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Consumable Online Issue 087
==== ISSUE 87 ==== CONSUMABLE ======== [September 18, 1996]
Editor: Bob Gajarsky
Internet: gajarsky@email.njin.net
Sr. Correspondents: Jeremy Ashcroft, Martin Bate, Dan Enright, Tim
Kennedy, Reto Koradi, David Landgren, Sean Eric
McGill, Tim Mohr, Jamie Roberts, Joe Silva, John
Walker
Correspondents: Dan Birchall, Lee Graham Bridges, Scott Byron,
Paul Grzelak, Janet Herman, Eric Hsu, Tim Hulsizer,
Stephen Jackson, Daniel Kane, Mario Lia, Stephen Lin,
Bob Mackin, Al Muzer, P. Nina Ramos, Linda
Scott, Ali Sinclair, Jon Steltenpohl, Courtney
Muir Wallner
Technical Staff: Chris Candreva, Dave Pirmann, Damir Tiljak,
Jason Williams
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.
==================================================================
.------------.
| Contents |
`------------'
REVIEW: R.E.M., _New Adventures in Hi-Fi_ - Bob Gajarsky
REVIEW: Billy Bragg, _William Bloke_ - Janet Herman
CONCERT REVIEW: Manic Street Preachers - Bob Gajarsky
REVIEW: Metal Molly, _Surgery For Zebra_ - Al Muzer
REVIEW: Soundtrack, _Trainspotting_ - Joe Silva
REVIEW: Ruth Ruth, _The Little Death_ - Al Muzer
REVIEW: Barnes & Barnes, _Voobaha_ - Joe Silva
REVIEW: Steve Vai, _Fire Garden_ - Linda Scott
REVIEW: Hoodoo Gurus, _Blue Cave_ - Joe Silva
REVIEW: Brigid Boden, _Brigid Boden_ - Reto Koradi
REVIEW: Soundtrack, _Heavy_ - Al Muzer
REVIEW: TagYerit, _Heavy Construction_ - Reto Koradi
NEWS: Blind Melon, Dogstar, INXS, Oasis, PJ Harvey, Sweet Relief II,
Mike Watt
TOUR DATES: Barenaked Ladies, Blithe, Block, Citizen King, Cravin' Melon,
Def Leppard / Tripping Daisy, Melissa Etheridge, Fluffy, Godplow
Huey Lewis & The News, Long Fin Killie, Loop Guru, Loud Family /
Sugarplastic, Bob Mould / Rasputina, Orbit, Ozzy Osbourne / Sepultura
Poorhouse Rockers, Republica / Gravity Kills, Sandbox, Screaming
Trees/54*40/Solution A.D., Richard Thompson, Trunk Federation, Urge
Back Issues of Consumable
---
REVIEW: R.E.M., _New Adventures in Hi-Fi_ (Warner)
- Bob Gajarsky
Long before alternative became a household words and
entire floors of music companies were devoted to finding the new
Nirvana/Pearl Jam, Bill Berry, Peter Buck, Mike Mills and Michael
Stipe were recording music that appealed to the discerning
listener. Whether it was "Radio Free Europe" at the University
of Georgia, "Superman" at Brown University or "It's The End of
the World As We Know It" at Stevens Institute (well before it became
a "chic" fraternity song), R.E.M. has has a long line of music
which has its base firmly planted in the college campuses of
this country.
As these students graduated, and R.E.M. bucked the trend
by continually moving the playing field, major labels noticed
this core group of fans growing both abroad and in the United States.
Accordingly, the band was offered larger platforms for their music,
and with it, a bigger share of the financial pie. But with the release
of their latest album _New Adventures in Hi-Fi_, R.E.M. not only
reinvent the art of the soundcheck, but bring back the spirit
of earlier alternative albums such as _Murmur_.
Ah yes, the soundcheck. Most of these songs were recorded
on the road during soundchecks. So, there's plenty of contributors
on _New Adventures_ who aren't the featured foursome - Patti Smith,
Scott McCaughey, and others. And, in keeping with the experimentational
aura of soundchecks, the instrumental "Zither" was recorded in a
Philadelphia dressing room.
The first single, "E-Bow The Letter", is absolutely awful. Even
Patti Smith's guest vocals can't save this song, which sounds like the
leftovers from the "Drive" sessions - why the band chose to include
this on an otherwise strong album, much less release it as the
first radio single, is beyond me.
