==== ISSUE 77 ==== CONSUMABLE ======== [May 29, 1996] Editor: Bob Gajarsky Internet: gajarsky@email.njin.net Sr. Correspondents: Jeremy Ashcroft, Martin Bate, 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, Joe D'Andrea, Joe D'Angelo, Paul Grzelak, Eric Hsu, Tim Hulsizer, Stephen Jackson, Daniel Kane, Mario Lia, Al Muzer, P. Nina Ramos, Linda Scott, Ali Sinclair, Jon Steltenpohl Technical Staff: Chris Candreva, Dave Pirmann, Damir Tiljak, Jason Williams Address all comments, subscriptions, etc. to gajarsky@email.njin.net ================================================================== 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: Paul Westerberg, _Eventually_ - Chris Koehler CONCERT REVIEW: Howard Jones, Bottom Line - Bob Gajarsky REVIEW: Nancy Boy, _Nancy Boy_ - John Walker REVIEW: Fred Schneider, _Just Fred_ - Reto Koradi INTERVIEW: Lustre - Al Muzer REVIEW: You Am I, _Hi Fi Way_ - Reto Koradi REVIEW: Soundtrack, _The Truth About Cats and Dogs_ - Bob Gajarsky REVIEW: Gumdrops, _High Speed, OK?_ - Al Muzer REVIEW: Jars of Clay, _Jars of Clay_ - Linda Scott REVIEW: James Brown, _Foundations Of Funk_ - Al Muzer REVIEW: Broadside Electric, _More Bad News_ - Paul Grzelak REVIEW: Gefkens, _Grind: The Demo Anthology_ - Bob Gajarsky REVIEW: Super Deluxe, _Famous_ - Linda Scott NEWS: Afghan Whigs, Lollapalooza, Sarah McLachlan, Modified, Performing Songwriter, Sonicnet Chats TOUR DATES: Boyracer, Charm Farm, Cocteau Twins, Cordelia's Dad Dread Zeppelin, God Lives Underwater / Life of Agony, Grover, Half Hour To Go, Paris Hampton, Limblifter / Stanford Prison Experiment / Local H, Love & Rockets, Alanis Morissette, Multiple Cat Nields, Nixons, No Doubt, Poorhouse Rockers, Professor & Maryann Pulp / The Drag, Slobberbone, Steeleye Span Reunion Tour, 22 Bridge Vitapup, Mike Watt, Weston Back Issues of Consumable --- REVIEW: Paul Westerberg, _Eventually_ (Reprise) - Chris Koehler It's not easy watching your hero fail. After listening to Paul Westerberg's new album, _Eventually_, I can understand how fans of John Lennon, Paul McCartney and Bob Dylan must have felt upon hearing their first mediocre albums. It may be presumptuous of me to put Westerberg in such elite company, but for many, including myself, Westerberg's former band, the Replacements, was as influential in the 1980s as the Beatles and Stones were in the 1960s. Three of their albums, _Let It Be_, _Tim_, and _Pleased to Meet Me_, are considered among the finest released in the previous decade and it was Westerberg's terrific songwriting that made these albums so good. The albums were full of great pop songs, encompassing anthems like "Bastards of the Young" and gutwrenching ballads, like "Here Comes a Regular" both from 1986's _Tim_. The Replacements had great songs, one hell of an attitude, and a sense of humor, everything except for a hit. Their lack of success led to their break up in 1991 following the tour for their last album _All Shook Down_. Westerberg released his first solo album _14 Songs_ in 1993 to mixed reviews. That album suffered from the same problem that his latest release, _Eventually_, suffers from: several good songs surrounded by too much filler. _Eventually_ is a much more subdued album than any of the Replacements efforts; this is not a bad thing and provides evidence that Westerberg is attempting to mature gracefully. The person who once boasted about crashing parties that he wasn't invited to now boasts about staying home every night of the week. This may be good for Westerberg, who appeared on the verge at times of succumbing to the falling off the barstool and stage excesses of the Replacements, but too often he makes it sound just plain boring. Occasionally, Westerberg is successful at writing good songs about his newfound domesticity. The album's opener, "These Are the Days," an ode to self-reflection, and "Once Around the Weekend" are pleasant enough without being boring. "Good Day," which is inspired by the Replacements' first lead guitarist, Bob Stinson, who died in February 1995, is an effective ballad. "MammyDaddyDid" is another pleasant mid-tempo number and is Westerberg's assertion that he won't raise his children the way his parents raised him. Speaking from experience, that's easier said than done and Westerberg may find himself having to eat his lyric sheet if he ever becomes a dad. "Hide 'n Seekin'" is a worthwhile ballad with ominous undertones. "Century" which borrows part of Sweet's "Ballroom Blitz" in the verse is an enjoyable rocker. Unfortunately, things go downhill from there. "Trumpet Clip" is notable only for the appearance of Replacements' bassist Tommy Stinson and for its hint of Westerberg's