==== ISSUE 86 ==== CONSUMABLE ======== [September 6, 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, Stephen 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 Also Contributing: Robin Lapid, Henry Snyder 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 | `------------' INTERVIEW: Leah Andreone - Bob Gajarsky REVIEW: Atom Heart/Tetsu Inoue/Bill Laswell, _Second Nature_ -Jon Steltenpohl REVIEW: Neurotic Outsiders, _Neurotic Outsiders_ - Linda Scott CONCERT REVIEW: G. Love and Kings Court, Baltimore - Henry Snyder CONCERT REVIEW: Sleeper, Greek Theatre, U.C. Berkeley - Robin Lapid FESTIVAL REVIEW: Gathering on the Mountain - Dan Enright REVIEW: Dogstar, _Our Little Visionary_ / "Quattro Formaggi" - Al Muzer REVIEW: Three Fish, _Three Fish_ - Linda Scott REVIEW: _Honor: A Benefit For The Honor The Earth Campaign_ - Al Muzer REVIEW: State of Grace, _Jamboreebop_ - Jon Steltenpohl REVIEW: Versus, _Secret Swingers_ - Al Muzer REVIEW: The Miss Allans, _Ledger_ - P. Nina Ramos NEWS: There Productions TOUR DATES: Archers of Loaf, Barenaked Ladies, Blithe, Block, Citizen King, Elvis Costello, Cravin' Melon, Def Leppard / Tripping Daisy, Ryan Downe, Fluffy, Godplow, Paris Hampton, Hayden, His Name Is Alive, It's Me, Margaret, Kiss / Hunger, Knapsack, Long Fin Killie, Loop Guru, Loud Family / Sugarplastic, Neurotic Outsiders / Fluffy, Oasis / Screaming Trees / Manic Street Preachers, Orbit, Primitive Radio Gods, Republica / Gravity Kills, Sepultura / Far, Richard Thompson, 311 / The Urge, Trunk Federation, Paul Westerberg, Weston Back Issues of Consumable --- INTERVIEW: Leah Andreone - Bob Gajarsky It's not often that a waitress in California has the opportunity to enter the music business through her (temporary) day job, but that's exactly how Leah Andreone got her big break and was signed to the RCA music label. While working in a diner on Sunset Boulevard, Leah overheard two gentleman talking the industry talk. After getting permission to bring her demo in from home, she gave one of the men her tape. A heady act, for sure. But it paid off the next morning when one of the said gentlemen returned, saw that evening's performance, and eventually signed the young Andreone to a contract. "I got up the nerve (to talk to these men) after years of self-promotion, performing live, and trying to meet the people who can help launch my career," Leah recalls. "It was sink or swim at that point." _Veiled_, the debut album, is doing more than swimming. The album and leadoff single, "It's Alright, It's OK" are receiving critical praise from nearly every radio programmer, and is an infectious track in the style of Jill Sobule meets (former Bangles lead singer) Susanna Hoffs. And, with a slew of songs that could serve as follow-up singles, the future's not just looking OK for Leah Andreone, but incredibly bright. Ironically, none of the songs from that demo tape appear on this debut. Andreone feels that, "They were reflective of a past time. I wanted to start over on my first album". The musical influences are all over the map on _Veiled_. Loosely classified as an alternative/pop album, it's not in the Liz Phair category of angry female woman. Nor does it evoke the inevitable Alanis Morrissette comparisons. Instead, _Veiled_ takes the listener through eleven distinct songs that share one common trait - songs with incredible hooks. The Hoffs sound - and I hate to use that term, for it isn't fair to Andreone - is most prominent on "Come Sunday Morning" and "Will You Still Love Me", which has a chorus similar to Pat Benatar's "Invincible". But while at times sounding like the woman who sang "Walk Like An Egyptian", Andreone's vocals can also be compared to Kate Bush, Sarah McLachlan, and on the tracks "Problem Child" eerily similar to Tori Amos. But _Veiled_ isn't strictly about today's "light alternative" which is quietly taking hold in this country. "Happy Birthday" takes its guitar cue from Jimi Hendrix' "Foxy Lady", and Andreone isn't quiet when she breaks into the chorus on this track. When I mention that the soft "You Make Me Remember" reminds me of Eric Clapton's "Tears In Heaven", the young artist is pleasantly surprised to be compared to the guitar icon. "I never thought of the Clapton comparison, although I'm honored to hear that." Well-versed in her musical history, the Clapton comparison isn't the only one which is established in the solid roots of rock and roll. "Who Are They To Say", with its twist into funk, has already been receiving airplay on radio stations with its similarity to Sly and the Family Stone. "Hats off to Sly," she muses. "I always say that when talking about him. When we had _Veiled_ mastered in Portland (Maine), the mastering person heard that song and exclaimed 'Oh my god! Sly!'