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Consumable Online Issue 137
==== ISSUE 137 ==== CONSUMABLE ======== [March 4, 1998]
Editor: Bob Gajarsky
Internet: gaj@westnet.com
Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim
Kennedy, Reto Koradi, David Landgren, Sean
Eric McGill, Al Muzer, Joe Silva, Lang Whitaker
Correspondents: Tracey Bleile, Lee Graham Bridges, Thomas Brown,
Scott Byron, Jason Cahill, Patrick Carmosino,
Arabelle Clauson, Krisjanis Gale, Eric Hsu, Tim
Hulsizer, Robin Lapid, Scott Miller, Linda Scott,
Scott Slonaker, Simon Speichert, Jon
Steltenpohl, Simon West
Technical Staff: Chris Candreva, Dave Pirmann
Address all comments, subscriptions, etc. to gaj@westnet.com
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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: 16 Horsepower, _Low Estate_ - Scott Byron
REVIEW: Black Grape, _Stupid, Stupid, Stupid_ - Simon West
REVIEW: Front 242, _Mut@ge.Mix@ge_ - Lee Graham Bridges
REVIEW: Far, _Water & Solutions_ - Jason Cahill
REVIEW: Various Artists, _We Are Not Devo_ - Al Muzer
REVIEW: David Arnold, _Shaken And Stirred - The James Bond
Project_ - Patrick Carmoisno
REVIEW: The Posies, _Success_ - Scott A. Miller
REVIEW: Talking to Animals, _Manhole_ - Arabella Clauson
REVIEW: China Drum, _Self Made Maniac_ - Bob Gajarsky
REVIEW: Muckafurgason, _Tossing A Friend_ - Robin Lapid
REVIEW: Richie Sambora, _Undiscovered Soul_ - Linda Scott
REVIEW: The Wrens, _Abbott_ - Al Muzer
REVIEW: Joe Canzano and the Rhythmic Revolution, _Armed &
Amplified_ - Daniel Aloi
REVIEW: Robert Miles,_23am_ - Thomas Brown
NEWS: Billboard Talent Net, Jeff Buckley, Sheryl Crow / Sting,
Trent Reznor / Josh Wink
TOUR DATES: Better Than Ezra, China Drum, Cravin' Melon, Dakota
Moon, Dave's True Story, Dream Theatre, Everclear / Jimmie's
Chicken Shack / Feeder, Fatboy Slim, G. Love & Special Sauce /
Alana Davis, Goldfinger / Sugar Ray, High Llamas, Irving Plaza,
Chantal Kreviazuk, Megadeth, Ziggy Marley & Melody Makers,
Princess Superstar, Reel Big Fish / Pilfers / Mr. T Experience
Shake Appeal, Third Eye Blind / Smash Mouth / Fat, Tim, Zeke
Back Issues of Consumable
---
REVIEW: 16 Horsepower, _Low Estate_ (A&M)
- Scott Byron
From the opening notes of _Low Estate_, it's clear that 16
Horsepower are something special. There's a primal urgency to the
band's music, a propulsive energy that drives the music forward, but
there's also a rock-solid foundation.
The first thing you notice is David Eugene Edwards' voice, an
odd, compelling squawk that resonates deeply, but is used in a
freewheeling, sometimes caterwauling way. There are echoes of Tom
Waits, Hank Williams and Nick Cave here, but it's no slavish
imitation. Edwards is always the center of attention, but there's
lots more to recommend 16 Horsepower. The instrumentation is
fascinating, a sorta proto-retro-psycho-honky-tonk that's performed
mostly on vintage instruments, including bandoneon (an old
accordion-like instrument that creates an eerie ambiance for many of
the tracks), banjo, cello and fiddle, along with the more usual (today)
bass, guitar and drums. The drumming, by Jan-Yves Tola, is the
brilliant foundation that drives the music forward. His jerky
timing is a wonder, centering on odd little snare patterns that
accent the rhythms perfectly.
Once the music draws you in and has its impact, it's the words
that hold your interest, and reveal themselves slowly with repeated
listening. Edwards' lyrics reflect great joy and despair, faith and
passion, truth and soul. They're delivered with a preacher's fire
that draws the listener into his world; there's a palpable intensity
to his imagery, drawn from personal pain and spirituality.
This quintessential American Music has so far caught more ears
in Europe (where they get lots of media attention and play the
festival circuit) than in their homeland (though two band members are
French, the band is Denver-based and the music definitely reflects
Southern-American roots). One can only hope that _Low Estate_, the
group's second album, raises their profile at home. I've experienced
16 Horsepower live, and they're well worth seeing when they come your
way later this year. As this music doesn't fit easily into any of
the radio/media categories that usually expose new music today, it
may be hard for them to find their niche. If you're the least bit
intrigued, I encourage you to take a leap of faith and seek them out.
