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==== ISSUE 151 ==== CONSUMABLE ======== [August 15, 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,
Chris Hill, Eric Hsu, Tim Hulsizer, Franklin
Johnson, Robin Lapid, Linda Scott, Scott
Slonaker, Chelsea Spear, Simon Speichert,
Jon Steltenpohl, Simon West
Technical Staff: Chris Candreva, Dave Pirmann
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.
==================================================================
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| Contents |
`------------'
REVIEW: Liz Phair, _whitechocolatespaceegg_ - Tracey Bleile
CONCERT REVIEW: Beastie Boys, Scotland - Robin Lapid
REVIEW: Billy Bragg and Wilco, _Mermaid Avenue_ - Daniel Aloi
REVIEW: Eagle Eye Cherry, _Desireless_ - Lang Whitaker
REVIEW: Candlebox, _Happy Pills_ - Linda Scott
REVIEW: They Might Be Giants, _Severe Tire Damage_ - Bob Gajarsky
REVIEW: Tragically Hip, _Phantom Power_ - Chris Hill
INTERVIEW: Love In Reverse - Al Muzer
REVIEW: Sand Rubies, _Return of the Living Dead_ - Chris Hill
REVIEW: Soundtrack, _54 (Vol. 1 and 2)_ - Bob Gajarsky
REVIEW: Ana Voog, _anavoog.com_ - Jon Steltenpohl
REVIEW: Soundtrack, _Henry Fool_ - Chelsea Spear
REVIEW: Language, _Language_ - Linda Scott
REVIEW: Various Artists, _Late Night Beats_ - Franklin Johnson
REVIEW: Pissing Razors, _Pissing Razors_ - Paul Hanson
NEWS: P.J. Harvey
TOUR DATES: Tori Amos / Devlins, Bauhaus, Beastie Boys, Blink 182,
Blue Oyster Cult, Chocolate Genius, Culture Club / Human
League / Howard Jones, Dakota Moon, Dream Theatre / Deep
Purple / Emerson, Lake and Palmer, Flick, Front 242,
Nanci Griffith (Newport Folk Festival), HORDE Tour,
Irving Plaza, K's Choice, Paul Kelly, Lilith Fair,
One Minute Silence, Phish, Bonnie Raitt / Jackson Browne
Smokin' Groovies Tour, Superdrag, Vast, Verve, Wilco
Back Issues of Consumable
---
REVIEW: Liz Phair, _whitechocolatespaceegg_ (Matador/Capitol)
- Tracey Bleile
Today's vocabulary word is indulgence. Which is the word
that sticks in my brain throughout the 60-plus minutes that is Liz
Phair's newest effort, _White Chocolate Space Egg_. A lot of songs.
A lot of songs that just kind of...set their own pace.
Phair has abandoned much of the punchy snottiness that made
her stand out on _Exile In Guyville_, but not her wah-wah pedal,
leaving her in a languid groove, and only rarely does it snap the
way _Exile_ ever did - but from time to time it works. If you
already like her, you're not going to change your mind. It's a
grabbag of earnest college-radio pop with thought-provoking lyrics
and jangle-buzzy guitar. If you were on the fence about her after
her sophomore release, well...the jury might stay out on _Egg_.
With a great deal of production work by Scott Litt, (and back up
on one song from three-quarters of R.E.M., and their session
musicians) she has appropriated a lot from the talent around her
and infused it wherever she can with keyboards, accordions, and
utter seriousness wrapped in her rise-above-it attitude.
She has unabashedly dipped her hands into past decades for
inspiration here. The quieter songs are psychedelia-edged,
including the goofy lead-off title track, and some are downright
folky (down to the scratchy chord changes on "Perfect World").
"Ride" takes its surfy chorus from "I Get Around", harmonies and
all. Her voice will never be the strongest, but in the mid-to
upper-range she still sounds fresh and original. It's that
sing-songy slide from up to down, and then down farther still
where her voice falters and quite often trails off that gets
annoying after you realize that most of _Egg's_ songs are phrased
and sung almost exactly the same way. And you can't help but feel
like you just know you've heard a lot of the guitar work
before...either from her or from 60's and 70's standard folk-rock
structure.
The songs that stand out are definitely the ones where she
pushes it to be a little noiser and angrier. There's nothing as
downright in your face as "Supernova", but she's still exorcising
her feelings in dealing with the opposite sex; "Johnny Feelgood" and
the first single "Polyester Bride" are next to each other on the
album, and are polar ends of the same emotion - don't want to commit
at all, when should I commit? Hope with all your hear that the
confessional-chatty "What Makes You Happy" gets some airplay - it
provides a great fast-slow, jumpy-quiet moment near the end of the
disc. Married and a mom now, nevertheless, Phair still has something
brewing beneath the surface that hasn't quite boiled over, and she
continues to contain it on this release. The snarling of her stream
of consiousness is completed belied by the sweetness of the music,
but she's dulled the impact of her words this time by padding them
with a layer of softness. I think the way to absorb this release is
to take in the spirit it was offered; one song at a time for their
individual effect. At your own pace.
---
CONCERT REVIEW: Beastie Boys, T in the Park Festival, Scotland
- Robin Lapid
Have you ever been to an outdoor festival -- in the summer,
mind you -- where the rain pounds on you relentlessly and you slosh
around in mud for 10 to 48 hours? Apparently this is de rigueur in
England. Unfortunately, being from sunny California, I wasn't quite
prepared for Scotland's cold and wet welcome at this year's Tennants
in the Park Festival in Kinross. About ready to ditch the bands and
prevent hypothermia, I resolutely decided to stick around for the
Beastie Boys' 9 p.m. set. Thank goodness I did.
Dressed strangely, albeit somewhat appropriately, in lab
coats and knee-high rain boots, the three MC's, along with DJ MixMaster
Mike of the Invisibl Skratch Picklz and old friend "Money Mark" Nishita
on keyboards, delivered old-skool flava with new-skool vibes. Apart
from headliners Pulp, this was probably the most anticipated set of
the day, considering the four-year wait for the Beasties' newest
album, _Hello Nasty_.
