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Consumable Online Issue 086
==== ISSUE 86 ==== CONSUMABLE ======== [September 6, 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, 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
Also Contributing: Robin Lapid, Henry Snyder
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 |
`------------'
INTERVIEW: Leah Andreone - Bob Gajarsky
REVIEW: Atom Heart/Tetsu Inoue/Bill Laswell, _Second Nature_ -Jon Steltenpohl
REVIEW: Neurotic Outsiders, _Neurotic Outsiders_ - Linda Scott
CONCERT REVIEW: G. Love and Kings Court, Baltimore - Henry Snyder
CONCERT REVIEW: Sleeper, Greek Theatre, U.C. Berkeley - Robin Lapid
FESTIVAL REVIEW: Gathering on the Mountain - Dan Enright
REVIEW: Dogstar, _Our Little Visionary_ / "Quattro Formaggi" - Al Muzer
REVIEW: Three Fish, _Three Fish_ - Linda Scott
REVIEW: _Honor: A Benefit For The Honor The Earth Campaign_ - Al Muzer
REVIEW: State of Grace, _Jamboreebop_ - Jon Steltenpohl
REVIEW: Versus, _Secret Swingers_ - Al Muzer
REVIEW: The Miss Allans, _Ledger_ - P. Nina Ramos
NEWS: There Productions
TOUR DATES: Archers of Loaf, Barenaked Ladies, Blithe, Block, Citizen
King, Elvis Costello, Cravin' Melon, Def Leppard / Tripping Daisy,
Ryan Downe, Fluffy, Godplow, Paris Hampton, Hayden, His Name Is
Alive, It's Me, Margaret, Kiss / Hunger, Knapsack, Long Fin
Killie, Loop Guru, Loud Family / Sugarplastic, Neurotic Outsiders
/ Fluffy, Oasis / Screaming Trees / Manic Street Preachers, Orbit,
Primitive Radio Gods, Republica / Gravity Kills, Sepultura / Far,
Richard Thompson, 311 / The Urge, Trunk Federation, Paul
Westerberg, Weston
Back Issues of Consumable
---
INTERVIEW: Leah Andreone
- Bob Gajarsky
It's not often that a waitress in California has the
opportunity to enter the music business through her (temporary)
day job, but that's exactly how Leah Andreone got her big
break and was signed to the RCA music label.
While working in a diner on Sunset Boulevard, Leah
overheard two gentleman talking the industry talk. After getting
permission to bring her demo in from home, she gave one of the
men her tape. A heady act, for sure. But it paid off the next
morning when one of the said gentlemen returned, saw that
evening's performance, and eventually signed the young Andreone
to a contract.
"I got up the nerve (to talk to these men) after years
of self-promotion, performing live, and trying to meet the people
who can help launch my career," Leah recalls. "It was sink or
swim at that point."
_Veiled_, the debut album, is doing more than swimming.
The album and leadoff single, "It's Alright, It's OK" are receiving
critical praise from nearly every radio programmer, and is an
infectious track in the style of Jill Sobule meets (former Bangles
lead singer) Susanna Hoffs. And, with a slew of songs that could
serve as follow-up singles, the future's not just looking OK for Leah
Andreone, but incredibly bright.
Ironically, none of the songs from that demo tape appear
on this debut. Andreone feels that, "They were reflective of a
past time. I wanted to start over on my first album".
The musical influences are all over the map on _Veiled_.
Loosely classified as an alternative/pop album, it's not in the
Liz Phair category of angry female woman. Nor does it evoke
the inevitable Alanis Morrissette comparisons. Instead, _Veiled_
takes the listener through eleven distinct songs that share
one common trait - songs with incredible hooks.
The Hoffs sound - and I hate to use that term, for it
isn't fair to Andreone - is most prominent on "Come Sunday Morning"
and "Will You Still Love Me", which has a chorus similar to Pat
Benatar's "Invincible". But while at times sounding like the woman
who sang "Walk Like An Egyptian", Andreone's vocals can also be
compared to Kate Bush, Sarah McLachlan, and on the tracks "Problem
Child" eerily similar to Tori Amos.
But _Veiled_ isn't strictly about today's "light alternative"
which is quietly taking hold in this country. "Happy Birthday"
takes its guitar cue from Jimi Hendrix' "Foxy Lady", and Andreone
isn't quiet when she breaks into the chorus on this track.
When I mention that the soft "You Make Me Remember" reminds
me of Eric Clapton's "Tears In Heaven", the young artist is
pleasantly surprised to be compared to the guitar icon. "I never
thought of the Clapton comparison, although I'm honored to hear
that."
Well-versed in her musical history, the Clapton comparison
isn't the only one which is established in the solid roots of rock
and roll. "Who Are They To Say", with its twist into funk, has
already been receiving airplay on radio stations with its similarity
to Sly and the Family Stone.
"Hats off to Sly," she muses. "I always say that when
talking about him. When we had _Veiled_ mastered in Portland
(Maine), the mastering person heard that song and exclaimed 'Oh
my god! Sly!'. He then told us that he had mixed one of Sly's
albums, and how much he loved the new album. He brought out
pictures, and it was great to share the Sly experience".
