Newsgroups: bit.listserv.allmusic
Date:         Mon, 14 Sep 1992 14:28:01 EDT
From:         "Christoper V. DeRobertis" <UICD@MARIST.BITNET>
Subject:      Sonic Verse Vol. 2, Iss. 8 (Formerly Update)

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                             Music Magazine
                        Volume 2, Issue 8 (E-RE)
                           The Phoenix Issue
                    Formerly Update Music Newsletter

-----------------------------------------------------------------------
                                Contents
-----------------------------------------------------------------------
Sonic Verse Information:
    Copyright notice
    Mailing addresses
    Disclaimer

Columns:
    Editor's Tangent
    Spotlight On . . . . . Silence
    Perspective  . . . . . Not Beyond Reproach (Part 1 of 2) : The Body
                           Count Controversy
    The Lighter Side . . . The Ramblings of an Ill Man

Features:
    Novelty Seeker Take Note!
    An Observation

Appendices:
    Appendix A: Additional Sonic Verse Information

-----------------------------------------------------------------------
                        Sonic Verse Information
-----------------------------------------------------------------------
Sonic Verse Music Magazine (c) 1992 Christopher Vincent DeRobertis

This magazine may not be reproduced or transmitted in any form, either
in whole or part, without the express written consent of Christopher
Vincent DeRobertis. All questions, comments, reproduction requests, and
general inquiries can be sent to the following addresses:

INTERNATIONAL POSTAL SERVICE: Sonic Verse Music Magazine, ATTN: C.V.
DeRobertis, P.O. Box 219, Stormville, New York, 12582-0219, U.S.A.
(NOTE: Sonic Verse Music Magazine can be replaced with its short form,
Sonic Verse.)

ELECTRONIC MAIL SERVICES for ADMINISTRATIVE QUESTIONS/COMMENTS should be
directed to: UICD@MARIST.BITNET, for Bitnet links, and
UICD@VM.MARIST.EDU for Internet links.

STAFF: Editor, owner - C.V. "Dero" DeRobertis. Writers, researchers -
Dero, Joel Kraft, Jill Troseth; Financial management - Dero, Jill
Troseth

DISCLAIMER: The staff and owner of Sonic Verse take no responsibility
and make no claims regarding the mail order items described herein, nor
does Sonic Verse state or imply any guarantees regarding the merchandise
and/or services of the companies and/or individuals presented and/or
reviewed and/or as expressed by individuals interviewed. Advice columns
or advice oriented write-ups are not to be taken as legal consultation
or legal service, but as suggestions and examples of real-world or
hypothetical models. Always consult a lawyer for legal and lawful
guidance. The opinions and views contained in Sonic Verse reflect those
of the individual authors. The opinions, content, organization, and
management of this magazine are in no way connected with the faculty and
staff of Marist College.

For additional information on Sonic Verse, please refer to Appendix A
for the following: Publishing and Subscription, Transmission, Prices
used in Sonic Verse, Text Conventions found in articles/write-ups,
Bitnet and Internet FAQs, Solicited and Unsolicited material received by
Sonic Verse or its agents, and directions for freelance writers.

------------------------------------------------------------------------
                            Editor's Tangent
------------------------------------------------------------------------
Greetings and welcome to "The Phoenix Issue" of Sonic Verse Music
Magazine! Some of you may be wondering, "Sonic Verse? I thought this was
Update?!" Update Music Newsletter received several significant changes
this past week, one of which being a name change to Sonic Verse. Over a
week ago I mailed an informational letter to the Update community,
titled "The Phoenix Letter," which explained the changes that appear
this issue. For those that subscribed *after* the transmission of this
letter, you can retrieve it from the LISTSERVs at Marist and Bitnic.
(Please refer to Appendix A for LISTSERV retrieval information.) If
there are any problems trying to retrieve the letter, please send me
electronic mail with the body of the mail containing your complete
Bitnet or Internet user id. I will forward you a copy of "The Phoenix
Letter" immediately. (Please do not add anything else to the body of the
mail.)

I'm so excited about the premiere of Sonic Verse that I'm going to end
the Editor's Tangent early. (The crowd roars with approval!!!) So before
you dive into Sonic Verse, I would like to take a few lines to extend
sincere "Thanks!" to the following people who helped get Update, and now
Sonic Verse, out of my imagination and into reality.

