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Consumable Online Issue 139
==== ISSUE 139 ==== CONSUMABLE ======== [March 24, 1998]
Editor: Bob Gajarsky
Internet: gaj@westnet.com
Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim
Kennedy, Reto Koradi, David Landgren, Sean
Eric McGill, Tim Mohr, Al Muzer, Joe Silva,
Lang Whitaker
Correspondents: Tracey Bleile, Lee Graham Bridges, Scott
Byron, Jason Cahill, Patrick Carmosino,
Arabella Clauson, Krisjanis Gale, Eric Hsu, Tim
Hulsizer, Robin Lapid, Scott Miller, Linda Scott,
Scott Slonaker, Simon Speichert, Jon
Steltenpohl, Simon West
Technical Staff: Chris Candreva, Dave Pirmann
Also Contributing: Franklin Johnson
Address all comments, subscriptions, etc. to gaj@westnet.com
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Permission for re-publication in any form must be obtained from the
editor.
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| Contents |
`------------'
INTERVIEW: Richard X. Heyman - Al Muzer
REVIEW: Various Artists, _Legacy: A Tribute To Fleetwood Mac's
Rumours_ - Bob Gajarsky
REVIEW: Propellerheads, _Decksanddrumsandrockandroll_ - Tim Hulsizer
REVIEW: Natalie Imgruglia, _Left Of The Middle_ - Franklin Johnson
REVIEW: Agents of Good Roots, _One By One_ - Lang Whitaker
REVIEWS: Electronique Cafe' (Air / Dimitri From Paris / Kerosene /
Williams Fairey Brass Band / DJ Frankie Bones / DJ Micro / Adam
F) - Joe Silva
CONCERT REVIEW: Pee Shy / Evelyn Forever / Space Gel - Al Muzer
REVIEW: Fastbacks, _Win, Lose or Both_ EP - Scott A. Miller
REVIEW: Todd Thibaud, _Favorite Waste of Time_ - Arabella Clauson
REVIEW: Rick Derringer And Friends, _King Biscuit Flower
Hour_ - Bill Holmes
REVIEW: Fat Amy, _Five Way Switch_ - Arabella Clauson
REVIEW: Walter Trout, _Walter Trout_ - Linda Scott
NEWS: Air, Big Air Series, Collective Soul, Hoboken Music Fest
TOUR DATES: Agents of Good Roots, Bluetones, Bush Tetras / Fall,
Buzzoven, China Drum, Cravin' Melon, Curve / Freaky Chakra,
Dave's True Story, Alana Davis, Feeder, High Llamas, Incubus,
Irving Plaza (NYC concert hall - www.irvingplaza.com), Luna,
Ziggy Marley & Melody Makers, Megadeth, Mono, Phish, Princess
Superstar, Promise Ring, Radiohead, Sherry Rich, Roni Size
Reparazent, Scrawl, Smart Went Crazy, Superdrag / Apples In
Stereo / Tuscadero, Swervedriver / Libido , Third Eye Blind /
Smash Mouth / Fat / Rebekah, Zeke
THE READERS WRITE BACK!
Back Issues of Consumable
---
INTERVIEW: Richard X. Heyman
- Al Muzer
Hippie psychedelia, sensitive singer-songwriters, doo wop,
rap, grunge, girl groups, teen idols, art rock, surf, country,
disco, new jack, ska, techno, hair metal, bubblegum, lounge -
sooner or later every flavor of the minute grows old, tired,
stale and lifeless.
And, be it be Beatles, Bangles, Badfinger, Beau Brummels
or Brandy (You're A Fine Girl) - a great pop song always seems
to show up in the Knack of time to save radio and tide us all
over until the next musical trend is ready for mass consumption.
There are at least seven such songs on Richard X. Heyman's
new album, _Cornerstone_.
Bursting with depth, longing, bittersweet emotion and (more
importantly) a slew of killer hooks, the 14 janglin' gems on
_Cornerstone_ (Permanent Press Recordings) conjure up images of
lost loves, blown saves, missed chances, long nights, lingering
sighs, gray autumn days and tearful break-ups even as the
deceptively bouncy melodies and Heyman's warm, earnest vocals
sweep you away to a land where your feet just won't stop tapping.
Heyman's been here before - even if you haven't.
Despite reaching peaks of pure pop perfection on 1986's
_Actual Size_ EP, 1988's _Living Room!_ and 1991's _Hey Man!_,
the Plainfield, New Jersey native, screenplay writer, one man
band and former Brian Wilson/Link Wray/Jonathan Richman drummer
has inexplicably never managed to break through to the mainstream
and all three of his previous efforts have, for the most part,
been ignored by the masses.
_Cornerstone_, however, appears to possess everything it
takes to turn Heyman into the household name he deserves to
become - or, at the very least, bestow a bit of Top 40
immortality on the man.
Resident pop-o-holic, unintentional Kenny Rogers
impersonator and long-time Richard X. Heyman fan Al Muzer recently
caught up with the artist on the eve of _Cornerstone_'s national
release.
CO: You've been touted by the likes of Rolling Stone and
Goldmine as, more or less, 'the artist most likely to' with each
new release. Has the lack of attention from radio and the lack of
acceptance from its listeners driven you over the edge yet?
RH: [laughs] For some reason, good music press just
doesn't translate over to sales or radio play the way press
translates for movies or on Broadway. If a play or a movie gets
good reviews, well, then, that's everything. It starts the whole
ball rolling. Music? It just doesn't seem to work that way with
music.
I tend to view music as a much needed emotional outlet -
so I'm not into name games, don't care about accumulating press
and I'm not trying to please anyone but myself. I'm also not out
to assimilate my influences or duplicate any one sound. I hear
certain artists who really seem to be into that whole thing, you
know? Trying to create, say, a _Revolver_-sounding song - and, in
trying to achieve the exact guitar tone, the right echo or the
perfect production value - lose the song. The song winds up
taking a back seat to the sound.
