO DOUBT ABCL ' 1*

VARIOUS ARTISTS A mca io965iio.9S i6.96)

RHYTHM COUNTRY & BLUES

RICK TREVINO COLUMBIA 53 56O.S0Nt (10.98 EQ'15 98) BB

RICK TREVINO

GEORGE STRAIT A mca 10907 H09ft'i598)

EASY COME. EASY GO

GEORGE JONES mca 110% U0 9&15.9S)

BRADLEY'S BARN SESSIONS

165

GARTH BROOKS A ' LIBERTY 96330 (10 98/15 96)

ROPliY THE WIND

WILLIE NELSON Columbia wis^sonv (5 98 EQ9 98)

SUPER HITS

i'i

JOHN ANDERSON BNA6M17{9.98;1S.98)

COUNTRY TIL 1 DIE

VARIOUS ARTISTS^ MAMA'S HUNGRY EYES

: A TRIBUTE TO MERLE HAGGARD

104

JOHN MICHAEL MONTGOMERY A atlantc 824?o,<ag ;9.9a i 5 .98) Bfl life's a dance

£4

RANDY TRAVIS • WARNER BROS 45501 110 9615 98)

THIS IS ME

TOBY KEITH A MERCURY 514421 I9 98EQ.13 9BI SB

TOBY KEITH

CHARLIE DANIELS EPIC 64132i'50NY (5 .98 EQ'9.98)

SUPER HITS

IORRIE MORGAN • Bt«A 66379 (9.96/15.96)

WAR PAINT

C LAY WALKER A GIANT 2451 3 19.96' 1 5 96) B

CLAY WALKER

CONFEDERATE RAILROAD • a1lANTIC8250VAG 110.9615.96) NOTORIOUS

NEW ►

RICKY VAN SHELTON Columbia 66153 (10 98 EQT5 9B)

LOVE & HONOR

KATHY MATTEA MERCURY 516852 110.98 Eai5.98l

WALKING AWAY A WINNER

NEW ►

TRISHA YEARWOOD mca 11091 U0 9B15 98)

THE SWEETEST GIFT

CLINT BLACKA RCA 66239110 98/15.96)

NO TIME TO KILL

PATTY LOVELESS • EPIC 63236,'SOm i9 98 EQ15.98)

ONLY WHAT 1 FEEL

■

ALAN JACKSON A ARISTA 8681 I9 96'13 96)

DON'T ROCK THE JUKEBOX

CHRIS LEDOUX LIBERTY 28770110 9R/15.9B)

HAYWIRE

SUZY BOGGUSS & CHET ATKINS LIBERTY 29606009!

15981 SIMPATICO

132

CONFEDERATE RAILROAD A

ATLANTIC 82335.AG 19 9&15 981 Bfl

CONFEDERATE RAILROAD

SOUNDTRACK • MCA 10527 :io 96 16 9B1

8 SECONDS

Albums willi the greal«t sales gains this week. •Recording Industry Assn. 0+ America IRIAA) certification for sales of 500.00 units. ARIAA certification for sales of 1 million units, with mintimillion sellers indicated by a numeral following tne symbol. "Asterisk indicates LP is available-
Most tape prices, and CD prices for WEA and BMG labels, are suggested lists. Tape prices marked EQ, and all other CD prices, are equivalent prices, which are projected from wholesale prices. Greatest Gamer shows chart's largest unit increase. Pacesetter indicates biggest percentage growth.
Heatseeker Impact shows artists removed from Heatseehers this week. (■ indicates pMt or present Heatseeker title, c 1994, BiUboard/BPI Communications, and SoundScan. Inc.

Bit

xod Top Countr

IT Catalog /

llbi

(IT

COMPILED FROM A NATIONAL SAMPLE OF RETAIL STORE AND
RACK SALES REPORTS COLLECTED. COMPILED. AND PROVIDED BY S^ffifff fj
m FOR WEEK ENDING NOVEMBER 19, 1994 II III"

THIS
WEEK

LAST
WEEK

ARTIST TITLE

LABEL S. NUMBFR DISTRIBUTING 1ABEI [SUGGESTED LIST PRICE OR EQUIVALENT FOR CASSETTFyCO)

WKS- ON
MART

THIS
WEEK

LAST
WEEK

WKS. ON
CHART

PATSY CLINEA* MCA 12- !7 9B.12.98) 161 weeks at Nn. 1

GREATEST HITS

183

KEITH WHITLEY A RCA227? ;9 sa ts 98i GREATEST HITS

VINCE GILL MCA :0H77 ilD.98 15.98l

LET THERE BE PEACE ON EARTH

KENNY ROGERS A uerstv 5: r.APir-ji .9 =- i; 95.; TWENTY GREATEST HITS

THE CHARLIE DANIELS BAND A E^iC 3B795/50NY [7 98 EQT 1 98:

A DECADE OF HITS

183

MARY CHAPIN CARPENTER • COLUMBIA 44228S0Nr IT 9BEQT1 981 STATE OF THE HEART

-I

GARTH BROOKS A LIBERTY 98742(9 98715 98!

BEYOND THE SEASON

WILLIE NELSON A 1 Columbia 3S30i>50NY a 98 lq u 9B) STARDUST

GEORGE JONES • E°»C JO? Jb/SONT 15 99 EQ.9 961

SUPER HITS

168

GEORGE STRAIT • Mi s li:- ;i 9 9au 9SI TEN STRAIT HITS

GEORGE STRAIT A uca aioiss :? 95.1- ^

GREATEST HITS. VOL 2

183

VINCE GILL A MCA 4232: B M 13 95! WHEN I CALL YOUR NAME

REBA MCENTIRE A MCA1979M7 9a, 12.951

GREATEST HITS

181

ii.

ALABAMA A RCA 6825 (T.ge. l I 98I ALABAMA LIVE

GEORGE STRAIT A mm ">-.:. ?S'

GEORGE STRAITS GREATEST HITS

181

WILLIE NELSON A COLUMBIA 2375A2.'iONV i998 EOVI3 98> GREATEST HITS

MARY CHAPIN CARPENTER • COLUMBIA 46077.SLWY (6.98 EQ 13.9

) SHOOTING STRAIGHT IN THE DARK

TRAVIS TRITT WARNER BROS 26589 <9.9a i3 96) IT'S ALL ABOUT TO CHANGE

REBA MCENTIRE • mca 4203: <2 9eV6.98;

MERRY CHRISTMAS TO YOU

ALABAMA A RCA n;o* I9 9H I3.98) GREATEST HITS

182

PATSY CLINE t-*CA4038l7.9aT?98i

THE PATSY CLINE STORY

THE BELLAMY BROTHERS CURB 2 1 .16 MCA 4 98' U. 981 GREATEST HITS VOL. Ill

CLINT BLACK A RCA 9665 I9 9B L3 9B)

KILUKT TIME

WAYLON JENNINGS A RCA 8506" (8 981 GREATEST HITS

GEORGE STRAIT • MCA bSOO' (2 9&« .98!

MERRY CHRISTMAS STRAIT TO YOU

Catalog

albums are older litles which are registering significant sales c 1994. BllltoarriaPI Communications and SoundScan, Inc

BILLBOARD NOVEMBER 19, 1994

Artists & Music

Boston Pops' Arthur Fiedler Assessed On Page And Disc

riKDLEK FROLIC: Dec. 17 is the
utte Arthur Fiedler's 100th birthday,
so those Bertelsmann Corporate cous-
ins BMG Classics and Doubleday aiv
celebrating the man who put orchestral
pope on the American map. BMG is re-
packaging some of his hundreds of re-
cordings. "Arthur Fiedler: The Collec-
tion," a three-CD set, includes "Gaite
Parisienne." "Hi-Fi Fiedler," and
"Marches In Hi-Fi," while the seven-
disc compilation "100 Fiedler Favor-
ites" includes some material never be-
fore released on CD. In the stores this
week is "Arthur Fiedler And Fnends."
which showcases the late Fiedlers col-
laborations with luminaries from
Loontyne Price to Chet Atkins.
There's also a remastered "Pops
Christmas Party."

Fiedler may have been the best-sell-
ing conductor in history, but in "Arthur
Fiedler: Papa. The Pops, And Me"
(Doubleday), his daughter Johanna
Fiedler paints a picture at odds with
all this musical joviality. Hen* Fiedler
was a bitter, unhappy man at odds with
his dysfunctional family, insecure
about his musical abilities, and sneered
at by the Boston Symphony for being
commercial. Fiedler coined money for
the BSO, but in the 1970s the orchestra
was still paying him $12,000 a year, the
same salary he started at in 11130.

Customers at Barnes And Noble,
Borders. Tower, and other retail out-
lets can pick up the book and CDs to-

gether (BMG has produced a book-
mark to encourage them to do so, and
'The Collection" has the same cover
art as the book) and ponder the dis-
junction of music and life for them-
selves. Some Boston organizations arc
also planning an event for the actual
birthday, but in best Bostonian man-
ner, they're keeping the details quiet.

by Heidi Waleson

fHO f S ON FIRST? Kllen
Schantz, publicity maven for Teldec.
read about Deutsche Grammophon's
new Gil Shaham "Four Seasons"
video in this space two weeks ago and
wanted to call our attention to Tel-
dec's new video of II Giardino
Armonico performing a movement
from the "Summer" section of "The
Foul* Seasons," tied to a CD set for re-
lease this month. Like the Shaham
piece, the Teldec video, directed by
Steve Lippman, is stark, gritty, and
shot in black and white. But it looks
more like Fellini than New York: The
players, complete with sunglasses and
cigarettes, soak up the rays in an open
car, which then accelerates. Schantz

also begs to point out that Lippman
and Teldec have been making classical
videos since 1992 (with seven now in
release), using them in record stores
and for presentations to their sales
force, as well as for television and gen-
eral PH. Teldec's first, "Symphonic
Tango." even made the Playboy Chan-
nel; others have been shown on Bravo,
WNYC-TV, and stations nationwide.
"It's not enough to have a super press
kit." Schantz says. "Everyone wants
to see the real thing before they buy."

The MOUSE THAT ROARED:
Naxos has put out its first recording
of an American orchestra: the San
Diego Symphony under Yoav Talmi
gives a vigorous account of seven Ber-
lioz overtures. Klaus Heymann.
founder and owner of the Hong Kong-
based budget label, reports that
Naxos is now recording all over the
world and planning to put out loO ti-
tles a year. He estimates that at any
given moment, four Naxos sessions
are in progress. The label remains
repertoire -driven rather than artist-
centered, and its operatic ventures are
continuing with "Aida" (recorded in
Dublin) and "II Trovatore" (Buda-
pest).

Naxos also is venturing into con-
temporary music: Antonin Wit and
the Polish National Kadio Sym-
phony will record a complete cycle of
Lutoslawski's orchestral works, and

Heymann is in negotiations with mu-
sic publishers to record other contem-
porary composers. Rentals and copy-
right payments make such projects
expensive, but Heymann is gambling

that consumers will take a chance on
an unknown piece if the CD costs
$5.99. After all, he says, the Naxos re-
cording of the Stamilz cello concertos
sold 50,000 copies.

Life Is A Cabaret. Philips Classics singer Sylvia McNair received congratulations
from well-wishers at a recent "Cabaret Night" party held in her honor at the
Ballroom in New York to celebrate the release of her album "Sure Thing/The
Jerome Kern Songbook," which features Andre Previn on piano. Shown, from left,
are Chris Roberts, president. PolyGram Classics & Jazz: Usa Altman. VP. Philips
Classics: Costa Pilavacchi. director of A&R. Philips Classics; Lynne Hoffman-
Engel. senior VP of marketing and sales. PofyGram Classics & Jazz; McNair: and
pianist Lou Levy, who accompanied McNatr's performance at the party.

LESLEY GARRETT

SIMPLE GIFTS

CD: SILKD ' " " '-• ■ Cassrltp: SILK G004

THE NFW ALBUM featuring
POPULAR SONGS AND ARIAS by HANDEL • BACH • BOYCE • GOUNOD
MASSENET • DELIBES • PUCCINI • CILEA • GRIEG • TCHAIKOVSKY • RIMSKY - KORSAKOV
CANTELOUBE • I EHAR • GILBERT & SULLIVAN

I HE ROYAL PHILHARMONIC ORCHESTRA Conducted by PETER ROBINSON

SILVA CLASSICS is a division oi
SILW\ SCRFEN RECORDS AMERICA, INC
1 600 Broadway. Suilc 9 1 0. New York. NY 1 00 1 9
Phone UI2>7S?I6I6 Fax(212)75W3»

AFRICAN SANCTUS

DAVID FANSHAWE

CD; SILKD •■">■'■ CMfcette* Sll KC f»003

CLASSICS

Ta king The Classics To Th

e Next Generation

The New Definitive Digital recordins oi DAVID FANSHAWE'S
Internationally acclaimed work AFRICAN SANCTUS

An unorthodox sttlinR of talin Ma*% intexi.iteil with aulhcntit It Jriltional Afiu at) music uf ortfcil by
David Fantrtawc on his now kiienoary journeys up th« nvet Nile - through Faypt Uganda. Kenya ft Tanzania
and the VVodd Premiere of
DONA NOBIS PACEM • A Hymn lor World Peace with
WILHELMENIA FERNANDEZ iSopranol Windsor Castle
THE BOURNEMOUTH SYMPHONY CHORUS conducted by NEVILLE CREED
THE AFRICAN SANCTUS ENSEMBLE. KWASI AS ARE KANTAMANTO - Traditional Drums

Distfihuted By-.
KOCH INTERNATIONAL
1 77 Cantiague Rock Road, Weslbury. NY 1 1 590
Phonel5I6l93B-8080 Fax (516I9J8J3055

Billboard

FOR WEEK ENDING NOVEMBER 19, 1994

TOP CLASSICAL ALBUMS

<->

Compiled from a national sample of retail store and radt sales saunascm
reports collected, compiled, and provided by II llll

ARTIST TITLE

LABEL & NUMBER (SUGGESTED LIST PRICE OR EQUIVALENT)

* * NO. 1 * *

ZS^XF^fT*^"!^? * THE 3 TENORS IN CONCERT 1994

BENEDICTINE MONKS OF SANTO DOMINGO DE SILOS A CHANT

NEW*

BENEDICTINE MONKS OF SANTO DOMINGO DE SILOS CHANT NOEL

ANGEL 5520ft (10 98/1 5 981

217

CARRERAS, DOMINGO, PAVAROTTI (MEHTA) A |N concs ;rt

JAN GARBAREK/HILLIARD ENSEMBLE OFFICIUM

CECILIA BARTOLI m ^ MOZART PORTRAITS

f« 6^"!" a"™?' 1 ' ° RCH - (StATKIN> °*" CARMINA ESURANA

ANONYMOUS 4 irjvT'S II IIKIDN

HARMONIAMUNDI(FRANC£ldO71O9(139ai8O0l LUVL 5 ILLUSIUIN

'CD

NEW*

^^^r^f^l VnlBiCM VISION: MUSIC OF HILDEGARD VON BINGEN

CCD

13/

»?rs A c ^8?s"lLEKTrw tl0.9T/lJ.«) GORECKI: SYMPHONY NO. 3

GERSHWIN^ODEHOUSE ^ GERSHWIN PLAYS GERSHWIN

i?N Y CLA5*c»L 57961 (9 98 EOT 5 98) THE NEW YORK ALBUM

»*"'«"? * RTIST 4 OPERA'S GREATEST DUETS

KRONOS QUARTET . , . pp ■ „; /,.-
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Artists & Music

Mill

VOTES

by Jeff Levenson

As RECORD EXECUTIVE Danny Goldberg steps
into the chairman/CEO spot at Warner Bros. (Bill-
hoard, Nov. 12), succeeding current head Mo Ostin,
who is scheduled to depart by year's end, jazzers on
the inside (as well as consumers) are wondering how
the move will affect them. It's too soon to say, but at
least one well-placed source sees this move as a good
one. My Deep Throat reports that Goldberg is such an
artist -oriented guy, with such high regard for the cre-
ative process, that he's not likely to mess with the art-
ists already established in the jazz division. He knows
some of them, supports them, and should be pleased
with their success.

The success has been considerable. Warner Bros,
did well this year on both sides of the stylistic aisle,
with contemporary titles from Fourplay ("Between
The Sheets"), Joe Sample ("Did You Feel That"),
Boney James ("Backbone"), and Bob James ("Rest-
less") set again - traditional entries from Joshua Red-
man ("Moodswing"), Wallace Roney ("Misterios"),
and Milt Jackson ("The Prophet Speaks").

Scheduled for '95 are works from saxophonist
Kenny Garrett (his second for the label) ant] organist
Larry Goldings (his first). Overall, Throat reports,
even with a new boss about to take charge, the feeling
from within is mostly fine (if not mellow).

All ABOARD: Last week's reference to John Col-
trane, specifically Rhino's plan to box his entire lot of
Atlantic recordings, prompted a fair bit of interest
from readers. Among those following the story was

GRP, which wanted us (read: everyone) to know that
65 minutes of never-before-heard Trane material has
been unearthed, and that it will be issued any day now.
The double-disc package, "Live In Seattle" on Im-
pulse!, dates from September '65 and features the
ever-explosive unit of Pharoah Sanders, Donald Gar-
rett, Jimmy Garrison, McCoy Tyner, and Elvin
Jones.

The BIG GUY SPEAKS (AND PLAYS): For those
with an insatiable appetite for Oscar Peterson, con-
sider this holiday stocking stuffer: V.I.E.W. Video, the
company that specializes in music tapes both historical
and performance-oriented, is about to issue "Oscar Pe-
terson: In The Key Of Oscar," which deals with the
Olympian piano man's music, and "Oscar Peterson: A
Jazz Life," which examines his early years and devel-
opment. Both volumes come out of the National Film
Board of Canada ( Peterson's home country ), and t hey
are approximately 94 minutes each . . . Also on tap
from V.I.E.W. are separate performance titles featur-
ing Dave Holland, Elvin Jones, Don Cherry, and the
Modern Jazz Quartet; a tribute to Djangn Reinhardt
starring Birelli Lagrene: and the musical marriage of
Carla Bley and Steve Swallow.

In THE STUDIO: Marcus Printup, the trumpeter
who gets my vote for Young Dude With A Bright New
Sound Who Must Be Heard (Soon) While He's Still A
Young Dude, is going into the studio to record his first
for Blue Note. He can play — that we know — but can
he make winning records? Stay tuned . . . Also in the
studio next month will be David Sanchez, whose Co-
lumbia debut from last year, "The Departure," sig-
naled his arrival among young tenorists (t hough Dizzy
Gillespie already knew of Sanchez's arrival, having
virtually sponsored his transition up from Puerto
Rico). Sanchez will be recording his follow-up.

O Albums with the greatest sales gams this week. • Recording Industry Assn. 01 America (RIM)
certification for sales of 500.000 units; k RIAA certification for sales of 1 million units with each
additional million indicated by a numeral following the symbol. All albums available on cassette and

CP *A«~i*k inriirat^ umd au ;n) a hl* c. 1 QQd Riling; BP I C,-,mm. ,n»,., l li.,MS ,,i»i SiatirwlSran In-

Notas

by John Lannert
Elvis lives ... in Argentina: bmc; Argentina

has announced an ambitious, two-year series of digitally
remastered and specially priced reissues ($14-$16) that
includes the entire Elvis I*resley catalog, a new greatest
hits collection of rock'n'roll favorites, and 20 specially
priced classic rock albums.

The Presley series is divided into two batches: "Elvis
In The '90s," which includes materia] from his first re-
cordings to his 1976 country No. 1 "Moody Blue"; and
"Elvis In Hollywood," a soundtrack retrospective sport-
ing two film soundtracks per album. The "Happy Birth-
day Rock'n'Roll" series boasts 12 albums of original radio
classics from 1950-1970, plus 10 records titled "Rock And
Roll Hemes." Finally, the "Classic Rock" series includes
greatest hits packages from such stalwarts as Jefferson
Airplane, Steppenwolf, Alice Cooper, I'atti Smith, and
Steely Dan.

GETTING CAUGHT UP: The dance version of Gloria
Estefan's pop hit 'Turn The Beat Around" reached the
top of Billboard's Club Play chart last week . . . Latinos
Ariola/BMG superstar Juan Gabriel became the first La-
tino performer to draw more than 100,000 concertgoers
at Universal City Amphitheater, after nearly 21,000 faas
showed up for his Oct. 22-24 shows . . . Three famed La-
tino recording artists received RIAA certifications in
October. Sony supercrooner Julio Iglesias scored a quad-
ruple-platinum certification for sales of 4 million units of
"1100 Bel Air Place," and a double-platinum disc for sales
of 2 million units of "Julio." Spanish opera megastars Pla-

cido Domingo and Jose Cameras received gold and plat-
inum awards for "Three Tenors In Concert 1994." The
record's video counterpart was certified multiplatinum for
sales of 500,000 units. Domingo's AngelEMI Latin pop
alhum. "De Mi Alma Latina," currently rests at No. 19
on The Billboard Latin 50 . . . The Tejano Music Awards
is slated to celebrate its 15th anniversary Feb. 11, 1995,
at the Alamodome in San Antonio, Texas.

Fab CADDIES TO STUDIO: Hot Sony rock act Los
Fabulosos Cadillacs heads to Nassau's Compass Point
Studios Nov. 20 to begin recording the follow-up to its
huge compilation set "Vasos Vacios." Producing are Chris
Frantz and Tina Weymouth of Talking Heads and Tom
Tom Club fame, with guest vocal appearances expected
by Deborah Harry— in English — and Mick Jones in
S|>anish(!).

TwiN PEAKS: With Big Mountain's "Un Sensual
Amor" assuming the No. 1 slot on MTV Latino's top 20
for the week of Oct. 28-Nov. 3, the California reggae crew
became the first act to top MTV Latino's chart with both
Spanish- and English-language records. The band's
"Baby I Love Your Way" hit No. 1 earlier thus year.

RASILEIRA-NOTAS: Sorely overlooked singer/song-
writer Marin Adnet, who performed in May at Billboard's
International Latin Music Conference, commences a
monthlong Japanese trek in January to support his fine
BMG Japan album "Pedra Bonita." Why isn't there inter-
national distribution for this stylistic and vocal descend-
ant of Antonio Carlos Jobim, who sits in on a delightful
take of Dorival Caymmi's evergreen "Maracangalha"?
Superb guest vocal performances are turned in by rock
veteran Lobao and silky songstress Lisa Ono, herself a
star in Japan . . . Just out on PolyGram is "Coracao Do
Brasil," a tribute disc by sertajena stars Chitaozinho &
Xoxor6 to their artistic predecessors Tonico & Tinooo,
{Continued on }Hi(jc 50)

BILLBOARD NOVEMBER 19. 1994

International

Japanese Singer Countersues
Execs In 'Spiritual' Dispute

■ BY STEVE McCLURE

TOKYO — Pop singer Chicaco Sawada
has launched a countersuit against two
executives of her record company,
Taurus Records, which last year sued
Sawada for not delivering an album it
said she owned the company.

Taurus seeks 133 million yen ($1.37
million) in damages, while Sawada's
countersuit asks for 65 million yen
($670,000) in "spiritual damages" (Bill-
board, Dec. 11, 1993).

Cases of Japanese record companies
suing their artists — and vice-versa —
are extremely rare.

Sawada's lawyer, Atsushi Naito,
says the singer/songwriter decided to
countersue following the failure of me-
diation efforts by the Tokyo District
Court, where both lawsuits have been
filed. Named in the countersuit are
Taurus president Yasuhiro Igarashi
and senior VP Minoru Funaki.

Sawada's contract with Taurus,
which expired at the end of last year,
did not specify how many albums or
singles she had to deliver to the com-
pany in the contract period. But
Taurus, an independent company
whose product is distributed by To-
shiba-EMI, says the contract contains
a "spiritual clause" under which the
artist agrees to cooperate with the
company. Taurus claims that, on this
basis, Sawada had agreed to record an

Sam Goody's
1st Japanese
Store Debuts

■ BY STEVE McCLURE

TOKYO— Japan's first Sam
Goody store opens Nov. 11 in the
eastern Tokyo suburb of Funaba-
shl The 2,130-square-foot import
specialty outlet will be operated
by music retailer Itoh Music City,
which has made a franchise agree-
ment with Sam Goody's Japanese
licensee, Japan Record Sales Net-
work Inc. (JARECS), a wholesaler
owned by a group of leading Ja-
panese record companies.

The store, located in the La La
Port shopping center, one of Ja-
pan's biggest, will display charts
based on sales data provided by
Sam Goody stores in the U.S. Itoh
Music City's existing record store
in La La Port specializes in do-
mestic product

A JARECS spokeswoman
says the store will serve as a trial
run for the Sam Goody concept in
Japan. Under the terms of the
deal with Sam Goody chain
owner Musicland, Japanese fran-
chisees will obtain import prod-
uct either directly from Musi-
cland or through Japanese
record companies' import divi-
sions.

album of new material for September
1993 release.

Naito says no such agreement ex-
isted, and adds that Sawada has de-
cided to leave the label because of what
she feels to be its lack of promotional
muscle.

Says Funaki, "We don't mind the
idea of dealing with Ms. Sawada again,
if the lawsuit is resolved in such a way
as to make both sides happy, but it de-
pends on whether she wants to or not"

Speculation in the industry is that
Sawada will sign with Warner Music
Japan, whose chairman, Ryuzo Ko-
sugi, was one of the founders of pro-
duction company Smile, which has
represented Sawada since June
1993. Kosugi no longer has a stake
in Smile, but maintains close ties
with it.

Russia Gets Long-Awaited Label Assn.

IFPI Hints At Recognition; Majors Host Summit

■ BY ERKIN TQUZMUHAMMAD

MOSCOW— The Russian music
market is making further progress
toward legitimacy, as Russian labels
now have an association to repre-
sent their interests.

The Russian Phonographic Assn.
(RPI), which announced its de facto
formation this spring, finally re-
ceived its registration papers Nov.
4.

IFPI's regional director for East-
em Europe, Bianka Alicja Kortlan,
says IFPI "expects to recognize the
new body soon." Kortlan adds, "We
always said we would support an as-
sociation which was representative
of all the local record producers. The
first association which was formed
only had four members, so that

Keep It In The Family. EastWest Japan artist Mariya Takeyuchi and her artist/
producer husband, Tatsuro Yamashita, were among the artists congratulated by
Warner Music International top brass who visited Tokyo recently. Shown, from left,
are Takashi Kamide. president, eastwest japan; Ken Cooper, executive VP/CFO
of WMI; Yamashita; Ramon Lopez, chairman/CEO of WMI; Takeuchi; Bob
Morgado; Warner Music Group chairman; Ryuzo Kosugi, Warner Music Japan
chairman; and Stephen Shrimpton, Warner Music senior VP Asia Pacific.
Takeyuchi"s "Impressions" album has sold more than 2 million copies.

made it difficult."

Kortlan says IFPI will open a
Moscow office Dec. 15. Local
sources suggest that copyright law-
yer Irene Rodina will head the of-
fice, which IFPI says will monitor
local conditions and keep in contact
with RPI members.

Both moves are bound to encour-
age major labels, which have long
eyed the potentially vast Russian
market but have despaired of the lo-
cal market conditions. Last month,
all five majors met with local com-
panies here.

The RPI currently has 17 mem-
bers, and two more have confirmed
that they will join. These 19 are the
biggest Russian record companies.

The RPI also has chosen its
board. Alexei LJgrinovich, former
head of SNC Records and currently
representative of Sony's DADC
plant in Austria, was elected chair-
man. CEO is Vladimir Prozorovski,
a lawyer formerly with the Russian
Authors' Society.

Delays have been due in part to
rich Russian bureaucratic tradi-
tions, in part to defects in some indi-
vidual members* registration pa-
pers, and also in part to the fact that
the governmental commission that
deals with nonprofit organizations
has a very small, overworked staff.

RPI is a nonprofit organization
that operates on members' annual
subscriptions. Its main objectives
are to protect phonogram owners'
rights, to secure licensing deals, and
to fight piracy. Until RPI existed,
cooperation between record com-
panies was almost non-existent, and
labels often found themselves at log-
gerheads.

For example, SNC Records

'Carolina' Ruling Favors Greensleeves

■ BY ROGER PEARSON

LONDON— "Does that line go Why
did you leave that night?' or 'What did
you eat last night?' "

That was one of the Questions that
arose in one of the most bizarre and
colorful cases to come before the High
Courts of Justice here, when Deputy
Judge Anthony Grabiner, QC, was
called on to decide who really wrote the
hit reggae classic "Oh Carolina" more
than 30 years ago.

In the end, he decided Nov. 4 that
the true author was John Folkes, a
founding member of Jamaican pospel-
singing trio the Folkes Brothers, and
now a teacher in Canada. The ruling
has serious financial ramifications as a
result of a remake by the singer
Shaggy, whose version took the ILK.
and European charts by storm last
year.

The suit was brought by Green-
sleeves Records and Greensleeves
Publishing against Melodise Music and
well-known Jamaican reggae personal-
ity Prince Buster, named in the suit un-
der his real name of Cecil Campbell.

During the weeklong case, the judge

was treated in court to recordings of
the song by the Folkes Brothers,
Shaggy, and others. As Grabiner an-
nounced his decision, he said that since
the hearing he had listened to the song
several more times in private.

Folkes and Greensleeves claimed
that Folkes wrote the song in 1958. The
first recording of it, by the Folkes
Brothers, was released in Jamaica in
1960.

But Prince Buster and U.K.-based
Melodise Music Ltd., which is 99%
owned by Buster, claimed that he, and
not Folkes, was the song's author.

Folkes, the son of a Jamaican church
minister, told the court he wrote the
song in 20 minutes while sitting on his
doorstep.

He said the song was about his girl-
friend, Noelena Daniels. However, be-
cause he did not want to name her, he
called the song "Carolina."

Prince Buster, 56, who had been a
street poet, disc jockey, boxer, and
"protector" in Jamaica, and who later
became a success in the music busi-
ness, claimed he wrote the song and
named it after a girlfriend named Car-
oline, who was seeing another man.

He claimed that the Folkes Broth-
ers, though they made the initial re-
cording of the song in Jamaica in 1958
through him, had no part in writing it
and received a total of 100 pounds for
their work in making the record.

Folkes, however, claimed that all the
act received for the song was 60
pounds, and that Prince Buster had
never discussed the question of royal-
ties with him, even though he had
raised the matter.

The judge, after looking at different
versions of one particular line of the
song, said he was satisfied that the
song was written by Folkes.

He granted a declaration to that ef-
fect, which also granted Greensleeves
Publishing, to which Folkes assigned
the copyright prior to the release of
Shaggy's hit version, ownership of the
copyright.

Afterward, a spokesman for Greens-
leeves said, "We are delighted that the
■record has been put straight"

But an angry Prince Buster said out-
side court that he would like to see the
decision ap(x?aled.

Roger Pearson is a reporter for the
U.K. Law Neivs agency.

signed a deal in 1992 with a Moscow
techno band, Technology, for its al-
bum "Push The Button"; the deal
was for all formats, but SNC has
only put the album out as an LP.
This summer, another label, Russk-
soye Snabzhenie, put out the same
record on CD,

More recently, the father of a re-
cently deceased cult-rocker from St
Petersburg, Mike Naumenko, has
signed deals with two Moscow com-
panies for his son's recorded cata-
log.

RPI is urging its members to
hand in copies of their contracts, to
avoid incidents like these.

The need to fight piracy is partic-
ularly great, especially at the local
level. In early September, the De-
partment of Economic Crimes of the
Ministry of the Interior tracked
down a shipment of approximately
6,000 copies of 10 best-selling titles
in a Moscow warehouse. These in-
cluded albums by local acts such as
Time Machine and Leonid Voskres-
nie.

The owners of the warehouse
have disappeared. This was the first
identified case of local-repertoire pi-
racy.

There is still a problem getting a
representative list of record compa-
nies, because charters for new busi-
nesses and commercial ventures in
Russia since the fall of Communism
do not distinguish between different
types of business activities; thus,
any company is a potential record
company.

On the other hand, some individu-
als don't even register, operating a
kind of "stealth" company.

To become an RPI member, an
(Continued on page JtS)

European Signing. Ex-Europe lead
singer Joey Tempest has signed with
PolyGram lor an album he is now
recording in Stockholm with producer
Dan Sundquist. Shown with Tempest,
from left, are David Munns, PolyGram
senior VP of pop marketing, and
Philippe Desindes, VP of marketing at
PolyGram continental Europe.
PolyGram Sweden and Polydor
Germany are co-producing the project,
which is due in April 1995.

BILLBOARD NOVEMBER 19. 1994

International

newsline...

POLYGRAM FRANCE has confirmed Pascal Negre as successor to Paul-
Rene Albertini, president of PolyGram Disques (The Billboard Bulletin,
Nov. 12). Albertini left to head up Sony Music, following the resignation
of Henri de Bodinat. Negre is currently president of Island/Barclay, and
is expected to take up his new position Dec. 1.

ITALIAN SINGER Gianna Nannini has signed to Polydor Italy following
the expiration of her contract with Dischi Ricordi, acquired by BMG in
August. Details of the new deal have not been released, but Polydor man-
aging director Adrian Berwick says the label has also bought rights to
the eight most recent albums. Nannini is on PolyGram imprint Metro-
nome in Germany, and on Polydor for the rest of the world.

FOUR BRITISH MUSIC industry organizations are to take a combined
stand at MIDEM next year. The Music Publishers Assn., the Mechanical
Copyright Protection Society, the Performing Right Society, and the
British Phonographic Industry will have a joint booth under the "British
At MIDEM" umbrella, which will be sponsored by accountants Robson
Rhodes. The move is a strong indication that these areas of the business
are interested in closer cooperation.

SONY MUSIC GERMANY has launched its own online information service
for TV, radio, and press, to allow inquiries about its artists and their
products and activities. The "Infothek" service also will have a forum for
open discussion and private e-mail. Sony plans to make black-and-white
images available on the service by the end of the year.

DIARY DATES: Transmusicales festival, Rennes, France, Dec. 1-3. For in-
formation, telephone 33 99 31 12 10. Fax: 33 99 30 79 27.

Euro Pop Days industry meet, Freiburg, Germanv, May 12-14, 1995.
For information, call 49 761 28 74 96. Fax: 49 761 27*89 02.

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BMG Looks For New Marketing Ideas In Asia

Major Hopes Experimentation Will Improve Its Fortunes

■ BY MIKE LEVIN

ROTOURA, New Zealand— Selling M
People to the Koreans and Crash Test
Dummies to the Lebanese may take the
BMG International marketing staff a
few steps away from the ordinary. But
with president/CEO Rudi Ga&sner wav-
ing his "global superstar" wand over
their heads, the status quo may not be
the safest place to be.

Deep in the pack after five years in
the Asia-Pacific market, BMG wants to
experiment, to gamble, to do anything
that will increase sales.

Music markets in Asia, which have
surfed comfortably on the back of eco-
nomic growth, now need a different ap-
proach to expand past the narrow view
of Chinese pop and the equally safe do-
mestic repertoire currently dominated
by BMG's competitors.

Without much to lose, BMG is ditch-
ing marketing tradition here, which
says that developing industries must be
spoon-fed the safest repertoire and
must be weaned onto alternative prod-
uct only when the numbers can support
it

"I can imagine how tough it is on you
for me to come in and say *Get into new
things,' when everyone is still develop-
ing repertoire and market share,"
Gassner told Asian employees who
gathered last month at this volcanic
spring resort here for the company's
annual "Asia Best" convention. "But
without better exploitation of market-
ing, formats, or even repertoire, we are
in for a very tough time."

Why else would BMG prioritize
M People, Crash Test Dummies, and
the Grid, alongside Kenny G, Kylie Mi-
nogue, and Foreigner in Asia's ballad
markets? And why else would it spend
a fortune bringing out the region's first
two CD-interactive units, when cas-
settes still dominate the audio market?

Part of the reason is that music in
Asia is only one small part of the enter-
tainment industry* not a stand-alone
business. Another part of the answer is
Gassner's well-known "carrot and
stick" approach to development: Asia-
Pacific VP of A&R/marketing Stuart
Rubin told national managing directors
to "find new ideas, no matter how off-
the-wall they are. Well support you.
Make sure you support them."

But the biggest factor in the com-
pany's new emphasis is money. It can
cost startling amounts of money to
break into the music and entertainment
revenue streams, which everyone
knows exist in Asia but aren't quite sure
how to tap.

In one sense, there is no such thing
as a mistake when your CEO's priori-
ties are based on exploitation of "any
type of original repertoire."

BMG senior VP for Asia-Pacific Pe-
ter Jamieson has taken the hint. New
projects include a dedicated karaoke
department, a regionwide dance label,
and new licensees in Egypt, Morocco,
Sri Lanka, and Papua New Guinea.

BMG's new direction is aimed in part
at molding international A&R
strengths around Asian tastes. For ex-
ample, it helped UJS. grunge band Tool
(Zoo Entertainment) to release a spe-
cial Asian edition of its latest album,
"Undertow." a first for a music segment
that has been virtually ignored in Asia.

Warren Hill's new RCA album will

feature three Asian cuts, including the
regionwide Filipino karaoke favorite
"Viduri." Also, new artists Ryan Molloy
(RCA) and Nick Howard (BMG Austra-
lia) were introduced in New Zealand.
Both are young, attractive, and highly
polished balladeers who will appeal to
Asia's preference for distinctly soft mu-
sic.

But the company's major push will be
to find alternatives to Chinese reper-
toire and its huge market share.

One idea is a joint venture with Hong
Kong's Beaver Music that created
Kitsch N' Synch, a regional dance label
supplying compilations of international
dance tracks pulled from Beaver's mas-
sive catalog.

From a pool of 20 tracks for each re-
lease, individual Asian offices will
choose the 14 or 15 they think will sell
best in their territories. The label also
will explore locally produced remixes, a
tactic that paid off for Singapore-based
Valentine Music and its reported mil-
lion-selling Western dance compilation
this year.

Long overdue is a regional video-kar-
aoke division, an offshoot of three-
month-old BMG Interactive Entertain-
ment

Karaoke continues to be one of Asia's
biggest revenue generators, yet only a
few international and domestic labels
are marketing primarily Chinese prod-
ucts.

"If a Hong Kong artist can sell
200,000 [karaoke] units at $75 each,
imagine what a Whitney Houston re-
lease could do," says Clive Gardiner,
Asia-Pacific director of multimedia and
video.

BMG has produced an Ehis Presley
karaoke disc and is developing plans for
sets featuring Barry Manilow and Toni
Braxton, as well as a compilation of
BMG-owned chart-toppers from 1969-
1994.

The division also wants to help im-
prove the woeful condition of Asian mu-
sic video. Non-music plans call for a
move into CD-ROM software for
games, reference material, children's
products, and the newest multimedia

■ BY MARC MAES

BRUSSELS — ARS Productions has
now signed a distribution deal for
English-language repertoire with
Indisc-Arcade here. This move follows
its new policy, whereby all of the Bel-
gian company's material is shipped from
the headquarters in Kontich to inde-
pendent distribution partners in Eur-
ope. ARS's Flemish-language produc-
tions, including the band Splinter,
remain with Sony Music Entertainment
"We now ship our record from our
warehouses to companies like ZYX in
Germany, Carre re Music in France, or
Max Music in Spain," says Patrick
Busschots, ARS Productions managing
director. "In each of those countries,
we have independent promotion con-
sultants appointed to represent our
company and to take on promotion for
the specific releases — a first result is
that we have five tracks in the French

buzz word, edutainment

BMG has already scored with unique
CD-ROM music products, the world's
first audio-active unit (a normal CD and
an interactive CD-ROM in the same
disc) from BMG Australia act GF4 (for-
merly Girlfriend), and BMG Hong
Kong's Chinese-language unit from
Winnie Lau.

Repertoire is not the only thing to
break with tradition at BMG, where the
ubiquitous — and misleading — South-
east Asia tag has finally been given the
chop.

Reflecting economic, cultural, and
political alignments, the region was
broken up into subregkms North Asia
(Japan and South Korea), Pan-China
(Taiwan, Hong Kong, and China),
ASEAN (Malaysia, Indonesia, Thai-
land, Singapore, and the Philippines),
South Asia (India and the Middle East),
and Australia and New Zealand.

Believing that the underrated
ASEAN area (with a population of 325
million) holds as much potential as any
other, Jamieson created a Southeast
Asian repertoire committee and put it
under the guidance of the area's most
respected executive, Frankie Cheah,
who is also managing director in Malay-
sia and Singapore (the latter on an inte-
rim basis).

International product could get vital
simultaneous-release protection from
parallel exporting and piracy. For do-
mestic artists, it means a cross-border
audience open to their albums as well
as music aimed at previously ignored
markets.

Indonesian R&B/jazz veteran Ebiet
Ade will include two English-language
tracks on his next album, while the Phil-
ippines' Eraserhead and Malaysia's
UKAYS (on the new Matehuri domestic
label) are being pushed throughout
ASEAN with some success.

But it is India and its huge unit sales
that could provide the best break-
through, and BMG expects to finalize
its formal partnership with Crescendo
Music & Marketing in Bombay before
the end of the year (The Billboard Bul-
letin, Sept 24).

dance charts today, headed by Techno-
tronic's 'Move It To The Rhythm.' "

Busschots says that ARS had been
looking for motivated partners in the
past, but had a hard time finding any.
'We do take on a considerable risk, but
may end up better off afterwards. We
ship from our office directly to the dis-
tributor and, therefore, have a better
survey to coordinate pan-European re-
leases."

Busschots says that the current local
ARS-PolyGram deal ends December
31 this year, with one more Kid Safari
single and the Technotronic album still
on the major's release list. "We opted
for Indisc-Arcade, because they are
very strong in dance repertoire and
Arcade holds three-quarters of the
Belgian compilation top 20."

A first release is the Shatatak cover
"Down On The Street" by Glow, which
was produced by Gabrielle producer
Martin Lascelles.

ARS Signs Distribution Deal With Indisc

Sony Pact For Flemish Acts Kept

BILLBOARD NOVEMBER 19. 1994

THERE'S ONLY ONE PLACE
TO GET THE BIG PICTURE

BILLBOARD SPOTLIGHTS

IV1IDEIV1 95

You don't have to go to the moon to find out what's happening at MIDEM '95.
Our February 4th issue will keep your feet on the ground by highlighting:

• Pan European licensing

• US independent labels

• South East Asia Royalties ... a brighter picture
• Music publishing-North America

• Record Distribution
• Interactive goes International

Let Billboard orbit your message to its 200,000 readers in 107 countries.

Contact your Billboard representative today.
Our reach is out of this world!

ISSUE DATE: February 4 • AD CLOSE: January 10

N.Y.: Pat Rod Jennings 212-536-5136 / Ken Piotrowski 212-536-5223
London: Christine Chinetti & Robin Friedman 44-71-323-6686
Asia: Grace Ip 310-330-7888
Italy: Lidia Bonguardo 39-362-5444-24

International

More Big Changes At Radio 1
As Management Gets Overhaul

■ BY JEFF CLARK-MEADS

LONDON — A senior management
overhaul is taking plaee at beleaguered
BBC Radio 1. The station lost one-
third of its market share in the last 12
months (Billboard, Nov. 5), and is now
losing its managing editor to a central
strategic role within BBC radio (The
Billboard Bulletin, Nov. 12).

Paul Robinson, second-in-command
to controller Matthew Bannister dur-
ing Radio l*i yearlong repositioning,
has been promoted to project director,
10-year strategy, Network Kadio.

This means that t he new head of Ra-
dio l's production department, Trevor
Dann, will have almost total control of
the station's musical programming.

Dann's role will be different from
those that have established his reputa-
tion. He is most noted for producing
BBC-TV's much-loved, adult-oriented
Old Grey Whistle Test, and as founding
editor of the BBC's Greater London
Radio (GLR).

Rubinson has been with Radio 1 for
four years, during which time he intro-
duced the album playlist and the N-list
for new talent, and was responsible for
music policy, presentation, promotion.

and research.

Robinson is known to have unsuc-
cessfully applied for the post of head of
production, the position eventually se-
cured by Dann. Though Dann is nomi-
nally taking over from Chris Lycett in
this job, Dann's position will be a new-
one in Radio l's hierarchy. Unlike Ly-
cett, he will have the final say on the
bulk of Radio l's programming deci-
sions.

Dann has worked in U.K. radio and
music television for more than 20
years, and as managing editor of GLR
is credited with creating the station's
popular, adult-oriented sound at. the
end of the '80s. A former Radio 1 pro-
ducer, Dann left GLR to become a ra-
dio industry consultant. He is prepar-
ing to take up his Radio 1 position at
the beginning of next year.

His task at Radio 1 is a substantial
one. For the past year, the station has
been in the process of becoming what
Bannister describes as an alternative
to the chart-oriented commercial radio
lector. In that time, its market share
has dropped from 19.6% to 11.8%.

Jeff Clark-Meads is U.K. bureau
chief far Music & Media.

RUSSIA GETS LONG-AWAITED LABEL ASSN.

(Continued from page £1)

applicant must have registration pa-
pers in order to pay membership
dues, and must have at least two le-
gitimate recordings in its catalog.
The oldest label in RPI, apart from
the former monopoly Melodiya, is
Sintez Records, founded in 1988.
Most of the RPI members have
more than 50 titles in their catalogs.

A pivotal event for the Russian
music industry occurred Oct. 11 in
Moscow, when the IFPI backed a
meeting that brought 12 of the
RPI's 17 members together with
Eastern European major-label rep-
resentatives, including Sony Music
Europe's David Main, BMG's Peter
Kallveit, Warner International's
Beatrice Silva-Tarouca, EMI's Tony
Salter, and PolyGram's Thomas
Hedstrom.

Right now, only two majors are
represented in this market: Poly-
Gram has a joint venture with Boris
Zosimov called PolyGram Russia
(Billboard, Nov. 12), and EMI has a
distribution deal with Moscow's
SBA Records.

The Russian delegation did most
of the talking at the meeting, and
looked as if they were taking exami-

nations in high school; each com-
pany recited its name, year of foun-
dation, number of titles, and
distribution/recording/manufactur-
ing facilities.

At the same time, the majors just
wanted to learn one basic fact: the
size of the Russian record market
and its prospects for growth — and
the possiblity of finding local part-
ners.

Boris Zosimov, president of Poly-
Gram Russia, made a joke that
evoked little response among the
majors' representatives: "We
thought that you would tell us the
size of the Russian market."

The Russian side could not give a
convincing figure on sales and man-
ufacturing.

Evaluation of the Russian market
is a difficult undertaking and some-
times requires "espionage." Most of
the labels, as well as importers, pre-
fer not to disclose their sales for rea-
sons of taxes and public image.

However, one independent group
is putting together data on the Rus-
sian market and is expected to pub-
lish the figure at the beginning of
January.

Sergio Signs. Sergio Dalma. formerly signed to Barcelona indie Horus, has
struck a deal with Phonogram in Spain. Shown inking the deal, from left, are Toni
Carvacar, Dalma s manager; Ele Juarez, president/CEO of PolyGram Ibenca;
Dalma; and Phonogram managing director Javier del Moral.

BILLBOARD NOVEMBER 19. 1994

HITS OF THE

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JAPAN

(Dempa Publications, Inc ) 1 1/14/94

CANADA < Tne R««d) 10/31/94

GERMANY compiled by Medm Control 1 V&/94

FRANCE lSNEP/IFOP/T.te.L.w) 10/29/94

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BON JOVI CROSS ROAD mi~ re-jry w monogram

TAKE THIS TIME SEAN MAGUIRE paxloPHONC

NEW

BILL TARMEY TIME FOR LOVE emi

NEW
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LOOPS & TING-REMIXES JENS maamuSic
SWEET DREAMS LA BOUCHE arioea

MADONNA BEDTIME STORIES warner

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YOU CAN GO YOUR OWN WAY CHRIS REA east

JULIO IGLESIAS CRAZY coujmsia

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COLO CHISEL TEENAGE LOVE warmer

CRANBERRIES NO NEED TO ARGUE SiANO

29
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23
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11

CRAZY BLIND MAN AEROSMITH oeften

THINK TWICE CELINE DION Eft*

SURE TAKE THAT (BROTHERS IN RHYTHM) rca

30
31
32

18
20

BRAND NEW HEAVIES BROTHER SISTER »r

SUEDE DOG MAN STAR nude

ARETHA FRANKLIN QUEEN OF SOUL— THE VERY

9
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10
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PIROPO RUSSIANS ma* music

NO ONE 2 UNLIMITED hi av.0 y N€&ro

ALBUMS

9
10

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HARRY CONNICK JR SHE columiha
MEGADETH YOUTH AN ASIA EM
THE OFFSPRING SMASH shock

32
33

24
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ALICE, WHAT'S THE MATTER? TERRORVISION

TOTAl VECAS

OCEAN PIE SHED SEVEN ftOtvoon

33
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27
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DANIEL 0' DON NELL ESPECIALLY FOR YOU Rru
WET WET WET END OF PART ONE PRECIOUS'

1
2

JOSE LUIS PERALES MIS 30 MEJORES
CANCIONES Sony

HERBERT VON KARAJAN ADAGIO KARAJAN

MARIAH CAREY MUSIC BOX Columbia

SEVENTEEN LET LOOSE wtftCum

NEW

GREEN DAY DOOKIE Riph-M

OE UTSCHEjPOL YG RAM

BOYZ II MEN II PHONOGRAM

NEW

PUSH MOIST o«YSALC

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TOM PETTY WILDFLOWERS WARNER

LAURA PAUSINI LAURA PAUSINI OROwarnir

AEROSMITH BIG ONES geffen

NEW

SLEEP WELL TONIGHT GENE COSICUOMICR

NEW

TERRORVISION HOW TO MAKE FRIENDS AND

BON JOVI CROSS ROAD mcrcury-phonogram

NEW

PANTERA FAR BEYOND DRIVEN wwtNCft

NEW

IT AIN'T A CRIME HOUSE OF PAIN a RccoftOfMG

INFLUENCE PEOPLE emi

NEW

MADONNA BEDTIME STORIES warner

SOUNDTRACK THE LION KING SCay

TURN THE BEAT AROUND GLORIA ESTEPAN EPYC

BRENDA LEE THE VERY BEST OF.. WITH LOVE

ERIC CLAPTON FROM THE CRADLE warwr

NEW

EAST 17 STEAM polygram

OUT OF THE SINKING PAUL WELLER oo- discs

NEW

ROSARIO SIENTO CPC

NEW

SMASHING PUMPKINS PISCES ISCARIOT ymgih

NEW

PRINCES OF THE NIGHT BLAST FEATURING VOC

REEL 2 REAL MOVE IT! Pt&mvA

ANA BELEN/VICTOR MANUEL MUCHOMASOUE

EMI

THE PRODIGY MUSIC FOR THE JILTED

DOS AFMXA

R.E.M. MONSTER warm*

GENERATION u recordings

R.E.M. MONSTER warner

MASSIVE ATTACK PROTECTION virgin

CARRERAS, DOMINGO. PAVAROTTI THE 3

NEW

JAMES REYNE WHIFF OF BEDLAM warmer

TENORS tELDECWARMER

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BILLBOARD NOVEMBER 19, 1994

HITS OF THE WORLD

EUROCHART HOT 100

SINGLES

ALWAYS SON JOVI MiBCURt'KXTGRAM
SATURDAY NIGHT WHlGFIELO H-CWHGK
COTTON EYE JOE REDNEX M
LOVE IS ALL AROUND WET WET WET «MOtkA'

7 SECONDS YOUSSOU N'DOUR & NENEH
CHERRY cotuMBi*

WELCOME TO TOMORROW SNAP* *o.oi*
SECRET MADONNA MAVLfciOvSmt
BABY COME BACK PATO BANTON vwgik
LET THE DREAM COME TRUE D.J. BOBO
I SWEAR ALL 4 ONE etiiHAiiANHC
ALBUMS

BON JOVI CROSS ROAD mlmCuWWiWAM
R.E.M. MONSTER marni
MADONNA BEDTIME STORIES mmerii «sni
CARRERAS. DOMINGO, PAVAROTTI THE 3

TENORS mwowMWEH

WET WET WET END OF PART ONE woou*

ERIC CLAPTON FROM THE CRADLE «£ptoi.*»bmm
MARIAH CAREY MUSIC BOX cmuwaiA
JOE COCKER HAVE A LITTLE FAITH capuoi
JAMIROQUAI THE RETURN Of THE SPACE
COWBOY SONY

PINK FLOYD THE DIVISION BELL Emi

BELGIUM l |Epl Belgiuirv'SABAM: 10.'28/94

THIS

LAST

WIEK

WEEK

N1W

•

NEW

SINGLES

KING OF YOUR HEART GOOD SHAPE DMO
NO ONE 2 UNLIMITED (ultttm*
ITS A RAINY DAY ICE MC erTtwwr
COTTON EYE JOE REONEX jivc
SURE TAKE THAT aca

EINS, ZWEI, POLIZEI MO-DO top St CAE t RtcORDS
ENDLESS LOVE LUTHER VANDROSS & MARIAH
CAREY ipc

WELCOME TO TOMORROW SNAP! mkha
HEMELS8LAUW WILL TURA topkap.
DON'T STOP OUTHERE BROTHERS STR
ALBUMS

R.E.M. MONSTER wMniir

ROCH VOISINE COUP DE TETE hcmmg

CARRERAS. DOMINGO, PAVAROTTI THE 3

TENORS TiiDFQWAmtR

WET WET WET END OF PART ONE prcciouv

PCX f GRAM

BON JOVI CROSS ROAD we «curv 'Phonogram
BART KAELL HET BESTE VAN aca
JOE COCKER HAVE A LITTLE FAITH capsiol
FRANCIS CABREL SAMEDI SOIR SUR LA TERRE

ERIC CLAPTON FROM THE CRADLE RipmstwAiwER
SOUNDTRACK FORREST GUMP fpit

SWEDEN 'GLFH1/4/9J

SINGLES

THIS IS THE WAY E-TYPE sonl LvMyGaam

COTTON EYE JOE REDNEX i vf

ALWAYS BON JOVI mercury potvcruu

OPPNA DIN DORR TOMMY NILSSON *ip«a*o«*

CAN YOU FEEL THE LOVE TONIGHT ELTON JOHN

LOVE IS ALL AROUND WET WET WET <Om.ana
BALLADE N OM ELLA ELSA DIA PSALMA

GIVE IT UP! {FOR THE MELODIE) MELODI MC

SATURDAY NIGHT WHIGFIELD It UK
ENDLESS LOVE i J I HER VANDROSS & MARIAH
CAREY e pic
ALBUMS

MAGNUS UGGLA 100% UGGLA. ABSOLUT INGET
ANNAT CCHUMB.*

BON JOVI CROSS ROAD Mtscum
MAUROSCOCCO 28 GRADER I SKUGGAN MUU

MEGAOETH YOUTHANASIA EM

R.E.M. MONSTER mrmr

UNO SVENNINGSSON UNO rfcc*o station hmc.

MADONNA BEDTIME STORIES w*«*t»

TOM PETTY WILDE LOWERS wwmtfi

NIRVANA UNPLUGGED IN NEW YORK GEfTE*

NORDMAN NORDMAN sosn

PORTUGAL iF'ortLigaL'AFPt 1 1/2/94

BON JOVI CROSSROAD MFRCuR*(fnrG«AM
MADONNA BEDTIME STORIES waa*er
MEGADETH YOUTHANASIA CAPitCX
VARIOUS 16 TOP WORLD CHARTS 94 VIDISCO
GABRIEL 0 PENSADOR GABRIEL 0 PENSADOR

OXUMBIA

VARIOUS LOS PICAPIEDRA MIX M CI
PEDRO ABRUNHOSA-BANDEMONI V1AGENS

VARIOUS ROCK BALLADS nWWU
THE CULT THE CULT wGWRSBAMJuET im
LEANDRO & LEONARDO DOR DE AMOR NAO TEM
JEIFO ma

NEW ZEALAND n

LAST
WEEK

3
2
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6

SINGLES

ENDLESS LOVE LUTHER VANDROSS 4 MARIAH

CAREY cpic

BABY COME BACK PATO BAN TON virgin

I'LL MAKE LOVE TO YOU BOYZ II MEN MOtow*

LANGUAGE DAVE DOBBYN SOW

DO YOU WANNA GET FUNKY C + C MUSIC

FACTORY Columbia

HEY NOW (GIRLS JUST WANNA HAVE FUN)

CYNDl LAUPIR epic

7 SECONDS YOUSSOU N'DOUR & NENEH

CHERRY SONY

THIS D.J. WARREN G pouwam

FLY GIRL KUICHA amm*

SWEETS FOR MY SWEET CJ LEWIS aw.

