==== ISSUE 80 ==== CONSUMABLE ======== [June 24, 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, Bob Mackin, Al Muzer, P. Nina Ramos, Linda Scott, Ali Sinclair, Jon Steltenpohl Technical Staff: Chris Candreva, Dave Pirmann, Damir Tiljak, Jason Williams Also Contributing: Darren Tracy 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: Manic Street Preachers, _Everything Must Go_ - Tim Kennedy REVIEW: Primitive Radio Gods, _Rocket_ - Bob Gajarsky REVIEW: Iggy Pop, _Naughty Little Doggie_ - Jeremy Ashcroft REVIEW: _Schoolhouse Rock: The Box Set_ - Bob Gajarsky REVIEW: Various Artists, _Ultra-Lounge Vol. 1-6_ - Joe Silva REVIEW: Asia, _Arena_ - Paul Grzelak REVIEW: China Drum, _Goosefair_ - Reto Koradi INTERVIEW: Half Hour To Go - Darren Tracy REVIEW: Various Artists, _Growin' Up Too Fast: The Girl Group Anthology_ Best of's from Shangri-La's, Angels, Lesley Gore - Al Muzer CONCERT REVIEW: The Go-Betweens, Paris, France - David Landgren REVIEW: Hampton Grease Band, _Music to Eat_ - Dan Enright SINGLES REVIEWS (Bawl, Bluetones, Velour) - Bob Gajarsky NEWS: Spin Control/Mixman, Material Issue, London Suede, Pacific National Exhibition, Sarah McLachlan, Summer Nights at the Pier TOUR DATES: Baboon / Rubberbullet, Barkmarket, David Bowie, Boyracer Brooklyn Funk Essentials, Bryndle, Cocteau Twins, Compulsion / Evil Superstars, Coyote Shivers, Elvis Costello, Cravin' Melon, Def Leppard / Tripping Daisy, Far, Jayne County, Cure, Customers Electrafixion, Everclear / Spacehog, Half Hour To Go, Haze, It's Me Margaret, Kiss, Lollapalooza, Nada Surf, Nancy Boy, Pantera, Poorhouse Rockers, Porno For Pyros, Rembrandts, Spin Doctors / Hot Water Music, Sting / Natalie Merchant, Superdrag, Velour, Paul Westerberg ERRATA Back Issues of Consumable --- REVIEW: Manic Street Preachers, _Everything Must Go_ (Sony U.K.) - Tim Kennedy This is the album that by many accounts should never have happened. The word from lead singer James in the interview last year in Consumable was that if one member left then the band would break up, that the sum of the group was greater than the individuals. Moreover the trauma of their dear friend vanishing so suddenly could have been too much for them to face going on as a unit. Richie has been gone over a year and the band have in no way exploited their colleague's memory, as some bands have with fallen figureheads (mentioning no names). However the Manics have gone on, and after some low-key support sets around the UK, for Oasis in Wales, for the Stone Roses showpiece Wembley Arena extravaganza, and their touching rendition of Burt Bacharach's 'Raindrops Keep Falling On My Head' on the _Help_ Bosnia charity CD, at length they have emerged with this CD. The title has a two-edged connotation: a rebuttal of accusations of any 'sellout' (the phrase is commonly used on UK shop windows during Sales); and/or that the past is to be wiped from the slate. Certainly some Manics fans have reacted badly to them continuing, holding onto Richie's memory out of misguided loyalty. It has to be said that Richie was never a great musical presence in the Manics, singer James did rhythm AND lead whenever I saw them and Richie never seemed to be that motivated in a performance. Of course, he had the most interesting intellect - and during interviews and in his lyrics he was continually stimulating the fans and the UK music scene generally. His swansong _The Holy Bible_ released in 1994 was one of the greatest rock albums of all time in the opinion of this writer mainly on the strength of Richie's paralysing analysis of the twentieth century's horrific inhumanity set to electrifying punk rock (70s style not 90s). But what of its successor? The opener is strange, beginning with ambient lapping of waves and acoustic musings. The target of this song "Elvis Impersonators" is the pervasive effect of gutter American nonculture. The song kicks into rock midway, but the presence of a harp in the chorus points to a multi-instrumental approach which gradually become more apparent as the CD goes on. The lyrics on this are Richie's, finished by Nicky Wire, the bassist, who it must be said was always a major lyrical contributor. The Manics picked on America in a track on the last CD too, but they are really concerned about artificial culture, not exhibiting crass xenophobia. The current UK single "Design For Life" is one of the very best songs they have ever written. It has a swaying riff which conveys deep anguish combined with fury; it is extremely moving. This is a new composition, with Nicky Wire lyrics. Strings underline the track, but the orchestration is startling. The lyrics describe alcohol abuse as an escape from life. The title track is a direct statement of intent by the band "I hope you can forgive us, but everything must go". The furious pace of the song implies that they are anything but sorry and are committed upon their renewed mission. Again strings are prominent. There are three musical layers in this CD: the acoustic aspect which begins several songs, and others are completely acoustic- but with the added instrumentation of harps, strings and the like. This is particularly effective on "Small Black Flowers That Grow In The Sky" which is a harrowing Richie lyric. The second layer is the all-out rawk guitar which this band have always been adept at. However the third layer is completely new - a Phil Spector-esque orchestration where the strings have a cavernous sound to them. "Everything Must Go" the track actually reminds a lot of "River Deep Mountain High", Spector's ultimate production job in the 60s with Ike and Tina. Elsewhere harps and horns also give this CD a marvellously lush instrumental landscape. The subject matter of Richie's lyrics on this CD hasn't got the meltdown-white-hot focus of _The Holy Bible_ - it reflects various subjects that interested the guitarist in his last few months in the band. For