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Consumable Online Issue 160
== ISSUE 160 ==== CONSUMABLE ONLINE ======== [November 4, 1998]
Editor: Bob Gajarsky
E-mail: editor@consumableonline.com
Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim
Kennedy, Reto Koradi, David Landgren, Sean
Eric McGill, Tim Mohr, Al Muzer, Joe Silva,
Lang Whitaker
Correspondents: Christina Apeles, Niles J. Baranowski, Dan
Birchall, Tracey Bleile, Lee Graham Bridges,
Jason Cahill, Patrick Carmosino, Krisjanis Gale,
Emma Green, Paul Hanson, Chris Hill, Eric Hsu,
Tim Hulsizer, Franklin Johnson, Steve Kandell,
Robin Lapid, Linda Scott, Scott Slonaker,
Chelsea Spear, Simon Speichert, Jon Steltenpohl,
Simon West
Technical Staff: Chris Candreva, 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.
==================================================================
.------------.
| Contents |
`------------'
REVIEW: Alanis Morissette, _Supposed Former Infatuation
Junkie_ - Bob Gajarsky
REVIEW: Fatboy Slim, _You've Come a Long Way, Baby_ - Krisjanis Gale
REVIEW: Beck, _Mutations_ - Daniel Aloi
REVIEW: Oasis, _The Masterplan_ - Bob Gajarsky
INTERVIEW/REVIEW: Marillion, _Radiat10n_ - Dan Birchall
REVIEW: Goo Goo Dolls, _Dizzy Up the Girl_ - Joann D. Ball
REVIEW: Chemical Brothers, _Brothers Gonna Work It Out_ - Simon West
REVIEW: DeeJay Punk-Roc, _ChickenEye_ - Tim Mohr
REVIEW: dada, _dada_ - Scott Slonaker
REVIEW: Soundtrack, _Clay Pigeons_ - Lang Whitaker
REVIEW: Beekeeper, _Ostrich_ - Chelsea Spear
REVIEW: Photek, _Form & Function_ - Simon West
REVIEW: Absinthe (featuring Sam Llanas), _ A Good Day to Die_ - Daniel Aloi
REVIEW: Lida Husik, _Faith in Space_ / Pee Shy, _Don't Get Too
Comfortable_ - Chelsea Spear
REVIEW: Martin's Dam, _Sky Above_ - Bob Gajarsky
REVIEW: Peter Green/Splinter Group, _The Robert Johnson
Songbook_ - Tim Kennedy
NEWS: Cheap Trick, Queen
TOUR DATES: 12Rods, Baby Ray, Better Than Ezra / Bic Runga, Candlebox,
Chocolate Genius, Deftones / Pitchshifter / Quicksand, Everlast,
Miles Hunt, Howard Jones, Jude, Marilyn Manson, Mercury Rev,
Motley Crue, Mike Peters, Rev. Horton Heat / Amazing Crowns,
Tricky / Whale, Moe Tucker, Uz Jsme Doma, Mike Watt, Wesley
Willis / Cats & Jammers
Back Issues of Consumable
---
REVIEW: Alanis Morissette, _Supposed Former Infatuation Junkie_
(Maverick)
- Bob Gajarsky
This, then, is what 1998 boils down to. The most anticipated
album of the calendar year - if not for fans or critics, then for many
in the music industry - has been ordained to pick up a lagging sales
year. Sixteen million albums sold on your adult debut (we'll not
count the Tiffany-meets-Jody Watley Canadian years) will put those
kind of pressures on a person.
For Alanis Morissette, this kind of attention is much more
significant than any from days gone by on Nickelodeon's "You Can't Do
That On Television". After the success of _Jagged Little Pill_ blew
away all expectations and made a passing reference to oral sex in one
of the hit singles of 1995 ("You Oughta Know"), Alanis had the music
world at her feet. Cultural causes were embraced, from Tibetan
freedom to a backpack trek around India. These causes - and
subsequent introspection - become the basis for much of _Supposed
Former Infatuation Junkie_.
The first single, "Thank U", pays homage to those jaunts.
'Shukri-ya', if you will, to the land of Gandhi. Despite a
repetitive set of lyrics (which again is indicative of _Junkie_),
"Thank U" represents enough of a departure from the programmed
drums to show that Alanis is taking the next step in that long
musical path.
Middle-Eastern musical influences which first surfaced in
"Uninvited" (curiously omitted from _Junkie_) pop up all over this disc.
"The Couch" doesn't reach the high points of the track from _City of
Angels_ , but does initially tip its hat in that general direction.
Sinister backing keyboards and drums back "UR" and "I Was Hoping",
dispelling rumours of a sophomore jinx. And fans of "You Oughta Know"
will appreciate the slower, funkier sound of the leadoff track
"Front Row".
Morrissette's lyrics provide a paradox for the listener. On
one hand, her songs tackle subject matters and offer insights far
beyond her years. The Dylanesque poetry of "I Was Hoping", where
she refrains herself from telling off an obsequious waiter who ignored
her that "I could buy and sell this place so kiss it" shows a maturity
which has bypassed many in the rap community. And the rest of the
album contains deeper looks into relationships and self-confidence
than have any right to be in a four minute song. Morissette either
has an incredible ability to write songs through other people's
bodies, or presents us with a painful autobiographical journey through
her thought process and is crying out for help.
Many of the songs, however, drift back into a simple structure
where they use repetitive phrases or ideas to a point of absurdity.
"Are You Still Mad" is the start of almost every line of that song;
"That I Would Be Good" includes the first four words on every line of
its structure, and even "Thank U" has a childish way of starting
each line.
Morissette's spoken/singing technique - which draws people
to either love her or hate her - offers mixed results. On the spoken
verse, sung chorus of "Joining You", Alanis gets it just right,
as her unusual accentuation - not only by syllable, but word and
sentence - brings the song out of the dull landscape surrounding the
end of _Junkie_.
But, at seventeen songs and 71 minutes, _Junkie_ drags on
30 minutes too long. "Baba" becomes a lightning rod for what
happens when a song better left on the cutting room floor gets
pressed onto disc. Poorly mixing out of synch feedback with
guitars and vocals, this is something Yoko Ono might consider
good. And, in the end, that's a bad thing - no matter what John
might have thought while he was with us.
Alanis Morissette was granted a tremendous amount of
creativity with _Suppsed Former Infatuation Junkie_ consistent
with the sales of her previous album. And although _Junkie_
lasts a bit longer than it should, there are enough creative
moments here to justify a continued look at the enigma known
as Alanis.
---
REVIEW: Fatboy Slim, _You've Come a Long Way, Baby_
(Astralwerks/Skint)
- Krisjanis Gale
Norman Cook, a.k.a. Fatboy Slim is a funk collage artist,
equipped, to a rather ridiculous extent, with all the tools befitting
a solo act in this age of electronica.
