==== ISSUE 92 ==== CONSUMABLE ======== [November 22, 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, Stephen Lin, Bob Mackin, Al Muzer, P. Nina Ramos, Linda Scott, Ali Sinclair, Simon Spreichert, Jon Steltenpohl, Courtney Muir Wallner, Simon West Technical Staff: Chris Candreva, Dave Pirmann, Damir Tiljak, Jason Williams Also Contributing: Daniel Aloi 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: Chris Butler - Bob Gajarsky REVIEW: Marilyn Manson, _Antichrist Superstar_ - Janet Herman REVIEW: Orbital, _In Sides_ - Joe Silva CONCERT REVIEW: Black Crowes - Linda Scott REVIEW: Various Artists, _O Come All Ye Faithful: Rock For Choice_ - Al Muzer COMPILATION REVIEWS: Iggy Pop, Huey Lewis & The News, Grateful Dead, Simply Red, Fine Young Cannibals - Bob Gajarsky REVIEW: Baby Fox, _A Normal Family_ - David Landgren REVIEW: Les Claypool And The Holy Mackerel, _Present Highball With The Devil_ - Simon Speichert REVIEW: Super Furry Animals, _Fuzzy Logic_ - Jeremy Ashcroft REVIEW: The Cheese, _Flip Your Lid_ - Al Muzer REVIEW: Sam Phillips, _Omnipop_ - Daniel Aloi REVIEW: Esquivel, _Merry Christmas From The Space Age Bachelor Pad_ - Al Muzer NEWS:Electric Eels, Extra Fancy, Northside, Pulp "Disco 2000", Seven Mary Three TOUR DATES: Archers of Loaf, Backsliders, Better Than Ezra / Fulflej, Black Crowes, Johnny Cash, Chimera, Phil Cody, Connells, Cravin' Melon, Deftones, Dirty Dozen, DJ Kool, Everything But The Girl / Frente, Extra Fancy, Fireside, Ginger, Godplow, Gravity Kills, Joe Henry, Boo Hewerdine / Darden Smith, Jars of Clay, Kula Shaker, Liquid Soul, London Suede, Tara MacLean, Mestizo Rockers, Teddy Morgan, The Mother Hips, Ocean Colour Scene, Pen Pal, Poorhouse Rockers, Professor & Maryann, Republica, Ruth Ruth, Skulpey, Slush, SNFU, Speed McQueen, Sponge / Ruth Ruth / Red Five, Stabbing Westward / Ash / Drill, Stillsuit, Corey Stevens, Talking to Animals, Test Dept./Sheep on Drugs., Tool / Psychotica, Tree, Wedding Present / Yatsura, Wesley Willis Back Issues of Consumable --- INTERVIEW: Chris Butler - Bob Gajarsky For those who lament the lack of music for the almighty dollar, Chris Butler's latest release, "The Devil Glitch", might satisfy your desires by clocking in at a whopping 73 minutes long. But at first glance, this disc only contains two songs; a 5 minute "edit" version, and a 68 minute single, broken up into 16 different "parts" by a wide assortment of different artists. The story is as intriguing as the length of the single. Butler explains, "The concept was to have a 5 minute version of the tune, then fill out the rest of the disc with a 65+ minute version - with different music from different artists, and different lyrics. Anybody can record a song using loops - the challenge is to write a song with lyrics that change." Butler was the guitarist, sole writer, and co-producer of the Akron, Ohio based Waitresses. The band was initially formed as a "hypothetical" band on the side from the real band he was involved in, Tin Huey. "When I wrote songs that didn't fit into the Tin Huey style", Butler muses, "I began to think of them as 'Waitresses' songs." One of those songs was the almost top-40 hit, "I Know What Boys Like". Butler soon moved to New York City, and in 1979, industry executives wanted to know where the rest of the Waitresses were. Putting together a band consisting of former Akron people in the New York area and other friends and associates, The Waitresses soon came into being. Although the sole writer for the group, Butler falsely proclaims that "Songwriting doesn't come naturally to me; I have to work at this. It's not a natural flowing event." Fans might disagree, as the Waitresses were known for their eccentric little pop ditties. "I Know What Boys Like" didn't light up the charts on its release in the early 80's, but has now become a staple on the flashback hours, and appeared on compilations including one of the _Just Can't Get Enough_ series, but also on the Waitresses' _Best Of_ compilation. And, perhaps his best known song was the holiday single "Christmas Wrapping" which has now become one of the cool songs you don't mind hearing in late December. "The song ("Christmas Wrapping") was a total goof. Our independent label gave us one week to come up with a Christmas song for an album they were recording. We gave them the song and forgot about it, until one day my wife heard it on the radio." For the past 15 years, that song has been on many a radio station, and even