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Consumable Online Issue 133
==== ISSUE 133 ==== CONSUMABLE ======== [January 20, 1998]
Editor: Bob Gajarsky
Internet: gaj@westnet.com
Sr. Correspondents: Tim Kennedy, Reto Koradi, David Landgren,
Sean Eric McGill, Tim Mohr, Al Muzer, Joe Silva
Correspondents: Daniel Aloi, Joann Ball, Tracey Bleile, Lee
Graham Bridges, Scott Byron, Patrick Carmosino,
Krisjanis Gale, Bill Holmes, Eric Hsu, Tim
Hulsizer, Robin Lapid, Stephen Lin, Scott Miller,
Linda Scott, Rainier Simoneaux, Scott Slonaker,
Simon Speichert, Jon Steltenpohl, Simon West,
Lang Whitaker
Technical Staff: Chris Candreva, Dave Pirmann
Also Contributing: Fred Wilenius
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: Ben Folds Five, _Naked Baby Photos_ - Bob Gajarsky
BOOK REVIEW: _Paul McCartney: Many Years From Now_ by Barry
Miles - Joe Silva
CONCERT REVIEW: Suddenly, Tammy! - Fred Wilenius
REVIEW: Transmutator, _Take Over_ - Joe Silva
REVIEW: Deepak Chopra and Christopher Franke, _Transformation
of Mind_ - Joann D. Ball
INTERVIEW: Deni Bonet - Bob Gajarsky
INDEPENDENT MUSIC REVIEWS: Suran Song In Stag, Evelyn Forever,
Bionic Rhoda - Al Muzer
REVIEW: Luke Slater, _Freek Funk_ - Krisjanis P. Gale
REVIEW: Nicklebag, _Mas Feedback_ - Linda Scott
REVIEW: Who Hit John, _Hey Buffy_ - Scott Slonaker
TOUR DATES: Bouncing Souls, Joe Canzano, Jimbo Mathus &
His Knockdown Society, Oasis, Pave The Rocket, Sister
Hazel / Alana Davis, Third Eye Blind / Smash Mouth, Ween
NEWS: Life of Agony
THE READERS WRITE BACK!
Back Issues of Consumable
---
REVIEW: Ben Folds Five, _Naked Baby Photos_ (Caroline)
- Bob Gajarsky
'Pianos can't be used for alternative music.' 'Bands don't
release rarities discs while on their ascent in the world of music.'
Ben Folds Five continue to prove exceptions to both of these axioms
with the release of an album full of rarities and live tracks,
_Naked Baby Photos_.
_NBP_ starts off quite promisingly. The band's first ever
single, "Jackson Cannery" / "Eddie Walker", was limited to a press
run of less than 1000 sold-out vinyl-only copies. "Cannery" was
eventually reworked for the debut self-titled album, and this
version's unevenly spaced vocal introduction provides an
interesting example of the band's future maturation.
Other key cuts, including "Tom And Mary" and "Emaline"
(both cut from the first album), showcase the depth of the BFF
catalog and fit in perfectly with any fan's collection.
If Ben Folds Five had veered more towards metal music,
rather than Squeeze or Joe Jackson...well, the results are here.
"The Ultimate Sacrifice" gives a glimpse into one of BFF's
hidden musical personalities. Ironically, Folds is shown on the
cover wearing a Guns N Roses t-shirt - and on the back over, he has
it pulled over his head, a la the Cornholio skit from Beavis and
Butthead.
"Dick Holster" is 30 seconds of an instrumental ragtime
outtake, while "For Those Of Y'All Who Wear Fanny Packs" is a
soundcheck rap a la Vanilla Ice, but with no such attempts to be
taken seriously. Thank goodness.
Most fans of BFF were first introduced to the band via
their sleeper radio hit, "Underground", which is included here
from a 1995 North Carolina concert. Another of the eight live
songs which encapsulate this compilation is a previously
unavailable cover of Built To Spill's "Twin Falls" from a 1996 Tokyo
concert.
The only complaint here - where's their live cover of the
Buggles' "Video Killed The Radio Star"? And why all the live
versions of songs when, surely, studio versions of these same
tracks exist? Given BFF's open attitude towards live recording,
I'm sure many of the band's devotees already own many of these
live tracks.
Until Ben Folds Five forget how to write alterna-pop music,
it's hard to imagine them releasing a bad album. This rarities/live
collection offers proof of the talent behind this trio, and is
stronger than many band's best efforts.
