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Consumable Online Issue 085
==== ISSUE 85 ==== CONSUMABLE ======== [August 28, 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: Joann Ball
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: Voice of the Beehive - Joann D. Ball
REVIEW: Ash, _1977_ - Tim Hulsizer
REVIEW: Soundtrack, _The Crow: City of Angels_ - Sean Eric McGill
REVIEW: Fifteen, _SURPRISE!_ - Eric Hsu
REVIEW: Sleeper, _The It Girl_ - Bob Gajarsky
REVIEW: Vernon Reid, _Mistaken Identity_ - Reto Koradi
REVIEW: Republica, _Republica_ - Bob Gajarsky
REVIEW: Grant Lee Buffalo, _Copperopolis_ - Linda Scott
REVIEW: The Reverend Horton Heat, _Martini Time_ - P. Nina Ramos
REVIEW: Lizard Music, _Lobster T._ - Al Muzer
NEWS: Dahlia, 510 Records, L7, NME, Oasis, Rio Reiser, Stone Roses
TOUR DATES: Barenaked Ladies, Block, Bryndle, Cardigans / Cake,
Chainsaw Kittens, Chimera, Citizen King, Cordelia's Dad,
Elvis Costello, Cravin' Melon, Def Leppard / Tripping Daisy,
Ryan Downe, Download, Downset, Fleming & John, Fulflej / Frogs,
Godplow, Goldfinger, David Gray, Hayden, His Name Is Alive,
It's Me, Margaret, Keeta Speed, Nusrat Fateh Ali Khan,
Kiss / Hunger, k.d. lang, Huey Lewis & The News, Little Feat
Metal Molly, Neurotic Outsiders / Fluffy, No Doubt,
Oasis / Screaming Trees / Manic Street Preachers, Pantera, Pee Shy,
Poorhouse Rockers, Primitive Radio Gods, Reel Big Fish, Scout,
Sepultura / Far, Sex Pistols / Gravity Kills, Speedway
Voice of the Beehive, Young Dubliners
UPDATE: Hot Water
THE READERS WRITE BACK!
Back Issues of Consumable
---
INTERVIEW: Voice of the Beehive's Tracey Bryn and Melissa Belland
- Joann D. Ball
The buzz is back! I recently caught up with sisters Tracey Bryn
and Missy Belland, otherwise known as Voice of the Beehive, a few hours
before their first Southern California gig in several years. Obviously
thrilled and excited about being back in the land of sun and surf and
playing a brand new batch of songs live, Tracey and Missy were also
quite aware of just how far they've come during the last few years.
"Did you see we passed a Birmingham Drive and a Manchester
Avenue on our way down here to San Diego?" Tracey asks Missy as the
three of us walk to a restaurant across the street from the venue.
"Yeah," Missy responds, to which she quickly adds "there was also a
town called Cardiff-By-The-Sea, too."
Despite the miles, memories of a decade in Britain are quite
near to these California natives. After relocating to London in the
mid-eighties, Tracey and Missy formed Voice of the Beehive with a few
blokes and soon got signed to London Records (part of PolyGram). Their
1988 debut album _Let It Bee_ was full of aggressive, edgy guitar-driven
pop songs fueled by a bizarre sense of humor and fashion. The more
refined, but equally catchy _Honey Lingers_ followed in 1991 to fans'
delight. But soon afterward the Beehive began to fall apart. Drummer
Woody returned to his previous band Madness, the other guys drifted
away and the band was released from their record contract. Around the
same time, Tracey and Missy lost the men in their personal lives when
love relationships when awry. It was only by comforting and supporting
each other the way sisters and best girlfriends do during such crises
that Tracey and Missy were able to recover from such painful stings.
Last year, the Beehive duo returned to the studio and recruited
producer Peter Vettese to help craft some new songs. The result is
_Sex & Misery_ (Discovery Records), a story of innocence lost and
independence gained.
Consumable: You've now permanently relocated to California.
How does it feel to be back here, with a new record label, a new record
and doing some live shows?
Tracey: It feels great!
Missy: It's like starting over.
T: Definitely.
M: This is really the first proper gig and the band is new. I
just want us to be our best and I feel that in England people knew what
we were about. Here I hope they understand the humor in the band. I
hope that they get the message. I always thought America would love the
band.
C: I understand the new record (_Sex & Misery_) was actually
released in Britain months before it was released here in April.
T: Yeah. We did "Angel Come Down" [as the first single] thinking
Britain, mellow, beautiful pop tune, they were gonna love it. Well,
everybody was going, 'where is the Beehive, this doesn't sound like
the Beehive.' We were surprised. We thought they'd go 'wow, this is
very different and brave."
M: We wanted to comeback with like 'whoa, who's that? It's
the Beehive? Oh, my God!' But it totally backfired. It could have
been brilliant though.
T: The only way you know is if you try.
M: So we came here and since that didn't work [we thought
we'd do it] with a proper pop song now.
C: And that song would be "Scary Kisses."
M: Yes, and it's a totally fun song. It's like summer, with
the top down, driving down the road. And I like the second single,
too, which is "So Hard."