---
REVIEW: Black Grape, _Stupid, Stupid, Stupid_ (Radioactive)
- Simon West
Black Grape's 1995 debut, _It's Great When You're
Straight...Yeah_, was the party album of the year, a raucous, hugely
enjoyable mess of beats, brass, soul, rap, guitar, and the shouty
genius of Shaun Ryder. They've opted for more of the same with
_Stupid, Stupid, Stupid_, and the result is the party album of the
year.
The album kicks off with first single "Get Higher", an
atypically laid-back slice of funk and dance, during which Ronald
Reagan (or a reasonable facsimile thereof) reveals his and Nancy's
heroin and marijuana addiction. Typically silly, good stuff, it is
then upstaged completely as the tempo kicks into overdrive and it's
time for silly sexual innuendo, a Ryder specialty.
"I wanna get cheeky with ya/I wanna get squeaky inside ya",
yells the man on "Squeaky", the first of four brilliant upbeat stomps
in traditional Grape style. "Marbles" is up next, currently
getting much airplay with its insistent chorus of "Why you say yes
when you mean no." Back to sex. "Any chick with matching tits/My dad
just had to shag" explains Shaun on "Dadi Was A Badi", a shoutalong
anthem in the style of the first album's "Tramazi Parti", and probably
the best track here. "Cheeba cheeba cheeba", he inexplicably shouts on
the joyfully chaotic "Rubber Band."
This is all you really need to know. The tempo never wavers
much - the nearest Black Grape get to 'slow' is a cover of Frederick
Knight's soul hit "I've Been Lonely For So Long", though, presented
here as "Lonely", it's hardly a ballad.
The future of Black Grape is currently in some doubt -
cancelled gigs and alleged mass firings are among the recent stories.
Ryder's volatility is well documented, but it would be a shame for
Black Grape to pack it in when they're still putting out albums like
this.
Best listened to with a load of people and a shitload of beer,
the ten songs here are the sound of a hell of a party in full swing.
There's not a lot new here, simply more of the same chaotic genius
that Ryder's been displaying since Happy Mondays. "Stupid, stupid,
stupid"? Hardly. Entertaining as hell.
---
REVIEW: Front 242, _Mut@ge.Mix@ge_ (PIAS/Never)
- Lee Graham Bridges
Keyboardist Patrick Codenys said in an interview following
Front 242's Lollapalooza stint that during the 80's "it was very
difficult [doing aggressive electronic music]; you know how music
is. If you take the cinema industry, it's way more open minded.
Music is a very traditional branch."
Like other fans, Front 242 was my official breakthrough in
understanding the creative entity in music. People are
increasingly constrained to the image of music over the substance;
the MTV-ization of music has created a strange gospel for most: a
sickeningly sweet pop rhetoric that permeates society, attached by
claws of desperate normalcy. Strangely, those who reject this
lifestyle often end up creating a similarly ridiculous clique of
their own in an effort to share safety in numbers, rather than a
mutual respect for aesthetic of composition and performance.
Before I knew anything about industrial or electronic music or
any sort of "scene" derived from either of these genres, I
appreciated the individual contribution Front 242 was making to
music. Though I've owned it since its release eight years ago,
_Tyranny For You_ remains one of my most listened to albums.
Bands with such a respect for Front 242 (founded in 1981
and most commonly pronounced "two-four-two") have remixed the
band's material according to their own equally pioneering styles.
Needless to say, every remix album (or perhaps any remix in itself)
deserves a fair amount of scrutiny. What fans expect in a remix
album sold under the band's name may be quite different from what
they receive - in this case, a tribute to the band by other
artists. _Mut@ge.Mix@ge_ succeeds where other such remix albums
have failed. A balance has been carefully constructed between
the remixers' own voice and adherence to the atmosphere created
by the original track.
The album is a collection of remixes of Front 242 material
by mostly dance oriented electronic artists: the Orb, Prodigy,
Underworld, etc. Four original tracks from Front 242 are also
included, and half of the remixes by other bands were previously
unreleased. The original tracks referenced by these remixes come
from 242's last three studio albums: _Tyranny For You_,
_06:21:03:11 Up Evil_, and _05:22:09:12 Off_.
The band's own contributions include the supersensory
"Junkdrome" - a highlight of _05:22:09:12 Off_ - as well as other
newly-titled reconstructions of their work which can be recognized
by sound structures salvaged from past tracks and reworked. For
instance, "Dancesoundtrackmusic" merges familiar melodies and
sounds from at least three tracks on _Tyranny For You_ ; an
entirely new composition results.