Andreone cites other soul legends such as Aretha Franklin and
Gladys Knight as influences while she was growing up, and
songwriters such as Elvis Costello and John Lennon as those
artists to whom she'll regularly listen to today. And, like these
two songwriters, Leah wants to be recognized both for her vocal
abilities and her writing skills.
"I definitely want my writing acknowledged, but I don't
want it to take away for my love of the voice or my vocal
abilities. There was initially talk of my singing someone else's
music, and that idea was heartbreaking. I want to sing about
what I'm feeling, and my life and outlook on life, as opposed
to other people's."
Producer Rick Neigher, who has worked with John Mellencamp,
also co-wrote the songs with Andreone. The pair took a leisurely
approach, spending more than one year to write and record _Veiled_,
and in the process, getting to know more about the other person.
"In order for our relationship to work (as co-writers),
we needed to know each other," says Andreone. "Writing is a
personal thing, and we had to understand each other. Sometimes,
we'd get a cup of coffee and just talk for a day, with no actual
songwriting, but learning more about the other person".
Later this year, she will also be appearing on a charity
album, with proceeds going to fight breast cancer. Sheryl Crow
and Joan Osborne are two of the other women participating in
the compilation. The album holds a personal meaning for Leah, as
she watched her sister's husband's mother, a close friend of the
Andreone family, die of breast cancer.
And what does Andreone hope to accomplish with _Veiled_?
"I just want to perform, be out there singing. I gave up a lot of
my personal life and put it onto the album, certain points of my life
are on there that have never been exposed. I'm getting feedback
that people are feeling some sort of healing through my music,
and when they tell me that, it heals me as well."
With her debut album _Veiled_, Leah Andreone has released
one of this year's best alternative/pop albums. But, with a cool
demeanor coupled with a quiet confidence, this talented
singer/songwriter is all poised to take the next step into
musical stardom.
---
REVIEW: Atom Heart/Tetsu Inoue/Bill Laswell, _Second Nature_ (Submeta)
- Jon Steltenpohl
I see them everywhere from department stores to garden centers -
these little stands with speakers hawking "ambient nature" albums with
nifty little new age beats. Albums titles like "Song of the Humpback
Whale" and "Babbling Autumn Brook" beg me to take my warehouse-sized
can of Cheetos and smash the hell out of the whole display.
Needless to say, when I saw Bill Laswell's name on a promo that
read, "_Second Nature_ is... A series of sound environments that depict
the world at micro level...", I got scared. Was a founder of ambient
and "sound" based music making New Age, department store, crap? I
didn't even put the disc in for a day because I was so worried.
I didn't need to be. Fortunately, _Second Nature_ is the real
thing. Bill Laswell and his friends Atom Heart and Tetsu Inoue have
composed a work which is immediately original, invigorating, and
captivating. This is true ambient music played by people who played
long before you could buy a computer that would sequence everything
for you. The result is that these three musicians can be labeled
"musician" without vocals, a chorus, or a house beat.
_Second Nature_ is a truly interesting work. The four tracks
run over 66 minutes combined. They are filled with both electronic
pulses and sampled sounds of nature. True to the title of the album,
each of these tracks creates a "second nature". "Synthetic Forest",
"Green Paste", and "Artificial Seaside" each reflect a mirrored world
that Heart, Inoue, and Laswell have created.
The album explores each nature with reverberating drum beats
and echoed voices both electric and organic. For the most part, the
"form" of each track is established by seemingly random sound effects.
This illusion is maintain until you realize the tracks have swirled
the incoherent samples into a writhing yet soothing beat. The worlds
in _Second Nature_ are vivid and lush. The colors of the foliage
bleed in vibrant hues and the landscapes are massive and majestic.
"Landing Circle" is a fitting end to this album. At a "short"
6 minutes and 25 seconds, it signals that this adventure has come to a
complete stop. Your journey through the artifical, yet all too
familiar, world is over. The ship is landing to take you away, and you
are lifted slowly, just as quietly as it started, back to Earth.
I'm not sure if they started this project to make a concept
album or not, but _Second Nature_ is brilliantly thought through. If,
in today's hectic world, you can find a room or pair of headphones that
are quiet enough, you can escape to this ambient world. This is a
prime example of how good ambient music can be and a good place for
beginners who have thought those department store albums are so cheesy.
---
REVIEW: Neurotic Outsiders, _Neurotic Outsiders_ (Maverick)
- Linda Scott
Neurotic Outsiders is an eclectic supergroup fashioned from
members of The Sex Pistols, Duran Duran, and Guns N'Roses. An odd
mixture of English punk and American rock, for sure, but the
combination works. What started out as a pick up band playing a
benefit gig in Los Angeles has quickly evolved into a signed band
with an album here and a tour to come. Matt Sorum, G'N'R drummer, put
the band together asking Duran Duran's John Taylor to play bass,
and bandmate Duff McKagan to play guitar. McKagan recruited Sex
Pistols' Steve Jones for lead guitar.
An enthusiastic reception, the idea of playing in a less
scrutinized band, an opportunity to rock and time off periods from
their home bands allowed the group to continue. Their gigs were Los
Angeles clubs; their songs were covers of their favorite bands.