. He then told us that he had mixed one of Sly's albums, and how much he loved the new album. He brought out pictures, and it was great to share the Sly experience". Andreone cites other soul legends such as Aretha Franklin and Gladys Knight as influences while she was growing up, and songwriters such as Elvis Costello and John Lennon as those artists to whom she'll regularly listen to today. And, like these two songwriters, Leah wants to be recognized both for her vocal abilities and her writing skills. "I definitely want my writing acknowledged, but I don't want it to take away for my love of the voice or my vocal abilities. There was initially talk of my singing someone else's music, and that idea was heartbreaking. I want to sing about what I'm feeling, and my life and outlook on life, as opposed to other people's." Producer Rick Neigher, who has worked with John Mellencamp, also co-wrote the songs with Andreone. The pair took a leisurely approach, spending more than one year to write and record _Veiled_, and in the process, getting to know more about the other person. "In order for our relationship to work (as co-writers), we needed to know each other," says Andreone. "Writing is a personal thing, and we had to understand each other. Sometimes, we'd get a cup of coffee and just talk for a day, with no actual songwriting, but learning more about the other person". Later this year, she will also be appearing on a charity album, with proceeds going to fight breast cancer. Sheryl Crow and Joan Osborne are two of the other women participating in the compilation. The album holds a personal meaning for Leah, as she watched her sister's husband's mother, a close friend of the Andreone family, die of breast cancer. And what does Andreone hope to accomplish with _Veiled_? "I just want to perform, be out there singing. I gave up a lot of my personal life and put it onto the album, certain points of my life are on there that have never been exposed. I'm getting feedback that people are feeling some sort of healing through my music, and when they tell me that, it heals me as well." With her debut album _Veiled_, Leah Andreone has released one of this year's best alternative/pop albums. But, with a cool demeanor coupled with a quiet confidence, this talented singer/songwriter is all poised to take the next step into musical stardom. --- REVIEW: Atom Heart/Tetsu Inoue/Bill Laswell, _Second Nature_ (Submeta) - Jon Steltenpohl I see them everywhere from department stores to garden centers - these little stands with speakers hawking "ambient nature" albums with nifty little new age beats. Albums titles like "Song of the Humpback Whale" and "Babbling Autumn Brook" beg me to take my warehouse-sized can of Cheetos and smash the hell out of the whole display. Needless to say, when I saw Bill Laswell's name on a promo that read, "_Second Nature_ is... A series of sound environments that depict the world at micro level...", I got scared. Was a founder of ambient and "sound" based music making New Age, department store, crap? I didn't even put the disc in for a day because I was so worried. I didn't need to be. Fortunately, _Second Nature_ is the real thing. Bill Laswell and his friends Atom Heart and Tetsu Inoue have composed a work which is immediately original, invigorating, and captivating. This is true ambient music played by people who played long before you could buy a computer that would sequence everything for you. The result is that these three musicians can be labeled "musician" without vocals, a chorus, or a house beat. _Second Nature_ is a truly interesting work. The four tracks run over 66 minutes combined. They are filled with both electronic pulses and sampled sounds of nature. True to the title of the album, each of these tracks creates a "second nature". "Synthetic Forest", "Green Paste", and "Artificial Seaside" each reflect a mirrored world that Heart, Inoue, and Laswell have created. The album explores each nature with reverberating drum beats and echoed voices both electric and organic. For the most part, the "form" of each track is established by seemingly random sound effects. This illusion is maintain until you realize the tracks have swirled the incoherent samples into a writhing yet soothing beat. The worlds in _Second Nature_ are vivid and lush. The colors of the foliage bleed in vibrant hues and the landscapes are massive and majestic. "Landing Circle" is a fitting end to this album. At a "short" 6 minutes and 25 seconds, it signals that this adventure has come to a complete stop. Your journey through the artifical, yet all too familiar, world is over. The ship is landing to take you away, and you are lifted slowly, just as quietly as it started, back to Earth. I'm not sure if they started this project to make a concept album or not, but _Second Nature_ is brilliantly thought through. If, in today's hectic world, you can find a room or pair of headphones that are quiet enough, you can escape to this ambient world. This is a prime example of how good ambient music can be and a good place for beginners