"Rhythm of Time," from the _Tyranny For You_ album, is
remixed twice by The Orb. The "victor the cleaner" mix is a bit
fuller and less ambient/minimal than the "messengers of Neptune"
mix, and includes more samples from the original track. The
vocals are treated with a metallic distortion, and the rhythm
enhanced; in effect, the Orb has done an excellent job of updating
this track by merging their infectious sound sensibilities with
those of Front 242.
However, Underworld's versions of "Happiness" diverge a
bit more from the original. The "dub" mix comes on slow and
builds to a somewhat peaceful climax. The "dance" mix sounds
similar but faster. Smooth bass tones wind tightly between big
drums, piano sounds and other subtle elements.
Prodigy contributes remixes of "Religion". The "bass
under siege" mix sounds as rehashed and impotent as the "trance
u down" mix sounds vibrant and wickedly sweet. In the latter,
the sampled "burn you down!" vocal, distorted and scary,
penetrates the mix as the beat erupts like cannons all around,
and consonantal beeps and strings soar above the whole composition.
Which proves the main point: the material on _Mut@ge.Mix@ge_
is not a rehash of Front 242 - -far from it. It's a reconstruction
of the band's best moments, but done so in a fitting manner by other
bands. The contributors have, in their original work as well as in
these remixes, strived to pull the listener in and create for them
the same kind of overwhelming of the mind that Front 242 did in
their most shining moments--which, thankfully, are not at all
isolated. It seems that _Mut@ge.Mix@ge_ might, as a result,
provide a truer definition of "remix" than what has been utilized
in other cases.
At press, another live album, _Front 242 Live_, will hit
the shops this spring. Front 242 also plans to tour the U.S. in
July. For more info visit http://www.front242.com
---
REVIEW: Far, _Water & Solutions_ (Epic)
- Jason Cahill
When Far released their major label debut, _Tin Cans With
Strings To You_, many dismissed it as sloppy, noise driven rock.
This assessment wasn't too far off, as Tin Cans' kicking and
screaming attitude grew tiresome by the album's end. Now, two
years later, the band have released _Water & Solutions_, an album
rich in sound and surprising in its maturity. Fans of Far's
previous efforts will be impressed with the band's growth and those
listening for the first time will simply be impressed.
To begin with, _Water & Solutions_ is an emotionally jarring
and surprisingly focused album. Credit producer D. Sardy (Helmet)
with having the good sense to pull back on the reins just enough so
as not to smother Far's raw energy and honest approach. The result
is an album as intense as it is good.
The music on _Water & Solutions_ is reminiscent of bands
like Catherine; soft, intense vocals giving way to an outpouring of
guitar based rage. The album's first and finest track, "Bury White",
begins with an almost anthemic, pulsing bass over gentle vocals,
eventually culminating in a chorus of unbridled sonic release.
"Mother Mary", perhaps the album's most radio friendly fare, is a
powerful rocker, rich in melodies and an underlying intelligence.
Other standouts include the tender, atmospheric "In 2 Again" and the
blistering "The System".
The album's brutally honest and introspective lyrics more
than make up for what they lack in complexity. Songwriter Jonah
Matranga manages to give the listener twelve intimate, emotional
selections, leaving almost nothing left to reveal by the album's
end. While _Water & Solutions_ does contain its share of typical
"love gone wrong" songs, Matranga's heartfelt sincerity can't help
but seep to the surface as it does so vividly in "In 2 Again" when
he sings, "...I worry that everyone but me will be laughing at
something I didn't see".
In the end, _Water & Solutions_ marks a turning point of
sorts for Far. Proof that underneath their hardened exterior and
hard core roots lies a maturity and insight absent until now.
---
REVIEW: Various Artists, _We Are Not Devo_ (Centipede)
- Al Muzer
Much better than the concept, budget, bands involved, group
honored, label and, for that matter, the songs selected would lead you
to expect, _We Are Not Devo_ defies seemingly astronomical odds and
logs in not only as one of the finest tribute discs released in recent
memory, but as a valid contender for year-end Top 10 album lists across
the nation come December.
A glowing example of how to absorb a unique, challenging and
fairly well-known catalog of material and reinvent it as something
completely your own, the (mostly) So-Cal bands that appear on _We Are
Not Devo_ obviously love, respect and, more importantly, grew up
listening to the songs that turn up on producer/label head Jim
Goodwin's Devo-sanctioned (Mark Mothersbaugh even contributed artwork)
disc.