ALBUMS

R.E.M. MONSTER earner

SMASHING PUMPKINS PISCES ISCARlOT vmv

BON JOVI CROSS ROAD mehcuw poitgram

SOUNDTRACK THE LION KING sonv

MARIAH CAREY MUSIC BOX ccxumba

BOYZ II MEN II wiTown

SOUNDTRACK FORREST GUMP SONY

LARRY ALDER THE GLORY OF GERSHWIN

SMASHING PUMPKINS SIAMESE DREAM vihgin
LUTHER VANOROSS SONGS sow

SWITZERLAND (Media Control Switzerland! 11/12/94

SINGLES

SATURDAY NIGHT WHIGFlELD phonogram

LET THE DREAM COME TRUE D.J. BOBO fRESM

ALWAYS BON JOVI MtHCutn.TOnWAM

7 SECONDS YOUS50U N DOUR & NENEH

CHERRY coiuMB*

SWEET DREAMS LA BOUCHE BUG

I SWEAR ALL-4-0NE wanner

ENDLESS LOVE LLTHER VANDROSS & MARIAH

CAREY COiumua

LOVE IS ALL AROUND WET WET WET polygram

SECRET MADONNA WARNER

LIFE IN THE STREETS PRINCE ITAl JOE & MARKY

MARK WARNER

BON JOVI CROSSROAD Hi kcusy rot ygram
R.E.M. MONSTER warmer
JOE COCKER HAVE A LITTLE FAITH em»
YELLO 7EBRA poiygram

ERIC CLAPTON FROM THECRADLE repr-slwarmr
PATENT OCHSNER GMUESS EtMG ARiOlA
MADONNA BEDTIME STORIES warmer
ZURl WEST 7URI WEST sound service
JAMIROQUAI RETURN OF THE SPACE COWBOY

SNAP! WELCOME TO TOMORROW uw&arkxa

FINLAND (S«ur*v"IFPI Finland) lCv30/94

SINGLES

LET THE DREAM COME TRUE D.J. BOBO M

SECRET MADONNA S*«

COTTON EYE JOE REDNEX j-vl

SURE TAKE THAT hca

ALWAYS BON JOVI mercurypoi ycraw

FEELING SO GOOD MOBY mute

ROCK A BIT 3.0 THE PRINCE OF RAP pance PC

BLIND MAN Af ROSMITH geffen

TROUBLE SHAMPOO fOOO'EM

LOVE IS THE POWA! SOUND OF R.E.L.S. GO

BON JOVI CROSS ROAD mercurywonogram

R.E.M. MONSTER warner

MADONNA BEDTIME STORIES maverick.**

MEGADETH YOUTHANASIA EMI

KLAMYDIA TIPPURIKVARTETTI miakiund

QUEENSRYCHE PROMISED LAND e mi

WET WET WET END OF PART ONE phicwusv

ICEMC ICE N GREEN puchconirowi iei

GREEN DAY DOOKIE he fwsi.waw* r

SLAYER DIVINE INTERVENTION American records

ARGENTINA .cap.m^

ALBUMS

JOSE LUIS RODRIGUEZ RAZONES PARA UNA
SONRISA SON*

SERGIO DALMA SOLO PARA Tl WG

LOS LADRONES SUELTOS LOS LADRONES

SUELTOS SONY

VARIOUS YOUR SONGS ►■OircWAM
U2 ACHTUNG BABY isiano
ROXETTE CRASH! BOOM! BANG! emi
ANTONIO BIRABENT TOODO ESTE TIEMPO ftw;
BRONCO PURASANGRE BMG
PARALAMAS DOS MARGARITAS em.
50UNDGARDEN SUPERUNKNOWN <-0lyc»am

GLOBAL

MUSIC PULSE

THE LATEST MUSIC NEWS FROM AROUND THE PLANET

EDITED BY DAVID SINCLAIR

SWITZERLAND; Kven though Switzerland and Germany share the same language, very few of this
country's acts ever make an ini| >;u-* in the much bigger German market, let alone elsewhere in Eur-
ope. However, I)J. BoBo (alias Rene Baumann) has not only conquered
the charts here, but has taken up residence on the German and European
hit parades as well — proof that dance music is one language the entire Eur-
opean Community understands. Signed to EAMS, a small, previously inde-
pendent tlance import label based in Deggendorf in southern Germany. BoBo
has put ln)th record comfiany and town on the map. His debut single, "Some-
body I>ance With Me," released in 1993, was a substantial hit not only here
but in Austria, Sweden, Israel, and Australia, and in Germany, all five of
his singles have been certified gold (250,000 units sold). Here at home, his
: — debut album, "Dance With Me" (released in the IJjS. by CMC International),

is certified double-platinum (100,000 units). kujk wkinkkt

FRANCE: The latest album by singer and songwriter Gabriel Yaeoub, "Quatre" (Four), has
been released by Boucherie Productions, the small independent Ial>el run by Francois Hadji-
Lazaro (front man of the group Pigalle), who has always cited Yaeoub as one of his main influ-
ences. The 14 songs include a personalized version of an old Jacques Brel song. "Kegarde Bien
Petit," which sounds as if it were written for Yaeoub. But mostly the songs showcase Yacoub's
talents as I composer and arranger who subtly combines old instruments — such as bagpipes
and hurdy-gurdy on the track "La Mariole" — with contemporary sounds. This is a style of mu-
sic reminiscent of Yacoub's former group, Malicorne, which rose to prominence in the 1970s.
With its modern interpretations of traditional French music, Malicorne became the flagship
of the country's modern folk movement and was an important influence on contemporary artists
such as Stephan Eicher. After a decade, the group disbanded and Yaeoub embarked on a solo
career, touring extensively in North America and cutting three albums that demonstrated his
unusual versatility. "Trad Arr," a collection of traditional songs, was followed in 1986 by the
more experimental, synthesizer-driven "Elementary Levels Of Faith," featuring Hungarian
musician Ivan Lantos (of Kolinda fame), and then "Bel" (1990). a collection of songs he had
composed and performed during the preceding decade. EMMANUEL LBGJMND

INDONESIA: The album "Denpasar Moon" (Pirahna Records), which was recorded in Jakarta
by British artist Sabah Ilabas Mustapha (ex-member of 3 Mustaphas 3) in conjunction with
various Indonesian musicians, has become a major hit here. The title track initially was covered
by Mari Beth in the Philippines, who sold more than half a million copies, and it has since
been covered by countless Indonesian bands. Indeed, after a recent visit, Habas left Jakarta
with no fewer than 40 cassettes of his song recorded in a range of local and folk styles such
as "jaipongan" and "dangdut." simon BRouGirroN

BULGARIA: Despite financial difficulties, the 25th annual Golden Orpheus jubilee went ahead
as usual at the seaside resort of Sunny Beach. Of the 28 new songs by Bulgarian writers show-
cased at the event, the winner of the Grand Prix trophy was "Friday Midnight," an exquisite
ballad written by Valdy Totev, the singer in the long-running Bulgarian rock group Sehtourt-
site (the Crickets). First prize in a newly established category. Folk Inspired Song, went to
the impressive vocal quintet Folk Skat Band, which managed to create a modern sound with-
out betraying the original syncopations of Bulgarian folk. chavdar chkndov

NORWAY: Almost every composer of techno music based in the far-northern town of Tromso
has contributed to a new compilation titled "TOS.CD." The album, which takes its name from
the airport identification code for Tromso, was released to celebrate the 10th anniversary of
local radio program "Beatserviee." Among the 14 contributors are Biosphere, Djingo, and
Ismistic, all of w hich have already exposed their material to techno fans outside the country.
The compilation was launched with a rave in Tromso, followed by a party in Oslo that featured
live performances from several of the acts. As a result of the album, a new record company,
Beatserviee Records, has been established, with distribution via Sonet. Follow-up singles from
some of the contributors are expected early next year. HRLLE NOINKSS

FINLAND: The annual Finnish Koek Championship contest has always generated heater! debate.
Is the contest a good way to publicize unsigned acts? Can a
small jury of journalists, concert promoters, and record com-
pany executives correctly identify which band has the most po-
tential in the real world of recording and touring? This year's
contest, held in Turku, was particularly contro v ersial. In the
past, the winners have usually been slightly eccentric pop and
rock grai)|M| but this time the surprise winner was Rytke, an
unruly bin otherwise Straightforward punk band with an ener-
getic live show. Time will tell whether Rytke can get as far as ! flf:;;; SUOMI FINLAND 2 10 I

last year's champion, Pekka Ja Susi, which has just released

its debut album on BMG. antti BOKANGA8

PORTUGAL: One of the exciting new groups helping to jolt the rock scene here out of a period
of stagnation is Reporter Estrabico, whose new album, "Umbigo" (Umbilicus), released on
the independent label Numerica, has been greeted with enthusiasm by the press and DJs. The
music is an engaging mixture of funk and hip-hop, and standout cuts include "Malditos Head-
phones," "Pele," "O Grande Bongo," and the title track. The group, which was founded in 1987,
released its first album, "Uno Dos" (PolyGram), in 1991 to widespread critical acclaim. Now,
following impressive sales and radio and television exposure. Reporter Estrabico has embarked
on a national tour to promote the new album. FERNANDO fBNBNn

BILLBOARD NOVEMBER 19. 1994

Canada

Bernhardt Reconciles Rock, New Age With 4th Imagine Set

■ BY LARRY LeBLANC

TORONTO — With his fourth alburn,
"Reconciliation," on the Quebec-based
independent label Imagine Records,
singer/guitarist Patrick Bernhardt
sought to challenge the musical perime-
ters of new age music by creating what
he calls "new age rock."

Noting that much of what has charac-
terized new age from its beginnings has
been the lack of a traditional, rhythmic
base, Bernhardt says, "With this album.

I wanted to surpass the musical fron-
tiers of new age, and to have a reconcil-
iation between two extremes, new age
and rock music. My goal was to produce
the highest feelings of new age music
and have the deepest energy of rock
music, and still be in complete medita-
tion."

Bernhardt says he also wanted to
shatter the premise that spiritual music
should evoke serenity. "People like cat-
egories, stereotypes, and caricatures,
but I don't accept that," he says. 'To

me, all that is cultural harassment.
Some people don't want to realize that
spiritual music or conscioiLsness-rawing
music does not necessarily mean relax-
ation music. You can create music with
a poweriUl rhythm and still he con-
scious of your inner life."

One of the handful of Canadian art-
ists, including Michael Jones, William
Elhvood, Warren Hill, and Andre Gag-
non, working under the new age um-
brella, 43-year-old Bernhardt lives in
St. Marguerite, Quebec, in the Lauren-

tians. On his four albums, he has sung
in Hebrew, Latin, and in several native
dialects. Today, he pens the majority of
his compositions in Sanskrit, an Indo-
European language that originated

around 1200 B.C.

According to Denis I^emieux, promo-
tion director of the St. Sauveur, Que-
hec-based Imagine label, Bernhardt s
1989 debut album, "Atlantis Angelis,"
has sold 140,000 units worldwide to
date; 1990*8 "Solaris Universalis,"
which reached No. 12 on Billlwiard's

OF MUSIC '1 S

A BILLBOARD SPOTLIGHT

CONTENTS
750 ml
MUSIC
1 2% BY
VOLUME

1995

PRODUCED AND BOTTLED BY BILLBOARD
New York, NY USA

THERE'S
NOTHING
VINTAGE
ABOUT
FRENCH
MUSIC.

In the January 20th
spotlight fantastique,
Billboard highlights:
•The triumphs of
French superstars
and newcomers.
•The 10-year history of

the Victoires de la
music^ue' and a complete
list of this year's nominees.
•The emergence of
French rap.
•The continuing strengths
of jazz and
classical music.

Raise your glass with
our 200.000 readers
in 107 countries and
toast France's musical
accomplishments. Our

celebration isn't
complete without your
involvement. Contact your
Billboard representative
today.

AD CLOSE: 3/1/95
ISSUE DATE: 20/1/95

Paris:
Francois Millet
33-1-4549-2933

London:
Christine Chinetti
44-71-323-6606

New York:
Fat Rod-Jennings
(212) 536-5136

Top New Age Albums chart, has sold
80,000 unit*; and 1902*8 "Shamanyka"
has sold 40,000 unite. "Solaris Univer-
salis" won a Felix award for top new
age album in 1991, and "Shamanyka"
won the same award in 1993.

The new age-styled Imagine label,
with a roster that also includes veteran
Texas singer/guitaiist Shawn Phillips,
German songstress Jane Roberts, and
Canadian keylwardist Rick McGale, is
independently distributed in North
America and Eur-
ope.

"Patrick doesn't
get much radio air-
play," says Le-
mieux. "That's
w hy it's so much of
an achievement for
him to reach gold
[50,000 units in Bernhardt
Canada) with

'Atlantis Angelis.' His albums mostly
sell by word-of-mouth."

"His music [works best in the] late
evening," says Paul Fisher, PD at adult
contemporary CHPI here, one of the
few Canadian radio stations playing
Bernhardt^ music. "Its tough to play
in the middle of the day. It also has to
be presented in a setting where it's sur-
rounded with like-minded music."

Born in Algiers in 1952 to French
parents, Bernhardt lived in France, the
Netherlands, and England before emi-
grating to Canada in 1981. While living
in London, he met several Quebec musi-
cians who encouraged him to come to
Montreal to work on a recording proj-
ect.

"They sent me an air ticket, and I
thought, 'Why not?' " Bernhardt Bays.
"I came, and it was all wonderful — the
people, the land, the culture, the possi-
bilities. I found there were good musi-
cians, good recording studios, and many
possibilities to work."

Before moving to new age, Bernh-
ardt had a brief fling with the pop
world, fronting BMG Quebec's Franco-
phone pop/rock group Jimmy Victim &
the Romantic Machine. The group had
a provincial disco hit with the song
'Taxi Reviens."

Bernhardt dismisses his pop phase.

"It was fast-food music which I did just
to make money," he says. "After two
years, and after studying the influences
of sound on the human body, I realized
I could not use music so cheaply."

In the mkl-'80s, Bernhardt traveled
to southern India to develop his interest
in ancient Indian music that had been
preserved in the great collection of kir-
tans (devotional songs). On his return
to Canada, he contacted producer
Pierre Durivage about recording sa-
cred southern Indian mantras in a new
age context. Durivage produced the in-
tricately beautiful "Atlantis Angelis"
for his newly formed Imagine label.

"I told him we should use this new
age market to have a place in the Ire-
tail] racks," says Bernhardt.

Unlike "Atlantis Angelis," which was
recorded over a three-week period, it
was a four-month grind putting to-
gether "Reconciliation."

After three tracks had been recorded
with violinistypianist Paul Boudreau,
Bernhardt hrought in keyboardist Ben
Griffith to take over the project.

"Paul and I didn't have the same vi-
sion of the album," Bernhardt says. "It
was beautiful, but not enough down-to-
(Continued on page TJ)

BILLBOARD NOVEMBER 19. 1994

tonal

Music Video

ARTISTS & MUSIC

Niche Shows Persist Without Label Aid

New Satellite, Interactive Outlets Offer Hope

■ BY BRETT ATWQOD

LOS ANGELES — Specialty music
video shows continue to face a substan-
tial challenge in acquiring label support
and cultivating a product mix, accord-
ing to a panel of niche-video program-
mers who spoke at the 16th annual Bill-
board Music Video Conference, held
Nov. 2-4 here.

However, the panelists expressed
optimism about new distribution op-
portunities for specialized music
shows. New media outlets, such as di-
rect-broadcast satellite and interactive
cable, can mean new and broader TV
audiences. That is good news for such
outlets as 24-hour contemporary
Christian network Z Music.

'Technology will help us all in terms
of getting distribution," said Z Music
president Ken Yates. "No matter what
your viewpoint of life is, technology will
give you access to a wider audience."

But gaining access to support from
the mainstream -driven label commu-
nity is another story, said Charlene
Warner, executive producer of Rich-
mond, Va. -based "Tropical Beat"

"If I waited for major-label support,
I'd be broke by now," said Warner,
whose program reaches approximately
300 cable markets. The dancehall- and
reggae-flavored show is sponsored pri-
marily by AT&T.

"The AT&T account has enabled us
to produce weekly shows and to do a lot
of stuff that we otherwise would not be
able to do," she added.

The Austin, Texas-based, munici-
pally supported Austin Music Net-
work, which airs approximately 32

hours of programming each week, has
had difficulty getting even the most
basic amount of support from some la-
bels, said media coordinator Kent Ben-
jamin.

For example, he noted that the net-
work has yet to receive a video for Da-
vid Ball's "Thinkin' Problem" on
Warner BrosyNashville.

"[Ball] is an Austin act, and we can't
even get it" he said.

Acquiring quality clips was one of
the greatest obstacles facing Z Music
when it launched in March 1993, Yates
said. Z Music airs about 350 Christian
music videos, which is up from the 200
videos that the network aired a year
ago.

"Any video is a fresh video, because
nobody has seen [Christian music vid-
eos] before," Yates said. "There had
been very few outlets for exposure for
Christian music programming."

Since many niche programmers have
limited resources and a lack of label-
supplied programming, they often
must fill the on-air hours with original
material.

"There are over 500 jazz festivals
each year that we cover," said Kenneth
Burgmaier, president of Colorado-
based "Jazz Alley," a program that airs
on several cable and satellite-TV out-
lets across the nation. "It's real tough.
There aren't many jazz videos that
[major labels] have to send us. so we go
out, and we make the videos."

Burgmaier said that 70% of the pro-
gramming on "Jazz Alley" is created in
house, and that the show boasts a ros-
ter of non-music industry corporate
sponsors, including Coors Light,

United Airlines, and Cellular One.

Making a profit from niche program-
ming takes time and loads of patience,
Burgmaier said.

"How do you make a million dollars
with jazz? You start with S2 million,"
he said, joking.

For upstart music video program-
mers, the main challenge is just to get
on the air, noted Adam Smith, execu-
tive producer of "Underground Hip-
Hop Video Magazine," which airs
weekly on a single Pittsburgh public-
access channel.

"When I first called the labels to tell
them that I had an un censored hip-hop
show, they thought I was crazy," said
Smith, who holds a second job as a jan-
itor to support the show. "We have no
sponsors. We have no advertisers. I do
everything out of my own pocket"

Smith said that his show hasn't run
into many problems with censoi*ship at
the public-access station,

"We're defining the limits for their
entire station," he said, adding that he
will not change the uncensored format
to reach a wider audience.

"If it's hardcore, uncensored, street-
oriented, or straight-up raw, then it's
exactly what I'm looking for," he said.
"I'm the guy who calls the labels and
says, 'Can you put the cussing back in?'
... I would rather pay to do it the way
that we now do it, than lighten it up."

For programmers aiming to expand
beyond public access, direct-broadcast
satellite and other emerging new me-
dia outlets can help extend the reach of
niche programming, Yates said.

In addition, traditional and interac-
(Continued on next page)

The Box used the Billboard Music Video Conference as an opportunity to introduce the music video community to Frankie Blue,
its new director of programming, pictured at left. Attendees at the Knowledge is Power party co-sponsored by the Box and
Sony Music paid $50 for an audience with Blue, who joined the Box from radio station WHTZ (Z100) New York in September.
The kissing booth raised $2,000 for the Knowledge Is Power Foundation, which was launched by Los Angeles radio station
KPWR (Power 106). The event, at the Sony Music Corp.'s West Coast headquarters, featured a performance by former Arrested
Development vocalist Dionne Farris, right. The Columbia artist performed tunes from her debut album Wild Seed-Wild Flower."
MJJ Music duo Quo and Ruthless/Relativity act Bone Thugs N Harmony also performed. (Photos: Savage Photography)

Programmers From Diverse
Genres Swap Insights At
Billboard Conference

VIDEO MELTING POT: Bill-
board's 16th annual Music Video
Conference & Awards is one of the
few industry gatherings that attracts
myriad professionals from a wide va-
riety of musical genres. Case in point:
How often does one see a contempo-
rary Christian programmer sharing
professional insight with a hardcore
rap programmer? (See story, this
page.)

In fact, a number of the 1994 meet-
ings saw professionals in the jazz,
reggae, hip-hop, country, alternative,
metal, and R&B genres
seated next to one an-
other, not to mention in ^^^ m
close proximity to multi-
media pioneers and inven-
tors who rarely interface
with music business pro-
fessionals.

As an observer of an in-
dustry that so often splin-
ters into musical micro-
fragments, it was refresh-
ing to see a rare melding
of the collective conscious-
ness that is music video.

And while it was reas-
suring to see the musical
elements come together,
we can only fret that the
promotion, programming,
and production communi-
ties often remain inde-
pendent, and sometimes
ignorant, of one another's concerns.

But we're happy to say we even
caught a few video promoters and
programmers sitting in on the video
production sessions, w p hile a few
brave production representatives ex-
plored the promotion panels.

Not surprisingly, the comments
heard in sessions focusing on pro-
gramming, promotion, and produc-
tion could well have been culled from
the same proverbial script We'd all
be wise to mix it up a bit more often.

ReTAIL WAS ONE element run-
ning rife through the Music Video
Conference this year, as shortform
clips increasingly are being used as
commercial stimuli to drive up mail-
order product sales.

All of the speakers on the panel ti-
tled "Show & Sell" admitted that the
potential to alienate TV viewers with
sales pitches is a problematic issue
that must be addressed if direct mar-
keting continues to be a goal for mu-
sic video programmers.

Matt Farber, VP of programming
and new business for MTV, said his
network tries to make its sell-
through program "The Goods" as en-
tertaining as possible. It's unlikely
the network will increase air time for
"The Goods" beyond its current four
hours per week. "We don't want to
turn MTV into a shopping channel,"
he said.

Even infomercial producer David
Sams, chairman/CEO of David Sams
Industries, said he makes sure that
selling comprises no more than &A

1FIH

(EM

by Deborah
Russell

minutes in each of his 30-minute info-
mercials.

Sams actually approaches the info-
mercial as a marketing and position-
ing tool to help sell product by artists
who receive minimal radio and video
airplay. His productions include info-
mercials for such artists as Pia Za-
dora and Canada's Rita MacNeil.

"We're developing. into a very sig-
nificant marketing tool," he said.
"The infomercial is extremely power-
ful when it comes to positioning a
personality."

Rapping about

Video: R&B and rap video
programmers used a con-
ference discussion group to
re-emphasize their desire
for greater balance in the
distribution of record label
promotion tools. Second-
ary-market programmers
complained that the major-
ity of promotional dollars,
ticket giveaways, and artist
visits unfairly go to radio
stations, despite video's
contribution to breaking
artists.

"We're the place you
come when radio won't
play your new artists, and
then, once we get the buzz
going on them, you forget
all about us," one disgrun-
tled programmer told the label exec-
utives in attendance.

Representatives from label video
departments encouraged local pro-
grammers to develop cooperative re-
lationships with retail outlets and ra-
dio stations to bolster their stature
within their respective markets. But
many programmers were lukewarm
to the idea, citing their desire to avoid
becoming "stepchildren" of the busi-
ness.

In an attempt to strengthen their
position in the business, program-
mers said they plan to create an ur-
ban-video coalition. The organization
would allow programmers to better
share information and strategies, and
strengthen their position in the music
business.

No timetable was established for
the formation of the coalition.

AsK ME ANYTHING: Columbia is
making available to Internet users an
online listing of several hundred re-
gional/local music video shows, com-
plete with genre, air time, and loca-
tion, among other details. During the
Music Video Assn. meeting that
opened the conference, Columbia's
online guru and VP of video promo-
tion Mark Ghuneim offered the or-
ganization a "page" on the label's web
site.

Commercial free: During

the MVA meeting, R-N-R Free-
lance's Mark Woinstein, who co-
chairs the group's ethics committee,
(Continued on next page)

BILLBOARD NOVEMBER 19, 1994

agonal

Music Video

GREEN DAY SHOWS MAXIMUM VISION WITH LONGVIEW CLIP

(Continued from page 1)

ward/Rhino artist and VH1 personality
Buster Poindexter.

The Maximum Vision award honors
the videoclip that does the most to ad-
vance an artist's career. Winning video
"Longview" also was named best new
artist clip in the alternative/modern
rock category.

"This Ls the first award this band has
ever won," said Wendy Griffiths,
Warner Bros, director of national video
promotion, upon accepting the "new
artist" award for the band, which was
performing that night in Dominguez
Hills, Calif. Griffiths and fellow
Warner Bros, director of national video
promotion Steve Stevenson visited the
stage repeatedly throughout the cere-
mony, as Warner Bros.-affiliated acts
dominated the awards, reaping a total
of seven trophies in the contemporary
Christian, country, hard rockAnetal,
pop/AC, and R&B/urban categories.

Spike Jonze, another Satellite Films-
associated director, was honored as the
year's top director. The second Satel-
lite Films director to be so honored,
Jonze was the eye behind such clips as
the Beastie Boys' "Sabotage,"
Weezer's "Buddy Holly," and Dinosaur
Jr's "Feel The Pain."

Satellite's head of music video, Dan-
ielle Cagaanan, accepted the award for
Jonze. Satellite's Mark Romanek re-
ceived the debut award last year.

This year's other multiple-award-
winning act was Coolio, whose "Fan-
tastic Voyage" was honored as best clip
and best new artist clip in the rap cate-
gory. The video, which was a Maximum
Vision nominee, was directed by F.
Gary Gray of FM. Rocks.

Director Charles Wittenmeier of the
End was the eye behind two award-

Billboard Music Video Awards show host Buster Poindexter, in photo at left, congratulates Wendy Griffiths, Warner Bros.' director
of national video promotion, as she collects one of seven awards corralled by Warner-affiliated acts. At right, Satellite Films director
Mark Kohr. who reeled Green Day's "Longview" video, which won two awards, is joined by Danielle Cagaanan, head of music
video at Satellite Films, who accepted the director of the year award on behalf of Spike Jonze. (Photo: Savage Photography)

winning clips. He reeled Counting
Crows' DGC/Geffen clip "Mr. Jones,"
which was named best new artist clip
in the rock category, and Capitol's US3
clip "Cantaloop." which netted the best
new artist video award in the dance
category.

Among the other artists whose clips
were honored were R.E.M., the Rolling
Stones, Janet Jackson, D.C. Talk, Mar-
tina McBride, Faith Hill, Rollins Band,
Candlebox. Gloria Estefan, Toni Brax-
ton, Me'Shell NdegeOcello, and Sheryl
Crow.

In the local/regional programming
awards, the crew behind Newark, N.J.-

hased "Power Play" walked away with
two awards, for best pop/AC show and
best Latin show (for "Power Play In-
ternational").

Ralph McDaniels of the New York-
based urban show "Video Music Box"
was honored as the top programmer in
both the rap and R&B categories. It
was McDaniels' third consecutive win
in the rap category.

Other repeat winners were Tom
Green, whose "Light Music" was na-
med best contemporary Christian
show; Kris Harris, whose "30 Minutes
Of Rock" was named best hard rock/
metal show; and Mike Drumm, whose

"Music Link" was named best rock
show.

Here is a complete list of winners:

GENERAL AWARDS

Maximum Vision: Green Day,
"Longview" (Reprise/Warner Bros.)

Best Director Spike Jonze, Satel-
lite Films,

ALTERNATIVE/MODERN ROCK

Clip Of The Year: Beastie Boys,
"Sabotage" (Capitol).

New Artist Clip: Green Day, "Long-
view" (Reprise/Warner Bros.)

Best Local/Regional Show: "Bohe-
mia After Dark," Portland, Ore.

THE EYE

(Continued from preceding page)

reported that the MVA succeeded in
arguing to the New York City Office Of
Telecommunications that music videos
are not commercials to sell albums, and
thus can be programmed on public ac-
cess television. Public-access program-
mers are encouraged to contact the
MVA for details.

ORIENT EXPRESS: MTV Asia is
moving forward on its plans to build a
production facility worth $25 million-
$30 million, said Tom Hunter, senior
VP of international operations, MTV
Networks, While the studio likely will
be housed in Singapore, Hunter says
the network will have a presence in
many Asian cities.

MTV Asia, one of the most complex
international launches the music video
network has ever attempted, also is one
of the most expensive. Hunter noted
that the Asia project requires four or
five times the capital investment of any
previous MTV international launch.
But the payoff is that much better, he
said with a knowing smile.

BuSTER'S MOVES: While in Los
Angeles to host Billboard's Music
Video Awards, Buster Poindexter
stopped by the offices of his Rhino la-
bel for a one-hour online session with
CompuServe users. In addition to plug-
ging his current album, "Buster's
Happy Hour," Poindexter talked about
his other incarnation as David Johan-
sen, solo artist and founding member

of the New York Dolls.

After seeing the warm reception to
his awards show performance, we can
only wonder why VHl, which runs
Poindexter's "Happy Hour" program,
is not exploiting his nutty humor and
maximizing his offbeat sensibilities to
the ultimate benefit of VHl viewers.

MAJOR PLAYERS in music video
are not the only ones speculating about
the potential industry impact of a new-
programming behemoth, such as the
stalled network proposed by Warner
Music Group, Sony Software, EMI, Po-
lyGram, BMG, and Ticketmaster. Re-
gional programmers, such as Kevin
Ferd of Newark, N J.'s "Power Play,"
are even more concerned about their
own survival. "There's a very short
window for the regionals these days,"
Ferd says.

On the other hand, the emergence of
a new national network could mean ex-
panded opportunities for producers
such as Ferd. Regional shows could be
picked up as regular network program-
ming for the outlets, while regional
producers could be tapped to lend their
skills to the new services.

TAHITI CARCHIDI: Some regional
programmers just know how to work
the right angles. Take Paul Carchidi
of Boston-based "Rage" and "Outra-
geous." On Nov. 5, following the Bill-
board Music Video Conference, Car-
chidi boarded a plane for Tahiti,

compliments of his sponsors Quantas
Airlines and islands In The Sun. When
Carchidi and company were not sip-
ping cocktails in the Tahitian breeze,
they were shooting exteriors and
bumpers for their music video pro-
grams.

Carchidi also reported that he has
drawn his Tower Records retail part-
ners into the traveling promotion. The
three Boston-area stores that cross-
promote "Rage" and "Outrageous" are
set to provide customers with bag in-
serts that offer airline discounts on
trips to Tahiti. The Tower promotion
debuts in early December and runs for
several weeks.

Carchidi also has linked with the re-
sort chain Club Med for future adver-
tising and promotion opportunities.

SHOOTING STARS: Stevie Wonder
and Boyz II Men met with conference
attendees Nov. 3 during a Motown re-
ception. Programmers, including
Kenny Burgmaier of "Jazz Alley" in
Denver, Kurt Jones of "Da Bomb" in
East Lansing, Mich., and Anthony
Baxter of "Video Jamz" in Mount
Pleasant, S.C., shot footage and per-
sonalized bumpers for their respective
programs.

Baxter got the ultimate treat. The
programmer/performer, a longtime fan
of Wonder's, sat down at the piano and
sang a few tunes with the living legend.
Last we heard, the two were discussing
the fulfillment of Baxter's dream of re-

cording an album of Wonder's songs.

Public Enemy's Chuck D was in
the house as well, taping interviews
and IDs with dozens of local program-
mers at a reception held by Island Rec-
ords.

And we haven't yet heard whether
pop star/"Baywatch" star/executive
producer David HasselhofT reeled any
IDs for attending video programmers.
But HasselhofT tuas spotted in the hotel,
and he was rumored to be lurking about
the lifeguard station adjacent to the
MTV party at the Santa Monica pier.

Assistance in preparing thin column
provided by Carrie BortUIo and J.R.
Reynolds.

tive cable will continue to be a source
for new opportunities, since many sys-
tems are expanding their channel ca-
pacity to compete with DBS and other
new media.

Broadcast TV should not be over-
looked, added "Tropical Beat" pro-
grammer Warner, who emphasized that
the benefit of broadcast-television expo-
sure is in its numbers. "Cable is limited.
A lot of people do not have cable. When
you're on broadcast [TV], you reach a
far greater audience."

The Austin Music Network is plan-
ning an ambitious jump from local to

CONTEMPORARY CHRISTIAN

Clip Of The Year: DC Talk, The
Hardway" (Forefront Communications).

New Artist Clip: Steve Taylor,
"Bannerman" (Warner/Alliance).

Best Local/Regional Show: "Light
Music," Wall, Pa,

COUNTRY

Clip Of The Year: Martina
McBride, "Independence Day" (RCA).

New Artist Clip: Faith Hill, "Piece
Of My Heart" (Warner Bros.)

Best Local/Regional Show: "New
Country," Austin Music Network, Aus-
tin, Texas.

DANCE

Clip Of The Year: Janet Jackson,
"If" (Virgin).

New Artist Clip: US3, "Cantaloop"
(Capitol).

Best Local/Regional Show:
"Atlanta's Fresh Partv," Atlanta.
HARD ROCK/METAL

Clip Of The Year: Rollins Band,
"Liar" (Imago).

New Artist Clip: Candlebox,
"Change" (Maverick/Sire/WB)

Best Local/Regional Show: "30
Minutes Of Rock," Athens, Ga.
LATIN

Clip Of The Year Gloria Estefan,
"Con Los Anos Que Me Quedan" (Sony
Discos).

New Artist Clip: Los Fabulosos Ca-
dillacs, "Matador" (Sony Discos).

Best Local/Regional Show: "Power
Play International," Newark. N.J.
ROCK

Clip Of The Year: Rolling Stones,
"Love Is Strong" (Virgin).

New Artist Clip: Counting Crows,
"Mr. Jones" (DGC/Geffen).

Best Local/Regional Show: "Music
Link," Denver; "Raw Time," Austin,
Texas.

RAP

Clip Of The Year: Coolio, "Fantas-
tic Voyage" (Tommy Boy).

New Artist Clip: Coolio, "Fantastic
Voyage" (Tommy Boy).

Best I>ocal/Regional Show: "Video
Music Box," New York.

R&B/URBAN

Clip Of The Year: Toni Braxton,
"Breathe Again" (Arista).

New Artist Clip: Me'Shell NdegeO-
cello, "If That's Your Boyfriend" (Mav-
erick/Sire/WB).

Best Local/Regional Show: "Video
Music Box," New York.

POP/AC

Clip Of The Year: R.E.M., "Every-
body Hurts" (Warner Bros.).

New Artist Clip: Sheryl Crow, "All
I Wanna Do" (A&M).

Best Local/Regional Show: "Power
Play," Newark, N J.

national availability, said Benjamin.

"We want to get the quality up a bit
more before we start exporting the pro-
gram nationally," he said.

To build up local awareness, the Aus-
tin Music Network is listed in the TV
time grids in two local papers and runs
spots on the local album alternative ra-
dio station. Benjamin said that the
show's four-person staff is aiming to
break out of Austin's city limits in the
next few months.

The panel was moderated by Bill-
board senior writer Chris Morris.

NICHE PROGRAMS HOLD ON

(Continued from preceding page)

BILLBOARD NOVEMBER 19. 1994

FOR WEEK ENDING NOVEMBER 6, 1994

Billboard. Video Monitor

THE MOST-PLAYED CLIPS AS MONITORED BY BROADCAST DATA SYSTEMS

* * NEW ADDS * * LISTINGS SUBMITTED BY THE OUTLETS (NOT FROM BDS) OF CLIPS ADDED FOR THE WEEK AHEAD

14 ftours daily
1899 9th Stree NE.
Washington. D.C. 20018

1 Da Br.it Fa All Van
ZCtC* Periston. Hit By Love

3 Brandy, 1 Wanna Be Down

4 Charttt Moore. Old School Lovin'

5 Janet Jackson. You Want This

6 Barry White. Practice What You

7 Tool Braxton, How Many Ways

8 Jade . 54-3-2

9 Snoop Dotjy r>agf, Murder Was The Case

10 TLC, Creep

11 Craig Mack, flava In Ya Ear

12 Heavy D & The Boyz, Black Coffee

13 Usher. Can U Get Wit It

14 Boyz II Men, On Bended Knee

15 Nuttin' Nyce, Down 4 Whafevi

1 6 Luther Vandross. Arrays And Forever
17Babyface, Rock Bottom

18 Keith Sweat Get Up On it

19 Aaron Hal, When You Need Me

20 Bebe&CeceWhn. If Anything Ever...

21 Warren G, Do You See

22 Iri Kamme. Here Cmtes The HOsteppei

23 Ebony V*e Evertacbng. Groove 0( Love

24 McEJht Gee Mat* The Hood Go Round

25 BUckstreet Before I Let You Go

26 Quo, Blown Up

27 BUck Men United, U Will Know

28 BlackfW, When* D*d We Go Wrong

29 Pete Rock t C.L Smooth, I Got A Love

30 Salt-N-Pcpa, None Of Your Business

* * NEW ADDS * *

Seal, Newborn Fnend
Vanessa WW kerns. The Sweetest Days
Alter 7. Not Enough Hrs. In Trie Night
Mint Condition. So Tine
Brownstone, If You Love Me
GeraW LeVert, Can't Help Myself
Gladys KrWght, Cnd Of The Road
Zhane. Shame

ShaquiHe O'Neal. Biological Didn't Bother

arac

Continuous programming
2806 Opryiand Dr..
Nashville. TN 37214

1 Sammy Kershaw, Third Rate Romance

2 Alan Jackson, Uvln' On Love

3 Dawk* Bel, Wl*o The ThaeW Of You

4 Faith Hill, Take Me As l Am

5 Kathy Mattea, Maybe She's Human

6 Garth Brooks, The Red Strokes

7 Tracy Lawrence. I See It Now

8 Neat McCoy. The C*y Put The Country .-.

9 EUackhawfc. I Sure Can Smell The Rain

10 Little TtUS. Kick A Little

11 Mary Chapin Carpenter. Shut Up And ...

12 Clay Walker, rf I Could Make A Living

13 Vlncc GUI, When Love Finds You

14 The Tractors. Baby Likes To Rock It

15 Clint Black, Untangtin' My Mind

16 Toby Keith. Upstairs Dcwriown
17Uri White, Now I Know

18 Reba McEnOre, Till You Love Me 1

19 B% Ray Cyrus, Storm In The HeattSand t

20 Patty loveless, Here I Am t

21 Larry Stewart, Losing Your Love t

22 Tim McGraw, Not A Moment Too Scon t

23 Joe Dfflkt, Pickup Man t

24 Wade Hiyes, OH tnoutfi To Know Better t

25 Garth Brooks, Callin' Baton Rouge

26 Ricky Van Snetton, Wherever She is

27 Jesse Hunter. Long Legged Hannah

28 John Anderson, Country 'til I Die

29 Radney Foster, The Running Kind t

30 Randy Travis, This Is Me t

31 Doug Stone, Little Houses

32 Confederate Raatroad. Summer In Dene

33 BmotelDieTiSne'smTTvO^eatn'Krt

34 RhettAkins, What They're Talkie About

35 Aaron Tippin, I Gut it Honest

36 Dan Seals, Love Thing

37 Greg Holland, When I Come Back t

38 CSrrton Gregory, The Guff Ana The Shell

39 Mac Mcanally, Down The Road

40 Ricky Lynn Gregg. After The Fn Is Gone

t Indicates Hot Shots

* * NEW ADDS * *

Alabama, Angels Among Us

Oeve FrancaPatti Austin. We Fell In Lose...

Ken Meltons. I Can Bnng Her Back

Noah Gordon. The Blue pages

Pan TIIHs, Mi Vida Uxa (My Crazy Life)

Russ Taff, Love is Not A Thing

Sammy Kershaw, Southbound

Shenandoah Alton Krauts, Scrrtevvrete In The ...

Eagles, The Girl From Yesterday

Wynonna k Michael English, Healing

Continuous programming

1515 Broadway. NY. NY 10036

1 Stone Temple Plots, interstate Love Song **

2 Offspring, Sen" Esteem *

3 Boyz II Men. On Bended Knee

4 Nirvana, About A Girt

5 Aerosmith, Blind Man "

6 John Mellencamp, Dance Naked

7 Coolio, 1 Remember

8 Snoop Doeey !3oejL r\*jrrta Was The Case

9 Janet Jackson. You Want Trus

10 The Cranberries, Zombie *

1 1 R UM , What s The Frequency, Kmneth?

12 Salt N-Pepa. None Of Your Business

1 3 The Black Crowes, A Conspiracy

14 Rolling Stones. Out Of Tears

15 Madonna, Secret

16 Immature, Never Lie

17 Hate, Doll Parts

18 Warren G, Do You See

19 Bon Jovt, Always

20 Live, I Alone

21 Da Brat. Fa All Y'all

22 Liz Phair, Supernova

23 Beastle Boys. Sure Shot

24 Veruca Salt, Seether

25 Candleboi. Cover Me

26 Queensrycht, I Am I

27 Sting, When We Dance

28 Jewry Page 1 Robert Plant, Cialtws Pole

29 Boyz II Men, i n Make Love To You

30 Megadeth, Train 01 Consequences

31 Green Day. Basket Case

32 Sheryl Crow, All I Wanna Do

33 Real McCoy, Another Night

34 Lucas. Lucas With The Lid Off

35 Ace Of Base, Living In Danger

36 Soul Asylum, Can't Even Tell

37 F reedy Johnston, Bad Reputation

38 Warren G t* Nate Dogg, Regulate

39 Hootic t The Btovvfeh. HcW My Hand

40 Bad Religion, 21st Century {Digital Boy)

41 Sound garden, My Wave

42 Eric Clapton, Motherless Child

43 Urge Overkill, G rl, 'fen II Be A Woman.

44 Salt-N-Pepa, Shoop

45 Snoop Doggy Dogg, Gin And Juice

46 TLC. Creep

47 Dr. Ore. Nuthtn' But A *G* Thang

48 Soundgardw, Black Hole Sun

49 Compulsion, Delivery

50 Luscious Jackson, Citysong

** Indicates MTV Exclusive
* Indicates Buzz Bin

* * NEW ADDS * *

Tom Petty, You DcrtT Know How It Feels

Madonna, Secret (Oance-0-Rama Mil)

Soundgarden, Fell On Black Days

Weezer, Buddy Holly

Heavy D ft The Boyz, Black Coffee

Sunny Day Real Estate. Seven

The Cult, Coming Down (Drug Tongue)

Eagles, Hotel California

Doctor Dtt 1 Ed Lover, Back Up Off Me

Shaquille O'Neal, &ologkcaJ Odnl Bother

Oasis, Supersonic

OTNN

THE NASHVILLE NETWORK.

The Heancf Country

30 hours weekly
2806 Opryiand Dr..
Nashville. TN 37214

1 Tracy Lawrence, I See It Nov*

2 Garth Brooks, Callin" Baton Rouge

3 The Tractors. Baby Likes To Reck It

4 Sammy Kershaw. Third Rate Romance

5 Tracy Byrd, Watermelon Crawl

6 Alan Jackson, livin' On Love

7 Farth Hill, Take Me As I Am

8 Marty Stuart. That's What Love's About

9 Vince Gill. When Love Finds You

10 Clay Walter, If i Couk) Make A Living

11 NeeJ McCoy, The OtvPulThe Country.

12 John ft Audrey W«inv Has .V-',t>xv

13 eiackhawk, I Sure Can Smelt The Rain

14 Little Texas, Kick A Little

15 John Anderson. Country Til I Die

16 Mary Chapn Carpenter. StjI Lp A.tt1 Ka Me

17 Keith WhrBeyjV arious Artists, A Voce

18 Clint BUck, Untanglin' My Mind

19 Aaron Tippin, I Got It Honest

20 Jesse Hunter, Long Legged Hannah

21 Joe Drffle, Pickup Man

22 Kathy Mattea. Maybe She's Human

23 Ken Meilons, Jukebox Junkie

24 Tim McGraw, Not A Moment Too Soon

25 The Mavericks, There Goes My Heart

26 Rick Trevino, Doctor Time

27 Wllie teetsen. Once You're Past The Blue

28 My Ray Cyrus, Storm In Tl« Heartland

29 Randy Travis. Th.s Is Me

30 Doug Stone. Little Houses

* * NEW ADDS * *

Garth Brooks, The Red Strokes
Wade Hayes. Old Enough To Know Better
Jamie O'Hara, 50.000 Names
Larry Stewart, Losing Your Love
Trisha Yearwood, It Wasn't Hts Child
Lisa Brokop, Take That
Ricky Lynn Gregg, After The Fire Is Gone
Clinton Gregory. The Gulf And The Shell
Wllhe Nelson, December Day

Continuous programming
1515 Broadway. NY, NY 10036

1 Sheryl Crow, All I Wanna Do

2 Madonna, Secret

3 Melissa Etheridge, I'm The Only One

4 Sting, When We Dance

5 Gloria Estefan, Turn The Beat Around

6 John MeMencamp. Dance Naked

7 Eric Clapton. Motherless Child

8 Ace Of Base. Living In Danger

9 Pretenders. I'll Stand By You

10 JonSecada, If You Go

1 1 Hoot* ft The Bkwrflsh, Moid My Hand

12 Boyz II Man, I'll Make Love To You

13 Des'ree, You Gotta Be

14 UreeOverktl, Girl, tout Be A Woman...

15 Stone Temple Pilots, Big Empty

16 Rolling Stones. Out Of Tears

1 7 Toad The Wet Sprocket Scmethng's Ahray

18 Babyface, When Can I See You

19 John Mellencamp, Wild Night

20 Tom Jones, If I Only Knew

21 Toni Braxton. Yoj Mean The Wert) To Me

22 Mazzy Star, Fade Into You

23 Lisa Loeb ft Nine Stories. Stay

24 Counbng Crows, Mr Jones

25 Melissa Elrwndge. Come To My Window

26 Seal, Prayer For The Dying

27 Freedy Johnston, Bad Reputation

28 Gin Blossoms. Found Out About You

29 R.E.M-, Whars The frequency, tvsrrieth'

30 Counting Crows. Round Here

* * NEW ADDS * *

Tom Petty, You Don't Know How It Feels

Boyz II Men, On Bended Knee

Amy Grant ft Vince Gill, House Of Love

Bob Seger. Night Moves

Blackstreet, Before I Let You Go

Seal, Newborn Fnend

Carty Simon, Like A River

Barry White. Practice What You Preach

Stone Temple Pilots. Interstate Love Song

Vanessa Williams, The Sweetest Days

Sam Phillips, Baby I Can t Please You

THE CLIP LIST

A SAMPLING OF PLAVLISTS SUBMITTED BY
NATIONAL ft LOCAL MUSIC VIDEO OUTLETS FOR
THE WEEK ENDING NOVEMBER 19. 1994.

Continuous programming
12000 Biscayne Brvd
Miami. FL 33181

AMERICA'S NO. 1 VIDEO

Snoop Doggy Dogg. Murder Was The Case

BOX TOPS

Bone Thugs N Harmony. Th-iggsh Ryggsh..
Method Man, Bnng The Pain
Doctor Dre ft Ed Lover. Back Up Of) Me
Blackstreet. Before I Let You Go
Scarf ace. I Never Seen A Man Cry
Boyz II Men, On Bended Knee
Rappin' 4-Tay, Playaz Club
Shaquille O'Neal, Biological...
Outkast, Git Up, Git Out
Craig Mack, Flava In Ya Ear
69 Boyz. Tootsee Roll
Spice 1. Strap On The Side

ADDS

Artifacts, Cmon Wrt Da Git Down
Barrio Boyz, Try A Little Tenderness
Brownstone, If You Love Me
Dana Dane, Record Jock
Fugees. Vocab

Gerald Alston. Stay The Night

Gladys Knight. End Of The Road

House Of Pain, Legend

Immature. Never Ue

Jayo Felony, Brothas ft SlSias

K-CI Of Joded, H You Think Lonely Now

Kansas City Original Sound, Bounce

Lighter Shade Of Brown, Dip Into My Ride

London Suede. Wild Ones

Luther Vandross, Always And Forever

M People, Excited

Magna Pop. Lay It Down

Redman. Rockafetta

Ron C. Mobbm'

Silk, I Can Go Deep

Society, Yes N Oeed

Subway, This W Game We Play

20 Fingers, Short Shod Man

Vanessa Williams, The Sweetest Days

Veruca Salt Seether

moR

musio*

Continuous programming

11500 9th St N

St Petersburg. FL 33716

Eagles, Hotel California

Tim McGraw, Not A Moment...

Luther Vandross, Always And Fcreve'

Adrian Legg. The Crockett Waltz

The Byrds, Turn Turn Turn

Bar bra Streisand, Evergreen

DiBlasio. De I ica do/Tito Tico

Sheryl Crow. All I Wanna Do

Anita Baker. Body ft Soul

Basil, Third Time Lucky

Page/Plant, Gallows Pole

San tana, Luz Amor Y Vida

Sting, When We Dance

Alan Jackson, Livin' On Love

Harry Ccnnick fc, (I Could Only) Whisper...

Rolling Stones, You Got Me Rocking

Gloria Estefan. Turn The Beat Around

The Red Hots, Teach Your Children

The Tractors, Baby Likes To Rock It

Joe Cocker, The Simple Things

Six hours weekly

1 Centre Street Room 45

New York. MY 10007

Kwame, What's It Like
MMk, Get Off My Log
Big Daddy Kane, Show & Prove
Rob Base, Break Of Dawn
III Al Skratdi, I II Take Her
Shabba Ranks, Original Woman
Nas, One Love

Da Bush Babees, We Run Things

Gravedfggaz, Nowhere To Run...

Brandy, l Wanna Be Down

Keith Murray, The Most Beautifullest Thing

Jeru The Damaga. Can't Stop The Prophet

Gerald L evert. I'll Do Anything

K7, Mrj.'e II l-ke This

Ini Kamoze, Here Comes The Hotstepper
Fu-Schnkkens. Breakdown
Jade. 5-4-3-2
Raja-Nee-, Turn it Up
Craig Mack. Flava In Ya Ear

Continuous programming
Hawley Crescent
London NW18TT

Bon Jovi. Alrtjys

Snap/Summer, Welcome To Tomorrow
Take That, Sure
Rednex, Cotton Eye Joe
WMgtkttd, Saturday Night
Vandross'Carey, Endless Love
2 Unlimited. No One
Wet Wet Wet Love Is Ail Around
East 17. Steam

Boyz II Men. I'll Make Love To You

Madonna, Secret

Or. Alban, Let The Beat Go On

Cappetla. Move II Up

Youssou N'Dour/N. Cherry. 7 Seconds

Sophie B. Hawkins, Right Beside You

Reel To Real, Can You Feel It

Sheryl Craw. All I Wanna Do

Warren G ft Nate Dogg, Regulate

Maxx, You Can Get it

Palo Banton, Baby Come Back

[t i lY * s* cTnI

Continuous programming
2806 Opryiand Dr
Nashvilkt, TN 37214

Gary Chapman. Sweet Glow 01 Mercy

Take 6. Biggest Part 01 Me

Steven C. Chapman, Heaven In The ...

Amy Grant, Lucky One

Bryan Duncan, Traces Of Heaven

Dlonne Ferris, I Know

Clay Crosse. My Place ts With You

Newsboys, Shine

Dakoda Motor Co., Truth

Out Of The Grey. Atl We Need

Twila Paris. What Am I?

Rich Mullins, The Color Green

Lisa BevlM. Hold On

DC Talk. Luv li A Verb

BeBo ft CeCe Wmarrs, If Anytti ng.

jbV

One hour weekly
216 W Ohio
Chicago. IL 60610

Pavement, Range Life

This Picture, Hands On My Soul

Ex-Idols, Go Away

Jawbox. Savory

Superchunk, Dnveway To Driveway
naming Lips. She Don't Use Jelly
Oasis. Supersonic

Jesus Lizard, Destroy Before Reading
Radiohead. My Iron Lung
Kate Bush. The Red Shoes
Murmurs, You Suck
Tar, Satritis

Poster Children, What's inside The Box

Palo Saints, Angel

SUbbing Westward. Lies

Rancid. Salvation

London Suede, Wild Ones

Jett Buckley. Grace

Deus, Suds ft Soda

The Cranberries, Zombie

1/2 -hour weekly
46 Grftord St
Brockton. MA 02401

The Curt, Coming Down

Frank Black. Headache

They Might Be Giants, Snail Shell

The Cranes, Shining Road

Otonne Ferns. I Know

London Suede, Wild Ones

Sarah McLachlan. Good Enough

Bad Religion. 21st Century DtgrtJl Boy

Bryan Ferry, Mamouna

Stabbing Westward. Lies

Murmurs, You Suck

Fatima Mansions. L-, r r .r-

Billboards

FOR WEEK ENDING NOVEMBER 19, 1994

Top Jazz Albums.

IWEEKS

Ion chart 1

COMPILED FROM A NATIONAL SAMPLE OF RETAIL STORE AND RACK

SAlfS R1PORTS COLLECTED, COMPILED. AND PROVIDED BT SOUHdSCaP

ARTIST II III TITLE

LABEL 4 NU'/SEn. LHL ' Vj

* * * NO. 1 *

TONY BENNETT Columbia M7ia

* *

l9wwta*tNo 1
MTV UNPLUGGED

MARCUS ROBERTS Columbia 66437 Eg

GERSHWIN FOR LOVERS

JOSHUA REDMAN QUARTET wabncr Bros 7072 OS

MOOD SWING

GROVER WASHINGTON, JR. Columbia 64311

ALL MY TOMORROWS

PERLMAN/PETERSON telarc 83341

SIDE BY SIDE

VARIOUS ARTISTS

ATLANTIC 826'.j .' BURNING FOR 8UDDY- A TRIBUTE TO THE MUSIC 0' :

TONY BENNETT Columbia 57474

STEPPIN' OUT

SHIRLEY HORN verve 57J486

1 LOVE YOU PARIS

HARRY CONNICK, JR. A columbia53172

? 2

GINGER BAKER TRIO Atlantic km2

■ > -12".'

NEW ►

OAVEGRUSIN GRP97B9

ORCHESTRA! ALBUM

SOUNDTRACK hollvwooobesst.island

SWING KIDS

ETTA JAMES privateiuim

MYSTERY LADY

TOOTS THIELEMANS private 82120

EAST COAST/WEST COAST

DIANE SCHUUR2B.B. KING cap 9767

HEART TO HEART

MARK WHITFIELD verve nam

TRUE BLUE

CASSANDRA WILSON blue note 81357,capitol

BLUE LIGHT TIL DAWN

DAVEBRUBECK telarc 83363

JUST YOU JUST ME

BILLIE HOLIDAY verve 513 943

BILLIE S BEST

ELLA FITZGERALD vervE519084

THF SFS2 OF THF SONGBOOKS

MEL TORME concordagk

A TRIBUTE TO BING CROSBY

RE-ENTRT

ROY HARGROVE novus6317wrca

APPROACHING STANDARDS

BETTY CARTER verve 6?:ir,:w

FFFD THE FIRF

ROY HARGROVE QUINTET

v£AVES23 019 WITH THE 'IVKs OF OUR lll.'l

LENA HORNE BLUE NOTE 2B97A;CAPnOL

WELL BE TOGETHER AGAIN

TOP CONTEMPORARY JAZZ ALBUMS

NEW ►

★ * * No. 1 * ★ *

KENNY G ARISTA 18767 1 mL * No. 1

MIRACLES the holiday album

101

KENNY G A 6 ARISTA 1 B646

BREATHLESS

NAJEE EMI 307S9

SHARE MY WORLD

NORMAN BROWN M0JAZ2 0301/MOTOWN

AFTER THE STORM

RUSS FREEMAN & RIPPINGTONS crp aim

SAHARA

ACOUSTIC ALCHEMY grp 9783

AS* SSI "HI GRAIN

HIROSHIMA QWEST 46601.REPRISE

L.A.

RICHARD ELLIOT blue note 27838Capitol

AFTER DARK

JOHN TESH PROJECT gts 34573

SAX BY THE FIRE

PHIL PERRY GBP 4026

PURE PLEA5URE

GEORGE HOWARD G»P97BDfJE

A HOME FAR AWAY

INCOGNITO VERVE FORECAST 522 03&VERVE 5E

POSITIVITY

EVERETTE HARP blue note 89297iCARitol BJQ

COMMON GROUND

WARREN HILL RCA66S03

TRUTH

AL JARREAU reprise 4S422twarner bros

TENDERNESS

JOE SAMPLE & SOUL COMMITTEE warner

ROS 45729

DID YOU FEEL THAT?

BONEY JAMES warner bros 4551 1 SB

BACKBONE

DAVID BENOIT grp97B7

SHAKEN NOT STIRRED

DAVID SANBORN elektra 61620

HEARSAY

ART PORTER verve forecast 523 356/verve IB?

UNDERCOVER

PETER WHITE sin-orome jbob

REFLECTIONS

DAVE KOZ CAPITOL 98892

...JCf.r MAN

(23)

NANCY WILSON Columbia 57425

LOVE. NANCY

FOURPLAY • WARNER BROS 45340

BETWEEN THE SHEETS

EARL KLUGH warner bros 45596

MOVE

( ) Albums with the greatest sales gains this week. S Recording Industry Assn. Of America [RIAA) certification
tor sales of 500,000 units. A RIAA certification for sales of 1 million units with each additional million indicated
by a numberal following the symbol. All albums available on cassette and CD. 'Asterisk indicates vinyl available
B indicates past or present Heatseeker title. <£> 1994. Billboard/BPI Communications, and SoundScan. Inc.

BILLBOARD NOVEMBER 19. 1994

Largest

Selection ©o

Of Latin v

Music! f

LATIN MUSIC DISTRIBUTOR

J 7960 SILVERTONE AVE . SUITE 1 16 . SAN DIEGO • CALIFORNIA 92126

Hbre-

• Knowledgeable Latin Service Reps.

• Best Prices Guaranteed

• Catalogs and Flyers

PHONE
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dproducts) TOLL FREE

(619) 695-8863
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TxorlcM. PftAJIN DISTRIBUTORS • 5901 Pacific 8lvd • Huntington Part, CA 90255 BMM

CO.'OlC

MANHATTAN LATIN MUSIC CENTER

DISTRIBUIDORA ONE-STOP MAS GRANDE DE MUSICA LATINA

jLLAMENOS
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Toll Free
800-745-4509

tui 212-563-4847
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CASSETTES portugues
VIDEOS

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OR 305-62 1 -0070 / FAX62 1 -0465
• AStfOttUtmA
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SpiBUTORS ACCES0RI0S, VIDEOS Y MUCHOMAS! ,

J SIQ ANOS-VNIIVI V3M • i3dOW HDOWS N3AQO V

Billboard.

FOR WEEK ENDING NOVEMBER 19, 1994

Unamplified Gold. Warner Music
Brasil legend Gilberto Gil, center,
accepted a gold record Oct. 17 tor his
acoustic album "Unplugged," which
has sold 150,000 units in Brazil. Gil is
planning to tour the U.S. early next
year. Shown with him at the
presentation are Paulo Junqueiro, left,
A&R manager at Warner Music Brasil,
and Sergio Affonso, right executive
director of Warner Music Brasil.

LATIN N0TAS

(Continued from page k0)

better known as Coracao Do Brasil.

Also released on PolyGram is Ne-
tinho's "Nada Vai Nos Separar," the
follow-up to his platinum debut M Um
Beijo Pra Voce," plus an acoustic al-
bum by rock quartet Nenhum De N6s
("Acustico Ao Vivo — Theatro Sao
Paulo") and the sophomore effort by
novo- samba group Pirraca ("Me Leva
Pra Casa") . . . Recently released by
Sony are splendid albums by standout
singer/songsmith Joao Bosco ("Na
Onda Que Balanca," produced by
Ronnie Foster), reggae titans Cidade
Negra ("Sobre Todas As Forcas," with
a vocal cameo from Shabba Ranks),
and a self-titled album by inimitable
song stylist Edson Cordeiro, whose
gender-bending soprano goes Minnie
Riperton-high during a fabulous La-
tin pop rendition of "Babalu."

ArGENTINA-NOTAS: The long-
awaited return of Robert Fripp's
venerable art-rock outfit King Crim-
son took Argentina by storm in
October, with 14 sold-out shows in
Buenos Aires, La Plata, and Cor-
doba. While in Argentina, Fripp par-
ticipated in Music & Sound '94, a six-
day confab featuring music seminars
and instrument expos that ran Oct.
10-15. Other notables taking part in
the event were Living Colour's
Doug Wimbush and former
Twisted Sister member Mark Men-
doza . . . BMG's Rata Blanca re-
turned to Buenos Aires after kicking
off its five-month El Libro Oculto
Tour, which took the metal band to
Spain, Portugal, and Mexico. Com-
plementing the tour stops were a
showcase set in Miami and a promo
visit to Brazil. BMG, which plunked
down $350,000 to lure Rata Blanca
from PolyGram, has just put out the
band's latest album, "Entre El Cielo
Y El Infierno" . . . Jorge Alvarez is
resurrecting his '60s label Mandioca
with a new album by the same artist
who recorded the first record for the
label: Moris. The album, now Hear-
ing completion, sports a mix of tango
with rock, as well as a cover of the
classic "Tomo Y Obligo" . . . EMI's
Los Enanitos Verdes, who finished
a 30-date jaunt throughout the coun-
try Oct. 30 in Buenos Aires, has
notched a platinum disc (60,000 units
sold) with "Big Bang."

