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Consumable Online Issue 167
== ISSUE 167 ==== CONSUMABLE ONLINE ======== [February 1, 1999]
Editor: Bob Gajarsky
E-mail: editor@consumableonline.com
Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim
Kennedy, Tim Mohr, Al Muzer, Joe Silva, Lang Whitaker
Correspondents: Christina Apeles, Niles J. Baranowski, Tracey
Bleile, Lee Graham Bridges, Jason Cahill, Patrick
Carmosino, Krisjanis Gale, Paul Hanson, Chris Hill,
Eric Hsu, Tim Hulsizer, Franklin Johnson, Steve
Kandell, Reto Koradi, Robin Lapid, Linda Scott,
Scott Slonaker, Kerwin So, Chelsea Spear, Simon
Speichert, Jon Steltenpohl, Simon West
Technical Staff: Chris Candreva, David Landgren, Dave Pirmann
Address all comments to staff@consumableonline.com ; subscription
information is given at the end of this issue.
==================================================================
All articles in Consumable remain (C) copyright their author(s).
Permission for re-publication in any form must be obtained from the
editor.
==================================================================
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| Contents |
`------------'
REVIEW: Gigolo Aunts, _Minor Chords And Major Themes_ - Bill Holmes
REVIEW: Sandra Bernhard _I'm Still Here. . . Damn It!_ - Joann D. Ball
REVIEW: Fish, _Kettle of Fish 88-98_ - Dan Birchall
REVIEW: Seal, _Human Being_ - Simon West
REVIEW: The Hope Blister, _...smile's ok_ - Chris Hill
REVIEW: Various Artists, _Real - The Tom T. Hall Tribute_ - Chelsea Spear
REVIEW: Snakefarm, _Songs From My Funeral_ - Chris Hill
REVIEW: Wagon Christ, _Tally Ho!_ - Tim Hulsizer
REVIEW: The Hollowbodies, _Viva La Dregs_ - Bill Holmes
REVIEW: Various, _Blastered: A Musical Tribute to the Blasters_ - Daniel Aloi
REVIEW: The Stone Coyotes, _Church Of The Falling Rain_ - Bill Holmes
REVIEW: Hazeldine, _Orphans_ - Daniel Aloi
REVIEW: Emilia, _Big Big World_ - Franklin Johnson
REVIEW: Thom MacFarlane, _Gone So Long_ - Al Muzer
NEWS: Candlebox, Fatboy Slim, KMFDM
TOUR DATES: Afghan Whigs, Black Sabbath / Deftones / Pantera,
Bluetip, Cardigans / Kent, Dave Davies Kink Kronikles,
Eve 6 / Marvelous 3, 50 Tons of Black Terror / Groop
Dogdrill, Jets To Brazil, Kodo, Local H, Macha, Alanis
Morrissette, Ian Pooley, Rusted Root, Sloan, 12 Rods
THE READERS WRITE BACK!
Back Issues of Consumable
---
REVIEW: Gigolo Aunts, _Minor Chords And Major Themes_ (E
Pluribus Unum)
- Bill Holmes
Wow! Blasting back with their first full length record since
1994, the Gigolo Aunts have indeed made it worth the wait. Kicking off
with the arena-pop crunch of "C'mon, C'mon" (not the Cheap Trick tune,
but not a bad comparison either), the Aunts serve up a diverse platter
that takes the best elements of their past work (huge hooks, good
harmonies and bold guitar) and use them as a springboard for their
most solid work to date.
A few of the tunes roar right off the record. "Super Ultra
Wicked Mega Love" echoes bands like The Odds who are able to combine
power and finesse; "Fade Away" uses psychedelic sonics and a tasty
wah-wah pedal to great effect. "The Big Lie" (with vocal help from
guest Adams Duritz and Schlesinger - what, Sandler was busy?), like
many tracks, starts with an acoustic skeleton and then revs from zero
to sixty in ten seconds. "Lie", "Half A Chance" and "Everything Is
Wrong" are classic pop reminiscent of records from _Revolver_ to The
Jayhawks _Sound Of Lies_ and everything in-between.
Producer Mike Denneen, who did a masterful job with Jen Trynin's
_Gun Shy Trigger Happy_, applies a similar magic touch here. He mixes
Gibbs' breathy vocals up front on slower tracks like the hypnotic "You'd
Better Get Yourself Together Baby" (featured in TVs "Felicity") and
makes bassist Steve Hurley's vocal turn on "Residue" just as beautiful.
With its strong pop sensibilities and smart lyrics, _Minor Chords And
Major Themes_ is just as effective blasting from the speakers as it is
accompanied by a rainy sunset and a broken heart.
Although 1997's EP _Learn To Play Guitar_ seemed to lose the
momentum that _Flippin' Out_ generated, any doubts about this band's
talent have been cast aside. The song writing vastly improved, the
playing seamless, and Dave Gibbs' vocals have never sounded better. When
eight of the first nine tracks could easily be released as singles, you
know youre on to something.
If you have any other records you want to listen to, you'd
better play them now. Once this one gets in your player, it isn't going
to come out for a long, long time. An absolute stunner.