Despite the appearance of Possum Dixon's bizarre,
Santana-on-acid shot at "Mongoloid," the Voodoo Glow Skulls' super-ska
version of "Time Out For Fun," Lagwagon's energetic assault on
"Freedom Of Choice," The Vandals' neurotic romp through "The Day My
Baby Gave Me A Surprise" and outstanding contributions from Supernova,
Face To Face, SNFU, One Hit Wonder, The Aquabats and Jughead's
Revenge; the album is practically stolen by relative unknowns Ridel
High (who check in with a truly urgent update of "Blockhead") and the
Don Knotts Overdrive's disc-dominating take on "Snowball."
---
REVIEW: David Arnold, _Shaken And Stirred - The James Bond
Project_ (Sire)
- Patrick Carmoisno
David Arnold's pedigree is without dispute. Having
participated in a terrific collaboration with Bjork, "Play Dead",
as well as composing and realizing a cache of the most stylish and
sonic soundtracks (Stargate, Independence Day etc.), putting a James
Bond tribute in Arnold's hands should be a natural thing. The results
of _Shaken And Stirred_, though, are not so natural and none too
special. The general sound of S&S is nice, just about quaint. A
collection of classic Bond themes that pit Arnold's atmospheres with
some of the more intriguing characters of pop culture (Iggy Pop,
David McAlmont, Leftfield, LTJ Bukem, Chrissie Hynde, Martin Fry,
Pulp, Propellerheads and more) is bound to at least achieve that.
The lack of gravy, so to speak, is what disappoints.
Amongst the few highlights of S&S is Aimee Mann's unique take
on "Nobody Does It Better", which features a claustrophobic mix of
compressed, dry vocals, harmonium and sitar. This gives the song a
brutal sensuality that got covered up in the glamorous production
that was Carly Simon's original version. Iggy Pop's mournful croon
on "We Have All The Time In The World" is also a great aural pleasure
to be held. It would be too apt if it were to be his swan song effort.
S&S also further reveals the talents of David McAlmont, whose
"Diamonds Are Forever" is a fitting tribute to the exotic elegance
of Shirley Bassey's original take. Arnolds work on McAlmont's upcoming
release will probably prove to be a better fit for the diva-esque
singer than his previous project with ex-Suede guitarist Bernard Butler.
Other than that, the collection is really an offbeat take
on James Bond music; nothing more, nothing less. If you already had
imagined the sound of Pulp doing "All Time High" or Chrissie Hynde
merely replacing the vocals of Paul McCartney on "Live And Let Die",
then there is no need to hear them outside of your head. Other
none-too-special moments include LTJ Bukem's cover on "The James Bond
Theme" adding up only to token drum n bass artist insertion. What's
worse is he does not stretch the limitless capabilities of drum n bass
with a track custom-built for such a stretch. Unfortunately, it
incorporates some already heard, cozy d n b beats with the famous
film noir-ish coda laid down in the breaks. Propellerheads show no
indication here of why exactly they are being lauded as the future
of electronica, with the symphonic melody of "On Her Majesty's Secret
Service" simply sampled over some Chemical Brothers-friendly beats.
Overall, _Shaken And Stirred_ is a rather harmless collection
best suited for James Bond completists, completists of the artists
involved and shopkeepers in search for happening in-store music. The
greatest harm here is that it doesn't fully reveal the musical genius
of David Arnold.
---
REVIEW: The Posies, _Success_ (Pop Llama)
- Scott A. Miller
Why would The Posies turn triskaidekaphobic now? They've
been through line-up changes, popular apathy in the face of
incredible songwriting and performing, and label indifference. Of
COURSE they'd release a CD called _Success_ (Pop Llama) on Friday
(February) the 13th. What's the worse that could happen?
Well for one this could be, as the press kit states, the
last we see of The Posies on record. John Auer, one-half of the
songwriting team that includes Ken Stringfellow, has already formed
his own project, Lucky Me, and was on tour with it just before this
album was scheduled to come out. At a recent Posies radio
appearance, Auer also said "the Posies as a way of life are over."
For another, the completely keyboard song "Start a Life"
might, against all the odds, become an incredibly huge hit - think
Smashmouth's "Walking on the Sun" - and the band would become known
as a one-hit wonder. Stranger things have happened, but that would
be the greatest indignity to a band whose power pop output rivals
that of any band in the genre.
_Success_ finds the band closing the circle of its career
on the beloved Seattle label that gave Auer and Stringfellow their
start, Pop Llama. Their first album, _Failure_, hinted at a
songwriting team with what one critic called "a deep wellspring of
talent." Geffen snapped the boys up and three excellent,
commercially ignored albums followed. After 1996's _Amazing
Disgrace_ failed to find the band a wider audience, Geffen backed
away.
The good news for both those new to the band and longtime
fans is that _Success_ provides a decent overview of the band's
unique abilities: fine melodies, great vocals and thought-provoking
takes on (mostly failed) relationships.
"Somehow Everything" provides an upbeat start to the 12-song
set. It's followed by "You're the Beautiful One," arguably one of
the prettiest songs the band has ever produced.
