== ISSUE 208 ==== CONSUMABLE ONLINE ======== [May 1, 2000] Editor: Bob Gajarsky E-mail: editor@consumableonline.com Managing Editor: Lang Whitaker Sr. Correspondents: Daniel Aloi, Joann D. 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, Matt Fink, Krisjanis Gale, Jade Hughes, Paul Hanson, Scott Hudson, Jianda Johnson, Steve Kandell, Dave Kemper, Reto Koradi, Robin Lapid, Wes Long, I.K. MacLeod, Al Muzer, 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 Consumable and their author(s). ================================================================== .------------. | Contents | `------------' REVIEW: Neil Young, _Silver & Gold_ - Matt Fink REVIEW: Built to Spill, _Live_ - Kerwin So CONCERT REVIEW: Charlatans/Stereophonics, New York City - Wilson Neate REVIEW: Elliott Smith, _Figure 8_ - Wes Long REVIEW: Trembling Blue Stars, _Broken By Whispers_ - Niles Baranowski REVIEW: Peter Murphy, _Wild Birds, 1985-1995: The Best of the Beggars Banquet Years_ - John Davidson REVIEW: Liquid Soul, _Here's The Deal_ - Joann D. Ball REVIEW: Various Artists, _Gimme Indie Rock, Vol. 1_ - Kerwin So REVIEW: Bobby Gaylor. _Fuzzatonic Scream_ - Bill Holmes REVIEW: Ian Brown, _Golden Greats_ - Tim Kennedy REVIEW: The Lilys/Aspera Ad Astra, _The Lilys/Aspera Ad Astra_ - Christina Apeles REVIEW: Various, _Songs for Summer_ - Jianda Johnson REVIEW: Jungle Brothers, _V.I.P._ - Joann D. Ball NEWS: Devo / Rhino Musical Aptitude Test TOUR DATES: Robert Bradley's Blackwater Surprise, Broadside Electric, Ani DiFranco, Dismemberment Plan, Dope / Primer 65, Lifter Puller, Mix Master Mike, Meshell Ndegeocello, Oasis, Red Hot Chili Peppers / Foo Fighters / Muse, Elliott Smith, Splender, The The, Train / Gas Giants, Union, Veruca Salt, Wire, Workhorse Movement / Kittie Back Issues of Consumable --- REVIEW: Neil Young, _Silver & Gold_ (Reprise) - Matt Fink It's a relatively rare rock phenomena to maintain lasting artistic or commercial relevancy past the age of 50. No matter how great a particular artist once was, it seems that by the second decade of a career, there is usually very little left in the tank. The original rockers like Chuck Berry, Little Richard and Fats Domino have avoided this conundrum altogether by basically curtailing the artistic end of their recording careers in the early 60's, leaving themselves to tour endlessly and repackage re-recordings of their previous chart toppers, thereby, leaving their legacy intact. The second generation rockers have suffered a similar, albeit, altogether worse fate: that of the supposed continuance of their artistic musings with fewer and fewer rewarding breakthroughs with every album. Bob Dylan was in such a creative rut that the Shakespeare of rock took to doing cover albums and only released one collection of original material in the entire 90's. Paul McCartney may be responsible for some of the greatest songs in the rock canon, but the muse has largely left him cold, with Sir Paul being reduced to amateurish classical composing and cover albums, as well. The Rolling Stones, Lou Reed and David Bowie have had their moments over the last 25 years, but all have albums in their discography that would probably been better left in the can. Then there is Neil Young. Having maintained a nearly unparalleled artistic consistency, he has fared better than almost any other rocker who started a career in the 60's. Over 30 years and 27 albums, Mr. Young has set himself up as true rock royalty by always allowing himself to go in whatever direction he wanted and not allowing himself to complacently live off the royalties to _Harvest_ and _Rust Never Sleeps_ . Sure, this constant reinvention has produced some baffling oddities, like the techno album _Trans_ and the rockabilly set _Everybody's Rockin'_, but for those who've been willing to tough out his artistic wanderings, it has been a rewarding ride. Similar to Van Morrison and Tom Waits, what makes Young able to maintain the ride on the artistic peak is an unquestionable understanding of what his music is all about and an amazing ability to consistently twist these intangibles into something new and vibrant. Through all the characters he has played, from the love weary traveler in _Harvest_ to the drunken ranter of _Tonight's the Night_, the core of his music has always stayed intact. For all the times he has strayed from center, he has seemingly been able to return to his musical heartland at any time he wants. It has been four years since Neil Young released his last album, the solid yet somewhat underwhelming _Broken Arrow_, and rumors of a new, stripped down successor in the vein of _Harvest_ and _Harvest Moon_ has been rumored for some time. Four years is an uncharacteristically long time between albums for Young, but being a bit of a perfectionist, he continued to delay release until he thought _Silver & Gold_ was fully realized. After working with Stephen Stills on the forthcoming Buffalo Springfield retrospective, the album hit another revision as Young gave Crosby, Stills and Nash free reign to pick whatever tracks they liked off his project for inclusion on their reunion album _Looking Forward_. Young ended up contributing four songs to the CSNY collaboration and went back to the studio to finish up with what he had left. And what was left is pretty darn good. Young had intended to make this his first completely solo album, but in the end found himself bringing in friends like Ben Keith, Spooner Oldham and Donald "Duck" Dunn, to add pedal steel guitar, pump organ, dobro, drums, and bass to go with his acoustic guitar, harmonica and piano playing. Taking a break from his partners in dissonance, Crazy Horse, has yielded more focused and polished results in the past, making albums that were less spontaneous and ultimately less fun than those collaborations, but more pensive and poignant, all the same. So while there are no 8-minute guitar epics, you still get the feeling this is the real Neil Young, stripped to the core and vulnerable, a little less angry but every bit as sincere. Young