---
BOOK REVIEW: _Paul McCartney: Many Years From Now_ by Barry
Miles (Henry Holt and Co.)
- Joe Silva
Ever since the Fabs created a stir about themselves
again with the Anthology series, our Sir Paul has been on a
roll. There was the Knighthood, the Anthology afterglow
that lent an unwarranted sheen to his next solo
LP, and gobs of attention/sales for his shaky
symphonic poem "Standing Stone." But while our
Paulie may be creatively a-snooze upon his laurels at
the moment, it's that very same period of more or less
ten years that remains the stuff of endless scrutiny.
But truthfully, you'd be somewhat hard pressed to
find a more compelling musical history or a set of origins
more steeped in lore and innovation. And finally Mr. McCartney,
via old time pal Barry Miles, weighs in officially on both
the minutiae and the big questions. It's sort of the
"Anthology-plus", a primer, and a "let's-set-the-record
straight-from-my-side-while-I-can-still-remember"
account of his magical era all in one. All is told and
rehashed in Mr. Miles 512 page narrative, interspersed
with lengthy and candid quotes from "The Cute One" himself.
We get to hear about the young Paul being aroused by the
site of his mum in her nightgown, his brief dabbling with
heroin, the loss of his first fiancee, and how he was chased
off a street in Harlem for "lurking" near a playground. For the
obsessed and the well-schooled there's enough new or obscure
information to warrant the purchase. And for the merely curious,
Mr. Miles sets up his subject in a matter-of-fact fashion that
remains informative and fairly entertaining.
Since the Anthology showed the world that the Beatles
themselves can't always approach a consensus on what
occurred in their collective past, this book if nothing
else provides a fairly thorough take on what Paul thinks
happens. Not as revisionist as it could have been, but
certainly not the whole story either, _Many Years From Now_,
is a great insider's look into one of the biggest somethings
that took place in this now fading century. Oh yeah, and we
finally find out who/what broke up the Beatles as well (didn't
it ever occur to those guys just to take a break from one
another?!).
---
CONCERT REVIEW: Suddenly, Tammy! , Lancaster, PA December 23
- Fred Wilenius
I finally got a chance to see one of the more interesting,
and unusual bands of recent years, Suddenly, Tammy! Sadly - through
no fault of the band - things did not turn out quite as I hoped.
Picture this probably all-too familiar scene - the band you really
want to see is playing an all-ages show at a normally off-limits to
under-21's rock club. So, the place is full of school kids more
interested in showing off bad haircuts and parading around in
circus tent size jeans than listening to the band. Guitar bands
can usually manage to drown out the noise of disinterested
audiences but Suddenly, Tammy! are a piano-led trio - no guitar
in sight, fronted by Beth Sorrentino's strident but still waif-like
vocals. From the moment they hit the stage, it was clear they
didn't stand a chance; no way were they ever going to rise above
a crowd of juveniles whose only real interest was each other.
Fortunately, the band's performance was not a complete
waste of time. Returning to their Lancaster, PA, home base - no
doubt coupling the gig with a break for the holidays - the
Tammy's! showcased new songs from their forthcoming third album
and threw in a selection from the first two, much to the delight
of those of us who were paying attention. The new numbers are in
much the same vein as those on the previous albums, slightly
jazzy, off-kilter but melodic pop songs which require some
listening. None of the songs received an introduction, but the
new ones all augur well for the forthcoming album, which the band
said would be out midway through'98.
Despite Beth's keyboard work and vocals being almost
inaudible at times, especially on the acoustic numbers, what did
penetrate through the hubbub was quite good. They write catchy
songs and once you atune to Beth's vocal style, it's a rare
treat as the encore of "Deck the Halls" proved. From the 1995
promotional EP _Shut Up It's Christmas_, it is as fine a paean to
the holiday season as you are ever likely to hear. Even though
this was not the most auspicious homecoming, they are a fine
band who were poorly served by their home crowd; it was still a
treat to finally get to see them at long last. But be warned:
try and see them at a venue with either good acoustics or an
attentive audience - preferably both!
