==== ISSUE 67 ==== CONSUMABLE ======== [February 1, 1996] Editor: Bob Gajarsky Internet: gajarsky@pilot.njin.net Sr. Correspondents: Jeremy Ashcroft, Martin Bate, Al Crawford,Dan Enright, Tim Kennedy, Reto Koradi, David Landgren, Sean Eric McGill, Tim Mohr, Jamie Roberts, Joe Silva, John Walker Correspondents: Dan Birchall, Lee Graham Bridges, Scott Byron, Jason Cahill, Eric Hsu, Tim Hulsizer, Daniel Kane, Mario Lia, P. Nina Ramos, Linda Scott, Ali Sinclair, Jon Steltenpohl, Courtney Muir Wallner, Britain Woodman Technical Staff: Chris Candreva, Dave Pirmann, Damir Tiljak, Jason Williams Address all comments, subscriptions, etc. to gajarsky@pilot.njin.net ================================================================== All articles in Consumable remain (C) copyright their author(s). Permission for re-publication in any form other than within this document must be obtained from the editor. ================================================================== .------------. | Contents | `------------' REVIEW: Limblifter, _Limblifter_ - Sean Eric McGill REVIEW: Squeeze, NYC Concert / _Ridiculous_ - David Pirmann REVIEW: Passengers: Original Soundtracks 1 - Joe Silva REVIEW: Dan Baird, _Buffalo Nickel_ - Donald Derrick REVIEW: Ben Arnold, _Almost Speechless_ - Dan Enright REVIEW: Once Blue, _Once Blue_ - Courtney Muir Wallner REVIEW: Mick Harvey, _Intoxicated Man_ - Dan Enright REVIEW: Lifter, _Melinda_, - Mario J. Lia REVIEW: Reef, _Replenish_ - Linda Scott CONCERT REVIEW: Nits, Zurich, January 18 1996 - Reto Koradi REVIEW: Glueleg, _Heroic Doses_ - Mario J. Lia NEWS: BoardAid3 for Lifebeat, Ghostmeat Records, John Hiatt, Lucy's Dream, MuCoMo Coffebreak Interviews, Performing Songwriter, Smug, SubCulture TapeZine, Tattletale Report TOUR DATES: AC/DC, Walter Beasley, Cypress Hill, Dance Hall Crashers, Everclear / Ruth Ruth, Freewheelers, Godplow, Paris Hampton, Hum / Mercury Rev, I.C.U., Jayne County, Kilgore Smudge, Lemons, Letters to Cleo, Huey Lewis & The News, Liquor Bike, Dave Matthews Band, Mighty Mighty Bosstones/Dance Hall Crashers, Mike Peters, Bob Seger/John Hiatt, 7 Mary 3/Lustre, Sister Machine Gun/Gravity Kills, Elliott Smith / The Softies, Verve Pipe, Vinyl Devotion, Wild Strawberries / Suzanne Little, Jane Kelly Williams THE READERS WRITE BACK! Back Issues of Consumable --- REVIEW: Limblifter, _Limblifter_ (Mercury Records) - Sean Eric McGill I'm not easily surprised. But on the basis of their name alone, I'm actually surprised I'm giving a good review to a band called Limblifter. When the tape first hit my doorstep, I cringed and alternately cursed our beloved editor. On the basis of their name alone, Limblifter seemed to be death metal at its finest...which I still find unbearable. So, all set to write the review and tear the band apart, I put the tape in...but to my surprise, the first thing that I heard wasn't some guy who sounds like he smokes ten packs of Marlboro's a day telling he was "ripping my soul, eating my flesh". Instead, I got two guys harmonizing "I feel, but I can't find the words" over music that is so bubble gummy that it would make The Replacements stand up and take notice. Having more in common with The Cars than Cannibal Corpse, Limblifter is not only not death metal, but it's about as far removed from death metal as you can possibly be (the one connection, both bands use guitars and drums). From the opening bars of "Vicious" to the closing of "Opinata," Limblifter combines that hip "alternative" attitude that all the kids dig with catchy hooks and good songwriting. There's nothing on their self-titled Mercury debut that you haven't heard before, but that doesn't mean that it's no good. Most of the songs fall into the same sort of musical limbo inhabited by Weezer, with crunching guitars and slick vocals. The band's overall sound is built around brothers Ryan and Kurt Dahle, who play guitar and drums respectively, and share vocal duties. Their rich harmonies resonate over their songwriting on songs like "Death Defier" (the song titles are yet another reason the band's sound surprised me, since other songs are titled "Tinfoil" and "Beard of Bees") and "Screwed It Up." By their sound alone, Limblifter should be able to go places. Now, if they can only get Spike Jonze to direct a video; I don't think anyone's doing anything with the sets from "Laverne & Shirley" these days... --- REVIEW: Squeeze, NYC Concert / _Ridiculous_ (A&M Import) - David Pirmann Squeeze recently played a number of dates in the United States in support of their new album, _Ridiculous_, which, unfortunately, may never be released in this country. The NYC show, at the Academy on November 22, 1995, featured the band, energetic as always, playing a lot of their new songs and a lot of their classics, mostly to appeal to the least common denominator of Squeeze fans. Opening with "Annie Get Your Gun", and playing three more classics before the first new song, "Last Summer". Typical Squeeze pop, it would make a good U.S. single, but many American listeners may never find out! Among the other songs featured in the show were "Slap and