example, he was much taken with the character played by Dennis Hopper in Coppola's Vietnam classic _Apocalypse Now_. One track "Kevin Carter" is about this war photographer. The horns on this song give it an oddly 70s TV theme feel. This is another bleak majestic Manics classic. There won't be many CDs this year as accomplished, interesting and multi-faceted. This CD proves that the Manic Street Preachers can successfully experiment with their sound. It shows that they can survive the loss of Richie. They remain one of the finest rock bands of any era. --- REVIEW: Primitive Radio Gods, _Rocket_ (Columbia) - Bob Gajarsky The Primitive Radio Gods' Chris O'Connor has already defied the odds just by getting a record deal. Formerly lead singer of the Santa Barbara, CA alternative rockers, the I-Rails, O'Connor watched as that band disbanded after 1990. An attempt at finishing the last I-Rails album solo, and releasing it independently, failed. Finally, O'Connor mailed this completed album to other label representatives - and Columbia took a flyer on him. _Rocket_, the debut from the Primitive Radio Gods, combines aspects of the last 30 years without *consciously* mimicking them. There's Jimi Hendrix-like guitars mixed with a sound based firmly in Public Enemy, with low-fi vocals coming over the top. There's just a brief moment in "Women" where Queen's "Radio Ga Ga" comes through, and the chords from E.L.O.'s "Do Ya" echo in "Rocket". Imagine the notes played by Nine Inch Nails, played solely on guitars, and you might have a better idea of how _Rocket_ sounds. But the reason that this album will sell millions - and rightly so - is because of the monster hit, "Standing Outside A Broken Phone Booth With Money In My Hand" which combines the low-fi sound of Beck's "Loser" with the extremely cool Lou Reed, specifically "Walk On The Wild Side". Combine that with a wonderful B.B. King sample, and this song will be the track that anyone - and everyone - who likes alternative music will be singing. David Letterman was caught singing the sample continually during his evening telecast, and you can bet it wasn't from the original King song "How Blue Can You Be". If it was a one song album, this story might not have a happy ending. But there's tracks like the aforementioned "Women" and a likely future single, "Are You Happy", which can keep the Primitive Radio Gods' train rolling on down the line. _Rocket_ has ten songs, all of which could receive significant alternative rock airplay. Definitely the smash newcomer of the summer. --- REVIEW: Iggy Pop, _Naughty Little Doggie_ (Virgin) - Jeremy Ashcroft Forget what the rock'n'roll history books tell you, or what the uncharacteristically tired look of the guy on the cover might lead you to believe - Iggy Pop is still the angry teenager, at war at what he sees wrong in the world and not yet cynical enough to give up the fight. The album opens in full swing with "I Wanna Live", a message that while perhaps his wilder days are behind him, at least he's left his mark, and that there are still things to kick up against. The drumming is at once tight and loose, driving the beat but still funky; the guitars suitably raw, and Iggy harking back to the higher-range vocal style of the early days - there's even a little lyrical reference to The Stooges "No Fun". "Pussy Walk" is Iggy vs. his hormones. Sure to be slated in some quarters for the admittedly sexist lyric, it's actually pretty funny as Iggy admits that he can't help himself when it comes to women; "like you're supposed to go to the store and get a bottle of milk ... but on the way there's a girl and there's another girl ... and your eyes are going one way ... and your nose is going up ... and your nose is going down." He makes you feel almost sorry for him! With a guitar tone that evokes "Kill City" era James Williamson, Iggy longs for a return to his "Innocent World" on the next track. Though 'innocent' and 'Iggy' aren't often associated with each other, it's as if he finds 'grown up' life to be too corrupt, a theme also taken up on the following "Knucklehead". Incredibly, I've heard "To Belong" described as Iggy's version of Nirvana, as if they were the first band to do the slow verse/fast chorus thing, but to me "Keep On Believing" has the more contemporary sound (influenced no doubt by the choice of using Offspring's producer for the recording). That said, it's still pure Iggy, a voice that's been lived in, and I've yet to hear anything as perfect as the crazy wah-wah solo on any recent "punk" records. [Trivia note: before joining Nirvana, Dave Grohl once played in a one-off pick-up band with Iggy.] Cited as one of his major influences, I'd never really heard the Velvet Underground in Iggy's music until "Outta My Head", with its droning feel and thump thump drum beat, though "Shoeshine Girl" has almost a country/folky feel, or at least Iggy's take on that kind of music. "Heart Is Saved" is more conventionally rocky, but is probably the most throwaway song on the album, unlike the final track, "Look Away". Although nearly all of Iggy's songs are in some way about the man himself and his experiences, "Look Away" seems even more personal. It's the story of Johnny Thunders, with whom Iggy "did not part friends", but who he clearly had a lot of affection for, and in who he could maybe see himself - and since Johnny died chasing the rock'n'roll dream, whereas Iggy got clean, it's almost as if he's facing his own mortality. Amateur psychology aside, it's a very moving track. With his almost 20-year old classic, "Lust For Life", finding a new audience due to the recent success of the Iggy-inspired movie, "Trainspotting", it's incredible to imagine him still making such vital records, but while most "doggies" of his age are no more naughty than breaking wind when visitors call, Iggy is still the puppy that tries to screw your