---
REVIEW: Transmutator, _Take Over_ (Hypnotic)
- Joe Silva
Just to prove that you need not be nested in any of the
principal fonts of techno (NY, LA, London, Chicago, Detroit,
Hawaii) to be akin with the vibe, Romell Regulacion creates the
electro-facade of Transmutator in the seemingly disjointed realm
of Hawaii. But unlike the island's other well known modern music
ensemble, Poi Dog Pondering, Transmutator seems to be free of
any nuances that would associate with his native terrain - a
thoroughly ukulele-free zone.
Having graduated from his New Wave pop origins and the
industrial confines of Razed In Black (where he actually netted
some time on the Sony Playstation circuit), Rommell has come up
pure electronic with Transmutator. What he carries from those
beginnings that a lot of other purists don't is the notion that
the smallest of hooks can't always tote the interest of the
assembled masses on the dance floor for twelve minutes plus.
There's something to be said for economy and the development of
viable concepts when it comes to the production of this sort of
music. It's a premise that someone like the good Sir Goldie,
aka Lord of the Jungle, has forgotten with his new double CD -
the first of which is an hour long pseudo-symphonic poem ala
Paul McCartney.
The prime example of these smarts, as well as the
album's premier draw, is "Brighton Rock (UVX Mix)." Starting
off with a great film sample that sets up the song title,
thundering beats immediately ensue before giving momentary
pause to a sort of electronic jack hammer. A rubbery bass
follows, robotic sirens and hoover sounds appear now and again,
and the electric guitar break that Rommell throws in helps
create enough tension and diversity to make the track stick
long afterwards.
Rommell influences seem to run everywhere - "My
Wonderful Friend" and "Soul Cleanser" both touch on a bit of
house music's origins, and "Destroy" features a bit of old
school funk with what would appear to be a dash of Homer
Simpson. You may want to fault him for re-visiting Beethoven's
Fifth, but otherwise there's enough depth and assortment here
to keep you keyed into Rommell's work for the long haul. Which,
for his arena, says quite a bit.
---
REVIEW: Deepak Chopra and Christopher Franke, _Transformation
of Mind_ (Earthtone)
- Joann D. Ball
If your plans for 1998 include a healthier mind, body and
soul and perhaps even trying something different, then consider
_Transformation of Mind_. An innovative approach to positive
thinking and inner healing, _Transformation of Mind_ integrates
the inspired, New Age musical stylings of Christopher Franke with
short motivational readings from Dr. Deepak Chopra. An enhanced cd,
it also features the beautiful nature photographs of Bruce Heinemann.
_Transformation of Mind's_ nine tracks offer an incredible
blend of music, philosophy, imagery, and text. The music for this
uplifting cd was composed by Christopher Franke and performed by
Franke and the Berlin Symphonic Film Orchestra. A founding member
of the pathbreaking electronic trio Tangerine Dream with which he
performed from 1970 until 1988, Franke has explored the diverse
terrains of techno, trance, ambient and world music as a solo
artist. On _Transformation of Mind_, he captures the spiritual
and emotional elements of New Age music and transmits holistic
energy throughout 45-minutes of lush and passionate orchestrations.
Rising and resonant flutes and oboes, soothing strings and
melodic piano carry Dr. Deepak Chopra's words from passage to
passage. Through a total of 20 minutes of readings, Dr. Chopra
celebrates the integration of mind, body and spirit. Chopra reads
short, inspirational selections from his 1991 best-selling book,
"Unconditional Life," and carefully chosen passages from the
poetry of Rumi, Tagore, and Coleridge. On this enhanced cd,
playable on both PC and Macintosh, these words of wisdom and
soundscapes are reflected in the intimate nature photographs of
Bruce Heinemann. Heinemann's brilliant landscape photography and
transcribed thoughts from Dr. Chopra are also featured in
_Transformation of Mind's_ beautiful 24-page cd booklet.
_Transformation of Mind_ is a unique multi-dimensional
release which captures the essence of New Age music and
philosophy. Michael and Debbie Duffey, co-founders of Duffey
Digital and developers of the project, describe it as "a spa
for the mind and software for the soul." So sit back, relax
and treat yourself to an incredible multi-sensory, multi-media
experience. A new year, a new mind. . . _Transformation of Mind_
( www.transformationofmind.com ).
---
INTERVIEW: Deni Bonet
- Bob Gajarsky
The love song tends to be the centerpiece of numerous
artist's performances. But whether the song is mushy-sappy or
hateful, most artists tend to fall into stereotypical points of
view. Rising star Deni Bonet, on the other hand, writes about
failed relationships with best friends - and wanting to hate
ex-boyfriends, but being unable to do so.