T: Even from the beginning "Scary Kisses" just takes off
[imitates the opening chords of the song]. Missy always says it reminds
her of our song "I Say Nothing" from the first record with that bright,
glistening kind of sound.
M: That's true. But overall, this album is different from the
first two records because they were written on guitar and this one was
written on keyboards.
C: One of the things I noticed that's different about this
album is that the lyrics seem much more complex than they appear on
the surface. Like the song "Playing House," for instance. What's the
story behind that song?
T: It's about men who have been swindled or gently connived
into marrying when they really didn't want to. And then, when things
aren't going too well, their women get pregnant. Then they [as a couple]
are not really happy. And then the whole sick thing starts.
C: So, playing house, which is something so fun and childish
becomes something so adult and serious.
T: Yes, that's it! That's the spin, that's the twist.
M: Why, Tracey, I didn't even know you did that with the song!
She's just brilliant, isn't she?
C: You're also writing with a few other people this time around.
What led to the collaboration with Andy Partridge of XTC on "Blue in
Paradise?"
T: Our manager called and said do you want to write a song with
Andy Partridge. And I said no. But then I panicked because I thought
he's one of the best songwriters, really, a brilliant pop songwriter.
I thought "what could I contribute?" But I thought I'd give it a try and
learn from him, which I did. It was like a songwriting, eight-hour
crash course. Andy and I literally worked on the music side by side and
then I took it away and did the lyrics.
C: And what was the process for the rest of the new songs?
T: On the rest of the songs, our producer Pete did a good part
of the music and then I would take it home and work on the lyrics.
M: And then I would get the songs and work on the harmonies.
C: There's so much going on on this new record - a variety of
instruments and sounds and more complex lyrics. Does it reflect what
you were going through personally during the past few years?
T: The records all seem like journals. Especially on this third
record, it kind of closes that chapter, horrible chapter in my life.
C: Was it therapeutic in that sense?
T: Oh, absolutely.
C: So, how does it feel to constantly keep opening your journal and
reading aloud from it when you perform live?
T: That's exactly what it is.
M: It isn't really a problem for us, though, because the songs are
positioned in a really manic, upbeat set. We're doing more upbeat tunes
from the album than the sad ones. And even though "Heavenly" sounds sad,
it really is such a joyful song.
T: "Heavenly" is just such a comforting song. I just love to sing it
because I can relive all the joy of what the song is about. And songs like
"I Say Nothing" [from _Let It Bee_] I just love playing again. And "Beat
of Love" [also from _Let It Bee_] is fresh now because we haven't played it
in several years.
C: Voice of the Beehive had a sizable college audience when the
debut record _Let It Bee_ came out. Do you think some of those listeners
will turn up at shows?
T: I think so. I think also the good thing is that this record
is more grown up and more sophisticated. Our audience has grown just like
we have.
M: Our music still has the lyrical sass that attracts youth.
We'll still have fans that age [late teens], but I think slower songs
like "Angel Come Down" and "Moonblind" will appeal to older people.
C: You mentioned youth. What was it like for the two of you
as kids, growing up?
M: We used to fight so badly.
T: There was a lot of tension in the house when we were growing
up there.
C: So how did things change?
M: I'll tell you how things changed. I went to boarding school
and Tracey went to college and we were separated. I'm four years younger
than her. Anyway, we would turn up at Christmastime with virtually the
same outfit on, the same tapes in the back of the car, and it was just
uncanny.
C: And since then you've been on the same wavelength.
T & M: Right!
C: With all the ups and downs of the final years in London, was
there ever any point when you thought you might lose each other?
M: No, oh my god, no.
T: We're stuck together forever.
Tracey Bryn and Missy Belland may be older, wiser and more free, but
they're still able to deliver that unique brand of honey pop that is Voice
of the Beehive.
---
REVIEW: Ash, _1977_ (Reprise)
- Tim Hulsizer
Last year, Reprise released _Trailer_ by Ash. It was hardly
more than an EP (clocking in at just over thirty minutes) but it
represented a start in America. You see, although Ash is huge in the
UK (they hail from Ireland), almost nobody in America seems to know
about them. They sell out huge venues in Europe, they win poll after
poll in the pages of NME, etc. However, the closest they have come
in the States is having the song "Kung Fu" appear in the soundtracks
to _Angus_ and Jackie Chan's _Rumble in the Bronx_. The latter
appearance also spawned a great little video, mixing scenes
from the movie with Ash's fantastic live presence. The song itself is
innocuous lyrically but quite potent sonically. Lines about loving kung
fu movies and Jackie Chan are sung over a searing, hook-filled guitar
line, creating what turned out to be one the highlights of 1995 for me
and my friends.
Ash are back, and this time you had better take notice. 1996 shows
the band (Tim Wheeler on vocals/guitar, Mark Hamilton on bass, and Rick
McMurray on drums) in fine shape. Wheeler's lyrics, ranging from wacky
sci-fi tales ("Day of the Triffids" from _Trailer_) to tender love songs,
are just beginning to bloom fully and the band sound resplendent in
their slightly fuzzy style. The new album, titled _1977_ after the year
Star Wars was released, is every bit as fun and catchy as the first one.
