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Consumable Online Issue 113
==== ISSUE 113 ==== CONSUMABLE ======== [June 24, 1997]
Editor: Bob Gajarsky
Internet: gajarsky@email.njin.net
Sr. Correspondents: Jeremy Ashcroft, Reto Koradi, David Landgren,
Sean Eric McGill, Tim Mohr, Al Muzer, Jamie
Roberts, Joe Silva, John Walker
Correspondents: Daniel Aloi, Lee Graham Bridges, Scott Byron,
Patrick Carmosino, Janet Herman, Bill Holmes, Eric
Hsu, Tim Hulsizer, Stephen Lin, Scott Miller,
P. Nina Ramos, Linda Scott, Scott Slonaker,
Simon Speichert, Jon Steltenpohl, Simon West,
Lang Whitaker
Technical Staff: Chris Candreva, Dave Pirmann
Address all comments, subscriptions, etc. to gajarsky@email.njin.net
==================================================================
All articles in Consumable remain (C) copyright their author(s).
Permission for re-publication in any form must be obtained from the
editor.
==================================================================
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| Contents |
`------------'
REVIEW: The Wu-Tang Clan, _Wu-Tang Forever_ - Lang Whitaker
REVIEW: Seahorses, _Do It Yourself_ - Tim Kennedy
REVIEW: Meat Beat Manifesto, _Original Fire_ - Lee Graham Bridges
REVIEW: Mansun, _Attack of the Grey Lantern_ - Bob Gajarsky
REVIEW: Jean Michel Jarre, _Oxygene 7-13_ - Joe Silva
REVIEW: Mundy, _Jelly Legs_ - David Landgren
REVIEW: Old 97's, _Too Far To Care_ - Scott A. Miller
REVIEW: Motley Crue, _Generation Swine_ - Linda Scott
REVIEW: Save Ferris, _Introducing Save Ferris_ / Buck O Nine, _Twenty
Eight Teeth_ - Bob Gajarsky
REVIEW: Katell Keineg, _Jet_ - Reto Koradi
REVIEW: Maypole, _Product_ - Linda Scott
REVIEW: Empirion, _Advanced Technology_ - David Landgren
REVIEW: Joe Tullos _The Scoundrel's Waltz_ - Linda Scott
ERRATA: Frogs
NEWS: Aloha Concert Jam, Anchorage In Brooklyn, B-Real/Ice Cube, Groove
Society, John Hiatt, Michelle Malone, Offspring/Jello Biafra/F.S.U.
TOUR DATES: Buck-O-Nine, Cravin' Melon, File, Five For Fighting, Furthur
Festival (incl. Black Crowes/more), G3 (Joe Satriani / Steve Vai /
Kenny Wayne Shepherd), Irving Plaza , Rickie Lee Jones, Wayne Kramer,
Don Lewis Band, Lollapalooza (Tool headlining), Michelle Malone, John
Mayall, Mindset, My Life With The Thrill Kill Kult / Radio Iodine, No
Doubt / Weezer / Lunachicks, Ozzfest (Ozzy Osbourne / Type O
Negative / Machine Head /more), Poorhouse Rockers, Racer 17, Silver
Jet, Sister Hazel / Cowboy Mouth, U2, Young Dubliners
THE READERS WRITE BACK! (Julian Cope, Nancy Boy, Sinead O'Connor,
Yeats Tribute)
Back Issues of Consumable
---
REVIEW: The Wu-Tang Clan, _Wu-Tang Forever_ (Loud)
- Lang Whitaker
Big business, in the the past few years, has taken to corporate
mergers and then using their pooled resources in order to trump their
competition. Taking a page out of Forbes, The Wu-Tang Clan seems to have
discovered the secret to success: they've found a unique style that
works, and they've farmed the hell out of it. After a wildly successful
debut album (_Enter the Wu-Tang; Return to the 36 Chambers_), the 9-member
super group took a time-out and went out and did their best to take over
the world. Besides starting everything from their own clothing line
(Wu-Wear) to their own bevy of 1-900 numbers, they also managed to release
five solo albums, which were all produced by the leader of the
Wu-Tang, the RZA (pronounced Riz-uh).
The Clan is officially comprised of 9 equal members, but it's
easy to see two levels emerging within the Wu. RZA stands supreme over
all, because without his production and business abilities, the Wu would
be just another rap group. The primary group of rappers are coincidentally
the same group who have all released solo albums: Method Man, Ol' Dirty
Bastard, Genius, Ghostface Killah, and Raekwon. Each MC has his own
distinct style and an instantly recognizable voice. The remaining members
(U-God, Inspectah Deck, and Masta Killah) are kind of like the substitutes
on any championship team - they may be second string on the team they are
currently on, but on any other team they'd be the go-to guys.
_Wu-Tang Forever_, the Clan's sophomore double-CD sold more than
600,000 copies in its first week of release. Clocking in at just under a
mind-numbing 2 hours, the Wu-Tang uses their first group effort in three
years to make a statement: they're back.
The first disc starts with the Wu-Tang mission statement,
"Wu-Revolution", that lays down the Wu-Tang ideology: a hodge-podge of
5% Nation credos, professional wrestling references, and Numerology
superstitions. The following track, "Reunited", sets a great standard for
the rest of the album, as RZA builds a platform using only drums and a
whining violin. The violin starts building on itself, as it eventually
becomes a full violin section, sawing away.
Particularly mind-bending is RZA's production on the song "For
Heaven's Sake". Built around a simple bass and high-hat drumbeat, RZA
takes a piano line and loops it on the verses, and then speeds it up
and flips it into reverse for the choruses, all without altering the
tempo of the backbeat, providing a fabulously flexible background.
Also standing out on the first disc is the song "A Better
Tomorrow", notable for not only its smooth jazzy sound, but also for the
Wu-Tang's espousing of a positive message, as the Clan discourages the
gang-banging and blunt smoking behavior that is glorified in most rap
music.
The second disc is a little more experimental. Given that, its
few shortcomings are understandable. The lead track on the second CD is
RZA's "Intro", a spoken word gauntlet where RZA disses all the other MC's
who have tried to dip into the Wu-Tang well of tricks. "Intro" is
followed by the first single off the album, "Triumph". "Triumph" gives
every member of the Clan a chance on the mike, with ODB acting as the
ring master directing traffic. The song "Impossible" is also ingenious
through its simplicity. The bass line never changes throughout the song,
but the overlaying piano chords carry the melody.