who have thought those department store albums are so cheesy. --- REVIEW: Neurotic Outsiders, _Neurotic Outsiders_ (Maverick) - Linda Scott Neurotic Outsiders is an eclectic supergroup fashioned from members of The Sex Pistols, Duran Duran, and Guns N'Roses. An odd mixture of English punk and American rock, for sure, but the combination works. What started out as a pick up band playing a benefit gig in Los Angeles has quickly evolved into a signed band with an album here and a tour to come. Matt Sorum, G'N'R drummer, put the band together asking Duran Duran's John Taylor to play bass, and bandmate Duff McKagan to play guitar. McKagan recruited Sex Pistols' Steve Jones for lead guitar. An enthusiastic reception, the idea of playing in a less scrutinized band, an opportunity to rock and time off periods from their home bands allowed the group to continue. Their gigs were Los Angeles clubs; their songs were covers of their favorite bands. Soon musician friends like Iggy Pop, Billy Idol, Slash were dropping in to jam with the Outsiders, and hundreds of new fans were being turned away. With the fans came the record companies although Neurotic Outsiders were not looking to sign. Moving to the next stage, Neurotic Outsiders signed and started writing their own songs in preparation for an album. The result is _Neurotic Outsiders_ featuring ten new songs (eight from Jones) and a cover of The Clash's "Janie Jones". The band may be new, but musicians of this caliber and experience can create a very polished album - and that's the case here. Jones' contribution can't be underestimated. The majority of the songwriting is his along with the vocals, lead guitar, and attitude. While his lyrics are offcolor in many songs, they have a humorous quality that appeals. "Jerk" is planned as the first single off the album and may have to be cleaned up here and there for radio in some cities, but it's nothing to compare with the leadoff track "Nasty Ho". John Taylor's solo contributions come from a whole other area and help give a needed variety to the album. On the other hand, one of the most beautiful songs on the album is "Union" by none other than Steve Jones. _Neurotic Outsiders_ is an album with a solid direction set by Jones and versatility laid on by Taylor and McKagan. Matt Sorum's drums are right on throughout polishing the album to a glorious, rocking vibe. _Neurotic Outsiders_ will never bore you - tune in to the music, tune in to the lyrics, then both. Fans of the three represented bands will want to get a copy, but anyone who likes rock with a punkish twist will want it. --- CONCERT REVIEW: G. Love and Kings Court, Baltimore - Henry Snyder When I heard G. Love was a-coming to town, I was overjoyed. When I heard he was touring with a band called King's Court, I was worried. Part of what made his last disc, _Coast to Coast Motel_ so outstanding was the excellent rhythm section, especially the percussion. Houseman, as he is called, is a rarity among drummers. He plays his set like an instrument, not a metronome, and does much more than merely keep time. Whole dimensions are added to G. Love's admittedly simple-at-times blues-based guitar licks. The bass, though less remarkable, was also outstanding on the album. Arriving at the 8x10 club in Baltimore, I had no idea what to expect. Sitting through the opening act (Balto's own Gibb Droll band, pretty decent Matthewsesque stuff), I had plenty of time to worry. I shouldn't have. When King's Court took the stage, I was relieved to see Houseman at the drum podium - almost as much as I was to see the 6' plus G. Love in a shimmeringly garish 2 piece, which he later referred our attention to in a freestyle. I was shocked to see a 50 or so year'd veteran on bass, moses length beard, slicked back hair and all. My worries all evaporated after the first 10 seconds or so. The band was tight as all hell, and nobody was dissapointed. G. Love's guitar was ALWAYS on the mark, as was the band. He does great things with music. I love the way he updates and twists some pretty straightforward blues tunes into songs deadheads can do their silly dances to - not that I couldnt have done with out the dancers. Highlights included G. Love's trademark easy manner with the crowd throughout, as well as killer jamming and freestyling on 2 favorites of mine: "Shooting Hoops" and "Nancy". "Cold Beverages" was, as expected, the ultimate crowd pleaser, with G. Love getting crazy with vocals (standard and new), and the bassist going insane pluckwise. The new tunes all impressed me, as did all the ones from _Coast to Coast Motel__, and most from the debut album. The only problem I had with the show were the two love songs, one of which was a pretty much note-by-note version of my least favorite of his songs, "I Love You." I think he wrote that song, and still performs it for one reason: To get laid. That aside, there were a few bonuses during the show that