In addition to fantastic, energetic romps like "Lose Control" and "Kung
Fu", it also ventures into the realm of love songs.
Tim Wheeler is the "sensitive guy" in the group, the one who writes
most of their material and prefers to croon rather than scream his
words. Nowhere is this in better evidence than on tracks like "Girl From
Mars". The song starts quietly enough and doesn't waste time getting to
its hook, as Wheeler sings "Do you remember the time, you were a girl
from Mars? I don't know if you knew that/Oh we stayed up late playing
cards/Henry Winterman cigars/And you never told me your name/I still love
you Girl From Mars". At this point, the rest of the band kicks in
noisily and a masterpiece of lovesick youth ensues. All of Ash's best
songs revolve around that heartfelt ideal of young love, and nobody
sounds more convincing than the still-teenage Wheeler. His voice is
high, decidedly unlike Barry White for example, and when he's writing about
a girl, watch out.
_1977_ continues on in great fashion, and other highlights (UK
singles all) include "Goldfinger", "Oh Yeah", and "Angel Interceptor".
The latter is another of that quiet/loud/quiet style, and it also goes for
the mushy stuff ("Don't you know that I'm in heaven with you/tomorrow
you're coming home", etc.) It's a very cohesive, fluid album. The wash
of guitar, the melodic basslines, and the relentless drums all combine to
draw the listener onward. By the time it's over I find myself saying,
"Hey is that it? Let's pop that sucker in again." The guys in Ash never
takes themselves too seriously, either. One need only read their
interviews to realize that. Need any further proof? Check out the
"hidden track" at the end of _1977_. It's a charming little recording
called "Sick Party", in which Mark, Rick, Tim, their producer Owen Morris
and some friends all got a bit drunk and recorded themselves...er,
spilling their guts, so to speak.
Certainly this album won't appeal to your typical angry grunge
devotee, but I think pop fans will be in heaven and it won't be long
before young American girls join the screaming masses across the ocean.
This band just keeps getting better and better. The songs get catchier
(if that's possible), the live sets get tighter, and the lyrics get
more mature with every try. In the UK at least, it seems Ash are poised
to take over the pop scene. _Select_ magazine listed the 100 most
important days of 1995 and chose the day that Tim Wheeler finished high
school as one them! In an interview, Hamilton said, "Before we break up,
we'll have recorded at least one classic album." If they broke up
tomorrow, I believe that statement would already ring true.
---
REVIEW: Soundtrack, _The Crow: City of Angels_ (Miramax/Hollywood)
- Sean Eric McGill
The soundtrack for _The Crow_ helped to set the standard by
which soundtrack success is measured today. Oh sure, we knew that a
soundtrack to something like _The Bodyguard_ could sell, propelled
mainly by the mainstream clout of the artists - but a collection of
songs from bands like Pantera, My Life With The Thrill Kill Kult, and
Rollins Band? Well, it did sell - and it sold well - perhaps doing
more for the film in terms of promotion than the death of Brandon Lee.
So, when the sequel for The Crow was announced, the next
soundtrack was inevitable. And in many respects, the soundtrack for
_The Crow: City of Angels_ is a worthy successor to its predecessor.
It certainly has that edgy "alternative" feel to it, with artists like
PJ Harvey, Hole, and Iggy Pop (who also has a staring role in the film)
lending their talents to the proceedings.
Overall, the album works. As with the original soundtrack,
newer acts like NY Loose share time with established groups like Hole,
and the general feel of the album reflects what we can only assume the
film's atmosphere will be. I mean, let's be honest here - nobody
really expects this film to be bright and sunny, do they?
There, perhaps, is one of the problems with the album. It
almost seems as if they used the first soundtrack as a template for
this one. Can't get The Cure back for your dark, brooding song? Then
get Bush (?!?!), with "In A Lonely Place", a song that fits that
spot perfectly. Need something along the lines of Jane Siberry's "It
Can't Rain All The Time"? Get Linda Perry and Grace Slick to come in
and do "Knock Me Out".
But there is one major difference between this soundtrack and
the soundtrack to _The Crow_, and it's not necessarily a good one in
term of sales. On _The Crow_, there was a little song called "Big
Empty" that got much radio and helped to boost sales of the album -
which of course translated into ticket buyers for the film. But on
the soundtrack for _The Crow: City of Angels_, there is no such hit.
Sure, Hole is getting good rock and alternative radio with "Gold
Dust Woman", and odds are Toadies "Paper Dress" will also make a good
single. But mass market radio will not warm up to any of the tracks
on this album like they did for "Big Empty".
Why? Well, most of the bands on the album that could get
airplay aren't doing their usual shtick. White Zombie does K.C. and
the Sunshine Band's "I'm Your Boogie Man", but after about the fifth
listen, the novelty has worn off. Tried and true radio acts like
Bush step a bit off their own beaten path with "In A Lonely Place",
and it's probably not a direction most of their fans will want to go in.
