It will be the eighth song on the cd, and the first song on side two of the tape.

Here are the Cure songs they list:

A Forest, Boys Don't Cry, Burn, Charlotte Sometimes, Close To Me, Dredd Song, Fascination Street, Friday I'm in Love, Hello I Love You, Hot Hot Hot, In Between Days, Just Like Heaven, Let's Go To Bed, Love Cats, Love Song, Lullaby, Mint Car, Pictures Of You, Primary, Purple Haze, The Caterpillar, Why Can't I Be You ,Wrong Number

If you'd rather vote for another song, you can also send a write-in vote.

CRITICS SLAM XFM AS TOO ALTERNATIVE

Xfm's music programming has come under attack from industry executives for playing too many unfamiliar records.

The alternative station was accused at last Thursday's Radio Academy Music Radio '98 conference of marginalising itself with untried indie tracks and having characterless presenters who simply announce records.

London Records managing director Colin Bell said, "Not all alternative music is good. You need to mix the alternative hits with it."

A&M managing director Osman Eralp said he wants the station to be successful, but feels it has a music policy which belonged to the Eighties.

The station's managing director Chris Parry said the aim is not to make it an exclusive station. "Ultimately we're out to entertain people," he added.

(Gee, imagine a radio station that concentrates on the music and exposing people to new bands instead of having inane,adolescent D.J.'s playing the same "hits" every half-hour and telling their lame, juvenile jokes. Sorry, rant over.)

"This information is specially for the belgians and the german fans...

It's a bigger venue.... 250 places! I think it's free!! and the band is very very good."

Wonder how much Noel Gallagher got paid for his contribution to the upcoming X-Files soundtrack? The BBC reports that the prolific guitarist's track is strangely titled "Teoti-Huacan," which is apparently an ancient Mexican city. The middle Gallagher reportedly rushed it out for inclusion on the album. But the track we're really interested in is The Cure's version of the Roxy Music classic, "More Than This." This is a false report!

'X' Marks The Big Screen For Elektra (Billboard - May 02, 1998)

BY CATHERINE APPLEFELD OLSON

WASHINGTON, D.C. - The truth may be out there, but the soundtrack to "The X-Files" movie will not be in stores until June 2. The Elektra Entertainment aural complement to one of the most anticipated films of the summer is a coup for the company which simultaneously will release a new album of score music from "X-Files" composer Mark Snow‹and the first of at least two affiliations with "X-Files" creator Chris Carter. A soundtrack based on Carter's other sometimes-grisly TV series, "Millennium," is planned for release later this year.

Sylvia Rhone, chairman/CEO of the Elektra Entertainment Group, characterizes the two "X-Files" albums as international event releases for the label. Rhone says Elektra has become more selective about the soundtracks it releases nowadays but has high hopes for "The X-Files" titles both in and outside the U.S. based on the international response to "Songs In The Key Of X," an album of music based on "The X-Files" that Warner Bros. released in 1996. "We are looking at this from a global perspective because the Warner Bros. [album] sold something like 3-to-1 outside the U.S.," she says.

The album will hit all major international territories between July and October, according to Rhone. "We put the album together from an A&R perspective with an international music perspective in mind. So we have artists on the album that have had a global track record," she says.

The roster of contributing artists includes the Cure, Sarah McLachlan, the Cranberries, Bjork, Sting, and the Dust Brothers. The album also contains new tracks from three acts that contributed to "Songs In The Key Of X" Foo Fighters, Soul Coughing, and Filter. But Carter, who co-executive-produced the album along with Rhone, says the new project has a unique vibe.

"Tonally there are some similarities, but there are different artists and a different flavor," he says. Although the creators are shying away from the term "inspired by," word is that very few of the songs have been cued into the film.

With the movie slated to open June 19‹the series' May 17 season finale will lead directly into the film's story line‹beginning in late April, Elektra will be ensconced in a multi-tiered promotional blitz that will snowball as the summer approaches. "You won't be able to walk into any account big or small and not know 'The X-Files' is coming," says Elektra director of marketing Zsuzsanna Murphy.