sense of humor, last officially sighted on "I Don't Know," from 1987's _Pleased to Meet Me_. "Love Untold" sounds pretty, but features lyrics so generic it begs to ask if Westerberg found them on a greeting card. "You've Had It With You" isn't a bad rocker, but is annoying to anyone who's heard "Down Love" from Westerberg's first solo album, because it is a direct rip-off of that song. From there, the rest of the album is so slight that nothing sticks out even after repeated listens. _Eventually_ isn't a complete failure, but compared to the quality of his previous work, it is a letdown. Westerberg may be reaching for a more mature sound and subject matter, but that doesn't mean he has to be boring - for proof, he might want to check out John Hiatt or Neil Young. It sounds like Westerberg is still struggling with the transition from a confused 20 year old to a mature 35 year old. Here's hoping he finds the mark with the next album. I don't know how many more times I can watch him stumble. --- CONCERT REVIEW: Howard Jones, Bottom Line - New York City - Bob Gajarsky The stage was set in this intimate setting at New York City's Bottom Line, with nine candles and bare instruments enveloping the mood. Howard Jones, adorned in a blue satin jacket, sat comfortably behind his piano - it was "acoustic", after all - while percussion veteran Carol Steele waited behind more than 10 instruments, ready for Jones' call to begin. Howard Jones first performed this acoustic tour in 1992 and, in support of his Plump Records album, _Live Acoustic America_, he has returned to show American audiences the "other" side of Howard Jones. Casual music fans might remember him for the #1 hit "No One Is To Blame" and "Things Can Only Get Better" (both of which he performed this evening), but it seemed that the Bottom Line's crowd knew every word to each of the eleven "old" songs. This audience, comprised mainly of people who were in their 20's when Jones first came to fame as a synth wizard, was hypnotized by the mesemerizing combination of Jones' piano playing and Steele's percussion wizardry. What made the evening more special than just the music was the anecdotes which were interspersed between songs. Amusing tidbits, such as the original erroneous Japanese translation for "Like To Get To Know You Well" ("I'd Like To Force Myself Upon You") and the inspiration for "Life In One Day" (when his UK record company decided that "No One Is To Blame" and the future top 10 UK hit "Look Mama" weren't hits, Jones had to remember not to live his life in one day), invited the fans into Jones' world in a way unique to many musicians. Jones wasn't the only artist in top form on this evening; his partner, Carol Steele, mastereed each of the more than ten instruments which she played during the evening. She also performed a powerful extended percussion jam during "Everlasting Love" which inspired a tremendous thundering of applause. Two new tracks, "Not One of the Lonely Tonight" and "Wedding Song", graced the thirteen song set. On "Lonely", Jones utilized a new instrument that he confessed he's fallen in love with: a Yamaha VL1, which resembled a melodica in appearance, hooked up to a mixing board of sorts. These songs (both more reminiscent of his slower works than his bouncy keyboard tracks such as "New Song") are both expected to appear on a forthcoming album set for release in late 1996. After a nearly 90 minute set and brief encore, Jones and Steele departed the stage. One onlooker mentioned how this show brought together every aspect that makes a concert special: good songs, great music, and an intimate appreciation with the audience. This critic couldn't agree more. --- REVIEW: Nancy Boy, _Nancy Boy_ (Sire) - John Walker If you're the kind of person who likes your rock and roll hedonistic, carefree and energetic, with more than a dash of style and pizazz, then this is the band for you. No doubt some in the jaded music press will delight in heaping scorn upon a band featuring the offspring of two pop culture figures from the 1960s--singer Donovan Leitch is the son of the singer Donovan of "Mellow Yellow" fame, while guitarist Jason Nesmith's daddy is Michael Nesmith from the Monkees. Add Leitch's career as a Calvin Klein supermodel to all of this, and you have a recipe for cynicism. However, it's hard to remain cynical when your actually play the CD. Produced by Shel Talmy of Who fame, _Nancy Boy_ is from start to finish a glam-pop gem that doesn't pretend to have an ounce of social significance beyond its espousal of a good-time ethic laced with a touch of big city decadence. What really gives the music here its oomph is the fact that Nancy Boy