Tickle", which the crowd seemed to enjoy although arguably one of their worst efforts, which segued directly into "Some Fantastic Place", arguably one of their best. The last encore featured Chris and Glenn and 1200 voices singing in an acoustic set playing "Tempted", and putting a new spin on their classic "Goodbye Girl". While the concert focused on older material and newer, unfamiliar material (which is not necessarily a Bad Thing) I would have liked to hear more of their lesser-known songs that showcase their songwriting and harmonizing abilities. They played only one song from _Play_ ("Wicked and Cruel") and nothing from _Frank_. Having seen the _Frank_ tour in 1989, I missed "Love Circles", "Rose I Said" and others like "Footprints". All in all, the crowd was active yet well behaved - unusual for the Academy - and knew all of the words to all but the new stuff. The new album is Squeeze at their best. With an 11-album back catalog, some reviewers might be tempted (no pun intended) to pigeonhole these songs into those albums, but I find that it is a natural progression, spotlighting their great songwriting ability. As with _Some Fantastic Place_, a number of songs are obvious single material: "Electric Trains", "This Summer", "Grouch of the Day", and "Lost for Words": "I'm lost for words which is strange for me/ I'm lost for words and no longer see/why they've slipped right through my hands". An upbeat song to be sure but Squeeze is not at a loss for words. "Great Escape" continues their series of serious songs concentrating on domestic abuse (e.g. "Tough Love", "Woman's World", "Up the Junction"...): "... he lunged at her there she fell from the couch/ he grabbed her body as he pulled her down/... tears fell from her face as she cried and cried". One of the gems buried on the "second side" is "Temptation for Love", a short, acoustic ballad featuring Glenn Tillbrook and guests Cathy Dennis on vocal and Heitor Peretor on guitar: "What have I done/ what did I say/ am I the one you can not face/... could it be me that learns to mistake temptation for love". "Temptation" is a truly beautiful song among an album of potential Squeeze classics. It is unfortunate that A&M has relegated Squeeze to the back catalog and import bin. However, with the release of _Ridiculous_ and excellent concerts, Squeeze is still a valuable band with something to say. --- REVIEW: Passengers: Original Soundtracks 1 (Island) - Joe Silva After taking a year or so apart to flush their systems of the toxins acquired while off making stadium sized gestures at the world, the Dubliners known as U2 reconvened near the end of '94 to re-ignite the creative jets. But the principle yield from that initial muster might just divide the faithful and any other curious bystanders into distinct camps. Some may call it a well polished wank - a way to bide time between pop albums and indulge their artistic whimsy. Others will view it as a welcome aside or a logical progression from a rock unit that's done it's time in the verse-chorus-solo-verse-chorus grind. When leaning towards the latter you "could" say that if _Achtung Baby_ was U2 dismantling the old radio tower for a satellite uplink, then Zooropa was its first proper transmission and _Original Soundtracks 1_ its first wild feed. While _Soundtracks 1_ was fashioned with a disparate batch of guest crew members as a set of musical responses to a variety of film pieces, the tracks hold together with a fairly cohesive dynamic. Even Eno, notwithstanding what he did recently to Bowie's latest career moves, has an easy time here meshing with U2 as an official fifth wheel. Despite the immense flexibility that creating sonic backdrops like this afforded them, his ambient-ness managed to interject his "treatments" just at the right moments and in the right measure. What does figure largely into the project is the band's heavy fascination with the Blade Runner-esque landscape of modern Japan. When "United Colours" open the record, it's with all the verve of the post-plutonium society as it streams along the 100 Megabit per second pathway towards the millennium. A blaring horn sample is set up as a runaway siren, deep house bass rumbles are dropped almost off-handedly and eventually a burst of distorted six string work melts in and out the whir and screech of a Yellow Magic snyth line. Japan flat dazzled Bono and he's downloaded much of that exuberance here for the globe at large to see. There's far more to pore over tone wise considering how amorphous a stance all but Bono adopt throughout. Had Bill Flannigan's awkwardly reverent but insightful bio (_U2 At The End Of The World_) not ended right when _Soundtracks 1_ was brewing, it might have made some interesting reading. Apparently a good amount of instrument swapping went on, and both Clayton and Larry Mullen Jnr. had spent their time off sharpening their chops and broadening their palettes. More evident is Bono's rant lyric angle that he's partially adopted ever since he got some media praise for Bob Marley R&R Hall of Fame induction speech. His building on one thematic rap over