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Consumable Online Issue 130
==== ISSUE 130 ==== CONSUMABLE ======== [December 4, 1997]
Editor: Bob Gajarsky
Internet: gaj@westnet.com
Sr. Correspondents: Tim Kennedy, Reto Koradi, David Landgren,
Sean Eric McGill, Tim Mohr, Al Muzer, Joe Silva
Correspondents: Daniel Aloi, Joann Ball, Tracey Bleile, Lee
Graham Bridges, Scott Byron, Patrick Carmosino,
Krisjanis Gale, Bill Holmes, Eric Hsu, Tim
Hulsizer, Robin Lapid, Stephen Lin, Scott Miller,
Linda Scott, Rainier Simoneaux, Scott Slonaker,
Simon Speichert, Jon Steltenpohl, Simon West,
Lang Whitaker
Technical Staff: Chris Candreva, Dave Pirmann
Also Contributing: Rey Roldan
Address all comments, subscriptions, etc. to gaj@westnet.com
==================================================================
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: Finley Quaye, _Maverick A Strike_ - Lang Whitaker
REVIEW: Patti Smith, _Peace and Noise_ - Joann D. Ball
REVIEW: Deftones, _Around the Fur_ - Sean Eric McGill
REVIEW: AC/DC, _Bonfire_ - Chris Candreva
REVIEW: Soundtrack, _Trainspotting 2_ - Rey Roldan
REVIEW: Tranquility Bass, _Let The Freak Flag Fly_ - David Landgren
REVIEW: Space Monkeys, _The Daddy Of Them All_ - Bob Gajarsky
REVIEW: Various, _Everybody Wants Some_ - Bill Holmes
REVIEW: Olive, _Extra Virgin_ - Joann D. Ball
REVIEW: Dubstar, _Goodbye_ - Bob Gajarsky
REVIEW: The Toms, _The Toms_ - Bill Holmes
REVIEW: The Ramones, _We're Outta Here_ - Chris Candreva
COMPILATION REVIEWS: John Mellencamp, Saw Doctors, Joan Jett,
Sinead O'Connor - Bob Gajarsky
REVIEW: BMX Bandits, _Theme Park_ - Rey Roldan
REVIEW: Terry Draper, _Light Years Later_ - Bill Holmes
NEWS: Echobelly, Jars of Clay, Sister Hazel, Moe Tucker / Velvet Underground
TOUR DATES: Catherine Wheel, Paula Cole / Devlins, Deftones / Limp
Bizkit, Deftones, Dismemberment Plan, Duran Duran, Hed P.E., , Irving
Plaza (New York City concert hall: http://www.irvingplaza.com), Jane's
Addiction, Jars of Clay / Plumb, Lords of Acid / Jack Off Jill, Holly
McNarland, Moby, Motley Crue, Moxy Fruvous, Old 97s, Oneida / Be/Non,
Pantera / Anthrax / Coal Chamber , Phish, Rolling Stones / Third Eye
Blind, Shelter, Jane Siberry, Sister Hazel, Stereolab / High Llamas,
Tsunami
THE READERS WRITE BACK!
Back Issues of Consumable
---
REVIEW: Finley Quaye, _Maverick A Strike_ (550 Music)
- Lang Whitaker
Being a lesser-known relative in a well-known family can
be murderous (LaToya Jackson, we hardly knew ya), but with _Maverick
A Strike_ under his belt, Finley Quaye shouldn't have any problems
marking his own territory. The family Quaye was born into has a
pedigree talented enough to shame even the Osmond Family. Consider:
Quaye's father is a jazz composer, his brother is a musician who's
played with everyone from Hall and Oates to Elton John, and oh yeah,
he has this nephew named Tricky who does this little electronic thing.
On this, Quaye's debut album, Finley has crafted a sound textured and
rich enough to make people fall in love all over the world.
The term his label has settled on to describe _Maverick A
Strike_ is "post trip-hop". That's just fine with Quaye, who rationalizes,
"...it sounds very much like it's got a lot to do with the 60s & 70s
reggae era. A rasta at its height is coverage, total coverage. Eclectic,
Coverage before you come up with anything to say, before you come up with
any aptitude. Before you come with any couthness or right-on or
appropriateness, you've got to check the coverage."
Consider the coverage checked. In fact, the coverage is checked
hard enough that if this was hockey, Quaye would probably draw a game
misconduct penalty.
The first single off of the album is the glorious "Sunday
Shining", a song which features shared writing credits from the
23-year-old Finley and reggae legend Bob Marley. Quaye combines a
ringing Oasis-like guitar with the reggae vocal style of Marley
and a drumbeat that propels everything along. It's quite an amazing
and beautiful sound.
Almost every song on _Maverick A Strike_ is uplifting and
redemptive. Love runs deep on this CD. I guess nephew Tricky got all
the bad vibes in the family. Quaye serenades a lover on "Even After
All", which has a "Walk on the Wild Side" groove to it. Over a humming
guitar, Quaye proclaims "Them eyes are gorgeous girl/ No demise I
prize/ I got to raise it again/ Them eyes are gorgeous/ I must
advance." His unique singing/rapping style is so herky jerky that
you almost need a chiropractor. However, what he does vocally fits
perfectly with the music, and that is what is so beautful about these
songs.
"It's Great When We're Together" blends an entire string
section with a gospel organ to make a song that sounds like it was
written for Al Green. "Ride On and Turn The People On" is a rap song
that tastes like Lenny Kravitz with a slight aftertaste of War. The
title track, "Maverick A Strike" is straight reggae, a story of the
return of the narrator to ease his lover's pain.
Something else odd and probably worth mentioning is the fact
that this album was co-produced by Quaye and Kevin Bacon. I don't know
if it's "Quicksilver"/"Footloose" Kevin Bacon or not, but either way
this makes Quaye much easier to link the next time you're playing
"Six Degrees of Kevin Bacon".
This is the kind of record that will drive product managers at
Blockbuster Music stores all over the world totally nuts. While most
music mega-stores will probably end up classifying this as a reggae
record, don't judge the book by the Dewey Decmial system number it
gets assigned. Get it, put it in, and turn it up. Way up.
---
REVIEW: Patti Smith, _Peace and Noise_ (Arista)
- Joann D. Ball
_Peace and Noise_ is Patti Smith's second release since 1996.
And this is definitely a signal that she may again produce records with
the frequency and intensity of her work with the Patti Smith Group
during the 1970s.
