==== ISSUE 88 ==== CONSUMABLE ======== [October 1, 1996] Editor: Bob Gajarsky Internet: gajarsky@email.njin.net Sr. Correspondents: Jeremy Ashcroft, 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 | `------------' ANNOUNCEMENT: Changing addresses/unsubscribing INTERVIEW - Eric Bazilian of the Hooters - Bob Gajarsky REVIEW: Mary Margaret O'Hara, _Miss America_ - Eric Hsu REVIEW: Various Artists, _Modern Rock:Hang The DJ_{1986-1988} - Bob Gajarsky REVIEW: Holly Palmer, _Holly Palmer_ - Reto Koradi REVIEW: Scarce, _Deadsexy_ - Al Muzer REVIEW: Tears For Fears, _Saturnine Martial & Lunatic_ - Bob Gajarsky REVIEW: Type O Negative, _October Rust_ - Sean Eric McGill REVIEW: Ralph Marterie, _The Best Of: The Mercury Years_ - Al Muzer REVIEW: Floodgate, _Penalty_ - Linda Scott REVIEW: El Vez, _G.I. Ay Ay Blues_ - Al Muzer REVIEW: Tina Arena, _Don't Ask_ - Daniel Kane NEWS: CD Universe, Loop Guru, R.E.M., Virgin Records TOUR DATES: Barenaked Ladies, Blithe, Block, Tom Cochrane / Tara MacLean, Cravin' Melon, El Vez, Melissa Etheridge, Mary Ann Farley, Garmarna, Government Mule / Screamin' Cheetah Wheelies, London Suede, Loop Guru, Loud Family / Sugarplastic, Marilyn Manson, Dave Matthews Bob Mould / Rasputina, Orbit, Ozzy Osbourne / Sepultura, Porno For Pyros, Professor & Maryann, Republica / Gravity Kills Sandbox, Screaming Trees / 54*40 /Solution A.D., Richard Thompson Back Issues of Consumable --- ANNOUNCEMENT: Due to an unforeseen error on our part, any messages which were sent before September 19 to unsubscribe or change subscription addresses for Consumable were not implemented. Please re-send those messages; we apologize for any inconvenience this causes. --- INTERVIEW - Eric Bazilian of the Hooters - Bob Gajarsky Eric Bazilian recently vaulted back into the music news when Joan Osborne's "One Of Us" made playlists across the country and revived interest in the band of which he is still a major force, the Hooters. Philadelphia's favorite sons have been playing together since the early 1980's and their current lineup - Bazilian, Rob Hyman, David Uosikkinen, John Lilley, and Fran Smith, Jr - has been intact since 1988. The opportunity to have a song do well outside of the Hooters, especially on an international level, made it that much more rewarding for Bazilian: "There is something exciting about having a song thriving out there independent of one's further efforts. It's kind of like seeing your children succeed out on their own." Although fellow Philadelphian Daryl Hall didn't get recognized as a "true" writer by members of the elitist press until Paul Young took his "Everytime You Go Away" to #1, this wasn't the first time Bazilian wrote for other artists outside of the Hooters. "The collaboration with Joan felt totally familiar, as we've done similar projects with Cyndi Lauper, Patty Smyth, Sophie B. Hawkins, and others," recalls Bazilian. "And even though Rob and I spend the lion's share of our time writing together, we had certainly done our separate projects, such as Cyndi Lauper's "Time After Time", already." "Time After Time" was Lauper's biggest hit, and represented the high point of her solo career. In fact, Bazilian and Hyman *were* her main backing band on the debut album _She's So Unusual_. They continued collaborating later on her _Hat Full of Stars_ album (especially "That's What I Think") and Lauper's vocals appear on the Hooters "Boys Will Be Boys", from _Out Of Body_. Before the Hooters became known nationally, Hyman, Bazilian and David Kagan released two unsuccessful albums on Arista as the group Baby Grand. The experience did bring future better-known results: one of the tracks, "Never Enough" was slightly re-written as the title track for her post-Scandal solo debut, and the producer for that release was none other than Rick Chertoff. After that, the Hooters began to take form. Their first two singles were a live version of "All You Zombies" and "Fightin' On The Same Side", which led to the 1983 independent release of _Amore_. At the time, _Amore_ established new heights for the success of an indie album; an even more amazing sidelight is that 4/5 of the band from that effort are still in the band today, with only Fran Smith being a "newbie". There are plans to reissue this on CD at some point in the future (with unreleased tracks), but nothing is concrete at this date. After 15 years of playing a song such as "All You Zombies", it could get tiring to perform. But, as Bazilian states, this is not the case. Some unnamed songs do grate on him, but, "All You Zombies, is not one of them. That song came into being in a miraculous way and it continues to inspire." Before Hooters albums come out, it seems like there are test runs live in concert to see which songs perform well and which don't. According to Eric, there are very few songs that haven't made it to record. "We have repeatedly tried to go out and perform batches of