don't forget that this kind of music always benefits from some razor sharp guitar, a la Mick Ronson's muscular backup of David Bowie's glam antics in the early 70s. Here, it is Jason Nesmith who supplies the requisite crunch, driving catchy tunes like "Deep Sleep Motel" and the 60s-styled garage-rocker "Can You Dig It?" over the top into glam-a-rama heaven. Everything really comes together on "Johnny Chrome & Silver," with its T-Rexish lyrics ("He's just a Jeep Boy / Looking for a tank girl"), discofied beat, raunchy guitar skronk, and, as throughout, Leitch's foppish vocal leer, a theatrical device as much as a musical one. You'll be humming this one for days after you play it. Nancy Boy are obviously heavily indebted to their muscial forefathers, if not their genetic ones. "Dearest Girl" for instance, might just _be_ Bowie and The Spiders: if you slipped it into one of those _ChangesBowie_ collections, it wouldn't seem out of place. And while "W.R.I.P." is a lame tribute to Detroit that might best have been binned, "Colors" (which name checks Gary Numan), "Foxtrot" and "Ultrasex" are all worthy of the underrated glam-rock heritage which they extend: Numan, the Dolls, Japan, Soft Cell. After years of self-absorbed navel-gazing, it seems that some of today's newer rock bands are anxious to get back to what rock does best: extoll life as an endless party. And hey, isn't that what it is for young men in rock and roll bands? So if, like me, you're tired of wallowing in hypocritical WASP guilt with the Billy Corgans of the world, Nancy Boy are ready, willing and hungry (like the wolf) to take you into their world of glitter, pills and thrills. Sounds good to me. --- REVIEW: Fred Schneider, _Just Fred_ (Reprise/Warner) - Reto Koradi Solo albums by members of well-known bands are interesting for various reasons. First of all, they often demonstrate how much of the sound comes from an individual member. So if you mainly associated the B-52's with Kate Pierson, you'll be surprised how much Fred Schneider's voice reminds you of the B-52's. Solo albums also show what kind of music the artists would make if they had more freedom. In this case, it looks like Fred has clearly realized that the band sound has gotten somewhat superficial and slick recently. He warps back 15 years, to the legendary "Rock Lobster" days, and then goes further. _Just Fred_ was recorded with three different bands, of which the Deadly Cupcake contribute the largest (and best) part, production was done by Steve Albini of Nirvana and PJ Harvey renown. Considering this, it's not that surprising to find a darker sound with real drums and (sometimes howling) guitars. The tracks are diverse, yet consistent, and there's a natural kind of power and energy in them. Even if he only wrote the lyrics himself, it's obvious that Fred found his creative spirit again; anybody writing a track titled "Radioactive Lady Eyeball" must be a winner. If the sound is so different, why does the album still sound so much like B-52's? It's clearly the voice. Granted, Fred can't really sing, but he still delivers vocals that are highly unique and seems to be able to give songs a rhythm with his voice. And it's mainly this groove which makes most of the songs dancable. If this album doesn't make you at least wiggle your toes, you need treatment. Seeing Fred Schneider so full of enthusiasm and ideas, we can really look forward to the next B-52's album, which is already planned. And in the meantime, we can thoroughly enjoy _Just Fred_. --- INTERVIEW: Lustre - Al Muzer Leather jackets, Marshall Amps, rolling papers and rock 'n' roll are not common to Zebulon (pop. 2,055), North Carolina. Located just east of Raleigh; Opie, Sheriff Andy Taylor, moonshine, chewin' tobacco and country music are the first images that spring to mind when one pictures Zebulon. A loud, brash, aggressive rock 'n' roll band with roots in catchy, British Invasion pop just doesn't seem like a natural product of the tobacco belt. "Yeah, we were brought up in that, uhm, culture," drawls Lustre vocalist/guitarist Will Marley during a recent phone call. "But, I think our album makes it pretty clear that we were inspired by outside forces." Breaking out like punch-drunk, riff-happy Raspberries or a consistently-brilliant Teenage Fanclub; Lustre's self-titled A&M Records debut loudly defies the band's Deep-South origins by drawing on those "outside forces" for 10 muscular, loosely-played, guitar-driven power-pop songs bursting with sweet vocals, bright harmonies, crunchy, fuzz-laden hooks, heavy, semi-grunged beats and the earnest, ringing clarity of Bob Mould's best work. "There's a real interesting mixture of musical