I hardly expected. His basisst did a lead vocal turn which greatly impressed me. The centerpiece of the encore was a new song about a bum. Decent lyrics, but great musically. G. Love is only getting better. A huge bonus: the hulking, incredibly gifted Kelly Bell, who did vocals for the G. Love-penned tune "Say One Thing," which Mr. Love penned just for one of Baltimore's best local bands, the KB Blues Band. The entire show was fantastic. I only had to drive 45 minutes to catch this show, but I would have gladly driven many times that. I can't imagine a better performance. --- CONCERT REVIEW: Sleeper, Greek Theatre, U.C. Berkeley - Robin Lapid It's a shame that the British press continues to slag off Sleeper for music that's often described as rehashed and banal. The truth is, the British quartet's female-fronted pop group does not make innovative or even original music - but with acts like Bush and Hootie and the Blowfish on the American airwaves, this isn't necessarily the most heinous crime). However, Sleeper does put out tuneful songs with enough good hooks and catchy refrains to warrant them consideration as a fun listen and a potentially enlivening night out. And in an era where male-dominated groups still domineer the music charts, singer-guitarist Louise Wener's sexually potent and politically incisive lyrics add zest to the scene. As the opening act for Elvis Costello and the Attractions' current U.S. tour, however, some of the band's more appealing live qualities may have gotten lost in obscurity. The largely thirtysomething crowd filtering in throughout the set seemed more in need of a fix to get off their high of seeing Sting a couple of weeks ago than to test drive the latest indie music hopefuls. Sleeper do not necessarily make easy-listening music. Sure, there are some by-the-book pop riffs and the occasional backing horns which lend a respectable gravitas to their repertoire. But underneath the bouncy, grooving sounds lurk spiky rhythms and a sardonic sense of musical self-control. During a half-hour set to an anxious crowd of Elvis followers, Sleeper delivered songs from their debut release _Smart_ as well as their recent domestic release _The It Girl_. Backed by the laudable musicianship of lead guitarist Jon Stewart, bassist Diid Osman, and drummer Andy MaClure, Wener pens songs which find their own niche within the female-fronted indie scene. Edgier than Velocity Girl yet more refined than Elastica's bare-bones pop, raspy-voiced Wener sings the lives and loves of modern life a la Blur lyricist Damon Albarn. But this time it's from the perspective of a clever woman who makes no bones about the state of female sexuality rather than from a clever man who obsesses over the fears of a numbing patriarchy gone awry. Barefoot and clad in figure-hugging jeans and t-shirt, Wener bounced around a bit and delivered the band's friendlier pop numbers but managed to sprinkle in the odd tune that bespoke their more sinister side, not just in the lyrics but in the music itself. The closing song, "Alice In Vain," demonstrates this perfectly. It's a hard-driving tune which languishes in the rhythmic stupor of the displaced heroine ("Oh ah, such a pity/ She's not even pretty"). This is the type of music best suited for the typical "indie" scene, with an intimate mass huddled together, jumping about within the dim confines of a dingy club. As an opening band at an outdoor ampitheatre filled with couples and families huddled under blankets and packed dinners, it's an entirely different mood. Elvis Costello fans clapped graciously while waiting for a musician who certainly excels in his own right. Though satisfying, Sleeper's set was a deceptive one, providing pleasant pop but with some of its fangs removed. --- FESTIVAL REVIEW: Gathering on the Mountain (August 10/11, 1996) - Dan Enright It was a gorgeous August weekend, in the Poconos, as Big Boulder Ski Resort played host to what was billed as a weekend of peace, love, and music. Nestled in the mountains of eastern PA, at the intersection of I-81 and the PA Turnpike, this memorial to the spirit of Jerry Garcia and the Dead involved two long, lazy days of music, vendors of tie dyed/multicolored and hemp clothing, beautiful jewelry, hand made drums, hard-to-find recordings, great food, and perfect weather. And all the artists allowed taping. While I don't think it was comparable to '67s "Summer of Love," it did meet those three criteria. The vibe was decidedly peaceful and laid back - due no doubt, to the ubiquitous smoking, there were plenty of displays of open sexuality, and some hot jams. I'll address the latter. Saturday's line-up, divided between two stages, included; Living Earth, Solar Circus, Strawberry Alarm Clock with Spencer Davis, Zero, Big Brother and the Holding Company, Randy Hansen doing a tribute to Jimi Hendrix, and the Jefferson Starship with Paul Kantner, Jack Cassidy, and Marty Balin. Of