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==== ISSUE 148 ==== CONSUMABLE ======== [July 14, 1998]
Editor: Bob Gajarsky
E-mail: editor@consumableonline.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,
Krisjanis Gale, Emma Green, Paul Hanson,
Eric Hsu, Tim Hulsizer, Robin Lapid,
Linda Scott, Scott Slonaker, Chelsea Spear,
Simon Speichert, Jon Steltenpohl, Simon West
Technical Staff: Chris Candreva, Dave Pirmann
Also Contributing: Rey Roldan
Address all comments to staff@consumableonline.com ; subscription
information is given at the end of this issue.
==================================================================
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: Barenaked Ladies, _Stunt_ - Bob Gajarsky
CONCERT REVIEW: Jesus and Mary Chain - Robin Lapid
REVIEW: James, _The Best Of_ - Rey Roldan
REVIEW: The Connells, _Still Life_ - Joann D. Ball
REVIEW: Robert Pollard, _Waved Out_ - Robin Lapid
REVIEW: Dan Bern, _Fifty Eggs_ - Bill Holmes
REVIEW: Emmet Swimming, _Big Night Without You_ - Scott Slonaker
INTERVIEW: Hub Moore - Chelsea Spear
REVIEW: The Young Dubliners, _Alive, alive'O_ - Daniel Aloi
REVIEW: 10 Speed, _10 Speed_ - Bill Holmes
REVIEW: Creeper Lagoon, _I Become Small and Go_ - Robin Lapid
REVIEW: Plastikman, _Consumed_ - Simon Speichert
REVIEW: Backsliders, _Throwing Rocks At The Moon_ - Tracey Bleile
INDEPENDENT REVIEWS: Pete Forbes / Tabitha's Secret / Genghis
Angus - Bob Gajarsky
REVIEW: The Kelly Affair, _Welcome To The Kelly Affair_ - Bill Holmes
NEWS: B-52's, Pretenders, God Lives Underwater, Kinks, Simpsons
TOUR DATES: Tori Amos, B 52's / Pretenders / Royal Crown Revue,
Black Crowes, Blue Oyster Cult, Deni Bonet, Connells, Cravin'
Melon, Culture Club / Human League / Howard Jones, Firewater,
Front 242, God Lives Underwater / Stabbing Westward, Grinspoon,
HORDE Tour, Iron Maiden, Joan Of Arc, Freedy Johnston,
Chantal Kreviazuk, Lilith Fair, Ziggy Marley & Melody Makers,
Metallica / Jerry Cantrell / Days of the New, Phish,
The Samples, Smokin' Groovies, Third Eye Blind / Our Lady
Peace / Eve 6
Back Issues of Consumable
---
REVIEW: Barenaked Ladies, _Stunt_ (Reprise)
- Bob Gajarsky
It takes a different kind of fan to appreciate the
Barenaked Ladies sense of humour. Some would call it childish,
others would call it good clean fun - but it has to be called
different. What else could you use to describe a band that
thinks the best part of having a million dollars would be all
the Kraft macaroni dinners they could buy?
However, after the effervescent debut of _Gordon_,
BNL took a more 'serious' tact. Sure, there were the periodic
returns to form on "Alternative Girlfriend" and "Shoe Box",
but it seemed that the exuberance which earmarked _Gordon_
might be history. And after the Stateside success of the
90210-aided track "The Old Apartment", one could be excused
for thinking that the Ladies would cater to fans who
purchased their latest single.
Fortunately - and with a great sense of relief - _Stunt_
marks a return to the fun days gone by without abandoning
those who are new to the Ladies pirate ship. Just as a
teenager has to make a difficult transition to an adult, BNL
are making a challenging move into their own new domain.
The leadoff single "One Week" captures the essence of
a BNL live show, where a rap of Public Enemy's "Fight The Power"
or a singing/rap/dancing medley of current hits frequently
completes the set list. Rather than contrast them to Chuck D,
think more of a Beastie Boys-style rap without the urban 'edge'.
It wouldn't work for 99 other bands - but it's perfect for this
one.
While an ode to Brian Wilson was one of the group's
early hits (and a remixed version appeared in stores last year),
"It's All Been Done" rests firmly in the power-pop lap of
many of Wilson's self-appointed disciples. Complete with
the requisite "la la la"s and "woo hoo hoo", it appears that
the Barenakeds have been boning up on yet another element of
today's pop music.
"Who Needs Sleep?" will probably be *the* key live cut
from _Stunt_. This playful tale of an insomniac could
serve as a perfect introduction to all the Ladies are about:
wordplay, a sing-along refrain, call-back within the group, and
an irresistible hook.
"Never Is Enough" is a list of things that BNL never
want to do - including getting honoured at Wendy's restaurants -
complete with the notes that guitarist Ed Robertson was
Employee of the Month in July 1985 at a fast-food chain.
Now that the band have used McDonald's and Wendy's in their
songs, can Burger King be far behind?
Covering a wider assortment of music styles than
on any of their previous efforts, "Alcohol" could be a
dead-ringer for a Morrissey / Boz Boorer rockabilly track,
circa _Your Arsenal_, while "Leave" would nicely reside
near efforts from the Son Volt / Wilco camp and the
calypso-tinged "Some Fantastic" offers yet another
avenue to express the group's creative thoughts.
For those fans who long for slower material, _Stunt_
offers cuts which can fill their appetite without leaving them
feeling as if it's two hours after a Chinese take-out meal.
"Light Up My Room" and "Call And Answer" are this album's
answer to "The Old Apartment". And while BNL are often
lighthearted, the introspective look towards youthful fooling
around (and manipulation, without penetration) on "In The
Car" and the wish to be the desired one, and wanted by
others, has never been stronger than on "I'll Be That Girl".
Returning to the same successful bounciness that
earned _Gordon_ a permanent spot in some fans' disc changers,
_Stunt_ is the album that fans hoped would come out four years
ago. Welcome back, Barenaked Ladies. You've been away far
too long.
