==== ISSUE 87 ==== CONSUMABLE ======== [September 18, 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, Janet Herman, 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 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: R.E.M., _New Adventures in Hi-Fi_ - Bob Gajarsky REVIEW: Billy Bragg, _William Bloke_ - Janet Herman CONCERT REVIEW: Manic Street Preachers - Bob Gajarsky REVIEW: Metal Molly, _Surgery For Zebra_ - Al Muzer REVIEW: Soundtrack, _Trainspotting_ - Joe Silva REVIEW: Ruth Ruth, _The Little Death_ - Al Muzer REVIEW: Barnes & Barnes, _Voobaha_ - Joe Silva REVIEW: Steve Vai, _Fire Garden_ - Linda Scott REVIEW: Hoodoo Gurus, _Blue Cave_ - Joe Silva REVIEW: Brigid Boden, _Brigid Boden_ - Reto Koradi REVIEW: Soundtrack, _Heavy_ - Al Muzer REVIEW: TagYerit, _Heavy Construction_ - Reto Koradi NEWS: Blind Melon, Dogstar, INXS, Oasis, PJ Harvey, Sweet Relief II, Mike Watt TOUR DATES: Barenaked Ladies, Blithe, Block, Citizen King, Cravin' Melon, Def Leppard / Tripping Daisy, Melissa Etheridge, Fluffy, Godplow Huey Lewis & The News, Long Fin Killie, Loop Guru, Loud Family / Sugarplastic, Bob Mould / Rasputina, Orbit, Ozzy Osbourne / Sepultura Poorhouse Rockers, Republica / Gravity Kills, Sandbox, Screaming Trees/54*40/Solution A.D., Richard Thompson, Trunk Federation, Urge Back Issues of Consumable --- REVIEW: R.E.M., _New Adventures in Hi-Fi_ (Warner) - Bob Gajarsky Long before alternative became a household words and entire floors of music companies were devoted to finding the new Nirvana/Pearl Jam, Bill Berry, Peter Buck, Mike Mills and Michael Stipe were recording music that appealed to the discerning listener. Whether it was "Radio Free Europe" at the University of Georgia, "Superman" at Brown University or "It's The End of the World As We Know It" at Stevens Institute (well before it became a "chic" fraternity song), R.E.M. has has a long line of music which has its base firmly planted in the college campuses of this country. As these students graduated, and R.E.M. bucked the trend by continually moving the playing field, major labels noticed this core group of fans growing both abroad and in the United States. Accordingly, the band was offered larger platforms for their music, and with it, a bigger share of the financial pie. But with the release of their latest album _New Adventures in Hi-Fi_, R.E.M. not only reinvent the art of the soundcheck, but bring back the spirit of earlier alternative albums such as _Murmur_. Ah yes, the soundcheck. Most of these songs were recorded on the road during soundchecks. So, there's plenty of contributors on _New Adventures_ who aren't the featured foursome - Patti Smith, Scott McCaughey, and others. And, in keeping with the experimentational aura of soundchecks, the instrumental "Zither" was recorded in a Philadelphia dressing room. The first single, "E-Bow The Letter", is absolutely awful. Even Patti Smith's guest vocals can't save this song, which sounds like the leftovers from the "Drive" sessions - why the band chose to include this on an otherwise strong album, much less release it as the first radio single, is beyond me. In some regards, this is almost a look back at R.E.M. through the years. "Departure" wouldn't sound completely out of place on the band's B-sides collection, _Dead Letter Office_ - except that they've learned since then how to really perfect a song. "Electrolite" could have come from a session that spawned "Nightswimming", and "Binky The Doormat" almost is pre-Murmur, from those fraternity party days, with its CCR-like guitar riff looped over and over - but, just as with all other R.E.M. songs, the unexpected is the norm. Listeners looking for potential singles won't find any top ten selections here, a la "Losing My Religion" or "Stand", but will find R.E.M.'s strong point - plenty of *songs*. Don't be fooled by "E-Bow" - there's some solid rock tracks here. "Bittersweet Me" is one of the top tracks, and "So Fast So Numb" is also sure to be a fan and modern rock favorite. This disc *will* require repeated listenings