In some regards, this is almost a look back at R.E.M. through
the years. "Departure" wouldn't sound completely out of place on
the band's B-sides collection, _Dead Letter Office_ - except that
they've learned since then how to really perfect a song. "Electrolite"
could have come from a session that spawned "Nightswimming",
and "Binky The Doormat" almost is pre-Murmur, from those fraternity
party days, with its CCR-like guitar riff looped over and over - but,
just as with all other R.E.M. songs, the unexpected is the norm.
Listeners looking for potential singles won't find any top
ten selections here, a la "Losing My Religion" or "Stand", but will
find R.E.M.'s strong point - plenty of *songs*. Don't be fooled
by "E-Bow" - there's some solid rock tracks here. "Bittersweet
Me" is one of the top tracks, and "So Fast So Numb" is also sure
to be a fan and modern rock favorite.
This disc *will* require repeated listenings before completely
"getting it". At first listen, mainstream accessibility seems to
escape the Georgian quartet - but by a second and third playing,
_New Adventures in Hi-Fi_ can be more readily accepted. People
who just tuned in to R.E.M. from their pop hits on _Green_ and
_Out of Time_ might be advised to stay away from this one, but
there's plenty of fans who won't be disappointed.
Eighty million dollar contracts afford a band plenty of luxuries,
as long as success follows - and with _New Adventures in Hi-Fi_,
R.E.M. has garnered another level of success while still tweaking
their nose at the musical establishment.
---
REVIEW: Billy Bragg, _William Bloke_ (Elektra)
- Janet Herman
In the five years since Billy Bragg's last album, _Don't Try
This At Home_, the singer/songwriter has gone through major changes in
his personal life while at the same time has observed major changes in
England (his homeland) as well as changes throughout Europe in general.
Combining his experiences as a new father with the exit of Margaret
Thatcher, this folk poet uses wit and beautiful melodies on his new
album _William Bloke_ to express his sharp observations on politics,
love, and people in general.
Singing in a thick Barking accent, Bragg pokes sharp jabs at
the government, his contemporaries, and even lovers. What is amazing
is the way that he does this with a seeming innocence in his tone and
melody which causes your ears to perk up and glance back at the lyrics
sheet to confirm what you have just heard. For example, in the track
"Everybody Likes You Babe," Bragg confesses his indifference to a lover
who everyone else thinks is the best thing that has ever happened to him.
In a deadpan lyrical style that reminds one of the Smiths' "Girlfriend
In A Coma", Bragg drones, 'They dont have to live with you, forgive you
for the things you do, / there's just no ignoring, you're pretty but
you're boring.'
Using clever lyrics throughout the album, as well as the words
of Rudyard Kipling which he sets to music in "A Pict Song" - which shows
how the little folk (we) can use their voices politically, Bragg shows
how his own personal life has affected his political views. In the
beautiful ballad "Brickbar" he conveys this as he sings, 'I used to
want to plant bombs at the Last Night of the Proms / But now you'll
find me with the baby, in the bathroom / With that big shell, listening
for the sound of the sea.' Through lyrics such as this the listener
can sense and understand the personal growth from rebel to the
responsible father that Mr. Bragg realizes he has become.
The first single from _William Bloke_ is "Upfield" which has
the same kind of catchy radio-friendliness as his last hit "Sexuality"
which became a popular hit on the U.S. alternative radio airwaves in
1991. Hopefully Billy Bragg's new album will get the attention it
deserves as it is a very insightful, melodic, and honest effort.
---
CONCERT REVIEW: Manic Street Preachers, Maxwell's, Hoboken, NJ
- Bob Gajarsky
The Manic Street Preachers have come *this* close to
succeeding in America. After three UK hit albums, the American
release of _The Holy Bible_ promised an opportunity for the band
to break though. But with the disappearance (and presumed suicide)
of their controversial guitarist and co-lyricist Richey Manic (nee
James) and a scrapping of the American release of their third
album, things looked bleak for the Manics future. Lead singer James
Bradfield once told Consumable that the Manics would never continue
as less than the sum of the four members: individually, they were
weak, but as a band, they could conquer anything.
Things change over time. The three remaining members vowed
to struggle on, and continue their musical battle. So, in between
gigs opening shows for Oasis and Screaming Trees, the Manics were
playing the periodic club while the Gallaghers were sleeping, or
spitting on an MTV audience.
