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Consumable Online Issue 128
==== ISSUE 128 ==== CONSUMABLE ======== [November 13, 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
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.
==================================================================
.------------.
| Contents |
`------------'
REVIEW: Everclear, _So Much For the Afterglow_ - Scott Slonaker
REVIEW: Green Day, _Nimrod_ - Eric Hsu
CONCERT REVIEW: Love Spit Love - Joann D. Ball
REVIEW: Psychedelic Furs, _Should God Forget - A Retrospective_ - Joann
D. Ball
REVIEW: Peach Union, _Audiopeach_ - Bob Gajarsky
REVIEW: Edwyn Collins, _I'm Not Following You_ - Patrick Carmosino
REVIEW: Beach Boys, _Pet Sounds Sessions_ - Tim Kennedy
REVIEW: Essential Recordings - R.E.M., _R.E.M. In The Attic_ /
Blondie, _Picture This Live_ / Beach Boys, _Perfect Harmony_ /
David Bowie, _Best of 1969-1974_ - Bob Gajarsky
REVIEW: Alana Davis, _Blame It On Me_ - Jon Steltenpohl
REVIEW: Soundtrack, _A Life Less Ordinary_ - Bob Gajarsky
REVIEW: Holly McNarland, _Stuff_ - Scott Byron
REVIEW: Gilby Clarke, _The Hangover_ - Linda Scott
REVIEW: Daniel Cartier, _Avenue A_ - Bob Gajarsky
TOUR DATES: Daniel Cartier, Deftones, Duran Duran, Everclear / Our Lady
Peace / Letters To Cleo , Jane's Addiction, Jars of Clay / Plumb,
Lunachicks, Magnolia Thunderfinger, Moby, Moxy Fruvous, Ric Ocasek,
Promise Ring / Compound Red, Reel Big Fish, Jim Rose Circus, Saw
Doctors, Semisonic, Sister Hazel / Cravin' Melon, Something
Happens, Squirrel Nut Zippers, Stereolab / High Llamas, Subrosa
Back Issues of Consumable
---
REVIEW: Everclear, _So Much For the Afterglow_ (Capitol)
- Scott Slonaker
After the platinum-plated success of 1995's _Sparkle and Fade_
and a hit that will be heard on radios in 2015 ("Santa Monica"), the
pressure is on Art Alexakis to prove that his Pacific Northwest
alt-rock trio isn't just a You-Know-Who Junior. Such labels persist
despite wide critical acceptance of _Fade_ simply due to the group's
geographic hailings and musical modus operandi, so it behooved them
to attempt at least a mild stylistic breakout with _So Much For the
Afterglow_, their third album.
The best thing about Everclear is Alexakis' ability to achieve
catharsis out of mantra-like statements (pogo-mosh riffs and
hooky choruses help too) that deal with problems in a way that
is much more therapeutic than just simply whiny. Certainly, their
best songs all possess such a moment; without "we can live beside
the ocean/Watch the world die" ("Santa Monica") or "Just another
overdose!" ("Heroin Girl"), those songs are simply ear candy.
_Sparkle and Fade_ as a whole managed to keep that let's-
recognize-and-deal-instead-of-bitch vibe to it (drawing on
Alexakis' former decade-long addiction to drugs as subject matter),
which is the root of what made it work so well.
So, Alexakis tries to keep the lyrical strengths and branch
out musically on the follow-up, as strings, banjo, keyboards, and
mandolin find their ways into the mix. Unfortunately, he's been
forced to look for new subject matter (at the risk of sounding
repetitive), so _Afterglow_'s lyrics deal with childhood memories,
fame, escape, and religion. The problem is that Alexakis is not
near as articulate on these matters as he was about drugs, and so
the lyrical content often comes off sounding forced and trite.
"I don't want to be normal like you" and "I will buy you a new
car/Perfect, shiny, and new" are considerably more teenage-ish,
which would have been okay if not for the recorded precedents
already set. Exacerbating this is Art's tendency to reuse
phrases ("dance that stupid dance for me", "I heard the truth
about you") from previous recordings, which causes a certain
sameness to hang over a couple of the lesser tracks on the
record. The exceptions are the bracingly frank "Father of
Mine" and the second-person introspective "Like a California
King", where Alexakis issues himself a terse warning against
any possibility that his newfound stardom might go to his
head.
The good news, however, is that _Afterglow_, in a word,
rocks. The basic format, complete with the countrified undercurrents
that always gave Everclear distinctivity, remains intact.
Additionally, the aforementioned new elements go a long way
towards keeping the band's essentially second-generation-
Replacements pop-punk interesting. "Everything to Everyone",
the lead single, utilizes a buzzing Cars-ish keyboard hook to
build the closest thing to a dance groove that Everclear's
ever recorded. "Amphetamine" adds a pretty string postlude to
a thrashy hook. The plucky banjo rhythms of "Why I Don't
Believe in God" recall Wilco or Son Volt. "Father of Mine"
turns a familiar descending riff and leonine, impassioned
vocals into the band's best chance to recapture "Santa Monica"
heaven. Similarly, the title track doesn't need window
dressing to cause whiplash.
Art Alexakis is a warrior, and if Everclear fails to hold
the brass ring it grabbed two years ago, it won't be for lack of
effort. _So Much For the Afterglow_, despite its subjective
weaknesses, is an enjoyable effort from a band who is the real
deal.
---
REVIEW: Green Day, _Nimrod_ (Reprise)
- Eric Hsu
Let me be one of the many who are rushing to congratulate
Green Day on trying to vary their multi-platinum sound. In this day
and age, Puff Daddy can score multiple Top 10's by tweaking old No. 1
hits, and record companies are desparately squeezing grunge and punk
and alternamodern rock for all they can until they can turn electronica
into the nextbigthing. In these decadent times, any stab at originality
seems like a good thing.