Several facets of the maze of promotions were still being finalized at press time, but Elektra hopes to create an "X-Files" promotional program with MTV, plus a series of videoclips, with one possibly to be directed by Carter. The label also plans extensive tie-ins with "The X-Files" fan club and magazine, as well as the show's official World Wide Web site. A trailer for the movie is already up on the site. Retailers will be inundated with material as well. Murphy says the label is mulling the possibility of purchasing a number of standups that are being created by the film company, as well as creating bin cards that will double as a counterpieces. It also is working with selected merchants to organize midnight sales parties and dedicated "X-Files" listening stations, according to Murphy.

Several radio formats will get a stream of overlapping singles, the first of which had yet to be determined at press time. Stations in selected markets will also be serviced with a show dedicated to the film and the soundtrack that will include artist interviews, she says. TV viewers, too, will get their share of film promos. Carter says there are plans to include at least one film soundtrack song Ween's "The Beacon Light" in an upcoming "X-Files" episode, and a number of spots advertising the film are planned.

"What's nice about putting together an 'X-Files' package is that rather than putting out a cattle call‹where you leave a bag of cash on the corner and see which agents come‹you are approached by the coolest artists in the business who want to participate in what they think on the face of it is something cool," says David Was. Was produced the film soundtrack and its TV-oriented predecessor and is signed on to produce the "Millennium" soundtrack as well. "The cachet of the show and the film is such that people are dying to participate, based on devotion to the show."

The affiliation with the dark world of FBI agents Fox Mulder and Dana Scully also presents an opportunity for some artists to "come as you aren't," according to Was. "Something like 'The X-Files' makes people want to ditch the major key, ambient atmosphere and go spooky," he says. "They can do something different."

Carter says he provided no guidelines either for the specific artists or the type of tracks he wanted for the album. "I let the theme and the mood of the show‹its mysterious and dark aspects‹be the guide," he says. "My philosophy on the show is, 'Do really good work, and the people will come.' That's kind of worked for us so far, and I think the same will be true for the album."

For Ween, "The Beacon Light" did not turn out to be quite as creepy as the band had anticipated. "Our original concept was to do something really dark‹we were thinking like Nine Inch Nails or Gary Numan or something electronic, but we couldn't really force it," says lead singer Mickey Melchiondo. "It actually is an uplifting song, but it rocks really hard."

Melchiondo says the timing of Ween's participation in the album was particularly fortuitous. Just before he got the call from Elektra asking the band to contribute a track, he had read an Us magazine interview with "X-Files" star David Duchovny, who mentioned that during one of his first conversations with now wife Tea Leoni, the two had discussed their love for the band's song "Piss Up A Rope." "He was talking about how he had met her through a Ween song and he was proclaiming to be a fan, so we thought it was perfect timing," Melchiondo says.

X-Files soundtrack ready to go

By JOHN SAKAMOTO Executive Producer, Jam! Showbiz

After months of speculation, the track listing for one of the most anticipated soundtracks on the summer has finally been locked in -- and there are more than a few surprises.

The final track listing, supplied to Jam! by Elektra Records, does NOT include any contributions by Beck, U2, or Rancid all of whom were tipped, at one time or another, to be supplying songs for the soundtrack.

Nor is there any sign of the oddball duet between Lilith Fair mates Paula Cole and Missy "Misdemeanor" Elliott that was being touted by Elektra earlier this month.

Among the 14 acts that DID make the cut, however, are a couple of surprise entries. Confirming recent rumors, Oasis songwriter Noel Gallagher did indeed record a last-minute track for the album. It's called "Teotihuacan", presumably after the ancient Mexican city which is the site of the mysterious Sun and Moon Pyramids, and the Avenue Of The Dead.

Also showing up is seminal L.A. punk outfit X, who provide a cover of the Doors classic, "Crystal Ship".

Canadian content is represented by a remix of Sarah McLachlan's "Black".

The "X-Files" movie soundtrack will be in stores in Canada and the U.S. on June 2, along with a companion album that will feature Mark Snow's score. The movie opens across North America on June 19.