legs. --- REVIEW: _Schoolhouse Rock: The Box Set_ (Rhino) - Bob Gajarsky Walk up to anyone between the ages of 25 and 35 and speak the words "Conjunction Junction" to them. Rather than get a strange look, or a call for the funny farm, you'll likely receive the answer of "What's Your Function?" No secret code, this was part of the irresistible song/learning series interspersed between Saturday morning cartoons known as "Schoolhouse Rock". And, just more than twenty years later, _Schoolhouse Rock: The Box Set_ has finally seen the light of day. The history of Schoolhouse Rock was paved with adoration. From the first episode in 1973 with "Three Is A Magic Number", the series continued until 1985. After an outcrying of support from cartoon fans who were disappointed that their childhood favorites had been removed from Saturday mornings, Schoolhouse Rock returned in 1992 with all the "classic" episodes as well as a new subject, Money Rock. Schoolhouse Rock also featured musically talented associates. Music director Bob Dorough was a renowned jazz artists; Jack Sheldon (the voice behind "Conjunction Junction") served as the musical directory for the Merv Griffin Show for 18 years, while Lynn Ahrens (vocals on "Interplanet Janet") has written three Broadway shows. Just as most box sets, this is not meant to be absorbed all at once. In fact, of the 47 different original songs spanning four compact discs , many people would initially think that only half of them were essential. However, each of those people would be picking *different* tracks - and therein lies the beauty of the box set. It's a completists' dream, packaged smoothly in a three ring binder, with school "notes" detailing the inspiration behind and the history of the Schoolhouse Rock series. Most of these songs have never been heard outside of the accompanying videos; only the "Multiplication Rock" series even was pressed onto slabs of vinyl. And just mentioning some of the titles should bring back childhood memories: "Three Is A Magic Number", "Lolly Lolly Lolly Get Your Adverbs Here", "A Noun Is A Person, Place or Thing", "The Shot Heart 'Round The World", "I'm Just A Bill", "Interplanet Janet" and the classic "Conjunction Junction". One thing which stands out, even today, is how musically accessible these songs were. In 2 minutes, Schoolhouse Rock covered the gamut from ragtime ("The Body Machine"), gospel ("Them Not So Dry Bones"), doo wop ("A Victim of Gravity"), pop (many other songs), jazz ("Fireworks") and even "Interplanet Janet" sounds a bit like Susan Sarandon in Rocky Horror. Forget the tribute album with alterna-rockers covering these songs; this is the real deal. The originals. The ones we grew up with. And, if you've got children, let them have the same excitement and learning experiences which we had in the 1970's through ABC's Schoolhouse Rock. --- REVIEW: Various Artists, _Ultra-Lounge Vol. 1-6_ (Capitol) - Joe Silva It's probably fairly safe to view the UK success of the The Mike Flowers lounge version of Oasis' "Wonderwall" as a small velveteen blip on the musical spectrum, but if you look out across the Internet you'll get a better feel for Capitol's having this stuff exhumed en masse. The lounge revival, now a couple of years into it's resurgence, probably has as much verve to it now as any other going music trend. With a pre-mapped style quotient that covers everything from clothes to jargon to what your preferred liquid confection of the evening might be, it's a pose that's easily adopted. There are apparently scores of urban hipsters coveting their parents retired cocktail shakers and aspiring towards the lost glamour of the Fellini heydey. Initially, much of what it gathered here plays like a great hordes of over-skilled, under-payed jazz minstrels who did this sort of work to keep their gin reserves at an acceptable post-war level. Arrangements are string lush, vocalists croon and warble and the rhythm sections unearth every notional piece of percussion equipment to accentuate and provide some gimmicky distinction when things get bland. But in its essence, these were all probably highly trained players that saw this as just another aspect of the working musicians livelihood. A fair number of the era's big names are assembled across this "first" set of six discs with perhaps a few notable exceptions (Lounge giant Esquivel is nowhere to be found). But for those who still have a fairly difficult time adjusting to the cheese factor, understanding that this is all about mood and atmospheres is more than half the trick. With deference to that, Capitol has tried (and on occasion succeeds) to group some of the material accordingly. At its most pervasive, you could probably point out more lounge-ish tunes that you've hummed along endlessly than you'd care to admit. Combustible Edison produced a snappy version of the Bewitched theme, reminding you that this stuff is embedded way deep in our collective culture. So as you browse the tracks you'll hear things like the "The Theme from Our Man Flint" by Elliot Fisher on the _Bachelor Pad Royale_ collection and draw an instant affinity to it. But as easy as you think this would be to compile, it seems like Capitol has erred more than once in how things were grouped that detract from the swank of the collective experience. For instance, it could be a licensing issue, but wouldn't you expect things like the Star Trek theme to show up on the _Space Capades_ disc? And why do we have more than one version of "Fever" appear on separate discs? But what probably approximates the truth with these issues is that many of these tunes are fairly interchangeable given the right packaging. However, Capitol does get the right balance of swank and theme most of the time. _Mambo Fever_ works overall with its layers of Farfrisa and sufficient Cha-cha-chas. _Rhapsodesia_ edges to close to muzak frontier at times, but then