new songs live, but this is often not a very good barometer of what will translate to record. We did perform a few new songs on tour last summer in Europe which was fun but, ultimately, the audience has limited patience for unfamiliar material." Compiling the band's years on Columbia, _Hooterization: A Retrospective_ recently surfaced. For dedicated fans, the only two new tracks are "Lucy In The Sky With Diamonds", previously only a B-side to "Johnny B", and the Hyman/Cyndi Lauper-penned "Time After Time", both live from a concert in Philadelphia at the Tower Theatre during October of 1987. Others may find out that there really is a lot more to the band that had top 40 hits with "And We Danced" and "Day By Day", but ran into resistance from American radio progammers on other tracks which have stood the test of time such as "All You Zombies". So, today, everything comes full circle. Nearly 20 years after Baby Grand released their first album, the Hooters are on yet another label - Rick Chertoff's Blue Gorilla - a division of Polygram, and best known for spawning Osborne's _Relish_ album. The success of "One Of Us" has opened more industry doors, including a friendship with the legendary Carole King which has led to some writing. And, the inevitable question: When will there be a new Hooters album? Bazilian replies, "The writing is taking some time and it's been long enough that we really want it to be right. Which doesn't mean "hits" or "perfect"; it just has to feel like it's something new and exciting to us. We're trying to take Hooterization to the next level." If it's anything like it has been in the past, it will include a healthy mix of rock and pop with a slight touch of reggae for flavoring, a great live show, and most importantly, some great fun. Here's hoping that Americans finally realize what Europe and Japan have been saying for years - the Hooters are still a great band. TRACK LISTING for _Hooterization_ : And We Danced, Nervous Night, All You Zombies, Satellite, Karla With A K, Where Do The Children Go, 500 Miles, Fightin' On The Same Side, Day By Day, Lucy In The Sky With Diamonds (Live), Heaven Laughs, Brother Don't You Walk Away, Johnny B, She Comes In Colors, Time After Time (Live), Beat Up Guitar --- REVIEW: Mary Margaret O'Hara, _Miss America_ (Koch) - Eric Hsu I can only offer this, my personal testimonial as to why I love this CD. It's been a while since I felt a missionary fervor about a piece of music, a while since I felt like music mattered and wasn't a bunch of self-centered poseurs doodling around for a buck, leeching off the insecurities of teenagers. Koch has done the music world a great service by re-releasing this special piece of music. They have also promised to re-release Mary Margaret O'Hara's _Christmas EP_, her only other formal release. It's a real crime that M2OH hasn't had wider exposure and more outlets for her music (she shows up in cameos on The Henrys, Gary Lucas, and weird places like _Sweet Relief 2_). She may be Canada's best kept secret, and if you give _Miss America_ a chance, it might enrich your life. I first looked up this record because I noticed that both halves of the Throwing Muses (Kristin Hersh and Tanya Donelly, now of Belly) listed this record in their Top Ten Favorite Albums. It was impossible to find in record stores, but luckily a Canadian friend had it on tape. On the first listening, it was a little bit of a blur, but she clearly had a dynamite voice and a broad variety of styles, some quiet and brooding some spastically rhythmic. A piece of one song, stuck in my head "when a memory's all I've got, I'll remember I've got a lot. Not having you, but keeping you in mind," because it sounded strikingly like a woman singing herself to sleep to the sound of her favorite jazz record, consoling herself with the sound and comfort of individual notes. So, I returned to the record and a new part of another song stayed with me: "But I'll still feel for you when you go and you... you'll know better than to cry about": the way she slips into a falsetto on the word "feel" is so gorgeous and heartbroken that the song seems to burst open. I was hooked. I started to notice the startlingly tasteful bass work on some of the songs, especially the songs with a groove: "Anew Day" throbs with a subtle and beautiful bass line that uplifts you indirectly, complementing the oblique lyrics. The chorus _sounds_ like encouragement ("everyone walk in brightness, because it's a new day"), until the lyrics start to bewilder you ("it is better to disappear than just to stand near a hole?"), and then when you check the lyric sheet, you realize it's actually "anew day", which is subtly but importantly different from "a new day". "When You Know Why You're Happy" has another memorable and repeated bass line. "You move much better than you know not just some jerk to and fro when you know why you're happy" But the