Meanwhil, here is the official track listing for the "X-Files" movie soundtrack:

The Team Behind 'Torn' Ties Up A Hit

Songwriter Thornalley Finds Kinship With Imbruglia (Billboard - April 18, 1998)

By Dylan Siegler

NEW YORK - The match between pop singer Natalie Imbruglia and "Torn" songwriter Phil Thornalley is testament to music publishing at its most effective. Brought together by a publishing deal, a fresh pop voice and a seasoned pop expert have cooked up a tasty creative collaboration.

The wave of Imbruglia's international hit, which Thornalley penned five years ago with Anne Previn and Scott Cutler of the U.S. group Ednaswap, has carried the songwriter back into the limelight. BMG Music Publishing, whose U.K. division signed Thornalley in 1995, brought the voice and the "Torn" writer together. Thornalley then collaborated with Imbruglia, who is also signed to BMG for publishing, on five more tracks on her RCA album "Left Of The Middle."

Thornalley began his career not as a songwriter but as a studio technician. Ironically, he was first drawn to the studio because, while growing up in England, he didn't think his songwriting was up to par. "The moment I knew three chords at 12, 13, I started putting songs together," he says. "I guess I was aware that I wasn't really good enough‹although I knew I loved music‹so I headed toward studios."

From his first studio job at age 18, Thornalley was mentored by successful producers who gave him leeway to be creative. "On some of the records we made, I think we had more fun making them than the musicians," remembers Thornalley about his experience working on albums by Duran Duran and Thompson Twins.

But after soaking up the pop secrets of some of the hottest acts and producers of the '80s, Thornalley wasn't content to simply go on producing. "I felt as though I had creativity, but I didn't feel like an artist myself," he says. "People look down their noses at [engineers and producers], thinking, 'You can twiddle knobs, but you don't know C from C sharp.' So I moved back away from the studio."

Thornalley then devoted his developed pop sensibility to writing and playing music, spending time as bassist for the Cure, whom he also produced. It was during that time that he co-wrote "Torn," which has since shown up in various incarnations around the world. In translation, the song was a hit for both Danish artist Lis Sorensen and Norwegian vocalist Trine Rein, while Ednaswap has recorded an English version.

Imbruglia's success with the song, however, is unparalleled. In Thornalley's expert opinion, this success might be attributed to the fact that it's a bittersweet song. "Anne Previn's lyrics are very mature, and I would say that's the bitter part," he says. "Then there's the backing, which on Natalie's version is quite sweet, easy on the ear. Pop is about being bittersweet. It's about saying sad things over pleasant-sounding chords or the reverse. That's the flavor that makes pop attractive."

Thornalley says his collaboration with Imbruglia works, in part, because he's "a great second fiddle, and Natalie rises to a challenge." He adds, "In the space of six months she went from writing lyrics to leading the songs. Now we get together, and in the space of an hour or two we can write a song, and it's very relaxed."

Clyde Lieberman, VP of East Coast creative at BMG Songs, says, "He's my hero." Lieberman, who was a professional songwriter himself, adds that the two met about 10 years ago while working with Robbie Neville. Lieberman says he introduced Thornalley to Previn and Cutler, the other "Torn" co-writers. "Phil was unique even then," says Lieberman. "He was so young, and just amazingly talented."

While Lieberman wasn't directly involved in the publishing agreement, which was initiated by Mark Fox at BMG Music Publishing U.K., he says he was excited by the deal's possibilities. Thornalley says he suspects Lieberman vouched for him as a "bona fide songwriter."

Lieberman says, "Everyone who does creative work in music publishing knows his name. If I say 'Phil Thornalley' to the head of Such-And-Such Records, it's like a calling card for us."

"You sign a deal, and suddenly everybody wants your songs," says Thornalley with a chuckle. The writer is currently hard at work collaborating with new Food recording artist Liz Horsman and has other undeveloped artist projects in the wings. "Things are going really well right now for me," he says. "After having such success in the '80s, I spent a few years out in the cold, thinking, 'Where did I go wrong?' And that'll probably happen again. But this time," Thornalley adds with a laugh, "I'll enjoy being successful, because I know what it's like not to be."

