==== ISSUE 84 ==== CONSUMABLE ======== [August 16, 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, Paul Grzelak, Eric Hsu, Tim Hulsizer, Stephen Jackson, Daniel Kane, Mario Lia, Stephe Lin, Bob Mackin, Al Muzer, P. Nina Ramos, Linda Scott, Ali Sinclair, Jon Steltenpohl, Courtney Muir Wallner 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: Neil Young with Crazy Horse, _Broken Arrow_ - Reto Koradi BACKGROUND: Primitive Radio Gods, Chris O'Connor- Bob Gajarsky REVIEW: Various Artists, _M.O.M. (Music For Our Mother Ocean)_ - Al Muzer REVIEW: Various Artists, _Sweet Relief II_ - Stephen Lin BACKGROUND: Hot Water Music - Bob Gajarsky REVIEW: Semisonic, _Great Divide_ - Jon Steltenpohl REVIEW: Soundtrack, _Supercop_ - Bob Gajarsky REVIEW: Spacetime Continuum, _Emit Ecaps_ - Lee Graham Bridges INDEPENDENT REVIEW: Tris McCall, _The Broken Loom_ - Jon Steltenpohl THOUGHTS: Is 90's gangsta rap becoming 80's hard rock? - Sean Eric McGill CONTEST WINNERS: Grass Records / Chimera Giveaway NEWS: Robyn Hitchcock, Material Issue, Oglio, Sex Pistols, Sonicnet, St. Louis TOUR DATES: Barenaked Ladies, Adrian Belew, Frank Black, Johnny Bravo, Bryndle, L.T.J. Bukem / MC Conrad / D.J. Tayla, Tracy Chapman / Charlie Hunter Quartet, Chimera, China Drum, Elvis Costello Cravin' Melon, Def Leppard / Tripping Daisy, Download, Enit Tour (Love & Rockets, Porno For Pyros, Meat Beat Manifesto, Orb), Enormous / Perfect, Fleming & John, Goldfinger, David Gray, Hayden, His Name Is Alive, Ho-Hum, H.O.R.D.E. (incl. King Crimson), Hunger, Jawbox, Nusrat Fateh Ali Khan, k.d. lang, Huey Lewis & The News Little Feat, Manic Street Preachers, Holly McNarland No Doubt, Pantera, Poorhouse Rockers, Possum Dixon / Yum Yum / Dig Primitive Radio Gods, Reel Big Fish, Scout, Sepultura / Far Sex Pistols / Gravity Kills, Slayer, Steely Dan, Velour / Camber, Young Dubliners Back Issues of Consumable --- REVIEW: Neil Young with Crazy Horse, _Broken Arrow_ (Reprise) - Reto Koradi The thought of getting older can lose much of its terror if you look at the right role models, such as Neil Young. It's not only that his recording career has lasted for almost 30 years; it's more that he has always kept, or even made, the pace of current music. And there are still no signs of slowing down. 1994 brought the epic masterpiece _Sleeps With Angels_, and in 1995 his collaboration with Pearl Jam on _Mirror Ball_ showed that he's still on top when playing with today's kids. With these constant style changes, how does his 1996 model surprise us? _Broken Arrow_ shows Neil Young back together with his old friends from Crazy Horse. Considering that, one could expect a more backwards oriented sound. This is indeed the case... partly. There are some of his teasingly simple ballads, like "Scattered (Let's Think About Livin')" or "This Town/Music Arcade" that have always brought him the largest commercial success. Then there are a bunch of almost classical rock songs, like "Big Time" and "Changing Highways". These are mostly very long and serve as platform for some guitar excesses, where Neil Young finds extensive opportunities to showcase his trademark playing style and outstanding skills. His dirty guitar sound has become the basis for grunge, but still nobody does it like the godfather himself. It's hard to put a label on _Broken Arrow_ - it's more like a cross-section through Neil Young's whole career. The songs may seem overly simple at first sight, but he always mastered the gentle art of making music that is better than it pretends to be. _Broken Arrow_ should probably not be the prime choice for new fans, but it's certainly another excellent album in a long row of excellent albums, and is especially recommended to the fans of Young's guitar playing. They will easily forgive him that the album contains only 7 real songs (not counting the questionable rendition of "Baby What You Want Me To Do") and the awful packaging of the CD. --- BACKGROUND: Primitive Radio Gods, Chris O'Connor - Bob Gajarsky If the success of the Primitive Radio Gods hasn't changed main man Chris O'Connor, it sure hasn't lightened him up. "Now I have an excuse for being an asshole!", O'Connor remarks about the surprise success of his runaway hit, "Standing Outside A Broken Phone Booth With Money In My Hand". It wouldn't be surprising for O'Connor to be just a little ticked at the music industry. After