again if the idea is that late night swoons from your lady fair, it's probably more digestible. There's also a high pop content to contend with. The Dean Martins and Paul Ankas are wedged in here and there but don't necessarily detract from the plush goings on. At worst, those tracks simply may muddle one's conception of the period. Apart from a evening's sustained immersion in one of the many clubs that now boast a lounge night, it might be difficult to gen up the right ambiance for these discs to achieve their due appreciation. Vibraphones only resound so well outside those particular environments. But for moments when you're trying one of the suggested concoctions conveniently laid out in the liner notes (although, Hot Wired's Virtual Blender is probably a better spot for recipes), you probably couldn't find a better accompanying musical backdrop. Beats a night of Pabst and an old Replacements album... --- REVIEW: Asia, _Arena_ (Resurgence) - Paul Grzelak _Arena_ is the 8th album by Asia. Asia initially started in 1981 a lineup of very strong progressive musicians. In their latest release, the combination of Geoff Downes and John Payne is very interesting. Along with this pair (working together since _Astra_), are Elliott Randall from Steely Dan, Aziz Ibrahim, Michael Sturgis and Luis Jardim. While there is some hint of the former versions of Asia present on this album, the sound is significantly different from their previous big hits on _Asia_. Listeners looking to _Arena_ to hear new renditions of "Heat Of The Moment" are in for a surprise. Lead guitarist Elliott Randall brings some of the qualities of his association with Steely Dan to _Arena_. This album has a warmer quality over Asia's initial releases - possibly due to increased use of Hammond organs over standard synthesizers. These differences make for a significantly different, more relaxed sound that still seems to capture some of the same emotion that fans will recognize. "Into The Arena" is an introductory instrumental, with warm Steely Dan guitars, maracas, warm organ and congas - a nice mellow warmup to the songs to come. The "Arena" itself is a continuation of the same sound, but building as it describes an almost gladiatorial battleground. "Heaven" has a bit more of a rock feel, with an initial sound slightly reminiscent of Pink Floyd. "Two Sides Of The Moon" is a bit more hard edged in vocals, and to some extent, synthesizer. The execution of "Two Sides Of The Moon" is gripping, and has a more creative and progressive sound than most of the album. "The Day Before The War" is a somewhat faster moving song, with a bit of Asia'a old punch in the intro. This nine minute track is a combination of fast moving instrumental and reflective soft- spoken vocals. Along with this, there are some captivating instrumental sections. The total effect is to build a kind of reverie for times past, not to be regained. "Never" is an interesting combination of strong synthesizer and overwhelming vocals. The guitar work during the refrains is very strong. "Falling" reminds this critic more of synthesizer pop than progressive or alternative style. "Words" is a lively synthetic pop sounding track with a bit of style. This album still has a surprise or two left. "U Bring Me Down" has an eastern influence to its initial synthesizer, and an interesting beat. The vocals are almost completely disjoint from the driving beat. In the liner notes, this section is referred to as "Counter Rap", but sounds nothing at all like rap. It is an interesting work. "Tell Me Why" is a slower quiet track with strong undertones, picking up to a stronger tempo and lyric. This may be a statement responding to the "Arena" and "The Day Before The War" theme. This would be the grief of the day after. "Turn It Around" feels like more of the same as much of the album. The instrumental "Bella Nova" closes out the album with a nice warm fuzzy happy sound, punctuated by rather sharp drumming. Taken as a whole, _Arena_ by Asia is the latest in a series of albums by a band that started out of the fine progressive / rock tradition. This reviewer (more familiar with the Asia long gone, the Asia that created _Asia_ and _Alpha_) was a bit surprised by the sound of this album. This album reminds one of a combination of the old Asia, Steely Dan, and maybe some Boston / Styx / Mike + The Mechanics. This combination produces a much warmer, softer, kinder, gentler sound. _Arena_ has a number of strong points, and some songs that are quite good, and unique. There are a number of songs that seem to blend into each other or fade to the background as well. This is definitely an album of merit for those who follow the new Asia, and expect the sound. Fans of the old Asia can expect some strong points mixed with some weak ones. --- REVIEW: China Drum, _Goosefair_ (510 Records) - Reto Koradi You couldn't say that China Drum do anything wrong. Not at all; this English punk band has everything you could expect. They have fast and tough songs which are well balanced with slower ones. The drummer can hold a rhythm, there are crunchy guitars, the singer has a decent voice, and there are plenty of catchy melodies and hooks. Yet something doesn't work quite right. Maybe the problem IS that they do what one expects from a punk band, and hardly manage to surprise the listener. What lacks is a certain inspiration that would make this band unique. Many of the patterns sound all too familiar. In light of that, it may sound a bit ironic to say that their version of Kate Bush's classic "Wuthering Heights" is the most interesting track on the album, but covers that are entirely different from the original were always the most interesting. It only pops up after 30 minutes of silence, though, sometimes it makes you wonder why some people think that "hidden tracks" are still a cool idea. The problem might also be that we're just