Assistance in preparing this col-
HUM provided by Marcelo Fernan-
dez Bitar in Buenos Aires.

Latin Tracks. M-

THIS
WEEK

LAST
WEEK

2 WKS.
AGO

COMPILED FROM A NATIONAL SAMPLE OF AIRPLAY SUPPLIED BY BROADCAST
DATA 5YST E MS' RADIO TRACK SERVICE 1 16 LATIN MUSIC STATIONS ARE
ELECTRONICALLY MONITORED 24 HOURS A DAY. 7 DAYS A WEEK

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BILLBOARD NOVEMBER 19. 1994

Retail

™ Spec's Has 20/20 Vision Of Future

Fla. Chain Plots Expansions, Deeper Selection

Goody Got Bennett. After performing recently at Radio City Music Hall in New
York, Tony Bennett, whose new album on Columbia is "Snowfall." went down
the block to the Sam Goody store for an in-store appearance. Pictured, from left,
are Christine Vaccari, sales rep for Sony Music Distribution; Rita Donate
Musicland senior store manager; Beth Sheldon. Musicland marketing
coordinator; Bennett; Lisa Kaplan. Musicland marketing assistant; Craig Ward,
Musicland regional director; and Janet Figueroa. Musicland district manager for
Manhattan.

■ BY DON JEFFREY

MIAMI — Spec's Music, the Florida-
based retailer, has a goal of becom-
ing a $100 million company before
too long. The opening of larger
stores carrying a wider selection of
music is a key strategy for achieving
that aim.

It is a goal that is not far away. In
the fiscal year that ended June 30,
Spec's booked revenues of $78.4 mil-
lion, up from $72.7 million the year
before.

Spec's president Ann Lieff and
senior VP of merchandising and
marketing David Hainline discussed
the company's direction at the 1994
convention here Oct. 11-13.

Like many retailers, Spec's views
larger stores as a way to create ex-
citement among customers and offer
them the deepest selection of prod-

Educated LP Buyers Flock To Princeton

Vinyl Specialist Thrives With Vast, Eclectic Selection

■ BY LINDA CROWLEY

PRINCETON, NJ.— Ask most peo-
ple what they know about Princeton,
N.J., and more than likely they'll men-
tion the presti-
gious university.
a Ask the same

■ ^ f question of hard-
% * core record collec-

tors, and there's a
A-*, | good chance
V*^ J they'll direct you
| ( i (he Princeton

weisfeld Record Ex-

change, located
one block from the Ivy League cam-
pus.

Owned and managed by Marry
Weisfeld, the Princeton Record Ex-
change has gained a reputation as hav-
ing one of the best collections of vinyl
in the New York/Philadelphia corri-
dor. With an inventory of more than
100,000 LP titles, 90*2 of which are
used, the store attracts avid collectors
from as far away as Europe. On an av-
erage Saturday, according to the
owner, there may be 70 or SO bargain
hunters and collectors in thr store ;n
one time, intently browsing through
rows of wooden bins containing every-
thing from classical to alternative
rock, with a fair share of idiosyncratic
and rare pressings.

Weisfeld liegan building Ma impres-
sive inventory as a youthful passion. "I
was obsessed with collecting records
in college," he says. In 1975. after gra-
duating from the University of Hart-
ford, he stacked his collection of 1,000
records in a van and. in effect, went
back to college. But this time it was
strictly in search of sales. For nearly
five years, he supported himself — of-
ten sleeping in his van — by buying and
selling records on campuses and at
flea markets all over the East Coast
and in parts of the Midwest. During
that period, Princeton was just one

RETAIL

IS COMING SOON TO

A STORE NEAR YOU! <^&&y>

stop on his college itinerary, but in
1980 he decided to make it his home
by opening the Princeton Record Ex-
change on Nassau Street, the town's
main thoroughfare, directly opposite
the campus.

Five yean later, with business go-
ing well and inventory building rap-
irlly, the store moved to its cuirent lo-
cation on a quiet side street, one block
farther from the main shopping area.
"By sacrificing location for space, we
may have lost a small percentage of
walk-by, impulse shoppers," says
Weisfeld, "but it was worth it because
we more than tripled our space."

Deceptively small on the exterior,
the narrow' but deep one-stoiy, white-
brick structure is conveniently located
next to a large, metered parking lot.
The total space is 4,300 square feet,
about one-quarter of which is reserved
for storage and offices.

Although Weisfeld retains the in-
tense energy level of a seller accus-
tomed to a hectic emporium, he prides
himself now on what he calls the "pro-
fessional environment" of his store,
pointing to the bright, fluorescent
lights (to better Inspect the quality of

the records), carpeted floor, and ample
aisle space. "We try to discourage a
flea-market atmosphere," he says.
"There is no bargaining over prices,
and our customers are satisfied be-
cause they know that anywhere else
they will find the same record at two
to three times the price."

Adding to ihe store's professional
environment is Weisfcld's knowledge-
able staff of 12 full-time and eight
part-time employees, many of whom
are either musicians or collectors, and

seven of whom have worked at the
store for more than six years. "The
turnover is low," Weisfeld says, "be-
cause they like the work and. rela-
tively speaking, the compensation is
good." The store is open seven days a
week, and at any given time at least
half the staff is engaged in activities
other than working the counter.
"[Dealing in used product! is labor-in-
tensive," he says. Purchasing, inspect-
ing, and pricing a collection that could
contain as many as 2,000 records —
most of which come unsolicited Cram
individuals, estate sales, and radio sta-
tions — requires a team of three to
seven people with specialized knowl-
edge in rock, jazz, and classical music.

In addition to LPs, which account
for about 489 of total sales, the
Princeton Record Exchange also car-
ries CDs and cassettes. Housed in the
front third of the store are 85.000 CDs
(40*r used. HO^f new), which make up
508 of the store's total sales, and 5,000
cassettes, which account for 4%. New
inventory is purchased from a nearby
t('otitiftiH(l mi fiagv ■">■'>}

uct. "Our big focus is on adding more
SKL's and larger selection, to make
the stores easier for shoppers to
shop in," Lieff
says.

Stores that are
now 7,000-10,000
square feet are
being expanded
to 10,000-15,000
square feet, while
the chain seeks
ueff new sites in the

latter range.
There are also plans to build mega-
stores with about 22,000 square feet
of space.

Hainline says, "One thing about
bigger stores is that if you create the
right environment and selection,
they become event entertainment
centers."

In addition to increasing square
footage and stock-keeping units,
Spee's has beefed up its buying and
field staff, enlarged its distribution
center, and made $2.5 million worth
of improvements to its computerized
inventory system.

Internal and external changes to
the stores include a new logo and de-
sign, an increased number of listen-
ing stations, and the merchandising
of CDs and cassettes together. Hain-
line says the latter move offers "flex-
ibility" at a time when the cassette is
shrinking as a percentage of music
sales and becoming more and more
difficult to merchandise.

At the time of the convention.
Spec's had 55 stores open in Florida
and Puerto Rico. By the end of this
year, there will be 61, executives say.

Next year. Spec's will open two
high-visibility megastores not far
from headquarters here. Both will be
larger than 20,000 square feet. One
is in the upscale Coconut Grove sec-
tion of Miami. This store is designed
to include a protruding, glass-en-
closed area for listening posts and an
outdoor seating area for perform-
ances. The other megastore is in
Miami Beach's South Beach section,
which is enjoying a resurgence of ac-
tivity and investment and becoming
one of the hottest retail areas in
southern Florida. This store is a
renovation of a two-story building

that, because it is in a historical dis-
trict, will preserve the existing fa-
cade. These big stores will offer CD-
ROM titles, but not books. Cur-
rently, Spec's biggest store is in the
Sawgrass Mills outlet mall in West
Broward County.

Despite the emphasis on expan-
sion, there are no plans at present to
add stores outside Florida and
Puerto Rico. "We don't have any
signed deals to leave here," says
Lieff. "But we aren't opposed to leav-
ing here."

Lieff says that Sj^'s has not satu-
rated all the important markets in
Florida, noting that Spec's does not
have a large presence in the big mar-
kets of Jacksonville and Orlando.

For the most part, Spec's will be
developing its own real estate.
"There are not a lot of acquisitions
left in our markets," says Lieff.
Free-standing stores in the 10,000-
15,000-square-foot range will likely
be the biggest growth vehicle.

But mall outlets will be opened as
well. "Malls are doing well," says
Lieff. "We have five new mall deals
this fiscal year with [mall developer]
DeBartolo." The mall stores are also
getting bigger, thev are going up to
4,000-7,000 square feet

Financing for the expansion will
be done through cash flow and bank
borrowings. The company has a new
$15 million line of credit from its
banks.

Except for improving selection
and convenience for consumers,
there are no plans to change the
chain's focus on selling music. Al-
though sales of home video are
increasing, executives maintain that
Spec's is first and foremost a music
chain, and that the emphasis will re-
main on music. Video rental is of-
fered in about 12 stores, but Hainline
says, "We'll phase them out as the
stores come up for remodeling."

As for video games, Lieff adds,
"Music is our core business. We have
not [become] involved in the game
business."

Boutique items are likely to find
more space in Spec's stores, but
these products will "be things that
connect to the music." says Hainline.

(Continued on page nit)

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]

Musicland/Blockbuster Rumor
Offers Much Food For Thought

RETAIL
TKAC

by Ed Christman

HAT NEXT?: On Nov. 2. Paul
Marsh, an analyst at New York-
based NatWest Securities Corp.,
issued a report suggesting that the
Musieland Group would eventually
acquire Blockbuster Music. The re-
port spelled out a scenario whereby
Musieland would pay for the acquisi-
tion by issuing up to 18.2 million
new shares to Viacom, giving that
company a 35% stake in the Minnea-
polis-based merchant. The report
labeled the whole scenario as "spec-
ulation" three times, including in its
headline.

Needless to say, as news of this
report spread via word-of-mouth
through the music industry, eventu-
ally key details and words like "Paul
Marsh," "analyst," "NatWest," and
"speculation"
were no longer
included in the
telling. It wasn't
a report any-
more, but a ru-
mor spreading
like wildfire:
that Musieland
was negotiating
to buy Blockbuster Music.

Track, of course, was aware of the
speculative nature of the report, but
just to make sure that Marsh wasn't
the recipient of information from
Musieland, Blockbuster, Viacom, or
any other insiders, I made a sweep
of phone calls to see if Blockbuster
Music is up for sale. It's not.

After obtaining and reading the
report. Track put in a call to Marsh,
an entertainment analyst, who reaf-
firmed that the Musicland/Block-
buster deal was pure speculation on
his part.

"But it isn't just wild musings," he
says. "It's a scenario that could take
place. You have to admit it's an in-
triguing scenario."

Track agrees that it is intriguing,
and that Marsh's arguments are
well thought out. But Track doesn't
think this deal will ever happen. But
just for the heck of it, let's look more
closely at his speculation.

Marsh begins his report by noting
that music retail "will consolidate
around a few major players." Well,
that's a given.

Marsh questions whether Via-
com's strategic interests lie in the
direction of music retail. Marsh is
not alone here. While all concerned
with the Viacom/Blockbuster
merger have talked at length about
synergy — which admittedly exists
in ample supply between the com-
panies — they aren't fooling anyone.

Most observers believe that the
main reason Viacom wanted the
deal to happen was to access the
cash flow that the Blockbuster
Video stores throw off. Paine Web-
ber analyst Craig Bibb estimates
that Blockbuster's cash flow this
year will reach $680 million, with
most of that coming from the video
chain. With nearly $10 billion in
debt, many wonder why Viacom
would want to invest more than $100
million in annual capital expendi-
tures to build music stores in an in-
tensely competitive and low-margin

industry.

That skepticism may exist, but it
doesn't mean it's right. Contrary to
those who question Viacom's re-
solve. Blockbuster Music will open
between 25 and 50 new stores in
1995, and will remodel about 30
stores, according to Gerry Weber,
president of Blockbuster Music.
Also, Virgin Retail CSA, which is
75% owned by Blockbuster, plans to
open at least 10 superstores in the
U.S. next year.

While Weber says he respects
Marsh, he reports that Viacom is
100% committed to music retailing.
And just to make sure that the
wrong idea doesn't linger in the
marketplace, he repeats that
Marsh's report was clearly labeled
speculation and
that no such
talks are hap-
pening between
Musieland and
Viacom. For
their part,
_ Musieland exec-
^ ■ utives were just
as surprised as
others when the report surfaced, ac-
cording to Marcia Appel, a Music-
land spokeswoman.

From Track's viewpoint. Marsh's
logic begins to go askew when he
suggests that Viacom would be will-
ing to sell Blockbuster Music for
Musieland stock. The deal, as he val-
ues it, would leave Viacom with a
35% stake in Musieland, which,
based on the current price of
$15,125 per share, would make the
deal worth $350 million.

Supporters of Marsh's specula-
tion point out that Musieland cur-
rently is undervalued, and Viacom's
debt structure would allow the com-
pany to wait until the stock's value
appreciates before selling it off. But
then Viacom's stake would be so
large that it wouldn't he able to dis-
cretely liquidate its holdings, and it
would be forced to take the more
risky route of conducting a second-
ary public offering.

Track has these questions con-
cerning Marsh's suggestion of a
stock deal: Why would Viacom want
to gamble that the Musieland stock
will appreciate? And if Viacom
needs cash to pay down debt, why
would it do a stock deal? Why
wouldn't it just put the chain up for
sale, which not only would bring in
cash, but would bring other bidders
to the table?

Also, why would Musieland want
to buy Blockbuster Music? Music-
land is focusing on growing through
its new concepts like Media Play
and On Cue, and has moved away
from the deal table.

While this deal may never hap-
pen, 1995 is shaping up as a cata-
clysmic year for music retailing.
The price war, the superstore shoot-
out, and the pressure for chain own-
ers to cash out before their stores
become obsolete all will continue to
drive consolidation. Who knows
what kinds of megadeals will stun
the industry down the pike? Stay
tuned to this space.

KIDS]

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BILLBOARD NOVEMBER 19. 1994

Retail

Malaco Throws An In-House Party For Hill

Bluesman Gets Tribute Set; So Does Joseph Spence

LET'S ZELEBRATE: With the
likes of Eric Clapton stepping up
with blues recitals these days, most
listeners take the genre's ongoing
popularity as a given. But in 19H0, the
blues was out of mind for the majority
of the listening public— that is, until
Z.Z. Hill hit the scene.

Hill, a Texas-born soul/blues vet,
boosted the fortunes of Jackson.
Miss.-based Malaco Records and be-
came a blues luminary with five al-
bums he cut for the label between '80
and '84. He scored a major hit with
"Down Home Blues," the anthemic,
pelvis-grinding title cut of his biggest
album. Sadly, he died in 1984 at age
48 from injuries suffered in a car acci-
dent

Cognizant of the role Hill played in
its development, Malaco is paying
homage to him on the 10th anniver-
sary' of his death with "Z. Zelebra-
tion." While tribute albums are every-
where you look these days, this one is
slightly different in that it's an in-
house job. Malaco has brought to-
gether the formidable stars of its own
blues roster for the set, and backing
is supplied by the house band of Mus-
cle Shoals Sound, the famous Ala-
bama studio that Malaco now oper-
ates.

Running down some of Hill's best-
known tunes are Bobby "Blue"
Bland, Little Milton, Latimore,
Denise Lasalle, Shirley Brown,
Johnny Taylor, Artie White, Poo-
nanny, Mike Griffin, and the Beat
Daddy s. Taking a page from Natalie
Cole's "duet" with father Nat King
Cole on "Unforgettable," Dorothy
Moore performs electronically with
Hill on "Please Don't Let Our Good
Thing End." And all hands come on
board for an album-closing ensemble
version of "Down Home Blues."

"Z.Z. is what established Malaco in
the blues, and as a viable independent
label," says Tommy Couch Jr., who
co-produced the album with Malaco
partner and house producer Wolf
Stephenson. "He was the one that re-
opened the doors [for blues]. This was
real music comin' back. As a result, all
these acts came back."

Beyond paying homage to its big-

DECLARATIONS

by Chris Morris

gest star (and to the veteran blues lu-
minaries who record for Malaco), the
label Ifl using "Zelebration" to pro-
mote Hill's back catalog. Until now,
only two of the singer's seven Malaco
albums were available on CD; late
this month, the company will issue
the remaining five titles.

built a plateau for where we
were going after 1980," Couch says.
"This is another plateau . . . This
should throw us up to the next level.
It should also create a lot of interest
in our back catalog."

The label also clearly wants to in-
troduce its sound to a young white au-
dience that may not have grabbed it
yet (Traditionally, Malaco's blues al-
bums have sold to an older. Southern,
African -American set.) To that end,
the label is placing ads in blues maga-
zines and blues society publications
catering to that audience, and has (for
the first time!) hired a publicist to
work the record with the rock press.

Did we mention that the album is
soulful, entertaining, and a fine trib-
ute to a significant talent who broke
new commercial ground for the
blues? Hope so.

TrIBUTEMANIA II: While we're
on the subject of salutes, we should
mention Danbury, Conn. -based
Green Linnet Records' tribute album
saluting Joseph Spence, the great
Bahamian guitar player.

Spence — whose music is available
on such indies as Arhoolie, Rounder,
and Hannibal — was a supreme origi-
nal: His knotty, complex picking and
muttering vocals brought a varied
repertoire of Caribbean folk tunes
and sacred songs to crackling life. All
his original works are highly recom-
mended.

So is Green Linnet's "Out On The
Rolling Sea," on which a madly di-
verse group of musicians honors
Spence (who, like Z.Z. Hill, passed
away in 1984). Featured performers
include Van Dyke Parks, Victoria
Williams, Taj Mahal, David Lind-
ley, David Grisman. 3 Mustaphas 3,
Ralph McTell, Henry Kaiser. Tar-
ika Sammy, and Jim Dickinson.

Nashville Acts Play WaxWorks. Warner Bros Records artist David Ball and
Giant Records' Clay Walker paid a visit to the WaxWorks convention recently in
Owensboro. Ky. Shown, from left, are Ball; Terry Woodward, president of
WaxWorks; and Walker.

'ANN ABE ROCKSTAR: 4 Non
Blondes lead singer Linda Perry has
started up an independent label,
Rockstar Records. The company,
which will focus on San Francisco-
area talent, will debut next spring
with an album by alternative band
Stone Fox, which Perry will produce.
She offered a preview of things to
come when she sat in with the group
on the closing night at Jacks Sugar
Shack's West L.A. location last
month.

FLAG WAVING: Too always want
to have that volunteer fire depart-
ment sort of thing, but we play music
instead of fighting fires," says Bill
Taft of Atlanta's Smoke. "Like, This
sounds like a three-alarm show! Let's
go!* "

The music of Smoke — heard on its
debut album, "Heaven On A Popsicle
Stick," on Atlanta's Long Play Rec-
ords — displays the kind of collective
spirit Taft is talking about, but the
sound itself is maddeningly hard to
describe. It's a sound as cloudy as the
band's name, veering from gutter
blucsiness to old-timey country to
nair folk.

"Beautiful music is what we call it,"
Taft says. "It's really just people
playing music a lot like most other
bands, getting together and making
noise in a room, and keeping the noise
they like."

Smoke was formed two years ago
as an adjunct to the late, flamboyant
Opal Foxx Quartet. The current
lineup includes that group's lead
singer, Benjamin, who no longer
wears his notorious frocks on stage
("He just wears whatever is lying
around," Taft says), and cellist Brian
Halloran.

Taft, who plays cornet and banjo in
the band, was the guitarist for the
Jody Grind, a sweet, swinging
Atlanta act that folded after two of its
members were killed in a 1992 high-
way crash. Drummer Tim Campion
and guitarist Coleman Lewis round
out the group.

Much of Smoke's unique style is
the product of Taft's musicianship.
He took up the comet three years ago
after buying the instrument in a pawn
shop ("It had less buttons than a sax-
ophone, so I thought it would be ea-
sier to play," he says).

He began playing banjo six years ago.
'There's a musical fascism associated
with the banjo," he says, acknowledging
its common role as a bluegrass or folk
instrument. "I think it's because of the
people who play it, not the instrument."

Taft's off-kilter use of his axes com-
bines with Halloran's somber cello,
Lewis' spare guitar work, and Benja-
min's Steitio-laced vocals for an uncan-
nily original, oft-disquieting sound.
Smoke 'em if you got 'em.

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Retail

PGD's Interactive System Puts New-Release Info On Disc

■ BY TRUDI MILLER ROSEN BLUM

NEW YORK — Poly Gram Group
Distribution has begun to offer an
electronic new-release book that, in
addition to the usual information,
will allow accounts to listen to sam-
ples of songs on upcoming albums.

The book, designed in conjunc-
tion with Philips Media, is interac-
tive and offers audio and visual

clips in addition to the traditional
information found in new-release
catalogs. PGD executives are tout-
ing the book as a replacement for
the printed new-release books. The
book will be issued monthly on disc.

In order to meet demand. PGD is
surveying its top 200 accounts to
determine what types of computer
hardware they have. In its final
form, the Electronic New Release

Book "could be on a Mac, on IBM,
on CD-ROM, or CD-i. Or there
could be multiple systems," says
Andrew Rauhauser, PGD's director
of planning.

PGD debuted the book at the Na-
tional Assn. of Recording Merchan-
disers Fall Conference, where it
was well received. Roman Kotrys,
owner of Dearborn, Mich. -based
Repeat The Beat, described the

electronic book as "incredible." "It
is a revolutionary way of doing
business," he says. "It would make
it easy to buy new releases."

Paul Mawhinney. owner of Pitts-
burgh-based Record-Rama Sound
Archives, was so impressed with
the book that "I'd go get a machine
within 24 hours" in order to have
the capabilities offered by the book.
"It would be invaluable to me."

The electronic release book
works this way: Users are first pre-
sented with "spotlight" titles, and,
after choosing one, can read in-
depth information on the release.

Users also can browse by genre,
label, or release date, or can read
the release book in page-by-page
order, without skipping around.

Within each category, the screen
offers a menu of artists and re-
leases. The user selects an artist,
and can then choose to see song ti-
tles as well as hear a 30-second au-
dio samples of any song. Also, the
book includes marketing informa-
tion on the album (merchandising,
advertising aids, plans for radio,
videos, press, bar codes, etc.)

If available, the electronic new-
release book also will include video-
clips as well as marketing informa-
tion on them, such as when they
started to get airplay on national
music video networks.

In addition, users can immedi-
ately order albums in desired
quantities by filling in account in-
formation and hitting the "send"
button, which immediately trans-
mits the order to the label by ei-
ther fax or computer file.

"This streamlines the whole
monthly buying process," says
Rauhauser. "It has all the infor-
mation of the traditional release
book, plus it offers audio samples
and videos. With this system, a
buyer can find the information he
wants instantly, and he can place
an order simply by pressing a but-
ton."

SPEC'S VISION

(Continued fnnu fmtjf- .1 / )

"Look at concert sales. There's a de-
mand out there for related prod-
ucts." But he cautions that chains
that stray too far from their strength
"can lose their identity." He adds,
"We don't want to go off into areas
we're not good at."

And used CDs are not likely to be
added to the product mix.

Spec's says it expects a strong hol-
iday selling season with all the big
new titles coming out between now
and the end of the year. Lieff says
the summer was slow because tour-
ists, who make up a significant per-
centage of Spec's customers, were
not as numerous as before. The
World Cup kept many South Ameri-
cans at home over the summer, and
the publicity surrounding highway
shootings in Miami kept many Euro-
peans away.

Besides the slowdown in tourism,
Spec's has been bedeviled, as have
other retailers, by the price wars in
many markets. "I think it's a real con-
cern," says Lieff. "All of our costs seem
to be going up. Landlords are charging
more. Margin squeeze is a real prob-
lem for retailers. Customers are more
price-conscious. Our challenge is to in-
crease our customer service — provide
the service and knowledge to our cus-
tomers that they want."

Spec's employs 850 people.

Executives say relations with the la-
bels are good. As Hainline says, the
record companies know that Spec's big
presence in Florida means "we can
work quickly to break new artists."

WHEN THE CIRCUIT COMES TO TOWN ...

BILLBOARD SPOTLIGHTS

IN THE JANUARY 7TH ISSUE DILLDOARD BRINGS TOMORROW'S ELECTRONICS INTO TODAY. THE WINTER CES
SPOTLIGHT UNVEILS THE HOTTEST INNOVATIONS IN TECHNOLOGY WITH ITS COVERAGE OF:
• NEW MULTIMEDIA PRODUCTS • HARDWARE AND SOFTWARE RETAILERS' REACTION TO MERCHANDISE
• NEWEST AUDIO TRENDS: RECORDABLE CD PLAYERS, DCC AND MD UNITS • VIDEO CD AND ITS FUTURE IMPACT

GIVE YOUR PRODUCT A COMPETITIVE EDGE.
GET CONNECTED TO DILLDOARD'S 200,000 READERS IN 107 COUNTRIES WORLDWIDE.
WARNING: OUR POWER WILL SHOCK YOU!!!!

AD CLOSE: 12/10 - ISSUE DATE: 1/7

NY: KEN KARP 212 506-5017 / LA: LEZLE STEIN 210-525-2029 / UK: RODIN FRIEDMAN 44-71-023-6606 / JAPAN: TOKURO AKIYAMA 010-0490-4641

BILLBOARD NOVEMBER 19, 1994

Billboards

FOR WEEK ENDING NOVEMBER 19, 1994

Top Pop Catalog Albums

IAST
WEEK

COMPILED FROM A NATIONAL SAMPLE OF RETAIL STORE AND RACK SALES
REPORTS COLLECTED, COMPILED, AND PROVIDED BT SoundScan

ARTIST I I IIIH TITLE

mB£liNUMBER*IS!RI&UTINGl>Ml{SUG UST PRICE!

WKS. ON
CHART

* * * NO. 1

NINE INCH NAILS •

TVT HU 1 199*15,98)

* * *

PRETTY HATE MACHINE

3 '. . • ',

EAGLES A "

ELfKTR*. 105*17 9*11.98)

GREATEST HITS 1971-1975

183

BEASTIE BOYS A

DEE JAM ; . •-. i I'WaiA (7 96 EO/1 1 98)

LICENSED TO ILL

115

BOB MARLEY AND THE WAILERS A

• >t i',:. - ■„ • :n 'wi', •*

LEGEND

172

PINK FLOYD A'

COLUMBIA 3*133* 1 1 -5 9S Ed 31 98)

THE WALL

183

PINK FLOYD A '

• , -

DARK SIDE OF THE MOON

183

)

EAGLES A "

ELEKTRA 103 7 9811 33

HOTEL CALIFORNIA

JOURNEY A '

COLUMBIA "4493 19 98 EQ l >-

JOURNEY'S GREATEST HITS

183

JIMMY BUFFETT A*

MCA 5613* ■ '3* .1 981

SONGS VOU KNOW BY HEART

182

STEVE MILLER BAND A'

CAPITOL 46101 (7.9671 1 98)

GREATEST HITS

181

EAGLES A '

(LLh-fA . (7 ; : \ik

GREATEST HITS VOL. 2

181

ENYA A -

WRUE ,t ■ M v.A"',E- tld - . >' !5,''n

WATERMARK

160

■

NIRVANA

Sua POP 34* - <M4Mi

BLTftCH

AEROSMITHA"

::oi',imb a .t.Ki.' 'in . : ih

GREATEST HITS

180

ERIC CLAPTON A' TIME PIECES

POLYDOfl B2S382* UU r7,98 EQ'll 981

- THE BEST OF ERIC CLAPTON

183

MANNHEIM STEAMROLLER A

AMERICAN GRAMAPHONE 1988 ' <H

A FRESH AIRE CHRISTMAS

JAN IS JOPLIN A 1

COLUMBIA 32168 - la

GREATEST HITS

137

PATSY CLINE A '

MCA 12* " : . 'H

GREATEST HITS

177

JAMES TAYLOR A

WARNER BROS. 3113* Vi". : I >-

GREATEST HITS

113

HARRY CONNICK, JR. A WHEN MY HEART FINDS CHRISTMAS

COLUMBIA 57550 10 98E 3 1'. -'-

ELTON JOHN A "

POtTOOR 512532"/AAM 17.96/1 1 .96)

GREATEST HITS

173

METALLICA A '

ELEKTRA 60612 (9.96/15.981

AND JUSTICE FOR ALL

174

BOYZ II MEN A CHRISTMAS INTERPRETATIONS

MOTOWN 6365 CO 9816 9B:

MANNHEIM STEAMROLLER A

AMERICAN GRAMAPHONE 1984 <9 98/14 98)

CHRISTMAS

CREEDENCE CLEARWATER REVIVAL A ' CHRONICLE VOL 1

THE DOORS A'

ELEKTRA 60345 . ^ ■ • -

BEST OF THE DOORS

LYNYRD SKYNYRDA

MCA42293 ' --

BEST-SKYNYRD'S INNYRDS

VINCE GILL A LET THERE BE PEACE ON EARTH

MCA 10677 1'J )M5')n

FLEETWOOD MAC A >

WARNER BROS 25B31

GREATEST HITS

156

METALLICA A '

MEGAEORCE (0 33<-.,f FKIRA (9. !3.98)

RIDE THE LIGHTNING

166

BILLY JOEL A •

COLUMBIA 40121 1 1 5 98 EGV28 9BL

GREATEST HITS VOL 1 4 II

183

EAGLES A'

' ■ : K' RA - : 13 WL19 98

LIVE

GREEN DAY

LOOKOUT 46* (7 9810 98)

KERPLUNK

YANNI A

PRIVATE MU5IC 20*3/ '.33

REFLECTIONS OF PASSION

ROLLING STONES A

ABRCO 66337 115.9(431 33

HOT ROCKS

METALLICA A

L.i'.-RA .< :j\> i 3K 1 '., '38

MASTER OF PUPPETS

165

ORIGINAL LONDON CAST A <

ROLVDOR 73 AAV 10 93 EQ IE 9b

PHANTOM OF THE OPERA

VARIOUS ARTISTS DISNEY CHILDREN'S FAVORITES VOLUME 1

WAL7 OISNEV 60605 ' 1

QUEENSRYCHE A

EMI 92806 10. ii )',

EMPIRE

BONNIE RAITT A

CAPITOL 96111 1D3&1E36

LUCK OF THE DRAW

LED ZEPPELIN A " :

A1LANTIC 1 i- ■

LED ZEPPELIN IV

157

SOUNDTRACK A

COLUMBIA 40323 17 ECV11 981

TOP GUN

MELISSA ETHERIDGE A

ISLAND 90B75 , - 3M -

MELISSA ETHERIDGE

CHICAGO A ■

flCPffiSC 26060/WAftNER BROS. 19 98 15 98 '

GREATEST HITS 1982-1989

169

GREEN DAY

LOOKOUT 22* : 1 1 ■ :'H

39/SMOOTH

SEAL A

SMC 266.' -WARM RBROS .n

SEAL

AMY GRANT A

A4M 0001 (10 98 15 9B?

HOME FOR CHRISTMAS

CAROLE KING A

COLUMBIA 34946 1 7 98 EQ 1 1 981

TAPESTRY

SOUNDTRACK A*

ROLVDOH 33333: LiV 3 36 1 3 33;

GREASE

MEAT LOAF A '•'

CLEVELAND INT'L 34974-'ERiC ill '36 EE. IE 36

BAT OUT OF HELL

183

Retail

Catalog albums are older titles which have previously appeared on The Billboard 200 Top Albums chart
and are registering significant sales. • Reco/ding Industry Assn. Of America (RIAA) certification for sales
of 500,000 units A RIAA certification for sales of I million units, with multimillion sellers indicated by
a numeral following the symbol Most albums available on cassette and CD. "Asterisk indicates vinyl LP
is available. Most tape prices, and CD prices for WEA and 6MG labels, are suggested lists. Tape prices
marked EQ. and all other CD prices, are equivalent prices, which are projected from wholesale prices.
J indicates past Heatsee*?' title. 1994, B-lltoarri/B^I Communicaticr.;;.. an.1 So,>- JScan

EDUCATED LP BUYERS FLOCK TO PRINCETON

(Continued from page 51) •

one-stop. "It may be more expensive,"
says Weisfeld, "but merchandise is
easier to order, and can be had in one
day."

Blank tapes and T-shirts sporting
the Princeton Record Exchange logo
are the only accessory items sold.
They amount to about 1<& of total

While acknowledging that there is a
lot more competition from chain stores
now than when he first started, Weis-
feld does not feel particularly threat-
ened, because sales of new pop music
account for only 10%-20% of total rev-
enues.

Last year, the store grossed more
than $1 million in sales; this year
Weisfeld expects to do even better.
"Business is gradually growing," he
says. "Each year we gain more cus-
tomers than we lose."

Despite its growing success, Weis-
feld has no plans to open another shop.
"I like the idea of doing one store re-
ally well," he says, attributing cus-
tomer satisfaction to three factors:
quality, reasonable prices, and a wide
selection. To ensure quality, the store
offers a one-week guarantee on all
used product, less than 2% of which is
returned.

To keep prices substantially lower
than his competitors in the used-prod-
uct marketplace, Weisfeld cuts down
on labor costs by making the store ex-
clusively self-service. Unlike compet-
ing stores that sell used and collectible
LPs and CDs, the Princeton Record
Exchange does not sell through cata-
log, nor does it do customer-requested
searches for specific hard-to-find re-
cordings. Instead, the staff encour-
ages customers to browse. "Some stay
all day," Weisfeld says.

The price of a used recording is de-
termined by supply and demand, ref-
erence books, intuition, and the overall
condition of the piece. The markup on
used LPs tends to be 150%, with the
majority of records selling for $1.99-
$9.99 and collectibles generally rang-
ing from $25-$300. There is also a spe-
cial budget section, with prices be-
tween 99 cents and $4.99. If an LP
doesn't sell within six months, it is
marked down 25% to 65%. "Items are
priced to sell quickly, and most stuff
sells within six months," says Weis-
feld. Lower-priced records that do not
sell are eliminated at a rate of 1,000 a
week. "The expensive records stick
around," says Weisfeld. "It's easier to
sell 10 $100 records than 100 $2 ones."
Used CDs generally sell for $6.99-
$9.99.

Weisfeld estimates that 20% of the
customers are responsible for 80% of
the sales. To lure them back on a reg-
ular basis, new inventory is introduced
at what could be called a record pace.
One of the most popular sections,
"New Arrivals," features at least 1,000
newly acquired LP titles a week, entic-
ing a fair share of customers to come
into the store two or three times a
week.

"LPs are not dead," Weisfeld is fond
of saying. He says he has sold albums
to people who traded in their vinyl
when CDs came in, only to find out
that they preferred the more natural
sound of records to the colder, digital
sound of CDs. As to why some records
are more popular than others, Weis-
feld shrugs his shoulders and says,
"It's not that logical; the demand for

•LP'S •CD'S -TAPES

•BUy •SELL -NEW 'USED

The Princeton Record Exchange is located one block from prestigious Princeton
University. (Photo: Linda Crowley)

Avid record collectors search through the bins of used LPs in the classical
department of the Princeton Record Exchange. (Photo; Linda Crowley)

a record, at least in the rock category,
takes on a life of its own." Predictably
popular, however, are the Beatles and
Elvis Presley. Just recently, an ob-
scure Elvis 45 of "Kid Galahad," from
the Presley movie of the same name
and made for promotional purposes
only, was culled from the store's pile
of 30,000 4os and purchased for $400
by an Elvis collector who stops by ev-
ery four months. And a rare two-rec-

ord set of stereo LPs on the VeeJay la-
bel, "The Beatles Vs. The Four
Seasons," sold for a whopping $600.

With both bargain hunters and seri-
ous collectors, the Princeton Record
Exchange has established a secure
niche for itself in vinyl. Says Weisfeld,
"For the tiny percentage of people
who did not make the transition to CD,
we can make them happy here."

Thank God you had

You used Southwest Whole

Unsurpassed Service!
Computerized Catalog j
Over 1 10,000 Selections i
Great Import Selection
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800-856-3874(^ ;i

He cam to your
stor« with only
on* thing on his
mind. He wanted a
j CD. He didn't
want to hear
"we ' re out of

it.-

If you were out.
he could' v* dona

drastic

He'd probably

have gone to

another store.

Horse, he might
j have never come
i back.

BILLBOARD NOVEMBER 19. 1994

Album Reviews

EDITED BY PAUL VERNA. MARILYN A GILLEN. AND PETER CRONIN

POP

► THE BLACK CROWES
America

PRODUCERS Jack Joseph Puig & me Black Crowes
Amrtcan 9 43000

The Crowes* rollicking third album flies in
the face of convention, mixing into its 70s-
influenced rock brew elements of swamp-
funk (fab "P.25 London"), country twang
("Wiser Time"), and odd little bits of Latin
salsa ("Gone," burner "High Head Blues").
It works. Most solid choices in this fluid
bunch are "Cursed Diamond," which drops
Chris Robinson's plaintive vocal into a
swirly rock base; hard-on rocker "A
Conspiracy"; and pretty, snide
"Nonfiction.*'

* THE GOLDEN PALOMINOS
Pun

PRODUCER: AMM H»
R**rJtu 72761

This new effort from the Pals' latest lineup
is top-heavy with breathy atmosphere and
is ably anchored by Anton Fter's
dependable drums, guitar work by Bootsy
Collins and Nicky Skopelkis, and Bill
Laswell's burbling bass. The result is
music that is both oh-so- languid modern
rock and dance-mix-friendly pop (notably
the churning lead single "Heaven"). "Little
Suicides," the most polished gem here, is
ripest for radio play, setting off Lori
Carson's crystalline vocal to stunning
effect The title cut, with an infectious,
loopy chorus line, is another jewel.

THE CRAMPS
Ramefob

PRODUCERS: Lui Interior & ivy Rorschach
McdKMftWarmr Bm. 24992

On their sixth album. Lux Interior and
Poison Ivy serve up the usual fare:
primitive, three-chord garage rock heaped
under naughty double-entendres. True to
the spirit of rock's debauched pioneers —
Hasil Adkins, for one — the Cramps
shamelessly revel in gore'n'guts ("Mean
Machine"), chills'n'thrills ("Let's Get
Fucked Up," "Sado County Auto Show"),
and raunch'n'roll ("Swing The Big Eyed
Rabbit" and saucy first single "Ultra
Twist* 1 ). In keeping with their pure
psychobilly/B-movie vision. Lux's frenzied
vocals. Ivy's fuzzy, Link Wray-type
guitars. Slim Chance's snakey rhythms,
and Harry Drumdini's pounding drums
are compressed through demonic, echoey
mixes. A great major label debut

VARIOUS ARTISTS
A Broadway Christmas

PRODUCER: Bruce k.mwl
Vama Saraband* 5517

It's true that no great Christmas/New
Year's standards have flowed from the
Broadway musical, but that doesn't mean
that Broadway writers haven't left a
legacy of charming creations. In this
collection of 15 songs, one can point to Jule
Styne, Betty Comden & Adolph Green's
"Be A Santa," Jerry Herman's "We Need
A Little Christmas," and Carol Hall's
"Hard Candy Christmas." The oldest
holiday greeting, actually one of regret, is
a 1924 Irving Berlin item, "The Happy
New Year Blues." Though not directly
written for the stage, Hugh Martin &
Ralph Blane's "Have Yourself A Merry
Little Christmas " and Meredith Willson's
"It's Beginning To Look A Lot Like
Christmas" may have made the program
because of their recognition factor. As
usual for the label, the songs are
showcased by an engaging group of
Broadway and cabaret singers.

R & B

► VARIOUS ARTISTS
Stolen Moments: Red Hot + Cool

PROOUCfR Earte Sebastian
CAP 9794

Acid-jazz stars talk about AIDS on this, the
fifth fund- and consciousness-raising album

SPOTLIGHT

UNPLUGGED

1H NEWYORK

NIRVANA

Unplugged In New York

PRODUCERS; Nirvana & Scott Lltt
DGC 24727

Among the late Kurt Cobain's last
recordings, thiB MTV "Unplugged"
session promises as much satisfaction
for the curiosity seeker as for the most
avid Nirvana fanatic, loaded as it is with
soulful performances of such hits as
"Come As You Are," "On A Plain," and
"All Apologies." The album — already
familiar to the millions who have seen
the MTV telecast— features three Meat
Puppets tracks, with members of that
band chipping in, plus other oddball
covers. First single is the Lennon-esque
"About A Girl," from "Bleach," already
a mainstream success thanks to massive
radio exposure. Another window into a
tragic genius.

for the Red Hot Organization (to be
accompanied by a public TV special). The
GRP-reissued progressive jazz label
Impulse! sets the musical and graphic style
for this beat-ific alliance of young hip-
hoppers (like Digable Planets, the Pharcvde,
US3, Me'Shell NdegeOcello, MC Solaar,
United Future Organization, and Carleen
Anderson) with jazzmen (tike Pharoah
Sanders. Herbie Hancock. Joshua Redman,
Ron Carter, Ramsey Lewis, Don Cherry,
Bernie Worrell, Roy Ayers, and Lester
Bowie). "Stolen Moments" includes a
Coltrane- inspired bonus disc featuring
Branford Marsalis. GRP has also issued a
companion album of original Impulse!
tracks, "Red Hot On Impulse."

RAP

► PETE ROCK ft CL SMOOTH
The Main Ingredient

PRODUCERS Pete Rock & C L Smooth
EhrictraSlSGl

On second hit-bound release. Rock folds
lithesome jazz and soul into pillowy grooves
and butterscotch beats, while Smooth drops
mystic, erotic, conscious, and braggadocious
rhymes with a relaxed amaretto flow. Best
moments come during "I Gotta Love,"
which has an implicit dub feel; the title
track, on which "East Coast terrorism" is
unleashed on undeserving rivals; and the
freaky-romantic "Searching." This is hard-
edged rap that adults can understand.

► VICIOUS
Destination Brooklyn

PRODUCERS: Donovan Thomas. Dave Kelly, How* Tee,
Salaam Rami. Clark Kent
Epic 57857

Artist debuted late last year on Doug E.
Fresh's hit song "Freaks." Next, he made
an appearance on "DJ Red Alert's
Dancehall Show" album, blasting gun
worship from "Glock," Now, on his debut
album, the 15-year-old is spreading sweet-
voiced ragga chat over tuneful hip-pop,
jagged dancehall hddims, and undiluted
street beats. During "Life Of A Shortie," an
underground party-starter, he stirs it up
alongside Fresh and Shyheim. And on the
instantly haunting "Nika." he celebrates
puppy love while bragging, "I make the
ladies say 'Ow!,' brothers go 'Ho!'

SPOTLIGHT

VARIOUS ARTISTS
Woodstock '94

PRODUCER: Larry Hamby
AJ.M 3 1454 0289

"Woodstock '94," the album, is as
joyfully diverse as the event it
represents. Seamlessly moving from
the nostalgic (CSN's "Deja Vu," Bob
Dylan's "Highway 61") to the cutting
edge (tracks by Nine Inch Nails and
Rollins Band) to the monstrously loud
(Metallica, Aerosmith) to the up-and-
coming (Sheryl Crow, Green Day),
two-disc set offers a colorful snapshot
of current musical tastes, with an
accent on hard-edged alternative rock.
Massive outlay by label will help
establish album as the definitive
Woodstock memento and a first-rate
compilation of great music.

► SHAQUILLE O'NEAL
Shaq-Fu: Da Return

PRODUCERS Various
MM 41550

Musically, sophomore album comes from
several places, including "Shaolinr Long
Beach, New Jersey, and New York City.
Thus, it doesn't hold together with
maximum levels of cohesiveness. Artist's
diction is precise but often bland. For
added flavor, he operates alongside such
guest voices as Warren G, Erick Sermon,
Redman, III Al Skratch, RZA, and Method
Man. Beyond "Biological Didn't Bother,"
the lead single, on which Shaq mixes
praise for his stepdad with disdain for his
real pops, listeners will find braggadocio,
upbeat words to grow on, and respect for
rap's creative roots. There's enough here
to satisfy anyone's funky urges.

z z

► THE TEODROSS AVERY QUARTET
In Other Words

PRODUCER: Michael Cuscuna
GRP 9788

Auspicious debut from hot young GRP

VITAL R

KRAFTWERK

Three Originals: The Capitol Years
Cleopatra 94162

Easily the most influential techno outfit
ever. Germany's Kraftwerk left Its robotic
footprint everywhere people have used
machines to make music, from Berlin to
Manchester to Chicago. Three-disc
reissue on L.A. indie consists of the
group's best and most consequential
albums: "Radio Activity," •'Trans- Europe
Express," and "The Man Machine."
Released between 1975 and 1978, these
records attest to Kraftwerk's uncanny gift
for combining technological innovation
with brilliant songcraft — a recipe that
made worshipers out of the varied likes of
David Bowie, Siouxsie & the Banshees,
and the Balanescu Quartet. Limited-
edition release is well worth seeking out.
Contact 213-465-&421.

SPOTLIGHT

2i£a<

BOTTLE ROCKETS
The Brooklyn Side

PRODUCER: Enc Ambel
East Side Dtptai 81002

This is the sound of the heartland
beating out a living, and it's a powerful
noise. Hard-working, hard-orinking,
never hard-hearted, the characters
peopling the Bottle Rockets' hard-
rocking second album are a vivid cross-
section of rural America, drawn by
people who've been there. The Rockets'
music is equally distinctive American
rock'n'roll— a sonic offshoot of outlaw
country that careens from the guitar
squall of a Neil Young (chaotic stomner
"Sunday Sports") to the frantic
Southern rock of ZZ Top ("Radar Gun")
to the tear-in-vour-beer country of
Hank Williams ("Queen Of The World"),
all the way to pop-edged grooves ("III
Be Coming Around"). One number is in
a class all its own: "Welfare Music," a
stunner mixing acoustic guitar, dobro,
mandolin, and fiddle, is a poignant but
clear-eyed take on the odds of just
getting by. Literate and kick-ass.

signee Teodross Avery is a solid
showcase for the lithe, dexterous chops of
this 21-year-old sax man/com poser. This
quartet date also features guest Roy
Hargrove, who horns in on such tracks as
the sharp, uptempo "High Hopes" and
Wayne Shorter's swirling, waltz-time
"Edda." Aside from the freestyle,
relentlessly driving "Urban Survival,"
standouts include "One To Love," the
balladic passages of which alternate with
bluesy ones, and "An Ancient
Civilization," on which Avery's musette-
like soprano turns cannily Coltranean.

DON STI LLE
Aurora's Dane*

PRODUCERS N.;k De Brown & Vincent DiBenedettO
Umlt Up 0001

Chicago-area jazz pianist Don Stille leads
this traditional trio date with a vibrant

E I S S U E S

GEORGE JONES

The Essential George Jones— The Spirit Of Country

COMPILATION PROOUCER: Bob Irwin
LtfacyEpfc Country Classics 52451

Two-disc retrospective distills the
four-decade career of one of country
music's most revered figures — a link
between founding fathers like Roy
Acuffand Hank Williams and the "new
traditionalist" school of Garth Brooks,
Randy Travis, et al. Possum's biggest
hits are included here, from the
rockabilly-influenced "Why, Baby,
Why" to schmaltzy duets with onetime
wife Tammy Wynette to such
heartbreakers as "He Stopped Loving
Her Today." Other Jones
collaborators are also represented,
from Merle Haggard and Ray Charles
to Johnny Paycheck and James
Taylor. A rich tribute to a deserving
master.

improvisational sense brought out by his
clean, dazzling runs. Stifle's funky, Oscar
Peterson-reminiscent sound is in full
flight on the bouncy, gospel-reflective
cadences of "Heartland Funk," as well as
on the gentle, poignant "Jace Marie's
Dream" and the fast, structurally
unfettered "Quarklets." Also includes an
unexpected cover of blues classic "See
See Rider."

NEW AGE

* TRANCE MISSION
Meanwhile . . .

PRODUCER: Simon Tassano
City Ot Tribe* 005

Trance Mission joins the ranks of Jon
Hassell, Steve Roach, and Robert Rich in
exploring a primal, techno-tribal music.
Stephen Kent's didgeridoo is a signature
sound of the San Francisco group, but it's
only part of a hallucinatory swirl of
ancestral grooves mixed in modern
atmospheres. Kenneth Newby's Asian
wind instruments, John Loose's multi-
lingual percussion, and the spinning
improvisations of clarinetist Beth Custer
converge in incantatory soundscapes,
with a lyricism that's uncommon for the
genre. Even a pair of misplaced spoken-
word segments can't mar this seductive
world-fusion journey.

LATIN

► SERGIO ARAU

Mi F rida Sufnda

PRODUCER: Rlcardo Ocfloa
Sony 81383

Husky-voiced Mexican rock pioneer
returns with wryly humorous vignettes
about love of his country and its women,
each of which is served atop an insistent
and eclectic, nortena-flavored rock
groove. Though single pickings are slim
(save plaintive ballad "La Invasion"),
crisply paced album contains many biting
and entertaining entries, such as
"Cuando Me Dices Que No," "Deberia
Ser Delito," and dramatic title track, a
poignant ode to Mexican painter Frida
Kahlo.

if GUADELUPE PINEOA
Enamorarse Asi

PRODUCER Pep* Aguilar
AnoU'BMG 22501

Pretty Mexican songstress realizes best
shot to crack U.S. market with a
gorgeous ranch era record etched with
mariachi, nortefta, and country accents.
Expect radio programmers to latch onto
the lovely leadoff single, "Valgame Dioe,"
as well as the title track, "Mi Mas Bello
Amor," and "Llegaste A Tiempo."

CLASSICAL

VERDI: OTELLO

Placido Dommgo, Cheryl Studer, Sergei Lerrerkui,
omen; Orchestra and Chorus of Opera Bastibe,
Myurtg-Wtuin Chung.

PRODUCER: lennjrt Detin
Dautaeh* Grammophon 439 805

This high-octane "Otello," driven from
the pit by Chung, borders on a brutality
that steals the magic from the opera's
quieter moments. However, Domingo,
who sets the standard for the title role in
the opera house today, inhabits the part
to perfection. Studer is a shade dull as
Desdemona; Leiferkus is an ideally
venomous Iago.

if MENDELSSOHN: COMPLETE WORKS FOR
CELLO AND PIANO
Steven IsserNs, Mehrin Tan

BMC Classic s 62553

A poised and elegant performance of
these lovely works (two sonatas.
Variations concertantes, Assai tranquilto,
and Lied ohne Worte), given particular
grace by the splendid fortepiano playing
of Melvyn Tan.

SPOTLIGHT: Releases deemed by the review editors to deserve special attention on the basis of musical merit and Billboard chart potential. VITAL REISSUES: Rereleased albums of special artistic, archival, and commercial interest, and outstanding collections
of works by one or more artists. PICKS ()>) i New releases predicted to hit the top half of the chart in the corresponding format. CRITIC'S CHOICES lit I > New releases, regardless of chart potential, highly recommended because of their musical merit.
MUSIC TO MY EARS (JO) i New releases deemed Picks which were featured in the "Music To My Ears" column as being among the most significant records of the year. All albums commercially available in the U.S. are eligible. Send review copies to
Paul Verna, Billboard, 1515 Broadway, New York, N Y 10036. and Marilyn A. Gillen, Billboard, 1515 Broadway. New York, N.Y. 10036. Send country albums to Peter Cronin. Billboard, 49 Music Square W.. Nashville. Tenn. 37203.

BILLBOARD NOVEMBER 19, 1994

Single Reviews

► BOYZ II MEN On Bended Knee M 19)

PRODUCERS Jimmy Jam. lerry Lewis
WRITERS. J HI. T Lewis

PUBLISHER: Flyte Tyrr* Tune. ASCAP
Motown 1251 ico PGD) (cassette single!

Although the ceriified-platinum "I'll
Make Love To You" continues to reign
atop the Hot 100, Motown is wisely
propping this lovely pop'R&H ballail in
follow a .similar chart and sales path. The

single has all the right ingredients: tight
harmonies, white-knuckled lead vocals, a
slow and grinding urhan groove, and
words of undying love. Should easily
keep Boyz 1 1 Men on top of play lists well
into the new year.

► TOM PETTY You Don't Know How It Feels

(4:12)

PRODUCERS Rick Rubin. Tom Petty, M.ke Campbell

WRITER T Petty

PUBLISHER Gone Gate. ASCAP

Warner Bros 18030 [cassette single)

Petty christens his long-touted move to
Warner Bros, with a rootsy rocker that is
underlined with even-handed acoustic
strumming and blues-angled harmonica
blowing. As always, Petty' s deadpan
vocal delivery gives his clever lyrics a
worldly edge without dabbling too deeply
in heavy-hearted angst. First .single from
"Wild flowers" will give top -10 formats a
much-needed shot of straight-ahead
rock'n'roll.

► DAN HARTMAN The Love In Your Eyes u u.

PRODUCER Dan Hartman
WRITER D Hartman

PUBLISHERS CMi-Apr-lConstant Evolution. ASCAP

REMIXER Frankie Knuckles

Chaos 6494 (Co Sony) (cassette smglel

Hartman was working on a new allium at
the time of his death earlier this year.
This was among his final compositions,
and it shows that he was still among the
best writers and producers in pop music.
Wrapped in warm romance, tune has a
retro-soul quality similar to his timeless
mid-'KOs hit "I Can Dream About You."
Perfectly suited to several radio and club
formats, single is an essential
programming item from the upcoming
"Keep The Fire Burnin' " collection.

TERROR FABULOUS YagaYaga^::

PRODUCER not listed
WRITER ■■■.!.:■■■
PUBLISHER not listed
EastWetl 5957 (cassette vngle)

Fabulous should have no trouble
increasing his momentum with this
hearty stew of hip-hop and reggae
musical chunks. Constantly shifting
groove inspires the booty, while Fab's
agile singing and toasts hold the ear. A
heavy hitter with both street and
mainstream appeal.

EDIE BRICKELL Tomorrow Comes (3 56)

PRODUCERS Paul Simon. Roy Halee

WRlTEf E BncfceM

PUBLISHER: MO A. ASCAP

Gtflm 4667 (o'o Urn I (cassette jingle)

On her second solo single, Brickell is
assisted by her husband, Paul Simon, and
noted Simon & Garfunkel producer Roy
Halee. The good news is that Brickell is
a natural fit at top 40 and AC radio. The
former head of the New Bohemians
tumbles down a pleasant pop path, paved
with reserved guitars, colorful lyrics, and
a gospel -flavored organ.

WENDY M0TEN Whatever You Imagine <3 23>

PRODUCER. Keitn Thomas

WRITERS: C Wet). B Mann, J Horner

PUBLISHERS fu> Film Muvc/Oyad. BMI. TCFfHorn«r,

ASCAP

EMI 19921 itj'oCemal (cassette single)

Moten has the sincerity to make this
Byrupy ballad palatahle. She succeeds in
giving the song, taken from the
soundtrack to the kiddie movie "The
Pagemaster," a much-needed dash of
soul without losing sight of its childlike
charm. Given the success of tunes from
"The Lion King," this single seems to
have a good chance at similar radio and
sales acceptance.

•k DISHWALLA It's Going To Take Some Time

(4:17)

PRODUCER: Matt Wallace

WRITERS C King, T Stern

PUBLISHERS Colgems-EMI.'Blue Guitar. ASCAP

REMlXERS Phil Nicolo. Oshwa'ia. Mark Mai/etti David

Young

AIM 8326 lt/o PGD) CCD smglel
Alternative quartet offers a skittling,
guitar-sliced rendition of a Carpenters
tune, lifted from the sterling "If I Were A
Carpenter" tribute to the pop duo. Band
strikes a perfect balance between playing
With the kitsch of the project and making
the most of a truly classic tune. This would
have been a wise choice of cover for the
band in any rase, Would fit equally well on
top 40 and modern rock playlists.

L0VESTATI0N FEATURING LISA HUNT
Best Of My Love 13 24)

PROOUCEHS Lovestatwn

WRITERS M White, A McKay

PUBLISHERS Sagtire, BMi, Stee*che*t, ASCAP

RE MIXERS Lovestation. Pfiitiip Dam*n. Rhano Buirell.

Mohammed Moretta

Pandisc 118 'CD sn^e I

The oft -covered Emotions evergreen is
tweaked into NKGetic house submission.
You may have heard this track's brand of
rollicking piano lines and fluttering
strings before, but there is no denying
that it works quite well with the song.
Icing on the cake is smiley vocal by Hunt,
who deserve* the opportunity
to show the world her chops with an
original tune. In the meantime, nosh on
five bright and bouncy remixes, designed
for crossover radio and club
consumption.

R & B

► GERALD LEVERT Can't Help Myself 4 i.~,

PRODUCERS Gerald Lever. Edward Nicholas
WRITERS: G Levert, E Nicholas
PUBLISHERS Trycep Publ'sning/Rama'. BMI
EaitWest 5919 100 Atlantic) I cassette single)

As one of the kings of R&B crooners,
Levert swaggers through this slickly
produced soul ditty with distinguished
prowess. Singing of family values and
love in bloom, Levert showcases his lofty
range over lush instrumentation. From
the album "Groove On."

* CARLEEN ANDERSON Mama Said 4 .

PRODUCER: lan Green
WRITERS C Anderson I, Green
PUBLISHERS MCA'BMG, ASCAP
REMlXERS K Klass, Phillip Oarnien
Vrrgin 39761 (Co Cema) (cassette smglel

Anderson's genius "True Spirit" long-
player should get a nice boost from the
onset of this wildly infectious BAB funk
romp. As a singer, Anderson stands tall
as a diva with a difference, shading the
requisite suss and range with jazzy colors
that endlessly delight. Truly among the
best singles of lP-IM, this song also comes
in traditional jazz, disco, and deej>-house
versions that will help entice punters at
club. R&B, top 40. and AC levels.