---
CONCERT REVIEW: Jesus and Mary Chain, San Francisco
- Robin Lapid
Some people still worship the Jesus and Mary Chain. In a
town like San Francisco, where you can go to a different goth club
every night of the week, locals hold a certain reverence for
time-honored bands like the Mary Chain. Now signed to Sub Pop Records,
the tour in support of their latest release, Munki, is more like seeing
a reunion tour; you applaud politely for the newer songs, but you call
out and dance to your old favorites like it's an 80s flashback weekend.
The Mary Chain delivered enough of those old favorites to get
the initially sluggish crowd on their feet and cheering. The band
played a short set of reverb goodies among a set strewn with pink and
white Christmas lights. Lead singer Jim Reid leaned into his mike,
dipping into his raspy bedroom vocals for just enough added affect
with minimal effort. William Reid, brother and guitarist, added that
classic pre-grunge chord riffing that made the Jesus and Mary Chain so
good in their day - the thick and fuzzy pop of "Head On" and "Teenage
Lust" were the standout numbers in the set, only because I could pick
them out among the trademark sound that seems to have congealed into a
nice but stale and fuzzy confection.
There was little between-song banter, but considering the set
lasted about 45 minutes with one brief encore, that was plenty. William
responded to the relatively laidback crowd midway through the set with,
"You're too polite," and continued to the next song. The Jesus and Mary
Chain bookended the show with "I Love Rock 'n Roll" and "I Hate Rock 'n
Roll" from the new album. William closed the performance by improvising
lyrics from "Reverence" from Honey's Dead. "I wanna die just like
disco," he sang, before the reverb finally faded. The funny thing is,
one could argue that disco hasn't really died, and neither have the
Jesus and Mary Chain.
---
REVIEW: James, _The Best Of_ (Mercury)
- Rey Roldan
Few bands have survived the UK's Madchester Movement better
than James. But then again, like fellow Mancunians The Smiths and New
Order, James weren't shaggy for the sake of cashing in on a scene (i.e.
Soup Dragons, Northside, EMF - none of whom were actually from
Manchester). Though they employed trademark Madchester rhythms and
pyrotechnics, this consistently fascinating band has managed to change
not with the times, but with their fancies, which sometimes weren't
always successful (witness 1994's tedious _Wah Wah_ or _Gold Mother_'s
"Walking the Ghost"). That's why this _Best of_ is a welcome
addition (or introduction) to one of Manchester's most artful pop bands.
Filled with tracks from their PolyGram years (the band was
originally signed to Factory and then to Sire), _The Best of_ compiles
music starting with 1990's _Gold Mother_ and concluding with two new
compositions, the anthemic "Destiny Calling" and the semi-forgettable
"Runaground" (the compilation, in fact, is arranged in a nonlinear
fashion). The newer material - _Whiplash_'s "Waltzing Along" and
"She's a Star" - doesn't fare so well, especially when sized up next
to such sparkling gems as _Laid_'s "Sometimes" and "Say Something_,
_Seven_'s "Born of Frustration" and "Sound", and their UK smash "Sit
Down". But that doesn't diminish their art-popistry, since a
not-quite-up-to-par song for James far surpasses what makes up current
pop drivel. Even the anemic "She's a Star" is better constructed pop
song than most everything found in Billboard's Top 40. As can be
said of most best-of collections, there are some notable omissions
from James' career such as the Inspiral Carpets-collabration "Gold
Mother", the acoustic version of "Protect Me" (from the limited
edition EP _Set List_ ) and "Ya Ho" (from the Sire album _Strip
Mine_ ). But as a whole, this stands as a well-chosen collection
that showcases their songwriting prowess. While their moniker may
suggest something quite generic, James stands uniquely on its own.
Madchester should be proud.
---
REVIEW: The Connells, _Still Life_ (TVT)
- Joann D. Ball
After a much needed break, Raleigh, North Carolina's
all around good guys The Connells return to the forefront
of the pop-rock vanguard with the bright and focused _Still
Life_ . On their seventh release, The Connells capture the
essence of thirty-something life and deliver a record that
celebrates maturity, love, friendship, fellowship and fun.
_Still Life_ would probably never have materialized
had it not been for the honest soul searching and tenacity
of the band's six members. After nearly 15 years as one of
the brightest stars among the original alternative/college
bands, The Connells have consistently delivered outstanding
records and entertaining, high-energy live shows. But after
a trying period of extensive touring for their last two
releases, 1993's _Ring_ and 1996's _Weird Food & Devastation_,
the band succumbed to a serious case of artistic and physical
burnout. in early 1997, the _Weird Food_ tour came to a
painful end when lead singer Doug MacMillan was diagnosed
with diverticulitis, which necessitated surgery.
But in the midst of adversity, The Connells found
strength in their friendship, their hometown and the music
which initially brought them together. _Still Life_ reveals a
healthy and happy band that is brimming with energy, enthusiasm
and confidence. The record opens with ""Dull, Brown and
Gray" which is anything but that, given the trademark whirling
and twirling guitars of MacMillan, Mike Connell and George
Huntley. And the rhythm section of drummer Peele Wimberley and
bassist David Connell is ever-tight and solid under Steve
Potak's swirling organ. The fact that things aren't as bad as
they seem is an ongoing theme on this record, evident on the
punchy second track "The Leper," and the upbeat "Bruised."
Huntley spins his usual folksy fun tales on "Curly's Train"
while the mellow "Gauntlet," one of two tracks penned by
MacMillan, has a sensitivity and directness that is incredibly moving.
With 13 well-crafted songs, _Still Life_ has an eveness
that makes it a delightful listen. Without a doubt, The Connells
have returned to the musical high road they've always claimed as
their own with intelligent and sincere lyrics and inspired
musicianship. Each of the six members of the band contribute at
least one track on the record, making it a truly collective
project. For the first time in years, The Connells are positive
and optimistic about the future of the group. And rightfully so,
because given all that preceded it, _Still Life_ is one hell of
an accomplishment.
