== ISSUE 201 ==== CONSUMABLE ONLINE ======== [Feburary 24, 2000] Editor: Bob Gajarsky E-mail: editor@consumableonline.com Managing Editor: Lang Whitaker Sr. Correspondents: Daniel Aloi, Joann Ball, Chris Hill, Bill Holmes, Tim Kennedy, Jon Steltenpohl Correspondents: Michelle Aguilar, Paul Andersen, Christina Apeles, Niles J. Baranowski, Jason Cahill, Matthew Carlin, John Davidson, Andrew Duncan, Krisjanis Gale, Jade Hughes, Paul Hanson, Eric Hsu, Scott Hudson, Steve Kandell, Dave Kemper, Reto Koradi, Robin Lapid, Wes Long, I.K. MacLeod, Wilson Neate, Mike Pfeiffer, Linda Scott, Don Share, Scott Slonaker, Kerwin So, Chelsea Spear, Michael Van Gorden, Simon West Technical Staff: Chris Candreva, David Landgren, 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. ================================================================== .------------. | Contents | `------------' REVIEW: Oasis, _Standing On The Shoulder Of Giants_ Bob Gajarsky REVIEW: Morphine, _The Night_ - Matthew Carlin REVIEW: William Orbit, _Pieces in a Modern Style_ - Chris Hill REVIEW: The Rockfords, _2000_ - Scott Hudson INTERVIEW: Blue Man Group (Part 2), _Audio_ - Chris Hill REVIEW: Bernard Butler, _Friends and Lovers_ - Wilson Neate REVIEW: Kelis, _Kaleidoscope_ - Joann D. Ball REVIEW: Dinosaur Jr., _BBC In Session_ - Kerwin So REVIEW: Enon, _Believo!_ - Matthew Carlin REVIEW: Sweet Water, _Suicide_ - Chris Hill REVIEW: Super Chikan, _What You See_ - Dave Kemper REVIEW: Woolworthy, _Sweet Second Place_ - Steve Kandell REVIEW: Various Artists, _Electronic Tribute to Pink Floyd_ - Wilson Neate REVIEW: Tommy Womack, _Stubborn_ - Bill Holmes TOUR DATES: Frank Black and the Catholics, Chris Cornell, Phil Coulter, Cracker, Robert Cray, Dismemberment Plan, Gomez, Guster, Ben Harper & Innocent Criminals, Richie Hawtin, Korn, Machine Head, Morrissey / Sheila Divine, Powerman 5000, Pretenders, Seely, Stroke 9, Lit / 22 Jacks Back Issues of Consumable --- REVIEW: Oasis, _Standing On The Shoulder Of Giants_ (Epic) - Bob Gajarsky Guigsy's gone. Bonehead's gone. What's a band to do? Fortunately for Oasis fans, the Gallaghers - lead vocalist Liam and main songwriter Noel - are still here. Cue the entrance of Andy Bell (formerly with Ride and Hurricane #1) and Gem Archer (formerly of Heavy Stereo) along with drummer Alan White, and Oasis is back up to their traditional five-piece lineup. The Gallaghers are in complete control, as if there was ever any doubt. And whilst Noel and Liam have 'grown up' with proper families, conducted any well-documented fights outside the view of the media and dropped the drug requests from the unofficial riders, The one unifying factor in both brothers lives - music - has returned front and center on the new album. And this time around, Noel's modified the formula a bit. There are plenty of obvious musical references here, but he chooses to gently veer from a safer, blander direction (_Be Here Now_) and wander down a more risky path. "Fuckin' In The Bushes" opens up _Standing_, and marks the greatest departure from any 'traditional' Oasis tunes. Closer to early Led Zeppelin blues, not unlike the direction John Squire and the Stone Roses were trying to take on their _Second Coming_ disc, "Bushes" only lasts for a little more than three minutes. But the fact that Oasis lead off _Standing_ with this unusual instrumental is more significant than the actual song. For the most part, the songs on _Standing_ reflect the psychedlic age the Beatles went through. First single "Go Let It Out" takes a swirling feel with tosses towards "Strawberry Fields Forever" and Oasis' own "D'You Know What I Mean?", and even includes 'elements' from (not quite a sample, but influenced by) Johnny Jenkins' "I Walk On Gilded Splinters". The drifty music benefits from the production and engineering collaborations of Mark Stent. With production credits including Madonna, Bjork, and Massive Attack on his resume, there should be little surprise that the Gallaghers are trying to get closer to the Chemical Brothers audience than before. For the first time, Noel Gallagher says, "I was working with someone who understood club culture, who could get the sounds heard on dance records and apply them to an Oasis album." Nowhere is this more apparent than on the album's second single, "Who Feels Love?" Sandwiched somewhere in between the Beatles' "Within You, Without You," "Lucy In The Sky With Diamonds" and "Tomorrow Never Knows," a good remix of this track could prove to be Oasis' entry into the late night dance clubs. Liam Gallagher's first attempt at writing, "Hey James", is Oasis' answer to "Hey Jude". Though not a timeless classic, this slow track displays a tender human side of the often broody, arrogrant lead singer. And just when the song keeps teasing that there will be a "Na na na na" ending, Liam mimics - in a different key, and slightly different pace - that of the Beatles' original. Just as brother Noel, Liam makes no effort to hide his influences. Other key tracks includes "Put Your Money Where Your Mouth Is" - which owes just a wee bit of debt to the Doors, even going so far as to steal the lyrical phrase "put your hands upon the wheel", and "Where Did It All Go Wrong" which amalgamates some recent Dad-rock Weller with heavier guitars, and resides on the same library shelf as _Morning Glory_'s "Cast No Shadow". Despite all these classic rock influences, it appears that Noel Gallagher is no longer content to play things safe (as he did on _Be Here Now_), and wants to establish Oasis as a long-term player in the music industry. "It (_Standing On The Shoulder Of Giants_) goes about a third of the way," Noel declares, "to where I want to be with the band in about five years." It will definitely be interesting to see where the Gallagher brothers - and Oasis - ultimately arrive. --- REVIEW: Morphine, _The Night_ (Dreamworks) - Matthew Carlin The late Mark Sandman could do no wrong by me. Ever since I first saw him perform with Morphine at the South Street Seaport in New York for the Knitting Factory's What is Jazz? Festival several years ago, he was the coolest rocker in my book of rockers. With tight black pants and a bright red button down shirt, a puffy bird's nest of hair, that wry but affable stage demeanor and his unforgettable low voice, this man was exactly what you wanted in a rock star. Then when I started checking out the albums I realized this guy was also one hell of a musician. With Sandman absolutely possessing his own style of songwriting, not to mention his 2-string