CO: But, the 'sound' has always been one of the great
things - for me, anyway - about your records. While your songs
are generally outstanding, there's an almost timeless quality
to the 'sound' of your albums that makes it hard to place when
they were recorded.
RH: Thank you! The thing that got me involved in music
in the first place is that thing, that feeling, that chill you
get when a song really hits home. I call it the 'happy/sad'
feeling. It's the best! You get it when music has kind of a
melancholy feel to it - yet is so good that it makes you feel
happy at the same time.
CO: Like most of the songs on _Cornerstone_? You know
despite some truly killer hooks, everything on the disc seems
to have a wistful, semi-sad, looking back feel to it. Were you
shooting for that mood?
RH: I really think, truthfully, that it has to do with
the fact that there was this 'golden period' - or so it seemed
with hindsight - in my life and the music I love. And, well I
dunno, I guess I thought I felt all that sort of slipping away
from me. I was longing for that time and that feeling again, so
that found its way onto these songs. I don't consciously think
about any of it though, you know? I just try to finish my songs
and let them be about whatever they want to be about.
CO: How do you get such a complete full band-type sound
on your records when, for the most part, it's you singing and
playing everything?
RH: I think a lot of that comes down to the fact that
my main instrument is the drums - so there's always a solid
foundation behind what I do. But, it's not like I plan on being
a one-man-band when I record my albums. I just always seem to
wind up alone in the studio laying down, say, an idea I had or
a vocal part or a percussion track or a guitar guide or a hand
clap - and the next thing you know, the track is done. It's
become almost an unconscious process for me.
CO: You've been something of a cult figure along the
lines of Tommy Keene (with whom Heyman played in a late-'70s
band known as the Rage) and Alex Chilton for more than 10 years
now, are your fans as, uhm intensely-devoted to you as theirs
appear to be to them?
RH: Not as intense, no, but still fairly serious. There
are a few people in different parts of the country who, uhm,
really know my records, you know? I was having a discussion
just the other day about how strange it is when I meet someone
who, although they only know me through my lyrics, really think
they know me. It's pretty strange, actually, even a little
frightening sometimes.
CO: I've got to give you credit, you could've jumped on
the grunge, ska or SevenMaryDaysOfTheAlice bandwagon at any time
over the last few years and probably had yourself a hit - but
you stuck with pop songs.
RH: Oh, that's not even something I had to think about
it. I come from a world of three-minute pop singles. Pop music
is what I love.
PS: The 'X' stands for, well, 'X' and is the full middle
name given to Heyman by his dad in tribute to U.S. Army General
Xavier Cheves.
---
REVIEW: Various Artists, _Legacy: A Tribute To Fleetwood
Mac's Rumours_ (Lava / Atlantic)
- Bob Gajarsky
_Rumours_, the album which nearly destroyed Fleetwood
Mac (and at the same time, became the benchmark for any
albums to aspire to), has sold more than 40 million copies.
Stevie Nicks, Lindsey Buckingham, Christine and John
McVie and Mick Fleetwood created a masterpiece that inspired
an entire generation looking for an escape from disco beats and
leisure suits. Now, twenty years after its original release,
comes _Legacy: A Tribute To Fleetwood Mac's Rumours_.
This time around, it's up to people who were in grade
school when _Rumours_ was first released to steal the show.
Jewel offers a predictable, but solid performance of "You Make
Loving Fun"; the Irish folk-harmony group The Corrs provide a
stunning rendition of "Dreams", which is the album's first
single, and newcomer Duncan Sheik continues the vocalization
which made "Barely Breathing" such a radio staple in 1997.
The songs of the Mac bring out the best in
bands I normally can't stomach. Tonic's "Second Hand
News" is an upbeat, irresistible rocker, and even the
Cranberries - whose wailing songs seem to bring out
the dogs in the neighborhood - come out smelling like
roses on their nearly-faithful version of "Go Your Own Way".
It's impossible for the Goo Goo Dolls to shake the
Paul Westerberg tag that has dogged them for so long, and the
cover of "I Don't Want To Know" won't do anything to dispel
that comparison. But while the Goo Goos provide the expected,
Hootie-compared Sister Hazel break the mode, offering a Steve
Tyler (Aerosmith)-like performance of "Gold Dust Woman".
Ironically enough, it's Elton John's cover of "Don't Stop"
which serves as this album's weakest cut. And regardless of
anyone's opinion of Captain Fantastic, the fact that his song
lies at the bottom of the performances herein is a testament
to the strength of this collection.
Nearly flawless in songwriting, production, choice of
bands and execution, _Legacy_ is a perfect addition to the
collection of teens, twenty-somethings, thirty-somethings...
in other words, most of the people who already own _Rumours_
in the first place.
BANDS FEATURED (In Order): Tonic, The Corrs, Matchbox 20,
Elton John, The Cranberries, Duncan Sheik, Shawn Colvin,
Jewel, Goo Goo Dolls, Tallulah, Sister Hazel
---
REVIEW: Propellerheads, _Decksanddrumsandrockandroll_ (Dreamworks)
- Tim Hulsizer
So what's the popular term for dance music this week?
"Bigbeat" seems to be soup du jour, an amalgam of breakbeats and
fat basslines that resembles a hybrid of drum'n'bass (only slower)
and instrumental hiphop (only faster). It's cool and funky, and
easy to shake one's booty to, but unfortunately its acceptance into
the mainstream hit machine has resulted in a blizzard of pointless
and masturbatory releases. These include full-lengths that should
have been EPs (Fatboy Slim, David Holmes, etc.) and blatant
attempts at cashing in on the trend in the form of awful
compilations (including the TVT disc with the offensively bad
title _Big Rock'n Beats_).
On the flipside of the coin is the duo of Alex Gifford and
David Arnold, two gentlemen whose EP releases under the moniker
Propellerheads have never disappointed in three years. Finally we
are blessed with the full-length release and it is mighty fine.
Relentlessly funky and endlessly inventive, these guys have managed
to find their niche in a genre that is fully stocked with fakes,
uninspired ripoffs, and elevator music.