been a #1 requested song surpassing Bruuuuuuce and other more famous artists, at many stations. Friends and musical acquaintances who Butler met over the years, starting with his days before his fame with the Waitresses, became the backbone of "The Devil Glitch". Participants in this effort included people such as former Waitress saxophonist Mars Williams, who's creating a stir of his own these days with the Chicago-based acid jazz group Liquid Soul; Liam Sternberg, who wrote the Bangles international #1 hit "Walk Like An Egyptian"; Hoboken indie-pop band the Gefkens, and Freedy Johnston. The connection with Johnston was founded the same way Butler got linked with artists such as Scruffy The Cat and Joan Osborne - producing the albums which jumpstarted their careers *before* hitting the bigtime. So how did it feel to watch someone like a Joan Osborne (some of Butler's work on _Blue Million Miles_ can be heard on her recent re-issue, _Early Recordings_) working with a new producer on the major label debut, without the typical producer buy-out? Butler talks frankly, without any hint of remorse or sense of vengeance: "Most producers say 'I'll do this indie release cheaply, but if you go somewhere (to a major label), you either have to hire me or buy me out.' I always thought (to my naivete) that was a nasty thing to do to an artist. It spoils the fact that the artist had won (by going to a major label)." "I now understand why the paperwork is in there. I will work smartly from now on, and be more mature in my business relationships. I kept thinking more from the artist's point of view than the producer's. Everyone who I've worked with, I wish nothing but the best and that's sincere - I'm friends with all these people, and intend to stay friends with all of them. That's not the same as wanting my piece of the pie." The matter-of-fact manner in which Butler talks about incidents shows that he's not only a realist, but also a true lover of *music*. Butler's interests lie not only in the present, but the past. He has recorded two singles, "The Wilderness Years" (Volumes 1 and 3 - no Volume 2) using instruments from the past: a Webster-Chicago Model 180-1 wire recorder from the late 1940s, and a late 19th century Edison "Spring Motor" phonograph. While putting the finishing touches on these records - released in 1995 - a pair of other musicians managed to hear a copy and liked the approach of recording today's music on equipment nearly 100 years old. And with the release of _Factory Showcase_, They Might Be Giants have taken the "old is new" idea to a national audience. Although neither Flansburgh or Linnell were among the artists who submitted material for "The Devil Glitch", their eccentric style makes its way in many of the tracks. The North Jersey pop band Fear of Falling plays using a ukelele, and winds up sounding like an alternative barbershop quartet. Former Waitresses soundman Kramer took a 24 track tape from a band which had stiffed him money, turned it upside down, and ran their music backwards through the multi track machine, all the while moving the faders and reversing everything yet again. Another Chris Butler (this one with the middle initial D.) made up instruments by distorting and filtering the sound waves. And so it goes - each musician taking a similar intro/outro to the song, and Butler's repetitive opening of "Sometimes you can fix something by..." and sculpting their own design. On the letter Butler sent out to prospective contributors, Butler explained the idea behind the lyrics. "'The Devil Glitch' tune is about wrestling with a dysfunctional machine-a computer, a toaster, an ATM - anything that suddenly decides not to work as advertised...and usually at the worst possible moment. 'The Devil Glitch is a gremlin...the malevolent ghost in the machine (or in our lives) that is waiting to wreck everything." A disc such as "Devil Glitch" would cause marketing nightmares at some major labels, trying to determine the proper format, edits, remixes, etc. One of the benefits of producing and releasing your own record is avoiding such headaches. But what was the goal of "The Devil Glitch?" After a short pause, Butler responds: "I wanted to have a hell of a lot of fun in the studio; see if I could do something that was totally crazy, get back in touch with people I haven't worked with in a long time, and do something which is entirely new." The project took 1 1/2 years to complete, and according to Butler, "I