the course of a song is sort of precarious, but when it works, as it does on "Slug" and the radio track "Miss Sarajevo," the predominant rhythmic feel distracts sufficiently when the content may be off a touch. The appearance of Pavarotti is notable mostly in that with U2 compositionally stepping back from most of its mega-rock inclinations the atmosphere is limber enough to weave in something as grandiose as the tenor. Normally the lush weight of such a stroke would bring all things to a lumbering point of collapse. As an interim release from a band who had gleefully acquired the trappings of pop excess and an image of being slightly over the top, _Soundtracks 1_ is a far more than an agreeable shift of gears for anyone who cares to give it their head. --- REVIEW: Dan Baird, _Buffalo Nickel_ (American) - Donald Derrick My first concern, with the second solo release from former Georgia Satellite lead singer Dan Baird, was the ever so dreadful "sophomore jinx" - the curse that sometimes plagues the greatest bands and artists. After all, how could he top his previous album, 1993's _Love Songs For the Impaired_? Baird's answer is by recording some of his best work ever in this collection of eleven in your face, guitar driven rock n roll. "Younger Face", the first track and the first single, leads things off. Dan says that this is "My Neil Young super-riff with lyrics about the fate that awaits anyone who doesn't die young." It's a refreshing return to the rock and roll which America has been missing lately. This track isn't the only solid song on the album - _Buffalo Nickel_ continues with more scorching rockers like "On My Way", "Cumberland River", and the hilarious "Lil Bit". "Birthday" is quite different compared to Baird's previous work. This song has potential for alternative radio airplay with its funky bass line and voice box on the vocals. Baird also performs an intense version of Deep Purple's classic, "Hush". Joe South, the song's writer, also contributes background vocals. _Buffalo Nickel_ reunites Baird with the same lineup as his first solo album: Mauro Magellan on drums, Brendan O'Brien on the lead guitar (who also produces the album, and has worked with Pearl Jam and Matthew Sweet), and Keith Christopher on bass. Baird's longtime fans will find this disc is well worth the the wait and he is sure to make many new fans with this release. Baird's songs are written about the common man and everyday life, which makes his songs fun to listen to and easy to relate with. This album is sure to generate a long stay in any rock fan's disc player. --- REVIEW: Ben Arnold, _Almost Speechless_ (Ruffhouse/Columbia) - Dan Enright This marks Ben's debut on Ruffhouse. From the opening song, Ben's vocal style is reminiscent of other veteran songwriters like Bob Dylan and Tom Waits - course with limited range. But, like these performers, his strength lies not in his delivery but his content. I would peg this album as part of the resurgence in folk and folk/rock that's sprung up in the past couple of years. The album begins with "You," a pointed look at a failed relationship that reminded me, stylistically, of Dylan's "Like a Rolling Stone," and "Desolation Row." Failed because the parties involved, as Ben says, "...slipped right out of fashion" - as if love's an accessory you discard when you get bored with it. Then he pokes fun at superstition and warped belief systems in "Astral Freak," where he describes himself (rather tongue in cheek), "Cause I'm a studied astral freak/My superstition runs so deep/It's a Taurean malfunction/Somewhere on the zodiac/I just got lost and I can't get back/Point me in the right direction." He apparently got infected with the "spiritual virus" by the lover he discusses in the next song, "Light of Love." But he seems to recognize the objects of his searching keep turning out tarnished as he writes, "I wasn't looking for a reborn spirit/And I wasn't questioning the stars above/I think I'll only know it when I'm in it/I was just searching for the light of love." Ben's songs aren't all about flaky relationships and misguided beliefs, however. He also writes about the lies of politicians, especially the questionable New World Order, in "Meet the Press," gives Wilbur's take on the Wright Brothers flight at Kitty Hawk in "Soar," and pays tribute to the pain and suffering of common, simple people, murdered by men fighting idealistic wars in "Here in the Mountain." Oh yeah, he also bitches (quite wittily) in "Help Myself" about being addicted to cigarettes, using the same excuse as most smokers I know, "I can't help myself!" Ben points a barbed pen and fine sense of melody at things in the world that piss him off, including himself. But, he balances his outrage with sympathetic lyrics for ideas and acts he believes are noble. In this repect he keeps the traditions of singer-songwriters alive and well. And he does it by being a unique link in a long chain. --- REVIEW: Once Blue, _Once Blue_ (EMI) - Courtney Muir Wallner Rebecca Martin and Jesse Harris are Once Blue, the acoustic-rock duo from Manhattan that has