Maxwell's is a small club that can fit 200 people if fire
codes aren't strictly adhered to. In such a setting, it seemed as
if the Manics were making a sincere effort to capture the American
audience - in their native country, with more than a dozen top 40
hits, mid-size venues are a more appropriate setting. But there
was a crowd of devoted fans, pushing forward, yearning for the chance
to get a glimpse out of one of this era's most overlooked intellectual
rock bands.
The twelve song set primarily featured material from their
fourth album (and third in the States), _Everything Must Go_.
Throughout the course of the evening, songs such as the title track,
"Kevin Carter", and the first single "A Design For Life" were transformed
from their album appearances - with percussion and string arrangements -
into pure electrifying rock and roll - two guitars, drums, and
keyboards which were barely audible through the barrage of guitars.
Fans who screamed for the Bradfield-Traci Lords duet
"Little Baby Nothing" (a song impossible to duet with all male
vocalists) were disappointed by the lack of material from their
classic debut, _Generation Terrorists_, but pleasantly surprised
when Bradfield introduced the non-LP cut (and early Manics single),
"Motown Junk", with "This is for all you Anglophiles out there."
The first two albums were nearly ignored, with the epic
"Motorcycle Emptiness" and "You Love Us", which closed off the set, the
only inclusions from the debut. _Gold Against The Soul_ was
duly represented by "La Tristessa Durera" and "From Despair To
Where". This was clearly a band that wanted to emphasize their
most recent release, to an audience with a decided British flavour.
For those unfamiliar with the Manic Street Preachers, probably
the best way to describe their music is a Guns N Roses sound meeting
the Clash, with a healthy dose of Sting's early intellectual prowess
tossed in for good measure. Their political stances aren't
necessarily popular, but they are firm believers in speaking up
through their words for the underdog against the rich and oppressive.
The Manic Street Preachers, on their first tour as a trio,
have set about to conquer America from the ground up. The only
disappointment of this show? The lack of emphasis on their older,
more successful material, and the limited length of the concert -
just under 1 hour. But even with those downfalls, the Manic Street
Preachers sure know how to rock.
---
REVIEW: Metal Molly, _Surgery For Zebra_ (Silvertone)
- Al Muzer
This high-energy, Belgium-based three-piece warp Velvet Crush,
Teenage Fanclub and Da Da caliber hooks 'n' harmonies into a fuzzy,
frenzied, amazingly catchy Nirvana-esque roar on their worldwide debut
effort. From the opening barrage of steaming crunch riffs, weird breaks
and melodic vocals that drive "Flipper," through the "Dazed And
Confused," multi-harmonied lethargy of "Zebra" - Metal Molly consistently
enthrall you with the power, depth and stunning brightness of their pop
vision. Songs such as "Orange," "PVC," "Small Supernova," "Autumn
Colours," "Round" and "Superskunk" incorporate deft hints of classic
radio influences inspired by the likes of the Beatles, Badfinger, XTC,
10CC and the Troggs; while drummer Gino Geudens, guitarist/vocalist
Allan Muller and bassist/vocalist Paskal Deweze layer enough distortion,
noise and edgy alterna-sheen onto their childhood memories to make
_Surgery For Zebra_ a stand-out in any radio format.
---
REVIEW: Soundtrack, _Trainspotting_ (EMI/Premier)
- Joe Silva
To be succinct, a riveting film such as this deserves the well
sculpted soundtrack that it received. Marrying these tracks to the
stark, giddy, gloomy and desperate images that hasten past your
movie eye was as well played as the characters and the thick and
occasionally unintelligible dialogue they sported.
With Iggy Pop muscled in as one the films totems (both musically
and lifestyle-wise), his "Lust For Life" is a keen and perfect opener
for the Hard Days Night-esque opening sequence. Its rhythm
drives the pace of the moment and its message nicely sums up the
decadence aspect. And while it is a touch ironic that the sometimes
antiseptic Brian Eno contributes to the harsh toilet scene, in
reality his blissful piece (Deep Blue Day) shows you why hes so
highly valued and not allowed to stray to far from the heart of
Camp Bono. The countrified and angelic guitar lines virtually waft
away on the little fluffy synth clouds His Ambience has set off in the
background. The Sleeper track that follows ("Atomic") is scary
with its Blondie accuracy and adds to the overall downtown, urban
street cred vibe that the movie goes. You're not quite sure though if
the inclusion of New Order's track is so much a good fit as it a
statement that 80s kids are now just more apt to be flaunting the
music they were weaned on a bit more readily.