NEW &
NOTEWORTHY

COUNT BASS D Sandwiches (4:351
PRODUCER: not listed
WRITER: D r

PUBLISHER; Dwight FaneM 1 ! MuSIC/EMI, BMI
Hoppotvthaos 6667 (WO Sony) 112-inch Singe)

The lines dividing hip-hop and acid jazz
continue to blur with the onset of this
simmering stew of groove flavors. The
Count has a laid-back style of rhyming
that sits well within the track's
arrangement of live drums, snakey
funk guitars, and cushiony keyboards.
Yet he succeeds in delivering words
that are hard and direct enough to fly
with street purists. Could be this
season's equivalent to Digable Planets
or US3, only with an ample sense of
humor.

if SHANICE I Wish (3 49)

PRODUCERS Lance Alexander. Prut T
WRITERS L. Aietander, T TolOet
PUBLISHER New Perswctiw, ASCAP
Motown 1241 too PGD) (Cassette single)

With each track. Shank* moves closer to
establishing herself as a clumteuse capable
of adult fare. On this well-structured ballad,
her voice is layered to create an airy cushion
for ■ lead perftjrnuMe that slowly
progresses from quietly wistful to booming
and assured. With justice, this engaging
effort will connect with programmers who
have been indulging in the hip-hop balladry
of .Aaliyah and Brandy.

if CAMEO Styde ! »

PRODUCER not listed
WRITER iol MM
PUBLISHER not listed

Way 2 Funky/Raging Bull 3001 Ico AMiancel iCD single)

Venerable band returns with a horn-
rimmed anthem that combines its
signature electro beats with brassy,
classic-funk flavors a la Parliament,
Funkadelic. Act has not delivered
anything this inspired and feisty in years.
Incredibly contagious and danceable,
single deserves immediate play at R&B
and pop formats.

TONYA BLOUNT Hold On 13 39)

PRODUCERS Kevin j#tMo«. Enk Wh.te, Pawl Lawrence
WRITERS K Jackson. E White
PUBLISHERS K Jack. Top luVNeroses. ASCAP
Island 6885 'cassette single)

The time has come for Blount to get the
recognition and success she has long
deserved. Latest shot from her fab
"Natural Thing" opus is a swaying R&B
ballad that leaves plenty of room for her
to flex her chords ami prove her mettle as
a stylist on par with seasoned vets. Finger -
poppin' slow groove is right in the pocket
of current radio movements, and single
comes in four nicely varied mixes. Pick
one.

COUNTRY

► PAMTILLIS Mi VklaLoca 1251)

PRODUCERS Pa/n Tilhs. Steve Fishell

WRITERS P Tillrs. J Lear,

PUBLISHERS Ben sFulure'Sonv Tree. BMI.

DreamCatche' ASCAP

Anita 2759 Ico BMGI il men single!

Tillis is one singer who, to quote the King,
"don't sound like nobody," and this
jumping track, with its south-uf-the-
border Bo Diddley feel, clearly
demonstrates why she was recently named
the Country Music Assn.'s female vocalist
of the year.

r> TRAVIS TRITT Between An Old Memory & Me

(4:05)

PRODUCER Gregg Brown

WRITERS K. Slegali. C Craig

PUBLISHERS EMI-Apni,'Keim Steiall. ASCAP. EMI

Blackwood, BMi

Warner Bros- 7251 I 7 men single)

Leave it to ol* Travis to remind us that, as
long as people drink, there will be drinking
songs. It takes a lot of chutzpah to tackle
an old Keith Whitley number, but Tiiti
rises to the challenge here, reminding us
what a terrific song this is.

► TRACY BYRD The First Step (2 22)

PRODUCER Jerry Crutchheld

WRITERS: 0 Oder. V Thompson

PUBLISHERS Stnxidacastcr Lary KatotMl ApnUdes 01

March, BMI ASCAP

MCA 54945 ICQ Urn) (7 inch single)

Byrd continues in the same gimmicky vein
of his last couple of singles. Despite a
seemingly endless supply of two-step
cliches, the singer manages to inject more
than enough spirit to get this one over.
Mavbe he was really just born to sing this
stuff.

► JAMES HOUSE Little By Little IB
PRODUCER: Don Cook

WRITERS J, House. R Bowies

PUBLISHERS Sony Tre«/Vay|»fvWilrJcrxintry. BMI

Epte 77752 (c/o Sony) t/ , -«icr> anglel

House comes on strong here with a vocal
attack reminiscent of frequent co-writer
Raul Malo of the Mavericks. They also
share producer Don Cook, who brings to
this track a made- for- radio sonic punch.

► LARRY STEWART Losing Your Love (3 28)

PRODUCER Scott HendncXs
WRITERS: V Gill, K Fleming, h DeVito
PUBLISHERS Benetil'lrving. BMI. Eagtewoott AlnWUnie
Nemo, ASCAP

Columbia 77753 (co Sony) (7 inch ungfel

The fact that it was co-written by Vince
Gill, who also contributes background
vocals, is by far the most interesting thing
about this midtempo, low-energy ballad.
An engaging vocalist, Stewart is going to
have to find more solid material to go
along with his superstar endorsements.

JOHN ft AUDREY WIGGINS She's In The Bedroom
Crying i3 iai

PRODUCERS J Scarte. J Cotton

WRITERS J A Stewart. C Cannon

PUBLISHERS MHlhcnraaSone* o* PotyGram international/

Taste AuchorvCMl. BMI

Mercury 1356 too PolyGrami (CD promo)

Rrother-and-sister team has been
building slowly with its first two single
releases, and this gorgeous and
cautionary ballad, which takes full
advantage of the duo's in-the-blood vocal
blend, should kick radio doors down for
good.

DANCE

► ARMANDVAN HELDEN Witch DoktordO 50)

PRODUCER Armanrj Van Helden
WRITER A Van Hekfcn

PUBLISHERS: New Vork House/Break Darrein' Bob. BMI
Slnctly Rhythm 12295 ( 1 ? inch vngle)

Van Helden makes good on the promise
exhibited on a siring of revered
underground jams over the past year.
This single from his self-titled EP grabs
your mind and body during the first 30
seconds, and never lets go. Rife with
wicked vocal loops and trippy sound
effects, tribal-houser is destined to be a
club classic. Don't be late to the party.

if WILLIE NINJA HotiSOOi

PRODUCER: Lime" Louie Vega
WRITERS: W Ninia. India, L. Vega
PUBLISHER: indilu. BMI

REMlXERS- "Lltfte" Lome Vega. Kenny "Dope" Gorvatar.
Oscar Gaetan, Ralph Falcon
Nervous 20099 ( 1 2 inch si ngle)

Veteran club figure resurfaces on a deep-
house track that is etched with spine-
crawling percussion and an elastic
bassline. Listen closely for hacking vocals
hy India, Michael Watford, and Carole
Sylvian. Factor in hypnotic remixes by
the Murk Boys, and you have an anthem
that will have runway girlies gagging with
glee.

ERNEST KOHL Don't Let Me Down Again 110 05)

PRODUCERS Vincent De&orgio, John Grecjula
WRITERS V DeGrorgro. J Greuula
PUBLISHER BMG Canada
REMIXER: Tom Mourton
ZVX 7415 iCD smglel

Hi-NRG mainstay continues his bid for
acceptance into house music circles with
an appropriately deep, dark anthem.
Longtime fans will dig the trance-ish
Euro-slant of the synths and the song's
melodramatic chorus, while harder heads
might be converted via Tom Moulton's
fine 10-plus-minute post- production.

► TONY BENNETT & K.D, LANG Moongtow

(3:08)

PRODUCER David Kahne
WRITERS: V Hudson, E. Oeiange, l Mills
PUBLISHERS Mills/Scarsaaw ASCAP
Columbia 6653 (co Sony) (CD como)

Is there anyone cooler than Bennett? Not
even close! He is joined by lang for a
fairly faithful reading of this pop
standard, taken from his recent
"Unplugged" session. Words fail to fully
capture the pleasure to be derived from
this tingly track. Listen and discover.

if SHAWN C0LV1N WITH MARY CHAPIN
CARPENTER One Cool Remove (318)
PRODUCERS: Steuart Smilh. Shawn Crtvin
WRITER: G Brawn
PUBLISHER: Brow it- Fe Id man. ASCAP
Columbia 6662 (o'o Sony) (CD promo!

Colvin's "Cover Girl" opus should get a
nice boost from this intelligent acoustic
hallad. penned hy Iowa tunesmith Greg

Brown. She gives this exploration of the
desire for relief from the pressures of the
day an honesty that is affecting and oddly
comforting. Colvin's voice is
complemented by Carpenter's subdued
harmonies and counter vocals. The
tatter's presence will likely strengthen
this noteworthy single's radio muscle.

ROCK TRACKS

► VERUCASALT Seethero 16>

PRODUCER Biad Wooo
WRITER N Gordon

PUBLISHER Are You There God U s Me. ASCAP
Minly Fresh/DGC 4700 lcA> Unil ICO single)

Alt hough it is a challenge to figure out
who or what the "Seether" is, this
deceptively perky pop track boils with
infectious energy. Rumbling guitars roH
over foaming rock rhythms, while the
stringent female vocal remains controlled
and, more importantly, cool. From the
album "American Thighs."

if THE PONTOONS Juntos And Robim i3 2D)

PRODUCER Not listed
WRITERS T Hunl, M A/navounan
PUBLISHER Not listed
Pontoons 01 (7-incn single)

Hailing from Hoboken. N.J.. this trio has
one of the best indie debuts of the year.
From jangly acoustic rhythms to candid
pop vocals, the hook is unforgettable.
Fans of R.E.M. will relate to the
underdog, anti-formula rock sensibilities
present here. Contact: 212-">:i.V099n.

CHEATER The Hours & Times Q isi

PRODUCER not listed

WRITER S Trash

PUBLISHER So!D(0)!My

Menhnw 01 {CO Detour M> 17-incb single)

New York-based quartet passionately
rocks with a dignified fury. Quivering
vocals and pop-conscious guitar licks
ornament a well-penned tune. The flip
side. "Sticky," immediately immerses the
listener with graphic, gay-themed lyrics
and a sexually charged delivery.

RAP

► SOULS OF MISCHIEF Get The Girt, Grab The
Money. And Run (3 52)

PRODUCER A Plus

WRITERS A Carter, T Maney, 0 Lindsey. D. Thompion
PUBLISHER: Souls Of Mischief, BMI
HollywooaVJive 42256 (Co BMG) ( 12-inch single)

Taken from the soundtrack to "A Low
Down Dirty Shame," this song stirs up
some troublesome soul, As a jazzy horn
plays along, a funky bassline and randy
groove intensify an already greedy-
minded rap. The real gem on this 12-inch
is its flip side, which has two mixes of the
Casual cut "Later On." Casual delivers a
whispered street rap over a melodic
sample of Herbie Hancock's "Trust Me."

► THA ALKAHOLIKS Daaam! :3 b9!

PRODUCER E Swrtt

WRITERS: E Brooks J Robinson, R. Smith
PUBLISHER. ESP/Warner Tamerlane, BMI
LoueVRCA 64202 (Co BMG) < 1 2-inch smpe)

Tha Alkaholiks sure know how to throw
down a cool flow. The trio funks up an
otherwise standard jam with rhymes
that'll make ya say "Daaam!" A haunting,
high-pitched organ squeals over a
repetitious bass line, courtesy of guest
musician Les July. Contains sampled
elements from Pamplemousse's "Gimme
What You Got"

EDDIE BONE Eddie Bone (no i.ming listed)

PRODUCER Pitch
WRITER: not listed
PUBLISHER not listed
Tommy Boy 654 ( 1 2- inch single!

Eddie raps about Eddie. That's OK,
though, because the Dallas rapper has a
lot to say about himself. The 70s funk
groove is filled with steamy rhymes and
freaky grooves. Bone comes off tough in
this stand-offish rap. then suddenly
breaks mold and starts to sing as trie song
slowly fades. For a laid-back gangsta
stroll, bite this Bone.

PICKS (►) : New releases with the greatest chart potential CRITIC'S CHOICE ( * ) : New releases, regardless erf potential chart action, which the reviewer highly recommends because ol their musical merit NEW AND NOTEWORTHY; Highlights new and
developing acts worthy of attention, Cassette, vinyl or CD singles equally appropriate For more than one format are reviewed in the category with the broadest audience. All releases available to radio and/or retail in the U S are eligible for review Send
copies to Larry Flick, Billboard. 1515 Broadway, New Vork, N Y 10036. Country singles should be sent to Billboard. 49 Music Square W., Nashville, Term 37203.

BILLBOARD NOVEMBER 19, 1994

The Enter*Active File

ENTERTAINMENT INDUSTRY NEWS

INFO S Y S T E

GAMES & RETAIL-TECH

Warner Goes Online With Jazz Promotion

■ BY MARILYN A. GILLEN

NEW YOKK — Warner Bros, aims to
spread the word, and the gospel, on
jazz with the launch of a new World
Wide Web site devoted to the genre.

"Word Of Mouth In Cyberspace"
goes online Tuesday (15) as a sepa-
rate menu item in the "Jazz Online"
arena of the Internet.

The site, designed and imple-
mented by San Francisco- based mar-
keting and promotions company Jazz
Online, will feature exclusive text,
graphical, and audio information on
Warner Bros.* jazz artists and re-
leases, according to Randall Ken-
nedy, Warner Bros.' national director
of marketing for jazz and progressive
music.

Initial features include a "Warner
Bros. Jazz Listening Booth" in which
net surfers can hear samples from
new releases as well as view graphics
and &G0e88 text.

"Another great feature is our eele-
hration of Miles Davis that features
Warner Bros, recordings with ex-
cerpts of liner notes, pictures, and
sounds," says Joe Vella, Jazz Online's
founder and president.

In the future, Vella says, videoclips
will be posted, and the service will
host online interviews with label art-
ists.

Additionally, the Warner Bros, site
offers what is essentially an interac-
tive version of Warner Jazz's former
printed magazine. Word Of Mouth.
"What we've done is take that puppy
cyberspace." Kennedy says.

The advantages of such a move are
enormous, he adds.

"First, and most basically, my job
is marketing, and that means getting
information out about what we're do-
ing and what's coming up," Kennedy
says. "This is a way to do that in
greater detail than we ever could be-
fore, and with a much quicker turna-
round time. It's almost instantane-
ous."

Beyond providing pure informa-
tion, however, the Internet can offer
a sort of musical education — or at
least a guided exploration — for

younger consumers who might other-
wise not get the chance to get turned
on to jazz. Kennedy says.

"That's our other primary goal, to
bring that college-age demo back to
our jazz ranks," he says. "We've been
moving toward the 2'>-40 demo for
some time now, and radio isn't going
to help expand that much, because
commercial radio is aimed at the core
12-plus |audience| and college radio
has become so heavily alternative-
skewed."

The online world, however, offers
Warner Bros, a shot at the eyes and
ears of a new 1 demo. "That's where
you'll see 1 5- 18-y ear-olds and college
kids coming back on and checking out
hot sites all over the net," Kennedy
says. "And we're sure that when they
give us a listen, they'll discover that
jazz has as much passion and authen-
ticity as any alternative music."

Warner Jazz artists also will be fea-
tured at other Werner Bros, sites on-
line, Kennedv notes, so the chances of

catching those eyes and ears — and
keeping them — are expanded.

"When you can get someone to give
a listen to Miles Davis, they are going
to realize. My God, this is really
amazing." he says. "And then, hope-
fully, they will go from there to ex-
plore new releases. And they'll make
mistakes, but hopefully we're there at
the Hick of a wrist to let them find out
more about an artist or what some-
thing sounds like, and to refer them
to other good choices."

Ovitz Teams With Bell, Nynex, Pacific Telesis

New Firms To Deliver On-Demand Programming

LOS ANGELES — The future of on-de-
mand home entertainment as envi-
sioned by a trio of deep-pocketed haby
Bells and one we 11 -connected
Hollywood agent isn't that far away.
And it isn't aniving over cable lines.

Bell Atlantic, Nynex, and Pacific
Telesis have jointly formed two new-
companies designed to facilitate deliv-
ery of on-demand programming for
movies, video, and music l>eginning in
the second half of 1995, and additional
on-demand programming, including
special-interest music videos, down-
loadable video games, and shopping in
"1996 and beyond."

Thai's according to the telcos* busi-
ness plan for their new $300 million
venture. The three will align them-
selves with Hollywood's Creative Art-
ists Agency in a bitl to circumvent the
"500 channels and nothing on" scenario
by developing the programming to be
delivered to homes over their •Video
dial tone networks."

Those networks, combined, are proj-
ected to deliver video to more than 20
million homes via telephone lines over
the next five years, according to the
telcos.

They are directly comj>eting for con-
sumers* attentions with cable compan-
ies like Time Warner in Orlando, Fla.,
w hich hopes to deliver interactive pro-
gramming over cable lines, and with
satellite delivery services.

In emphasizing video on demand,
they are also going head-to-head with
video retailei-s, who have thus proved
hanly competition to the attempted as-
saults of pay-per-\iew.

In combining their efforts, however,
the telcos manage to avoid com|)eting
with each other, and duplicating expen-
sive development efforts.

Each of the telcos will invest at least
$100 million in cash and assets in the
start-up of the venture, forming two
new companies devoted, respectively,
to new media (content) and technology
(such as the "navigator," which will
guide consumers through the services).
The comjianies will be jointly owned by
the telephone companies, and headed
by CEOs to he named early next year.

Creative Artists Agency, headed by
Mike Ovitz, will have no ownership
stake in the new companies, but will re-
ceive an unspecified fee to work in a
"consulting" capacity. Its role in estab-
lishing relationship with the creative
community for the development and
acquisition of programming will he key.
Other roles that the companies out-
lined for CAA include advice in the
areas of executive staffing, business

development, and entertainment-in-
duslry alliances.

"Our challenge is to help stimulate
the creation and marketing of pro-
gramming that will engage the con-
sumer," said Ovitz, whose status as su-
peragent to the sujierstars promises to
speed such development.

The telcos also will contribute to the
new technical company their existing
technical development and support re-
sources,, such as the StarGazer naviga-
tion system develo|x"d by Bell Atlantic.
Stargazer likely will be the jumping-off
]xunt for the development of the new
combined venture's na\igator, accord-
ing to a Bell Atlantic executive.

"By joining forces, we speed the
process of delivering new video infor-
mation services to the marketplace, re-
duce the risks associated with thus new
technology, accelerate the develop-
ment of standards, and lower costs to
each company," said Raymond W.
Smith, president/CEO of Bell Atlantic
Corp.

Initial rollout of programming is
slated for the latter half of 1995.

MARILYN A. C1LLEN

Game Makers Roll Out 32-Bit Units

Big Promos From Sony, Sega, Matsushita

■ BY STEVE McCLURE

TOKYO — Japan's video-game war is
heating up. Sony and Sega are set to
launch 32-bit machines by year's end,
while Matsushita is rolling out a lower-
priced version of its 32-bit Panasonic
REAL 3DO hardware unit

The Sega Saturn video-game unit
goes on sale here Nov. 22 at a special
introductory price of 44,800 yen ($4b"l ),
rising to 49,800 yen ($513) after Jan-
uary. Sega reportedly is aiming at
sales of 2 million units in the first year.

Over at Sony Computer Entertain-
ment, Dec. 3 has been set as the launch
date in Japan for the PlayStation,
Sony's attempt to carve out a niche in
the video-game market.

The 32-bit PlayStation, which uses

CD-ROM software, will sell for 39,800
yen ($410). Sony says it is aiming for
sales of 1 million units within six
months, backed by what it says will he
one of the largest promotional cam-
paigns ever launched by the Sony
group. The product will be introduced
to the U.S. and European markets
sometime next year.

Meanwhile, beginning Nov. 11, Mat-
sushita is marketing a smaller and
cheaper version of its REAL 3 DO
video-game unit. It will sell for 44,800
yen ($4(»1). compared to the original
version's price of 54,800 yen (.$564).
Some larger stores have been selling
the machine for just under 40.000 ven
($412). Even so. REAL 3DO sales' re-
portedly have not matched Matsu-
shita's initial target.

Drummer Boy. Kevin Conway, second from left, got a shot at the musical fast
track by going online on CompServe. The Scranton, Pa., native— and drummer
in local band Necessary Noise— was the grand-prize winner in Mercury act
Cinderella's "audition contest" to find a new drummer. He is now eligible for an
in-person audition with the band and will know if he got the gig shortly thereafter.
More than 100 aspiring Cinderella drummers tried out by uploading WAV files,
which were judged by the act. Pictured with Conway, from left, are band members
Tom Keifer. Eric Brittingham. and Jeff LaBar.

'Cybermania' Cites
Tops In Multimedia

INTERACTIVE AWARDS: "Mortal Kom-
hat" slaved audience members during
the first "Cybermania: The Ultimate
Gamer Awards" Nov. 5 in Los Angeles.
( able channel TBS televised the show-
nationally.

The Acclaim title garnered the nod
for "Best Overall Game," an award
voted on by viewers via phone and the
Prodigy commercial online network
during the two-hour telecast.

Other awards were voted on by
members of the sponsoring Academy of
Interactive Arts & Sciences, as well as
by the viewing public via mail, phone-
in votes, and Pnxiigy forums.

Hosted by actors Leslie Nielsen and
Jonathan Taylor Thomas, the show
drew a slew of entertainers, including
Shelley Duval), Herbie Hancock. Tho-
mas Dolby, and Rene Auberjonois.

Philips Interactive Media, however,
proved to be the true star of the show,
making off with four of the 12 awards
handed out

Winners were as follows: Best Ac-
tion/Adventure: "Doom," Id Software;
Best CD-ROM: "7th Guest." Virgin
Games; Best Portable Game: "Alad-
din," Walt Disney Games/Virgin
Games; Best Comedy: "Wacky World
Of Miniature Golf," Philips Interactive
Media; Best Art or Graphics; Rand and
Robyn Miller, "Myst." Broderbund;
Best Musical: "Xplora 1 (Peter Ga-
briel)," Interplay; Best Simulation
Strategy , "Sim City Enhanced" CD-
ROM, Interplay; Best Sports: "Caesars
World Of Boxing," Philips Interactive
Media; Best Actress: Grace Zabriskie,
"Voyeur," Philips Interactive Media;
and Best Actor: Robert Culp, "Voy-
eur." Philips Interactive Media.

A special award was presented to
Iwerks Entertainment for Best
Achievement in Virtual Reality for its
"Virtual Adventures."

MULTIMEDIA VISION: Virgin Interac-
tive Entertainment has agreed to ac-
quire the majority of the assets of the
software publishing division of Media
Vision, the Fremont, Calif. -based mul-
timedia supplier that sought bank-
ruptcy protection earlier this year.

The move will allow Media Vision to
concentrate on its core business of pro-
viding multimedia hardware and add-in
products for personal computers, ac-
cording to the comjKiny.

Titles under development at Media
Vision that will fall under VIE's direc-
tion, pending approval of the deal, in-
clude the cinematic adventure title
'The Daedalus Encounter," starring
Tia Carrere; the in-development
"Hodj'n'Podj," a fantasy game, and
"Rivers Of Dawn," a role-playing game;
and one other title.

ME also will acquire three Media Vi-
sion titles already on the market: "Crit-
ical Path," 'Wiggins In Storyland," and
"Road Scholar."

The agreement awaits approval from
the Bankruptcy Court in Oakland, Ca-
lif. Media Vision says it will continue to
support the titles currently being ship-
ped through the end of 1994, as well as
fulfill orders for the currently shipping
products until such approval is re-
ceived. All other titles originally pub-
lished by Media Vision have been sold
or are being sold to other parties.

BILLBOARD NOVEMBER 19. 1994

Homevraeo

L L B O A R D

VIDEO NEWSWEEKLY

Exercise Vid Helps Disabled 'Rise Up' 60

Video Previews: Beastie Boys 65

Shelf Talk: Marketing 'The Mask' 67

Laser Scans: A Deal For Image, Geffen 69

PICTURE

inn is .

By Seth Goldstein r

URAICS HERE: Craig Odano-
vich. who ran grocer HKHV stand-
alone video stores and was a mem-
ber of the VSDA hoard, joins
Hollywood Entertainment in Port-
land. Ore., this month as one of two
executive VPs, It's something of a

homecoming— Hollywood bought

the Video Central unit from San
Antonio, Texas-based HEB about
six months ago.

Meanwhile, Hollywood Enter-
tainment, which rime MH stores (the
100th opened in Santa Clara, Calif.,
test month), is negotiating a new
revenue-sharing deal with Rcnlrak;
the CUrreul deal expires Feb. 28,
I99b\ says chairman Mark Wattles.
Pay-per-lransaction is iH'neficial,
but the chain was as profitable be-
fore PPT as it has been after, he
notes. "We have to decide what to
do." The chain is among Kcntrak's
biggest accounts.

Selling scarlett: cabin

Fever Entertainment may place
separate rental and sell-through
price tags on "Scarlett" when the
eight-hour mhh eri B I reaches retail,
jmssibly next April. The budget edi-
tion, on four cassettes, could sell for
$60, but president Tom Molito says
nothing has lieen nailed <lown.

CBS. which was to air "Scarlett"
lieginning Sunday 1 131. will prep the
home market, much as the net-
work's telecast of "Lonesome. Dove"
helped launch Cabin Fever's first
million-unit release. Molito thinks
"Scarlett" will break that record "as
the most successful telefilm on
video." and perhaps will surpass
"The Little Rascals." at 2.6 million.

IOME ALONE: Fox Lorber pres-
ident Richard Lorber has bought
back the New York-ltased program
supplier Oram Gaga in Tokyo.
Loner turned tO Gaga several
years ago to bankroll operations af-
ter extricating himself from Prism
Entertainment's control.

But the agreement "became kind
of a stalemate" as Gaga focused
more on domestic activities. Lorber
says. "With changes in the .Ia|»anese
market, it didn't make sense any-
more." In the end. Fox Lorber,
while profitable, was left with "a lot
of debt," he adds.

Lorber now owns 100S of the
holding company, which itself 0WB8
Wt of Fox Lortter and has options

B-Movie Studios Race To Sell-Through

Hemdale, UAV& Vidmark Pull Out All Stops

■ BY STEVE TRAIMAN

NEW YORK— B-movie suppliers,
which are fast becoming an endan-
gered species, are trying to scramble
onto the sell-through bandwagon as it
accelerates toward year-end records
and an even-stronger 1995.

Virtually every independent, rang-
ing from Hemdale Home Video to
UAV Entertainment and Vidmark,
has come up with successful combina-
tions of aggressively promoted B-ti-
tles, repriced in standard and ex-
tended-play formats and featuring
creative packaging.

Hemdale sales VP Tom Schon, who
has been with the company three
years, claims sell-through has made
1994 a "phenomenal year." For exam-
ple, "Savage Land," with Graham
Greene and Corbin Bernsen, sold
more than 400.000 units at $19.95 list
"in a congested market," he says. To
capitalize on the next sequel, "High-
lander 2," with Sean Connery and
Christian Lambert, was released in
midsummer at $14.95 in standard
play and at $9.95 in extended play,
and has done well without any real
promotional effort. Schon says,
"When the new film hits, we'll pull out
all the stops as we did with the origi-
nal 'Terminator' when *T2' was re-

leased."

Hemdale has been racking up
strong sales in family fare with the
animated "The Princess And The
Goblin," which sold more than 1 mil-
lion units at $24.95 list. The title,
which had Hershey Chocolates and
General Mills' Kix cereal as co-spon-
sors, is one of eight Hemdale features
to receive the Dove Foundation fam-
ily-approved seal.

As an example of its variety,
Hemdale has a 48-unit "Family Fa-
vorites" pre-pack available this
month. It includes three adventure-
westerns on the Dove list, "The Polar
Bear King" and "Savage Land" at
$19.95, and "Legend Of Wolf Moun-
tain" and "Little Heroes" at $14.95.
Hemdale counts on sell-through to
double its sales in 1995.

UAV Entertainment president
Jerry Pettus Jr. says, 'The year has
been fantastic, as we've broken
ground in new markets and have ag-
gressively gone after licenses on
high-quality B-titles with starpower."
The company shipped more than
30,000 units of Kevin Costner's
"Stacy's Knight" Oct. 1 and expects it
to deliver more than 100,000 in the
next few years.

Pettus also points to the continuing
success of the Hollywood Movie

Broadway Comes To Main Street. Actress and fitness expert Stefanie Powers,
second from left, recently brought her "Broadway Workout" tour to the Kmart in
Chula Vista. Calif. Shown with her before the autograph session (with pens and
water glass already in place), from left, are store manager Dean Ward. Mary Stone
of Handleman Co., and Don Spielvogel, sales and marketing VP of Ughtyear
Entertainment, which is marketing the title through BMG Distribution.

Magic promotion launched four
months ago, with 24 titles in pre-pack
displays with 60, 80. and 160 units.
"We're doing stellar numbers," says
Pettus, referring to various licensed
titles, including "The Bounty" with
Mel Gibson, "All Of Me" with Steve
Martin, "Magic" with Anthony Ho-
pkins, "Best Seller" with James
Woods, and "Red Sun" with Charles
Bronson.

"Our retail-direct program makes
it possible to provide EP tapes at
$7.95 suggested list, with a typical
30*£ margin to the retailer," says Pet-
tus. "For longer movies, we use thin-
ner, lOO^E chromium-dioxide tapes,
and the TMD high-speed duplicating
process," in UAV's Charlotte, N.C.,
facility. UAV, which bought finished
goods from Orion Home Video, was
able to get the three-hour "Dances
With Wolves" on a single cassette. It
also has Orion's "Silence Of The
Lambs" to headline the promotion.

Pettus also reports orders of more
than 250,000 units— 25% ahead of last
year — for UAVs holiday pre-pack of
12 family-oriented favorites, either
(Continued on paf/r tij)

Buena Vista Flexes
In Fitness Market
With Macpherson

■ BY EILEEN FITZPATRICK

LOS ANGELES — Until now,
Buena Vista Home Video's expe-
rience in the exercise market has
been limited to "Workout With
Barbie." featuring a perky aero-
bics instructor putting an 117?-
inch doll through the paces.

But in January, the supplier
will get serious with the release
of "Your Personal Best Workout
With Kile Macpherson." The su-
permodel is paired with Karen
Voight, a trainer to the stars and
a leader in the fitness field with
her own series of tapes from
ABC Video.

The title streets Jan. 18, with
a suggested retail price of $1 9.99.

Buena Vista VP of public rela-
tions and event marketing Tania
Moloney says the pairing of Mac-
pherson and Voight came about
as the result of Disney's year-old
(Continued on page 6$)

IVanti lo faok Ufa A Star

BILLBOARD NOVEMBER 19. 1994

CopyrightedWaterial

Over 70 Million* Lion
Now They Just Can't

Home Video

Golden Rose Vid
Helps Disabled
'Rise Up,' Exercise

■ BY CATHY APPLEFELD

WASHINGTON, D.C.— Limited
mobility — due either to ige or a de-
bilitating condition — used to be con-
sidered one of the greatest barriers
to a robust workout.

No longer. Now participants at
home or in the hospital can engage
in solid, challenging exercises from
their chairs, floors, beds, even
wheelchairs, thanks to a variety of
exercise videos that answer their
specific needs.

"Rise Up With Rosie," from
Berkeley, Calif.-hased Golden Rose
Productions, is an inspirational ses-
sion geared toward seniors who
have limited endurance but still can
enjoy and benefit from moving their
bodies to various dance rhythms.
Led by a senior citizen with experi-
ence in the field of geriatrics and an
obvious zeal for life, Rosie's work-
out includes sing-along portions and
concludes with her personal mes-
sage of encouragement.

"Rise Up" has opened the doors
to a whole new market as well, ac-
cording to Dan Goldblatt, the
video's producer. "While we ex-
pected a great response from I Ro-
sie's] peer group, we have been as-
tonished by the response from
baby-boomers concerned with their
own aging parents," he says.

Endorsed by the Multiple Sclero-
sis Society of America, Monro Bay,
Calif.-based Mobility Limited's new
"Pathways" video combines full-
body toning exercises with special
moves aimed at reducing muscle
stress and bolstering balance. The
non-aerobic routine, which focuses
on slow breathing and concludes
with a 10-minute relaxation period,
is also well-suited to people with ar-
thritis and those who are over-
weight.

Similarly, "('hair Dancing," from
Chair Dancing International Inc..
features a complete set of cardio-
vascular and body-strengthening
exercises in which participants can
engage while seated in a straight-
back chair. The workout, adaptable
to three levels of fitness, is con-
ducted by a young dance instructor
who learned the merits of chair
dancing after she injured her ankle.
Participants are encouraged to hold
paper plates for use as mini-hand-
weights and cymbals to help keep
the rhythm of the upbeat sound-
track.

Brentwood Home Video's just-re-
leased "Everyone Can Exercise" of-
fers an intense program that can be
adapted for people with limited or
no lower-body movement. The four-
part program — which includes
warmup, abs and lower-back, full-
body workout with weights, and
cool-down — stars actress Maria
Serrao, who is paralyzed from the
knees down and completes the exer-
cises from her wheelchair and on
the Hour.

In addition, two "able-bodied"
people demonstrate how to do the
workout from a standing position,
so everyone can exercise together.

...Entertainment Phenomenon Of The Year - Destined To Become
The #1 Top-Grossing Film Property Of All Time!

...At The Box Office - Over $270 Million And Climbing!
Biggest Summer Movie! Biggest Holiday Re-Release!

...Album Released In 1994, With A 9-Week Rei gn At Billboard's
#1 Position!

...In Licensed Merchandise - Sales Of Ancillary Products Expected
To Top SI Billion' In 1994!

...Highest Purchase Intent Ever For Any Video Release!

.Greatest Video Marketing Campaign Ever! - Including Tie-Ins
With Pillsbury, Mattel " And Burger King®!

Prepacks That Deliver
A Lions Share Of Profits!

96-pc."Lion King"/ Masterpiece
Collection /Family Film
Collection Mixed Sunk « 4021

AAA

BILLBOARO NOVEMBER 19. 1994

Copy rignred material

Home Video

King Fans Have Seen It!
Wait To Own It!

"A Modern Masterpiece!"

- The Chicam> Tribune

"An Irresistible Tale,
Filled With Wondrous
Characters, Sparkling Wit
And Honest Emotion!"

,SM ^^Asr t « P)£ct

XHe

■ New York Newsdav

A Banner Year For
Macrovision's
Anti-Copy Efforts

■ BY STEVE TRAIMAN

NEW YORK — Macrovision is winding
up its most successful year ever in pro-
tecting electronically transmitted and
prerecorded video programs from
unauthorized copying or viewing, ac-
cording to Bill Krepick, senior VP of
sales and marketing.

Not only did the Mountain View, Ca-
lif.-based company recently announce a
cease-and-desist settlement with the
biggest U.S. distributor of "black
boxes" that remove anti-copy coding,
but it also protected more tapes than
ever before in North America and
overseas.

The latter was achieved through the
signing of additional supplier* — home
video and pay-per-view — and new du-
plicators for theatrical, nontheatrical,
and corporate programs.

By the end of 1994, more than 200
million videocassettes — the largest
number in any year — will have been
Macrov is ion-encoded in the U.S., up
from 170 million in 1993, according to
Krepick. This includes Disney,
FoxVideo, and MCA/Universal Home
Video, the three major labels using
Macrovision on all releases, and HBO
Video, Warner, and MGM/UA, which
generally limit use to hit titles. Dis-
ney's "Snow White" and MCA's "Jur-
assic Park" are covered.

Major independents added to the
Macrovision stable are Wood Knapp
for kid vk) and Trimark for its Vidmark
imprint. Krepick acknowledges that
Paramount and Columbia TriStar
Home Video are "still ambivalent, with
no major titles protected by Macrovi-
sion this year." But eight of 10 of this
year's sell-through hits were pro-
tected, he claims, as well as 75% of the
top 25 rental titles projected through
year's end. "We also added four or Bra
new duplicators in the U.S.," he notes,
"and estimated we're in 95 percent of
all facilities doing any significant busi-
ness."

Ov erseas, "the best way to measure 1
our increase is to look at hardware and
duplication installations. We went from
160 at the end of 1993 to 205 this year,
a 25% gain, and from 23 to 27 countries,
adding India, Pakistan, Portugal, and
Hungary," says Krepick. "The number
of protected videocassettes increased
by a similar percentage, to 40 million
from 32 million units."

The black box settlement requires
that HSN Marketing stop supplying its
decoders to its 71 retailer and direct-
marketing accounts as of April 30,
1995. All units remaining in inventory
will lx? handed over to Macrovision for
destruction. HSN did not agree that it
was infringing Macrovision's patents,
but the settlement effectively removes
the company from the business of dy-
ing to remove or circumvent the anti-
copying signal.

The Macrovision process, added to a
tape at the time of duplication, "con-
fuses" the recording VCR and forces it
to make a bad copy. It does not inter-
fere with playback of the original. IXi-
plicators pay a licensing fee, generally
10 cents a tape, split between Macrovi-
sion and the rights holders.

(Continued on pcujc 60/

BILLBOARD NOVEMBER 19, 1994

Home Video

B-MOVIE STUDIOS

(Continued from page 59)

24- or 60-count. Featured are "White
Fang" and Henry Winkler's "A
Christmas Carol."

"For '95, we have plans for a series
of two-packs at $5.99, $7.99, and
$9.99, both artist and genre-related,"
he says. "It's a very high-priority pro-
motion for us."

Acknowledging that the past year
"has seen a general flattening for the
B-movie market," Vidmark VP Gina
Draklleh says that "we're very adept
at pulling product through. We
launched our sell-through efforts ear-
lier this year, and in addition to crea-
tively marketing our catalog, we're
aggressively acquiring specialized
product and films," including "O.J.
Simpson: Juice On The Loose" and
"The Ultimate Fighting Champion-

(Ramify
( favorites

Hemdale sell-through promotion.

ship."

Vidmark's "Blinky Bill," from Aus-
tralia, will he supported by a nation-
ally syndicated children's TV show
with more than 160 licensees.

By June. Draklich says, "w r e're
looking to bring out the second Tlti-
mate Fighting Championship,' which
should do even hetter than the first.
With added sell-through titles and
promotions, we definitely expect both
(Continued on next page)

jjJjJJjjyjJ i$£ Dihii-d Am} ^Jjjjjiilij:jJ

AnAU^i-i/ 'y&jiF'jniu/hii) Danny Qfoy-if,
Tuny Dm

BILLBOARD NOVEMBER 19. 1994

Home Video

B-MOVIE STUDIOS

(Continued from preceding page)

increased sales and a better bottom
line."

Len Levy, newly appointed senior
VP at PM Entertainment's video divi-
sion, says the company is capitalizing
on the success of "Magic Kid" with —
what else?— "Magic Kid II." It is a
different slant for PM, which has spe-
cialized in action -ad venture and mar-
tial arts features mixed with the occa-
sional erotic thriller.

"Now we've got 'Magic Kid II,' a
PG-rated film that parents can live
with," says Levy. "Kids really relate
to Ted (Jan Roberts), who's had TV
exposure on Fox's 'Married With
Children.' He's scheduled for more
films and TV, and has been used ef-
fectively in retailer and distributor
personal appearances." Twelve-year-
old Roberts pitched his title at a re-
cent meeting of distributor Baker &
Taylor Video, and at the East Coast
Video Show in Atlantic City, N.J.

Video Treasures marketing VP
Sandra Weisenauer says, "Overall
business in the B area is definitely
ahead of last year, with more demand
for a broad array of products,"
Among them are two-packs, duplica-
ted in extended play, at $9.99 list,
including "The Green Hornet" and
"Flash Gordon" in the Hollywood
Matinee series and Gene Autry and
Roy Rogers in a Classic Westerns
promotion.

Recent orders for a Halloween pro-
motion ran 5 f /<-\0% ahead of last
year, she says. Featured were
"Nightmare On Elm Street," "Night-
mare II." and "Night Breed," among
others. Meanwhile, based on the suc-
cess of its Laurel & Hardy series.
Video Treasures is launching its
$14.98 "The Hope Diamond Collec-
tion" this month, with six repackaged
titles, including "The Seven Little
Foys" and "The Lemon Drop Kid."
Five more are due in February, high-
lighted by "Son Of Paleface" and
"The Road To Rio," with Bing
Crosby.

Video Treasures recently bowed a
four-title Jerry Lewis package that
Weisenauer claims "has done close to
100,000 units as of early November."

Also doing well is a repackaged
public domain line, "The Hollywood
Favorites," with 20 extended-play ti-
tles at S9.99. Released last spring, the
titles, which include "Godzilla" and
"Megalon," have racked up close to
200,000 units, on par with Video
Treasures' Wilderness Series.

Holiday sales of "Santa Ciaus: The
Movie" and two new releases, 'Thomas
The Tank Engine's Christmas" and
"Perry Como's Christmas Concert,"
are hopping. "They really pumped
things up this year." Weisenauer says.
For '95, she is looking for a lot more
two-packs, including "some never done
before in this format," such as Chuck
Norris in "Delta Force" and "Delta
Force 2," and Charles Bronson in "As-
sassination" and "Death Wish IV."

Next year. Video Treasures hopes to
cash in on Handleman's mid-1994 pur-
chase of Starmaker Entertainment,
particularly its expertise in selling su-
permarkets and drug chains. 'They've
already started handling some of our
product in both these tremendous
growth areas, and will add more this
coming year," she says. "We know the
relationship will bring in more new-
business."

BILLBOARD NOVEMBER 19. 1994

Home Video

BUENA VISTA TONES UP

(Continued from I'ut/c 59)

alliance with Miramax Films.

Macpherson co-starred in the
Miramax release "Sirens," now on
cassette, as a voluptuous model who
tempts a young minister played by
Hugh Grant.

Buena Vista Home Video presi-
dent Ann Daly then introduced Mac-
pherson to Voight when the model-
turned-actress needed to shed the
20 pounds she gained for the movie.

"I'm not sure if we're really going
to be in the exercise market," says
Moloney. "But what attracted us to
this project is the combination of a
supermodel who can drive sales and
a renowned fitness expert. The two,
together, have the ability to attract
the fitness-tape buyer."

Unlike Voight's advanced-level
solo performances, Moloney says
the Macpherson tape will concen-
trate on a basic overall fitness. It
teaches circuit training, low-impact
aerobics, and toning. Voight also has
created some new techniques, which
should also spur interest among her
video clientele.

To add to Macpherson's glamour
appeal, the program was shot in
Hawaii. Moloney says the location
was not chosen to attract men ex-
pecting to see the Sports Illustrated
swimsuit cover girl in skimpy bi-
kinis. "What we've done is seriously
create a contemporary workout, and
the setting is part of it," says Mo-
loney.

While many exercise tapes ini-
tially ship between :10(),0(H)-5()0,tHH)
units, Buena Vista is shooting for an
ambitious 1 million units. The studio
hopes timing — January inaugurates
the start of the fitness season — and
packaging will help.

The cassettes comes in a clamshell
box, a first for the exercise genre. "It's
just a great way to shelf exposure,"
says Moloney. In addition, consumers
who purchase the \ideo can send in for
a free combination water Iwttle/hand
weight. Consumer advertising for
"Elle" will generate more than 1.7 bil-
lion impressions.

Moloney says Buena Vista has not
ruled out future projects with either
Macpherson or Voight, but so far it is
a one-shot deal. "If this tape puts us in
the exercise market, that would be
good," says Moloney. "But well wait
and see."

Street Date: February 1, 199S
Pre-Order Date: January 10, 1995 /
Running Time: Approx. 30 Minutes'
Price: $12.95 Each

12, 24, and 48 piece displays available.

iii

fir

1 1

Contact your local UAZCI representative for further details.

£'1995 Scholastic Productions Inc.
Based on The Magic School Bus book series
by Joanna Cole and Bruce Decen. All rights reserved.

SCHOLASTIC

GO AHEAD
USE US . . .

MAKE
THAT MOVE
THE CALL'S
ON ME . . .
TOLL FREE!

BILLBOARD CLASSIFIED

1-800-223-7524
212-536-5174
Jeff Serretle

BILLBOARD NOVEMBER 19, 1994

Video Previews

EDITED BY CATHERINE APPLEFELD

Billboard.

The Beastie Boys,
"Sabotage," Grand Royal
Pictures/Capitol Video, 60
minutes, $19.95.

Dressed in oversized suits,
wigs, false mustaches, and
shades to rival Sean Penn's
ensemble in "The Falcon &
The Snowman," the
Beasties are taking the '70s
thing to a place most of us
would really rather leave
behind for good in their
title-track clip and between-
clip banter on this decidedly
cutting-edge longform.
Music is culled mainly from
"Check Your Head" and
"License To III," as well as
"III Communication" and
"Some Old Bullshit," both
released this summer. Live
versions of "Gratitude."
"Skills To Pay The Bills,"
"Screaming At A Wall,"
"Namaste'," and "So What
'Cha Want," in a
performance with Cypress
Hill, are among the
highlights, as are
intermittent scenes of the
band members in full '70s
garb on a faux talk show.

Tracy Lawrence, "I See II
Now," A*Vi«ion
Entertainment (212-275-
2900), 40 minutes, $12.98.

Lawrence, one of country's
rising stars, talks about the
leap of faith that landed him
in Nashville a few years ago,
his musical role models, and
his fans in this weave of
interview segments and
clips. Video compilation
includes nine songs in all,
from the albums "Sticks
And Stones," "Alibis," and
the new "I See It Now,"
including the title tracks,
"Today's Lonely Fool,"
"Can't Break It To My
Heart," and "Renegades,
Rebels & Rogues."
Lawrence's new album and
single continue to climb into
the upper echelons of the
Top Country Albums and
Hot Country Singles &
Tracks charts, and this
longform makes for a nice
audio-visual complement.

"Jazz Scene USA,"
Shanachie Entertainment
(201-579-7083), 60 minutes,
$14.95.

and its ascending artists.
Host Oscar Brown Jr., an
early VJ, not only
introduces each act but
provides context for the
pieces they perform, their
instruments of choice, and
their individual styles. The
program focuses largely on
California-based acts, but
includes several national
performers as well. The first
four "Jazz Scene USA"
volumes, grouped in pairs in
their video incarnation,
feature the Cannonball
Adderley Sextet and the
Teddy Edwards Sextet, the
Frank Rosolino Quartet and
Stan Kenton & His
Orchestra, Shelly Manne &
His Men and Shorty Rogers
& His Giants, and the
Phineas Newborn Jr. Trio
and the Jimmy Smith
Trio.

CHILDREN'S

"Adventures With Baaco:
Animal Quest," Kids Trek
Productions (310-643-
8017), 32 minutes, $14.95.

Steve Allen's early-'60s live-
performance series was a
more than a showcase for
American jazz music. It was
an education in the genre

First in new live-action
series from Kids Trek that
features Baaco, a costumed
creature from "outer space,"
is a detailed look at the
animals of the world. Lean,
green Baaco shows up one
day in an elementary-school
science class and
accompanies Mr. Dean and
his students on a trip to a
nearby international zoo.
Using a combination of
original songs, dances, and
fun factoids, the children
learn and teach home
viewers about a variety of
creatures from all seven of
the earth's continents.
Although Baaco — who has
come to earth to study its
inhabitants — is no Alf, he'll
get a laugh or two from the
video's intended age group
of 2-5-year-olds.

"Captain January,"
FoxVideo, 81 minutes,
$14.98.

Available in color for the
first time, the latest entry in
FoxVideo's Shirley Temple
collection is a nautical
adventure that finds the
child star living with a
lighthouse keeper who
rescued her after her
parents drowned. When a

truant officer visits and
decides she is not getting a
proper upbringing, she is
shipped off to boarding
school before being rescued
by relatives who reunite her
with her surrogate father.
Musical highlights include
Temple performing "At The
Codfish Ball" with a young
Buddy Ebsen and renditions
of "Early Bird," "The Right
Somebody To Love," and
"Asleep In The Deep." Also
new in the Temple series is
a colorized version of "Wee
Willie Winkie."

"The Captain Of The
Forest," Just For Kids
Home Video/Celebrity
Entertainment (818-595-
0666), 80 minutes, $24.90.

Most recent animated,
feature-length children's
Film from JFK concerns a
canine cop named Captain
Schnauzer and his hilarious
search to sniff out the feline
fiend Zero and restore
justice to the streets.
Developed and produced by
the studio that created "The
Princess And The Goblin"
and "The Little Fox,"
"Captain" is a treat for dog
people, cat people, and any
other youngsters who are
interested in a good, non-
violent story with a well-
developed sense of
humor.

DOCUMENTARY

"Russia: Then & Now,"
Clay Francisco Films/
Victory Audio Video
Services (310-416-9140), 80
minutes, $19.95.

Journey through the many
diverse landscapes and
historical eras that have left
their imprint on the former
Soviet Union is a
comprehensive guide that
will appeal to potential
visitors, historians, and
travel buffs alike. An insider
with an obvious sense of
history and humor,
Francisco leads viewers on
an informal tour through
Mobcow and St. Petersburg,
as well as now-independent
Kiev. Yalta, Lake Baikal,
and the beautiful resort
town of Sochi, among other
stops. In a look at the other
side of the world, Clay
Francisco also is releasing

"Hollywood: Yesterday &
Today."

MADE-FOR-TV

"Luke And Laura Volume
II: The Greatest Love Of
All," "All About Erica,"
ABC Video, approximately
60 minutes, $14.95.

Video Previews is a weekly look at new titles at sell-through prices.
Send review copies to Catherine Applefeld, 2236-B Cathedral Ave.,
NW, Washington, D.C. 20008.

The soap parade continues
with these two new releases
that invite viewers on a walk
down memory lane with
three veterans of the ABC
stable. "The Greatest Love
Of All," the follow-up to
"Lovers On The Run,"
offers more vignettes from
the on again-off again
romance that has lasted
longer than most soap opera
dynasties. Scenes include
the wedding to end all
weddings; Laura's return
after being captured for two
years by a vengeful family;
and several of the couple's
encounters with celebs,
including Elizabeth Taylor
and Milton Berle. Finale is a
scene from their recent
return to "General
Hospital." An up-close and
personal profile, "All About
Erica" is an overview of the
life and loves of one of
daytime's all-time greatest
bad girls. Video is out in
plenty of time to help
celebrate the 25th
anniversary of "All My
Children."

INSTRUCTIONAL

"A Pruning MicroCourse:
Six Solutions To The
Overgrown Yard,"
Paragon Home Video (206-
441-4500), 110 minutes,
$29.95.

Excessively chatty video
explores each and every one
of the finer points of pruning
in step-by-step fashion that
is easy to follow. The
unrehearsed, albeit

congenial host cuvers such
topics as basic cuts, the best
way to follow a shrub's habit
and prune accordingly, etc.
She begins with the "don'ts"
of tree and shrub care,
Bhowing detailed diagrams
and photos of trees in winter
when they are devoid of
leaves so that viewers can
see the results of improper
chopping in the resulting
branch patterns. She then
explains how to take the
proper precautions for the
healthiest possible — and
best-looking — greenery.

FOR WEEK ENDING NOVEMBER 19, 1994

CATEGORY

HOT 100 R&B

COUNTRY

DANCE-SALES

MODERN ROCK

TITLE

Artist

Producer

(Label)

l"LL MAKE LOVE
TO YOU
Boyz II Men/
Babyface
(Motown)

1 WANNA BE DOWN

Brandy/
K. Crouch
(Atlantic)

LIVIN' ON LOVE
Alan Jackson/
K. Stegall
(Arista)

FLAVA IN YA EAR
Craig Mack'
Easy Mo Dee
(Bad Boy/Arista)

INTERSTATE LOVE
SONG

Stone Temple Pilots/
B. O'Brien
(Atlantic)

RECORDING

STUDIO(S)

Engineerts)

LARRABEE
(Los Angeles)
Brad Gilderman

STUDIO 56
(Los Angeles)
Booker T. Jones III

THE CASTLE
(Nashville)
John Kelton

HIT FACTORY
(New York)
Bob Brockmann

SOUTHERN TRACKS
(Atlanta, GA)
Nick DiDia

RECORDING
CONSOLE(S)

SSL 4000G

Trident 80B

SSL 4040G

Neve VRP 60
w; Flying Faders

SSL 4064G
with Ultimation

MULTITRAW

2TRACK

RECORDER(S)

(Noise reduction)

Studer A827

A DAT

Studer A820

Studer A800

Studer A827

STUDIO
M0NIT0RIS)

Augsperger/TAD

JBL

UREI813
Yamaha NS10

UREI813C

Yamaha NS10

MASTER TAPE

3M996

Ampex 489

Ampex 456

Ampex 499

MIX DOWN

STUDIO(S)
Engineers(s)

ENCORE
(Los Angeles)
Mick Guzauski

STUDIO 56
(Los Angeles)
Booker T. Jones III

THE CASTLE
(Nashville)
John Kelton

HIT FACTORY
(New York)
Bob Brockmann

SOUTHERN TRACKS
(Atlanta, GA)
Nick DiDia

CONSOLE(S)

SSL 4000G

Neve VR60

SSL4056G

Neve VR 60
w/ Flying Faders

SSL 4040G

MULTITRACK'

2-TRACK-

RECORDER(S)

(Noise reduction)

Studer A827

ADAT 3700

Studer A80

Studer A800

Studer A827

STUDIO
MONITOR(S)

Augspurger,'
Tannoy SGM10

Augspurger,'
TAD

UREI 813
Yamaha NS10

UREI 813C

Yamaha NS10
Augsperger

MASTER TAPE

3M 996

Ampex 489

Ampex 456

Ampex 499

Ampex 456

MASTERING

(ALBUM)

Engineer

FUTURE DISC
Eddy Schreyer

BERNIE GRUNDMAN
Brian Gardner

MASTERMIX
Hank Williams

HIT FACTORY
MASTERING
Chris Gehringer

GATEWAY
Bob Ludwig

PRIMARY CD
REPLICATOR
(ALBUM)

PMBC

WEA

Manufacturing

BMG

Manufacturing

BMG

Manufacturing

WEA

Manufacturing

PRIMARY TAPE

DUPLICATOR

(ALBUM)

WEA

Manufacturing

HTM

BMG

Manufacturing

BMG

Manufacturirng

WEA

Manufacturing

"This is the kind of information that venues such
as the Miami Orange Bowl Stadium look to for
future 'knock-ouf events. " Monique R. Perez,
Events Coordinator, City of Miami.

"The Billboard International Talent & Touring
Directory is a lifesaver/ Year-to-date I have booked
over I SO room nights thanks to your director)'. This
is a must in sales offices. " Carol A. Lobaito,
Director of Sales, Days Inn Santa Rosa.

c 1994, BiilOoard.BPI Communications. Hot 100. RAB & Country appear in ttiis feature each time. Album flock. Modern Rock. Rap. Adult
Contemporary & Dance appear m rotation.

From the newest acts to die hottest venues, promoters, suppliers
and equipment manufacturers, Billboard's l uu 5 International
Talent & Touring Directory is the only worldw ide directory to
die entertainment industry. Finally everything you need to liook
talent, promote tours, and take care of business is in one single,
easy-to-use reference source!

You get more than 17,000 listings in the L'.S. and 12 countries
worldwide! ✓Agents & Managers ✓Sound & Lighting Services
✓Venues ✓Clubs ✓! Iotels ✓Instrument Rentals ✓Staging &
Special Fftects ✓Security Services ✓Charter Transportation
✓A lerchandisers

Save time , save wo rry and make mone y —
order the 1995 International Talent & Touring
Directory today!
Order multiple copies for your entire staff!

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For fastest service call 1-800-223-7524 or 1-800-344-71 19.
In NY call (212) 536-5174. In NJ call (908) 363-4156.

BDTD3094

BILLBOARD NOVEMBER 19. 1994

Update

LIFELINES

BIRTHS

Girl, Skylar Louise, to Joseph and
Dawn Carmody, Oct, 5 in Honesdale,
Pa. They are owners of Major Music
Inc., a retail music store there.

Twin boys, Benjamin and Maxwell, to
Bob and Linda Walsh, Oct. 14 in Bos-
ton. He is CD buyer for Tower Records
Boston.

Girl, Ashley Lynn, to Ed and Linda
Larson. Oct. 18 in Cleveland. She pro-
cesses orders at Action Music Sales
Inc. there.

Girl, Madison Elizabeth, to Bob and
Jody Biernacki, Oct. 22 in Huntington,
N.Y. He is VP of sales for SJS Enter-
tainment.

Boy, Jackson Steven, to Gary and
Mary DeirAbate, Oct. 27 in New York.
He is the producer for the syndicated
Howard Stem radio shorn*.

MARRIAGES

Marc Little to lepra Hearns, Sept. 3
in Los Angeles. He is an entertainment
attorney. She is field sales manager,
black music, for WEA Corp.

Eric Blockie to Nicole Forsyth, Sept.
24 in Lake Placid, Fla. He is a produc-
tion manager for Bill Graham Presents
in San Francisco.

Daniel Abraham to Alyson Lurie,

Oct 15 in New York. He is a producer
and remixer.

Paul Wexler to Diane Patrick, Oct. 29
in New York. He is a freelance pro-
ducer, music journalist, and publicity
writer, who was formerly affiliated
with Atlantic, Island, and Warner Bros.
Records. She is a freelance musk jour-
nalist, publicity writer, and president of
Patrick Communications Ltd.

DEATHS

Joe lam-Mo, 45, of complications due to
MELAS, a rare neurological disorder,
Oct 26 in New York. Ianello was VP of
pop promotion for Atlantic Records in
New York. He began his career as a
publicist with booking/management
firm the Jim Halsey Co. in Tulsa, Okla.
He moved to New York and became as-
sistant editor of Record World maga-
zine, followed by a stint in the publicity
department of Showtime. He joined
Atlantic in 1982 and through the years
served as promo representative in New-
York and Boston/Hartford/Albany; as-
sociate director of national promotion;
and senior director of pop promotion.
He became the promo VP in Sep-
tember 1990. He is survived by his wife,
Janet, and his sister. To contribute to
the MELAS Foundation, make checks
payable to Columbia University and
send to the Joe Ianello Fund, e/o Dr.
Salvatore DiMauro, Columbia Univer-
sity, Department of Neurology, 630 W.
168th St, New York, NY 10032.

Kenneth A. Wendrich, 62, Nov. 1 in
Nashville of injuries from an automo-
bile accident Wendrich was executive
director of the W. 0. Smith Nashville
Community Music School, an organiza-
tion that provides low-cost music les-
sons to poor children. He had held the

post since 1984. Previously, the Con-
necticut native was dean of the Bowling
Green (Ohio) State University's Col-
lege Of Musical Arts. He taught earlier
at Yale. He is survived by his mother,
his wife, a son, a daughter, and a grand-
daughter.

Wandra Merrell Brown, 69, of cancer,
Nov. 2 in Hackensack, N.J. She was a
composer, singer, music publisher, and
owner of Wanessa Music Productions
Co. She wrote several hundred songs,
which were recorded by Lou Monte,
Petula Clark, Connie Francis, and
many other artists; she MM also a re-
cording artist in her own right Among
her songs were "Calypso Italiano,"
"Pepino The Italian Mouse," "Baby
Lover," "and "Spanish Nights And
You." As a singer, she recorded for
RCA Victor and performed on stage
with Sammy Davis Jr. and .Johnny Ray.
She is survived by her husband. George
Brown, and daughter, Donna. Her son
George Jr. died in 1987.