Dennis DeRobertis for being the world's GREATEST brother and my BEST
friend. His advice and guidance assist in Sonic Verse's direction and my
personal growth. I'd be lost without him. He's my biggest influence and
inspiration. Joel Kraft for believing in this venture, writing his heart
out, ALWAYS coming up with unique ideas, constantly making me laugh, and
being a *great* friend. Frank Bellacicco for his support, understanding,
*close and dear* friendship, and the long hours of conversation he
endures from me! (It's been a long, strange journey so far bud!) Jill
Troseth for always believing in me, loving me for who I am,
understanding my nature, and sacrificing so much so that my dreams, our
dreams, can come true. Her love is my lifeline. Her insight is my beacon
of hope. Her smile is my strength. She is THE love of my life. (It's
always an adventure Jill! How does Mrs. DeRobertis sound to you?)

Mom, Dad, and Grandma for hours of listening, advice, and support.
Without my family, none of this would be possible and I would cease to
exist. FAMILY IS ALL! My dogs T.J. and Pepper. T.J. has kept me company
through each publications writing and compilation. Marco "Ohm" Olivotto
for trans-Atlantic friendship, discourse, and inspiration. (We're far
away, yet not so far apart my friend. Best of luck with The Noisy Room.)
Janice Manners and Wendy Duncan for insuring Update and Sonic Verse
remain my intellectual property. Harry Williams for setting up UPNEWS
and for all the work I have in store for him to make it SONIC-L! Guest
writer Dan Newcombe. Paul Noia. (Hey cuz! New Dream Theater rules!) Tom
DeMartino at Guitar Recordings. (Italian drummers need to stick
together!) Howard Hart for advice and inspiration. (This is turning out
to be my Seriatim!) The liveliest and strangest group of supporters any
publication can have - Bill "How ya doin'?" Brown, Ed "Baby Food Jar"
Kovarcik, Don "Hello me! It's the real me!" Glover, and Jim "Ninja (I
own the night!)" Hayes. (What a zoo crew!) All the artists and music
industry individuals who have sent material.

Mega-super-tremendous special thanks to every reader in the land of
Sonic Verse. Without you, none of this really matters. Your support,
continued interest, and honest comments show us that this publication
makes a difference. Thank you for making Update and Sonic Verse a part
of your world, because it means the world to us. Enjoy!

------------------------------------------------------------------------
                          Spotlight On Silence

                         Written by Joel Kraft
------------------------------------------------------------------------
ARTIST: Silence
TITLE : Silence (demo)
STATUS: Unsigned

A few months ago, on a stormy, dreary evening, I had the pleasure of
experiencing Silence for the first time. In a dimly lit campus theater,
SUNY New Paltz held a charitable AIDS benefit concert. The acts
consisted of a variety of local aspiring musicians, from the heavenly
sounds of a SUNY gospel choir, to the funky ska beats of Perfect
Thyroid.

After helping some friends carry their gear from the stage, I sat down
to enjoy what turned out to be a very entertaining evening, for a worthy
cause. After several acts, and a few brief moments of preparation, the
next band, Silence, was ready to perform. Although I had heard a buzz
about Silence in town, I had yet to see or hear them for myself. I was
captivated as the attractive Danielle Kimak led the band into its
opening piece. Within measures, I was moving in my seat and thinking to
myself, "Yeah... now this kicks!" The sound was fresh and rockin'.

The rhythm section was great. I immediately noticed how well it provided
a strong canvas over which melodies could be painted. Eamon Martin was
using a heavy chorus or flange on his bass to enrich the sound of his
skills. Together with the driving mystical rhythms of Daniel Krieger,
the result was pure power. With the use of delay, distortion, and
howling feedback, guitarist George Schaaff added to the canvas a barrage
of interesting sounds, melodies, and rhythms. Then, atop the backdrop,
Danielle danced and sang with dramatic intensity.

Silence has put together a demo tape in order to promote their band, as
with most struggling musicians. The tape, consisting of seven tracks,
contains three professional studio recordings and four live recordings.
When comparing the studio tracks to the live tracks, one can recognize a
definite change in musical direction.

The studio tracks, recorded in 1991, include _Another World_,
_Ash-holes_, and _Fine_. These three songs teeter on a new realm of
interesting Alternative music. At times the music is warm and gentle,
with Danielle's voice gliding over the top. However, other sections
develop into pure energy, with forceful vocal melodies and wrenching
screams.