I like this album for a variety of reasons, which of
course include the beats themselves. Gifford and Arnold are
masters at unleashing a monster groove and effortlessly sustaining
it. They have a knack for finding the dirty side of a beat and
twisting it until it screams funky. Not only that, they use a
bass sound that I can only describe as scratchy. Not so much
distorted as stretched, the Propellerheads basslines are
simultaneously rough and smooth (no small feat, that). They ooze
into your ear like a grinning lover, sexy as hell but with a
knowing wink. The album is full of swaggering tunes that never
take themselves too seriously.
Propellerheads also pick some excellent samples. From
old movies (the perennial standby in dance music) to old rap
tunes, these guys pay homage to a variety of sources in the best
possible manner. My personal favorite sampling is a short track
called "A Number of Microphones", in which we hear a human
beatbox doing his thing while a British gentleman talks about
the placement of microphones and intones phrases like, "How
extraordinary!" You can say that again.
Elsewhere on the album Gifford, Arnold, and a few friends
of theirs pay homage to other influences. Acknowledging the hip
pleasures of the secret agent/1960's phenomenon, they include
brass-filled lurkers like "Cominagetcha" and "Spybreak". Not
only that, they bring out Miss Shirley "Goldfinger" Bassey to
belt out "History Repeating", and they present their own version
of the theme from the 007 movie _On Her Majesty's Secret
Service_. The latter track is an ambitiously-produced 9 minute,
20 second song that includes guitar, horns and organ.
In fact, this track is also on another album David Arnold
produced, the recent James Bond remix project entitled _Shaken
and Stirred_. Arnold was also responsible for the soundtrack to
the latest Bond film, _Tomorrow Never Dies_, further proving his
love for the spy game. Propellerheads have other ways of
exploring dance music, including guest vocals on a couple tracks
by De La Soul and Jungle Brothers. It's a tribute to their
inventive arranging that the tracks work so well.
_Decksanddrumsandrockandroll_ is an ass-shaking tour de
force. It never entirely breaks the mold of modern dance music,
but neither is it a slave to what has come before. It's a
well-conceived, brilliantly-executed party disc that should
please the hardcore fans of the genre while defining it all for
the casual listener as well. This release ranks among the best
in the "big beat" category and it sets the standard by which all
others must be measured.
---
REVIEW: Natalie Imgruglia, _Left Of The Middle_ (RCA)
- Franklin Johnson
One of the major industry buzzes has circled Natalie Imbruglia.
The 23 year old Australian (born in Sydney) first achived fame in her
native land as a member of the soap opera Neighbors. But forget
(Stock-Aitkman-Waterman era) Kylie or Jason - this soap star doesn't
have an ounce of disposable bubble-gum pop in her body.
The first track (and single), "Torn", is straight out of the
Lisa Loeb AAA book. Written and produced by former Cure member Phil
Thornalley and produced by Nigel Godrich (of Radiohead fame), "Torn" was
the second best seller in Europe (behind the Princess Diana tribute,
"Candle In The Wind") in 1997.
"It ("Torn") was one of the first demos I did," Imbruglia
remembers. "I got signed in August of 1996...6 months prior, I met
Phil Thornalley, and I just loved it. It's one of those songs that - I
don't know - there is something timeless about it".
Some comparisons to Alanis surface ("One More Addiction", while
"Wishing I Was There" recalls Morrissette's "All I Really Want"),
when Imbruglia's vocals imitate the Canadian's, and the guitar and
drum programming come to the forefront. But just as Alanis is not
Liz Phair, so is Imbruglia not Morrissette.
Smoky vocals engulf the listener in a Portishead/Garbage trance
on "Leave Me Alone", while the up-front rocker "Impressed" was written
during Natalie's frequent trips to the local nightclubs.
"It's about a sleazy guy with this six foot model who's with
him for all the wrong reasons. The girl with 'ice cream beauty - you
know, that very artificial kind of sexiness."
And continuing the modern feel which resounds through the entire
_Left of the Middle_ disc, "Big Mistake" was written with Mark
Goldenberg - who wrote "Novocaine For The Soul" for the Eels. Imbruglia
wrote or co-wrote nine of the album's twelve tracks, again showcasing
her talents as much more than a pinup voicing someone else's songs.
Likely to be one of the top albums of 1997, Imbruglia's debut
blows away all the stereotypes associated with actors making the
transition into the singing world.
---
REVIEW: Agents of Good Roots, _One By One_ (RCA)
- Lang Whitaker
With bands sprouting from the east coast club scene
into national prominence as fast as the Gremlins were birthed
from that YMCA swimming pool, you kind of take any "east coast
club scene" band making their major label debut with a grain of
salt. However, it's hard to argue with success. Before even
signing with a major label, the Richmond, Virginia-based band
Agents of Good Roots had been playing over 200 shows a year up
and down - here we go again - the "east coast club scene". They
also had recorded two albums that sold well at their shows. Their
self-made success attracted interest, and enabled AOGR to
release _One By One_.
They have several things going for them that separate
them from the rest of the pack. The most obvious thing is lead
singer/guitarist/keyboardist Andrew Winn's sandpaper vocals. After
a skiing accident at age 14 crushed Winn's larynx, the doctors
connected the dots with whatever was left, and as a result Winn's
voice sounds like velcro combined with a case of unfiltered
Marlboros. It sounds almost like Winn's voice is going through
more special effects than James Cameron, but it's actually his
everyday voice - which, to be honest, is kind of frightening.
Another thing that sets AOGR apart is their bare sound.
Lacking a traditional lead guitarist, AOGR seem to rely more on
the interplay between Stewart Myers' bass and Brian Jones' funky
drumming. Also, saxophonist J.C. Kuhl contributes perfunctory leads
and fills from time to time. After mining the "east coast club
scene", AOGR got their act together, and they sound polished and
ready for mainstream success. Their sound is a weird combination of
Aerosmith, Stevie Wonder, Bela Fleck, and the Wallflowers. There's
also lots of jazz-influenced key signature play, and some pretty
sweet instrumental synergy.