created quite a buzz around town with their self-titled debut album. Performing together for more than two and a half years has built up a considerable and impressive following. In fact, it was after stumbling into a gig of theirs at CBGB's Gallery that EMI president David Sigerson signed Once Blue on the spot. The carefully crafted, expertly written music unfolds for the listener slowly; a single play of the album can not possibly afford any sense of understanding or depth. However, the music is beautifully simple - Harris allows each instrument (albeit guitar or upright bass) and each individual sound to be heard while Martin cleverly uses her voice as an additional instrument, sometimes dominating, sometimes leading and other times as an accompaniment to the music. Martin's child-like voice is high and sweet and textured with deeper, richer undretones making for an infinitely subtle and equally powerful deliverance. Martin's voice is unique and undeniably recognizable, giving the album a flavor that is Once Blue. Producer Steve Addobbo (Suzanne Vega) had known the band for more than a year before they began recording and completely understood Harris' and Martin's desire of capturing the strong dynamic of their live performance on the record. Harris explains, "There are minimal overdubs and most of Rebecca's vocals were done in one take. [It's] the raw excitement of a band making music in the moment. Perfectionism in the studio can sometimes take the life out of a final recording." Martin adds, "We never sought perfection, just the power of collaboration." And, it is just this that gives Once Blue their signature sound. --- REVIEW: Mick Harvey, _Intoxicated Man_ (Mute) - Dan Enright This is a concept album, using - and in some cases reworking - the songs of French poet and musician Serge Gainsbourg. Serge is described in the information accompaning the recording as "Notorious for his facial stubble, ponderous poses with cigarettes and pop hits with explicit sexual themes, Gainsbourg was a hero to many French people." While the songs have been chosen from his entire career, they could also describe a year in the life of the writer, since most songs are narrated in the first person. Opening with a song sounding like the soundtrack accompaning the animated Saub (automobile) commercial that ran here in the States, the one where the guy's encouraged to quite his job and stop putting up with corperate bullshit - but still keep the Saub... But, I digress. This melodic style is central to the first song, "69 Erotic Year," which sets the scene. "They're in love and they're sailing free/For one whole year at sea/He will pardon her caprice/Till 1970... 69, Year of Love." The album then seems to follow the "hero" for the next year, as his life spirals slowly out of control. Intoxicated by alchohol and sex, never really connected to the world, the character of Gainsbourg seems lost and lonely. Unable to connect emotionally with his lovers or his life, he drifts alone through the year. Lines like, "...And if I die tonight/It's my destiny and my right/I think less well of life/Than of my motorbike" from "Harley Davidson" illustrate my point. Or the verse from "Intoxicated Man," the title song, "You sigh/and tell me what you're thinking./You're like,/a violet that is shrinking,/into the patterened left lapel,/of my dressing gown./Spinning on the carousel,/of my living room." Then there's his outrage at being betrayed by his lover in "Sex Shop," where he angrily demands, "Come, you little harlot, tell to me/How was it between his sheets/Was it better than with me?/But, you little bitch, you're waiting still/For me to swollow this bitter pill/I swear I never will." This is contrasted with "the Song of Slurs," where his lover screams, "YOU ARE VILE, YOU ARE VAGUE, YOU ARE VAIN/YOU'RE DEVIOUS AND ENVIOUS, YOU'RE INSIDE." To which he replies, "Evelyn don't say that, Evelyn I pray to thee/Evelyn you once loved me, don't you see." I don't believe his words, and neither does his lover, apparently.Especially when you hear his blow off in "I Have Come to Tell You That it's Goodbye." This was the song that convinced me the narrator was a loser, "Now the hour is nigh/Yeah I regret/To tell you it's goodbye/But I can't bear to hear you cry." What an asshole... but that's just my opinion. Then there's the song about suicide, "The Barrel of My 45." "Aye, if I were to die/Blow myself sky high/To finish the story/With out you/This idea came to me, God knows where from/just a desire/I often have/I find it tempting." No kidding! His life is so empty of meaning, it's no surpise he's bored and unhappy and eager to die. But wait, there's more... In "Jazz in the Ravine," the camera pans in on a sports car, racing through the south of France... "Listen/Listen to that baby-doll/Hear that/My favorite part of all/So turn the music up full blast/And don't worry honey, I always drive this fast/ And then, just before Monte Carlo/It happened, well that's the final blow/The Jaguar left the bitumen/and somersaulted into a ditch with them/And while they lay there racked with pain/The