Although the live tracks, recorded in 1992, are not high quality
recordings, they effectively portray the development of the band's
sound, their cohesiveness, and the amount of energy that they put into a
live show. The first track, _Nice_, is one of the songs that moved me
that first night at the benefit concert for AIDS. Along with _Satanic
Song_ and _Toss the Log_, these tracks clearly identify the band's
movement into interesting new territory. With a driving rhythm section
and distorted guitar, their recent material now seems to have an even
harder edge.

I find it difficult to put Silence into an existing category without
limiting readers to an incorrect mental picture of their 'sound'. Each
band member seems to have a number of differing influences which they
use interchangeably. Through a combination of interesting modes and
tones, Silence has developed their own unique style. A number of
dissimilar bands, such as The Sugar Cubes, The Cure, U2, The Pixies,
Live, and even Led Zeppelin, come to mind while listening to this band.

After listening to the demo several times, I feel that Silence seems to
be improving as they develop around their strengths and their 'sound'.
Personally, I enjoy the 1992 material more than the 1991 material, and
feel that with some work they could become a very influential band.
Hopefully, the sinister commercialized label beasts will not pass them
by.

Silence is beginning to spread its wings and tour a portion of the
Northeastern United States. Hopefully, they will be headed your way
soon. Don't miss them! They've got a fresh sound and a live show that
will rock you.

For a demo tape or more information, please call (914) 255-1637.

Upcoming Tour Dates:

September
---------
Fri 18 LIVE on WDST 100.1 FM, Woodstock, NY                  1 AM
Sat 26 Art for AIDS Benefit, Upper Hasbrouk Park, Kingston, 11 AM - 5 PM
       NY. Also performing: Oblivion Grin, Shanghai, and
       Pacemaker.

October
-------

Sat 10 The Griffon, New Paltz, NY                           10 PM
Fri 16 Rhinecliff Hotel, Rhinecliff, NY                     10 PM
Wed 21 The Lion's Den, New York, NY                          9 PM

------------------------------------------------------------------------
                              Perspective

     Not Beyond Reproach (Part 1 of 2) : The Body Count Controversy

                            Written by Dero
------------------------------------------------------------------------
How would you respond to the question, "Are movies, television,
literature, video games, and songs, all forms of entertainment?" For
many, the response is "yes," offered with little or no hesitation.
However, does the word entertainment give an entertainer the license to
say anything and/or do anything theatrically, since it's done in the
name of entertainment? Impulse may urge you to say "yes," but reality
says "no!". As an example, you need not look any further than the
current Body Count controversy.

Body Count is the Hardcore Metal band whose front-man and founding
member is controversial Rap artist Ice-T. Body Count's debut release,
_Body Count_ (Sire/Warner Brothers), is the most recent example of
whether an artist's lyrics goes beyond the bounds of mere entertainment
and into the realm of public menace.

While there are several elements of the Body Count release that have met
with criticism, the main focus of the media coverage is the song "Cop
Killer." This song depicts someone who hates the police and wants to
". . . dust some cops off." Police organizations across the United
States outraged with this song have called for a boycott of the Body
Count release and all items associated with Warner Brothers. However, to
make an INFORMED decision, regarding Body Count's 'decency', you must
read the lyrics to the songs on _Body Count_ and come to your *own*
decision.

Try putting aside what the media is trying to feed you. Media opinion
will expose you to opinion that is three minutes or less on television
and radio, and occupy 200 words or less in magazines and newspapers.
Your thought process should be longer than this! Obtain the lyrics, read
them, and then ask yourself some questions concerning your initial
reaction. Below are some sample questions that you can ask yourself, or
maybe others. Please note that these are not the only questions that can
be asked, but merely a starting point.

    - What makes _Body Count_, on a lyrical level, any different, in
      terms of entertainment, than slash and gore movies, like the
      _Friday The 13th_ series, or violent movies, like _Cobra_, or
      macabre literature penned by Stephen King or Clive Barker?

    - Can _Body Count_ lyrics be taken literally by impressionable
      minds, indifferent to age, sex, race, financial standing, etc.?

    - Would it make a difference in your mind if "Cop Killer" was
      called, for example, "Child Molester Killer," and took a vigilante
      approach to those who molest children? Is killing the problem or
      who is being killed?