This is immediately apparent upon viewing the three-panel photo
spread of his home studio, bereft with vintage analogue synths,
a 32-track mixing workstation, several samplers and other rackmount
gear, hundreds of floppy disks, and a scattered library of probably
over a thousand records, the shelves bending at the weight of it all.
What is Fatboy up to with this arsenal? Something big by the
looks of it.
So many electronic artists take a lax view of music composition,
seeing their machines as a means to an end in and of themselves,
forever repeating a proccess, focusing on technique rather than style.
This is NOT Fatboy Slim.
Listening to _You've Come A Long Way Baby_ , you get the
impression that Fatboy is someone who thoroughly enjoys doing a bit
of homework before setting forth to create a fresh mix. The gear,
the arsenal of audio...NONE of it goes to waste.
Every song on the disc is a rather perfectly assembled semblance
of long-lost grooves and hooks, with a cleanly fused layer of modern
touches atop them.
Maybe you don't know what a TB-303 is, but you know you've heard
of the "acid box" and "acid house." Maybe you don't know a speech
synthesizer from a vocoder, but you've heard of Kraftwerk, and what
they'd done with them. Maybe you don't listen to much funk or disco,
but you know you've heard music from the 70's. Maybe you don't
frequent raves, but you know you've heard the end result of this
dance culture on rare late-night radio outings. And you've probably
no idea how a sampler actually works or what it does, but you know
every jungle and drum & bass artist worth mentioning has one.
You're probably like most people - very new to this whole
bizarre phenomenon labeled "electronica." And even if you're
not, there's certainly quite a bit of it out there that still
seems undeniably alien to you. Electronica, or the status quo
of it, at least, is not for everyone.
But everyone knows how to bop their head.
Fatboy's mission is to bop the heads of an entire society,
utilizing a style that is new and different, but also leveraging
a fierce respect for the past.
There are so many familiar bits and pieces on this album, that
have been expertly cut up, chewed, swallowed, spit back out again,
and rearranged that the resulting ultra-slick puree of
rock-funk-disco-soul-house-trance-ambient-garage-techno has something
for everyone. Everyone.
Of course, there's no accounting for technical clarity in all
this sampling and resampling, mixing and remixing. This is not
a clean album by any stretch of the imagination. Lots of dirt.
Lots of clicks and pops. Lots of jerky transitions. And obvious
digital clipping surrounding Fatboy's insistence upon chopping
vocal samples to oblivion. (I believe these are the "rubber
syllables" referred to in Rockafella Skank.)
But who honestly cares about a clean mix when they're playing
music at floor-rumbling volume? We want something fresh, loud,
and groove-centric.
Fatboy Slim delivers.
---
REVIEW: Beck, _Mutations_ (Bong Load/DGC)
- Daniel Aloi
Just for the creative and commercial chances Beck Hansen takes,
for all the genres he steps into, you gotta love the guy.
While not the experimental stretch _Odelay_ was, _Mutations_
offers an important side to this artist that most fans seem to miss,
but many of the rest seem to love -- the folkie in him.
Most of the 12 tracks on _Mutations_ are seriously grounded in
'60s music and heavy on psychedelia and British and American folk rock.
Some other roots music -- blues riffs, country beats -- and blasting
electric guitars are thrown in for leavening.
The crystalline production by Beck and Nigel Godrich (Radiohead)
is among this album's greatest attributes.
The lyrics also are among Beck's best to date, containing some
stunning imagery and numerous symbols of death, loss and dissipation:
"My love is a room of broken bottles and tangled webs," he sings in
"Sing It Again." He closes "Dead Melodies" with: "Cinders and chaff/
laugh at the moon/night birds will cackle/rotting like apples on
trees/sending their dead melodies/ to me."
The psychedelic motif is set by the opener, "Cold Brains,"
streaming consciousness ("unmoved, untouched, unglued") on
mind-expanding multitracked vocals and folkie riffs on guitar,
keyboards and harmonica. "Dead Melodies" is almost pure mountain
folk, while "We Live Again" and "Lazy Flies" recall the British folk
vanguard of Steeleye Span or Donovan.
"Canceled Check" is a loping country stomp with acoustic
guitarist Smoky Hormel (who's played with John Doe and tours with
Beck), drummer Joey Waronker and pedal steel player Greg Leisz. The
track seems to be live and it ends with a cacophony of things
breaking or falling apart. "Tropicalia" floats on Latin jazz, as
Beck describes the street-level social and policital breakdown of
formerly exotic foreign locales: "Misery waits in vague hotels/to
be evicted."
Listening through to the end, "Static" is dreamy and
starry-eyed, very close to Beck at his major-label trippiest. And a
hidden track just blisters with pumping rock'n'roll fury, occasionally
pausing for the sound of birds chirping. That may be a preview of the
next "official" Beck album, due out in 1999.
Wait, isn't this a Beck album?
Well, sure it is. But it isn't meant to be perceived as the
BIG Beck album. Before he decided to release it on DGC, the songs
here were originally meant for his side deal with the indie Bong
Load Records. My advance copy states Beck sees it as more of a
"parenthetical" work -- "but he does not consider it as the official
follow-up" to the critical and commercial 1996 hit _Odelay._ I
personally think that's just a sop to Geffen, a codicil for the
fans and critics expecting another groundbreaking masterwork.
"It's a collection of dirges and waltzes," Beck said of this
new album back in June, to an upstate New York audience. He
deadpanned: "So it's for the hip-hop market -- filling that need."
(For the record, "O Maria" may be the only dirgelike thing here).
Actually, it's a rich and rootsy, resourceful set of songs,
and a fine companion to his _One Foot in the Grave_ album (another
one-off). Fans of that will certainly dig just about all of this.
And fans of keyboard player (and Jellyfish/Imperial Drag
alum) Roger J. Manning's satirical/worshipful moves in The Moog
Cookbook will appreciate all the cheesy and scary, inner- and
outer-spacey sounds he brings to the mix on many of the tracks.
When Beck performed some of this new material on his summer
tour, it met with some indifferent, often rude response from his
young, spoon-fed audiences. At the show I saw in June, he gave his
all to "Nobody's Fault But My Own," accompanied only by his acoustic
guitar -- and was roundly ignored. The crowd noise nearly drowned
him out.
Unfortunately, the kids just wanted to hear "Loser" and a
version of "I Wanna Sex U Up" and see the white-suited wonder bust
a move. This is the kind of audience disrespect and apathy both
Beck and Neil Young frequently railed against on last year's
H.O.R.D.E. Tour. If the audience can't get into what they've paid
and traveled to see, it's their loss.
For my money, though, Beck has made one of the best Dylan
albums of the year, if not one of the best overall. Whatever its
ultimate commercial fate, history should treat _Mutations_ well.
I'll spin it for years to come, I know that.
