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$5.95 (U.S.), $6.95 (CAN.), £4.95 (U.K.), Y2,500 (JAPAN) ir THE INTERNATIONAL NEWSWEEKLY OF MUSIC, VIDEO, AND HOME ENTERTAINMENT JUNE 5. 1 999 L hristiancastro mi vida sin tu amor duced by Kilte Santar for Este+an Entcp; International Superstar CHRISTIAN CASTRO • In-Stores iune 1. 1999 • Already Double Platinum VtSfl ChrbtiAn at wvww.diristiarKastraxom MANAGtWEWT CoOKMAM iMnHHAflOMAl 01999 BMG MUSIC 74321-«627S<2/4 A BILLBOARD SPOTLIGHT HABOMUSIO ANOMBTAt roiLOWf r*oi ri $5.95 US $6.95 CANADA 2 3 > '7'.808'Q2552' Webcasters Reshape Radio Landscape ittternet Onl^ Stations finmng Bmi Acceptance With Hiclie Programming BY CHUCK TAYLOR NEW YORK— WlK'ii Daiiifl .■\nsUii- (lig launched his Clovoland-ljascd Internet music .station DAI5R last .year, he says, he was intent on "ittui'ning creativity and program- ming artistry" to the airwa\'es. "I felt like radio program direc- toi-s were consid- ering only the business side of the station in.stead of the ixsychology or worth of the lis- tener," he says. Few modern-day industries are as o|)en to cultivating aml)ition into rapid enterprise as the Internet, which,. just thi-ee to (hv years into its widespi-ead application, has left nary a trade unaltered. Today. Anstan- <lig — GM/directoi' of programming foi' I-).\KK — is among a booming number of Internet-only "radio sta- tion" content providers. And he is 1,"). True, Anstandig (see .^irWaves. SPIHHE H page 1221 stands as an anomaly in what has quickly become a multi-mil- lion-dollar liusiness and one of the fastest-growing, most-watched trends in the nation — but each of the founders of t<xlay's largest Internet music luwidei-s entered the business Industry's Catalog At Risk ArcliiVBil Japes Caulil Be last To Binder Prnbiem BY BILL HOLLAND An eslimaleil ."lOO.OOO master tapes, backup "safety" copies, and session reels recorded from about 1971 to 1991 are sit- ting on the shehvs of U.S. iTcord company anrl recording .studio vaults in uni)layable condition liecause of a chemical flaw in their binder formulation. Among these unstable tapes i.s the majority of the indus- try's allnuns and .singles of that era — jierha|)s WJ"/? of all relea.ses, accord- ing to industry sources. The music ttn liiese tapes is tlui UKtst exploitable of all company cata- log material. The U.S. record industry .still reaps about 3.5'* of its yearly unit sales — and a corre- s|)ondingly higher pei'centage of pr<if- it — fi'om catalog and reissue |)rod- uct. With new technologies such as Internet digital download. .\IP:i. and DVD Audio giving recorri companies new marketing landscapes, the (Cniithiitcd on liOffe IJ^t when it w^as little more than a v<ilue- added tool tu established industries. No longer. In the pa.st si.\ months alone, Internet radio start-up Ima- gineradio.com was gobbled u|) by Viacom, the owner of MTV and VHl, while content carrier Broad- cast. com was pur- chased for more than billion in stock by the Web's d(! facto name|)latc. Yahool Internet program- ming iK'llwether Spinnercom, mean- while, announced in February an influx of .$12 million in fiiuincing fiimi com])anies like Intel .md Sony Enter- tainment — the latter's input a clear sign that the music industry recog- nizes the necessity of its invol\>ement in an industry .some say has caught it off guard. ■The majority of these online com- panies have yet to see a return on their investments — and there are detractors who scoff at true revenue potential vs. operating cost.s — but most say the business's promise seems s<» great that faith prevails. That likely has a lot to do with the profound gi'owth fif the niefiium. As of Apiil 199G, Uiere were three Inter- net-only radio stations on the Web, according to George liundy, presi- dent of .San Francisco-based BRS Media. Three years later, there aiT at least 185 Internet-only broadcast- ers, transmitting an estimated .5(1(1 sej)arate channels, ranging from your tvjiical radio formats to niches as finely tuned as all-David Bowie, 17th- and 18th-century classics, "great guitar," or underground club music from Nashville. "There is ttvmendous gitiwth hei-e. iiiul wi' will continue to see that." DreamWorks' Buckcherry Hits BY CARLA HAY NEW Y( )RK— The memliers of hard rock hand Buckcherry may be the first to admit that, among all the inoffensive pop artists dominating the charts, their .self-(lescril)ed "|)olilically incorrect" music .sticks out like a sore thumb. Ewn more noteworthy: Buck- ing the view of some pundits that hard rock/heavy metal has become pa.s.st!, the Los Angele.s- based Buckcherry is part of a resurgence of rock artists who are finding an audience around the world (Billboard, March (i). In the U.S., Buckcherry 's self-titled debut album has al.so U'comt? Dream W'orks Rt.'cord.s' iiJi«i;iJ!i4V4S U.K. Indies Get Access To Prime Meclianicals License MCfl A BILLBOARD SPOTLIGHT RAP/HIHOP IN STORES |UNE 1 EXECUTIVE PRODUCER: MASTER P □ OlOOIUUUUOl lUUUIUIUUIUI : lUUIUlUUUI I M 3000 1011 1111 11111111 1 1 0 1 1 Q 1111 D100 1111 D010 3000. 101101 1 t i 110 1 1 1 1 1 1 f m I' BIGTYMDtS 001 01 001 01 01 N 0 01110111 p''''o^T^r 1100100 1011011101 I 001 1 1 00001 0001 11111111 10000 u .101101111110 110010101101 'nni''''nnnnn" IIIkckoiii^ 10101 ioooool ^^ 0 1 1 1 0001 1 1000 1111111111111 010110110110^ " ^ ^ 1 n n n 101C 1111011 1 0001 c 1 1 00 c 1 1 1 1 c ' • 1 0000001 L 111111 0001 1111111111111 1 M • Cc|r Billboard Editor In Chief: TIMOTHV WHITE ■ EDITORIAL Man^ginz Editor: SUSAN NUHZIATA Depuh ulilor: Irv Licfitmar. News Editor: Maniyn A, Gillen Director of Special Issues: Gene Scuiatti: Dalet Brady, Associate Director^ Porter Hall, Special Issues Coorainalor Bureau Chwfi: Chet Fhppo iNashuilie). 8tli Holland (Washington). John Lann«rl (Caribbean and Latin ArT>«r(ca). Melinds f^ewman (L.A.} Art Director: Jet Nisbet; Assistant: Raymond Carlson Copy Chief: Biuce Jamcke. AsilsUrtt: ElizaOetti Renaud Copy Editors: Lisa Gidley, Carl Rosen Senior Editor: Ed Cnristman, Retail (N Y.) Senior Writers: Chns Moms (L A ). Bradley Bambargef (N.Y.) Taterrt Edrtor: Larry Flick (N.Y) RtB Music: Gail W.tchell. Edilcw |L-A.) Country Mujic'Nashville; Debwan Evans Price, Associate Editor Dance Music: Micha*! Paoletla, Lditor (N.Y.) Pro AudioTechnoJoey: Paul Verna, Editor (N Y) Merchants & MarkeUrtt: Don Jeffrey. Editor (N Y) Home Video: Sfttn Goidslein, Editor (N Y). Eileen Fitzpatrick. Associate Ed. (LA.f Radio: Cniich Taylo<, Editor <N,V,) Hestseehers Features Editor/Muik Video: Carta Hay. Editor (N.Y.) New Media Editor: Brett Atwood Editorial Assistant: Carrie Ekil <L.A.) Administrative Research Assistant: Aliya S. Kii^ (N.Y) Special Correspondent: Jim Bessman Coolribulors: uithenne Apoletetd Olson, Fred Bronson. Lisa Collins. Larry LtBlanc, Mana McCormick. David Nathan. Dylan Siegler, Pbylirs Stark. Steve Traiman Inlernatlonal Editor in Chief: ADAM WHITE International Deputy Editor: Ttiom Dotfy International Music Editor: D<.min>c Pride International News Editor; J(>f1 Oaih-Meads Intern.itional Associate Editor: Tom Ferguson International Associate Editor: Mark Solomons German Bureau Chief: WaltBa''E Spa'ir Japan Bureau Chief: Ste^e McCI>.rf Contributing Editor: Paul SeMi>-i ■ CHARTS ft RESEARCH Director of Charts: GEOFF MAYFIELD Chart Managers: Antnony Colombo {Mainstream RocUNew Age) Rlcardo Campaniom (Dance. Latin), Dalu Fatsoo (Hot R&B Singt^iTop R&B Albumsi' Ra(X'Go5pelfleaE*e), Steven Graybow (Adult Contempofarv/Adult Top WJazzJ 8'uesl, Wade Jessen ((^untryiiContempoiary Chrislian). Mark Marone (Mtxtern Rock'Slud'O Action), Geofi UayfieW (Billboard 20Q''Heatseel(eri' CalalCig) Sil. n Pie;rolLi-"gc {H:>t ipO.Top 40 Tracks), Marc Zubatkin Ctiarl Production Managcf M . i Cusson Manager: Archive Research and Retail Charts: Alex Vitoulis Assistartt Chart ProduclKtn Manaier: Gordon Murray Administrative AssisUnts: Keith (Taulfield (LA. I, Mary DeCroce (Nashville). G sk Stokland IN.Y.) ■ SALES Associate Pubtlsher/WorMwIde: IRWIN KORNFELO Advertising Directors: Pal Jenmngs (East), Jodie Francisco (Westl New York: Michatl Lcais, Virginia Lu|ano, Adam Waldman Nashville: Ar^y Bennen L.A.: Andy Anderson, Gina Baker, Diana Blackwell Atfveftising Coordinators: Hollie Adams, Evelyn Aszodi, Enca Ben^son Advertising Assistant: Jason Rashford Classified: Traiv Walker Directories: JeTS^rrpttp Associate Pub4lther/lnternatlorul: GENE SMITH U.Kv'Europe: Christine Chmetti, Ian Remmer 44-171-323-6686 Asia-Pacifi&'Australia: Linda Matich GI2-9440-7777, FaK: 612-9440-7788 Japan: Aki Kaneko. 323-525-2299 Italy: Lidia Bonguafdo, 031-570056 Fan: 031-570485 France: Francois Millet, 33-1-4549-2933 Utin AmeriCA'Miami: Marcia Olival 305-864-7578 Fa*: 305 e64-3227 MexIca'West Coast Latin: Daisy Ducret 323-782-6250 Jamaica'Caribbean: Betty Ward Reid, Phone'FaK 954-929-S12Q ■ MARKETING I. LICENSING Associate Put>llshei: HOWARD APPEIBAUM Promotion Director: Peggy Allenpohl Promotion Coordinator: /Imy Hellpf Senwr Designer; Mehssa Subatch Assistant Marketing Manager; C^'iry Krorwngold Special Events Director: Michele Jacangeio Quigley fecial Events Coordinator: Phylhs Demo Circulation Director: JEANNE JAMIN Group Sales Marvager: Katia Oucheine Circulation Promotion Manaeet: Lori Oonohue Circulation Sales Manager: Mic^iael Fouratt Circulation Assistant: Andrea Insh ■ PRODUCTION Director of Production ft Manufacturing: MARIE R. GOMBERT Advertising Production Manager: Johny Wallace Advertising Martufactunng Manager: Lydia Mikulho Advertising Production Coordinator: Paul Page Editorial Production Director: Tgrrence C. Sanders Editorial Production Supervisor: Anttiony T Stallings Specials Production Editor: hU'c-d Repmshi Associate Specials Production Editor: Marc Giaqumlo Syslems-Technology Supervisor: Barry Btsnm Composition Technicians: 5..san Ch>coia, Uaiia ManlicliC, David Tay Directories Production Manager: Len Durham Classified Production Assistant: Gene Williams ■ NEW MEDIA Edrtorial Director: KEN SCHLAGER BiHboard Bulletin: Michael Amicone ( (News Ed ). Mark Sotonxxis (Intemstonal Ed.T, Billboard Online: Julie Taraska (News Editor). David Wertfteimer (Web Site Designer). Sam D. Bell (Sales Manager), Rachel Vilson (Product Manager) ■ administration DistrilMJtion Director: Edward Skiba Billing: Brigetle Wallace Crcdfl: Shaw" Nctan Assistant to tite Publisher: S^Uia Sinn PRESIDENT ft PUBLISHER: HOWARD LANDER ■ BILLBOARD OFFICES: New Yorli ISIS Sroaoway N Y, NY 10036 212-764-7300 edHfa<212-536-535B ui« fa>212 S3G 5065 Washington. D.C. 733 15th SI. N.W. Wasn ,. D C 20005 2Q2-783-32B2 fai 202-737-3833 Nashville 49 Music Square W. Nashville, TN 37203 615-321-4290 fw 615-320-0454 Tokyo 10th HoorNo. 103 Sogo-Hirakawacho BUg,. 4-12 Hirai^awacho l-ctwnw. Chi^oai*u. loicyD 102. Japan 3-3262-7246 fM 3-3262-7247 Los Angeles 3rd Floor 505SWilshire Blvd. 23 Ridgrrxxint St U» Angeles. CA 90036 London WCIE 7AH 323-526-2300 44-171-323-6686 la. 323-525 2394/2395 f*: 44-171-323.2314.2316 To Sutscribe call USA: 800-745 B922. Europe: +44 (0) 1858435326 International: 740-382-3322 ■ BILLBOARD ONLINE: http:"www.bilftK>ard com 212-536-I402. st»l I (a 'billboara.com BAxxsrd Music Group PRESIDENT: HOWARD LANDER Vice Presidents: Imm Komleld. Karen Oertley. Adam White Director of Strategic Developntent: Ken Schlager Business Manager; Jiwl en Somnver Alison Krauss: An Unforgettable Force To imagine the recoi-dings of singei'/fiddler Alison Krauss with- out their powerful emotional undercurrents would be like con- templating a great film drama minus its potent musical score. Mu- sic brings adde<i force and dimension to anything it enfolds, but the personal feeling behind its presence is the factor that ensures its ■sum effect. On the forthcoming "Forget About It" (Rounder, due Aug. 3), Krauss' eighth album and first solo effort since 1995's 2 million-.selling "No\v That I've Found You: A Collection," the affecting aura that marks her work is again in evidence, with the title cut likely to succeed the prior set's hit rendition of Keith Whit- ley's "When You Say Nothing At All" as another luminous coun- try hymn. Though the habitually diffident 27-year-old Krauss shields her own sensibilities with a shy laugh, it's clear there's a deep pool of sensitivity behind her choice of material. "The tunes I find always .seem to be in the same kind of mood," she confesses, "and this time I \va.s worried Iwcause they all seem to be about regretting." She pauses, museful, then chuckles. "If the song makes me feel bad. makes me feel like vmp, I'm gonna do it — that's my rulel "I'm always l(K)king for material." she adds, gi-mv- ing serious, "and my contract with Rounder is that I do a solo i«'ord and then we do a band recoixi [with her Grammy-winning bluegi'ass group. Union Sta- tion, whose "Little I.iza .Jane" from their 1997 "So Long So Wrong" album took best countrv instru- mental honors]. So it was time to do a solo thing again, and I had the.se tunes like "Foi-get About It' [written by U.L. CastlemanJ, which is about screw- ing u])." Her laughter slips out once more, this time in tacit recognition of mistakes she hutm't made, being happily manied for a year and a half, as well as having managed to recm'er from her band's loss of longtime mandolini.st Adam Steffey by coaxing famed picker .Jerry Douglas into its ranks. "What happens « ith my '.solo' records," she ex- plains, "is that the band gets a chance to play w ith other musicians, and the.v like doing that. We never figured Jerry would even be w iUing to stay [after "Forget About It" was finished I, so that was a great .sui-prise and a treat" — par- ticulai'ly on the extraordinary tracks to which he contiibutes, hke the woeful Todd liundgrcn .serenade "It Wouldn't Have Made Any Difference." Krauss says she didn't know that stricken lament from its original incarnation on Rundgrcn's classic 1972 "Somc- thing/.\nything'?" double album, instead encountering it on his obscure 1997 "With A Twist . . ." rccorf, "where he did some of his hits in bossa nova style. I read that song title. 'It Wouldn't Have Made Any Difference,' on its back cover and thought it looked so sad. .so I bought the album." Krauss notes that when she devises her mvn uniquely pensive treatments of the tunes she gathers, "I listen to them just enough to learn the melody and write down the words; then I don't listen to them anymore," prefeiTing to gain any subsequent insights into the mu.sic by internalizing its components. As a consequence, the non-writing Krauss has nonetheless broadened her status as one of bluegi-ass's and country's most decorated string players and precocious vocalists (10 Grammys, four Country Music Assn. Awards, besides being the youngest member of the Grand Ole Opry) to include distinction as an arranger/producer/interpretive balladeer of rare efficac.v. She has also become a colleague and mentor of her adolescent blucgrass idols. "The Cox Family are heroes," she says, "and Ralph Stanley and the Clinch Mountain Boys. Also J.D. Crowe & the New South, which had Tony Rice, Ricky Skaggs, and .Jerry Douglas in the band; their [1986 self- titled] album is the best record ever. I bought it as a teenager, and it's just perfect; .\'ou can't .stand it!" Krauss neglects to note she has since produced the Cox Family and has recorded w ith Skaggs and Stanley, too. The one thing the modest Krauss will acknow ledge unabashed- ly is that via music "you get to meet people whert> what you've done has made a real impact on t heir lives. Parents of handicapped chil- dren tell us about helping their kids. There's one little girl who's autistic and can't hardly walk; the parents encourage her to walk over to the tape phiyer to turn it on because she likes our music and it gets her" — Krau.ss' customarily bubbly \'oice catches for a mo- ment — "to do her physical therapy. The pai-ents of another child who can't talk wrote a letter to me saying our version of 'When You Say Nothing At Air let them know how their kid feels about them even though the child can't tell them." One reason such accounts move Krauss is be- cause her own music-centered life is owed to the early interest her mother showed in her talent. "Mom suggested I take fiddle les.sons when I was in kindergarten," she recalls. "Mom played banjo and guitar, and when I started on the instrument, we used to play the waltzes together at home that I'd have to play in fiddle contests. She just wanted me to practice .so I'd do as well as I could." Krauss was lx)rn .July 2.3. 1971, in Champaign, 111., the second child of Manfred "Fred" Krauss, a native of Hamburg who immigrated to Chicago after World War II at age 12, and hLs w ife, Louise, whom he met when they attended the University of Illinois at Champaign. Now a real estate agent, Fi-ed previously earned a Ph.D. in psychology and taught German, w hile Louise became a graphic artist and illus- trator for textbooks and magazines. Their son, Viktor, is a string bassist/pianist/horn player who's a former member of Union Sta- tion and now records and tours w ith Lylc Lovett and Bill Frisell. As for Alison, she copped assorted fiddle prizes across America, sang in the Champaign Central High sw ing choir ("We had pink sweatei-s with gray skirts and did the Pointer Sisters' 'I'm So Ex- cited' "), and signed w ith Rounder at 14. When asked to list her peak accomplishments, though, Krauss gets quiet, then says she "wouldn't trade anything" for the day she met a little girl of 9 from Alabama after a show: "She was in a wheelchair, severely handi- capped, and rolled her head and cried, out of control. But her moth- er said whenever they played our tape of 'When You Say Nothing At Air it would calm her This girl was crying like nothing would console her, but when her mom started that song, the girl held still w ith me for a picture. I newr thought of that tune as anjiihing but a nice lo%'e song, but I found it had deeper meaning for someone. "I say the 'Forget Almut It' record has .sadness to it," Krau.ss concludes, "but I like it, 'cause I think it's the positive kind, still looking for the way up to the good, wherever people can find it." LETTERS EQUAL TIME FOR DUFFELLS TEAM I would like to take issue with the mis- leading, inaccurate, and defamatory quote by Simon Burke ("Virgin Entertainment Plans Exjiansion," Billboai-d, May 8) that "the pi-e- \ious [U.S.] management team had not real- ly been fociLsed on making money." I'm proud of the previous management team, [which] had a common goal: to create the finest chain stores in America. They w^ere highly moti- vated and focuised on building an efficient and profitable business. Fortunately many of the original team have joined me in my newven- tui'e. Again, we have a common goal: to ci-e- ate the pai-adigm in delirering music to the can.simier and to make money! Ian Duffel I PresideniyCEO, New Media Network Santa Monica, Calif- MAKING BIZ WELL AWARE OF AWARE Thanks for the great cover story about Aware ("Indie Aware Grows Careers," by Carrie Bell, Billboard, May 8). It's great to get recognition for all the long hours put in. Steve Smith Aware Records Chicago THE POWER OF POPULAR MUSIC In support of Timothy White's recent Music to My Ears column, "Irving Berlin Knew Pop Music's Power" (Billboard, May 22), I w ish more people in the industry understood, as he does, their unique pasition in history by having influence over music trends that shape our culture and define generations. Thank God for White being a \T>ice and champion of those things we tfind to overlook in our thirst to find the ne.\t hit Larry Dvoskin Cool Guy Music New York Last night, an acquaintance told me a neighbor of hers was in an abusiw relation- ship, and she played her "Why Don't You Leave Him" (from "True Lovers Of Ad- renture" by Mary Lee's &)r\'ette. Reviews & Pi*e%icwa, Billboai'd, Maivh 20). After she heard it, she sat for a few moments, then said, "I have to use your phone to call my brother" My friend asked why. She said, "I'm telling him to get his \^n to come move me out" She did move out and is .safe now. Mary Lee Kortes Mary Lee's Coruette New York I.eUen' apimwing im Ihis iwtti-..*™. u.^ a ftjruiii fur Ih.. expression of view ., of general incerest. The opinions offered here are t Letters should be submitted to the LetUTa Editor. BiUlxwni. lol.i Bnwdwii.v. New YurX. N,V HK»3fi. It necessarily tiwite of Billhosrd iir its manaftemenl BILLBOARD JUNES. 1999 3 No. 1 IN BILLBOARD VOLUME 111- NO. 23 • THE BILLBOARD 200 • * UfLLENNIUU • BACKSTREET BOYS • iVE BLUES * THE REAL DEAL: GREATEST HITS VOLUME 2 STEVIE RAY VAUGHAW ANO DOUBLE TlfOUBLE * .H^ ' CONTEMPORARY CHRISTIAN * SDCPO^I NONE THE RICHER SIXPENCE MONE THE RICHER ■ souivi COUNTRY * COME ON OVER- SHANIA TWAJN • mercwtt GOSPEL * THE NU NATION PROJECT • KIRK FRANKUN • GOSPO CENTWC HEATSEEKERS * SnriN' FM DOWN SOUTH • Uf TROY • SHOffT STOP/ itEnjBUC INTERNET * RICKY UARTIN ■ RICKY MARTIN • C? KID AUDIO * STAR WARS EPISODE 1 THE PHANTOM MENACE BEAD ALONG • kid guf^ THE BILLBOARD LATIN 50 * PINTAME • ELVIS CRESPO • SONY DfSCOS POP CATALOG * METALUCA • METALUCA • tUKiKA R&B * (N OUR Uf^ME • EIGKTBALL & M J.G. • Sli^Vt nOUS£ REGGAE * REGGAE GOLD 79 ■ VARIOUS ARTISTS • Vf WORLD MUSIC * SOGNO • ANDREA BOCELU • POlfCOR • THE HOT 100 • * UVIN' LA V1DA lO(.A • RICKY MARTIN • C2 ADULT CONTEMPORARY * YOU a BE IN MY HEART PHIL COLLINS • W-Vi urv.tv nounmcxj ADULT TOP 40 * EVERY MORNING • SUGAR RAY • COUNTRY * PLEASE REMEMBER ME • TIM MCCRAW • CUiffl DANCE / CLUB PLAY * SEXLW. fLA DA Dl) • AMBER • lOMW BOv DANCE / IMAXI-SINGLES SALES ^t LMN LA VIDA LOCA ■ RICKY MARTIN • C2 HOT LATIN TRACKS * LIVIN" LA VIDA LOCA • RICKY MARTIN • R&B * FORTUNATE • MAXWELL • SOCK LAND/ iNIERSCOfT RAP * WHO DAT JT MONEY FEATURING SOLE ■ - 'i;rjin<ftp TOWMEBCEDK ROCK / MAINSTREAM ROCK TRACKS ■k UT UP • BUCKCHERRY • (WtW^tWKi ROCK / MODERN ROCK TRACKS # MY OWN WORST ENEMY • UT • »ft^ TOP 40 TRACKS « LfVIN' LA VIDA LOCA • RICKY MARTIN • C2 * TOP VIDEO SALES < * A BUG'S LIFE • w,Air :>^^J^THtJ^ff uuto DVD SALES r STAR TREK; INSURRECTION • R^fMUtOUMT HOME vi«0 HEALTH & FITNESS y BLANKS: TAE-BO U/URKOUT • VENnjRA oktrirjtiom MUSIC VIDEO SALES r HOMECOMING - UVE IN ORIANDO BACKSTBEET BOYS ■ JtVl ItJMBA RECREATIONAL SPORTS * WWT: AUSTIN 3:16 UNCENSORED RENTALS * STEPMOM • COUJweiA rwsiw HOME VIDEO 132 84 82 78 83 73 no 108 109 68 84 84 130 119 119 80 76 76 86 70 66 121 121 112 112 113 110 113 No. I ON THIS WEEK S UNPUBLISHED CHARTS CLASSICAL ■k ARIA - THE OPERA ALBUM • ANDREA BOCEUU • PHlLi^ CLASSICAL CROSSOVER * SWR WARS EPISODE I; THE PHANTOM MENACE LONDON SYMPHONY ORCHESTRA fWlLtlAMSI ' ■-' "iv ' i " JAZZ * TRAVEIING MILES • CASSANDRA WILSON • Blucnote JAZZ / CONTEMPORARY * BODY LANGUAGE • BONEY JAMES • *wnlw NEW AGE * LOVE SONGS • YANNI • PWVAjf wiw THIS WEEK THIS WEEK THIS WEEK Tof or nit lltwi 6 A digitQi-distnbution initiative indjcies a role fa IroditionQl mer- chants. ainiTi » Mwic 8 Executive Turntable: Maiprie Fieldman Is appointed senior VP of flnancioi operations for Universal Music Group 1 2 SopWe B, HowWns releoses □ long-awaited disc wltti a promo- tlonol pusti from "Dawson's Creek.' 1 2 Ttie Beat: Ibny Berg takes stock o( his new post OS executwe VP of A4iR fa Vligin Itoids America. 1 4 Boxscore: The Dove MoHhews Bond. Santano, and the Roots gross 34 million of Veterans Stodium In Ptillcdelphlc 1 8 Soundtrocks and Film Score News: Smoshing Pumpkins front mon Billy Gorgon lends his tal- ents to the score for "Stigmata.' BlIlbKiral THIS WEEK THIS WEEK THI SBUIItlllUK&fUllttlHIItllB 9' Bltiy CDHGAN: P. II 1 9 Reviews ft Previews: New releoses from Gordon ond Jock logon and dn expansive Christian compilation share the spoltighl. 65 l»B:702andK-O&J0J0t0 release anticipated sophomore sets. 66 Tlie Rhyttim Section: Cose's weddlng-themed "Hoppltyr Evef After' takes o giant leap. 73 Popular Uprisings: Chris JACK LOGIN: P. 19 Boltfs kilest, "Slowing Oown The World,' boosts guest oppeoronces by Sting and Jonoiha Brooke, 74 Dance TTox: Thieiffiiy Corpo- ration hits the load to promote Its forthcoming CD compilations. 77 Country: The Black Country Music Assn. attempts to reinvigo- rote the genre. 82 Classlcol/Keeping Score: Why Mexican composer Silvestre Revuettos is o leading figure in Latin classical music. 83 In Tlw Spirit: Verity Records kicks off Black Music Month with the release of Richard Smallwiood and Vision's "Heoling: Live In Detroit,' 83 Higlier Ground: Ardent Records teams with Chick-fil-A to promote Brother's Keeper 84 Jozz/Blue Notes: Vocalist Vonesso Rubin's "Language Of Love' marks her first set tor Telaic. 85 Songwriters & Publishers: Creative Artists Agency sets up lor te tie-in arrangement with Chrysalis' Noshville publishing operations. 86 iJitin Notos: Sony Discos completes the reorgonization of Its Son Antonio office 90 Pro Audio: The Music Pro- ducers Guild of Americo presents a 5. 1 -channel mixing conference. ImmmTiimt 93 The Asian Music Conference addresses the future of the region's music market. 94 Hits of the World: The Vengaboys hove o "Booming single of the top of the chart in Norway, 95 Global Music Pulse: German R&B singer Brooke Russell presenis "The Lite I've Been Looking For.' MmCI>WT8 8 M*tKtTINB 101 Video gomes with increas- ingly complex music scores are a big hit of the Electronic Entertain- ment Expo. 106 Retail TTacIc: Baker & Taylor uses c three-pert opprooch to ossist indie retailers. 1 07 Decloraflons of Indepen- dents: The AFIM contob presents on energetic mix of Informotlve ses- sions and new music previews. 108 Child's Ploy: A coppeilo group the Persuasions sails inio children's music with "On The Good Ship Lollipop.' 110 Sites -I- Sounds: The mcpr lobels ore expected to soon announce their support tor the Secure Digital Music Initiative. 111 Home Video: Video retoileis and dElnbukxs look to video gomes to inoeose their bottom lines , 112 Shell Talk: The movie industry aims to prevent Wet pirdcy, PUDBUMMINB 118 Talk radio numbers dip lightly while R&B stotions ore gain- ing audiences with oldies formats. 1 21 The Modem Age: Papa Vegos hod to leave town to com- plete "Hello Vertigo.' 122 AliWbves: 15-year-ok] Doniel Anstondig paves the woy as an Internet radto pioneer. ^GLOUIMBSICPIIISI mm lussiU: p. ss 123 Music Video: What wll MTV's ocquisition of the Box mean for music vkJeo promoters? Ft«ni«i SEEPtE{93 114 Ciossified 117 Update/Ufellnes: Kix Brooks from Brooks & Dunn finds a novel woy to roise funds for St. Jude Children's Reseaich Hospiiol. 131 Hot 100 Singles Spot- light: Jennner Ijopez mokes big sindes with "Loire.' 136 Between the Bullets: The Bockstreef Boys' "Millennium' nolis the decade's txggest opening week. 137 This Week's Billboard Online 1 38 Chart Beot: Ricky Martin's l>lo. 1 hos 0 long "Vido.' 138 Market Watch 1 38 Homefront: Billboard new-medid editor Breit Alwood to moderale Web retail session at Plug.in '99 forum. tGUEST COMMENTARYJ Artists Siiould Maintain CnntrnI On The Web BY PERRY RESNICK According to recent pre.ss accounts, certain record companies are starting to insist on ownership and control of arti-sts' WeV) sites and to demand a significant percentage of merchandising income generated from those sites. This has already occurred in a few contract nego- tiations and will most certainly arise in future negotiations. Wliile that may not he a problem for someone like Alanis Morissette, it might well be for artists with less leverage. Basically, that is, for everyone else. The past year has brought significant changes to our industry. We're only real- ly beginning to axplore the possibilities of the Internet and ho»' it will transform our business and our daily lives. Whether it turns out to be one of the mo.st .spec- tacular innovations since the Industrial Revolution or ju.st another labor-.saving device that will give us more leisure time and then attempt to fill it, one thing is clear: It is a uniquely democratic forum ^'Most new artists who finally land a record deal alter years of trying are so graletul that they willingly give up current rights, as well as rights to a future that is unknown and being redefined every day' Peny Resnick. treasurer of the lalematmnai Man- aggn Forum— U.S-. is a business manager 3inJ roy- alty aorSitor with the Rascolt Zysblat Organizatioa. for the dissemination of ideas, in which any person can be heard by countless numbers of other people. This environment should be restricted only by what people themselves choose to distribut*! or withhold and not by gate- keepers intent on influencing the content or the means of distribution, whether for ideological or commercial purposes. Since the major record companies have been owned by public corporations, there has been an increasing emphasis on quarterly earnings. This perspective is anathema to the successful operation of any creatiw business, as artists don't create on a regularly scheduled basis. To insist upon such inevitably leads to a low- ering of artistic standards and may be one reason why "manufactured pop" is at the top of the charts today. This emphasis on quarterly earnings wasn't as pronounced from the mid-'80s through the mid-'90s, when many people (Continued an page 117) Commentaries appearinjcon thii, pagv serve as a Torum for Ihe expression of views of general interest. The opinions offered here are not necessarily thoM of Billboard or its management. Commentaries should be submitted to Commentary Editor Marilyn A. (lillen. Billboard. 1515 Broadway, New York, N.Y. 10036. 4 BILLBOARD JUNES. 1999 Victory For II.K. lodies Easier Access Granted To Prime Mech. License BY JEFF CLARK-MEADS LONDON — Precedent-setting nego- tiations between the U.K.'s record companies and music publishers have resulted in a change in methodology that will make it easier for indepen- dent labels to acquire mechanical licenses (BillboardAuUeti/t. May 27). Labels' and publish- ers' representatives also say that a new spirit of cooperation has been established, which will be used to tackle other issues of common concern. The deal ham- mered out by the British Phonographic Industry (BPI) and the new Assn. of Independent Music (AIM) relates to the so-called API and AP2 schemes, through which labels pay mechanical royalties to authors* collecting body the Mechanical Copyright Protection Society (MCPS). API is less exacting for labels than AP2, but, because it involves a higher degree of trust in a record company's ability to meet its financial obligations, indie labels hav« found it difficult to obtain an API license from MCPS. "We haven't changed either of the schemes," says MCPS director of business affairs Chris Martin, "but we hare made it easier to move from one to the other." The agreement marks the first time BPI, AIM, and MCPS have sat at the same table. The BPI repre- sentative in the negotiations, council member Paul Birch, says, "This is the biggest change in the record business in the last 20 years. It will change our relationships for good." Birch, head of the ReTOlver group of companies, is one of the indie sector's represen- tatives on the BPI council. AIM chairman Alison Wenham says, "I think we are all to be con- gratulated on this. This was a nego- tiation that was not based on individ- ual interests." Martin says that, in this newfound spirit of cooperation, "we will keep moving forward together. We don't have a target list of issues we want to tackle, but there are issues we will approach together." On AP1/AP2, the parties have agreed to provisions that they say represent a new transparency and openness, as well as increased oppor- tunities for smaller labels. API and AP2 actually represent three meth- ods of accounting: With API, labels settle their bills quarterly on net shipments of product (minus re- turns); under AP2, they must pay on each record pressed; a third sub- scheme, AP2a, also requires labels to pay on pressing but gives them a period of credit to do so. Says Martin, "The criteria by which record companies qualify for API are determined solely by MCPS' requirement to assure ad- ministrative capability and financial security, in order to ensure that its members get paid." Under the new agreement: • New API companies will be able 'Tilis is the biggest change in the record business in the last 20 years' - PAUL BIRCH - to pay monthly, rather than having to take a larger, quarterly hit to their cash flow. • A smaller label may, with MCPS' approval, use another company's sys- tems to handle its accounting. • MCPS will now accept API state- ments from new API companies in a Microsoft Excel for- mat. Previously, all accounting had to be done using dedicated royalty software. • MCPS will ac- cept API statements of shipments from an outside accounting firm. Martin says that MCPS intends henceforward to be seen to be com- municating closely with indie labels. Unveil Online Plans BY BRETT ATWOOD LOS ANGELES— The digital-dis- tribution initiative forged by BMG Entertainment, the Universal Music Group (UMG), Matsushita Electric Industrial Co., and AT&T (Bill- boardBulletin, May 26) marks a first among a flurry of similar major-label announcements: It clearly spells out a role for traditional brick-and-mor- tar merchants. In addition to preparing for down- loads to the home by year's end. the open tcchnologj' behind the initiative, dubbed Electronic Media Distribu- tion (EMD), is likely to be made avail- able to brick-and-mortar stores, which will have the opportunity to carry new kiosks that allow con- sumers to download music on-site, according to Larry Kensvvil, presi- dent of UMG's Global Electronic Commerce and Advanced Technolo- gy group, and Kevin Com*oy, BMG's senior VP of worldwide marketing. High On The Netting Hill. Artists who appear on the "Netting Hill " soundtrack pause for a pose at the London premiere of the film. The soundtrack was re- teased May 1 8 on Island Records. Shown, from left, are Roman Keating from Boyzone, Shania Twain, and Elvis Costello. [Ml Pffste Ptti., Music Results LONDON— For the first time, the EMI Group has broken out the annu- al results of its recorded music and music publishing companies. EMI Recorded Music accounted for 86.7% of revenue and two-thirds of operating profit, while EMI Music Publishing produced 13.3% of rewnue and 32.4% of operating profit for the year that ended March 31. EMI Recorded Music's operating profit fell 27.6% to 182.2 million pounds ($300 million) on revenue that was 2.7% lower than the same period the previous year (BiWbo-drdBulletin, May 26). EMI Masic Publishing rev- enue was up 6% at 316.5 million pounds ($522 million), while operat- ing profit, at 87.5 million pounds ($144 million), was down 2.1% from the prior year. "During the year, EMI Recorded Music made significant management and structural changes which were aimed at providing a greater focus to the acquisition and development of our repertoire," says the company in a statement released May 25. "We have also started the process of pre- paring recorded music to take ad- vantage of the many opportunities that will arise from the Internet and new media." Pretax profits at the EMI Group fell 26.1% from the previous year to 227.1 million pounds ($375 million) after lower sales and reduced mar- gins hit its recorded music division in Europe and the Americas, the com- pany says. Total revenue was 2.37 billion pounds ($3.92 billion), down 1.7% from 1998. "Strong performances in .lapan and EMI-Oipitol in the U.S. were offset by Europe and Brazil," the statement says. "Virgin's profits were down in both Europe and the U.S. EMI Europe was down as a result of lower sales combined with higher marketing and promotion spending." North America accounted for rev- enue of 793.7 miUion pounds ($1,310 billion), or 33.5% of the total. Turnover in European territories outside the U.K., which in 1998 was the company's biggest source of rev- enue— at 80.3.3 million pounds ($1..325 billion), or 33% of the total — dropped 9.5% to 727.2 million pounds ($1.2 bil- lion), or 30.6% of total revenue. "Although Europe did not match the previous year's strong perfor- mance, we ssm a number of success- es, including Robbie Williams' 'I've Been Expecting You,' Massive Attack's 'Mezzanine,' and Blur's '13,' " says EMI. MARKSOLOMONS "It's very important to note that this is an inclusive strategy." says Conroy. "Our goal is to have as much music avvailable to as wide an audience as possible. We will explore every meaningful outlet onUne and offline." Downloadable music also will be made available to music news and infor- mation Web sites, as well as leading E- commerce retail sites, including Get- Music.eom, according to Kensw"il. Traditional retail- ers have not yet been contacted to partici- pate in the kiosk pro- gram, which is still in development. But Marcia Appel, senior VP of the Minneapolis-based Musicland Group, saj's, "We take the record companies 'Our goal is to have as much music avail- able to as wide an audience as possible' -KEVIN COMROV- at their word that retail is and will continue to be their most important distribution partner." Commenting on the idea of having in-store kiosks for downloading CDs, Appel adds, "This technology will be part of the store envi- ronment." David Lang, presi- dent of the 10-store Compact Disc World, says, "I think you'll see stand-alone kiosks in the middle of mails v\'ith no record store around. But people will still gravitate to the stores, where the product is." EMD technolo- gy — which can transmit audio, video, graphics, lyrics, and other media — will also be integrated into several (Coiitiuiictl mi ixifje hit) SACEM's WWII Role Eyed Body's Handling Of Jewish Assets Is At Issue BY MARK SOLOMONS and REMI BOUTON PARIS — Composer Daniel Ban- galter, who is campaigning for an investigation into French author.s' rights body SACEM's handling of Jewish assets during World War II (Billboard, May 22), has produced documents that he claims show that the group sought advice from the Commissariat Aux Questions Juives (the Vichy government department for Jewish affairs) on how the rights society should treat its Jewish members. Bangalter, a SACEM member, says that on May 20 he took the documents person- ally to the Elys^es Palace, the resi- dence of French President .lacques Chirac, and then to the Hotel Matignon, the office of Prime Minister Lionel Jospin. French government officials could not be reached to confirm their receipt. A commission headed by Jean Matteoli, which has been set up by the French government to review the situation of Jewish assets dur- ing World War II, has yet to con- firm w'hether it has launched an investigation into SACEM's war- time activities. SACEM president Jean-Loup Tournier says that he has already had meetings with a member of the the Matteoli Commission, Andre Larqui^, and that he will cooper- ate with the commission by "pro- viding all that can or will be found on these questions." A letter dated Oct. 28, 1941, from SACEM to the Commisariat says that, for the third time that year, the society "is writing to obtain information on how to pro- mulgate the different French laws on Jews, as well as German ordi- nances." It explains SACEM's role as a collection society for music royalties and says that the body "counts among its members a cer- tain number of Jews" (Billboard Bulletin, May 25). The letter continues, "We have just learned that the Societe des Auteurs et Compositeurs Drama- tiques [SACD] has received precise instructions on the blocking of authors' royalties from Jewish members. It is therefore essential for our Society that [the Commis- ariatl give it all necessary direc- tives on the subject of authors' rights relating to its Jewish mem- bers, authors and composers of music." Bangalter has also produced a reply to SACEM's Oct. 28 letter from the financial sec- tion of the Com- misariat, dated Jan. 10, 1942, that draws SACEM's attention to a set of instructions issued Dec. 19, 1941, to the Societe Des Gens De Lettres. The new documents follow Ban- galter's earlier production of a SACEM circular headed "Very Im- portant" to members dated Nov. 17, 1941, in which the body asks .Jewish members to identify them- selves by Dec. 10 of that year so that their royalties could be placed in special accounts. It w^arns, "All false declarations will entail, for the member, internment in a con- centration camp." Bangalter, who composes under the name Vangarde, tells Billboard the documents were sourced from France's National Archives in Paris, as part of the Inventory of the Archives from the Commis- sariat Aux Questions Juives, a massive document compiled over several years by researchers Marie-Th4r6se Chabord and Jean Pouessel. All the documents listed in this (Continued o?f page 1S7) 6 BILLBOARD JUNE 5, 1999 Its tlie first tli we installed. ^^Ily? Because Kere at tKe "^^^^^ Ho rsesKoe Casino Sc Hotel, we unJerstanJ wliat star treatment' means. Bluesville In tite HorsesKoe Casino ft: Hotel Is tKe SoutK's newest, state-of-tLe-art music venue. AnJ artists like Olivia Newton-JoKn, ^lan Jackson, Jay Leno, Kenny Rogers, ^^ooJy Blues, Vlnce ClII and Julio Iglesias are just a few wko Kave experienced our re J carpet treatment. Not to mention Bluesville s aJaptaLIe stage, great sounJ, tkeatre-setting anJ easy access for tkeir crews. So wken your act rolls up to Bluesville, we II roll out tke red carpet. E>r more Information please call SHOWCASE NIGHTClUB RanJy Wrlgkt, Integrity Events at 615-777-5766. Tunica, Mississippi (just 12 miles soutK of Memphis, TN) CASINO ■ HOTEL--^ HORSESHOE (J CASINO HOTEL--- ^^ssi^ WB, Silverlight Link English-Speaking Latino Consumers Targeted BY JOHN LANNERT As U.S. labels ponder the Latino music fever spreading across the country, Warner Bros, has inked a production deal with Silverlight Records designed to develop .state- side, English-speaking Hispanic artists who will be targeted to their consumer counterparts (Billboard- BuUetin, May 24). Steve Drimmer, president of Lo.s Angeles-based Silverlight Records, describes the pact as a logo-label pro- duction accord in which "it is our job to locate the talent for Warner Bros, to sign and then help them market the talent to the English-speaking Latino audience." Says Phil Quartararo, president of Warner Bros. Records Inc., "We've dabbled with a few repertoire sources that could bring us Latin music for the last year, but Drimmer is a guy we trust. We admire his taste, and he understands the [Latin] community. So we have put together an arrangement for him to bring us .some music." Silverlight's first signee is alter- native pop singer Mi^jandra Delfino. Though Quartararo has seen the potential of a Latin music breakout before, he reckons the time is now ripe for Latino artists to take center stage for a specific faction of Latino fans who grew up assimilated into the U.S culture. In 1981, Quartararo was working as a promoter for RCA Records when Puerto Rican vocal group Menudo got hot. One of the members of Menudo at that time is now the cur- rent locomotive for the sudden arrival of Hispanic pop stars — Ricky Mar- tin. "In 1981, everybody thought there was going to be a Latin explosion," (Continued on page IJ5) Arlsts, SerlBtic farm label BY MEUNDA NEWMAN LOS ANGELES— A new multi-year joint venture between Arista Rec- ords and producer Matt Serletic is designed to bring more rock to Arista's musical foundation. Atlanta-based Melisma Records will be helmed by Serletic, best known for producing matchbox 20 and Edwin McCain (The Beat, Bill- board, May 29). His brother. Dean, will serve as the label's GM. Serletic will be responsible for the label's A&R direction, while Arista will han- dle sales, promotion, marketing, pub- licity, and other functions. "Arista had all the promotion stuff in line for rock; they just need the material," says Serletic. "They've had such success in hip-hop and R&B, it's overshadowed everything else. [Arista president] Clive [Davis] real- ly wanted to get further in the rock field. He's great at taking potential stars and running them through all the necessary moves to realize their talent. We're going to be the talent- finders and build it from there." Serletic, who .signed matchbox 20 to his production company, Melisma Productions, a few years ago and then inked a deal for the group with Lava/Atlantic, had been talking to a number of labels about forming a co- venture. His attorney set up a meet- ing with Davis, and there was no looking back. "I walked away from that first meeting with Olive, and he just amazed me," says Serletic. "I found some kind of kindredness there. He feels about music the same way I do. It's ahvays about the song." "We just clicked," Davis says. "I used the .same intuition that I used for [my other deals]. It wasn't just be- cause he's a successful producer; some can't make the adjustment to be talent scout and entrepreneur. He impressed me the same way [LaFlace heads] L.A. Reid and Babyface and [Bad Boy head] Puffy [Combs] im- (Continued on page IHI} Entertainment Biz Prepares Fnr Hnuse Bill BY BILL HOLLAND WASHINGTON, D.C.— Enter- tainment industry officials are bracing for another round of anticipated media bashing as the controversial juvenile-jus- tice bill moves to the House of Representatives for debate and consideration. Industry officials met throughout the fmal wrak of May to anticipate the strategies that Republican leaders might use to get the House version of the bill to the floor and to prepare for the expected critical comments from some House lawmakers. The pending juvenile-justice legislation, passed by the Senate May 20 (BillboardOiifetiR, May 21), includes several provisions targeting violence in the media that could have an impact on how entertainment industries mar- ket and police their own product The debate among the 435 House members is expected to have a wider range of voices than the one that took place in the 100- member Senate. "It will no doubt include the opinions of members with more extreme views," as one insider put it. "Everybody will want to weigh in." Sources are also predicting that debate will be "wild and woolly" on the so-called "cultur- al" provisions in the bill. One provision in the Senate version calls for a high-level federal commission to explore violence in the media and the role played by entertainment companies in the national atmosphere of teen violence (Billboard, May 29). Another provision calls for a dual probe by the Department of Justice and the Federal Trade Commission to investigate the impact of marketing violent fare to children. Recording Indxiatry Assn. of fCantinued on pat/e lomta Canada To Open BY LARRY LeBLANC "TORONTO— Zomba Records Group, home of Jive Records, is marking a memorable week. During the same time period that the Backstreet Boys' sophomore Jive album, "Millennium," sold 192,000 units in Canada its first week out and debuted at No. 1 on SoundScan's retail album chart, Zomba announced May 25 that it will launch its Canadian operation July 1 (BillboardaiOeftR, May 26). Laura Bartlett has been named president of Zomba Records Canada, which includes the Jive, Silvertone, Volcano, and Verity labels. Zomba Group labels will be distributed by BMG Music Canada via a new press- ing and distribution agreement BMG Music Canada had previously licensed Zomtra Group product here. According to Bartlett, Zomba Rec- ords Canada will nationally employ a staff of 10-15 people in the promotion, marketing, and A&R areas, working initially from BMG Music Canada's offices. Says Barry Weiss, president of Zomba Records Group U.S., "Cana- da Ls a logical place to open, given its proximity to America and the fact there's a lot of talent there." Weiss adds, "We're going to be very active in Canadian A&R." Weiss notes that Zomba has been active in Canada on a licensing basis for 17 years, first with the now-de- funct Quality Records, then with BMG. On June 7, Bartlett leaves Uni- versal Music Canada, which she joined as senior VP only five months ago. Previously, she was VP of mar- keting at HMV North America and had earlier worked 1.3 years at Vir- gin Music Canada, leaving as VP/GM two years ago. "It wasn't an easy decision [to leave Universal]," she says. "Howev- er, not many people get a chance to plant a flag where one didn't exist before. I've been ready to do some- thing like this for the past couple of years." 'Hard Rock Live' Blitz Planned Sire, Amex, Tower, VH1 Team To Raise Interest BY LARRY FUCK NEW YORK— As tile July 31 tiiird- season premiere of VHl's "Hard Rock Live" draws near, a multi- faceted promotional campaign is being launched to heighten viewer aware- ness of the concert-oriented program. The campaign includes a series of albums on Sire Records, as well as a summerlong string of charity concert events at Hard Rock Cafes worldwide and a consumer promotion for Amer- ican Express card members at all Tower Records locations. American Express sponsors "Hard Rock Live," which is distrib- uted by Warner Bros. Domestic I^y- Ty Cable & Network Features. The series is executive-produced by Robert Katz and Sean Murphy for VHl and Evan Haiman for Warner Bros. Domestic Pay-TV Cable & Net- work Features. Sheryl Crow will kick off the third .season of the program, which airs at midnight Saturday nights with encore broadcasts throughout the week. Also confirmed to appear on the show this season are Melissa Etheridge, the Cranberries, Seal, Motley Crue, Sammy Hagar, Collec- tive Soul, and Sugar Ray. " 'Hard Rock Live' is a program that continues to grow in its creative and business scope, which we're extremely proud of," says Eric Frankel, executive VP of Warner Bros. Domestic PSy-TV Cable & Net- work Features, who notes that the show has developed a loyal viewer- ship. "The lineup for this season, so far, promises to widen our audience considerably." This season, VHl will play a more prominent role in the production and direction of the program, which will expand to include biographical mate- (Continued on ptuie 135) EXECUTIVE TURNTABLE RECORD COMPANIES. Marjorie Fieldman is appointed senior VP of financial operations for Universal Music Group in Los Angeles. She was senior VP of finance and administration for A&M Records. Mark Ansorge is promoted to VP/associate counsel for Warn- er Music Group in Burbank Calif. He was associate counsel. Tony Berg is named execu- tive VP of A&R in Los Angeles and Patricia Morris is promot- ed to national promotion direc- tor in New York for Virgin Records. They were, respec- tively, an A&R executive at Gef- fen Records and national field manager. Arista Records in New York appoints Robert Gandara VP of marketing planning and administration. He was senior FIELDMAN ANSORGE director of marketing planning for Capitol Records. Legacy Recordings in New York promotes Patti Matheny to associate director of A&R and names Stephan Moore product manager. They were, respectively, senior manager of A&R and director of urban sales at Sony Music Distribu- tion. Nelson Wakefield is promot- ed to director of video pro- gramming for the Columbia House Co. in New York. He was associate director of video pro- gramming. DreamWorks Records in Los Angeles appoints Bruce Walk- er GM of the urban division. He was senior VP of A&R at Mo- town. Bill Marin is named presi- dent of Prestigio Recordings in New York. He was VP/GM of RMM Records. Allan Steckler is appointed VP of sales and marketing at Empire Music Group in New York. He was A&R/creative director for Essex Entertain- ment. Rand Hoffman is named head of business and legal affairs for Intcrscope/Geffen/ A&M Records in Los Angeles. He was senior VP of business administration for PolyGram. PUBLISHERS. BMI names Kerri Howland-Kruse senior attor- ney in New York and promotes Perry Howard to associate director of writer/publisher relations in Nashville. They were, respectively, an attorney at the law firm of Berger, Stern and Webb LLP and a music research associate. RELATED FIELDS. Nancy Geller is promoted to senior VP of original programming and orig- inal movies for HBO in Los Angeles. She was VP of origi- nal programming. 8 BILLBOARD JUNES. 1999 Cr A D V RTISirvlB □R»R«l=IR-ri_irsJ -r I e: s PRE-VSDA This spoflifilit salutes our 'Video Person oftlie Year," Jaeli Eiigster, Cliairiiiaii. President and WA) of Miisicland. In addition, the spotlight will report on retailers" (piest to find the rif*hl balance of formats and i)ro(hiets that will fiiiarantee siieeess. Please join us in our toast to Jack I jifister I Contact: Diana Blackwell 323.525.2304 ISSUE DATE: JULYS AD CLOSE: JUNES JAZZ liillliiiai'il iii'dl'ilc- llir Ii'cikK llial will sliji|)(' .)a/z iiilo 1 he new iiiillcnnliiiii anil tlic lalu'ls anil |>layi-i>, pniviiliii^ new niinni'iitnin. We'll fcatuic ()|)|)Oilunitirs tor sniallri' hnpi ints anil liioU at till' icisMU's i-oinincnioiatinfi till- lOt^tli anniversary of Dnlvi' Kllin^iton. Coini- swin^i in Billhoaril's .)az/ I'csiival. ISSUE DATE: JULYS AD CLOSE: JUNE 8 Pat Rod Jennings 212.536.5136 BLUES liillliiiai'il looks al (lie lali'sl trends as Blues moves into the :ilsl eentiMv. Also im hideil is an irilcinalional report on ai'lisis anil alhiiins anil the iipeoiniii(> touring* season, the latest aetivities of Memphis' itiiies l-\iiin(lat ion anil eliarl reiaps. Help make this a sniokin' special. ISSUE DATE: JULY 3 AD CLOSE: JUNE 8 Andy Anderson 323.936.1359 VSDA Billboaril presents its annual X'SD.A extravaganza eoverinfi the lar'<est home video show in the world. We w ill feature an interview with the new VSO.V presiilenl. l?o .\nderson and report on l etailers sellinji video and 1)VI) onliiu'. Plus a look at the explodinf; l>\'l) market. Pieture voiir ad in this video blowout. ISSUE DATE: JULY 10 AD CLOSE: JUNE 15 Diana Blackwell 323.525J2304 UPCOMIIVG SPECIALS! ALLEGRO 15TH.\N\nT:RS.4RY - Issue Date: July 10 • .AdClose: June 15 PLUG L\ '99- Issue Date: July 17 • ,\d Close: June 22 | , REGG.\E;C.\RIBBE.\N ■ Issue Date: Julv 17 • AA Close: June 22 VP 20THAN\n'ERS.ARY- Issue Date: July 17 • .\d Close: June 22 NATR-E A.MERIC\N MUSIC- Issue Date: Juh 24 • ,\d Close: June 28 J.AP.AN- Issue Date: Julv 51 • .Ad Close: Julv 6 New York 212.536.5004 Los Angeles 323.525.2307 Nashville 615.321.4297 London 44.171.323.6686 Artiste' Music POP«ROCK"R&B'RAP'DANCE«COUNTRY«LATIN«CLASSICAL« •PRO AUDIO BroovlllclDus' Vengaboys Throw A Hit 'Party' BY CARLA HAY NEW YOKK— Since 1997, the Vengaboys' bi-and of lighthearted dance/pop has been a hit in Europe ami othci" coun- tries around the world. Now the Vengaboys (pronounced "benga lM)ys") are finding a U.S. audience with their debut set. "The Party Album:" Kelea.sed in the U.S. on Oroovi- VENGABOYS licious/Strictly Rhythm Records, "The Party Albuml" reached Heatseekers Impact status in the May 29 i.ssue when it ascended to No, 9H on The Billboard 200. This issue, it stands at No. 100. Fueling sales for the album is the hit single "We Like To I'artyl." which i>eaked in April at No. 32 on The Billboard Hot UK). The Vengaboys are a musical project conceptualized by two ((\tliliitnril (III litujc I.II) hEAt SEEKERS IMPACT Santana Goes 'Supernaturar First Arista Album Features Young Performers As Guests BY MELINDA NEWMAN LOS ANGELES— In the view of Carlos Santana, music not only has charms to .■amthe the .savage breast; it can literally affect the chemical makeu]) of the listener "If you look at what's happening with our kids today, it's like the 'fiOs," he says. "We had our own Vietnam. We have a different kind of kilHng toda.v. This music is a sign to bring a different awareness — l>eyond good and evil, beyond right or wrong. I really believe it will rearrange the molecular structure of the listener; crystallize for the highe.st good of people." "Supernatural," Santana's first album for Ainsta Records, comes out June 15 and reunites the guitarist See Street/V2 BuiUs A Sturi]/ Base far Blu BY LARRY FLICK NEW YORK— When "Soul Catch- er," R&B newcomer Olu's debut on Gee Street/V2, hits stateside retail ,June 15, it will have already under- gone nearly a .year of pre-release marketing. "We .see Olu as a long-term artist and as a unicjue figure in the R&B i^'orld," says Mana Ma, head of mar- keting at Gee Street "We wanted to gradually bring him into public con- scioiLsness." I<a.st fall, the label .serviced a five- tnick CD album sampler to press and radio ta.stemakers. up.scale clothing shops and boutiques, and select restaurants and cafes. Several months later. Gee Street created a three-song cas.sette sam- pler for R&B radio. The tape was also sent as a gift to people who ordered items from Essence maga- zine's Essence-by-Mail catalog. "It's had the desired result," Ma sajTi. "People have started to ask for the album." Sharon Richards, man- ager of Mood Mu.sic, an indie outlet in Baltimore, .sa.vs, "Around January, a few people came into our shop with the tape and asked if we had the full album in stock." Adding to |)re- release interest has been Olu's extensire gigging. The singer, man- aged by David Pas- sick and Jack Leit- OLu enberg, has been playing the East Coast for a .vcar and opene<l slimvs for V2 labelmate N'Dea Davenport in Philadelphia and Washington, D.C. "Soul Catcher" is dLstinguLshed by a deftly crafted combination of styles, including old-school soul, jazz, funk, and folk. Additionally, Olu aims to be among the more literate artists cur- rently vying for public attention. "If you're given a forum, you should use it wisely," sa.vs the artist, whose songs are published by Fa- mous Music (ASCAP). Olu, a native New Yorker, started his musical career with the Boys GEESTREET Choir Of Harlem, through which he toured .lapan and the Far East and learned to play many instruments. The first single is the quietly per- cussive ballad "Baby Can't Leave It Alone." A music video directed by Sarah Pirozek is airing on BET. A remix by All of A Tribe Called Quest hits radio in early June. Olu expands his gig itinerary to include dates in the South and on the West Coast and embarks on a nation- al radio and retail promotional tour in mid-June. with Arista president Clive Davis, who .signed him to Columbia Iteeords in 19(i8. "Mr. CMve Davis came really close to my face, eyeball to eyeball, and said. 'What does Carlos Santana want to do?' and I said, '1 want to con- nect molecules to light.' He said, 'How do you pro|H».se to do that'.'' And I .said, 'It's the same thing for Whit- ney or Streisand or Miles Davis. We all need a song we can relate to. Melod.v, lyrics — it's ju.st a matter of hooking up with that.' "And he said, 'We can work to- gether.' He saw I wasn't stuck in the '(ids; 1 was adaptable to these times," SanUina sa.vs. To that end, Davis hel|)ed cral't an album that showcases Santana, Bill- board's 199() Century Award winner, as people know him best — as a phe- nomenal guitar player weaving hyp- notic Afro-Latin tunes, as well as a thoroughly m(Klern figiux'. "We knew half had to lie vintage Santana," says Davis, "but that we al.so had to incorporate all of the cur- iC'oiitiinwd oil jmm' Isaakltmck Fuels Interest In Warner/Reprise Saundtrack BY JIM BESSMAN NEW YORK— Stanley Kubrick's forthcoming final film, "Ews Wide Shut," is already giving Chris Isaak's career a boost, thanks to a catalog album track that the late director selected for the eagerly awaited erotic thriller's soundtrack. The Warner Sun- set/Reprise sound- track album bows July 13. I! ■fhe song, "Baby Did A Bad Bad Thing," originally appeared on Isaak's 1995 Reprise album, "Forever Blue." It is cur- rently being heard in TV promos for the movie, accompanying .steamy footage of its .stars, Tom Cruise and Nicole Kidman. The trailer has prompted numerous radio sta- tions to dust off the original, which has nmv been remixed by Reprise senior VP of A&R David Kahne. "Along with a lot of others, we took note of the song's inclusion on the trail- K er when it was first broadcast," says Dave Benson, PD of Den\"er adult rock station KBCO and sister Los (Coiiiiiiited nil pac/e l.iO) The group that gave you I Swear 4// 0 n And I Can Love You Like That" is back. iJfii'. On The long-awaited new album featuring "I Will Be Right Here"* #1 most added at A/C "The calls we* re receiving at the station lead us to believe this coutd be the wedding song of the year!" "This is the perfect song to start a brand new life together... listeners are already calling and reguesting the words For their wedding!' "Phones are lighting up. especially at night during our "Love Songs" show... seems as if everyone in love wants to claim this as 'their special song'!" fitry BtUbv r-a^ti" 0.'rr\Q'. WLIF B.illimD'r. UO ' Produced by David Foster Written by diane Warren EXECUTIVE PRODUCER: TIM O'BRIEN www.otbl.corrv'AIl^-Ore www.atlantic-records.com ew«AiiAMTiCHecofl0iNiiCt»«»»8RO0imiaflECOROSC0flP, BILLBOARD JUNE 5. 1999 Cl, 11 -iterial Artists & Music Hawkins Finally Unleashes 'Timbre' Third Columbia Set Previewed By 'Dawson's Creole' Song BY CARRIE BELL LOS ANGELES— Sophie B. Haw- kins was ready to release "Timbre" three years ago. It was to be a stan- dard follow-up to her previous two gold sets, 1992's "Tongues & Tiiils" and 1994's "Whaler." Instead, she be- came embroiled in a fight for artistic freedom, and "Timbre," finally see- ing the light of retail July 6 on Colum- bia, is evidence that it is possible to win. "First, Columbia said I had to wwk with a producer. I met with everyone and concluded that no one would be any better than me at producing my songs. But it was my first time, so I had to OK executive producer Peter Asher. So we went to «x>rk, and I did everything at my home studio. I wanted a naked sound with all kinds of instrument experimentation Uke strings and marimba," Hawkins says. "Then," she continues, "there was all this talk about my image. They wanted me to get a feisty new one and go to [modern rock] radio with '32 Lines.' [The New York office of Columbia] didn't like that idea. So they started working on 10 million remixes of 'No Connection' before we finally settled on 'Lose Your Way.' It uses a banjo, which is apparently a no-no for top 40. By this time I was like, 'When are they going to stop remixing and trying to sneak in a producer?' I put banjo on that song because that's what I heard, and I am the songwriter, right? Without the banjo, it sounded like Muzak." That's when the real battle began. Hawkins turned to people she knew would give an honest opinion about the soft-spoken song of derotion and not be swayed by demographics or format standards — her fans. "I was doing a radio interview in Florida and played my version of Mercyf ul Fate To Hit The Road For Its '9' Set 00 Metal Blade BY LARRY FUCK NEW YORK— As the July 6 state- side release of Mercyful Fate's latest opus, "9," approaches. Metal Blade Records is preparing a marketing plan built around the enduring heavy metal band's cachet as a \i\e act. "This is a band that thrives on- stage," says Dan Fitzgerald, VP of sales at the label. "They aim to give people more than just a bunch of MEHCYFUL FATE guys standing around onstage." Mercyful Fate will spend much of the next six months on the road, spending the summer trekking through Europe vsith Metallica. Metal Blade released "9" May 24 in Europe. The band is ej-eing a U.S. tour of the- aters and large clubs in October. Although the timing is not inten- tional, the band is leaving the States at a time when bands that indulge in theatrical garb and angry, rebellious IjTics are under media fire. "Whenever there's a disaster like the .shooting in Colorado, the finger- pointing begins, and bands like Mer- cyful Fate are blamed," says Brian Slagel, CEO of at Metal Blade. "It's ridiculous and unfair But we've been through this before, and you learn to take it in stride." In the metal world, the reach of Mercj'ful Fite has been formidable. It is cited as a primary influence among young renegade acts like Cradle Of Filth and Dimmu Borgir, as well as among mainstays like Megadeth and Metallica. In fact, Metallica cut a medley of Mercyful Fate tunes for its "Garage Inc." col- lection, including "Evil" and "Curse Of The Pharaohs." "I had no idea they were doing that," saj-s Mercyful Fate front man King Diamond. "I>ars [Urlich] called me out of the blue and played it over the phone. It blew me away." With production by Kol Marshall and the band, "9" shows Mercyful Fate — which al.so includes Hank Shermann (guitar), Mike Wead (gui- tar), Sharlee D'Angelo (bass), and Bjarne Holm (drums) — mining the hard-edged sound of its salad days. "It is much more direct and aggres- sive, both musically and lyrically, than our past few records," says Dia- mond. "Melody is there without sac- rificing the brutality." It's a sound that suits indie retail- ers. "This album brings the band back to a sound that hardcore heavy metal fans love," saj-s Richie Markus, manager of Baltimore's Silver Discs. "It's hard and rebellious — and no where near the kind of .stuff that gets radio play The kids who buy this stuff think that's cool. They need bands that belong to them and them alone. Mercvful Fate is that kind of band." 'Lose Your Way.' Calls started pour- ing in saying they loved the song and the banjo. A whole Internet campaign started, and 200,000 E-mails later Sony wiis screaming for me to stop and pmmLsed to let me ha\p total con- trol. They couldn't argue with the people who would eventually buy my album, and they can't argue with the fact that I still sell 500 records a week. Staying pow^r is the best weapon." Most artists would be worried that a label would turn around and not work the album as hard, but Hawkins (Co)iti lined on page lH) Rockin' In Vegas. Universal/HewitVSilva was the promoter of Billy Joel's recent sold-out pertormance at the Hard Rock Hotel in Las Vegas. The artist is on a U.S. concert trek. Shown backstage after the show, from left, are Bill Sllva of Universal/ Hewttt/Sih/a; Joel; Dennis Aria, president of QBA Entertainment; and Jay Mar- ciano, president of Universal Concerts. New Virgin VP Tony Berg Tiiinks Locaily; The Gas Co. To Link With Wehcaster BEN V IRGIN TERRITORY: The first order of business for Tony Berg, new executive VP of A&R for Virgin Records America, Ls to take care of the homefront "My specific goal is to elevate the profile of our domestic roster," sajs the Los Angeles-based Berg, who started hLs new post May 24 after more than six years at (ieffen Records. "It's a tremendous international ros- ter, maybe second to none. Perhaps it's been easy to rely upon the excellence of that raster" Noting that Virgin has a number of .superstars .signed to its U.S. divisiion, including Janet Jackson, Lenny Kravitz, and Smashing Pumpkins, Berg says he's reviewing the roster and the staff before making any changes. "My first priority is to get to know the people here, .see their .strengths and passions, and then make assess- ments," he saj's. "I'm also familiar- izing myself with the roster and the acts on our affiliated labels." The West Coast A&R staff will report to Berg, while the East 0«ast staff will still report to New York- based Keith Wood, executivie VP of A&R Vu-gin Records America. Berg will report to Ash- ley Newton, co-president of Vu-gin Records America and senior VP of A&R for Virgin Music Group Worldwide. Berg, who had made the transition from (Jeffen to the new blended offices of Interscope/CJeffen/A&M, says he doesn't know if he's bringing any of his former acts with him. "It's not something I can initiate," he saj's. "None of the artists I was working with, including Garrison Starr, Counting Crows, and Remy Zero, were dropped. Pfeter Gabriel is with Virgin International, so 111 get to continue working with him." Virgin has given Berg no mandate to sign acts of a particular stripe. "I don't really work genre-specific," he says. "Whether I was getting invoK'ed with Beck, Ted Hawkins, Remy Zero, or Forest Through The Trees, the only con-sLstent thread was excellence. I think artists like Beck, Kadiohead, Bjork, Lauryn Hill, or Missy Elliott demonstrate that great music Ls also com- mercial music. That's my new mantra." Den MOTHERS: Look for the Gas Co., the company started in '98 by former Capitol president Gary Gersh and Gold Mountain artist manager John Silva, to run the miLsic group for Internet programmer Digital Enter- tainment Network (DEN). DEN, launched May 10, is already airing fire of its proposed 30 youth-oriented interactive Wehca.st series. Two of the shows, "Fear Of A Punk Planet" and "Aggronation," feature music. Also expect Phil Costello, former senior VP of marketing and promotion at Capitol Records, to join the Gas Co. StUFF: Elektra Entertainment has entered into a by Melinda Nevmian long-term deal with S(iuint Entertainment to distribute Sixpence None The Richer worldwide outside of the U.S. The group, experiencing great success with its sin- gle "Kiss Me," goes through Squint/Columbia in the US. The band's self-titled album will be released June 11 in most territories outside the U.S. Trillium Entertainment run by industrj' vet Larry Stessel, has been tapped by Ruthless Recortis to handle its marketing. Stessel will ser\'e as the New York liaison for L.A.-based Ruthle.ss in dealing «ith Epic Records;, Sony Distribution, and RED. Humanity has no color: Sure, he's wion a Nobel Prize and is one of the world's foremost peace- makers, but who kne\v Archbish- op Emeritus Desmond Tutu could cut the rug with the best of them? On May 24 at LA's Wiltern Theater — at the lOth-anniversary celebration of Artists for a New South Africa (ANSA) — he was the first man out of his seat dancing up a storm as Hugh Masekela played "Bring Back Nelson Mandela." During the finale, when all the i)artici|)ants — including a number of kids — TOre onstage. Tutu broke into the Electric Slide. But it was just that kind of evening. The Culver City, Calif.-based ANSA was founded by Alfre Woodard, Dsinny Glover, Maiy Steenburgen, and others to sup- port the fight against apartheid in South Africa. It now supports voter education, funds small businesses, helps disadvantaged j'outh, and ships books and medical sup- plies to that country. The evening featured readings, film clips, and an uplifting speech by Tutu, whose Pfeace Trust shared pro- ceeds from the e\'pnt with ANSA. But the real highlights were the musical guests. Masekela also performed the affecting "SUmela," in which he imitates the sound of a train and sings of blacks being taken to labor camps and prisons. Joan Baez sang Peter Gabriel's "Biko" and filled the theater with the spirit of a lifetime .spent fight- ing injustice through .song. Lebo M shared his stage time with the traditional South African group Black Sunshine, which he had just met the day before. BeBe Winans brought the crowd to its feet with the new song "I Hare A Dream" (based on Martin Luther King Jr.'s historic speech) and a breathtaking reading of "Amaz- ing Grace" backed by acoustic guitar But it was Stei'ie Wonder who masterfuUy placed the evening's mes-sage in America's backyard. As he began "In "The City," he reminded us that although improvements hare been made in South Africa and the U.S., there is still work to be done in the name of equality. He followed with "High- er Ground," extolling e\eryone to not only reach their own potential but to help those around them. 12 BIlXBOARD JUNE 5 . 1999 ii!4)otllje»4 inlimitlecf: iityforso- trior taste loothives-^; fmi\. sjapunoj S?.\0| A\ou n p3J3AO0Sip p.i iqtsnoqi • 3 lu n i^^W^j n J punojM3U ?q} leqj sadoqlujBJjs panose uo lucjd 3m iniiioj ; in] _nii _,->. 'mi tOf) PROOF 100 1 iflk nine years little secret. The Small Batch Bourbon CoJleclion"is Knob Creek,' Booieri? Baiers''and Basil Hoydens? To /orn lire Kentucky Bourbon Cirele? Make r«ftpon»)bility p«f1 of your •njovmcnt. Artists & Music Tour-Tested Hardcore Baod 25 Ta Life To Issue 1st Set On Triple Crown BY ED CHRISTMAN NEW YOKK— After six years of playing li\<e shows around the world, the members of New York hardcore band 25 Ta Life figure they have done plenty to set up their first al- bum. "Friendship, loyalty. Commit- ment," due June 29 on Triple Crown Records. "This group is probably one of the biggest underground groups right now," sa.vs Kred Keldman, principal at the New York-based label. "They play about 200 shows a year. Rick Ta Life [the vocalist] Ls the most \Tsible person in hardcore." In addition to Rick, the band con- sists of founding member Fred, on guitar; Dave, on bass; and Rob, on drums. The band, which fuses New York-style hardcore punk « ith dashes of metal throughout each .song, is known for its blistering live shows. While this may be the band's first album. 2.T T^ Life, which formed in 1993, has three EPs on its resume and a demo tape, all of which have been sold to fans at the group's shows. The first ER "Keepin' It Real." came out on the German label We Bite in 1995. "Short Fuse," on SFT Records, and "Strength Through Unit.v— The Spirit Re- mains," on Triple Crown, came out in 1997. 25 Ta Life's touring schedule includes regular trips to Europe as well as jaunts to Japan and Australia. The band is currently planning its first trip to South America. When the band isn't on tour, it regularly plays shows in the New York tri-state area. In addition to the U.S., the album ON TOP OF THE TOWN It's ihe top. It's New York's landmark art deto hotel and it's near everything: the Javits Center, Madison Square Garden, Penn Station, the Empire State Building and the Garment Center and Theatre District. The 1 000 newly decorated rooms and suites hove every convenience and amenity. Have your clients get way above It all by booking a luxurious room or suite in our fabulous "Tower at the New Yorker" where they'll enjoy spectacular views and balconies, and their daily complimentary breakfast in the Tower's own Sky Lounge. There's La Vigno Ristoronte & Bar, Tick Tock Diner (open 24 hours), an Espresso Bar in the lobby and a complete Fitness Center, too. So book your clients ot the New Yorker, where they can stay above it all, at down to earth rotes. From SINGLE Per Horn, fei Highl From DOUBLE Per Sam, Fei Highl For Reservations: 800-764-4680 48 1 Eighth Avenue at 34th Street New York, New York I □□□ 1 (212) 971'Diai Fax (212) 563-6136 WWW.NVHDTEL.CQM * Subject to iiviijiatjihtY Adv-ance reservations requlnm. Taxiss and giBtulties not includec Kol appllctble to groups will come out in Europe on the Kor- tryk, Belgium, label (5ood Life, and there are plans to licen.se the record in Japan and Australia, although no label has been tapped yet. The band is booked in the U.S. by Bay Ridge Talent in Brooklyn, N.Y.; in Eui ope by M.A.D. in Berlin; and in .Japan by .lapan (h-erseas in Tokyo. Rick Life also occasionally fills in with the booking, which is .something he does for other bands an well. But even with a worldview and plans to promote the album at the chain level in the U.S., Feldman says he is not going to forget the traditional hardcore marketing vehicles. "We are taking care of the grass- roots press — fanzines and metal press — and we are being very ag- gi'essive al the independent-store level with in-store play copies and point-of-pui'chai*e material," he sa.N-s. "But we also want to break this with the chains. There is a great base. We SoundScanned 9,000 units w'ith 'Strength Through Unity' " Newbury Comics in Boston is at least one chain ready for the album. "25 Ta Life is consistently a strong seller," .saj's burer Larry Mansdorf. "We did great with the last record, which is still selling for us." In the first week of June. Feldman says, he will hire independent pro- motion company McGathy Edge to service the album to metal rock .sta- tions. Also, he says, "we are press- ing up 25,000 stickers, and we will have street teams in place in their strong markets in the U.S. — New York, Boston, Philadelphia, San Francisco, Los Angeles, and Rich- mond rVa.l." In addition to the band's track record and the label's aggressive marketing plan, the album, which was producetl by .loe Hogim. has one fCotitililifd tm jXifli' IfS) amusement business BOXSCORt .TOPIOCOMXRTGBDSnS ARTIST(S) DMCNUinHEWSeMO SANTJUU THCROOIS S4.7S2.SM mm us M 14) M ttllN Elerlfi: [;:f:r, ^aiceru SHINtATWtUN mm Uiwled C«niei May 20 Oucv SnMN lllB S754M/»VS27.!S0 selliwl lim PtwJi LIMT PaiKariAubun) HqiZ? Hills Auburn Ml. Micit tUTJaS 2IJ73 iM/U\> »i>Hl Palsu Sportl I Enttn*>nmefit Inc SHANUTVnM mm MiivtM))uli:> m.m30 18,(39 laffl Prftils <n- house tUROSHIIH Hpll|W00d SMI Utt } wfMi nm UVS25 ssttuit Bill Pres«ntl SHUUmUN LEiurr iWCO ilien* M*( 4 SrSMQ 12.937 Sill (jtMm Pieiewv SHtNMTWUN UAHT Dnr CrMk Uuile May 17 Center ftoblFirO* M VSSmi ullmt Sunshine Promoliotii SMKltTWAJN liAKT Hallyncca &7iirl Wai ^ Ids Angel* i SST4M0 IMU 18VS25 iillmil Unnnul Concwti AndrM Hmtt Ehll Sihri Piescfib AFGHM WHKS Pallet st Aubutn M*i ?0 kibvm Hillt, Ifcch mm lUH tiS,W » sellout 0031 Door Btiijrt Pri>Ji DWfMimiEWSBMO COREY HARRIS UN.6TB tun Hi iM DelMAfr/^UtB' Copyrighted ano compiled by Amuseinenl Business, a publication of Billboard Music Grout) Boxscores shouW be submitted to Bob Allen, Nashville Phone 615-321-9171. Fan; 615-321-0878 fm r^afci information ar.rt p-nrr'?. 'all Bnr, Allei 615 321 QI71 14 BILLBOARD JUNE 5. 1999 Artists & Music HAWKINS FINALLY UNLEASHES TIMBRE' (Coitt'niKt'd fitifit pofie I J) has made a career out of pushing the envelope, from announcing her "omnisexuality" and singing love songs to women U) having controver- sial photos of herself puhlished in magazines. "This isn't new. The label has always pushed me a bit, and Vve always pushed hack." Hawkins says. "But I don't think there is biid bloo<l. They will stand Iwhind the album, especially if 1 have radio success." Columbia has laid those fears to rest, as the marketing camjiaign is already in high gear "Her strong \Tsion is a marketing guy's dream be- cause she knows what she wants, and tliat makes it ea.sy to implement," .saj's Rucco I,anzilotlii, senior director of creative marketing. "And she is as bold, tender, intense, and uncensoi-ed as she's ever been, and the album is so much like her. It has been a while since the la.st album, which is proba- bly our biggest hui'dle. But recowry is simple when you ha\Te a gi-eat first s<ing and a truly individual artist," "Lose Your Way," which is being worked to top 40 formats, was heard during the May 5 episo<le of "Daw- son's Creek." It's also included on the Columbia soundtrack to the show, which Ls currently No. 20 on The Bill- boaitl 200. " 'Dawson's Ci'eek' seems to have a similar demographic as Sophie's masic, somewhere in that 18- 35 mostly female range, so it was a good fit," sajn Lanzilotta. "I have been waiting for a new Sophie song. I heard it on 'Dawson's Creek' and remember instantly thinking. 'Wow; this is cool.' It's less poppy, more grarelly, »-hich is a goo<i thing," sa.vs .John Wil.son, PD at top 40 WSTW Wilmington, Del. "Sophie '200,000 E-mails later, Sony promised to let me have total control' - SOPH/E B. HAmCINS - has name recognition, iKist hits, and puLs on a great show. There's more competition in the female singer/ .vong\vriter ai-ena now. but it shouldn't lie t(M> much of a problem for her" Kctjiilcrs .seem to ha«; similar faith in Hawkins. "Whaler" [waked at No. (« and "Tbngues & Tails" reached No. .Il on The Billboard 200. Itejiective- ly t hey have sold 672,000 and 67.5,000 units, according to SoundScan. "The record grows on you every time you Ksten to it, and it is a natur- al progression from 'Whaler' and 'Tongues & T&ih,' " says music buyer Andy Sibray of the 250-store, Ann Arbor, Mich.-ba.sed Borders Books & Music. "Her core audience will buy it right away. The inclusion on the soundtrack will also help .sales." Columbia will al.so maintain a site on Hawkins (www.sonymusic.com/ arti.sts/SophieBHawkin.s/), which will contain lyrics, photos, a bio, a video about the making of the album, and tour dates. Hawkins, who is current- ly without a booking agent, will appear at .several radio festivals this .summer and possibly one-off perfor- mances in key miU'kets. Haw kins is also filming her feature film debut. "Beyond City Limits," with director Gigi Giiston, who is also her co-manager and directed a criti- cally acclaimed documentary about Hawkins called "The Cream Will Rise." VHl has also selected Haw- kins as a topic for an upcoming "Where Are 'They Now'.'" episo<le. "That's a tad strange because it took me a long time to even admit 1 had a career I like my dewlopment, although for a time I was worried I had played into the image that I was a dumb blond pop star I just had to get ov^'r that." she says. AHsi^itdm't' in preparing tliis mtorji axis pmcided by Olwrn Hcnmntluiiu- torn. Logo Temporary Tattoos! 1000 Temporary Tattoos with Tour Logo, JUSt $ 1 89.00!!! USD or 2000 Tattooj, Juit $299.00!! 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NEXT SECRET WEAPON: ROOTS REMIX OF "TABOU," THE REMAKE OF SADE'S •THE SWEETEST TABOO" Fill "If Sade were cloned twice , ind the resulting twin sisters ' were reared in France by , members of the Fugees. : the women might sound \ something like the French j singing team Les Nubians." •' Time Magazine igheroctave.com www.lesnubians.com BILLBOARD JUNE 5. 1999 Cu 15 I TOP R&B SONG Too Ciose Writers: Raph^icl Shawan Brown, Robert Tord, Robcri 1.. Hugpar, Kay Gee, Darren IJglity. Dcniil Miller, James Moort, Lawrence Smith, Kurt Walker PUBUSHERS: Do What I Cotia Productions, EMI Music Publishing. Naughty Music, Neutral Gray Music. Pure Love Music, Uh-Oh Entertainment Inc., Warncr/Ghappcll Music, Inc., Wut' Shawan-A-Dci Music Inc. TOP RAP SONG vu (Uptown Baby) Writers: Walter Becker, Donald Fagen Publisher: Universal Music Publishing Group TOP DANCE SONG Ray of Light Writers: David L Atkins (CRSi, Christine Ann Leach (PRS), Madonna, Wdliam Wainwrigtu (PRSf PVBUSHERS: Almo Music Corp., Purple Music Ltd., Warncr/Chappcll Music, Inc., Webo Girl Publishing, Inc. TOP SOUNDTRACK SONG OF THE YEAR Come With Me (from Godzilla} Writers: John Bonham, Sean "Pufiy" Combs, Mark Curry. Jimmy Page. Robert Plant PUBUSHERS: Dee Mac Music, EMI Music Publishing, Flames of Albion, Justin Combs Publishing SONGWRITER OF THE YEAR Jermaine Oupri TOP ASCAP REGGAE ARTISTS Becnie Man HepCac Bob Marlcy Ziggy Marley Shaggy EMI MUSIC PUBUSMIMG PUBLISHER OF THE YEAR EMI Music Publishing MUSICAL TRIBUTES TO Edward Kennedy "Duke" Ellington lOOth Anniversary of his Birth O ASCAP 1999 R&B A Rose Is Still A Rose Writers: Brandon Aly, lidic Brickcll, John Bush, I^uryn Hill, John Houscr, Kenneth Withrow PUBUSHERS: Edie Brickcll Songs. Enlightened Kitty Music, Obverse Creation Music Inc.. Sony/A'l V Tunes l.l.(^. Strange .Vtind Productions, Univcral Ma<dc Publishing Cnmp, Withrow Publishing All My Life Writers: Rory A. Bennett. Joel "Jojo" Hailcy PUBUSHERS: Cord Kayla Music Publishing, EMI Music Publishing, Hcc Bee Dooinii Music, Two Big Produaions, Inc. Anytime Writer: Brian McKnighr PUBl-ISHERSi Cancelled Lunch Music, Let's Have Lunch Music. Universal Music Publishing Group Are You That Somebody? iFrom Dr. DooIirtIc| Writers: Stephen "Static" Garrcn, llmbaland PUBUSHERS: Black Founuin Music, Hcrbilidous Music, T C F Music Publishing, Inc., Viipnia Beach Music, Warner/Chappell Music, Inc. The B&y Is Mine Writers: LaShawm Daniels, Japhe Tejcda PUBUSHERS: EMI Music Publishing, Henchi Music Friend of Mine Writers: Anthony Dent. Stcvie J., Jeffrey "J-Dub" Walker PUBUSHERS: Dub's World Music, For Chase Mu7jc Inc., Hitco South, Sony/ ATV Tunes LLC, Steven A. Jordan Music, Wamer/Chappell Music, Inc., Windswept / Get Lonely Writers: Jimmy Jam, Terry Lewis PUBUSHERS: EMI Music Publishing, Flyte Tymc Tunes Marvin Gaye 60th Anniversary of his Birth Let's Ride Writer: Montcll Jordan PUBUSHERS: Famous Music Corp., Hudson'Jordan Music Luv 2 Luv U Writers: Mdvin "Magoo" Barcliff, Stephen "Static" Garrett, Timbaland PubusherS: Hcrbilicious Music. Mag-A-Ooh Music, Virginia Beach Music, Warner/Chappell Music, Inc. Make It Hot Writers: Missy "Misdemeanor" Ellion, Timbaland PuBUSHERS: Mass Confusion Music. Virginia Beach Music, Wainer/Chappelt Music, Inc. Money Ain't A Thang Writer: Jermaine Dupri PuauSHERSi EMI Music Publishing, So So Def Music Movin ' On Writers: Mark Andrews, Duryl Pearson, Gary Wri^t PUBUSHERS: Universal Music Publishing Group, Warncr/Chappcll Music, Inc. My Body Writers: DarrdI "Dditc' Allamby. Lincoln "Link" Browder, Antoinene Robcrson PUBLISHERS: 2000 ^tts Music, Toni Robi Songs, Wamcr/ChappcU Music Inc, My Little Secret Writers: Jermaine Dupri, La Tocha Scott, Manuel Seal PUBUSHERSi Air Control Music. Inc.. BMG Songs, Inc., EMI Music Publishing, JuicyTymc, Slack AD Music, So So Def Music Nice and Slow Writers: Brian D. Casey, Jermaine Dupri, Manuel Seal, Usher PUBUSHERS: BMG Songs, Inc, EMI Music Publishing, Slack AD Music, So So Def Music. Them Damn Twins, UR-IV No, No. No yfftrrEBSt Robert Fusari. Caivin Gaines, Vincent Herbcn PUBUSHER.S: Promiscuous Publishing, Warner/Chappell Music, Inc. R^hi^tlttiiii 0)f ' So)Uill •> WmteIU Brian Alexander Moi^n Publishers: A Stolen People's Music, Universal Music Publishing Group Seven Days Writer: Malik Pendleton PuBUSHERS: BMG Son^ ln&, Zavy Musk The First Night Writers: Jcrmaine ll)upri, Marilyn McLcod, lynara Savage, Pamela Sxmfci Publishers EMl/Jubete Music Publishing, Marshal Publishing, So So l^cf Music The Only One For Me Writer: Brian McKnight PuBUSHERS: Cancelled Lunch Music, Let's Have Lunch Music, Universal Music Publishing Group Thinkin ' Bout It WRITERS: Darrcll "Delitc" Allamby, Lincoln "Link" Browdcr. Antoincnc Robcrson Publishers: 2000 Watts Music, Toni Robi Songs, Warncr/ChappcU Music liK- Top Of The WorU Writers: I^hawn Daniels. Mase. Isaac Phillips PuBUSHERS: Music IHiblishing, Justin Combs Publishing, Niason Betha Entertainment Tyrone Writers: Erykah Badu, Norman "Keys" Hun PUBUSHERS: BMG Songs, Inc.. Divine Pimp Publishing, Key Club Music What You Want Writers: Scan "Pufly" Combs, Masc Nashcim Myrick PUBUSHERS: Justin Combs Publishing, EMI Music Publishing, Mason Berha Entertainment, Nashmack Publishing * You Make Me Wanna WRTTERSt jcrmaine Dupri, Manuel Seal, Usher PUBUSHERS: BMG Songs, Inc.. EMI Music Publishing, Slack AD Music, SoSn l>f Music UR-IV DANCE Can 't Get High Without You WrITERj David Lee (PRS) PUBUSHER: Mega Platinum Publishing Found A Cure Writers: John Ciafonc, Ultra Nate PUBUSHEASi Commitment Music, Jessica Michael Music Inc., Ultra Blue Music Frozen WRrrKRS: Patrick I^nard. Madonna Publishers: No Tomato Music, Wamcr/Chappell Music Inc.. Wcbo Girl Publishing Inc. God Is A DJ Writers: Rollo Armstrong <PRS), Ayalah Bentovim (PRS), James Catio (PR5). Maxwell Eraser (PRS) PuBUSHERS: BMG Snngs, Inc., Warner/Chappcll Music, Ii»c. // J Over Love Writer: Shannon Greene PUBUSHERS: Ndai l unts Let Me Go. . . Release Me WniTFRS: Dave l-im" Hall. J.1/ Javkson. Fclici.i JeftVrson Publishers: Huld U|> Music, Jellv's Kims L.L.C., NZEA Music. Stone Jam Publishing, Warner/Chappcll Music, Inc. Until The Day . Wrtteri Ralph Falcon Publisher: Murk Publishing, Inc. We Have The House Surrounded Writers: Phillip Damien, Cevin Fisher Publishers: Dylithium Crystal, Evol Free Music You Only Have To Say You Love Me WrTTERS: Bc^ Mitchell (I'RA), Phil Radford il'KSi PUBUSHERS: Peer Music, Prime Direction, Warner/Chappcll Music Ltd.(PRS) RAP Been Around the World ^ ' Writers: David Bowie ICRS). Ian Dcvancy (PRS) Andrew Morris 1PR51, Lisa Stansfield (PRSI Publishers: BMG Song;, Inc., Jones Music America Get At Me Dog Writers: Damon "Dame Grease" Blackmon, Earl "DMX" Simmons Publishers: Boomer X IXunon Btaduiion Publishing, Ruff Ryders Lnicnainmcni Inc. Gone Till November WmiKR: Wyclcfjean PUBUSHERS: Huss-7witii;]i Publishing. Sonv/ATVTuncv LLC It's All About The Benjamins WRni-H-S: Scan "Purty" (^omb.-.. Sean "Shetk" J-icobs. Lind.i Laurie. }ason "Jiidakiss" Phillips. I).i\id "Styles" Styl<.■^. The Noiorious B.LG. PUBUSHFR5: B.LG. Poppa Music, |.i(; Wnns Publishing, EMI Music Publishing, Justin Combs Publishing, Paniro's Publishing, Shcck Louchion Publishing Money, Power & Respect Writers: Sean "Sheek" Jacobs, Jason "Jadakiss" Phillips. James Smith, David "Styles" Styles Publishers: EMI Music Publishing, Jae Wons Publishing, Justin Combs Publishing. Paniro's Publishing. Sheck Louchion Publishing, Warner/Chappcll Music Inc Romeo and Juliet Writers: Ijmar "Sylk-E, Fync" Johnson, Rene Mooie, William "Chill' Warrter, Angela Winbush Publishers: Angel Notes Music EMI Music Pld>lishing, Micon Music, Rene Moore Music Second Round K. O. WRrrtRS: Wyclef Jean, Germaine "Canibus" Willi.ini'. Publishers: EMI Music Publishing, Huss-Zwingli Publishing, Niggaz Is Frowzy, Sony/.^ 1 V Tunes LLC Swiu^ My Way Writers: Javalyn Hall, Michael Johnson Publishers: EMI Music Publishing, Horrible! Songs The Ptirty Continues (Video Version) Writers: l^rry Blackmim, Da Brat. Eumir Dcodato, jcrmaine Dupri, Charlie Singleton PUBUSHERS: Air Control Music, Inc., EMI Music [•ublishii^ So Stj Dcf Music. Thowin' Tantrum Music Lfr»ivcrsjl Music Publishing Group Victory WRITERS! Scan "Piifly" Combs, Bill Conti, Jason "Jadakiss" Phillips, Stevie J.. The Notorious B.I.G. PUBUSHERS: B.LG. Poppa Music, EMI Music I'ublishing, Jae Wons IVblishing, Justin Combs Publi^iing, Steven A. Jordan Music Warner/Chappcll Music. Inc What You Want Writers: Scan "IHifiy" Combs, Masc, Nashcim Myrick PUBUSHERS: Justin Combs Publishing. KMl .Music l\jblishing, Mason Beiha Entertainment, Nashmack Publishing A\Sj6 AW Co n g r a t u I'a st Qu n 1l99/9> R hy^th mi &• So u il A W/a i:dl W.i ri n e r.s*. Marilyn BergmanI President & Chairman of the Board ASCAP Artists & Music NEWS AUTHOall Each monthly issue of /Cf brings you the scoop on hundreds of upcoming releoses from every major and independent record label - the exact release dote, interviews with key industry executives and artists, noteworthy songs, guest stors and other information you won't find onywhere else. We don't review new releases and reissues, we preweivthem... weeks ahead of time. If it's coming out on CD, you'll find it in /Cf ! FOR A FREE SAMPLE COPY or to subscribe, call us toll-free at (800)647-4423, visit our web site at http://www.icemagazine. 1 1 i 1 1 1 1 J| 1 1 1 j |( 1 1 Ijl: com/ice or drop us a line at PO. Box 3043, Santo Monica, CA 90408. -i«h^^ mwUmdhpns, 25 TA LIFE fCo»l ill lied from page U) more thing to entice buyers into record stores — plenty of guest artists. Among those helping out with the vocals are Jimmy "G" Di-escher from Murphy's Law, Paul Bearer from Sheer Terror. Vinny Stigma and Roger Miret from Ag- nostic Front, and Jamey Jasta from Hatebreed. "We were kids listening to their bands, and now they arc singing on our records." •saj's Fred. "If it wasn't for these people, we wouldn't have a band." Not that Rick Ta Life needs any help with the vocals. He gasps, grunts, growls, groans, and howls his way through each song, making the most of his 3'/2-note range. Kick Ta Life writes the lyrics, and Fred mainly writes the music, with help from the rest on band. The songs are published by the band. Moreovier, the album includes some songs that the fans are familiar with through the lire shows but are hai-d to own. .since they first appeared on either the demo tape or the "Keepin' It Real" EE The latter is hard to find, says Fred, who has seen it selling for up to .$:}.') in independent record stores. Since the fans know the songs, he fig- ures this album will be their first chance to own them. Yellow is a color, for all its dramatic unalterability, with a thousand meanings. Easter is yellow. So is spring, and much of the beauty of autumn. It is redolent of southernwo^ and the gen^j^fu^^un. It is the color of hi irtfM nmes) i r,yirrmrr-, gatq j|^l ight, starving lawns, translucent afnber and oiJiody transmission- emitters in electrical chassis wiring. In Egypt, it is the color of happiness and prosperity. Yellow is the essence of the scent in room 608. T E ME The style of Adam Tihany. The taste of Jean-Louis Paliadin. The Time 49th 8d Broadway 1 877 TIME NYC www.thetimeny.com BY CATHERINE APPLEFELD OLSON CoRGAN MAKES HIS MARK: Lots of recording artists these days talk about wanting to score a film. For Billy Corgan. the right oppor- tunity presented itself in "Stigmata," MGM's modern-day "Exorcist" about an atheist woman who suddenly finds herself in the center of a mi^jor upheaval at the Vatican. Virgin Records is slated to release the soundtrack Aug. 10. Not suri)risingly. the Smashing Pumpkins front man had a hand in wearing the film's entire musical fabric. He helped select new material from David Bowie and the Afro Celt Sound System Featuring Sinead O'Connor, as well as preriously released tracks from Kemy Zero and Massive Attack. "Stigmata" also contains a remLx of Bjork's "All Is Full Of Love." More than any other cut on the album. "Identify." the opening single, bears Corgan's personal stamp. He wrote the song from the perspective of the female protagonist and with a female artist in mind. Natalie Imbruglia brings his vision to bear. "The idea of writing a title song came from trying to do something a little dif- ferent." Corgan saj's. "Back in the day, people used to write songs that were directly connected to a mmie's score . . . so the music for 'Identify' came from one cohgan of the love .scenes in the mm'ie." "Hilly was involved with the score, so naturally [we were] very inter- ested to be involved in the project," says Cynthia Sexton, Virgin senior VP of visual marketing and licensing. "One thing we wanted to make sure as we built the rest of the songs on the album is that we talked to Billy. We wanted to get a .sense of whiit he would want to see on the sound- track and built it as a collaboration with him, running artists' names past him to make .sure we were all on the same page." In an unusual design move, "Stigmata" is a true score/compilation hybrid. It contains 37 continuous minutes of Corgan's score, which the artist designated. "This is his first time scoring, and we loved the score and wanted to make sure people get to hear it," Sexton says. "Billy was very clear he wanted most of the score to appear on the album and spent time editing it down so it would." Jungle MUSIC: They say it takes two to tango, and from the sound of Disne,v's latest animated offering, "Tarzan," it takes two to create great "jungle music," too. Composer Mark Mancina and recording artist Phil Collins got into each other's groove, .so to speak, early on and continued their collaboration throughout the writing and recording process. The result is Collins' current single, "You'll Be In My Heart," and a unified album of songs and score that Walt Disney Records will release Junes. Mancina and Collins began by collaborating on the rhythmic lullaby- like "Two Worlds." which opens the film. "It was really important for Phil and me to have a cohesiveness to the .score, so the songs didn't sound like they were recorded two j'ears before and just dropped in," Mancina says. That meant Mancina arranged and played on portions of Collin.s' songs, and Collins plaj'ed the drums for several action cues in the score. "It gave the music continuity," Mancina says. Threads of musical inter- mingling are evident all mer the soundtrack. "Two Worlds," for exam- ple, Ls woren through the score. Having recently wrapped the Broadway adaptation of "The Lion King," Mancina saj's he was right at home working in tandem with anoth- er creative voice. "I had just come off working with Uve musicians, in an atmosphere of sitting in a room and working things out," he says. "I became a player, a musician, on this score more than on any project before. It was kind of like being in a band with Phil for the film." Mancina says the creative direction of "T^rzan" opened a world of new in.struments he otherw ise might never have played, including the Aus- tralian buUroar, which became the musical representation of the evil leopard Sabor. "On 'The Lion King,' we tried to keep everything ex- tremely organic and African," he says. "This time we were not trying to make it African but rather unique to itself." Mancina commis-sioned a friend to fashion all sorts of odd-shaped gui- tars and then headed up to the Bay Area to scour shops for unu.sual instruments. "I picked up instruments I thought seemed interesting and at the end had this big pile of things I took home with me," he says. 18 BILLBOARD JUNES, 1999 Reviews & Previews ARTISTS & MUSIC ALBUMS EOITED BY PAUL VERfsIA TEXAS The Hush P«OOUCtR. Johnny Mac Univefwl 532G1 Scottish hitnoakers switch to a new label with an assertiv e album that showcases the sensuous vocaLs of front woman Sharleen Spitcri and the band's ability to craft soulful, melodic, and timeless pop songs stet?ped in K&B influences. I^eading with the catchy single "In Our Lifetime," "The Hush" also features "Tell Me The Answer" and "Girl." both inspired by the Artist Formerly KnowTi As IVincc; "Som- mer Son," which has all the drama of a Garbage or Madonna hit: and the Diana Ross-reminiscent "When We Arc Togeth- er" and "Day After Day." Ripe for pop, AC, and modern rock airiilay, "The Hush" Is an album that brims with potential to give this hit act its long-deserved VS, breakthrough. COUNTRY LONESTAR Lonely Grille PRODUCER Darr. Hui* BMA 07863 67762 On this album's opening cut, ''Saturday Night," Lonestar tojn with country hip- hop. Apart from that experiment, "Lonely Grille" finds the gmup leading with its strenglh.f : stnught-ahead. uptempo cuts and ballads with lead singer Richie McDonald's stmng vocals backed by smooth harmonies. There's a strong driving song in "WTiat About Now," in the grand tradition of Jo Dee Messina's "Heads Carolina, l^ls California." The title cut, by Bob DiPiero and Tony Mullins, Is an infectious modern update on the timeless country tale of lonely heartache in a barroom. A bonus cut is an acoustic version of "Everything's Changed" by McDonald, Paul Nelson, and Larry Uoone. which was a Kn. 2 single for the group in 1!>9S. •k MYRA MELFORD Above Blue PRODUCERS Myia Melloifl, Dave Douglas Arabesque Juz 0142 The follow -up to pianisf 'comiioser Myra Melforcl's darkly beautiful 'W set "Same River, TVice" (Gramavision), "Above Blue" features the same incredible band: trum- peter Da\'e Douglas, reed man Chris Si>eed. cellist Krik Friedlander. and drum- mer Michael Sarin. And the group plies the same bracing brand of neo-harmolodic impruv as on the pi-e\ious disc but with a slightly more outgoing tack. "Alwve Blue" bursts with invention and a joy in music- making that's pal|)able — ^jusl audition "Tivo But Live" and "Yet Can Spring." Even the trio of slow numbers radiate an effulgent beauty of tone and texture that is rare and treasurable. SUCK RICK The Art Of Storytelling PROnUCESS V,if.-,;u> M SouVDri J«m 314 558 939 \'eteran Slick Rick's fourth set — his first in three years — gives him every right to boast of suj>erior storytelling and rhythm-riding skills, and a host of hip- hop'.'; contemporary chart dominators climb aboard to ride alongside and pay tribute to their idol. "Ait" finds Rick in a GORDON PRODUCER: BfwidJin O'Brien Fifty Sevei^SSO Musk 69118 Few albums have the ability to enrap- ture from beginning to end, but this stunning debut from the rock band Gordon does that and more. FVom the bouncy, p.sychedelic-laced opening track, "Fortified Grapes," to the melodic wistfulness of "Long Island," this entire collection transcends the sea of mediocre recordings flooding the marketplace. Noted producer Brendan O'Brien (Peaii Jam, Stone Temple Pilots, Rage Against The Machine) pmves once again that he has the Midas touch when it comes to working with artists whose music packs a wallop. (Gortlon, the first act to l>e featured on the cover of Bill- board sister publication WejitherBu- reau, is signed to O'Brien's Fifty Seven record label.) Gordon is based in Los .Angeles, but the band's popTock harmonies have a British feel, as e\idenced by the Beatles-influ- enced "Mr Cornucopia." The powerful "Better Daze," with its rousing chorus, overflows with triumphant optimism over tragic loss. L<?ad singer/guitarist Chris Dye has the kind of star-making vocals that can go from cai'efrce play- fulness ("Coukl Be Worse") to bitter- sweet world -w eariness ("Left Alone") to a commanding i-e.'yjnanee ("Feed"). With guitarist Jeff Phillips (who co- wTote all of the songs), keyboardist Dave Sobel, and bass player Greg Evanski on board, Gordon leads with an undeniable classic. buoyant mood and a mature frame of mind, dropping reality science along with cl».'y*ic battle rhymes and party jams. One highlight has to be the self-explana- tory "Me & Nas Bring It To You Hard- est." featuring Rick flinging his unique style with one of his finest lyrical scions. Another is "Who Rotten 'Em," a fully detailed fantasy set in Eg>'pt of the pharaohs (with a touch of Rome), in VARIOUS ARTISTS Streams PRODUCERS Bifi'l BojfBCOl-. Lwen 8alm«n Word 090688600228 This powerful album is one of the most important releases from the Christian record industry this year. Although it comes fi-om Word Records, the project is too expansive to be considered a contemporary C'hristian release. It's an album for anyone who is hurting and in need of a musical cure. Poignant and uplifting without being preachy, "Streams" opens with "Job," a power- ful ballad by singer/songwriler Cindy Moi-gan. an expressive vocalist and a songwriter of tremendous depth. Mor- gan's piece seLi the stage for the exceptional songs that follow. Clan- nad's Maire Brennan joins Michael McDonald on the Celtic-influenced "Don't Give Up." Sixpence None The Richer's Leigh Nash turns in a lovely, ethereal performance on "Breathe." Amy Grant and British pop band Deliriou.!? team up for the achinfi^y effective ballad "Kind Me In The River" Chris Hodriguesi. Michelle 'I\imes, Burlap To Cashmere, Point Of Grace, and Jaci Velasquez each turn in evocative iierformances, but "The Only Thing 1 Need" should go down in history as one of the most gorgeous pop songs ever recarde<l. On it. Christ- ian pop group 4HIM joins Jon An- derson from Yes on lead vocals, and the interplay of the voices is s|MJctacu- lar The project finishes with a beauti- ful orchestral suite by the Irish Film Orchestra. Passionate, eloquent, and hopeful, this is music that has the l>ower to rejuvenate. which Rick's wit earns him the role of court je.ster — but the ou.sted jester gets fed to the lions. A parable of record-busi- ness runnings? Maybe. The Ruler has pulled off the impossible here: engi- neered a sure-shot comeback that's as fresh as his 1984 breakout hit. "La Di Da Di." SPOTLIGHT JACK LOGAN Buzz Me In PRODUCER Kosmo Vinyl C«prtcom 314 538 925 Logan continues to fulfill the astound- ing promise of his universally acclaimed 42-lrdck "Bulk" debut (Music To My Kars, May 28. 1994, Bill- board), and "Buzz Me In" lakes his home-handyman mode of music mak- ing to a new power-to<tl plateau. Arguably the finest short-story stylist indie rock has ever yielded, Logan take his place beside his excellent, unassuming accompanists as they instinctively fill in more background and foreground in his wonderfully observed tales of life's stark messi- ncss. As a IjiicisL'vocali.st, Logan him- self hits ever>' bent nail s^piarely on the road-textured "I Brake For God," the rollicking "All Grown Up." and the saloon succor of "Melancholy Girl" and "An>time." This superb album is a developmental night drive of the spir- it, from its blear)' opening track through the wide-eyed "Metropolis" and iH)st -adolescent "Glorious World" to the eerie "Di\ing Deeper" and the fatigued chorus ("I see the weakness in your kneew'I see the [wssibilities" of the anti-ballad "The Possibilities." Until the dour "Gimme A Room" gives way to a wiser "Ordinary Person" and his deep, dreamless sleep. DANCE -k M PEOPLE Testify PRODUCER: M People Epic 69887 It's been four years since danceypop act M People released its last IT.S. album, "Bizarre Fruit." In that period, the British foursome — singer Heather Small, key- boardi.'it Mike Pikering, bassist Paul Heard, and percussionist Shovell — relea.sed two albums ("Fresco" and "The Best Of M Ftople") in the U.K. For thn.se who missed these imports. Epic has creat- ed "Testify." Wiiie the l;l-song collection is primarily a compendium of both British releases, it does offer something extra in the form of pre\iously unavailable remix- es of four classic M Ptfople recordings: "Sight For Sore Eyes," "Colour My Life." "How Can I Love You More," and "Mov- ing On Up," which peaked at No. :U on The Billboard Hot 100 in 1994. The album's title track, also its first single, Ls a lovely downtempo jam that is steeped in soulful rh\thms and vocals— just perfect for warm summer nights. * FRUKO Y SUS TESOS lEsta Si Es Salsa De Verdad! PflO:>DC£R Wano Rincon Fuentes/Miami Records 1 1001 Twenty-nine years after being founded by label executive Jose Maria F\iente8 and Mario Rincon. this standout ensemble from Colombia still can crank out effer- vescent salsa sounds powered by muscu- lar, innovative arrangements that combine an Afro-C'olombian vilK' with brassy aaUa popular in the 197fls in New York, where the group's musical director. Julio Ernesto "FVuko" E.strada, .spent time in UHjM. The expressive voices of Wilson Manyoma and Delfo Ballcstas and the ear-catching improvLsational work of the band's battery of talented musicians, including pianist Alvaro Cabarcas. season an already spicy musical stew cont^iining a multitude of catchy paeans ranging from male-female relationships ("Cuida 1\j Mujer." "Igualita Que Tii I Mtyer Ingrataf) lo African pride ("El Negro LucumD to getting out of jail ("Mi Lihertad"). Contact: •.iOo-mtmZi. CLASSICAL ^ CATHERINE MANOUKIAN: CHOf IN ON VIOLIN PRODUCER Kpitn wwne' Marquis aastks 7471 81235 Molin transcriptions of Chopin, that most pianistic of composersV It may sound like a desperate bid for attention in a crowded anniversary year — thLi October marks 150 years since C'hopin's death — but Catherine Manoukian jK'rsuades the o[H^n■minded lis- tener that it was all (or at lea.st mostly) meant to be. Armed with new and goklen- age arrangements, the 17-year-old Canadi- an \iolinist exhibits a romantic tone and confident touch, reveling in the legato rich- noR.s of the various noctiimes, mazurkas, and waltzes. The disc's centerpiece, though, is the pas.sionate Cello Sonata, newly transicribed by composer Behzad Ranjbaran. With pianist Akira Eguchi in tow. Manoukian has at the very least given us .something that many more seasoned performers have not in their tiibutes — a fresh way t<i hear Chopin. Di.strihuted by EMI in ("anada and Allegre in the U.S. VITAL REISSUES* DIANA ROSS The Boss <'R;>ouctHS Nh'MAiADitDn). VHarleSlmpion Motown 314549524 DIANA ROSS Diana ' KOL UlERS. Sernatij EiJwartls. N.le RodgHis Motown 314S30927 With Diana Roris currently promoting a new album, "Evnry Day Is A New- Day." Motow n is finally rereleasing two pivotal alhtmis from the singer's dL^co days. Now, while many dance-infu.sed albums from disco' heyday are barely able to stand 20 years on, Inith I979's "The Boss" and !9S0's "Diana" not only stand UiW and proud but actually .sound better than iniiny records released this year. Even their flaws — like "Gi\'e Up" from "Diana" — sound completely flaw- less. Credit this to the deft musician- ship of Ashfont and Simp.son and Edwanls and Rodger.*, the pntduction teams responsible for "The Bo.ss" and "Diana." respectively. The gold-certi- fied "The Boss" includes such dance cla.ssics as "No One Gets The Prize," "I Ain't Been Licked." the title track, and "It's My House." The latter two appear in tlifir original versions, as w ell as their extended disco remixes. The only thing miKsing is the hanl-to-fin<l, premo-only remLv of "No One Gets The Prize." That .>*aid, alwolutely nothing is missing from the Chic-inspired and platinum-certified "Diana." which fea- tures gems like "Friend Ti> Friend." "I'm Coming Out," and "Upside Down." which hit No. I on the Hot 100. Essen- tial. GARY BURTON A Genuine Tof^ Funeral ORIGINAL PRODUCERS. Br« McCuen. Darot Hic* REISSUE PROOtKXRr Ontn Keepn«w RCA Victor 66748 Born in the siunc heady, late-'tiOs atmrui- phere that produced exjierimental clas- .■•ics by the likes of the Bvatles. .limi Hendrix, and Jefferson Airplane, Gary Burton's "A Genuine Tbng FUneraJ" is a jarz concept album — "a dark ojwra with- out words," |)er its composer (.'aria Bley. The tale follows the birth, death, and rebirth (»f juzx. jdthough you dim't nt?ed t*i recognize the program to eryoy the infectious music, w hich mates early New Orleans jazz and Duke Ellington with Krik .Satie and Kurt Weill. ViU' virtuoso Burton is joined by a midsize*! band of s^Kin-to-lje-migor name.s. including key- boaniist Bley. gtiitarist Larry Coryell. sa.\ists Steve Lacy and Gato Barbieri, bassist .Ste\"e Swidlow. and tlnunmer Bob Moses. Kudos to RCA for reissuing this unique album with greatly re-lurbisheil sonics, as well as Itonus tracks from Burton's IWi7 LP "Lofty I-^ke Anagram." This sot u* joined in the lalH'l's long overdue "Clasiiii- Kdition" series by key titles from Paul Desmond and the great Sonny Rollins. The only caveat: The originid album artwork, often in.'^pired, should have been re- prmiuced closer to full CD size — instead of limited a jKislage stamp surroimd- ed by a generic-looking boi-der. ALBUMS: SPOTLIGHT Releases deemed t)y the review editors to deserve special attentior on the basis oi musical mefit and'or Billboard chart potential VITAL REISSUES: Rereleased albums o* special artistic, archival, arwl commercial intefest, and oiilslanding collec- tion5 0ti*Drk5t>y one Of more artists PICKS (►): New releases predicted lo hit the top hatf the chart in the cofresponding format CRITICS CHOICES (*); New releases, regardlessol chart potential, highly recommended tjecaiise o* Itieir mirstcal merit, MUSIC TO MY EARS ( J3J New releases deemed FVks which were featured in the "Mus*c To My Ears" column as being among the most significant records of the year All albums cammercialty available in the U.S. are eligible. Send review copies to Paul Vema, Billboard, 1 51 5 Broadway. New York. NY 10036 Send country albums to Chet Flippo. Billboard. 49 Music Square W. Nashville. TN 37203. Send Latin albums to John Lannert. 1814 Fern Valley Road. Louisvilte. KY 40219. Other contritjutors: Irv UcMman (BroadwayVcabarel/NY); Brad Bambargier (classtcal^t^.Y); Steve Groytxnv (jazz'N Y); Deborah Evans Price (contemporary Chnstian'Nashv-il let; Gordon Ely fgospeO: John Diltbertofnew age) BILLBOARD JUNES, 1999 19 Reviews & Previews SINGLES EDITED BY CHUCK TAVLOR ^112 YourUttef (4 191 PROOUCCR: Khns KellDW WRITER' Oiane Warren PUBLISHER: RealMngs. ASCAP Bad Boy Records {CD pronx>i Songwriter Diane Warren eouW be com- pared with the Backsti-ect Boys in terms of sheer hit potential, and on this silky bal- lad, she adds "executive producer" to her credits. Following 112's monster smash "Anywhere," this tiallad keeps things low- key and mekKiic for the most part. It's nice, it's sweet, and it effectively showcas- es the members of the group as a truly gifted quartet of singers. The only prob- lem here is that "Your Letter" sounds an awful lot like any 'N Sync or 98' ballad (though Warren has not written for those groups), and it lacks that signature bridge that has brought the gifted songwriter auch great acclaim. While this song is a near-guanuitee to score big at both R&B and top 40. thanks to the act's current hot streak, it's going i« take a strongly imagetl \ ide<i to make sure audiences know just whimi they're hearing. ★ DONNA SUMMER I Will Go With You (Con Te Partira) (3 sai PRODUCER: Hex Hector WRITtRSi F S»f1on. L, Quafanlotlo. D Sunwnw PUeilSHERr not listed Epic 42153 tCD pnxnoi Summer gets a much-deserved and needed respite friDm belting the well-worn. '70s.-era material that's made her the undisputed queen of disco. Lifted from "VUl Presents Donna Summer Live & More — Encore!," the soundtrack to her forthcoming VHl special, "I Will Go With You" \a a delieious- ly grand interpretation of the smash Andrea Bocelli/Sarah Brightman ballad "Hme To Say tiootlbye" — replete with romantic new Ijrics. Summer is in peak vocal form, alternating between technically sharp note-scaling and warmly soulful vamping. She's complemented by clubland hero Hex Hector's well-measured produc- tion, which couples melodramatic faux-clas- sical string flourishes with time-.sen."iitive dance beat*;. Needless to say. Summer's countless disciples are already tripping over themselves to herald this gem. Factor in the imminent ardor of top 40 and crossover radio programmers— w ho will find this a perfect uptempo playlist replacement for Cher's fading "Believe" — and you have the makings of a mjissive hit, ★ TIMMcGRAW Please Remembef Me (Pop Ridio RembO 14.29) PRODUCERS Byron GalllmofB, James Stroud Tim McGraw WRITERS: R Crowed. W iRnnliigs PUBtlSHERSt Sorty/ATV Tgnei, ASCAP; Bkic me*. BMi Cufb 8897 CCD promo) Superstar country crooner Tim McGraw joins wife Fkith Hill in the bid for lop 40 acceptance with this intensely forceful bal- lad, written by the authoritative t<>am of Rodney Crowell and Will .Jennings (the latter of whom co-wTott? Celine Dion's "My Heart Will Go On"). The melt>dy here Ls absolutely entrancing, memorable with a first listen, with words that will bring teju^ to the eyes of any woman who's had to leave an unhealthy relationship and to thoBe men who know she'll l>e l)etter off on her own. Production is lush and melodra- matic, replete with a swarm of strings, dramatic percussion, and all the right touches to match McGraw's heartfelt vocal as he says "so long." This track has umver- sal appeal, and it's been given a sa\-\'j' treatment to conjure top 40 interest. Its only obstacle Ls that, try as he might. McGraw still has a touch of that signature country sound in his voice, which may give pause to unimaginative programmers. But what an inane reason to reject a song in these crossover times. es|>ecially gix en the intensity with which listeners will use this super-classy track to salve their romantic wounds. "Please Remember Me" has already topped Hot Country Singles & Tracks, while the album "A Place In The Sun" debuted at No. 1 on The Billboard 200 last issue. R & B ^ CASE Happily Ever After : \ loi PRODUCER; Chfis nifer*^ WRITERS: C. Woodwwd, C. Mtnderson PuBLlSHERi fiot listed Def Jam 9M4 (CO pfcmoi Case strikes gold — and perhaps plat- inum — once again with this stellar second single from his underrated sophomore album. This time, Ca^ uses his Al Green- esque voice to tantalize with .s>Tupy-s\voGt. ca\ity-inducing hrics like "Will you please do me the honor of being my wife?" I t sounds corny, but don't give it a second thought; it works. Case's vocals ai-e gruff enough to handle a line like "I will be your man, your pi-otector, your best ftiond/Till my humble life is ending and time begins again." We don't know if she comes run- ning into his o|)en arms in the end, but your listeners will be sjjrinting to the phone to request this gem. DESTINY'S CHILD Bills. Bills, Bills (3 69) PRODUCER; »tevin 'Sfie'tispwe' Bdggs WRITERS K, Bnags, K, Butm. B, Krwwles. L Luckett, K, Rowtjnd PUBLISHERS Sh«k'ein Down Music/EMI Apnl/BeyorKe Music/LcToya UusiCi'Kelcndria Music. ASCAP Columbia 40443 (CD promo] Things started out so nicely. He took her to dinner and Iwught nice things for her But now, he's borrowing the car and maxing out her credit card, and it's not looking good. "Bills. Bills, Bills" is one of those tracks that wiU draw immediate attention on the radio, simply because the lyric stands out so instfintly, telling (he storj' of a man who's obviously heading nut the door. Metodically, the track is quirky, with mini-br^akriowTis at the chorus that take some getting used to before they can be fully apprecixited. Destiny's Child certainly had a good run with its debut. "No. No, No." last year, and while its sound isn't remarkably different from the scores of other Il&B female ads, the song will catch your ear the first time you hear it. INOJ Ring My Bell (3: 5D) PRODUCER- Aonsinan Ld' Jon Smith WRITER: f Krv«ht PUBLISHER; Tw KnigtTt Publi^fiing, BMI So So D«r 41853 (CD onymo) .\s with her prerious hits "Time After Time" and "Love You Down." Inoj again tries her hand at reworking a classic track with a contemporary, albeit low-key, R&B arrangement Fbr a now generation, this amid bring the famed disco clas.sic back to ring the top 10 hell again, though for anyone who ix'membei^s the elTervesccnt energy and ecstatic ver\ e of the t>riginal. this will seem like quite an odd choice to cool down for Inoj's delicate vocals and unobtnjsive production style. It also brings up the ques- tion of how ci*edible a career she can devel- op with nothing but covers (then again, the practice certainly hasn't hurt Puff Daddy). Still, there's a compelling edge to this radio- ready track, which young-leaning top 40s might find suitable for segments of (heir audience. COUNTRY ^ LEE ANN WOMACK (Now You See Me) Now Ysu Don't ii-.i7i PRODUCER. Mart" Wriatit WRITERS. T Lane, D Loc. J Brown PUBLISHERS; Fanwus Uuvc CorpVAJmo MiaiciTwin Cittki Mimc'Jm BrDwn'Kfln-Tcn, ASCAP MCA 72098 (CD promo) Womack's last four singles — "I'll Think Of A Reason Later," "A Little Past Little Rock," "You've Got To Talk Tn Me." and "The Fool" — have all peaked at No. 2 on Hot Country Singles & TVacks. Needless to say, that's an impressive, hut perhaps frustrating, feat. Here's hoping Womack sees the summit with this vibrant uptem- po tune. Clocking in under three minutes, it's a short, saucy little number with a live- ly melody, excellent guitar work, and a clever l>Tic about a woman on her way out of a sour relationship. Womack's voice is a combination of childlike Milnerability and spurned-w oman desperation as she per- fectly conveys the c^motion in the Ijiic. This has all the elements necessarj* to liecome a summertime hit — and possibly Womack's long-awaited chart-topper. A- MONTE WARDEN It's Only Love 02) PRODUCER Jc* Tnomas WRITERS. M Waroen. C, Qo/d PUBLISHERS: Warnet-TameoaneiWhited Headed Fly. BMI AsyliMn 1 173 (CD proma) The latest single from Warden's wondeiful Asylum {iebut, "A Stranger To Me Now." is an absolute sonic delight, A retro rockabil- ly romp that echoes the best of Buddy Holly, this is an infectious reconi that |)er- colates with energy'. Warden turns in a per- formance that so oozes w ith [jenMinality, the listener can almost feel the sweat drip- ping from his Kickenbacker guitar as he sizzles on the chorus. Froducetl liy Jt»e Thomas, who also contributes B-:i organ, the track is a smorgasbord of tasty musical touches, from Sonny Garrish's dobro to Eddie Bayer's h>*pnotic drums. It's fresh, fun, and different. If country radio joins th(? pailj'. Waifien could fin<l himself with a well-deserved hit on his hands. DERYL DOOD John Roland Wood I2 39} PRODUCERS: Blake ClHncey, Criip Young WRITER: T. Jones PUBLISHERS: Song^ oS Pol^am IntemationaUCoki Beer Music. BMI Columbia 41906 (CD immo) This is one of the best cuts on Dodd's e.\celient .self-titled sophomore album. Written by Troy Jones, it's a lively look at the change in lifestyle after the local hell- rai.ser finds ".losus at a tent revival right outside of town." The lyric chronicles the antics of the "meanest sinner to evei" U\'e and breathe," fi-om the blue lights chasing him down to the street signs full of bullet holes. After his conversion, the whole town can once again feel I'ree U> turn its "women and children back outside." Prograjnmers shouldn't shy away from the religious ele- ment ThLs is a thoroughly country cut, NEW 8t NOTEWORTHY VERTICAL HORIZON WeAr«<4 00i PRODIJCFRS M-iiKfrnli-rt, BwiGnww WRITER: M. Sr.ariiii-ri PUBDSHER: MascarxMawnicl. Musk.WB Corp, ASCAP RDJ 65758 iCO prcnio; The four guys that make up Vertical Horizon met at Georgetown University and now put their first widely rele:»sed track "We Are" to the te.st. Looks like the professors can lirag about the four ;is former students after all. This casu- ally paced track has all the makings of a miyor mrxlern rock'^pttp hit hitting harder than matchbox 20's music but maintaining an accessibility that could open dooi"s to a more mainstream crowd. You can tell fnjm the raw ener- g>' of this track — its cocky guitars, orgimic i)er«i.ssion, and .standout vocals — thai these guys can pnjbably Xour it up in a live setting. The hwk lien' is a one-listen Heal, with the title chanted in a way that drills it into your noggin for a good long while. The gixiup worke<l on its upcoming album. ■'Kver>'thing Ymi Want," with produc- ers Mark Endert (Fiona Apple, Madon- na, ShawTi Cohin) and Ben Grosse (Fil- ter, Barenaked Ladies, Republica), so it's obvious that this isn't just fun and games. Vertical Horizon h;is alreariy njlea-sed Ihi-ee indejx-ndent CDs that have sold upwarrl of 70.(RXt, so there's already a buzz out there. Let's take it nationwide. For information, \isH www.verticalhoriy.on.com. marketl by an absolutelj' infectious melodj' and incredible guitar work that make the listener feel like he or she is heaiing a town crier galloping through the streets on horseback, spreading the happy news. It's a good song made great by Dodd's spirited performanct\ He delivers ihv tune with an almost tent -revival fen or in his vocals that will draw Ustenei-s in and ha\'e them singing akmg. For those w ho remember Grand Ole Opry stai' .Johnny Russell's 1973 hit "The Baptism Of .Icsse Taylor," this song rc\isits the theme of town bad guy turned saint, but with a more fiery sense of fun and celebration. It's some of Dodd's iH'st woi'k, and one can only hope it will be the hit he s(i ik's^Tves. DANG E MISS LANE I Can Make You Bounce (Just Bounce!!!