But let's not get carried away here. Green Day broke the bank
with _Dookie_ and a well-crafted trademark sound, but there just isn't
much more gas in that old engine as far as sales go, what with their
followup _Insomniac_ selling noticebly worse. This isn't a case of
Warner begging the group not to change their formula. Quite the
opposite: they know the band needs to branch out because they're
running out of youngsters to sell punk identities to.
The trick is to change the sound in a way that doesn't make
apparent the economic rationality behind the move and keeps their
mythical "credibility". Tough, but what Green Day does is keep their
distinctive sound: multitrack Marshall stack guitars, tight fit
drumming, punchy basic bass with the occasional scale for variety.
They still play well and the singing is unmistakably Billie Joe: snotty
and surprisingly tuneful. This retention of the Green Day sound will
stave off superficial criticism of "selling out" (again?!) their sound.
They've added a few new instruments and mate a number of genres
with the old Green Day sound: horns on the vaudeville ode to drag "King
For A Day", violin on the crunchy rockabilly chords of "Hitchin' a
Ride" including a very upset sounding violin solo (incidentally, the
chords are similar to "Brain Stew", the Led Zeppelin genre dabbling
on _Insomniac_ ), "Take Back" seems to be a poke in the eye of speed
metal with Billie Joe working up an inhuman amount of phlegm for the
occasion. And of course there is "Last Ride In" which is a peaceful
surf instrumental.
So let's give them credit for stretching their sound and
boundaries. On the other hand, those songs still sound like Green Day
covering other music and not an actual advance on their music. The
songs that I find really striking are "Haushinka" and "Uptight"
because they actually move into new territory of texture and mood
that isn't in quotes. The former explodes out of a forgettable song
"Jinx" and has a lovely ringing verse to go with its catchy and
punchy chorus. It's the fruition of the excellent sonic experiment
"Panic Song" on _Insomniac_ . The latter has an undistinguished
chorus but a killer verse with a lovely melody to go with their
version of the groove from "1979" by the Smashing Pumpkins.
And is it just me or are Billie Joe's melodies becoming more
beautiful with time? There is a certain familiarity to them, but with
the addition of some old fashioned diminished chords, they seem
reinvigorated. "Redundant" is an awkward meeting of a sweet love
song you can imagine Frank Sinatra singing ("Cause I love you's not
enough, I'm lost for words") and the typical GD distorted guitar
downstrokes. But the melody suits the mood of the song even if the
band seems... well, redundant. And "Walking Alone" is another sad
love song where the sensitive melody and lonely harmonica are
accompanied to no great effect by the usual flood of crunchy
downstrokes.
The point is that music should be set instrumentally in the
way that suits the lyrical and musical matter. So for songs like
"Platypus (I Hate You)" and "The Grouch" ("I was a young boy that
had big plans. Now I'm just another shitty old man"), the propulsive
drive of the chugging guitars and bounding bass/drum engine reinforce
the power of the music, and "Haushinka" and "Uptight" prove you don't
always need to turn down to convey subtler emotions. But Billie Joe's
lyrics are actually becoming reflective and the songs are actually
becoming songs and not just sarcastic snarls. "Redundant" and
"Walking Alone" are the songs that I hope Billie Joe will play
acoustically someday (Green Day Unplugged?) and people will marvel
that such beautiful songs lurked underneath the CD tracks.
It feels like Green Day is at a crossroads here. Billie Joe's
music seems to be maturing and outgrowing the artificial (market)
boundaries of pop-punk. _Nimrod_ feels like a summation and a
question. "Another turning point... it's something unpredictable but
in the end is right. I hope you had the time of your life," goes
"Good Riddance", a plaintive acoustic guitar song complete with
strings, closing this chapter of their music. Their genre experiments
reach for something new and occasionally they show flashes of matching
and harnessing their powerful playing to the full benefit of the
overall music.
The final song "Prosthetic Head" is state of the art Green
Day music with all their strengths on display: catchy simple chords,
good melody sung well, shifting into a galloping and powerful chorus
that empties out into long held harmonies, sniping and contemptuous
insult words. It puts the sonic tricks they're known for all into one
package, like the blazing explosive finale of a fireworks display. I
can't wait to see what's coming next.
---
CONCERT REVIEW: Love Spit Love at 'Canes, San Diego, California
- Joann D. Ball
After nearly 20 years, Richard Butler is still making "beautiful
chaos." Once the guiding force in seminal modern rock band The
Psychedelic Furs, Butler is now enjoying critical acclaim and some
commercial success with his current band Love Spit Love.
On the band's recent US club tour in support of the stellar
sophomore effort _Trysome Eatone_ (Maverick Records), Love Spit Love
gave fans in San Diego a high energy, sonic treat.
As the sounds of spaghetti western theme music filled the room,
Love Spit Love emerged from backstage at 'Canes, an intimate venue on
the Pacific Ocean boardwalk. The 18-and-over crowd greeted the band
with applause and whistles and then went nuts when Butler found his
way to the front of the stage. Wearing horn-rimmed eyeglasses and
sporting a newly acquired goatee, Butler wasted no time getting the
show started. Raising his black megaphone and pointing it toward the
crowd, he and his bandmates jumped noise-first into "More Than Money"
from the new record.
After a short, sweet "thank you" from Butler, Love Spit Love
then reached back into the Psychedelic Furs catalog for "Mr. Jones."
Old Furs' fans quickly recognized this track from 1981's _Talk Talk
Talk_ while others seemed intrigued by its spirited revival.
Performing this oldie but goodie with gusto, it was obvious that
Butler is at peace with his musical past. And Butler's bandmates,
Richard Fortus (guitar), Frank Ferrer (bass) and Chris Wilson (drums),
are talented musicians who provide the tight, aggressive sound that
puts a Nineties stamp on Furs' material. The band members invigorate
the old songs and provide the perfect musical mix for the ever-raspy
Butler, bringing the raw emotion and moods of his lyrics to life.