think it's amazing. There are some things I would change; I stressed for people to do something weird, and I hoped that people would change things more. I think there's a nice blend between stuff that really rocks, and stuff that's just out there. It's the most fun project i've ever worked on". If Butler's vocals could be compared to anyone's, it would probably be Michael Penn's - a little rough around the edges. However, the beauty of "The Devil Glitch" isn't in the vocals, but the never-ending, never-repetitive lyrics combined with the uniqueness each artists adds to Butler's original design. It's like being invited to see the finished product of many different musicians - and then seeing where it all started. Most of the time, we're only able to see one completed path - the initial demo, and the final interpretation of this demo. In this case, Butler allows the artists to take his canvas and thoughts and create their own artwork from his original idea. To purchase "The Devil Glitch", send $11.24 ($10 + 1.24 shipping) as a check or money order to Future Fossil Music, PO Box 6248, Hoboken, NJ 07030. Or, to find out more information on the musical voyages of Mr. Butler, he may be contacted directly via e-mail at beezwax2@aol.com --- REVIEW: Marilyn Manson, _Antichrist Superstar_ (Interscope) - Janet Herman As I sit at my desk at my day job the repetitive but infectious chorus of "The Beautiful People", Marilyn Manson's first single off of their latest release, runs over and over in my head. The scariest aspect of this is that, according to the creepy press kit that I received with the compact disc, this is exactly what Mr. Manson and his crew had in mind for their listeners and I have almost succumbed to his wishes. Marilyn Manson, whose name is formed by the combination of Marilyn Monroe and Charles Manson, seems to believe in a definite dark side to human existence and hopes that everyone who listens to this album will see the dark, so to speak, and realize this as well. Mr. Manson, the lead singer of this doomsaying group, is also a reverend of the Church of Satan and insists that his image, which consists of ripped black stockings, lots of leather, missing eyebrows and self-inflicted cuts all over his body, does not disappear after his shows. He insists that he is not just a parody of the dark side of human nature, but is actually a parody of a parody of this. Are you still following this? I'm not sure if I am either, so don't worry. If you want to believe the ideas expressed on this album, feel free. However, I am sure that many will agree that Marilyn Manson basically comes off purely as an attention seeker whose strongest weapon is shock value. If you want to scare the parents, then this is the album to buy for musical and visual reasons. Musically speaking, Marilyn Manson sounds quite a bit like Nine Inch Nails, which is really no surprise as the album is coproduced by Trent Reznor, their kindred spirit in revolution. In a similar fashion to Trent Reznor, Marilyn Manson will jump back and forth from a scream to a whisper as he is backed up by the sounds of pounding techno/industrial samples and creepy noises. What struck me the most is that the lead-in drumbeat of "The Beautiful People" sounds awfully similar to that of Green Day's "Longview". This is a catchy track but it also complies with the supposed purpose of Marilyn Manson: take something that most people know well and twist it into something dark and ugly and makes us question the good and evil aspects of what we are dealing with. Compared to Marilyn Manson, Nine Inch Nails almost sounds happy. While Reznor sings, 'If there is a Hell, I'll see you there' in "Heresy" from _The Downward Spiral_, Marilyn Manson seems to be claiming that there IS a Hell and we are all already there. Mr. Manson obviously means to shock or disturb his listeners with lyrics like, 'The beautiful people/it's all relative to the size of your steeple' and, 'Each time I make my mother cry/an angel dies and falls from Heaven.' Manson's music and lyrics can be fun to listen to if you're in the mood for doom and gloom, whether you take Manson seriously or not. However, as my friend Sam puts it, 'Marilyn Manson is ear candy' - meaning that on the surface, it's enjoyable - but after a while it can turn sour and become overdone and nauseating. Such is the case with the music and lyrics of Marilyn Manson which after a while hit you over the head with Manson's hatred of American