The Blur track bears more weight and elegance (finally) than
Primal Scream's instrumental shot at the title track. And no sooner
than that flash of brilliance escapes from the great britpop
contenders does Mister Albarn himself chime in at the discs end
with a way-pleasant solo bit of lounge fare ("Closet Romantic").
Laced with a tasteful ska trombone here and lush strings and
cocktail organ there, its a wonder that they havent been able to
put the two headed Gallagher beast into a watery grave yet. But
two more well executed moves might be the Lou Reed's "Perfect
Day" as the backdrop to Renton's inevitable OD, or the techno
heart thumping addition of Underworld's "Born Slippy" to the part
of the film that I cant describe or Ill ruin it. Both moments are
exemplary of the films creator deft ability to fashion a complete
harmonic state of sound and vision. Techno perfection, 4/4
backbeat classics, and a few pop gems tossed in because they could
- keep an eye on this one at future soirees, lest one of your more
covetous guests takes it for a permanent walk.
---
REVIEW: Ruth Ruth, _The Little Death_ (Epitaph/Deep Elm)
- Al Muzer
Ruth Ruth follow-up their 1995 debut with an urgent, six-song
effort bursting with joyously-buzzing two and three minute pop ditties
that pay well-deserved attention to vocalist/bassist Chris Kennedy's
effortless way with semi-classic bubble gum hooks and sweeping,
anthemic, angst-ridden AM-radio-blaster choruses.
Lovingly produced by Epitaph prez Brett Gurewitz, this
hyperkinetic EP is essential listening thanks to Kennedy's curiously
neurotic world view, three potential alterna-hits ("Tenderlung,"
"Jerome" and "Ugly Talents") and five-minutes of curiously-heavy, Rage
Against Van Halen-ish crunch-rant known as "Daddy Can't Shoot."
This will be appear in stores on September 24.
---
REVIEW: Barnes & Barnes, _Voobaha_ (Oglio)
- Joe Silva
One of the more trifling pieces of rock trivia that occasionally
used to surface in music magazines when they're running
retrospectives or 'Whatever Happened To?' columns (read:filler)
was 'What band did the Lost In Space kid, Billy Mummy, help
found and have some notoriety with?' Knowing the answer straight
off the bat was probably some indication of high rock-geek-factor,
but it was eventually well known that Mummy and buddy Rob
Haimer had formed Barnes and Barnes in the early seventies, and
went on to cult-ish renown with the Dr. Demento staple "Fish
Heads" as the decade was winding down.
_Voobaha_ (which according to Mummy was their standard
greeting betwixt each other), was B&B's first disc and this
reissue comes with all the digital remastering and bonus tracks that
we've come to expect these days from resurrected releases like this.
What's odd is that _Voobaha_ was the first of eight albums for the
duo and amazingly not just a flash in the pan vehicle for a bizzaro
hit. The "Fish Heads" low-fi promo film has been screened widely
on tv and at film festivals, and actually landed a spot in the Rolling
Stone Top 100 Videos lineup. Beyond that particular tune, Barnes
& Barnes music falls into rock's food chain just to the left of Devo
and somewhere to the right of that nebulous region of music that
houses the Residents and the broadcasts of the Church of the
Subgenius. It's purposely wacky, strange, a touch macabre, but as
Mummy attests to in the liner notes, friendly.
Their sonic makeup incorporates everything from Casio-like
percussion, to treated vocals, found sounds and cheesy
Farfrisa/Wurlitzer licks. The Barnes' took their kitchen sink
approach and ladled it liberally over two track, and covered it over
with harmless college-prankster type humor. There are tracks about
dancing amputees, sleeping in the "sewey hole," and a sci-fi track
that recalls an early Twilight Zone episode that Mummy appeared
in where he put misbehaving adults into the corn field.
Weird Al, it's not. B&B don't have Al's crass slapstick outlook
for one, and what bubbled forth from their collaboration may not
warrant much examination but it was more thoughtful. The pair set
out to create a severly bent universe designed to entertain whoever
haphazardly stopped in for a visit. Mission accomplished: good job,
men.