getting a bit overfed with this punk revival craze. If you're still longing for more of it, and can hardly wait for the next Green Day album, China Drum's _Goosefair_ might well be one of your best bets. But if your excitement for it is fading (or never started at all), it won't convert you. --- INTERVIEW: Half Hour To Go - Darren Tracy New Jersey's Half Hour to Go has just released their debut album _Items for the Full Outfit_ (Grass Records) and things haven't always been easy. Plagued with line-up changes, changing record release dates, and an audience who, for the most part, have never even heard of them, Half Hour to Go are geared to change all that. And soon. Formed in 1993 when core members guitarist/vocalist Vic Marinelli and bassist/vocalist Michael Dutcher decided that the drum machine they used was just not working out (musical differences were cited), they realized that needed a much more human beat. So, they dumped the electronics and picked up Mike Hart, who was doing double duty since he was still very much a member of Kittywinder. In this incarnation, Half Hour to Go recorded the EP _Don't Forget the Children_ in June 1994 which got them a fair amount of press and much-needed attention. With that record firmly in their pocket, they attracted the eye of the acclaimed producer Bob Weston (Archers of Loaf, Sebadoh) and recorded their _Items for the Full Outfit_ in a Chicago studio. Ultra-melodic and widely diverse, the album wanders the same catchy indie rock terrain that Superchunk and Polvo have travelled before them, but adding a little bit of New Jersey radioactive charm to the mix. In the meantime, their label (Grass) was enduring major changes, which subsequently would delay release of the new album for more than a year. "It was frustrating," says Dutcher about the long delay. "When you finish something, you really want it to come out right away." Soon after recording wrapped up, the band played a handful of dates testing out the newly recorded material, and making sure it held up (it did). But that is when it became evident that a second guitarist was needed. After a healthy search, Joe Centeno joined on board. When all seemed right, Kittywinder beckoned Hart to return full-time. Subsequently, he announced his resignation from the band and soon replaced by Ernie Intorella, marking hopefully the last line-up change for quite a while. "We felt like a band the first time [the current line-up] played together," says Marinelli. "It just clicked! I was writing stuff with Joe twenty minutes after we met." Feeling a strong affinity for the new and improved Half Hour to Go, the band decided to rework and re-record some of the songs ("Shave", "Theatre on the Round", and "John Glenn") on their still-unreleased debut, utilizing the energy and freshness that the new members brought into the band. Booking a tour to coincide with the soon-to-be-delayed-again release date of April 1996, the band practiced and primed their set, itching to put the year-old record out on the shelves. Days before its release, their label informed them that _Items for the Full Outfit_ was plagued with sound quality problems, pushing its arrival in stores back another three months to June. "Again, it was frustrating," says Dutcher. "We had a tour booked all the way out to California and back again, and we didn't even have a record to sell." But instead of tucking tail and sulking, they headed out to road test the songs to vastly unknown crowds in Boston, Orlando, Kansas City, and Austin, people who were, for the most part, hearing these songs for the first time. "Hey, when you don't have a record out yet, everything is new," Marinelli explains. "That'll change now that the album is out," he grins. With the line-up solidified, the record officially released, and a tour that is already two months old and continues straight through the summer, Half Hour to Go seem to be officially on their way. Their first single, the jagged yet surprisingly melodic "John Glenn," is starting to show some radio play and the buzz that they maintained for the last few months of touring is bound to get louder. With their history, it seems like things are destined to change again, this time for the better. "It's been an interesting trip, I'll give you that" says Dutcher without a hint of irony, "and it's bound to get more and more interesting." --- REVIEW: Various Artists, _Growin' Up Too Fast: The Girl Group Anthology_ / Best of's from Shangri-La's, Angels, Lesley Gore (Mercury) - Al Muzer The Queens-based Shangri-Las brought sex, tragedy and the darker side of teenage love to a nation still reeling from the death of JFK, bored with Bobby Darin and just beginning to discover long hair in Liverpool. The group's "Best Of" features lead vocalist Mary Weiss laying waste to the "look, don't touch!" sexual repression of the era on 25 heart-wrenching, echo-laden, drama-filled odes to bad boys, forbidden love, quivering anticipation, loss of virginity, teenage pregnancy, dead lovers and furtive meetings with leather-jacketed guys who were, "good/bad - but not evil." Among the brilliantly maudlin, end-of-the-world songs included are: "Remember (Walkin' In The Sand)," "Leader Of The Pack," "I Can Never Go Home Anymore," "Dressed In Black" and "Never Again." Not quite as successful and more doo-wop based than The Shangri-Las, New Jersey's Angels are best remembered for 1961s "'Till" and their 1963 hits, "My Boyfriend's Back" and "I Adore Him." Limited to the songs their producers (which included future Go Go's svengali Richard Gottehrer) provided, the group occasionally found themselves saddled with novelty tunes like "The Guy With The Black Eye," "Little Beatle Boy" and "Wow Wow Wee! (He's The Boy For Me)"; Top 10 sound-alikes such as "I Adore Him" and "(He Is) The Kissing Kind" and hilariously-titled trash like "My Boyfriend's Woody." Despite the miss-fires, at