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Consumable Online Issue 125
==== ISSUE 125 ==== CONSUMABLE ======== [October 17, 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,
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: Various Artists, _The Duran Duran Tribute Album_ - Joann D. Ball
CONCERT REVIEW: David Bowie - Rainier Simoneaux
REVIEW: Front Line Assembly, _Reclamation_ - Sean Eric McGill
CONCERT REVIEW: Teenage Fanclub - Tim Kennedy
INTERVIEW: Muffs - Al Muzer
REVIEW: Various Artists, _One Step Up Two Steps Back The Songs of
Bruce Springsteen_ - Bob Gajarsky
REVIEW: Soundtrack, _Hurricane Streets_ - Sean Eric McGill
REVIEW: Size 14, _Size 14_ - Bill Holmes
REVIEW: Tsunami, _A Brilliant Mistake_ - Robin Lapid
REVIEW: Brain Surgeons, _Box of Hammers_ - Eric Hsu
CONTEST WINNERS
NEWS: Eve's Plum, Howie B, Urge Overkill/King Roeser, Roy Wood / Move
TOUR DATES: David Byrne, Chemical Brothers, Clarissa, Cravin' Melon,
Dirty Dozen, Down By Law, God Street Wine, Irving Plaza (New York
City concert hall), Jane's Addiction, Jars of Clay / Plumb, Letters
To Cleo / Everclear, Motley Crue / Cheap Trick, Moxy Fruvous,
Old 97s, Graham Parker, Promise Ring / Compound Red, Seven Mary
Three, Shootyz Groove / Tree, Slackers, Sneaker Pimps / Junkster,
Third Eye Blind / Reef, Two Dollar Pistols, Type O Negative
Back Issues of Consumable
---
REVIEW: Various Artists, _The Duran Duran Tribute Album_ (Mojo)
- Joann D. Ball
The billboard outside Tower Records on the Sunset Strip in West
Hollywood recently read "Come Pay Tribute to Duran Duran." On Sunday,
October 12, hundreds of fans and five bands on the recently released cd
_The Duran Duran Tribute Album_ did just that...and Duran Duran turned
up to thank them all for their dedication and support.
The Tower Records' Duranpolooza was the ultimate kickoff for
the release of _The Duran Duran Tribute Album_ and Duran Duran's eleventh
offering, _Medazzaland_ (Capitol). This reunion of Duranies of all ages
was a celebration of Nineties ska and punk as well as classic New Wave,
as thirtysomethings, twentysomethings, and their younger counterparts
soaked up new versions of Eighties staples under the California sun.
Once a Duranie, always a Duranie and that was obvious on both
sides of the VIP/press section. Actually, Duran Duran should be credited
for prompting a good number of women to enter the entertainment business.
All of those years of following the band and trying to obtain information
in the days before the Internet quickly made tons of female Duranies pros
at stadium and hotel logistics, knowledgable of record industry publicity,
promotion and public relations practices, and expert photographers and
interviewers. But the tribute cd and concert put the spotlight on the
often ignored male Duranies, many of whom were heavily ridiculed when
admitting that they too held a flame for the British pin-ups. _The
Duran Duran Tribute Album_ , though, proves once and for all that the
guy Duranies were the ultimate cool dudes who recognized great music by
its sound, style, color and shape.
Goldfinger kicks off the 15-track tribute collection with a
musical twist on "Rio" which pays tribute to both Duran Duran and Ronnie
James Dio. Midway through the tune, Goldfinger switches into metal mode
as they turn up the guitars, notch the vocals up an octave and change
"Rio" to "Dio." Goldfinger's creative ska-punk-metal fusion works,
both on record and on stage, and the band quickly got the concert crowd
jumping and headbanging when the launched into the song. Proving that
they are true Eighties music fans, they included in their short set
covers of the Specials' "Nightclub" and the Cure's "Just Like Heaven"
along with their own hardcore anthem, "Fuck LA. "
San Diego natives Buck-O-Nine are second in line on the tribute
compilation, and they transform "Hold Back the Rain" into a ska classic
with horns and an upbeat tempo. This track is a great introduction to
the ska-punk outfit, whose debut record _Twenty-Eight Teeth_ was
recently released on TVT Records.
Duran Duran's very first single, "Planet Earth," is also the
tribute's first track for radio. Home Grown infuse the song with
their infectious skapop, taking the edge off Andy Taylor's signature
guitar line and making it a real sing-and-dance along treat. If the
Tower concert audience's response to the band's inspired and energized
set is any indication, this currently unsigned band should be grabbed
up any minute now.
Madonna's favorite Duranies, Maverick Records' Deftones, win
the award for most faithful delivery. Lead singer Chino Moreno
obviously spent many days and nights practicing his Simon LeBon
imitation, and the cover captures the moodiness and sexiness of the
original. On the other hand, the now defunct Wise Crack turn "Come
Undone " into a skater's delight. These 16 year-olds obviously had a
blast doing the tribute, but maybe they took the tune's title too
seriously in the process.
If the video for "Hungry Like the Wolf" didn't explain the
song's take on female/male relations clearly enough for you, Reel Big
Fish's spoken word introduction should set the record straight. The
band then puts the tune in its proper Nineties relationship context,
and delivers it with true swinger style as a lounge-ska number. Duran
Duran's label mates Less Than Jake, offer something altogether different.
On their skapunk interpretation of "The Reflex," the horns and
do-it-yourself vocals grab the spotlight.
Opening the tribute concert in front of die-hard Duran Duran
fans wasn't an easy task, but Riverfenix pulled it off without a
problem. The band quickly tapped into the universal spirit of the
video gods, and their straight ahead pop-rock version of "Ordinary
World" connected immediately with the crowd. The band's full-length
debut record is forthcoming on Drive Thru Records, and it's definitely
worth a listen.