Towards the end of the second disc, the material starts to get a l
ittle old. On its own, the last few songs have phat tracks behind them,
but the lyrics are not very inspired. 2 hours of straight Wu-Tang is a
*lot* of Wu.
If the Wu-Tang clan is really as strong and unified as they claim
to be, I hope they realize that it is the skills of the RZA behind the
production boards that makes them special. The fact that RZA produced the
solo albums of every member of the Clan shows how trusted he is, and well
he should be. His work on tracks such as the aforementioned "For Heaven's
Sake", and his instrumentation on songs like "Black Shampoo", where he
combines a piano, a drumbeat, and a harmonica to form a thick backbeat
for the love song, are better than any of the recycled crap Puffy Combs
keeps trying to pass off on us.
The voices of Method Man and Raekwon both have a strident
urgency that form a nice counterpoint against the aptly named lyrical
flow from Genius and the urban legends of Ghostface Killah. Ol' Dirty
doesn't get too many chances to expand past his usual court jester
persona. The other three Wu-Tangers never rap with much regularity. Guest
rapper CappaDonna returns on 5 tracks, and there are also appearances
from Street Life and Tekitha.
Included on the double CD is an enhanced multimedia section that
is playable on Mac or Windows. I ran it on a Power Mac with 32 megs of
RAM, and it was still pretty slow and generally unresponsive. It's too
bad, because it's a great looking program. You get to go inside the
Wu-Mansion and look around. There is a room for each member of the
clan (ODB has a padded cell, Method Man has a leather and cigar filled
library, etc.), and after visiting all the rooms, you are allowed
access into RZA's chamber. I got bored waiting around and didn't make it
all the way through, but it looked visually interesting.
As an overall entity, the Wu-Tang Clan has built up such a strong
fan base that no matter what they put out there, it will sell. _Wu-Tang
Forever_ shows why they have such die-hard fans, and it also shows us the
genius that is Wu-Tang. Wu-Tang Forever? I hope so.
---
REVIEW: Seahorses, _Do It Yourself_ (Geffen)
- Tim Kennedy
How do you take up your career again after a disaster as
lamentable as the last days of the Stone Roses? After a five year
interlude, a second album of admittedly epic Zep-like proportions is
ollowed by the mysterious departure of the superb drummer, and the
appalling loss of form of the singer. The fans are tormented by
cancelled gigs on both sides of the Atlantic - and the press gets
nastier. The final UK tour was marked by two things - the stunning
guitar of John Squire and the sad demise of Ian Brown's voice and his
loss of confidence and poise on stage.
The escape route that Squire took was to find a band from
nowhere - well from York in fact. Dylan did this when he took up with
The Band. Bowie picked up the Rats, from Hull, and called them the
Spiders From Mars. Neil Young found a ready-made band when he
adopted Crazy Horse (The Rockets). In all cases except maybe Dylan,
the solo artist took total control of the band and dominated the output.
This album is eagerly awaited by hordes of patient Roses
fans who became born-again air guitarists with the advent of the
_Second Coming_. Surprising then that Squire allows his sidemen
to write several of the songs, and only rocks out - to great
effect - on a couple of numbers. Notably, the gloves come off on
"Love Is The Law", a modern rock classic. The new band are more
intent on writing songs than providing a platform for Squire to
improvise and ad-lib. The latter works of Paul Weller are an
appropriate comparison. However each tune is sumptuously served up
with Squire guitar. At times there are echoes of such greats as the
Byrds and Moby Grape - an eclectic mid-sixties (North) West Coast
spirit of musical adventure.
Like Weller's, the songs are introverted and indicate some
heartsearching. This was never a feature of the often macho
songwriting style of the Roses. The lyric-writing debut of a certain
Liam Gallagher appears on "Love Me And Leave Me" which is a notable
example. The line 'I don't believe in Jesus' echoes the Lennon song
"God", and the song sets out a romantic manifesto more generous than
Lennon's belief in "Yoko and Me". Noel should let his brother write
more. Another soulsearching song "The Boy In The Picture" unexpectedly
lets rip, Zep-esque.
The arrangements, by Bowie's old producer Tony Visconti, are
excellent, featuring strings and even, lawks amighty, a theramin.
Vocalist Chris Helme is in fine voice and rubs it in a bit with some
complicated vocal tricks at certain points. He comes over as a less
over-the-top Brett from Suede - and is a fine counterpart to Squire.
The bass is every bit as solid as that of Mani and responds in style
to the guitar improvisations.
This is not an immediate album. It needs time to take in the
light and shade, the thoughtful arrangements, but there are enough
tasters here to show that Seahorses are going to more than justify
Squire's already distinguished reputation at home and abroad.
Squire's restless need to experiment with song structure augurs well.
According to recent reports, former Roses Ian Brown, Mani and Reni
are working together on Brown's solo album. There is every
possibility that with the shackles of expectation removed, an album
every bit as exciting will emerge.
---
REVIEW: Meat Beat Manifesto, _Original Fire_ (Nothing/Interscope)
- Lee Graham Bridges
For those who adore the groovy, nonstop dance terrorism of Meat
Beat Manifesto, who crave Jack Dangers' trademark electrofunk sound...here
comes _Original Fire_, 67 minutes of remixed, rare, and previously
unreleased tracks to hold MBM fans over until the next album is released.
I hate to start a review with criticism, but "Helter Skelter '97,"
the first track and one of the current singles (receiving airplay on MTV's
_Amp_), is underimpressive. That's not to say that it's no good. It
certainly conforms to the already excellent standard of instrumentation,
production, and composition that MBM is well known for. However, the
song's structure is a bit simplistic and the message a bit overstated in
comparison to the other _Original Fire_ gems. Still, there's something
quite creepy in the way the anonymous speaker mutters "it's in my brain
now" again and again that draws the listener in, and just in time for the
second track, and my personal favorite.
"It's The Music" starts off with 40 seconds of televangelistic,
ranting speech on the evils of music ("this beat that the devil today has
nurtured and fostered is inspired by the powers of hell"), which causes
kids to smoke weed, "rip off their clothes," and "act like animals." The
glorious backing track then kicks in. About two minutes in, the preacher
speaks again, and the rhythm track gets even funkier. Some kind of
xylophone (or perhaps this is the rumored aquaphone Jack owns, which is
like a much more expensive version of filling several glasses with water
and beating them) goes nuts in the background, some heavy bass kicks in
along the way...but the song is so intricate, varied and multilayered,
funky and intense, it is beyond description, except to say that the entire
CD is worth buying for this track. It's absolutely brilliant.