Soon musician friends like Iggy Pop, Billy Idol, Slash were dropping
in to jam with the Outsiders, and hundreds of new fans were being
turned away. With the fans came the record companies although
Neurotic Outsiders were not looking to sign.
Moving to the next stage, Neurotic Outsiders signed and
started writing their own songs in preparation for an album. The
result is _Neurotic Outsiders_ featuring ten new songs (eight from Jones)
and a cover of The Clash's "Janie Jones". The band may be new, but
musicians of this caliber and experience can create a very polished
album - and that's the case here. Jones' contribution can't be
underestimated. The majority of the songwriting is his along with
the vocals, lead guitar, and attitude. While his lyrics are offcolor
in many songs, they have a humorous quality that appeals. "Jerk"
is planned as the first single off the album and may have to be
cleaned up here and there for radio in some cities, but it's nothing to
compare with the leadoff track "Nasty Ho". John Taylor's solo
contributions come from a whole other area and help give a needed
variety to the album. On the other hand, one of the most beautiful
songs on the album is "Union" by none other than Steve Jones.
_Neurotic Outsiders_ is an album with a solid direction set
by Jones and versatility laid on by Taylor and McKagan. Matt Sorum's
drums are right on throughout polishing the album to a glorious,
rocking vibe. _Neurotic Outsiders_ will never bore you - tune in to
the music, tune in to the lyrics, then both. Fans of the three
represented bands will want to get a copy, but anyone who likes
rock with a punkish twist will want it.
---
CONCERT REVIEW: G. Love and Kings Court, Baltimore
- Henry Snyder
When I heard G. Love was a-coming to town, I was overjoyed. When
I heard he was touring with a band called King's Court, I was
worried. Part of what made his last disc, _Coast to Coast Motel_ so
outstanding was the excellent rhythm section, especially the
percussion. Houseman, as he is called, is a rarity among drummers. He
plays his set like an instrument, not a metronome, and does much more
than merely keep time. Whole dimensions are added to G. Love's
admittedly simple-at-times blues-based guitar licks. The bass, though
less remarkable, was also outstanding on the album. Arriving at the
8x10 club in Baltimore, I had no idea what to expect. Sitting through
the opening act (Balto's own Gibb Droll band, pretty decent
Matthewsesque stuff), I had plenty of time to worry.
I shouldn't have. When King's Court took the stage, I was relieved to
see Houseman at the drum podium - almost as much as I was to see the
6' plus G. Love in a shimmeringly garish 2 piece, which he later
referred our attention to in a freestyle. I was shocked to see a 50
or so year'd veteran on bass, moses length beard, slicked back hair
and all.
My worries all evaporated after the first 10 seconds or so. The
band was tight as all hell, and nobody was dissapointed. G. Love's guitar
was ALWAYS on the mark, as was the band. He does great things with
music. I love the way he updates and twists some pretty
straightforward blues tunes into songs deadheads can do their silly
dances to - not that I couldnt have done with out the dancers.
Highlights included G. Love's trademark easy manner with the crowd
throughout, as well as killer jamming and freestyling on 2 favorites
of mine: "Shooting Hoops" and "Nancy". "Cold Beverages" was, as expected,
the ultimate crowd pleaser, with G. Love getting crazy with vocals
(standard and new), and the bassist going insane pluckwise. The new
tunes all impressed me, as did all the ones from _Coast to Coast Motel__,
and most from the debut album. The only problem I had with the show were
the two love songs, one of which was a pretty much note-by-note version
of my least favorite of his songs, "I Love You." I think he wrote
that song, and still performs it for one reason: To get laid. That
aside, there were a few bonuses during the show that I hardly
expected. His basisst did a lead vocal turn which greatly impressed me.
The centerpiece of the encore was a new song about a bum. Decent lyrics,
but great musically. G. Love is only getting better.
A huge bonus: the hulking, incredibly gifted Kelly Bell, who
did vocals for the G. Love-penned tune "Say One Thing," which Mr. Love
penned just for one of Baltimore's best local bands, the KB Blues Band.
The entire show was fantastic. I only had to drive 45 minutes
to catch this show, but I would have gladly driven many times that. I
can't imagine a better performance.
---
CONCERT REVIEW: Sleeper, Greek Theatre, U.C. Berkeley
- Robin Lapid
It's a shame that the British press continues to slag off
Sleeper for music that's often described as rehashed and banal. The
truth is, the British quartet's female-fronted pop group does not
make innovative or even original music - but with acts like Bush and
Hootie and the Blowfish on the American airwaves, this isn't
necessarily the most heinous crime). However, Sleeper does put out
tuneful songs with enough good hooks and catchy refrains to warrant
them consideration as a fun listen and a potentially enlivening night
out. And in an era where male-dominated groups still domineer the
music charts, singer-guitarist Louise Wener's sexually potent and
politically incisive lyrics add zest to the scene. As the opening
act for Elvis Costello and the Attractions' current U.S. tour,
however, some of the band's more appealing live qualities may have
gotten lost in obscurity. The largely thirtysomething crowd
filtering in throughout the set seemed more in need of a fix to get
off their high of seeing Sting a couple of weeks ago than to test
drive the latest indie music hopefuls.