I'm not saying that this is a bad thing. But let's all be
honest with ourselves here - as a movie, The Crow: City of Angels has
a couple of strikes against it before it even gets into the batters
box. There is a general feeling of skepticism about this movie that
has been sitting around quietly simmering since it was announced
last year; the only time it ever boiled was when it was announced
that Jon Bon Jovi was up for the lead although that could have
produced a radio hit had he gotten the part.
But when looked at as an album instead of a marketing tool,
the soundtrack for _The Crow: City of Angels_ does work. The songs
do - for the most part - flow together well. But is it as good as
the soundtrack for _The Crow_? Alas, no. But then again, the movie
probably won't be, either.
---
REVIEW: Fifteen, _SURPRISE!_ (Grass)
- Eric Hsu
When I first heard this CD, I hadn't been to any East Bay punk
shows in a long time and I had been trying hard to like the recent
Ammonia and Local H CDs (incredibly mediocre grunge), at least enough
to review them, and ended up feeling just sick to death of music. Anyway,
when I put in the Fifteen disc _SURPRISE!_, I can't describe how
refreshing and alive the music sounded. There is such personality in
the disc, and such energy. Even tired energy is thrilling if it's
genuine, and that's what you get on this disc, tired-genuine energy.
I think you owe this disc a try if you've lost hope in music,
especially if you don't get regular exposure to good hearty punk. You
know who you are.
Fifteen played their final show a couple of months ago at
Gilman, and it was packed. It was a great scene: daylight, punks of
every stripe, old-timers and newer faces lined up (literally) around
the block to try to squeeze into the show, and all under the skeletal
shadow of a half-started brew-pub across the street. Gilman fought
the licensing of the brew-pub for a long time, with a number of good
well-reasoned arguments, but the main point was that the brew-pub was
the leading edge of a gentrifying wave that was going to wipe Gilman
out as a safe refuge where punks could be punk and have a scene and
gossip and fight and basically be left in peace. Of course, the
Berkeley City Council loves yuppie businesses and wishes punks would
grow their hair and get jobs, and that's how the large metal
frame came to be erected, I-beams piled like a grave marker.
Fifteen has been around for a long time, long enough to have
some kind of credibility among most people, not only among the punks
but also the activists, since they played a lot of benefits at
People's Park (an admirable crossover). Everyone knew who they were
and had respect for them, but I didn't know anyone who had really gone
to their shows. Some old-timers didn't like their music, some thought
they had gotten weird ("That last show was really weird... Jeff just
rambled on in a psychotic way... I think his girlfriend is screwing
him up."), some thought their music was stuck in a rut. Pretty much
everyone seemed to take them for granted, which is probably why
their last show was such an event.
Reportedly, the breakup was friendly and Jeff wanted to move
on to other things. Their three-piece sound visits Descendents
territory, maybe with some Fang and Minutemen flavor. No matter how
you cut it, it's the essence of the East Bay sound, which makes it
really easy to ignore as long as the scene is thriving, or even if
it's stagnating, since scenes tend to stagnate around their center
of gravity, when the once-living heart becomes orthodoxy.
The songs are good, and very political, but fatigued at the
same time. There are intelligent songs against violent cops,
killing Indians, AIDS-spreading, which are also moral songs. The songs
are fueled with a sense of social justice and responsibility, about
revolting and not just rebelling. But ultimately, they're defeated
and about survival and retrenchment. "I wanted a way out, but I didn't
want to die," Jeff yells, which is a good example of the
positive-in-the-face-of-despair mood that pervades the album. "We
are in the mid/late-stages of the coming fascist dictatorship," writes
Jeff. If that sentence has no meaning for you, skip this record.
There are songs about old friends becoming cops, dumb drugged out
rebels, and in the big picture, being an activist when the evil is
winning all over in spades.
There's no doubt that some of the weariness of the record
(and the scene as a whole) comes from the super-mega-success of Green
Day, and the baby-mega-success of Rancid. But even in a song about a
Husker Du, criticizing "They traded gold for what they had inside,"
they also say, "They probably never knew that they kept one scared
kid alive." I have a lot of respect for this record, especially for
its attitude. It constantly finds the energizing and valuable side of
negativity. After all, if something makes you really angry or really
sick, there is something there that you cared deeply about, and Fifteen
sings about those things.
The funny thing is I no longer have any urge to play the disc.
The songs are strong, sometimes beautiful, but somehow it's so much in
the air in the East Bay that playing the sounds of the grinding guitars
seems redundant. But now that the Gilman scene is choking to death,
maybe someday this will be an important historical document. No one is
going to buy this as sanitized danger a la Green Day or Rancid. There's
simply not enough exposure. But I'm glad they existed and I'm glad they
made this record, and I think it could be important for some people out
there, it might keep "one scared kid alive."