"Many songwriters will go for the suicidal mood...that's
when I try to turn the situation around and laugh at myself,"
explains Bonet. "What's the point of taking yourself so seriously
that everyone just gets bummed out along with you? Many of my
songs have emerged from relationships that didn't make it."
A classically trained pianist ("I play a mean Mendelsohnn!",
laughs Bonet), Deni Bonet has already accumulated a resume which
takes some performers decades to achieve. Seven years on the
National Public Radio show Mountain Stage afforded Bonet the
opportunity to play violin and accordion with artists such as
Richard Thompson, Warren Zevon, R.E.M., the Indigo Girls and Sarah
McLachlan. This success led to an opening act slot for (and
performing onstage with) Robyn Hitchcock, and appearing on his
_Moss Elixir_ album.
The highlight of Bonet's performances - and her EP, simply
titled _E.P._, is the bouncy, upbeat track "Sunshine". Though the
music from this song could fit in on a classic 70s pop song, the
lyrics reflect Bonet's love of irony and modifying the expected results.
Deni smiles while singing, "I want to be famous...I want to fuck
you all the time - and that's why I need sunshine all the time."
"Sunshine" was written several years ago, after Bonet's
two-year stint in London. "I didn't enjoy (living in London)
enough to want to spend the rest of my life there," Bonet recalls.
"I came to New York to do some shows, the sun was all shiny,
and I was *really happy* to be back amongst the loud and exuberant!"
The time in London enabled Bonet to hone her skills, work
briefly with the Shamen, and the opportunity for one of those chance
musical encounters. A Turkish promoter caught their show in England,
and booked her band to highlight one of Istanbul's larger concerts;
the Turks sang along, buoyed by local radio play of Bonet's
circulating demo.
Six songs from that demo comprise _E.P._ "Bigger Is
Always Better" features Bonet's spoken-word, not too far from
Blondie's "Rapture", in a humorous effort to explain why we want
everything to be larger. From the Bible to the Empire State
Building, everything is bigger - and Bonet the wordsmith
has pun with words, such as "Why be a bad guy when you can be
a copper? / Why be copper when you can be platinum", and so on.
Bonet's live performance features a fierce extended vocalization,
rattling off about Trump and all his power, with Bonet finally
screaming out "Coffee makes me nervous!"
Longtime collaborator Roger Greenawalt has helped Bonet
with some of her songs. As Bonet explains, "He and I have written
many songs together over the years. We seem to bring out the
humourous, but slightly evil side, of each other."
Bonet's music - besides vocals, she plays violin, viola,
accordion - would fit in comfortably with either Dave Matthews or
John Mellencamp. And while she gained her start in West Virginia,
don't pin any of the typical stereotypes on her. "It doesn't mean
that I play the fiddle - when I play, it's very electric and
in-your-face."
So what does the future hold for Ms. Bonet? Despite the
traditional obstacles of an unsigned artist (paying band members,
publicity, booking, with no promises for the future), Bonet has her
head held high. "I can honestly say that my hope and dream is
that I can keep on playing and writing and enjoying where I am
right now. I dream that someday soon, I can let some of the
day-to-day details go, and concentrate on playing and writing my
music!"
Deni Bonet can be contacted at Emotional Management, PO
Box 7183, New York, NY 10150. A web site (built by one of her
fans) contains samples of several of her songs, and can be
accessed at http://www.bway.net/~dbonet
---
INDEPENDENT MUSIC REVIEWS
- Al Muzer
REVIEW: Suran Song In Stag, _Shiny Objects_
As catchy a group of potential hits that'll never hit
as you're gonna find anywhere else this year; Suran (lyrics,
vocals, action images) Song boasts a truly lovely vocal range,
a spot-on bunch'a melodic-quirksters (including Claude Coleman
Jr. and Dave Urbano) backing her, a uniquely-twisted world view
and the unusual gift of turning everyday observations, disjointed
phrases, disconnected words and simple directions to a beauty
supply store into songs you can't get out of your head for days.
Fans of Ween, Beck, Ani DiFranco and The Breeders will be
especially delighted, but, given half a chance, this stuff should
prove addictive to just about anyone with half a brain, half a
clue and half-an-hour to spare.