slide bass and strategically employed taxi dispatcher microphone, Morphine were always truly "alternative" to me, back when the term was still in use. _The Night_, though it's being hyped as a complete departure for the world's foremost low-rock band, follows the logical path set with _Like Swimming_ from 1997. Expanding on that album's more adventurous instrumentation and atmospheric sounds, _The Night_ is indeed Sandman's opus, but then again, virtually every new album was his opus. Also expanded are the song lengths. Where in the past Sandman limited some of his catchiest tunes to the two to three minute range, all of the songs on _The Night_ take their time to develop for four or five. Opening with the slowly swinging title track, the new album starts out dark, somber and very much Morphine. Dana Colley blows some breathy baritone sax lines while drummer Billy Conway plays with the understated taste he is the master of. Augmented by the cocktail drum of Morphine's first skins man Jerome Deupree and the expert cello playing of the ubiquitous Jane Scarpantoni (the Lounge Lizards, Sheryl Crow, Ben Folds Five, Bob Mould, R.E.M.), the wider scope of this production is immediately apparent. "Souvenir" is Morphine's low-rock at its lowest, sonically speaking. Sandman's bass strings sound like they must be tuned down to the point of flapping in the wind. The haunting, single-note piano lines make distinctly Sandman lines like "I remember meeting you, we were super low/Surrounded by the sounds of saxophones" and "If I can only remember the name that's enough for me/Cause names hold the key, names hold the key/Souvenir of nothing," all the more poignant. Along with the cool, dark tunes, Morphine always served up some of the niftiest party tunes (remember "Honey White") with fun lyrics and very happening sax lines. "Top Floor, Bottom Buzzer" follows this tradition, with the addition of John Medeski's extra warm and funky Hammond organ. Meanwhile, "Rope on Fire" finds Morphine exploring Middle Eastern territory with exotic percussion, oud and a three piece string section with bowed bass, viola and cello. Morphine probably won't win any new fans or break into the radio again with _The Night_, but the old fans are surely left with a suitable trinket from the coolest man in rock and roll. --- REVIEW: William Orbit, _Pieces in a Modern Style_ (Maverick) - Chris Hill The melding of classical music with the synthesizer began memorably with Wendy Carlos' _Switched On Bach_: the "Chopsticks" drilled adult standing proudly over the keyboard and urging these two cousins to kiss. Grammy-winning musician/producer William Orbit now successfully joins the list of those with similar matrimonial urges. Eleven tracks chosen from nine composers (Orbit opts for two pieces each from Henryk Gorecki and Ludwig van Beethoven), _Pieces..._ is serene and contemplative. Orbit's said as much in his interviews. This is an album best appreciated privately, late at night, with headphones, as an exercise in meditation. Start to finish, a gentle peace reigns. Mascagni's "Intermezzo from Cavalleria Rusticana" is childlike and toddling, all wide-eyed innocence, as is "In a Landscape," by minimalist John Cage. The lullaby ambience of Ravel's "Pavane pour une Infante Defunte," the processional drama of Handel's "Largo from Xerxes," the measured playfulness of Vivaldi's "L'Inverno" ("Winter" from _The Four Seasons_): without exception, each track is pure splendor and delightfully rendered by Orbit. Though each piece is adapted with proper respect, there's room for fun and games. Phased notes and windchimes dance around each other on Beethoven's "Triple Concerto" and a helicopter flies across the sonic horizon in Erik Satie's "Ogives Number 1." Given the sublime pacing of the full album, it's laudable that Orbit allowed Perry Forsten (and German DJ ATB) to amp up his take on Samuel Barber's "Adagio for Strings." The Forsten remix, which allows the Orbit version only the calm of the hurricane's eye at the center of the remix, is currently topping the UK charts. Perhaps morphing Barber to techno speed didn't fit Orbit's inclination or vision -- either explanation, the dance mixes are an excellent way to garner notice for a disc that deserves all the sales attention it can find. (As a bonus, the two remixes are available with the US CD release.) Allow _Pieces..._ to slip around your consciousness like mercury, from the initial, instantly recognizable "Adagio for Strings" to the setting sunset of Beethoven's "Opus 132." You won't be disappointed. --- REVIEW: The Rockfords, _2000_ (Epic/Sony) - Scott Hudson Pearl Jam guitarist Mike McCready is certainly no stranger to side projects. In 1995, he collaborated with Alice In Chains front man Layne Staley and Screaming Trees drummer Barrett Martin to form Mad Season. The result was their semi-successful debut record, _Above_, that yielded the radio hit "River of Deceit." For McCready's latest project, The Rockfords, he teams up with members of Goodness (Carrie Akre, Chris Friel and Danny Newcomb) and Jodie Watts (Rick Friel). For the Friel brothers, McCready and Newcomb, it's a grand reunion of sorts. The four share a musical relationship and personal friendship that goes back more than twenty years. As twelve year-olds they formed their first band, Warrior. In '82, they added vocalist Rob Webber and changed their name to Shadow. Shadow would last another six years, disbanding in '88 without ever releasing a record. However, it was McCready's attendance at a Goodness show on New Year's Eve, 1997, that fueled his desire, not only reunite with his buddies, but to work with a female vocalist. Enter Carrie Akre. The Rockfords' debut release, _2000_, is an exceptional rock record, complete with memorable melodies, propulsive rhythms and great ripping guitar work. But it's Akre's vocals that bring the music to life. Akre's vocal prowess can only be described as a combination of Geddy Lee (Rush), Andy Sturmer (Jellyfish), Gwen Stefani (No Doubt) and Melissa Etheridge. This gal is amazing! Songs like "Adelaide," "This Life" and "Flashes," will most certainly attest to her laryngellic power. On "Silver Lining" and "Distress," Akre displays her sultry side, which is a perfect compliment to McCready and Newcomb's lush, laid-back guitar lines, while "Coat of Arms" with its infectious, upbeat chorus is a hit-in-waiting. The record also features a guest appearance by Heart guitarist Nancy Wilson, who co-wrote (with McCready) and sings lead on the dark and haunting, "Riverwide." While most side projects come across as lame and uninspired exercises in futility, this is one that worked. But with no tour plans, no videos and no hype to support _2000_, it probably won't be racing up the charts. But it is most certainly worthy of major accolades, and they'll most certainly get it here! --- INTERVIEW: Blue Man Group, _Audio_ (Virgin) - Chris Hill {This is part 2 of the interview. Part 1 appeared in the February 15 issue - #200 - of Consumable Online.