I'll let Jeff sign-off with his fatigued and mature take on the
(unwelcome) East Bay punk successes: "I think we have better things to
do than write letters to MRR and gossip about who showed up on MTV... No
punk band is going to spontaneously generate the revolution, change is a
lifelong process, made up of all of us. Who cares if "Bad Rancid Day
Breaker" sold, I think we (and that includes me) are just hurt that a
connection that we had with a band that we owned half of (the connection
that is) got sold to the highest bidder. Life's better down here in the
real world anyway."
---
REVIEW: Sleeper, _The It Girl_ (Arista)
- Bob Gajarsky
On their second album _The It Girl_, the British group Sleeper
manages to avoid the sophomore slump and produces yet another solid
record.
The band's first full-length album, _Smart_, was a major
hit in the group's homeland, but could only garner success at
American modern rock and alternative stations. The followup seems
likely to follow the same path, but continues to explore
new territories and directions.
The title is a gentle poke at the trend of having one token
woman each year (or decade) in the spotlight - the wartime Betty
Grable (with the infamous pose over her back) personifies the "It"
girl of the 1940's.
On the musical spectrum, Sleeper fall somewhere in between
the Cranberries and Echobelly - rocking harder than the O'Riordan
clan, but never capturing the searing guitar prolific in Glenn
Johannsen's playing. The big hit, "Sale of the Century" captures
some of the Smiths airier moments, a la "Ask". The Smiths comparison
shouldn't come as a complete surprise; _The It Girl_ was produced by
Stephen Street, who has also worked with the Smiths. And is that a
Smiths lament in "Dress Like Your Mother", where lead singer Louise
Wener sings that "you sold your old punk records / read the book
instead / you lost your sense of humour / but you kept the queen
is dead"? In a lyric sheet where the only capitalized word is London,
it's hard to say.
Though the album may be a bit difficult for American
audiences to swallow, other tracks to check out include "Nice Guy Eddie"
and "Stop Your Crying". _The It Girl_ is another delicious treat for
the followers of Britpop.
---
REVIEW: Vernon Reid, _Mistaken Identity_ (550 Music/Epic)
- Reto Koradi
Facing Vernon Reid's first solo album with expectations of
finding another Living Colour album would be a very wrong thing to
do. Here is proof that the split was not caused by profane reasons
like personal differences or even wanting to earn more money, but by
at least one musician striving to step into different musical
territories. For Reid, this partly means going back to his roots in
jazz and funk.
_Mistaken Identity_ is anything but a fast food album; it
comes along as quite of a challenge to the unprepared listener. Large
parts of it are instrumental; something such as a simple melody is
nowhere to be found. Only repeated listens start to reveal hooks in
the complex soundscapes. The most accessible tracks, like "CP Time"
or "Saint Cobain", are characterized by a groundwork of percussions,
strong bass, rap vocals, and Reid showing his muscles on the guitar,
almost the only instances reminding of his past with Living Colour.
Other tracks like "Lighnin'" have a prominent blues feel, with
beautifully whining guitars, yet others are almost pure jazz. Another
characteristic of _Mistaken Identity_ is lots of creatively used
samples. As so often occurs, the names of producers give a clear key
to an album: besides Vernon Reid himself, these are Teo Macero, who
has previously worked with jazz greats like Miles Davis, and Prince
Paul, who produced De La Soul's masterpiece _3 Feet High And Rising_.
Vernon Reid's _Mistaken Identity_ may catch some buyers on
the wrong foot, and will most certainly be less commercially successful
than the platinum-selling Living Colour albums. But listeners taking
their time to explore it will be richly rewarded. Here is a remarkable
album made by highly gifted and dedicated individuals, perfectly
produced, with new things to be discovered in every listen. Time will
tell how it will hold up, but chances are that we are witnesses of
what might once be considered an essential release by many.
---
REVIEW: Republica, _Republica_ (RCA)
- Bob Gajarsky
Trash-pop gets a revival on the self-titled debut album by
the British five-piece group, Republica.
Fronted by the the Nigerian woman Saffron, this eleven track
album flirts with the alternative and dance scenes while combining
the best of both those worlds. The infectious leadoff single "Ready
To Go" is represented on here in both the American and UK versions;
the British one is much fuller, and more exciting; the American
almost seems a safer musical track.
Where some folks might sneer at the term "trash-pop", to me
it indicates a catchy sound, without deep lyrical, save-the-world, meaning.
Sigue Sigue Sputnik didn't have much of a second album, and neither
did Shampoo - both of these bands fall in the trash-pop genre. But
for a brief moment, both groups caused quite a sensation on the
European charts. Even Republica's drummer - Dave Barborossa (formerly
with Bow Wow Wow and Adam Ant) - adds some validity to the
characterization.
What's Republica got that these two groups didn't? A real
band, and a beating soul within that band. Saffron has previously
worked with the Shamen, Jah Wobble and Mark Moore, and has obviously
gained from those experiences; "Get Off" is a sure-fire techno club
hit, and "Bitch" (a likely second single) stays the same course
as "Ready To Go" while bearing reminders of the Farm and Shamen's "Move
Any Mountain".
For those looking to have fun, and looking for a disc to
pop on before going to the nightclub, _Republica_ fits the bill.