For about 18 seconds, GOB deliver a faithful cover of "A View
to a Kill." For the remaining minute and a quarter, though, the James
Bond movie theme becomes a moshpit soundtrack in full effect with a
shouted chorus and guitars of fury. If the disco dance floor is more
your speed, you need not fear. ABBA tribute band Bjorn Again answers
your S.O.S with its Europop dance stylings on "Girls on Film." This
unsigned (in America - _Flashback_ for European readers) live sensation
knows how to make your booty shake.
The female vocals of Bjorn Again and Eve's Plumb soften the
edges at just the right point on the collection. Eve's Plumb's
emotional, melodramatic take on "Save A Prayer," is the one song
female Duranies would have done themselves. This beautiful version
of Duran Duran's most popular and beloved slow song should click
immediately with all the women who used to kiss their posters goodnight
before drifting off to sweet dreams of romantic bliss with their
favorite Duran. Given the incredible job Eve's Plumb does with the
track, it's hard to understand why 550/Epic dropped the band from its
roster.
Sandwiched between the female vocals of Bjorn Again and Eve's
Plumb are The Wrens' who add Beach Boy-like vocal harmonies to their
version of "Seventh Stranger." But it's Jimmy Eat World which takes
the road less taken on the tribute disc by actually slowing down the
tempo on a Duran Duran classic. And their interpretation of "New
Religion" is so different from the original that it sounds like a
completely different song. Although the band's "emo-core" sound wasn't
as obvious during their short tribute concert set, it can be further
enjoyed on their upcoming Capitol Records follow-up to _Static Prevails_ .
Mr. T Experience pay tribute to Duran Duran on the selection
"Is There Something I Should Know?" and manage to capture the essence
of early Kinks in the process. These Lookout! Records California
punksters infuse the spirit of Dave Davies into Andy Taylor's guitar
parts, and effectively connect the Eighties British Invasion with its
Sixties predecessor. And finally, there is the album closer, another
version of "Girls on Film" done this time by the Wesley Willis Fiasco.
Chicago cult figure and prolific song writer Willis' unmistakable vocals
and enthusiasm overflows here in what amounts to a karaoke-like take on
the original. And as always, Willis signs off with his signature "Rock
over London, Rock on Chicago." These two phrases will bring a smile to
any Chicago Duranie who avidly listened to the British-based "Rock over
London" radio show and watched the local music television show "Rock on
Chicago" to keep tabs on Duran Duran.
Without a doubt, _The Duran Duran Tribute Album_ is the
ultimate tip of the fedora to Duran Duran because it cleverly
demonstrates the extent to which the Fab Five continues to influence
and inspire fans. Mojo's decision to include creative covers of classic
songs by up-and-coming and unsigned ska, punk, and alternative bands was
a bold move which will introduce audiences to new music while reminding
them of the good old days. This collection will appeal to Duranies and
eighties music devotees as well as fans of the current ska, punk and
alternative scenes. After all, as the tribute cd proves, sometimes
these supposedly different groups of music fans of are one in the same.
That Duran Duran is hip to the Internet should come as no
surprise, especially given Nick Rhodes' obsession with technology. In
fact, Nick revealed to me that he and the band are excited about online
music magazines such as Consumable and that they look forward to
communicating with fans through chats and their soon-to-be launched
website ( http://www.duranduran.com ). The Duran Duran Yearbook
website ( http://members.aol.com/lindanikon/ddyb.htm ), run quite
professionally by a group of seriously dedicated Duranies, is a fan's
perfect source for Duran Duran articles, photos, audio and video. The
Yearbook layout will certainly remind you of high school and all those
teen magazines in which the original party of five were frequently
featured. The Yearbook staff also coordinates the annual DURANCON
convention, which will be held in the LA area in January 1998, and
details about the event can be found at the site. If you still need
more of a Duran Duran info fix, check out the Capitol Records website
to see what the label is saying about the band
( http://www.hollywoodandvine.com/duranduran ).
TRACK LISTING [artist in brackets]: Rio [Goldfinger], Hold
Back the Rain [Buck-O-Nine], Planet Earth [Home Grown], The Chauffeur
[Deftones], Come Undone [Wise Crack], Hungry Like the Wolf [Reel Big
Fish], The Reflex [Less Than Jake], Ordinary World [Riverfenix], A
View to a Kill [GOB], Girls on Film [Bjorn Again], The Seventh
Stranger [The Wrens], Save a Prayer [Eve's Plumb], New Religion [Jimmy
Eat World], Is There Something I Should Know? [Mr. T. Experience] and
Girls on Film [Wesley Willis Fiasco].
---
CONCERT REVIEW: David Bowie - International Ballroom, Atlanta, GA
- Rainier Simoneaux
David Bowie has always been a chameleon. Undaunted by
popular opinions and critics alike, he has throughout
his career been both a trend setter and someone willing to
follow the leads of others. This tour, which is currently
making stops on a circuit of venues smaller than he would
usually play, appears to be for the purpose of getting
(re)acquainted with the twenty-somethings of alternative
music culture. So when the 50 year-old rock legend appeared
by himself on stage wearing a white suit in front of an
audience predominantly half his age and dressed in
post-goth black, he appeared to be out of his element.
Had he misjudged the winds of popular music?
Bowie answered by immediately starting into "Quicksand"
from the 1971 album _Hunky Dory_ , a relatively obscure song
considering his vast repertoire of hits. He sang seemingly
aloof of his surroundings and accompanied only by his own
acoustic guitar. By the time he reached the chorus which
plaintively expresses "...and I ain't got the power anymore,"
nothing could have been further from the truth than those lyrics.
Bowie had the entire venue under his spell. Wrapping up the
song with the addition of his four piece band, Bowie seemed
to revel in the applause it garnered.