Sleeper do not necessarily make easy-listening music. Sure,
there are some by-the-book pop riffs and the occasional backing horns
which lend a respectable gravitas to their repertoire. But
underneath the bouncy, grooving sounds lurk spiky rhythms and a
sardonic sense of musical self-control. During a half-hour set to
an anxious crowd of Elvis followers, Sleeper delivered songs from
their debut release _Smart_ as well as their recent domestic
release _The It Girl_. Backed by the laudable musicianship of
lead guitarist Jon Stewart, bassist Diid Osman, and drummer Andy
MaClure, Wener pens songs which find their own niche within the
female-fronted indie scene. Edgier than Velocity Girl yet more
refined than Elastica's bare-bones pop, raspy-voiced Wener sings
the lives and loves of modern life a la Blur lyricist Damon Albarn.
But this time it's from the perspective of a clever woman who makes
no bones about the state of female sexuality rather than from a
clever man who obsesses over the fears of a numbing patriarchy
gone awry.
Barefoot and clad in figure-hugging jeans and t-shirt,
Wener bounced around a bit and delivered the band's friendlier pop
numbers but managed to sprinkle in the odd tune that bespoke their
more sinister side, not just in the lyrics but in the music itself.
The closing song, "Alice In Vain," demonstrates this perfectly.
It's a hard-driving tune which languishes in the rhythmic stupor
of the displaced heroine ("Oh ah, such a pity/ She's not even
pretty").
This is the type of music best suited for the typical "indie"
scene, with an intimate mass huddled together, jumping about within
the dim confines of a dingy club. As an opening band at an outdoor
ampitheatre filled with couples and families huddled under blankets
and packed dinners, it's an entirely different mood. Elvis Costello
fans clapped graciously while waiting for a musician who certainly
excels in his own right. Though satisfying, Sleeper's set was a
deceptive one, providing pleasant pop but with some of its fangs
removed.
---
FESTIVAL REVIEW: Gathering on the Mountain (August 10/11, 1996)
- Dan Enright
It was a gorgeous August weekend, in the Poconos, as Big Boulder
Ski Resort played host to what was billed as a weekend of peace, love, and
music. Nestled in the mountains of eastern PA, at the intersection of I-81
and the PA Turnpike, this memorial to the spirit of Jerry Garcia and the
Dead involved two long, lazy days of music, vendors of
tie dyed/multicolored and hemp clothing, beautiful jewelry, hand made
drums, hard-to-find recordings, great food, and perfect weather.
And all the artists allowed taping.
While I don't think it was comparable to '67s "Summer of Love,"
it did meet those three criteria. The vibe was decidedly peaceful and
laid back - due no doubt, to the ubiquitous smoking, there were plenty
of displays of open sexuality, and some hot jams. I'll address the latter.
Saturday's line-up, divided between two stages, included; Living
Earth, Solar Circus, Strawberry Alarm Clock with Spencer Davis, Zero, Big
Brother and the Holding Company, Randy Hansen doing a tribute to Jimi
Hendrix, and the Jefferson Starship with Paul Kantner, Jack Cassidy, and
Marty Balin.
Of these seven acts, only Solar Circus, Zero, and Randy Hansen
satisified. And ironically, all three were on the 2nd stage. Both Solar
Circus and Zero are technically advanced improvisational teams, which
craft and modify intricate arrangments through complex musical mazes and
permutations, while always managing to find their way back to the original
"head." Tinges of jazz, pop, rock, country, and of course the Dead inform
and influence their individual styles - which differ, while drawing
inspiration from the same well(s).
Randy Hansen was in a class by himself. He (for better or worse
depending, on how ya' look at it) has Hendrix down cold. The sound, The
technique - including playing with his feet, tossing the guitar in the
air in mid phrase, and setting it on fire at the end of the set - the
attitiude, and the arrangements. It was Hendrix. What more can ya say?
Sunday's line-up was more consistent, featuring outstanding sets
by Fungus, Oroboros, the David Nelson Band, the Memphis Pilgrims
(substituted for an exhausted Matt Kelly), Spirit, Richie Havens, and
the Band.
The afternoon opened with a competent set of Dead covers by
locals Fungus, followed by a tight, jamming set by Oroborus - which was
comparable in style and intensity to Solar Circus and Zero's sets, on the
same stage, the day before.
Unlike the previous day, the energy continued to grow with an
outstanding set by David Nelson, co-founder of New Riders of the Purple
Sage. Starting with an acoustic flavored group of songs which drew on the
rootsy blues and early country that influenced NRPS and other psychedelic
cowboys in the late 60s, David and his band dug deep into their songbag
of country, rock, and psychedelic styles. As they made the transition to
an electrified set, it became obvious David's keeping those styles alive
today, performing fresh exciting music which draws from and builds on
those strong foundations. This was far from a nostalgic revisiting down
a memory lane of favorite "classics" (unlike the sets from saturday's
survivors).
Things just kept getting better as Spirit took the 2nd stage.
