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M I dinosaurs jSS> i fx' by Tim Switala expose the listening world to all the various exponents of Music and let them decide for themselves. The industry, on the other hand, has made the pool of musicians to pick from exclusive. Their vehicle is \free\ radio. When I started this column over the summer, my intentions were to elucidate the dichotomy that is permeating much of the record industry; that of the major labels focusing their energies on what has been prescribed as hip (a standard that is oft times established by the companies in conjunction with radio in America) rather than seeking out people that are experiencing natural growth through self-styled individualism, With prices rising, and cash becoming tighter, the majority of record buyers are forced into playing it saife with hopes of making a sound selection. The AM band has continually shaped up as a medium that prides itself on commercial success through a limited amount of music. Even today, the pricje and joy of local promotional people is to have one of their records added to WKBW's playlist. The problem is that FM radio 4s bent on changing their initial stance as an Most recently, in the center of record-buying-America's attention, there has been a steady increase in the price of IP's; three dollars in three years to be exact. The bastard-child known as industry hype was born from this transmutation of the MUSIC business into the music BUSINESS. No longer is it possible for an artist prime example of putting the cart before the horse. then perhaps we may see the extinction of \dinosaurs\ in from Planet Claire/I knew she came from there/She drove a Plymouth Satellite/Faster than the speed of light. The B-52's have as much time for realism as there is air on Planet Claire. How can any logical, thinking person expect a person to call a radio station and request Sparks, Television or U-Roy when the only way these people will ever hear this music, and on this scanario, the notion of record I our time What follows are but a few of the latest “gazelles\ that I've encountered. Realize that I've derived this dichotomy 'alternative\ to programmed music by trying AM's profit- gathering formula of tightly from the theories of musician Robert Fripp (creator of King Crimson). But remember, as I so strongly reiterate, although the voice is Fripp's, the choice is ours. structured playlists and promotional give-aways of the performers contained on the Armand Schaubroeck Steals, Shakin' Shakin' (Mirror); Live at the Holiday Inn (Mirror); I Came to Visit, But Decided to Stay (Mirror); A Lot of People Would Like To See Armand Schaubroeck Dead (Mirror); Ratfucker (Mirror) Armand Schaubroeck is somewhat of a local hero in the Rochester, New Yor area.In 1962, Schaubroeck The B-52's, The B-52's (Warner Bros.) Who would ever believe that the band making the mot waves in New York City (in particular, the infamous Mudd Club) as of late would hail from Athens, Georgia? The B-52's, named for the bee-hive hair-do's that members Kate Pierson and Cindy Wilson so convincingly don, are indeed one of the greatest dance bands currently making waves. Their sound, a pattened blend of muted guitar strings and an unrelenting backbeat, sounds like the Safaris playing Hullabaloo in the year 2000. But the strong point of the B-52's is their total inane approach to lyrics. She came and 'a friend were sentenced to three years in the Elmira Correctional Facility for grand larceny and safecracking Upon his parole, Schaubroeck formed the highly successful House of Guitars as an alternative to equipment stores that were extremely limited in their selection to choose from. In the mid- sixties, he subsidized the submerged in the “rock\ recording industry to carry out an idea from germination to fruition. This is not to imply that any artist has ever had total control of his work, especially on the leg from production to packaging. But on the other hand, the straight line processes of today's industry just continue to move from bad to worse with respect for nothing short of the almighty dollar playlist. And the promotion comes derectly from the record companies. So with sales becomes a bogus platform from which to launch an argument. erection of eight billboards in opposition to a then-existing campaign which stated, “Help Keep American Free, Let It much of radio meeting in the middle, and its accessibility underlining musical trends, With the whole situation being one of the chicken and the egg, I formed Gazelles and Dinosaurs as a written alternative to the aural failure of radio. But knowing that one language may only approximate the other, I understand the shortcomings of a task this size, as well as the shortcomings of above dissertation. Vet, if just the mere mention of these “small mobile intelligence units,\ the “gazelles,\ encourages one to explore the realm of alternative ways of thinking, —continued on page 18 you find a situation of a lot of people listening to the same thing. Back to the primary issue of money. I once heard a local talk show host, in response to questions of why his station was not playing this one and that one, explain that his station's decision to play certain songs came out of a combination of record sales statistics and the most requested songs from their Now the state ot the art has been relegated to a situation of whether an artist is viably marketable in the context of what is hot in the industry (a standard that is determined, for the most part, by the industry itself) rather than if the artist has arrived at a valid contribution that could fall within the continuum of music. listening audience. Alas, a Concerts What determines whether the artist is making a valid Sunday, Sept. 30 —Aztec Two Step, Belle Starr Lodge Monday, Oct. 1—Doobie Brothers, Buffalo Memorial Aud Thursday, Oct. 4-Blue Oyster Cult/Rainbow, Buffalo Memorial Aud ■ * . statement or not? Impossible to answer completely, due to the highly subjective nature of criticism. So, the industry says, how shall we determine what the buying populus will enjoy and thusly purchase? I would tend to believe that to do the process of creation justice, one would have to Wednesday. Oct. 10-Earth, Wind and Fire, Buffalo Memorial Aud Monday, Oct. 15 — Eagles, Buffalo Memorial Aud Wednesday, Oct. 17-Pat Travers and AC/DC, Shea's Buffalo Thursday, Oct. 18—Kenny Loggins/Sniff-n-Tears, Kleinhans Music Hall Thursday, Oct. 25-Bonnie Raitt, Shea's buffalo Friday, Oct 26—Foreigner/Charlie, Buffalo Memorial Aud tXt *22 *2; 32K X* >X* IX« 03 *CB XK