tastes at work in the band," explains Marley of his group's unlikely sound. "John (bassist John Ray) has played in heavy metal bands, Greg (ex-Antiseen drummer Greg Clayton) was into punk and I've always been this, like, total pop guy." "While each member contributes different elements and influences from their past to Lustre's sound," he adds, "basically, we just try to make music that sounds good to us. Luckily enough, things have finally started happening." Joining forces through a mutual love of loud, melodic noise and classic pop hooks that haunt you in the middle of the night; Lustre was born a few years ago on a small North Carolina stage playing for no one. After a few largely-ignored cassette demos, a slew of underdog gigs in front of indifferent, occasionally hostile crowds, thousands of miles spent traveling in a cramped, smelly, uncomfortable tour van, enough greasy fast food to clog the collective artery of a major city, a split 7" single with Uncle Joe's Big Ol' Driver, a song on the Empire Records soundtrack, extensive American tours supporting Babes in Toyland, Seven Mary Three and The Nixons and a full-length, major label debut - things have finally started happening at an accelerated pace around the band. Lustre is in danger of becoming rock's latest "overnight" success. "The switch to A&M doesn't seem to've made that big a difference in our touring habits or lifestyles yet," says Marley. "Although we still think it's a shame that we only get to play for, like, 60-minutes a day and then spend the other 23 hours doing nothing. If you think about it, besides a sound-check and playing our set, most of our day is spent traveling in the van, sleeping in a motel room or waiting to get up and play. So being on stage is, I'd say, definitely our favorite part of the day." "Some people like to point out to us that our album, 'isn't very original and sounds like, blah, blah, blah,' " Marley chuckles in amusement. "Which is okay. Really! (laughs) They say stuff like, 'well, you're not really doing anything super-innovative, but the record is good.' Well, thanks," he drawls sarcastically, "but it's pretty much just-about all been done already anyway, hasn't it?" "We just try to do what we do well, ya' know? I think the people who've had the biggest problem with us were probably expecting, like, some sort of 'alternative' act," he laughs. "And the problem with that is that we think we're a pop band. That's all we're up there doin' - playing good, entertaining rock 'n' roll music. We're just a pop band." "People like pop music, I think, because it's easier to, uhm, take. It's easier to listen to," Marley explains. "And, after years of hearing it on their radio and television, people are almost conditioned to actually need pop music." "It's (writing good pop music) all about creating lyrics and music that people can identify with. There's always been, and always will be," he adds, "a need for good, entertaining pop songs." "I think our record sounds great," Marley states with obvious pride, "but, I just don't know if it's gonna grab hold of the folks out there who're buying records right now. I mean, we're glad to be able to do this for a living and it won't be the end of the world if we don't sell a million copies. But, as far as us on today's charts? Well, let's just say that it's real hard to tell what's gonna be a hit anymore." "You never know what's going to happen," he adds, "so I think that all three of us try not to think about it (success) too much. All we can do is go out and try to have a good time. We at least get to do this. We're not working at, like, the hardware store," Marley laughs, "and I'm not a food salesman anymore. We're just glad to not have to do that." Originally appeared in Music Paper --- REVIEW: You Am I, _Hi Fi Way_ (Warner) - Reto Koradi Looking at the few, but great rock (Midnight Oil, INXS) and pop (Crowded House) bands that Australasia shows to the world, it always had to be assumed that there must be some hidden treasures that they try to keep all for themselves. _Hi Fi Way_, the second album by the Sidney band You Am I, clearly supports this theory. "Instead of getting a perfect grunge rock beard, I'd rather learn how to write songs properly," says band leader Tim Rogers, summing up their intention perfectly. While many people use "pop" nearly as a curse word, thinking of the lush and boring stuff that often sails under this flag, this is pop music in the best sense, centered around excellently written songs with melodies that have the potential to stick in your head almost longer than you wish. You Am I master the gentle art of making music that sounds relaxed and intense