There are at least 3 radio-friendly, toe tapping and head
nodding singles practically hopping from the jewel case. "Upspin"
sounds like a Motown standard from Berry Gordy, replete with
Aretha-esque wailing background vocalists. "Two Bucks" allows
drummer Jones a chance to take the lead vocal duties, and "Hoping,
Waiting, Longing" is similar to "Upspin" with its harmonic
simplicity. And that's not even including the first single to
catch radio's ear, "Smiling Up The Frown".
_One By One_ has the possibility of being huge, but these
songs are much too mature and complex to get lumped into the same
Wallflowers bargain bins. Here's hoping music fans recognize it.
---
REVIEWS: Electronique Cafe' (Air / Dimitri From Paris /
Kerosene / Williams Fairey Brass Band / DJ Frankie
Bones / DJ Micro / Adam F)
- Joe Silva
While not even beginning to probe through the underground,
the stack of fully commercial outings has grown exponentially and
it's not even quite Spring yet. Forgetting the Grammy bone tossed
at the Chemical Brothers for a moment, there are more than a
handful of non-Big Beat releases to contend with:
Dimitri From Paris, _Sacrebleu_ (Atlantic) - Ultra-smooth
with no fear of poppy hooks, Dimitri goes for the "intimate thing."
With bossa-nova flair, this Istanbul-born Frenchman boasts a groove
that swings with a nostalgia that still plays fresh. Not so much
swamped in the electronic as say fellow countrymen Air, Dimitri
offers lounge ballads, creamy soul, and Euro-centric house moments
that can serve as subtle, but supremely-crafted backdrops. Must
hear: "Sacre Francais," "Nothing To Lose," "Love Love Mode."
Kerosene, _Teenage Secret_ (Caipirinha Music) - Straight
out of the gate, this LP shows that some Germans may still have
an intuitive edge when it comes to the atmospherics of electronic
music. Engaging, effectively moody without being overtly cerebral,
this fellow has a fair hand with samples and copping sounds that
are both arresting and unique (like the sax bits in "Your Muscles").
Must hear: "When You're A Young Girl," "Supercrash," "Your Muscles."
Air, _Moon Safari_ (Caroline) - Coming more from a
Jean-Michel Jarre/Space Odyssey 2001 with a hefty dollop of soul
perspective than other members of the French electronic brain trust,
Air's downbeat ambience is getting the lion's share (the lyon's
share?) of the attention at the moment. With their more dated vibe,
particularly on tracks like the brilliantly catchy "Kelly, Watch
The Stars!," they are poised almost as a novelty in the current
arena. With vocalist Beth Hirsh they approximate a more funky (or
foxy) Portishead. The duo to watch. Must hear: "Sexy Boy," "Kelly,
Watch The Stars!," "Remember." A complete review appears in the
March 11 issue (http://www.westnet.com/consumable/1998/03.11) of
Consumable.
The Williams Fairey Brass Band, _Acid Brass_ (Mute): A pub
idea that grew enough appendages to get up, walk around and survive
it's nascency to see the following day, this project spawned by one
Jeremy Deller caused enough of a stir to attract the questionable
attentions of the KLF rogues Bill Drummond and Jimmy Cauty. While
it's surely a full-fledged curio (brass band covers of House
mega-hits!!), it's also intensely listenable and further proof
that there's some depth to the compositions of all these
knob-twiddlers. Must hear: "Can U Dance?," "What Time Is Love?,"
"Cubik."
Various Artists, _Los Angeles: Critical Mass_
(Mindspore): An overview of L.A.'s budding hopefuls put together
by Kevin Crosslin and KCRW DJ Kevin Lincoln. Ultra-atmospheric
("Quay-Czar") to tribal ("You Are The Dream"). Broad flavored,
but overly mellow to a fault. Never acquires much verve.
Worthwhile: "Kiss" by TM.
DJ Frankie Bones, _Technolo-G_ (ESP-SUN): The man himself
spinning big house grooves that largely wear thin after a few
minutes.
DJ Micro, _Presents Micro-Tech-Mix (Moonshine Music):
Initially getting a slow start, things pickup with Mr. Rossi
Feat. UFO's "Return Trip." A healthy mix in more than a couple
of spots. Recommended.
Various Artists, _Moonshine Mixed Vol.2_ (Moonshine):
Mixed by Steve Levy; funky bits and pieces from the like of
Keoki, E.K.O., and Elli Mac. Generally does not get off the
ground floor too often. Worthwhile: "Caterpillar (The Crystal
Method Remix)."
Derrick May, _Innovator_ (Transmat): A double CD's worth
of the ultra-legend. Very lame in spots ("Strings Of The Strings
Of Life"), pleasant at others ("A Little Spaced Out"), and
occasionally triumphant ("A Relic Mix"). Possibly a must have,
but weak in the "bang for your buck" department.
Adam F, _Colours_ (Astralwerks): Drum n Bass with the
depth that Goldie had hoped to achieve on his recent magnum
opus. Tracey Thorn vocals and Grooverider mix onboard.
Worthwhile: "Circles (Roni Size Mix)," "The Tree Knows Everything."
To steer clear of: Steve Stoll, _Blunted Boy Wonder_ (NovaMute)
---
CONCERT REVIEW: Pee Shy / Evelyn Forever / Space Gel
- Al Muzer
Living up to each and every word of their considerable
advance press, New York by way of Tampa four-piece Pee Shy were
the perfect headliner for a bill that featured two local bands
clearly on their way to bigger and better.
With their irresistible hit "Mr. Whisper" and its tinkling
toy piano a staple on the local airwaves and their 11-song Blue
Gorilla/Mercury Records debut, _Don't Get Too Comfortable_ edging
its way up the charts, Pee Shy drew an early crowd that kept The
Saint (Asbury Park, N.J.) partying and packed until closing time.
