Cut of the Month is DAVID RUSSELL and the SIDESHOW SYMPHONETTE. This album
is a collection of music David has written for various plays in the past.
It's an amazing melting pot of Waits-ish theater music, George Harrison
Yogi music, Elvis Costello pop sensibilities, Herb Alpert Horn
arrangements, Soprano wailin', Saw singin' party music that you just snap
your fingers to or order the anti pasto and a fine red wine.

MONKTAIL CREATIVE MUSIC CONCERN was in to mix a portion of their 6 reels of
improv jazz madness. I must say, this stuff sounds pretty good considering
the ten people involved. 3 sax, 2 drum kits, bass, 2 trumpets, keys and
guitar. Whew!

FEAR OF DOLLS were also mixing. I still can't help but compare them to a
refined and developed Teenage Jesus if there ever was that sort of thing.

XXX AUDIO started work on their first full length record or power punk
melodic pop melodies. I think you might want to watch out for this band.
they have all the elements in place. Features ex- Bali Girls and Delusions
members.

SUN CITY GIRLS were in before their tour to compose a 2 hour radio epic
that will be broadcast on WFMU on 11-11-02. That's Monday! between 3 and 6
pm Eastern time. Tune in, drop out and be square but obey the law of the
pack. If you happen to make their Chicago or NYC shows, stop by and
identify yourself to me. I will either be behind the board or selling CD's
or both.

TED SMITH was in to mix his brand of Simon and Garfunkel meets Van Morrison
at a Dylan concert.

KEXP allowed me the pleasure of mixing ENON, JASON LOEWENSTEIN and MIDNIGHT
THUNDER EXPRESS.

On Halloween I mixed a trailer for PAUL WILLIS' film feature Hedda Gabbler,
soon to be seen on a screen near you. Of course I then went home and
listened to the Residents' Mark of the Mole just as I have for the last 20
years.

ALSO

Entertainment Weekly cited "Session 9" as one of the six scariest films
you'll never see. (Soundtrack by Climax Golden Twins)

AND

GQ calls Revenant - Best Record Label in America

"Record labels have sunk to such a level of public scorn that we now take
their malice for granted. Executives, we know, report directly to Satan,
speed-dialing him two or three times a day. How to make sense, then, of the
good people at Revenant Records; how not to mistrust their earnest labors?
Working out of their house in Austin, Dean and Laurie Blackwood don't so
much ignore the market as invent their own. They restore out-of-print
recordings of what they call "raw musics"--the lost, rusted-out blues of
Charley Patton, the fast-ass rockabilly of Charlie Feathers--anything, says
Dean, that is primal and "fairly knocks your socks off." They package these
recordings with the kind of care and attention usually reserved for book
publishing: the collected works of Captain Beefheart are reverently
annotated; the Patton set resembles a mystery box full of old 78s. "We want
to be evil, too," says Dean. "We want to sell out. I'd love to sell a
million Charley Pattons and retire." In the face of such evil, one can only
genuflect."



Yikes! what do I have myself mixed up in?