at the same time. It's not all slow and sweet, as there are a bunch of fast paced tracks, and though the guitar sounds make it crystal clear that this is music from the 90s, traces of Bristol pop can easily be identified. The fact that they were chosen as a supporting act for Soundgarden on a previous tour shows that they don't fit into a simple scheme. You Am I are certainly one of the best things that the Australians have sent over the oceans recently. _Hi Fi Way_ is an album that keeps growing with repeated listening, a true pop gem. --- REVIEW: Soundtrack, _The Truth About Cats and Dogs_ (A&M) - Bob Gajarsky Uma and Janeane. Janeane and Uma. These two women (Janeane Garofalo and Uma Thurman) and Ben Chaplin are the stars of _The Truth About Cats and Dogs_. The backing star is the soundtrack for the film. Unlike the _Mission: Impossible_ soundtrack, the songs here are not only in the movie, but are part of the film. Paul Weller's "You Do Something To Me", which is not a new track, gains a new life when used at a critical moment in the movie. Some new tracks do fit in nicely with their performer's careers; the blues tinged Robert Cray track "Well I Lied" is one of the artist's best, and Suzanne Vega's "Caramel" returns to ground not unlike her song "Rusted Pipe", while perennial popsters Squeeze produce another eminently singable song with "This Road". The next big alternative superstar tag has been applied to Ben Folds Five. Imagine the spirit of the Replacements coupled with a piano player on speed, and you've got the general idea for Folds, and why tracks such as "Bad Idea" have got many industry insiders abuzz. The only song that is a let-down is the Sting/Ranking Roger (formerly of English Beat and General Public) duet of the Police song, "Bed's Too Big Without You". True, the Police loved venturing towards reggae, but this track would have been best left on the cutting room floor. All in all, it's not *the* soundtrack for 1996, but is better than most. Fans of "adult alternative" music should flock to this in droves. TRACK LISTING: Dionne Farris - "For Once In My Life", Suzanne Vega - "Caramel", Sting/Ranking Roger - "Bed's Too Big Without You", Cowboy Junkies - "Angel Mine", Squeeze - "This Road", Al Green - "Give It Everything", Aaron Neville - "I Can't Imagine", Blues Traveler -"Run-Around", Robert Cray Band - "Well I Lied", Jill Sobule - "Where Do I Begin", Paul Weller - "You Do Something To Me", Brand New Heavies - "World Keeps Spinning", Ben Folds Five - "Bad Idea", Howard Shore - "Cats & Dogs" --- REVIEW: Gumdrops, _High Speed, OK?_ (Grass) - Al Muzer Gumdrops produce a lo-key, lo-fi,large-sonics wash of hypnotic, nicely-fuzzed Giant Sand/Sebadoh-style dream pop that shimmers with sweetly-lilting Jap-core (the band is from Nagoya) vocals, odd samples, heavy, occasionally moshable beats, edgy blasts of skittering, slashing, feedback and distortion-drenched sideways-guitar, curiously-processed girl and grrrl group influences, bizarre sound effects, an open, first-take playfulness and a soft, gauzy, cocoon-like warmth. Quite possibly the best record released so far this year. --- REVIEW: Jars of Clay, _Jars of Clay_ (Silvertone) - Linda Scott Jars of Clay is one of several Christian rock bands competing in the alterna-rock genre. Bible pop continues the trend of Debby Boone ballads, Stryper metal, and Michael W. Smith's current ballads, while the new generation takes Christian messages and wraps them in today's rock. Jars of Clay along with DC Talk, and Newsboys ply their trade in this arena. Jars of Clay are four Christian messengers from Illinois. Together about three years, band members are Dan Haseltine (vocals), Charlie Lowell (keyboard), Steve Mason (bass), and Matt Odmark (guitar). Influences cover a wide range: the Beatles, Depeche Mode, Hendrix, and Toad the Wet Sprocket. The band got together in college, put together a demo cd that led to their signing and debut album. Adrian Belew produced two tracks with the band finishing the remainder. The self-titled album would have benefited from Mr. Belew's continuing attention; the two tracks he produced are the best of the bunch. "Flood" is the first single and video off the album. It's very interesting to listen to and has lyrics that only hint at a Christian message. "Liquid" is beautifully produced with strings added by Belew. Chances for a wide appeal on this one are dimmed by the heavy handed religious message ("Arms nailed down, he didn't die for nothing"). Most tracks have lyrics that could as easily be interpreted as everyday love songs as love between man and the Christian Savior. These tracks with that kind of innocuous lyrics attached