Evidently impatient and not willing to be predictable, the
band launched into a surprising cover of the Velvet Underground's
"I'm Waiting for the Man" - another reference to his early career
and also his friendships with Lou Reed and Andy Warhol. Amidst
swirling Factory-esque video projections, Bowie belted out the
classic as if it were one of his own, while the band's
interpretation acknowledged the songs origins with a cacophony
of syncopated feedback.
From here Bowie settled into his main works, choosing to stay
mostly within new material which he fortified with some older
hits that appealed to the younger crowd. Bowie even did a "cover"
of Nirvana's cover of his own "The Man Who Sold the World" (somewhat
like a post-modern version of Velasquez's famous painting
"Las Meninas," wherein the viewer is the subject of the
painting) in his efforts to connect with his new found audience.
Using multi-media effects, a high-powered light show, large stage
props (including large beach ball-sized eyeballs which soon
found their way to the audience, ala Journey 1979) each song became
a well choreographed performance. All of this would have detracted
from the music had it not been for the supporting cast Bowie assembled
for his latest album, _Earthling_ , and ensuing tour. Co-songwriter
Reeves Gabrels' guitar worked scorched through each composition but
reached its ebb during "Looking for Satellites," definitely one of
the highpoints of the evening. Gail Ann Dorsey laid the foundations
with the bass lines and vocal accompaniment which included covering
Freddy Mercury's part in an updated version of "Pressure" so well
that I thought it was dubbed (who would have thought a female could
emulate him so convincingly?) The drummer/loopist (?) and keyboardist
provided the rhythms with bass\snare dance beats, anthemic rock licks,
and Prince-ish funky twists. But this was very much Bowie's
show.
Commenting on his own threads, Bowie introduced the song
"Fashion" by remarking, "It's not people who are famous, clothes are."
Such a statement is not surprising coming from one who has made
a living of assimilating popular culture into his own, and perhaps
just to emphasis that he too had influences (some of them the same
as those of today's alternative music scene), he finished the
evening with a unbelievable cover of the Velvet Underground's "White
Light, White Heat." David Bowie is a consummate performer but as
slippery as mercury.
---
REVIEW: Front Line Assembly, _Reclamation_ (Roadrunner)
- Sean Eric McGill
The first album I ever bought by an "industrial" band was Front
Line Assembly's _Gashed Senses & Crossfire_ album back in 1989. Nobody
else that I knew really liked it a whole helluvalot, and when pressed,
I couldn't explain why I liked it. But there was something about that
album that stuck with me.
Now, almost a decade later, _Reclamation_ comes across my
desk. And while the phrase "Greatest Hits Album" tends to conjure up
memories of .38 Special more than it does dance/industrial acts, that's
essentially what _Reclamation_ is: a trip through roughly a decade of
some of the best industrial music.
When Front Line Assembly first hit the scene in the late
eighties, "industrial" was still exactly what the name suggested. But
in the case of Front Line Assembly, Front 242, and Skinny Puppy, it
wasn't the reliance on machinery that defined industrial; it was the
overall sound. Early industrial was cold and distant - the music was
what you could envision being created by a character from a William
Gibson novel. There was a human underneath all that machinery, but
the voice wasn't so much human anymore as it was the machine's.
Tracks like "Digital Tension Dementia" and "No Limit" are
instantly recognizable to those of us who frequented alternative dance
clubs in the early nineties, but alas, it was about that time that the
world of rock radio lured me into its steel grasp and I more or less
lost all touch with the industrial scene for quite some time. And
that's a shame, because I missed other great songs on the album like
"Provision" and "Mindphaser". Of course, those of us from the United
States (without easy access to import albums) have missed a few tracks
on this album altogether. "Heatwave" , "Target" , and Mark Staggs
"Pro-gress" Remix of "The Blade" are available for the first time in
the U.S. on this compilation.
But perhaps the most interesting aspect of _Reclamation_ is
the chance to hear how the sound of Front Line Assembly stayed
essentially the same, despite a decade of recording and numerous
personnel changes. This isn't to say that the group didn't progress
in their skills - but you can always tell a Front Line Assembly song
when you hear it. Even now, I can't describe what it is, but I do so
like it.
---
CONCERT REVIEW: Teenage Fanclub, Manchester University (England)
- Tim Kennedy
The queue for Megadeth was lengthening outside as Beavis and
Butthead (and his pervily dressed girlfriend) arrived by the dozen.
In comparison the buzz on the steps of Manchester University Union,
where Teenage Fanclub would soon be performing, was muted. Strange -
considering they are now a fully fledged (album) chart phenomenon
after about five years in the pop wilderness. Some whisper of an
Oasis-sponsored gigantic renewed interest in beat groups being the
benefactor.
The first support - Warm Jets were just right - a sound not
far off the early TFC. Rough guitar, few chords but catchy pop tunes.
The singer is a rather intense yet oddly camp figure who looks like a
healthier, cleaner-cut Cobain, and the others are of similar,
somewhat mature years. The bassist, however, is a gorgeous oriental
beauty (though she supplied no vocals - no threat to Kurt 2's
position.) The guitarist spent the whole time trying to crack up
the bassist, which at a rather intense moment towards the end of
their set led to the singer losing his rag with them.
Next up was Cornershop. Theirs is a strange and awkward
marriage of funky drumbeats with Indian traditional instrumentation
and muffled Indian vocals. The singer poses a rather comical podgy
figure with a pair of sideburns that would make you frown. However
it must be said that their (to these ears) turgid fare went down
well with the crowd - by this time nearly all here.
The Fannies strolled onto the stage in the most relaxed
fashion, and casually Norman thanked everyone for coming - to
tumultous cheers. And so the tone was set for the rest of the
show. These are the most amiable bunch of chaps you could possibly
hope to meet.