opens with the shuffling folk ballad "Good To See You," which sounds so much like a cousin to his classic "Comes A Time" that you'd almost swear it was an outtake from those recording sessions. The beautifully finger-picked title track, which was actually written around 1982 and has been performed live for years, is another great example of Young's mastery of the love ballad, turning potentially trite sentiments into the masterstrokes of a true troubadour. Touching on themes that are all too universal nowadays, Young reflects on the good times before his parents divorce in "Daddy Went Walkin'," which almost sounds too lighthearted to be dealing with such a weighty topic. The potentially maudlin "Buffalo Springfield Again," which honestly had the potential to be a self-aggrandizing disaster, is one of the rare moments where Young seems to be comfortably nostalgic about his tenure with the country-rock pioneers. "The Great Divide" sounds a little more similar to the quieter moments of his work from recent years, with the escapist themes wrapped around underlying pump organ and sweeping pedal steel guitar touches. Young introduces the latest in a long line of mythical characters with "Horseshoe Man," a piano ballad dedicated to the one who "fixes heartbreak everywhere." Linda Rondstadt and Emmylou Harris make a cameo on the stark "Red Sun," which soaks up the rural landscape as a satisfied ode to married life. The soaring pedal steel and lively drumming of "Distant Camera" make for one of the more hummable tracks, as there really aren't all that many toe-tappers here. Hypnotic echoing drums and piano serve as perfect accompaniment for the hopeful wanderer in "Razor Love," another track that Young wrote in the early 80's and had intended for his straightforward country opus _Old Ways_ , but instead was pulled from the closet for inclusion here. The plaintive understated minor chord changes of "Without Rings" serves as a fine coda for what is, all in all, one of the most satisfying and focused Young albums of the last 20 years. Had _Silver & Gold_ been released 10 years ago, instead of _Harvest Moon_, it would have seemed like something of a revelation, but having come off a relatively stable period in Young's recording career, he will just have to be satisfied with it being his folkie statement for the new millennium. Conversational but never morose, multi-textured but never disorienting, in the end _Silver & Gold_ may be the more worthy successor to 1972's _Harvest_, the album that made Young a household name. As with all his greatest work, each listen reveals the nuances of a true master working in a medium he all but created. Though _Silver & Gold_ is nowhere near as sonically varied as _After the Goldrush_, _Rust Never Sleeps_ , or _American Stars & Bars_, it makes up for any lack of diversity with the impressive cohesion of the song cycle and the magnitude of the quality of the songcraft. There might not be anything here that a dedicated Young fan hasn't already heard, but while the majority of his contemporaries are out on the road, rehashing the brighter spots of their recording careers, Young is arguably still at the summit of his. After all, Neil Young doesn't have to re-record his, or anybody else's, hits. He knows the elements that make a great Neil Young song, and when he wants a reminder of what one sounds like, he can always sit down and write a few more. --- REVIEW: Built to Spill, _Live_ (Warner Bros.) - Kerwin So Built to Spill frontman Doug Martsch is arguably THE guitar god of modern-day indie rock. While 1997's _Perfect from Now On_ demonstrated Martsch's infinite musical vision and majestic melancholy, and last year's _Keep It Like a Secret_ bore the glossy sheen of beautiful pop arrangements, there has not yet been a suitable outlet for showcasing Martsch's sheer dexterity on the fretboard. _Live_ steps in to fill this gap perfectly, offering enough flexibility for six-string acrobatics as well as the odd cover song. Consisting of nine tracks that clock in at 72 minutes (you do the math), _Live_ compiles an assortment of songs from last year's performances in Denver, Seattle, and New York, all recorded by longtime producer Phil Ek (a genius in his own right). Sequenced to accurately resemble the set lists of that tour, this disc boasts an excellent mix of material from the band's last two Warner Bros. releases, plus the beloved ballad "Car" (from 1994's _There's Nothing Wrong with Love_) and three cover songs. And the solos -- oh the solos! Any fan of J Mascis or Neil Young's Crazy Horse era should run out and grab this record for a chance to experience Built to Spill's 20-minute plus cover of "Cortez the Killer," which could well be the highlight of this disc. Although Jim Roth from the Delusions helps out on guitar here (as on all the tracks), the solo is all Doug, crossing oceans by way of exploratory feedback and wandering delays. The kickoff track, "The Plan," replaces the last verse of the studio version with a piercing solo reminiscent of Dinosaur Jr's glory days. And the 20 minute noisefest of the finale "Broken Chairs" represents not so much a kickass solo as a cacophonous playground, in which every member of every band on that tour wound up on stage, swapping instruments and pounding away mercilessly -- an experience better seen than heard. Although newcomers to Built to Spill will benefit from hearing the rush that is the band's live presence, the true winners here are the older fans, who will know nearly every song here. Classics like "I Would Hurt a Fly" and "Stop the Show" hold up beautifully in the live setting, flowing smoothly with surprises like a cover of Love as Laughter's "Singing Sores Make Perfect Swords." Built to Spill's new studio album is slated for release early next year -- this CD will be more than enough to tide you over until then. --- CONCERT REVIEW: Charlatans/Stereophonics, New York City - Wilson Neate Although such a high caliber double-header is a rare enough treat, this was an extra-special bill insofar