least half of these 25 tracks are keepers. Although the bulk of her chart-toppers came in 1963-64, the 52-song Lesley Gore retrospective includes songs waxed through 1969 and features the New Jersey singer's distinctive, albeit slight, lisp prominently on several rare B-sides, four unreleased tunes, nine never-before-on-an-album tracks, two-or-three obvious Supremes rejects, a weak version of "Wedding Bell Blues" and classic hits such as "It's My Party," "Judy's Turn To Cry," "She's A Fool," "You Don't Own Me," "Maybe I Know" and "California Nights." The cream of Mercury's reissue series, however, is the 50-song _Growin' Up Too Fast: The Girl Group Anthology_. Just as the success of the Beatles, Elvis and Pearl Jam spawned imitators of dubious talent and intent, the girl group craze of the early-'60s begat its own unique brand of imitation cheese. While the set includes hits from major acts such as The Shangri-Las, Connie Francis, Dusty Springfield and The Angels - it's one-hit wonders from long-forgotten artists like Kenni Woods and Diane Renay, no-hit wonders from The Paris Sisters, The Sham-Ettes, Ginny Arnell and The Bobbi-Pins and the truly horrible, occasionally hilarious attempts to cash in from The Secrets, The Nu-Luvs, Sadina, Diane Ray, The Pixies Three and The Whyte Boots that make the record an essential addition to any collection. --- CONCERT REVIEW: The Go-Betweens, Paris, France - David Landgren I can still remember the day, Christmas time 1989, when Robert Forster and Grant McLennan put an end to their 10 year old group, The Go-Betweens. Together, they crafted some of the most beautiful pop songs and managed to go completely unnoticed by everyone except for a small group of loyal fans. In the space of a year, they put out two incredible albums _Tallulah_ and _16 Lover's Lane_ and suddenly everyone started to pay attention. The group had a new bassist and were rehearsing for a new album, when suddenly they lost their way. And so, the band did what very few bands have ever had the courage to do. They called it a day and left one of the most valuable and enduring legacies to pop music. That's the history. While not officially reformed, Robert and Grant's friendship has remained strong enough for them to want to do a few gigs from time to time. They've done a couple of gigs in Australia over the last couple of months, and, perhaps as a token of appreciation to the French fans, they decided to play Le Palace in Paris. The crowd was sitting around, waiting for the concert to begin, when the lights went out and a tall, lanky man in a lemon yellow linen suit and white shirt strode onto the stage, arms aloft, waving V for victory. Robert looked pretty much the troubadour he ever was, while Grant looked older. He's losing hair and thickening around the waist; like a cross between Phil Collins and Frank Black. The crowd went wild. I had seen them on a TV show the night before, and already knew that Lindy Morrisson and Amanda Brown were not part of the group. It turns out that they have picked up two very competent musicians, Adele Pickvance on bass and Glenn Thompson on drums. The songs chosen spanned the Go-Betweens' entire career. It was heartening to see that the new members were familiar with all the material. It was also clear to see that they had a hell of a lot of fun, everyone laughing and winking. Everyone was miked for vocals, and they hit those killer harmonies that at times make singing Go-Betweens songs to oneself such a difficult proposition. One of the spookier moments was the rendering of "Bye-bye Pride" early in the set, with Grant's acoustic guitar ringing out the melody...but all I could hear was the ghost of Amanda Brown's oboe, which makes the song so powerful on _Tallulah_. And I wondered if this wasn't going to be a drag, but all up, it turned out that the group infused the songs with a life of their own, and deftly averted lapses into nostalgia. Robert played the showman, talked to us, listened to the hecklers and handed out bottles of mineral water. He talked about how much they were influenced in the early days by The Mamas & The Papas, and they played "This Girl, Black Girl", a definite tip o' the hat to them. This was followed by a couple of other songs, including a glorious "Dive For Your Memory". After which, Robert announced that "it's time to play a little bit of that music they call rock'n'roll", a let rip "In The Core of a Flame". The following song "Right Here" was dedicated by Robert, aptly I thought, to absent friends, the previous members of the group: Lindy Morrison, Amanda Brown and Robert Vickers. Robert introduced one song as recorded in France, with the assistance of one Jacques Loussier. I think he was expecting Jacques to be in the audience, but Jacques was not at the venue. This song, typical of Go-Betweens' bitter-sweet sense of humour, was "Draining the Pool for You", that is, "I got tired of...". Later on, Robert said that all the band members would have to turn around and face each other, because the start of the next song was incredibly difficult and very hard to do well. Very free, free jazz. Maybe, maybe not, but the song turned out to be "Spring Rain", the same song they did the night before on television. This was followed by the lovely "Lee Remick" and the set finished with "Love Goes On". The punters roared, whistled and clapped, and after a few minutes the group came back to perform "Love Is A Sign" and "Was There Anything I Could Do?', and then disappeared again. Everyone screamed and shouted a bit more, and this time only Robert and Grant returned. Grant picked up his acoustic guitar, and they launched into a perfect version of "Cattle and Cane" and a haunting "Clouds". Unbelievably, thoroughly excellent. And then was it...or so the Go-Betweens thought. The audience wouldn't let them go that easily - shouting, clapping, and foot stomping, and