---
REVIEW: Robert Pollard, _Waved Out_ (Matador)
- Robin Lapid
Dayton, Ohio's Guided By Voices are one of the best reasons
that the nebulous terms "indie" and "lo-fi" were created, turning
out a slew of Beatles outtakes and pop songs that hovered anywhere
from 30 seconds and up. Lead singer and mastermind Robert Pollard
has put out a second solo album, and with _Waved Out_, he attempts
to expand his muse beyond beautifully jarring lo-fi pop into prog
and postpunk freakouts.
The tracks on _Waved Out_ tend to fit more snugly into the
radio-friendly 3-minute format, and drift from psychedelic and punk
experimentation to GbV-flavored tunes like the lovely acoustic
"Caught Waves Again" and the one-minute "Steeple of Knives," which
would be just as at home on _Alien Lanes_ as they would on a
Pollard solo work. There's a bit more prog guitar on the album,
though, and relatively less "lo-fi" sound, but Pollard's almost
scratchy, almost-plaintive voice always sounds like the epitome of
good lo-fi pop to me anyway. I can't see any GbV or Pollard fan
being disappointed in the work, although they might be a bit
disrupted by the shifts in soundscape.
---
REVIEW: Dan Bern, _Fifty Eggs_ (Work)
- Bill Holmes
Imposingly bald with aggressive lyrics and street cred that
includes homage (and now, production) from anti-folk queen Ani
DiFranco, Dan Bern should by all means scare the living shit out
of the casual observer. And that's as it should be, because Bern
is anything but a casual artist. His voice alternates from just
on key to just off, the acoustic settings range from straight
ahead folk to bluesy swagger to six string punk, and he can
cram in more words per second than just about anyone. If you're
thinking Dylan, you're not as far off as you might think. Mix
Mister Zimmerman with Ed Hamell and you're closer to the mark.
Bern's songs are acute social observations, from the
humorously pointed "Cure For Aids" to the scathing "No Missing
Link" ("They look for the missing link / there is no missing
link / we are the genetic mutation / aliens came and fucked the
monkey.."). "Different Worlds" is composed of nothing but
innocent observations about how different black and white
people can be, yet the overall effect is like a bucket of cold
water. And for those who are fans of anthemic folk songs, steer
yourself to "Rolling Away".
Bern spatters his songs with namechecks - "Monica" is an
apologetic ode to Seles, "Chick Singers" could be the Lilith Fair's
national anthem, and somehow, within a song called "Tiger Woods"
he uses Woods, Ali and Madonna as props to hammer home the idea
of standing up and taking chances. The device works well - Bern's
songs demand your attention. And just when you think it's all
cynicism and outrageous lyrics, Bern slips in a ballad like the
almost doo-wop "Everybody's Baby" or "Oh Sister", a sweet homage
to sister Jennifer...
"Down Midwest backseat bumpy streets /You sang my Beatle
songs with me / I sang your Broadway melodies / Bad Harmony / And
where would Willie Mays have been / Without Jackie Robinson..."
Fans of literate music - Wainwright, Dylan, Hiatt, Earle -
should be happy to find another member of the team. Although it's
too soon in his career to toss Bern into such lofty veteran company,
_Fifty Eggs_ is a great step forward from his eponymous record. As
Dan himself says, "beauty shows up where you least expect to find it."
---
REVIEW: Emmet Swimming, _Big Night Without You_ (Epic)
- Scott Slonaker
Taking up residence somewhere on the musical landscape
between a more earnest Barenaked Ladies and the Southern guitar-pop
of the Connells and Better Than Ezra are Fairfax, Virginia's Emmet
Swimming, now four albums old with the release of their third
major-label record.
No, this band does not break what one would term "new" musical
territory. Emmet Swimming trades heavily in catchy, passionate, vaguely
rootsy barroom rawk that can be compared to such a huge variety of
things that it's not worth bothering to try and peg it exactly. Music
like this is best evaluated on the quality of its individual songs,
and _Big Night Without You_ scores rather well on that scale.
The opening track, "Guru", has one of those utterly perfect
fifteen-second intros that sounds made for the radio. Singer Todd
Watts does a wonderful job sounding impassioned without oversinging
(paging Mr. Rob Thomas, please) and the pretty, Big Star-ish guitar
chimes, courtesy of guitarist Erick Wenberg, make the song a perfect
four-minute sampler of the band's strengths.
After the stellar opener and the fine "Fist Like a Glove" (dig
those "woo-hoo-hoo" vocal harmonies) establish the sound, it is up to
the band and producer Peter Collins (Jewel, Indigo Girls, Cardigans)
to keep the song-based album fresh by walking the tightrope between
variety and schizophrenia, and both, especially Collins, rise to the
challenge. ("Off Key Choir" features backing vocals that are
appropriately grating, and there are fun vocal samples injected into
"Stealing From the Joneses".)
_Big Night Without You_ ends, oddly enough, with its single.
"Sunblock" is obviously meant as a summer hit, and it succeeds wildly.
Save Ferris lend their horn section, Wenberg stomps on his guitar's
"skank" pedal, and the whole group jumps in on the "I'm goin' on a
big vacation" chorus. It may not sound quite like the rest of the
record, but who cares?
Emmet Swimming have managed to steadily increase their fan
base over four albums without the benefit of anything closely
resembling a hit single through extensive touring, and it is nice to
see a major label ease off on the pressure that is so often placed
on emerging acts to write that hit. Not only may Emmet Swimming
have written that hit, they've put together a well-written, solid
album that deserves its moment in the sun. If Matchbox 20 can do
it, so can these guys.
---
INTERVIEW: Hub Moore
- Chelsea Spear
Hub Moore can't sit still. His lanky frame is slouched
over in the pink vinyl chair opposite me in London Records'
meeting room, and his arms snap to attention, gestures
illustrating or underlining points of interest. However, this
fidgety nature is at odds with his speaking manner, which is
low-key and free-floating. This is an apt metaphor for the
singer/songwriter's debut album, _Hub_ (Slash/London). Moore's
intelligent, observant lyrics and dreamy melodies collide with
bristling, ambient production to create atmospheric pop that
suggests a cross between Luna and Paul Westerberg.