before completely "getting it". At first listen, mainstream accessibility seems to escape the Georgian quartet - but by a second and third playing, _New Adventures in Hi-Fi_ can be more readily accepted. People who just tuned in to R.E.M. from their pop hits on _Green_ and _Out of Time_ might be advised to stay away from this one, but there's plenty of fans who won't be disappointed. Eighty million dollar contracts afford a band plenty of luxuries, as long as success follows - and with _New Adventures in Hi-Fi_, R.E.M. has garnered another level of success while still tweaking their nose at the musical establishment. --- REVIEW: Billy Bragg, _William Bloke_ (Elektra) - Janet Herman In the five years since Billy Bragg's last album, _Don't Try This At Home_, the singer/songwriter has gone through major changes in his personal life while at the same time has observed major changes in England (his homeland) as well as changes throughout Europe in general. Combining his experiences as a new father with the exit of Margaret Thatcher, this folk poet uses wit and beautiful melodies on his new album _William Bloke_ to express his sharp observations on politics, love, and people in general. Singing in a thick Barking accent, Bragg pokes sharp jabs at the government, his contemporaries, and even lovers. What is amazing is the way that he does this with a seeming innocence in his tone and melody which causes your ears to perk up and glance back at the lyrics sheet to confirm what you have just heard. For example, in the track "Everybody Likes You Babe," Bragg confesses his indifference to a lover who everyone else thinks is the best thing that has ever happened to him. In a deadpan lyrical style that reminds one of the Smiths' "Girlfriend In A Coma", Bragg drones, 'They dont have to live with you, forgive you for the things you do, / there's just no ignoring, you're pretty but you're boring.' Using clever lyrics throughout the album, as well as the words of Rudyard Kipling which he sets to music in "A Pict Song" - which shows how the little folk (we) can use their voices politically, Bragg shows how his own personal life has affected his political views. In the beautiful ballad "Brickbar" he conveys this as he sings, 'I used to want to plant bombs at the Last Night of the Proms / But now you'll find me with the baby, in the bathroom / With that big shell, listening for the sound of the sea.' Through lyrics such as this the listener can sense and understand the personal growth from rebel to the responsible father that Mr. Bragg realizes he has become. The first single from _William Bloke_ is "Upfield" which has the same kind of catchy radio-friendliness as his last hit "Sexuality" which became a popular hit on the U.S. alternative radio airwaves in 1991. Hopefully Billy Bragg's new album will get the attention it deserves as it is a very insightful, melodic, and honest effort. --- CONCERT REVIEW: Manic Street Preachers, Maxwell's, Hoboken, NJ - Bob Gajarsky The Manic Street Preachers have come *this* close to succeeding in America. After three UK hit albums, the American release of _The Holy Bible_ promised an opportunity for the band to break though. But with the disappearance (and presumed suicide) of their controversial guitarist and co-lyricist Richey Manic (nee James) and a scrapping of the American release of their third album, things looked bleak for the Manics future. Lead singer James Bradfield once told Consumable that the Manics would never continue as less than the sum of the four members: individually, they were weak, but as a band, they could conquer anything. Things change over time. The three remaining members vowed to struggle on, and continue their musical battle. So, in between gigs opening shows for Oasis and Screaming Trees, the Manics were playing the periodic club while the Gallaghers were sleeping, or spitting on an MTV audience. Maxwell's is a small club that can fit 200 people if fire codes aren't strictly adhered to. In such a setting, it seemed as if the Manics were making