happiness sounds manic and desperate. "Your world goes to smash too" and the smash does not sound like such a good thing when it's encased in this obsessive groove. A number of the songs express a fascination with repetition. It would be oversimplifying to call the repetition "insane", but it's a few steps beyond passionate. "Joy is the aim" becomes the repeated syllables "is the aim eh joy", in "Year in Song". "Treat me, I'm getting low, high up where the floaters go ready to put you under light sedation, I'm not ready to go under! I'm not ready to go under!" M2OH (as she calls herself!) pushes and shreds and tangles her voice in this song to stunning effect. Her voice, so often clear and strong, becomes hoarse with screaming and fluid with babbling. Some songs have a clear (not simplistic) center of gravity, often a phrase with simple words, but surprisingly rich for the length: "Help Me Lift You Up", which is already a beautiful phrase gains a dimension that is more than a simple twist when preceded by lines like "you'll have to be with your own kind, I'll have to stay with my own kind, help me lift you up". M2OH compresses a lot of consolation into another short phrase: "You Will Be Loved Again" is another beautiful phrase. A lot of the healing after a breakup has to do with believing in that phrase again, and the song itself is stripped bare (only accompanied by stand-up bass), again having the air of talking/crying yourself to sleep. This whole record is marked with an amazing appropriateness. The playing is first-rate, and all the musical contributions seem essential and informed by a dedication to taste. The instruments on the songs typically include ringing guitar lines, chiming and clear piano, looping bass lines, and aching slide guitar. A number of the songs have no drums, and often they sit back as texture in the mix. Don Rooke, who contributed guitar on the record, enthused about M2OH's grasp of strange cross-rhythms. I'm enthused too, because they actually complement the emotion of the piece: "Help Me Lift You Up" has a simple bass figure played in 5/8 against a straight quarter-note beat for the voice and guitar, but it simply comes across as moody and elusive and not some wacky trick. In contrast, the 5/8 guitar line in "Not Be Alright" seems spastic and disjoint, much like the rest of the song ("to lean away and to fall back on it to prohibit the development of new types and to seek to ensure to agree as follows"), which is an extended rant by a woman whose mental television seems to constantly flip through channels, making obsessive memories collide with disassociated boilerplate text. The record itself was mostly done in 1984, but its release was delayed, presumably because Virgin thought M2OH was a lunatic. Virgin brought in Michael Brook as "co-producer" to mainstream-ize this unusual record, and finally released it in 1988, didn't support it, and then buried it. Koch has repackaged the CD nicely, spicing up the insert with many lively and light illustrations by M2OH herself. They also notably shrunk down a lot of Michael Brook's production and guitar credits and touched up the cover art. This record is the perfect soundtrack for post-romantic-trauma manic-depression, as I can testify. It's inspiring, consoling, mind-blowing and everything that music should be and so rarely is. Try this record. --- REVIEW: Various Artists, _Modern Rock:Hang The DJ_{1986-1988} (Rhino) - Bob Gajarsky These three CD's, available separately but mentioned here as a collection, form a 54 song look back at the end of the synth-pop era and the beginning of what many consider the breakthrough of "alternative" music to Top 40 stations. With the title of the series culled from the recurring "chorus" of The Smiths "Panic" (where Morrissey and schoolboys scream to "Hang The DJ"), the collection is weighted is split nearly equally between American and non-American bands. Most of the groups should be immediately recognizable to fans; it's interesting to realize that many of the songs are still known today and helped create a new chart on Billboard ("Modern Rock"), break a new video program (MTV's "120 Minutes"), and, for better or worse, display to major labels how lucrative the "alternative" market could be. _1986_ is definitely the most consistently accessible of the three discs; nearly every song on the collection is still played today at radio stations "Flashback" shows, and would be the best present for the modern-rock fan. However, for tracks which are harder to find (or, also, not played as often on "Flashbacks"), check out _1987_ which includes the previously challenging- to-find in the U.S., Icicle Works' addictive "Understanding Jane", and the since-withdrawn 10,000 Maniacs cover of Cat Stevens' "Peace Train". Meanwhile, _1988_ falls somewhere between these two fronts; plenty of well-known songs to U.S. alterna-philes, but some tracks which