Then follows the yin-yang of "I Am Electro" and "I Am
Organic," both originally recorded in '93. If it was not obvious from the
titles, the former is populated almost entirely by electronic sounds,
while the latter includes more funky sounds, heavy bass, analog drum
sounds, etc.
"Radio Babylon" has been sampled by Prodigy, the Chemical Bros.,
and Future Sound Of London since it first appeared on the scene in '89.
Somewhat slower and more relaxed than many other MBM tracks, cloudy, fuzzy
textures and a spacious aural quality really stick out on this track. It
appears on _Original Fire_ in its original form. (What a surprise.) The
Luke Vibert remix of this track is a definite contrast to the original,
however: sped-up, frenetic and fun, full of thick, heavy bass tones and
several simultaneous rhythms combined.
"I Got The Fear Pt.5" is incredibly funky, and reminiscent of work
done by EBN (Emergency Broadcast Network, the multimedia superterrorists)
on 1993's _Telecommunication Breakdown_. Of course, this should be no
surprise as Jack Dangers performed on, produced, engineered, and mixed
said album. The Mix 2000 of "It's The Music" was assisted by Freaky
Chakra, and is a very groovy, infectious version. The toxic remix of
"Asbestos Lead Asbestos" (orignal version can be found on MBM's critically
acclaimed _Subliminal Sandwich_) starts off with sounds of the sea and one
simple, droning vocal, and then cuts to a gritty, ear-shredding backing
track. The vocals, though, are a bit clearer than the original. Overall,
a properly sinister version.
The Orb's remix of "Radio Babylon" (the Beach Blanket Bimbo Land
mix, for those keeping score) brings an amazing end to an incredible
album. It looks, smells, tastes, and feels like what could be the
beginning (or end) of a 1997 sequel to one of the greatest albums of all
time, _The Orb's Adventures Beyond the Ultraworld_, even though such a
gift will probably never see the light of day. Still, this remix is a
return to the Orb's days of a more linear, more design-intensive, yet
consistently trippy style. The crazy start-stop beats and repeated
patterns characteristic of _Ultraworld_ re-emerge on this remix to the
same mesmerizing effect.
_Original Fire_ proves that Jack Dangers and company, although
certainly not unpopular, are one of the best kept secrets in music. It
is an absolute must-have disc for all lovers of electronic music, MBM fan
or not.
---
REVIEW: Mansun, _Attack of the Grey Lantern_ (Epic)
- Bob Gajarsky
Whenever a hyped British band comes to American soil,
the instinctive Yank reaction is to recoil and hide from the latest
Brit export. Sometimes this reaction is justified - especially
when a Brit music tabloid brazenly asks if a band is better than the
Beatles after just one single - but, every so often, there's a band
whose debut album surpasses that hype. In 1997, that band is Mansun.
In an unbelievable move, EMI U.S. passed on the band, allowing
them to join the Epic umbrella (in light of EMI's recent closings,
think they might regret missing out on the group?). And the four
piece calling themselves Mansun have whipped out an eleven song debut
which brings to mind the kind of album that only graces our eyes
once every couple of years.
_Attack of the Grey Lantern_ opens with "The Chad Who Loved Me"
(complete a nearly two minute instrumental beginning), with its tip of
the hat to the John Barry scores in the James Bond films The Spy Who
Loved Me and Moonraker, which evolves into a more epic performance.
This is just a prelude to the first American single, "Wide Open Space",
which carries the same passion as Radiohead's "Creep". "She Makes My
Nose Bleed" teases the listener with a "Supersonic" guitar to prove that
yes, Mansun can rip off the Beatles just as well as Oasis before
launching back into another Radiohead-like track.
Lead singer (and producer) Paul Draper, guitarist Dominic Chad,
bassist Stove King and drummer Andy Rathbone wind up with an
interesting combination landing somewhere between Radiohead and
the Manic Street Preachers, but - in the tradition of great bands -
blazing their own path at the same time. "Taxloss" sees Draper's voice
nearing Suede's Brett Anderson as his bandmates tiptoe around the
glam rock of Bowie and T-Rex, "Egg Shaped Fred" is a sing-along
which could be the poppiest side of Nirvana, and "Mansun's Only Love
Song" is a slower track which, while not a ballad in the true sense
of the word, still stands out for its power.
On the American release of _Attack of the Grey Lantern_,
"Take It Easy, Chicken" (the band's debut single) replaces the song
of a transvestite priest, "Stripper Vicar". And, here, we can see
Mansun paralleling the path of another truly band - the Smiths.
Morrissey already talked about the vicar in a tutu, and Draper also
speaks of the transvestite with nylons, heels and nails on the
closing track "Dark Mavis" (which ends with a piece from "The Chad
Who Loved Me". Just as Morrissey and Marr would ensure that each
single release was the equivalent of a mini-album, and that B-sides
weren't throwaways - but tracks to be heard - Mansun has taken similar
steps to ensure their own form of bang for the buck. An incredible 32
tracks were recorded and released during 1996 in Mansun's native U.K.,
and included on the "flip-side" of their various singles. The only
remote criticism here is that the album clocks in at only 11 songs
and 55 minutes, while the band clearly had enough material for a much
lengthier disc.
Through it all, Mansun show an unusual reverence towards the 80's
bands of their youth. Although Draper proclaims that 'If I didn't think
we could be bigger than R.E.M., I'd give up', he also states that
'We're the 90s ABC', while Andy Rathbone (at 24, the elder
statesmen of the group) declares that 'The only other band I'd like
to have been is in Duran Duran'.
Please, Mansun, don't sell yourself short. While _Rio_ may have
been entrancing to a worldwide gaggle of teenage girls (and will
still strike a weak point in this critic's collection), this British
group doesn't need a new video channel to capture the hearts of music
lovers. And just like the debut albums _The Smiths_, _The Stone Roses_,
the Manic Street Preachers' _Generation Terrorists_, _Suede_ or Oasis'
_Definitely Maybe_, this is - to lovers of British music - essential.