then, success! - the four members returned back onto the stage. Robert slipped off a shoe and threw it into the audience. Odd. He then took his other shoe, ripped off the sole (aha! which was already half detached), and threw both pieces into the audience. So, there are three Go-Betweens fans in the Paris region with Go-Betweens icons no doubt gracing their mantlepieces. Grant threw a laconic "only bought them two weeks ago" to the crowd, the only thing he said all night. Robert commented, "I just want some affection", and they launched into "Karen". And this time, it was well and truly over. To cap it all, "Les Inrockuptibles", the premier French music weekly gave audience members a free 11-track CD featuring eight acoustic demos of material that wound up on _16 Lovers Lane_. Bonus city. And, regarding the question as to whether *you* will see the Go-Betweens in your part of the world, I'm afraid I can't answer that, but they did say that they "enjoy playing together." So who knows? Thanks go to members of the members of the Tallulah mailing list (majordomo@infoseek.com "subscribe tallulah your-email-name") who helped contribute information for this review. --- REVIEW: Hampton Grease Band, _Music to Eat_ (Columbia/Legacy/Shotgun) - Dan Enright This re-release by Sony - thanks to producer Brendan O'Brien's label, Shotgun Records - was first released in 1971. It apparently sank (I'd never heard of them - and I was actively collecting this kind of music when it was first released) because it was so eclecticly...different. The first impression I formed, which permeates every listening, has to do with the "sound" of the production. Sparse and unfiltered, it sounds just like what it is; guitars plugged into amps and recorded by mics. Very uncluttered. And while it dates the recording, I prefer it this way. The songwriting/performance however, is something completely different. It begins with "Halifax" - a raw, unorganized, under-rehearsed jam, accompanied off-key "singing" of a chamber-of-commerce brochure (or something frightfully close) about Halifax, Nova Scotia. However, slowly and subtly, an incredibly tight performance emerges - reminiscent of, at times, of the very best work bands like the Jefferson Airplane, Quicksilver Messenger Service, Grateful Dead, Santana, Mothers of Invention, Beefheart, John Coltrane and others were doing at the same time. One moment, disjointed, inchoherent ramblings by unnconected instruments quickly transforms into tight psychedelic rock, then freeform jazz, then complete (by design) technical imcompetence, and then back into a straight ahead, tightly woven, groove rockin jam. Broken by a voice announcing, "I don't trust the tape, let's do it again..." Which twists (twists, hell... forces) the song back into its beginning, and onto a mobius loop. The entire album follows in this "genre." They were far enough ahead of their time, that a lot of styles have since emerged, similar - in part - to this quartet, but certainly not different enough to have been directly influenced. Had they been on the west coast, instead of Georgia, they'd have fared much better, I think. And they would have fit right in. If you like this kind of stuff, this is an essential release. And it still sounds as fresh as when it was released. --- SINGLES REVIEWS (Bawl, Bluetones, Velour) - Bob Gajarsky Here's a few singles which have come in to Consumable which were of interest: Bawl, "Glen Campbell Nights" (Dependent U.K.) - The third single from this Dublin three piece band recalls the best of alternative icons such as the Cure and the Smiths, without relying entirely on either of those bands, combined with a twinge of the punk spirit. Given that both of the B-sides maintain the high standards (and their debut single, "Bathroom", was the NME Debut Single of the Year), their debut album should be quite strong. Bluetones, "Bluetonic" (A&M U.K.) - While the Bluetones debut has been out in England for some time, it won't be released until late July in the States. "Bluetonic" really does sound like a mix between the Stone Roses and Wonder Stuff, and was the third single off their debut album. Velour, "Choice" / "Let Her Go" (Deep Elm) - In the spirit of Smashing Pumpkins and Screaming Trees comes this Westchester, New York based band. This isn't too far from the grunge-fest that has captured America's fancy, and it's real easy to see this song eventually being a grunge anthem. Whatever grunge means to you. (e-mail: popvinyl@aol.com) --- NEWS: > Home DJ's are getting more options today with the release of Spin Control/Mixman. The first in an unlimited series captures the San Francisco dance scene; the audio portion includes funky grooves from artists such as Freaky Chakra, Bassbin Twins, Bass Kittens and more. To check it out on the Web, and create your own remixes/songs, go to http://www.mixman.com > Lead singer Jim Ellison of Material Issue was found dead on June 19, at the age of 31, a victim of an apparent suicide. He was found in his garage on a moped, with a car engine running. > London Suede are releasing their third album in England on September 2nd with a U.K. first single "Trash" out July 29th. There is a new band member, Neil Codling, on keyboards and backing vocals. The group will be playing at various European festivals in July and August with a full English tour to follow in September, a European tour in October and more UK dates in November. The album is slated for American release early in 1997 with a full U.S. tour to follow. > The Pacific National Exhibition in Vancouver, B.C. is relaunching its Star Spectacular Concert Series after a 17-year hiatus. Tickets for all concerts are $20 or less and include fair admission. The summer fair, Aug. 17 to Sept. 2, is Canada's second largest. The web site at > Soundbites for the new Sarah McLachlan retrospective release "Rarities B-Sides and Other Stuff" are