several years and four independent albums with the Santa Barbara, California based I-Rails, the group disbanded. While other members started the regular 9 to 5 grind, O'Connor finished recording his album - _Rocket_ - on the side, for only $1,000, in a friend's garage on a broken-down, 1969 Ampex 16-track tape-deck. Fast forward to 1993, and the music bug bit O'Connor one more time. Rather than release a solo album, he took the monicker Primitive Radio Gods (after a song on the I-Rails third album) and self-promoted the album. College radio dropped the ball, and the lukewarm response convinced O'Connor to give up the dream - until housecleaning in 1994, when he blindly sent out a few copies to industry executives. That one-in-a-million shot happened. The song whose inspiration was (in O'Connor's words) "9 grams of psilocybil mushrooms", "Standing Outside A Broken Phone Booth With Money In My Hand", caught the ear of one executive after another. Only two tracks from his I-Rails days - "Are You Happy" and "Where The Monkey Meets The Man" - made the final cut on _Rocket_. Refusing to revive the I-Rails material, O'Connor's band includes former I-Rails members Tim Lauterio on drums and Jeff Sparks on bass with new member Luke McAuliffe on guitar. And the man who cites musical influences ranging from K.C. & the Sunshine Band and Ohio Players to rock staples Kansas and Journey has made a record, _Rocket_, which doesn't sound tired or dated. And while O'Connor says "I've only just begun to vindicate myself", the real story of _Rocket_ is that some dreams still come true. --- REVIEW: Various Artists, _M.O.M. (Music For Our Mother Ocean)_ (Surfdog/Interscope) - Al Muzer With most of the proceeds from the sale of this disc benefitting the Surfrider Foundation, this eco-friendly package is one of the best buys of the summer. Mixing outstanding originals from the likes of Porno For Pyros ("Bali Eyes"); Common Sense; Reverend Horton Heat; Pato Banton; Primus (a live version of "Mr. Know It All"); 7 Mary 3; Soundgarden ("My Wave"); Jewel; Everclear; and Sublime with fun covers of The Silly Surfers' "Gremmie Out Of Control" from Pearl Jam; The Beach Boys "Surfin' USA" all punked-up by Pennywise; Bill Doggett's "Honky Tonk" as done by The Brian Setzer Orchestra; Silverchair's spirited cover of "Surfin' Bird"; Helmet's heavy-as-hell remake of Bjork's "Army Of Me"; No Doubt's laughably-histrionic, completely off-the-mark interpretation of Bad Brains "Sailin' On"; a newly-recorded version of "California Sun" from The Ramones; and the Beastie Boys deconstruction of Eddie Holman's "Hey There Lonely Girl" makes for a vaguely thematic, always entertaining disc with a mere two songs (Beasties/No Doubt) that suck. --- REVIEW: Various Artists, _Sweet Relief II - Gravity of the Situation: The Songs of Vic Chesnutt_ (Columbia) - Stephen Lin In 1992, Victoria Williams was diagnosed with multiple sclerosis. In 1993 _Sweet Relief_, a compilation of William's songs covered by other artists, was released to raise funds to help with medical costs. Pearl Jam, Soul Asylum, Lou Reed and eleven other artists all donated their time and efforts to the album. Thus the Sweet Relief Musicians Fund was established as a non-profit organization to provide financial assistance to musicians facing medical hardships. _Sweet Relief II_ was just released to help bolster the strength of the Sweet Relief Musicians Fund. This time an equally star-stud cast of musicians, if not moreso, are covering the tunes of the Athens, Georgia based Vic Chesnutt. The album's 14 tracks feature 18 artists performing some truly inspirational work. Soul Asylum is the only band to return for the sequel. Newcomers to the project include the likes of dog's eye view, Sparklehorse, Mary Margaret O'Hara, and Cracker. Kristen Hersh adds a typically haunting acoustic performance of "Panic Pure." The Indigo Girls trade off on strong lead vocals and blend together for tight harmonies on their rendition of "Free of Hope." Live's MTV Unplugged performance of "Supernatural" is also among the ranks. However, the album leaves off frontman Ed Kowalczyk's exaltation that "Supernatural" is "absolutely the most beautiful song ever written by a human being." And, from their performance here, I almost believe it. Butch Vig's most recent project, Garbage, opens the album with a fairly mellow track titled "Kick My Ass." Shirley Manson's vocals are as sultry and enticing as ever. R.E.M. lends a lively version of "Sponge" which reminds me somewhat of what R.E.M.'s "King of Birds." And unless I'm imagining things, Bill Berry is starting to sound an awful lot like a drum machine. Perhaps most fascinating thing about this compilation are the duets included. Nanci Griffith and Hootie & the Blowfish perform a very Hootie-sounding title track, "Gravity of the Situation." Smashing Pumpkins team up with Red Red Meat on "Sad Peter Pan." This track utilizes a drum track, among others, being played at half speed. The effect is quite stunning in contrast to Billy Corgan's vocals. Joe Henry and his sister-in-law, Madonna, ironically sing together on "Guilty by Association." The pair don't tend to blab about their relations, though Madonna does mention it during an MTV interview about the upcoming "Evita." Finally, the album closes out with Vic Chesnutt and Victoria Williams performing "God is Good." They co-wrote and recorded this track at Rancho De La Luna in Joshua Tree, California during the last week of February. It's a moody track perfect for ending a compilation with such a worthy cause. As a whole, _Sweet Relief II_ is easily as strong as its predecessor. Whether you're a Vic Chesnutt fan or a fan of any of the individual artists, this album is definitely worth owning. And hey, it is for a good cause. --- BACKGROUND: Hot Water Music - Bob Gajarsky New York City hasn't had much of a country rock/blues following, but that might all change with the release of the debut self-titled album by Big Apple natives Hot Water Music. The members of Hot Water Music only use their first names. So it's James on lead vocals, Lou on drums, and Harlan on guitar. The simplicity of the names almost tells the tale of the music: back to basics rock and roll, simple yet rough, catchy but gritty. And if the sound of Hot Water Music makes you think of the Fogerty brothers or start humming "Fortunate Son", don't jump to the conclusion that they're a Credence influenced band. James makes quite sure to emphasize that fact: "We don't make an effort to sound like them (CCR); we just draw from some of the same styles as they did". Those styles include legends such as Buddy Rich (whose bootlegs are part of the Hot Water Music tape collection) and Johnny Winters. It might be not be in fashion to go back and claim the roots of rock and roll as influences, but the band work as one to bring out the blues and soul inside a guitar. "I write the lyrics and structure of the songs," says James, "but the sound of the band comes from when we all play it together and add our own rock and blues flavors to each song." The band's country side pops out periodically onstage, when they might cover the WIllie Nelson song "How Do You Feel About Foolin' Around". But, as James adds, "We do it like the Doors would". Possibly the strongest track on _Hot Water Music_ is the first single "Same Day Twice", which brings to mind some of the 70's rock/blues bands such as ZZ Top (and I'm *not* talking about those synthesized days of the late 80's). "Tumblin' Down" also stands out, and the ballad "All My Life" brings the piano back to the arena of rollicking rock and roll. Getting signed to Elektra and releasing their first album also offered new opportunities. James adds that, "The best part of success is that we have the opportunity to work with people like Sonny Landroth and Richard Dodd (producer, who has also worked with Tom Petty)." It might be hard to break into radio playlists that dictate "guitar sounds must be distorted", but with their tough rock and roll debut, Hot Water Music might surprise a few programmers. --- REVIEW: Semisonic, _Great Divide_ (MCA) - Jon Steltenpohl Attention Trip Shakespeare fans - listen up! One half of the guys behind the quirky pop and dreamy rock ballads that characterized this classic band are back. Dan Wilson and his buddy John Munson have risen from the ashes of the doomed band to form Semisonic along with newcomer Jake Slichter. Semisonic features the same line-up that toured the past few years as Pleasure; an old funk band of the same name forced the change. Regardless of the band's name, _Great Divide_ is another in a long line of masterpieces from Wilson. As the half of the Matt Wilson/Dan Wilson force behind Trip Shakespeare, these Minnesotan