That considered, the performance was loose but fun, and showed
clear signs that the now-thirtysomething trio are still getting settled
into playing live again. AdRock, Mike D, and MC Adam Yauch set it all
off with "Shake Your Rump" from second-album masterpiece _Paul's
Boutique_. The hyper-raps on this track felt slightly neutralized by
MixMaster Mike's super-scratching, but the playful vibe still won out,
and it's a treat to hear the old-skool roots take over from _Ill
Communication_'s less rap-heavy fare. If you weren't jumping and
cheering along at the opening lines of this track, you would be for
the rest of the set -- not just because of the crowd's energy, but
also so you didn't sink into the mud. Spurred on by the crowd's
collective jump-start into the festival spirit, they showed off their
stop-action robotic moves and ran through a bunch of Nasty tracks as
well as greatest hits, including "So Whatcha Want," "Root Down," "Super
Disco Breakin'," and "Intergalactic."
From the between-set banter (including a lot of shout-outs to
nonviolence and world peace), the setlist and the vibe seemed pretty
flexible. "Yo, what song we doin' next?" asks MCA as the boys take an
impromptu vote amongst themselves. AdRock shouts out the opening lines
to "So Whatcha Want" with gangsta fury only to have everyone abruptly
start over. He shrugged his shoulders and explained to the crowd with
a smile, "Sorry, sorry...these things happen sometimes, you know."
Their punk roots also figured heavily, with the three getting
behind their instruments and banging out tracks like "Egg Raid On Mojo"
and "Sabotage," of course, which was part of the mix-mastered encore
that gamely teased us with samples from "Brass Monkey." Non-song
highlights included a birthday cake in the face of their tour manager,
and Money Mark ending the set by smashing his keyboards like a banshee.
The 3 MC's walked off quietly, with cordial goodbyes and smiles all
round. After a good 40-minute workout, the mud in my shoes was now a
warm, comforting goo.
---
REVIEW: Billy Bragg and Wilco, _Mermaid Avenue_ (Elektra)
- Daniel Aloi
In the 1930s and '40s, Woody Guthrie worked across the country,
but his real work, as a voice for the disenfranchised, grew out of
that. His experiences among small communities of migrant fieldworkers
and hometown factory hands inspired thousands of songs, speaking out
for children, the poor and and subversives. , and aimed at fighting
fascism, economic oppression and jingoism - "This is a real angry
song," Bruce Springsteen once said of "This Land is Your Land."
Huntington's chorea effectively ended Woody's rambling life and
musical career in 1947, but for most of the remaining 20 years of his
life, living with his family in a little Coney Island house, his mind
and his pencil never stopped. He left behind volumes of song lyrics
never set to music - which his daughter, Nora, discovered while
compiling her father's papers for a 15,000-item archive of his writings.
Rather than relegating them directly to the Smithsonian and
Library of Congress folk archives, to gather dust and the dry
observations of scholars, Nora turned the lyrics over to Socialist
and British folkie Billy Bragg, who in turn enlisted the Midwestern
roots-rock band Wilco to help him set Woody's long-lost words to
music. They convened in Dublin's Totally Wired Studios in January
and recorded some 40 songs, 15 of which now belong to the world. The
songs on "Mermaid Avenue" add up to 50 minutes of good fun, beauty
and heartache, from the writer's most private thoughts to his most
pointed political broadsides. The songs carry not only Woody's
vision but that of the musicians, following as they do such Guthrie
acolytes as Bob Dylan, Springsteen and Phil Ochs.
Bragg is as qualified as anyone to sing Guthrie's songs, and
Wilco, one of the finest American bands of the day, has equal billing.
With Bragg and Jeff Tweedy (plus special guest Natalie Merchant) each
taking lead vocals throughout the album, they have realized Nora
Guthrie's intention to give Woody's words a musical life, no more
and no less.
The first three songs hook the listener, and shatter any fears
of contemporary artists tampering with a cultural icon's work.
In "Walt Whitman's Niece," a stomping beat and police whistles
accompany Bragg's proud telling of a bawdy story (about a night on the
town "with a seaman friend of mine"). He's answered on every line by
a spirited Wilco chorus's disclaiming double-entendres ("I'm not
sayin' which seaman") about the night before ("or the night before
that"/"I won't say which night") sung as if they're gathered at a
tavern, the tale growing with drunken bravado. Then comes Tweedy's
choice, a beautiful, uptempo reading of the love song
"California Stars" - that could be an unofficial state anthem.
Bragg does well by "Way Over Yonder in the Minor Key," a wistful
daydream drawn from Guthrie's Oklahoma childhood, with harmonies by
Merchant. She then has a solo turn with the sweetly sad "Birds and
Ships," wondering "where can my lonesome lover be?" Then Tweedy rips
into "Hoodoo Voodoo," and we're off again with same sense of fun the
album begins with.
Yes, there are socialist, and socially conscious songs here -
"Eisler on the Go," done in Bragg's own downcast folk style, has
Guthrie empathizing with a friend called before the House Un-American
Activities Committee. "I guess I Planted" is a union anthem, a
rallying cry livened up by Wilco's country-rock arrangement.
And in "Christ for President" Tweedy and Wilco make Woody's
case against politicians and for Jesus ("the Carpenter") as the
ultimate working man's hero; with the populist lyrics set to a
jug-band stomp.
The album is cohesive, although it incorporates both personal
and political ideas, sad songs and silly ones - the brilliance of the
principals is the glue.
From the songs chosen, you can arrive at a few observations
about Guthrie's psyche, and what a complicated, evolved man he was:
> Woody was a Christian ("Christ for President") whose humanism
was his union card, more than his legend as a populist rabble-rouser
would indicate (although he does relate to Robin Hood, in Bragg's
closing "Unwelcome Guest").
> Woody was full of lust ("Walt Whitman's Niece" and "Ingrid
Bergman," by Bragg solo, a sexual fantasy in which Guthrie imagines
making love to the actress on the slope of a dormant volcano, her
beauty awakening the fire inside the cold rock).
> Woody was a feminist ("She Came Along to Me," a melodic,
sweeping piece of Bragg-Wilco folk-rock).
> Woody was a romantic (not only "Birds and Ships" and "Ingrid
Bergman," but the gorgeous "One by One," "California Stars," "At My
Window Sad and Lonely" and "Hesitating Beauty" -- all sung by Tweedy;
they could have been on either Wilco album).
> Woody was a loon ("Hoodoo Voodoo," one of several nonsense
songs he apparently wrote for his children; Tweedy and Wilco give it
an intensely crazed carnival-band treatment).
Wilco member Jay Bennett's piano is one of this elegant
album's most tasteful elements, and his slide and steel guitar lend
a faraway, dreamy quality to Tweedy's singing of "One by One" and
"California Stars." Ken Coomer's drumming and John Stirratt's bass
pace these slower, moodier songs and they drive the real rave-ups
as well.
