Volume - I Issue - I Network AAA U U DDDD IIIII OOO A A U U D D I O O AAAAA U U D D I O O A A U U D D I O O A A UUU DDDD IIIII OOO BBBB IIIII TTTTT SSS B B I T S BBBB I T SSS B B I T S BBBB IIIII T SSS & Audio Software Review (c) Copyright 1987 by Michael A. Murphy All original materials Copyright by the Author ======================================================================== CONTENTS Editorial Compact Disc Reviews 1) So - Peter Gabriel 2) ZOSO/RUNES - Led Zeppelin 3) Nether Lands - Dan Fogelberg Vinyl (lp) Reviews 1) Looking For Jack - Colin James Hay 2) The Return of Bruno - Bruce Willis ======================================================================== Greetings all. Welcome to the first issue of Network AUDIO BITS and Software Review. I hope you will find the information contained herein useful. I'll try to keep this introduction short so that you can get to the meat of this electronic magazine, the reviews. Many of you may have heard rumors or distant rumblings about this magazine. Many of you may have wondered what ever happened to it since it was quite a while ago that I came up with the idea for it. Well, because of various births, deaths, busy workdays, massive parties, or whatever, I had set this project on the back burner since there aren't 30 hours in the day. Now, I have the initial mailing almost ready to send. Most of you are receiving this because you listed in your interests on the BITNAUTS LIST on CSNEWS@MAINE.BITNET some form of Rock/Punk/Funk/Jazz/Pop or just Music, or I know that you have an interest in some form of the music described above. The contents of this issue and probably the first several issues will be Audio Software reviews primarily concerning Compact Discs and LP's. In the near future I would like to include some equipment reviews, but lack of funds hinders an abundance of those. I hope to make this magazine a monthly happening, but can't promise that right from the start. I will gladly welcome any submissions for reviews from anyone out there. The only thing I ask is that you try to stick as closely as possible to the format which I have adopted herein. At the end of this file will be a more detailed explanation of the review format. All of the reviews in this issue were written by myself. Though I do plan on writing several reviews per issue, I encourage anyone who is interested to submit a review, particularly if you have an interest in classical music. I am not a classical music buff and do not feel qualified to review classical material, but I would like to represent classical music in the magazine. I cannot guarantee that I will use a review if it is submitted, but it certainly won't be used if it is not submitted. I'm getting long winded here. One last paragraph (or two...) and we'll get to the meat. I know there are a plethora of audio and Stereo magazines available via regular mail. With all the people I've seen or whom I know have an interest in music that use the network(s) I have yet to see any sort of publication like this. There are a couple of discussion groups that are available and they serve their function, but they are not like this magazine (and what I hope it will become). I hope that this will fill a void on the network and take its place alongside some of the more popular electronic magazines. The potential to reach people on the network is virtually (grin) limitless. This mailing is being sent to a handful of people across the network. I have sent the file out in PUNCH format to all but a few people who I know can handle NETDATA or DISK DUMPed formats. If you would like to receive future issues in a format other than punch, please send me mail letting me know what format you desire. Feel free to mention this magazine to any friends who you feel may be interested in its contents. And if you do not wish to receive future issues, send mail to me (MURPH at MAINE.BITNET) and I will remove you from the mailing list. Any comments, gripes, suggestions, and/or submissions are most welcome. Please send them all directly to me. Now, on to the MUSIC! - Murph - (editor) Michael A. Murphy Murph@MAINE.BITNET ======================================================================== So Red Rain Peter Gabriel T Sledgehammer Producers: Daniel Lanois R Don't Give Up Peter Gabriel A That Voice Again Engineers: Kevin Killen C In Your Eyes Daniel Lanois K Mercy Street Geffen 24088-2 (??D) S Big Time Released: 1986 We Do What We're Told milgram's 37 Total Disc Time: 46:23 This is the Picture excellent birds Source - Compact Disc Performance: 10 Sound Quality: 10 Peter Gabriel's "So" is one of those rare discs that comes along and thrusts a performer into prominence. Brothers In Arms did it for Dire Straits and Born In The U.S.A. did it for Bruce Springsteen. Gabriel's solo career until now has had only limited exposure to the masses. "So", with songs like "Red Rain" and "Sledgehammer", has brought Peter Gabriel a lot of attention. "So" contains a lot of variety in it's 46+ minutes. There are various tempo and style changes throughout the disc. The drumbeat is prominent in many of the songs, though tempo and style changes from song to song. We go from "Sledgehammer" with it's