The set was initially stuff from the _Songs From Northern
Britain_ collection, and as such utterly wonderful. There cannot
be many records ever released so happy-sounding and yet such
superbly constructed melodies. But the Fannies are a rock beast
too, and Norman is the happy-go-lucky nephew of Neil Young. The
musical perfection of the recorded work is matched by a warm and
spirited, yet skilful delivery live.
The lead vocals are traded between the three frontmen of
Norman, Gerard and Raymond, with each singing the songs he penned.
Norman has a positive, upbeat oeuvre, Gerard is a bit more
studied, whilst Raymond is the most downbeat of the three, also
showing the most nerves onstage. It must be said, however, that
Raymond is a great guitarist and and a performer who can really
convey deep feeling in his songs. Bassist Gerard is reserved,
and doesn't move around much. Norman does his Neil Youngesque
prowling during the songs whilst in between numbers amusing the
crowd by making gentle cracks at Raymond.
The keyboardist takes guitar at one point, and all the
musicians swap guitars regularly, Raymond sometimes doing bass.
Only drummer Paul Quinn keeps his seat.
The older material figures quite a lot though, with several
tracks from the cult success of 1991 - _Bandwagonesque_ including
"Starsign" - a blistering version of a great song. "Neil Jung"
from _Grand Prix_ is a highlight, and we get songs from the
tragically ignored _13_ album of some years ago. But the new
material is proudly paraded to general applause. Songs like "I
Don't Care" are classics of the 90s. It would be unfair to compare
them with label mates Oasis (the Fannies worship at the altar of
the Byrds, not the Pistols and the Beatles) but with no posturing
and self-aggrandising, the songs simply shine through. To a
maturer audience the Fannies' attitude is far easier to take than
their cranky label-pals. Whilst there was a minority down the
front who pogoed and moshed, many more simply listened apreciatively.
These boys have had some bad times but now they are simply
filled with love for their craft, and their enjoyment of their work
is really infectious. There are no chips on these shoulders. They
have suffered as much as any band from the fickle UK critics who
build bands up to knock them down, but they clearly only care for
the reactions of the crowds and tonight's show was a triumph.
---
INTERVIEW: Muffs
- Al Muzer
Frolicking in the streets of a decaying New Jersey shore town
before a recent gig, Muffs vocalist/guitarist Kim Shattuck looks
slightly out of place - yet strangely at home - amidst the broken
glass, crumbling sidewalks and boarded up buildings.
While jeans, sneakers and t-shirt-clad bassist/vocalist Ronnie
Barnett and drummer/vocalist Roy McDonald are clearly strangers in a
strange land on streets that become dangerous after the sun goes down;
Shattuck's long, skinny legs, white socks, girlish white dress,
well-worn sweater and patent leather, Catholic school shoes don't
draw half as much attention as you'd think they would on a Thursday
afternoon in what's left of Asbury Park.
As she twirls herself around a rusting street sign, waves at a
passing commuter train, makes faces at a baby in a carriage pushed by
an ancient grandmother, or smiles at the toughs in low-riders cruising
by, something in Shattuck's eyes - or, perhaps, in the way she carries
herself - emits a "don't fuck with me" signal that makes three hoods
who'd slowed down for a better look stop midway through their "hey,
baby" routine, roll up their windows, and quickly drive away.
"Awww," chortles the hyperkinetic singer as she tosses her
hair and crosses the road without bothering to look [hey, those cars'll
stop]. "They must've just remembered, like, an appointment or something."
As Ronnie and Roy [who'd decided to wait until it was safe to
cross the street] hurry to catch up to her, Shattuck yanks open the
door of the club and strides purposefully toward the tiny stage at
the front of the room.
Strapping on her guitar, she unleashes a distorted wad of
feedback and a banshee-like howl as her bandmates pick up their
instruments and break into a blistering, power-punk version of "Crush Me"
from the group's third Warner/Reprise release, _Happy Birthday To Me_ .
Static, humming and a loud buzzing noise suddenly fill the air
as the group's sound guy frantically twiddles knobs and pushes buttons
in a vain attempt to stop the ear-splitting noise.
The song tails off into a long, uncomfortable silence before
Shattuck strikes another loud chord and the room is, once again,
filled with a painful buzz.
"Maybe if you, like, turned your guitar down a little?" ventures
someone in the back of the club.
"Turning down is NOT an option!" snaps the singer as she
checks to make sure the volume controls on both her guitar and
amplifier are at "10."
A few more ear-fracturing attempts by Shattuck and the sound
man and a bit of fiddling around with wires and plugs precede the
announcement that the guitarist has blown yet another Hi-Watt amp head
(similar to the one used - without incident - by Pete Townshend,
guitarist in the world's loudest band) and that sound-check would,
understandably, be delayed.
Sipping a cup of coffee in the club's dressing room while
things get fixed on-stage, Shattuck picks idly at a smiley-face
bandage on her knee and reads the graffiti-covered walls.
"Oh, look!" she exclaims. "Lunachicks - Ween - Dash Rip Rock
Oww!" Shattuck winces as the bandage pulls skin and stitches from her
knee. "That really hurt!" she adds as she presses it back in place and
looks for something else to do with her hands.
"That's for cutting my knee," Shattuck says as she reaches over
and smacks (former boyfriend) Barnett in the arm.
"Me and Ronnie got into a big fight the other night," she
explains, "we were kind'a comin' at each other physically and he ended
up pushing me a little. I lost my balance and, blam! I slammed into the
ground and cut myself on a sharp piece of wood. We've pushed each other
around plenty before," Shattuck laughs, "but that's the first time
anything like that's ever happened."
"I had to go to the hospital," she adds matter-of-factly. "It
was, like, a possible Ike and Tina Turner situation in the making, but
we're over it now."
"Well, maybe not quite over it," Barnett says quietly. "But,
it'll pass. The two of us went out together for three years a long
time ago."