to pleasant alternative music can carry Jars of Clay outside the Christian rock perimeter if that's where they want to be; dump the hard sell religious lyrics, and they're there. Will Jars of Clay try to keep to the middle ground delivering veiled messages, or will they sway from their religious background? Will they get a tighter grip on the religious message lyrics and hammer out religious messages from Christian clubs? Their next album's direction should be interesting. With this one, _Jars of Clay_, if you like Christian rock, this is a keeper. If you like alternative, you might give this band a try, but the lyrics may scare some people away. --- REVIEW: James Brown, _Foundations Of Funk: A Brand New Bag 1964-1969_ (Polygram/Chronicles) - Al Muzer This amazing 27-song retrospective gloriously traces Brown's gradual transformation of soul music ("Let Yourself Go," "Out Of Sight") into the propulsive, hard-slammin' funk ("Cold Sweat," "Give It Up Or Turnit Loose") eventually appropriated by the, literally, thousands of bands who've since attempted to follow in the man's sweaty footprints. In addition to a comprehensive 24-page booklet that includes a well-written history, rare photos and detailed track credits, the digitally remastered disc features several recently unearthed, unedited live performances (the nine minute take on "Mother Popcorn" is da shit!), a few alternative takes, unreleased tracks, longer versions of most songs and a definitive, extended romp through "I Don't Want Nobody To Give Me Nothing (Open Up The Door I'll Get It Myself)" that firmly cements Brown's reputation as the king of all things funk. --- REVIEW: Broadside Electric, _More Bad News_ (Clever Sheep) - Paul Grzelak _More Bad News_ is the third album from the Philadelphia based band Broadside Electric. Broadside Electric is a folk / rock band that reminds us that not all folk music is based on acoustic guitars and Bob Dylan lyrics. This folk music has teeth, as the group is quick to point out in their CD liner notes, web pages, etc. By teeth, they refer to the sex, blood & violence so common in Celtic folk songs, but present everywhere else as well. While Broadside Electric is a Celtic folk rock band, you can see differences that make them very much unique. First is the instrumentation. Among the "standard" recorders, acoustic guitars, etc., is a Chapman Stick, electric violin, and an occasional sax. The three band members (Tom Rhoads, Jim Speer and Helene Zisook) combine to make a sound more akin to an entire troupe, rather than just a trio. Melissa Demian, previously in the band, provides some additional backing vocals. The sound that Broadside Electric produces shows a strong Celtic folk / rock style, but with additional eastern influences. These influences add accents and flavors to the album. Broadside Electric shows the influences of folk bands such as Steeleye Span but with other influences such as Boiled In Lead. People who enjoy this style of music would be very glad to hear this album. We open the album with "Babylon". While this traditional tune and story are rather simple in concept, the execution by Broadside Electric really gets this album off to a good (and somewhat bloody) start. The distorted Chapman Stick sets up the scene. Two murders and a suicide later, we move on to the second track, "Lord Bateman". This is a love song about commitment, with Slavic influences. "Bucimis" is a dance tune with Bulgarian origins. Broadside Electric has sped it up a bit, and made a rather quick and lively piece out of it. More mayhem then occurs within "Silkie". This tune sounds like it has a bit more of a mellow, John Renbourn sound. Don't let the mellow sound confuse you - add two to the body count. And let's not forget the random sex... The next is a collection of reels titled "The Spinning Wheel and the Bronze Axe". The CD liner notes tell us how the band comes up with the names for these reel collections - select a random college textbook, flip through randomly until you find something that looks good. "Pastures Of Plenty" is almost a western flavor. This is a Woody Guthrie piece that is played almost like a Bad Company tune. The effect is a perfect contrast to the rest of the album. "As I Roved Out" inherits some of the feeling of the Boiled In Lead that inspired this song. Broadside Electric has made it very much their own. The story of the song is one of a married soldier tricking a young lady into casual sex. No big surprise for anyone who follows Celtic folk / rock. "Gas Nign & Makedonsko Devojce" is a Jewish / Macedonian influenced instrumental combination. The combination of electric violin, Chapman Stick and electric