---
REVIEW: Oasis, _The Masterplan_ (Epic)
- Bob Gajarsky
In the spirit of their forefathers the Beatles and
rekindled during the eighties by the Smiths, Oasis consider
each track available for commercial consumption to be an
opportunity to establish themselves as the greatest band
in the world. Now, finally, American audiences get the
opportunity to judge Oasis' claims for themselves on the
B-sides compilation _The Masterplan_.
Whether displaying the acoustic charm of book-ends
"Half The World Away" and "Fade Away" (the latter appearing
in an electrified form on the Bosnian relief album _Help!_ ),
a driving Southern-rock boogie instrumental "Swamp Song",
or covering the Beatles on a spitting image cover of
"I Am The Walrus", the 14 tracks here represent a smattering
of the other side of Oasis.
The title track is a five-and-a-half minute
epic-in-the-making taken from the same cloth as "Don't Look
Back In Anger" and "Champagne Supernova" with the same
full-orchestra feel, while the best song of all, "Acquiesce"
brings together all the elements that people love and hate
about Oasis; the Gallagher sneer, Noel's classic writing in
the style of Lennon, and a perfect segueway from verse to
chorus to verse without missing a beat. Sure, the writing
is simple, but no one else seems to be doing it right
quite like this.
There are at least five songs here which, in their
native England, could be considered legitimate smash singles.
In one sentence, that about sums up the power of Oasis -
a B-sides album that is stronger than many bands best
efforts.
With such a wealth of material in the Oasis 'vault'
(nearly 35 non-album tracks from 14 singles and EPs), it
would have required a minor miracle to screw up this
compilation. Completists may rue the loss of Japan-only
tracks (such as a cover of the Beatles "You've Got To Hide
Your Away") or the vinyl-only tracks released in England
(such as "Bonehead's Bankholiday", an ode to Ringo), but
American fans should rejoice at the opportunity to add this
album to their Oasis collection.
TRACK LISTING: Acquiese, Underneath The Sky, Talk Tonight,
Going Nowhere, Fade Away, Swamp Song, I Am The Walrus,
Listen Up, Rockin' Chair, Half The World Away, It's Good
To Be Free, Stay Young, Headshrinker, The Masterplan
---
INTERVIEW/REVIEW: Marillion, _Radiat10n_ (Velvel)
- Dan Birchall
Marillion's tenth album, _Radiat10n_ , hit the United
States October 27, five weeks after its European debut. Two US-only
tracks excuse the delay, but fans will surely debate the album's
virtues in comparison to the band's other works. This may sound a
bit extreme, but Marillion fans are a special breed - when lack of
label support made a US tour unlikely, they raised $50,000 to make
it possible! The bandmembers clearly appreciate the devotion, and
while breaking new ground with each album, also work to reach marks
set in the past.
Though Marillion's songs have always been emotionally charged,
this album is a bit of a twist. The lyrics are often painful, but the
presentation, though wistful and perhaps resigned, is never
depressing. In an interview with Consumable, vocalist Steve Hogarth
described "a double spiral of pain and light-heartedness," adding,
"All this pain was reflected in the songs, and yet, when we came to
record them, the atmosphere in the studio was upbeat."
The album begins with "Costa del Slough" and "Under The Sun,"
humorous takes on the effects of ozone-layer depletion and global
warming. "The hole in the ozone layer has got to be a good thing if
it improves the God-awful English climate," jokes Hogarth, "and if
the polar ice-caps should melt, well, that would bring the beach much
closer to my front door. All the dead and dirty little English towns
(e.g. Slough) would sprout palm trees and become tropical resorts!"
Twisted humor persists on "The Answering Machine," with an amusing
look at how answering machines mediate relationships between
dysfunctional people.
"Three Minute Boy" is pure semi-autobiographical Marillion,
the tale of a star's rise and fall. US fans may not see Marillion
as big stars, but the band has done well worldwide. Hogarth
explains, "I've been touched by the fame thing enough to be affected
by it, and to gain an insight into the potential for further damage
higher up the tree." The band's trademark heart-rending intensity
and dynamic range shine on "Now She'll Never Know," "These Chains,"
"Born to Run," and "Cathedral Wall," as Hogarth spills emotions from
what he calls "a period of domestic collapse that I've been through
these last couple of years."
The final new track, "A Few Words for the Dead," is a
stunning epic with some of the most compelling lyrics Marillion has
penned. World music influences underly the universal message that
avenging our wronged ancestors only perpetuates conflict for future
generations. The album ends with an acoustic "Estonia" and a
danceable remix of "Memory of Water," both off the band's last album,
"This Strange Engine."
_Radiat10n_ aims to please, and hits the mark pretty squarely.
A few fans will surely want more loud songs, or more quiet songs, or
whatever. But all in all, this is strong, listenable music, with
some compelling lyrics. And for fans who want to hear it live,
Hogarth says the band is looking at a US tour - with label support -
in February of 1999.
---
REVIEW: Goo Goo Dolls, _Dizzy Up the Girl_ (Warner)
- Joann D. Ball
It should come as no surprise that the Goo Goo Dolls have
crafted such a beautiful and memorable song as "Iris." After all,
during the past ten years the Goos have steadily evolved from a
blue-collar thrash punk trio into a mature, intelligent power pop
band. While 1991's _Hold Me Up_ was a move away from the band's
dive bar roots, _Superstar Carwash_ which followed two years later,
elevated the band to a whole new level. The band's first stab at
the big time was the single "We Are the Normal," written by the
Goos and their major influence Paul Westerberg. By the time of
the collaboration, Westerberg had laid his band The Replacements
to rest, effectively passing the singer/songwriter/good time
rock-n-pop band badge to the Buffalo, New York based band. If the
hit single "Name" made the Goo Goo Dolls' 1995 studio outing _A
Boy Named Goo_ a breakthrough record, then the song "Iris" from
the soundtrack of this year's summer movie "City of Angels" should
finally establish the band as a rock tour de force.
All of the attention generated by the soundtrack single,
also included on the brand new album _Dizzy Up the Girl_ ,
significantly alters the scheme of things for the Goo Goo Dolls.
But singer, songwriter and guitarist John Rzeznik and musical
brother, vocalist, songwriter and bassist Robby Takac meet this
dream of a lifetime challenge head on with the thirteen tracks on
_Dizzy Up the Girl_. Those just discovering the band may have
hoped for a record filled with lush tracks identical to "Iris."
But what they get instead is a record that contains a number of
great radio friendly songs which explore the sonic range of
contemporary modern rock.
The band throws itself into "Dizzy," a rocking opening
track that peaks with John's typical full vocal/big sound chorus.
The second track is "Slide," the first single from _Dizzy Up the
Girl_ which quickly hit the number one spot on the modern rock
chart and helped propel the album into Billboard's Top Twenty.