a sincere effort to capture the American audience - in their native country, with more than a dozen top 40 hits, mid-size venues are a more appropriate setting. But there was a crowd of devoted fans, pushing forward, yearning for the chance to get a glimpse out of one of this era's most overlooked intellectual rock bands. The twelve song set primarily featured material from their fourth album (and third in the States), _Everything Must Go_. Throughout the course of the evening, songs such as the title track, "Kevin Carter", and the first single "A Design For Life" were transformed from their album appearances - with percussion and string arrangements - into pure electrifying rock and roll - two guitars, drums, and keyboards which were barely audible through the barrage of guitars. Fans who screamed for the Bradfield-Traci Lords duet "Little Baby Nothing" (a song impossible to duet with all male vocalists) were disappointed by the lack of material from their classic debut, _Generation Terrorists_, but pleasantly surprised when Bradfield introduced the non-LP cut (and early Manics single), "Motown Junk", with "This is for all you Anglophiles out there." The first two albums were nearly ignored, with the epic "Motorcycle Emptiness" and "You Love Us", which closed off the set, the only inclusions from the debut. _Gold Against The Soul_ was duly represented by "La Tristessa Durera" and "From Despair To Where". This was clearly a band that wanted to emphasize their most recent release, to an audience with a decided British flavour. For those unfamiliar with the Manic Street Preachers, probably the best way to describe their music is a Guns N Roses sound meeting the Clash, with a healthy dose of Sting's early intellectual prowess tossed in for good measure. Their political stances aren't necessarily popular, but they are firm believers in speaking up through their words for the underdog against the rich and oppressive. The Manic Street Preachers, on their first tour as a trio, have set about to conquer America from the ground up. The only disappointment of this show? The lack of emphasis on their older, more successful material, and the limited length of the concert - just under 1 hour. But even with those downfalls, the Manic Street Preachers sure know how to rock. --- REVIEW: Metal Molly, _Surgery For Zebra_ (Silvertone) - Al Muzer This high-energy, Belgium-based three-piece warp Velvet Crush, Teenage Fanclub and Da Da caliber hooks 'n' harmonies into a fuzzy, frenzied, amazingly catchy Nirvana-esque roar on their worldwide debut effort. From the opening barrage of steaming crunch riffs, weird breaks and melodic vocals that drive "Flipper," through the "Dazed And Confused," multi-harmonied lethargy of "Zebra" - Metal Molly consistently enthrall you with the power, depth and stunning brightness of their pop vision. Songs such as "Orange," "PVC," "Small Supernova," "Autumn Colours," "Round" and "Superskunk" incorporate deft hints of classic radio influences inspired by the likes of the Beatles, Badfinger, XTC, 10CC and the Troggs; while drummer Gino Geudens, guitarist/vocalist Allan Muller and bassist/vocalist Paskal Deweze layer enough distortion, noise and edgy alterna-sheen onto their childhood memories to make _Surgery For Zebra_ a stand-out in any radio format. --- REVIEW: Soundtrack, _Trainspotting_ (EMI/Premier) - Joe Silva To be succinct, a riveting film such as this deserves the well sculpted soundtrack that it received. Marrying these tracks to the stark, giddy, gloomy and desperate images that hasten past your movie eye was as well played as the characters and the thick and occasionally unintelligible dialogue they sported. With Iggy Pop muscled in as one the films totems (both musically and lifestyle-wise), his "Lust For Life" is a keen and perfect opener for the Hard Days Night-esque opening sequence. Its rhythm drives the pace of the moment and its message nicely sums up the decadence aspect. And while it is a touch ironic that the sometimes antiseptic Brian Eno contributes to the