---
REVIEW: Grant Lee Buffalo, _Copperopolis_ (Slash/Reprise)
- Linda Scott
Grant Lee Buffalo toured with big name admirers Pearl Jam and
R.E.M., but they haven't yet racked up the sales figures to match their
critical endorsements. Third album, _Copperopolis_, could follow the
same path of being critically praised but not a big seller. Grant Lee
Buffalo remains true to its principles while the CD buyer walks out of
the shop with the latest Hootie disc.
For the unacquainted, Grant Lee Buffalo is a trio (that sounds
bigger) whose emphasis is on Dylanesque lyrics. Every song tells a
story in lyrics that can require several listenings. On _Copperopolis_
topics for the socially conscious listener include the growing U.S.
militia movement ("Homespun"), the cost of sustaining convictions in
the face of the opposition ("Even the Oxen"), and brutal response to
disturbances ("Crackdown"). Another track deals with the anxiety of
living today ("Comes to Blows"), the fear of earthquakes in L.A.
("Hyperion and Sunset"); well, you get the idea. The band continues
with their brand of introspective folk rock that perfectly supports these
songs.
The question of whether there is a large audience for this kind of
moody album remains to be answered. Grant Lee Buffalo seems to have
found its niche, however popular or unpopular, and seem unlikely to
throw away principles to boost record sales. If you're already a Grant
Lee Buffalo fan, _Copperopolis_ is a must have. The band has grown
and developed a deeper, more intense style. Also fans of folk rock
reaching way back to early Dylan should try this one. If you aren't
an ardent fan of the band or folk rock, you might be surprised at what
kind of new music you might like. This is an album you'll need to
spend some time with. Lyrics are included for assistance, but some
thought is required for the meanings. So, the socially conscious,
more intellectual listener should give _Copperoplis_ a try. These
guys are quite good. Would Pearl Jam and R.E.M steer you wrong?
---
REVIEW: The Reverend Horton Heat, _Martini Time_ (Interscope)
- P. Nina Ramos
Without so much as a "Hello, we are..." the Reverend kicks out
the tunes. The one and only party twist-n-whirl comes at you live and
in stereo. _Martini Time_ is a rockabilly run from the past, present
and future. With a new drummer, Scott Churrilla, the Reverend is
*really* back, and I don't think he'll be disappearing any time soon!
From the mind of Thom Panunzio, (whose past projects include
John Lennon, U2 and Rocket From The Crypt) you'll find a collection
of agreeable lunacies. "We thought we'd try someone who wasn't a rock
star for once..." The Reverend was happy to settle down for a change.
The session went without incident (apparently, there's usually some
level of chaos) and provided a happy result for all.
The title track is a fabulous way to have yourself a fancy time.
And the delirium of "Generation Why" will spin around and fall right at
the feet of mercy.
The second half of the experience takes a turn for the old time
goodness that is their trademark. Good, clean, *hard* fun. With titles
such as "Crooked Cigarette", "Rock the Joint" and "Cowboy Love" there
is no room for doubt where the Reverend intends on leading the listener.
So pick up your favorite glass, fill it to the brim with fun
and hold on to your hat. This is one party you won't want to miss!
---
REVIEW: Lizard Music, _Lobster T._ (World Domination)
- Al Muzer
A delightfully-loopy collection of Lizard Music recorded way
back in 1993 (including "Sugar Blackout," "She's Humming Too" and "The
Hat Song" from Cozy Comfort For Slumber Parties); this New Jersey based
band's eclectic, smarty-pants pop brings to mind foggy-eyed versions
of XTC, 10CC, Steelers Wheel, Lennon & McCartney and Van Duren after a
particularly rough weekend spent 'round the keg. Actually better (as if
that were remotely possible) than last year's unusually-fine _Fashionably
Lame_.
---
NEWS: > The independent Massachusetts label Dahlia has jumped
on the Web; their site is located at http://world.std.com/~dahlia
> 510 Records is on the World Wide Web, located at the
site http://www.510records.com
> L7's bassist, Jennifer Finch, has left the group to
return to college. L7 is still working on their forthcoming album,
_The Beauty Process - Triple Platinum_, which is set for
release in early 1997. Finch's contributions will be included
on the album.
> England's weekly music newspaper, NME, is now on the
Web at http://www.nme.com
> Fans who won tickets to see Oasis' live acoustic concert
in London were disappointed when lead vocalist Liam Galagher failed
to sing at the performance, citing a sore throat as the reason.
Brother Noel took the lead on the concert, whose public airing future
is uncertain.
In addition, Liam has pulled out of the group's current
U.S. tour because of the throat problems and (seriously) looking for
a new house, sparking rumours of possible litigation against the
band.
> German rock singer Rio Reiser died Tuesday, August 20 at the
age of 46. Reiser became popular as head of the band "Ton, Steine,
Scherben" and started a solo carreer in the early 80s, with hits such
as "Alles Luege" or "Koenig von Deutschland", and also played some
roles in movies. Reiser had to cancel a recent tour due to health
problems and died of inner bleedings in his farm house in Northern Germany.