"Slide" is the stuff that longtime fans have come to expect from
the Goo Goo Dolls and new fans will come to love. The infectious
guitar-based song has all the right hooks, a sing-along chorus
and a great upbeat vibe making it the best summertime song ever
released after Labor Day.
The Goo Goo Dolls' sound essentially boils down to guitars,
bass and drums, with keyboards and strings accenting that basic
arrangement on tracks like "Iris." The tracks on album number
six strike a wonderful balance between all out rockers and slower,
mellower numbers. Indicative of the former is the insightful
uptempo cut "Broadway," on which John reveals his ability to tell
a great story with Westerberg-like skill. The song also features
the guitar work of another influence, the now almost legendary pop
tunesmith Tommy Keene. While John sings most of the songs on the
record, Robby does belt out a few tunes on _Dizzy Up the Girl_.
He delivers "January Friend" and "Full Forever" with typical gusto
in his nasal, everyman's barroom voice which is the perfect
complement to John's clear, full and passionate vocals.
The Goo Goo Dolls do a superb job entertaining the listener
on _Dizzy Up the Girl_. But to fully comprehend the true heart and
the soul of the band, one must experience the band live. The Goo
Goo Dolls recently kicked off an eagerly awaited American tour at
the intimate Galaxy Theatre in Santa Ana, California and were well
rehearsed and rarin' to go. The Goos were full of energy and good
humor as they served up turbo charged rock-n-roll with great
enthusiasm. Resident skins man Mike Malinin kept the rhythm super
tight behind John and Robby, with session musicians Nathan December
on guitar and backing vocals and David Schulz on keyboards and
backing vocals rounding out the tour line-up. Whereas on previous
tours, the band operated as a trio with John working overtime
handling all the guitar work, the addition of these two excellent
musicians expanded the band's sound and gave John a chance to play
acoustic guitar, concentrate on his vocals and play the ever
friendly host of the evening.
On opening night, the Goo Goo Dolls delivered an awesome
21-song set that drew heavily from the new record and the previous
two releases. It's a move that will likely be repeated as the band
plays theaters and mid-sized venues across the country. The Goo
Goo Dolls are an excellent bet for a good time and an awesome rock
show, so don't miss the fun when it rolls through your town. Check
out the band's website at http://www.googoodolls.com
---
REVIEW: Chemical Brothers, _Brothers Gonna Work It Out_
(Astralwerks)
- Simon West
Before The Chemical Brothers hit paydirt as pioneers of
big-beat, they were critically lauded DJs, spinning discs around
Europe's more notable dancefloors. Their third full-length release
sees the Brothers return to their turntable roots with a continuous
mix that includes some 23 tracks across a wide array of genres,
blended to form the year's best party album.
Funk, rock, hip-hop, industrial and various flavors of what
has come to be known as electronica are masterfully mixed together -
the depth of the Chemical Brothers' record collection is matched by
their ability to work a dancefloor. They're savvy enough to include
several of their own compositions - a heavily remixed "Block Rockin'
Beats" by Micronauts makes an appearance, along with "Elektrobank"
b-side "Not Another Drugstore", "Morning Lemon" and more than a few
familiar samples. A couple of Chemical remixes close out the party
- their masterful deconstruction of Manic Street Preachers'
"Everything Must Go" leads into a swirling mix of "I Think I'm Love"
by Spiritualized. Earlier, industrial mainstays Meat Beat Manifesto
("Mars Needs Women") sit alongside early electronica artists/dub
terrorists Renegade Soundwave ("Thunder").
You'll recognize bits here and there then, but this is no
mail-order dance compilation - there's more obscurity than Top 40
in the mix. The great strength of _Brothers Gonna Work It Out_ is
apparent when turned up loud with lots of people around - this is
a mix to dance to, pure and simple.
From the funk of the title track, through the hard beats
of the Brothers' own work, hip-hop beats and rhymes, and several
minutes of ultra-cheesy seventies funk, this disc exists purely to
move the body. The usual anonymous techno found on a mix CD is
conspicuous by its absence - The Chemical Brothers' popularity has
always stemmed from their ability to recognize a good hook when
they hear it, and this extends beyond their own compositions to
their DJing selections. Immaculate taste and a mean ear for rhythm.
Buy. Have a loud party.
---
REVIEW: DeeJay Punk-Roc, _ChickenEye_ (Skint/Independiente/Epic)
- Tim Mohr
Though the form of electronic music termed Big Beat borrows
heavily from American hip-hop - frequently adopting the signature drum
arrangements, using vocal and instrumental samples from old funk and
soul records, idealizing elements of Old School style - the music has
never gained much of a following in the States (and particularly in
American hip-hop circles). In fact, discounting the Crystal Method
(and they do deserve to be discounted), DeeJay Punk-Roc is the first
major proponent of Big Beat with origins in the US.
Punk-Roc's music also betrays his up-bringing in the city
where hip-hop was invented. Alongside the bits of modern noise and
rumbling bass is the notable presence of classic hip-hop: archaic
synth riffs and beat boxes, vocal clips, and even the occasional
rap.
Of course, because Punk-Roc left New York and took up
residence in the UK, the sound of his debut album also has the
bone-rattling depth of bass and mind-warping blips of post-techno
that typify Britain's current dance music, with beats so prodigious
that "Big" Beat is an almost humorous understatement.
The mixture makes so much sense that it is surprising DeeJay
Punk-Roc is not only the first, but the sole, American to make the
combination of hip-hop and Chemical Beat so explicit. While the new
Fatboy Slim record takes in much more hip-hop than did the first,
and bands like the Freestylers drift in that direction, too, Deejay
Punk-Roc is probably the first member of the Big Beat clan who grew
up literally surrounded by real hip-hop culture. And since his
Brooklyn upbringing makes him unique among the British indie kids
who, up to now, invented, re-invented, and animated the genre of
Big Beat, it is only appropriate that this distinguishing quality
be put to good use on his record.
American hip-hop purists will, of course, not accept the
unconventional adoption of European measures to enhance the record,
while some indie-cum-Chemical Beat fans may object to the intrusion
of such an indiscrete dose of the boroughs of NYfuckin'C; everyone
else will hail DeeJay Punk-Roc as the odds-on favorite to unify the
belts in the super-heavy-weight class of beat music.
---
REVIEW: dada, _dada_ (MCA)
- Scott Slonaker
The Los Angeles trio known as dada (lowercase, thank you)
has resurfaced from the ashes of a failed label (I.R.S.) with
their fourth album. As befits the band's rebirth of sorts, it's
self-titled.
Dada's music is both easy and impossible to categorize.
They don't sound shockingly different than most of the other
white guitar-pop bands, but there is somehow no good comparison.
In this record, I can pick up a little Weezer, a touch of the
Gin Blossoms, a dollop of _Pet Sounds_ /Jellyfish layered
harmonies, some Replacements clatter, and a fair portion of
strummy Toad the Wet Sprocket-esque preciousness. Among
other things.