harsh toilet scene, in reality his blissful piece (Deep Blue Day) shows you why hes so highly valued and not allowed to stray to far from the heart of Camp Bono. The countrified and angelic guitar lines virtually waft away on the little fluffy synth clouds His Ambience has set off in the background. The Sleeper track that follows ("Atomic") is scary with its Blondie accuracy and adds to the overall downtown, urban street cred vibe that the movie goes. You're not quite sure though if the inclusion of New Order's track is so much a good fit as it a statement that 80s kids are now just more apt to be flaunting the music they were weaned on a bit more readily. The Blur track bears more weight and elegance (finally) than Primal Scream's instrumental shot at the title track. And no sooner than that flash of brilliance escapes from the great britpop contenders does Mister Albarn himself chime in at the discs end with a way-pleasant solo bit of lounge fare ("Closet Romantic"). Laced with a tasteful ska trombone here and lush strings and cocktail organ there, its a wonder that they havent been able to put the two headed Gallagher beast into a watery grave yet. But two more well executed moves might be the Lou Reed's "Perfect Day" as the backdrop to Renton's inevitable OD, or the techno heart thumping addition of Underworld's "Born Slippy" to the part of the film that I cant describe or Ill ruin it. Both moments are exemplary of the films creator deft ability to fashion a complete harmonic state of sound and vision. Techno perfection, 4/4 backbeat classics, and a few pop gems tossed in because they could - keep an eye on this one at future soirees, lest one of your more covetous guests takes it for a permanent walk. --- REVIEW: Ruth Ruth, _The Little Death_ (Epitaph/Deep Elm) - Al Muzer Ruth Ruth follow-up their 1995 debut with an urgent, six-song effort bursting with joyously-buzzing two and three minute pop ditties that pay well-deserved attention to vocalist/bassist Chris Kennedy's effortless way with semi-classic bubble gum hooks and sweeping, anthemic, angst-ridden AM-radio-blaster choruses. Lovingly produced by Epitaph prez Brett Gurewitz, this hyperkinetic EP is essential listening thanks to Kennedy's curiously neurotic world view, three potential alterna-hits ("Tenderlung," "Jerome" and "Ugly Talents") and five-minutes of curiously-heavy, Rage Against Van Halen-ish crunch-rant known as "Daddy Can't Shoot." This will be appear in stores on September 24. --- REVIEW: Barnes & Barnes, _Voobaha_ (Oglio) - Joe Silva One of the more trifling pieces of rock trivia that occasionally used to surface in music magazines when they're running retrospectives or 'Whatever Happened To?' columns (read:filler) was 'What band did the Lost In Space kid, Billy Mummy, help found and have some notoriety with?' Knowing the answer straight off the bat was probably some indication of high rock-geek-factor, but it was eventually well known that Mummy and buddy Rob Haimer had formed Barnes and Barnes in the early seventies, and went on to cult-ish renown with the Dr. Demento staple "Fish Heads" as the decade was winding down. _Voobaha_ (which according to Mummy was their standard greeting betwixt each other), was B&B's first disc and this reissue comes with all the digital remastering and bonus tracks that we've come to expect these days from resurrected releases like this. What's odd is that _Voobaha_ was the first of eight albums for the duo and amazingly not just a flash in the pan vehicle for a bizzaro hit. The "Fish Heads" low-fi promo film has been screened widely on tv and at film festivals, and actually landed a spot in the Rolling Stone Top 100 Videos lineup. Beyond that particular tune, Barnes & Barnes music falls into rock's food chain just to the left of Devo and somewhere to the right of that nebulous region of music that houses the Residents and the broadcasts of the Church of the Subgenius. It's purposely wacky, strange, a touch macabre, but as Mummy attests to in the liner notes, friendly. Their sonic