radio kept blaring out this refrain/At dawn/They'll use a spoon/To scrape up their remains." You get the idea. Mick Harvey's translations of the lyrics and arranging of the music, along with Anita Lane's haunting vocals, make this an interesting study in contrasts - a beautiful, romantic portrait of a piece 'o shit loser. A difficult tasked, brilliantly executed. --- REVIEW: Lifter, _Melinda,(Everything Was Beautiful And Nothing Hurt)_, (Interscope) - Mario J. Lia This threesome was formed in 1992 in Silverlake, CA. They started playing gigs around the L.A. area, and then over the next three years released indie seven inches on Fingerpaint, Triple X and Boy's Life Records. This helped spread the word of this rocking band. Now with _Melinda_, Lifter is ready to take the world by storm. "I think it's important to write about what's inside of me not outside of me. I can't see myself ever writing storyline songs or political manifesto songs," remarks guitarist and lead singer Mike Coulter. This raw honesty in the lyrics gives Lifter strength. Take for example "402" where Coulter says "I want to go back home and mow the lawn for my dad... I want to walk to school and get high with my friends...why can't I leave this town and tell my mom I tried.." But there is more to Lifter then soul searching lyrics. This album is like Grooves R Us, 'cause they can play them all. Slow grooves like in the song "Something Borrowed". This song is very poppy Lemonheads-ish, to the point where(just for a second) you think it's Even Dando singing and playing it. Then there's "The Rich, Dark, Sultry Red Of Hate". After a quiet intro this song breaks into a thick bass groove reminiscent of The Breeders' "Cannonball". The last track of the album is "Shine". This starts off sounding as slow wedding-band ballad. Then there's a feedback intense solo and then a sing-along-song type ending. Mike along with Jeff Sebelia(bass) and Johnny Rozas(drums) make Lifter a terrific threesome. Songs to rock to, songs to relate to. The songs of Lifter will ring in your ears and keep you grooving. --- REVIEW: Reef, _Replenish_ (Epic) - Linda Scott _Replenish_ is Reef's debut album, and it's one to be proud of. Actually, the album was released in June 1994 in the the band's native UK where it was well received. Sony designated Reef to cross the pond, hit the USA rock music scene, and follow in the success path of Oasis. Band members Gary Stringer (vocals), Kenywyn House (guitar), Dominic Greensmith (drums), and Jack Beasant (bass) got together in March 1993 in West London and formed Naked. They appeared as Naked for a year gigging around the UK, making demo tapes but made achange soon after to the current Reef. Two tracks, "Good Feeling" and "Naked",reached Numbers 24 and 11, respectively on the UK charts. With _Replenish_'s release, the band pulled in better gigs opening for the Rolling Stones at their "secret" London gig, opening for Soundgarden and playing five UK festivals. Reef has made an amazing impact in the UK and now _Replenish_ is here in the states. The album does have enough to get itself a hearing. The music rocks but has an alternative side to it. Reef sounds like Pearl Jam with vocals that are reminiscent of Black Crowes. Guitars and drums are right on, and Stringer's vocals sound more American than British. It's this combination which makes this one of the British bands which might capture America's fancy. Check them out now - and impress your friends when, in six months, they rave about the "latest great British export" - Reef. --- CONCERT REVIEW: Nits, Zurich, January 18 1996 - Reto Koradi The Nits are probably an unknown name to most of our readership in the U.S., so this live review is also intended to serve as an introduction to the band. Despite a career spanning nearly 20 years and 15 albums, with some songs that gained remarkable popularity on the European continent, this Dutch band has never hit it big world wide. Maybe that is because they never caught the wave of a current trend and probably never wanted to. Their style of pop was always timeless, and a touch too intellectual to attract an even larger audience. But over the years, they acquired a solid base of avid fans, not to the least with their great live shows. This explains why the venue of 1,500 people in Zurich still sells out easily, even after the greatest hits are 7 years old. The three core members, lead vocalist and guitarist Henk Hofstede, keyboarder (and comedian) Robert Jan Stips, and drummer Rob Kloet, are still going strong, despite a few grey hairs. On the current tour, they are reinforced with a bassist and an additional percussionist. Of course they play a bunch of newer songs, some of their greatest hits, like "J.O.S. Days", but also a surprising number of old tunes, like "Cabins", "Port Of Amsterdam", or this reviewers favorite, "Typist Of Candy". Old songs, most notably the classic "Sketches Of Spain", are reworked drastically, to make this a highly interesting encounter. This is completed with some unusual cover versions and audience requests. The whole show is very well