Having dealt with the grief of losing her brother and her beloved
husband, Fred "Sonic" Smith, on the recent _Gone Again_, Smith now
explores the past, present and future of America with characteristic
passion and vision. With the help of a solid band comprised of Lenny
Kaye (guitar) and J.D. Daugherty (drums) from the Patti Smith Group,
and newcomers Oliver Ray (guitar) Tony Shanahan (bass), Smith rocks with
a renewed sense of direction and energy. And her writing is just as
ambitious as it was over two decades ago, frequently blending spoken
word with textured instrumentation.
While Smith shares songwriting credits with at least one of her
bandmates on 9 of the 10 tracks, the collaboration with Ray seems
especially promising and produced four songs.
The most accessible tracks on _Peace and Noise_ are the first
three. The record opens with the religious fervor of the multi-layered
"Waiting Underground," which features prominent piano and a sample of
"Prayer Meeting" from the Smithsonian Folkways recording _Negro Folks
Music of Alabama, Volume II_. Next are the two radio friendly rockers,
the bass driven "Whirl Away" and the bouncy "1959." While the latter
celebrates the unfulfilled American Dream and promise of the fabulous
fifties, Smith turns her attention to the beat generation on "Spell."
Poetry meets rock as she uses the late Allen Ginsberg's footnote to
"Howl" as lyrics over a mix of hypnotic guitars and percussion. And
on the streetwise hustle and shuffle of "Don't Say Nothing," a statement
about personal responsibility, she fully captures Ginsberg's spirit.
On "Dead City" Smith embodies grit and grime as she snarls and
spews forth the lyrics through a swirl of guitars and over Shanahan's
ass-kicking bass lines and Daugherty's tight beat. On the lighter side,
"Blue Poles" evokes classic Neil Young with its harmonica and acoustic
country-folk rock feel. And it's followed by "Death Singing" is a
charged wake up call about the AIDS epidemic.
But the most adventurous track here is "Memento Mori," which
was improvised live in the studio. A ten-and-a-half minute epic about
a helicopter accident during the Vietnam War, this communal effort is
proof that Smith and her band are very much in synch. Its a slightly
funky, psychedelic journey that alternates between highs and lows and
concludes in a high speed crash. It segues right into the record
closer "Last Call," on which lone guest artist Michael Stipe of REM
provides hushed backing vocals, echoing Smith on this response to the
Heaven's Gate suicides.
Fans of Patti Smith Group masterpieces _Horses_, _Radio
Ethiopia_ and _Easter_ will find much to enjoy on this record. Smith
is clearly in classic form here, thanks to a musical and spiritual
solidarity with her four bandmates. A record that demands the
listener's complete attention, it is as cerebral as it is emotional.
Thus, it may take those who prefer Smith's pop sensibilities, most
evident on _Wave_ and _Dream of Life_, and curious newcomers a bit of
time and effort to fully comprehend. But ultimately they too should
find in _Peace and Noise_ an immensely rewarding piece from one of the
last great rock poets.
---
REVIEW: Deftones, _Around the Fur_ (Maverick)
- Sean Eric McGill
In the minds of many, the Deftones have always seemed to exist
in the shadow of Korn. And while there are a few similarities between
the two bands, with the release of _Around the Fur_ , the Deftones have
now set themselves apart from not only Korn, but the rest of the
harder-rock pack as well. And in the process, they have created the
best harder rock album of the year.
Vocalist Chino Moreno exhibits a vocal range on _Around the Fur_
that makes many of his contemporaries pale by comparison. He can
still scream with the best of them, but there's a reason the Deftones
were able to pull off a dead-on version of Duran Duran's "The
Chauffeur". His voice can go from gentle to frightening in a second,
and the band's music does the same thing.
Songs like the album opener "My Own Summer (Shove It)" and
"Rickets" show the harder edge of the band, while the title track and
"MX" are the flip side of that coin. But the surprise of the album is
without a doubt "Be Quiet and Drive (Far Away)". In one song, Deftones
get to run through the range of their songwriting and performance
abilities, and even get to sound a little like the Smashing Pumpkins
in the process.
Lyrically, _Around the Fur_ seems to be more preoccupied with
interpersonal relationships and their problems than a simple dislike
of the world. This is a welcome change in itself from a lot of their
contemporaries, as well. While child abuse is truly a horrible thing,
I just don't think I want to hear too many more songs about it, and
the same goes for songs about how much the man is holding someone down.
Overall, the Deftones, while already having a big following
among rock fans, have released an album that should greatly increase
that following. _Around the Fur_ has more depth and feeling than their
earlier releases, and showcases more of the band's ability to craft
quality songs. When suggesting albums to people, I always try to get
an idea for what they're into beforehand. Not every Marilyn Manson fan
will like the Rollins Band album, but I can't see where anyone with
even the slightest interest in harder rock wouldn't love _Around the
Fur_.
---
REVIEW: AC/DC, _Bonfire_ (Elektra)
- Chris Candreva
AC/DC has released _Bonfire_, a 5 CD box set retrospective
dedicated to their late singer Bon Scott. The set includes 3 CDs of
live material, one of unreleased cuts and band picks, and a digitally
remastered _Back In Black_, the first album released after Scott's
passing.
The first and strongest disk contains an 8 song radio
concert, recorded live at Atlantic Studios in New York. Possibly due
to the time restrictions, this is a tight, high-energy show. The
other two disks of live material are from Let There Be Rock (The
Movie), recorded live in Paris. These contain drawn out sections
that probably go great with the antics Bon was known for on stage.
Without the visuals, things start to drag by the third disk.
Disc 4 , called _Volts_, contains five alternate lyrics,
riffs and takes of well known songs, along with five favorite picks
of the band ("Sin City", "She's Got Balls", "School Days", "It's a
Long Way To The Top", and "Ride On"). No surprises here: AC/DC
mixes and matches so much, you feel like you've heard these all
before, and you probably have under a different title.
A twenty page biography of Bon Scott and AC/DC was included
with our review copy. The final version is slated to include a
collectors' reproduction of the original Back in Black artwork,
Deluxe color book featuring many "rare and never seen" photos, and
"A bunch of other goodies Bon would'be wanted you to have."
This set will most likely be appreciated by serious AC/DC
fans, if only for the live material. However, the prohibitive cost
of a 5 disc set may not be worth it to some followers of the band.
Frankly, I would have liked to have seen this as a 3 CD set, or
possibly 1 single CD of the Atlantic session, and a 2 disc set of
the Paris show. Most anyone with a passing interest in AC/DC will
already own _Back In Black_, and there was probably a good reason
Bon rewrote those other tracks instead of releasing them as-is.
The printed material is by no means in-depth, but paints
an honest picutre. Bon Scott liked booze, drugs, women, and
rock-n-roll. He partied hard - and it killed him. No moralizing
or posturing, this is what he was. Angus Young does admit, however
"I think after Bon I felt horribly grown up in a way. When you're
young you always think you're immortal and that time really spun
me around."