Featuring Randy California and his father, 73 year old Jack Cassidy,
they performed songs from the first four Spirit albums, as well as
material from Randy's solo projects and a blues-rock song from an
upcoming album. It was their rendition of Hendrix's "Red House" however,
which remains one of the most intense songs I captured on tape all
weekend (and my personal favorite).
Things shifted into "mellow mode," with the Memphis Pilgrim's
set on the first stage. Featuring founding members of Hot Tuna, Michael
Falzarano (guitar) and Harvey Sorgen (drums), they performed Dead staples
like "Morning Dew" and "Big Boss Man," as well as R&B and blues classics
that rounded out Hot Tuna's (not to mention the Dead's) repertoire.. The
band gave the audience a solid hour of swinging dance music that had
plenty of folks swayin' and groovin' in the warm afternoon sun.
Then Richie Havens spent a laid back hour sharing anecdotes and
covers of contemporary folk songs, giving the festival a taste of the 60s
folk scene. This set was, unfortunately, plagued by long pauses for tuning
and - I'm sorry but... BORING TALES. I wanted to hear more music because
I've always liked his arrangements. But as I learned later, the rap is
part of the act.
Finally, the festival was capped by the expected great performance
by the Band. Mixing songs from their extensive catalog, they demonstrated
why they continue to be one of the most popular acts with roots in the 60s.
While most of their peers seemed focused on reliving bygone glories, the
Band continues to write and perform with the same high standards they
established at their inception. It was a fitting hour-and-a-half ending to
a "jam packed" (pardon the pun) weekend.
For more information about the Gathering, and other weekend long
summer festivals hosted by Big Boulder, visit their website at:
http://www.big2resorts.com
---
REVIEW: Dogstar, _Our Little Visionary_ / "Quattro Formaggi" (Zoo)
- Al Muzer
Dogstar's press kit goes out of its way to immediately mention
the attention being paid to the young group due to the presence of, "a
certain movie star" - and then adds that it's, "finally time [to let the
music of Dogstar] speak for itself."
Yeah, right.
The full-length _Our Little Visionary_ kicks-off with the
blessedly-short "Forgive." Despite a superb Ed Stasium production job
and the blatant theft of a Gin Blossoms riff, melody and feel - the
grafting of Brett Domrose's cookie-cutter alterna-vocals over the sludgy
mess dilutes whatever opening punch the band hoped to achieve with the
track.
The second tune, while just as Nixons/Seven Mary Three forgettable,
at least isn't as embarrassing as the group's ham-fisted, semi-sacrilegious
cover of Badfinger's "No Matter What." In fact, the only good point about
the inclusion of this rote version of the power-pop classic is that the
estate of the late Pete Ham stands to gain a bit of cash out of the deal.
"Breathe Tonight," "Nobody Home," "The History Light," "Honesty
Anyway," "And I Pray," "Bleeding" and "Goodbye" sound exactly like what's
playing on your local modern-rock radio station at this very second
(although "Honesty Anyway" does, to its credit, boast a semi-decent riff);
while "Enchanted" and "Denial" attempt to add a bit of hard-edged heat to
the proceedings - and, instead, wind up sounding like The Best Kissers In
The World with a drum roadie filling in on vocals.
Not as flat-out horrible a record as the three-piece's live
performances would lead you to expect (Keanu's bass chops have improved,
Domrose, despite his very Joe Generic vocals, doesn't play a bad guitar
and drummer Rob Mailhouse slams a decent set of skins) - the fact that
the group's sound is virtually interchangeable with that of a dozen other
fairly homogeneous bands fouling-up the charts makes _Our Little
Visionary_ an instantly-forgettable collection of for-the-masses noise.
Product in every sense of the word - the four track "Quattro
Formaggi" is an enhanced CD that features: a Rick Parashar Pearl
Jam-ination of "Honesty Anyway"; two unexplicably familiar alternabashes;
one lyrically inept, sensitive-guy acoustic track with strings; an
outstanding, interactive CD-ROM that lets you choose between bus,
backstage or live footage; and a 12-sided Dogstar catalog that includes
four hat designs, four stickers, a poster, 11 different T-shirt styles
and fan club information.
---
REVIEW: Three Fish, _Three Fish_ (Epic)
- Linda Scott
Eddie Van Halen said that "You only do a solo project if you
can't express yourself within your own band." Jeff Ament, Pearl Jam
bassist, might agree. He formed Three Fish so he could work with
vocalist and guitarist Robbie Robb, to have a chance to play other
instruments and even do some vocals. Life in Pearl Jam does not
allow role-switching. This isn't rigidity for its own sake; Pearl
Jam musicians are so good that it's hard to take over someone else's
role and do a great job.
In the fall of 1993, Ament and Robb came together when Robb's
band Tribe After Tribe opened for Pearl Jam. The third fish is Richard
Stuverud on drums. Fifteen songs, a record deal and one album later,
Ament is on tour with Three Fish playing bass, guitar and djembe.