What I can tell you is that the three musicians who
make up this band- singer/bassist Joie Callo, guitarist/singer
Michael Gurley, and drummer Phil Leavitt- are first-rate.
They effortlessly keep the sonic palette varied and never boring -
which is why I'm hearing such a pastiche. So, don't be fooled
just because you remember "Dizz Knee Land", the group's only
real hit (and a mediocre novelty at that).
_dada_ opens with....a dance beat. Soon enough, the
string-backed "Information Undertow" kicks in, bringing with it
memories of Duran Duran's '93 comeback record. Things then get
chunky in a hurry, with the Brit-pop guitar wall of "Playboy
in Outerspace" and the first single, "California Gold", which
nicks the opening melody from War's "Low Rider" before leaping
into a chorus of "Crackers and the crack boys (mixin' it up)/
Maria and the boy toys (mixin' it up)/.45s and jet noise (mixin'
it up)/Crackers and the crack melting into California gold."
"Beautiful Turnback Time Machine" could have been pulled right
off Jellyfish's _Spilt Milk_ (one of the finest overlooked
records of this decade) "This Thing Together" has Beach Boys
harmonies Brian himself would be proud of. Buried in the
middle of all this is the gorgeous acoustic ballad "Goodbye",
sung by Callo in his best falsetto.
See?
Most of the last few tracks are janglier and more like
the dada of a few years ago. Fans are going to want to check
out "Sweet Dark Angel" and "Baby Really Loves Me" in particular.
Thankfully, dada is a band that has managed to find an audience
without continuous radio and videoplay. See them on tour and you'd
think they were platinum-selling stars. _dada_ is a fine choice
for all fans of guitar-based pop music, and that's the best way I can
describe it.
---
REVIEW: Soundtrack, _Clay Pigeons_ (Universal)
- Lang Whitaker
Slap the dog and spit on the fire. The soundtrack for the
new country-fried Vince Vaughn and Joaquin Phoenix flick "Clay
Pigeons," assembles a collection of folk & country authentic enough
to knock out your two front teeth and put your cars up on blocks in
your yard.
Playing country-alt-rock isn't the most technically
challenging task in the world. What is difficult is endowing the
music with a sense of the artist's personal pain and tragedy. For
instance, when you listen to old Hank Williams stuff, you know the
poor guy's heart is made up of sweet dreams and flying machines in
pieces on the ground.
The Old 97's kick off _Clay Pigeons_ with a driving version
of "Timebomb" that will leave tobacco juice on your boots. Jimmy
Wakely's "Moon Over Montana" is a cowboy ballad, narrating a
beautiful scene over the wild, wild west. Wakely mixes a poignant
oboe with a theremin to create a Western vista populated by technology
junkies. Tonic's twangy take on "Everybody's Talkin'" tries really
hard to be country, but it sounds just off the mark, like how Sheryl
Crow tries to reinvent herself but never quite succeeds. The Verve
Pipe don't even try to act like they're a country band, instead
relying on the inclusion of an acoustic guitar to flash their
message on their song "1229 Sheffield." Strangely enough, it sounds
more authentic than the Tonic track.
A big surprise comes from the normally annoying Sister Hazel,
who is much better here with their version of the Bellamy Brothers'
commercial classic "Let Your Love Flow," even tossing in some cool
twin electric guitar flatpicking. Their lead singer still sounds
like Travis Tritt with a cold, honking his way through the song.
Wouldn't you know it? The one guy who gets it, really gets it,
is of course Lyle Lovett. His voice is so divinely controlled and
tightly spun, he's probably not even able to order pizza over the
phone without sounding lyrical. And when Lovett sings, "I know about
lonesome, now teach me about love," you simply have to believe him.
He didn't get Julia Roberts to marry him because of his looks, you know.
---
REVIEW: Beekeeper, _Ostrich_ (Southern)
- Chelsea Spear
Karla Schickele's work with Brooklyn's otherworldly Ida
includes propelling the band's atmospheric pop forward with her
appealingly melancholy bass lines, singing haunting background
vocals, and occasionally writing songs. "Maybelle", her
contribution to Ida's 1997 split single with Beekeeper, piqued
my interest to hear more of her songwriting, and thus led me to
Beekeeper's debut album. However, listening to Beekeeper on
account of any associations with Ida can have the effect of a
shot of tequila when you asked for a lemon merengue soda.
The beauty and careful attention to melody that marks
Ida's approach to songwriting and performance are nowhere to be
found in their music. Instead, this band takes a similar
approach to Neil Young and Crazy Horse, and its effect comes
closer to Schickle's *other* band, Babe the Blue Ox. The band
runs on loping rhytms, clean sheets of guitar rip through a song,
and the lyrics are replete with poetic references to death and
destruction.
Beekeeper's music certainly has value; the telepathic
musical interplay between Karla and her brother, Matt, adds an
intriguing dimension to the music, and the musicianship that
goes into the album reveals a depth of knowledge of their
instrumental ability and passion that's hard to write off.
However, I'm not much of a fan of emo-core, and though the
connection between this trio and New York City's favourite
indie-pop offspring got me in the door, I can't say I was all
that interested in hearing what came to pass. If you're looking
for intelligent, emotional art-core, or if you're as disappointed
with the Dischord label as some of today's younger folk seem to
be, Beekeeper might be the band to check out. While _Ostrich_ is
no _Boom Boom Chi Boom Boom_, as a bassist's side project,
Beekeeper are at least head and shoulders above Quasi.
---
REVIEW: Photek, _Form & Function_ (Astralwerks)
- Simon West
"Anyone who can't hear emotion in a drum beat suffers
from a lack of understanding of what's going on in dance music
and they need to hear more." - Rupert Parkes, a.k.a. Photek
He'd be the one to know. As drum and bass continues to
assimilate ever more diverse musical genres, it's refreshing
to see straight up minimalism ain't dead yet. _Form &
Function_ is a compilation of early Photek singles, previously
unavailable on CD, along with some recent remixes of same, and
a couple of brand new tracks.
The original versions of "The Seven Samurai", "Rings
Around Saturn", "UFO" and "The Water Margin", recorded between
1994 and 1996 on Photek's eponymous label sit alongside recent
remixes by both Photek and other leaders of the drum and bass
scene. Spartan stuff for the most part, Photek's use of space
is as important as beats. Unlike the more commercial drum and
bass excursions of Roni Size et. al, this is abstract, brutal
mood music. "The Seven Samurai" is particularly effective,
with a cool, crisp sound that _sounds_ like the violence of
the martial artist. "Rings Around Saturn" has an atypical
groove to it, with samples from jazz saxophonist Pharoah
Sanders mixed in with the sci-fi beats.