"So, we generally know what will, and won't, set each other off,"
laughs Shattuck. "We mostly get along. Actually, it's really important
for the band that we do get along.
"We've grown into a much friendlier relationship over the years,"
offers Barnett. "There's more give and take personally and as bandmates."
"I think the amount of time this lineup has spent together
really paid off on the new record," Shattuck says with obvious pride
of the group's outstanding, 15-song effort. "You can really hear it
on every track - things are just 'on'."
"She's right," Barnett adds. "It really is a good record. It's
probably the best thing any of us has ever done and, hopefully, it'll
add a few new names to the mailing list and extend our careers another
couple'a years. Someday," he laughs, "we may even get played on MTV."
"We've managed to outlive quite a few of the groups who were
huge when we first started," he continues. "Which is kind'a weird.
What's even stranger, however, is seeing our name used as a description
in reviews and stuff. You know, 'a Muffs-y sound' or 'Muffs-influenced.'
It's flattering, but really weird at the same time."
"I actually kind'a like the way our career has gone,"
reflects Shattuck. "We didn't flame out with a big, first album and
then vanish. We've slowly, but surely, managed to build a great
word-of-mouth following."
"I mean, we wouldn't have complained or turned it down if
we were to've flamed early with, like, a Green Day-size hit," she
laughs. "But, things just seem to've worked out much better for us
this way. People know about us, people come to our shows, we get to
play what we want to on our records and, apparently, there are at
least a few people out there actually buying the things."
---
REVIEW: Various Artists, _One Step Up Two Steps Back The
Songs of Bruce Springsteen_ (The Right Stuff)
- Bob Gajarsky
The latest in a seemingly never-ending selection of tribute
albums pays homage to the pride of the Jersey Shore, Bruce Springsteen.
Avoiding the simplistic trap of including only Bru-u-u-u-uce's
hits, this collection actually bypasses many of the Boss' album
tracks in favor of lesser known songs. The second disc of this 2 CD
collection features ten (of 14) songs which never appeared on an
official Springsteen album, as interpreted by a wide variety of global
rock and roll artists. Disco diva Donna Summer pairs up with an
all-star backing band (Bruce, Roy Bittan and most of Toto) on the
electric "Protection" and a Knackified version of "Don't Look Back"
(which nearly appeared on _Get The Knack_ in 1979) are two lesser-known
songs which stand out on disc two of this set. But the first disc
is what makes this compilation stand head and shoulders above the
crowd.
Back when Bruce's back jeans pocket was sprawled all across the
magazines and "Born In The U.S.A." blared from every FM radio station,
one cut was overlooked from that mega-successful album. Today,
the Smithereens take "Downbound Train" and make it their own,
turning an already-poignant cut and flavoring it in the same vein
as their own "Blood And Roses". This standout selection will compel
Smithereens fans to purchase _One Step Up_ , yet it's far from the
only reason to take a listen to this disc.
Folk-noir poet John Wesley Harding reinterprets "Jackson Cage"
as if it were his own, Paul Cebar turns in a perfect Latin Boss
impression on "One Step Up", and John Hiatt's wonderful version of
"Johnny 99" begs to ask why Hiatt hasn't achieved a modicum of fame
one-tenth that of Springsteen. Several of the Boss' band, including
Nils Lofgren and Clarence Clemons, are the feature artists on
various tracks. And, Springsteen favorite Joe Grushecky brings the
house down on "Light Of Day", which could fit in perfectly with a Meat
Loaf/Jim Steinman/E Street band album.
You don't have to be a Springsteen fan to like the album, but
even his detractors will gain an appreciation for Bruce's songwriting
skills on _One Step Up Two Steps Back_ .
TRACK LISTING: Aram - Something In The Eight; Smithereens -
Downbound Train; Kurt Neumann - Atlantic City; John Wesley Harding -
Jackson Cage; Nils Lofgren - Wreck On The Highway; John Hiatt - Johnny
99; Dave Alvin - Seeds; Joe Grushecky - Light Of Day; Martin Zellar -
Darkness On The Edge of Town; Janey Don't You Lose Heart - Mrs.
Fun/Tina & The B-Side Movement; Marshall Crenshaw - All Or Nothin' At
All; Syd Straw - Meeting Across The River; Ben E. King - 4th Of July
Asbury Park; Paul Cebar - One Step Up; Knack - Don't Look Back;
Donna Summer - Protection; Joe Cocker - Human Touch; Elliott
Murphy - Stolen Car; David Bowie - It's Hard To Be A Saint In The City;
Rocking Chairs - Restless Nights; Robbin Thompson - Guilty; Sonny
Burgess - Tiger Rose; Gary U.S. Bonds - Love's On The Line; Clarence
Clemons - Savin' Up; Southside Johnny & Asbury Jukes - The Fever;
Little Bob Story - Seaside Bar Song; Allan Clarke - If I Was The
Priest; Richie Havens - Streets of Philadelphia
---
REVIEW: Soundtrack, _Hurricane Streets_ (Mammoth)
- Sean Eric McGill
We've heard the story before - a maverick young filmmaker goes out
and makes a movie practically all by himself, with a virtually unknown
cast and crew. Then, said movie gets some recognition at film festivals
and picks up a distributor. And since the movie is about young people,
there just has to be a soundtrack, filled with the kind of music the
young people in the movie (and the ones watching) would listen to.
And when it comes to getting a lot of artists out in one
package, soundtracks are the undisputed king. They give you the ability
to not only package a lot of different artists together, but they
occasionally give you the chance to showcase a lot of newer talent, and
occasionally blend genres (as witnessed by the soundtracks to _Judgment
Night_ and _Spawn_ ).
The soundtrack to _Hurricane Streets_ is like that. Where else
but on a soundtrack will you find established rap acts like De La Soul
sharing space with current alternative flavor of the month Atari
Teenage Riot? The movie itself is about young street kids, and the
album does actually feel like a collection of music young street kids
would listen to, which I suppose is the greatest compliment one could
pay a soundtrack.