An artsy, quirky, granola-fed, punk-informed Roches update
with a minor Esquivel jones and a working knowledge of Portishead,
Ivy, Mary's Danish, St. Etienne and Julianna Hatfield;
bassist/vocalist Mary Guidera, drummer/vocalist Billy Orrico,
guitarist/keyboardist/accordionist/clarinetist/vocalist Jenny
Juristo and guitarist/accordionist/vocalist Cindy Wheeler did
more than just duplicate their extraordinary sophomore release
on stage - they also managed to charm a typically tough Asbury
Park audience into thinking that they not only knew, but loved,
every song in the group's two album arsenal.
Alternately recalling Sparks, Siouxsie, the Pistols, Wendy
O. Williams, the Nymphs, Nina Hagen, the Dead Boys and CBGB's
circa-1978, North Jersey's Space Gel opened the evening with a
40-minute energy assault that included jet engine-loud blasts of
glam-, punk-, pop-, techno-, goth-, grunge-, lounge- and metal-based
insanity made even more entertaining thanks to the visually-freaked
stage persona of lead vocalist Andrea Montagna and a couple of
guitarists not at all afraid to solo.
Currently being courted by more than a few major labels,
Evelyn Forever's pop-centric 45-minute closing set had the crowd
(which included the visibly delighted members of Pee Shy) bouncing
along to spirited versions of songs such as "Rock 'N' Roll Girl,"
"What I Need," "Teenage Love Murder Suicide," "17," "Double Dip"
and "Sultry" while it proved (once and for all) that the hoopla,
hope, hype and handshakes surrounding this talented New Brunswick
four-piece are based on the real goods.
---
REVIEW: Fastbacks, _Win, Lose or Both_ EP (Popllama)
- Scott A. Miller
Consumable's Al Muzer once described the Fastbacks as an
"excellent Go Go's in hyperdrive version of L7 with hooks." I could
give you a few more fluffy adjectives about the band's sound, but
the truth is Al hit the nail on the head.
Guitarist/songwriter Kurt Bloch plays his power pop hooks
with an energy and crunch that The Go Go's seemed uninterested in.
Plus, you could brew coffee with the perkiness of Kim Warnick (bass
and vocals) and Lulu Gargiulo (guitar and vocals). It's easy to see
why this band has survived since 1979 - and, no, that's *not* a typo.
_Win, Lose or Both_ gives listeners a good sense that the
sound and energy from each of the band's studio efforts translates
almost verbatim to the live setting. This is an EP in name only.
After the four new studio songs, listeners are treated to nine
tracks from the band's 1997 tour. And because the band does such a
great job of capturing its live sound in the studio (or its studio
sound live), the live tracks come across as an extension of the
four new songs, not just some music lacquered on the end to make the
EP a better value.
The four new songs (three by Bloch and one by Dr. Frank)
continue the Fastbacks' tradition of short, punky bursts of
power-pop energy. "So Wrong" is the most furiously played song I've
heard this year. And the Dr. Frank number, "Book of Revelation," is
a speed-pop dream complete with a classical-style guitar hook -- all
in just over two minutes of playing time.
The live set isn't really a set; it was taken from several
performances. But it feels coherent because the band starts out
loose and even a little flat but ends up sharp as a tack.
Some good-natured goofing after the opening eventually gives
way to a little real anger at a rude fan screaming for "Rocket
From the Crypt." Like real pros, though, the band doesn't channel
its fury toward the audience, but funnels it back into the songs
with slashing chords, jack-hammered snares and crackling vocals.
It's no surprise the Fastbacks are legends in their native
Seattle. What is surprising -- and so totally uplifting -- is that
nearly 20 years after forming the band can still get you on your
feet with some of the brightest, most energetic rock on CD.
---
REVIEW: Todd Thibaud, _Favorite Waste of Time_ (Doolittle)
- Arabella Clauson
Perhaps the most striking facet of Todd Thibaud is his
optimistic, warm tenor voice, something quite inspiring from yet
another victim of the ruthless music industry. Relativity Records
signed and dropped the former Courage Brothers songwriter within
six months after changing to an all-rap format. Left to his own
devices, Thibaud wrote, financed, and recorded his own album,
releasing several thousand copies in the Boston area.
Thibaud comes into his own on _Favorite Waste of Time_,
merging pop, rock, blues, and folk into something entirely his own
creation, perhaps surprising after his Americana rock band days
with the Courage Brothers. He elicits comparisons to Tom Petty,
a less raspy John Hiatt, and Steve Earle, whose "Copperhead Road"
appears as an improvised bonus track. Thibaud released the self
financed album in Boston last year, before shopping around for a
record label, finally signing on with Austin's Doolittle Records
last summer. Returning to the studio, Thibaud and producer Kevin
Salem (Freedy Johnston) recorded two new songs, "Cold," which
sounds like something straight out of a Robert Rodruiguez film,
and "2 a.m." a twangy, heartfelt ballad about self-reflection.
The result is a finely tuned, extremely balanced collection of
Southern country-rock tunes, no doubt a reflection on the
songwriter's talent and life experiences.
"Sweet Destiny" calls for some Toad the Wet Sprocket
comparisons, boasting a mellow acoustic sound and smooth vocals.
Kathleen Wilhoite makes a cameo appearance on "Give My Heart Back,"
an unromantic, yet still rather sad, duet. Thibaud also wrote the
standout track "That Wasn't Me" soon after the drop from Relativity,
resulting in a bitterly ironic, yet somehow still upbeat lyrical
self-examination with "I don't know where I went wrong I guess I
just lost track/lately all the ones I love are the ones that I
attack." He seems fiercely self-critical, but perhaps through
personal experience, Thibaud found the sheer determination
required for a struggling artist to keep faith in both the industry
and his own music.