Of the two new tracks, "Santiago" employs the odd
hand-clap and has a funkier, less mechanical feel to it than
typical Photek. "Knitevision" is a slow, ominous, throbbing
affair, one of the standout tracks on the disc.
Being a compilation, _Form & Function_ doesn't flow
quite as well as Photek's debut _Modus Operandi_, but the
quality is just as high. Don't come here looking for tunes -
Photek's world is not a particularly radio-friendly one, but
if you can hear "emotion in a drum beat" or just appreciate
beats, the beats are here.
---
REVIEW: Absinthe (featuring Sam Llanas), _ A Good Day to
Die_ (Llanas)
- Daniel Aloi
Of all the reasons an artist may have for a solo project, the
most often cited is one of expression -- the need to put forth
something personal, apart from a band's established image.
So it is for Sam Llanas, half of the singing-songwriting
team (with Kurt Neumann) fronting the powerful, passionate roots-rock
act The BoDeans. On his new album with a new band, Absinthe, Llanas
isn't breaking away from the past, he's hitting it head-on. But
don't expect the rave-ups the 'Deans are famous for. This is an
intensely personal work, shot through with pain and loss, one that
dwells on death and isolation. One man's story in 13 songs.
Reflective, sobering, and starkly beautiful, _A Good Day to
Die_ is a cathartic event for Llanas, a journey through his past,
darkly. He's gathered, from fragments of songs written over the past
10 years, some of his most closely held thoughts and issues into one
statement of who he is and the events that affected him.
The man who sang "Fadeaway" here addresses loneliness and
being left to deal with what's gone for good. This theme is defined
in the title track, recalling the day of his brother Tom's suicide.
Llanas was 15 when 19-year-old Tom -- someone he'd looked up
to, who had tried to advise him -- took his life with their father's
shotgun, leaving the Llanas family with pain and confusion.
Unexpectedly, Sam's brother, Walter and Angie's son, who hadn't
seemed particularly unhappy, was gone -- a lonely wind blows through
the song, and all the survivors are left with are questions: "not
even 20/and we still wonder why."
Elegant, haunting and rich in feeling, "A Good Day to Die"
opens and sets the tone for the album. In an almost spiritual quest
for reconciliation, Llanas further explores isolation in "It Don't
Bother Me" and "Still Alone," and childhood trauma in "The Bully on
the Corner."
Llanas has his friends there with him as he spins these
personal tales -- Jim Eannelli on bass and guitar, and drummer Guy
Hoffman, originally with the BoDeans, now with the Violent Femmes.
Recording in Milwaukee at the BoDeans' Hacksville Studio with
Llanas' coproducer Gary Tanin (who also engineered, mixed and mastered),
the members of Absinthe make these songs evocative, and make the most
of the dynamics suited to their bleak tone. They also come through
with rock'n'roll muscle, as on "A Little Bit of Hell."
The final song is "Time For Us," a countrified celebration
of life worth living in the time we're given, as sung by a survivor
who knows just how dear that is. It's followed by an uncredited
closing track, of a long series of knells from a lone church bell.
Each tone, a reminder of loss, shredded by a low, howling wind, hits
you in the heart.
Sam Llanas has given the fans of his more famous band's
sensitive songs, and anyone who has ever lived through a loss,
something to cherish and to think about. While he still remains with
the BoDeans, Llanas is ready to continue singing these songs. Absinthe
is preparing for a national tour to support the album, and I expect
a lot of crying in clubs across the land.
The album is nationally distributed by M.A.D. (Midwest Artists
Distribution); further information is available by e-mailing
multimus@execpc.com
---
REVIEW: Lida Husik, _Faith in Space_ (Alias) / Pee Shy,
_Don't Get Too Comfortable_ (Mercury)
- Chelsea Spear
In retrospect, Lida Husik's _Fly Stereophonic_ was one of
the most beguiling albums to come out of 1997. After various folk-
and electronica-influenced missteps, Husik finally found a compelling
voice in marshmallowy, droning mid-tempo tunes that suggested
Stereolab as fronted by Liz Phair. Smart lyrics and billowy
melodies made this an album to listen to on rainy days when the
only thing that would make you feel better is some ginger tea and
gentle music that wouldn't insult your intelligence.
Rather than deepening that approach, Husik has elected to
go on yet another techno-experimental journey with her new disc,
_Faith in Space_. These twelve tepid tracks feature warmed-over
ambient beats, with Husik's lovely voice floating loftily over
them. Unlike _Fly Stereophonic_, no one track stands out -- after
a while, they all blend together in a kind of mid-tempo haze.
Luckily _Faith in Space_ isn't a proper follow-up to her
last album, but rather another techno experiment with British DJ
and ardent Husik fan Benmont Tench, which she feels compelled to
try every now and again. While I applaud Lida for trying something
so different after mining such a successful groove with her previous
album, I also wish that she would realise which limbs are solid
enough to go out on, and which she should just leave alone. This
dabbling in electronica would have been far more successful and
fulfilling had she tried to integrate it into the music she plays
full time, as with Beth Orton's successes including techno breakbeats
into a singer/songwriter forum.
While Lida continues to overextend her artistic voice, New
York quartet Pee Shy pick up the slack and release a surprisingly
fresh and tasty sophomore release with _Don't Get Too Comfortable_ .
The band's previous release, _Who Let All The Monkeys Out?_, tried
for a girly They Might Be Giants vibe but fell flat on their bracing
tweeness. However, with _Comfortable_ the band upgrades their
production from a lofi overintimacy to a clean, crisp approach. The
songs are stronger on the whole than most of _Monkeys_, and the
zingy instrumentation adds another dimension to their tuneful
approach; a panoramic-sounding clarinet glides through "Bathroom
Floor", and opening track "Mr Whisper" features a peripatetic piano
line straight out of the TV show _A Charlie Brown Christmas_. The
vocals and lyrics can occasionally be problematic -- while singers
Jenny Juristo and Cindy Wheeler have commendably dropped the forced
baby voice that marred much of the previous album, they occasionally
adopt a similarly grating gravelly tone that's supposed to suggest
Liz Phair's conversational approach. On those tracks in which the
gals drop the pretense and just sing, they reveal sweet, appealing
voices reminiscent of none other than Lida Husik at her prime. And
while the lyrics may look heavy-handed and pretentious on the page,
the girls' belief in their material and smart, sarcastic approach
breathes new life into the sometimes-dubious words, which is a mark
of a quality rock singer and frontperson. The strongest tracks on
this album, including the playful "Greatest Show on Earth" and the
poignant "Fear", have whetted my appetite to hear how the band will
expand upon these ideas on their next album.
---
REVIEW: Martin's Dam, _Sky Above_ (Hybrid)
- Bob Gajarsky
More than 10 years ago, when the Philadelphia music
scene was threatening to become known in a way that would
rival Athens, Georgia and (later) Seattle, a local band named
Bricklin was signed to A&M. The scene - and band - was
straight-ahead rock and roll, best known for the Hooters
but best personified by Tommy Conwell and the Young Rumblers.