There's no Beatles: Anthology newness here. It's AC/DC
being AC/DC. If you want five discs worth of that, get it all in
one box.
---
REVIEW: Soundtrack, _Trainspotting 2_ (Capitol)
- Rey Roldan
Like its impressive predecessor, _Trainspotting #2: Music from
the Motion Picture Volume #2_ culls music from the dance underground,
influential bands of the near past, and everyones rock icon, Iggy Pop.
One distinctive trait that separates this from many other "volume 2s"
of soundtracks (i.e. "Romeo & Juliet", "Dirty Dancing", "Big Chill"),
_Trainspotting #2_ isnt so much a marketing ploy to cash into the
demographic that bought into the first installment as it is a
collection of well-chosen tracks that span the spectrum of "modern"
music. Like the soundtracks of John Hughes and Jonathan Demme, this
second chapter is a cohesive unit by varied artists whose diverse
sounds seemed to interlock naturally and tightly, without the
constraints of differing genres and bpms.
Represented by two tracks on this soundtrack, rock dinosaur
Iggy Pop manages to sound fresh with material that is as wrinkled as
his battered torso. But it isnt Pop that makes this second volume
a worthy follow-up; its the electronic outfits whose moody textural
atmospheres and pulsing rhythms strike up a sparkling fancy.
Underworld (whose phenomenal "Born Slippy" was the backbone of both the
film and the first soundtrack volume), is represented by two tracks:
"Dark and Long (Dark Train Mix)" and "Born Slippy/NUXX (Darren Price
Mix)". The former who original version can be found on the seminal
_dubnobasswithmyheadman_ formed the musical tapestry that hung like
a pall over Rentons heroin comedown in the film. Taken purely as
audio, it relays that same tense and head-pulsing emotion effortlessly,
showcasing the mesmerizing, hypnotic quality that made their last
full-length _Second Toughest of the Infants_ one of the most remarkable
albums of last year. Leftfields "A Final Hit" submerges the bass and
sets the percussion in a cavernous spaciousness, opening up the
claustrophobic, slightly derivative environment of Sleepers
"Statuesque". The pop-techno cum raga toasting of Ice MCs "Think
About the Way" has the majestic posturing of M People and the
propulsive beats of 2Unlimited (and unfortunately, has more than a
passing resemblance to the disco stylings of Bonnie Tyler).
The representatives of previous decades, David Bowies
"Golden Years", Heaven 17s "Temptation", Fun Boy Threes "Our Lips
Are Sealed" and Primal Screams "Come Together" are all complementary
tracks that find themselves snug within the rest of the albums
eclectic but well-meshed collection. But its Joy Divisions
"Atmosphere" (a personal favorite since forever) that pushes this
album from being "just a well-constructed soundtrack" to being a
perfectly-executed and expertly-sequenced compilation. While other
soundtrack sequels can be likened to similarly uneven B-sides
collections, _Trainspotting #2_ is strong enough to stand on its
own. And in some respects like its mesmerizing opener "Choose
Life" by PF Project featuring Ewan McGregor, it stands taller than
its predecessor.
---
REVIEW: Tranquility Bass, _Let The Freak Flag Fly_
(Astralwerks/Caroline)
- David Landgren
Imagine Santana and 10cc meets Transglobal Underground and The
Orb. If you can get your mind around the concept, you'll have an idea
of what Tranquility Bass sounds like: one of the most extraordinarily
vibrant dance records, tinged with blues and country, I've heard in a
long time.
The album opens up with "Five Miles High", a slice of funk that
builds and builds in intensity, bursting out all over with all sorts
percussion and brass. I can almost see the video clip: it's a live shot
of the band, most of the musicians buried behind instruments and
amplifier stacks. Then in comes this genuine Carlos Santana-style
electric guitar, and you're hooked. Turns out, Tranquility Bass is not
a cast of thousands... it's basically the work of Mike Kandel, backed
up with a couple of friends, and a slab of electronic equipment. I
think they call it deconstructed psychedelia.
The second track, more subdued, draws a parallel with
Transglobal Underground, with its arabic la-la-la's, woman singing
"I know it's hard sometimes/But I'm the same as you" and croaking
frogs. I swear they've sampled the "dooot" of an early Macintosh booting
up, and then there's the effortless change of key drawing out the 10cc
influences. All of which is solidly grounded on a sturdy backing of
brass and percussion. This is followed by "The Bird", with its little
fluffy Orb-like sample of a girl "I sit and think what God must look
like", and the rappers chanting "Lord make us one, make us one". It
swirls and pulses in six different directions, slowly spiralling down
into immobility. This stuff sends shivers down my spine.
And then, really strange, the fourth track is just a total
anomaly. "Soldier's Sweetheart" is a traditional song (vocals + some
sort of banjo); the lament of a woman whose man heads off to World War
I and is killed in action. I assume it has great personal importance
to the artist, but it's a non sequitur to me. I tend to skip over it
about 50% of the time. This also applies to the very last track on the
album: "Lichen me to Wyomin'". I stop the CD if I'm near the player.
No regrets.
The gloom dissipates slowly through the murky stomp of "We All
Want To Be Free!" Heavy-handed percussion, tired voices ("there's
always someone in the crowd that just won't let us be"). Watch then,
as things go spinning out of control in a blaze of sound on "Never
Gonna End". This is definitely headphone material: check out the
opening verse, where the left channel lyrics speak of youth and doubt,
and the right channel lyrics speak of punishment and responsibility.
Like the song says: "Give the freaks what they want." (and check out
the cool electreatments to the voice). Irresistible.
The album wraps up with two songs, "I'll Be Here" and the
title track "Let The Freak Flag Fly". Interestingly, they share the
same melody and rhythm. Replete with lots of Orb-ian sound-bites "I
have a problem trying to find where I am in the world." or "I'm where
I am, I'm what I am, and I don't know how else I can put it." And one
of the best thirty-second guitar solos I've heard in a long time (i.e,
the sixties I guess), as it segues into the title track.
You're unlikely to hear any of this material on radio. Apart
from the somewhat subversive nature of the message ("And if the
children ask/it's just to free their minds/from the contstraints of
space and time"... I wonder what he's talking about), the format is a
long way from the three minute pop song: most of the tracks clock in
at between seven to ten minutes. And in spite of the two dud tracks,
I've bought three extra copies and given them to friends. So you should
go out and buy one for yourself; you can't always count on a friend to
slip you a copy. If your're still unconvinced, you can listen to some
audio samples at the http://www.caroline.com/astralwerks/tranquility
web site.