Fred "Sonic" Smith, 45, of a heart at-
tack, Nov. 4 in Detroit. Smith was a

founding member of the Detroit band
the MC5, which was linked to John Sin-
clair's White Panther Party in the late
'60s. With the group. Smith recorded
three albums mating high-energy
rock'n'roll and occasional political ha-
rangues: the notorious "Kick Out The
Jams" for Elektra {which edited an ex-
pletive out of the title track) and "Back
In The U.SA" and "High Time" for
Atlantic. After the breakup of the MC5
in the early 70s, Smith formed Sonk's
Rendezvous Band, which performed on
the club circuit in Detroit Smith mar-
ried poet-rocker Patti Smith (who
made him the subject of her song "Fre-
derick," on the 1979 album "Wave"). He
appeared on her 1988 Arista album
"Dream Of Life," and they collaborated
on a song for the soundtrack of Wim
Wenders' film "Until The End Of The
World." Most recently, they were
working on Patti's upcoming solo al-
bum.

Send information to Lifelines, c/o Bill-
board, 1515 Broadway, l£th Floor,
Netv York, N.Y. 100.16 within six uvefot
of the event

GOOD WORKS

IVlD PIAY: Warner Music Group is
the sole sponser for the second consec-
utive year of The Performance Project
a New York City music-instruction
program that is being produced by the
City Parks Foundation and the New-
York City Department of Parks and
Recreation. Its participation allows
middle-school children (ages 8-14) in
low-income neighborhoods to audition
for the program, with those selected
participating in an intensive eight-
week, after-school instructional pro-
gram led by professional musicians.
Upon completion of the instructional
program, the children will perform side
by side with professional musicians in

concerts before their peers at schools
and before their local communities at
recreational centers in their neighbor-
hoods. The City Parks Foundation is a
nonprofit group formed in 1989 to raise
money and provide special programs in
parks throughout New York City. For
more info, contact Will Tanous at 212-
484-8067 or Patrick Epstein at 212-
988-9093.

Building fundi Some $110,000

was raised Oct. 11 at the first annual
Willie Dixon/Blues Heaven benefit at
B.B. King's Blues Club in Los Angeles.
The money will be used to help restore
the historic Chess Records building in

CALENDAR

A iveekly lifting of trade thows, con-
ventions, aivard shows, seminars, and
other eivnts. Send infortnation to Cal-
endar, Billboard, 1515 Broadnvy, Neic
York, N.Y. 1UOJ6.

NOVEMBER

Nov Universal Zulu Nation 20th Anni-
versary Celebration, with panel discussions and
a hip-hop tribute sponsored by the Rap Coalition,
various locations, New York. Wendy Day. 212-
533 8538

Nov 12, "Back To Broadway" Evening, hon

onng Warner/Chappell Music chairman/CEO Les
Bider. benefiting the T.J. Martell Foundation's Neil
Bogart Memorial Fund. Barkar Hangar. Santa
Monica. Karen Tremewan Carbone. 310- 247-
2980.

Nov 12. "Legal And Business Aspects Of The
Music Industry," presented by Texas Accountants
and Lawyers For The Arts and the Houston Bar
Assn. Law And The Arts Committee, The Pig Live.
Houston. Texas. 713-526-4876.

Nov 15, National Music Foundation Fund-
raising Dinner, hononng Billboard's 100th anni-
versary, benefiting the National Music Center.

Marriott Marquis. New York. Ellin Oelsener, 212-
245-6570.

Nov 15-17. Direct Response TV East Eipo
& Conference, including a separate section on
music and licensed merchandising, presented by
Advanstar Expositions. New York Hilton & Towers,
New York. Gabrielle Bergin. 714-513-8400.

Nov 15-18, 18th Annual Verband Deutscher
Tonmeister International Convention On Sound
Design, Municipal Hall, Karlsruhe. Germany. 011-
49-2204-23-595

Nov. 16, Musk Career Day Extravaganza,
presented by the Chicago chapter of NARAS. War-
ren Township High School. Chicago. Hy Kloc. 312-
786-1121.

Nov 1619, lOtti Annual lazzTimes Conven-
tion, Loews New York Hotel, New York. 301-588-
5531.

Nov 18-20. Women In Music Business Assn
Global Conference. Vanderbilt Ptaza Hotel. Nash-
ville. 615-251-3101.

Nov. 19, 10th Annual Stellar Awards, Audito-
rium Theater, Chicago. 312-664-5900.

Nov. 19. "Artistry I Business Wisdom:
AS R, Songwriting & Music Publishing," seminar
sponsored by BMI and presented by the Washing-

Song For The Mayor. New York Mayor Rudolph Giuliani congratulates the All
City High School Chorus as it launches Its 60th season with a performance at
City Hall. The chorus has numerous corporate backers, including BMG, Capitol
Cities/ABC Inc.. EMI Records Group, MTV Networks, Sony Corp., and Warner
Music Group. Through the years, it has headlined at Lincoln Center, Carnegie
Hall, Alice Tully Hall, and St. Patrick's Cathedral. Shown in front row, from left,
are Richard I. Beattie. Esq., chairman of the executive committee, Simpson
Thacher & Bartlett: Susan Naahiey. director of public affairs, Sony Corp. of
America; Linda Moran. VP of group and external relations, Warner Music Group;
Caroline Vincent, director of communications, MTV Networks; Debra Levy,
president, Debra Levy & Associates; Mayor Giuliani; Ramon A. Conines,
chancellor, New York Board of Education; Lee Silver. VP of corporate relations,
the Shubert Organization; Anne-Marie Hudley (rear), director, All City High School
Choir; Carol J. Parry, managing director. Chemical Banking Corp.: Cynthia
Wainwright. director of corporate social policy, Chemical Banking Corp.; Lois
Rivkin, president, Friends of the Public Schools; and Rosa Mae Curtis, Reverend.
Gospel Mission.

Chicago, which was recently acquired
by the Blues Heaven Foundation. At
the event, executives of MCA Records
presented the directors of the Blues
Foundation with a donation of $50,000.
Performers included Mick Fleetwood,
Branford Marsalis, Becky
Barksdale, Doyle Bramhall, Lonne
& Ronnie Brooks. Sherry Clark,
Butch & Alex Dixon (Dixon's son and
grandson), John McVie, Lowell Ful-
son, Keb' Mo', the King Brothers,
John Mayall, Sam Moore, Cash
McCall, Lucky Peterson, Pops Sta-
ples, George Thurogood, and Shirli
Dixon, Dixon's daughter. The Blues
Foundation was founded by Willie
Dixon in 1979 to promote blues educa-

ton Area Music Assn. and the Georgetown Sports
and Entertainment Law Society. Georgetown Uni-
versity law Center. Washington, D.C. 202-338-
1134.

Nov. 19, "Sunset Blvd." Benefit Performance
To Benefit United Jewish Appeal-Federation Of
lewish Philanthropies Of New York, Minskoff
Theater. New York. 212-980-1000.

Nov 19, 11th Annual Music Industry Tennis
Party For The TJ. Martell Foundation. National
Tennis Center. Flushing. New York. Muriel Max.
212-245-1818.

Nov 22. ITA Annual Update Seminar: "Cur-
rent Status And Future Trends In The Magnetic
And Optical Recording Media Industries," Plaza
Hotel. New York. 212-643-0602.

DECEMBER

Dec .5, Fifteenth Songwriter Showcase, pres-
ented by the Songwriters' Hall Of Fame and the
National Academy 01 Popular Music. Tramps. New
York. Bob Leone, 212-319-1444.

Dec 7. Billboard Music Awards, location to
be announced. Los Angeles. Darren Gold. 310-
451-7111.

tion in the schools. It also issues the an-
nual Muddy Waters scholarship and
provides emergency health care and
royalty recovery services for blues per-
formers and writers. Donations can be
sent to the foundation at 249 N. Brand
Blvd. #590, Glendale, Calif., 91202. For
more info, call Cary Baker at 310-35&-

PATRICK BERNHARDT

(Continued from page £6)

earth rock ... no guitar. Ben came in,
and we invited [gwtarist] Roger Mann.
Then we found this rock sound without
losing the new age spirit.

" 'Atlantis Angelis* was quite easy to
create because we took the spirit of new
age music, and I simply chanted man-
tras with new melodies. However, with
'Reconciliatk>n' I didn't have any [musi-
cal] references. I had to discover a new
sound, new age rock."

Musically, with its lengthy, heavily
textured instrumental passages and
rock'n'roll heartbeat, "Reconciliation"
resembles the 70s progressive rock of
Pink Floyd and Yes. Yet the mantras
and Sanskrit language provide a spirit-
ual context missing in progressive rock.

"Everybody can feel some energy
force from a Sanskrit mantra," Bernh-
ardt says. 'Those mantras have been
known for thousands of years, so their
sound is very potent, Sanskrit is a uni-
versal language."

FOR THE RECORD

Due to an editing error, the
headline on the Immature story in
the Nov. 12 issue cited the wrong
record label. Immature is on MCA
Records.

BILLBOARD NOVEMBER 19. 1994

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(Continued on page 7j)

BILLBOARD NOVEMBER 19, 1994

Copyrightsx7?Tiatenal

FOR SALE

HELP WANTED

Campus Records

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ACCESSORIES

Corporate
Attorney

Walt Disney's continuing expansion has created an exception-
al opportunity tor an experienced lawyer to join our Consumer
Products legal staff.

The successful candidate must have 3-5 years' legal experi-
ence in the area of music, records and trademark, an outstand-
ing academic record and be admitted to practice in California.
We offer a competitive salary and an excellent benefits pack-
age. Please send resume with salary history to:

The Walt Disney Company
500 S. Buena Vista St.
Department LL-120
Burbank, CA 91251-7235

An Equal Opportunity Employer

National Sales Manager

Nevvty launched, internationally distributed music televi-
sion channel seeks National Sales Manager with a mini-
mum of 4-5 years of sates and marketing experience in
the cable industry.

Responsibilities will Include sales, marketing and promo-
tional activities with U.S. regional/MSO accounts and
various other distributors: as well as the development,
implementation and analysis of strategic business plan.
Must have proven sales ability, strong organizational,
interpersonal and communication skills; and the ability
to work independently and creatively. BA or E5S required:
experience and/or interest in music Industry preferred.

Frequent travel. Excellent bene-
fits package. Send resume with
^^jT* M^Sy^ earnings requirements to: P.O.
^/fA^p^B & °* 999-D5. Woodbury, NY
11797. We are an equal opportu-
nity employer.

GROWING REISSUE LABEL and DISTRIBUTOR

Relocating to NORTHERN NEW JERSEY - has the tallowing positions available:

• Executive Assistant to President; Office experience & Microsoft
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• DATA ENTRY/CUSTOMER SERVICE - MAS 90, order processing and
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• FULL CHARGE BOOKKEEPER - MAS 90, 2 Years Distribution &
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• WAREHOUSE MANAGER - Minimum 2 Years related experience
required.

ALL POSITIONS REQUIRE STRONG COMPUTER PROFICIENCY

Reply In Confidence to: ECLIPSE MUSIC GROUP, INC.
522 US Highway 9 North - Suite 300 -Manalapan, NJ 07726

DISTRIBUTOR WANTED

Caribbean independent retailer looking
for a CD & Cassette distributor of

MAJOR LABEL NEW RELEASES. MUST STOCK
ALL MAJORS ALL ITEMS EXPORTED. NO
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FAX INFO TO: 809-393-7016

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video needs experienced co-op
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sales. Highest commissions paid.

Call Mr. Jacobs (310) 532-9024

CLASSICAL
MUSIC

Fdst-pdced Purchasing
Department of music distribution
company seeks a highly-motivated,
detail -oriented individual to be
responsible for all aspects of
maintaining our classical inventory.
This includes purchasing new
releases, maintaining proper stocking
levels, ensuring proper turnaround of
returns to vendors, acquiring new
independent labels <is needed dnd
maintaining data integrity of
inventory within our various
systems.

Ideal candiddte will have d brodd
knowledge of classical music artists,
orchestras, conductors t classical
labels. Previous wholesale
purchasing experience esscntialf
computer experience a plus.

We offer a competitive salary i
benefits package including medical,
dental, 401 (K).

Send resume, including salary
requirements to:

CD ONE STOP

Dept. CB
Francis I. CUrke Industrial Park
1 3 Funds J. Clarke Circle
Bethel, CT 06801

PROGRESSIVE COMPANY SEEKS highly
motivated and organized assistant for Art
Department. Experience with Macintosh
end word processing programs essential.
Must have ability to handle heavy
administration tasks. Send resume, with
salary history, to:

PRIORITY RECORDS, INC.
6430 SUNSET BLVD.
HOLLYWOOD, CA 90028
ATTN: HUMAN RESOURCES
Fai resumes/phone calls not accepted.

COMMISSION
SALES PERSON

Leading music trade publication
looking for rep to sell directory
advertising space in Nashville, Tn

Three month assignment starting in
January '95. Please send resume to

Box REW '95
c/o Billboard Magazine

1515 Broadway
New York, NY 10036

EOE

DIRECTOR OF
ROYALTIES

Major record label seeks Director of
Royalties to oversee all royalty
functions within the company. Must
have ten years industry experience
including supervising a royalty
department. Responsibilities include
processing royalty statements for
artists, producers and publishers;
coordinating and negotiating
artist/publisher royalty audits;
performing royalty audits on domestic
and international licensees; preparing
union reports; setting artists/
publishers reserve: hiring, training
and supervising all royalties
personnel. Reports to Vice President,
Controller. Please fax resumes to:
(213) 469-3497.

MUSIC

Contract Administrator

Major record company seeks
candidate who is familiar with
analyzing recording agree-
ments and proficient In royalty
calculations. Candidate must
have at least 2 years related
experience and college
degree. Solid computer
literacy Is required.

Please send resume and
cover letter with salary
requirements, to:

BHA Box 278
16th Floor, 555 Madison Ave.
New York, NY 10022

Equal Opportunity Employer

Major distributed growth label
seeking national radio promotion
director. Proven ability to manage
high-Impact multi-format charting,
major market promotion/
merchandising/live appearances,
and results reporting. Energetic team
player who can convert relationships
to results and provide R&R/BDS/
College profiles for distribution end
retail marketing. Send resume and
salary requirements to:

BOX 8196
BILLBOARD CLASSIFIED
1515 BROADWAY
NEW YORK, NY 10036

ASSISTANT TO MUSIC ATTORNEYS

Music entertainment attorneys once
again seek bright, humorous, multl-
skilled, self-starting assistant, capable of
multi-Input mental data processing; must
possess near-telepathic communicative
powers, lightspeed verbal and mental
reflexes, bionic computer skills, and the
ability to subsist on modest wages and
little sleep all in return lor an
unparalleled learning experience. Please
lax cover letter and resume to (212)
302-7021, but don't waste your time and
our lax paper if you're not ready to get
busy — like today

BAND SEEKS MANAGEMENT

Newly signed major-la bat pop group
seeks committed, well-connected
management company. Major-label
client experience a mutt. Send Into to
2566 Washington St., #4, SF CA 94115
or call Andrew at (415) 929-8822.

MAJOR CHRISTIAN MUSIC PUBLISHER SEEKS
EXPERIENCED PROFESSIONAL FOR SONG
EXPLOITATION POSITION. PREFER
BACKGROUND IN MUSIC PUBLISHING OR A4R.
MUST HAVE LOVE FOR CHRISTIAN MUSIC AS
WELL AS OVERALL KNOWLEDGE OF
CHRISTIAN. GOSPEL, COUNTRY ANO POP
SONG MARKETS WE OFFER AN EXCELLENT
COMPENSATION ANO BENEFITS PACKAGE.
FAX YOUR RESUME WITH A COVER LETTER
TO; HUMAN RESOURCES, (fl15) 371-6997

CUT-OUT MERCHANDISE
MGR. & BUYER

Major Wholesaler of Cut-Out &
Over Stock Audio
Based in Southern Florida
Seeks Knowledgeable & Motivated
person

Minimum 5 years experience with
Cut-Out product
Salary & Benefits based on experience

Box 8194
Billboard Classified

1515 Broadway
New York. NY 10036

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POSITIONS WANTED ■ TAPES

FIXTURES

DRU M ME R SEEKS INTERNATIONAL ACT

Highly experienced professional drummer w/lop
name credits swfcs established national/international
pop, rack. R&B or country, cross-over act.
Resourceful team-player, versatile w/great feel,
knowledgeable on all aspects of music business. All
information confidential Fax to (908) 781-1693 4/or
send material to Sphere Productions. P 0 Box 991,
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Box 86 Rosendale, NY 12472
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ENTERTAINMENT LAWYER

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Law Offices of Dane Alexander
(415) 485-1054

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• Record/Management

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212-725-3079

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516-752-7800

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AMERICAN RIDES INTO RAP WITH WILD WEST

(Continued from, page lj)

young A&R person . . . with savvy
business skills that will make the
new label relationship work."

Despite American's distribution
relationships with REP and
Tommy Boy, all releases from
Wild West will be distributed
through WEA, Charnas says.

The arrangement gives Wild
West a major-label support plat-
form on which to launch its artists.
Says Taft, "This deal brings us into
the [WEA] fold and bolsters our
capability for marketing and pro-
motion."

Wild West's roster includes the
Nonce, Supherb, Kinfolk, Veil
Bakardi, Speak No Evil, Torche,
and Tha Mexakinz.

In November 1993, Wild West
signed a long-term distribution
deal with Motown for releases by
Torche and Tha Mexakinz. That
agreement will not be affected by
the American/Wild West pact.

Charnas describes the Wild
West relationship as a partnership
designed to strengthen American's

visibility in the hip-hop genre. "As
one of our affiliated production la-
bels, the Wild West logo will ap-
pear as prominently as the Ameri-
can logo," he says.

American has a similar label
deal with Rhyme Cartel, home to
Sir Mix-A-Lot and Jazz Lee
Alston.

Rap acts signed directly to
American are not affected by the
Wild West deal. Those acts are
Milk., the Art Of Origin, Kwest
Tha Madd Lad, 5-One-Six, and
Blaque Spurm.

Taft expects to issue six releases
on Wild West in 1995. "Since dis-
covering brand-new acts is what
keeps me interested in the busi-
ness, I usually sign acts that need
development — and that takes
time," he says.

Though Wild West is primarily a
hip-hop label, Taft plans to issue
R&B and acid jazz product. "I'm
also looking forward to going into
film soundtracks," he says.

WASHINGTON MUSIC AWARDS

(Continued from page W

as the Spotlight Award, which is
given to the artist who brings the
most national attention to the Wash-
ington music scene.

Bill Kirchen, who achieved early
success as the guitarist with rocka-
billy/roots group Commander Cody
& the Lost Planet Airmen also
earned four awards: country instru-
mentalist, roots rock male vocalist,
roots rock duo/group (with his band
Too Much Fun), and musician of the
year.

Last year's musician of the year,
saxophonist Ron Holloway, took
four jazz awards.

Carpenter's new album, "Stones
In The Road," was not eligible for
an album of the year nomination due
to its October 1994 release date. The
top award went instead to the senti-
mental favorite, "Celebration Of A
Dreamer," an all-star tribute to the
late songwriter Dave Allen, who
died of brain cancer in 1992 at age
42.

The album marshalled the talents
of five area studios and more than
50 artists, including singer/song-
writers Jonathan Edwards, Tom
Lofgren, and producer/guitarists
Steuart Smith and John Jennings.
Proceeds go to Allen's three chil-
dren.

Several WAMMIES went to area
artists who have made the leap from
the local to the national spotlight.
The urban contemporary female vo-
calist and duo/group awards went to
Me'Shell NdegeOcello, for her de-
but album on the Maverick label,
"Plantation Lullabies," as well as
for her duet with John Mellencamp
on the Mercury track "Wild Night."

The go go duo/group award went
to Chuck Brown, the tireless godfa-
ther of the "Bustin' Loose" dance
music genre.

The producer of the year award
went to John Alagia, who produced
the 1993 indie release "Remember
Two Things" by the Dave Matthews
Band. That act is now signed to
RCA.

The alternative rock male vocalist
award went to 9353 vocalist Bruce
Merkle; the top alternative rock fe-
male vocalist was scatological
rocker Esmirelda; and the alterna-
tive duo/group award went to em-
met swimming.

Jazz bassist Keeter Betts was
presented with the WAMA Hall of
Fame Award, as was the late Quen-
tin "Footz" Davidson, drummer of
the go go group Rare Essence, a vic-
tim of a drive-by shooting earlier
this year.

TICKETMASTER DEVISES CLAPTON CLUB SCHEME

(Continued from page IS,)

ID, voucher, and credit card must
be the same.

"We knew we couldn't please all
the people, but at the same time,
half the house won't be filled with
the rich fan, while the average fan
can't get in," says Ross.

The guest lists for the shows
have been cut down as well. For in-

stance, there are a total of 100 tick-
ets on the guest lists for all three
L.A. shows.

"Eric is losing a fortune on this,"
adds Ross. "But these w r ere my
marching orders. We called all the
brokers, and they don't have any
tickets, so we think this has
worked."

Reach For The STARS!
MOVING? RELOCATING?

ARE YOU INTERESTED IN RESIDENTIAL. COMMERCIAL OR STUDIO
PROPERTIES 7 BE SURE TO READ THE ADS IN THE REAL ESTATE TO THE
STARS CLASSIFIED SECTION EVERY WEEK IN BILLBOARD

BILLBOARD NOVEMBER 19, 1994

ATLANTIC RETURNS GERMANY'S DIE TOTEN HOSEN TO U.S. MARKET

(Continued from page ISi

coming Canadian and U.S. tour
dates as the opening act for San
Francisco's Green Day — a band
that opened shows in Germany
this spring for Die Toten Hosen
(Billboard, April 9). "It's a give
and take," says Campino, noting
how the members of the two
bands discovered common punk
roots despite growing up in very
different cultures.

In Europe, meanwhile, Die To-
ten Hosen is releasing a second al-
bum of English-language songs,
"Love Peace And Money." Pre-
ceded by the five-track EP "Put
Your Money Where Your Mouth
Is" (which features a bizarre cover
of "Guantanaraera"), the new al-
bum is slated for release in the
U.K. in December and the U.S.
next year. As a characteristic
prank, the band billed "Love
Peace And Money" in Germany as
a Japanese import, with Japanese
liner notes translated into Ger-
man and English.

"Love Peace And Money" is the
10th album in the decade-long ca-
reer of a band that, according to
its record label, has sold more
than 4 million albums to date, pri-
marily in Germany, Austria, and
Switzerland. Arena headliners at
home, Die Toten Hosen has
opened shows in Germany for the
Rolling Stones and U2, and has
played dates throughout Western
and Central Europe, South Amer-
ica, and Russia.

Yet Campino, in true punk
style, sayB, "We were never ambi-
tious. We never wanted to be
stars."

THE DEAD TROUSERS

In 1983, EMI Records in Ger-
many released the Diisseldorf
band's debut album, "Opel Gang."
Die Toten Hosen translates liter-
ally as "the dead trousers," but the
phrase is a German metaphor for
"all talk, no action."

A second EMI album, "Unter
Falscher Flagge" (Under A False
Flag), followed before the band
switched labels to Virgin in Ger-
many. Although its first two al-
bums for Virgin, "Battle Of The
Bands" in 1985 and "Damenwahl"
(Ladies Choice) in 1986, did not

Hosen Hits: The
Band's Biggest

Die Toten Hosen has sold more
than 4 million albums in Germany,
Austria, and Switzerland, accord-
ing to Virgin Schall plat ten. The
band's most successful albums,
and their domestic sales as certi-
fied in Germany, are:
"Bis Zum Bitteren Ende — Live"
(Until The Bitter End— Live),
1988, 400,000 units;
"Ein Kleines Bisschen Horrors-
chair (A Little Bit Of Horror
Show), 1988, 600,000;
"Auf Dem Kreuzzug Ins Gliick"
(On A Crusade To Happiness),

1990. 460,000;

"Learning English: Lesson One,"

1991, 250,000;

"Kauf Mich" (Buv Me!), 1993,
600,000;

"Reich & Sexy (Best Of)." 1993,
600,000.

crack the German album chart,
live tours built the group's fan
base.

From the start, Die Toten Ho-
sen has worked with British pro-
ducer Jon Caffery, who had been
a studio engineer in London dur-
ing the heyday of punk, working
on tracks including the Sex Pis-
tols' "God Save The Queen." A
love for German punk rock
brought Caffery into contact with
Jochen Huelder, manager of the
German underground band Ein-
stuerzende Neubauten (Collaps-
ing New Buildings). Huelder
introduced Caffery to Die Toten
Hosen.

"The key to the success of Ger-
many's No. 1 punk band," says
Huelder, "is their anti-establish-
ment attitude and the fact that
they are good live performers who
play everything from living rooms
to football stadiums. They have
paid their dues and built up a fol-
lowing over the past 10 years."

The band's breakthrough came
in 1987 with the top 20 album
"Never Mind The Hosen, Here's
Die Roten Rosen" (Never Mind
The Trousers, Here's The Rotten
Roses). The group went gold in
Germany with 400,000 sales of
"Bis Zum Bitteren Ende — Live"
(To The Bitter End — Live) in
1988, and hit No. 1 on the German
album chart for the first time in
1990 with "Auf Dem Kreuzzug Ins
Gluck."

With platinum sales of more
than 600,000 units in Germany in
1993 for both "Kauf Mich! (Buy
Me!) and the best-of collection
"Reich & Sexy," Die Toten Hosen
was presented with the Echo

Salt-N-Pepa, and Ini Kamoze.

The Miramax film, which fea-
tures Julia Roberts, Tim Robbins,
and a cast of other stars, opens in
1,000 theaters Dec. 21.

In addition, the singer has
landed a role in the 20th Century
Fox film "Die Hard III: With A
Vengeance," in which she will play
Jeremy Irons' mute German ter-
rorist girlfriend. Cheske says Phil-
lips is also working on a song for
either the opening or closing cred-
its of the movie, which is due next
summer.

The singer, who has never acted
before, was chosen for the part
when the director saw her album;
its back cover features a very aus-
tere-looking Phillips with slicked-
back hair.

"[Acting is] a lot of fun. I'm
learning a lot," she says. "The first
day, the director said, 'Rolling,'
and to me, that means you start.
So I started, and the director said,
'Cut,' laughed, put his arm around
me, and said, 'It's customary for
me to say "action" first.' "

Fox Records is set to release
"With A Vengeance," the sound-
track to "Die Hard III," in July
1995. However, Kevin Nakao, sen-
ior director of marketing at Fox,
says the music is not yet con-
firmed.

"We've always been pretty ag-
gressive when it comes to [getting
music in movies and TV shows],
but especially with Sam," says
Cheske. "We're always looking for
other avenues with Sam. This is a

Award as the most successful Ger-
man band of the year.

"Die Toten Hosen sell ex-
tremely well within their fan fol-
lowing, and Virgin has broadened
their acceptance via excellent pro-
motion," says Wolfgang Orth-
mayer, managing director of the
World Of Music record store in
Munich. "Therefore, it came as no
suprise that the 'Kauf Mich!' cam-
paign won the Echo Award for the
best marketing campaign of
1993."

Jurgen Krause at the indie shop
Hitsville in Diisseldorf says, "Kids
start coming in two weeks in ad-
vance to inquire about the availa-
bility of an upcoming release,
since they want to be among the
first to have it. And whenever
Campino comes into our store —
dark glasses or not — he is forced
into an impromptu autograph ses-
sion."

ANTI-NAZI STANCE

While Die Toten Hosen's brand
of aggressive rock is not a staple
of German pop stations, Helmut
Lehnert, head of music program-
ming at commercial radio outlet
"Fritz" in Potsdam, says his sta-
tion is one of the few in Germany
to broadcast each of the band's
singles and put them in heavy ro-
tation throughout the day. "The
most requested songs by the Ho-
sen," he says, "are the ballad 'Weil
Ich Dich Liebe* (Because I Love
You), 'Hier Kommt Alex' (Here
Comes Alex), and 'Sascha.' "

The anti-Nazi single "Sascha,
Ein Aufrechter Deutscher" (Sa-
scha, An Upstanding German),
which was alleged to contain pro-

great way to expose her music."

Virgin is hoping the inclusion of
"These Boots Are Made For
Walkin' " in "Pret-A-Porter" will
spur sales of "Martinis & Bikinis"
in much the same way that Phil-
lips benefited from the "Melrose
Place" exposure.

The critically acclaimed "Marti-
nis & Bikinis" spent one week on
The Billboard 200, at No. 182, and
peaked at No. 9 on Heatseekers.
According to SoundScan, the al-
bum has sold more than 73,000 co-
pies to date.

John Artale, purchasing man-
ager of the 135-store, Carnegie,
Pa. -based National Record Mart
chain, says, "She more than dou-
bled in sales last week. The thing
with 'Melrose Place' is, they play a
song for a long time, and if you like
it, sure, it could spur sales . . .
['Martinis & Bikinis'] is a good
record, and it bears working
again."

Virgin chose to re-service "I
Need Love" because the "timing
was bad" the first time out, says
Cheske.

"By the time it started getting a
really good response, we had al-
ready gone with 'Baby I Can't
Please You' as the second single,"
she says. "It started picking up
steam when we went with the sec-
ond single. Based on that, we're
working it more aggressively
now."

Cheske also hopes that "I Need
Love" will cross over to top 40 this
time. "Her appeal since this was

vocative lyrics, was the focus of a
controversy. The band was
brought to court by a right-wing
politician, who claimed the band
was inciting action against him.
The case was dismissed for lack of
evidence, and Die Toten Hosen
donated all proceeds from the
song, more than $330,000, to the
Diisseldorf-based Appeal Against
Racism And Racial Prejudice.

"In times like this, which are
rough, you should be able to stand
up and fight for what's right,"
Campino says of the band's stance
in the face of racist activity in Ger-
many. "We see ourselves as a po-
litical band, although we're not se-
rious all the time."

During October, the band
played 13 dates in the U.K., open-
ing for Terrorvision. A perform-
ance in London was recorded for
international syndication by
MCM Networking. Before head-
ing to the U.S., Die Toten Hosen
was set for a November tour in
seven key German cities. A con-
cert in Mannheim was filmed by
the German music channel Viva
for broadcast Dec. 4, "Hosen
Day," a 24-hour tribute to the
band. The broadcast will feature
exclusive interviews and video-
clips.

In the U.S., Atlantic will boost
the band with its rerelease of
"Learning English, Lesson One."
"Most of the songs on the album
feature musicians from the bands
that originally did the songs," says
Firm. Among them are "Blitz-
krieg Bop" with Joey Ramone,
"Whole Wide World" with Wreck-
less Eric, "Baby Baby" with mem-
bers of the Vibrators, and "Born

first worked is more broad-based
now, from her constant touring,"
she says.

Modern rock KPOI Honolulu is
one station that didn't play "I
Need Love" in March, but it
placed the song into regular rota-
tion Nov. 1.

"Everyone but Virgin is mad at
me for adding this, because Sam
doesn't really fit what we're do-
ing," says KPOI PD Ted Taylor.
"We used to be a [top 40]-leaning
alternative station, and now we're
a more [album rock]-leaning alter-

To Lose" with Johnny Thunders
& the Heartbreakers. The latter
track was Thunders' final record-
ing session before his death in
1991.

"We're really using the band's
cool imagery as an awareness
tool," says Firm. "They have an
extensive line of merchandising
with great graphics that are very
intriguing. We're doing mailings
of T-shirts, pens, tour books ... so
that by the time the album comes
out, our target retailers, radio sta-
tions, and press will definitely be
aware and intrigued. We also hope
that the dates with Green Day will
help expose the band. They're do-
ing two dates in Canada in No-
vember, and dates in New York
and Philadelphia at the beginning
of December."

Firm concedes that Atlantic's
new push on a previously released
album may be "a little confusing.
But we really see it as just an in-
troduction. We plan on having a
long-range relationship with this
band."

The rerelease plans also do not
trouble Die Toten Hosen. "All
these songs deserve attention,"
Campino says of the album's punk
classics. "It was so important to
meet our old heroes. After we'd
done the record, we became
stronger fans of these bands than
we were before. If I'm going to tell
my grandchildren one day what I
did with my life, this is the first al-
bum I would get out of the drawer
to play."

Assistance in preparing this story
was provided by Trudi Miller Ro-
senblum in New York.

native station. The reason I added
it is because I think it's a great
song. I'm going to play the shit out
of it, and hope they love it."

Virgin is in the midst of putting
together a live promotional CD
culled from Phillips' numerous on-
air radio performances, including
stints on public radio KCRW Los
Angeles, album alternative KSCA
Los Angeles, Public Radio Inter-
national's "The World Cafe," mod-
ern rock WNNX (99X) Atlanta,
and modern rock WDRE Long Is-
land, N.Y.

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1994

FILM, TV EXPOSURE SHAKE UP SAM PHILLIPS' 'MARTINIS'

(Continued from page 12)

BILLBOARD NOVEMBER 19. 1994

Radio

Taking' It To The Streets. WQHT (Hot 97) New York jock Baltazar. left, recently
joined volunteers for a "Hot 97 Street Sweep'' day of cleaning in the Bronx.

When Martinez Needs Advice,
Consultant Mother Knows Best

■ BY BRETT ATWOOD

LOS ANGELES — When top 40/
rhythm WQHT (Hot 97) New York
personality Angie Martinez calls her
mother for advice, she gets a healthy
dose of career counseling, too. That's
because mom hap-
pens to be veteran
programmer Shir-
ley Maldonado,
who is currently
an adult alterna-
tive radio consult-
ant

Martinez has
martinez successfully fol-
lowed in her
mother's footsteps to become one of
the few high-profile females in the
male-doniinated radio business.
Maldonado began in radio in the late
70s as a program-
ming assistant at
WYNY New York,
and eventually
worked her way
up to MD. That
was followed by
stints at the
Source radio net-
work, WRKS New
York, and WPOW

(Power 96) Miami

Martinez, who is now 23, started in
radio as a teenager, when she would
answer phones and do odd jobs at top
40 Power 96, where her mother
worked.

"Of course, as a single parent, Angie
would come along with me for a lot of
the promotions I was involved in," says
Maldonado. "In fact, she participated.
She was an active listener of the format
that I was programming at the time.
So, from a business perspective, her
ears were helpful. At age 16, she was
living the music."

When Maldonado left Power 96 for
her first PD gig at cross town WXDJ,
her daughter continued to give her in-
put to WPOW as a staffer in the sta-

MALDONADO

lion's research department

"In some ways, it was like I never
left Power 96," Maldonado says, joking.
"Angie was like a younger version of
me at the station."

A brief consulting job for adult alter-
native station WLVE (Love 94) Miami
was soon followed by a move to New
York, where Maldonado assumed PD
duties at adult alternative WQCD
(CD101.9) in 1990. Martinez joined her
mother for the move, and found herself
with her second radio job at Hot 97.

"I was dying to come back to New
York," Martinez says. "Unfortunately,
I had to start at the bottom again."

After several long months of work,
bolstered by a healthy dose of strong
persistence, Martinez worked her way
up to become head of the research de-
partment, and eventually found her
way into the programming department
at Hot 97.

Getting on the air, however, was a
fluke. "I never really aimed to get on-
air," Martinez says. "I have always
preferred programming, but my mom
gave me some great advice. She said
that it was important to learn abso-
lutely everything in radio. That's why
I did the [audition 1 tape in the first
place. It just seemed like the smart
thing to do."

Former Hot 97 APD Kevin McCabe
heard the tape and called Martinez af-
ter Saturday night jock Sue CVNeil be-
came ill only an hour before her shift

"I just threw on a pair of sweat pants
and went out the door," Martinez says
of her first on-air experience. "I had no
preparation or anything. I ran upstairs
and told my mom that I was going to
finally be on the radio, and she turned
on every radio in the house. I wasn't
great, but Kevin said it was OK for a
first time. The next time there was an
emergency, he called me again."

Eventually, Martinez landed over-
nights at the station, and last month
was promoted to the prime 1-4 p.m.
shift

(Continued on next page)

Arbitron, Scarborough Join Forces

Venture Could Offer 'Comprehensive' Research

I BY PHYLUS STARK

NEW YORK — Arbitron will obtain a
50% interest in the Scarborough Re-
search Corp. as part of a new joint ven-
ture between the two companies. The
other half will remain with Scarbor-
ough parent company VNU.

In exchange for half of Scarborough,
a 24-year-old market-research-services
business, Arbitron parent Ceridian
Corp. will hand over to VNU its 50%
interest in Competitive Media Report-
ing, an enterprise that previously had
been jointly owned by the two compan-
ies. CMR is a leading provider of na-
tional and local competitive advertising
information for advertising agencies,
advertisers, broadcasters, and publish-
ers.

VNU, a Dutch publishing company,
also owns a number of U.S. business in-
formation services and magazines,
including Billboard. Its Scarborough
Research division provides clients with
qualitative data on consumer shopping
patterns, product purchases, and me-
dia usage in 58 U.S. markets. Scarbor-
ough clients include newspapers,
broadcasters, agencies, and adver-

Arbitron's own fledgling qualitative
service, LocalMotion, will continue in
smaller markets not served by Scar-
borough.

In addition to a two-year partner-
ship in CMR, Arbitron and Scarbor-
ough also had an existing deal, which
gave Arbitron the right to sell Scarbor-
ough qualitative data to radio.

When VNU ran the now-defunct
Birch radio-ratings service, the two
companies were rivals. Now, as part-
ners, representatives say each side
brings a particular strength to the ta-
ble: Arbitron's local broadcast-media
measurement and Scarborough's ex-
pertise in newspaper, consumer, and
retail research.

"We see this as a win/win opportu-
nity for both companies and, most im-
portantly, for our clients," says Scar-
borough Research president Robert
Cohen. "Our mission is to be the lead-
ing high-quality provider of local mar-
ket information."

Cohen and Arbitron president Steve
Morris stress that Scarborough quali-
tative information and Arbitron ratings
complement each other and, in Morris'

words, can be "woven together" to cre-
ate a comprehensiv e research package.

The transactions are expected to be
completed by the end of the year.

In an unrelated development Arbi-
tron announced Nov. 8 that it would
hold up the scheduled release of the
phase one fall Arbitrends for one week
after it identified an error in the data.
That mistake was caused by new inter-
nal processing software, installed for
the fall '94 survey period, that mis-
assigned some diaries to the wrong Zip
codes, according to VP/communica-
tions Thom Mocarsky. It was found
during Arbitron's newly enhanced
quality-assurance checks, which were
implemented as a result of a series of
mistakes and reissued market reports
during the spring and summer ratings
periods.

Trends for 94 markets will be de-
layed seven days from the originally
published schedule, which spanned
Nov. 8-23. Arbitron initially held up re-
lease of the first four markets by 24
hours, then decided on the longer,
more comprehensive postponement to
give staffers time to check for any ad-
ditional errors.

YOUNG EARS OPEN TO BOTH COUNTRY & ALTERNATIVE MUSIC

(Continued frtmi page 1)

windows in an attempt to pick up al-
ternative KSPI (the Spy) in nearby
Stillwater, Okla. "They'd go back and
forth between Twister and the Spy,
blasting whichever song they liked
better."

Vic Thomas has been spinning rec-
ords at Greenville, S.C.-area high
school and college parties for 11 years.
Along with the usual requests for pop
and R&B hits, he says kids today, par-
ticularly at suburban dances, are de-
manding alternative and country. Ac-
cording to Thomas, Tracy Byrd's
"Watermelon Crawl," the Meat Pup-
pets' "Back Water," Little Texas'
"God Blessed Texas," and Smashing
Pumpkins' "Today" are all current
crowd-pleasing musts.

Few, if any, country requests were
logged prior to 1990, Thomas says,
while alternative interest has been
emerging in the last 18 months.

That same trend can be seen at
country dance clubs, where the aver-
age age is plunging from the 40s
through the 30s and into the 20s, says
club promoter and record distributor
Wynn Jackson. "Without a doubt, we
see that [youth trendl everywhere we
go."

Ron Burt, who oversees music at
the 4,000-person-capacity Crystal
Chandelier just north of Atlanta, says
he's drawing so many college students
that he's been experimenting with
spinning some R.E.M. and Blur sin-
gles among the country hits. "We get
a lot of 99X listeners," he says, refer-
ring to the city's modern rock outpost,
WNNX.

Burt is not alone in mixing up the of-
ferings. "I guarantee, if you go to a
country bar here, you'll [eventually]
hear Offspring and Nine Inch Nails,"
says Mike Peer, MD at modern rock

Country, Modern Rock Hot Spots

Below is a list of markets in which both country and modern rock record
sales rank above, or well above, the national average.

EAST

MOUNTAIN

Charlottesville, Va.

Albuquerque. N.M.

Gainesville, Fla

Butte, Mont.

Indianapolis

Colorado Springs, Colo

Denver

Fiagstaft, Ariz.

CENTRAL

Phoenix

Austin, Texas

Salt Lake City

Cedar Rapids. Iowa

Kansas City, Mo

WEST

Lafayette, tnd.

Alaska

Lubbock. Texas

Eugene, Ore.

Madison, Wis.

Eureka, Calif

Mankato. Minn.

Hawaii

Minneapolis

Portland. Ore

Omaha, Neb.

Reno. Nev.

Oklahoma City

Sacramento, Calif

Peoria, III.

Santa Barbara, Calif.

Springfield. 111.

Seattle

Topeka. Kan.

Spokane, Wash.

Source: "latitude S Attitudes: An Atlas of American Tastes. Trends, Politics and Passions (Utile,
Brown and Co ) by Michael Weiss Information is based on surveys conducted by Simmons Maiket
Research Bureau

KNNC Austin, Texas.

That sort of anecdotal evidence
doesn't definitively answer whether a
curious cross-pollination is taking
place. But Rick Blackburn, president
of Atlantic/Nashville, is a believer,
based on focus group research con-
ducted by the label within the last 18
months among 18-24-year-olds who
buy at least six country records a year.
Blackburn says it is clear that those
consumers are much more "open and
objective to music," and that custom-
ers approach cashiers with Cranber-
ries and John Michael Montgomery
CDs in hand "without too much con-
sideration ... 1 don't think 18-21-year-
olds see it as right or wrong, or better
or worse. They have an enormous ap-
petite for music, period."

Although SoundScan does not pin-
point which demographic is buying
specific records, young consumers his-
torically have always out-spent older
customers. According to a NARM/
RIAA consumer behavior study issued
in March, the 19-25 demo purchased
33.1% of all recorded music in 1993.
That means it is safe to assume that,
just as in rock, pop, and R&B, kids
have fueled many of country's chart
conquests, says consultant Albright.

"Our research shows young demos
buying country records in greater
numbers," says Eddie Reeves, senior
VP/GM Warner Bros./Nashville. It
also shows that those young demos'
tastes "run across the whole spec-
trum." Format or genre hopping,
(Contin ued on page HO)

BILLBOARD NOVEMBER 19. 1994

Billboard.

FOR WEEK ENDING NOVEMBER 19, 1994

Hot Adult Contemporary

: -.'1 :„iottr ,<•; a int.vHl ■-.•T in.- .1 ,-iir; i.iy I \ -i fir .,;!' O.il.i Vr-'v - ' r-.. ■ ■ T - ■■ k I h " J ir.

Radio

I-" i

J £

2
. s

% z

TITLE

LABEL & NUMBER'DISTRIBUTING LABEL

ARTIST

* * * NO. 1

* * *

ALL 1 WANNA DO

♦ SHERYL CROW

r 9 'i

SECRET

VAVLfrC- L r-C jd'J V.AfT.£* bRK

• MADONNA

I'LL MAKE LOVE TO YOU

♦ BOYZ II MEN

CIRCLE OF LIFE

♦ ELTON JOHN

WILD NIGHT* JOHN MELLENCAMP/ME'SHELL NDEGEOCELLO

BUT IT'S ALRIGHT ♦ HUEY LEWIS 4 THE NEWS

LUCKY ONE

AAM 07M

♦ AMY GRANT

IF YOU GO

♦ JON SECADA

TURN THE BEAT AROUND

♦ GLORIA ESTEFAN

COME TO MY WINDOW

♦ MELISSA ETHERIDGE

WHEN CAN 1 SEE YOU

E«iC 7 •

♦ BABYI ACt

I'M THE ONLY ONE

♦ MELISSA ETHERIDGE

LOVE IS ALL AROUND

♦ WET WEI WEI

CAN YOU FEEL THE LOVE TONIGHT

♦ ELTON JOHN

YOU MEAN THE WORLD TO ME

♦ TONI BRAXTON

PRAYER FOR THE DYING

:r 7 ir; i - . .ov.iui.f-' ^

♦ SEAL

ANYTIME YOU NEED A FRIEND

♦ MARIAH CAREY

DON'T TURN AROUND

♦ ACE OF BnSt

***AlRPOWER***

ONCE IN A LIFETIME

COLUWfllA ALBUM CUT

MICHAEL BOLTON

ENDLESS LOVE LUTHER VANDROSS 8, MARIAH CAREY

GET OVER IT

♦ EAGLES

WHEN WE DANCE

♦ ST NG

Ki±)

I'LL STAND BY YOU

7|RE ISifyjWABNiH BR'Ji

♦ PRETENDERS

DECEMBER 1963 (OH, WHAT A NIGHT) FOUR SEASONS

curb ^69::

WHISPER YOUR NAME

♦ HARRY CONNICK, JR.

ALWAYS

"L ■

♦ BON JOVI

IF I'M NOT IN LOVE

KATHY TROCCOLI

STAY (1 MISSED YOU) ♦ LISA LOEB & NINE STORIES

rca *::^7':.

PICTURE POSTCARDS FROM L.A.

♦ JOSHUA KADISON

BODY & SOUL

■

♦ ANITA BAKER

UNTIL 1 FALL AWAY

♦ GIN BLOSSOMS

THE WAY SHE LOVES ME

CAPITOL T.*le"

♦ RICHARD MARX

(33

YOU GOTTA BE

♦ DES'REE

OUT OF TEARS

♦ ROLLING STONES

ONLY ONE ROAD

CELINE DION

THE SIMPLE THINGS

♦ JOE COCKER

DANCE NAKED

♦ JOHN MELLENCAMP

* * * Hot Shot Debut * * *

NEW ►

STORM WARNING

CAPITOL ALBUM CUT

♦ BONNIE RAITT

YOU

♦ BONNIE RAITT

THE COLOR OF THE NIGHT

'.Thf i~i r.'.f.

♦ LAUREN CHRISTY

C ) Tracts snowing an

art movement Aiipcwer awarded td

IT A

DULT CONTEMPORARY RECURRENTS

BEAUTIFUL IN MY EYES

♦ JOSHUA KAOISON

I'LL REMEMBER

l.'Jv-- V.h \lh; ;- '.V.'-H'i. K URi i-

♦ MADONNA

: i

1 SWEAR

BLIT22 572an.ATLANT.C

♦ ALL-4-ONE

FOUND OUT ABOUT YOU

♦ GIN BLOSSOMS

■1

THE RIVER OF DREAMS

Li.:UIMr A V'lKt

♦ BILLY JOEL

;

EVERYDAY

ATLANTIC »7.1l7C

♦ PHIL COLLINS

THE SIGN

♦ ACE OF BASE

BABY 1 LOVE YOUR WAY

RCA C2 78C

♦ BIG MOUNTAIN

NOW AND FOREVER

CAPITA . <

♦ RICHARD MARX

WHAT MIGHT HAVE BEEN

...n.-T'.E- .

♦ LITTLE TEXAS

70s Hits Do Trie Trick At Magic 102.9

Oldies Bring New Success To WMGK Philadelphia

JULIAN BREEN takes exception to the "O" word.

As director of operations for Greater Media's WMGK
(Magic 102.9) Philadelphia, he programs a format most in
the industry would refer to as 70s-based oldies. Breen,
however, says that "in public perception, the 'O' word be-
longs to traditional oldies formats. It doesn't belong to us."

He is equally prickly about labeling just what kind of
70s format the station programs, renouncing the indus-
try's tendency to divide the format into two genres named
after the radio groups that have had the most success with
them; CBS* classic rock-based version
and Cox's 70s pop variation.

"We define our own," Breen says. "I
don't want to be tarred with the brush
of what either of those folks do. I'll be
responsible for what we do."

In fact, Breen says the station con-
centrates on all the music that was
played on the tup 40 stations of the era,
sj)eeificallv Philadelphia's WIBG and
WFIL. "If the top 40 stations of the
time played the songs, we consider
them," says Breen, who takes no par-
ticular pains to avoid train-wreck se-
gues between the two genres of 70s
music. "Train wrecks are us," he says.
"We will happily play Led Zeppelin
into Donna Summer. It's fun."

Here is what the station played on a
recent afternoon hour: Natalie Cole,
"Thus Will Be"; Electric Light Orches-
tra, "Livin* Thing"; Redbone, "The
Witch Queen Of New Orleans"; the Ea-
gles, "Hotel California"; the Guess
Who, "No Sugar Tonight/New Mother
Nature"; Rose Royce, "Wishing On A
Star"; Crosby. Stills, Nash & Young,
"Woodstock"; the Beatles, "Got To Get
You Into My Life"; Heart, "Dog and
Butterfly"; Spinners, "111 Be Around"; Edgar Winter
Group, "Frankenstein"; Billy Joel, "You're My Home"; and
the Steve Miller Band, "Swingtown."

The station flipped to the 70s format from mainstream
AC on July 11, and in the summer Arbitron book, it imme-
diately shot up 3.6-4.5 12-plus, cracking the market's top
10 for the first time in more than three years. Other demos
showed even more remarkable growth. The station jumped
5.0-6.4 25-54 and 3.5-6.6 18-34. Morning man John Harvey,
whose chatty act was toned down considerably with the
new format's launch, rocketed from 12th to sixth place.

Breen says that success was not altogether surprising.
"In the world of demographic specialties, our expectation
was as a mature format, we could gel into the top three
(among) adults 25-54," he says. "I'm surprised that it all
came together quite this quickly, but formats based on fa-
miliar hit music" are bound to do well, Breen says.

Billbood

JULIAN BREEN
Director of Operations
WMGK Philadelphia

As Breen expected, WMGK's success came at the ex-
pense of the market's album rocker (WMMR), classic
rocker (WYSP), and oldies station (WOGL-FM), which
were off 6.6-5.6. 5.6-5.2, and 5.0-4.6 12-plus, respectively.

The station's evolution to the 70s format started slowly
with a Saturday night 70s show hosted by Mike Bowe.
Breen says the pmgram became so |X)|xilar that "in many
respects it was the Saturday night show that ate the radio
station."

He says there is a "broad historical logic" to support his
belief that the 70s format will enjoy a
long life. He notes that the first main-
stream oldies station, KRTH, signed
on in Los Angeles in 1372. Twenty-two
years later, that station is "still chug-
ging out the same songs" and remains
successful. For that reason, Breen
says, "I have high hopes for a 20-year
run or better" for the 70s format

Breen's radio career began in his
home town of Atlantic City, N J., where
he worked at WMID in the late '50s.
While attending college at Rutgers
University in New Brunswick, N J., he
hooked up with what he calls "a very
embryonic Greater Media," which
<wns local station WCTC. After a few-
years there, he joined WABC New
York, where he was assistant program
manager under his mentor. Rick Sklar.

After programming KYA-AM-FM
San Francisco, Breen spent some time
in the consulting business at Broad-
casters Workshop. He rejoined
Greater Media in 1975 and put WMGK
and sister station WPEN on the air.
After 15 years in Greater Media's cor-
porate operation as VP/programming,
he returned to

Philadelphia in the summer of 1993 as director of opera-
tions for WMGK and adult standards WPEN, while retain-
ing his corporate VP stripes.

looking toward WMGK's growth potential, Breen says
that "being No. 1 is do-able. There is a lot of enthusiasm
for what we're doing on the radio."

He is especially pleased that WMGK was able to pull off
the format change \rithout blowing up the entire station
and taking its heritage along with it "This is a very re-
freshing thing to happen for WMGK," he says. '*We were
able to make this change and get listeners to understand
it without trashing the station."

Ironically, the station's format change means that next
September, when WMGK celebrates its 25th anniversary,
it will be playing the same music it was broadcasting when
it first signed on in 1975.

PHYLLIS STARK

WHEN MARTINEZ NEEDS ADVICE, HER CONSULTANT MOTHER KNOWS BEST

Recurrent are titles which have appeared on the Hot Adult Contemporary chart tor 26 weeks and
have dropped below the top 20.

(Continued from preceding pay?}

"It was just a combination of being
really lucky and really persistent,"
says Martinez. "It's just unbelievable.
I try not to think about how many peo-
ple are listening. I just go to work and
do it."

Maldonado is keeping quite busy
these days as well. She recently gave
up a full-time slot as PD ofWNND Ra-
leigh, N.C., to return to Fort Lau-
derdale, Fla., though she still consults
WNND.

"I've always wanted to consult sta-
tions in the [adult alternative] format,"
says Maldonado. "That's because it is
quality music that attracts a quality
demographic. If it was the right situa-
tion, I would return to programming,
but I'd like to focus on consulting for
now."

Neither mom nor daughter say they
feel competitive with one another.

"It is funny, though, that when I
started I was known as Shirley's
(laughter," says Martinez, "I think that
my mom was really thrown the first
time someone asked if she was Angie's
mother."

Finding both a mother and daughter
who have successfully built careers in
radio is not an easy task. Women in ra-
dio, and especially female program-
mers, are clearly in the minority. How-
ever. Martinez and her mom have had
little trouble making an impact in the
industry.

"From where I stand, there are
plenty of executive opportunities for
women in radio," says Martinez. "Hot
97 has MD Tracv Clohertv and GM

Judy Ellis — both of whom are dyna-
mite."

Adds Maldonado, "I think it's really
changing. Women are really moving
into the managerial roles in radio and
coming strong up the ranks. It's not
like it used to be."

When things do get rough, Martinez
never hesitates to call her mom for
some expert advice.

"I've been in some tough situations
where I'll sit and think, What would
mom do?* " says Martinez, who adds
that she often calls Maldonado for
some free professional advice. "People
pay my mom to consult, but she's been
my own personal consultant for years.
She knows her stuff."

Perhaps it's mothers who know best
after all.

BILLBOARD NOVEMBER 19. 1994

WHEN MALAISE SETS IN, its grip can
be tough to break, says Glen Phillips, gui-
tarist and vocalist for Toad The Wet
Sprocket The band's single "Something's Always
Wrong" (Columbia) is No. 19 on the Modem Rock
Tracks chart Phillips co-wrote the song, or pieced
it together, with band member Todd Nichols.

"It was one of those things where Todd had the
startup music and this verse, and we kept trying to
plug a good chorus onto it" says Phillips.

Eventually the contemplative track came
together. 'The song in general is about kind of
being shut off, and not addressing real prob-
lems — score problems — always blaming prob-
lems on unrelated things. Whether it's other peo-
ple or objects you need to own, or new situations
that need to happen, vou're always saying, Well,

Billboard.

this is why I'm all screwed up right now. It's not my
fault,' instead of ever addressing the real problems,
which are harder to solve."

Philips says that theme crops up throughout the
band's latest record, "Dulcinea," "probably because

"I think 1 wrote
three, maybe four
songs last year.
That's pathetic!"

— Tood tho Wot Sprocket

I've been kind of unhappy for a while. Its been one
of those years of going, 'OK, I'm not really happy
with myself right now. I know that. I don't know
exactly what to do about it. I know I need to do

Billboard.

FOR WEEK ENDING NOVEMBER 19, 1994

something.' Want to be my therapist? Anyway, it's
just this year of being well aware of feeling very
stuck, but not really knowing how to get out of it,
not having any solutions."

That mindset, the singer says, "either manifests
itself in writer's block or in writing songs about,
'Damn, I need to do something.' " Or both. "I think I
wrote three, maybe four songs in the last entire
year. That's pretty bad. Hey, that's pathetic! But
usually, it ends up breaking at one point And to get
into that [writing] frame of mind, I have to have
already been working. It's kind of like joining [the
Screen Actors' Guild], from what I've heard; to
work, you have to be a member of the union. To be a
member of the union, you have to be working. It's
kind of like that with writing; I already have to be
writing to be inspired."

FOR WEEK ENDING NOVEMBER 19, 1994

Album Rock Tracks .

en.1

TRACK TITLE

ALBUM TITLE t IF ANY)

ARTIST

LHBELOISTftiBUTiNG LABEL

* » * No. 1 * * *

INTERSTATE LOVE SONG lOMlk

♦ STONE TEMPLE PILOTS

WHAT'S THE FREQUENCY, KENNETH 7 ♦ R I I.'

MC-'ISTFR iVARNtM E J :.o

GALLOWS POLE ♦ JIMMY PAGE 4 ROBERT PLANT

NO QUARTER. JIMMY PA&L A ROHEET PlANT ;JNL£DOE0l BUMM

YOU DON'T KNOW HOW IT FEELS

♦ TOM PETTY

WARNER BROS

A CONSPIRACY

AMORICA

♦ THE BLACK CROWES

SUER EAN PE---V :

BLIND MAN

;

♦ AEROSMITH

GF.FFEN

ABOUT A GIRL

♦ NIRVANA

DGOOEFTEN

GET OVER IT

♦ EAGLES

GEFFEN

FELL ON BLACK DAYS

♦ SOUNDGARDEN

AAM

1 ALONE

♦ LIVE
RADOACnVEMCA

AN' 1

PROW FED .AND

♦ QUEENSRYCHE

EMI

SELF ESTEEM

♦ OFFSPRING

■ i ■

* * * AlRPOWEH* * ★

(3D

COVER ME

CANDLE BO*

♦ CANDLEBOX

* * ★ AlRPOWER* ★ *

Of)

OUT OF TEARS

VOOOOO LOUNGE

♦ ROLLING STONES

VIRGIN

COMING DOWN (DRUG TONGUE)

the air

♦ THE CUL

BEGGARS BANQUET SIREREPRiSF

* * * AlRPOWER* * *

NEW ►

SPIN THE BLACK CIRCLE

VJTAlOGY

PEARL JAM

FAR BEHIND

:ancilebC'

♦ CANDLEBOX

VSvEP C>.*lPEV,«hSEH P~'\-

NEW*

TREMOR CHRIST

* FAUX,*

PEARL JAM

EPIC

MY WAVE

: JPF-'-r,'VJV>N

♦ SOUNDGARDEN

Ail/

BASKET CASE

♦ GREEN DAY

REPRISE

HOLD MY HAND ♦ HOOTIE & THE BLOWFISH

. t i'J "E.~ . ■ .\ ATI.*'.'