driving, incessant beat to "Don't Give Up" which contrasts Gabriel's gloomy vocals with Kate Bush's wistful, uplifting vocals and the drums are faded in the background. Next is "That Voice Again" where the drums are prominent, but they emphasize the beat instead of generating it. Gabriel creates a plethora of images using very few lyrics in spots. "We Do What We're Told" is a perfect example. The few lyrics to this song are repeated constantly and reinforced by the music. Countless images come to mind during this song. "This Is The Picture excellent birds" couldn't be titled anything else and have the same impact. Gabriel's imagery is clear, yet open-ended. Gabriel's songwriting here has a definite slant towards gloom. "Mercy Street" describes the drowning of a young woman and is a rather haunting song. The conga drums aid this effect with their unobtrusive, haunting sound. They are more felt than heard. "We Do What We're Told" is closest to Gabriel's earlier works in sound. It's theme goes right along with the rest of the disc, however, as it points at man's inability or unwillingness to question things as they are. "Big Time" is a harsh laugh at all those who are from small town roots and expect glamour and success in the big city. "That Voice Again" borders on Parody/Paranoia/Schizophrenia with lyrics like "I want you close I want you near I can't help but listen but I don't want to hear I hear that voice again." "Don't Give Up" is the one song on the disc that has obvious uplifting moments on it, but even this song is steeped in gloom. Gabriel writes of a man who cannot find work and cannot support his family, yet at the same time the family is in complete support of the man. The wife/family of the man is there and that is what's important. The sound on this disc is incredible. The credits don't mention it, but I'd venture to say that this is a digital recording. If it isn't, it's an excellent analog transfer. All in all this is an excellent disc. Gabriel's music and lyrics are as enigmatic as ever. If you want glossy, empty, dance-music pop this disc isn't for you. If you enjoy music that makes you think as well as dance, then I highly recommend Peter Gabriel's "So". One small note. "This Is The Picture excellent birds" is not on the lp version of this recording but is an extra track on the disc, though no specific mention is made on the packaging. ======================================================================== IV - Runes Black Dog Led Zeppelin T Rock and Roll 1971 Atlantic R The Battle of Evermore Time - 42:42 A Stairway to Heaven Tracks - 8 C Misty Mountain Hop Catalog Number - 19129-2 K Four Sticks Source - CD S Going to California SPARS Code: AAD When the Levee Breaks Producer: Jimmy Page Engineer: Not Listed ------------------------------- Performance: 9.5 Sound Quality: 6 Reviewed format: Compact Disc There is little that I can say that hasn't already been said about Led Zeppelin's fourth (Runes) album. It is a classic Blues-based, Heavy metal recording. Since this recording is from an older analog master there is a significant amount of hiss present on the CD. Through most of the disc the hiss is covered up by the music. The only real glaring area where hiss becomes bothersome is throughout the quiet part of 'Stairway To Heaven'. But, as the hiss is more prevalent, so is better, clear sound. I made a direct comparison between the CD and a new copy of the LP versions of this recording. Both the LP and the CD have a lot of background hiss. The hiss on the LP is a shade more muffled than the CD, but then, so is the music. It has been said that Led Zeppelin 'breathed new life' into their live version of 'Stairway to Heaven'. The CD format breathes new life into the songs on this recording. Superior imaging helps the CD in comparison to the LP. The best example on the disc of this is in 'Going to California'. If it were not for the tape hiss in the background, I would be able to visualize Plant, Page, Bonham & Jones right in my living room. All in all the CD is superior to a new copy of the LP and it is certainly better than my worn out overplayed 10 year old vinyl copy! ======================================================================== Nether Lands Nether Lands Dan Fogelberg Once Upon a Time Producers: Dan Fogelberg T Dancing Shoes Norbert Putnam R Lessons Learned Engineer: John Stronach A Loose Ends Full Moon EK 34185 (AAD) C Love Gone By Originally Released: 1977 K Promises Made Source - Compact Disc S Give Me Some Time Total Disc Time: 45:56 Scarecrow's Dream Sketches Performance: 9.5 False Faces Sound Quality: 9 Dan Fogelberg's "Nether Lands", recorded in 1977, is an album that I have enjoyed immensely for many years. Being a personal favorite I anxiously awaited its release on Compact Disc. Sonic quality of earlier analog recordings that have been transferred to CD too often leave something to be desired. Not so with this transfer. Fogelberg's vocals and instrumentals are soft and comforting where they are supposed to be as on "Give Me Some Time" and "Nether Lands" and they are sharp and biting where they are supposed to be as in the beginning of "Nether Lands" and on "Lessons Learned". Through Fogelberg's vocals