Suran can be contacted via e-mail at ssong@simstar.com
REVIEW: Evelyn Forever, _Nightclub Jitters_ (Airplay)
The hooks and harmonies hinted at on last year's demo
debut by this amazingly talented Jersey four-piece are a
full-blown, fully-developed force to be reckoned with on their
first full-length effort.
Sportin' four (count 'em!) truly unforgettable,
radio-ready, potential hits, the Beatles-inspired "Rock 'N' Roll
Girl"; the brilliant, Cure-ish blast of"17"; a peppy burst of
sing-along angst ("What I Need"); and the ringing popattack of
"Double Dip" , the obvious singles are bolstered by strong support
tracks (the rollicking "Wonderful," the giddy rush of "Never
Once" and the full-bore assault of "Telephone" earn special
mention) that are the sonic equivalent of what passes for "A"
tracks on countless major label releases. A young band clearly
destined for something bigger than New Brunswick, New Jersey.
The Airplay label can be contacted at PO Box 851, Asbury
Park, NJ 07712 or e-mail: gimchipop@aol.com
REVIEW: Bionic Rhoda, _Bionic Rhoda_ (Powerbunny)
Their bio claims that the group, "hopes to use the
album as a tool to widen their fanbase." One listen to
"Charm", "Douglass Fresh" or "Gum Cemetery" by any semi-savvy
A&R-type should be morethan enough to ensure a very broad fan
base for this inspired five-piece unit.
Kicking things off with the sparse, moody, slightly
off-kilter wail andcuriously compelling beat of "Charm" , Bionic
Rhoda (great logo!) reach outand grab, and hold, your undivided
attention throughout this generally brilliant, Claude (Ween)
Coleman Jr.-produced effort.
Whether they're careening wildly through blasts of
intense, Only Ones-stylepunk pop ("Chili Dog"); a funked-out
stoner shuffle ("Souped Up Soft Drink");a Dickies-meets-Monkees
raveup ("Douglass Fresh"); an energetic slice of jangle-pop
("Blessed Cow"); a bit of lilting, deceptively simple
Hollies-fluff("Tricycle"); some hard-edged alterna-churn
("Ben & Ben" or "Macabee"); atwitchy, Peter Gabriel-like
[early Genesis seems to've had something of an influence on
the band] wall of glass-shattering angst ("How I Survived A
Disfiguring Car Accident"); or a wild Todd Rundgren-meets-
Sweet-inspired romp through the depths of boogie-metal that
leaves you breathless ("Gum Cemetery"), Bionic Rhoda don't let
up for a second on an album that has what it takes to land it
on the charts and playlists with minimal A&R effort.
Powerbunny can be contacted, at PO Box 792, New Brunswick,
NJ 08903 or via scavone@rci.rutgers.edu .
---
REVIEW: Luke Slater, _Freek Funk_ (Novamute)
- Krisjanis P. Gale
Lock Underworld and Richie Hawtin in a room and let
them produce a lovechild. Take away his guilty tendency to
twist knobs and encourage him to concentrate instead on producing
unique soundscapes, and what you get is quite possibly the
strangest electronic act this side of Download. His name is
Luke Slater, and he is definately one of a kind.
The beats exhibited on this album do much to stray from
the mainstream 'boom tiss boom tiss,' wandering into a variety
of syncopated stylings. But much more important than that is
the sheer number of distinct environments and artificial
situations he traverses in the span of just one sixteen-track album.
I found myself lost in a drinking straw at a throbbing
dance club at around midnight... attending a space station
throbfest, then sitting outside listening to satellite's pass...
confounded by confusion...tapping my pencil on my office desk,
frantic, frenzied...holding conversations with mainframes...being
tossed around by beat-factions competing for global media
attention...relaxing to some fancy break-infused freak hypnosis...
bowing to a digital god in a psuedo-religious dub chant...shaking
my stuff in a wild seventies funk beat cutup...grooving harder to
a rebirth of rave culture...munching on groove-spiced bleepcore,
sucking down a very sweet dance-trance milkshake for desert...and
finally finding my way home for some much-deserved chilling.
What a trip! I heartily suggest this album to any fans
of the genre. Forget for a moment that you may not know his name
or his game, and pick up Luke Slater's _Freek Funk_ and give it
a listen... cuz this boy's got skills.
---
REVIEW: Nicklebag, _Mas Feedback_ (Iguana)
- Linda Scott
The times, like the music scene, are a changin'. Just
as rock n' roll has been pronounced dead, some new bands are
bringin' it all back home. Nicklebag's _Mas Feedback_ opens up
rock's coffin and yanks it back out.