"Mermaid Avenue" is more than a mere tribute, it's a
collaborative and inventive interpretation of Woody Guthrie's
unheard source material. And for its heart, it's also one of the
best albums of the decade, if not the latter half of the century.
But it deserves more than year-end Top 10 lists -- it needs to be
heard by everyone. (I recommend buying copies to donate to public
libraries.)
As mentioned before, more than another album's worth of
songs is already recorded, so there may -- should -- be a followup.
Although they did not mount a full-fledged joint tour, Bragg
and Wilco have already brought some of these songs to audiences,
performing together at Guinness Fleadh dates (as one another's
guests) and at the recent WOMAD festival in Seattle. Wilco is
currently finishing up its third album in Austin between these
selected dates, and Bragg has been touring with his own band as well.
For more background, a good place to start online is Wilco's
site at http://www.wilcoweb.com; with a photo essay on the sessions
and links to two Guthrie sites, Bragg's site and Elektra's artist
information pages.
TRACK LISTING: (all lyrics by Woody Guthrie; performers
noted) Walt Whitman's Niece (Bragg/Wilco), California Stars (Tweedy /
Wilco), Way Over Yonder In The Minor Key (Bragg/Wilco/Merchant),
Birds and Ships (Merchant/Wilco), Hoodoo Voodoo (Tweedy/Wilco), She
Came Along To Me (Bragg/Wilco), At My Window Sad and Lonely (Tweedy /
Wilco), Ingrid Bergman (Bragg), Christ for President (Tweedy/Wilco),
I Guess I Planted (Bragg/Wilco), One By One (Tweedy/Bennett), Eisler
On The Go (Bragg/Wilco)), Hesitating Beauty (Tweedy/Wilco), Another
Man's Done Gone (Tweedy/Wilco), The Unwelcome Guest (Bragg/Wilco)
---
REVIEW: Eagle Eye Cherry, _Desireless_ (WORK)
- Lang Whitaker
Let me go ahead and get this out of the way, because if
you can embrace this, it will make your listening experience ten
times more pleasureable: Eagle Eye Cherry sings like Ben Harper.
A lot. I'm talking *identical*. It's not a once in a while thing
like the Adam Duritz/Van Morrison comparisons; this is almost
mind boggling.
So you got that? You cool with it? Good. Now you can
listen to Eagle Eye Cherry's melodious debut release _Desireless_
without prejudice. The extravagantly named Cherry is indeed kin to
Neneh Cherry (the singer not the porn star), she of the, "Buffalo
Stance," hit single from the early part of this decade.
It doesn't take an eagle eye to see several songs destined
for mainstream radio. "Save Tonight," a plea for one final hook-up
before the morning comes, is already making a dent at Top 40
stations around the US, and Cherry is reportedly hotter than the
weather has been lately over in England.
The sound of _Desireless_ is sort of Ben Harper (again)
meets Paula Cole. Airy acoustic guitars drive the music, with
similarly pressing percussion underneath. Cherry also has a great
ear for melodies; each song has a sing-along chorus suitable for
a campfire near you. In fact, despite the heavy subject matter of
several songs, _Desireless_ is harder to hold down than Puff
Daddy. The songs project an inner sunshine that would bring smiles
to even those forced to sit through an episode of, "The Magic Hour."
Cherry tends to dwell on love during _Desireless_, as many
of the songs ("Save Tonight," "Comatose (In the Arms of Slumber),
"Worried Eyes,") touch on commitment and the renewing of that
commitiment in relationships. The perils of drug usage is also a
popular topic, in songs like, "Shooting Up in Vain," and, "Death
Defied by Will." Aiding and abetting Cherry are a collection of
assorted musicians with names that enjoy throwing consonants around
haphazardly (Niklas, Kviman, Fjallstrom).
As a Ben Harper fan, I've always wondered what would happen
if he took the chip off his shoulder and had a little fun. Now I know.
---
REVIEW: Candlebox, _Happy Pills_ (Maverick)
- Linda Scott
Candlebox is looking for a musical change of direction with
their newest release, _Happy Pills_. This Seattle-based band came
along in the wake of the Seattle grunge groups like Soundgarden,
Alice In Chains, Nirvana. Their self-titled first album sold over
three million copies. Then grunge went into a tailspin, and the
band's _Lucy_ was an unsuccessful followup. Change is what's
happened to Candlebox and their music on their third outing.
The band spent time rethinking their relationships, their
sound, and their lyrics. After three years, Candlebox returns with
a new drummer and a revised playing and writing style. They're
hoping their old fans will support the changes and a lot of new
ones will come on board.
_Happy Pills_ is a mixed bag of rockers such as the title
track and the first single "It's Alright". "It's Alright" is a great
first release and may well be the best song on the album, but there's
also "10,000 Horses" and midtempo songs such as "Sometimes" and
"Breakaway", both having some interesting grooves and sounding more
like the old band.
Another link to the old band is vocalist Kevin Martin.
Martin's distinctive voice became well known with "Far Behind" from
the first album, and his vocals are easily identified. Martin pours
his heart into the lyrics and vocals here, and it shows. Sometimes
you wish his voice were not so thin, not so reedy, but for the most
part, the tracks on _Happy Pills_ are sung well. Also doing a good
job are guitarist Peter Klett and bassist Bardi Martin. Now with the
departure of their original guitarist, they have been lucky enough to
pick up Pearl Jam's Dave Krusen.
_Happy Pills_ is an album for Candlebox to be proud of. If
you like rock music, this is a good one. Candlebox fans would do
well to get this one and decide if they want to change directions
with their band. The old one doesn't seem to becoming back any time
soon.
---
REVIEW: They Might Be Giants, _Severe Tire Damage_ (Restless)
- Bob Gajarsky
Brooklyn-based They Might Be Giants got their start almost 15
years ago. In that time span, they've gone from indie label to major
and back again to an indie, have released 6 proper albums and
countless B-sides and outtakes. This doesn't take into account
their own Dial-A-Song, which has housed numerous unreleased tracks.
So, the only question that remains with a live album is 'What took
so long'?
A mixed bag which is more likely to appeal to fans of _John
Henry_ and _Factory Showroom_ more than their self-titled debut,
_Severe Tire Damage_ combines new and quirky with old and classic,
along with a few (non-live) new songs.
For the new and innovative, check out their cover of "Why Does
The Sun Shine?", in which the children's song is turned into a punk
slam-dancing, high energy educational jaunt. Or, look at the 'acoustic'
(well, with accordion) version of "Meet James Ensor". However, it sounds
as if They sleepwalk through some of their major hits, specifically "Ana
Ng" and "Particle Man", where the vocals are a chore to listen to, if
not to perform.