Robb handles guitar and lead vocals; and, no, he doesn't sound like
Eddie Vetter. Ament has really satisfied his reasons for going outside
the Pearl Jam circle and doing a solo project. The album is _Three
Fish_, and it's good - could be better, but it's a good one. One
problem is that there are some strange styles thrown into the mix:
sixties mysticism, Middle Eastern influences, 70's Brit rock, and a
touch of grunge. The entire album has a melancholy, moody vibe. Some
standouts are at the ends with "Solitude" as the opening track and
"Laced" (first single and video) as the final one. Robb's voice is
equal to the songs, and the other two fish play their parts with
style. A questionable decision was the band's inclusion of the parable
of the three fish (an intelligent one, a half-intelligent one, and a
stupid fish), containg spoken words with musical backing, on
three tracks spread over the album. Unfortunately, the parable is
jarring and affects the album's spell and continuity. Listening to
the album several times without a disc player that can program out
the parable tracks is a challenge.
Aside from the parable, the music is good! Pearl Jam fans
will want this one as Ament is as well known to them through Vedder.
He doesn't disappoint. Some good alternative music here for the rest
of us, as well.
---
REVIEW: _Honor: A Benefit For The Honor The Earth Campaign_ (Daemon)
- Al Muzer
Released on Amy (Indigo Girls) Ray's not-for-profit Daemon label,
this two-CD set is crammed with light, well-intentioned, folk-based music
(all of it previously unreleased) designed to draw attention to a
worthwhile cause (don't worry, pre-addressed support postcards are
included) or two.
Ultimately destined for relative obscurity due to the deaf ears
of our short attention-span society and the fact that there's no "real"
hit single on the record - this ecology-friendly, low-key effort features
excellent tracks from artists such as Toad The Wet Sprocket, Bruce
Cockburn, Exene Cervenka, Luka Bloom, Jane Siberry, Rusted Root, Bonnie
Raitt, Victoria Williams, Matthew Sweet and Soul Asylum. Its web site is
located at: www.honorearth.com
---
REVIEW: State of Grace, _Jamboreebop_ (RCA)
- Jon Steltenpohl
State of Grace has all of the ingredients of a great British band.
The lead singer, Sarah Simmonds, is a classically trained siren with
dreamy, exotic vocals. The lead musician of the band, Paul Arnall, is
a former producer. And, along with a few bandmates, they make trippy,
dancy, pop music in the now classic British style.
"Great!", you exclaim. You love that kind of band and with good
reason. But don't get too excited. While State of Grace shows all of
the proper signs, it never rises beyond the genre it chooses. Yes, the
hooks are there as well as the music and a steady beat, but I keep
feeling like I've heard this all before.
The second track, "Hello", probably conjures up the most
immediate comparison. Sure, there have been lots of songs titled
"Hello", but this one immediately recalls The Beloved's tune. It has
a synthetic beat, a mellow tone, and a pleading vocal line that all work
together perfectly. The song is promising, but unfortunately, there's
no edge, no spark. It's an immaculate song without passion.
The next song on the album, "And Love Will Fall", doesn't really
get me going either. It's a pretty tune, and Simmonds' vocals remind me
a bit of the girl from Shelleyan Orphan. The guitar wails along with
vocals, and the beats are a bit rousing, but the song never really comes
alive and draws me in.
Probably the best tracks are the extended opuses included from
State of Grace's previous single releases. These are the tracks that
got them signed, and they show the true promise of the band. "Camden"
does actually inspire me. It is truly dreamy and trippy with echoes
upon echoes layering in and out of each other below Simmonds' vocals.
This is the kind of song one could get into at 5 in the morning after
raving all night.
Too often however, _Jamboreebop_ tends toward an average and
mundane version of what the bio sheet calls "hard-grooving electronic
dream pop." It is an immaculately produced and performed album, and
there really isn't anything bad about it. And that is ultimately the
problem. By doing everything right, there is no chance for going beyond
the normal boundaries. That said, State of Grace's _Jamboreebop_ does
everything it should. Everything, that is, but get you in the groove.
---
REVIEW: Versus, _Secret Swingers_ (Caroline)
- Al Muzer
The Baluyut brothers (Richard, Edward and James) and
bassist/vocalist Fontaine Toups layer cool male/female vocals atop
loose, loping songs that use fuzzy, jangle-crunch riffs, sparse
production, happily-whacked choruses, insightful lyrics, first-take
enthusiasm and casual instrumentation to recall several of your
favorite bands (Television, The Feelies, Julianna Hatfield, Teenage
Fanclub, Velvet Underground, The Pastels, The Pixies) while sounding
like no other group in existence.
---
REVIEW: The Miss Allans, _Ledger_ (World Domination)
- P. Nina Ramos
In a sweet mirror of sounds, The Miss Allans travel the
ways of mystery and eerie reminders that it all can be beautiful
and strange.
Their latest release, _Ledger_ is a collection of 11 originals
that bloom from infancy to explode as mellow traces that transport
any ordinary media player into a gate to pure innocence. I'm not talking
about that ethereal sense you might feel by listening to the Cocteau
Twins or Dead Can Dance, nor the folkish sound of say, R.E.M. The sounds
are more intelligent and provoking; sounds that you can clasp and not
hold too tight, because there is no fear that will hold you back from
treading the soft comfortable ground that is this nature.