never received as much attention (Transvision Vamp, "Tell That Girl To Shut Up", Everything But The Girl's "Apron Strings"). A necessary purchase for anyone who doesn't get to hear the late 1980's music quite enough. TRACK LISTING: 1986 - Smiths "Panic"; New Order "Bizarre Love Triangle"; Siouxie & The Banshees "Cities In Dust"; Psychedelic Furs "Pretty In Pink"; Orchestral Manoeuvres In The Dark "If You Leave", Pretenders "Don't Get Me Wrong"; Art of Noise "Peter Gunn"; Alarm "Strength"; Bangles "Walk Like An Egyptian"; Depeche Mode "A Question of Time"; Oingo Boingo "Weird Science"; Eurythmics "Missionary Man"; Gene Loves Jezebel "Desire"; Blow Monkeys "Digging Your Scene"; Bananarama "Venus"; INXS "What You Need"; Divinyls "Pleasure And Pain"; Guadalcanal Diary "Cattle Prod" 1987 - R.E.M. "It's The End Of The World As We Know It"; Julian Cope "World Shut Your Mouth"; Bangles "Hazy Shade of Winter"; Jesus and Mary Chain "April Skies"; Smiths "Ask"; 10000 Maniacs "Peace Train"; Love and Rockets "No New Tale To Tell"; New Order "True Faith"; Sugarcubes "Birthday"; Psychedelic Furs "Heartbreak Beat"; Red Hot Chili Peppers "Fight Like A Brave"; X "4th of July"; Concrete Blonde "Still In Hollywood"; Guadalcanal Diary "Litany"; Hoodoo Gurus "What's My Scene"; P.I.L. "Seattle"; Bananarama "I Heard A Rumour"; Icicle Works "Understanding Jane" 1988 - Church "Under The Milky Way"; Primitives "Crash"; Billy Bragg "Waiting For The Great Leap Forwards"; Jane's Addiction "Mountain Song"; R.E.M. "Orange Crush"; Transvision Vamps "Tell That Girl To Shut Up"; Smithereens "Only A Memory"; Erasure "Chains of Love"; INXS "Need You Tonight"; Siouxie & Banshees "Peek A Boo"; Robyn Hitchcock & Egyptians "Balloon Man"; Psychedelic Furs "All That Money Wants"; Ministry "Stigmata"; Cowboy Junkies "Sweet Jane"; Peter Murphy "All Night Long"; Mission UK "Tower of Strength"; The Fall "Victoria"; Everything But The Girl "Apron Strings" --- REVIEW: Holly Palmer, _Holly Palmer_ (Reprise/Warner) - Reto Koradi Even when you listen to a lot of good new music, it is a rare event to discover an album where you feel that you encountered something special and extraordinary. Holly Palmer's self-titled debut is such a case; more than just a "record", it sounds like the outbreak of a talent that was just too strong to be held in chains. While there is a good number of female singers/songwriters around, they are still rare enough for newcomers to be overly compared to more established names. Hearing a piano based song like "Sal The Gardener", some people will certainly draw the line from Holly Palmer to Tori Amos. But Holly Palmer covers a much wider musical spectrum than Tori Amos did on her first two albums; most tracks feature a full band, and the rhythmic nature of some songs reminds more of Sarah McLachlan. Her past in jazz bands shows on the track "Come Lie With Me", a beautiful song with a bar room jazz sound and a sweet chorus. Going even further, "Oxblood 2x4s" features a classical instrumentation with piano and strings. Holly Palmer's lyrics are personal and full of sensitivity, presented with a wonderful, very sensual voice. With these qualities, even a basically simple love song like "Wide Open Spaces" comes across as something expressive and truly wonderful. While the vocals are always in the center, the tasteful arrangements show Palmer's musical education. With all these qualities, the most surprising thing is that the hard work that is certainly behind it does not cause any negative effects in the final result. Everything sounds natural, often playful, and like it was done with ease. _Holly Palmer_ will be a strong contender for "best album of the year", it is a must for fans of female singers/songwriters, and highly recommended to everybody else with good taste. --- REVIEW: Scarce, _Deadsexy_ (A&M) - Al Muzer Former Anastasia Screamed front-guy Chick Graning bounces back from personal tragedy (a brain hemorrhage and 18-day coma) with one of the finest grunge-pop offerings since Kurt Cobain shook up the scene way back when. While every track on _Deadsexy_ is at least as good as the recent output of the current alterna-elite; six songs in particular stand head and shoulders above most of what's been waxed in the last few years - and are natural selections for any "Best Of" compilations being put together covering the '90s. The Boston-based three-piece kicks their debut off with the brilliant aggro-jangle, punchy beat and infectiously in-your-face hook of "Honey Simple" - a song that features Graning's ravaged vocals, stuttering riffs and humbucking guitar colliding with an almost British Invasion, multi-harmony, male/female chorus for a wild, steering wheel-pounding, three-minute ride to the top of the Buzz Bin heap. Other songs of special note include: "Rains Of Kansas," which blends a Son Volt-worthy guitar drone, on-the-road imagery and Silo's caliber twang with