Unfortunately, Bricklin's self-titled debut never took
off - Bon Jovi's did, as the world both loved and regretted -
and Philadelphia's glitter faded away. The Bricklin brothers
kept playing, honing their skills, and hoping for another
opportunity at the brass ring.
But that was when Danny Wilde was best known as a writer
for other's songs - the Wildes and Great Buildings never having
hit the big-time and the Rembrandts still just a figment in the
imagination - and bands such as the Gin Blossoms hadn't made the
soil fertile. Bonafide harmonious pop-rock music was as hard to
find in the mid 80s as a club-bound Jersey girl without a hair
full of aerosol spray.
Now ten years later, they've returned in a new band,
Martin's Dam (named after a young hangout of the Bricklin
brothers, on the outskirts of Philly), with the harmonies,
guitars and pop/rock sound still intact.
The Bricklins haven't lost their touch of being able to
sing; that was never in doubt. The leadoff (and standout) track,
"Fear of Flying", incorporates the two-part vocals that were
so special during their last album, with musical accompaniment
that clearly owes a debt to the aforementioned Wildes, as well
as (on "Thinking Of You") European singer Espen Lind. Other
tracks such as "Mercy Blue" and "Julia" show that, just as
before, Bricklin doesn't record great songs - they record
great albums.
To many, Martin's Dam will be a new experience that
might just take the place of the Rembrandts. However, for those
who had to search low and high for the self-titled debut disc,
it's a hearty 'Welcome back!' to the Bricklin brothers.
---
REVIEW: Peter Green/Splinter Group, _The Robert Johnson
Songbook_ (Artisan)
- Tim Kennedy
This album held much promise. The current touring Peter Green
and Splinter Group show features a two or three song segment of Robert
Johnson material which is one of the highlights, the songs rendered
in rootsy delta blues style.
The obvious highlight of the live Peter Green show is his
wonderful blues guitar playing and evocative voice which often ascend
the heights of his heyday of the late 60s UK blues boom - heights that
made no lesser a figure than BB King a Peter Green fan.
Peter sank to unimaginable depths of drug-fuelled insanity and
depression at the end of the 60s which led to him dropping out of the
music business for more than 25 years whilst the band he formed,
Fleetwood Mac, became a byword for AAA, music that neither offends
nor inspires.
_The Robert Johnson Songbook_ is the work of more than Peter
Green. His self-proclaimed rescuer Nigel Watson looms large, not
least on the sleeve artwork. According to a member of PG's entourage
that I spoke to a couple of years ago, the real inspiration behind
Peter's comeback is his (then) new wife - so perhaps the praise heaped
on Nigel by himself in the sleevenotes for rescuing Peter from the
doldrums are a little exaggerated. Peter had a similar tribute album
made in his honour some years ago by Gary Moore.
The style of most of this music stems from much later in the
history of the blues than the period in the mid thirties when Johnson
briefly flowered, chiefly Chicago in the 50s. The blues that came after
the war was very much the same blues but with more modern technology.
Elmore James and Muddy Waters retrod the same path, yet enervated by
electric guitars.
Therefore the idea of updating these songs seems not to have much
value. It has already been done. Johnson himself borrowed most of his
tunes and lyrics from singers he himself had seen. The reason why
people listen to Johnson's few surviving works today is his incredible
mastery of the acoustic guitar, which to Keith Richards, a huge fan
from the dawn of the Stones, sounded like TWO guitarists. Also
noteworthy is his ability to convey elemental feelings in his voice
such as dread, lust, resignation and loss with such accuracy.
The Stones covered these songs memorably, lending their peculiar
arrogance to them with great effect. Led Zeppelin made their name by
taking the delta blues into unfeasibly heavy territory. It is true to
say that these bands fashioned the songs into something very different
indeed. On this album the intent appears to be to stay true to
traditional blues values as one might expect.
One song here which approaches the greatness of the original is
Peter's version of "Love In Vain", which displays fine playing and
sensitive vocals. "Ramblin' On My Mind" also displays some of the
emotion of Robert Johnson. With his friend Nigel he turns in a good
Delta blues represenation of "Stones In My Passway".
The jazzed up, gospelised versions of "When You Got A Good
Friend", "32-20 Blues", "Phonograph Blues", "Last Fair Deal Going
Down", "Stop Breaking Down", "Honeymoon Blues" and "Sweet Home
Chicago" are disappointing to say the least. These jolly romps bear
little relation to the intent behind Robert Johnson's work. The use
of a piano especially doesn't help. "Me And The Devil" is rendered
in the Delta style but sounds again rather too jolly, as if Satan
was not such a bad chap after all to meet strolling down to the
crossroads on a summer evening.
Nigel sings "Dust My Broom"like a young rockabilly to a
production that could be by an updated Sun Studios. "If I Had
Possession Over Judgement Day" displays similar rockabilly tendencies.
It is impossible to tell if Peter is involved in these two efforts.
Peter Green knows only too well of the horrors that haunted
Robert Johnson's music, and it is a shame that this record only rarely
allows us that insight. It is a wonderful thing that a living blues
legend like Peter Green can return to performing after such a long and
tragic period, and he is clearly enjoying life once again. However
this album doesn't reflect the glory of the delta blues, and neither
is it a great Peter Green album.
---
NEWS: > Cheap Trick's first three albums have been re-released
in digitally remastered form with extra bonus tracks by Sony/Legacy.
The self-titled debut includes the previously unreleased studio
versions of You're All Talk, Lookout, I Dig Go-Go Girls an
outtake of Lovin' Money and an early version of I Want You To
Want Me; _In Color_ includes unreleased demos of Southern Girls
and Come On, Come On , unreleased live versions of You're All
Talk and Goodnight and an instrumental version of Oh Boy;
_Heaven Tonight_ includes unreleased outtakes of Stiff
Competition and Surrender.
> On November 24th, Hollywood Records will celebrate
the 25th anniversary of British rock band Queen with the
release of _Crown Jewels_, a box set featuring the band's
first eight albums. Output from the band's self-titled
debut through and including _The Game_ has been remastered
under the surpervision of the surviving band members. The
release of the 90-song collection _Crown Jewels_ coincides
with the premiere of the brand new "Queen -- Legends"
special on VH1 during "Queen Week" on the music video channel.