The album has a professional, polished sound coming
from the veteran and high profile band members. The duo of
vocalist Bernard Fowler and guitarist Stevie Salas are joined
on this album by some world class performers. Fowler is currently
singing backup vocals for the Rolling Stones on their _Bridges
to Babylon_ tour and also sang on their _Voodoo Lounge_ tour.
Salas is an astonishing rock n'roll guitarist who's made several
albums on his Colorcode solo project. Producer Bill Laslow
(Mick Jagger, Iggy Pop, Material) brought these two together,
and the Salas/Fowler combination is an electrifying winner.
_Mas Feedback_ is further supported by former Living
Colour bassist Doug Wimbish, former Slash's Snakepit tour
drummer Brian Tichy, former Funkadelic keyman Bernie Worrell,
ex Pearl Jam drummer Dave Abbruzzese, Rolling Stones tour
bassist Darryl Jones, and Rolling Stones backup singer Lisa
Fischer. The band has talent to spare.
Salas and Fowler alone or in combination penned 9 of
the 14 tracks. The single "Grow" is a burning rock track that
sets the album groove with its first track position. Covers of
some familiar songs are powerful and funky. Funkadelic's "Hit
It And Quit It" is louder, fiercer and funkier than ever. The
Beatles' "I Am The Walrus" receives the same full bore rock
treatment, and Stevie Wonder's "Don't Know Why I Love You" has
a bluesier tone than Wonder ever used, and the song builds like
a pressure cooker.
Keep the name Nicklebag, and their album _Mas Feedback_,
in mind. It's killer rock for the nineties!
---
REVIEW: Who Hit John, _Hey Buffy_ (Not So Permanent)
- Scott Slonaker
Merging the scruffy garage sensibilities of the Replacements
with the dreamy harmonies and bright hooks of classic '60s AM radio,
Nashville's Who Hit John have come up with that rarest of beasts:
a consistently entertaining and stylistically varied power-pop
record that scatters its best moments throughout all eleven tunes.
After the pacesetting opener "Smile Together" quickly comes
high point number one on _Hey Buffy_: "Giving a Twist a Turn".
Driven home by drop-dead vocal hooks, the tune deserves to be
blasting from car radios right next to the Gin Blossoms' "Hey
Jealousy" 'till the cows come home.
Singer Chuck Tate (I think he's the main vocalist; it's
unclear from the liner) especially summons the Westerbergian ghosts
on tracks like "Fan Club" and "The Ballad of What Will Never Be",
as the band stomps out engaging rough-edged melodies, not unlike
Minnesota's finest. However, Who Hit John has more than one mode,
as evidenced by the sweet power balladry of "Incomplete" and the
disc's best song, the Who-ish clapalong power-bop of "Somebody".
Piano, harmonica, and 12-string guitar are tossed into the mix
for maximum retro impact.
Another pleasant touch is bassist Pat Meusel's comparatively
roughed-up vocal turn on his "Above the Fold". To top off the whole
extravaganza, the boys roll out a reverent cover of another of their
musical forebears. The rendition of seminal Nashville power-poppers
Big Star's "Don't Lie to Me" sounds just like the original, and
that's good. Like the rest of the year's best power-pop album,
it's a class act.
For information on Who Hit John, check out the website at:
http:\\www.geocities.com\~whohitjohn\.
---
TOUR DATES:
Bouncing Souls
Jan. 23 Richmond, VA Twisters
Jan. 24 Chapel Hill, NC Lizard & Snake
Jan. 25 Atlanta, GA Somber Reptile
Jan. 27 New Orleans, LA Jimmy's Club
Jan. 29 Jacksonville, FL Moto Lounge
Jan. 30 St. Petersburg, FL State Theater
Jan. 31 Ft. Lauderdale, FL Squeeze
Joe Canzano
Jan. 22 South Amboy, NJ Central Cafe
Jimbo Mathus & His Knockdown Society
Jan. 21 Carrboro, NC Cat's Cradle
Jan. 22 Charlotte, NC Double Door
Jan. 23 Athens, GA 40 Watt Club
Jan. 24 Atlanta, GA Cotton Club
Jan. 26 Orlando, FL Sapphire Supper Club
Jan. 27 Gainesville, FL Covered Dish
Jan. 30 New Orleans, LA Howlin' Wolf
Jan. 31 Vicksburg, MS The Biscuit Company
Oasis
Jan. 23 Vancouver, BC General Motors
Jan. 24 Seattle, WA Seattle Center
Jan. 27-28 Los Angeles, CA Universal Amp.