as it brought together representatives of two of the British "scenes" of the last decade or so: late-'80s/early-'90s Madchester (Charlatans -- or Charlatans UK for those of us in the US) and the currently happenin' Cool Cymru (Stereophonics). At the start of their North American tour, Stereophonics guitarist/vocalist Kelly Jones commented, "I think we've got an audience here, it just takes time to find it." And he certainly found it last night at New York's Roseland where the hardest working band in Britain -- as they've been dubbed -- delivered a spirited set drawn largely from 1997's _Word Gets Around_ and last year's _Performance and Cocktails_. Before Stereophonics came on, the expectant crowd was primed with the sounds of Jones' boyhood heroes AC/DC, which provided a fitting overture for a band that reinvents both the anthemic highs and the no-nonsense, formulaic graft of classic rock in a short-haired, moderately alternative context. While the simplicity of Stereophonics' music has prompted unflattering assessments of their "meat and potatoes" approach, that doesn't tell the whole story. The achievement of Stereophonics is their comfortable translation of the commonplace and the quotidian of Jones' lyrical vision into rock of epic proportions, without for an instant losing any of the intimacy or straying into the arena of the pompous. Although the toils of Stuart Cable on drums and Richard Jones on bass are key ingredients, crucial to the mix are Kelly Jones's big, close-to-rasping, emotive vocals that almost single-handedly pull off an effortless compromise between the local snap-shot and a universal rock world-view in the Springsteen vein. Theirs is a kind of fanfare for the common person approach that makes bands like Oasis, who work on the same principle, sound very one-dimensional. The fact that Black Crowes' frontman Chris Robinson was in the crowd last night and seemed to thoroughly enjoy the set gives some small indication of how convincingly Stereophonics reinvent the stadium sensibility. A shining example of the effectiveness of Stereophonics' genre-blurring approach was last night's performance of "A Thousand Trees." No less inspiring were sing-along inducing renditions of "I Wouldn't Believe Your Radio" and, of course, "Local Boy in the Photograph." During many of their songs you could just feel yourself fumbling for a cigarette lighter to hold aloft in a moment of unashamed, earnest rockism. And if there were still any concerns over finding a US audience, "Just Looking," "Traffic," and "Hurry Up and Wait" were -- like everything else -- instantly recognized and greeted like already classic tunes. Stereophonics topped off their evening with "I Stopped to Fill My Car Up" complete with a final, epic guitar flourish that bordered on the Zeppelin-esque. This provided a perfect segue into the Charlatans' set, given that their guitarist Mark Collins isn't himself averse to working in a few nods to Jimmy Page on occasion. In addition to the friendly ghost of Zeppelin, other Charlatans' coordinates were particularly pronounced in the live context. The rendering of the Jon Lord/early Deep Purple organ sound that Rob Collins left behind -- and which Tony Rogers has rather ably made his own -- was especially noteworthy last night, taking the lead on occasion and just bubbling under the surface on others. But, like all of their musical citations, it's always perfectly situated within an overall package that, while it might pay homage to numerous others, is always uniquely the Charlatans. The set was equally divided between tracks from 1999's _Us and Us Only_ and from previous albums dating back to 1990's _Some Friendly_. As the newer songs confirmed last night, _Us and Us Only_ continues the Charlatans'romance with the Stones of the early '70s, thereby emphasizing an alternative lineage for contemporary Brit-rock and pop -- Oasis' ongoing love affair with the Beatles notwithstanding. The stand-outs from the new record last night were "My Beautiful Friend" and "Impossible." While a respect for Dylan is articulated throughout much of the Charlatans' work, Tim Burgess's burst of harmonica on "Impossible" brilliantly crystallized, for a fleeting instant, the deep affection for _Bringing It All Back Home_ through _Blonde on Blonde_ period Dylan that permeates the latest album in particular. As a frontman Burgess is physically idiosyncratic yet completely charismatic, albeit in an understated Liam Gallagher kind of way. Like Gallagher he follows the zipped/buttoned-up-to-the-chin dress code and is ungainly but totally cool. Unlike Gallagher he seems wholly well-adjusted and genuinely touched by and receptive to the overwhelming reaction his band gets. In the final analysis, whether he was lumbering around the stage in simian fashion or just stooped over playing what appeared to be one-handed air-guitar, Burgess was totally compelling. While the newer songs went down well, the real crowd-pleasers were "Just When You're Thinkin' Things Over," "Just Lookin'," "Weirdo," "One to Another" and the instrumental "Area 51," during which Burgess graciously accepted a bunch of flowers -- gift wrapped -- handed to him by an adoring fan. As the crowd response confirmed, the Charlatans were most in their element on rousing renditions of "North Country Boy," "How High," and "Tellin' Stories" from the penultimate album. For an encore they came back and wrapped things up with the oldest song of the evening, "Sproston Green." It seemed unfortunately low-key after some of the earlier highlights and you couldn't help thinking that "The Only One I Know" might have worked better. Still, mustn't grumble. While this tour might be an attempt to break into the tricky American market, Stereophonics and the Charlatans were clearly playing to the converted last night. --- REVIEW: Elliott Smith, _Figure 8_ (Dreamworks) - Wes Long Okay kids, if you haven't heard of Elliott Smith by now you need to get off your collective assess and run out to your local, hopefully independent, record