In Richard Fortus, Richard Butler has found his creative other
half. With Ferrer and Wilson they produce energetic and inspired music
which is further enhanced when played in concert. Live, Ferrer's bass
and Wilson's drums form a solid, slightly funky rhythm section. And
Fortus turns his little corner of the stage into guitar heaven,
playing with such drive that he recalls both Pete Townshend and the
spirit of punk in the process. The addition of a second guitarist for
the live shows allows Love Spit Love to create a bigger sound. The
addition also gives Fortus the opportunity to crank out the chords
and spin slashing and sizzling leads which add an electric charge to
the band's performance.
Love Spit Love concentrated on material from the new record at
their San Diego gig, and really kicked out the jams on "Little Fist"
and "Sweet Thing. " During "Long Long Time," the album's first
single, the extremely animated Butler got the audience to dance along
with him. And the band had the audience in its hand during the new
single "Fall On Tears" and the passionate "Hurts When I Fall." Several
songs from the self-titled debut record, including "Superman" and
"Codeine," were also given the live treatment. Fortus ended "Codeine"
by making full use of his six-string and wah-wah pedal in an awesome
solo. During Fortus' spotlight moment, Butler took a smoke break off
stage. He later returned to the microphone with cigarette in hand
for the jazzy lounge number "November 5."
Later in the evening, Love Spit Love revisited the Furs' _Talk
Talk Talk_ and delivered a diesel fueled version of "I Wanna Sleep
With You." Ending the show like it began, Butler picked up his
megaphone to announce "Change in the Weather," the final song in a
blistering hour-plus long set. The cheering crowd's demand for an
encore was quickly honored as Butler and Fortus returned to the stage
for a beautiful, acoustic interpretation of the classic "Love My Way"
from the Furs' _Mirror Moves_ . Then the rest of the band joined them
to perform the final song of the night, an emotional version of "Am I
Wrong."
For the latest on Love Spit Love, including upcoming tour dates
and the possible cybercast of a live show, be sure to check out the
band's excellent website ( http://www.lovespitlove.com ). Richard
Fortus told Consumable about the website after the San Diego show and
he and the rest of the band are very excited about using the Internet
to connect with supporters. The website even has a section called
"friends" where fans can leave messages for the band members and
connect with each other.
SET LIST: More Than Money, Mr. Jones, Little Fist, Friends,
Fall on Tears, 7 Years, Believe, Superman, It Hurts When I Fall,
Codeine, November 5, Long Long Time, Sweet Thing, I Wanna Sleep With
You, Change in the Weather [Encore] Love My Way and Am I Wrong
---
REVIEW: Psychedelic Furs, _Should God Forget - A Retrospective_
(Columbia/Legacy Records)
- Joann D. Ball
_Should God Forget: A Retrospective _ (Columbia/Legacy Records)
is the long-awaited comprehensive collection of the "beautiful chaos"
created by the Psychedelic Furs between 1979 and 1991. More than
previous collections _All of This and Nothing_ (1988) and _Here Came
the Psychedelic Furs: B-Sides and Lost Grooves_ (1994), this new 2-cd
compilation captures the essence and brilliance of the Psychedelic
Furs. Anyone listening to this 32-track audio history will surely
fall under the magical spell of Richard Butler's raspy vocals and the
emotional moodiness of the band's signature post-punk rock. Between
the subversively quiet intro of "India" and the final notes of the
mystery track added onto the end of "There's A World" are more than
150-minutes of the Psychedelic Furs' creative outpourings.
Disc One features 8 tracks from the band's darker, more artsy
early period which produced the self-titled debut record. Also here
is the original version of "Pretty In Pink" and three other tracks
from the stripped down, guitar-based second release _Talk Talk Talk_.
And five tracks from the Todd Rundgren-produced _Forever Now_,
including "Love My Way" and its B-side "I Don't Want To Be Your
Shadow," round out part one of the retrospective.
Disc Two kicks off with a version of "Alice's House" originally
recorded during the _Forever Now_ sessions but polished up for inclusion
on the blockbuster smash _Mirror Moves_. With the slicker and flashier
_Mirror Moves_, the Furs hit the big time as "The Ghost In You" and
"Heaven" connected with new audiences thanks to heavy radio and MTV
airplay. Also included here is "Heartbreak Beat," the band's
highest-charting U.S. single from 1987's _Midnight to Midnight_.
Completing the collection are "All That Money Wants" from the first
best-of collection, several songs from the overlooked and under-rated
_Book of Days_ , and the final Furs' hit "Until She Comes" and a few
other tracks from _World Outside_ .
The collectors gems here are the two songs which appeared
only on U.K. albums and the five live cuts. "Blacks/Radio" was only
included on the debut's British pressings and "Merry Go Round (Yes I
Do)" was included in this form only on the U.K. version of _Forever
Now_ . The latter was revamped for American fans and called simply
"Yes I Do." While the overall sound and chorus are the same, this
twisted and trippy British version has different, distorted lyrics.
The band is captured live performing "Mack the Knife" and "Soap
Commercial" during its first BBC broadcast in 1980, and recorded in
concert seven years later performing "Heartbeat" and All of the Law"
in Berkeley, California. The live version of "Get A Room" was pulled
from the band's final radio concert, originally broadcast on radio
station WXRT-FM in November 1991. Once known as "Chicago's Finest
Rock," WXRT-FM was among those influential commercial radio stations
contributing to the Furs' success in America.
The cd jacket for _Should God Forget: A Retrospective_
reflects the artwork and graphic design which graced Furs' releases
throughout the band's career.
Filled with stars and stuff, it contains thumbnails of the
various album and singles covers which are connected to song-by-song
annotations from one of the three principle Furs-singer/songwriter
Richard Butler, bassist Tim Butler and guitarist John Ashton. The
liner notes by Scott Schinder are complete and detailed, proving
once and for all that the Psychedelic Furs were alternative before
that word ever described a music genre or radio format.