Born into a family of architects, Moore drifted away from
his famillial trade to pursue music at a young age. "My father
bought me a ukelele when I was a kid, and then I got a guitar
when I was in fourth grade or something, and just got into it
right away. I'd kind of known that I wanted to do that ever
since then. I think I started young enough that I didn't
consider -- well, no kid considers 'what the hell am I getting
myself into?' I was just like, 'this is what I want to do.' I
had bands in high school, and just continued doing this forever.
I never wanted to do no architecture!"
Cutting his teeth on the local music scene in Boston, he
eventually moved to New York City, where his literate songs found
an enthusiastic audience in the form of renowned filmmaker Hal
Hartley. "A friend of mine, a roommate at the time, was working
on his first film. This was before he was the renowned guy that
he is now -- this was his first thing. She was working in the
props department or something. It came the end of the movie and
he said, "do you have any ideas and suggestions?" Basically he
was looking for music for this film that he could use for free,
that was unknown. She gave him a tape of mine, and he used a
song in his first film, and it went from there."
Hartley continued to use Moore's songs in his films,
eventually writing an on-screen role for him in _Surviving
Desire_. " I called him after _Trust_ had come out and done
pretty well ... just to say thanks, and he said, 'I wrote a
part for you in my next movie.' I was like, 'Jeezus!' It was
just gonna be a guy and a guitar, but he changed the idea to
this whole band, as if you'd bring a whole band to serenade
this girl. This is a very Hartley-esque idea. Originally it
was gonna be this strummy ballad for this guy, but then he
changed it." Though the director's usage of Moore's songs
suggests a Greek chorus in the way the tunes commented on the
action in the movie without intruding on it, the songwriter was
never commissioned to write anything directly for the films.
"With _Trust_ I gave him a bunch of songs, and he just picked
what he liked. What happened with that was that we had a
four-track recording, which in the world of recording is pretty
crude -- although it was good for a four-track recording, and he
really liked a few of the songs. We went into a bigger studio to
re-record them, and he ended up liking the first ones better,
and that's what he used in the film." Though Moore describes his
present musical output as being "entirely too cerulean" for the
edgy atmosphere Hartley favoured in his next few films, he found
himself collaborating with the director on the music for his
latest film, _Henry Fool_. "He's been doing incidential music
for his own films -- he plays guitar, and he wrote little things
that would tie scenes together, like little guitar riffs, but
not quite songs. I guess he'd always wanted to try turning some
of these ideas into songs, so he got together with me and this
singer, Lydia Kavanaugh ... and Jim Coleman. He brought us in
to help him flesh out the ideas and perform these songs. He was
sort of directing us, like we were in his film, and how he
wanted these songs to be shaped. But he had never really done
that, so he needed some people who actually had experience
playing more chords than him."
Hartley didn't use Moore's songs for his previous three
films. During that down time, Moore contacted his friend Chris
Herford and started work on what was to become his solo debut.
"Just when we started this project, I'd called him up and asked
him if he'd be interested in producing something. I hadn't
worked with him collaboratively since then, though we'd played
together on and off. We came up with the whole sound of it --
it's murky and sort of strained."
Herford's background in production gave the project an
unusual, dreamy sound. "It wasn't a conscious descision to be
unique or anything, it was more like Chris was trying to bring
out the best in my voice. It wasn't a conscious descision to
be unique or anything, it was more like Chris was trying to
bring out the best in my voice. How to surround my voice with
the right sort of stuff that's going to complement it. ... We
started out with voice and a guitar, and started building
around that. He had some really good ideas, just sonically.
I'd produced my stuff beforehand, and I always felt there was
more to it there was more to it than what I was able to bring
out. He was saying things like, 'your voice takes up a certain
amount of room on the tape.' That's interesting -- I never
really thought of it that way. Usually you play some guitar,
you play some drums, and you put a voice on there. He was like,
'your voice is going to take up this much space, so you only
have this much to put the other stuff in.' If you start with
the voice, you know how much space is left, as opposed to
putting all those instruments on and then putting a voice on
top, and there might not be much room left for the voice. It's
a concept I hadn't really thought of, but when I started doing
it -- the voice just had so much more breathing room than it
ever did before. That's what I think made the whole thing come
alive and sound the way it does."
Lyrically, much of the album, particularly the lovely
"Sane", with its observation that "the foundation is crumbling
all around us," seems to have been inspired by the urban
landscape surrounding him. "There's so many problems (in New
York) that you really have to block out, like homelessness.
I live across the street from a project of some sort, it's
like three big buildings and lots of activity. You'll be
sitting in your room, and you'll hear a child screaming, but
you can't be like, 'what is it? let me save you!' -- because
this is New York City. You can't get involved with everything
that happens. I don't know if it's a question of thinking
you're going to get shot or something, but if you followed up
every lead of everything that happened, you'd be frazzled."
The initial pressing of _Hub_ was self-released, and
interest quickly spread through the music industry. When the
flurry of interest arose, Moore decided to sign with Slash, the
stalwart punk/alternative arm of PolyGram records. "I'd say the
reason we went here was because of the people, obviously. Bob
Viggs has such great history to him, and all the bands he's
worked with -- mostly Slash and Warner Brothers, but it was
all his vision and his taste. The main thing that struck me
about that was looking at all those bands and where they sit
in the world of music. They're kind of like -- highly
accessible but not right up the middle. They're kind of left
of center. A lot of his bands have had long careers and put out
a lot of records. Los Lobos, X, Violent Femmes -- even the new
bands, like Soul Coughing. It's just a lot of great music. ...
The main thing was that Bob ... he was like, 'I know how I can
make this work'. The other labels would say, 'I like it!' This
guy's talking on a whole 'nother level. The things he's done
in the past lead you to believe that he can make these things
work. They're not obvious, they're kind of unusual -- it's a
little stranger than Hanson."
The release of his self-titled debut finds Moore coming
full circle with his background in movie music. "One of the guys
in the Great Outdoors, and he was the contact person for them,
so he's been getting all sorts of email over the years. 'We're
looking for this music in the record stores! Where is it?