brothers built a base of songs that focused exclusively on the joys and sorrows of love and life. Their ability to capture scenes in truly original ways set their themes apart from your average song of life. Stuff like "Boy sells bomb-pops off a bike to win the girl" or "Boy asks girl to look at the moon so she won't see him cry" stuck out at once as sad, funny, and ultimately real. Likewise, what set the music apart was the band's free-form percussion, bubbling bass line, and their trademark falsetto harmonies. Dan's songs are the same old Trip Shakespeare fare. They aren't quite as goofy as his brother Matt's, but they still paint their pictures vividly. Each song is about love or desperation or both. "F.N.T." sets the tone for the whole album with a fire engine guitar solo, volumous bass lines, and shimmering harmonies. It's a little infatuation song to a "fascinating new thing" who'll be "lovely" and "precious" even when she is "not new." Later there's the melancholy ode to a girl called "Temptation". Wilson comments, "Somewhere in the world tonight / Two lovers are treating each other right / Somewhere else in a lonely town / One lover waits an endless hour / Driving home in the dark I say this time will be the last." In "No One Else", he muses "With a wave of your hand / I'm destroyed and Recreated / No one else can make me cry like you, you, love / You're the only one / Who did everything right." The bittersweet sentiment riding through each song cuts through the glamour of the hopeless romantics and the hopeless pessimists. In Wilson's world, each cloud has a silver lining and every silver lining has its cloud. Musically, _Great Divide_ is a slight shift from Trip Shakespeare. Semisonic blends some of the themes from the old band into its mix and covers a lot of new ground. "Falling," "In Another Life," and "Temptation" could have been Trip Shakespeare outtakes. "No One Else" and "I'll Feel For You" are both slow, spacey songs that have a lot of "effect washes and static hum" added to them. But the strong suit of Semisonic is the hard edged pop song. Songs like "Down in Flames" and "F.N.T." draw vague comparisons to bands like Weezer. They are little carefree ditties despite their sometimes depressing lyrics, and it's hard to stop yourself from grooving along to the songs. But despite the similarity, Semisonic's sound is more mature than Weezer's, and I've never really heard a three piece band quite like this. Even though they come from Minneapolis, the land of Husker Du and the Replacements, Semisonic manages to sound completely original. Fans of the late, great Trip Shakespeare will know to run and get this album, but newcomers might be more hesitant. If you've liked what's been on the radio so far, _Great Divide_ will not disappoint. The grooves and guitar chops will push you as far as you'd like to go. If you've never heard of Semisonic, I'd recommend taking a chance or visiting a listening station. This is smart, well-made music that won't go stale after a few listens. So find a copy, crank up the stereo, get your groove on, and enjoy! --- REVIEW: Soundtrack, _Supercop_ (Interscope) - Bob Gajarsky The 70's were the age of all those bad (or good) karate films, and just oh-so-much excess. The latest Jackie Chan film, _Supercop_, takes the 70's karate films into the 90's with a soundtrack that echoes the timeline of the film. Tom Jones, together with Leslie Rankine from Ruby, takes Carl Douglas' "Kung Fu Fighting" to new levels - either good or bad, again, depending on your point of view. The key point is that the soundtrack is *fun*, not to be taken completely seriously. Siobhan Lynch's slowed down, Coil-like cover of the Bee Gees' "Staying Alive" will make a fan of those too young to remember Travolta's white leisure suits. And that offbeat group, Devo, do one of the coolest covers of the year - totally reconstructing Nine Inch Nails' "Head Like A Hole". As one critic who does not profess to have any liking for the West Coast gangsta rap, it may come off as a backhanded compliment that the Warren G/Adina Howard rap re-working of Tina Turner's hit, "What's Love Got To Do With It", comes off without a hitch and is a perfect candidate for pop radio. But the song works quite well, and the two vocalists' voices perfectly complement each other. On the "new" tracks, Shaun Ryder leads Black Grape into yet