---
REVIEW: Space Monkeys, _The Daddy Of Them All_ (Interscope)
- Bob Gajarsky
The sounds of Oasis, Happy Mondays, Stone Roses, Beatles,
Chemical Brothers and jungle music all appear on one album. Usually, when
such a beast emerges in the music racks out of Britain, it's another of the
_Absolute Best Alternative Album In The World...Ever!_ series. This time,
however, it's Manchester's Space Monkeys on their debut album, _The Daddy
Of Them All_.
The Liam Gallagher-like sneer on "Acid House Killed Rock And Roll"
opens this musical cornucopia with an in-your-face attitude that doesn't
let up. In the band's words, "Some say it (acid house) did (kill rock
and roll), some say it didn't. Who gives a fuck?"
It's this same attitude that is pervasive throughout the entirety
of _The Daddy Of Them All_. Mixing up songs which border on pure genius,
the Space Monkeys don't follow the rules on how to write songs - they
make them. DJ Tony Pipes' mixing, scratching, and keyboard parts offer a
marked contrast to the acid-tinged guitars of lead vocalist Richard
McNevin-Duff and Dom Morrison, and make the listener realise that sometimes,
any hype in Britain is actually exceeded by the final product.
"Sugar Cane" has a bit of the old De La Soul swagger mixed in with
an insignificant sample from Public Enemy's "Bring The Noise". The three
samples which appear on _Daddy_ offer an insight into some of the
non-Britpop music which the Monkeys have been listening to - the
aforementioned P.E., Wu Tang Clan, and DJ Shadow. But amazingly, these
samples don't add much to the songs on which they appear - the Space Monkeys'
energy and addictive beats have already built up killer tracks.
"Ready For The Rampage" is what the Stone Roses could have become
if John Squire had progressed forwards instead of leaning upon Led Zep for
his new inspirations, while "Dear Dhinus" blends a backing jungle beat
with a simple, light airy guitar-based foreground - and then quickly switches
gear to the following track, "Smile America", in which the guitars - and
jungle influences - become noticably stronger.
The Space Monkeys claim that "We're not arrogant, we're confident".
And with an album as rock-solid as this one, they have every reason to be.
The issue of Consumable with our writer's top 5 won't come out until next
week, but here's a sneak preview of mine: _The Daddy Of Them All_ is my
favorite album of 1997.
---
REVIEW: Various, _Everybody Wants Some_ (Cherry Disc/Roadrunner)
- Bill Holmes
The Van Halen tribute begins and ends with two diverse yet equally
stunning renditions of Eddie's finger-tapping showpiece, "Eruption", and
in between lie fifteen of the most diverse interpretations of music found
on any tribute record. Think of "E"'s unique take on "Jennifer Eccles" on
the Hollies tribute as a benchmark. Yet somehow, amazingly, there are two
songs here that could be hit singles in a better world.
You have to imagine that any project "honoring" a band with front
men like Sammy Hagar and Diamond Dave can't be all that reverential, and
you're right (well, maybe that church organ rendition of "Eruption"!)
Most of these Boston area bands took a wild stab and hit the bullseye.
Trona's "Could This Be Magic" starts off the vocal selections, kicking
in with a drum riff lifted from "Ballroom Blitz" and cruising through a
cowpunk rendition with a vocal that's half Roaring Twenties, half Minnie
Mouse (hmm...same era). Hell, she's gotta be better than Gary will be on
VH3...
Jajuya's "Jamie's Crying" combines Santana and War's "Spill The
Wine"; "Mean Streets" by Elbow is all Dr. John and saucy bottleneck slide,
and project head Captain Rock's version of Panama can only be likened to
Chicago, on acid, with Frank Zappa producing. That's a compliment. Tom
Leach gives "Dance The Night Away" a Poco-like twang spin, Talking To
Animals takes "Everybody Wants Some" to Lounge land, and Red Time funks
up "Beautiful Girls".
Two songs here are so good they deserve to be bigger hits than
the originals. Fuzzy's dead-on Ronettes impression absolutely Spectorizes
"Feel Your Love", and the Gigolo Aunts' "Why Can't This Be Love" (despite
being saddled with banal lyrics like "only time will tell if we can stand
the test of time") gets the "That Thing You Do" treatment, right down to
the bad sixties' harmonica. These are two of the best songs I have heard
all year! Unfortunately, the song that is getting the push is Mary Lou
Lord's slow version of "Jump" - a great idea except Aztec Camera had a
hit with the exact same arrangement over ten years ago. Call that radio
station, kids! Vote for Fuzzy and the Aunts!!
Okay, so there's no information on the band members and they
printed the booklet backwards (or maybe it's the first booklet made for
southpaws). Nit picking - this album is a friggin' riot, whether you love
or loathe Van Halen (I'd bet it appeals more to the latter). One of the
best tributes ever, and I've heard them all. Liner notes indicate there
are enough tracks in the can for Volume Two - let's hope so!
---
REVIEW: Olive, _Extra Virgin_ (RCA)
- Joann D. Ball
Olive is keyboardist Tim Kellett and vocalist Ruth-Ann
Boyle. This dynamic duo from Northern England produce a distinct sound
that is best described as trip-pop, since it unites the ethereal
stylings of trip-hop with melody. More than just ambient sounds,
Olive combines an adventurous mix of drum 'n' bass, jungle and reggae
dub with British soul on their debut release _Extra Virgin_.
Combining current forms of British dance music with soul is a
natural move for Olive, given Kellett's tenure as keyboardist for
Simply Red and Ruth-Ann's rich and sensual vocals. What is unexpected,
though, is the use of horns which add a jazzy touch and the
incorporation of live strings. The strings are courtesy of The Duke
Quartet, which last added the classical touch to the Pretenders'
stripped-down offering _The Isle of View_.
The variety of ingredients makes Olive's musical cocktail
extremely pleasurable and listenable. But the twelve tracks on _Extra
Virgin_ are meant to be much more than pretty background music.
Complementing the instrumentation are intelligent and insightful
lyrics which engage the listener. Kellett writes from a feminine
point of view, and Ruth-Ann interprets his words with incredible
emotion and feeling. The result is a collection of stories about
such universal human experiences as longing ("This Time"), love
("Falling"), adultery ("Curious") and relationships ("You Are Nothing").
The first single and smash hit from _Extra Virgin_, is the
intoxicating "You're Not Alone." Featuring Ruth-Ann's almost a capella
vocal over strings and a dub beat, the song stands out from anything
currently in rotation at American alternative and dance music radio.
A follow-up single has not yet been selected, but there are at least
several more excellent choices here, including the bright, upbeat
"Outlaw." Despite being extremely radio friendly, the songs on the
release still have a hip club vibe, making them ripe for dancefloor
remixes.