makeup incorporates everything from Casio-like percussion, to treated vocals, found sounds and cheesy Farfrisa/Wurlitzer licks. The Barnes' took their kitchen sink approach and ladled it liberally over two track, and covered it over with harmless college-prankster type humor. There are tracks about dancing amputees, sleeping in the "sewey hole," and a sci-fi track that recalls an early Twilight Zone episode that Mummy appeared in where he put misbehaving adults into the corn field. Weird Al, it's not. B&B don't have Al's crass slapstick outlook for one, and what bubbled forth from their collaboration may not warrant much examination but it was more thoughtful. The pair set out to create a severly bent universe designed to entertain whoever haphazardly stopped in for a visit. Mission accomplished: good job, men. --- REVIEW: Steve Vai, _Fire Garden_ (Epic) - Linda Scott Guitar master Steve Vai has just released his latest album, _Fire Garden_. 18 years a professional musician, and Vai is still experimenting and growing. With formal training at Berklee College of Music in jazz and classical music, Vai moved to Los Angeles and began a 5 year stint at age 18 as lead guitarist in Frank Zappa's band. With Zappa's illness and death, his "stunt guitarist" moved on to other bands, replacing Yngwie Malmstein in Alcatrazz, recording and touring with David Lee Roth, and touring with Whitesnake. Vai then did some movie scores (_Encino Man_, _Dudes_, _Bill & Ted's Bogus Journey_) and even appeared and performed in _Crossroads_. Vai then turned to solo albums, releasing the 1990 blockbuster _Passion and Warfare_. Critically acclaimed, the album was nominated for a Grammy. This was followed by the disappointingly overdubbed _Sex and Religion_, but Vai recovered well with last year's Grammy-nominated _Alien Love Secrets_. _Fire Garden_ is a guitar album and more. In this one Vai tries his hand at lyrics and vocals. Instrumental tracks on _Fire Garden_ show Steve Vai at his best, repeating the power of _Passion and Warfare_. The opening track "There's A Fire In the House" starts with a siren and explodes from the speakers, while "Hand on Heart" is in beautiful contrast with its lovely melody. The four part, 12 minute "Fire Garden Suite" was written for drums, acoustic and electric guitar, and piano and is a Vai tour de force. Two for the listening apprentice flash guitarist are "Genocide" and "The Mysterious Murder of Christian Tiera's Lover". _Fire Garden_ comes up short on its second half, the lyrical and vocal section of the album. Coming after the solid first half, this section seems to fragment and drag down the whole album. The lyrics and the vocals are just average. Fortunately, the album ends instrumentally with "Warm Regards", a great solo piece conceived, written and mixed in just two days. In support of _Fire Garden, Steve Vai is touring the U.S. with fellow guitarists extraordinare, Joe Satriani and Eric Johnson. On September 28 at the Eastman Concert Hall in Rochester, NY, Vai will perform his original scores for guitar and 60 piece orchestra. For information on the tour, to hear sound clips from _Fire Garden_, and to vote on the instrumental versus vocals tracks, visit the Steve Vai official web site at http://www.vai.com. Zappa's "stunt guitarist" isn't sitting still. Catch him if you can. --- REVIEW: Hoodoo Gurus, _Blue Cave_ (Zoo) - Joe Silva Back before the 'M' stood for McCarthy, you always knew that Dire Straits were full of it when they donned their 'We don't mean nothing by it' faces when the media pressed them for a bit of elaboration on their 'I want my MTV' anthem. Which was probably pretty smart manoeuvering when you consider how much bank Mark Knopfler stood to lose. But only two tracks deep into their latest disc, chief Guru Dave Faulkner lets loose the cry 'MTV, go down on me!' Which, to the Australian four piece is probably the only justified response to the way that they've been largely ignored by the industries most fetid cog. But ever since _Blow Your Cool_'s Brady-esque vid for "What's My Scene," pop puritans were being handed a second notice in case they had missed out on the righteous _Mars Needs Guitars_. Whether they're on about being sugar sweet or decidedly garage at any given moment, both faces of the band have always regarded one another with only the most profound mutual admiration. That's what remains interesting about _Blue Cave_ - from the get-go the guitars are gritty, and the lyrics unapologetic, cathartic, and pissed. But undercurrents like the Pepper-esque violin tunings on the album's front end ("Big Deal"), tend to somewhat belie the rough trade vibe on top. Faulkner's voice, even when it harshly hovers at a near shout, still doesn't have the grind of the chords being muscled out behind him. After three tracks of the embittered, guitar wrenching stuff, the glimpses of Dave's more congenial visage poke through. Songs like "Waking Up Tired" and "If Only..." may not tread upon any fresh lyrical sod, but it exposes the more dulcet, spot on pop side of the Hoodoos that reminds you that radio is largely programmed by idiots or advertisers, or both. Even "Mind The Spider," the Guru's probably tongue-in-chique stab at those art-glam, J. Tull-ish monstrosities of eras best forgotten is thoroughly well executed fun - twin guitar licks and all. Spinal Tap, you have been warned. While sound pop flavourings continue to be ignored by the masses and those who push their well researched buttons, the Hoodoos may also not see any nods of recognition in the near term. But should they refrain long enough from their Friends-fests and time spent marveling at the tired stamina of whatever reunion tour may be fast approaching their area, maybe guys like the Gurus could help initiate another one of those golden pop eras. Nah. --- REVIEW: Brigid Boden, _Brigid Boden_ (A & M) - Reto Koradi If there is one clear trend in current music, it must be that style borders are loosening up and very different kinds of music are mixed at free will. Brigid Boden gives a prime example of this, choosing traditional Irish folk music, hip hop, and dance beats as her weapons. The critical point in such efforts is always whether the result sounds like one integral, natural unit, or like an non-homogeneous mixture. For Brigid Boden, things work out fine. Her beautiful voice soars above the hip hop rhythms, and recites poems about feelings like lost love. She retains the mystical qualities of Irish folk music, and transposes it to a modern environment. If there is one negative thing to be said about her self titled album, it is that many of the songs are almost too similar and only a few have a clear character of their own. But the atmosphere created by the regular, near monotonous, sound creates an undeniable fascination, so this is certainly intentional. What else would you expect from a producer like Kevin Armstrong, a man who has worked with David Bowie, Elvis Costello and Paul McCartney? Even if musical success is largely unpredictable, if the media play their part it should not surprise anybody to hear a lot about Brigid Boden. Her sound is unique and new on one side, yet fully in the present trend. --- REVIEW: Soundtrack, _Heavy_ (TVT) - Al Muzer One of the few soundtrack efforts released in the last few years that actually works as an album, this musical document of the Liv Tyler/Evan Dando/Debbie Harry film features five passages from Thurston Moore's movie score, two great Plimsouls tracks, a country-swing rendition of "Boxcars" from Rosie Flores, The Vidalias' breezy "Carry Me," a reappearance of The Connell's classic "'74-'75," Ben Vaughn's twangy "My Heart Belongs To Only One," Freedy Johnston's surprisingly rocking "California Thing," Eleni Mandell's torchy "To Dream Of Sarah" and three outstanding, low-key, acoustic Dando tunes from the film including versions of Victoria Williams' "Frying Pan" and Gram Parsons' "How Much I've Lied." --- REVIEW: TagYerit, _Heavy Construction_ (Wabbit Wecordings) - Reto Koradi TagYerit call their style "quirk rock", and like to compare themselves