TRACK LISTING: Disc One: India, Sister Europe, Pulse, Mack
The Knife [live], Blacks/Radio, We Love You, Imitation Of Christ,
Soap Commercial [live], Pretty In Pink [original version], Mr. Jones,
Into You Like A Train, I Wanna Sleep With You, Merry Go Round (Yes I
Do) [U.K. version], President Gas, Love My Way, Sleep Comes Down, I
Don't Want To Be Your Shadow [non-LP B-Side].
Disc Two: Alice's House [alternate version], The Ghost In You,
Here Come Cowboys, Heaven, Highwire Days, Heartbeat [live], All of The
Law [live], Heartbreak Beat, All That Money Wants, Entertain Me, Should
God Forget, Torch, Get A Room [live], Until She Comes, All About You,
There's A World.
---
REVIEW: Peach Union, _Audiopeach_ (Epic)
- Bob Gajarsky
Three disparate people, finding each other, to produce a
record which spans the 60s with the present-day and sounds timeless.
A single, "On My Own", which has already sparked the interest of
radio program directors in a time of year that is usually reserved for
more established artists. All of this can be found on _Audiopeach_ ,
the debut record from Peach Union.
The European trio - Britons Paul Statham, Lisa Lamb and Belgian
Pascal Gabriel - all bring diverse background to the table. Lamb's
credentials include performing in a jazz band as well as in a jungle
band (!), while the other two have had more mainstream success; Gabriel
worked with Mark Moore (S'Express) and Tim Simenon (Bomb The Bass)
during the late 80s, while Statham wrote and recorded with Peter Murphy
to produce his 1990 alterna-hit "Cuts You Up".
The leadoff single, "On My Own" , is a track which can span
generations while having its roots firmly in today's music. Lamb sounds
like Dusty Springfield on vocals for a Burt Bacharach-loving,
synthpop band with Phil Spector producing - or, for more modern fans,
Dusty fronting the Pet Shop Boys (a la "What Have I Done To Deserve This")
during their _Very Relentless_ period. This combination is flawless and
results in a nearly unforgettable pop gem. The formula is repeated in
a similar style (though different music) on the Spector-influenced girl
group sound of "Sorrow Town".
As _Audiopeach_ progresses, the beats get a tad faster;
whereas the first half of the disc is clearly based in the 60s sound,
the second half features more of a synth-techno backing beat that
lends itself to dance clubs. "Give Me Tomorrow" falls somewhere between
the sound of two Beats - Bronski and Culture - with Lamb's airy vocals
offering a sharp contrast to the driving, minimized beats. We're taken
back to the serene side of things with "Hush", the final track on
_Audiopeach_ , but this only serves to emphasize the multiple directions
in which Peach Union pursue their musical ambitions.
Lamb's vocals take over this record the same way Alison Moyet's
dominated Yazoo's two releases, but with a lighter feel to things.
In fact, _Audiopeach_ is released in the UK on Yazoo's label, Mute, under
the monicker Peach. Peach Union smartly allows Lamb's standout vocals
drive the song, rather than letting the techno beats become a runaway
vehicle with no clear cut path to follow. They demonstrate the
potential which can be created by merging pop's past with its
present. According to Gabriel, the most important moments in pop
history are when "Kraftwerk abandoned live drums and guitars, Cerrone
created "Supernature" and the day Burt Bacharach met Hal David."
It all fits together so nicely. Just like the songs on
_Audiopeach_ .
---
REVIEW: Edwyn Collins, _I'm Not Following You_ (Setanta/Epic)
- Patrick Carmosino
Scotsman Edwyn Collins has made a career, or maybe an anti-career,
of not following anyone. This LP vouches for that because it delightfully
sounds like nothing you'll hear in 1997. The follow-up to 1995's solo
breakthrough _Gorgeous George_ (Setanta/Bar None) continues Collins'
fascination with kitschy 70's soul, 60's Northern Soul, analogue synth
exercises and rebel/punk angst all compressed into a dazzlingly
claustrophobic mix.
Amongst the sparklers on this disc are the singles "Keep On
Burning" and "The Magic Piper Of Love". "Keep On Burning" rips apart
just about all current forms of pop while championing British soul
traditions yet creating something fresh and edgy, always looking ahead.
"The Magic Piper Of Love" cleverly borrows trademark riffs from such
diverse sources as House Of Pain and The Velvet Underground and gives
it a charm all its own.
Other highlights include the disco pastiche "Seventies Night"
which features a hysterically craggy cameo vocal from The Fall's Mark
E. Smith. "No One Waved Goodbye" is pure Fred Neil (circa "Everybody's
Talkin'") meets Joe Meek as Edwyn mates 60's country with spooky
mellotrons and caps it off with his classic quivering croon. "Downer"
is a rocker that brings to mind "The Campaign For Real Rock" from
_Gorgeous George_ .
It's also in the way that Edwyn has not followed that his
attraction lies. Like fellow Scotsman Roddy Frame, Collins' trade
has a lot to do with a charm, style and delivery that has always been
a match for his substance. With "Adidas World" though, Edwyn uses
agitprop to an almost uncharming, unclever degree. Maybe it's because
I wear a bit of it myself, but I think he could come up with something
a bit more unique to tear down the tri-striped New York
Yankees-outfitting mega-conglom than "Don't want to live in an adidas
world with the adidas boys and the adidas girls". It's more propaganda
than clever satire, although it most definitely rocks.
But if direct lyrics are Edwyn Collins' worst sins than I say
let him get things off his chest all he wants. Because _I'm Not
Following You_ is necessary listening. In four solo albums' time,
Collins has turned pop and soul music on its ear and has removed
retro style from retro stylings, all the while, building a lyrical
body of work as transcendent as Roddy Frame, Billy Bragg, Stephin
Merrit, Lloyd Cole, Kirsty MaColl, Morrissey and Paul Heaton. Edwyn
Collins was once part of the 'sound of young Scotland'. Now, he is
the sound of Scotland. Keep on burning indeed!