these seven acts, only Solar Circus, Zero, and Randy Hansen satisified. And ironically, all three were on the 2nd stage. Both Solar Circus and Zero are technically advanced improvisational teams, which craft and modify intricate arrangments through complex musical mazes and permutations, while always managing to find their way back to the original "head." Tinges of jazz, pop, rock, country, and of course the Dead inform and influence their individual styles - which differ, while drawing inspiration from the same well(s). Randy Hansen was in a class by himself. He (for better or worse depending, on how ya' look at it) has Hendrix down cold. The sound, The technique - including playing with his feet, tossing the guitar in the air in mid phrase, and setting it on fire at the end of the set - the attitiude, and the arrangements. It was Hendrix. What more can ya say? Sunday's line-up was more consistent, featuring outstanding sets by Fungus, Oroboros, the David Nelson Band, the Memphis Pilgrims (substituted for an exhausted Matt Kelly), Spirit, Richie Havens, and the Band. The afternoon opened with a competent set of Dead covers by locals Fungus, followed by a tight, jamming set by Oroborus - which was comparable in style and intensity to Solar Circus and Zero's sets, on the same stage, the day before. Unlike the previous day, the energy continued to grow with an outstanding set by David Nelson, co-founder of New Riders of the Purple Sage. Starting with an acoustic flavored group of songs which drew on the rootsy blues and early country that influenced NRPS and other psychedelic cowboys in the late 60s, David and his band dug deep into their songbag of country, rock, and psychedelic styles. As they made the transition to an electrified set, it became obvious David's keeping those styles alive today, performing fresh exciting music which draws from and builds on those strong foundations. This was far from a nostalgic revisiting down a memory lane of favorite "classics" (unlike the sets from saturday's survivors). Things just kept getting better as Spirit took the 2nd stage. Featuring Randy California and his father, 73 year old Jack Cassidy, they performed songs from the first four Spirit albums, as well as material from Randy's solo projects and a blues-rock song from an upcoming album. It was their rendition of Hendrix's "Red House" however, which remains one of the most intense songs I captured on tape all weekend (and my personal favorite). Things shifted into "mellow mode," with the Memphis Pilgrim's set on the first stage. Featuring founding members of Hot Tuna, Michael Falzarano (guitar) and Harvey Sorgen (drums), they performed Dead staples like "Morning Dew" and "Big Boss Man," as well as R&B and blues classics that rounded out Hot Tuna's (not to mention the Dead's) repertoire.. The band gave the audience a solid hour of swinging dance music that had plenty of folks swayin' and groovin' in the warm afternoon sun. Then Richie Havens spent a laid back hour sharing anecdotes and covers of contemporary folk songs, giving the festival a taste of the 60s folk scene. This set was, unfortunately, plagued by long pauses for tuning and - I'm sorry but... BORING TALES. I wanted to hear more music because I've always liked his arrangements. But as I learned later, the rap is part of the act. Finally, the festival was capped by the expected great performance by the Band. Mixing songs from their extensive catalog, they demonstrated why they continue to be one of the most popular acts with roots in the 60s. While most of their peers seemed focused on reliving bygone glories, the Band continues to write and perform with the same high standards they established at their inception. It was a fitting hour-and-a-half ending to a "jam packed" (pardon the pun) weekend. For more information about the Gathering, and other weekend long summer festivals hosted by Big Boulder, visit their website at: http://www.big2resorts.com --- REVIEW: Dogstar, _Our Little Visionary_ / "Quattro Formaggi" (Zoo) - Al Muzer Dogstar's press kit goes out of its way to immediately mention the attention being paid to the young group due to the presence of, "a certain movie star" - and then adds that it's, "finally time [to let the music of Dogstar] speak for itself." Yeah, right. The full-length _Our Little Visionary_ kicks-off with the blessedly-short "Forgive." Despite a superb Ed Stasium production job and the blatant theft of a Gin Blossoms riff, melody and feel - the grafting of Brett Domrose's cookie-cutter alterna-vocals over the sludgy mess dilutes whatever opening punch the band hoped to achieve with the track. The second tune, while just as Nixons/Seven Mary Three forgettable, at least isn't as embarrassing as the group's ham-fisted, semi-sacrilegious cover of Badfinger's "No Matter What." In fact, the only good point about the inclusion of this rote version of the power-pop classic is