The seventies sound which TMBG first embraced on "S-E-X-X-Y" is
more evident on the live version, and seeps over, this time in the form
of a faux game show from that same decade, onto the new single, "Doctor
Worm". Another new track which will appeal to fans is "They Got Lost",
in which the band jest about getting lost. Some of their older wit is
back, when trying to find their way, noting that 'there should be a big
crinkle, assuming this map is right.'
Another treat for longtime fans, in addition to this album, will
be unveiled next month. The Dial-A-Song service that was formerly only
available via phone (It's free if you call from work!) will also be
offered on the Internet, at http://www.dialasong.com - for a preview of
forthcoming and unreleased material.
---
REVIEW: Tragically Hip, _Phantom Power_ (Sire)
- Chris Hill
A friend asked me the other day, while listening to
_Phantom Power, "Can they MAKE a bad album?". My answer - no,
they can't. Twelve songs form their most cohesive album
since '92's _Fully Completely_. Warm and personal, the disc is
replete with organic themes: growth, love, nature, maturity.
Gordon Downie's oblique, literate songwriting is a joy to
experience. "You said you didn't give a f*ck about hockey/and I
never saw someone say that before/you held my hand and we walked
home the long way/you were loosening my grip on Bobby Orr" (from
"Fireworks") - there's the burgeoning crush, the clash of man and
woman, all couched within a sports reference. Another song,
"Membership" uses the current of a river as a metaphor for
surrending the self to love and life.
Downie's singing swoops, soars, and stuttersteps
through the material, even trying a falsetto chorus during the
bouncy, acoustic "Thompson Girl". With their backing vocals,
guitarist Paul Langlois and bassist Gord Sinclair offer a
distinctive, welcome counterpoint.
Rounded out by drummer Johnny Fay and guitarist Rob Baker,
the Hip shuffle tempos from rock ("Save the Planet", "Poets") to
ballads ("Bobcaygeon", "The Rules") to somewhere in-between
("Chagrin Falls", "Emperor Penguin"). This album will please the
longtime fan and enchant the newcomer - what more to ask for?
The Hip also have one of the best Web presences around at
http://www.thehip.com . Check out their site and see how these
songs germinated and grew. Fascinating reading.
---
INTERVIEW: Love In Reverse
- Al Muzer
Ask any other three musicians to deal with what Love
In Reverse endured following the release of their 1996 major
label debut and you just *know* you're gonna wind up with three
exploding, imploding, possibly lock and loading long-haired
former friends on your hands inside of a year.
Bolstered by a major label deal with Warner/Reprise; a
management contract with Megaforce Records founders Jon and
Marsha Zazula; radio airplay for the lead single taken from
their five-song EP, _I Was Dog_ ; opening slots on successful
Stabbing Westward, Gravity Kills and Republica tours; a
show-long profile on ABC TVs _Turning Point_; and the high hopes
and high praise of a score of national music publications and
critics - the Ocean County, New Jersey-based trio comprised of
guitarist/vocalist Michael Ferentino, bassist/keyboardist
Andres Karu and drummer/tape loop wizard Dave Halpern got to
live every bands ultimate dream when _I Was Here_, their
11-song, Russ (Eric Clapton) Titelman-produced Reprise Records
debut, hit the nations retail racks in the summer of 1996.
The only problem, it seems, was that the number of Love
In Reverse CDs actually *in* those retail racks appeared to be
somewhere in the virtually non-existent category while the
retail racks themselves were, apparently, few and very far
between.
"I have a few theories," laughs Ferentino when asked
about possible contributors for the less-than-Hootie-like
sales figures garnered by his group's critically-acclaimed
first effort. "If you saw that _Turning Point_ show you know
bad marketing decisions were made. They didn't go to
alternative radio, there was no video, there was *really* bad
distribution - so the record didn't get out to anybody. The
only thing we did right was tour," which, he reasons, normally,
would have been great "except for the fact that anyone who saw
us play live and then went to buy a CD the next day generally
couldn't find one."
"The band and the label," proclaims Ferentino as he
correctly anticipates the next question, "seem to be on the
same sheet of music this time around."
"One thing thats' been a real saving grace for this
group," he offers when it's pointed out that most groups
receive one shot at the brass ring while his outfit not only
got a retry - but their own studio in the process, "because
we haven't sold a whole shitload of records, is the fact that
the fans we do get are real fanatical. I mean *really*
hardcore fans. Love In Reverse is their favorite band kinda
fans. Which has," Ferentino adds thoughtfully, "always been
one of my dreams, actually. A cult. To be more of a cult
thing. Man, If it ever grows beyond that, well - that's just
shit I'm not expecting to happen anyway, so..."
The conversation wanders off on tangents that include
the label's difficulty pigeonholing - and therefore marketing -
LIR's debut ("They had no idea. They were so confused by that
record."); musical influences (the Beatles, Kraftwerk, Cabaret
Voltaire, Prince, Tangerine Dream, Pink Floyd and old German
electronic stuff); life on the road (most of 1997); his
long-time friendship and fruitful creative partnership with
Andres and Dave; and songwriting.
Rumored to have composed well-over 300 songs before
anyone at Reprise knew he or his band existed, the unusually
prolific Ferentino and his freewheeling creative partner, Karu,
are childhood friends who spent most of the late-1980s and
early-1990s as Dog - a deep, dazzling, baffling, moving,
confusing, quirky, confounding, occasionally outrageous,
continuously-mutating outfit that sported a huge sound, an
intense light show (courtesy of unofficial fourth band member
Matt Schmidt), deliberately out-of-sync go go dancers, smoke,
silver sparkles and an ability to play their swirling,
sprawling, edge-of-darkness hum and agitated, atmospheric,
end-of-the-world excursions to 10 people as though they were
performing in front of ten thousand.
Surveying the decaying Jersey club scene one day in the
latter half of 1994, Ferentino and Karu weighed the prospect
of yet another year playing for beer and gas money at the
handful of remaining bars that understood (or pretended to,
anyway) what Dog was all about. It was time, the two friends
decided, for a few changes.
Jettisoning everything but a basic guitar/bass setup,
the duo put in a call to Mr. Reality drummer Dave Halpern and
invited him to join them in their journey to strange new
worlds. Christening the new trio Love In Reverse, the group
wrote, rehearsed and recorded a slew of exciting new songs and
began shopping a demo that eventually wound up in Jon and
Marsha's mailbox at Crazed Management.
