==== ISSUE 48 ==== CONSUMABLE ======== [July 31, 1995] Editor: Bob Gajarsky Internet: gajarsky@pilot.njin.net Sr. Contributors: Jeremy Ashcroft, Martin Bate, Al Crawford, Dan Enright, Tim Kennedy, Reto Koradi, David Landgren, Tim Mohr, Joe Silva, John Walker Other Contributors: Dan Birchall, Lee Graham Bridges, Scott Byron, Kelley Crowley, Tim Hulsizer, Daniel Kane, Sean Eric McGill, P. Nina Ramos, Jamie Roberts, Linda Scott, Ali Sinclair, Jon Steltenpohl, Courtney Muir Wallner, Scott Williams, 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 | `------------' INTERVIEW: Paul K. Uhlir, Sweet Water - Sean Eric McGill REVIEW: Neil Young, _Mirrorball_ - Tim Kennedy REVIEW: Marillion, _Afraid of Sunlight_ - Dan Birchall REVIEW: Dead Hot Workshop, _1001_ - Linda Scott REVIEW: Sweet Water, _Superfriends_ - Sean Eric McGill REVIEW: Dandelion, _Dyslexicon_ - Jeremy Ashcroft REVIEW: Ben Vaughn, _Instrumental Stylings_ - David Landgren REVIEW: Rozalla, _Look No Further_ - Daniel Kane REVIEW: Emergency Broadcast Network, _Telecommunication Breakdown_ - Jamie Roberts REVIEW: Various Artists, _Deep Into The Jungle_ - Tim Kennedy NEWS: Gene, Bruce Hornsby, Mighty Mighty Bosstones, Sinead O'Connor/ Elastica, Martin Phillips, Urge Overkill TOUR DATES: Better Than Ezra, Buckwheat Zydeco, Circle Jerks, Dandelion Dillon Fence / Drivin' & Cryin', Filter/Die Cheerleader Health & Happiness Show, Hum, Kate Jacobs, Elton John Live / Buffalo Tom (also PJ Havrey/Veruca Salt), Professor & Maryann Rake's Progress / Drugstore, Squirrel Nut Zippers, Warped Tour (L7, Quicksand, Sublime, Fluf,Use For A Name, Orange 9MM, Civ) Young Dubliners, Young Gods ERRATA THE READERS WRITE BACK Back Issues of Consumable --- INTERVIEW: Paul K. Uhlir, Sweet Water - Sean Eric McGill Paul K. Uhlir from Sweet Water is in a good mood these days, and for good reason. After four years on the local bar circuit, two previous albums (one on the Restless label under the name SMG and another on Atlantic), and tours with Candlebox and Alice In Chains, Sweet Water's first album with EastWest Records, _Superfriends_ is set for a late July release - setting the band on the brink of success. But when you talk to Uhlir, you don't get the feeling that he's in the position he is these days, and that's refreshing. In a conversation that ranged from the band's songwriting and past experiences to the fact that, yes, that is the new Nelson album with the two blond dogs on the cover, Uhlir was talkative, humourous, and easy-going. In short, he's not any different from hundreds of other drummers playing in bars right now. Only he has a new album about to come out and a single rising up the AOR charts. "We signed with Atlantic about the same time STP did, and when they took off, we kinda got left behind," Uhlir said, talking about the band's previous deal with Atlantic Records. "When you sign with a big company like that, they only have so many resources to extend. That's why we're happy to be on EastWest now, because they're really doing a lot for us." The EastWest deal was brought about by "Superstar", the first single off the new album, which was an interesting process in itself, according to Uhlir. "We got a good response with that song in clubs and some of the local radio stations started playing it," he says. "One of the radio stations got in touch with the label and said 'You've gotta hear this,' and we ended up getting signed." When it came to finding a producer for the album, the band hooked up with Dave Jerden, who has worked with Jane's Addiction in the past and played a key role in the redefining of Anthrax's sound on their 1993 release _The Sound of White Noise_. Uhlir says working with Jerden was a great experience mainly because of how he came into the project. "Dave ran the show, basically. He came into the production and basically said, 'Look, I've been down all the alleys before and made all the mistakes, so let's just do this my way,' which was cool, because we didn't have to waste any time with studio experiments and just made the album." And what an album it is. _Superfriends_ gets its strength from its songwriting, which Uhlir says has undergone some changes since their previous album. "We always had this punk thing going on, but kept playing these rock songs. This time, we decided to play some of the punk stuff, too." And while "Superstar", "Adeline", and "Big Rock Show" may not be considered "punk," songs like "Painless", which deals with divorce, and more specifically, remarriage, contains that tried and true element of punk rock: honest expressions of angst set behind a wall of