---
REVIEW: Sandra Bernhard _I'm Still Here. . . Damn It!_ (TVT)
- Joann D. Ball
A one-woman Broadway show for the price of a compact disc?
Damn right!
Sandra Bernhard defiantly declares _I'm Still Here. . . Damn
It!_ and proves just that on the seventy-three minute CD which
captures her current Broadway show. Ms. Sandra is overflowing with
attitude, sharp wit and sardonic observations about pop culture and
its icons. She gives us her take on the proliferation of telephones
(on the track of the same name), the natural ways of spiders on "Jazzy
Spider," and the editorial content of National Geographic on the short
but brilliant "Too Many Magazines." And on the funky spoken word and
house music number "On the Runway," Ms. Sandra explores the reactions
of self-centered supermodels like Naomi Campbell to the death of Gianni
Versace. And of course, a dance remix version of "On the Runway"
(which closes the release) has been released as a single and aimed at
the trendiest of danceclubs especially for the big fashion crowd.
Bernhard covers a lot of territory in her performance, but is
still at her absolute best when she offers keen insights into the women
of rock and roll. On _Without You I'm Nothing_, the 1988 Grammy
nominated album which captured her show of the same name, Ms. Sandra
spoke intimately of her obsession with Stevie Nicks. Ten years later,
the object of interest is Hole frontwoman Courtney Love and the story
is equally revealing. The track "Courtney Love" segues effortlessly
into "The Beautiful Women in Hollywood," which Ms. Sandra dedicates
to Goldie Hawn, Farrah Fawcett, Raquel Welch and even Cher, whom
Bernhard tags with special affection.
But it's the women of the Lilith Fair who are the special
targets of Bernhard's show. She dedicates almost seven-and-a-half
minutes deconstructing and critiquing Sarah McLachlan's female music
extravaganza. Proclaiming that she's had it with the waifish
alternative likes of Jewel, Alanis and Fiona Apple, Bernhard reveals
that she yearns instead for a return to the days of no nonsense
rockers like Joan Jett, Pat Benatar and her personal faves (and
friends) Ann and Nancy Wilson of Heart. And once again, Bernhard
uses the lyrics of the sisters Wilson to make her point that rock and
roll is supposed to be about edge, grit and living the words you sing.
Ms. Sandra finds similar streetwise sass and edge in some of the women
of R&B and hip-hop, championing Mary J. Blige, Lil' Kim, Salt-n-Pepa
and others in contrast to the butterfly-in-a-swimming pool known as
Mariah Carey. Immediately following "Lilith Fair" is the track
"Nightingale," a story and song delivered from the point of view of
Fleetwood Mac's Christine McVie after trading the arena stage for a
waitress/performer job in a Hollywood coffee shop. And yes, Bernhard
is every bit a songbird on the gentle, reflective number.
Whether commenting on the women in rock, "Romance and Drugs,"
her house painter, or her beloved Los Angeles, no one tackles the
topics of the day like Sandra Bernhard. She is a pop culture
commentator who's an expert on the subject because she knows it
inside and out. Forever raw, honest, straightforward and absolutely
hilarious, Bernhard never skips a beat in the songs and spoken word
pieces that comprise her Broadway show (which runs through February
28th). Believe her when she says _I'm Still Here. . . Damn It!_ 'cuz
she absolutely, positively means it.
---
REVIEW: Fish, _Kettle of Fish 88-98_ (Roadrunner)
- Dan Birchall
Don't let the label fool you - Fish isn't the latest heavy-metal
act. The former Marillion frontman, on his own for the last decade, is
either god or devil to long-time fans of his old band, and a rather
interesting fellow. There aren't many rockers about with backgrounds
in forestry.
Although his stylistic wanderings have taken him to some fairly
odd points in the musical continuum during his solo career - the song
"Brother 52" being a good example - Fish hasn't lost any of the
ability he displayed prior to 1988. He can still sound passionate
at any point in his broad dynamic range, be it a whisper to a shout,
and his passion is put to good use with lyrics from introspective
to accusatory.
This compendium serves up a baker's dozen of Fish songs, including
two new tracks. With sounds reminiscent of old Marillion, Peter Gabriel,
traditional jigs, and the occasional bit of electronic pop, it displays
the breadth of his work. All in all, a rather tasty morsel for new
fans who'd like to sink their teeth into some Fish, and a suitable
retrospective for existing fans' collections.
---
REVIEW: Seal, _Human Being_ (Warner Bros.)
- Simon West
Seal, it's worth remembering, actually began his chart career
in the _dance_ arena, as the uncredited vocalist on Adamski's 1990
classic single "Killer". The eponymous debut album was essentially a
dance record too, while follow-up singles "Hey Joe" and a revamped
"Killer" suggested Seal might be moving into a rockier, more
guitar-driven sound. He didn't, of course. He re-teamed with producer
Trevor Horn and took a wander down the 'adult contemporary' path. The
also eponymous second album was a huge success, the lushly produced
ballad "Kiss From A Rose" popping up on a Batman soundtrack and
earning three Grammys along the way.