with bands like They Might Be Giants, XTC and Timbuk 3. A point well taken, even if they do not quite reach the wit of TMBG or the pop genius of XTC. But their self-released debut album sure is quirky, and like Timbuk 3 the band revolves around a married couple. What's striking about _Heavy Construction_ is the enthusiasm and pure joy of making music that can be felt while listening to the disc. It feels like being in Flo and Rich Newman's living room, and watching them having loads of fun playing their songs. Still, the music is well played and produced to not sound too homemade. While this album will not change the world, it has plenty of hooks to stick in your head and get you humming along. TagYerit largely rely on the Internet for promoting their album. They have a web site at http://www.tagyerit.com and ordering information for _Heavy Construction_ can be found there. --- NEWS: > Blind Melon will be releasing their final record, _Nico_ (a collection of previously unreleased songs) on enhanced CD, as well as a home video titled _Letters From A Porcupine_ on November 12. The album is dedicated to Nico Blue, daughter of the late lead singer, Shannon Hoon. Portions of _Nico_ will be donated to the Musician's Assistance Program (MAP), an organization which helps musicians and others in the music industry recover from druf and alcohol addiction. > The Dogstar release, _Our Little Visionary_, has been pushed back to an early 1997 release date. > Lead singer Michael Hutchence of INXS has been working on his upcoming solo release, due in 1997. Collaborators on the effort include Dave Stewart, Joe Strummer, Shaun Ryder, Andy Gill from Gang of Four and Bomb The Bass creatore Tim Simenon. INXS is also expected to release a new album in 1997. > Oasis has cancelled the rest of their American tour, with the band returning back to England. Although rumours of a breakup are rampant, representatives for the band insist that there is no split planned. Creation Records (UK) released a statement which read, "Oasis have hit internal differences on their ninth tour of the United States which has resulted in the tour being pulled two-thirds of the way through. The band will not be touring in the foreseeable future, but in every other aspect, Oasis will continue as a band". > The PJ Harvey web page, Happy & Bleeding, can be found at http://www.louisville.edu/~jadour01/pjh/ . Though the site is unofficial, the maintainers have a correspondence with Polly Harvey's management that provides them with the latest press releases and information. Happy & Bleeding has received numerous accolades since its inception, and is normally the first on the Internet with PJ Harvey related news. > A benefit concert "Sweet Relief II (Vic Chesnutt and Special Friends)" will be held at the 40 Watt Club in Athens, Georgia on Friday September 27 at 8 pm. The bill features Athens-based performers including Chesnutt, Kevin Kinney (Driving N Cryin) and Mark Linkous (Sparklehorse). All proceeds go to benefit the Sweet Relief Musicians Fund. > Mike Watt, who is currently playing bass on Porno For Pyros current tour, will be recording a 7" single later this year for the Kill Rock Stars label, and is expecting to release his next solo album in early 1997. --- TOUR DATES Barenaked Ladies Sep. 18 Fredricton, NB The Playhouse Sep. 19 Boston, MA The Orpheum Sep. 21 Philadelphia, PA The Electric Factory Sep. 22 Washington, DC 9:30 Club Sep. 25 Atlanta, GA Variety Playhouse Sep. 26 Nashville, TN 328 Performance Sep. 27 Cincinnati, OH The Taft Theatre Sep. 28 Buffalo, NY Marine Midland Arena (w/ Goo Goo Dolls) Sep. 30 Grand Rapids, MI Orbit Room Blithe Sep. 18 Athens, GA Atomic Music Hall Sep. 19 Tallahassee, FL Club Down Under Sep. 20 Orlando, FL Barbarella Sep. 21 Chapel Hill, NC Lizard & Snake Sep. 22 Atlanta, GA Dark Horse Sep. 24 Savannah, GA Velvet Elvis Sep. 26 Northampton, MA Bay State Sep. 27 Portland, ME Geno's Sep. 28 Philadelphia, PA Khyber Pass Sep. 29 New Brunswick, NJ Melody Sep. 30 Providence, RI Living Room Block Sep. 18 New