It's as if the collection in _Ledger_ contained by a delicate
glass bottle waiting for anyone to carefully reveal a sense of
elevation you may never recover from.
This is one collection that will transport you to a world of
imagination without boundaries. A trip without end. A room with a view.
---
NEWS: > There Productions, an online magazine and store where users
can listen to current releases, is located on the Web at http://www.There1.com
---
TOUR DATES
Archers of Loaf
Sep. 6 New Haven, CT Tune Inn
Sep. 7 Hamilton, NY Donovan Pub
Sep. 13 Newark, DE Univ. of Delaware
Barenaked Ladies
Sep. 7 St. Catherine's, ON Brock University, Athletic Complex
Sep. 9 Portland, ME State Theatre
Sep. 10 Rochester, NY Auditorium Centre
Sep. 12 Moncton, NB The Capitol Theatre
Sep. 13-14 Halifax, NS Rebecca Cohn Theatre
Sep. 16 St. Johns, NF Memorial Arena
Blithe
Sep. 6 Rochester, NY Milestones
Sep. 8 Cleveland Heights, OH Grog Shop
Sep. 9 Buffalo, NY Nietzche's
Sep. 10 Columbus, OH Stache's
Sep. 11 Boston, MA Rathskellar
Sep. 12 Westchester, PA Rex's
Block
Sep. 7 Buffalo, NY Stimulance Club
Sep. 13 Philadelphia, PA Last Drop Coffee House
Citizen King
Sep. 13 Minneapolis, MN St. Olaf College
Sep. 17 Duluth, MN University of Minnesota Duluth
Elvis Costello
Sep. 7 Osaka, Japan Osaka Festival Hall
Sep. 8 Fukuoka, Japan Sun Palace
Sep. 9, 10, 12 Tokyo, Japan Koseinekin Hall
Sep. 15 Nagoya, Japan Aichi Kinro Kaikan
Cravin' Melon
Sep. 13 Chapel Hill, NC Cat's Cradle
Sep. 14 Raleigh, NC Lawn Party
Def Leppard / Tripping Daisy
Sep. 7 Saskatoon, SASK Saskatchewan Place
Sep. 9 Winnipeg, MAN Winnipeg Arena
Sep. 11 Sudbury, ON Sudbury Arena
Sep. 13 Montreal, QC Molson Centre
Sep. 14 Ottawa, ON Ottawa Palladium
Sep. 15 Quebec, QC Quebec Coliseum Arena
Sep. 17 St. John, NF Harbour Station
Ryan Downe
Sep. 11 New York, NY Brownie's
Fluffy
Sep. 10 Minneapolis, MN 7th Street Entry
Sep. 12 Milwaukee, WI Unicorn
Godplow
Sep. 11 Chicago, IL Double Door
Paris Hampton
Sep. 6 New York, NY CBGB's Gallery
Hayden
Sep. 7 Barcelona, SPA El Pop Festival
Sep. 8 Madrid, SPA La Riviera (w/Posies, Screaming Trees)
Sep. 11 London, ENG Splash Club
His Name Is Alive
Sep. 6 Los Angeles, CA Luna Park
Sep. 7 San Francisco, CA Kilowatt
Sep. 9 Portland, OR Umbra Panumbra
Sep. 10 Seattle, WA Tractor Tavern
Sep. 13 Minneapolis, MN Bryant Lake Bowl
Sep. 14 Chicago, IL Schuba's
It's Me, Margaret
Sep. 9 Los Angeles, CA Dragonfly
Sep. 14 Los Angeles, CA Love Lounge
Kiss / Hunger
Sep. 7 Denver, CO McNichols Arena
Sep. 9 Omaha, NE Civic Auditorium
Sep. 10 Wichita, KS Kansas Coliseum
Sep. 11 Oklahoma City, OK Myriad
Sep. 13 Tupelo, MS Tupelo Coliseum
Sep. 14 Birmingham, AL Jefferson Civic Center
Sep. 15 Pensacola, FL Civic Center
Knapsack
Sep. 6 Westchester, PA Rex's
Sep. 7 Portsmouth, NH Elvis Room
Sep. 8 Baltimore, MD Memory Lane
Sep. 10 Louisville, KY Butcher's Town Pub
Sep. 11 St. Louis, MO Cicero's
Sep. 12 Lawrence, KS Replay
Sep. 13 Denver, CO Raven
Sep. 14 Salt Lake City, UT Bar & Grill
Long Fin Killie
Sep. 9 Washington, DC 930 Club
Sep. 10 New York, NY Brownie's
Sep. 11 Baltimore, MD Fletchers
Sep. 13 Chicago, IL Empty Bottle
Sep. 16 Toronto, ON Horseshoe Tavern
Sep. 17 Toronto, ON Rivoli
Loop Guru
Sep. 9 Atlanta, GA Masquerade
Sep. 11 Fort Lauderdale, FL Edge
Sep. 13 Pensacola, FL Nite Owl
Sep. 14 New Orleans, LA Howlin' Wolf