} CO: Seems you begun the Blue Man Group as a piece of art criticism. Since you've been doing this for more than a decade, what sort of new things have you been bringing into the show? BMG: That's a good question. A lot of our material comes from whatever kind of gigs that we're doing at the time. The art stuff happened, I think, when we were doing some of these galleries and new museums down in Soho in New York, and we had some fun knowing that the people in the audience would get a sophisticated art reference. We also had fun biting the hand that was feeding us by kind of making fun of them, but knowing that they were sort of masochistic and would actually like being made fun of. CO: That sounds like New York. BMG: Yeah, exactly. (laughter) So then we moved on, opened up at the Astor Place Theatre and "Tubes" solidified, but we started doing a couple of outside gigs. And one of the ones we did was the Interactive Media Festival, in the mid-90's. I guess they were calling it "Interactive" - it was a little bit before the web had really taken off. But there were a couple of things like that: the Utne Reader had a kind of big salon vision fest, and the Interactive Media Festival, and another computer related event. So, for those we did a couple of pieces that dealt with technology...the equivalent of what we were doing in the art world. We were making fun of them a little bit, but we were also taking advantage of the fact that we could make certain jokes that we knew that they would get. It's a love/hate thing. Our show is a send-up of conceptual art and a celebration of it at the same time. We make sure we keep ourselves honest. We're making fun of performance art, but we're also doing it. And similarly, we were making fun of some of the claims of technology, but we were also using it to cool ends at the same time. The common thing, I think, with them, was to dance around the question of "Where's the room for humanity in it?" "Where's the room for human emotion?" And "Where's the room for the human body when things are becoming increasingly more technical and technological?" And then, I think after that, we did a couple of rock and roll gigs. We did the New Music Seminar. So we did a little bit of Blue Men's Take on the Rock World, 'cause that's easy to make fun of. You want to kind of get in there, and have some fun, but also...you want to rock! The making of _Audio_ was the culmination of that experiment. You know, why aren't people being more creative with their instruments? Why is every band playing guitar, bass, drums in the background. You have two guitars, a couple people are spinning records, a couple people here and there playing cheesy synthesizers, but basically, what happened to the innovation with the instruments? So we took that "not being satisfied" energy into the rock world. We didn't want to create an album that was esoteric and typical performance-y, or microtonal music, or whatever. We wanted to make a ROCK album. We don't have vocals, that's just the way it is, but we wanted to make songs with the electric guitar, with some familiar sounds, but mixing in some of these other tambres. And for some people, I'm sure it's not weird ENOUGH... But for us, those same people probably didn't like the Sex Pistols when they came out. For us, it's an energy and a blend of naivete and exuberance AND intelligence that we go for, and so that's been a very satisfying process. But then, to really feel like I've answered your question, as soon as the album was done, we felt "Wow! That was cool, we really did our rock thing." We're going to keep doing that. But now that we've gotten that out of our system, let's take a moment and go back into the vaudeville empty room, and see if we can entertain people with nothing more than the relationship between these three characters. And so we've kind of gone back to some of our acting roots in the last few months, getting ready for this show, because we wanted to make sure that as great as the music's gonna be, we wanted the character work to be as big, or more important than the props. We didn't want to have it be an evening of spectacle. Not that rock music is only spectacle, but we wanted to make sure that we had done our homework, where we're in front of an audience, and it's the three of us, that relationship, and nothing else. Just our wits and our improv and maybe a few props. We wanted to get back to that dimension. CO: So as far as acting, is there any progression in the characters when they're doing their stage show? Or are they just pretty much reacting to the environment and playing the instruments? BMG: I think there is a progression. I think the Blue Man enters the environment not entirely sure of the surrounding, and it doesn't go straight to "now I play you a song". The Blue Man is thinking on his feet, the character is figuring out what to do, what would be appropriate, how to wrestle this audience from an intellectual state to a visceral state. In a very basic sense, the Blue Men're trying to figure out how to get the audience to be ready to rock. And they're NOT, they're not sure how. They have no idea at the beginning, if it's even going to work. They're not sure what the other characters, other Blue Men, are going to do. So that's where the character comes in. There's little bits of mishaps and so on, but by the end, they're pretty much in step with each other, and they've taken the audience, perhaps, to a new level. CO: All right. Hey, I've checked out your site, and it's brilliant. [ http://www.blueman.com/ ] BMG: Oh, great. Thank you so much. CO: I think I particularly like the Forrest Gump/Blue Man Group in the art world... BMG: Oh, yeah, yeah. I wonder if anyone's read that. Or if they've even gotten it. We haven't gotten any feedback about that. CO: Seriously!? BMG: No one talks to us about that. You know, it wasn't easy to write that. It took us a little time. I don't think anyone's read it! We have a piece in the show that we call "Klein", and...oh, you haven't seen