Third album _Human Being_ has been a long time coming - and to
some great extent, it's really more of the same - naked artiste on the
cover, Trevor Horn's usual penchant for glossy over-production well to
the fore, humanist lyrics in attendance.
He seems to have forgotten the hooks this time around however,
which may well affect the success of the album. There's really nothing
as immediate here as the classic dance tracks "Crazy" and "Future Love
Paradise" from the debut, or the atmospheric ballads like "Prayer For
The Dying" from 1994's follow-up.
The first single "Human Beings" stands out as a strong opener
in the style of 1992's "The Beginning", and "When A Man Is Wrong" sees
Seal's voice leaping to the high register that is its true strength
over an effective acoustic guitar and piano arrangement backed by a
string section, but much of the rest of the album runs together as
undistinguished mid-tempo balladry, spiced up here and there with the
odd break beat or trip hop keyboard as a slight concession to Seal's
original arena, but otherwise unremarkable.
A well-documented falling-out with producer Horn (some of
which is reproduced in a heated conversation found in the sleeve
notes, bizarrely), threatened this album for a time. Perhaps now is
the time for Seal to strike out on his own. A remarkable voice and a
huge songwriting talent continue to flounder under the weight of
overproduced dinner party soul/pop.
---
REVIEW: The Hope Blister, _...smile's ok_ (4AD/Mammoth)
- Chris Hill
he Hope Blister is "a sequel of sorts" to the splendid
trio of This Mortal Coil albums 4AD released from 1984 to 1991.
This time, however, 4AD founder and mastermind Ivo Watts-Russell
has condensed TMC's rotating roster of talent into six primary
players: vocalist Louise Rutkowski, bass guitarist Laurence
O'Keefe, and a string quartet (cello, viola, two violins). No
matter - for fans of This Mortal Coil, this is a must-buy, as
the musical distance between the projects is minimal. Despite
the years separating the two (seven years from _Blood_ to the UK
release of _...smile's ok_), the production makes for a seamless
transition.
A review of _...smile's ok_ has to focus on the
performances within, as all eight songs are covers. Ranging
from 1973's "Hanky Panky Nohow" by John Cale to 1997's "Sweet
Unknown" off the Cranes' _Population Four_, Ivo has culled an
impeccable assortment of songs and pulled off the daunting task
of assembling performers equal to the reinterpretation of these
likely obscure songs. I can't compare these with the originals,
as I'm unfamiliar with them, yet I'm more than willing to seek
them out. And perhaps that's a secondary motivation here - the
impetus behind a good mix tape - "Here are my musical loves, I
hope they'll be yours as well."
Therefore, first in line to greet one on _...smile's ok_
are the vocals. Louise, along with sister Deirdre, sang the
female lead on "Tarantula", off _Filigree and Shadow_, my
favorite song and album of the three TMC recordings. Hearing
that she was helming the vocals heightened my anticipation for
this cd, like reading of a pre-season trade bringing the home
team last season's all-star. She doesn't disappoint. Louise
shines in the spotlight, imbuing David Sylvian's "Let the
Happiness In" with the raw emotional power of Peter Gabriel's
"Wallflower", and giving Heidi Barry's "Only Human" a bleeding
heart vulnerability that cries for protection and comfort.
Though _all_ the lyrics share a melancholia common to
the This Mortal Coil canon, the inherent downbeat is offset by
the underlying strength in her voice, which buoys the lyrics
gently onto a musical surface. The ebb and flow of both voice
and production on Chris Knox's "Outer Skin" exemplifies this
metaphor - the song rises and falls, acapella vocals backed
by electronically altered backing vox, until a raft of ambient
strings enters to support both.
This disc has been described by others as a "bath-and-candle"
record, and I'd agree enthusiastically with that assessment.
Despite the lyrics, there is a warmth that pervades the album,
a sensuality which underlies both the vocals and music, and a
relaxation that takes hold of the consciousness insistently.
Perhaps because of the strings. The violins play at the corners
of the senses, winding in and out of observation, Tinkerbells to
the Peter Pan bass, which holds the plucked instrument position.
Ivo deserves a commendation for relegating melody to the bass
guitar (particularly on "Sweet Unknown") instead of a more
traditional guitar or piano.
If you like the caressing atmosphere of this record,
watch the 4AD site, http://www.4ad.com/ . _Underarms_, an
instrumental album recorded during the _...smile's ok_ sessions
will soon be available only by mail order. And, if inspired,
hunt down the two song freebie 4AD released for _...smile's ok_
in early '98. The demo version of "Is Jesus Your Pal" on that
promo battles the finished product for aural superiority. (The
other song is the album version of "Sweet Unknown").
---
REVIEW: Various Artists, _Real - The Tom T. Hall Tribute_
(Tomato/Sire)
- Chelsea Spear
Tom T. Hall could well be the best songwriter you've never
heard of. There's no question that you've heard some of his songs,
since the troubadour is behind such classic chestnuts as the
Oscar-winning "Harper Valley PTA", "I Hope It Rains At My Funeral",
and "Don't Forget The Coffee, Billy Joe". However, from what the
liner notes suggest, Hall did most of his work behind the scenes
as a songwriter in Nashville during the 1950s and 60s. His work
has had a huge influence on the smart, song-based No Depression
roots scene of today, and some of the movement's biggest stars
return the inspiration with this outstanding tribute, _Real - The
Tom T. Hall Project_.