} i4 :i:< PRODUCER: CI Rock WRITERS J, Johnson. L, Lane PUBLISHER: rwt listed REMIXER. TNe Haadspinraz 550 Music 40555 (CD promo) This pop funkfest works itself into a fren- zy, just waiting to juice up the dancefloor crowd — which it will with instant ease. "I Can Make You Bounce" heavily utilizes the groove of Rick James' "You And I." accompanied by Miss Lane's faux-nasty rap, which is plump with attitude and phat with rhjTTies. There's "1-2-^1-1" counting, a flanged dude talking it up at the midsec- tion, and a full-on fixation on just ha\ing a goo<l time. Pntgrammers may want to start this out in the mix-show slot, but it really does hold the potential to make it into other party-time blocks. If Miss Lane's upcoming album "MissAdven- tures" is this much fun, we can't wait. EDDIE MONEY Don't Say No Tanight 59) HK)DUCLRS: Ciirl Cuoma, Franlue Sullivan, Eddie Money WRITERS C Cuomo. F SuHlvan. E Money PUBLISHER; ndt Itsiefl CMC tnternational 87299 {cjtt BUG) ir^vtio ungp^ You've got to love Mone\- for aggressively fighting to stay in tlie game. The great thing is that you should never count him out either. He's often pulled out an une.Kiwctwl hit when no one's looking. That could be the case with this first slice of his forthcoming disc, "Ready ICddie." There are no sur|)ris- es here. Money's distinctiv'e rasp is in excel- lent Ibnn. and he flexes it to the ma.\ over the kind of crisj). guitar-heavy f»p''rock instrumentation that made "Take Me Home Tbnight" and ""IVo Tickets To ["anulise" classics. Even the most precitms "hi()ster" will have to own up to the fact that the hook here Ls killer — and ripe for AC picking. ROCK TRACKS ^ MARY LEE'S CORVETTE Need For Religion [3 m PROOUCfR. Eric 'Roscce' AmDei WRITER: Maiy Lee Ko«1es PUBLISHER: Magfla Lane Music, ASCAP WIM Pilch 99001 iCO pfomo» Misplaced faith is one of the maladies of the end of the millennium, and this clever- ly written indie rocker from the acclaimed "TVue Lovers Of Adventure" album says it all in its truly inspired chorus: "Mayl*e it's just my need for religion/That made me belie\'e in you." Lead singer Mary I>ee Kortes will make disciples out of listeners as she wears her w'ounded heart on her allmng sleeve. And a great guitar hook underlaid with accordion figures and elec- tric sitae rifling helps pound home this wonderfully fi"esh track, which triple-A should adore. Indeed, it's one of the finds of the summer ^ THE CHEMICAL BROTHERS Let It Forever Be 13:39) PfiOOUCERS: The Chemical Brothm WRITER- not lrs,ted PUBLISHER: not lti,ted Astratwerks 69902 \C0 ommo) Could this actually be the same act that once ruled the club roost? After flirting with mega-mainstream stardom for sever- al years, the I'.K. duo of Tom Rowlands and Ed Simons have cooked up the jam that will finally push them over the top. "Let It Forever Be" — which features tastefiil, appropriately Beatles-esque guest vocals by Oasis' Noel (rallagher — crackles with jittery, 'fiOs-flavored guitars and a chorus that's downright unshakable. Ever mindful of their core audience, Row- lan<ls and Simons frame the track with ati'obing electronic koyboartis and skit- tling, quasi-funk beats. In short, this Is the kind of jam that both modem i*ock pro- grammers and turntable artists can embrace. Here's the real question at hand: Are toji 40 programmers a<h'enturous enough to witien their narrow playlists to inchuie this iih-sit-\ibrant bit of pop blisA? ^ORGY Stitches (3:21) CRODUCEHS iosh Afiraham, Of» WRITERS: J Gordon, A. DerakJ), R- H«MiR. R. Shuck PUBLISHERS: WB Music/Vision X MuM^'Amincol Minic/ New Stalic MirtJ&twr Sapiem Muvc. ASCAP EltfiMirtrM/Reprise 9675 (CO vmrna) No. it's not a New Order cover this lime, but Org>' l*; still riding the new wave in this follow-uj) to "Blue Monday." The act's slick, decidedly '90s veneer keeps the track from coming off as a purel>' retro project, but the vocal stylings are unaiwlogetically 'KOs and refreshingly serious about it. The hard, industrial-inspired hassline and choppy percu.'ii.sion bridges iTcall Nine Inch Nails' first album, "Pretty Hate Machine." as does the refrain's vaguely naughty "tjing yourself to me'stitch up my empty hands" theme. Org>' must ha\ e known that new- wave and early Nine Inch Nails were due for a revival, Ijecaiise the combination is ear candy for the 18-24 demo, which suck- led to the former and sulked through puberty to the latter. In the wake of Org>''s cLU-renl hit. radio is sure to jump on this. RED HOT CHILI PEPPERS Scar Tissue (3 381 PRODUCER: Rick Rubin WRITERS A. Kledis. Fiea, J. frusciante. C. Smith PUBLISHER: Moetietiiblame Mush;, BMI Wamef Bros. 9776 (CD promoi The Chili Pepijers haven't changed too drastically since they hung socks on their extremitie,s and graced the stage at the second I<ollapalooza. But if this single is any indication, they've grown into a healthy, funky melodicism that Iwn-ows as much from Tom Pftty and Lou Reed as from the Stooges and f^igface. Aside from the gratuitous guitar solo that concludes it, this is a charmingly languid numl>er. A velvety-voiced Anthony Kiedis sings endearing l.vrics to his love interest over muted bass and plucky guitar, and unchar- acteristically harmonic backup vocals complete the picture. "Scar Tissue" is not .so diffpi-ent from the gravelly drug-ditties of yorir that anyone will think t he guys have gone soft, but it's jazzy enough that Ihey won't be accused of stagnancy either. ★ HIGH & MIGHTY S-Boy Document 1999 (4 30! PRODUCER: Mighty Mi WRITERS: E. Metzle*. M Ber^, D. Smitn. D. Lews PUBLISHERS: ForevBf Peoptelonic Vertjai;197|w>es. BMI; Mediru Sound Music, ASCAP Rawkus 53498 !C0 (ironol Rawkus Entertainment is widely and rightly con-sidcred the epicenter for pure, unadulterated hip-hop. Its late.st offering, High & Mighty (Mr. Eon and D.I Mighty Mi), continues in the tradition of Kawkus groups like Black Star and Common. The beat is jumpier than a stuttering 2-ye-ar- old, and the smoothed-out chorus is ju.st as Ih'ely. Renewing the tine sense of the term "old school," High & Mighty trade l.vrically complex verses with the highly animated Mos Def and newcomer Mad Skillz. The witty barbs are reminiscent of heated freestyle sessions on playgrounds in the early '80s, with one kid doing the human beatbox while thi"ee othei-s take turns freestyling, occasionally eliciting "ooohhs" from their peei-s. This should-b<' hit is des- tined to get some "ooohhs" of its own. BlUni CQa PICKS ( ^): New releases witti the greatest chart potential. CRITICS CHOICE New releases, regardless of potentral chart actton. which the reviewer highly recommends t^ecause or their musical merit. NEW AND NOTEWORTHY: Highlights rww and UlUDLEHa developing acts worthy ol attention. Cassette, vinyl or CD singles equally appropriate for morH than one formal are reviewed in the category with the trnwdest aodieoce. Ail releases available to radio and/or retail in the U.S. are el tgi We for review. Send cop;Gs, 10 Chuck Taylor, Billtxiard, 1515 Broadway. New York, N.Y 1Q036. Countiv singles should be wnl to Oetwrah Evans Price. Billboard, 49 Musrc Square W , Nashwile. Tenn, 37203. ContritiutOfS; Dylan Siegter (N.Y.). Aliya King (N.Y.), Michael Paotetta (N Y) 20 BILLBOARD JUNE 5. 1999 GENERAL MEDIA EDITED BY EILEEN FITZPATRICK Reviews & Previews HOME VIDEO BY CATHERINE APPLEFELD OLSON DEGRASSI JUNIOR HIGH: KISS ME. STEPH WGBH H0(1« Viaeo M minutes each. $19.95 each, $39.95 tor boxed set I.ong before there was "Beverly Hills. 90210," "My So-Caltcd Life." or "Daw- son's Crpek," there was a TV scries in the '70s about life in junior high ami hif^h school. Due to the popularity of teen shows today, WGBH is brinpng hack "DeGrassi" in three ta|>es. And viewers may just discover that the ghow was as good. If not better, than some of its mod- ern contenders. The tough teen issues of self-discovery, popularity, rivalry, and raging hormones remain the same. In "Kiss Me, Steph," eighth -firader Stephanie embraces her budding wom- anhood by trading kisses for votes dur- ing the election for class president. She «ins. but she loses her best friend along the wa.v. THE STORY OF GOSPEL BBC Viaeo-^Om Century Ftw Home Entertainmefit B8 minutes, S19.9S The stor>* of the birth of gospel music in West Africa and its subsequent adaptation into the fabric of American culture is beautifully c<in\'eyed in this documentary, which aired on select public TV stations. The marriage of the emotionally charged stories passed tioun via African songs and Christian h>Tnns occurred during the age of slavery. 1 1 then took on a life of its own and played a pivotal role in the civil rights movement, the growth of pop music, and many other a.*iMK:Ui of U.S. culture. While the story singles out some of the current and past gospel greats — including Mahalia Jackson, .lames Cleveland, the Edwin Hawkins Singers, Cissy Houston, and Aretha FVanklin — its power lies in ils embrace of gospel as a whole. The rich heritage <if the music is as present in footage nf a modern-<lay choir rehearsal as i( is in u vintage performance by TVa- maine Hawkins. MADELINE: LOST IN PARIS Buena VsU Heme tnlertairment 70 minutes, $24.99 It's a case of mistaken identity in this feature-length animated movie starring the mischievous little orphan. \Mien a suave gentleman comes calling from Vienna claiming to be Madeline's long- lost uncle looking to reclaim her. Miss Clavel and the girls arc sari that their friend will be going away but feel it's best for her. Sadly, Madeline's romantic notion of haWng a real family is soon shattered after she takes ofT with the uncle and dis- covers that he's really a con man s*>eking to siphon off her inheritance. Fortunately, her family at the orphanage catches on to the creep and brings Madeline safely hack home. WIMZIE'S HOUSE: YOU'RE SPECIAL Sony Worxlef 50 mifiutM, $12.98 There's always something fun cooking at Wimzie's house, a home day-care cen- ter and the setting for this popular ani- mated F'BS program. The show makes its video debut vdth a two-in-one tape that celebrates the joys of individual- ism. In the first episode. "Be Yourself" (which hasn't yet aired on TV), the bookish Jonas tries to imitate Wimzie's outgoing ways in a bid to become more popular. The second feature, "The Boys Against The Girls." is a new twist on the age-old battle of the sexes. In the end, Wimzie's grandmother helps all the chil- dren see there are merits to both gen- ders and that we should all embrace our differences. THE LIFE AND WORKS OF M.C. ESCHER fiiCfn Horrc Media 60 mrnutes. $19.95 Kschers intricate, ti-omp Vocil graphics don more T-shirts, posters, and computer screens than the works of |>erhaps any other artist. For those who have won- dered what would inspire someone to cre- ate a landscape where fish morph into birds and buildings have inside-out stair- cases, this telling documentary is a reve- lation. Born in Holland, the always-c.vni- ca! Escher found his love and life's work in Italy. There, he experimented with various styles and materials, some of which may come as a surprise to those who only know his most commercial works. The tape features a rare interview with the artist, conducted in Dutch with English subtitles; journal and letter excerpts; numerous representations of his art; and a travelog of some of the sites that served as inspirations for S4t many of his works. THE BUILDING OF HOOVER DAM MPI Hixiw Vii3eo 53 minutes, $19.98 "Hoover Dam" is one of three new MPI titles that examine tJie genesis of the great construction masterpieces of the 20th century. Produced by ABC' News for the Discovery Channel, the pnigram tells the incredible stor>' of how the lai-gest BUENA VISTA SOCIAL CLUB Directed t)y Wim WeiWere Produced by Uiiich Fesiberg Directors of pholography: Jorg Widmer. RoCby Multer Editor: Rnlor PirygodOa Fcgturod muslcigns: Ry Cwder. Ibraluin Ferrer, Ruben Gcnzalez. Omara F^jrtuo'ido. Eiiades Ochoa, Compay SegundD, Joachun Coodef. Juan de Marcos Gcxvulez, Orlando 'CaCvaito' Lopei. and otYten Artisan Entertainment Opens June 2 in Itmrted release When this documentary about the Cuban musiciims who played with guitarist Ry Cooder on the 1997 Grammy-winning "Buena VLsta Social Club" album pre- miered at the Miami Film Festi- val in February, the audience of mainly Cuban exiles clapped and cheered as if they were at a live performance, and some shed tears. The film, directed by Wim Wenders, deftly encapsulates elements of Cuba's past and pre- sent into one of the most evoca- tive portraits of Havana ever produced. Its emotional depth had a particular resonance with members of Miami's Cuban com- munity, which should spread to moviegoers across the country. Wenders' exquisitely crafted cinematic ode to Cuba's music and musicians is not merely a concert film but a rousing cele- bration of the strength of the human spirit. Cooder serves as the fiIm*B narrator and tells how he flew to Havana in 1996 to record a col- laborative album with African and Cuban musicians. When the African artists didn't make it, he decided to take advantage of the trip and asked Cuban singer/ producer Juan de Marcos Gon- zalez to gather together a group dam i>n parth litfrully n>>*' out nf llu- swel- U'hng, ratllesnake-infirsted desert during the Depri^ssion at a time wlien men would do just about anything to earn a IKing. Interviews with dam workers and histori- ans attest to what life was like in the gov- ernment-operated towTi of Boulder City, Nev.: the subHtandard conditions that existed for some workers: the immense technical challenges in building the dam; and the dam's influeiicL' (ui the rest of the U.S. and the wi>rid. MIMV *"2t)lh Century Wonders" series also includes "The Kmpire Slate Huil<ling" and "The tlolden Gate Bridge." SMART ABOUT STRANGERS Rikabi Product ions 23 minutes, $19.95 An excellent program for children ages -1-12. this tape equips its target audience with awareness of "stranger dangers" and offers volumes of knowledge about how to avoid dangerous situations or escape from them if need be. The video was created by a veteran professional and includes instruction from a martial- arts expert, but it's most effective when children talk directly into (he camera to tell their peei-s why it's best to stay clear of certain situations and people. Re-creations of dangerous situations, some featuring a stereotypical bad guy, are acted out and then explained in con- of local talents to play the old- style Cuban music Cooder had been a fan of for years. It was a providential idea, and "Buena Vista Social Club" became the most popular record- ing of Cooder's formidable career. The album also rejuve- nated the lives of Cuban players, who had long been idle and most- ly forgotten in their own coun- trj'. One by one, these musicians relate their bittersweet stories to the camera and at the same time offer colorful insights into the social history of Cuba. Orphaned at an early age. Septuagenarian singer Ibrahim Ferrer tells of rising from his poor childhood to the heights of success as a singer with several top Cuban dance bands in the 1950s, in retirement, though, he shines shoes for cash. From his modest Havana apartment, he talks about his faith in Afro- Cuban religious beliefs, proudly showing off a large household shrine to San Lazarus while Ry Cooder, right, and his son Joa- chim take to the streets of Havana to document the beginnings of "Buena Vista Social Club." the Grammy-win- ning album that inspired the Artisan Entertainment release from German director Wim Wenders. cise language that childi cn can umlf r- stand. The ta|>e also includes hints fur parents, such as ke<rping recent pho- tographs and records of children on hand. A portion of proceeds are ear- marked for the Polly Klaas Foundation. Con tiict : 8:J 1 -*ir)*l-.'>S^'>0. ENTER*ACTIVE BV BRETT ATWOOD TIGER TOYS; STAR WARS WEB SITE www.tljertoyj.com The folfe is with Tijiel- ToVfJ. which holds a lucrative licen.se (o manufacture ami sell official "Star Wars" merchandise. This promotional Web site contain.s the usual product information geared at getting mo\'ie fans to gobble up official merchan- dise. However, Tiger has packed this site with a signiflcant amount of promotional extras, including the untitle video game "Kscajie ^Yom Naboo," downloadable postcards, a screen saver, and a fan bul- letin board. High-speed mtKlem users can choose a flashier version of the site, which contains some cool animation.s and music, while a lower-speed version of the sit4? is available for the handwidth-impaircfl. /Ml that's mis.sing is a cameo appearance fnjm Tiger Toys' other toy phenomena, J-Xu-by (which can be accessed from a separate link on the site). slyly sipping from the glass of rum he leaves as a gift on the alter. While the concert footage is shot in grainy black and white thai recalls old photographs of Cuba's golden age in the '50s, scenes of Htivana are filmed in succulent color for ma.ximum star treatment. Candy-hued vin- tage cars and new, bright-col- ored clothing worn by the musi- cians seem to burst from the screen and become a metaphor for the vibrant spirit that reigns in the now-faded streets of Havana. Much of the credit for the film's look goes to masterful cinematography by .Jorg Widmer ("An American Werewolf In Paris") and Robby Muller ("Breaking The Waves"). "Buena Vista Social Club" also includes footage from a record- ing session for Ibrahim Ferrer's upcoming album, to be released by World Circuit/Nonesuch, which also released the "Buena Vista Social Club" recording. The movie culminates in the per- former's emotionally triumphant 1998 concert at Carnegie Hall. Wenders' film stands on its own, but the music is certainly a major draw. Fans of the album will enjoy the virtuoso improvi- sations during the live perfor- mances, and those unfamiliar with Cuban music are in for an enlightening 90 minutes. At the beginning of one con- cert .scene, one of the mu.sicians impulsively shouts. "Enjoy the real thing!" Indeed, "Buena Vista Social Club" shows these musicians are just that. JUDV CANTOR RAVEWORLD.NET Klectronica and dance music site.*! are fairly common on the Internet, but there's nothing common about the con- tent-rich RaveWorld.net. The site con- tains several notable oxclusives, includ- ing free full-length douTiloadable trackH from l.Tnderworld. D.I Spooky, and other electronica acts via Windows Media Technologies 4.0. Other high- lights include an exclusive video mini- documentary of the Art Of Noise and several original, on-demand D.1 mix programs. The site also contains artist information, chat, and regional dance club and event listing. Among the E- commerce offerings are six Rave- World. net-branded compilation CDs that feature various superstar D.I cul- ture acts, including Fatboy Slim, (ioldie, and DJ Spooky. AUDIOBOOKS 8YTRUDI MILLER ROSENBLUM WHILE I WAS GONE By Sue Miller Read by BLaif Brown Random House Au<l«>8oo*(5 5 hours (abridged). $24 ISBN 0-375-40S63-1 Sue Miller examines the uneasy com- promise between youthful freedom and adult responsibilities in this thoughtful and absorbing novel. In 1968. Iwen- tysomething Jo Hecker left her mar- riage and ran off to Hoston, where she lived a hippie lifestyle in a group house of artists and dreamers. Jo loved the adventure of it all, but a shocking mur- der ended her idealism and sent her home (although not to her husband). Now, 30 years later, Jo is married to a man she loves, with grown daughters and her own veterinary practice. She is happy in her life yet wonders regret- fully whatever became of the "other" Jo's youthful free spirit. Then one of her old housemat«s, Rli Mayhew, moves to her town. Jo is attracted to him but wonders if it's the man or her desire to recapture her youth that she really wants. Veteran narrator Blair Brown immediately draws the listener into the story and the character of Jo. Although Brown doesn't ereat* "char- acter voices," her superb expressions of emotion capture the characters' inner conflicts. WAKE UR I'M FAT! By Camryn Manheim Read by the author Soi.i'delu( Audio PuWisning 3 hours (abrklBed). $18 ISBN 1-559-35313-9 An Kmmy-winning actress on TV's legal drama "The Practice," Camryn Manheim could just as easily have Ijeen a stand-up comic. Her acerbic sense of humor, comic liming, and personal hon- esty make this autobiography a plea- sure. Manheim talks frankly about her weight and the flak she's taken for it over the years. The title is what she finally screamed at her mother oti a shopping trip when Mom once again handed her a small-size dress. Adding insult to injury, after Manheim quit smoking, her father suggested she take up cigarettes again as a way to lose weight. Manheim is honest about her self-esteem problems of the past, but it's clear that those problems have been overcome. Today, she is confident, lik- able, intelligent, and funny. But being fat isn't the only topic covered here. Manheim has had a colorful life, and she looks back with amusement at her younger days as a biker and feminist activist. In one particularly amusing passage, she relates how she tried hard to be a lesbian to fit in with many of her activist friends; to her disappointment, it didn't work. She's stuck being a het- erosexual, which "'ds you know, is no picnic." O N \M*': SCREEN HOME VIDEO: All new titles feleaseo at sell-through prices are eiigiblG. Send review copies to Catherine Applefeld Olson, 622 Oahley Place, Alexandria. Va. 22302. ENTER-ACTIVE: Send review copies to Brett Atwood. Blllljoard, 5055 Wilshire Blvd.. Los Angeles. CA 90036 AUDIOBOOKS; Send review copies to Trudi Miller Rosenbtum. 202 Seeley St.. Brooklyn. N Y, 11218. BOOKS: Send review copies to Bradley Bambarger, Billboard, 1515 Broadway, New York, N Y 10036 BILLBOARD JUNES, 1999 21 Cc »mmmm>- ^RAN^HIN^ our IN10 OIHER INPU^IE^ YEAR OF THE WOMAN WOMEN RAPPERS ^AIN EVEN MORE MOMENIUM RAPPIN' ON THE WORLP WIPE WEB- WOiUPWRAP-UI^ANPIVlORE i:erial .J- DROPPINTHESHIT!! BLACKHAVEN BROTHA LYNCH HUNG COUNCIL COVER DAYTON FAMILY DEADLY SNAKES DEFARI DE LA SOUL DIAMONDS IN DA RUFF DIGGIN' IN THE CRATES DJ JUBILEE FABIDDEN JIGMASTAS LYRICAL GIANTS MONSTA CLICK NATURAL ELEMENTS PRINCE PAUL ROYCE THE 5'9' SCREWBALL SHOESTRING STRICK TONY TOUCH WILLIE STUBZ IbmmY W WWW.T0MMYB0Y.COM nil H I P-HOP hen it comes to hip-hop. the popular media has only the same two stereotypes to offer: the low- riding thug spitting rhymes lifted straight from his current bio or the minstrel-rhymer coming with tracks that could double as commercial jingles. However it's viewed, most agree that hip-hop is historically a boyz game. The few female MCs who held it down for the ladies through the music s successive eras are the exceptions proving the rule. Until the '90s, that is, when hip-hop began to a put on a different, more woman- ly face. Yet, female MCs had always showed they could deliver profits. Salt-N-Pepa's six albums maintained the duo as a Billboard Hot R&B Singles chart omnipresence — with three No. 1 s from '87 to '98. MC Lyte's six sets yielded four No. 1 rap singles between '89 and '96, and Queen Latifah's four sets spawned numerous hit singles, including the prescient "Ladies First." Those founding mamas were succeeded by Yo Yo. Lil' Kim and Da Brat. Yo Yo's '91 "Motherland" set peaked at No. 5 on the Top R&B Albums chart; that album and two of her three subsequent sets made their way onto The Billboard 200. Lil' Kim's '96 "Hard Core" release peaked at No. 2 on Top R&B Albums and No. 11 on The Billboard 200, and she's had two No. 1 singles on the rap chart between '96 and '98. Da Brat's '94 "Funkdafied" peaked at No. 1 on the Top R&B Albums chart and No. 1 1 on the Billboard Top 200. Her '96 sophomore set, "Anuthatantrum," reached No. 5 on Top R&B Albums and No. 20 on The Billboard 200. Not every woman who followed through the door these pio- neers rammed open has made quite as much noise, but each has engraved her own indelible impression in hip-hop con- sciousness. Heather B's '95 "All Clocks Down" (from her "Takin Mine" debut set) peaked at No. 15 on the Hot Rap Singles chart, and, in '98, her "Do You" reached No. 7. Bahamadia's '96 "Kollage" set peaked at No. 13 on Billboard's Top R&B Albums. Nonchalant's '96 "5'O'clock" (from her "Until The Day" debut album) peaked at the top position on the Hot R&B Singles chart, and her '98 single "Take It There" peaked at No. 8. Foxy Brown's '96 debut set, "III Na Na," reached No. 2 on the Top R&B Albums; '97's "The Firm-The Album" shot to No. 1 on the same chart, as did '99's "China Doll. " Jane Blaze's No Stoppin' single peaked at No. 2 on the Bubbling Under R&B Singles chart, and her '99 album debut is expected to blow up. Queen Pen's '98 debut reached No. 13 on Top R&B Albums, yielding two singles that reached the top 10 on Hot Rap Singles. Charii Baltimore's '99 single "Stand Up" peaked at No. 9 on Hot Rap Singles, putting a healthy buzz on her upcoming debut set. Continued on page 28 BILLBOARD JUNES. 1999 BILLBOARD SPOTLIGHT 25 RAP 1 S. i Stna.ight Outta. .Com hat a difference a decade makes. Until H ^ ^ recently, many streetwise hip-hop acts H H H couldn't get arrested at traditional H H H radio and video outlets despite H H H strong demand from consumers. Hip- H B B hop receives respect from fans, so H^^I^^B why not in the media? Many hip-hop ^■^^■^^ labels and artists have learned not to wait for these traditional media powerhouses to come around. Instead, they are fighting the power and going direct to the Internet and straight to con- sumers with word of their new releases. Some artists, such as Public Enemy, are using the Inter- net as the primary distribution outlet for sales so that they can grab a larger profit from each disc sold. W PUBUCilENEMY r* THEilE'S A POI^N 60iN 9N ■nt:i nirxsin ir« now Kinsw "f " dk'anig your MwNlMa Public Enemy is teaming with online label/retail- er Atomic Pop, which is headed by industry vet- eran Al Teller, to sell its latest album directly via the Internet. The disc, which can be digitally down- loaded or purchased through mail order, hit tradi- tional retail a full month after it debuted online. "We're heading into a new century, and the lawyers and accountants at major labels would never do things like downloads direct to fans," says Chuck D. "It's not the nature of their jobs to do something like that. They've learned they couldn't pimp the technology and will fight it as long as possible. The public has the technology before the music business does, and they fear it." Public Enemy is among the acts embracing the unprotected digital-download technology tVIP3. The controversial music format offers musicians immediate access to a global listening audience through their computers. Major music companies are concerned about MPS because it lacks any copyright protection. MP3 enables Web users the ability to easily copy and distribute near-CD- mm quality music on the Internet. As a result, there are thousands, if not millions, of unauthorized music files circulating via the Web. However, not all of these files are illegal. In fact, many developing hip-hop acts are using MP3 legit- imately to build a following via the Internet. Most leading music sites, including Tunes.com, UBL.com and the appropriately named MP3.com, now include MP3-specific sections that encourage aspiring musicians to upload their music to a glob- al audience. Since hip-hop and rap music is still facing a difficult time getting airplay in some con- servative markets, the Internet is an effective, direct route to potential music consumers. ONLY NET A great example of a label giving the finger to the system is indie Relativity, which created three original videos specifically for the Internet to pro- mote top-selling rapper Krazie Bone. Relativity cre- ated a digital-download music pack of three Web videos to promote Krazie Bone's album "Thug Mentality 1999," and the label plans to create more Uvt«»f>ywgna«llCM)|Hn{ET|ia bMntgrn iriMtnKoMreMUIVVMMMtSIMtat DfMtCrm 3Mm Web-specific videos in the future. Online retailers are getting in on the exclusive action, too. To capture sales from potential Web consumers, some retail sites are offering Internet- only premiums to fans who purchase music online. For example, ARTISTdirect (parent com- pany of popular site UBL) recently offered a free Nas knit ski cap to buyers of the rapper's disc "1 Am ..." Many independent hip-hop labels that lack the funding to participate in priority placement pro- grams at traditional retail are selling direct to con- sumers via the Internet. In addition, some inde- pendent labels are using the Internet to sell their most controversial releases, which are often shut Continued on page 34 26 BILLBOARD SPOTLIGHT BILLBOARD JUNE 5. 1999 *W STACKIN' CHIPS RAP P - H 0 P eiRLZPOWBH Continued from page 25 The female threat became official in '97. when Missy "Misdemeanor" Elliot's "Supa Dupa Fly" debut shot to the top spot on the Top R&B Albums chart, positioning her with the boyz on rap's front- lines, and fans were treated to the glorious spec- tacle of Da Brat, Elliot, Lil' Kim, Left Eye (of TLC) and Angie Martinez juggling the mii<e in a reprisal of their "Ladies Night" hit single/ video, at that year's MTV Video Awards. Each flashed a bold style that expressed a unique and strong personality — from Lil' Kim's courtier fabulous to Missy's 21st- century B girl — and no one need- ed a man to get their back. Then, in '98, along came "L Boo- gie" and "The Miseducation Of Lauryn Hill." The Fugees mem- ber's solo debut occupied the top R&B Albums position for 32 weeks and went on to set the record for hip-hop wins that year (as well as break the 27-year record set by Carole King for most Grammys by any type of artist) by sweeping five of her 10 nominated categories, including Album Of The Year and Best New Artist THE LAURYN EFFECT "The presence of women is increasing," says Nelson George, author of "Hip Hop America." "The 'Lauryn effect' is going to be very profound. It's not just her. per se. but women have dominated the '90s era of pop music, and it seems natural that Lauryn will spark a rise in the prominence of female MGs." Adds Vibe magazine editor-in-chief Danyel Smith, "L.auryn's made it bigger and better for everybody. She's a singular talent and pushes the envelope. At first, you had to be like a B-boy, then sexy like Kim or Foxy. Lauryn's opened the space where you can be who you are and do other creative things. And Missy exists in that same space." "Women are taking a stand and trying to get their foot in everything," says Elliot, whose "Da Real World" sophomore set drops in June. "Once the door's open for one. it's open for the next woman. Latifah opened the door for doing TV, and she might have opened it for Brandy. Now. it's open for everybody. This is just the beginning." "Coming off Lauryn Hill's Grammy wins, it's a wonderful time for women in hip-hop," agrees Non- chalant [aka Tonya Pointer], whose sophomore set releases this summer. "If you don't hear Noncha- lant, it's Charii [Baltimore] or Foxy or Lil' Kim, because there's so many of us. We're still under a microscope, but we're taking ourselves out from under it, saying, 'This is how it is; take it or leave it. " Some warn, though, that the increasing popu- larity of female MCs carries the potential for a back- lash, in particular, the danger of being reduced to "the latest flava " and then over-marketed to extinc- tion. "This is the year of women for the new mil- lennium," acknowledges Lil' Kim (aka Kimberly Jones), "but it's about to be a little saturated, because so many women are seeing others [suc- ceed in rap] and think they can do the same. But it doesn't work for everybody. Fortunately, there are a lot of women in the industry who are doing their thing. I just hope everybody stays true to the game and keeps representing. There definitely can be just as many women as men, as long as they're doing it because they really want it. That's why we're in this game: to show our strength." STILL A STRUGCLE Still, hip-hop remains male-dominated, and female MCs continue to face a struggle for respect that could escalate along with the numbers of female rappers. "Right now. the men are probably really intimidated by a lot of new women coming in Missy oMIsdemeanor" Elliot Lauryn Mill and taking over." says Kim. Back in the day, Roxanne Shante and Sweet Pea couldn't take the stage unless on the literal or fig- urative arm of a male MC. "It's happening less, but the ones who come in on their own have it harder," says Kim, "as opposed to me coming in with Big- gie [Smalls aka The Notorious B.I.G.]. If he has a huge fan base and brings a female into the game, it makes her look good. But God wants you to be what you are meant to be, whether you're brought in by a man or not." Women are also forced to combat the prevailing notion that a woman can't rock the mike as hard as a man. "It took 10 years for me to get a deal," says Queen Pen (aka Lynise Wal- ters). "Ten years ago, we weren't part of the hip-hop scene. The record companies weren't trying to hear female artists, because they didn't find us marketable back then. On the underground tip and streetwise, though, there were always female hip-hop artists, but we weren't on the main scene. And you can't get on that scene if you don't have the deal! Then Da Brat came out and Lil' Kim. There weren't any female artists who were bold like her. You don't idolize people for music, but for their strug- gle. Kim went from point A to Z, and so did I. Overcoming obstacles in the ghetto is different for a female than a male." Not everyone agrees that hif>-hop's gender discrimination comes exclu- \ sively from "outside." "We've come a M long way, and we re just now getting ■ ' props," says Charii Baltimore (aka Tiffany Lane), who stepped out with- out a man's backing. "If your album's wack, you wrote it; if it's hot, a man did. Guys have dominat- ed for so long, they don't want to give us props. It takes a lot to prove yourself I met Mobb Deep and told them, I love you all,' and they looked at me like. Whatever.' Then we did a song together, and it was blazing. They had to see me write and spit my own rhymes before they'd accept me. You're a girl: that's your negative trait right there." "Women always have a tougher time." observes Smith. "People always think girls can't rap like boys, and they always have to work twice as hard. But the truer women are to themselves, the more records they'll sell." MISSION UNSTOPPABLE Some women insist that, if the skills are in place, any woman will be unstoppable. "If your talent is great, and a great team supports you, you can go," says Da Brat (aka Shawntae Harris). "Salt-N-Pepa were first to go platinum, but I'm the first to go plat- inum solo. I don't like to feel I'm less than a man! Please! A woman gave birth to that man!" What Nelson George dubs the "Lauryn effect" — the current label scramble for L.auryn clones, hip- hop women who can also sing — could become another negative. "Industry people are asking black-music division heads to find their own Lau- ryn Hills." he says. "They bring in hardcore rap- pers with good skills and are being told, 'Can't we get someone more like Lauryn?' We are going to see a lot more artists emerge with deals who can sing and rap, and we're going to see more empha- sis on positive, accessible artists. As an individual. Lauryn is one of the most unique to come out of hip-hop; maybe some wack records will come out of the Lauryn effect, and maybe one or two good ones. We don't even know all the ways her suc- cess will affect the industry." Some MCs are already leery. "People are so damn stupid that, if one person sings first, and then you do it, you're accused of trying to be that per- son," says Nonchalant. "I do a little bit of singing on the first album, and on this one I sing a few cho- ruses. But I feel like I have to wean people to it, because they're so fickle. Latifah caught a brick for Continued on page 32 28 BILLBOARD SPOTLIGHT BILLBOARD JUNE 5. 1999 -flHc'ht USPatftl* on Iteru RnHUM*/ ^ ti*MM>nM<KSaiiliMK:EinMi>n>ninil>>c/<I' IMflSor', HOW'S A PUPPET G GRAMMYS THi THAT'S RIGHT. IN FACT. IN 1999 THE MUPPETS RECEIVED MORE GRAMI ENUF'S ENUF! WE'RE Ti The Source is about to raise tiie curtain on With performances by DMX, Nas, Master P the biggest stage ever in hip-hop history — and others, and appearances by dozens of music, a primetime networic television special with an sports, fashion and film stars, this isnt just an estimated 20 million viewers worldwide. awards show, it's the Hip-Hop Nation's awards There's never been an opportunity quite like show - and it's our time to shine. No pigeons. No this one — and we want everyone involved. scrubs. And no puppets, either. A SOURCE ENTERTAINMENT/TALL PONY PRODUCTION. EXECUTIVE PRODUCERS: DAVID MAYS, MIKE ELLIOT AND TONY EATON RAP 1 1 H I P-HQP QIRUPOWeH Continued from page 28 singing on her last album, and everybody was say- ing 'She's trying to be the next Lauryn Hill.'" "If I could sing. I wouldn't care what anybody thought," disagrees Pen. "That comes from the person being insecure. I'm glad Lauryn's doing both, because that will make cer- tain artists feel they can do that too." BEHIND THE SCENES Skills-singing and/or rapping — are only one route to hip-hop longevity. Many male artists strengthen their positions by launching labels, and the women are following suit. "It always about someone taking that step out for everyone to feel comfortable with it." observes Elliot, whose Gold Mind label ros- ter includes herself, 18-year-old rapper Mocha and singer Nicole Wray. "Some might be scared to take that responsibility, so for them to see someone like me come up in a short time and be successful makes them more confident: She did it; why can't I?' There's enough room for everybody." "People feel that, when a female does good, a male has to be back- ing her," says Mocha (aka Aleesha Richards), a Virginia State Univer- sity student whose "Hot Chocolat- te" debut is set for a late-summer release. "But I have a female backing me, and it's a lot easier, because she relates to me and tells me things woman to woman." Lil' Kim established her Queen Bee Records "right after the Biggie passed." she says. "I had no choice but to become a very mature young lady. I kind of made the label give me my own record label. Lil' Cease is my first artist, and his album releases mid-June." Unfortunately, working the mixing board, anoth- er way to increase control and profits, remains largely a boyz game. "I'm trying to get into that right now," says Kim. "I told them what I did and didn't want on my album [due mid-July], and I'm learning what the buttons are for." Kim took out additional insurance by launching her own Web site, 900 telephone number and fan club. Da Brat refers pointedly to "my production team" and her role as executive producer for her Throwin Tantrums Productions. "I add tracks and take them away, and I have the final word," she says. "Throwin Tantrums Entertainment is my label in the works. I have to get it just right before I bust out." Nonchalant advises female MCs to keep their writing skills sharpened. "The '5 O'clock' gold sin- gle allowed me to stay within the business while I was on downtime," she says. "I had a publishing deal, because I wrote 90% of the album, but I didn't take advantage of writing for others. I had a radio show on WPGC 95.5, in D.C. from 10 to 2 middays, so it kept me around music and current. Then I got into writing really hard for myself. So if the record doesn't work out, I know I can still write. Women should write at least 50% of their albums if they want to be in the business longer." "I don't think it matters," says Baltimore, whose debut album drops this summer. "Missy writes, produces, has her own label — she's 'Puff Mommy' — and it's still the same. I don't know what it's going to take, but it will get better eventually. A lot of females are coming out in '99. and, hopeful- ly, that will help." THE rEMININE PERSPECTIVE Despite the challenges, it's becoming increas- ingly clear that women have something different to offer — a woman's view of the worid filtered through each artist's unique experience and sensibility. "Women in hip-hop are more positive," asserts Missy. "You're almost giving that mother instinct. and you think about children. Not to say anything bad about the males, but. from their standpoint, it's more, 'Yo, it's cool right now to talk about 'this.' My new album is named 'Da Real World.' because I touch on a lot of real topics. Last time, it was fun and pretty much camouflaged. Instead of just being an artist and making good records, I have to extend further 'cause kids respect entertainers. Whether you want it or not. you are a role model. I'm going to be talking to kids about abuse, 'cause I went through watching my father abuse my mother, and I was sexually abused at 8. There's so many people being abused or watching their par- ents fight, and they need to know how you got over it and what they can do. We should touch more posi- tive stuff these days, 'cause the worid is getting crazier and crazier." "There's a lot more to be marketed with the addition of a woman's per- spective," agrees NYC Hot 97 jock- turned-rapper. Angle Martinez, whose debut album. "Up Close & Personal." drops in August. "For a long time, rap expressed a male perspective. Females give a different perspective. You have somebody like Kim. who's been through her stuff, and Lauryn, who's been through a string of other things, and Queen Pen, who repre- sents the raw, rowdy, struggling sin- gle mom. One reason I decided to do this album is I have something to say that I'm not able to express on the radio. It's almost like I'm taking a jour- nalistic approach toward what I've seen in hip-hop. I'm not going to be rhyming about hustling in the streets, but I've seen people go through the record-business mill. They come in and hit. then get hurt when they realize it doesn't love you back." SPEAKING FOR SISTERS Not surprisingly, many female MCs are seizing the opportunity the mic affords to address their sis- ters. "I'm definitely for the ladies [on her upcom- ing June album release]." says Da Brat. "I'm work- ing right now on 'My Bitches,' and the hook goes: To all my bitches that live the hood life/good life/My bitches that don't need a nigger for shit/Bitches with a game plan/rocking name brand/I dedicate this one to you.'" "I decided to go personal, so people could see how I came up as a single mother [of two daugh- ters] going to school," says Baltimore of her upcoming "Cold As Ice" debut. "Everyone has a core for whom they represent, and mine is young women struggling to raise their kids. Even if they didn't get any meaning from my album, they still see. She has two kids and did it. so why can't I?'" "I'm touching on more female issues, especially those relating to urban women." says Rah Digga (aka Rashia Fisher), the sole female in Busta Rhymes' six-person f^lipmode Squad. Her debut solo set drops this summer. "Female MCs have to at least level out as far as what's fresh and dope, and that's been set by men from years ago." she says. "I didn't really get a chance to touch on more female issues with the Flipmode album. I want peo- ple to get in tune with the feminine side of me, and I'm telling them to get up, stand up and be strong, that you don't have to be 6 feet tall and 130 pounds and mixed with Japanese to be beautiful. A lot of women feel shafted by the images of women por- trayed on TV. I just want women to have more self- respect, stick with their dreams, follow their goals and take over the worid." When it comes to getting personal and touching the listener's softer emotions, women seem to have the advantage. "Being a guy in hip-hop can't be easy either." says Martinez. "You always have to be tough because they can't see any weakness, even a little bit. That's got to be pressure for them. I can rhyme on a record about how my heart was broken and I was hurt, but guys think they can't." Continued on page 38 32 BILLBOARD SPOTLIGHT BIOaOARD JUNE 5, 1999 (A J* UFFAyLSikS«»,os«oL^ 23 ttacKs including origmal Malcolm McLaren ™<s ^nd branrt nm «fbv some 01 todays bwst n,p hop hd men KRS-One Soulson and Date Jolicoeor of Oe U Soul. Mil « 'f ■ Le mletvims, radio appearances and ptev«usly una«.lable tracks. 2 CO set paying respect to the most inllueiitial rap group ever Featuring 26 groundbreaking tracks including hits Irom N.WA Ice Cube, Eazy-£, Mack 10. Wesiside Connection, 2Pac, Dr. Ore, Snoop Doggy Dogg. Die O.O.C., Da Lencli Mob. Tha Dogg Pound. MC Ren and more. C0AST2C0AST Classics hits by the original founders ol hip hop music Kmis = LL Cool J. Grandmaster Flash S The Funous Five, Tone Loc An . Barriteaa 4 Soulsomc force, fat Soys, Doug E Fresh and more Includes Ihe new 1998 remi, ol 'The Message" y Grandmaster Hash In Tha beginning Tha Originals Copyrighted material It Only Took Us 20 Years To Get a Clue... Papa Snoop Presents _ White Lion Presents Westside Riderz ' . . " ■ " ' Tee Kee & The Family [Mobstyle) . ' • . _ . • • . ' (White Lion) SKU#: 6667391D01-2 ' ' ' . SKU#: 0659312300-2/4 Urban Music At Bayside. Come 8e See. A&R Coordinator: Brandon C. Rodegeb, 'ext. 224 Urban Music Buyer: Rob Nonies. ext. 212 Marketing Director. Mindy Giles, ext. 220 Promotions: Daric Bergerson, ext. 308 Bayside Entertainment Distribution • 885 Riverside Parkway * W. Sacramento. CA ♦ 95605 ' Tet: 800.525.5709 *. Fax: 916.371.1995 . •■ H I P-HOP STRM6HT0UTTA.COM Continued from page 26 out of larger retail stores because of their violent themes and lyrics. For example, Sacramento, Calif -based Black tvlarkef Records is using the Internet to sell the latest rap record from Anerae Brown, who records as X-Raided. The release has had a difficult time getting manufactured and sold in the U.S., since it was allegedly recorded from Brown's prison cell. The rap- per is serving a life sentence for murder. Another label, AWOL Re- cordings, is using the Internet to protest the imprisonment of rapper C-Bo, who continues to record gangsta-style music despite a condition in his existing parole that prevents him from doing so. The AWOL site posts a statement from the rapper's lawyer that claims C-Bo's jail sentence is a viola- tion of his First Amendment rights. The brand equity of some streetwise hip-hop labels has resulted in fan sites devoted not to the artists but to the labels. Death Row and No Limit are two examples of labels that have fan-created Web sites devoted to the hip- hop lifestyle preached by its artists. PROQRAMMINQ A LIFESTYLE Hip-hop lifestyle program- ming is flourishing on the Internet. Improvements in streaming technology, along with wider deployment of broadband Web connections, are giving rise to an unprece- dented amount of choice among hip-hop tans. Large webcast music services, such as Spinner and Rolling Stone Radio, contain hip-hop- specific programming. Pioneer webcaster Pseudo has amassed a significant fol- lowing through original and syndicated online program- ming. The service features the hip-hop lifestyle program "88 Hip-Hop," which consistently ranks among the top music RealChannels at RealNet- works. The success of the pio- neer program "88 Hip-Hop" has already resulted in sever- al spin-off hip-hop programs at Pseudo. including "Beat- minerz Radio," "Fat Beats Radio" and "Queendom." Online webcasters can play music without censorship — and they often do. It isn't uncommon to hear online the expletives that are edited from traditional media. As a result, hip-hop fans seeking the real deal are gathering online to celebrate and expe- rience the true street spirit of hip-hop. ■ 34 BILLBOARD SPOTLIGHT BIU.BOARD JUNE 5. 1999 F^^^ DYincJ^FEAtvRinG ■fHE Secood Hit Sincl m m The WAR^Disc*** I n StOKES Flow Pkepake fok Wak^ Peace Vol. 2 (tHE PEACE Disc)...CominG Soon, PRIORITY ManajemBnl: the firm 9000 Sunsel 8l»ll , Suile 525. Los Angeles. CA 90069 v.priohlyrec.com RAP 1 1 ft's no secret that many rap artists moonlight as entre- preneurs. Master P owns a real-estate agency and a sports- management compa- ny, as well as other businesses. Sean Combs owns a successful restau- rant and Is embarking on a film career Both Master P and Combs own record labels and clothing lines, as well. But clothing lines and record labels are not the only way for rappin' retailers to keep themselves busy when they're off stage. After bit parts in "House Party " and 'Jungle Fever." Queen Latifah landed a starring role on the sitcom "Living Sin- gle." After the show was canceled. Latifah returned to film in larger roles in movies like "Set It Off" and, more recently, "Living Out Loud" with Holly Hunter and Danny DeVito. She also wrote an Inspirational book for young women, "Ladies First: Reve- lations From A Strong Woman." Rap veteran Spinderella. Mos Def & Taleb Kweli of BlackStar and Lauryn Hill have all chosen distinctly dif- ferent projects to help them give back to their communi- ties, establish themselves as a brand name or simply earn extra cash. SPINDERELLA'S SALON Dee Dee Roper (also known as Spinderella) is one-third of the rap trio Salt- N-Pepa and the proprietor of the She Things day spa and hair salon in Queens, N.Y The salon brings in big busi- ness (and sometimes big headaches) for Roper. "Sometimes. I wonder why I got into this business," says Roper with a laugh. "But it's very profitable, and we pro- vide services that are essen- tial for stressed-out working mothers like myself." Roper recognized the need for an upscale salon in her hometown of Queens, and. when her career as a rap artist took off, she invest- BleokStar > ed some of her profits into She Things — but not without doing her homework first. "The first thing I had to do was pick a good location. I saw the space and could really visualize how it would be. Planning was very cru- cial, and it was also impor- tant that I worked with peo- ple who would share my vision and not just try to advance their own plans," says Roper. While Salt-N- Pepa are on tour. Roper's husband, Mario, assists with running the salon. "It's really helpful that I have the right people. My husband has been in this industry for a long time, so I don't have to worry when I'm on tour" While Roper admits that her name brought in cus- tomers at first, the business now speaks for itself. "The She Things team knows things about the industry that I don't know, so they've made a great name for themselves without my help." she notes. Roper expects her salon and spa to be profitable enough to provide for herself and her family when she puts the microphone down for good someday. And she urges other rap artists to follow her lead. "Find an angle that no one has tapped into yet. devise a detailed business plan and take a few classes in that industry." says Roper. "My business isn't perfect, but we have lots of potential and we're growing fast." BLACKSTAR BOOKS When Taleb Kweli was a student at New York Univer- sity and a fledgling rap artist, he worked part-time at the Nkiru Bookstore in Brooklyn, N.Y The manager of the store offered Kweli a flexible schedule when his career took off as a member of BlackStar (with his partner Mos Def). While BlackStar toured Europe promoting their album last year, the bookstore was experiencing financial difficulties. "Nkiru Books is one of the oldest African American-owned Continued on page 3d 36 BILLBOARD SPOTLIGHT BILLBOARD JUNES, 1999 SUGE KNIGHT REPRESENTS IN STORES MOW S Unreleased SPac Songs and also feat:uring: Cf Absolute Audio Mastering Studios th ice rosmi Frehley Millie Jackson atalie Imbruglia Francis Dunnery i Eddie PalmietigMj Chu C:ho Valdtz Funk Master Flex Big Punisher NSync Freeman & KRhyme Le Roi r aught) KRS-One Daniela Mercury I he iViacareiia Imhotep The O'Jays ioiu liraxloil James Blood Ulmer Mobb Deep The Black Crowes L) Liciieiaiion Fat Joe Skid Row Ace or Base Ciin^cr Baker & the DJQ20 Whitney Houston Mastering Engineers Leon Zervos Tom Brick Jim Brick Brad Johnson i 56 West 45th St. 3ro Floor New Yofix. New York 1CX33B Tel • 21 2«730 • 2044 Fax* 212«730« 2204 absaudio@aol.com contact Melissa or Kristi RAP 1 1 H 1 P-HOP EKTREPREHEURAL RAP Continued from page 36 bookstores in the country. " says Kweli, "and we didn't want to see it closed down. " The rap duo pooled its resources and purchased the store in addition to pay- ing off outstanding debts, including taxes. "We just didn't want to see the store close, even if it meant we had to take a loss at first, " says Mos Def (real name: Yasin Smith). Since assum- ing ownership over one year ago, BlackStar has initiated evenings of spoken-word performances called "Foun- dations, " featuring such artists as the Dead Prez and Sarah Jones. The bookstore has also held book signings for authors like Octavia But- ler, John Edgar Wideman, Walter Mosely and Alice Walker. "We bridge a lot of gaps between the younger and older people in this commu- nity. We want to use our celebrity to get young peo- ple reading Amiri Baraka, James Baldwin and Edwidge Danticat," says Smith. Black- Star believes that authors have valuable lessons for young people who enjoy rap music. Says Smith, "Authors are MCs too: they write rhymes called books." Unlike some artist-run busi- nesses, the BlackStar mem- bers do not intend to use the store as a media tool for their own careers. "We're trying to bring publicity to the book- store — not the other way around," says Smith. BlackStar plans to open up branches of Nkiru Books in Atlanta and Los Angeles. "We have a lot of plans for the bookstore," says Kweli. "If you give yourself limits, you'll find them." REFUGEES FOR HUMANITY Lauryn Hill does more than rap. act, sing and raise her two children. The New Jersey native (and one-third of the multi-platinum group the Fugees) dedicates what little free time she has to the Refugee Project, a nonprofit organization that seeks to enhance the lives of the youth in her native New Jer- sey and the surrounding communities. The Refugee Project offers after-school programs and mentoring, a reading club and a week- long summer camp in the Catskills Mountains of Roscoe, N Y. Designed to build team- work skills and self-esteem, the Refugee Project has also launched Project CARE (Creating Access Through Refugee Efforts) — a forum for online discussions about topics affecting young peo- ple in the inner city. In addi- tion, plans are under way for a scholarship program to assist students pursuing post-secondary education. After completing the Refugee Project Scholarship Program (including a com- petency exam and 40 hours of community service), applicants become eligible for the scholarship. As with most musicians who run outside businesses. Hill has ample help running the foundation as she tours the country. Her board of direc- tors includes such notable entertainers as Mariah Carey, Busta Rhymes, Q-Tip, Spike Lee, Nas, RZA and Malcolm Jamal Warner. While Hill may not make a profit from her outside ven- ture, according to Raquiba Sealy, the director of the Refugee Project, Hill is look- ing for something more valu- able than monetary profits. "We believe that our chil- dren are a precious com- modity," says Sealy. "And we need qualified, dedicated adults to take an interest in our children." ■ Rah DIgga GIRU POWER Continued from page 32 And virtually all female MCs will agree on the need for more unity in the rap sorority. "I love to see unity among women; I love to see women on other women's projects, " says Kim. "There's not enough of it. It goes back to women coming into the game for the wrong reasons, but I can't see any reason why women wouldn't want to work together" "I can't be mad at a black female who's doing her thing," says Missy. "I don't have time for that. I'm so cool, it's hard to even give me that vibe. Mary is my dog, Kim is my dog, and we respect each other. I'm a groupie for Lau- ryn, Erykah's doing her thing; everyone is doing their thing." "A couple of weeks ago, I was on the phone with Missy, " says Martinez. "She told me about some stuff she's been through with the business and gave me advice. She opened herself to me and gave me information to run with so I don't have to make the same mistakes. I really appreciated that. We all need to do more of that — have a more positive energy and help each other out." Whatever hip-hop's future, its music and culture can only gain from women who are no longer the exception and may come to rule by stripping the dead wood from outmoded male points of view and redefining popular ideas about what is masculine and what is feminine. "We'll never be removed," says Pen, who just complet- ed a book of short stories. "We make too much money for the record companies to go anywhere. Even if me or Foxy don't do good records anymore, that's not the end of females in hip-hop. It's '99, going into 2000, and you're gonna see female hip-hop artists doing TV and films, owning labels, writing, pro- ducing and managing. We're going to flood the markets." "We did this photo shoot with Missy the other day, and it was the first time I saw her in business mode," recalls Martinez. "She had two cell phones against her ears, scheduling a plane ticket for her artist, while someone was doing her makeup, and no man was standing next to her, telling her what to do. Every time someone does that, another little girl will see it and know they can do it, too." ■ 38 BILLBOARD SPOTLIGHT BILLBOARD JUNES. 1999 mUNICH— The hip-hop trio Absolute Beginner formed in 1992, when the average age of the three group members was 16. The Hamburg- based threesome — Guido Weis (alias DJ Mad), Denis Usk and Jan Elssfeldt, who writes the lyrics and the beats — signed with an Indie label and attracted attention with their socially critical, German-language lyrics. Last year, the group cut a deal with Universal Music and now records for Universal's Motor Music label. With MTV Germany's support for the debut major-label single, "Rock On, " radio jumped behind Absolute Beginner In time for the October release of a followup track, "Uebes Lied, " and the November arrival of the album "Bambule" and a four-city club showcase tour. After peaking at No. 1 1, the sin- gle "Uebes Ued" contin- ued charting Into the new year. "Bambule (Ruckus)" was co-produced by the group and Matthias Arfmann, a veteran of the German avant-garde rock scene. Guest appearances by such rappers as Samy Deluxe, Das Bo, David R and Ferris MC have given Absolute Beginner street RAP H I P-HOP TH Absolute Beginner cred at the forefront of the Hamburg hip-hop scene. The album has hit No. 1 7 on the German chart. The group performed "Uebes Ued" on the prime-time TV show "Nur Die Liebe Zaehit (Only Love Counts)" and has gained airplay on sev- eral key youth stations, including Hamburg's Radio N-Joy and Radio Fritz in Potsdam, as well as Frankfurt-based HR XXL. "We had been watching the band for a while, so we were keen on their new recordings, " says Wolfram Kehler, music programmer at HR XXL. "Our listeners are between 14 and 26, and we put 'Uebes Ued' on daytime rotation. On two occasions, the band also came in to do live inter- views and performed as headliner at our first- anniversary party. " The video for a new single this spring, "Hammerhart, " was set for rotation on MTV, Viva and Viva II, while the band is set to open tour dates for the Beastie Boys, Dynamite Deluxe and Main Concept before headlining the Flying High Across The Sky Tour with Bloodhound Gang, Samlam, Donuts and Dynamite Deluxe. — ELLIE WEINERT Continued on page 44 malm ii ling ul ji. AKHTOFI lAnOHFAMb 40 BILLBOARD SPOTLIGHT BILLBOARD JUNE 5. 1 999 IN THE REBEL I.N.S. PUTS YOUR B, UNCO BRA CLUTCH MO THE MOBB IS COMIN' THROUGH, SCHEMIN' WITH THE PERFECT PLOT iVfl JROA MUZfl dead prez HIGHLY ANTICIPATED, FULLY AUTOMATIC WHILE OTHER RAPPERS ARE TALLIN 'OFR CATASHTOPHE IS FALLING ON % 4 ^ SI 'OFR CATAE AV/AlLARLIE AiiAGU^Tuu m.s-o-p.cofi vo u mrmTAmmw RAWKUS HOME OF THE NEW HIP-HOP CLASSICS .Mr s A THE HIQH ft MIGHTY "HOME FIELD ADVANTAGE" IN STORES AUG 10, 1999 A MOS DEF "BLACK ON BOTH SIDES" IN STORES SEP 1999 A LYRICIST LOUNGE VOL.2 IN STORES JUNE 2000 A COMPANY FLOW "FUNCRUSHER PLUS" AUGUST 20OO A PHAROAHE MONCH "INTERNAL AFFAIRS" IN STORES OCT 1999 A SHABAAM SAHOEEQ "SCANDALOUS" IN STORES FEB 2000 A THE BEATMINERZ "T.B.A." IN STORES FALL 2000 A REFLECTION ETERNAL cTum iiwiu i. aj m-mti "TRAIN OF THOUGHT" IN STORES APRIL 2000 DISTRIBUTED BY i FOR ORDERING INFORMATION OUTSIDE CALIFORNIA: 1-SOO-23S-2300 IN CAUFORNU: 1-323.487.0151 FAX: 1-323.8S6.0930 CATCH THE WHOLE RAWKUS CREW ON SOUNDBOMBING 11 IN STORES NOW R APHS.HH I P-HOP Zoxea RAP ABOUND THE WORLD Continued from page 40 TeKYe— Now that the "rap lite" fad of a few years ago, epito- mized by trio East End X Yuri, is well and truly forgot- ten, it has been left to hard- core rappers like Zeebra to keep domestic rap a vital and happening part of the Japanese music scene. Zeebra is "hardcore" in the sense that his backing tracks and delivery are aggressive, macho and very in-your-face, but, like all Japanese rappers, he steers clear of the kind of overt mili- tancy or obscenity favored by some American rappers. Instead, his highly idiomatic raps deal with topics of everyday concern to young Japanese, such as relation- ships and coping with life in a wired, stressed-out society. His Japanese is worlds away from the polite discourse of the tea ceremony and haiku; it's the language of the street and of the kids for whom rap is a natural mode of expres- sion, not some exotic import. Zeebra first made a name for himself as the MC for hip- hop group King Giddra and now is signed as a solo act to the Future Shock label, which was set up in 1997 as a hip-hop/R&B specialist imprint by indie record com- pany Polystar. His debut album, "The Rhyme Animal," has sold some 30,000 units since its release last June, small compared to Japanese megastars but not bad for a pure rap act. "Because of its high quality, his music appeals not only to rap and hip-hop fans, but also to R&B and soul fans," explains Madoka Isono, a Japanese- pop buyer at Tower Records' flagship store in Tokyo's Shibuya district. — STEVE McCLURE PARI S — Bridging the under- ground and the main- stream, Zoxea signed a deal with the IV My People label, set up by NTIVI rap star Kool Shen, and released a remarkable debut album, "A Men Tour De Briller (My Turn To Shine)," in February. The album has been licensed through WEA. "Zoxea is midway between crossover rap and underground hip- hop," says DJ JP, an MC and manager of the hip- hop section at Vibe Station, a Parisian music retailer. "Whenever a Zoxea tracit is played at a hip-hop party," he adds, "people get on the dance floor." Enjoying strong support from WEA, Zoxea has made a significant impact in specialized media — including a show on the national hip-hop network Skyrock — and has seen strong sales. No newcomer to the music business, Zoxea — born Jean-Jacques Kodjo in 1974 — almost became a professional soccer player but instead joined the rap act Les Sages Poetes De La Rue in the Parisian suburb of Boulogne-Billancourt. That group was featured on the critically acclaimed album "Cool Sessions," produced by Jimmy Jay, the partner of seminal French rapper MC Solaar. Deeply influenced by '70s jazz and soul, Zoxea also sought — unsuccessfully, to his dismay — to sample a recording of the legendary French singer Charles Aznavour. "I believe rap is the successor to jazz," says Zoxea. "This music was born in the ghettos but is meant to seduce large audiences. In France, it has become a social phe- nomenon." With the group Les Sages Poetes De La Rue, Zoxea opened perfor- mances for NTM last year and has a full schedule of performances across France this year. — C^CILE TESSEVRE Continued on page 46 THEWORLD'S FIRST <>/>. v. CONTACT G/o Pampellone Tel: 21 2-268-4937/41 Fax:212-268-4955 HIP-HOP XPO 208 WEST 30TH STREET, SUITE 902 NEW YORK, NY 10001 32nd Street & CONTACT Winston Sanders Tel: 21 2-268-4937/41 Fax:212-268-4955 WEBSITE www.hlp-hopxpo.cotn nue, New York City 44 BILLBOARD SPOTLIGHT BILLBOARD JUNES, 1 989 "WHO DAt? Sole's DEBvt Albviti rSKjn DEEP" cominG tHis svraixiER^ ^ RAP 1 1 RAP AROUND THE WORLD Continued from page 44 Remember toasters, those Jamaican DJs who rapped above reggae records on a sound system? Twenty years after the style emerged in Jamaica, the mix of rapping and live reg- gae is the latest craze in the Netherlands. Rotterdam's Postmen (TopNolch/V2) have already enjoyed three charts hits with this spicy homemade crossover. Hot on their heels comes "If It Don't Hip, It Don't Hop," the debut single by Haarlem- based rap posse Relax. As it happens, it is one of the debut releases of newly started Paradiso Amsterdam Records (PAR), a joint ven- ture of the legendary venue and Mercury Records Holland. The single fits per- fectly in the new wave of Dutch hip-hop. On the Single Club imprint, PAR releases four singles each month, each recorded live. The Relax track was part of the first batch released Feb. 28. The group is a rather schizophrenic outfit; in a slightly different lineup, the same band is known as Nayberhood, rockers in the Relax style known as teeny-bopper "punch" (punk mixed with grunge). Confused? That's understandable, as Nayberhood released its debut single. "Always Whateva," on PAR on the very same day. Frontman Eldridge Isselt is a jack of all trades. His musical output is so diverse it defies catego- rization. Public Radio 3FM has played the singles from both of his groups, albeit with a clear preference for "If It Don't Hip, It Don't Hop." As 3FM music director Basyl de Groot explains. "This guy changes colors just like Moby does in dance. It's great to see that hip-hop as a genre is still developing. We've had the Puff Daddy covers, then the Timbaland productions, and now it's a homegrown reggae variant. Rappers like Postmen, E-life (Zomba) and Relax provide really hot stuff for radio. They should be able to com- pete on an international level." — ROBBERTTILLI B^flElRNfi — The path to recognition in Australia is well- established for rock and dance acts. Meta Bass'n'Breath, formed in Sydney three years ago, has taken on the task of forging new paths for rap acts Down Under. "It's exciting and challenging, but difficult as well," says manager Trent Roden of Slingshot Think-Tank. "But we want to make rap and hip-hop relevant to local audiences." The eight- piece has opened for Run DMC, Spearhead and Fatboy Slim, with a show that included a live band, onstage acrobatics and innovative beatbox action. Two of its three rappers are American, and their two U.S. tours saw them share the stage with Jungle Brothers, the Roots, Ozomatii, BlackStar and world DJ champions DJ Craze and DJ Vinroc. In San Francisco, Meta Bass'n'Breath recorded a track with DJ Duck and DJ Disk and collaborated in New York with X-MenI X-Ecutioners. U.S. releases so far have included an all- beatbox album, "The Life And Death Of A Beatboxer, " through San Francisco's Bomb Records, and a 12-Inch single, "Perfection," through various indie out- lets. The debut EP, "The Art Of Levltation" (K/IXU MDS;, ivas released in Australia in April. "Our energy is Australian, but the sound is international,' says Roden. "We've always kept an eye on the global market. " — CHRISTIE ELIEZER Meta Bass'n'Breath UNIVERSAL LAW OF HIP HOP DYNAMICS FOR MORE INFORMA'nON AND LICENSING CONTACT- EMAIL: VOODOO(gBAD-MAGIC.COM TEL +44 (0) 181 969 1310 FAX: +44 (0) 181 969 1155 46 BILLBOARD SPOTLIGHT BILLBOARD JUNE 5. 1999 •-t I UJJUJJJ STS 2002 One of the honest Hip-Hop Albums of the Year! featuring the bomhs 'tost Angels," "Ways 2 Come Up." "2 KiUas." True Lies." "Playas. Gangstas. Bailers" & much more! featuring special guests XZIBiT. ABOVE THE lAW. SAAHR & the Hottest Names in Hip-Hop by the Man Who's Brought Us 10 Years of Bomb Hip-Hop! from "Uving Like HusUers" to the "N.W.A Legacy" i^ijjjiij mi ^cnznfJ KTO Distribution Retailers P.O.P. Hotline: (818) 763-3512 Fax: (818) 508-1101 ur A± iiw J/J. ii iHiL J 1 i J J LONDON— Within the hip- hop underground in the U.K., there has been cause lor celebration of late — despite the perennial prob- lems of meager sales, pro- motion and artist development for British rap — thanks to the Increas- ing mainstream respect given some of its leading lights. The handful of British rap acts with major-label deals have the potential to lift the often dejected U.K. hip-hop scene by the year's end. The bearers of good cheer include Rimes on Universal Music. JP Esq. on Wild- card/Polydor and Me-One on Island Records. RELEASING RAP Rimes debuted early this past spring with "It's Over," an R&B-laced single built around the rhythm and re- sung hook of Odyssey's "Don't Tell Me. Tell Her," flipped by the straight-ahead hip-hoppy "Pages Of Lite," featuring American rapper Killah Priest. "He's very song-based, and he's got a nice rhythmic flow," says Darcus Beese, A&R manager for Universal- Island U.K. "There's melody underneath his songs." Rimes' manager, Phil Nugent, declares, "I wanted him to stand up with great artists of that stature, so that people could realize he is in the game, and he's as good as what's happening with all RAP 1 1 BRIT P BY KWAKU UrtMn Sp«olM the American rappers and everything else." Nugent has helped arrange guest appearances on Rimes' U.K. remixes by the likes of Mary J Blige, Mariah Carey and Blackstreet. Rimes is record- ing his debut album, with the working title "First Chapter." for release in the third quar- ter of the year. The title track of Me-One's "Frenemy" E.R. released in March, was introduced months earlier via a CD packaged with Touch maga- zine. Fusing jazz and reg- gae, the artist was set to make his official debut in May with the single "Game- plan" while his debut album, "As Far As I'm Concerned," with input from the likes of Roots and Guru, bows in August. "We're setting him off first from the street, though we think he's got the capability to move up into the mainstream market," says Beese. JP. a rapper with interna- tional appeal, is currently working with top R&B pro- ducers Ignorants. JP's as- yet-untitled debut single should be released in the fourth quarter of this year "I'd like to think that we can put the album out quite soon straight after the first single." says Wildcard label chief Colin Barlow. In March, the eclectically charged Urban Species finally followed up its five- year-old debut album with Continued on page 52 50 BILLBOARD SPOTLIGHT BIOBOARO JUNES. 1999 One fc4ation Entertainment ^ iFc IE ^ E -r s , I . THE QUEEN OF THE UNDERGROIJND 3 2 3 ftA*rtJk4^Sm tSWi4m ' CHICAGO, IL 60628 IrQ.t fcOrf Enb% (773) 82 1.8699 ph. A NO PITY PRODUCTION (773) 82 1.8698 FAX INFO: - VISIT US ONLINE© E-MAIL: 258E.115THST. WWW.MADEUL00K.COM CHICAGO, IL 60628 www.PHATJAMz.coM unonalion@Qol.coni (773) 82 1.8699 PH. NO PITY HOTLINE - 773) 82 1.8698 FAX 1.888.320.6840 - . raiMim(M)®gi^[MM"M» 773.7U.I965 aerial RAP 1 i BRIT BAP Continued from page 50 the engaging and critically well-received "Blanket" on Talkin' Loud/Mercury. The album spawned the soul- tingling title track featuring pop chanteuse Imogen Heap, which breached the pop top 50. Promotion for the followup single. "Woman," along with sum- mer festival appearances, should continue the act's "repositioning." says Fenella Davis, product manager at Mercury Records. The group Desert Eagle Discs, fronted by the imagi- native vocalist Shari, released its Boilerhouse/Arista debut album, "The Eagle Has Land- ed." in February. The album featured such soulful cuts such "The Lover." hip-hop from DJ-producer Syze-Up, and raps by Brooklyn-based 21 Soldiers. Two of the acts that have parted ways with major labels are Structurize and Definition Of Sound. The lat- ter is featured on the Freestylers' new single. "Here We Go." on Mammoth. VENUES AND JAMS The renewed optimism of the hip-hop underground has also resulted in the growrth of new and existing hip-hop jams and venues — notably London's Rap & Ready, Mudlumz. Lyrical Lounge and Flava Of The Month. The scene has nur- tured such artists as Bury Crew, Shorty Blitz & Ty, Ff Fwd Dynasty, NBG, Pluto Piccaso and Lee Ramsay. works different genres on her new album, "L.O.N. D.O.N. Styles." The record showcases a talented lyricist, who covers partying and pointed socio-tipped songs with equal ease. "I'm a rhymer. I'm very ver- satile, and I ain't even trying to be like somebody else," says Phoebe One, who sup- ported All Saints on a recent U.K. tour. "She's coming from a woman's point of view, like One Man's Bitch (Is Another Man's Daughter)'," says Sara Freeman, product man- The reneujed optimisTn of the hip^hop underground has dtso resulted in the groujth of neuj and existing hip-=>hop jams and uenues=natably London's Rap " Ready. Rludlumz. Lyrical Lounge and riaua Of The Rlonth. The biggest critical noise by far has been reserved for Roots Manuva, whose album "Brand New Second Hand," on Big Dada/Ninja Tunes, has received over- whelmingly positive press. "I want listeners to pick up on the fact that anything can work, man." says Roots, referring to the different styles on his album. "Those that dare to venture out should trust their instincts and not let anybody distract them." Phoebe One. who won recognition as best hip-hop artist at the 1 998 Music Of Black Origin Awards, also ager for Mecca Recordings. A new single, possibly "Don't Take It Personal," is set for a late-July release. Funky DL, with an R&B and jazz-infused sensibility, releases his third album next month on his own Washing- ton Classics label. Hip-hop broadcaster and journalist D-Nice. whose "Homeground" radio show and press charts strictly pro- mote British rap, is bullish on the scene. "There's more than enough going on," he says, "for us to make an impression as a hip-hop power." ■ 52 BILLBOARD SPOTLIGHT BILLBOARD JUNE 5. 1999 GroundLevel Di m ON THEIR INDEPENDENT RELEAS r •iflj Self Volume 1" "The Mountain Brothers possess an uncanny ability to create song after song of rewind-the-sh*t-over-and- over-in-your-walkman Hip-Hop." i'S^-RapPages "Since the first time I heard this group I knew they were going to be big. It's true hip hop with a sound of their own." •Amelia Moore (Manager) www-mountai nbr others - co Jiuie RAP H I P -HOP Various Artists, "Soundtrack: Blacl< Mask" Arista Camp Lo, "Uptown Saturday Niglit" Second II None, "Second II None" Bad Boy Mase, untitled Cee-Low Entertainment Various Artists, "Street Life: A Hustler's Compilation" Def Jam EPMD, "Out Of Business," "Greatest Hits" Ja Rule, "Venn!, Vetti, Veci" Eieictra Missy Elliott, "Da Real World" or Dirty Bastard, untitled MCA Genius, "Beneath The Surface" Rahzel, "Make The Music 2000" Queen Bee/ Undeas/ Atlantic Lil' Cease, "Long Time Coming" Ra wkus Company Flow, "Little Johnny From The Hospital" DJ Spinna, "Heavy Beats Volume 1" Roc-A-Fella Memphis Bleek, "Coming Of Age" Various Artists, "Hard Knock Life Tour, The Soundtrack" Ruffffhouse Kool Keith, "Black Elvis/Lost In Space" Tommy Boy Black Haven, untitled [A logo ®Lf DDDQDCDDmooQO [S©U@a COMPILED BY ALIYA S. KING (info accurate at press time) Def Jam Various Artists, "Hard Knock Life Soundtrack" Epic Cha Cha, ' Diary" Jim Crow, Nest" Dear "Crow's MCA Sauce Money, "Middle Finger U" Penalty Recordings Noreaga, "Melvin Flynt-Da Hustler" Ra wkus High & Mighty, untitled Mos Def, untitled Tommy Boy Diamonds In The Rough, untitled 'ocrewball, "Y2K" Shoestring, "Till The World Ends" Various Artists, "Get Crunk" list Arista Goodie Mob, untitled One Life To Live, untitled Run DMC, "The Best Of Run DMC Second II None, untitled Cee Low Entertain- ment Manson Batez, "The Trilogy" Columbia The Mad Rapper, "Tell Em Why You Mad" Continued on page 56 54 BILLBOARD SPOTLIGHT BILLBOARD JUNE 5. 1999 WE GIVE YOU RECORDS "•"""^ ^''^^ftQll Hear them now at www.tvtrecords.com R APH&HH I P-HOP COMINB soon Continued from pape 54 Nature, "For All Seasons" Pace Won, "The Pace Won Effect" Elektra Lord Have Mercy, untitled Angle Martinez, "Up Close & Personal" Penalty Recordings Cardan, "Hey Young World" Roc-A-Fella Rell, "Medicine" Tommy Boy Council, "Council Era" Work Cappadonna, untitled Ghostface Killah, CappadonnA "Supreme Clientele" Bear Mountain Records Truth E No La, "The Truth Hurts" Penalty Recordings Thugged Out Entertainment, "The Jump Off" Half A Mil, "Million" Ra wkus Beatminerz, compilation Roc-A-Feila Amil, untitled Tommy Boy DITC, "All Love" Tommy Boy Brotha Lynch Hung, "Midevil" De La Soul, untitled Royce The 5'9", untitled Wijiter 20 0 0 Cee Low Entertain- ment Donny Hoffa, unti- tled Penalty Recordings Capone-N-Noreaga, "The Reunion" Ra wkus Pharaoh Monch, untitled Shabaam Sahdeeq, untitled Various Artists, "Lyricist Lounge: Volume 1!" Issue Date: December 4 • Ad Close: November 9 Contact: Michael Lewis 2 12-536-5008 . 56 BILLBOARD SPOTLIGHT BIUBOARD JUNE 5. 1999 RAP 1 1 H I P-HOP RAPPING UP THB YfiAR Se FAR The recaps in the Rap/Hip-Hop Spot- light are compiled from Billboard's weekly Top Rap Singles chart from the start off the chart year, which began with the Dec 5, 1998, issue through the May 8 issue. Rankings are determined by accumulating sales, as compiled by SoundScan, for each week a title is on the chart. The recaps in this spotlight were compiled by chart manager Datu Faison with assistance from Anthony Colombo and Michael Cusson. TOP BAP ARTISTS Pos. ARTIST (No. Of Charted Singles) Imprint/Label 1 BUSTA RHYMES (1) Elektra/EEQ (1) FlipMode/Elektra/EEG 2 JANET JACKSON (1) FlipModo/Elektra/EEG 3 TOO SHORT (2) Short/Jive (1) Thump Street 4 LAURYN HILL (1) Rulfhouse/Columbia 5 MYSTIKAL (2) No Limit/ Priority T6 MO THUGS FAMILY (1 ) Mo Thugs/Huttiless/Relativity T6 BONE THUGS-N- HARMONY (1) Mo Tl^ugs/ Ruthless/Relativity 8 JAY-Z (1) Det Jam/Mercury (3) Roc-A-Fella/Del Jam/ Mercury 9 SILKK THE SHOCKER (2) No Limit/Priority 10 SNOOP DOGG (t) 19 Street/Priority (2) No Limit/Priority TOP HAP SIMPLES Pos. TITLE — Artist — Imprint/ Label 1 WHAT'S IT GONNA BE7! Busta Rhymes Featuring Janet— FlipMode/Elel<tra/EEG 2 GHETTO COWBOY Mo Thugs Family Featuring Bone Thugs-N-Harmony — Mo Thugs/Ruthless/Relativity 3 IT AIN'T MY FAULT 2/ SOMEBODY LIKE ME— Silkk The Shocker Featuring Mystikal — No Limit/Priority 4 WATCH FOR THE HOOK— Cool Breeze Featuring OutKast. Goodie Mob & Witchdoctor — Organized Noize/A&M/lnterscope 5 OOO WOP (THAT THING)- Lauryn Hill— Ruffhouse/Columbia 6 PUSHIN' WEIGHT— Ice Cube Featuring Mr. Short Khop — Priority 7 WHO DAT — IT Money Featuring Sole — Tony Mercedes/Freeworld/ Priority 8 HARD KNOCK UFE (GHETTO ANTHEM)— Jay-Z — Roc-A-Fella/Def Jam/ Mercury 9 WOOF Snoop Dogg Featuring Mystikal And Fiend — No Limit/Priority 10 MORE FREAKY TALES— Too Short — Short/Jive 1 1 NANN Trick Daddy Featuring Trina — Slip-N-Slide/ Warlock 12 WHATCHA WANNA D07- - Mia X Featuring Charlie Wilson — No Limit/Priority 13 NAS IS LIKE— NAS— Columbia 14 JUST DON'T GIVE A F*«"— Eminem — Web/Aftermath/ Interscope 15 HOLLA HOLLA— Ja Rule Murder IncVDef Jam/Mercury 16 THE REAL ONE — The 2 Live Crew Featuring Ice-T — Lil' Joe 17 MONEY'S JUST A TOUCH AWAY— Mack 1 0 Featuring Gerald Levert — Hoo BanginV Priority 18 RESPIRATION— Mos Def & Talib Kweli Are BlackStar Featuring Common Rawkus/Priority 19 INVASION OF THE FLAT BOOTY B*****S— Too Short — Short/Jive 20 HERE I GO— Infamous Syndicate — Relativity 21 WHO LET THE DOGS OUT7 — Chuck Smooth — Wingspan 22 ONE-NINE-NINE-NINE— Common Featuring Sadat X — Rawkus/Priorlty 23 SUPERTHUG (WHAT WHAT) — Noreaga— Penalty/Tommy Boy 24 BETTER DAYS WC Featuring Jon B. — Payday/ London/Mercury 25 STAND UP— Charii Baltimore Featuring Ghostface Killah — Untertainment/Epic TOP PAP IMPRIMT« Pes. IMPRINT (No. Of Cliartad Singles) 1 NO LIMIT (5) 2 ELEKTRA (3) 3 FLIPMODE (1) 4 RUFFHOUSE (3) 5 SHORT (3) 6 DEF JAM (16) 7 PRIORITY (1) TB MO THUGS (1) TS RUTHLESS (1) 10 RAWKUS (5) TOP WAP I anci « Pos. LABEL (No. Of Charted Tracks) 1 PRIORITY (13) 2 ELEKTRA ENT. GROUP (4) 3 RELATIVITY (5) 4 MERCURY (18) 5 COLUMBIA (8) 58 BILLBOARD SPOTLIGHT BILLBOARD JUNE 5. 1999 -ii;- i '^eatur/ng Senor" °n MTV Latino ^ONfgpL READY FOR A HOT ONE? The follow-up, hit single to "Pushin' Weight" from the Platinum release War fi PcaCC Vol. 1 (THE WAR DISC) Get ready for War S PcaCC Vol. 2 (THE PEACE DISC) Coming September '99 If E CUBI 1*1 fum WHO DAT The smash hit single from the album Pimpin' On Wax In Stores Now Other hot singles include "Alright" feat. Big Gipp from the Goodie Mob and "Something 'Bout Pimpin'" feat. Too $hort .ii. FREEWORLO ENTERTAINMENT The Long Awaited Album §lI(iTI0S)[lS8 In Stores June 8th Features the hit singles Tha Hood Still Got Me Under" and Automatic VHtm THM mill The Much Anticipated Movie G Soundtrack Starring Mack lo, Fat Joe, Ice Cube, Big Pun, MC Eiht Featuring the new single from Westside Connection "Let It Reign" Coming August '99 RECOIIDS WILDS IDE" The first single from their incredible debut album Chilldrin Of Da Ghetto Coming Soon F»RIOFll~rY Or Moments at the taping of the 1999 World Music Awards MOMTE-CARLO - The 1999 World Music Awards were taped at the Monte-Carlo Sporting-Club on May 5th. and featured the year's chart-topping artists and hottest performers. The winners performed their greatest selling hit before an enthusiastic live audience of 1.000 people with 10.000 excited fans followins th« show on two giant screens on Larvotto Beach just outside Vne Sporting-Ctub. People at the 1999 World Music Awards R&B ARTISTS & MUSIC CA's K-Ci & JoJo Get 'Rear With Their Sophomore Set 3Y ALIYA S. KING <EW YORK— K-Ci & Jalo's evolu- ion from members of a hot singing i ,Toup to sensitive, soulful crooners in tlieir own riglit tal<cs another step Inrwan] with the June 22 release of It- their sophomore MCA album, "It's Hlieal." f. It's been eight years since two ' pairs of brothers — .I0.I0 Hailey, K-Ci flaik\v, Dalvin DeGrate, and Donald I Wante Swing" DeGrate— hit the t lic&B scene as the romantic quartet V .lixli'i i in 1991. Three multi-platinum " ;ilhunis later ("Forever My Lady," iDiai y Of A Mad Hand," and "The Sliovv. The After-Party, The Hotel"), K-Ci & .J0.J0 decided to branch off on their own. Along the way, they planted the seeds for their duo evolution through a number of collabora- tions: providing lyrics and vocals on Tupac Shakur'sl99C "How Do II Want It"/"C'alifomia Ijm'e" and vocals on Gang Starr's "Iloyalty." K- k-ci Ci also performed a remake of Bobby Womack's "If You Think You're Lonely Now" for the "Jason's Lyric" soundtrack. And the two sang together on "How Could You" from the "Bul- letproof" sound- track. K-Ci & .I0.J0 were also a irart of the one- time group Mile- stone, together with Babyface and two of Bahyface's brothers from the R&B act After 7. The quintet OJO recorded "1 Care 'Bout You" for the 1997 "Soul Food" .soundtrack; it reached No. 10 on the Hot R&B Sin- Will Smith's OverbroDk Label Goes For The Eclectic; Cole Retorns To R&B/Pop Sound Rhythm ana the biiGuil Mitchell f WhKKK THKKF'S a WILL: Overbnmk .Music, the new lntoi'sco|x; Recoitls-distjitatc*! impnnt launched by Will .Smith and ]iaitner James I.^ssiter, aims to "cre- ate .something tliat's se|)ai"atc from Will ;is a ]»rformer." .says Overbrtmk executive VP John Dukakis. He adds that Smith will continue to reciml for Columbia. The f li-st project out of the multi-j'ear joint ventiu-e's chute is the soundtrack to the feature film version of the TV .series "Wikl Wild West," coming .lune 1.5. The s;unc- titled first .single features Smith, Dru Hill, and Kool .Moe Dee riding the bass-driwn beat of Ste\ie Wonder's "I Wi.sh." In itJii third week, it's No. IG on The Billboard Hot 100 this issue. The -single is a co-release credited to Columbia, Overbrook, and Interscope. "Columbia has been extremely helpful in the 'Wild' project," adds Dukakis. "Tliey've got the first .single; it's a unique oj)- portunity to have three of the best companies in music and movies get together and work coo|»ratively." In addition to Faith Evans and a special reiuiion of cutting-edge R&B group Guy, the soundtrack fea- tures Knrique Iglesias, whose "Bailamas" will be the second single and who is rumored to be signing with Interscope, plus three newcomers who.se own Over- brook albums bow later this year: R&IVpop female quartet Breeze, R&B'a cappella male trio Tra-Knox, and rapper Kel Spencer. Dukakis says the Overbrook vision (which includes film/TV divisions) focu.ses on diwrsity. "Will has eclec- tic tastes; he listens to a lot of different music and appeals to a wide audience himself He and James want this label to reflect that as well. They were attracted by Interscope's corporate culture and re|)u- tation for A&R and marketing. (CEO) Jimmy lovine and Steve Stoute had a lot to do with that." Stoute, Interseope's president of black music, is one of four executive producers on the "Wild" soundti'ack. His working relationship with Smith stems from his management of the hot Trackmasters production team, which has worked with Smith on earlier music projects. Over the last couple of years, Intei-scope has been bu.sy estabUshing itself in the competitive sound- track derby: There's the currently charting "Life" soundtrack (also executive-produced by Stoute), in addition to "Bulworth" and "RugraLs." Cole FRONT: Natalie Cole is back tending the R&K'pop i-(Hits shi' planted in the '70s with "Snowfall On The .Sahara," due June 22. Her first album since 199(i's standard-filled "Stardust," this new collection reunites three-quarters of the "Stardust" pro<luction team (Cole, Phil Ramone, and David Faster) and boasts a dual-single relea.se: the Cole-co-written title track (which went to contemi>orary jazz and AC sta- tions) and the 197(i D.J. Rogers chestnut "Say You Love Me" (sent to adult R&B stations). "R&B and pop — I spent most of my career in that place," .sa.vs Cole. "And fi-ankly I mi'wed it. Anjnne who's ewn halfway familiar w ith my cai eer knmN-s I don't do the same stuff 0%'er and oven" "Snowfall" — written with Peter Wolf — was actually penned six years ago and is the original demo, notes Cole, with extra guitiir and .sjTith .sweetening, plus drum programming provided by the versatile Rudney Jerkins. "Say You Love Me" recaptures the original's fla- vor and includes Luther Vandross on background vocals. The album's other songs are a mixture of iJeivonal faves ("Corinna," "Rev- erend Lee," "A Song For You") and recommendations from friends (Elton John suggested recording "Stay With Me") and family (sister Carol told her about Bob Djian's "Gotta Senie Somebody," which features a .sub- stitute last verse written by Dylan himself). After 25 years in the biz and 21 albums to date. Cole says, this album "really gave me a shot in the arm. I had so much fun. You never know what's going to hap- pen with the.se things. But if you feel good about some- thing, that's all you can do." SfX STAKES R&B CLAIM: Ever-expanding con- cert promoter SFX Entertainment has acquired .50^ of leading R&B promoter A.H. Enterprise.s — the guid- ing force behind national tours by Janet Jackson, Boyz II Men, and Whitney Houston. Founder Al Ilaymon will still run the firm; financial terms weren't disclosed. Stay TUNED: The 1999 Essence Awards airs on Fox Wednesday (2) with hosts Jada Pinkett Smith and Jamie Foxx; Laurj n Hill is among the honorees . . . Rush Communications CEO Russell Simmons is the designated roastee for the sixth annual Rap Roast July 14 in New York. Proceeds will be donated to the RUSH Arts Foundation for disadvantaged youth. gles chart. Then the twasome struck a multi- platinum nerve with their debut MCA album, "Ixjve Ahvaj-s." The 1997 pro- ject, which has sold 2.9 million units, according to SoundScan, sported such producers as Mtume, Babyface, and DeVante Swing and spun off the No. 1 hit "All My Life." The song sold (>!)2,000 copies, according to Sound- .Scan, and cemented the duo's repu- tation as sensitive and soulful croon- ers. That success has made K-Ci & .Io.Io's sophomore release a highly anticipated affair In addition to con- tributions from a variety of piwluc- ei-s/songwritei-s, including Babyface, Rory Bennett, Riles Stacy, Darrell Pierce, and Emmanuel Officer, the new album boasts several ti-acks writ- ten and prixluced by .JoJo. That's a deiKU-ture from the ,kK\evi days, w hen Dal\in DeGrate and DeVante Swing handled most of the writing and pi-o- ducing. "The tyi)c of music we're doing now is what we've always felt," saj's .I0.I0. "I think we're bringing every dimen- sion to this album, from pop to hard- core R&B and l)allads. Our mu.sic Ls a httle different than Jodeci's, but it's still us. We wanted to make .sure lots of different flavors came through. So we used a variety of producers and co-writers." The album opens with the love bal- lad "Tell Me It's Real." which is aLso the first single (it was shipped to radio May 11). Other highlights are "Here He Comes Again" (co-written by Babyface), "Hello Darlin'," the .kxleci-flarored "Fe Fi Fo Fum," and the upbeat "Mama's Song." Lyrics for the latter song were written by the duo's mother. Anita Hailey, who is also a gospel singer "They've completely expanded their universe," says .layne Simon, .senior VP of marketing and sales for MCA. "This album has .songs that bring back the .Imleci vibe and will still apiwal to their new fans." "It's Real" may also benefit from the popular "Life" soundtrack. K-Ci & JoJo are featured on the title song/first single from the soundti-ack. Tlic .single, written and prixluced by R. Kelly, is No. 2:1 this issue on Hot R&B Singles & Tracks. The album ha.s sold 4,')9,000 units, according to fCoiiliiiiicil nil iiext page) Motown's 702 Shows Musical Growth With Its Secood Release NEW YORK— Kameelah Williams and sisters LeMisha and Irish Grin- stead — better known as Motown trio 70'2 — are no longer the teenybop|)ers w^ho exploded onto the R&B/pop scene in 1996 with their well-received debut, "No Doubt." They hare grown musicall.v, as evidenced by their .self- titled .sophomore album due June 15 on Motown. "No Doubt," which spent 69 weeks on the Top R&B Albums chart, spawned two gold singles: "Steclo," the funky dance hit produced by Missy Elliott, and the har- mony-filled ballad "Get It Together" The .singles .sold 514,000 and «i:i,000 units, respectively, while the album has sold 376,000 units, according to SoundScan. The group's performance at the 1997 .Soul Train Lady of .Soul Aw-ards garnered a standing ovation. Later that evening, they took home the award for best R&B/souI album of the yean 702's return features music from top-notch producers and songwriters like Soulshock and Karlin, Warren Campbell, and Rick "Dutch" Cousin. According to Misha, the group had an active role in choosing the songs that appear on the new album. "We all col- laborated on the .songs we wanted to use. Only the songs we were really feeling made it to the album." The first single, "Where My Girls At," is an infectious, party-ready anthem that has generated heat at radio and retiiil. The .song is No. .3 on the Hot R&B Singles & Tracks chart this issue and has sold 161,000 units since its commeroial relea.se Apiil 27, according to SoundScan. Group member Irish says that working with Elliott (who wTote and produced "Where My Girls At") was a no-brainer. "We worked with her on '.Steelo' and per- formed on her 'Supa Dupa Fly' album Ion the track "Beep Me 911"], so we knew we would have good chemistry together" Additional "702" highlights include "Will You Be Oka.v." a w istful ballad w ith simple-yet-Iush vocal arrange- ments; the futuristic "You Don't Know," produced by Soulshock and Karlin; and the gospel-influenced inspirational ,song "What More Can He Do." "Riidio has reall.v embraced 702," says Barbara Seltzer, senior VP of pop promotion for Motown. "We spent three to four weeks setting this (Coiitiiiiied on next page) FOR THE RECORD In an article on .Mclky Sedeck (Billboard, May 29), the duo's booking agent was incorrectl.y identified. The act is lx>oked by Cara Lew is of the William Mor- ris Agency. BILLBOARD JUNE 5, 1999 65 R&B MCA'S K-CI & JOJO GET REAL WITH THEIR SOPHOMORE SET (Continued from preceding page) SoundScan. "We put this together very strate- gically, because the January release of the 'Life' single gave us a good set- up for this album," says Cassandra Ware, VP/marketing director of R& B music at MCA. Erik Bradley. PD at WBBM Chica- go, .saj's the tn-st single has the poten- tial to be an e.xcellent "Life" follow- up. "We're getting lots of requests for •TeW Me It's Real.' From the fu-st time we played it, there was instant inter- est from our listeners." George Daniels, owner of George's Music Room in Chicago, believes K- Ci & Jo-Jo can match and perhaps even surpass Jodeci's success. "They're the Sam & r>avc of the new millennium. I don'tknow of [another] male vocal duo who can produce music like this these days. I'll defi- nitely stock this record — my cus- tomers hare been fans since the Jode- ci daj's." MCA is preparing an aggressive sales and marketing plan to reach K- Ci & JoJo fans. The label is running 300 spots on BET nationally, as well as spots on MTV and other cable-net- work advertising. In addition to a 15- city, nationwide street team cam- paign, the group will be doing a promotional tour this summer, according to Ware. Simon says MCA will also imple- ment "win it before you can buy it" contests in which listeners call radio stations for the chance to win ad\'ance copies of the album. "We're going for mass visibihty," sajT? Eddie Barreto, MCA's director DATU FAISON'8 mm Breaking the case: since "Touch Me, Tease Mc" (Spoiled Rot- ten/Def .lam) launched his cai-eer in the summer of 19H(). Case has been somewhat silent — at least until his duet with Joe, "Kaded Pictures," re- introduced him. "Fajled Pictures" sits at No. 3(i after peaking at No. 3 on Hot R&B Singles & Tracks. Now, Case's wedding-themed "Happily Ever After" (Def Jam) wins Greatest Gainer/Airplay in its 30-1" leap on Hot R&B Singles & Tracks. The song gained more than 7.8 million in audience impres.sions to achieve that recognition and was al.so the most-added record at the adult R& B format for the week ending May 2S, according to Broadcast Data Sys- tems (BDS). Although the i-ecord had already penetrated the main.stream format, adult stations were some of the last holdouts on the song. Def Jam president Kevin Lyies says, "It's about deMjloping Case as an artist and building and dereloping an image with a song. 'Faded Pictures' set the stage for the growth of this artist and now what could be one of the year's biggest ballads." "Personal Conwrsations," Case's sophomore album, saw an 11% sales hike, rising 8-5 on Top R&B Albums. Big WILLIE: On the heels of the h\'j)e created by Will Smith's .single "Wild Wild West" (Overbrook/Interscope/Columbia), the Warner Bros, studio has mo\'ed the film's release date from July 2 to June 30 to capi- talize on the momentum. The single, which is the first offering from Smith's new Interscope-distributed label Overbrook, moves 31 -24 on Hot R&B Singles & Tracks, based solely on audience growth of 3.5 million. Its audience total stands at 20 million listeners. In its third week at radio, "Wild" sits at No. 18 on Hot R&B Airplay and No. 9 on Hot 100 Airplay On this issue's Hot 100, "Wild Wild West" moves 23-16. By comparison, Smith's biggest soundtrack record, "Men In Black" (Columbia), peaked at No. 9 on Hot R&B Airplay and went all the way to No. 1 on Hot 100 Airplay back in '97. In "Men In Black's" third week at radio, it sat at No. .35 on the R&B Airplay list and No. 27 on Hot 100 Airplay. Needless to say executives at both Columbia and Interscope anticipate the new .song will exceed "Men In Black's" success. On Hot R&B Singles & Tracks, Billboard will list both Interscope and Columbia to reflect the fact that each label's staff is promoting the track to radio. Southern WAY: About eight weeks ago, Lil' Troy's independently released album "Sittin' F^t Down South" debuted on Top R&B Albums at No. 88 on his own Short Stop Records. Its first single, "Wanna Be A Bailer," had been building in Troy's home state of Texas months before breaking at radio. The single went from zero to 32 spins on Dallas station KKDA's playlLst ranking No. 17 for the week ending May 9, according to BDS. In the same week, across the state at Hou.ston's KBXX (the Box), the song went from seven spins to become the station's No. l-plaj-ed song, at 77 spins. That airplay led executives at Universal to pick up the project several weeks ago. Since then, "Wanna Be" has gone from two stations in Texas to 34 outlets nationally, with a total audience of 6.3 million. As a result his album takes flight, springing 28-25 on Top R&B Albums with a 30% increase. of retail and marketing. "We'll be doing billboards and are .still working on some pos.sible walk-through dis- plays." As K-Ci & .lo.To prepare for the relea.se of "It's Real," .Jo.Jo is deter- mined that they rcmiiin dedicated to the listeners who have supported them for nearly a decade. "It was a challenge at first for i)eople to acct'i)t me and K-Ci. But radio completely embraced as, and now we have a real- ly loyal fan base. At the end of the day, that's what is most important." K-Ci & Jo,Io are managed by Los Angeles-based Deraur Management. .Jo,Jo Hailey's music is published by EMI April Music Inc./Cord Kayla Music (ASCAP). MOTOWN'S 702 (('niitiiitied fm)" pnrt iitiig jxige/ album up; by the third week, pixigram dii-ectoi-s wore saying it was destined to become a No. 1 album." Bobby Rush, PD for WZAK Clere- land, points to the fii"st single's suc- cess as a barometer for jjublic reac- tion to the new album. " 'Where My Girls At' is uptempo, which is what radio has been really looking for," says Rush. "We've gotten a lot of requests, and I think the material on this album is right there, if not better than the single." The trio has visited dozens of radio stations in support of the album and has also guest-hosted "Planet (Jroo\'e" on BET. At the taping, they announced Misha's temporary depar- ture due to pregnancy. Her sister, Orish Grinstead (an original member of the group and Irish's twin), will perform on live dates until Misha returns in early August. Motown is making "702" a top pri- ority at retail, with listening posts and special campaigns for indepen- dent retailers. "We plan to offer added-value incentives to the inde- pendents, and we're looking to do miyor displaj-s with the lai-ger retail- ers," savs Carolvn Robbins, Motown's VP of sales. Violet Brown, urban music buj'er for Wherehouse, is excited about stocking the title. "This album is fan- tastic. This will be a huge record for them — they'll apgieal to evCTyone who listens to f LC." Cheryl Robertson, the label's VP of marketing, began working early this year on gaining exposure. On April 10, ;i5.000 CD samplers featuring 702 were given away during "Motown Day" at Yankee Stadium. Promotional phone cards h»ve been distributed to retailers and con- sumers. By dialing the toll-free num- ber 877-702-FLAVA, listeners can hear snippets from the album and a message from the group about up- coming live appearances. Motovvn has also partnered with 0)ea-Ck)la to fea- ture 702's music in 13,000 movie the- aters in July. The group will open on select dates for Brandy's U.S. tour, which kicks off June 18 in Wallingford, Conn. 702 is managed by Ixb Angeles-based Nor- wood & Norwood, which is run by Brandy's mother aliya s. king billboard. JUNE 5, 199S Hot Rap Singles . CD OD a© OD QD (D (3D 3' 23 QD ® QD CM) (D QD d) 50 3s 21 21 g5 NEW^ NEW>' 43 42 COMPILED FRO« A NATIONAL SAMPLE OF RHAIL STORE SALES REPORTS COLLECTED. COMPIL£D, AND PfiOWEO Br „ SoundScan' TITLE I mill ARTIST IMPRINT 4 NUMBtR'DISTHIBUTING LAeEL ■ No. 1 HOLLA HOLLA TT AIN1 «T FAULT ZSOMEBOOY LIKE ME SILKK, THE SHOCKER FEAT MrSTIKAL Greatest Gainer WATCH OUT NOW THE BEATNUTS FEATURING YELLAKLAW what's it gonna be?! • ^ busta rhymes feat janet "Savers holiday T.W.D.Y FEAT. TOO SHORT & MAC MALL ONE-NINE-NINE-NINE COMMON FEATURING SADAT X NASTY TRICK : J Ti HvpNOTize MINDS ■ GANGSTA BOO HARD KNOCK LIFE (GHETTO ANTHEM) < BIG MAMA (GO BIG GIRL) SNOOP DOGG FEATURING MYSTIKAL AND FIEND MORE FREAKY TALES BOUNCE. ROCK. SKATE, ROLL BABY OC FEAT IMAJIN RESriRAriON MOS DEF S TALIS KWCU ARE BLACK STAR FEAT COMMON ::''iriftAWKUS':jrjTPioi^iT> t NAS IS LIKE GANGSTAI GANGSTA! (HOW U DO IT) C. WEBB FEAT KURUPT PHCIPUrAHATADEGKEEl ■:i :^ CPiriRE^N on:' EVERYONE FALLS IN LOVE VIUTCHFORTHETO! WE BE PUTTIN' IT DOWN THROW YO HOOD UP WHO LET THE DOGS OUn GHETTO COWBOY < ALL I KNOW ' 5^543- < WHAT G'S DO 4 MONEY LIU RACHETT FEATURING LV HATE ME NOW NAS FEATURING PUFF DADDY NUTHN'TODO THE ANTHEM SWAY & KING TECH FEAT DJ REVOLUTION .Ci iO :T,. INT[RSCOPt 9^DM MAKE IT IN LIFE GROUP HOME FEATURING AGALLAH HERE I GO C"C"T: RtLATTyrTY 1771 ' INFAMOUS SYNDICATE INVASION OF THE FLAT BOOTY B*""S TOO SHORT JUST DON'T GIVE A F*" _0f ■: ■ ■ : T'RMATM ?7&<4imTERSC0PE t QUIET STORM EVERY THING I WANT V ■ DOC HCTLVWOOO -i^^:-'/ PUSHIN' WEIGHT • COME GET II DJ HURRCANt FEAt RAH DIIKA. RAMPAGE 4 LORD HAVE PYROMANIAX DOO WOP (THAT THING) • EVEN CHEAPER (CHEAPSKATE REMIX) SPORTY THifV.7 PUSHER MAN mi UP ClICK f[At coop IJ„ UOI.-f MIKE. LAW 0. DEVKWS OW MONEY CASH HOES/JIGGA WHAH JAY-Z FEATURING DMX HOW DO U WANT IT CALIFORNIA LOVE A' 2»a: (FEAT KC AND , ' . ( R.E.C. ROOM INSPECTAH DECK jT MONEY FEATURING SOLE ] J£j -PE£,VOfiLD S346aT-RI0R1T> t bweewalNal CHUCK SMOOTH ' SUCK RICK FEATURING OUTKAST TONV-O FEAT. KEKIN GARDNER 4 REDWINE TRICK DADDY FEATURING TRINA | TANTO METRO 4 DEVONTE I SHE'S A BITCH MISSY "MISDEMEANOR" ELLIOTT I T THE GOLD VIN&rAsm'LST 63751' TFG t STAND UP CHARLI BALTIMORE FEAT GHOSTFACE KILLAH j - ri UNTEftTAINMENI t-' - • BAD AZZ FEAT SNOOP DOGG I MR, MONEY LOC FEAT ABOVE THE LAW % MO THUGS FAMILY FEAT BONETHJGS-N HARMONY { S :7n7R['.aTiVir* 1 BAD MEDS EWL FEAT. EMINEM & ROYCE THE FIVE-NINE TEE KEE FEATURING DAIMON | • TE LHW t ICE CUBE FEAT MR, SHORT KHOP ? ClRecotds with the greatest sales gains ttiis v,eek. t Vkjeoclip availatxlily, 4 Recording Industry Association o( A^nenca IRIAA] cerlrtKation (or net slMcmient ot 5(X),000 units IGold), A RIAA certificatKjn fw net sMpm«i1 at 1 million units (Platinum). IC) Cassette single available. (D) CD single availatile, (M) Cassette maxi-single available, (T) Vinyl maiu single available, (V) Vinyl single availabe, (X) CD nwi-s^ngle airailabe Catalog number is (of (D), ' Indicates ID) unavailable, in wtricti case, catalog number is tiv (C). (X), (T) or (M) respectivety. based on avallatMlrty. [999, erllboard'BPI Communications, and SoundScan. Inc. 66 BILLBOARD JUNE 5, 1999 iboad TOP R&B ALBUMS COMPILED FROM A NATIONAL SAMPLE OF RETAIL STORE SALES REPORTS COLLECTED. COMPILED, AND PROVIDED BV ililfiir THIS WEEK UST WEEK 2 WKS AGO !5f ARTIST TITLE 5 CJ : IMPRINT 4 ■. . L" ' 1' [II ! '- J LABEL (SUGGESTED LIST PI? EE C» EQUIVALENT FGP EASSETTE,CD! o So a. a. CD NEW^ No. 1/HoT Shot Debut ■ ; EIGHTBALLl M-J.G. --i.ii-ijUiEiliSl'JMlEy.. I iti i'. OUB UFCIIUl 1 2 2 1 ''*''!°"^*''^'^^^ K U»51798, RUFF RYDERS: RYDE OR DIE VOL 1 1 3 1 2 SNOOP DOGG NO U MIT 50052VPR1WITY(11.»17 98) NO LIMIT TOP DOGG 4 3 2 8 NASA COLUMBIA 68773* in 9StQil7.ge) 1 AM... 1 (5) 8 B 5 CASE [TEF JAMt3i57r)7E.RCURri8.9afl2.981 PERSONAL CONVERSATION 5 CD NEW^ 1 VARIOUS ARTISTS ^^^^^^^ RAWKUS PRESENTS SOUNDBOMBING II 6 7 4 5 13 TLC A' UIFACC 260S5VARISTA 111 9& 17.961 FANMAIL 1 7 29 JUVENILE A CASH MONEY S3162illNIVtRSALI10.9ail6.96] 400 DEGREEZ 1 5 4 10 SOUNDTRACK =Dl> land 903i-flNTERSCOPE(il.9fl/17.98l LIFE 2 10 9 9 35 TRICK DADDY • SJP r. SLI0£ 28a2.->VARLOCK110.9frie.9fllB WWW.THUG.COM 7 11 6 3 3 o5lH?o* *'^T'r^'« I ■ - I '8 CHRONIC 2000 SUGE KNIGHT REPRESENTS 3 12 10 J 5 B.G. CASH MONEY 5326^NIVERSA1.I10.9&16 981 CHOPPER CITY IN THE GHETTO 2 13 12 jj 28 112 A BAOI10Y73021*/Ani$TA(10.9&'16.981 ROOM 112 6 14 11 10 4 ERIC BENET WARNER BROS 47072 110 98116.931 A DAY IN THE LIFE 6 19 13 14 9 SILK £l.t«RA62231itE0( 10.9a 16.98) TONIGHT 8 (16) 15 16 13 EMINEM A' WtaAFTERMATH 90287MNTERSCa>C (11 9aiI7 98) THE SLIM SHADY LP 1 17 U 12 39 ^""^"i "I'^f'.^rauMBIA 11=8E~17W THE MISEDUCATION OF LAURYN HILL 1 d) 23 26 M -^^^ Greatest Gainer BRANDY A' ATUnT;: 83035' AG^lO 'lt,? r NEVER S-A-Y NEVER 2 19 16 IS 23 OMX A~' "tUf- R-DESiCtf JIM 538640*,1i/ERCi,SI'ai.96ir 5$i flESH C» tM ^LESH BLOOD OF MY BLOOO 1 20 17 13 4 NAUGHTY BY NATURE r^T/A " .; ■ i NINETEEN NAUGHTY NINE NATURE'S FURY 9 21 19 19 28 R. KELLYA'jivEaiMS'ds.gazi.ssi R. 1 22 18 18 27 WHITNEY HOUSTON A' arista 19037- ii i 9ai7-9e» my love is YOUR LOVE 7 (23) 24 24 34 TYRESEA RCA66901'a09&lG98lB TYRESE 6 24 20 20 35 JAY-Z A* ROC A-FELLfcDEf JAM 5ia902*WEFrCURY (JO W16.98) VOL. 2... HARD KNOCK LIFE 1 28 33 9 UL' TROY SHORT STOemEPUBUC 5327&'UMVIRSAL 110 W]6 98)B SITTIN' FAT DOWN SOUTH 25 2C 25 23 30 DAU HILL A' UNtVERSmryrSlANO S245421rf£RClJRV IIOWI? 9fi) ENTER THE DflU 2 Zl 21 21 23 BUSTA RHYMES A E.L.E ; EXTINCTION LEVEL EVENT: THE FINAL WORLD FRONT ■ ■■ 6221 1 ■ i£G 1 1 1 98 17 '•iSl 2 it 26 25 21 LES NUBIANS OWTCW^HiGHEfl OCTAVE <&997fVWGIN (]09&Lfi.9ei B PRINCESSES NUBIENNES 25 29 22 17 7 KRAYZIE BONE A t*0 THUG&ltUTHLISS !67MSLATIvm U9.96i23 9SI THUG MENTALITY 1999 2 NEW^ 1 JUVENILE WARLOCK 2809 (10 S&'ie 981 BEING MYSELF (REMIXED) 30 31 27 1 22 10 GINUVV1 NE "^^0 MUS''^ 69593* '^PIC ' 1 1 9fl EQi'16 98^ 100% GINUWINE 2 (32) NEW^ 1 REEL TIGHT G fjnk 72566'RESILESS nO 9&'I6 9B) BACK To THE REAL 32 33 29 28 53 OMX A- RUFF RYDERSOEF JAM 5M227* WERCURY (11.9a'17.98) ITS DARK AND HEa IS HOT 1 34 31 27 26 JESSE POWELL SILAS U789iWCA 110.9Kil6.98)n 'BOUT IT 15 35 30 29 26 2PAC A'' AMARU.'0€ATI4 ROW 9030r|||NTERSCOPE 119 9&2't 98) GREATEST HITS 1 30 35 32 35 KIRK FRANKLIN • GOSPOaNTRIC 901 7&TNTERSC0PE 1:10 9817 981 THE NU NATION PROJECT 4 (37) 42 41 11 SHANICE LAFACE26058*i'ARISTAI109ail698l SHANICE IS 30 32 30 40 THE TEMPTATIONS • Motown 530937.'UNIVERSAI i 10 9ttl6 98) PHOENIX RISING 8 30 33 34 34 DEBORAH COX«AR1STA!902?a09ai6 98)BB ONE WISH 14 40 37 31 9 BLACKSTREET ul man 90274*.i1NTERSCOPE(11 9817 981 FINALLY 4 41 43 45 5 ANT BANKS PRESENTS T.W.D.Y. THUMP STREET 9986 ao.9a'I6 98) DERTY WERK 41 42 39 44 13 THE ROOTS • MCA l I9J8* no 9816.98) THINGS FALL APART 2 43 40 42 30 FAITH EVANS»BAOeOV73016'.iARISTA(10 9ai7 99) KEEP THE FAITH 3 44 36 39 18 FOXY BROWN A VI0LAT0FlOEFJAM55a933VMERCURYtl0 9a'16.98) CHYNA DOLL 1 45 34 38 30 98 DEGREES A MrTOWN=Tra^.v jNi)/ERSAL110 9&16,98) 98 DEGREES AND RISING 34 40 41 40 29 T0TAL»a«D61.- .'i.-J-iili i;9a:6 98l KIMf, KEISHA& PAM 9 GD 67 77 3 m Pacesetter ■ DIANA ROSS v.-cm iwi:; .iMVERWl ;o lii:?^ EVERY DAY ISA NEW DAY 47 55 51 9 COOL BREEZE OR!»NIZEDW)l7EjUM90169',WTERSOOPE 110 98716.961 EAST POINTS GREATEST HITS 11 4S 43 8 BOOTLEG REIATIVITY 1726<]09ail7 98>Bi DEATH BEFORE DISHONESTY 18 SO 38 35 26 DJ QUIK PROFILE i9034'iARiSTA I10 9M 6 98I RHYTHM-AL-ISM 13 SI 44 2 SOUNDTRACK L •iOIEF'UIMLESS69836',tPIC I1I,98E(V17.98I TURF STORIES 44 S2 45 60 7 PASTOR TROY '.-al j 5CCiETY8035 ll0.9&16.9fl)B WE READY 1 DECLARE WAR 45 C5i) 50 61 13 TEVIN CAMPBELL Qwest 4700aiWARNER BROS. 1109816.98) TEVIN CAMPBEU 31 S4 46 37 8 SOUNDTRACK HOLLYWOOD 62170tl09a'17.981 THE PJ-S 25 5S 47 55 13 BONEY JAMES WARNER BROS 47283 (10.98716.98) BODY LANGUAGE 32 S6 52 50 3 MEN OF VIZION MJJW)RK6e012'/EPIC (11.96 £0)16.90) ■ MOV SO 57 51 69 15 GLENN JONES SAR IWI ill 98)15.961 ITS TIME SI (SB) NEW^ 1 BEELOW BALUIVnilVAIt 1 4170»MEIKimY (ia9a»6.961 ■ BALUN 4 BILUONS 58 S9 49 65 47 MAXWELL A Columbia 63968* no 98 E(V]6.981 EMSRVA 2 (1J) 64 53 23 DJ CLUE • I^K-^ FE:_HC;F.6r,| -:36B91*iMERCURY (10 9*16.981 DJ CLUE? THE PROFESSIONAL 3 (M) 61 49 41 KELLY PRICEA l NEC)^ISLAND62451&iMERCURY110 9a'l6.98) SOUL OF A WOMAN 2 (62) 62 2 BEENIE MAN SHCCIirM YIBES 1SA7'.VP I9.9&14 981 ■ THE DOCTOR 62 63 60 46 19 SILKK THE SHOCKER A NO limit SOOOS'.PRIORITY do 9&17 98) MADE MAN 1 64 59 52 M OUTKAST A LA- ACE :6D53- AR STA 1 10 98 16 981 AQUEMINI 2 6S 58 59 16 TEAR DA CLUB UP THUGS OF THREE 6 MAFIA HVPNQTiZE Minos I7l! 1 1 .-.-1. IT* .iC 55.1698 CRAZYNDALA2DAYZ 4 tt 57 54 24 MYSTIKALA TvC Ll\l I ■U655.J1VE (11 9a'16.96) GHEnO FABULOUS 1 67 53 70 JOE SAMPLE FEATURING LALAH HATHAWAY PRA 955^ 'y^' 1- i;; THE SONG LIVES ON 53 (M) 70 66 78 WILL SMITH A L0ll17BIA68683* ill 96 6(^17 98) BIG WILUE STYLE 9 69 69 56 45 MONICA A- ARISTA 19011- {10.9&16.9a) THE BOY IS MINE 2 70 65 57 24 REDMAN A DEE jam 5S894S-iMERCURY (10.9*16.98) DOCS DA NAME 2000 1 (n) 83 81 6 CHERRELLE power 20OO'PLATiNUM (1098 16.98) THE RIGHT TIME 55 72 66 58 12 C-MURDER • NO LIMIT 5003&*.<PR10R1TY 1 1 1 98 1 7 981 BOSSALINIE 1 73 54 2 X-RAIDED BLACK MARKET 9966(1098f]S9&lB| THE UNFORGIVEN VOL 1 74 56 36 4 LIL SOLDIERS no limit S0038*'PR10RITY no 98116 98) BOOT CAMP 22 75 74 64 27 MARIAH CAREY A ' (XLUMBiA 69670' (11.98 £0117.98) # rs 6 76 76 67 13 YUKMOUTH RAP-A L0T4672aviRGINI1198,il9.9a) THUGGED OUT THE ALBULATION g j-j 72 74 BIG TYMERS cash money S317aV)NlVERSAL (10 98 16 98) ■ HOW YOU LUV THAT? VOL 2 17 78 68 68 9 o^l?n9-Hf ,*!J^*i?==, THE TOM JOYNER MORNING SHOW OLD SCHOOL MIX 64 <Ji) 81 79 6 MARVIN SEASE JIVE 41674 (109816.98) HOOCHIE MOMMA 75 80 63 47 5 WU'SYNDICATE WU-TANG RECORDS PRESENTS . MYAIANSKY 1 JOE MAFIA IN WU-SYNOICATE ■ - .-. 1,-1 |-TR.0fiir'i;0 9ii Jc 18 81 71 63 9 !!S-Sn*?™oIm(109»1698l WU-TANG RECORDS PRESENTS: WU-CHRONICLES 16 82 80 78 32 HOT BOYS CASH MONEY %14 (10.9a 17.9B) ■ GET IT HOW U LJVE!! 37 ® DE-EHTRT 6 SOUNDTRACK LIL lOE 241- do 9815.98) RINGMASTER 80 84 73 71 45 TRIN-I-TEE 5:7 B-RITE 9OO941INTERSCOPE 11098(15.96) B TRIN-I-TEE 5i7 20 ® •E-EIIIRT 2 ORIGINAL P WtSTEJOUND 1114 17 9&9 981 WHAT OAT SHAKIN' (EP) 85 K 78 76 27 SOUNDTRACK • DEE JAAI 558925*.14ERCURY (] 1 98E(117 981 BELLY 2 93 95 31 GHETTO MAFIA RAP artist 2061iTULiY LOADED 110.9*15.96) ■ ON DA GRIND 34 1 TYRONE DAVIS MAIACO 7496 (109*15.98) CALL TYRONE 88 89 75 82 4 PEABO BRYSON private music 62169.W1NDHAM HIU (10.9*16.96) UNCONDITK)NAL LOVE 75 90 88 83 9 ™or'°'5?i*i'^'^^^ . -1 THEN.W.A. LEGACYVOLUME 1 1988-1998 42 W) 95 75 1[ MASE PRESENTS HARLEM WORLD • auojtw sodcf 69HJ-«xweu :i : 96 Ed 17 « THE MmaiEKT 92 82 91 27 ICE CUBE A PRIORITY W7iX- 111 9817 9SI 0 PEACE VOL 1 ITHE WAR DISCI 2 93 85 97 91 MASTER P A M-i L ).':! b'Ab^- I'll 3i=ii-' 1 ;a 9a'16.98l GHEnOD 1 94 88 to 9 USHER • Jf SEE asis s« sta . 1 94 1 ; 46; LIVE 30 (95) RE-ENTRY 3 BV CHANCE persona lOOl (8 9814 98) GOnA GET THAT LOVIN' 86 96 90 92 28 METHOD MANA DEF jam 55d920*i'M£RCURY(ll W17.9S) TICAL 2000: JUDGEMENT DAY 1 97 79 48 9 SOUNDTRACK • no UMIT 50053*.PR10RITV ( 1 1 9*1 7 981 FOOLISH 10 98 77 62 4 DJ SCREW JAM DOWN 1010 (10 9*16 981 ■ ALL lATORK NO PLAY 62 99 91 85 15 QUINCY JONES QWEST 46490-WARNER BROS (24.9*29.981 FROM 0 WITH LOVE 31 100 98 72 9 M.C. BREED power 5290T7CADRUNNER i IO 9*16 981 irs AU GOOD 41 ^3 Albums with the greatest sales gams Ihrs week. •Recording Industry Assn 01 America (RIAA) certilication for rwi shipment of 500.000 albui Numeral tol lowing Plali ~ ' ' ' * ^ * ' " ' ' " ' "" - - - . . _ . and CD prices (or BMO shows albums removed nits [Goldl, A RIAA certldcalion for r>el shipoient ol I million units (Platmuml. ^ RIAA certification (or net shipment o* 10 million units <Diamond). Diamond symbol tndicatH album's mui'ii -platinum level- For Cxixed &ets. and doutxe dit>ums with a running time of 100 minutes or ntore, iDe RiAA multiplies shipments C^y tne numoer ol discs an<l'o< tapes 'Asterisk indicates LP is available. Most tape prices, and WEA labels, are suggested lists. Tape prices marked EQ, arjd all other CD prices, are equrvalent pnces, wh»c^ are pfojected from whotesale pnces. Greatest Gainer shows chart s largest unit increase. Pacesetter mdicati-s biggest percentage growth- Heatseeker Impact from Heatseekers this week. Bi indicates past or present Heatseeker title c 1999. Billboard/BPI Communications, ar>d ScjndSca'^. inc THIE ORIGINAL BEATS AND mWXii DOUBLE CD. DOUBLE CASSETTE C 4 PIECE VINYI. AVAILABLE ON v^y A NIZW COLLI-CTION INCLUDING ii Nil W TRACKS AS WELL AS THE HIT!! applal;-idwy(;k." -just to get a rep" and singles from moment 01- truth- look for the new single "full clip ALBUM IN STORE -MANIFEST." "MAS THE GOLD ALBUM :s JULY 68 BILLBOARD JUNES, 19SS A) U.S.I. ENTERTAINMENT (A PROUDLY PRESENTS THE NEXT GENERATION DAVID HARRISON. PRES. A.K.A LARRY WRIOHT. C.E.O. A.K.A ■CEBERB PATRICK TAAFFE JR. VICE I A.K.A FIRST UP: ICEBERG FEATURING THE BLAZE SINGLES UNTOUCHABLES (ICEBERG'S REUENGEJ' 'THIS THING OF OURS" NEXT UP: SHAKE NICKELS VEO BIG RUBE LEGENB LILZ CAPU O-TRAIN R&B SPECIALISTS: 4 TIME APULLO WINNER TROY AFFLICK UNCLE RICK USI. ENTERTAINMENT,19B FLORENCE ST, ENGLEWOOD, NJ 07631 201 .503.9851 nib@usientertainment.com Bdboaid HOT R&l B ^ OIHIOI EO COMPILED FROM A NATIONAL SAMPLE OF BROADCAST DATA SVSTEMS I Allllnl ■ A RiB RADIO PLAYLISTS AND RETAIL STORE SALES REPORTS J WIlBWtl-W COLLECTED, COMPILED. AND PROVIDED BTSOUNOSCAN. 1 &TRACKS iiiii" THIS 3 s 2 WKS AGO o ^. ii TITI C ADTICT PRODUCrB i&CNGWRiIfl?,' Mf'Riri' i NUMBERPSOWCsTlON LABEL PEAK POSITION IHIS WEEK UST WEEK % o rsi < |i TITI F ARTIST 1 1 1 ni\ i 1^ 1 PRODUCER .SONGWRITER' ",'Pfl.NT f, \.,l>.'aER PROMHT :M lABf.L PEAK POSITION rn 1 13 FORTUNATE * 4 wMht at No. 1 MAXWELL R tfav ■(tun iC. ![n ^OCK LANC it.TERSCOPE 79;35'COLIjMBIA t ] 50 46 44 20 YOU GOT ME * THE ROOTS FEATURING ERYKAH BADU THE GRAND NEGAZ iT TROnEfi.A THOM^SCN J SCOTT.S.STORCH.TME RCOT5 E-EFfESSi iTi MCA fifiiSa- t ]1 SI 43 45 8 SOMEBODY LIKE ME * SILKK THE SHOCKER FEATURING MYA THE .vh:.j? ■;iL't;THES-':tH-:q,o-A-'.ES,iR-':-'.[,MiiLro .c:iD:'"iM:M.iuria'A n iiNim^au:' i.^'^-z^^'< t 43 2 3 9 CHANTE'S GOT A MAN * CHANTE MOORE J i^^M I LCA'is ., H.\t-fii;ii 1 : ;f/.'is,[: yoi^H; jal.kwi>: c i^i Silas ^tj--: mca t 2 ® 53 57 5 YESTERDAY SHANICE MM- : /.-'-:.:'J' LArtCFALuijMCJ' arista 52 KJJ 3 4 8 UiUCDC UV fIDt C AT9 ^ TH? WHbKt MT ulKLa Al r w /U£ MELLiOn'MELLlCTTR STEWART, ESEATSi iCl ID) iTi MOTOWN S6C«9". t ® 60 65 4 NEVER GONNA LET YOU GO FAITH EVANS 5Ar,'".-' ■■ :■■ rjnUf'ACt; BAD 3C'' AL5JM C J'' ARISTA 1 53 5 5 10 OVO M DLAUUt R *E.LV MkE 1 TONE !R,«ELLV,N REED"i (C){DI ;TMVi \H: TRACK X(ASI£fiS ?8a'j7.COLUI/aiA t ® 56 58 7 FOR YOUR LOVE TEVIN CAMPBELL :T-r.': 1 , i:-ri:;;n) aw£srALfi'jMCjTv<AS\£fiBRos 54 5 2 12 WHO DAT « Jl MUPiltT ^tAIU^II>lb oULL 2 73 86 7 I'M GOOD AT BEING BAD TLC . WL'rti j^-^ii ii^i.vi-i]Le£"r A:T.^t, «ART\:ui:c-.:]ft:6ELio— ■ .i?i:[».= .iu n 5S CD 10 64 m Greatest Gainer/Sales m IF YOU HAD MY LOVE * JENNIFER LOPEZ H.JfiK!-'. ■■ i ■ 1, : 3Ar.lELS.C.fiOONEV.f JERKINS ill) ICHOHVI WORK 79163/EPIC t 6 64 83 3 GET READY MASE FEATURING BLACKSTREET A HEAii:i,S CCMBS T RILE- lA t-£A.fl j.M SE'HA.N SVli^iSS.C S'L'.'ERS D.MEYERSi 3AD BOY AL5 JM CUT AR STi t 56 57 52 56 4 PLAY AROUND LIL' CEASE FEAT. LIL' KIM. JOE HOOKER & MR, BRISTAL 31NK 3CG 1, LLOYa,R.HARtL.,KjON£S,J.r'1St-E=?,H -EftRE; QuEEN BE-^ONDEAS ALS'JM CJT ATLANT: 52 7 7 g 18 IF YOU (LOVIN' ME) • SILK jllitl' j -.:,.->,lpscsai?o&*:rsoh l Bi>:fA':jtR,DAi.LAMBv: ;c. 'Ci r; ix' LLi':THAe-:L-'';,iEG t 4 ® 67 — 2 JAMBOREE NAUGHTY BY NATURE FEATURING ZHANE NAUGHTy BY NATURE ■> Gr" V ■■■ f-.^ BGOLSON! AfiiBTA ALfiJM CUT 58 8 6 5 16 NO SCRUBS • TLC H.EJSIGGS iK.3RIGGS,i:.BUHG£SS,T COTTLEl (CI !0;' iTi LAfACE ?43S& ARI5TA t 1 ® 61 76 6 IF YOU REALLY WANNA KNOW * MARC DORSEY MSEAL'iP.ISEAL.NCLEMEr.^ „---. .TMESS't iC] .'a: 11 1 .T.'t J-l>« * 59 9 9 9 17 ANYWHERE 112 FEATURING LIL'Z : .i^riESi: T'lE^ y ■,[ITH,a!'4R«RUKAND^^■C^,LM*)™(£UiCmWND JH J ECYDl 3i0 KY *.6.V CUT.AFnSTJ t 5 M 54 46 19 WHAT'S SO DIFFERENT GINUWINE ■|MHi_-'JL- L LJMPKIN T,l,!OSL£*.i :'OMLS Z ALEJMCJTERC t 21 11 ]| 12 MY FAVORITE GIRL * DAVE HOLLISTER i 10HDA\ iS JORDAN.D HOLLISTER, I TUMPlN.W KINCHEM iZ) Id OEF SQUAD 590:9,'DREAMWC>RKS * 10 61 59 61 9 BEAUTY DRU HILL GRXME,NO*.;0THE'J-Tir' \' RLFFIN.G ^X^E.P iVEATHERSPCO'* ■ Jl. vE'^'ai'vlSJ.PO AL3JW ^JTUCf .*M 59 11 12 10 26 vnii A iP^QT pnwn 1 Z HOU>m<C RDLAND.J PO^VELLi ■C) I'D] S^LAS SS&DOW'iyi t 2 ® 76 87 3 BILLS. BILLS. BILLS DESTINY S CHILD -: BRKSGS ;< BURGESS.B KWWLES.K.SOWLAND LLLCn.En.SHAKESPtER-.i COlLMB/A AL3JM C jr 62 KM) U 17 13 HOLLA HOLLA * JA RULE lAi.i.V - .■■■f.-N.LLORENiO; AH (T! :Xj MURDE=? ISC 566959';DEF JAM » ® 71 — 2 IT'S GONNA RAIN KELLY PRICE R KELIY (R KEEL': ROCK LAND SOUNDTRACK CJT INTEBSCDPE 63 13 8 7 19 WHAT S IT GONNA BE?! • BUSTA RHYMES FEATURING JANET DEL TE T ^:»,' T-i n .VaAMB'-,* R06ER50N1 ICHD; Hi fLICMODt'ELEKTttA 640&1;E£G * ( ® 79 — 2 WHAT YA WANT EVE & NOKIO i'f>'\ZZ SEATS tK DEAN.E IEF5"RIESI ftUFF RYDERS ALBJM CUT INTERSCOPE 64 13 29 SWtbi LAUY liKbbt I-tE CHARACTERS 1 J AuSTIN.T. TAYLOR C fA^RARi FCA ALBUM CUT t 9 B5 57 48 12 MAKEDA LES NUBIANS V Ei.K-ifl,ESN-3ir*A.SS LIA FA^SSAP- JS -A.-SSAR'VflEL^?"^ CAIT0A%>-i6M£fi XTR'*t AiauM [LIMRj S » 48 20 22 uiu Tuu even 1 ninn w tvc-LLt RW;i-. -\ -.- ■- I'r.-jN[Y.:R.KELL'f,C.MAyf l£LO.JOLIVlER,S,BA«N£S) (Tl ;)(> JVE 426:>4' t 15 ® 83 - 2 IT'S ALL ABOUT YOU NOT ABOUT ME TRACIE SPENCER S'3LLShO::k,-<ARLIN ;C SCHACK.KAPUS ^•E^.'^^! CAt^TOLALajMCj: 66 16 16 12 14 10 67 55 51 8 IWANTU-* REEL TIGHT 38 (S) 30 34 12 m Greatest Gainer/Airplay m HAPPILY EVER AFTER * CASE CHEHOERSON (C.WOODARD.CHEMJeRSON) !TJ Off iAM 566956* t 1/ 68 50 42 15 GIRLFRIEND BOYFRIEND * BLACKSTREET WITH JANET LIL' ' ^" 1 ■ • ■ " ;r.. '.'."i.J ATKINS.E.JE'FRIES) {Tl LIL' MAS 9SD43MNTERSCQPE * 17 ® 77 85 3 WANNA BE A BALLER LiL' TROY FEAT, YUNGSTA. FAT PAT. LIL' WILL, HAWK, BIG T j^'W . L '^0'- 3IG T.iJNGSTA,FAT PAT.L'L' WIL'..MA*ki SHOR'' STOP'REPLBLIC ALBUM C I, T. UNIVERSAL 59 18 15 14 27 EX-FACTOR LAURYN HiLL .H„ '.■--;R-v-tiiSM-(iwL'j:*-P3>ijSD3DLE>iiG=!iC'.:*vvc'$: ^■i?L^-^:i.fxni!i:u\i':jiuyeiM 70 63 53 6 NASTY TRICK * GANGSTA BOO : J --J. -'Jl-' J 1. MiTCf^E-L " stAuREGAfO , HO^sfos J aiCKHAV, ;p i iCi :Di ;Ti hyon:ti:- wiNCti ::9viela*'<it' t 53 19 18 22 19 GEORGY PORGY * ERIC BENET FEATURING FAITH EVANS ^nf.'lT.i ■ I ::^.E (O.f ,P*ICM) IXiWAPNER BROS 14612' f 15 71 62 77 3 AUTOMATIC * MC EIHT f NAS'iAR JJLIO ■:, :A T-'LER F SASSAfil (C'l iDKTl H-XBANCIN' 534aC.'=>CiC5ir-' t 62 20 23 2! 10 IT'S OVER NOW * DEBORAH COX KAr^L' ■ '.. j\ JACKSON,*. JACKSCN.DGRirnt.' ah ^ta :3f)bf,' t 20 72 65 69 4 EVERYONE FALLS IN LOVE * TANTO METRO & DEVONTE 65 21 17 15 13 uiuAT'n vni 1 mur UCDC CAD9 ^ TOIMA S TAM&DA S.Al; :^ :E ^ bLiT['-,,T,30\VELLT POWELLI iCi iDi(Tt COLUMBIA 79127 t 14 ® 82 73 7 STREET TALKIN' * SLICK RICK FEATURING OUTKAST . Pl-i R ,'."L "r=5,A PArrON.A,BENJAMiN.P ALEXANDER] :■; DEF .AM S?C76i' 67 CID 27 27 9 f.-L^KiNSi tG srjCHE (S.PEiKEN.GROCHEi ATUiNTiC ALSUM CUT t 22 ® 74 73 8 BREAK ME OFF MEN OF VIZION . rc:.l,'A5 ,i THOMAS,, Tt<OMPSOM MUWDRK SOUNOTfiAC-f CLT -PIC t 74 23 19 18 18 Llrt K-LI & JUJU R KELLY (fi HELLO ROCK lANDrMCA SOUNDTRACK CUT.INTEftSCOft t 15 ® 78 79 3 LIGHTHOUSE * NEW DIRECTION ePJ'Nrj' 'P jP.:.'',. OS-i'i (Dl M'^RHHWCBD 75iaMPlC t 75 31 3 WILU WILD Wc5T WILL bMI 1 H r tA 1 UKIiNU UKU HILL oi KUUL MLJt, Ubt R.FUSAR IV'- TH S ^VDNDER.M DEWtSfi OVERBRC'DK,''NIEfiSODPE AL3UM CUTCOLUUBlA t 24 76 68 63 5 FOLLOW ME NOW JUVENILE M FRESH IT GRA'! CASH MONEY ALBJM CUT.'UN-rtRSAL t 63 9<t 22 16 28 SDJ.i-i..-.-,-.^ _ . lChaCK.-i KAfli.i\,T SAVAGEi iCi *Dl IT) iXi ARISTA 13619 t 1 77 81 60 II YOU'Z A GANXTA DJ QUIK 01 auitt IDJ QUlK} PftOFiLE ALB'JM CUTARISTA 59 \jnj 28 32 20 a JfPKAj ,S R-,INS r JERKi\S III.LDANIELS.t PH ILL) "5, T.ESTESI tC! ICJ IT) ^X) ARISTA H£ARTBR€AK HOTEL; f 26 ® 87 2 BACK THAT AZZ UP JUVENILE FEATURING MANNY FRESH & LIL WAYNE M rF;5'- II ,r.'E'. 1 F.M -RE-v" 11. '/ii-'fiF; 1A3H MO\i - ALsuM CUT,'UNiV£*?SAL 78 27 26 24 17 M&NM A TRITK DAnnV FrATIIRINf^ TRINJA KIGHILijJi -L'.' acOG E ir.ADLJGGINS( ICl lOj (Ti SUP-N-SlIDE 2fl7.'W*HLOCK t 20 (79) 1 m Hot Shot Debut — BETTER DAYS TQ S.EvA^S.T ANDERSOri.M.MOSLEY.TQ J.OLJA'TES.B EVANS.T ANDERSON) iCl !D) aOCXWOSK 7915a'EPIC t 79 21 19 24 ALL NIGHT LONG -k FAITH EVANS FEATURING PUFF DADDY i.ir-'V .v,;;^wiiciawsi':mfOT"Bi5S»';iWMRijxtf«KCfiftfr:i c :(r.a>:a]Y'STii*/r;i> t NEW^ £9 25 11 rift 1 1 m t PlUW w INrto t trt 1 Uninu rUrr LrnUUT PREny aC-'.O-MOeT.POKE & TOME IG,MARCHfiND.N,JONES.A.M0ODY) (Tl (V) COLUMBIA 79070' t 18 80 70 62 8 ONE-NINE-NINE-NINE * COMMON FEATURING SADAT X -t 'f '■ L • iC) iDl :T; RAWRUS 53*7i'PR.OfllTY t 38 40 7 1 ATPI V TVRr^r D ALLEN i T GiBSON.D. ALLEN 1 RCA ALBUM CUT t 30 81 75 84 3 HOW COULD HE HURT YOU THE TEMPTATIONS R uaPBET": = " if-LOir .R GA.RRFTT.R RiOEOUT,OALDRIDG£,T.K JRT.S) UDTC'iVf. ALBJM CUT t 75 31 24 26 5 NO PIGEONS SPORTY THIEVZ FEATURING MR. WOODS vrvi-'-r i-it MAi.NCKfc' MO«i;i i Fwo u 'iP-ut.f. ePiMi ■. Bi^ESi r r.;n;Ei sl'T-cse -KiwoojiuwaJk 24 ® 89 2 BIG MAMA (GO BIG GIRL) * BLACK DAVE G COATS 1 J TtRfffLL,:! .VIHIAMS irii CC} TRIAD 2l7:-,ROADHUNhER ' 82 (m) 32 33 9 SHE'S A BITCH * MISSY "MISDEMEANOR" ELLIOTT TtMiftLASD :M ELLlOn.T.MOSLEfi .J: THE GOLD M fO-tASTV-TST 63"?51*.'EEG t 32 13 72 59 18 RUFF RYDERS ANTHEM (REMIX) DJ CLUE FEAT. OMX, JAOAKIS STYLES, DRAG-ON & EVE ^Wi:: BEAT 1 ^tilPS.OST'lES.M J.SU*LLS.E5MAVi(.K.iru.ES'WI«l6ILDtW,[^FtEIISI TOCAiUUi »L3vMa>THF .AM 47 33 33 23 17 JIGGA WHAT... * JAY-Z FEATURING BIG JAZ TIMSALV-:- 1 auRKS.r MOSLEVl (Ii fiK-A-FELLAl&W MONET CASH. HOES)','DEF JAM t 23 ® NEW^ 1 BABY BEFORE DARK 5HEKSPtR£ ■'B»IGGS. STEWART, TAB, TURMAM (C) (Dl RCA 55761 t 84 34 37 41 9 YOU ARE EVERYTHING DRU HILL SISQ? ri I' -'i ■\-,:^7V.'5 R COUSINS) (T) (V; UNIVERSITY/ISLAND 5620?1','DEF ;AM t 85 84 92 E PARTY IS COIN' ON OVER HERE BUSTA RHYMES D; S:RATC-+ T SWIT'-.O S'* v£Y] FUPMODfjtLEKTRA ALBUM C'JT/EEG * 72 34 39 IT AIN'T MY FAULT 1 & 2 A SILKK THE SHOCKER FEATURING MYSTIKAL CRAIua. :l -M 'HL i.- jCKER.MySTIKALi ICj (D) FT) NO UMIT 5347a'PRIORITr t 86 67 20 DA GOODNESS * REDMAN R'JLlii- ' " LLi.E K,ELUNGT0N,J,Ti20L) fTi OEF JAM 566831* t 50 36 29 30 32 CAncn □i/~TiiDcc ^ pacc s inc" rAUtU rIL 1 UKcb ir LAbt & JUL JOE;)T-(i '.'(.J- ti-.-.m-^-^^jn;. ICI !0) DEF ;AM 5t*45fl • Lo/7 NEW^ 1 ^■1 III TV miucrtcid/'c rtJiMCiii cc ati idikii" r\D noc uUILlI LUNbLlcNUt LMIlNtM rtAIUKIMu LJK, UKt DR r.=E iM ■.■AI'i'LR';. :,R DfiEl WEa'AfTERMATH ALBUM CUT'INT-RSCCE 87 94 2 UUATrU ni IT kinVU - TUC OTATWI ITC FFATI IOIMP VCI 1 AKI AW THE '6iy\. : . - l-\t''Oll.\ Tl'JEC iC:.i[ii (T; VIOJTOR 1 79t.'R£LATIViTY f 88 69 68 12 THur UrMTAI ITV ^ KRAY7IF HOKiC 1 rlUu Mtn 1 HLI 1 T w rvnHl ilL DU N t ',' SE-EPT ft HESDERSDN.M 5EIFE»Ti iTl MO THLXJS'RUTHlESS V^^' RELAT'v T- ' 38 36 29 20 vuuc'ij 1 r\ ncc uv rvcc quanipf wntn 1 ULUoc. mt CTts * iriMiNiLit ^ CAMPBf ,L r-.'i,'.-i-.[ , - ^.-...'.-^r; lC)(D)LAfACE 24365/ARiSrA t 4 KM) NEW^ 1 CDCUrMM' Mniucv 0 UC\ 1 V orCnLiin nnuriti t\. ritLLT ; iOVSi R iAV.pEMr:E,L--v[ j K N£L:r fi LA'<¥fi£MXS.COMBS,SJOfiO*N,K PBlCf ,D RCMANI.T »1UI>JG»&^J Jrrt AlBUW CuT 89 KM) 48 66 3 1 LLL IVIL 1 1 3 KLAL r^-KA & JUJ*J J HAIL-;' R B[','.L" - .'.JiC WI.