But the essence of Olive is best experienced in long form. As
a complete collection of twelve beautiful soundscapes, _Extra Virgin_
is a trip-pop relish from the slow grooves of "Miracle" to "I Don't
Think So," the final track which ends with the demo version of "You're
Not Alone."
---
REVIEW: Dubstar, _Goodbye_ (A&M)
- Bob Gajarsky
Lazy critics have compared them to the Smiths and Pet
Shop Boys, but a more appropriate comparison for Britain's Dubstar
is the non-political lyrics of Billy Bragg (noting that's a rare
feat, indeed) combined with Kirsty Macoll's vocals. The Bragg
comparison comes as no surprise to anyone who's spoken to
lyricist and keyboardist Steve Hillier.
"There isn't another band dealing with this (lyrical)
subject matter," notes Hillier. "My favorite songwriters are
people like Billy Bragg and the Red House Painters; they sing
about specific things that mean something to them and communicate
that well to the listener."
Melancholy lead vocalist Sarah Blackwood does just that on
the band's most recent album, _Goodbye_. Like a whirlpool, Dubstar's
music sucks the listener in and won't let go. The light sounds would
work both at the early evening hours of a club as well as during
the afternoon hours of an adult alternative radio station. Because of
this distinct audience, American radio has had a hard time discerning
exactly *where* to fit Dubstar into their formats. I'd suggest simply
programming it into AAA, and letting the wonderful pop music do the talking.
The highlight of this 17 (!) song selection is the first single,
"Stars", which is a biographical tale of a musician's life. Hilliard
explains, "You're playing away and no one is paying attention. You've
put your heart into it and it's not working. It's a desperate song,
from a sense of failure...the stars are a metaphor for your dreams (which)
are fading."
Dance remixes of the singles "Not So Manic Now" and "Stars"
offer immediate comparisons to Todd Terry's mixing work for Everything But
The Girl, but it's best not to get caught up in the British hits.
Rather, let _Goodbye_ envelop you and take over your mind. After just one
listen, you'll be glad you did.
---
REVIEW: The Toms, _The Toms_ (Not Lame Archive Series)
- Bill Holmes
The first entry in Bruce Brodeen's dust-off-some-worthy-classics
project celebrates the joyous pop of Tom Marolda. Yes, that's "Toms" as
in Tom playing this, Tom playing that - a start-to-finish 1979 DIY job
that makes me wonder one thing - how could a guy who writes songs like
these not be heard from again? Unfortunately, I know the answer to that
question, which is why I'm happy that Not Lame Recordings is trying to
erase that mistake.
I could think of a thousand comparisons to make, and all of them
would be right. The melody structure is pure 60's Britpop influence. Think
Kinks, Beatles, Badfinger, Searchers - classic Rickenbacker pop songs that
should have been cascading out of car radios everywhere. Tom's double
tracked harmonies transcend very good pop songs into great pop songs.
"Other Boys Do" would have kept The Knack's career afloat. Listen to
"The Door" and tell me Badfinger isn't alive and well. Ditto Dwight
Twilley on "You Put Me Up To This". Makes one nostalgic for eighteen
years ago, when "hit radio" was full of songs, not trends.
The production is a little dusky in spots, but considering it
was recorded in a home studio, it's pretty crisp under the surface.
Occasionally ("The Flame") it will sound like you're listening to an
old 45 RPM that's just slightly oval...but so what? Listen to the pure
Beatle-esque majesty of "Let's Be Friends Again" and "Think About Me"
and "I Cannot Spot You" and you'll soon focus on the essence and not the
wrapping. Nineteen songs, and with the possible exception of the gimmicky
"Hook" (a song about a song), not a clunker among them.
This is an amazing pop record, an historical document that
belongs in every pop collection. So I ask again - where is Tom, and how
quickly can we get him into the studio? I'd say he's due for another shot at
the brass ring. (contact Not Lame on the Internet at popmusic@notlame.com
or visit at http://www.notlame.com )
---
REVIEW: The Ramones, _We're Outta Here_ (MCA)
- Chris Candreva
The Ramones have always seemed to me like two bands.
In the studio, I've always thought they owed more to the Motown
sound and Phil Specter then to Sex Pistols Punk. There's actually
a melody in there. Sped up, distorted, but you can hear it.
The times I've seen them live, however, I've wondered if
this was the same band. It's lounder, it's faster, it's raw,
it's powerful - it's incomprehensible. You were lucky if you
could figure out what song they were playing at any given point
in the show. The first time I attributed it to a sucky sound
system (Joey kept motioning off stage, and finally threw his
mike down and walked off stage in disgust. The replacment mike
was no better.), but EVERY TIME ?
After hearing _We're Outta Here_, I now know the answer:
Whoever does their stage sound doesn't know a sound board from a
cutting board. This is what a live show should sound like.
Twice as fast, three times as hard - but you can still tell
what the hell song you are listening to. We're not talking
hi-fidelity here: Our copy came on a cassette tape, and frankly
I can't see a CD sounding any better. Recorded at their last
show at the Palace in Hollywood, CA, This captures the feeling
of seeing the Ramones in a club - with a competent sound man.
Are The Ramones gone for good ? Who knows, but even the
rumor is as good an excuse as any for a live album. This is a
must have for any Ramones fan. Keep a copy in the car for long
highway drives.
---
COMPILATION REVIEWS:
- Bob Gajarsky
REVIEW: John Mellencamp, _The Best That I Could Do 1978-1988_ (Mercury)
As the title of this album suggests, _The Best That I Could Do_
is a compilation of the first half of John (Cougar) Mellencamp's career.
While most greatest hits collections are summaries up to the present time,
Mellencamp chose to limit this one to the first half of his career - thus
ensuring future album sales of recent discs such as _Mr. Happy Go Lucky_.
While Mellencamp grudgingly gains critical respect, he has also lost
much of the commercial luster which greeted such monster hits as "Jack And
Diane", "R.O.C.K. In The U.S.A." and "Hurts So Good". As the mid 1980s
approached, Mellencamp's had sound shifted from imitations of his heroes
(Rolling Stones, Chuck Berry) to the voice of the Midwestern-person and a
sound uniquely his own - and the American public ate it up.
Here, then, we get a quick glimpse at how John was able to
effortlessly weave the straight-ahead guitar sound which also catapulted
Bruce to stardom with violins, accordions, and other instruments not usually
associated with rock. Every song (but one) included here is instantly
recognizable to anyone over the age of 18, as tracks such as "I Need A
Lover" have aged wonderfully. That one exception - a cover of Terry
Reid's "Without Expression" - comes off a bit weaker than his classic hits.