With its feedback drenched chorus, "Placebo" sounds like
an "Amazing Disgrace" song, while "Farewell Typewriter" and "Every
Bitter Drop" would not have seemed out of place on the gentler
"Dear 23."
The biggest surprise of the album is the aforementioned
keyboard lament "Start A Life." Fans of Tim Finn (former Split Enz
and Crowded House) will love this song to death, from its quiet
bossa nova percussion opening to the ghostly keyboard riff that
floats throughout. The deceptively simple lyrics hint that danger
lurks around every corner for those who try to take a different
path.
As a "Seattle band" who mostly eschewed grunge in favor of
pop, The Posies know a little about that.
This worthwhile effort is probably readily available
throughout the northwest United States. For those who can't find
it at the record stores, call Pop Llama at 206-527-8816. Tell them
you want PLCD-3232. (Backwards that catalog number is 2323 -- get
it?)
---
REVIEW: Talking to Animals, _Manhole_ (Velvel)
- Arabella Clauson
A long time in coming, Talking to Animals finally releases
the highly anticipated _Manhole_ after living for two years in limbo.
The band was previously signed with Sony's Columbia label, which
ruthlessly dropped the developing artists on the eve of their
major-label debut last January. Strangely enough, the Columbia website
still lists them as "coming soon." After shopping around for a few
months, band successfully gained distribution through small label
Velvel.
It seems impossible to describe Boston's Talking to Animals
without acknowledging a most prominent element, Juliana Nash, who
possesses an absolutely stunning vocal range. Nash pens all the songs
and then takes them to the band for musical interpretation, which is
usually refined through live performance. The result of this continuous
songwriting process is _Manhole_ , which really begs for the
attention of words like dynamic and powerful. This is a slightly
grungy, but disturbingly refreshing disc evoking Sarah McLachlan's
_Surfacing_ disc on "Mouth Tattoo," the likes of Mazzy Star on
"Breathe" and "Kid is not Alright," and unquestionable Concrete Blonde
influences on "Turning Into Beautiful," which is perhaps the most
impressive track capturing the emotional uncertainty of a first date
through a hook driven chorus. "Little by Little" illustrates street
life in New York City through punchy, powerful vocals.
Nash has a most incredible voice, commanding and essentially
lifting the band out of a dreaded "alternative" rut. She has the
driving passion of Johnette Napolitano coupled with a vocal talent the
music industry deperately needs, like that of the much underrated Atlanta
native Michelle Malone. If Nash's melody-driven, energetic songs
themselves fail to capture attention, her voice refuses to allow just
the casual listen, adding a sultry depth to what might otherwise be a
fairly typical music base.
---
REVIEW: China Drum, _Self Made Maniac_ (Beggars Banquet)
- Bob Gajarsky
The trio of the brothers McQueen - Dave on bass and Bill on
guitar - and singer/drummer Adam Lee have returned with their latest
full length release, _Self Made Maniac_.
Featuring instant in-your-face guitars, with periodic
background harmonies (!), the pop-punk, Ned's meets Inspiral Carpets
and Wonderstuff sound of China Drum proves the perfect medicine for
those sick of Green Day wanna-be's.
The first single and pseudo-title track, "Fiction of Life",
dispels any myths that punk can't have pop sensibilities. And if you
listen closely, you can almost hear sped-up R.E.M. guitar chords, on
this one (bits resembling "Second Guessing") and "Down By The River",
with its opening similar to "Ignoreland".
"Guilty Deafness" veers perilously close to Metallica, but
reverts just before crossing the line into never-metal land. "Another
Toy" showcases the band's darker side, with its 'When I'm broke and
you are gone, you will find another toy' lyrics accompanied by
appropriately brooding guitars.
Unfortunately, some of the punk attitude (think early Husker
Du) which marked their first release, _Goosefair_ (510/MCA), and
European EPs has veered more towards the pop-rock side. This
maturation process may lose some fans who favoured three chords and
a cloud of dust, but those who stick around for the entire trip will
be pleased with the final results.
---
REVIEW: Muckafurgason, _Tossing A Friend_ (Deep Elm)
- Robin Lapid
Don't ask me what Muckafurgason means, because I don't know
either. It may be a fitting amalgam of any number of different words
or just a jumble of sounds that somehow make sense to the ear. If
that's the case, it's a fitting monicker. The band, comprised of
"one Brit and two Yanks," start off their debut full-length album
with Weezer-esque pop harmonies and glide effortlessly from there
into any number of genres, be it country, hip-hop, or punk rock.