Sep. 15 New Orleans, LA House of Blues
Sep. 16 Houston, TX Numbers
Sep. 17 Austin, TX Liberty Lunch
Loud Family / Sugarplastic
Sep. 6 Seattle, WA Crocodile Cafe
Sep. 9 Minneapolis, MN 7th Street Entry
Sep. 11 Lawrence, KS Bottleneck
Sep. 12 St. Louis, MO Washington University
Sep. 13 Chicago, IL Empty Bottle
Sep. 14 Milwaukee, WI Unicorn
Sep. 15 Ann Arbor, MI Blind Pig
Neurotic Outisders / Weston
Sep. 6 Boston, MA Mama Kin
Sep. 7 Washington, DC Bayou
Neurotic Outsiders / Fluffy
Sep. 8 Toronto, ON Warehouse
Sep. 13 Pontiac, MI Sanctum
Sep. 14 Chicago, IL Double Door
Sep. 15 Dallas, TX Deep Ellum Live
Sep. 16 Tempe, AZ Electric Balroom
Sep. 18 Los Angeles, CA Whisky
Oasis / Screaming Trees / Manic Street Preachers
Sep. 7-8 Wantagh, NY Jones Beach
Sep. 10 Bristow, VA Nissan Pavillion
Sep. 11 Charlotte, NC Independence Arena
Sep. 13 Atlanta, GA Omni
Sep. 15 West Palm Beach, FL West Palm Beach Auditorium
Sep. 16 Orlando, FL Orlando Arena
Sep. 18 Tampa, FL USF Sundome
Orbit
Sep. 6 Philadelphia, PA Khyber Pass
Sep. 7 Hoboken, NJ Maxwell's
Sep. 8 Washington, DC Black Cat
Sep. 10 Richmond, VA Twisters
Sep. 11 Charlotte, NC Tremont Music
Sep. 12 Atlanta, GA Pointe
Sep. 13 Jacksonville, FL Moto Lounge
Sep. 14 Miami, FL Cheers
Sep. 16 Pensacola, FL Sluggo's
Primitive Radio Gods
Sep. 7 Dallas, TX Club Dada
Sep. 8 St. Louis, MO Riverport Amphitheatre (KPNT Radio Festival)
Sep. 10 Tucson, AZ The Rock
Sep. 11 Phoenix, AZ Gibson's
Sep. 13 San Diego, CA Brick By Brick
Sep. 14 Tulsa, OK Mohawk Park (KMYZ Radio Festival)
Sep. 17-18 Los Angeles, CA Dragonfly
Republica / Gravity Kills
Sep. 8 Madison, WI Barrymore Theatre
Sep. 9 Minneapolis, MN Ground Zero
Sep. 11 Springfield, MO Juke Joint
Sep. 12 Columbia, MO Blue Note
Sep. 13 Lawrence, KS Liberty Hall
Sep. 14 Tulsa, OK Mohawk Park
Sep. 18 Nashville, TN Exit Inn
Sepultura / Far
Sep. 9 Detroit, MI Palladium
Sep. 11 Cleveland, OH Agora
Sep. 12 Columbus, OH Newport
Richard Thompson
Sep. 7 Minneapolis, MN First Avenue
Sep. 9 St. Louis, MO Mississippi Nights
Sep. 10 Columbia, MO Blue Note
Sep. 11 Lawrence, KS Liberty Hall
Sep. 13 Boulder, CO Boulder Theatre
Sep. 16 Salt Lake City, UT Zephyr Club
311 / The Urge
Sep. 6 Detroit, MI State Theatre
Sep. 7 Chicago, IL Aragon Ballroom
Sep. 8 St. Louis, MO Riverport Amphitheatre
Sep. 10 Washington, DC Capitol Ballroom
Sep. 11 Philadelphia, PA Electric Factory
Sep. 13 Amherst, MA Univ. of Mass.
Sep. 14 Richmond, VA Classic Amphitheatre
Sep. 15 Asbury Park, NJ Stone Pony
Trunk Federation
Sep. 8 New York, NY Mercury Lounge
Sep. 10 Chicago, IL Empty Bottle
Sep. 13 Savannah, GA Bay Street
Sep. 14 Pensacola, FL Sluggo's
Sep. 15 New Orleans, LA Touchdown Bar
Paul Westerberg
Sep. 10 Seattle, WA Showbox Theatre
Sep. 11 Portland, OR La Luna
Sep. 13 San Francisco, CA Filmore Theatre
Sep. 14-15 Los Angeles, CA El Rey Theatre
Sep. 19 Austin, TX Music Hall
Sep. 21 Houston, TX Numbers
Sep. 23 Birmingham, AL Five Point Music Hall
Sep. 24 New Orleans, LA House of Blues
Sep. 25 Athens, GA Theatre
Sep. 26 Charleston, SC Music Farm
Sep. 28 Pittsburgh, PA Metropol
Sep. 29 Buffalo, NY Ogden Music Hall
Sep. 30 Cleveland, OH Odeon Theatre
Weston
Sep. 11 State College, PA Crowbar
Sep. 12 Scranton, PA Tink's
Sep. 13 Asbury Park, NJ Stone Pony
---
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===