The unfortunate part of this collection is some of the omissions;
"This Time", one of his early breakthrough hits, is omitted, as are "Hand
To Hold On To", a beautiful B-side cover of "Under The Boardwalk", and
several hits from _Scarecrow_ and _Lonesome Jubilee_. And for a man as
successful as John Mellencamp, 57 minutes of hits from his first decade
somehow doesn't do him justice.
The liner notes, penned by Billboard editor Timothy White, are a
joy to read. White offers the buyer a rare glimpse into many facets of
the self-proclaimed "Little Bastard" by chronicling the Mellencamp tree
and the influences behind many of the hit singles.
All in all, this collection could have been better by chronicling
more of the Mellencamp hit parade. But for an artist this popular,
nitpicks are almost always inevitable. Well worth a listen in this
holiday season.
TRACK LISTING: I Need A Lover, Ain't Even Done With The Night,
Hurts So Good, Jack And Diane, Crumblin' Down, Pink Houses, Authority Song,
Lonely Ol' Night, Small Town, R.O.C.K. In The U.S.A., Paper In Fire,
Cherry Bomb, Check It Out, Without Expression
REVIEW: Saw Doctors, _Sing A Powerful Song_ (Paradigm)
Ah, but you haven't heard of the Saw Doctors, have ye?
With none of their previous three albums seeing the light of day
in the United States, this wouldn't be the least bit surprising -
but the Saw Doctors have already got a loyal following in
the Irish-American communities, or among transplanted Europeans.
And with the release of _Sing A Powerful Song_, highights
of the three previously-released albums are now available on one
disc. The seventeen songs encompassed here shy away from the
political songs which seem to be more normal among Irish exports
and instead focus on love songs, favorite roads and the like.
"I Useta Lover", one of the top selling singles in Irish history,
is the type of song which can (and has) get a room full of people
to start dancing uncontrollably - even if the people have no
prior knowledge of the band.
Sort of a Tommy Makem / Clancy Brothers (for the 90s)
meeting the Pogues with the charisma and live performance of
the 1980s Springsteen, the Saw Doctors represent a welcome,
bouncy change from downtrodden angst. _Sing A Powerful Song_
is guaranteed to get you out of that chair and take notice of
this talented four piece Irish group.
TRACK LISTING: Green And Red of Mayo, It Won't Be Tonight,
Wake Up Sleeping, Macnas Parade, What A Day, Hay Wrap, N 17,
Exhilirating Sadness, Red Cortina, Clare Island, To Win Just Once,
Share The Darkness, Same Oul' Town, Never Mind The Strangers, Why
Do I Always Want You, Sing A Powerful Song, I Useta Lover
REVIEW: Joan Jett, _Fit To Be Tied_ (Mercury)
Back in the mid 80s, Joan Jett was such a hot commodity amongst
the rock crowd that MTV had *2* of her singles, at the same time, as MTV
exclusives. The fact that neither song ("I Love You Love Me Love", "I
Need Someone") is included here only showcases how underappreciated she
is in the eyes of the public.
Combining an attitude which would make Chuck Berry proud, Jett's hits
ranged from covers of glam rocker Gary Glitter ("Do You Wanna Touch Me"),
Tommy James ("Crimson And Clover") and "I Love Rock N Roll", to her own
songs such as "I Hate Myself For Loving You" and "Bad Reputation. When
capturing the essence of other people's songs, Jett brought a high level of
rock and roll enthusiasm to each cut - often times better than was ever
originally intended. And in light of Sly & The Family Stone's "Everyday
People" being used for a commercial, one could expect Jett's energetic
cover of this song to receive additional radio airplay.
The previously unreleased "World Of Denial" (as well as different
versions of "Roadrunner", "I Hate Myself For Loving You" and "Little Liar")
are some of the 'new' songs which appear here. The cover of the Mary Tyler
Moore song "Love Is All Around" offers an alternate view - somewhere to the
right of Husker Du's timeless version - of this 'classic' tv show theme.
Rock and roll is in good hands as long as Joan Jett is still
performing.
TRACK LISTING: Bad Reputation, Light Of Day, Do You Wanna Touch Me,
Roadrunner, I Love Rock N Roll, Victim of Circumstance, Everyday People,
I Hate Myself For Loving You, Crimson And Clover, Fake Friends, Make
Believe, Cherry Bomb, Little Liar, World Of Denial, Love Is All Around
REVIEW: Sinead O'Connor, _So Far - The Best Of_ (Chrysalis)
With the closing of the United States EMI offices this year,
many artists' careers were thrown into a temporary limbo. And while
a Garth Brooks delayed his album until publicity departments and
other promotional avenues were in place at other labels, artists
who had *just* released discs - such as Sinead O'Connor - got the
short end of the stick. And when Sinead's last album (the _Gospel
Oak_ E.P.) didn't achieve her expected level of sales, she departed
for Sony.
_So Far - The Best Of_ traces her history on Chrysalis / EMI.
While it's clear that Sinead can perform brilliant 'hit' songs
("Mandinka", "Emperor's New Clothes", "I Want Your Hands On Me",
Prince's "Nothing Compares 2 U"), it appears as if Ms. O'Connor
doesn't want to pursue that direction. So outside of the aforementioned
hits, the rest of the album highlights the direction in which we can
expect her career to follow. Her work with Bomb The Bass on "Empire"
stretches her defined limits, and the Clyde Stubblefield / James
Brown sample on "I Am Stretched On Your Grave" - recorded in the middle
of the Brown sampling craze - still stands the test of time. And,
her poignant cover of "Don't Cry For Me Argentina" would allow
O'Connor - her shaved head notwithstanding - to appear completely at
home in front of a debonair audience wearing tuxedos and thousand
dollar evening gowns.
Like David Byrne, Sinead's creative output hasn't stopped
flowing, but has merely expanded into more non-conventional directions.
_So Far_ does an excellent job of capturing many of the angles of
this multi-faceted woman.
TRACK LISTING: Nothing Compares 2 U, Mandinka, Emperor's New Clothes,
The Last Day Of Our Acquaintance, Fire On Babylon, Troy, I Am Stretched On
Your Grave, Success Has Made A Failure Of Our Home, John I Love You, Empire,
I Want Your Hands On Me, Heroine, Don't Cry For Me Argentina, You Made Me
The Thief Of Your Heart, Just Like U Said It Would B
---
REVIEW: BMX Bandits, _Theme Park_ (Big Deal)
- Rey Roldan
Now darn near 12 years old, Scotland's unsung heroes of cutesy
pop BMX Bandits have ventured Stateside and are all-the-more ready for
the onslaught. _Theme Park_ encompasses the cuddlecore aesthetic w
ithout falling on its twee smiley smiles and its cheeky cheeks.