another baggy, Manchester-type song which would have suited the Happy Mondays five years back, "Harry The Dog". Pantera's Dimebag Darrell contributes the metal "Caged In A Rage", and newcomers Polara, who have recently signed to Interscope, toss in a re-recorded version of their 1994 song, "Scorched Youth Policy". An appetizing combination of new and old. Call it kitsch, alternative style. --- REVIEW: Spacetime Continuum, _Emit Ecaps_ (Astralwerks) - Lee Graham Bridges Spacetime Continuum's latest, aptly named _Emit Ecaps_, is an interesting array of simpler, less mechanical sounds and rhythms - a symmetrical hybrid of pseudo-string instruments, weightless synth hums and chimes, heavy beats, and the occasional blip and buzz, that combine to form a portrait of odd beauty. _Emit Ecaps_ carries a multitude of subtle 808 State references, and could be compared to a smoother, this-worldly Aphex Twin. Surprisingly, the feeling one gets upon listening is that the beat, though often dominant, is meant to massage or hypnotize the listener's ear drums, not aggravate. This is complemented by simple, well-arranged sets of pleasant synth sounds and samples. "Kairo" is the busiest song on the album, with hyperactive bass and beat to match. "Swing Fantasy" stands out as a clear example of SC's 808 State infatuation. "Vertigo" maintains high danceability with a faster tempo and a hyperactive high hat cymbal. "Twister," a combination of pops and oddly matched tones and sounds, is more like a story than a song, but an enthralling story at that. The listener glides effortlessly through "Pod," one of several tracks that does not fit very well into the "techno" genre, if such a cliche' can be used. _Emit Ecaps_ is an excellent semi-mellow album that replaces much of the thousand-beats-per-minute mentality of today's techno with its own brand of intensity. --- INDEPENDENT REVIEW: Tris McCall, _The Broken Loom_ (Ohio Records) - Jon Steltenpohl The premise is simple. The leader of a rock band records his original songs in a solo setting. The tracks, never meant for release, get traded around by his friends and the folks at his label until it's obvious that the songs deserve more attention. This is basically how Tris McCall, leader of The Favorite Color, ended up releasing _The Broken Loom_. A collection of tender acoustic ballads, _The Broken Loom_ is an engaging prelude to The Favorite Color's upcoming debut. The first track, "Hands Like Cool Water", folds itself around you in quiet melancholy. It's a song about a girl whose "hair pours down like moonlight" but who falls through the boy's "hands like cool water." Featuring subdued vocals, acoustic guitar, and electric piano, the song could be a Paul Simon song from the 70's. "Hands Like Cool Water" is definitely the standout of this album. The rest of the album continues in similar fashion and evokes the music of Luka Bloom, the vocals of John Wesley Harding, and the strange lyrics of Robyn Hitchcock. What is exciting about Tris McCall's album is that he is competely new to the scene. He picked up his guitar and started his career as musician in 1993 at the age of 21. These songs were written and recorded only 2 years from that time. Admittedly, a few of the lyrics show his youth as a songwriter, but they are easy to forgive. But what McCall lacks in experience, he makes up with raw talent. His vocals are expressive and deep, and his guitar work is atmospheric and sparse. _The Broken Loom_ is a work-in-progress masterpiece. Most musicians never reach this level of expression, and McCall has reached it in 3 years. Who knows what the future holds for this young musician? His main project is his band, The Favorite Color. Their album has just been released, and it promises a whole new set of McCall songs in a completely different setting. Until then, e-mail Tris at TrisMcCall@aol.com or the main office at TFColor@aol.com, and check into _The Broken Loom_. --- THOUGHTS: Is 90's gangsta rap becoming 80's hard rock? - Sean Eric McGill As a performer in hard rock bands in the eighties, I am more than qualified to say that it was at best an embarrassing time. For every good band that came out of the woodwork and actually accomplished something professionally, we were drowning in half-assed groups who were signed on the basis of their hair and their ability to make a mean face for the camera. In