Although not all the artists for the forthcoming X Files soundtrack have been finalized, either Ween's "Beacon Light" or Filter's remix of Three Dog Night's 1969 hit "One" will be the first single, according to a spokeswoman at Elektra Records.

The soundtrack to the long-awaited movie doesn't hit stores until June 2, but many of the album's tracks have already been recorded and submitted to Elektra.

Among these are a re-tooled version of "Invisible Sun" by Sting and British reggae act Aswad; "More Than This" by the Cure; a remixed version of "Black," from Sarah McLachlan's 1991 album, Solace, courtesy of current Madonna pal William Orbit; and the Doors' "Crystal Ship," recorded as a collaboration between the recently reunited Los Angeles punk band X and Doors keyboardist Ray Manzarek.

While the soundtrack has seemed to be shrouded in secrecy, the label's spokeswoman suggests that was strictly a function of logistics. "When you try to do something creative and different like this soundtrack," she said, "you have to wait for the business end of things to be finalized, and that can take awhile."

In addition to the above-mentioned artists, the Foo Fighters and the Cardigans are currently in the studio putting the final touches on their new songs, while Bjork is deciding between a song called "Alarm" and another untitled track. Three additional artists may still record tracks for the X Files.

The Cranberries, who were once said to be a part of the soundtrack, have now pulled out due to scheduling conflicts, the spokeswoman said. However, Tonic, Soul Coughing and Better Than Ezra have all contributed original tracks.

Project co-executive producer Chris Carter, who is also the producer and creator of the hugely popular "X Files" television series, will direct one of the first videos from the soundtrack. While that project marks his first foray into music video direction, it is still unknown whether Carter will direct the first or second video.

Look for X Files, the movie, to hit screens across America on June 19. (Ari Bendersky)

Confirmed tracks for the X Files:

Uncovering X-Files Soundtrack Lineup

X, Foo Fighters, Sting and the Dust Brothers are among the artists contributing to the X-Files Soundtrack.

Like the truth, the lineup is out there.

The lineup to this summer's X-Files film soundtrack, that is, although even executive producer John Kirkpatrick concedes that the final roster is still being determined, just weeks before the disc hits the stores on June 2.

Among those artists who have yet to complete their tracks are recently reunited punk legends X, who will go into the studio Tuesday to record the Doors' chestnut "The Crystal Ship" with original Doors keyboardist (and producer of X's first four albums) Ray Manzarek at the helm.

Although only half of the album's tracks have thus far been turned in, album producer David Was said he likes what he's heard. "This is my classic recipe of 'Come As You Aren't Party' -- asking people who generally don't have an image as dark, moody and ominous-sounding to come in with something that might be a little off their beaten path," said Was, former member of the acid-funk duo Was (Not Was) and currently a columnist for Addicted To Noise.

One band looking to take the road less traveled is Filter, who appear on the soundtrack covering the Harry Nilsson song "One," a 1969 hit for Three Dog Night.

"It's pretty amazing," Was said. "It's this song people associate with Three Dog Night, that pop-operatic version that's like low-fat Meat Loaf. But Filter's version is deceptively mellow and casual, then it breaks out and gets kind-of hard. They really went to town on it."

Swedish popsters the Cardigans have also tried to monkeywrench their sugary sweet image. "They were saying they wanted to go into the studio and make their Cardigans-meet-Marilyn-Manson record," Was said. "So this is their opportunity to do an experiment."

X, Filter and the Cardigans will join an already impressive register of modern rockers contributing songs to the soundtrack. Cuts whose titles have been confirmed include Soul Coughing's "16 Horses," the Cure's "More Than This," Better Than Ezra's "One More Murder," a William Orbit remix of Sarah McLachlan's "Black," the Dust Brothers' take on the "X-Files Theme" and Sting with the British reggae band Aswad doing the Police's "Invisible Sun."

Other bands participating include Foo Fighters, Bjork with Soul II Soul's Nellee Hooper, Ween and Tonic. Irish popsters Cranberries, previously listed as confirmed contributors, are still working out details of their participation, according to Kirkpatrick.