sound. "'Painless' was written by Paul [Czeisler], our singer, and I don't really know if he's speaking for himself or not," comments Uhlir. "Because like so many people our age, his parents went through a divorce." "'Big Rock Show' is basically about getting psyched up for a show at a club, and the first time I heard the line 'I've got a Visa, who needs a drink' I laughed and said that sounded like me a while back," Uhlir chuckles. The band is set to begin touring in early September, and are looking into the idea of a 'Residency Tour' with their friends and fellow Seattle residents Green Apple Quick Step. This would have the band playing the same cities every week for a month, building a larger fan base each week. And after having a taste of the arena tour life while on tour with Alice In Chains, Uhlir says he prefers this idea of touring for a couple of reasons. "When you play the same city week after week, you watch the crowds grow and watch them get into your music. You may start off playing to twenty people, but by the time it's over, you're playing to three hundred," he says. "And you get a chance to know some of the people, which you really don't get to do when you go from town to town every night." It's that kind of down-to-Earth attitude from a guy that says if he wasn't playing drums, he would "maybe be playing college basketball" that makes Sweet Water such a treat, and should translate into success. --- REVIEW: Neil Young, _Mirrorball_ (Reprise) - Tim Kennedy This CD comes in a recycled cardboard jacket with a recycled booklet which comes as a bit of a shock these days. Of course _Harvest_ came in a biodegradable sleeve back in the seventies so this is nothing new for Neil. This unassuming package conceals musical dynamite. Pearl Jam actually make an excellent backing band for Neil Young and they have chosen an auspicious moment to join him. Clearly, Young has returned to form after, in this critic's opinion, his lapses with _Sleeps With Angels_. He still has a taste for the odd throwaway track on occasion, but in the context of this broad brush collection of guitar crunchers (with occasional pump organ interludes) it works. Critics might say that Young is treading familiar territory. It is very redolent of the _Ragged Glory_ and _Rust Never Sleeps_ collections of the late eighties and seventies respectively, but personally I take the view that if it ain't broken, why mend it? No-one can tackle raunchy two chordery like Neil. It was completed quickly and sounds that way, uncomplicated and yet craftsmanlike. Neil's voice is as terrific as ever, frail and gritty in equal measures, a great counterpoint to the saturated sonic attack of the famous guitar sound he has copyrighted since the sixties and his old outfit Buffalo Springfield. The opener "Song X" is the most unusual track of this set. It takes the form of a kind of sea chanty, in waltz time. His guitar really blisters the paint off your walls on this one. Lyrically, it describes a priest who appears to be trying to lay down the law whilst the world dissolves into empty absurdity and hedonism. As Neil was a precursor of punk it is unsurprising that the record bears comparison to some of that music. "Act Of Love" reminds one of old Ramones. The "romantic" lyrics here drip irony, "You know I'll always help you baby/but I just can't do that/I know I said I'd help you baby/Here's my wallet call me sometime" "Big Green Country" sounds like Hawkwind meets punk, in the same way that "Anarchy" by the Sex Pistols borrowed from that relentless seventies outfit. The soloing in this track is some of his career best. It also has a wonderful joke "Over the hill in the big green country/that's where the cancer cowboy rides". "Truth Be Known" is a nagging tune with superlative guitar. In the seventies punk uproar, Johnny Rotten managed to outrage even his own following when he played some Neil Young during an appearance on a local London Radio station. Two of the numbers here are played solo on a pump organ in the style of his _Unplugged_ version of "Like A Hurricane", "What Happened Yesterday" and the final track "Fallen Angel". They serve as brief respite in the raucous general scheme of things however. Probably _Ragged Glory_ is the main reference point here. The theme of love conquering through immense struggle such as in "Love And Only Love" and "Love To Burn" is re-emphasised here in songs such as "Peace And Love" and "Throw Your Hatred Down". Those who might titter at this should be reminded that Neil Young knows more than most about the redemptive power of love in the face of adversity - he