other words, their ability to look like they were "rockin'" superceded their ability to actually play - at least, that's what it seemed like. And now, the ghost of eighties hard rock is finally behind us. Oh sure, a band like Jackyl comes around every now again and resurrects the ghost, but that's O.K. You see, ten bands doing that shtick is one thing - the thousand bands is something completely different. But it seems that every few years, a style of music becomes a parody of itself as hard rock did in the Reagan-era. And now it seems that rap (and more specifically, gansta rap) has become this era's self-parody of choice. Now, I realize that by being a white male and criticizing gangsta rap I'm opening myself to a host of arguments, from "Well, you just don't get it" to "You're just a racist" - and if you feel that way, I apologize. But like it or not, you didn't have to be young, white, and horny to realize that hard rock in the eighties was full of crap for the most part and you don't have to be young, black and angry to realize that a good many rap artists today are making the genre they're a part of look more and more like a joke. First, let's hit the aesthetic qualities. In the eighties, the hair got bigger and the "come-hither" scowls or rockers like Don Dokken and David Lee Roth were king. And in gangsta rap these days, the heads are getting balder and the scowls aren't as much "come-hither" as they are "get the hell away from me". Everyone has to be badder than the guy who preceded them. They're more hardcore, they've done more time, they've smacked more bitches - whatever. Why? Because being more hardcore, and doing more time, and smacking more bitches translates to more album sales. And if you can recall the era and were male, you'll remember that in the eighties, you drank more beer, you screwed more bitches, and you were cooler than the guy who preceded you. After you heard the one-millionth band come out and sing about chasing down women, it became a joke. And after you hear the one-millionth rapper come out and rap about chasing down the punk who tried to rip him off, it's still a joke. Now, this isn't to say that I'm advocating the death of rap music - not by a long shot. Rap, probably more than any other form of music, gets the closest to what's happening in our inner-cities. It's a lot easier for a young African-American to identify with Ice Cube's tales of street life than for a young white person to understand how Eddie Vedder hates being famous. But in the music industry, the idea of "too much of a good thing" is a valid one. Aerosmith is one of the best rock bands of all time - but we didn't need a million other bands that tried to be them. And the same is true for rap music. I mean, let's be honest here - what brought this whole concept into my mind was that I ran across a rapper named "Kaution". There were about ten thousand rock bands named that in the eighties, and I'm sure some of them are still playing the seedy bar of your choice where you live, knocking out Poison and Ratt songs to a roaring crowd of drunkards, banging their heads in unison in their sleeveless "Rockin with Dokken" t-shirts. The point is this - there are so many "Kautions" and "Outlawz" out there that a lot of the quality is getting lost in the quantity. And that's where the true problem is in this discussion. Like it or not, there were some good bands that played hard rock music and came out in the eighties. But there were more that got lost in the crowd, positioned between Grim Reaper and Guy Mann-Dude. And for every Ice Cube, there's someone who's just as talented, but won't get recognized because he's stuck between two fly-by-night acts. Just because something can sell doesn't mean it should. --- CONTEST WINNERS: The following five people were winners in the Consumable/Grass Records giveaway for the Chimera E.P's: David Kemper, J. D. Laub, Gary Pon, Joanna Slimmer and Sean Wiedel. As a special unannounced bonus, all five EP's are autographed by the band. Congratulations! --- NEWS: > Robyn Hitchcock will be conducting a live chat on Request Online on Friday, August 16 at 3:30 p.m. EST. The site is located at http://www.requestline.com > Although Jim Ellison recently took his own life, Material Issue will be releasing at least one more full length album. The album is comprised of approximately 15 songs completed before