store and have a listen to one of the few artists whose work is actually sturdy enough to bare the weight of the megaton heavy "next big thing" label. In 1998, Elliott's "Hey Everybody - Look At Me!!" year, his lovely "Miss Misery" was nominated for an Oscar (Good Will Hunting soundtrack) and he released a sumptuously flawed bouquet of tunes titled _XO_. Elliott's capable of creating Asian-flu catchy music that's meticulously recorded and produced yet somehow maintains an air of the musty garage and 4-track recorder which started him on this journey when he was fourteen. This undeniably enviable trait often conjures up the ghost of the Fab Four's early recordings, seemingly simple songs teaming with life, and while it worked well on _XO_ this has been perfected on his latest effort; _Figure 8_. There's something about these new songs that I can't quite put my finger on. They often remind me of bands that I've loved for years: The Beatles, The Beach Boys, Jason Falkner, Jellyfish, Eric Matthews, The Cavedogs, The Posies, bands of that ilk. Elliot has obviously gone through a musical growth spurt in the last two years. Like all the better artists of his genre he's able to take historical moments of song and make them all his own. The Beatle influences abound, but unlike the splendid yet saccharine-sweet Jellyfish, Smith coats the beater with just enough frosting to keep the listener ever-hungry for more. _Figure 8_ reminds me somewhat of Elvis Costello's Imperial Bedroom because it is a collection of brilliant (yes, brilliant) fairly brief and ever moody tunes. He effortlessly lunges from the urgency of up-tempo songs like "Son of Sam" and "LA," a rocker seemingly constructed from an Eric Matthews blueprint, to the stripped-down perfection of "Somebody That I Used To Know." The taste of Friends/Wild Honey-era Beach Boy's piano and vocal arrangements of "In The Lost And Found (Honky Bach)" are pop perfection with just the right dash of dissonance. The irresistible "Stupidity Tries" is the sort of tune that Jason Falkner excels in writing; clever-as-it-gets pop which builds upon itself until it can't go any further. "Everything Means Nothing To Me" is the track which prompted the connection with Costello's 1982 classic, with its humble piano and vocal intro which eventually careens into a droning drum-heavy Flaming Lips Soft Bulletin-esqe release. _Figure 8_ is as good as it gets. --- REVIEW: Trembling Blue Stars, _Broken By Whispers_ (Shinkansen/Sub Pop) - Niles Baranowski Even if it had no musical merit, the release of _Broken By Whispers_ would be an event to be celebrated for being the first proper American release from a Field Mice member. The prickly, delicate songcraft of Robert Wratten (who headed up both the Mice and Northern Picture Library, in addition to his current Trembling Blue Stars work) has been missing for far too long from the libraries of literate pop fans nationwide. Anyone who credits Belle and Sebastian or Kindercore Records with a rebirth of smart, sensitive and drowsy-catchy songcraft will be surprised to learn that Wratten has been crafting subtle masterpieces in the same vein for the last decade. _Broken By Whispers_ is hardly Wratten's definitive opus (import geeks are ordered to seek out _Where'd You Learn to Kiss That Way?_, a double disc of Field Mice favorites) but it does include some haunting, shadowy balladry of the first order. "Sometimes I Still Feel the Bruise" has a harpsichord line that reverberates like fingers down your spine and "To Leave It Now" is an elaborate origami construction of new wave melancholy that comes within kissing distance of OMD's early heartbreakers. Like the Mice before them, the Stars are least precious when they can branch out into different territory and while there's nothing as adventurous as the former's effortless adventures in house or dub, there are moments ("Ripples," "Fragile") when they can drown out the twee in a wash of guitar that pours down from above. Wratten's trademark trebly guitar sound is an apt vehicle for his songs' hurt sensitivity and still keeps him head-and-shoulders above other doe-eyed tunesmiths who've descended from his detiritus. Similarly, his lyrics cut deeper, like the faultlines between pain and bitter emptiness. "The person you were/ I know you're not her," he says sadly in his boxed-in choirboy whisper. There are even moments when, with the help of producer Ian Catt (who brought the same moody flow to St. Etienne's early work) he can summon up glittery glumness that wouldn't be out of place on an early Cure record, like the gothic escapism of "Sleep." But for all of his tricks to beef up his sound, he trumps himself when he's stripped down to just the basics. "Birthday Girl" is so simple--with just Wratten making his acoustic guitar shimmer -- that the song's loneliness feels liberating, maybe even ideal. _Whispers_ is a similar act of alchemy, crafting charm from a motherlode of disaffection. --- REVIEW: Peter Murphy, _Wild Birds, 1985-1995: The Best of the Beggars Banquet Years_ (Beggars Banquet) - John Davidson At the very least, you probably know Peter Murphy's tectonic baritone from "Cuts You Up," the atmospheric anthem that had a good run on modern rock radio in 1990 and 1991. Or maybe you're among the recovering Goths who knew him as the enigmatic frontman of Bauhaus in the early 80s. But how many of you knew he had 16 great songs in the 90s? There's the rub. With any "best of" package, the best are ultimately in the eyes of the beholder, and in the case of _Wild Birds, 1985-1995: The Best of the Beggars Banquet Years_, the eyes are Murphy's - a self-discerning assessment of his solo work that weeds out the weaker compositions and reveals a decade of many good songs. The Bowie-esque swoon of "Cuts You Up" remains Murphy's strongest moment, and the only other masses-aware track is probably 1992's sort of hit "The Sweetest Drop." From there, you're either a knowledgeable fan or curious onlooker to his signature brooding pipes and love-lost lyrics. "Deep Ocean