had to bring up two appallingly disabled children, yet his (second) marriage to Pegi has survived since the seventies. In "Throw Your Hatred Down" he ponders the futility of mankind's lust for destruction - bringing to mind the model Carl Sagan devised in order to better visualise infinity: by pondering mankind's stupidity. "I'm The Ocean" actually sounds a bit like "White Line" from that album - lyrically it is Joycean, apparently describing the transmigration of souls in a late 20th century context. "Peace And Love" features some lyrics and vocals by Eddie Vedder, and it works well. This is the only time that Pearl Jam step into the foreground - _Mirrorball_ is definitely a Neil Young album. "Throw Your Hatred Down" contains soloing reminiscent of "Cortez The Killer" from his seventies classic _Zuma_. "Scenery" departs somewhat from all this with its lighter feel, though still an iron fist, and a notion of space about it. This is a weary commentary aimed at the effects of fame, a theme he was writing about in "Broken Arrow" back with Buffalo Springfield in the sixties. Neil's always had a wry sense of humour and "Downtown" displays this side, with its depiction of a mythical nightclub where old hippies get on down to Hendrix and Led Zeppelin. This is not a swipe at either old hippies or Zep, but a cheerful reminder that even wrinklies like to party. The backing throughout is unobtrusive and a triumph for Pearl Jam who no doubt can thumb their noses at critics who have questioned their credibility. To be chosen en bloc by Neil Young is no mean compliment. Amongst the best Young has ever done, this record is better than _Ragged Glory_, his last best rock album. This is a rock record like few others, like _Never Mind The Bollocks_, which you can stick in your hifi anytime, safe in the knowledge that you are in for pure adrenalin thrills. Neil's been here before and he'll be here again. For a man who once wrote a great album entitled _Everybody Knows This Is Nowhere_ he has never had a problem finding the road onward. Now I'm going to listen to _Sleeps With Angels_ again and check if it was just me. --- REVIEW: Marillion, _Afraid of Sunlight_ (IRS/El Dorado) - Dan Birchall In _Afraid of Sunlight_, Marillion have resurrected the theme of their 1987 treatise on the black-tie set, _Tux On_, and extended it to album length. In a supreme feat of concise understatement, the label's press release states simply that the album addresses fame and its effects on those who possess it, and completely fails to mention that all the effects covered are negative. The album's protagonist, the King, is a sort of everyman tragic hero, on bad terms with his lover, the law, the media, and himself. Six of the eight tracks deal with his despairing state. The soaring track "Beautiful," one of the two exceptions to the overall theme, will doubtless join the ranks of other anthemic favorites by the group. Fans of the twisted will likely enjoy "Cannibal Surf Babe," in which the band combines bondage, sadomasochism, and the Beach Boys. The music is uniformly well-written throughout, and makes for pleasant listening, with most of the related songs blend into an extended tapestry of sound. Eight years ago, _Tux On_ seemed somewhat bitter and mocking, but in this day and age, the effect of _Afraid of Sunlight_ is saddening or depressing, like a television documentary on fallen heroes. It's not quite music to slit your wrists to - unless you're famous, or used to be - but it's easily more unsettling than _Tux On_ ever was. --- REVIEW: Dead Hot Workshop, _1001_ (Tag Recordings) - Linda Scott Dead Hot Workshop is huge in its hometown of Tempe, Arizona and has developed that fanbase into a devoted Southwest following. They're now looking to become a national presence. The current (since 1990) lineup: singer/guitarist Brent Babb, bassist G. Brian Scott, guitarist Steve Larson, and drummer, percussionist, backing vocalist Curtis Grippe. Dead Hot is an alternative rock band that sounds like Gin Blossoms, Hootie and the Blowfish, and Soul Asylum. The band claims this is not the case and that their influences are Kiss and Black Sabbath with some Lynyrd Skynyrd and Byrds' harmonizing thrown in. Regardless of the band's statement, the Gin Blossoms have always been great friends and Dead Hot sounds more like them than they ever will sound like a hard rock band. The band's new album is _1001_, the street number of a Tempe club where Dead Hot often appeared. Their first release was last year's EP _River Otis_ followed by _White House_ and a full length cassette. _1001_, their debut on Tag