Wielding huge pop hooks and simple but very potent melodies, BMX
Bandits have scored a winning victory with chimy guitars and
heartless but not disinterested vocals.
Sounding quite like the Scottish equivalent to New Zealands
own unsung popsters The Bats, this ever-shifting and ever-evolving
band has always been about the musical genius of sole original
member Duglas Stewart. Like an indie pop equivalent of John Mayall,
Stewart has nurtured and help start the careers of prodigies who
have since surpassed his own success. Being the godfather of
Shaggy/Baggy Trousers indie dance, hes held house for the likes of
Sean Dickson and Jim McCulloch (Soupdragons), Norman Blake (Teenage
Fanclub), Joe McAlinden (Superstar), and Eugene Kelly and Gordon Keen
(Eugenius). Now teamed with Francis McDonald (whose worked with Melody
Dog and Boy Hairdressers), Stewart has reached deep into his pockets
and pulled out gems like the Byrdsy "Girl Next Door" and the
tribal-beated "Nuclear Summertime".
As fey as he sometimes comes across, like on the cloying "I
Wanna Fall in Love" (featuring guest vocalist Kle) and the Burt
Bacharach-y "Love Makes the World Go Round", BMX Bandits seem to
easily overcome the smarminess with a seemingly genuine appreciation
for pure pop constructions and a clear hats-off to Big Star. But its
the winning "Before the Blue Moon" with a loungy, luau vibe and
the bouncy "In the Afterglow" that are just so feel-good and clever
that they merit the band a place in the Perfect Euro Pop Realm that is
occupied by Trashcan Sinatras, The Dylans, Five Thirty and The Las.
As their first foray and introduction into the US market,
_Theme Park_ may not be thrilling as the latest zero gravity
rollercoaster or stomach-turning Tilt-a-Whirl. But sometimes, it's nice
to ride the carousels and merry-go-rounds and devour cotton candy by
the handful. And rides like that that make me smile.
---
REVIEW: Terry Draper, _Light Years Later_ (Permanent Press)
- Bill Holmes
Short history lesson for you young'uns - In 1977 Kiss wore
makeup and everyone thought Klaatu were the Beatles in disguise (after
all, no one ever saw Badfinger and Klaatu at the same time!). Fast
forward twenty years to the present - Klaatu photos prove they were not
the Beatles, Kiss without greasepaint is downright scary, so they slap
it back on and tour the world. Oh well...
Canadian Terry Draper, an original Klaatu member, is back with a
sugary pop record that even features fellow Klaatuites Dee Long and John
Woloschik on three tracks. The songs themselves span almost the twenty
year period, and although they won't get the Beatle police out in force,
Draper has a good knack for arrangements that flesh out his melodies.
The former drummer plays several instruments well, and guest guitarist
Grant Fullerton absolutely torches the bluesy "Here's To You". Song
style is all over the map, from the Moody Blues-Supertramp-Kansas
waltz-rock to a cop of Jay & The American's version of "Come A Little
Bit Closer" in "Back To Acapulco". Much of the record has a 70's feel,
but that's almost to be expected considering the source.
Draper's weakness is in his lyrics. Granted, pop songs can be
about almost nothing ("Hang On Sloopy", for example), but majestic
arrangements are usually meant to frame something. "Winter In Peru",
Draper's personal version of "Cold Turkey", drones without the pain,
although that may be a result of writing under that very influence.
Lines like "friendship is the best ship that we know" help sink (no pun)
an otherwise enjoyable "We're Not Alone". Draper is better when he
writes ballads like "Be With You" and "Come Back To Me", love pleas in
a sweet and low setting.
A few live tracks are included, as well as two bonus tracks from
an upcoming children's album called "Terry's Tunes". I predict that will
fare better than this outing, as Draper's natural sunny disposition and
soft-sell vocals work better in that format. Klaatu fans will no doubt
be thrilled to hear this record, but it's not consistent enough to make
a statement for Draper as a solo act of note.
---
NEWS: > Echobelly may not have a U.S. record deal, but they do have
an unofficial web site at http://www.echobelly.com
> Jars of Clay's holiday song, a cover of the classic
"Little Drummer Boy", has recently been released as a commercial
single. The Drummer Boy EP will also contain 2 unreleased tracks,
"BLind (Fluffy Sav Mix)" and "Wicker Baskets".
> Sister Hazel's self-titled album has recently been
reissued by Universal.
> Moe Tucker, drummer in the Velvet Underground,
will have two independent releases in December. An EP CD includes
versions of the Phil Spector songs "Da Doo Ron Ron", "Be My Baby",
"To Know Him Is To Love Him" and "Then He Kissed Me", while a
single CD includes new versions of "I'm Sticking With You" and
"Afterhours". Further information on these CD's and other projects
is available at http://www.spearedpeanut.com/tajmoehal
---
TOUR DATES (Please confirm with site before travelling):
Catherine Wheel
Dec. 4 Kitchener, ON Lyric
Dec. 5 London, ON Nac
Dec. 6 Cleveland, OH Odeon
Dec. 8 Washington, DC 930 Club
Dec. 9 New Haven, CT Toad's Place
Dec. 10 New York, NY Irving Plaza
Dec. 13 Philadelphia, PA Theatre of Living Arts
Dec. 14 Toronto, ON Warehouse
Dec. 16 Pontiac, MI Clutch Cargo's
Paula Cole / Devlins
Dec. 4 Burlington, VT Flynn Theatre
Dec. 5 Oneonta, NY SUNY/Oneonta
Dec. 6 Upper Darby, PA Tower Theatre
Dec. 7 Durham, NH Univ. of NH
Dec. 9 South Hadley, MA Chapin Theatre
Dec. 11 Syracuse, NY Backstage Ballroom
Dec. 12 Morristown, NJ Community Theatre
Dec. 13 Pittsburgh, PA Metropol
Deftones / Limp Bizkit
Dec. 5 Pontiac, MI Clutch Cargos
Dec. 6 Chicago, IL Metro
Dec. 7 Des Moines, IA Super Toads (KAZR show)
Dec. 9 Minneapolis, MN First Avenue
Dec. 10 Omaha, NE Ranch Bowl
Dec. 11 St. Louis, MO Galaxy
Dec. 12 Kansas City, MO Guitars
Deftones
Dec. 13 St. Paul, MN Wilkens Center (93X show)
Dec. 14 Albuquerque, NM Launch Pad
Dec. 16 Reno, NV Pioneer Theatre
Dismemberment Plan
Dec. 7 Kalamazoo, MI Club Soda
Dec. 8 Cleveland, OH Grog Shop
Dec. 10 Providence, RI Met
Duran Duran
Dec. 5 San Jose, CA San Jose Rec
Dec. 6 Sacramento, CA Memorial Aud
Dec. 8 San Diego, CA Spreckles
Dec. 9 Los Angeles, CA Universal Amphitheatre
Dec. 11 Chicago, IL Q101 Radio Show
Hed P.E.