The music hinges on a lo-fi pop mentality with enough
playfulness in style and lyrics to keep everything from turning
stale. In terms of influences, Muckafurgason happily wear their
hearts on their sleeves. Each song is a tongue-in-cheek tribute
to anything and everything, whether it's the fuzzy Clash guitars of
"Punk Rock" or the human beat-box Beck anthem about "Lunch," or a
nostalgic pop song about a beloved Atari game ("Plug it into the
back of my TV/ Come with me back to 1983/ Reliving my happy
childhood/ With my 2600"). There are even the appropriate indie-pop
culture references -- I have to admire any band that aspires to be
the next "Cute Band Alert in Sassy Magazine."
Rather than make demi-god knock-offs of their favorite bands,
_Tossing A Friend_ sticks to sparse, often folk-inflected pop that's
wondrously devoid of pretension. And that's the sincerest form of
flattery.
---
REVIEW: Richie Sambora, _Undiscovered Soul_ (Mercury)
- Linda Scott
Richie Sambora is best known as the long time lead guitarist
for Bon Jovi and his marriage to actress Heather Locklear. More than
just a respected guitar player, Sambora has co-written Bon Jovi
lyrics, produced the songs, and helped manage the band's extensive
business dealings. He and Jon Bon Jovi took the New Jersey bar band
and piloted it to world wide success. Under their guidance, the band
has evolved from big hair glam, to metal, to hard rock, to rock/pop.
With prosperity insured, Sambora is going the solo route, using
the downtime following Bon Jovi's world stadium tour in support of
_These Days_ (1995). He's soloed before - see 1991s _Stranger In This
Town_ - which netted decent reviews but not producing the big sales
figures.
Given Sambora's lead guitar status in Bon Jovi, _Undiscovered
Soul_ is a surprise. Expectations of a Jeff Beck-style guitar solo
album will be quickly put aside. The showcase here is not Sambora on
guitar but Sambora as song writer, vocalist and guitarist - which
sounds much like the work of Bon Jovi, but sans Jon's lead vocals.
Sambora has an above average voice in which there are echoes of Jon
Bon Jovi, especially in the phrasing. And with heavy hitter
contributions ranging from Kenny Aronoff to Don Was, there's no
lack of fellow musicians.
Sambora is given guitar credit, of course, but there are no
endless guitar solos or show stopping riffs. The guitar playing on
_Undiscovered Soul_ is a spare, clean, Clapton-like sound - which
shouldn't come as a surprise, since Richie cites the guitar legend
as one of his major influences.
If you like Bon Jovi - or even Def Leppard or Extreme -
chances are you'll like _Undiscovered Soul_.
---
REVIEW: The Wrens, _Abbott_
- Al Muzer
Pop music you almost have to be in the mood for as
opposed to pop music that works every time you hear it, The
Wrens are still, apparently, thoroughly pissed at Grass Records
for the screwing-over the poorly-run label/brilliantly-conceived
tax write-off gave 'em after they couldn't make anything happen
with 1994's _Silver_ or the critically-acclaimed _Secaucus_ two
years later.
With the dust finally settled, Sett, Whelen G.E., Charles
Mexico and Jerome MACdonnell return with six lyrically bitter
pills of XTC-like punk-centric guitar-quirk that try their best
to blend the sparseness and elliptical hooks of the Police with a
noisy, hyperactive, Brian Wilson-on-crank desire to fill every
single second with some sort'a ringing, chiming, clanging,
attention - getting noise.
The Wrens can be contacted at PO Box 81, Ocean View, NJ 08230.
---
REVIEW: Joe Canzano and the Rhythmic Revolution, _Armed &
Amplified_ (Rocket Bomb)
- Daniel Aloi
If you miss the late Bon Scott and don't want to shell out
big bucks for the AC/DC box set, you can hear the next best thing to
the late Aussie screamer - and much cheaper.
This New Jersey rock trio's namesake lead singer-guitarist has
Scott's well-documented vocal histrionics down - even if his band
doesn't hew too closely to the car-crushing simplicity and volume of
Angus Young and company's arena rock.
The rock'n'roll they play is straightforward, to be sure, but
it goes beyond being plain fast'n'loud. Canzano adds touches like
Zappaesque phrasing and a Lou Reed feeling to some of the lyrics and
arrangements, reflecting two influences from the artier end of the
'70s musical spectrum - making this more than the barroom rock'n'roll
it first appears to be. The rhythm section of Eric Rachel (bass) and
Rob Eastlund (drums) adds more than the beat to the effort, meshing
with and complementing Canzano's riffs and rants like "Sort of
Antisocial" and "Total Garbage."
Some songs are from the New Jersey working-class school,
especially "If I Were a Millionaire" (which continues its chorus:
"You'd be in love right now.") I don't hear a lot of airplay potential
here, but this album's production suggests the band is a high-energy
live act, and the CD, like the band itself, wouldn't be unwelcome at
a keg party.