Recordings, was produced by Jim Scott (AC/DC, Tom Petty, Johnny Cash, Sting). This 14 track set is one of the first releases from Atlantic's newly established Tag Recordings. The best of these songs has be be "A", the first commercial alternative radio single off _1001_. It promises to be huge on "alternative" stations, including "Vinyl Advice". The radio will get the entire album with emphasis on _Vinyl Advice_. The tracks don't falter except in providing clear lyrics. Babb's high tenor doesn't do justice to the ballads turning pleas into whines. Still, rock songs are the majority and the band does them up in style. Special commendation to guitarist Larson playing classic four chord rock with elegance. The band has spent the spring and early summer relocating to the Southeast and touring that region in support of _1001_. With their current tour supporting the Gin Blossoms, expect Dead Hot Workshop to deservedly break things open. If you like Gin Blossoms, Hootie and the Blowfish, and Soul Asylum, see Dead Hot Workshop and try _1001_ for solid alternative rock. Information on Dead Hot Workshop and their activities will be available on the Tag web site, www.tagrec.com. --- REVIEW: Sweet Water, _Superfriends_ (EastWest Records) - Sean Eric McGill I like a good rock 'n roll album. The kind of album that makes me want to go to a bar with a live band and sit in a corner and drink beer until it comes out of my ears. I'm a simple man, and that's one of my simple pleasures in life. Unfortunately, it's one that I don't get to indulge too often. For one, my place of residence is horribly devoid of anywhere to just "go see" a band without making some serious arrangements beforehand. And most importantly, most of the rock albums I hear these days just don't give me that feeling. That's why I'm thankful for bands like Sweet Water, whos latest, _Superfriends_ is one of those albums that fills me with the aforementioned urge. _Superfriends_ is to rock music what lymon is to Sprite. It's the perfect mix of songs with a message like "Painless" and "Self-Hater" and songs that are about bars and women and whatnot, like "Big Rock Show" and "Superstar." It's also one of the best rock albums you'll hear all year. When trying to think of a way to describe the band's sound, I kept thinking of other bands and Sweet Water's similarities to them. Not in the same way that you would compare Ratt and Motley Crue to The New York Dolls (ripoff), or the way that you would compare Van Halen with...well, Van Halen (pale shadow of their former selves). What you find in Sweet Water is a compilation of their influences, and where I found it difficult to pinpoint certain bands, the genres were unmistakable. There's the biting sarcasm of punk in "Self-Hater" and the sheer fun of "Happy" and "Back Into Your Way" that's synonymous with good party rock. The band is fronted by Adam Czeisler, who, in the tradition of great rock vocalists before him, doesn't have the best voice in the world, but has the perfect voice for his band. Guitarist Rich Credo, along with bassist Cole Peterson and drummer Paul K. Uhlir, all fit perfectly in the group as well. No one member of Sweet Water stands above all the rest, giving the band and their album a solid feel that you don't find in bands which are centered around one key player. And regardless of each song's lyrical and musical base, one thing stays the same. Sweet Water has a uncanny knack for a good hook in a song, give each individual track it's own unique voice. When Czeisler sings "I want to run away and make everybody sorry, I'll get my revenge" in "Self-Hater", you immediately remember that not two minutes ago in the same song, he expressed his desire "to be a hero and save a life." And when you contrast this with the borderline Bon Jovi-esque sentiments of "Superstar" and "Adeline", you realize that this is the kind of songwriting that sets Sweet Water apart from so many of their contempararies. Sweet Water is a band of multiple facets, both musically and lyrically, and that is perhaps what is most refreshing about them. The bottom line here is that there is something on this album for practically everyone, so buy a copy or ten for yourself and friends. And if you decide to go out to a bar and have a few after hearing it, then drink one for me. --- REVIEW: Dandelion, _Dyslexicon_ (Ruffhouse/Columbia) - Jeremy Ashcroft There's no doubt that the easiest reviews to write are those of albums you either really love or those you really hate... it's so natural to want to hype your favorites or slag off anything that you regard as a waste of