Vast Sea" is typically elegant, commanding attention with strong images and a booming background that never loses control; "Subway" is a claustrophobic yet not overwhelming street workout; his cover of Pere Ubu's "Final Solution" makes what was once a confrontational song much more approachable; "Strange Kind of Love" is a haunting ballad of sorts. His style could be summed by his moody worldview pitted against an affinity for orchestral grandeur, all propped by dancebeat leanings. Sweepingly romantic at his best, Murphy is a bit overwrought at his worst. Murphy relapsed in the past few years with Bauhaus, and _Wild Birds_ is allegedly his last stab at the old stuff before he moves on to more original material in the 90s. This collection is a perfect summation of his work and a relevant bookmark to 90s rock before Nirvana came alive. Even more, the guy proves he had more than just one hit. --- REVIEW: Liquid Soul, _Here's The Deal_ (Shanachie) - Joann D. Ball Chicago's very own Liquid Soul continues to drop major doses of acid jazz on _Here's The Deal_ (Shanachie Records). On this third studio release, band leader and saxophonist Mars Williams leads Liquid Soul even further into the seldom explored adventureland of jazz, funk, hip-hop, rock, R&B, and Latin sounds. It's definitely all about fusion, flava and fun on _Here's The Deal_"Sure Fire One" opens the record with a blistering freestyle delivery from Windy City rapper MCB and the band lays down a surprising Middle Eastern scale over the groove in the middle of the track. Nina Simone's daughter Simone makes her recording debut with Liquid Soul on the sultry invitational "Stop By Monie's" and on the deep sexy groove number "Dysfunction." Liquid Soul's resident MC Dirty MF does the deed once again on loose and fluid "Show Me." Liquid Soul once again acknowledges its debt to the jazz greats, with a live Y2K version of Miles Davis' "All Blues" and a tribute to Dizzy Gillespie called "The Diz." And the twelve tracks are further enhanced by DJ Ajax's innovative use of ambient sounds in addition to the usual word and jazz samples that have always distinguished Liquid Soul's progressive sound. On _Here's The Deal_, Liquid Soul lays it all out for everyone to hear and feel. Whether in the studio or performing the intensely energetic live shows for which they are famous, Liquid Soul always delivers maximum quality with maximum style. --- REVIEW: Various Artists, _Gimme Indie Rock, Vol. 1_ (K-TEL) - Kerwin So In the hyper-consumer world of popular music, it's easy to lose sight of the history and influences that shaped what we're listening to at any given moment. Why, the Backstreet Boys are nothing but a rehash of New Kids on the Block, who were themselves a bastardization of the Jackson Five. Indie rockers tend to have a slightly better grip on the seminal bands of yesteryear -- or at least they think they do -- but if you need a refresher course, or just some place to start mapping indie rock's sprawling history, you could do much worse than checking out K-TEL's new double disc compilation _Gimme Indie Rock, Vol. 1._ K-TEL? That's right, somebody has to catalog musical trends of the time -- why not K-TEL? Last year's _Nowcore_ compilation was a sturdy collection of songs from post-hardcore superstars like Braid and the Promise Ring, and now K-TEL brings 30 tracks from a who's who of indie rock icons that would leave any scenester drooling: Half Japanese, Yo La Tengo, the Wedding Present, Giant Sand, Flaming Lips, the Mekons -- the list is quite impressive. Indeed, you'd have to be an _uber-scenester_ to own all the records from which these songs are taken, particularly since some of them are out of print (like Scrawl's _He's Drunk_, whose "I'm Ready" is included here), or just plain hard to find (the saxophone version of "Blue Thunder" from Galaxie 500). Many of these selections hail from the mid-to-late 80s; hence, pioneering underground labels like Homestead and SST are heavily represented through bands like Big Dipper, the Meat Puppets, Squirrel Bait, the Minutemen, and Black Flag. From the bands I was familiar with (by no means all of them), it seems that a fair amount of care was taken in selecting a signature track from each artist. Husker Du's dark reflection on heroin addiction "Pink Turns to Blue" (from their epic double LP _Zen Arcade_) gets things off to a gloomy start, crashing headlong into Dinosaur Jr's monstrous "Little Fury Things," from their beloved SST record _You're Living All Over Me_. You'll feel Half Japanese's gleefully naive energy on just one spin of "US Teens are Spoiled Bums," and be bowled over by the car-crusher compactness of the Minutemen's song styles and length (as evidenced in "Political Song for Michael Jackson to Sing"). And, the song perhaps most credited for single-handedly kickstarting the grunge tidal wave of the early 90s, Mudhoney's "Touch Me I'm Sick," makes a welcome appearance here, as do the former mentors to Kurt Cobain, the Melvins. What's further impressive about this compilation is its geographic and stylistic scope. Sure, you have the American bands who drew heavily from hardcore punk, but you'll also discover indie-pop favorites from the UK and New Zealand (the Wedding Present and the Chills, respectively), as well as some acts who defy boundaries altogether: the Mekons, who have probably covered every conceivable musical category in their twenty years of existence, or Savage Republic, who sounded like aliens kidnapped Joy Division from 1979 Manchester and plunked them down in the middle of the desert. But beyond the trademark song selection and diversity of songs and bands presented here, this compilation is ultimately worthy for one core reason -- its sense of history. Chances are you've never heard a Yo La Tengo song recorded before 1997, or have only heard the names of bands like Eleventh Dream Day, the Wipers, or the Vaselines (the last two often championed -- and covered -- by Nirvana). Here's a great chance to sample some of this for yourself without