Intrigued by what they heard, the Zazulas visited Long
Branch, New Jersey to see the band perform at the Brighton Bar
and were quickly convinced that their initial impression of
Love In Reverse - a major talent in need of a minor push - was
on target.
A call to Reprise Records resulted in a showcase at The
Saint in Asbury Park, New Jersey that was all the label suits
needed to convince them that it was time to take pen out of
pocket. One EP, one CD, one brand new recording studio and a
solid year on the road brings us not only up to date, but to
the trio's brand new 15-song Reprise Records release, _Words
Become Worms_, as well.
"We really got lucky when it was time to make this album,"
Ferentino says with genuine enthusiasm, "they [Reprise], literally,
gave us free reign in the studio. At first, they wanted us to go
back in and do a new record right after _I Was Here_ was done.
The first thing we told them, however, was that we wanted to do
the new album by ourselves. They, much to my surprise, said yes!"
"I was, like, Really?!?" he laughs. "I couldn't believe
it! They told me that they didn't hear that much of a difference
between my demos and the last album, so there was no need,
really, to spend all that money on a producer. I told them I
had a few ideas, you know? And, that, if we could just build
our own studio, we could do the album completely on our own."
"So, instead of them giving us an advance that we'd only
wind up wasting on someone else's time in someone else's
studio," Ferentino reasons as though he still can't quite
believe his own audacity in asking for it, "I said they should
give us the money so we could buy our own studio. We built a
32-track digital studio in Andres' house. We wanted creative
control and that's what we got."
"We all feel really good about this record, you know?. A
lot of it gets back to the feel of our old Dog stuff," he
reflects. "In fact, some of it is old Dog stuff! 'Vast Garden
(North and South)' was originally recorded in 1994 and 'American
Cream' is also a couple of years old."
"The only real concession (if you could call it that!)
we wound up making," he adds when asked about any conditions or
suggestions Reprise may have had for the band, "was on the
first single, 'Load Of Motivation', in that we brought John
Fryer (Nine Inch Nails, Stabbing Westward, Love In Rockets)
in to work on the song with us. Otherwise, we were pretty much
left alone and allowed to do whatever we wanted to do."
"Some of what wound up on _Words Become Words_ was
premeditated. But, a lot of it," he laughs, "well, we went into
the studio not knowing *what* was gonna come out. We tried to
expand things beyond where we've been before, you know, by just
layin' down tracks and fuckin' with 'em until they turned into
something all three of us had heard, ya know - but none of us
had ever really *heard* anywhere else before."
---
REVIEW: Sand Rubies, _Return of the Living Dead_
(San Jacinto Records/Contingency)
- Chris Hill
When a band breaks up, only to return years later, I
expect a new release equal in size to the amount of time the
band's been gone (Hill's Law of Just Repayment for Emotional
Damages and Loss). 1993 saw the last studio album from the Sand
Rubies, their self-titled major label debut on Atlas/Polygram,
which threatened to be both a masterwork and a swan song.
In their earlier incarnation as the Sidewinders, this
band released two prized albums: _Witchdoctor_ and _Auntie
Ramos' Pool Hall_, full of words and music that evoke feelings
of desolation, loss, hope, struggle, love, and victory. Rich
Hopkins' extended guitar notes define the Arizona rock sound
of the late '80s and early '90s for me - he's a guitarist who
produces resonant notes of tangible emotion.
Five years on, _Sand Rubies_ still sounds fresh to me,
and my favorite song on the cd never settles on one choice, but
vacillates with every listen - a personal hallmark of a great
record. Would the new one have this same quality?
Yep. _Return of the Living Dead_ isn't the three cd set
they owe me, but its ten songs are a worthy addition to an
incredible catalog.
"Paper Thin Line" leapt out on the first listen. From the
pounding drums opening the song, I was hooked. Hearing Slutes'
crooning "I know you'll never listen to me/but what you're doing,
well, I have my doubts/I once tried the big city myself/and trash
like us just gets tossed right out" and Rich's wailing guitar
- BAM! I was back in the groove. This song and the revenge
fantasy "Turn off Your Stereo" beg to be singles.
"Undone Again" - this was the next to sink in. A sad
outsider's look at a habit that took over and wrecked a life -
"the money was wired/now there's no smack left in Manhattan" -
it's as chilling as it is enthralling.
"Primevil Love", a live standard for years, hadn't
caught my ear on the '96 _Sand Rubies Live_ cd, but now it's the
song I'm waiting to see them play live - that hypocritical turn of
opinion that makes music such a wonder.
_Return..._ also shows the band stretching out. "The
Loner" is more straightforward rock and roll than previous
recordings, with distorted vocals used to augment the song's
theme. "Cut Me Out" finds them looping the guitar sound
for ambiance. This song also contains my favorite song closure
of '98, but I won't ruin the surprise.
The cd's two covers - Del Shannon's "Stranger in Town"
and Johnny Thunders' "Can't Put Your Arms Around a Memory" - do
justice to the originals, yet I couldn't help but feel a tad
thwarted by two covers in place of two more original songs.
Post-breakup, Hopkins has released a handful of albums
as Rich Hopkins & Luminarios, yet even the finest of these
releases, _El Paso_, somehow misses the Sidewinders/Sand
Rubies vibe.
So, _Return..._ is like a postcard from an old friend.
It's not an eight-page letter filling you in on a separate life,
but it is a hello, a reconnection, and an implied promise of
further, future contact.
For further information on the Sidewinders and Sand Rubies,
check out their label's website at http://www.contingency.com
---
REVIEW: Soundtrack, _54 (Vol. 1 and 2)_ (Tommy Boy)
- Bob Gajarsky
Long ago, in a galaxy far away, the high and mighty -
and those who wanted to be - partied well into the morning hours
at Studio 54. Now, at its 254 54th Street location, the 'studio'
might get more notoriety for lost Seinfeld tourists looking for
'the soup man's shop'. However, that might change - yet again -
with the release of the soundtrack to the film _54_.
Don't be misled by an old motto; for those who hated
disco 20 years ago, time isn't likely to heal the wounds that
this collection could easily reopen. The diva sound, driving
beats, and funky soul are all here. In their full glory.