vinyl, but the problem comes when your opinions aren't so extreme in either direction. Or worse, when you _really_ like some of the songs and yet the others leave you disappointed. That's been my problem with this album. A quick and dirty one line review might say something like "Smashing Pumpkins with Kurt Cobain on vocals" and I don't think that's an unfair comment - and in fact, if like me you'd like the Pumpkins more without the Corgan's whiney vocals, perhaps that's not a bad recommendation either. It's just that I much prefer it when Dandelion are less like anyone else and a lot more like themselves. I don't think that they're copying from these other bands, but the singer just happens to sing like Kurt and the riffs sometimes go off into Pumpkins territory. But on to the songs themselves... The opener, "Pass the Stone", reminded me of a heavy metal Monkees - in fact I can almost imagine them singing "hey hey we're Dandelion" to the tune. The following track, "Weird Out", is the first single from the album, though the quiet verse/heavy chorus is perhaps too Nirvana-like to make the band stand out from the crowd. Next up, "Trailer Park Girl". I'm sorry, but it has echoes of _that_ band again, but at least it gives us the first taste of what I really like about the band... towards the end of the song there's a great overdriven wah-wah guitar solo that just kind of goes off on it's own for a while. Again, for a different mood, before the next track there's a brief flute-led instrumental that would sound just perfect as a soundtrack to some hazy 60s movie - there's even some coughing in the background! "What A Drag", as befits the title, tries to conjure up the singer's bored mood with the same kind of simple repetition as The Stooges "No Fun" but, as with that classic, it's not quite as simple as it first appears - there's actually quite a groove to it. There's a reprise of the previous instrumental within the song and more wah-wah guitar. I cannot say no to such cool wah-wah guitar. A great track. "Supercool" evokes The Smashing Pumpkins, but the dual vocals make the song more distinctive. We're treated to another great overdriven guitar solo in this one and the song concludes with some atmospheric samples of a child's voice and haunting laughs - a production device that works. "Retard" changes the mood totally and sees the band abandoning any subtlety for punk. "False Alarm" shares the same frantic pace. Good fun in concert perhaps, but not that interesting on record. Just to briefly run through the other tracks: "Tapped" - almost heavy metal with slightly Eastern-sounding vocals; "Whatever" - another throwaway punk song; "Snow Job" - starts as too-Nirvana but takes off into an exciting tom-tom-led freeform instrumental workout towards the end; "Viva Kneval" brings to mind Hendrix at his most frantic, though later brings back the mellower flute for another 60s-flashback. Finally "Melon From Heaven" closes the album, sounding not unlike Smashing Pumpkins again. With U2's "Hold Me,Thrill Me, Kiss Me, Kill Me" being practically a cut and paste job of Bowie and Bolan, and Elastica's album a chance to spot-the-riff new-wave-style, perhaps there's nothing wrong with sounding like other bands these days, but all I'd say is that Dandelion's finest moments are when they take off and do their own thing. Usually records are better for having such "over-indulgences" stripped from the songs... if I were to produce a Dandelion album, however, this is what I'd encourage them to pursue. In conclusion: This is their second album. The Smashing Pumpkin and Nirvana comparisons aside, there's some great moments on _Dyslexicon_. I'll certainly continue to look out for these guys in the future. --- REVIEW: Ben Vaughn, _Instrumental Stylings_ (Bar/None Records) - David Landgren Ben Vaughn plays the guitar. You might think that you don't know him, given that he hasn't a huge discography to date. He put out _Mono U.S.A_ in 1993, on Bar/None as well, and a few albums out Restless/Enigma back in 1986 through 1992. All the same, he has produced or co-written an impressive amount of material with such people as Arthur Alexander, Alex Chilton, Marshall Crenshaw, Kim Fowley and Alan Vega, to name but a few. He has also written a number of soundtracks and songs for the cinema and television. I have it on good authority that _Instrumental Stylings_ sounds a lot like The Raybeats circa 1980, a band featuring Alan Vega, though I haven't been able to check this out myself. Few people would be daring enough to put out an album recorded in glorious mono, but that's just exactly