Ellison's untimely death, with the first single most likely to be either "What If I Killed Your Boyfriend" or "Satellite", and is likely to hit stores either on a major label or a large independent label in spring or summer of 1997. > The California based reissue label Oglio has recently opened up a Web page. Still in its infancy, the site is located at http://www.oglio.com > On Friday, August 23rd, the Sex Pistols concert from the Palladium in Hollywood, California will be broadcast live on the Internet. Check out L.A. Live (http://www.lalive.com), IMusic (http://www.imusic.com) or Rocktropolis (http://www.rocktropolis.com) for more details. > Sonicnet will have a chat with Perry Farrell, Black Grape and Meat Beat Manifesto (the Enit Festival) on Friday, August 16 at 6 p.m. EST. at http://www.sonicnet.com/sonicore/chat > The St. Louis music and entertainment guide has hopped on the Web - point your browsers at http://www.stl-music.com for the site. --- TOUR DATES Barenaked Ladies Aug. 16 Atlanta, GA Coca Cola Dome (Live Radio Performance) Aug. 17 Seattle, WA The Moore Theatre Aug. 18 Whistler, BC On The Hill Aug. 19 Portland, OR La Luna Aug. 22 San Francisco, CA The Wharfield Theatre Aug. 24 Detroit, MI Pine Knob Aug. 25 Los Angeles, CA The Wiltern Theatre Aug. 26 San Diego, CA 4th and B's Adrian Belew Aug. 24 Asbury Park, NJ Paramount Aug. 25 Columbia, MD Merriweather Post Aug. 26 Philadelphia, PA Mann Center Frank Black Aug. 20 Boulder, CO Fox Theatre Aug. 21 Salt Lake City, UT Bar & Grill Aug. 23 Los Angeles, CA Alligator Lounge Aug. 24 San Juan Capistrano, CA Coach House Johnny Bravo Aug. 22 Boston, MA WFNX Show Bryndle Aug. 18 Mammoth Lakes, CA Mammoth Mountain WestFest Aug. 22-25 St. Paul, MN Minnesota State Fair Bandshell L.T.J. Bukem / MC Conrad / D.J. Tayla Aug. 16 Washington, DC Sting/Buzz Aug. 17 New York, NY Enit Festival Aug. 18 Boston, MA Jungle Roots Aug. 20 Philadelphia, PA 611 Tracy Chapman / Charlie Hunter Quartet Aug. 16 Houston, TX Cullen Auditorium Aug. 17 Dallas, TX Bronco Bowl Aug. 21 Portland, OR Shnitzer Aug. 22 Seattle, WA Paramount Aug. 24 Berkeley, CA Greek Theatre Chimera Aug. 19 San Diego, CA Casbah Aug. 21 West Hollywood, CA Luna Park China Drum Aug. 16 Las Vegas, NV Rainbow Aug. 17 Lake Havasu City, AZ Elks Club Aug. 18 San Diego, CA Casbah Aug. 19 Los Angeles, CA Dragonfly Aug. 20 San Francisco, CA Bottom of the Hill Elvis Costello Aug. 16 Detroit, MI Fox Theatre Aug. 17 Rosemont, IL Rosemont Horizon Aug. 18 Minneapolis, MN Orpheum Theatre Aug. 20 Dallas, TX Bronco Bowl Aug. 21 Austin, TX Backyard Aug. 23 Denver, CO Paramount Theatre Aug. 25 Santa Barbara, CA Santa Barbara Bowl Cravin' Melon Aug. 17 Murrill's Inlet, SC Sandpiper Aug. 22 Rock Hill, SC Silver $$ Aug. 23 Spartanburg, SC Magnolia's Aug. 24 Atlanta, GA Chameleon Def Leppard / Tripping Daisy Aug. 16 Atlanta, GA Lakewood Amphitheatre Aug. 17 Antioch, TN Starwood Amphitheatre Aug. 18 Lampe, MO Black Oak Mountain Aug. 20 Oklahoma City, OK Zoo Amphitheatre Aug. 21 Bonner Springs, MO Bandstone Amphitheatre Aug. 23 Denver, CO Fiddler's Green Aug. 24 Park City, UT Wolf Mountain Amphitheatre Aug. 26 Phoenix, AZ Desert Sky Pavillion Download Aug. 15 Atlanta, GA Masquerade Aug. 16 Charlotte, NC Baha Club Aug. 17 Springfield, VA JAXX Aug. 18 Philadelphia, PA Middle East Aug. 20 Hamilton, ON Nekropolis Aug. 21 Toronto, ON The Opera House Aug. 22 Ottawa, ON Barrymore Music Hall Aug. 25 New York, NY Tramps Aug. 26 Detroit, MI St. Andrew's Hall Enit Tour (Love & Rockets, Porno For Pyros, Meat Beat Manifesto, Orb) Aug. 15 Pittsburgh, PA Starlake Aug. 17 Holmdel, NJ Garden State Arts Center Aug. 18 Philadelphia, PA E-Center Aug. 20 Boston, MA Great Woods Aug. 23 San Francisco, CA Calaveras County Aug. 24 Los Angeles, CA Bear Mountain Enormous / Perfect Aug. 16 Chicago, IL Double Door Aug. 17 Milwaukee, WI Unicorn Aug. 18-19 Minneapolis, MN 7th Street Fleming & John Aug. 21 Nashville, TN Stairs at Alumni Aug. 22 Chattanooga, TN Sandbar Aug. 23 Birmingham, AL 5 Points Music Hall Aug. 24 Atlanta, GA Cotton Club Goldfinger Aug. 22 Los Angeles, CA Universal Amphitheater Aug. 23,25 Los Angeles, CA Palladium David Gray Aug. 16 Chicago, IL Schuba's Aug. 17 Toledo, OH Frankie's Aug. 18 Grand Rapids, MI Reptile House Aug. 20 Toronto, ON Horeshoe Tavern Aug. 21 Pittsburgh, PA Graffiti Aug. 22 Columbus, OH Stache's Aug. 23 Cincinnati, OH Club Gotham