---
REVIEW: Jean Michel Jarre, _Oxygene 7-13_ (Epic)
- Joe Silva
Looking at the chronology alone, the first installment of
_Oxygene_ arrived at a time when the record buying world was probably
least interested in grand thematic gestures, particularly of the synth
kind. But while still in the throes of all things spiky and anarchic,
the British somehow still put the record at the number 2 spot in the
charts and other international acclaim was not far behind.
Twenty years further along Jarre, probably getting more than a
faint whiff of the electronica atmosphere, returns to the bins with
seven more meditations on his original theme. Somewhat canonized by the
current electro-stocracy (The Orb's "Toxygene" being the principal nod
to his legacy), this is probably a sound move.
Having just heard the original, for the moment I'd probably opt
for the reconstituted version. _7-13_, also composed and performed largely
on classic equipment (2600 ARP, Theremin, Mellotron), maintains the sonic
flavour of the original while also having seemingly benefitted from being
conceived in the wake of the all techno/ambient/house revolutions that
have recently preceded it. Jarre eschews the orchestral impulses of the
first for the weight of more pronounced hooks and grooves on the second.
While _Oxygene_ did the business, the sound is closer kin to the
backdrops used in the sci-fi thrillers of the 50's than the exercises of
his Krautrock contemporaries that causes Julian Cope to lather so. More
Georgio Moroder and less Florian Schneider, _7-13_ plays more like very
hip Doctor Who-isms with added structure and verve. The four note intro
of "Oxygene 7" proclaims that from the get go, and by the time you arrive
at "Oxygene 10" the promise remains fulfilled. The beats are consistent,
but not quite dance-floor ready. The big name remixers of the day, who
often work with much less solid content, could probably launch Jarre
into further infamy with little effort. The only faux pas appears during
the final cut where Jarre, probably looking for a minor chord exit to the
opus, accidentally pockets some melody from the godawful Leo Sayer hit
"When I Need Love." But the more epic moments, like the effective Theremin
passage that sits five minutes deep into "Oxygene 9," more than atones.
55 million lifetime sales and twenty years more savvy, the man who
once recorded an album, pressed one copy (which was auctioned off to
charity), and destroyed the masters, has probably a fair amount of
intrigue and musical aplomb to dispense to whippersnappers and
afficianados alike.
---
REVIEW: Mundy, _Jelly Legs_ (Epic)
- David Landgren
A long line of talented musicians, from U2 to Sinead O'Connor, hail
from Ireland. Continuing the tradition comes Mundy, from a town called
Birr, so small (pop. 4 000) you need a magnifying glass to find it. But
that doesn't stop him from creating some full-bodied rock'n'roll.
I can see why, with "Life's Just A Cinch," people make the
comparison to Nirvana, with its blend of acoustic guitar during the verses
and heavy electric guitar for the chorus. Mundy, however, resists the
comparison, and claims a folk heritage along the lines of of Bob Dylan and
Neil Young. Maybe when Mundy pens the songs they sound folky, but once his
backing members literally electrify them, they take on a punchier tone.
In general, the production is sharp and clear, the lyrics can be
decrypted without the liner notes (which is just as well, 'cause his
handwriting is unreadable!), and, sign of a musician with experience
playing live, all the songs snap shut without studio fadeouts.
The album starts off awkwardly with "Reunion". It's hard to put the
finger on what's at fault; the song just drags. The second song however,
"Pardon Me," is where Mundy really gets into the stride of things. The song
is powered by a subterranean bassline, ringing guitar work, with the verses
sung in restless urgency and a soaring chorus that is inspired and
inspiring.
"Song For My Darlin'" is a longer, quieter ballad, a blend of
acoustic and fuzzy electric guitars and toms. A heartfelt longing, and when
he says "I shave my face almost every day now," you have to remember that
Mundy is only 21 -w hich means that when I was born I was listening to Alice
Cooper and other bands too embarrassing to mention. But I digress. I've had
my attempts at writing lyrics, and, well, I've kept my day job. It's not I
who could have come up with "I put you on a train, you should have heard
the engine's laughter." in "Gin & tonic Sky".
"Blown Away" and "The stone" are more showcases for Mundy's talent.
It seems that songwriting is effortless to him. The lyrics, the
arrangements all seem to come naturally. I bet he had a lot of fun in his
busking days. People must have thrown pennies in his guitar case and said
"Man, you should be recording these songs". And this is where Mundy differs
radically from the only other busker-turned-pro that comes to my mind, to
whit, Gordon Gano and the Violent Femmes. The production (by Youth,
ex-Killing Joke) of the album doesn't try to capture the barebones
on-the-street-corner sound, but takes advantage of the studio, and puts it
to good use.
Much of the richness also comes from his fellow musicians who should
be given their fair share of the credit, Cion (Stan) O'Callaghan on drums,
Shane (Fitzer) Fitzsimons on bass, Stephen (Steo) Farrell on electric
guitar and Rosie Wetters who lends a touch of cello to a couple of tracks.
My favourite track on the album is "Springtown". A letter to friends
left behind in a small town... something I can personally relate to. "How
are they in Springtown,/can you still drink the water that flows 'neath the
sports park?/Is there still apples in the castle to steal/and how does it
feel to be stuck there?"
A common theme to his songs is the personal observation of the loss
of friends, people going, travelling far away, going their way. The album
closes with "Private Paradise", wherein Mundy himself says "You'll never
see me again, cause I'm going away/Somewhere I can be on my own, all
alone/Where all is calm." Mundy writes from the heart.
There are a few flaws here and there; hackneyed phrasings ("You're
running low on coal/I'm running low on soul"), sometimes a tendency to bury
songs in overworking. However, it's easy enough to forgive. As things stand
I'm patient enough to give the lad ten years or more to see how he turns
out. If he can survive the hype, he'll go a long way. Wish him good luck.
---
REVIEW: Old 97's, _Too Far To Care_ (Elektra)
- Scott A. Miller
Loud, raucous, big: these are the words that come to mind
when I think of the freight train that used to barrel down the
tracks right in back of my best friend's house about 10 years ago.
Twice a day, you could count on a little house-shaking, decibel-raising,
window-rattling visit from "the neighbors" as we used to say. The Old
97's Elektra debut _Too Far To Care_ is like that train: loud,
raucous and big. And I've been playing it twice a day (sometimes more)
almost like clockwork.