---
REVIEW: Beach Boys, _Pet Sounds Sessions_ (Capitol)
- Tim Kennedy
The _Pet Sounds Sessions_ is a most superb presentation. Of
course, it concerns the most celebrated product of one Mr. Brian Wilson
- and indeed, in many people's eyes, the greatest product of the U.S.
recording industry. The box set contains four discs of sheer delight.
In 1965, Brian Wilson was no longer accompanying his band on
bass. Instead he was producing an album which probably only has the
Beatles' _Revolver_ for competition in the whole of recorded popular
music.
If you have ever listened to _Pet Sounds_ (like me) and
absent-mindedly followed a subsection of the tracks on one of the
songs - you will love listening to the run-throughs included here
by the DOZEN. Instrumentals, part-vocals, alternate takes, it
would be sad to waste time itemising the treasures here when all it
takes is for you to play the music alone, just you and the music.
The pride of place is taken by a new stereo mix which I can
not place above the original mono, but at the same time can not
resist playing.
The original mono mix, that was remastered and released
in 1990 is provided here as well - in case you don't already own it.
The 2 booklets are both huge and exhaustive, interviewing
all the session musicians (the Beach Boys only sang on this
masterwork - they were touring for most of the time taken to record
it). The lineup consisted of the top sidemen in the business in
1965. These men and women had contributed to Phil Spector's
greatest works and a host of others including from the world of
jazz and classical music. Each track is explored. The history of
the making of the album is investigated in minute detail.
On these CDs you hear Brian marshalling the players through
their moves, halting them at times and then conveying how he wants
it to sound. They patiently allow him to lead them often by the hand
through the magical soundscapes that would never be equalled. Under
normal circumstances, these hardened seen-it-all types would have
railed at such treatment - but they were good enough (or maintained
enough faith) to see that it would all be worth it.
Also included is a complete acapella version of the album
which demonstrates the beauty of the vocal arrangements Brian
constructed. It is eerie in a sense that the lost album
_Smile_ was intended at one point to be largely acapella
and certain relics of that work such as "Our Prayer" find
an echo here.
If you enjoyed the Beach Boys _Good Vibrations_ box set
then you will find this to be its perfect companion.
And as the man himself said - "listen, listen, listen".
---
REVIEW: Essential Recordings (EMI/Capitol)
R.E.M., _R.E.M. In The Attic_ / Blondie, _Picture This Live_
Beach Boys, _Perfect Harmony_ / David Bowie, _Best of 1969-1974_
- Bob Gajarsky
Music labels never die, they just change their stripes.
When the EMI label closed its United States operations earlier
this year, the legacy of that label's 100 year history carried on.
And with the U.S. operations of EMI's catalog having switched to
its Capitol affiliate, it offers collectors the opportunity to
obtain unique retrospectives as the catalog is mined for more
potential sales.
Each of the limited-edition (6 month availability) discs in
the series is housed in their own unique digipak with comprehensive,
well-written informative liner notes. The only complaint here lies
in the use of the digipaks - as with any of these cardboard cases,
their longevity and ability to withstand travelling is called into
question. But by producing the series in this format, each digipak
and slipcase stands out from the traditional disc releases.
R.E.M. die-hards will recognize many of these songs which
appear on _R.E.M. In The Attic_ . The European versions of R.E.M.'s
discs (during the IRS years) were reissued in 1992 with additional
bonus tracks - of course, at a higher cost to the consumer. These
songs were primarily B-sides including covers of other people's work
(Floyd Cramer's "Last Date"), live versions of their own songs ("Driver
8", "Maps And Legends", "Disturbance At The Heron House", "The One I
Love") and a combination of the two (the "Time After Time / So.
Central Rain" medley sandwiches part of Peter Gabriel's "Red Rain").
In addition, their two contributions to the _Athens GA_ soundtrack -
a live version of "Swan Swan H" and Michael Stipe's excellent rendition
of the Everly's "All I Have To Do Is Dream". The 15 song collection
doesn't include all the European extras - the covers of "Tighten Up"
and "Moon River" are omitted, among others - but serves as an excellent
supplement to U.S. fans who are cost-conscious.
Sex-kitten and musical visionary Debbie Harry led the five
piece group Blondie out of New York City and into international stardom.
Nine songs from a 1980 concert in Dallas and six from a 1978 Philadelphia
show from their first four albums are featured on _Picture This Live_ ,
which captures the energy which was a trademark at Blondie's shows.
Because this pre-dates 1980's _Autoamerican_ , the shows omit big hits
such as "The Tide Is High" and the groundbreaking "Rapture". But for
fans of the band, this collection - including the T-Rex / Iggy Pop
cover medley, "Bang A Gong / Fun Time" - results in a high quality live
concert from one of the founders of the new-wave scene.
With a catalog which has been nearly thoroughly searched, the
David Bowie and Beach Boys collections don't offer many unique songs.
The Beach Boys compilation alternates among 'all-time greatest hits'
such as "California Girls" and "Good Vibrations", lesser hits including
"Do It Again" and "Don't Worry Baby", and alternate versions of songs
from their box sets. The latter songs are the prime attraction, with
the original mono version of "God Only Knows" and a vocals-only version
of "Wouldn't It Be Nice" from the _Pet Sounds_ box set, and vocals-only
versions of "Hushabye" and "When I Grow Up" from the _Good Vibrations_
set.
The Bowie compilation primarily consists of tracks from
_Changesonebowie_ with some additional rarities and few album tracks
tossed in. Unreleased stereo versions of "Prettiest Star" and "All
The Young Dudes" are the highlights, but because of the plethora of
Bowie compilations, both on Rykodisc and RCA, the collection lacks
much in terms of its originality.