that the estate of the late Pete Ham stands to gain a bit of cash out of the deal. "Breathe Tonight," "Nobody Home," "The History Light," "Honesty Anyway," "And I Pray," "Bleeding" and "Goodbye" sound exactly like what's playing on your local modern-rock radio station at this very second (although "Honesty Anyway" does, to its credit, boast a semi-decent riff); while "Enchanted" and "Denial" attempt to add a bit of hard-edged heat to the proceedings - and, instead, wind up sounding like The Best Kissers In The World with a drum roadie filling in on vocals. Not as flat-out horrible a record as the three-piece's live performances would lead you to expect (Keanu's bass chops have improved, Domrose, despite his very Joe Generic vocals, doesn't play a bad guitar and drummer Rob Mailhouse slams a decent set of skins) - the fact that the group's sound is virtually interchangeable with that of a dozen other fairly homogeneous bands fouling-up the charts makes _Our Little Visionary_ an instantly-forgettable collection of for-the-masses noise. Product in every sense of the word - the four track "Quattro Formaggi" is an enhanced CD that features: a Rick Parashar Pearl Jam-ination of "Honesty Anyway"; two unexplicably familiar alternabashes; one lyrically inept, sensitive-guy acoustic track with strings; an outstanding, interactive CD-ROM that lets you choose between bus, backstage or live footage; and a 12-sided Dogstar catalog that includes four hat designs, four stickers, a poster, 11 different T-shirt styles and fan club information. --- REVIEW: Three Fish, _Three Fish_ (Epic) - Linda Scott Eddie Van Halen said that "You only do a solo project if you can't express yourself within your own band." Jeff Ament, Pearl Jam bassist, might agree. He formed Three Fish so he could work with vocalist and guitarist Robbie Robb, to have a chance to play other instruments and even do some vocals. Life in Pearl Jam does not allow role-switching. This isn't rigidity for its own sake; Pearl Jam musicians are so good that it's hard to take over someone else's role and do a great job. In the fall of 1993, Ament and Robb came together when Robb's band Tribe After Tribe opened for Pearl Jam. The third fish is Richard Stuverud on drums. Fifteen songs, a record deal and one album later, Ament is on tour with Three Fish playing bass, guitar and djembe. Robb handles guitar and lead vocals; and, no, he doesn't sound like Eddie Vetter. Ament has really satisfied his reasons for going outside the Pearl Jam circle and doing a solo project. The album is _Three Fish_, and it's good - could be better, but it's a good one. One problem is that there are some strange styles thrown into the mix: sixties mysticism, Middle Eastern influences, 70's Brit rock, and a touch of grunge. The entire album has a melancholy, moody vibe. Some standouts are at the ends with "Solitude" as the opening track and "Laced" (first single and video) as the final one. Robb's voice is equal to the songs, and the other two fish play their parts with style. A questionable decision was the band's inclusion of the parable of the three fish (an intelligent one, a half-intelligent one, and a stupid fish), containg spoken words with musical backing, on three tracks spread over the album. Unfortunately, the parable is jarring and affects the album's spell and continuity. Listening to the album several times without a disc player that can program out the parable tracks is a challenge. Aside from the parable, the music is good! Pearl Jam fans will want this one as Ament is as well known to them through Vedder. He doesn't disappoint. Some good alternative music here for the rest of us, as well. --- REVIEW: _Honor: A Benefit For The Honor The Earth Campaign_ (Daemon) - Al Muzer Released on Amy (Indigo Girls) Ray's not-for-profit Daemon label, this two-CD set is crammed with light, well-intentioned, folk-based music (all of it previously unreleased) designed to draw attention to a worthwhile cause (don't worry, pre-addressed support postcards are included) or two. Ultimately destined for relative obscurity due to the deaf ears of our short attention-span society and the fact that there's no "real" hit single on the record - this ecology-friendly, low-key effort features excellent tracks from artists such as Toad The Wet Sprocket, Bruce Cockburn, Exene Cervenka, Luka Bloom, Jane Siberry, Rusted Root, Bonnie Raitt, Victoria Williams, Matthew Sweet and Soul Asylum. Its web site is located at: www.honorearth.com --- REVIEW: State of Grace, _Jamboreebop_ (RCA) - Jon Steltenpohl State of Grace has all of the ingredients of a great British band. The lead singer, Sarah Simmonds, is a classically trained siren with dreamy, exotic vocals. The lead musician of the band, Paul Arnall, is a former producer. And, along with a few bandmates, they make trippy, dancy, pop music in the now classic British style. "Great!", you exclaim. You love that kind