---
REVIEW: Steve Vai, _Fire Garden_ (Epic)
- Linda Scott
Guitar master Steve Vai has just released his latest album,
_Fire Garden_. 18 years a professional musician, and Vai is still
experimenting and growing. With formal training at Berklee College
of Music in jazz and classical music, Vai moved to Los Angeles and
began a 5 year stint at age 18 as lead guitarist in Frank Zappa's
band. With Zappa's illness and death, his "stunt guitarist" moved
on to other bands, replacing Yngwie Malmstein in Alcatrazz, recording
and touring with David Lee Roth, and touring with Whitesnake. Vai
then did some movie scores (_Encino Man_, _Dudes_, _Bill & Ted's Bogus
Journey_) and even appeared and performed in _Crossroads_.
Vai then turned to solo albums, releasing the 1990 blockbuster
_Passion and Warfare_. Critically acclaimed, the album was nominated
for a Grammy. This was followed by the disappointingly overdubbed _Sex
and Religion_, but Vai recovered well with last year's Grammy-nominated
_Alien Love Secrets_. _Fire Garden_ is a guitar album and more. In
this one Vai tries his hand at lyrics and vocals.
Instrumental tracks on _Fire Garden_ show Steve Vai at his best,
repeating the power of _Passion and Warfare_. The opening track "There's
A Fire In the House" starts with a siren and explodes from the speakers,
while "Hand on Heart" is in beautiful contrast with its lovely melody.
The four part, 12 minute "Fire Garden Suite" was written for drums,
acoustic and electric guitar, and piano and is a Vai tour de force.
Two for the listening apprentice flash guitarist are "Genocide" and
"The Mysterious Murder of Christian Tiera's Lover".
_Fire Garden_ comes up short on its second half, the lyrical
and vocal section of the album. Coming after the solid first half,
this section seems to fragment and drag down the whole album. The
lyrics and the vocals are just average. Fortunately, the album ends
instrumentally with "Warm Regards", a great solo piece conceived,
written and mixed in just two days.
In support of _Fire Garden, Steve Vai is touring the U.S.
with fellow guitarists extraordinare, Joe Satriani and Eric Johnson.
On September 28 at the Eastman Concert Hall in Rochester, NY, Vai will
perform his original scores for guitar and 60 piece orchestra. For
information on the tour, to hear sound clips from _Fire Garden_, and to
vote on the instrumental versus vocals tracks, visit the Steve Vai
official web site at http://www.vai.com. Zappa's "stunt guitarist"
isn't sitting still. Catch him if you can.
---
REVIEW: Hoodoo Gurus, _Blue Cave_ (Zoo)
- Joe Silva
Back before the 'M' stood for McCarthy, you always knew that
Dire Straits were full of it when they donned their 'We don't mean
nothing by it' faces when the media pressed them for a bit of elaboration
on their 'I want my MTV' anthem. Which was probably pretty smart
manoeuvering when you consider how much bank Mark Knopfler stood to lose.
But only two tracks deep into their latest disc, chief Guru Dave Faulkner
lets loose the cry 'MTV, go down on me!' Which, to the Australian four
piece is probably the only justified response to the way that they've
been largely ignored by the industries most fetid cog. But ever since
_Blow Your Cool_'s Brady-esque vid for "What's My Scene," pop puritans
were being handed a second notice in case they had missed out on the
righteous _Mars Needs Guitars_. Whether they're on about being sugar
sweet or decidedly garage at any given moment, both faces of the band
have always regarded one another with only the most profound mutual
admiration.
That's what remains interesting about _Blue Cave_ - from the
get-go the guitars are gritty, and the lyrics unapologetic, cathartic,
and pissed. But undercurrents like the Pepper-esque violin tunings on
the album's front end ("Big Deal"), tend to somewhat belie the rough
trade vibe on top. Faulkner's voice, even when it harshly hovers at a
near shout, still doesn't have the grind of the chords being muscled
out behind him. After three tracks of the embittered, guitar wrenching
stuff, the glimpses of Dave's more congenial visage poke through. Songs
like "Waking Up Tired" and "If Only..." may not tread upon any fresh
lyrical sod, but it exposes the more dulcet, spot on pop side of the
Hoodoos that reminds you that radio is largely programmed by idiots or
advertisers, or both. Even "Mind The Spider," the Guru's probably
tongue-in-chique stab at those art-glam, J. Tull-ish monstrosities of
eras best forgotten is thoroughly well executed fun - twin guitar licks
and all. Spinal Tap, you have been warned.