vocalist/bassist Joyce Raskin's Exene-like harmonies; the Top 10 chaos, "La, la, la" chorus and crunchy pulse of "Crimea River"; "Glamourizing Cigarettes," an angry, aggressive blast of Soul Asylum-like power-pop elevated to greatness by Graning's throaty rasp, Raskin's deceptively-sweet harmony and drummer Joe Propatier's Keith Moon-ish fluidity and unabashed abandon; the hit-bound beauty, from-the-heart lyrics and ascending vocal hook of "Days Like This"; and the Buffalo Tom-meets-Bush roar and subtle pop shadings of "Freakshadow." Damned if this ain't essential listening. --- REVIEW: Tears For Fears, _Saturnine Martial & Lunatic_ (Mercury) - Bob Gajarsky Picking up the pieces of most of the Tears For Fears output since their departure from Mercury, _Saturnine Martial & Lunatic_ provides a pleasant surprise for an album comprised mainly of B-sides and once throwaway songs. Some tracks have seen the light of day before on other series - the consistent "New Star" on the _Threesome_ soundtrack, a deadly accurate cover of Bowie's "Ashes To Ashes" on the NME UK compilation _Ruby Trax_, the most hated Tears For Fears synthpop UK hit "The Way You Are" (_Flashback Favorites, Vol. 4_) and "Pharaohs" on _Sedated In The Eighties Vol. 4_ - but contains most of the Tears For Fears B-sides. There are still a few which didn't make this collection, but it's a good starting point for TFF completists. "Lord Of Karma" melds pseudo-Hendrix guitars with the wah-wah Manchester sound, while "Marauders", the B-side to "The Way You Are", is TFF venturing carefully into the world we now call new age or ambient; of course, this term wasn't as prevalent in the early/mid 1980's. And, "Johnny Panic and the Bible of Dreams", a twist of "Sowing The Seeds of Love" with a world beat-styled rap, became a dance hit in its own right. A few other tracks on here also were reworkings (or instrumentals) of songs which eventually did make it to a Tears For Fears album. Unfortunately, in parts, _Saturnine Martial & Lunatics_ is stronger than some of Orzabal's Tears For Fears, post-Curt Smith, works. That only shows how good Tears For Fears once was. TRACK LISTING: Johnny Panic & The Bible of Dreams, The Big Chair, Schrodinger's Cat, My Life In The Suicide Rankws, When In Love With A Blind Man, Pharaohs, Deja Vu & The Sins of Science, The Marauders, Tears Roll Down, New Star, The Body Wah, Lord of Karma, Bloodletting Go, Always In The Past, Sea Song, Ashes To Ashes, Empire Building, The Way You Are --- REVIEW: Type O Negative, _October Rust_ (Roadrunner) - Sean Eric McGill When reviewing Type O Negative, you have to understand one simple thing: they are not a joke. Their cover of "Summer Breeze" on their _Bloody Kisses_ album, as well as their cover of Neil Young's "Cinnamon Girl" on the latest, entitled _October Rust_, is not meant in jest. Sure, they sound a little different, but those versions of the covers listed above are only songs done in their style: lots of crunch, with Peter Steeles brooding vocals. Now, all that being said, it must be said that when I told my editor I was interested in the latest from Type O Negative, I did so by saying that they are "always good for a laugh". But _October Rust_ stops that train of thought in its tracks. From the opening of the album, one minute-plus of fuzzy sound entitled "Bad Ground:", to the ending of the album, which closes the same way (both followed by and preceded by announcements from the band that they appreciate you buying the album, as well as letting you know they'll see you on the road - a novel idea if there ever was one), _October Rust_ is packed with good songs done in the typical Type O Negative fashion. Songs like the first musical track on the album, "Love You to Death" to the closer "Haunted" stick with you more than anything on either _Origin of the Feces_ or _Bloody Kisses_. Steele's vocals lend themselves well to a song like the occult-themed "Be My Druidess" where his entoning of "I'll do anything to make you come" seems like not only a promise, but a warning, as well. And while that concept alone may sound amusing enough, true fun on the _October Rust_ album can be found in the little ditty "My Girlfriend's Girlfriend". Steeles vocal delivery, which could best be described as a cross between Barry White and Glenn Danzig, changes the complexion of all the musical arrangements on the album. But the arrangements of the album are where Type O Negative seem to have fallen into a rut. Each song is of a fairly good length, which most running in the five or six minute time frame. And while some other bands have no problems with this, there just isnt that much lyrically or musically in the songs to warrant that much time. The end result is something quite like Spinal Tap, where each song has that nice mellow part (the best Tap example of this is "Stonehenge"). Overall, the majority of the songs on _October Rust_ work, although