what Ben Vaughn did with _Mono U.S.A._. His new album, _Instrumental Stylings_, is in stereo, and, while it's not going to dislodge anything from the Top 50, there are definitely some worthy tracks to be found on it. The opening track, "Aqua Blue" is pure Wall of Voodoo, back in the days of credibility and _Call of the West_. The second track, "Gumpstumper", veers over into zydeco territory, and from then on it's a ride from send-ups of spaghetti westerns ("Enfermo", "Toestubber") to dystopian surfie rock ("Pipe Bomb") winding up with both of the above with a little psychedelia thrown in ("Battery Acid") and so on. "Heaven above" is just what it feels like when the weather is stinking hot and no breeze in sight. You can almost smell the heat haze coming out of the speakers. In this hot (northern) summer, his music is perfect company for just sitting around, waiting for the cool change. A guitar sound somewhere between the Byrds and Ry Cooder. Ben Vaughn (btw, no relation to the late, great Stevie Ray -- that's Vaughan) is a person reconciled with his music. He's not out for technical mastery like Adrian Belew, nor, perish the thought, after the FM clarity of Mark Knopfler. He just writes songs from time to time, in between hanging out with friends and drinking a few beers to pass the time. The JJ Cale school of thought, if you like. In this day of artist push and label pull, it is pleasant to come across an album evidently written for fun, not profit. Plus, if he ever rolls into the place where you live, you'll have half a chance of seeing him perform at a decent venue, where there's always a vacant chair or two at a table with an excellent vantage point. --- REVIEW: Rozalla, _Look No Further_ (Epic) - Daniel Kane Rozalla's 1995 _Look No Further_, following up her 1992 _Everybody's Free_, is an exploration into another side of Rozalla. Owning the title of Queen of the Rave, her intention with _Look No Further_ appears to be not only to avoid being categorized as a dance artist, but also to reveal a wider variety of vocal talents. Given the enormous success of _Everybody's Free_ in general and with several tracks particularly, including the title track, "Are You Ready to Fly?" and "Faith (In the Power of Love)", such a departure into experimental areas would likely be a difficult task indeed. Should she remain with the "safer" formula approach or broaden into a brand new territory? With the skills of several producers and co-writers, including DNA, Lamont Dozier, Andre Betts, John "Jellybean" Benitez and Frankie Knuckles, Rozalla's choice to delve into newer areas has produced a collection about 145 degrees from the previous Rozalla. From the powerful first track, "This Time I Found Love" to the persuasive, soft and soulful "You Never Love the Same Way Twice" to the concluding huge dance hit, "I Love Music," Rozalla displays her ability to evolve gracefully, effortlessly into the various styles she wants to explore. As she says, "I'm showing people that I can do different styles of music...I'm hoping to keep my fans and gain fans along the way." --- REVIEW: Emergency Broadcast Network, _Telecommunication Breakdown_ (TVT/Wax Trax!) - Jamie Roberts If I were on a desert island, and could only get CDs from one record label, it would be TVT/Wax Trax!. Their stuff is always cool, but this one takes the cake. Even though you practically need tech- support to read their impressive multimedia press kit, it is well worth the wait and effort. EBN is a dance sensation. The frenzied sampling and pumping backbeat hold a raging rave party in your brain, and much, much more. Their relevant lyrics and un-PC smples actually make you think (and laugh at yourself and your culture) til you could just explode. This theme coming at you 'a la ZOO TV (from U2), or even Negativeland (for those in the know). Each track follows the general theme, but has a different kick to it... pace and pitch varying, as well as relevant message evolving. It is almost like making the news bearable again, while not beating the listener over the head with the message. Stick this one on when you need a boost. It energizes you in a way that few other albums ever have. Experience EBN's wave of infotainment; you won't regret the trip. --- REVIEW: Various Artists, _Deep Into The Jungle_ (Multone) - Tim Kennedy The Bhangra dance scene has been established for several years now amongst young British-Asians. It blew up around the same time as Acid House in 1987 and has continued in parallel since. This compilation is one of the more enjoyable dance CDs I have come across. One of the problems