    - Do you see Body Count as a black band, as opposed to just a band?
      Are you indifferent to color?

    - Do you have preconceived notions that Metal music and Rap music
      are evil in some way?

Only after viewing _Body Count_ in this manner can you arrive at an
honest conclusion. You might not like the answer, or the steps to the
answer, but at least you've attempted serious consideration. You've
intelligently exercised your right to choose.

So what about me? I could hide behind my computer keyboard and enjoy the
sanctuary of an observation without stating my own conclusion. Some
would argue that this is what I should do. If I influence your thoughts
with my opinion before you can make an informed decision, as I have just
stated, then I become nothing more than a hypocrite. However, I do have
my own opinion and I *will* state it. If you want to make an informed
decision without the influence of my position, then stop reading this
article at the conclusion of this paragraph and attempt to find out for
yourself. Once you've done that, come back and finish reading this
article and see my perspective. We might not agree on how we feel toward
_Body Count_, but at least we've examined it from a similar, informed
position.

FACT: In volume 1, number 5 (1991), of the newsletter I 'exalted' the
Metalized version of Ice-T's Rap song "Midnight." The Metal version
features ex-Megadeth guitarist Chris Poland, and Poland's Return to
Metalopolis band mates Mark Poland (drums), and Dave Randi (bass). As an
advocate of musical genre bridging, I was excited that the Rap and
Metal worlds united again.

FACT: I support the *musical idea* that Body Count represents, namely,
a Rap/Metal hybrid. However, I DO NOT support Body Count's lyrical
position, therefore I will not, I cannot, recommend purchasing Body
Count's release, _Body Count_. If anything, when asked about Body Count
I will stand firm and say, "I find it extremely offensive. There is
nothing redeeming about it. I think it's audibly disgusting."

I believe Body Count's lyrics are explicitly violent and sexual, filled
with expletives and contradictions. I'm not a prude who thinks these
things should be hidden away, or worse yet, do not exist in society.
However, I do perceive Body Count as a destructive force, like Soap
Operas, only more explicit. As far as I can see, Body Count is
'glorifying' a way of life, not necessarily warning against it. Since
Ice-T is fond of complaining about all the injustices in the world, I
thought he would attempt to contribute to their correction. The Body
Count project offers no help, only condemnation. It's easy to complain.
It's easy to call for the blanket death of police officers, a prejudice
based on occupation. This makes me sick. It's not so easy to do
something about it, because to do something about it would take effort
and require understanding. Both things are lacking in Body Count.

As for boycotting, I am not going to boycott all Warner Brothers'
products. Should we burn the White House down because there are
corrupt politicians? Should we abandon religion because earthly
religious 'leaders' are as sinfully human as we are? The answers, I
would hope, are "no" and "no." The problem is Body Count, not Warner
Brothers. The problem is a matter of personal position, not universal
absolutes. I was not going to miss _Batman Returns_ because of Body
Count. Nor was I going to miss _Batman Returns_ because of
unsubstantiated allegations of penguin mistreatment.

As I climb down from my soap box I sincerely hope that musical genre
bridging between Rap and Metal continues. I PRAY that Body Count's
lyrics do not contribute to the death of a police officer. I happen to
respect the police, bad seeds and all, just like I respect Rap and Metal
music, bad seeds and all. Ice-T has the right to speak his mind, but I
don't have to like it or sit by and allow it to go unanswered. I just
hope you can live with your position on the matter. Remember, Body Count
is only one situation. There are many more like it, just waiting to take
center stage.

------------------------------------------------------------------------
                            The Lighter Side

                      The Ramblings of an Ill Man

                         Written by Joel Kraft
------------------------------------------------------------------------
Here we are! Welcome back from a well deserved summer break! However,
if you didn't have a summer break, you probably deserved one more than
anybody else! In any case, hope you enjoyed your summer experience.
Where is this leading? I have no idea. I just thought I would interrupt
you for a moment, because Dero gets too much air time! Seriously though,
thanks for the complement, Dero, from the 'legendary' Phoenix Letter.

Included herein, you may be DELIGHTED to discover a few thoughts
Dero and I found compelling over the summer.