As for the songs, while they do span a variety of genres, only
rarely do they step completely out of the ever-expanding realm of
"alternative", and when they do, they're hitting in a genre which
has become more and more accepted in alternative culture, rap.
The album opens with "Change" by Shadez of Brooklyn. With its
melodic groove and catchy raps, "Change" is one of the best tracks on
the album. And while I didn't quite get the buzz a few months ago when
they first came to my attention, Atari Teenage Riot's self-titled song
also counts among the best on the album.
But it is rare that you see a soundtrack without any truly
established artists on it, and _Hurricane Streets_ is no exception. And,
as often is the case, the true genius on the album is in their
contributions. Vic Chesnutt, perhaps the most talented songwriter
in popular music, contributes the previously released "Gravity of the
Situation", by far the best track on the album. And while the music of
Peter Salett isn't familiar to me, his contribution, "Walking Dream"
easily qualifies as second-best.
Other tracks, like "The Foundation" by Kzibit and a cover of
"Stayin' Alive" by Supple are engaging at first listen, but quickly
lose their appeal, particularly "Stayin' Alive". In the past year and a
half, I have found two covers of "Stayin' Alive" on soundtrack albums;
the other being Siobhan Lynch's version on the soundtrack to
_Supercop_ . Both times I was intrigued at first, but was able to
quickly dismiss the song itself. Of course, part of the reason may be
that I never really liked "Stayin Alive" to begin with.
But anyways, that's another story altogether. The bottom line
is that the soundtrack to _Hurricane Streets_ is, overall, a quality
product. There's more new talent here than established acts, but it's
the established acts that really carry the day. If the movie is as good
as the soundtrack, then certainly the prospects are good. By the way,
you might want to hang on to this review - the movie itself doesn't
open until January 8, 1998. Don't you just love Hollywood?
---
REVIEW: Size 14, _Size 14_ (Volcano)
- Bill Holmes
Boy, record companies sure like to jump on a trend! Right
along with all the punk, pop and ska clones that are popping up like
rabbits are a group of bands who play alterna-humor (their hyphen,
not mine). Tongue firmly in cheek, hand firmly on my wallet, most try
to be Weird Al's children while simultaneously trying to display street
cred. Bad formula. Instant suck. You know their names. Actually, you've
forgotten their names...
A few are not bad, though, because they truly *are* funny. Size
14, a Los Angeles-based band, write songs that could easily reside on a
Weezer or Flipp record. Borrowing the power punch of bands like Cheap
Trick, the music is riff-driven, catchy pop. Size 14 takes it a step
further by actually slinging some guitar solos (no word on whether
they're sincere or part of the parody, but they are pretty good!).
Lead vocalist and lyricist "Linus" takes shots at everything, sometimes
reverent (the hysterical "Claire Danes Poster"), and sometimes with a
blatant wink and nudge. (This last explanation is a public service
announcement for those heavy metal heads too dense to realize that
"Prototype" is making fun of them.) "Shane", about a human photo-op,
and "Superbabe 2000" ('she's a punk rock Sharon Stone...') continue in
the "Danes" vein. Sounds like "Linus" masturbates a little too much,
but hey - a muse is a muse.
"Linus" claims he writes what he thinks and merely exploits
his insecurities. I'll have to give him that one; lines like "she's
got a great body but it comes with a brain/and that's too bad" are
too funny to be fiction. And speaking of funny, I've heard fewer songs
funnier than "I Touched Her Ass" , and that's not a tune I want to be
caught singing out loud. But dammit, I will - it's infectious chorus
is irresistible, and the slap at Motley Crue is icing on the cake.
Most humor records wear thin after a few listens - how many
times can you listen to the same joke? When the music is not there to
back it up, like "Earthquake," it's just forgettable noise. But more
often than not, Size 14 flashes the chops to back up the fun. If they
continue to write songs like "510" and "I Touched Her Ass," they might
stick for a while. If not, make room next to Nerf Herder in the dump bin.
---
REVIEW: Tsunami, _A Brilliant Mistake_ (Simple Machines)
- Robin Lapid
Apart from being impressed by the finely-crafted cd booklet
accompanying this release (it has layers of translucent paper,
emphasizing the layers of words and lyrics - nice touch), I'm already
impressed by Tsunami's fierce DIY ethic. In the space of 3 full-length
albums and a plethora of 7" singles (including collaborations with
bands like Velocity Girl and Superchunk), guitarists/vocalists Jenny
Toomey and Kristin Thomson created their own label and offered a
booklet for budding indie purists on how to release records. And then
there's the music. Smoky riffs layered under subtly resonant vocals
against all your best indie-pop dreams, _A Brilliant Mistake_ is music
to stop and *really* listen to.
The album, like the band, is all about layers. There's the
moody, sparse guitar arragements, the heartfelt vocals, and the words,
which are at once incisive and melting, sung with a stinging sincerity.
Toomey blends melodies with barbs, decrying the corporate rock
lifestyle; "I've seen the best minds of my generation drowning in the
best designer medications, perfecting a dedication to their lazy
fix...There ain't enough coin in the coffer to ever make it legit."
The pop hooks may deceive you, but listen to the tongue-twisting lyrics
and you'll realize that this D.C. band is punker than punk. In an
interview, Toomey defines punk as "just shorthand for a work ethic
mixed with questioning authority." Credit this to the band that
successfully lobbied for a booth to sell independent records when they
were invited to play second stage at Lollapalooza.