All the artists are true to Hall's spirit, turning in fiery,
canny and spirited takes on Hall's tunes. Among the standouts
are Syd Straw's by turns humourous and sexy take on Hall's best-known
track, "Harper Valley PTA", and a new version of "I'm Not Ready Yet"
by the Mary Janes that burns going down. Freedy Johnston contributes
an endearingly meandering version of "Coffee, Coffee, Coffee", and
Jonny Polonsky underplays "Old Enough to Want to (Fool Enough to
Try)" to excellent effect. The compilation starts and ends on an
admirably spooky note with Johnny Cash's take on "I Washed My Face
in the Morning Dew" and Mark Olson and Victoria Williams' eerie,
hymnlike harmonizing on "It Sure Can Get Cold in Des Moines", which
sounds like a tune from a Flannery O'Connor story.
In addition to providing a good place to start for the
burgeoning Hall fan, this tribute also gives a good starting point
for those interested in exploring the No Depression roots revival.
Though there are no contributions by such frontrunners as Wilco or
Lucinda Williams, outstanding singer/songwriters like Iris DeMent
and Mary Cutrefillo, and the heavier, more experimental sounds of
Whiskeytown and Calexio. In fact, fans of good music in general
would be wise to check out _Real - The Tom T. Hall Project_, since
this shows both the glorious past of pop singer-songwriters, and
what it's about to become.
---
REVIEW: Snakefarm, _Songs From My Funeral_ (BMG/RCA)
- Chris Hill
My first thought listening to this disc? VH1 production
of beloved music my mother strummed during my childhood. With
subsequent listens, the faithfulness, respect, and tribute Anna
Domino and her husband/musical partner, Michel Delory, pay the
ten traditional folk songs subverts my initial prejudice into
grudging, then open, admiration. Potentially disconcerting, the
modern arrangements breathe a freshness to these downbeat, sad
tales of love gone wrong and lives badly ended.
"John Henry", an old favorite, gives a western guitar
ring to the classic man versus machine song, keeping the tragedy
intact, while eulogizing his heroic, fatal effort.
The pathos of "Pretty Horses", a lullaby sung by a wet
nurse slave caring for a white child as her own cries in hunger,
is admirably conveyed by Domino - her voice electronically
altered for several verses, mirroring the unnaturalness of the
situation.
"This Train That I Ride", the most upbeat tune on the
cd, brings a snare drum riff, reverb, and snapping fingers to
its "lonely man far from home" subject, long a cowboy favorite.
"Rising Sun" manages to give a new slant to the song
perhaps best known by Eric Burdon's interpretation with the
Animals. A whore's lament, it's appropriately sung by a woman,
and Domino does the bitter, resigned lyrics credit.
And if "Black Girl" sounds familiar, play "Where Did You
Sleep Last Night" off Nirvana's _MTV Unplugged_. Their version
is Huddie Ledbetter's adaptation with slight lyrical changes,
while Snakefarm return to the original words, but the song
remains the same. The arrangement here is spare for the first
two verses, banjo and guitar pulled together, then pushed aside
by drum and bass, which is eventually faded out, and replaced
by the original banjo and guitar. The song embodies the spirit
of the disc - weaving the threads of the past into the musical
quilt of the present.
Five other tracks await discovery: "Banks of the Ohio",
"Frankie and Johnny", "Laredo", "Tom Dooley", and "St. James".
Each is familiar and simultaneously surprising.
As the TV generation ages, what will we sing to our
children? The "Gilligan's Island" theme? "Smells Like Teen
Spirit"? "Fascination Street"? No harm in that, but I'd advise
looking farther back. Check this disc out. You might impress
your folks, while enriching yourself and your children.
---
REVIEW: Wagon Christ, _Tally Ho!_ (Astralwerks)
- Tim Hulsizer
Luke Vibert has been around since the late 80's, sampling
all sorts of odd sci-fi movies and other sources to create a
home-grown sound that is bass-filled and spacy, throbbing and
dynamic. His vision of dance music is a more simplistic one and
he feels that he never quite reached that until now.
Previously, Vibert experimented with faster breaks,
resulting in the brilliant Plug drum'n'bass material. Remixes
followed, for artists like Meat Beat Manifesto and Nine Inch
Nails. He has previous albums of Wagon Christ tunes and he also
recorded under his own name (MoWax Records' awesome _Big Soup_
disc from last year), all of which results in a track record
that is exemplary if not consistent. He may not stick with one
genre all the time but he never disappoints. Besides, who wants
an artist to restrain themselves in favor of cultivating their
own musical niche?
His sound is also hard to miss. Bouncing along with a
mind of its own, Wagon Christ beats seem to bubble over with
ideas while remaining singleminded in their purpose: entertainment.