located on the Nettwerk Web page at http://www.nettwerk.com/newreleases/SarMc.new.html > The concert series "Summer Nights at the Pier", in Seattle, WA, has launched a World Wide Web site; check it out at http://www.speakeasy.org/1reel/summernights/index.html --- TOUR DATES Baboon / Rubberbullet Jun. 25 Richmond, VA Twisters Jun. 27 Athens, GA Landfill Jun. 28 Savannah, GA Velvet Elvis Jun. 29 Orlando, FL Ultraviolet Jun. 30 Tallahassee, FL Cow Haus Jul. 2 Pensacola, FL Sluggo's Jul. 3 Jackson, MS Starplex Barkmarket Jul. 2 New York, NY Coney Island High Jul. 3 Philadelphia, PA Nick's Jul. 4 Baltimore, MD Memory Lane David Bowie Jun. 25 Toulon, France Zenith Jun. 28 Halle, Germany Outside Festival Jun. 30 Roskilde, Denmark Roskilde Festival Jul. 1 Athens, Greece P.A.O. Stadium Rockin Athens Festival Jul. 3 Tel Aviv, Israel Hayorkan Park-Tel Aviv Festival Boyracer Jun. 24 Orlando, FL Saphire Supper Club Jun. 25 Jacksonville, FL Moto Lounge Jun. 28 Washington, DC Black Cat Jun. 29 Baltimore, MD Memory Lane Jun. 30 New York, NY Mercury Lounge Jul. 3 Rochester, NY Bug Jar Brooklyn Funk Essentials Jun. 25 New York, NY Mad 61 (in Barney's) Jun. 29 Brooklyn, NY Prospect Park Bryndle Jun. 26 Chattanooga, TN Riverbend Festival Jun. 29 Jacksonville, OR Britt Festival Cocteau Twins Jun. 24 Los Angeles, CA Mayan Compulsion / Evil Superstars (UK Tour Dates) Jun. 24 Southampton Koiners Arms Jun. 25 Plymouth Cooperage Jun. 27 Bristol Fleece & Firkin Jun. 29 Leeds Cockpit Jul. 1 Liverpool Lomax Jul. 2 Reading Alleycat Jul. 3 Stoke Stage Jul. 4 Manchester Roadhouse Coyote Shivers Jun. 30 Asbury Park, NJ Saint Jul. 2 New York, NY Brownie's Elvis Costello Jun. 26 Dublin, Ireland National Stadium Jun. 28 Paris, France Rex Club Jun. 29 Amsterdam, Netherlands Carre Jul. 1 Athens, Greece Festival Jul. 3 Hamburg, Germany Grosse Freiheit 36 Cravin' Melon June 28 Raleigh, NC Lake Boone CC Jun. 29 Charlotte, NC Blockbuster Pavillion(afternoon) Jun. 29 Charlotte, NC Sound Factory (night) Jul. 3 Spartanburg, SC Magnolias Def Leppard / Tripping Daisy Jun. 26 Kalamazoo, MI Wings Stadium Jun. 28 Cuahoga Falls, OH Blossom Music Center Jun. 29 Noblesville, IN Deer Creek Music Center Jun. 30 Milwaukee, WI Summerfest Mainstage Jul. 2 Cincinnati, OH Riverbend Jul. 3 Columbus, OH Polaris Far Jun. 25 Las Vegas, NV Joint (w/Fishbone) Jun. 26 Las Vegas, NV Tower Records Jun. 28 Berkeley, CA Berkeley Square Jul. 2 Sacramento, CA El Dorado Jayne County Jun. 24 New York, NY Coney Island High Cure Jul. 2 Worcester, MA Centrum Jul. 4 Montreal, QC Molson Center Customers Jun. 28 Stockholm, Sweden Varldshuset Tantogarden Jun. 30 Roskilde, Denmark "Roskilde Festival" (at Red Stage) Jul. 1 Hamburg, Germany Knust Club Jul. 3 Amsterdam, Holland Melkweg Jul. 4 Frankfurt, Germany M.T.W. Electrafixion Jun. 24 Tampa, FL Rubb Jun. 25 Miami, FL Respectable St. Cafe Jun. 26 Orlando, FL Sapphire Supper Club Jun. 28 Atlanta, GA Cotton Club Jun. 29 Charlotte, NC Tremont Music Hall Jun. 30 Raleigh, NC Brewery Jul. 2 Norfolk, VA Baitshack Everclear / Spacehog Jun. 26 Portland, OR Rose Garden Theatre Jun. 27 Vancouver, BC PNE Forum Jun. 28 George, WA The Gorge Jun. 30 Salt Lake City, UT Salt Air Jul. 1 Denver, CO Mammoth Events Center Jul. 3 St. Paul, MN Roy Wilkins Aud. Half Hour To Go Jun. 25 Eugene, OR John Henry's Jun. 27 Sacramento, CA Old Ironsides Jul. 3 Fresno, CA Club Fred Haze Jun. 30 Los Angeles, CA Whisky It's Me, Margaret Jun. 28 Los Angeles, CA Petterson's Kiss Jun. 28 Detroit, MI Tiger Stadium Jun. 30 Louisville, KY Freedom Hall Jul. 2 St. Louis, MO Keil Jul. 3 Kansas City, MO Kemper Arena Lollapalooza Jun. 27 Kansas City, MO Longview Lake Jun. 28 Des Moines, IA State Fair Jun. 30 Rockford, IL Winnebago Fairgrounds Jul. 2 Indianapolis, IN Deer Creek Soccer Field Jul. 3 Columbus, OH Buckeye Lake Nada Surf Jun. 25 Toronto, ON Horseshoe Tavern Jun. 27 Cambridge, MA TT The Bear's Jun. 28 New London, CT El N Gee Nancy Boy Jun. 24 San Diego, CA Kasbah Jun. 25 Hollywood, CA Dragonfly Jun. 26 West Hollywood, CA Viper Room Pantera Jun. 28 Winston-Salem, NC Livm Coliseum Jun. 29 Hampton, VA Hampton Coliseum Jul. 1 Louisville, KY Louisville Gardens Jul. 2 Antoch, TN Starwood Jul. 3 Pelham, AL Oak Mountain Poorhouse Rockers Jun. 28 Ocean City, MD Talbot Street Cafe Jun. 29 Ocean City, MD Dungeon Porno For Pyros Jun. 25 Denver, CO Ogden Theatre Jun. 27 Dallas, TX Deep Ellum Jun. 29 New Orleans, LA Howlin' Wolf Jul. 2 Fort Lauderdale, FL Edge Rembrandts Jul. 1 Pleasanton, CA Alameda County Fair Jul. 2 Del Mar, CA Del Mar Fair Spin Doctors / Hot Water Music Jun. 27 New York, NY Irving Plaza Sting / Natalie Merchant Jun. 25 Memphis, TN Pyramid Jun. 26 Nashville, TN Starwood Jun. 28 Atlanta, GA Lakewood Jun. 29 Raleigh, NC Walnut Creek Jun. 30 Charlotte, NC Blockbuster Pavillion Jul. 2 Virginia Beach, VA Virginia Beach Amphitheatre Jul. 3 Washington, DC Nissan Pavillion Jul. 5 Camden, NJ Blockbuster Sony Entertainment Center Superdrag Jun. 25 Denver, CO Mercury Cafe Jun. 27 Minneapolis, MN 7th Street Entry Jun. 28 Chicago, IL Metro Jun. 29 Detroit, MI Shelter Jun. 30 Cleveland, OH Grog Shop Velour Jun. 27 New York, NY Cooler Paul Westerberg Jun. 30 Cincinnati, OH Bogarts Jul. 1 Columbus, OH Newport Music Hall Jul. 2 Chicago, IL Cabaret Metro --- ERRATA: > The title of the Van Halen song in the _Twister_ soundtrack should have been listed as "Humans Being". --- To get back issues of Consumable, check out: FTP: ftp.etext.org in the directory /pub/Zines/Consumable ftp.prouser.org 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. Promotional support provided by Music Interactive (http://musicinteractive.com), a free online resource for aspiring musicians and other music professionals seeking to expand their careers, networking, music skills and scope. Address any written correspondence to Bob Gajarsky, Consumable Online, 409 Washington St. #294, Hoboken, New Jersey 07030 ===