Nobody's heard of it.We've reached an impasse!' I've compiled
all these emails from over the years, of these people looking
for this band that didn't exist ... I've been sending information
on this out to all these people, all over the place. Got an
email from a guy in London who bought it as an import just the
other day. (mock British accent) 'I've finally found your CD! It
was a bit more expensive, but well worth it.'" Indeed.
---
REVIEW: The Young Dubliners, _Alive, alive'O_ (Earth / Cargo)
- Daniel Aloi
You may have heard them, without realizing it, on the recent
season finale of "Brooklyn South" or on CNN's "Showbiz Today" -- or
seen them playing in the reception scene in "The Last Don." Or at
the San Jose stop of The Guinness Fleadh this past weekend, where
their name might have inspired images of a Van Morrison-inspired
Menudo. There are some career perks, it seems, to being the best
Celtic rock band in Southern California.
Not that San Diego's Young Dubliners didn't work for that
exposure -- they tour the Golden State tirelessly and have embarked
on national tours to support every release (they're out in the
western states all summer, in fact). Fulfilling a long-standing
desire to have their fiery live shows preserved on disc, they
released "Alive, alive'O" earlier this year.
Recorded by "noise guru" Steve Albini at their premier home
club, The Belly Up Tavern, in 1997, the seven-song live set
catches the Dubs in fine form. It also throws their genre-blending
into stark relief -- are they an Irish band perfect for a drunken
good time (the fiddle-infectious "Rising," "Follow Me Up to
Carlow"), or straight-ahead roots-rockers with a tuneful modern
rock sound ("What Do You Want from Me?" and "One and Only")? Yes,
and yes. Nowhere else in music does traditional meet contemporary
with such undeniable force as in the Dubs' lively, well-crafted
rock'n'reel. While not as overtly political as their east coast
counterparts in Black 47, the Dubs' music is no less compelling.
The live set also gives fans six new songs, as well as a
faithful and joyous cover of The Waterboys' "Fisherman's Blues"
and a new studio recording, "Blink," an upbeat contemporary love
song.
_Alive, alive'O_ is distributed to stores by Cargo, and the
single "Blink" has received airplay in markets across the country,
from L.A. to Akron to Brooklyn. Also well worth seeking out are the
band's Scotti Bros. releases -- the _Rocky Road to Dublin_ EP
showcases their diversity well, as does the 1995 full-length
_Breathe_ -- and the label's _Straight Outta Ireland_
compilation on which the Dubs appear.
The band's website is at http://www.youngdubs.com ; you can
also email dubs@youngdubs.com to get on a mailing list for tour news
and updates.
---
REVIEW: 10 Speed, _10 Speed_ (A&M Records)
- Bill Holmes
Supreme hype in place, A&M seems poised to toss this
band into the great void left by Kiss and Queen. The opening
track is bombastic, pompous...and stunning. High energy rock,
it will remind the listener of Bowie singing "John I'm Only
Dancing" at breakneck speed. The follow up track "It Makes Me
Crazy" is also a potential single, with an Alanis Morissette
beat (think "Hand In My Pocket") and goat quiver vocals. But
the chorus sounds VERRRY 70s, much more Philly soul than glam.
"Space Queen" - perhaps the single - can best be
described as asteroid rap; Will Smith singing "Space Oddity".
It's interesting for a bit, and is actually more akin to
Lollipop Factory than Queen or Jellyfish. But the over-the-top
goofiness of the lyrics are soon met head-on by the songs that
follow - "I Hate You", "Suicidal Psychopathic Freak", "When
Your Lips Are Blue" and "Head Splits Open". Uhh....what the
hell is going on here? "When your lips are blue, you're gone".
Jeez, I HOPE so....
The BIG drums and the BIG sound (and probably the BIG
hair) are there throughout, and despite some stone clunkers
(the hidden track is like P-Funk on ludes) the players are
obviously talented. But somehow you know that behind the glam,
the hair band licks, the first-name basis (Hutch, Dimitry and
Newman?) and all the fanfare, there are probably some very
calculated snickers in the dressing room. And I'm not talking
candy bars.
This is probably great camp as a live show (I have not
had the pleasure) and I imagine if you take 10 Speed as
seriously as they take themselves, everything will be just fine.
Crank it up, open the windows, pop that beer and don't listen
to the lyrics. Party on, Garth.
---
REVIEW: Creeper Lagoon, _I Become Small and Go_ (NICKELbag)
- Robin Lapid
San Francisco band Creeper Lagoon have already generated a strong
following among locals as well as positive critical buzz. With their
debut full-length album, they prove the viability of their versatile lo-fi
rock. _I Become Small and Go_ is an effortlessly stylish mishmash of music
showcasing the band's ability to learn -- not pilfer -- from their
influences and from them create a signature whole. Singer/guitarist Ian
Sefchick possesses a melodic vocal style that can drift from a Thurston
Moore to a Steve Malkmus in tune, to a Robert Pollard, full-bodied but
distinctly emotive.
The album is a hi-fi version of lo-fi rock. Swirling My Bloody
Valentine guitar provides the atmosphere for "Sylvia," a semi-acoustic
number laced with sampled grooves and Sefchick's gentle melodies. "Drink
and Drive" has a langorously experimental Beck vibe to it. "Empty Ships"
begins like old-school Guided By Voices and rolls into a straight-ahead
pop song, and "Dear Deadly" has a plaintive Pavement rock vibe to it --
both songs were two of the three tracks produced by the dub-happy Dust
Brothers. Creeper Lagoon possess the knack for layering dubs, grooves,
indie rock, and trip-pop samples into a cohesive whole. I'm glad for
any opportunity to hear a band with a fine pedigree of influences *and*
the ability to make these sounds their own.
---
REVIEW: Plastikman, _Consumed_ (NovaMute)
- Simon Speichert
This album is as close you can get to an electronic concept
album as possible. Richie Hawtin, the mastermind controlling Plastikman,
astounds the listener with a different style than he has employed
previously. Past Plastikman albums have been more "dancable", but
_Consumed_ seems to be a mixture of ambient and trance.