■

TORE DOWN

ERIC CLAPTON

OIXX'REPRISE

VASOUNE

♦ STONE TEMPLE PILOTS

ATLANT'C

(24)

DANCE NAKED

♦ JOHN MELLENCAMP
'.' F p i pi -

MEW ►

SYMPATHY FOR THE DEVIL

'■ '. L- . If. .VI ~ 'H L .IMPihl . jl',: '. -■«:_>

GUNS N' ROSES
GEFFEN

COME OUT AND PLAY

smash

♦ OFFSPRING

EPIIAPH

SOMETHING'S ALWAYS WRONG* TOAD THE WET SPROCKET

DULCMEr COLUMBIA

YELLOW LEDBETTER

PEARL JAM

EF'C

J'3

DON'T FOLLOW

JAR Of FLIES

ALICE IN CHAINS

C0LJMB "

CANT EVEN TELL

"CLERKS" SOUNrjTRACi^^

♦ SOUL ASYLUM

CEILING

ROYAL JELLV

ISLANP.

YOU GOT ME ROCKING

.Toro i r np.i

♦ ROLLING STONES

VIRGIN

PLANET CARAVAN

♦ PANTERA

EFFr.vf .1

ALLISON ROAD

♦ GIN BLOSSOMS
A&M

HIGH HOPES

♦ PINK FLOYD

. JL-'.'B.P

HEADED FOR DESTRUCTION

.■ACKYI

GEFFEN

NEW ►

PLOWED

ROTTING PINATA

♦ SPONGE

;hAO!

36 |

LONGVIEW

DOOKIE

♦ GREEN DAY

pppp-icf

NEW»>

A MURDER OF ONE

AUGUST ANO EVERVTu sG AFTER

COUNTING CROWS

DCC Q8FEN

NEW ►

ALBATROSS ♦ CORROSION OF CONFORMITY

DELIVERANCE COLUMBIA

Modern Rock Tracks

I ■■■

p.*

TRACK TITLE ARTIST

ALBUM TITLE (IF ANY) LADELDISTRIEUTINO LABEL

★ * * No. 1 * * *

ZOMBIE 4 Mfs n No. ] ♦ THE CRANBERRIES

NO NEED TO ARGUE ISLAND

ABOUT A GIRL ♦ NIRVANA

MTV UNPLUGGED M NEW YORK CCOGEFFEN

LANDSLIDE SMASHING PUMPKINS

PISCES iSCARIOT VIRGIN

WHATS THE FREQUENCY. KENNETH? ♦ R.E.M.

IMNSTER WARNER BROS.

INTERSTATE LOVE SONG ♦ STONE TEMPLE PILOTS

PURPLE ATLANTIC

SUPERNOVA ♦ LIZ PHAIR

,-,-ii- p.u;,p- >.!/,-p:;r.p at^ivh:

DOLL PARTS ♦ HOLE

UVE THROUGH THIS I-. .-I--'.

SELF ESTEEM ♦ OFFSPRING

SMASH EPITAPH

FEEL THE PAIN ♦ DINOSAUR JR.

ivnwur -v smi i. r. sirlreprse

WELCOME TO PARADISE GREEN DAY

COOKIE. REPRISE

NEW!*-

* * * AlRPOWER* * *

SPIN THE BLACK CIRCLE PEARL JAM
^jTALOfjV^^

SEETHER ♦ VERUCA SALT

ALIEP 1HIGHS M Nil EPFS'- LGE. SEI C EN

SWEET JANE COWBOY JUNKIfS

NA T U^AL FWRN KILLERS NOTHIHG1NTERSCOPE

SUPERSONIC ♦ OASIS

DEFINITELY MAYBE EPIC

BUDDY HOLLY ♦ WEEZER

WEE2ER i'i*-.'.,EHEN

CANT EVEN TELL ♦ SOUL ASYLUM

"CLERKS' SOUNDTRACK

I ALONE ♦ LIVE

•hRCAING ViPPfP RAQIOACTIVE'MGA

MY WAVE ♦ SOUNDGARDEN

iLPEPU'lKNCWN AAM

SOMETHING'S ALWAYS WRONG* TOAD THE WET SPROCKET

DULCINEA CCLUMB-A

FELL ON BLACK DAYS ♦ SOUNDGARDEN

AAM

GOOD ENOUGH ♦ SARAH MCLACH LAN

FUMBLING TOWARDS ECSTASY ARISTA

FADE INTO YOU ♦ MAZZY STAR

SO TONIGHT THAT I MIGHT SEE CAPITOL

BASKET CASE ♦ GREEN DAY

COOKIE REPRISE

CE>

THE WHOLE WORLD LOST ITS HEAD ♦ GO-GO'S

PE'LKN TO "i*E vA„E- OF THE GO-GO'S IRS

NEWdV

TREMOR CHRIST Pf ARl JAM

VITALOG* EPIC

COMING DOWN (DRUG TONGUE) ♦ THE CULT

THE CULT BEGGARS BANQUET.SIRLPEPRISE

NEWdV

LOOKING FOR A SONG ♦ BIG AUDIO

HIGHER POWER COLUMBIA

ALL I WANNA DO ♦ SHERYL CROW

-A r MSHT VLil'. J..F AAM

NEW ►

COVER ME ♦ CANDLEBOX

CANDLEBOF UAVERlC-.SiRL'WARNER BROS

SOMETIMES ALWAYS ♦ THE JESUS AND MARY CHAIN

■ ED AND I '<■>'': .'.£D AMERICAN. WARNER BROS

MOCKINGBIRDS ♦ GRANT LEE BUFFALO

MIGHTY JOE MOON ~'i i'--' E

BAD REPUTATION ♦ FREEDY JOHNSTON

THIS RERFEC- WORLD EEFkTRA

NEWdV

21ST CENTURY DIGITAL BOY ♦ BAD RELIGION

': 'PANOEP '".AN ' CTIDN *-^Vu;

GIRL, YOU'LL BE A WOMAN SOON ♦ URGE OVERKILL

"PULP FICTION" SOUNDTRACK MCA

THAT'S JUST WHAT YOU ARE ♦ AIMtt MANN

MELROSE PLACE - THE MUSIC u----^.:

FAR BEHIND ♦ CANDLEBOX

FNJLiHI ' ' I- - ■! .-..V.:!.! - '

A CONSPIRACY ♦ THE BLACK CROWES

ii.'OK AMER CANFJEPRiSE

UNDONE - THE SWEATER SONG ♦ WEEZER

WEEZER DOCGEFFEN

NEW*

DELIVERY ♦ COMPULSION

EOUEOPEER ' N-EP-SCf-PE

EINSTEIN ON THE BEACH COUNTING CROWS

DGC RARET1ES VOL. 1 DGCVGEFFEN

HITS!
IN
TOKIO

Week af October 30. 1994

CD Secret/ Madonna

® Always / Bon Jovi

3>Hungah/Karyr. White

® Space Cowboy / Jam»oqua>

® I'll Make Love To You / Boyi I Men

® Endless Love /

Luther Vandross S Mariah Carey
<D All I Wanna Do / Sharyl Crow
(8>Gst Over It / Eagles
® Body And Soul / Anrta Baker
© Dn Homme Et Une Femme / Clemeniine
<Q When We're Malun Love/

Opai Featuring Ray Kayden
@ Motherless Child / Erie Clapton
Q Breaking Awsy / Juki Gratism
OOa. Yo. Na/East EndXYuh
©The Rhythm Is Magic/

REM

& Kaerou Kana / The Boom
€> Ne Estrada / Marise Monte
© Love Is All Around / Wet Wet Wet
@ Luv Connection / Tei Tows
G'La La IMeans I Love You)/

Swing Out Sister
& Mtckey Mouth / Duffer
® At Your Best (You Are Lovel / Aaliyah
® Hey Now (Girls Just Want To Have Funl /

Cyndi Lauper
& Stroke You Up / Changing Faces
& Trouble / Shampoo
O Biggest Pert Of Me /Takes
® Down In The Bottom / Walter Becker
€ Vem Vet /Use Ekdahl
@ Make It Right / Lisa Stemfield
® I Want To Live / Naomi Campbell
9 Wonderful World / Gone Tomorrow
® Do It Again / Paul HardcastJe
9 Bird Or Pa<adise / liit
& Vrvire / Juan Luis Guerra And 440
@ Shine / Aswad
C9 When Can I See You / Babyface
® LetitBD/

© Lucky One / Amy Gram
© We Are The Pigs / Suede
@ Turn Down The Lights / Shamce
'■!* Stay With Me Baby / Tnne Rein
© Braiilien Love Affair / Shakaiak
@ Mercy Mercy Me / Special EFX
© Work Your Body / Chamert Motfett
©You Got Me Rocking/

The Rolling Stones
® Don'! Make Me Wait / Peabo Bryson
0 Alive / Jen Johnston
Selections can be heart} on
"Pioneer Tokio Hot 100'
every Sunday 1 PM 5 PM on
FM JAPAN/ 81 J FM in TOKYO

Compiled
O Tr»cta

trwr * -.r era: umpe

of airciar sjco/ed Dy 8n»oc*sl Data SysOfrrn' Radc Ttia uma 109 album nxk swtwra and 38 modem re
over tr« prevail* *eek reiwdtess ol tun iTKNerneni Ajrpower twirdea to those records iWiicn en

dty. 7 days a week. Songs rarmed by numoet or
(Mod*mflocii tor tn»W n-ne 4> VOtccip

Miaftic, C 1994 B"iOoeniBnCor^fl«twrrs

8I.3FM l-WAVE

BILLBOARD NOVEMBER 19. 1994

Radio

Radio Labio's Maldonado Stirs Controversy

Offensive Content Cited As Station Pulls Jock's Show

LOS ANGELES— Francisco Mal-
donado, Spanish radio's answer to
Howard Stern, is beginning to cause
the same stir that the self-proclaimed
"King Of All Media" has. In fact, Mal-
donado, whose three-hour call-in
show, "Intercambio," is syndicated on
eight stations via the Radio Labio
Spanish network, calls himself "The
God Of Radio."

The show was pulled from Spanish
affiliate KUNA Palm Springs, Calif.,
Oct 7, only six days after the station
added the show. Radio Labio and
KUNA's attorneys are trying to work
the problem out.

KUNA GM Mark Wright says the
station received threats of vandalism
and had nine local advertisers cancel
that week.

"We decided it wasn't worth it,"
says Wright. "The people here are
from northern Mexico, and they're
vary conservative. This isn't a slam
against Radio Labio — the [other) pro-
gramming we get from them is abso-
lutely superlative. [Maldonado] is just
something this community is not
ready for, and it created problems for
us and cost us money."

Wright says it was the show's sex-
ual discussions that offended listen-
ers and advertisers the most. As for
Maldonado's penchant for verbally
attacking Latinos, Wright says, "I
know what he's trying to do, and I ap-
plaud him for that. He's trying to
wake up Hispanics and pull them out
of submissiveness, and tell them how
they can assimilate themselves more
into where they are. I understand his
intent, but his methods aren't right."

Radio Labio GM Juan Andres
DeHaseth says the network at-
tempted to meet with the community
leaders who called for the advertising
boycott of KUNA. However, the lead-
ers called for the boycott anony-
mously and refused to talk with Radio
Labio executives.

"This is the same thing that hap-

by Carrie Borzillo

pened with Rush [Limbaugh] and

Stern," he says. "He's just telling it
like it is. We're the least educated and
the poorest paid, and he's just calling
a spade a spade."

DeHaseth says a salesperson at the
station told him the advertisers were
all of Mexican descent, and that they
"just don't understand free speech."

The show's content includes Mal-
donado calling his listeners "don-
keys" for not voting and for not trying
to become a part of the "American
system," according to DeHaseth.

Maldonado has been living in the
U.S. for five yean and is in the proc-
ess of becoming an American citizen,
something he frequently encourages
his Latino listeners to do.

AROUND THE INDUSTRY

Westwood One is pulling the plug
on Dick Clark's "Rock, Roll & Re-
member" and "Countdown America"
one month early. The last shows on
the net will air the weekend of Nov.
26-27. United Stations Radio Net-
works will pick up "Rock, Roll & Re-
member" and "Dick Clark's U.S. Mu-
sic Survey," the renamed
"Countdown America," the following
weekend (Billboard, Oct. 29).

United Stations has named its al-
bum alternative radio show "The Dif-
ference With Todd Rundgren." The
show is inspired bv and co-produced
with WXPN Philadelphia's "The
World Cafe," which is syndicated on
public radio stations via Public Radio
International (Billboard, Oct. 15).

Ellen James Martin joins PRI's

"Marketplace" as a commentator on
real estate and housing. She writes
the syndicated "Smart Moves" col-
umn.

SportsFan Radio Network has pur-
chased 'The Pete Rose Radio Show,"
which has 80 affiliates, from Katz Ra-
dio Group. The show, once syndicated
by Sports Entertainment Network,
airs from 7-9 p.m. Eastern and is
hosted by Rose and Michelle Oaks.
Premiere Radio Networks handles
sales for the net, which launched in
January.

The Branson Country Music Net-
work has bowed "Branson Coast To
Coast," a five-hour country music
show hosted by former WIL St. Louis
jock Rick Bonner. KLRA Little
Rock, Ark., and WNJC Vineland,
N.J., are among the 12 stations on
which the show is debuting.

National Alternative Network will
bow a live conceit program in early
1995, tentatively titled "Wired Live."

Westwood One Entertainment will
simulcast Whitney Houston's per-
formance in Johannesburg, South
Africa, "Whitney — The Concert For
A New South Africa," which will be
presented on HBO Nov. 12.

WWl is also offering a three-hour
Thanksgiving special dubbed "Once
Upon A Lifetime: Thanksgiving With
Alabama," featuring music and inter-
views with the band.

Entertainment Radio Networks co-
chairman Dana Miller has been
elected as board chair of AIDS Proj-
ect Los Angeles.

The Church of Jesus Christ of Lat-
ter-Day Saints is offering a slew of
30-minute, documentary-style radio
programs as part of its "Times And
Seasons" series. They are: 'The Free
Press"; "Self-Esteem"; "Family Tra-
ditions"; "Kicking The Habit"; "Edu-
cating Our Children"; "The Marriage
Partnership"; "Crime Prevention";
'The Learning Process"; and "Liter-
acy."

Just Koz. Saxophonist Dave Koz meets with executives from SW Networks at the
recent National Assn. of Broadcasters conference to discuss the new show he
is hosting for the network {Billboard, Oct. 22). Pictured, from left, are Paul
Goldstein, executive producer at SW Networks; Koz; Corinne Baldassano, SW
Networks' VP/programming; and SW Networks president/CEO Susan Solomon.

Changes In Communications
Bill Likely Under Republicans

I BY BILL HOLLAND

WASHINGTON, D.C.— Political insid-
ers here say that Republican gains in
the Nov. 8 elections could mean slower
progress in 1995 on legislation to up-
date the Communications Act, the so-
called information superhighway bill.

The new Republican majorities in
the Senate and House could bring
about legislative gridlock as the GOP
battles President Clinton issue by issue
in the next Congress.

It was soon-to-be Senate majority
leader Bob Dole, R-Kan., who led Re-
publican opposition to year-end legisla-
tion, including the doomed information
superhighway bill.

It is difficult at this point to predict
how Republicans will decide to offer a
communications bill rewrite, insiders
here say. Chances are that it will differ
in significant details from its Demo-
cratic predecessor, but probably not in
most issues affecting broadcasters.

In a Republican-controlled Senate,

Sen. Larry Pressler, R-S.D., will take
over the chairmanship of the telecom-
munications-related Commerce Com-
mittee.

On the House side. Republican gains
will make it more difficult than ever for
Democratic telecommunications lead-
ers such as John Dingell, D-Mich., and
Ed Markey, D-Mass., to forge adminis-
tration-friendly legislation.

Republicans are not expected to try
to revive Fairness Doctrine legislation,
insiders say, and probably will vote
against Democratic budget-increase

WASHINGTON
ROUNDUP

YOUNG EARS OPEN TO BOTH COUNTRY & ALTERNATIVE MUSIC

(Continued from jmgv 77)

including periodic jumps to alterna-
tive, are more common now, according
to Reeves.

The same openness is seen by Dan
Pearman, PD at KYNG ("Young
Country") Dallas, which, according to
Arbitron estimates, shares approxi-
mately 60,000 listeners with crass town
modern rock KDGE. "I don't think
people are as dogmatic about one par-
ticular genre" of music, he says. In-
stead, they are likely to scan the radio
dial, and where they stop depends
upon their musical mood of the mo-
ment

Eric Logan, PD of KYCW Seattle
says, "People have gotten so sophisti-
cated with their listening habits. They
want to have diverse selections of mu-
sic for different moods, which are
changing all the time." He says he
wouldn't be surprised if his new coun-
try station shares listeners with cross-
town modern rock KNDD. "It's not a
stretch at all for someone to listen to
both. These are changing times."

Others aren't so sure. "I don't know
anybody who's said, 'I listen to coun-

try and to you guys,' " says Christian
Unruh, PD at modern rock WZRH
New Orleans. "You really can't get
further apart musically. I base this on
nothing but my gut, but I don't believe
anybody listens to alternative and
country." While Unruh may be voicing
a common refrain, others flatly dis-
agree.

'That's dead wrong," says Hallam
at K K HQ Houston, who insists there is
a "snobbery in the business" when it
comes to the growing influence Nash-
ville has on mainstream, traditionally
non-country listeners. According to
Arbitron, nearly 90,000 KKBQ listen-
ers also tune in crosstown KRBE, a
top 40 station that spins lots of Stone
Temple Pilots and Offspring. Hallam
assumes he's already sharing with
Houston's KZFX, which flipped to
modern rock as KRQT (Rocket 107.5)
in late October.

The country/modem rock trend re-
mains a modest one. According to
Strategic Radio Research's AccuRat-
ings service, 10% of hot country listen-
ers check out modern rock radio on a

regular basis. The reason it's happen-
ing at all is that young, predominantly
white listeners in large numbers have
discovered both formats. Two of the
three fastest-growing formats among
12-24-year-olds are hot country and
modem rock, according to AccuRat-
ings' analysis. (Hard rock is the third.)

'DIFFERENT TOP 40'

At modern rock, a new batch of acts
(Hole, Weezer, Pavement) are propel-
ling the format toward a sea of new lis-
teners (Billboard, Nov. 5). According
to the exclusive Billboard/Arbitron na-
tional format ratings, since 1989 the
percentage of 12-17-year-old listeners
who make up the modern rock audi-
ence has more than tripled. "New rock
has become a different kind of top 40,"
says KNNC PD Lynn Barstow. noting
the format's growing roster of mass-
appeal stars.

A virtually identical scenario is be-
ing played out at country. The idea
that kids in the South — or anywhere —
grew up listening to country radio in
large numbers, and that their current

allegiance to the format is nothing
new, is inaccurate. According to the
Billboard/Arbitron format ratings,
five years ago 2.8% of country listen-
ers were between the ages of 12 and
17. Today that number has grown
nearly four-fold, to 10.2%. (KMLE is
the second most-listened-to station
among teens in Phoenix, a once un-
heard-of ranking for a mass-appeal
country outlet.)

The fact is, the 18-24 demo is coun-
try radio's fastest-growing segment.
Because of that influx, the average age
of a format listener has dropped five
years since 1990.

Like country dance club owners,
programmers attribute the rise to an
eruption of young Nashville talent,
many of whom are in their 20s them-
selves (Clay Walker. Faith Hill, Tim
McGraw) and can appeal to the new-
generation of devotees.

Hallam at KKBQ sees it all as just
the latest manifestation of the age-old
music business adage: "People re-
spond to the hits."

schemes such as spectrum fees.

STATION OWNERSHIP REPORT OUT

The FCC released its long-awaited
radio station ownership report Nov. 8;
as noted here earlier, it draws few con-
clusions as to the use of local market-
ing agreements, the impact of the
larger caps on minority ownership, or
the effects of ownership relaxation on
diversity.

However, the report, completed Oct
20 but not released immediately, does
suggest that diversity of other media
(such as cable) may mean that "the
public has access to a wide range of
viewpoints and the diversity of voices
we seek."

Still, the report states that to make
an accurate assessment, "we would
need more information regarding
changes in the amount of news and
public affairs programming and gen-
eral changes in formats that have
occurred, in addition to the data on the
changes in the number of stations in an
i mi i vidua! market.

UPDATE ON NAB RENEWAL SEMINARS

The National Assn. of Broadcasters
will hold its next series of radio license
renewal seminars in the South and
Midwest

The last 1994 seminar is scheduled
for Nov. 17 in Columbus, Ga.; the first
for 1995 takes place in Jackson, Miss.,
Jan. 24, followed by a seminar in Louis-
ville, Ky., March 14.

BILLBOARD NOVEMBER 19. 1994

Radio

Student Sues Don & Mike In Sordid Case;
ANG Stockholders Approve Paxson Merger

MN ANONYMOUS University of
Maryland student has filed a $35 mil-
lion lawsuit against syndicated talk
hosts Don Geronimo and Mike
O'Meara, citing invasion of privacy,
negligence, and intentional infliction of
emotional distress. Also named in the
suit are Infinity Broadcasting (which
owns the station where the hosts are
based, WJFK-FM Washington, D.C.),
plus WJFK VP/GM Ken Stevens,
former PD Cerphe Colwell, assistant
producer Billy Reed, and afternoon
traffic reporter Sherry Flicker.

According to the suit, the plaintiff,
who was "infatuated and intimidated"
by Geronimo, "allowed him to kiss her
and fondle her breast, but she refused,
in spite of his insistence, to engage in
any other sexual conduct with him." At
that point, the suit claims, Geronimo
satisfied himself sexually while she was
in his car. When the plaintiff was get-
ting out of Geronimo's car, he allegedly
said to her, "I have to see you again . . .
You and I could have a lot of fun to-
gether."

The suit also claims that the plaintiff
got involved in a relationship with Reed
and revealed to him that she has her-
pes, a fact that Reed allegedly passed
along to the jocks, who broadcast it on
the air.

Stevens and Colwell could not be
reached for comment at press time, al-
though Stevens told The Washington
Post, "We do not believe any of the al-
legations in the complaint, and we will
be responding vigorously to every one
of them in court"

Geronimo and O'Meara have been
sued twice before for unrelated inci-
dents. Both of those suits have been
settled.

In other news, stockholders of the
American Network Group voted Nov. 4
to approve the previously announced
merger of ANG into Paxson Communi-
cations Corp. The newly merged com-
pany owns 16 radio stations, with appli-
cations pending approval for two more,
plus several television stations, state
networks, and sports networks.

A postscript to the New Jersey Sen-
ate race, in which Democratic incum-
bent Frank Lautenberg publicly con-
demned his Republican challenger,
Chuck Haytaian, via a TV attack spot
for refusing to distance himself from
controversial, conservative, and alleg-
edly racist WABC New York afternoon
talk show host Bob Grant (Billboard,
Nov. 12): Lautenberg won the ex-
tremely close race. On Election Night,
a New Jersey NAACP executive and
Lautenberg ally was interviewed on
television and was asked who, or what,
might have tipped the balance Lauten-
berg's way. His slightly tongue-in-
cheek response: "God bless Bob
Grant."

PROGRAMMING: JAMES' NEW MIX

Randy James has been named PD of
WRQX (Mix 107.3) Washington, D.C..
replacing Lorrin I'alagi, now at
WPNT Chicago. James previously was
OM/PD at WMMX (Mix 107.7) Day-
ton, Ohio.

WTEM Washington, D.C., PD Doug
Gondek exits and plans to relaunch his
consulting business. No replacement
has been named.

Kim Alexander has been upped
from APD to PD at WXPN Philadel-
phia, replacing Mike Morrison, now at
KSCA Los Angeles.

Ragan Henry has sold KKZR Hous-
ton to Salem Communications for §12
million. According to Salem executive
VP Eric Halvorson. the "Z-Rock" af-
filiate will flip to a Christian talk for-
mat in early February. Halvorson
would not confirm reports that the cur-
rent staff has been given (iO days no-
tice. Salem also signed an agreement to

by Phyllis Stark

with reporting by Eric Boehlert
and Brett At wood

purchase brokered KENR Houston
from Susquehanna Radio Corp. for an
undisclosed amount. That station also
will convert to Christian talk, Halvor-
son says. Salem plans to erect a new,
2,000-foot tower for KKZR on Hous-
ton's north side,

WNUA Chicago APD/MD Mike
Fischer has been named PD for SW
Networks' new 2-1-hour adult alterna-
tive format. Fischer begins his new du-
ties Nov. 28.

KIJBE Seattle evolves from tap 40/
mainstream to top 40/rhythm.

WCCO Minneapolis PD Jim
Ashbery exits and has not been re-
placed.

APD Ron Bunce is upped to PD at
WLUM Milwaukee, replacing Tony
Dee. WKQX (Q101) Chicago PD Bill
Gamble continues to consult WLUM.

Jones Satellite Networks has picked
up syndication of the Z Spanish Radio
Network, making it Jones' eighth full-
time format The Z Spanish Radio Net-
work, which will continue to program
the format, already has affiliates in San
Francisco; Sacramento, Calif.; Tucson,
Ariz.; Fresno, Calif.; Yakima, Wash.;
and Springdale, Ark.

JSN also announced that it is relo-
cating its sales, traffic, clearance, and
affiliate -relations departments from
Dallas to the company's Denver head-
quarters. National sales manager
Mike Tyler will not make the move,
and has left the company.

KCKY Phoenix flips' from its talk/
sports format to Spanish AC under a
new local marketing agreement with
Nica Mex Corp., which has an option to
purchase the station from Grande Voz
Inc.

WGSF Memphis flips from contem-
porary Christian to all-news, with local
programming in the morning and
"CNN Headline News" the rest of the
day.

KDEO-FM Honolulu has
switched from its free-form "Radio
Free Hawaii" format to classic rock
as "the Blaze," after station owner
Norm Winter gave up his lease on
the station. It is now in a sales mar-

keting agreement with Loew Broad-
casting Corp., owner of crosstown
KRTR and a construction permit at
104.3. which had been assigned the
Calls KBLZ. Those calls now move
to KDEO.

Under the new agreement, Loew
moves "the Blaze" from 102.7 to
104. 5- It is programmed by former
KRTR morning personality Brock
Whaler Both Whaley and his
former KRTR morning partner.
Malon Moore, now host mornings
at KBLZ. Over at KRTR, crosstown
KGUY morning hosts Michael
Qseng and Kari Steele join for the
same duties. No word on what for-
mat the 104.3 frequency will as-
sume.

Rex Broadcasting, owner of
KCUB/KIIM Tucson. Ariz., has
closed on its $3.5 million purchase of
crosstown KCRZ from Tucson Com-
munity Broadcasting, which it has
been operating under an LMA.
KCRZ continues to simulcast
KCUB for now.

Tony Valera is upped from music
coordinator to OM of KMXZ Mon-
terey, Calif., and crosstown LMA
partner KAXT (formerly KXDQ,
replacing Linda Roberts, who exits.
KAXT, which had been dark, re-
turned to the air Nov. 4 with a hot
country format and a new staff.

KMXZ morning hosts Keith
Lynch and Steve Davis join KAXT
for mornings. KCHO Chico, Calif.,
midday host Ashley Evans is now
on KAXT from 10 a.m. -noon under
her real name, Karen Bonds. OM
Valera is on the air from noon-2
p.m., and former Sheppard Commu-
nications group programmer Don
Murray joins for afternoons. KMXZ
1-3 p.m. host Dan Aquino joins
KAXT for nights as Danny Rhodes.

In addition, KMXZ has made
some changes to its staff. PD/mid-
day host Bobby D moves to morn-
ings. Newcomer Jimmy Cruz joins
for middays, while P/T jock Steve
Herrera is upped to afternoons, re-
placing Rudy Alfaro, who exits.
Former KHSL Chico station man-
ager Jackie B joins for nights, re-
placing the Black Widow, who ex-
its.

KFGI Austin, Texas, has flipped
from oldies to hot AC as "Party
94.7," and has applied for the new

calls KPTY. Morning man Steve
Kerr moves to middays at sister
KKMJ and has not been replaced.

WNCT-FM Greenville, N.C., flips
from soft AC to oldies.

Joe Logan is out as PD at KSSN
Little Rock, Ark., after 17 months at
the helm. GM Jay Werth is accept-
ing T&Rs.

WKTI Milwaukee MD/midday
host John Harrison exits to become
PD at WAZY Lafayette, Ind. WKTI
night jock Leonard Peace is upped

newsline...

BILL KORN has been promoted from president to chairman/CEO of Westing-
house Broadcasting Co. He succeeds former chairman Burton Staniar, who
continues as ehairman/CEO of Westinghouse subsidiary the Knoll Group.

JACK DANIEL moves from VP/GM to station manager of WED J Charlotte. N.C.
Macon Move, GM of sister station WRFX Charlotte, is WEDJ's interim GM.

MARK KOPLEMAN is the new GM at WZZU/WDCG Raleigh, N.C, replacing
Ron Stone, who exits. Kopleman was GM at sister stations KCEE/KRQQ Tuc-
son, Ariz.

MARC LEUNISSEN, VP/GM of WEZB New Orleans, has been elected chairman
of the eight-member advisory board for Interep's Major Market Radio.

BARRY BUTLER has been upped to president/GM of Shadow Broadcasting
Services' Chicago office, and Harvey Wittenberg has been elevated to Midwest
VP for affiliate relations. In Shadow's San Francisco office, John Winder joins
as VP/Northern California affiliates and operations, and Tom Hogan has been
named GSM. Winder arrives from Metro Traffic. Hogan was sales manager
at XHRM San Diego.

STATION SALES: WNOE-AM New Orleans from Radio Equity partners to
Communicom Co. of Louisiana for an undisclosed price.

SALE CLOSINGS: WRNJ/WHKQ Racine, Wis., from Vision Broadcasting Inc.
to M G Radio LLC. (a new company lormed by Vision and members of the
Marcus family of Milwaukee), for an undisclosed price; WSRV Smyrna, Del.,
from Kent County Radio Inc. to Benchmark Communications, for $189,000.

to MD/middays.

Oldies WFAT Kalamazoo, Mich.,
has become the first affiliate of
Westwood One's new 70s format.

WTTF Tiffin, Ohio, afternoon
host Ken Hawk exits to become PD
at WPHM/WBTI Port Huron.
Mich. Former WTWR Toledo, Ohio,
P/T jock Donna Pecolis replaces
him at WTTF.

PEOPLE: DEBELLA BACK TO RADIO?

Former WMMR Philadelphia
jock John DeBella was scheduled
to appear on former rival Howard
Stern's syndicated morning show
Nov. 11. DeBella is expected to an-
nounce his return to broadcasting,
possibly in afternoons at WYSP
Philadelphia. Look for details here
next week.

WBZZ (B94> Pittsburgh produc-
tion director and noon-3 p.m. jock
David Edgar is upped to APD, re-
placing Clarke Ingram, now at
WPXY Rochester, N.Y. Edgar re-
tains his shift. Also, WYHY (Y107)
Nashville afternoon jock Down-
town Billy Brown joins B94 for
that shift, replacing Ingram. OM
Buddy Scott is still looking for a 9
a.m. -noon jock and a production di-
rector.

WTAE Pittsburgh has rehired
Larry O'Brien and John Garry for
mornings, replacing the current
"Newsline" program. The pair,
which started at the station in 1972,
had been out of radio for a while and
last worked at crosstown WMXP
(now WZPT).

KLOU St. Louis MD Gary Kolar-
cik exits, and his position has been
eliminated.

WHJX Jacksonville, Fla., MD
Tim Virgin has become the latest
casualty of the station's receivership
and format change. Afternoon jock
Greg Brady is acting MD.

Overnight jock Phil Dirt is upped
to MD at WRXS (X107) Ocean City,
Md., replacing Brian Hall, who has
taken a leave of absence.

Former KDIA San Francisco PD
Jeff Harrison is working overnights
at KACD/KBCD Los Angeles.

WJJD/WJMK Chicago promo-
tion director Tom Edwards exits
and has not been replaced. Also, as
expected, former crosstown WLS-
AM-FM host Ty VYansley joins
WJJD as morning co-host with Ed
Vrdolyak, Wansley's former part-
ner at WLS, who joined WJJD a few
weeks ago.

To fill the evening slot vacated by
the demise of Gene Burns' syndi-
cated show (Billboard, Nov. 12),
WRKO Boston is now simulcasting
Charles Adler's "Adler On Line"
show from local TV station WABU.

KYGO-FM Denver afternoon
host Keith Riker has exited. PD
John St. John is searching for a re-
placement.

Following its format change to
country, WKSI Greensboro, N.C,
has revamped its lineup. MD/mid-
day host Darren Stevens moves to
mornings, where he is paired with
current morning host and PD
Chuck Finley. Former crosstown
WNEU (now WXRA) midday host
Dave Oakley joins WKSI for that
shift. Ex-WNEU morning man Rod
Davis joins for afternoons. Produc-
tion director/afternoon driver J. P.
Morgan moves to nights. P/T jocks
Austin Scott and Wendy Thomas
rotate in overnights.

KEYI Austin, Texas, morning
team Dan Lopez and Michelle
Roebuck exit following the station's
format change to oldies (Billboard,
Nov. 12). No replacements have
been named; T&Rs to OM/PD Dave
LaBrozzt.

Jon Jeffrey Kay, last with WZRR
Birmingham, Ala., is now hosting af
temoons at WXCV (Citrus 95) Ho-
mosassa Springs, Fla.

Dennis Shrcefer, previously of
Dame Media in Harrisburg, Pa.,
joins WSPD Toledo, Ohio, for morn-
ings, replacing Jerry Anderson,
who exits.

BILLBOARD NOVEMBER 19. 1994

ASCAP TO HONOR BILLBOARD'S 100TH

(Continued from page 1)

honor them " says ASCAP president
Marilyn Bergman. "The ASCAP
Deems Taylor Special Citation being
presented in honor of Billboard's
100th anniversary this year is richly
deserved. No other publication has so
consistently set the standard for cov-
erage of our business."

Billboard editor in chief Timothy
White says of the honor, 'The ASCAP-
Deems Taylor Awards are the most

prestigious laurels in American music
journalism, so Billboard is thrilled and
deeply humbled to be recognized in
this way. Publisher Howard Lander
and I accept this award on behalf of all
the marvelous editors, reporters,
chart directors, and publishers who
have worked so hard over the last cen-
tury to uphold and further the tradi-
tions of Billboard. We also thank the
artists and the industry professionals

Top 40 Airplay. £-—

Compiled from a national sample of airplay supplied by Broadcast Data Systems' Radio Track service to
Top 40 Airplay Monitor 79 top dCvmainstream and 32 top ao/rtiythm-crossovet stations are electroni-
cally monitored 2d hours a day, 7 days a week. Songs ranked by number ol detections. $ 1994,
BillfjoarnBPI Communications. Inc.

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who labor on the artists' behalf, be-
cause Billboard exists to serve the
highest aims of that readership."

BROADCAST HONORS

The ASCAP-Deems Taylor broad-
cast award in television will be pre-
sented to David Horn, executive pro-
ducer of Thirteen/WNET's "In The
Spotlight," a series of television spe-
cials showcasing contemporary popu-
lar music. In the radio broadcast cate-
gory, the show to be honored is 'The
Composer's Voice," a series featuring
living composers and their music; the
award will be presented to the show's
co-producers, the Minnesota Com-
posers Forum and Minnesota Public
Radio, executive producers Arthur
Cohen and Linda Hoeschler, and pro-
duction staffers Alan Baker, Jeffrey
Brooks, and Bill Morelock.

In the book category, authors and
publishers of eight notable books will
be honored. The winners are Glen
Alyn for "I Say Me For A Parable,
The Oral Autobiography Of Mance
Lipscomb, Texas Bluesman," pub-
lished by W.W. Norton & Co.; Mary
A. Bufwack and Robert K. Oermann
for "Finding Her Voice: The Saga Of

Women In Country Music," published
by Crown Publishers Inc.; Lawrence
Conn, editor of "Nothing But The
Blues," published by Abbeville Press
Inc.; Luc Delannoy for "Pres: The
Story Of Lester Young," translated
by Elena Odio, published by Univer-
sity Of Arkansas Press; Walter Frisch
for "The Early Works Of Arnold
Schoenberg 1893-1908," published by
the University Of California Press;
David Lewin for "Musical Form And
Transformation: 4 Analytic Essays,"
published by Yale University Press;
Frederick Neumann for "Perfor-
mance Practices Of The Seventeenth
And Eighteenth Centuries," pub-
lished by Schirmer Books; and Mary
Jane Phillips-Matz for "Verdi: A Biog-
raphy," published by Oxford Univer-
sity Press.

Additionally, eight writers of journal
or magazine articles, newspaper arti-
cles, or program notes will be honored.
The winners are Brian Cullman for his
article "Cheb Khaled & The Politics Of
Pleasure" in Antaeus; Michael Hicks
for his article "Cowell's Clusters" in
The Musical Quarterly; Sandra Hyslop
for her articles "Generations Of Cre-
ative Genius — Part I And 2" in Sym-

phony; Alan Light for his article "A
Lasting Impression — The Rolling
Stone Interview With Curtis Mayfield"
in Rolling Stone; Howard Mandel for
his articles "David Sanborn Swings
Back" and "All Dizzy's Children" in
Down Beat; Scott Poulson-Bryant for
his articles "Dead Again?" and "Puff
Daddy" in Vibe; Mark Swed for his ar-
ticles "A Stockhausen Rarity" in The
Wall Street Journal, "Cage And
Counting" in a catalog from The Muse-
um Of Contemporary Art, Los Ange-
les, and "Look Out, It's Lennymania!"
in The Los Angeles Times; and David
Wright for his program notes for The
New York Philharmonic 1993-94 sea-
son in The Philharmonic-Symphony
Society.

The ASCAP-Deems Taylor Awards
are presented in honor of Deems Taylor,
a composer, music critic, editor, and for-
mer ASCAP president. To be eligible,
books and articles must have been pub-
lished in the U.S. for the first time in
1993 and must be nonfiction prose about
music and/or its creators (not a textbook
or instructional guide). The winners
were chosen by a panel of ASCAP mem-
bers. A total of $6,000 in cash prizes will
be distributed among the winners.

POLYGRAM SLASHES PRICES ON MUSIC VIDEOS

(Continued from yuqe 1)

$9.96 eight previously released, 30-to-
75-minute titles that had been priced
between $14.95 and $19.95. The per-
formers — Bob Marley, Eric Clapton,
Bryan Adams, Amy Grant, Paul Mc-
Cartney, Anthrax, Extreme, and Gen-
esis — are the pick of the crop, says Bill
Sondheim, PolyGram Video's senior
VP of sales and marketing. Titles such
as "Cream Of Clapton" and "The Bob
Marley Story" have been consistent
sellers since their release, he says.

Several titles date from the late *80s,
but Sondheim says that "this isn't the
last gasp of air for old, tired releases,"
as budget packages frequently are. In
fact, "A History." featuring Genesis,
until recently had been entangled in
legal difficulties that kept it off limits
for two years.

Sondheim expects the titles in the
promotion, "Video Worth Listening
To For Less," to deliver a total of
500,000 units, most of them before the
focus shifts to another batch of $9.95
titles in late March. New arrivals for
the "For Less" roster will be selected
quarterly from virtually the entire
PolyGram catalog.

Most retailers believe PolyGram is

in tune with the market. "Lowering
the price point should help sales over-
all," says Marty Sikich, a video and
laser buyer for Virgin Megastore.
"But it also depends on the artist."
PolyGram's line will have a month to
prove itself at Virgin, which puts new-
ly repriced product on the new-release
wall for 30 days. Afterward, the store
consigns such product to the artist's
section, where it becomes less visible.

But PolyGram plans to keep the
promotion's profile high. In addition to
displays and a lengthy play reel for Ln-
store monitors, Sondheim and senior
director of sell-through marketing
Paul Freehauf say they have devel-
oped an extensive radio campaign us-
ing a 60-minute infomercial that will
feature key tracks, alongside com-
ments from performers touting the
value of "listening" to video.

PolyGram hopes to clear 75-100 al-
bum rock, classic rock, and college sta-
tions for a Jan. 2-23 run, generating
100 million gross impressions. "We're
not going to stress $9.98 and then go
away," says Freehauf.

The company, which has been rene-
gotiating royalty terms with the per-

formers or, as in the case of Marley,
their estates, is trying hard to attract
street support. According to a Nov. 2
internal memo to distribution, it has
offered "very aggressive" discount-
ing — 47% off retail and 50% off rack-
jobber accounts — and payments are
not due until June 10, more than six
months after sales get under way.
Though he wouldn't be specific, Sond-
heim says PolyGram will be "support-
ive" of stores that request some form
of protection covering the same tapes
bought at the higher prices.

Sondheim, who expects participa-
tion from all major chains, including
Blockbuster Music, believes the pro-
gram "might enable us to expand be-
yond" traditional outlets and the "hot
core" audience for particular artists.
He anticipates "strong profits" from
the line, which might also serve to in-
troduce first-time buyers to more ex-
pensive PolyGram titles.

By the end of next year. Sondheim
says, he envisions management say-
ing, "Hey, you surprised us on this
one." However, he acknowledges that
"anything delivering a strong payoff is
not risk-free."

SPEC'S EXPLORING SALE PROSPECTS

(Continued from page 10)

CD Records showing an increase in detections ovei the previous week, regardless ct chart movement. A
record which has been on either chart for more than 20 weeks will not receive a bullet, even it it registers an
mcr««e in detections. M two records are tied in number o* plays, the record being played on more stations
is placed first. Records below the top 20 are removed Irom the charts after 26 weeks.

in 1948 by Martin Spector, who remains
chairman of the company. His daughter
Ann Lieffis president

Spec's executives declined to com-
ment beyond the press release. Howev-
er, informed sources say that Paine
Webber began alerting potential suitors
in late October that Spec's was coming
on the block. Moreover, some sources in-
dicate that a "book" containing the com-
pany's financial data may already have
been sent to some prospective buyers-
Spec's, a publicly traded company on
the NASDAQ over-the-counter ex-
change, closed with a bidding price of
$5.75 at press time, up 50 cents. The
company, which has 5.2 million shares
outstanding, is 50% owned by the Spec-
tor family.

In the fiscal year that ended July 31,
the company had total revenues of $78.4
million, up 9.5% over the previous year.

and net earnings of$2-8 million, up 144%
over the previous year.

Financial executives speculate that
Spec's management would like to get
about $8-$ll a share, but that bidders
for the chain would likely shart in the
range of $6-$8 a share.

The move to place Spec's on the block
comes at a tricky juncture in the music
retail business, which has been undergo-
ing consolidation since 1989. In the last
six months, some of the major predators
that have been driving consolidation, in-
cluding the Minneapolis-based Musi-
cland Group, Philadelphia-based W.H.
Smith, and Albany, N.Y.-based Trans
World Entertainment, have moved
away from the acquisition mode, and a
number of smaller chains have been un-
successful in attempts to be acquired.

Observers familiar with the market
say that many chains, both mall-based

and free-standing, now have stores that
are obsolete because they are too small
to be considered desirable. Also, an in-
tense price war throughout the industry
has eroded margins, making acquisi-
tions a less viable strategy.

Spec's, however, is considered an at-
tractive property thanks to its market
dominance, larger stores, strong per-
formance, and excellent systems (see
story, page 51).

Among the chains that are stfll inter-
ested in growing through acquisitions
are Blockbuster Music; HMV; Camebt
Music, which is owned by Investcorp;
Wherehouse Entertainment, which is
owned by Merrill Lynch; and Strawber-
ries, which recently underwent a man-
agement-led buyout. Also, National
Record Mart has quietly been trying to
cut deals with some smaller chains.

ED CHRISTMAN

BILLBOARD NOVEMBER 19. 1994

In Memory Of

Lester Sill

1918 - 1994

Blockbuster Plans Soundtrack & Game Promos To Boost Rentals

■ BY EILEEN FITZPATRICK

LOS ANGELES— Blockbuster Video
is planning encore performances of its
in-store promotions, which, over the
past year, have increased rental busi-
ness beyond the chain's expectations.

Last year's campaigns included the
"Hollywood Soundtracks" Academy
Award promotion and a video-game
championship.

Blockbuster director of national
promotions Don Simons announced
the 1995 plans during a panel at the
Sixth Annual EPM Marketing Con-
ference held here Nov. 7-8.

"We've seen a significant increase
in business during these promotions,"
he said. "Normally, a half-of-a-per-
centage-point increase is considered
successful, and we're well above that."

Simons said the chain will repeat
the "Hollywood Soundtracks" promo-
tion in March 1995, with Sony Music
supplying the premium music compi-
lation, according to label sources.

operates larger stores in the 12,000-
14,000 square foot range, which can
comfortably contain a good music selec-
tion along with video rental. Weber says
he does not feel the need to move as "ur-
gently" in eliminating rental from
Sound Warehouse, and will take rental
out as those stores are remodeled.

Chainwide, Blockbuster Music re-
modeled about 30 stores last year, and
plans to redo the same number in 1995,
says Weber.

He adds that Blockbuster's parent,
Viacom, which merged with the retail
giant in September, is enthusiastic
about supporting the chain's expansion
plans for next year, despite published
speculation that Viacom does not want
to be in the record store business (see
Retail Track, page 52).

The chain expects to open about 35-50
new record stores in 1995, he says. While
that may be down from the 100 it opened
this year, he says that Blockbuster Mu-
sic will spend the first part of next year
consolidating its concept. "If you think in
terms of what we have already done this
year, opening 100 stores, remodeling 30
stores, changing the name of all stores to
Blockbuster Music and putting in listen-
ing posts in those outlets, and putting to-
gether a purchasing team, it's time to do
some fine-tuning,'' says Weber.

He adds that the chain still has a lot of
things on its "plate," like trying to max-
imize the synergies gained through the
merger with Viacom Beginning in Jan-
uary, Blockbuster Music will roll out a
store-within-a-store, which will feature
licensed product and special promotions
from Viacom properties, particularly
from MTVandVHl.

"We will have a space within the store
that will sell T-shirts and other licensed
product," he explains. "We are looking
to run contests in conjunction with MTV
and VHl. We want them to do live
broadcasts from Blockbuster Music
stores. We want to have a space within
the store where, when something like
[Paramount's] 'Forrest Gump' is hot,
we can exploit it"

He says Blockbuster Video will cre-
ate a similar space in their stores to ex-
ploit synergies with Viacom-owned en-
tities MTV, Nickelodeon, Paramount,
and Simon & Schuster.

Executives from MTV and Block-
buster began a dialog as early as
March in an effort to create a blueprint
for the "corner store" concept (Bill-
board, March 19).

The 1994 compilation, supplied by
Cema Special Markets, contained 10
tracks from "The Bodyguard," "The
Crying Game," "Sleepless in Seattle,"
"Benny & Joon," and other movie hits
(Billboard, March 19).

Simons said the chain sold about 1
million units of the compilation, which
was priced at $2.99 for CD and $1.99
for cassette when consumers rented
two videos.

Sony owns the rights to the "For-
rest Gump" soundtrack, which most
likely will play a major role on the
1995 compilation. The film also is be-
ing touted as a multinominee in next
year's Oscar race. Sony distributed
the top-selling album on its Epic
Soundtrax label.

Blockbuster also will bring back its
World Videogame Championships,
which was co-sponsored by Domino's
Pizza, Continental Airlines, Acclaim
Entertainment, and Nestle's.

In that traffic-building promotion,
more than 230,000 game players at

At that time, MTV Networks chair-
man/CEO Tom Freston said the pro-
posed store-within-a-store would be
used to move merchandise specific to
the MTV Networks

For instance, a special bin could be
reserved for albums and videos by acts
whose music is programmed in the con-
text of such shows as MTV's "Un-
plugged," "Alternative Nation," and
"Yo! MTV Raps." In addition, he said

for several competing formats in the
marketplace. A handful of other man-
ufacturers are exploring ways to
overcome the flaw in CDs using
"track one" for all the non-audio data.

Another computer giant, mean-
while, planned its own music indus-
try-targeted announcement Nov. 10.
Apple Computer says it is forming an
"interactive music developers pro-
gram," designed to assist members of
the music industry in producing CD
Plus titles, according to Duncan
Kennedy, Apple's multimedia prod-
uct line manager.

"The goal will be to help music pro-
fessionals who are not necessarily
'techies' create interactive content on
CD-ROMs using CD Plus," says
Kennedy.

READY TO GO

Sony's music division has already
produced examples of "multisession"
titles, including one featuring the band
Alice In Chains that executives have
been quietly demonstrating for retail-
ers and other members of the industry.

The company is expected to re-
lease its first commercial CD Plus ti-
tles early next year, probably bun-
dled with a separate CD driver
(Billboard, Nov. 10). The RIAA sub-
committee draft on the discs includes
the recommendation that "initial
discs be bundled with a floppy disc
containing the software required to
access all sessions on the disc."

In his Nov. 3 address at the Bill-
board Music Video Conference, Warn-
er Music Group chairman/CEO Robert
Morgado said his company had pro-
duced "CD Plus" test discs in its plant.
Also at the conference, Alex Melnyk,
VP of interactive media at MCA, de-
clared CD Plus "the record of the fu-

Blockbuster outlets worldwide com-
peted for prizes — including all-ex-
pense paid trips to San Francisco to
tour the R&D labs at Capcom USA
and Electronic Arts — in the four-
week contest The winners were also
featured in a game from Electronic
Arts called "Strike."

"We attracted more gamers by
feeding off their urge to display their
skills and compete against their
peers," said Simons.

Upcoming Blockbuster promotions
include an awards show scheduled to
air on CBS in May or early June and
a cross-promotion with sister compa-
ny Showtime, scheduled for Decem-
ber. Simons, however, would not elab-
orate on these plans.

In total, Simons said, consumers
have purchased or received for free
more than 7 million promotional
items, ranging from CDs, audio cas-
settes, calenders, or snacks, by rent-
ing an extra movie at Blockbuster
stores. In addition, about 225,000 con-

the space would be reserved for such
logo-ed merchandise as Beavis and
Butt-head paraphernalia. A rack could
be designated for "Buzz Bin" artists, as
well, said Freston in March. And while
the MTV Networks would not share fi-
nancially in the sales of those items, he
added that the cross-promotional bene-
fit to the channels would be worth the
effort.

In return, those stations could create

ture," saying that MCA is prepared to
launch discs as soon as standards are
settled (see story, page 10).

The RIAA entered the "enhanced
CD" fray earlier this month with the
announcement that it would form a
technical committee to assist in the
development of a voluntary industry
standard (Billboard, Oct. 29).

Whether or not the Philips/
Sony/Microsoft technical standards
announcement appears this month as
expected, the RIAA says its new tech-
nology committee still has a role to
play in the emerging CD Plus product.

"We are looking at a variety of is-
sues, not so much at the technical
problem of overcoming 'track one,' "
says David Liebowitz, executive VP
and general counsel for the RIAA.

Other companies, however, are
looking at that technical issue. "Ac-
tiveAudio" is the phrase used for the
approach taken by an Australian
company called Pacific Advanced
Media Studios, which has worked
with BMG Australia to produce a CD
single for the act Gf4 that includes
more than 30 minutes of video.

A company executive says PAMS
intends to license the technology on a
royalty basis for "a few pennies a
disc."

"It's basically track zero," says
Fred Stauder, director of strategic
development for PAMS. "Track
zero" refers to the placement of the
computer data track before the first
track of an audio disc. Consumers
then would not have to manually skip
over a track when playing back the
disc on an audio player.

Stauder concedes that consumers
can, however, accidentally "back"
into the data track while listening to
the audio, which could result in a

sumers have signed on as card-carry-
ing members of the retailer as a re-
sult of those promotions.

MOVIE CALENDAR

Starting Monday (14), the "Block-
buster Best of 1995 Movie Calendar"
goes on sale at the chain. Simons de-
scribed it as the retailer's "most liked
promo item." Consumers can pur-
chase the calendar for $1.49 with any
rental or video purchase. The 1994
calendar sold 1.3 million units in a six-
week period, Simons said.

Movie-poster art from "Forrest
Gump," "True Lies," "Speed." and
"The Client" are among the video ti-
tles featured in the 1995 calendar.
"People like this promo because they
can use it," said Simons. The calendar
also contains more than $30 worth of
bounce-back coupons.

He said items people can either use
everyday or munch on while watching
a video are the retailer s most popular
promotional tools.

ways to drive traffic into Blockbuster
Music and Video outlets.

Over the next 10 days. Blockbuster
officials and other executives within the
Viacom family plan to get together to fi-
nalize plans on the size, look, and con-
tents of the stores and their depart-
ments.

"We have a lot of potential, and we
are moving rapidly to exploit it," Weber
says.

burst of unpleasant noise on some
players.

David Waldrep, president of West
Hollywood, Calif.-based A1X, says he
is avoiding that problem in his "i-
trax" system of producing enhanced
CDs by "leaving a buffer of dead
space" between the data and the first
audio track, he says.

Waldrep was demonstrating his
first two titles, featuring bands
signed to his own record label, at the
Billboard conference.

"When CD Plus arrives, fine,"
Waldrep says. "I can support that.
But in the meantime, I'm here now."

MARILYN A. GILLEN

The retailer nixed a promotion in
which consumers could receive a col-
lectible lucite paperweight featuring
an actual film clip from "The Wizard
ofOz."

"It just didn't work in the test mar-
kets," he said. "People didn't know
what it was good for."

In one of its most successful pro-
motions, Blockbuster moved more
than 5 million units of a free premium
called the "Bonus Box" during a four-
week promotion earlier this year.

The box contained Keebler snacks,
Rice Krispies, Carnation Instant
Breakfast, an assortment of candies,
and other brand-name snacks, for
which consumers had to rent three
movies.

"We had been trying to have a pre-
mium in which people rented three in-
stead of the normal two," said Si-
mons. "And this accomplished that
goal."

He noted that the Bonus Box pro-
motion will be repeated twice in 1995.

Food also drove customers into
Blockbuster as a result of a summer
promotion with Taco Bell.

The fast-food restaurant handed
out 45 million free-rental coupons
with a food and drink purchase in
September (Billboard, Sept 24).

Simons said that during the month,
225,000 consumers became new
Blockbuster members.

SELL-THROUGH DEAL SUCCESS

The chain will stick to rental pro-
motions, Simons said, mainly because
studios are reluctant to offer exclu-
sive videos for sell-through promo-
tions.

"We believe the key to selling is
getting consumers into the store to
rent," he said. "By far, people come to
Blockbuster to rent, not to buy."

However, Simons said recent pro-
motions involving "Barbra — The
Concert" and "Jurassic Park" "did
very well."

"Barbra — The Concert" generated
controversy with the inclusion of a
bonus clip exclusive to the chain (Bill-
board, Sept 17).

For "Jurassic Park," the chain of-
fered 10 free rentals when consumers
prepurchased the video (Billboard,
June 18).

"For the most part, studios don't
want an offer to be exclusive to one
retailer, and, besides, there's a lot
less margin with sell-through prod-
uct," he said. "Rental is still our dri-
ving force."

Piano Forte. Virgin Records executives came backstage at Southern California's
Orange County Center For The Performing Arts to congratulate Michael Nyman,
holding plaque at left, on the gold certification of his soundtrack album to "The
Piano.*' Holding the plaque at right is Nigel Barr, Nyman's manager and
trombonist with the Michael Nyman Band. Shown, from left, are Phil Fox, Virgin
director of product management; Joyce Castagnola, VP of sales; Cynthia Bryce,
VP of creative projects; Nyman; Mark Kohfer, West Coast regional sales
manager; Gerard Talbot, catalog manager; and Barr.

VID RENTALS OUT AT BLOCKBUSTER MUSIC OUTLETS

(Continued from page 10)

CD PLUS' IS THE WORD, BUT WHAT IS THE STANDARD?

(Continued from page 10)

BILLBOARD NOVEMBER 19, 1994

Billboard

FOR WEEK EN DING NOVMEBER 19. 1994 HOT 100 A-Z

Hot 100 Airplay

Compiled from a national sample of airplay WpPMC DV Broadcast Data Systems' Radio Track service.
194 stations are electronically monitored 24 hours a day, 7 days a week Songs ranked by gross impres-
sions, computed By cross- referencing exact times of airplay with Arbitron listener data. This data
is used in the Hot 100 Singles chart.

■
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.38

STROKE YOU UP

. -(J'ijiMj t Jj^f: _t P KH ILkHG Ht A '

ML 1 WWjWMg

LANDSLIDE

SMASHING PUMPKINS IV1RGIN)

SECRET

MADONNA IMAyEffCk/yREjVrtll

FAR BEHIND

CANDLEifflX IMAVEFOOVSIRE/WB)

ANOTHER NIGHT

KIM MCCOY iH itAl

MR. JONES

DOU MTINO CROY. 5 (OGCT)ETTEN

ON BENDED KNEE

GET OVER IT

EAGLES (GEFFEN)

HCTEjCWKTHEHOTSTEPPER

BUT IT'S ALRIGHT

HUEY LEWIS & THE NEWS (ELEKTRA)

I'M THE^ONLY^ONE

UC^ACfcARISTAl

ALWAYS^^ ^

Qr^UKSr^^MM* 1 '

WHEN CAN^I SEE YOU

LUCKY^ONE^

WILD NIGHT

IDHN MFLLFNCAMP IMERCURY)

THE SWEETEST DAYS ^ ^

[^STAND BY YOU ^ ^

DOLL PARTS ^

100% PURE LOVE

CRYSTAL WATERS lRCURY i

BOP GUN (ONE NATION)

ICE CUBE IPftrORlTY)

DECEMBER 1963

FOUR SEASONS iCURBi

LUCAS WITH THE UD OFF

LUCAS (BIG BEAT/ATLANTIC)

YOU WANT THIS

.a.'ji l a. iv .i>n ir.

PLAYAZ CLUB

RAPPIN' *-TAY (CHRYSALISi'tMll

1 WANNA BE DOWN

BRAND* (ATLANTICI

WHEN WE DANCE

STING IAAM)

WHAT'S THE FREQUENCY, KENNETH?

REM IWARNER BROS.)

SELF ESTEEM

OFFSPRING (EPITAPH!