society, aiming most often at the Christian Church. I'll leave the reader to discover for themselves the ever-so-lovely visual disturbances that accompany this album. Let's just say a picture on the back of the jewel box gives a certain sexual act new meaning. --- REVIEW: Orbital, _In Sides_ (FFRR) - Joe Silva It may be a stretch, but techno might be finally approaching the pre-dawn moments of its next era. The masses will tire eventually of the faceless electro-beats being thrust upon them by those white label fiends shut up nice and cozy like high above them in their vaguely lit sanctuaries. A real shift in the momentum of popular dance is inevitable. And when those who care enough to chronicle these things start to look back and draw lines between the all the genres and the various points of distinction, Orbital might just be one of the outfits that makes the grade. But first the differences between the knob twiddlers and the craftsmen have to be firmly established. The wooden legions of the techno-by-numbers school are still at large (sixteen counts of this, add a new sample, sixteen counts of that, etc.). And while their acid tested techniques might preserve one or two blissful moments on the dancefloor, they're more often a protracted way for the DJ to amble over to the smart drink bar for a refill, while you the patron are left thirsting for some vitality. Enter Orbital. Never mind that one of the brothers Hartnoll is a frightfully normal person with kids and all, or that the duo have a clearly non-hedonistic concern for the environment, but instead take note that they've actually done things like headline the infamous Glastonbury festival in the UK and by all accounts kicked...er, bottom. And then there's the sheer baked-in goodness of this record's lead track, "The Girl With The Sun In Her Head" (recorded entirely with solar electricity that Greenpeace provided a la carte), which is possibly the choicest bit of techno to be hatched this year. It comes to life with deceptively torpid and anonymous whoosh sound before blossoming into a lively space age ramble with crisscrossing synth lines, agile rhythms, and a fluid and barely tangible bass line. What Orbital seem to keep ever present in their frontal lobes is that even the most nimble footed of their followers probably appreciate having their attention drawn and sonically cultivated while they simultaneously stress their newest set of activewear out on the floor. And while most of the hoopla surrounding bands of this ilk usually remains forever UK-centric, if you have a look at a couple of the recent radio charts for the past month or so you might notice that Orbital's sublime single "The Box" has made a few well-respected add-lists of late. For all its Dr. Who like flavourings, the deep trance-like hook gets a fair amount of mileage even in its extended incarnations. Available with a limited U.S.-only EP that's quite worth hunting for, _In Sides_ may be one of the few audio placards out there gesturing towards the future. --- CONCERT REVIEW: Black Crowes, AJ Palumbo Center Pittsburgh PA, 11/6/96 - Linda Scott A cold November evening in Pittsburgh - people moving fast downtown heading for AJ Palumbo Center and the Black Crowes. The Crowes' solid following in the city showed in the long line to collect special fan club tickets at the box office. Government Mule opened for the Crowes doing a 40 minute, 6 song set. Late arrivals missed a rocking show with a performance exceeding the usual opening act fare. Changeover to the Black Crowes set was thankfully short with no overblown props and scenery. The band's entry was a simple walk-on, a surprise for those of us used to pyrotechnics and blackouts. The audience rose to its feet and cheered, and the Crowes swung into action. Tapes started spinning everywhere; the Black Crowes are in the forefront of allowing recordings of their conerts, with no special tickets or seating required. Vocalist Chris Robinson was right on throughout the set nailing song after song. Robinson made the night's performance with that distinctive voice that makes the Crowes instantly recognizable. The rest of the band did not quite have Robinson's energy that night. While musically solid, the band did not connect with the audience as well as expected. Past hits of "A Conspiracy" and "Shake Your Money Maker" were greeted with expected applause, and even the lesser known tracks such as "Pimpers Paradise" and "Stare It Cold" received