---
TOUR DATES:
12Rods
Nov. 7 New York, NY Brownies
Baby Ray
Nov. 5 Cambridge, MA Lizard Lounge
Nov. 6 New York, NY Baby Jupiter
Nov. 7 Branford, CT Exile on Main Street
Nov. 8 Mystic, CT Green Marble Cafe
Nov. 14 Boston, MA Bill's Bar
Nov. 15 Boston, MA Mama Kin
Better Than Ezra / Bic Runga
Nov. 12 Edmond, OK University Center Ballroom
Nov. 13 Austin, TX Liberty Lunch
Nov. 14 San Antonio, TX White Rabbit
Nov. 15 Dallas, TX Deep Ellum Live
Candlebox
Nov. 4 Winston-Salem, NC Ziggy's
Nov. 5 Raleigh, NC Ritz
Nov. 6 Virginia Beach, VA Peabody's
Nov. 7 Roanoke, VA New River Valley
Nov. 9 Carbondale, IL Copper Dragon
Nov. 10 Indianapolis, IN World Mardi Gras
Nov. 13 Anchorage, AK Egan Center
Nov. 14 Honolulu, HI Kualoa Ranch
Chocolate Genius
Nov. 7 New York, NY The Fez
Nov. 14 New Haven, CT Palace Theatre
Nov. 15 Syracuse, NY Landmark Theatre
Nov. 16 Columbus, OH Newport Music Hall
Deftones / Pitchshifter / Quicksand
Nov. 9 Dallas, TX Deep Ellum Live
Nov. 10 Austin, TX Music Hall
Nov. 11 Houston, TX International Ballroom
Nov. 13 Atlanta, GA Tabernacle
Nov. 14 Raleigh, NC Ritz
Everlast
Nov. 7 Winston Salem, NC Ziggy's
Nov. 8 Charleston, SC Music Farm
Nov. 11 Wilmington, NC Metropolis
Nov. 12 Greenville, NC Attic
Nov. 13 Atlanta, GA Masquerade
Nov. 14 Charlotte, NC Tremont Music Hall
Nov. 15 Columbia, SC Elbow Room
Miles Hunt
Nov. 4 Austin, TX Stubbs
Nov. 5 Houston, TX Instant Karma
Nov. 6 Tulsa, OK The Brink
Nov. 7 Tulsa, OK The Fur Shop
Nov. 10 Atlanta, GA Smith's Olde Bar
Nov. 11 Raleigh, NC Brewery
Nov. 13 Toronto, Canada El Mocambo
Nov. 14 Philadelphia, PA Pontiac Grill
Nov. 15 Washington, DC Metro
Howard Jones
Nov. 4 San Francisco, CA Maritime Center
Nov. 5 San Diego, CA Hurricane
Nov. 6 Tucson, AZ Rialto
Nov. 7 Las Vegas, NV Joint
Nov. 10 Denver, CO Ogden Theatre
Nov. 12 Chicago, IL Park West
Nov. 13 Lackawanna, NY Sideshow Hall
Nov. 14 Detroit, MI Majestic
Nov. 15 Cleveland, OH Wilbert's
Jude
Nov. 4 Dallas, TX Curtain Club
Nov. 5 New York, NY Bowery Ballroom
Nov. 6 New York, NY Luna Lounge
Nov. 10 Cleveland, OH Wilbert's
Nov. 11 Pittsburgh, PA Rosebud
Nov. 12 Virginia Beach, VA Nocturnal Cafe
Nov. 13 Asheville, SC Stella Blue
Marilyn Manson
Nov. 4 Houston, TX Aerial Theatre
Nov. 5 Dallas, TX Bronco Bowl
Nov. 7 New Orleans, LA State Palace
Nov. 9 Atlanta, GA Tabernacle
Nov. 10 Charlotte, NC Ovens
Nov. 11 Richmond, VA Landmark Theatre
Nov. 13 Camden, NJ E-Center
Nov. 14 Cleveland, OH Music Hall
Mercury Rev
Nov. 6 New York, NY Bowery Ballroom
Motley Crue
Nov. 7 Philadelphia, PA Tower Theatre
Nov. 8 Poughkeepsie, NY Mid-Hudson Civic Center
Nov. 10 Grand Rapids, MI DeVos Hall
Nov. 11 Louisville, KY Palace Theatre
Nov. 13 Chicago, IL Aragon Ballroom
Nov. 14 Minneapolis, MN Roy Wilkins Auditorium
Nov. 15 Davenport, IA Adler Theatre
Mike Peters
Nov. 4 Phoenix, AZ Mason Jar
Nov. 7 Santa Barbara, CA Coach House
Nov. 8 San Juan Capistrano, CA Coach House
Nov. 9 Los Angeles, CA Viper Room
Nov. 11 Santa Cruz, CA Palookaville
Rev. Horton Heat / Amazing Crowns
Nov. 6 Baton Rouge, LA Varsity Theatre
Nov. 7 New Orleans, LA House of Blues
Nov. 8 Pensacola, LA Sluggo's
Nov. 9 Tallahassee, FL Cow Haus
Nov. 11 Birmingham, AL 5 Points Music Hall
Nov. 12 Atlanta, GA Masquerade
Nov. 13 Athens, GA Georgia Theatre
Nov. 14 Orlando, FL House of Blues
Nov. 15 St. Petersburg, FL State Theatre
Tricky / Whale
Nov. 7 Myrtle Beach, SC House Of Blues
Nov. 9 Knoxville, TN Stock Exchange
Nov. 10 Charlottesville, VA Trax
Nov. 11 Pittsburgh, PA Metropol
Nov. 13 New Haven, CT Toad's Place
Nov. 14 Northampton, MA Pearl Street
Nov. 15 New York, NY Roxy
Moe Tucker
Nov. 7 Newark, DE East End
Nov. 9 Northampton, MA Iron Horse
Nov. 10 Cambridge, MA TT The Bear's
Nov. 11 Danbury, CT Classic Rock Brew Cafe
Nov. 12 Ithaca, NY Nines
Nov. 13 New Brunswick, NJ Budapest
Nov. 14 Baltimore, MD Cafe Tattoo
Nov. 15 Hoboken, NJ Maxwell's
Uz Jsme Doma
Nov. 3 Ithaca, NY The Nines
Nov. 4 New York, NY Baby Jupiter
Nov. 11 Boston, MA Middle East
Nov. 12 Washington, DC Black Cat
Mike Watt
Nov. 7 Salt Lake City, UT Zephyr Club
Nov. 8 Boise, ID Nerolux
Nov. 9 Missoula, MT Jay's
Nov. 10 Spokane, WA Ichabod's
Nov. 12 Seattle, WA Crocodile Cafe
Nov. 13 Olympia, WA Capitol Theatre
Nov. 14 Portland, OR Berbatis Pan
Wesley Willis / Cats & Jammers
Nov. 12 Cleveland, OH Euclid Tavern
Nov. 13 New Brunswick, NJ Melody Bar
Nov. 14 Portsmouth, NH Elvis Room
Nov. 15 Providence, RI The Call
---
Founded in August, 1993, Consumable Online is the oldest
music reviews publication on the Internet.
To get back issues of Consumable, check out:
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