of band and with good reason. But don't get too excited. While State of Grace shows all of the proper signs, it never rises beyond the genre it chooses. Yes, the hooks are there as well as the music and a steady beat, but I keep feeling like I've heard this all before. The second track, "Hello", probably conjures up the most immediate comparison. Sure, there have been lots of songs titled "Hello", but this one immediately recalls The Beloved's tune. It has a synthetic beat, a mellow tone, and a pleading vocal line that all work together perfectly. The song is promising, but unfortunately, there's no edge, no spark. It's an immaculate song without passion. The next song on the album, "And Love Will Fall", doesn't really get me going either. It's a pretty tune, and Simmonds' vocals remind me a bit of the girl from Shelleyan Orphan. The guitar wails along with vocals, and the beats are a bit rousing, but the song never really comes alive and draws me in. Probably the best tracks are the extended opuses included from State of Grace's previous single releases. These are the tracks that got them signed, and they show the true promise of the band. "Camden" does actually inspire me. It is truly dreamy and trippy with echoes upon echoes layering in and out of each other below Simmonds' vocals. This is the kind of song one could get into at 5 in the morning after raving all night. Too often however, _Jamboreebop_ tends toward an average and mundane version of what the bio sheet calls "hard-grooving electronic dream pop." It is an immaculately produced and performed album, and there really isn't anything bad about it. And that is ultimately the problem. By doing everything right, there is no chance for going beyond the normal boundaries. That said, State of Grace's _Jamboreebop_ does everything it should. Everything, that is, but get you in the groove. --- REVIEW: Versus, _Secret Swingers_ (Caroline) - Al Muzer The Baluyut brothers (Richard, Edward and James) and bassist/vocalist Fontaine Toups layer cool male/female vocals atop loose, loping songs that use fuzzy, jangle-crunch riffs, sparse production, happily-whacked choruses, insightful lyrics, first-take enthusiasm and casual instrumentation to recall several of your favorite bands (Television, The Feelies, Julianna Hatfield, Teenage Fanclub, Velvet Underground, The Pastels, The Pixies) while sounding like no other group in existence. --- REVIEW: The Miss Allans, _Ledger_ (World Domination) - P. Nina Ramos In a sweet mirror of sounds, The Miss Allans travel the ways of mystery and eerie reminders that it all can be beautiful and strange. Their latest release, _Ledger_ is a collection of 11 originals that bloom from infancy to explode as mellow traces that transport any ordinary media player into a gate to pure innocence. I'm not talking about that ethereal sense you might feel by listening to the Cocteau Twins or Dead Can Dance, nor the folkish sound of say, R.E.M. The sounds are more intelligent and provoking; sounds that you can clasp and not hold too tight, because there is no fear that will hold you back from treading the soft comfortable ground that is this nature. It's as if the collection in _Ledger_ contained by a delicate glass bottle waiting for anyone to carefully reveal a sense of elevation you may never recover from. This is one collection that will transport you to a world of imagination without boundaries. A trip without end. A room with a view. --- NEWS: > There Productions, an online magazine and store where users can listen to current releases, is located on the Web at http://www.There1.com --- TOUR DATES Archers of Loaf Sep. 6 New Haven, CT Tune Inn Sep. 7 Hamilton, NY Donovan Pub Sep. 13 Newark, DE Univ. of Delaware Barenaked Ladies Sep. 7 St. Catherine's, ON Brock University, Athletic Complex Sep. 9 Portland, ME State Theatre Sep. 10 Rochester, NY Auditorium Centre Sep. 12 Moncton, NB The Capitol Theatre Sep. 13-14 Halifax, NS Rebecca Cohn Theatre Sep. 16 St. Johns, NF Memorial Arena Blithe Sep. 6 Rochester, NY Milestones Sep. 8 Cleveland Heights, OH Grog Shop Sep. 9 Buffalo, NY Nietzche's Sep. 10 Columbus, OH Stache's Sep. 11 Boston, MA Rathskellar Sep. 12 Westchester, PA Rex's Block Sep. 7 Buffalo, NY Stimulance Club Sep. 13 Philadelphia, PA Last Drop Coffee House Citizen King Sep. 13 Minneapolis, MN St. Olaf College Sep. 17 Duluth, MN University of Minnesota Duluth Elvis Costello Sep. 7 Osaka, Japan Osaka Festival Hall Sep. 8 Fukuoka, Japan Sun Palace Sep. 9, 10, 12 Tokyo, Japan Koseinekin Hall Sep. 15 Nagoya, Japan Aichi Kinro Kaikan Cravin' Melon Sep. 13 Chapel Hill, NC Cat's Cradle Sep. 14 Raleigh, NC Lawn Party Def Leppard / Tripping Daisy Sep. 7 Saskatoon, SASK Saskatchewan Place Sep. 9 Winnipeg, MAN Winnipeg Arena Sep. 11 Sudbury, ON Sudbury Arena Sep. 13 Montreal, QC Molson Centre Sep. 14 Ottawa, ON Ottawa Palladium Sep. 15 Quebec, QC Quebec Coliseum Arena Sep. 17 St. John, NF