The opening track, "Old Grey Mare," sets the tone both in mood
and music. Toomey's soft but sure-footed voice builds toward Tsunami's
lyrical manifesto: "I won't be formed to the readymade or matched to
the cut of the retrograde or led by the reins to a pony show or
marketed coy with a blow-job m.o." The sound is a lyrical wail
surfacing amongst a sea of moody, elemental pop. With Andrew Webster
and Rob Christiansen on bass/trombone and Luther Gray on drums, Tsunami
craft low-key, slightly experimental pop songs.
It's Toomey's voice that implores you to listen. Her vocals
straddle the lines of deep but controlled musical philosphizing, often
winding round choruses that cry out from pure devotion to the craft.
Unlike the Alanis screech, Toomey's is the voice of reason blending
into a music of simple authority.
---
REVIEW: Brain Surgeons, _Box of Hammers_ (Cellsum)
- Eric Hsu
This is the nicest sounding hard rock (modernspeak for heavy
metal) band I've ever heard. And what's the point of that? I mean, sure
you've got the skillful guitar playing the usual "exotic" modes, and the
steady (though curiously un-heavy) drumming, and the raspy emoting of
the vocals. But on the usual dumbbell heavy metal scorecard, they
fall short:
(1) Sex, and super-sexed male vocalists. We strike out here
since the singer is a woman. There are guest male singers, but they
sing on oddball covers and joke songs like "The Donkey Song". A
certain rock critic wrote in 1985, "Although other ever-popular
topics for metal-rumination are power, death, revenge, and madness,
most male teenagers - still metal's prime audience - are not
particularly interested in any product that does not offer the promise
of getting laid, or at least clues to how to go about it." That critic
was Deborah Frost, the lead singer.
(2) Anti-intellectualism and elitism. Strike two, Frost is
a Harvard graduate and rock critic and the drummer, Al Bouchard, though
an ex-leader of the Blue umlaut-Oyster Cult, does not seem interested
in playing dumb. He said of BOC's singer "It worried Eric that they
would find out that he wasn't a tough biker guy, but really college
educated and kind of frail..." They don't - both playing it blue-collar
(e.g. the ending "Overture" has the strangely bleated and repeated
chorus "cappuccino!").
(3) Unyielding heaviosity. Strike three. They cover country
songs, fer 666-sake, e.g. Dwight Twilley's "I'm On Fire". Very little
in the way of musings about Hell(TM). Sure you get metal guitar tones
and metallic modes and fleet soloing, but you get breaks from it, and
I'm not talking long drum solos. Their music reflects multiple
influences: blues, country, doo-wop.
So without the goofball trappings or working class pretensions
of heavy metal, you get fairly complicated music in the same ballpark
as Mr. Bungle, a sense of humor and play and a sense of good musicians
who are fans of a lot of different kinds of music just playing whatever
they like.
Considering that I reflexively despise heavy metal (because (a)
I'm an intellectual (nothing to proud of) and (b) I did not grow up a
lower/middle class white male), this record is surprisingly
inoffensive. This is usually the kiss of death for a metal record, but
I don't think the Brain Surgeons are aiming at a broad metal market
here. I think they're aiming at the narrow band of listeners who enjoy
complexity and play and a heavy sound, but not to the point of humorless
and wrist-maiming Yngwie-type Bach-rock. It's heavy, but varied and
skillful and seems to have a good heart behind it. If you recognize
yourself in that listening audience, give this CD a shot.
For more information on the Brain Surgeons, contact Cellsum Records
at PO Box 1070, Fort George Station, New York, NY 10040-9998.
---
CONTEST WINNERS: > Congratulations to David Concannon, Dan Goodspeed,
Rob Hillard, Jennie Jowsey and Nigel Swope. Each person will win one
copy of the soundtrack to _Godmoney_ . Thanks to V2 Records and
C Notes Interactive for their sponsorship of the contest.
---
NEWS: > Eve's Plum is no longer a working band, though they
continue to play some gigs together, have a song ("Save A Prayer")
on the Duran Duran tribute album, and have even
mentioned in-concert the possibility of an indie release of new
material. Eve's Plum guitarist Michael Kotch is now a full-time
member of Ruth Ruth.
> Mixer and producer Howie B will be in New York City on
October 24 heating up the turntables at Twilo from 11:30 pm - 1:30 am.
> No longer with Urge Overkill, King 'Eddie' Roeser's new
band, Electric Airlines play their first major show at the Metro
in Chicago on October 31, sharing the bill with Dinosaur Jr.
> In conjunction with the just-released (in the U.K.) Move
box set, the Roy Wood big band will be kicking off a U.K. tour from
October 24 through December, after which time he will head to the
States. Further information on Roy Wood/Move can be found at the
web site http://www.roywood.com - and to join the mailing list,
send an e-mail to move-list-request@eskimo.com with a subject of subscribe.