balanced, subtle ballads change with powerful songs, creating a high tension. The almost 2.5 hour set leaves back an ecstatic audience, which gets a well deserved additonal encore long after the lights went on. It's hard to explain in a few words what makes The Nits such a special band. One thing is that they can play their instruments, which not all bands could claim. All of them even play multiple instruments, drums and violin are a particularly interesting combination. Then they just write great, intelligent pop songs with excellent, sometimes weird, and often hilarious lyrics. And last but not least, what mainly comes through in their live shows: they enjoy playing, and entertaining the audience. You'll hardly see another band laughing so much on stage, and this positive attitude makes you want to see them every day. While other bands prefer to insult the crowd, Henk brings his video cam during the encore, and films the audience. The current release of The Nits is a greatest hits compilation titled _Nest_ (also in a video version, "Vest"), which gives a good introduction to the band. For compilation haters, we recommend the twofer _Henk/Kilo ('83/'86)_, their best-seller _In The Dutch Mountains_, or the wonderful live double CD _Urk_. More information can be found at: http://sunserver1.rz.uni-duesseldorf.de/~steinj/nits.html --- REVIEW: Glueleg, _Heroic Doses_ (Pure) - Mario J. Lia The best way to describe Glueleg is a mixture, not one of anything. Their sound is that of The Mighty Mighty Bosstones + rap + Santana. That's a tall order to pull off but somehow they do it. Ruben Huizenga(guitars and vocals), Carlos Alonso(Chapman Stick and vocals) and Christian Simpson (percussion) provide dense grooves that have helped this band garner heavy rotation on the Canadian equivalent to a cooler MTV, Much Music. The most interesting feature of this quartet is Andy Wyse who not only sings but also plays saxophone on several songs. His high notes punctuate almost every song. Ska plus hard rock...what could come next? How about Spanish? Further adding to the mix is the fact that some of the songs are partially spoken in Spanish, even a few Spanish titles. --- NEWS: > BoardAid3 for Lifebeat will be taking place on February 14 at Big Bear Lake, California. Bad Religion, 7 Year Bitch and Unwritten Law will headline this combination skate/snowboarders/music festival. For more information on BoardAid3, check out the WWW site at http://www.boardaid.com > Ghostmeat Records has a page on the World Wide Web, located at: http://users.aol.com/rlhallauer/home.htm > John Hiatt will be performing the song "Cry Love" on February 14 when he appears on the Late Night with Conan O'Brien show. > Lucy's Dream has a WWW page at: http://www.mathcs.duq.edu/~richwals/ld.html > The weekly CoffeeBreak interview series MuCoMo (http://www.mucomo.com), has the following artists scheduled for interviews: Feb. 1 Offspring, February 7: Candlebox, February 14: Mr. Mirainga February 21: Bad Religion, February 28: Mike Muir > The Performing Songwriter is a unique magazine. Rather than reporting on gossip and innuendos - unrelated to music, but great for tabloid covers - The Performing Songwriter finds out how the songs are written - their inspiration, the thought process, and the work involved in making them become more than just another song. Recent interviews with Billy Joel and k.d. Lang are among the most substantial seen on either artist. In addition to these interviews, there are plenty of pointers, "how-to's", and tips for up-and-coming performers. The Performing Songwriter is crucial to any performers working their way up the ladder in the music industry or fans of any of the profiled artists. Individual issues are $4.95; a year-long subscription (6 issues) is $25.95. For more information, contact them via e-mail at perfsong@aol.com or on the WWW at http://songs.com/noma/tps > Smug, a New York City-based free regional alternative monthly newspaper, recently celebrated its one year anniversary. Editor Shirley Halperin's publication covers the world of music and film with the attitude of its title and is distributed to clubs and record stores. For more information on Smug, drop a line to smugnyc@aol.com > SubCulture TapeZine takes the common 'zine premise but (obviously) turns it upside down by its sole distribution being on 60 minute cassette. Although editor Melita Dennett claims that it is "not a radio show", the combination of interviews, reviews and song snippets come across as an ultra-cool radio show that's way above the college level. Issue #1 shines on through interviews with artists such as Kim Deal, Delicatessen, Bandit Queen and an archive interview with Julian Cope, while Issue 2 (slated for February release) plans to include interviews with Echobelly and Perfume and an archive interview with the Ramones. For more information on this limited edition (1,000) quality 'zine, e-mail crowradio@mistral.co.uk. Or, to directly purchase the 'zine, send 2 pounds (UK residents) or $4 (outside UK) to SubCulture TapeZine, 7 Phoenix Place, Brighton BN2 2ND United