and poetry on "Nether Lands" I can picture myself high atop a mountain, with a cool, crisp air about me, looking down upon the clouds and the rest of the world. The breathtaking quality of the written image is reinforced by Fogelberg's vocals. Fogelberg's poetry/lyrics are filled with images that leap off of the paper and are only enhanced by the music and vocals. I can see clearly in front of me the woods and the fork of the road, also on "Nether Lands." "As the night folds its wings and descends..." poetically describes the all encompassing darkness of despair and fear on "Loose Ends." If the stereo imaging were as strong as the lyrical images, this disc would earn my vote as one of the best that I have heard. The stereo imaging is only average through most of the disc. The acoustic guitar and the acoustic piano are featured well throughout. The imaging of the background instruments is somewhat muddy, though the overall sound is not affected greatly. Analog tape hiss is all but unnoticable through almost all of the disc. I had to listen hard to find it in even the quietest passages. Only "Sketches" had any noticable hiss, and I had to crank up the volume to really notice it. If you're not listening for it, you probably won't even hear the tape hiss at normal play volume. If you're a Fogelberg fan, I highly recommend this disc to replace your worn out vinyl copy. If you're not, I recommend this disc as a lyrical and musical painting of humanity's highs and lows, its ups and downs. "Nether Lands" is a showcase for the acoustic singer/songwriter Dan Fogelberg. It is also a showcase for good (though not great) analog to digital transfer techniques. ======================================================================== Hay, Colin James Looking For Jack Hold Me Can't I Hold You? Producer: Robin Millar T Looking For Jack Recording Engineer: Tim Kramer R Master of Crime Columbia BFC 40611 A These Are Our Finest Days Released: 1987 C Puerto Rico Source - LP K Ways of the World Total Disc Time: 41:59 S I Don't Need You Anymore Circles Erratica Performance: 7.5 Fisherman's Friend Sound Quality: 8 If you have Men At Work's first two albums, 'Business As Usual' and 'Cargo' respectively, then you may as well save your money on this one. This album is good, but it's nothing new. And that's not too surprising since Colin Hay was Men At Work's lead singer. Colin's distinctive voice is prevalent throughout the album. If you really go nuts over Men At Work, you'll like this album because it's more of the same. Just transpose Colin James Hay for Men At Work on the label. ======================================================================== Willis, Bruce The Return Of Bruno Comin' Right Up Respect Yourself Producer: Robert Kraft T Down in Hollywood Engineer: John Vigran R Youngblood Motown 6222 ML A Under the Boardwalk Released: 1987 C Secret Agent Man/ Source - LP K James Bond is Back Total Disc Time: 40:24 S Jackpot (Bruno's Bop) Funtime Lose Myself Performance: 7 Flirting With Disaster Sound Quality: 8 The watchword for this album is FUN. Bruce Willis sounds like he's having a lot of that on this record. There are a lot of people who are bound to be skeptical about this record because he's a TV star branching out into pop/rock. Anyone who listens to this record seriously cannot possibly take Willis completely seriously. He's just out there hamming it up and having a lot of fun, which makes for a good record. The material is all something we've heard before and Willis does little to change his versions of the old standards, which is the safe way to go while having a little fun, but doesn't lend much to a musical adventure. 'Youngblood', 'Under the Boardwalk' and 'Secret Agent Man' are all good examples of how much fun a guy can have doing a record. One of the things I like to look for in any given performer is their ability to have fun while they perform. Bruce Willis may need a little bit of polish on his performance, but he knows how to have fun and that's what makes this an enjoyable record rather than just a record done by another self-idolizing TV star. ======================================================================== REVIEW FORMAT Here's what I'd like as a general format for reviews. All of the information concerning the Disc or LP should be able to be found on the album where all credits are given. The performance and sound quality scales are your opinions. REVIEW FORMAT Title Artist Producer(s) Engineer(s) Label/Catalog # Time Song Titles Performance scale (1-10) Sound scale (1-10) What format was reviewed (CD, LP, Cassette) Release date (For older material transferred to CD) SPARS code (Also for CDs - will explain below) The SPARS code represents a standard proposed by the Society of Professional Audio Recording Studios (SPARS). Many CDs have this three letter code printed somewhere on their information booklets. The three letters correspond to the type of recorder used for recording, mixing and mastering of the disc (analog or digital). For example, a disc with the code "ADD" would show that the disc was an analog recording, mixed and mastered digitally. ========================================================================