---
REVIEW: Rick Derringer And Friends, _King Biscuit Flower
Hour_ (KBFH)
- Bill Holmes
Back when rock radio was about the music and not about the
demographics, weekly radio shows like the BBC Rock Hour and King
Biscuit brought an eclectic mix of artists into your home. For the
thousands of us that taped many of them on inferior equipment and
cheap tapes, station Ids and commercials intact, the CD versions of
the BBC and Biscuit series are a godsend. This 1983 benefit show
(for Rick Derringer and his band, actually, as their equipment
truck and everything on it had just been stolen!) features the _Good
Dirty Fun_ era Derringer band and several guest stars.
Derringer found early fame with The McCoys, was ..uh...
instrumental in the success of both Johnny and Edgar Winter and
enjoyed a semi-successful solo career. Although best known for the
true rock classics "Rock And Roll Hoochie Koo" and "Hang On Sloopy",
Derringer's band and solo efforts also produced a number of
hook-laden pop songs and frantic guitar workouts, neither of which
seemed to find a home on radio. Musicians like Neil Geraldo, Kenny
Aronson, Danny Johnson and Myron Grombacher all interned with
Derringer, and although some of the studio material was average at
best, the live Derringer always kicked ass (and still does - the guy
is on the road constantly!). This show is no exception.
Derringer has never been a great singer; his voice often
thin and/or flat. His guitar playing, on the other hand, is legendary.
Not many players could go toe-to-toe with Johnny Winter (any doubters
simply need play _Johnny Winter And Live_ to settle that bet!). But
consider that this concert was taped in the early 1980s, when live
shows often aired "warts and all" and serious guitar wanking was the
order of the day. As a result, be prepared to suffer many audience
participation yelps, bad stage banter and the inevitable endless
"dueling guitar and vocal" trick that both Derringer and Edgar
Winter were a little too fond of (check the close of "Rock And Roll
Hoochie Koo" - it just doesn't date well). If you can tolerate that,
however, you'll be rewarded with strong versions of little-heard
songs like "Guitars And Women" and "Party At The Hotel" and a
smoking version of "Let Me In" that rivals the one on the
not-yet-on-cd _Derringer Live_.
Besides the band numbers there are guest appearances by
ringers like Dr. John, Edgar Winter and Ian Hunter (a nice turn
with "Just Another Night" , "All The Young Dudes", "Roll Away The
Stone" and "Ships"). Although more of Rick's material would have
been nice, it's good to have these joint performances captured for
posterity. Overall, this release is a nice addition to Derringer's
catalogue, which unfortunately is thin at the moment. Hopefully
1998 will see the overdue release of the aforementioned _Live_, as
well as the collectors item _Live In Cleveland_ and the inexplicably
delayed _Archive Alive_. Now if someone would only get off their ass
and reissue _Guitars And Women_ and _Good Dirty Fun_ and dig up some
live shows that Derringer did with Edgar Winter and Dan Hartman,
Rick would get more of the respect he richly deserves.
In the meantime, enjoy this blast from the past, and make
sure you have your lighter ready for the encore.
---
REVIEW: Fat Amy, _Five Way Switch_ (Rubber Records)
- Arabella Clauson
Solid, staunchy meat-and-potatoes midwestern rock drives
Fat Amy's indie label release, _Five Way Switch_. Lead singer
Bobby Guiney's vocals recall a more subdued Kurt Cobain with the
range of a glee club choirboy. Without thinking twice, he could
probably, quite successfully, segueway into Andrew Lloyd Webber's
Requiem for an encore performance. Edgy alternative trademark
guitars push the album through some brief rough spots on "Chili
Red." Suprisingly smooth vocals and sincere lyrics emerge in the
midst of "Come Undone" with "She never said you were too afraid to
ask/How will you ever forget me/I come undone." With the common
vagueness characteristic of much contemporary music, the lyrics
leave plenty of room for personal interpretation. Some glam rock
overtones introduce "In The Middle," though stunningly beautiful
vocals emerge in more subdued moments. Guiney could be a reincarnated
Simon Le Bon in a 1990s do-it-yourself rock era. He certainly has
the vocal range and boyish good looks which endeared the Duran
Duran singer to millions.
Recent national circuit predecessors from Michigan like
The Verve Pipe helped pave the group's way out of East Lansing
obscurity. Producer Tim Patalan (Sponge, Fretblanket) showcases
the rough guitar and rhythmic undercurrents which have brought Fat
Amy success in the midwest and on the Internet indie scene. Before a
stellar performance at the South by Southwest Music Festival, the
band shared the stage with the Goo Goo Dolls, They Might Be Giants,
and the Verve Pipe. Their live performances are noted for their
intense energy and audience rapport - with good reason as Guiney has
a permanent smile plastered from ear to ear, and the whole band
breaks a sweat within 30 seconds of taking the stage.
_Five Way Switch_ is a spectacular debut album, capturing
the essence of the intense live performance, and signaling there is
something unusual going on near the Great Lakes. With the popularity
of the AWARE Compilations (on which Fat Amy makes a recent appearance),
the region produces bands quicker than Florida ships out bundles of
citrus fruit.
---
REVIEW: Walter Trout, _Walter Trout_ (Ruf)
- Linda Scott
The European success of Walter Trout, yet his relative
anonymity in his own country (United States), is as much a mystery
to him as to his fans. An ace guitarist who ranked #6 among the
Top 20 all-time greatest guitarists in a 1993 BBC poll (just 2
votes behind Jimmy Page) can not possibly have been ignored by
American music fans - but, unfortunately, he has been.
At 46, Walter Trout is a man that has given his life to
music. Known as a soulful, bluesy lyricist/vocalist with a
killer guitar, Trout at one time played here for Canned Heat
and John Mayall's Bluesbreakers. A Danish promoter and label
rep spotted Trout and persuaded him to come to Europe, start his
own band, and make some albums there. Over the past years, Trout
has released seven albums in Europe only two of which including this
current one have also been available in the US.
In Europe, Trout is known as a passionate, versatile
blues/rock musician who likes all kinds of music from hard rock to
sweet ballads, all of which he lays over a blues edge. High marks
for songwriting and for singing where his good range and husky,
masculine tone compliment his near-perfect delivery. Trout makes
his eponymously-titled album a joy to listen to.