From classic songs later covered ("I Haven't Stopped
Dancing Yet" by Gonzalez; Thelma Houston's "Don't Leave Me This
Way) to classics covered (the Animals' "Don't Let Me Be
Misunderstood" by Santa Esmeralda); songs sampled for a new
generation of dancehall freaks (Chic's "Dance Dance Dance",
Dan Hartman's "Vertigo / Relight My Fire"), songs still played
today (the S.O.S. Band's "Take Your Time", New York's own
Blondie's "Heart of Glass", Sylvester's "Mighty Real") to a
fine collection of hard-to-get cuts, they're all here. You'll
be hard-pressed to find Brainstorm or Jimmy Horne, now or then,
near the pop charts. However, they - and all the artists
on here represent a feeling, a vibe, a groove which can't be
captured with gold records, or American Bandstand appearances.
From the new material, a cover of "Knock On Wood" hits
the mark, while the "Studio 54" megamix on Volume 1 could relight a
fire for disco the same way that ESPN's "Jock Jams" mix did for
rock. Gordon Lightfoot's country classic "If You Could Read My
Mind" is turned into a Hi-NRG 90s song by Stars on 54 (no
medley with this one, despite the clever inverted group name),
better known as Amber, Jocelyn Enriquez and Ultra Nate.
It would have been so simple to create the 'Best Disco
Album in the World, Ever!', but this soundtrack chooses to focus
on a feel rather than hit singles. In so doing, it helps to
create more of the atmosphere from the late 1970s when disco was
flourishing, as opposed to a wedding dance today. And next time
you're looking for the Soup Kitchen International (it's on 55th
Street), take a walk one block south to check out the place
where it all took place 20 years ago...
---
REVIEW: Ana Voog, _anavoog.com_ (Radiouniverse)
- Jon Steltenpohl
Long before words like electronica and techno were coined,
electronic artists focused more on melody than beats per minute.
Yello, Art of Noise, and the Eurythmics dazzled as much with melody
and composition as they did with grooves and samples. _Anavoog.com_
captures some of that forgotten art. At times, Voog is avante garde
and abstract; at others, she is pulsing and penetrating.
"Beautiful Accident" captures both sounds in one. It
features a bubbling bass line that embraces the melody as well as
the beat. Over it, Voog chants nonsense words along a string of
consciousness: "password, word play, playground, ground hog, hogwash,
wash line, line drive, drive-in, insect, sight see, see-saw, saw dust,
dust pan, pan cake, cake walk, walk on, on rush, rush hour, hour
glass, glass eye." Add to that a dreamy layered chorus of Voog's
little girl voice, and you have a great track.
Likewise, the rest of the album intrigues and excites. There
is a jittery energy to her music that keeps you on edge. Melodies,
sounds, and lyrics appear and disappear for no apparent reason. From
one track to the next, Voog changes characters from artist to diva.
But switching roles isn't anything new to Voog. In a previous life,
her name was Rachael and she had a group called The Blue Up?. (See
the interview at http://www.consumableonline.com/1995/08.19/revblueu.html )
To toss things up on that album, the last track of the CD was the
entire album played backwards.
Today, her life is broadcast to the world at http://www.anacam.com .
Major publications have compared it to a real life Truman show, but the
reality of the site is often hours of dirty clothes, Voog sleeping, and
Voog watching TV. Net geeks with raging hormones may find themselves
waiting for days to catch her changing clothes, but those with an eye
for art will be intrigued and surprised by the galleries of days when
she's used the camera for performance art. Voog paints her body with
swirling lines and puts filters and lenses on her camera to see what
it all looks like.
Simultaneously, Voog is a stunning musician, a skilled
performance artist, and a normal person with a messy room and a mundane
life. In her role as musician, being a solo artist has allowed for
more experimentation. Electronic music suits Voog's unconventional
style very well. She can take a song like "Terrified" and sound somewhat
like Tori Amos or Kate Bush, and then the next minute, offer up the
shimmering electronica of "Hollywood." On other tracks, she recalls
the Eurythmics in the mid 80's. "Ask the Dragon" is a palatable cover
of a Yoko Ono song that is spooky, avante garde, sexy, and completely
accessible. "I Was Waving At You" is a spoken word dream without a clear
beat that easily matches the more experimental songs by The Art of Noise.
And while Voog obviously has her influences, her music is
exquisite and avoids being derivative. Along with producer Bobby Z, she
has crafted unique new soundscapes rather than regurgitating the 35th
iteration of the satellite beep, the techno thump, or whatever the dance
sound of the moment is. There is a myriad of sounds on _anavoog.com_
that have never appeared in electronica before. In fact, Voog uses few
of the devices modern electronica relies upon. Eliminate the constant
bass thump, eliminate the diva with a single catch phrase, and eliminate
the NIN/Ministry ghoul wannabes, and electronica doesn't have much left.
But Voog thrives without any of it. She manages to be vibrant,
engrossing, and abstract while having a completely easy to listen to
sound. _Anavoog.com_ is an album which pleases and surprises after
many listens.
For a interesting video clip of Ana Voog and a few song samples,
visit http://www.anavoog.com ;the streaming Real Video and Real Audio
on this site is high quality.
---
REVIEW: Soundtrack, _Henry Fool_ (Echostatic)
- Chelsea Spear
Filmmaker Hal Hartley has an undeniable ear for music.
His background as a musician comes through with the pacing and
symphonic arrangements in his intuitive epics, and his movies are
overstuffed with an impeccable array of music, from the icy,
dreamy score and Greek chorus of pop songs found in _Amateur_ to
the bizarre adaptation of European pop in _Flirt_. For his latest
film, _Henry Fool_, Hartley has assembled a crack team of previous
musical collaborators, including superb singer/songwriters Hub
Moore (interviewed in the July 17th issue of _Consumable_) and
Lydia Kavanaugh, drummer Bill Dobrow, and keyboardist Jim Coleman.
Like the film from whence the music comes, _Henry Fool_ is
a sprawling mass of ideas and musical styles, some of which work
wonderfully, and some of which are harsh and dischordant. Unlike
his previous scores, listening to much of this outside the context
of the film is unreccomended. Two of the previous incidential
music collections, _Music from the Films of Hal Hartley_ and
_Flirt_, were beautiful and poignant in their minimalist melodies,
and hearing those segments of scores was what actually piqued my
interest in his movies. _Henry Fool_, on the other hand, contains
some music that is ugly and well-nigh impossible to listen to,
such as the industrial-sounding cues that set an angry or violent
mood within the film. Listening to them on the CD, without the
context of the images and words, the songs are annoying. They're
especially frustrating when surrounded by the pure beauty and
sweet melodies of some sound cues surrounding them, such as the
Prokofiev-inspired bounce of "Henry Fool's Theme" and the plodding
funeral march of "The Mother's Death". Especially frustrating are
the songs to which Lydia Kavanaugh lends her voice. "Not Me" in
particular shreds my nerves, since her etherial voice does not
blend well with the whipcrack percussion, slashing guitars, and
careening anti-melody.