Listening to _Consumed_ is like being - well - consumed by some
large beast. During "Contain", the beast corners you. In "Consume", you
are swallowed. "Passage [in]" gives the illusion of travelling down an
esophagus. The four songs whilst you are inside the stomach of this
great beast, "Cor Ten", "Convulse [sic]", "Ekko", and "Converge", are
the most disturbing, with sparse melody and kickdrums like heartbeats.
"Locomotion" starts and you begin travelling down the intestines, being
digested. Then, you are "In Side", and you are totally "Consumed" by
the beast and its music. The title track is the most astounding, as
Hawtin layers the components of his musical madness to envelope the
listener. Then, finally, "Passage [out]" sends you back out into the
world.
You may think I'm crazy, but this is truly what this album
sounds like. It is a work of genius. Pick it up, and you'll hear what
I'm talking about. Listen late at night with headphones.
---
REVIEW: Backsliders, _Throwing Rocks At The Moon_ (Mammoth/Atlantic)
- Tracey Bleile
The latest contender to come out swingin' from the the alt-country
corner is a quintet from Raleigh, N.C. called the Backsliders. This crowd
takes their fun pretty seriously, and the resulting zingers barrelling out
of the speakers is called _Throwing Rocks at The Moon_.
The grow-on-you like a friendly fungus appeal of this music causes
the usual despair about what constitutes so-called 'radio-friendliness', and
formats that have no home for bands like this outside of the regions where
they spring from. And if it's not the rigidity of playlists that will get
this band as it has so many others, it's that genre gap that widens ever
further between country and rock - and this is where the polished roughness
of _Throwing_ falls right into a tender trap. What could be the saving
grace is the Backsliders' willingness to play it each way; straight-edge
country, vintage rock n' roll, and the kissin' cousin blend of the two
that *is* Americana. If you play it, they will listen...
The band's got the blend that is equal parts classic Nashville
lilty cowboy crooning, modern Chapel Hill punchiness, and 50s guitar-hero
influence, all cleanly executed, and shows off the real talent that can't
be hidden in deceptively simple arrangements. The one-two snap you one
way and yank you back the other of the lead off track and then the title
track does the job of getting you to pay attention, and once you're in,
you're in for the duration. The tunes ring out with the requisite nasal
but melodic voices of Steve Howell and Chip Robinson, having done their
homework in the John Hiatt/Steve Earle school of beltin' 'em out.
No new truths unearthed here; humans are lonely creatures,
small-town life is hard, whiskey is the consciousness-altering
substance of choice, and so on. While these guys make music that ain't
gonna save the world, and really, as I bemoaned earlier, it is music
that bears a distinct stamp of a certain region and within that region,
a select group of people. The ironic flipside is that the music the
Backsliders make really is ultra-American, and celebrates the joy of
songs well-perfomed and many different influences blended and executed
with great aplomb.
---
INDEPENDENT REVIEWS: Pete Forbes / Tabitha's Secret / Genghis Angus
- Bob Gajarsky
The former lead singer and writer of the Phoenix-area based
group And I Am, Pete Forbes, has ventured out on his own with
the release of _The Gulf Between_ (Stemming Music).
The leadoff track, "Clock Tower Face", smoothly fits into
the pop realm forged by Matthew Sweet and the Rembrandts. Not far
removed from fellow southwest brethren Gin Blossoms in geographical
distance or musical background, Forbes' slightly-breathy vocals
(think of a more refined Jakob Dylan) work best on cuts such as
the Donald Fagan-like "A Lot Like Me", "She Will", and the
reflective, somber view through another's eyes on "Dysfunctional".
Backed by an able assortment of musicians including David
Revelli (who has worked with Jewel) on drums, _The Gulf Between_
proves to be a welcome addition to the AAA arena.
To contact Pete, check out his web site at
http://www.peteforbes.com
Tabitha's Secret has one of the stories that unfortunately
happens in the music industry. Their key song, "3 a.m.", is what
might result if Counting Crows' vocalist Adam Duritz fronted
Hootie - or if it was Matchbox 20's Rob Thomas. As fate might
have it, that's *exactly* who is on (uncredited) vocals.
Three years ago, the Orlando, Florida based-band appeared
to have a bright future, with the usual courting from major labels.
During this period, (depending on the source) either the band
excluded two members from forming Matchbox 20, or Atlantic Records
demanded that two members be excluded from the new group. Both
stories have a varying amount of plausibility, based on the
amount of criminal behaviour in the industry. In any event,
a lawsuit filed by members John Goff and producer/songwriter Jay Stanley
charged Matchbox 20 with fraud, breach of contract, and non-payment
of royalties (on songs which appeared on MB20's national debut album).
Now, in 1998, _Don't Play With Matches_ (a play-on-words
against their former bandmates?) finally sees the light of day. The
highlights are clearly two versions of "3 a.m." and "Forever December",
but other cuts including "High" and the piano-backed "Jesus Was An
Alien" would easily fit into the playlists of stations looking for
the 1990s version of southern rock.
There's a sense of irony that _Don't Play With Matches_
(Forbidden Records) can stand on an equal footing with the
(then-future) multi-million selling _Yourself or Someone Like You_.
For further information on Tabitha's Secret, point your
browsers to http://www.magicnet.net/rz/audio/tsecret
A rougher rootsy-rock sound can be heard on Genghis Angus'
latest album _12 Days_ (Adrenachrome). Laid back without a sense
of urgency - that's a good thing, really! - Genghis produce a
collection of twelve tracks which steal equal pages from Hootie,
Wilco, and Gram Parsons.
In particular, "Rusting Bridges" sneaks up on you
and takes hold, daring you *not* to press the repeat button while
tapping your foot to the rhythm. Heartfelt lyrics and
picture-perfect chord switches ensure further listens without
fear of getting boring.
The band's song selection implies that they'd make perfect
appearances at Border's bookstores - and then follow it up by
playing a 3 hour set at the local club.