The 10-song CD is available for $8 postpaid from Rocket Bomb,
an Internet record label. Go to http://www.rocketbomb.com for info,
sound clips, and free subscriptions to the electronic newsletter The
Red Glare Record. You can also write to the label at P.O. Box 70,
South River NJ 08882 or call 800/995-0393.
---
REVIEW: Robert Miles,_23am_ (Arista)
- Thomas Brown
23am is Robert Miles second release to date. His first album,
_Dreamland_ yielded the international hit titled "Children", which
went to number 1 in most of Europe and won many awards along the way.
Robert, being both a DJ and a clubber, said he wrote the songs
to calm people down, because of all the deaths caused by kids going
clubbing in Italy. Kids taking a deadly mix of drugs and liquor were
being charged by the hard and fast techno music, which made their
adrenalin skyrocket. They would then climb into their cars and would
drive at insane speeds. They would, on top of that, ignore all the
road signs and the result would be up to twenty and thirty deaths each
week. 20,000 mothers joined together into something called the "Mamma
Anti-Rock" protest movement. They would march down streets in Europe
to raise awareness about the kids of today.
Troubled by all the deaths of kids, Robert Miles took that
fast, hard techno and made it slow. The result made Robert Miles an
overnight sensation and everyone loved it. The results were
_Dreamland_ and _23am_, with Robert making use of all his composing,
producing, piano, and DJ'ing experience into these songs.
I found this album quite relaxing. While sleeping and
listening to this record images would pop into your mind, such as,
high cliffs with water crashing on them, babies crying, long elegant
beaches, green pastures, snow caped mountains, and many other things.
These are the results of the soothing samples, lyrics, pianos, and
other delights of this record. The booklet is incredibly good also,
with a black figure standing on a street. The only part I hated about
this record was the vocal input by Kathy Sledge. If you are into
this slow piano-techno genre, then _23am_ is for you.
---
NEWS: > Billboard Talent Net, sponsored by the music magazine of
the same name, is designed to help unsigned artists get recognized
by industry professionals around the globe. Further information
on this is available at their website, at http://www.billboardtalentnet.com
> _Sketches (for my sweetheart, the drunk)_, a two-disk
collection of new songs and performances by the late Jeff Buckley,
compiled in conjunction with his family, will be released on May 19.
Disc 1 contains ten tracks from his studio sessions; disc 2
contains his last compositions, personal four-track recordings of
new songs and refinements of older songs.
> Sheryl Crow and Sting will be collaborating with Waylon
Jennings on "She's Too Good For Me" from Jennings' forthcoming
album, _Closing in on the Fire_.
> Trent Reznor will be contributing vocals to the debut
album by Josh Wink, slated for release in June.
---
TOUR DATES:
Better Than Ezra
Mar. 14 San Antonio, TX Six Flags
China Drum
Mar. 13 Philadelphia, PA Pontiac Grill
Mar. 14 Boston, MA Bill's Bar
Mar. 15 Providence, RI The Call
Cravin' Melon
Mar. 7 Elon College, NC Elon College
Mar. 10 Myrtle Beach, SC House Of Blues
Mar. 13 Annville, PA NACA East Regional Mainstage Showcase
Dakota Moon
Mar. 10 Dallas, TX Dark Room
Mar. 11 Atlanta, GA Smith's Old Bar
Mar. 12 New York, NY Mercury Lounge
Dave's True Story
Mar. 4 New York, NY Baby Jupiter
Mar. 7 New York, NY Postcrypt
Dream Theatre
Mar. 4 Helsinki, Finland House of Culture
Mar. 6 Bremen, Germany Pier 2
Mar. 7 Hannover, Germany Music Hall