While sound pop flavourings continue to be ignored by the masses
and those who push their well researched buttons, the Hoodoos may also
not see any nods of recognition in the near term. But should they
refrain long enough from their Friends-fests and time spent marveling
at the tired stamina of whatever reunion tour may be fast approaching
their area, maybe guys like the Gurus could help initiate another one
of those golden pop eras. Nah.
---
REVIEW: Brigid Boden, _Brigid Boden_ (A & M)
- Reto Koradi
If there is one clear trend in current music, it must be
that style borders are loosening up and very different kinds of
music are mixed at free will. Brigid Boden gives a prime example of
this, choosing traditional Irish folk music, hip hop, and dance beats
as her weapons.
The critical point in such efforts is always whether the
result sounds like one integral, natural unit, or like an
non-homogeneous mixture. For Brigid Boden, things work out fine.
Her beautiful voice soars above the hip hop rhythms, and recites
poems about feelings like lost love. She retains the mystical
qualities of Irish folk music, and transposes it to a modern
environment. If there is one negative thing to be said about her self
titled album, it is that many of the songs are almost too similar and
only a few have a clear character of their own. But the atmosphere
created by the regular, near monotonous, sound creates an undeniable
fascination, so this is certainly intentional. What else would you
expect from a producer like Kevin Armstrong, a man who has worked
with David Bowie, Elvis Costello and Paul McCartney?
Even if musical success is largely unpredictable, if the
media play their part it should not surprise anybody to hear a lot
about Brigid Boden. Her sound is unique and new on one side, yet
fully in the present trend.
---
REVIEW: Soundtrack, _Heavy_ (TVT)
- Al Muzer
One of the few soundtrack efforts released in the last few
years that actually works as an album, this musical document of the
Liv Tyler/Evan Dando/Debbie Harry film features five passages from
Thurston Moore's movie score, two great Plimsouls tracks, a
country-swing rendition of "Boxcars" from Rosie Flores, The Vidalias'
breezy "Carry Me," a reappearance of The Connell's classic "'74-'75,"
Ben Vaughn's twangy "My Heart Belongs To Only One," Freedy Johnston's
surprisingly rocking "California Thing," Eleni Mandell's torchy "To
Dream Of Sarah" and three outstanding, low-key, acoustic Dando tunes
from the film including versions of Victoria Williams' "Frying
Pan" and Gram Parsons' "How Much I've Lied."
---
REVIEW: TagYerit, _Heavy Construction_ (Wabbit Wecordings)
- Reto Koradi
TagYerit call their style "quirk rock", and like to compare
themselves with bands like They Might Be Giants, XTC and Timbuk 3. A
point well taken, even if they do not quite reach the wit of TMBG or
the pop genius of XTC. But their self-released debut album sure is
quirky, and like Timbuk 3 the band revolves around a married couple.
What's striking about _Heavy Construction_ is the enthusiasm and
pure joy of making music that can be felt while listening to the disc.
It feels like being in Flo and Rich Newman's living room, and watching
them having loads of fun playing their songs. Still, the music is well
played and produced to not sound too homemade. While this album will not
change the world, it has plenty of hooks to stick in your head and get
you humming along.
TagYerit largely rely on the Internet for promoting their album.
They have a web site at http://www.tagyerit.com and ordering information
for _Heavy Construction_ can be found there.
---
NEWS: > Blind Melon will be releasing their final record, _Nico_
(a collection of previously unreleased songs) on enhanced CD, as
well as a home video titled _Letters From A Porcupine_ on November 12.
The album is dedicated to Nico Blue, daughter of the late lead singer,
Shannon Hoon. Portions of _Nico_ will be donated to the Musician's
Assistance Program (MAP), an organization which helps musicians and
others in the music industry recover from druf and alcohol addiction.
> The Dogstar release, _Our Little Visionary_, has been
pushed back to an early 1997 release date.
> Lead singer Michael Hutchence of INXS has been working on
his upcoming solo release, due in 1997. Collaborators on the effort
include Dave Stewart, Joe Strummer, Shaun Ryder, Andy Gill from
Gang of Four and Bomb The Bass creatore Tim Simenon. INXS is
also expected to release a new album in 1997.