guitar makes this an unusual and enjoyable tune. "Sheath and Knife" brings the body count to seven. Still a mellow tune, softly told events of incest, murder and vengeance. "J'ai Vu Le Loup" closes out the album with a French flair. Broadside Electric's third album _More Bad News_ is good news for anyone who is interested in folk / rock music. This trio out of Philadelphia creates a sound that is reminiscent of Steeleye Span and Boiled in Lead, but remains uniquely their own. _More Bad News_ is a strong recommendation for anyone interested in Celtic music, folk / rock, etc. Keep in mind the violence and sex - a common theme in the Celtic tradition. There is lots of it here. Also, the combination of traditional themes from around the world and the musicianship of the band members makes this a must hear. Album body count: 7 (3 women, 2 men, 2 children) There is rumor of an eighth death, but this reviewer has not been able to confirm it, or identify the remains. Broadside Electric has a web site. For more information, look them up at http://atomsun.harvard.edu/broadside/ --- REVIEW: Gefkens, _Grind: The Demo Anthology_ (P.O.S. Records) - Bob Gajarsky Date: 1991. Local New Jersey band The Fundamentals are just about to make the big break to the big-time. After several appearances on national compilations such as CMJ Monthly, through their own record label, an EP (_Feeling Strange_) produced by Richard Barone, a bonafide single "Cycles" and countless comparisons to R.E.M., and signing to MCA, things couldn't appear brighter. But, major label politics soon took over, and the imprint which the Fundamentals were signed soon dissolved...leaving the Fundies without a label, and soon, the band broke up. Fast forward to 1995. After the driving forces behind the Fundamentals (Fran and Matt Azzarto) teamed up with Chris Gefken, the trio became the Gefkens, and soon drew a buzz around New York (Vin Scelsa) and Los Angeles (radio station KROQ). _Grind: The Demo Anthology_ was released to show off the different sides of the Gefkens. The obvious comparison is *still* the Byrds styled-riffs of R.E.M., with an unabashed amount of power pop added in to flavor the mixture. But rather than be pigeonholed, _Grind_ demonstrates that the band have several avenues in which they can proceed. "Blind" recalls some recent Soul Asylum, while "Thousandaire" emits similarities to the aforementioned should-have-been hit, "Cycles". Ironically, one of the demos with the least production, "Happy" comes across as a powerful, but untapped, acoustic gem. Yeah, it's 1996, but these guys still haven't seen the chance they truly deserve. With any kind of luck and justice, it will come sooner rather than later. P.O.S. Records can be reached at 105 10th St. Suite 1 Hoboken, New Jersey 07030 or via e-mail at mattgefken@aol.com --- REVIEW: Super Deluxe, _Famous_ (Revolution Records) - Linda Scott Super Deluxe hails from Nirvana territory but isn't into teenage angst. This band started life as a lighthearted pop band less than two years ago , and they intend to stick with the musical path they're on. Bandmembers are lead singer/guitarist Braden Blake, guitarist/vocalist John Kirsch, bassist Jake Ness, and drummer Chris Lockwood. Working in the genre of Cheap Trick, the Posies, early Beatles, and about a thousand other bands, Super Deluxe knows the importance of finding something special to set themselves apart from the pack. The Blake/Kirsch harmonies are what will set them apart. _Famous_ is the debut album of Super Deluxe. There are 10 tracks of original material although the tracks are somewhat short, the total time just exceeding the 30 minute mark. _Famous_ is a good introduction, and some- where in the record bins is a Christmas EP from 1995. Super Deluxe recorded _Famous_ in a friend's studio at little cost. When listening to _Famous_, give some special attention to "Smile", "She Came On", and "Flustered". What chance does Super Deluxe have of going to the top? The band seems weak because there are many similar songs that zip by leaving little impression. Listeners may be happy listening to this happy pop sound, but how long does it stay with them when the songs are very short and the lyrics need little thought? There doesn't seem to be a really strong track that could be pulled off as a single - but several seem as though they could be made stronger with more time. Super Deluxe seems very marketable - songs that don't offend, that are good for dancing and relaxing, good harmonies and decent music. MTV can't be far away. --- NEWS: > The Afghan Whigs' May 30 New York City concert at Irving Plaza will be broadcast live across the Internet at their label's