From the opening train-out-of-control rhythm of "Time Bomb"
to the last fuzz-box wails of "Four Leaf Clover," a duet featuring
Exene Cervenkova (ex-X), this gem rocks, rolls, careens, stomps its
boots, tackles the navel-fixated American alternative scene in the
mud and gets up laughing. Don't just take my word for it. New York
City's Vin Scelsa (WNEW), one of the last DJs on American commercial
radio truly paid to play whatever he wants, recently played six songs
in a row from this album on the air. It was seven, if you count that
fact that he played "Just Like California" TWICE. When was the last
time you heard six songs in a row from the same band, from the same
album, on a radio show that wasn't having a "rock block weekend"?
Hailing from Dallas, the Old 97's blast a rocking brand of
alternative country that's big on electric guitars, snare drums and
honkey-tonk themes like getting a girl, losing a girl, wishing you
could get a girl and burning down the nightclub because you lost the
girl and 1800 miles away.
What sets them apart from virtually every band, no matter the
genre, are the catchy vocal and guitar hooks that populate every
single song on the album. "Salome" is as beautiful as "Niteclub" is
hilarious. "Barrier Reef" paints a drunken southern lounge-lizard
scene that Jimmy Buffett would be proud of while "Big Brown Eyes" sits
on a neat turn of a phrase in the chorus: "You make a big impression
for a girl of your size, now I can't get by without you and your big
brown eyes."
Rhett Miller handles most of the singing with a nod to Jeff
Tweedy's Uncle Tupelo output and Ken Bethea's guitar is a tall mixed
drink of twang, melody and crunch. But if I had to hand out a most
valuable player award I'd give it to drummer Philip Peeples. It's
hard to imagine this quartet, named for the 1906 ballad (and 1950's
Johnny Cash hit) "The Wreck of the Old 97," without his bag-of-bones
stick work or steam-train snare beats.
Wally Gagel (Folk Implosion, Tanya Donnelly, Superchunk and
Sebadoh) engineered, produced and mixed the newest. Jon Rauhouse of
Grievous Angels provided pedal steel and banjo.
Formed in 1993, the Old 97's aren't really a new band. The
band's two in die albums, _Hitchhike to Rhome_ (Big Iron Records)
and _Wreck Your Life_ (Bloodshot Records), are highly regarded for
all the same reasons _Too Far To Care_ is such a winner.
---
REVIEW: Motley Crue, _Generation Swine_ (Elektra)
- Linda Scott
Vince is back! 1992 Motley Crue fans thought they'd witnessed
the band's demise when the Crue fired lead vocalist Vince Neil. The
band subsequently picked up John Corabi, made a self-titled album, and
watched record and tour sales plumment. Meanwhile, Vince Neil's band
produced a couple of mediocre albums. Now _Generation Swine_
announces what bassist Nikki Sixx said couldn't happen - Vince Neil
rejoins Motley Crue.
It's been five years since the split, and the album was written
without Neil. How good can it be? Very, very good. _Generation
Swine_ has that aggressive, groove-laden Crue sound. It rocks like
_Dr. Feelgood_ but goes into territories the doctor didn't dream
of. Chief songwriter Nikki Sixx didn't spend the last five years in a
cave. He's been influenced by new musical styles and personal
experiences. Lyrically, the album goes beyond what the Crue has
written before. Musically, it's a solid Crue base with a growth
beyond what may have been expected from this band. _Generation Swine_
is all over the place from hard rock to ballads, from Neil doing lead
vocals to Nikki Sixx and drummer Tommy Lee doing the honors.
The first single from _Generation Swine_ is "Afraid". This
track is a hard rocker with great guitar from Sixx and bassist Mick
Mars. It lets the fans know Motley Crue is back. Hearing just this
one cut from the album might get the rock fans thinking that the Crue
has taken on the role of rock savior. It might happen as an incidental,
but the band isn't interested in playing the old time rock and roll all
the time. _Generation Swine_ has some lovely ballads in "Glitter"
(which they worked on with Bryan Adams), "Rocketship" (written for
Sixx's wife), and "Brandon" (written for Lee's son). "Brandon" features
a string quartet with Lee on vocals, and "Rocketship" has Sixx on
acoustic guitar and lead vocals. "Anybody Out There" is a ballistic
punk rocker that should give the band and fans a real workout in
concert. There's a techno feel to some of the songs like "Let Us Prey"
(co-written with John Corabi). So, lots of different personalities,
lots of different sounds. This isn't the 80's Crue anymore. They're
keeping their base - fans and music - but moving on to where new
listeners can get on board.
Nikki Sixx and Tommy Lee do a lot with the Internet. Their
official web site, http://www.motley.com or http://www.generationswine.com,
is run by a fan. The band keeps the site current with photos and
information on Crue and related plans.
A summer tour is planned, but details are not final at this point.
The band promises that wherever they go they will play some old and some
new Crue. Motley Crue has gotten its second wind - see them, hear them
and prepare to get blown away.
---
REVIEW: Save Ferris, _Introducing Save Ferris_ (Epic/Starpool) /
Buck O Nine, _Twenty Eight Teeth_ (TVT)
- Bob Gajarsky
Ska has officially entered America's pop music party, but
rather than knocking on the front door, it has come in through the
bedroom window. With the last wave of ska encompassing the 2-Tone
bands such as the Specials and the English Beat (later morphing into Fine
Young Cannibals and General Public), this style of music was nearly dormant
in the 80s, with the periodic newcomer such as the Mighty Mighty Bosstones
and Fishtone attempting to revive the lost art of horns, fast rhythms,
and party tunes. However, with the "overnight" (read: 10 years of
touring all over the place) success of No Doubt on their watered down
breakthrough success album, _Tragic Kingdom_, other acts such as Reel
Big Fish and Goldfinger are getting the chance to strut their stuff.
Two more entrants to the big ska pool at the record store are
California's (surprise!) Save Ferris and Buck O Nine.
Save Ferris may owe its name to a John Hughes film, but its
roots are firmly planted in the late 70s and early 80s. Though lead
singer Monique Powell's vocals and good looks draw instant comparisons
to No Doubt's Gwen Stefani, the music on this album draws on those 2-Tone
bands and even early eighties groups such as Altered Images. And
occasionally, they'll toss in a surprise; "Superspy" has a touch of 30s
swing, not unlike what the Squirrel Nut Zippers have done. The
traditional "life is fun" lyrics are here as well, typified on "Under
21", where our heroine just wants to get into a free concert...and what's
wrong with that? Although _Introducing Save Ferris_ originally was
released in 1996, it has recently been re-issued by Epic.