The fact that he seems to be an artistic pioneer in breakbeats
doesn't change the fact that he doesn't see himself that way.
"With Wagon Christ the music doesn't really have any pretentions,"
states Vibert. "It's not supposed to be overly analyzed at all.
I hate it when people read too much into dance music."
That doesn't seem to be a problem here. From the faster
rhythm of the title track to the tongue-in-cheek mode of "Juicy
Luke Vibert" and "Piano Playa Hata", this is all on the light
side of electronic music. That may scare off some of the more
hardcore supporters of underground beats, as these are some of
Vibert's "fluffiest" songs to date, but that's really what the
Wagon Christ pseudonym is there for. It's an outlet for him to
explore his more accessible ideas and present them to the
listener. Even the comic book-style cover art yells "fun!"
Best of all, it's got something for the die-hard fans
like myself as well. It's difficult to put my finger on exactly
what that "something" is, but if pressed I'd have to call it the
Vibert Touch. He leaves an indelible fingerprint on anything he
does. Perhaps it's the sparing but effective use of vocal
samples, or simply that moment where you nod your head and say,
"Yeah, that's a Vibert track." Whatever it is, it keeps me
coming back to hear everything he does. It's also the reason
some people consider Vibert/Plug/Wagon Christ the best artist
out there, calling Luke a genius. At the risk of over-analyzing
this "dance music", I think I have to agree.
---
REVIEW: The Hollowbodies, _Viva La Dregs_ (Polydor/A&M)
- Bill Holmes
On their second major label release the trio has raised the
bar another notch. _Viva La Dregs_ combines the melodic sophistication
of bands like Semisonic and the late great Caulfields with the stripped
down approach of a bar band fighting its way out of the garage.
Songwriter Philip Roebuck spouts some complex and obtuse
lyrics; perhaps those Dylan roots are most evident on the centerpiece
"My Little Woman". However, his slight twang-drawl is just chameleon
enough for the musical mood swings on the record, where the band
ranges from delicate moods to a lean mean rockin machine. "Lakefly",
"Underground" and the wonderfully titled "Ignoramus Spectaculus" are
fist-pumping rockers with punkish energy, while "Plasticine Mesmerism"
is acoustic flair and "Little King" features a falsetto chorus over
jangling guitars. The best melody may have been saved for last - "Kodo
And The Queensbound R" is beautiful. Someday I might even figure out
what the lyrics mean.
Although the name may conjure up acoustic troubadours, it's
impossible to pigeonhole this band into a musical category. Isn't that
refreshing?
---
REVIEW: Various, _Blastered: A Musical Tribute to the Blasters_
(Run Wild)
- Daniel Aloi
Dave Alvin has probably covered more Blasters songs than anyone -
the odd thing being, he wrote them.
On a number of solo albums since leaving the band in 1986, he
has seen fit to revisit and rework his songs, and go for the darker
musical edge and appropriate mournful tone of his lyrics, abandoning
the rockabilly beat of, say, "Barn Burning" and "Long White Cadillac,"
and rerecording the songs to express the kind of menace and hopelessness
he had in mind when writing them. So with that kind of inherent
possibility, a Blasters tribute album by others would be just as
diverse and expansive, right? Well... it isn't, but that's not
necessarily a bad thing. This tribute is as good a roots-rock party
album (with think-about-it undertones intact) as anything by the
Blasters themselves.
Most of the 18 tracks on _Blastered_ are faithful to the
originals, poured in the same sweaty Saturday night rockabilly mold
as the ahead-of-its-time (and way behind it, too) band from Downey,
California. The Blasters drew from a well of blues, folk, country,
R&B and rockabilly influences, and ruled the '80s underground in the
most un-MTV way you could imagine in a decade of synthesizers and
British hair bands.
The bands here -- from San Francisco's Sloe Gin Joes to
Pittsburgh's Highway 13 and Ireland's Sabrejets -- also defy
contemporary pop trends, and kick into high gear to show their
appreciation. Their names are enough indication of what to expect -
The Blacktop Rockets, The Barn Burners, Hot Rod Lincoln, Jumpin'
Jupiter, and the aforementioned Sabrejets, the only non-American
act here.
But there are some original takes worth noting. Tom Clifford
(of Austin's King Soul) leads the "local supergroup" Alvin City
Limits on a Blasters-worthy roadhouse version of "Trouble Bound,"
minus any attempt to ape the Jordanaires backing on the original. On
the very next track, King Kerosene, an original but Blasters-loving
band from New Jersey, adds those very same hiccuping vocal harmonies
(to great effect) to the kinda-sad Casanova study "Help You Dream."
Hot Rod Lincoln adds Tejano flavor to "Border Radio" and backs up
Josie Kreuzer on "Red Rose," and on an album of almost exclusively
male exercises in rockabilly rebellion, a fantastic female voice
like Libbi Bosworth's on "Hey Girl (Boy)" is most welcome.
The standout track appropriately closes the album. Last Train
Home, recently voted Washington, D.C.'s best country band, slows down
the pace of "So Long Baby Goodbye" to make it an emotional parting
song -- rather than the speedy getaway suggested by either the
original or the other cover of it here, by Lucky 7 (with Kenny
Margolis, formerly of Mink Deville).