"You know what I hate about MTV?! When they decide to play something
decent that you've been waiting for, something you enjoy, they play it
sixty three times a day! Even if you only watch MTV ten minutes a day,
you know they'll be playing that song when you turn on the TV! It used
to be exciting to catch your favorite songs. Now you can see your
favorite four minute song every five minutes! They've ruined plenty of
good songs that way! Now, I hate that &%#@$!@ song!"

"Can you believe it?! $10.48 for a cassette! You could buy a
CD with that money! . . . Or three tasty bargain bin selections!"

"You know what I hate about MTV?! 120 minutes is on Sunday nights at God
knows what hour! They might as well put it on Sunday at four in the
morning. Who wants to stay up on Sunday after a monster weekend when
you've got to go to work or school on Monday?!"

"You know when you're walking by an album display rack and you see
something fascinating out of the corner of your eye, then you turn to
look, but you can't find it!? I lost three good albums that way!"

"You know what I hate about MTV? What happened to Headbanger's Ball? It
used to be on what, six or seven hours? Now they've got Count Down to
the Ball, fifty cheese videos, and an hour of commercials. That leaves
us with what, one good video? Thank God we've got Rikki Rachtman, who
seems to think he is Danzig. He's SO cool. NOT!"

"Let's take over the local radio station! No more classic 70s 24 hour
cheese. No format at all! Just imagine it . . . Back to back Primus!
Soundgarden! Followed in rapid succession by Blues Saraceno, The Pogues,
Dream Theater, Satriani, Horowitz, and Harry Connick Jr! It would be
sheer madness!"

"You know what I hate about MTV in a word?!? . . . Loder."

"If only I hadn't spent my last dollar on that new Ramones album, I
could have bought one last sandwich."

I started out attempting to recap the summer. I wanted to talk about
U2, Zoo TV, and the amazing Lallapalooza '92, but ended up bashing MTV
instead. Seriously though, there are many aspects about MTV which we
really do enjoy, three of which are The Week in Rock, Rockumentary, and
120 Minutes. WATCH MORE TV!

------------------------------------------------------------------------
                       Novelty Seekers Take Note!

                Interview Recordings by BAKTABAK Records

                            Written by Dero
------------------------------------------------------------------------
The best way to describe the purpose of BAKTABAK's interview recordings
series is to let you read how BAKTABAK describes the series:

"The Talking Pictures series of lps, cds, and singles collections
contain rare and spontaneous interviews with the stars. The interviews
are exclusive to BAKTABAK Records and in many cases have been heard by
no-one other than the interviewer prior to their release in this
series." (Quoted *directly* from the notes on the back of a BAKTABAK CD
long-box.)

I have never heard any of the recordings, so I cannot vouch for their
quality or informational worth. However, I was told by several people
who have heard BAKTABAK recordings that total playing times vary from
recording to recording. On the recordings I have seen, there is no
indication of total playing time anywhere on the outside of the product.
Is it a ten, fifteen, twenty, or thirty minute interview? Who knows,
until the recording is purchased.

Furthermore, BAKTABAK warns, "In some cases these interviews were not
recorded under studio conditions." (Quoted *directly* from the notes on
the back of a BAKTABAK CD long-box.) I tend to interpret this as, "Poor
audio quality in some cases." Again, on the recordings I have seen,
there is no audio quality rating system on the outside of the product,
like good, fair, or poor. Of course, even if they did have a rating
system, what does this provide the prospective consumer? Does it mean
the recording is muffled, but audible? Does it sound like it was
recorded with the little condenser microphone on a boom box? BAKTABAK's
version of good may not be 'good'.

As for price, I have only seen the CD format of the series in my area
(upstate New York, U.S.A.), carrying a price tag of approximately
sixteen dollars per CD (tax included). This is also the average price of
a music CD in my area. Taking this into consideration, I would imagine
the cassette and lp formats of the Talking Pictures series to be priced
around ten dollars per title, per format.

In the final analysis, is CD quality *that* important for an interview
that may or may not be recorded under 'decent' audio conditions? Does an
interview really make the artist's music any better, especially at ten
or sixteen dollars an interview? An exclusive interview does not mean
unique questions or answers. Spontaneous conversation could mean useless
babble.

As I hear BAKTABAK recordings I will publish its approximate total
playing time and rate the audio quality. The rating will be arrived at
by comparing a BAKTABAK interview recording to an interview recording of
known high quality.