Genghis Angus has their own website, located at
http://www.genghisangus.com
---
REVIEW: The Kelly Affair, _Welcome To The Kelly Affair_ (Not Lame)
- Bill Holmes
The Kelly Affair have actually been welcome before, but under
a different name - Cinnamon (the good Canadian band, not the crappy
European one). But since they have forsaken straight-ahead guitar
heavy power pop for more of a loose lo-fi feel, it's no wonder that
they not only changed their name but don't mention their lineage in
the liner notes. As Cinnamon, it was but two short years ago that the
incredible _Cream Soda_ tossed power chords, hooks and snare-happy
drumming into the blender and came away with a twelve-track killer
(which, of course, fell on deaf ears south of the Mountie line). Now
the wah-wah guitars give way to pumping piano, side-door melodies and
arrangements that occasionally approach disorder. But much like Cotton
Mather's luxurious _Kon Tiki_, there's a subliminal magic that weaves
its wonder after the first couple of listens. Listen to the kickoff
track "Photographs Of Four", where the vocals are...well, flat! But
as you get past that, there's a groove thick as gravy that starts to
pick you up and take you along.
Lead singer and songwriter Terry Miles has a voice that can
be borderline twee, reminiscent of bands like the Three O'Clock. But
in these new surroundings, the comparison falls solidly on Mitch
Easter. Let's Active fans loved the thin bouncing pop sound out of
North Carolina, and The Kelly Affair have taken that motif and run
with it. The Beatle-ish guitar and keyboards of "That School" are
infectious, as is the off-beat piano and horn treatment that frames
"Another Edit". Michael Shelley fans will swear he is guesting on
"Suburban Salute", and on possibly the strangest song, "It Falls
Away" uses the chord changes from (gulp!) "Free Bird" and somehow
comes up with a pop song (I am not making this up).
There are still hooks galore here - "Last Summer" and
"Supersweet" are probably the closest thing to a Cinnamon throwback
on the record. But if you like your pop straight no chaser, this
might not be what you want. However, those who can appreciate the
more adventurous pop groove would be wise to check this one out.
---
NEWS: > The B-52's / Pretenders / Royal Crown Revue
concert continues to make its way westward across the country.
The tour has just added an August stop in Reno, Nevada and
the multiple Los Angeles area dates are close to selling out.
The B-52's are rumoured to release another track from their
new greatest hits collection in the next few weeks. And,
Pretender Chrissie Hynde is telling audiences that the band's
long-awaited studio album is scheduled for an October release,
with several of the new songs included in the band's set.
For more information on the tour, photos, information on live
cybercasts on the tour and links to the B-52's website, visit
the Pretenders' official website at
http://members.tripod.com/~PretendersArchives/
> God Lives Underwater have just released the single
"Rearrange" containing two remixes of that cut, two new
remixes of "From Your Mouth" and a B-side "Hush That Noise".
> Several of the Kinks' concept albums from the Seventies
will be released on Velvel Records on Aug. 14. _Everybody's in
Showbiz_, _Muswell Hillbillies_, _Preservation Act 1_, and
_Preservation Act 2_ have been remastered for release on compact
disc. While there are no immediate plans for a Kinks' reunion,
Ray Davies continues to promote his Storytellers project in its
various media formats, and Dave Davies is tentatively scheduled
to begin the west coast leg of his Kinks Kronikles tour later
this summer. Also, a compilation of Dave Davies' solo material,
including tracks from his first three records and some new songs,
should be released commercially on Velvel Records later this
year. For updates on Dave's doings, visit his website at
http://www.davedavies.com
> The second Simpsons release, _Go Simpsonic With
The Simpsons_, has been put on indefinite hold by Rhino
Records.
---
TOUR DATES:
Tori Amos
Jul. 23 Auburn Hills, MI Palace Of Auburn Hills
Jul. 25 Toronto, ON Molson Amphitheatre
B 52's / Pretenders / Royal Crown Revue
Jul. 16 Clarkston, MI Pine Knob Music Theatre
Jul. 17 Cuyahoga Falls, OH Blossom Music Center
Jul. 18 Tinley Park, IL New World Music Theatre
Jul. 19 Cadott, WI Chippewa Valley Festival
Jul. 21 St. Paul, MN Midway Stadium
Jul. 23 Little Rock, AR Riverfest Amphitheatre
Jul. 24 Austin, TX South Park Meadows
Jul. 25 Dallas, TX Starplex Amphitheatre
Black Crowes
Jul. 15 Jacksonville, FL Club 5
Jul. 17 Fort Myers, FL The Orbit
Jul. 20 Cleveland, OH The Odeon
Jul. 21 Columbus, OH Mekka
Jul. 23 Detroit, MI St. Andrews Hall
Jul. 24 Cincinnati, OH Bogarts
Blue Oyster Cult
Jul. 17 Kenora, ON End of the World Festival
Jul. 24 Raleigh, NC Lake Boone Club
Deni Bonet
Jul. 17 New York, NY Arlene's Grocery
Jul. 23 Salem, VA Belly of the Beast
Jul. 24 Chattanooga, TN Miller Plaza
Jul. 25 Greensboro, NC Somewhere Else
Connells
Jul. 14 Louisville, KY Phoenix Hill Tavern
Jul. 15 Columbus, OH Newport Music Hall
Jul. 16 Milwaukee, WI Shank Hall
Jul. 17 Minneapolis, MN Downtown Block Party
Jul. 18 Chicago, IL Block Party
Jul. 21 Kansas City, MO Hurricane
Jul. 22 St. Louis, MO Galaxy
Jul. 23 Cincinnati, OH Bogart's
Jul. 24 Nashville, TN 328 Performance Hall
Jul. 25 Chattanooga, TN Chattanooga Choo Choo
Cravin' Melon
Jul. 15 Asheville, NC Be Here Now
Jul. 16 Columbia, SC Elbow Room
Jul. 17 Raleigh, NC Lake Boone
Jul. 18 Isle O' Palms, SC Windjammer
Jul. 19 Savannah, GA The TYBEE Island Pavillion
Jul. 22 Wilmington, NC Metropolitan
Jul. 23 Fayetteville, NC Broad St Cafe'
Jul. 24 Florence, SC Shooters
Culture Club / Human League / Howard Jones
Jul. 23 Atlanta, GA Chastain Park
Jul. 24 Raleigh, NC Walnut Creek Amphitheater
Firewater
Jul. 15 Albuquerque, NM Launch Pad
Jul. 16 Denver, CO Bluebird Theater
Front 242
Jul. 21 Seattle, WA Fenix
Jul. 23 San Francisco, CA Maritime Hall
Jul. 25 Los Angeles, CA The Palace
God Lives Underwater / Stabbing Westward
Jul. 15 Myrtle Beach, SC House of Blues
Jul. 18 Poughkeepsei, NY Chance
Jul. 19 Washington, DC 930 Club
Jul. 21 Boston, MA Avalon
Grinspoon
Jul. 16 New York, NY CBGB
Jul. 17 Worcester, MA Espresso Bar
Jul. 19 Washington, DC 930 Club
HORDE Tour (Blues Traveler, Barenaked Ladies, Alana
Davis, Ben Harper, and many others)
Jul. 14 Bonner Springs, KS Sandstone
Jul. 15 Oklahoma City, OK The All Sports Stadium
Jul. 17 Noblesville, IN Deer Creek Music Theater
Jul. 18-19 Clarkston, MI Pine Knob Music Theater
Jul. 21 Cuyahoga Falls, OH Blossom
Jul. 22 Cincinnati, OH Riverbend
Jul. 24 Columbus, OH Polaris Amph.