All in all, this is a fine tribute to a great band that
deserved even more than the loving cult of fans it found -- and shows
that even a band that found its heart in what came before can be a
seminal influence in its own right.
For more information, check out
http://members.aol.com/BluTwang/index.html .
---
REVIEW: The Stone Coyotes, _Church Of The Falling Rain_ (Red Cat)
- Bill Holmes
Barbara Keith began writing and performing her songs years
ago in Greenwich Village, while husband Doug Tibbles made his mark
as a television writer. When they both walked away from show biz,
Doug took up the drums and his eleven year old son picked up a bass,
and they began honing a stripped down rock and roll sound. The result
is one kick ass Family Affair that filters blues, country, and gospel
through straight-no-chaser rock and roll.
The Stone Coyotes pull no punches - guitar, bass and drums
are hammered and squeezed for all they're worth. "Saw You At The
Hop" and "Hammer On A Nail" rip with Ramones-like fervor, and Keith's
solos here and elsewhere show she can guitar wrangle with the best
of them. Likewise "Little White Lies" would melt the shoes of line
dancers, staccato guitar racing Doug's slap-snare pace. Keiths vocal
range is not wide on these songs, but her voice is powerful and
confident, reminiscent of a more restrained Grace Slick. On the
slower song-stories like "Folded Wings" and "The Mark Of Cain", her
textures are more clearly demonstrated. The rhythm section is
rock-solid throughout.
Twelve good songs and a band that kicks ass - somebody has
got to sign them up and get them out there where people can hear
them. It's just too damned great to be my little secret.
---
REVIEW: Hazeldine, _Orphans_ (All Swoll/Morebarn)
- Daniel Aloi
Female singers Shawn Barton, Tonya Lamm and Anne Tkach and
guitarist-banjoist Jeffrey Richards of Hazeldine show liberal and
adventurous taste on this album of their favorite cover songs. If
you expect something PC in regard to the No Depression orientation
of the band, then Gram Parsons, the Appalachian folk tradition and
John Anderson (via the Mekons) are given their due, but they're
alongside covers of Genesis-era Peter Gabriel, Neutral Milk Hotel
and Radiohead. And it all sounds great together, befitting the band's
punk-to-country roots.
"We've listened to this Radiohead song so many times we
thought WE wrote it," they say in the liner notes of "Lucky," one of
the darkest dirges covered here - a Sparklehorse song, "Heart of
Darkness," is sunny by comparison.
But the other side of the '90s surveyed here isn't down at
all - Richards sings on East River Pipe's pop nugget "Here We Go"
like he's auditioning for The Apples in Stereo. And some songs move
along like The Silos - fitting, since special guest Walter Salas-Humara
plays drums and guitar here.
There are enough moods in the 10 songs to take you down and
lift you up in the space of half an hour, but the dominant thread
running through _Orphans_ is one paralleling the folk tradition, in
the sisterly harmonies of the lead singers and mostly acoustic
arrangements. It's like a late-night song pull among hip college
students, all trying to outdo their peers in their affection for
obscurities.
Some of the songs are inspired by other artists' versions -
like Hank Cochrane's beautiful lament "It's Only Love," learned off
John Doe's first solo album, or "Whiskey In a Jar," first heard as an
old Thin Lizzy standby. Hazeldine is a band born to do traditional
songs -- particularly "Whiskey In the Jar" and "Mining Camp Blues,"
opening the album with full harmonies and a shuffle arrangement that's
almost upbeat enough to belie the tragedy it relates. They come full
circle and pay direct tribute to one of their main influences at the
end of the album, with Parsons' "A Song For You."
_Orphans_ is distributed by E-Squared (Steve Earle's label)
and available through Miles of Music, its first U.S. release after
several months' availability only in Europe. It will be followed by
their Polydor debut _Digging You Up,_ also now available as an import only.
For more information, check out http://www.morebarn.com/Hazeldine .
---
REVIEW: Emilia, _Big Big World_ (Universal)
- Franklin Johnson
The latest Swedish export up for sampling, 20 year old
Emilia caused a major sensation in her home nation with the
release of the single "Big Big World". The ballad became
the fastest growing single by rocketing to #1 in just one
week.
Her debut effort (with the same name) doesn't stray
far from the path trodden by this single, with its Ace of Base-like
synthesizers and Mariah Carey-esque vocal chords. Tinges
of Latin music ("Twist of Fate") sometimes add a new flavor
to the sound, but her countrymen's largest hit ("The Sign")
serves as the inspiration for much of the disc, especially
the first song "Good Sign". Lightweight synthesized pop fans,
take note.
---
REVIEW: Thom MacFarlane, _Gone So Long_
- Al Muzer
Former Beethoven Brother Thom MacFarlane follows-up 1996's
critically-acclaimed _Longtime_ ('the brightest musical talent to
stick a plug into a wall socket connected to a New Jersey power
supply) with 12 more brilliant examples of musical progression and
melodic growth that come pretty darn close to fulfilling his life-long
quest for the perfect pop song.