> Oasis has cancelled the rest of their American tour,
with the band returning back to England. Although rumours
of a breakup are rampant, representatives for the band insist
that there is no split planned. Creation Records (UK) released a
statement which read, "Oasis have hit internal differences on their
ninth tour of the United States which has resulted in the tour
being pulled two-thirds of the way through. The band will not be
touring in the foreseeable future, but in every other aspect, Oasis
will continue as a band".
> The PJ Harvey web page, Happy & Bleeding, can be found at
http://www.louisville.edu/~jadour01/pjh/ . Though the site is
unofficial, the maintainers have a correspondence with Polly Harvey's
management that provides them with the latest press releases and
information. Happy & Bleeding has received numerous accolades since its
inception, and is normally the first on the Internet with PJ Harvey
related news.
> A benefit concert "Sweet Relief II (Vic Chesnutt and Special
Friends)" will be held at the 40 Watt Club in Athens, Georgia on
Friday September 27 at 8 pm. The bill features Athens-based
performers including Chesnutt, Kevin Kinney (Driving N Cryin) and Mark
Linkous (Sparklehorse). All proceeds go to benefit the Sweet Relief
Musicians Fund.
> Mike Watt, who is currently playing bass on Porno For
Pyros current tour, will be recording a 7" single later this year
for the Kill Rock Stars label, and is expecting to release his next
solo album in early 1997.
---
TOUR DATES
Barenaked Ladies
Sep. 18 Fredricton, NB The Playhouse
Sep. 19 Boston, MA The Orpheum
Sep. 21 Philadelphia, PA The Electric Factory
Sep. 22 Washington, DC 9:30 Club
Sep. 25 Atlanta, GA Variety Playhouse
Sep. 26 Nashville, TN 328 Performance
Sep. 27 Cincinnati, OH The Taft Theatre
Sep. 28 Buffalo, NY Marine Midland Arena (w/ Goo Goo Dolls)
Sep. 30 Grand Rapids, MI Orbit Room
Blithe
Sep. 18 Athens, GA Atomic Music Hall
Sep. 19 Tallahassee, FL Club Down Under
Sep. 20 Orlando, FL Barbarella
Sep. 21 Chapel Hill, NC Lizard & Snake
Sep. 22 Atlanta, GA Dark Horse
Sep. 24 Savannah, GA Velvet Elvis
Sep. 26 Northampton, MA Bay State
Sep. 27 Portland, ME Geno's
Sep. 28 Philadelphia, PA Khyber Pass
Sep. 29 New Brunswick, NJ Melody
Sep. 30 Providence, RI Living Room
Block
Sep. 18 New York, NY Fez
Sep. 20 Philadelphia, PA Last Drop Coffee House
Sep. 21 Washington, DC State of the Union
Sep. 22 Annapolis, MD Armadillo's
Sep. 26 Boston, MA Mama Kin
Sep. 27 Philadelphia, PA Last Drop Coffee House
Sep. 28 Annapolis, MD Jillians
Citizen King
Sep. 21 Madison, WI Barrymore Theatre
Cravin' Melon
Sep. 19 Myrtle Beach, SC Hard Rock Cafe'
Sep. 20 Charlotte, NC Oktoberfest (downtown)
Sep. 21 Florence, SC Shooters
Sep. 28 Greenville, NC Attic
Def Leppard / Tripping Daisy
Sep. 19 Halifax, NS Halifax Metro Centre
Sep. 20 Moncton, NS Moncton Coliseum Arena
Melissa Etheridge
Sep. 27 Madison, WI Dane County Coliseum
Sep. 28 Minneapolis, MN Target Center
Sep. 30 Duluth, MN Convention Center
Fluffy
Sep. 19 Los Angeles, CA Viper Room
Godplow
Sep. 18 Grand Rapids, MI Reptile House
Sep. 23 Cleveland, OH Euclid Tavern
Sep. 25 Wilkes Barre, PA Market St. Square