web site, located at: http://www.elektra.com > The second and third stages for Lollpalooza are as follows: Second Stage (1st half): Girls Against Boys, Ben Folds Five, Cornershop, Satchel, You Am I, Beth Hart. Second Stage (2nd half): Soul Coughing, Sponge, Melvins, Ruby, Jonny Polonsky, Low & Sweet Orchestra. Third Stage (1st half): Chune, Moonshake, Lutefisk, Capsize 7. Third Stage (2nd half): COWS, Long Fin Killie, Thirty Ought Six, Varnaline. > Sarah McLachlan will be singing the Canadian national anthem at the upcoming Major League Baseball All Star Game on July 9 in Philadelphia. The unconfirmed voice for the American anthem is Kelsey Grammar, the star of television's Frasier. > UK new media group Modified has released AutoWeb Groove Cruiser, an online 4 track interactive music video designed exclusively for the World Wide Web. The 1300 K interactive Shockwave single enables Web users to listen to a changing multi-channel soundtrack while surfing. The single is programmed to respond to mouse clicks irrespective of which site a user subsequently visits. For more information, check out the web site at http://www.compulink.co.uk/~modified/ > The May/June issue of Performing Songwriter has been released. Highlights include a lengthy feature interview with former Beach Boy Brian Wilson, an interview with Natalie Merchant, and tips for aspiring songwriters. > Sonicnet Chats this week (http://www.sonicnet.com/sonicore/chat) are as follows; all times are p.m. EST unless otherwise noted. May 29, Don Fleming, 7:30; May 30, Porcupine Tree, 2:00; May 30, Southern Culture on the Skids, 7:00; May 31, Candy Snatchers, 3:00; June 3, Jayne County, 7:30; June 4, Pulp, TBA --- TOUR DATES Boyracer Jun. 2 Petaluma, CA Phoenix Theatre Jun. 3 San Francisco, CA Bottom Of The Hill Jun. 5 Los Angeles, CA Dragonfly Jun. 7 Tempe, AZ Stinkweeds Jun. 8 Tuscon, AZ Luna Loca Charm Farm Jun. 8 Detroit, MI Franklin St. Brewery Cocteau Twins Jun. 7 Atlanta, GA Roxy Jun. 9 Washington, DC 9:30 Club Jun. 10 Boston, MA Avalon Cordelia's Dad May 31 Hartford, CT Universiy of Hartford Dread Zeppelin Jun. 5 W. Hollywood, CA House Of Blues Jun. 7 Foothill Ranch, CA Peppa Fest '96 Jun. 8 Solana Beach, CA Belly Up Tavern God Lives Underwater / Life of Agony Jun. 2 Camden, NJ Camden Center Grover Jun. 6 Wilmington, NC Mass Symposium Jun. 7 Atlanta, GA Point Half Hour To Go May 31 Chatham, NJ United Methodist Church (Amnesty International Fundraiser) Paris Hampton Jun. 4 New York, NY CB's Gallery Limblifter / Stanford Prison Experiment / Local H Jun. 1 Seattle, WA Moe Love & Rockets Jun. 2 Columbus, OH Newport Music Festival Jun. 3 Cincinnati, OH Bogart's Jun. 4 Nashville, TN 328 Performance Jun. 6 Orlando, FL Embassy Jun. 7 Miami, FL Club Nu Jun. 8 Tampa, FL Masquerade Jun. 9 Jacksonville, FL Shades Alanis Morissette Jun. 12 Santa Barbara, CA County Bowl Jun. 13 Las Vegas, NV Aladdin Jun. 15-19 Los Angeles, CA Greek Theatre Jun. 20 Irvine, CA Irvine Meadows Jun. 22 San Diego, CA Del Mar Fairground Jun. 23 Phoenix, AZ America West Arena Jun. 27 Milwaukee, WI Summerfest Multiple Cat Jun. 3 New York, NY Mercury Lounge Jun. 7 Wilmington, NC Club Axis Nields Jun. 9 Kerrville, TX Kerrville Folk Festival Nixons / Grover Jun. 1 Harrisburg, PA Metron Jun. 2 Philadelphia, PA WIBF Festival No Doubt Jun. 1 Waltham, MA Gosman Center Jun. 2 Camden, NJ Camden E-Center Jun. 3 Providence, RI Strand Jun. 5 Dayton, OH Hara Arena Jun. 6 St. Louis, MO American Theatre Jun. 7 Omaha, NE Mancuso Hall Jun. 8 Bonner Springs, KS Sandstone Amphitheatre Jun. 9 Lampe, MD Black Oak Amphitheatre Poorhouse Rockers Jun. 7 Ocean City, MD Fager's Island Professor & Maryann Jun. 5 New York, NY HMV (34th/6th) Pulp / The Drag May 31 Detroit, MI St. Andrews Hall Jun. 3 New York, NY Irving Plaza Jun. 4 Washington, DC 9:30 Club Jun. 9 Philadelphia, PA Theatre of Living Atrs Slobberbone Jun. 1 Kansas City, MO Davey's Uptown Jun. 2 Dallas, TX Barleypalooza Jun. 4 Memphis, TN Barrister's Jun. 5 Nashville, TN Exit Inn Jun. 6 Athens, GA 40 Watt Jun. 7 Wilmington Beach, NC MASS Symposium Steeleye Span Reunion Tour Jun. 1 Pittsburgh, PA Carnegie Lecture Hall Jun. 3-4 New York, NY Bottom Line Jun. 5 Somerville, MA Somerville Theatre 22 Bridge Jun. 5 New York, NY Westbeth Theatre Jun. 7 Philadelphia, PA Trocadero Vitapup Jun. 5 New York, NY The Cooler Mike Watt Jun. 1 Corona, CA Showcase Theatre (Dos) Weston Jun. 5 Rockford, IL Pit Skatepark Jun. 6 Chicago, IL Fireside Bowl --- To get back issues of Consumable, check out: FTP: orbit.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/consumable (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. 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