tracks like "Die With Me" and thewell, interesting "The Glorious Liberation of the Peoples Technocratic Republic of Vinnland By The Combined Forces of the United Territories of America" (a song whose title takes longer to say than the track itself) don't hold up against "Red Water (Christmas Mourning)" or "In Praise of Bacchus". Type O Negative has progressed miles from the style they exhibited on _Bloody Kisses_, and it should be interesting to see where they go next. --- REVIEW: Ralph Marterie, _The Best Of: The Mercury Years_ (Mercury) - Al Muzer Much cooler and far more marketable than the folks at Mercury seem to realize, the 1950's output of trumpeter/band leader Ralph Marterie is a natural addition to any space age hipster's collection of Esquivel, Les Baxter, Martin Denny, Combustible Edison, Everlounge and Eden Ahbez records. One of the last of the Big Band leaders, Marterie wasn't afraid to add a new twist, unusual arrangement, uncommon instrument, odd horn chart, Latin rhythm or crazy cha-cha beat to a Big Band standard or jazzed-up Puccini tune - while his original compositions display a rebellious soul and restless spirit not content with the lush banality and cloying sweetness of his musical time. --- REVIEW: Floodgate, _Penalty_ (Roadrunner) - Linda Scott Rock and Roll is dead - didn't Lenny Kravitz just tell us that? Lately it seems that rock's demise has been greatly exaggerated. Some of the monster rock bands such as Guns N'Roses, Aerosmith, Kiss, Ozzy Osbourne, are springing into action. Another good sign is that new bands are on the way. Floodgate (out of New Orleans, formerly known as Penalty) is a new band looking to grab the metal ring. From the first track on their debut album _Penalty_, you know what kind of music this band is all about. No trying to touch all the bases and appeal to everyone; no, this is a rock band. Go through the album and you hear influences of their idol, Black Sabbath. Musically, they might be Sabbath's and Kiss's children, but the lead singer surely sounds like Metallica's Hetfield. And, hey, what's wrong with that? Hetfield can really nail a hard rock song. So can Floodgate's Kyle Thomas. Thomas has put together a band with brother Kevin on bass, Steven Fisher on guitar, and Neil Montgomery on drums. Thomas himself is lead vocalist, guitarist and chief songwriter. As a classically trained singer, Thomas is one whose lyrics can be heard and understood. That's as it should be because the man has a lot to say. On "Till My Soil" he blasts society's vices and exhorts listeners to use their minds. "Running With Sodden Legs" gives the sense of being trapped in a nightmare. Thomas says Floodgate is on its way now to its longterm goal of being an arena rock band. Floodgate has a strong frontman in Kyle Thomas with talent and drive to push his band there. Right now they are just getting started - but if you are a fan of hard rock, and appreciate a Black Sabbath influence in a band, _Penalty_ might be perfect for you. --- REVIEW: El Vez, _G.I. Ay Ay Blues_ (Big Pop) - Al Muzer Just because the King kicked on the crapper back in '77 doesn't mean you can't experience the gaudy pageantry of an Elvis Presley show today. The chance to marvel at the mad spectacle of El Vez (The Mexican Elvis) comes when Robert Lopez - former guitarist/vocalist for San Diego punks The Zeros, one-time member of Catholic Discipline and Elvis Presley impersonator since 1988 - brings his Latino-via-Memphis "Rock & Revolution" tour on the road. Witnessing El Vez (and his many costume changes) in concert is always a unique experience. As the raucous sounds of the Memphis Mariachis blares from the PA, the lovely Elvettes (Priscillita, Lisa Maria, Que Linda Thompson and Gladysita) slink on stage and begin swaying in time to the music. Winking and glowing under the lights (one of El Vez's favorite outfits is a white jumpsuit covered in red, white and green rhinestones with a sequined Virgin Of Guadalupe on the back) as he bursts onto the boards, the outlandishly-dressed man who would be King begins singing what sounds like The Big E's "Now Or Never" - only with anti-gang lyrics and an infectiously-danceable beat grafted to the melodies of "Maggie May," "Losing My Religion" and "The Godfather Theme." Strutting across the stage, the small, brightly-plumed figure grabs Gladysita and the two execute a brief tango and exaggerated dip before El Vez twitches back to center-stage in time to belt out an old favorite, "En el Barrio." Artfully fusing Traffic's "Dear Mr. Fantasy" with the Beatles' "I've Got A Feeling" and vivid, pro-Latino lyrics; the deft bastardization of the King's "In The Ghetto" appeared on Lopez's first album as El Vez not long after the diminutive impostor outraged thousands of die-hard Elvis fans during a 1988 Elvis Tribute Week performance at Bad Bob's nightclub in Memphis. The notoriety garnered from his Graceland