Huey Lewis & The News
Sep. 20 Puyallup, WA Western Washington Fair
Sep. 27 Concord, CA Concord Pavillion
Long Fin Killie
Sep. 24 New York, NY Brownie's
Sep. 25 Boston, MA Bill's Bar
Loop Guru
Sep. 19 Dallas, TX Trees
Sep. 20 Tulsa, OK Ikon
Sep. 25 Salt Lake City, UT DV8
Sep. 27 Los Angeles, CA American Legion
Sep. 28 San Francisco, CA Fillmore
Loud Family / Sugarplastic
Sep. 18 Buffalo, NY Mohawk Club
Sep. 19 Cambridge, MA Middle East
Sep. 20 Philadelphia, PA Silk City Lounge
Sep. 21 Washington, DC Black Cat
Sep. 23 New York, NY Brownie's
Sep. 24 Fletcher's Baltimore, MD
Sep. 25 Raleigh, NC Brewery
Sep. 26 Atlanta, GA Point
Sep. 27 Birmingham, AL Nick
Sep. 28 Gainesville, FL Covered Dish
Sep. 30 Austin, TX Electric Lounge
Bob Mould / Rasputina
Sep. 20 Rochester, NY RIT- Clark Gym
Sep. 21 Burlington, VT Club Metronome
Sep. 23 Northampton, MA Pearl Street
Sep. 24 Boston, MA Avalon
Sep. 25 Providence, RI Lupo's
Sep. 27-29 New York, NY Irving Plaza
Orbit
Sep. 18 Houston, TX Emo's
Sep. 19 Dallas, TX Argo
Sep. 20 Austin, TX Emo's
Sep. 23 Mesa, AZ Hollywood Alley
Sep. 25 San Diego, CA Casbah
Sep. 26 Hollywood, CA Roxy
Sep. 27 San Francisco, CA Bottom of the Hill
Sep. 28 Portland, OR Satricon
Sep. 29 Seattle, WA Rockcandy
Ozzy Osbourne / Sepultura
Sep. 20 York, PA York Pavillion
Sep. 21 State College, PA Bryce-Jordan Center
Sep. 23 Quebec City, QC Consee de Quebec
Sep. 25 Ottawa, ON Correl Centre
Sep. 27 Montreal, QC Molson Centre
Sep. 28 Hamtlton, ON Copps Coliseum
Sep. 30 Charleston, WV Civic Center
Poorhouse Rockers
Sep. 19, 21, 26 Fells Point, MD Hose You Came In On
Sep. 20 Fells Point, MD Leadbetters
Sep. 27 Churchville, MD McStagger's
Republica / Gravity Kills
Sep. 18 Nashville, TN Exit Inn
Sep. 19 Memphis, TN New Daisy
Sep. 20 Birmingham, AL The Nick
Sep. 21 Atlanta, GA 99X Fest
Sep. 23 Orlando, FL Sapphire
Sep. 25 West Palm Beach, FL Respectable Cafe
Sep. 26 Tampa, FL The Rubb
Sep. 27 Pensacola, FL Nite Owl
Sep. 28 New Orleans, LA Howlin' Wolf
Sandbox
Sep. 18 Detroit, MI St. Andrew's Hall
Sep. 19 Fort Wayne, IN Pierre's
Sep. 20 Toledo, OH Frankie's
Sep. 21 Cincinnati, OH Club Gotham
Sep. 22 Cleveland Flats, OH Peabody's Down Under
Sep. 24 Boston, MA Mama Kin Music Hall
Sep. 25 Portland, ME Zoots
Screaming Trees/54*40/Solution A.D.
Sep. 22 Montreal, PQ Cabaret Music Hall
Sep. 23 Ottawa, ON Porter Hall
Sep. 24 London, ON NAC Hall
Sep. 26 Kitchener, ON Lyric
Sep. 27 Toronto, ON The Warehouse
Sep. 30 Winnipeg, MB Walker Theatre
Richard Thompson
Sep. 18 Vancouver, BC Richard's
Sep. 19 Spokane, WA Masonic Temple
Sep. 20 Seattle, WA Moore Theatre
Sep. 21 Portland, OR Aladdin Theatre
Sep. 23 Eugene, OR Wild Duck
Sep. 25 Sacramento, CA Crest Theatre
Sep. 26 San Francisco, CA Warfield Theatre
Sep. 27 Santa Rosa, CA Luther Burbank Center
Sep. 28 Aptos, CA Fat Fry Festival
Sep. 30 West Hollywood, CA House of Blues
Trunk Federation
Sep. 18 Corpus Christi, TX Carousel Cafe
Sep. 21 Albuquerque, NM Pony Bar
The Urge
Sep. 18 St. Louis, MO Fox Theatre
Sep. 19 Columbia, MO Blue Note
Sep. 20 Fort Wayne, IN Piere's
Sep. 21 Des Moines, IA Safari Club
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