an enthusiastic reception. The instrumental sections weren't quite as good, as the band just did not seem to have their hearts in things. Reports from other Crowes performances indicate some shows with similar problems while most leave the audience breathless. The tour in support of _Three Snakes and One Charm_ is a typically long, intense one, and the guys may just need a rest. Certainly Black Crowes has the energy to give when they can. Overall it was a wonderful evening with a good audience and a great show. Chris Robinson has definitely outgrown the Jagger comparisons and has gained his own identity. The band no longer suffers from showing more attitude than talent. Black Crowes has a strong fan base developed from decisions made by the band to provide a good fan club with exceptional seating for members, the decision on taping that lets the fans take home some of the concert, and Internet chats that let fans talk to the band directly. Definitely a good time! --- REVIEW: Various Artists, _O Come All Ye Faithful: Rock For Choice_ (Columbia) - Al Muzer Henry Rollins begins this excellent benefit for reproductive freedom by converting "The Night Before Christmas" into a mesmerizing inner-city nightmare via a dramatic reading of the Dickens holiday classic layered over a hypnotic siren effect and the eerie manipulations of Joe Cole. Dance Hall Crashers pick up the pace with a percolating blast of Go Go's/Waitresses perk-pop called "I Did It For The Toys" that puts a bright spin on gift giving, while Sponge check in with an amazing bit of holiday angst that fleshes out an Alarm-ish riff and Kitchens Of Distinction-like dynamics with despondent, Bauhaus-dark vocals and a pulsing, irresistible beat. Julianna Hatfield offers the typically whispy, typically pretty "Make It Home" before Shudder To Think speak in tongues on "Al Hanisim" and Wool turn up with an aggressive burst of Green Day-like punk. A live wank from Bush that melds Elvis, "Good King Watzisname" and Hendrix's "Hey Joe" into 2:22 of amateurish, sound-check piss-off guaranteed to disappoint any fan of the band is the disc's only real letdown, but is quickly forgotten as Luscious Jackson offer a cool bit of head-bobbin' semi-jazz and Mid-Eastern shuffle on the excellent "Queen Of Bliss" - which just happens to segue into a totally wigged Sonny Sharrock-like version of "The Little Drummer Boy" from Mike Watt and crew. "Christmas Piglet" features The Presidents Of The United States Of America doing what TPotUSOA do so well - only with piano and acoustic guitar. The disc winds down with a faithful version of "Happy Christmas (War Is Over)" from The Cranes and Face To Face's Texas-swing-worthy-of-the-King shot at "Blue Christmas." Deep Forest and Wes Madiko are up last with a third-world chant and trance-like hum called "Nemene" that closes this truly commendable melange for a damn good cause on a perfect, far reaching note. For further information, write to Rock For Choice at: 8105 West Third Street #1, Los Angeles, CA 90048; or e-mail: R4C@aol.com. Online at: //www.feminist.org --- COMPILATION REVIEWS - Bob Gajarsky With the end of the year, labels always rush to release a flurry of greatest hits and other compilations designed to be the "safe" year end gift. Don't know what to get for that special someone? A greatest hits package! Usually, they don't tear up the charts, and most reviews conveniently omit track listings - which is a pivotal reason to consider buying a compilation when having many of an artist's previous releases. Here's some of the recent reissue packages: REVIEW: Iggy Pop, _Nude and Rude: The Best Of_ (Virgin) Iggy Pop had always seemed to remain in the shadows; often cited by others as one of the leaders of the punk movement from his time in the late 60's and early 70's with the Stooges, but never achieving much commercial success. His longevity helped spawn his breakthrough hit "Candy" with the B 52s' Kate Pierson at a time when radio stations were looking for established artists with viable commercial songs, but even ignoring that one track, it's hard to encapsule 30 years of ground breaking music on one CD. _Nude and Rude_ does a fairly good job of it, including four songs ("Funtime", "Nightclubbing", "China Girl", and "Lust For Life") co-written with the man who always seemed to overshadow Iggy, David Bowie: "The Passenger", with its hook that would never leave a rebellious youth's head, and classics such as "Search & Destroy" and "Real Wild Child". A solid summary of a nearly impossible task: capturing the history of Iggy Pop. TRACK LISTING: I Wanna Be Your Dog, No Fun, Search & Destroy, Gimme Danger, I'm Sick Of You, Funtime, Nightclubbing, China Girl, Lust For Life, The Passenger, Kill City, Real Wild Child, Cry For Love, Cold Metal, Candy, Home, Wild America REVIEW: Huey Lewis & The News, _Time Flies: Best Of_ (Elektra) Combining 70's AM radio backup vocals with horns (sometimes the Tower of Power), some doo-wop and a bar band attitude, Huey Lewis & The News never garnered much critical praise, but satisfied the record buying public with albums such as _Sports_ and _Fore_, which spawned a total of 10 Top 40 hits between them. The band once refused to issue a greatest hits album by reasoning that it would "signal the end of our career". The four new tracks which buttress this compilation are unfortunately the weakest tracks on here; only the first single "100 Years From Now" comes close to approaching their stellar output during those hit filled years. It would have been better spent including more of their hits, including the curious omission of the #1, Lewis-Bruce Hornsby tune, "Jacob's Ladder". 1983 and 1986 seem so long ago... TRACK LISTING: The Heart Of Rock & Roll, Heart And Soul, Doing It All For My Baby, Do You Believe In Love, Trouble In Paradise (Live), The Power Of Love, If This Is It, Bad Is Bad, Workin' For A Livin', It's Alright, Stuck With You, I Want A New Drug, 100 Years From Now, So Little Kindness, 'Til The Day After, When The Time Has Come BEST SURPRISES: "Trouble In Paradise (Live)", formerly only on the _U.S.A. For Africa_ collection; a-cappella "It's Alright" SURPRISING OMISSION: #11 Couple Days Off; #1 Jacob's Ladder, #3 Hip To Be Square, #3 Perfect World, 6 other charted singles REVIEW: Grateful Dead, _The Arista Years_ (Arista) When Jerry Garcia passed away, adults grieved more than for any other rock star - with the exception of John Lennon - than anyone else star during the last 20 years. And, until now, the only studio compilations of the Dead were complete only through the mid 1970's. With the release of _The Arista Years_, pieces of Americana fall into place as seen through the eyes of the most successful touring band in history. Extensive and thorough liner notes by Richard Gehr and Blair Jackson help solidify this collection for even casual fans, but it's the music that takes center stage - from the 50's sound of "Alabama Getaway" to their actual, bonafide, top 10 hit of "Touch of Grey". And those aren't the radio edits that appear on _The Arista Years_, but the original full length songs in their unadulterated formats. One Deadhead friend of mine said that "There is no way to truly capture the Dead from studio records". That might be part of the reason why 35 minutes of this double disc set comes from live shows, including "Eyes of the World" with an appearance by Branford Marsalis. Marsalis' appearance, which closes out the second disc, is representative of the different styles the Dead could play and how the band could seamlessly fuse rock, jazz and blues into not just a band, or an album, but a way of life. A one disc set would have sold out the Dead's loyal fans who don't buy singles, but full albums and go to the live shows. A 4 CD box set would have scared away casual listeners of the group. This 2 disc collection is probably the perfect compromise to let fans see the Dead's achievements of the last 20 years. TRACK LISTING: Estimated Prophet, Passenger, Samson & Delilah, Terrapin Station, Good Lovin', Shakedown Street, Fire On The Mountain, I Need A Miracle, Alabama Getaway, Far From Me, Saint of Circumstance, Dire Wolf, Cassidy, Feel Like A Stranger, Franklin's Tower Touch Of Grey, Hell In A Bucket, West L.A. Fadeaway, Throwing Stones, Black Muddy River, Foolish Heart, Built To Last, Just A Little Light, Picasso Moon, Standing On The Moon, Eyes Of The World REVIEW: Simply Red, _Greatest Hits_ (East West) Kick-starting the career with a cover of the Valentine Brothers' "Money$ Too Tight To Mention", the rock-flavored tinge of Mick Hucknall quickly gave way to a pair of #1 faux-soulful ballads, "Holding Back The Years" and a cover of Harold Melvins & The Blue Notes' "If You Don't Know Me By Now". Even with minor chart success from tracks such as "Stars" and "The Right Thing", this was all most American listeners heard from Simply Red. European audiences graced Hucknall with numerous top 10 singles