appearance resulted in reams of positive articles in a variety of nationwide newspapers, as well as guest shots on NBC's 2 HIP 4 TV and the series, Hunter. The full-length El Vez albums that followed (_El Vez Is Alive_, _Graciasland_ and _Fun en Espanol_) displayed quirky flashes of true musical genius as El Vez reworked songs such as: "Viva Las Vegas" into "Viva La Raza"; "Suspicious Minds" into "Immigration Time"; "Blue Suede Shoes" into "Huaraches Azules" (which includes bits of Jimi Hendrix's "Wind Cries Mary"); and "That's Alright, Mama" into "Esta Bien Mamacita." In a world filled with bad Elvis Presley imitators, Robert Lopez and his alter ego, El Vez, have long been cited as one of the most unique and original practitioners of the fine art of Elvis. And now, returning to record stores as well as to the stage, El Vez's latest offering, _G.I. Ay Ay Blues_, is the Chicano-King's most diverse and exciting call for revolution and Latino-pride ever. Whether you latch onto "Say It Loud, I'm Brown And I'm Proud," "Taking Care Of Business," "The Arm Of Obregon," "Frida's Life Of Pain," "Malinche," "Soy un Pocho," "Whip," "J.C. Si Lowrider Superstar," "Cesar Chavez '96" or the future El Vez show-stopper, "Mexican American Trilogy" - the songs on _G.I. Ay Ay Blues are sure to fill you with a bandana-wearin' revolutionary spirit even as you're whipping up a couple of fried peanut butter and banana samwiches (uhm 'thank you' thank you very much) and washing 'em down with a quart of Nehi Orange. In addition to releasing _G.I. Ay Ay Blues_, El Vez is working on a gospel album with The Jon Spencer Blues Explosion, has plans for a one-off collaboration with Doo Rag, is being courted for a starring role in a full-length European film - and continues to tour and spread the message of "Rock & Revolution" wherever he thinks it's needed most. For El Vez information, or to get your hands on a copy of _G.I. Ay Ay Blues_, contact Big Pop Records at: PO Box 12870, Philadelphia, PA 19108. --- REVIEW: Tina Arena, _Don't Ask_ (Epic) - Daniel Kane Tina Arena, the recipient of critical acclaim for _Don't Ask_ delivers an album that's part Billie Ray Martin, part Celine Dion, but all beautiful pop music. _Don't Ask_ starts with "Chains." The haunting smoothness of Arena's lyrics in the building sounds of desperation in "Chains" makes the title track one of my favorites personally, and is a perfect fit in the Boiler Room scene of Clive Barker's "Hell on Earth." "Heaven Help My Heart" is a slower, innocently refreshing account of the singer's plea to the gods to answers on where love is. "Sorrento Moon (I Remember)" is a beautiful love song incorporating the higher ranges of Tina Arena's voice with a sound between American contemporary and Spanish ballad, similar in many ways to Madonna's "La Isla Bonita." I enjoy love songs from the Fifties to the Nineties; however, "Love is the Answer" sounds bubble-gummish. While I love John Lennon's "Imagine" and the implications, "Love is the Answer" proposes to singularly solve hunger, greed, deception and war, presumably simultaneously. David Tyson's keyboard arrangement on "Greatest Gift" is incredible. "That's the Way a Woman Feels" contains pretty vocals as all of Tina's songs do; the lyrics, however, give every female the social position of nurturing martyr. Similarly, every male of "Be a Man" is given the role of a sperm-producing machine. Further information on Tina Arena's talented debut is available at website http://www.sony.com --- NEWS: > CD Universe is an online music store which carries more than 180,000 items covering mainstream releases and imports as well as small independent releases with a selection that's hard to match. In addition, reviews, biographies, and other assorted information are available at the click of a button, making it more than your normal online music store. The site is located on the World Wide Web at http://www.cduniverse.com. > Loop Guru will broadcast its October 2 concert from Moe's in Seattle at the Web site http://imusic > R.E.M. will be releasing _Road Movie_, a home video shot during the final three nights of 1995's _Monster_ tour (in Atlanta, GA), on October 8. > Virgin Records has launched its website, located at http://www.virginrecords.com with an acoustic version of the Smashing Pumpkins "Cherub Rock" and a live version of Iggy Pop's "Raw Power" - located only at the site. --- TOUR DATES Barenaked Ladies Oct. 1 Champaign, IL Foellinger Auditorium Oct. 2 Oxford, OH Miami University Oct. 4 Indianapolis, IN Egyptian Room Oct. 5 DeKalb, IL N. Illinois University Oct. 6 Minneapolis, MN The Fitzgerald Oct. 7 Madison, WI Barrymore Theatre Oct. 9 St. Louis, MO The American Theatre Oct. 11 Canton, OH The Palace Theatre Oct. 12 Utica, NY Hamilton College Oct. 14 Ypsilanti, MI Eastern Michigan University Oct. 16 Athens, OH Ohio University Blithe Oct. 1 Boston, MA Mama Kin Oct. 2 New York, NY