Kingdom > The Tattletale Report is a regionalized newsletter which lets readers know audience reaction, the draw, professionalism of the act, if the club would invite the band back again, and if the band arrived on time. Believe it or not, the answers to these questions are not always yes! With further contacts, this could quickly fill a niche for promoters and booking agents of small clubs. Individual issues are $5; for more information, contact them at 212-505-2441 or via e-mail at heymeow@aol.com --- TOUR DATES AC/DC Feb. 1 Los Angeles, CA Forum Feb. 2 San Jose, CA Arena Feb. 3 Oakland, CA Coliseum Feb. 5 Sacramento, CA Arco Arena Feb. 7 Portland, OR Rose Garden Feb. 9 Vancouver, BC GM Palace Feb. 10 Tacoma, WA Tacoma Dome Feb. 12 San Diego, CA Sports Arena Feb. 16-17 Mexico City, MEXICO Sports Palace Walter Beasley Feb. 1 Fort Worth, TX Caravan of Dreams Feb. 2 Houston, TX Rockefeller's Feb. 3 New Orleans, LA House of Blues Feb. 4 Birmingham, AL Alabama Theatre Feb. 6 St. Paul, MN O'Shaughnessy Auditorium Feb. 8 Tulsa, OK Brady Theatre Feb. 9 St. Louis, MO Mississippi Nights Feb. 10 Chicago, IL Park West Theatre Feb. 11 Royal Oak, MI Royal Oak Music Theatre Feb. 14 Washington, DC Warner Theatre Feb. 15 Durham, NC Carolina Theatre Feb. 16 South Amboy, NJ Club Bene Feb. 17 Camden, NJ Sony Blockbuster Entertainment Center Cypress Hill Feb. 1 Houston, TX Int'l Ballroom Feb. 2 New Orleans, LA Lakefront Arena Feb. 3 Atlanta, GA Int'l Ballroom Feb. 5 Washington, DC 930 Club Feb. 6 Washington, DC 930 Club Feb. 7 Baltimore, MD (tentative) Feb. 9 Philadelphia, PA Electric Factory Feb. 10 Worchester, MA Aud Feb. 11 Providence, RI The Strand Dance Hall Crashers Feb. 4 Boulder, CO Fox Theatre Feb. 6 Omaha, NE Ranch Bowl Feb. 7 Lawrence, KS Bottleneck Feb. 8 St Louis, MO Galaxy Feb. 9 Chicago, IL Metro Feb. 10 Ann Arbor, MI Blind Pig Feb. 11 Cleveland, OH Grog Shop Everclear / Ruth Ruth Feb. 1 Memphis, TN New Daisy Theatre Feb. 2 St. Louis, MO Galaxy Feb. 3 Kansas City, MO Memorial Hall Feb. 4 Minneapolis, MN First Avenue Feb. 5 Milwaukee, WI Marquette University Feb. 7 Chicago, IL Metro Feb. 8 Detroit, MI St. Andrews Hall Feb. 10 Cleveland, OH Odeon Feb. 11 Pittsburgh, PA Metropol Feb. 13 Buffalo, NY Showplace Feb. 14 Toronto, ON Opera House Feb. 15 Montreal, QC Club Soda Feb. 16 Providence, RI Lupo's Feb. 17 Washington, DC New 930 Club Feb. 18 New York, NY Tramps Freewheelers Feb. 1 Denver, CO Bluebird Theatre Feb. 2 Breckenridge, CO Joshas Feb. 4 Salt Lake City, UT Zephyr Club Feb. 6 Boise, ID Bogey's Feb. 7 Lewiston, ID Tomfoolery Feb. 8 Seattle, WA Off Ramp Feb. 9 Vancouver, BC Richard's Feb. 11 Portland, OR Key Largo Feb. 12 Eugene, OR Wild Duck Feb. 14 Santa Rosa, CA Magnolia's Feb. 15 Chico, CA Brickworks Feb. 17 Lake Tahoe, CA Humpty's Godplow Feb. 1 Birmingham, AL The Nick Feb. 2 St. Petersburg, FL State Theatre Feb. 3 Miami, FL Churchill's Feb. 4 Fort Myers, FL Offbeat Records Feb. 6 Pensacola, FL Sluggo's Feb. 7 Lafayette, LA Metropolis Feb. 8 Houston, TX Abyss Feb. 9 Austin, TX Emo's Feb. 10 Denton, TX The Argo Feb. 13 Omaha, NE Cog Factory Feb. 16 Davenport, IA Smile Coffeehouse Feb. 17 Des Moines, IA The Safari Feb. 19 Columbia, MO Deep Blues Paris Hampton Feb. 1 New York, NY Wetlands Feb. 15 New York, NY CBGB Gallery Hum / Mercury Rev Feb. 1 Columbia, MO Blue Note Feb. 2 Lawrence, KS Bottleneck Feb. 3 Kansas City, MO Hurricane Feb. 4 Wichita, KS Rock Island Feb. 5 Oklahoma City, OK Bricktown Live Feb. 6 Dallas, TX Orbit Room Feb. 7 Austin, TX Liberty Lunch Feb. 8 Houston, TX Abyss Feb. 9 Baton Rouge, LA Varsity Theatre Feb. 10 New Orleans, LA Howlin' Wolf Feb. 11 Pensacola, FL Sluggo's Feb. 12 Tallahassee, FL FLorida State Feb. 13 Jacksonville, FL Milk Bar Feb. 14 Cocoa, FL Cape SIerra Feb. 15 Tampa, FL The Robb Feb. 16 Atlanta, GA Masquerade Feb. 17 Athens, GA 40 Watt Club I.C.U. (Intensive Care Unit) Feb. 9 New York, NY CBGB's Jayne County (formerly Wayne County) Feb. 9 New York, NY Squeezebox Feb. 14 Los Angeles, CA The Viper Room Feb. 16 Los Angeles, CA Club Cherry Kilgore Smudge Feb. 1 Raleigh, NC Players Feb. 2 Wilmington, NC Mad Monk (w/DRI, Acid Bath) Lemons Feb. 3 Seattle, WA Moe's Feb. 7 Spokane, WA Outback Jack's Feb. 8 Missoula, MT Jay's Bar Feb. 9 Pullman, WA The Zoo Feb. 10 Boise, ID Neuro-Lux Feb. 11 Fife, WA Java Jump Feb. 15 Salem, OR Grand Theatre Feb. 16 Seattle, WA Rockcandy Feb. 18 Portland, OR La Luna Letters to Cleo Feb. 1 Olathe, MO Guitars and Cadillacs Feb. 2 St. Louis, MO Mississippi Nights Feb. 3 Chicago, IL Metro Feb. 4 Toledo, OH Main Event Feb. 6 Cleveland, OH The Odeon Huey Lewis & The News Feb. 12 San Antonio, TX Joe Freeman Coliseum Liquor Bike Feb. 1 Morgantown, WV Nyabinghi Dance Hall Feb. 2 Wilkes-Barres, PA Mantis Green Feb. 3 Philadelphia, PA Upstairs At Nick's Dave Matthews Band Feb. 1 Bloomington, IN Indiana Auditorium Feb. 2 Champagne, IL Foellinger Auditorium Feb. 4 Davenport, IA Adler Theatre Feb. 5 Ames, IA Cy Stephens Auditorium Feb. 6 Decorah, IA Luther College Feb. 8 East Lansing, MI Michigan State University Feb. 9 Geneva, NY Smith Opera House Feb. 10 Binghampton, NY Binghampton