Trout has a three member band - bass, keyboards, drums - but
he is clearly the band's focal point. The band does a good job on
the 16 tracks of _Walter Trout_, and you can hear the influences
from the Beatles to Bob Dylan, Joni Mitchel and Paul Butterfield.
There are some lovely songs and some lonely songs. The first single
off the album is "Tender Heart" promoted with a limited edition,
heartshaped disk. The producer responsible for pulling all this
together is none other that Jim Gaines who did such fine work for
Blues Traveler, Stevie Ray Vaughn, Steve Miller, and Carlos
Santana. The album is a professional one from the first track, "Got
A Broken Heart", a blues rocker that shows what Trout can do.
Who's going to like _Walter Trout_? People who like rock,
people who like beautiful, meaningful lyrics, people who like the
blues. But even though Trout has a reputation as a blues master, you
don't have to be a huge blues fan to like _Walter Trout_. Trout has
room for all kinds of fans. Let's hope this American musician stays
here for a long time.
---
NEWS: > Air will be in Los Angeles to film the second single
"Kelly, Watch The Stars". The single/EP for "Sexy Boy" -
which includes 4 versions of the title cut including a remix
by Beck, and a brand new track "Jeanne" - will be released on April 7.
> The Bud Light Big Air Series - a pro-invitational
snowboard competition - is not just about sports, but about
bands as well. Confirmed bands to appear at these events
include the Mighty Mighty Bosstones, Fastball, Rancid,
Blink 182, Pennywise, Sugar Ray, Specials, Novacaine,
God Lives Underwater, Our Lady Peace and more.
The festival will be held on Saturdays in Summit West (WA),
Sugar Bowl (CA), Loon Mountain (NH) and Mt. Hood (OR). For exact
site locations and further information, check out the web sites at
http://www.solsnowboarding.com or http://www.onboardent.com
> Collective Soul has been at work on their fourth
album, _Dosage_, which is scheduled to be released in late
August. Lead vocalist Ed Roland will be producing the album,
which was pared down from the more than 35 songs which Roland
had written.
> Hoboken-based music organization Stop and Smell The Locals
is presenting the first annual Mile Square Musicfest '98 from April 1
to April 4.
More than 50 Hoboken area bands - including Chris Butler,
Mary Ann Farley, Fear of Falling, the Gefkens, Kate Jacobs and The
Wrens - will be appearing at seven venues (Liberty Bar, Liquid Lounge,
Lovesexy, O'Nieals, The Quiet Woman, Shannon Lounge and Zell's)
throughout Hoboken. All Access Passes for all shows during the four
evenings are $20; nightly passes (good for all shows during any one
evening) are $8.
For more information on the Mile Square Musicfest '98, check
out the website at http://www.hobokeni.com/stop/musicfest98.htm
---
TOUR DATES:
Agents of Good Roots
Mar. 24 Roanoke, VA Graudin
Mar. 25 Harrisonburg, VA Main Streets
Mar. 26 Charlottesville, VA Trax
Mar. 27 Richmond, VA Floodzone
Mar. 28 Philadelphia, PA Trocadero
Apr. 2 Greenville, NC Attic
Apr. 3 Davidson, NC Davidson College
Apr. 4 Williamsburg, VA Lake Matoaka Fest
Bluetones
Mar. 25 Cambridge Corn Exchange
Mar. 27 Guildford Civic Hall
Mar. 28 London Shepherd's Bush Empire
Bush Tetras / Fall
Mar. 30-31 New York, NY Coney Island High
Apr. 3 Boston, MA Middle East
Apr. 4 Philadelphia, PA Trocadero
Apr. 5 Washington, DC Black Cat
Buzzoven
Mar. 24 New York, NY Continental
Mar. 25 Portsmouth, NH Elvis Room
Mar. 26 Concord, NH Club Eclipse
Mar. 27 New London, CT El-N-Gee
Mar. 30 Cleveland, OH Euclid Tavern
Mar. 31 Ann Arbor, MI Heidleberg Cafe
Apr. 1 Grand Rapids, MI Intersection
Apr. 2 Chicago, IL Empty Bottle
China Drum
Mar. 24 Costa Mesa, CA Club Mesa
Mar. 25 Los Angeles, CA Viper Room
Mar. 26 San Francisco, CA Paradise Lounge
Cravin' Melon
Apr. 4 Macon, GA Wesleyan College
Apr. 5 Wilmington, NC Azeala Festival
Curve / Freaky Chakra
Mar. 28 Cleveland, OH The Odeon
Mar. 30 Boston, MA Axis
Apr. 3 New York, NY Knitting Factory
Apr. 4 Washington, DC 9:30 Club
Dave's True Story
Mar. 28 Philadelphia, PA Tin Angel
Alana Davis
Apr. 2 St. Louis, MO Side Door
Apr. 3 Kansas City, MO Beaumont Club
Apr. 4 Denver, CO Bluebird Theater
Feeder
Apr. 1 Kansas City, MO The Hurricane
Apr. 3 Chicago, IL Double Door
Apr. 4 Detroit, MI Shelter @ St. Andrews
Apr. 5 Cleveland, OH The Grog Shop
High Llamas
Mar. 25 San Francisco, CA G.American Music Hall
Mar. 27 Seattle, WA Crocodile
Mar. 28 Vancouver, BC Starfish Room
Mar. 29 Portland, OR Music Millenium
Mar. 31 Denver, CO Bluebird Theatre
Apr. 1 Lawrence, KS Bottleneck
Apr. 2 St. Louis, MO Side Door
Apr. 3 Chicago, IL Metro
Apr. 4 Toronto, ON Concert Hall
Incubus
Mar. 24 Philadelphia, PA Pontiac Grill
Mar. 25 Asbury Park, NJ Saint
Mar. 26 New York, NY Coney Island High
Mar. 27 Worcester, MA Espresso Bar/Music
Mar. 28 Buffalo, NY Show Place Theatre
Mar. 29 Rochester, NY Water Street
Mar. 30 Detroit, MI Shelter
Mar. 31 Chicago, IL Cabaret Metro
Apr. 4 Lawrence, KS Bottleneck
Irving Plaza (NYC concert hall - www.irvingplaza.com)
Mar. 24 Joe Satriani
Mar. 25 Propellerheads
Mar. 28 Greyboy Allstars
Mar. 31 Los Fabulosos Cadillacs / Cherry Poppin' Daddies
Luna
Apr. 3 Dallas, TX Deep Ellum Live
Apr. 4 Austin, TX Liberty Lunch
Ziggy Marley & Melody Makers
Apr. 3 Boulder, CO Fox Theater
Apr. 4 Durango, CO Ft. Lewis College
Megadeth
Mar. 26 Atlanta, GA Masquerade
Mar. 27 Jacksonville, FL Fairgrounds Bldg.