Mastered by Eric Rachel and featuring musical contributions
from Blondie/Dramarama drummer Clem Burke, Rolling Stones sax player
Dave Watson, Saturday Night Live Band bassist Paul Ossola and Blondie
guitarist Abel Dominguez; a key element of this disc's warmth and
engaging spirit should be credited to the sympathetic core duo of
bassist Harry Kopy and drummer/producer/engineer Joe Bank playing
off the guitar, keyboard and vocal wizardry of MacFarlane.
A pop traditionalist, MacFarlane is respectful of classic
influences like The Beatles, Steelers Wheel, Brian Wilson, Jeff Lynne,
Squeeze, 10CC and Todd Rundgren; yet isn't afraid to loosen up and
pay playful homage to pop geniuses such as Karl Wallinger, the Cyrkle,
The Cowsills, Classics IV, Lobo, Fountains of Wayne, Figdish,
Firefall and England Dan & John Ford Coley throughout this wonderful
sophomore effort.
For further information, check out
http://www.bands-online.com/artists/thommacfarlane .
---
NEWS: > Dave Krusen, founding member of Pearl Jam and drummer
for Candlebox for the past year and a half, has left the band.
According to Krusen, the forthcoming arrival of his second child
has found combining home life and touring to be too difficult
to maintain. No replacement for Krusen has been named.
> Fatboy Slim's "Praise You" single, which has recently
been added to MTV's playlist, will be released commercially
on February 23 with the non-album track "Sho Nuff" and the
Mulder's Urban Takeover Mix of "The Rockafeller Skank".
> According to Sascha Konietzko, founder of KMFDM,
"KMFDM is dead". He also stated there would be a media blackout
until March 1st - which would have been the 15th anniversary
of the group - regarding the end of KMFDM.
---
TOUR DATES:
Afghan Whigs
Feb. 9 Cincinnati, OH Bogart's
Feb. 10 Detroit, MI St. Andrews Hall
Feb. 12 Syracuse, NY Styleen's Rhythm Palace
Feb. 13 Providence, RI Met Cafe
Feb. 14 Boston, MA Paradise Rock Club
Black Sabbath / Deftones / Pantera
Feb. 1 State College, PA Jordan Center
Feb. 3 Boston, MA Fleet Center
Feb. 5 East Rutherford, NJ Continental Arena
Feb. 6 Uniondale, NY Nassau Coliseum
Feb. 9 Buffalo, NY Marine Midland Arena
Feb. 11 Montreal, QC Forum
Feb. 14-15 Auburn Hills, MI Palace of Auburn Hills
Bluetip
Feb. 2 Worchester, MA Clark University
Feb. 3 Boston, MA Middle East
Cardigans / Kent
Feb. 1 Philadelphia, PA TLA
Feb. 2 Washington, DC 9:30 Club
Feb. 4 New York, NY Irving Plaza
Feb. 5 Providence, RI Lupo's
Feb. 6 Boston, MA Roxy
Feb. 8 Montreal, QC Le Spectrum
Feb. 9 Toronto, ON Guvernment
Feb. 10 London, ON Embassy
Feb. 12 Detroit, MI St. Andrews Hall
Feb. 13 Chicago, IL Metro
Feb. 14 Minneapolis, MN First Avenue
Dave Davies Kink Kronikles
Feb. 3 Cambridge, MA Middle East Club
Feb. 4 Montpelier, VT Emerald City
Feb. 5-6 Maynard, MA Sit 'n Bull
Feb. 11 Piermont, NY The Turning Point
Feb. 12 Glenside, PA Keswick Theatre
Feb. 13 Atlantic City, NJ Trump Marina
Eve 6 / Marvelous 3
Feb. 3 West Palm Beach, FL Respectable Street
Feb. 4 Miami, FL Hard Rock Cafe
Feb. 5 Tampa, FL The Rubb
Feb. 6 Gainesville, FL Brick City Music
Feb. 8-9 Orlando, FL Sapphire Supper Club
Feb. 11 Spartanburg, SC Magnolia Street Pub
Feb. 12 Atlanta, GA Roxy Theatre
Feb. 13 Winston-Salem, NC Ziggy's
Feb. 14 Charlotte, NC Tremont Music Hall
50 Tons of Black Terror / Groop Dogdrill
Feb. 13 New York, NY Brownie's
Jets To Brazil
Feb. 5 Washington, DC Black Cat
Kodo
Feb. 4 San Antonio, TX Laurie Auditorium
Feb. 5 Austin, TX Bass Concert
Feb. 6-7 Houston, TX Jones Hall
Feb. 10-13 Dallas, TX McFarlin Auditorium
Local H
Feb. 6 Philadelphia, PA Theater of Living Arts
Feb. 7 Virginia Beach, VA Abyss
Feb. 9 Winston Salem, NC Ziggy's
Feb. 10 Charlotte, NC Tremont Music Hall
Feb. 11 Knoxville, TN Moose's
Feb. 12 Spartanburg, SC Ground Zero
Feb. 13 Orlando, FL House of Blues
Macha
Feb. 5 Athens, GA 40 Watt Club
Feb. 9 Washington, DC Metro
Feb. 10 Boston, MA Middle East
Feb. 11 New York, NY Brownie's
Feb. 12 Philadelphia, PA Khyber Pass
Feb. 13 Baltimore, MD Auto Bar
Alanis Morrissette
Feb. 1 Atlanta, GA Fox Theatre
Feb. 4 Birmingham, AL Botwell Aud.