San Diego's Buck O Nine is a seven piece outfit fronted by
lead vocalist Jon Pebsworth. Rather than fully embracing the 2-Tone
bands, Buck O Nine owes more to the Clash, Joe Jackson, Elvis Costello
and other new wave British bands with a three piece horns (trumpet,
trombone and saxophone) section tossed in for good measure. The
strongest part of _Twenty Eight Teeth_ is the writing - rather than
the tracks existing *only* in the range of ska, these songs could
have viable hooks if performed by other bands - and that's the true
sign of good writing. "Steve Was Dead" and "My Town" could have been
stolen from Joe Jackson's repertoire, and "Little Pain Inside" might
have been bastardized from an R.E.M. outtake session. But it's on
songs such as the title track, "Nineteen" and their nearly flawless
cover of Jackson's "I'm Your Man" are just a few of the highlights on
this surprising record.
---
REVIEW: Katell Keineg, _Jet_ (Elektra)
- Reto Koradi
It is a rare occurrence, but you probably know the sensation:
you hear an artist for the first time, and after only a few minutes you
feel that you are listening to something very special, the music seems
to bypass the ears and brain, and goes directly into your heart and soul.
This is what happened to this reviewer almost 3 years ago when Katell
Keineg was appearing as supporting act of Luka Bloom. Buying her first
album and seeing her in a full concert only enforced this feeling.
Unfortunately, not many people took notice of _O Seasons O Castles_,
one of the outstanding albums of recent years. So it is a positive
surprise that she gets the chance for a second shot with _Jet_.
The most striking quality of Katell Keineg is her voice. She has
an amazing range, can sound clean or dirty, and effortlessly goes from a
whisper to a scream. On _Jet_, she shows that ability across diverse
material, from the poppy "One Hell Of A Life", some haunting slow songs,
over the almost traditionally Celtic "Enzo" to more upbeat and rough
tracks. The lyrics are poetic and very sensitive. Even though large parts
of the album are on a high level, some of the songs are less convincing.
While variability is a good thing, sometimes she seems to get lost in
putting too much into one album. Maybe focusing on her own qualities
would be better than being influenced by trends like adding tape noise to
songs (which is of questionable value in most cases anyhow).
While the material on _Jet_ does not quite reach the level of her
debut album, it still proves Katell Keineg's exceptional qualities, and
we can only hope that it will sell better than _O Seasons O Castles_, so
that we get the chance to hear much more from her.
---
REVIEW: Maypole, _Product_ (Sony/Work)
- Linda Scott
Maypole is currently on tour opening for the Wallflowers.
Connected by former Wallflowers' guitarist Tobi Miller, the bands must
make for a thoughtful evening. Like the Wallflowers, Maypole has
intriguing lyrics. Analyzing lyrics for two such bands at one concert
must be heavy going. Seen live, better to let the words and thoughts
just slip past you and hear the music as one piece, an aural experience.
In addition to Miller, Maypole is Hans Hitner (guitar, vocals),
Miiko Watanabe (bass), Hugh Mangrim (drums), and Chris Frankfort
(tremofect/lap steel). All songs are written by Hitner who says he uses
a writing technique called bombing - start with a feeling, add
randomness, and let your mind take you away. Just as you think you've
grasped the meaning of part of one song, the words shift away, and the
new lyrics reflect back on those behind altering the interpretation.
So the lyrics are full of hidden meanings and multiple
interpretations, a la early R.E.M. The music, though, is surprisingly
straightforward. Miller sets the band's musical direction, and his major
influences are the Rolling Stones and the Beatles. Other influences are
the Clash, Police, Rocket from the Crypt, and the Replacements. The
sound is very much alternative and very familiar. Without those strong
lyrics done in Hitner's gravel voice, there wouldn't be much new here.
Somehow the familiar musical style mixes with the bizarre lyrics to
arrive at an interesting, unusual sound that anyone can listen to.
_Product_'s first single is "Concrete Shoes" which is a catchy
tune with some indepth lyrics that seem to be about heroin or water but
are really about bitterness, suicide, the contras. Despite the lyrics,
you could be humming this song after the second listen. A little
lighter track is the first, "Going Dutch" which has some puzzling
lyrics as well but a jaunty tune. The band has some heavy things to say
in _Product_, but they don't mind if you don't get the point. Listen to
the music, but let the lyrics go by like clouds.
---
REVIEW: Empirion, _Advanced Technology_ (Wanted)
- David Landgren
In the land of techno, for an introduction to the state of the art,
one could do worse than to track down _Advanced Technology_. Empirion is a
three piece band, in the shape of Oz Morsley, Bobby Glennie and Jamie
Smart. This album features some excellent tracks, without ever falling into
some of the cliches that abound in the genre. They have their own web page
up at http://www.wanted.demon.co.uk, where we learn that all of the tracks
on the album range from 120 to 140 bpm. Which is another way of saying that
this stuff cranks.
Like the title track "Advanced Technology", a radar beam on the
horizon slowly moving into focus that suddenly snaps into the main groove.
A classic exposition of how techno builds a song up by layers, one rhythm
and then another being brought into play.
"Ayahuasca", starts off as a sort of feel-good late model Simple
Minds number. As it warms up, however, the percussion fires up and the
melody fleshes itself out it starts sounding like recent Severed Heads (now
there's someone to look for). Unfortunately, here, the long synth washes
over the top tend to give it a bit of a been-there-done-that feel.
Probably the best track on the album, "ph1" is definitely groovy.
Well paced, interesting samples, infectious rhythm, this is a song that
benefits from being played loud. The mood sharpens up and becomes tenser
with "Quark", with its industrial beacon strobing out on the off-beat,
before going completely demented towards the end of the song - as if a virus
took hold of it to bendit to its own purpose. This being the longest track,
at over eleven minutes, there's room to move.
More serious beats from a distant galaxy in the shape of "Narcotic
Influence 2", a slowly mounting mist of distortion suddenly dissipates as
the song cuts to the beat. The tune builds up in a crescendo to the one
vocal sample looped over and over again "Giving them drugs, drugs, drugs".
Followed by the punchline "Taking their lives away?" Right. If readers are
already familiar with Empirion, it is probably due to the sister track
"Narcotic Influence 1".
The most hardcore track on the album would probably be "Ciao", a
stroboscopic industrial mindsnap or "Jesus Christ", with its
ratchetty hypnotic beat. The name of the song is no doubt inspired by the
various radio preachers sampled for the mix. Both deserve to be played
loud.