the show, right? CO: No, but I'd like to. BMG: Well, Yves Klein made two kinds of paintings, basically. He made the blue monochrome. He made sponge reliefs, blue, but it was always that same color, which we've tried to match. He also would paint people's bodies, or rub paints...have them roll in paint, and then he'd press them against canvasses. We have a send-up/tribute to one of those paintings in our show. It's a lot of fun, it's a real lot of fun. And we never imagined that it was going to have the kind of reaction that it did. Yves Klein's widow - because Yves died at a very young age, his heart just literally exploded - his widow came to our show. We spoke to her in the lobby afterwards, and she said that Yves was there. He was in the theatre with us and he was very pleased. CO: That's pretty powerful. BMG: Isn't that amazing? It was cool. At that point, after a second warning to get to the stage, the BMG had to cut the interview short, taking their energy and enthusiasm back to their Vegas show installation. I was left with a high that lasted for days, and a desire to see for myself the visual production which inspired _Audio_. --- REVIEW: Bernard Butler, _Friends and Lovers_ (Sony/Columbia) - Wilson Neate In 1994 after parting company with Suede, Butler ( http://BernardButler.com ) took some time to regroup. Over the next few years his most substantial outing was a collaboration with David McAlmont -- _The Sound of McAlmont and Butler_ -- that spawned a couple of UK hits. Additionally, he contributed his guitar virtuosity to works by a diverse cast of characters including Eno, Tim Booth and Angelo Badalamenti, Aimee Mann, Edwyn Collins, and Neneh Cherry. On top of that, Butler turned in live guest spots with the Manics, Paul Weller, The Cranberries and Sparks, among others. All in all, it seemed he was content to do the rounds as a coveted session musician. Still, by late-1997, with no solo release, cynics grumbled that the man once hailed as the greatest guitarist of his generation was having trouble finding his solo feet. Worse still, it was suggested in some quarters that he was headed down the same path as other noted British guitarist/songwriters, who -- once deprived of the unique synergy of a band context -- haven't managed to fulfill their potential or replicate past glories. The disturbing historical precedents that came to mind were John Squire and Johnny Marr, both of whom have -- arguably -- struggled to find or create new contexts for their talent. But when Bernard Butler released _People Move On_ in 1998, it was evident that he was still very much a contender. _People Move On_ was a big album running the gamut of slow, simple, introspective fare, stirring orchestral arrangements, and unabashedly grandiose -- but tastefully placed -- rock guitar antics, the likes of which hadn't sounded so good for ages. Not only was Butler back in the spotlight but he was writing, playing most of the music, and singing to boot; as a vocalist he proved he could carry a tune remarkably well, his fragile vocals tucked into the multi-layered folds of the music. So does the second album pass muster? Indeed it does, and with flying colors. On _Friends and Lovers_ Butler emerges as the frontman of a group and that's crucial to the equation here. He's found a context with his tried and tested touring band who play on this outing and you get the sense that he's really in his element at last, self-assured enough to scale back and strip down the production so as to show off his talent. Here, he trades in the orchestral numbers, the layers of instrumentation and the big production for straight-ahead, no-nonsense, guitar-based, riff-centred fare in the spirit of Oasis (but infinitely more classy), rich in melodies and harmonies, often with Terry Miles's perfectly integrated keyboards. But the outstanding aspect of this record is Butler's vocal performance. He fronts most of the tunes with a stronger voice, full of character, confidence and range. Whether it's almost unaccompanied on slower, introspective numbers such as "Everyone I Know is Falling Apart" or gleefully leading the charge on tunes like "What Happened to Me," it's wholly effective. As Butler commented recently, on this album, "[w]hatever people are getting out of my guitar playing, I wanted them to get out of my voice." _Friends and Lovers_ certainly succeeds on that count. From the outset, with its punchy, upbeat, Bolan-esque title track, _Friends and Lovers_ is replete with standouts. The first single is "I'd Do it Again if I Could," a thumping keyboard-driven romp polished off with addictive harmonies. "You Must Go On" is another tasty chunk of rock, brimming with piano and jubilant guitar. Although this is apparently a very personal track, both lyrically and musically it's guaranteed to raise the spirits of all but the most jaded listener. Then there's "What Happened to Me," a bubblegum pop-rock thumper with more catchy harmonies. With the right video it could be massive. Less direct -- but no less successful -- is "Cocoon," a dense, melodic, mid-tempo number, broken up halfway with some gear-shifting guitar work that momentarily slows the proceedings down and then eases everything back up to (medium) speed again. "No Easy Way Out" is similarly paced, this time in the spirit of mid-'70s Stones ballads. It sets out as a modest acoustic piece but Butler works it up into a swelling, majestic number, his vocals standing out over the burgeoning instrumentation. While the subtle crest and trough of Butler's singing flawlessly presides over the warm and optimistic, but slower, "Smile," the sparse "Everyone I Know Is Falling Apart" _really_ showcases his vocal abilities. On this one his vocals almost aren't there but they still manage to lull the echoing guitar and gospel keyboards through to the song's conclusion. However, Bernard Butler keeps the best until last, or next to last. At more than eight minutes, "Has Your Mind Got Away?" is an edgy pop epic. Starting with a nod to Zeppelin's "No Quarter," the track rises, falls, drifts and coalesces into moments of intensity: the swimming texture is occasionally pierced by stabbing guitars and tough -- almost sneering -- departures from Butler's initial vocal lilt. Butler sticks a fine solo in on the other side of a mid-track plateau and eventually transforms the song into a Pink Floyd-esque slice of atmospheric, floating pop psychedelia. Often on _Friends and Lovers_ you recognize that the music is deeply allusive but it's never a