York, NY Fez Sep. 20 Philadelphia, PA Last Drop Coffee House Sep. 21 Washington, DC State of the Union Sep. 22 Annapolis, MD Armadillo's Sep. 26 Boston, MA Mama Kin Sep. 27 Philadelphia, PA Last Drop Coffee House Sep. 28 Annapolis, MD Jillians Citizen King Sep. 21 Madison, WI Barrymore Theatre Cravin' Melon Sep. 19 Myrtle Beach, SC Hard Rock Cafe' Sep. 20 Charlotte, NC Oktoberfest (downtown) Sep. 21 Florence, SC Shooters Sep. 28 Greenville, NC Attic Def Leppard / Tripping Daisy Sep. 19 Halifax, NS Halifax Metro Centre Sep. 20 Moncton, NS Moncton Coliseum Arena Melissa Etheridge Sep. 27 Madison, WI Dane County Coliseum Sep. 28 Minneapolis, MN Target Center Sep. 30 Duluth, MN Convention Center Fluffy Sep. 19 Los Angeles, CA Viper Room Godplow Sep. 18 Grand Rapids, MI Reptile House Sep. 23 Cleveland, OH Euclid Tavern Sep. 25 Wilkes Barre, PA Market St. Square Huey Lewis & The News Sep. 20 Puyallup, WA Western Washington Fair Sep. 27 Concord, CA Concord Pavillion Long Fin Killie Sep. 24 New York, NY Brownie's Sep. 25 Boston, MA Bill's Bar Loop Guru Sep. 19 Dallas, TX Trees Sep. 20 Tulsa, OK Ikon Sep. 25 Salt Lake City, UT DV8 Sep. 27 Los Angeles, CA American Legion Sep. 28 San Francisco, CA Fillmore Loud Family / Sugarplastic Sep. 18 Buffalo, NY Mohawk Club Sep. 19 Cambridge, MA Middle East Sep. 20 Philadelphia, PA Silk City Lounge Sep. 21 Washington, DC Black Cat Sep. 23 New York, NY Brownie's Sep. 24 Fletcher's Baltimore, MD Sep. 25 Raleigh, NC Brewery Sep. 26 Atlanta, GA Point Sep. 27 Birmingham, AL Nick Sep. 28 Gainesville, FL Covered Dish Sep. 30 Austin, TX Electric Lounge Bob Mould / Rasputina Sep. 20 Rochester, NY RIT- Clark Gym Sep. 21 Burlington, VT Club Metronome Sep. 23 Northampton, MA Pearl Street Sep. 24 Boston, MA Avalon Sep. 25 Providence, RI Lupo's Sep. 27-29 New York, NY Irving Plaza Orbit Sep. 18 Houston, TX Emo's Sep. 19 Dallas, TX Argo Sep. 20 Austin, TX Emo's Sep. 23 Mesa, AZ Hollywood Alley Sep. 25 San Diego, CA Casbah Sep. 26 Hollywood, CA Roxy Sep. 27 San Francisco, CA Bottom of the Hill Sep. 28 Portland, OR Satricon Sep. 29 Seattle, WA Rockcandy Ozzy Osbourne / Sepultura Sep. 20 York, PA York Pavillion Sep. 21 State College, PA Bryce-Jordan Center Sep. 23 Quebec City, QC Consee de Quebec Sep. 25 Ottawa, ON Correl Centre Sep. 27 Montreal, QC Molson Centre Sep. 28 Hamtlton, ON Copps Coliseum Sep. 30 Charleston, WV Civic Center Poorhouse Rockers Sep. 19, 21, 26 Fells Point, MD Hose You Came In On Sep. 20 Fells Point, MD Leadbetters Sep. 27 Churchville, MD McStagger's Republica / Gravity Kills Sep. 18 Nashville, TN Exit Inn Sep. 19 Memphis, TN New Daisy Sep. 20 Birmingham, AL The Nick Sep. 21 Atlanta, GA 99X Fest Sep. 23 Orlando, FL Sapphire Sep. 25 West Palm Beach, FL Respectable Cafe Sep. 26 Tampa, FL The Rubb Sep. 27 Pensacola, FL Nite Owl Sep. 28 New Orleans, LA Howlin' Wolf Sandbox Sep. 18 Detroit, MI St. Andrew's Hall Sep. 19 Fort Wayne, IN Pierre's Sep. 20 Toledo, OH Frankie's Sep. 21 Cincinnati, OH Club Gotham Sep. 22 Cleveland Flats, OH Peabody's Down Under Sep. 24 Boston, MA Mama Kin Music Hall Sep. 25 Portland, ME Zoots Screaming Trees/54*40/Solution A.D. Sep. 22 Montreal, PQ Cabaret Music Hall Sep. 23 Ottawa, ON Porter Hall Sep. 24 London, ON NAC Hall Sep. 26 Kitchener, ON Lyric Sep. 27 Toronto, ON The Warehouse Sep. 30 Winnipeg, MB Walker Theatre Richard Thompson Sep. 18 Vancouver, BC Richard's Sep. 19 Spokane, WA Masonic Temple Sep. 20 Seattle, WA Moore Theatre Sep. 21 Portland, OR Aladdin Theatre Sep. 23 Eugene, OR Wild Duck Sep. 25 Sacramento, CA Crest Theatre Sep. 26 San Francisco, CA Warfield Theatre Sep. 27 Santa Rosa, CA Luther Burbank Center Sep. 28 Aptos, CA Fat Fry Festival Sep. 30 West Hollywood, CA House of Blues Trunk Federation Sep. 18 Corpus Christi, TX Carousel Cafe Sep. 21 Albuquerque, NM Pony Bar The Urge Sep. 18 St. Louis, MO Fox Theatre Sep. 19 Columbia, MO Blue Note Sep. 20 Fort Wayne, IN Piere's Sep. 21 Des Moines, IA Safari Club --- 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. 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