"I wanted to make an album that was more than a random collection of tracks, that stayed true to what ['X-Files' TV show creator] Chris Carter's vision of the 'X-Files' is," said Kirkpatrick, who serves as executive producer along with Sylvia Rhone, chairman and CEO of Elektra Records. "We wanted it to have a cohesive thread that would appeal to fans of the TV show now, and that would still reach out to a broader audience, the same way the movie is trying to do."

One of the difficulties in assembling the album came from Carter himself, who, as co-producer and co-scriptwriter, is particularly choosy about what music is appropriate for his film.

"He didn't want to time-date his movie like a container of cottage cheese," Was said. "He didn't want some lousy '90s-sounding song that people would be reminded of in 10 years when they popped the video in. He's a stringent guard, he's Cerberus before the gates of Hell -- he won't just let anything into his flick. So in the few opportunities that there were for music, while he did put in a few orders for a specific kind of song, mainly it was 'I'll know it when I hear it.' Which is enough to give people on the record-label side fits. But it's working out. He's heard stuff that rang true to him."

Of course, there was also competition with other summer blockbusters to contend with -- primarily from "Godzilla," which landed Rage Against the Machine, the Wallflowers and Green Day for its soundtrack.

"There's only so many bands that you'd want to put on these things, and everybody's throwing money at them at the same time," Was said. "One of the pitfalls of doing a big film like this is that you're not looking for that odd Elliott Smith song," he added, referring to Smith's "Miss Misery" from the Good Will Hunting soundtrack, which was nominated this year for an Academy Award. "You're trying to hit homers with every pitch. And so is everyone else in town."

-- Chris Nelson

X-Press Yourself

David Was, co-producer of the upcoming X-Files movie soundtrack, says listeners can expect a few surprises when the hotly anticipated album hits the racks June 2. Was says he encouraged the participating artists to step out of character as much as possible when recording their contributions.

Among the "moody and foreboding" results: A reworking of the X-files theme by the Dust Brothers; a blistering interpretation of Three Dog Night's shlock classic "One" by Filter; X and Ray Manzarek covering the Doors' "the Crystal Ship," and new tracks from the Cure, Bjork, the Cranberries, Sarah McLachlan, the Cardigans, Soul Coughing, and Sting (with Aswad).

X-Files creator Chris Carter says he's "very excited" about the music he's heard so far. But would Mulder and Scully like it? Says Carter: "I think Mulder would like it particularly. I think Scully would listen to it at Mulder's and smile her wonderfully tolerant smile. Her tastes are a little more cultivated than Mulder's."

Robert Smith Rejects Fashion Victimhood

Poe has taken time off from recording her upcoming album, and canoodling Alice In Chains bassist Mike Inez -- who has far too much time on his hands these days, but swears he's working on a solo album -- to pose for the new DKNY print ads. But god's gift to Goth, Robert Smith, turned down chic designer Donna Karen when she came knocking on his castle door last fall.

According to Spin Radio, the billionaire designer wanted to outfit Smith and the band for a high profile Cure club tour, akin to what Tommy Hilfiger did for The Rolling Stones, but Smith, who has more decorum, and a more original flair for fashion -- remember those ascots he wore back in the early 80s? -- turned her down flat.

As for the band's next album, according to a spokesman at Elektra Records, the masters of mope are all getting along famously, and will enter a London studio to record their follow-up to last year's Galore (an odds 'n' sods collection of B-sides and such) only after the upcoming World Cup -- yes, Mr. Smith is a soccer mad boy.

Hopefully their side will prevail, and they can proceed to finish up recording duties by late spring, after which some European festival-type dates may be in the offing.

--Jaan Uhelszki

Depeche Mode tribute album imminent

By KAREN BLISS -- Jam! Showbiz

They had to respect the masters and not mess with the music.

That was the main criteria in gathering the truly faithful and devoted artists to pay tribute to Depeche Mode by covering one of the British band's songs.

Smashing Pumpkins, The Cure, Meat Beat Manifesto, Gus Gus, Self, Deftones and God Lives Underwater are just some of the contributors to "For The Masses", (a play on the title of Depeche Mode's 1987 album, Music For The Masses), due Aug. 4, on 1500/A&M.