case of simple, reducible citations. That's a testament to Butler's songwriting skills as, even in the context of the paired-down approach on this CD, he manages to craft a complex and evocative sound that gets bigger and better with each listening. --- REVIEW: Kelis, _Kaleidoscope_ (Virgin) - Joann D. Ball "Caught Out There" is the irresistibly fresh and direct lead single from Kelis' debut release _Kaleidoscope_ . Dedicated to "all the women out there that have been lied to by their men...over and over again," Kelis brilliantly expresses what it feels like when you find your significant other cheating on you. And she sums it up perfectly in the unforgettable raw, angry and honest chorus, "I hate you so much right now/I hate you so much right now/aaaahhhhhhhh/I hate you so much right now!" The aggressive sound and edgy content of Kelis' "Caught Out There" clearly stands on its own merit with an intensity and power that is simply unmatched. This catchy smash hit song is neither a more colorful variation of "You Outta Know" nor the latest offering in a string of hit hip-hop and R&B singles about male/female relationships. And Kelis is not just the new flava of the month. The twenty-year old Harlem native is uniquely talented and displays a refined and mature musical and lyrical approach. Kelis' _Kaleidoscope_ reflects a futuristic hip-hop, rock and R&B hybrid sound that cleverly sets off her insights about the intensities and complex patterns embedded in love and relationships. Produced by the Neptunes, _Kaleidoscope_ opens with a short, cosmic-themed introduction before rolling right into the funky promise of "Good Stuff." On this deep bass groove, Kelis makes it clear that what she's offering is so genuine and real that she has no problem offering a hassle free guarantee. Like "Caught Out There" and the eleven other songs on this well crafted, sophisticated and urbane collection, "Good Stuff" has more than enough substance and confidence to back up the sass and attitude. On "Mafia," Kelis delivers a full flow rap which gives such notables as Foxy Brown and Li'l Kim a good run for their money. And Kelis also establishes herself in the same league as Mary J. Blige and Lauryn Hill on the captivating "Get Along With You" and on the rich and soulful slow tempo tracks "Suspended," and record closer "Wouldn't You Agree." Whether blazing new musical directions on the hour long _Kaleidoscope_ or providing the sultry female vocals on rapper Ol' Dirty Bastard's hit "Got Your Money," Kelis is definitely her own woman with her own style. No doubt about it, Kelis is an exciting new artist who is worthy of all the attention she's received with the breakout hit "Caught Out There." --- REVIEW: Dinosaur Jr., _BBC In Session_ (Fuel 2000) - Kerwin So In the mid-1980s, when the American underground rock movement was starting to take off with help from labels like SST and Homestead, a little trio from Amherst, Mass., named Dinosaur, roared its way to the forefront of the scene. With an overpowering blend of squealing Neil Young guitar workouts, Black Sabbath heaviness, and the urgent whine of lead singer/songwriter/guitarist J Mascis (which somehow managed to convey both lethargy and urgency simultaneously), Dinosaur left an indelible footprint on the landscape of alternative rock, serving as both contemporaries and major influences on bands like Sonic Youth, Nirvana, the Lemonheads, and Buffalo Tom. Of course, a stray band of hippies with considerable legal power eventually forced the band to rename themselves Dinosaur Jr., but that diminished their power not a whit. Old fans and newcomers both can relive the glory days of Dinosaur Jr. now thanks to the label Fuel 2000, who have finally released the BBC session recordings of the band. Culled from four different sessions from 1988, 1989 and 1992, this collection appropriately includes versions of tracks spanning the most influential years of Dinosaur Jr.'s career. The overall recording feel of classics like "In a Jar," "Budge" and "Raisans" [sic] is raw, intimate, and loose; very little re-mastering has been done here. And I don't think J would've had it any other way. The tracks the band produced themselves ("In a Jar" and "Keep the Glove") end on humorous notes, with J muttering "Bummer" on one, and letting his voice slide into a jokey snarl on the other. "No Bones" features vibes (!), which actually work surprisingly well in this _Bug_ album track. The excellent version of "Raisans" (from the landmark LP _You're Living All Over Me_) features a high-school girl voiceover during the calm middle guitar break, very reminiscent of the Pixies' _Surfer Rosa_. And the final moments of "Does It Float" even include a dead-on take of the opening riff from Guns 'n' Roses' classic hair-metal ballad "Sweet Child O' Mine!" Hardcore fans (probably in both senses of the word) will be pleased at the inclusion of debut-album favorites like "The Leper," which was constantly yelled as a request to J across the nation on the final Dinosaur Jr. tour in '97 (the result of an ambitious joke started on the Internet). And is that really Lou Barlow screaming his lungs out on "Bulbs of Passion," the same guy who would later become indie rock's wuss poster boy in Sebadoh? But don't think that the attitude is strictly jocular on _BBC In Session_. Indeed, the real reasons for fans and neophytes alike to purchase this CD come in the form of the only two acoustic songs included. "Keeblin" is a different version than appeared on the _Quest_ import, and well worth picking up for its subtly pining vocals, and another beautiful electric J solo laid over sweet steel-string acoustic chords. And finally, possibly Dinosaur Jr.'s finest song ever, "Get Me," is presented here in the stripped-down format originally heard on _Quest_, with a downright tear-jerking solo taking you through the most gorgeous, tortured territory you've never explored. J Mascis singlehandedly brought the solo guitar back to alternative rock, and this song proves why. There's no wankery or showboating here, just naked emotion, making the BBC version of "Get Me" - and this CD - a fitting end to Dinosaur Jr.'s long, mighty legacy. --- REVIEW: Enon, _Believo!