including "Fairground", which takes a background hook from The Goodmen's techno club smash "Give It Up" which took *its* hook from Sergio Mendes' "Fanfarra", and the one new track, a collaboration with hot group of the month, The Fugees, on a remake of Aretha Franklin's "Angel". Probably a good bet for Americans who are listening to the "adult alternative" stations. TRACK LISTING: Holding Back The Years, Money$ Too Tight To Mention, The Right Thing, It's Only Love, A New Flame, You've Got It, If You Don't Know Me By Now, Stars, Something Got Me Started, Thrill Me, Your Mirror, For Your Babies, So Beautiful, Angel, Fairground SURPRISING OMISSION: None for American fans. European fans could have gotten a double disc with all of Hucknall's success. REVIEW: Fine Young Cannibals, _Finest_ (MCA) Numerous bands have compilations which should only have contained two albums worth of material. While recording their third album, Fine Young Cannibals grew dissatisfied with the results, called it a day as a group, and decided their greatest hits album would contain two albums worth of songs plus three new tracks that had been prepared for the scrapped third album. Lead singer Roland Gift and his partners - David Steele and Andy Cox, both formerly of the English Beat - have hooked up the best of _The Raw and The Cooked_ and their self-titled debut to form _Finest_, a fourteen song collection. "She Drives Me Crazy" still stands the test of time today, as do the covers of Elvis Presley's "Suspicious Minds" and the Buzzcocks "Ever Fallen In Love". New tracks include the soft "The Flame", which draws instant comparisons to another of their hits, "I'm Not The Man I Used To Be", and the slightly 70s soulful feel of "Take What I Can Get" and "Since You've Been Gone". A nice addition if you're not one of the more than 2 million Americans who purchased _The Raw and The Cooked_, and European buyers can seek out the limited second disc, _The Rare and the Remixed_. TRACK LISTING: She Drives Me Crazy, The Flame, Johnny Come Home, Good Thing, Suspicious Minds, Blue, Ever Fallen In Love, Don't Look Back, Tell Me What, I'm Not The Man I Used To Be, Couldn't Care More, Funny How Love Is, Take What I Can Get, Since You've Been Gone --- REVIEW: Baby Fox, _A Normal Family_ (Malawi/Roadrunner) - David Landgren I slide the CD into the player, crank up the volume, and out comes this nouveau scratchy-vinyl sound, and some badass whispers "Come to me....bleeuahgh". Score one for Baby Fox; I've never heard anyone throwing up on record before. And a captivating flutey sample that has had me racking my brains trying to come up with the original source. This album deserves closer scrutiny. Dub is like that. Much of its power lies in its ability, through the creative use of samples, to tickle your memory, to nudge your synapses and dredge up half-forgotten recollections of music once heard. UK readers may already be familiar with a recent single "Johnny Lipstick", from this North London trio comprised of Christine Ann Leach, Alex Gray and Dwight. There's more good stuff like that on this album. The comparison with Portishead is pretty hard to avoid, but amongst all the other trip-hop bands that popped up after last year's discovery of the Bristol Sound, Baby Fox has apparently sidestepped and outsmarted the best of them. For instance, "Ladybird", a slow and sultry number, brings out the best of Christine's vocals. What doesn't work? I can't get enthused over "Alienway". It's probably the only flat spot on the album; I can't shake the image of some seedy karaoke bar, with a girl singing her heart out and the rest of the punters are busy watching the sports channel. Maybe ease up on the reverb, guys. After the ambient "Our Face Is Not A Jackal" (and a fine track it is), the album shifts gears and lifts the pace up a notch, firstly for "Za Za (Get Ready)", a discoid number with sugary vocals. Another potential single would be "Rain", a smouldering number, lightened up with little piano riffs and a beat that lies somewhere between a drum machine and a wah-wah. I'm definitely having trouble at the moment getting this one out of my head. The album closes with an absolute killer track, a cover of Lee Scratch Perry's "Curlylocks". This is brilliant: powered by brass, punctuated by samples of shrieking Formula 1 race cars. As with all perfect reggae tracks, you just start bobbing up and down helplessly; it's just irresistible. This song and a couple of others