with modern dance music is that the lack of variety is crushing, the obsession with a narrow band of technology in many cases restricts this music form to the enjoyment only of people with nimble feet who have ingested too many illegal chemical substances. This CD takes the tried and tested jungle (house) formula and spices it with thrilling asian language vocals and instruments. The album doesn't bear a lot of analysis - the lyrics are all in one or other of the various Indian languages. "Sarke Sarke" is maybe the weakest - it features a rather lame synth wash of sound, thereafter picking up a little with vocals by Pammi, a female vocalist. The furious beat hardly lets up throughout the CD; it amazes me how anyone can dance to this rhythm. "Challa" by Rashma has a good toast on it, and features a more interesting beat, for me. There isn't a lot of Indian instrumentation on this track, it relies on synths again. "Kangna" by DCS uses Indian instruments to better effect, whilst throwing in a bit of cockney sloganeering and an old school acid 'riff'. "Nastik" has a rhythm track that recalls some of the electronic pioneers of the early eighties such as Deutsche Amerikanische Freundschaft and Liasons Dangereuses. The sweet female vocal winds its way seductively round the fierce industrial noise. "Aja Mera Pind Di" has a fantastic male vocal backed with the by now familiar rhythm track. I am intrigued to know what they are singing- I would hope that its not "Everyone in the house say yo" in Gujerati. "Southall Wich Nachdi" refers to the town of Southall, a suburb of West London settled for over two decades by a large Asian population. "Apna Sangeet Sings Apna Sangeet" (actually sung by Chardara Gill) starts with hiphop vocalising then launches into a superb hypnotic male banghra vocal. "Jago Aya" starts in a banghra vein - with female chorus and tabla leading into the rhythm track. The more the banghra influence is made evident the better the song is, it seems. "Kara Vajda (In Da Jungle)" starts with tropical noises, and is more of the same - relentless beat, but with quite interesting synth chord progression that conveys a bit of atmosphere. "Doabe Dia Jatta" is Pammi's parting shot, she rushes along with the furious beat, though I'd prefer her to take things a bit slower. The indian drums are being hit as fast as the programmed ones, one realises. (Or have they been speeded up?!) This is the better of the two Pammi songs here. Whilst many might find the beats intimidating and the lyrics mostly unintelligible, for those who like modern dance music with an exotic flavour - fans of Transglobal Underground for example - this CD would be a good investment. --- NEWS: British band Gene has cancelled their American dates in Washington, D.C. and Atlanta, GA. On August 4, they'll being touring in Spain and the rest of Europe. Bruce Hornsby will be appearing on Good Morning America on Wednesday August 2 in support of his current album, _Hot House_. Mercury artists Mighty Mighty Bosstones, who are part of Lollapalooza '95, have issued a special limited edition, _Here We Go Again_, which consists of five B-sides and rarities. It is available with the purchase of any regular Mighty Mighty Bosstones album. Since supplies are limited on this, make sure your local store has copies of the rarities in stock. The store where the Bosstones CD is purchased is the only place to obtain this CD. Sinead O'Connor's pregnancy has caused her to leave the Lollapalooza tour. Her spot on the main stage will be replaced by Elastica. Martin Phillipps will depart for England Tuesday, July 25 to start recording a new album, _Sunburnt_, as Martin Phillipps and the Chills. It is scheduled for release by Flying Nun records in early 1996; an American label is still unknown. In addition, a Chills rarities/ b-sides project may be released in 1996. The release of Urge Overkill's newest album has been delayed from August 15 to sometime in September. --- TOUR DATES Better Than Ezra July 31 Denver, CO Ogden Theatre Aug. 1 Ft. Collins, CO Lory Student Theatre Aug. 5 Seattle, WA Kitsap County Fairgrounds Aug. 6 Portland, OR Champeog State Park Aug. 7 Vancouver, BC Commodore Ballroom Aug. 10 San Francisco, CA Fillmore Aug. 11 Los Angeles, CA American Legion Hall Aug. 13 Chicago, IL Q101 Aug. 14 San Diego, CA Soma Aug. 15 Phoenix, AZ Gibson's Buckwheat Zydeco Aug. 1 Kansas City, MO Grand Emporium Aug. 3 Minneapolis, MN First Avenue Aug. 4 Des Moines, IA The Runway Aug. 5 Lakewood, WI Paul Bunyon Ski Hall Aug. 6 Sioux Falls, SD The Pomp Room Aug. 9 Detroit, MI Crown Plaza Hotel Aug. 11-12 Hailey, ID