Brownie's Oct. 3 Hoboken, NJ Maxwell's Block Oct. 3 Piitsburgh, PA Rosebud Cafe Oct. 4 Huntingdon, WV Calamity Cafe Oct. 9 Chapel Hill, NC Lizard & Snake Oct. 10 Savannah, GA Velvet Elvis Oct. 13 Athens, GA Half Moon Tom Cochrane / Tara MacLean Oct. 5 Powell River, BC Evergreen Theatre Oct. 6 Victoria, BC MacPherson Theatre Oct. 7 Courtney, BC Sid Williams Theatre Oct. 12 Kelowna, BC Kelowna Community Oct. 13 Banff, AB Banff Centre of the Arts Oct. 15 Calgary, AB MacKewen Hall, U of C Oct. 16 Edmonton, AB Myer Horowitz, U of A Cravin' Melon Oct. 3 Augusta, GA Caffeine Oct. 4 Columbia, SC Elbow Room Oct. 5 WinstonSalem, NC Ziggy's Oct. 6 Clemson, SC Derby Days Oct. 10 Greenwood, SC Griffin's Pub Oct. 11 Charleston, SC Music Farm Oct. 12 Statesboro, GA Legends El Vez (The Mexican Elvis) Oct. 4 Hoboken, NJ Maxwell's Oct. 7 New York, NY Fez Oct. 8 New York, NY Mercury Lounge Melissa Etheridge Oct. 1 Green Bay, WI Brown County Arena Oct. 2 Milwaukee, WI Bradley Center Oct. 4 Omaha, NE Civic Center Oct. 5 St. Louis, MO Kiel Center Oct. 6 Moline, IL Mark of the Quad Cities Oct. 8 Columbus, OH Convention Center Oct. 9 Cincinnati, OH Riverfront Coliseum Oct. 11 Cleveland, OH Gund Arena Oct. 12 Chicago, IL Rosemont Horizon Oct. 13 Toledo, OH Savage Hall Oct. 15 Kalamazoo, MI Wings Stadium Mary Ann Farley Oct. 12 New York, NY Luna Lounge Garmarna Oct. 9 Minneapolis, MN Cedar Cultural Center Oct. 10 Bloomington, IL Second Story Oct. 11 Chicago, IL The Abbey Oct. 12 Rockford, IL Memorial Hall Oct. 14 Seattle, WA Backstage Oct. 16 San Francisco, CA Great American Music Hall Government Mule / Screamin' Cheetah Wheelies Oct. 1 Valdosta, GA JP's Oct. 2 Gainsville, FL Richenbacher's Oct. 3 Ft. Myers, FL Pyramids Oct. 4 Orlando, FL The Embassy Oct. 5 Ybor City, FL Frankie's Patio London Suede Oct. 1 Glasgow Barrowlands Oct. 3 Sheffield The Octagon Oct. 4 Leicester De Montford Hall Oct. 5 Hanley Victoria Halls Oct. 7 Leeds Town & Country Club Oct. 8 Hull City Hall w/Geneva Oct. 10-11 London Kilburn National w/Geneva Oct. 13 Norwich Uea w/Geneva Oct. 14 Birmingham Que Club w/Geneva Loop Guru Oct. 3 Seattle, WA Moe's Oct. 4 Vancouver, BC Richards Oct. 5 Portland, OR La Luna Oct. 9 Los Angeles, CA Magic Wednesdays Loud Family / Sugarplastic Oct. 2 Phoenix, AZ Hollywood Lounge Oct. 3 Los Angeles, CA Spaceland Marilyn Manson Oct. 3 Kalamazoo, MI State Theatre Oct. 4 Davenport, IA Coliseum Ballroom Oct. 5 St. Louis, MO Mississippi Nights Oct. 7 Columbia, MO Blue Note Oct. 8 Lawrence, KS Liberty Hall Oct. 9 Minneapolis, MN First Avenue Oct. 11 Milwaukee, WI Madjeska Theatre Oct. 12 Chicago, IL Riviera Theatre Oct. 13 Madison, WI Barrymore Theatre Oct. 15 Detroit, MI State Theatre Oct. 16 Columbus, OH Newport Music Hall Dave Matthews Oct. 3-4 New York, NY Madison Square Garden Bob Mould / Rasputina Oct. 5 Toronto, ON Lee's Palace Oct. 7 Detroit, MI St. Andrews Oct. 8 Pittsburgh, PA Metropol Oct. 10 Washington, DC 930 Club Oct. 12 Philadelphia, PA Trocadero Orbit Oct. 4 Minneapolis, MN 7th St. Oct. 5 Chicago, IL Empty Bottle Ozzy Osbourne / Sepultura Oct. 2 Saginaw, MI Wendler Arena Oct. 4 Cincinnati, OH Riverfront Coliseum Oct. 5 Nashville, TN Starwood Amphitheatre Oct. 8 Tulsa, OK Convention Center Oct. 10 Wichita, KS Kansas Coliseum Oct. 12 Lampe, MO Black Oak Mt. Oct. 13 Dallas, TX Starplex Oct. 15 Lincoln, NE Pershing Auditorium Porno For Pyros Oct. 1 New Haven, CT Toad's Place Oct. 4 Port Chester, NY The Capitol Oct. 5 New Brunswick, NJ Rutgers University Oct. 6 Northampton, MA Pearl Street Oct. 8 Providence, RI The Strand Oct. 9 Rochester, NY Harro East Theatre Oct. 11 Burlington, VT Burlington Memorial Aud. Oct. 13 Toronto, ON Varsity Arena Oct. 14 Buffalo, NY Ogden Street Oct. 16 Detroit, MI Sanctum Professor & Maryann Oct. 11 New York, NY Fez Republica / Gravity Kills Oct. 1 Houston, TX Numbers Oct. 2 Austin, TX Liberty Hall Oct. 3 San Antonio, TX Sneakers Oct. 4 Dallas, TX Trees Oct. 5 Oklahoma City, OK Bricktown Brewery Oct. 11 Richmond, VA Flood Zone Oct. 12 Washington, DC 930 Club Oct. 14 Baltimore, MD Hammerjacks Oct. 15 Philadelphia, PA Trocadero Sandbox Oct. 2 Asbury Park, NJ The Saint Oct. 3 Woodstock, NY Tinker Street Oct. 5 Detroit, MI Shelter Screaming Trees/54*40/Solution A.D. Oct. 1 Regina, SK Lazy Owl Oct. 2 Edmonton, AB Convention Ctr. Oct. 3-4 Calgary, AB MacEwan Hall Oct. 6 Vancouver, B.C. The Rage Richard Thompson Oct. 1 Solana Beach, CA Belly Up Tavern Oct. 4 Fort Worth, TX Caravan of Dreams Oct. 5 Austin, TX Backyard Oct. 6 Houston, TX Rockefeller's Oct. 7 New Orleans, LA House of Blues Oct. 9 Atlanta, GA Variety Playhouse Oct. 11 Carrboro, NC Cat's Cradle Oct. 13 Washington, DC GWU Oct. 14 Baltimore, MD Senator Theatre Oct. 15-16 New York, NY Irving Theatre --- 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. Address any written correspondence to Bob Gajarsky, Consumable Online, 409 Washington St. #294, Hoboken, New Jersey 07030 ===