Mar. 28 Tampa, FL Livestock (WXTB)
Mar. 29 Ft. Lauderdale, FL Theater Clb Con Hall
Mar. 30 Orlando, FL House of Blues
Mono
Apr. 1 Chicago, IL Double Door
Apr. 3 San Francisco, CA Bimbo's
Apr. 4 Seattle, WA Aro Space
Phish
Apr. 2-3 Uniondale, NY Nassau Coliseum
Apr. 4-5 Providence, RI Providence Civic Center
Princess Superstar
Mar. 26 San Francisco, CA Chameleon
Mar. 30 Seattle, WA Colorbox
Promise Ring
Mar. 25 Orlando, FL Broadies Warehouse
Mar. 26 Tampa, FL Skate Park Of Tampa
Mar. 27 Tallahasse, FL Florida State University
Mar. 28 Gainesville, FL Covered Dish
Mar. 29 Chapel Hill, NC Cats Cradle
Mar. 30 Richmond, VA Twisters
Mar. 31 Baltimore, MD Fletchers W/ Burning Airlines
Apr. 1 Washington, DC Black Cat W/ Burning Airlines
Apr. 2 Philadelphia, PA Tla W/ Burning Airlines, Jets To Brazil
Apr. 3 New York, NY Brownies W/ Jets To Brazil
Apr. 4 New York, NY Coney Island High W/ Burning Airlines
Apr. 5 Hanover, NH Dartmouth University
Radiohead
Mar. 28 Houston, TX Theatre At Bayou Place
Mar. 29 Dallas, TX Music Hall @ Fair Park
Apr. 1 Los Angeles, CA Universal Amphitheatre
Apr. 2 San Francisco, CA Bill Graham Civic
Apr. 4 Salem, OR Salem Armory Arena
Apr. 5 Seattle, WA Paramount
Sherry Rich
Apr. 2 Nashville, TN Sutler
Roni Size Reparazent
Mar. 25 Seattle, WA Showbox
Mar. 27 San Francisco, CA Bimbo's
Mar. 28-29 Los Angeles, CA Roxy
Scrawl
Mar. 26 New York, NY Knitting Factory
Smart Went Crazy
Mar. 27 Blacksburg, VA House show
Mar. 28 Knoxville, TN World of Gifts
Mar. 30 Athens, GA House show
Mar. 31 Tallahassee, FL The CowHaus
Apr. 1 Layfayette, LA Bucky's Skate Ranch
Apr. 3 Denton, TX Rubber Glove
Apr. 4 Lubbock, TX Kitchen Club
Apr. 5 Alberquerque, NM Nob Hill
Superdrag / Apples In Stereo / Tuscadero
Apr. 2 Carrboro, NC Cat's Cradle
Apr. 3 Huntington, WV Drop Shop
Swervedriver / Libido
Mar. 25 Denver, CO Bluebird Theater
Mar. 26 Salt Lake City, UT Zephyr Club
Mar. 28 Seattle, WA RKCNDY
Third Eye Blind / Smash Mouth / Fat
Mar. 25 Milwaukee, WI Eagles Aud.
Mar. 26 Chicago, IL Aragon Ballroom
Mar. 27 Omaha, NE Creighton Univ./Aksarben Col.
Third Eye Blind / Rebekah
Mar. 30 Nashville, TN Vanderbuilt Univ. - Gym
Mar. 31 Ferrum, VA Ferrum College
Apr. 3 Jacksonville, NC New River Marine Station
Apr. 4 Savannah, GA The Roundhouse
Apr. 5 Dayton Beach, FL Embry Riddle Univ. - Fieldhouse
Zeke
Mar. 26 Dallas, TX Trees
Mar. 27 Austin, TX Emo's
Mar. 28 Houston, TX Blue Iguana
Mar. 29 Denton, TX Rick's Place
Mar. 31 Albequerque, NM Launch Pad
Apr. 1 San Diego, CA Casbah
Apr. 2 Signal Hill, CA Foothill
Apr. 3 San Francisco, CA Cocodrie
---
THE READERS WRITE BACK!
> I don't normally feel compelled to write letters to magazines
that I enjoy, but I thought I'd make an exception with Consumable. I
moved from Colorado to Bordeaux, France last September. As you might
imagine, I've been wrestling more than occasionally with culture shock,
not least because typical French musical tastes are, well, let's just say
radically different than mine, a former college radio DJ. Thus I've come
to rely on y'all as a source of information about current releases by some
of my favorite bands. In fact, I've recently bought a couple of discs
based upon your reviews (Boy Wonder's excellent _Wonder Wear_ and the
cool Devo Tribute _We Are Not Devo_), and have not been disappointed.
Thanks for producing a consistently interesting and informative
alternative music publication. You've helped me cope with being a little
homesick (well, you and various online CD stores, really), and prevented
me from developing an undoubtedly severe case of music withdrawal upon
leaving the US. I'm still searching for something by The Montgomery
Cliffs, though... - Dave H., Bordeaux, France
---
Founded in August, 1993, Consumable Online is the oldest
music reviews publication on the Internet.
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===