Below is the list of interview recordings available from BAKTABAK
Records, as they appeared on the back of a BAKTABAK CD long-box. Note
that the list is sorted by each title's product key and *not*
alphabetically by artist! The key is in the format CBAK4xxx, where xxx
begins at 001 for the first entry in the list (The Beatles) and
increments consecutively until 040, the last entry in the list (David
Bowie). To save space, and to prevent eye strain, the key does not
appear in the list.

   The Beatles; KISS; The Cure; Bon Jovi; Depeche Mode; U2; Elvis
   Presley; Rolling Stones; The Beatles II; The Sisters of Mercy; Kate
   Bush; Frank Zappa; Pink Floyd; John Lennon - The Last Word; Guns N
   Roses; Metallica; Bros; Prince; Madonna; Lita Ford; Pet Shop Boys;
   Queen; Sam Fox; The Beatles - Down Under; The Smiths; Kylie and
   Jason; The Cult; Genesis; WASP; AC/DC; Motley Crue; Devo; Status Quo;
   The Beatles - Down Under II; Iron Maiden; Poison; Alice Cooper; Inxs;
   Grateful Dead; David Bowie

For the most recent catalog of all BAKTABAK titles, send a first class,
self addressed stamped envelope to:

                         Tabak Marketing Ltd.
                         Network House
                         29039 Stirling Rd.
                         London, W38DJ

------------------------------------------------------------------------
                             An Observation

                            Written by Dero
------------------------------------------------------------------------
Since the summer of 1991, at least three Hard Rock/Heavy Metal acts have
emerged on Atlantic Records, or an Atlantic subsidiary, after parting
ways with another major label. Crimson Glory left Roadracer Records/MCA
to join Atlantic, TNT left Polygram to join Atco/Atlantic, and Dream
Theater left Mechanic/MCA to join Atco/Atlantic. These artists increased
the ranks of the large Hard Rock and Heavy Metal roster on Atlantic.
This raises the question: Has Atlantic Records become the major label
Hard Rock and Heavy Metal haven?

Since Hard Rock and Heavy Metal's birth, Atlantic's ties to the
evolution of 'heavy' music have been strong. Prime examples are the
legendary Led Zeppelin and Cream, MC5, Black Oak Arkansas, and Iron
Butterfly. In recent history, Atlantic's Megaforce Records alliance, an
exclusive Hard Rock and Heavy Metal label, continues their 'heavy'
tradition. (Hard Rock and Heavy Metal are not the only music directions
of Atlantic.) Other Hard Rock and Heavy Metal artists that have titles
on Atlantic Records, or an Atlantic subsidiary, are: Vicious Rumors,
AC/DC, Savatage, White Lion, Mr. Big, Testament, Skid Row, Raven,
Banshee, Alice Cooper, Ace Frehley, Winger, King's X, Rush, Loudness,
Ratt, Electric Angels, Manowar, Ted Nugent, Leatherwolf, Dirty Looks,
D'Molls, Kix, Prophet, Foreigner, Twisted Sister, and Blackfoot. Please
realize that not all these artists are currently associated with
Atlantic. Some, unfortunately, have slipped into obscurity.

Volume of artists aside, there is great talent and longevity with
artists like Rush and Loudness. Collectively, Atlantic's Hard Rock and
Heavy Metal roster appeals to the varied sub-styles under the general
guise of Hard Rock and Heavy Metal.

There is one other observation that should be mentioned, concerning
Atlantic's 'recent acquisitions', namely, Crimson Glory, TNT, and
Dream Theater. These three bands have the following in common: Loyal fan
base. Adequate press coverage. Video and radio coverage. A minimum two
year hiatus between Atlantic debut and last major label release.
Respective Atlantic debuts reveal significant changes in music style.
More appropriately, the music reaches a new plateau for each artist.
(When discussing their respective histories, phrases like 'pre-Atlantic
sound' and 'Atlantic sound' would be accurate.)

Certainly, these 'coincidences' no longer seem coincidental presented
side-by-side. Given the unique circumstances similar among three
distinct and unconnected bands, save their new label, it would not
be a surprise to see more artists shift to Atlantic from another label,
or see an upward swing of 'virgin' bands brought on to the national and
international scenes by Atlantic. Atlantic's parent company, Time
Warner, owner of Warner Brothers Records among other holdings, must be
pleased that its Hard Rock and Heavy Metal stable is so extensive.