dropping a fortune. Allow me to share a personal revelation: I have always heard of the band Squirrel Bait, seeing as how this one band spawned acts like Rodan, Gastr del Sol, and most notably Slint, indie rock legends in themselves who continue to make history to this day as Tortoise. Being a long-time devotee of the Replacements, I was pleasantly surprised to hear how closely Squirrel Bait's lead singer Peter Searcy's voice resembled that of Paul Westerberg in balls out, full-throttle mode. So that's it: hearing Squirrel Bait's "Sun God" connected the musical dots for me. As Rob from _High Fidelity" might say, the Replacements to Tortoise in four moves. Pretty neat, huh? Of course, speaking of the Replacements, they are conspicuously absent from this collection, despite their enormous influence on hundreds of songwriters still wearing their hearts on their sleeves. I mean, how could you include Husker Du and the Minutemen and leave out the Mats? But there's your typical indie rock attitude, I guess -- any dyed-in-the-wool hipster could find reasons to complain about this compilation (or anything for that matter). For instance, where's Sonic Youth? Or Superchunk? Is REM considered too mainstream to be included here? If this compilation were truly indie rock, wouldn't it be vinyl-only? To these critics, I have only this to say: there's always volume two. --- REVIEW: Bobby Gaylor. _Fuzzatonic Scream_ (Atlantic) - Bill Holmes If you have had a radio on these past couple of months, you've probably heard "Suicide", the arresting spoken-word track that has polarized the listening audience. No, it's not a pro-suicide song, although it wouldn't be the first time that dimwitted people have rallied against a song or poem without comprehending it. But it does cleverly begin with an off-the-cuff attitude that hooks your sick sense of humor, before spinning on a dime midway through to head towards its very anti-suicide coda -- "Hey, you were born - finish what you started!" Whether it's the overwhelming majority of people who are moved by the track or the 10% or so who are offended, the phone lights up whenever the track airs. Gaylor's phrasing and Boston accent will remind you of Denis Leary, although his comic story style owes more to performers like Ed Hamell and monologists like Eric Bogosian than any stand-up comic (well, this side of Chris Rush, anyway.) His skewed reality is not so different from ours, but few people have the ability to tell as colorful of a story while still remaining believable. If you have that one friend who can make any situation or story sound funny, or scary, or important, well, that's Bobby Gaylor in a nutshell. What is unusual is the musical accompaniment; one is more used to hearing laughter or silence rather than music. Occasionally it works wonders -- "Suicide" plays like an alternative folk song, "Animals" would play well on The Discovery Channel, and "Tommy The Frog Killer" has a pulsing Euro-sound rolling underneath like an independent film. Which makes sense of course, since soundtrack composer and musician/engineer Marc Bonilla provide the "score" to Gaylor's tales. Not all stories are funny -- although "Hit A Guy With My Car" is morbidly hilarious -- but they're all compelling with or without the music. Masturbation, families, animals, violence, and the artlessness of smelt fishing all get a turn under his microscope. "Suicide" will no doubt grab your attention, and may indeed change your life, but Gaylor is no one-trick pony. And for those who can't handle the truth, yes, the radio-edit version of "Suicide" is included as well as the full blown rant. (Visit the Atlantic Records website as well as Gaylor's own domain at http://www.bobbygaylor.com ). --- REVIEW: Ian Brown, _Golden Greats_ (Interscope) - Tim Kennedy Ian Brown, former vocalist with the late and widely lamented UK baggy guitar gods The Stone Roses returned to the fray at the end of 1999 with this his second solo album, having spent some time previously in prison after a controversial 'air rage' conviction. _Golden Greats_ is a hybrid of rock guitar and techno with the former taking the driving seat, and never more so than in the first track, "Gettin' High". The intro of glistening chinese music is thrust aside by bombastic riffing whilst Ian's voice is at least as strong as it was back in 1989. The guitar riffing is subverted by a slightly trippy feel on "Gettin' High". By contrast, "Love Like A Fountain" is very much in the vein of Primal Scream's glorious _Screamadelica_ album from the early 90s, with techno flourishes and a quick, loping beat which is in striking contrast to its predecessor. The sexual metaphor of the lyric is a little obvious but musically this is a triumphant highpoint of the album. "Free My Way" harkens back to the intro of "We Love You" by the Stones with a flourish of keys and other prison sounds, "Jingle jangle/goes the jailer/heaven is a place right here on earth" Ian's lyrics show acceptance of fate, and a philosophical bent not evident in his previous works. Sombre strings provide the riffs in "Free My Way", whilst moody keyboards add to the sombre atmospherics. This is one of the most memorable songs he has ever written, comparable to his gloriously moody single of early 1999 "Be There". "Set My Baby Free" continues in the same lyrical prison theme, though this time Ian uses a retro late sixties keyboard riff, the sort of pattern that The Nice might have used. The hypnotic Hammond organ is a particular highlight of the album. "So Many Soldiers" lyrically gives away little, and is based around a lovely acoustic guitar loop, which is then wonderfully embellished by keyboard playing borrowed straight from French popsters Air. Ian's vocal lopes cheerfully along leaping disconnectedly between for example waking up feeling good, babies crying at night and being 'so selective with the company I keep.' "Golden Gaze" starts with a gorgeous guitar intro which recalls the heights of Love's 1967 classic psychedelic guitar album _Forever Changes_ Then