Mar. 8 Stuttgart, Germany Messe B
Mar. 10 Munich, Germany Colosseum
Mar. 11 Mannheim, Germany Capitol
Mar. 13 Dusseldorf, Germany Philipshalle
Mar. 14 Munster, Germany Halle Munsterland
Mar. 15 Berlin, Germany Huxley's
Everclear / Jimmie's Chicken Shack / Feeder
Mar. 4 Lake Buena Vista, FL House Of Blues
Mar. 5 Charleston, SC Music Farm
Mar. 6 Charlotte, NC Tremont Music Hall
Mar. 7 Norfolk, VA The Boathouse
Mar. 9 Richmond, VA The Flood Zone
Mar. 10 Hartford, CT Webster Theater
Mar. 11 Portland, ME The Asylum
Mar. 12 Burlington, VT Club Toast
Mar. 13 Buffalo, NY The Show Place
Mar. 14 Columbus, OH Newport Music Hall
Fatboy Slim
Mar. 6 Washington, DC The Ballroom
Mar. 7 Atlanta, GA The Roxy
Mar. 9 Miami, FL Salvation
Mar. 10 Miami, FL Groove Jet
Mar. 12 San Francisco, CA Warfield Theater
Mar. 13 Los Angeles, CA Palladium
Mar. 14 Seattle, WA Showbox
G. Love & Special Sauce / Alana Davis
Mar. 10 Omaha, NE Ranch Bowl
Mar. 11 Milwaukee, WI Modjeska Theater
Mar. 13 Columbus, OH Newport Music Hall
Mar. 14 Cincinnati, OH Bogart's
Mar. 15 Cleveland, OH Odeon
Goldfinger / Sugar Ray
Mar. 6 San Francisco, CA Warfield
Mar. 7 Los Angeles, CA Palladium
High Llamas
Mar. 14 Washington, DC 9:30 Club
Mar. 15 Carrboro, NC Cat's Cradle
Irving Plaza (NYC concert hall - www.irvingplaza.com)
Mar. 14 Insane Clown Posse
Chantal Kreviazuk
Mar. 6 Boston, MA Paradise
Mar. 7 Providence, RI Lupo's
Mar. 9 Virginia Beach, VA Pavillion
Mar. 11 Vienna, VA The Barns
Mar. 12 New York, NY Shine
Megadeth
Mar. 5 Vancouver, BC Rage
Mar. 6 Seattle, WA Paramount Theater
Mar. 7 Portland, OR Roseland Theater
Mar. 8 Boise, ID Idaho Center
Mar. 11 St. Paul, MN Wilkens Auditorium
Mar. 13 Chicago, IL Aragon Ballroom
Mar. 14 Dayton, OH Hara Arena
Mar. 15 Toledo, OH Sports Arena
Ziggy Marley & Melody Makers
Mar. 4 Hanover, NH Leede Arena - Dartmouth College
Mar. 5 Millersville, PA Pucillo Gym - Millersville Univ.
Mar. 6 Providence, RI Lupo's
Mar. 7 Westbury, NY Westbury Music Fair
Mar. 8 Killington, VT The Picketbarrel
Mar. 10 Washington, DC 9:30 Club
Mar. 11 Baltimore, MD Bohager's
Mar. 12 Winston-Salem, NC Millenium
Mar. 13 Boone, NC Appalachian State Univ.
Mar. 14 Myrtle Beach, FL House of Blues
Princess Superstar
Mar. 5 New York, NY Knitting Factory
Mar. 6 Philadelphia, PA Upstairs At Nicks
Mar. 11 Washington, DC Black Cat
Mar. 13 Chapel Hill, NC Cave
Mar. 14 Atlanta, GA Criminal Records
Mar. 15 Atlanta, GA Dottie's
Reel Big Fish / Pilfers / Mr. T Experience
Mar. 5 Hartford, CT Webster Theatre
Mar. 6 Philadelphia, PA Electric Factory
Mar. 7 Worcester, MA Palladium
Mar. 8 Pittsburgh, PA Metropol
Mar. 9 Columbus, OH Newport Music Hall
Mar. 10 Pontiac, MI Clutch Cargo's
Mar. 11 Cincinati, OH Bogart's
Mar. 12 St. Louis, MO Mississippi Nights
Mar. 13 Chicago, IL Riviera
Mar. 14 Milwaukee, WI Rave
Mar. 15 Sioux Falls, SD Pomp Room
Shake Appeal
Mar. 5 Chapel Hills, NC Local 506
Mar. 9 Athens, GA High Hat Club
Mar. 11 Orlando, FL Go Lounge
Mar. 13 Pensacola, FL Handle Bar
Third Eye Blind / Smash Mouth / Fat
Mar. 4 Boston, MA Orpheum Theatre
Mar. 5 Burlington, VT Memorial Auditorium
Mar. 6 Hamilton, NY Colgate U./Cotterell Court Gym
Mar. 7 San Francisco, CA California Music Awards
Mar. 10 Toronto, ON The Docks
Mar. 11 Cleveland, OH Agora Theater
Mar. 12 Columbus, OH Veterans Memorial Aud.
Mar. 13 Detroit, MI State Theater
Mar. 14 Ada, OH Ohio N. Univ. - King Horn Ctr
Tim
Mar. 12 Philadelphia, PA Khyber
Mar. 13 New Brunswick, NJ Melody
Mar. 14 West Chester, PA Rex's
Mar. 15 Doylestown, PA Siren Records
Zeke
Mar. 12 Eugene, OR John Henry's
Mar. 13 San Francisco, CA Paradise Lounge
Mar. 14 Hollywood, CA Dragonfly
---
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