------------------------------------------------------------------------
             Appendix A: Additional Sonic Verse Information
------------------------------------------------------------------------
PUBLISHING/SUBSCRIPTION: Publishing takes place the first Monday of each
month, unless that Monday falls on a holiday, in which case publishing
will take place on the next available 'work' day. Supplement and Special
issues are published between monthly issues as events warrant. Sonic
Verse levies no cost for electronic subscription. Simply send electronic
mail to a computer address above, and request a subscription. NOTE:
Electronic subscriptions require access to computers and computer
networks. Depending on the computer site or access method, eg. from a
home PC network, computer network users may be charged for items by the
computer service(s) used. These fees are not associated with Sonic Verse
in any way. Please consult with computer support personnel for any
charges levied against network access/use.

TRANSMISSION: Every attempt is made to provide the reader with text that
will translate properly when transmitted electronically across different
computer systems and networks. The reader may experience some
reformatting of Sonic Verse as it makes its journey throughout the
world.

PRICES: Prices listed in Sonic Verse are in United States of America
currency. Prices are only points of reference for the reader, not an
absolute measure. Prices may vary considerably between and among music
store chains, music stores selling new and used music items, stores that
sell music products besides other products, and direct market
situations. Store sales, promotional products, and bargain bin or budget
line music items must be considered as well. Prices listed herein
reflect known instances of prices before publication, taxes not
necessarily included. The reader should verify direct market items by
contacting the company or agency whenever address, phone number, and/or
fax number information is provided.

TEXT CONVENTIONS: EP and LP length recordings (i.e., full-length
recordings), books, magazines, newsletters, a collection of writings,
video collections, etc. appear underlined using an uppercase dash before
the first character and after the last character of the title. For
example, Stryper's _Against the Law_ is a musical departure from their
previous releases. Titles for individual songs, singles, video singles,
text quoting, individual works of literature, etc. appear between an
opening and closing set of double quotes. For example, "Shining Star"
was the first single from Stryper's _Against the Law_. Emphasizing or
highlighting parts of text take the form of: underlining, bold facing
or italicizing, exclamation, plus combinations. Examples, respectively,
are: A _strange_ release. A *strange* release. A STRANGE release. A
_*STRANGE*_ release. Unless text is a direct quotation, the text will
appear between an opening and closing set of single quotes to reflect an
implied, pseudo meaning, or sarcasm. Examples: It's a 'great' recording.
Some musicians try to live the 'star' fantasy.

BITNET and INTERNET FAQs: Back issues may be retrieved from the LISTSERV
nodes at MARIST (Marist College) and BITNIC. To find out what data
retrieval and search commands are available at the various LISTSERVs,
Bitnet users can send the following interactive message to receive a
LISTSERV help display: TELL LISTSERV AT <node> HELP. To obtain a file of
available commands, Bitnet users should mail to LISTSERV@MARIST, and
Internet users should send e-mail to LISTSERV@VM.MARIST.EDU. The body of
the mail should only contain the line HELP. Subsequent LISTSERV commands
can be issued in either format.

SOLICITED and UNSOLICITED MATERIAL: Artists, record labels, management
agencies, etc. that would like to be considered for an upcoming issue of
Sonic Verse should send a complete biography, recorded materials (if
available), previous write-ups (if available), and other information
that reflects the product, service, or artist, along with a complete
mailing address and phone number, to the international postal mailing
address that appears earlier. All packages received, through solicited
or unsolicited means, will be considered on a first-come, first-serve
basis. Sonic Verse Music Magazine reserves the right to refuse, for any
reason, the critique, review, or inclusion of any promotional,
demonstration, and/or informational package(s) in the magazine. Only
copyright protected recorded materials will be considered for review
purposes. Any recorded materials received that are not copyright
protected will be returned immediately, at the senders expense, without
review. Any material received by the magazine will *not* be returned,
except recorded materials that are not copyright protected.
Confirmation, rejection, and/or acceptance notices for materials
received will be made at the discretion of the editor, though there is
no guarantee of notices, except rejection notices for recorded materials
that are not copyright protected.

FREELANCE WRITERS: Those interested in writing for Sonic Verse should
request the Guest Writer's Agreement policy from the editor.
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