And now for something completely different, the album closes with a
long ambient techno lullaby that covers a lot of ground in ten minutes. At
different times I am reminded of Future Sound of London, Aphex Twin,
curiously enough, even David Byrne's _Catherine Wheel_.
Seventy four minutes, thirty three seconds of music. Difficult to
cram more on a single CD.
---
REVIEW: Joe Tullos _The Scoundrel's Waltz_ (Dinosaur)
- Linda Scott
_The Scoundrel's Waltz_ is the debut album from Joe Tullos. Born
and raised in Louisiana, Tullos and his guitar are part of the New
Orleans music scene where he's played all the city's hottest clubs.
He's played and recorded with some Big Easy big names including The
Neville Brothers, Better Than Ezra, The Meters, and others. Tullos
performed at the New Orleans Jazz and Heritage Festival to rave reviews.
So while he may not be well known to the rest of the world, he's got a
solid homestate base.
Signing with Dinosaur Entertainment gave Tullos the means and
facilities to launch his first album. Tullos brings talent of all
kinds to the table. He is a talented musician on several instruments,
he has a clear, pleasant voice for lead vocals, and he is a great
lyricist. _The Scoundrel's Waltz_, named for the overindulgent's gait,
tells 11 stories from Joe Tullos' life. And Tullos sings lead and
backing vocals, plays guitar, organ, dobra, and banjo. While he could
have been a one man band here, he elected to bring together a truckload
of 7 talented musicians. From Blind Melon comes drummer Glen Graham,
bassist Brad Smith, lead/rhythm guitarist Rogers Stevens. From the hot
band Squirrel Nut Zippers comes Jimbo Mathews (banjo, piano, horns,
backing vocals), Ken Mosher (sax, backing vocals, guitar), and Tom
Maxwell (guitar, clarinet, backing vocals). The wide variety of
instruments and musicians adds a level of professionalism and texture
to the album. A newcomer who can pull this together has to be taken
seriously.
The seventh musician is producer Mike Napolitano (Blind Melon's
_Nico_) who does the honors on acoustic guitar, electric guitar, and
bass. Class act Trina Shoemaker, Grammy award winner for her work on
Sheryl Crow's album, was the engineer.
With all these musical ideas, the album has a variety of
sounds. Within the album and within a track, there are rock licks,
folk sounds, pop, funk and even jazz vibes. Quite a musically
interesting album with high marks for lyrics. Tullos' vocals are
mixed high enough that you can hear/understand him and the lyrics are
also printed in the liner. Tullos is not a world class singer, but he
is way above average, so check him out. If you never hear anything
but the first track, "Love Generator", you would want to hear more.
You might also think this was a solid rock album, but it's not.
A question is how Tullos plans to support this album. It deserves to
be heard outside Louisiana, but tours are required, and he has no band
at this point. Finding musicians of the caliber and cohesion that
played on _The Scoundrel's Waltz_ might be tough, but Joe Tullos is no
slouch. He has gone through hard times for his music, and he will
make something happen. Give this debut album a chance! Joe Tullos has
the talent to make it - get in on the ground floor.
---
ERRATA: > Last week's issue which reviewed the Frogs neglected to mention
some of their other releases, including those issued as far back as 1988.
For further information on the Frogs' discography, check your favorite
Web browser.
---
NEWS: > The 6th annual Aloha Concert Jam will take place on June
28 and 29 in Long Beach, CA. Presented by Ocean Spray, the festival
will feature the sounds and culture of Hawaii at the Rainbow Lagoon
Park. Slack guitarists from the Dancing Cat Records label will
perform, along with Leabert Lindsey, recipient of several Hawaii
Music Awards, and the Makaha Sons, noted for their traditional
Hawaiian sound, and many other performers. For further information
on ticket prices and the festival, contact 909-606-9494.
> This week at the Anchorage in Brooklyn: Thursday, June 26 -
Project Dark, Blank Slates; Friday, June 27 - Scanner, Main, Tweaker,
Sticker; Saturday, June 28 - Liquid Sky Music featuring Soul Slinger,
del Mar, Odi and Ani, Dimitri, Khan, DJ Wally and DJ Spooky. More
information is available at http://www.creativetime.org
> Cypress Hill's B-Real and Ice Cube have reconciled, ending
a long feud, to collaborate with Shaquille O'Neal and KRS-One on
"Men Of Steel", the title track from an upcoming feature film.
> Groove Society presents a twist on the Internet concert scene
by offering live video and audio from select clubs and events in North
America, including online registration, live DJ requests, a world party
guide, and more. Check out http://www.groovesociety.com/GRV_Nation for
more information.
> The unoffical John Hiatt web page has a new address; it is
located at http://www.tiac.net/users/pfl/sor.htm
> Michelle Malone will be appearing online at http://pseudo.com
for a performance and live chat on Tuesday, June 24, from 9-10 pm EST.
> Jello Biafra (of Lard and formerly Dead Kennedys) and Offspring's
Dexter Holland have joined forces to establish a benefit foundation,
F.S.U. (alternately for Fuck Shit Up, Freedom Starts Underground, or
Friends Shall Unite). Its aim is to provide support for social services,
assist those less fortunate, help maintain and restore a healthy
environment, and take part in the fight for human rights. The first three
concerts to provide funds for F.S.U. are the Offspring shows June 29 at the
Ventura Theatre in Ventura, CA; June 30 at the Glass House in Pomona, CA,
and July 2 in Santa Cruz, CA. Chosen grantees for these first events are
AIDS Project Los Angeles, Poor Peoples United Fund, Trees Foundation and
Amnesty International.