TURN THE BEAT AROUND

GLORIA E5T EFnN " PE"".-EN i '■' ,L '

SHAME

ZHANE [ NOLL YVTOO& JIVE)

UVINGJN DANGER

WELCOME TO PARADISE

GREEN DA* (REPRISE)

NEVER LIE

IMMATURE 1 MCAj

NEW AGE GIRL

Of-ADCYC UICH (ICMIEfANj

INTERSTATE LOVE SONG

'. T [INI ' 1 MI'l 1" Pit OT'- i ft T [ ,v, T h" i

COME TO MY WINDOW

WF i-l- jA : THE RICXiE : 'H-

THUGGISH RUGGISH BONE

SONF THUGS ti HARMONY i.R'JTMLESS)

nT^nViS'eFFEN)

SnN^ THE BLACK CIRCLE

AT YOUR BEST p (YOU ARE LOVE1

MN« NAKED^ u£BajRY

DON'T TURN AROUND

ACE OF BASE (AftlST A3

SWEET JANE

Cl-WHOY ^UNKI E5 ISOTHINGjTNTERSCOPEI

SUKIYAKI

4P.M [NEXT PLATCAU/LONDON/1SLAN0J

BE HAPPY

MARY J H.IGE (UPTOWN/MCA)

ZOMBIE

THE CRANBERRIES IISLAND!

TOOTSEE ROLL

fi9 BOY7 (RIP-ITJ

ENDLESS LOVE

L VASDROSStM CAREY (COLUMBlAi

ROUNO HERE

COUNTING CROWS DGCGIF TEN)

IF YOU GO

.JON SfCADA jBivTMIj

BODY > SOUL

ANITA BAKER (ELf KTRAi

YOU GOTTA BE

DEi "EL 'j'.L Mb ilC i

FEEL THE PAIN

DINOSAUR JR. (REPRISEI

CIRCLE OF LIFE

? 1 ?' in ohn hi ;- . YVi'\u:o;

,'3

EINSTEIN ON THE BEACH

COUNTING CROWS IDGGGEFY-EN)

STAY II MISSED YOU)

USA LOEB&MME STORIES [RCA1

SHORT SHORT MAN

;■. rr.'VP- fi O ■ 7'"vj

EVERY DAY OF THE WEEK

JADE IGIANTI

THE RHYTHM OF THE NIGHT

CORONA (EAST WE ST)

BQLLECI I'VE SOUL (ATLANTIC)

HOLD MY HAND

HCOT'i S THE BLOW 'SH {ATLANTIC)

ALLISON ROAD

GIN BLOSSOMS iAAM

DO YOU WANNA GET FUNKY

C,C MUSIC FACTORY CLXUUBIA

SOMETHING'S ALWAYS WRONG

TOAD THE WET SPROCKET (COLUMBIA!

HOW MANY WAYS

10NI BRAXTON ILAEACb'ARtSTAt

FANTASTIC VOYAGE

COOL 10 (TOMMY BOY)

GIRL. YOU'LL BE A WOMAN SOON

■Jn^i U'.'Ef-'MLL mw:

BASKET CASE

GREEN DAY REPRISE)

SEETHER

VERUCA SALT (MlNTY FRES->('D(iiCGErrEN!

O Records with the greatest gam, B 1994 Bilipoard/BPI Communica*5ons.

NOT 100 RECURRENT AIRPLAY

FOUND OUT ABOUT YOU

UN BLOSSOMS IAAMI

PRAYER FOR THE DYING

SEAL IZTT.'SlREAYARNEP- BROS )

YOU MEAN THE WORLD TO ME

"GNI BRAXTON LATACE.APISTA.

CAN YOU FEEL THE LOVE TONIGHT

; ' -io..r .v:.; ;.

BEAUTIFUL IN MY EYES

i- - - - -rfK.i:Mi)

TWO PRINCES

SPIN DOCTORS lEPICJ

ANYTIME YOU NEED A FRIEND

MARIA" CARET ICOLUMBUM

THE SIGN

ACE OF BASE [ARI5TAI

BABY I LOVE YOUR WAY

BIG MOUNTAIN IRCAl

CLOSER

HME INCH MILS [NOTHING/TVTl

BACK It FORTH

AALTTAH (BLACKGROUND JIVE)

CRAZY

AE^CiSMITH jE' TEN

I SWEAR

ALL 4 ONC fBLlTZlATLANTIC)

HEY JEALOUSY

jIN L.LOCiCM'J iAAM

I'LL BE LOVING YOU

COLLAGE (VIPERMETROPOllTAhl

WHATTA MAN

:AL' % -^'-.t'. .C'jL'E '.NEAT PLATEAUi

L^LRl'iMUIEELEKTRA)

ALL THAT SHE WANTS

■>:t OT SAiE lARTSTAl

BECAUSE THE NIGHT

IC r>:>T L'AMACS i Tl EKTRA)

SHOW ME LOVE

ROBIN S IB1G BEATiATLANIICI

I'LL REMEMBER

MATXINNA IMA.t -TI >.MRI V(H

NO RAIN

L'f ..(.:.""'.

SHOOP

SALT-N-PEPA.NLTt -LA' LAC LUNL.TN

BACKWATER

MEAT PUPPETS LCiNCON 5_i')[

WHAFS UP

DJ MIKOI7YX)

TITLE (Publisher Licensing Org I Sheet Music Dist.
100% PURE LOVE (Basement Boys. ASCAP^ Water.
ASCAPrTiJJVjiiam Int l. ASCAP) HI
5-4-3-2 (TO! TIME IS UP) (Second Generation
Rooney Tunes. SMI/MCA. BMI/Orole Chee Chee.
ASCAP/Sista Girl, ASCAP/NAkiati ASCAP) HL

95 9 TH WONDER (SLICKER THIS YEAR) (Wide Grooves
BM i.'Gitic B Wv'EM , Btaokwood. SMI) HL

TO ACTION (EMI Blackwood BMl) HL

3 ALL I WANNA DO (WB. ASCAP.'WaiTier- Tamerlane
ASCAP/Old Crow. BMlrlgrwanL ASCAP/Zen Of In-qiMty.
ASCAP/AIitw. ASCAP/Canvas Mattress. ASCAP) WBM

5 AXWAYS (Polygram Int l. ASCAP/Bon Jow. ASCAP) HL

4 ANOTHER NIGHT iCnfiynjjtTt Cnnticil' 1

IS AT YOUR BEST (YOU ARE LOVE) (Bovina. ASCAP/EMI

April, ASCAP) HL
86 BACK UP OFF ME! (4 The Dough. ASCAP)

39 BEFORE 1 LET YOU GO (Donnl. ASCAP/Zoniba.
ASCAP/MCA. ASCAP/Tadej. ASCAP/Oavey Pooti.
ASCAP/Chauncey Black. ASCAP) HL/rYBM

51 BE HAPPY (MCA. ASCAP/Mary J EOige, ASCAP/Dooch.
ASCAPAwetve And Under. ASCAP/Justin Publishing
Co.. ASCAP/EMI Apnl. ASCAP) HL

67 BLACK COFFEE (EMI April. ASCAP/Bee Mo Easy
ASCAP/E-Z-Diu-IL ASCAP) HL

74 BLIND MAN (Swag Song. ASCAP/EMI Apnl,
ASCAP/MCA. ASCAP/T Rhodes. ASCAP)

56 BODY £ SOUL (EMI Viigin. BMI/Sbipwieck. BMIyEMI
Virgin. ASCAP.Tuture Furniture ASCAP) HL

57 BOP GUN (ONE NATION) (Gansta Boogie. ASCAP/WB,
ASCAP/Deep Technology. ASCAP/T ull Keel. ASCAP) WBM

7B BREAKDOWN (Zomba, BMI/CPMK. BMI/Saja.
BMI/Troutman, BMl) W8M

75 BRING THE PAIN ICaieers BMG, BMl/Razoi Sharp.
BMl) HL

61 BUT ITS ALRIGHT (Famous. ASCAP) HL

59 CAN U GET WIT IT (DeSwing ASCAP/EMI. ASCAP) HL

37 CIRCLE Of LIFE (FROM THE UON KING)
WorKtenant). BMl) HL

42 COME TO MY WINDOW (MLE ASCAP/Almo, ASCAP)
WBM

29 CREEP (EMI Apnl ASCAP/D A.R P . ASCAP) HL
55 DANCE NAKED (Full KeeL ASCAP) WBM

19 DECEMBER 1963 {OH. WHAT A MIGHT) ISeasons.
BMI/k>bete. ASCAP) WBM

40 DON'T TURN AROUND (Albert Hariwund. ASCAP/WB.
ASCAP/Realsongs. ASCAP/Editnn Sunset
ASCAP/BMG. ASCAP) HL/WBM

62 DO YOU WANNA GET FUNKY (Ccto-arviKes,
ASCAP/TJurafiman. ASCAP/EMI Vhfgm. ASCAP) HL

20 ENDLESS LOVE (Pgp, ASCAP/Brtxtunan,
ASCAP/lriterswg U S A , ASCAP) HL

41 FA ALL TALL (So So Del. ASCAP/EMI April. ASCAP/Air
Central. ASCAP) HL

52 FADE INTO YOU (Saley Gardens, BMl)

49 FANTASTIC VOYAGE (T Boy ASCAP/Boo Daddy
ASCW/^rut-Solar, ASCAP/Cifcla L ASCAP) HL

31 FAR BEHIND (Skinny White Butt, ASCAP/WB,
ASCAP/Mavenck. ASCAP) WBM

10 FLAVA IN YA EAR (For Ya Ear, ASCAP/EMI Apnl.
ASCAP/Btw Mo Easy. AS CAP/ Just™ Publishing Co..
ASCAP) HL

96 FOOLIH' AROUND (Zomba, BMl)

34 GET OVER IT (Black Cypress, ASCAP/Red Cloud.
ASCAP/WB. ASCAP) WBM

B9 GET READY FOR THIS (Any Kind Of Music,

ASCAP/MCA. ASCAP) HL
65 GET UP ON IT (Keith Sweat. ASCAP/E/A, ASCAP/WB,

ASCAP/Sccttsvtfto. 8MI/EMI Blackwood. BMl) HL/WBM
SI GIRL. YOU'LL BE A WOMAN SOON (FROM PULP

FICTION) (Tallyrand. ASCAP/Sony ASCAP)
62 GOOD ENOUGH (Sony. BMI/Tyde, BMl) HL
2 HERE COMES THE HOTSTEPPER ISalaam Rem

ASCAP/Pine. PRSAongrtude, BMl) WBM

90 HIP HOP RIDE (Martey Marl. ASCAP/EMI April.
ASCAP/T op jam. BMt/Supreme C. ASCAP) HL

99 HIT BY LOVE (EMI Virgin. ASCAP/Steven And Brendan.
ASCAP/EMI Blackwood. BM l/EMI Casadida. BMl) HL

60 HOLD MY HAND (EMI Apnl, ASCAP/Momca's
Retuctance lo Lob. ASCAP) HL

35 HOW MtNY WATS mirp*n Boy; f roni NewafV.
ASCAP/Pttyjjyarri, ASCAP,lady Ashtee. BMtlay Bud Aky.
BMjVEftack Hand ASCAP/ZL>rntia. WIRachc, BMl) riyWBM

76 I CAN GO DEEP (FROM A LOW DOWN DIRTY
SHAME) (Today s Crucial. BML/Me And My Boy.
BMVWarmi-Tamerlane. BMl) WBM

77 (1 COULD ONLY) WHISPER YOUR NAME (PapaV
June. BMI/Cksan-Con. BMl)

73 I'D GIVE ANYTHING (Full Keel. ASCAP/Tarrenufl,
ASCAP/Farren Curtis. BMI/Longitude BMI/August
Wind. BMl/Albert Paw. BMt'Curbwngs, ASCAP/Mike
Curb. BMl) WBM
47 IF YOU GO (Forwgn Imported. BMl) WBM
1 I'LL MAKE LOVE TO YOU {Sony, 8Ml.Tc.ai BMl] HL
18 I'LL STAND BY YOU (Hynde House of Hrts.

ASCAP/Chve Banks. ASCAP/terk Awake. ASCAP/Tom
KeRy. ASCAP)

Itl TAKE HER (Gabi. ASCAP/Bnen Paul. ASCAP/1 1
C ASttP/Deep Soul. ASCAP/lll. ASCAP)

11 I'M THE ONLY ONE (MLE. AS CAP; A I mo, ASCAP) WBM
72 I NEVER SEEN A MiN CRY (AHA I SEEN A MAN DIE)

!N- llw Water, ASCAP/tMi Bts*,w»d, e^SftaiJtCasri BMi
92 I SEE IT HOW (Sony Tree. BMA^Sony Cross Kays.
ASCAP/WB. ASCAP) WBM/HL

7 I WAN HA BE DOWN (Human Rtiythrn. BMI/Young
Legend ASCAP/Chrysalis, ASCAP)

38 JUICY/UNBELIEVABLE (Tee Tee, ASCAP/EMI Apnl,
ASCAP/lustin Publishing Co .. ASCAP)

91 LETITGO (C^troveny ASCAP/WB. ASCAP) WBM
22 LIVING IN DANGER (Meeasones, BMI/Careers-BMG.

BMl) HL

69 LOVE IS ALL AROUND (Songs Of PofyGiam. BMl) HL
29 LUCAS WITH THE UD OFF (Copyright Control)
54 LUCKY ONE (Age To Age. ASCAP/Reunion.

ASCAP/Sony. ASCAP/Yeliow Elephant. ASCAP) HL
THE MOST BEAUTI FULLEST THING IN THIS WORLD
(iomba. ASCAP/llhotic, ASCAP/Enck Sermon.
ASCAP/EMI Apnl ASCAP/Bovina. ASCAP) HlvWBM

8 NEVER LIE (Hook. BMl7omba. ASCAP/Teaspoon,
ASCAP) WBM

43 HEW AGE GIRL (MAG BMiySongs Of PotyGram. BMl) HL
45 NONE OF YOUR BUSINESS (Sons Of K-oss

ASCAP/Out Of The Basement. ASCAP/Unart, BML/Next
Plateau ASCAP) WBM
ON BENDED KNEE (Ftyte Tyme. ASCAP)
OUT OF TEARS (Prcmopub B V . ASCAP)
PICTURE POSTCARDS FROM LA Uoshua songs.
BMI/Seymour Glass. BML/EMI Blackwood. BMl) HL
PLAYAZ CLUB (Rag Top. BMl)

Billboard.

FOR WEEK ENDING NOVEMBER 19, 1994

Hnt mi) SinalRS Sales

IIUl IUU UlllfJIuu UUluu

Com p* ted from a national sample of POS (point of sale) equipped retail stores and rack outlets which report
number of units sold to SoundScan. Inc. This data is used in the Hot 1 00 Singtes chart- SoundScan

mini

| LAST WEEK |

| WEEKS ON |

TITLE

ARTIST LAPLLOISTRiBUNNG LABEL i

8
t

TITLE

ARTIST I LABEL/DISTRIBUTING LABEL 1

ir * NO. 1 * *

3! B

WHAFS THE raEOJOKY. KENNETH?

HERE COMES THE HOTSTEPPER

IN! KAMTVE (COLUMBIA) 2 Ml a) No 1

BLACK COFFEE

HEAVY D A THE BOYZ ( UPTOWN/MCA)

4 ,'

ALWAYS

BO#l JOVI MEPCURT)

I'LL STAND BY YOU

PRFTENDERS I S iRE. VfAWfJER blROSj

]

I'LL MAKE LOVE TO YOU

BOYZ ll IXEN "

1 SWEAR

ALL-'t-'.lf'-E ! HI I 1 .m ". ' i- ' i

FLAVA IN YA EAR

CRAIG MACK (BAD BOY.tARI5T'1:

WHEN CAN 1 SEE YOU

1 WANNA BE DOWN

BRANDY AJLANTlCl

BOWIiajHJL^^

NEVER UE

IMMATURE (MCA)

NEW AGE GIRL

i.-t. L ' 1 [ . '! fi.HiT-.4ri:

TOOTSEE ROLL

69 60TZ (RIP-IT)

BREAKDOWN

FU-SOINICKENS IJIVE1

; 1

ANOTHER NIGHT

REAL MCCOY (AHtSTAi

5*3-2 (YO! TIME IS UP)

. R|it 1 1; A'i (

)

;

PRACTICE WHAT YOU PREACH

BARRY WHITE IAAM)

1 '^S^RATCH^MERCU

ALL 1 WANNA DO

SUtFiYL CROW IA&MI

BRING THE PAIN

METHOO MAN (DEF JAM/RAL'ISLANLjI

THUGGISH RUGGISH BONE

BONE THUGS N HARMONY (RUTHLESS)

WHEN WE DANCE

Tl \f" i ,W M

a l invi IMAM)

U WILL KNOW

BMU [fiLACK MFN UMTFC (MERCURY!

I'D GIVE ANYTHING

GERALD LEVERT i c.fl^ ^ l.vE;^'

SECRET

MACON NA IMftVERICK/SlRbWB)

I'M THE ONLY ONE

MELISSA ETHERIDGE ..[AMi

AT YOUR BEST (YOU ARE LOVE)

AAl IYAM (BLACKGRQUWJIVE)

BOP GUN (ONE NATION)

: | . , 1 -H + .- : h .1 ■

YOU WANT THIS

JANET JACKSON (VIRGIN)

1 SEE IT NOW

TRACY LAWRENCE (ATLANTIC)

CREEP

TLC (LAFACFjARISTAl

DO YOU WANNA GET FUNKY

C • C MUSIC FACTORY (.COLUMBIA!

BEFORE 1 LET YOU GO

BIACXSTREET ; "■([ <-

UNDONE - THE SWEATER SONG

WEEZE^ IDGL^'GEF'E'ti

ENDLESS LOVE

L VANDROSS & M CARFY (COLUMBIA!

SHUT UP AMD KISS ME

V1AHY C.-HJSHIN CAIJPtNltR '.COLUMBIA)

TURN THE BEAT AROUND

GLORIA E STEFAN [CRESCENT MOONI

SUKIYAKI

4 PM INEXT PtATEAUAONDONjlScANO!

STROKE YOU UP

. h-i'.i .ir.' i', M i II ^if,'.T!

GET OVER IT

EAGLES (GEFFEN)

SHORT DICK MAN

20 FINGERS (DJ WORLD/ID]

1 CAN GO DEEP

CAN U GET WIT IT

USHER IIAEACL'ARISTA)

OirTOFTEAflS^^^

FA ALLY* ALL

DA BRAT iSO SO CEF.CMAOSI

TAKE IT EASY

MAD LION (WEEOEDiNERVOUS)

LUCAS WITH THE LID OFF

LUCAS IBIG BEAI A'LAMlCI

FANTASTIC VOYAGE

CKXDLIQ (TOMMY B/OY!

1D0% PURE LOVE

CRYSTAL WATERS (MERCURY)

9TH WONDER (SLICKER THIS YEAR)

OIGAiSLE PLANETS IPtNDULUM "EMI 1

THE MOST BEAUTI FULLEST . . .

KEITH MURRAY 1 JIVE)

LI VI IV ON LOVE

AlAN JACKSON (ARISTA!

PLAYAZ CLUB

RAPPIN' 4-TAY (CHRYSALHEMI)

WATERMELON CRAWL

TRACY BYRD IMCAI

JUICY

'!•£ rtOTCRlOUj B L. HAL ! ' A

REDNECK STOMP

JEFF FCWrVORTHY (WARNER BROS,)

NONE OF YOUR BUSINESS

SALT N PEPA i NLIT PLATEAU. 1 SLAT. Li

ROC KA FELLA

REDMAN IRALISLANO;

GET UP ON IT

KEITH SYVEAT .ELEKTRAl

YOU GOTTA BE

DES'REE 1150 MUSIC!

HOW MANY WAYS

qra 'Ton '.st^:ea=i

LOVE IS ALL AROUND

WET WET WET (LONDOft lSLANDl

BE HAPPY

MAT,. .: Hl,,.,T ■' T .',', '.- .'.

LIVING IN DANGER

ACE OF BASE (ARISTA)

■!:

FAR BEHIND

CANE ,E v 1 ' AIA.T Mr ,Mh,;A'H

ACTION

TERROR FABULOUS iEASTWEST)

DECEMBER 1963

TOUR SEASONS (CURB)

DON'T TAKE THE GIRL

TIM Mi; i.P.'.V, ./i.i.'h

CLOSER

NINE WOH NAILS V ' ""ii , 1 . ' "• I ■ - - -(

LUCKY ONE

AM* GRANT :AAWI

THIS DJ.

WARREN G I SOLATOR RALTSLANC

CIRCLE OF LIFE

ELTON JOHN IHOUYWJOO)

1 NEVER SEEN A MAN CRY

SCARTACE I A LOT NOOHWO

GIT UP, GIT OUT

(.111 IKASl ,A4A!: rj 'APisTi

( ) Records *ith the greatest gam. >t 1994, Blilboard/BPI Communications and SoundScan, inc.

23 PRACTICE WHAT YOU PREACH (Seven. BMl/Super.
BMI/Divtded, BMI/Zomba. BMI/Wamer- Tamerlane
BMI/Ramal. BMI) WBM

80 THE RHYTHM OF THE NIGHT (Gema. Saw/Warner
UK Sare) WBM

88 ROMANTIC CAU (HoYne Tee, BMIylrving,

ASCAP/Ziytntia. ASCAP/Aunt Hilda. ASCAP/Street

hKnwIadge. ASCAP) WBM
t SECRntWB ASCAP/WeboGirl ASCAP/EMI April.

ASCAP/DA.R P., ASCAP) HUWBM
SO SHINE (Roland Ltntz. ASCAP/WB ASCAP)
32 SHORT DICK MAN (Tango Rose, ASCAP)
84 SHUT UP AND KISS ME (Why Waft. ASCAP)
44 SOMETHING'S ALWAYS WRONG (WB, ASCAP/Wst

Sprocket, ASCAP) HI
58 SPIN THE BLACK CIRCLE (Innocent Bystander.

ASCAP/Write Treaties. ASCAP/Scritxng C Mem.

ASCAP/F'ofygram Intl. ASCAP)
97 SPIN THE BOTTLE (FROM REALITY BITES) Uukana

Hatfield, BMI/Zomba. BMI)
48 STAY (I MISSED YOU) (FROM REALITY BITES)

(Furious Rose. BMI) WBM
27 STROKE YOU UP (Zomba, BMI) WBM
30 SUHYAKJ (Toshiba. BML/EMI. BMI/BeechWood. BMI) HI

81 SUN'S GONNA RISE (WB. ASCAP/Cets Sass,
ASCAP/Green Lantern. BMlyPotygTam Ml,
ASCAP/SaMifiBd. BMI)

79 SUPERNOVA (Sony, ASCAP) HL

61 THE SWEETEST DATS (Spirit Line, BMl/lonijrtude.

BML'Big Mysbque, BMLTMI Virgin. BMI/faz/oom.

ASCAP/Famous. ASCAP) WBM/HL
87 TAKE IT EASY (Misam. ASCAP)
66 THIS DJ. Warren G, ASCAP)
26 THUGGISH RUGGISH BONE (Ruthless Attack.

ASCAP/Dollarz-N- Sense, BML/Keenu. BMI)
84 TIC TOC (LOTUG ASCAP/Martey Marl, ASCAP/EMI

Apnl. ASCAP) HI

12 TOOTSEE ROLL (Dmnta* Quad BMI)

13 TURN THE BEAT AROUND (FROM THE SPECIALIST)
(Unichappell BMI) HL

71 UNDONE - THE SWEATER SONG (E 0 Smith. BMI)
28 U WILL KNOW (FROM JASON'S LYRIC) (Polygram

HI, ASCAP/Ah-cbOO, ASCAP/12 AM. ASCAP/Melodies

Nside. ASCAP) HL
100 WATERMELON CRAWL (Acuff-Rose. BMI/CotHirn.

BMI) WBM

98 THE WAT SHE LOVES ME \Ctii Boy, ASCAPl WBM
21 WHAT'S THE FREQUENCY. KENNETH? (Night Garden

BMI/Vfamer-Tamertane. BMI) HL
17 WHEN CAN I SEE YOU (Sony, BMI/txai, BMI/Eptc,

BMI/Solar. BMI) HL
46 WHEN WE DANCE (Magnetic. PRS. 'Regatta.

BMLIrving, BMI) HL
24 WILD NIGHT OjVB, ASCAP/T^ledonia Soul. ASCAP) WBM
33 YOU GOTTA BE (Sony, BMI) HL
9 TOU WANT THIS/70'S LOVE GROOVE (Black Ice.

ASCAP/Stotie Agate. BMlAlyte Tyme. ASCAP/Jobete,

ASCAP/EMI April, ASCAP) WBM

BILLBOARD NOVEMBER 19. 1994

RiiiL~-« v -j u at inn 01

Dillboara nyl lUU 3

FOR WEEK ENDING NOV. 19, 1994 ■ ■ ■

THIS
WEEK

LAST
WEEK

2 WKS
AGO

TITLE ARTIST

PROOUCER (SONGWRITER) LABEL A NUMBEK'DlSTRlHUTlNG LABEL

* * * No. 1 * * *

I'LL MAKE LOVE TO YOU A umiaatNo. 1 ♦ BOYZ II MEN

BABYFACE 1 BABYFACE) (C> (D) (V) MCTCWN 2257

HERE COMES THE HOTSTEPPER • ♦ INI KAMOZE

S REM) I KAVFFE SI6B5.KENNER.COMINO.A KONLEY K NLX) (C) IM) (T) COLUMBIA 77614

ALL 1 WANNA DO ♦ SHERYL CROW

8 BOTTRELL A- FFF-'FR F FRF,* f< K1HRFU F PAERWAiE r C.ll f)F Rl IC) AIM 0702

ANOTHER NIGHT ♦ REAL MCCOY

FRESH) i'.E.THE BERMAN BROTHERS . .W1NDINF, FjF ICFMF'.O .EF.LIT2AI iCl Dl W. Tl ARISTA 1-2724

ALWAYS ♦ BON JOVI

P.COUJNSl) BONJOVI) F FF , .' MERCURY 856 227

SECRET ♦ MADONNA

MADONNA.O AUSTIN iWAFFF-w IC (01 IT) IV) 1JO MAVERICK/SIRE 18035/WARNER BROS.

1 WANNA BE DOWN • ♦ BRANDY

A CROUCH IK CROUCH.K.JONES) lO(T) CX) ATLANTIC 87225

NtVfcK Lit W •IMMAIUKt

F :":>F- FCUENI '- ' F . F '- i ' F 1 1 FFil (CI MCA 54850

YOU WANT THIS/70'S LOVE GROOVE ♦ JANET JACKSON

J JAM T LEWIS ..JACKSON IJ JAF K'.FF-'I i i-arr ~- T LEWIS) (C) IM) FT) DO VIRGIN 36455

FLAVA IN YA EAR • » CRAIG MACK

F AF- Fl-F f | F F MACK FAFF IF HE! (C) IDUM) (Tl BAD BOY 7-9O0I/ARISTA

I'M THE ONLY ONE ♦ MELISSA ETHERIDGE

H RADGHAM V DHERIlx.E Mf'i'F i . i . ISLAND ' 068

TOOTSEE ROLL A ♦ 69 BOYZ

95 SOUTH (DA S.WA.T. 1EAV! I Ml ,F> 1X1 RIP-IT 691 )

TURN THE BEAT AROUND (FROM THE SPECIALIST*) ♦ GLORIA ESTEFAN

E ESTEFAN, 1R .L DERMER IP .ACKSON.G .ACKFIOI. (Fl 1F1 (X! CRESCENT MOON 776WEP)C SOUNPTRAX

(14)

NEW!*-

* * * Hot Shot Debut * * *

ON BENDED KNEE 4> BOYZ II MEN

JJAM.T LEWIS II HARRIST LEWIS) ICI IT) (X) MOTOWN 860 244

100% PURE LOVE • ♦ CRYSTAL WATERS

THE BASEMENT BOYS f .'. ■ " i T: , STEIRHOOR T F ' . (C) IM) ID 00 MERCURY 858 485

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AT YOUR BEST (YOU ARE LOVE) • ♦ AALIYAH

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WHEN CAN 1 SEE YOU • ♦ BABYFACE

F L.AREID SIMMONS (BABYFACE! (C) ID) (M) (T) (V) 00 EPIC 77550

I'LL STAND BY YOU ♦ PRETENDERS

1 STANLEY IF HiFFF B F'E \F£fg T fE.f' IF Cm'. SIRE 1 8 '. FF V, ARr, E P BROS

DECEMBER 1963 (OH, WHAT A NIGHT) FOUR SEASONS

B.GAUOIO IB GAU DIO.F. PARKER ,' ICI (T) CURB 76917

ENDLESS LOVE • LUTHER VANDROSS & MARIAH CAREY

W.Af ANASIEFF IL. RICHIE) F IF V V) ixi COLUMBIA ( 'FF i

WHAT'S THE FREQUENCY KENNETH' ♦ R.E.M

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LIVING IN DANGER • ACE OF BASE

T EKMANFFAOCBRATT F'C«EB.BFIPPHA: (CD IM) (Tl 00 ARISTA 1-2754

PRACTICE WHAT YOU PREACH ♦ BARRY WHITE

B. WHITE. G.LEYERT.T NICHOLAS (B.WHITE.G LEVERT.E T NICHOLAS) (CI ASM 0778

WILD NIGHT ♦ JOHN MELLENCAMP WITH ME'SHELL NOEGEOCELLO

J MELLENCAMP.M WANCHIC (V MORRISON) (CI (VI IX) MERCURY 858 738

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♦ ♦★Greatest Gainer Sales***

CREEP ♦ TLC

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CIRCLE OF LIFE (FROM THE UON KING") ♦ ELTON JOHN

C Thomas (Clton jomn t rkc > ; HcxirwooDMMe

JUICY/UNBELIEVABLE • ♦ THE NOTORIOUS B.I.G.

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BEFORE \ LET YOU GO ♦ Rl ACKKTRFFT

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FA ALL Y'ALL ♦ DA BRAT

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SOMETHING'S ALWAYS WRONG ♦ TOAD THE WET SPROCKET

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STAY (1 MISSED YOU) (FROM "REALITY BITES") • ♦ LISA LOEB & NINE STORIES

J.PATINO (L.LOEB) IC) 00 RCA 62B70

FANTASTIC VOYAGE A ♦ COOUO

DOBBS THE WINO (IVEY I ■ - All rA-,1 ; !- HI-vINm KAIG MCCAIN. iH! 1 dT ; ICHMKTKK) TOMMY BOY fil 7

COMPILED FROM A NATIONAL SAMPLE OF TOP 40 RADIO
AIRPLAY MONITORED BY BROADCAST DATA SYSTEMS, TOP 40
RADIO PLAYLISTS. AND RETAIL AND RACK SINGLES SALES
COLLECTED, COMPILED, AND PROVIDED BY SoundScan

■ ■■■■II

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BE HAPPY MARY J HUGE

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FADE INTO YOU ♦ MAZZY STAR

DR06ACK " .i-i f i ff .iff . (XI CAPITOL 98253*

THE MOST BEAUTIFULLEST THING IN THIS WORLD ♦ KEITH MURRAY

E SERMON IK MURRAY 1 : E IFMF-'i L . FF"FF E Fl E F M ( i L E T P H SlEt f ISltY.R IF LEV- F: IMi IT F ■ JIVE 42249

LUCKY ONE ♦ AMY GRANT

K THOMAS (A CHANT K THOMAS) - A4M 0724

DANCE NAKED ♦ JOHN MELLENCAMP

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BODY 8, SOUL ♦ ANITA BAKER

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BOP GUN (ONE NATION) ♦ ICE CUBE FEATURING GEORGE CLINTON

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SPIN THE BLACK CIRCLE/TREMOR CHRIST PEARL JAM

B FFBPtEFVREARL JAM (PEARL JAM.E VEDDER) (Dl (V) EPIC 77771*

CAN U GET WIT IT ♦ USHER

D SWING (SWING) (C) ID) (M) IT) LAFACE 2-4075/ARSTA

HOLD MY HAND ♦ HOOTIE 4 THE BLOWFISH

D.GCHMAN iW (If., AMI FIlDER C RUfKfR I SOIEFflDi IC) ATLAN1IC B7230

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♦ ★♦GREATEST GA N AIRPLAY * * *

THE SWEETEST DAYS ♦ VANESSA WILLIAMS

A THOMAS (W WALOMAN..' UND P GALDSTON) (CI ID) (V) (X) WING 851 1 10/MEHCURY

DO YOU WANNA GET FUNKY ♦ C • C MUSIC FACTORY

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I'LL TAKE HER ♦ ILL AL SKRATCH FEATURING BRIAN MCKNIGHT

LG.LORIDER (AL.ILL.LG.TONY PJ IC) (Tl FX) MERCURY 856 124

OUT OF TEARS ♦ ROLLING STONES

- THE GLIMMER TWINS ' RICHARDS! Fl I VI :>) VIRGIN 38459

GET UP ON IT ♦ KEITH SWEAT (FEATURING KUT KLOSE)

K.SWEAT F SCOTT (K SWEAT ( .SCOTT) (CI (M) (Tl ELEKTRA 64506

THIS DJ. # ♦ WARREN 0

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EASY MO (IFF F.ROCK (EASY MO FFF -- RFC. FFF- F, F (Fill . UPTOWN 5493: S(FF

BUT ITS ALRIGHT ♦ HUEY LEWIS & THE NEWS

S-LEVIMEUJACKSON.P.TUBBSI FLFK.IPA

LOVE IS ALL AROUND ♦ WET WET WET

WET WET WET r i*v?ESLEYI Ct ID) FV) LONOON 857 58Q4S1AND

ACTION ♦ TERROR FABULOUS FEATURING NADINE SUTHERLAND

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UNDONE - THE SWEATER SONG ♦ WEEZER

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BJORDAN F OEAN : -IF JOHNSON IF if: RAP-A-LOT '-FF, . 'f fi TRYBE

I'D GIVE ANYTHING ♦ GERALD LEVERT

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BLIND MAN ♦ AEROSM1TH

M BCINHORN ES-TYLER i PERRY RHODES) (CI GEFFEN 19377

BRING THE PAIN ♦ METHOD MAN

PRINCE RAKEEM (C SMITH, R DKSGS) (C) (M) (T) Dt£F AURAL 853 965FISLAND

1 CAN GO DEEP (FROM " A LOW DOWN DIRTY SHAME*) ♦ SILK

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(1 COULD ONLY) WHISPER YOUR NAME ♦ HARRY CONNICK, JR.

T FREEMAN •< iM.m K R f«J, [EIF (CI COLLIMBIA 77718

BREAKDOWN ♦ FU-SCHNICKENS

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SUPERNOVA 0 LIZ PHAIR

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THE RHYTHM OF THE NIGHT CORONA

CHECCO.SOUL TRAIN IF BONTEMPI.A GORDON.G SPAGNA) (O (Tt«) EASTWEST 96192

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GIRL. YOU'LL BE A WOMAN SOON (FROM 'PULP FICTION") • URGE OVFRKIl I

URGE OVERKILL KRAMER (N DIAMOND) ICl MCA 54935

GOOD ENOUGH ♦ SARAH MCLACHLAN

P MARCHAND MCLAFHI A*J (C) (Dl ARISTA |.2f>90

5-4-3-2 (YO! TIME IS UP) ♦ JADE

MCROONEYF-FF - -.il -i - (• : ROONEY F- ■■- ffi F: IE" id (X-GIANT 18066

TIC TOC ♦ LORDS OF THE UNDERGROUND

M MARL (D KELLY F WARDfi 'F K.MARLEY MARL) (C) Ml IT PENDULUM FFF ii. Fl.-i

PICTURE POSTCARDS FROM L A. 4> JOSHUA KADISON

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BACK UP OFF ME! ♦ DOCTOR ORE & ED LOVER

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TAKE IT EASY ♦ MAD LION

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ROMANTIC CALL ♦ PATRA FEATURING YO-YO

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P .'.H il ' OECOSTER i F ,- l i i - DECOSTER) ' RAOIKAL '-F' (' CRITIQUE

HIP HOP RIDE ♦ DA YOUNGSTA'S

M MARL 1(1 GOODMAN.! GOOOMAN.T DAWSON.C HARTE.M MARL1 (C) (Tl 00 EASTWEST 98240

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1 SEE IT NOW • TRACY LAWRENCE

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LETITGO » PRINCE

PRINCE (PRINCE: 1 . - WARNER BROS 1 8074

SHUT UP AND KISS ME ♦ MARY CHAPIN CARPENTER

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9TH WONDER (SLICKER THIS YEAR) ♦ DIGABLE PLANETS

DIGABLE PLANETS ■ i F l iCl :T i ,11 PE'IDULUM SfilS^EMl

NEW»»

FOOLIN' AROUND CHANGING FACES

R KELLY (R KELLYI ICi (T) (x: SPOILED OLA)

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SPIN THE BOTTLE (FROM "REALITY BITES") ♦ THE JULIANA HATFIELD 3

S UTT (J HATFIELD) IC) IX) RCA 64707

THE WAY SHE LOVES ME ♦ RICHARD MARX

- F'FP" (R MARX) ro FY) CAPITOL 58167

HIT BY LOVE ♦ CE CE PENISTON

1 . if. '. F J F : | F . | ■ . ....i. -, . -r..,T,..;. ICl (T) (X) AAM 0768

100

WATERMELON CRAWL ♦ TRACY BYRD

J CRUTCHFIELD (B BROCK.2 TURNER) (C) (V) MCA 54889

(73 RKOrtts with thfj greatftst airdriy anrt sal« gains this week. ♦Vtdeoclii

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BILLBOARD NOVEMBER 19, 1994

HOT 100

SINGLES SPOTLIGHT™

by Dave Elliott

"HERE COMES THE HOTSTEPPER" by Ini Kamoze (Columbia)
surges ahead to No. 2, knocking back both Sherj l Crow's "All I Wanna Do'
(A&M) and Real McCoy's "Another Night" (Arista), which actually gained
points this week. "Hotstepper" is within striking distance of Boyz II Men's
"I'll Make Love To You" (Motown), and might prevent the latter from tying
the all-time record of 14 weeks at No. 1 held by Whitney Houston's "I Will
Always Love You." If "Hotstepper" takes two weeks to overtake "I'll Make
Love," then the Boyz may instead be succeeded at No. 1 by — Boyz II Men!
The act's new single, "On Bended Knee," makes quite a debut this week at
No. 14, based only on airplay point"!. With a week of sales under its belt next
week, "Knee" could go all the way to No. 2, and even has an outside chance
of hitting the top next week. "Knee" moves to No. 1 this week at XHTZ San
Diego, WQHT New York, and WERQ Baltimore.

A ROCK GROUP FROM Seattle makes its first appearance on the Hot
100: Pearl Jam, which has sold more than 13 million albums domestically,
and finally releases its first commercial single. It's the double-sided "Spin
The Black Circle'VTremor Christ" (Epic). "Spin" debuts on the Hot 100
Airplay chart at No. fiO, and is already top five at WKQX Chicago, KNDD
Seattle, KITS San Francisco, and KPNT St. Louis. "Tremor" is getting sig-
nificant airplay, too — it's top 20 at KEGE Minneapolis, KROQ Los Ange-
les, and WNNX Atlanta.

TlC'S "CREEP" (LaFace/Arista) explodes in sales this week and is, by
far, the biggest overall point gainer on the chart. "Creep" has more than
double the increase of the second-biggest gainer on the chart, Vanessa
Williams' "The Sweetest Days" (Wing/Mercury). "Sweetest" is also this
week's Greatest Gainer/ Airplay, and in its second week on the chart it is al-
ready top 10 at WIOQ Philadelphia, WGTZ Dayton, Ohio, and WERQ Bal-
timore. Blackstreet's "I'll Let You Go" (Interscope) is the next-biggest
overall gainer outside the top 20 and the third-biggest sales gainer on the
chart, with early airplay at KBXX Houston, KDON Monterey/Salinas/San-
ta Cruz, Calif., and WJJX Roanoke/Lynchburg, Va. Greatest Gainer/Air-
play runner-up is Des'ree's "You Gotta Be" (550 Music), which moves 13
places in its 12th w r eek on the chart. It's receiving top 10 airplav at WHYI
Miami, KUBE Seattle, WNCI Columbus, Ohio, WTIC Hartford, Conn.,
and WPLJ New York.

' 'ShOUT OUTS" TO Doctor Dre & Ed Lover, who enter the Hot 100 for

the first time with "Back Up Off Me!" ( Relativity). Dre & Lover not only are
the hosts of "Yo! MTV Raps," but also are the morning team at WQHT ( Hot
97) New York. Also appealing on the chart for the first time is the Juliana
Hatfield :i with "Spin The Bottle" ( RCA). "Spin" is the latest single from the
verv successful "Realitv Bites" soundtrack, and is pulling in top 20 airplav at
WKBQ SL Louis, KRBE Houston, and WPLY Philadelphia. Sass Jordanap-
pears on the chart for the first time with her single "Sun's Gonna Rise"
(MCA). Sass has already cracked the top 20 at WXXX Burlington, Vt., WKT1
Milwaukee, WRQX Washington, D.C., and KXYQ Portland, Ore.

MICHAEL O'DONOGHUE, 54, REMEMBERED AS INFLUENTIAL HUMORIST

(Continued from page 12)

BUBBLING UNDER

I0T 100
SINGLES

THIS WtEK |

TITLE

ARTIST ILABELOISTRIOUTING LABEL)

LIVIN' ON LOVE

ALAN 1ACKSOM LARISTAl

REDNECK STOMP

JEFF FOJCWORTHV (WARNER BROS )

WITHOUT * DOUBT

BLACK SHEEP IMERCURY)

WHEN YOU NEED ME

ROCKAFELLA

REDMAN IRAU1SLANOI

TASTE YOUR LOVE

HORACE BROWN (UPTOWNMCAI

HEADLINE NEWS

WEIRD AL* YANKOVIC (SCOTTI BROS 1

IF 1 ONLY KNEW

10'.' , if.l r. TLOSCOPE)

•

GIT UP. GIT OUT

OUTKASt (LAFACLARISTAJ

AINT NOBODY

JAM GRAHAM (AVE* GROUPCRITIQUD

THE WHOLE WORLD LOST ITS HEAD

GO GO'S MRS)

BIOLOGICAL DIDN'T BOTHER

SHAOUILLE ONCAL (JIVEl

STRAP ON THE SIDE

SPtCE 1 IJIVE)

S
1

TITLE

ARTIST ILABEL'DISTRIBUTING LABEL)

CAN'T HELP MYSELF

GERALD L EVERT (EASTWESTl

DREAM AWAY

BABYFACE 4 USA STANSFIELO (FOX)

KICK A LITTLE

LITTLE TEMS (WARNER BROS 1

HOUSE OF LOVE

AMY GRANT WITH VNCE GILL IJU.MI

WHERE DID WE GO WRONG

WHOOMP! (THERE IT WENT)

TAG TEAM'MICKEY.'MINNlEjGOOFY (LIFE)

NEWBORN FRIEND

SEAL IZTT SIREWARNER BROS )

MOTHERLESS CHILD

ERIC CLAPTON IDOCKREPRISEl

PROMISE ME

UL SUZY (METROPOLITAN)

1 REMEMBER

COOLIO (TOMMY BOY

THIRD RATE ROMANCE

SAMMY KERSHAW (MERCURY'

ROUND & ROUND

MIRANDA 'SUNSHINE)

BuMXing Under lists the top 25 Smflles unite' No 100
which have not yet charted

'Tarzan Of The Cows,' and his stel-
lar sense of black humor."

O'Donoghue also wrote many of
the most outrageous episodes (in-
cluding "The Nazi Doctor Doolit-
tle") of "The National Lampoon Ra-
dio Hour." His skills as a director of
modern radio melodrama — includ-
ing a genius for attention to sonic
detail — led to his co-production of
the 1972 "Radio Dinner" comedy al-
bum, acclaimed as a masterpiece of
contemporary satire.

LAMPOON' RADIO TROUPE

It was during his days at the
"Lampoon Radio Hour" that
O'Donoghue collaborated with and
vigorously supported the perform-
ing talents of such emerging stars
as John Belushi, Chevy Chase, Bill
Murray, and Gilda Radner. Like
O'Donoghue, many members of the
"Lampoon" radio troupe and its
stage-revue offshoot (who were also
former members of Chicago's Sec-
ond City or other improv compa-
nies) were hired by producer Lorne
Michaels in 1975 to realize the
repertoire/skit concept of NBC's
new live, late-night TV comedy
show "Saturday Night" (later reti-
tled "Saturday Night Live").

O'Donoghue was a writer/per-
former on "Saturday Night" during
the golden era of its first five sea-
sons, and such contributions as his
"Claudine Longet Invitational Ski
Tournament" and "Star Trek" paro-
dy skits established the program as
a scathing cultural sounding board.

O'Donoghue often appeared be-
fore the "SNL" cameras in the
vaguely sinister, sunglasses-wear-
ing persona "Mr. Mike," relating
one of his "Least Loved Bedtime
Stories" — in which, for instance, he
reduced the hippity-hoppity antics
of Br'er Rabbit to "random antics of
meaningless violence." He also
starred in skits depicting the likely
reactions of the Mormon Taberna-
cle Choir, Tony Orlando & Dawn,
and '70s talk show host Mike Dou-
glas to having long steel needles
thrust into their eyes. In the early
'80s, O'Donoghue briefly returned
to the show as head writer before
resigning in 1985.

O'Donoghue, who won two Emmy
Awards for his "SNL" work, once
said about his writing, "I never
wrote or pandered to a market. I
never made the stupid mistake of
saying, 'I'm the New York sophisti-
cate and I like this joke, but the pig
masses in Crib Death, Iowa, will
never understand it because they
are such filth.' So I never did a Car-
ol Burnett and wrote down to any-
one."

PUSHED FOR MUSIC

Born Jan. 5, 1940, and raised in
rural Sauquoit, N.Y., Michael Hen-
ry O'Donoghue had equally forceful
tastes in rock'n'roll, and joined
friend Belushi in urging "SNL" to
book favorite punk and new wave
rockers of the era (Fear, Elvis
Costello) as musical guests.

Pulling away from the show for
controversial projects like the 1980
cult film "Mr. Mike's Mondo Video,"
he became a partner in screenwrit-
ing with former Crawdaddy/Rolling
Stone journalist and "SNL" writer
Mitch Glazer. They featured the Sex
Pistols' Sid Vicious singing "My
Way" in the "Mondo Video" sendup
of "Mondo Cane" and other early-
'iiOs Italian oddities-of-the-world
documentaries.

Murray starred as a present-day
Scrooge in Glazer and O'Donoghue's
1988 Paramount film "Scrooged," a
recasting of Charles Dickens* "A
Christmas Carol" in which Murray
played frank Cross, the youngest
and meanest network TV chief in
Christendom. Praised by Pauline
Kael of The New Yorker as "a tri-
umphant parody of Yuppie callous-
ness," the sardonic "Scrooged" be-
came one of the most successful
Christmas movies of all time, and
also spawned a top 10 duet single
("Put A Little Love In Your Heart")
for Annie Lennox and Al Green, and
a hit soundtrack album for A&M
Records.

DOLLY PART0N HIT

O'Donoghue also wrote a number
of popular songs, including "Let's
Talk Dirty To The Animals," which
was featured in Radner's 1977
Broadway revue "Live From New
York" and recorded on her show's
successful Warner cast album. In
1982, O'Donoghue had a top 10
country hit on RCA with "(Single
Bars And) Single Women," per-
formed by Dolly Parton.

While no fan of cheap sentiment,
O'Donoghue loved the expensive
sort, and the many fetes, recitals,
and holiday theme parties he threw
with wife Cheryl Hardwick (a long-
time music director of "Saturday
Night Live" and composer for the
Children's Television Workshop)
were the chic downtown social
events of the '80s and '90s, featuring
guest musician-friends as diverse as
James Taylor, Paul Shaffer, and
Diamanda Galsis. In late 1991,
O'Donoghue and Hardwick hosted a
historic reception-recital (Music To
My Ears, Billboard, June 6, 1992)

for Leon Theremin, inventor of the
pioneering electronic instrument
that bears his name. It was the 95-
year-old Theremin's first appear-
ance in America since 1938.

A screen actor with roles in such
comedies as "Head Office" and
Woody Allen's "Manhattan,"
O'Donoghue also was the author of
several humor books and editions of
his wry poetry ("The Encylopedia of
Humor," "Bears"). O'Donoghue was
working at the time of his death on a
novel called "Letters From France"
and an extensive anthology of his
work. He also was more than a year
into a regular column for Spin mag-
azine, titled "Not My Fault!"

As O'Donoghue told Billboard
writer Eric Boehlert in an interview
at his home, several days before he
died suddenly from a cerebral hem-
morhage, "It shouldn't be printed,
the column. I have in my mind the
ideal thing: It would be pasted up
with letters cut out from newspa-
pers and magazines, tied to a rock,
and hurled through a window. That
would be the ideal way my column
would be delivered."

"Michael always knew the right
targets," cohort Glazer told Bill-
board. "And he was the seminal fig-
ure since the '60s for the cutting
edge of comedy in this country.
Michael had real social concerns
and was very moral, but he was also
a sucker for a good joke. His 'noth-
ing's sacred' sense of humor was
based entirely on how good the joke
actually was. If you were really fun-
ny, then all bets were off."

Said to be the source of more ad-
mired quips than any wag since Os-
car Wilde, O'Donoghue also walked
it like he talked it. As he remarked
in 1979, "Life is not for everybody."

# r "

Private Eyes Rap Market. Private Music president/CEO Ron Goldstein
announces the signing of rap/blues artist Chris Thomas to a multi-album deal. The
singer/song writer/guitarist's label debut, "21st Century Blues . . . From Da 'Hood."
is due for an eariy 1 995 release. Shown, from left, are Goldstein, Thomas,
producer John Porter, and manager Greg Lewerke of Vault Management.

CD 12-Pak

UNI VRNTURR

en pack acine; a.- ktouagh

This holiday season,
give the gift that will
be used (& seeu) the rest
of the year . . .

CD 12-Pak

• Great for promotional ^?N&f
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with single color sriwn of juur
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P.O. Boo 570 . Dublin. Onto 43017 0570 • 1800 992 8262 ■ FAX <614] 7930202

BILLBOARD NOVEMBER 19. 1994

THE

Billboard 200

THE TOP-SELLING ALBUMS COMPILED FROM * NATIONAL
SAMPLE OF RETAIL STORE AND RACK SALES REPORTS
COLLECTED. COMPILED. AND PROVIDED BY

FOR WEEK ENDING
NOVEMBER 19, 1994

IHIIII

THIS
WEEK

LAST
WEEK

2„
*§

WKS. ON
CHART

ARTIST TITLE

LABEL i NUMBERDISTRlBUTtNG LABEL ' SUGGESTED U5T PRICE OR EQUIVALENT FOR CASSETTE/CO)

PEAK
POSITION

NEW ►

* + * No. 1 /Hot Shot Debut* * *

NIRVANAOGC 24727%EFFEN(IO.WI6.M) 1 mm it No. 1 MTV UNPLUGGED IN NEW YORK

BOYZ 11 MEN A' MOTOWN 0323 110 96716 96) II

SOUNDTRACK death rcw«terscope 92484.«uo.9&16 98i MURDER WAS THE CASE

NEW ►

MEGADETH CAPITOL 290W I10 96V16 96I YOUTHANASIA

4 | 5

OFFSPRING A EPITAPH 86432' (6.96.14 961 B SMASH

NEW ►

AEROSMITH GEFFEN 24716 (12.96/17.981 BIG ONES

3 1-

MADONNA MAVEROvSIRE 45767WARNER BROS. (10.96716 981 BEDTIME STORIES

NEW ►

TOM PETTYwARNERBROS.45759*llOW'16.n> WILDFLOWERS

R.E.M. WARNER BROS 45740* (10.98716.98) MONSTER

ERIC CLAPTON DUCK/REPRISE 45735/WARhER BROS. (10.9a i6.98! FROM THE CRADLE

NEW ►

THE BLACK CROWES AMERICANHEPR1SE 43CCO* WARNER BROS 110 98716 98) AMORICA

SCARFACE RAP A LOT 39946-.N00 TRYBE (10 98.15.98) THE DIARY

THE CRANBERRIES isiano 524050(10.96716.981 NO NEED TO ARGUE

GREEN DAY A REPRISE 45529*,WARNER BROS (9 98/15 9SI B DOOKIE

SHERYL CROW A AIM 0126 (9 96/15.98) B TUESDAY NIGHT MUSIC CLUB

SOUNDTRACK A* WALT DISNEY 60658(10.96717 981 THE LION KING

BON JOVI MERCURY 526013 110 98 EO/16 961 CROSSROAD

GLORIA ESTEFAN HOLD ME, THRILL ME. KISS ME

trIL C^iLs (10.9B tU'lb.^H)

BOB SEGER It THE SILVER BULLET BAND GREATEST HITS

* * * Greatest Gainer * * *

BARRY WHITE aam 0115(10 9616 96) THE ICON IS LOVE

ANITA BAKER A EIEK1RA6155! RHYTHM OF 1 OVF

SOUNDTRACK MCA 1 1 103* no 9&16.98) PULP FICTION

STONE TEMPLE PILOTS A 1 ATLANTIC 82607'/AG (10.9B/16.98) PURPLE

SOUNDTRACK MERCURY 522915 (10.98 EQ/16.98) JASON'S LYRIC

MELISSA ETHERIDGE A 1SLAND848660 110.98 15.98) VES ! PI."

LUTHER VANDROSS LV 57775-tPtC (10 98 Eh 16 981 SONGS

^TH( E sS«un*""T2 A ,8i B CREEPIN ON AH COME UP (EP)

QUEENSRYCHEEMI30711-I10.98/16 98I PROMISED LAND

MARY CHAPIN CARPENTER COLUMBu\64327(l0.98 EO/16.9B) STONES IN THE ROAD

NEW I*

MARIAH CAREY col umbia 64222 (10.98 EO/16. 98) MERRY CHRISTMAS

CANDLEBOXA' MAVERICX/"SIRE 45313.WARNER BROS. (9.96715.981 B CANDLEBOX

ACE OF BASE A' ARISTA 18740 19 98,15.981 THE SIGN

THE TRACTORS • ARISTA 18728 (9 981 5.98) IB THE TRACTORS

SMASHING PUMPKINS virgin 39834- 19.98/13.93) PISCES ISCARIOT

TIM MCGRAW A' CURB 77659(9 98,13 981 NOT A MOMENT TOO SOON

SOUNDTRACK A" EPIC SOUNDTRAX 66329,EPIC (15.98 EC724.98) FORREST GUMP

D S"«^MEtF C iN 0 i W 9&r- 9B' a AUGUST & EVERYTHING AFTER

N EW ►

KENNY G ARISTA 18767 (10 98/16 981 MIRACLES THE HOLIDAY ALBUM

ROLLING STONES A VIRGIN 39782 (10.96716 981 VOODOO LOUNGE

BARBRA STREISAND COLUMBIA 66109 (22.98 EOV29.98) THE CONCERT

ALAN JACKSON A ARISTA 18759110.98/15.98) WHO 1 AM

BRANDY ATLANTIC 82610/AG 19 9815.98) BRANDY

BROOKS & DUNN arista 18765 no 96715.98) WAITIN' ON SUNDOWN

WARREN G A VIOLATOR PAL 523335'ISIAND (10.98/15 98) REGULATE. ,.G FUNK ERA

MIWF INCH MALI <* A

l^St^SS^t« 3nM m« n .. Kl DOWNWARD SPIRAL

SOUNDGARDEN A' aim 0198' no 98, 16 98) SUPERUNKNOWN

^f^',S C) ^ l ^™ PAVAR0TTI (MEHTA) A THE 3 TENORS IN CONCERT 199-

ATLANTIC 82614 AG 1 14 9619 98!'

HOOTIE & THE BLOWFISH Atlantic B261JAG no 9a, 15 98>B CRACKED REAR VIEW

LIVE • RADIOACTIVE 10997','MCAI10-9»15.98) THROWING COPPER

GERALD LEVERT • eastwest 9241&AG no.98/16 98) GROOVE ON

THE NOTORIOUS B.I.G. BAD BOY 73O0C-ARISTA (9.96715.981 READY TO DIE

BLACKSTREET INTERSCOPE 92351.AG (10.98,15 981 BLACKSTREET

VINCEGIUA MCA 1 1047 no 981 5 98) WHEN LOVE FINDS YOU

NEWI>

BRAND NUBIAN ELEKTRA61682-no.wl5.nl EVERYTHING IS EVERYTHING

THIS
WEEK

LAST
WEEK

2 WKS
AGO

WKS. ON
CHART

ARTIST TITLE

LABEL I NUMBERDI5TR1BUTING LABEL (SUGGESTED LIST PRICE OR EQUIVALENT FOR CASSETTE/CDI

PEAK
POSITION

TRACY LAWRENCE Atlantic 82656 ag nc 96,1 5 96)

1 SEE IT NOW

VARIOUS ARTISTS MCA 1 1097 (10.98/16.98)

SKYNYRD FRYNDS

NEW ►

LORDS OF THE UNDERGROUND

PENDULUM 3O710-.EMI DO 98/16 98)

KEEPERS OF THE FUNK

YANNI A' PRIVATE MUSIC 821 16 (10.98/15.98)

LIVE AT THE ACROPOLIS

AMY GRANT AAM 0230 (10 96/16.98)

HOUSE OF LOVE

ALL-4-0NE A' BIIT22/ATLANTIC 82588 AG (10.98/1 5 981

ALL-4-ONE

JOE DIFFIE • EPIC 64357 (10.96 10715 98)

THIRD ROCK FROM THE SUN

JOHN MICHAEL MONTGOMERY A' ATLANTIC 82559/AG 110.96/15.98) KICKIN' IT UP

THE JERKY BOYS • SELECT 9241 l'/AG( 10.98/1 5 9B>

THE JERKY BOYS 2

JONI MITCHELL REPRISE 45766 WARNER BROS. 110.98/15

98) TURBULENT INDIGO

MAZZY STAR • CAPITOL 98253 (10 98/15.98)

SO TONIGHT THAT 1 MIGHT SEE

BENEDICTINE MONKS OF SANTO DOMINGO DE SILOS A CHANT

ANGLL55138D095T59B)

JEFF FOXWORTHY •

WARNER BROS 45314 no 98,15.98) B,

FOU MIGHT BE A REDNECK IF...