---
TOUR DATES (Please confirm with site before travelling):
David Byrne
Oct. 21 Knoxville, TN Bijou Theatre
Oct. 22 Cincinnati, OH Bogarts
Oct. 23 Nashville, TN 328 Performance Hall
Oct. 26 New Orleans, LA House of Blues
Oct. 29 Jacksonville, FL Florida Theatre
Oct. 31 Miami Beach, FL Cameo Theatre
Nov. 1 St. Petersburg, FL Janus Landing
Chemical Brothers
Oct. 28 Seattle, WA Mercer Arena
Oct. 31 Los Angeles, CA Palladium
Clarissa
Oct. 25 Carrboro, NC Cat's Cradle
Cravin' Melon
Oct. 21 Atlanta, GA Cotton Club
Oct. 22-23 Columbia, SC Elbow Room
Oct. 24 Greenville, NC Attic
Oct. 30 Myrtle Beach, SC House Of Blues
Dirty Dozen
Oct. 26 New Orleans, LA Donna's Bar & Grill
Oct. 31 New Orleans, LA Witchful Thinking Halloween Ball
Down By Law
Oct. 17 Boston, MA Rat
Oct. 18 New York, NY Coney Island High
Oct. 19 Philadelphia, PA First Unitarian
Oct. 21 Washington, DC 930 Club
Oct. 22 Winston-Salem, NC Pablo's
Oct. 23 Atlanta, GA Somber Reptile
Oct. 24 St. Petersburg, FL State Theatre
Oct. 25 Jacksonville, FL Milk Bar
God Street Wine
Oct. 21 Atlanta, GA Cotton Club
Oct. 23 Pittsburgh, PA Metropol
Oct. 24 Toronto, ON Lee's Place
Oct. 25 Detroit, MI Majestic
Oct. 28 Columbus, OH Newport
Oct. 29 Cincinnati, OH Garage
Oct. 30 Indianapolis, IN Patio
Oct. 31 Chicago, IL House of Blues
Irving Plaza (New York City concert hall; http://www.irvingplaza.com)
Oct. 21 Goldfinger / Save Ferris / Kara's Flowers
Oct. 29 Superchunk
Jane's Addiction
Oct. 30-31 New York, NY Hammerstein
Jars of Clay / Plumb
Oct. 21 Boise, ID BSU Pavilion
Oct. 22 Salt Lake City, UT Abravenal Hall
Oct. 25 Rapid City, SD Rushmore Plaza Civic Center Theatre
Oct. 26 Sioux City, IA Sioux City Auditorium
Oct. 27 St. Louis, MO American Theatre
Oct. 30 Omaha, NE Aksarben Coliseum
Letters To Cleo / Everclear
Oct. 30 Lawrence, KS Liberty Hall
Oct. 31 St. Louis, MO Mississippi Nights
Motley Crue / Cheap Trick
Oct. 21 Hershey, PA Hershey Park Arena
Oct. 22 Cleveland, OH CSU Convocation Ctr.
Oct. 24 Philadelphia, PA The Spectrum
Oct. 25 Worcester,MA The Centrum
Oct. 26 Long Island,NY Nassau Col.
Oct. 28 Fairfax, VA Patriot Ctr.
Oct. 29 Charlotte, NC Charlotte Col.
Oct. 31 Tampa, FL Sun Dome
Moxy Fruvous
Oct. 17 Nashville, TN Union Station
Oct. 18 Asheville, NC Black Mountain Music Festival
Oct. 21 Baltimore, MD Fletchers
Oct. 22 Ithaca, NY The Nines
Old 97s
Oct. 21 Washington, DC Nightclub 9:30
Graham Parker
Oct. 23 San Juan Capistrano, CA Coach House
Oct. 24 Santa Cruz, CA Palookaville
Oct. 25 San Francisco, CA Great American Music Hall
Oct. 26 Los Angeles, CA Billboard
Promise Ring / Compound Red
Oct. 21 Gainesville, FL Full Circle
Oct. 22 Miami, FL Space Cadette
Oct. 23 Orlando, FL D.I.Y. Records
Oct. 24 New Orleans, LA Mermaid Lounge
Oct. 25 Houston, TX Emo's
Oct. 26 Austin, TX Emo's W/ Mineral
Oct. 27 Denton, TX The Rubber Glove
Oct. 28 Little Rock, AR University Of Arkansas
Oct. 29 Memphis, TN Barrister's
Oct. 30 Champaign, IL Blind Pig
Oct. 31 Rock Island, IL Slowfish Building
Seven Mary Three
Oct. 21 Cincinnati, OH The Garage
Oct. 23 Savannah, GA The Roundhouse
Oct. 24 Nashville, TN 328 Performance Hall
Oct. 25 Birmingham, AL Oak Mountain Ampitheater
Oct. 28 New York, NY Irving Plaza
Oct. 29 Buffalo, NY Showplace
Oct. 30 Rochester, NY Water Street Music Hall
Shootyz Groove / Tree
Oct. 26 New York, NY Tramps
Slackers
Oct. 21 Denver, CO Bluebird
Oct. 22 Provot, UT ABG's
Oct. 23 Sacramento, CA El Dorado
Oct. 24 Corona, CA Showcase Theatre
Oct. 27 Tucson, AZ Cellar
Oct. 28 El Paso, TX 710 Texas
Oct. 30 Austin, TX Flamingo Cantina
Oct. 31 San Antonio, TX White Rabbit
Sneaker Pimps / Junkster
Oct. 21 New Orleans, LA House of Blues
Oct. 23 Atlanta, GA Cotton Club
Oct. 24 Charlotte, NC Tremont Music Hall
Oct. 25 Athens, GA 40 Watt Club
Oct. 28 St.Petersburg, FL Janus Landing
Third Eye Blind / Reef
Oct. 22 Chicago, IL Metro
Oct. 23 Milwaukee, WI The Rave
Oct. 24 Madison, WI Barrymore Theatre
Two Dollar Pistols
Oct. 21 New Orleans, LA Mermaide Lounge
Oct. 22 Houston, TX Satellite Lounge
Oct. 23 Austin, TX Continental Club
Oct. 24 Dallas, TX Lava Lounge
Oct. 25 Memphis, TN Young Ave. Deli
Oct. 27 Nashville, TN Wolfy's
Oct. 30 Birmingham, AL The Nick
Nov. 1 Chapel Hill, NC Local 506
Type O Negative
Oct. 21 Asbury Park, NJ Stone Pony
Oct. 22 Toledo, OH Asylum
Oct. 23 Detroit, MI St. Andrews Hall
Oct. 24 Chicago, IL Vic
Oct. 25 Columbus, OH Newport Music Hall
Oct. 28 Cleveland, OH Odeon
Oct. 29 New York, NY Roseland
Oct. 30 Raleigh, NC Mission
Oct. 31 Philadelphia, PA Trocadero
Nov. 1 Boston, MA Avalon
Nov. 2 Washington, DC 930 Club
---
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