---
REVIEW: Alana Davis, _Blame It On Me_ (Elektra)
- Jon Steltenpohl
Born and raised in Greenwich Village, Alana Davis has the
lineage of a contender. Not only was she born in the right place for
a musician, but her father is a jazz pianist and her mother a singer.
Along with producer and musical partner Ed Tuton, Davis has crafted a
style that has a danceable beat, an easy feel, and a lot of acoustic
touches.
Her bio cites Stevie Wonder and Joni Mitchell as influences,
and somehow, both are evident. From Wonder, Davis adopts a vocal
style that is spellbinding. She bends and folds notes like vocal
origami. Phrases aren't just notes to be sung; Davis caresses and
shapes each line into a unique work. From Joni Mitchell, she borrows
a commanding presence. Davis sings each song with heart-felt
confidence. There's no hesitation, and she sounds like a woman
who knows what she's doing.
_Blame It On Me_ opens with "32 Flavors." The song is a cover
of the Ani DiFranco song. Not only does it open the album, but it is
also the first single to be released. Depending on your point of view,
this is either a brilliant career move or complete and total
sacrilege. Certainly, on first listen, the track, an anthem of
individualism written by one of the most independent artists of the
decade, seems a cheap ploy that's steeped in irony. Dig a little
deeper into the album though, and Davis shows that she's not a
Tiffany wannabe. Instead, _Blame It On Me_ is an infectious debut
of organic, funky music that is smooth and soothing. After a few
listens to the whole album, "32 Flavors" proves itself to be just
one of the 12 excellent tracks on this album. It's not as good as
DiFranco's original, but it holds its own.
While a cover of a DiFranco song might suggest in-your-face
lyrics, Davis doesn't really have any axes to grind. (And it's
unfortunate that the cover forces the comparison.) In one of the
album's best songs, "Crazy", she justifies her individuality.
Explains Davis, "So the way that I act may not fit in / Just because
I've got a mind of my own / Doesn't mean it's a sin / I don't ask you
to give up / Don't expect me to give in."
Most of the songs are about strained relationships, and "Love
and Pride" is the only love song on the album. "So you say that you
ain't got money / Well I don't care / Cause I'm so in love with you
honey / What I got I'll share" isn't the most original lyric in the
world, but it's still nice. "Love and Pride" is about the plain old
joy of being in love. Davis' emotions just bubble over, and her
enthusiasm makes it work.
Some of the songs fall into the "life is hard in this crazy
world" category. In "Murder", she paints all of the things that go
bump in the night with a paranoid brush. "I could be bugging," Davis
sings, "but I'd gladly swear I just heard a body hit the floor." The
lyrics to "Murder" are a bit hokey, but fortunately, the spooky
acoustic guitar and Davis' sultry vocals make up for average lyrics.
And it's really the musical touches that make this album so
good. If every song was in a foreign language, _Blame It On Me_ would
still be a pleasure. Davis and Tuton have a little musical masterpiece
on their hands. There's a little bit of the promise of Lisa Stansfield
and Sade here. Like those artists, Davis manages to mix R&B, jazz, and
dance into a more perfect union. But unlike them, she manages to sound
completely raw and earthy like someone stirred in a pinch of Tina
Turner and dash of Tracy Chapman. The overall effect is reminiscent
of the albums by Prince's old band mates Wendy and Lisa.
_Blame It On Me_ is an impressive debut by a very talented
performer. The lyrics don't always make a gut-level impact. But, to
be fair, not every album has to be an emotional roller coaster, and
Davis seems more interested in making great music rather than making
a philosophical point. Indeed, Davis relies on an unsurpassed musical
ability, and you can't help but be drawn into her seductive vocals.
Tuton's production is impeccable, and even the quiet songs are
danceable. In the end, _Blame It On Me_ takes a style normally
shoved aside to VH-1, and takes it to level that anyone can enjoy.
---
REVIEW: Soundtrack, _A Life Less Ordinary_ (A&M UK / London)
- Bob Gajarsky
Most soundtracks are composed with a cut and paste mentality;
put a couple choice singles here, a couple other older songs there, and
some random tracks tossed in - without having a specific target
audience. R&B and rap fans have been spared, slightly, as soundtracks
to those genres have tended to remain a bit more consistent - and
outstanding sales have followed. _A Life Less Ordinary_ breaks that
trend, by being an album that contemporary alternative music fans can
relate to.
Newcomers Alabama 3 (simply named A3 in the States because of
legal complications from the country act Alabama) pull off one of the
pleasant surprises of _A Life Less Ordinary_ with "Peace In The Valley".
Featuring Errol Thompson, this track is somewhat akin to a country band
playing on a city street corner in front of an open church window,
choir singing in full force with a youth scratching his records in
the next apartment. Somehow, this strange brew works to perfection
and is representative of the entire collection.
The Sneaker Pimps' "Velvet Divorce" continues the trip-hop realm
notably featured on "6 Underground", and similarly Beck brings his
unique form of drum machine/guitar/keyboards to the table with
"Deadweight". Coming off the success of the huge "Born Slippy",
Underworld were finally able to produce a worthy followup with the
diverse instrumental "Oh". And leaving their teenage years behind,
Ash contribute a title track that asks the question 'I'll sell my
soul / what is it worth?' and re-establishes the fact that the band
will be reckoned with long after their age is no longer called into
question.
Although the Squirrel Nut Zippers' "Put A Lid On It" has already
been long-released (from _Hot_ ), the inclusion on this soundtrack is
somewhat fitting; the swing-jazz feel offers a change from nearly
anything which is somehow 'traditional'. That's another theme that runs
through the songs; while each of them fits into any pre-conceived
notions of what the band might perform, each of the acts on this
compilation (with the exception of Elvis and Bobby Darin) have spent a
considerable amount of their music life outside of the mainstream.