-. J HAiLE'Y.RBENNETTI MCA ALBUM CUT f 39 NEW^ 1 cDcun Mv 1 ICC uiiTu vm 1 roin DTKirr ctati idimp taiijiia artnu ml Lire wi i n tuu ckiL/ DLnL i rtA i Uniriij i Mr/iiH i fiiSj r !:■ '-ij^ii' r, ■■• li U-NfT.G.NASH.jR D POSEVj WARNER BROS ALBUM CUT 90 Kwj 40 43 7 rLAY tKb nULIUAr * 1 .W.U. r . rtA 1 UKINb 1 LJU irlLJK 1 & ivlAL MALL Mi' Hii'-r.:. " y.-. i I SHfirt.K.DUSOS.IXi'i^E AiT4EtS.S^y.^KlfiOL'jH' i[ Di "i'-UM= S'R-.£: » 91 80 81 4 YOU WONT SEE ME TONIGHT NAS FEATURING AALIYAH TlVii-."'.. ■ '/ -ILL OH'! COLUMBIA ALBUM CJT 80 QD 42 47 6 EVERYTHING IS EVERYTHING LAURYN HILL L ML... POfi:.ES 'L M LL J f.EWTONi fiUFFHOUSE ALBUM CUT.COLLlMBiA 41 92 90 74 8 EYES BETTER NOT WANDER NICOLE SWi>E- ': ..i-.^tn,. ■^■LA..._K. THE GOLD MINatASTWtST ALBUM CUTfEEG t 71 42 35 26 15 GET INVOLVED * RAPHAEL SAAOIQ & Q TtP RSAAOia : If R ■ilAADiQ.Q'IP ' SAMBLE.LHUFf .G.MCFADOENJ.WHITEHEAO) IT) HOUYWOOO 66009' t 21 93 92 89 18 IF 1 LOSE MY WOMAN * KENNY LATTIMORE D SiMMu\:i LAriiM.jHt,:;'SIMMCNS: (T](V)CaUMSW 79120* t 50 SI 52 4 1 DON'T WANNA SEE * LINK DaUt 1^ WJ-.----.^[: AiL.'.Mii- . 1] TO WOER.S. MORALES] ICHO) RELATIVITY 1 763 t 94 38 80 5 SHORTY (GOT HER EYES ON ME) DONELL JONES 0 JW^ES rf ■A-. LAMS, W KXGEb.M LEWS.D X>NES,T.H MARTINI UNTOUCH ABLESWACt ALflUM O/T.^ARtSTA t 80 44 44 37 28 WHEN A WOMAN'S FED UP R. KELLY R KELLy IR KEvLTi Jf« ALBUM CUT t 5 95 91 82 8 JOHN DOE PUBLIC ANNOUNCEMENT £ ROeiNSON IF DAVtS) IJNOHX ALBUM CUT 82 45 41 39 34 TUFCF ADC TUC TIAICC -A. DDI 1 UII 1 1 ntoc Ant inc. iirvits w unu niLL BASVFACE.O ThOMAS tSABYCACE.D THOMAS) (C) ID) (V) UNIVERSITY/ISLAND 57258&OEF JAM t 5 9C 85 70 8 1 CAN'T * FOXY BROWN FEATURING TOTAL T.FYFFE ri MAfK;MAND,S CARTER.T FYFFI.G.MICHAEU iTi CE- JAM 870801' T 61 QD 58 75 4 JIGGA MY NIGGA JAY-Z swiiz atA's IS ::j>.rier,k.deani ruff hyders album CL/T.INTERSCOPE 46 97 95 51 4 BOUNCE. ROCK, SKATE. ROLL * BABY DC FEATURING IMAJIN ANT BANKS I'J BELL.G BUFFORD.'Y MASON.j COLEMAN) iCl ID. (Ti ShDRT 46605.'jrVE t 91 47 39 38 19 1 STILL BELIEVETURE IMAGINATION A MARIAH CAREY FEAT. KRAYZIE BONE & DA BRAT S IWaN.W Uf.y,-'i 1 i 6?*Mi'0,e CANTA?- LLI.L 3«>XSSE A NEWLEY', IC) iDl (M) CT| |V1 IW COLUMBIA 79M3 t 3 9> 97 96 19 WOOF * SNOOP DOGG FEATURING MYSTIKAL AND FIEND MP,'::J?AIG B ISNOOP K)GG.MTSTIKAL.FiENO) (O (DI (r, t*0 limit 53462/PHIORfTY t 31 4t 49 36 16 ONE MORE TRY * DIVINE DEfiZIL FOSTER T l/-:E.RDv . G.MICHAELj fC) (0) PENDULUM ISSSaittD ANT t 13 99 100 71 15 NAS IS LIKE * NAS DJ PREMIER ^DJ PREMIER.N JONES) 'V. W) (X] ■:XtLUMBIA 791 13" * 30 49 45 35 13 MY FIRST NIGHT WITH YOU * MYA R WAKE iBABYFAce.D -iVARREN i ICl ID) fVl IX) UNIVERSITY 970451 NT ERSCOPE t 28 100 93 72 8 QUIET STORM * MOBB DEEP HAVOC ;* JOHNSON.H MJCHITA,MGLOVER,S.ROBINSON. :Ii .OLD 6£^1S* t 71 OReconls m\h tTie greatesr airplay and sales gams tnis week. GreatestOatnei/SalcssndQrealesI Aiipln areawwded. respectitvly. for me largest sales and airpuy increases on thecfiwl. t videodip Mllabiiity, * indicates reu^ single availaM; Gold ind Piabnum sinslcs are otr>erw?se indicated -it Retail Latinch: Indicates nr?t week tt\at re4a 1 -e^se impacts song's char cositon. Aiipli)K>nly lonH ate not etigible for the Hn RU Siiigles £ Tracks unti tt>ev reach the top 75 of tne Hot R&6 Atrpiay chart. •Recordtng industry A&sn Of America (RIAA) ceniTiuriion lot rtet ^ipmfnt ot 500.000 unih (Goldl ARIAA ccdification fof net shipment of 1 millKin units (Piatirijmi wiin additional nt lllon ir>d<aM tiy a nun«er fclhiwine Itie SVinbot. [C) Cassette sinate M liable. [Dl CO Single availaOle IM)Cas5afle maji-single available. (D Vinyl man-single availaWe. (V) single availatsle. (XI CD maxi - single aval la C<*. Calaloa numbi^f is irx IDl • Indicafis (D) unavaiiatile, in Which oasc, cal*K)g r^mtxi n iv (C), IXl, iVt or (Ml repecttvtly. tiiMd on MillbllHy. 1 1999. BaiboinyBPI ComnmnicalHxis and SojndScan, Iik, 70 BILLBOARD JUNES. 1999 INDEPENDENTLy V ^HOT! Check out: Gilla's single "1 -9 IMina Nina" on Billboard's "RAP HIP HOP 1 " special Executive producers "Slick Vic" Little, Stylz, Eric Barboza S3S Citizens Ave. Waterbury, CT 06704 • Office 203.737.3100 • Studio a03.755.B3S7 Billboaid. JUNE 5, 1999 Hot R&B Airplay Compiled fiom a riatponatsampleo*awpiay supplied by B' >ii:ri=.' E^.^ts Systems' Radio Track seivice. 102 RiBsutior areetectronicatlyiTionrtored24 hoursaday, 7 day^ a week Sonfp ranked by gross impressions, ccvnputed by atss- ntoencMig BiKt times of airplay with ArCrtron listener data. This data is used m the Hot MB Singles chart i i i S 1 TITLE ARTIST OUPRINT.VBOMOTION mMU 1 z i 1 o i TITLE AAIISf (IMPRINT/PnOWOTION LABEU x 1 13 — ^ NO. 1 FORTUNATE va«Tl ;^■:^^'•^:.■■."K■,:■■,'^,■:■:l^!:l; .'•tarh- : 31 31 32 FADED PICTURES case: a «r IDif JAMl 3« 39 20 f OU GOT ME THE «OOTS ECAI ERYKAH BADU (ME^E) 3 17 ANYWHERE 112 FEATURir« 1117 (BAD PjTjy.ARI'^TAi w 61 7 I'M GOOO AT BEING BW TLC (lAFACLAHlStAI i 2 IE NO SCRUBS TLC ,.v'"!:t-AfilSrAI 41 36 8 SOMEBOOV LIKE ME ^LUK 1*4 SKXI-EO ^EA' MVA i W llMltiT*OBiri: D 4 25 YOU lESSE WrtELL :^tL/S'MCAJ 3D 52 4 NEVER GONNA LET YOU GO EAJTM EWNS (BAD BOY.'ARtSTAI X' 8 9 CHANTE'S GOT A MAN ■■.-•H/i.Mt IKIOOI ibiLAVMCAl 43 40 13 WHArO YOU COME HERE FOR? TRINA & TAAIAfEA ICOLUMBIAl 6 5 27 SWEET LADY TYRESf B) 47 5 YESTERDAY SHANICE ' a.-^'.LAUi:-JA X) 9 S WHBtEMYGIRUAT? 702 (MOTOWN) S) 48 7 FOR YOUR LOVE TEVIN CAMPRfLE iQWESTWARNER RRi iS T> 10 18 IF YOU (LOVIN' ME) SILK lilt " INAIf 111 3) 54 2 JAMBOREE NAUGHE^ Br NATURE EEAT ZHAWE (ARISTA! 3) 14 20 DID YOU EVER THINK fl KfllY [Jl\lfl D 53 3 GET READY MAS^FEAI BEACKSERtET leAO BCn/ARISEAI 10 6 26 EX-FACTOR lAURYN HILL IRUFFMOlfiE/COllJhWIA) 4t 43 4 PUY AROUND ...... iw-*-- , lE'ACOSAWC E) 21 12 HAPPILY EVER AFTER CASE iDtF JfiWi 41 46 9 BEAUTY DRU HILL (UNI^ERSlTV ISLANEVDeF JAM) W 15 10 808 r;LA;i'Jf ' v-iii.:n. ma^^teri^ccXuMSiaj SO 44 19 WtUrS SO DIFFERENT GINUWINE IbM MLiSICEPtCI a 7 19 WHATSIT GONNA BETI BUSTiFwniESFtAi imv '^if QD 62 3 BILLS, BILLS, BILLS 0ESTINT5 CHJIO MP- A: 14 13 12 WHO DAT JtlKfCvrin SX'.'IWWBlIEXStlGWCfilllWICBrTI S2 50 20 WHEN 1 CLOSE MY EYES SHANICE 1 . 31) 19 9 ALMOST DOESNT COUNT BRANpy (*I LAN TIC) CB) 67 2 WHAT YA WANT EVE i NOKK) ^RUEF t- ■ P^.i'ULfiCOPE u 11 14 SITTING HOME TOTAL (BAD 80Y, ARISTAI ® 60 2 irS GONNA RAIN KELLY PRICE LAHC .MlMSL JPt IT 12 18 UFE K-Cl & lOlO IROCK LAHQ'MCA/irfTERSCOPt) 70 2 ITS ALL A8()UT YOU NOT ABOUT HE ID 20 3 WILD WILD WEST ML ari if. 1 oi n lE •MnHMmsiKtaw H 51 34 THESE ARE THE TIMES DRU I.IL1 lur*-vTRSlTy ISIANCMJEFJAMI M 17 19 GEOfiGY POftGY tF'" b'.'i'J 1-141 i-'iiH tvWiSfrtiRNtftBfiOS) SD 64 3 WANNA BE A BAUER LA- TROY fSMWIt ST0P,TOnjBUOEJNIYtRSAU ® 22 IS irS NOT RIGHT BUT ITS OKAY WnaNEY HOUSTON ■i-.r.TAi 98 49 12 MAKEDA EES ftUBIAKS lOUrEYMEiRIGHER OCTAVtVIRGINI 2D 23 12 HOLLA HOLLA JA RULE (MURDER ir»CA)EF JAM) 99 42 15 GIRLraENDIBOYFRIENO BEACKSTHEn WTH JARn ' . S-f^y lf^. 22 16 5 NO PIGEONS SfWrfHfVIfWT HR WOOOSiBOEfKUStCaiAIBW; eo 58 4 IF YOU HAD MY LOVE JENMEH L;>-_J ■ ncj 24 17 HANN TRCKQUOVfEAT TRIN* ISUPA-SUH.WlM.OCKI SD 74 2 BACK THAT A2Z UP inE»U=«l EiLWrilEi(.i EW^CASIKHEYtjWBWj a) 2i 17 JtGGA WHAT JAY-Z FtAT. m'lAZ (ROC-A FEUJVOEF JAM! ST 72 11 VOU-ZAGANXTA DJ QUIK (PRE>FtL£IARISTA) 29 IS 11 HATE ME NOW NAS FEATURir«G PUFF DADDY [CIXUMBIA] 63 56 5 FOLLOW ME NOW JLVENILE ICASH MONEY.UNIVERSALI 32 7 UTELY TYRtSE (RCAI ® 3 STREET TALKIN' SLKX RICK FEAT (XJTKAST IDCF JAAII 2D 30 10 ITS OVER NOW DEBORAH cox :A>visT;<i CD 69 6 BREAK ME OFF MEN Of VI2I0N (MJEflWftlvEPtO 21 2e 9 SHE'S A BtTCH MISSY tLL«:Tr ■ 1 'XLD i'MM»5H«3;Lti> 6t 63 6 IF YOU REAUY WANNA KNOW MARC DORSET (JIVFI 21 28 9 YOU ARE EVERYTHING E>RU HILL •' ■ -l-AND f.!.!- ,aMl «7 57 18 RUFF RYDERS ANTHEM {REMIX) 30 27 7q 1 AU NIGHT LONG N 59 4 EVERYONE FALLS IN LOVE EANIO '.'E ' Kt \ 1 ;r.'. :if. IE ■ - r. ; c.,! [ ^LVt^ H) 33 5 EVERYTHING IS EVERYTHING lAURl'N HILL iHUffHOuStiCOLUMBlAJ SO 71 5 PARTY IS GOIN' ON OVER HERE BUSTA RHYMES lEL'PWODLTEIKTRfcEEGI S) 38 3 TELL ME ITS REAL K-Cl S. lOK) (MCA) m 1 GUILTY CONSCIENCE EMISEU - Mr.iv;h-,:n.-^ 35 35 10 MY FAVORITE GIRL DAVE HOILISTER lOEF SOUAamUM WORKS) 71 65 6 PUYERS HOLIDAY IWOV y 1 vu: WA.iTK»PSntEET M 29 15 GET INVOLVED HAPHAri SAADIQ i Q TIP ^HOLLYWOOD) 72 68 3 HOW COULD HE HURT YOU THE TEMPTATIONS iMOIOWNJ S) 37 27 HEARTBREAK HOTEL (H) 1 SPENDIN' MONEY R KEUYIJIVEJ N 34 27 WHEN A WOMAN'S FED UP R KFtLY ■.* 74 55 j THUG MENTALITV 1 I SPEND MV UFE WITH YOU 45 4 JIGGA MY NIGGA JAYZ ■ ■■■ji.''Lr.:L-jC:>L. (75) GD Records with ttie greatest arplay gams, C' 1999 Biiltxjard/BPI CorrwYiuntations. HOT RSB RECURRENT AIRPLAY 1 1 5 NOTHING EVEN MATTERS UWm MIL FEAT OANCElDHHJtlHWTJtCa^MaA. 2 1 LOVE LIKE THIS FAITH EVANS IBAD BOY,ARISTA) 3 3 9 TOOaOSE NEAT (ARISIAJ 4 2 5 CAN 1 GET A... LAY ; FWT A«IL >CF MAATR CXWRJl 4 JA IDEE ;AJU , 9 e 7 DOO WOP (THAT THING) UEURYN HILL (RUFrHOLJSE..COLUMBIA) e 5 3 THE LOVE WE HAD (STATS ON MV MIND] DRU HIU (UNIVERS'TTilSLANOOEF JAMI 7 7 11 SECRET LOVE KELLY PRICE rT-NECKrtSLANDt 8 11 9 TRIPPIN" TOTAL FEAT MtSSY ELlOn iBAD BOY.ARISIAl 9 4 3 NOBEXirS SUPPOSED TO BE HERE DEBO*?AH COX lARISTA) 10 15 23 ARE YOU THAT SOMEBODY? AALIYAH :lflACKGHUUNE>AILAMIK;i 11 9 10 HOME ALONE R KELLY FEATURING KEITH MURRAY (JIVEI 12 8 2 ANGEL OF MINE MONICA EAR1STAI 13 21 10 TOZKJN JWYSU„Ft*I CAAlWyRTAHI^WWStCaLAIIlA 14 13 10 ANGEL IN DISGUISE BRANDY (ATlANTlCj IS 20 17 THE FIRST NIGHT lAONICA (ARISTAI 16 ID 4 irs ON DJ CLUE LEAF DMA iROC-A-FELLADtF JAMI 17 15 8 RUFF RYDERS' ANTHEM DMA IRUFF RYDERS'DEF JAMi 18 19 5 HA JUVENILE ICASH MONEYUNIVERSALI 11 25 17 GOTTA BE JAGGED EEYGE (SO SO OEFCOLUMBLAI 20 17 8 HAVE YOU EVER? BRANDY (ATLANTICT 21 22 14 HOW DEEP IS YOUR LOVE DfiU HE, 'lAI .1 iMt^RSTYTSLAAGMF jlMi 22 14 10 TXIS IS MY PROMISE THE TEMPTATIONS ilADTOWN) 23 24 23 STIU NOT A PLAYER BIG PUNISHER FEATURING JOE ILOUDl 24 23 22 THEY OON-T KNOW JON B lYAB YUM'BSO MUSICjTPIC) 2S 12 12 ROSA PARKS OUTKAST (UEFACE/ARISTAl R&B SINGLES A-Z IIUE [Publisliei - bciiii->mfi Org I Shoet Music Oist BMI-tMr Blackwood. BMl''Atisar. BMl'BMG. BMLJustin Combs, ASCWjtMl^jnl, ASCAP.'Broetw-4-&olher, ASCAP) HL 22 AUflOST D0CSM7 COUMT (S*nN loo SMlMMon Pun. ASCAP/Wamei- latiKrlanc, BMl-Manurti LA , ASCAPl WBM 9 AfrrWHERE iMinrna. ASCAP/iuslin Combs. ASCAP/tMl Apri.ASCAP)Hl 71 MTOIUTIC iOmebf. m\flianm % M. ASCAP) H BWrCDtSVnw.BMLiTVty&rdr.StSACytonbaMefK^^^^^^ SESACTabdous. ASCAP.lkto) Soutti ASCAP/Famous. ASCAPHm On Ttw Wetgt Of Insarvtj ASCAP.'Mo BeHer Gmnm. ASCAPl n BACKIHAIAZZUPIMo^Mack BMI) II BEiUnT(NorthllN«rue.i^SCAP,.^43nuibLA.ASCAP..'Phlip Wealhenpoon. ASCAP) » BETTER MIS (Som/ATV Tuiws. ASCAP/Stnctty TQ Hkix. ASCAP/WWswepI PacifK, ASWThamadik. ASCAP.'Naturt'^ Fitik;. ASCAf.WIII Soundlab ASCAP.'KC 913 ASCAP) ■2 BIG MUU [GO BK GIRIJ (4 IRE ASCAP/AinnkarnL BMI) £2 Bills. SILLS. BILLS iStiak en Own BUtHrtco. BMl>layja(Y ASCAP/Aii Ccnlid. ASCAP/tMl Aonl. ASCAP/Be>OTce ASCAP,T£ loya. ASCAT.IfelBndna, ASCAP) 17 BOUNCE. ROCK. SMTE. ROU iTaimtnl BMlVapetiend. ASCAPl 74 BREAK ME OFF (fitesi Tree. ASCAPAW ASCAP/Zomba. ASCAP.'Kffty. ASCAP} 2 OUHTFS GOT A HIM (FMe Tyme, ASCAf/EMI Afril, ASCAP.'DMI Blackwood BUlOiankt' 7. 6ML^cittnG«ns, SMI) HI. "S (Funhy NotHe, ASCAP/famous, Timertane, BMlTw^Arv] Under. BMl^m u Well ASCAP) HfiU 72 EVEnOKFAUSmUM (Shoclung vibes. BMLIXib Plate, BMI/Torry Ksly. BMlSongs Of Phlrfiram Int 1. BMI/GrBRiisleews] 41 EHERVTMNfilSEVEfrrniWGISwiy/ATVTKnes ASCAPiUbwerse Creation ASCAP,''lenra«i, ASCAPl U EX-FACTOR (Sony/A IV Tunes ASCAP.'Otr.erse Dea^. ASCAP/CoijHiis-EMI. ASCAP/Carwrs-8MG, BMlWu-Tang. 12 EYES BETIER NOT WANDER [CmliCKkis ASCAP/HefbataDUS- ASCAP/Slack Fountain. ASCAPl 3B FADED PKTWES (2oinbB.ASCAP«KK*y.ASCAPaallesl TiK. ASCAPyWB, ASCAP] 1WM 7fi FOUOW ME HOW Money Mack, BMO 1 FORTUNATE (Zomba. Bm/H-Mti. BMI) WBM 54 FORVDURUWE(OclobMl2lti,ASCAP/HitcoSoutti. ASCAP/Sleven K knlan. ASCAP/Vffl, ASCAP) U GCOReTPORffFOHudmar. ASCAP) W8M 42 SET MVOLVED aonv Ton Tom. ASCAP,>f>DhOrain Irttmsbonal. ASCAP/jaa Merchanl. ASCAPj^omba. ASCAP/Wamer-Taraflane. BMD HtWBM W GET REUIY (6 Iti Boro, ASCAP/M Bettia. ASCAP/lustin Cwrtbs. ASCAP/tMl Apnl ASCAP.'Notlir* Date ASCAP/Salellft III. ASCAP .■^ar. ASCAP.'Soo^/ATV lunes, ASCAP) U eiRlFRKWIiWTFRIEMO (Donrd.ASCAP^Zoirba. ASCAf/SiveKla, ASCAP/Me townt ASCAP/AjtJfi. ASCAP/iVT . ASUP/B)orMl« Rodmll. ASCAP) WBM 17 GULIYCOHSaEKE(Ei^MiliSM«.BMlWB. neojnvntl ant bn» whch have apoeved m Uw Ho) R&B Setgirs chwt lor more tlun 20 weete and nave drapped txiom the lop 50 Blackmod. BMI}V 17 HAPPILY EVES AFTBt (Baby Spl>e. ASCAP^rtted Source. ASCAP) 2S HATE ME NOW (CopyngM Controdll Ml ASCAPjTouiba. ASCAP/Uichael Maoir's Urt%«rM. ASDVyluniprv Besn, BMSain U Well, ASCAP;)Hly's lams, ASCAP/12 1 Urvter BMOWBM 25 HEARTIREAK HOTEL Uungle Fner. BMltMl Blackwood, BW^tvans, BM/Martfiai. ASCAP/EU Aprtl. ASCAP) HL 12 HOUAHGtUi [TVT.ASCAP/Dlh.BMO U HOW COUU) HE HURT YOU (Path-Pat BMl-Uncle BuiUes, ASCAP.Ilar Dar. BMIAony Ktrts. BMI) K ICANT (PorKASCAP/Cliiupell&Co.ASCAPAiLiJLi). BMVShiuBr Dinund, BMlQril Apm. ASCAPl 43 I OOlmMIHA SEE [20OO Watts ASCAP/WB. ASCAPAUha ChapCer, ASCAP/Sleve Morales. BMliWillon Dollar Steve. BWIurnane Bean, BMI) n IFILOSEMVWOIM (iW.ASCAP/Sony/ATVTims, ASCAP.Wamer-Tsmeitarw, BMI/Bobbe And 01, BMO 8 IFYOUHADMrLOVE [EMIBMcm)Od.eMb1todneir krkins, BMl^Ml A(m4. ASCAPAjShawn 0«i«b. ASCAPA:on Tittwii BMI/Stf)y/ATV Sor(s. BMlTred Muns III, aMUflsWi, BMI) HL 7 VIWaOm'MDITOOCIIVatts ASCAP.^nyFln, ASCAPL, ASCAP/Tani Robi, ASCAPAhe Mother Chapter. ASCAP) W8M » IF YOU REALLY WANNA KNOW {Slacl AD, ASCAP,^ Love s. BA^l'Baseo ASCAP,«e Miku, BMad lel. BMl^MG ASCAP) U I'M GOOD AT BEING BAD (tMI April, ASCAP/Tlyte Tyntt. ASCAP/tna & Gene i Son s. ASCAPXrung G»l. ASCAP/U H I ASCAP,1«ia i. BML'SiKMe BMl'Swwt SLmmef Netn, ASCAP) 47 I STKL BCUEVEiTURE IMAfilNATION ITwn Siuim. ASCAP/Oiysaks ASCAP/Colgeins-EMI ASCAP/laradam BMDHL/nBM 3S ITAUnmFAULTl(2 (BieP BMI) CS ITS Mi ABOUT lOil HOT ABOUT ME (Unite Fev«r. SMltMl SolvTO BMilloiBU, BMI) 63 irSGOtRURiAUcml»,fiM(^.K(«y,BMI) 2$ tr$HOTRK»ffBUTir$OWyiEMIBMtwood eMi;ruTKKiS. ASCAP/EM Afvll. ASCAP/f>fnk luns. SESAC^omba, SESACMCA ASCAP/TlD»«y leikins. BMllaShawn Dandy ASCAP) HfWBM 2t (TS OYER NOW (te-3, ASCAP WB ASCAP, ^llir«». ASCAP^Mbf^WI, BM^Htm BMtlnlerMCt, BMfleMone, eunvm 67 I WANT U (Mfsc. BMlWamtr-Ianiertane, BWVnant itetert, Aa^/lune-Siie ABw, ASCAP/WOB. ASCAP) SB UMSOREEfhaustity i^CAPMASCAP/CBMia,BMI| 46 m NKOA (IW u 1 u. m/Swi Beab, ASCAP,l]esd GdTO ASCAPl 33 fIGGA WHAT., an lu, BMLf Ml Blacknood. BMI/lan) flSllAP.'Vrginia Beach, ASCAP) HL 95 HHNDOElSirefzipod ASCAPl 30 LATELY [Penny Funk BMLSeven Sunmits, BMLtorthbon ASCAP,'8MG,ASCftP; 23 UFE {loirta. BML<f),KiiUy, BMI) WBM 75 Lxamtoust iss^ ch**m v b«i) fiS MANEDA (EMI Blackwood, BW'Mabel Edibons. SARU 10 KT FAVORfTE GIRL IS&wi A lordan. ASCAP/WB. ASCAP/Wi! God, ASCAP.'PoWram Intemartnnal. ASCAP/C tsraeL ASCAP/B«On Bhie. BtAWarrw-Iamerlaiw. BMI) HLWBM 49 MY RRST WGHT WTTH TOU (Sorrr/ATV Soncs. BMLf CAF. BMlflteahonp. ASCAP) HLWBM 27 NANH CFvstV GoM, BIATncA N' Rck, BMlTunk So AjditDus, BMI) 99 N6 IS UKE lloifta. ASCAPJII Will, ASCAP'IM A(fil ASCAI>I HLAVBM 70 NASIYTRKK aelr>M4; BMIU loeWoi BMI) S3 NEVER GONHA LIT VOU GO FDemvASCAPAPASCAP^MI Apm. ASCAP^fCAf , BMl'Sofiv/AIV Songs, BMI) 31 HO nSEOH% (SporTy ASCAP/Stsri Bin. ASCAP/ComnwNia Biabdo ASCAP.'SsleCi acker. ASCAP^k'em Dow mWtta. BMl'Tam, ASCAP/Air Conrol. ASCAP) HL S HO SCftflBS (Sheh em Down. QIMMta BMl/Tam. ASCAP/A> Control, A5CAP,'EMI ApnI. ASOU'/Kandacy. ASCAP/Tony Mercedes, ASCAP.Windsmol PaciAc, BMI1 HLWBH 48 ONEMORETRT fMomsDnLea^,.ASCAP/Ch«pel£Co. ASCAPl HL » OHE-NME-NBIE-NmE fS«<n^s,BMl<lBxt Gram ASCAPl CS PAItTTISGOIN'OHOVCHHEiltaZiahVBMI/Wamer- Itmortm. BMl^'ma Play tason, ASCAP) 97 PUIVAR0UNOtUndea».BWWaiTier-T«mertane.6M»)ne Shot OmI. SeSAOHwe Picn*. BMI) 40 PUTClKNOU(WV(Ba<tKLASCAPyZi)mtis,ASCAP/Ras lop BHV1 Sm £m AS(^bind. BMt/Dw KIL BMWiWefi Withers. ASCAP,U«Ktt«i(»ll, BMI) HLWBM 100 QUIET STORM (Careers BMG BMlhrvenite m. ASCAP,'eUG ASCAP/Suearhill. BMllwenty Nine BLack, Billboard. JUNE 5, 1999 Hot R&B Singles Sales Compiled from a natior>al sub-sample ct POS (point of ^.tif-) equipped key R&B retail stores wtiich report number of units sold to SoundScan. Inc This data is used in the htot R&B Singtes chart. tmr Z S i 5 5 TITLE ARTIST IIMPRINTTFfCMOTIQT^ LABEL! i t 1 s S t TITLE ARTIST (IMPRINT/PROMOTION LABEL) 03 1 4 NO. 1 FORTUNATE i*u*ar/'jAjA(ji?irjEak,«A rikKii: 38 34 19 WOOF yAKP :og; mi lrstiAj m: (ncwuHiTPRonV) 39 38 n MORE FREAKY TALES " , TOO SHORT ISHQifT jl'.'El XI 2 4 CHANTTS GOT A MAN CMANTE MOORE ' » — 1 WHAT WE BE BOUT MC^At .,AI,- .Tl 3) 4 4 WHERE MY GIRLS AT? 702 '.iLiLiVr. 41 37 6 BOUNCE. ROCK. SKATE. R04J. BABY CYC FEAT 'MAJIN ISHORT/JIVT) CD 5 9 808 EjLAUUL lT■^A':^ MASIERS>OOLUUBAAI 42 39 19 ANGEL OF MINE MONICA (ARISTAI WHO DAT RESPIRATIOT,T S 3 8 JI1*J<YIIAT 1: ■.N'U;'>:;fi'!E£VlCPJ3F^^' 43 41 13 3) 6 2 IF YOU HAD MY LOVE JENNIFER LOPa IWOFTKJtPICI S) 43 13 NAS IS UKE NAS ' . 'LLMHi-, 7 7 12 MY FAVORITE GIRL DAVT HOLLISTER IDEF S^UAEADREAMWORKS) 50 12 GANGSTAI GANGSTAt (HOW U DO ITI C VrtBBFEAT KURUPTHUW .ITVll^HTTEAR 8 8 13 IF YOU (LOVIN' ME) SILK lELfKIRMEGl m> 47 15 PHD. (PLATA HATA DEGREE) T0NY4FEAT KEYIN SARlRCA i HEmWC .inEEJRAM 3) 10 13 HOLLA HOLLA JA RULE IMURDER INC OEF JAMI 47 35 IS NANN ■Ra OKD' FLA' IM-,4 ;Sl!F r. SLLli-A'ARJOCKi EVERYONE FALLS IN LOVE TAMO METRO 1 T'l .jr.'F FJMMflLSf.'VPl 10 9 10 WHAT'D YOU COME HERE FOR? TRINA & TAMARA i COLUMBIA:, 3) 57 2 11 11 14 IT AIH'T Mt FAULT Z'SOMEDOOY LIKE ME Sin . .1. --i' v-iihii 1 _u' . i< 49 49 6 SHE'S A BITCH v ::. L... ■■ ■■■■ GOIEJ',"- -.'.L.tEEC 2) le 4 1 DON'T WANNA SEE UNK ■ 1 . , . SO 44 36 N<»OOV'S SUPP(>SED TO BE HERE B) 64 2 WATCH OUT NOW THEBEATMJTSFEA- 'tLUlAiAW lYTWATMlRElATRTTIl 3D 2 COLD FEET AO KC«€W iFAANC S 14 12 11 WHAT'S IT GONNA BE?! S2 42 13 STAND UP ELr!U-H-.'- , ■(I- ='l-- FlPMOOttUKTHAHEIJ WW-SA-'IAYIiFy- IS 15 10 ONE MORE TRY Dt'.JNt iH ■r)lJl.|/H-;DANT) S3 53 24 WATCH FOR THE HOOK oxibhee:- .■ '.LL' ..-..jji'i 1« 14 12 MY RRST NIGHT WITH YOU MYA [,IMV^fiSlTT.lKTERSCOP€) S4 51 13 WE BE PUTTIN' IT DOWN BADAZiFLFT y^CYJPOJQS - SlilLETPRIDRirYl W 18 7 PLAYERS HOLIDAY T W D Y Fl *■ 'X -J^'fir I VAE lALL. iTmUIP STREFl ss 45 19 TAKING EVERYTHING GERALD LLVt"! .-EECI 18 13 18 HEIWTWEU HOraiTS WT mem BUT ITS OM) •HThE*H:LrMfEAI '»TI-:ilA5i l£U'«TC£ ARSTA W 46 THROW YC HOOD UP UR IA:fii. ,i -T,..! AKi.'-rTHEUWULOCN^Pi 19 17 |c 1 STia BELIEVE/PURE IMAGINATION 57 55 21 WHO LET THE DOGS OUT? CHUCK ^WCOTH , ' ' n 19 3 AUTOMATIC MC EIHT 11*30 '-■■■■J:", ', PRI'JRITYI sa 62 9 I'M YOURS i'« jAFAiaeitt: 21 21 10 WHEN 1 CLOSE MY EYES SHAJNICE !LAFACL'ARISTAJ 59 58 29 GHETTO COWBOY MCMLGSFAM-.' , ■ r.tLESSRElATMIYT W 31 3 UGHTHOUSE NEW DIRECTION IMYRRH/WORWFItCI 80 61 SOOPAMAN LOVER - ■ ■ xiynKtWimv 23 20 8 IWANTU REEL TICiUT (G FUNK^'RESTLESSI il 54 20 WHEN YOU BEUEVE AM:'N;YHyjtICNi»AAF!LLHaWi:AtAUlW»«l 24 2E 3 irS OVER NOW DCaORAH cox lARISTAj 82 60 3 AUIKNOW RAHZEL 1.' -> 2S 22 9 ONE'NINE'NINE'NINE COMMON FEAT SAOar > (RAYVKOSRRIORITT) 83 48 12 IF EVER 3RD 5T0REE FYAe . il.ULr^lRAEEG 21 29 6 NASTY TRICK GAWKIA eOOtHYPN0II« MINOSRELATTYITY) (4 59 8 WHAT G'S 00 4 MONET UL RACHEn FEAT LV IBKl KIDllGMT-EARJ 27 23 12 Aa NIGHT LONG FAITH EVANS ITATFVJFFCADIYFIBAD BOY'ARISTAJ ® 75 30 LOVE LIKE THIS FAITH EVANS FEAT Pl^F [«IOY iBAD BOY ABISIA! 21 27 10 NO SCRUBS TLC lUFACE-'AHISTAI 63 8 HATE ME HOW NAS FEAT PUFF DADDY IC0LUM8IA) 2i 32 13 I'M NOT READY KEITH SW£AT iLLLFIKa.tECl 17 67 24 DO YOU FEEL ME? (...FREAK YOU) MEN OF VIZBN ' IAJ^'AORkEPiC. 31 28 8 THESE ARE THE TIMES DRU HILL lUNIVERSITY.'ISmNO.'OEF JAM) w 2 1999 PRINCE HVAHNER BROS J S) 1 BETTER DAYS IQ ICLOCKYVORK-'EPICI 88 56 9 SUGASUGA MONIFAM (UPTOWN'UNIvntSJLLJ 32 25 2 GEORGY PORGY ERIC aERFT FLAT TaiTh EVANS nVARNER BROS 1 IE 12 WMYO-WHY Be 1.1 : .1'.- 33 24 7 SITTING HOME TOTAi ;tvi:; R: ■ Ah s'Ai OE 74 2 NUTT1H' TO DO WKTSEYlWaiieill. 1 - ,'f ">ALA«CF^ 34 30 17 HARD KNOCK UFE IGHEHO ANTHEM) JAY 2 iROC A FEllADEF JAMI 72 46 27 I'M YOUR ANGEL R, KELLY tCEUNE (HON J Vc 3S 33 17 FADED PICTURES CASEAJOE 1 ■ '■'.' Oil — 3 THE ANTHEM SWAY A KNG TEOI FEAT DJ REVaimW nNTDBCOfO (M) 36 2 IF YOU REALLY WANNA KNOW MARC OCFISFY . 03) — 26 LET ME aO...RELEASE ME VtRONiCA IH 0 L A ; i3D 40 3 BIG MAMA IGO BIG GIRL) BLACK DAVE 1 M : ® 1 DID VOU EVER THINKIHOME ALONE ( ) Records with the greatest sales gains. £. 1999 Billtxjartl'SPI Communicatwris and SoundScar, Inc. RUFF RVDBtS AMTHEH (REMIX) (Boorner X. 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ASCAP.ltervyFrcmMssour ASCW.'TtiIco South. ASCAP/Tabtious. ASCAP) HL 24 WILD WILD WEST areybaH.ASCAP/BtachBull. ASCAP/Mwte. ASCAP/WB. ASCAP.^I Aonl. ASCAP/Zomtu. BMDHL SB WOOF <Bie P, EMI) 52 TESIEROAVUameylB/.ASCAP/WrabMeptPBcilH:, ASCAP/Sbance 4 You, ASCAP.^ A(nl. i^DVjIWca, BIN) 34 YOU ARE EVERYTMM6 (Da Hh ASCAP.'SOTf/Arv Sorv. BMl/MulK Ewnone Ciawi BUV. 50 YOU GOT ME (Camrs-BMG, BM^rand tkxai. BMlScott StMcb, ASCAP.'Blues Baby ASCAP.'Bkxrtte HokweH. ASCAPl 91 TOU WONT SEE ME TONIGHT Oomba ASCAP.III Wi, ASCAP.WB, ASCAP/Vriinia Beach. ASCAP .Was.s Conhjsjw. ASCAPl 77 YOU7AGAIIltTAWay20uk,ASC*P/Pn)loons,ASCAP) 11 TOU (EMI ApnI. ASCAP,^a[>CB.ASCAPA>irytaks ASCAP,'Td The Ihnl Power, m) HUWBM 72 BILLBOARD JUNE 5, 1999 BtzKtt,- !s:layer • S^EK^I ti^RA ty^E O NEaAtjVE • C©AL CHAMBER (^Oi:i!$MACK • :1»ACH!NEHEAD MOtpRHEAD • FEAR FAC:t#>RY ^y^f;V^ OF A DOWN • tNCUBIJS^. If !ti::H!S«!rtj:R • bwhazard LIFE «)F A^ONY • KtLa©RE • I>AHztC MELVtNSf • t^ERA^Y? MONSrtjER V©«>D«>© MACHtNE • SS&ff lf©WER«%AN 3000 • DRAIN iS^.t.H. • DOWNS^Et, MtmOU ©F DtJS^OROER • HED(^E) , . • ^ HUMAN WA!S^^^: ^R©jEc£^!S:L© WJRN • NEUR^ii ENtjXMBED • EARtii CRlS^tS: • CELLOPHANE ^Ltj^ASrpANK • PUYA • S^LilpKNOt,- K^SI^MONkEY APARtjVIENt,26 • FLASWPOlNt,- iSTt^tjCX 1 1 rr Hi Ml/ P 1 1 1 1 11 V f it's bacK, big-time: niA+CH Wi+H THt "There has always been an audience for music that grabs you by the balls and lifts you out of your boring everyday world. That's heavy metal, man." It's no longer jusl che .snicker-inducing sound- track for "Beavis .\nd Butt-Head" anymore. Heavy metal is back — and we're not talking about the mascara-coaled, pop-sweetened stuff, either. We're talking about hardcore, guitar-slingin', tii-your-lace fodder: the kind ol'music that makes moms wince in disapproval and teenage boys punch the sky in rebellions solidarity. Of course, diehard Fans will argue that the genre has never gone away. Like most specialized brands of nuisic. heavy metal simpb went nndeix"'nn(I — and BY LARRY FLICK aside, mainstream punters did tire ol tbe scene — or, more accurately, the hedonistic excess of it. The early- '90s rise of bands like Nin ana and Pearl Jam was. in some ways, a musical reflection of the world's climate. In the '80s-era heyday of nielal. sex didn't kill you and the words "politically correct" simply did not go together. "Ciolleclivcly, we all went wild, com- pletely over the top," says Tommy Lee, the infamous drummer who recently split from Motley Crue. " There was no way of keeping it up indelinitelv. Something had to give." FALL FROM GRACE Blackie Lawless of \\'..\.S.I'. agrees, he recently told journalist Bryan Reesman. ".\ lot happened. "Hie scene in the late 'SOs did lu-fonie bloated, but ihcre was more to it than that. I he .\IDS thing was really starting to rear its ugly head. Lveryb(Kly realized "Let's get those last few fucks in until we just can't do it anymore" — and tlien. when it was really siitinated on television, it was like, OK. the party's over' II that's not bad enough, the bottom falls out of the economv with the S&L situation. We're in the worst recession that we've had since the (Ireat Depression. You've got a generation coming up looking at them- selves thinking, 'Why should I try to l<K)k decent? I ain't gonna get laid, nobody's fuckin". we ain't got no money. Why did we gel left with the crinnbs?' Hf ock is not creating the phenomena, it becomes a reflec- tion of w hat's going <m socially, so grunge was Just a mirror image of what was happening at that lime." Before heavy metal fell from mainstream grace, it was literally everywhere, satmating the media in seemingly coinitless Ibrms and mutations. Kor the hardcore, street-level punter, there was thrash, speed, glam and death metal. .Ml were totally raw and not even remotely adessible to the laint tif iieart. Foi the more musically inclined listener, there was straight-ahead, "pure" metal — Black .Sabbath. Iron Maiden, Judas Priest, Scorpions, etc. — arena-level bands making records that were as much about tra- ditional melody and old-fashioned showmanship as about white-knuckled aggression. Most of the "pui e" metal bands ti"ace inlluences back lo blues and the hard-rock of '70s-era legends like Led Zeppelin. (jniUnitrti on page H-12 IP WJ^.S.P.'s Lawless: "The scene in the 'SOs became bloated, but there was more to K than that." the truth is that it was never too far from mainsiream view. Case in point: the thriving careers of superstar acts like Metallica, Ozzy Osbouine and Pantera. whose albums consistently have stomped to the upper regions of Tlio BillI>oard 200 over the past 10 years. "I've watched those guys kickin' ass, and it's given me the fuel to keep on pushing." says Zakk Wylde, the famed guitarist whose new band. Black Label S<Kiel\. is drawing critical raves for its Spitfire Records release, "Sonic Brew." "They've l)een a reminder of the !x)ttom-line fact that there has always been — and always will be — an au<iience for nuisic that grabs you by the balls and lifts you out of your boring everyday world. Thai's heavy melal, man." But the truth is that, a handful of mega-sellers BY ADAM WALDMAN (Adam Waldman is a Billboard Account Manager He coordinated advertising sales for this Spotlight. t "W: lelcotne home, it's been too f long, we've missed you," wails Bruce Dickinson on the anthemic title track to his 1997 bow, "Accident Of Birth. " It's no acci- dent that metal is being welcomed back with open arms; it's just long overdue. Make that long overdue for the mainstream. As the '80s came to an end, every pop act that had long hair, tight pants and guitar solos was unfairly categorized as a metal act. The genre had become a parody of itself, with image and looks surpass- ing the importance of musical integrity that was the foundation of metal. Throw In the fact that Nirvana ron Maiden's Bruce Dickinson BILLBOARD SPOTLIGHT BILLBOARD JUNE 5. 1999 IN 1984 WC CHANGCD THC LANDSCAPE DP MUSIC MARKETING NOW WE'RE TAKING IT TO A WHOLE NEW WORLD JONCRETE ENTGRTAINMENT: C0NCRETEPLANET.COM. CONCRETE PLANET TV. CONCRETE PRODUCTIONS. CONCRETE PUBLISHINI ICONCRGTG MARKETING: MUSIC MARKGTING, RADIO PROMOTION, THG CORNER. RGTAILYI8I0N, THG MUSICZDNG.COMI 1133 BROADWAY SUITE I22D NY, NY 212-G45-13BD PAX 2I2-B45-2G07 rial splinter groups: mm mmm mm m m Metal continues to spin off a variety of vital style schools. An influx of stoner-rock, progressive metal, power- and black-metal bands are making heads bob madly with intrigue. BY TIM HENDERSON If you tilt your heiid dowuuaid, you can hear the soil slow!) col- lapsing as the luidci-groimci's bruised and battered head awak- ens from a long slumber. Bands, labels and a style of heavy metal music that was buried and beaten over (he head b\ the industry shovel long ago are reappearing in varying sizes, shapes and forms. /Vnd, inside that big yawn, a cry of anger signals a wake- up call. We're not talking total musical revolution here, but tastes are chang- ing as even some recently ordained styles are becom- ing stale. Metal continues to splinter into numerous subgenres, boasting greater appeal and pushing the limits of creativity. I'he power chord has returned. Specifically speaking, an influx of stoner-rock, pro- gressive metal, power metal and the ever-illustrious black-metal bands are making heads bob madi) witli intrigue. Witli old-schtMjj pliilosoph) in mind, a recent iniei esi in the psyclR-ddit slump of sioiiri -KKk hits niiidr n<init's loi Monster Magnet, Queens Of The Stone Age. Nebula, Spiritual Beggars and Fn Manchn, each treading llic line line of tlieir ibrefathcrs in a haze oi down-tuned chordagc, a bludgeoning bac klK*aI and a billow of smoke. "And it doesn't hurl that tliere's a big Sabbath reunion." remarks The Music Oartel spacclord Kric I.emasiers. "Here's the family tree of stoner rmk, and there sits Ozzy-he's the trunk, and his r(X)is are deep!" FMC ex( banges lokes with such acts as Roat hpowder and Terra Firma, while Orange (ioblin and sHeavy have bc<-n licensed by TMC for ihe U.S. from Rise Above Records, the label run by Cathedral frontman Lee Don ian. '70s REDUX "When any kind of new genre starts lo blossom, you get thai organic vibe." Remasters explains. "A lot of the straight-forward rock fiom the '70s is coming back. V'ou have people getting older, people getting conservati\e. In the fasiiion world, people arc getting into that wliole '70s retro Feel in clothing. Music is part of everyone's lifestyle, so I (hink it's only natural that it comes with it." Magna C^arta lx»ss Pete Moi ticcUi found success in the new sc1kk)I of progressive nuisic "by gelling suetl by a big lokl-scliool] band," due to the label's Rush tribute, "Working Man." its label's biggest seller. "If you can sunive that onslaught," says Morticelli, "then you're home free." In all seriousness, Magna ('arta is redefining and updating what Rush and Yes did in the Cotttmtud on paf^e H-30 Stoner-rock champions Fu Manchu HEAUY IMPRINTS: Roachpowder (top) and sHeavy albums BY DON KAYE Don'i lell Meial Blade presi- dentyC.tO Itrian Slagel that lieavy music is dead. "It strikes nie that the scene is so similar now lo the wa\ it was in HI and 'H^" Slagel remarks. "There's a real strong under- ground surging back up again, tliei e's this iiuge stene over in Kuiope that's beginning to come genre veterans like Roadrunner Records and Metal Blade, as well as a raft of relative new coujers, are all delivering the goods to a revived and active underground stene. "Metal is the essence of rock." says Rhodes Mas<m. presi- dent of Nuclear Blast Records, founded in (iermany in I*)H7. "Our company has seen some "Wbdi I itiiik sets Romiriiiner oiide aid Mh\ it a ipedal lakel h ihoi we iry lo combiie the best ports o| being on independent with horino eiperieited players here. We're quidi-thinliiig and street-oriented, and we're veri miKh ii toith with the Ian base tbat drives the soles i| iir core ods." -jonas Nachsin back. ..it's like the cIcKk is turning backward." Slagel owns one of scvenil inde- pendent tecord latiels that have continued to exist and even thrive through llie <larkesl days of the last few years, when M TV, rock radio nmi musi( magazines all but threw the last few bandfuls of dirt on metal's totVui. But, in appro- priate keeping with the nutsic's often dark lyri<al imagery, the corpse refused to stay dead. Not only is heavy rcxk on the verge of a mainstream comeback, but amazing growth in the States-cjver 500^^ in two years-so it Is obvious (hat melal is making a comeback." Roadrunner and Metal Blade are the two bard-rock laljels that have lasted the longest, with Roadrunner starling in the Neth- erlands in 1981 and Slagel launch- ing his Calif(nnia-ba.se(l operation a year later. .Although Road- runner's rosier was primarily Kuropean in its early days, the opening of ils U.S. ofltce in the late '80s shifted its priorities. Cnntinufd on fMigr H-32 Smoke Across The Water: Brits Fire Up In the U.K., a whole new generation of acts is coming to the party and bringing with it a huge range of influences. On the strength of that, hard rock/metal is crossing over into previously unknown ter- ritory and formerly untapped audiences. BY JEFF CLARK-MEADS LONDON — Out there in Jurassic Rock Park, not only are the dinosaurs surviving well, but their hybrid offspring are also doing very nicely. From the British perspective, hard rock heavy metal Is at a unique juncture in its history. Its progenitors and elder statesmen. Black Sabbath, are — judging by the business the band has just done on tour — as big as they have ever been in their 30-year histo- ry. Other bands of similar venerability say their fortunes are also looking up. At the same time, a whole new generation of acts is coming to the party and bringing with It a huge new range of influences. On the strength of that, rock and metal in the U.K. is crossing over into pre- viously unknown territory and formerly untapped audiences. Digby Pearson, founder and head of cutting-edge extreme-music label Earache, based In Nottingham, argues that the gap between metal and other genres is becoming ever closer. "From my perspective-and I have a warped perspective-l have noticed that the center ground has moved towards us." Pearson says. "Things having major sales now are louder, noisier, heavier." Other factors are also at work, he suggests. "There are a lot of I •inliiiii-ti nn ffti^i- II- ill BILLBOARD SPOTLIGHT BIL180ARD JUNE 5. 1999 I ma Caroline 666 THE NUMBER ONE BEAST REAPER, imi UINUH [■rari>| hit lA* ~T«ra M»alii HUMANARY SI CLP 0464 HmtltfiTllTnilg) imIhiiMrtlffMniO hi Ifclflr IITTMI1W ■ BnctDKknuMilRmiUIKNI aUIET RIOT QUIEl , Mm iUhtM fTM AU TIMf MUl «tMi. QUtn RIOT! HM ntf II HiniMi alhMK t>U nnrW <n«c. Ik** iaim rttuM tKkt mmt \Um mm bHiirf Sptdiqhli trw nrum »( ctMsic tMft. 'Dm Oi Fed Tlw INi»" ■nd D«ini>iulrtlM UNIUN GREAT WHITE • CLP 0505 ff il taeHB nmUN. ^ i>«H>.pl«bt«M ncken GtElI NMTE' Cmn LA G "Greatest and latest " of multi-platinum rock icons! Re-recoriled hits from the past with 6 new songs and remixes by members of NITZER EBB and INTRA-VENUS. 134211 MAXELL* AVf #251 MARIig* DEL REY. CA9D292 USA prama@cleorecs.caiii ■ www.cleorecs.com :i]U 1 100. 275. 22S0 |live in the gaiJKy| llPJIOrj • LIVE IN THE GALAXY S«f*ni« rick *| ill bcit< this ht Omm dtaM katstn Jtbi Carihi iMDIUT Clllltl. Bruce bbck (USIl. Jami HmM| mi BiiM fva KINGKOBRA -THELL CtafiWn •< acul IM. on ami C«_| «»a t L.) Kslii cMhMi ■ !«]• raittf d rad Mrf Mi M1MU 1 tM|k smMs u crMU 1 bun iiMjii M l •! MUL FulMiH Mfem wbi wMt h ■okaMlnoininlilimnUMtalBIVI What Did You Do In The War, Daddy? 10 Bands That Stayed The Course During Metal's Dark Days, And How They Did It BY MICHAEL MOSES and DON KAYE The history of heavy metal can be neatly divided into two periods: pre- and post-Cobain. From the mid-'80's to the early part of '91, metal owned the land — everyone else was just paying rent. During the middle part of that year, Nirvana, a trio from a small logging town on the outskirts of Seattle, moved into the neighborhood. At first, the densely overpopulated metal fringe paid no attention to the newcom- ers. They looked at Cobain and saw a guy with short, dirty hair who liked cardigan sweaters, the kind your grandpa wears. The bands that felt unthreatened by Nirvana's Indie-rock aesthetic were the first to go (they were the ones who believed that the band with the most hair wins). Sure. Nirvana looked relatively harmless, but when they plugged in and played, they had a heavy, hairy sound and hooks that killed. The rest of the bands, the ones that sniffed the first traces of "teen spirit" in the air, quickly got out of Dodge or relocated to Nirvana's side of the street. Not that it mat- tered: In less than a month, the trio from Aberdeen sold a million copies of 'Nevermind, " and the deed to the land subsequently changed hands overnight. A few months later, the metal community received an eviction notice; apparently, the property was being turned into a two-story garage for some flannel-wearing baby bands from Seattle called Soundgarden, Pearl Jam and Alice In Chains. It all happened so fast, didn't it? The public turned its back for what seemed like a few minutes, and when they looked again, all those metal giants from the '80s became merely life-size. Then things got worse: "Headbanger's Ball" was canceled. Long Beach, Calif.'s KNAC went from a hard-music format to Spanish program- ming and K-mart mailed out its fall catalog advertising the "grunge look " for Juniors and Misses. Even bands that had been originally worked to metal radio (and once wore the leather wristbands to prove it) now wanted to be tagged "alternative." After this domino effect of setbacks, metal was unofficially declared dead. These days, of course, hard music is on the upswing, thanks to the genre's seemingly renewable life force and the cyclical nature of the industry. There were, however, several artists who stayed hard dur- ing the genre's limp period, "unfashionable survivors" who had the savvy to not only survive but thrive. Here is a look at 10 of those bands and their enduring contributions. Listed in alphabetical order, they are: If"'* IRON IVIAIDEN 1990 B.C. (Before Cobain) It's no exaggeration to say that, along with Black Sabbath and Metallica, Iron Maiden Is one of the most influential bands in metal history. In the early '80s, it played a critical role in the New Wave Of British Heavy Metal, a revolution that was ultimately countered by an American crusade led by such bands as Anthrax and Metallica. By the middle part of the decade, multi- platinum Maiden albums like 1982's "Number Of The Beast," '83's "Piece Of Mind," '84's "Powerslave " and '86's "Somewhere In Time" had transformed them into international superstars (In 1984, they became the first Western band to play Poland). In 1 990, diehard fans began to worry (and with good reason) when longtime guitarist Adrian Smith quit the band. Smith had written '^^flB^!^ °' co-written some of Maiden's biggest hits ("2 Minutes To <'°*^||^§V" . 3 Midnight, " "Wasted Years," "Can I Play With Madness," etc.). ' " J Still, "No Prayer For The Dying," released later that year, sold a boatload of records based on the strength of the hit single "Bring Your Daughter To The Slaughter." 1992-Preseirt (A.D.) (After the "death" of metal) In 1993, two years after the success of "Fear Of The Dark," an album that debuted at No. 1 on the U.K. charts, vocalist Bruce Dickinson quit the band and Maiden fans wept copiously. To Its credit. Maiden marched onward, releasing not one, but two live albums that year, "A Real Live One" and "A Real Dead One." In '94, the band brought In former Wolfsbane vocalist Blaze Bayley and released '95's "The X Factor" and '98's "Virtual XI." While neither album was as suc- cessful as earlier efforts, both managed to make waves overseas. In February '99, Maiden scored headlines by announcing that both Dickinson and Smith had rejoined the band. Their upcoming reunion tour is one of the most highly anticipated events of the summer. r JUDAS PRIEST 1990 (B.C.) From 1976 to the beginning of 1979, Judas Priest recorded some of metal's finest moments ("Stained Class," "Sad Wings Of Destiny," "Sin After Sin" and "Hell Bent For Leather"), yet none of those albums sold particularly well In the States. Ironically, it took a live album from Japan ("Unleashed In The East") to help this English band break in America. After that came blockbusters like 1980's "British Steel" (which spawned the hits "Breaking The Law" and "Living After Midnight"), 1982's "Screaming For Vengeance" (which featured "You've Got Another Thing Comin'") and 1984's "Defenders Of The FaKh." Following the lukewarm response to '88's "Ram It Down," the band bounced back with 1990's "Painkiller," Its heaviest album In years. Although the album went gold. Its success was marred by the departure of longtime vocalist Rob Halford, the man who had slnglehandedly set metal's leather fashion and form. He left to form his own group, Fight 1992-Present (A.D.) Technically, Judas Priest shouldn't be included here, since It was practically nonexistent for the majority of the '90s. However, given Its history. Influence and recent activity, the band has proven to be far from over. In 1993, Columbia released "Metal Works '73-'93," a 20-year retrospective featuring some of the band's biggest hits. After a solo album by guitarist Glenn Tipton, Priest reunited in 1996 with Tim "Ripper" Owens, a vocalist who had cut his teeth In a Priest cover band. The resulting album, "Jugulator," debuted at No. 82 on the The Billboard 200, and its single, "Bullet Train," was nomi- nated for a Grammy in the Best Metal Performance category. In '98, Priest released a live album ("Meltdown") and recently announced that It has signed a deal with Atlantic Records. KISS 1990 (B.C.) During the course of the '80s, Kiss reinvented Itself from the massive, makeup-and-theatrics spectacle of the late '70s Into a sleeker, streamlined hard-rock outfit still capable of churning out classic-rock anthems and delivering a powerful live punch. The band's streak of singles throughout the decade culminat- ed in 1989 with the top-40 hit "Forever, " and its 1990 tour fea- tured one of its largest stage shows in years, as well as a crowd-pleasing set list that Included many more gems from the band's earlier incarnations. 1992-Present (A.D.) A new album, "Revenge," and another large-scale tour, were buslness-as-usual for Kiss In 1992. But momentum began to build for a reunion of the original band, and, for once, the indi- vidual members did not toss off the idea as mere rumor. Momentum became hysteria when the original foursome played together on "MTV Unplugged" for the first time in 16 years, shortly thereafter emerging in makeup and costume to announce a full-blown reunion tour Kiss' 1996-97 world tour was the highest-grossing of the year, re-lntroducing old fans to the spectacle of their youth and capturing an entire new generation that had never seen the originals. This led to a brand new studio album ('98's "Psycho Circus"), another mammoth tour and a new deluge of Kiss mer- chandise for those who missed out the first time around. Ikiulmufd on jxtgr H-12 BILLBOAKU SPOTLIGHT BILLBOARD JUNE 5. 1999 It nil starts N< FIctw lotewoririy ml CROWBAR II l« I ^ I I M I- I- ■« If ^4 '>7 » » < f 0 > i « * , E S %9 ^ f Alice Cooper •Welcome To The Millennium. New Studio Album )st Quarter 2000. Crowbar New Studio Album September '99. DIO'Magico. New Studio Album October '99, Enuff Z'Nuff'Paraphiernalia. Features "Freak" and "Everything Works If You Let If Now On Tour. Testament*The Gathering, features "True Believer. "3 Days In Darkness" On Tour This Summer. Union New Studio Album August '99, Uriah Heep« Sonic Origami, features "Across The Miles" Now On Tour, Zokk Wyide* Block Label Society, features "Bored To Tears" and "Mother Mary" On tour This Summer COMING SOON te *^ J Crimson Glory • Astronomica Crowbar • Odd Fellows Rest Enuff Z'nuff • Live, Seven, Tweaked, 1 985. Peochfuzz Ian Gillan Band • Clear Air Turtfulence, Scorabus, //^/*\ Accldoiitally on Purpose. Cliarkazoo and Olher Stones Pride and Glory (featuring Zakk Wylde) • Pride & Glory TNT • The Big Bong the Anihology Testament • Live at the ; '/l^LA' u,vis.oiii>it.Ki»-'H<«:k Fillmore, Demonic Twisted Sister • Under The Blade Union • Union Urioh Heep • Sea o( Light, Spellbindoi Westworld • Westworld Zokk Wylde • Book of Shadows '^^^L^' WWW. spitf irerecords.com C il WHAT DID YOU DO IN THE WAR, DADDY? (Amlniufd (yarn fxigf H-IO M EG ADEXH 1990 (B.C.) Megadeth was probably the first speed-metal band to catch some decent commercial rock-radio airplay, with "Peace Sells," the title track from its second album (released in 1986). Its reputation was built on a solid diet of touring, frontman Dave Mustaine's background as a member of Metaliica and his reputation as a wild, unpredictable guitar genius. The band's often turbulent lineup solidified in 1990 on the "Rust In Peace" album, and that year's "Clash Of The Titans" tour (with Slayer, Anthrax and Alice In Chains) was probably Megadeth's highest-profile trek to that point. 1992-Present (A.D) In 1992, Megadeth released "Countdown To Extinction," which found Mustalne compressing his labyrinthine riffing style Into more compact, accessible song structures. The results were Megadeth's best-selling album to that point and serious airplay for songs like "Symphony Of Destruction" and "Sweating Bullets." 1994's "Youthanasia" followed a similar route, and '97's "Cryptic Writings" yielded three rock-radio hits ("Trust," "A Secret Place" and "Almost Honest") and a platinum album, in a year when bands like Megadeth were supposedly "passe." A full year's worth of touring behind "Cryptic Writings, " capped by a promi- nent slot on OzzFest '98, proved the pundits wrong again. Says manager Bud Prager of E.S.R Management, "Megadeth hasn't survived; it's conquered, because Dave Mustalne is the greatest heavy-metal guitar riff-writer this genre has ever produced. Hard work, talent and metal to the core— that's what Megadeth is all about" IVI ETALI-I CA 1990 (B.C.) In the latter half of 1990, Metaliica was busy recording what would become one of the best-selling heavy-rock albums of all time. But the land's track record up to that point was far from shabby. Emerging in 1983 with "Kill 'Em All," Metaliica spearheaded a vast underground metal movement that offered up heavy, fast, uncompromising music as an antidote to the more commercial "hair bands" so prevalent at the time. The undisputed leaders of the genre, Metaliica got its first big break In 1986, when it opened for Ozzy Osboume In support of its third album, "Master Of Puppets." 1988's "And Justice For All" found the band evolving into arena headllners, as the single "One," accom- panied by the group's first video, garnered significant airplay. By 1990, Metaliica was already a multi-platlnum act. 1992-Preseiit (A.D.) By 1992, Metaliica was well Into the second year of a nearly three-year touring cycle to support "Metaliica" (a.k.a. "The Black Album "), which would ultimately exceed worldwide sales of 12 million copies. The album, produced by Bob Rock and featuring a slightly more accessible sound for the quartet, yielded five singles and established these metal heavyweights as a mainstream success as well. Completing Its touring obligations In 1994, Metaliica took an extended, well-deserved break, returning in 1996 with "Load," which moved another 4 million units and another monster tour. 1997's "Reload" did equally well, as did the group's 1998 summer jaunt through stadiums. Last November's 'Garage, Inc.," an assemblage of cover tunes, has continued Metaliica's impressive sales streak. The band's pioneering sound and powerful bond with its vast audience transcends genre boundaries, making Metaliica one of the most successful rock acts of the last 15 years. "A key factor in Metaliica's longevity Is the fact that they share the same passion for their music as they did when they first met," says O-Prlme Management's Marc Reiter. "I think that has always rung true with the fans. As for any weathering through musi- cal 'dry spells,' i don't think it makes a bit of difference with them. Metaliica always have and always will do what- ever the hell they feel like doing." IVIOTI-EY CRUE 1990 (B.C.) After selling all 2,000 copies of its 1981 independently released debut. Motley Crue signed to Elektra and went on to tmcome international superstars. 1 983's "Shout At The Devil" put the group on the map, but It exploded in 1 985 with "Theatre Of Pain," an album that went to No. 6 on The Billboard 200, thanks to a cover of "Smokin" In The Boys Room" and the l>allad ""Home Sweet Home."" The video for the latter was a mainstay on MTV and propelled the album to double-platinum status. While the group moved millions of records and packed arenas in the '80s, its career was marred by drugs, bad marriages and, in 1 984, vocalist VInce Nell's arrest for vehicular manslaughter. The Crue closed out the decade with ""Dr. Feelgood," an album that went straight to No. 1 and sold more than 4 million copies. 1992-Presant (A.D.) In '91, the Crue released "'Decade Of Decadence," a best-of package that entered the charts at No. 2. Shortly thereafter. It renewed its contract with Elektra for $25 million, then fired Neil and replaced him with John Corabi. The resulting 1994 "Motley Crue" album's relative lack of success prompted the band to rehire Neil, and, fol- lowing the release of 1997's "Generation Swine," the reunited Crue parted ways with Elektra, issuing another greatest-hits package on Its own Motley label in "98. Despite Tommy Lee's recent departure, the Crue will be tour- ing with the Scorpions this summer and later in the year will reissue its classic albums on Motley Records. OZZY OSBOURNE 1990 (B.C.) As the frontman for Black Sabbath, Ozzy Osbourne spent the '70s cre- ating some of the most memorable (and most ImKated) music In metal history. In the early 'SOs, he reinvented himself as a solo artist, teaming up with a revolving door of talented guitarists led by the late, great Randy Rhoads. Fueled by the success of the hit single ""Crazy Train,"' 1 981 's "Blizzard Of Ozz" stayed on the charts for two years and became the first In a series of gold and platinum Ozzy records. Adding to the growing Ozzy legend at the time were such antics as the bat-and-dove- head-biting incidents, as well as his notorious arrest for urinating on the Alamo. In 1990, Epic released "Uust Say Ozzy," a live, six-song mlni- CorUmitfd on page H-l-t ITS BACK, BIG-TIME OmtmtteA fmm fuinr H-t And Ihen there was "pretty" metal — the ultra-pop-conscious form that many believed brought the pari)' to a screeching halt. "That s when it was all over," says Jon Lee, frontman for Hazzard Records thrash quartet Milkbalh. "I remember when 1 was 15, and seeing bands like Winger and Vixen on MTV. I wanted to throw my TV out of the window. This was not metal, man. This was a bunch of painted-up drag queens and circus clowns adding a few guitar licks to disgusting pop dri- vel. It made me sick. It felt like I was watching people poke fun at this soulful, aggressive music that spoke for my generation." While such bands certainly weren't mocking ihc genre, they were indicative of what some view as a standard industry move — peddling far too much of a good thing. "Ana the sad thing is that there was no turning l)ack," says Montv I-ieberman, who runs San Francisco- Korn (top), Ump BIzkH {l«ft) and Marilyn Manson: But Is It matal? based Rip Tide Management. "Il had become a runaway train, and a lot people who dldn'i give a shit about the social ana philosophical essence of metal kept jumping aboard. People were so immersed in indulgence and blatant exploitation that no one saw that runaway train headed for a brick wall." BRUTAL FALLOUT AND KOOL-AID And when the proverbial crash came, the fallout was brutal. Once-gold and platinum- selling acts were sent shopping for deals, while some embarked on best-ol tours in venues half and a third smaller than in previous years. "It was pathetic." says Jimmy Vanderpool, who runs Chicago's Death Pool Records. "But the good thing was that it separated the fakes and phonics from the true believers. In iruih, the metal scene continued to be an excellent source of revenue for a lot of people — and the music was all credible." Merck Mercuriadis of Sanctuary Manage- ment, which oversees the careers of Heflo- ween. Iron Maiden and W.A.S.P, agrees: "These bands continue to sell 800.000 albums worldwide. They make a good living for them- selves, and they have a great attitude that kids can buy into. After MT\' and radio went the way of grunge, the smart bands decided to hang tight and tour their asses off. Their ded- ication to the music inspired a lot of the kids to stick with them." While [he metal scene continued to perco- late underground, the grunge movement started to run out of steam — making room for a spree of hard-rockin' outfits; fike Korn, Limp Bizkit. White Zombie and Marilyn Manson. The guitars were forceful, the songs rebellious and the band members more visu- al. ..but was it metal? The debate has been fierce. CotOtnued on page H't4 BILLBOARD SPOTLIGHT BILLBOAHD JUNE 5, 19M Kicking IVIajor Ass ROADRUNNER ..and we're just getting starte New York Los Angeles Hilversum London Paris Cologne Brussels Tokyo Sao Paulo MelbourntfM WHAT DID YOU DO IN THE WAR, DADDY? Cotttmiifd from page H-I2 album that served as an appetizer to '91 's "No More Tears," his most successful release to date. In addition to spawning two chart-busting ballads, "Mama, I'm Coming Home" and "Time After Time," the album also featured the Grammy-winning single "I Don't Wanna Change The World." 1992-Presant (A.D.) Following the release of 1993's "Live And Loud," Ozzy hinted at retirement but didn't stay home for long. In '95, he released "022mosis," an album that went platinum within a year of Its release. The tour that followed turned out to be one of the biggest draws of the summer, setting the stage for Ozzfest, a metai-oniy tour that played to SRO crowds across the country. With the exception of Sarah McLachlan's Llllth Fair, Ozzfest '97— which reunit- ed Ozzy with his Black Sabbath mates — was the most successful tour of that summer. That led to "Reunion," a double-live album recorded by the original Sabbath lineup a year later. This year's Ozzfest will also double as Blacl( Sabbath's farewell tour, with Ozzy planning to resume his solo recording career. FYI: Ozzy has sold close to 70 million albums to date. PANTI 1990 (B.C.) For most of the '80s, Pantera was a struggling Texas-based hard-rock band that had amassed a following through relentless live work and three independent albums released on its own label. However, in 1987, the band dismissed original singer Terry Glaze and brought In Philip Anselmo from New Orleans. Anselmo's rougher style resulted In a heav- ier sound for 1988's "Power Metal," the last Indie release by the band. In 1989, Pantera signed with Atco and, a year later, released "Cowboys From Hell," a brutally heavy effort that literally reinvented the band's Image and approach. That year also saw the beginnings of a nonstop touring campaign that established Pantera as one of the genre's most aggressive live acts. 1992-Present (A.D.) "With Pantera, we always knew radio and video coverage was just Icing on the cake," says Concrete Management's Walter O'Brien. "This band's strong point always was and always will be their Intensely powerful live performances." While 1990's "Cemetery Gates" and '92's 'This Love" (from "Vulgar Display Of Power") did receive some airplay, Pantera's quest to top each previous album in heaviness made them distinctly Inaccessi- ble to all but the most daring rock-radio outlets. Instead, the band's commitment to live work secured it a huge grassroots following, resulting in a No. 1 debut on the The Billboard 200 with "Far Beyond Driven" In 1994. O'Brien estimates that Pantera's catalog sales have averaged 10,000 units a week for the last five years, while the band's touring schedule alternates between headlining treks through mid-sized venues and prestigious opening slots on stadium shows like Ozzfest '97 and this year's Black Sabbath reunion tour. A new album Is expected later this year. SLAYER 1990 (B.C.) Slayer enjoyed Its greatest success to date in 1 990 with "Seasons In The Abyss"— its fifth album and the first to feature a video (for the title track) that actually got substantial airplay on MTV's now-defunct "Headbangers Bali." Prior to that, the band's extreme sound was distinctly unwelcome at the music channel and most rock-radio outlets, leaving Slayer to devel- op its intensely loyal following on the road. The band's notoriety for dis- tasteful lyrics and violent audiences also contributed to Its mystique. A consistent sell-out at clubs and theaters. Slayer graduated to arena sta- tus In '90 as co-headllners on the "Clash Of The Titans" extravaganza. 1992-Present (A.D.) It was some four years before Slayer recorded a new studio album (1994's "Divine Intervention"), but the long wait only Increased anticipation by the band's devoted following. That album, and subsequent efforts, stuck res- olutely to the trademarks of Slayer's musical style, reassuring fans that the band was committed to speed metal despite marketplace trends. As with Pantera, lack of extensive radio and video airplay has been offset by the band's reputation as one of metal's premier live attractions, and It remains a strong box-office draw. Last year's "Diabolus in Musics" benefited greatly from a new joint venture between the band's label, American Recordings, and Columbia Records, and the group's promotional efforts behind that release will continue with a stint on this Bummer's Ozzfest. Says Slayer manager Rick Sales, "Over the years. Slayer has continued to define extreme music by surpassing trends. In the ongoing battle of New School vs. Old School, Slayer has come out on top by skipping school!" WHITE ZOMBIE/ ROB ZOMBIE 1990 (B.C.) Crawling out of the art-noise scene of New York's Lower East Side, Boston-born Rob Zombis and his band released a clutch of singles, EPs ("Psycho-Head Blowout") and one album ("Soulcrusher") on its own while touring as much as possible in the finest D.I.Y. tradition. A short- lived deal with Caroline Records yielded 1989's "Make Them Die Slowly," but the growing buzz about the band's ghoulish appearance and no-holds-barred music led to a deal with Geffen Records as the '90s began. 1992-Present (A.D.) it took more than a year, but White Zombie's debut Geffen release, 1992's "i^ Sexorcisto: Devil Music Vol. 1," finally broke through, thanks to relentless touring, a well-timed endorsement from the then-hot MTV series "Beavis And Butt-head" and subsequent airplay on the channel for "Thunderkiss '65." But, as with so many bands. It was hard work on the road that established a loyal following for the band, taking 199S's "Astro Creep 2000" to double-platinum sta- tus. Rob Zombie announced a solo album, "Helibllly Deluxe," In early '98, and no one was particularly surprised when Its Initial success was followed by the official news of White Zombie's demise. "Helibllly Deluxe" Is well on Its way to double-platinum status, with Zombie recently completing a co-headlining tour with Korn. Next stop: Ozzfest '99. "Obviously, Rob Zombie makes great music," says Zombie manager Andy Gould, "But what sets him apart is that he never followed a trend; he created his own. He has an amazing connection with his fans, he stages fantastic live shows, and he puts an Incredible amount of effort Into his creations — ^that's what makes him timeless." ■ ITS BACK, Bifi-TIME Continued fivm pa^e H-I2 "No way," V'anderpool says. "It's alternative music with louder guitars. Plain and simple. It's like we're being told to drink the spiked Kool-.-Vid, and 1 won't." "It's a marriage of the old and new schools," Mercuriadis says. "The purists don't dig it, but they're not able to see yet that a band like Korn or Sevendust is going to inspire a kid to check out bands like Black Sabbath or Judas Priest — if only to get a grasp of the genre's his- tory. In the end, that will strengthen metal's overall presence in the mainstream land- scape." "It's the new guard of metal," says Bob Chiappardi, president of Concrete Marketing. "This is the cutting-edge stuff, the stuff that will bring metal into the next millennium." VETERANS RETURN Chiappardi is among the genre's veterans who roae through the tough times, and he now sees metal as mulli-tiercd. "Vou have the cutting-edge stuff, like Limp Bizkit and Mon- ster Magnet. Then you have edg>' music with more of a punk sensibility, like Zebrahead and Godsmack. ,\nd then, finally, you have the plain of heavy stuff like Kilgore and Static-X. This is the future. The veteran bands will ben- Warrant: touring wtth Quiat Riot and Slaughtar efit and capitalize from the resurgence of the genre, but they won't lead the charge." If this is true, then someone had better tell Ozzy Osbourne and Iron Maiden's Bruce Dickinson. Osbourne is in preparation for what industry observers are predicting will be a second successful year of the festival tour "Ozzfest." And, while the bill does include a handful of cutting-edge bands, all eyes are on the headliner — the venerable Black Sabbath. Meanwhile, Dickinson has ended his six- year estrangement from Iron Maiden. The band is currenUy in the studio, working on an album due early next year. They'll take a break from cutting tracks to do 12 to 15 shows in the States and Europe this summer. "It's going to be massive," Dickinson says. "In terms of venue and the type of show, we're spending a fortune on this, and it's going to be worth every penny. It's for the people who stuck by us. Tne times may have changed, but what hasn't varied is the band's decision to be fiercely independent. We are now in a position to be who we want to be." INDIES' IMPRINT Being fiercely independent has been the lifeblood of the heavy-melal movement. As each major label begins to line up its token clique of guitar-slingers, it's been the indie labels that nave kept the genre alive for the past 1 0 years. Among die imprints leading the way have been Metal Blade and Road Runner, RED-distrib- uted labels that boast sterling rosters including Mercyful Fate, Manowar, Six-Fect Under, Type- O Negative, Fear Faaory and Machine Head. The emphasis has always been on high-quality material that skirts the line between cutting- edge and old-school riffing. The same can be said for Nuclear Blast, the Philly-based label that kicks hard with a roster that includes Steel Prophet, New Eden. Hypocrisy and Pro-Pain, among others. Mayhem also scores points among purists with Qmtimied on page H-I6 BILLBOARD SPOTLIGHT BILLBOARD JUNE 5. 1999 GWAR ■WE KILL railYTHINO- BLE SPOCK'S BEARD ■DAY FOR mOHT" TIM «NMn H» <*« praVMMM iM Mnd uiuv im\ SOLI Ol FY GRIP INC. -SOUDIFV Vn 9ut« pnatf nil '<«h wImi ftvn it MANOWAR "HELL ON STAGE LIVT' NEW DOUBLE LfVC CO. McMnaMMM WATCH TOR NSW HBUEASCS FROM: CANNIBAL CORPSE • ARMORED SAINT • KINO DIAMOND -COMINO acx>NI O 1BS9 METAL BLADE RECORDS INC. DIatribtttsd by RED Distribution. Far ■ fTM catatog wfrM* to: Matol Blad* MarchandlM 40as E. Cliandtor Blvd. Sta. 70-D7, Ptioanta AZ aaooa • concrete marketing: In High Spirits After is Years Of Hitting The Hard Stuff BY MICHAEL MOSES Distributing only 200 livers at an event attended by thousands of people doesn't seem like a very eU'eciive marketing promotion, but. lor Boh Chiappardi. it paid substantial dividends. During ^9 the 1984 New Music Seminar. Chiappardi and ihen-parinci \Vaher O'Brien handed out a lew Inni- dred copies of a marketing ad that promised "maxi- mized results at a minimized expense." "We would have made more livers." laughs (Chiappardi. "but we had spent our last 515 on the first 200 co[)ies and were flat broke." Luckily, one copy was all they needed. By the end of the convention's first day. Rick Dobbis. then V'l* of mar- keting at Chrysalis Records, approached the two with flyer in hand. "I have this band called Armored Saint," said Dobbis. "Cniff Burnstein and Peter Mensch are managing them, Concrete Marketing founder Bob ChtappardI and I dt)n't kncjw what the hell to do with this ban<l because they're loo heavy for radio. I'll hire you guys to work the record. Do whatever you can with it." And with that. (Concrete Marketing was born. Chiappardi. a former Arista mailroom-worker- turned-manager, and O'Brien, who had started Relativity/Combat Records, joined forces earlier that year to form Concrete Management. They came up with the company moniker after O'Brien opened the Yellow Pages and told Chiappardi to cover his eyes and point to a name. They worked their first client, RCA's Grim Reaper, out of a 250-squarc-foot Manhattan "ofTice" that they shared with another upstart compa- ny. During the band's first tour, the duo found thai "the metal community" wasn't being properly serviced and later came up with the idea to start a marketing company. "(3f course." laughs (Chiappardi, "we were also moti- vated by the lad that Grim Reaper was off" the road, and we needed to find a way to generate income." It was a smart move; Concrete grew at a rapitl pace, and. by the late '80s it had become one of the biggest inde- pendent marketing companies in the industry. CUTTING-EDGE CLIENTELE The business even thrived in the face of adversity, surviving an amiable split between O' Brien and (Chiappardi (the former took the management division, the latter kept the marketing), as well as a never- ending parade of industry trends. Fifteen years later. Concrete Marketing has become synonymous with cutting-edge rock and heavy music by playing a crucial role in the success of its biggest acts. According to (Chiappardi, the company approach- es each project with tlie assumption that mainstream radio play and MTV' may never significantly impact that project's success. By offering a variety of ser- vices — the bulk of which is geaied toward reaching music fans through retail — (Concrete has amassed a client roster that reads like an over-amped version of the Forhfs 500. with acts such as Metaliica. Korn. Limp Bizkit, Marilyn Manson, Nine Inch Nails, Rob Zombie, Aerosmith. Van Halen, .Vlice In (Chains, Megadeth and Ozzy Osbourne. Says Q-Prime co-owner Cliff Burnstein. "(Con- crete began working on Metaliica when they were receiving little or no radio airplay and were being stocked In the 'Miscellaneous Ileavy Metal' section at most stores. Their efforts in w(>rking Metaliica at radio and retail had an obvious impact, and the\ have been there ever since. We wouldn't think of releasing a new project without Concrete's involve- ment." Chiappardi says the secret to his company's suc- cess is simple: they know the genre's audience and have maintained a close relationship with it o\er the years. "Bands hire us because they want to be a part of that relationship," he says. "Many of the kids we (alk to are nuisic purists. They're looking lor moi e than just the hits thev hear on the radio. They know the names of all the band memfxfrs, they remember the lyrics to all the songs; these kids are diehards with a lo\altv to both the artists and the genre that is simply amazing." SHRINK-WRAPPING THE BIZKIT In addition to awareness, priority, grass-roots and tour-marketing programs. (Concrete's services Include RetailVision. which is based upon in-slore \ideo play, retail telemarketing, radio promotion. Internet marketing (www.ihemusiczone.com) and " The (Concrete (Corner," a program that lets labels get price-and-position preference in a chain of 300 handpicked independent stores. "We have a g^reat team here at Concrete," says (Chiappardi. "Tliis is a hard-working, creative group of people, and we're constanUy trying to come up with new and innovative ways to deliver music directly to the fans. For instance, when Epic hired us to work Korn's "Follow The Leader,' we came up with the idea of shrink-wrapping the first 100.000 copies with a 19- track sampler featuring Korn-approved bands, such as Limp Bizkit, Oi'gy and Kid Rock. "That was something that had never been done before, an<l we put the whole thing together in less than six weeks. .'Vnother example is Rob Zombie. In helping to break his first solo recortl, we rented antique hearses in the top eight markets and sent them out to clubs, sporting events and schoolyards — any- where that kias hang out. Each hearse had a girl dressed like Elvira handing out posters and sampler cassettes and a driver wearing a skeleton ma.sk, blasting music from the new album. That was incredibly suc- cessful." "There are very few new ideas anymore, but Concrete continues to find ways to get people excited about a band," says Korn manager Jeff Kwatinetz. "1 would never dream of releasing a record without having Bob Chiappardi fully invobed with the market- ing," says Rob Zombie manager Andy (iould. "He's got the market down cold. Also, his people are passionate, (Miittuuril im fHige H-38 trS BACK, BIGTIME Cimhuiifd jimn fm^r H-14 discs like the recent "Everyda) .Atrocity" by Nothingface, while the Millersville, Penn.- based Relapse Records deserves kudos for nurturing the likes of Amorphis and Neurosis — whose respective 1999 albums "Tuonela" and "Times Of (irace" — have proven to be essential items. Elsewhere in indie-land. Sevendust is mak- ing the otherwise modern-rock TVT label safe for headbangers, dividing the summer between cutting an album due in Septeml>er and gigging on the Vans Warped Tour. Meanwhile, the rambunctious adult-film lumi- nary Matt Zane revisits the decadence of metal's heyday on "Slacker Jesus," the debut disc by his band Society- 1. Meanwhile, the majors are coming fitrward with an intriguing slew of band well worth keeping an eye on. MCA has the bilingual Puya, and Radioactive has (Cyclelly. Both are revered along the underground for bringing fresh perspective to the genre, while also paying homage to the heritage of heavy metal. MAJORS TASTE METAL Dreamworks offers one of the more cutting- edge bands of the moment in the fitrm of Buckcherry. whose album "Lit Up" has ren- dered frontnian Joshua Fodd a critical darling and a budding teen idol. .Also garnering loads of positive press is Klektra's band Staind, thanks in large part to the dark lyrical tone of its debut. "Dysfunctional." Finally. Atlantic has a potential smash on its hands in the form of "Signs Of A Vatican Soul" by V'irgos Merlot, and Warner Bros, has Static-X, whose blister- ing debut, "Wisconsin Death Trip," won them a slot on the Ozzfest bill. .And, if you're really just wanting to revisit the great bands of the past, there's never a neecfto look further than the BMG-distributed Decadent debut: Society 1 (CM(C International, which is home to Dokken and Warrant, among numerous others. TAKING IT TO THE STREETS And, of course, the road is nttw filled with metal bands. The Scorpions are trekking with Motley Crue. while KISS continues to trek in support of its 1998 Mercury hit, "Psycho Circus." Slayer is touring Europe. Judas Priest is hitting North .-Vmerica for the second time this year. Morbid Angel is getting ready to kick off its tour. Warrant, Slaughter and Quiet Riot are on the road together this spring, while L.A. Guns, Danger Danger and Enulf Z'Nuff prepare for their "Rock Never Stops" tour. Regardless of your flavor, there's more metal now than ever to choose from — and this lime, no one involved is willing to let it slip away again. "We have to play our cards very carefully," says Vanderpool. "We deserve as much atten- tion and respect as anyone. If we don't whore ourselves, like we did last time, we'll get it... and a whole lot more." ■ BIJLLBOAKO SPOTLIGHT BIIXBOARD JUNES, 1999 whoa Videodrone Videodrone 0;gy, Candyass (2/4-41192J1 Filter NEW ALBUM COMING IN AUGUS' (2-4/58.'-:. www.static-x.com www.repriserec.com/videodrone www.orgymusic.com www.repriserec.com/filter www.darl<spoon.com www.shootyzgroove.com Shootyz Groo\ High Definition t A i3ia big haiPp big comeback: '805 Metal Rock? Anew Once derided, melody-driven metal has returned. Why now? I BY BRYAN REESMAN t's been mocked by critics, teased in retro-music specials and even shirked by young alternative fans, but a resur- gence of melody-driven '80s to revitalize a genre whose com- mercial fortunes have declined throughout the '905. An obvious factor in this head- banger renewal is nostalgia, which "Youth Gone Wild," and scattered radio stations resurrecting the spirit of "8O5 anthem rock. "I think heavy metal is overdue for a revival," states Tom Lipsky, presi- Carear- revival candidates: Motorhead (left) and Damn metal is quietly taking place. Via reunion albums, summertime package tours and back-catalog reissues, veteran metallers from the period are coming out in force has been supported by numerous VHl shows like "Behind The Music" and "Where Are They Now?," Rhino Records compila- tions like the four-CD series dent and CEO of CMC Inter- national Records. "It's always been around. It goes underground ever\ now and then as certain trends come up, but it always rears its head again." In the wake of the mainstream reign of grunge, alternative and hip-hop, an obsessively trendy American music industry has ignored the metal fan base to which it pandered throughout the last decade. And it's not like ever)' metal fan just disappeared off of the earth, which has been proved by lal>els like CMC, which has recently assisted the careers of judas Priest, Iron Maiden, W.A.S.P. and Motorhead. The same is set to happen at the resur- rected Portrait label, the brainchild of John Kalodner, who has signed Great White. Rati, Cinderella, Damn Yankees and Pat Benaiar for new albums. Why the sudden change of heart in the mainstream? "When the alternative movement came about so strongly, I think a lot of people were embarrassed to admit tnat they grew up listening to bands like Maiden, Kiss or Priest," remarks Paul Bibeau, president of (MtUmufd on page H-42 "A reinvention of punkrockismo shoving Mo'Rican merengue through metallic guitar." - Spin the debut album fundamental featuring "oasis" ManafFnicnl Hituia Kfyri i*i Kr«ia S»m www mciiKorrij co« • www lueitiorock c*m M C A (Catch Puya on Ozzfest'99!) HTCO iniHClS.coidi Int H-18 BILLBOARD SPOTLIGHT BILLBOARD JUNE 5, 1999 ...On the VvARPHDTour all summer! 1 . \ The new album Home August 19>9>9> The Ibllov^up to their C30LD debut album Produced by Toby Wright and Sevendust Ejoecutive Pnaducer: Jay Jay French fior febeuion^^^H AvAanagemenf: f rpnch mandgpmpnl pntprprisps www.tvtrecords.com records marketing metal: GI++INGTHE music f$TH{ miNieNS It's a tough job, but somebody's got to do it — usually without radio, respect or major-label support. BY TIM HENDERSON m arketing heavy iiK-lal in llu- 'i){)s is akin to peddling; the lypcwritcr as a iiseUiI replacemeni to the laptop. I-oliouirij; llu- toiporatf lu-yday — and then the declared extinction ol licavy rotk t-arlicr this dwadc — schemes involving; metal have been futile in North America. Overseas, mainly in Kurope and japan, fickle I'an bases have stayed inie and suj>p(niive. On these shores is where ilie real chal- lenge begins, and. for the most [jart, this is a playing field pri- marily for the indies. Most certainly a tough sell to an in<tnsiry caiiglii up in the flavor ol the moment, metal and its marketing master- mintls have a lai^^e task at hand-getting the extreme music to tlie masses. For more than 17 years, heavy- music gnru/collecior/t'an Kt ian Slagel has awakened to a world of thunder and steel. And Metal Blade Records is his baby. '*'I"he Inietal] underground is gelling bigger, and the whole scene is about ready to break again," lie says. "We've never given up on metal, and we're finally seeing the fruits of our labor." Adding thai his label's Web site was metal's first. Slagel says that " The Internet is the only forum to gel directly to the fans. We are putting up the album cover, the release date and a .song with all of our new artists. The fans are then pi t-pared well before release." FAD-FREE PHILOSOPHY Formerly CiM/VI* of marketing and A&R at Mavlieni/Fierce. Paul Bibeau is president of the newly lornie<l Spitfire Recorcfs, poised to reintroduce .some familiar faces b\' offering a suitable home. "It's a lot easier to walk art>imd with a Zakk Wylde from ()//y Os- boui ne's band niulei yoiu bell, or a Dio, U nion or lifslarnenl," re- marks Bif>eau, citing stmie of the lalx-l's rosier. "We would railiei sign bands who we l>elieve in. We iindersiand what they're doing, and we feel that we have a g(M»d soliti visi(m on how to steer ihe sliip, tlian to go out and chase a fad." Witli "fad" being farthest from bis V(H"abulary, Concrete Market- ing l>oss Bob Ctiiappardi is proud (ant! s;kI) to say that Concrete has successfully outlived former com- rades in arms, namely "the Hip maga/ines. 'I leadbangei s Bali' an<l the KN.-VC's of the pasi." Currently telebraling ils 1 3th anniversai), (Joncrele has weath- ered die storm and conducted iis business smartly by striking "strategic alliances — tiooking up mil '■• ••>iii Radio: Has An Old Foe Become More Metal-Frienilly / 'Heavy" is no longer a bad appellation for music. Today, nearly 500 college and commercial stations in North America feature active metal programming. What's the deal? BY MUNSEY RICCI Foi the pasl seven years, metal lias been a bad name to many nitlio jm)j5i"annnei^. Tlie hard- ^ rock/'mctal rorniat thrived ^ with a tliversity of genres in the *7()s — when it could feature ever\'thing from punk to aitists such as Hawkwind, L'l-X) and Diamond BUg on spedaKy-show charts: Slayer Head (one of the lii-st thrash Ixinds. whose classic "Asn I tvil" was cov- et eel by Meiallira in 1983). Radio evolved into the '80s with newer hard-rock and melal atls such as /Vnlhrax. Metal Church and Ex(xhis. Then, witli ihe early '90s overshadowing ol metal by ;dterna- (ive or "j^i ungc," the for- mat took a hit. Rui, in the past year or so. many radio pnv j^ramniers have noticed wliat might be seen as the rebirth <tf the format. The aliernarive bands that dominated radio in the early to mitl-'90s paused in their on- slaught, and "hea\T" is once again Ixnoniing a honseliold word. T\m is a belated acknowledge- nienl of what manv col- lege — and a select number of com- mercial — stations liave known all along: The lim base is there, and. with bands such as Sepultura, Slayer and Motorhead <loininaiing the specialty-radio metal charts, it's evident thai there's a strong need lo BIl that airplay void at the end of the millennium. ,-Vlong with the big names, there are fresh contenders. Newer bands — such as M3-Slipdisc record- ing aiti.sis N17 and Drown and Ke\()hition band Kilgore, all of which liave been together only a slum time — have left an imprint so strong that their records quickly move to ihe lop of ra<li()'s utelal charts and remain there for weeks. In addition to the new groups, there has Ix'en a batch of reunions of classic metal bands, such as Judas Priest. Overkill and the original members of Iron Maiden, all of whom have been at it for years. Add Fear Factoiy, Noihiiigface an<i Bioha/ard lo the mix. and it's evi- dent that metal is alive and well. SONIC STAYING POWER Old-liiners (t-rlaiuty know the role radio has played in their suc- cess. "The fans old and new still pack it in to see us," siiys Lemmy, whose Motorhead has stuck to its gims for some 22 years, "We have all tlie metal speciality shows to Uiank for that." Overkill's Bobby Blitz concin-s: "We've lx*n wrecking yoiu' neck for years." His bandmate. D.D. Verni, agrees, adding. "It's all rele- vant to the cause, and it'll contin- ue." "It never really went anywhere," Siiys WBAB Long Island air persim- ality Fingers, speaking of hard DIVERSITY IN T • Touting rhe U.S. for the fit&l tiiDi.- cvfi tWn »umm« in support of their brond new olbum. IX fquilibriun ' The most importoni and influential Block Metal o<t e • Anthemi Jo The Welkin At Dusk shipped 21,000 and Soundt<oni>«d over 16.000 unitK m EARTH • Ov«r 20.000 shipp«d and 17.000 Sound«<anned in the U.S. for their triticolly otdaimed Something Wkked Thit Way Comet album along with tirong cotolog >al«». • "Melancholy", the new tingle, it being played on Active Rock Radio ond ipeciolry show» ocross the country. • Touring behind their upcoming double live album. Uve In Athens, thit summer. SKIHLAB • Ow 12,000 ■hipp.d and ?,000 SoufKlxaitiwd n th* finf 8 wo«ki wftilo rhe buzx <ontinu*i to grow. . "Know Tour IfMmiu" vidw) Is <ha>1ina on TIm Box »idM (kcBMl in anlor KMriHO. > A touring nio<hin« that CRYPTOPSY NEVERMORE Dreaming Neon Black m TURMOIL rhe Proc«»» Of HASTE Pursuit In The Face Of... rtie GATHERING How To Measure A Planet? EYEHATEGOD Oop«iclc CENTURY MEDIA RECORDS 1453-A 14th St. #324, Santa Monica, CA 90404, USA (310) 574.7400 phone (310) 574.7414 fax MFniQ (310) 574.740O phone (3 lO) 574.7414 tax WWW.CentUrymedia.COm in t U l nj Distributed Exclusively in the U.S. by CAROLINE DISTRIBUTION. Ndise Reconls - 15 years (»f metal. Britlging the pa.st t<> the ftiture Gamma Ray - Powerpiam h ' Th'.! G(>df!tlh'.;r nf Gitvnuin Pownr moLtil. Kai Haii-sen and crew *r reLurn with some of the \ns.\ iradilional metal of liw yedt. Pissing Razors - Casl Down the Plague Don'l f"k Willi l\iXas_CHiii Dcwn the Plnt^ue is oii« of tht; havd- cst-hittjn& most brutal henviest. in-ytmr-fHoe rts;nrd.s in yenrs. 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For information, contact our wholesale department at 717-397-9221, ext. 120. * Relapse is the official mail order distributor for Blue Grape Merchandise (RAMIMSTEIN. FEAR FAaORY, SOULFLY, SEPULTURA. COAL CHAMBER, CRADLE OF FILTH, Texas Chainsaw Massacre. Buffy The Vampire Slayer and others). • Watch for Relapse's North American Contamination Tour this summer featuring: SOILENT GREEN. THE DILLINGER ESCAPE PLAN. EXHUMED, MORGION, and more! Relapse sponsors, and provides easy access to tickets and information for some of the ^^^gj2^5l3 world's biggest metal events Including: MuLmu^ NEWENGUND MflnS METAL FESf imftai and hardcore feshval [j^kllljl.nJ' ANNUAL FESTIVAL J1/.1.TM Relapse is the only label with such a strong presence md our own stage at every one of these important events! > Secured online ordering 24 hrs a day. • Browse our extensive selection. • Free weekly E-mail subscriptions. > Realtime audio downloads. > News, information, and tour dates. "Everything about relapse.com is of the highest quality. Every label should take note of this site. This is the industry standartl. Everybody goes home a winner at relapse com. " (FROST MAGUrNE lEIM IS The Music Scores Big With TV, Film And Grudge Matches BY BRYAN REESMAN is hard and int'ial have begun reappearing on commercial radio and VII 1, so (oo is it rearing its head back into the worid ol cinema and televi- sion. Recent films like "Bride Ol Chucky," "Spawn" and "The Matrix"' ha\e featured heav\ rock ads. otieii in conjunclion with heavy techno acts. In fact, "Spawn" featured heavy rock and alternative acts remixed by DJs. Tlie upcoming film "Heavy Metal fnst with the movie release, then with the recent DVD and rental release. He expects sales to pick up again in conjunction witli the August video release. Maverick Records' " Mai rix" soundtrack has proven to be a popular blend ol heavy rock and Iieavy techno. The label has received numerous calls from alternative radio stations nation- wide about the iollow-up to the Marilyn Manson track. The label ]k (N( IniernaiioNl label rnendy Ikenud Naiareth't "light (omei Down" aai helped place Motorlteod's "Killed By Deatti" toio a borriom brawl uene |ir (be tmim EatertoiDineit lilm "PoiBl Doom." IJ" promises to fully exploit the heavy-rock world as well. Mean- while, Judas f*riest"s music could briefly be heard ou a recent episode of '" The Simpsons" (the anthem "Living .After Midnight") and in a Burger King spot ("You've Got Another Thmg Comin""). "There really does seem to be a [renewed] interest in harder- edged rock 'n' roll." says Mike Garden, GM/senior VT, market- ing. GMG International Records. "It kind of never went away; it's always been there." He should know — his company has been invoIve{l with (he "liride Of Glnirkv" s<.iindtr;irk. the V.C.W compilation album and other projects. The label's "Bride Of Ghucky" soundtrack leatuied an all-star cast of heavy ro( kers, including Monster Magnet. White Zombie, Slayer and CtrM C^hamber. (harden says Tom Lipsky and C^MG worked hard to colled all the tunes from various labels and help the film- makers put together a haid-hit- ting soundtiack record. Garden says that the "Bride Of Ghucky" album has had a good shell life. has chosen (o offer three remixes of the Deftones' track. "My Own Summer," including one by Hive, which is also on tlie soundtrack. The release will coincide with the Deftones* Ozzfest dates. "The fact that The Matrix" is the hottest metal/electronic compilation on the market proves that there is a huge amount of people who want to hear this kind of nnisic," .says Maverick general manager Russ Rieger. who also co-executive pro- duced the soundtrack. METALLIC SEQUEL Garden savs that C^MG has received numeious requests from prodiictinn companit-s for hard- nnk and metal tunes recently: Don Johnson's GBS series "Nash Biidges" has shown interest in .Accept s "fialls Tn The Wall"; the director ol indie film "Rickv Six" has inquired about Accept's "Midnight Highway" (which is not on CiMG) an<l Nazareth's "l-ighl (Monies Down." which the compa- ny did a deal for; and (he label helped place Motorhead's "Killed By Death" into a barroc^m brawl scene for the Dominion Kntertain- CintiitmM on fm^t H- tS ozzfest: m HARD GHS HlARD The infamous tour, now in its fourth year, offers a prized platform for dedicated performers to reach their fans. BY TIM HENDERSON She is the real-life Iron (Wo)Man. l.(M>ming behind the ma(hiian himself , 0//y Osbourne, when she's not playing wife or moth- er Ol guiding Ozzy's career — or Black Sabbath's, Ibr that mat- ter (Sharon Oslx>in'ne Management was responsible for spear- heading the recent Sab reunion shows around the world) — she's the ringleader for the world-renowned travelling metal show called Ozzfest. F()r the last two years, Ozzfest has ranked No. I in .America as Pollster's top-grossing per-show summer concert event. In 11HI9. the following line- up will, once ag'ain, divide aiul itnujuer — with little help from an indus- try that's fVowned on the genre and the people behind it. Joining Black Sabbatli on the main stage for its swansong tour are Rob Zombie. Slayer. Deftones, I*rimus, (>odsmack and System Of A Down. The setond stage ads inchide Fear Kaclon'. Drain STH. Static \. Hed (pe). Puva. Pushmonkev, Slipknot and un.signed bands Flashpoint and Apartment 116 (featuring Black Sabbath bassist Geezei Butler's s(ni). FOLLOWING THE OZZ-MAN "It's a situation that j)eople will open up for O/zy because of the ycais he's put into this business antl because of what he represents," says Sharon O.sbouine, speaking passionately about the success of the festival f rom her office in Los Angeles. Ozzy's reputatioti, charisma and legendar) history is an imparallelecl reason why the Ozzlesi phenomenon has struck gold. But she is somewhat puzzled when asked about the strati'gic ploys of dominating a conceit li cuit. "I have to Ik* irulhfiil with you: I don'i know," she laughs. "It's uboni giving kids value for money and what ihe\ want Ibr the genre of nmsic. Main statfars (from left): Rob ZomMo, Doftones, Godsmack The only thing I can put it (o is thai we don't try and outsmai t ourselves. We don't 117 to bring in 40 singing monks, and we don't try and bring in Ton\' Bennett. We just do what we do. \ lot of times when people get siic- cessfui, ihev tr\' and get too smart and ihey tr\- and pui siulf on that impresses themselves and people of their age group. We're talking aboiu the suits that actually run these things, and they go home and siiy, "We've got this and it's so cool,' yet it d(K*sn't work with the kids on the street." PRESS BLACKOUT Ozzfest kicked off May 27 in Florida and runs through Saturday, July 24. ending in San Bernardino, Galif; all in all, 23 cities and 28 dales. And with eacfi market comes its share of .stumi>Iing blocks. With the near extinction of heavy-rock promotion tin < nigh \\w inaiiislreain media (radio and video specifically), Ozzfest liiels it.selt through wtud-of-mouth. "Vou have to remember that radio won't touch us." she s;iys. "Wlu-u we go into L.A. ()r New York, we have no radio. It's all word of mouth. Vou look at tlie press that comes out loo. In the L.A. Ttmrs "(Calendar" fiitcrtainiiuMH scfliiiii diat I<'lls vcm uliaf's <»I1 this siiinnief, we don't even get a mention. .\nd it's not just the Times. I know that otie for a fact, Ix'cause we live here. I can go on and on." But s!ie doesn't have to. 'Fhere is strength in numbers, and heavy melai's supposedly extinct fan base is snapping up the tickets ()n Ozzlest's fourth year. "I can remembei when we fust slatted this, people were saying this is never going to last Ix'cause tliere are not enough hands in this genre to keep it going e\'ery year." Oslxjurne concludes. "And we've pr<jved every- txxly wrong." And the Ozzy juggernaut steamrolls ahead, with no care Ibr current ( onventions: a new lalKrl (7Seven leplaciug the defunct Ozz Records), an Ozzy solo record due out early next year with a full-blown Hollyw(»od fli<k detailing Ozzy's life story Ibllowing shortly thereafter fhe Ozzman still Cometh. H BILLBOARD JUNE 5. 1999 BILLBOARD SPOTLIGHT METAL SUBGENRES Cimtsnurd from jHi^f H-6 '70s, wilh bands such as Liquid Tension Experiment and Mull- niuzzler (both Dream Theater side- projects), as well as fresh faces Dali's Dilemma, Ice -\ge and Tiles. the whole profile of what's going on." Through a dedicated, mostly musician-led fan base, this new era of" progressive music is caidiing on. Alongside Magna Carta, Metal Blade has scooped up such hot overseas talent as Italy's Labyrinth and France's Dream Child, plus The Quiei Room, Spock's Beard and In Ruins, all three U.S.-bred. And Century Media recently picked up the rights to Brazil's "I always think of it as thinking- man's metal," Morticelli adds. "It's been my hope that the younger audiences would be bringing up the rear, and that's why I'm looking for younger bands. I just want one act — not necessarily ours — that can break through. I just want to raise Magna Carta progresstves: Dali's Dilemma (top), Ice Age (left) and Tiles famous Angra. ,^1 are set to grab the baton from the Dream Theaters and Queensryches of the realm. Besides, these bands are doing monster business in Europe. ^\nd so is their elder cousin — power mcial. Manowar, Hclloween, Ham- merfall, Primal Fear, Stralovarius. Ganuna Ray, Iced F^rth, Never- more and Jag Panzer conduct reg- ular tours through Europe and, not coinciden tally, European sales charts. Century Media VP/GM Marco Barbieri, whose wage is paid partly by the latter trio of U.S. born-and- bred lessons in heaviness, says that "When people get tired of all the guttural vocals and liitle-to-no melody, it's nice to turn the other way and hear singers that can sing again. It sounds fresh. When other labels thought that it was over and had moved on, Century Media still kept Iced Earth on the roster, even during those lean years. In turn, they now are our second biggest act in the U.S. (behind Stuck Mojo), wilh sales of over 25,(X)0 records." FADE TO BLACK With the current tag line, "diversity in extremes," Century modit)'. At the time, the scene was becoming more serious than Venom, Bathory and Celtic Frost combined. While some originators remain incarcerated on criminal charges, the black-metal curse now has a chance to cross over; Ployhoy is rumored to be planning cover- age of the phenomenon. "We just wanted to be involved with some of the most extreme metal," explains Thind. "It had an element of fear surrounding it. A lot of the other labels had dried out the deaih-metal scene, and this was the next step. We wanted to be the anti-everything." With a rosier filled with the likes of Usurper, Dawn, War and black- ened crown Jewel Witchery (featur- ing members of Mercyful Fate and Imn interest in (he piy(liedeli( stomp i| stoier-rotk hos mude names lor Monster Magnet. Qieeis Of The Stone toe, Kebila. Spiritual Beggors and Fi Manthu, eadi treiidino the line line e| tleir lorefotlers ii o haie of down-tuned (hordage lid a billow o| smoke. Media is one of many labels offer- ing evil doses of another dark- metal child: black metal. With the Century Black sub-label under its studded helus, the company anuci- pates an overwhelming response i(> the new Emperor record, IX Equilibrium. The joke is over. Corpsepaint is cool. when Necropolis founder Paul Thind relocated to the U.S. in the early '90s, he brought with him ties to this dangerous musical com- rhe Haunted). I'hind says that it's camaraderie that unifies, no matter what the genre. DEVILISH GOOD TIME "This is a legitimate form oi music that's been around for over 20 years, and it deserves expo- sure," Thind continues. " Bands hke Rob Zombie are achieving that level of acceptance. I like seeing Dave Wyndorf doing tlie devil sign. As long as it's hard-edged and in Conlinued on page 11-51 NEW RELEASE IN- worn FEATURING ROB HALFORD ^ Visit WWW.tWO-Online.com for rare recordings, photos ^ & debut of new CfZVO demo i^^^^^^^^^ '*^y^^*"i:OIIT»CT:iaHMB«XTtR 602-283-8993 H-30 BILLBOARD SPOTLIGHT BILLBOARD JUNE 5. 1999 INDIE LABELS Cutilinufd from page H-6 Nowadays, many of the labePs biggest success stories — Type () Negative. Cloal Chamber, Fear Factory — are Stateside signings. with Roadrunner establishing itsfU as one of the largest inde- pendent labels in the U.S. TOUCHING THE FAN BASE "What I tliink sets Roadrunner aside and makes it a special label is that we try to combine the best parls of being an independent wiiii having experienced players here." says senior V*P/lal>el GM Jonas Nachsin. "We're quick- thinking, we're aggressive, we're street-oriented, and we're very much in touch with the fan base that drives the sales of our core acts." Although Roadrininer is also interested in expanding its musi- cal frontiers beyond metal. Nachsin s;ivs its connnitnicnt to heavy rtKk remains firm. "Cer- tainly, that's where our sciengih is, and we're Irving to build from that foinidation into other areas," says Nachsin. Nevertheless, the label's biggest projects Ibr the second half of tlie year, including the sopho- more eflbrl from Coal (Chamber, a new lype () Negative release and the first two leleases from produc- er Ross Robinson's I Am imprint (debuts from ultra-heavy under- grtmnd acts Amen and Slipknot) all fall squarelv within the label's successful triidiiion. Metal Blade, by viitue of its name alone, has proudly Howii the flag of metal since Slagel started the label in his garage in '82. .\llhougb the company has launched the the same circles,*" Fitzgerald says, careers of gold and platinum acts "We stay in (ouch with all the like the C*oo Cjoo Dolls and Slayer, fanzines and make sure that undei^ound — often extreme — iheyVe all taken care of and do llNTERNATIONAL lOADRUNNEl artists like Gwar and Six Feel Under (lx>th with new albums out this year) have comprised the core of Melal Blade's roster. "What's starting to happen is that a lot of (he mainstream media is coming back to us now." says V'l* of sales Dan Fit/gerald. "Primarily for our larger bands, but our smaller bands definitely Ix'nefit from it. When you've got outlets like WW News coming to us and wanting to make suie they have our release dates up on their news site, diat tells us thai the [mainstream interest] in this music is coming around again." Kven with that, producing and marketing heavy music remains business as usual for the 17-year- old label, which is distributed through RED. "We go through all what we can to gel lieavier sudl (mio the airwaves." GERMANS EYE AMERICA While man) of the metal labels thai started in the early '80s are either defimct or largely inactive, a newi'r crt)p of independents has sprung up in the last decade, including several thai originated in Furope but are now making strong inroads in the States, " fhe tagline fi)r us this year is 'diversii) in extremes,'" says Marco Bar- bieri, VP/(iM of Germany-based Century Media Records. "We are trying to cover .\\\ the b;ises. whether it's the Goth-infhienced stuff, the black-metal slutf or tra- ditional power metal." Since opening a U.S. office in California more than three years ago. Century Media has concen- trated more and more on Ameri- can acts like Stuck Mojo. Eye- hategod and the developing Skinlab. "A few years back, we were dependent on the German oflice, but we've grown leaps and bounds since then," says Barbieri. " Fiiere's a lol of yoinig kids w ho wanl something dilTerent. some- thing aggressive, and we're trying lo supply it. It happens more at this level than at the mainstream level." Century Media's rctsler is now almost evenly split between North American and Kiuopean iicls, with upcoming releases frf>m Fmperor. Iced Farth and the Alubama-bascd Haste all on the slate. Nviclear Bla.st is another lalx-l with CJerman nxits (the original oflice was opened in 1987) thai has expanded its U.S. operation in recent years. Like most of the indie o|x,*rators. Nuclear Blast president Mason is defiandy proud of the direction of bis label, which has just released ihe long-awaited second album from undeigroimd-thrash- core supergroup Stormlr<M)[K'rs Of Death. "Metal has reinvented itself," he s;iys. "from the lace ilu- main- stream had in the '8()s — of hair bands — to something much more varied. Ilie music is sincere, which is whv it has the legs that it does." MAIL-ORDER AND GIVEAWAYS Despite the growth of Euro- pean-ow ued labels (England- based Earache, home oi Moibid Angel and Napalm Death, has also had a U.S. ofFice tor some lime). Continued on ptif^r H-3-t VICTORY snumqse Pini|({!ssiin T^fth Uijjcaiiimii" I H-32 BILLBOARD SPOTLIGHT BILLBOARD JUNE S. 1999 N RECORDS presents the new albu PRETEIMD I'M HUMAIM in stares July 13, 1333 - Find out more about the great: acts that l\lg Reconls has to offer: www.ngrecords.cam phone: 212.337.8505 fax: 212.337.8510 II lillli ■!>:: •• '■II INDIE LABELS (Unittfiufil fiinii ftiigr H-32 Aincriam-biiscd imprints tontiniic to enierge. Relapse Records was founclfd in 1990 by Malt [acobson. in his parents' haseiiicnt in Denver, Clolo., and has grown irom a liny upstart label to incorporate an industrial linpriiu {Release), a catalog/maga/ine (Resound), an impressive mail-order service and an internalional rosier lhal lea- lures some f»r the cream of ihe underground crop, including Neurosis. Finland's Amorphis, plus Soileni C.reen. dubbed one ol metal's 10 most important acts b\ Rotliiif^ Sfouf. "We approach A&R Irom a liui's perspective," says Jacobs(jn. "We are a very grass-roots Cfimpany and are very aggressive wlien it tomes lo street- level promoii(tn. We have street teams all over the cfnintry, we sponsitr numerous lesiivals and concerts, we have huge mail- ing lists, and we are all about giveaways." Mark Nawara started Pavement Records six years ago this month and has seen sales reach the six- figure mark worldwide with the doom-laden band Clrowbar. (!ur- reut sir()ng sellers on the roster include the death-metal act Ma- levolent (Irealion and the l*olish band V'ader. who just recently loured the I .S. (Nawara is also readying an album from another Polish act. I'roplucy). Like the other independents, Nawara emphasi^^es touring as the ctirner- stone of his label's marketing plans, along with street teams, print advertising, fanzine cover- age and the Net. "The Iniernei has been very helpful getting information on our artists directly to the fans," says Nawara. "With one stop at our Web site, a fan can get all the infonnatioii he wauls nn any band on the laln-l. hear sample music and buv the CD right oR the site." CAROLINE'S COMMITMENT A recent arrival on the scene is M.l.A. Records, which mo\'ed to New Voi k from Houston last \ear under the direclicin of (IM and indie vet Steve Sinclair. Sinclair says his aim is to sign what he calls "real, aulbeiilic, (ornmilli'd r<Kk music — bands whose souls are investe<i in being imisicians." The label's initial slate of olVerhigs includes debuis from the Atomic Bitchwax (heavy acid rock featur- ing Monster Magnet guitarist Kd Mundell) and a new album. "Process Of Sell-nevelopment." from the increasingly popular MEniH RECCKDS hardcore ac t Oandiria. Like many of the metal indies, including (lentury Mc*dia. Nuclear Blast, Relapse and Noise, M.LA. lias jusi inked a distribution deal with (laroline, which has rapidly joined RKl) as a major force in selling hard iiuisit on the iiide- pendenl IrtuU. "Caroline really seems to have made a commit- ment to heavy music," says Sinclair. "Where some of the oth- ers have gotten out of that busi- ness. Caroline sees a future in it and is now benefiting from that early vision." BUZZ CYCLES Other indie imprints int hide specialty labels like the influential hardcore/punk label Victory, start- ed with $L2Q0 by founder Anthony Bruminel, thai glossed $4 million in 1998; the California- based Revelation, which also foc- uses on punk nnk but has made numerous forays into heavier, crossover material; Mike Varney's long-lived Shrapnel Rcc<h cIs. which deals almost exclusively in guitar heroes, many from the liard-rock field; Necropolis, a seven-year-old self-dislribuled operation that has been called "the No. I black-metal label in the L .S."; (!leopalra. which has been at live in hard-rock tribute records (for artists like .Alice Cooper and Slayer), as well as new inalerial from '80s bands Quiet Riot an<f Bang Lingo; and former indie (now-KMCi-ow ued) CMC Inter- nalional, well-known for offering a new home to acts such as Molorhead, Judas l^riest, Dokken and Warrant, who found them- selves unwanted at majors during the early '9()s. lliv lifel)l<KKl of the independent hard-music scene, however, re- mains the new artists who continue to emei);e Worn the uudei'grotind and the word-of-niouth buzz that is still an integral part of the genre. "Music goes in cycles, and a new generation of fans has emci^ed," says Necropolis founder Paul " Typhon" Lnind. "Some of our best salespeople are our customers. 'Hieir dedication and loyaltv helps spiead the music more than any other channel." ■ )Pavement Music Inc. 1999 www.pavementmusic.com • pvm H-34 BILLBOARD SPOTLIGHT BILLBOARD JUNES, 1999 II llliii III:: ••'III BRITS HRE UP Coulniufii f jom fxt^t H-H disafliecled iiuiic kids out tluTt* who want something more cutting- ed^e," Pearson argiies. "Tra- ditional indie stuff has Just become more and more corporate. This means that DJs are playing Korn where, not so long ago. they were playing Hole. .\iu( that means that there's a whole new brand ol'meial kid." EMBRACING HIP-HOP That metal kid has been pre- pared to drop some preconcep- tions and embrace the genre. Pearst>n contend.s. l)ecause bands traditionalists Cathwiral operating in the hard-rock field are equally more prepared than ever to borrow from other styles. "There's a new brand of metal that's embraced diiVerent styles such as hip-hop. and that has been prepared It* adopt beats," says Pearson. "A few bands even use s^unples. Tliat's what's interesting to me, and that's what's driving kids now." Julie \ Ve i r. A &: R manager Visible Noise, concurs, arguing that the extent to which traditional forms of hard and heavy music are crossing over in ihe L'.K. has never been greater. First, she notes, the genre has crossed over the sex bar- rier. Whereas metal monsters such as Sabbath, Judas Priest and Iron Maiden traditionally attracted a virtually all-male audience in the L'.K., the advent of some female nuisicians in the new generation of acts has brought a new female fol- lowing. "A lot of girls are finding this a lot more accessible now," Weir states. She also notes that the new musical influences in hard rock are "open- ing more d<H)rs lo fans, but without alienating anybody." The end result. Weir argues, is that the genre "is getting a lot more fash- ionable. No .self-respecting U>- or 17-year-old would buy a Mariah Carey ("0, but what we and Digfjy and the other labels are doing is becoming a lot more irendv." SOMETHING OLD, SOMETHING NEW Visible Noise act Kill II Tliis is a prime exiwiple of tiie lime-honoi-etl talent of British acts to take estab- lished sounds and add tlieir own eccentricity. The band, from Man- chester, admits to trip/hip-hop, dance and soul influences and takes pride in the fact that its music is. according (o label publicity, "ex- tremely difficult to describe and even harder to define." Under- pinning such influences for Kill II 7~his is a strong sense of the metal riff, a theme common across llie new generation of acts. This combination of the old and the new has broadened metal's his- torically broad church even fiirther and has been achieved, Pearson says, because of the integrity of the bands doing it. He shares Weir's view that new followers have come on board without pushing out the more established acolytes. "None of the bands have sold out," he states. "They are true to themselves, and the kids recognize and respect that. That's why this sound will stick around, because the bands have made a connection with the kids." GENETIC METAL CODE I he health of hard rock and metal is, though, based not just on innovation and integrity but also its sense of tradition. tarache band C^athedral exem- plifies that. Not only has this act picked up where Black Sabbath left off but. with one ear closed, it wow I d he d i f fi cult to se p a r a t e (^'ithedral's mitsic from Sabbath in the era of classic Sabbath albums "Volume 4" or "Sabotage." "What Sabbath did was create the genetic ct)de for metal," says Pearson. "There's a whole group of bands now tliat ha\e lo have the Sabbath sound." Such devotion creates a bridge to the past. Sabbath's U.K. tour last vear with original meml>ers Ozzy Osbourne. Tony lommi. Cieezer Butler and Bill Ward, sold out e%er\where it went — and did so se\eral limes over when the band went home to metal's cradle, Birmingham. I he people attending the con- certs were a mixture of those old enough to remember that original incarnation of Sabbath first time around, the new generation of devotees attracted by the likes of Cathedral, and those discovering the harder edge of music for the first time and eager to see w here it all began. This new curiosity is boosting the fortunes of metal's first and second generations. Sabbath's new-found success is also spilling over into the NWOBHM— the New Wave Of British Heavy Metal. This title, apt when coined in the mid- 1980s, has now dated, but still encompasses paeans of the sub-sect Saxon and Iron Maiden. SAXON UPSWING Saxon has toured continuously since its heyday 15 years ago and is still going strong despite noasting onlv one original member — singer, frontman and driving force Biff Byford. After some lean times. Byford notes an upswing in the band's fortimes. "We're playing places now that we couldn't have dreamed of five years ago," he siiys. "And what I'm .seeing is that it's not just us; the whole metal market is coming back up." A test of that will be the reception Iron Maiden, now reunited with singer Bruce Dickinson, receives on the road. There are those who have criticized tlie Dickinson- Maiden link (which was originafly severed amid much stated and unstated acrimony) as not wholly sincere. .-Vn upswing in metal's fortunes generall\ may mask that; Maiden's once-prodigious popularity may be enough to carr\ it through — or the fans may turn to what they per- ceive as younger and fresher prod- ucts. ■ CMAmBEmSOULFLY«FEAR^FACtORy«SEPULtUR.S onoon.wj oue, EncLono I-(0)I8I-7495S97 CONCRETE MARKETING Continued fmit (xi^e H-I6 knowledgeable and will always go the distance." ANTI-LILITH ACTION Recent years have seen the death and resurrection of heavy metal become a regular media Concr«to*s first pro|*ct: ArmorMl Saint event. Of course, these davs every- one's liquored up on the idea of a "metal revival." but Chiappardi will tell you the genre never left. "People referred to it as a dead genre, but how can you dismiss the incredible staying power of career artists such as Metallica. Ozzy Osbourne, Jerry C-antrell, Rob Zombie, Megadeth, Pantera and Slayer — not to mention the success of newer acts like Korn an<i I,imp Bizkit? The genre inighi have gone underground for a bit, but dead? Hardly. I think this resurgence is simply a reaction to the I.ilith Fair crowd, just like Black Sabbath was a reaction to The Mamas & The Papas and all the other 'peace-and-love bands' of the late '60s. It's all cyclical." Adds Rob Zombie, "Bob is one of the few people in the music business that does it because he loves the music." TO COIN A PHRASE As for the new wave of metal acts, Chiappardi sees a lot to get excited about. "Bands like Puya, Static-X. amped bands ever\'where to con- tinue to plug in and play. •Says Don lenner, chairman of Columbia Records Group and president of Columbia Records. 'Even when pundits have chosen to write off the entire hard-rock and heavy-metal genres. Bob has remained steadfast. He's a real believer in the music and the importance it plays in the lives of its fans, and he's certainly helped educate Columbia's stafl as to the effective ways of reaching the hard-music audience." Not surprisingly, the ever- industrious Chiappardi is already (oitreit Idi (tiflned a (lieni rister thfli reads lihe on mr- oiped veniiii if ihe forkei SIM. vritti m\ tich as Metollica. Horn, linp Biihit, Mflrilyn Momon. Nine Intli Naih. hli Unliie. terosmlili. Van HoUn, Hue In (liaiiis, Mcgodeib and Oiif Osbiirne. Buckcherr)', Verbena, System Of A Down, Zebrahead, Videodrone, Cyclefly. Powerman 5000. Loud- mouth, Godsmack and SlainD, as weW as the new Fear Factory and Bioh;izard records will all carry- the genre well into the new millenni- um." he enthuses. "Those are great hard-music albums." In 1992, when industry high- brows decided to add "heavy metal" to George C^arlin's list of "Seven Dirty Words," it was Chiappardi who coined the phrase "hard music" in order to make the genre more palatable. Though it was just a matter of semantics, the new tag made it s;ife for over- working on projects to ensure Concrete's next 15 years and beyond. He recently partnered up with Broadcast.com to launch three streaming Internet radio shows, each of which reflect the top artists on SoundScan's alterna- tive, metal and electronic charts (Concrete has the exclusive rights for all three). He's also in negotia- tions with a major radio syndicator regarding a weekly hard-music radio show set to launch this sum- mer. In addition, C^hiappardi is also starting a cable-television pro- gram and putting together "Nativity In Black II" with Ozzy and Sharon Osbourne. The latier is a follow-up to 1994's Grammy- nominated "Nativity In Black,' a Concrete Marketing/ Columbia Records collaboration that has sold more than 600,000 copies to date. Like its predecessor, the new album will be a star-studded trib- ute to Black Sabbath, released through the Osbournes' label this summer in conjunction with SFX. The album will be promoted heav- ily throughout this year's Ozzlest in commemoration of Sabbath's farewell tour. HARD-WIRED SITE One of the company's main pri- orities will be "Concrete Planet." an all-encompassing Web site designed to market music, sports, fashion, art and literature. Says (Chiappardi, "As we head into the new millennium. I ihink the future of marketing lies in strategic alliances and co-branding. Tne success of the internet has proven how important it is for companies to share information. Everyone, from soft-drink companies to film studios, has expressed interest in Concrete Planet because 1 already have a relationship with the audi- ence they want to reach. I have a database with hundreds of thou- sands of kids in it. I know what sodas they drink, what sneakers they wear, what television shows they watch, how many times a week they go to a movie and so on. We're going to use that informa- tion to expand Concrete into a total lifestyle-marketing company." In other words, CConcrete shows no signs of slowing down. " Let me tell you something," laughs Chiappardi. "We've just begun to scratch the surface." ■ VERSAJLLES RECORDS, INC. PRESENTS: *'THE SECOND COMING: a MILLENNIUM TRIBUTE ' TO 80'S HARD ROCK/HEAVY METAL" Featuring some of the country's premier up and coming bands covering a collection of hard rock and heavy metal classics that we all grew up on!!! Thlvia on youn f tavonrto meral bands m American Dog- "Under the Blade" (Twisted Sister) 'Featuiing Michael Hannon o( Salty Dog/Dangerous Toys Cage- "Love Bites" (Judas Priest) •Cage was recently voted Best Unsigned Band Dy 1999 Europe's Hard Roc* Magazm Southern Rock All-Stars- "Don't Believe a Word" (Thin Lizzy) •SRA loatures mo founding members ol Molly Hatchel and BlacHool 'Don I Believe a Word* also available on SRA's upcoming album 'Cra^y Again* Guttersluts- "Welcome to the Jungle" (Guns n' Roses) Premonition- "I Dont Know" (Ozzy Osbourne) Salvo- "Orgasmatron" (Motorhead) Wraith- "Bang Your Head (Metal Health)" (Quiet Riot) Straitjacket Smile- "Photograph" (Del Leppard) Tempered Steel- "Revelations" (Iron Maiden) Black Widow- "Heaven Comes Down" (Dokken) Red Hot- "Kickstart My Heart" (Motley Crue) O.O.N.E.- "Hang 'Em High" (Van Halen) Mudbone- "Wait" (White Lion) Detox Darlings- "Smash Alley" (Faster Pussycat) 'More Bands to come!!! Web Design: Emry Place II (motley@epix.net. www Motleyland.com) Cover/Logo Art JC (jcgblackheartsludios.com, www.blackheartsludios.comAjc) 3 SUMMER.., Through Impulse Music (www.impuise-music.com}, Criminal Records (www.criininairecords.com), and other retail outlets near you!!! METAL PURSUIT www.versaillesrecords.com Play METAL PURSUIT and take home FREE cds and other prizes!!! check us out on the web at: www.versaillesrecords.com Please direct all inquiries to: Jake Brown, via e-mail Speedynumb@versaillesreords.com phone (612) 825-7698 or write 3010 Hennepin Ave. S., Ste 142 Minneapolis, MN 55408 1999, All Rights Rsvd. COMING THI H-38 BILLBOARD SPOTLIGHT BIUSOARD JUNE S, 1999 UJtttlll.l HEAVY HOMECOMING Ctmtiutifil Ill/Ill {Mii^f H-'f shunned tlie metal label, and the genre was thrust back into the undei-ground. Mouevcr, reports oi" the demise of metal were prema- ture and ^reatlv exai^gerated. SUDDENLY SEATTLE The metal scene in Seattle start- ed in 1983. wiili the release of Qiiecnsnche's eponyinously titled embarrassment to be associated with. .\ll the while, metal bands like Soundgarden. tagged with the giunge label, continued to flour- ish. Meanwhile, many bands stayed the course and continued creating the sound that brought them to iheir piiuiacle [see separate stor)]. albeit to a scaled-down audience. Bands such as Iron .Maiden and Judas Priest no longer filled arenas wiih elaborate stage shows, nor did CenttiPr' Media's Brian Sharp sim- ply states, "We started doing metal when it wasn't cool, right when the whole grunge thing was happen- ing." Rhodes Mason ol Nuclear Blast, speaking about the label's focus on the metal genre states. "Being an inlernali(nial company, our sales never diminished in Europe when metal left the mainstream in .\inerica. However, metal is turn- ing the corner as America is start- metal bands that didn't do much business in the U.S. We're slowly expanding outwards in the U.S. as the Internet is helping us to reach the younger kids." DIRTY WORD According to Peter Tsakiris of Earache Records, which started in Kngland in the late 'HOs and the L -S. in the early '00s. "Karache was the defining label al the forefront {)t the grind genre at the time thai grunge was happening. We'\e now taken leaps into deaih-mctal. and we were one of the first to venture into sloner-rock." Jonas \athsin. on Roadrunner's position during the lean years of metal, says ' There was no con- scious decision to go against the grain when Nirvana broke. It was Just the evolution of the label that rellected the tastes of the company. Continued rm piigr H-fl S«attle before and after: Queensryche and Nirvana EP. and continued to blossom with Soundgarden's "Louder Than Love. ' Soinciinie shoi ily after Nirvana broke big, bands like Soundgarden and .Alice In Chains went to bed as metal bands and woke up as members of the Seattle "ahernaiivc" scene. Suddenly, Seattle was the next hotlwfd of music, wiih its own sound, and all acts coming out of there were clas- sified as grunge. Unfoiiunatelv. the grunge label started to canni- balize metal bands. What was once more of a sulxulture (rather than just a genre of music) became an Go Rock Go l\/letal Go Indie Go Puink Go: www.Revolver-Records.com Go: ww.HeavyMetalRecords.com RevolverMusic @ CompuServe.com Tel: +44 1 902 345 345 Fax: +44 1902 345 155 Go: Revolver Music UK - for Label and Distribution • Revolver Music • FM Records • black • Heavy Metal Records KBIiriKV MRT.%1. .'HKL*BI<' 1.4 iecoFdi Lflflci Pflifl'S PULL .lit their albiuns achieve (he sales fig- ures of their heyday. Bui they con- tinued to tour smaller venues, and their sales remained quite re- spectable, if not spectacular. Tom Lipsky of C^NK; International real- ized that these bands, and others like them, still had a place in the hearts of many. According to Lipsky, "Mainstream metal music is music that just won't go away. Trends come and go, but it never disappears. When we saw the con- sistent touring and merchandising business and continuous catalog sales that metal bands were pro- ducing vear after year, we became convinced that the missing ele- ineni was nothing more than a missing supply of new albums by the bands that started ii all. " With the aforementioned metal bands now playing lo a more con- centrated audience, it would seem that the time had come to pass the torch to grimge bands to take over on the big stage. However, that day never came. The grimge bands were so bus) not having an image (although there was an awful lot of flannel being sold at that time) that there was no need for a stage show. Arena shows became a thing of the past, as did the concept of musi- cianship. No longer were there vir- tuosos or rock stars, but a nuisic scene ravaged by mediocrity. For all the hype surrounding grunge, the scene produced very few artists of distinction. With the excepti<m of Nirvana and a few others that managed to build a career, most artists barely got the chance to find oiu what the sophomore jinx was all about. INDIES RISING In spite of the lack of distin- guished artists, grunge continued its ascent and its stranglehold on the mainstream. While nuuh of the music world linnecl its back on metal, a select group of Indie labels kept the metal flag fl>ing. Metal's popularity overseas ne\'er waned. Labels such as Road- rimner. Nuclear Blast. Karache. Noise and Century Media uperal- etl in Europe as well as the L'.S. ing to embrace it again." Tlie metal artists have taken notice as well. Says Mason, " The artists doing very well in Europe want to come to America and wave the metal banner. These tours are becoming not only viable, but profitable," According to Mason, "We could have gone out and started signing grunge acts, but we wanted to stick lo our gims and provide oiU' loyal fan base with the metal music that first attracted iliem to Nuclear Blast. Grunge acts would have alienated our audi- ence." "Our home base is in Germany, and metal ne\er died in Germany." states Steve Job of Noise Records. He adds. "During that whole grunge period, we had a lot of strong German power- 1 1 NEW SONQS With Classic Lme-w/) Available For Ucensing Now For Further lnfi)rmation Contact Ed Trunk (973) 443-9336 edtrunk@webtv.net H-40 BILLBOARD SPOTLIGHT BILLBOARD JUNE 5. 1999 album: may 25,1999 single "so much is lost": april 26, 1999 album producer: steve lyon video director: marcus nispel Dorrell Sweet 1347- 1938 By Ed Christman Darrell Sweat, second from right Darrell Sweet, finimmei and founcling member of Nazareth, died of an apparent heart attack on April 30, in New Albany, Ind. He was 51. Nazareth was set to embark on the second leg of a U.S. tour, hav- ing just completed a few- weeks home in the U.K. recuperating from the opening dates, which began in February of this year. The tour is in support of the group's "Boogaloo" album, re- leased last year on CMC Inter- national in the U.S. Last year, Nazareth celebrat- ed its 30th anniversan', having formed in 1968 out of the ashes of a local Scottish band, Shadette, which contained Sweet; vocalist Dan McCafferiy; and bassist Pete Agnew. With the addition of Manny Charlton on guitar, Nazareth took a couple of years to get its chops together before its eponymously titled debut album was re- teased in 1971; it was quickly followed by "Exercises" in 1972. In 1973, the band hit its stride with "Razamanaz" and continued to flex its boogie muscles with "Loud *N' Proud" and "Rampant" in 1974 and "Hair Of The Dog" in 1975. In the U.K., the "Razamanaz" album gave Nazareth two hit singles, "Broken Down --Vngel" and "Bad Bad Boy." While the "Razamanaz" album estab- lished the band in hard-rock circles in I the U.S., it was "Hair Of The Dog" that broke the band through to the I masses here, thanks to the album's single, "Love Hurts." That track, a cover version of a song recorded by the Everly Brothers in the 1960s, rep- resented the band's first and only U.S. top- 10 single. The album kicks off with Sweet pounding out one of the fattest cow- bell sounds to be heard in rock historv as the inlro to the title track. That track represented Nazareth at its best, displaying the heavy plodding grooves that the band would become known lor, and which would serve as an inspiration for bands like AC/DC; Guns 'N" Roses is another band that clearly owes a tip of the hat to Nazareth. rhe "Boogaloo" album — recorded by founding members McCafferty. Sweet and Agnew. along with keyboardist Ronnie Leahy and guitarist Jimmy Murrison — represents Nazareth's 20th studio album, according to tne band's official Web site. Sweet, who was born May 16, 1947. in Bourne- mouth, England, is sur%ived bv his wife, Marion, son Michael and daughter Maxine. ■ COMING TO A NEWSSTAND NEAR YOU! GUITAR WORLD PRESENTS A 3-D Orgy of Sight & Sound! EDO 3-DMagazine,Y'all! Glasses Inside! OCI WTTH ZEPPEUN • HENORtt • KORN • AEROSMITH • NIRVANA • THE WHO • KISS & MORE! THE WORLD'S HARDEST ROCKING AND BEST SELLINQ MUSICIAN'S MAGAZINE ON SALE JULY 3 '80s METAL Contimied from page H-18 Spitfire Records. Indeed, the stig- ma of metal as solely a hair-band phenomena hurt even its more intense subgenres. "Metal is such a vast market that you've got every- thing from death to grunge to grindcore to pop metal." he says. Times do change, and in the music business, what comes around goes around. "People are less nervous [toda>] to admit to somebody that they own a lot of these records and that they actual- ly enjoy them," says Bibeau, whose label's inaugural releases include Zakk Wylde's Black Label Society and Enuff Z'nuff. The eight- monlh-old Spitfire also has new albums bv Testament, Union and reportedly sold 40,000 copies of its new li\e album in its first week of release in Germany alone. With many annual summer festi- vals like Dynamo, Wacken Open Air and Gods Of Metal occurring in numerous European countries, the scene there is far more healthv. That enthusiasm has spread worldwide. German headbangers Hello ween have reportedly amassed near-platinum worldwide sales of its last two albums and have two karoake records out in Japan. Danish metal quartet Roval Hunt has sold 750,000 records on five releases. .\nd Teutonic power metallers Hammerfall reportedly did 150,000 units of its sophomore album. "Legac}' Of Kings." Many Stateside mail-order out- lets have been doing well selling "When the dliernofiie mmn\ (unte aboit ii Krtnglf, a lot «| people were embarraned to ddniii itiai ilief greii up listening ii bonds like Moiden or judai Prien," ton Spitlire Re(ords presi- dent Pdul Bibeou. Indeed, the itigmo i| metdl ds solely d lidir- band ptienonend hnri even its mire intense sibgenres, mi ds dedtli. gringe, griidcire and pop metdl. TNT due this summer. Other labels are also getting in on the act. Rondel Records is issuing new and vintage Danger Danger albums, Roadrunner Records recently reis- sued their Merc^ fiil Fate and King Diamond back catalog, and Motley Crue' s own MoUey Records is con- templating reissuing the band's catalog through Beyond Records. DANISH STEEL, TEUTONIC HAMMER While metal has been neglected Stateside during the '90s, it has experienced fervent support in Europe, Japan and. recentlv. South .\mcrica. Some Nortli .American bands that find little support in the States have discov- ered strong support overseas, including Virgin Steele, Savatage. Iced Earth and Manowar. The lat- ter act SoundScanned 20.000 albums in the States last vear. vet imports of such European bands and of overseas reissues of older, neglected .American bands, many of which are unavailable even in retail over here. "In all honesty, there has never been a decline," asserts Jeff Swanson. co-owner of Illinois-based Impulse Music. Inc. "There are still people hstening to metal; it's just not being supported by the press. I think what's hap- pening moreso is a lot of [ SOs] bands are starting to put together package tours, like the Rock Never Stops tour last vear [that are doing] just as well as the major label acts selling millions." SAUITIN' THE CRUE Impulse has seen continual growth since its inception as a mail-order company in late 1992. The label boasts thousands of repeat customers and claims that Continued on page H-f-l H-42 BILLBOARD SPOTLIGHT BIUBOARO JUNES, 1899 '80s METAL Conlimmi junu Ixtgf 11-42 "On a daily basis, wc gt-t 10 to 15 new customers." Impulse also founded Pulse Records, a label Crue tribute record due out later this year. Nomially ass(Kiated with goth, industrial and techno, California- based Cleopatra Records recently jumjH'd on the metal bandwagon happy that we're reissuing or puttmg out a lot of records from bands such as Venom and Cireat While." Other Deadline releases include albums by Quiet Riot, Dangerous Toys, ex-Iron Maiden groups like Metallica and Mega- deth still routinely mine platinum. SoundScan sales figures for the catalogs of many veteran metal acts offer solid proof of their legitimacy. The 1998 sales figures are iniprcs- Soldiering on: from left, Testament, TNT, Manowar, Halloween catering to fans of more ctjnnner- cial metal, and has released records by former Rough C^uti singer Paul Shortino, original Judas Priest vocalist Al Atkins and melodic (ierman rockers Chro- ming Rose. Pulse has a Motley uiili lis ihu-e-month-old Deadline imprint. Label publicist .Mi Ohia notes that the response to this young venture has been "very pos- itive. We've been receiving upwards of 20 calls a day from a lot of Midwest suburbs; people are Rtiino Rtcerds hat oho mu mles potential in the metal narhet, haviflfl releaied loir (Ds ii \\\ lean Metal Hin Of the 'tOu fouth (one Wild" uriei, tivi (onpilationt o| power bollod^ oid mice (ooper and Deep Purple boxed nw. 1 "Veri Ben 0| Dohhen" (oiipilation is doe lext moith. frontman Piiul ULXnno. and Cin- derella. AN EXPLOSION OF HAIR Rhino Rfcoids has also seen sales potential in the metal market, having released f()ur CDs in its "Heavy Metal Hits Of The '80s: Youth Gone Wild" series, two com- pilations ol" power ballads, and Alice Cooper and Deep Purple boxed sets. A "\'er\ Best Of Dok- ken" compilation is due next month. Rhino also has a joint- venture deal with V'Hl, based on the channel's successful "Big 'SOs" series, which includes the forth- coming volume " The Big '80s — Tlic Big Hair," due July 20. Emily Cagan, senior product manager at Rhino Records and compiler of the "Youth Gone Wild" series, says the label tries to tie in promotion with current tours. Thus, if someone like Poison passes through a certain market, the label will coordinate giveaways with local retail and radio. "We're an extra element adding to what evenrone else is doing," says Cagan. "VVc're all taking ad\antage of this whole explosion of '80s metal that's going on. It's Just incredible." "I see an amazing turn by voimger people toward the more historic bands," obser\'es Lipsky. "I see just good guitar rock, just heav- ier rock music in general, becom- ing really popular again." In essence, there are oldei" audiences seeking a return to the musician- driven, spectacle-based shows of the past, and a younger audience that has not been exposed to ihis seeking it out. Lipsky ponders, "Is it going to be a new generation of metal bands that are going to break through and do big numbers again, or are the bands from the '70s and '80s going to be able to recycle and do the kind of numbers they did before >'■ Newer, harsher bands like Korn, C-oal C^hamber and Sevendust cer- tainly have made waves, but older sive for many such groups, includ- ing Black Sabbath (703,000 units). Judas Priest (293.000), Poison (220.000), Iron Maiden (197.000) and Cinderella (111.000). Just as importantly, all these groups are actively touring, which is how- metal bands broke through 20 years ago. OUTDOOR METAL Indeed, the concert scene for the summer of 1999 promises plenty for metal. MoUey Crue and the Scorpions are undertaking a 40- date amphitheater tour between June 29 and August 29. Poison, Ratt, Cireal White and L.A. (iuns are touring together between Ma\ 29 and )une 27 throughout the Midwest and Southwestern L'.S. The second annual R<K:k Never Stops tour — featuring Ted Nu- gent. Night Ranger, Quiet Riot, and Slaughter — will hopefully gen- erate the same enthusiasm as last year, when, according to QR front- man Kevin DuBrow. the tour played everywhere from 1.500 capacity clubs to 15,000-seai are- nas. To top it ofT, Iron Maiden has reunited its classic lineup for a summer Kiur, and Twisted Sister may be doing the siime. The reality of a metal revi\ al is not hoopla — it is happening. Considermg the fact that Kiss recently played the Super Bowl. Ozzfest continues to generate mas- sive interest, Judas Priest is being used in Burger King commercials, and MTV is rumored to be devel- oping a late-night heavy-rock show, it's safe to say that metal is back in the mainstream. Kven radio is getting in on the act. "What you're going to see now is a resui-gence to the commercial side, where people are playing more classic-rock hits." declares Bibeau. "For example. WXRK in New York is mixing new active-rock cuts with classic Van Halcn, Kiss, earlv Metallica and early Motley Crue. It works. It's almost like the new clas- sic nxk." fl N Music ForC ATIONO Simply one of the most successful independent: rock labels i/varldi/vide Raster Includes: CRADLE OF FILTH AIMATHEIVIA * ORAIMGE GOBLIIM EIMTOIVIBED * KATATaiXilA □PETH • SPIRITUAL BEGGARS IVIY OYIIMG BRIDE • CAIMDLEIVIASS European Home Do: IVEUROSIS • PIST.OIM GOATSIMAKE NATTojNS a n»arriagB made in hell ^VeM£>i\U^^ 333 Latimer Road. London WIO ERA England Tel: «44 |D]181 964 9544. Fax: ^44 fOIIBI 9E4 5460 E-Mail: mf n@music-f or-natian^.ca.uit H-44 BILLBOARD SPOTLIGHT BILLBOARD JUNE 5. 1999 m UlTIMATt m V Ml ACTIOV ncuRt ! mm ^ 7 ^^ ''S^^ lour 4 Retail Sales: V lour & Rdtait Sales: . .>^,1996 $4 million ' l jl: i997 $7 million [/ 1998 $8 million ( 1999 $11 million i 2000 ©©"SiS) SONY For OZZY OSBOURNE M«rcilan(lising Opportunities Contact Jos«p<l Bonfliovi ot Signatures Superstars Music Licensing Division 415/247-7166 SIJ^NATURES rock in a prog place: CeLLEC+IVE CONSCieUSNESS With their label's support, the band's members continue to churn out innumerable side projects — and keep their core family intact. ONITtl IN^ mm HMV Canada's retail giant proudly displays it's METAL... for Bra»ve \A/or'is & BlooJy Krvuclelas METAL magazine is HMVs biggest selling publication! . • the world's best music stores all your retail METAL needs call HMV toll free in North America at 1.800.5678 HMV ds & Bloody Brave Words & Bloody Knuckles. The METAL authority for the world. reviews, features, the ^AF^AL forecast o fuU-lengtti CD in every issue! Contact us about stocking Brave Words & Bloody Knuckles in your store at iforamp.not or 416.975.0690 see us at adio.com News, BY BRYAN REESMAN Perhaps the most successful progressive band of the '90s, the ambitious metal quintet Dream Theater has amassed a dedicated following worldwide with such efforts as the recent "Once In A Livetime" and the gold-certified 1992 release "Images And Words/' While mainstream pop and rock have become progres- sively more simplified, the band has kept alive the spirit of challenging rock music. Recently, band members past and present began unleashing a deluge of side projects, as if single-handedly attempting to resurrect the spirit of progressive rock from the mainstream graveyard. "We've been trying to do that now for 14 years, or at least the 10 that we've been in the public eye," agrees drummer Mike Portnoy. "That's always been the responsibili- ty of ours, to carry on while the other bands aren't. There actually are a lot of bands on the progressive scene; just not many of them have the profile that Dream Theater has been fortunate enough to have." It's also given them the ability to work outside of the band, giving rise to such projects as Liquid Tension Experiment, Mullmuzzler and Platypus. r perfect venture for .Manila Carta, which was willing to take a chance on something a major label might have vacillated on. Liquid Tension txperiment was the first Dream Theater side proj- ect to see the light of day. and its cpcuivmously tilled <iel)ut tamr out iasi vear, w hilt* a sfcpir!. "Liquid lension Lxperiment 1." is <lue I his monlti. According (o Ponno). " The lw(t Litjuid Tension albums will serve as a little taste of what the next Dream Theater line-up will bring." Ironically, Liquid Tension, which played a Tew live dates this past winter, may diss<ilve now that Kudess is in the main hancT since three quarters nl Li t now comprises ihree-filths of Dream Thealer. Porlnoy himself has been involved with other prttjects. He coordinated and played on half t)f Magna (Uirta's Rush tribute album. "Working Man." per- fbrme<i with other Dream Theater members on the label s K.l.l' irib- ule record and is currently form- ing a baud he plans !«> recoi<l widi later this month. This new entity (which will not record lor Magna Clarta) lenlacively features mem- bers from Spock's Beard, the Flower Kings and Maritlion. "players 1 reallv aclmire and re- spect for earn ing the progressive- rock flag." sa\s P<nln(t\. ROARING SILENCER Dream Theater vocalist James Lalirie also lias his own side proj- ect. Mullmuzzler, which began hie Dream Theator Was this sudden burst of crealiv- ity on everyone's part a coinci- dence? "I tfiink it was two-fold." Portnoy explains. "The Liquid Tension ihing tliat John [Petrucci] and I did was the very first ven- ture outside of the security of our family name. Once Jolm and I did it. there were two sides of the coin. 'The first side was inside Dream Thealer; the other guys feU that 'If they can go out and do scmie- thing, I want to go out and do stmiething.' On the other side, there was Magna (^arta saying, 'Let's tr\' to get the otiier guys to do some stuli as well.'" STARTED WITH A RUSH Dream Theater and Magna Carta Records have teamed up for most of these side projects. Magna Carta president Peter Morticelli had contact with the band years prior to (his situation, and he had an "innate feeling ihat whatever good \\onld happen to Dream Thealer would trickle down to the Magna Carta fold" and the pro- gressive underground. -After Portnoy's involvement with the label's Rush tribute rec(»rd. the seeds were sown for what eventu- ally became Liquid 'Tension Experiment, a dynamic, metallic- fusion ensemble comprised of Portnoy. guitarist John Petrucci and two non-band mem tiers, bassist Tony Levin and key- boardist Jordan Rudess. It was a H-46 BILLBOARD SPOTLIGHT BILLBOARD JUNES. 1999 last Ocloher. 'I1ie band's namt' sit-ins hoiii lilt- sMiihc-sis ol iis two inoi words "nuili" ("lo |)oii(Ut") and "mu//]t'r' ("in K-'K silence one"). "Ilasually. it means to silente an Indiv itiual's ihoti^lil beiote being e\|>resse<l in am niainu'i." says LaBi ie. riu- Mtillmii//ler album evolved in an nniisual wa\ — ihioiigli (apes swapped via mail. I.aliiie savs FedKx, e-mail and phone were insliurnenta) in lliei ieation of llie albnin. all)ion<>h l be group recoided as a unit in ( lalilomiii. with l-aUrie laying down votaK in Totonlo- The singer produt i-d llie aII)tiTn and to-wroce man\ ol the innes. 1 1 is band males in( lude Mike Mangini (drums). Mike Kenealb (gnilai. (uric-ntK pta\ing with Steve Vai). Br\an lieller (bass) and Matt (liullorv (key- boards). While ii toniains some |)rogiessive elements, as well as Kast Indian and Zeppelin (ones, says I.alirie, "It's a really cool haid-iock albimi." "Keep h To Voursell " is due Aug. 21. Anolher notable Dteain I healer side project is "W hen Push domes To Shove" (released ibrough V'elvel). ihe letent debut troin Platypus, which includes gui- larisi/singer I'y Tabor (bom King's X), drummer Rod .Morgcnsiein (cx-l>ixie Dregs), bassist John Myung (Oreani Theater) and key- boardist Derek Slierinian (ex- Dreani Thealer). It's an engaging brew (jf '7()s nx k given a piogies- sive twist. Despite the fad that ibe record came (mi in Januat y. ibe f)and has ahx-ad)' iH'gun work on a second album. ARRIVAL OF PLANET X I'ormer Dream I healer nieni- Ikms have been at liveh pursuing Uieir own projects as well. Orig- inal keyboardist Kevin Moore, who recently played on Fates Warning's "A Pleasant Shade Of Grey," has a new l)and called Chroma Key. It includes two members o I Fates Warning: bassist Joey Vera and drunnner Mark Zonder. "Dead Aii For Radios." rclease<l ihrougli Moores own label Fight Evil Records, came out last April. F.\-kev boar (list Sheriiiian lias a sol() projecl of his ow n. "Planet X," due Jul) KS. '"M\ albiun is the vv- sult of a parliietsbip with [drum- mer] Virgil Donati," explains Shcrinian. "The two ol us wrote an album based on all of Our inllu- ences. It's very progressive and very ja/z-liision at the same time." I bis simimer, Slierinian plans tf) start writing a second album in hopes of obtaining a deal fot bis band, turning the whole piojecl into Planet X an<l not just a Slierinian solo afTair. Fhe keyboar<lisl just started playing in \..A. with Planet X. He wanLs lo combine rock showman- ship with progressive musician- ship. "Why (an'l yon have a band where the musicians totally wail and also have a show behind it?" he potiders. "Not only do 1 want the playing lo be great, 1 want there lo be something to look at during the show." Slierinian knows something about putting on a show. Prior to [ilaying witli Dream Fheater, be toured on Kiss" 1992 "Revenge" tour and spent five years on the road with .'Vlice C(K>per. Al the same lime, he does not pander to pop lasles. "I real- (jmlinuM on ptige H-^O ALL THESE TEARS! 9 n FEUtFACM ^ llOTKMCE ^ m OF DISOHIER 361 west broadway #2, new york, ny 10013 212.965.8530 fax 212.343.2198 info@concretemanagement.com hltp;//w ww.concretemanagement.com WALTER 0'BR1£N ia? KIW'^ERLY ZIDE ^ KRISTEr; MJLDERIG SANDEE eORGWAN ^ Llw ^ BALLARD ^(fe M|K E ^' T E RU LO BILLBOARD JUNE 5. 1999 BILLBOARD SPOTLIGHT H.4Terial READY FOR ITS CLOSE-UP < AHiliiiual jum ffti^r 11-29 iiiciit tilni "Poiiu Doom." A big upcoming theatrical ii'Ic-asc wiili a hravy-rcM k slaiii will bf "Heavy Metal 2." dm- in Octobci, with ihf Resilfss Records sotiiultrack prefacing the film release in September. The projct l was produced by Kevin luisiinan, creator ol ibe " leetiagc Mutant Ninja Tiiriles." Lasiman boiiglu Heo\*y MflttI maga/ine se\eral this film and soundtrack can be a flagship for lliat bet aiise tliere really is nothing like this out there. There was 'IIea\y Metal' and "1 he Wall." but there's never been — with a few exceptii)ns — a well-nllendetl t'thn that's really all about the music." While moiiern soundtracks lend lo feature music "inspired l>y" a motion picture. "Heavy Melal 2" will have "wmgs Ix-ing played for Ibiu and five minutes at a lime uhile diere are visuals playing." "Matrix" rocked heavy. Monster Magnet rocked with Chucky. years ag(t and — according to Bruce Herman, the luusit supervi- sor and executive producer ol the lilm's souncllratk — is responsible for revitalizing the maga/ine. as welt as getting the original movie released on home video two years ago. Begim three years ago, "Heavy Metal 2" is well-primed for a metal it-xival tie-in. "1 have to sa\ that the liming is incredible," says Bermaiu who a<hnits a Htde luck is involved. "1 definitelv see a resur- gence of ibis nnisi< , and I think slates Herman. "So the music can really be the star of this film in a lot of ways." He promises a top- notch soundtrack. "Most of il is going to be amazing .-\-list talent." sa\s Bertnan of ihe film's souiul- track. currentlv being conipile<l. "It's all g<Hng to be original mate- rial tor the album. II something is on an existing albiun that's com- ing out at the saute linu-, it will b<- remixed, tvervthing will 1h' fresh on litis album. Tlie wlu)le itiea is to make this an event record, to make this the rock record for the Mii$nii$ or mm JSR MERCHANDISING the leader In licensed metal merchandising lor retail, tour, mailorder and Internet Amorphis Godsmacit Neurosis Benediction Gorgoroth Nevermore 3lood for Blood Gwar Night In Gales Brutal Trutt) Hammertall Nile Burzum The Haunted Napalm Death Cannibal Corpse Hectate Enthroned Nashville Pussy Century Media Records The Hellacopters Nuclear Blast Records Covenant htypocrisy Peccatum Cryptopsy Iced Earth Relapse Records Deceased Incantation Samael Deal!) King Diamond Satyricon Dimmu Borgir Mayhem Six Feet Under Dissection "Vj^. MercytuI Fate Skinlab Earaclie Records '^p-' ■k Meshuggah Sleep Emperor -^J^ " Eyehategod "^^t Morbid Angel Stuck Mojo Morgion Strapping Young Lad Exhumed Moonspell Therion Exodus Mortician Tiamat Godflesh ^ The Music Cartel Tree ' ;'0Q|> IfeOcJ, www.jsrdirect.com For wholesale into contact Fran Jacques at 603-742-^77 ex11 1 For licensing Inio contact Brad Hudson at 603-742.4377 ext 13 125 Kingston Street 2nd lloor Boston MA 02111 vox 617.423.1919 lax 617.423.1418 One Washington Street Suite S30 Dover NH 03820 vox 603.742.4377 lax 603.742.4707 roung Lao Therion Ik i Tiamat ] Tree new millennium. We're trying to hn<l tlie bands that we feel aie doing really great now, or new bands that will be doing great in the ftutuT." WRESTLING METAL TO THE MAT Anollier avenue i»f i-xposuie lin metal music is the unbelievably huge wrestling fonuu. KC-W re- cenli\ c(M)rdinate<l wnU Concrete Marketing (which in turn worked with (!M(!) on a soundttack album. Hob (Miiappardi. president of ECW compilation include .\nili- rax s remake of Metallica's "Phan- tom LcHcl." Bruce Dickinson's cover of Scorpions' " I he /no," a White Zombie remix and an in- strumental version of Megadeth's "Trust." "M()st (if these songs were feeing played ahead) al the .shows, so we did dillerent versions of them and freshened il up," says Oliiappardi. .As far as a metal rcsui-gence in the media, he says. "I wouldn't be sur|)i ised if the wrestling stuff had a lot to do with bringing it all back. "I voDldn'i be iirpriied i| the wrenlin^ ni|t had o lot to do lit! briitging [neial] tiQ(h. becaiu the miiic olvan flies real well vitli the wrenliig (rowd. tnd with wreitlinu beiig so hige, tlie eipoiire it gets on o weekly basis is pbenomeDal. Toil cai wattli more wrestlinii than anythino else on table IV." — Bob Chiappardi, Concrete Marketing Cloncrete Marketing, explains, " Hie rifonl was iluough oui pro- duction company. Concrete Kniertainmenl. I did a deal with KC.W to work it so that I would provide diem with new musi(. new songs, and new variations of songs they already had as theme songs for their wrestlers" entrance themes. So, if One of the wrestlers was coming in. like I he Sandman, be was coining in |{) 'Knter Sandman." We had Motorhead re- lecord 'Knter Sandman' t)ecause it is a new inierpieialion ol an estal>- lished s(mg. so it's appealing to metal fans and it's still a song that tlie wrestling fans recognize." Sonu" noteworihv tracks on the because the heavy-metal stufT al- wavs Hies real well with the wrest- ling crowd. .\nd with wrestling being so Inige, the exposin e il gels on a weekly basis is phenomenal. \bu tan wait li nunt- w resiling than anything else on cable TV." Coid<i heavy rock become a trend again in soundtracks? "I think so. wiifiout a douf)t." atlirms Chiappardi. "I think people are ready for it again. I imes are g<M>d. the economy's in good shape, peo- ple want to have fun. I think peo- ple have goilen tlieir minds on safe sex. People aren't as afraid of stuH as ihe\ weif liefore. Plus, it's the millennium. It's going to be the biggest pariv ever." I RADIO ( .•iiilniuiyl fum juifir H-23 nuisic's place in r;idio. "There's a voi<l that needs to Ix* filled. It's a lilesl\ U- and an altitude. Ihal's what it's all .iImhii. " l ingers* "Metal Shop ' is one of (be longesi-vunning melal shous In the tounm. Iiiutih onl\ lo 'Dr Mei.ll" at WtlJV Pnt\idenie. [ribll ai WKLI, I lita. .lud Ron Quintaua ai KL Sf San l-r;mcisco. all ol v%hi( b have In-en <»n ihe air lor 11* or nnn'e \f;Ms. Sepultura gets specialty- show airplay. Bands su( h as Meiallica. K< )i u and .Megadellt rose u|) from melal nidio aiul are now heard on rock radio sialions across ilie cotmln. "Fifteen years ago. I lia<l a pro- i;iammei lell me. '1 can'l pla\ a band with ihe name Meiallica.'" savs Johinu 7. of Megalone Kec<»r(is. " The Wall |tetail chain] sp)nis(Ued two metal sbo\NS — one iti .1 ( Itii) in l'biLKlel[)lua and one in New Ieise\ — and a month in so .iltei that, we b.itl lop-fi phones on Iwo sialions. ('onnuer(iat and tol- l( ^<' spc(i.ilii\ shows .n*e MM\ influ- ential in artist development." NEW TURKS GET AIRPLAY \oE all the artists making noise al h.n d-rock radio are traditional melal acts. Cuiling-edge bands have gone to the tiirmat first. ".\riists sucli as [white rap-metal fusionaryl Kid Rtnk — whicfi aie not metal but got their start there — .11 e SoundScaiming -Kl.tKM) C:ns a VM-ek," notes Atlantic Records direc- loi of r(X'k-radio promotion Jofui N.iidachone. ".■\n<l Trans Siberian Orchestra [metal band Savalage's alter ego] is an ideal example of how Siivalage. a metal band, can make a transition into anoth- er format — and TSO still g<x*s Top 1(1 on the metal chaiis." l.(K)king at individual melal shows, you'll find that, in most cases, what gels playecl is up lo who's doing the program- ming, "lliis has created an outlet for artists that do not traditionally get played on iiKk r.nUn to be heard." s;tys ItKld Singerman of Singer- m.iii Entertainmeiu in l.<is Angeles, which manages Zebraliead. Sepul- lur.i antl Motorheafl. loday. there are almost 5(K) col- lege and commercial stations in .\ortb America that feiiture active mei.d programming. There ai e also mc»re and more aclive-rtKk stations spinning heavy music and getting good numbers in their b<«)ks. Many of these are in major. BDS- monilured markets, as well. What this is saying is that stations like WAAF-FM Worcester are giving Cmtnutrd ou fHige H-'id H-48 BILLBOARD SPOTLIGHT BILLBOARD JUNE 5. 1999 MARKETING METAL CiitiUniird /intii fxtf^r ff-2(i with SoundScan. houking up with our retailers, rotusin^ on our niche and not really giving up on it. We found the peo)>le that were still into the music." With ;t 1 5 retiiil stores that house the Concrete (Corner program and 575 stations who salute the metal flag, the next sicp in Cihiappardi's "marketing mvopia" is called the (lontrele IMauet. where the company will continue to "work the lifestyle." GET SOMETHING OUT OF THE VAN And another pari ol thai "hfeslyle" is the live event, (jiicial to any lalx'l,''ariist sullering from a lack of" airplay, the experience of "getting in the van" potentially has no harriers; bauds are successfully marketing their wares diiecily into the hands that snap up the records. "Pretty much in America, that's all you have," says Slayer's Kerry King, summing up the sad sliite clearly. With five gold records under its hell. Slayer has logged hundreds of thousands of miles around ihe world, punishing fans who dare to witness ilieir fiiry. "We don't get playerl on a lot of stiitions because the spt»nsors will pull out. It would be a Utt easier if" somebody would give us a second look. ()//.\ 's n:)t af raid la bring out a heavy bill, and he proves every time that there is a market for it." Referring to Ozzfesi, Kiiig and his bandinates are some of many who've taken shelter under the wings of the madman himself. Ozzy Osbourne. alongside the likes of Rob Zombie, Primus, Deftones and Fear Factoty. The Ozzfest juggernaut is oddly one of America's lop-drawing festivals. In lact, Ozzfest has ranked No. 1 in America as the top-grossing per- show simimer-concert event. "It's about giving kids value for ability. We can take out all the ads in the world and gel all the press in the world, but if the lecords aren't in the stores, they will prob- Metal Blade founder Brian Slagel money and gi\ing them svhal ihev want for [that] genre of music," O/.zlesl mastermind and 0//\'s manager and wife, Sharon ()sl>ourne, believes. "We don't try and gel devei ; we just give them a gieat day of entertainment. It's about giving the kids im the street what they want. We're not the cool political festival. Because of the genre of music, you're never given the lespect of. say. a Lilith Fair." Centuiy Media VIVCiM Marco Barliieri adds tliat. when bis label "puts bands on the road, we have them sell iec«)rds in case the ktds tan'i |i;ci ihem. It's all about avail- Swedish goldmine: Meshuggati ably buy something else. Then all i)ui etfoi ls are in vain." MULTI-PRONGED ATTACK Nuclear Blast's .Swedish gold- mine is Meshuggah, who snapped up the Slayer tour's opening spot just before Ozzfest. President Rhodes Mason says his f<x:us is "a multi-pronged attack. We have to hit the c<msumer in all ihe medias lo create awareness. We publish 50,000 copies of our own mail- order catalog. We're doing com- mercials during wrestling and shows like 'South Park." " However, the biggest of all the smaller hardened labels is still Roachunner. .And, with new rec- ords forthcoming from Coal Chamber, lype O Negative and Machine Head, senior VP/label (iM Jonas Nachsin believes "the answer lies more with broad- cast exposure in radio and video. Our challenge is lo put more acts on the air. s<i we can achie\'e gold and platimun suc- cess." When ii comes lo ra<lio. tra- ditional avenues in recent years are slipping, and salellile channels, digital cable anti the nu'tecjric Internet are feeding tiiusit to metal fans al home — rni>st of it commercial-free. "We're hoping that the cycle will come hack aiound again," Hard Radio (ww^.hardradio. com) president Trac)' Barnes states with hope. With technological agree- ments set in place with Apple and Microsol't. Hai d Radio has more than 5 million page views a month and ;150,000 uni(|ue useis globally — "without spen- ding a pemi) on markeihig." says Barnes. .\s the industry gets wise to the metallic bastard-child of rock, the consensus appears to be pos- itive. "Ihe marketplace reflects it, and the kids relied it: It's a gfunl time to be serious about hard- rock music again." says Merck Merctuiadis, who is helping Inm Maiden spearhead a comeback in Noith .America with Bruce Dick- inson and .Adrian Smith rejoining the band. Iron Maiden has tacked up a stunning 52 million units in catalog sales throughout the years. And the need to market Kddie is as t riticat as ever. H Black Mark Production USA. 244 Madison Ave., Suite 380, New York, NY 10016, USA tel. 212 221 9341 fax 212 221 9343 e-mail: blackmark^.imaiestic-rondelrecords.com BUC0 19 CTirtr'AM us distribution by: BILLBOARD JUNE 5, 1999 BILLBOARD SPOTLIGHT H.49 The album everyone is anticipating I but no one is expecting... THEBUPNGHED PREPARE FOR IMPACT JULY 27TH jwHiaa Prodixed by Ross Robinson, j ROADRUNNER Mixed by Terry Dote. « c ° " f Joseph W. Huston Mgt. I I II III lla < •< III III IIMi — " - i IIIHIIIIIIIIII •••IIIIIIMIIII RADIO Citiituntrti f imit fttige H-iH ilieir listeners sonu'lhiii^ ilu-v'rc huii|j;r\ fiir: lu-av\ iimsit . EUROPE'S STARVING MINIONS In hin(>|K'. however, theiv'sa liKk (»i riill-iiitu- tneiiil ptogiununing. "It's left lo s^itellite stations to fetxl llie sUirvin^," s;i\t» Malcolm Dome ol ihe such as all-metal Cf)llcj;e outlet \VS()L-FM/Souih Oiange. N,|.— aie av;ulahlc on ihe Weh, o|K-ning ihc entile worki io a ciiveisity of new metal. H(jwever, there's a new gen- enilion of ladio coining lo KtirofH* and .Amciiai. Within the next lew years, c^ir stereos \vill Ik* e(|ui})|)e(l with s;ilellile re<:eivei"s, I hen. Ilsten- truly will Ix- glolxil, providing countless op|>or(uniti(*s for retort! companies to hring fans l<> new "fifieei nm oil 1. 1 hod a proorammef tell ne. 1 cafl'i play « Iflid litli ilie flame Memllitd.' Tlie Wall [reiail diain] spinsored Iffi metal «ne In o dub In Philadelphia aid 9ne In Neif jener and q monih or alter that, we had m-\ phones on tvi uatlODS. (oinerdal and (ollege meial-ipedalli! ihiws ore verj Iflllientlal in artln develipoieit." Johnny Z, Megaforce Records London-biLsed Rock Radio Network, which is available world-wide via siiiellite. slioiiwave raditt and (he Inlernel. Rot k Radio Network's lony Wilson notes ihai "We give ftins at t ess lo six hours of niet^U a tla\." Right now. Internet ratlio is filling )his void, allowing online l^sIenel^ to gel a litsie ol' stations all over the world. Countless rock stations, even thos** thai have strong KM signals — artists — win ►'II 1h- < oniing Ironi a place or coimti\ you've prolxibly never even Iteartl of to kit k ass. As the new millenniunt ap- proat lies, gel ready to wiiness ihe hardest and heaviest year vet. ■ Alrtmry Rirci is pmideiU oj Skateboard Marketing Ijd., « Seiv York-lmsed nidi'l/eudi'iil ladio-fmnnolurn and \trret- nuirh liiti^ ( imifMim. DREAM THEATER (.tmSlUtutl jinm fiti};r H- 17 i/ed afier plaving [foij so many years dial \(iu bect)me more suc- cessdil when you just play what's in yoiu" heail, whatever it is. It's the Irulh." he says. Another truth is that this music has an audience. Along with Queensruhe in the 'HOs. Dream Theater In the "lK)s has helped keep the progressive flame burn- ing in ihe mainstream. In tact, tpiite a healifiy scene lias sprung up Stateside, with numerous laiH'ls mining a talented placing field ol artists. The Laser's Kdge has While Willow and Sct)tt Mctiill aiitl a mtial impilnl tailed Sen- sory, whit li lealures (;lt)ckwt)rk. Divifled .Vlultltu<U% .Mind's Kye aiul Gordian Knot, on whose album b:Lsslst John Nhiing guests on Iwfi irat ks. Melal HIatle has Spt>ck's BeartI, and Magna CUuta has Sliatiow ( iailei y. ( lairo. Kn- chant. Magellan, Dali's Dilemma, Ice Age antl Tiles. Magna (lai la has also expressed an interest in wtjrking sitle pro- jects for other inajor ariists. "We're just trying to give opportu- nities lor players In bantis to make music thai ihelr labels coultln't justify making." stales Mortltettl. A gotKl example is iheir recent Terry Bt>zzl(t/'Tt)ny Levin/Steve Stevens collal>oi ative album "Black Light .Syndrome." As of ihis mf)meni, ihough. it's definilely gtiing to be a Dream Theater summer. Bui coultl there be sucii a thing as it)o many sl(le-pn>jecls? "I tlon't ihink we've gollen to thai poiiu where it's loo tnanv." < onnnenis LaBrie. atltling. "II. alter the nexl album anti worltl tt>in-. we all go back antl tlo this again. It tould be a lit- tle inuci). .\i ibis polni. e\ ei vboth wanted to do iheir ihlng. and it jusi seemed like every- btxly was dt>ing it a roil n tl the sa me time." Dream Theater fans should nt)t fear thai ihe baiuf is tlissolving. for, despite all the up- KHiiiiig ptt>jecis. iis new alfjum — current 1\ under way — is slaletl for an October release via Klekira. and ihe bantl Is pumped- up aboul il. "I think people are going to fx* realh exciletl, l>etause where we're taking il at this pt)int is really refreshing," slales La- Brie, whtt believes this record will further expantl ihe grtmp's Ian base. "We are making what w ill hope- fully be die ullimate progressive albiun tor the new inillennium." declares Torinoy. "We're ti\lng lo lake ibis music (o a whole oiher standard with ihls record." "Then perhaps they can intlulge in some mm h-neetletl sleep. H H-50 BILLBOARD SPOTLIGHT BILLBOARD JUNE 5. 1999 HEAVY HOMECOMIHG (jinliiittfel jriim fMif^f ll-KJ \\V were fortunate enough to have the vision lo pick acts that were on tlie cutting edge ol hard rtK:k." Metal Blade, a U.S. label that has been around since 1982. never changed direction. "I've always been a huge metal fan." declares Metal Blade founder Brian Slagel. "That's the reason that I started ilie label. We want- ed to be a little different. F.ven when it wasn't big in the main- stream, wc stuck to what we loved. And, while we've evolved to stay fresh, we've never veered from what we're all about." While .Metal Blade was already established by the lime grunge arrived, other U.S. labels, such as Pavement aiifl Relapse, formed when metal was becoming a dirty word. "When ever) one was against metal. I wanted to stay true lo what I liked." s;iys Pavement fo u n d e r Mark N a w a i a . Ad d s Nawara, "The true fan base never went away. Now there's a new fwiis on metal as it's starting lo come around again." Matt Jacobson of Relapse explains why he started the com- pany. Says Jacobson. "We all got into it because of our passion lor extreme metal." jacobson elalx)- rates on how metal's shift away from the mainstream affected Relapse. "Even thougli many labels fell the impact of grunge, we actually showed continuous growth, because the bands on the lalK'I always had an iniderground following," he explains. "The growth has never stopped. In fact, we're in the midst of expanding our already strong mail-order business, and our catalog has grown into a magazine that will eventually be available on news- stands. We're also seeing growth from our continuing involvement in music publishing." DEATHBED RECOVERY As the millennium appioaches, it is evident that metal is experi- encing a renaissance. Eddie Trunk, whose show "Saturday Night Rocks" appears on WNFAV in New York, states, "There always has been a strong core audience breaking throtigh to the main- stream. To some, this may come as a surprise. To others, it is evident that tliis was meant to be. Concrete Marketing's founder Bob (>hiap- pardi. who has been a key player m metal for the past 15 years, states, "Being involved with metal is like owning stock in IBM. It may go down every once in a while, but eventually il wilt go up and reap major dividends." The next bull market for metal is happening for many reasons. Like stocks, music trends are cyclical, and il is time for the next c\'cle of Eddie Tronli. irliise sIim ^'SdiirdOT Hiobf Roclir oppton m WHEW in New Tirk, nutei, "There olwufi has beei o iiroio (ore QUdieite for ilie 'IDs leul baidi. Fir mflif o| nf linenen. this \i tbeirdflHicrid." for the '80s metal hands. For many of my listeners, this is their classic rock." There may be some truth lo the cliche* "What doesn't kill you makes you stronger." .\itcr all, there was no shortage of people ready to sign metal's death certifi- cate in the early '90s. With a few beats left in the heart of metal, there has been a miraculous recov- ery. Like a strain of a \irus that alters its genetic makeup and refuses lo die, metal has divided into sub-genres and is coming back stronger than ever. Besides the re- formation of classic metal bands such as Black Sabbath and Iron Maiden, many new artists are diis music. But, more imporlantb, there is a bond in the metal com- munity that is luideniably strong. Nearly 20 years ago. Judas Priest sang "United, United, United we stand, United we never shall fall. " In a business where competition is fierce, that sentiment siill holds true in the metal community. If not for the symbiotic relationship between members of the metal community and the common goals that they share, it would have been extremely difficult to return the genre to prominence. Kudos to those who refused to let metal die. To those who are just returning, welcome home, it's been too long; we've missed vou! H METAL SUB6ENRES (jinUnuitd }inm ptif^f H-^O your face. .Audiences like things that take it to the extreme. That's why black metal grew to such prominence — it was pure rebellion against everything." But that's Just tile lip of the ice- bei-g. Cradle Ol Filth (on Music For Nations in England) has nearly topped 500,000 units in Europe; in Bradl's baton-grabber*: Angra the U.S.. S{)undScan numbers exceed :iO,000. .\nd thal s widiout extensive touring on these shores. Paula Hogan, who handles mar- keting and media relations at Nuclear Blast, has reason U* be stoking the hellfires of Norway's Dimmu Borgir, which has shipped over 120,000 units of its latest, "Spiiitual Black Dimensions." in Europe. "Dimmu Borgir a>e pan of tliai second wave." she says. "It's not just Norwegian bands; we see black metal popping up all over the world, including .America." .Armageddon is nigh. H MEI/Rondel Records present AHDRE MRSEN Changing Skin in stores NOW I o . o AOVnL HUNT Land Of Broken Hearts Clown In The Mirror Majestic Entertainment, Inc. 5 Dakota Dr., Suite 305, Lake Success, NY 11042, USA tel. 516 354 3491 fax 516 466 2742 our website is: www.majestic-rondelrecords.com e-mail: mei1@majestic-rondelrecords.com Four The Hard Way on TOUR this SUMMER Canadian distribution by: 1^ USA distribution by: BILLBOARD JUNES. 1999 BILLBOARD SPOTLIGHT H-S1 MEANS fei Lto R: Dave Murray • Janick Gers • Nicko McBrain ■ Bruce Dickinson • Steve Harris ■ Adrian Smith EMI RECORDS are immensely proud of their association with Iron Maiden. And with career sales already approaching 50 MILLION and their strongest line-up ever. Maiden are now set to spearhead the new worldwide Metal resurgence. Never for one moment forsaking the Metal banner. Maiden fought their way into the hearts of their fans with brutal integrity and total lack of commercial compromise. Always leading the way with new technology - check out the website www.ironmaiden.com and their recently enhanced catalogue - they will now be the first band to release a fully integrated PC game - ED HUNTER, which comes with a double album of 20 of their greatest tracks. ED HUNTER www.edhunter.com IRON MAIDEN. . . ''THE ED HUNTER TOUR'' USA / CANADA - July: 13 Montreal, QUE 14 Quebec City, QUE • 16 New York, NY 17 Boston, MA • 20 Toronto, ONT - 21 Cleveland, OH • 23 Milwaukee, Wl 24 Detroit, Ml • 25 Chicago, IL ■ 27 Denver, CQ ■ 30 Irvine, CA August: 2 Las Vagas, NV 5 El Paso, TX 7 San Antonio, TX 8 Dallas, TX EUROPE - September: 9 Paris • 10 Rotterdam • 12 Hamburg ■ 15 Helsinki 17 Stockholm ■ 18 Gothenburg • 20 Essen ■ 21 Stuttgart - 23 Milan ■ 25 Barcelona 26 Madrid - October: 1 Athens EMll A LEGEND WITH HALF THE STORY STILL TO UNFOLD. . . . rial BILLBOARD'S |— | E /\T SEEKER S*'^'-^'^'^ CHART IHIS WEEK LAST WEEK WKS. ON CHART COMPILED FROM A NATIONAL SAMPLE OF REFAIL STORE. MASS MERCHANT UNO SOUftdScan " INTERNH SALES REPORTS COLLECTED. COMPILED. AND PROVIDED BY ■ ■ ■ 1 1|| ARTIST JUNE 5, 1999 ■ IMPRiNI i NUMBEd'OISTRIBUTING LABEL [SUGGESTED UST PRICE OR EQUIVALENT FOR CASSETTLtO) CD i 7 LIL TROY SHORT STOP/REPUBIIC &322a'UNIVERSA?'lc\8i 1 6 ■38) SiTTIN' FAT DOWN SOUTH CD 3 8 LO F1[>£LITY ALLSTARS SfisrsuB fop 696HCP-L«ea i7 9fl toi3 %■ HOW TO OPERATE WITH A BLOWN MIND 3 1 2 SHEDAISY LVRiC STREET 65002, HOLLVWOOO 18.98.'J2.98I THE WHOLE SHEBANG (T) NEW» CHELY WRIGHT MCA NASMVILLE 70052(10 9816 98) SINGLE WHITE FEMALE CD 9 2 ALEJANDRO FERNANDEZ SONY OlSCOS 83IB2 (9 98 CO'U 98) Ml VERDAD 6 2 7 T.D. JAKES 15LA.ND 524630(10 9*16 98) SACRED LOVE SONGS 7 8 6 ANDY GRIGGS RCA (NASMVILLE) 6759&HLG (ID 98/16 98I YOU WON'T EVER BE LONELY 8 5 7 MONTGOMERY GENTRY cotuMBiA lMas«viLL£.i 691 56^wv inaskvillei < 10 9B EQ'J6 M,' TATTOOS 4 SCARS CD II i STAIND FLIP ELEKTRA 62356l'IEG (7.9a'l 1 96) DYSFUNCTION 10 7 35 SHAKIRA • SONY DISCOS 82746 110 98 EQ/15 98) DONDE ESTAN LOS LADRQNES? 11 12 37 SUSAN TEDESCHI tone COOUROUNDER 471164.'MCRCURV ao 9 ai6 98) JUST WON T BURN 12 10 11 BETH ORION heave NLT'DECONSTRUCTiON ]90je*/ARlSTA no 9616 981 CENTRAL RESERVATION OD NEW» REEL TIGHT G funk 72966HtSrL£SS (10.98/16,98) BACK TO THE REAL 14 6 IS LOS TRI-0 ARIOU bB436<6MG LATIN (e9a'12.98) NUESTROAMOR IS 13 2 BEENIE MAN shocking VIBES 1547*'VP(9.9a'U.98] THE DOCTOR OD 19 S OLEANDER republic 53242:L'NIVERSAL 18 9a i2.98l FEBRUARY SON OD NEW» BILLIE INNOCENT 47492,VIRGIN 111 9a''l6 3S) HONEY TO THE B 18 22 ' TRAIN AWAREi'RED INK 38052.COLUMBIA I10.9B Eai6 98) TRAIN Of) NEW» ME FIRST AND THE GIMME GIMMES fat WRECK CHORDS see- <9.9a 14 9Bi ARE A DRAG 20 15 35 LEE ANN WOMACK OECCA 7004OMCA NASHVILLE (10 98/16 98) SOME THINGS 1 KNOW 21 14 2 X-RAIDED BLACK MARKET 9966 1 10 98^15 981 THE UNFORGIVEN VOL. 1 22 21 3 MEN OF VIZION MJJWORK 68012*.'EPIC (U 98 Eai6 98) MOV 23 16 9 CASSANDRA WILSON blue NOTE5412i'CAPITOL(10 9S'16 9ei TRAVELING MILES 24 25 6 PASTOR TROY MADD SOCiETr8035 Ii0 9ai6 98) WE READY 1 DECLARE WAR 35 7 STATIC-X WARNER BROS 47271(11 98 COl WISCONSIN DEATH TRIP ine Heat5eel<«rs cfiart lists (he De&t selimg tttles Dy new and developing afUsls. deiiiied as trxne who riave never appeared in (he top 100 of The Billboard 200 chan When an album reaches this level, the album and Ifte artist's sub&eqiient albums are immedi- ately ineligibte to appear on the Heatseekers chart. All albums are available on cassette and CD. 'Asterisk indKiates vinyl LP is availabte. (3 Albums with the greatest sales gains C 1999. Biliboard/BPt Communication. 26 18 5 ANOINTED yyRRHflwORD 6961&€PIC [10 98 Eai6 98} ANOINTED 27 24 30 SARA EVANS RCA(NASHVILLEJ 6765JT?lG(l09a'16981 NO PLACE THAT FAR 28 17 41 THE WILKINSONS giant inashvillei 2469»WARNEft BROS INASHVILLII (toggle 981 NOTHING BUT LOVE 29 23 5 VICKIE WINANS CGI SIJSI'LATINUM (lO 9»16 98) LIVE IN DETROIT II 30 30 23 BURLAP TO CASHMERE SOUINT A&M MloiatNTERSCOPE 18 98/1? 9 B) ANYBODY OUT THERE' 31 27 39 THE FLYS DLLKJIOUS vinyl 7d006.TRAUMA(10 9a'16.9a) HOLIDAY MAN 32 28 4 DLG SONY OtSCOS 82924 (9 98 EQfl4.98) GOTCHA! NEW» TONNY TUN TUN caiman 2986 (9 9ST4 981 CAMINANDO 34 29 45 TRIN-I-TEE 5;7 B Rite 9C094,'INTERSC0PE il0.9aT 5 981 TRIN I TEE 5:7 46 9 NOELIA F0N0VI5A 6D80 (8 9aT? 98) NOELIA GD NEW » BEELOW BALLIN'TRIVATE 1 fl 1 7093.'WERCURY (10 98)16 98) 8ALLIN 4 BILLIONS C37) 50 9 A.B. QUIHTANILU V LOS KUMBIA KINGS EMi uiin 99189 >:B 9& 14 9.>.> AMOR. FAMIIIA Y RESPETO 38 36 3 CITIZEN KING warner Bros 47023 1 10 98T6 98) MOBILE ESTATES 39 33 2 FREESTYLERS FHtSKANOVA 980200- /MAMMOTH ie-9a'12.98) WE ROCK HARD 40 37 9 JESSICA ANDREWS drlamworks inasmvillE) soiwntirscope is 9aT2 96 HEART SHAPED WORLD 20 12 TITO R0JA5 M P 56250'SONV DISCOS (9 98 EQ'U 98) ALEGRIAS Y PENAS 42 39 12 SONICFLOOD GOTEE 2802 il5 98 CD) SONICFLOOD 43 40 17 ROY 0. MERCER VIROIN INASHVILLEI 46854 (9.9ai5 981 HOW BIG'A BOV ARE TA? VOLUME 5 (44) NEW» VIRTUE VERIFY 43122 (10 98(16 98) GET READY 45 34 18 VICENTE FERNANDEZ Sony discos 82713 (8 98 EaT3.98i ENTRE EL AMOR Y YO 48 45 23 FFH essential 10498(10 9a'16.98) 1 WANT TO BE LIKE YOU 47 41 6 Um HOWIETT t. ;!M[0-JHS 8»wi)E' i:« »16 K PSOOIGH PRESENT THE OIRICHSMBER SESSIONS VOLUME ONE 48 48 4 OLD 97'S ELtKIRA6237JttG(7 9aTl 981 FIGHT SONGS QD BE-ENIRY JENNIFER KNAPP GOTEE 3832 (10.9*15 98) KANSAS 50 43 MARCO ANTONIO SOLIS FONOvisA 0516(10 98(16.98) TROZOS DE Ml ALMA BILLBOARD'S WEEKLY COVERAGE OF HOT PROSPECTS FOR THE HEATSEEKERS CHART ♦ BY CARLA HAY BoTTI'S 'WORLD': Jazz trumpet player Chris Botti is a sought-after musician, having worked with such artist,<i as Paul Simon, Joni i Chevelle's 'Point' Chev- elle is a hard-edged rock band from Chicago whose album "Point #1" (Squint Entertainment) was pro- duced by Steve Albini. The act's video for "Mia," which has Claymation effects similar to Tool's popular videos, has been getting exposure on the Box. Chevelle kicks off a U.S. tour June 6 in St. Louis. Other tour dates include June 10 and 12 in Los Angeles. June 1 8 in Cleveland, and June 24 in Chicago. Mitchell, Aretha Franklin, Natalie Merchant, and Chaka Khan. Botti's next album, "Slow- ing Down The World" (due June 22 on GRP Records), features guest perfor- mances from Stinfc and Jonatha Brooke. The set is the foUow-up to 1995's "First Wish" and 19978 "Midnight Without You" (which peaked, respective!}', at No. 18 and No. 13 on the Top Contem- porary Jazz Albums chart). "Slowing Down The World" is Botti's first album on GRP since leaving Verve Fore- cast. Following a mini-tour of the U.S. through July. Botti will be the opening act for Al .larreau and Dave Koz throughout Augu.st. Tour dates in- clude Aug. 7 in Los Angeles, Aug. 12 in Dallas, Aug. 15 in Atlanta, Aug. 17 in Philadelphia, Aug. 19 in Detroit, and Aug. 23 in New York. You CAN'T STOP LEN: Len is a Canadian band from Ontario that blends alternative rock, hip-hop, techno, and pop. The group's single, "Steal My Sun- shine," has been getting notable airplay on such mod- ern rock stations as KROQ Los Angeles; WLIR Long Island, New York; XTRA San Diego; KNDD Seattle; KITS San Francisco; and WFNX Bo.ston. The song is from Len's album, "You Can't Stop The Bum Rush," Hip-Hop Mosaic. Atlanta- area rap duo fvlozae is the first act to have an album released on Ujamma/Total Records, the label owned by basketball star John Salley. The group's debut album. "Southbound." was pro- duced by Sol Messiah (TLC. Monica) and features the sin- gle "What We Be About." REGIONAL HEATSEEKERS NO. Is MOUNTAIN JHoktod, T)l« UMbrgmn IW. f NORTHEAST turn MHChl. JW Wvif luni EAST NORTH CENTRAL WEST NORTH CENTRAL Ctwiy VMgM, ShgM WUfl fMKUl PACIFIC Mil, nil, I ila lull 1^ II Fm mm lia ■ VinMO, wqanara rwTKiNiK r SOUTH CENTRAL uritoy.amn'ftifDaiml THE REGIONAL ROUNDUP Rotating top 10 lists of best-selling titles by new and developing artists. EAST NORTH CENTRAL 1. Chdy Wi^M Sir^lc Wute Fer-ijic 2. Shedabr Tt<« Whce Shebang 3. ldRd(lltrM«Mt>4(MbOD«rmWtnAemnW'n3 4. Montfonnary Gantry T«noot & Scsfs 5. Stoind OcVurKtoi^ 6. Andy Grifsi Ycu Wonl E>>ei Be Lonely 7. RmI TIcM Sack To Th« R«al 8 Mm Of Viiion MOV 9. Static X '•Visc(yi%in tealh Trip 10. Oteandcr lebnjarv Son SOUTH ATLANTIC 1. Tonny Tun Tun CanindtiOo 2. Pastor Troy We Ready I Decors War 3. Slwdany TSr Whole Shetune 4. Lm TrI-o Njeiiro Anioi 5. TD. lakM Sacred Love Sones 6. Stiakira Oontv Eftan Lot Ladronci? 7. L(iridtlity«btM>V*ToO[»al(W.B'AeLMiM>'d 8. THo Rojat AiegTLai Y Ptna 9. Chely WMfht Sir«le While Female 10. BawN Man The Doctor which was released May 2."> on the Work Group label. "Steal My Sunshine" was also featured on the "Go" movie soundtrack. Since forming in 1991, Len .self-relea.sed one KP and two albums before signing with the Work Group. Group member the Burger I'imp says of the band's pot|)ourri of sounds on "Bum Rush," "All we wanted to do was make clear from beginning to end that all our influences from the last 20 years are shown on this rec- ord." The Burger Pimp directed the "Steal My Sunshine" videoclip, which has been getting expo- sure on the Bo.x. Len is expected to go on tour later this year A LITTLE MORE CORRINE: Latin/salsa singer Corrine's second RMM Records album, "Un Poco Mas" (which means "a little more" in Spanish), fea- tures a cover of Madonna's "La Isia Bonita" in both Eng- lish and Spanish. Corrine's version of "La Isla Bonita" was produced by Wyclef Jean, and it's the first single from the album. The rest of the album was priniuced by noted Latin music veteran Isidro Infante. Other selections from "Un Poco Mas" include original songs such as "La Mujer Latina." which Corrine The Way We Were. Hus- band-and-wife team Flem- ing & John have been col- laborators with Ben Folds Five, with the two acts making guest appear- ances on each other's albums. Fleming & John's current alternative pop album, "The Way We Are," is available on Universal Records. In May. the duo concluded a tour with Ben Folds Five. Fleming & John will play select dates at this year's Lllith Fair, including July 20 in Austin, Texas; July 21 in Dallas; and July 23 in Atlanta. wrote with her father. Angel LeBron of the LeBron Brothers Orchestra. BILLBOARD JUNES, 1999 73 Dance ARTISTS & MUSIC Thievery Corp. Kicks Out The Jams On Studio K7 1 Ministry Spreads Its Sound I HIS STRANGE EFFECT: On May 20, Washington, D.C.'s wicked- ly dubl)ecl-()ut D.I/|)r(Kluction outfit Thio'ery Corporation embarlted on a three-week European tour that will make stops in such cities as Paris, Berlin, Athens. Rome, Ams- terdam, and Vienna. Prior to depart- ing, the pair — Eric Hilton and Rob Garza — couldn't help but do a bit of playful name-dropping. "We couldn't believe that David Byrne, Sarah Michelle Geller, and Ricky Martin were at our New York show," sa.vs Garza of the duo's festive D.I set May Hi at .Joe's Pub. "Eric THIEVEny CORPORATION and I kinda looked at each other with surprised looks on our faces. It was like, 'They're fans of ours?' It was a memorable night." The boys of Thiewry CoriK)ration were in town promoting their two forthcoming mi.\-CD compilations. Studio K7's highly influential "DJ Kicks" series, which has previously featured the turntable skills of Kem- istry & Storm, Andrea Parker. DJ Cam, and Kruder & Dorfmeister, spotlights Thievery Corporation on its latest installment, which is .sched- uled for release June 8. This will he preceded by the l.'>- track "Abductions And Recomstruc- tions," which the duo is relea-sing on Power Couple. Much-in-demand DJ David Knapp has finally made the move into production with "Calling Back" on New York-based Third Mil- lennium Entertainment. Accompany- ing Knapp and remtxer Richie Santana on the fiery vocal track is diva-in-train- Ing Angee Blake, who co-wrote the song with Knapp and Jimmy Folise. In addition to "Calling Back." Blake can be heard providing background wails on Powerhouse Featuring Duane Harden's "What You Need." Shown after a recent performance at the Roxy in New York, from left, are Blake and Knapp. by Michael Paoletta its own label, Eighteenth Street Lounge Music, on Tuesday ( 1 ). "The timing for both releases wasn't supposed to be like this," explains Garza. "The compilation on our label was supposed to come out much earlier, but it got delayed due to some last-minute label clearances, as well as production and artwork problems." On both CDs, ThieTCry Corpora- tion ably mixes things up — much as it did on its 1997 debut, "Sounds From The Thievery Hi-Fi" — merg- ing live instrumentation with an array of vintage samples on tracks like Pizzicato Five's "Porno 3003," Baaba Maal's "I Will Follow 'V'ou," Jazzanova's "Fedime's Flight," and l)e Lata's "Bei.ja Flor." Of course, the act's signature intertwining of Antonio Carlos Jobim-styled grooves and Lalo Schifrin-like overtures prevails throughout both collections. The resulting material wildly explores — and era.ses — the boundaries of con- temporary electronic-induced sound- .scapes. "In the beginning, we used more samples than we do now," says Hilton. "These days, we like to give our work more of a live feel. But we like to do it in a seamless way where you can't tell the difference between what's live and what's sampled." Hilton and Garza befriended each other four years ago at D.C.'s Eigh- teenth Street Lounge, a "jazz and future jazz" nightclub eo-owned by Hilton. "When we first met, we quiokl.v realized that we both had a fondness for Brazilian mu.sic. So we decided to work together," says Hilton. "It may be a cliche, but it really was the power of music that brought us together." "And do you remember what song W'as playing in the bar at the time?" interjects Garza. "Of course," laughs Hilton, " 'I Will Survive' by Gloria Gaynor." Thievery Corporation is con- firmed to perform at the Sixth Annual Billboard Dance Music Sum- mit, which will take place July 14-16 in Atlanta. Feeling lovely: Fbr some rea- son — the imminent arrival of sum- mer, perhaps? — labels are issuing club-ready compilations at a dizzy- ing rate. After clearing our desk of much, much drwis. we uncovered the following gems. Released May 11, Centaur Enter- tainment's two-CD set "Winter Party, Volume 2" — mi.xed by Tony Moran and Julian Marsh — fea- tures such melodic and upbeat nuggets as Jamaica's "Tell Me Where It Hurts," Norma Lewis' "Someone That I Used To Love," Gloria Estefan's "Don't Stop," Jon Secada's "Believe," and Chicane Featuring Mason's "Strong In Love." Logic Records is responsible for "John Blair Party, Volume 1," also issued Ma.v 11. Titled after one of New York's reigning club promoters, the 12-track collection, beat-mi.xed by Billboard-reporting DJ David Knapp. includes current hits like Blondie's "Maria," Regina Belle's "I've Had Enough," Funky (irccn Dogs' "Body," Veronica's "Someone To Hold, " Martha Wash's "Come," and Plasmic Honey's "Take It To The Top." The only fault with this CD — and it's a minor one — is the cowr artw'ork, which depicts a semi- nude man's torso. Aren't we beyond such pandering gay stereotypes? "Midnight Express: A Guidance Recoixlings Compilation" will please clubland purists who can never seem to get enough of the smooth, sophis- ticated house sounds of Chicago- based Guidance Recordings. Sched- uled for release Tuesday ( 1 ), the set, lovingly mixed by Los Angeles DJ David .\lvarado (aka Sunkiss), begins and ends with, respectively, Arxus' remake of Jevetta Steele's "Callin' U" and Dubtribe's "What U Feel In Y'our Heart." Between these near-cla.ssic bookends are recordings from the prolific Glenn Under- ground (".laz Love #2") and Kevin Yost ("It's Getting Bigger"). Also included is Blue Boy's disco- charged "Dub-A-Dutch," the long- awaited follow-up to "Remember Me." From South Africa-based Fresh Music, we have "Re-Rooted." Re- leased May 2.'), this 14-track set fuses African, R&B, and electronic beats. Of special note is RSL's "Elungelo." which shines the light on iCoiitiiim'd oil jjtiueTG) Blfcoord. HOT 0 JUNES. 1»»9 CLUB PLAY 1. HOLD ON JOSE NUNEZ FEAT. OCTAHVIA 5LBl:Uir.Al 2. BRING MV FAMIir BACK FAITHLESS w.«T> 3. WHAT YOU NEED POWERHOUSE FEAT DUANE HARDEN ilRiCTLr BHY71.M 4. BOOM. BOOM, BOOM, BOOM! VENGABOYS ».30,"iici.ju5 5. AFRIKA PLASMIC HONEY MCTROPCLhIAN UNDERCfiDUND MAXI-SINELES SALES 1. FEEL MY DRUMS SAL DANO lmmy wisnviB 2. I NEED YOUR LOVE (BODY MUSIC) THE RULE i.UBLIMlNAL 3. STRANDED LUTRICIA MCNEAL ti-ic 4. HOLD ON JOSE NUNEZ FEAT OCTAHVIA suBi uiN«L 5. BREAKZONE BASS TRIP pukxx. Breakouts: T,tl« with tulufe chart polenlia!. r>n club play or sales reported this week BY CHRIS BARRETT LONDON— Launched in 1991 by .lames I'ldumbo. London's Mini.stry of Sound (MO.S) club has exgianded at a piYxligious nite. In the proce.ss. it's become a multimillion-pound media empire. Encompassing a magazine. online retailing, liars, a radio show, and a record label, the MOS or- ganization is aiming to tap into the global market. The ()-.vear-old Min- i.stry of Sound litn-ord- ings Ltd. — which in- cludes the Sound of Ministry. Data, and Hide imprints — is |)aving the way with several dance compilation series, including "( 'lubber's Guide," "Sessions," anti "The .-\nnual," all of which s|M)t light the mixing skills <if such seminal DJs as Tony Humphries, .ludge .lules, jmd Bran- don Block. According to the I'.K.'s chart compiler Chart Information Network (CIN). "The Annual IV," released earlier this year, has sold .">7."),000 units. M(XS' latest project is a ctimpilation for the Cialaxy Radio Net- work. Titled "Gala.xy m. Weekend." it was mixed by Boy George and Allister Whitehead (who often records under the Whitehouse moniker). "The company always ap|X'ars to know exactly w hat to do, anti that's rare," says Whitehead. "When it came to the track listing, they worked hard tt) make sure I didn't haw to compixmii.se my own style." At the j>resent time, the citmpilations tire licenseii only in the U.K.. with individual ■singles being licensed track by track, artist by artist, anti territo- ry by territory — except in the Benelux, where MOS Record- ings has a label deal with Play It Again Sam. .Matt .lagger, managing director of Ministry of Sound Recordings, sa.vs that "traditionally the label's aim has been to be the premier dance compilations company. But over the last year, we have been thrusting toward our own reper- toire, both internally with our .Sound of Ministry label and Data and Rifle imprints, as well as exter- nally with our joint ventures with Defected and Azuli." Accortling to the label's interna- tional marketing manager, Barney Glover, the joint ventures include part-ownership of Defected anti .■\zuli, which are helmed by Simon Dunmore and Dave Piccioni, re- spectivel.v. WHITEHEAD Clover also confirms thai .MOS Recordings is entering into a simi- lar relationship with Nick Halkes, ftirmerly of Pi»siti\"a Recoi*tls, who is starting an as-yet-unnamed inde- pendent lal)el. "Basicall.v, we help set these labels up and then let them rim independent- ly," notes Glover "By titling this, we're able to broaden our artist i'e|X!rtoire in terms of possibilities for upcom- ing compilations." Working dosel.v alongsitle .lagger and Glover is label manag- er .lames Harris. Jagger sa.vs the recording divi- sion, which emplo.\'s a core staff of Ifi and accounts for 7.5'* of the entire MOS organization's income, has been structured so that the .Sound of Ministry can feed from both Ride and Data, which concen- trate on nu-British house (a la Basement .Jaxx) and melotlic Euro-trance, respertiwiy. "The iik-a liehinil the t wo impiints is to alltAv them to develop their own sountls. When a record gets big enough, we'll cross it over to the Sound of H Ministry label." Sound of .Ministry's most successful single, Bltx-kster's "You Shoultl Be " was licensed to EML Virgin AiisUalia, JVC Ja- pim, anil numerous labels through- out Europe. Accortling to CIN, it bits achiered total sales of 180,000 units. Blt)ckster's follow-up single, "Grooveline," is expecteil in .lune. An album is .scheduled lor September. This will mark the fii-sl sin- gle-artist album from .Sound of Ministry's own reiJertoire. TWswillbefolloived in late '99 by the arrival of the debut album fnim L/>st Wit- ness, the label's second artist sign- ing. Two years ago, the label divulged plans of its exi>an.sion into the U.S. market (Billboard. March 8, 1997). That said, its rele.a.ses are still a\'ail- able only by direct export. "In the U.S., we are currently considering our options with re- gard to creating a MOS presence," explains Jagger. "We have held back tt) wait and see if the elec- tronic dance scene matures. For us, it's becoming incresusingly intere.st- ing. Two years ago was not the right time. [But now] the I'.S. elec- tronic dance .scene is very fraction- al, and we want to come in and be a unifying force. We believe we are the world's best-kntnvn dance bi-and." 74 BILL6OAFI0 JUNE S. 1999 MUSIO SUMMIT /^'^ about music. It's about net^A/orMing. .^ ^ It's about turnin' It out all nigtit long! n July, hundreds of influential members of the dance music community will converge on Atlanta to discuss the state of dance music, and revel in the city's vibrant club scene. Yau awe it to yourself to be there. Contest Billboard's New Artist Discoveries of 1999 Two artists will win performance slots in Billboard's exclusive invitation-only artist showcases. SUBMISSION DEADLINE: June 14»h call for details 212.536J002 Hotel Contacts Sheraton Colony Square 188 14th Street, Atlanta GA 30361 404.892.6000 Summit Rate:$149. J Michele Quigley, Special Events Director 212.536.5002 Michael Paoletto, Dance Music Editor 212.536.5068 J To rsgistor cut out fomi and moil to: Michele Quigley, Billboard Dance Music Summit, 1515 Broadway, New York, NY 10036, or fax to: 212.536.1400 Make checks payable to Billboard Mogazine. Confirmations will be foxed or mailed, fleose allow 10 busine&s doys. This form may be duplicated. Pleose type or print cleoHy. EaHy bird - received by June 1 1 Full registration - including walk up eEGUlAI! $275 $350 First Name: _ Company: Address: BIllBOARD REI>ORTEIi, RECORD POOl DIREQORS i ItffERtWTIONAl $175 $225 Last Name: _ _ Title: . City: RADIO $95 $150 NEW THIS YEAR!! IntemoHonal & Radio RATES Ptione: , Fox:. _ State: . . E-mail: _ . Zip: , Paying by: Credit cord #: . Cardholder's name: J? □ check □ ViKj/MC □ AMEX D money order Exp. Date: . . Signature: IchoTQM not volid wtftioul tigoohjraj CancellaKon Policy: Cancellations must be submitted in writing. ALL REFUNDS WILl BE PROCESSED AFTER THE CONFERENCE. CanceJloHons raceived between Moy 21 and June 25 ore subject to $75 odministrotive fee. No relunds will be i»wed after June 25th. mood HOT DANCE MUSIC THIS WEEK UST WEEK 2WK$ MO z 0(_ >5 S o PI 1 ID Dl AV CLUB PLAY COMPILED FROM A NATIONAL SAMPLE OF DANCE CLUB PLAYLISTS TITLE ARTIST IMPRINT & NUMBEIVPROMOTION LABEL CD 4 6 8 — ^« No. 1 SEXUALILI DA DOTCMMy BCr ??J l*eehjIhDi AMBER 5 8 LET IT RAIN JELLIBEm J550 SOUL SOLUTION FEATURING CAROLYN HARDING 3 3 3 10 GOT TO DANCE DISCO OROOVILICIOLS OIMTRICTLY RHYTHM H.O.G. PRESENTS GROOVELINES 12 17 4 BIG LOVE SUBLIMINAL laSTRICTLY RHYTHM t PETE HELLER 1 2 8 GOT THE GROOVE GROOVIUCIOUS 07*STRICTLY RHYTHM SM-TRAX g 10 1 ALL NIGHT LONG BAO BOt 792C*'ARISI« t FAITH EVANS FEATURING PUFF DADDY •J 2 1 8 UNSPEAKABLE JOY NERVOUS ?03Se KIM ENGLISH 6 t 3 9 IT'S OVER NOW ARISTA I36S6 t DEBORAH COX 9 11 1] ; MARIA '-■r, : -hriJ:riiETO\D t 8L0NDIE ® 13 15 E TESTIFY ! PI. I'Bi I'll M PEOPLE g 8 SHE WANTS YOU . IBGIN 38658 1 BILLIE (12) 17 29 4 UNTIL WE MEET AGAIN UOIOWN lS626E.'UlmERSAL DIANA ROSS 13 7 4 11 WHEN 1 GROW UP ALMO SOUNDS PR0M0<1NTERSC0PE GARBAGE 14 13 8 TEARDROPS I B15M IMPORT t LOVESTATION 15 15 16 6 IF YOU BUY THIS RECOflD YOUR LIFE WILL BE BETTER JIVt 42594 t THE TAMPERER FEAT MAYA DAYS 16 16 19 6 WANNA GIVE IT UP AHERHOURS 1 12M RALPHI ROSARIO WITH LINDA CLIFFORD (Ti) 20 25 5 SHOW ME LOVE '99 4 PUr PROMO ROBIN S. 21 27 5 LET THE JOY RISE INTERHIT 5403S'PRIORITY ABIGAIL 22 33 4 SHARE THE LOVE ARISTA PROMO t ANDREA MARTIN 20 to 8 II STRONG ENOUGH WAR\ER BROS 44(i44 t CHER ^ , , -' 23 28 5 JUST DOIN' WHAT WE LOVE CIAUPION 333 CAROLE SYLVAN 22 18 20 6 MY HOUSE CUTTING 436 68 BEATS C23) 33 2 Power Pick SING IT BACK rcriOT ill 446S7,WARN£R BROS t MOLOKO ( 24) 26 35 4 STOP l( PANIC MOOKSHINE 88458 t CIRRUS 25 25 31 6 MOVE MANIA CONTAGIOUS 001 SASH! FEATURING SHANNON flT) \JSJ 34 41 3 ONE MOKE CHANCE H O L A 341081 ANGEL CUVILLES 27 19 12 9 MAMA SWEET LOG-C 3000 6568aiCGIC t DA HOOL (28) 43 2 LIVIN' LA VIDA LOCA a /'ilhlCOiUUm t RICKY MARTIN (29) 31 37 i MY FIRST NIGHT WTTH YOU UNIVEHSin 97O59.1NIERSC0PE t MYA l30) 36 45 3 PEOPLE GET DOWN GROOTUICIOUS 077,siRiCTir RHYIHM SCAPE 31 32 36 5 THE SOUND VINII SOUL I01.WSIC PLANT TERRY HUNTER 32 28 IS 10 THE FLAME IRAK 10082 ERIN HAMILTON 33 30 34 5 PUT YOUR HANDS UP CLUB TOOIS IMPORI/EDCL BLACK t WHITE BROTHERS (34) 45 2 FEEL GOOD RAW NERVE 1008 SUSSEX HOUSE 35 29 26 10 DREAMING "CMMv BCv SILVER LABEL 359iTOMMV BOV t RUFF DRIVERZ PRESENTS ARROLA 36 27 23 6 JOY 8. PAIN (DON'T YOU BELIEVE ME} TOMUV BOY 37? MOA (37) 47 2 WE ARE IN THE DARK JCILVBEAN 2551 PLASMIC HONEY 36 24 14 19 YOU OVnt KNOW ME ARMED 002 t AKMANU VAN HtLUtN r tAI UKIISb UvANt HAKUtN 41 49 3 WORK lELLVBEAN 2548 C&R PROJECT 44 2 GIVE IT TO YOU INIEfiSCOPE 97052 t JORDAN KNIGHT 41 38 42 5 PUSH UPSTAIRS JBO 27575V2 t UNDERWORLD GT) NEW*' 1 ■ Hot Shot Debut ■ 9PM (TILL 1 COME) n:il«.; ')am4 ATB 43 39 1 39 9 1 WANT YOUR LOVE BEDDIINE 249'WARIOCK OA 6UD0AH BANGA2 (44) NEW^ 1 FEEL MY DRUMS TOMMY BOV SILVER LABEL 379.TDMMY BOV SAL DANO (45) NEW^ 1 GOOD TO BE ALIVE h«HER GROUND 7918amuMBIA DJ RAP 46 49 2 SUAVEMENTE SONY DSCOS 827951 ELVIS CRESPO (47) NEW^ 1 COME LOGIC 65679 MARTHA WASH 46 46 46 9 HEAVEN GIANT STEP 69427/550 MUSIC GLEN SCOTT 49 35 22 14 STRANDED EPIC 79177 LUTRICIA MCNEAL 50 37 21 12 RIGHT BEFORE MY EYES 4 PLAY 1022 NN'G FEATURING KALLAGHAN MAXI-SINGLES SALES THIS WEEK LAST WEEK 2WKS AGO 5^ 5 u COMPILED FROM A NATKINAI SAMPLE OF RETAIL STORE. MASS MEROIANT, OMD SALES REPORTS COLLECTED. COMPILED. AND PROVIOED BY SOUndScan '^"'-^ ■■■fill IMPRINT & NUMBER'OISTRIBUTING LABEL 1 1 1 1 ' ' ' NTERNET ARTIST I 1 1 5 LIVIN' LA VIDA LOCA W !■ r^i ;: 79l53tOLUMB;A t 5«M*i«No3 RICKY MARTIN 2 2 2 23 BELIEVE ITi (XI WARNER BROS 44576 t CHER 3 4 3 16 BLUE MONDAY m (XI ELEMENTREEjREPRISE 4455EmARNER BROS, t ORGY 4 3 4 3 STRONG ENOUGH ITI l« WARNER BROS 44644 t CHER 5 5 5 4 IT'S OVER NOW (TI IX) ARISTA 13656 1 DEBORAH COX 6 7 6 25 WE LIKE TO PARTY1 IT) 0(1 GROOVIUCIOUS Oei.STHttTLY RHYTHM t VENGABOYS 7 6 _ 2 GEORGY PORGY IX) WARNER BROS. 44612 1 ERIC BENET FEATURING FAITH EVANS 6 8 7 13 PRAISE YOU 1 1 1 (X) SKINT ASTRALWERKS 625XCAR01.INE f FATBOY SLIM 9 9 8 10 MARIA fTI iX> LOGIC 7804a8EYCNO t BLONOIE (D m Greatest Gainer m 32 — '• SEXUAL lU OA on IT) (XI TOMMY BOY 374 AMBER 11 11 13 5 GIVE IT TO YOU (T) (XI INTIRSCOPt 97052 t JORDAN KNIGHT 12 10 9 12 NOTHING REALLY MATTERS (D (X) MAVERICK 44613WARNER BROS t MADONNA 13 13 11 44 THE ROCKAFELLER SKANK IT) 00 SKINT7ASTRALWERKS 6242XVLR0LINE t FATBOY SLIM 14 14 12 53 THE OIF Of UFE (THE OFFKU. tOW OF THE WDRLII CUP. FRANCE '911 ^ .n CCLMBIA 78932 1 RICKY MARTIN IS 12 10 18 HE«RTmEMHOI|H.(nnAIKnia613 1 WHITNEY HOUSTON FEAT FAITH EVANS t KELLY PRICE 16 16 16 22 SKIN :t; IX) NERVOMS 20356 1 CHARLOTTE 17 17 15 35 MUSIC SOUNDS BETTER WfTH YOU (XI ROULE 3B661,VIRGIN t STARDUST 16 15 14 16 1 STILL BELIEVE .17: Mxi COLUMBIA 79104 1 MARIAH CAREY 19 18 19 39 SUAVEMENTE T < i s;NY DISCOS B2795 1 ELVIS CRESPO (20) 22 22 18 ALL I HAVE TO GIVE (7! IX' JIVE 42563 1 BACKSTREET BOYS (S) m Hot Shot Debut ■ 1 COME 'T: (X) LOGIC 65679 MARTHA WASH 22 21 18 20 C'EST LA VIE IT) (X) EPIC 79085 1 B-WITCHED 23 20 17 6 MY FIRST NIGHT WITH YOU 00 UNIVERSITY 97059(INTEBSai« t MYA 24 19 23 8 UNSPEAKABLE JOY m !KI NERVOUS 20358 KIM ENGLISH 25 26 29 52 PUSSY IT) LXl ANTLER SUBWAY 103l.'NEVtR LORDS OF ACID 26 25 27 13 JACKIE'S STRENGTH IT) 00 ATLANTIC B4442;AG t TORI AMOS (27) 38 33 14 BODY (Tl ;X) TWISTED 5552&MCA t FUNKY GREEN DOGS 23 27 24 26 UP t DOWN ill < ;;l,:»iV.LIC10US06aSTfllCTLY RHYTHM 1 VENGABOYS 29 28 25 6 WINDOWLICKER ■ : i'.abp 35O07SRE t APHEX TWIN 30 23 20 3 GIRLS ON FILM (REMIX) 111 (XI CAPITOL 15771 t DURAN DJRAN ill 24 21 4 IF YOU BUY THIS RECORD YOUR LIFE WILL BE BEHER (Tl K IIVE 42594 THE TAMPERER FEAT MAYA MYS (IT) NEW^ 1 STAR WARS THEME ITI (X) BULLETPROOF 3866ZV1HG1N INTERSTELLAR FORCE ( 22) 36 39 42 DO IT AGAIN/MEN BEAT THEIR MEN (Tl (XI GROOVIUCIOUS (X)l/STRiaLY RHYTHM RAZOR N' GUIDO 34 31 30 54 THE BOY IS MINE (TKXIATUNTIC 841 l^AG t BRANDY i MONICA M S9 29 32 18 TAINTED LOVE 11) IX) TWISIEO 55530MCA SOFT CELL VS. CLUB 69 1 IT'S NOT RIGHT BUT IT'S OKAY/I WILL ALWAYS LOVE YOU (T) ID ARISTA 13680 t WHITNEY HOUSTON 37 30 26 10 WHAT'D YOU COME HERE FOR? IT) (XI C2 79091.C01UMB1A 1 TRINA t TAMARA 33 34 34 IS WHEN I'M GONE (T) IX) ROBBINS 72034 ROCKELL (39) NEW^ 1 NO ANGEL IT) (X) WHIRUNG 0O15 SUNSCREEM ® 40 42 9 BEACHBALL (T! m UITRA016 1 NALIN & KANE (TT) 48 38 6 DREAMING in (XI TOMMY BOY SILVER LASLL iW (or.'i.'r BOY • RUFF DRIVERZ PRESENTS ARROLA (42) 41 37 57 MY ALUFLY AWAY (BUTTERFLY REPRISE) (Ml IT) (X) C0U1M8IA 78822 1 MARIAH CAREY 43 37 45 14 LET'S GO ALL THE WAY IT) (X) COLUMBIA 78958 1 REACT 44 42 31 15 MIAMI IX) TWIN SOUNDS'DOMINION 4251;K TEL SLICK 45 33 28 15 PRETTY FLY (FOR A l^ftllTE GUY) (Xl TWIN SOUNDS^DOMINIOW 4261,'K-TeL THE OBSCURE («) «E-ENTIIT 48 RAY OF LIGHT (Tl (X) MAVERICK 44523nWARNER BROS, t MADONNA (47) 50 44 8 ALL NIGHT LONG (T) BAD SOY 7920&<lilSTA t FAITH EVANS FEATURING PUFF DADDY 46 47 47 18 SOMEONE TO HOLD IT) DO H O LA 341082 VERONKA 49 45 50 18 I'M BEAUTIFUL (T) 00 WARNER BROS. 44586 1 BETTE MIDLER SO 35 35 4 MY NAME IS it: (X)STREETBEAT048 EMFACTOR C3 Titles with the greatest sales or club play increases this week. Power Pick on Club Play is awarded for the largest potnt increase anywhere m the top 50. t Videoclip availability. Catalog numtier is for vinyl maxi -single, or CD maxi-single i1 vinyl is unavailable. On BHIboard/BPI Communicalioos. among singles below the top 20. Greatest Gainer on Maxi-Singles Sales is awarded for the largest sales increase among singles Sales charts (M) Cassette maxi-smgle availability. (T) Vinyl msxi-single availatxiity. (X) CD maxi-single avaitatMlity. C 1999, DANCE TRAX (Continued fmm paf/e Tj) Ladysmith Black Mambazo. Quite the li'l find! Sonic empire: German techno DJ/producer Westbam has inked a deal with Mute Records for North America. A pioneer since the early '80s, Westbam founded Berlin-ba.sed Low Spirit RecordingR in '88. One year later, he celebrated the release of his debut album, "The Cabinet," with an outdoor rave party. Calling it the Love Parade, Westbam hoped to bring dance music into the main- stream. That first year, the event drew a scant 500 revelers; a decade later, the annual turnout has grown to more than 2 million. Mute will issue the artist's new album, "We'll Never Stop Living This Way," later this j'ear "The electro/pop-fueled set will be preceded by the single "Beat- bo.\ Rocker" in August. Universal BEATS: Three pro- motion companies in as many terri- tories — U.S., U.K., and Germany — have unite(i to form Operation: Worldwide Ltd. Created by George Hess of New York-based Elite/ADM Inc., Paul Kindred and Bob James of London-based Music House, and Oliver and Jens Wegener of Ham- burg-based Public Propaganda, the goal of this newly created global ser- vice is rather simple: the interna- tional promotion of new music to (hopefully) generate global sales and licensing. "For some time now, too many imports weren't being heard," ex- plains Hess. "People either weren't getting their hands on essential imports or they just weren't aware of them." According to Hess, each territory will compile a bimonthly CD (fea- turing the newest music in that ter- ritory) that will be serviced to the other two territories. So A& R execs, club DJs, radio PDs and music direc- tors, journalists, and other influen- tial industry tastemakers in the U.S. will receive the CDs compiled in the U.K. and Germany. Hess confirms that Italy and Spain recently signed on to be part of Operation. At present, both coun- tries will be included as components of the U.K. division. The first installment of Operation shipped the week of May 24. Hess says it went to approximately 700 people in Germany, 600 in the U.K., and 450 in the U.s". 76 BILLBOARD JUNES. 1999 Countiy ARTISTS & MUSIC Black Country Music Assn. Aims To Bring Genre A Fresh Perspective BY JIM BESSMAN NEW YORK— Despite widespread coneern tnvr the present state of the country music genre, the Kashnlle- based Black Country Music Assn. (BCMA) is hopeful that its artists can help turn thing}! around. "There's been a 25'i} drop in Icoun- try) record sales, and music critics are saying that the music is .so repetitious and ewry- thing .sounds alike." notes Frankic Staton, BCMA co-founder and a veteran Nashville club performer. "So the time is ripe for a whole new thing to happen in country music: "urban country' or 'cowboy soul' or whatever you want to call it." The 2-yeai'-old gi-ass-roots oi'gani- zation numbers some 80 black coun- try artists and fledgling industry tiT^es from aci-oss the country. Staton sa.vs they bring the genre a fresh per- .specti™ that can be targeted toward a sophisticated African-American music audience. "They've grown up with melodies and lyrics from Motown and artists like Gladys Knight and have lived long enough U) haw experienced pain and loss and li\ing on their own," she says. "So they can appreciate socially conscious music about black America — real songs about the struggle of raising children and the disintegi-ation of the fami- ly. And the music comes at the intersection between R&B and pop, where black people meet coun- try' music. It could be a gi'eat ail form and wry lucrativie." But while there's a rich, under-ree- ognized history of black country music, very little has come out of Nash\ille commercially since Charlie Pride, whose color was initially hid- den from consumers. "It's well-known among black coun- try performers that if you want to bust into country music, the place not to go is Nashrille," continues Staton. "Black |X!ople aren't the image of what country singers are perceived to be, and few' |XK)ple know' that there w'ere actu- ally African-Ameri- can cowboys and country singers all along. But there have always been black people here since Charlie Pride trying to get a break. It's just that the money wasn't inrested in them like it .should haw been. So we're literally .sitting on a goki mine in terms of introducing to the world both our historical contributions to country music and our cun-ent opjwrtunities." Staton formed the BCMA after Biii & Audrey Revive Down Under; 'Worid On the RECORD: If you're in the mood for some serious country music, look no further than the current Austi-alian relea.se "Looking Back To See" by Bill & Audrey on Reckless Records. The duo comprises Audrey Auld and Bill Chambers, He's the patiiai-ch of Australia's award- winning Dead Ringer Band, and she's a well-known Tasmanian country singer Together, they cre- ate the classic country duet sound that just isn't heard anymore. The title cut and "We'll Sw'eep Out The Ashes In The Morning" are especially compelling. E\^r)' 'Thursday night they host Bill & Audrey's Hill- billy Jam at Sydney's Victoria Pai-k Hotel. They also front the band Luke & the Drifters, and Auld has a self-titled album on Reckle,ss. Check them out at reckle.ss records.com. They're repre- sented in Nash\ille by Kinetic Management NaMe Scaifi rEOPLE: Victoria Shaw, Olivia Newton-John, and Earl Rose share an Emmy for their song "This Is Our Moment ( Lave Is A Gift)," which is a theme song on the daytime drama "As The World Turns." Signings: Ty England to Capitol Nashville, Toby Keith to DreamWorks Nashville. New- Curb artist Tamara Walker signs a thi-ee-way publishing deal with Sony/ATV Tree, Curb Music, ami C&P Nashville. Sara Evans will make l.ilith Fair apiiearances July 24 in Atlanta and July 2.j in Nashville. Jerry Jeff Walker will [ilay the New Yeai''s Ew show at Billy Bob's Texas in Fort Worth, Texa.s. BR5-49, Sara Evans, and Linda Davis sign with Richards & Southern Merehandising, headquartered in Goodlettsville. Tenn. Pat .McDonald becomes the new drummer for the Charlie Daniels Band. RCA is relea.sing an e.xpanded v^ersion of Matraca Berg's 1990 album, "L.ving To The Moon." The album, with four additional tracks from her Rising Tide album "Sunday Morning To Saturday Night" and her unre- Ciassic Duet Sound ' Tiieuie Nets Emmy leased album "Bittersweet Surrender," will be available Aug. 17. Kenny Rogers will be presented the 1999 Sammy Cahn Lifetime Achievement Award at the 30th annual Songwriters' Hall of Fame Awards dinner, June 9 in New York. To rai.se money for St. Jude's Hospital, Kix Brooks will ride a Sea-Doo personal watercraft from Nashville to New Orleans. He's scheduled to launch from Nash- ville on Tuesday (1), stop in Memphis on Thui-sday (3), and hit New Orleans on Satiu-day (.5). On THE ROW: Buddy Lee Attractions will celebrate its 35th annh'ersary with a dinner June 11 in Mount Juli- et, Tenn., for about 200 i)eople attending the Interna- tional Entertainment Buyers Assn. Convention in Nash\iUe. The Nashville chapter of the National Academy of Re- cording Arts and Sciences wUl host its annual MusicCares Health Fair 1 1 a.m.-3 p.m. on Wednesday (2) at its Wedge- wood Avenue headquarters. A w ide variety of free health tests tt ill be available. And on .lune 8, the chapter will host a Grammy Block Party and Member Fair, w ith perfor- mances by Delbert McCIinton, B£la Fleck & the Flecktones, BR.5-49, Margaret Becker, and the Grammy Governor All-Star Band. The Jim Beam Distilling Co. is inviting unsigned bands and ailists to enter its .sewnth annual .Jim Beam Back Room Band Search Country Edition. Information is available at jimbeam.com. Pemmican Heef .lerky is the late.st corporate .spon- sor to join the Geoi'ge Strait Country Music Festival. For the June 17 groundbreaking ceremonies of the new Country Music Hall of Fame and Maseum, an all- guitar marching band will lead a jrarade of Hall of Fame members, country artists, and other dignitaries in downtown Nashville. The band, which is still being put together, will perform "Wildwood Flower" and "You Are My Sunshine." Lorrie Morgan, Jason Sellers, and Mila Mason lead a benefit .lune 12 at the Wildhoi-se Saloon for the Animal Care Tijsk Force of Nash\ille. by diet Flippo assembling a showca.se of seven black singer/songwriters at Nashville's Bluebird Cafe in February 1997. "They were the only ones I knew about" she sa.\'s, "but the whole place was full of black country singers. All of us had gone to Music I{mv and been told the .same thing: 'There's no mar- ket for y'all.' I know there's only .so many slots on the Billboard chiU't but walk into the Holiday Inn in Paducah, Ky., for example, and you'll see blacks singing country mu-sic. We just have to establish that there's a credible black country music listenership." To this eiid, the BCMA set up a b(M)th and showca.se at last year's Fan F;iir — which it v\ ill reprise this year "We were right there between Merle Haggard and ColHn Raye and didn't know what anybody Wiis going to say, because none of our artists had record deals," Staton says. "But wo got mobbed by iKM)ple who wondered why there aren't any black country singers." The BCMA made its bow at the Country Radio Seminar in Na.sh\ille this year, a debut Staton terms a resounding .success. Jim Patrick. o|wrations director at (Coittiinn'd on pnffr .SI) Cathedrals, Nelons Honored By Southern Gospel Music Assn. BY DEBORAH EVANS PRICE NASHVILLE— As the Cathedrals prepare to retire after .35 years on the road, it's obvious the group is going out on top. The legendary act to<>k home male quartet and album of the year honoi-s at the annual Southern (lospel Mu.sic Assn. Awards May 26 at the Park Vista Re.sort in Gatlinburg, Tenn. The Cathedrals" bass vocalist, George Younce, netted the male vocalist piize. During the annual event, four membei"s were inducted into the new Southern Gospel Music Assn. (SGMA) Hall of Fame. The Nelons' patriarch. Rex Nelon, as well as Adger Pace, Rosie Rozell, and Wil- Uam Walbert were recognized during the gala and will be en.shrined in the SGMA Hall of Fame and Museum, which opened recently at Dolly wood, Dolly Parton's Pigeon Forge, Tenn., theme park. A native of A.sheville, N.C., Nelon began singing Southern gospel in the early 1950s after serving in the Ma- rine Corps. He perfoi*med with the Homeland Harmony Quai'tet and the LeFevres before forming the Rex Ne- lon Singers in 1977. The grouj) e\t)hvd into the Neloas, w hich is today steei-ed by his daughter, Kelly, as Nelon retired from touring this past year. CATHEOFALS I^ce, who died in 1959, was a noted teacher and former member of the Vaughn Radio Quai'tet. He taught at the Vaughn School of Music in Lawrenceburg, Tenn., and beginning in 1920 he seiat.'d for 37 wai-s as music editor for all Vaughn publication.s. Roland Dwayne "Rosie" Uozell passed away in 1995 after a .stellar career as one of Southern gospel's premier tenoi-s. He began perform- ing with the Statesmen Quartet in 1958 until exiting the gi-oup in 1970 to form a family group, Rosie Rozell & the Seaixiiers. He returned to the Statesmen in the '70s and then be- came one of the founding members of the Masters V in the early '80s. Wall")ert was liorn in 1886 in Bar- ren County, I\v., and became a pioneer in the Southern gospel genre. He attended the Vaughn School, worked for the company, and later married (Continued on imtjc 81) 1 0 Million For Faith. At the Warner Bros, party following the Academy of Courv try Music Awards, latiel executives honored Faith Hill not only for her total of five awards but also for sales of 10 million worldwide. Shown, from left, are Neal Spielberg. VP of national sales for Warner/Reprise Nashville; Hill's manager. Gary Borman; Bob Saporiti. senior VP/GM of Warner fvjashville; Hill; Jim Ed Norman, president of Warner/Reprise Nashville; Vic Faraci, senior VP of sales and special products for Wamer Bros.; and Phil Ouartararo. president of Warner Bros. Inc. BILLBOARD JUNES. 1999 Ci 77erial Bjboad TOP COUNTRY ALBUMS COMPILED FROM • NHIONIL SAMPLE OF RnUL STORE. MASS MERCHANT. AND IHTER- NH SAUS REPORTS COLLECTED. COMPILED, AND PROVIDED BY SoundScan» lllllll THIS WEEK LAST WEEK o 3 < s WKS. ON CHART ARTIST TITLE IMPRINT & NUMBERitJISTRIBUTING LABEL (SUGGESTED LIST PRICE OR EQUIVALENT FOR CASSOTE/CO) PEAK POSITION 1 2 2 81 No. 1 SHANIA TWAIN*' mercury 536003 no 9&n.98i 32««(.idINal COMEONOVER 1 2 1 1 3 TIM MCGRAW CURB 179*2 I10,9M798I A PLACE IN THE SUN 1 3 3 3 69 DIXIE CHICKS MONUMENT &619S-S0NY 110 98 EQ'16 98) ID WIDE OPEN SPACES 1 4 5 5 12 GEORGE STRAIT A MCANASK^LLE 70O5OnO-9&T6.96l ALWAYS NEVER THE SAME 2 5 4 4 57 FAITH HILL A' Warner BROS 46790 (10 9&16.98) FAITH 2 6 6 2 KENNY ROGERS DREAMCATCHCR OOd [11 9a>'l6-9B! SHE RIDES WILD HORSES 6 m 10 9 62 30 DEE MESSINAA CURB 77904 tlO-9&'l69B) I'M ALRIGHT 6 > 8 7 27 GARTH BROOKS*" CAPITOL 97424 (19 9&26 981 DOUBLE LIVE 1 9 11 10 12 KENNY CHESNEY BNA 676&S'R1G (10 9ft'16 98i EVERYWHERE WE GO 5 CD NEW^ ! Hot Shot Debut DWIGHT YOAKAM .... . , 10 11 9 8 91 MARTINA MCBRIDEA RC»67516.RLG(109&16 98I EVOLUTION 4 12 ; 6 3 STEVE WARINER laPITOL %139 (10.9&'16 981 TWO TEARDROPS 6 13 12 12 103 TIM MCGRAWA'CURB 776e6(l09&16 981 EVERYWHERE 1 14 14 2 SHEOAISY LYRIC STREET 6S0O2.'H0UYW0OD 16.9812 981 ■ THE WHOLE SHEBANG 14 1 CHELY WRIGHT MCA Nashville 700S2 (10 9816 981 BB SINGLE WHITE FEMALE 15 It 13 11 55 MARK WILLS • UERCORT 536317 110 9&16 981 ■ WISH YOU WERE HERE 8 fiD 18 22 6 : ANDVGRIGGSBCA675%«LOI109ai698lB YOU WONT EVER BE LONELY 15 18 15 15 7 \ MONTGOMERY GENTRY COLUMBIA 69156S0W 110,98 £016 981 ■ TAITOOSt SCARS 10 19 17 17 9 : LILA MCCANN AS>l.Ll.t62395EEG(109ai69a) SOMETHING IN THE AIR 5 20 16 13 ii SAMMY KERSHAW UERCURYS38889ltO,9a'l6,98l MAYBE NOT TONIGHT 7 21 20 18 53 SOUNDTRACK A Capitol 93402 (10.94 17 981 HOPE FLOATS 1 22 21 21 83 ^^UK^IuzHk^'ji 94 16 98. ™E GREATEST HITS COLLECTION 2 23 23 20 e LORRIE MORGAN BNA 67763.RLG (10.9&16 981 MY HEART 8 24 19 19 9 PATTY LOVELESS epic 6980aSONY (10 98 E(116 981 CLASSICS 6 29 22 14 15 EMMYLOU HARRIS, LINDA RONSTADT, DOLLY PARTON ,, 4 29 26 25 39 RC^^^*L^% m JJ '"E RECORD; 41 NUMBER ONE HITS 2 27 24 24 38 ALAN JACKSON A arista MSHVIUE 18864 (10 9416 981 HIGH MILEAGE 1 29 30 28 13 TRACY BYRD MCA NASHVILU 70048 ( 109416 981 KEEPER&GREATEST HITS 5 29 25 23 12 SAWYER BROWN CURS 77902 no 9416.981 DRIVE ME WILD 10 30 27 16 28 SOUNDTRACK A S» music 68971.EFIC(11 98E017.981 TOUCHED BY AN ANGEL. THE ALBUM 3 31 28 29 35 LEE ANN WOMACK oecca7004(>'MCA Nashville (1098116 9BlH SOME THINGS 1 KNOW 20 32 33 31 43 DIAMOND RIO • arista Nashville 18866 (10 9416 981 UNBELIEVABLE 9 33 31 30 51 BROOKS ft DUNNA arista Nashville 18865(10 9416 98) if YOU SEE HER 4 34 32 34 30 SARA EVANS s;.J n,'is53iRlG (109416 98l ■ NO PLACE THAI FAR 11 39 29 26 41 THE WILKINSONS giant 24699WARNER BROS (10.9416 9fll ■ NOTHING BUT LOVE 16 39 36 35 91 IS nS'*.'^"^!*"""' *' .J ja (SONGBOOKl A COLLECTION OF HITS 1 37 34 32 33 AARON TIPPIN .v(i L STREET 66aO3'HOLLYW0OD 11098,16 981 WHAT THIS COUNTRY NEEDS 23 47 41 m Pacesetter m WILLIE NELSON ii,l.-c. t93;,'COiuuBiA!; 'wdi l : * 16 BIGGEST hits 33 THIS WEEK LAST WEEK o s I z o S ARTIST TITLE IMPRINT & NUWBER'DISTRIBUTING LABEL (SUGGESTED LIST PRICE OR EQUIVALENT FOR CAS£TTE)CO) PEAK POSITION 39 40 40 9 JESSICA ANDREWS DREAMV(ORKSS0104<1NTERSC0PE(894129eiH HEART SHAPED WORLD 31 40 42 38 31 TOBY KEITH • UEBOIRV 558962 110.9416.981 GREATEST HITS VOLUME ONE 5 41 37 33 41 VINCE GILL • LICA NASHVILLE 70017 (10 9416 981 THE KEY 1 42 39 36 45 TRISHA YEARWOOD • UCA Nashville 70023 (10 9416 981 WHERE YOUR ROAD LEADS 3 43 38 39 53 TERRI CLARK mercury 558211 no 9416.98) HOW 1 FEEL 10 44 41 52 17 Sn we""*"" ,t. m ™" ""^ 5 13 45 48 45 45 VARIOUS ARTISTS arista Nashville 18850 (10 9416 981 ULTIMATE COUNTRY PARTY 12 4t 35 27 57 STEVE WARINER • CAPITOL 94482 (10 9416 981 BURNIN' THE ROADHOUSE DOWN 6 47 43 37 89 cSa'iTsa's''^^-^*''™. "'^ ~ inspirational songs 1 49 45 51 7 JOHNNY CASH COLUMBIA 69733«)Nr 17.98 Cait 981 IB BIGGEST HITS 18 49 47 50 50 CLAY WALKER • giant 2470QWARNER BROS (ID 94T 6 98) GREATEST HITS 9 SO 50 46 15 MARKCHESNUTT 1 DONT WANT TO MISS a THING 6 51 54 55 31 OEANA CARTER • EVERYTHING'S GONNA BE ALRIGHT 6 52 49 42 GEORGE STRAIT A UCA r«SHVILLE 70020(10 94'I6.98) ONE STEP AT A TIME 1 53 46 43 8 BROOKS & DUNN arista Nashville 16882 14.94 9 98i SUPER HITS 43 54 51 44 7 ALAN JACKSON arista Nashville 18886 (4 94-9 98) SUPER HITS 44 55 57 58 84 JOHN MICHAEL MONTGOMERY • Atlantic BSOeoAG (10 9416 981 GREATEST HITS 5 59 52 54 32 BILL ENGVALL WARNERBROS 47090 (10 9416 981 DORKFISH 16 57 55 49 78 GARTH BROOKS A* CAPIIOL 56599 (10,9416 981 SEVENS 1 59 53 41 51 REBA MCENTIREA mca Nashville 70019(10 9416,96) IF YOU SEE HIM 2 59 56 48 55 LEANN RIMES A CURB 77901 (10 9S'17.9a) SiniN'ON TOP OF THE WORLD 2 90 59 57 91 9P.*"f"Jg^-'?*^,^^ -^g -,- ^ ,-,g THE BEST OF COLLIN RAYE — DIRECT HITS 4 (3D 62 59 KELLY WILLIS RYKOOISC 10458 (6 9&'l 1 96)11 WHAT 1 DESERVE 30 92 60 60 97 KENNY CHESNEY 9 6NA 67494'RLG (10 98/16 98) 1 WILL STAND 10 CD 68 74 6 ^^^^w vincMicoi uiAincn ^^^^^^ MANDY BARNETT 5 51 ; i ; oj ?e 1 VE GOT A RIGHT TO CRY 56 94 63 61 48 JOHN DENVER VIADACY 4750(5.947 981 THE BEST OF JOHN DENVER 38 66 63 55 GARTH BROOKS ;>IPIT0L 94572 144 98 CO. THE LIMITED SERIES 1 65 65 29 BILLY RAY CYRUS mercury 558347 (10 9416 981 SHOT FULL OF LOVE 32 97 58 62 45 COLLIN RAYE EPIC68a74SONY(]0,%EQ(16 98) THE WALLS CAME DOWN 8 98 67 68 57 S?rft']l'- m-^ - oJI*- on, HOW BIG'A BOY ARE YA' VOLUME 4 VIRGIN 9-;30. 1 / 9a'U 98) 19 99 61 53 12 SARA EVANSVARTIN* MCBRIDt/IIINDr MCCREAOTilORRIE MORGAN rm ir i irm^ m^^uruinn BNA'^^^R " If 't. 981 LMT ALL ACdSS — GIRLS NIGHT OUT 30 70 64 56 12 altVt bAKLt AN13 IHt LJtL MLLUUKY DAnU THE MOUNTAIN 19 71 69 82 "f(7 9" 98- BB '"^ "'""^ ' 31 72 71 69 38 TRACY LAWRENCE Atlantic a3i37,.AG do 9416 9ei the best of tract lawrence 13 73 70 66 8 MA»'?Ji^. ^?»B, MSI of COUNTRY: 16 original COUNTRY HITS 50 74 73 72 13 MERLE HAGGARD legacy 69321(EPiCI7.9aEail,9ai 16BIGGEST HITS 69 75 75 67 54 RANDY TRAVIS DREAMWORKS 50034.'INTERSCOPE ( 10,9416 9B) VOU AND YOU ALONE 7 Albums wilti The greatest sales fiains tnis week. •Recording Induslry Assn. Of America (RIAA) certiticatKin lor net shipment of 500,000 album units IGotd). A RIAA certrltcatton for net sfiipmeni of 1 million units (Plalmum). ^ RIAA certification for net shipment ot 10 million units (Diamond). Numeral following Platinum or Diamond symbol indicates album's multi-platinum levef. For boxed sets, and double altxims with a running time lhat exceeds 100 minules or more, the RIAA multiplies shipments by the number of discs and/or tapes. •Asterisk indicates LP is avail- able. Most tape pnces. and CD prices tor BMG and WEA labels, are suggested lists. Tape prices marked EO, and all uther CD pticrs, arc OQuivalerit prices, wt^ich are projected from wholesale pr»ces. Greatest Gainer sttowts chaffs Iwge&t unit increase. PacesaOBf indtCJtts b' gicv.ttT Heatsetiier irrT-ia:) shows albums removed from Heatseekers thit WMk, ■ indicates past ot present Heatseeker t<tte c 1999. BltlboarcL^BPI ComrT>unicat>ons. and SoundScan, Inc. _V ,„ , fl^. ■■■•■■■^^ CMIPIlEOfROII«lttn0llllS»ll«OfR™LSTO«tltt8SWWI»III,«ll»li™ D'lll 1 inil 1 llllllYlllf 1 Q will fill lillllllllCP SUES IIEPOIinCOUECIID.COMPIUII. MID PROVIDED >r SoundScan^ Dilboard. lupbDUniry balalDyflluUIIIS. .une5i»»» ■> THIS WEEK UST WEEK ARTIST TITLE IMPRINT £ NUMBER'DISTRIBUTING LABEL ISUGGESTEO LIST PRICE OR EQUIVALENT FOR CASSETTECD) TOTAL CHAKT WEEKS THIS WEEK LAST WEEK ARTIST TITLE IMPRINT & NUMBEREHSTRIBUTING lABEL (SUGGESTED LIST PRICE OR EQUIVALENT FOR CASSETTEtOl 1 1 SHANIA TWAINS" mercury 522886 (1098.17,981 ■ 63wHlisalNi} THE WOMAN IN ME 224 14 14 GEORGE STRAIT A' MCA Nashville 10651 (10 98.15 981 PURE COUNTRY (SOUNDTRACKl 344 2 2 GARTH BROOKS*'-' CAPITOL 29689 110,9eil5 981 THE HITS 196 IS 19 ROY ORBISON COLUMBIA 67297.^0NY (5 98 Ea9 981 SUPER HITS 74 3 3 ALAN JACKSON A' arista nashville 18801 ilo,9a i6 98i THE GREATEST HITS COLLECTION 187 It 18 TRAVIS TRITT A WARNER BROS, 46001 (10 9816 961 GREATEST HITS — FROM THE MGINNING 185 4 5 HANK WILLIAMS, JR. A' CURB 77638 16 9a9 981 GREATEST HITS. VOL, 1 259 17 15 KENNY ROGERSA'CAPITOl 46106 19 9815981 TWENTY OREATtST HITS 194 TIM MCGRAWA*CURB 77659 (998.15961 269 5 4 NOT A MOMENT TOO SOON 11 17 HANK WILLIAMS mercury 536029 (7 9811 981 20 Of HANK WILLIAMS GREATEST HITS 84 8 6 CHARLIE DANIELSA epic 6418ZS0NY (5 98 609981 SUPER HITS 227 19 PATSY CLINE mca NASHVilLE 20265 12 98 5 981 HEARTACHES 23 7 8 JOHNNY CASH • C01UM8M 66773^v (5,98 Ea9 981 SUPER HITS 103 20 16 TIM MCGRAWA' CURB 77800 (i0,9a'16 98) ALL 1 WANT 121 1 7 WILLIE NELSON • Columbia 64i84^v (5,98 Ea9-98i SUPER HITS 246 21 22 ROY D. MERCER virgin 54781 (7 9812 98) m HOW BIG'A BOY ARE YA? VOLUME 1 106 9 9 GEORGE JONES A epic 40776'SONV (5.96 EQ^.961 SUPER HITS 400 10 12 PATSY CLINE A" mca Nashville 12 (7,9812 98) 12 GREATEST HITS 635 22 24 GEORGE STRAIT A' tJKA Nashville 42035 (7 98 12,981 GREATEST HITS VOLUME 2 578 11 10 THE CHARLIE DANIELS BANDA'EPtC38795iS)N>l7 98Ea(lI 9Sl A DECADE OF HITS 489 23 20 VINCE GILLA' MCA NASHVILLE 1104? 110 9815 981 WHEN LOVE FINDS YOU 249 12 11 SHANIA TWAIN A mercury 514422 (7,98/1 1 98) SHANIA TWAIN 134 24 21 VINCE GILL A' mca Nashville 1 1394 i 10 ga 16 981 SOLKENIRS 165 13 13 DEJVNA CARTER A' CAPITOL 37514 (109&I5 %)B DID 1 SHAVE MY LEGS FOR THIS? 142 29 LEANN RIMESA" CURS 77821 1109816 981 BLUE 149 Ifirpmem of I miJi-on umB IPWinumI ^ ftlAA certit)talwn ntX snipnior.l rN 10 milimn iin or tipn *Ai1enW< miKMti vinyl LP H MillDte. MOH tlpC ^IMC«. infl C':> V".<-- f'^"' 'Vf TcflBl Chjfl Wcetn cCum reft-tls tOTitxiwD aeeM tile h*S apceaitO on Ic* Co s (Ojmonrll NiirriEial hjlkrwing PlriinuiTi or Oi«ncral lyinM ina<MH dibuK I .il-r\: a-r ■...i>T'.'rd T,ii.* r-.fi.r^ FQ. Jll CD W«l Are t A'Cunrs and Top Counttv Cataloc •F)9Cpn:<iK 'nOiiSlry A^in 01 Amcrirj (RlOA! c(irtif>»lion n«( ^hipniert of 500.000 *iOum tinih (GoM). A " Lilli-Cii*|inum [*-,iel Foi sets, and dixiWe aiDums wil" » running t^e tlnl eicewK 100 minutw v mc»g. Itie ftlAA tthjII^Hios shiprnfirti by t le-'I 0'ic«. AfiKt^ ste o<ci«W(l from urti^fjlt 3(ic« Htlr^S^Jlw pas-1 H*j(se^?f I'M C ;'>9? 'trijr^iBPi Co'TirrrjnitjiioiTs tnt; Soun^^i Inc 78 BILLBOARD JUNE 5. 1999 Thanks to the Academy of Country Music for the Artist of the Decade award Even more, thanks for the decade rtself. slm^ebf the greatest memories of my lifetime have been because of you. A special thanks to Gene Weed, Fran Boyd, Dick Clark, Fred Reiser, Bill Boyd, Jr., Melissa McConnell, Paul Shefrin, and the entire ACM board and award show staff. Many times we have agreed and disagreed, but that's what real families do. You know me, I always like to get the iasX word in, so here goes... \ ^ i f A^ist of I do not agree with your choice of the getting. it back, i ^itfPrfujch love^nd thanks and God btess you arid the Decade, but you're sure not ^-^ yours, '^'1 ^\imP.S. I miss Bill. Bibood HOT COUNTRY S COMPILED FROM « NDTIONAL SAMPLE OF AIRPLAY SUPPLIED BY BROADCAST DATA SYSTEMS' RADIO TRACK SERVICE. 154 COUNTRY STA- TIONS ARE ELECTRONICALLY MONITORED 24 HOURS A DAY. 1 DAYS A WEEK. SONGS RANKED BY NUMBER OF DETECTIONS, nrm LAST WEEK to z ^ 5 TITLE ARTIST z >- s 5 o jLt.H .iCir.jL.k'.t.. 15 , . r.L'MBI l< i'RLiMuII(.ir. lABi , CD ] 1 12 PLEASE REMEMBER ME 4 »t«u.l No. 1 TIM MCGRAW 1 . T l.':.GRAW .RCROrtlLL.W .[NN-\G'y iC; Hi' i i. CLRB 73080 t 1 (jj 3 3 16 TWO TEARDROPS S • - ■ - • : /*A."INEft) STEVE WARINER '/i CApirOL Lji/e; t 2 rri (jj 4 7 13 WRITE THIS DOWN T 1 -.T K M ROB&'SSi GEORGE STRAIT :V1 MC* NASHVILgE 72C^5 t 3 4 2 2 26 YOU WON T EVER BE LONELY ANDY GRIGGS 5 g 14 MAN! 1 FEEL LIKE A WOMAN! SHANIA IWAIN MiliGLIH' fl.BI.M CI.'I t 5 G 4 19 ANYONE ELSE P - : RATE (R FOSIERIi COLLIN RAYE [RLA'.Bl.Mui.'l 1 4 9 12 14 WHATEVER YOU SAV = 1' F (-ILL) MARTINA MCBRIDE H';RCAE5730t J 1 7 5 20 WISH YOU WERE HERE c ' - ! ■, . ■. i.-.CH.Dr.HXIRE) MARK WILLS IVI MERCURY 5667W 1 CD 12 15 10 TONIGHT THE HEARTACHE'S ON ME DIXIE CHICKS MONUMLM A.;Rt.lI.' GUI 9 (S) 13 14 19 WITH YOU LILA MCCANN |Cl.D.'AiTLUM^.J|.-:^ t 10 It 10 10 26 HOW FOREVER FEELS r i. . .'. . MuHLt*.! MIJLL'SS KENNV CHESNEV 1 1? 20 12 ONE HONEST HEART - ■. WEffSGSAHER. 1 . , . 12 13 8 8 24 HANDS OF A WORKING MAN TV HERNOON 5 CS) 20 29 6 m AlHPOWER ■ GOD MUST HAVE SPENT A LITTLE MORE TIME ON YOU ALABAMA D.CCCh ALABAMA .X ilLliKENE ^'^GU'i (CI (Dl IV1 B-C* 6S759 t 14 (M) 23 28 9 ■ AlRPOWER AMAZED D Hl.'.l- ■■ i-.l-'. 1 •■ .- -l:.. . ■.. ,lu LONESTAR IVI BfiA 6&;5f) 1 lb QD 16 19 14 STRANGER IN MY MIRROR M •-■■.•! .'J \r. -. v> 11 A.i,'^ RANDY TRAVIS DR[ >i'.'.vrRK''. r.iM ."I.T 16 OD 19 22 11 -^m AlRPOWER HELLO L.O.V.E. CHIMJiiU SItUL i. JOHN MICHAEL MONTGOMERY AILANIIC ALfiJM CUT t i; (D 24 34 6 "^m AlRPOWER LESSON IN LEAVIN' B GAiLIMCftE.T UC^RAW IRGOODRUU H MAhi: JO DEE MESSINA GAJR6 AlBUM CUT IS CS) 21 25 13 AlRPOWER A NIGHT TO REMEMBER D CCOK.L WILSON IM T BARNES.T W HAlEi JOE DIFFIE <Cj (Of (VI EPIC 79i;Bt — 1 19 CD 18 17 15 —^m AlRPOWER * MAYBE NOT TONIGHT SAMMY KERSHAW & LORRIE MORGAN KSTEOALl (^STEGAiL.OridLi IVI BftAMERCURV 65729 f i; 9t «1 " 9 18 GONE CRAZY AlAN JACKSON 4 15 11 24 I LL THINK OF A REASON LATER LEE ANN WOMACK :VI OEGCA 7?07t.7,!CA NA&((VtLLE 2 22 26 18 SHE'S ALWAYS RIGHT CLAY WALKER G A%! AieUM CUT.'REPRISE » 22 24 14 13 17 HILLBILLY SHOES J ^J-..* ■ : ■' ■! .LL'S,B.TAYL£*I MONTGOMERV GENTRY Li.G. iVFjJLJMBIA .'i^'.-.t ' 13 26 n 15 LITTLE GOOD BYES L: HI ■ ■ ■, . ■ .. 1 ■. L.FEE'iSERG) SHEDAISY - i^KVfLYR.G LIf-EEI nJL.^.L. 1 25 28 31 13 SINGLE WHITE FEMALE T Rr ,'. IMH.C.D.JOINSON) CMELY WRIGHT (CHOI IVI MCA iJAi-F'.i.^.E I^O-j: f 26 29 32 [3 SLAVE TO THE HABIT SHANE MINOR ICl ID'tVl MfRCGRV G-^S^TC. ' 21 30 33 18 1 WILL BE THERE FOR YOU JESSICA ANDREWS ICI IDF FV D^EAUWCRKS * 28 CWi \aj 33 39 g CRAZY LITTLE THING CALLED LOVE DWIGHT VOAKAM RERRfF; AlBFJ.! niT T 29 (Wi 31 35 17 WHO NEEDS PICTURES F [1. .. i ■ , ■: . 1 F-'r.r.FHSi BRAD PAISLEY 30 (S) 32 36 8 THE GREATEST KENNY ROGERS OREAMCATCHER ALBUM CiJT t 31 CD 35 41 3 YOU HAD ME FROM HELLO KENNY CHESNEY Ivi6riAB5745 32 dD 39 47 5 THE SECRET OF LIFE B GA. ! ■ !i . i t 'IR5I FAITH HILL «AR\ER BH^iS AlBUMCUT * 33 34 27 18 18 EVERYTIME 1 CRY TERRI CLARK IVI M[R:iiRj lFF:^\A.iFi » 12 (El 37 42 7 THIS HEARTACHE NEVER SLEEPS MARK CHESNUTT fviMCANFf5HVIL.L Hj^':' 35 s2 5 5 WKS. ON CHART TITLE ARTIST IMPRINT & NUHBER'PROt-'OTiON lABlL 2 o 38 38 10 ANGELS WORKING OVERTIME D I..'. ■ i M LL'Nr., DEANA CARTER CAPITC-AL3UU CUT t 41 49 5 [XL STIIL LOVE YOU MORE TRISHA YEARWOOD [Vi MCA NAS'-V LL- ^20iL' t 37 38 34 24 19 I'M LEAVING AARON TIPPIN 17 em) 44 44 11 1 KNOW HOW THE RIVER FEELS P.I " ■■ ', DIAMOND RIO I'V iH ;-i NASI'VILE rj:5i 39 (40; 42 13 10 FOOL, I M A WOMAN p. .■. . . i..'A.\s,M aERi;.! SARA EVANS .. (ji:A-G =-7-1-1 1 40 KM) 46 50 9 ALMOST HOME MARY CHAPIN CARPENTER M. ■■■ ■ ■ 'J H"'.r:CARnNTER,BNCHAPMAt<,A»0fiOfF! if:: .13 'COLUMRi^ '"^US t 41 QD 45 48 6 SOUTH OF SANTA FE i:;- •■ ■ ■ ■-■ i.-:*,S.PSn.S0N,LBCONti BROOKS & DUNN IVI ARISTA \>\;.HVILL[ '.y.'A t 42 ® 49 52 9 GIVE MV HEART TO YOU . H-:..- ,v .'.[[■^I^O-Z.BX'IPIETO' BILLY RAY CYRUS 43 d) 48 54 7 Utuvt: 1 ID IM 1 nvyc V, . .H'C-** T RAMEYi UUUb b 1 UNt -•.TiAMtC AlEt;JM 44 45 36 30 18 tUUH UWN LM ILb LUnNcK Or MY HtAKT }A ty^lL-'iT ; OLbL-lSiiV AiDRlDGE.BCRiSlER: blackhawk 27 51 61 6 CHOICES GEORGE JONES ASVk.AI AIRJM T'JT 46 (47) 52 57 6 WATCHING MY BABY NOT COMING BACK C : ■ . ■ . . DAVID BALL ^c^l[l)mwAP^ERBSK :f'^^f 47 48 50 55 7 SEVEN BRIDGES ROAD RICOCHET CCtUMB'iA ALBUM CUT t 48 (49) 54 63 3 NEVER BEEN KISSED [ i:- - ■>'• -'iMt^ v. ' 1 'ijSTIN.GBARNMlLL.W.RftMBMUXl SHERRIE AUSTIN iCi fDl W ARISTA NAiHV.L.L 1 :i 1 SO t 49 ( jUJ 57 58 8 THAT'S THE TRUTH PAUL BRANDT 50 (ID 55 56 8 SOMEONE ELSE S TURN TO CRY CHALEE TENNISON ASVLUM ALBUM CLT 1 51 ( J4) 62 69 3 LIGHTNING DOES THE WORK CHAD BROCK ICl ID) fVi WARNER BROS. t 52 (li) 67 2 MY KIND OF WOMAN MY KIND OF MAN I L.t- " .', VINCE GILL WITH PATTY LOVELESS (V) MCA NASMVIUE 73 107.t t 53 ® 65 2 YOU RE LUCKY 1 LOVE YOU f. :. ■.■.Llft GOOOMAN) SUSAN ASHTON CAPllOt A16UM CUT t 54 (55) 58 2 SHE WANTS TO ROCK THE WARREN BROTHERS BKA ALBUM CUT t 55 56 53 46 13 SOMETHIN' BOUT A SUNDAY MICHAEL PETERSON 45 57 59 73 3 FROM YOUR KNEES MATT KING ■ hl;UCUT 57 Cm) 68 2 LITTLE MAN I '-. mCKSON : t 58 ® NEW^ 1 m Hot Shot Debut m LONELY AND GONE MONTGOMERY GENTRY 59 60 60 1 UNSUNG HERO 60 , (ID NEW^ 1 (NOW YOU SEE ME) NOW YOU DON'T ,■. , i . ■■■ 1 awcwN^ LLE an:. '.'yOMACh >KA NA&H'.'aLF, A.riUU LUI 61 62 56 43 11 BOY OH BOY THE WILKINSONS T ■■, i -1 ■ h-'t'',S0MSWJLKINS&NAWIlK!S'SOm iCh'OMVi GlWr i,3fi%Hi:Pfi-'-r t 50 dD NEW^ 1 NEVER IN A MILLION TEARS G ■. ■ ■ ■ ■ ■. I. eUHGESS.T TTLER) T, GRAHAM BROWN iNTERSOLi.'.'D -IBIV. CUT PLAT'?.. M 63 (M) n 2 I'M IN LOVE WITH HER M ■■' i-"MbLlNi SAWYER BROWN CJKB Alblj'.f iUl 64 (ID 74 2 IF 1 HAD A NICKEL (ONE THIN DIME) REDMON & VALE DREAMV\'ORK^ ALv'lIM :i,T t 65 66 61 59 9 START THE CAR ti .■■■!> ■ ■" 1 TRAVIS TRITT WARNER BK<5 AlBuM CDI 52 67 71 72 4 LIFE ISA HIGHWAY CHRIS LEDOUX CAPnCLALSliMCUT t 67 68 72 66 20 SAY ANYTHING HEPFt r.-j U BRIGHT [S.UCAriALLy.R.HERRlNGJ SHANE MCANALLY CUHnALrr.AI : I.T t 41 ® NEW^ 1 HER ll^'lMJ SIEflEC WISfM*N) AARON TIPPIN lYHlCSn.'! i' /t.ULV i lJl 69 70 64 2 JOHN ROLAND WOOD DTRYL DODD CC.FlMr'.A A.iil.V MJT QD Rt-eiimY 12 SUNDOWN V-. ■. : L ."iMT^OOT) DERYL DODD COLUMBIA PROMO &lf^LE 59 QD NEW^ 1 LET *ER RIP - . "1 ■ ■ a ■:>IA!N.S RAMOS! DIXIE CHICKS MONUMENT ALBUM CUT 72 73 73 67 HORSE TO MEXICO C >- ■ ■ M 3[»I J WCElROV) TRIM TRIGGS fCj (0) m CURB 73066 S3 (H) RE-ENTRY 16 1 WAS ¥: li \-\ I. : 1 M '.1 ■■ :;,ssARi NEAL MCCOY [CUD] (Vj ATLANTIC 84455 t 37 ® NEW^ 1 RED, RED WINE AND CHEATIN' SONGS MSTIJUBTlM STUART; MARTY STUART IVi MCA NASMVILU 72096 75 CZ)Recot!ls sJXMiing an i-xTrease in detectiaos ojer the pfe^fKAis we**, regardless of chart nwvtment, Aifpower awarded to those records wt»ic*i attain 2.700 detections for trw first lirne Titles below the loo 25 are nv^ovKi ifCfii tfie chart after 20 iveeks 1 VkJeoclip availability. Catalog fwmber is kt CD single, or vinyl single rl CD single is unavailable. IC) Cassette single avaitabiFity, lO) CO singlp avaiOCulily. (M} Cassette ma«i-sin0e availability. (T) Vinyl mam-singte availabtlity. (V) Vinyl s«ngle availatniir/ lh) CD sm^'t a^t^iijt-iir/ r 1599, Billtn^ard'BPI ComnHinicatioos- B ft >3 Ol d Top Countpy Si ngles Sa les. COMPILED FROM A NATIONAL SAMPLE OF RETAIL STORE, MASS MERCHANT, AND INTERNET SALES JUNE S 1999 REPORTS COLLECTED, COMPILED, AND PROVIDED BY THIS WEEK WEEK 2 WKS AGO H O ■_ S s TITLE IMPRINT* NIJMBER'DISTRIBUTING LABEL ARTIST 2 WKS AGO WKS t CHART TITLE IMPRINT i NUMBER, DISTRIBUTING lABEL ARTIST THAT DON'T IMPRESS ME MUCH i i ld ; . .;b 1 »«M u 14 13 103 HOW DO 1 UVEA CURB 7!022 LEANN RIMES NEW^ 1 .INo. 1 SHANIA TWAIN 15 13 11 29 FLY (THE ANGEL SONG) r.iAtn uulwuhneh BROS THE WILKINSONS 2 1 1 9 PLEASE REMEMBER ME/FOR A LITTLE WHILE CURB I3C«C TIM MCGRAW IS IS 12 20 MEANWHILE/YOU HAVENT LEFT ME VET uca Nashville 72084 GEORGE STRAIT (i) 6 GOD MUST HAVE SPENT A LIHLE MORE TIME ON YOU »»iS?s»nG ALABAMA FEAT N SYNC 17 18 17 25 1 DONT WANT TO MISS A THING DtcM 72n;»Ml> nashyieee MARK CHESNUTT 2 2 14 WITH YOU ASyiLM M0^2.tEG LILA MCCANN IB 16 IS 18 ORDINARY LIFE WARNER BROS 17136 CHAD BROCK 3 3 S SINGLE WHITE FEMALE MCA nashvill£ 72(»2 CHELY WRIGHT (19) 20 2 NEVER BEEN KISSED arista ruSHViLLE 13140 SHERRIE AUSTIN t 4 4 12 HILLBILLV SHOES ruLUfBiA MONTGOMERY GENTRY 20 17 16 18 HOW FOREVER FEELS bna bs66E,rig KENNY CHESNEY (7) 5 7 7 A NIGHT TO REMEMBER cpic rqiiasoNI JOE DIFFIE 21 19 18 36 IF 1 LOST YOU WARtiERBROS 17152 TRAVIS TRin LD 8 6 15 1 WILL BE THERE FOR YOU drlai/works 5W2I.WER5C0PE JESSICA ANDREWS (22) 25 23 10 WHO NEEDS PICTURES sb ets lASh* ll- 13156 BRAD PAISLEY 9 7 5 10 LITTLE GOOD-BYES Lvfiic street f.43?5iH(XLWOOD SHEDAISY 23 21 2 EVERYBODY'S FREE (TO GET SUNBURNED) RAZOO t tie S07M CLEDUS T, JUDD 10 10 10 31 HOLD ON TO ME «tlani.: iwi9?;AG JOHN MICHAEL MONTGOMERY 24 22 19 23 SOMEBODY'S OUT THERE WATCHING Efi 790MSONY THE KINLEYS U 9 8 14 YOU WON'T EVER BE LONELY RuesM&KlE ANDY GRIGGS 25 24 22 4 BOY OH BOY giant 16B96ViARSERBaOS THE WILKINSONS 12 11 9 16 DRIVE ME WILD curs 73075 SAWYER BROWN ORecof'ls with the greatest sales gams this *eek. •Recofdmg tndustry Assn. o< Amefica cettifKatioo for r>et sMtyhent ol 500,000 units 13 12 14 6 ALMOST HOME COIUMBIA 79l4a^Y MARY CHAPIN CARPENTER IGold) A RIAA cefttf'cation for net stiipment of 1 million units IPlatmuml. with mutlimillion titles intJicatetJ t)y a numerat followmg the sym- tral. i 1999, BiiltDOard'BPI Comriiun.calions and SoonflScan, Inc 80 BILLBOARD JUNES, 1999 Countr/ ARTISTS & MUSIC COUNTRY ★★★★★★★★★★★★ bij Wade Jessen Out BKHIND the BARN; There's a battle royal raging between Tim McGraw, Sieve Wariner, and George Strait for No. 1 on Hot Country Singles & Tracks, and not one of the three is showing any signs of weakness. With an estimated 48 million audience impressions, McGraw pads his grip on No. 1 for a fourth week, as "Please Remember Me" (Curb) gains 263 detections to fend off Wariner's "Two Teardrops" (Capitol), which rises 3-2 with a hefty gain of 312 plays. Strait's "Write This Down" (MCA Nashville) gains 345 spins to move 4-3. All three songs log airplay at each of our 1.54 monitored signals. In audience impres- sions, Wariner and Strait finish with 43 million and 42 million, respec- tively. WGRX Baltimore and KPLX Dallas are the overall airplay leaders for McGraw's song, with 687 and 502 plays, respectively. The Balti- more outlet is an all-current music format that has been spinning "Please Remember Me" at least 130 times per week for the past three weeks. With .576 detections since it started airing the song, that sta- tion also checks in as the overall airplay leader for Wariner's track and is joined by KIKK Houston, which has aired "Two Teardrops" 469 times. Meanwhile, Strait's biggest airplay totals come from KIKK and KMLE Phoenix, with 644 and 535 plays, respectively. H E SANG DIXIE: With more than 15,000 scans, Dwight Yoakam's second best-of set, "Last Chance For A Thousand Years: Dwight Yoakam's Greatest Hits Of The '90s" (Reprise), bows at No. 10 on Top Country Albums and enters The Billboard 200 at No. 80. The new package includes Yoakam's cover of Queen's "Crazy Little Thing Called Love," which gains 455 spins to jump 33-29 on Hot Coun- try Singles & Tracks, with airplay at 139 country ports. Heavy airplay (more than 35 plays) is detected at WYNY New York, KIKK, and KPLX. New spins are heard at 22 stations, including KHEY El Pa.so, Texas; WESC Greenville, S.C.; and KATM Modesto, Calif. If you LIKE PINA COLADAS: As Chely Wright's "Single White Female" gains momentum on Hot Country Singles & Tracks (28-26), the album with the same title bows with approximately 10,000 units at No. 15 on Top Country Albums and enters The Billboard 200 at No. 124. The new set is the fourth album for Wright and her second on MCA Nashville. Wright came clo.se to being a casualty of the artist and label glut that resulted during country's early-'90s boom period. Her 1994 debut set was issued by the revived Polydor imprint, which eventually became a short-lived Nashville division of A&M. Wright's third album, "Let Me In," charted in the autumn of '97 and yielded "Shut Up And Drive," her highest-charting radio single to date. It peaked at No. 14 on Hot Country Singles & Tracks. On Top Country Singles Sales, "Single White Female" gains 1,000 units to bullet at No. 5. BLACK COUNTRY MUSIC ASSN. AIMS TO BRING GENRE A FRESH PERSPECTIVE iConlitpn'd fmii ixiiie 77) KIKT Greenville, Texas, happened by the BCMA booth and was fascinated. "I started talking to a gentleman from Wichita [Kan.] — Andrew Sum- mers — and he later sent me a CD," .says Patrick. "1 really Kked it and haw been playing one of the songs, 'State Of The Union,' in light rotation ever since. I was very impressed with (BCMA'sl professionalism and lov« of the format and walked away feeling \'ery gtxxl about them." Staton beliews Summers is com- parable to Sam Cooke. She also cites some other BCMA artists, such as Carl Ray Williams, a Vince Gill-like singer from Broken Arrow, Okla.; Phoenix-based Rhonda Towns; and North Carolinian Dwight Quick, a "phenomenal" guitarisUsongwriter "All these people come to Nashville and cut albums and spend money and go back home and, after one or two plays on the local station, it's over," says Staton. "But we could turn it into big business if we had the opportuni- ty to reach our potential." So the BCMA has also formed the bu-siness entities Cowboy Soul Enter- tainment and Black Country Music Showcase, in order to secure work for BCMA artists and to market them. "We all grew up listening to coun- try singers and emulating them," notes Staton, who cites Dolly Parton as one of her influences. "But we haven't had any of the kind of career investment and professional help available for us to develop as writers and performers. We're so invisible becau.se nobody knows about us, and there's the stigma of country music being just white music. But if the labels would start .signing minorities and getting them the best songs in Nashville and putting them out open- ing for Garth or Reba, the public could decide if they liked them or not" Staton says the brief recent careers of such acts as Wheels and Cleve Francis aren't grounds for cau- tion. Likewise, she warns against basing future conclusions on the via- bility of BCMA artists on how well current Curb artist Trini Triggs per- forms in the marketplace. "Money Ls .spent and wasted every year on artist after artist, and how many of those are black?" she notes. "If they .signed fi\«B black artists out of the 60 last ye&r and found them the best songs, they might haw shaken the whole country music industry up." CATHEDRALS, NELONS HONORED (Continned fn»n page 77) founder .James D. Vaughn's only daughter He became a driving force in the company, serving as band director and staff artist for the Vaughn-owned WQAN. He managed the Vaughn Radio Quartet and ran the school after Vaughn's death. He was also a songwriter known for such compositions as "Peace Like A River" and "Tell It Ewrywhere You Go." During the evening's festivities, there were performances from the acts nominated in the song of the year category, including Greater Vision, Gold City, Gaither Vocal Band, and the Bishops. There was also a special video segment highlighting the open- A Capitol Affair. Artists and staffers from Capitol Nashville gathered at a party after the Academy of Country Music Awards show in Los Angeles to fete award winners Garth Brooks and Steve Wariner. Shown, from left, are Karen Byrd, VP of publicity of Capitol; Bill Catino. executive VP of Capitol; Pat Quigley, presidenVCEO of Capitol; Ken Berry, president of EMI Recorded Music; Steve Wariner; Jennifer Rawlings; Trace Adkins; Terry Stevens. VP of national promo- tion for Capitol; Tom Becci, VP of finance for (Capitol; Bill Kennedy, VP of sales for Capitol: Roy Lott, presidenUCEO of Capitol Records and deputy president of EMI Recorded Music North America; and Scott Stem, VP of publicity for Capitol. ing of the Hall of Fame and Museum. The late .I.D. Sumner of the leg- endary Stamps Quartet was honored with the James D. Vaughn Impact Award. Sumner, 73, died last Novem- ber of a heart attack. Found in his hotel room, he was on tour and had been performing in Myrtle Beach, S.C. Sumner's daughters Shirley Enoch and Frances Dunn accepted the award. Hosted by the Southern Gospel Music A.ssn., the awards gala was a fund-raiser for the Hall of F'ame and Museum. Following is a partial list of the winners. Album of the year: "Faithful," the Cathedrals, Homeland Records. Female vocalist: Kim Hopper. Male vocalist: George Younce. Musician: Anthony Burger. New artist: Booth Brothers. Male quartet: the Cathedrals. Trio: the Bishops. Solo artist: Kirk TiUley Song: "You're Not Alone," written by Squire Parsons, recorded by the Kingsmen. Songwriter: Rodney Griffin. Television award: "All Day Singing At The Dome," Bill Gaither. Video: "Atlanta Homecoming," Bill Gaither Producer: Lari Goss. Arranger: Steve Mauldin. Studio musician: David Johnson. Radio station: WXRI-FM Win- ston-Salem, N.C. Disc jockey: Wayne Wallace, WD.JC-FM Birmingham, Ala. COUNTRY SINGLES A-Z PUBLISHERS/PERFORMANCE RIGHTS/SHEET MUSIC im.£ (Publisher - bcensing Org.) SJimI Music Oist 41 ALMOST HOME (Why Walk, ASCAP/Akno ASCAPySNC ASCAP/Amw. ASCAP) WBM IS AMAZED (Warw-Tanwtane.BMll^ohkfl Wheat BMI,'T:areers BMQ BMl^tverktss. BMl^Sones Ql rvashv* OreatnWxtis, BMlt:heny Rr^. BMD CUA'HL/WBM 36 ANGELS WOnUHG OVERTIME (Uchaelhouu. BMLlnsiati BMLW, ASCAP/luniimuic. ASCAPl HLVfBM 6 AKIONE ELSE (FVyGram Intemaboiul, ASCAP/St Jul«n ASCAP] HI 62 eOVOHBOV(GoMvPlio<nn,SOCAIO(iay3«)ngs. SOCAN/Amanlasorvs. SOOMOunh-tl ASCAP) WBM 46 CHOICES (Muse Coip Of Amehu.eW^ Bum. BML^tintnnion. SMlSaondodu. ASCAP/Makm Fnends. ASCAP^Mac Wadhjm, ASCAP) HI, 29 CRAZY UTTU THING CALLED LOVE (Oueai.BMlCeech wod. BMI) HI 34 EVQIYTIMEICinf(BM&ASCAP/^ierTaHome. ASCAP/Wamef Tanmtane. BMI) HUWBU 40 FOOL.rMAffQHM<Sorry/ATV1n«.BMUWInd»i«pt PscrtK. BMlWedenwod Avenue, eMl/HflbdWi. ml) HL'WBM 57 FROM YOUR KMEE5 lEMI Apnl. ASCAP/Sound Istand. ASCAP) HI 43 GrVEMrWAfiTT0T0U(RKAHall.ASCAPM3leitcwti, ASCAP.^y. ATV Tree BMI) HLVfflM 14 GOD MUST HAVE SPtMT A LTTTU MORE TIME ON YOU {Vmc Cop Of Anwnca. BMlBa|un Bnal. BMI) hC 21 GOHECfUZYWB.ASCAP/^HM. ASCAP) WBM 31 THE GREATEST (New Don, ASCAP/NwHws, ASCAP) WBM 13 HANDS OF A WORNHG MM (Warim-Iamerlaiw. BMt/Surar Bend. BMI) WBM IT HELLO LaVL (MndsmpI PwIk, BMI/Mr lJt« % Worh. BMl/lrving. BMO WBM 6S HER (Windswapt P«C*c BMl/My Ufe's Wah. BMfAJnio. ASCAP/Dadih RabU, ASCAP) 24 HILiMlT SHOES (SstmStti BMI] HL 73 HORSE TO MEXICO (Mi« Curb. BM/Rose Bkn. BML^ill- hotise. BIASoiBOf PdhGism Int I BMT) Hl^M 11 HOWFOREira^nsmBFTwr-IarTHflarw.BMUNevr Works. BMIW. ASCAP) WBM K IFIHADAMCKEKONETHMDIIKKStanlruckAneel BMl/Dead Solid Peilect. BMHIamstem Cumberlarxl, BMI/Sonv/ATV Trse, BMI) t«/NBM 39 I KNOW WW THE RIVER FEaS (Famous. ASCAP/IUsnd Bcund. ASCAP/Pmcis That Be, ASCAP) HL 37 lU STia LOVE YOU MORE (ftealUNins, ASCAP) WBM 22 lU THINK OF A REASON LATER (HamstemCunibenand t)M(.'Bdt;y Mae. BMI.^I Blackwood BMVTy t^rxl. BMI) 64 I'M IN LOVE WTTH HER lYilaoSM Riuui, BA1I/MRBI. BMl/Btflt On Rock, ASCAP/CMI, ASCAP) WBM 38 IM LIAtflHG (O-Tei. BMl'Bknd Spariw. BMl'Som/AIV Cross Keys ASCAP;K«ti Wilwre, ASCAP/MCA ASCAP) HI 28 I WILL BC THERE FOR V0U(StMttvclihnil.8llM>Md ■kM Perfect BMVWvrar-Tamgrtmai BMWilnMyinen. BMl/Sony/ATV Tree. BMl/Mriowa. EM) WMCM 70 nHNMUiw WOOD (Songs oTPDlyGrmB^^ Beer, Nril} HL 18 LESSON M LEJMN' (Chappell & Co . ASCAPySailirukei. ASCAPy^/ATV Cross feys. ASCAP/Bkie OuA ASCAP) HI 72 L£T-ERRIP(SonBOfPDlyGrMnlnl'[.ei«/S<iuirftly SniiVf. BMI/SuiteTMoOrrM. BMI/Fleysona. BMl/l3«<VCfSWde, BMI) 67 UFE IS A HIGHWAY (8M(H:anada,eMVFalne Sky. SOCAK/BMG, ASCAP) HI 52 LIGHTNING DOES THE WORK (McSpadden. RMl'Bliie^^tHllr. BMI/Sony/ATV Ir«e. mj^a Hadey. BMI) HL 25 UTTLE GOOO-BYES (Wrthoiit Anna, ASCAP/MaffWle H«, ASCAP/RusNng Water. ASCAP.^Iottel R«6bI. «CAP/ltoH tuclfy Thunda, ASCAP/ICG. ASCftP.'Sony/ATV Tree. BMlltoil Brecfi. BMI] HL 58 LJTTU MAN (WB.ASCAP/fee Haw; ASCAP) WBM 59 LONELY AHD GONE IHousa 01 M^rHy, BML/bHIo Torna - dn^ BMl^ornsd-Nomafi.SMI/SonKSOfPDljCrjmlnt'l. BMb'A'amur-Iamurlane. BMI} WBM 44 MAKE UP IN LOVE (MCA, ASCAP/O-ln. BHD HL 5 MAN' I FiEL LiK A WOMAN' (Songs 01 FWvGram Ml mv\ ■.x'v ( i.Ni RMl7omte, ASCAn^*/lVBM 20 MAYBE NOT TONIGHT (Smash Vtg». BMVBig Ptbjn. FiMllii^-wtwr One Songs. BMI/lf Dreams Had Wings, BMI) WBU 53 MY KIND OF WOMAN/MY KIND Of KAN (Vmnc Uae, BMI) WBM 49 NEVER BEEN KISSED (ReyvyicBMl/liKky Lady Bl« BMlBayou Boy, BMLWraisoi^ BMlOiiysalis. ASCAP/Audatrty ASCAPI HUWBM 63 NEVER IN A MILLJOH TEARS [EMI Blackwood. BMl^urg- Isle. BMI) HL 19 A NKHT TO REMEMBER (Curt), ASCAP/KneticDiarmnd II, ASCAP/tteti N Rikrr. ASCAP'Sone 01 Peer. ASCAP.Gramil¥. ASCAP) Hl/weW 61 (NOW YOU SEE ME) HOW YOU DON'T (i ainous. ASCApTwm Oeehs. ASCAP/tess Brown, BMlHen-lBn, BMI! 12 ONE HONEST HEART (St8fS(nickAneel.BMlMalloy 's toys. BMlDine Slara. ASCAP/Zomba, ASCAP/Swear By Tlie Muse, ASCAP) HUWBM 1 PL£ASER£MEMUR ME (Sonv/AlV Cross Keys, ASCAP-Blue Sky Rider. BMHrvkig. BMI) HCWBM 75 RED, RED WINE AMD CHUTIH- SONGS (Warrw Tamer tare, BMlTAarly Party BMIJWBM 68 SAY ANTTHIHG (Mike Curb BWCuitMrvs. ASCAP) mv 33 THE SECRET OF UFElSofT^.'AIV Cross Keys. ASCAP/P»r (it« Dayixv ^SCm HI 48 ^EN BRIDGES ROAD {iw\g. BMII WBM 23 SHE'S ALWAYS RIGHT (Swiy/AIV Tree, BML^i^er In Siler^, BMVCafeefs-BMG, BMIMusk Hill, BMlHope-N Cel. BMVrMCatAofS.mvCiiN. BMR HL 55 SHE WANTS TO ROOKSom/ATV Tree, BMI] HL 26 SlHGLf WHITE FEMUC(BU«nmAMniie. ASCAP/WindswepI PaofK. ASCAP/EMI BlsclMOod. BMlWarh AJan Sprinn. BMI) HUWBM 27 SUMEIDTHEHUlf^QivOIFDIyGfwnlnn. BMlSevcn AneEls. BMVIoheco Tuoes. BMlWaos&a Rivci, BIAIMRBi BMI) HL SI SOMEONE ELSE3 TURN TO CRY (Sony/ATV Tree. BMIWB ASCAP/Good Atiple ASCAP) HL/WBM 56 SOMETHIN- 'BOtn A SUNDAY (AImo.ASCAP,'OaddyRal>- t)(l ASCAP.'tMl Blackwod BML'T^ land. BMI) ML'ViBM 42 SOUTH OF SAHTA FE (Sony.'ATV Tree. BML^i^ki Prame. BMl/Icnieo. BMI/Swrf/ATV Cross Keys. ASCAP) HL 66 STUn^ THE CAR (EMI Blackwood. BMl/Colet»ofi. BMI) HL 16 STRANGER IN MY MIRROR (Acutl-RDsa.8MUSaiv/ATV Cross Ken. ASCAP/Km WSams, ASCAP) Hl>WBM 71 »JHDOWN (Moose, SOCAN} WBM M THArS THE TRUTH (ftil^SOCAHWindsweptPaoBc. A5CW,1i> Itic fairway. ASCAP) WBM 35 THIS HEARTACHE NEVER SLEEPS (EM Bladmood. BMlWlsle. BMt/Tn)Jorinsai. BHD HL 9 TONKHfTHEHCARTK»rSOHME{MuacC(N. ASCAPyUfl ApnL ASCAP/Soutnm Dak ASCAP) HL 2 TWO TURMOPS [Mr Bubta, BMI/Sonii/ATV \m. BMI. Stev« Wanner, 8MI} HiyWBM 60 UNSUNG HERO (PottMi Dream Pty . BMI/EU Blac*- wood. BMl/Dowi In front, SOCAHliieamina In PuUc, S(XJyi.tMI Acrd ASCflP/lnto Woilin , AS«P/lin*ft A5CAP) HL 47 WATCHING MY 8ABT NOT COMING BACK (EM Blacfc- wofld BMlUonlcresI. BMLf Ml Apnt, ASCAP) HL 7 WHATEKR TOU SAY (Kamstoin Oimbertand, BMlB^tn Mae, 8MI/New Haven. BMI/Musc Hill, BMn HtvWBM 30 WHO NEEDS PICTURES (EM tanLASCAP/PlaKi Paislev- ASCAP/Cattle CaH, ASCAP/Sea G^le. ASCAP) Hi 8 WtSN YOU WE»E HERE (Acuft-Rose.BMI^y/ATV Tree. BMl'Ur Bubba, BMI/BeNDO Unde. BMI) HLjWBM 10 WTTH YOU (WB, ASCAP/Dreamin' UpslTDsm. ASCAP/Bc Red TraclDT, ASCAP) WBM 3 WRITE THIS DOWN (Heon Sky. ASCAP,')rvine.BMlO]nEr Bay BMI) HLyWBM 32 YOU HAD ME FROM HELLO lAculf Rine. BMI) WBM 54 YOU'RE lUCICY I LOVE YOU (Rm Biavn BMlMapi Bobi fliCAP; ABW! 45 YOUR OWN UU\1 CORNER Of MY HEART (EMI Apnl, ASCAP,.'Wat TiTne. ASCAP.-Rck Hall, ASCAP) HUWBM 4 YOU WONT EVER BE LONELY (Sony/ATV Tree. BMI.^Mo Fuzzy Dice ASCAP./Tanwus, ASCAP) HL BILLBOARD JUNE 5. 1999 81 Artists & Music Revueltas' Modernist Vision Spices Up Tlie Latin Qoarter La VIDA LOCA; With LaUn music getting itB day in the sun, it's nice that we haw something to celeb mr besides Ricky Martin. Particularly, there Ls Silvestre KeNnieltas, the greatest of Mexican composers, whose crazy, cre- ative life began on Dec. 31, 1899. Revueltas is in many w^'s the musical analog to iconic muralist Diego Rivera; his modernist art divines the spirits of Mexican folklore to forge an original and vibrant vision, one simul- taneously earthy and surreal in true Day of the Dead manner. Although steamy and colorful, RevTieltas' pri- mal mosaics are far from picture-postr card romanticism, convulsing as they do with what he described as the "rhythm of life." Along with his hallucinatory music, the hazy Wstorical record has helped to reincarnate lievueltas as a mythic character. The ephemeral details of his life haw been woven into legend, heightened by an early, dis- solute end. Brought up in Mexico's rural Durango province, Revueltas learned the violin at a young age. He went on to study in Chicago and lead a theater orchestra in San Antonio before join- ing nationalist composer Carlos Chavez in introduc- ing contemporary music to Mexico City in the '20s. Filled with revolu- tionary fervor, he also spent time fighting fascism in Spain. The last years of his life were fraught with troubles, and Revueltas suffered an alcoholic's death in 1940. In the preceding decade, though, Revueltas had been proUfic, writing intense theatrical scores and such concert masterpieces as "Sense- maya," a percussive, ritualistic work that sounds like Stravinsky after swallowing a tequila-soaked worm. "Sensemaya" went on to win favor as an orchestral showpiece — and as a feature on di.sc from Leonard Bern- stein's New York Philharmonic recording in 19S5 (Sony Classical) to more recent Latin samplers by Michael Tilson Thomas and his New World Symphony (Argo) and Enrique B&tiz and the Festival Orchestra Of Mexico (Naxos). The world has been .^low to catch up to the rest of Revueltas' Peer Music catalog, although the stage was set for the centennial with pioneering sets issued in the mid-'90s: "Night Of The Mayas," a historic compilation on Cataly.sty'BMG; "Musica De Feria," a New Albion disc of the four string quartets played by the excellent Cuarteto I.,atinoamericano; and a Dorian album featuring the volcanic film .score "Rede.s" as rendered by the late Eduardo Mata and the Sim6n Bolivar Symphony. That's not to mention a sharply played and beautifully recorded album issued this spring by Sony. Esa-Pekka Salonen leads the Los Angeles Philharmonic in "Sense- maya," "Ventanas," and the suite from the film score "La Noche De Los Mayas," and he directs the Phil- harmonic's New Music Group in "Homonja A Federico Garcia Lorca," "Ocho Por Radio," and two "Little Serious Pieces." The Los Angeles band will perform the kaleidoscopic "La Noche De IjOs Mayas" at the Hol- lywood Bowl in August, as well as on tour in Mexico. But the current leader in the recog- nition of Revueltas Ls the 1 Iruguayan- born American conductor Gisele Ben-Dor. She is in the last year of a decade-long tenure as director of Boston's Pro Arte Chamber Orches- tra, a group that has made a name for itself with fresh repertoire. And as music director of the Santa Barliara Symphony for the past four years, she has revitalized the California band (and its audience), specifically by incor]K)rating Hisijanic music. One of the highlights of la.st year was Ben- by Bradley Bambarger Dor's disc of Revueltas rarities with Santa Barbara on Koch, the orches- tra's debut recording. The album fea- tures a premiere take on Revueltas' final work, the richly meltKlic ballet "La Coronela," as well as the trippy, expressionistic "Itinerios" and more typically folklorie "Colorines." In October, Ben-Dor leads the Camerata De Las Americas in a Revueltas program in Mexico City. And following up her earlier staging of "La Coronela," she is planning an ambitious lievueltas festival for next season in Santa Barbara that will not only feature the major orchestral works but the long-unseen films that he scored and conceiis of his chamber pieces and children's mu.sic. Ben-Dor atimits that it took some t;\lking to get Santa Barbara to open its sal's to an obscure Latin American modern. But she LS a persuasive advocate. "I've always beiiev^?d that .some of the best classical mu.sic comes from folk roots," Ben-Dor say.s. "Beetho- ven, Bartok, Dc Falla — they were all inspired by the mu.sic of their countries. Revueltiis is often called the Mexican De Falla, and you can hear Mexico in him as you can hear Spain in De Falla. And that is why once people get a chance to hear a Revueltas piece, they love it. Whether it happens to be violent or satiric or lyrical, the audience hears something they recognize, something they can grab onto. His music com- municates immediately. People in Santa Barbara are .still talking about the times we played 'La Noche De l-as Mayas.' " Beyond Revueltas, Ben-Dor has also programmed the works of Piaz- zolla, Villa-Lobos, and Ginastera in Santa Barbara. Koch issued her first Ginastera album in '95, and she has followed up on Conifer/BMG with a Ginastera disc with the London Symphony Orchestra that features the ballets "Panambi" and "Estancia," the latter appear- ing complete for the first time. For her next Conifer recording, she plans to essay !-arely heard Villa-Lobos with Santa liarhara. Ben-Dor has also been the prime mover behind building a living repertoire of Hispanic con- cert music; the Santa Bar- bara Symphony has commis- sioned works by Americans Robert Rodriguez and Miguel de Aguila Yet Ben-Dor is more than just a l.atin specialist. More than once, she has filled in at the last minute with the New York Philharmonic — most recently conducting the .Mahler Fourth without rehearsal and to rave reviews. {lmpres.sed, music director Kurt Masur has tapped her as his backup on the Philharmonic's sum- mer 2000 tour of Euro|K.'.) But with her South American baekgi-ound and world-class experience, Ben-Dor does feel that she can make a case for Latin American composers that has gone long unmade. "There has obvioasly been a polit- ical prejudice against classical music from the Third World," Ben-Dor says. "And with the countries often just .strugghng to survive, culture didn't have a chance to get out. It is true even with Spain. Italian opera is famous around the world, but Span- ish zarzmla is hardly known — and there are zarzuela masterpieces to rival those of Italian opera. Also, con- ductors tend to champion their own music, and Latin America has i)ro- duced very few conductors. I know that if 1 had not left Uiiigiiay to study in Tel Aviv and America, I wouki not be doing what I am nmv" With invitations to conduct Revueltas in Italy and Ginastera in Finland and Switzerland, Ben-Dor is chasing her passions around the world from her family base in New ,Iei"sey. She has an upcoming concert in Mexico City with a program devot- ed to female compo.sers, including Clara Schumann and the unsung Vita Kapralova (a Czech who, if she hadn't died young in World War II. "would've been another Jandiek," Ben-I>or .says) and Tere.sa Carrcno (a 19th-century Venezuelan, whose String Quartet Ben-Dor has tran- scribed for chamber orchestra). Ben- Dor's wish list includes a recording dedicated to Uruguayan compasers. "We have to balance the old favorites with the new and unusual," she says. Billbood. "And 1 believe you can capture peo- ple's imaginations with anything that is done well and with conviction. As Mendelssohn did for Bach and Bernstein for Mahler, you must champion what you believe in." JUNE 5, 1999 Top Gospel Albums . ICHAflT CaMPIlEDFIiaiAIUIK»IAlSAMPIE(IFIinWSII)«.M«SSM(H»WT sguncScso AMI Wimn SALES «!miSC0UECI[D.C0IIIPIlII).«IDPI!O«(Iiei lllllll * i * s s ARTIST TITLE IMPRINT & NUMBERDISTRIBUTING LABEL 1 34 KIRK FRANKLIN • ^ GOSPO CENTRIC 901 ;*INTERSCOPE :s4 wtrk^ t\K. 1 THE NU NAl ION PROJECT 2 2 7 T.D. JAKES ISLAND 524630 ■ SACREO LOVE SONGS 3 3 13 VARIOUS ARTISTS «tlim«i!S WOW GOSPtl 1999- THE rEAirS 30 TOP GOSPtl/UITISTS AND SONGS 4 4 5 ANOINTED MYRfiivwoRt) 69616/EPic ■ ANOINTED S 5 5 VICKIE WINANS CGI M2»pwtinum ■ LIVE IN DETROIT II 6 6 45 TRIN-I-TEE 5:7 B RITI 9009A(INIERSCCPE ■ TRIN-I-TEE 5i7 7 7 57 rRtD HAMMOND RADICAL rOn CHRIST A VERITY 43110 (PAGES OF LIFE) (»MPTERS 1 & II (D NEW^ VIRTUE VERITY 43122 ■ GET READY s 9 105 GOD'S PROPERTY FROM KIRK FRANKUN'S NU NATION A' B RITE 9CI093.mTtRSC0PE GOD'S PROPERTY 10 10 18 VARIOUS ARTISTS malaco 100? HERITAGE OF GOSPEL u 12 9 OOTTIE PEOPLES ATLANTA INI L 10250 GOD CAN & GOD W/ILL as 16 3 THE FLINT CAVAUERS FIRST LITE 4018 THE FLINT CAVALIERS LIVE IN CONCERT 13 11 61 CECE WINANS PIOWEER 9279iAG EVERLASTING LOVE 14 8 28 T.O. JAKES WITH THE POTTER'S HOUSE MASS CHOIR INTEGRITY/WORD 69542jtpic fS LIVE FROM THE POTTER'S HOUSE 15 17 69 VARIOUS ARTISTS A lEnmoiD WtW GOSPEL 1998 - THE YEAR'S 30 TOP GOSPEL ARTISTS AND SONGS (S) 21 15 REV. JACKIE MCCLIUOUGH cosncinmioiwliTERSCOR ■ THIS IS FOR YOU LORD 17 15 16 VARIOUS ARTISTS INTEISOUNO 531M-LATINUM RAISIN' THE ROOF 18 14 27 SOUNOIRACK wmjK Mt»WE«c»t THE PRINCE Of EGTPT-INSPIRATIONAl 19 13 9 HELEN BAYLOR vERin .<3i2l a HELEN BAYLOR...UVE 20 18 23 JUANingWUM SHEliiiuH»iiB!WT»i>iii65! MORNING GLOfiV VOLUME ONE: PEACE OD 30 11 NEW DIRECTION MYRRHIWORD 6931(VEPic NEW DIRECTION 22 19 13 VARIOUS ARTISTS [Ml GOSPEL 20209 GREAT WOMAN OF GOSPEL VOLUME II 23 22 17 MEN OF STANDARD muscle shoals sound 901 5UALAC0 FEELS LIKE RAIN (E> RE-ENTKT WANDA NERO BUTLER nine 227;5GUNd of gospel FAMILY PRAYER 25 23 36 YOLANDA ADAMS verity 43123 ■ SONGS FROM THE HEART ® 40 4 DOC MCKENZIE first ute 4016 LIVE 27 24 81 KAREN CLARK SHEARD island 524397/MeRCURY ■ FINALLY KAREN 28 26 14 LEE WILLIAMS & THE SPIRITUAL OC'S MAJLSlic;oo4 LOVE WILL GO ALL THE WAY (D 39 5 KENNY SMITH trinity 30OIVHCNORIX SO REAL 30 29 39 DAWKINS t, DAWKINS harmony 1696 FOCUS 31 27 39 FULL GOSPEL BAPTIST FELLOWSHIP MASS CHOIR gospocentric ■W176.INTER5COPE BOW DOWN AND WORSHIP HIM 32 28 47 WALTER HAWKINS AND THE LOVE CENTER CHOIR n ji , : .i,-n: -i; ■ iMiiKwi ■ LOVE ALIVE V: 25TH ANNIVERSARY REUNION 33 33 31 KIMBURRELL towmy boy gospel 1249flOMMY BOY EVERLASTING LIFE 34 20 4 KEITH STATEN WOKO 69845/(Pic GLORY IN THE HOUSE (35) NEW*- MICHELLE FLOWERS WITH J. VALANTINE Bunco 07?M 1 E SOMEBODY LOVES YOU lAND HIS NAME IS JESUS) - THE ALBUM 36 34 5 SOUL KENDRIIVDIAMANTE 400CVTRINITY SOUL 37 36 100 VICKIE WINANS CGi 161279 LIVE IN DETROfT REENIRV KEITH JOHNSON d THE SPIRITUAL VOICES WORLD WIDE 2009 THROUGH THE STORM (D JAMES BIGNON t THE DELIVERANCE MASS CHOIR ATLANTA IMFL 10243 ON THE OTHER SIDE OF THROUGH 31 FIVEYOUIK.IIEN LOWV^™.:. 5 FOR 1 O "•CortK wNi llw pMtnU utM piM W iltnim unh (GoMI A RIM cFitiFiultoA loi net tl unn IDiamondl. Numoal toUowwiK Flilinu * lime ol 100 minuUj « more, itm KIAA m 82 BILLBOARO JUNES, 1989 Artists & Music Billboad. 6,;/ Deborah Evans Price Brother's keeper gets boost: Ardent Records has teamed with Chick-fil-A in Memphis to promote the new self-titled album by Brother's Keep- er. The promotion inx'oh'es issuing 100,000 double-sided coupons with both the Brothers Kee|)er CD cm-er and the Chick-fil-A logo. The coupons are i-edeemable for $5 off any Bnither's Keeiier album pureha'sed at a local Chiistian music retailer, as well as for "buy one sand- wich, get a second one free" offers at all area Chick-fil- ^ A re.staurants. On May * M, "■ K^up was ■'" scheduled to perform the first in a series of r -W^^^^^^V parking lot concerts, at J Tj H^^B Southaven Chick- i // /^^^H fil-A in Memphis, the BROTHER'S KEEPER group's hometown. Area residents could also hear Brother's Keeper's music on Chick-Fil-A Riuiio at FM-101.1. as (he restiturant has a low-power transmitter that broadcasts while cm^tomers are in line at the drive-through. The group con.sists of John Sanders, Philip Enzor, Gabe Dunlap, and David Schrodt Sanders and Dun- lap are both former Chick-fil-A employees, and both attended college on Chick-fil-A scholarships. Ardent president Pat Scholes is investigating expanding the promotion to other markets. In the meantime, the group has been getting an enthusiastic response to its music while touring this spring with Jaci Velasquez. Booked by William Morris, the group will also be joining Velasquez for key festival dates this summer. UAITHER NEWS; On May 18, Bill Gaither hasted a special celebration at Nashville's RyTnan Auditorium for the Cathedrals, as the legendary group prepares to retire this year The sold-out event included perfor- mances by such Gaither "Homecoming" regulars as Candy Christmas, Ivan Parker, and Ann Downing, a-s well a.s appearances by the Statler Brothers, the Oak Ridge Boys, and Sandi Patti. Apparently, Oak Ridge Boy Duane Allen had bought tickets to the event for fellow member Joe Bonsall's birthday When the Cathedrals found out the Oak Ridge Boys were going to be there, they inrited the Oak Ridge Boys to perfoi-m on the show. Among the highlights was a segment with the Cathedrals and Gaither gathered around the piano, during which Cathedral George Younce sang a tear- inducing "Coming Home." The event w~as captuivd on a video set for Nowmbcr release. Speaking of the Gaither clan, daughter Amy Gaither-Hayes has a wonderful album out on the Spring House label. Produced by Michael Sykes, "Some Things Never Change" is Gaither-Hayes' debut set. Onewondei's why this tjilcnted artLst hiisn't recoi-il- e<l sooner. She mcxiestly credits her hmther Benjamin, sister Suzanne, and brother-in-law Barry Jennings with helping her pull the project together. "It's something my sister and I had talked about for a long time since I livied in Nashville ."^ev^n or eight j'eai's ago," says Gaither-Hayes. who retiu"ned to the family's hometow-n, Alexantlria, Ind. "There were songs she and my bmther had written that didn't ha\^? any home, l^ey were folk, and that's sort of my style . . . She wanted me to record. I said, 'I'm not a recording artist, I'm an actress.' " Gaither-Hayes holds a master of fine arts in acting, and in addition to acting, she directs. As involved as she is in theater, Gaither-Hayes shouldn't sell short her tal- ents as a recording artist. "Some Things Never Change" has a warm tone throughout the project, and the songs, which Gaither-Hayes describes as "progres- sive folk," embrace themes that have widespread appeal. "It's just about home and family," she says. (Continued on next page) by Lisa Collins Getting in the groove: Venty Records kicks off Black Music Month Friday (4) with a live concert cel- ebrating the release of "Healing: Live In Detroit" from Grammy-winning artist Richard Smallwood and his renmvned 24-member vocal ensemble. Vision. For the New- York-based label, the Tuesday (1) release of that set as well as "Verity Presents The Gospel Greats — Vol- ume I" (featuring live performances from label heavy- hitters Hezekiah Walker, John P. Kee, Fred Ham- mond, and the Canton Spirituals) marks the beginning of a heavy summer rollout schedule of 11 releases. They include projects from the Canton Spirituals, Ben Tank- ard, the Colorado Mass Choir, and Commissioned. For Smallwixxl, it's a chance to broaden his musical horizons. To that end. the Washington, U.C.-based artist included hip-hop and soft-pop jazz on the album. "I wanted there to be something for everyone," Small- wood explains. "And just the response from radio announcers and viewei-s of the Bobby Jones gosjiel show lets me know I'm on the right track. I really believe that Go<i will do .something special with the i^cord and take me to another level in my ministiy." The album was recorded in June 1998 in Detroit and had originally been .scheduled for release late last year. Smallwood wrote the title cut after a grieving friend asked him tn write a .song about hurting. Today, with his ailing mother, the Iviics to the song have hit home. "A lot of the holdup with the album had to do with my mom's illness, SmaHw-ood says. "However, God has a sea- son for things to happen, and I believe this is the season for the project which is close to my heart The title cut is a song God gave me in a dream. So many people are going to church with painful issues and, instead of leav- ing them on the altar, take them back home with them. I'm not talking so much about physical healing but a spir- itual healing, because that's where the root of many of our problems lie." Smallwood's accomplishments in gospel over the last 20 years have made him worthy of pioneer status. He was inducted into the Gospel Music Hall of Fame last November. Still, he feels he has quite a ways to go. "This is just the beginning," declares Snudlwood, who ranks among the genre's leading songw*riters. "I've accomplished a lot but certainly you're always reaching for another level. My recent projects 'Total Praise' and 'Adoration' ushered me into a new period. I'm hoping this project will open up more markets, so I'm just be- lieving in God and going » ith the flow. Breaking new ground: "Stm standing Tau," the story of gospel's beloved Williams Brothers, made its way into bookstores last month. An official book- announcement party is being held fViday (4) in Jackson, Miss. "Initial response has been great," says Doug Williams alxiut the bio, publi.she<l by Billboard Books. In the meantime, the Williams Brothei-s are hard at work on "Songs Mama Used To Sing — Volume II," fea- turing various artists from their label. Blackberry Records. The i-elease is due in August Briefly: The Mighty Clouds Of Joy rec^ently signed a new deal with Atlanta-based CGI Records . . . Kudos to WWIN Baltimore PD Jeff Majors, whose debut re- lease, "Sacred," bowed on Top Gos|»l Albums at No. 32. JUNE 5, 1B99 Top Contemporapy Christian £ i § & 5 i $ m iiiTEMi SALES HEfWiis chuecied. compiled, m miDED By II 1 nil ARTIST TITLE IMPRINT & NUMBERi'DISTRIfliJTING 1 ABt I 1 2 23 — No. 1 SIXPENCE NONE THE RICHER SQu.rn /'j WORD OS 1 ai No 1 SIXPENCE NONE THE RICHER 2 1 34 KIRK FRANKLIN • GOsrocENTR&iwERSaiPE9C24; w«i THE NU NATION PROJECT CD 3 31 VARIOUS ARTISTS A SKBiB* ;6»tJ«RtUNT AOW-1999: IHE TEAP'S 30 TOP CHRISTIAN ARTISTS AND SONGS CD THE (»AITHER VOCAL BAND spring hiu S47&CHOADANT GOD IS GOOD 5 4 6 CAEDMON'S CALL essential 104S6/provioent 40 ACRES 6 5 9 AVALON SPARROW 1687(CH0R0««r IN A DIFFERENT LIGHT CD RE-ENTRT VARIOUS ARTISTS TIME LIFE 8040li'MADACv SONGS 4 LIFE FEEL THE POWER! 8 6 1 35 DC TALK* VIRGIfiTOREFRONT519&'CHORDANr SUPERNATURAL CD NEW^ BILL & GLORIA GAITHER AND THEIR HOMECOMING FRIENDS SPRING HOUSE i'^l ^CHOHDANr SO GLAD! iu 7 9 BILL & GLORIA GAITHER AND THEIR HOMECOMING FRIENDS •ill'.! ;( [£:.![( rrM::mii i ttii :MTi;.'. cf jj', m- and bebitwe 11 8 29 SOUNDTRACK A '.-^^ wji-cMviiP- s ■ yj.'iiy/.i TCLJCHED 6Y AN ANGEL ; THE ALBUM 12 12 42 POINT OF GRACE • word 5444 STEADY ON 13 10 9 CARMAN SPARROW i ioacmordant PASSION FOR PRAISE VOLUME ONE (14) 47 NEWSBOYS STAR SONG 016»cnoRDANr STEP UP TO THE MICROPHONE IS II 5 ANOINTED MYRRH 59d2/W0RD ■ ANOINTED 1C Id u 31 BURLAP TO CASHMERE sauiNT/AtM SSU.WORD ■ ANYBODY OUT THERE? 1/ \i 21 VARIOUS ARTISTS WSANM. iNlEGMTr hmwrd SHOUT TO THE LORD 2000 18 16 13 THE SUPERTONES etc 741MHOH0ANT CHASE THE SUN 19 13 45 TRIN-I-TEE 5:7 B-RiTE 0O72WORD B TRIN-I-TEE 5:7 (S) 20 5 VARIOUS ARTISTS stab sonmparrw 02»chorm»i PASSION BETTER IS ONE DAY 21 18 13 SONICFLOOD GOTEE 280Z'Chordant b SONICFLOOD 26 51 JACI VELASOUEZ • mvrrh 7026mORO JACI VELASQUEZ dD NEW^ (JD NEW^ VIRTUE VERnv43122/PROVIDENTO GET READY VARIOUS ARTISTS WORD 6622 SONGS FROM THE BOOK (S) 27 73 AVALON sparrow ]639^hordant bi A MAZE OF GRACE 26 22 26 FFH ESSENliAL loAgWRoviotNl 1 WANT TO BE LIKE YOU 27 21 89 LEANN RIMES A' CURB ;7s85 CW»0»nT YOU LIGHT UP MY LIFE - INSPIRATIONAL SONGS (3) 31 64 JENNIFER KNAPP GOlEt 3832.'>vORO|| KANSAS 29 23 4 BILL & GLORIA GAITHER AND THEIR HOMECOMING FRIENDS SPRING HOUSE 082aCHORDANT ALL DAY SINGIN' AT THE DOME 30 28 5 THE KATINAS gotee 2S04iCHCI<dant ■ KATINAS 31 19 5 THE BROOKL™ TABERNAaE CHOIR AiiAircuj.aoiCTOMi B HIGH 4 LIFTED UP 32 29 27 SOUNDTRACK A DREAMWOBits 50O41.PROVIDENT THE PRINCE OF EGYPT 33 35 56 MICHAEL W. SMITH • reunion iooo7;provident LIVE THE LIFE 34 24 6 BlU & GLORIA GAITHER AND THEIR HOMECOMING FRIENDS SPRING HOUSE 0827iCHORDANT ATLANTA HOMECOMING 05) 38 82 STEVEN CURTIS CHAPMAN • snuwow IsaocHOROAXT GREATEST HITS 36 9 28 VARIOUS ARTISTS TIME 1 II [ «U4!);. MAOACY SONGS ♦ LIFE — LIFT YOUR SPIRIT! dD REEKTRJ VARIOUS ARTISTS IIME uiE K04[i:i,MADACY SONGS 4 LIFE — EMBRACE HIS GRACE! 38 34 1 6 PLUMB ESS£niiali046»i>rovioenib CANDYCOATEDWATERDROPS d) NEW^ GRITS gotee 2805 GRAMMATICAL REVOLUTION 40 32 1 9 4 HIM BENSUNBJ.'JlvKKOvUENI BEST ONES CD Reconh with tne pnslnl mI«s giins thK WMk. • SOO.OOO altium un« iCoWl A RlU ortAuton let n«t 10 milionuntifDHnianif). Nwnwil blowing Plibiwnor C bte afturm with a runnngtlrnetf 100 mifUM or man, ttw aUtoncMMltcandCO *AitMHk indutK miMM | . Industry Asvi 01 Anwriu IRIAA) cerlificaton tor _ , . _ ol ] milMn una IPtMnum] # RIM MnAutun lix rwt shipnient ol nd lyrnlnl ndcilB Mum's mulb-plalinum inri. For boMd Mb. ind dou' ■TWiDfAat ilipniaffls by ttw numr c( tfiB3 andiUr Cap^ BBf C 1999, BilboinlSPlCommunio- IGEORG i \ FiTROiK COMING MAY 25th from Savoy Records ^ "They That Wait", the long awaited and anticipated neiv recording by The Qeorgia Mass Choir. You, houiever, will have to wait no longer to enjoy one of Americas premier gospel choirs... BILLBOARD JUNES. 1999 Artists & Music Vanessa Rubin Speaks Her 'Language' Coming HOME: "Music and life are inseparable," says vocalist Va- nessa Kubin, referring: to her most intimate recording project to dale, "Uinguage Of I/)ve" (released May by TVlarc). "This CD represents a aew phase of life Vve entered into, where I just want to let mj'self go. l'\e gotten more comfortable with unveiling things about mj-self that as a younger woman I was more cautious about. Audiences want to see the naked truth in an artist as much as jm'i.sible, and I feel thitt more and more I'm becoming able to do that for them. This is who I am at this moment in time." "Language Of Love" is Rubin's si.\th relea.se, her first for the rela- tirely .small label Telarc. "This record ^^^^ reprej«nts a coming i^^H^L I home for me," she ^^^^^g^ noting that H^^^^H l^larc Ls based in her I^^^^Hj hometown of Cleve- land. "My last '^^fwA records have seen i ^ me experiment RUBIN somewhat. This [record] represents what I do on any giwn night in a club with my trio, as opposed to doing a record with a sort of concept. It's more natural and relaxe<l." It is also refreshingly direct and honest. Stripped of conceptual pre- tense, Rubin simply chose songs that she w'anted to sing, painting a por- trait of a chanteuse graciously open- ing her heart to an>t>ne willing to lis- ten. The 1 1 tracks, recorded live in the studio with Rubin's working trio — pianist/arranger George Col- ligan. bassist Richie (<nnds, and drummer Dwayne "Cook" Broad- nax — hark back to a simpler time when musicians entei-ed tlie .studio for a day or two, dwumenting a |)articu- lar moment in their lives and caiwrs. "I'm a live singer," Rubin explains. "I prefer to sing \i\v with musicians playing around me and capturing it on record. My trio has been playing most of these .songw with me for some time, so the actual i-econling was wry natural for us. We already had most of the material w orked out, although some arrangements developed s|M)n- taneouslv as we i-ecorded." by Steve Grayboiv "Language Of Love" includes songs by Cole Porter, Duke Elling- ton, and others, including "Fantastic Epi.sode" by 1998 Thelonious Monk Vocalist Competition winner Teri Thornton. "Her words are very imaginatiw, and she has a great use of metaphoi's," Rubin saj-s of Thorn- ton, adding that "her pieces are very challenging harmonically, which as a .singer really draws me to them." Rubin believes that many artists are "feeling the changes in the indus- try;" such as corporate mergers that have seen several high-profile arti.sts dropixtl from label rosters. "I want to encourage artists, as well as myself, to realize that labels don't make us," she says. "The labels don't give (artists) the creativity and drive to create music. It comes from with- in. Even if we're going through a hard time personally or professional- ly, it's just a pause in the a\'erall pi-o- gram. When there's a pause, you make a change and keep going. It's just an ailjustment in a season in our careers." Good works: JazzReach Per- forming Arts & Education Assn. Inc. has completed its spring 1999 season and is looking toward a tentative fall tour of the West Coast. Established in 1994, the Brooklyn, N.Y.-ba.sed not- for-profit organization Ls dedicated to enriching the lives of young people through all-original educational pro- grams. The recent "Get Hip!" pro- gram featured founder/drummer H. Benjamin Schuman's quartet per- forming music composed by Larry Goldings, in tandem with a narrator w'ho explains the music to the stu- dents. "We stre.ss the teamwork and sense of community it takes to play jazz," sajw Schuman, adding that "the students are encouraged to apply these qualities to their own lives." Contact Schuman at 718-625-5188. AnD: Blues-industry types, musi- cians, and fans are invited to join the fledgling New York Blues Society, dedicated to preserving and nurtur- ing blues music in the New York metro area. Contact Darrell Bridges at 21 2-486-4600. . .The 1999 Playboy Jazz Festival will be de<lieated to jazz vocalist Joe Williams, who passed away Mai-ch 2^). WilHams performed at the festiral a total of 1 0 times, more than any other artist. Siereral artists playing the festival, to be held June 12-13 at the Hollywood Bowl, plan to honor WiUiams in their sets . . . New York clubs Birdland and the Village Vanguard have set up new Web .sites. Catch club events and a bit of history at www.villagevanguard.net and w^^•w.birdlan(^jazz.com. HIGHER GROUND (Cont 'iHiwtl JhiiH preceding page) "These songs are just about my chiklhotxl and our home life and the things we V"alue." N EWS NOTES: Steven Curtis Chapman was recently inrited to tes- tify in Washington, D.C., at a two- I)anel hearing, "School Violence: VieW'S Of Students And The Community," presented by the House Subcommit- tee on Early Childhood, Youth, and Families, chaired by Rep. Michael Castle, R-Del. Others who te.stified included a Columbine High School student and a school psychologist. Chapman was the only repre.sentati\'e fram the music industry . . . Lamelle Harris has been awarded an honorai->' doctorate of music degree from Campbcllsville University in south- central Kentucky . . . SongwTiter/pro- ducer Mark Chesshir and ai-ti.st/inner-city minister Thorn Shu- mate ha\e formed HrickUiyei* Com- munications, a lal)el de(licate<l to the woi"k and ministry of Cottage Cove. Founded by Thorn and Kim Shumate five years ago. Cottage Cove is a Niushville inner-city ministry. "Do You Believe," Shumate's .sophomore album, will be the company's first release, slated for early August . . . Sparrow- VP of artist development Mark Campbell has resigned fi-om the label. A talente<l industry veU he's exploring options and enjoying time with his family. Congratulations to Dcnise George, who .steps into his past Reunion Records has reached an iigreHjmenl with the American Feder- ation of Musicians (AFM) for musi- cians working under the AFM Phono- graph Record Labor Agreement, which will be in effect until Jan. 31, 2002 . . . Rocketown artist Ginny Owens won a slot performing on the July 25 Nashville stop of the 1999 Lilith Fair tour. She was selected out of 19 other local female artists. Owens' debut album, "Without Con- dition," will be released July 20. Bdlboatd. JUNE 5, 19M TOP BLUES ALBUMS. THIS WEEK s i u COMnUO FROM A UIIOIUU. SAMPtE Of RETAIL STORE MASS MEROUNI. ^WKGcvm m iNiiRWi SAiEsntmis coilecieo. cxwiied aud rmmo si TITLE IMPflINT & NUMetRDISTRIBUTING LABEL ARTIST 1 g NO. 1 THE REM. DEAt: GREATEST HITS VOIUME 2 Wr ,W5H*N m DOUBLE IROUBU GD 3 55 JUST WON'T BURN TONE-COOL HDUNDtH 1 / U faii'MERCURY BB SUSAN TEDESCHI 3 2 31 WANDER THIS WORLD • JONNY LANG 4 4 4 TAKE YOUR SHOES OFF RTKOOISC 10479 THE ROBERT CRAY BAND 9 5 85 TROUBLE IS... A KENNY WAYNE SHEPHERD BAND REVOLUTION '.VAfrvi 1/ BROS. e 6 20 BLUES BLUES BLUES THE JIMMY ROGERS ALL-STARS ATLANTIC &314B 7 7 31 BLUES ON THE BAYOU MCA 11879 B.B. KING 8 8 68 BLUES BROTHERS 2000 • UNIVERSAL 53116 SOUNDTRACK CD NEW^ CAU TYRONE MAIACQ 7496 TYRONE DAVIS Q© 12 39 SLOW DOWN OKEtLSSn MUSIC 6937&EPK: IB KEB' MO' OD 13 31 BEST OF FRIENDS VIRGIN 46424 JOHN LEE HOOKER 12 11 39 GREATEST HITS MCA 1 1 746 B.B. KING 13 10 81 DEUCES WILD • MCA 11711 B.B. KING 14 14 4 BLUE LIGHT BOOGIE PRIVATE MUSIC 82173'' TAJ MAHAL QD AE'ENTRT RIGHT AS RAIN BUND nr. sc-si TOMMY CASTRO TOP REGGAE ALBUMS. NO. 1 (J) NEW*- REGGAE GOLD '99 VARIOUS ARTISTS 2 1 2 THE DOCTOR SHOCKING VIBES 1 : ' .' BB BEENIE MAN 3 2 28 STPICTLY THE BEST 21 VP 1539- VARIOUS ARTISTS CD 4 6 EVERYONE FALLS IN LOVE PINTMOlJSr ;m3,vp TANTO METRO & DEVONTE s 3 9 UBOUR OF LOVE III VIRGIN 4h4f.^ UB40 CD 5 47 D.J. REGGAE MIX OLAST MTAR VARIOUS ARTISTS 7 9 45 PURE REGGAE POLYGRAM -V ; AN[) VARIOUS ARTISTS 8 6 3 GENERATION COMING GATORT MAN ;0I4,PLAT|NUM THIRD WORLD 9 1 53 REGGAE GOLD 1998 VP |P,29- VARIOUS ARTISTS 10 7 75 BEST OF BOB MARLEY MADAC* 7420 BOB MARLEY OD 13 3 DANCE HALL XPLSOION '99 GOLDEN CHILD ' . - am DOWN VARIOUS ARTISTS 12 10 2 PLATINUM REGGAE VOLUME 2 ARTISTS ONLY 21* VARIOUS ARTISTS 13 12 2 GOOD WAYS ARIISIS ONLY 23* SIZZLA QD RE-ENIRt REGGAE XPLOSION '99 . , i: •. CHILD 40014/JAM DOWN VARIOUS ARTISTS IS 14 75 MANY MOODS OF MOSES ^hULMNliVIHIS I'llL'VPB BEENIE MAN TOP WORLD MUSIC ALBUMS. NO. 1 1 1 8 SOGNOA r w.c J! Np. ANDREA BOCELLl 2 2 87 ROMANZA A I'H'LI^-i. :._-;'...i:^ GB ANDRCA BOCELLl 3 3 13 TEARS OF STONE RCA VICTOR 68968 THE CHIEFTAINS 4 4 6 SUENOS (WITH SPANISH TRACKS) UNIVERSAL LATINO Ii47?24 ANDREA BOCELU 5 5 86 THE BOOK OF SECRETSA OUINLAN ROAn 407 ■■■ NCR BROS, LOREENA MCKENNITT 6 1 11 THE IRISH TENORS JOHN MCOERMOn/ANTHONY KEARNS7R0NAN TYNAN MAsrih-r:7NF 7 6 17 ROMANZA (WITH SPANISH TRACKS) UNIVERSAL LATINO 539638 ANDREA BOCELLl 8 8 88 BUENA VISTA SOCIAL CLUB WORLD CIRCLiiT'NONESJCH 79478/AG|H BUENA VISTA SOCIAL CLUB CD NEW^ VOLUME 2 RELEASE R[A'. yVOhi:: A/i..: AFRO CELT SOUND SYSTEM 10 9 24 CELTIC LOVE SONGS MADACY S329fa VARIOUS ARTISTS 11 II 38 CANTOS DE AMOR NONrSUCIL'ATLANIIC 79b\OfK GIPSY KINGS 12 12 49 INTRODUCING... RUBEN GONZALEZ >v'4.i :: i.i-Ji _II;N0«ESUCH 79477/AC RUBEN GONZALEZ 13 13 9 OBSESSION 4 .'; 2^viRGlN VARIOUS ARTISTS 04) NEW*- SHRI DURGA ->l* M'j'r 10O9 DJ CHEB 1 SABBAH ATODACUBA LE GUSTA ,■ ' f 794 76' AG AFRO-CUBAN ALL STARS ; I iiLsBY Ann or Ananu IMW) cwMbutBt ki 84 BILLBOARD JUNE 5. 1999 Songwriters & Publishers ARTISTS & MUSIC CAA And Chrysalis Solidify Ties Agency Sets Up For Exclusive Tie-in With Nashville Publisher BY CHET FLIPPO NASHVILLK — Huilding on its nove\ lic-in with publisher Chrysalis Music Group, the Creative Artists Agency (CAA) has finai- ized its structure as a result of its twcoming the ex- clusive agent for Chrysalis' pub- lishing opera- tions in Nashville (BillboardAu/- MYERs letiiu May 6). The two Los Angeles-based companies earlier this year struck an agreement wherein Chrysalis, which opened its Nashville operation four years ago, administers co-publishing deals for artists in CAA's stable. The new arrangement, says Chrysalis Music president Leeds Levy, "Ls a different concept with dif- ferent contacts, and it gives us some- thing unique. It's a streamlining operation, one that can get the song to the artist without going through the number of layers you typically had to go through to get the deci- sions made. The combined Rolodex- es here are quite unique. We're building a better mousetrap here." CAA agent Clay Myers, who heads the Nashville operation, says, "As an agent, we try to facilitate their writers in a number of oppor- tunities. In Nashville, it's an inter- esting time, when people are re- assessing their world and studying new opportunities to create revenue stream. "My background is in pubhshing," he continues. "I built Reba's [McEn- tirel publishing company, Starstruck Writers Group, and I had a lot of e.\perience helping Reba and Narvel [RlackstockJ build their manage- ment company. With CAA, we real- ly try to uphold what the name of the company mean.s — creative — so we're working to bring fresher ideas to the table." CAA, Myers says, "represents probably 78% of all the headlining acts in country music, from Shania Tw-ain to LeAnn Rimes to Tim Mc- Graw, Faith Hill, Reba McEntire, and Alan Jackson, and so it gives us an unu.sual perspective and I believe a little bit of an edge as a publisher, because we have a different type of relationship with the artists." Myers says his experience in man- aging taught him song publishing's appeal. "As an artist, if you don't have those three minutes of magic," he .says, "it's awfully hard for those wheels to roll on the road." Myers says day-to-day operations involve hands-on relationships with both writers and artists. "I also work closely with Los Angeles for teleri- sion and for .soundtracks opportuni- ties. Myers says Chrysalis Nashville song plugger Stephanie Greene will be a key transition figure. Kormcr Chrysalis Nashville head Shawn Heflin departed the company. Chrysalis Nashville operations will be consolidated in CAA's offices. "Even though we are a company that is .SO .years old, we're actually pretty .young as a stand-alone music publishing operation," says Levy, "because for 2^ of those years Chrysalis publishing was .so clasely connected to the record company. Chrysalis Records, which was ulti- mately sold to EMI Records. So, it's only been in the last few years that we're standing on our own two feet as a publishing house." Levy says that, while agents and publishers have cooperated in the past, the present CAA/Chrysalis alliance "Ls on a much greater .scale. I think in some re.spects it almost looks like a subpublishing deal. But it is groundbreaJdng, people are tel- ling me." Chrysalis Nashville staff song- writers include Cathy M^eski, .Joel Feeney, Tim Bup|x;rt, Michael Caru- .so, Brian Nash, and Billy Spencer Myers also represents the song- writers Barry Mann and Cynthia Weil and works with Sony/ATV Tree Publishing on a song-by-song basis. The Profler Motive. Sony/ATV Music Publishing recently conclud- ed an agreement with Spencer Proffer, CEO/founder of Morling Manor Music & Media, to administer Morling's copyrights glot>ally and to co-publish select projects with which Morling is involved. Proffer will also act as a consultant to Sony/ATV Music in the place- ment of Sony/ATV copynghts in Morling-associated projects. Shown, from left, are Proffer; Jody Graham Dunitz, executive VP of Sony/ATV Music: Richard Rowe. president of Sony/ATV Music; and Scott Francis. VP of business affairs at Sony/ATV Music. The Sands Of Time. Evie Sands, center, a teen rock performer in the '60s, recently visited ASCAP s New York offices before a perlor- mance at the Bottom Line to promote her new album. "Women In Prison." on Train Wreck Records. It is her first album since the 705. Flanking Sands are ASCAP's Jim Steinblatt and Esther SanSaurus. More Than Nada. Doug Sahm. left, the original Texas Tornado, accepts a German double-plat- inum award for 1 0O.OOO in sales for his song "A Lit- tle Bit Is Better Than Nada" by German artist Wolf- gang Petry. Presenting him the award is Greg Sowders. senior director of creative at Warner/Chappell Music, at a gathering at the Bro- ken Spoke Club in Austin, Texas. THE HOT 100 LIVIN' LA VIDA LOCA • Robl Rosa. Dttmofid Clilld • A priantom Box/BMi, Warner-TamerianavBMI, Desmopiiobia ASCAR Porygram.'ASCAP HOT COUNTRY SINGLES & TRACKS PLEASE REMEMBER ME • Rodney Crowert, Wirt Jennings • Sony.'ATV Cross Keyi/ASCAP Oliw Sky Rld«r,BMt, Irvlng.BMi HOT R&B SINGLES FORTUNATE • R. Kelly • Zomba.'BMI. R. Keily BMI HOT RAP SINGLES WHO DAT • Christopher A. Stewart. JT Money. Tony Mercedes, Tonya Johnston, Tab. DlAndre Davit • Famous ASCAP Tunes On The Verge Ol Insanity. ASCAR Mo Bener Grooves, ASCAP Rutttown'BMI, Toity MercedeWASCAP Honey From Mtesourl ASCAR Hit Co. South ASCAP Tabulous.'ASCAP HOT LATIN TRACKS UVIN' LA VIDA LOCA • Robl Rosa. Desmond Child • A Phantom Box>BMI, Wamer-TamtrlanayBMI. Desmopliobia/ASCAR Poiy^ram/ASCAP Carlin America Unveils Web Site; Booking Rodgers And Hammerstein bARLIN AMERICA'S INTER- NET PROFILE: Cariin America, the giant New York-based inde- pendent music publisher, has established a Web site, carlin america.com, that li.sts more than 200 of its most active titles, along with complete lyrics, audio sam- ples, and information on authors and major recordings. Visitors can search titles by ke.yword. year, categor.v, or decade, as well as .scan a full alphabetical li.sting. The .site also enables profession- al music users to interact with the CarHn America licensing depart- ment through on-,site licensing con- tact pages. Companv marketing VP Bob Golden, who helped design the site, sa.ys a quarterly newsletter, Carlin Quarter Notes, is also due on the site; a hard copy will be sent to the company's 2,000-pius mailing list. Each newslet- ter will fot the top 20 earning titles and "confirmed" licenses for each quarter, as well as live per- formance events, staffer profiles, and a histnrj' of an individual miyor song from the Carlin catalog. Says Golden, "We will also he adding many more of our active pop, rock, country, and R&B titles to the site and plan to greatly expand the representation of both the classic Broadway musical scores in our catalog and the sig- nificant serious composers we publish, such as William Bolcom and Roger Sessions." According to Golden, it's "unfor- tunate that too many in our indus- try still regard these advances as threats when, in fact they open up innumerable marketplace oppor- tunities we could never have thought of until thLs very e.\citing time for our business." Openers and closers: The durability of the first Kodgers and Hammerstein musical, "Oklahoma!" (194^J), and their last, "The Sound Of Music" (1959), is such that a current bi/ In) lAchtman revival of the first is a big hit in London and a revival of the last is a success in New York. Theater/ show-business writer Max Wilk tells the background stories, often with fascinating detail, of both shows in "Overture And Finale" (Back Stage Books, 192 pages, $16.95). The btxik lienefits great- ly from firsthand comments from the creators and performers of both original casts and the very successful film versions. Stories abound on Rodgers' great speed in writing songs, and he sometimes appeared defensive about this part of his genius. Wilk quotes Rodgers' view: "Do you mean 'fl.ying time' or 'elapsed time"' Counting ewrj'thing — the overture, ballet music, all the songs — the most I could make it come to was about five hours fly- ing time. But total elapsed time covered months of dis- cussion and planning." AiMP PANEL IN N.Y: The New York chapter of the A.ssn. of Inde- pendent Music I'ublishers(AIMP) hosts a panel discussion, "Music Majors And World Class Matters," at its annual luncheon, to be held 12-2:30 p.m. June 10 at New York's Soma Park restaurant. Panelists will include Les Eider, chairman/ CEO of Warner/Chappell Music; Nick Firth, president of BMG Publishing Worldwide: and Irwin Z. Robinson, chairman/CEO of the FamoiLs Music Publishing Cos. Payment is .$.'>5 for members of the association and $0i> for nonnicm- bers. For more info, call 212-758- 6157 or fax 212-758-9402. Print on PRINT: The follow- ing are the bcst-.selling folios from Hal Leonard Corp.: 1. LaurjTi llill, '"The MLseducation OfUiiiiynllill." 2. Dbdc Chicks, "TOde Open Spaces." 3. Creed, "My Own Prison." 4. Alanis Morissette, "Supposed Former Infatuation .lunkie." 5. Sarah Mcl.achlan, "Surfacing." BILLBOARD JUNE S. 1999 Ci 85 Artists & Music Billboatda JUNE S, 19M Sony Discos Division Reorganized Sony restructures: six weeks after announcing Abel de Luna as its senior VP/GM of the regional Mexican and Tejano division during Billboard's 10th annual Inter- national Latin Music Conference, Sony Discos Ls now completing a reor- ganization of its San Antonio office, which has led to staff changes and label realignment of artists. Jose Rosario, VP/GM of the new organized regional Mexican and Te- jano division, says the staff changes were made recently as part of the new reorganization. Rosario, who previously was stationed in the label's Los Angeles office as VPof A&R, hiis been reltK'ate<l to San Antonio. Three employees were released in the restructuring: Ray Martinez, VP of Tejano artists, and record promot- ers Carmelita Cedlllo and Art Alvarez. Asked whether they were fired or asked to resign, Rosario would only say that "they are no long- er with us." "But contraiy to rumoi's and specu- lation, Sony Discos Ls not pulling out of Tejano," adds R^isario. "In fact, it is the opposite. Therc are no changes in the Tejano nister; we haw been meeting with all our groups. What you are going to see is that we're going to go after the Tfejano market with a passion. "The market is stagnant — ewry- one knows that — but it is not dead. We ju.'^t need industry and radio jieo- ple to support the effort-s that we're about to make, to excite the market. And to return the young people to Tejano. We last them to dance music and everything else." Rosario says he is looking for pro- moters, as well as a Miami-based staffer to handle TV and press. Festival presidente re- turns: In only thi-ee years, Festi- v-al Presidente De Musica Latina has become a major concert happening that has attracted top-grade record- ing artists. In the July 1«, 15)98, issue of Billboard, Amusement Business ranked last year's festival as the top- grossing concert ($1.6 million), with more than 1.'>'),0(X) concertgoers. This .war's third installment of the festi\'al Ls shaping up as another high- profile event, as Enrique Iglesias, Shakira, Marc Anthony, Elvis Cres- po, and Chayanne head up a 1,5-act event scheduled to take place Thurs- day (3) through Saturday (5) at Juan Pablo Duarte Olympic Stadium in Santo Domingo, E)ominican Republic. Also slated to appear are Tito Rojas, Ilegales, Carlos Ponce, Vic- tor Manuelle, Tono Rosario, Tribu Del Sol, Nek, Rauli'n Rodriguez, and Los Toros Band. Chicago pro- moter Cardenas/Fernandez & A.s.so- ciates is producing the festival. Getting caught UP: Universal Latino's Luis Enrique, a former sal- sa star who has scored two pop hits this year, is set to play Thursday (3) and Friday (4) at the "Tere.sa Carreiio Theater in Caracas, Venezuela. Cubanismo, fr&sh from playing dm- ing the recent Baltimore Orioles game again.st Cuba, Is set to embark on a 24- Notas by John Lan nert city U.S. tour June 12 at the Fraze Pavilion in Kettering, Ohio. The Han- nibal Itecords crew makes its national late-night TV bow July 7 on NBC's "Ijite Night With fx)nan O'Brien." The first of three of Miller Genuine Draft's "S6lo Con Invitacifin" shows is scheduled to take place June 17 in San Diego. The remaining pair of shows in the mystery-aitist .series is slated to be staged Aug. 5 in Los Angeles and Sept. 2.3 in New York. BMI's Latin Awards Dinner is sche<luled to take place .June 20 at the Biltmore Hotel in Coral Gables, Fla., to honor its member songwriters and publishers. Incidentalj.v, BMG has signed .Jennifer Lopez to an affilia- tion agreement as a songwriter and publisher. Lopez, w hose pubUshing company is called Nuyorican Pub- lishing, co-WTote three tracks from her forthcoming Columbia debut The Hollywood Bowl's inaugural World Festival '99 will boast an exten- sive lineup of Latino and Brazilian notables, among them tango maextro LATIN TRACKS A-Z 37 COtsl 19 AMOR PLATOMICO (FtaminBD. BMI) 25 ARMMIA (EJR. ASCAP) 26 CUANDO ACABA EL PLACER (EMI eiKhwood. BMI/Sony/AI\ Discos. ASCAP) 17 DAME Utt POCO MAS {Ventuia. ASCAP) 24 DE Hor EN ADELANtE 4ftubet. ASCAP/MCA ASCAP) 14 DEJARIA TODO (Varlcl Deev Musc. BMI) 31 DE QUE VALE SER UN RET (Not bsM) 36 DESPUES DE n . QUE? UKMC. ASCAP/«CA. ASCAPI 16 DIME (M'tenn. ASCAP) 3 aHIAGAIIAEIIBICiaEIA<K«en ASCAP) 36 a PEO« DE MIS FUCASOS (Cnsma. SESACI 16 EMIRECA TOTAL (Not Listed) 26 ENTBEUESPMIA TLA PARED mLSUdl 27 EVERT MORNING (McG BMI/Wtmer Tamemne. BMI/See Squared. BMI/Cantefbury. BMllack W Tal- em. BMI) 7 IHEVIT«LE(FI PP,BMI/Sony/AlV latin. BMI) 30 LE eUSTA QUE LA VEAN (Mat Oslad) 1 UV1N' LA tnOA LOCA (A Pnantom vbi. BMl/Wainer lanwflane. BMlDESHOPttOBIA, ASCAP/PolyGram, ASCAP) 4 LOCO (Not Listed) 40 LOS HOMBRES NO OEBEH UORAR lEdlmina. ASCAP) 6 MEESTOYACOSTUMBRAHDOATKInttnmie. ASCAP) 33 ME RACES MUCHA FALTA (FlammgD. BMI) 12 ME VOT A QUITAR OE EN MEDIO IWainw TaiDHlane. BMI) 9 Ml VIDA SIN TU AMOR (F I PP. BMI) 8 NECESITO DECIRTE {Se« Sao. BMI) 5 NO ME AMES (BMG Songs. ASCAPWamet-Tameflane. BMI) 34 HO SA8ES COMO OUELE INew Ed/Inn FMOA SESAC) 35 OBSESHM IRATITO DE LUNA. HO ME OUIERAS TANTO] (Lairy Spier. ASCAPI 32 PERDEDOR (Sei-Ca. BMI) 2 PIHTAME (Sortf.'AIV Latin BMltlvis. BMI) 15 POR MUIERES COMO TU (Vandei. ASCAPI 29 QUE CANTE EL AMOR INot Listed) 38 QUIEN TE ROBO EL CORAZON? (Peemaisic. ASCAP/Wainei lamerlane. BMI) 23 SALOME (World Deep Music. BMI) 13 SI TE PUDIERA MEHnR (Ciisma SESAC) 10 SI TU OUISIERAS (Wamer/Chappell) 21 SUBUME HUIER (Peermusic BMI/Pramocianes MusrcaiesHR.SA . BMI) 20 TUIWOftdDe«p Musk. BMI) 22 UNA V02 EN El ALMA (JKUC.ASCAP.'MCA. ASCAP) Juan Josi Mosalini and Peruvian singer/songwriter Susana Baca (July 11), Flaco Jimenez (Aug. 1), Gilberto Gil (Sept 12), and Carlin- hos Brown (June 2B-27, 2000). Because of a format switch from regional Mexican to talk, KESS-AM Dallas has been dropped from the panel of reporting stations to Hot Latin Tracks. The total number of reporting stations now stands at 97; the total number of regional Mexican stations is 64. DeSDE PUERTO RICO: Enrique- ta Culta de Ccpcda, matriarch of the famed Opeda musical family in Puer- to Rico, who, along with her husband Modesto, founded the first and only school dedicated to the island's bomba and pletta idioms, died May T-> in San Juan of pneumonia. Gary Nunez, musical director of Plena Libre, says his show in San <Iuan on May 22 will be dedicated to Cepeda, who w-as be.st- knwvn by her nickname, "Ketty." Former Karis singer Angel L. Perez filed suit April 28 in San Juan Superior Court against the band and its owner, Ramon Rivera Vazquez, for wrongful dismissal. Perez was kicked out of the band Dec. 15, 1997, but said he wasn't emotionally pre- pared to sue until recently. Pirez complained he was fired without rea- son. Perez is al.so a TV personality, playing the role of Papito, El Bello, on the prime-lime game show "Vale Mas." In the suit, he seeks $464,000 in damages and restitution. Caiman's rising star ChiChi Per- alta .says he will invite the London Symphony to record with him once again on his upcoming album, cur- rently in production. He is also plan- ning a tour cmttring Central America, Colombia, Peru, Spain, Italy, and his native Dominican Republic. Vieo C's wife is in a family way. Sonia Noemi Torres is six months pregnant, and the couple has just learned that the bab.y, their third, will be a girl. The other two are boys. ( Vico has a girl from a previous mar- riage.) The EMI Latin rap star says he w ill take time out from hLs touring to be present at birth. Warner/Chappell Music offered a "hefty .sum" of money to g riipo Velas singer/songwriter Widalys I>)pez for rights to her songs, one of which will be included in the soundtrack to the movie "24 Hours Woman" starring Rosie Perez, slated for release this summer. The song is titled "Luchan5." With the money, she sa>'s, she's going to take her family on a trip to Egypt IVItV REVAMP: As part of its plan to restructure its advertising sales operation, MTV Latin America has appointed Melisa Quinoy VP of ad- wrtiaing sales. Quirioy, who will lead the music network's sales team, was regional cUent service director of the Unilever account for the ad agency Ammirati Puris Lintas Argentina. Emilia Peiia is joining the team as account director, Noithern Cone, ad- vertising sales. She previously was advtertising sales manager of the USA (Coniinned ojf pnge ,SS) Hot Latin Traclis . S3 < 55 COMPILLD IHGM A NAttONAL SAMPLE OF AIRPLAY SUPPLIED BV BROADCAST DATA SYSTEMS' RADIO TRACK SERVICE 9/ LATIN MUSIC STATIONS ARE ELEC- THOfilCAl lY MONITORCD 6 AM 10 !2 MIDNIGHT 7 DAYS A WEEK THIS LAST WEEI ARTIST ivrniN-ppor.tr.tioi. lAHr, TITLE P«OIXJC(MiSONG WRITER' No. 1 CD 1 8 RICKY MARTIN LIVIN' U VIDA LOCA ::2S0f.v L. . 0: ( .'*M«jtNo.l R.ROSA,D CHILD IB HOSA.O.CMLDI E ELVIS CRESPO PINTAME PCC^A.E CRE5P0 '.E 'LIRESPO: 3 2 4 B JUAN LUIS GUERRA 440 KAHFN C.\IM-MJ EL NIAGARA EN BICICLETA J L GUERRA IJ L GUERRA'. 4 4 5 5 ALEJANDRO FERNANDEZ LOCO ^JA'.'lH-i il.'AtblAS m Greatest Gainer CD 12 15 4 JENNIFER LOPEZ WITH MARC ANTHONY NO ME AMES WORK -iCN- :iiS:2S t :aMB^ANC :Ci e-OAj;i,A C.vA; BA^Oi.M fALAGlAMIl CD g 6 16 PEPE AGUILAR ME ESTOY ACOSTUMBRANDO A Tl PAjULAR 'R CEPATT'Li 3 3 10 SHAKIRA INEVITABLE SON' r SCO: t S.MEBARAK P L rnC-lOa iS I/tt^APArt R LiCTH-:!*! g 8 20 CONJUNTO PRIMAVERA fON:ivi^.v NECESITO DECIRTE .1 GLIUi N ;R L'.'JN.'A.I .' MORA 14 - 2 CHRISTIAN CASTRO AH.OtAllt.";'. t Ml VIDA SIN TU AMOR K bAtLTANEltP SAMANJEK (IK) 10 20 4 LUIS FONSI CM'-'tRSft. UV1iN:3 t SI TU QUISIERAS A .'EPEL'A ;A MAlHEUi CAD 21 16 4 DLG WNy scos t VOLVERE S GEafiGI IPCE Pi PC 1 RCMAN ! 19 7 9 45 VICENTE FERNANDEZ S/nr,Y r >f.>- ' ME VOV A QUITAR DE EN MEDIO PRAM RE." IM Ml:NTI RhOSASI 13 7 19 MARCO ANTONIO SOLIS for,;jvisA t SI TE PUDIERA MENTIR Ei SlLYtlT' iM ASOLISI 14 16 13 30 CHAYANNE SONV DSCOS r DEJARIA TODO EETE'AN.D .ESTEFANDY 19 11 8 TITO ROJAS POR MUJERES COMO TU i GJNDA MERCED (FAtCl (if) 15 24 4 YOUNDITA MONGE AK.LILABMC DIME R EDDY lAARTiNET i G GARCIA L REYESi (Th \±U 25 - 2 MDO SONY DiS-XiS ' DAME UN POCO MAS A JAEN lA.TALAMANTEZ.A GH'JvLON TTCRRES; 18 13 12 14 TIRANOS DEL NORTE SrCNY DIKOS • ENTREGA TOTAL J mart nl; a PcLiiJC' 19 11 10 II LOS TUCANES DE TIJUANA AMOR PUTONICO iF."l L.\-lN t G M lIltM QLINTiR^ 1 AR* 20 20 19 14 NOELIA TU M A/t'.'tCO ESIEEANL: 21 18 21 7 VICENTE FERNANDEZ iO'j' ; ■: SUBLIME MUJER not listed t» E TC^CANC 22 22 23 14 MILLIE EMI LATIN t UNA V02 EN EL ALMA R PEREr :R PERE; G WARCJt.' 36 2 CHAYANNE SO'lv DIS-QS SALOME ESTEFANOliSTLEANO NEW^ 1 MILLIE LWI LA"IN DE HOY EN ADELANTE RPERE^ IRPEREJI RE-ENTRY 2 LIMITE 21 LMI LATIN t ARMONIA E TORRES SERELANT :t TCflRES SLRRANTl 34 36 3 TONNY TUN TUN CAIMAN f CUANDO ACABA EL PLACER TTUN rUN :C ROO'JE.S CAEtanOI NEW^ 1 SUGAR RAY EVERY MORNING ..V.A.'.T.:.N-|C t D.MHNE tSUOAR RAYD HANNE RBiAN.A .'ARATt PILLLLJl NEW^ 1 PIMPINELA JNIVEHSAL LATINO ENTRE LA ESPADA Y LA PARED NOT LISTED iNCT tlSTEDl \aj NEW^ 1 RAYITO COLOMBIANO ?ISAll.'l lATIN QUE CANTE EL AMOR NOT LISTED iNC.T LISTEDl NEW^ 1 TITO NIEVES PVtt LE GUSTA QUE LA VEAN NPT LISTED if,<TT HSIEDi 31 26 26 5 JERRY RIVERA DE QUE VALE SER UN REY NOT LISTED INDT LISTEDl QD 37 35 9 INTOCABLE IW LATIN t PERDEDOR NOT LISTED iM A PERai NEW^ 1 LOS TUCANES DE TUUANA ME HACES MUCHA FALTA iLiI lATlN SOT llST[Ci:M.aUINTFRO LARA' 34 23 22 10 MARC ANTHONY NO SABES COMO OUELE J.LUCWiOALPANND; QD 39 2 LOS TRI O AKiC'.AHMli LAI.N t A 1 ACL OBSESION .;j J NAVARRO R HERNANCE.'.B SANCRISTOBAll 36 2S 38 18 CHRISTIAN CASTRO ARiOLAaiA;! LATIN t DESPUES DE Tl. .QUE? RPLRLi :RPERL/1 GD NEW>' 1 VICTOR MANUELLE AL IGUAL QUE YO NCT lISIfDlNOTHSTEDl 3S 1 N 8 EDNITA NAZARIO QUIEN TE ROBO EL CORAZON? ;L'I :-'i'J 1 D DLL INf ANIL R BUCHANAN iC.BRANTk CIBRiANi d) NEW^ 1 MARCO ANTONIO SOLIS EL PEOR DE MIS FRACASOS M ASOLIS IM ASOLI51 40 24 3 BANDA MAGUEY ACABMLi LA'IN LOS HOMBRES NO DEBEN LLORAR NOT LISTED iM ZAN.PAVlcA.PALMEiRA. POP 1 TROPICAiySALSA 1 REGIONAL MEXICAN 18 STATIONS 1 RICKY MARTIN c^sonv dis CC5 LIVIN* LA VIDA LOCA 2 SHAKtRA WNv DiSCOS INLVr^BLE 3 CHRISTIAN CASTRO AR<OLA.mi[. L^- ■. VIDA SIN- 4 LUIS FONSI UMVERSAI lATi ^o SI TU QUISIERAS 5 JUAN LUIS GUERRA 440 t(_Aj=FHrA[p,j(,r. EL NiAGARA.. 6 YOLANDITA MONGE .iRiO I,-,: ','1. ..U N V:\m 7 lENNIFEB LOPE WITH MAK IWHO- NY.. .■. v;Mt*WES 8 CHAYANNE WN» O-SCOi [>r l.'.Hl" TODO 9 ELVIS CRESPO SONt \m.o^ nriTA'.ir 10 ALEJANDRO FERNANDEZ ■- .■,r I' -. .- lorn 11 MDO M i\ 12 PEPE AGUILAR ■■ -.■....i ii-u lii ■. r..'; 1 .y 13 VICENTE FERNANDEZ :=ol.- I. -. : . Mi vOY' A QUITAH... 14 MARCO ANTONIO SOLIS 'OVO . - '-.I PUDIE'^A MENTIfl 15 MILLIE ;MI LAII', UNA VUZ EN EL ALMA 21 STATIONS 1 ELVIS CRESPO SOW DtSCCS PINTAME 2 RICKY MARTIN : : ';nNy oiS COS L'VIN 1 A VIDA .OCA 3 JUAN LUIS GUERRA 440 »jiR['.T./uM>,\ £l NjAGARA... 4 DLG S3Nf DITTOS VOLVERE 5 TITO ROJAS M P.'SONv discos POR MUJERES COMO TU 6 jENNiFQt \sm tmutKiimi- irr#-i;\->is- ^OME»M£S 7 SHAKIRA «if,Y [iiSCiA INfVlTABLE 8 LUIS FONSI UMvtRy*! wti ^ J SI TU QUISIERAS 9 LIMITE 21 ti,'i LATIN ARMONIA 10 TONNY TUN TUN Zf. UA% CIJANCK) AC-ABA EL PLACER 11 SUGAR RAY LAt/AflTLAMic rvEPy MORNING 12 TITO NIEVES kmm LF GUSTA QUE LA VEAN 13 JERRY RIVERA U^Ui wscc* DE QUE VALE SER UN REY 14 MARC ANTHONY »MM NO SABES COMO DUELE 15 VICTOR MANUELLE SOSt DIS03S AL IGUAL QUE YO 64 STATIONS 1 CONJUNTO PRIMAVERA tofcvr^ -.f.-F:. ' 'ii^HRTE 2 ALEJANDRO FERNANDEZ SUN- ;■■ ' . 3 LOS TUCANES OE TIJUANA fM ISir. Af,' ■)< I L.^lL'NICO 4 PEPE AGUILAR m< :^JtKl bAI Roa ME ESTOY 5 VICENTE FERNANDEZ SONY VAhi.-^ SUHLiMf MUJER 6 VICENTE FERNANDEZ ^"-Nt Di!k.-(. . '.'1 ■. ■ . .MAR... 7 TIRANOS DEL NORTE ony LH&JLi:, I.A : JTAL 8 RAYITO COLOMBIANO piSAtyiiAiN QUE CANTF 9 INTOCABLE t wi l a'in PERDEDOR 10 LOS TUCANES DE TIJUANA tUi lATiS ME HACES 11 BANDA MAGUEY ^latiug LAT l> ii^'-. 'l.-'Mi^Pf S NO... 12 GRACIELA BELTRAN 13 MARCO ANTONIO SOLIS 'OMO- '-■-.11 SI U -'ULliLRA MENUR 14 EZEQUIEL PENA iln<jvisa UNA PAGiNA MAS 15 JULIO PRECIAOO ka; u:^ vfrs ELS'SGuSro 86 BILLBOARD JUNE 5. 1999 ^^Tusic industry even e A D ■ S c o N r Midam Latin America S Carribean broadena it:a horizons. Live muaic, concerfea, trade show and conference, embracing ail atyles of muaic, delivering contecta, products, showcaaea, new talent. And Deaia. MIOEM AMERICAS. One huge industry gathering to buy, sell, network, profile and promote to key decision makers and world media. Your first choice. And the coolest way to do buainesa ecroaa the entire American continent. And b eyond. MIAMI BEACH CONVEIMTIOIM CENTER FLORIOA • USA UK exhibitors can apply for a DTI subsidy as long aa the atend is booked in time WWW. midenn .com niASE RUSH ME DETMU OF MIOEM AMERIMS HO. FAX THIS COUPON TO YOUR NEAREST OFFICE NAME COMPANI Acnvmf couNTnv PL£ABE SEND ME INFOnMATtON ONi RARTICIPATtNO WITHOUT A STAND FOR FURTHER INFORMATION PLEASE CONTACT REEO IVIIOEM ORCSANISATION: UBAi T.I: 1 t&IB) SBB 4BB0, F.ii 1 (8181 888 4348. E-MAIL: 104709, 15a6fleompuMrv..eom / midemt.oi.eom HEAnOUARTSRS/FRANCCi Till 83 10)1 41 BO 44 60, Fu: 33 1011 41 BO 44 SO UK: Til: 44 101171 588 0086, Fait 44 (01171 885 0B4B OERMANV: T.I: 48 1017631 17680, Fa>: 48 (0)7631 176683. E>m«ll: 106760, 8B17lcoinpu..rv.. com JAPAN: T.I: 81 (31 3548 3114. Fan: 81 (31 3648 3119. E.mall: lllv.onoVmtf.biglDba.ite.jp HONB KONG: Tal: (6881 8965 1618 / 8884 10SB, Fail (8881 8607 8186. E.mall: 106934, 167teo«npuaarva.oom AUSTRALIA: Tal: 61 <8I 9557 7766, Fa.: 61 (81 BBB7 7788. E.malli ti*ipp*lmmadla.oom.au t^^l Exhibition Companies De/(vering Busmess Contacts i Artists & Music JUNE S, 1999 NOTAS (('outiiiued fwm jmpe S6) Network and the Sci-Fi Channel. Quinoy and Pena will be based in Miami. Germfin Rinaldi, who is based in Buenos Aire.s, will expand his duties as regional director, South- em Cone, adwrtising sales, by build- ing up the Argentina market and opening up Chile. Mexico NOTAS: After a highly prasperous reunion t«ur in 1998 and 1999, members of Konovisa's pop vocal troupe Timbiriche have returned to their .solo projects. Paulina Rubio is recording her first solo project for Universal in Spain. Diego Schoening is mixing his new album, even though he is not signed to a label. Benny Ibarra, who renewed his deal with Warner Music Mexico for four albums, is working on songs for his upcoming set. Sasha Sokol has signed up to do a tele nor- ela with TV Azteca. Erik Rubin is rehearsing for a Broadway rock opera whose title he would not reveal. The show Ls being produced in Mexi- co City. Mariana Garza is shopping for a record deal. Alix Bauer is re- turning to domestic bliss as a mother of her two babies. Pimpinela is in the midst of a four- month trek that will take UniNBrsal's brother/sister |)air to Mexico, the U.S., Euroix.', and Latin America. After its tour, Pimpinela is scheduled to begin recording its new album. Also planned is for the duo to host a talk show in its natiw Argentina. In addi- tion to its recording career, Pimpinela also owns Aladino Records, a record label and concert promotion firm based in Buenos Aires. Diablos Locos, who describe their style as "enmhki n la mexkaiia," have been riding high in Mexico City at No. 1 on Marketing Information's tropi- cal/salsa chart with their single "Si No La Tengo." The Fonm'isa signees are managed by RGA, which is wKTied by Adolfo Angel, creative force of Diablos Locos labelmates Los Temerarios. The band is slated to tour the U.S. in ,Iune, after which it will play in Central America. Release update: Pacific Time Entertainment Ls slated to release the soundtrack to "The Versace Murder" on Tuesday (1). Featured on the soundtrack are four cuts licensed from Kubaney Records. They are by Pochy Y Su Cocoband ("Estoy Enamorado De Ti,") Los Hermanos Rosario ("Me Tiene Amarrao"), Los Hermanos Mercedes ("Mambo"), and Madera Fina ("Madera Fina"). The PSm Am Films picture, now set for release in the fall of 1999, stars Franco Nero and Steven Bauer, host of Billboard's first Latin Music Awards, in li*94. Due to drop from Rykolatino on .lune 8 is "Herido" by recent signee Jose Alberto "El Canario." On .June 22, WEA Latina Ls expect- ed to drop two discs by Mexican rock superstars Caf£ Tacuba. One is an all-instrumental set, "Redes." The other, "Yo Soy," features vocal cuts. Set to ship July 13 on Xenophile is "Amar De Nuevo" by Chilean folk- loric group Inti-Illimani. BMG Latin's July release from Alexandre Pires «ill contain a duet with Gloria Estefan, |)roduced by Gloria's marklti, Emilio Estefan Jr. Pires is the lead vocalist of Brazil's massively popular samba crew S6 Pra Contrariar, RCA/BMG ju.st dropped the band's eponymous Por- tugue.se-language dLsc in the U.S. A MARVELOUS MAY: Sales of titles on The Billboard Latin 50, buoyed by the Mother's Day weekend, as well as blockbuster product from Sony Discos stars Ricky Martin and Elvis Crespo, hit an all-time weekly average high of 180,u(X) units in May. Of course, this weekly .sales clip is not likely to last in June. The num- bers of Martin's platinum Spanish disc "Vuelve" have crashed 55% in Julio's Hands-some Impression. During a fund-raiser May 6 in New York, Columbia's Julio Iglesias look time out to model his handprints for a collection of handprint plaques that New Jersey-teased retailer Ritmo Lati- no displays in its stores. Other star Latino artists whose handprints grace Rrtmo Latino's stores include Ricky Martin. Celia Cruz, and Julio's son. Enrique Iglesias. Shown, from left, are Iglesias and Ritmo Latino store designer EvI Golan. the past two weeks, to 14,.500 units this issue. Similarly, the figures for Crespo's May release, "Pintame," have cratcred nearly 50% to 15,000 units this issue. On the other hand, "Mani Un- plugged," the June 22 set by WEA Latina rock icons Mana, should shore up a weekly sales average that may drop as low as 135,000 units by the middle of the month. Following are the figures for May, measured from April 27 to May 25. The Billboard Latin 50: May: 721,000 units; weekly average: ISO.iiOO units. April: 665,600 units; weekly average: 166,.50O units. May 1998: 389,500 units; weekly average: 97,500 units. Pop genre chart: May: 258,500 units; weekly average: 64,.t00 units. April: 285,.'j(X) units; weekly average: 71,500 units. May 1998: 143,000 units; weekly average: 35,i)()0 units. Tropical/salsa genre chart: May: 234,000 units; weekly average: 58,500 units. April: 135,000 units; weekly average: 34,000 units. May 1998: 1 18,000 units; weekly average: 29,500 units. Regional Mexican genre chart: May: 194,500 units; weekly average: 48,500 units. April: 215,500 units; weekly average: i>4,000 units. May 1998: 109,000 units; weekly average: 27,500 units. Chart notes, retail: Though hit by steep losses in sales this issue, Elvis Crespo's "Pintame" and Kicky Martin's "Viielve" rank 1-2 this issue on The Billboard Latin .50. "Pintame" plummets 55-85 on The Billboard 2(X), where the hit merengue set leads the way for five other Span- ish-language titles on that chart "Pin- tame" tops the tropical/saLsa chart for the third week in a row. "Vuelve" scores a lucky 13 on the pop genre chart — the number of consecutive weeks the album has stayed at No. 1 on that chart. Selena's "All My Hits — Todos Mis Exitos" (EMI Latin) retains top ranking on the regional Mexican genre chart for the 11th straight week on .sales of 1 1,000 units — a 9% drop since the last issue. New to the top 10 this issue is Puerto Rican merengue artist Tonny Tun Tun, whase label debut on Caiman, "Caminando," rockets 22-9 with sales of 3,500 units. "Cam- inando" is Caiman's first top 10 title on The Billboard Latin 50. Chart notes, radio: Life can not get any crazier on Hot Latin Tracks, as Ricky Martin's chart- topping anthem "Livin' La Vida Loca" (C2/Sony Discos) rings up an astounding record of 23.2 million audience impressions — 6.4 million more than Elvis Crespo's runner-up hit, "Pintame" (Sony Discos). "Livin' La Vida Loca" stays atop the pop genre chart for the eighth successive week, with 15.1 million audience impressions. "Pintame," which notched 16.1 million audience impressions this issue, holds down the high chair of the tropical/salsa genre chart for the fifth week running. However, the genre chart su- premacy title remains with Fono\isa grupo Coi\junto Primavera, whose hit "Necesito Decirte" remains No. 1 on the regional Mexican genre chart for the ninth consecutive week, with 10.6 million audience impressions. New to the top 1 0 of the chart this issue is in-demand actress Jennifer Lopez, whose duet with Marc Anthony, "No Me Ames" (Work/ Sony Discos), climbs 12-5, with 12.6 million audience impressions. Sales STATFILE: The Billboard Latin .50: this issue: 157,500 units; last issue: 183,500 units; similar issue last year: 89,.500 units. Pbp genre chart: this issue: 51,000 units; last issue: 62,500 units; simi- lar issue last year: 33,500 units. Tropical/salsa genre chart: this is.sue: .54,000 units; last issue: 64,.500 units; similar issue last year: 27,500 units. Regional Mexican genre chart: this issue: 45,500 units; last issue: 48,000 units; similar issue last year 24,500 units. Assistance in preparing this column pmvided by TeremAgidlera in Mexico City (otd Raniiro Rnrr in San Antonio. THE Billboard. Latin 50 SoonaScan9 lllllli THIS LAST is ARTIST IMPRINT & NUMBtR/DISTmBUTING UBEL TITLE 1 1 3 ^^^fl No 1 ELVIS CRtiPO WNv C^j'.i.'; c^^'.' . . . jt No 1 rirJlAMt 2 2 67 RICKY MARTIN A SONY nscos 926^3 VUELVE 3 4 58 ELVIS CRESroSsoNy DISCOS S26M OB SUAVEMENTE 4 3 12 SELENA EMI LATIN llHUtr ALL MY HITS-TODOS MIS EXITOS CD 7 2 ALEJANDRO FERNANDEZ so«< DISCOS 83182 ■ Ml VERDAD 6 6 35 SMAKIRA • SONY DISCOS e?7«6 g DONDE ESTAN LOS LADR0NES7 7 5 16 LOS TRI-0 ANIOLA 66436.«M0 lATlN Ql NUESTRO AMOR 1 11 5 DIG SONY DISCOS 82924 Qg GOTCHA! V ^ / 22 \ainCHiC9l »»IMIi'ICH ^ TONNY TUN TUN CAiM.vt. ^9HC QQ CAMINANDO 15 13 NOELIAfON0viSA6O8OB NOELIA OD 16 9 A.B. auiNTAMLU f LOS KUMBIA KINGS m uitih Kiet ■ AMOR. FAMIUA r RESPETO 12 8 14 TITO ROJAS M p M? MMNV DISCOS Bg ALEGRIAS Y PENAS 13 13 47 VICENTE FERNANDEZ SONYOiscOSe2M3BB ENTRE EL AMOR Y YO 14 9 35 ENRIQUE IGLESIAS • icnotoa 080002 COSAS DEL AMOR IS 14 17 MARCO ANTONIO SOLIS fdkovisa 0916 0 TR020S DE Ml ALMA 16 10 8 lOaUIISKlOaaiE WITH 105 PMOIOS :":;t;:- p MIVUMIEIOL 2 EVkTOffiC'Ef TI 17 20 23 JUW UilS GUERRA 440 kakn 9)02|&umiis*i iatko gg NIESLOMEHONIES IGUAL 11 21 33 CHAVANNE S[>N' DISCOS 82S69 B ATADO A TU AMOR 19 17 ; VARIOUS MTISTS .ii%is 4 7192 THE BEST LATIN PARTY ALBUM IN THE W0RLD...EVER! Cm) 26 2 INDUSTRIA DEL AMOR TO*40viSA 9777 RECUERDOS DEL AMOR 21 22 18 12 u SOUNDTRACK EPIC 6890M0NY DISCOS DANCE WITH ME LA MAKINA AN a303W)NY DISCOS Q) PARA EL BAILADOR 23 25 29 LOS TEMERARIOS f CNOvSA T.07a 1 5 EXITOS PARA SIEMPRE NEW^ Hot Shot Debut CHRIS PEREZ BAND ...„■ ■■. . i.Mv RESURRECT rr. 25 24 8," miEHU VISTA SOCIAL CU)B »;« or:jnyfMj> WJStt a BUEN* USTA SCCIAl ClUB 26 19 85 MANA # WTA LATINA 20430 SUENOS LIQUIDOS 27 23 4 ANAGABRfELSOT4YDISCO$B3l22 SOYCOMOSOY 28 27 33 CONJUNTO PRIMAVERA FONOVtSA 9663 Bi NECESITO DECIRTE 29 33 31 MARC ANTHONY •rmukik CONTRA LA CORRIENTE \SL/ 38 25 JERRY RIVERA SONY DISCOS 82862 ■ DEOTRAMANERA 31 28 9 JARABE DE PALO EHi UTIN 47188 B DEPENDE /-rr>. ® NEW^ VARIOUS ARTISTS SONY DISCOS 83231 BIUBOARD LATIN MUSIC AVirARDS 31 29 16 PEPE AGUILAR musari 20] 7/balboa POR EL AMOR DE SIEMPRE 34 43 9 CONJUNTO ALMA NORTENA COM 1037 ALMA 39 37 7 LOS ORIGI PEPE AGt 1ALES DE SAN JUAN EUl LATW 99623 B NACI CON SUERTE DE REY 3fi 31 53 ILAR MUSART IBl^QALBOA CON MARIACHI 37 34 23 iuuius«iacaiB«Ki>a!iEca(iD»iaibu!i,KjAai mamLmimuLiiitixx-^ 47 21 RAMON AYALA Y SUS BRAVOS DEL NORTE FliEKie 1 ITS 20 EXITOS GIGANTES 39 36 10 VARIOUS ARTISTS woitL 822B9i«iNY DiscosMERENGUE EN LA CALLE 8 99 40 41 10 EONITA NAZARIO EMi latin 69935 01 COi-A.'lJN 41 48 2 JAVIER TORRES Y SU GRUPO FONOVEA 979S ROMANTICOS Y CON SOMBRERO 42 35 5 TITO NIEVES RUM 84024 CLASE APARTE 43 42 47 LOSTUCANE$DETUUAHAemilatin93«I8|B AMOR PUTONICO ® CONJUNTO PRIMAVERA FDNOVISA 0760 EN VIVO 45 39 1 14 ENRIQUE IGLESIAS FDNOviSA 6076 REMIXES ® K4IITRr VICO C EHI LATIN 9auDB AQUEL QUE HAaiA MUERTO 47 46 1 5 GRUPO EXTERMINAOOR FonoviSA 9780 CONTRABANDO EN LOS HUEVOS ® DE-ENm ALEJANDRO SANZ wea latina 20281 ■ MAS 49 40 7 RABITO FONOVISA 9776 SINCERIDAD 45 49 OZOMATL AIMO SOUNDS a002aiNTERSC0PE KB 0/OMATLI POP TROPICAL/SALSA REGIONAL MEXICAN 1 RICKY MARTIN SONY DISCOS VUELVE 2 SHAKIRA SONY DISCOS DONDE ESTAN LOS LADRONES* 3 NOCUA FONOVISA NOELIA 4 AJ-QmmNILUTLOSnjHeiAKMGS »i WO», FAMIUA V RESPfTO 5 ENRIQUE IGLESIAS ror^viSA COSAS DEL AMOR 6 MARCO ANTONIO SOUS ICMS. 'J TROZOS DE Ml ALMA 7 USE LUK ROOnGUEZ Wrra LOS nUCHOS 50Nr dijcos inolvida&le vol 2 8 CHAYANNE SONY oiSCOS ATADO A TU AMOR 9 VARIOUS ARTISTS virgin 10 CHRIS POtEZ BAND Wii^D RESURRECTION 11 MANA wtA latina SUtNOS LIQUIDOS 12 ANA GABRIEL SONY DISCOS SOY CO MO SOY 13 JARABE DE PALO EMi lATiN DEPENDF 14 VARIOUS ARTISTS SONt DISCOS B-'LLBOARt lAT.H MUSIC AWARDS 15 EDNITA NAZARIO EMI LATIN CORAZON 1 ELVIS CRESPO SONY DISCOS PINTAME 2 ELVIS CRESPO SO«r DISCOS SUAVEMENTE 3 OtG SONY DJSCOS GOTCHA! 4 TONNY TUN TUN CAIMAN CAMINANDO 5 TITO ROJAS M P,-SONY DISCOS ALEGRIAS Y PENAS 6 JUAN LUIS GUERRA 440 KARf rt'UHH/fl«Al lAIINO Nl ES LOMISMO Nl ES tGUAL 7 SOUNDTRACK EPICSONT DcSCOS DANCE WITH ME B LA MAKINA j&NSONY DfSCOS PARA EL BAILADOR 9 BUENA VISTA SOCIAL CLUB WD«U) aRCUIT/NONESUOVAG BUENA VISTA SOCIAL CLUB 10 MARC ANTHONY RUM CONTRA LA CORRIENTE 1 1 JERRY RIVERA SONY DISCOS DE OTRA MANERA 12 VMHXJS ARTISTS ^MEWOftTOSCDS MERENGUE EN LA CALLE B "99 13 TITO NIEVES wmmCU^SE APARTE 14 GRUPOMANIA SONY DISCOS THE DYNASTY 15 CHAMJEZMsorKuiXiWYnscos UN SEGUNDO SENTIMIENTO 1 SELENA EMI LATIN ALL MY HITS-TOOOS MIS EXITOS 2 UEJWOm FERNWDEZ SOW OtSCn Ml VERDAO 3 LOS TRI-O ARiULA,'BMG LATIN NUESIRO AMOR 4 VICENTE FERfUM)eZ ■'DNf OISCOS ENtRi. EL AMOi-i Y YO 5 INDUSTRIA OCL AMOR fonovisA RECUEROOS DEL AMOR 6 LOS TEMERARIOS f onoviSA 1 5 EXITOS PARA SIEMPRE 7 CONJWTO PRIMAVCRA fmym NECESITO DECIRTE 8 PEPE AGUILAR M.;SAATi«aiK)A POR EL AMOR DE SIEMPRE 9 CONJUNTO AUHA NORTENA CDM ALMA 1 0 IDS OnUMlES H S«N JUM fM LATH NACI CON SUERTE DE REY 11 PEPE AGUILAR muSAAT^aiboa CON MARIACHI 1 2 JUW UMa COM UtKH a HECOOO ■RLMKimUlfl^CSiMD. ai£3(r 13 RMMMAnUTSSflMVOSKl NORTE FRtDDIE 20 EXITOS GIGANTES 14 MKH TORRES Y SU CRUPO ":kv» ROMANTKOS Y CON SOMBRERO 15 LOS TUCANESOe JULIANA cm mm AMOR PLATONICO CD Albums with me greAlm mIm taint this week. * Recofding Industry Aun. 01 America (RiAA) cel'lit Jtion toi iwl ship- meotot 500.000 Blbum urfits<GoMI. A RIAA certiflcallon lor net shipment isf 1 millicm unrts (Platinum) ^ RiAA c«ftilic«tiOA >0' flM trwpmem Ot 10 ntlllton units (OMmond). Nunwnl MIowing PIMinuin or Diamond lymbol maxMn album's muni-plat- mu(T> levil. Fw bmed setv and double albums wttti a runnlni time ol 100 minutes ot nvn. the RIAA multiplm sMpm«nts by th« numbat erf Uttct andA>r tap«. Gnatett tuum shOM chart's Urfes) unti Increiu ■ indicatn pa«t and prvMol HMtsmt«r 88 BiaBOARD JUNES. 1999 I; 1 CI I Y • I J J: u WM i i« COM DC' LA vi^ Gli c>.irr^i t J 1 LI /u< > oyi / ;^uini/u>: / LO. MCJOB DE Mi .u:/;^ini:A # <ieca (okdomuoa'^ rjii: /; Y ?x l,«t K L # 0E J aria TODO "O 1,0 1 /•. K O l>l /. TU' AMOK • ItlCAUL'p A.U.K'U/i / 'DIME OUE M^l LLKL;ilOV/ Et MlLAatO , \- M L' It O !-• I l; K-A K I' •!; •/ t .UN ''M U N D O t A t O*'" CU/viaiL V /;/•. / DE-fEMGANOS t;X'4 ILUeALLJ # BAILA 1 ' L V 1. 5 . C l: 1 .,5 !• O / 4 U V C' M <E T E MaBufsctured & DistVibyled by Sony bnc6s TELCMUMOO at-:iti< ^ iff ^ fillip: '^ur i Pro Audio ARTISTS & MUSIC MPGA Presents Seminar On S.l-Ghannel Sound .•1 I HE MUSIC PRODUCERS Guild of the Americas (MPGA) did one of the things it does best May 22 in Nashville: present a hands-on, 5.1- channel mixing conference. Sponsored by Sony Professional Audio in a.s.sociation with Dolby Lab- oratories, the event^ — held at Allen Sides and Garj' Belz's Ocean Way Nashville facility — attracted more than 100 MPGA produeer.s. engi- neei*s, and invited guests, according to a statement from the guild. Featured presentations and de- tailed 5.1 mi.\ing sessions were con- ducted by engineer/producers George Massenburg, Ed Chemey, and Chuck Ainlay. in collalwration with Sides, who is al.«o an award-win- ning producer/engineer. Conference leaders provided hands-on demonstrations of the state of the ai't in surround mixing and ad- dre.ssed Na.shville's potential to cap- ture 5.1-channel business. Morning and afternoon se.ssions in Ocean Way's Sony 0XK-R;5 "Oxford" room featured Mas.senburg, who re- cently entered into an alliance with Sony to implement his GML soft- ware in the all-digital board. Down the hall in the Neve room. MPGA founder/chairman Cherney teamed with Nashville veteran Ain- lay to demonstrate methods for 5.1 mixing. Tape Junkies. Producer Glen Ballard earned the BASF Master Award for his work on Alanis Morissette's "Sup- posed Former Infatuation Junkie." which was recorded on BASF Sf^l 900 analog 24-track tape and BASF Adat Master Shown at Royaltone Studios in Los Angeles, where the album was recorded, from left, are Ballard, Royal- tone studio manager Jane Scobie, and engineer Chris Fogel. Not shown is Morissette, who, as co-producer of "Supposed Former Infatuation Junkie," also received the BASF Mas- ter Award. SfUDI 110 by Putil VeriKi "Our 5.1 mix- ing sessions identified gaps in both equip- ment and tech- niques," sa.vs Massenburg in the MPGA release. "We're glad to be here filling the gaps in technique, and we hope that the manufacturers will take the initiatiw in developing hadly needed tools." Dolby conducted demonstrations of its recently introduced 5.1 Head- phone for attendees and provided infoi-mation about the current statiLs of 5.1 audio standards. Speaker man- ufacturer's Genelec, KRK, ,IBL, and M&K provided full 5.1 surround- suund monitoring in both control rcwms, while BASF sponsored lunch. Commenting on the event, Sides says. "There are so many questions about what you can do in a 5.1 mix. and the MPGA gathei^ together top engineers who have been doing lots of this kind of work. For example, we learned about various ways to set up your reverbs for multichannel and how' to best get the center channel to work for you. If you haven't done 5.1 projects, there are lots of questions, and even if .vou have, it's interesting to find out about alternative approaches. George, Ed, and Chuck openly shared their experiences, putting the Nashville audience that much ahead of the game." Lisa Roy, e-xecutiw director of the MPGA's Nashville chapter, .says, "Ed Cherney w'as a great host, the pre- sentations were remarkable, and the attendees were very satisfied. It was just a spectacular day for the Nash- ville music community and the Music Producers Guild." Cherney adds, "This is really what the MPGA is all about — talented peo- ple getting together and sharing their knowledge to benefit our pro- fession and make the music better" The recording industry lost one of the masters of the craft with the May 17 death of Canadian producer Bruce Fairbairn (Bill- board, May 29). Fairbairn, 49, died in his sleep in his home near Vancouver while in the midst of working on an album by pro- gres.sive rock band Yes. A fastidious producer with a gift for making rock bands sound larger than life, Fairbairn distinguished himself with his work for Loverboy. Bon Jovi. Aerosmith, Van Halen. AC/DC, Kiss. Poison, the Scorpi- ons, the Cranberries, and INXS. For Bon .Jovi and Aerosmith. Fkir- bairn's productions were commercial and critical milestones that repre- sented defining moments in their careers. Bon Jovi's 12-times-platimmi "Slip- pery When Wet." produced by Fair- bairn, was the New .lersey band's commercial breakthrough after a couple of albums that had logged respectable sales. Similarly. Aerosmith's "Permanent Vacation." a five-times-plat- inum release, was the group's comeback album after years of drug dependency and lackluster work. Fairbairn went on to produce the band's 199:i album, "Get A Grip," which, at .seven-times-platinum, was an even bigger seller than "Perma- nent Vacation." As impre.ssive as they are. howev- er, those numbers reveal only one side of the Fiiirbairn stor.v. Above all. his friends, clients, and co-workers remember the producer as a talent- ed, compasssionale. and lewl-headed professional who made the recording process stimulating and unpre- dictable. Besides his well-documented pro- duction work. Fairbairn was known in the industry as the owner of the Armoury, a Vancoiiwr recording stu- dio he purcha.sed from his friend and former Sunshyne bandmate. song- wiiter Jim Vallance. After a private burial, a memorial service for Fairbairn was held May 24 at Vancouver's Chan Center. At press time, the cause of his death was not known. llj/sm fieUs Hages To Scare With smtt from Prlyate Jo far Hire Baam BY DAN DALEY BOCA RATON. Fla.— John Henry knows something about markets in transition. The self-made multimil- lionaire runs .several of the financial markets' most successful interna- tional money management funds. However, transitioning Elysian Fields — the recording studio here that he stai'ted in 199:^ — from a pri- vate studio to a for-hire facilit}' under- scores both the burgeoning trend of upscale project studios seeking to enter commercial markets and the challenges of changing a facility's hardware and management culture. Hem'y's interest in recording stems from his .years as a musi- cian before becoming a financial guru, an avocation that has benefited from his success in financial markets. Henry has personal studios in his home and on his yacht, and Elysian Fields is well outfitted both techno- logically and aesthetically. The studio sports a 60-input Neve V3 console with GML automation, Studer 48-track digital and 24-trdck analog multitrack decks, eustom-con- figured main monitors with TAD components, a well-stocked micro- phone cabinet, and a respectable mix of analog and digital outboard signal processing. The aesthetic of the .studio, which is on the ground floor of a glass-sided office building in downtown Boca Raton, is banker chic, with rich mahogany wood floors and trimming, a granite-topped producer's desk, and filigree that reflect an upscale orien- tation. The studio was conceived as the incubator for Henry's foray into the music business: an artist-develop- ment venture that has yet to produce a hit, although one of the artists the company contracted with, Australian alt-rocker Scott Reese, remains in production. 'Artist develop- ment is still on our agenda' - Me*L mCHBAUU- The ai'tisl-dewlopment avenue will continue to be pursued, says Neal Merbaum, a former Wall Street for- eign-exchange specialist and guitaiist who met Henry through New York's financial community and subsequent- ly came to work for him as executive VP of Henry's production and record company. Merbaum, who concedes that he had no prior experience in the music industry, now finds himself managing the ti-ansition of the studio from private purpose to for-hire busi- ness. "There was a lot of trial and error in developing the production compa- ny and the studio. which was started only with the idea of supporting our own artists." Merbaum says. "It wasn't origi- nally intended to encompass more than that." Once the decision was made to make the studio a for- hire venture. Merbaum, chief engi- neer Keith Rose (a former Criteria Recording staffer who joined Elysian Fields in 1998), and staff composer/ producer/programmer Dominique Flores re-evaluated the facility. A second studio — a 24-bit Pro Tools-based suite with Digidesign Pro Control and a Yamaha 02R digi- tal console — was added to give the facility audio post capabilities, and the design of the main control room was renovated acoustically and ae.stheti- cally by John Arthur of the Miami- based John Arthur Design Group. "The original design was fine, but there were problems in the actual building of the control room," says Merbaum. including low-frequency anomalies, which Arthur rectified with a combination of new trapping and diffusion throughout the control room. The thrust behind the control room's renovation was "to more even- ly distribute the energy throughout (Continued oil next page) iVtifz'ii ir earner to burning your custom CD's ac home. Mitmul Oigltat Audio CO far CanmuntBrs givp^ Lfou tiie must dccurate recordings your tnuney can buy. A tter all. . . the difference ts innovation. 90 BIIXBOARO JUNE 5. 1999 Pro Audio ELYSIAN FIELDS HOPES TO SCORE (Coiitiiiited fivm pivcediiig i>age) the room and widen the ai-ea of imag- ing — to create a wider sweet spot," says Arthur. The resiJt has clarified the mom's low end considerably, says Rose, who adds that he is also in the process of revising and expanding Elysian Fields' outhoai-d complement to broaden the studio's appeal to out- side clients. Technological and acoustical issues may prove more easily quantifiable than business ones, though. As a pri- vate facility, Elysian Fields didn't need a rate structure at all, except for intenuil accounting purposes, but as a for-hire studio, it won't get one either, at least initially, according to Merbaum. Instead, he and Rose haw decided to charge on a case-by-case basis, adjusting the studio's rates based on the length, comj)lexity, and type of project. They may also rary to accommodate emerging artists in the region: Meri)aum says the .studio's philosophy remains committed to helping develop the music community in fiouth Florida. "There are a lot of factors that will influence our rates, including what the market will bear," he observes. " It's a non-rigid rate structure for the time being, but that may change at some point" Change is rampant in South Flori- da at the moment; the most signifi- cant event was the acquisition by New York's Hit Factory of Miami's leg- endary Criteria Recording in .Janu- ary, an occurrence framed by the recent openings of several new pro- ducer-based studias, including rooms for Latin engineer/producer Victor DiPersia, "Mi 'Rerra" composer Este- fano, and former Crescent Moon chief engineer Eric Schilling. Several other area studios are in the proce.ss of upgi'ading their facilities or strongly considering such moves, the timing of which some observers attribute as a response to Criteria's new openly ag- gressive ownership. Merbaum acknowledges that the Hit Factory's presence is probably partially spurring an ov-erall upgrade of the region's recording facilities, as is the continued growth of Latin mu- sic in Miami. "Part of the decision to make the studio aviiilable for hire, iuid to do the upgrades, was to make it more competitive," he says. "We want to project the image of a world-class facility, but one that's still accessible to local artists." That ambition, Merbaum concede.s, could be a tight .stretch. Howevw, the studio's second room, targeted for post-production and music composi- tion, could turn out to be its strongest aspect initially. Flores is composing, producing, and editing original music for in-game entertainment for the Florida Marlins b.xselxill team, which Henry purcha.sed last year, as well as similar work for Five Star, which does the same kind of work for the Florida Panthers hockey team. The studio will also now have to market its capabiUties as a recording facility instead of marketing the artists it once produced. Merbaum says he will rely on word-of-mouth — the most widely used studio market- ing strategy — as well as such evx^nts as the party Elysian Fields hosted March 1 to display its revamp to area engineers, producei-s, and artists. Merbaum also believes that the stu- dio's one-ixmrn nature and its location in an office building an hour's drive from Miami can be turned to its advantage as well. "We can offer com- plete privacy and focus on service to clients using the facility," he says. "A building like this gives us a certain level of anonymity. Ahnost every stu- dio in Manhattan is alsti in an office building." Rose says the management culture at Elysian Fields is changing in a pas- itive way; one that reflects the realities of an equally fluid market. "We haw an anchor (post-production | client — the Marlins — and that helps as we devT.iop a reputation in the music com- munity d(nvn here," he .says. Merbaum .says that the transition is an ongoing learning process for everyone involwd. "We axpect to hav^e to continually make acUustments to the plan as we go along," he says. "Artist develoiiment is still on our agenda for the future, but it's taking a back seat right now as we get the studio into this next phase." PRODUCTION CREDITS BILLBOARD'S NO. 1 SINGLES (MAY 29, 1999) CATEGORY HOT 100 R&B COUNTRY MODERN ROCK CLUB-PLAY TITLE Artist Producer (Label) LIVIN' LA VIDA LOCA Ricky Martiiv' Desmond Child (C21 FORTUNATE Mamell' R. Kelly (Rockland'Interscopel PLEASE REMEMBER ME Tim McGraw, B. Gallimore. J. Stroud T McGraw (Curb) MY OWN WORST ENEMY Lit Don Gilmore & Lit (RCA) UNSPEAKABLE JOV Kim English; Maurice Joshua (Nervous) RECORDING STUDIOtSI Engineeits) THE GENTlfMENS CLUB (Miami Beach) Charles Dye. NaUian Mallii Craig Lozowick, Jules Gondar CHICAGO TRAX (Chicago) Joey Donatello, Stan Wood Anthony Kilhoffer OCEANWAV (Nashville) Julian King NRG (Los Angeles) Don Gilmore RUCKUS (Chicago) Steve Weeder Maurice Joshua RECORDING CONSOLE(S) Protools24 SSL 4000E G computer Neve 8078 80 channel Neve 8068 Madlie 248 Bus RECORDER(S) Pratools24 Studer A800 Sony 3348 HR Studer A827 Alesis ADAT XT MASTER TAPE Protools 24 Quantegy 499 Quantegy 467 Quantegy 499 HHD MIX DOWN STUDIOISI Engineerts) THEGENnaerscuie (Miami Beach) CliailesDye HIT FACTORY (New Vork) Tony Maserati IMAGE (Los Angeles) Chris Lord-Alge PACIFIQUE (Burtlank. CAI Tom Lord-Alge 4 NOW IHuntington Station. NY) Razor N' Gutdo CONSOLE(S) Proti»b24 SSL9080J SSL40S6G SSL 9O0OJ Mackie 328 Analog RECORDERISI Protools 24 Sony 3348 HR Sony 3348 Sony 3348 HR DAT MASTER TAPE Protools 24 Quantegy 467 Quantegy GP9 Sony 3348 HR DAT MASTERING Engineer STERLING SOUND Ted Jensen BERNIEGRUNDMAN Brian Gardner MASTERING UB Doug Sax STERLING SOUND George Marino POWERS HOUSE OF SOUND Herb Powers CD'CASSEnE MANUFACTURER Sony UNI UNUBMG BMG WEA e 1999, BillboaraBPl Communicalions. Hoi 100. R4B & Country appear in Ihts (eature «ach time: Mainsifeam Rock, Modern Rock, Rap. Adult Contemporary, Club Play, ano Dance Sales folate weekly. Please submit material for Production Credits to Mark Marone. Telephone 212-536-5051. Fax 212-382-609'l, mmafone(iJbillboard,cofn BASF,..yotfr/!ritcli0ke in Projesjionfl/ AmQ m§Q. EMTEC AAagnelics & BAS||, EMTEC Pro Media OislntnlDr il Ik BASf imi i\ Umiat Ma IR I lin'29S'SS51 tmta l'tU'ai7 447l irvlsiliiir wtlistlealwww.aiiltC'i«a.cnn BILLBOARD JUNE 5. 1999 HITS HAPPEN .iiillll : • With the Alesis ADAT they can happen anywhere. The M20 now brings ADAT hits to professional studios.. like yours. ]Vi:2o l633 2*»iSuen SanuMooica C* 90404 aoo-5-ALESIS vrewaltsiscom Newsmakers ACM Bash At Tlie Bistro. Members of the country music community recently converged at the annual Academy of Country Music t>ash in Los Angeles. Shown, from left, are Chely Wright, Trisha Yeanwood, MCA Nashville ctiairman Bruce Hinton, Allison Moorer, and Reba McEntire. Heavy And Collective Pratse. Atlantic's Collective Soul relaxes after a sold-out performance at the Bowery Ballroom in New York. The appearance kicks off an extensive North American tour. Shown, from left, are Arthur Spivak, group man- ager; Val Azzoli, co-chairman/co-CEO of the Atlantic Group; band member Ed Roland; Ahmet Ertegun. co-chairman/co-CEO of the Atlantic Group; band mem- ber Will Turpin; Ron Shapiro, executive VP/GM of Atiantic; ar>d band members Dean Roland, Ross Childress, and Shane Evans. Relaxing Wtth Temple Yard. Reggae group Temple Yard takes a moment to reflect after fjerforming in Montego Bay, Jamaica. Shown seated, from left, are Tommy Cowan, president of Glory Music, and Papa San. Shown standing, from left, are Temple Yard members Marky Rage, Ken Yames, Erik Sundin, Johnny Guerrero, and Bill Kasper Chuck D Pumps Up The Volume. Public Enemy's Chuck D visits with execu- tives at Rhino Records in preparation for the release of "Chuck D Presents: Louder Than A Bomb." The collection features hip-hop tracks from Run-D.M.C, Grandmaster Flash, Ice Cube, and others. Shown seated, from left, are Harold Bronson, managing director of Rhino; Chuck D; and Richard Foos, president of Rhino. Shown standing, from left, are Quincy Newell, director of product man- agement at Rhino; Walter Leapharl. Chuck D s manager; Phil Nelson, co-presi- dent of Quarantine Inc.; Bob Carlton, VP of sales at Rhino; David McLeese, VP of A&R at Rhino: Garson Foos, senior VP of marketing at Rhino; and Barry Ben- son, associate director of urban promotion at Rhino. Watch For The Cool Breeze. Inter- scope rap artist Cool Breeze chills out on the set of the video for his next sin- gle, "Cre-A-Tine." He is pictured with video director Diane Martel. Tongue-Tied At Corwy Island. SpwngetMth/Elektra act the Katies recently per- formed at New York's Coney Island High. The first single from the group's self- tilled debut is due July 13. Shown, from left, are Greg Dorfman. senior director of altemative promotion at Elektra; Josh Deulsch, senior VP of A&R at Elektra; band member Gary Welch; George Cappellini, VP of rock promotion for Elektra: Rory Daigle of Spongetiath Records; Brian Cohen, VP of marketing at Elektra; Greg Thompson, senior VP of promotion at Elektra; AJ Tavera. senior director of national rock promotion at Elektra; Bill Pfordresher, VP of promotion at Elektra; band members Josh Moore and Jason Moore; Dana Brandwein. senior director of marketing at Elektra; Richard Williams, president of Spongebath Records; Alan Voss. executive VP/GM of Elektra; Steve Heldt, senior VP of sales at Elek- tra; and Steve Weinberg, senior VP of marketing for Elektra, 1 w MTV Takes A Stand. MTV recently joined the U.S. Department of Justice and ttie U.S. Department of Education in producing an anti-violence youtfi action guide and CD to be distributed to 1 million young people. Tfiose involved appeared at MTV's Times Square studio to unveil ttie project. Shown, from left, are Tom Freston, chairman/CEO of MTV Networks. Robby Takac of the Goo Goo Dolls; Janet Reno. U.S. attorney general; Judy McGrath, president of MTV: and Johnny Rzeznik of the Goo Goo Dolls. 92 BIUBOARO JUNE S, 1999 International Need For Reinvention Addressed At Asian iMosic Confab Shown, from left, are Norman Cheng, chairman of Universal Music Asia Pacific; Frank Brown, president of MTV Networ1<s Asia; Adam White, Billboard intemalional editor in chief; and Sam Duann, Rock Records president. In photo al right is Tom Freston, MTV Networks chairman/CEO. BY THOM DUFFY SINGAPORE— Those who do busi- ness as usual in Asia today lisk going out of business in Asia tomofi*()\v, in the \ie\v of senior executires in the re- gion. Against the backdrop of Asia's 2- year-old economic downtui'n. the gi'owing impact of the Internet, and fuiKlaiiieiitiU sliifts in consumer tastes, the traditional ways of making and marketing music in Asia must change, these obsentrs say. "Creativity is the key," said Michael Smellie. senior VR Asia Pacific, for TrueBliss Flies Onto NZ Charts Via TV Program BY DAVID McNICKEL AUCKLAND, New Zealand— A "fly on the wall" TV documen- tary is helping keep "Tonight," the debut single from girl group TrueBliss, at No. 1 in this coun- try. The documentary, which has TRUEBLISS tracked the group from its incep- tion, continues to be a ratings winner for national broadcaster TVNZ and its creator. Essential Productions. For the week ending May 23, "Tonight" tops the Re- cording Industry Assn. of New Zealand's singles chart for a sec- ond week. Essential producer .lonathan Dowling says he felt "a pretty successful 12 to 18 months in New Zealand music" could be the basis for a real-life TV show. He didn't believe he could secure network support to follow an existing group — so he decided to create one from scratch instead. Eventually titled "Popstars," the show began production last November, documenting audi- tions, recording sessions, infight- ing, management shuffles, and fCnntiiiHcd on page 116) HMG Entertainment International, who challengetl the k>ng-.-itan<ling busi- ness-as-usual methods of A&K. mar- keting, and tlistribution in the region. "We need to shift our focus closer and closer to the consumer We need to reinrent oui?*l\'es to survive — imd we need to do it damn quick." Smellie's remarks at the second Asian Music Conference, hekl May 21 here, eiune duiing a day of discussions about how the Asian music industiT is "reinventing" its future, through greater awareness of brand market- ing. \ideo creativity, relationships with the advertising industry, and the IMwer of the Internet. Although he eriticize<l Asia's A&R as "image-driven" and derivatiw, if* marketing methods as iwited in rela- tionships rather than consumer knowl- e<lge. and its miLsic distribution chain as dominated by wholesalers. Smellie declared. "I am axti-aordinarily opli- mustic." He described a future for the Asian industry in which creatiw mar- keting could propel catalog sales, Asian artists could set international trends ("drums'n'bhangi-a?"), retailers could enter productive iiartnerships with record companies, labels could use the Internet to reach consumers more diiTectly. and rejieitoire could .sell across borders more freely. "If we don't add value in a creatire .sen.se," said Smellie. "we will quickly !» out of business." The Asian Mu-sic Conference was organized by Billboard and MTV Net- works Asia. Some 240 delegates from 13 countries attended the otie-<iay ses- sion at the Ritz Carlton Millenia Hotel in Singiiporc — nearly a 20' r increiise in attendance over the first confer- ence, staged last May in Hong Kong. Attendees were predominantly from Singapore and Hong Kong but also from .lapan, India, Korea, Taiwan, Indonesia, Thailand, Malaysia, the Philippines, the U.S., the U.K., and Australia. The potential of the Internet to transform how business is done in Asia, as eLsewhere, was a theme that ran through the conference, from the opening address by Tom Freston, chairman/CEO of MTV NetwOTks, to the closing showcase sponsored by the National Music PubHshers' Assn., which featured the first livx; Webcast by MTV A.sia. (The ".success" of the Webcast — featuring the Malaysia's KRU and Britain's Code Red and the Honeyz — was confirmed when so BY STEVE McCLURE TOKYO — In a precedent-setting decision, the Tokyo Di.strict Court has found three companies guilty of illegally importing and selling CDs and cassettes featuring material originally recorded by .lapane.se art- i.sUs in the litiOs and "'40s. The court ordered importers/ record labels ARC and FIC. both based in Tokyo, and Osaka-based mail-order company Soutsu to stop importing and selling the material, dispose of existing stock, and pay five Japanese labels (Nip|M)n Colum- bia, Victor Entertainment, King Records, Teichiku, and Polydor) a toUl of 4.1 million yen ($34,425) in compensation for the 510,000 units they had already sold. "Tlie {i\e labels filed the .suit in ,June \im. Sii.\ing that ARC. FIC, and Sout- su imi)orted the ix^cortis luid .sold them in .lapan without their approval. The laliels .said such appiwal was needed because they hold the ixMibrmers" rights for the songs, which the artisLs transfen-ed to tlie labels, according to a practice common at the time. The defendants, however, claimed that under Japanese copyright law, performers lost those rights when their songs were transferred to CD and tape. In the past, explains Re- cording Industry Assn. of Japan (RIAJ) deputy manager ,Iiro Ima- mura, .lapanese labels made e.xclusi\'e agreements with performers con- cerning their performances on re- cordings released by the labels. many people attempted to access the event that the mtvTisia.com server shut down.) Although two-thirds of the worki's Web sites curivntly are U.S.-based, according to h'l^ston, baniei^s in Asia to Internet development — including a (Cniitiintvii on pafic 97) While the copyright protection term for the masters involved in the current case has in most cases ex- pired, under Ja|)an's pre-lSHiS Copy- right Law, no distinction was made lietvveen performers' rights ami mas- ter rights, since the concept of neigh- boring rights was not rect^nized by the law. Performers' rights, which were valid duiing the artists' lifetime and 30 years after their death (ex- tended to 50 years by a 1991 amend- ment), were treaterl as de facto mas- ter lights. The plaintiffs therefore claimed the performers' lights are still protected in mast of the record- ings under dispute in the current case. The defendants, however, argued Japan's current copyright law does not extend such protection, because the performers were effectively em- ployees of the labels when the re- cordings were made. Accuixling to the RIAL the CDs and cassettes were manufactured in the Czech Reixiblic and ejc|HattHi U) .Ia|)an. The case concerned some .55 vintage Japanese pop songs, which were included in the compilations "Golden Hit Songs Series," "Shovv-a Golden Pap- ular Songs Series," and othei's. An ARC spokesman savs the com- pany w ill appeal the ruling. Imamura says, "I jjerstmally consider that the decision made by the court is very im- portant for record comiianies, which have axdusive agieements with per- formers. It will lie published in many books and law magazines." \fP\ Bosril Meets Mer Berman The International Federation of the Phonogi-ajjhic Industry (IFPI) held its main hoard meeting May 18-19 in New York, the fii-st to he held under new chairman.'CEO .Jason Berman. The meeting included (Uscus.sions with the Recording Industry A.ssn. of America over joint initiatives on piracy, lobbying, and Internet issues. IFPI's board members al.so heard a report from director of enforce- ment Iain Grant. He outlined concerns over the gi-ovvth in CD manufac- turing cajiacity. the increasing sophistication of the criminals driving that ri.se. and the strategies IFPI is adopting to deal with the problem. The lioard expre.s.sed its willingness in principle to review the amount of money IFPI s|)ends on anti-piracy. The next board meeting will be held in early November in Hong Kong. Pictured at a dinner at the Sony Club the evening before the board meeting, from left, are Bob Bowlin, president of Sony Music Interna- tional, and Berman. Importers Lose Lawsoit Labels Still Hold Rights, Tokyo Court Rules BILIBOARO JUNE 5. 1999 93 HITS OF THE €^ WORLD JAPAN (Dernpa Publications Inc.! 05/3i,'39 GERMANY (Media Comral) 05/25/99 U.K. (Cop^Tt^CIN) 05/22,''99 FRANCE ISNEP.IFOP/Tite-Livc) Oi/lSm 1M5 UUT IMS LAST TMS LAST IMS LAST SINGLES SINGl£S WOK SINGLES SINGLES *EEK MUX WOK WEEK WOK WEEK WEEK 1 NEW BREAKIN- OUT THE MORNING SPEED tots facto 1 2 4 1 MAMBO NO. 5 LOU BEGA UMX* 1 WANT IT THAT WAY BACKSTREET BOYS 1 NEW SWEET LIKE CHOCOLATE SHANKS & BIGFOOT TEPPtR^CMElA 1 2 1 2 AU NOM DE LA ROSE MOOS mercury universal . . . BABY ONE MORE TIME BRITNEY SPEARS 2 3 4 NEW 4 SABAIBAL GLAY unlimited GRATEFUL DAYS DRAGON ASH victom SAIGO NO KAJITSU KYOKO FUKADA pony canton I'LL BE MR. CHILDREN icysrucTOR* 3 2 JIVE.RDUQH TRADF SIE SIEHT MICH NICHT XAVIER NAIDOO tmc 2 3 1 3 YOU NEEDED ME BOYZONE PCvrDCA THAT DON'T IMPRESS ME MUCH SHANIA TWAIN 3 3 TU M'OUBLIERAS LARUSSO CCCONEM NEW 4 5 5 3 NO SCRUBS TLC «•■&» FLAT BEAT MR 0120 f COMMUNCAIIOfYSCONNECTEa 4 NEW MtPrLBY KISS ME SIXPENCE NONE THE RICHER elekiha' 4 4 BOOM. BOOM. BOOM. BOOM! 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BLUE EIFFEL 65 S«xeTrt.EVEL 0«£ 5 6 NEW 6 WHERE MY GIRLS AT? 702 motcmhuniversal CANDU IN THE WIND 1997/SOMETHING ABOUT THE WAY YOU LOOK TONIGHT ELTON JOHN MCn 3 4 5 5 4 3 BEST FRIEND TOY-BOX edel NO SCRUBS TLC bus IF YOU BELIEVE SASHA nARnER 4 5 3 4 4 5 6 3 5 4 SNOW ON THE SAHARA ANGGUN in: LIVIN'LAVIDALOCA RICKY MARTIN Columbia . . . BABY ONE MORE TIME BRITNEY Sf^ARS 7 5 OjRTAJNIVEISAI. THE ANIMAL SONG SAVAGE GARDEN columbim SON* GOODBYE SPICE GIRLS viRoirvcMi LOVE SONG SKY emi 6 7 WHY D0N7 YOU GET A JOB! THE OFFSPRING COLUMBIA 6 7 11 6 7 19 LOOK AT ME GERI HALLIWELL Emi 8 9 7 9 7 8 6 11 TARZAN AND JANE TOT BOX EDEi NEVER NOOIT MEER GORDON & RE-PLAY cm 8 8 JIVtVUSMROOM/YESYWAl. HONEY TO THE BEE BILLIE \«i>at< 8 9 10 6 8 FLAT BEAT MR. 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(TILL 1 COME) ATB MOYOvuos 13 NEW ctxuMaiA TELL ME WHY PRE2I0S0 FEATURING MARVIN MEOtA/CLOeAl NET 14 12 13 12 . . , BABY ONE MORE TIME BRITNEY SPEARS 12 9 TOUCH IT MONIFAH mcmjnivcrsae 14 12 PROMISES THE CRANBERRIES iSLANQi>MrDOft^jM^ 15 15 T>4AT DONT IMPRESS ME MUCH SHANIA TWAIN JIVE/TCMBA 13 16 STRONG ENOUGH CHER WEA VfRSAL NUMUZIK 14 14 THANK ABBA FOR THE MUSIC VARIOUS ARTISTS 14 NEW KISS ME SIXPENCE NONE THE RICHER EPK 15 14 FOREVER OJ DADO FEATURING MICHELLE WEEKS 16 16 HEARTBREAK HOTEL WHITNEY HOUSTON FEA- EPIC 15 19 ANGEL OF MINE MONICA BMG TIMC TURING FAITH EVANS 4 KEUY PRICE arista»« 15 NEW LIVIN' LA V1DA LOCA RICKY MARTIN coiuusiA 16 13 MYNJUMEIS EMINEM )NTERSCOPEA>niversal 16 16 PRAISE MY DJ'S RUN FROM RUN-O.M.C. tMHtv 17 NEW NO PIGEONS SPORTY TKIEVZ FEATURING MR. 16 20 YOU NEEDED ME BOYZONE POETDOAOJNrvERSAi. 17 15 FLY AWAY LENNY KRAVITZ WRGIN LEVtl ONE 18 19 11 13 WOODS NUMUIM 17 18 19 15 13 19 THINKING OF YOU 'N SYNC BMC CRAZY WAY ABOUT YOU RENE FROGER D.NO MARIA BLONDIE bmc 18 18 EVERY MORNING SUGAR RAY wEA 17 10 THE GAME NEJA new muskaevel one KISS ME SIXPENCE NONE THE RICHER sooimt/ COlUMeuVSONY MUSK SOUNDS BETTER WTTH YOU STARDUST 19 20 RE 17 HOW DEEP IS YOUR LOVE DRU HILL mercury.wi. VER5AL YOU GET WHAT YOU GIVE NEW RADICALS MCA^ 18 19 20 RE RE 11 STRONG ENOUGH CHER wtA MARIA BLONDIE BEYONOfiUC TURN AROUND PHAHS & SMALL time ROUlEAtWilH^MI 20 17 WILL YOU STIU LOVE ME FABIENNE EW 20 17 WE LIKE TO PARTYl VENGABOYS GROOviLiCOUSf ALBUMS UNrYERSAl ALBUMS STRICT L» RMnHU ALBUMS 1 NEW JOVANOTTI CAPO HORN MtncuHVAjNivtitSAL ALBUMS 1 NEW BACKSTREET BOYS MILLENNIUM JIVEJZDMBA 1 NEW HUMAN NATURE COUNTING DOWN COUJMBIA 2 NEW BACKSTREET BOYS MILLENNIUM in/wmcsm 1 NEW 1 BACKSTREET BOYS MILLENNIUM jMjaia 2 NEW FRANS BAUER 8 CORRV KONINGS FRANS BAUER 2 2 SHANIA TWAIN COME ON OVER MCRCURYWiiYtRSAi. 3 2 RENATO ZERO AMORE DOPO AMORE. TOUR DOPO 2 RICKY MARTIN RICKY MARTIN czcixumbuvsont A CORRY KONINGS noch 3 1 RICKY MARTIN RICKY MARTIN COUMIU TOUR FOMOfOii'SONv 3 NEW VARIOUS ARTISTS GRCMVE STATION 5 Bus 3 1 ANDREA BOCELLI SOGNO POLYOORUNKERSAl 4 4 FATBOY SLIM YOU'VE COME A LONG WAY. BABY 4 3 VASCO ROSSI REWIND emi 4 5 TLC FANMAIL LAFAOj'iw^tJVSMO 4 2 ABBA 25 JAAR NA 'WATERLOO" ParoowuNivERSAL ERC 5 1 AORIANO CELENTANO 10 NON SO PARLAR 5 3 SHANIA TWAIN COME ON OVER MUCUfT/uwvEIKAl 5 3 VENGABOYS GREATEST HITS ZOMBA 5 7 BRITNEY SPEARS . . . BABY ONE MORE TIME lix; D'AMORE cu»*ini 6 7 BRITNEY SPEARS . . BABY ONE MORE TIME 6 4 IISE DELANGE WORLD OF HURT WARNER iOMBASONY 6 6 THE CRANBERRIES BURY THE HATCHET 7 8 e 2 irvLBMC THEOfFSPRING AMERICANA coujwewsCMT VARIOUS ARTISTS PURE DANCE NO. 4 UWVERSM. 7 5 GEORGE MKHAEL LADIES A GENTLEMEN: THE BEST Of GEORGE MICHAEL EPK 6 7 8 9 5 3 14 9 THE OFFSPRING AMERICANA Columbia BEE GEES ONE NIGHT ONLY POAYEmuNivERSAi. ABBA GOLD— GREATEST HITS polydowunyyersal KORN FOLLOW THE LEADER ERic 7 a 9 7 ISLANCkUNnrERSAl LITFIBA INFINITO ihatmi RILKTIWMIIIN nlCKT MAMIIN COLUMBIA 9 8 SOUNDTRACK STAR WARS EPtSOOE 1: THE PHAN- 8 6 BLOf BOVEN EW 9 8 SKUNK ANANSIE POST ORGASMIC CHILL VMGIN TOM MENACE torn classiolwny 9 7 JANTJE SMIT JANTJE SMIT MERCURinjNivERSAi. 10 4 ANDREA BOCEUI SOGNO sucaR'Unyyersai 10 NEW SNOOP DOGC NO UMIT TOP DOGG w> uun/vmaN 10 9 CHER BELIEVE mirkr 10 6 THE LIVING END THE LIVING END EMi 11 5 MINA OLIO POLAWYI 11 9 CHEX 8EUEVE WUMn 11 NEW 8 ROWWEN HE2I T BESTE VAN 2 WERELDEN cxR 11 12 THE CORRS TALK ON CORNERS U3.uiY*tASTVYEST 12 10 POOH UNI POSTO FELICE cavwARKER 12 4 ANOIIEA BOCEUI SOGNO uwoowrmirsAHVcsu 12 RUTH JACOTT VALS VERLANGEN OINO 12 8 SOUNDTRACK STAB WARS EPISODE 1. THE PHAN- 13 19 ANGGUN ANGGUN ERIC 13 10 THE CRANBERRIES BURY THE HATCHET 13 14 12 NEW TLC FANMAIL anKi IBRAHIM FERRER IBRAHIM FERRER MuRioi TOM MENACE SONYCLASaCAL 14 NEW AFTER HOURS NON E PER SEMPRE mescai;W<y 14 11 SOUNDTRACK THE MATRIX uavukkwarner 13 14 10 11 ANDREA BOCEUI SOGNO POLYDOWUaivCRSAi SOUNDTRACK THE MATRIX Y«tA IS 11 BIAGK) ANTONACCI Ml FAl STARE BENE UERCURn UNNERSAl CHER BELIEVE WCA 15 12 SOUNDTRACK SONGS FROM DAWSON'S CREEK 15 11 MATILOE SANTING 8 THE OVERSOUL 13 TO OTH IS 18 CHER BELIEVE yy« 16 12 14 ERSTOONE EPC 16 17 TOM WAITS MULE VARIATIONS cpiiarivshock 17 20 THEOfFSPRING AMERKANA COUIMAA 16 EVERLAST WHITEY FORD SINGS THE BLUES 16 19 SKUNK ANANSIE POST ORGASMIC CHILL viRGM 17 16 SILVERCHAIR NEON BALLROOM murmuasony 18 17 THE CARDIGANS GRAN TURISMO SYOCN«u«ratY- 17 15 TOMUV BOV/WARNER VARWUS ARTISTS FAMILY VALUES TOUR 98 RICKY MARTIN VUELVE SONY 17 10 AATJE HEYNIS DANK SEI DIR HERR unnersai 18 19 VONDA SHEPARD SONGS FROM ALLY MCBEAL (TV OOAAfWYERSAL 18 18 THEOfFSPRING AMERICANA EOUIxeiA SOUNDTRACK) EPC 19 13 FIORELLA MANNOIA CERTE PICCOLE VOCI HARR<y 18 13 19 14 EMMA SHAPPLIN CARMINE MEO EMI 19 RE TLC FANMAIL BMO COlMMBiA 19 18 VENGABOYS THE PARTY ALBUM! OCP mTERNATHWAL 20 16 THE CRANBERRIES BURY THE HATCHET ISLAND 20 15 WENDY MATTHEWS STEPPING STONES— BEST OF 20 RE BUEHA VISTA SOCIAL CLUB BUENA VISTA SOCIAL 20 RE PR02ZAK HOT SHOW BY PROZZAK epiosonv MERCURY AJNIrtRSAL BMC CLUB YYORLD aRCUtYARO Hits 01 The Wofk) is compilnj at Billboanl/LoiKlon by Linda Nasn and Menno Vissei. (intact 44-171-323-6686, fax 44-171-323-2314/2316. NEW - New Entiy RE - Re-Entry 94 BILLBOARD JUNE S. 199S HI TS OF Th <=> isa T \[ 1 E WORLD EUROCHART o6io%im tMcSu SPAIN (AFYVE'ALEF MB) 05/15/99 IMS LAST IMS LAST WEMWIIX SINGlfS WOK WEEK SMGLES 1 1 1 WANT IT THAT WAY BACKSTREET BOYS jivt 1 1 WANT IT THAT WAY BACKSTREET BOYS iivt viR 2 3 . . . BABY ONE MORE TIME BRITNEY SPEARS jrvE al^ 3 2 FLAT BEAT f.'R 0120 f rnMW.iN.CATior^S 2 NEW LtVIN- LA VlOA LOCA RICKY MARTIN tuiuuiw. 4 4 NO SCRUBS ILC lAWt-ABtL^i* 3 2 SALOME CHAYANNE coiuMnji 5 6 BOOM. BOOM. BOOM. BOOM! VENGABOYS vio- * ^ MARIA BLONDIE nfroNn.ABiot* NEW FLAT SEAT MR OIZO «Mt LOOK AT ME GERl HALLIWELL FMi 6 6 7 YOU NEEDED ME BOYZONE >'L.>:yL)()h 7 8 NO SCRUBS TLC ahula 7 8 THAT DON'T IMPRESS ME MUCH SHANIA TWAIN 8 5 IN OUR LIFETIME TEXAS u{tK:yKY<UNivusAi 9 NEW IT'S NOT RIGHT BUT IT'S OKAY WHITNEY B 6 LOOK AT ME GERl HALllV^LL fw HOUSTON «s.;. /> 9 9 AU NOM OE LA ROSE MOOS MERCUflr 10 7 DESCONOClOA (REMIXES) MARTA SANCHEZ 10 NEW SWEET LIKE CHOCOLATE SHANKS & BIGFOOT FMi ALBUMS UBum I NEW BACKSTREET BOYS MILLENNIUM itvr 1 NEW RKKY MARTIN RICKY MARTIN Columbia 2 2 TEXAS IHE HUSH MtftcuM* 2 1 CHAYANNE ATADOATUAMOR tuuMHiA 3 1 THE CRANBERRIES BURY THE HATCHET isumo 3 2 HEVIA TIERRA DE NADIE H.^PSvnx 4 4 ABBA GOLD-GREATEST HITS POi*R 4 6 ABBA GOlD GREATEST HITS uvviw^. s NEW TEXAS THE HUSH wtKUHf uw^iksai S 8 RICKY MARTIN RICKY MARTIN COiuueiA 6 4 LA OREJA DE VAN GOGH DILE AL SOL rp^r 6 3 ANDREA BOCEUI SOGNO suc*h-toiydor 7 3 THE CRANBERRIES BURY THE HATCHET •^f.m 7 6 CHER RFliFVE wea MCHLJf'>.UMVth::.Ai a 5 THE OFFSPRIPMj AMERICANA columuu. a 10 CHER BELIEVE wa 9 10 TLC FANMAIL kArArt'SHisi* 9 5 ANDRES CALAMARO HONESTIDAO BRUTAL ma 10 RE BRITNEY SPEARS BABY ONE MORE TIME JVE 10 7 MANA TODO MANA— GRANDES EXITOS WA MALAYSIA (RIM) 05/1&99 PORTUGAL IPonugaWPl 0^25/99 IMS MEK UST WEEK AtBUMS IMS WEEK UST •KXK ALBUMS 1 1 VARIOUS ARTISTS NOW 5 £Wi 1 NEW BACKSTREET BOYS MILLENNIUM jtvumi 2 NEW DR. BOMBAY RICE & CURRY mmitt 2 1 ANDREA BOCELLI SOGNO PfXfWMmwBSAi 3 3 MARIAH CAREY #1'S bOM 3 2 SUPERTRAMP IT WAS THE BEST OF TIMES fw 4 2 VENGABOYS THE PARIY ALBUM! (wsicstRLn 4 4 VD4GAB0YS THE PARTY ALBUM! VKJifNr.iw 5 7 AWIE BLSr OF AWIE mi. S NEW BRITNEY SPEARS . BABY ONE MORE TIME S 8 DEEP PURPLE THE ULTIMATE GOLD COLLECTION 6 3 SANTAHARIA SEM LIMITE vmisco 7 4 SCORPIONS EYE TO EYE warncr 7 8 THE OFFSPRING AMERICANA sawr S 6 VARIOUS ARTISTS ROCK LEGENDS cm. 8 10 HEVIA TIERRA DE NADIE HisFAv<:ji,tui 9 5 SHEILA MAJID ft RUTH SAHANAYA RATUSSELA- 9 6 CHER BELIEVE waknfk MANtA tMi 10 5 ALA DOS NAMORADOS SOLTA-SE 0 BEIXl— AO 10 NEW VARIOUS ARTISTS WITH LOVE SHAH RUKH lmi VIVO FMI SWEDEN (GLFI 05/27/99 DENMARK <IFPIJ4i«HenMartietintR«s«arch) 05/24/99 IMS 1 1 SMGIES MAMMA MIA ABBA TEENS stocxhoim 1H5 VHEEX 1 UST WEEX 1 SINGLES SELV EN DRA8E VARIOUS ARTISTS usivinsAi 2 3 t WANT IT THAT WAY BACKSTREET BOYS 2 3 1 WANT IT THAT WAY BACKSTREET BOYS /omm 3 2 BOOM. BOOM. BOOM, BOOM! VFNGAB0Y5 3 2 OJG 1. MIG BLA OJNE spivrpn 4 5 BOOM, BOOM, BOOM, BOOM! VENGABOYS vmcm 4 5 THAT DON'T IMPRESS ME MUCH SHANIA TWAIN 5 4 FLAT BEAT MR. 0120 Mtm 5 4 mttC\\F1M-i<VTU7M WHY DON'T YOU GET A X>6T THE OFFSPRING 6 6 THE HEART OF THE OCEAN MYTHOS N DJ COSMO tDH 6 6 UVIN' U VIDA LOCA RICKY MARTIN axuMaiA'soNi 7 8 . . . BABY ONE MORE TIME BRITNEY SPEARS J>v& 7 NEW HELLO HEY VICTORIA SlLVSTEDT m\ VIRGIN 8 8 THANK ABBA FOR THE MUSIC VARIOUS ARTISTS 8 9 9 RM. (TIU 1 COME) ATB MOTOREoa fPir.s.-wi' 9 NEW NO SCRUBS TLC ma 9 RE CHANGES 2PAC jivlzomba 10 7 BEST FRIENDS TOY-BOX coelspin 10 7 MARIA BLONDIE nCA ALBUMS 1 1 AlBUMS BLA OJNE ROMEO OG JULIE snwoa. 1 NEW BACKSTREET BOYS MILLENNIUM rnvmuet. 2 2 SWEETHEARTS SIKKEN EN FEST CMC 2 NEW R08YN MV TRUTH fitcfK:>-tTBi*ll 3 NEW TV-2 VERDENS LYKKELIGSTE BAND— LIV PVAOtSli 3 4 ABBA GOLD— GREATEST HITS poiar\jni«rs«. SOUNDTRACK DEN ENESTE ENE sw. 4 6 SHANIA TWAIN COME ON OVER mcrcurvumvfrsai 4 6 5 e 1 2 BRUCE SPRINGSTEEN 18 TRACKS COLUMlMSOm DEAN MARTIN THE VERY BEST OF DEAN MARTIN THE CAPITOL & REPRISE YEARS CAPiioUMi 5 6 3 3 SMOKIE OUR DANISH COLLECTION c«c CARPENTERS ONLY YESTERDAY uniwh^l 7 3 THE OFFSPRING AMERICANA cxx.UMeiA'SONT 7 9 BRITNEY SPEARS BABY ONE MORE TIME 8 9 RICKY MARTIN RICKY MARTIN ccmumbivsonv 9 5 SUEDE HEAD MUSIC nude-wn* a 4 THOMAS HELMIG DREAM buq 10 NEW HEUACOPTERS GRANDE ROCK wHiu JAUHOUSC OF 9 10 NEW 7 TEXAS THE HUSH uf*vmAi THE OFFSPRING AMERICANA SON* NORWAY (Vefdens Gsng Nonway) 05/25^9 FINLAND (RnHamaWFPI Finland) 0&/23/99 IMS LAST IMS UST 1 1 SMGLES BOOM. BOOM. BOOM. BOOM! VENGABOYS MEBI 1 WEEK 1 SINGLES IHANAA LEUONAT, IHANAA A-TYYPPI FEATURING ANTERO MERTARANTA sow 2 2 1 WANT IT THAT WAY BACKSTREET BOYS im/M- 2 6 FIAT BEAT MR. OIZO uv« GIN 3 RE VIIKINKI TONYHALME kh. 3 3 THAT DONT IMPRESS ME MLX:H SHANIA TWAIN 4 9 1 WANT IT THAT WAY BACKSTREET BOYS mt/UM 5 NEW EL PARAISO RICO DEETA>1 lo'idon'Warno) 4 NEW NOT FOR THE DOUGH MULTICYDE wapwr 6 5 HALLAA-EP APULANTA lEwyMW S e. LtVIN' LA VlOA LOCA RICKY MARTIN -wnt 7 4 . . . BABY ONE MORE TIME BRITNEY SPEARS 6 7 WHY DON'T YOU GET A JOB? THE OFFSPRING JtvEtMl SONY 8 10 LIVIN' LA VIDA LOCA RtCKV MARTIN SONr 7 4 CHANGES 2PAC iui.v:RC.N 9 NEW THAT DON'T IMPRESS ME MUCH SHANIA TWAIN a 9 NO SCRUBS TLC uw^ 9 5 FLAT BEAT MR OIZO r cOMMUwCAnoNitMi 10 7 ANNA MUN BAILAA AIKAKONE euc 10 8 NARCOTIC LiQUIDO ^otoiivirgin AIBUMS 1 2 AlfiUMS ABBA GOLD GREATEST HITS paARuNiviRSAi 1 NEW BACKSTREET BOYS MILLENNIUM mcjViRGiN 2 1 ULTRA BRA KALIFORNIA ptramuxvecmunm 2 1 RICKY MARTIN RICKY MARTIN SONV 3 NEW BACKSTREET BOYS MILLENNIUM tivuo»\ 3 6 SHANIA TWAIN COME ON OVER MERCum/urvvERSM. 4 5 MODERN TALKING ALONE (THE STH ALBUM) 4 NEW AVLA NIRWANA fwi S 2 BASEMENT JAXX REMEDY xt^KNW 5 6 RICKY MARTIN RICKY MARTIN DXUM8IM0NY e NEW VAN EIJK WHERE 1 BELONG sont 6 9 THE OFFSPRING AMERICANA son* 7 3 THECORRS TALK ON CORNERS i«iiAv*w*BNER 7 3 KIRKA. HECTOR, PAVE & PEPE MESTARIT a 9 DR. HOOK OUR NORWEGIAN COLLECTION emi AREENAILA fMiw. 9 8 LAURYN HILL THE MISEDUCATlON OF LAURYN 8 10 DON HUONOT TAHTI ierriefibmg HILL sour 9 NEW TEHOSEKOITIN FREAK OUT ifVYYMfO 10 NEW VENGABOYS THE PARTY ALBUM! jivlvirgin 10 RE NYUM BEAT VALEHTELIJA mtv4iu»>kk< miSIC PULSE THE LATEST MUSIC NEWS FROM AROUND THE PLANET EDITED BY DOMINIC PRIDE Once a U.S. plwmnirnnn, liX-Ii noiv being interpreted bif female sinyer.s leorldieide. While Japan'n Hikaru Uttida has broken (iometilie reeorda teith her twist on the yeitir. other fetnah' nets aentss the globe air melting the gitioivs irith their own stifle and hingiuige. Global Mnsie Pulse writers look at some acts now emerging. BLACK TOOLS is the name of eriol s Gei'man R&B music imprint, whose biptfest success to date has been with Brooke Kussell, a locally produced U.S. sin^jer Huent in German. With her alhum "The Life I've Been Looking For" and the single "So Sweet." I{u.ssell has be- come the driving force in a market now more RUSSELL accepting of black mu.sic. Says the singer: "I've combined my experiences and feclingis from the U.S. into my music, along with my new European e.\periences. I hope that I could become an interpreter between the classic R&B feeling and the growing European music movement." Black Tools has also signed a female trio, DaNaCeE (short for the band's motto, "Da Natural Coolness"). The group's members — German-American Cary and Greek sisters Nat and Es-Tee — have been working with Stuttgart-based producer Peter Iloff, while his Benztown studio partner, DJ Thomilla, has trained them in singing, dancing, and choreogi-aphy. WOLKGANli SPAHK DIGNITY, A TRIO from Rotterdam and Al- mere, proved itself as the undisputed leader of the Dutch female R&B scene April 4 at No Sweat, an R&B ewnt organized by miLsic TV station TMF in Rotterdam's Ahoy vienue. Dignity's self-titled debut album on Virgin came out in 191)8 to critical acclaim, and the showcase demonstrated that commercial success is within reach. A breakthrough would encourage the nascent scene, says band member Karima Lemghari. "Way before the genre got so popular, there were many girls here who sang in R&B groui)s," she .says, noting that many bands split up but singers stayed on the scene as session players. "Now," she adds, "some are plan- ning a comeback out of early retirement, and a new generation is on the verge of jumping into the deep end." robberttilli 23-YEAR-OLD R&B/SOUL SINGER Kele Le Roc is one of many British R&B acts mak- ing waves, alongside Beverly Knight, Hon- eyz, and veterans Eternal. Le Roc's second single, "My Love" (1st Avenue/Polydor), went top 10. Her album "Everybody's Some- body" appeared in April. "It's obviously quite love-orientated," says Le Roc. "I'm singing about things people can relate to. It's a first album, [so] it's not a deep album. It's not like people will be wondering, 'What's she trying to talk about'/' " Le Roc has recently been supporting her album across Europe, particularly the Scandina- vian territories. Her next single is a cover of 1 have to choose it L.A. Hopper's "You Did It Good," out .lune 14. KWAKII NORDIC FEMALE R&B acts are aiming for pop appeal. "People who expected Ipurel R&B from me were surprised I when I rclca.sed this album)." .says Dilba, who is self-pro- duced; in April, she released her second album, "You And I," on Warner Music Swe- den. It went to|) 20 and .sold 19.000 copies, according to the label. "I get as much inspi- ration from Joni Mitchell, the Blue Nile, or David Sylvian as I do from Anita Baker," she adds. Sony Music Sweden-signed Dcde agrees. "I see myself as an entertainer," she says, "and I can't see why you have to choose between singing, rap, dancing, or acting." Her thii-d album, "Metaphor," was relea.sed April '2H in Sweden. Warner Music Sweden-signed Cajsa Lisa has worked with Robyn's producers, Lindstrom/Ekh^, on dede her album "Vad .lag Vill (Och Lite Till)" (What I Want I And A Little More)), released in March. It has sold 19,000 copies, according to the label. Warner Music Norway recently signed Noora, a 19-year-old singer born in the United Arab Emirates of Somalian parents. She will release her album "Curious" via Warner Music Norway on Monday (31 ). Denmark was short on R&B talent in '97 when EMI Medley launched Juice, whose members have roots in Guyana, Sri Lanka, the U.K., and .Jamaica. The trio saw a long run on the Danish charts in '97 and '98 with its self-titled debut album, which sold 25.000 units domestically, says the label. A new album, produced by Soulshock and Karlin, is scheduled for release in August. Says Juice member Maria, "The music is very R&B, a bit hip-hop-inspired, but with a new, \^>ry 'now' sound." K.tl K. l-OFTHIIS. A.NDERS LirNIXJIIIST. uid CHARLES FERRO MARCIA HINES' return to the charts after 16 years with the single "Time Of Our Li\<e.s" has set up the July 5 release of her WEA album of the same name. The track was recorded in Chicago with producer Mark Picciotti. Boston-born Hines, who arrived in Sydney .SO years ago to appear in "Hair," became the biggest-selling Australian female artist in the '70s. The singer's 1996 album, "Right Here And Now," had Euro- pean release through Warner companies in Germany, Holland, and France. Hines tours these territories in early 2000, concentrat- ing on the home market this year. Her daughter Deni Mines — who sold a million copies of the album "Imagination" (BMG worldwide and Mushroom in Austraha and New Zealand) — is currently co-writing with U.S. writers. In .lapan. "Imagination" went to No. 2 and sold half a million copies, says her label. In France, it went gold (100,000 copies). CHRISTIE ELIEZER BILLBOARD .JUNE S. 1999 95 International SGAE Plans Annual Cuban Music Fair BY HOWELL LLEWELLYN HAVANA — Major players in the Spanish and Cuban music industries have agreed on measures aimed at boosting Latino music and consoli- dating it as the world's second- largest music-industry force. Speaking in the Cuban capital, Spanish authors' and publishei's' soci- ety SGAE executive president Teddy Bautista and the president of the Cu- ban culture ministry's Institute of Music, Alicia Perea, say that the his- tory of musical coo|)cration between the two ctxintries — especially aver the piist decade — would be extended to embrace all major Latin American markets and music genre.s. BautLsta .saj's. "SGAE is the main protector and promoter of Cuban mu- sic, but now we want to take that process a stage further into other Latino markets. In the ne.xt few .wars, Latin American miLsic mast better fo- cus its commercial and mercantile space, to consolidate itself as the sec- ond music market after the Anglo- American [one]." Bautista and Pferea announced that an annual musical ewnt is to be held in Ha\'ana, dedicated U) a different coun- try and genre each year. The first event will take place next year, cen- tering on the Dominican Republic and salsa-related merengue and bacfuita. Other countries to be siKitlighted in the future would include Brazil, Mex- ico, and U.S. commonwealth Puerto Rico, says Bautista. The Dominican Uepuhlic has been chosen as the "millennium" nation lie- cause "it is the other gi-eat Caiihbean [Spanish-language] music source after Cuba," says Eiautista. Among its mast celebrated artists iuv merengue star .luan Luis (iueira and Latin jazz pianist Michel Camilo. Bautista sees the e.stablishment of an annual masic trade fair in Hawma as a key element in further lifting Latin music's profile; it would, he claim.s, he 'the only UW/i Latino mu- sk' pUitform." He :idds, "The event will ahvaj's haw an analytical as m;\l as a mercantile function, because Latin American markets must first know what they have — they must under- stand the mai'ket nature of their musi- cal culture. The popularity of Latino music Ls gi-uwing aci-oss the globe, and it is imixrtant that there is a lluid ax- change of ideas and bu.siness among the principal agents in Latino mar- kets. What better place to do this than a musical poxwrhouse like Cubii'/" More than almost any other collec- tion society, SGAE in effect functions on behalf of the Spanish music indus- try at events abroad. The Havana meetings took place during a five-day series of meetings May 12-16 in Havana at the thiitl Cubadisco trade fair, which this year was dedicated to Spain and, in particular, to SGAE in its 100th anniversary. A large Span- ish contingent of 20 labels and pub- lishers, along with SGAE, attended. During the conference, which underlined Spain's 500-year-old cul- tui*al, historic, and linguistic links with the Caribbean Island, SCJAE oipmized a series of conceits, debates, and liook launches in an unprecedented music ctillaboration between post-miJution Cuba imd a non-Communist coimti^. The annual event will retain the Cubadisco name, although Bauti.sta is careful to note that other important music fairs with key Latino input txist "Miami's MIDEM Americas is also cruciiil, but it is not purely Latino. You might find ailiiits such as Celine Dion included in the pro- gram. There is no doubt in my mind that Cubadisco will be- come the most im- iwrtant wholly latino mu.sic ewnt" Of key impoitance, he siiys, will be the re- sponse from other countries' music industries. "Several majors and indie labels from Spain, the U.S., the U.K., Krance, Mexico, and other countries have already taken the move to back Cuban music," Bautista notes, "SGAE can call on industi'y agents to attend Cubadisco and can help in i-ecording techniques, i-ecoixl manufacturing, and so on." Accoixling to Perea, the new mo\Tes "are logical steps and the culmination of some 70 years of fertile relations between Cuban musicians and SGAE." Such "mae.stras" as the late .loseito Fernandez and pianist Er- nesto I^ecuona had been SGAE mem- bers for more than half a century. The most successful label in Cuba is Spanish-owned Caribe Produc- tions, which is distributed worldwide by EMI Spain, except the U.S., where distribution is through Blue Note. Sa.vs Caribe artistic director Scju Monzon, "The import/export factor at C\ibadi.sco is jast taking root." Other labels ;u-e taking advantage of Carilie's expertise with and knowl- edge of Cuban mu.sic, explains Mon- zon. "Many island artists have been signed to foreign labels, and we are in the curious situation of negotiating, from Cuba, world distribution for product from Cubans who live here but record abroad." He cites as exam- ples currently under negotiation at Cai-ibc the salsa/.wH singer Issuic Del- gado, .signed to RMM (owned by New York salsa entrepreneur Ralph Mer- cado), and Virgin S|iain's Vieja Trova Santiaguera and EUades Ochoa Y El Cuarteto Patria. JASRAC Reports Revenue Up Authors' Body Also Hands Out Songwriters' Awards BY STEVE McCLURE TOKYO — Revenue for .Japanese authors' Iwdy JASRAC for the ,vear that ended Mai-ch 31 rose 4.i)9f to 98..') billion yen (.$826Jj million), the society announced May 19. Performance right iwalty collections by .JASRAC were up lli.fi'? to billion yen ($284.6 million), due mainly to ag- gressive enforcement of regulations that went into force in February 19!)8 re(|Uiring kai'aoke establishments with floor space of less than 178 .square feet to [lay performance fees. JASRAC now has con- tracts with some 9.5,000 .such biLsinesses, bring- ing the total number of karactke bars from which it collects copyright fees to some 181,700, or 60.4*^ of all kai'aoke bai's in .Japan. .lASRAC also has contracts with 11,000 karaoke box operators, or 77. 7"? of the nationwide total. Me- chimical fees ixxse ju.st 2.7% to 51.9 bil- lion yen ($4;i5.6 million), reflecting the sluggish stiite of the Japanese record indu.sti'y. .lASRAC's collections for the year included 680 million yen (.$5.7 million), up 48.5%, in payments from SARAH, the society set up to admin- ister home-copying compensation fees from makers of digital recording hai-dware and software such as DATs imd MiniDiscs. Meanwhile, for the first time in foui' .years, piwlucer Tetsuva Komuro was not among the winners of the JASRAC Prizes, which go to the writ- ers whose songs garnered the mo.st royalties during the .yeai* to M;u*ch 31 . Infitead, the Gold Prize went to Mit- suru Igaiushi for his song "Time Goes Bv," performe<l by the group Every Little Thing (Awx Trax). published by Fujipacific Music/Prime Direction/ Burning Puhlishei-s. The Silver Prize was awarded to Hiromasii Ijichi for his song "White IjO\'e," perfoi-med by the gi'oup Sjieed (Toy's Factory) and published by Om<K'ha Knbo Music Publishing/Ris- ing ftiblishers. And the Bronze Prize went to Jou Hisashi for the back- gi'ound music to the (nihiir hit "Mono- noke Hime" (Princess Mononoke), which was released on Tokuma .Jajjan t-'ommunications and published by Tokuma Shoten/Won- der City For ' the fifth straight .vear. the For- eign Woi'k Prize went to "When You Wish Upon A Star" by Ned Washing- ton and Leigh Harline (translated by Yoji fshimamura), subpublished in Japan by High Note Publishing. Fiscal 1998 also saw .JASRAC revise its articles of association to enable it to use society membei'ship fees to hold cultural events such as concerts, symposiums, and charity events. Meanwhile, .JASRAC sa.vs that in April 2002 it will begin collecting jjer- formance royalties from businesses .such as Kirs and restaurants that play pre'recoixle<l music on their premises. CuiTentl.v, Article 1 4 of ,Iapan's Cop.y- right Law exempts such bu.sinesses from paying performance fees, but the government's Cultural Affairs Agencv, which oversees copyright- related mattei-s, says it plans to abol- ish that exemption in '2002. .JASRAC sa.vs its monthly rates for such use of prei-ecordetl mu.sic v\ill be no more than 500 .ven ($1.0tl) per user. newsline... POLYDOR HOLLAND MANAGING DIRECTOR Niel van Hoff is resigning effec- tive Aug. 1. He Is the fu-st high-lewl e.xecuti\t to leaw the Universal Music Holland opei-ation since the Uniwrsid/Pol.vGram mei'ger Uniwi-siil Music Holland pre-sident'CEO Theo R(m)s has ap]K)inte<l Pf)l.vdor senior pi-oduct manager Bart Engel and head of promotion Marc Hofstetle as interim managing directoi-s. Van Hoff sa.vs post-merger changes to his role — specificali.v, lasing his A&R and international development duties — had left him unhappy with his role. "What was left of the MD's job, which I've happil.v done for the past three years, were mainly marketing re.spon.si- bilities. There's nothing wrong with that but it's not e.\actly my first love. A trimmed-down M D's job was too limited for me, cert;unly at the age of 35." Van Hoff 's immediate plans center on enjoying a sabtiatical; RtHxs is understiKid to be actively .seeking a replacement robbkkt tm.i.i EMI FRANCE HAS MERGED ITS ODEON and Chry-saUs labels into a single unit, Odeon Chrysalis, under managing director Frtklerick Juarez. He was managing dii-ector of Odeon; the future plans of Chrv.sidis I'>ance managing direc- tor Olivier Chanut were unclear at press time. "Both labels had in.sufficient revenues to haw their own A&R, marketing, and promotion departments but comple- ment each other because Odeon is .strong in local reper- toire and Chrysalis is strong in international reper- toire," says EMI France president/CEO Marc lumbroso Lumbroso. He adds that Juarez is forming the new team and that "it's clear that there «nll be some layoffs, but less than 10." REMI BOITON AROUND 35,000 PIRATE CDS from Eastern Europe have been seized by Italian customs officers. The Italian authorities have charged two men with smuggling the CDs, which following a ti|)-off were' found in a pick- up truck near the Italy,'Au,stria border. The country's Guarda di Finanzji says the discs, declared for im|>ort as blank CD-Rs, were manufactured in Kiev, Ukraine, and included re-coi'dings of Mariah Cai'e.y, Tina Turn- er, Bob Marley, and Luciano I''avarotti. Enzj) Mazzii. president of Italian anti-piracy federation FPM, s<>ys, "Documents scizeil .shmv the CDs were commissioned by known pirates in Ital.v. The Kiev souree is relativiely new, and the P'PM and ]the Intcrnatiomil Federation of the Phonograph- ic Industi'y I tipiied off Italy's cu.stoms authorities and fi.scal jxilice to look out for goods from Kiev, as we had information that Bulgarian plants had moved east to Kiev." .m.\kk I)EZZA.ni THE HEAD OF HONG KONG CUSTOMS' i)ro.secution bureau— a key figure in the fight agiiinst piracy in the tcrritorv — has been jailed for four .vcars for tipping off a manufacturer involved in what was described in court as "the biggest pirate copyright o|)eration in Hong Kong." Acting Senior Superintendent Gregory Wong Puisham was found guilty of .soUciting .'$.'>O,00O Hong Kong (.'^6,500) from Peter Siu Sik-sum, GM of Golden .Sci- ence Technolog.v, in return for information. Wong was also convicted of attempting to pervert the course of justice. .Judge Peter Line told Wong, "Vuu butra.ved .vour fellow officoi's. the public, and tho.se who suffer by copyi-ight pirac,v." Iain Grant, head of enforeement for the International Fecleration of the Phonographic Industrv, welcomes the conviction and .sentence. "It shows," he sa.vs, "the re.solutene.ss of the Hong Kong author- ities in nxiting out and |)unishing corruption." jekk cl.vkk-.meai)s UNIVERSAL MUSIC PUBLISHING'S U.K. management lineup has been com- jileted. Bob Ale.\ander has been app<jinte(l finance director for Europe U.K., and Kate Thomp,son has been named .senior director/GM for the U.K.; Ixith will reixjrt to Europe executive VP/U.K. managing director Paul ConnoUy. Other confinned senior appointments include head of film and TV Laurence Ka.ve, .senior .svTichronization manager Barbara Zamoy- ska, A&R/multimedia manager Miles JacoKson, head of bu.siness affairs Sarah Levi, .senior busine.ss al'faii's managers Mark Fiori, and head of U.K. finance Deborah Stiinbury tom kercison THE BRITISH GOVERNMENT is aiming to raise the profile of copyright through a new panel, the Intellectual Property Rights Group. Chaired by Competition and Consumer Affaii-s Minister Kim Howells, the body con.sists of representatiws from a number of copyright-based industries. Four music indu.stry organizations will be represented: the Musicians' Union, British Music Rights, the British Phonographic Industry, and the A.ssn. of Independent Mu.sic. Of the role of the panel, Howells says, "This new wnturc will focus on ways of improving public perception and aware- ness of copyright and related rights." Culture Minister Janet Anderson, who will also sit on the panel, states. "Many people are not aware that copying images, music, and text from the Internet can break the law. The group will look at how we can ensure that people get maximum benefit from new technologj' without unknowingl.v breaking the law." JEFF CLARK-MEADS 96 BlU-BOAHD JUNE 5, 1999 International ASIAN MUSIC CONFAB (Continued fnjm jmye IIJ) lack of diuital infrastructure and issues of taxation and politics — will begin to fall as the region begins to rival the U.S. in online activity. "The tenii 'World Wide Web' Ls living up to iLs name," .said Fre.ston, who prai.sed the potential of the Internet for offer- ing music con.sumei's new lewis of con- renience, community, and creativity. "The main thing the Internet will do is make music even more impoi-tant, and that is a powerful business op- ix)rtunity for all of us." Tliree examples of hftvtlic Internet is changing the mu.sic business were presented during the iKmel "newmu- sic.com" by Andrea.s Wuerfel, (iM of Billboard Talent Net. ba.scd in New York; .Johan Nawawi, managing direc- tor of Cyber Music Asia, from Malaj™; and Pm\ Mjra-s, GM of MTV Asia Online, a .joint viinture with Tri- ca.st, a leading Aj^ian Web site de\'elop- er. The Internet is only one avenue through which A.sian ailisus ai-e build- ing their image with new levels of sophLstication. A.s creatixity imi tjilent become more im|x)rtant than image, "we're seeing the birth of a new Asian pop culture," .said Dick I>ee, a vete!"an Singaporean arti.'st and VP of A& R for Sony Masic Asia, during a panel dis- cussion on "Building A li(r)and." Among those attempting to raise the creative liar for that new culture are video directors, three of whom dis- cus.sed the challenges and fi'u.^ti~ations of their craft in a panel titled "Get The Picture." Tom Barnes, director with Big Fi.sh Productions in Hong Kong, said. "Some more risk-taking will pay diridends. 1 think more ri.sks can he taken even with mainsti"eam artists." Other ri.sks that the music bu.siness must consider \\'ere suggeste<l I ty e-\L\-- uUves fn)m outside the inriiistrv. Keith Ueinhard, chairman/CKO of l)I)B Needham Worldwide, in a video pre- ■sentation, introduced the "Selling Power Of Song" panel with examples of the impact mu!<ic can have on adver- tising, and Nice versa. "Could more of your artists write original .songs for us?" asked Rein- -•. haitl. "The iidvertis- ' J ing indu.stry offers ; » the miLsic biLsiness a v*iealth of oppoi-tuni- ties. You need to SMELLiE know our hu-siness." But Susanna Ng. EMI Music Publi.shing's regional director, A.sia Pacific, said during the panel that the adveitising industry in turn needs to have a realistic under- standing of the needs of its masic busi- ness iKirtnei's. "Adwili-sers misunder- stand why it costs .so much money to use a song," she said, "or why .\"ou can't ha\Te [XjnuLs.sion mernight" One measure of the keen interest in the need to "ixanvent" Asia's music hasi- ness WAS the pixsienee at the conference of the regional chiefs of four of the fiw.' top luiyor lecoixl com|i;inies — Norman Cheng, chairman of Univei-sal Music Asia Pacific; Richaixi Denekamp, pres- ident of Sony Music Asia; Lachlan Rutherford, pre.sident Asia Ricific, of Warner Music; and Smellie of BMG Entertainment International. HoweTCr, inde|)endent A.sian mitsic executives took the spotlight during two key moments of the conference. \lsit TtUitisunthorn, president/CEO of Grammy Enteitainment descinbed in his address how his company has grow n since 19Si to command 7(M of the Thai masic market, with substan- tial interests in TV radio, dLstribution, and retail. Not content with such a dominant position in Thailand, Tan- tisunthorn outlined what he dubbed "missions (not impos-sihle)" to exjjand throughout the region as a mjyor inde- pendent music company within the next five j'ears. Rock Records, ba.sed in Taiwan, already has aggressively expanded thraughout the region in recent .rears under its president/founder, Sam Duann. In reci^ition of his signifi- cant contributions to the music indus- try in Asia o\-er the past two decades, Duann wiis pre.sented with the sec- ond MTV/Billboard Pioneer Award during the conference. "He is some- one I've known and res|)ected for 20 years," said Norman Cheng, last year's incipient of the Pioneer Award. "As his company name .suggests, he is a rock — but he's not an island." Duann accepted the honor on behalf of his brother, .Johnny, with whom he co-founded Rock Records, and he .sought to .share the honor with all the indejK'ndent music comiianies of Asia. AcS.sw^m«r in pivjxtnitg thhrntori/ mis piru'ided by Sfciip McCliiiv mid Chivn Hugliea. INTERNATIOKAIEDIIOR-IN-CHIEF UanWMe mTESNOWUL DEFUIY EDITDR ThamDuQir INIUMAnOtULMUSKEUiai DorwilcPnde INTDmiKmNEWSEIinilll MOxliMKids AssoooE EDnotiHTtnunowL ASSOCUE EUTDIilHTIBNAIKm Maf^Sotonms i LHKkll. 23 RidemxM St. Lnloii. NCIE ;AH. UniMKntdom Ptnv: <4 171 3236688; r» U 111 323 231W316 GEnUmUHWCHEF Wolfiaill Spahr. PO en 1150. 2379S Bad ZttHxtt ffm. 49 4551 81428; Fan. 49 4551 88 95 99 MPNtWREMICXIEF Slave McClura. 5-12-13 Heash Oram llenma Ku, Ii*(ijl78 Ftae B13 386;Cfei; fa. 813 3867 0216 NOniiCBIIIiEMCHIEF bi R. IMm, fO. Boi 123 Sentmm D102 Oslo. Noraay. Phone 47 91 82 12 08, fa. 47 90 27 72 08 >USTIUUSUJIWRC«UCIII0 Chrislle Elilzir.teMalialnt l. 160 Ihe Boulnaxl. Easllaiita Victoia3079 Ptane 61 39499 6017 Fai 61 3 9499 7786 UnW WERIU'CARIBBEAN BUREAU CHIEF Ifllin Lannart, 1814 Fain v^w^ltod. Louisville Hy 40219 USA: Plione 502 968-(441V4581: Fat 202 968-4960 IHTERHAnONAL C0RKSI>0W)EMIS ADGENHNA MaraloFKiiaiidai Bior. OxmiW. 6 A Bjim te, 1425 Ftae 541 ffil <162», Fat 541 7786713, MKIRAUA - Glann A. Baker. PO, eo> 155. Kidtiura, NSW 2156; Pl»ne; 6129654 1999; Fai 612 %5< 1899 AUSntlA-Sasan Ladika-Scbuhnayer. Le}djasse2- 8*73, 1200 Vieraa; PtMne 43 1 334 9606; Fa<; 43 1 334 9609 BELGIUM . Marc Naes.KaiMsM 41.2040 AMMrp, Flure 32 3 5688082 BRAZIL - Eiior Paiaao; Rua Francisco Leitao 678, Apaha- meoto 82 Sao Paolo, 05414 060, Phone 5511 224- 4398, Fa» 5511 224-4253 CANADA -Larry LeBlaac. 15 Independence Oirw,Scaf- bonK««, Onuno, M1K3R7; Plm 1 416265 3277; Fai 1 416 265 3260 CHILE - PaUo Maninez; Antonio Varas 1620 Departaranto 804 6-3 Cod Postal 6641454. Ptovideooa, SaiitiaEO, Pl»m 562 223-0704, ext 237; fai: 562 223-7589 CUBA - liidy Cantor: 9881 East Harbor Dnve, Suite 4A Wiam, fla- 33154, USA; Ptiooe: 30S 571-7569, Fai 305 571-7678 CZECH REPUBUC - Ladka Bauaroya. Vintfradska 109 13030 Plagl* 3, PtOTf; 420 2 5753 3016; Fai 420 2 531 708 DENMAIK - Qwles Fani. HantantErsade 4, Itti, OK 2100 CopenHagen; Ptane; 45 1369 0701; Fan; 45 3391 1613 FMIICE- Mnl Nitli.BZAK duOiaeaudes Ren- tiers. 75013 Raiis: PIm 33 1 4S86 8466; Fai: 33 1 4583 3945, Ctcllo Taiiayre. 73 Rue de Pans, 921 00 Boubtne Fiance, Ptme: 33 1 4909 0696; Fax, 33 1 4909 0975 FMAND-Aatli lsoha>|at. PC Ben 190 00251 Helsin- ki, Plione: 358 9 431 389 52, Fai 358 9 431 389 50 GDIMAin- Ellie Waiaerl. WiH -M Sliasse9, 80638 Mraich:Ptaie 49 89 157 3250,fai 4989 157 5036 IRELAHD-Kea Stewart, 75S)dneyPa>adeA«e OuOlm 4,Plim5fai353 1 283 7695, INDIA-Nyay Blinsliaa. e-2Gn»lerKailas)iPaitl,lle« Will 110048, Plione 91 11 6416666, Far 91 11 6239226 ■Snia - Barry Clianiiill. Nilial Zodar 407 St Moiki; PtioocTai 972 2 9720801 mi - Mark Deaaanl. Via Malfeolti 7, \fak6m, 18012 San Renv (M; FhuK: 39 0184 29 2S 24; Fat DIM 39 29 28 42 JAMAICA - Elena Oamano. 51 Macfiougal SI, Suite 180, Nw », I, ■( lOOli USA, Fai. 1 212 5333862, KORU-ChoHyao-lin. 1-102 Doogbinso-dong Hbngsan-ku, Seoul, 140-23O, Pliane: 822 796 9174, fai 822 762 4972 MAUrsU- Alexandra Nuvicb. No 7, lalanSS3/26, i]W. ri^l.^iif!^. „^yH St^ngx Phone 603 7769416 MEXICO teresaAtuMra. Arena 52.AaievucloDei;iiadit<pe, Meno) Cit), 07279: Ptmno: 525 391-4072; Fan 525 202- 2620 HETHEStAIIDS -Robbart Tllli. PCHoohM 140, 1071 CEAmstwlaiii: Phone; 3120 672 2566: Fax 3120 6722566 MEW ZEALAND - Dayid McNicktl, PO 8« 10, 266 Doitiwon Road, Auckland Ptae 64 9 620 9856; Fax: 64 9 303 0414 PHUPPINES-Dayld Gonzales. ll32lulianFelve BoBtaid Candad, Caiite Oty, Phone 63 46 431 1985, fai 63 46 50(0131 PUERTO RICO Karl Ross; 54 Calle San Francoco. OM San luan 00901, Phone 787 722-3521 miSSU - Vadim Ynrchenhov. PO, Boi 110. 195268 SI ftileisliuritPlione 781222535887;fa<.8125<50662 Erkin Touzmol)aniiiiid.Apar1imntNo.317. lurdfia; ]2!iu75M:scoRPhom:709S2158636, SOUni AFRICA - Diane CoaUtr 54 3ldAw,. Parhlown Ml. Gaiitei« 2193, South Alrica; Ptnne 27 1 1 442 7954: Fax 27 11 6462335 Arthur Goldstuck.PO Box 752 F(i>!smme, Ptione 27 1 1 442 7954, Fax, 2711 886 1426 SmGAPORE - Philip Cbaab. B«0, PO Box 748, Manne Parade, Pt«M 65 348 4007 Fax: 65 348 0362 SPAIN - Hooell Llewellyo, Modesto latuente 6, 5A 28010 Madnd: Ftanefai: 34 91 593 2429 TAIItAN -Victor WoiI.82.3TuillSNngSl.Iacei; Phjne 88627686908 niAILAND . lohn Ctemlei 592/1 Soi Sanguan Suk. Rama 5 tea Oust Bai^*, 10300, Fhme^ax -i- 66 2 668 39 48 HKKEV . Adrian Hius.AKnUsSoAl&'l,KdO|iaa- Kadikri, 81300 IstanliA PIniKFax 91 2163450118 McKennitt Gets 'Live' Quinlan Road Set Honors Late Fiance r BY LARRY LeBLANC TORONTO— Last year, while mix- ing her seventh album, "Live In Paris And Toronto," at Real World Studios in Wiltshire. Kngland, Canadian multi-instrumentalist Loreena McKennitt hardly antici- pated that when released, it would be dedicatefl to the memory of her late fiance. During the completion of the 18- track set in .July '98, McKennitt learned that her partner, Ronald Rces, his brother Richard, and fam- ily friend Gregory Cook had died in a boating accident in Ontario's Geor- gian Bay. The tragic circumstances sun-ounding the prepai"atinn of the double-album, released May 17 on McKennitt's Quinlan Road label, overshadow the fact that this plat- inum artist is selling her latest out- ing only by mail order or online. In honor of the three, McKennitt Ls donating the net proceeds from the album to the Cook-Rees Memorial Fund for Water Search and Safety, which she co-founded shortly after their deaths. The body of Rees, who was wearing a flotation device, was recovered after the accident; the bodies of the other two were not. "This ob\ious- ^ ly Is a v^ry person- al project," says McKennitt. mckennitt "When the acci- dent occurred, I felt committed to releasing this live album as I had planned, and I felt it would make a meaningful legacy and be a mecha- nism to generate money for (water safety! funds." The album can be bought by mail orrler directly from Quinlan Rt)ad for $.30 Canadian, S25, or 18 pounds. Orders can he placed in North Amer- ica at 800-361-79.59 and in the U.K. at 0171-428-0948. In addition, the set can be purchased at www.quinlan road.com/orders.html. McKennitt .says that she may make the album available at re'tiiil at a future date. "For the time being, $10 [Canadi- an] per unit goes to the fund, and the remainder goes Imvard manufactur- ing and capital costs," e.xplains McKennitt. "So far, with very limited advance promotion, response has been strong. We're now sending out information worldwide to our 100,000-name mailing list" In the paiit seven years, McKen- nitt has built an impressive global fan base through her Quinlan Road/ Warner Bros, albums, "The Visit" (1992), "The Mask & Mirror" (1994), "A Winter Garden" EP (19a")), and, particularly 1997's "The Book Of Secrets." That last set reached No. 1 7 on The Billboard 200 and wa-s No. 1 on the Top World Music Albums chart for 26 weeks. Accordiitg to Quinlan Road, "The Book Of Secrets" has .sold 3 million units worldwide, including 395,000 units in Canada. According to Sound- .Scan, the album has sold 1.4 million units in the U.S.; it also went top 10 in Greece. Italy. Germany, and New Zealantl. McKennitt had enjoyed modest commercial radio airplay until a radio remi.x of the lead .single from "The Book Of Secrets," "The Mum- mers' Dance," reached No. 18 on The Billtoard Hot 100, No. 3 on the Adult Top 40 chart, and No. Zi on the Adult Contcm])or,iry cluu't "Tlie Book Of Secrets" marked Quinlan Road's final commitment under a three-al- bum agreement with Warner Music Canada/Warner Music Internation- al. Warner will continue to dLsti-ibute those albums; McKennitt has yet to .sign a distribution deal for her other recoixlings. Before Rees' death, personal con- siderations had led the self-man- aged/self-produced McKennitt to plan winding down some suspects of her musical career. Despite its sig- nificant success, McKennitt limited her touring behind "The Book Of Secrets" in 1998 to 25 European dates and eight North American dates. "There was a lot more touring I could haw done," she says. "Howev- er. I had made the decision that with marriage and possibly children, I had to take a break from the ti'ead- mill. I decided I'd tour in Europe and North America and then .shut (knvn." McKennitt still remains commit- ted to putting the sldds on her career. "With the success of 'The Hook Of Secrets,' it does seem like the worst time to slow down, hut this is a time for re-evaluation of where I put my focus and time," .she says. "Maybe, I'll get into writing for films or e.x- plore other career tangents which are not as labor-inten-sire." McKennitt might be winding (kAvn some of her musical activities, but her Quinlan Road Ltd. label and management finii will remain actiw. The company, which has nine full- time .staffers in offices in London and Ontario, maintains a brisk mail- oixlcr business for McKennitt's ptv- Wamer albums, "Elemental" <li)8.5), "Tb Drive The Cold Weather Away" (1987), and "Parallel Dreams" (19«»), and orersees her publishing and mu- sic-licensing activities. "Live In Paris And Toronto." pro- duced by McKennitt is a twii-CD set the first featuring all eight songs from "The Book Of Secrets." The second CD features fainiliar McKen- nitt nmterial. including "The Bonny Swans," "Santiago," and "All Souls Night." McKennitt is backed by her longtime touring band; for fans ac- customed to the complex layering and ornate instrumentation of her studio recordings, the .sparsene.ss of the live album is startling, and her songs emerge as livelier and more full-bodied than their studio coun- terparts. BILLBOARD JUNE 5. 1999 97 International Warner Worldwide Team Gathers For Hong Kong Conference Warner Bros, artist Stielby Starner is greeted in Hong Kong, from left, by Warner Bros, chairman/CEO Russ Thyret. WEA Germany managing director Bernd Dopp, and Warner Music Central and Eastern Europe president Gerd Gebtiardt. A boisterous quintet of Warner Music executives take a break from the confer- ence proceedings. Shown, from left, are Sire Records president Seymour Slein. Atlantic Group co-chairman/co-CEO Val Azzoli. Warner Bros. Records president Phil Quartararo. Warner Bros. chairman/CEO Russ Thyret. and Warner Music Switzerland managing director Claude Nobs. Shown at one of the conference's social occasions, from left, are Warner Music Portugal managing director Daniel de Sousa. WMI senior VP of international marketing and artist development Peter Ikin, WMI chairman/CEO Ramon Lopez, WMI VP of artist development Anne-Marie Nicol. and Warner Music Greece managing director Ion Stamtx)ulis. Taking the horizon view, from left, are Warner Classics International president Marco Bignotti, Teldec president Martin Sauer. Erato president Didier Durand- Bancel, NVC Arts managing director John Kelleher, and WMI operations VP James Pitman. Warner Music International <WMI) assembled its worldwide team of mana8:inK directors for a conference April lS-22 at Hong Kong's (irand liyalt Hotel. Senior executives from the Warner Music (iroup and its U.S. labels were also in attendance. The agenda included music and financial pre- sentations, artist showcases, and addresses from WMI chairman/ CKO Kamon Lopez and Warner Music (iroup co-chairman Boh Daly. "Large organizations are not fruitful places for creative thinking." Lope/ told the atten- dees ( Billboard, May I ). "We must remain creatively agile and an Iconoclastic organization which pushes back the boundaries of creative and marketing thinking." During one of the conference breaks. WMI chairman/CEO Ramon Lopez chats with Atlantic Group co-chair- man/co-CEO Ahmet Ertegun. Pausing for a photo opportunity, from left, are WMI president Stephen Shrimpton. Warner Music Australia chairman Shaun James, and Warner Music Asia Pacific president Lachlan Rutherford, WMI chairman/CEO Rarron Lopez wel- comes delegates to tfw conference. Relaxing together, from left, are Warner Music Spain president Saul Tagarro, Warner Music Assn. for Southeast Asian Nations region managing direc- tor Tony Femandes. and WMI busi- ness/legal affairs VP Anne Mansbridge. Executives from three regions share an umbrella. Shown, from left, are East- West France managing director Michael Wijnen. EastWest Australia managing director Chris Hanlon. Rhino Records senior director of international Peter Pasternak, and Warner Music U.K. chairman Nick Phillips. Etektra s 3rd Sloree was one of the acts showcased in Hong Kong. Pictured, from left, are group manager Jacqueline McQuarn; Elektra senior VP of interna- tional Bill Berger; Elektra VP of European artist development Jaquelyne Ledent- Vilain; 3rd Sloree's Jay-R: WMI chairman/CEO Ramon Lopez; 3rd Storee's Kevonle; Elektra chairman Sylvia Rhone; and Warner Music Group co-chairman Terry Seme). In front, from left, are 3rd Storee's Lil' Man and D-Smoove and Warner Music Group co-chairman Bob Daly Sharing a table, from left, are WEA Latina president George Zamora, Warner Music Latin America marketing VP Maribel Schumacher, Warner Music Argenti- na managing director Luis Mendez, and Warner Music Brazil managing director Beto Boaventura. WEA Australia's Taxiride rocks out during one of the Hong Kong showcases. Shown, from left, are bandmates Dan Hall. Jason Singh. Tim Watson, and Tim Wild. 98 BILLBOARD JUNE 5. 1999 Come out and show your stuff at this year's Rock 'n' Charity events - Tennis, Golf, Bowling and an amazing silent auction featuring outstanding items from TV, film, music, sports and travel. Be Good Sports and support the ground breaking work of the T.J. Martell Foundation and Neil Bogart Memorial Fund for Cancer, Leukemia and AIDS Research. G^h Annual Music Gi Entertainment Industry Tennis Open Sunday, June 6, 1999 12 Noon to 6 PM Tennis LA 1 1 AM Registration 12 Noon Play begins $1 50/Player A fabulous day of tennis and fun in the sun. Breakfast and lunch will be provided. Adidas. Ray-Ban and others are contributing to a terrific gift bag for all players, including shoes, shirts, a bag and more. Cocktail Party and Silent Auction Thursday June 10, 1999 7;30 to 9:30 PM Radio & Records Convention '99 Century Plaza Hotel, Century City Spectacular annual auction will include major trips courtesy of American Airlines and MAP Promotions, signed music and entertainment memorabilia, walk-on parts to your favorite television shows, ultimate sports items and much more. Come ready to bid and take home amazing items everyone will be talking about. 1 5th Annual Entertainment industry C3alf Classic Thursday, June 10. 1999 Hosted by Michael Bolton Calabasas Country Club Tee Times at 7:00 am and 1 :00 pm Player entry fee: $425 This fabulous tournament is always a sell-out. Top industry insiders and celebrities from music, film. TV and sports make up the 250 players each year. Belding golf bag. Adidas shoes, shirts, and more, fantastic tee prizes, a beautiful course and a guaranteed good time have made this event for fifteen years. For Player information, call John Baruck at 818.907.9072 GutterBali '59 Saturday, June 19, 1999, 9 PM to 1 AM Sports Center Bowl, Studio City Individual tickets: $50 The vintage bowling alley at the Sports Center in Studio City (right next to Jerry's Deli) wilt be our home for bowling. In-n-Out burgers. party favors, an exciting Rock n' Bowl tournament and big surprises! The casual atmosphere will be the perfect end to a month of GOOD SPORTS. Call the T.J. Martell Foundation/Neil Bogart Memorial Fund office at 310.S47.S980 for court, tee and lane sponsorships. Announdng "Jiff IV THIS MEK" ADVERTISEMENT Customize a page for your artist on billboard.(oni and reach MIIUONS Of CONSUmSU! I Intro 2. Ring The Alarm 3. Dirt All By Mg Lonely 4. Holidsg (Feat. Phiness) 5. Live Or Die (Feat. Master P.Silkk The Shocker, Mystikal & Phiness) 6. On The Run 7. Radio (Feat Rustic Overtones) 8 Jamboree (Feat Zhane) 9. Would've Done The Same For Me (Feat, Coffee Brovn) 1 0. Thugs S. Hustlers (Feat. Mag &. Krayzie Bone) I I .Work (Feat. Mag& Castro) 12. We Could Do It (Feat. Big Punisher) 13. The Blues (Feat. Next) 1 4. Wicked Bounce 1 5 Live Then Lay (Feat. Phi ness) 1 6. The Shivers (Feat. Chatn Gang Platune) Naughty By Nature mnelee»mughl]f nine NATURE'S FURY Select! on #: 07822-19082-2 Are you still dovn vih Naughty By Nature? Because their Arista Records debul 19Naughly9: Nature's Ftuy is going to blovyou a-wsyi Naughty By Nature's nev album is full of chemistiy and high energy, offering the one-two lyncal and verbal punch of Vumie and Treach combined viththe production vizardiy of KsyGee. From the souJful party vibe of "Jamboree" (featuring Zhane) and the late-night R&B flov of "Blu Balls" (vith KayGee's proteges Next) to the rugged, dirty South-meets -Illtovn vibe of the first single "Live or Die" (feamiing MjrstiM and Silkk The Shocker), Naughy By Nature coniini» to prove that they are one of the top Hf)-Hq> acts around. no From their nascent years as Nev Style, rocking Jersey talent shovs, to their Platinum smashes like "O P P " and "Hp Hop Hoorty, " from their trend -setting style to theii groundbreaking ^eal. Naughty By Nature have redefined vhal Hip-Hop can be. In the process, they have emerged not jtist as pioneers, but as true stars. Al a time vhen "artists" are cooked «p by a marketing department, Natighy By Nature have eanwdthe respect of the community by vorking hard, keeping the faith and, most important^, coming vith the dope flov. UNKS Listen To Nau ghty B v Nature htt p //wv.arista.com/ansta'yeb/Nau ghiyB vNattge Tourmf July 10th Naughty By Nature on Showime at the .^llo (Cheek local listing for chanel and times) Write your own album review More cool arrist information link to your label site, retai, sound & video dps List touring and appearance information With over 100^000,000 annual page viewS/ Billboard.com is your link to music fans worldwide. 212-536-5004 • www.billboard.com Copyrighted material Merchants Marketinci RETAILING-DISTRIBUTION'DIRECT SALES-HOME VIDEO'ENTER*ACTIVE«ACCESSORIES More Musicians Explore Video Game Worli Bowie's 'Omikron' Score Stirs Up E3; Violence, Piracy Also At Issue BY STEVE TRAIMAN LOS ANGELES— VirtuaUy aU of the record MS.OOO square feet of exhibit space at the Los Angeles Com-ention Center nx^ked with music at the Elec- tronic Entertainment Expo IKS), heki May 12-15 here. The fact that Oavid Bowie has composed original music for the anticipated Eidos Interactive block- buster computer game "Omikron: The Nomad Soul" amplified a grow- ing commitment by many musical artists to games. Other trends and issues that got a lot of attention at FJi were violence in games and piracy. Bowie is not only composing origi- nal music for the game with ReeTCS Gabrels, his collaborator and guitarist since 1989, but he also plays the role of Boz, a game character. In addition, he appears with Gabrels and bassist Gail Ann Dorsey in a virtual band that performs in sereral bars around Omikron City. Bowie's wife, super- star model Iman, is featured in the game as an "incarnable" who intro- duces "\nrtual reincarnation." "Omikron" also features a virtual album that characters can purchase, take back to their virtual apartments, and play. A soundtrack CD — though not yet announced — is anticipated for September. That's a month before the game hits stores at an estimated street price of about $40. "I moved right away from the stereotypical industiial game-music sound," Bowie said at an E3 press conference. "My priority in writing music for 'Omiki-on' was to give it an emotional subte.\t It feels to me as though Reeves and I have achieved that. We both worked closely with [Paris-based game dereloi)erl Quan- tic Dream to come up with eight new 7 moved away from the stereotypical industrial game- music sound' - DAVID BOWIE - songs for the game." It was Eidos .senior designer Philip Campbell who came up with the idea to approach Bowie. "I've been a life- long fan and in the Bowie fan club since 1972," he said. "He took to the whole 'virtual being' thing immedi- ately and spent two hectic weeks in design sessions with us in Paris. He's very protec- tive about his music, giving us dribs and drabs in saying, 'I don't want to give everything away at once.* " The music will be a focal point of a massive pre- and post-release advertising campaign, according to Charles Cornwall, CEO of Ivondon- based parent company Eidos PLC. "David Bowie's involvement en- dorses the quality of the game and the fact that worldwide entertainment stars realize the value of the comput- er-games market as an essential ingredient of the entertainment mix," he said. On the serious side of E3, the anti- violence issue was addressed by Doug Lowenstein, president of show owner and sponsor Interactive Digital Soft- ware Assn. (IDSA), with a proactiw response to the broari-hased attacks on the games industry in the after- math of the recent high school shoot- ings in Littleton, Colo. Joining him in a commitment to an industrywide anti-violence education campaign was Hal Halpin, president of the Interactive Entertainment Merchants Assn. (lEMA), which includes more than two dozen of the industry's leading chains. Included are such major music and video retailers as Best Buy, Hollywood Entertainment, Movie Gallery, Tar- get, Nobody Beats the Wiz, Virgin Entertainment, and Whcrehouse Entertainment The convention drew a number of music, video, and multimedia retail- ers among its 40,000 attendees. "The entertainment software industry has no reason to run and hide," Lowenstein emphasized in his opening-morning "state of the indus- try" address. "With our [IDSA] members representing about 85% of total industry sales, we do have responsibilities to consumers, and we've been proactive in meeting them. "Five years ago," he added, "we put in place the Entertainment Software Ratings Board — what leading mem- (Conlijiued on page lOi) Eidos Interactrve's game "Omikron: The Nomad Soul." which features the David Bowie character Boz, is previewed at E3 by Pierre Roux of the game developer Quantic Dream. {Photo: Steve Traiman) Indie Studios Talie Different Paths For Growth WinStar Diversifies Offerings; Mew Video Launches Documentary Line BY SETH GOLDSTEIN NEW YORK— There is life among home video independents. Amid all the talk about studio domi- nance, two New York-based ven- dors—WinStar TV & Video and New Video — are aggressively expanding operations. WinStar New Media has reor- ganized its operations into a ven- ture called WinStar TV & Video, which produces for cassette and DVD, TV, online, and theatrical release. The five WinStar compo- nents — Home Video, Worldwide, Productions, Direct, and Cine- ma — oversee movies, perfor- mance and the arts, and wellness. "Those are the genres on which we want to focus," says WinStar TV & Video president Al Cattabi- ani. "We want to be the best of class." Cattabiani joined the com- pany in October when WinStar New Media acquired his company, Wellspring Media, which pro- duces wellness programming and distributes the Mystic Fire Video catalog. At that time, the home video company still operated as Fox Lorber Associates, an earlier WinStar acqui- sition. WinStar's reor- ganization dropped the old name except for two TV & Video units. Fox Lorber Films and Fox Lorber CcntreStage. The old venture was the starting point sev- eral years ago for New Video, the creation of two former Fox Lorber executives, Steve Sav- age and Susan Mar- golin. New Video, which markets its own SOME NUDITY REQUIRED "Some Nudity programs and those of Required" marks the A&E Home Video, NBC start of New Video s News, MTM, and the Docurama line. Sundance Channel, has just launched Docura- ma, the first branded label dedi- copies of hit movies, frustrating cated to documentaries, says Sav- consumers who want to stray age. (Conlinued on jmge lOi) "They're the next wave," he adds. "The signs are every- where." He cites the appearance of documentaries on cable, at film festivals, and in theaters. New Video's first release is "Some Nudity Required," about the B-movie industry. Savage and Margolin think there's strength in numbers. "You need to dominate your niche," Margolin says. "We're trying to acquire new and old titles including the classics." New Video figures to release eight titles this year and another 12-18 in 2000. Hollywood has pro- vided an opening by loading stores with Delivers Advanced Consumer Direct Fulfillnient Solutions "Tlie Rt'ul-Link between (lie Web IteUiiier and the Consumer" O Extensive product catalog whh over 265,000 skus available OVour sliopping catalog fueled by the All-Music Guide'" (rthe All-Movie Guide" •MIS O We Pick-Pack-tr-Ship orders direct to your consumer under your retail identity C0\5UMER DIRECT FVLFILLMENT For more information contact: Natalie at 1-800-329-7664 ext. 4303 e-mail: cdf@aent.com www.aent.com/cdf BILLBOARD JUNE 5, 1999 Or I lOlteria! Merchants & Marketing newsline... VALLEY MEDIA reports that net income for its first year as a public company increased 69.2% to $4.4 million from $2.6 million in the previous yeai: Net .sales for the 12 months that ended April 3 were up rj2.4% to .$889 million fi-om $5SS.o million. The Woodland, Calif. -based wholesaler and dklribu- tor of masic and \ideo .says that ne\v-media sales to Internet retailers rose 448.8% to $69.7 million in the year. The company says it benefited from the "spectacular growth of our online customers" and "major new cus- tomers such as Amazon.com." Sales tu traditional retail account-s rase 32.4% to $178.7 million from $135 million. And sales from independent dis- tribution increased 20.49! to $'>.') million ft-om $)5.7 million. Valley made its initial public offering of stock in the fourth quarter For that quarter, the company reports net income of $1.2 million on sales of $257.9 million, com- pared with net profit of $669,000 on sales of $156.2 million in the same period a year ago. HASTINGS ENTERTAINMENT, operator of 131 multimedia superstores, reports that net income rose 41ii% to $1.7 million in the first fiscal quar- ter from $1.2 million in the .same period a a year ago on "solid improve- ment" in gross margins. Sales for the three months that ended April 30 were up 12..5% to $100.5 million from $89.4 million. In other news, the Amarillo, Texas-based retailer's E-commerce Web site, gohastings.com, went Uve May 25, offering 50% off The New York Times' best-selling books, promotional prices on "Star Wars" material, and free .shipping during the rollout- BORDERS GROUP refxirts that sales for iLs Bonlers Books & Music super- stores that have been open for more than a .year increased 4% in the first fkscal quarter, which ended April 25. During the quarter, 12 superstores were opened, making a total of 262. For the three months, Borders reports a net loss of .$4.1 million on $618.7 million in total sales, compared with net income of $3.8 million on $545.3 million in sales in the same period last j'ear The decline in profits was due to a charge related to the departure of Philip Pfeiffer as CEO and a $4.3 million net loss for the company's E- commerce Web site, borders.com. BARNES S NOBLE reports a net loss of $5.9 million for the first fiscal quar- ter, reflecting a loss from its 50%-owned Internet business, barnesand noble.com. Net earnings from traditional retail rose 14.5% in the quarter to $5.4 million. Total sales viere up 9.9% to $718.3 million. Sales for super- stores open at least a year rose 5.4% in the quarter. The company operates 521 Barnes & Noble superstores, many of which sell music in addition to books. LEVI'S, the apparel manufacturer, is sponsoring a 4i>-date Levi's Fuse '99 summer music tour featuring the Goo Goo DolLs, Sugar Ray, and Fastball .stai-ting .July 16 in PhoenLx. In addi- tion to the headlining bands, Levi's will present emerging artists on another .stage, including local bands from the tour cities. In March, Levi's signed a three-year agreement with SFX Entertainment whose venues will stage the concerts. TCI MUSIC, which recently agree<l to .sell its subsidiaries SonicNet and the Box to MTV Networks in exchange for a 10% stake in MTV's online prop- erties, reports a net lass of million for the first fiscal quarter, which ended March 31, on a 23% increase in revenue to $22.6 million, reflecting sales increases of 40% for DMX (Digital Music E,xpress) to $10.8 million and 18% for the Box to $6,3 million. "The lass Ls attributed to higher expens- es for expansion of the Box, an interactive music video TV network, and SonicNet an Internet music network. TUNES.COM, parent of RollingStone.com and TheSouree.eom. has begun a digital download service called Download This. It is offering free Web pages and downloads to developing and established acts featured on the two sites, in an attempt to make the sites a popular destination for free dounloadable music in MP3 and other formats (BillboardA<Ue(tn, May 25). HARVEY ENTERTAINMENT, licensor of cartoon characters like Casper The Friendly Ghost for made-for-video films and TV programs, reports a net loss of $2.4 million on revenue of $562,000 in the first quarter, com- pared with a loss of $2 million on $860,000 in revenue in the same quar- ter a year ago. The company says the results "reflect a limited scope of operations as a result of working capital constraints." In April, the com- pany was acquired by investors for approximately $16 million in cash and stock. The first-quarter results also include an estimated loss of $250,000 on the live action, direct-to-video feature "Baby Huey's Great Easter Adventure." Web Merchant Finds Retail Grnnve Chicago's Dusty Groove America Expands To Brick-And-Mortat BY ED HOGAN CHICAGO — It's common today for a record store to put up a Web site to sell product. What's not so com- mon is for an Internet record mer- chant to expand from the virtual world to brick-and-raortar retail. Such is the case with Chicago- based retailer Dusty Groove America. Originally a mail-order Web site that specialized in hard- to-find soul, funk, and hip-hop releases. Dusty Groove became a walk-in record shop in 1995. "We still do 95% of our business from Internet sales through our Web site (dustygroove.com]," says owner Rick Wojcik, who along with hip-hop D.I ,LP Chill came up with the idea in 1991 of having an online record shop that appealed to soul/funk/underground hip-hop fans. The two met at University of Chicago radio station WHPK-FM, where Wojcik was station manag- er and host of his own "dusties" (oldies) show and J.R had a hip-hop program. J.R is now the Webmas- ter of Dusty Groove's site, respon- sible for updating and mainte- nance. Dusty Groove America started out in J.R's bedroom with a box of records before moving into occa- sionally rented space in Hyde Park, where the partners sold recordings to the public, advertis- ing in the free Chicago Reader. As the business began to take off, Wojcik secured a second-floor walk-up near the busy intersection of Milwaukee and Division avenues. "We're doing 10 times the business that we did at this time last year. We also sell jazz, acid jazz, Brazilian music, now sounds, French electronica from the '60s, Latin funk, spoken word, black culture, and Italian and other IS COMING SOON TO A STORE NEAR YOUl The Dusty Groove America music store is located near the busy Inter- section of Milwaukee and Division avenues In Chicago. (Photo: Ed Hogan) movie soundtracks from the '70s," says Wojcik. The growth of Dusty Groove led both .I.R and Wojcik, who by this time was studying for a Ph.D. at Northwestern University while hosting a jazz show on the institu- tion's WNUR-FM, to give full-time attention to their thriving busi- ness. "When we first started out, it 'Since we're primarily Internet-based, we appeal to the Web surfer who is looking for specific releases' -mCK WOJCIK - was cool because | being a Net busi- ness] we could work when we wanted to. Now because of the demand, someone's here from 7 a.m. to 7 p.m. We're practically working 24 hours because of the [global] time differences. We're getting calls from all over the world all of the time from people ordering records," says Wojcik. The Net business is so good that the store is open to the public only on Friday, Saturday, and Sunday. It has been featured in articles in The New York Times, Spin, Rolling Stone, and The Chicago Reader, according to Wojcik. He says that annual sales are about $2 million and that the busi- ness, recently incorporated, is profitable. He notes that the part- ners are considering setting up a European warehouse for Internet fulfillment. "The store works very well for Chicago," says Wojcik. "I think that if we had started out with the idea of just being a local record shop, we wouldn't be doing as well. Since we're primarily Internet- based, we appeal to the Web surfer who is looking for specific releas- es. If they do a search for, say, Roy Ayers, and nobody in their town has it and we do, that helps them focus on us. "On a Monday afternoon when most stores are in the post-week- end doldrums, we're doing triple the business we did on Saturday, thanks to the Internet," Wojcik continues. "If we didn't have our Web site and the sales that are generated by it, we couldn't stock the hard-to-find titles that people are looking for." To find such titles, Wojcik has traveled overseas, combing through phone directories in libraries and looking for obscure record labels. He also uses an international net- work of contacts to increase Dusty Groove's inventory. Though the shop is primarily Net-based, it derives benefits from its physical location. Below Dusty Groove America's large picture tt'indows is a bustling intersection in both a business and residential district. Two greenish neon signs advertise the presence of the record shop: one with the name of the shop, the other with the Web address. The store's wide aisles give easy access to titles. The CDs are dis- played, spine out, in alphabetical order in genre-specific sections. The walls are adorned with movie posters and album jackets. In the tradition of independent record stores. Dusty Groove offers products that the big chains may not. "We stock differently than the bigger stores," says Wojcik, who once worked at local independent Reckless Records. "They're more into street dates and everything that goes into new, hot releases. We're more long-term in our think- ing. Our plan is to grow an ever- increasing back catalog of titles." The store makes it easy for con- sumers to shop both online and through an 800 number "We actu- ally have the product that you see listed on our Web site here in the store. We don't list titles that we don't have," says Wojcik. "We see that some people become our customers because we're a mail-order operation," he adds. "People are getting more into E-commeree and not wanting to deal with the hassles of travel- ing around, fighting the crowds, trying to find decent parking, and hoping that the record is still there when they get there." Dusty Groove also stocks a large number of vinyl releases in various genres. "The main thing with us is the music," says Wojcik. "If we have to sell an original copy of a release on vinyl because it's not available on CD, we'll do it. Same thing for vinyl-only D.J releases. We're trying to supply the most amount of music to the most amount of people. Some stores won't stock a title, sometimes an in-demand title, because it's on vinyl. Well, that's holding back the music." But Wojcik sees a definite shift toward the CD among Dusty Groove's clientele. "When we started out, we only had five CDs, because the type of music that we sold was only avail- able on vinyl," he says. "Now there's so many good CD releases, like Sylvia Striplin or 'Soulful Ladies Of The '80s.' If we had to (Continued on page 105) 102 BIUBCM80 JUNES, 1999 THE PLATINUM SELLING LABEL THAT BROUGHT YOU JUVENILE S. B.G NOW PRESENTS THE CASH MONEY RECORDS CATALOG FEATURING ALBUMS FROM JUVENILE - 400 DEGREEZ uo,.c B.G. . CHOPPER CITY IN THE GHETTO uo^c =3==. BIG TYMERS - HOW U LOVE THAT, VOL. S „=„c „„o m AND CHECK OUT THESE , UD/UC - 53170 'OLD MONEY' RELEASES B.G. . It's AlUn U UD/UC . 53164 B.G. . It^ All On U Vol. UD/UC - 531SS ECORDS JUVENILE - Soija Rags UD/UC - 531 6B HOT BOYS Get It How You Live UD/UC - 531E5 B.G. - Chopper City UD/UC - 531B7 IIM STORES 6/S9 1SBS UNIVERSAL RECOHDS INC. B.G. . True Story UD/UC ■ 53 IBB YOUR yifEBS/TE ViLL DIRECT TO CONSUMER FULFILLMENT FOR eCOMUERCE YOUR CUSTOMER j offers industry-leading direct-to-consumer fulfillment, world-class data and the largest selection ot music, video and DVD for e-commerce. i.FILL is f/ie fulfillment choice of today's most successful e-tailers. THE BEST THING BETWEEN YQU AND YOUR CUSTOMERS^ |<l»: im.l4SJ444 diricl: 53g.MI.S442 ililiavallat midia con^M^^ DincT-rocoHsuucn fULftuMim Fon tcouutna Merchants & Marketing MORE MUSICIANS EXPLORE VIDEO GAME WORK (Continued from page 101) bers of the U.S. Senate call the best rating system in the industry — with an M [mature] tag on all games with a violence factor. At the same time, we adopted an advertising code of conduct to make sure rating infor- mation was displayed in ads and on product packaging and to prohibit the targeting of ads to persons for whom the game is not rated as appropriate." Lowenstein attended the recent White House summit on youth vio- lence along with Hilary Rosen, pres- ident of the Recording Industry Assn. of America (RIAA). He said he was heartened by the tremendous emphasis by most participant"! on the role of parents as the front line in making sound choices for their kids, the importance of helping kids connect with their peers and fami- lies, and the critical need to address mental-health issues facing young people. "Tipper Gore noted that 70% of the kids in the juvenile-justice sys- tem have treatable mental illness," he .said. "We've made a commitment to do much more work with publish- ers and retailers in enforcing vigi- lance in sales of M titles to kids under 18, but parents must bring some vigilance to this situation in monitoring their children's gaming activity." Speaking for retailers, lEMA's Halpin pledged the group's full coop- eration in an industrywide consumer education campaign on anti-\'iolence. "Our members understand the need for rigilance at the checkout counter in carding all kids who make an M purchase," he said. 'At the same time, we'll he working with IDSA and other industry groups to get the word out to parents and gamers on their respon- sibilities in this vital campaign." As in both the music and home E X E C U T V E T u R N T A E 5 L E MUSIC VIDEO. Ann Sarnoff is named e.xecutive VP of business strategy and program enterprises at VHl in New York. She was exec- utive VP of con.sumer products and business development at Nick- elodeon. RETAIL. Marie Toulantis is appoint- ed CFO of barnesandnoble.com in New York. She was CFO of Barnes & Noble Inc. HOME VIDEO. ArU- san Home Enter- tainment in Santa Monica, Calif, SARNOFF names Kajsa Vikman product marketing manager for sell-through and Linde Lantion Web manager. They were, respectively, assistant brand manager for 20th Century Fox Home Entertainment and product implementation developer for Digi- tal Insight video industries, piracy is another .serious issue for the games indus- try. IDSA's Lowenstein estimated that $:^.2 billion was lost to pack- aged-goods piracy in 1998, with countless additional millions from surging Internet piracy. "Today, in countries like Thailand where it's virtually impossible to con- duct any legitimate business," said Lowenstein, "pirated games that should sell at retail for up to $40 or more go for as little as 70 cents each." Responses to recent IDSA na- tional consumer surveys on this issue are even more disturbing. "We asked the most frequent users of PC and console games whether they have ever considered buying a counterfeit game," he said. "Some 20% of console and 17% of PC gamers said they had, while one of four console gamers and one of five PC gamers agreed with the statement that buying illegal games was 'no big deal.' "This offers some in.sight into just how serious a problem we face with game piracy here in the U.S., let alone overseas," he added. "Many of the more than 1,900 games introduced here at the show will be pirated soon after, and some- times even before, their release." In addition to Thailand, the IDSA attributes the largest entertain- ment software losses to China ($1.42 billion annually), the Russian Federation ($240 million). Mexico ($170 million), and Hong Kong ($112 miUion). The IDSA filed its comments as part of a recent report to the U.S. Trade Representatiw by the Intei-na- tional Intellectual Property Alliance (IIPA). Representing the leading U.S. associations of content providers, the IIPA also includes the RIAA, the Motion Picture Assn. of America, the National Music Publishers A-ssn., the Assn. of American Publishers, arwl the Business Softwaiti Alliance. Related to both the anti-violence and anti-piracy situations, Lowen- stein pointed out that the stakes were very high for all segments of the marketplace, with the industry on track for another record year. "Ba.sed on the first four months of sales, our member company CEOs are forecasting l.'S% to 25% increas- es in the console area and 10% to 15% in computer games," he said. Software .sales in 1998 hit $5.5 bil- lion, said Lowenstein. w ith another $800 million from game rentals for a total of $6.3 billion, more than mo\ie box-office ticket sales. Nearly 200 million units of games were sold, a 35% increase over prior-year levels. STUDIOS TAKE DIFFERENT PATHS FOR GROWTH (Continued from page Wi) from the beaten path. But Savage acknowledges that documentaries will need help to develop an audi- ence. "Like any market that's under- served, we're going to have to build it," he says. "Independent films are a misnomer at this point — it's all controlled by the studios." Nonetheless, the first signs at retail are positive. For "Nudity," Margolin notes, "we've got sup- port from the largest retailers out there." And Hollywood could help in establishing the Doeura- ma offerings, which will be stocked from a variety of sources. "We're actually ready to speak to some of the studios" about their documentary catalogs, says Savage. He and Margolin have identified 600 candidates for the line. New Video, which is starting with VHS, has moved cautiously into DVD. In contrast, the new format has become a major rev- enue source overnight for Win- Star. "Fifty percent of our sales in the first quarter was from busi- nesses we weren't in two years ago," says Cattabiani, referring to DVD and his Wellspring titles, which have tapped into growing interest in holistic treatments and medicine. "As boomers age, they're embracing a broader definition of what wellness is," he adds. Cas- settes on yoga, meditation, spiri- tuality, and the like are also prime candidates for DVD, WinStar's other success story. The discs released thus far "are selling through," says Cattabiani. "DVD is explosive." As rental has 'Like any market that's underserved, we're going to have to build it' faded, home video has become "essentially a sell-through busi- ness," he comments. WinStar's new organization allows it to integrate "the whole thing" of theatrical and video release, such as its handling of films by the late French director Frangois Truffaut. A retrospec- tive show ing at New York's Film Forum is "going great," according to Cattabiani; it will be duplicat- ed in other cities in preparation for the release of cassettes and DVDs. "I hope to make a state- ment about films." he says. His statement could gain stature from WinStar's latest acquisition, the 40-title BMG Independents library. The list includes one Academy Award winner, "Antonia's Line," plus "Clockwatchers," "Mrs. Dal- loway," and several documen- taries. 104 BILLBOARD JUNE 5. 1999 Merchants & Marketing WEB MERCHANT (Continued from /xige lOJ) find the original vinyl of those releases, It'll cost us about $200 a piece. Whereas the CD reissues cost us a tenth of that, and we can order five or six. "There's some product I thought would never he issued because they're from lesser-known acts," he continues. "But these days, we've been seeing an incredible amount of music that we never thought would turn up a year ago." The shop's inventory is about two-thirds CD and one-third vinyl (there are just a few hip-hop mix tapes), with a tiny smattering of 1970s home video titles. Though Wojcik is optimistic about CD reissues, there are still some issues to be worked out. "American record companies for the most part still believe that peo- ple just want the hits and just put out compilations, sometimes leav- ing off the cuts that people want," he says. "But people sometimes 'If we have to sell an original copy of a release on vinyl because it's not available on CD, we'll do it' - mCK WOJCIK - want the full albums. A lot of the import labels we deal with, like Ace, Charly, PolyGam .lapan, P- Vinc, they make a strong commit- ment to |)Utting out the full album. In the case of U.S. labels, there doesn't seem to be a direct line of communication between the con- sumer and the labels." The retailer likes the direct communication that he has with his customers through E-mail. "Coming out of IS years of radio experience, I understand how important it is to listen to whom- ever you want to listen to you. That's the same kind of feeling I get through the K-mail exchange 1 have with my customers." At Dusty Groove, you won't run into those crazily inflated collec- tor's prices that you may find at other outlets. Says Wojcik, "Al- though we don't like to brag, we also think the prices of most of our stuff's about as low as you'll ever find it." For Wojcik, the future's bright and dusty. "The global nature of our cyberspace business is finally paying off, despite all the best efforts of a few lunkheads in vari- ous shipping departments to stoj) us," he says. "We've been getting a steady stream of goodies from all points of the globe, including .Japan, Ger- many, Italy, Australia, France, Brazil, and elsewhere. People are always looking for music they can't find and from back in the day. It's a good market." BILLBOARD JUNE S. 1999 105 erial Merchants & Marketing SOUTHWEST WHOLESALE 0. 0. W3l Prices aood week o ?T\ce^ qooA week o-P^ lune 7th-11thJ NEW ACCO 800->75-4799 \ UNSURPAStEP SERVICE! CREATIMPORTMLECTION I COMPUTERIZED CATAIOC EXCELlEKTr FILLf irOTERNET FULFILLMEKT OVER 170.000 UlECTIONf WEEKLY MAILER POSTERS & PROMOS SOUTHWEST WHOKESALE 6775 tiin^lif Road l-eOO-275-4799 11132 Winners Circle #20© Lfifi ^'s-^itos, CA 9(7720 1-66&-423-7611 V. ncosgf t-. CO m /' -saw Sefi Hiflleah Drive l-e<X>-S03-47l6 Baker & Taylor Puts Together Prograoi For Indie Retailers Indie support: Baker & Taylor is stepping up to the plate to help inde- pendent merchants. At the Impact Super Summit in Miami, it um^iled a three-pronged program to help inde- pendents improw their stores. Steve Harkins, director of music .sales at the Morton Gro\'e, Ill.-based Baker & Taylor Entertainment, notes that with the Internet be- coming a grow- ing force in sell- ing music, the company searched for ways for indepen- dent merchants to offset its impact "At Impact, the message was pret- ty loud and clear that the urban retailers need to look at the Internet business," he says. "But our concern is it may make sense for them but not yet They hare limited resources. You can't just snap your fingers and get into that business." So Baker & Taylor focused on the store. First, the company teamed with Muze and put together a pack- age that allows merchants to buy a Muze kiosk, with its extensive data- base, for their stores and pay it off m'er the course of a year Also, Baker & TVylor is helping them pay off the system, and it is prmiding, on a quar- terly basis, a 2..5% rebate on pur- chases made from the kiosks. As most merchants know, the Muze database can be a powerful tool in aiding sales. Of course, after the first RETAIL TRACK by Ed Christman .year, the retailers will havie to assume the fee for updating the software, but the machine should be generating incremental sales. In addition to the database, merchants can purcha.se a sampling device from Muze, which stores up to 70 hours of music, and again, they get to pay for it over a year. Baker fil^- lor also put together two promotions that help improve catalog sales. First off, "we felt we needed to give them some assistance in beefing up their catalog," Harkins sajB. "So, at Impact we offered to match up to $100 in catr alog purcha-ses on a one-time ba-sis. They spend SlOO on it, and we gave them $100 free." The vendors supporting the pro- gram, by sharing the expense, are BMG Distribution, EMI Music Dis- tribution, Sony Music Distribution, WEA, Universal Music and Video Distribution, RED, and Priority. As part of the catalog support. Baker & Taylor is allowing merchants to run promotions based on pricing. Dubbed the Urban Renewal Sub- scription Program, indies receive an automatic assortment of top R&B, rap, and hip-hop catilog titles in the budget and midprice lines. Each month a different distributor is fea- tured, and merchants can choose (Conthiiied mi page 108) • Deepest selection of CD's, cassettes, VHS and DVD. • Internet real-time ordering with WebAmi. • New store specialists. • Sales-driven marketing with l^jH-d weekly. • iviww.aenr.com — Online information designed to support your business. • wwm.allmusic.com — 'M Voted Yahoo'i ""Best music reference sight," offers artist/song-title look-up. THE mm OF AWOTHER COWSUMER FAVORITE WITH BRIGHT WEW PACKAGING! 20-PAQE BOOK AND AUDIOCASSETTE WITH EIGHT FUM SONGS, RHyMES. AND STORIES THAT REINFORCE KEy LEARNING CONCEPTS. COMBINE LEARNING AND Fun with that SPECIAL DiSNEy touch! STREET DATE: Juuy 13. 1999 Share the musfc ot Disney at our websile: wwwdisney.com/DisneyRecords RECORDS AEC has 16 SALES OFFICES Devoted to Independent Retail I:D One Slop, Belhel CT • Bassin Oistnbulsn. Coral Spiings. FL • Abbnf Road, lA • Allania • Pliilailelpliia • Los AigBle^l Olliccs • Saciamenio • Dnalia • San Diego • Dallas ■ Poillaiid • Cliicagn • IJIilviaukeE • Demct 106 BILLBOARD JUNE 5. 1999 COM RARE I •PRIdE • Fltt « SERVICE ♦CDs « Cassettes « DVDs ♦ Accessories Music Distributors NEW CUSTOMERS! Memfon this AD anil Receive a FREE SIFf wftti your First Order! 2400JBsephliieStr8«r PtttslNirgli,nL 15203 1-800-542-5422 (4121481-0800 . Fax:1-800-542-TiNE (4121401-1800 innir.Baia]nmiisiCMa EmaH:lito@ialUQiHKiccNi ThePiices You Need. The SeMce Yoe Deserve. Merchants & Marketing AFIM Confab: Upbeat, Innovative Peachy ik hot-lanta: i'ioi> ably the biggest story to emerge at the Assn. for Independent Music (AFIM) Convention in Atlanta was the confah itself. The May 19-23 get-together at the Marriott Marquis was an almost supernaturally upbeat affair. The indie diiitributors. labels, and retail- ers Declarations of Independents spoke to all reflected a fresh opti- mism about new opportunities. This was a far cry from the prevailing gloom at the '97 convention in New Orleans, when the imminent col- lapse of Alliance Kntertainment cast a pall over the event, or from the pervasively comatose AFIM '98 in Denwr. The tone was set by the May 20 convention keynote address by Tommy Boy Records founder/CEO Tom Silverman. His motivational spiel, which reflected his experi- ence within the Warner Bros, sys- tem after he sold half his company to Warner in 198.'), was an effective cocktail of hard-nosed business sense, pop spirituality, and pro-indie rah-rah. In a bit of theatricality echoing his "brick-and-mortar" wall-build- ing at the National Assn. of Record- ing Merchandisers Convention in Las Vegas this year, Silverman handed out a gold recoi-d (in.scribed "Presented To YOU To Commemo- rate The Sale Of 500,000 Copies") to an audience member. "You should get one of these — it's a great thing," Silverman remarked. He urged his listeners to overcome a psychologi- cal syndrome he dubbed IID — "independent inferiority disor- der"— and concluded by quoting former South African President Nelson Mandela's inaugural addre.ss: "We are all meant tn shine, as children do." If Silverman ever decides to give up the record biz, he's got a future in Leo Buscaglia's corner. The convention panels we sat in on were a mixed bag. While the title of the distribution session, "Does Modern Distribution Suck'/," promised much, it delivered little. One moment of heat was supplied by John Salstone, president of M.S. Distributing in Hanover Park, 111., when he maintained that "there are no regional distributors." Modera- tor Duncan Browne of Newbury Comics quickly noted that true regional indies like the Northwest Alliance of Independent Labels (NAIL) in Portland. Ore., and Red- eye Distribution in Chapel Hill, N.C., (whose Glenn Dicker was seated right ne.xt to us at that moment) are companies that are in the ascendant. A better bet was the fantastic ".$10 Million Worth Of Mistakes," a panel surveying monumental indie DEOARAINS m\DE\TS,. r'l by Chris Morris gaffes that featured such (sadly) knowledgeable participants as Browne, M.S. Midwest sales direc- tor Clay I'asternack, Waterloo Record.s/Watermclon Records head John Kunz, former Passport Music head Toby Knobel, and moderator Bruce Iglauer, owner of Chicago blues label Alligaloi- Records. The panel featured lots of hard-won information and hilarious anecdotes (the majority of which can't be repeated here, due to the restric- tions of U.S. libel statutes). (Somewhat poignantly, Mitch Satalof, president of Hired Gun Marketing in Conshohocken, Pa., was a late scratch from the panel, since he folded the firm weeks before the convention.) Music galore was the order of the day at AFIM this year, as M.S., Bayside Entertainment Dis- tribution, MDI, and Navarre Corp. all mounted evening "Indie Lounges" at the Marriott. Espe- cially noteworthy was Navarre's closing-night presentation, which set a new record for high decibels at the confab, as .I-Bird artist John Entwistle (filling in for Leon Rus- sell, a last-minute cancellation) and Triple X act (and recent Flag Waver) the Streetwalkin Cheetahs rattled the walls. The show atTorderi a rare opportunity to see the head of one new age label t^tmn-daucing. Several leering retailers in the audi- ence agreed that Del-Fi artist Kari Wuhrer's interpretive dance work during the Cheetahs' set was a con- vention highlight. On A MORE COVERT FRONT AFIM debuted what it termed "indu.stry summits" at the conven- tion this .year. The trade group qui- etly sent out invitations for three private on-site meetings to top- ranking retail, label, and distribu- tion executives. The.se huddles were organized to give these experienced attendees a forum to air business concerns in a setting conducive to the free exchange of opinion and information. The label summit, which took place May 20, drew representatives of 404 Music Group, Fantasy. Mala- co, Telarc, American Granuiphone, Rykodisc, Tommy Boy, Putumayo, Rounder, and Vanguard. The retail summit. al.so on May 20, was attend- ed by execs from Best Buy. Shanti- nique. Music Millennium, Newbury Comics, Tower, Record Archive, Waterloo, Liquid Audio, Manifest Discs & Tapes, Ear X-Tacy, and Magic Platter. The distribution summit on May 21 drew the small- est attendance, with representa- tives from RED, City Hall Records. Bayside, M.S., NAIL, and CaroUne. All of the sessions ran from two to three hours. (Colli i lilted oil page 109) MVD Metal/HipHop/Punk Jazz/Classical/Altemative R&B tnoreU Worlds Best Selection AnywhereH Munci rnMo oiiniMnotf VHS. LASERDISCS. DVD. T-SHIRTS over 12,000 TITLES 422 Business Center. 800-888-0486 P.O. Box 280 Oaks Pa 19456 musicvideodist.com Often IMITATED, Never OupHcateil! '' "^ " An Informed Retailer Get Informed! Get ^^ped ! amped weekly is brought to you by all music marketing a division of bdssin flbbsy Rirad New Accounts: 800-635-9082 Fax: 954-340-7641 posters new releases samplers dvd/vhs releases concert dates top sellers stickers contests indie retailer profiles fun coming soon weekly sales hot 100 window clings ONE STOP GROUP LOCALE CD BILLBOARD JUNE i. 1999 107 Merchants & Marketing Persuasions Bring Tlieir Vocal Ciiarms To Kids' Nlusic A SWEET TRIP; Venenible a cap- pella gi"oup the Persuasions, who been harmonizing for some 37 j-ears, are the latest prown-up artist's to toss theii- coUectiw hat into the children's audio ring. The Pci'siiasions' purely delicious Music for Little People (MFLP) offer- ing, "On The Good Ship Lollipop," contains U tracks both traditional ("Big RiK'k Candy Mountain," "On Top Of Spaghetti") and original ("Per- suasions' Nui-sery Rhyme Medley." "A Cap|>ella Fellas"), along with a mo.st welcome helping of African- American folk standards ("Swing Low, Sweet Chariot." "Shoo Fly. Don't Kother Me"). Without a doubt. "LoUipop" is one of the freshest-sounding, most outstanding kids' albums of the year. Actually, it's a bit of a suipri.se that it took this long for the R'rsua.sions to release a children's record. Unlike mo.st moonlighting celebs from the pop world, this fire-man outfit from the Bedford-Stuyvesant section of Bi'ookljTi, N.Y.. actually has a history of performing for kids. They have l)C>on singing for young audiences and putting on music workshops practi- cally .since day one. aceoitling to lead singer Jerry Lawson. "We would practice in the [lai k in our eai'ly days." he says, "and a lot of kids would always join in. We're kids at heart our- sel\<es and ha\e children of our own." The workshops began in the '70s. according to Law.son. whose fellow group members are bass Jimmy Hayes. tenor.s Jayotis Washington and "Sweet" Joe Russell, and bari- tone Bernard "B J." Jones. "We put them on at local Bed-Stuy .sch(M)ls." .says Lawson. noting that one summer the New York schcxil board had them perform for children at housing pro- by Moira McCormick jects across the city. Still, he saw, "\w never thought anyone would ask us to do a ki(l.s' recoitl. But we wei-e doing a c-oncert in OaUand. Calif., and (MFLP founder! Leib Ostrow came up and .said. 'Would you guys consider doing a children's album'.'' When we came back to New York, our pnxlucer called us and said. 'Did a guy from Music for Little Pc>ople [contact] you about cut- ting a kids' record? He .sounded sin- cere.' The following month, we were in the studio." The material on "Lollipop" is stiik- ingly diverse, including songs popu- larized by Patti Page {"Haw Much Is That Doggie In The Window'.'"). Shirley Temple (the title track), and Country Joe McDonald ("I'm So Glad [I've Got Skin]"). There's a "Train Song Medley" "to end all train medleys." featuring "People Get Ready," "Little Red Cahxise," "Chixi- Choo Boogaloo," and "To Stop The Train." "Before we started record- ing," .says I.awson, "I .said, 'E\T>ryone come with at least .sL\ kid.s' songs." We started getting calls from people: 'What about this one'?' We ended up with 100. and before we left for Cali- fornia, we'd gr)tten it down to 13. But some songs we put on the album caught on later — 'On The G<mh1 Ship Lolli|X)p' wa.sn't on the schedule when we left New Y'ork. and neither was 'Teddy Bears' Picnic' But when we LASERDISCS • COMPACT DISCS • CASSETTES T/RED OF BEING LOtR^DllNTO \ Paying High Prices? NoRWALK Distributors Inc. Hows The Key To YourFreedOm! I CALL Toll Free, . , '1! e-mall: sales@norwall(dist.ci LASERDISCS • COMPACT DISCS • CASSETTES got there, they worked their way in." Ostrow. who produced the album with Lawson. senx'd as e.\ecuti\ii pro- ducer, and wrote the charming Per- suasions-history tune "A Cappclia Fel- las." was also i-espon.sible for bringing in a top-notch kids' choriLs that guests on .some of the times. The I'ersuasions may do a family concert tour high- lighting "Ivollipop." saji! I^awson, not- ing with a giin that their motto Ls "Still ain't got no hand." "Leib'.s also asked us to do kids' gospel albums." he a(kl.s. In the mean- time, the wrsatilc five.some will con- tinue to demon.strate its fai--i-eaching RETAIL TRACK (Cniitiinied /will iKiyc IWi) from a :50-piece counter display or a 7('i-piece floor display. The promotion includes a 100^ return guarantee, and Baker & Taylor as.sumes the freight cost for returns. "These ai'e titles that may already be earned in the .st<tre but in the bins and not focused on the price," explains Hai'kins. "We ran some tests on pro- motbns based on price and genre, and it was a success. While chains iim nud- line and budget campaigns. I don't think it has been aggi'es.si\^ly explored in this segment of the market" New VIRGINS: The North Ameri- can operation of V'ii'gin Entertainment ju.st bolstered its .senior management hiring some executives and i)romoting othei's. Russ Pillar, president of the Noith Anwrican Mcg-astore oiwration, has brought aboard two new senior VPs. Kathie Calcidise — formerly piesidenfCEO of the Leai-ning Smith and before that evecutiw VP of Victo- ria's Secret — has been appointed senior VP of ojx'rations. Also. Jordan Copland, who was VP of fimince and ])lanning for the Disney consumer product division, has been named senior VP/CFO. .Joining them at the senior VP le\el is Christos Garkinos, jire\iously VP of mai'keting and pur- chasing, wlio has been named chief marketing officer. Other new hires include Ravi -■Umja, who was an entertainment ana- lyst with McKinsey & Co., as VP of Ixusiness de\elo|)ment; Anthony Dean, who was formerly a director of the graduate .studies program in digital design at the Paivons School of Design, as VP of retail cfesign (k'Nelopment; and Jan De Jong, who was diiwtor for con- sulting services with Cap Gemini America, as VP of information tech- nologj'. Also. John Hogg, previously a regional manager for the chain's Los Angeles ai'ea. has been lumied VP of national stores ojieration. FOR THE RECORD An item in the Child's Play col- umn in the May 22 issue misidenti- fied the label for the album "Lead Belly Sings For Children." The releasing laliel is Smithsoniim Folk- ways Recordings, not Music for Lit- tle People. musical range, recording a tribute album to early mentor Frank Zappa, according to Lawson, as well as "an album for the Grateful Dead family, too." MoZART MANIA: Singer/song- «iiter Ke>in Roth, the honeyied tenor voice of T\"s "Shining Time Station" theme song and an established kids' artist in his own right, has a new album called "Mozart And Me" (StiU-gazcr Pnxkictions of S;ui Diego). The 18th<'entury coiniKiser has iieen increa.singly popular with parents ewr since studies indicated that e\[Ki- sure to his music heljied children's brain dewlopment, and the kids' audio Billboard. world has already .seen a number of Mozart-themed series. Roth, though, "wanted to do .something different ttith Mozart, because ewryone's sort of riding that wa\e." His album actu- ally has a Celtic flavor, courtesy of harpist Janet Jackson-Biely. oboe/ English horn player Jill Haley, and guitarist/bassist Chris Knolls. "Eight of the songs are by Mozart, and I wrote the other six," says Roth. "They're almit dreaming, hope. etc. No fancy production on this. It's very simple. Ju-st the mekxlies — light, airy, and real." Assiitaiicc hi pir ixirhig this column ivas pmvkled by Kim Car. JUNE S, 1999 Topi jfifl Aiiilin IIP Aunio. CHART COMPILED rmi A UTIWIAL SAMPLE OF RTAIL STORE. MASS MEROWIT. »i/ni$ctn« AND INIEDXET SALES REPORTS COLLECTED. COMPILED. m> PROVIDED Br THIS WEI USTWE WKS. ON ARTIST/SERIES TITLE IMPRINT. CATALOG NUMBEF^'DISTRIBUTING LABEL ISHEIF PRICE) 1 I 3 — ^ No. 1 »^ READ-ALONG STAR WARS EPISODE 1: THE PHANTOM MENACE -■!■•,:. -.c ■..■.yau.9S» 2 2 10 MANNHEIM STEAMROaER MANNHEIM STEAMROLLER MEETS THE MOUSE AMERICAN GRAMAPHONE 60641.'WALT DISNEY (10.98/15.98) 3 3 128 CEDARMONT KIDS CLASSICS • TODDLER TUNES BENSON 84056 (3 98/5.98) 4 5 6 VARIOUS ARTISTS RADIO DISNEY KID JAMS WALT DISNEY 60642 (9.9S/16.98) 5 6 59 VEGGIE TUNES VEGGIE TUNES BIG IDEAEVERLAND6936i/W0RD<6.9a/lD.98) 6 4 31 READ ALONG A BUG'S LIFE WALT DISNEY 60289 (6.98 Cassene) 7 7 177 VARIOUS ARTISTS 4' DISNEY CHILDREN'S FAVORITE SONGS VOLUME 1 WALT DISNEY 60605 (6.9a 13,98) 8 8 15 VEGGIE TUNES VEGGIE TUNES LYRICK STUDIOS 9451 16.98/10-98) 9 12 30 VARIOUS ARTISTS TODDLER FAVORITES MUSIC FOR LinLE PEOPLE/KID RHINO 75261/RHINO (3 98/€.98l 10 11 145 CEDARMONT KIDS CLASSICS A ACTION BIBLE SONGS BENSON 82217 13 9S S ■l.S 11 9 135 CEDARMONT KIDS CLASSICS • SUNDAY SCHOOL SONQS BENSON 32218 I3.9S/S 98) 12 IS 46 VEGGIE TUNES VEGGIE TUNES 2 BIG IDEAEVERLAND SSya wORD (6 9a'10 98) 13 10 1% VARIOUS ARTISTS A CLASSIC DISNEY VOL 1 - 60 YEARS OF MUSICAL MAGIC WALT DISNEY 60866 (10 9&15 981 14 NEW^ READALONG TARZAN WALT DISNEY 60427 (6.98 CMSene) 15 13 112 CEDARMONT KIDS CUSSICS • SILLY SONGS BENSON H22^C (3.98/5 98) 16 14 14 BLUE'S CLUES BLUE'S BIG TREASURE KID RHINO 7562&RHINO (9.98/13.981 17 16 10 BARNEY 1 LOVE TO SING WITH BARNEY BARNEY MUSIC 946J/LYRICK STUDIOS (9.98/14.98) 18 17 109 CEDARMONT KIDS CUSSICS • BIBLE SONGS BENSON 82216(3.98 5 98) 19 18 11 BEAR BEAR IN THE BIG BLUE HOUSE WALT DISNEY 60640 19 98 Cassette) 20 NEW^ READ ti SING ALONG TARZAN WALT DISNEY 60991 110 98 Cassette! 21 20 186 BARNEYA BARNEYS FAVORITES VOLUME 1 BARNEY KIUSIO^BK 271 15/EMI I9,9a'15 981 22 23 50 VARIOUS ARTISTS MORE SILLY SONGS WALT DISNEY 60632 I10.9ai6.9e) 23 22 142 VARIOUS ARTISTS DISNEY'S PRINCESS COLLECTION WALT DISNEY 60897 (6 9&'ll 98) 24 RE-ENTRT READ-ALONG ▲ THE LION KING WALT DISNEY 60254 (6.98 CassetU) 2S 19 21 SING-ALONG A BUG'S LIFE WALT DISNEY 6097] (10.98 Cassette) Cfiiiowfi's lecDffliftgs oogifial molion picture soundlracW exclufled • Recorilfng Indwlry Assn. Of Amenca (Rl»A) certificatwn <(X Mies SOO.OOO units A RtAA cetillcalion Icf sales of 1 mibon inb, «rih n\Amlioi sellefs IndciiBd by a rxxri^ s^nibo' For t»«H3 sets, ard Ooubie siaums witfi a rur.iiirg lime Ihil eiceeds tw houts. ttw RlAA nultipiws stitptr^fris try trie iHirwt ot discs anC'ar tapes. tfaH albums a'.a-iable an assent and CO. *Aslerist( inocales vinyl IP s nailabW Mos! iap« pKes. and CD prices (Df BMG anfl WEAlanels. are sjgjested lists. Tape D"ces narked EQ. and all othei CD trices, at eCJitalert pncK, *tiich are prDjected trom whCesaie pricn. C 1999. BiHEOard'^f^ CommKMov. and SovNIscan. Inc. 108 BILLBOARD JUNE 5. 1999 Billboard. JUNE 5, 1999 Top Pop Catalog Albums THIS WEEK LAST WEEK co*»iED iKM A wrmM hutPii or flnAn sro«E. mass wfscHwtr »iO mMfinv SAlfS HEPC«1S CtXlf CItD. COMPILED, AVO PdOTIDCD B* SOUndSCQn * ARTIST lllllll TITLE IMPRINT i NUMBLRDISIRIBUIING LABU ISUG USI PRICED ■ ■ ■ ■ WEEKS 1 1 METAUICA* ^ METALLICA 406 2 3 BOB MARLEY AND THE WAILERS ♦ LEGEND JJ8 3 ; TOM PETTV AND THE HEARTBHEAKERS A' GREATEST HITS 269 4 6 JIMMY BUFFETTA 1 981 SONGS YOU KNOW BY HEART 411 S 2 SHANIA TWAIN* ' f - ^ ■ W2886 1 1 ] 9rt ; r THE WOMAN IN ME 221 e 4 BOB SEGER L THE SILVER BULLET BANDA' GREATEST HITS 239 7 5 SUBLIMEA SUBLIME 145 S 8 DEF LEPPARD A VAULT — GREATEST HITS 1980-1995 i-'i 1 i 1 -^■17 9B) 135 9 10 GUNS N' ROSES*" APPETITE FOR DESTRUCTION 416 M 9 PINK FLOVD* CAPITOL T-V'jl- ■- 179S DARK SIDE OF THE MOON 1157 U 13 DAVE MAHHEWS SAMOA' RCA CRASH 160 12 15 SAVAGE GARDEN A' COLUMBIA li.79&4 , 1 98 tQ i T.9al SAVAGE GARDEN no 13 14 BARRY WHITE • U£RCUR> ^2?459 : ■ta, i7 9Sl ALL TIME GREATEST HITS 6 14 U THIRD EVE BLINDA' v. : 7 981 la THIRD EYE BLIND 111 15 12 KORN A IMMOKIAL ■ ■ 1 h. LJh.BB KORN 115 It 23 THE OFFSPRING A CI^TAPM Sr J>7* ■ . . - SB SMASH 128 17 16 BEASTIE BOYS A' OET ..L',' i,RY(109ftl698l LICENSED TO ILL 399 11 18 METALLICA A ■ ELG . 1 9ftl7 98l ...AND JUSTICE FOR ALL 476 19 20 PINK FLOYD* ■■ 36I83' 98Ea-319ei THE WALL 528 20 _ DAVE MATTHEWS BAND A* UNDER THE TABLE AND DREAMING 187 21 19 QUEEN A KJLL-/.''JOr fj-L't^j llLL^i; 98- GREATEST HITS 312 22 1/ KORN A ■MMr^r.-.L T,755A,tPiC liO 98 Eaifi 98) LIFE IS PEACHY 78 23 24 AC/DC* BACK IN BLACK 262 24 21 CELINE DION* 650 M Jin: .0 as - - / - FALLING INTO YOU 167 29 25 CREEDENCE CLEARWATER REVIVAL A' CHRONICLE VOL 1 FANTASY :■ 7 ■ 301 2S 26 JAMES TAYLOR* .VAIi'.^" bl^j; J;l^'(7-9aU yd) GREATEST HITS 447 27 28 TOOL A VOLCANO 31087- li 1- 18 AENIMA 134 21 27 VAN MORRISON A' POLTLUH ,LRSALtl09a'!7g8) THE BEST OF VAN MORRISON 428 29 29 FLEETWOOD MAC A' IWARNEREROS 25801 aS'!? 98) GREATEST HITS 350 30 40 AL GREEN A THE RIGHT STUFT ' s^T CAPtTCL 1 10 9&'I6 98 GREATEST HITS 50 31 33 SARAH MCUCHUNA' NETT'ATRK - . 7 QB FUMBLING TOWARDS ECSTASY 235 32 32 AEROSMITH A' L.[-i -. ■. ■ :. H i7iiK BIG ONES 138 33 30 AUNIS MORISSETTE*" JAGGED LITTLE PILL la 204 34 22 BARRY WHITE A i^'. --■,V&.^'MERCUHVl59ai GREATEST HITS VOLUME 1 ■Ml 14 35 39 METALLICA A tLt)'-- - ) , ..; 4S17.98I MASTER OF PUPPETS 441 3« 35 MADONNA A- SIRE "■ ■!■: ■ ^ BROS. il3 9818 981 THE IMMACULATE COLLECTION 269 37 31 GARTH BROOKS*" CAPITOL N'-'-r.i 11 i29«89il[)^i'i'*^: THE HITS 185 31 43 AC/DC A EASTWEST ■ ) Lv, :1 y>117.'JH LIVE 78 39 49 SUBLIMEA : - MCA :ICi98'!i>98]B 10 OZ TO FREEDOM 105 40 37 RAGE AGAINST THE MACHINE A' tPl^ :.-'-t)-'y ,luydLait;.)?8)n RAGE AGAINST THE MACHINE 186 41 42 EAGLES A' GEFF'N 247:5TNTEflSCOPE 112 9817 98) HELL FREEZES OVER 221 42 38 ALAN JACKSON A' THE GREATEST HITS COLLECTION ARISTA NASHVILLE 18801 il09Slfc9S; 179 43 JOURNEY*" COLUMBIA 44493 10 98E017.9aj JOURNEY S GREATEST HITS 468 44 47 POISON* CAPlTill r.]1Tr, ,7 [ Qflt GREATEST HITS 1986-1996 11 45 STEVE MILLER BAND A' CAPITOt 46101 -n ll 98 GREATEST HITS 1974-78 388 4< 44 METAUICAA' '.'lu.;)' iHi. 1 J ■ -tin ■_.;j'teLtG ; 1 1.98 17.981 RIDE THE LIGHTNING 417 47 45 AEROSMITH A' COLUMBUV 5.'367 l7 98Ean.9ei AEROSMITH'S GREATEST HITS 311 49 48 SPICE GIRLS A V Ri;,-. . .7 98) SPICE 120 49 34 SOUNDTRACK A' P:!Lfj.."- r .i JNI.LRSAL il0.9aT 7.981 GREASE 313 N FUGEESA' RUFFHOOSE 671A7*,C0LUMBIA (7 98 EOl 1 98) THE SCORE 65 Cataio| albums are Z-year-olO titles tnai have (alien below No. 100 on The eiNboard 200 or reissues ot older albums. Total Owl Weeks column refects combinad weeks title has appeared on The BillboanI 200 and fep Pop CatakM Albums. • Recording Industry ton 0( America (RIAA) c«(t>nc«tfon lor nM shipmonl cf 500,000 alhMn unitt (Gold) 4 RIAA cerlihcatlOA lor net sn>pmen( ol 1 million units IPMimimt. # RtAA oertincalion tor net shipment tt 10 million units tDiamondl. Numeral toikwing Platinum or Diamond tymbd indicates album't fflutll>pl*tlnum level. For boicad *«ts, and aoutte albums with a aioixng time ol 100 mmutes or rrwre. (he RIAA multipliCt Ihtpinents by the number ot discs ano/oi ima •M^iA ir>d<calH vinyl LP i% avaiUMt! Mai.1 tape pnce«. and CO prim lor BMG and WEA, I»t«ls are sug ge&ted lists. Tape prices marked EQ. ar^O all oirter CO prices, are equivalent prices, wtUch art prtfected from wholesale pnces. ■ indicates past or present Heatseeker l<ne C1999 Billttcard'BPl Commun*caUom, and SoundScan. Inc. Merchants & Marketing DECLARATIONS OF INDEPENDENTS (Continued from page W7) Feedback on the summits offered privately to Declarations of Inde- pendents indicated that most par- ticipants viewed them as a success. An attendee of the label panel said that a follow-up session is planned for the NARM midyear conference, and the hope is that each label will bring in one additional participant. "It was an opportunity for the ex- ecutives, the owners of companies, to meet in a unified way with their peers," said one retail attendee. "I think it's .something that could con- tinue year after year . . . [although] there are a lot of missing names on that list." I HE SCARCITY OF RETAIL- ERS at AFIM turned into the main topic of the distribution summit. according to a couple of partici- pants, and w'as the subject of unso- licited comment by several other conventioneers. Also — despite its location in one of the hotbeds of R&B music in the country — AFIM '99 failed to draw the anticipated complement of R&B labels, and major rock label players like Epi- taph, TVT. and Grand Royal also stayed home. These are historical problems dating hack to when AFIM was known as NAIRD, but they came to the fore once more this year AFIM made great strides this year in the face of great advereit.y. The summit meetings are a wel- come addition (and a good lure for veteran indies), while the Indie Lounges found distributors step- ping up to the plate after Alterna- tive Distribution Alliance's plan to run its convention concurrently in Atlanta was squelched, leaving a gaping hole in the evening talent lineup. However, if AFIM's 2000 conren- tion, scheduled for May 3-7 in Cleve- land, is to capitalize on the strides made this year, the trade group will ha\T to further extend a hand to the retail community and also attempt to make label representation more all-inclusiw. Getting such players as Tower's Stan Goman and Borders' Len Cosimano to the table this year was an important step, but other major retailers and label execs will have to come to the party if the organization wishes to mature in the new millennium. It's not just our address, it*s how we do business. Extensive, full-service inventory. Low prices. Convenient EDI, fax or phone ordering. Fast, accurate delivery. Free computerized database with updates. 800-736-3640 www.pconestop.com Pacific Coast One-Stop 45 West Easy Street SImi Valley, CA 93065 Fax: 805-583-3005 COMPACT DISCS • CD MAXI-SINGIES • CASSETTES • CASSETTE SINGLES • CASSETTE HAXI-SINOIES ALBUMS • 12* SINGLES • DVD • MUSIC VIDEOS • MOVIE » MUSIC LASERDISCS • ACCESSORIES I BILLBOARD JUNE i. 1999 109 New Media MERCHANTS Billboard. JUNE 5. 1999 A R K E T I N G SDMI's 'D'igger' Framework Hears Fruition Some In Online Biz Decry Plan As Attack On Freedom To Distribute Audio s >UPER SDMI TUESDAY: On June 15, the m^or labels are ecpected to collectively announce their support for the finalized framework of the Secure Digital Music Initiative (SDMI), which will reciuire harclwai-e and software makers to include secure copyright protection tech- nologies that disable playback of pirated music content (Bililxjard, May 29). The SDMI framework includes a controversial "trigger" that aims to put an end to the massi™ amount of Internet music piracy. Some mem- bers of the MP3 community are pre- dicting that computer hackers will find a way to circumwnt the new pro- tection technologies, which include new watermarking and digital .signa- ture technologies that will be added by the five majors to future audio CDs during manufacturing. In respon.se to early media reports about the SDMI's contrmiersial plan, the organization issued a statement May 2r> fully e.xplaining its trigger technologj' plans. While most of the statement confirms Billboard's early coverage of the plan (Billboard, May 29), it reinforces the fact that new SDMI-compliant devices "will only reject pirated copies of new content." The SDMI statement continues, "Anyone who chooses to continue using MP3 to release music can con- tinue to do .so, and consumers who wish to continue ei\joying MP3 music collections will be able to do so as weD. Manufacturers will not have to choose between de\'eloping an SDMI compli- ant device vei-sus developing a device that alIo^^■s for the use of MPS." Once the trigger is enacted, the SDMI statement says, consumers will have the choice of upgrading to the new SDMI-compliant technologies via the Internet. Consumers who choose to upgrade will have the abili- ty to play SDMI-compliant music- industry content, but they will not be able to play recently pirated music. Consumers will maintain the option Billboatd. SITE&f SO BT BBETT ATWOOD of not upgi'ading their hardware and software, but they will not be able to play SDMI-compliant music, accord- ing to the SDMI statement. The SDMI's statement came one day after a May 24 meeting of the Internet rights advocacy group Electronic Frontier Foundation, which has attacked the SDMI's plan as an attempt "to effectively obliterate the freedom to distribute audio entirely." While most industry talk is cen- tered on SDMI developments in the digital-download space, one of the five MP3.com is considering giving up to 100 stock options to its early customers majors has broken ranks w ith the music industry to offer a large amount of full-length streaming audio content on its .sites. EMI, parent company of Virgin Records and Capi- tol Records, is allowing its new-media departments to host full-length, on- demand content from its entire ros- ter, including major acts Smashing Pumpkins and Lenny Kravitz. Warner Mu.sic Gnmp, Sony Mu.sic, BMG, and Universal Music Group (UMG) are also cautiously exploring full-length streaming content Most of these labels are already allowing complete content for selective pro- motional events. Interestingly, there seems to be more tolerance for full- JUNE 5, 1999 Top Internet Album Sales * X g 1 WKS ON 1 1 CHART COMPIlfD FROM INIERXr SALES REPORTS i^r^ (XLLECTED, COMPILED. AND PROVIDED BY lllllll TITLE IMPRINT & NUMBEFVDISTRIBUTING LABEL ARTIST 1 1 2 RICKY MARTIN ^ RICKY MARTIN C3 69H91*,'COLUMBIA 2 **eK* al Hq : 2 NEW^ MILLENNIUM BACKSTREET BOYS JIVt- 4i6;z 3 2 3 STAR WARS EPISODE 1: THE PHANTOM MENACE SOUNDTRACK SONY CLASSICAL 61816 4 NEW^ BEACH HOUSE ON THE MOON JIMMY BUFFETT MARGARITAVILLE 52466aiSUN0 S 3 4 BURY THE HATCHET THE CRANBERRIES ISLAND 52461 1 6 5 4 MULE VARIATIONS TOM WAITS EPITAPH 86547* 7 6 4 COME ON OVER* • SHANIA TWAIN MERCURY (NASHVILLE) 536003 8 ; 3 A PLACE IN THE SUN TIM MCGRAW CURB 77942 9 8 4 THE UNAUTHORIZED BIOGRAPHY OF REINHOLD MESSNER BEN FOLDS FIVE 550 MUSIC 698CS- EPT 10 10 4 ECHO TOM PETTY AND THE HEARTBREAKERS ,VAKN£!< BROS 47294* length streamed music video content than audio content. Atlantic, Virgin, Capitol, and Columbia ai*e among the labels that routinely offer full-length vi(k?os on their sites. In addition, Sony Music is now licensing full-length videos to Launch and MTV Online. Bertelsmann gets ipo FEVER: Bertelsmann, which just had a UTiO million public offering with partner Barnes & Noble on E-com- merce site Barnesandnoble.com, is looking to spin off some of its online operations later this year, according to a company spokesman. Bertels- mann's Internet music holdings, which include the UMG/BMG E-com- merce joint venture GetMusic.com, are among the most likely pubHc can- didates. Indeed, a mass infusion of cash may be necessary to adequately compete with leading sites Ama- zon.com and CDnow. Those Internet- specific companies have already achieved mind and market shares w ith consumers. A FREE CD . . . AND STOCK OPTIONS! Download mu.sic portal site MP3.com is giving away a free CD to vi-sitors of its Web .site. The disc contains more than 100 full-length MPS ti'acks, as well as a complete Sea! video, MusicMatch MP3 copy- ing software, and other goodies. As cool as the free CD is, sources say that something much, much cooler may be looming for site visitors who have purchased a CD prior to MPS.com's i*ecent public filing. MPS is considering giving up to 100 stock options to its early customers. The site's filing with the Securities and Exchange Commission says that it is reserving stock for "artists and clls- tomers." Gue.ss it really does pay to be an early adopter. Pirates of the silicon val- ley: Put away those pocket calcula- tors and grab some popcorn. The behind-the-scenes battle between computer titans Ste\'e Jobs and Bill Gates is coming .June 20 in the new TNT TV mo\ie "The Pirates Of Sili- con Valley" — and it i.sn't pi-etty. "ER" star Noah Wyle appears as the ambitious Apple guru .Jobs, who is portrayed as a less-than-friendly evangelical leader of the innovative computer company. The portrayal of .Jobs as a near-psyThopathic comput- er guru will rattle entertainment-in- dustry veterans who are religious fanatics of Apple (and there are a bit too many, in my humble opinion). Gates fares slightly better, as former Brat Packer .4nthony Michael Hall trades in his teen roots for poor fash- ion sense and an even worse hairdo. That's our belmi?d Bill! Both Jobs and Gates are portrayed as savvy businessmen who sniff out an early opportunity to develop the first mass-marketed home computer. "The Pirates Of SiUcon Valley" is a bit over the top, but anyone with an interest in the power struggle behind today's PC will drool over the drama revealed here. Top Music Videos £ tn X UST WEEK 1 WKS. ON CHAE.,lj COMPILED FROM A NAIlOfilW SAMPtE OF RHAIl STOfit, MASS MERCHAHI. ANO INrERNCT SALES RtPOHTS COUECTEO. COMPILED. AND PBOVIOED Bi ^ _^ SoundScan« lllllll TITLE, Imprint Principal Distributing Label, Catalog Number Performers i 1 1 4 HOMECOMING-LIVE IN ORLANDO ' ^ ft:^tc.™t j^^2omto v.,»eo 41675-3 Backslreet Boys I9.tt 2 NEW^ MEETING PEOPLE IS EASY Ciipiiii Virii^i nsbO Radiottead 1995 i NEW^ SO GLAD Scfiie House VKleo Ctionlant Dist. Grouo 44369 Bill & Glont Gather Am) Their Homecoming Friends M •» 2 2 LIVE POIyGram Video 45059955 Stiania Twain E 3 3 28 -N THE MIX WITH N SYNCA' BMG VKleo 65CO0 ■NSync 1995 0 10 10 KENNEDY CENTER HOMECOMING Spc'ig House Vxteo Cnordant Disl Group 42902 Bill & Gloria GMthcf And Their Homecoming Friends 29.91 4 8 FAMILY VALUES TOUR "96 A Cdc Music Video Sonv MiiSK Video 50188 Various Artists 19 95 8 5 4 AROUND THE WORLD Ci> :j-iiljt,i MuMi, virlea SHfly Miwc Video 50184 Mariati Carey 19.96 A 9 9 51 ALL ACCESS VIDEO A' Jr^ZointM Video 4tS89^ Backstreet Boys 19.98 1 A lU 6 28 ATLANTA HOMECOMING • ^r^^; House VMM Chonlwil Dist. GfijLi> 44359 Various Artists ?998 11 NEW^ THUG TV Rwiatiwly Video 1 1 735 Mo Thugs 1S9B 7 28 ALL DAY SINGIN' AT THE DOME • Spnne House Vrfeo Cnofdani Dist. Group 44360 Various Artists 2998 1^ IS 28 NIGHT OUT WITH THE BACKSTREET BOYSA' ,-.ir--.i '.'Mm, .11657 Backstreet Boys 19,95 1 A 14 II 166 HELL FREEZES OVER A G<^Ii«o HniT)e VKl«o <J(i>ver»i MuiiC Vulto DiSt. 39548 Eagles 24.98 13 13 24 CUNNING STUNTS Eiekt'a Erieflainmefit 40202 Metallica 19,98 ID NEW^ LIVE: ONE NIGHT IN PENNSYLVANIA Slai Song Video Cnortiant Disl. Group Newsboys 14.98 1/ 8 15 SINGING IN MY SOUL Scrtiig t+ouie Vtdeo Ct»ort»ol Otst. Grow 46440 >ttrious Artists 29.98 10 lo 14 11 THE VELVET ROPE TOUR-LIVE IN CONCERT (.ji r liLiLi- Lrtfidiri" er.i 'M^ge tniertainmenl 5517 Janet Jackson 1998 ID 19 13 13 LIVE AT THE FILLMORE EAST MCA Music Video Uni^rsai Music Video Oisi. 11931 Jimi Hendrix 1498 20 12 2 LADIES ft GENTIEMEN^THE BEST OF GEORGE MOUa Mumbts Music Video y , Musk; Video 50163 George Mictiael 1998 V 12 VHl-BEHINDTHEMUSICA halyGtan Video 44Q599b:j Shanla Twain 1495 22 16 11 STAY THE SAME COlumbis VtuiK Video Sony Mux Video 79138 Joey Mclntyre 3.98 23 19 9 UVE eMGVxieo 25738 Usher 14.95 24 21 75 ANIGHTINTUSCANYA PotyGram Video 4400553973 Andrea Bocelli 24 95 25 20 20 ONE NIGHT ONLY: LIVE ta|£<e Rocit Entertainment Image Entenainment 5474 Bee Gees 1998 26 22 91 THEDANCEA W»ni«r R»priv Vuleo 3-38486 Fleetwood Mac 19.98 27 27 76 RAGE AGAINST THE MACHINE f ::.(: UuMc Vnte<; S""y Mi.-mc Video 1 9 V501 60-3 Rage Against The Machine 19.98 24 27 BRIDGES TO BABYLON: 1996 LIVE IN CONCERT tat.? Karl, i r;efiainmen1 liTiage EnteftfcomefH 4734 The Rolling Stones 1991 29 30 111 WHO THEN NOW? ZtK Music Video Sony Musk Video 50153 Kom 19.98 30 23 33 VHl DIVAS LIVE • Eiw; Music Video Sof^ Musjc Video 50175 C*c Dbv GbB Ea^Ma firt*i 19.98 31 29 26 SECOND COMING A PolvGram Video 80063005917 Kiss 2991 32 33 30 WELCOME TO THE VIDEOS Geflen Home Video MCA Musk Vm190 39557 Guns N' Roses 16.96 39 20 VOLUMEN I'leMra Eflenainn^ent 40199 Bjork 19.98 RE-ENTRY THE COMPLETE VIDEOS: I991-199S • AlUntic Video 83154 Tori Amos 1996 OR 33 31 II WINDOWLICKER Sire Recofds Warner Home Vktoo 3500S Aphex Twin 3.99 40 25 7 INSTRUMENT Dtschotd 17980 Fugazi 37 34 26 UVC AT WEMBLEY Viijin Music Video 2439 Spice Girts 1998 3t 35 176 UVE FROM AUSTIN. TEXASA Ux Music Vidw Sony Mus*c Video 50130 Stevie Ray Vai^an And Double Trouble I99B 3S 32 26 THE COLLECTION: VOLUME 1 EpK Music Video Sony Musm: Video 69715 Bone Tht^-N' Harmony 1995 40 26 UNAUTHORIZED BIOGRAPHY OF REIN iDK. Music Video Sony Miax, Vidwi 69806 Ben folds Five 24 9S o RIAA gold cerl. lor sales o» 25,000 units (or video singles; • RIAA gold cert, (or sales ol 50.000 units for SF or LF videos; A RIAA platinum cert, for sates of 50,000 units lor video singles^ A RIAA ptatinum cert, lor sales of 100.000 units (or SF ot LF videos; RIAA gold cert, for 25.000 units (or SF or LF videos certified prior |o April 1. 1991; ^ RIAA platinum cert, (or 50,000 units tor SF or LF videos certi- fied orior to April 1, 1991. <'1999, BiMtMard'BPI Communicalwns. 110 BILLBOARD JUNE 5, 1999 Home Video ERCHANTS & MARKETING Vid Retailers, Distributors LdoI( To Games Improved Platforms, DVD-ROM Developments Garner Support At E3 BY STEVE TRAIMAN LOS ANGELES— More video retail- ers and distributor are making seri- ous commitments to computer and video games as a way to increase their bottom lines, and many were among the more than 40.000 on hand to see an estimated 1,900 new com- puter and platform video games from 410 companies at the Electron- ic Entertainment Expo (E3), held May la-lii here. While the video market has dab- bled in games for years, the new and improved game systems that debuted at E3 will entice dealers more than ewr before, according to Rich McClatchy, games buyer for distributor Vallev Media. "Valley is making a huge commit- ment to \ideo games, and the new Nintendo and Sony platforms both look fantiLstic," .says McClatchy. "The Sony PlayStation 2 graphics they showed on their 'Gran Turismo 3' racing game were incredible, [as were gi-aphics on) Sega's Dreamcast football game. It's a very exciting time for the industry, and we're encouraging all our video accounts to take a hard look at games." Most games are still in the CD- ROM format, with only a few games developed for the emerging DVD- ROM format. But next-generation player announcements from Sony Computer Entertainment and Nin- tendo will dramatically change the Panelists at "Are You Ready To Take The DVD Plunge?" discuss DVD opportuni- ties for retailers at the Electronic Entertainment Expo, held May 13-15 in Los Angeles. Pictured, from left, are Levon Karayan, Knowledge Adventure; Rob Headrick, Nimbus Manufacturing; moderator Trent Ward. IGNPC.com; Dave Fos- ter, Digital Leisure; John Loose, Dolby Labs; and Dave Wheeler, Aftermath Media. (Photo: Steve Traiman) land.seape. At E3, Sony announced that its PlayStation 2 player has the poten- tial to play back DVD movies and audio formats, while Nintendo's sys- tem — code-named "Dolphin" — will offer the gamers the option to view DVD movies and listen to DVD Audio titles when they're available later this year. Sega's Dreamcast sy.stem will also offer a DVD video add-on unit (Billboard, May 22). Dreamcast has been selling in .Japan since November and will launch in the U.S. and Europe this September; PlayStation 2 is due to bow in Japan before the end of the year and come to the U.S. and Europe next spring; Nintendo Dol- phin is expected to debut worldwide in late 2000. The shift to DVD-ROM by Sony, Nintendo, and Sega is significant for the video marketplace because it will open up new distribution channels for the format. Lorri Haney, marketing director at Nimbus Manufacturing, a major replicator of DVD video, says that the Sony and Nintendo commit- ments to a DVD .system are having an immediate impact. "We're already seeing more of our customers developing titles for DVD- enhanced content and features," she says. "Positive consumer response to the new DVD games will accelerate the shift and benefit the entire industry." In other game-related E3 news, copy-protection company Maerovi- Huskles Howl, On Tape. University of Connecticut Huskies basketball coach Jim Calhoun, right, joins Hosea Belcher, 20th Century Fox Home Entertainment marketing VP, at the recent world premiere of "Yes UConn!: The Official 1999 NCAA Basketball Championship Video." Team members, students, and fans packed Gampei Pavilion on the UConn campus to catch a screening of the tape, which depicts how the Huskies beat heavily favored Duke. sion w^as on hand at the confab for the first time, as a direct result of escalating video-game piracy. The company announced an agreement with game developer Electronic Arts (EA). Macrovision's SafeDisc anti-piracy s.ystem, which has been adopted by many home video labels, will he u.sed on .selected CD-KOM game titles from EA At E3, EA confirmed that it will use the Macrovision process on "Fleet Command" and "Tibeiian Sun," two of its most-anticipated new releases. "CD-ROM piracy is clearly the No. 1 problem facing our industry today," said EA operations VP Jim Healey, "We're pleased to have found a solution that we can quickly imple- ment at our replication partners and internally on a worldwide basis." Interactive Digital Softwai-e As.sn. president Doug Lowenstein esti- mates that U.S. makers of computer games and video games lost nearly ,$3.2 billion worldwide in 1998, not including millions of dollars lost due to the downloading of games over the Internet. How^ever, Macrovision's own study, conducted by Merrill Research & Associates, estimates the total value of unauthorized copies of games at almo,st $1 billion in the US. Macro\i.sion VP Brian Dunn says that inexpensive recordable CD machines and increa.sed copying off of the Internet have spurred inter- est in anti-piracy devices for games. "With blank recordable disks going for about $1 and the cost of a CD-R recorder as low as $150 . . . there's a growing concern among publishers that so-called 'casual copies' from friends or off the Inter- net are accelerating the situation," says Dunn. DVD-ROM Gives full-Motion Video Renewed Life BY EARL PAIGE LOS ANGELES— Two heretofore different markets, console and PC games, are coalescing, thanks to DVD-ROM. Its ability to deliver pic- ture-jjerfect full motion has all but canceled the bad memories of the faulty CD-KOM format. PaneUsts at the recent Electronic Entertainment Expo (E3) rememlwred those titnes. "The nice thing with bringing the full-motion video genre back to life is that now there's going to be a mar- ket expecting it. CD-ROM sort of turned that off," said Digital Lei- sure's David Foster. He recalled that CD-ROM soured fans on full inotion and suggested that DVD improve- ments may have to overcome being characterized as "yesterday's news." Foster claimed Digital Leisure "might be the only one" e.xclusively in DVD-ROM games. But there's no lack of competition. "Others, such as Interplay and Electronic Arts, have done in-house productions," Foster said. "1 know of at least 20 publLshers that have done some DVD-ROM work," The E3 session, held at the Los Angeles Convention Center, was ap- propriately titled "Are You Ready "To Take The DVD Plunge?" It was one of more than 40 panels on a crowded schedule prior to the opening of the show, but it still managed to draw a crowd of 1,50, many of them game developers. They heard about the success of "Dragon's Lair" on DVD-ROM, prompted in large part by the popu- larity of the DVD Video version. It "sold as much in one month as we had in the previous nine months for DVD-ROM," Foster noted. The enormous capacity of DVD- ROM will continue to attract devel- opers. Panelist Levon Karayan of Knowledge Adventure said the basic disc, DVD5, holds 4.7 billion bytes of information, "roughly 7.4 CD- ROMs." Among his projects: putting 14 CD-ROMs on one DVD-ROM. "DVD-ROM is a wish come true," said Aftermath Media's David Wheeler. "Four hours of video, orig- inally shot on 3.5 mm high resolution, Dolby digital .sound — everything you could want." Multichannel audio is the big rea- son DVD-ROM is happening, boast- ed Dolby's John Loose. "Until recently, there weren't any multime- dia speakers that could handle both the digital input and the analog input and mix the two." Technical Umitation.s and cost held DVD-ROM back. But improved Dol- by hardware "has really plummet- ed." Loose said. "Our $.50,000 encoder went down to $5,000." Retail is starting to take DVD- ROM seriously, panelists told the audience. Loo.se enthused. "It's amazing. The attach rate we've heard is .something like (J-to-l. Peo- ple are coming out of CompUSA with a DVD-ROM machine and a half-dozen movies." Initially, only two chains were pro- moting DVD-ROM, CompUSA and Micro Center, said Foster. But now "we're shipping Babbages, Elec- tronics Boutique, and Best Bu.v, all absent a yeai* ago. Media Play is talk- ing." Web sites, especially DVD Ex- press, ai-e also doing well. (CaufiiDicH (HI iHUff TO OUR READERS F'ic'turt' This will return ni'Xt HOT STUFF Get ready for the red-hot ride of your life! It's the boldest beauties from America's greatest cities gi\ing you a tour you'll never forget Playboy's Hot City Girls. Come along for the fun as Playmate Morena Corwin shows you the most scintillating "sights" from New York to Los AngelesI □ PLAVBOT BONE VIDEO www.playboy. com/entertainment BILLBOARD JUNE 5, 1999 111 billboard. Top VMeo Sales Home Video MERCHANTS & MARKETING THIS WEEK LAST WEEK WKS. ON CHART COMPILED FROM A NATIONAL SAMPLE Of RETAIL STO«E SALES REPORTS f.jip Label Principal Distributing Label, Catalog Number Performers •si II c Suggested List Price 1 1 5 A BUG S LIFE Walt Disney Home VwJeo Buena Vista Home Entertainment 15653 Dave Foley Kevin Spacev 199! G 2699 2 3 3 YOU'VE GOT MAIL Wainer Home Video 16954 Tom Hanks Meg Ryan 199S PG 22% 3 4 3 BABE: PIG IN THE CITY Universal Studios Home Video 83607 James Cromwell Magda Szubanski 1938 G 2298 4 2 19 TAE-BO WORKOUT Tae-Bo Retail Ventura Distribution TB2274 Bilty Blanks 1999 m 39.95 5 18 3 BACKSTREET BOYS: HOMECOMING-LIVE IN ORLANDO Jive/Zomba Video 41675-3 Backstreet Boys 1999 m 19.98 6 13 3 MARIAN CAREY: AROUND THE WORLD Columbia Music Video Sony Music Video 50184 Marian Carey 1999 m 1998 7 5 8 THE RUGRATS MOVIE Niclielodeon VKjeo Paramount Home Video 33399 Animated I99S G 26.95 8 6 64 AUSTIN POWERS New Line Home Video Warner Home Video N4577 Michael Meyers Elizabeth Hurley 1997 re-13 1498 9 9 2 PLAYBOY: 1999 PUYMATE OF THE YEAR Playtwy Home Video Universal Music Video Dist. PBV0842 Heather Kozar 1999 NR 1998 10 7 12 EVER ARER; A CINDERELLA STORY FoiVideo 0392 Drew Barrymore Anjelica Huston 199S PG13 1998 11 3 7 FAMILY VALUES TOUR '98 A Epic Music Video Sony Music Video 50188 Various Artists 1999 NR I99S 12 17 5 PLAYBOY'S TALES OF EROTIC FANTASIES Playboy Home Video Universal Music Video Dist. PBV084I Various Artists 1999 M) I9i8 13 20 2 PLAYBOY'S HOT CITY GIRLS Playboy Home Video Universal Music Video Disl. PBV0843 Various Artists 1999 m 1998 14 14 92 101 DALMATIANS Walt Disney Home Video Buena Vista Home Entertainment 15797 Animated 19S1 G 2699 15 39 3 SOUTH PMK 3 MCK: VOLUME 3 Rtiino Home Video Warner Home Video 36685 Animated 1999 m 3998 16 22 3 PENTHOUSE: SULTRY SENSATIONS Penttiouse Video WamerVision Entertainment 57037 Various Artists 1999 m 1998 17 10 8 MIGHTY JOE YOUNG Wall Disney Home Video Buena Vista Home Entertainment 12746 Bill Paxton Chariize Theron 1998 re 24.99 U 12 16 MULAN Walt Disney Home Video Buena Vista Home Entertainment 4773 Animated I99S G 26.99 19 NEW^ GEORGE MICHAEL: LADIES t GENTLEMEN Columbia Music Video Sony Music Video 60183 George Michael 1999 Nil 1998 20 15 9 POKEMON: THE MYSTERY OF MOUNT MOON Vt; Video Pioneer Entertainment 0002D Animated 1999 m 1498 21 16 27 ■N THE MIX WITH 'N SYNC A' BMG Video 65000 'NSync 1998 HR 1995 22 28 10 APHEX TWIN: WINDOWUCKER Sire Records Warner Home Video 35005 Aphex Twin 1999 m 3.99 23 NEW^ TAXI DRIVER: COUECTOR'S EDITION Columbia TriStar Home Video 03480 Roljert Oe Niro 197e R 1995 24 19 3 THE BLACK HOLE: ANNIVERSARY EDITION Anchor Bay Entertainment SV10703 Maximlltian Schell Robert Foister 1979 re 1498 2S 34 24 THE WEDDING SINGER New Une Home Video Warner Home Video N4659 Adam Sandler Drew Barrymore 1997 PG13 149! 26 23 3 THE X-FILES; 3-PACK FoxVldeo 0007830 David Duchovny Gillian Anderson 1999 m 399! 27 36 2 THE AVENGERS '65 BOX SET 2 A4E Home Video New Video Group 1 1 7250 Patnck Macnee Diana Rigg 1965 m 29 9S 28 35 9 JIMI HENDRIX: LIVE AT THE FILLMORE EAST MCA Music Wdeo Universal Music Video Dist. 11931 JImi Hendrix 1999 M) 149! 29 29 3 THE AVENGERS '65 BOX SET 1 A&E Home Video New Video Gnxip 1 17249 PaMck Macnee Diana Rigg 1965 HI 29.9S 30 11 15 ANTZ Dreamwortis Home Entertainment Universal Studios Home Video 83668 Woody Allen Sharon Stone 199S re 26.99 31 24 20 CAODYSHACK: SPECIAL EDITION Warner Home Video 17215 Chevy Chase Rodney Oangertietd 1980 R 19.3! 32 37 5 PENTHOUSE: PET OF THE YEAR & FRIENDS Penthouse Video WamerVision Entertainment 57035 Various Artists 1999 m 19.38 33 40 3 PENTHOUSE: 30 PETS IN 60 MINUTES Pentliouse Video WamerVision Entertainment 57036 Various Artists 1999 m 19.98 34 NEW^ TELETUBBIES FAVORITE THINGS PBS Home Video Warner Home Video B3SS4 The Tetetubbies 1999 m 14,95 3S RE-Eimir JANET JACKSON: THE VELVET ROPE TOUR-LIVE IN CONCERT Eagle Rocti Entertainment Image Entertainment 5517 Janet Jackson 1999 Kit 19.98 36 NEW^ THE X-FILES: HOME/HERRENVOLK Fo»Video 0007630 David Duchovny Gillian Anderson 1999 HK U.98 37 25 8 THE BIG LEBOWSKI PolyGram Video 4400565393 Jetf Bridges John Goodman 1997 R 19.95 38 27 101 STAR WARS TRILOGY-SPECIAL EDITION FoxVideo 0609 Mark Hamill Harnson Ford 1997 re 49.98 39 21 22 SOUTH PARK: 3-PACK VOLUME 2 Rhino Home Video Warner Home Video 36562 Animated 193! NR 39.98 40 38 17 METALLICA: CUNNING STUNTS Elci<tra Entertainment 40202 Metallica 1998 NR 1998 MPAA Aims To Head Off E-Pirates L lESSONS LEARNED: The mo\ne industry doesn't want histo- ry to repeat itself when it comes to piracy on the Int<?niet. After witnessing the music industry lose control of its copy- righted proixjrties, many of which were marie available for free tnvr the Internet, the movie basiness is attempting to get in on the ground floor to prevent Internet piracy. Movie piracy on the Internet is not consid- ered a huge problem now. but some films, such as "The Matrix." "Saving Pris'ate Ryan," "Shakespeare In Love," and others, are being swapped and traded through chat iixims and secret Weh sites, ac- cording tt) Motion Picture Assn. of America (MPAA) spokeswoman Emily Cutner. The MPjVA has detected apprax- imately 200 Web .sites offering pirated material, and in conjunc- tion with the FBI it is investigating about 150 individual cases involv- ing Internet piracy. SHELF TALK O 67/ Eileen Fitzpatrick "It's not cutting into studio rev- enues because at this point it's a game," says Cutner, "but we're going to prosecute anyone who does it, because it's illegal." Cutner points out that pirated mov'ies are difficult to find hecaiLse the sites are often on and off the Weh within a matter of days. In atidition, some pirated mo\ieR are dis- tributed through file transfers; between indi- vidual computers. The pirate movie files are talked about in chat rooms and traded, much like hatsehall card swap- ping at the school play- ground. Intellectual property and copyinght attorney Larry Iser of the Los Angeles firm Greenlierg and Glusker agrees that Internet piracy of movies dtx!sn't approach the monumental problem faced by the mu.sic industry. "Under the current technology, you can pirate and rc^cord a quality album," says Iser, "but you can't gel a quality copy of a movie off the fContitmed on next jmge) Billboad. • RIAAgold cert, fotsalnol bO.OOO units at SI million in sales at suggesled rstail. ARIAA platinum cert, lor sates o( 100.000 umls oi $2 million in sales al suggesled letail, ♦ IRMA gp\6 cettification for a minimiiir of 125.000 units or a ttoilai volume of S9 million at retail for tfwatricatly feleased pfORrams, o* of at least 25.000 units ar»d $1 milliofi al suggested retail (or nontheatncal titl«s, IRMA platinum certificalion tor a minimum sale of 250,000 units or a ttollar volume ot $18 million at retail lor theatficalfy releasffl programs, and of at least, 50,000 units and %? milliofi at suggested retail tor rwnlheatncal titles, c 1999, Biltboanl'BPI Cofnrr-unlca trans. JUNE 5, 1999 Top DVI 1 Sales . UJ i tfl I U % s 5 5 s COMPILED FROt^ A MAtlONALSAI^PLE OF i^^^ RETAIL STORE AND RACK SALES REPORTS JPl^T COLLECTED. COMPILED, AND PROVIDED BY '^^^ TITLE (Pncel 1^*1^ , _ r ... „ "1 ^T""' Dntttwtinf Libel. Citaloi Number Perfomiefs No. 1 1 1 2 STAR TREK: INSURRECTION IRS B9,99l Puramounl Home Video 335887 Pllock SiewWl 2 2 3 YOU'VE GOT MAIL (PGI U4.9» Warner Home Video 16954 lomHante 3 3 i A BUG'S UFE (0134991 Will Disney Home VidecvBueru Visia Home Entertamment 10018 Daw Foley Kewi Space, 4 KINGPIN IRI (24 9SI UGMUA Home VrdeoWamer Hone Video 906275 VAxdy Hameteon Bril Murrs', 5 4 3 THE X-FILES (PG 131 134 98) ro»V.cleo 21039 David DucfKMiy Gillian Anderson ( NEW^ VERY BAD THINGS W I29 »l PotyGram Video 440058277 Christ«n SUter Cameron Oia; 7 NEW^ HOLY MAN IPC) (29.99) louchstone Home VKJeoSuefia Vista Home Entertamment 16536 Eddie Murphy Jeff Gold(>lum B 6 5 THE SIEGE 011(349!) FoxV«leo41110S3 Denzel Washington Annette Bsnn^ 9 5 4 STEPMOM (PC 131(2999) CdintM TriStar Horn 02852 Julij Rotxrts Susan Sarandon 10 7 12 RUSH HOUR (PC 13)1249!) New Une Honw VktooWfeniH HomeVI(M)N4717 Jackie Chan ChRsRock 11 8 7 MEET JOE BLACK (PC. 13) (26 9!) Universal Studies Home Video 2053 1 Brad Pitt 12 9 13 RONIN OD (24.9!) MGM/UA Hcne VideaWarner Home VtOeo 67439 Rotiert De Niro 13 11 5 uluziiooii icoioxn EniiMiii:.i]i («« Toochslone Home Weafluerw Vista Home Ente*1aif>ment 50100 Bruce ViTillft Ben Affleck 14 12 10 THE WATERBOY (PC ll) (29 99) Touchstone H(xiMr ViiJuvBoeai Visla Heme Enletlainment 10016 Adam Sandler 15 15 20 AUSTIN POWERS (PG-13) (24 98) New Une Home VideiVWamer Home Video 34577 MchaH Meyers Eluabeiti Hu'if, IS 14 22 BLAOE (Rl (21 9S) New Line Home VideiVWbmef Home Video N46B5 Wesley Snipes 17 10 4 AT FIRST SIGHT IPG 13) (24 98) MGM/UA Home VidetyWarner Home Video 67447 Vkl Kilmer UiraSorvino 18 NEW^ MY BLUE HEAVEN (It-ISI (14 9!) Warner Home Video 120O3 Steve Martin Rich Morams 19 NEW^ OUT FOR JUSTICE (Rl 119 981 Warner Home Video 12219 Steven Se^ 20 NEW^ ON DEADLY GROUND (R) 119981 Warner Home Video 13227 Steven Sejp,j; K 1999. BilltwartVBPI Communjcallons and VideoScan. Inc. 112 BILLBOARD JUNES, 1999 Home Video MERCHANTS & MARKETING SHELF TALK ((\mthtucd fmm pirccclitit/ fidf/f) Internet." At least not yet. While the MPAA'.s piracy opera- tions continue to \x foc-asefi on illejjal duplication labs, the trade organiza- tion i.sn't ignoring the enormou.s pira- cy potential created by the Internet. "Two yeare from now, when tech- nology impro\es and you can down- load a good copy of a nimne on a CD- KOM, ue're going to have a problem," .sare Cutner To combat the threat before it over- whelms the industrj', Cutner .says the MF'AA ha.s an Internet piracy com- mittee in place and is .seeking to hire a chief technology officer to monitor further developments. "Unlike the music industry, which was caught off guanl by the Internet, we have the time to be proactive," says Cutner. In addition to .staffing, the MPAA is planning an awareness campaign to inform university students, the most prevalent group to engage in Internet piracy, that such activity is illegal. 'BaUE' SWEEPSTAKES: Uniwr- .sal Studios Home Video has lined up a number of Web-based contests to promote "Babe: Pig In The City," Billboaid. which hit stores May 4. Until .June 2a, visitors to univei'sal studios.com/home who participate in a trivia quiz about the film will he en- tered into a .sweepstakes. A .series of weekly prizes will be awarded, includ- ing pet health insurance, the CD- ROM "Babe Early Reader," plush toys, and video sets of "Babe" and "Babe: Pig In The City" At the end of the promotion, a grand-prize winner will receive a trip for four to Universal Studios in Hol- l.vwood. Web surfers can also get clues to ansv\'er the triv'ia questions by log- ging on to the Entertainment Tonight Web site at etonline.com. In other Universal news, the suj)- plier has announced that it will place security t;igs on all new DVD relea-s- es. Upcoming titles schedulecl to include the tag are "Patch Adams," "October Sky," "God And Monsters." "Affliction," and "Life," among othei's. Picture this! inks distrib- ution DEAL: Steeplechase En- tertainment Corp., headed by former Orion Home Video executive Herb Dorfman, has picked up distribution of gay and lesbian label Picture This! JUNES, 1999 Top Video Rentals. w i X 1 LAST WEEK 1 WKS, ON CHART COMPILED FROM A NATIONAL SAMPLE OF RETAIL STORE RENTAL REPORTS- TITLE (Rail 1 Principal lllLtlKstntl Dlilnbiitlnj Ljlm. CjUIoi Nufnbet Pcrtotmrn 1 2 3 STEPMOM 'K li No. 1 ., -ili-aTriSUrHsfT^V^:' ■-■ ■■ j'J SjsaT Sarandon 2 13 YOU'VE GOT MAIL iKl V/arwr Home Video 16954 Tom Hanfcs MegRyat 3 1 4 -. THE SIEGE (Rl Denzel Wasfiington Annette B-t 4 6 3 EUZASETH IRI PolyGram Video 440058273 Cate Blanched Gi-i ifi-v Rush S HEW^ STAR TREK; INSURREaiON IPGI Paramoum Horrw Video 35883 PalnchStewan Jonathan Frakes S 4 6 AMERICAN HISTORY X m ^4ew Line Home Video Wamef Home Video N4739 Edward HorXon Edward Fl' :ni; 7 3 w A BUG'S UFE IGl Wi/t D'sntv Home fxiK, Bueni Vsia Home En^nmem 15653 Dave Foley Kevin 8 7 8 PLEASAKTV1LLE IPC 13) New Line Home Vioeo Wfnet Home Video N472e Tobey Magwre Reese Wiitie'spcun 9 5 MEET JOE BLACK IFC'IJ) Urwersal Studos Home Video &3377 Brad Pin 10 10 3 AT FIRST SIGHT IPG UI uaWUA Home Video Wamer Home Video 907181 Vai Kilmer Mtia Swvirv) 11 20 3 HAPPINESS IMD Trimartt Home VWeo 6999 Jane Adams ir->r-.vi.'Hottrnati 12 9 9 WATERBOVIPC 111 Touctiitone Home Vnteo Quera Vsta Home Enlertainmeni 159733 Adam Sandief 13 u 2 BASE: PK; IN THE CITY IGl Univerul StudKK Home Video 83607 James Crtxnwell '.'ajTia Siubanski 14 12 9 BULVWMTM (Rl FbxVldeoOSll Warren Beatty Halle Hm; IS 11 12 RONIN IR) MGWm Home Video Wamef Home Video M907d39 Robed De Niro 16 18 3 A NIGHT AT THE ROXSURV IPG-1 31 Paramoum Home Video 335943 Wilt Ferrell Chris Katun 17 16 3 SIMON BIRCH (PGI HolVMod Mum Home Viijeo Butni Villi Home ErleftJinmtf 1 1596203 Ashley Judd Oti«r Halt 11 8 10 WHAT DREAMS MAY COME (Rl PolyGram Video 4400582753 Robtn Williams CulMiM>l Ik, Jr. 19 19 5 APT PUPIL (Rl Columbia TriStar Home Video 22306 Brad Renfro Ian McKellen 20 IS 13 SNAKE EYES (Rl Paramound Home Video 335413 Nicolas Cage Home Video. Under the agreement. Picture Thisl will issue three titles jier quai'- ter thnm>;h Steeplecha.se. The fir.st title.s scheduled for upcoming release are "The Real Ellen Story," "No Ordinary Love," and "Under Heat." Picture This! retains distribution of its priKluct in the gay and le.sbian retail market, mail-order, and online channels. E-MAIL CENTER: St LouLs-based distributor .Sight cS Sound has set up a new E-mail service to provide its accounts with up-to-date infoi-mation on new relea-ses, studio co|)y-depth programs, and cxclusiw in-store pro- motion.s. The service, called the Marquee Communication Center, is available now, and retailei-s who sign up for the progi'am will he entered into a con- test to win Hollywood collectibles. To sign up for the service, retailers can send an E-mail to marquee^ sightandsound-dist.com. Accounts can also .sign up through their Sight and Sound .sales rep. DVD-ROM GIVES FULL-MOTION VIDEO RENEWED LIFE (Cat/liicwfl froiu iHi(ji' HI' As a result, traditional video and DVD distributors are jumping in. "There's cros.sover with Image Entertainment, Valley Media, and Norwalk Distributoi-s," Foster says. There should be plenty to distrib- ute. Bob Headrick of Nimbus CD International predicts 2,000 titles will be in stores ne.\t year, 4,000 in 2001, 7,000 in 2002. and 11,000 in 200:i. Over the same stretch, the number of PCs with DVD-ROM capabilities should jump to more than 130 million worldwide. "The projections include every- thing — interactive, games, and busi- ness to business," Headrick said. So hot is the market that, unlike CD-ROM, w here hardware suppliers "were paying you" to bundle titles, DVD-ROM vendors "are a-sking you to pay to put your product in their package," one panelist .said. A flow of features will bixjst the platform. Two under develoimicnt, according U) Foster, allow wndoi*s to Billbood. ♦ IRMA gol(J certification for a minimur:! ol 1 25.CKX1 units or a (Jollar volume of S9 million at retail for Itieatrically released programs, or of at least 25.000 units and $1 million at suggested retail for rronttieatncal titles IRMA platinum certification for a minimum sale of 260,000 units or a dollar volume of $18 million at retail for tfieatncally released programs, and of at least, 50,000 units and $2 million at suggested retail for nonttieatrical titfes. c 1999, Billboard,'BPI Communications. encrj-pt material .so that users with a credit cartl "can pay a premium and gel more out of the game, or even a .second game, ovx'r the Internet." He also predicted "a lot of shovel- ware, taking 10 CD-ROMs and put- ting them on a DVD-ROM. I don't think that's compelling, but it's cer- tiiinly legitimate." Dcvelo[X!rs mu,st jump in now. he urged, becau.se "the huge opportuni- ty is ])robably a two- to three-year window liefore the big guys get in." JUNE 5, 1999 Top Special Interest Video Sales THIS WEEK 1 LAST WEEK 1 1 ;VKs. or, CHART COMPILED FROM k KlTIOmL SAMPLE Of / /J^^ IIEI4IL STOKE tllD RACK REPORTS COL. iHi^!!^ UCTEO. COMPILEO. »N0 PROVIOEO >r ~ .% .-s TITLE Program Supplier, Catalog Number Suggested List Price 1 THIS WEEK j 3 it :- o COMPILED FROM A KATIOIUL SAMPLE OF i/a^- RETAIL STORE AKD RACK REPORIS COL. tUT^ L£CT£O.COMPIlU).AN[IPItO»IOE06t /T^' TITLE Program Supplier, Catalog Number Suggtsted Lilt Price RECREATIONAL SPORTS . HEALTH AND FITNESS. 1 1 26 -^m NO. 1 WWF: AUSTIN 3:16 UNCENSORED WOI'-I [.-..•.■: VK«I 213 1 1 21 BILLY BLANKS: TAe'b^WORKOUT 39 95 2 — 2 26 WWF: 'CAUSE STONE COLD SAID SO World Wrestling Federalion Home Video 210 H95 2 2 13 CRUNCH: TAE BOXING WORKOUTS Anclior Bay Enterlainmeii! U)H13 1498 3 3 26 WWF: WRESTLEMANIA 14 World Wrestling Federation Home Video WWF143 1495 3 3 6 KATHY SMITH'S KICKBOXING WORKOUT Sony Music Video 14.98 4 13 26 WWF: BEST OF SURVIVOR SERIES-19S7-1997 World Wrestling Federation Home Video 21 5 ;4'js 4 10 26 KICKBOXING: KNOCKOUT WORKOUT Anchnr Bay Fnlerlainmeril 29700 9.99 S 10 26 WWF: UNDERTAKER THE PHENOM World WresliiiiK Feduralicin Home Video 216 14,95 5 9 23 ABS AND BUNS: 2.PACK UAV Entcrlaininenl 601 15 995 6 18 26 WCW: STING UNMASKED Turner Home Entertammenl 97105 14.95 6 7 22 PAULA ABDUL: CAROlO DANCE Anchnr Bay Fntedainment gfil 1 14 95 7 14 11 WCW: GOLDBERG Turner Home Enterlaininent 91708 14.95 7 12 26 DENISE AUSTIN: SIZZLER Parade Video 909 1298 1 11 26 WWF: THE THREE FACES OF FOLEY Worid Wrestling Federation Honve Video 218 14.95 8 IS 26 A.M. YOGA FOR BEGINNERS Healing Arts 1071 9.98 9 17 12 WWF: WRESTLEMANIA 13 World Wrestling Federation Home Video WWF133 14.95 9 13 25 YOGA FOR BEGINNERS: ABS Healing Arts 1188 9.98 10 15 12 WWF: WRESTLEMANIA 3 '/ii-ii /;■,■,' ■;. !.,,M;i,,i Home Video WWF033 1495 10 19 240 YOGA JOURNAL'S YOGA PRACTICE FOR BEGINNERS ii, -.1 Arti- IGSd U98 11 5 3 WWF: IN YOUR HOUSE GoodTimes Hr>me Video 30879 12.98 11 17 92 PAULA ABDUL'S GET UP AND DANCE! Artisan Entertainment 60214 9.98 12 K-emiv WWF: BEST OF WRESTLEMANIA l-XIV World Wrestling Federation Home Video 214 14.95 12 KATHY SMITX: nMESAVER UFT WEICHTS TO LOSE WEIGHT Sony Music Video 51565 U9I 13 19 3 WWF: KING OF THE RING '98 World Wrestling Federation Honre Video WWF10205 19.95 13 16 27 KICK BUTT Brentwood Home Video 12032 1498 14 4 4 WWF: ACTION ZONE GoodTimes Home Video 30880 [2.98 14 RUKimr P.M. YOGA FOR BEGINNERS Healing Arts 1186 998 IS 6 4 WWF: WORLD TOUR GoodTiinci Honi.j Video 30879 12.98 15 . - 13 i 38 OENISE AUSTIN: FAT BURNING BLAST Parade Video 1933 12 99 16 8 4 WWF: SHAWN MICHAELS GoodTimes Home Video 30874-8 12.98 16 REflnrn DENISE AUSTIN'S PREGNANCY PLUS WORKOUT Parade video 50 14.95 17 WWF: SABLE UNLEASHED Worid Wrestling Federation Home Video 217 1495 17 TOTAL YOGA Healing Arts 1080 998 18 9 3 WWF: CONFIRMED HITS GoodTimes Home Video 30874 12.98 18 20 16 POWER YOGA FOR BEGINNERS Healing Ans 60017 993 19 iiE«nrr MICHAEL JORDAN: THE ULTIMATE COLLECTION Fo«ViOeo(CBa,'Fo«M 101090 24 98 19 ■[.oinn YOGA: STRESS RELIEF Healing Arts 60014 9.91 20 WWF: D-GENERATION X World '.'.'^ii in. Federation Home Video 212 1495 20 14 12 DENISE AUSTIN: THREE-PACK Parade Video 33303 24 95 ♦ iRMA Bol<l cedtlicaiion (« sale of 125.000 units o» a dotlar volume of $9 million at retail lof theatrically fdcaifiJ pfOfirams, 25,000 utiils and S) million at suggested retail fo( nonthealrical titles, IRMA platinum certification lor sale of 250,000 units or a dollar volume ot $18 million at retail lor tlieattically released programs, w 50,000 units or $2 million at suggested retail for nontheatfical lilies. '©1999, Billtx>ard/BPI Communications and VideoScan Inc. BILLBOARD JUNES, 1999 113 Call Billboard Classified Today! Tracy Walker 1-800-390-1489 twalker@billboard.com FAX ALL ADS TO: 212-536-8864 Get more reach. More impact. More results. Now, you can reach 200,000 key music business decision mal<ers across the country and around the world by telling them about your product and service in the industry's leading news magazine. 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Turnkey operation. CALL: (804) 971-6140 114 BILLBOARD JUNE 5, 1999 PUBLICATIONS PUBLICATIONS MUSIC MERCHANDISE HELP WANTED You Have a Great Demo... Now What? Music Publishing Source Guide Ttie mosl up ID dile nslmg ol all Ihe Cteative flireclors al Ihe lop Publishing Companies Includes the phone numbers, addresses, tax numbere, and assistants names. A "Must Have* lor those seeding publishing deals and lookmg to have their songs reco'ded by lop aitisis For tisl delivery. Call Toils f: 1-888-448-5274 (310) 454-<555 or visil our websile 31 WWW. brooklynboy. com AM Directory Gel tlic most up-to-dale iisbng ol all the tal- ent scouts and ASR Executives at maior and independent labels and piodudion compa- nies Includes phone numbers, addresses and fax numbers nn iBi RnJfmftft (iitf Brntm Pmnn (^.Wrm DISPLAY UNITS 320 VIDEO TITLES in just 2 SQ. FT.! complete line of count er, wall, and floor displays. 0llWUtl ffSSi9 S^^ ^SSSm Call 0' "rile today lor FREE sample Pak Browser \|3Slli5f*S15Si9|T?m. DISPLAY SYSTEIVIS \. e^'.'' I'^^Mvi'iSB \ 0««\\ CHICAGO ONE STOP. INC. Vl^^^^^^^^^^B^^^^^g^^^^^ Phone 312-B22/M22 ■ ToWrw; eOO-S»/UtO WANTED TO BUY WE BUY CDs! QPENor SEALED • ANYQUANTITY • ANYGENRE TOLLFREE: (877) TURNITUP e-mail: info9turnltup.eoin LISTENING STATIONS Low Cost 10 Play CD Listening Station Call for more information: (510) 770-9991 . Plays TO CDs . All tracks . Rugged case and player . Change CDs anytime . Pushbutton operation . Speaker or headphones . High quality sound . Studio quality headphones . Automatic programming . Low cost!! Vostedi Corp. Fiemool, CA FAX (510) 77(^9992 HAVE A POSITION TO RIX? WANT TO REACH HIGHLY QUAUnED PEOPLE FAST LOOK NO FURTHER! BnXBOARD CCASSIRED IS THE HIRE AUTHORITY! & NOW THE CLASSIFIED SECTION IS ONONEl WWW.BILLB0ARD.COM CALL TRACY WALKER ©1-800-390-1 489 FOR MORE INFO FREE Guide to Master Tape Preparation Saves You Time and Money! 1-800-468-9353 wwuv.discmakers.com infoiidiscmakers.com ^ DISC MAKERS PROFESSIONAL SERVICES BUSINESS MANAGER/ ACCOUNTANT Serving the qfjluent. Impeccable references. FOX :S 18-349-9399 email: OWED ROYALTIES? Check out our website: www.roblnhood-ent-legal-acct.eom We are an aggressive legal and accounting consultancy exclusively for recording artists and songwriters. STORE SUPPLIES plastic: DIVIDER CARDS BLANK OR PTJINTCD 800-883-9104 ALL MAKVt CtiOtT ORDS ACCtl-TtO COMPUTER/ SOFTWARE The Computer and POS Solution | for the Music & Video Induslr>' ^ ^ young ( (888)658-7100 f ■Chains 'InilcpcnJcnls 'One-Slops ^ RecardTrak Inventory Managemtnt For Record Stores 800-942-3008 'Jl^i'r 888-222-4767 (toll free) ^ - Fax (919) 828-4485 e-mail. SALESglDCS0FT.COM WWW.IDCS0FT.COM E-mail your Classified Advertising lo Tracy Walker at twall(er@ billboard. com VIDEOS & BOOKS MUSIC REUTED BOOKS. CLASSIC S UWISUU VIDEOS VOU WON'T FIND AHYWICRE ELSE! CAII FOR A FREE GIANT CATALOG Wiolnale only . Contact Clia2. GOTHAM DISTRIBUTION CORP. 1-800-4-GaTHAM • FUk(ei 0)649-0315 2324 HamM Rml • Mmn. n l«m ZMACHARS, INC MUSK ^4ERCHANDISE Orw Mop distnCwtor for posters, l-shirts. suckers, tiats, keyrings, butions, incense, li^ts, jewolry, sunglasses, tapestnes. and mucn more--. We are a service based com- pany with all of Ihe latest merchandise available. Oei It an with lust one can.- . HO MIWHUMiSAME E)AY SHIPFtHG. duKri Ofllr cal tor lata: 1-S00-24S-2ZU far 30S-ua-in4 ■wwjiiiaclurt@Hl.com BUY DIRECT AND SAVEI While other people are rarsmg iheir prices, we are slashing ours. Major latiel CD's, cassettes and LP s as low as 50C Your choice from the mos! extensive listings available. For free catalog call (609) 89^^000. Fax (609) 890-0247 or write Scorpio Mualc, Inc. P.O.Box A Trenton, N.J. 08691-0020 PUBLICITY PHOTOS 6 B&W SxlO's 500 • '80 1000 - '108 B&W POSTCARDS 500 - '65.00 ■• I (' T 1' K K » 1867 E Florida SI . Suile B8 SpiBiglielO MO 658133 (417) 8ei}-345« FSK t417) B69-S185 HELP WANTED MUSIC PUBLICIST Experienced music publicist wanted for major Independent PR fimi with high profile clientele. Please FAX resume lo; 212-582-6513, Attn Rebecca. ROYALTY SPECIALIST International music publisher seeks experienced royalty specialist to start immediately in a senior posi- tion in their royalty department in New York. Candidate will t>e the second-in-command of a six person royalty department. We're looking for a person wtio has substantial royalty processing experience. We'd prefer someone with management expenence. but that is not required. Experience with royalty processing software from Counterpoint Systems is highly desirable. IVe look forward to meeting you. Please fax your resume and salary history to Personnel Director at: 212-779-7920 or email to: 74365.657@compuserve.com ART DIRECTOR Ctvislian products and music company is currently filling a new posiinn lor an Art Director. The kleal candidate will have ex- perience in coor(tnatir>g arxj overseeing artist photo shoots, working with graphic desigrwrs lo develop music arxl vkjao cov- ers/packaging, tremerxlous rtegotiaiing skills, and the ability to get along with all persoriaiity t/pes Graphic design skills are not required but are a plus Send resume w/ salary requirements to: An Director, Attn: VP Marketing, 10209 S.E. Division St, Portland, OR, 97266. POSITIONS AVAIIABLE Fast growing Westchester, NY based independent distributor ts seeking: • Director of Sales and Marltetlng- 5 years \abe\ or distribution experience • Warehouse Shlpping/Operallons- Computer literate & 3 years experience required • Exp'd Executive Assistant to CEO • lr>-house national telemarlceter- 2 years exp required SEND resume with salary requirements to: Box 9023. Billboard Classified, 1515 Broadway, NYC, NY. 10O36 HELP WANTED IVIUSIC BUYERS Trans World Entertainment is the nation's largest music and video retailer, operating approximately 1000 stores including Record Town, Camefot, Coconuts. F.Y.E.. The Wall, Strawberries, Spec's and Planet Music. We are a leader in the Industry with a continuous focus on success, results, rewards, arxl dedicatnn. Due to incredible growth, we are looking lor experienced buyers to join our team at our Corporate Headquarters in Albany. NY. Buying responsibilities will be in one or more of Ihe following genres: Country, Classical, Jazz, Adult. We are seeking individ- uais with 3-5 years musk: buying experience for a national chain, established busi- ness relationships with industry vendors, excellent negotiation skills and extensive product knowledge. Qualified candidates should mail, fax or e-mail resume and cover letter, including specific salary requirements lo: Alison Rosenblum Recruiting Manager Trans World Entertainment 38 Corporate Circle Albany, NY 12203 FAX: 5ie-862-eS19 Email: arosenblum@twec.cofn TRANS WORLD ENTERTAINMENT BILLBOARD JUNE 5. 1999 115-erial HELP WANTED DiscoverMusic^'^ Program Manager Enso Audio Imaging is the pfemier provider of tools to help cocsumefs discover mus»c. Our server provides access to the vrortd's largest database of music samples, audio reviews, album cover art and album data for use by online and physical retailers. If you enjoy a creative and dynamic atmosphere and are willing to tive in Seattle then consider the position of DiscoverMusic™ Program Manager. This position is responsible for developing all phases of our DiscoverMusic"' previewing system, including systems, services, telecom- munications arid sales/fulfillment strategies. Must be familiar witfi virtual and 'brick & monar" retail industry. Needs software dev. hardware dev. internet, telecommunications and systems integration expenence. Requires 8+ years of high level corporate and project management. Min BA or BS. Visit: www.eaiccom Email: Toni.Unrein@ealc.com Fax: 206-336-3167 ADA, America's Leading lr>dependent Distribution compare, is seeklr^g an axperierKed Salesperson for Texas Region (preferably Dallas) . Individual must be highly organized, extremely selt-molivaiad. and have a vast knowtedge of area retail as wall as all genres of music (from Rock to Dance to Hip-Hop). Pleas* eend reeame to: Human Resources D^rt 72 Spring St 12tb flow, NYC, NY 10012. TRACKING MANAGER Music Publishing Leading music publisher seeks Tracking Manager to uncover & secure lost income via research/tracking of pertormance income. Minimum 1 yaar Copyright/Royalty experi- er>ce with knowledge of performance riglits. Strong organizational skills. Detail oriented. Strong computers (Word, Excel or simiiai, Lotus Notes helpful). Position based in NYC. FAX resume & salary requirements to: 212-492-1833. ROYALTIES ADMINISTRATOR Zomba Recording Corporation/Jive Records seeks expenenced royalbes pro- fessional to Join our team. Individual win handle artet and copynghi royalties includ- ing; contract interpretation, data analysis and input Must have at least 3-4 years of related expenence and possess thorough understanding of the royalty process. Must be computer literate. SEND resume w/ salary requirements: ZRC. Attn: HR 137 W. 25th St. NYC. NY 10001 or FAX: 212-727-0543 S.I.N. NEWS EDITOR Weekty Music Trade seeking a carKJklate with 3+ yrs In radio promotion, trade pubficalion or related marlteting exp. Oversee & Maintain daily Production Schedule, Copy. Proof reading, Graphic & Traffic of Editorial & Advertisements. Detail-Onented, Strong Organizational & Computer Skjits required FAX resume only to 212-95&-2632 MARKETING DIRECTOR New York office of international record label seeks Marketing Director. Candidate must have prw record company expener>ce. PleSH FAX rMMiM to: lU-flM-SSSl xeno phile Green Linnet SALES & MARKETING MNGR Special Projects Green Urmet & Xerophile records seeks candklate to manage all aspects of estab- lished Direct Mad operatton as well as tnterriet & Special Products carr^aigns- Outias include rrwcharKjising, promotional material development, budgeting, fore- casting & list managerT>ent. Applicants must have a minimum of 5 years experi- ence in managing Direct Mail marketing & 3 years experience in Intenut &/or Special Products marke1ir>g. PC proficiency w/ MS Office required. FAX resume & salary history to: Personnel 203-778-4443 MARKETING Christian products & music company is cur- rently seeking a marketing prolassional w/ experience in the areas of rocit. alternative. & modem rock music genres. The perf»ct candxlate will have 3 to 5 years record marketing experience & knowtodga of the buying habAs of teens & college students based on work experience. Must be a self starter with tremendous drive to help grow a small niche mantel. If you're the one, SEND resume with salary requirements to: Rock Marketing Position Attn: VP Markcang, 10209 5,E. DMskm St, Portland, OR, 97266. BILLBOARD / AIRPLAY MONITORS Summer Interns Tfw Billboard/Airplay Monllor sales, con- ferences and charts staff in both NY and LA are kxiking for summer interns to assist with special projects, ad- minislratrve tasks, spreadsheets, etc. Must be eligible for school credit and these are non-paid internships. GREAT EXPERIENCEI! Please send resume to: Billboard Sales, 1515 Broadway NYC. NY 10036. FAX: 212-S36.5055 or EMAIL sa]es@b[llboard.coffl BILLBOARD EDITORIAL STRONG COPY PUBUSHER with headline writing skills wanted for FT copy editor position. No beginners please: minimum 3 ye^ copydesk experience. Knowledge of music busi- ness a plus: familiarity witfi Mac, Quark Copydesk helpful. Journalism or English major preferred. SEND cover letter & salary history to: BPl Communications, Dept. JAN, 1S15 Broadway, NYC, NY 10036. No phone calls please. CALL BILLBOARD AT 212-536.5058 TRUEBLISS (CoiitiHiied fnmi fxige record company mergers. The group was originally to have been signed to PolyGram here, but it was one of the casualties of last year's merger with Universal. Dowling explains that the Poly- Gram A&R staff who'd initially given the project a green light were not retained post-merger and that "the 't's' weren't crossed and the 'i's' weren't dotted" on the TrueBliss/ PolyGram deal. "The Universai management said I was free to shop the pro- ject around," he says, "and Sony came up with the best deal." The ratings have confirmed Cowling's assertion that viewers are fascinated by a "behind the scenes" look at the music indus- try. Along with "Friends" and "Ally McBeal," the fihow has reg- ularly ranked in the top five for all viewers ages 18-39, according to AC Nielsen. Sony Music NZ managing di- rector Michael Glading says he decided to sign TrueBliss after the PolyGram/Universal merger left the group with a scheduled TV program — and no record la- bel. He admits that "Popstars" has brought the act a level of public- ity that record companies seldom dare dream of. "It's true it's given us an enormous leg up," he says, "but although the show has certainly driven some sales, with- out a great song we wouldn't have had the success we've had with it. TV ratings are great, but it's a free-to-air show. I see people actually buying the record as a far greater vote of confidence — because that way people are vot- ing by parting with their mone.y." Tracy Horne. manager of the Sounds store in Auckland .suburb Manukau City, confirms that sales for "Tonight" have been high throughout the 30-store chain. "It's gone really well for us," she says. "It's No. 1 on our chain chart as well as the national chart." She adds that the group's demograph- ic has widened as the program has progressed. "It was just the young ones asking about them at first," she observes, "but now they've definitely picked up older fans as well." Glading says that TrueBliss' debut album, "Dream," will be in stores June 14 to coincide with the airing of the final episode of "Popstars" and that he antici- pates at least another two singles from the album. All eight original compositions on the album, which TrueBliss member Carly Binding describes as "out of this world" and "mind- blowing," were written and pro- duced by Anthony loa.sa. Glading shares Binding's en- thusiasm for loasa's songs and says he presented TrueBliss to a receptive audience of Sony man- aging directors at a recent Aus- tralian conference. With solid support at radio and a gold single (for 10,000 sales) its first week out, the group, according to Glad- ing, has regional potential. "Our next goal is to tal^e this band to Southeast Asia and try to work them in that market," he says. UllLiJUHilJ'J ■JilUU JjJiiJiJiUliUJlUJ n you want to reach the world ol music and video, you need liie iniemaiionai Buyers Guide. Refezence fox Husk InAnstzy Infoioation Kacord IjilMLLt HoBtr Vidua CoDjujiifit kcexjory XaiuljctMivn FxUn; mi Ubelii^ Ent^rbiKBrat Att«nMyH CD Kvfiuaton FImU »ni ion'uta Over 16,000 current and updated lisOngs woildwide - complete with key contacts, phone & fax numbers, addresses, e-mall addresses and wehslte listings. Record labels Music distribution companies • Wholesalers & Distributors ' Video companies • Music publislners ■ CD, CD-ROM & Video disc manufacturers ' Equipment manufacturers • Accessory companies • PR companies • International listings Associations and professional organizations Performing and mechanical rights organizations ■ Music libraries • Entertainment attorneys • Importers/Exporters ° Replicators • Duplicators • And much more! To oreier send payment lor $139 plus S6 S&H {S14 lor international orders) with this ad to: Billboard Directories, P.O. Box 2016. Lakewood. NJ 08701. Please add appropriate sales tax in NY. NJ. PA. CA. TN. MA, IL. OH. VA & DC. Orders payable in U.S. tunds only. All sales are final FOR FASTEST SERVICE CALL (800) 344-7119. Outside tite U.S. (732)363-4156. Or fax your order to (732) 363-0338. Now available on dislcette and mailing labels. For rates call Mike Fouratt at (212) 536-5017. To advertise call JeH Serrette at (212) 536-5174 www.biilboard.com 116 BILLBOARD JUNE 5. 1999 Update CALENDAR JUNE lune 1. Music Video Production Assn. Seminar Series: Post 101 tTricks In Teledne Post Perfect. New York 212-636-9430. June I. Songwriters In The Round, sponsored by the Hollywood East Music Group. Carnage House. Miami, 954-929-0982 June 2 Benefit For Labor Ot Love Internation- al With John Popper. Chan Kinchla. And iohnny Dredd, Chili Pepper. Fort Lauberdale. Fla, 212-328- 5915. June 4-6, Words Into Pictures: The Film And Television Writers Forum, sponsored by the Wrrt- ers Guild Foundahon, loews Santa Monica Beach Hotel. Santa Monica. Calif 323-954-5858 June 6 Second Celebrity Guest Night For The Muscular Dystrophy Assn.. Ashes Steaktiouse. Red Bank. N J 212-777-5678.0x1 103 June 8. An E-Commerce Primer: Doing Busi- ness On The Web Workshop, sponsored by Calif or- nia Lawyers for the Arts. Oakland. Calif 510-444- 6351 June 8- 1 0. REPLItech North America. Moscone Convenbon Center, San Francisco. 914-328-9157. GOOD WORKS We FET AXD WILD: Kix Brooks of ISrooks & Dunn will ride a Sea-Doo jet boat from Nashville to New Or- leans to raise funds for the St. Jude Ho.spital. He's scheduled to depart Tuesday (1) and aniw Saturday (5). The ewnt will be sp4)ns(n'ed by Crx)i"s Light. Contact; Brenna Davenport at61i>S4(>-ai41. Love conquers all: biucs Traveler's John Popper and Chan Kinchla and i-eggae artist Johnny Dredd ttill iieifoiin a lienefit concei-t JurK' 2 at Chili Peppei" in Fort Laud- erdale, Fla., to rai.se money for Labor of Lo\e International, an organizjition formtnl to bring safe obstetrical care to the Caribbean thi-ough free-stand- ing birth centers. All ticket proceerls will go to the group. Contact: Steve Karas at 212-328-5915. Creole collection: Dr. John, Irma Thomas. .Allen Toussaint, Funky Meters. Tiny Town, Art Neville, (leorge I'orter Jr.. and Page McConnell and Mike (lordon of Phish have contributed hcalth- themed tunes to a compilation that benefits the New Orleans MiLsicians Clinic called "Get You A Healin'." It's available at Tower Records, Virgin Megastores, the Louisiana Masic Fac- tory, and directly through American Sector Studios. Contact: Nanette Struck at i)04-942-81S4. N 0 COIX)R LINES: Dan .\ykroyd, Ani DiFranco, Bush. Barenaked Ladies, Natalie .Merchant, Paula Cole, .Marcy Playground, Super- dups, and Kicki Lake have all con- tributed time (in the form of TV pub- lic-service announcements: posters for subways, restaurants, and movie theaters; or CD production) to the 1999 Artists Against Racism cam- paign. Contact: Lisa Chcrniak at 416-41(Wj6:Jl. June 9. Multimedia Law For Artists Wortuhop. sponsored by California Lawyers for the Arts, fort Mason Center San Francisco. 415-775-7200. June 9. 30th Annual Induction Ceremony And Awards Dinner, presented by the National Acade my of Popular l^usic and the Sonpvriters' Hall of Fame. Sheraton New York Hotel and Towers. New Vbrtc 212-794-2773- June 9-10, Independent Video Retailers Con- ference. Las Vegas. 503-675-1081. June 9-12. Promax '99. Moscone Convenhon Center San Francisco. 310-788-7600. June 10. Assn. Of Independent Music Publish- ers Annual Luncheon, Soma Park Restaurant, New York 212-758-6157, aimpny@aol com lune 10-12. 2ath Annual International Assn. Of African-American Music Celebration. Hotel Royal Plaza. Orlando. Fla 215-732-7744. wwwiaaam com, lune 13-16. Cable '99. sponsored by die Nabonal Cable Television Assn . McCormick Convention Cen- ter Ctiicago, 202-775-3669 June 14-15. SbidioPro99: Emerging Technolo- gies And The Future Of Audio Production, pre- sented by Ma. Univeisal City Hilton. Universal City. CaW 510-653-3307 June 14-19. 28th International Country Music Fan Fair sponsored by the Country Music Assn. and the Grand Ole Opry, lennessee State Fairgrounds. Nasfiville 615-244-2840 June 1 5. American Society Of Young Musicians Annual Spring Benefit And Induction Concert, hononng Little Ricfiard. House of Blues. Los Ange- les. 310-285-9744, June 17. UFEbeat And Friends Songwriter Cir- cle With Jen Chapin, KJ Denhart, And Tina Shafer to raise money for UFEbeat. Bitter End. New Ybrk, 718-636-2203 June 19. Run On The Row. hosted by BlackHawk. sponsored by Ansta/Nashville. and benefihng the Frances Williams Preston Laboratories. Nashville. 615-845-9116 June 19. Vision Awards 1999. Beverly Hilton Hotel. Beverty Hills. Calif 818-992-0500 June 19. Your Backst^e Pass To The Record Industry, presented by Silver Lining Entertainment LAX Mamott. Los Angeles 888-836-8086. June 22. Working With Agents And Managers Woritshop. sponsofed by Califomia Lawyers for tire Alts. Oakland. Calif 510-444-6351 Grammy Goes To School, f^usicians. producers, and record executives gath- ered to promote the National Academy of Recording Arts and Sciences' Gram- my in the Schools program. Shown in the front row. from left, are Los Angeles Mayor Richard Riordan; Recording Academy president/CEO Michael Greene; producer David Foster; and Larry Livingston, dean of the University of Southern California School of Music. Shown in the back row, from left, are Elektra Records chairman Sylvia Rhone; Elektra rapper Missy Elliott: Warner Bros, artist Faith Hill; Island/Def Jam artist Montell Jordan; producer Phil Ramone, national chairman of the board of trustees of the Recording Academy; Arista artist Deborah Cox; songwriter Diane Warren; and Capitol artist Meredith Brooks, LIFELINES BIRTHS Girl, Melfxiy Debra. to Jane and Rich .Appel, April 21 in Pequannock. N..I. Father is director of market i-e.seai-ch for Sony Music. Girl, Marisa Rose, to Miriam and David Nives, April 26 in New York. Father is manager of reissues at Koch Records. Girl, Sadie Gtxxlmiui, to Vanessa and Rusty Harmon, May 20 in Columbia, S.C. Father is manager of Huotie & the Blottf ish. MARRIAGES Satoko Enomoto to Michael Black. Maixrh I.t in Haw'aii. Biide is dii-ector of licen,sing for Polo Japan. Groom is VP of sales for the AlternatiTO Distri- bution Alliance. Lisa Peck to Steven Trainor, May l.'i in Fort Pierce, Fla. Groom is manag- er at the Td\>o Deck in Fort Pierce. DEATHS Ernst Mosch, 7:?, of unknown caus- es, May 1.") in Gemiai-ingen, Geniiany. Mo.sch. Gemiany's king of folk miLsic. founded an oix:he.sti-a in 195.5 tliat ix>i> ularizcd the t,\^)ical sound of Bohemi- an brass-banri music and subsequent- ly sold moi-e than 40 million i-ecords on Teldec and Koch. He played New' York's Carnegie Hall in 19(50 with his orchestra. Augusto Pablo, 46, of complications from the nerw disorder myasthenia gravLs, May 18 in Jamaica. Pablo, who was born Horace Swaby, was an influ- ential reggae producer who gained early experience as a studio key- boardist with Bob Marley before becoming key in the dub reggae move- ment. He produced hit records for .singers such as Junior Delgado and rccoitkHi instrumental albums unckr his own name, including the latest, "Valley Of Jehosaphat," on Ras Records. June 22-25 MIDEM Americas. Convention Cen- ter Miami 212-370-7470, June 24. Songwriter Showcase, presented by the Songwnters' Hall of Fame and the National Acad- emy of Popular Music, Life, New M, 212-957-9230. June 26. Sports t Celebrity Awards Dinner. Hollywood Park Race Track, Los Angeles 818-528- 3270 June 26-28, City Of Dreams Seminar New M. 212-391-5755, JULY July 8' 10, 18th Annual Home Entertainment Conference, sponsored by the Video Software Deal- ers Assn, Convention Center Los Angeles 818-385- 1500 July 10-16, 1999 Management Development Seminar For Television Executives, Nortliweslern University, Evanslon III 202-429-5347 July 1 1 , 12th Annual Magic Johnson Spoils Star Dinner And Auction For Muscular Dystrophy Assn.. hononng DreamWorks Records head of urban music Jheiyl Busby. Beverly Hilton Hotel, Beverly Hills, Calif 310-450-9032, July 12, Children's Hospital Of Los Angeles Celebrity Golf Classic, North Ranch Country Oub, Westlakc Village, Calit 323-669-5972 July 12, 1999 American Civil Liberties Union Torch Of Liberty Awards, honoring Martin Scorsese and Lava Records president Jason Flom. Beverly Hilton Hotel, Beverly Hills. Calif. 213-977-5252. July 14-16. Billboard Dance Music Summit. Sheraton Colony Square. Atlanta 212-536-5002. AUGUST Aug 6 7 Fourth National Entertainment In- dustry Conference On The Technology. Ad & Busi- ness Of Music, produced by IMMEDIA!. ABC Radio Centre, Sydney. 61-2-9557-7766. www.immedla. comauAab, Aug 9. Ninth Annual Tl. Marlell Team Cup Challenge Golf Tournament. Ridgewood Country Club. Paramus, N J 212-980-6600, Aug 25-29, Seventh Annual Cutting Edge Mu- sic Business Conference And Roots Music Gath- ering Conlemporaiy Arts Center New Oileans 504- 945-1800 Aug 3 1 -Sept 3. 1999 National Assn. Of Broad- casters. Orange County Convention Center Oifando. Fla 202-775-3511, SEPTEMBER Sept 2 5 Audio Engineering Society Intemi- tional Conference. Villa Castelletti. Signa. Italy 49- 9131-776-303 Sept 9- 13. Mixshow Power Summit '99. South Beach. Fla. 212-340-4738 Sept, 24-26. Focus On Video '99. International Centre. Toronto, 416- 531-2121. promex@sympa- lico.ca. COMMENTARY (('imliniii'd fntni Ittlj/c !ti 1-eplaced their vinyl albums with CDs and record companies enjoyed unprecedented prof- itability. Since this has slowed in the last few years, the labels have been .scrambling to maintain the inordinately high level of earn- ings attained in those boom years. Some e.xeeutives believe the Internet may potentially be the answer to their problem, but it's a fast-moving and unpredictable environment that presents new obstacles as .soon as existing ones are solved. The response by some is to attempt to corral everything in this new medium. Therefore, the answer for artists is to keep moving forward .so that the labels' lassos only occasionally snare their desired targets. Artists and their representa- tives should always be aware to pi-otect intellectual rights — espe- cially when new frontiers are being reached on a fairly regular basis and nobody knows for sure where it will all lead. Web sites have become an inte- gral part of how artists keep in touch with the people who matter most to record companies — the fans, aka consumers. Fans will certainly be more inclined to buy an album if they can go to a Web site, learn about an artist, read lyrics, listen to some songs, and even correspond with the artist. This also makes it easier for record companies to sell back cat- alog and opens up a whole new spectrum of promotional possibil- ities. Despite increasing advances, royalty rates, and even joint ven- tures for certain superstars, the overlooked fact is that the major- ity of artists are struggling to make ends meet. They don't have the leverage or resources to pro- tect themselves against every new lechnrrlogy (and the invari- able royalty reduction) that the record companies invent. Most new artists who finally land a record deal after years of trying are so grateful that they willing- ly give up their current rights — as well as rights to a future that is unknown and being redefined every day. Not only is this myopic, but it will eventually become cre- atively and financially restrictive. The Internatiimal Managers Forum (IMF) strongly urges artists and their representatives to retain all rights to their cre- ative output in all forms that aren't currently under contract. The new-media companies know that E-conimeree is nothing with- out product. They ai'e more will- ing to form partnerships with artists, or at least give them a commensurate portion of the income generated from their ideas. It might even make sense for artists to strike deals with new-media companies for little or no arlvance money before negoti- ating a record deal, as long as there is substantial upside ))oten- tial and their intellectual proper- ty is securely protected. This pre- cludes the question of whether such rights are included as part of the record deal. The Internet isn't a new tech- nology invented by record com- panies. It was created by scien- tists for the express purpose of disseminating ideas to others. This may be the one time the IMF is advocating the status quo. BILLBOARD JUNES. 1999 jierial M RADIO • PROMOTIONS • NETWORKS'S Y N D I C A T I O N ' A I R W A V E S • M U S I C VIDEO'VIDEO MO N I T O R Mania On The Backstreets. Thirty-five lucky listeners of lop 40 WHT2 (ZlOO) New York got a chance to meet the Backstreet Boys during an exclusive concert and interview segment. The event was broadcast nationally in conjunction with the SFX Radio Network. The quintet is hotter than ever: Its second U.S. album, "Millennium." debuts at No. 1 on this issue s Billboard 200. Pictured, from left, are Backstreet Boys Brian. Howie D., Nick, A.J.. and Kevin. newsline... WEB CATCHES CHANCELLOR. Aftor courting such Internet giant.s its AOL, ("hancellor Media has in.stead opted to repo-^ition itself and go it alone for the time iieing. It will also change its name to AMKM Inc., match- ing the company's Nasdaq symbol, although the company will apply to join the New York Stock Exchange, under the AFM symbol. Chan- cellor/AMFM also becomes the fii-st mnjor traditional broadca-sting com- l)any to announce six?cific plans to enter the gi'owing field of Weh^based radio services. AMFM will form three new business units aimed at leveraging the company's radio portfolio (see story, page 1). S4P HITS CD RADIO. Standard & Poor's has revi.sed its rating outlook on CD Radio to negative, ius it is worried about rising costs of building the satellite-delivemi radio .service, delays in its launch, marketing cosLs, and public acceptance. "CD Kadio is spending heavily to develop an unproven media service to compete with eom'entional broadca-st radio," .said S&P analysts. IBOC PROPOSAL NEARS. The Federal Communications Commission says it will offer its proposal for how to convert the indu.stry to in-band, on- channel digital radio sometime this summer. It has also e.xlended the deadline for comments on its low-power FM propo.sal to Aug. 2, as requested by the National Assn. of Broadcasters, which sa.vs its engi- neei-s are still studying its imixict on exi.sting stations. R&B Radio Gains Higliest-Ever Ratings This story wa.s prepared bif Senti fto.f.'i, editorof Atri)lai/ Monitor. NEW YORK— President Clinton's impeachment trial ended, but the nation didn't exactly return to busi- ness as asual. While N/T radio's num- bers returned to their pre-Monica- g-ate level, national radio listening is different than it was when the scan- dal started last winter, judging from the i-esults of BillUiiird/Airplay Mon- itor's national format tally (»f the win- ter '9!t Arbiti-ons. How different'? • R&B radio, taken as a whole, has its highest numbers erer, spurred by the rise of the R&B oldies format. That s'aid, there's considerable evi- dence that the booming format is cut- ting into the numbers of both main- .stream and adult R&B outlets. • Top 40 radio has its best numbers in 'AVi years, almost tying country radio for owrall listenership. • Country posted its lmve.st num- bers since the summer of 198!). Its losses mean that the format is basi- cally back to where it was when Garth Brooks debuted. • Album rock, which had been fragmented mer the past thi'ee years by the modern rock revolution and a second waw of cla.ssic rock success- e.s, seems to be reclaiming .some of its turf. It also probably benefited this winter from N/T's decline. The only thing that hasn't changcfl is adult contemporary. « hich — when its varioas jiermutations (adult top 40, mainstream AC, soft AC, etc.) are counleil together — ivmains the No. 1 music format throughout Arhitron's fM continuoas-measurement markets. News/talk radio was off Ki.S-lfi.l in the winter. N/T was at 16.2 a year ago but exploded in the .summer and fall '98 books, spurred by a combina- tion of Bill and baseball. In Rush Lim- baugh's midday daJ^)art the format was off 17.9-17.3. putting it exactly w here it was a year ago. N/T's 3.5 share in teens — .signifi- cant not because the format targets them but because it shows that the format was hot enough to grow out- .si{le its intended demo — has also dis- sipated. N/T has a more normal l.a share in teens. AC Wiis up 14.4-14.5 overall. That's within its range for the last three books but down from the 15.1 it had last winter It was off 8.4-7.2 in teens, not surjirLsing now that more of them have a top 40 .station in their market and are less often forced to use an adult top 40 st;ition by default But the format was up in all adult demos, including 1.5..5-1.5.7 in 18-34, lG.7-17.0 in 2.'>.54, and 16.2-16.5 in ;i5-64. AC Ls one of the formats that might reasonably have been expecte<l to kise some upper-demo bodies to the new "Jammin' oldies" outlets, hut the fact that its 35-64 numbers were up sug- gests otherwise. Traditional pop oldies stations of the Elvis/Beatle.s/ Beach Boys variety w'erc another log- ical target, hut they held in 12-plus listenei'ship (w hei-e they were steady at a 5.5), in 25,5.1 (flat at 6.4). and 35- (M (where they were up 8.7-8.9). But clearly. R&B oldies stations picked up .some autlience from some- where. In the first book for which we've done a separate mea.surement for R&B oldies outlets, they came in at a 2.2 12-plus. meaning the format already has the same national .strength as religious outlets and the cla.s,sical format And that's with a rel- atiwl.v .small number of outlets. ;ilheit a good representation in markets that control a strong amount of national listening — i.e.. New York, Chicago. Los Angeles. Houston, and Dallas. And there are plent.v of cUissic soul sign-ons that won't be counte<l until the spring. (Cojifiiiued on next page) ARBITRON FORMAT SHARE WINTER '99 PERSONS 12+ MONDAY -SUNDAY 6 A.M. -MIDNIGHT Spaiish 6.5% (6.1%) Rem. Foniuts 0.9% (1.0%) Clnilcal 2.2% (1.7%) ~ RallCioais 2.2% (2.3%) tau 2.9% 13.1%) Adult Standard! 3.2% (3.3%) Modem Rock 3.8% (3.9%) Onslc Rock 4.2% (4.5%) Oldies 5.S% (S.S%) (Numbers in parentheses represent Fall '98 shares) The of infonnatioii... x\%\i\ at your fingertips! www.billboard.com The 1999 Radio Power Book contains all tlie information to make your job easier. Comprehensive listings of radio stations in all 15 formats covered by Airplay Monitor Consultants: * Complete Label Promotion Directory ♦ Arbitron Ratings and History for Top 100 Markets ♦ BDS and How It Works Order your copy now tor S95 (plus S6 shipping and handling) by calling 1-800-344-7119. Fax your order to (732) 363-0338 or mail this ad with check or money order to: Billboard Directories. P.O. Box 2016, Lakewood. NJ 08701 Please add appropnalo sales lax in NY, NJ, PA. CA, TN, MA, IL, OH, VA 4 DC- Orders payable in U.S. funds only. All sales are (inal. To advertise call Alyse ZIgman (323) 525-2308 118 BIUBOARD JUNE 5. 1999 Billboard. JUNE 5, 1999 Adult Contempopary is TITLE tMPftINT & NUMBER'PROMOTiON lABa ARTIST — ^ No. 1 CD 1 2 ; YOU'LL BE IN MY HEART PHIL COLLINS Q) « 5 1! KISS ME SIXPENCE NONE THE RICHER . ■-■ : /.I6IA t 3 z 3 23 (GOO MUST HAVE SPEND A LITTU MORE TIME tmVCKJ NSVNC HCA 65685* ' 4 3 1 29 ANGEL V.A^'.i"SU\S£I ;j62!,'REPRI3Et SARAH MCUCHLAN 5 5 4 15 BELIEVE CHER ® 7 7 19 ANGEL OF MINE MONICA 7 6 6 39 FROM THIS MOMENT ON SHANIA TWAIN CD 9 11 8 THAT DON'T IMPRESS ME MUCH SHANIA TWAIN 9 8 9 73 TRULY MADLY DEEPLY SAVAGE GARDEN do) 18 21 4 1 WANT IT THAT WAY JIVE AlBLM LL'I BACKSTREET BOYS 11 10 8 17 ALL 1 HAVE TO GIVE BACKSTREET BOYS OD 17 23 5 1 WILL REMEMBER YOU (LIVE) SARAH MCLACHLAN 13 12 10 21 WRITTEN IN THE STARS ELTON JOHN 8. LEANN RIMES 05 14 20 10 LET ME LET GO r.'.-'.t" MOJI' FAITH HILL 15 11 12 33 I'M YOUR ANGEL JIVE 42557 t R, KELLY 8. CELINE DION 16 13 13 69 YOU'RE STIU THE ONE MERCURt 568452 * SHANIA TWAIN 17 15 14 19 1 STILL BELIEVE COLUMBIA 79093 ' MARIAH CAREY 11 18 37 I'LL BE EDWIN MCCAIN GD 22 22 5 THE HARDEST THING 98 DEGREES 20 21 19 21 LOVE OF MY LIFE JIM BRICKMAN FEAT MICHAEL W. SMITH 21 16 15 18 FOREVER MORE (I'U BE THE ONE) JOHN TESH FE*T JAMES INGRJiM 22 19 16 21 FAITH OF THE HEART UNIVERSAL 5*244 ROD STEWART ® 24 27 6 HARMLESS MULBERRY LANE ® 23 26 4 I'M NOT RUNNING ANYMORE JOHN MELLENCAMP 25 24 5 POETRY MAN ■1.- iiejM zj' NALEO Adult Top 40 — ^ No. 1 1 1 1 24 EVERY MORNING SUGAR RAY ■} a! Nj. 1 2 2 2 31 KISS ME SIXPENCE NONE THE RICHER 3 3 3 36 SUDE //Afi't^R BR:& 4LBL'f/ CLT t GOO GOO DOLLS (D 4 5 7 LIVIN' LA VIDA LOCA C2 79124 t RICKY MARTIN 5 5 4 34 BACK 2 GOOD MATCHBOX 20 CD 12 14 10 THAT DON'T IMPRESS ME MUCH SHANIA TWAIN 7 6 6 45 SAVE TONIGHT EAGLE-EYE CHERRY 1 7 8 15 ANYTHING BUT DOWN SHERYL CROW CD 9 11 16 WHAT IT'S LIKE EVERLAST u 8 10 27 FLY AWAY LENNY KRAVITZ 11 11 9 19 BELIEVE V.AR'.th ftftOS 17119 1 CHER 12 1 33 ANGEL - ■ -^.'liRLSWISt t SARAH MCLACHLAN 13 13 12 11 DOWN SO LONG ■ v ■ ...I t JEWEL CB) 18 21 4 1 Wia REMEMBER YOU (LIVE) iF "'1 JLRi.''.' r.'JT ' SARAH MCUCHLAN IS 14 13 13 RUN ■/■'VAo CUT Ar;.-,Mic ^ COLLECTIVE SOUL ClD 17 18 Q LIFE IS SWEET NATALIE MERCHANT AlRPOWER cm 21 28 3 AU STAR iMLK-iLUPL AiDUM LUr SMASH MOUTH 18 16 15 38 LULLABY ■,Mb Ml: :M , , i lOjIl.yaiA t SHAWN MULLINS 19 15 16 40 JUMPER THIRD EYE BLIND cm 20 19 10 PRAISE YOU ■ . : ■ ■,' Hijir. t FATBOY SLIM 21 19 17 14 SPECIAL . .L'JCUT/lNTEftSCOPEf GARBAGE (D 22 24 6 MILLENNIUM ROBBIE WILLIAMS (D 26 25 8 OUT OF MY HEAD FASTBALL CH) 23 23 9 I'M NOT RUNNING ANYMORE ■ T 1 JOHN MELLENCAMP QD 24 26 5 SHE'S SO HIGH TAL BACHMAN ..It M Sf»^ intwl iJi ■»«-*■■ ^^*K»an , 1 in «^ -■■ CTcm Of TO r» 40 OMcRirs t:" in- '."r ' •J'VnK ' Radio P R O G R A R&B RADIO GAINS HIGHEST-EVER RATINGS fCnnt in lied from preceding ixige) WHO'S JAMMIN' WITH RiB OLDIES? While some R&B oldies outlets pri- marily target African-American lis- teners, the most publicized major- market sign-ons have been deliberately uni\^rsal in appeal: mixed air staff, few or no titles that aren't familiar to the pop audience, etc. A Monitor analysis of the first R&B oldies ratings books last fall showed the format di-awing only a 2o%-4iy/t African-American cume, although black listener contributed a dispro- portionate amount of quarter-houi-s. Based on our fii-st numbers, how- ewr. it looks like a lot of listeners to R&B oldies suitions came from other R&B stations and from smooth jazz outlets, another format with a simi- lar listener profile. When you include mainstream, adult, and classic R&B together, the format is up 11.9-12.4. But subtract a 2.2 share, and the foi-mat is at a 10.2. Because we didn't measure R&B oldies separately in the fall, we don't know how much of the previous 11.9 share was al.so actually R&B oldies, but chances are it was significantly less, since so many of the large-mar- ket stations that comprise the 2.2 .share now weren't on the air for most of the fall. And we do know that adult R&B stations, broken out separatel.v, lose more than a half share, off 3.6-.3.0. Combine this with relative stability for AC and okiies, and it apiiears that much of R&B okiies' audience i.s com- ing from other R&B oldies formats or smooth jazz, which was down 3.1-2.9. Could the bulk of R&B okiies' shares come from U&B radio, when African- Americans ai^ only about iO^h of the cume at ".lammin' oldies" stations? Well, these numbers do include some more traditionally formatted R&B oldies outlets, such as WRBO Mem- phis, WNPI, Nashville, and KMEZ New Orleans, all of which had good hooks this time and all of which are closer to 8.5% African-American in theii' minority com|josition. Bewnd that, R&B radio's non-eth- nic listeners .seem to be a larticularly likely tai'get for the new foi-mat And again, the black audience that listens ev^en to the determinedly pop \'ersion of the format does contribute a dis- proportionate amount of the listening. While some R&B oldies outlets primarily target African-Americans, the most publicized sign-ons have been universal in appeal It's also po.ssible that mainstream R&Bs lost some listening not to R&B oldies but to top 40. R&B, like adult top 40, had been picking up the slack in some markets that didn't have a top 40 station. Top 40 had its best 12- plus number in 3'/j years, up 8.9-9.2, but it still has a way to go to return to the 1.5.9-share leiel it was at when Arbitron and Billboard/Monitor began crunching these numbers a decade ago. While R&B is hardly the defining flavor at top 40 radio, the format cer- tainly is playing more R&B than it has in several years. Ajid the format's la-st major uptick, in .spring '9(), also Top 25 Radio Spenders Of 1S9B Interep Research has just released its annual list of the top 25 nation- al radio adwrti-sei-s for 199S. The companies and organizations in the top 2.5 accounted for $7.Tfi million in radio sjiending, which is 2(Wi of all nation- al ra<lio billing. Owrall, membei-s of this gi-oup increased radio siK*n(ling 19% over 1997. Total media s|)ending by these companies was only up 7%. Rata w;us i-eported by Competitive Media Iteporting. Figures are in millions of dollars. MCI Woridwide $47.4 Chatt^m Inc. (I'hi.sodenn, Sunsource, Gold Bond) 40.9 Warner-Labert (Listerinc, Rolaids, Benadryl) 40.5 Political Lssues 39.7 AT&T 37.7 News Corj). ( Fo.\ TV 20th Century Fbx) 37.3 Pivicter & Gamble 32.4 Berkshire Hathaway (Geico, Helzberg Jewelers, Sees) 32.4 Kmart 31.5 Chrysler Dealei's Assn. 2*.).8 CTK Colli. 29.S tieneral Motors 29.G JC Penney 28.1 CompUSA 27.7 National Amusements (Paramount, Viacom, Blockbuster) 27.5 Allstate 27.1 U.S. gorernment 26.7 Time Warner (Warner Bros., HBO, Turner) 2().5 SBC Communications 2(3.4 Diageo pic (Burger King, Cellular One, Htiagen-Dazs) 24.5 Sprint 23.5 US West ZU Chrysler 222. lieading Genius 22.1 Dayton Hudson (Target, Marshall Fields) 21.9 coincided with a more rhythmic bent And despite PDs' longstanding con- cerns abimt the impact of R&B and hip-hop on upper-demo numliers, the format wa.s up 13.5-13.9 in 18-34, 7.1- 7.4 in 25-.'>4, and 4..'>-4.fi in 35-f»4. COUNTRY; BACK TO ITS ROOTS By contra-st, counti'y iiidio is almost e.\actly back to where it was when we started looking at these numbers in 1989, meaning that counti-y PDs can no longer .say that despite the lewling off of their format, they're still totter off than they were before (^.arth Brooks. Yet the format remains for- midable: No. 4 o\>erall. In mast day^iarts, country's .shares are almost exactly w+iat they were in 1989. Con.sider these stats; mornings (9.4 now, 9.0 then): middays (9.7 now, 9.8 then); afternoons (9.4 now, 9.5 then); nights (7.0 now. 7.1 then). Demogi'aphically, the format has a 9.5 now in 25-54, compared with a 10.() then. It has a lO.fi 3.5-64, com- pared with a 13.1 in 1989. despite the format's very adult feel at the moment. It's at an 8.9 with men, vei'- sus a 10.1 in 1989. Where is it up com- pared with a decade ago'? In teens, it has a 4.8 now, compared with a 2.8 then. In 18-:M, it's got an 8.4 now, com- pared with a (;.8 in 1989. And with women, it's at 10.4 nmv, 9.7 then. Country could have contributed some male listeners to album rock's ri.se. Album rock was up 7.1-7.5 (A'er- all, its tost numtor since .spring '90, and up 10.2-10.9 with men. N/T is probably also a likely contributor, since it's down 20.9-20.0 in the adult male demo. Rwk iikHo seems to hare gotten some help from a decline in the availability of mtxlern itK'k, particu- larly in markets where the modern rocker returned to album rock out- right CLASSIC ROCK DOESN'T REALLY ROCK Classic rock, on the other hand, shovw'<l its Imvest 12-plas numtor .since fall '9(i, suggesting that it wa-sn't get- ting a lot of help from the proliferation of stations positioning Ihemseh-es as "Cla.s.sic I'ock that really i-ocks." And of all the non-R&B formats that could have been hurt by the rise of R&B oldies, classic iTxrk .seems like a pretty good candidate, off 5.4-5.1 in ;i.5-(>4. Modern rock radio, by the way, should have been hurt a lot more dur- ing the winter. It was off 3.9-3.8 12- plus. i-eturning it to the lewl where it spent most of '98. Hut the format went from 74 .stations in the continu- ous-measurement mai'kets to only 61, suggesting that those that hung around had i)i*clty gootl books. Spanish i-adio, which was off 6.5-6.1 last time, relwunded to its previous levels in the winter. This despite lower-than-usual numters for the for- mat in Los Angeles in the winter Finally, in our analysis of the fall numtors, we .suggested that the adult standai-ds format would prolwbly to off in the winter, following the depar- ture of its New York flagship, WCJKW But much of WQEW's audience showed up at, .surprisingly, suburban adult stjmdards outlets, meaning the format was off onlv overall. BILLBOARD JUNE 5. 1999 119 Radio WINTER '99 ARBITRONS !j'ltht,s oiTmll aiymge quatier hour xhatrs (0) iiuiimte^ Afbitrttu nuirki't nmk. ('"I'lf right 1999. ArbUnin Ratings Ca May w>t be qutited or tvprtHluced without till' ftrinr nTtttrii ]n'rt»isxiwi of Arhitrmt. PROGRAMMING W Sp Su F3 W Call Fornal '98 '98 '98 '98 '99 JACKSONVILLE, FLA.— <52) WAPE lop 40 83 94 93 74 S 8 miK country 82 69 74 57 7 8 HKFYV-fll albtjm 83 80 7.5 72 7 2 WEIZ AC ;i 78 79 5.9 t ) WSOL-FM RtB adull 6.8 M 71 6.5 « 9 WIBT RIB b.9 6.4 5.8 7.0 S I WKIIL oldies 5,8 51 5.9 71 5 6 wnoo country 55 53 53 49 5 E wnjt modern 41 49 47 44 5 2 mm N.'I 4,2 41 50 52 4 4 WMXO AC 31 33 2.8 33 3 0 W2Jt2-tM religious 30 2.2 35 28 3 0 WFSI 35 3.7 2.5 3D 2 3 WCSl relijious 1,0 15 1.0 10 2 0 WWRI) cIs rock 1,6 22 2.1 15 1 S WKZS sports 09 14 11 21 1 3 WBGB cIs rKh 1,0 12 12 13 1 1 WBWL sports 1.2 1.8 18 21 1 1 WIS religious 1,2 07 0.7 06 1 0 WS«E leligious 1 0 LOUISVILLE, KY.— (53) WHAS HI 12,2 12.3 ll.l 12.811 9 WAM2 country 13! 118 153 14211 1 wvn AC 6.5 71 56 6.2 7 S WDII lop 40 8.0 U 6.8 5.5 t s Wins modem 45 39 44 37 S 1 WRU oldies 18 59 54 47 4 7 WTFI altxjm 3,6 40 34 43 4 1 nm RSB 5,6 66 58 52 3 S WSFR cIs lock 44 54 4.3 45 3 7 am allHjm 4,4 37 36 34 3 1 WUK adult std 3,1 24 3.3 2.1 2 9 WMJM R&B adult 1,5 21 11 17 2 4 WOSH AC 09 2 4 WBLO 18 29 31 2 2 wmi '80s oldies 1,1 08 09 14 2 1 WHKW country 2.5 27 3.8 27 2 0 wun W 2.2 11 12 14 1 7 WNHI AC 1.8 15 1.8 1 1 1 7 WISY RSBoMies 08 04 0.9 22 1 5 wwn W 11 15 15 1.5 1 ^ vnuvwiLM religious 09 0.; 1.0 09 1 OKLAHOMA CITY— (54) UTO lop 40 108 119 106 9 911 ( Mn album 8.2 88 93 88 I 4 KXn-FM country 9.1 9.9 84 7.6 7 4 HilO cIs lock 5.9 s.; 73 6.9 G 8 KOMt-tM'FM QldifS 5.8 77 72 67 G E noK W 7.5 6.7 69 6.8 S 3 KTSI CQuntrii 6.0 53 4.6 51 5 9 HiCI. AC 6.0 53 6.0 7.6 5 3 mis AC 6,6 56 49 43 S 3 miG country 07 45 36 38 4 E KOSR AC 4,8 4.6 54 57 4 3 IVSP RSB 4,9 3.0 42 37 2 9 Kcn lac 3.3 2.5 3.2 27 2 5 ms sports 1.3 1.5 0.9 14 1 9 MTL sports 1.1 10 16 2.9 i HTUZ countiy 05 06 2 KEBC sports 23 1 1 10 10 1 0 DAYTON, OHIO— (55) WHHI country 122 12 2 11 1 2112 E WMMK AC 9.4 86 77 7.8 I 9 WTUE album 65 64 55 58 6 1 WLQT AC 55 71 63 5.6 i E WROU RSB 53 60 57 57 i S WINGFM CiS IKk 4.7 4.7 57 56 S 1 am lop 40 6.4 4.5 46 6.4 5 0 WHH) W 46 57 59 57 4 5 WLW N/I 3.9 3.3 4.3 45 3 7 •am top4(Vrhytliili 2.9 SO 25 2.6 3 E WCU/WZLR oldies 3.4 3.4 3.7 3.5 3 5 WONE adult std 3.5 4.4 3.4 41 3 4 WI£G modem 4.7 38 47 4.0 3 3 WFCl leligious 1,9 17 18 19 2 2 WISW countiy 20 1 1 1.6 13 2 0 WVAE im 1.2 1.2 1.2 14 2 0 WOAO RtB adut 2.5 16 2.0 18 1 9 WRNB R&Boldiss 0.9 1.1 0.7 12 1 4 WPFB-fM country 1.3 10 1.6 14 1 2 BIRMINGHAM, ALA.— (56) WBXI RtB 83 76 81 8 610 i WBKK R&B adut 8.0 79 7.8 104 8 7 countiy 11.2 113 94 75 1 3 WRAX modern 8.3 82 8.3 73 7 0 wrsF AC 3,9 36 45 35 6 1 WZRR cisrock 6,2 56 53 35 5 2 WERC W 5,6 45 5,9 48 5 1 WMJJ AC 5.4 72 5.1 68 4 3 WOK oldies 5.4 4.7 3,6 51 4 0 WOEN top 40 1.3 25 4.6 7.2 3 s WAn RiB oWies 31 31 2.4 19 3 3 KAGG reltgious 28 38 34 24 2 t WOWC country 31 32 30 21 2 S WEKN RtBoMals 20 28 19 22 2 4 W Sp Su Fa W Cill FctHil "98 '98 '98 '98 '99 adut sId 2,4 26 3.2 2.2 2.4 WRRS religious 0.4 2.4 WDIC'FM leligHHJS 2.4 18 2.0 32 l.B WlOX sports 2.3 1 6 2.6 19 1.6 WEM top 40 1.5 WAPI adult std 0.9 09 1,9 18 1.3 WILD leligious 18 1 4 18 i; 1.1 RICHMOND, VA.— (57) IVKHK country 10.6 108 95 88 8.6 WIVR-FM AC lOO 103 91 95 8.6 WCDX RtB 10.1 103 9,5 88 8.4 WRVA W 8.9 79 88 7.3 6.7 WRVQ top 40 7.0 6,7 6,3 6.5 6.7 IVMXB AC 4.9 6.2 6.0 44 6.1 WRCiyWLEE oldies 3.5 4.7 53 54 5.4 WRXL album 4.0 33 36 58 5.4 WKLR-FH cIs lock 3.6 3.6 4.7 46 4.7 WUS RtB adult 31 48 5,4 82 4.6 ml RSB oldies 56 39 3,6 48 4.6 WSOl RSB 1.6 2.1 2,6 3i 3.9 WJRV countiy 1.5 2.1 WXGI cxiuntiy 1.4 07 1,5 15 2.0 WTVR-AM adult std 1.8 21 1,9 08 1.7 WGCV religious 08 0.7 08 1.2 1.4 vniEi religious 1.5 1.5 1,2 1.2 1.4 WRHL m 0.9 14 1,7 16 13 GREENVILLE, S.C.— (58) WSSL countiy 107 92 B 1 88 9.9 WIM2 RtB 90 106 108 93 9.5 WFBC'FM top 40 92 8.1 82 77 8.9 WMfl AC 57 57 71 5.6 6.8 WROQ album 5.8 75 8,6 78 6.8 WSn-FM AC 6.4 76 5.8 7.5 6.8 WESC-FM country 9.0 73 7.8 7.8 6.6 VfTPT album 5.2 5.3 6.1 5.5 6.0 WTRD/WORD N,1 51 40 38 40 3.9 WMUU-FM easy 2.8 27 2,2 21 3.4 WOll/WOLT oldies 34 33 3,9 30 2.8 WPEK N,1 15 2.2 1,8 2-7 2.0 WPEG RSB 1.9 19 1,7 13 1.6 WSPA-AM m 10 07 17 11 1.5 WRII-FM countiy 10 M 06 10 1.4 wm gosoel 24 12 08 17 1.2 WRIX-AM religious 10 13 05 09 1.2 ALBANY, N.Y.— (59) WGV N/1 9.9 94 9,4 8510.2 WGHA-AM-FM countiy 9.8 11 1 119 9.0 9.8 WFir top 40 10.0 97 92 99 7.9 W»18 AC 9.0 7 5 7,3 74 7.1 mimSK'ni modnn 61 71 77 70 6.7 nm album 5.6 57 5,0 81 6.6 WABY-AM'FM adult std 73 65 71 67 6.1 WRVE cIs rock 4.3 50 59 45 S.S WTRY-AM'FM oldies 4.6 50 44 4 8 4.7 WKBE/WKU AC 2.8 2.7 2,3 1.7 3.1 WAIZ RSB 14 13 09 1.0 2.1 WHRL 2.5 2.5 28 32 2.8 WROW W 2.5 1.9 22 21 2.6 WXCR ClSIKk 24 20 27 21 2 4 «nu RSBoMies 1.9 1.9 27 2.5 2.3 WEOX modem 0 7 1 1 10 09 l.B HONOLULU— (60) RSSK-FM AC 88 91 98 9911.3 KCCKFM Hawaiian 8.2 8.6 8,9 7610.8 un-FM top 4(Vrliytnm 106 66 8,0 88 8.6 niTR AC 61 5.9 75 6.4 7.9 HNE Hawaiian 82 78 7,3 62 7.2 KXME top4«('rli»tlira 50 65 55 55 t.4 KGMZAM-FM oldies 4.3 6.8 55 61 5.1 KUMU-FM easy 6.3 55 56 56 5.1 IIOMO-AMFMIop4« 6.1 56 41 52 3.9 KSSK-AM AC 52 5,9 6,0 51 3.8 tra album 3,3 25 25 26 3.3 KUCD AC 33 35 33 33 3.2 naw countiy 26 25 2,5 30 3.1 KKLV cIs rock 28 27 3,2 30 2.7 Hini W 3,2 38 36 25 2.5 (UMU-AM adult std 2,2 20 1,4 22 1.3 KAIkl'FM religious 1.4 12 14 18 1.2 (GU N,T 11 1,2 1,0 19 1.2 WHR N/T 17 12 14 14 1.2 KNDI religious 12 10 11 1 4 1.1 TUCSON, ARIZ.— (61) nm countiy 10.5 120 93 13 2 9.8 OHM top 40 74 8,3 9,2 85 8.5 nixz AC 9.5 8,6 88 76 7.3 KLPX album 6.2 63 5,4 64 E.O (HST N/I 5,6 5,3 5,1 48 5.9 lop 40liilr|itlim 5,2 56 62 61 S.3 KWFM'FM oldies 51 4,9 4,4 45 4.8 KPT AC 51 48 58 43 4 0 AFMA modem 2.7 37 3,6 33 3.9 nm cisraa 55 4,8 4,8 53 3.8 KEE adult SId 42 3,2 2,6 20 3.5 KMZ 1,7 3,3 3.6 3.5 nzR Spanish 1,6 21 1,2 11 3.0 Call Format w '98 Sp '98 Su '98 Fa '98 w '99 KZU Spanish 1 8 28 15 14 2.S KXEW Spanish 19 1 1 1.7 24 1.8 nni RSB oldies 10 2.2 19 1.6 IIFFN sports 1.7 1.6 1.8 14 1.5 Km adult std 27 1 7 17 23 1.5 nan Spanish 09 13 1.0 23 1.5 KStZ adult std 07 10 13 1 2 1.3 KCUB countiy 13 1 1 20 09 1.2 KTUC adult std 1 1 14 07 09 1.1 TULSA, OKLA.— (63) KRMG W 11.2 93 91 10 4 9 6 KVHEII countiy 10,8 98 8.4 73 8 6 KMOD album 7,4 82 8.1 93 6.8 iigu-FM oldies 58 46 6.0 45 6.6 mn top 40 7,2 86 8.7 79 6.0 UMM RSB 30 36 44 52 5.2 usn cIs lock 4,4 45 60 67 5.2 KBEZ AC 5,4 48 42 51 5.1 UMUOniF)! leligious 37 41 38 28 4.7 KRAV AC 4,8 45 5.0 44 4.7 moo-FM countiy 37 4.2 5.0 40 4.7 KRTQ countiy 05 0.4 11 4.3 KMrZ'FM modem 5,9 52 54 55 3.8 Kcn countiy 1,5 4.5 2.6 24 3.2 KCFM classical 29 25 2.2 1.9 2.8 KGTO adult std 27 1.7 1.8 24 2.1 KVOO'AJil countiy 45 3 1 4,0 3 9 2.1 KOAS J37J 24 33 21 18 1.3 WILKES-BARRE, PA.— (64) WKRZWKRF lop 40 10 7 134 118 11 012.3 WMGS AC 77 84 68 89 8.2 WGGT/WGGI country 102 10.5 8.3 89 6.8 WBAX/WEJL adult std 4 1 39 5.5 43 6.6 VfEZX cIs lock 78 60 7.2 79 6.6 wnmon-ni aitum 59 44 57 55 6.3 WNAK adult std 5,1 54 36 36 4.4 WIHT/II!MII.FI4 top 40 46 49 53 38 4.0 WIIKWGBI m 36 40 5.9 39 4.0 WQFM oldies 1.5 2.7 34 31 4.0 WCIO/WCIP CMjntiy 2,5 2.1 35 26 3.0 WSBG AC 20 18 18 28 2.3 t«ARM W 18 2.6 2.3 2.5 2.0 wzzo album 20 0.9 1.5 13 1.9 WSHSWUFH AC 21 18 2.0 23 1.8 WHIM AC 14 14 14 15 1.7 WICK easy 16 06 04 16 1.4 WODE oldies 25 1 5 12 10 1.4 WKAB oldies 16 13 1,2 08 1.1 WWDL AC 07 06 0,7 04 1.1 WtIO countiy 1.0 09 1.2 17 t.C FRESNO, CALIF.— 165) (Mi W 101 88 92 102 8.6 KStS countiy 40 44 5.4 66 6.8 mcv RSB oid«s 35 31 57 61 6.5 KBOS top 407ihytllin 66 53 5.6 47 4.9 UWL adult std 56 55 39 42 4.6 KOOO-AM-FM Spanish 40 35 3.0 27 4.4 KSOF AC 27 33 21 3.8 3.9 (LBH Spanish 48 42 3,0 27 3 8 KFSO oldies 40 39 3,9 35 3,7 nsR AC 33 3.6 3.9 30 3.6 KE2L lazz 32 43 4.3 27 3.5 IISEQ top 40/itiytl«ii 28 40 3.4 3.3 3.5 ARNC Spanish 53 48 3.8 39 3.4 KRZR album 28 3.5 46 39 3.4 KFRR modem 59 36 3.8 38 3.3 UFX cisrock 5! 48 32 3 5 3 3 UU AC 20 1 7 28 24 3.1 mpw top4(Vrtiytlm 21 38 2.9 2.2 2 0 KFRE W 10 08 0,6 17 1.5 KGST Spanish 13 14 14 14 1.4 KMPH HT 19 14 1,9 20 1.3 KOOR Spanish 1 1 1 7 1.7 1.5 1.0 KFO Spanish 0.5 1.0 GRAND RAPIDS, MICH.— (66) WSIK'FM top 40/rtiylbm 72 77 79 77 7.8 WBCT countiy 71 74 69 78 7.7 WCRO modem 62 70 7,6 60 7.S WlAV cIs lock 98 89 93 79 7.5 WOOD-FM AC 7 1 65 53 58 5.S WLHT AC 56 61 64 54 5.4 W00D.AM W 71 61 5.4 6-2 5 3 WKLa album 42 54 55 43 4.7 wool oldies 38 35 32 39 4.3 WVTI top 40 4.1 4.1 15 40 3.9 WIOK leligious 25 28 2.9 30 3.3 WMIH adult std 3.2 29 2.2 3-2 3.3 WTRV jazz 33 38 3.2 23 2.7 WCUZ countiy 35 37 4.1 40 2.5 WFGR classical 21 28 18 16 2.4 WMUS-FM countiy 16 16 17 17 2.0 WFUR'FM letigiCKis 16 1.7 1.3 13 1.7 WTIIG M 0.5 04 0.6 1-0 1.2 WINZ RSB 1.1 ALLENTOWN, PA.— (67) WAEB-FM top 40 117 141 122 10011.7 wao countiy 91 113 10.6 13810.5 wzzo album 9.9 8.7 8.7 7610.3 WODE oldies 94 94 94 85 8.8 WIEV AC 9,4 81 96 97 8.1 WKAP adult std 40 4.7 3.6 4.3 5.9 WAEB-AM N/T 4,7 4.4 3.3 48 4.9 wrsp album 3.3 22 27 3.5 2.5 WTNS countiy 11 1.1 1.4 09 1.7 w Su Fa w Call Farmal '98 '9i '98 '98 '99 WMGK cisrock 1< 1.6 13 1.8 1.6 WEST adult std 2.1 19 14 15 1.5 WRHIAM oldies 07 0.5 10 0.8 1.2 WWYT countiy 1.4 1.4 1.1 08 1.2 WABC W\ 0.7 0.9 17 10 1.1 WUSl RSB 10 10 1.2 29 1.1 WHW-FM N.'I 08 07 08 08 1.0 AKRON, OHIO— (68) WHIR N,T 52 60 53 52 6.7 WMll oldies 67 54 63 56 5 9 WDOK AC 55 53 53 49 5 1 WDMI countiy 75 7.6 60 67 SB WEH2 modern 29 31 2.8 36 5.3 WKOD AC 57 41 5,4 61 5.1 WHO album 50 50 44 39 4.4 WRMR aduh std 2,6 13 28 3 1 3 6 WGAR countiy 2,7 16 34 39 3.5 WTAM N/T 32 15 48 46 3.5 WZAA RSB 46 13 39 34 3.5 WMVX AC 36 4.2 4,5 11 3.4 WAKR N/T 2,8 15 46 38 3,2 WHWV jazz 24 18 18 29 3.2 WONE'FM album 53 4.6 46 35 2.8 WDAL AC 3,0 27 25 2.8 2.8 WMMS album 33 38 28 38 2.5 WZIM top 40 26 2.3 2.4 1.7 2.4 WHIR sports 1,6 1.6 10 16 1.7 WHOI lop 40 1,0 10 07 09 1,4 wim countiy 18 2.3 17 18 1.4 WCIV classical 15 11 12 1.2 1.1 WHIC'FM AC 08 0.8 0.6 1,0 WHKAM-FM leligious 03 04 05 1,0 KNOXVILLE, TENN.— (69) wnt-FM country 179 21.7 224 23 722,2 WJXB AC 116 9.3 95 13010.0 WHOX-AM.FM N/T 6,3 52 57 64 8.1 WWST lop 40 7,6 74 84 72 7.9 WIM2-FM album 74 75 69 65 7.1 WHYU oldies 5,5 65 6.8 56 5 2 WNFZ modern 27 24 25 24 4.0 won cIs loci 33 57 5,5 43 4.0 WIBZAM'FM leligms 43 40 2,7 38 3.8 wxvo album 55 4.4 45 29 3.0 wgii countiy 4,9 2.9 3.2 21 2.6 WQBG-AM adult std 10 19 22 2.3 WGAP-AM-FM AC 16 1 7 1 3 04 19 WRiZ leligiocs 11 1.0 EL PASO, TE)IAS— (70) KPDR lop4a'rliytlirol5 5 117 171 13514.5 KLIO album 114 108 105 11612.6 KBKA-AM-FM Spanish 12,4 14 4 10,1 14411.6 KTSM-FM AC 69 84 60 77 8.7 KSII AC 6,7 7.8 80 66 6.8 KOFX oldies 61 49 74 5.7 S.3 KINI Spanisit 27 31 23 3.8 4.3 KHD-FM countrji 62 5.7 51 4.9 4 1 XTSM-AM N/T 37 3.9 14 4 1 3.7 UTH countiy 17 28 2,9 25 3 4 XHH/XiPV Spanisb 3,2 3.2 36 34 3.2 mm Spanish 1,0 0.6 13 0.3 1.7 XEWR Spanisil 17 20 16 1.3 1.6 KROD sports 1,8 14 1,3 15 13 XHIM Spanish 03 05 1 1 0.4 1.3 ALBUQUERQUE, N.M.— (71) XKOB-AM N/T 9,3 87 8,4 104 9.3 KRST countiy 10.2 93 78 74 9 3 KPtll AC S.3 SO 4.6 63 6.2 KZRR album 51 55 5,2 58 S.6 KHFM'FM classical 51 3.6 47 4 1 SO KTEG modem 14 40 30 34 4.7 KKOe-FM AC 54 52 41 43 4.6 KMGA AC 38 30 34 49 4.2 KISS top 40/rtiythm 43 42 4 1 41 4.1 KIOT els lock 4,5 5.1 5,6 41 3.8 KIBL countiy 3.5 46 4.1 38 3.5 KLVO Spanish 33 11 2.6 17 3.0 RSBoMss 0,9 30 39 37 3.0 mi top 40/ibythm 43 40 4,5 37 3.0 KIVA adull std 33 39 34 38 2.5 KLSX cIs lock 23 28 25 18 2 3 KABG oldies 16 25 19 14 2 2 HZKLAM-FM oldies 34 29 17 11 2.2 XROS album 05 03 1,2 27 1.7 KRZN jazz 2,1 20 1.9 21 1.7 KRZT-FM Spanish 07 0.8 0.7 09 1.3 KNML sports 1.3 08 1.2 1.0 1.1 tons Spanish 11 03 07 05 1.1 mx leligious 10 07 15 10 1.0 COASTAL N.C.— (81) WRKS-AM'FM country 173 171 121 16417.1 WIKS RSB adull 12 1 14 0 121 13412.0 WSFL CiS IKk 83 71 86 9910.6 WXNR modern 48 44 4.0 53 5,4 WRHT/WCBZ lop 40 46 52 50 47 4.7 WMGV AC 45 45 4,3 3D 3.5 WHCT-FM oldies 38 43 46 39 3.1 WANI/WXOO oldies 26 27 32 30 2.6 WANG cIs lock 0.8 08 1.4 14 2.5 WEIS-FM lelignus 34 23 25 33 2.5 WRSV RSB 18 18 22 20 2.4 WERO AC 23 25 3.2 1.7 2.3 WMNX RSB 08 05 14 16 1.8 WOSL top 40 18 21 2.5 19 1.4 WFXK RSB adult 13 18 10 09 1.3 w Su Fa W Call Format '98 'II '98 '98 ■99 WIW m 14 12 1.3 1.3 1.3 WZXS adult std 10 18 1.5 09 1.3 WROU cIs rock 10 1.1 11 10 1.1 WTRG oldies 1.7 18 0.8 11 1.1 OMAHA, NEB.-(72) KEZO'FM album 99 101 110 11 310. S niiT countiy 69 94 95 83 9.0 ROW top 40 6.3 7.0 74 76 7.9 KFAB m 8.6 6.6 86 79 T.4 WOW-FM cnunby 51 5.2 55 48 i.I KGOR oldies 63 7.2 5.6 63 6.S ISRZ AC 59 72 8.0 7.4 6.3 XEFM AC 6.9 4.9 56 4.7 6.1 KXAR N/T 54 49 41 67 S.2 XXCD cIsrocA 62 59 36 4 1 3.1 KZFX cisrock 3.9 23 11 29 3.1 XEST AC 2.0 3.0 21 20 2.2 WOW'AM country 18 26 2.7 3.3 2.2 KOTD-FM adult std 1 1 13 25 23 2.0 KOSR sports 10 17 14 1.9 l.B KOTO-AM adult std 16 1,7 08 1.4 KTNP AC 32 22 15 18 1.4 SYRACUSE, N.Y— (73) WBBS country 97 93 97 10410.1 WStR 84 7.9 89 99 (.• WAQX album 79 7.3 7.6 70 7.S WNTQ top 40 69 7.4 7.2 62 7.2 WYYY AC 67 7.6 5.7 70 7.1 WWHT lop 40 55 6.4 6.7 6.1 6.) HSEM-FM oldies 63 5.2 5,9 5.9 S.S WIKWiWTKV cIs lock 50 42 46 56 S.D WLTI AC 58 4.9 4,6 56 4.2 WKRL n»dein 41 40 36 46 3.7 HTUVailSEO adull sId 17 2.3 19 2 1 3.4 WFBL adull std 30 24 30 26 2.9 WHEH-AM sports 26 21 24 20 2.S WFRG'FM country 14 17 22 1.9 1.1 WNSS N/I 17 08 10 1.1 1.4 WSCP'FM counter 14 17 17 1.6 1.3 WHCD jazz 08 12 10 09 1.1 WRDS RtS 1.9 2.8 23 15 1.1 WKRH modern 0.5 11 06 1.3 l.B HARRISBURG, PA.— (76) WNNK-FM top 40 113 102 120 11511.9 WHP Nil 10.3 8.0 83 91 t.l WR*Y cIs lock 72 72 69 61 7.6 WWKL'AM-FM oldies 5.2 5.3 55 5.3 G.T WRBT country 72 7.8 8.1 6.6 (.0 WRKZjWim. country 5.6 7.8 6.8 6.4 S.( WdXA-FM album 58 51 60 52 4.9 WTP« album 4.5 56 4,9 5.0 4.S WDAC leligious 25 12 1,5 17 3.1 WLBR W 2.5 1.8 21 21 3.1 WROZ AC 3.9 4.2 12 3,1 2.7 met RSB adull 2.1 3.0 2,6 17 2.B WUN-FM top 40 32 26 11 3.2 2.4 WtCE easy 2.6 18 21 1.7 2.4 WEGK cIs rock 2.4 1.4 1,6 2.4 1.9 WMTL.AM adult std 2.9 34 2.9 19 1.1 WK60 m 10 17 1.3 15 1.6 WARM'FM AC 13 16 16 1.5 1.3 WTCR top 40 13 12 12 20 1.2 MONTEREY CALIF.— (77) KDON top 40 88 88 94 101 9.7 KGO N/T 6.9 61 62 8,5 6.4 KTOM-FM CMtntiy 57 49 71 53 S.J XPIG triple-A 3.6 4.1 38 4,4 s.o XI DO adull Std 30 29 3.3 24 4.2 KOCH oldies 51 4.5 40 43 4.1 KBOO Classical 4.2 47 15 35 3.9 KCDU.'UBIP AC 4.1 51 43 33 3.B KWAV AC 4.8 4.2 4,2 39 3.7 KRAT Spanish 14 33 2,6 18 3.« KSOWOl Spanish 1.8 2.2 21 41 3.4 KLOK-FM Spanish 3.6 4.3 48 5,0 2.7 KROC-FM album 2.7 24 3,0 23 2.7 KSCO/KOMY N/I 33 17 2,1 33 2.7 KMBI-FM album 2.4 2.0 2,3 17 2.2 UTU 10(i4a'ihytlim 2.8 27 18 IB 2.0 UIBR sports 19 27 21 2,1 l.J KSIO album 17 13 1,3 08 1.7 ■CBS m 2.7 16 1,6 1.8 l.S KBAY K 19 16 24 1.8 1.4 KBRG Spanisb 11 0.3 14 11 1.4 KUM Sfianish 06 04 09 05 1.0 KSEA religious 11 1 1 1.0 KVRG-FM Spanish 16 12 1.3 13 1.0 TOLEDO, OHIO— (78) wim/WTOo countiy 123 128 143 I3514.( WVKS top 40 107 9.6 116 9211.1 WRVT AC 89 8.7 75 91 7.2 WSPO W 62 56 51 63 t.B WIOT album 5.6 61 59 66 S.S HROH oldies 47 6.3 52 5.5 S.3 WWWM-FM AC 67 65 63 62 S.2 WXKR CIS lock 32 41 41 38 4.8 WlUC RSB 39 18 44 41 4.S miimm CIS lock 59 5.1 4,7 38 3.6 WCWA adull std 25 2.6 2,9 28 3.2 HIkU RSB adult 20 2.2 23 18 2.4 WJR N/T 2.7 27 25 28 2.0 WTWR top 40 15 17 1,3 16 1.7 CIMX modem 14 1.5 1.3 16 1.3 WMTR 70s oldies 09 05 05 1.1 120 BILLBOARD JUNE 5. 1999 BY CARRIE Before cutting their RCA debut, "Hello Verti- go." the mcmbei-s of Papa Vegas net'<led some together time. So they rentur-ed out of their Grand Rapids, Mich., ba.se and went to Umdon. "We hung out for three months. We wanted to go to a big city to write new .songs and see a lot of cul- ture," .sajw front man .Joel Fergu.son. "We chose it because so many of our faTOritc influences arc fmm there, like Deiteche Mixie, the Police, the Smiths, and I*ri Zepplin. The current scene didn't influ- ence the music iis much, as the drum'n'ba-ss more- ment Ls curivntly huge, and we cei-tainly don't haw any of that thiwyn into the album. We got to know each other better and had to a(iju.st to something new, which is good for a person." Billboard, Dealing with life's little curveballs is the bitsic gist of the lyrics to "Bomlxshell," the act's fu-st sin- gle, which is No. 21 on this issue's Modern Rock Tracks. "I can't |X)int to any specific thing that was troubling me at the time, .so I ,sup|)ose I wiDte it more as a moral. You have to balance the good things and the bad that hap|)en and try to turn the negatives into positives by learning from experi- JUNE 5, 1999 Billboard. ence. You can't hide from them. Facing them head on is a lietter strateg)'." Finding out the meaning of the lyrics is not as ea-sy: "I'm not trying to Ix' difficult," he saw. "I'd rather listeners figure it out. Plus, I'm an intro- spective person, and I reflect on topics forever. I often don't know what songs are about until a year or .so after I wi'ite them." (i(K)d thing for Papa Vegas that radio didn't wait a year to jumj) on the rocking "Bombshell." "W\? went into this with little Ut no e-.\i)ectations and just tried tn be happy with our product at the end of the day. Success to me is being able to travel all over the world and meet many people while sharing our music with them." JUNE 5, 1999 Mainstream Rock Tracks. r-P M TRACK TITLE ARTIST 1 CD! 3 4 11 ■ait:>c-";fi-<v ■ 2 1 1 20 HEAVY COLLECTIVE SOUL 3 2 3 25 ONE CREED (S 5 6 16 WHY I'M HERE OLEANDER -TeR'JnR'-")L'> fiCPLBLilUN VC-SAL S 4 2 13 MAS TEQUILA SAMMY HAGAR CD 6 7 11 MY OWN WORST ENEMY LIT 7 8 8 19 LIVING DEAD GIRL ROB ZOMBIE •1' !■ Ill , ■ It 1 I'.i aciflMrjTtsscr-i t (D 12 33 3 AMERICAN WOMAN LENNY KRAVITZ 5 MAi;[iii;>,vi-ii!-, 9 7 5 20 WHISKEY IN THE JAR METALLICA ■\i\R,:r-.i 1^- rii ' '. ' 10 9 9 n WHATEVER GODSMACK OD 10 10 FREAK ON A LEASH KORN 12 11 11 12 FLY LOUDMOUTH OD 13 13 9 ENDS EVERLAST 14 M 12 29 WHAT IT S LIKE EVERUST WHITE" . . r.l 'r'.CIT piV t 28 2 ■ AlRPOWER ■ LAST KISS PEARL JAM a© 16 22 UPSIDE DOWN POUND 17 IS 14 47 FLY AWAY LENNY KRAVITZ b > OD NEW^ 1 PROMISES DEF LEPPARD EUPM^'^IA "l-i 19 17 25 10 BAWITDABA KIO ROCK Ofv 1 .\iTi - r ,ii)5t lOPIii 1,, ■ , t (D 19 23 7 ROOM AT THE TOP TOM PETTY AND THE HEARTBREAKERS tCHC ■■■■ QD 30 36 3 CARS FEAR FACTORY ofi&aart i.. ~, - 22 18 21 11 ALL THAT YOU ARE (X3) ECONOLINE CRUSH 23 20 18 20 BLUE MONDAY ORGY (El 2G 27 10 JUST GO STAIND :i.^rjM:Ti--, ft ^f l^■-FJ^■^ t QD 27 30 KEEP AWAY GODSMACK 25 26 10 TEMPLE OF YOUR DREAMS MONSTER MAGNET ® 33 32 5 MEET VIRGINIA TRAIN QD 34 31 4 JESUS OR A GUN FUEL 29 24 28 8 IDONT TRUST N0800Y GEORGE THOfiOGOOD AND THE DESTROfERS (D NEW^ 1 SCAR TISSUE RED HOT CHILI PEPPERS ri"iM:i-ii:i'. wARNiflEiins QD 3E 38 3 VALENTINE SHADES APART . ,', - , UStViRSAL QD 37 37 5 TIME TO BURN JAKE ANDREWS 33 23 17 13 HEY HEY BAD COMPANY TMi: CRliilNAL 9AC CCAi°Ah1 ANTMOLOC*' i i , . ij; ■. i ■ . 34 22 16 16 VINTAGE EYES SECOND COMING SECOND COMING CAPI':]l " 35 21 15 13 ANTHEM FOR THE YEAR 2000 SILVERCHAIR ® 38 2 WHAT S MY AGE AGAIN? BLINK 182 37 29 24 13 FREE GIRL NOW TOM PETTY AND THE HEARTBREAKERS 38 31 20 17 WHY DON T YOU GET A JOB? THE OFFSPRING 39 32 19 14 DIZZY GOO GOO DOLLS ® NEW^ 1 DIE. DIE MY DARLING METALLICA GAMGE INC El£KTRfl,EEG Modern Rock Tracks is TRACK TITLE ARTIST OrPO.'iPWLAWT.-m LAB! I CD 1 1 17 MY OWN WORST ENEMY a( No 1 LIT RCA t (D i:j 5 ALL STAR SMASH MOUTH iNTERlCOPE CD J u 6 LAST KISS •I'j t-.iur.ri'^iE; PEARL JAM ert: 4 2 2 19 PRAISE YOU FATBOY SLIM >K,M A'jIPAL,VLRKS^,IRGIN I CD 9 12 5 WHAT'S MY AGE AGAIN? m Vi or -HE ^T/ilf BUNK 182 MRA I 6 3 14 BETTER DAYS (AND THE BOTTOM DROPS OUT) CITIZEN KING MijRi.l Ei'ATF- V.;.R'(-R RR'ni; I 7 6 5 7 FALLS APART SUGAR RAY 8 1 10 ENDS ,VI-III ■■' CRD SINGS THE SLUES EVERLAST ■l:mm> ljojv 9 10 11 16 FREAK ON A LEASH t;:,U'/< IiL llfllUR KORN 10 8 4 24 ONE 1,,. i_i.,.;rj -'.Jisiri CREED 11 i: 13 NEW NO DOUBT — AlRPOWER OD NEW^ 1 SCAR TISSUE R OitiroRNiad. ir. D HOT CHILI PEPPERS WAPNER bkts 13 13 9 20 HEAVY COLI ECTIVE SOUL ATI ilNTli 14 1.' 6 27 BLUE MONDAY ORGY ELEMENTRTLREPRiSE > QD H 16 8 AWFUL ■filttiRir- fiKiN HOLE DGCTNIERSCLTil^ AlRPOWER CEi lb 19 8 BATTLE FLAG HO,', TO i:-"-_FT/.TT .'Jl-H A BLOWN WI'Ci 10 FIDELITY ALLSTARS S^I^JT5UB POPOOLLTMeiA t QD 17 18 7 ARMY BEN FOLDS FIVE ■II III 1' ,ll,l":ARt-VOF REI^iHO.LII/ESS\ER ■■:iiJ V JSIC : R'T, t QD 23 2 AMERICAN WOMAN LENNY KRAVITZ 19 IG 13 19 WHY DON'T YOU GET A JOB? IHE OFFSPRING QD 21 22 9 BAWITDABA KID ROCK 21 20 21 7 BOMBSHELL HELLO VEFiTiGO PAPA VEGAS QD 22 23 9 WHATEVER GTirOMAC- GODSMACK REPiJPJO'.lNIVfPSAl I QD 2/ 6 WHEN 1 GROW UP GARBAGE CM) 31 2 THE KIDS AREN'T ALRIGHT THE OFFSPRING i::nii.i,'iiiA (2D 28 28 5 OPEN ROAD SONG EVE 6 26 24 26 14 LIVING DEAD GIRL ROB ZOMBIE iTEfELNiiMERit 0"E t (E) 30 29 4 JESUS OR A GUN FUEL L-JTiyiTSIO'EPr, QD 25 30 5 DON'T THINK TWICE MIKE NESS TIME POME! 29 26 25 26 EVERY MORNING SUGAR RAY lA'MATLANTIC ' 30 15 17 13 ANTHEM FOR THE YEAR 2000 SILVERCHAIR EPIC ' THE NEGOTIATION LIMERICK FILE BEASTIE BOYS QD 33 38 3 ALL THAT YOU ARE 1X3) tCONOLINL CRUSH 33 25 20 14 DIZZY GOO COO DOLLS V.ftPT.LR bRCi t (D 38 2 WHY I'M HERE OLEANDER REPUiiL LLMVERL.1L QD NEW^ 1 MEET VIRGINIA TRAIN Ai\.TPtLO^JMLtA QD REENTRY 3 LIT UP BUL^LHLRny BUCKCHERRY DnEAM/iOR«,5 t QD 39 2 STEAL MY SUNSHINE J :a\ t stop the bum rljsh lEN /(ORK FRO I CD 36 40 3 GET SET tWASHLATE TAXIRIDE T.IRE L 39 37 32 7 STOLEN CAR BETH ORTON CTNTRAt R[f.ERVA-|n', HtAtfENLTiCECCNSIRL.TIor. AftLilA t d) NEW^ 1 CARS JbLiLLETt FEAR FACTORY ROAEiRuNNER WemkofMayS. t9SS ® Army / Ben Folds Fine O Nfl Sciubs / TLC (3) Canned Heal / Jamii4K|uBt <$ MoMi' On Wrlhoiil You / Hikatu Uiada ® Promises / The Cranbenies ® New Brtgliter Day / Ke^eti Jones 0 Gsorgv Pw|^ / Eiic Benel Feat jfing Faith Evans (D Who's Been Sleeping / Swing Oul Sistei @) NtglTis Ower Eg^t / Incognito 3 The AniiTiAl Song / Savage Gaiiten O Believe / Misia ® Gel Involved / Raphael Saadii) And Q-Tip 3 Back Together Again / Mbk PnesI & Eliiha La'Vetne O Sukalonosuna / UA ® I Realty Like It / Hatlem Woild 0 Baby One More Time / Britiicv Spears ® Hooked On A Feedng / Baha Men & I See The Sun / Tommy Hennkien 3Sunnv/Fravi ® Betieve / Cher & Gttlltiend/Boylrwnd / BUckstieet © Nantekoislinandara / Dreams Come True ® Push Upstairs / Underworld 3ufe/K-C4& Joio ^ Tender / Blur ® Everytiody/ Dede ® Hey Boy, Hey Girt / The Chemical Brothers ^ She's So High / Tal Sachman ® How On/TwnWaiU ^ Etecirtc.iy ; Suede ® Hate Me Now / Nas Featunng Put( Daddy ® Beautiful Ram / Linie Tenpo Featuring Eddi Reader ® Grateful Days / Dragon Ash Featuring Aco, ZiietHS @ You Don't Know Me / Armand Van Helden ® Ftymg Saucer / Unites} Future Organiietion ® Fortunate / MaiweH ® Henerebanare / Kuramuhon @ Denlse / Fountains Of Wayne ® As / George Michael With Mary J Blige ® Yoo Get Whal You Owe / New Radicals ® Souis/Bird @ I Want It That Way ; Backstreet Boys 3 Bevelaiion Sunsh>«te / Cree Summer Party Wrth Fon Factory / Fun Factory Let Vourseti Go, Let Mysell Go / Dragon Ash Party Lick A-8le's / Boolty CoUms Pretty Fty \Hr A White Guyl / Offspring Sitting Down Here / Lene Marlin First Love I Hikaru Utada Inspired / Satoshi Tonuie Featuring Oiane Charlemagne Selections cm be beard on 'Sepporo Beer Tokio Hot fOO~ every Sunday 1 PM-5 FM oa J-WAVE/81.3 fM in TOKYO B1.3Fm J-UIAUE Stadon inlomiation available at: bttp://www.j-wa«e.co.j( BILLBOARD JUNES, 1999 121 Radio PROGRAMMING Daniel Anstandig Strives To Improve Radio Willi DAER Childish DKEAMS: Radio and computers had always been Daniel Anstandig's hobbies as a kid. By age 9, he'd made the decision to enter the radio business, but, per- haps understandingly, there were few out there willing to hire a Billboard, fourth-grader "After trying for a .year to no avail, I decided that the only way I would get my hands into the industry was by making my own radio station," Anstandig says. And so he did. In May 1998, at JUNE 5, 1999 Top 40 Tracks . > o TRACK TITLE IMPfilNT,m3M0T10N LAHE I ARTIST — ^ No. 1 (D 1 1 9 UVIN' UVIDA LOCA n. 1 RICKY MARTIN CD 2 2 15 NO SCRUBS UFACE.ARSrA TLC 3 3 3 15 KISS ME SIXPENCE NONE THE RICHER 4 4 4 20 EVERY MORNING SUGAR RAY CD 5 6 ; 1 WANT IT THAT WAY BACKSTREET BOYS CD 9 10 8 THAT DON'T IMPRESS ME MUCH MERCURY SHANIA TWAIN 7 6 5 28 SLIDE WAflhER &"JS GOO GOO DOLLS S 8 9 12 WHAT IT'S LIKE EVERLAST 9 7 7 11 THE HARDEST THING UKIVER&ftL 98 DEGREES (2) IS 16 WILD WILD WEST WILL SMITH FEAT. DRU HILL i KOOL MOE DEE CCLUMftA 11 10 8 13 HOKTBREAK HOTEL WHITNEY HOUSTON Ft*T FATH EVUNS S KELLI PRICE ARISTA 12 12 14 25 BACK 2 GOOD MATCHBOX 20 13 11 11 22 BELIEVE WARNER BROS CHER 14 14 12 17 FLY AWAY VIRGIN LENNY KRAVITZ IS 13 13 28 ...BABY ONE MORE TIME iv[ BRITNEY SPEARS CD 13 21 5 ALMOST DOESN'T COUNT ATLANTIC BRANDY 17 16 15 28 SAVE TONIGHT WORK EPi; EAGLE-EYE CHERRY (E) 21 28 4 SOMETIMES JIVE BRITNEY SPEARS OD 30 2 ALL STAR INTERSCOPE SMASH MOUTH CD 22 20 9 SWEET LADY TYRESE 21 17 17 22 ANGEL OF MINE MONICA 22 19 18 25 CAN 1 GET A... JAY-Z FEAT AMIL (OF MAJOR COINZ) & JA ® 23 33 3 IF YOU HAD MY LOVE WC«R ■ JENNIFER LOPEZ 24 20 19 10 ANYTHING BUT DOWN SHERYL CROW ® 24 30 5 ANYWHERE 112 FEATURING LILZ 27 38 4 GIVE IT TO YOU JORDAN KNIGHT (2) 36 2 IT'S NOT RIGHT BUT IT'S OKAY ARISTA WHITNEY HOUSTON (D 31 2 1 WILL REMEMBER YOU (LIVE) SARAH MCLACHLAN 21 25 25 8 1 DRIVE MYSELF CRAZY ■N SYNC (D 29 2 MILLENNIUM CAPITOL ROBBIE WILLIAMS QD 34 2 HEY LEONARDO (SHE UKES ME FOR MD PUSH BLESSiD UNION Of SOULS 32 26 23 9 SPECIAL GARBAGE 33 28 32 5 PRAISE YOU 1 .■. .VIRGIN FATBOY SLIM CD NEW^ 1 STRONG ENOUGH WAftN£H BPOS CHER 39 32 36 15 WE LIKE TO PARTY! VENGABOYS X 33 34 5 WHAT'S SO DIFFERENT 550 MUSK Efi'". GINUWINE SI 37 39 26 LUV ME, LUV ME SHAGGY FEATURING JANET FIVTE M CD NEW^ 1 WHERE MY GIRLS AH 702 39 35 29 6 WHAT'S IT GONNA BE?! BUSTA RHYMES FEAT JANET 40 39 26 DOO WOP (THAT THING) RUFFHjL-E UURYN HILL 15 — yes, 15 years of age — Anstandig launched DAER (www.daer.com), one of the 185 Internet-only radio stations currently heard worldwide on the Web (see story, page 1). Hi.s role: GM/director of program- ming. While he was still admittedly green, Anstandig did gain some experience to get an idea of how the indu-stry works! — and to remain con- vinced that radio was the life for by Chvck Taylor hajbr t^?6MnAi c 1999 aNxaiMPI CMmnicaMm him. At first, he broadcast to his Cleveland neighbors as WDGA-FM (97.9), which led to a job when he was 12 at local WELW-AM (1330) as a copywriter and host of a chil- dren's show. At age 13, he worked as a program producer and personali- ty at noncommercial WJCU-FM (88.7). "As I pursued my interest in radio, I met many interesting and influen- tial people in the industry," Anstan- dig says from home while studying for an upcoming .sophomore-year his- tory exam. "They were kind enough to lend time to teach me things about the industry." Among the lessons Anstandig learned as he researched the histo- ry of radio and studied the pro- gramming savvy of indusitry idols like Scott Shannon and Eric Nor- berg was "that the radio of the 1990s, with the exception of technol- ogy, had declined significantly since the beginning of its legacy. I felt radio was encountering a significant void in creativity. "It seemed, at least through my localized radio vision, as though pro- gram directors were now only con- sidering the business side of the sta- tion or what show off the [satellite) they were going to simulcast," he says. "I had become interested in the listener side of radio — the inner workings of the radio consumer — and began developing my own pro- gramming theories." As GM/PD of DAER, he is re- sponsible for music rotation and scheduling, contacting record labels for product, writing liners, and hir- ing and managing on-air personnel. He also oversees the station's Web site and supervises production quality. In the first t\vo week.s of the sta- tion's on-air broadcast, it attracted an audience of 60,000 unique listen- ers, accoi'ding to Anstandig. To support its on-air content, he has a staff of 14, with functions in- cluding regular shift announcers, a marketing director, a sales director, and sales staff. Programming con.sists primarily of soft rock with some specialty shows that devi- ate from the for- mat, including "Nina Black- wood's Ab- solutely '80s." Among pro- g r a m m i n g shifts are the 10 a.m. -7 p.m. "No- .lock Workday," "Big Band Classics," "Let Us Entertain You" (with a grandfather and son playing big band, easy listening, and show tunes), medical advice, and "Nancy After Dark," a three-hour Sunday- evening shift with satire, advice, book -reading segments, and soft AC music. Navigation instructions on the site are available in English, Span- ish, French, German, and Por- tuguese. Anstandig's primary goal: "Qual- ity is programming that satisfies lis- teners and succeeds in bringing them back again and agjiin. But qual- ity is also sound," he says. "I contin- ually study, test, and consult with others working on streaming soft- ware systems." DAER'sTopIO Markets For Listeners 1. Cleveland 2. Dallas 'i. Washington, D.C. 4. Biloxi, Miss. 5. New York fi. Phoenix 7. San Francisco .S. .Atlanta 9. Detroit 10. Pittsburgh Source: Internet-Radio DAER He has solid relationships with radio technology leaders Telos Sys- tems and Cutting Edge Technolo- gies, among others. "For most Internet radio stations, the sound is worthy of a pair of $10 speakers. My goal is to surpass that with equal bandwidth and deliver living room music presence. Right now, I think we have achieved bed- □ room quality," he muses. Another variable Anstandig says cannot be ignored is the one-on-one benefit of Internet radio, as opposed to traditional broad- casting. He says, "Traditional radio has become known as the 'wallpaper media.' It's the media that's there, but one may not devote more than perhaps 15^^ of his or her attention to the sound. "With Internet- Radio DAER, I've found that people pay more attention to what's on the air When you are using your com- puter and it's talking to you, or in this case, singing to you as you work, a much more personal experience can be enjoyed," he says. Also obviously conscious of rev- enue potential, Anstandig hopes to begin selling "a modest number" of on-air spots to reach his target: pro- fessional females between the ages of 25 and .'>4 in the workplace. Alto- gether, DAER now attracts more than 228,000 listeners a week. Recently, DAER overhauled its Web site in hopes of attracting pro- motional partners to advertise. Al- ready in place are consultants with the mission of "completing the underpinnings of our financial growth," he says. And this, he .says, is only the be- ginning. "I believe we are on the forefront of a new type of entertainment and I am thrilled to be a pioneer in this new form of media." says Anstandig, named one of Cleveland's .50 Most Interesting People of 1999 and rec- ognized as the youngest speaker to evier present to the Audio Engineer- ing Society. "I am striving t4) main- tain on DAER what many radio sta- tions tend to lose with age: creativitv." ■^MMABaiWr— 1-HaaMllAIB Wtlcom* to o«r n«w sital BookiTwrk usl There's much more To come... 122 BILLBOARD JUNE 5, 1999 FOR WEEK ENDING MAY 23, 1999 Billboard Video Monitor THE MOST-PLAYED CLIPS AS MONITORED BY BROADCAST DATA SYSTEMS "NEW ONS" ARE REPORTED BY THE NETWORKS (NOT BY BOS) FOR THE WEEK AHEAD _/ 14 hours daily 1899 9th Slreet NE. WMhiiiffton. D.C. 2001B 1 702. Wnete My GirisAI* 2 Missy •MadmmoT EMott, She'& A SUtfi 3 fljhiel. All I KnoA 4 WUI Smith. WiM Wild West 5 Tymc, Lalety 6 C»c, Hjpptli' Ever Altc 7 Chanle Moore. CMnte's Got A Man 8 Roots, The f+erl Movement 9 8«til!ta)mFaL jMiLW^snGamifie?' 10 Ja Ruk. Haiti) 1 1 Brandy. Almost Doesn't Count 12 BUque, SOB 13 Nat Feat. PuFI Daddy, Hate Me Now 14 R. Kelly. Did You Ever Think 15 TLC. No SCfut» 16 MaiwcH, Fortunate 17 Emtneni, Guilty Conscience 18 Grenlque. Shaulct i 19 Dru HII. You Axe Ev«ryttiing 20 WMnty HcwOn, If; Sol R«ril BJt tt'i Oof 21 JT Money, Who Oat 22 JuvenMe, Follow Me Now 23 Shanlce, Yesterday 24 B.G.. Cash Money Is An Army 25 Maie Feat. BlaclutrHt, Gel Ready 26 Let Nubians, M,ikcdj 27 Deborah Cm. li s CMt Now 28 Da Kaperz, Just For You 29 Tnw t Timara. What d fou Cone Hot fv 30 Faith Evans, Nevn Gonna Let lou Go -^i NEW ONS Mcotca. Street Symphany Union. Rod Wit Us Cro»s Mavenwit, House 01 . , Tevin CampMI, For Your Love arao Continuous procramming 2806 Oprytand Di., Nashville, TN 37214 1 Andy Grtfci. Von Wai1 Ever Be Lonety 2 Teni Ctarfc, Euetytime I Cry 3 Joe Oiffte, A Ni^t To Refnemtwf 4 Collin Raye, Anyone Else 5 Mont|omiery Gentry. Hilitiilty Snoas 6 Martina HcBrWe. Wtiatever You Say 7 Shiflia Twiin. Klar^! i Feei Uke A Woman! 8 Uta McCann, Wfth You 9 CUy Walker, Sties Always R.gm 10 Tim McGraw. Please Remember Me 11 Loncitar, iVmiivt] 12 Alan Jackson. 1 itt)e Man 13 Siflr?)KtiVa<iltimN«pn.Ui(0('4:t'oi^Tr 14 Steve Wanner. Two Teardrops 15 George Strait. Write This Down 16 Mark Wills, Slx'^ In Love 17 Sherrw Austin, IHever Been Ktssefl " 18 The Wilkinsons. Boy Oh Boy 19 Deana Carter, flnge-s ft'orking Cwflime ' 20 Dw^ tbakam, Cnti Me Trtnj * 21 ll*mt 0:.! u.,-,: -j-? iexrA A ute Wwt ■ 22 Brooks & Dunn, South Ot Sanis Je * 23 Faith Hill, 1 1..^ S«crel 0( lite • 24 Sawyer Brown, Drive Me Wild 25 Paul Brandt, that's The Truth ' 26 M»>y Oiapm Cjipcnttr, Almost Hofnr ' 27 Kenny Chesney, Hijw t orever Feels 28 Shedaisy, ( itile Good-Byes ' 29 Trio. After The Gold Rush * 30 DwKt M. Wiirrtn; », SitTr M B*0 ' 31 Ricochet. Si-vm Bridges Riwd * 32 Jessica Andrews. I Will Be There For Voi 33 John Michael Monl|OiMfy, Hella L C.V E 34 Redmon 1 Vale, it I Had A NcVel 35 Billy Ray Gyms. Gi« My Heart To Ym 36 Chad Brock. LiKhlmr^ Does The Work 37 Brad Paisley, Who Needs Pictures 38 Chely Wrtjhl, Snigle While Female 39 South Sixty Five, No Fasy Goodbye 40 Shane Minor, Slave To Tite Habit 41 eilt Engvall. Hi> !,'A>3od Indian Gudes 42 CfuleeTtnnHon, Sc'^ifonr [IwS r„-ti ToCr( 43 Tnshd Yearwood. I'll Still Iwe You MO'p 44 Chris LeOoux, Lfe Is A Highway 45 Warren Brothers. She Wants To Rock 46 Kenny Rogers, Tlie Greatest 47 Monte Warden. II s On^y Lme 48 Rankin Family. Moving On 49 irnaUtPiltibvckKVtUDCIWEni^VfkK 50 Shania Twain, From This Monwnt On * Indicates Hot Shots Stacy Dean Campbell. MaKin' GckxI Time Continuous proframminc 1515 Broadway. NY, NY 10036 1 Will Smittt, Wild Wild West 2 TLC. No Scrubs 3 Ricky Martin, Livm' La Vida Loca 4 Britr>ey Speats, Somettmes 5 ewti Rhymn FnI. JmL WiiCt ITt Govii Br" 6 Jennifer Lopei, II You Had My love 7 Kid Rodi. Bawitdaba 6 Brandy, Almost Doesn t Count 9 Jay-2. J-gga What 10 "N Sync, I Drive Myself Cra^y 1 1 The Olhpflni. Wt^i Don't Yw G« A Jab' 12 Robbie Williams. Millenniuni 13 Nas Feat. Put! Daddy. Hate Me Now 14 DMX. S>ippin' 1 5 Backstreet Boys. I Want It Ttuil Way 16 Geri Hallnvell. took At Me 17 Lit, My Own Worst Enemy 18 702, Where M/ Girls At? 19 Ja Rule. Holla Holla 20 Godsmack, Whatever 21 Blink 182. What's My A|te Again' 22 Uadoruka. Beautiful Stranger 23 Whitney Houston, >l's rwt ft^ Bui Q's Qkaf 24 Buckcherry. Lit Up 25 Tyrese. Lately 2G 112, Any-Ahere 27 Jewel. Down So Long 28 John Williann. Duel 01 The Fatas 29 Jamiroquai. Canned Heat 30 Everlasl. Fnds 3 1 Mosy -MtsdeiManoi' Elliott. Sfte s A Slch 32 Sheryl Crow, Anything But Doah 33 Rob Zombie, Living Dead Girl 34 Citizen King. Better Days 35 R, Kelty, Did You Ever Think 36 JT Money. Who Dal 37 Maxwell. Fortunate 38 Juvenile, Follow Me Now 39 Freestylers, Here We Go 40 Jordan Knicht, G<vc It To You 41 Rahtel. All i Know 42 Ice Cube Feat. Kom. Oyii« 43 Grp. Btu»' Monday 44 Sugar Ray, tvvfy Morning 45 Gimrwine, What's So D4ferent 46 Jesse Camp. See Vou Around 47 Dru Hill. You Are Everything 48 Eve t Notuo, What Ya Want 49 ZPac, All AiMkil U 50 Monica, Ar^gel 01 Mine *• liidtcatcs MTV Exclusive NEW ONS Sugar Ray, Someday Lenny Kravitz, American Woman Smash Mouth. All Star Eminem. Gu'lty Conscience Sheryl Crow, Sweet ChiW 0' Mine Mase Feat. Blaclutnel, Get Ready Continuous procramming 1515 BnMdway. NY, NV 1 0036 1 Ricky Martin, Irvn' id Vida loca 2 SixpeiKe None The Rkher. Kiss Me 3 Everlast. What It's Like 4 Lenny Kravitz, Fry Away 5 Sugar Ray, Every Morning 6 Shanii Tinin, Thit Dcr't Hipie» Me MlcIi 7 Sarah McLachUn, I Wi/i Rememtwr You 8 John WiMiams, Uuel Of ti>e Fates 9 Sheryl Crow, Airything But Down 10 Cher, Strong Enough 11 Jennifer Lopez. \f You Had My Love 12 Cher, Bo<>x.-ve 13 Jewel, Down So Long 14 Brandy, Almost Ooesnt Count 15 Whitney Houston. Heartbreak Hotel 16 16a Pnn I Thi HMttmhn, Root M Tt<! 17 Matchbox 20. Bacti 2 Good 16 John Mtfcncimp. I m tint Rurv^ Anymore 19 Garbage. Special 20 Goo Goo DoHs. Slide 21 Nalalie ImbruElia, Tom 22 Sheryl Crow, My Favoole Mistake 23 Robbie Williams. Miltennium 24 TLC, No ScTLbs 25 Alan is Mortssette. Uninvited 26 Third Eye Blind. jKinper 27 Nalalw Merchant. Lite >S Ssveel 28 Barenaked Ladies. One We«k 29 Falfaoy SMm, Praise Vou 30 Taxiride. Get Set 31 Blondie. Hsthing Is Real But The Gn! 32 Geri HalKwHI. Look At Me 33 Green Day, I>"ie Of Yoiii I il«^ 34 Whitney Houston. It -. N:k RieM But n'i O^y 35 Jamiroquai, Canned F^at 36 Shanta Twain. You're Shil The One 37 Eagle-Eye Cherry, Save Torngtit 38 Eagle-Eye Cherry, f^ihiiB In love Again 39 Jterosmilh, I ton'l Want To Miss A Triing 40 Sarah McUKhlan, Angel 41 Shawn MuHinK. I itllatiy 42 Ricky Martrn, Uif Cup Of I ife 43 Tom Petty I. The Heirtl)reilurs. Free Girl 44 Lenny Kravitz. It Ain't Over til It's 0 45 Budtcherry. Lit Up 46 Jewel, Haixis 47 Beth Orton, Stolen Car 48 Tom Petty t Hw Heartbrealiers, Runnm' . 49 Sheryl Crow. All i Wanna Do 50 TLC, Waterfalls NEW ONS Lenny Kravtrtz. Antencan Woman Sheryl Crow. Sweet Child 0' Mine Sugar Ray, Someday Btnssid Union Of Souls. Hey LeonanJo Chaka Khan, This Crazy Life Or Mine Harry Connick Jr., Come By Me Creed, Tom THE CLIP LIST A SAMPLING OF PLAVLISTS SUBMITTED BY NATIONAL & LOCAL MUSIC VIDEO OUTLETS FOR THE WEEK ENDING JUNE 5. 1999. Continuous progranwning 1221 Collins Awe Miami Beach. FL 33139 NEW 3ni Slorec. Party Tonight Cauiui. Feeling For You Cha Cha. New Millenium Dorw4l Jones, Shorty EigMball t MJG, We Started Ihis Emirrwn Ftat Dr. Ore. Guilty Conscious Enrique Iglesiat. Bailamos Freeityleri. Here We Go Again Geri Halltwell. Look At Me Insane Clown Posse. Anott>er Love Sang Jazz Poet Society. Atxxiginals Luscious Jacfcson, L»dyf'"eers Phil CoNins, Yow'll Be In My Heart Shootyz Groove, L-Train Sky, lOve Song Smash Mouth, AJI Star TO. Bi-lti-f Days BOX TOPS BKkslreet Boys, I Want it That Way WIMney Houston. It's Not Right But It's Ohay Five. Slam think (live! Britrrey Spears. Sometimes TLC. No Schjbs Deborah Coi, It's Over Now M*s«. Gel Ready JT Money. Who Dal Missy -IMisitenwanar* EHiott. She's A Bitch DJ Quick, Yoii'; A Ganita C-Note. Wait Till I Get Hoi^ 'N Sync. I Drrve Myself Crazy Ricky Martin. Livn' La Vida Loca 1 12 Feat. Ul'z. An/Ahere Nas F/PutI Daddy. Hate Me Now London Symphony Orch.. (Williams) Jordan Knighl. G>ve it To You Kom, Freak On A leash Will Smith, Wild Wild West Naughty By Nature, Irve 0* Die Butfi Rttymn FuL iaiit, Wuts 11 Gonna Be?! 0|2 Continuous program mirtg 15 IS Broadway Hew Xoik. NV 10036 NEW Tal Bachman, She'& So H>gh Eminwn Ftat. Dr. Drc, Guilty Conscious Gang Stan. Full Clip Laurent Gamier. Flash t>3ch Goo Goo Dolls, etACk Balkwn Lenny Kravrtz, American Woman Kreidler, Coldness Luscious Jackson. Ladyflngers Madonna, Beautiful Stranger Shootyz Groove, L-Train Smash Mouth, All Star SfMTkelhone. S>ck Of Goodbyes Continuous programming 299 Queen St West Toronto. Onbrio M5V2Z5 Serial Joe, Mistake (new) Tal Bachman. Sho'^ So Higli (new) EawMi Feat Dr. On, Gulff Orisoence (rww) Redlite. Yagga Yaw Yaw (nrw) Jennifer Lopez. If Yoj Had My Love TLC. No Scrubs Sixpence None The Richer. Kiss Me Prazzak. Sucks To Be You Tlw Cranberries, Promises Ricky Martin. Livin' La Vida Loca Robbie Williams, Millennium Edwin, Tnppjn' Backstreet Boys, I Want It That Way Britney Speara, SometirT>es Bwstj Rtryra Feat JaiKt. Wtufs II Gnrna Be'i Kom. Freak On A Leash The Offspring. Why Don't You Get A Job Wide Mouth Mason. Why Geri Halliwell. Look At Me Eminam, My Nanw <s Continuous programming 1111 Uncoln Rd Miami Beach, FL 33139 Backstreet Soys. I Wait 11 That Way (Hea^>J BersuK Vergarabat Sr Cobrarua {Heavy} Jarabe De Palo, DeperKte (Heavy) Jumbo, Monlransislor (HeavyJ Moenia, Voles" (Heavy) No Doubt, New (Heavy) Ricky Martin. Ltvin' La Vida Loca (Heavy) Urkderworld, F^lsh Upstairs {Heavy) tkki SynMs, Srtj?. Pudw Y Itffmn iMed-ml Braitic Boys. Artf 0-» DJ iWedum; Cafe Tacut», fleves IMcdiurnI Ct»e*, Strong Enough (Medium) EverUtl. Ends (Medium) Geri Haltiwell, Look At Me (Medium) KuU Shaker. Siio«ef Youi Love (Medium) Los Eslrambolxos, Iji Cacliarila (Medium) Manu Chao, Bongo Bong (Medium) Sftakira, Inevitable (Medium) Texas. In Our Lifetime (Medium) The Corrs, So Young (Medium) CD 2 tioun weekly 3900 Main SI Philadelphia, PA 19127 Dru Hill, You Are My Everything Nas F/Pufl Daddy. Hate Me Now Erk Bertet. Georgy Porgy Jay-Z Feat. DMX. More Money, More Cash Foxy Brown, I Can't Buda Rhrmei FinL JineL What't II Goruia Be'! JT Money. Who Dat Ja Rule, Holla Holla Whitney Houston. It s Not Right But ll's Okay Naughty By Nature. Live Or Die Cha Cha, New Millenium R.Kelfy/NAS, Did You Ever.- The Roots. The Next Movement Unxy -Msdemeansr" Eltott, She's A Bilch Brandy, Almost Doesn't ComA FVve hours weekly 223-225 Washington St Newark, NJ 07102 Cher. Strong Encugh Maxwell. Fortunate Gert Halliwell, Look At Me Texas, In Our Lilelime Barenaked Ladm, Call And Answer Ben Folds Frva, Army B'witched, C'esI La Vie The Black Crowes, Only A Fool B)ork. Alarm Call TLC, No Scnjbs Jewel, Dcrwn So Long The Crantwries, Promises Len. Steal My Sunshine Omelle, Mia Taiirkle, Get Set LM, My Own Worst Enemy BHIie, She Wants You Goo Goo Dolls, Di;^ Heather Nova. Heart & Shoulder Fi»y Brown, I Can't CMC CALIFORNIA MUSIC CHANNEL 15 hours weekty 10227 E 14th SI Oakland, CA 94G03 702. Where My Girts A( TLC, No Scrubs Burti RtiyinH Fait Jimt. Wtiil's It Gonna Be?! Brandy, Almost Doesn't Count Ricky Martin, Livin' La Vida Loca Trick Daddy. Nann BackstreH Boys. I Want It That Way Tyrese, Sweet Lady T.W.D.V.. Lovely Day DMX, Shppin' Whitney Hautton, irs Net Right But irs 0<^ Mat*, Gt\ Ready Kfazyie Bone. Thug Mentality Britrtey Spears, Somehmes 'N Sync I Drive Myself Crazy Music Video PROGRAMMING MTV Networks' Buy Of The Box Raises Competitioo Gooceros M TV NETWORKS; TOO MUCH POWER? MTV Netwks' domination of the mu.sic video industry has become even more cxleniiivu now that the company plans U) buy the B*)x, one of the few national music %ideo networks that competed with MTV Networks subsidiaries MTV, VHl, and MTV2 (Billboard, May 29). Music video promoters will be among those in the industry affected the most by this latest corporate acfjuisition, and those who spoke to Billboard on and off the record aren't too optimistic about the acquisition's long-term effects. Mark Klein, president of inde- pendent promotion company Hot Sauce Marketinj; Inc., doe.sn't mince words. "There's no question that the lonjr-term effects for the indu.stry will be bad," he says. "Kow^ there'll be even less alternatives tn MTV Networks when it comes to giving artists national exposure. BET is nice, but it's very genre-.spe- cific. And a lot of people in the industry don't really take MuchMusic USA that seriously" Although MTV Net- works plans to keep the Box in business, many people in the indu-stry beliew most of the Box's current management will probably exit in the coming month.s. As Elektra Records direc- tor of national video promotion Larr>' Max summed up, "I find it hard to believe that MTV Net- works won't make any changes to the Box." There's also been speculation that the Bax's Miami headquarters might be moved to New York, where MTV Networks is based, although it's too early to know if this will happen. As Klein says, "MTV is already such a controlling force that when there's less competition, it's going to hurt everyone in the long run." This & that-. The nth annual New Orleans Film & Video Festi- val is seeking independently pro- duced music \ndeos that were com- pleted after January 1997. Entries can be submitted on virtually all film and video formats (except DVD). The submission fee is $35 each for U.S. entries and $4,5 each by Carla Hay for non-U.S. entries. The submis- sion deadline is .June 1.5, and the festival will take place Oct. iS-14. For more details and an entry form, visit www.neworleansfilm fest.com. MTV Latin America in Miami has named Melisa Quiiioy VP of advertising .sales and Emilia Pcna account director of northern cone advertising sales. Quinoy was pre- viously regional client service director at ad agency Ammirati Purls Lintas Argentina. PCna wa.s previously international advertis- ing sales manager for USA Net- works and the Sci-Fi Channel. Former Island Black Music national director of video promo- tion Montez Miller is now PD/ music directoi" at the DeU-oit-ba.sed R&B/hip- hop program "Video Ite- ijuest" (.see Local Show- S|x)tlight). Will Smith and Kid Rwkwill perform at the 1999 MTV Movie Awards. They join previ- ously announced per- former Robbie William.s (The Eye. Billboard, May 22). The ceremony will take place Saturday (5) in Santa Monica, C'alif., with MTV televising the show .June 10. Local show spot- light: This is.sue's s|x)tlight Ls on R&B/hip-hop program "Video Request," which has been on the air since 199(i. TV affiliates: WLP-TV Detroit, Comcast Cable in Detroit, and Mid-Lake Cable in Highland Park, Mich. Program length; SO minutes. Time slot; Various Key staffers: R.J. Watkins, executive producer; Montez Miller, PD/music director; Tim Smith, a-ssistant PD. Following are the top five \ideas for the episode that aired the week of May 17: 1. Will Smith Featuring Dru Hill & Kool Moe Dee, "Wild Wild West" (Columbia). 2. TLC, "No Scrubs" (LaFace/ Arista). 3. K-Ci & JoJo, "Life" (Rock Land/Interscope). 4. Dru Hill, "You Are Every- thing" (Island/Def .Jam). 5. JT Money Featuring Sole, "Who Dat" (Tony Mercedes/Free- world/ Priority). PRODUCTION NOTES LOS ANGELES Dwight Yoakam directed his video for "Crazy Little Thing Called Love." Will Smith Featuring Dru Hill & Kool Moe Dee teamed up with director Paul Hunter for the "Wild Wild West" video. BILLBOARD JUNE 5. 1 999 123 INDUSTRY'S CATALOG AT RISK; ARCHIVED TAPES COULD BE LOST TO BINDER PROBLEM (CoillillUf'd frfitii inu/i' J! specter of rIeterioratinK masters becomes an even more ominous one. The unstable binder of these half-million tapes is the layer that holds the recordable oxide material to the plastic poly- urethane base (see story, page 12ril. Over time, it takes on ex- eess moisture from the air, rising to the surface of the tape in a sticky or shedding state. If these tapes are played without first being heated, or "baked," to restabilize the binder, they are permanently damaged or ruined. While news of the bad-binder phenomenon began emerging in pro audio journals nearly a decade ago, the enormity of the situation, and its impact upon the industry, has never been brought to light. The heat-treatment process is 'If they haven't been touched or rewound, if they're on bad tape stock and untreated, in 10 or 15 years, all that music may end up being lost' -ALQUAOUERI- only a temporary fi.x that allows engineers to make a stable ana- log or digital copy of the record- ing. The tape soon reverts to its unplayable state. Further, indus- try experts are now finding that tapes will no longer respond if baked more than a few times. "It's getting to be like triage now," says reissue producer Al Quaglieri, who has roamed the vaults of many record companies. "You look at the rows and rows of tapes. If they haven't been touched or rewound, if they're on bad tape stock and untreated, in 10 or 1.5 years, all that music may end up being lost, like the movies on old nitrate film." Audio archivist/jazz historian Phil Schaap says that because of the bad-tape problem, he must devote one day a week to making critical transfers of masters. Schaap's task reflects the simi- lar and necessary work being done by a majority of reissue producers and archivists across the country. The process is time-consum- ing. Each tape must be heated for about eight hours. Several more hours are required to set up a real-time transfer To put the problem in perspec- tive, if a crew of six engineers, working an eight-hour shift, attempted to stabilize and trans- fer every one of the industry's at-risk tapes, it would take them 17 years. "When I think of all those tapes, and the work to be done," Schaap says, "I realize I'm get- Tliis is the first of a fliree-jmrt seriea bti Hilt Holland examiiwig the problem of f laired maater tapes used for recorded iiiiisic archires. This instcillinent exi>lo)-es cliemicalliiflauvd lai>es fnmt the WTOs mid 'ilOs. Part Tim will ejea mi lie the problems encountered with iiiisttible and loi-plwtable digital st owe} e media Part Three will look at comiMni/ plans to moue toivard a digitized voidt future. ting angry" Although statistics for the period are spotty, industry vet- erans say that U.S. record com- panies released at least 100,000 albums and singles during those two decades. For each release, companies usually archived a "production master," a safety copy, and at least three multi- track session tapes. In other words, 500,000 archived tapes at a conservative estimate. THE CULPRITS The main culprits in this industrywide problem, according to experts, are two types of mas- tering tape made by Ampex, which was by far the largest manufacturer of pro tape in that era. The Ampex 40(i series, first introduced in 1970, and Ampex 456 stock, first introduced in 1974, exhibit the most extensive binder problems. However, recording engineers, including members of the Audio Engineering Society, point out that Ampex tapes aren't the only ones with problems. They say that some of the polyurethane binder tape (distinguished by a black color and a mat backing) developed by .3M Scotch and Agfa, the other tape providers of that era, also shows problems, although to a lesser extent. Says Al McPherson, VP of technology services for Warner Bros. Records, "Back in the '80s, there was a series of 3M tape stocks that all of us got burned on— 206/207 and 250/251. We backed up the library with this stuff." The decision would prove to be a disaster. "We went back three months later, and it was all coming apart," he recalls. "The backing was sticking to the previous layer, as opposed to [the Ampex tape problem of] the oxide lifting up. Ultimatel.y, what it did was to deposit its backing on the oxide so you couldn't play it back. "We had to go in and back up the library [masters] again for a short period of time. And it cost us a lot of money." Luckily, he adds, most of the original master tapes were on earlier, stable tape stocks. Capitol Records wasn't so lucky, according to several engi- neers who worked for the label at that time. After backing up its library with tape that became unstable, someone at the label gave the OK to destroy many of the older — and still perfectly playable — original masters. The in-peri] tapes are among approximately 16 million reels of unstable analog mastering tape Ampex alone sold to recording studios, broadcast stations, and other archive sites during those decades. The average retail price per I0.5-inch-diameter reel was $125 for 2-ineh tape, .$75-.$80 for 1- inch tape, $35 for '/2-inch tape, and $20 for '/i-inch tape. By the mid-'70s, Ampex began to outsell the industry's former favorite brand, 3M's Scotch. "We tend to have 'the issue' here because Ampex sold so much more tape than the other guys," says Steve Smith, director of marketing for Quantegy, which was the magnetic tape division of Ampex for 37 years. In 1995, Quantegy was spun off and acquired by outside investors. It All analog audio tape has a life span, and thai litelifne will be shortened by unsuitable storage. Below is a stabil- ity rating table for the most popular pro audio master tape stocks from the late '50s to the beginning of the '90s. The rating is based on the observa- tions ot 30 Industry engineers, reis- sue producers, and archivists. was then no longer a part of Ampex, although many of the personnel remained, including Smith. 3M's Scotch and Agfa are also no longer suppliers of pro audio mastering tape; 3M's product line was purchased by Quantegy in 1996, although the company did not purchase any of its tape production plants. Agfa was pur- chased by BASF in 1991. and BASF was acquired by EMTEC Magnetics in 1996; that company still supplies BASF audio mas- tering tape to the industry. Jean Tardabuono, EMTEC's VP of sales and marketing, stu- dio and broadcast products, says she is aware of the sticky-shed problems with the late-'80s Agfa tape stock PEM 469. She adds that it was the only Agfa formu- lation with bad binder and that the problem is very similar to the polyurethane binder in the prob- lematic Ampex products. Tardabuono says that Agfa at the time recalled PEM 469 and, in fact, BASF took the stock off the market when it acquired the company. EMTEC applications engineer Phil Paske says that he only receives "a few calls a year" from customers who still have reels of bad 469, and that the company forwards recommenda- tions about baking the reels. Tardabuono and Paske were unaware of problems with Agfa PEM 468. but several engineers say that in the late '80s, there were small production batches of new 468 shipped to studios that were "bad in the box" — as opposed to tape that grew unsta- ble and sticky years later. They were immediately recalled and replaced, according to engineers. "We bitched, and one day Ger- man guys in white lab coats arrived and took them away," recalls Bob Dawson of Bias Recording in Springfield, Va. WHO IS AT RISK? The list of artists whose recordings are on sticky-shed tape would fill this entire page. In fact, the "baking" of unsta- ble tapes is now so common that remastering engineers have a hard time remembering individ- ual performers. Not surprising- ly, seven of the eight artists who have received Billboard's Centu- ry Award for distinguished cre- ative achievement — Billy Joel, James Taylor, Joni Mitchell, Buddy Guy, Santana, Chet Atkins, and Emmylou Harris — are among the thousands whose tapes have deteriorated. Only the recordings of awardee George Harri.son, who recorded in the U.K., completely escaped the problem. "Harrison recorded on EMI tape, which doesn't have the bad-binder prob- lem. It plays fine," says Ron Fer- manek, who has remastered Har- rison's material for CD reissue. Joe Gastwirt, chief engineer at the Los Angeles-based Gateway Ma.stering, who says he's had to bake "hundreds of tapes" when doing CD reissues, particularly remembers the Crosby, Stills & Nash four-CD anthology for Atlantic. "There were more than 100 multitrack session reels involved in that project alone," he recalls. "All of them were infected. All of them had to be baked." Gastwirt al.so had to bake "all of Joni Mitchell's pre-'90 tapes," as well as "Fleetwood Mac's '70s and '80s pop stuff" and "virtual- ly everything after 1970" for the (iratefiil Dead. Artist/producer Todd Rund- gren says he learned that the analog masters in his library were exhibiting sticky-shed problems nearly a decade ago. "We had to spend months on my tapes," he says. Other artists mentioned by sources include Herb Alpert, the Band, .Joan Baez, Jimmy Buffett, the Carpenters, Rosanne Cash, Eric Clapton, Bob Dylan, Rober- ta Flack, Foreigner, Marvin Gaye, Arlo Guthrie, Spyro Gyra, Merle Haggard, Heart, Kansas, Loggins & Messina. Willie Nel- son, Steve Perry, Lou Reed, Lynyrd Skynyrd, the Smithereens, Patty Smyth, Cat Stevens, Thompson Twins, Twisted Sister, U2, and Hank Williams Jr. None of the major U.S. record companies know exactly how many of their tapes are in peril, nor do they have a list of per- formers whose tapes are affect- ed. TRACKING THEM DOWN Finding the bad tapes on shelves is a major problem for companies — none have statistics nor a computer database that shows either the number of affected tapes nor the brand of tape used for masters. Says Mi- chael Frondelli, VP of Capitol's studios operations, "You basical- ly have to pull a tape off a shelf to see what the manufacturer is." 'We've tried to find a way to identify tapes with binder- breakdown problems before we mount a tape, and we haven't come up with one yet' - CERRV GIBSON - Library of Congress audio and video preservation specialist Gerry Gibson says, "We've tried to find out a way to identify tapes with binder-breakdown problems before we mount a tape [on a machine], and we haven't come up with one yet." Even relying on the brand names printed on tape boxes can be unreliable, says Gibson. "Over the years, various tapes have been pulled out and reboxed because the cartons get chewed up." THE WARNING SIGNS The baking process is not a cure-all, engineers say. Also, they warn, there has been no long-term study of the effects of baking tapes. However, they still say that unless record companies quickly identify, stabilize, and transfer the music on flawed tapes, they could soon see their most valu- able assets literally decomposing and self-destructing before their e.yes. All companies admit there is a problem with at-risk tapes, yet little is being done about it, except on a stopgap, one-by-one, reissue-by-reissue ba.sis. This tread-water position is tied into the struggle by compa- nies to make the right decisions for digitization of their material, decisions not easily made with- out a crystal ball, to make sure that technological obsolescence does not follow. So for now, the sticky tapes sit on the shelves. 124 BILLBOARD JUNE 5. 1999 If I Knew You Were Coming, I'd Have Baked A Tape BY BILL HOLLAND The pniblem with Ain|)ex 4!>fi and 406 and other lai>e» of the jwriod oc- curs as, liver time, the liinder takes on moisture from the outside air, even in near-ideiil storage conditions. The phe- nomenon b; callefi "binder hj-drolj-siii." The hinder decom|>oses and he- comes .sticl<,v from the moi.sture. loses its adhesive quality, and "floats" to the .surface of the tape. I f the tape is played, tlie sticky binder, taking bit-s of the o.xide "playing" surface with it, pulls away from the tape. The binder residue al.so congeals into a brown-black tar that quickly builds and c!og>^ the macliines trans- port system. As a result of the buildup, the tapes often make a .squealing .sound a-s they [las-s mer the rollers. The friction can stop a machine in a minute or two. "The tape slows up, like somebody has their finger on it, and Imally, it stops the machine," says Mark Greenhouse, a senior engineer at NPR's recording studio. "You get this sinking feeling." "To put it in unscientific terms," .si^ys veteran producer/engineer Brian Ahern, "that binder is a sponge." In the early '80s, when the sticky- tai>e problem w'as uncovered, there was a widespread panic at labeLs — at least at the recording studio lev^l — that untold masters would be lost. Luckily, Ampex's technicians (or stu- dio engineers, depending on who's telling the story) came up with the simple, dehydration "taking" method for rustabilizing the sticky tapes. This method still works in most cases. Dehydration is accomplished by placing tai>es in a convection oven set for ViO degrees Fahrenheit The bak- ing lime varies with the width of the tape: 2-inch tapes require 10 hours; 1-inch and '/;^inch tapes, eight hours; and '/(-inch tapes, si.\ hours. The low, even heat of the convec- tion oven temporarily removes the moLsture and stabilizes the hacking binder Engineers say the stabiliza- tion can last anywhere from several days to a month, during w^hich time the musical performances can be dubbed to either a more stable ana- log tape or to a digital format Ste\t! Smith, director of marketing for Quantegy, which was the magnet- ic tape division of Ampex and was spun off in 1995 as a separate comjia- ny, stands behind the Isiking process. "There's never been any knowledge that I have of any (music) information [on tapes] lost becau.se of that. "If you heat it long enough," he continues, "we've found that even the worst tapes, with proper heating, will [stabilize and] last 20 or 30 days. Then they get sticky again. That same tape, you can then heat again to make it fine, and we've done that up to about 1.5 to 20 times on one tape. Now we haven't done that with every tape," he adds. Regardless of Quantegy's assur- ances, however, recording engineers say there are no studies available on the pos.sible disintegration of a liijie's signal after being baked, esijecially those that have been in an oven more than once. Audio archivist/jazz historian Phil Schaap and Library of Congress audio and video preservation spe- cialist Gerry Gibson are among a dozen other experts who say that there is evidence of some loss of very high-frequency signal material on tapes that have been baked. Quante- gy's Smith reluctantly agrees » ith their observations. WHEN BAKING FAILS Some engineers ai'e also finding that there are early warning signs that some older tapes will not re- spond to baking (or re-baking), espe- cially if their condition has been ex- acerbated by poor storage and impro|)er w inding. "We're kind of up against the dock as far as the sticky-tape problem is concerned." reissue pi-oducer Al Quaglieri saj's. "It just sits there and gets stickier and stickier. I don't know w'hat the chemists say about that, but it would seem that some early-and mid-'70s tapes are ap- proaching the jmint of non-playabili- ty. A few just won't play no matter how many times they've been baked." Quaglieri's observation is not an isolated one. If a tape is baked more than a few times, says artist/producer Todd Rundgren, "there ju.st won't be any- thing they can reco\er from the tapes because the oxide won't 'know' which side to stick to, no matter if you bake them or not." "You can only bake a tape six or seven times, tops," echoes mastering engineer Jeff Zaraya. "After that, the tape won't respond." Some engineers' methods of bak- ing tapes vary from CJuantegy's rec- ommended formula, and most ex- perts call for caution when heating master tapes, which contain splices and edits. Too high a temperature can cause the adhesion substance in the spUces to leech through the tape, fouling the play/record oxide. Smith says that older tapes may need a longer baking time. It's "prob- ably true," he saj's, but he disagrees that tapes may soon be unplayable despite the baking proces.s. "I haven't encountered a tape that needs more than eight hours yet," he says. While .sticky tapes can at lea.st be temporarily stabilized, tapes w ith shedding oxide (the actual recording layer) cannot be saved. In these far less frequent cases, the binder has lost its adhe.sion qual- ities so completely that it and the oxide literally flake off the plastic base of the tape. The condition is irreversible, and fatal. "You can try to make a transfer," says mastering engineer Malcolm Addej'. "But if j-ou're brought a badly shedding tape, I'm afraid it's basi- cally 'bye, bje, baby.' " ERASING THE MUSIC During the 'HOs, the new's of the baking process spread through the pro audio community like wildfire. But unfortunately, inexperienced stu- dio engineers, or those out of the loop, often tried to make their way through the sticky tapes without knowiedge of the temporary stabi- lization proce.ss. Many unwitting machine opera- tors tried to play sticky tape, not know ing the warning signs. In doing .so, the brown-black residue would lift from the tape and build on the machine's liftei-s and playback heads. It would also i-ub away at the record- ing oxide side, further damaging the recordings. Even if an operator stopped the machine, be or she would still have further damaged the tape, as the tape residue would have stuck to the remaining oxide, leaving, as NPR's Greenhouse explains, "a vertical, speed-bump-like residue line of this sticky brown-black tar from the top of the tape to the bottom. "This cauiies the tape to lift slightly Quaglieii says. For the informed, though, the con- vection men was a gift from tlie heav- ens. "The discovery of the baking process basically savecl imr lives." says Bill Levenson, senior VP of A&R for Univei'sal .Music Group cat- alog development, who, before the Universal/ PolyGram merger, shep- henled Pol.vGi-am's vast cat<ilog vault Although Quanlegy .still has a pol- icy of offering to hake tajws free of chai'ge, vii-tualiy every mjy'or record BKhKig Cos) BInter Analog audiotape, in essence. IS a chemical compound sand- wich composed of three lay- ers—an oxide coal, a plastic base, and a backing coat— plus two binders to hold the top and bottom coats to the base. In unstable tape, the oxide-layer binder lakes on moisture and rises to the surface of the tape as a sbcky residue. Bad storage adds to the problem. away from the [playback] heads when it's played again," he .says, "causing a 'dropout' or momentary degradation of the lecoitling. This can't te reversed and remains on the tape forever" Further, by starting and .stopping the machine to clean off the accumu- lating tar as it gums up the works, an unw itting engineer would basically be taking an eraser to the music embedded on the tape. "They'd end up staring at what used to be part of a recording on the Q-Tips they'd just used to clean off the built-up residue," producer company. fii"st-tier re'cording studio, and mastering lab has purehased con- vection ovens, often several, and ta|X! baking is an everyday occurrence. MACY'S OR MONSTER? Ovens range in i)ricc from S^350 for a home-kitchen model deep enough to accept one tape to between $5,000 and .$6,000 for commercial, multi- rack models such as tho.se purchased by Sony and Capitol. Experts al.so suggest purchasing a separate ther- mometer more sensitive than those built into the ovens to ensure the safety of tapes. In a |)inch, though, a small home- kitchen convection oven w ill do the trick. Levenson says that during his PolyGram days he was working on some Eric Clapton t<)i)es for CD reis- sue that needed to be baked and dubbe<l. ■•.Somebfl<ly was using the ovens in the building. So a friend gave me a mcKlel number, and I walked over to Macy's and Iviught one." Several engineer's rc|)ortcd baking tapes under unscientific circum- stances. One, caught in midsummer traffic for hours with studio-bound sticky taiws in his car trunk, found that at nightfall, when he finally re- moved the tapes and racked them, they "luckily played just fine — but I wouldn't recommend this." A warning: Older tapes from the '.50s. which are acetate-ba.sed. rather than mylar ( polyure'thane), cannot be baked. They carry brand names like :iM Scotch, Shami-ock, and audiotape and are usually opaque and rust in color If heated to the temperature recommended for baking, they may melt or ignite. Quantegy now supplies its clients with an updated version of the 4.56 stock, reformulated w ith a new binder system in 1SI92. According to Smith, the new 4.56 has "10 times the archival stability of the old stock." Quantegy's new mastering stocks, GP9 and 499, also have "non-hydro- scopic" binders that are not as affect- ed by moisture as older tapes. Emtec's BASF 911 mastering tape is also considered stable. Ealmbia/BCA Imutm Ken Elancy Bies BY IRV LICHTMAN NEW YOI!K— Ken Glanc.v, who held key label posts at the Columbia and RCA labels in the '60s and '70s, died May 2:i in New York of congestive heart failure. He was 74. Glancy, a soft-spoken and humor- ous man, started his miLsic business caieer in the mid-'5(k« as a .sales rep for Columbia Records, thinking it was a temporary stint before com- pleting his doctorate in English. Hut the music business turned into a career that ended with his retirement in the early UJOOs. (.'olumbia thought well enmigh of Glanc.v 's masic Inisine-ss ex|x>>'ti.se ti » promote him to Midwest sales man- ager By the end of the '•50s he was tran.sfei'red to New York, where he moved into A&R and was quickly rewarded with tlie position of VP of A&H for all repertoire, including pop, jazz, and cla.ssical product. .^s a result of what has been terme<l a mid-'60s power struggle at the label, Glancy took over run- ning Columbia's weak-sister tmit in the U.K., where he was credited with making the company a marked success. He was reported- ly the first American to run a m^jor label outside the U.S. Later, under similarly challeng- ing circumstances, (Jlancy achieved strong results for RCA's opcratifm in Europe. After a total of eight .veal's work- ing in London, Glancy returned with his wife, Maida. to New York in 1974 to lake the i)osl of pre.sidenl of RCA Recorfs. Sli'ongly dedicated to jazz, Glan- cy, a native of Springfield, Mass., dei'idcd to revive RC.-Vs legendary QLANCY. CIRCA 19«(B Bluebird .series. In addition, he a\- paiifk'd K(."A cla.ssical oix-rations in the I '.S. and encouraged the lalwl's Nashville operations under Chct Alkin.s. After leaving RCA. Glancy fo- cused on the jazz world with the creation of an independent label. Finesse Records, which released albums by Mel Torme, the MiKlern .lazz Quartet, Paul De-smond, and Cleo Laine. "He wa.s my mentor" sa.vs Bruce Lundvall. now president of EMI Music's Blue Note and Angel lalwls. who joined Columbia Records in 19(i0 and yeai's later went on to run the label.' "1 look back at Ken as someone who really shajwd my career, and he was a dear friend. He re|)re- .senle<I the kind of cla.ss, taste, and intt'lligtmce fthat's all too rare] ... He was special, like Goddard Liebei'son and -lohn Hammond." Liuidvall recalls when, at his sug- gestion, ho and (ihmc.v — Lundvall was still at Columbia and ( ilancy al RCA in New York — sponsored a joint party to celebrate the 40th anniversary of Woody Hei'man's care-er as a bandleader "Ken .signe<l Wo(Kly to RCA. and we liad la back catalog] of Woody recordings at Columbia. "We were both also fans of two great artists; Zoot Sims and W.C. Field.s," Lundvall continues, adding, "He wrote the letter rei-ommending 1 was g««)d for niy fir.>it mortgage." Lundvall says he hopes to arrange a memorial event in homage to Glancy that would "be a kind of a jazz thing." Besides his second v,ife, Maida, lilancy is survived by a daughter, Susan Gallagher; two grandchil- divn; and one great-grandchild. Donations in Glancy 's name may be made to the New School .lazz and Contemporary Music Pro- gram at 5,5 W VUh St.. New York, N.Y 1001 I. BILLBOARD JUNE 5. 1999 C 125 Newsmakers Joni Mitchell Among Honorees At ASCAP Pop Music Awards On May 17, the 16th annual ASCAP Pop Music Awards took place at the Beverly Hilton Hotel in Beverly Hills, Calif. Joni Mitchell was hon- ored with the Founders Award, ASCjVP's highest honor bestowed upon songwriters, .lanet Jackson and Stevie Wonder participated in a tribute to Mitchell, while Madonna, Alanis Morissette, Jewel, Will Smith, Sean "Puffy" Combs, Jimmy Jam and Terry Lewis, Jermaine Dupri, Mase, and the Beastie Boys were also in attendance. Mitchell receives congratulations on her Founders Award from Wonder and Mar- ilyn Bergman, president of ASCAP Shown, from left, are Wonder, Mitchell, and Bergman. Enjoying the festivities, from left, are Alan and Marilyn Bergman and Seagram president/CEO Edgar Bronfman Jr. Les Bider, CEO of ASCAR is flanked by the Wamer/Chap- pell publishers of the year. Shown, from left, are Denise Weathersby, Jay Morganstern, Bider, John Lo Frumento, and Barbara Quinn. T 1 11 1. ' ASCAP president Marilyn Bergman presents Mitchell with the Founders Award. Shown, from left are Wonder, Mitchell. Jackson, and Bergman. 'A Annie Roboff and Beth Nielsen Chapman celebrate their country music song of the year award for "This Kiss." Shown, from left, are Roboff and Chapman. Songwriters of the year Max Martin and Diane Warren join ASCAP president Marilyn Bergman, Wonder, and Mitchell. Shown, from left, are Martin. Warren, Bergman, Wonder, and Mitchell. LeAnn Rimes presented Diane Warren with the award for song of the year, "How Do t Live." Shown, from left, are RealSongs Music's Doreen Dorion, Rim^, and Warren. 126 BILLBOARD JUNE 5. 1990 Newsmakers John Williams, Four Songwriters Of The Year Honored By BMI BMI held its 47th annual Pop Music Awards and its annual Film & Television Awards dinner May 18-19 at the Regent Beverly Wilshire Hotel in Los Angeles. The awards were presented by BMI president/ CEO Frances Preston. Named songwriters of the year at the Pop Music Awards were Mariah Carey, Sarah McLachlan, matchbox 20's Kob Thomas, and Shania Twain, while John Williams received the Richard Kirk Award for outstanding career achie^■ement at the Film & Televi- sion Awards dinner. ilM tin Shown, from left, are composer W.G. "Snuffy" Walden, BMI assistant VP of film and TV relations Doreen Ringer Ross, and composers Bennett Salvay. Trevor Rabin, and Thomas Newman. Some of the evening's winners strike a pose with BMI executives. Shown, from left, are David Renzer. president of the Music Corporation of America and Songs of Poly- Gram International Iric; Martin Sandier, chairman/CEO. EMI Music Publishing: Preston; Thomas; Bob Flax, execu live VP of EMI Music Publishing Worldwide; Del Bryant, senior VP of performing rights and writer/publisher rela- tions for BMI; and Barbara Cane, assistant VP of writer/publisher relations for BMI, Winners of the pop award strike a pose with Preston. Shown, from left, are Sis- ter Hazefs Ryan Newall and Andrew Copeland; Thomas; Preston; Emerson Hart from Tonic; and Sister Hazel's Ken Block. Thomas celebrates his award as one of BMI's pop song- writers of the year with Martin Bandier. chairman/CEO of EMI Music Publishing, which took home the award for BMI s pop publisher of the year Shown, from left, are Thomas and Bandier. Songwriters Rodney Jerkins. Brian McKnighl, and Nathan Morris mingle during the cocl<tail hour at the BMI Pop Music Awards. W3| ^ John Williams, the recipient of the Richard Kirk Award for outstanding career achievement, is flanked by BMI senior VP and special counsel Theadora Zavin and Preston. Shown at the BMI Pop Music Awards, from left, are Graham and Susan Nash; David Foster, and Linda Thompson. Del Bryant, BMI's senior VP of performing rights and writer/publisher relations, shares a laugh with artist Billie Myers BILLBOARD JUNES. 1999 SANTANA GOES SUPERNATURAL (Coiitiiiiied fniiii fxij/r III rent contemporary influences that Carlos was very much feelinjf. He said to me, 'Can you suggest other musicians that I could work with for the other half of the album that would be a natural extension of what I do'.',' and 1 excitedly began that undertaking." Not surprisingly, artists were lin- ing up to work with Santana. Guests on the album include matchbox 20's Koh Thoma.s, Dave Matthews, Ever- last, Lauryn Hill, Eagle-Eye Cher- ry, Eric Clapton, Gooflie Mob's Cee- Lo, Mana, and Wydef .lean, who co-wrote and co-produced a track. The .salsa-tinged "Smooth," writ- ten by Thomas and Itaal Shur, is the first single. The tune, which features Thoma-s singing lead and doesn't officially ship to top 40, modern rock, and hot AC stations until Tuesday (1), has already been leaked and been picked up by a number of stations. "We've played a lot of Santana tracks for a long time, so people were looking forward to a new San- tana album in general, but to get some 'SK)s [feel I mi.\ed in with some really good guitar work, it's icing on the cake," sa.ys Lauren MacLeash, PD at triple-A KTCZ Minneapo- lis/St. Paul. For Thomas, writing a song for Santana and then recording it with him was a dream come true. "The original word was that I wasn't going to sing the .song," says Thomas. "When we wrote it, I thought George Michael should do it. But then someone told me that when Carlos heard my voice on the demo, he believed it and wanted me to be on the record." Santana says he loved working with much of the young talent on the album but denies he can serve as a mentor. "I'm too hung up on being a student," he says. "I'm too in awe of Jeff Beck, Otis Rush, B.B., Guy" As befit.s a late-'SOs project, the Internet figures prominently in plans to build awareness and sales. Amazon.com will feature an inter- view with Santana and an auction of a signed guitar, with proceeds going to charity. BMG's alternative masic site, BUGjuice.com, will have song samjiles and sound bites about San- tana from Matthews and Everlast. Arista also will send E-mails to the estimate<l 100,000 BLIGjuicc.com members about Santana's album relea.se. Arista's site, ari.sta.com, will broadcast a live performance from Santana's summer tour and give away signed posters. The site will also link with the House of Blues site and participating artists' .sites. Additionally, Santana will be the featured artist on IIBL's Web site ,Iune 22-29. There will also be an interview with Santana on Mat- thews' Web site; a chat on AOL is slated for the end of .lune. "We've got almost every track involved in a promotion on the Web," says Adam Sexton, Arista VP of product management. "We're using a2b technology for streaming, and where we're downloading, the download will expire around the relea.se of the album." A number of television appear- ances are also planned. Santana will tape a one-hour "Hard Rock Live" epi.sode for VHl on Tuesday (1), which will begin airing in mid- July. .Joining Santana are album guests Everlast, Matthews, and ■Thomas. He's also slated to play on "Late Show With David Letter- man" on June 2.5, and .some morn- ing talk-show appearances are being slated. The Creative Arti.sts Agency- booked Santana concluded seven stadium dates with the Dave Matthews Band on Sunday (.30). He begins a new leg with Ozomatli in June. Beginning in late July, he and Mana will co-headline a tour that will include Ozomatli as opener. Ari.sta has serviced a sampler W'ith five tracks, not including the Thomas cut, to press and key retail accounts, which also got an elec- tronic press kit. As retailers have responded pos- itiwly to the sampler and word-of- 'We knew half had to he vintage Santana, but we also had to incorporate aU of the current contemporary influences Carlos was very much feeling' - CUVE DAVIS - mouth on the project, Davis says, initial orders have soared. "When we first announced the album, we were going to ship 12.t,000," he says. "Then about [four] weeks ago, based on advance word and buzz, it went to 210,000. Now that the sam- pler is out there, we're going to ship ;{.50,000." Indeed, retailers say they expect good things. "This album should do really well, because it's got Ever- last, Dave Matthews, and other cur- rent stars. Plus, it's good," says Don Van Cleave, owner of Magic Platter in Birmingham, Ala. Because of Santana's strong appeal to the Latin community. Arista is enlisting the help of BMG Latin. Tentative plans call for BMG Latin to work a single to Spanish radio. It will also help sell the album to Latin accounts. Davis' goal for the album is that it top "Abraxas," Santana's seminal 1970 effort, which, according to the Recording Industry Assn. of Amer- ica, has sold more than 4 million units. For Santana, the goal is to keep evolving into the musical force he strives to be. "I am becoming, by the grace of God, the people I love: Desmond Tutu, Bob Marley, B.B. King. I'm becoming bits and pieces of Aretha and all the ladies, Patti LaBelle. That's why I'm so happy. I'm becoming a little bit of all these incredible people ... I know it sounds a little out there, be- cause the industry just deals with certain things with entertain- ment, but it all goes hand in hand. I'm very grateful to be able to use this platform to invite young hearts of all ages to wake up to their possibilities." DREAMWORKS' BUCKCHERRY HITS (Coiitiiuirfl fmni txific 1} highest-charting album from a new act since the label was formed in li)96. Release<l on April G, "Buckcherry" got off to a promising start when it debuted at No. 2 on the Heatseekers chart in the April 24 is.sue. The album ascended to the No. 1 po-sition on that chart in the May 22 issue. "Buckcheny" reached Heat- seekers Impact .status when it leapt to No. m on The Billboard 200 in the May '29 issue. This issue, the album stands at No. 74. "Buckcherry" has .sold 81,000 copies to date, according to SoundScan. According to industry observei's, interest in the album has been pro- pelled by Buckcherry 's first single, "Lit Up," which has been a hit on rock radio. (This issue, "Lit Up" stands at No. 1 on the Mainstream Hock Tracks chart.) The song — an unapologetic an- them to drug use and partying — has been finding a place on the airwaves, despite the fact that a line in the chorus, "1 lore the cocaine," is usual- ly censored when the track gets air- play. Meanwhile. MTV has put the "Lit Up" video in Buzzworthy rota- tion. The clip is also getting national exposure on the Box and VHl. Buckcherry lead singer .Joshua TiKld is candid when he talks about the song. "Drugs and alcohol have been such a huge part of our lives that the song is a real representa- tion of us. I never thought it was a smart choice to release 'Lit Up' as a single, be- cause I didn't think it would , mCAt get plaved. But nLr\l the decision to tSSKERS release 'Lit Up' was really made by our label and A&R guy [Michael Goldstone], and we're overwhelmed by the reaction to the record." DreamWorks marketing manag- er Monica Mylod, who headed the marketing campaign for "Buckcher- ry," further explains, saying. "The name of the game with this album has been to make some gutsy moves. We never made an unedited radio veraon of 'Lit Up.' The impor- tant thing was that, early on, we got radio programmers to see Buckcherry play live. The band's live show has really been winning over new fans. Buckcherry is awe- some live, and Josh is seriously a star." Nancy Palumbo, music director of mainstream rock WYSP Philadel- phia, agrees. "Buckcherry is just a giK)d old-fashioned rock'n'roll band. They're so much fun live, and the lead .singer is very chari.smatic." Todd adds, "I think a lot of young kids who see our show have never seen anything like it. They've grown up on bands that pi.ss and moan a lot, and I think they're surprised at all the enthu.siasm we show." Band guitarist Keith Nelson ad- mits that although Buckcherry is thrilled with having a hit record, the group is wary of a possible backlash. "Everyone loves the underdog, but when you get to a certain level, peo- ple want to see you fall." Buckcherry was formed in 1995, after To<ld and Nelson met through their tattoo arti.st. The band's lineup BVB Express Mis Music To lineup BY EILEEN FITZPATRICK LOS AN(;ELES— In a move de- signed to prepare for the fall launch of DVD Audio product, online retailer DVD Express is adding music to its mix. To date, none of the major music companies haw announcetl specif- ic DVD Audio titles for the format's U.S. launch. So in the meantime. DVD Express officially bows the new area with approximately 4(K) movie and TV soundtracks in the CD format Tuesday (1). DVD Express is among the first movie-sjK'cific sites to offer masic. The new categoi-j; which includes the company's music xideo titles, is part of a miyor re<le.sign for the site and was prompted by consumer suggestions. "DVD is more than just mmnes," .saj's DVD Express VP of market- ing Su.san Daniher. "It's a platform that will be the con.sumer standai-d for entertainment." Daniher .sa>-s the company, which filed its intent to go public in April, wants to <|uickly add DVD Audio titles to its music offerings when the format debuts later this year. Daniher says there are no plans to add music titles that are not linked to movie or TV program- ming. Earlier this year, DVD Expi-ess added Sony PlayStation, Sega, and Nintendo disc-based game systems. Recent announcements from Sony, Sega, and Nintendo indicate that next-gener.ition pla.vei's will allow consumers to play back DVD movies and music. DVD Express expects to carry these pmlucts and further establLsh it.se!f as an enter- tainment E-commeree site. The goal is to position DVD Ex- press as a one-stop shop for all things DVD, Daniher sa\^. To date, DVD Express's major Internet competitors, including Reel.com. owned by HoUywmxl En- tertiiinment, and DVDEnipu'e.com, hawn't added music to their mix. DVDEmpire president .leff Rix says that the company has consid- ered adding music hut that lack of time and money, plus a fierce com- petitive atmosphere, has put the brakes on expanding into tlie cate- gory "If the.v ti*y to .sell to their exist- ing traffic base, they're going to have to put a lot of money into advertising," says RLx. In addition, he says, the wide availability of music on the Inter- net makes it "a tough market to get into." is rounded out by guitarist Yogi, bass player Jonathan ".J.B." Brightman, ami drummer Devon Glenn. Buck- cherry's songs are published by Famous Music (ASCAP). The band is managed by Scott McGhee of SMA Management. Todd says that, unlike many L.A- rock bands, Buckcherry didn't spend years toiling away in Hollywood clubs before getting signed to Dream- Works. "Before we got a record deal, we actually played all over the West Coast, but we hardly played Los Angeles. Then we did an .i\SCAP •showcase in L.A, and that's where I think the buzz on the band started. There was a bidding war, and we went with DreamWorks because of Goldie [Michael Goldstone]." Mylod says. "The setup for the Buckcherry album started almost a year before the record came out. We worked with (tour promotion compa- ny] Hi Fi-efiuency and had Buckcher- ry play clubs in the Southeast, where we felt they were really receptive to this kind of rock." Buckcherry, which is booked by Mitch Rose and .Jenna Adler of Cre- ative Artists Agenc.v, has toured Eumpe (including opening for KLss), as well as headlining U.S. clubs. Buckcherry launches another U.S. tour as the opening act for Fuel, beginning Wednesday (2) in Syra- cuse, N.Y. Although the pairing with alter- native rockei-s Fuel may seem like a odd match, Todd says, "We were playing with all these heavy Korn- type bands. The kind of bands where we were e.\i)ecting Satan to appear at any minute," he adds with a laugh. "We're met Fuel before, and they're really cool guys, .so I think it'll be a good really good combination." Mike Mastrangelo, manager of Tower Records' West Hollywood location, notes. "I think Buckcherry is starting to get attention Itecause they're playing the kind of straight- forward rock'n'roll that's been out of the spotlight for the last few j^ars. " According to Mylod, DreamWorks has not yet decided what the next .sin- gle will be, but To<ld and Ncl.son say they want it to be "Check Your Head." 128 BILLBOARD JUNE 5. 1999 Billboard. JUNE 5, 1999 Hot 100 Airplay. Compiled from a national sample of airplay su;'^. f-1 Dy Broadcast Data Systems' Radio Track service. 740 statlOf>s are electronically monitwed 24 hours a day. 7 dayii a week. Songs ranked by gross impres- skins. computed by cros^reierencing exact times of alipJay with Arbitron lislenet data. This data is used in the Hot 100 Singles chart, £ t § z o t TITLE nR-|SI liMPRINr.PRCMOTION lABEL) i X t £ 1 a i TPTLE ARTIST ItMPRINTVPROMOTION UIB£IJ 1 1 16 NO. 1 NOSCRLffiS nc (LAFACE ARiSIAJ 12 »»a *t No. 1 3D 41 4 IF fOU HAD MV LOVE JENNIFER LOPE/ - " 39 34 I J : WISH YOU WERE HERE I MARK Wilis !-■ iH.'i. 11 ; CD 2 8 UVIN' LA VlOA LOCA hjcky martin ■ a) 48 3 808 BLlQLf 'RlCMIA^TERSCClUMe A 3 3 15 KtSS HE SWPtMCf UOSt I"E BtC-ER . ■.M\.:..UMf' X 41 36 18 HOW FOREVER FEELS KENNY CHfSNET -I'lAl 4 4 22 EVERY MORNING SUGAR RAY ILAVA.'«rUNTICl 3Z) 52 3 SOMETIMES BRiTNE'V SPEARS UlVt) CD i 17 THAT DONT IMPRESS ME MIX^ SMANIA TWAIN (MFRCURV iMASMVIUElJ 43 38 11 PRAISE VOU FATBOT SLIM (SRINT'ASTRALWERKiVWGINl 3) 9 7 1 WANT rr THAT WAY BACKSTREET BOrS fJfVEl a) 45 6 IF VOU ILOVIN' ME) SJIK ^ELEKTRA'EEGI 7 5 27 WHAT IT'S LIKE tVEHLAST fTOMMY BOT> B) 57 3 1 WIU REMEMBER VOU (LWCI SARAH MCLACHLAN lARISTA) 3) 7 12 ANYWHERE 1 i? FEATURING l\L'Z (SAD BOV/ARlSTAI 3S) 55 2 DID VOU EVER THINK CD 11 3 WILD WILD WEST <«usu>fLAr [wi^fuiuxxHOEcamuwK 3D 47 4 TONKiHT THE HEARTACHE'S ON ME DIAIE CHICKS (MONUMENT) 10 8 37 SLIDE GCO GOO IS IWAHNER BROS W 72 2 TEU ME ITS REAL K CI 4 JOlO r.v ■ 11 10 20 SWEET LftOY ® 51 5 WITH VOU lilA MCCANN iASVLUW 18 7 ALMOST DOESN'T COUNT W 49 5 WHO DAT »j* 1 iai Tct* leKEXvmricainTOHTfl 13 12 24 HEARTBREAK HOTEL *K-'«y-<i.ni>sF[iT f(rHE¥iM6ii£u.i«W(«Br*j SI 44 9 ANVTHING BUT DOWN SHEP'L CRH^' ^AM.'INTEHSCOPEI 14 13 20 BEUEVE CHEft IWARNER BROS ) S) 69 2 LAST KISS -■!;.-. JAMlEPici IS ■4 11 THE HARDEST THING MMGREES (UNIVERSAL) S) 53 7 MV OWN WORST ENEMV LIT IRCA) 3i) IS 9 FORTUNATE WAHWtU IROCK LAND'lNiyiSCOPWOLUMeilU 35 63 2 ONE HONEST HEART REBA IMCA NA5HVILLU W 19 10 PLEASE REMEMBER ME TiV M-woR*W iCbRBl SS 40 4 NOPIGEONS^^ u\\i 36 FLY AWAY LE\\v <i».AV'[T: r^IHGIN) 31) 65 2 GOC MJST HIVE SPEVT 1 LITTLE UMETNE ON no 3!Dj2i 7 WRITE THIS DOWN ^ ID 60 6 NANN IMCK DAODT FEAT TBlN* l.lP N i ICEWIOIL.*- 3!)|24 6 WHERE MY GIRLS AT? 3i) 1 HAPPILY EVER AFTER CASE .-.'.1 ■(EHCiJR> 3D 25 10 TWO TEARDROPS SIEVr .■■■H. -. I- AP-TOl (NASIIVTllEll S9 46 9 SITTING HOME ^ 2» 37 3 ALL STAR SMASH MtXJIM MtHStJlJ"*. 1 W 73 2 GIVE IT TO VOU JORDAN KNIUHI lINIEHSCOPEf a 22 10 YOU WONT EVER BE LONELY AMjvGfilGGS 1' A Na.cjHViiLE:i w 1 LESSON IN LEAVIN' JO OCE MESSINA (CUHBi S) 35 5 ITS MOT RIGHT BUT irS OKAY WMITNEV HOUSTON ■ ir.l 92 42 12 HANDS OF A WORKING MAN TY HERNDC*4 (EPIC (NASHVILLEIO H 20 28 ANGEL OF MINE MONICA '.ARISTA) 93 50 16 WHAT'S SO DIFFERENT GINUWINE (550 MUSM^RGI 27 8 hUN! 1 FEEL LIKE A WOMAN! SMANIA TWAIN ■.■i-r.Ll'<yiNASMVILLE]) w — 1 AMAZED LONESTAR (BNAj n 17 13 WHArS IT GONNA BE?! SJ:I* RKfUES fEAI >l.r IFUPMCCtClEKIBMEO 99 58 15 I'LL THINK OF A REASON LATER » 23 28 BACK 2 GOOD .■ . " . .'.VA,A7lANriC:' ID 66 2 eCTTER OATS (AND THE BOTTM DROPS OUT) CITI/EN KING,.'..'.R'(!" i.i'"". M 29 13 ANYONE ELSE COLUN HAVE !-"-^ ir.ASM'.'llLE;i W 68 3 STRANGER IN MV MIRROR RJINDT TRAVIS , (,.V,Mg.;iri 30 32 16 YOU JESSE POWELL (SilASWCAi W I A NIGHT TO REMEMBER JOE DIFFIE (EPIC 'NASHVIlLEII 31 30 30 ANGEL 99 56 10 SPECIAL GARBJIGE lALMO SOUNOSWItRSCOPEJ 32 26 31 ...BABY ONE MORE TIME BRITNEY SPEARS i - fi w I HELLO L.O-V E. hi." ■. , ',(i^((ATUNnC«AS»F<lLLIIl 31 31 33 CAN 1 GET A... 71 54 12 UFE KCI 4 JQJO IROCK LAKfrMCAINTERSCOPEI a> 39 6 WHATEVER YOU SAV MARTINA MCBRiDE i^CA iNASHVILLtlj 32) 1 LiniE GOODBYES SHEDAISniTRtCSIREEIl 39 28 22 EX-FACTOR LAUREN HILl K..ifhDU&LCOI.UP/BlAl H) 1 SCAR TISSUE RED HOT CHILI PEPPERS (WAfTNEB BROS.) 3C 33 45 SAVE TONIGHT EAGLE ETE CHERRr IWORK'tRG) 33) 1 MILLENNIUM ROBBIE WILLIAMS (CAPITOU ID 43 4 CHANTE'S GOT A MAN CKANIE MiXJRF iSILAS.Mr-A:. 75 61 19 ALL 1 HAVE TO GIVE BACKSTREET SOrS -ivL CD Records with the gre^tesl anc-ay e^ms c ] 999 Bill.-A.-varrt'BPI Or< HOT 100 RECORRENl rji IRPLAY 1 4 16 TOO CLOSE NEAI lAftlSTA' 14 U 9 LULLABY SHAWN WULUNS (SJW&COLUMHIA) 2 5 25 NATALJE IMBRUOllA (RCA) IS 12 6 STAND BESIDE ME JO DEE ME3S1W iCURBl 3 3 13 IRIS GOO GOO OOLLS CWAIWER SUNS£T(HEPRIS£1 19 16 13 FROM THIS MOMENT ON SMANIA TWAIN i.MERCURY) 4 2 7 JUMPER IHIHO EVE BLIND (ELEKTRAEEGI 17 18 5 YOU GET WHAT YOU GIVE m*i HAOICALS IMCA/ 5 6 16 THIS KISS FAITH Hill IWARNFR BROS 11 23 24 REAL WORLD WATCHBOX 20 (LAVi^'ATLANTIC) 6 t 9 000 WOP (THAT THING) LAURVN HILL (RUFFHOUStCOLLJMBlAJ 19 17 8 MIAMI WILL SMITH (COLUM&AI 7 11 S no lusi «K srsm > imu MiE iiK M nu ■N STNC IRCAI 20 24 18 1 DON'T WANT TO MISS A THING AEftOSMITH ICCHUMBIAl 8 1 5 HAVE YOU EVER? BHANDV lATlANTiC 21 3 WHEN A WOMAN'S FED UP R K£LL' UiVt;. 9 7 13 INSIDE OUT EVE 6 (RCAI 22 20 36 TIME OF VOUR UFE (GOOD RIDDANCE) fiftEEN DAv iREPRISEI 10 13 13 I'U BE EDWIN MCCJWN (lAVA'ATLANTC) 23 21 27 TRULY MADLY DEEPLY SAVA&t GAROtN ICOlUWBIAj 11 9 27 YOU'RE STILL THE ONE SHANIA TWAIN (ME'^L'LlRv:' 24 25 5 LUV ME. LUV ME SKAMfFEAT JANET iFLYTETYMfMCAl 12 10 7 NOBODY'S SUPPOSED TO BE HERE DEftORAM CCl lAFHSTA: 25 19 5 1 DONT WANT TO HISS A THING UAffR CHESNUTT i.DECCAMCA NASHvlLUJ 13 15 5 UNBELIEVABLE OIAMONO ftIC lARlSTA NJlSMWILlE) Reojnws Ai« Ules aTikJi nave atxiearet] cn ttw Hot 100 cliait lor (nacman 20 *«eks anahav«diTwcwdb«k]wthetopSO. HOT100A-Z TITLE (Publisher Licensicie OrE ) Sheet Music Oist 10 SOe (R Kelly. BMI/Dottfld Lire. BMDWBM 35 lU I HAVE TO GIVE (P^BIasl. KUPOartt WBM H Ml HI6HT LOHG < Oyna %ibt. 8Ml<'t«>ce Zombi. BMITMI ElackwDcO BfA'AuMi, BMliSMG. BMl/Juslir Cmbs. ASCAP;tMl Apri, iSCAP.BnJifier-J-Bromef, *SCAP) (ft 27 ALL STAR (Squ'Sh Motti. BMtWarner- Tamerlane. BMIi WBM 23 UMOST DOESNT COUNT (Su^i Too BMI.'HiiMen fun, ftSCiiP.'*rtiiinei-Iami,tlaw, BMlVani^li L.A.. ASCAP) WBM ai AMAZED (Wame--Tamerlane BMIi'GDlden Wheat. BU|.'Caiee<vBMQ. BMt,'Silv«(»<iSs. BUl'^anes Ot Nashville OreyiiWcks. BMlthtrry Ifiwr. BMIi aMr'HL'WBM 2t ANGEL OF MINE IWB.ASCAP/T/atdM) Tunes. ASCAP/Tragtxi, ASCAP/'PotjCrinn Internaliooal, ASCAP/Rhettihyme, ASCAPl HtWew 3S ANGEL (3Gfiy/ATV Songs, BUI/Tyije. BMl/StudiD Nomade.SOCANi HL 37 ANYONE ELSE (PolyGfam Inlein^tKinal. ASCAP/St tultiin. ASCAP) HL 56 ANYTHING BUT DOWN (Wani«(- Tamerlane. 6MIA}kl C(Ow BMDWBM 17 ANYWHERE (Kalirwnia ASCAP/histin Combs. ASCAP/EMI April, ASCAP) HL 3S .-.BABT ONE MORE TIME IZoiDtia ASCAP/Grantsvde, ASCAP) WBM 33 BACK 2 GOOD (EMI BtachmM, BMI/BHtnis. BMljIMelusH:. ASCAP) HL 14 BEUEVE IXefwniaiiia PfiS/WB, ASCAP/Wamet Cliappell, PRS) WBM 72 BEHER OATS (AND THE BOnOM DROPS OUT) IWB, A$CAPyCivi5 Rex. ASCAP) WBM K BLUE MONDAY fBe. PK/m. ASCAP) WW 43 CAN I GET A.. {Ul Ui Lu. BMIDJ trv, BMI/Ia, BMLfMI Blachwood, BMI) HL 11 CHANTE'S COT A MAN (riyts Tym». ASCAP/EMI ApnI. ASCAP/tMl Btackwood, BMI/Chanle 7, BMI/Scr«n Gems. SMI) HL S4 DID VOU EVER THINK (^iwnba. BMI/R Kelly. BMlWanter lafMjrlane. BMI/Twelve And Un(hf. BMl.'Slam U Well. BMII WBM 9 tltSI M0RNIH6 (McG. eM/Watner-TantBrtane. BMl^n Squ^ei) BML'Canlefturr BULaach 01 Talent BMI) WBM 4S EX-FACTOR (Sony/ATV Tunes. ASCAP/OtrveiM Cieation ASCAP/Colgems-EMl, ASCAPA^roofs-BMG, BMl/Wu-Tana BMI) HL 25 FLY AWAY (Mis\ Bessie ASCAPl ClM 4 FORTUNATE (^amba. BMI/R Ketr. BMI) WBM 71 GEORGY PORGV (Hudmar. ASCAPl WBM 12 OI¥EITT0TOIJ^tMIApr.i,ASCAP/FI,leTriie. ASCAP/Jofdan Knigtit, ASCAPil Liko Im IlwIiB. ASCAP) Ml 49 GOO MUST HAVE SPENT A UTTU MORE TIME ON TOO lUuS^Corp Of America 6Ml/Ba)Un Beal. BMII HL 93 GONE CRAZY (WB ASCAP/TreKaw, ASCAP) WBM 79 HANDS OF A WORKING MAN (Warner- Tamerlane, BMli'Suea; Heod, BMIl WBM 69 HAPPILY EVER ARER (Baby Spike. ASCAP/Gittad Source, ASCAP) 23 THE HARDEST THING IStedlwn A Kipner.ASCAP/EMI ApdI.ASCAPjWusQ. ASCAP) HL » HATE ME NOW (CoprnsM Contral/111 Wil, ASCAP/Zomba. ASCAP/Michael Moody's Umverse, ASCAP/)umpme bean BMl^lam U Well, ASCAP/lellv*S jams. ASCAP/12 & Under. BMI) WBM 15 HEARTBREAK HOTEL (Jungle Fever. BML^MI BlBct.wcod BMI.i'Siiijtvani, 6MI/Marsh«. ASCAP/EMI Apfil, ASCAP) HL 98 HEAVY (Soga/tuzi. BMI/W3(rMi-Tanenan«. BMI) WBM 57 HELLO LO V.E. {W<r)dsw?p( PaciHc BMl/My life's Wiyfc. BMLIrvme. BMI) WBM » HILLBILLY SHOES (Si:(teen Stars. BMI) HL 40 HOLLA HOLLA OVI , ASCAP/D) In. BMI) 52 HOW FOREVER FEELS (Wamer-Tamerlafle. BMt/New Works. BMI/WB, ASCAP) WBM B3 I DRIVE MYSELF CRAZY (EMI) HL 2 IF VOU HAD MY LOVE lEMi Blackwood, BMI/Rodrwy lerkir^s. BMI/IMI Apt.l. ASCAP/LaShiwn Daniets. ASCAP/Cori Tiffani, BMI,Gony/ATV Songs. BMI/Fred Jertiins tit BML^nsign. BMI) HL 2« irrHllOVIirMDI^KOWjItS.A^i'KtfitTFUv.ASW.'WB. ASCAP.'Tam Rob. ASCAPi'The Moew QiapCtr. ASCAPl WW 62 I'LL THINK OF A REASON LATER (Hamslein Cumbertarxl. mi/Babf Mae. BMI/EMI Blackwood. BML^y Land, BMI) HUWBM 13 I STIU BEUEVE Mom SlurBes, ASCAP/Chrysalis. ASCAP/Colgems-EMl. ASCAP) HL/WBM 73 IT A1N7 MY FAULT 16 2 (Big P, BMI) 32 IT'S HOT RIGHT BUT IT'S OKAY fFMl Blackwood. BMt/Famous, ASCAP/EMI April, ASCAP/Pinli Jeans. SESAOZomba, SESAC/WCA. ASCAPiflodnoy lerhms. BMlrtjShawn Daniels, ASCAP) HljWBM 70 IT'S OVER NOW {Kei-3 ASCAPL, ASCAP/Souifinga, ASCAP/NottMig Hill, BMI/Hrlco. BMI/lntersect, BMl/DeMone BMI) WBM 13 IWANTITTHATWATIZoinba.ASCAP/GrantSville. ASCAP) WBM 53 I WILL REMEMBER YOU (LIVE) (Sony/ATV Songs, BMI/Tyde. BMI/Fcn Film. BMI/Saamus Egan, BMl/TwenlKtti Century Fax, ASCAP) HL/WBM 5 KISS ME (LeTigreSurUn Ballon. ASCAP/^uiitt. ASCAPz-My So-Called, ASaP) Ht 64 LAST KISS ana. BMI/Eort Knox. BMI) WBM 75 LESSON IN LUVIN' (Chappell & Co . ASCAF/Sa^naker. ASaP/S<»>r/AIV Crovi Keys ASCAP/tiioe Quill, ASCAP) m. 68 UFE [Zomba. BMI/R KbI^. BMI) W8M 78 UTTU GOOD-BYES CWrthou! Anna. ASCAP/Magnolia Hill ASCAP/floshine Wstef ASCAP/Colonel ReM, ASCAP/Ker>lucky Itiu'iiJer. ASCAP/tCG, ASCAP/Sony/ATV Irw, BMI/Heiit Breeti, BMI) HL 1 UVIN' U VlOA LOU lA PtanhHn Vgi, BUtWvntf tamclanc. QtAl'DtSVOPHOeiA ASCAP/PdtGnni. ASCAP) HUWBM 34 MAN!IFEELLIKEAWO«lUN!<SoiicsOIPolyGram Int I, BMI^oon Echo. BHl/Zomtn, ASCAP) HLVWBM 90 HAYIE NOT TDtllCWI [Smash Vegas BMl'Bfi Picture. aUlNme^r Om Sor^s BMl'H Cheams Hni mp. BMI) WBW 80 MILLENNIUM (EMI Blackwood, BMt/BMG, BMI) 39 m FAVORITE GIRL IStiwi A JwiUn, ASCAPL, ASCAPL' (M ASCAP<'Pf')CramliTl!Tnat)onal, ASCAPL Israel ASCAP/Big On Blue BMl'ttsrw l«t«riane 6M0HL/MM It MV FIRST NICHT WITH VOU (Sony/ATV Sofi|p, BMLICAF, BML-Tfoalsoniis ASCAP) HL/WBM 61 MY own WORST ENEMY <LMI ApnJ. ASCAP/Jagermeistro, ASCAP) HL 62 NANN (First N' Gold, BMI/Tnck K Rick. BMl/Funk So Ri£htaus, BMI) 66 A NIGHT TO REMEMBER (Curti, ASCAP/Kinelic Diamond II. ASCAP/ltoti N Rriey. ASCAP/Song Ot Pe«, A$CAP/G*amily ASCAP) HUW8M 60 NO PKEDNS (S^. ASCAP/^eal Burg. ASCAP/Commarxta fcalHlo, ASCAP.i'Sate C-acker , ASCAP/'StW em Down BMli>litco, EHnarr ASCAP/fcr CoiKiol. ASCAP) H 3 NO SCRUBS (Sdet em Do*m. BUMtlco. BWIam. ASCAP^Uji Ca«roJ. ASCW^-EHI Apnl ASCAP/1<andacy, ASCAP/Tony Meicedev ASiykPitVmdswwt PKife. SMI) Hl/WBM 67 ONE HONEST HEART iSlarslriick Ancel. BMl/Malloy's Toys, BMl/Oi«>e Slats, ASCAP/Zomba, ASCAP/Swoai By The Music, ASCAPl HL/WBM 91 ONE (Tfemonti, BMI/Siapp, BMI/t)<<>iehl Frye, BMII 96 ORDINARY LIFE IM8£not>a H<ll, ASCAP) 100 PUYERS HOUDAT (Badass, ASCAP/Zombt. ASCAP/Rag Top, BMliI Saw Em, ASCAP/Strand. BMlrt)vw Kill, BMl/GoJden Withers. ASCAP^UnKhappefl. BMI) HL/WBM Billboard. JUNE S, 1999 Hot 100 Singles Sales Compiled from a national sample ol POS {poinl at sate) equipged relail stores and rack outlets wtiich report numtier ot units sold to SoundScan. Inc. This data is used in tr>e Hot 100 Singles chart SoundScane llllin z 1 z 1 o S i:i i TITLE ARKST IIMPRINT 'PROMOIlON LABELI S X * i o s s TITLE ARTIST |IMPRINT:'PROM0TK}ft LABEL) NO. 1 31 37 15 BLUE MONDAY ORGY 11 - ■MENTfltE.REPHtSE. 3) 5 2 IF YOU HAD MY LOVE JtNNIFER(F*F7(WnPhFF,.i 1 if TJfi 1 39 34 13 TTHE ANIMAL SONG SAYACE rjIROEN h.r"-, 1 ' WOCCCOl tJUHlA 2 1 6 UVIN' LA VIDA LOCA FHCKYUAKI r,,: ;■ 40 42 12 WITH VOU LILAMCCAMNIA^.LUM. D 3 4 FORTUNATE MAifttLL ira* lASOlNIERSCOPtraLIWBlA) 41 35 3 STRONG ENOUGH CHEIT IWARNER BROS 1 3> 2 7 WHO DAT ® 46 5 SINGLE WHITE FEMALE CMELY WRIGHT IMCA rtASHVILEEJ X> 4 4 WHERE MY GIRLS KTI 702 'MDTCWt.l 43 39 19 WOOF 'MfjPTXa^m mSHMtlMFIJCWUilimXTTI S) 6 9 BOB H -'ji. 1 .(Hif -. l.'o-.-h.- ■ fji ijMHlAl 44 43 8 IWANTU FlLLl I.GHT IG fUNK'Y'ESTLESS^ D 8 3 CHANTFS GOT A MAN CHANTE MOORE i. i. .M 4S 41 12 ALL NIGHT LONG^ ^ ^ D 7 14 GIVE IT TO TOU XWOAN KNIGHT l.fJIERSK;(JPE: 46 45 3 IT'S OVER NOW s 9 12 MY FAVORITE GIRL OAVE HOlllSTtR UfF W ^O LRI AUAtJ«" f. as 49 15 IGOD MUST HEVE SEWT) t unif HK UK ON IW 10 ID 14 itaintmyfault: MWTHESMXAERFEAI HlSIWALIHOUMninaOIVTTl 41 44 13 WRITTEN IN THE STARS ELTCI mn i LEANS ((IKES ;:-.^aBCY«ET5kAfOI 3D 17 18 ALL 1 HAVE TO GIVE I'/.:.. ,1-1 : 1 .ijivE) 41 32 9 NO SCRUBS IlCdAEACLAftlSTAI 12 11 13 IF YOU ILOVIN' ME) SILK Ti :K'fAlh., SO 52 9 HILLBILLY SHOES MDVIGOMEHY iCCLUMfi^A KASH'.tLLEll 33) 21 10 HOLLA HOLLA JA RULE '.'i.-^r^ 1\C ;DEt lAM.VERCJRVl SI 48 6 SITTING HOME ■ .^hSTAi 14 16 10 WHArO VOU COME HERE FOR? IRINA & lAMARA ■ S2 47 6 NOTHING REALLY MATTERS IS 14 12 MY FIRST NIGHT WITH YOU MTA 1*. . ' , ■ 1 ■ 3) 62 3 A NIGHT TO REMEMBER ;r*0iKiE .-..1, 1 m; 3£) 1 THAT DON'T IMPRESS ME MUCH SHANIA TWAIN i HASMVILLEIJ S4 51 17 FADED PICTURES CAy >. irjr . 1 '.'.(.MEBCURYl 17 15 9 lUASE KMEMSEII NEjTOli > UTTU WHU TIM MCGRAW (CURBl SS 50 2 GEORGV PORGY EK.^i«.Nt((EAr fAitH EVANS ViAHNL^eflOSI 11 22 12 HARD KNOCK LIFE IGHETTO AHTHEMI JAV-Z (ROC ATELUVDEf AAM/MERCORTI S« 54 32 PUSHIN' WEIGHT ICE CUBE FEAT MB SHOflT KHO* (PRIORITY) 11 II 19 WE UKE TO FARTYI VEW^ABOTS (CROOWLlOOlliSTRICTLt RHYTMUl S7 53 3 AUTOMATIC MC EIHT (HOO BANGIN'/PRIORITV) M 19 27 BELIEVE f.l'EE iv..A.(t(tR BROS ) SI 57 13 PRAISE YOU f ATvlO- ' ■■ IM " •■NT ASTRALWERK^VIRGIN , 21 12 17 KISS HE SOKNC£N0»<IMCftlC«£B (^>.in.ai;«ai«. SI 56 5 SHE WANTS YOU mnif (.r,w.>iL'n''JiR'o(Ni 22 13 11 WHArS IT GONNA BC?! B(l5r*EH.KeSfEAr JifJ lf.FMXE.LLi"'fiAEE'ji M 38 8 THIS THING CALLED LOVE 21 23 10 ONE MORE TRY . V M 'I'-'JI .(.HtllAWl) 11 55 8 ONE-NINE-NINE-NINE OjMAkJ'dLAI '>*[JAI A HAA.UiVRiLlKlK 24 20 19 C'ESTLAVIE (T-WITCMED 1 - W - 1 BETTER DAYS - : ^K> 2S 24 15 1 STILL BEUEVE MARIAH CARE'^ (COLUMBIA! 13 60 18 HOW DO 1 DEAL JE'.'dfEP lGV: HE'AITT Ul'WABNEP BROS) 21 25 15 STAY THE SAME JOET MClNTYRE iCZl 64 59 29 GHETTO COWBOY (11. IMLU 'AMI.- IW) THUiaWTmES&WlATIWTY. 27 27 8 THESE ARE THE TIMES DRU HILL tUMVEBS^TYi'lSLANftWRCURri 69 63 6 NASTY TRICK GANGSTA BOO iHTPNOTIZE MINDSflElATIVim 21 26 18 KUnREM HOiairS NOTIDQIT BUT m OUT AHT*»(Kll£T[)KrUI rATHEVMSttEUfflKI !fi,U, E( 58 23 I- br l.'.M-'I.r. ,11: ijMBIA.i 29 29 13 I'M NOT READY keitm'.at;,- uutratee. w 73 2 UGHTHOUSE NEW IllRECIION r.(TRfiH'/f(.»O.TPlC 33 4 1 DON'T WANNA SEE JD 74 13 1999 PRINCE WAR'iER B(«)S) 3D 64 2 COO ausT HAVE SKiii > UTTU none TIW n mi AlMAMA FEAT Ti SYNC (RCA (NASH«LLE» H 61 9 SUM DUNK 32 30 10 WHEN 1 CLOSE MY EYES SHANICE (L^ACEjARISTAj 70 65 32 WHATCHA WANNA OOt MA 1 FLAT :msii£ wiisCN INOlrtflTWWdlY, 31) 36 9 WAIT TILL 1 GET HOME C NOTE fTRANS CONTINENTAOEPIC) 71 66 7 HARMLESS WUL5ERRY LANE (REFUGE'MCA) 34 31 5 MAO PROFESSOR INSANE CLOWN POSSE USEANCWERCUHY) 72 71 8 1 Wia BE THERE FOR VOU ASyCA AUDPE'WS ;0REAM«0((AS(NASMW11EE|I 3S 28 11 EVERY MORNING SUOAR RAY (LAVAiATLANTICI 73 67 4 LITTLE GOOD-BYES SHEDAISY (LYRIC STREETl m 1 WATCH OUT NOW rHEBWINUfifEAr TEliAKiW . ..iiiA-fi.V..-' 74 69 9 MARIA eLONI]IE I-,JN1:| 37 40 7 PLAYERS HOLIDAY r AOY TEAT ICCiWRrimCIMAii"' V^"' 38 1 IF YOU REALLY WANNA KNOW MAETC CWSEY i I vL O Records with the sreatest sates gams <£■ 1999. Bitlt»arij/BPI Communica(ion& and SoundScan, Inc. 47 PLEASE REMEMBER ME (Sony/ATV Cross Keys. ASCAP/BlMt Shy Ridet. BMI/lrvinc BMI) HUWBM PRAISE YOU IPoly&am ASCAP/MaatBHVSonesOl PolyCram. BMI) HL SAVE TONIGHT (Diesel 2. STIM/Wamei-Tameilam. BMIi'Warner Chaopett PRS) WBM 89 SCAR TISSUE (Moebetoblame. BMII »9 SHrSABITCH (Mass Confusion. ASCAP/WB. ASCAP/tfiremia Beach, ASCAP) WBM 86 SINGLE WHITE FEMALE (Blahemote Avenue. AS(yuW.n<l5wi(>t factic. ASCAf/FMI FUactiwoeKJ. BMl'Mark Alan Spnneor, BMI) HL/WBM 55 StTTlNG HOME [Daluxla Hduv. ASGAP/Justin Combs. ASCAPi-TMl Apnl ASCAP.itknc Ar-geletliB. BMVBlafce Kaiiinelo'i BMllVKiilsvnnit Pacihc.ASCAP/PDlyGrani International. ASCAP /Motwoi. BMtl HL/WBM 20 SUDE ICorner Di Qa^-k And f(efit, BMI/tMl VirRin, BMI) HL 46 SOMETIMES (Zomisa ASCAP/Grantsnlkt. ASCAP/BMG Scand4navia) HL/WBM 74 SPECUL ([teadarm. ASCAP/Almo, ASCAP/Vibociushei. BMI/lrvine, 8MD WBM 8S STRANCER IN MY MIRROR (AoiH Rose, BMtiS>ny/ATV Cross Keys, ASCAP/Kim Williams. ASCAP) HIjYIBM 57 STRONG ENOUGH [ftive Chorte. BMt) WBM 31 SWEn lADY IHharilrtrr. ASCAP,W ASCAP:^ SUO. ASCAf>/)l3h«d UnJai My CotSitn. ASCAP/Cti^saks. ASCAPl WBM SS TELL ME ITS REAL (EMI Apnl. ASCAP/Cord Kayla. ASCAP/Hw Bee Doomit ASCAP/2 Big Prod., ASCAP/WB, ASCAP) HLW6M B THAT DON'T IMPRESS ME MUCH (Songs W PolyGram Infl. BMVLuon Lctiu, BMli/uinto, ASCAP) HUWBM 59 TONIGHT THE HEARTACHE'S ON ME (Music Dty, ASCAP/EMI Apn), ASCAP/^ttiem Days, ASCAP) HL 30 TWO TEARDROPS (Mr B(rt)tia,BMI/Sony/ATVIre«, BML'^tB'.* Wanner BMI) HU'WBM 51 WE LIKE TO PARTY! [?f^j BMIyVralentHottBrdam) HL 68 WHAT'D VOU COME HERE FOR? [Jitnkie Funk, BMl/lean Slate-., BMI/'Cal Pow. BHI/Iam-Cat. BMI) 44 WHATEVER YOU SAY [HamsteinCumtKrland BMI:^by Mae. BML'New Haven, BMl'Music Hill. BMI) HL/WBM 19 WHAT ITS LIKE llristi Inlellect. ASCAP/T Boy. ASCAP] 24 WMAT^ IT 60MIU BE?! IT7>ah's. BMLiWarrw- Tamcftarw. BMI/7W0 Watts, ASCAP/Ioni Robi. ASCAP,iWB, ASCAPl WBM 77 WHAT'S SO DIFFERENT (Gald 0»diJy, ASCAP AT l(K>ni« Scarh. ASCAP/WB ASCAP) WBM 6 WHERE MY GIRLS AT? (Mass Confusion A5CAP/Vir£ini3 Bcacti. ASCAP/WB. ASCAP) WBM 7 WHO DAT (Famous, ASCAP/Tunes On The Verje Of Insanity, ASCAP /Mo Better Grooves, ASCAP/Rufltown , BMl/Tony MeiteOes ASWP/Honey From Missouri. ASCAP/Hil Co South. ASCAP/Iabitlous, ASCAP) HL 94 WHY D0N7 YOU GET A iOB? (Under achiever. Smmnen. BMI) HL 16 Wild mLD NEST nrvytial ASCAPi'Blact Btil. ASCAP/Jobett, ASCAPiTffi, ASCAP-^MI Apnl ASCAP/Zomha, BMI) H SO WISH VOU WERE HERE (Acuti Row, BML^Sony/ATV T(M. BML'Ur Bubt>a, BMl>'B«lton UrKle, BMI) HL^M 45 WITH TOU (WB. ASCAP,'T)rEamm' Upstream. ASCAP/R.£ Red Traclor, ASCAP) WBM 29 WRITE THIS DOWN (Neon Sky. ASCAP/lrving. BML'Colter Bay, BMDHL'WtSM 92 YOU WERE MINE IWoolty Puddm . BMI/BuE. BMI) HL 31 YOU WON T EVER BE LONELY (Sony/ATV Tree, BMl/Mo Fuz-iy Dice, ASCAP/Tamous, ASCAPl HL 41 YOU (EMI April, ASCAP/Ya Digg. ASCAP/Ctirysalis, ASCAP/Io Itte Tliitd PoMir, BMI) HL/WBM BILLBOARD JUNES. 1999 129 THE Bilboard HOT 100 THE MOST rmiM SINGLES t TRACKS COMPILED FROM • lUTIOtUL SIMPLE OF BROADCDST DATA SYSTEMS RADIO PUILISTS AND RETAIL STORE. MASS MERCHANT AND INTERNET SALES REPORTS COLLECTED. COMPILED. AND PROVIDED BTSOUNOSCAN. oundScan^ JUNE S, 1999 THIS LAST WEEK 52 s 3 f«i < ii TITLE PHOOUCER ISONGWRITERl ARTIST IMPRINT & NUMBEIiPROHOItON LABEL PEAK POSITIOi, — No. 1 1 1 1 8 LIVIN' LA VIDA LOCA • s .m. D LHi;li H it':;sa IK I'C^A.Ll CM.IL' UNO, 1 RICKY MARTIN iCIlDKM) IT){V)D(JC2 7912J t 1 —^m Greatest Gainer/Sales (D 8 64 4 IF you HAD MY LOVE * R li^M'.',!.; >•■•',.; -lAMUS C RO<>fU*,l ,[RMN.S IMi JENNIFER LOPEZ (OiDHVIY^WA 7916i'ERGt 2 3 2 2 16 NO SCRUBS* H' , ■ . ■ .L.^GtSSJODITltl TIC iCt ID) ni LWACE ,'Ai8li ARISTA t 1 CD 4 6 9 FORTUNATE * H.KEUY 'S KELLV} <C) MAXWELL (Dl ROCK LAN&INTERSCOPE , '" * 4 s 3 3 18 KISS ME* STAYlORiMSLCCJM SIXPENCE NONE THE RICHER 17 ■ ID) (X) SQUINT 791OI,C0ELIMBJA • 2 CD S 9 6 WHERE MY GIRLS AH * M ELLIOniM EM, ,?n R N-EWART E &EATE' 702 isiipl ' MOTOWN 960891 ' 5 (D 7 5 7 WHO DAT * C:".. UONEI-jO'^^-.fON M'.IS,' JT MONEY FEATURING SOLE :Di riTEWMrr,-7r ■ ■,'!■,'. ■:, -^ ! 5 (3) 13 15 18 THAT DON'T IMPRESS ME MUCH * R-JLANGtiS . ■■ .A'IGt SHANIA TWAIN (0 (Dl IVJ MERCURY INASMV'LLE) 172 : 18 T 8 S 4 22 EVERY MORNING * O KAHNE 1 . -.r. RAT . ^AHNE.H 9£AN.A«RAr£.R.TEUE2) SUGAR RAY tC' ID) '.' ' lAVA 8AA52,ATLANT)C ■ 3 (D 10 14 8 808 * BLAaUE R KELLY - . & TONE iR ^ElLY N,fl£EDl ICHO) (Tl (V) (XI TRACA MASTERS 78657;CCWyBiA ' 10 QD 12 20 4 CHANTE'S GOT A MAN * l.-.V T LEWIS ' i liTLtWI5,i:WOML,iiIAt:K50« CHANTE MOORE ,Ll SILAS ', ; ■■ * 11 (3D IS 11 10 GIVE IT TO YOU • J |.-.-' I II 1VI',T HAK-fiS 1 T LEWIS.J.KNCHT.R THICKE) JORDAN KNIGHT ;CI ■:0; iliiVj [XI INTERSCOPE 970,LS 10 QD 17 18 7 1 WANT IT THAT WAY " MARTINA L.AHISSJN;i BACKSTREET BOYS 13 14 9 7 25 BELIEVE A CHER M''' ■ iiLC.i\'- ^ MililT.M'i rHAHSY ^ TORCH) (CllDMTI(V)IXl WARNER BROS 171191 1 11 11 8 24 HEARTBREAK HOTEL A WHITNEY HOUSTON FEAT, FAITH EVANS & KELLY PRICE S'."'. ! ■ 1 , KKARLIN' . 1 - ■ ARISTA 13619' 2 GD 23 32 3 WILD WILD WEST WILL SMITH FEATURING DRU HILL & KOOL MCE DEE RfUSASI V, SMITH SrtQNOLR M DEWESt: C01UM8U A18LJM CLH 1 16 QD 20 17 12 ANYWHERE 1 12 FEATURING LIL'Z DXttS : 1 V .fllHa^ARWRMSCANDRCKL MAXWllL,:L"OFtlAHD,JR JftDTD: BAD BOY Ai&^AI ' 1 ■- ' A t 15 u 18 13 10 PLEASE REMEMBER ME * TIM MCGRAW li i. i ■ ■ T MCr.RAW IRCRQWtLl.W JtNNlNGSI (CME'' . CURB 10 11 16 16 25 WHAT IT S LIKE n )- ! '.il (E SCHROOV) EVERLAST TOIAMY tiJ- ALiLLI .Ll 1 13 20 19 12 37 SLIDE Rl'. , .LS|JI«E.'NIK) GOO GOO DOLLS WARNER BROS ALBUM l'L I t 8 21 22 19 20 SWEET UDY THE CHARACTERS jliN T TAVLOR C FARRARI TYRESE RCA AL?LM OFT t 12 (D 25 25 7 ALMOST DOESN'T COUNT BRANDY ATLANTIC ALBUM CUT 1 22 23 21 22 11 THE HARDEST THING E>F^.-'.. - . ..| ■„ I: , 98 DEGREES LiMVEi,"-,.-, SlEl M 7' T t 20 24 14 10 13 WHAT'S IT GONNA BE?! * DEIIIE ' ■ "T'v A ROaERSONi BUSTA RHYMES FEATURING JANET 10 10) (Tl FLiPFAUDEELEKIHA t>iC61 EEG * 3 25 24 21 36 FLY AWAY LKRAVII; . • ■., 1. LENNY KRAVITZ VIRGIN ALBUM CUT 1 12 2t 27 23 13 IF YOU (LOVIN' ME)* DElIl- . ■ liL'ERSCN.ARLiHERS/jS.^e'.m'DERD SILK ALIAMB'l ICMO'TI iX: ELEKTRAQJC77 LEG t 13 m Greatest Gainer/Airplay QD 48 75 3 ALL STAR EVALEMfSE .1 SMASH MOUTH INTERSCOPE ALBUM CUT 27 21 26 24 27 ANGEL OF MINE A RJERii\S 1 'POTTS) MONICA IC) ID) ARISTA 13590 t 1 ® 30 35 7 WRITE THIS DOWN Tr. ■ ■. 11 LTKMROeeiNS) GEORGE STRAIT (V) MCA NASHVILLE ALBUM CUT ' 29 (D 33 38 10 TWO TEARDROPS S.WARINER ■'. ■. - STEVE WARINER IVICAPITOLINASH^ILLtiAlBUM CUT t 30 31 28 28 11 YOU WON'T EVER BE LONELY * ANDY GRIGGS lCIIDiRrAlNA<:H:iHFlFSA:n 1 28 QD 50 50 5 ITS NOT RIGHT BUT ITS OKAY * R.JERMN-i - .ERAIMS m L CARiE^S FniLL«i.I.£SIES) WHITNEY HOUSTON (Ci IDI ITI Ul ARISTA B'A HEAH'EPEAK - ' t . t 32 33 29 26 24 BACK 2 GOOD MSCRLETIC ■■ •.' - •■ Til 1 MATCHBOX 20 auiAVAALBUM ,U 1 .,.-,-.'Il t 24 QD 36 44 8 MANI 1 FEEL LIKE A WOMAN! R JIANGE . \ SHANIA TWAIN MERCURY *I7, - ,11: ALBUM 7 LT T 34 35 34 34 19 ALL 1 HAVE TO GIVE A FULL FORCE HULL lORCH BACKSTREET BOYS 1 -1 , -JIVE 42562 t 5 3C 32 27 27 ANGEL * SARAH MCLACHLAN PUARCKANO .^MlTAlHLAN.PIAARCKAND) ^Cj iDI AHISTASVARNI H SUNSET I ,>i. ; h i ■ i t 4 37 38 40 13 ANYONE ELSE P WORLEY' ■ - w C RATE IH FOSTER COLLIN RAYE EPIC INASKV ILL ALBUM 771 t 37 31 31 29 29 ...BABY ONE MORE TIME A BRITNEY SPEARS Id ;7i, I J .; ■, ' ;,, t 1 39 40 41 9 MY FAVORITE GIRL * DAVE HOLLISTER ICI(D)DCFSQUAD5^»U1 • ,:7v,. ( 39 ® 45 60 10 HOLLA HOLLA * r.ri C.i'i , 1 .>l",l'.ST GHFFN 1 lOflEN/O) ll^l IT JA RULE XI MURDER INC,,DEF JAM , , " - t 40 41 42 37 16 YOU* C ROLAND IC ROLAND J POWEUI JESSE POWELL ICHDJsiL,,-.. ■.i,.7 1 10 42 39 36 13 PRAISE YOU* FATBOYSLIM F SUM N ry^k c vARfoROUGMI (0 (TUVHX) SWfiT/ASTRALWERKS ■ ■ : ■■ '.v t 36 43 35 39 36 CAN 1 GET A... ♦ JAY-Z FEATURING AMIL (OF MAJOR COINZ) & JA 1. r., ! ■ - -|W! LORENZO J ATKINS, RMAYSi CT) DEF JAM , ,- ' S'li- , , t 19 ® 52 63 6 WHATEVER YOU SAY r i ' I MARIIN,£,HILL) MARTINA MCBRIDE IVI RCA.NASHY LLE ALBUM CUT 1 44 51 54 10 WITH YOU A M :fl , >i L UROCEI LILA MCCANN ICi 'iD: ASYLUM 64052 T 45 4t 37 31 22 EX.FACTOR LAURYN HILL I H!,t , "11, tt-FtiMWMaRUIA\UKAllllS>1,fiM2SDaA[S,liGfla,C«W0S' IVI HLflRCUSE HF' " ,1 " :?I ,UE .', t 21 47 41 33 37 SAVE TONIGHT AKV1MAN II CHERRYI EAGLE-EYE CHERRY WORK ALBUM CUIiERG t 5 ® 57 81 3 SOMETIMES J ELOFSSON IP MAGNOSSW 0 kREDGER) BRITNEY SPEARS JIVE ALBUM CUT 1 48 ® 70 2 GOD MUST HAVE SPENT A LITTLE MORE TIME ON YOU * ALABAMA FEAT, N SYNC ejClx-ik Alabama il SIJI-'L-I ■ IIDGERSI ICHDJIV RC-A ,'I/6HVILLEi 65759 1 49 THIS WEEK WEEK h O ii TITLE PROOUCER iSONGWiRITERI ARTIST IMPRINT I NUMBEI^I^ROMOTION LABEL PEAK POSJTIC'. 50 44 42 14 WISH YOU WERE HERE ^ MARK WILLS ■.'iMERCURYir.F.7,|.i ALBUMCIJT 34 51 43 30 17 WE LIKE TO PARTY! * U,,7 , , 1 |J.|J\D0 VENGABOYS ID: ,T,| iXi GROOV Lie 71L 7 07: ST, : , RUVTHM ' 26 52 46 46 18 HOW FOREVER FEELS * a - , , , .V ■ L'uiii'.s) KENNY CHESNEY : 1 .BNA65666t 27 ® 66 87 3 1 WILL REMEMBER YOU (LIVE) SARAH MCIACHUN T7 ■ T LORD ALGE , ,)7t-LAN,5 EGAN.D MERENGAl ARISTA ALBUM CUT ' 53 ® 71 2 DID YOU EVER THINK * R. KELLY RKELLV' - 4" 1 II. ■ (R,KEU,Y,CMAYFIElD,JCHVI£RSaARNESi '::' IIVE 47ti,7:' t 54 55 49 45 9 SITTING HOME * TOTAL -ilRsr, ),Mst-TDA'*5ilEnE,S,aM,^WHnitAji iHf,s:\ - 1 BACri i'- * 42 5S 53 49 9 ANYTHING BUT DOWN S CRFi/^ SHERYL CROW ,V! AAM ALBUM Cjt i-JTERSCOPE t 49 ® 75 91 3 STRONG ENOUGH * M BARRY 17 'AVLOR Till: WARNER BROS 44M4^'l 57 ® 86 _ 2 TELL ME IT'S REAL JHAI.I- ^;-.MM WALDMAN HAILEY R DEN K-CI & JOJO lETT) MCA ALBUM CUT i 58 ® 59 76 4 TONIGHT THE HEARTACHE'S ON ME DIXIE CHICKS ,'.i--IS.,', MCIUMENT ALBUM ;oT 59 54 65 4 NO PIGEONS -.1 ■ trrA":-LSFWEiy E7'-7 , SPORTY THIEVZ FEATURING MR. WOODS „., ■ :.- p^FFFicusE 1 54 ® 64 68 ; MY OWN WORST ENEMY 1 J r<JPGFF A PCPOFFI LIT RCA AtBUM CUT T 61 ® 67 73 13 NANN * FiJNK &COGIE ',A DUGGINS; TRICK DADDY FEATURING TRINA C IC iTiSUP-N-Si,IDE:,17 ,',:si-,-. 1 62 63 47 43 18 1 STILL BELIEVE A I J , , , ,, AFIMATC BCANTARELL MARIAN CAREY c iDiim: it ii;: ix Columbia 79093 1 4 ® 84 2 LAST KISS B EUASON IW COCHRAN) PEARL JAM EPIC PROU,C Si'.GL£ 64 (5 61 59 15 BLUE MONDAY * ORGY -7,,,,., : {7 7 ji e.ERTPHCOK.SMORRISI (D(X)F.nilLEMENTRE£44555''REPRI5E 1 56 ® 77 94 4 A NIGHT TO REMEMBER ♦ .VL77'< ' T 7 W HALE) JOE OIFFIE 10 10)0/) EPIC (NASHVILLE) 7911B t 66 ® 81 2 ONE HONEST HEART 0MALL7- M7Ein=E ' '.IT^s 7. Rm REBA K£R: .1 MCA NASHVlUE ALBUM CUT T 67 56 57 10 WHAT'D YOU COME HERE FOR? * SAUCE 1 T 1,, , T,P0WELL1 TRINA & TAMARA ICI (0) IT) IX) COLUUBU 79127 f 56 m Hot Shot Debut m ® NEW^ 1 HAPPILY EVER AFTER * CF-ENCi£R50N CASE IT) DEF JAM 566965',WERCURY t 69 ® 79 79 3 IT'S OVER NOW * KAYUtt I , „ • , 7 L DEBORAH COX .F|,Fi-. ,1 ,t ARISTA ,iFL-,' t 70 71 68 82 12 GEORGY PORGY * 7, '■ ■ 1 FIE IF i PAIfM, ERIC BENET FEATURING FAITH EVANS n<) :s,.i ^ ■ :, 55 ® 78 2 BETTER DAYS (AND THE BOTTOM DROPS OUT) CITIZEN KH.G 7 , -,1^, 7-::, (V)V.7P'.|7BR0S AlBUMCUT • 72 73 63 53 14 IT AIN'T MY FAULT 1 & 2 * SILKK THE SHOCKER FEATURING MYSTIKAL CRAIG e ISILXK THE i, • r i - ■ ' ■ r'lKA 1 IC) 7 iTl hOLIMIT 77^717 ;^|-- ' 18 74 60 52 11 SPECIAL GARBAGE laARiiASf GARBAGE ALMOSOUNDSAIBUM 7i:Mr,.T:F:Si sij f 52 ® NEW^ 1 LESSON IN LEAVIN' 7' 1 , : MCGRAW , , " i 7',',H:Hj JO DEE MESSINA CURB ALBUM CUT 75 76 58 48 12 MY FIRST NIGHT WITH YOU * R,WAKE ,, - , ,', 7, - :■ MYA 10 ID) fV) IX) UNIVERSITY 7 7-^ MfrLlOF F • 28 77 62 55 16 WHAT'S SO DIFFERENT TIM6A^"Sj GINUWINE StC MLS C ALBUM 49 ® 87 95 5 LITTLE GOOD-BYES * D,HUFr iK OSfiORI. " FF7r ^ C.R£E'lB£RG SHEDAISY r, F .1 LYRIC STREET 64C25 * 78 79 55 47 12 HANDS OF A WORKING MAN ac^.lSMI ; ';,.\,^.IAMS,JIMCOLLlNSj TY HERNDON EPIC -JAS--. II : ALBUM CUT r 47 ® NEW^ 1 MILLENNIUM ROBBIE WILLIAMS S CiAMtlERb.S POY'EH IR WILLIAMS G CHAMBERS, L BHiCUSSE J BARRYi CAFTC. ALHLM CUF " 80 ® NEW^ 1 AMAZED O.HUFf MGREE'I AMA'C 7 I I.DSIY LONESTAR . BNA ALBUM CUT ^ 81 62 74 61 15 I'LL THINK OF A REASON LATER M WRIGHT IT '•■>RT t, T NICHDLSl LEE ANN WOMACK IVI OECCA ALBUM . SASMVllLL 38 63 73 69 7 1 DRIVE MYSELF CRAZY •N SYNC . , RCA ALBUM CUT t 67 64 69 58 18 ALL NIGHT LONG * FAITH EVANS FEATURING PUFF DADDY 9 ® 85 92 3 STRANGER IN MY MIRROR RANDY TRAVIS JS'- ,77 1-,, WILUAMS) DREAMWORKS iNAS" >■ ,1 ALBUM CUT ® 93 97 4 SINGLE WHITE FEMAU * CHELV .'. R G-T 7 77 7,, , 7 ,VU50NiSSMITH,CD,J0MNS0N) ;Ci :n; (vi MCA J,,' , , 7-0^;* 86 ® NEW^ 1 HELLO L.O.V.E. G:i,'.7,. SUILL L Y-ELLSI JOHN MICHAEL MONTGOM; : ■ ATLANTIC NAShv l_: . s' . 87 66 72 66 12 LIFE RKEUY ;R KELLY) K CI & JOJO DOCK LANO,MCA S0UNDTRA:<< CUT'INTERSCOPE ■ GO ® NEW^ I SCAR TISSUE R,Rueir^ - ■ . , ■ ,i7 J 'RUSCIANI£,C SA1ITH; RED HOT CHILI PEPPERS WARNER BROS ALBUM CUT 39 96 92 % 4 MAYBE NOT TONIGHT K,STEGAFt 1 -■|,,7i 7 m LL SAMMY KERSHAW & LORRIE MORGAN 86 91 80 74 15 ONE J KURZWEG 17 -RF',' 7'JF' S STAFTIi CREED WIND UP Album cut 70 92 88 85 20 YOU WERE MINE PWORIE^ :'77 1 ■ iF ERWIN,MSEIDEU DIXIE CHICKS MO'iUMLS' ALT .7' . ' 1 34 93 76 51 13 GONE CRAZY KSTEGALL - F' ALAN JACKSON :v) ARISTA \«H. ,_.F ALBUM CUT 43 94 83 78 9 WHY DON'T YOU GET A JOB? DJERCjE'j -.1. THE OFFSPRING CiJLi.iMBiA AtaUMCUT t 74 95 82 71 7 HATE ME NOW * NAS FEATURING PUFF DADDY PRETTVilC-' ■' -7KE4T0«ElGMARC'^ANO,N,JCAIESA,M0ODY) iTMV i COLUMBA 79070- t 62 98 91 83 16 ORDINARY LIFE * N .-, 1 -■.7 , ,7 ■■ 9 BAMER C HARRINGTON) CHAD BROCK ICi (DMVI WARNER BROS iNASMVLlE i 17136 t 39 97 65 62 11 HILLBILLY SHOES * J SCAIft M r.'.GIR .V MULLIS B TAYIC»1 MONTGOMERY GENTRY CI lOj IVI COLUMBIA FNASHV'LLti 79115 f 62 98 % 86 14 HEAVY £,R0ULNO ,E RCLA-JDJ COLLECTIVE SOUL ATIANTC ALBUM CUT 73 99 90 90 4 SHE'S A BITCH * TIMBAIANO M -LllSTT IlMBALAND, MISSY -MISDEMEANOR- ELLIOTT THE GOLD M,T.:iFASTW£Sra3?i;'iEU 1 90 160 98 98 5 PLAYERS HOLIDAY * T.W D.Y. FEATURING TOO SHORT & MAC MALL J'.'-F',|, - ' , 7 , .--i- -SRAA<,D,<SCiS- 9X'EF a A '-F-Si ;,_;Fe,:|.sij7- ; : 7, IHJW? i-=EE7 ;2E5 t 98 O^KOfdS with the greatm a4«plav and ulesgwns »\n wwk Graatnt Gam*iJS<lc« and Graalest GamcrMrpljiv «re awarded, respectively, tor the largeM sales tna Airplay increHes ort tlw ctian t Videoclip avs'iatiitity * Indiotcs ittail tinfle avtilable; GiM and Platini>rT> sngles are otherwise indicated '* Retail LauiKfi IndKates fint weeh thai retail release impacts King's chail poutKMi. Airplay-ootir sonp ^re not el«ible lor me Hot lOOunMthey readi lt)e top 75 of the Hot 100 Airplay chari •RecDrdlrig Imjintrv Asvi Of America (RIM) certification tor net tf)H>nierit Ot SOO,^ units <Goid) A RlAA certifcalion tor nM tfMprnenI ol 1 millicr ur^lts (Piatimim). with additional tnillnn <ndlcat«1 by a number toJlcwing the symbol <C) Cauene vngte available (01 CD Smffe available <M) Cassette mav-single availabto. (I) Vmyl mtu-singte v/allable <VI vinyl vngte avtilabla. (X) CO mui-sinele available Catalc« riomber a tor (D) * Indicates (Dl travaiUUe, in wIka case, cjtatog number & ta (CI. <X). m or IM) rHpectrvely, baud on nallabrhty C 1999. BillboardfiPl Communiations ■r>d SoundScan, Inc 130 BILLBOARD JUNE 5, 1999 GROOVILICIOUS' VENGABOYS THROW A HIT PARTY' (Cotttinued from fxigc II) SpanLsh DJs/producers/song\vritei-s named Danski and DJ Delmundo (also known as Dutch radio/TV per- sonality Wessel van Diepen). How- ever, the group's music is performed by two men {Roy and Robin) and two women (Kim and Denice). Signed and developed by Rottei-dam-based Breakin' R«.'or(ls/Violent Music, the act is licensed by that company for worldwide distribution. "We Like To Party!" has already been a top 40 hit in sevieral countries, including Holland. Australia (where it's licensed to Central Station), and Canada (DEP International). The group's song "We're CJoing To Ibiza!" has hit No. 1 in Holland. The album and single have been relea.sed on ious labels worldwide, including Motor Music in Germany, Time in Italy, Jive in Belgium, Max Music in Spain, Scorpio in France, and A\ex in Asia (Global Music Pulse, Billboard, Aug. 1, 1998). In the U.S., "The Party Album!" was relea-sed April 6 and entered the Heatseekers chart at No. 4 in the April 24 issue. The album reached No. 1 on that chart in the May 8 issue. Group member Kim says, "I think our album is becoming succes-sful in America because it's something dif- ferent in the charts. There's a lot of R&B and rap on the American charts, which is great, but I think it's time for a change. We need to haw a little more happy dance music on the charts." Strictly Rhv-thm VP of promotion Bari G. explains the .setup for the "The Party Album!" in the U.S.: "We knew that 'We Lake To Party!' was the hit of the album and that it would reach the top 40. But we iJso want«l to service the dance club community with the lalbum ti"ack| 'Up & Dovra.' We didn't want to lose sales, so we relea.sed both .songs simultaneoasly last fall. We also did a lot of setup at mix shows and SPOTIJGIIT. by Silvio Pietroluongo Top 10 ACTION; There's a whole lot of movement going on in the top 10 of Ixjth The Billboard Hot 100 and the Hot 100 Singles Sales charts. Jen- nifer Lopez climbs to No. 1 on the sales list with "If You Had My Lo\'e" ( Work/ERG). An 80% increase in sales, to the tune of 120,000 units scanned during the week, earns Lopez the Greatest Gainer/Sales and a No. 2 plac- ing on the Hot 100. Lopez's surge, assisted by sale pricing, results in two backward-bullet- ed records on Hot 100 Singles Sales, with one of those also getting a back- ward bullet on the Hot KXl. JT Money Featuring Sole drops 2-1 on Hot UK) Singles Sales with "Who Hat" (Tony Mercedes/ FVeeworld/ Priority), even though it has a 2,000-unit increase in sales. (Doupled with an audience gain, which hooks a backward bullet 49-50 on Hot 100 Airplay, "Dat" regains its bullet, holding at No. 7 on the Hot 100. 702 drops down on both charts this issue, 4-.'j on the sales chart and 5-6 on the Hot 100, with "Where My Girls At?" (Motown), despite overall gains in sales and aiiplay. On the REBOUND: Besides JT Money, two songs re-bullet this issue within the top 20 of the Hot 100. Jordan Knight climbs 15-12 with "Give It To You" (Interscopc). An audience increase of 3 million moves "Givie" 13 spots on Hot 100 Airplay to No. 60. Knight bullets on Hot 100 Singles Sales despite dropping down 7-8, as Chanti Moore's "Chante's Got A Man" (Sila.s/MCA) flips places with Knight due to a larger gain in units. 1 12 Fea- turing Lir Z also re-bullets this i.ssue on the Hot 100, as it movies 20-17 with "Anywhere" (Bad Boy/Arista). Audience impressions increase by 2.5 million this issue, as "Anywhere" bullets on Hot 100 Airplay, although it drops 7-8. "Anywhere" also picks up a small amount of .sales points from 12-inch vinyl street-date violations. A full week of sales will affect next issue's chart AYBE THE TWAINS WILL MEET: Buoyed by first-week sales of 18,000 units, Shania Twain (Mercury Nashville) lands her third Hot 100 top 10 single with "That Don't Impress Me Much" (Mercury Nashville), which jumps 13-8. "Impress" ranks No. 1 on 13 top 40 sta- tions, including WXKS Boston; WWZZ Washington, D.C.; KRSK Port- land, Ore.; WPRO Providence. R.L; and WFLY Albany, N Y. Twain is the only artLst with two bulleted records in the top 40 of the Hot 100 this issue, as "Man! I Feel Like A Woman!" inches up two spots to No. 34. "Man!" is the No. 1-plaved song on 16 country outlets, including WUSN Chicago; WWWW Detroit; WWKA Orlando, Fla.; KIIM Tucson, Ariz.; and WKKT Charlotte, N.C. MiDYElAR CLEARANCE: The Top 40 Tracks chart turned 26 weeks old two »ieeks ago. which triggered our recurrent rule. Songs are remm'ed from format-specific airplay charts after 26 weeks if the song falls below No. 20. This explains the unu.sually high amount of debuts last issue, as seven songs mowd over to recurrent status. This issue, "Too Close" by Next is remo\«i from Top 40 Tracks after i-e-entering last uwue and .spend- ing its 26th week on the chart. record p(X)ls, and we started going for radio adds in January." One of the commercial radio sta- tions that was an eai'Iy .supporter of "We Like To Party!" was rhythmic top 40 outlet WKTU New York. 'We need to have a little more happy dance music on the charts' "I think the group is energetic, upbeat, and positive," says WKTU PD Frankie Blue. "There was no doubt that when we added 'We Like To Party!' it would be a hit. It became a No. 1 .song at our .station, and we've begun playing the next single, 'Boom, ARISTA/SERLETIC LABEL (CrintiiiiK'd f foin imi}P S) pressed me. There are many suc- cessful producers I've met who I would never gire a deal to." LaFace and Bad Hoy have been tw'o of Arista's most profitable joint ven- tures. When asked his mandate for Melisma, Davis replies, "Success. That's all you can hope for when you make a deal. He presented his vision at our weekly meeting with all the department heads, and he impressed everybody with his farsighted abili- ty to set up something si>ecial." The first ai"ti.st funneled through the Melisma/Arista pipeline will be male singer/song^vriter Angle Aparo. ^^^^^^ His label debut, ^^^PI^^H produced Ser- ^^^^J^B letic, will come out -;,.*J in .January 2000. 1 1 No other artists . _ f ■ hare been signed. V, ' V While Serletic saj-s m"^ i Davis is not look- SEBLETic ing for a specific number of Melis- ma releases per year, he expects the number to be relatively small. "From both my and Cliv^e's point of view, the idea is to make no record before its time. If we can find five artists that are amazing, we'll sign them tomorrow, but it's not going to be 30 records coming out over the next two years," Serletic .says. Serletic will continue to produce established artists on other labels. However, as part of his deal with Arista, the only new acts he will work with will be those signed to Melisma. "I'll take a very hands-on approach the very first couple of j«ars and pro- duce or exectitive-pmd\ice cwrything we put out" Serletic says. Additionally, he may have a hand in working with rock artists brought on board by Arista's A&R staff. To that end, Serletic produced the first single from Carlos Santana's upcoming Arista album, "Supernat- ural" (.see story, page 11). The tune, "Smooth," features matchbox 20's Rob Thomas. In addition to the Serletics, Melis- ma will have a staff of at least 15. There will also be talent scouts in a number of cities. B(K)m, Boom, Boom!' " Bari G. admits that because of the group's .simplistic dance sound, many stations didn't take the Vengaboys seriously at first. "We had [promotion companies) Hitmakers and All Access helping us in servicing 'We Like To Party!' to top 40 radio." says Bari G. "There were a lot of radio stations reluctant to add the song at first because the pnjgi'ammers thought it was a really corny .song. But once they did add it, we started hearing rcj)orts that it became a big recoi-d at their stations. We're going to have June as the tar- get month for 'Boom, Boom, Boom, Boom!' to impact at radio." Boh Bagha, owner of dance-orient- ed retail store Street Sounds in Los Angeles, says, "We're been selling a lot of 'The Party Album!,' and the 'We Like To Party!' single has been huge. I think the Vengaboys have been doing well because they hare a very 'now' sound and their .songs are radio- oriented. We get a lot of people com- ing in and asking about this group." The Vengaboys' U.S. publishing is administered by peermusic (BMI), and the group is managed by Hol- land-based Violent Music. TV al.so has been in.strumental in giving exposure to the Vengaboys, according to Bari G. The gi-oup has already made an appearance on "The Ricki Lake Show." and Bari G. says the Box "has been totally .supportive of the Vengaboys from early on." The Box music director Justin "Tyme" Prager says, " We're had the video in rotation for several weeks, The Vengaboys became a No. 1 Heat- seekers act when their debut set. "The Party Album!" (Groovilicious/Strictly Rhythm), reached the top of that chart in the May 8 issue. Shown celebrating with their Billboard Heatseekers T- shirts in the back row, from left, are group members Kim and Roy. Shown in front, from left, are group members Robin and Oenice. and we're .still getting ref|ue.sts for it." Bari G. adds, "We thought that Vengaboys would have an audience demographic of mostly young females. But we're finding that their lU.S.I audience ranges from 13- to .'jO-year-olds, lioth male and female." The Vengaboys launch a six-week U.S. promotional and club tour June 10 in Sacramento, Calif. The group is booked by Michael Schweiger of Track Central Booking for the U.S. and bv the .Janvis Agency outside the U.S. BillboQrd« DIRECTORIES The Definitive Source for Industry Information INTERNATIONAL BUYER'S GUIDE: Jam-packed with critical personnel and other information about every major record company, video company, music publisher, and seller of products and services for the entertainment industry worldwide. A powerful tool. $1 39 INTERNATIONALTALENT &TOURiNG DIRECTORY: The leading source for those who promote or manage talent. Lists U.S. and International, talent, booking agencies, ^cilities, services and products. $ 1 09 RECORD RETAILING DIRECTORY: The essential tool for those v4io service or sell products to the retail music community. Detailed Information on thousands of independent and chainstore operations across the USA. $175 INTERNATIONAL TAPE/DISC DIRECTORY: The exclusive source for Information in the manufocturing area of the music and video business. Lists over 4000 professional services and suppliers. $75 THE RADIO POWER BOOK: The ultimate guide to radio and record promotion. Detailed information about every major radio station, record label, and radio syndicator. Includes Arbitron information of top 1 00 markets. $95 INTERNATIONAL LATIN MUSIC BUYER S GUIDE: The most accurate reference source available on the Latin music marketplace. Business-to-business contacts in 19 countries. $85 To orvler:call 800-344-71 19 (International 732-363-4 1 56), fax 732-363-0338, or mail this ad and payment to: Billboard Directories, PO Box 2016, Lakewood, NJ 08701. Add $6 per directory for shipping ($14 for intematiorui orders). Add sales ox in NY.NJ, CA.TN. MA, IL PA. OH,VA & DC. Orders payable in U.S funds only. Alt ules are final. Billboard Directories are also available onlln«. For rates call Andrea Irish at 2 1 2-536-S223. For Informatton on getting a directory on diskette or mailing labeh call Mike Fouratt at 212-536-5017 www.billboard.com BDZZ302f BILLBOARD JUNES. 1999 131 I THE Billboard 20Q THE TOP-SELLING ALBUMS COMPILED FROM A NATIONAL SAMPLE OF RETAIL STORE. MASS MERCHANT, AND INTERNET SALES REPORTS COLLECTED, COMPILED. AND PROVIDED BY SoundScan- JUNE 5, 1999 SqundScan' lllllll THIS WEtK LAST WEtK 2 WKS AGO WKS. ON CHART ARTIST TITLE IMPRINT A NtlMBFR.OISTRIBUTINC lABf 1 ISUGGFSTEO IIST PfttCE OR EQUIVALEHT fO« CAiStnErtTDl PLAK POSITION CD NEW^ 1 -^m No. 1/HoT Shot Debut ■ BACKSTREET BOYS ji«L -lit'? 1 1 1 96'] / 5^1 \*^aif^j l MUl.ENMUM 1 2 1 2 RICKY MARTIN c? 69891 "TOLUMBW ni 9a rQ 17 9Si RICKY MARTIN 1 CD 6 6 19 -^^^ Greatest Gainer BRITNEY SPEARSA' JIVE 41651 (11 9a'i7.9ai ...BABY ONE WORE TIME 1 4 3 2 13 TLC A' LAfACE 26055VARtSTA lU.9a'17 98) FANMAIL 1 CD 8 3 3 ™"^ISiSf?i8i5in 98tai8 98) ^'^^^ "^^^^ ^^'^^^ PHANTOM MENACE 3 s 5 5 81 SHANIATWAIN*'^ mercury ihashvillei 536003 no 9a'i7,«i COME ON OVER 2 7 2 2 SNOOP DOGG NOLiMir 50052VPRiO«iTY 111 9*17,98) NO LIMIT TOP DOGG 2 CD NEW^ 1 JIMMY BUFFETT margaritaville S24660/isundu i,9a:7 98) BEACH HOUSE ON THE MOON 8 a 9 7 4 ^ VARIOUS ARTISTS duff pvnpRC- pvhf or niF \if\i i RUfF RTDERS90315V.NTERSC0«U1.9a'l7.98) ""'^^ RYDERS: RYDE OR DIE VOL. 1 J NEW^ EIGHTBALL & MJ.G. SUAVE HOUSE 63251AJNIVERSAL [10-9a^l6.98) IN OUR LIFETIME 10 11 4 1 3 TIM MCGRAW CURB 77942(l0.9&l7.9e) A PUCE IN THE SUN 1 12 11 9 28 CHERA'WARNfRBPOS 471?1 (I09ai7 98l BELIEVE 4 /''VPs C13) 14 15 21 KID ROCK« LAVAATUNTIC8311*AG',10 9a i6 98)B DEVIL WITHOUT A CAUSE 13 14 9 7 69 DIXIE CHICKS A'' mosument saiw'sovv iNashvillei i lo 98 eqi6 9Bi B WIDE OPEN SPACES 4 15 10 3 7 NAS A COLUMBIA 68773' (11 98 £Q'17 98] 1 AM... 1 Q6) 13 14 61 'N SYNC A' RCA676l3[11.9ftt7 98) 'N SYNC 2 17 IS 12 27 THE OFFSPRING A' COtUWIA 69661' lU .98 £0117.98) AMERICANA 2 18 12 10 8 ANDREA BOCELLI A POLYD0ft5472221109a<I7.98) SOGNO 4 19 17 17 34 EVERLASTA-' tomm^ 80*1236 (11 9a'l7,98)B V^/HITEY FORD SINGS THE BLUES 9 20 IE 13 4 SOUNDTRACK Columbia 69853 ill 99 Ea'l7,9e) SONGS FROM DAWSON'S CREEK 7 21 18 19 30 96 DEGREES A motown 5309^universal (10 saifi 98) 98 DEGREES AND RISING 14 22 19 16 13 EMINEMA-Vrta/AFTERMATH90287'/1NTERSC0P£(119a'17.98) THE SLIM SHADY LP 2 QD 22 25 20 GODSMACK • REPUBLK 5319CILJMVERSAL n0 9ft'16 9fliB GODSMACK 22 CD 32 38 93 BACKSTREET BOYS^' JWE 41589 11 1.9ai7 981 BACKSTREET BOYS 4 QD 35 48 50 BRANDY A' ATLANTiC83O39'yAC(l0Wl798) NEVER S-A-Y NEVER 2 2G 20 18 8 SOUNDTRACK maverick 4739Q'WARhER BROS ill 9M7 98) THE MATRIX J 27 24 23 29 JUVENILEA CASHM0NErS3162ajNtvERSAL(109&l6.98) 400 DEGREEZ 16 28 26 21 10 B*-WITCHEDA EPIC 69751 (10 98 EQ'I6,9S) B'WITCHED 12 27 30 28 1 1 2 A 8A0 BOV 7302 1 •,'ARISTA ( 10 98f 1 6 981 ROOM 1 1 2 20 CD NEW^ 1 VARIOUS ARTISTS RAWKUS PRESENTS SOUNDBOMBING II RAWKUS MOfey -PRIORnr 110.98^16 33) 30 31 25 22 39 LAURYN HILIA' MISEDUCATION OF LAURYN HILL RJFFHOUS£69O30V'COLUMBlAli: 98£Q'1798I mpatuu^i^nui'. ur i_«urMi-4 niLL 1 32 30 36 19 TRICK DADDY # slip n siiDt ?bo2,'warlock (io,9fi'l6 98i BB WWW.THUG.COM 30 33 23 20 10 SOUNDTRACK ROCK LAND 9O314*i'INTERSC0(*E il 1 9&'17 9B) LIFE 10 34 29 26 40 KORN A' immortal 69001 'i'EPIC (11 96ECl'l7,9i8t FOLLOW THE LEADER 1 35 23 28 34 JAY-ZA'»OCA.FELLAiMFJAM55890?'i'MERCURT!109a':69ei VOL, 2... HARD KNOCK LIFE 1 36 21 11 3 VARIOUS ARTISTS rnpnwir ^nnn Qiinr KMif^uT rfpbfqfnt^ OfAIH »™ 51 161 WIORIIY 112 mKM, CHRONIC 2000 SUGE KNIGHT REPRESENTS 37 31 27 19 SUGAR RAYA LAVA'ATUNiice315J-,AGiI09alb9«i 14:59 17 38 38 42 5 CASE SPOILED ROHEU'DEF JAM &38871'«ERCURV (B 9612 Ml PERSONAL CONVERSATION 33 39 34 24 97 SARAH MCLACHLAN A'' ARISTA 189;ouo.9ai7 9Sl SURFACING 2 4D 36 33 22 OMX A'^H'-FivCERSKFiAMSsawAiEPatRTllISft'irsBi FLESH Of MY FLESH BLOOD OF MV SLOOO I 41 37 40 86 CREED A' WIND u" 13049111 98-1 7 9«i SB MY OWN PRISON 22 C3D 54 70 13 LIT »CAb;,','!,i ia9ft l6 9«i|B A PLACE IN THE SUN 42 43 33 31 8 VARIOUS ARTISTS • kimnm 65904mpic i 1 1 93 E»16 9ei FAMILY VALUES TOUR '98 7 49 39 6 TOM PETTY AND THE HEARTBREAKERS warmer BROS 4729*' (10 9& :? 98: ECHO to NEW^ 1 SOUNDTRACK walt disney 60645 111 9»l7 9ei TARZAN 45 46 45 58 39 ROB ZOMBIE A' G£FFEN25212','1NT£RSC0PE 110 98/16 981 HELLBILLY DELUXE 5 47 42 45 27 WHITNEY HOUSTON A' ARISTA 19037' n: 54 17 98i MY LOVE IS YOUR LOVE 13 48 44 52 23 FATBOY SLIM SKVi t62<J-,»STML«RKSIiO 9S16 seilB YOU VE COME A LONG WAY. BABY 34 49 49 53 78 WILL SMITH A- COEUUBA 68683- 11 1 98 E<lfl7 981 BIG WILLIE STYLE 8 CM) 70 73 15 COLLECTIVE SOUL • atlahtic S3I62AG 110 9e>l698i DOSAGE 21 51 52 59 53 DMXA' RUFF RYDERSOEF JAM 5&a227','MERCllRTIll 9ftl7981 irS DARK AND HELL IS HOT 1 52 53 60 23 TYRESEA RCA6690l*(l09al6 98)B TYRESE 17 53 46 51 26 2PACA' AMARJ^DEATH ROW 90301 '(INTEflSCOPE 119,98^4,981 GREATEST HITS 3 54 39 29 4 THE CRANBERRIES Sumo 124611 110 9»17 98I BURY THE HATCHET 13 THIS WEEK LAST WEEK u> SS WKS. ON CHART ARTIST TITLE IMPHINI iNUMBERiOISIftlBUTINC LABEl (SUGGESTED LiSI PRICE OR EliUPtfAUNI FOR CASSEITE/COl PEAR POSITION 55 56 46 40 FIVEA AHSTA 19U03ilD9ai6 96l|B FIVE 27 56 51 57 23 BUSTA RHYMES A F 1 F FlfTINrTinN I FVFI FVFNT THF FiNAI WORl n FRONT ]2 57 50 50 4 ERIC BENET WARNER bf«>s 47072 110 9a']6.98l A DAY IN THE LIFE 25 58 41 34 12 GEORGE STRAIT A McA nashvillE 70050 (lD.9ftl6 981 ALWAYS NEVER THE SAME 6 59 43 37 5 B.G. CASH tAONEr 5326&'UNIV£RSAL 110.9E^16 98I CHOPPER CITY IN THE GHETTO 9 60 52 62 21 ORGY • ELEMENTREE 4692i'WARNER SROS. 1 10 9816 961 B CANDYASS 32 61 5B 64 9 SILK EEEKIRA 6223*EEG (10 9&I6.98I TONIGHT 21 62 40 32 57 FAITH HILL A' WARNER BROS INASWILLD 46790 no W16.9B) FAITH 7 63 ee 85 3 ROBBIE WILLIAMS CAPlloi 97726 (1098(16 981 THE EGO HAS LANDED 63 64 63 65 35 GOO GOO DOLLS A' WARNER BROS 47058 (103^16 98) DIZZY UP THE GIRL 15 65 61 55 10 GINUWINE 550MUSIC695WrEPIC(lI 9SEQ/I6.9ei 100% GINUWINE S 66 57 43 7 KRAYZIE BONE A MO iHUGSmTF«ssi67l/HEl«Tinr> (19 9823 981 THUG MENTALITY 1999 4 67 47 44 11 BAZ LUHRMANN • caPitoe 57636 i16 9B COi ■ SOMETHING FOR EVERYBODY 24 68 60 2 KENNY ROGERS OREAMCAimER 004(1 1 98.16 981 SHE RIDES WILD HORSES 60 69 67 47 77 ANDREA BOCELU A' philips 539207 11098(17981 ■ ROMANZA 35 70 72 68 116 MATCHBOX 20 A' LAVWTUJ.TIC »721-,M(10.»17 98) ■ YOURSELF OR SOMEONE UKE YOU 5 71 69 54 4 It*.V?.'!U7,.^l'™'!!f?}!,.,^ NINETEEN NAUGHTY NINE NATURES FURY ARISTA ;904J* CO 98 16 98) 22 72 64 72 10 CHARLOTTE CHURCH 9 sortv cutsslCJU. 60957 (10 98 E(^16,98l VOICE OF AN ANGEL 28 73 75 74 62 JO DEE MESSINAA CURB 77904110 98 16 98) I'M ALRIGHT 61 OD 94 107 7 BUCKCHERRY Dreamworks 5O044.'Interscop£ (8 98 12 98} B BUCKCHERRY 74 75 78 78 28 R. KELLYA' JIVE 61625* (199824 981 R- 2 76 81 86 18 DAVE MATTHEWS/TIM REYNOLDS A , . j , „thER COLLEGE BAMARAGS6775£>RCA(19 98C0) LIVtMl LU 1 MLK UULLtUt 2 77 66 56 27 GARTH BROOKS Capitol iNASifViLtE) 97424 (I9,9a'26 98) DOUBLE LIVE 1 78 82 83 12 KENNY CHESNEY 8i^6765sm.G(l09a'l698) EVERYWHERE WE GO 51 79 76 77 54 LENNY KRAVITZA VIRGIN45605(109816 98l 5 36 NEW^ DWIGHTYOAKAM l^SI CH«lC£ FC«A THC'JS*'0 YEABS GSBUST HITS FKtl TH[ SOS il>.<[ t :...AI)*l;: 9»:£ ,W)filLll 110*16*1 80 81 85 87 30 DRU HILLA Ur^lVERSlTYrtSLANO 52454aWEHCURY(10,9*17 981 ENTER THE DRU 2 82 83 82 26 METALLICAA' ELEI<TRA62299*/tKill89«724 98) GARAGE INC. 2 83 77 66 27 JEWEL A-' ATUNTIC a2950")AG 110-98(17,981 SPIRIT 3 84 71 71 80 MARTINA MCBRIDEA RCA(NASHVlLLE)675IfrfTLG(10,9frl6 98) EVOLUTION 24 85 55 49 3 ELVIS CRESPO SONY discos 62917 110 98 EQ'I5,9B) PINTAME 49 86 74 61 60 SOUNDTRACK A' WARNER SUNSET/REPRISE 46867<WARNER BROS (1098(17981 CITY OF ANGELS 1 dD NEW^ 1 VARIOUS ARTISTS ^ILITH FAIR A CELEBRATION OF WOMEN IN MUSIC VOLUME 2 (LPS A 1M)9:;1 9d'l)9e 87 88 91 95 56 "*TT(*o^?.^*'"'* BEFORE THESE CROWDED STREETS 1 89 80 67 20 VARIOUS ARTISTS A uui^ot vkrorcTi ikip ccr^coATii^w iAft*yc tlic tii ici^ \im i itic i >^0t^■ HHui ru^a iwii' "UKLU WHtilLINb rtUtHAIlUN; VrtVr mt MLJolO VULUMt J 10 90 79 81 54 GARBAGE A almo sounds ecoia-NTERSCOPE i lo 9a i6 9ei VERSION 2.0 13 91 73 63 4 TOM WAITS EPITAPH 86M7' il0.9afl7981 MULE VARIATIONS 30 92 65 35 3 STEVE WARINER CAPITOL (NASHVILLE) 96139 (10 96^)6 98) TWO TEARDROPS 35 93 59 41 36 RICKY MARTIN A SONY [XSCOS S36S3 19 98 IQlliSa) VUELVE 40 94 88 114 3 VARIOUS ARTISTS rhino 75699 (119616.98) MILLENNIUM HIP-HOP PARTY 88 95 86 76 45 MONICA A ARISTA 19011- il0 9B/16.9e) THE BOY IS MINE g 96 84 69 11 VAN MORRISON poinibuwk 4714&virgin (12 9ai7 98i BACK ON TOP 28 97 93 90 62 LIMP BIZKITA FUP9O12-i.'MERXOPEiI0 9ai6 98iBB THREE DOLLAR BILL. Y'ALL 22 CD NEW^ 1 VARIOUS ARTISTS LILITH FAIR A CELEBRATION OF WOMEN IN MUSIC VOLUME 3 98 99 90 80 27 4 lOO 98 110 7 VENGABOYS SffOOVllKlOUS 10Q«TRICTLy RHnHM (16 9B CD; B THE PARTY ALBUM! 98 101 89 79 34 SHERYL CROW A aim 54095WHTERSC0PE (10,98/17 98) THE GLOBE SESSIONS 5 102 95 88 9 BLACKSTREET JL man 90274*,'1NTCR5COPE(1] W17 9BI FINALLY 9 103 96 99 10 SILVERCHAIR LPiC 69816 (11.98 Lai6 98i NEON BALLROOM 50 (M) 134 151 6 * Pacesetter ^ LIL' TROY&H0fiTSICP.'fi£ouai>C5327a'UNfrt»SALII09ai6 98)B SiTTiN' FAT DOVjN SOUTH 104 105 87 a 4 "!!L.L°«™-,r'.: n . ^ La 16 9,:. ™E UNAUTHORIZED BIOGRAPHY OF REINHOLO HESSNER 35 106 100 111 11 ^.".^.''P.'',!",^. .n ,»™ ,^ ».,_ TALK ON CORNERS; SPECIAL EDITION . J^LAVA 83 164< AG 110,9816 96m 72 107 92 84 5 SARAH BRIGHTMAN NLI.IOSIUOIO 5676SLANGEL (10,ga'17 981 EDEN 65 O Albums with the greatest sales gams this week •Recording Industry A&sn Of America (RIAA) certification for net shipment of 5QO.00O album units (Gold) ARlAA certification tor net shipment o1 1 million units (Platinum). ^ RIAA certrTicatron for net shipment of 10 million units (Diamond). Numeral following Platinum or Diamond symtml indicates album's multi-pJatinum level. For boxed sels. and doutjle albums with a running tinrve of 100 mmuies or more, tf^e RIAA multiplies shipments by the number of discs and/or tapes 'Asterisk Indicates LP is available. Most tape prices, and CD prices for BMG and WEA labels, are su^esled lists. Tape prices marked EQ, and all other CD pnces. are equii/alent prices, wfitch are piojected from wholesale pnces. Greatest Gainer sfvows chart s largest unit increase, PaceSiettef indicates biggest percentage growth. Heatseeker Impact shows albums remowed from HeatseeVers ttiis week Bmdicates past w present Heatseeker litte- t 1999. Biltboard/BPl Communications, and SoundScan, Inc. 132 BILLBOARD JUNE S. 1999 WEBCASTING RESHAPES THE FACE OF RADIO Bundy says. "It's compelling for lis- teniini because the Internet is where they are at work and at home. And it's easy to use. In fact, as the future goes on, we will see a lot of tradi- tional radio stations migrate more to Internet-only stations. They can use their traditional products to expand their audience" (Billboard, May 8). Radio group giant AMFM (for- merly Chancellor Media) has hinted at just that, with the May 19 announcement of three new business units — ^AMKM Interactive. AMFM. com, and AMFM liquities— with the intent of exploring new-media oppor- tunities in the Internet realm. AMFM CEO Steve Hicks is still not ruling out deals with companies such a.s AOL. "It's like building an office building; we needed the blue- print first," he says. "We're still talk- ing to potential partners." Addressing profitability potential, Peggy Miles, president of the recent- ly formed International Wetwasting Assn. and president of the consult- ing firm Intervox Communications in Washington, D.C., says, "There are more computers in offices than there are radios or televisions. Web- casters can not only make money by inserting ads into audio on the Web page, but they can link directly into the purchase of products by elec- tronic commerce and integration into digital downloading of music, news, and video." TOP TRADITIONAL RADIO SERVICE The major online-only music providers in the Internet realm fol- low similar business plans, with the primary goal of topping traditional radio service with an at-work music model that promises finely niched programming choices, fewer com- mercials, and the ability to purchase music and related products on the spot Spinner.com, regarded as the first true Internet music service, was founded in March 1996 in San Fran- cisco by CEO Dave Samuel, "mostly because of a distaste with tradition- al radio," he says. "It's hard to get information about the names of the songs and artists, then to remember it when you get to Tower Records. But most of all, there's no variety on radio. Here in the San Francisco market, we have maybe 15 different formats," His company boasts 120 formats with a music library of 17.'),(XX) songs, sen'ing most any niche that visitors might envision. Spinner.com aims to "provide a soundtrack for the work- place." Samuel .says. "Instead of lug- ging in stacks of CDs or maybe hav- 'We're no longer limited by frequency . . . so there are opportunities to deliver a udder variety of content' - BHAD PORTEUS - ing a traditional AM/FM radio on their desks, people can log into spin- ner.com and, with ease, ha\'e all the music they want right through their desktop." The network currently airs three 30-second spots an hour. Another revenue avenue is its link in April with City Auction to offer listeners a place to buy and sell music-related items online. According to Spinner.com, it has seen a 1,000% increase in traffic in the past six months, with more than 1.3 million different visitors a month. NO LIMITATIONS Likewise, San Francisco-based Imagineradio.com, formed two years ago, saw a need to enhance tradi- tional radio service. "Radio format- ting plays to the lowest common denominator," says Brad Porteus, the company's VP of marketing and busi- ness development "We're no longer limited by frequency on the FM dial, so there are opportunities to deliver a wider variety of content Niche pro- gramming is an attractive business opportunity" With the Internet's global audience, Porteus adds, Imagineradio.com is able to conjure an aggregate listening audience that would othcnv i.se be too limited in a traditional listening area. The company's demographic is sim- ple: people who are online and pas- sionate about music. Imagineradio.com isn't profitable at this juncture, "but no decent Inter- net company is," Porteus says. "Prof- itability is conceh-able through audio advertising. We believe that banner advertising is dying. Li-steners have trained their brains to ignore it. Advertisers are looking to interact with our audience beyond the banner." Like Spinner.com, the company limits on-air advertising to two or three minutes per hour. A BROADER BUSINESS MODEL Online goliath Bi-oadcastcom, pur- chased in March by Yahoo!, shares a similar business philosophy with Internet streaming company and content provider RealNetworks, in that online radio Ls a mere fragment of its business. The Dallas-based company, which serves 50 million people a month, was founded in 1995 by Mark Cuban. Broadcastcom's interests include the broadcasting of more than 410 radio stations and networks, 49 TV stations and cable networks, events inwlving 450 college and profession- al sports teams, live and on-demand corporate and special events, con- certs, and .500 full-length audio- books — this, in addition to its CD jukebox of more than 3,000 full- length discs. Cuban says that only 30% of the company's income comes from adver- tising on Internet entertainment sources, with 70% derived from Internet and Intranet business appli- cations, such as press conferences, trade shows, stockholder meetings, and media e\'ents. "This wasn't about creating this lush jukebox for us," he says. "If you're doing just Internet radio, you will fail. People won't accept audio- only anymore. It has a great place in the business, but the economics just won't work." He cites streaming costs, marketing to gain audience, hiring a sales force, and program- ming staff against what he views as scant methods of collecting income. "This is ju.st not a stand-alone busi- ness." Cuban adds. ADDING VALUE TO A NAME BRAND Another breed of Internet-only stations includes those that capital- ize on a known brand, such as Rolling Stone's RSradio.com via RealNet- works (which offers 13 formats, including hip-hop. women in rock. 'It's compelling for listeners because the Internet is where they are at work and at home' - OtOROe BUNDY - new wave classics, and electronica) and VHl's at-work channel (which offers specialized programming like its "Divas Live '99" show, as well as concerts and music specials). VHlatWork.com is part of MTV Net- works' Buggies Project, an all-genre online music station that launches this summer. "Half of our audience is online at work, and they have a real loyalty to VHl to keep them connected to their favorite music and to introduce them to new music," says Fred Graver, senior VP ofVHl.com. Unlike the m^ority of Webca.sters, VHl is not focused on increasing revenue with its onUne stations. "This is all about brand extension." Graver says. Rolling Stone's Internet radio, managed by Tunes.com, was also developed as a way for the magazine to further spread its familiar name. "Certainly, (Rolling Stone editor/publisher] Jann Wenner is always looking for ways to extend the Rolling Stone brand," says Jo Sager, VP of marketing for Tunes.com. "He always has been on the edge of revolution in music and wants to stay there." The 13 stations operated in the name of RSradio.com are aimed not only at the at-work audience but to college-age students as well. "We hope that each of our genre-based stations is attracting the demo- graphic to which advertisers hope they correspond," says Sager. While the company declined to comment on current profitability. Tunes.com business development director Chris Henger sa.vs that the company is moving tow'ard an E-com- merce-supported model. "We have banner ads and in-stream audio ads on the player, but imagine if you're listening to a Pearl Jam song, and Rolling Stone Merchandise offers T- shirts and posters," he says. "Wouldn't I want to present them offers around the music that they're really into?" IRREVERENT IMAGE On a still different plane are pla.v- ers like the under-35 and collegc-age- directed Atomicpop.com. which merges radio, TV games, and comics on its multimedia site. Launched in February by former MCA Records chairman Al Teller — an early Inter- net advocate — the irreverently posi- tioned company, based in Santa Mon- ica, Calif., was formed "as a response to how we saw technology changing the music industry," Teller says. "We are leveraging the digital medium to create an entirely new model, one that will ultimately put artists back in control of their music and bring them closer to their audi- ence," he adds. "We're not ignoring traditional brick-and-mortar retail and offline promotion and market- ing; we're trying to bridge both worlds." The site has gained notoriety with pre-release on-site sales of Public Enemy's new album, "There's A Poison Goin On." fol- lowed by an $8 digital-downloading offer of the project "We're committed to pushing the envelope and exploring the bound- aries as best we can," Teller says. "If you look at all the components of the music business, it's hard to imagine them or enjoying their current lev- els of succe.ss five years out without going through migor reinvention." Royalties Key Issue As Webcasters, Labels Forge Relatiooships BY CHUCK TAYLOR NEW YORK— Record labels and traditional radio stations have long had a highly symbiotic and mutual- ly beneficial relationship, trading free content for free exposure. The Internet medium brings some new twists to the table, how- ever. Chief among the hot-button issues involving Welxiasters, record labels, and the labels' US. trade advocate, the Recording Industry Assn. of America (RIAA). is royalties. The RIAA recently reached its first Web site licensing agi'eement under terms of the new Digital Mil- lennium Copyright Act (DMCA), which mandates performance fees for labels and artists for recordings pla,ved by digital radio, and .said it was in negotiations with other sites. The groundbreaking agreement was with musicmusicmu.sic.com for its RaflioMoi.rom Internet radio .stii- tion (Uillboard/Ai/fcfin, May 5). The DMCiV. enacted la.st (3ctolx;r. establishes a .statutory license that permits Webcusten* and other digi- tal audio services to obtain public performance licenses. The DMCA does not pertain to analog radio broadcasts. Online media companies and the record industry were to have reached an agreement by May 27, determining rates for a compulsory license to Webcast copyrighted music on the Internet, but at press time, it appeared that no figure had been determined. Now. the two interests have a 60-day extensicm during which to individually or joint- ly petition the U.S. Copyright Office to extend the period, before the jH'ocess is turned over to an arbi- trator Kevin Conray, .senior VP of world- wide marketing for BMG. says that the <liHtriVjutor embraced the Inter- net early on, "and we believe more than ever that it represents an e.xcit- ing way for us to reach more con- sumers in a more targeted way. We are already seeing huge benefits with the medium." Still, while most online stations claim peaceful, if not amiable, alliances with record labels, one Internet source who spoke on the condition of anonymity sees a dif- ferent picture. "The Digital Millennium Copy- right Act will go the way of the Satellite Home Viewers Act These things that (the RiA\ wants] to be illegal — like three songs in a row from one artist or two cuts from the same album in a three-hour peri- od — are bullshit," says the source. "In the end, all of this will ho i*ene- gotiated." Already, the RIAA has lost one significant round: its bid to insti- tute a higher royalty for the right to transmit copyrighted sound recordings on cable and satellite, which it hoped to attach to the DMCA, directly affecting Webcast- ers. The U.S. Court of Appeals for the District of Columbia instead left intact a 6..5% royalty formula paid to U.S. record labels (.sec story page 1.S6). Another contact who is involved in Internet-only radio disregards the theory shared by some labels and retJiilers that Webea.sting music will lessen sales. "Plain and simple, people w~ant to sample stuff before they buy it" he sa.vs. "We're offer- ing consumers the ojiportunity to go deeper into categories of music that aren't exposed on radio, (her time, this w ill be an im|)ortant driver for retail sales of prerecorded music." As to the theory that consumers will record music off the Internet en masse, the source points to Celine Dion's "My Heart Will Go On." "It's the most-playtKl ratlio recorfl in history, and it .still went No. 1 in sales. It proves that hearing what you're looking for doesn't make for le.ss incentive to buy it." BILLBOARD JUNE 5, 1999 133 Bill DOQrCl. ^UUi conttnued junes.i999 THIS WEEK LAST WEEK 2 WKS AGO WKS. ON CHART ARTIST TITLE IMPRINT & NUMBEWWSTHIBUTINC IA8€L ISUGGESItD LIST PRICE 0« EOUWAlENT fOH CASSETTE/COl PEAK POSITION THIS WEEK LAST WEEK 2 WKS z .At !9< SI »o ARTIST TITLE IMPRINT & NUMBEFVDiSTRieUTtNG LABEL ISAIGCESTEO LIST PRKTE Off EQUIVALENT FOR CASSCTTE/CO) PEAK POSITION (W) 1Z6 175 3 DIANA ROSS MOTOWN 54952ailNlvtRSAL DO 9a'16.98l EVERY DAY IS A NEW DAY 108 (ID 162 168 45 BEASTIE BOYS A' GRAND ROYAl 37716*(CAPIT0LI11 9817 98) HELLO NASTY 1 (M) 121 128 46 BARENAKED LADIES reprise 46%^WAFmER BROS a0 9a'I6 98) STUNT 3 155 128 lis 7 T.D. JAKES ISLAND 521630 110.9K16 98IH SACRED LOVE SONGS lis no 103 94 9 SAMMY HAGAR AND THE WABORITAS mu I ]S72 no 9a'l6 981 RED VCXIDCX) 22 156 160 150 48 NATALIE MERCHANTA elektra62196.'EECi10 9&'1698I OPHELIA 8 in 102 106 11 LES NUBIANS ouTiTMTvWHER OCTAVE 4599?<viRGm i]09Sl698iH PRINCESSES NUBIENNES 100 157 153 152 54 JOHN MELLENCAMP A jhE BEST THAT 1 COULD 00 1978 - 1988 )^£*:uSY 536738lll.9a'179fl) intotoi i n« i i v-wwuLf 1 3/ o atoo 33 n2 106 113 26 ELVIS CRESPO • SON> DISCOS 826» 18.98 Ean 981 ■ SUAVEMENTE 106 158 158 149 85 EVERCLEARA-CAPiT0L 36503-il09a'l6.9Sl SO MUCH FOR THE AFTERGLOW 33 n3 97 2 SOUNDTRACK H0<.LYWOOD6Z228U0.9a'17981 FELICITY 97 159 134 158 37 HOLE A one 2516*iNr£RSCOP£ I109a'16.9e) CELEBRITY SKIN 9 n4 99 92 TIM MCGRAW A' CURB 77886 1109&1698I EVERYWHERE 2 160 157 180 8 ANDY GRIGGS RCA (NASHVILLE) 6759&T1LG 110.98/16 981 ■ YOU WONT EVER BE LONELY 142 ns 110 103 13 THE ROOTS • MM 11948- (10.9«/16 98| THINGS FAU APART 4 161 164 178 11 SOUNDTRACK DREAMWORKS S0033t^EFFEN(17.96C0) A NIGHT AT THE ROXBURY 95 ns 108 102 14 flo™^5™8fi"^"" none the richer 89 (J6?) NEt 1 THE GAITHER VOCAL BAND spring hill 26475 110.9&15 96) GOD IS GOOD 162 NE' 1 THE JERKY BOYS ratchet weoeawERCUHY (i09a]6.Ml STOP STARING AT ME! 117 163 146 155 29 TOTAL • BADBOY 73020*,'ARISTA I10.9E116 981 KIMA. KEtSHA & PAM 39 (HD 133 162 5 LO FIDELITY ALLSTARS HOW TO OPFRATF WITH A Rl OWN MINO s^;nt.5ub pop 696&i coluubw Eai3 981 B ' " urtKHi t wi 1 n « HLuwM mnu 118 164 139 133 33 CAKE • CAPRICORN 638092MERCURY I10 9ft'16 981 PROLONGING THE MAGIC 33 165 137 140 7 MONTGOMERY GENTRY coluweja iHfcSMnLi£)69l56SE»tT(NASMiiLiEi;i096Eljl6 9Bi B TATT(X)S & SCARS 131 ns 101 89 11 SELENA • EMI LATIN 97886 (11 9a'17 Ml ALL MY HITS TODOS MIS EXITOS 54 166 152 157 LILA MUl«APiri ASYLUM b233^uu 110.9(116. 9m oUMC 1 nllYLs in 1 fit Alf^ 85 120 105 96 34 KIRK FRANKLIN • aosPO centric 9017aiNT£Rsa>ft (10 98.:7 96i THE NU NATION PROJECT 7 167 150 146 40 THE TEMPTATIONS 9 (AOTOW(( 530937(UN(VERSAL 110 9816 98) PHOENIX RISING 44 121 107 93 11 P"^** , „ IF 1 COULD TURN BACK TIME --CHER-S GREATEST HITS 57 168 144 122 g CAEDMON'S CALL essential 10466'J^e no 9ST6 98) 40 ACRES 77 122 109 2 (kMPnAI*«V 1 ifur CTorrr Aiinn?iury i vwnrin la qs.ii o aa \ m TMT WMHI F ^MFRANH ^nti/Mi^f ltki^ ^ 1 Ktt > q3W£/riiAL TiTuwu 10 TO L £ ?o.> BIB inu VYni^Lt oncD"i'4U 109 169 149 147 26 DJ QUIK PROFILE 1((034',ARISTA 1 10 98' 16 98) RHYTHM-AL-ISM 63 123 III 98 5 VONDASHEPARD MCKET2222I1I 9ai6 96l BY 7:30 79 170 148 135 29 BEE GEES • POLYDOR 55922ttUNIVERSAL (109*17.981 ONE NIGHT ONLY 72 (ID NEW^ 1 CHELV WRIGHT nasmville 70052 1 10 9ai6 981 ■ SINGLE WHITE FEMALE 124 (HD 190 - 4 STAIND FUPELEKTRA 62356.t£G I7.9&'1 1 98) Bl DYSFUNCTION 171 (31D 136 139 33 PHIL COLLINS A ea^evalulatiantic 83139 *Gi 10 9a':7 9ai ...HITS 13 172 155 177 21 SHAKIRA • SONY DISCOS 82746 (10,98 Ett lb 981 B DONDE ESTAN LOS LADRONES? 131 126 lU 116 34 OUTKASTA LAEACE 26053*jARISTA(10 9ai6 98l AQUEMINI 2 173 151 137 15 VARIOUS ARTISTS • GR«HUYQ£KTRA62381fiG 111 9&17.«i 1999 GRAMMY NOMINEES 8 127 115 115 28 ?^ P!f'?.h? S _ MAYBE YOU'VE BEEN BRAINWASHED TOO. AICA 11856II09&'1698IB 41 174 145 129 6 SAMMY KERSHAW MERCURY (NASHVILLE) 5388891 10 9&T 7 981 MAYBE NOT TONIGHT 99 128 113 104 8 ouunuinMi>n wlj*<k i.xpiu n J .Wa 1 / '?0I uc 67 175 173 - 24 JIMI HENDRIX EXPERIENCE HENDRIK: THE BEST OF JIMI HENOBIX EXFERIE\CEHEn;r1« ;i671',VCA(lD9ai7 98l 133 129 116 108 30 VARIOUS ARTISTE A POEVGRAM-UNIVERSAE'EMI 4t679&'VIRGIN U ) 9&'l 7 981 NOW 10 176 169 181 50 VARIOUS ARTISTS • RAZOR 4 T1E89004 ill 9aT7 98) MONSTERS OF ROCK 112 130 112 126 14 SOUNDTRACK • WARNER SUN5ETATLANIIC 83163.«l(10 9ai7,98l YOU'VE GOT MAIL 44 177 183 164 19 JOHN MELLENCAMP • Columbia 69602* di 98 EQ l) 98) JOHN MELLEN(2AMP 41 131 104 91 43 MARK WILLS* MERCURTmASTOLLE15J6317(10.9&I6.9«lB WISH YOU WERE HERE 74 178 16) 187 13 BONEY JAMES WARNER BROS 47283 110.9ai6.9ei BODY LANGUAGE 91 132 117 105 18 JESSE POWELL Silas ii7S9'MCA(10.wi69Bi 'BOUT IT 63 179 184 - 4 ANT BANKS PRESENTS T.W.D.V. IHUMPsmEn99fl6llo 9*16 981 DERTY WERK 135 133 119 100 6 YANNI private MUSIC 83157 WIIDHAM HILL 17 98 11 981 LOVE SONGS 98 180 172 167 10 JOEY MCINTYRE«C2 6985&COUJMBI»il «SECll?»e: STAY THE SAME 49 134 118 101 10 VARIOUS ARTISTS -rijc ai i tii^t fiprATccT MfiviF <^nNf;<5 COLu™iMPt69879tPIC(U,9«E(»18 98) 1 nt ALL imt IjKtAI tbi MUVIt bUNljb 82 181 168 130 9 AVALON s=AB«cw5l6a;;109ai5 98) IN A DIFFERENT LIGHT 61 182 166 141 9 !i*!![°y,^,f5I'5I^„ „ , „. WU-TANG RECORDS PRESENTS, WU-CHRONICLES rt.-IANb 51113 PRIORIT) il0 96']b98 25 13S 132 125 64 MADONNA A' maverick AfiWyiWARNEH BROS [10.9& 17.981 RAY OF LIGHT 2 136 122 121 34 DEBORAH COX • arista 19022 llo.9&Te.98l ■ ONE WISH 72 183 170 144 6 BRUCE SPRINGSTEEN Columbia 69476- (11 98 E<»17.9ei 18 TRACKS 64 m Ht\ «► 1 JUVENILE WARLOCK 2809 1109516 98) BEING MYSELF (REMIXED! 137 184 165 159 51 SOUNDTRACK A' capitcl 93402(109*17 98) HOPE FLOATS 4 136 120 124 17 FOXY BROWN A violatordef jaai 5M933*.wercury (lo.gaie 9B1 CHYNA DOLL 1 185 200 3 SUSAN TEDESCHI TCNECOOL'ROUNDER 47i;6AMERCURY(:0 9a'!6 98! ■ JUST WON'T BURN 181 139 127 109 58 ANDREA BOCELLI • philips 1S2033 no 9S'17.98) ARIA — THE OPERA ALBUM 59 186 163 145 21 SOUNDTRACK WARNERSUNSiI reprise 47UO"AARNEfi BROS 110 9ft 17 SS) PRACTICAL MAGIC 36 3D 112 123 31 Sf*RRw!"lM6!l^!f 1?9? WOW-1999: THE VEAR^ 30 TOP CHRISTIAN ARTISTS AND SONGS 51 OD NE) «► 1 BLESSIO UNION OF SOULS king off THF R1I77 push 27047*2 110 98 16 98i WALKING OFF THE BUZZ 187 141 131 131 48 SOUNDTRACK A' Columbia 69.MO1U 98 Ea:7 9ai ARMAGEDDON - THE ALBUM 1 188 180 10 BETH ORTON h-avinlydeconsiruCTOn l9038*'»fi(STA iio 9S 16 98) ■ CENTRAL RESERVATION 110 189 179 171 83 BROOKS & DUNN A ' GREATEST HITS COLLECTION AR SrAMASMVlLLE i8652(109a'l6 9B) . r ii- uni-m miu v,wi.i.i.^iiun 4 142 129 112 18 SILKK THE SHOCKER A M limit aoooj- poiosin (10 98(17 981 MADE MAN 1 NEW^ 1 VARIOUS ARTISTS vp 1559- i7 9&13 98i REGGAE GOLD 1999 143 190 123 161 13 THF PHIFFTAiN^ RrA )/irT(^R (U(9((A 1 1 n q(^ i ofii TFAR^ OF <iTnNF 56 144 125 127 9 STEVIE RAY VAUGHAN AND DOUBLE TROUBLE ^HE REAL DEAL GREATEST HITS vaUME 2 EPIC65B711EGACYI119SEQ17 98I i nt nuiL UCdl.. UHt>M L^si HI 13 VLHUmt. ^ 53 191 147 2 VARIOUS ARTISTS PO(.YGRAM IV MSSSO-MERCURY 110,9*1 7,981 PURE FUNK VOLUME 2 147 145 124 97 79 CELINE DION A ' sso music 6886! epic il l 96 £0 17 08) LET'S TALK ABOUT LOVE 1 192 176 165 24 REDMAN A DEE jam 558945'iWERCURY (10.9*16 98) DOC'S DA NAME 2000 II 14< 143 156 30 F AITU CUAMC A DH n tinv Timet tmm i t n on 'i 7 m< l/ITCD TLtC CAITLl TAl 1 n tVAnd • BAD B07 73016 'ARISTA 110.98(17.981 Uttr 1 Ht rAI 1 H 6 193 175 170 9 USHER • lAEACf 36059ARISTA(]1 9R'17 9fl) LIVE 73 (J94) RE-ENTIIV 83 INSANE CLOWN POSSE A SUWD 524442MERCURY 110 96 E(»16,98) THE GREAT MILENKO 63 m 156 148 11 SHANICE LWACE260S8*,'ARIsrA 110 98 16.98) SHANICE 56 195 183 182 9 ™*?>?«Dm*mS«ciN ,12 9*16.98) " °^ ""^"^^^ GROOVE 102 a® 167 2 ALEJANDRO FERNANDEZ SONY dlsCOS 83182 :9 98 EQ 14 9141 ■ Ml VERDAD 148 149 130 117 7 SOUNDTRACK hoilywooo62216!17 98CO) 10 THINGS 1 HATE ABOUT YOU 52 dD NEW^ 1 SOUNDTRACK island 5461%ill.9ai7.9a) NOniNG HILL 1% ISO 141 154 28 U2»tSlA.SD53A6iaWERCLlRYI119S;7.9S) THEBESTOF 1980-1990 45 NEt «► 1 REEL TIGHT GFUNK 7296&i?esilessi10 9&15 98iB sack TO THE REAL 197 151 135 119 13 BLONDIE BKOXO 78003(10.9*16.981 NO EXIT 18 198 186 199 26 Ss™"7f5*,;'lu™!5YT^^ 98, THE COLLECTION. VOLUME ONE 32 152 140 134 23 DJ CLUE • ROC A EELLADEf J)W55«89I*.WERCURYI]09»16 98) OJ CLUE? THE PROFESSIONAL 26 199 178 183 23 MYSTIKAL A NO UMit 4i65S'livt 111 9S16.98) GHETTO FABULOUS 5 353) 171 142 10 VARIOUS ARTISTS ATLANTIC 8315&W1 110.9a'17.9e) THE ABSOLUTE HITS 75 200 174 153 11 C-MURDER • NO LIMIT 6C>035-.'PRlORITY (11 95'17 98) BOSSALINIE 2 TV ALBUMS A-Z{LBTBIIYMIBn) UZ 29 2Pm: S3 9B Degrees 21 Avaion 181 BKhslreet Boys 1,24 Bdrensked LMiea 10^ BeastieBoys 15d BeeG«n 170 EncB 57 B.G, 59 BlACKstreet 102 Biesstd Uiwn Of Souls 187 Bioncba 151 Andrea Bocxlli 18. 69. 139 Bofw Thugs-N-Hsfmony 198 Brandy 25 Sarah Bnshtman 107 8rD0ks&Dunn tS9 Gann Brooks 77 Foxy Brown 1 38 Buclicherry 74 Jimmy Bwffett 8 Busta Fttfymes 56 B*Wilctwd 28 Marian Carey 99 Cne 38 0)« 12. 12! Kenny CJwsney 78 The Diiettains 190 Charlone ChuFch 72 C Mufdcf 200 Collective Saul 50 PhilCoJIms 125 TheOxrs 106 Deborah Com 136 The Cranbarries 64 Creed 41 Elvis Cfwpo 85. 112 SnerylCrow 101 Celine Own 145 Dmie Chicks 14 DJCIuf 152 DJQuik 169 DMX 40. 51 DruHill 81 Eightt»ll& M J.G. 10 Faith Evsm 146 Eveniev 158 Evertast 19 Ale^ndro Femandei 148 Fw 55 BtnFoldirnw 105 KirkFranMin 120 T>ic Gwttwr Vocal Band 162 Oaitiaee 90 Ginuwine 65 Godvnack 23 Goo Goo Dolls 64 Andy Grifgs 160 Sammy Kagar And The WaborlUs 110 Jimi Hendru 175 FatthHill 62 LaurynMili 31 Hole 159 W^>lney Houston 47 Iwane Clwn P(»« 194 T.D. JBKes 155 Boney James 178 Jay Z 35 TTieJahyBoys 117 B3 Juwfwle 27, 137 R. Kelly 75 Samnvy Kershaw t74 Kk) RkK 13 Kom 34 Lenny Kravitz 79 Krsyiie Bene 66 Lil'Troy 104 Limp Birtil 97 Lit 42 LD FKlehty Allslare 118 Baz Luhrntann 67 Madonna 135 Ricky Martin 2.93 matchbox 20 70 Dave Matmews Band 88 Dm Matlhews/T \tn Reynokts 76 Martina McBnde 84 LilaMcCann 166 TimWcGraw 11.114 Joey Mdntyre 180 Sarah McLacMsn 39 John Meilencamp 157. 177 Natalie MenhaM 156 Jo Dee Messina 73 Metaltica 82 hlonica 95 127 ry Gentry 165 Van Morrison 96 Mystlhal 199 NAS 15 Naughty By Nature New Radicals " ■NSyne 16 Les Nubians 111 The Offspring 17 Orgy 60 BethOiton 188 OutKast 126 Tom Petty And The Heartbreatere 44 Jesse Powell 132 Redman 192 Reel Tight 197 Kenny Rogers 68 The Roots U5 Diana Rns 108 Setena 119 Shskira 172 Shanlce 147 149 Vonda Shepard 123 Silk 61 Siikk The Shocker 142 SiN*rch».i 103 Soeemce ^ta>e The Richef 116 FatboySiim 48 Will Smith 49 SrKNJp Doflg 7 SOUNDTRACK 10 Things I Hate About Vou Armageddon — The Album 141 CityOfAngets 86 Sorp Fnjm Dawson's Cnek 20 Fellcrty 113 Go 128 Hope Hoats 184 Ute 33 The MalriK 26 A NieM At The Rcobury 161 NoRin£H«l 196 Practical Magtc 186 Star Wars LpboOe \ . Tarzan 45 You've Got Mail 130 Bntney Spears 3 Bruce Springsteen 183 Stamd 171 George Stratt 58 Sugar Ray 37 Suaan TeoeKhi 185 The TemptaOons 167 TLC 4 Total 163 Tnck Daddy 32 Shana Twain 6 Ant Banks Presents T.W.O r. 1 79 Tyrese 52 U2 150 Usfier 193 VARIOUS ARTISTS 1999 Grammy Nonmeet 173 The Absolute Hits 153 The All Tane Greatest Mcwe Songs 134 BET — Best Of Plwiet Groow 195 Chronic 2000 $(j«e Knighl Represents 36 Fvnily Values Tour -98 43 UIKh Fair A Cdctxaton Ot Wonwn In Muse Volume 2 87 Lilith Fair A Celebration 0( Wonwi In Husk Volunw 3 98 Mrflennium Hip-Hop Party 94 Monsters Of Rock 1 76 NOM 129 Pure Funk Volume 2 191 Rswhus PresetTts SoumtbonitiinB II 30 Reggae GoW 1999 143 Run RyOersi Ryde Or Die Vol 1 9 Wortd Wrestlif^ Federation: WWF The Music Volume 3 89 Wom 1999; TheYMr-v30Top Chnstian Artists Arw Sor^ 140 Wu-Tang Records Presents: Wu- ChFoncles 182 Slevie Ray Vaughan And DouOe Trouble 144 Vengatwys 100 Tom Waits 91 Steve Warwwr 92 Robbte WiHiami 63 Mark Wills 131 ChelyWr^t 124 Vanni 133 DwieMYoakam 80 RobZornbM 46 134 BILLBOARD JUNES. 1999 WARNER BROS., SILVERLIGHT RECORDS LINK fCoHtitntt'd fnn/i jxu/p ,y recalls Quartai aro. It didn't happen. But what has transpired since then, notes Quar- tararo, is that the current generation of acculturated Latinos is being serred by numerous media that did not exist 20 years ago. There now are i-adio stations, TV shows, and maga- zines directed toward English- speaking Latinos, says Quartararo. He describes Martin, whose new drimmeb album is on C2/ Columbia Records, as a mainstream pop star who "is a good kid with a good product, and he came out at the right lime, and it's all about timing." Quartararo says if WEA Latina icon Luis Miguel had cut an English- language .song in the past four years, "he would hare been the catalyst" for the burgeoning grow th of Latino acts in the general market. For the moment, however, Quar- tararo and Drimmer are looking at English-speaking Hispanies as a growth market to be tapped into. Drimmer envi.sions SiK-erlight as "an alternatire marketing division of Warner Bros, for our product that will supplement what they do." Asked how Sil- wrlight will market its acts toward a select group of consumers he estimates to be about 20 million, Drimmer says, "We're going to market this thing in the streets, as apposed to the way a mainstream label markcLs a record. We are going to high schools; we are going to come up with every oddball way of selling records to reach these kids." But Drimmer stresses that he does not axpect homebred Latinos to buy product signed to Silverlight just because they are Hispanic 'There is a cultural attraction to anything Latino now' - PHIL OUARTilRAflO - Saying he is not trying to "cross tararo. anybody over from one language to another," Drimmer |X)inLs out that the types of music he is interested in range from mainstream rock to R&B. "One thing we arc not going to do is very Latin-oriented pop," says Drimmer. Peggy Dold. former Island Records VP of marketing, has been named dilator of mar- keting. Based in Miami, Dold also will be signing artists, according to Di'immer David .Jordan has been appointed direc- tor of A&R. a position he previously held with Thump Records. He will be based in Los Angeles. Quartararo foresees an eventual embrace by the general-market con- sumer of pop music recorded by artists of Latino heritage. "There is a cultural attraction to anything Latino now," says Quar- 'HARD ROCK LIVE' BLITZ PLANNED (Continued from /mije SJ rial and interview footage with the featured acts. According to Jeff Gaspin, executive VP of VHl, the move is a logical progression for the network, "since we're already so involved with the labels and artists." He views "Hard Rock Live" as a vital element of the network's pro- gramming, "because we have many series that tell the stories behind the music. It's crucial that we have a show that's an all-out concert." The increa.sed input of VH 1 is wel- comed by Hard Rock Cafe Interna- tional. "We're running on all cylin- ders now," says Chris Tomasso, director of production at Hard Rock. "VHl is a great partner, and their added input will strengthen what we beliere Ls already a great program." This fall, the "Hard Rock Live" brand will be used for a U.S. concert tour, sponsored by American Ex- press. The gigs will be held at Hard Bock Cafes in Atlanta, Miami, Boston, New York, Chicago, Phila- delphia, Dallas, Los Angeles, and Washington, D.C., with talent and additional locations to be confirmed in the coming weeks. Proceeds from the tour will benefit VHl's Sare the Music education program. In addition to the tour, American Express will launch a national pro- motion with Tower Records, starting in July. Each month, CDs from acts featured on "Hard Rock hive" will be available to American Express card members at a discounted price. "This is an affiliation that has afforded our customers a great value," says Gail Was.serman, VP of public affairs at American Express. Finally, Sire Records will issue a series of CDs with performances culled from "Hard Rock Live." Nei- ther the number of CDs in the series nor the release date of the first disc has yet been confirmed. In addition to purcha-sing the di.scs via traditional retailers, consumers can buy the CDs through the "Hard Rock Li\'e" Web site (www.hardrock- live.com) and WEA Distribution's Web site (ww-w.thedave.com). In a prepared statement, Sire pres- ident Seymour Stein says, "We fully believe in the massive potential of 'Hard Rock Live' CDs. 'The commit- ment of Haixl Rock Cafe Internation- al, VHl, Warner Bros., and American Express are all responsible for the great succe.ss of the TV series. Rest assured that Sire is equally commit- ted to do its share in making the 'Hard Rock Live' CD series an outstanding and successful series of reciHilings." ENTERTAINMENT BUSINESS PREPARES FOR HOUSE BILL (Coutin iifd from muie X) America (RIAA) brass met during the final week of May in what was characterized as an "information gathering as to what the Hou.se will do" in dealing with the bill. An RIAA spokeswoman says the organization's president/CEO, Hilary Rosen, "was on the phone all week in contact with individual companies about both the political situation here and the larg- er ifsuc of taking a proactiw stance on the problem of youth violence in the country." .Jack Valenti, presidentyCEO of the Motion Picture Assn. of America (MPAA), met May 24 in Los Angeles with executives representing the six m^jor film studias. While the MPAA declines comment on Valenti's agen- da at the meeting, sources say the industry veteran may have suggested that executives take a lower profile during theHouse debate than some did during the Senate action. For example, Edgar Bronfman Jr., pre-sidentyCEO of Seagram, told re- porters May 12 that the government would be "well-served" by not going for a "quick fix" but instead recog- nizing that teen violence was not "an entertainment problem" but a "soci- etal problem." In a prepared statement, Valenti says only that the gathering was "Ijoth insti'uctivt: and constructive." At this stage, no one can forecast what Senate-approved provisions will be jettisoned from the House bill and what may be added to the House version. On May 25, Reps. Zoe Lofgren, D- Calif , and Lamar S. Smith, D-Texas, introduced an amendment similar to an already pa.s.sed Senate provision that authorizes antitrust exemptions for entertainment companies in order to allow them to meet and draw up conduct codes and to better regu- late or enforce now-voluntary ratings and labeHng systems. Because of the high school shoot- ing May 19 in Conyers, Ga., the Republican leadership decided to push up a hearing by the House Sub- committee on Crime deaUngwith the crime sections of the bill. The meet- ing, originallv set for late June, was held May 27. House Republicans will set the timetable for when the bill is brought up for floor debate. Although no date has been set, once the Subcommittee on Crime holds its hearing, debates the issues, and marks up the House bill, the full House Judiciary Com- mittee will then consider the bill. The House Education Committee will also hold a hearing and vote on certain sections of the bill, and the Rules Committee must then approve the measure before it goes to the House floor. newsline... THE MEMBERS OF the National Academy of Recording Arts and Sciences (NAIiAS) iigi*eed on three new categories for the Grammy Awards at their annual trustees meeting, held May 17-21. The new honors are best .sound- track album, best salsa (Xirformance, and best merengue performance. The latter two e.x|)and on the existing award for best tropical performance, which now becomes best traditional tropical performance. Computer and video game music will also be newly eligible for consideration, as a result of the decision to expand the definition of soundtrack categories to include "other visual media." NARAS also voted to substantially increa.se the bud- get for the Latin Academy of Recording Arts and Sciences in preparation for the first Latin Grammj-s; a date for the show will be announced in June. SHARES OF BARNESANDN0BLE.COM. an onUne bookseUer that will add masic to its Web store later this year, have underperformed in relation to other recently launched Internet stocks ■ lllln^Ml since the company went pubHc May 25. Joint owners l^ljpf Bertelsmann and Barnes & Noble .sold 18% of thecom- BMNES£ IIOBIi pany— 25 million shares at $18 each— and raised $42L6 million, making it the biggest Internet stock offering thus far. In their first day of trading on Nasdaq, shares (using the symbol BNBN) rose a respectable 27.4% from an opening price of $23.50. but Wall Street was unimpresssed because the increase did not match that of other Internet stocks. Asked if the company was disappointed, Ben Boyd, VP of communications for Barnesandnoble.com, says, "Absolutely not. We're the largest Internet [initial public offering] evien We look at the money made, rather than the money left on the table." In their second day, shares jumped 11.7%. At press time the third day, amid a big downturn in the market, shares had fallen 6.8% to $23,875. Internet stocks have been particularly vtilatile lately. Investors, fearing a rise in interest rates, have sold and taken profits on their online stocks, which many observers believe are wildly overvalued. ik)n Jeffrey K-TEL INTERNATIONAL Ls being taken to court by more than 20 vieteran rock acts, who allege the company owes them back royalties. In a lawsuit filed May 20 in Los Angeles Superior Court, plaintiffs including Jan & Dean, Pat Boone, Freddy Fender, and Gerry & the Pacemakers claim K-tel has failed to provide royalties on sales of 27 compilation albums featuring their music. The suit claims breach of contract and seeks a complete accounting of unit sales to determine the amount allegedly owed. The plaintiffs are also seeking attorney and court costs. A representative for K-tel says the company has not yet been served with the lawsuit, eileen fitzpatrick THREE PREVIOUSLY UNRELEASED TRACKS from the Beastie Boys debuted May 26 for free download via Launch.com. The tracks are in the Windows Media Technologies 4.0 format Beastie Boys and Launch.com will donate $1 per download to two charities supporting the Kosov^o relief effort for the 10-week download period. Microsoft will match the amount . . . New al- bums from the Red Hot Chili Peppers (Warner Bros.) and Def Leppard (Island/Def Jam) will be streamed in their entirety on the Internet start- ing Friday (4) at www.redhotchilipeppers.com, www.defleppard.com, and wwvv.realguide.com. The Chili Peppers will offer three new tracks per day through .June 13. The Def Leppard tracks will be part of a continuously repeatied "Radio Free Euphoria" broadcast that includes the album "Eupho- ria" and artist interviews. brett ath ood and melinda newman PORT WASHINGTON, N.Y.-BASED Koch International is starting a new imprint, twenty 14.com, to be run by former Shriekback and Gang Of Four mem- ber Dave Allen, who will be GM. The L JV.- based label will concentrate on alternative rock and electnmica and share offices with Koch's West Coast sales staff Allen will fold his World Domination Records. A first release from twenty 14.com is expected by fall; the label has signed the band Seely, formerly on Ameri- can Recordings, and Allen hopes to secure other acts dropped by mjyors. The imprint will establish an Internet presence, though it will not be Inter- net-only. Koch is also launching a video division and forming a new divi- sion, Koch Entertainment LLC, as an umbrella for its wholly owned music activities. ciiris morris TWO MUSIC PUBLISHING CATALOGS formed by jazz producers Dave Grusin and Larry Rosen hav^e been acquired by Famous Music; the purcha.se price was not announced. Operating under the umbrella of the Grusin/Rosen Production Publishing Companies, Turtle Creek (ASCAP) and Roaring Fork (BMI) include works by Academy Award-nominated Grusin, Tom Browne, and Don Blackman. The Grusin/Rosen catalogs had long been administered by MCA Music Publishing, whose sister label, MCA Records, purchased the producers' GRP label. IRV ut'HT.MAN DVD MANUFACTURER Panasonic Disc Services Corp. and Universal Music and Video Distribution are forming a joint venture to manufacture DVDs and CDs. The company. Matsushita Universal Media Services of America, will install DVD production capabilities at Universal's existing plant in Pinckneyville, III. The venture will double Panasonic's U.S. DVD produc- tion capacity to 5 million units per month by year's end. p.aul ver.\'a BILLBOARD JUNE 5. 1999 I 135 Fed Court Lets Pre-Digital Act Royalty Stood BY BILL HOLLAND The U.S. Court of Appeals for the District of Columbia Circuit has left intact a royalty formula established before the jiassiiKC of the Digital Mil- lennium Copyright Act (DMCA) of 199S. The ruling allows fi\"e subscription music service companies to continue to pay U.S. record companies a royalty rate on gros.s rc\=enue for the right to transmit copyrighted sound recordings (tn cable and sateUite. The decision means that Satellite CD Radio, XMR (formerly American Music E.xpress), Digital Music Express (DMX), Digital Cable Radio, and Muzak L.F will be "grandfa- thered" from having to pay the high- er rates under the performance right piwi.^ions of the DMCA law. A spokesman at Muzak had no comment. Peter Laird, a lawrer for DMX, says, "We are delighted to hear the news." However, the intact formulation ruling does not affect Webcasters or the rates paid under the compulsory hcense established as a result of the settlement last summer between U.S. record labels and the Digital Media Assn. That license was made possible by passage of the DMCA, which finally established a U.S. per- formance right for labels and arti.sts (Billboard, Nov. 7, 1998). The five non-Web companies had all received Ucen.ses from the Feder- al Communications Commission before passage of the DMCA. In the 8-0 decision reported May 21, the court re,jected arguments by the Recording Industry Assn. of America (RIAA) that the Library of Congress's Copyright Office royalty rate proceeding, conducted under the music-performance-use provisions of the pre-DMCA law, had set a rale that was unfair because it did not reflect fair market value. Steve Marks, RIAA senior VP of business affairs, .says the ruling was "a disap|M)intmcnt but no surprise" and adds that the impact of the deci- sion will be limited to the "handful of companies." He also Raj's that the DMCA's "new statutory provisions now direct that sound recording performance rates shouki be based on marketplace value." REPRISE'S SOUNDTRACK TO KUBRICK FILM FEATURES ISAAK TRACK (C(»it ill nt'il fnini /xtt/t' II) Angeles stations KACD and KBCD. "So we put it in rotation and are now waiting along with everybody else to see if the movie's impact can put another Chris Isaak movie song on the charts." Isaak had hit big with "Wicked Game" from the soundtrack to David Lynch's 1990 film "Wild At Heart." His songs have also been placed in Lynch's "Blue Velvet" and Clint Eastwood's "A Perfect World." He has acted, too, in such films as "Little Buddha." 'GOOD SONG FOR A FILM' "I'm lucky to have had good filmmakers use my music in good films, and I've never seen a Kubrick film I didn't like," says l.saak. "I always thought 'Baby Did A Bad Bad Thing' was a good song for a film because it's kind of a strange piece of work, with a real- ly driving beat and a manic ener- gy that I thought would probably work well for some visuals." Isaak approves of Kahne's remix. "It's a little more rocking," he says, "and everything sounds louder — which is what you're look- ing for." The remix ships June 22, ini- tially targeting triple-A, rock, and alternative formats, according to Warner/Reprise VP of artist development/creative marketing Gary Briggs. The focus will then move to Ac; and top 40 stations. "We did it primarily for alter- native radio, to bring the original up to a more current sound," says Briggs, who notes that the promo- tional single also includes the orig- inal album version, as well as a live performance. A commercial maxi- single will be issued later. SEXY CLIP A video for the song is tenta- tively scheduled. Plans are for it to pair Isaak with supermodel Laetietia Casta under the direc- Set the definitive manulacturer's guide to your pre-recorded produ ' mm • CO, Audio and Video Mani • Video Production Facilities ■ Packaging and IMailing Suppliers • Equipment Manufacturers ol CD and CO Rom • Tape Duplicators and CD Replicators • Tape Masterers BILLBOARD'S 199B 1 INTERNATIONAL TArE/DISC BIRECTORY For fastest service call (800) 344-7119. Intemalional call (732) 363-4156. Fax your order to (732) 363-0338 or mail this ad wilh a paymeni (or S75 plus SB S&H ($14 (or international orders) to: Billboard Directories. P.O. Box 2016. Lakewood NJ 08701 Please add applcaUe sales tax in NY. riJ, CA. TN. rM. IL PA, OH, VA S CC, Ordefs payable in U.S. funds onty. All sales are hnal. Tape Disc 99 is also available online. For rates call Anrea Irish at 212-536-5223 For intorTTAatjon or getting Tape Disc 99 on diskette o< mailing labels call Milie Fouratt al 212-536-5017 0DTD3169 tion of Herb Ritts, who lensed the memorably sexy clip for "Wicked Game." "Kubrick wasn't the type of director for us to be doing Burger King [promotional tie-ins]," says Briggs. But the label will no doubt reap benefits from the film stu- dio's current heavy TV cam- paign—and an R-rated trailer floating around on the Internet. "It's amazing because basically there's no dialogue, and Chris" sung is the driving force on all the spots," Briggs says. "Eyes Wide Shut" will be released .luly 16 by Warner Bros. Pictures, three days after the release of the Warner Sunset/ Reprise soundtrack album. Besides "Baby Did A Bad Bad Thing," the soundtrack features music from Brad Mchldau, the Oscar Peterson Trio, the Victor Sylvester Orchestra, the Vienna Philharmonica, and classical crossover artist Jocelyn Pook. EERIE TRACKS Pook's "Backwards Priests" is used in the film's masked-ball scene and will likely be retitled "Masked Ball." "It's quite ominous and eerie," says Virgin Records artist Pook, a viola player who has W'orked with the likes of Peter Gabriel and the Cranberries and whose song "Migration" is heard during the movie's orgy scene. An artist who has been described as ethereal and spiritu- al, Pook also composed other soundtrack pieces, which she says Kubrick termed as appropriately "weird." "It will be one of the big sound- tracks of the summer," says Bob Bell, new-release buyer for the Wherehouse chain. "It sounds like a great match between Chris Isaak's music and the movie — very similar to the cir- cumstances that broke him in the first place with 'Wicked Game' and 'Wild At Heart,' " Bell .says. Once again, there's a "quirky film with a tw-isted love story by a revered director, with Chris' music capturing that sort of mood," Bell says. "So far, just from the trailers, people are reacting to it." by Geoff Ma i/field Raising the BAR: it was one thing to know a week ago that early retail numbers gave the Backstreet Boys an excellent chance to set a new SoundScan-era recoi-d for single-week sales. Still, seeing that huge opening-week .sum of 1.13 milhon units sprawl across our computer work- sheet is fiuite a head-turning spectacle. The Bo.ys' "Millennium" could well clcse the millennium owning this decade's biggest sales week. With wall-to-wall MTV coverage and an assist from "Saturday Night Live," the Boys' total topples the previous high-water mark, set just a few months ago, when Garth Brooks' Nm-emlwr release, "Double Live," pouml 1.08 million copies in its first week. The only other album to touch a million in one week .since Billboard began using SoundScan data in May 1991 was the soundtrack to "The Bodyguard," which hit that milestone during the Christmas frame of 1992. Pre-orders for the Backstreet Boys set were just shy of 2.4 million units, which appears to be the year's largest opening shipment. TLC's "Fanmail," for example, which topped 318,000 units in its first week at retail, shipped 2.3 million copies. Last issue's No. 1, the English-language debut by Ricky Martin, whose first-week scans of 661,000 copies had been 1999's biggest sales week until Backstreet Boys arrived, shipped 2 million units. Not long ago, these types of mega-sellers would have shipped more units prior to street date, but in the world of just-in-time inventory management, labels and merchants can play opening-week stock closer to the vest Still HOT: As impressive as the Baclistreet Boys' entrance is, don't lose sight of runner-up Ricky Martin. His second-week total, 4.^8,000 units, would be large enough to top The Billboard 200 in all but two of this year's weeks, this one and that of the April 24 issue, when Nas started on top with 471,000 units. Martin's set has moved 1.12 million pieces in two weeks, which, with the singular exception of the current chart champ, is a claim untouched by any other album relea.sed this year. And it appears that this leader of a potential Latin invasion of the pop charts will stay camped out in the top 10 for a while. I note with amazement that adult human beings camped out overnight in Burbank, Calif., to pick up tickets that would be distributed at 8 a.m. to catch Martin's May 26 .stop on "The Tonight Show." During this Los Angeles-area visit, when he also taped an appearance for Fox's upcom- ing Blockbuster Entertainment Awards, all three of the 1 1 p.m. news- ca.sts devoted segments to Martin. Meanwhile, his "Livin' La Vida Loca," in its fifth week at No. 1 on The Billboard Hot 100, is still growing at radio. We already know to expect a long top 10 tenure for "Millennium." The Boys' self-titled debut which dropped in August 1997, has never ranked lower than No. 43, a stint that includes 4.'> weeks in the top 10 ... On the coattails of the new release, "Backstreet Boys" sees a 32'if gain over prior-week sales (32-24, 44,000 units). Conversely, Martin's "Vuelve" (No. 93), which had been on the ri.se most weeks since his Grammy ap- pearance, has fallen since his new one came out. Note though that "Vuelve's" biggest hit, "The Cup Of Life," also appears on the new release . . . There's no denying that "Millennium" and "Ricky Martin" are huge sellers, but neither has been a Pied Piper for albums that were already sitting in store bins. When Martin ruled the chart, only two of the titles from the previous Billboard 200 saw gains of 109! or more, while this issue, only 19 from la.st issue's 200 see such gains. Usually the release of a massive seller, especially one with broad appeal, drives the sales of other albums. Then there are weeks when consumers come to buy just the one they wanted. I wonder, too, if tickets sold for "Star Wars Episode I: The Phantom Menace" ate up enough leisure dollars to slow ancillary purcha.ses that might have accompanied the Martin and Backstreet albums . . . Without the Boys' million-plus, overall album sales (including catalog) would have been down from the prior week's volume, but they still were more than was sold in the same week of last year (see Market Watch, page Vi>i). Even with Martin's 661,000 units, last week's volume was down 9% from that of the prior .sales week. Without Martin's first week, last year's vol- ume would have been down from that of the comparable '98 frame. Channel surfing: The TV movie "Double Platinum" ranked fourth out of the four major networks May 16. However, its audience was large enough to make it the week's 18th-most-watched show, and it drove sales gains for both of its co-stars, Brandy (35-25, up 44%) and Diana Ross (126-108, up 31%). Both bulleted on last issue's Billboard 20O after a May 10 visit to Oprah Winfrey . . . Telemundo's May 16 cov- erage of the Billboard Latin Awards helps some performers and winnei-s rise on The Billboard Latin .SO, including .Alejandro Fernandez (7-5, up 14%) and Vico C (a re-entry at No. 46, up 32%). Elvis C'respo, who deliv- ered the title track from his first album, sees "Suavemente" climb 4-3, w hile another act that played the show, MDO, bubbles under the chart with a 15% gain. 136 BILLBOARD JUNE 5. 199tefial BMG, UMG, OTHER COMPANIES LINK FOR DOWNLOAD TECHNOLOGY (Continued frtnti page 6) digital-media formats, including Internet-delivered music, DVDs, audio CDs, and set-top boxes. By the end of the year, the devel- opment will result in the availabil- ity of digitally delivered music from UMG and BMG Entertain- ment, which control approximate- ly 40% of the U.S. music market and have already paired for the E- commerce joint venture GetMu- sic.com. "This is an important move for us," .says Kenswil. "It has become obvious that this is the year of dig- ital distribution, so we needed to move quickly. This infrastructure will allow us to distribute our music and media so that we can get our superstars out to consumers . . . This partnership covers the content, technology, and distribu- tion needed to achieve that goal." Telecommunications giant AT&T plans to tap into its broadband ca- pacity and distribution via its extensive cable system holdings, as well as some proprietary security and audio-compression technolo- gies for the partnership, according to Mercedes Walton, VP of corpo- rate strategy and business devel- opment for AT&T Labs. AT&T already owns cable TV giant Tele- Communications Inc. and is attempting to acquire cable com- pany MediaOne Group. Matsushita will contribute en- hanced versions of its existing copy-protection technologies, some of which are already incorporated into DVD-related products. The company, which manufactures con- sumer electronics products under the brand name Panasonic in North ExclBsive Album Reviews Martha Argerich 'The Legendary 1 965 Recording' (EMI Classics) Moby •Hoy' am Dave Week! Band •Synergy' (Stretch) News Updates Twice Daily Hot Product Previews Every Monday A new Billboard Challenge begins every Thursday This week's winner is Kristo Wegener ol Los Angeles News contact: Julie Tarosko Jtaraska@billboord com America, also plans to provide technologies for portable and set- top music playback devices designed around memory cards, according to a Matsushita spokesman. Matsushita is also expected to integrate digital media download capabiUties into future home DVD- based entertainment systems. While no specific product announcements have been made, the company has already stated its intent to provide DVD media tech- nologies for Nintendo's forthcom- ing DVD-based gaming console, developed under the name Project: Dolphin. The EMD partnership does not change UMG's already announced plans to integrate InterTrust's DigiBox secure technology into many of its downloadable offerings, according to Kenswil. No details were available on how exactly consumers will receive EMD downloaded music and media content. Most current download offerings are made through third party-developed media players, such as Microsoft's Windows Media Player, RealNetworks' RealPlayer BY MELINDA NEWMAN LOS ANGELES— Composer John Williams receired the Richard Kirk Award for outstanding career achiewment at the 19;)9 BMI Film & Tele\ision Awards dinner, held May 19 at the Regent Beverly Wilshirc Hotel here. The presentation, the highlight of the evening, included videotaped messages from director's George Lucas and Steven Spielberg. Williams has won five Oscars, one British Academy Award, 17 Gram- mys, and three Golden Globes Among the films he has scored are "Jaws," "Close Encounters Of The Third Kind," "Schindler's LLst," the "Indiana Jones" trilogy, "Home Alone," and "E.T The Extra-Terre.s- trial" His latest effort, the score for "Star Wars Episode I: The Phantom Menace," entered The Billboard 200 at No. 5 in the May 22 issue arnl is No. 5 this i.s.sue. Williams also received film music aw'ards for his music for "Saving Pri- vate Ryan" and "Stepmom." collection were subsequently pho- tographed and put on microfiche by the United States Holocaust Memorial Museum Research Archives, a set of which is avail- able to researchers at France's National Archives. Bangalter says he made copies of these documents from the microfiche. The composer has also posted the documents on the Internet at www.timbale.com. SACD, which represents fiction writers in cinema, theater, and TV and is mentioned in the Oct. 28, 1941, letter, has started examining its own archives for relevant docu- G2, and Liquid Audio's Liquid Player. "The last thing that anyone wants to see is a situation where consumers are asked to install sep- arate software from each compa- 'It has become obvious that this is the year of digital distribution, so we needed to move quickly' -UUUn KEHSmL- ny," says Kenswil, who adds that no specific deals have been made with these companies at press time. While no specific digital-down- load plans with major artists have been announced, Ken.swil indicates that initial offerings should include high-level acts in both current and catalog offerings. The first digital releases will be singles, but the JOHN WILLIAMS Other multiple-award movie win- ners are Trevor Rabin for "Arma- geddon" and "Enemy Of The State" and Harry Grcgson Williams for "Enemy Of The State" and 'Antz." Also picking up film awards were David Arnold, for "Godzilla"; Chris Boardman, "Payback"; Don Davis, mentation. "We are searching all the docu- ments in our possession about the decisions taken during the German occupation both by SACD and the Vichy government, and we hope to be able to bring them to the press before the end of next week," an SACD spokesman tells Billboard. A spokeswoman for SACEM says that from now on, Tournier "does not wish to speak to the pre.ss because he will hold all infor- mation for the Commission Mat- teoli, with which SACEM is active- ly working." labels will explore .some digital al- bum releases at various price points, he adds. In addition to sales of download- able music, the two music compa- nies will likely offer free promo- tional downloads in order to get consumers comfortable with the technology. For example, UMG may offer bonus tracks and videos from artists that are contained on CDs purchased by consumers; when used in a computer, the CDs will serve as the "key" to unlock the content. OTHER MAJOR ACTIVITY For several weeks, there has been speculation within the music industry about the EMD partner- ship and technology, which was developed under the name "Nigel." It is expected that Sony Music and Warner Music Group will pursue different digital-download solu- tions. Additionally, the Financial Times has reported that EMI will an- nounce plans to sell digital down- loads within the next few weeks. Some insiders say that EMI may also be looking at supporting the "The Matrix"; Randy Edelman, "Six Days, Seven Nighti>"; George Fenton, "You've Got Mail"; Richard Gibbs, "Dr. Dolittlc"; Jerry Goldsmith, "Mulan"; Michael Kamen, "Lethal Weapon 4"; Mark Mothersbaugh, "The Rugrats Movie"; Thomas New- man, "The Horse Whisperer"; Alan Pasqua, "The Waterboy"; Lalo Schifrin, "Ru.sh Hour"; and Stephen WarlxK'k (Performing Right Society), "Shakespeare In Love." Warbeck \v".is also honored for win- ning an Academy Award for the scoi-e to "Shakespeare In Lo\'e," as was Nicola Piovani (SIAE) for his score to "Life Is Beautiful." Other film winners included John- ny Rzeznik of the Goo Goo Dolls for "Iris," from "City Of Angels." The .song was named the most (lerformed song from a film. Writers I>avid Fos- ter Tony Renis (SIAE), Carole Bayer Sagei-. and Alberto Testa (SIAE) were honored for their song "The Praj'er," from "Quest For Camelot," which received a Golden Globe Award. Multiple television music award winners included Bruce Miller for "Becker"; and "Fra.sier"; Mike Post for "Law And Order" and "NYPD Blue"; and WG. "Snuffy" Walden for "Providence," "The Drew Carey Show," and "The Norm Show." EMD technology. Kenswil says that other music companies are welcome to use the EMD system. Sony Music has already an- nounced plans to support its pro- prietary SuperMagicGate technol- ogy and Microsoft's Windows Media Technologies 4.0. In addition, Sony Music and Warner Music Group have been key proponents of IBM's Electron- ic Music Management System dig- ital-distribution trial, better known as the Madison Project. IBM's effort is supported by all five major music companies, as well as streaming media giant RealNet- works. EMD will be compatible with the forthcoming Secure Digital Music Initiative (SDMI) framework for portable music devices, due to be finalized in June. Most, if not all, of the major music companies are expected to announce their intent to support the SDMI framework at a press conference June l.'i, according to sources (Billboard/iu//e/m, Slay 26). "While we have ongoing support for SDMI, we felt that it was important for us to develop a part- nership that allowed us to have our own viable solution as a catalyst to drive the market," says BMG's Conroy. Assistance in preparing this story wa^H provided by Don Jeffrey in tWeif York. When You Make CDs with Disc nilai(eps! Fi^l color,gkissy.1Vx17'postersare1tieideal way to promote gtgs, record reteases. or stofe appearances. Make CDs v/itti Disc Makers, and you can get 300 lull color posters for just S99! FREE cataiogi ^ 1-800-468-9353 ^1 ^ DISC MAKERS www.discmakers.com • into@dlstmaliers.com ■ BPI COMMUNICATIOHS INC. • criairrf\ar. GerMd S Hobbi • Pfes<denl & CEO John B. SatKOCk Jr. Executive V\ze Presidents Mark Dacvy. RotMrl J. OowUnn. Honnrd Lamlir • Senior Vice Prest(}enls. BeorgiRa CtiaNts, Paul Cumn. Ann Hake, Routee Lovetl, Craig fleisi • Vice Presii!eni Glenn Hetlet- RM • Chairman Ementus. W-D. UtUelord C'Copyrictil 1999 by BPI ConwnuniulioiH Inc. No part ol this pubHutbon may be reproducMl, tforMl in any retrieval syslem, or trammlttnl, in any form or by any nwans, etectrtmlc, mechanical, photo- capykif. reconNng . or olherwlie, wlttMuI the prior wrffien permiuwn of the pubHsher. BILLBOARD MAGAZINE IISSN 0006-2510) is putJiisneO neekty eicepi lor ttx- dr^l v»wk in January. On« Allot PUza. 1515 Broadway. New York. NY. 10036 Sub$cri(K><;m (at«: annual rale, Continenlal U.S. Continenlal Europe 22$ pounds. Bdlboard. Towvr House, Sovereign PaHh. marMt Hatlxirtxigh, Uic«tervure. Cngland lilt, 9EF. RegHlered as a newspaper al ir>e Brrtoh Post OfRce. Japan 109,000 yen Music Labo inc., Oempa Building. 2nd Fknr, 11-2. I-Chcme. Njgashi-Gotanda, Siunagawk-ku. Tokyo ^Al. Japan, ^nodicals postaee pa«l at New Vbrh. N Y and »t addillortal mailing atttces., Poet- martH: please wnd cttanees ol address to Billboard, P 0. Ben 2011, Manon, OH 43305-2011. Current and t>ach oxxai al Bilttxtard are available on nucrofilm from Kraus MKr<A;rm. Floute 100. MillwcxX), NX 10546 or KBtm Uniwererty MKirodlms, P 0 8o» 1346, Ann Arbor, Mich 48106, For GnMp Sub- «ription infDrma1»n call 212 536-5261 For Subscoplion Inlormalon call 1-800-745-8922 (Outside U S : 740-382-33Z2) For any cAha intormalion call 2)2-764-7300 Canada Rist Corp. Inlematnnat Publicaliom Mail Afftxmenf «09?1920- W. 1 1 1 Issue 23. Printed in the U.S.A. Williams Hattoreti At BMI filtti/TVAwanls SACEM'S WORLD WAR II ROLE EYED (Continued from /mge (1) BILLBOARD JUNE 5. 1999 AN UPDATE ON BBMU EVENTS & HAPPENINCiS Atwood To Lead Plug.in Session On Web Retail Brett Atwood, new media editor for Billboard, Billboard Bulletin, and Billboard Online, will moder- ate "The Billboard Roundtable: Reinventing Music Ketail" at Plugjn '99, a two-day forum on the strategic, business, and technolo- gy' issues surrounding the online music industry. Billboard is a principal spon.sor of the fourth- annual Plug.in. which will be held July 19-20 at the Marriott Marquis in New York Cit.v. It is presented by new media research firm .lupiter Communica- tions in conjunction with the Digital Club Festival (formerly the Intel New York Music Fes- tival). Each day at Plug.in will be com- prised of one or two keynote ad- dresses and four to six well- focused panels. A speech by Strauss Zehiick, president/CEO of BMG Entertainment, will open the conference on July 19; Danny Goldberg, president of Sheridan Square Entertainment and Artemis Records and the former chairman of Mercury Records Group, will speak the following day. Additional keynoters will be named .soon. A IJ Participating in Atwood's Bill- board Roundtable session will be Robert Cain, pi-e.sident/CEO, Val- ley Media; Mike Farrace, VP, Tower Online; David Gould, chair- man/CEO, CustomDisc.com; Russ Pillar, president/CEO, Virgin Entertainment Group; Robert Reid, founder/CEO, Listen.com; and Eric Weisman, CEO, AlUance Entertainment. Other panels — each featuring senior-lerel ax- ecutives — will cover such topics as record label .strategies and online busi- ness models; MP3 and digital distribution; Inter- net radio and video; and the artist-label rela- tionship. One panel is provocatively titled "The End Of La- bels?" Another ses- sion, titled "Standards, Rights and Technolog^;" will include among its panelists Leonardo Chiariglione, e.xecutive director of the music industry's Secure Digital Music Initiatiw. For sponsorship and exhibitor information, contact Rich Regan at 212-780-6060 (ext. 138) or rich(n .jup.com; for registration information, call 800-611-1693 or visit ww\vjup.com. Early-bird reg- istration runs through .June 18. Touring Guide Hits The Road The 12th edition of the Musi- cian's Guide To Touring & Promo- tion will be on newsstands June 1. This official guide for touring bands and musicians, published twice a year, has been completely updated with thousands of industry contacts. It is a comprehensive guide containing a city-by-city directory of wnues, radio stations, record stores, and local press. Listings include tour managers, bus/van rental companies, major and indie label A&R personnel, agents, attorneys, managere. meix'handise suppliers, CD/tajx? duplicatoi-s, and Web site and online service-s. There also are band profiles and 1999 BUB contest winners. The Guide also features tips from Collective Soul and Mary Cutrufello, plus an article on planning a mu.sical cai-eer. To purchase a copy of the Musician's Guide, send a check or money order for .$1 1 .95 per copy, (12.95 in Canada, $13.95 overseas) to Musician's Guide To Touring & Pro- motion, RO. Bo.x 1923 Marion, OH 4m5-1923 or contact Elizabeth at 212-.536-5178. All prices include shipping and han- dling. For information about adver- tising call Cindy Acuff at 615-321- 4264. Register now for the Billboard Dance Music Summit Early Bird rate ends June 11. Billboard Dance Music Summit Sheraton Colony Square • Atlanta • .July 14-16, 1999 Billboard/Airplay Monitor Radio Seminar & Awards Fontainebleau Hilton • Miami Beach • October 7-9, 1999 Billboard Music Video Conference & Awards Loews Santa Monica Beach Hotel • Santa Monica • November 10-12, 1999 For more information, eonlact Miehele Jacangelo Quigley at 212-536-5002 Visit our Web site at http://www.billboard.com Contact Sam Bell at 212-536-140-2/1-800-449-1402. E-mail: sbcll@billboard.com Ricky, Don't Lose That Nomber One CI lAl I 1 BEAT With five weeks on top of The Billhoaid Hot 100 under his belt, Ricky Martin now has the longest-running No. 1 of 1999. "Livin' I^ Vida Loca" (C2) breaks away from the three singles that had four-week runs: "Angel Of Mine" by Monica. "Believe" by Cher, and "No Scrubs" by TLC. Martin now has the longest-running No. 1 since the final chart-topper of 1998, "I'm Your Angel" by R. Kelly & Celine Dion. He also has the longest-running No. 1 song by a solo male artist since Elton John had a 14-week run with "Candle In The Wind 1997". "Something About The Way You Look To- night." To find another solo male artist aside from Martin and John who was on top for five weeks or more, you'd have to go back to Bryan .\dams' "Have You Ever Really Loved A Woman'.'" in June 1995. "Loca" continues the trend of songs remaining on top for four weeks or more. The succession of Moni- ca, Cher, TLC, and Martin is the first time there have been four consecutive No. 1 titles remaining in pole position for four weeks or moi-e since the spring of '97. There was a run of five, beginning with Los Del Rio's "Macarena (Bayside Boys Mix )," which was on lop for 14 weeks. It was followed by BL.\CKstreet's "No Diggity" (four weeks). Toni Braxton's "Un- Break My Heart" 111 weeks). Spice Girls' "Wannabe" (four weeks), and Puff Daddy's "Can't Nobody Hold Me Down" (six weeks). The trend of shorter No. 1 reigns began with the first new No. 1 of 1998. From .Ian. 17 to May 23, 1998, the only song that was No. 1 hmger than three weeks was "Too by Fred Bmnson Close" by Next, which had five weeks on top. .And from Oct". 17, 1998, to Feb. 6, 1999, the only .song with more than two weeks on top was "I'm Your Angel" (six weeks). On TOP AT LAST: The debut of "Millennium" (Jive) in pole position on The Billboard 200 hands the Backstreet Boys their first No. 1 on either the album chai't ui* the pop singles chart. The quintet's first U.S. album peaked at No. 4, while its highest-charting single to date is "Quit Playing Games (With My Heart)," which went to No. 2. The impressive debut of "Millennium" means the Back- street Boys have now iiested 'N Sync on the album chart; that RCA group reached the runner-up spot with its debut .set. More precious THAN; This year's U.K. Euro- vision entry is faring better on the British singles chart than last year's. Imaani's "Where Are You" placed second in the contest, behind "Diva" from Israel's Dana International, but it could manage only a No. 15 chart placing. The five-woman group known as Precious enters the chart this i.ssue at No. 6 with "Say It Again" (FM I ). The group will have to move up to equal the No. 3 ranking of the 1!>97 U.K. entr.v, "Love .Shine A Light" by Katrina & the Waves, or the No. 1 1996 entry, "Ooh Aah lust A Little Bit" by Gina G. The former won the '97 com- petition, while the latter placed eighth. Precious achieved its chart placement iK'fore performing the song at Eui'ovision Saturday (29) in .lerusalem. >V WEEKLir IMV^TI O fMy'Xl- IVIUSIC SALES REr>OI c >-v^ ■ ■ « Mjw>Mm-r - — TOTAL 287,177,000 ALBUMS 237,480,000 SINGLES 49,697,01X1 35,1 04,000 /ON 29.4%j 14,471,000 m-w WE 13,522,000 UP 7% IS 14,096,000 UP 2,7% CD 189,499.000 210.325,000 (UP ;r%J CASSEHE 47,412.000 40.203,000 (ON r5.2%j OTHER 569,000 602,000 fl/P 5.8%) 12,918,000 m-r WE 11.989,000 UP7,7°o ■ s 11,632,000 ■ ■ WSM<Z» UP 11.1% 1,553,000 ^ ."^ ■■ ■ WK 1,533,000 UP 1.3% ~V~I-«IS WE 2,464,000 CHAN a DOWN 37% VKAR-TO RBOIOM 1 NORTHEAST 2.610,000 2,360.000 (DN 9,6%) SOUTH ATLANTIC 9,285,000 8.088,000 (DN 12,9%) MIDDLE ATLANTIC 6,422,000 5,600,000 (DN 12,8%) SOUTH CENTRAL 9,365,000 8.093,000 (DN 13,6%) E, NORTH CENTRAL 7.800,000 6,406,000 |DN 17,9%) MOUNTAIN 2,799.000 2.302,000 |DN 17,8%) W, NORTH CENTRAL 2,972,000 2,370,000 (DN20.3%) PACIFIC 6,158.000 4.983.000 (DN 19.1%) ROUNOEO FIGURES FOR WEEK ENDING S 23 « COMF'ILED ^FlOrwi A ISIATIOIMAU SAMF»I_E Oi=^ FtE-TAIL STORE AfsID F=IACK SALES ReF»OF»-rS COUUeCXED. COM PILED. AND F»F»0\/IDED eV 138 BILLBOARD JUNES. 1999 >S HEADZ UP, Y'ALL! ^ Q-TIP! BRAND NUBIAN! NAUGHTY BY NATURE! RUN-D.M.C! DJ QUIK! CAMP LO! 2ND II NONE! ALWAYS ONE STEP AHEAD www. •rlsts.com O i"* biM iiii'ti ix luuwiw iiunimin DYME! I FEATURES THE SMASH SINGLES TELL ME IT'S REAL" AND "LIFE THE HIGHLY ANTICIPATED FOLLOW-UP TO THEIR 4 MILLION-SELLING DEBUT ALBUM, LOVE ALWAYS M CA