_ (SeeThru Broadcasting) - Matthew Carlin Combining the avant-garde and pop is always a risky prospect. When it fails, it fails miserably. When it works, it kicks major ass. And Enon kicks major ass. Along with drummer Steve Calhoon and sound manipulator/junk percussionist Rick Lee of Skeleton Key, former Brainiac guitarist John Schmersal creates splendidly twisted experimental pop ditties that never descend into avant wankery. Not unlike Skeleton Key, Enon uses unorthodox found sounds, samples and old records to augment what are at their core, clever, musical tunes. Schmersal's lovely, refreshingly non-lead singerish voice and inventive guitar playing drives electro quirk pop ditties like the album's stand-out "Conjugate the Verbs," as well as "Come Into" and "Get the Letter Out." Schmersal's impressive falsetto can be angelic, as on the layered vocals of "World in a Jar," or haunting, like the Portishead-meets-"Twin Peaks" soundscape "Cruel." While the more overtly experimental tracks are a bit weak, the goofy drum-and-bass/synth pop freak out "For the Sum of It" actually works smashingly well, and the blips and bleeps and vocoder vocals on "Biofeedback" eschew mere lame kitsch value thanks to Calhoon's super-solid beats. If only radio stations were bold enough to play pop music this intelligent and interesting, the world would be a better place. --- REVIEW: Sweet Water, _Suicide_ (GoodInk) - Chris Hill Adam Czeisler's snarling, spitting voice was the main ingredient that nudged Sweet Water one step ahead of the line of grunge-era Seattle groups in the early '90s. Signed to Atlantic, _Sweet Water_, their major debut, was full of angst anthems and hooks that equaled anything their hometown brethren were putting out at the time. "Sleep," "King of '79," "Everything Will Be Alright" -- this was a group to admire and follow. Their promise increased a few years later, following a label jump, with _Superfriends_. "Feed Yourself," "Superstar," "Cake and Strychnine" -- their sound had been infused with even more snotty energy and condensed into three-minute pop/punk wonders. Contrary to high expectations, their rosy future failed to materialize. They fell out with their label, and disbanded. Reappearing, unheralded, under a new name (Parc Boys) and label (Will Records), the magic had somehow been tainted. For every gem ("Lottery Winner," "7 Years," and "You Got Things to Do," a stunning heartbreaker of a song), _Two Weeks to Live_ had songs that played against their strengths (the Gary Numan-esque "People" or the meandering "Misdirected"). Back to the "Whatever Happened to...?" list. Add another couple of years, and surprise!: They've returned as Sweet Water, with the 14 track album that should have followed _Superfriends_. The title's a puzzler -- are they back or just milking the fan base for a few bucks, then calling it quits? Hopefully, the former, as Sweet Water is as tight and energetic as ever. Their guitars still have that rock and roll zing, and Czeisler's voice, still magic, is featured front and center on every track. "Pulling the plug on the cathode generation/Kiss me now with lips of desperation/Spare the rod and spoil the nation/ Running out of gasoline and patience": a combination of punk observation and Gen X disenchantment, "Cathode Generation" has attitude aplenty -- a stance that serves the album well. And in the best punk tradition, the songs are lean. "Been So Long," "She Says," "No Guts" -- instead of stretching the bones of these songs on a rack for unnecessary length, the band's kept the torture to a minimum. It's an under-appreciated skill, knowing when to step away from the song and let it breathe. "Call me up when you need some/more of my blood to spill" ("Novocaine Girl"): with the punk, there's a bit of the martyr, but they can't be blamed for the feeling. Four albums on four labels gives them the right to feel malnourished. One of their label splits is hilariously summed up on "East/West is the Enemy." Listen to "sign the contracts/you'll get your money back...I want to run my company from the bathroom counters" followed by a druggy, nasal inhalation, and you've got an idea of the bitter feelings harbored by the band. That _Suicide_ rescues three cuts from the Parc Boys' release ("Garden Party," "Lottery Winner," and "Dirty Pigeons") keeps it from feeling like a pure return to form. Even so, it's a welcome step back from the edge of oblivion. Kudos to Seattle's GoodInk Records for extending the hand. --- REVIEW: Super Chikan, _What You See_ (Fat Possum) - Dave Kemper Somewhere down in the south, there's a crossroads where the blues, swamp rock, a dollop of N'Awlins R&B, and a hint of funk come together. This is where you'll find Super Chikan. Born James Louis Johnson, "Super Chikan" sings and plays guitar and keyboards. He's backed on this album by a basic rhythm section of bass and drums. This is his second album, and his first for Fat Possum Records. The closing instrumental, "Fighting Cock," encapsulates both the strengths and the weaknesses of this album. The music is undeniably well-played; the rhythm section never relents on the groove it establishes, and you can tell by the boisterous yelling, whistling, and clapping, that everyone's having a good ol' time. But the song is basically just a couple of riffs repeated to death. There's some guitar soloing in the middle to mix things up a bit, but that doesn't entirely manage to shake the feeling that the song structure could have used a few more musical ideas along the way. The songs with lyrics exhibit the same tendency; in many cases the lyrics are simple and repetitive. But this isn't music for analysis and dissection; this is music for partying and dancing, and in that role it serves admirably, with highlights such as the funky groove of "Okie Doak", the fuzz guitar and scat-like singing in "Wille Brown Jr.", and the catchy saxophone riff in "Ain't Nobody." Producers Matthew Johnson and Bruce Watson occasionally mix in the sounds of a small crowd whoopin' it up, and the final track is accompanied by the clinking of bottles, so there's little question this is a party record. And a total running time of a mere 34:35 lowers your chances of getting tired of it before it's over. A couple of the songs exhibit a lyrical cleverness too, such as "You Said"'s story of a man recognizing his lover's infidelity through her expensive hairdo's disheveled state, and the yodeling's-for-white-boys message of "Big Boy Now," which also demonstrates where the nickname "Super Chikan" might have come from. Super Chikan has a good singing voice, strong but laid-back, easily handling styles ranging from the smooth timbre of "Ain't Nobody" to the rawer, bluesier manner of "What Ya See." His guitar playing is also the strongest part of the musical backdrop. Ultimately, _What You See_ has a sound