Hayden Aug. 21 London, ENG Garage (w/Weezer) Aug. 23 Reading, ENG Reading Festival Aug. 24 Leopoldsburg, BEL Pukkelpop Festival Aug. 25 Delft, NET Lowlands His Name Is Alive Aug. 21 Boston, MA Middle East Aug. 22 Hoboken, NJ Maxwell's Aug. 23 New York, NY Fez Aug. 24 Philadelphia, PA Kyber Pass Aug. 25 Washington, DC Black Cat Ho-Hum Aug. 22 Fayetteville, AR JR'S H.O.R.D.E. (incl. King Crimson) Aug. 16 New York, NY Randall's Island Aug. 17 Hartford, CT Meadows Music Aug. 18 Saratoga, NY SPAC Aug. 20 Buffalo, NY Darien Lake Aug. 22 Portland, ME Maine Ent. Center Aug. 23 Hershey, PA Hershey Park Hunger Aug. 15 Chicago, IL Cubby Bear Aug. 16 Milwaukee, WI Rave Aug. 17 Detroit, MI Palladium Aug. 18 Toledo, OH Underground Aug. 20 Toronto, OH Horseshoe Jawbox Aug. 16 Toronto, ON Lee's Place Aug. 17 Montreal, QC Cabaret Aug. 18 Burlington, VT Club Toast Aug. 20 Cambridge, MA Middle East Aug. 21 Hoboken, NJ Maxwell's Aug. 22 New York, NY Irving Plaza Aug. 23 Philadelphia, PA Trocadero Aug. 24 Washington, DC 930 Club Nusrat Fateh Ali Khan Aug. 17 Seattle, WA Paramount Theatre Aug. 19 Vancouver, BC Orpheum Theatre Aug. 21 New York, NY Radio City Aug. 22 Chicago, IL Bismarck Theatre Aug. 24 Toronto, ON Roy Thompson Hall Aug. 26 Detroit, MI State Theatre k.d. lang Aug. 16 Berkeley, CA Greek Theatre Aug. 17 Santa Barbara, CA Santa Barbara Fairgrounds Aug. 19 Los Angeles, CA Greek Theatre Aug. 23 Burgettown, PA Starlake Amphitheatre Aug. 24 Wailingford, CT Oakdale Theatre Aug. 25 Rochester, NY Fingerlakes Auditorium Huey Lewis & The News Aug. 20 Interlochen, MI Interlochen Center Aug. 21 Clarkston, MI Pine Knob Aug. 22 Kettering, OH Fraze Pavillion Aug. 23 Highland Park, IL Ravinia Festival Aug. 25 Des Moines, IA Sec Taylor Stadium Little Feat Aug. 23 Sheboygan, WI Sheboygan Lake Fest. Aug. 24 Baltimore, MD Pier 6 Aug. 25 (Afternoon) Croton, NY Croton Point Park Aug. 25 (Evening) Suntan Lake, NJ Suntan Lake Manic Street Preachers Aug. 23 Montreal, QC Club Soda Aug. 24 Toronto, ON Phoenix Aug. 25 Cleveland, OH Grog Shop Holly McNarland Aug. 16 San Francisco, CA Bottom of the Hill No Doubt / Goldfinger Aug. 16 Providence, RI Strand Aug. 17 Chicago, IL Aragon Aug. 18 Milwaukee, WI Eagles Aug. 20 Asbury Park, NJ Stone Pony (w/ Dog Eat Dog) Aug. 21 New York, NY Roseland Ballroom (w/ Dog Eat Dog) No Doubt Aug. 22 Philadelphia, PA Trocadero Aug. 23 Washington, DC 930 Club Aug. 24 Norfolk, VA Boathouse Aug. 25 Raleigh, NC Marrz Pantera Aug. 16 Hamilton, ON Copps Coliseum Aug. 18 Burgettstown, PA Starlake Amphitheatre Aug. 19 Philadelphia, PA Blockbuster Ent. Center Aug. 22 Hartford, CT Meadows Aug. 23 Bristow, VA Nissan Pavillion Aug. 24 East Rutherford, NJ Continental Airlines Arena Poorhouse Rockers Aug. 16 Ocean City, MD Talbot Street Cafe Aug. 17 Ocean City, MD Dungeon Aug. 22 Fells Point, MD Horse You Rode In On Possum Dixon / Yum Yum / Dig Aug. 17 Atlanta, GA Point Aug. 23 Tucson, AZ Congress Aug. 25 Los Angeles, CA Spaceland Primitive Radio Gods Aug. 17 Toronto, ON Velvet Underground Club Aug. 19 Cleveland, OH Peabody's Aug. 20 Philadelphia, PA Theatre of Living Arts Aug. 22 Boston, MA Paradise Aug. 23 Cambridge, MA TT The Bears Aug. 24 Providence, RI Met Cafe Reel Big Fish Aug. 16-18 Anaheim, CA Arrowhead Pond Aug. 24 Los Angeles, CA USC Scout Aug. 18 New York, NY Knitting Factory Sepultura / Far Aug. 21 Toronto, ON Opera House Aug. 22 Montreal, QC Verdun Auditorium Aug. 23 Boston, MA Avalon Ballroom Aug. 24 Providence, RI Lupo's Aug. 26 Northampton, MA Pearl St. Sex Pistols / Gravity Kills Aug. 16 Detroit, MI Cobo Hall Aug. 17 Chicago, IL Aragon Ballroom Aug. 20 Mexico City, Mexico Sports Palace Aug. 24 Los Angeles, CA Palladium Slayer Aug. 16 Milwaukee, WI Rave-Eagles Club Aug. 17 Chicago, IL Metro Aug. 18 St. Louis, MO Mississippi Nights Aug. 19 Lawrence, KS Liberty Hall Aug. 21 Denver, CO Ogden Theatre Aug. 22 Salt Lake City, UT Salt Air Aug. 24 San Francisco, CA Trocadero Aug. 25 Los Angeles, CA Whiskey Steely Dan Aug. 16-17 George, WA The Gorge Velour / Camber Aug. 23 New York, NY Mercury Lounge Young Dubliners Aug. 21 Santa Ana, CA The Galaxy Aug. 22 Santa Monica, CA Santa Monica Pier Aug. 24 Denver, CO Colorado Irish Festival Aug. 25 Fort Collins, CO Mishiwaka Amphitheatre Aug. 26 Evergreen, CO Little Bear --- 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. 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