---
TOUR DATES:
Buck-O-Nine
Jun. 24 Raleigh, NC Brewery
Jun. 26 Washington, DC Black Cat
Jun. 27 Old Bridge, NJ Birch Hill
Jun. 28 Cambridge, MA Middle East
Jun. 29 New York, NY Wetlands
Cravin' Melon
Jun. 26 Nashville, TN Dancin' In the District
Jun. 27 Winston Salem, NC Ziggys
Jun. 28 Wilmington, NC The Forum
Jun. 29 Greenville, NC The Attic
File
Jun. 25 Bethesda, MD Twist & Shout
Jun. 26 Bethlehem, PA Godfrey Dniels
Jun. 27 New York, NY Tramps
Jun. 28 Amagansett, NY Stephen Talkhouse
Jun. 29 Escoheag, RI Big Easy Festival
Five For Fighting
Jun. 24 Cambridge, MA Middle East
Jun. 26 Danbury, CT Tuxedo Junction
Jun. 30 New York, NY Fez
Furthur Festival (incl. Black Crowes and many more)
Jun. 24 Raleigh, NC Walnut Creek
Jun. 26 Virginia Beach, VA Virginia Beach Amphitheatre
Jun. 28 Camden, NJ Entertainment Center
Jun. 30 Scranton, PA Montage Mountain
G3 (Joe Satriani / Steve Vai / Kenny Wayne Shepherd)
Jun. 24 Cleveland, OH Nautica Stage
Jun. 25 Canandaigua, NY Finger Lakes
Jun. 26 Clarkston, MI Pine Knob
Jun. 27 Pittsburgh, PA I.C. Light
Jun. 28 North Tonawanda, NY Melody Fair
Jun. 30 Minneapolis, MN Northrop Auditorium
Irving Plaza (New York concert hall; http://www.irvingplaza.com)
Jun. 26 My Life With The Thrill Kill Kult / Radio Iodine
Jun. 29 Guru
Rickie Lee Jones
Jun. 24 New York, NY Irving Plaza
Jun. 26 Boston, MA Paradise
Jun. 27 Philadelphia, PA Theatre of Living Arts
Jun. 29 Atlanta, GA Variety Playhouse
Wayne Kramer
Jun. 24 Detroit, MI Alvin's
Jun. 25 Chicago, IL Double Door
Jun. 26 Minneapolis, MN 7th Street
Jun. 27 Iowa City, IA Gabe's Oasis
Jun. 28 St. Louis, MO Side Door
Jun. 30 Kansas City, KS Grand Emporium
Don Lewis Band
Jun. 27 Newburgh, NY Driscoll's
Lollapalooza (Tool headlining)
Jun. 25 West Palm Beach, FL Coral Sky
Jun. 27 Atlanta, GA Lakewood
Jun. 28 Charlotte, NC Blockbuster
Jun. 29 Raleigh, NC Walnut Creek
Michelle Malone
Jun. 26 Milwaukee, WI Summerfest
Jun. 27 Chicago, IL Shubas
Jun. 28 Atlanta, GA My Sisters Room
Jun. 29 Atlanta, GA Atlanta Pride
John Mayall
Jun. 26 San Diego, CA Humphrey's
Mindset
Jun. 24 Pensacola, FL Sluggo's
Jun. 25 New Orleans, LA Monaco Bob's
Jun. 27 Fort Worth, TX Impala
Jun. 28 Little Rock, AR Vino's
Jun. 30 St.Louis, MO Kennedy's
My Life With The Thrill Kill Kult / Radio Iodine
Jun. 26 New York, NY Irving Plaza
Jun. 28 Winston-Salem, NC Ziggy's
Jun. 29 Washington DC 9:30 Club
No Doubt / Weezer / Lunachicks
Jun. 24 Holmdel, NJ Pnc Bank Arts Center
Ozzfest (Ozzy Osbourne / Type O Negative /
Machine Head / more)
Jun. 24 Denver, CO Mile High Stadium
Jun. 26 Phoenix, AZ Desert Sky
Jun. 28 Las Vegas, NV Sam Boyd Silverbowl
Jun. 29 San Bernardino, CA Blockbuster Pavillion
Poorhouse Rockers
Jun. 28 Ocean City, MD Talbot St. Cafe
Racer 17
Jun. 27 New York, NY Cooler
Silver Jet
Jun. 24 Baltimore, MD Bohagers
Jun. 25 Washington, DC 930 Club
Jun. 27 Sea Bright, NJ Tradewinds
Jun. 30 New Haven, CT Toad's Place
Sister Hazel / Cowboy Mouth
Jun. 24 Corpus Christi, TX Piranha
Jun. 25 Austin, TX Stubbs
Jun. 26 San Antonio, TX White Rabbit
Jun. 27 Dallas, TX Trees
Jun. 28 Oklahoma City, OK Bricktown
U2
Jun. 25 Madison, WI Randall Stadium
Jun. 27 Chicago, IL Soldier Field
Young Dubliners
Jun. 24 Omaha, NE Ranch Bowl Entertainment Center
Jun. 25 Ames, IA Peoples
Jun. 26 Sioux City, IA Main Street
Jun. 27 Minneapolis, MN Caboose on the West Bank
Jun. 28 Chicago, IL House of Blues
Jun. 29 Iowa City, IA Gunnerz
---
THE READERS WRITE BACK!
> I wish you continued success with Consumable. I look forward to
reading every issue.
Also wanted to let you know (and maybe others) that Julian Cope's
last album _Interpreter_ is finally coming out in the U.S. on Cooking
Vinyl. (This was reviewed in the February 13 issue of Consumable).
Julian's official (and VERY well done) web site can be found at
http://www.headheritage.co.uk. You can order his (impossible to find in the
U.S.) self-released CDs such as _Rite_, _Skellington Chronicles_,
_Droolian_, etc. from the site. - E.U.
> I know the review I read was old (May '96). But I just wanted to
say what a pleasure it was to read such a glowing review of the band Nancy
Boy, by an obviously enlightened writer. I saw the band in the UK this
past March and was *very* impressed. And off-stage they were the most
friendly, down-to-earth group of individuals I have met in the music
industry. I only hope they will play somewhere on the East Coast soon!
- Cathy A.
> The review (of Sinead O'Connnor) makes me curious - the version
of _Gospel Oak_ released in Australia and the UK only has four tracks,
despite this review's assertion that there are six. Even stranger is the
fact that the review only mentions the four songs on the UK version,
though it states that final track "4 My Love" comes "smack dab in the
center" of the CD. Well, whatever's after that track (what exactly wasn't
mentioned in the review) isn't on the original EP. Just another artifact
for the trivia database... - A.H., Australia
> I was interested to read the news about the new Yeats tribute album.
(How would one) order or purchase this album? - M.F., Tokyo
(Ed. Note: According to a publicist for the Yeats project, it can
be purchased in the United States at stores such as Borders, and should
be easily obtainable in the United Kingdom).
---
Founded in August, 1993, Consumable Online is the oldest continuous
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Address any written correspondence to Bob Gajarsky, Consumable Online,
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===