The best reason for the non-Hartley completist to purchase
this score is Hub Moore's two contributions as vocalist and
lyricist. "If I Could" in particular is a poignant cry of positive
change to a former lover, aided by Moore's urgent vocal and the
desperate slide of the melody brings out another side of his music,
a cathartic, Bob Mould-esque angle that his dreamy solo debut was
lacking. If _HUB_ was his _Lunapark_, then I can't wait to hear
his _Copper Blue_.
---
REVIEW: Language, _Language_ (T21 Records)
- Linda Scott
South Carolina is not known as a hotbed for up and coming
bands. If you start anywhere in the South, you have to work unusually
hard to get known beyond the region. Southern rock is an accepted
genre that is even sought after by those national labels, but
musicians working with other styles push hard for recognition.
Language is a melodic pop band out of South Carolina that's hoping
to build a strong regional base but ultimately make the leap to a
national setting. Built on the base of the now defunct band, The
Revolvers, the band's mainstay is William Bates. Bates is the
singer/songwriter, guitarist and bassist on _Language_. Next in the
Language trio is Joe Jogodka on drums, percussion and electronica.
Renee Goforth, an orchestral veteran, handles the string arrangements.
_Language_ has 14 tracks full of heartfelt emotions and
romance. The style of the songs is much like Sting's or a softer
McCartney, the kind of album you could play during a candlelight
dinner. The lyrics are gentle and the music never overwhelms them.
Bates has a clear, strong voice, and he gives each of his songs the
effort and phrasing it deserves. Goforth's arrangements provide
support and accents. Especially likeable are these tracks: "Tell
Me How You Want Me" (lead-off track), "I Don't Want To Hurt You"
(probably the catchiest tune on the album), and the final track
"Dusk".
The Language trio is getting out their first album, but the
band's experience level is high. Bates and Jogodka were both in The
Revolvers and several other bands while Goforth performed with the
Atlanta Pops and the San Antonio Symphony. The talent is definitely
there. _Langauage_ is the first demonstration of their work
together, and we'll likely be seeing more from them. Keep track of
this new band at their web site: http://www.mindspring.com/~t21music
---
REVIEW: Various Artists, _Late Night Beats_ (Music Club)
- Franklin Johnson
Here it comes. The future of club music, the way it was
meant to be, in the wee morning hours. Too bad most people will
never get to hear it live in a club.
For those folks, Music Club's _Late Night Beats_ offers
the perfect solution. No need to stay out til the wee morning
hours, this collection of underground club sounds from 1996 to
the present gives you the lighter than trip-hop blips, beats and
feel of the new keyboard generation.
I can't help thinking of the KLF's classic ambient _Chill
Out_ while listening to this collection, and I'm sure you will as
well. John Beltran's seven-and-a-half minute epic "Gutaris Breeze"
is a perfect example of this ambient trance.
Subtitled "The Post-Club Sound of Britain", this aptly sums up
the feeling which permeates this little round object. While not
a 12" piece of vinyl, we'll excuse Music Club for this minor
technicality and revel in the 4 am Brit-club atmosphere, coming
down from the E-high of the last few hours.
ARTIST LISTING: Doris Days, Kushti, Pnu Riff, Modaji,
Jimi Tenor, John Beltran, Back 2 Earth, Receiver, Crazy Penis,
Bim Sherman, Plaid
---
REVIEW: Pissing Razors, _Pissing Razors_ (F.A.D. Records)
- Paul Hanson
Known for aggressive music, Texas makes another stab at
being declared a hostile state. From Pantera to Skatenigs,
from Miss Universe to Sufferance, from Frognot to Helen's Ready,
Texas is one moshing musical state. The latest mosh pit entrant
is Pissing Razors.
In the same vein as Pantera and Sufferance, P.R. explode
into "Dodging Bullets." Vocalist Joe Rodriquez is confrontational
and in your face as he explains, "Made it thru the day, I didn't
kill myself/ My gun was loaded, I'll point it at someone else/
I'll pull the trigger cause I'm not really sane/ I'm a mortal
man, gotta stake my claim."
And what a claim it is! Ferocious guitar and double
bass interplay extract images of a damn good metal band cutting
loose the shackles of a Slayer mosh pit. Add their recent
European tour with Pro-Pain and you get the makings of a
soon-to-be veteran band. As song titles like "Tortured," "Life
of a Lunatic," and "World of Deceit" imply, P.R. is a band
peeved at the world. Thankfully, that aggressiveness and
hostility has been translated into excellent heavy metal.
For further information, check out http://www.noiserecords.com
---
NEWS: > Fans of Polly Jean Harvey will be happy that a
website dedicated to the singer, located at http://pjh.org ,
is now working closer with her management as well as Island
Records, and has plans to deliver numerous 'latest and hottest'
information to all PJ Harvey fans. Further information is
available at the website or at info@pjh.org
---
TOUR DATES:
Tori Amos / Devlins
Aug. 17-18 Atlanta, GA Chastain Park Amphitheatre
Aug. 19 Orlando, FL Univ. Of Central Florida
Aug. 21-22 Sunrise, FL Sunrise Musical Theatre
Aug. 23 Tampa, FL USF Sun Dome
Aug. 25 Nashville, TN Grand Ole Opry
Bauhaus
Aug. 17-18 San Francisco, CA Warfield
Aug. 20 San Diego, CA Golden Hall
Aug. 21 Las Vegas, NV Joint
Aug. 24 Denver, CO Mammoth Events Center
Beastie Boys
Aug. 16 Montreal, QUE Molson Center
Aug. 18 Detroit, MI Palace of Auburn Hills
Aug. 20 Philadelphia, PA Core States Center
Aug. 21 New York, NY Madison Square Garden
Aug. 22 East Rutherford, NJ Continental Airlines Arena
Aug. 24 Uniondale, NY Nassau Coliseum
Aug. 25 Worcester, MA Worcester Centrum
Blink 182
Aug. 17 Chicago, IL House of Blues
Aug. 18 Minneapolis, MN Quest Club
Aug. 19 Milwaukee, WI Rave Ballroom
Aug. 20 Cincinnati, OH Bogart's
Aug. 21 Columbus, OH Newport Music
Aug. 22 Pittsburgh, PA Metropol
Aug. 23 Cleveland, OH Odeon Concert Club
Blue Oyster Cult
Aug. 16 El Paso, TX Summerfest @ Fort Bliss
Aug. 21 Pittsburgh, PA Wings Cook-Off Music Festival @ I.C. Light Amphitheatre
Aug. 23 Ft. Lauderdale, FL Summer Jam '98 @ Ft. Lauderdale South Beach Park
Chocolate Genius
Aug. 19 Chicago, IL Schubas
Aug. 21 Minneapolis, MN Zoo
Aug. 22 Chicago, IL Metro
Aug. 23 Detroit, MI State Theater
Culture Club / Human League / Howard Jones
Aug. 16 West Allis, WI Wisc. State Fair-Central Park
Aug. 18 Nashville, TN Starwood Amphitheater
Dakota Moon
Aug. 16 Irving, TX Irving Mall
Aug. 18 N. Little Rock, AR Mccain Mall Shopping Center
Aug. 19 Wichita, KS Town West Square Mall
Aug. 20 St. Louis, MO St. Louis Center
Aug. 21 Omaha, NE Crossroads Mall
Aug. 22 Flint, MI WWCK - Radio Show
Dream Theatre / Deep Purple / Emerson, Lake and Palmer
Aug. 17 Quebec, Canada L'Agora
Aug. 18 Montreal, Canada Molson Ctr.