reflect a heritage that goes back to vintage UB40, _Signing Off_. There's another track that is a cover of the Marc Bolan song "Girl" (that I'm not familiar with), and like the Lee Scratch Perry cover, they don't sound like covers, but integrate well with the other tracks and into the overall Baby Fox sound. All in all, I dig this album, worthy of being filed along side Portishead and Tricky. Watch this band. --- REVIEW: Les Claypool And The Holy Mackerel, _Present Highball With The Devil_ (Interscope) - Simon Speichert Holy Mackerel! On first hearing of Les Claypool's new solo album, there was one thought I had in my mind: "This sure isn't Primus." That's exactly what the enigmatic frontman of Primus wants you to think. On this record, Claypool hasn't been confined to his normal routine of bass and vocals. Les explodes, playing guitar, drums, singing, and of course living up to his bass-god status. Recorded at Claypool's home, or "Rancho Relaxo" as he likes to call it, the record has a great sound, reminiscent of Primus (I wonder why?), and spans forty-eight minutes and 15 songs. _Highball With The Devil_ features a host of wacky guests, including Mark "M.I.R.V." Haggard, Charlie Hunter, Jay Lane, and Henry Rollins. Les says that he is the true dictator on this album. With the ideas he has on this album, any country where he's the dictator would be pretty cool! The album sounds like Primus mixed with the Residents and some 80's pop culture. It's not really that easy to explain. It's music that could only have come from Les' twisted mind. The highlights of the album include 51-second lead-off track "Running The Gauntlet", "Highball With The Devil", surf-like "Hendershot", "El Sobrante Fortnight" and "The Awakening", a bass and drum duet by Otis Redding's son Dexter. Let's face it. This record isn't really a solo album. Mr. Claypool even admits that he wasn't going to put his name on it until he realized that "it would be nice to sell a couple of these bastards." The album is amazing, with the best stuff I've heard from Les in quite awhile, and it basically only come out of jamming with friends. So, is this album worth buying? If you're a Primus fan, you probably already have it. If you're not, but are ready to be dazzled by the many talents of Les Claypool and friends, I'd go for it. --- REVIEW: Super Furry Animals, _Fuzzy Logic_ (Epic) - Jeremy Ashcroft A land of song; a land of poets; a land whose history is entwined with mythology; a land known for its hellraisers and people who like to party to excess. A land that spawned Super Furry Animals. Croeso i cymru (Welcome to Wales). Though the band may claim that they could have come from anywhere, it would have to be a similar anywhere to Wales, since the above Welsh character is quite evident in this, their debut album. "God, Show Me Magic" opens the album in a piano-jangling, synth-blaring party mood. It's excessive. It's silly. I'm having a good time already. Though the mood of the next track, "Fuzzy Birds", is a lot calmer - acoustic guitars and flutes this time - the band are no more serious; at least I don't think a lyric based on an imagined conversation between the singer and his pet hamster can be serious, can it? Perhaps a clue to what's behind their view of the world comes on "Something For The Weekend". "First time, I did it for the hell of it/stuck it on the back of my tongue and then swallowed it". As with many of the other tracks, the music here is 70s UK pop - not as in the spot-the-riff style of, say, Oasis, but in terms of instrumentation, production and overall feel, they evoke such bands as ELO, The Rubettes, the Sensational Alex Harvey Band and Mott The Hoople. Speaking of the latter, "If You Don't Want Me To Destroy You" - concludes with a great "All The Young Dudes"/"Hey Jude"-style finale. Not so crazy this time - it's a beautiful and moving song. "Hangin' With Howard Marks" is a cheeky wink at their fellow Welshman. To give you a clue to his imfamy, the album cover also features photos of the same guy in various disguises he adopted to evade Customs officers throughout the world. ("Something For The Weekend"?) The song also features one of the album's most amusing lyrics: "You and me and the guy from Sparks, hangin' out with Howard Marks". Anyone who would like to hang out with Ron Mael is cool with me. Though it's not strictly the last track, "Long Gone" is a great end-of-album kind of song. A melancholic lament to (presumably) a lost love. