GAY MUSIC GUIDE **Special Condensed Online Version Of Highlights From The Gay Music Guide (Pop Front Press paperback)** Copyright 1994 by Will Grega (PopFront@AOL.com) MARGIE ADAM: ANOTHER PLACE (1993) Pop. From the mid-seventies to the present, Margie Adam has helped define and expand the notions about Women's Music as an art form, a political force and an industry. Back then she was one of The Big Four in Women's Music. (The others were Holly Near, Cris Williamson, and Meg Christian). Together these Women's Music pioneers created an alternative music scene that sold millions of records. This is her first vocal album after a seven year hiatus, and is an incredible return to form. Margie Adam has a classically American traditional writing style with verses and bridges that musically surprise and choruses that lift these remarkable mini-movies toward pop heaven. The arrangements are cool, jazzy, breezy, and deeply felt. With a voice like a summer morning, you gladly go the places she's leading and it's well worth the trip. Achingly romantic and lovingly political, this album is an unqualified quiet storm winner. Wistful melodies call to mind Pippin-era Stephen Schwartz or top-of-her-form Carole King. Magie Adam touches nerves that open up a wide range of feelings—the full sweep, in fact: from poignant gentleness to foot-stomping celebration, from deep sorrow to grand exaltation. Her trademark orchestral piano style has a vibrancy and drama that draws f rom classic Broadway musicals while blending the influence of Gershwin and Brazilian rhythms. Her rich alto voice evokes Anne Murray, Joan Baez, and Janis Ian. Another Place is moving, sweet and easy to listen to; it insinuates itself into your heart and is impossible to shake. This is a gentle gem of an album. ADULT CHILDREN OF HETEROSEXUALS: ADULT CHILDREN OF HETEROSEXUALS (1993) Rock/cabaret. Very scary stuff from an outlandish mix of gay and lesbian performance artists in Boston who probably spent a little too much time at the midnight screenings of The Rocky Horror Picture Show (in full costume drag). The four songs on this theatrical release are: "I'm So Hard So I'm So Easy," "I Never Liked You Anyway," (which is a read up, down and in every direction!), "I Wanna Get Married," and "It's Risky!" The music, which tends toward the raucous, blends avant-garde jazz, cheezy synths, sax, and vocal ensemble around male and female featured vocalists. As ACOH romps about smashing stereotypes and bending genders, the results run from the pointedly amusing to the screamingly hilarious. Part of Boston's Theatre Offensive and founded by members of the legendary United Fruit Company, this hard-edged, co-gender cabaret band is guaranteed to entertain, provoke and excite with their blend of high camp and low humor. Brazen and hard, you would not want to run into any one of this troupe in a darkened alley. ACOH pushes the envelope, but first they stuff it and give it a good lick! ROBIN ANDERSON: INVERNESS (1993) Folk/pop. Robin Anderson was born during a thunderstorm under auxiliary power, which could explain the influence of energy and the elements in her music. We feel her pain, her anger, her gathering strength. The project (alternatively charming, chilling, strident, and humorous) is dedicated to survivors, and addicts and alcoholics in recovery everywhere. Anderson possesses a commanding voice, and sings from the depths of renewal. The full guitar sound and her powerful voice combine into a rich compound that transcends notes and lyrics. She is a person who has dredged the depths of her pain for art, and bolsters and illumines us all; and the sincere desire to share the emotion behind it all is expressed through each song. If you like the Indigo Girls, you will genuinely appreciate the work of this incredible woman. "I've been moved, inspired, saved, and emboldened with the music I've had in my life. I want people to hear some piece of my perspective in my music. I want my heart and my hands, my worn shoes, and little scraps of me hanging in my music. The possibility that my music could rejuvenate, heal, challenge and follow people throughout their lives is part of my craft." TINA BENEZ: GLAMOUR OVERDOSE (1993) Rock/pop. Born to be a pop goddess, Tina Benez delivers one of the most wildly orginal EP's of the 90's! "Hitler's Daughter (High Fascist Model)" is a chilling peep into the fascistic (but highly fashionable) future of the world politic. "Glamour Overdose (G.O.D.)" is a scream from start to finish, and is delivered over a highly polished Eurodance/rock track. The vocal samples and overall production are brilliant and tasty. Included on this four-song set of originals is "Ghost In You," a phenomenal ballad with an arrangement reminiscent of Ennio Morricone's spaghetti Western film scores. If Tina Benez wants to take over the airwaves, I am all for world domination of Hitler's daughter! BUTT BOY: FEEL THE MUSIC (1993) Techno/ambient/leather. Thrust Recordings specializes in music written expressly as sensuous sounds for those serious about leather. This sensual music has the mellowness of New Age, the orchestral influence of classical music, the sharp edge of rock, and the futuristic sounds of techno pop, with a heavy leaning toward early Pink Floyd and the synthesized electronic pop of Jean-Michel Jarre. Already an accomplished composer in video, radio and theatre, Butt Boy brings his sexual music into the private places of the leather community's play places and sets the mood required for a mind trip into the erotic. "Dance Of The Whip" builds its swirling sound around the rhythmic pattern of a cracking whip. The thumping beat and all-male chant, "Depths Of All Pleasure" bows to the distant melody of "3 a.m." This is a tape that should come with protection! What is Butt Boy all about? I write music to put gays in the mood for sex. Each piece of music was written to be an enhancement to the gay erotic encounter. I write music to help gays free their inhibitions about their sexuality. MICHAEL CALLEN: PURPLE HEART (1988) Rock/pop/vocal. Leading AIDS activist Michael Callen single-handedly redefined the public's concept of a person with AIDS after his diagnosis with the disease in 1982 by giving speeches, writing articles, appearing on national television, giving interviews, organizing within the community, campaigning, and singing at a tempo that would exhaust most healthy people. His political efforts have been chronicled in Randy Shilts' classic book, And The Band Played On. His musical output is nothing less than amazing, and includes recording two albums as one of The Flirtations (see listing). His debut solo release was recorded six years after Michael was diagnosed with HIV, had established the PWA Coalition and testified at Congressional hearings on AIDS. Purple Heart is nothing less than the most stunning gay album recorded to date. The album has a pop/rocking set that segues into a more intimate set of six songs with Michael at the piano, and contains the classics "Living In Wartime," "Love Don't Need A Reason," and Callen's ultra-campy reading of "Where The Boys Are." This amazingly affirming album sets the standard by which all gay albums will be judged for years to come. It is a must-have by an outstanding human being and hero to our community with one of the most wondrous voices ever recorded, and about whom Elizabeth Taylor said, "His life is a shining symbol of hope, strength and courage." His impact will be felt on this community for years to come. KEITH CHRISTOPHER: KEITH CHRISTOPHER (1993) Pop/rock/soul. An exceptionally talented vocalist with a wide range and a personable, embraceable quality, Keith Christopher produces music that is melodic, endearing and just plain thrilling to hear. His songs reflect the emotions and issues of today in a style that is strong and vulnerable, passionate and clear. He has composed special material for The United Nations Environmental Program as well as The Names Project. Christopher sings about love and loss with unbridled hope for a better world. Sublime and gratifying songs reinforce his belief in the power of love as a force for personal growth and physical health. The tracks on this debut are muscular, lush, with hip 90's rhythms that surround his made-for-radio, big white soul voice. Christopher himself is a tall, blond god with soap opera star looks and a strong tenor. He has the power, control and purity of Kenny Loggins, and the sexy white Motown growl of a Michael MacDonald or George Michael. The uptempo tracks will have you moving and grooving, and "Smiling In The Dark" will have you swooning. In a world too often separated by differences, Keith Christopher's music is about what unites us. What's it like being an out gay performer? Being an out performer makes life a hell of a lot simpler. I've learned that you can't be counted unless you are willing to stand up. DAVID & JANE: DAVID & JANE...NOT ASHAMED (1993) Gospel/pop. David & Jane is a unique combination of a gay man and lesbian woman singing gospel music who tour full-time around the country making a living pursuing music careers! They are vanguards in the use of inclusive language, a testimony to their belief in God's love for everyone. Both David and Jane are ministers based in the greater New York City area, and they have been featured at New York City Gay Pride Festivals since 1991. Jane Syftestad received her formal training at UCLA and the prestigious Manhattan School of Music. David Heid, who is currently on staff at the renowned Julliard School, also serves as the Music Director for the Metropolitan Community Church of New York. This is jump up on your chair and wave your hands and say hallelujah kind of fun, with first-rate originals ("Standing On The Promises." "Bless It Back," "Rejoice") and stirring covers ("My God Is Real" and "Farther Along"). A collection of glorious songs that only goes to prove that God is on our side! DAVID DIAMOND: QOWBOY (1993) New country. A legend while still in his teens for being a founding member of Berlin ("The Metro," "Sex I'm A...") and racking up numerous gold records, David Diamond discovered that country music was what really saddled his horse. He's a fine producer and writer, gifted with a voice that sounds remarkably like Don Henley of The Eagles, and evokes the whole Southern California country sound of the late seventies. Delivered with intelligence and solid pop smarts with sliide gee-tar and California country/rock thrown into the stew, this radio-ready cassette is a pure country/pop confection by a superb stylist. Diamond balances the release with good time songs of the Highway 101 honky-tonk variety, and cryin' in your beer numbers. The fragile, whispery deli very of "What I Need" is the dream/nightmare of a broken man, and is the chilling, open-a-vein country style perfected by Roseanne Cash. Diamond explores the pain of a shattered soul loving too well, losing and bruising: hard stuff that goes down smooth. Ride 'em, qowboy! DIAMOND ROSE: THIS ROAD CALLED LIFE (1992) Folk. With rare honesty and haunting melodies, Diamond Rose writes from the heart. This is an entertaining blend of styles: JayDee is bluesy and playful, Steven Gellman is woeful and bummed; this presents a compelling mix in this diverse acoustic duo. Gellman plays a handmade stringed instrument that has become a trademark of the Diamond Rose sound. The "strumstick," a cross between a banjo, mandolin and dulcimer, is unique in sound and appearance. Gellman's voice, like his lyrics, is powerful and sensitive, and the group's lyrics consistently achieve a delicate balance between humor and poignancy, while the hypnotic chord changes evoke a REM-like dreaminess. JayDee's lyrics are laugh out loud hysterical, and her voice brings to mind 10,000 Maniac's Natalie Merchant; at times fragile, at times sardonic and playful, it is a voice that captures both the depth and whimsy of her lyrics. The romantic obsessions of Gellman remind us how fragile we all our in our hearts; he writes of loss and longing. Future outings plan to mine the dreamy writing qualities of this group with full studio production and more of a rock band sound. A promising premier by future killers, Diamond Rose are seriously committed performers who will challenge your perceptions of acoustic music. ALIX DOBKIN: LOVE & POLITICS, A 30 YEAR SAGA (1993) Folk/pop. Proto-punk and militant lesbian Alix Dobkin has been pushing people's buttons for years and God bless her for it! Until recently a vocal separatist, we men are fortunate she's come around to sharing her talent with us. Dobkin first started breaking down barriers with her now-classic debut, Lavender Jane Love Women in 1973 (the first internationally distributed lesbian album ever), and after twenty years she is still one of the few blatant lesbians in Women's Music. (She has twice been voted "Most Popular All-Time Performer" by Hot Wire Magazine's Reader's Poll). This collection is a compilation drawing from her five albums, plus a couple of previously unreleased tunes. It is a fine and representative sampler of one woman's work centered around what Dobkin considers the two most important forces in most lesbian's lives: love and politics. The 20-song work traces her career chronologically, and highlights many of the songs which have established her as a leading proponent as well as a foremother of contemporary lesbian culture (included are "Amazon ABC" and "Lesbian Code"). Her music is full of humor and compassion, and burns with the fire of struggle for equality and the celebration of difference. This disc establishes the greatness that is Alix Dobkin and is a vital document of the genius of a lesbian legend. THE FLIRTATIONS: THE FLIRTATIONS (1990) A cappella. If there is one group that embodies the state of gay culture today, it's The Flirtations. The Flirtations gained national prominence in the late 80's as the only openly gay positive a cappella group. Oh, it helped that they had tremendous voices and chose outstanding material. In a few short years, these media darlings became everybody's group of choice as ambassadors of homosexuality the world over. Their eponymous, fully digital premier contains some of their best-loved material: "To Know Him Is To Love Him," "Something Inside So Strong," "Everything Possible" and "Surfin' U.S.A." camped to perfection. A group like this only comes along once in a lifetime. Between the brilliant harmonies, general silliness, and giddy repetoire, a splendid time is guaranteed for all. THE FLIRTATIONS: LIVE--OUT ON THE ROAD (1993) A cappella. The Flirtations have been thrilling audiences with their unique blend of musical artistry, politics and infectious humor since their first street corner appearance in Greenwich Village in the fall of 1988. Little could they have known that within five short years they would have appeared on The Phil Donahue Show, Good Morning America, Nightwatch, MTV News and National Public Radio; that they would have gathered rave reviews across the country; and that they would actually be making a living doing what they love most: being gay and singing about it. Stunning, exciting, moving, engrossing and hysterically funny, this album gives you a front row seat for the best gay act in America. Recorded in Vancouver in December 1992, Out On The Road captures all the excitement of the Flirts' live performances. The album contains Flirts faves "Boy From New York City," "Johnny Angel," "Lesbian Love," "The Homecoming Queen's Got A Gun," and "Living In Wartime." There is a wonderful excitement to hearing the group live, and experiencing the audience interplay and reaction. An absolutely magnificent release! TED FOX: ONE OF US (1992) Folk/pop. Uplifting, political, and stridently queer! The spirit is reborn in Ted Fox, and it is mighty! He is an out and proud gay man singing songs of defiance and positive self-affirmation. His debut features folkie melodies sung with self-assurance, and the social commitment and that Peter, Paul and Mary mined in the 60's hey-day of the folk form. The beautifully executed lyrics and the coffeehouse energy make this tape well worth a listen, and the sentiment comes through loud and queer. The richly layered harmonies and pop melodies hearken back to The Mamas and The Papas, and the songs are delivered with a distinct 60's pop radio feel. "Sink or Swim," an anthem for our struggle, is the real winner here. Handsome, long-haired, blond, and outspoken, no wonder Mr. Fox already has a devoted following of "Ted-Heads!" LESLIE KILLE: STORM (1991) Pop. "Driven By Madness," "The Other Side," and "I Miss You" are highlights on this keyboard-driven album completely arranged, produced and performed by Leslie Kille. There is a wonderful intimacy and purity about self-contained artists. (Stevie Wonder, Prince and Paul McCartney are artists who have put out hit albums written, produced and performed as solo outings). Kille's release is full of pretty, lush melodies to sway to. You can smell the sea salt air and hear the swoosh of the Florida surf that inspired many of these tracks. Kille has a full-time career as a psychologist, but somehow finds the time to write and produce marvelous music. Her voice sounds remarkably like Emily Saliers of Indigo Girls, and she uses it to sing sophisticated melodies and introspective, lesbian positive lyrics that make for an impressive first outing. LESLIE KILLE: MOVING CLOSER (1992) Pop/rock. A more sultry, rocking album than her debut puts Leslie Kille out front of a real live band, adding the mean, bluesy guitar work of George Harris and a tight rhythm section. The musical variety creates a listening experience that never lags. Kille fits somewhere between the melodic introspection of Carole King and the rock beat confidence of Joan Armatrading. She updates and brings new life to three of the best songs from her first album ("Hear Me Now," "Storm," and "Driven By Madness"). This disc showcases the evolution of an artist from self-contained one-woman band to full production ensemble of musicians. ROB KRIKORIAN: QUICKSAND IN THE HOURGLASS (1990) Folk/pop. Rob Krikorian writes about time and love; how time passes and love heals. Krikorian's voice is perfectly suited to this mellow style of music popularized by Dan Fogelberg and others: contemporary folk for those with a taste for quiet music and with an interest in lyrics/imagery and a sense of humor. "Aren't We Born To Dance" is the most direct of the set, alluding to the Stonewall riots. The title songs deals with mortality in a particularly moving manner, and "Send In $9.95" takes a jab at televangelists peddling Jesus. Quicksand is a lovely, polished work, a gentle disc on which Krikorian conveys a Michael Franks' style easiness and charm. The result is that you just like the guy and his tastefully produced, reflective, soft adult-contemporary sound. LYNN LAVNER: BUTCH FATALE: LIVE IN CONCERT (1992) Cabaret/comedy. Billed as "America's most politically-incorrect entertainer," Lavner is the winner of the 1991 Christopher Street West award for extraordinary creativity in lesbian and gay music and entertainment. She has performed at NOW events as well as the International Mr. Leather Contest. Released in 1993, Butch Fatale is Lavner's fourth album, but the first recorded live-in-concert, and includes cabaret monologues and humor, as well as all-new songs. Her appearance (in black leather) is aimed at a playful parody of stereotypes. It's her ability to make you laugh one moment and cry the next that makes her impact unforgettable. Upbeat and thought-provoking, she bridges the gap between gay, lesbian and straight audiences, gets the audience cheering, and will warm your heart with her wonderfully human monologues. Standouts include "Gay 90's," "For The Children," and "I Think I've Been A Lesbian Too Long." LAURA LOVE: Z THERAPY (1990) Alternative folk/rock/funk. Over the past several years, Love has become quite acclaimed in the Northwest music scene as an unparalleled vocalist, songwriter and bassist. Her style is a synthesis of inner-city street funk n'soul and folkish sensibility. Having settled in Seattle, the mecca of all-things-garage, she was founding member of the grunge/blues outfit, Boom Boom G.I., alternatively hailed as the best rock band in the city and reviled as the worst. Love went on to co-found Venus Envy (see listing) before embarking on a solo career. Z Therapy is her debut disc. From the rockabilly groove of "I'm Gonna Lay By My Friend Gi" to the Indian raga of "Leave My Head Alone," this album, recorded in Austin, Texas, reflects the earthiness of a city whose spiritual leader is Willie Nelson. A milestone in the evolution of a terrific artist, this disc presents some remarkable moments. "Swing Low, Sweet Chariot" is a show-stopper, and "Things I've Heard People Think" presents an intellecually sobering side to the AIDS crisis. Love enthusiastically throws everything into the stew with talent bursting at the seams, but what escapes her is a unified focus point for this work. That's a minor point when you consider that you are bombarded with musical brilliance that is consistently engaging throughout the duration of this album. With a finely developed social conscience and the soul of a true "people's poet," Laura Love carves a niche for herself in gay pop that only she could ever fill. She deals with issues like Silence, radiation poisoning of workers and corporate cover-up, and healing from personal emotional pain in her most unique gospel church / alternative voice that defies comparison. LAURA LOVE: PANGAEA (1992) Alternative folk/rock/funk. Laura Love has one of the most unique voices in New Women's Music; to hear her once is an unforgettable experience. Love's lyrics speak of hard choices and the struggle to overcome sorrow, buoyed by optimism. Pangaea, a more focused album than her 1990 release, showcases the extraordinary band Love assembled in Seattle, Washington in 1992. With this release, Love really comes into her own, finding her power and the best settings for her sociopolitical songs. She can be shatteringly vulnerable, but the thrust of this album is funk propelled by Love's poppin' bass. Highlights include the yodelled chorus of "Anyway," the reggae-inspired "Whenever Time Will Come," and "All Our Lives." Love is so far above and beyond anyone else that comparisons don't do her justice. This is a must-to-hear for her distinctive vocal and bass style, and songs that are bittersweet, undeniably compelling, politically progressive anthems of hope and social justice. TOM McCORMACK: RUNNING WITH LIGHT (1991) Pop/vocal. McCormack has become one of the most active members of the gay music community as co-chair (with Jeff Krassner) of New York's OutMusic organization. He's hit numerous top-ten playlists at college and indie radio stations, and contributes his ideas with letters, articles, and guest editorials to such places like Billboard magazine. McCormack's debut showcases his more subdued, spiritual side, and contains some devastating songwriting, most notably on "Everything," which Billboard called "a warm and affecting ballad of earnest delivery complemented by a stark, piano-dominated arrangement." Sensual/sexy and spiritually attuned, this is an album conducive to spiritual journeying. The lyrics on Running With Light show a deep questioning and an awareness of how approaching God may involve not only faith, but a simultaneous exploration of both the soul and the psyche. The album finds power in its simplicity; the intimate setting of piano, voice and guitar elicits a personal response, inviting each listener to become part of the experience rather than remain a passive observer. Running With Light speaks with the language of the heart to a contemporary audience that yearns to mine more deeply the power of each person's passionate journey. McCormack represents the best our community has to offer. His outstanding voice, superb writing and production skills, and inspiring artistry embody the future of gay music. It's hard to decide which side of McCormack I love more: this more subdued, intimate side or his all-out rock follow-up. Instantly listener-friendly in the manner of Elton John, this is a stunning debut. TOM McCORMACK: ROSE COLORED GLASSES (1993) Rock/pop. Tom McCormack has one of the strongest, most appealing voices in gay pop music. His vocals are truly magnificent, and the production on this CD shines. He uses a rock sound that is an intentional throwback to the seventies sound; at times recalling Billy Joel, Elton John and Crosby, Stills, Nash and Young. The themes of his songs are more universal in that he does not speak directly to the gay experience as much as to the universal experiences of everyone who is questing. This kick-ass set of astonishing songs includes "I Am Alive," "Here I Am," and current crowd-pleaser, "Falling Down Kind Of Love," as he journeys still deeper on his second album into the gray areas of life with stories of money, desire and identity. Many of his songs are epiphanies, with moments of recognition when choices are offered and truth is either pursued or denied. Although he says he is looking at the world through rose colored glasses, McCormack's vision is startlingly clear. Here is someone who not only sees but asks to be seen. If the strength of this work is any indication, he indeed will be seen as a writer with something to say, as a singer with the voice to say it, and as an artist with his own unique way of looking at the world. Far and away the best rock album of the year! TOM McCORMACK: MISSING (1994). McCormack has cemented his place in pop music as well as gay music cultural history with the affecting balladry and easy funk-tinged rock delivered on Missing. And boy, does he deliver. It makes sense now that only a performer with a Christian music pedigree and Elton John addiction could fuse his spirituality, pop musical genius, and sexual identity into a masterpiece of introspection and reasoned distance. When people shake their heads along with this music, it's in time to the beat yes, but also because they are recognizing parts of themselves in the characters. McCormack has peeled back the layers of the gay psyche, and perhaps because he knows that sexual identity is only one aspect of a complex human being, scores in presenting a whole person who emerges after this remarkable ten song set as fully human. It's an incredible achievement and a definitive masterwork. Songs like "Don't Tell," (exploring darkness, fear, and secrecy), "Love Is Love," and "Missing" (in which a man comes to term with and learns to celebrate a long suppressed part of himself) speak for the collective gay subconscious. Credit is also due to the sensual and affecting production skills of (David Byrne sideman) Steve Sandberg. BILL McKINLEY: EVERYTHING POSSIBLE (1992) Pop/vocal. It is the rare performer who emerges and is granted instant and universal legendary status, but the sheer power of Bill McKinley's musical gifts have propelled him into mythic stature in a few short years. He is a showman and artist who possesses that winning combination of show biz savvy and utter naturalness that is the unmistakable mark of The Genuine Article. His debut release documents nothing less than the birth of a legend. With his incredible tenor instrument, McKinley interprets some exceptional material including: "And So It Goes" (Billy Joel), "Love Don't Need A Reason" (Callen/Malamut/Allen), "Children Will Listen" (Stephen Sondheim), "Everything Possible" (Fred Small, see listing), and "Disneyland" (from the Broadway musical Smile). An openly gay performer on the cabaret circuit, McKinley's talent is so electrifying that he deserves his own 76-piece orchestra on call 24-hours a day. There is a purity to McKinley's vocal styling that is contemporary and American standard at the same time. Remember La Streisand's vocal rendering of "Happy Days Are Here Again" on her debut? It made her a star (okay...a bigger star) and assured her a ticket to superstardom. McKinley has likewise found new meaning in "This Land Is Your Land," translated in such a way as to make it his for all time. He coddles his inner child in a way that is healing and cleansing to the point of annoyance, but that is the brilliance of this concept album: it is dedicated to the inner child in each of us. "Danny Boy" is the album's moving tribute to everyone we've lost. Fresh, subtle and a showcase for astonishing technique, Everything Possible is a beautiful gift to the community, and is so stunningly brilliant, it leaves you gasping. A command performance, this is not just an album, it's an arrival. DAN MARTIN: HOMO LOVE SONG (1990) Pop/vocal. Dan Martin and Michael Biello are the fathers of the newly born gay music scene and are responsible for many new artists coming to light in our community. Martin has written scores for films and videos including Clones In Love, winner of The San Francisco Gay & Lesbian Film Festival's top prize for Best Short. His score for Lauren Malkasian's video The Last Run is currently being aired on PBS, and his score for Jim Hubbard's The Dance (which chronicles Martin and life-partner Michael Biello's relationship) has screened at The Berlin Film Festival, MOMA, and at festivals around the world. He has also written instrumental music for Hazelden Publishing's SOUND RECOVERY series of subliminal healing cassettes, and for EROSPIRIT's sexual environments series. Martin is the founder of OutMusic, the organization of lesbian and gay composers, lyricists and musicians, which produces the only annual festival of gay and lesbian music. He has brought to the stage numerous queer music-theatre pieces with Biello, a performing visual artist and Martin's lyricist. On their debut release, the material is riveting, so you don't mind the spare piano/vocal production, though this artist deserves the full treatment. Martin's delivery runs the gamut from downright bratty (when called for) to heartbreakingly tender. This release introduced two gay standards: "Forgive Me," and the much-covered "Hold Me In Your Arms." Compassionate, raunchy, romantic and beautiful, the songwriting talents of Martin and Biello seem unending. This tape showcases a tremendous depth and range of emotion. Plus: butt shots on the album cover! DAN MARTIN & MICHAEL BIELLO: HUMAN BEING (1992) Pop/rock. Passionate performers of sensitive and perceptive material, Dan Martin and life partner/lyricist Michael Biello have become two of the most covered and cherished songwriters in our community. From anthems like "You Do Not Know Me" and "Lay Your Burden Down" to the butt-shaking beat of "Drag Dance" and the mechanical dance rhythms of "Strange Now," Human Being delivers consistent entertainment pleasure. The spiritually uplifting pieces are emotionally ardent songs that resonate in the heart and soul. This is a perfect album of beautiful simplicity of arrangement, honestly observed sentiment, tasteful production, and stirring vocal styling. The growth in writing and (especially) production from their debut is startling. There is no waste on this album of mini-masterpieces. A must for every collection of indispensible gay and lesbian albums. MUSICA FEMINA: RETURNING THE MUSE TO MUSIC (1989) Flute/guitar duo. Since 1983, the duo has brought to concert stages across the country little-known music by forgotten women composers in a format that offers both music and music history not currently available from other artists today. This disc recreates their concert format by introducing dynamic women composers from the early 1600's (some of the earliest known musical works by women) to the present day. Musica Femina has restored and revived the reputations of classical women composers hidden by history's prejudices, and for that they deserve our praise. They want to make it clear that women were present in music history, and for the most part have been excluded from the standard texts. I learned about women like Elizabeth de la Guerre, who lived at the court of Louis XIV, and was a famous musician and composer in her day, who have been literally written out of music history; as well as more obscure women like Fanny Mendelssohn, Mendelssohn's sister, whose music was often appropriated by her brother and published under his name. Great music and fascinating history. MUSICA FEMINA: HEARTSTREAMS (1993) Flute/guitar duo. In their latest release the duo presents their own compositions and uncanny ability to vary the tempos, styles and sounds they get from their instruments. The musical mix includes tango, gypsy Flamenco, Scottish, and Renaissance styles from two contemporary classical composers who should be celebrated in our community. A terrific instrumental album of all-original acoustic chamber music. ANDREW PARALIC: THREE TUNES (1993) Jazz. Composer/pianist Andrew Paralic has produced a sparkling three-song tape. His facility for jazz composition and his ensemble's supple execution of these jazz gems will leave you wanting more. Paralic is a graduate of Baruch College, and has attended the Berklee College of Music and the Jazz Mobile. The pieces on this release were written about reflections of his own gayness with titles like "Too Little, Too Late" (about AIDS funding), "Out Tune," and "Finally" (about the total acceptance of his lifestyle by his family). Three Tunes features amazingly sophisticated jazz from a brilliant young man with a bright future in the genre. Who are some of your personal artistic influences? Bill Evans, Thelonius Monk, Erik Satie, Lester Young...Talking Heads, The Smiths! PHIDEAUX: "FRICTION" (1993) Progressive art rock, Celtic pop. Phideaux Xavier has performed in the New York area since the 80's when he fronted punk/pop combo, Sally Dick & Jane. Early 1990 saw the birth of The SunMachine, a sextet consisting of guitar, bass, percussion, flute, violin, cello with three strong singers besides Xavier, whose boyish exuberance and soulful intensity create one irresistible package. This is the most engaging work to come along in years! The full promise of Sgt. Pepper's comes to fruition on this masterwork by an important new artist. The Celtic pop poetry and art rock pieces cast a beautiful, dreamlike spell that charms and disorients at the same time. The surrealistic imagery and elaborate introductions create a strangely unified whole, though the pieces careen stylistically from psychedelic pop to urban dance to dance/pop and sensitive ballads. The focus of these songs is sex, secrets and the supernatural. "Lights, Camera, Friction" obsesses about obsession with sexual paraphernalia. At times, Phideaux sounds uncannily like Pet Shop Boys' Neil Tennant , Howard Jones or especially Al Stewart, although his musical realizations owe more to progressive rock groups like Yes, Pink Floyd and Electric Light Orchestra. Through a dense production haze you can smell the sandalwood incense smoke. Both cassette and CD come with a gorgeous full-color 24-page booklet lavishly illustrated with beautiful art and photographs from various members of the community who have created visual interpretations for the songs. As paisley and purple as Prince, as schizophrenic an album as the White Album, Phideaux puts you in an exquisite trance with these hypnotic spells of music using swirling harmonies, storms of cellos and shimmering guitars. Potent stuff, man. So potent, there ought to be a Hotline for people who trip out on this album. "Hello, 1-800-PHIDEAUX? I'm so smashed on this music I don't even know where I am!" As for me, when I get high on this album, PLEASE...don't talk me down. QUEER CONSCIENCE: IT'S A QUEER NATION (1992) Pop. QueerCon's debut features militantly queer pop songs from Rick Cresswell and gang that bounce along happily in bubble-gum groovy, sixties melodies and arrangements. Cresswell has a muscular tenor that calls to mind Harry Chapin, and he uses it to put over songs of defiance that deal with shame, rejection, societal indifference, and self-acceptance. This hard-hitting release features memorable titles and concepts: "In Your Face," "Sex Is Sex," "Gonna Eat My Way To Heaven" (wanna guess what's on his plate?), and "Queerly Beloved" (a wedding song). While the sound may not seem slick or professionally polished to some ears, the raw edges, emotion and heart pull off this project in a fitting manner, and the group hammers home their agenda with amazing grace. There is the definite feel of the an early 70's sound at work here as well, especially that of the power group Chicago in their hey-day. QUEER CONSCIENCE WITH RICK CRESSWELL: BACK TO THE OTHER WORLD? (1993) Pop. A community activist along with his husband, Rick Cresswell is compelled to get at the greater truths of our struggle for human rights. The couple received a lot of press in 1991 when they participated in a "visibility action" at Boston's Stocks and Bonds bar. In that action, the two were attacked by a uniformed Boston police officer because the couple refused to stop kissing each other. On QueerCon's latest release, Cresswell's supple tenor complements the forthright, unflinching lyrics with gentler determination than on the group's debut. Queer Conscience is committed to pushing a blatantly direct queer agenda with such songs as "Telling Someone" and "The Ballad of Harvey Milk." In "OUTside Information," Cresswell sings about the need to be obviously and visibly queer. While less melodically focused, this album has a more polished sound than the group's debut, and again features those irresistibly bouncy 60's arrangements that rescue the release from heavy handedness. With blunt and bruisingly political songs, and a particularly striking album cover collage, this collection will make you want to march. THE RHYTHM METHOD: THE RHYTHM METHOD (1993) A cappella. The Rhythm Method is a tight lesbian a cappella quartet working out of the Denver area. The groups performs a wide range of music from originals to covers, be-bop and country to traditionals, barbershop and contemporary popular music. And they are a delight! Although they are a new recording act, the group has appeared in concert with The Flirtations (see listing), at Wiminfest with a cadre of nationally known artists, at the Gay & Lesbian Chorus Association's annual gathering and as the special guests of the San Francisco Gay & Lesbian Chorus at Pride Concert 93. These gifted women use their incredible voices to weave some intricate vocal arrangements that are simply beyond belief. "The Way You Do," "Haley, Come Down," and "29 Ways" are simply astounding. "You Ain't Thinking About Me" will leave you weak. A feast for the ears! RICK ROBERTSON: SIX (1993) Alternative rock/pop. These six songs are the result of two unique musical collaborations, and both succeed brilliantly at exploring the farther fringes of alternative pop driven by synthesizer technology, detached alienation, and the longings of a man in limbo. Robertson is blessed with a voice that was made to be recorded, and a gift for writing terrific lyrics that lock into the mood of the musical settings. The sound of this release calls to mind The Cure, New Order, and Depeche Mode. The moody "For Saturday" is a stand-out smash, but also check out the Rob Costin collaborations, "Magnificent Man," "The Lover's Tent," and "Carry Me." (Costin himself is an exciting writer and performer of stunning power now at work on his own debut album). The ease, power and poetic language of this release are pure genius, and Robertson may just be our own little psychedelic-era Bob Dylan, a poet and prophet of queerdom. ROMANOVSKY & PHILLIPS: I THOUGHT YOU'D BE TALLER (1984) Pop/rock. Romanovsky & Phillips (R&P) are easily the most popular out-of-the-closet singing duo in history. Having toured extensively in the U.S., Canada and Australia, R&P have earned the title of "Ambassadors of Homosexuality." Prolific and long-standing members of the gay music community, R&P have a hysterically comic bent on contemporary gay life. Each of their albums is also peppered with beautifully romantic ballads and sensitive and politically impassioned numbers that give their releases exhilarating balance. Fifties doo-wop parodies with silly kazoo solos don't seem out of place beside poignant ballads in the musical world of R&P. As the most successful gay group in the history of our community, R&P have been on the forefront of gay entertainment for over a decade. Since gay people love to hear about nothing more than themselves, these two brilliant young men write about what we couldn't possibly hear enough about, our favorite subject: ourselves. And, why not? Gay people have been so invisibilized in the media and American society, it's about time we Hear Queer. Who can resist: "Closet Case," "I Can Have Attitude," and "She Has A Thing For Men Who Love Men"? This album was the folky beginning of the dynastic duo, and reflects the sound they honed in their humble, hummable beginnings as a San Francisco folk duo in the early 80's. As such, it showcases the wonderful harmony vocal arrangements of their two distinctive voices, and contains their most naive, but always charming material. ROMANOVSKY & PHILLIPS: TROUBLE IN PARADISE (1986) Pop/rock. Every song this duo writes becomes an instant community classic. Expertly tuned into gay fascinations and foibles, R&P nail the issues in love and politics right on the head. On their second release, they were teamed for the first time with producer Teresa Trull (Ms. Trull went on to produce Ron Romanovsky's 1992 solo album (—see listing), who utilized keyboards, drums, sax...a full production treatment, and a song cycle blending mightily R&P's comic takes and romantic killers. More classics: "What Kind Of Self-Respecting Faggot Am I?," "Wimp," "Homophobia," "Must've Been Drunk," "The Answering Machine Song," and "Don't Use Your Penis For A Brain." This "sounds" like a hit album should sound, and is probably their best-known work. With Trouble In Paradise, they grew leaps and bounds above their auspicious debut, and became international gay pop stars. ROMANOVSKY & PHILLIPS: EMOTIONAL ROLLERCOASTER (1988) Pop/rock. On the third album they changed the formula a little bit and captured the crazy cabaret ambience of their live performances, leaning toward vaudeville. But it's the vaudeville treatment given this album that nearly covers up the fact that R&P have written the most incisive and brilliantly observed lyrics of their career. Classics: "The Sodomy Song," "Give Me A Homosexual," "My Mother's Clothes" and "I've Created A Monster." ROMANOVSKY & PHILLIPS: BE POLITICAL, NOT POLITE (1991) Pop/rock. It was three years before R&P managed a follow-up to their record three releases of blatant gay pop music. In the meantime they had become the most successful, beloved and prolific group in the history of gay music. This was a significant event in Pop Music history as well as gay pop. The couple also broke up amicably during 1990, deciding to continue recording and performing together. And lucky for us! Political is the best album of their career to date, produced with perfect restraint by John Bucchino with R&P. This album is a feast of R&P at the top of their form. Remember: Fleetwood Mac recorded Rumours, one of the best selling albums of all time, while the two couples in the group were divorcing. Out of pain, it seems, art thrives. Their latest release balances a little heavily on the political side, as the title suggests, but the message is handled with typical R&P deftness. Packed with 15 songs of love, anger, politics and hope, the duo covers a wide range of subjects from lesbian/gay parents to lesbian/gay teachers, from surviving AIDS to surviving dating. The stellar line-up of guest vocalists include Holly Near, Alix Dobkin (see listing), Phranc, and Michael Callen (see listing). As always, the harmonies are terrific. Classics include : "Tango Indigesto," "Queers In The Closet," "When Heterosexism Strikes" and "OH NO I'm In Love (With My Therapist)." RON ROMANOVSKY: HOPEFUL ROMANTIC (1992) Pop/rock. For his solo effort, Romanovsky tapped Teresa Trull to produce, and the team has delivered one of the best gay albums in years. The music is mostly upbeat and covers a wide variety of musical styles woven together with some of Romanovsky's best vocals ever. At his tenderest, he evokes Don McLean, but in the world of Ron Romanovsky, a polka party never seems out of place. As a solo artist, Romanovsky ventures into new territory with the Gershwin-esque "A Measure of Sadness," the rock and roll riffs of "The Perfect Crime," and the seductive cabaret-blues of "Baby Take Advantage of Me." This is his most mature writing and the most supple production settings of his work yet. "Battle Scars" bubbles with a samba beat driven by a Dire Straits guitar sound. The album is a one man variety songwriting showcase, and his most polished sound and sophisticated songwriting to date. Ron Romanovsky is a superb ambassador of homosexuality, and this is the album of his career. TOMMIE SAELI: HELLO (1993) Alternative rock / glam rock. This is one of the coolest discs of the year, in or out of the mainstream! Saeli is a retro-rocker, best known as the host of cable's Gay Dating Game. The crunchy sound of this disc is a throwback to the early 70's glam rock of gender-benders David Bowie and T. Rex: heavy drumming, handclaps and football cheer choruses. It's a hard sound with no guitars, just layers of rock cello and cathedral organ. With the exception of the drumming, the album is a one man tour de force. The rock cello-wielding Saeli (a former go-go dancer at NYC's Pyramid Club) is a hot muscled Italian boy in a pink glitter metallic suit and feather boa, who offsets the sexy Billy Idol growl of his voice with a Yoko Ono-like falsetto that accompanies him in unison on many of the songs. With dazzlingly mind bending lyrics that blend myth, fantasy and magic, Saeli weaves a psychedelic spell once he gets that Marc Bolan groove going. "Rock & Roll Queen" evokes Elton John's ripping "Saturday Night's Alright For Fighting." "Michaelangelo Irreducible" is a Motown (Supremes...surprised?) take-off. "Lady Of The Well" sports a Moody Blues harpsichord. Take the savage sweetness of John Lennon, add the guts of David Bowie, the flash fame of Nirvana, the magic of Sigfried and Roy and shake... don't stir. Say hello! JOSEPH VICTOR SIEGER: SELF-PORTRAIT, 1993 (1993) Synth/pop/alternative. Absolutely uncompromising, without-a-net performance of over the edge, self-ghettoized, gay-sex-obsessed material. PyschoSemiPornographic music for the groin, this disk reeks of RUSH, leather and mansweat. The album is an incredibly hot journey into the super sexual psyche of master Sieger, whose voice ranges from pleasing to deranged, vulnerable warble to menacing squeak. This release combines an 80's retro synth-pop sound with touches of 90's techno, and freely mixes rap with balladry, consistently exhibiting an experimental electronic edge. Subversive the way a Prince album can be, Self-Portrait features twenty spare but hypnotic grooves that drive you into a frenzy the way only the Purple One can do. But Prince never talked dirty like this! In "I'm A Ghost," Sieger walks the "darkened halls, haunting the backrooms and the bathroom stalls." Sizzling tracks include: "Top Rap," "Sun & Steel," "Master," and "We Will Rise." His dance hall cover of the Marlene Dietrich classic "Boys In The Backroom" ("See what the boys in the backroom will have / and tell them I died of the same") takes on new resonance. The album also contains a brave a cappella reading of Village People's "San Francisco (You Got Me)." This is the great dance underground album of the year: one for the crotch. A brilliant independent release, he will excite you. DOUG STEVENS & THE OUTBAND: OUT IN THE COUNTRY (1993) Contemporary country/rock. The runaway favorite of the year, this pop biography could have been called "Meet Doug Stevens," because Stevens not only writes and sings good songs, he's lived them. The Tupelo, Mississippi native begins with his tale of kissing boy cousins ("Out In The Country") and southern intolerance ("Born In Mississippi"). He then leaves for the big city ("Git While The Gittin's Good"), falls in love ("Sweet Breath of Love"), looks back in anger ("White Trash"), loses his lover when he's diagnosed with HIV ("HIV Blues"), and emerges stronger and renewed of spirit ("Act Up"). This is country rock with the pure reckless excitement of a live set that sizzles and swings. Doug Stevens and The Outband are consistently winning fans in the gay and straight country music communities. In the short time this band has been together they've played Gracie Mansion, Town Hall in NYC with Joan Rivers, The Rainbow Room at Rockefeller Center, and The 1993 March On Washington. There they were seen by 3,000,000 people around the world on C-SPAN, and millions more on the NBC Evening News affiliates. They have appeared three times on In The Life, and have played at many 2-step dances and concerts on the east coast and in the mid-west. This thoroughly entertaining and consistent album is produced with sparkling clarity and punch. The pansexual line-up includes the wicked fiddle work of John Cordes and the electrifying lead guitar work of Desiree, who has a strong guest spot as lead vocalist on the self-penned "Cactus Country." Mandolin and fiddle accompany the softer selections with lovely lyrics that are pure poetry that speak of the passionate love for men. The Outband owes much to country/rock crossover traditions like Linda Ronstadt, The Eagles and Neil Young. On this debut that is nothing less than a gay music cultural milestone, The Outband embodies what the best "country music" should be: rock with an accent. MARSHA STEVENS: FREE TO BE (1991) Contemporary Christian. Marsha Stevens is a star in the religious community and rightfully so. She's written the hugely popular and widely covered modern hymn, "For Those Tears I Died," and is regarded with the reverence us ordinary mortals reserve for, well, someone we revere. Her classic has been included in almost every church hymnal published since 1972. Marsha came out as a born-again lesbian thirteen years ago and now sings and writes as a ministry to the gay and lesbian Christian community. She is also the mother of two grown children. On her debut release, she offers music and songs that make you feel clean the way listening to Up With People did. It's not a sin to admit that you enjoy indulging in gospel rock; it could just put you in touch with you-know-who. She delivers monumental pop/rock melodies and arrangements, and is not in the least heavy-handed in her approach to getting her message across. If you like the clean sound of New Country music divas like Wynonna and Trisha Yearwood, you'll love Marsha Stevens. MARSHA STEVENS: THE BEST IS YET TO COME (1992) Contemporary Christian. Comparisons to Amy Grant and Michael W. Smith would be too obvious, and anyway Stevens possesses a charm and confidence not found in the mainstream. One listen will make a believer out of you. Every song reaches shattering climaxes of fervor. Witness "Celebrate": "Celebrate our Maker / shatterer of lies / Who in fierce compassion brings into our lives / A strength we never had before / fling wide the closet door / We know for such a time as this / God's people are called forth." If Whitney Houston was using her incredible instrument to record anything but bland pop fodder, this is what she might sound like. Tell me about your path as a lesbian music artist. What I do is contemporary Christian music for the gay community. Having previously toured for nine years (1970-79) in the straight evangelical world, I lost a lot of friends when I came out. I've had people rip a page out of their church hymnals with a song I wrote on it and mail it to me with hate mail. But I've been able to reach much more people who could hear a positive message about God's love for them, because they knew my music. MARSHA STEVENS: I STILL HAVE A DREAM (1993) Contemporary Christian. Between the lavish production given these unforgettable songs, and the beautiful devotional sentiment, Marsha Stevens is gaining converts among people who get nervous at the mere mention of the J-word (Jesus). Amazingly, Stevens just gets better and better. Outstanding tracks on this release include: "Come Out And Go Forth," "I'm Blessed," the title track, and a remake of her classic, "For Those Tears I Died." If Marsha Stevens is the house band in heaven, even I'll be good! An absolutely spectacular album from start to finish. MARSHA STEVENS: LIVE IN CONCERT—VHS VIDEO 75 Minutes (1993) Contemporary Christian. Marsha Stevens uses the concert forum to charm and inspire us with her terrific music and God-given vocal ability, as well as to share her story. And what a story! Stevens is utterly charming, lovable and touching in this truly moving, feel-good video filmed in Los Angeles at the Metropolitan Community Church. That she has three albums out on her own Born Again Lesbian Music (BALM) label is impressive enough; that her first composition, "For Those Tears I Died" was written at age 16 and is an unqualified international Christian standard is truly remarkable (a miracle?). As a gift to your heart, you owe it to yourself to discover Marsha Stevens: she will lift your spirits and bring you a little closer to heaven. PUSSY TOURETTE: PUSSY TOURETTE IN HI-FI (1993) Rock/pop/blues. Profane, shameless trash and of course, a smash hit! With a gift for self-invention, this fiercest of drag divas constructs the myth and legend of Pussy Tourette while simultaneously deconstructing queer misconceptions. This ain't no disco, honey! From the New Orleans Dr. John camp of "If I Can't Sell It..." ("...I'm gonna sit back down on it / I ain't about to give it away") to the gritty Led Zeppelin-influenced heavy blues of "Free Pussy," it's clear that Ms. Tourette is not the girl next door. Beginning as a go-go dancer in San Francisco's teeming underground scene, Tourette was acclaimed the hottest and sauciest act on the city's cabaret scene when she started singing her original compositions live. Touring nationally has helped her develop nothing less than a fanatical following. Five Tourette songs are featured in Sex Is, which won the Best Gay Film Award at Berlin's International Film Festival. Pussy Tourette in Hi-Fi is a mad romp. Along the way, opera divas ponder queerdom, a tribute to cocktail lounge era Ann Margaret ("After You"), gold-diggers going into orgasms over "Bracelets," and an infectious twist boogie with the cheer-along chorus of "Phuque my pussy!" This is leagues removed from the smooth disco gloss of crossover drag sister RuPaul. Tourette has a streetwise, gritty gift for rock/blues. When combined with her weirdly flanged voice, she can sound as down and dirty as Prince at his filthiest. "French Bitch" is an instant queer classic (the video has more slaps per minute than any other music video in history!) Warning: This pussy is no kitten! Hers is a world peopled with cheap hustlers, bitchy supermodels, boys who want to be ladies, and material girls, all set in orbit around ferocious emcee, Pussy Tourette. Bravo, Ms. Tourette redefines what it means to be different. If I'd had any idea that pussy was this good, well...nevermind! LEAH ZICARI: WOULDN'T THAT BE FUN? (1990) Pop/folk/rock. Wouldn't That Be Fun? is an important work of major proportions by an amazingly gifted artist who is one of those rare barometers of the community. Zicari lets you into those terrifying corners of our common psyche, the shadows where the shame hides alongside lurking age-old fears. By being brazenly self-revealing in the confessional style of Joni Mitchell, Zicari allows us to tend our own wounds, face our own quirks, fears, dreams, nightmares, rational lies, and ultimately, our truth. This tape careens from comic doo-wop ("What Kind of Self-Respecting Lezzie Am I?"), to defiant battle cries of outrage ("Laws"), to the gospel anthem of our community, ("Glory, Glory," to the tune of "The Battle Hymn of The Republic.") In "Glory, Glory," the words are changed to "Glory, glory, I'm a lesbian / Glory, glory, I'm a gay man / Glory, glory, I'm a homosexual / I am truth marching on." Strong affirmations of our common humanity are here, as well as visits from The Bionic Woman, Charlie's Angels and Martina in cameo lyrical appearances. Zicari's brilliance is that she encompasses the full breadth of the gay/lesbian experience and writes cleverly and passionately enough to communicate the message as well as her spunky personality. Zicari utilizes her Master's Degree in classical guitar with flourish here, highlighted by an instrumental piece of sophisticated jazz virtuosity called "Special Friends and Computers." She has appeared in Tom Wilson Weinberg's Ten Percent Review and was voted Favorite New Performer in the 1991 and 1992 Hotwire Reader's Choice Awards. Her work can also be heard on the compilation A Family of Friends (see listing) and on the 1993 March on Washington's Pride Anthem, which she also conducted. With stark tenderness, sophisticated acoustic jazz/folk arrangements, and the confidence to tackle subjects like religious patriarchy and the desperation of growing up lesbian, this is a substantial and provocative work. To receive information about how to order the full text paperback of Gay Music Guide (with photos, interviews, and artist contact information) and the 24-song cassette sampler, please e-mail your address to PopFront@AOL.com. Thanks!