This forces the creative juices to flow, and helps produce a soundtrack
less ordinary than the disposable releases.
With the _Trainspotting_ soundtrack and now the companion
piece to _A Life Less Ordinary_ , the team of director Danny Boyle, and
producer Andy Macdonald are poised to be to alternative fans of the 90s
what John Hughes ( _Some Kind Of Wonderful_ , _Pretty In Pink_ ) was to
the 80s - a producer whose name sells the soundtracks to his movies.
TRACK LISTING: Beck - Deadweight, Luscious Jackson - Love Is Here,
Ash - A Life Less Ordinary, Sneaker Pimps - Velvet Divorce, Folk
Implosion - Kingdom Of Lies, R.E.M. - Leave (New Version), Faithless -
Don't Leave, Underworld - Oh, Cardigans - War, Elvis Presley - Always
On My Mind, A3 Feat. Errol Thompson - Peace In The Valley, Bobby
Darin - Beyond The Sea, Squirrel Nut Zippers - Put A Lid On It,
Dusted - Deeper River, Prodigy - Full Throttle
---
REVIEW: Holly McNarland, _Stuff_ (Universal)
- Scott Byron
Holly McNarland fits snugly into the Alanis Morissette/Meredith
Brooks axis of the current wave of female pop: catchy, sassy, strong, just
a little angry. This style has become successful because it hit nerves
with a large number of previously unserved listeners, filling a gaping
hole in the pop marketplace. Due to the overwhelming success that
Morissette has earned, we have already seen lots of releases aimed at the
same audience, just as wave after wave of nuevo-Nirvanas and proto-Pearl
Jams followed in those bands' wakes, as also trailed behind hundreds of
other breakthrough successes in the rock/mass-media era.
It's hard not to approach all wanna-be's without a large dose
of cynicism, holding them to a higher (and admittedly unfair) standard
- after all, it's unlikely that any of Morissette's followers will ever
match her level of sales (read: reach that number of people with the
same massive impact) or even match her level of pop artistry (whether
you like her or not, you should admire the craft of the songwriting
and production, and how squarely she hit her mark).
So what it all comes down to, my friends, is whether Holly
McNarland distinguishes herself in some way - as a songwriter, a
lyricist, a musician or a vocalist -- at least enough to make her
deserve distinction from the pack. _Stuff_ starts out promisingly
enough with "Numb," a crafty, groovin' rocker that showcases some
tight musicianship (the album features the Pixies' Joey Santiago on
guitar), clever songwriting and sharp production. And McNarland
delivers the song convincingly, in an expressive, full voice that's
consistently appealing.
Unfortunately, it's only rarely that the rest of the album
lives up to its opener, and often it falls squarely flat on its
face. The second track, "Elmo," begs the most obvious comparisons
to Morissette, with its vivid sexual imagery recalling "You Oughta
Know," but it sounds second-rate and silly in comparison. The nadir
is undoubtedly "U.F.O.," which features the lyric "Don't have many
choices/Like a dog in a parking lot" and the chorus "My body feels
numb/My legs are as smooth as candy/I'm as liquid as the sea/A place
for you and me." Perhaps this prose will appeal to sensitive
teenagers, but it makes me wince.
Holly McNarland may yet find her own voice, but this _Stuff_
just isn't unique enough to hold interest for long.
---
REVIEW: Gilby Clarke, _The Hangover_ (Paradigm)
- Linda Scott
Gilby Clarke was at the top of the rock mountain. Guns 'N'
Roses had tapped him for the rhythm guitar slot vacated by Izzy
Stradlin, but footing proved precarious. While Clarke survived GNR's
endless Illusions world tour and played on the band's next album, his
outspoken criticism of Axl Rose's musical direction led to his being
fired. Clarke subsequently sued GNR for exploiting his image without
his permission. And at the end of the slide down the GNR mountain,
there's just Gilby Clarke. Without bitterness, Clarke speaks
philosophically of his time on top and seems happy to get back to his
own work.
Clarke's second solo album, _The Hangover_, is a bit different
than the first, _Pawnshop Guitars_ , which featured almost every Gunner
bandmate on the tracks. Not one appears on this album, but there are
friends Eric Singer (Kiss), Waddy Wachtel (Keith Richards), and Clem
Burke (Blondie). _The Hangover is nine original Clarke tracks and two
covers by favorite artists The Beatles ("Happiness is a Warm Gun" ) and
David Bowie ("Hang Onto Yourself") . In fact these two may be the best
on the album.
As he did on _Pawnshop Guitars_ , Clarke shows some different
sides of himself, but they are all rock 'n' roll. He combines his love
of hard rock riffs with Beatles- influenced melodies. The results,
while not always inspiring, are always appealing. "Blue Grass Mosquito"
bends the rules and has a really innovative chorus, and "Mickey Mouse"
is a charmer with glam overtones. "Wasn't Yesterday Great" references
the album title with these lyrics: "Wasn't yesterday great, Stayed in
bed in my hangover clothes, I couldn't get up for the day."
The covers are quite good, and there are good rockers here, but
in some places the music has a sameness about it. Some supercharged
riffs here and there would help out. Maybe a little more help from
his friends was needed. Gilby Clarke is without the Gunners, at least
this go round, and in some places their presence is missed.
Clarke is touring the US right now. He's comfortable on the
bar/club circuit where he can relax and hang out with fans after the
show. Clarke is an unpretentious, approachable guy who does a great
live show. He projects a sweet, friendly personality and is able to
connect with the crowd. _The Hangover_ is a good rocking album that
Clarke fans, GNR fans, and maybe some Beatles fans would like. To see
the tour schedule, check out the site
http://www.arocknid.com/gilby/hangover-tour.html
---
REVIEW: Daniel Cartier, _Avenue A_ (Rocket)
- Bob Gajarsky
Greenwich Village recording artist Daniel Cartier offers up a
slice of the Big Apple on his debut record, _Avenue A_.