all its own. Individual songs may be on the repetitive side, but there's a good mix of styles, and a good dose of fun. --- REVIEW: Woolworthy, _Sweet Second Place_ - Steve Kandell "The spirit of Bun E. lives in me," sings Woolworthy's Rudy Gonzales, a nod to perennially rumpled Cheap Trick drummer Bun E. Carlos. The two share not only a hometown of Chicago, but a penchant for crafting frenzied anthems based around thick hooks and thick harmonies. And even if Bun E. weren't name-checked, it wouldn't be too hard to figure out Woolworthy's influences and contemporaries. Be it emocore, post-punk, garage pop, or whatever the kids are calling it these days, the band's second self-released album consists of eleven straightforward, supercharged pop songs in the vein of fellow Midwestern upstarts Promise Ring and the Get-Up Kids, and one token ballad. The band offers little in the way of virtuosity or ingenuity, nor is any needed here. The aspirations are modest, and the results eminently enjoyable. That faint whooshing sound you hear is the sound of a thousand bespectacled young men bobbing their heads to the beat and air guitaring against their corduroy pants. From the opening blast of "Leap Year," Woolworthy delivers nothing but wall to wall riffs and hooks, complete with the requisite earnest lyrics about desire unfulfilled and being fucked over. This is not to say that the music is tired or formulaic - it's familiar, but in the good, worn, favorite blue jeans kind of way. Though it may be hard to believe now, Soul Asylum and Goo Goo Dolls used to make records like this. Other comparisons could be made to Versus, Silver Scooter, and countless others, skin pasty from too much time in the garage or the van. What Woolworthy lacks in surprise is more than made up for with skill and spirit. "Starry Eyes" and "It's Good to See You Again" are standouts, asking the eternal question: "How old is too old to be jumping up and down on your bed, pretending you're onstage?" Answer: not 29. The hypercharged "5-Feet Nothing" may be a response to fellow Chicagoan Liz Phair's "6'1."" Or it may not be. But their hearts -what's left of them anyway - are in the right place. Woolworthy's D.I.Y. ethic also brings to mind a certain Chapel Hill-based punk-pop quartet, although it would be nice to write at least one Consumable review without mentioning the name Superchunk. Shit. --- REVIEW: Various Artists, _Electronic Tribute to Pink Floyd_ (Vitamin) - Wilson Neate OK Computer! Yes indeed. Now here's an interesting idea, and a perfectly logical one at that. For audiences weaned on '80s Classic Rock radio and lacking a sense of history, Pink Floyd might mean the following: a baseball-cap and mullet sing-along, a pot and beer addled (duuuuude!) knowledge of a handful of dull tracks, a zealot's commitment to the "traditional" values of "real" instrumentation played in a stadium environment and an attendant horror of the computerization of music. But for others, Pink Floyd always signified something more interesting than dinosaur rock or a soundtrack to adolescent substance consumption. Indeed, discerning listeners have long recognized Pink Floyd's crucial influence on certain variants of a nascent British electronica/techno in the late '80s and early '90s. Take the example of the Orb. Not only has Dr. Alex Paterson paid homage in cover art and titles (floating Battersea Power Stations, toy sheep and the cheeky title, "Backside of the Moon" etc) but, more importantly, the good doctor translated the essence of the Floyd's drifting, spacy ambient passages to the Orb's trance/dance/dub stylings. And come to think of it, didn't the Chemical Brothers borrow part of their intro to "Block Rockin' Beats" from 1968's "Let There Be More Light?" But while Pink Floyd were always more technologically sophisticated and interesting than mainstream rock radio audiences might allow, their link with "electronic" music today has less to do with their use of technology than with their willingness to re-imagine what a "song" could incorporate or sound like. Even without the luxury of today's digital environment, Pink Floyd anticipated tendencies that became standard mainstream fare for later artists. These range from basic sampling -- the interpolated Liverpool FC anthem "You'll Never Walk Alone" on "Fearless," the realia and the pseudo-found monologue on, say, _Dark Side of the Moon_ -- to the layful, extended appropriation and manipulation of non-musical sounds on tracks like "Alan's Psychedelic Breakfast." So, given Pink Floyd's prescient alignment with the spirit of much emergent electronica, this tribute makes complete sense. All in all, it's totally listenable and quite danceable, thereby finally making a reality of the somewhat ironic title of the 1981 Floyd compilation, _A Collection of Great Dance Songs_. _Wish You Were Here_'s "Welcome to the Machine" -- re-done by Vinny Fazzari -- is the most obvious song to cover in this context. While Pink Floyd clearly used the machine metaphor to signify "the system" and filled the track with austere technological sounds to make their point, the medium of electronica enacts that original message all the more directly. This effect is enhanced with the vocals being stripped of human affect to sound like Professor Hawking's computer mixed with Peter Frampton's vocoder. T.H.C.'s drum-and-bass rendering of "One of These Days" is the most successful moment. It does precisely what the best covers do -- not so much imitating as creatively rebuilding the original. This is achieved with a seemingly paradoxical sleight of hand that seeks out your remembered version of the original by offering a slim, ongoing aural bone of recognition in order to set up the connection, all the while defamiliarizing the Floyd version. The intro to the track exemplifies this strategy as it takes the deep, plodding and resonant bass of the original and turns it into a one-dimensional, frenetic electronic beat that sets the tone for the whole piece. Despite their diametrically opposed sounds, you hear both tracks at the same time and that enhances the effect. Similarly, "Comfortably Numb" -- as performed by Alex Xenophon -- is shorn of its original menacing, downer status and ends up sounding like Erasure with its light and jumpy vocals. At the end of the disc, the "acid mix" takes the idea even further. In much the same way, the preliminary exploration of "On the Run" by Cracker G serves up a driving house-lite version while a second pass by George Sarah turns in an