He had planned to record a new album in September.
> The Stone Roses have announced that Aziz Ibrahim, formerly
with Asia and Simply Red, has replaced John Squire as guitarist for
the group. The band is in the studio working on their third album,
which has an expected 1997 release date.
---
TOUR DATES
Barenaked Ladies
Aug. 29 Houston, TX Numbers
Aug. 30 Dallas, TX Deep Ellum
Aug. 31 Austin, TX The Backyard
Sep. 1 New Orleans, LA The House Of Blues
Sep. 5 Scarborough, ON Centennial College
Sep. 6 Niagara, ON Niagara College
Block
Sep. 1 Bridgewater, PA Thursdays
Sep. 4 New York, NY New Music Cafe
Sep. 6 Syracuse, NY Happy Endings
Bryndle
Aug. 29 Yosemite, CA Strawberry Fall Music Festival
Cardigans / Cake
Sept. 5 New York, NY Roseland
Chainsaw Kittens
Sept. 5 New York, NY Cooler
Chimera
Aug. 28 San Francisco, CA Paradise Lounge
Citizen King
Sept. 2 Milwaukee, WI Maritime Days Festival
Cordelia's Dad
Aug. 31 New York, NY Bottom Line
Sep. 5 South Hadley, MA Common
Sep. 6 Northampton, MA Fire & Water
Elvis Costello
Aug. 28 Universal City, CA Universal Amphitheatre
Aug. 30 Berkeley, CA Greek Theatre
Sep. 1 Seattle, WA Paramount Theatre
Cravin' Melon
Aug. 29 Clemson, SC Tiger Town
Aug. 30 Wilmington, NC The Manor
Aug. 31 Hilton Head, SC Castaways
Sept. 1 Isle 'o Palms, SC Windjammer
Sept. 5 Greenwood, SC The Griffin (t)
Def Leppard / Tripping Daisy
Aug. 28 Irvine, CA Irvine Meadows
Aug. 30 Sacramento, CA Cal Expo Grandstand
Aug. 31 Mountain View, CA Shoreline Amphitheatre
Sep. 2 Quincy, WA The Gorge
Sep. 3 Vancouver, BC GM Place
Sep. 5 Calgary, AB Olympic Saddledome
Sep. 6 Edmonton, AB Edmonton Coliseum
Ryan Downe
Sept. 5 New York, NY Don Hill's
Download
Aug. 29 Denver, CO Ogden Theatre
Aug. 31 Seattle, WA The Fenix
Downset
Sept. 6 New York, NY Roseland
Fleming & John
Aug. 29 Murfreesboro, TN Mainstreets
Aug. 30 Louisville, KY Butchertown Pub
Aug. 31 Columbia, SC Elbow Room
Sep. 1 Knoxville, TN Flamingo's
Fulflej / Frogs
Sept. 4 New York, NY Brownie's
Godplow
Aug. 29 Minneapolis, MN 7th Street
Sept. 4 Iowa City, IA Gunnerz
Sept. 5 Madison, WI Okay's
Sept. 6 Des Moines, IA Safari
Goldfinger
Aug. 28 Portland, OR Roseland
Aug. 29 Portland, OR Timber Bowl
Aug. 30 Seattle, WA Bumpershoot
Aug. 31 Vancouver, BC Pne Forum
Sep. 1 Rockford, IL On The Waterfront
David Gray
Aug. 28 St. Louis, MO Cicero's
Aug. 29 Milwaukee, WI Shank Hall
Aug. 31 Cleveland, OH Taste of Cleveland
Hayden
Aug. 28 Stockholm, SWE Palladium (w/Weezer, Posies)
Aug. 29 Oslo, NO Santrum
Aug. 30 Lund, SWE Mejeriet
Aug. 31 Copenhagen, DEN Grey Hall (w/Neil Young, Oasis)
Sep. 1 Hamburg, GER Logo
Sep. 3 Munich, GER Backstage
Sep. 4 Modena, ITA Festival Del Unita
His Name Is Alive
Aug. 29 Austin, TX Cactus Cafe
Aug. 30 Houston, TX Urban Art Bar
Aug. 31 Dallas, TX Poor David's
Sep. 3 Phoenix, AZ Stinkweed's
Sep. 4 San Diego, CA Casbah
Sep. 5-6 Los Angeles, CA Luna Park
It's Me, Margaret
Aug. 29 Los Angeles, CA Petterson's
Keeta Speed
Sep. 4 New York, NY Spiral
Nusrat Fateh Ali Khan
Aug. 29 Montreal, QC St. Denis Theatre
Aug. 30 Washington, DC Warner Theatre
Kiss / Hunger
Sep. 4 Boise, ID BSU Arena
Sep. 5 Salt Lake City, UT Delta Center
k.d. lang
Aug. 28 Boston, MA Harbor Lights Pavillion
Aug. 29 Wantagh, NY Jones Beach
Aug. 31 Holmdel, NJ Garden State Arts Center
Sep. 3 Vienna, VA Wolf Trap
Sep. 5 Myrtle Beach, SC Palace Theatre
Sep. 6 Atlanta, GA Chastain Park Amphitheatre
Huey Lewis & The News
Aug. 28 Louisville, KY Palace Theatre
Aug. 29 Kokomo, IN Kokomo Memorial Gymnasium
Sep. 1 Virginia Beach, VA American Music Festival