REBA MCENTIRE A MCA 10994 (10.96715.98)

READ MY MIND

GEORGE WINSTON dancing cat 1]157awindham hill (10.96716.981 FOREST

SOUNDTRACK A INlERSC0PE/ATLANnC82519/AG(109S/16.98> THE CROW

DIGABLE PLANETS PENDULUM 30654**MI 110.98/15.98

BLOWOUT COMB

SALT-N-PEPAA'NEXlPLATEAU/lONDONa28392',lSLAND(10.98/16.98l VERY NECESSARY

DA BRAT • SO SO DEF/CHAOS 66164'/COLUM8IA (9.98 EO/I

TO FUNKDAFIED

HARRY CONNICK, JR. • COLUMBIA 64376 (10.98 ECV16

)8 SHE

AALIYAH A BLACKCR0UND4l533'/jivE (9.96/15.96) AGE AINT NOTHING BUT A NUMBER

BEASTIE BOYS A CAPITOL 28599* 1109815 98)

ILL COMMUNICATION

CLINT BLACK RCA 66419110 98716.98)

ONE EMOTION

TONI BRAXTON A' lAFACE 26007/ARISTA (9.98/15 981

TONI BRAXTON

136

148

KENNY LOGGINS

sun/ wonder 57674/coi (IMBIA (9 Do CQ-13 98)

RETURN TO POOH CORNER

69 BOYZ RIP-IT 6901 (9 96715 98IB

NINETEEN NINETY QUAD

NEW ►

DA LENCH MOB STREET KNOWLEDGE 53939- PRIORITY no 96/16.98) PLANET OF DA APES

NEW ►

RED HOT CHILI PEPPERS EMI 29665' no 98/16 981

OUT IN L.A.

GLADYS KNIGHT MCA 10946 110.98/15 981

JUST FOR YOU

COOLIOA TOMMY BOY 1083-U1.98/15 981

IT TAKES A THIEF

120

HOLE DGC 24631«EFFEN (10.98/15 981

LIVE THROUGH THIS

SEAL • ZTT/SIRE 4S415/WARNCR BROS (10.98/15 981

SEAL

MARIAH CAREY A' Columbia 53205* (10.98 Eu/lfc 98)

MUSIC BOX

CHANGING FACES • SPOILED R011EN.BIG BEAT 923697AG (99B/1S.9B) CHANGING FACES

THUG LIFE INTERSCOPE 92360/AG (9 98/15 98)

VOLUME 1

SLAYER AMERICAN 45522'ZWARNER 8ROS. 49.98/15-98)

DIVINE INTERVENTION

LYLE LOVETT CURB 10B08/MCA( 10.98/16-98)

1 LOVE EVERYBODY

PINK FLOYD A- COLUMBIA 64200' (10.96 EO/16.96)

THE DIVISION BELL

SARAH MCLACHLAN •

NETTWERK 18725/AHISTA 19 9B/15 98) *^

FUMBLING TOWARDS ECSTASY

WEEZER OGC 24629.GEFFEN (10.98(15.98) B

WEE2ER

SMASHING PUMPKINS A' VIRGIN 88267(9 98/15 9BI

SIAMESE DREAM

SOUNDTRACK • nothinmnterscope 92460/AG (1096716 96) NATURAL BORN KILLERS

BARRY MANILOW ARISTA 18771 (10 98/16.98)

SINGIN' WITH THE BIG BANDS

FU-SCHNICKENS jive 41519* H0.wis.ni

NERVOUS BREAKDOWN

AEROSMITH A GEFTEN 24455 1 10.96716.98)

GET A GRIP

100

IMMATURE MCA ] 1068 (9.WI5 981 ■

PLAYTYME IS OVER

101

115

109

KEITH SWEAT • ELEKTRA 61550 no 98/16 98)

GET UP ON IT

102

110

11!

JANET JACKSON A 1 VIRGIN 87825 110 98/16 98)

JANET.

103

101

114

TOAD THE WET SPROCKET • COLUMBIA 57744 no 91

E0715.ni DULCINEA

104

CELINE DION A 1 590 MUSK 57555/EPK IIO.M ECV16.ni

THE COLOUR OF MY LOVE

105

LIZ PHAIR MATADOR/ATLANTIC 92429iAG(10.W15 TO

WHIP-SMART

106

169

METALLICA A~ ELEKTRA 61113* (I0.W15.98)

METALLICA

107

SOUNDTRACK A'' RCA 66364 110 96 16 96)

REALITY BITES

108

CRAIG MACK BAD BOY 73001*/ARISTA (9W15 m

PROJECT: FUNK DA WORLD

109

100

JOHN MELLENCAMP MERCURY 522428 (10.98 EO/16. n

DANCE NAKED

110

115

DAVID BALL • WARNER BROS 45562 (9 W15 .TO

THINKIN' PROBLEM

C / Albums with the greatest sales gams this week. •Recording Industry Assn, Of America (RIAA) certification for sales of 500,00 album units (250.000 lor CPs), A RIAA certification for shipment of 1 million units (500,000 for EPs). with multiplatinum titles indicated by a
numeral following the symbol. "Asterisk indicates LP is available. Most tape prices, and CD prices for UVEA and BMG labels, are suggested lists. Tape prices marked EQ, and all other CO prices, are equivalent prices, which are protected from wholesale pne es. Greatest Gainer
shows chart's largest unit increase. Pacesetter indicates biggest percentage growth. Heatseeker Impact shows artists removed from Heatseekers this week. M indicates past or present Heatseeker title, a 1994, Billboard/BPI Communications, and SoundScan. Inc.

BILLBOARD NOVEMBER 19. 1994

BBI9U

Of course, you wouldn't be having this anxiety
attack if you used new BASF 900 maxima
High Output Mastering Tape. With 3 dB more
output and 2 dB less noise than standard
analogue mastering tapes, it is identical to the
MOL and the signal-to-noise ratios of other high output masters
But it has the reel-to-reel reliability and consistency of BASF 91 1

2:00 a.m. The band
just found the sound
they've been looking for.

Everyone's rockin'.
Except you. You're figuring
out how to tell them the
HIGH OUTPUT master
you were using just

"crapped out."

Low rub off. Precision-manufactured. It's
classic BASF. The kind of BASF tape studios
have been relying on since 1934. As you
turn to face the band (gulp), you make a vow.
If you're able to survive the next ten minutes,
the first thing you'll do is contact BASF at 1 -800-225-4350
(Fax: 1-800-446-BASF); in Canada 1-800-661-8273.

BASF

Billboard. 200.

FOR WEEK ENDING NOVEMBER 19, 1994

THIS
WEEK

LAST
WEEK

2 WKS
AGO

WKS . ON
CHART

ARTIST TITLE

LABEL i NUMBEWtXSIWIWJtlNG lABfl [SUGGESTED 1 1ST PfhCt Oft EQUIVALENT FOft CASSETTEJCO)

PEAK
POSITION

111

LITTLE TEXAS WARNER BROS. 4b739U0.98n5.9B)

KICK A LITTLE

112

NEW ►

INXS ATLANTIC S262ZAG (10 98/16.98)

THE GREATEST HITS

112

113

111

107

JADE GIANT 2455B/WARNER BROS £10.98/1598)

MIND, BODY & SONG

114

103

106

GIN BLOSSOMS A UM 5403 (9 98/13 981 B9

NEW MISERABLE EXPERIENCE

115

120

118

151

PEARL JAM A" EPIC 4785/ (10.98 ECfl6.9H) ■

TEN

116

184

★ * * Pacesetter * ★ *

VARIOUS ARTISTS TOMMY aor 1100 no 9*15 96) JOCK ROCK VOLUME 1

116

117

119

VARIOUS ARTISTS NATIVITY IN BLACK A 1KIBU 1 1 TO BLACK SABBATH

CONCRETE 6633i l COLUMBJA (10 98 £0716.98)

118

104

CLAY WALKER GIANT Z458?/WARNER BROS. (10 98/15 98)

IF 1 COULD MAKE A LIVING

119

109

108

103

KENNY G A ARISTA 18646(10 98/15 96)

BREATHLESS

120

121

126

TOM PETTY & THE HEARTBREAKERS A

MCA 10813 {10. 98/17. 96)

GREATEST HITS

121

TOBY KEITH POIYDOR 52340 7/AAM (10 98*' 15.98)

DL/UlV! 1 L/WPI

122

101

ALABAMA RCA 66410 HO 98/ 1 5.98)

nRFfiTF^T HITQ III
UrVLMILol nilo III

123

117

121

103

SOUNDTRACK A" ARISTA 18699* (10 98/1 5 98)

lit tJUUTUUftKLJ

124

106

102

GARTH BROOKS A' LIBERTY 80857 (IO.9tV16.98)

IN PIECES

125

116

127

BLACK HAWK • ARISTA 18706 (9.98/15.98)

BLACKHAWK

126

DOLLY PARTON COLUMBIA 66173 (10.98 EQ/16.98)

HEARTSONGS

127

108

113

THE MAVERICKS • mca to%i (9 98/15 98) EB

WHAT A CRYING SHAME

128

147

171

VERUCA SALT MMTY FRESH-TJGC 24732/GEFFEN (10 98/15.

81 ■ AMERICAN THIGHS

128

129

N EW ►

CARLY SIMON ARISTA 18752 (10 98/16.98)

LETTERS NEVER SENT

129

130

126

112

R. KELLY A 1 JTVE 41527 (10 98/15.98)

12 PLAY

131

105

TRACY BYRD MCA 10991 (10.98/15 981

NO ORDINARY MAN

132

FAITH HILL • WARNER BROS. 45389 (9.98/1 5 98) ■

TAKE ME AS 1 AM

133

130

125

157

NIRVANA A" DGC 24425MXFFEN 110.98/15.98)

NEVERMIND

134

151

138

BLUES TRAVELER MM 0265 (9 98/15.981

FOUR

135

132

135

BEBE A CECE WINANS CAPITOL 28216 (10 98/15 981

RELATIONSHIPS

111

136

113

116

NIRVANA A 1 DGC 24607'/G£FTEN (10.98/16.98)

IN UTERO

137

102

PETER GABRIEL GEFFEN 24722 M? 98/19 98)

SECRET WORLD LIVE

138

105

103

SAMMY KERSHAW MERCURY 522125 (10 98 CO/15.96)

FEELIN' GOOD TRAIN

139

122

133

246

rSI^^A^lo'^^, PHANTOM OF THE OPERA HIGHLIGHTS

140

141

134

SNOOP DOGGY DOGG A' DEATH ROWNTERSCOPC 92279VAG (10. 98/15.98) DOGGY STYLE

141

NEW ►

WILLIE NELSON UBERTY/S8K 3042QiEMI (10 9*16 981

HEALING HANDS OF TIME

141

142

118

104

iSSSi^s 98, ■ HINTS ' ALLEGATIONS & THINGS LEFT UNSAID

143

112

PATTY LOVELESS EPIC 64188 (9 98 EQ/15.98)

WHEN FALLEN ANGELS FLY

144

193

194

SKSSSSwoSSLiLm ™ e lion king sing -along (EP)

145

124

DR. DRE TRIPLE X 51 1 70* (10.98/16.96)

CONCRETE ROOTS

146

133

124

BAB YF ACE aV EPIC 53558* (10.98 EQT16.98)

FOR THE COOL IN YOU

147

159

144

m* V &i?9*9^i™*) BAND UNDER THE TABLE AND DREAMING

148

153

129

BIG MIKE • RAP A LOT 53907/PRIORITY 19 98/15.98)

SOMETHIN' SERIOUS

149

123

128

BARNEY • BARNEY MUSIC 2B33S/TiMI (9.96/1698)

BARNEY'S FAVORITES VOL. 2

150

114

DREAM THEATER EASTWEST 90126VAG (10.98/15.981

AWAKE

151

127

BIG HEAD TODD & THE MONSTERS

GIANT 245B0V*AfiNER BROS. U0.96715.9HI

STRATEGEM

152

169

168

AARON HALL • SILAS 10610/MCA (9.98/15.98)

THE TRUTH

153

134

136

BONNIE RAITT A CAPITOL 81427 (10 98/t6 98)

LONGING IN THEIR HEARTS

154

140

131

ENIGMA A CHARISMA 39736/V1RGIN (10 98/16 98)

THE CROSS OF CHANGES

155

131

DEAD CAN DANCE 4A0 45769/WARNER 8006. (10.96/15.9

K m TOWARD THE WITHIN

131

156

142

101

DANZIG AMERTCAN 45647*/WAHNER BROS (10 98/16 981

DANZIG 4

TIP ALUMS A-Z (LISTED BY ARTISTS)

69Etoyz 80 Brand Nubian 54

Aaliyah 75
Ac* Of Base 32
B^yan Adams 1 86
Aerosmrtti 6. 99

Torn B

Babyface 146
Anita Bake- 21
DM Ball 1 10
Barney 149
Besam Boys 76

Benedictine Monks 01 Santo Domingo
De Silos 66
Jonrt Berry 171

Big Head Todd 4 The Monster 151
Big Mike 148
Om Buck 77
The Black Crowes 11
Biackhawk 125
Blackstraat 52
Blues Traveler 134
BonJovt 17

Bone Thugs N Harmony 27
Boy/ li Men 2

Brrjoks&Ounn 43.173

Garth Brooks 124,190

Tracy BynJ 131

Candletxw 31

Marian Cansy 30.87

Maty CHapin Carpenter 29.168

Camtras, Domingo, Pavarotti (Menial

Changing Faces 88
Martc Chesmitt 189
Enc Clapton 10,176
Collective Soul 142
Shawn Colvin 187
Harry Connie*. Jr. 74
Cooho 84
Counting Crows 37
The Cranberries 13, 170
Sheryl Crow 15
The Cult 193
Da Brat 73
Da Lench Mob 81
Danzig 156

Dave Matthews Band 147

Dead Can Dance 1 55
DeVree 169
Joe Dime 61
Digabte Planets 71
C«l' i* Dion 104
Dr. Dre 145
Dream Theater 1 50
Enigma 154,158
Enya 174
Gloria Estefan 18
Melissa Ethendge 25

Kenny G 38.119
Warren G 44
Peter Gabriel 137
Vince Gill 53
G*n Blossoms 114
Amy Grant 59
Green Day 14
Nanb Griffith 172
Aaron Hall 152
Heavy D & Tne Boyi
Faith Hill 132
Hole 85

Moots* & The Blowtish 48
ICirCot* 200
Immature 100
INXS 112

Alan Jackson 41. 162
Janet Jackson 102
Jade 113

The Jerky Boys 63, 177
Joshua Kadrson 1 79
Toby Keith 121
R. Kefty 130
Sammy Kershaw 1 38
Gladys Knight 83
Parti La Belle 184
Tracy Lawrence 55
Gerald Levert 50
Little Texas 111
Live 49

Kenny Loggins 79

Lords Of The Underground 57

Patty Loveless 143

Lyte Lovett 91

Luis Miguel 157

Craig Mack 108

THIS
WEEK

LAST
WEEK

2 WKS
AGO

WKS. ON
CHART

ARTIST TITLE

LABrt & NUMBf RETRIBUTING LABEL ISUGGT STrD LIST PRICE OR EQUIVALENT FOR CASSETTE/CO)

PEAK
POSITION

157

139

117

LUIS MIGUEL* W1IIIMW301WISHI SEGUNDO ROMANCE

151

143

139

195

ENIGMA A' CHARISMA 86224YIRGIN 19 9*13 98) MCMXC A.D.

159

152

149

STONETEMPLE PILOTS A' ATLANTIC 8?418/AG (998/l*i98l B CORE

160

138

155

SUUNUIKALR* DAZED AND CONFUSED
UEOCINFX1ANT 24S33AVARNER BROS. (9.96/15.981

161

128

110

VARIOUS ARTISTS asm 0258 (9 98/15 981 IF 1 WERE A CARPENTER

162

146

145

109

ALAN JACKSON A" A L0T ABf jUT LIVIN' (AND A LITTLE 'BOUT LOVE)
ARISTA 18711 (10 98/15 981

163

158

147

PEARL JAMA'' EPIC 53136' (10 98 EQ/16 981 VS.

164

144

141

MARTINA MCBRIDE* RCA 66288 19 98/15 981 THE WAY THAT 1 AM

106

165

135

122

VARIOUS ARTISTS A COMMON THREAD: THE SONGS OF THE EAGLES
GIANT 24531AVARNER BROS (10 98/16 981

166

150

143

AUCE IN CHAINS A COLUMBIA 57628* 17 98 can 981 JAR OF FLIES (EP)

167

129

119

SOUNDTRACK THE ADVENTURES OF PRISCILLA: QUEEN OF THE DESERT
MOTHER 516937ASLANO (10 9»16.98l

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ICE CUBE A PRIORITY 53876* (10 WIS 981 LETHAL INJECTION

Madonna 7
Barry Manilow 97
The Mavericks 127
MazzyStar 65
Martina MeBrlde 164
Reds McEnbre 68. 180
Tim McGraw 35
Sarah McUcMan 93

John Mettencamp 109
Metaaica 106
jor Mitchell 64
John Michael Montgomery 62
VanMomon 195
Willie Nelson 141
Nine Inch Nails 45
Nirvana 1, 133. 136
The Notorious B

Stnead O'Connor 183
Offspring 5

ORIGINAL LONDON CAST
Phantom Of The Opera Highltfrts

139

Dolly Partem 126

Tom Petty 8
Tom Petty & The H
Liz Phalr 105
Pir* Floyd 92
Queen 178
Queensryche 28
R EM. 9
Bonnie Raitt 153
Rappln*4-Tay 188
Red Hat Chili Peweis 82
RoMir^ Stones 39
Sade 196
SaltNPepa 17
Scartace 12
Seal 86
JonSccada 182
Bob Sege. & The Silver BuDet Band
19

Carty Simon 129
Slayer 90

Smashing Pumplons 34, 95
Snoop Dags Dos 140
Soundgarien 46
SOUNDTRACK
Above The Rim 181

The Adventures 01 Pnscilla: Queen
OfTheDasart 167
The Bodyguard 123
The Crow 70
Dmd And Cor*fl*J 160
Forrest Gump 36
Jason's Lync 24
The L«n King 16
Murder Was The Ca*e 3
Natural Bom Killers 96
PulpFrctMn 22
Reality Biles 107
Sleepless In Seattle 198
SOUNDTRACK CAST
The Lion King Sing-Atong (CP)
144

Stone Temple Pilots 23. 159
George Strait 197
Bartva strwand 40
term Sw«at 101

Thu« Lite 89

Toad The Wet Sprocket 103
The Tractors 33

Uitne* Vandro&s 26
VARIOUS ARTISTS

Common Thread- The Songs Of The

Eagles 165

Dance Mn USA. Vol. 2 192
n l Were A Carpenter 161
Jock Rock Volume 1 U6
Nativity In Black: A Tribute To Black
Sabbath 117
Skynytd Frynds 56

VerucaSait 128

Clay Walker 118

Weerer 94

Barry White 20

KarynWhA* 175

8eQe & CeCe Wlnara 135

George Winston 69

Yanni 58

Neri Young And Crazy Hone 199

BILLBOARD NOVEMBER 19, 1994

I.R.S. RECLAIMS CUTTING EDGE WITH 'SIX SIDED SINGLE'

(Continued from page 12)

to get help from labels in their own
way. For us, this is crucial to maintain-
ing a presence and proper attitude to-
ward the future of music."

Boberg says I.R.S. plans to issue be-
tween four and six new titles in the se-
ries over the next year, each of which
is expected to be priced at $5.49-$6.99.

The debut volume could face a tough
battle at retail, as it fights for shelf
space against several top-name holi-
day releases.

"It's an insane time right now to try
something like this," says Bob Say,
VP/head buyer for the Reseda, Calif.-
based, seven-store chain Moby Disc.
"It is something that our customers

will probably be interested in, but it
could get lost in the flood of new re-
leases this Christmas season. Maybe
in January, we will be able to position
this in a prime spot, but right now, it is
just too difficult to find a display place
for this."

Modern-rock-radio acceptance of
cutting-edge acts such as Epitaph's
platinum Offspring and Minty
Kresh/lXIC critical faves Veruca Salt
are prime examples of why the tuning
is right for this project, says modem
rock KNDD (the End) Seattle MD
Marco Collins.

"It's a great concept," he says.
"Now, more than ever, programmers

are keeping their eyes and ears open
to new things. A record like this has a
lot of potential, because everyone is
looking to break new bands right
now."

Putting together the first volume
required A&R coordinator Brian
Foyster to sift through more than
1,000 tapes before picking the three
acts on the first E P.

"We went through 10 months' worth
of demos," says Foyster. "I find maybe
one good tape out of every 100."

Foyster says the label also looks at
regional sales patterns and indepen-
dent-music fanzines to further scout
potential candidates. In addition, re-

BMG SETS SIGHTS ON U.S. TV THROUGH ABC DEAL

{Continued from page 12)

Lifetime, and 33.3% of Arts & Enter-
tainment.

Strauss Zelnick, president/CEO of
BMG Entertainment North America,
says, "What's exciting about this deal
is that it allows us to enter network
TV, which really leverages off our
skills and abilities and makes use of
our incredible roster."

This is said to be the first produc-
tion venture between a big TV net-
work and a major music company.
The CBS network and CBS Records
were sister companies until the music
company was sold to Sony, and NBC
and RCA Records were both part of
RCA Corp. until Bertelsmann
bought the label, but those
network/label linkages did not in-
clude co-programming ventures.
Representatives of NBC, CBS, and
Fox say their networks are not in-
volved in production deals with
record companies.

Audio products from the ABC ven-
ture will be distributed through BMG
labels, while home video releases will

go through BMG Video. ABC Video
Distribution will license the pro-
gramming to TV stations in the U.S.
and distribute it overseas.

Executives stress that the venture
will not produce music video pro-
gramming that would compete with
MTV or the proposed cable-music
venture that BMG is undertaking
with four other music majors and
Ticketmaster.

"This really isn't about music
video," says Zelnick. "We have a
strong relationship with MTV and an
association with a potential new
channel. This isn't intended to sup-
plant that. This will be complemen-
tary, by giving more exposure to
BMG artists — and to a different au-
dience."

Mark Pedowitz, senior VP for busi-
ness affairs, ABC Television Net-
work Group, says the deal ironically
came about after negotiations be-
tween the two companies on another
project fell apart. BMG and ABC had
been talking about a kids' audio label.

but in the end ABC teamed up with
Atlantic Records to develop the ABC
Kids imprint. However, the new TV
venture emerged out of those discus-
sions.

Although this is BMG's first foray
into TV here, the company's Ger-
many-based parent produces and
owns rights to television program-
ming in Europe. BMG has made no
secret of its desire to enter the U.S.
movie and TV business and has held
discussions with several studios.

Jack Rovner, senior VP of BMG
Ventures and Marketing North
America, will head the TV project for
BMG. In a company statement, he
called the venture "a tremendous
marketing vehicle" for BMG artists
that "offers additional creative op-
portunities for our artists to perform
in the television medium."

The Christmas project will be pro-
duced by Dick Clark Productions.

BMG's labels include RCA
Records, Arista Records, Zoo Enter-
tainment, Imago, and Private Music.

ITALIAN SONGWRITERS PROTEST VOID AT SIAE

(Continued from page 10)

buna! that checks the legality of de-
crees, has so far blocked the decree
without explanation.

"The effect of this power vacuum
risks paralyzing SIAE's activities, in-
cluding the division and payment of
rights to Italian and international au-
thors," he says. "It renders impossible
the effective representation of au-
thors' rights in all spheres of show
business and culture, and weakens the
fight against piracy."

Meanwhile, Matteucci says a new
government decree is the first move-
ment of a requiem for authors' rights
in Italy. Decree No. 606, passed Oct.
31, reduces copyright payments from
local TV and radio stations from 2.5%

of advertising revenue to 0.1%. "This
means that for every 100 million lire
($62,500) of revenue, local stations
only pay 100,000 lire ($62.50), instead
of 2.5 million lire ($1,562.50)."

"The decree becomes law immedi-
ately after ratification by parliament,
which could take several months," he
says. "It also creates a dangerous
precedent, since the national TV and
radio networks could protest in the
courts that they are unfairly preju-
diced, which would block their pay-
ments in the meantime, including
those destined for foreign authors.
The implications could be serious if
foreign authors do not enjoy the same
protection in Italy that Italian authors

NASHVILLE SONGWRITER SEMINAR SET

NASHVILLE — The Songwriters
Guild Foundation and the Songwriters
Guild Of America's Nashville branch
will present the second annual Build-
ing A Songwriter Career Seminar,
Feb. 10-12, 1995. The series of classes,
panels, and related activities will be
held at the Union Station Hotel here.

A new feature of the event will be an
awards dinner to honor the writers of
the top five singles of 1994, according
to Billboard's Hot Country Singles &
Tracks chart

Registration fees for the seminar
are $139 for SGA members and $194

for non-members. Those who register
before Dec. 6 get a 25% discount Feb.
9 is the final deadline for registrants.

Debbie McClure, SGA's regional di-
rector for Nashville, says that the or-
ganization is still in the process of
choosing panelists for the songwriter
panel and for the opening night's song-
writer show.

Registration forms are available
from SGA's Nashville office, as is in-
formation on program-book advertis-
ing and insertions for the "goodie bag"
given to all registrants.

EDWARD MORRIS

benefit from abroad."

One of Italy's Private TV and Radio
Federations, FRT, which represents
Berlusconi's three national TV net-
works, has already asked for the re-
duced rights payments to be extended
to cover national as well as local
broadcasters.

In May 1993, the SIAE won a five-
year court battle against Berlusconi's
Fininvest and other national networks
for a flat 3% copyright levy on adver-
tising revenue, including back pay-
ments.

Commenting on the government's
attitude towards the SIAE, Franco
Michallizzi, secretary of the Italian
authors and composers union SNAC
says, "They are taking us for asses;
0. 1 % is little better than nothing at all.
Although I wouldn't say that the de-
cree was the initiative of the prime
minister, his TV networks could even-
tually benefit"

Michallizzi says that the permanent
general assembly will announce fur-
ther actions to protest the decree and
the delay in appointing a new commis-
sioner. "We are going to urge all au-
thors and artists to boycott the annual
Sanremo Song Festival [in February!
to protest the attack on our liveli-
hoods, which is blocking the collection
and distribution of our copyright pay-
ments and threatening the payment of
copyrights not just from local broad-
casters, but potentially from national
TV and radio, as well as discotheques
and dancehalls."

gional representatives in Chicago,
Boston, and New York seek out local
acts with significant potential.

"We're always checking with college
[music directors] to find out what
bands are worth checking out in their
area," says Foyster.

Despite its success in the '80s, I.R.S.
has failed to make much of a dent in
the mainstreaming of modern rock in
the '90s. Only the act dada has man-
aged to make a significant chart show-
ing in the past few years. The Ix>s An-
geles-based act peaked at No. Ill on
The Billboard 200 with its 1993 re-
lease, "Puzzle." This year's follow-up,
"American Highway Flower," didn't
fare as well, peaking at No. 178 on the
album chart

SPECIAL CONTRACT

"I'd love to see one of these bands
break at radio," says Foyster. "My
biggest fear is that [another label 1 will
come in and sign away one of these
acts after we put time into them. We
don't want to be another major label's
A&R source."

To safeguard against that situation,
the acts that appear on the "Six Sided
Single" series must sign contracts that
give I.R.S. matching rights to counter
any offers made by competing labels.

"We only have rights to what they
deliver to us," says Boberg. "The band
is not encumbered at all. We wanted
this deal to be as loose as possible."

In the agreement I.R.S. either pro-
vides recording-studio time to the
band or purchases the finished master.
Though the label owns the rights to
the master recordings, each hand re-
taias all other rights to its songs, and

may rerecord them at any time.

To help spur interest at retail,
Boberg says I.R.S. hopes that the acts
that appear on the compilation will
hand out "Six Sided Single" promo-
tional fliers and posters at their live
shows.

In addition, LRJ3. plaas to sponsor a
"Six Sided Single" minitour next year,
which will link several acts who appear
on the EPs on one bill.

"The bands will benefit, because
they get instant access to major dis-
tributors and a larger staff than they
could probably find on their own," says
Boberg. Each volume in the series will
be serviced to 700 college stations.

"It's really ballsy of I.R.S. to do
this," says Grin vocalist Brett White.
"For us, this all came together so
quickly. We've only been together
since April, and we're just fascinated
by the opfwrtunity to get this kind of
exposure."

No two songs by the same artist ap-
pear consecutively on the six-track
sampler. Foyster says he hopes the
track listing will encourage radio hosts
to play multiple tracks from the disc.

"Hopefully, some people at college
radio will just let the songs segue,"
Foyster says.

In addition to its retail availability,
Boberg says that the "Six Sided Sin-
gle" can he purchased through I.R.S.*
mail-order merchandising depart-
ment, and that the label may look at a
direct-mail subscription approach for
the project in the future.

Already on tap for volume 2, which
is due in late January, are Crumbox
and the Monets, both from Los Ange-
les, and the British act Naked ID.

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BILLBOARD NOVEMBER 19, 1994

MUSIC BIZ WEIGHS IMPACT OF REPUBLICAN VICTORY

(Continued from page 10)

perspective toward the main intellec-
tual property issues that concern the
music industry, including the perfor-
mance right bill, tavern owners' music
royalty-exemption legislation, and ex-
tended-term copyright reform.

Most echo Marilyn Bergman, presi-
dent of ASCAP, who says, "I really
don't think the issues of intellectual
property or copyright protection will
be affected by partisan politics. I
mean, Orrin Hatch and Carlos Moor-
head, for example, have been strong
supporters of these issues for some
time. And the importance of the music
industry to the economy also lifts it
out of bipartisan politics." Hatch, a
Utah Republican, is expected to be-
come chairman of the Senate's copy-
right-oriented Judiciary Committee;
California Republican Moorhead will
probably get the chairmanship in the
House.

Bergman adds, however, that the
influence of conservative forces on
state and local governments **is an-
other matter entirely, but it's too soon
to tell."

Ed Murphy, president of the Na-
tional Music Publishers Assn., says, "I
really can't assess the changes [on
Capitol Mill ] yet. I don't even have in-
formation yet about who will replace
who on committees. But it is always a
shame to have to say goodbye to
friends you've worked with on issues."

Hill sources say the majority shift
will not affect decisions to hold further
congressional oversight hearings into
another issue of interest to the music

(Continued from page 10)

nies," says Berry. "He's a good all-
rounder. If you think about the limits
of where Virgin's territory ends, that's
where EMI's international range be-
gins. In countries where Virgin doesn't
have a company, EMI handles [the
repertoire] anyway."

Berry declined to discuss Stockley's
departure. Stockley could not be
reached for comment at press time.

One key difference under the new
regime is that EMI's Japanese joint
venture, Toshiba/EMI, which previ-
ously came under Stockley's area of re-
sponsibility, now reports directly to
Berry. Toshiba/EMI president
Takeshi Okkotsu and EMI's regional
director for Japan, Peter Buckleigh,
now report to Berry.

Stockley was instrumental in the ac-
quisition of an additional 5% stake in
Toshiba EMI, giving EMI a 55% con-
trolling majority on the board. He also
traveled to India in October with
Thorn EMI chairman Colin Southgate
to investigate opportunities for ex-
panding the company's presence in the
subcontinent.

Berry says he intends this latest
move to be the final change at Glouces-
ter Place.

He also rules out the idea of a whole-
sale changing of the guard in EMI's
national companies. "There's no plot to
go and weed people out," he says. "I
don't want change for the sake of
change. You have to remember that I
have taken on a role in a company
which was doing fine without me."

The team is complete, and EMI is
not looking to appoint an A& R or cre-
ative head for the new regime, accord-
ing to Berry. "It's fairly unusual for the
international side of things to have an
A&R function," he says. "Most of the
creative work to do with making indi-
vidual records takes place in the indi-
vidual companies. The greatest exper-

business: concert-ticketing practices.

Committee chair assignments for
the 104th Congress will not be an-
nounced until the new Congress con-
venes in January, but insiders already
are speculating about the new lineup.
Hatch, the probable chairman of the
Senate Judiciary Committee, would
replace Joseph Biden of Delaware.

Judiciary's Patents, Copyrights &
Trademarks subcommittee may go to
Sen. Charles Grassley of Iowa, who
would replace retiring Sen. Dennis
DeConcini, D-Ariz.

Sources say that Sen. Larry
Pressler of South Dakota has the best
shot for the chairmanship of the com-
munications-oriented Commerce, Sci-
ence and Transportation Committee,
replacing Sen. Ernest Hollings of
South Carolina; Sen. John McCain of
Arizona is seen as the new chairman of
the Communications Subcommittee,
replacing Sen. Daniel Inouye of
Hawaii.

On the House side. Judiciary chair-
man Jack Brooks of Texas, defeated
in his re-election bid, probably will be
replaced by Moorhead, the commit-
tee's ranking Republican, although a
less senior member may also be in
consideration.

Judiciary's subcommittee on Intel-
lectual Property and Judicial Admin-
istration, previously chaired by retir-
ing Rep. William J. Hughes of New-
Jersey, will probably by chaired by
Rep. J. Howard Coble of North Car-
olina. Hughes was an important in-
dustry ally on copyright issues.

tise should be in the market at the lev-
el of the operating companies. We can't
have people at the international level
changing artists' images."

At the same time, Berry says he
wants the individual companies in EMI
to be more communicative about their
repertoire. "Every country which is ac-
tive in local repertoire should take re-
sponsibility for making the record hap-
pen; they shouldn't just pass it over to
someone else," he says. "There are
records which could sell many more
copies in other countries."

Expectations of a reshuffling were
great even before Berry assumed his
newly created position in September.
Insiders at EMI are less surprised by
the scope and nature of the changes
than by the timing; an overhaul had
been predicted for Jan. 1.

Since September, Berry has been
assembling a team made up of Virgin
Music Group employees. First was the
appointment of Shelagh McLeod as se-
nior VP of legal and business affairs.
Tony Bates, Virgin's CFO, took on the
post of senior VP/CFO at EMI
Records Group International in Octo-
ber. Both kept their existing Virgin re-
sponsibilities. With the appointment of
Dimont, EMI now has three senior
Virgin figures, all of whom will retain
their Virgin duties.

BERRY DISPUTES RUMOR

Berry says he has no plans to relin-
quish control over Virgin to its senior
VP, Nancy Berry. "I love my wife very
much, but I can't imagine that happen-
ing," Berry says, noting that he is bewil-
dered at the persistent industry rumors.

Another new position has been cre-
ated in the reshuffle: Chris Windle has
been named senior VP of international
marketing. His department will take
on many of the European and interna-
tional marketing functions.

House Energy and Commerce
Committee chairman John Dingell
could be replaced by Moorhead or
Thomas Bliley Jr. of Virginia, insid-
ers say.

That committee's Telecommunica-
tions and Finance subcommittee
probably will shift from Rep. Ed
Markey of Massachusetts to Rep.
Jack Fields of Texas.

Commenting on national issues, a
representative of the National Assn.
of Broadcasters, the biggest opponent
of a performance right bill, says the
changeover probably will not affect
reintroduction of that legislation, nor
an amendment to exempt traditional
broadcasters.

"The possible new chairmen of the
Senate and House Judiciary Commit-
tees, Hatch and Moorhead, are sup-
porters of that legislation, but they
also support a carve-out [exemption]
for broadcasters," says NAB spokes-
man Doug Wills.

Recording Industry Assn. of Amer-
ica chairman Jay Berman says there
"isn't going to be much of a change" in
the way industry issues are dealt with,
because "on an international level,
music is part of the fabric of the econ-
omy. We were going to get two new-
judiciary chairmen anyway; it just
happens that they're going to be Re-
publican."

Commenting on changes in state
and local governments, Tim Sites, the
RIAA's VP of communications, plays
down an assessment of the Republi-
can victories as a mandate for conser-
vative "family values."

"The results of the midterm elec-
tions may prove problematic for some
cutting-edge music," Sites says.
"They'll be some concerns, but I think
both parties heard the call by voters
for less government, and hopefully
that will translate into greater toler-
ance for all artistic expression."

Sites backs up his remarks by citing
two immediate examples of how First
Amendment issues can survive the
public's shift to the right: the election
day defeats of two worrisome proposi-
tions, Ballot Measure 19 in Oregon
and Amendment 16 in Colorado,
which would have broadened and
toughened obscenity measures in
those states.

The measures would have allowed
local cities and towns in those states to
set and enforce their own definitions
of obscenity on a community-by -com-
munity basis, potentially creating
hundreds of differing and conflicting
obscenity definitions.

For several years, conservative
groups have been trying to shift ob-
scenity statutes from states to local
communities, in hopes of fragmenting
or bringing down First Amendment
legal precedents.

"What would seem to \iolate a com-
munity standard in, say, a suburb of
Denver might not be seen as violating
a community standard in Boulder,"
says Paul Rusinoff, the RIAA's direc-
tor of state relations. "Retailers would
have been forced to basically self-cen-
sor to avoid litigation."

Russinoff chalks up the victories to
lobbying by local citizen-action
groups — the RIAA and the National
Assn. of Recording Merchandisers
contributed to the groups — and the
success of pre-election day radio
spots, funded by RIAA and recorded
by Mike Mills of R.E.M., that ex-
plained how the initiatives would stifle
free expression.

"They came at the right time,"
Rusinoff says. "We have been told
that the spots had a major impact."

EMI INT'L COMPLETES EXECUTIVE SHUFFLE

by Geoff May field

OpEN THE FLOODGATES: Four titles invade the top 10 of The Bill-
board 200, led, as expected, by Nirvana's "MTV Unplugged In New York"
(No. 1, with more than 310,000 units). The other trump cards in the deck are
No. 4 Megadeth ( 143,000 units), the No. 6 greatest hits set from Aerosmith
(90,000 units), and, at No. 8, the Warner Bros, debut by Tom Petty (84,000
units). Missing the top 10 by a little more than 3,000 units is the new Black
Crowes (73,000 units). This is the third time in 1994 that we've seen four
new titles enter the top 10. In the June 25 issue. Stone Temple Pilots rang
in at No. 1, ahead of Warren G, Boston, and Vince Gill, and just a couple
of weeks ago (Billboard, Nov. 1 ), Snoop Doggy Dogg and Dr. Dre's "Mur-
der Was The Case" soundtrack came in on top, followed by Scarface,
Queens rye he, and Bon Jovi. Still, despite 1994's three-peat, four titles
bowing in the top 10 is a relatively rare event. Prior to June, it had not hap-
pened since the April 18, 1992, issue, when five titles crashed the first 10
spoU.

YeLLOW FLAG: The good news for music merchants is that the hot new
titles boost unit sales on The Billboard 200 by about 8%. Be careful, though,
not to overestimate the impact of this week's numbers on the overall fourth-
quarter picture. As was true of most superstar titles that have hit in the last
two months, this new batch of heavyweights did little to stir sales of albums
that were already in stores. On The Billboard 200, a majority of titles; — 136,
including 33 of the top 50 — sold fewer units than they did last week. If you
back out the units represented by the five new top 15 entries, the chart ac-
tually shows an 8% decline from the previous week. Note, too, that with the
exceptions of Boyz II Men (No. 2, with more than 160.000 units), the "Mur-
der" soundtrack (No. 3, 143,500 units), R.E.M. (No. 9, 79,000 units), and
Eric Clapton (No. 10, 76,500 units), few of this quarter's big bangers have
been able to maintain any kind of sales momentum in the face of such heavy
traffic.

ANOTHER YELLOW FLAG: As shown below in Market Watch, year-to-
date unit volume of all album and singles units stands 4.3* ahead of last
year's pace. But industry sources speculate that square footage of available
retail space — paced by the expansion of discounters Best Buy and Circuit
City, along with new stores opened by conventional music retailers — has ex-
panded by somewhere between 25* and 30*. The disparity in those num-
bers suggests that some dealers have already encountered tough sledding.
Don't be surprised if the "For Sale" sign that Miami-based Spec's Music
just hung out (see story, page 10) shows up at other chains.

Ho, HO. HO: Mariah Carey (No. 30, with 45,000 units) and Kenny G (No.
38, with 32,000 units) hang the first 1994 Christmas ornaments on The Bill-
board 200. and both are off to much stronger starts than any of the Christ-
mas titles that debuted last year. Harry Connick Jr.'s seasonal title —
which reached the highest peak, at No. 13, of any released in 1993 — entered
at No. 146. Others who rang up holiday sales last year, followed by peak and
entry ranks: Vince Gill (No. 13, No. 192), Boyz II Men (No. 19, No. 136),
and Aaron Neville (No. 36, No. 200) . . . Any Christmas titles released pri-
or to 1994 are designated catalog and begin showing up this week on Top
Pop Catalog and Top Country Catalog. Sales of Christmas titles always ac-
celerate when the Thanksgiving weekend arrives. The Top Christmas Al-
bums chart, which lists both new and catalog holiday releases, will return in
the Dec. 3 issue, and will be published biweekly through the first issue of
1995.

PrICE POINTS: Of the 407 albums that have debuted on The Billboard
200 this year, eight (about 2%) had CD list or equivalent prices above
$16.98. On next week's chart, the Eagles, who should bow at No. 1, sport an
$18.98, while Jimmy Page/Robert Plant is a $19.98'er.

MARKET WATOH

A WEEKLY NATIONAL MUSIC SALES REPORT

OVERALL UNIT BALES
THIS WEEK I LAST WEEK I CHANGE I THIS WEEK (1999) I CHANGE

12.767,000 I 12.324.000 I UP 3. 6% I 12.606.000 I UP 1.3%

YEAH TO- DATE UNIT SALES

YTD (1994) I TTD 1 1 993) CHANGE

536.1 22.000 51 4,056.000 UP 4.3%

FOCUS ON CASSETTE ALBUM SALES:

THIS WEEK | LAST WEEK | CHANGE I THIS WEEK 1 1 993) I CHANGE

4,226,000 I 4.176,000 I UP 1.2% I 4.660.0O0 I DOWN 9 3%

YEAR -TO -DATE. CASSETTE ALBUM SALES

YTD |1994) I YTD (1993) CHANGE

1 88.262,000 204.725,000 DOWN 8%

HOUNDED FIGURES

COMPILED FROM A NATIONAL SAMPLE OF RETAIL STORE ANO §V|6jB|I
RACK SALES REPORTS COLLECTED, COMPILED. AND PROVIDED BY IIIIH*

BILLBOARD NOVEMBER 19. 1994

NEW FORMATS FOR MUSIC DISCUSSED AT BILLBOARD VIDEO CONFERENCE

(Continued from page 10)

This year's Billboard Music Video Conference featured the
magazine's first MulliMedia Expo, which attracted a variety
of software and hardware developers. In the photo above,
Canter Technology sales representative Brian Zisk, right,
introduces the San Francisco-based multimedia company's
latest development in interactive music. Watching the
demonstration, from left, are programmer Dante Moratto of
Long Island. N.Y., video show "Rock Rap"; Mercury
Records' Diane Earl; Tom Sodeur of Proctorsville. Vt, video
show "New Music Now"; and Capitol Records' Bonnie
Burkert. At right, Jon Halleran. creative supervisor/senior VP
at Santa Monica. Calif. -based TROON, teaches Beth
Broday, executive producer for Thirteen/WNET New Media
Group, to "paint" with music videos. TROON displayed its
''GUMBOvision'* line of products at the Expo. (Photos:
Savage Photography}

one example of finding new avenues for
creative expression — and sales — in new
technology (Billboard, Nov. 12).

Warner Music Group itself has been
tapping into a variety of other new
pipelines. Among other initiatives, it has
acquired stakes in CD-ROM companies
such as Inscape (currently developing a
Residents CD-ROM) and Hyperbole (a
Seattle-based developer of interactive
films).

Warner Music Group's latest invest-
ment, officially announced after the con-
ference, is in Chicago-based interactive
developer Imagination Pilots (which
most recently produced the game spin-
off to the film "Blown Away").

But the new convergence of the mu-
sic, video production, and computer
Industries also is bringing about "an
interesting clash of cultures," said
McGrew. And that fact was evident in
the adjacent MultiMedia Exjxi, as at-
tendees got hands-on experience with
a variety of computer-based exhibits,
ranging from interactive press kits to
interactive poetry demos and new
generations of interactive music
video.

"I smell 8-track," joked one music
video-industry veteran, but the general
view was one of curiosity and a readi-
ness to learn.

"They're a little tentative at first,"
said Nina Ristani, a pitxiucer of two de-
but GUMBOvision CD-ROM titles—
"On The Charts: I.R.S. 1979-1394," and
"William Orbit: Strange Cargo III"—
from multimedia developer TROON, in
conjunction with I.R.S. Records. 'Then
they ask, what does it do'! They're (mu-
sic video) developers — they're expect-
ing tools. I have to explain that it's jast
entertainment.''

Alex Melnyk, VP of interactive media
at MCA Records, which plans to release
five"full-fiedged" CD-ROMs next year,
noted in a panel on "Creating Software
For Multimedia" that record-label exec-
utives eould be "initially intimidated" bv
CD-ROMs.

And with some good reason, said Ted
Cohen, a consultant to Philips Interac-
tive Media and the panel moderator.

"I've been in meetings with record
executives and asked them, 'who's going
to man the customer-support line?' " he
said. "And they say, 'the ivhatT This is
new to music and video companies. You
never had to worry whether your VHS

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Cohen is working on a CD-ROM fea-
turing Island Records act the Cranber-
ries, which is due out next March. Like
other multimedia products, the Cran-
berries product raises many thorny
rights and royalty issues, he noted.

Brad Auerhaeh, VP of legal affairs
for Philips Interactive Media, said those
issues will be sorted out project by pro-
ject. "In this case [with the Cranber-
ries], I'd say all involved would take
part — Island, the developer, and the
artist."

Another new hybrid music/video
product — so-called "enhanced CDs"
with bonus video tracks and liner
notes — i-aise similar issues of rights and
royalties. The fundamental issue is
whether the new products should be
construed as music products, video
products, or something entirely new.

spots promoting the game, Busby
says, and will be featured prominent-
ly in all marketing efforts, from in-
store standups to posters. Radio eon-
tests, a promotional press tour, and
ad campaigns in game magazines
also are part of the attack plan for
the product.

Parent company PolyGram will
handle distribution. Busby says.

"We've assembled an exciting line-
up of young, contemporary artists
that will appeal to both game fans
and music fans," he says. "I think the
artists are very comfortable with
Motown's approach to this market -
place, as well as our handling of their
involvement in it. We understand the
integrity of their image and their
music, and we want to complement
that. They don't want to come off
looking corny."

It is the integrity — and value — as-
sociated with the Motown name that
spurred the launch of the new divi-
sion and its game imprint. Busby
says.

"When we first prepared our-
selves to become a part of the Poly-
Gram organization, we brought in
(director of new business develop-

The music video production commu-
nity, which traditionally has not re-
tained any ownership of clips created
for artist promotion, can be expected to
favor a new standard that would allow
creators to share in the royalties from
new media.

But Norman Beil, head of new media
at Geffen Records, argued strenuously
for the music-product view, saying the
cuirent multimedia scene, from the la-
bels' point of view, breaks down into
three distinct business models, each
with different demands.

"First, there is the game business,
and right now that is the current busi-
ness," he said. (Geffen's debut multime-
dia product is the music video-based
puzzle game "Vid Grid.") "In that busi-
ness, it all starts with a great game, and
games have simply licensed music to
use.

mentl Eddie Brown and his team to
evaluate what kinds of businesses
Motown should be associated with,"
Busby says.

"Because we found that the Mo-
town name was one of the most rec-
ognized names in the entertainment
business, it made sense for us to
leverage that in other ventures,"
says Brown. "And interactive was a
logical first step."

Although the games division will
focus on developing more traditional
gaming products, only some of which
will be music-based. Brown says that
a variety of Motown CD-ROM pro-
jects also are in the works for release
next year, and that other projects
will focus on markets including chil-

"Then there are interactive records
Lor enhanced CDs], which I am really
bullish on," he added. "Labels are going
to contract for that [with interactive
producersi in a work-for-hire arrange-
ment I don't see them gi\ing away roy-
alties."

Challenged on that point, Beil said,
"These are music products. People are
buying them for the music, not for the
extra stuff."

The third business model, truly inter-
active entertainment products, will
open up entirely new* relationships l>e-
tween the reconrl labels and multimedia
developers, he said.

As to how that will shake out, Mc-
Grew said, "We just don't have the an-
swers yet, because all the elements
aren't there to have the answer yet . . .
Our job is to fill the needs of the market
at this point in time."

dren's projects and educational ti-
tles. Children's books also are in the
works.

As for the games, Busby is bullish
on the prospects brought to the new
business venture from PolyGram.

"They will bring a whole new di-
mension to the merchandising and
marketing of the gaming world," he
says. "PolyGram is already taking a
leadership role in the emergence of
the single entertainment super-
stores, where you can buy albums
and games and CD-ROMs."

Motow : n's interactive division will
work with sister company Philips
Media, as well as outside developers,
on CD-ROM project development,
Busby says.

CCopynght 1994 by BPI Communications All titles logD*. trademarks, se/wict marks, copynglitt. and Oder
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MOTOWN DEBUTS INTERACTIVE DIVISION

(Continued fmnt page lit)

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BILLBOARD NOVEMBER 19, 1994

'The Boogiemonsters' music is
idiosyncratic, energetic, and
refreshingly underivative."

The New York Times

"RIDERS OF THE STORM: THE
UNDERWATER ALBUM [is] one of
the most satisfying cool-out albums
since The Tribe's last effort."

"Boogiemonsters speak to a hip
hop of heart, mind and ideas."

The Village Voice .

The Billboard Bulletin...

EDITED BY I R V LICHIMAN

AVAILABLE ON 12 INCH !Y -5B286I AND CASSETTE SINGLE I4KM-5828B)

FROM RIDERS OF THE STORM

THE UNDERWATER ALBUM (E1/E2/E4-29607)

PflOOUCED AND REMIXED BY DEREK JACKSON FOR OYSFUNKTIONAL FAMILY
ENTERTAINMENT THE LG EXPERIENCE AND LoRIDer FOR
TRACKW0RK2 INC AND LG PRODUCTIONS INC AND DOMINGO FOR GUTTER FUNK SONG PUB
MANAGEMENT FRANCHESCA SPERO AND DEREK JACKSON FOR
OYSFUNKTIONAL FAMILY ENTERTAINMENT

EMI Records

BENITE2, INVESTORS SET MUSIC CO.

A new music publishing operation,
JB Music, and (eventually) an in-
die label are new ventures estab-
lished by producer/composer John
"Jellybean" Benitez and industry
investor Wasserstein Perella En-
tertainment. Benitez's credits in-
clude production collaborations
with Madonna, Whitney Hous-
ton, Sting, and Ruben Blades.
Benitez will merge three existing
ASCAP, BMI, and SESAC pub-
lishing firms into the new opera-
tion. When established, the label
(yet to be named) will develop and
distribute music by bilingual La-
tino artists, with simultaneous re-
leases in English and Spanish.
Both operations are based in New
York, with plans set for offices in
other cities. Benitez says a label
link with major distribution is in
the works.

WHEREHOUSE/BOA 0ISC0UNTS

Wherehouse Entertainment and
Bank Of America have teamed for a
promotion in California that will give
Bank Of America Versatel card-
holders $3 off any CD priced at
$14.99 or higher, and $2 off each cas-
sette. The promotion, which kicked
off Nov. 4, runs through Dec. 18.

VIRGIN RETAIL EYES MADRID

Virgin Retail Europe is making its
entry into Madrid, though not with
its megastore concept. The chain,
partly owned by Blockbuster, is leas-
ing space in five department stores
owned bv the Galerias Preciados

chain, giving Virgin more than 25,000
square feet in the stores. Three of
them are in downtown locations.

FRENCH CHAIN SALE NEAR

Troubled French chain Nuggets is
about to be sold to its competitor
Madison, creating a chain of more
than 100 stores. Francis Caussou,
founder of Madison, does not rule out
closing stores in cities where there
are overlaps between the two chains.

DANCE MUSIC BY CHOPIN

BMG Classics apparently sees the
"dance single" potential of Chopin,
so it has pressed promotional 12-inch
vinyl copies of four Chopin dances
that are part of pianist Evegny Kis-
sin's new release of mazurkas by the
composer. The label says it won't
mind if DJs use them as giveaways to
college-age youths, said to be the
fastest-growing segment of classical
music buyers. Next up is music of
Hildegard von Bingen, the 12th-
century abbess.

THEY RAN THE N.Y. MARATHON

At least six members of the music
and home entertainment industries
ran the grueling 26.2-mile New York
City Marathon Nov. 6. The best time
among them was that of Steve
Lerner, a Richmond, Va. -based
buyer for Circuit City, who clocked in
at 8 hours, 6 minutes in his sixth run.
Alan Marker of Twin brook Distribu-
tors in New York mo his fourth race
at 3:23; MFEbeat founder and
former EMI Records president/CEO
Daniel Glass, in his fourth race, ran

it at 3:56; Mercury Records national
manager of pop promotion Don Cot-
tington made his first run, timed at
3:59; Deborah Kern, marketing man-
ager at GRP Records, clocked in at
4:13 in her first run; and David
Levin, industry business manager at
Padell, Nadell & Co. in New York,
ran his second race in 4:59.

RENTRAK GAINS IN 2ND QTR

Rentrak Corp., a distributor of leased
videocassettes to retailers, reports
that better-selling video titles and
higher-profile retail accounts re-
sulted in a nearly 50% increase in fis-
cal second-quarter revenues and a
significant turnaround in profits. For
the three months that ended Sept. 30,
Portland, Oregon-based Rentrak
says it posted a net profit of $823,954
on revenues of $22.7 million,
compared with a net loss of $1.8 mil-
lion on revenues of $15.2 million in
the same period last year.

GETTING INTO LIZA'S ACT

Liza Minnelli told guests at the
Friars Foundation tribute to Tony
Bennett, held Nov. 7 at the Plaza
Hotel in New York, that she'll be
playing the Metropolitan Opera
sometime in 1996, and that Ben-
nett will be part of it. However, the
role of Bennett, who is also known
for his paintings, will be that of
scenic designer. Other music acts
who performed during the event
included Michael Feinstein, Cy
Coleman, and Bennett himself, in
separate performances with Min-
nelli and Coleman.

Another Lucky 13 For Boyz II Men

BEAT

by Fred Bronson

OYZ II MEN MAKE CHART HISTORY on II
fronts, as "111 Make Love To You" holds at No. 1 on the
Hot 100 for the 13th week and its follow-up, "On Bended
Knee," makes a spectacular debut at No. 14.

"I'll Make Love To You" is one of only three singles
in the rock era to remain No. 1 for 13 weeks or longer.
As everyone on earth must know by now, Whitney
Houston holds the record with the 14-week run of "I
Will Always Love You." What's
truly amazing is that bath of the 13-
week No. 1 singles are by Boyz II
Men. "I'll Make Love To You" has
equaled the reign of "End Of The
Road," giving the Boyz 26 weeks
atop the Hot 100 with just (wo sin-
gles.

By entering at No. 14, "On
Bended Knee" ties Janet Jack-
son's "That's The Way Love Goes"
as the seventh-highest debuting
single in the history of the Hot 100. The top three debuts
all belong to the Beatles: "Let It Be" checked in at No.
6 in 1970. and "Hey Jude" and "Get Back" both entered
at No. 10. in 1968 and 1969, respectively.

In fourth place is Herman's Hermits' "Mrs. Brown
You've Got A Lovely Daughter," No. 12 its first week
out. Tied for fifth place are Madonna's "Erotica" and
Mariah Carey's "I'll Be There." which both debuted at
No. 13.

"On Bended Knee" is the second Boyz II Men single
to debut in the top 15. The group's remake of the Five
Satins' "In The Still Of The Nite (I'll Remember)," from
the soundtrack to the TV miniseries 'The Jacksons: An
American Dream," debuted at No. 15 in November 1992.

If "On Bended Knee" hits No. 1, it will have a lot to
live up to. After all, the Motown quartet has never had
a No. 1 single that stayed on top less than 13 weeks.

('hart w-atchers will be anxiously awaiting next week's

Hot 100. If Boyz II Men are still on top, "111 Make Love
To You" will tie "1 Will Always Love You." But look
out — here comes Ini Kamoze, who could be a hotstepper
if he garneiM a No. 1 single his first time out.

As THE CROW CHARTS: Sheryl Crow's "All I
Wanna Do" slips one place from No. 2 alter six weeks
as runner-up to Boyz II Men. William Simpson of Los
Angeles points out that it's the lon-
J? est run at No. 2 since Tag Team
-pent seven weeks in that position
W with "Whoomp! (There It Is)." Simp-

% J^P son a ^ s0 notes tn at Crow could or-
ganize a support group with Patty
^^^^ Smyth, who spent six weeks at No.
Jflj 2 xvun "Sometimes Love Just Ain't

I^BA^^^^P Enough" during ' he reign of "End Of
The Road."

rUCKER UP: After charting the
progress of Mary Chapin Carpenter the last two weeks.
I'd be remiss not to mention that "Shut Up And Kiss
Me" is the new No. 1 title on Hot Country Singles &
Tracks. That gives Carpenter her first chart-topper, an
honor well deserved.

PRACTICE MAKES PERFECT: While Carpenter
celebrates her victory on the country chart, Barry
White should be jumping for joy at the news on the
R&B side. "Practice Makes Perfect" is his sixth solo No.
1 single and his first since October 1977, when "It's Ec-
stasy When You Lay Down Next To Me" became his big-
gest hit, spending five weeks at the top. White first
topped the R&B chart in 1973 with "I'm Gonna Love You
Just A Little More Baby." He last visited the summit in
1990, when he was featured on Quincy Jones' "The Se-
cret Garden (Sweet Seduction Suite)" along with Al B.
Sure!, James Ingram, and El DeBarge.

BILLBOARD NOVEMBER 19. 1994

The only
advertising
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music and home
entertainment
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• Recognize great art and visual communication

• Define standards of creative excellence for
marketing in the music and home entertain-
ment industries 'Award the contribution of
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success of an artist, group, or company.

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•television/cable 'radio •point-of-

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Billie Awards for the best consumer and trade [fc
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For more information call The Billie Awards
Hotline: (212) 536-5019. The Billie Awards
Ceremony - April 20, 1995, New York City.
Celebrate your image to the industry ... The 1995
International Billie Awards! Look for details in Billboard.

If you've ever taken a beer to a job interview...

. . .you might be a redneck.

If you've ever financed a tattoo...

. . .you might be a redneck.

If you go to the family reunion to meet women...

. . .you might be a redneck.

If you own a home that is mobile and 14 cars that are not...

. . .you might be a redneck.

If you refer to the 5th grade as "my senior year"...

. . .you might be a redneck.

If you've ever been blacklisted from a bowling alley...

. . .you might be a redneck.

If you consider your license plate personalized because your father made it...

. . .you might be a redneck.

If your wife has ever said, "Come move this transmission so I can take a bath!"...

. . .you might be a redneck.

If you see a sign that says "Say No To Crack" and it reminds you to pull your jeans up...

. . .you might be a redneck.

If someone asks to see your ID, and you show them your belt buckle...

. . .you might be a redneck.

If the Home Shopping Club operator recognizes your voice...

. . . you might be a redneck .

Want to keep laughing? Fax us at CtlS) SlM-lMfit for a free copy.

You Might

Gold and

Management. parallel Entertainment • J. P. Wil 1 1 am/ Deborah Shalftr

Jeff Foxworthy
Be A Redneck If ...

still going.

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