unexpectedly it launches into heavy metal guitar a la Zeppelin's "Kashmir". This rather incongruous switch is eased by ambient synths in the background. The song doesn't ultimately live up to the promise of its wonderful intro as it is too urgent and grating for these ears. "Dolphins Were Monkeys" starts with a moody synth sound reminiscent of Bowie and Eno's landmark late 70s album _Low_ and the second side of _Heroes_. The song advances a somewhat dodgy palaeontological theory that dolphins descended from monkeys that preferred swimming to tree climbing. However the song is a swaggering heavy metal keyboards and guitar masterpiece reminiscent at times of "Trampled Underfoot" by Led Zeppelin. The Zep influences on the last Stone Roses album were said to stem from guitarist Squire's fascination with the seminal foursome but clearly Ian was strongly influenced too, and certainly by their double masterpiece _Physical Graffitti_. "Neptune" withdraws into inner space, with ambient keyboards as Ian conducts us on a tour of the solar system, a relaxing trip after the rock histrionics of the previous two tracks. "First World" airs the hope that 'the light of the first world' doesn't damage the chances of the third world. A pretty vain hope that. The tune is based around a slick elastic bassline, but doesn't really get off the ground. Lyrically and melodically it actually bears a strong resemblance to the 1990 Stone Roses single "One Love" although it is nowhere near as inspiring as the original. "Babasonicos" is performed with Argentinian musicians from the band of the same name and is another low key number, with a draggy reggae bass and drums and a creepy 50s film noir melody. Ian intones rather detachedly about a 'lady who got no soul'. This kind of Led Zep influence we could do without, but otherwise this is another example of the impressive breadth of scope of Ian's vision. He has recently expressed the desire to perform in Spanish language and tour South America - his partner is an American of latin extraction. Whilst as a vocalist he has taken some criticism, Ian acquits himself well here within the limits of his range. He sings best on the less metallic of the songs here, expressing the emotions behind his lyrics perfectly, especially on "Free My Way". This is an eclectic album and yet more evidence of the talent and great musical imagination of Ian Brown. While plenty of artists are using synths and samples, and mixing styles to achieve new sounds - Ian displays a great feel for the music and there is a sincere message of love from beyond the bars that confined him so unjustly. --- REVIEW: The Lilys/Aspera Ad Astra, _The Lilys/Aspera Ad Astra_ (Tiger Style) - Christina Apeles The Lilys made quite an impression when they first released _In the Presence of Nothing_ in '92 on SpinArt followed by _A Brief History of Amazing Letdowns_ in 1994, establishing themselves as America's answer to shoegazer rock . Their album _Zero Population Growth_ on Darla last year, confirmed frontman Kurt Heasley's musical development in the past decade, shifting away from the heavenly into ambient and psychedelic. Sharing this release with fellow indie band Aspera Ad Astra, The Lilys memorable sound of the past is revived with dreamy harmonies and lush guitar solos on this eight-song lp. With Aspera Ad Astra contributing their modern, ornamented tunes, this collection meshes the nostalgic sound of yesteryear with the future sound of pop. The Lilys tracks greet listeners with recordings from 93-94, when they were still grounded in music of the time from bands like My Bloody Valentine and the Pale Saints demonstrated in "Timber" with its mellow pace and repetitive guitar structure. "Hymn" is as pretty as it gets, with soft, hushed vocals, coupled with guitar riffs; hypnotic, comforting and mysterious sinking into a layered landscape of ethereal distortion. If 4AD sounds were all you craved for during the nineties, these songs are for you. Aspera Ad Astra's "Good Beat Down" initiates their impressive portion of the release. It is a creative mix of spaceage noise, timely breaks, and the occassional rockin' segments, where all instruments are let loose. Wayne Coyne of Flaming Lips would surely approve. Aspera Ad Astra are about building momentum in their music, incorporating unique instrumentation to create songs like "Feed the Fantasy" and "Bring Back the Walls," which rock with a dramatic fervor and beauty all their own. The Lilys and Aspera Ad Astra's meeting on this disc is a pleasant exploration of the tender and sonorous sounds of past indie pop into the fresh, experimental appeal of the new. --- REVIEW: Various, _Songs for Summer_ (Oglio) - Jianda Johnson _Songs for Summer_ is an exuberant and melancholic release if ever there was one. Dedicated to the memory of Summer Brannnin -- whose life was claimed by kidney cancer at the age of 21--this list of stalwart indie/Alternative artists warms the heart, and not only because of their selfless donation of new, rare and renowned music to Adam Gimbel (Adam was Summer's boyfriend). Allowing us a small window into their lives in his liner notes, Gimbel's choice of songs provides a tender, joyful glimpse at a couple whose lives were enriched with a soundtrack of soulful, eclectic tunes. From Soul Coughing's mischievous live version of "True Dreams of Wichita" to Jonathan Richman's wistful "That Summer Feeling," each eccentric, gem has all the elements of a mix tape from one lover to another -- or, one artist to another for that matter. While over half of the songs contain the word "summer" in the title, indie collectors and Alterna-heads need not be aware of the backstory to enjoy and adore it. Delectable cuts: "Where's Summer B?" by Ben Folds Five, the B52's "Summer of Love," Babacar's jangly and indelible "Midsummer," Pansy Division's "The Summer You Let Your Hair Grow Out (live)" and G. Love's funky, early demo of "Rhyme for the Summertime." Two tracks were written specifically for the release, and a portion of the proceeds go towards