even more minimal, speeded up, pots 'n' pans 'n' blips version of frenetic electronica. Admittedly, some versions work better than others, but the only real criticism here has to be leveled against "Money" by Dynamichrome and "The Wall" (which is a composite of "Another Brick in the Wall" Parts I and II) by Alex Xenophon. These songs never needed to happen the first time around, so why do them again? Maybe more attention to early Floyd and a focus on more non-vocal tracks would have enhanced this otherwise credible project. Careful with that iMac, Eugene. --- REVIEW: Tommy Womack, _Stubborn_ (Sideburn) - Bill Holmes Faithful Consumable readers will remember my "how the Hell did I miss this" review of Tommy Womack's last record ( _Positively Na Na_ ). I was overjoyed to stumble across one of the most uncompromisingly original songwriters currently competing for our ears. Well, Womack's back with a new record, and I'm back to tell/remind you to get your ass to the store NOW, because he's at it again. Who else could open a record by sandwiching a rollicking double-time swamp blues song between a snippet of psychotic poetry and a thirty second faux-folk song called "Christian Rocker?" But when he gets down to business, it's incredible songs like "The Urge To Call," where his sharp storytelling is matched sonically by an infectious combination of organ and dobro. Or the searing slide guitar, sword fighting with Womack's emotive vocal on "I Don't Have A Gun" ("I'm so glad I don't have a gun/on a night like this/I'd use one..."). In a better world, a song like "She Likes To Talk" would be a hit single. And give the man bonus points for covering a Kinks song, and "Berkeley Mews" at that. Lyrics aside, Tommy Womack flat out rocks. "Telling You What You Want To Hear" builds from the ground up like the bastard son of "Honky Tonk Women" that it is (right down to the cowbell). The all-star stable of players is once again all over this record, featuring killer guitarists like George Bradfute and Dan Baird and especially fellow Bis-Quits axeman Will Kimbrough. Not that Womack is a slouch (his slide playing is incredible!), but Will Kimbrough plays some of the filthiest lead guitar solos I have ever heard, and his work on "Dreams And Golden Rivers" is top shelf stuff. Womack's way with words extends beyond songs. His novel about life in the rock and roll trenches ("Cheese Chronicles") is an underground classic, and according to his website, he's hard at work on the follow-up, "Jesus Has Left The Building." Nashville has a rep for wearing down willing talent and molding it into cookie-cutter Hat Music, but Tommy Womack just continues to sit at the bar, too cool to even bother flipping the bird. It's time you pull up a stool and join his army. For more information, check out http://www.burnsiderecords.com --- TOUR DATES: Frank Black and the Catholics Feb. 26 Bozeman, MT SUB Ballroom Chris Cornell Feb. 25 New Brunswick, NJ State Theatre Feb. 26 Norfolk, VA Boat House Feb. 28 Nashville, TN 328 Club Feb. 29 Memphis, TN Omni New Daisy Theatre Mar. 1 New Orleans, LA House of Blues Mar. 3 Houston, TX Ariel Mar. 4 Austin, TX La Zona Rosa Mar. 5 Dallas, TX Deep Ellum Mar. 7 Las Vegas, NV House of Blues Phil Coulter Mar. 2 Downey, CA (Los Angeles) Downey Theatre Mar. 3 Denver, CO Auditorium Theatre Mar. 4 St. Paul, MN Benson Hall Mar. 5 Milwaukee, WI Pabst Theatre Cracker Mar. 1 Boulder, CO Fox Theater Mar. 2 Vail, CO Garton's Mar. 4 Aspen, CO Double Diamond Robert Cray Feb. 26 Maui, HI Arts and Cultural Center Feb. 27 Honolulu, HI Sheraton Waikiki Feb. 28 Kailua, HI Kona Surf Mar. 23 Gainesville, FL The Florida Theater Dismemberment Plan Feb. 24 Chico, CA Blue Room (w/ Juno) Mar. 1 Salt Lake City, UT Kilby Ct. Mar. 2 Denver, CO The Raven Mar. 4 Chicago, IL Fireside Bowl Gomez Feb. 26 Los Angeles, CA Universal Amphitheater Guster Feb. 25 Englewood, CO Gothic Theater Feb. 26 Salt Lake City, UT DV8 Feb. 29 Scottsdale, AZ Cajun House Mar. 2 San Fransisco, CA The Fillmore Mar. 3 Los Angeles, CA El Rey Theater Mar. 4 Sacramento, CA Big Shots Ben Harper & Innocent Criminals Feb. 24 Las Vegas, NV The Joint @ Hard Rock Feb. 25 San Deigo, CA Uc San Diego Feb. 26 Los Angeles, CA Universal Ampitheater W/Gomez Richie Hawtin Feb. 26 Chicago, IL Dulton Expo Center Korn Feb. 24 Oklahoma City, OK The Myriad Feb. 26 Salt Lake City, UT E Center Feb. 28 Phoenix, AZ America West Arena Feb. 29 Anaheim, CA Arrowhead Pond Mar. 3 Oakland, CA Coliseum Machine Head Feb. 24 Minneapolis, MN Quest Club Feb. 25 Omaha, NE Ranch Bowl Feb. 26 Springfield, MO The Juke Joint Feb. 28 Boulder, CO Fox Theater Feb. 29 Salt Lake City, UT DV-8 Mar. 2 Seattle, WA Graceland Mar. 3 Portland, OR Roseland Theater Morrissey / Sheila Divine Feb. 24 Red Bank, NJ Count Basie Theater Feb. 27-28 Washington, DC 9:30 Club Feb. 29 New York, NY Beacon Theater Powerman 5000 Feb. 25 Detroit, MI Harpo's Feb. 26 Cleveland, OH Agora Theater Feb. 27 Columbus, OH Newport Music Hall Feb. 28 Indianapolis, IN Egyptian Room Mar. 1 Chicago, IL Riviera Theater Mar. 2 Milwaukee, WI Rave Mar. 3 St. Paul, MN Roy Wilkins Auditorium Mar. 4 Omaha, NB Sokol Auditorium Pretenders Feb. 24 Milwaukee, WI Riverside Theatre Feb. 25-26 Chicago, IL Riviera Theatre Feb. 28 Akron, OH Civic Theater Feb. 29 Detroit, MI State Theatre Mar. 1 Toronto, Canada Massy Hall Mar. 3 Uncasville, CT Mohegan Sun Casino Mar. 4 Boston, MA Avalon Ballroom Mar. 5 Burlington, VT Flynn Theatre Seely Feb. 24 Princeton, NJ The Terrace Club Feb. 25 Philadelphia, PA Khyber Pass Feb. 26 Charlottesville, VA Tokyo Rose Feb. 27 Carrboro, NC Go Lounge Stroke 9 Feb. 24 Milwaukee, WI Varsity Theater Feb. 25 Indianapolis, IN Clowes Memorial Hall Mar. 1 South Bend, IN Stepan Center 22 Jacks Feb. 24 Ypsilanti, MI EMU Convention Ctr. Feb. 25 Akron, OH EJ Thomas Performing Arts Hall Lit / 22 Jacks Feb. 28 Boston, MA The Paradise Feb. 29 Philadelphia, PA Theatre of Living Arts Mar. 2 Washington, DC 9:30 Club Mar. 4 New York, NY Irving Plaza Mar. 5 New Haven, CT Toad's Place --- 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 To subscribe to Consumable, send an e-mail message to consumable-request@westnet.com with the body of the message stating "subscribe consumable". To unsubscribe, send a message to the same address stating "unsubscribe consumable". Web access contributed by WestNet Internet Services (westnet.com), serving Westchester County, NY. Address any written correspondence to Bob Gajarsky, Consumable Online, 409 Washington St. PMB 294, Hoboken, New Jersey 07030 ===