University Feb. 11 Amherst, MA Lefrak Hall Feb. 13 Burlington, VT Flynn Theatre Feb. 14 Waterville, ME Colby College Feb. 16 Middlebury, VT Middlebury College Feb. 17 Storrs, CT Jorgensen Auditorium Feb. 18 Hanover, NH Dartmouth College Mighty Mighty Bosstones/Dance Hall Crashers Feb. 14 Pittsburgh, PA Metropol Feb. 15 Columbus, OH Newport Music Hall Feb. 16 Cincinnati, OH Bogart's Feb. 17 Memphis, TN 616 Mike Peters Feb. 10 Chicago, IL Double Door Feb. 11 Detroit, MI Alvin's Feb. 12 Oxford, OH First Run Feb. 13 St. Louis, MO Mississippi Nights Feb. 14 Lawrence, KS The Jazz House Feb. 15 Kansas City, MO Hurricane Feb. 17 Salt Lake City, UT Bar & Grill Bob Seger / John Hiatt Feb. 13 Philadelphia, PA Spectrum Feb. 15 Washington, DC US Air Arena Feb. 17 Albany, NY Knickerbocker 7 Mary 3 / Lustre Feb. 1 Hollywood, CA Whiskey Feb. 2 Solana Beach, CA Belly Up Tavern Feb. 3 Santa Ana, CA Galaxy Feb. 4 Las Vegas, NV Area 51 Feb. 6 El Dorado, CA Carmichael Theatre Feb. 7 Palo Alto, CA Edge Feb. 8 San Francisco, CA Great American Sister Machine Gun / Gravity Kills Feb. 2 Normal, IL IL. State Univ. Feb. 3 Champaign, IL Mabel's Feb. 4 Ames, IA People's Feb. 5 Louisville, KY Toy Tiger Feb. 6 Cincinnati, OH Bogart's-WOXY Radio Show Feb. 8 Atlanta, GA Masquerade Feb. 9 Charlotte, NC Amos Feb. 10 Myrtle Beach, SC The Head Room Feb. 11 Greenville, SC Gargoyle's Feb. 13 Charleston, SC Acme Feb. 14 Fayetteville, SC Flaming Mug Feb. 15 Huntsville, AL Vapors Feb. 16 Nashville, TN Cannery Feb. 17 Macon, GA Elizabeth Reed Music Hall Elliott Smith / The Softies Feb. 9 Chico, CA Juanita's Feb. 11 Los Angeles, CA Jabberjaw Feb. 12 San Diego, CA Che Cafe Feb. 13 Phoenix, AZ Stinkweed's Records Feb. 14 Tucson, AZ Cafe Luna Loca Feb. 15 Lubbock, TX Einstein's Feb. 16 Austin, TX Electric Lounge Feb. 17 Houston, TX Rice U. Coffee House Verve Pipe Feb. 1 Lawrence, KS Jazzhaus Feb. 2 Columbia, MO Side Door Feb. 9 Atlanta, GA Smith's Old Bar Feb. 10 Greenville, NC Peasants Feb. 14 Carrboro, NC Cat's Cradle Feb. 15 Asheville, NC Be Here Now Feb. 16 Columbia, SC Elbow Room Feb. 17 Charleston, SC Music Farm Vinyl Devotion Feb. 8 San Francisco, Bottom of the Hill Wild Strawberries / Suzanne Little Feb. 8 London, ON Call the Office Feb. 9 Ottawa, ON Barrymore's Feb. 10 Kitchener, ON Volcano Feb. 16 Hamilton, ON X Club Feb. 17 Toronto, ON Lee's Palace Jane Kelly Williams Feb. 3 Philadelphia, PA Tin Angel Feb. 16 Washington, DC Folk Alliance (Renaissance Wash. Hotel) --- THE READERS WRITE BACK! I was recently looking through the web to find out information about the Fountains, a group Joe Silva had written an article about in the December 9, 1994 issue of Consumable. I have seen the Fountains perform in Binghamton, NY at a bar called Westside Cheers recently; the review Mr. Silva wrote was about the Fountains and their first cd _Welcome_ on Plow Records. I hope he gets a chance to hear _Stamp_, the next album that the Andrews Brothers have released. "A Spark" is my favorite track. - Jeff H., Binghamton, NY I've been recieving Consumable since sometime around last November. I really enjoy your e-zine, especially your listing of tour dates - and the concert reviews are great. I also like the reviews of albums, which I use to get another opinion about CD's I plan to buy; your reviews are helpful because I can get some opinions about the entire album. Keep up the good work. - Jacob J., Hazlehurst, GA Thanks for the great interview with Brendan Ryan of Bogmen. I saw their sold-out show in NYC at the Academy over the Thanksgiving weekend, and it was great! I actually flew in from CA to see the Rake's Progress, who opened for Bogmen, but I'd bought "Life Begins at 40 Million" before the show and fell in love with the Boggers, too. The two groups have toured together quite a bit, and they assist each other on some songs. In the show I saw, PJ O'Connor played percussion one of the Rake's songs, and Tim Cloherty sang lead on one of Bogmen's songs. It's wonderful to see musicians appreciate and support each other. (Especially nice because they're on different labels.) Bill Campion and Tim Cloherty both write some wicked lyrics! Your interview didn't mention that the Bogmen's CD is available in a "multimedia" format (possibly limited edition?) that you can drop into a CD-ROM player and enjoy on your computer (Mac or Windows). It's quite funny and charming -- contains music samples, interview clips, comix, and QuickTime movies of the band at work I always enjoy reading what Consumable has to say. - Scottie Z, Palo Alto, CA --- To get back issues of Consumable, check out: FTP: eetsg22.bd.psu.edu in the directory /pub/Consumable ftp.etext.org in the directory /pub/Zines/Consumable Gopher: diana.zems.etf.hr Engleski Jezik/Music/Consumable or Hrvastki Jezik/Glazbena Rubrika/Consumable (URL) gopher://diana.zems.etf.hr:70/11/eng/Music/Consumable http://www.westnet.com/consumable/Consumable.html (WWW) http://www.westnet.com (CIS) on Compuserve Notes: GO FORUM (Delphi) Music Fandom forum; GO ENT MUSIC 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. #294, Hoboken, New Jersey 07030 ===