LA-based charity Free Arts for Abused Children. For more information about the release or the project, visit http://www.oglio.com/summer --- REVIEW: Jungle Brothers, _V.I.P._ (Gee Street/V2) - Joann D. Ball The Jungle Brothers aren't kidding when they boast "you wanna get with us because we got it goin' on!" They offer the invitation on the title track of their new release _V.I.P._, and it's one that is too enticing to pass up. Jungle Brothers Afrika (Nathaniel Hall) and Mike G. (Michael Small) have always recognized the global reach and appeal of their New York City grown hip-hop. They were the first rap artists to record with a house music producer and long ago recognized the kindred spirit and potential of British drum'n'bass music. A central force within the Native Tongues posse of like-minded progressive rappers (including De La Soul, A Tribe Called Quest and others), the JBeez dropped their groundbreaking debut _Straight Out The Jungle_ in 1988 and backed it up with _Done By The Forces of Nature_ the following year. The overlooked and underappreciated _JBeez Wit Da Remedy_ and the experimental _Raw Deluxe_ round out the Jungle Brothers' impressive catalog which now enhanced by the equally innovative _V.I.P._. The adventurous Jungle Brothers are still doing what they have always done, pushing the boundaries of hip-hop. Their creative, hybrid-laden approach to the genre is center stage on the Brothers' funky fresh fifth record which was produced by big beat master Alex Gifford of the Propellerheads. The very important party opens with the inviting title track which samples the "I Dream of Genie" theme. It is followed by the retrospective "I Remember" which features the Holmes Brothers and details the duo's inspirations, contributions and continued dedication to the craft. Meanwhile "Get Down" lays out a serious house music vibe while "Early Morning" manages to mix elements of Zapp, George Clinton and James Brown into a bouncin' party jam. On "Down With The JBeez," The Jungle Brothers are joined by the Black Eyed Peas, Sense Live and producer Alex G. and take turns showcasing mic skills over old school flavored rhythms, loops and drops. "Sexy Body" is a raw, erotic tell-all that seems inspired by Cameo and the class, style and guitar licks of Prince's dirtiest moments, while "Playing For Keeps" borrows from jazz and low down dirty blues. And where "Freakin' You" is by far the best party anthem on _V.I.P._., the Jungle Brothers speak their minds and throw out to the streets the rap history lesson and roll call "Strictly Dedicated." With a running time of 75-minutes and thirteen tracks, including a revived and revamped "Jungle Brother (True Blue) (Urban Takeover Remix)" as the bonus final cut,_V.I.P._. is without a doubt a very important party thrown by some very important people. Welcome to the Jungle, brothers gonna work it out! --- NEWS: > Devo will be hosting the fourth annual Rhino Musical Aptitude Test at its Los Angeles incarnation on Wednesday, May 17. The test is also slated to be held at locations in Chicago, Nashville, Philadelphia, Seattle, overseas in London, Tokyo, Toronto, Dublin and Buenos Aires, and finally, on the Internet. For further information on the contest, check out http://www.rhino.com . --- TOUR DATES: Robert Bradley's Blackwater Surprise May 7 Nashville, TN River Stage Broadside Electric May 7 West Chester, PA SPCA Music Festival Ani DiFranco May 1 Colorado Springs, CO Pikes Peak Center May 3 Kansas City, KS Uptown Theatre May 4 Columbia, MO Missouri Theatre May 6 New Orleans, LA Municipal Auditorium May 7 New Orleans, LA New Orleans Jazz & Heritage Fest Dismemberment Plan May 1 Burlington, VT U of V May 2 New York, NY Thompson Center May 4 Ottawa, ON Molly McGuires May 5 Toronto, ON Ted's Yard May 6 Flint, MI Flint Local 432 Dope / Primer 65 May 1 Albuquerque, NM Launch Pad May 2 Lubbock, TX Liquid 2000 with Staind May 4 Houston, TX Fitzgerald's with Staind: May 5 Dallas, TX Deep Ellum Live with Staind: May 6 Austin, TX Stubb's BBQ with Staind: May 7 Oklahoma City. OK Diamond Ballroom with Staind: May 9 St. Louis, MO Side Door May 10 Lawrence, KS Bottleneck Lifter Puller May 3 Chicago, IL Fireside Bowl May 4 Louisville, KY Rudyard Kipling May 6 Dubuque, IA One Flight Up Mix Master Mike May 1 Philadelphia, PA TLA Meshell Ndegeocello May 4 Knoxville, TN Bijou Theatre May 5 Atlanta, GA Music Midtown Festival May 6 Nashville, TN River Stages Festival May 8 Asheville, NC Diana Morgan Theatre Oasis May 1 New York, NY Radio City Music Hall May 3 Fairfax, VA Patriot Center May 4 Charlotte, NC Owens Auditorium May 5 Atlanta, GA Music Midtown Festival May 8 Mexico City, MX Sports Palace Red Hot Chili Peppers / Foo Fighters / Muse May 1 Little Rock, AR Barton Arena May 2 Austin, TX Erwin Center May 5 Pensacola, FL Civic Center May 7 Greenville, SC Bi-Lo Center Elliott Smith May 5 Dallas, TX Trees May 6 Austin, TX La Zona Rosa May 8 Atlanta, GA Variety Playhouse May 10 Raleigh, NC Ritz Theatre Splender May 6 Atlanta, GA Music Midtown Festival May 7 Nashville, TN River Stages The The May 1 Toronto, ON The Guvernment May 2 Pontiac, MI Clutch Cargo May 4 Chicago, IL The Metro May 6 Minneapolis, MN First Avenue May 7 St. Louis, MO Firehouse May 9 Denver, CO Ogden Theater May 10 Salt Lake City, UT DV8 Train / Gas Giants May 6 Rochester, NY RIT May 7 Washington, DC 930 Club May 9 Pittsburgh, PA Metropol May 10 New York, NY Irving Plaza Union May 6 Watertown, NY Raceway Veruca Salt May 2 Indianapolis, IN The Patio May 4 Detroit, MI Shelter May 5 Cleveland, OH The Odeon May 6 Pittsburgh, OH Club Laga May 9 Toronto, ON Lee's Palace Wire May 2 San Francisco, CA Great American Music Hall May 3 San Francisco, CA Fillmore May 4 Los Angeles, CA El Rey Theater May 6 Seattle, WA Showbox May 10 Chicago, IL Metro Workhorse Movement / Kittie May 9 Chicago, IL House of Blues May 10 Detroit, MI Harpo's --- Founded in August, 1993, Consumable Online is the oldest music reviews publication on the Internet. 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