Aug. 19 Toronto, Canada Molson Amph.
Aug. 21 Cuyahoga Falls, OH Blossom Music Center
Aug. 22 Tinley Park, IL World Music Theater
Aug. 23 Hinckley, MN Grand Casino Amph.
Aug. 24 Milwaukee, WI Marcus Amph.
Flick
Aug. 17 Kansas City, MO The Grand Emporium
Aug. 18 Sedalia, MO Seventh Heaven
Aug. 20 Little Rock, AR Smitty's
Aug. 22 Kansas City, MO New Earth Coffee Shop
Aug. 23 Nashville, TN Third And
Front 242
Aug. 17 Cleveland, OH Odeon
Aug. 19-20 Chicago, IL Cabaret Metro
Aug. 21 Minneapolis, MN Quest Club
Nanci Griffith (Newport Folk Festival)
Aug. 16 Columbia, MD Merriweather Post Pav.
Aug. 20 Noblesville, IN Deer Creek
Aug. 21 Tinley Park, IL World Music Ctr.
Aug. 22 Clarkston, MI Pine Knob
Aug. 23 Burgettstown, PA Star Lake
HORDE Tour (Blues Traveler, Barenaked Ladies, Alana
Davis, Ben Harper, and many others)
Aug. 16 Atlanta, GA Georgia Int'l Horse Park
Aug. 18 West Palm Beach, FL Coral Sky Amphitheater
Aug. 19 Live Oak, FL Suwanee Park
Aug. 20 Birmingham, AL Oak Mountain Amph.
Aug. 22 Austin, TX South Park Meadows
Aug. 23 Dallas, TX Starplex Amph.
Aug. 25 Phoenix, AZ Desert Sky Pav.
Irving Plaza (http://www.irvingplaza.com - New York concert hall)
Aug. 19 My Life With The Thrill Kill Kult
Aug. 20-21 Guster
K's Choice
Aug. 15 Philadelphia, PA Theater of Living Arts
Aug. 17 Washington, DC 9:30 Club
Aug. 18 New York, NY Shine
Aug. 19 Hampton, VA Mill Point Park
Paul Kelly
Aug. 16 Washington, DC Metro Cafe
Aug. 17 Annapolis, MD Ram's Head Tavern
Aug. 18 Cambridge, MA Kendall Cafe
Aug. 19 Northampton, MA Iron Horse
Aug. 20 New York, NY Mercury Lounge
Aug. 22 Los Angeles, CA Largo
Lilith Fair Tour
Aug. 15-16 Toronto, ON Molson Amph.
Aug. 17 Buffalo, NY Darien Lake Perf. Arts Ctr.
Aug. 19-20 Milwaukee, WI Marcus Amph.
Aug. 21 Minneapolis, MN Canterbury Park
Aug. 23 Denver, CO Fiddler's Green
One Minute Silence
Aug. 18 New York, NY Coney Island High
Aug. 21 Jackson Hts, NY Castle Heights
Aug. 22 Uxbridge, MA Serendippity's
Aug. 23 Elmira, NY Chuck Clarks
Aug. 24 New York, NY Coney Island High
Phish
Aug. 15-16 Limestone, ME Lemonwheel
Bonnie Raitt / Jackson Browne
Aug. 24 Lenox, MA Tanglewood Music Theater
Smokin' Groovies Tour (Public Enemy, Cypress Hill,
Wyclef Jean, Busta Rhymes, Gangstarr and more).
Aug. 16 Concord, CA Concord Pav.
Aug. 18 Seattle, WA Key Arena
Aug. 21 Minneapolis, MN Target Center
Aug. 22 St. Louis, MO Riverport Amp.
Aug. 23 Noblesville, IN Deer Creek Music Ctr.
Superdrag
Aug. 16 Sacramento, CA Harlows
Aug. 17 Santa Cruz, CA Palookaville
Aug. 18 San Francisco, CA Slim's
Aug. 20 Santa Barbara, CA Coach House
Aug. 21 W. Hollywood, CA Troubadour
Aug. 22 San Diego, CA Brick by Brick
Vast
Aug. 16 Cincinnati, OH Bogart's
Aug. 18 Toronto, Canada Horseshoe Tavern
Aug. 20 Portland, ME Asylum
Aug. 21 Boston, MA Middle East
Aug. 22 Providence, RI The Met Cafe
Aug. 24 Philadelphia, PA Nick's
Aug. 25 New York, NY Elbo Room
Verve
Aug. 17 Seattle, WA Mercer Arena
Wilco
Aug. 16 Washington, DC Nissan Pavilion
Aug. 20 Indianapolis, IN Deer Creek
Aug. 21 Chicago, IL The World
Aug. 22 Detroit, MI Pine Knob
Aug. 23 Pittsburgh, PA Star Lake
---
Founded in August, 1993, Consumable Online is the oldest
music reviews publication on the Internet.
To get back issues of Consumable, check out:
WWW: http://www.consumableonline.com
(Delphi) Music Fandom forum; GO ENT MUSIC
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Address any written correspondence to Bob Gajarsky, Consumable Online,
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===