The Mint Aug. 13 Brooklyn, NY Propsect Park Band Shell Aug. 14 Provincetown, MA Eurocafe Circle Jerks Aug. 1 Sacramento, CA El Dorado Aug. 2 San Francisco, CA Slim's Aug. 4 Portland, OR La Luna Aug. 5 Vancouver, BC New York Theatre Aug. 6 Seattle, WA DV8 Aug. 8 Salt Lake City, UT Club DV8 Aug. 9 Denver, CO Aztlan Theatre Aug. 11 Minneapolis, MN First Avenue Aug. 12 Chicago, IL Vic Theatre Aug. 13 Milwaukee, WI The Rave Aug. 14 St. Louis, MO Mississippi Nights Aug. 15 Cincinnati, OH Bogart's Dandelion July 31 Cambridge, MA Middle East Aug. 2 New Castle, DE CODA Tavern Aug. 3 Wilkes Barre, PA Mantis Green Aug. 4 Burlington, VT Club Toast Aug. 5 Providence, RI The Strand Aug. 7 Toronto, CAN El Mocambo Aug. 8 Buffalo, NY Nietzches Aug. 9 Washington, DC 9:30 Club Aug. 10 Providence, RI Met Cafe Dillon Fence / Drivin' & Cryin' Aug. 1 Phoenix, AZ Martini Ranch Aug. 2 San Diego, CA Casbah (w/Sun 60) Aug. 4 Los Angeles, CA Palladium (w/Gin Blossoms) Aug. 5 San Francisco, CA Paradise Lounge (w/Sun 60) Aug. 7 Berkeley, CA Berkeley Square Aug. 8 Sacramento, CA Cattle Club Aug. 9 Los Angeles, CA Dragonfly Filter/Die Cheerleader Aug. 1 Northampton, MA Pearl Street Aug. 2 Rochester, NY Water St. Music Hall Aug. 3 Pittsburgh, PA Metropol Aug. 5 Detroit, MI St. Andrews Hall Health & Happiness Show Aug. 2 Washington, DC Bayou Aug. 4 Philadelphia, PA North Star Bar Aug. 5 Hoboken, NJ Maxwell's Aug. 7-8 New York, NY Mercury Lounge Aug. 10 Burlington, VT Toast Aug. 11 Portland, ME Raoul's Aug. 12 Toronto, ON Ultrasound Show Bar Hum Aug. 3 Louisville, KY Bottleneck Aug. 13 San Diego, CA Casbah Kate Jacobs Aug. 3 New York, NY Barnes & Noble (21st & 6th) Aug. 11 Peabody, MA Borders Books Elton John Aug. 4 Raleigh, NC Walnut Creek Amphitheatre Aug. 5 Manassas, VA Nissan Pavillion Aug. 6 Charlotte, NC Blockbuster Pavillion Aug. 9 Pittsburgh, PA Starlake Amphitheatre Aug. 11-12 Camden, NJ Sony Entertainment Center Aug. 13 Hartford, CT Meadows Live / Buffalo Tom July 31 Tampa, FL Expo Hall Aug. 2 New Orleans, LA Kiefer Uno Lakefront Arena Aug. 3 Houston, TX Cynthia Woods Mitchell Pavillion Aug. 4 Dallas, TX Starplex Amphitheatre Aug. 5 Austin, TX South Park Meadows Aug. 8 Phoenix, AZ Desert Sky Pavillion Live/PJ Harvey/Veruca Salt Aug. 9 Los Angeles, CA Universal Amphitheater Aug. 10 Los Angeles, CA Greek Theatre Aug. 12 Laguna Hills, CA Irvine Meadows Aug. 13 Mountain View, CA Shoreline Amphitheatre Professor & Maryann Aug. 4 Manchester, CT Borders Books Rake's Progress / Drugstore Aug. 1 New York, NY Mercury Lounge Aug. 3 Cambridge, MA T.T. Bear's Aug. 4 Providence, RI Club Babyhead Aug. 5 Philadelphia, PA J.C. Dobbs Aug. 6 Hoboken, NJ Maxwell's Aug. 8 Washington, DC 9:30 Club Aug. 10 Cincinnati, OH Top Cats Aug. 11 Detroit, MI Shelter Aug. 12 Chicago, IL Double Door Aug. 13 Minneapolis, MN 7th Street Entry Aug. 15 Milwaukee, WI Shank Hall Squirrel Nut Zippers Aug. 11 Carrboro, NC Cat's Cradle Warped Tour (L7, Quicksand, Sublime, Fluf, Use For A Name, Orange 9MM, Civ) Aug. 4 Salt Lake City, UT Salt Air Aug. 5 Boulder, CO Franklin Field Aug. 7 San Antonio, TX Sunken Garden Aug. 8 Houston, TX Astro Exhibit Hall Aug. 9 Dallas, TX Leadbelly Plaza Aug. 11 Atlanta, GA Masquerade Music Park Aug. 12 Orlando, FL Edge Concert Field Aug. 13 Miami, FL Bayfront Park Aug. 14 Tampa, FL Expo Hall Aug. 15 Myrtle Beach, SC Myrtle Beach Stadium Young Dubliners Aug. 3 Las Vegas, NV Fremont Street Reggae & Blues Aug. 4 Aspen, CO Double Diamond Aug. 5 Teton Village, WY Mangy Moose Aug. 8 Salt Lake City, UT Zephyr Club Aug. 10 Denver, CO Bluebird Theatre Aug. 11 Vail, CO Garton's Saloon Aug. 12 Colorado Springs, CO Rack & Roll Aug. 13 Bellevue, CO Mishawaka Amphitheatre Young Gods Aug. 2 Toronto, ON Lee's Place Aug. 3 Cleveland, OH Phantasy Nightclub Aug. 4 Detroit, MI Majestic Theatre Aug. 5 Chicago, IL Double Door Aug. 7 Tulsa, OK Ikon Aug. 9 Dallas, TX Trees Aug. 11 Denver, CO Mercury Cafe Aug. 14 Vancouver, BC Graceland Aug. 15 Seattle, WA Moe --- ERRATA As was pointed out by several of our Australian subscribers, Newcastle (situated north of Sydney) is not a resort town, but an industrial city that underwent some problems during one of Australia's biggest earthquakes a few years ago. --- THE READERS WRITE BACK Thanks so much for the interview with Luther Allison. I went to see him this past Wednesday in Cleveland, and it was great to be able to read such a thorough interview beforehand. I really enjoyed reading the piece! - Sandy Q. --- 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) Compuserve, Lotus Notes users only: 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 ===