Feb. 6 Chapel Hill, NC Carmichael Aud.
Feb. 7 Richmond, VA Landmark Theatre
Feb. 9 Washington, DC Patriot Center
Feb. 11 Amherst, MA Mullins Center
Feb. 13 Philadelphia, PA First Union
Ian Pooley
Feb. 4 Halifax, CA Velvet Olive
Feb. 5 Montreal, Canada Sona
Feb. 6 Gainesville, FL Simonís
Feb. 8 Tampa, FL Club 1509
Feb. 11 Cincinnati, OH Lift
Feb. 12 Washington, DC Buzz
Feb. 13 Toronto, Canada Industry
Feb. 14 Philadelphia, PA Fluid
Rusted Root
Feb. 11 Philadelphia, PA Tower Theatre
Feb. 13 York, PA York College
Feb. 14 Burlington, VT Memorial Auditorium
Sloan
Feb. 1 Nashville, TN End
Feb. 3 Gainesville, FL U.F. Rion Ballroom
Feb. 4 Atlanta, GA Point
Feb. 5 Carrboro, NC Room 4
Feb. 6 Washington, DC Black Cat
Feb. 7 Philadelphia, PA Khyber Pass
Feb. 9 Hoboken, NJ Maxwell's
Feb. 10 Albany, NY Valentine's
Feb. 11 Northampton, MA Iron Horse
Feb. 12 Cambridge, MA Middle East
Feb. 13 New York, NY Bowery
12 Rods
Feb. 14 Minneapolis, MN The Entry
---
THE READERS WRITE BACK!
The Pearl Jam review which sparked these comments, written
by Steve Kandell, appeared in the December 7, 1998 issue
( http://www.consumableonline.com/1998/12.07/index.html )
The Editor's Notes to reader's comments, penned by Bob Gajarsky,
appeared in the January 19, 1999 issue
( http://www.consumableonline.com/1999/01.19/index.html ).
> Band Worship 301: Trying To Be A Rock Critic...When trying
to write an album review, you will envitably (sic) be criticised.
Instead of accepting that perhaps you really do not know what you
are talking about, ignore all valid points made in any 'letter to
the editor' and instead respond with the some drole (sic) remarks
in (an) attempt to sound witty and intelligent. This will deflect
attention from your poor review and not cast you as a pompous,
ignorant ass. Then wait for the job offer from Rolling Stone that
will surely come. It will won't it?? - S.V., Canada
> I enjoyed the quick lesson in Band Worship 101 that followed
three slavish, mind-controlled Pearl Jam Still Rules letters. I can't
help but wonder if these fans actually hear the passion and power
that makes _Ten_ so personally important and listenable seven years
later, while all of their follow-up releases pale sadly in comparison.
I've the right to this opinion, having waited for a midnight
sale for _Versus_ while in college and an early morning sale for
_Vitalogy_. I've got _No Code_ and _Yield_ as well, both of which
are unlistenable to me. _Versus_ and _Vitalogy_ have some good songs;
they suffer from the inevitable comparison to the strength and
personality of _Ten_ and fail miserably to impress.
Can I be the only person who hears the gaping hole in Eddie's
songwriting in everything since _Ten_? The feeling that these are
songs written by a writer who knows he has shot his creative wad the
first time out and there's nothing left but fulfilling the contract
runs through PJ's post-Ten catalog.
Now there's nothing left but rap, swing, and Metallica doing
70s covers. The dream of 91-92 has died; will the last fan out of
the building please urinate on the Ticketmaster sign? - David U.
> I enjoyed your "Band Worship 101" quip...very funny and amusing.
One thing I noticed, when back in my hometown of Chicago during the
winter, was that of all possible bands, the single one they played
the most was Pearl Jam.
(Despite this) their new music off _Yield_ was not getting
the same amount of airplay as a "Closing Time". (Most of the
songs) were older, played-to-death hits such as "Alive", "Jeremy"
and "Daughter".
I'm enjoying Pearl Jam's 'maturing', if you will, of
their newer music, their innovations to the production stage,
etc. but I can't expect everyone to care or even find the same
positive aspects in it that I do.
I can dispute one reader's comment about all the shows
selling out; the Alpine Valley show on June 27, 1998 did not sell
out (or if it did, only at the last moment) one of my friends bought
tickets as late as 1pm that day.
I enjoy reading Consumable; you provide an honest opinion
on music. - Michael S.
---
Founded in August, 1993, Consumable Online is the oldest
music reviews publication on the Internet.
To get back issues of Consumable, check out:
WWW: http://www.consumableonline.com
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===