Jul. 25 Burgettestown, PA Star Lake Amph.
Iron Maiden
Jul. 14 Phoenix, AZ Club Rio
Jul. 15 Las Vegas, NV The Joint
Jul. 16 Los Angeles, CA Universal Amphitheater
Jul. 18 San Diego, CA Open Air Theater/SDSU
Jul. 19 San Francisco, CA Maritime Hall
Jul. 22 Denver, CO Paramount Theater
Jul. 25 Milwaukee, WI Riverside Theater
Joan Of Arc
Jul. 15 Philadelphia, PA Pontiac Grill
Jul. 16 Washington, DC Metro
Jul. 17 Baltimore, MD Small Intestine
Jul. 18 Chapel Hill, NC Lizard And Snake
Jul. 21 Jacksonville, FL Moto Lounge
Jul. 22 Orlando, FL Sapphire Supper Club
Jul. 23 Gainesville, FL Covered Dish
Jul. 24 Atlanta, GA Under The Couch
Freedy Johnston
Jul. 19 Amagansett, NY Stephen Talkhouse
Chantal Kreviazuk
Jul. 14 Salt Lake City, UT The E Center Of West Valley
Jul. 15 Morrison, CO Red Rocks Amphitheatre
Jul. 18 Dallas, TX Bronco Bowl
Jul. 20 San Antonio, TX Majestic Theater
Jul. 21 Houston, TX Aerial Theatre
Jul. 22 Austin, TX Music Hall
Lilith Fair Tour
Jul. 15-16 New York, NY Jones Beach Amph.
Jul. 17 Camden, NJ Blockbuster-Sony Music Ent. Ctr.
Jul. 18-19 Columbia, MD Merriweather Post Pav.
Jul. 21 Virgina Beach, VA GET Virginia Beach Amph.
Jul. 22 Raleigh, NC Hardee's Walnut Creek Amph.
Jul. 23 Charlotte, NC Blockbuster Pav.
Jul. 24 Atlanta, GA Coca-Cola Lakewood Amph.
Ziggy Marley & Melody Makers
Jul. 14 Boston, MA Harborlights
Jul. 18 Denver, CO LoDo Festival
Jul. 19 Salt Lake City, UT SaltAir Pavilion
Jul. 20 Boise, ID Union Bank
Jul. 21 Seattle, WA Pier 62/63
Jul. 23 San Francisco, CA Warfield Theater
Jul. 24 Las Vegas, NV The Joint
Jul. 25 San Diego, CA SDSU Open Air Theater
Metallica / Jerry Cantrell / Days of the New
Jul. 15 Camden, NJ Blockbuster Sony Ent. Ctr.
Jul. 17 E. Rutherford, NJ Giant Stadium
Jul. 18-19 Mansfield, MA Great Woods
Jul. 21 Hartford, CT Meadows Music Theater
Jul. 22 Burgettstown, PA Star Lake Amphitheater
Jul. 24 Antioch, TN Starwood Amphitheater
Phish
Jul. 15 Portland, OR Portland Meadows
Jul. 16-17 Quincy, WA The Gorge
Jul. 19 Mountain View, CA Shoreline Amphitheater
Jul. 20 Ventura, CA Ventura Co. Fairgrounds
Jul. 21 Phoenix, AZ Desert Sky Pavilion
Jul. 24 Austin, TX Woodland's Pav.
Jul. 25 Austin, TX Southpark Meadows
The Samples
Jul. 14 Boston, MA Harbor Lights
Jul. 15 Baltimore, MD Bohager's
Jul. 16 Dewey Beach, DE Bottle & Cork
Jul. 17-18 Nantucket, MA The Muse
Jul. 21 Burlington, VT Higher Ground
Jul. 22 Providence, RI Lupo's
Jul. 23 New York, NY Irving Plaza
Jul. 24 Martha's Vinyard, MA Hot Tin Roof
Smokin' Groovies Tour (Public Enemy, Cypress Hill,
Wyclef Jean, Busta Rhymes, Gangstarr and more).
Jul. 22 Darien Lake, NY Darien Lakes Amph.
Jul. 23 Montreal, QC Jarry Park
Jul. 24 Mansfield, MA Great Woods
Jul. 25 Hartford, CT Meadows
Third Eye Blind / Our Lady Peace / Eve 6
Jul. 14 New York, NY Hammerstein Ballroom
Jul. 17 Boston, MA Harborlights Pav.
Jul. 18 Wallingford, CT Oakdale Music Theater
Jul. 21 Philadelphia, PA Electric Factory
Jul. 24 Columbia, MD Merriweather Post Pav.
Jul. 25 Holmdel, NJ Garden State Arts Ctr.
---
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