The idea was the brainchild of God Lives Underwater's Jeff Turzo and David Reilly, a Los Angeles-based techno duo, who were in Toronto this week to promote their latest album, "Life In The So-Called Space Age".

"God Lives Underwater played 'Stripped' whenever we were on tour and it went over really well," says Reilly , describing how the tribute idea came about. "We heard that Deftones were covering a Depeche Mode song live and it just came together like that, by asking around. Everyone seems to like Depeche Mode."

Helping to implement the idea was Gary Richards, God Lives Underwater's manager and the label head at 1500.

"We got the idea out there and then people came to us," says Reilly. "Me and Jeff and Gary have been weeding through the stuff and deciding what we want on the record."

Richards is both passionate about and protective of the tribute. Although he gave interested bands "free reign" to do with the song what they would, he knew exactly what he was after.

"Most of them we approached, the ones who want to do it, a) love Depeche Mode and b) have a song already in mind," explains Richards. "People that really like Depeche Mode and have it in their heart, understand what that band is about and know how to re-create it properly. And some people don't.

"There were a lot of other people who submitted (songs)," adds Richards. "Most of them didn't make it for the simple fact that what we're trying to do is a tribute to Depeche Mode and, more importantly, to Martin Gore's songwriting, and some people changed the melodies around and changed the songs around.

"The idea wasn't just to have a cool compilation of bands that wanted to make fun of Depeche Mode songs or crack open a beer and have a Depeche Mode party. Depeche Mode means a lot to me and to the people who worked on this, and we wanted to try and reinterpret the songs but not change the songwriting or the music or the melody of the song."

To illustrate his point, Richards cites Locust's lounge version of "Master And Servant", done as a duet between a man and a woman, and The Cure's Robert Smith singing "The World In My Eyes", which he characterizes as "pretty insane."

"For The Masses" is scheduled to be mastered on April 23, but Richards says there are still a couple of stragglers that could be added on at the last minute.

"I have a copy of (a song done by) somebody from Veruca Salt, which I'm trying to get taken care of so it makes the record, and DJ Shadow said he wants to do it as well but he won't be able to do it until May, but we'd add it in.

"We talked to Marilyn Manson a bunch of times and he wants to do 'Personal Jesus'," adds Edwards, "but I don't think it's going to come to fruition."

As for the members of Depeche Mode themselves, they are aware of the tribute and, according to Richards, like the idea.

"I met with them and talked with them about it and they seemed honored about it," says Richards. "I can imagine they know their place (in pop music history). Martin Gore is one of the best songwriters period, and I think people forget that.

"But when people hear these songs, they're going to realize it again."

"For The Masses" tentative track listing:

McLachlan, Bjork, Foos Sign On For "X-Files"

After months of rumor and speculation, the official list of acts on the "X-Files" movie soundtrack has been announced, and Sarah McLachlan, Bjork, the Foo Fighters, and Filter are among the acts who are on-board.

The musical movie tie-in will feature a Dust Brothers reworking of the "X-Files" theme, and Sarah McLachlan's tune "Black" as remixed by William Orbit, the man behind Madonna's recent techno makeover on "Ray Of Light."

The album will also carry new songs by Bjork, the Cure, Ween, and Sting with British reggae band Aswad, plus previously unreleased songs by the Foo Fighters, Tonic, the Cranberries, the Cardigans, Filter, and Better Than Ezra.

The soundtrack arrives June 2, and movie hits theaters two weeks later.

Battle of the soundtracks

Will Godzilla's monster soundtrack follow Titanic up the pop album chart? The Epic Record/Sony Music recording will feature the Wallflowers, Puff Daddy, Jamiroquai and Rage Against the Machine. The Wallflowers' redux of David Bowie's Heroes will be the first single released from the album. The movie opens Memorial Day weekend. But competition is fierce: Two soundtracks will be released from X-Files: The Movie, out June 19. One will feature a musical score by Mark Snow, who wrote the TV show's theme songs; the other offers sounds from Sting, Foo Fighters, Bjork, the Cure and Rancid.

It's a small venue!!! and they will play B-sides..........