Dec. 12 Pocatello, ID Roache Motel
Dec. 13 Bozeman, MT Zebra Lounge
Dec. 14 Missoula, MT Jay's Upstairs
Dec. 15 Helena, MT Fat Boy and Charlie's
Dec. 16 Spokane, WA Outback Jack's
Irving Plaza (New York City concert hall: http://www.irvingplaza.com)
Dec. 4 Moby
Dec. 6 Sick Of It All
Dec. 10 Catherine Wheel
Dec. 12 Crystal Method
Jane's Addiction
Dec. 4 Phoenix, AZ Mesa Amp.
Jars of Clay / Plumb
Dec. 4 Austin, TX Austin Music Hall
Dec. 6 Dallas, TX Bronco Bowl
Dec. 7 St. Louis, MO American Theatre
Lords of Acid / Jack Off Jill
Dec. 4 Orlando, FL The Embassy
Dec. 5 Atlanta, GA Masquerade
Dec. 6 New Orleans, LA Howling Wolf
Dec. 8 San Antonio, TX White Rabbit
Dec. 9 Houston, TX Theatre at Baylor Place
Dec. 10 Austin, TX Liberty Lunch
Dec. 11 Dallas, TX Deep Ellum Live
Dec. 14 Los Angeles, CA Palladium (with KMFDM, and Rammstein)
Holly McNarland
Dec. 4 New Orleans, LA House of Blues
Moby
Dec. 4 New York, NY Irving Plaza
Dec. 6 Philadelphia, PA Theater For Living Arts
Dec. 8 New Haven, CT Toad's
Dec. 10 Boston, MA Axis
Motley Crue
Dec. 5 Boise, ID Boise State Univ. Pavilion (w/Hed P.E.)
Dec. 6 Salt Lake City, UT E Center (w/Hed P.E.)
Dec. 9 Tucson, AZ Tucson Convention Ctr. Arena (w/Hed P.E.)
Dec. 10 Phoenix, AZ American West Arena (w/Hed P.E.)
Dec. 11 Albuquerque, NM Tingley Coliseum (w/Hed P.E.)
Moxy Fruvous
Dec. 4 Clinton, NY Fillius Events Barn
Dec. 5 Syracuse, NY Styleen's Rhythm Palace
Dec. 7 Northampton, MA Iron Horse
Old 97s
Dec. 4 Oklahoma City OK VZD's
Dec. 6 Lawrence, KS The Bottleneck
Oneida / Be/Non
Dec. 4 Rochester, NY Bug Jar
Dec. 6 Middlebury, VT Gamut
Dec. 7 Boston, MA Kirkland Cafe
Dec. 9 New York, NY knitting factory (w/Sunday Puncher, Bailter Space)
Dec. 10 Philadelphia, PA Upstairs At Nicks
Dec. 12 Durham, NC Duke Coffee Shop
Dec. 13 Winston Salem, NC Warehouse
Dec. 14 Philadelphia, PA Balcony
Dec. 15 Arlington, VA Galaxy Hut
Pantera / Anthrax / Coal Chamber
Dec. 4 W. Palm Beach, FL West Palm Beach Aud.
Dec. 5 Tampa, FL Expo Hall
Dec. 7 Biloxi, MS Miss. Coast Coliseum
Phish
Dec. 5 Cleveland, OH CSU Convocation Ctr.
Dec. 6 Detroit, MI Palace of Auburn Hills
Dec. 7 Dayton, OH Ervin J. Nutter Ctr. - Wright St. Univ.
Dec. 9 State College, PA Bryce Jordan Ctr.
Dec. 11 Rochester, NY Rochester War Memorial
Dec. 12-13 Albany, NY Pepsi Arena
Rolling Stones / Third Eye Blind
Dec. 5 Miami, FL Orange Bowl
Dec. 9 Atlanta, GA Georgia Dome
Shelter
Dec. 4 Cleveland, OH Euclid Tavern
Dec. 6 Chicago, IL Fireside Bowl
Dec. 7 Detroit, MI St. Andrews Hall
Jane Siberry
Dec. 4 New York, NY Town Hall
Dec. 5 Boston, MA Somerville Theater
Dec. 6 Northampton, MA Iron Horse
Dec. 7 Philadelphia, PA Painted Bride Arts Center
Dec. 9 Los Angeles, CA Billboard Live
Dec. 10 Santa Rosa, CA Luther Burbank Center
Dec. 11 San Francisco, CA Great American Music Hall
Dec. 12 Seattle, WA King Kat Theater
Dec. 13 Vancouver, BC Vogue Theater
Dec. 15 Ottawa, ON National Arts Center
Dec. 16 Guelph, ON Church of Our Lady
Sister Hazel
Dec. 6 Atlanta, GA Roxy
Stereolab / High Llamas
Dec. 5 Atlanta, GA Cotton Club
Dec. 7 Washington, DC 9:30 Club
Dec. 8 Philadelphia, PA Trocadero
Dec. 9 New York, NY Tramps
Tsunami
Dec. 4 Charlottesville, NC Tokyo Rose
Dec. 5 Washington, DC Black Cat
---
THE READERS WRITE BACK! (Dave Matthews / Errata)
> I don't mean to be rude or anything, but the LARR CD is
8-15-95, not 8-24. Also, "Granny" is not on LARR. It was in the
8-24 concert, because I have that tape as well. However DMB did
not play this song on 8-15. I would disagree with the statement
you made about Tim Reynolds. You said, "His presence infuriates many
fans, who point out that he is not officially in the band." Most
people love to hear Tim's intricate guitar style and believe that
he is a great addition to the band. People search specifically for
DMB shows with Tim playing at them. - Matt
Matt - Thanks for the catch on that. Here's someone who slightly
disagrees with your assesment.
> Your review of the Dave Matthews Band's latest release was
very refreshing. Concise and musically informative, this review captures
the magic of Dave Matthews and his fellow band members. I especially
appreciated the musical insight used to describe each member's addition
to the band's sound. It's time that music critics recognize the band's
talent rather than their mainstream appeal. I now know that there are
indeed music critics who actaully know something about music.
Thank you - Christopher M., Wyoming
---
Founded in August, 1993, Consumable Online is the oldest continuous
collaborative music publication on the Internet.
To get back issues of Consumable, check out:
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===