Harbour Station Ryan Downe Sep. 11 New York, NY Brownie's Fluffy Sep. 10 Minneapolis, MN 7th Street Entry Sep. 12 Milwaukee, WI Unicorn Godplow Sep. 11 Chicago, IL Double Door Paris Hampton Sep. 6 New York, NY CBGB's Gallery Hayden Sep. 7 Barcelona, SPA El Pop Festival Sep. 8 Madrid, SPA La Riviera (w/Posies, Screaming Trees) Sep. 11 London, ENG Splash Club His Name Is Alive Sep. 6 Los Angeles, CA Luna Park Sep. 7 San Francisco, CA Kilowatt Sep. 9 Portland, OR Umbra Panumbra Sep. 10 Seattle, WA Tractor Tavern Sep. 13 Minneapolis, MN Bryant Lake Bowl Sep. 14 Chicago, IL Schuba's It's Me, Margaret Sep. 9 Los Angeles, CA Dragonfly Sep. 14 Los Angeles, CA Love Lounge Kiss / Hunger Sep. 7 Denver, CO McNichols Arena Sep. 9 Omaha, NE Civic Auditorium Sep. 10 Wichita, KS Kansas Coliseum Sep. 11 Oklahoma City, OK Myriad Sep. 13 Tupelo, MS Tupelo Coliseum Sep. 14 Birmingham, AL Jefferson Civic Center Sep. 15 Pensacola, FL Civic Center Knapsack Sep. 6 Westchester, PA Rex's Sep. 7 Portsmouth, NH Elvis Room Sep. 8 Baltimore, MD Memory Lane Sep. 10 Louisville, KY Butcher's Town Pub Sep. 11 St. Louis, MO Cicero's Sep. 12 Lawrence, KS Replay Sep. 13 Denver, CO Raven Sep. 14 Salt Lake City, UT Bar & Grill Long Fin Killie Sep. 9 Washington, DC 930 Club Sep. 10 New York, NY Brownie's Sep. 11 Baltimore, MD Fletchers Sep. 13 Chicago, IL Empty Bottle Sep. 16 Toronto, ON Horseshoe Tavern Sep. 17 Toronto, ON Rivoli Loop Guru Sep. 9 Atlanta, GA Masquerade Sep. 11 Fort Lauderdale, FL Edge Sep. 13 Pensacola, FL Nite Owl Sep. 14 New Orleans, LA Howlin' Wolf Sep. 15 New Orleans, LA House of Blues Sep. 16 Houston, TX Numbers Sep. 17 Austin, TX Liberty Lunch Loud Family / Sugarplastic Sep. 6 Seattle, WA Crocodile Cafe Sep. 9 Minneapolis, MN 7th Street Entry Sep. 11 Lawrence, KS Bottleneck Sep. 12 St. Louis, MO Washington University Sep. 13 Chicago, IL Empty Bottle Sep. 14 Milwaukee, WI Unicorn Sep. 15 Ann Arbor, MI Blind Pig Neurotic Outisders / Weston Sep. 6 Boston, MA Mama Kin Sep. 7 Washington, DC Bayou Neurotic Outsiders / Fluffy Sep. 8 Toronto, ON Warehouse Sep. 13 Pontiac, MI Sanctum Sep. 14 Chicago, IL Double Door Sep. 15 Dallas, TX Deep Ellum Live Sep. 16 Tempe, AZ Electric Balroom Sep. 18 Los Angeles, CA Whisky Oasis / Screaming Trees / Manic Street Preachers Sep. 7-8 Wantagh, NY Jones Beach Sep. 10 Bristow, VA Nissan Pavillion Sep. 11 Charlotte, NC Independence Arena Sep. 13 Atlanta, GA Omni Sep. 15 West Palm Beach, FL West Palm Beach Auditorium Sep. 16 Orlando, FL Orlando Arena Sep. 18 Tampa, FL USF Sundome Orbit Sep. 6 Philadelphia, PA Khyber Pass Sep. 7 Hoboken, NJ Maxwell's Sep. 8 Washington, DC Black Cat Sep. 10 Richmond, VA Twisters Sep. 11 Charlotte, NC Tremont Music Sep. 12 Atlanta, GA Pointe Sep. 13 Jacksonville, FL Moto Lounge Sep. 14 Miami, FL Cheers Sep. 16 Pensacola, FL Sluggo's Primitive Radio Gods Sep. 7 Dallas, TX Club Dada Sep. 8 St. Louis, MO Riverport Amphitheatre (KPNT Radio Festival) Sep. 10 Tucson, AZ The Rock Sep. 11 Phoenix, AZ Gibson's Sep. 13 San Diego, CA Brick By Brick Sep. 14 Tulsa, OK Mohawk Park (KMYZ Radio Festival) Sep. 17-18 Los Angeles, CA Dragonfly Republica / Gravity Kills Sep. 8 Madison, WI Barrymore Theatre Sep. 9 Minneapolis, MN Ground Zero Sep. 11 Springfield, MO Juke Joint Sep. 12 Columbia, MO Blue Note Sep. 13 Lawrence, KS Liberty Hall Sep. 14 Tulsa, OK Mohawk Park Sep. 18 Nashville, TN Exit Inn Sepultura / Far Sep. 9 Detroit, MI Palladium Sep. 11 Cleveland, OH Agora Sep. 12 Columbus, OH Newport Richard Thompson Sep. 7 Minneapolis, MN First Avenue Sep. 9 St. Louis, MO Mississippi Nights Sep. 10 Columbia, MO Blue Note Sep. 11 Lawrence, KS Liberty Hall Sep. 13 Boulder, CO Boulder Theatre Sep. 16 Salt Lake City, UT Zephyr Club 311 / The Urge Sep. 6 Detroit, MI State Theatre Sep. 7 Chicago, IL Aragon Ballroom Sep. 8 St. Louis, MO Riverport Amphitheatre Sep. 10 Washington, DC Capitol Ballroom Sep. 11 Philadelphia, PA Electric Factory Sep. 13 Amherst, MA Univ. of Mass. Sep. 14 Richmond, VA Classic Amphitheatre Sep. 15 Asbury Park, NJ Stone Pony Trunk Federation Sep. 8 New York, NY Mercury Lounge Sep. 10 Chicago, IL Empty Bottle Sep. 13 Savannah, GA Bay Street Sep. 14 Pensacola, FL Sluggo's Sep. 15 New Orleans, LA Touchdown Bar Paul Westerberg Sep. 10 Seattle, WA Showbox Theatre Sep. 11 Portland, OR La Luna Sep. 13 San Francisco, CA Filmore Theatre Sep. 14-15 Los Angeles, CA El Rey Theatre Sep. 19 Austin, TX Music Hall Sep. 21 Houston, TX Numbers Sep. 23 Birmingham, AL Five Point Music Hall Sep. 24 New Orleans, LA House of Blues Sep. 25 Athens, GA Theatre Sep. 26 Charleston, SC Music Farm Sep. 28 Pittsburgh, PA Metropol Sep. 29 Buffalo, NY Ogden Music Hall Sep. 30 Cleveland, OH Odeon Theatre Weston Sep. 11 State College, PA Crowbar Sep. 12 Scranton, PA Tink's Sep. 13 Asbury Park, NJ Stone Pony --- To get back issues of Consumable, check out: FTP: ftp.quuxuum.org in the directory /pub/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 ===