Little Feat
Aug. 28 Devon, PA Valley Forge Music Fair
Aug. 29 Hyannis, MA Cape Cod Melody Tent
Aug. 30 Cohasset, MA South Shore Music Circus
Aug. 31 Ossippee, MA Sias Farm
Sep. 1 Beverly, MA North Shore Music Theatre
Sep. 2 Vienna, VA Wolftrap
Sep. 6-8 Lake Tahoe Harrah's
Manic Street Preachers (see Oasis)
Sep. 3 Hoboken, NJ Maxwell's
Sep. 5 New York, NY Wetlands
Metal Molly
Sep. 6 New York, NY Under Acme
Neurotic Outsiders / Fluffy
Sept. 5 New York, NY Webster Hall
Sept. 6 Boston, MA Mama Kin
Sept. 7 Washington, DC Bayou
No Doubt
Aug. 28 Ybor City, FL Rubb
Aug. 30 New Orleans, LA Howlin' Wolf
Aug. 31 Austin, TX Liberty Lunch
Sep. 1 Dallas, TX Deep Ellum Live
Oasis / Screaming Trees / Manic Street Preachers
Aug. 28 Dayton, OH Hara Complex
Aug. 30 Auburn Hills, MI Palace of Auburn Hills
Aug. 31 Toronto, ON Molson Park
Sep. 2 Philadelphia, PA Corestates Center
Sep. 6 Worcester, MA Centrum
Pantera
Aug. 28 Albany, NY Knickerbocker Arena
Pee Shy
Sept. 7 New York, NY CBGB's Gallery
Poorhouse Rockers
Aug. 29 Fells Point, MD Horse You Rode In On
Aug. 31 Fells Point, MD Leadbetter's
Primitive Radio Gods
Aug. 28 Washington, DC 9:30 Club
Aug. 29 College Park, MDUniversity Of Maryland, MD Hall
Aug. 31 Atlanta, GA The Point
Sept. 1 Birmingham, AL The Nick
Sept. 3 New Orleans, LA Howlin Wolf
Sept. 4 Houston, TX Satellite Lounge
Sept. 6 Austin, TX Electric Lounge
Reel Big Fish
Aug. 30 Ventura, CA Nicholby's
Aug. 31 San Diego, CA SOMA
Scout
Sep. 3 New York, NY Brownies
Sepultura / Far
Aug. 28 Buffalo, NY Ogden Street Concert Hall
Aug. 30 Pittsburgh, PA Metropol
Aug. 31 Asbury Park, NJ Stone Pony
Sep. 1 New York, NY Limelight
Sep. 6 Minneapolis, MN First Avenue
Sex Pistols / Gravity Kills
Aug. 29 Portland, OR Timber Bowl
Aug. 30 Seattle, WA Bumpershoots
Aug. 31 Vancouver, BC PNE Forum
Speedway
Sep. 4 New York, NY Downtime
Voice of the Beehive
Aug. 31 West Hollywood, CA Billboard Live (w/Slush)
Young Dubliners
Aug. 29 San Diego, CA Belly Up
---
UPDATE: Due to legal considerations, the group formerly known
as Hot Water Music has dropped the word "Music" from their
name, renaming themselves as simply Hot Water.
---
THE READERS WRITE BACK!
I knew zilcho about Chimera before the article in the
August 6 issue of Consumable, but after reading Bob's review, I
became interested. I was one of the lucky five that won the
Chimera EP in the contest, and having just listened to it, I'm
now a fan (and will soon be picking up _Earth Loop_). Big
thanks to both Grass Records & Consumable for exposing me to them.
Here's hoping they're able to tour the Boulder/Denver area.
- J.D., Boulder, CO
---
To get back issues of Consumable, check out:
FTP: ftp.etext.org in the directory /pub/Zines/Consumable
ftp.prouser.org
Gopher: diana.zems.etf.hr
Engleski Jezik/Music/Consumable or
Hrvastki Jezik/Glazbena Rubrika/Consumable
(URL) gopher://diana.zems.etf.hr:70/11/eng/Music/Consumable
http://www.westnet.com/consumable/Consumable.html
(WWW) http://www.westnet.com/consumable
(CIS) on Compuserve Notes: GO FORUM
(Delphi) Music Fandom forum; GO ENT MUSIC
Web access contributed by WestNet Internet Services (westnet.com),
serving Westchester County, NY.
Promotional support provided by Music Interactive
(http://musicinteractive.com), a free online resource for aspiring musicians
and other music professionals seeking to expand their careers, networking,
music skills and scope.
Address any written correspondence to Bob Gajarsky, Consumable Online,
409 Washington St. #294, Hoboken, New Jersey 07030
===