Cartier is the latest in a string of performers who have
gotten their lucky break by busking in the city's endless subway system.
His debut album, _Live From New York The Subway Session_ (Ignition)
was recorded in the Canal Street subway station using only his acoustic
guitar and percussion.
Cartier employs vocals which cross somewhere between the late
Jeff Buckley and Live's Ed Kowalczyk, especially on the leadoff single
"I Decided" and "Lay With Me". The rockers could have been pulled
from Live's more upbeat rock songs, while "Won't You Talk To Me Tonight"
owes much to Roy Orbison and the country-rock genre. And though his
tattooed forehead might make some think he's an angry punk rocker,
Cartier instead demonstrates his skills as a rock storyteller on
_Avenue A_ .
For example, the title track is not only autobiographical, but
representative of thousands who flock to New York's East Village. 'If
I walk down to Avenue A / Is it gonna change the way that I feel? / And
if I walk down to Avenue A / Are you gonna take my dreams and make them
real?' sings Cartier, echoing the questions many have long asked.
The remainder of the disc echoes common themes that run deep
in all of us - love, and the pursuit of dreams and happiness - but
through the eyes of a New Yorker, rather than someone in a rural region.
So the problems of getting reflective while high ("Last Weekend") are
addressed here in a way that squarely addresses reality. Much like
life in Avenue A.
---
TOUR DATES (Please confirm with site before travelling):
Daniel Cartier
Nov. 21 Albany, NY Bogie's
Nov. 22 Danbury, CT Tuxedo Junction
Nov. 23 Portland, ME Raoul's
Nov. 24 Arlington, VA Iota
Nov. 25 Philadelphia, PA North Star
Deftones
Nov. 21 Jacksonville, FL Milk Bar
Nov. 22 Ft. Lauderdale, FL Prop House
Nov. 24 Washington, DC Capitol Ballroom
Nov. 25 New York, NY Irving Plaza
Duran Duran
Nov. 22 Cleveland, OH Lakewood Civic Aud
Nov. 24 Detroit, MI State Theatre
Everclear / Our Lady Peace / Letters To Cleo
Nov. 21 Dallas, TX Deep Ellum
Nov. 22 Austin, TX Liberty Lunch
Nov. 24 Phoenix, AZ Gibson's
Nov. 25 Los Angeles, CA El Rey
Jane's Addiction
Nov. 21 Sacramento, CA Memorial Auditorium
Nov. 22 San Francisco, CA Civic Center
Nov. 24 Las Vegas, NV Aladdin Theater
Jars of Clay / Plumb
Nov. 21 Charlotte, NC Winthrop Coliseum
Nov. 22 Bristol, TN Viking Hall
Nov. 23 Chattanooga, TN Memorial Auditorium
Nov. 24 Nashville, TN Tennessee Perf. Arts Center
Lunachicks
Nov. 21 Iowa City, IA Gabe's Oasis
Nov. 22 Kansas City, MO The Hurricaine
Nov. 23 Omaha, NE Cog Factory
Magnolia Thunderfinger
Nov. 21 Sacramento, CA Press Club (W/ Jesse Dayton)
Moby
Nov. 15 Seattle, WA Rock Kandy
Nov. 16 Portland, OR Roseland Ballroom
Nov. 18 Palo Alton, CA The Edge
Nov. 19 San Fransisco, CA Fillmore
Nov. 21 Los Angeles, CA Frequency
Nov. 22 Las Vegas, NV Epicenter
Nov. 23 Santa Ana, CA Galaxy
Nov. 25 San Diego, CA Belly Up Tavern
Moxy Fruvous
Nov. 21 Milwaukee, WI Shank Hall
Nov. 22 Minneapolis, MN Fine Line Music Cafe
Ric Ocasek
Nov. 21 New York, NY Irving Plaza
Nov. 22 Boston, MA Paradise Club
Promise Ring / Compound Red
Nov. 21 Santa Ana, CA Koos Cafe W/ Jimmy Eat World
Nov. 22 Riverside, CA The Barn W/ Jimmy Eat World, Bluebird
Nov. 23 Los Angeles, CA No Life Records In Store (2pm)
Nov. 23 San Diego, CA The Showcase Theater W/ Jimmy Eat World, Bluebird
Nov. 24 Phoenix, AZ Hollywood Alley W/ Jimmy Eat World
Reel Big Fish
Nov. 25 San Francisco, CA The Fillmore
Nov. 26 Irvine, CA Bren Events Center
Jim Rose Circus
Nov. 21 New Orleans, LA Tipitina's
Nov. 22 San Antonio, TX White Rabbit
Nov. 23 Houston, TX Numbers
Nov. 25 Tulsa, OK Cain's Ballroom
Saw Doctors
Nov. 21 San Francisco, CA Great American Music Hall
Nov. 23 Los Angeles, CA Troubadour
Semisonic
Nov. 21 Chicago, IL Double Door
Sister Hazel / Cravin' Melon
Nov. 21 Toronto, CA Lee's Palace
Nov. 22 Buffalo, NY Tralfamadore
Nov. 24 Milwaukee, WI Modjeaka Theater
Something Happens
Nov. 21 Chicago, IL Double Door
Nov. 23 Nashville, TN 3rd & Lindsey
Squirrel Nut Zippers
Nov. 22 Washington, DC 9:30 Club
Stereolab / High Llamas
Nov. 24 San Francisco, CA Great Amer. Hall
Subrosa
Nov. 14 Philadelphia, PA Saint
Nov. 16 Atlantic City, NJ Hard Rock Cafe
Nov. 17 Washington, DC 930 Club
Nov. 20 Boston, MA Axis
Nov. 22 Providence, RI Met Cafe
Nov. 24 Cincinnati, OH Top Cats
Nov. 25 Columbus, OH Newport Music Hall
---
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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