Jan. 31 Dallas, TX Bronco Bowl
Pave The Rocket
Jan. 21 Cleveland, OH Speak In Tongues
Jan. 22 New York, NY Mercury Lounge
Jan. 23 Pittsburgh, PA Groovy
Jan. 24 Chicago, IL Fireside Bowl
Jan. 29 St. Louis, MO Side Door
Sister Hazel / Alana Davis
Jan. 22 Phoenix, AZ Celebrity Theater
Jan. 23 San Diego, CA Jack Murphy Field
Jan. 24 San Diego, CA Superbowl Superfest
Jan. 26 W. Hollywood, CA House of Blues
Jan. 27 Santa Ana, CA Galaxy Theater
Jan. 28 Carmichael, CA El Dorado Saloon
Jan. 30 Eugene, OR W.O.W. Hall
Jan. 31 Portland, OR Roseland Theater
Third Eye Blind / Smash Mouth
Jan. 29 Visalia, CA Convention Center
Jan. 30 Bakersfield, CA BC Gym
Jan. 31 San Francisco, CA The Warfield
Ween
Jan. 20 Athens, GA 40 Watt
Jan. 22 Orlando, FL The Embassy
Jan. 23 Tampa, FL The Rubb
Jan. 24 Ft. Lauderdale, FL Button South
Jan. 25 Jacksonville, FL Milk Bar
Jan. 27 Columbia, SC Tremont Music Hall
Jan. 28 Asheville, NC Be Here Now
Jan. 29 Richmond, VA Alley Catz
Jan. 30 Philadelphia, PA Trocadero
Jan. 31 Boston, MA Roxy
---
NEWS: > Life of Agony has recruited former Ugly Kid Joe
member Whitfield Crane as lead vocalist following
the unexpected departure of former lead singer Keith
Caputo.
---
THE READERS WRITE BACK!
> Just a quick note to say thanks for the
excellent job (as always) this year. Consumable is still
the best! - Geoff D. , California
> Another stellar issue. Truly, it's one of the
only favorites list I've ever read where I didn't find myself
saying, "ohh, they suck, and they suck, and all the good albums
of the year have been forgotten for Hanson, Spice Girls, Alanis,
and other assorted crap."
Thanks for being the defining voice of Internet music
(and alas, any medium).
You and your staff should be very proud of your magazine,
and I look forward to coming excellence... Scott G., Boston, MA
(Ed. Note - Aw, shucks, you're making us blush.
Thanks for the kind words on Consumable...we'll try to maintain
the quality which we hope our readership expects in 1998...)
> Thanks for all the issues of Consumable! Here's my
top 5 from 1997:
Primal Scream, _Vanishing Point_. Those who stick
with the old times, namely _Screamadelica_, the hell with'em.
Together with Portishead's self-titled record, this is the
perfect record for the rock-fan. You can't actually dance to it,
you just throw yourself on the couch. And listen....
Mogwai, _Young Team_. Who needs words when you can
bombard the listener with this sound? Think Sonic Youth, Daydream
Nation. And if you don't believe the word of this writer, take
Pavement's Malkmus' word on it. If you hear about Mogwai doing a
concert nearby, drop everything and run to buy a ticket. I did,
and their sonic attacks still resonate in my ears!
X, _Box set_. Okay, I'll admit it, I don't have it. Why would
you need it when you have LA and Wild Gift? But anyway if you haven't
got a X-record in your collection, run and buy it. Just to hear those
blasphemous lines about Elvis doing fellatio.
Pixies, _Death To the Pixies_. The band that didn't only
learn how to sing Kurt, but probably inspired Chris Carter to take a
chance at inventing stories about aliens. Yes, I have all the Pixies
records. Frankly? This is the one to go for, if you get the bonus live
session with it.
Pavement, _Brighten the Corners_. The record with only hits
that yet again didn't make it to the top of the charts, like Velvet
Underground's _Loaded_. SM still managed to write lyrics that make you
wonder what he's on about. The early days of Swell Maps inspired sound
are gone, but this bunch still managed to make a *swell* record.
- Nathalie, Belgium
---
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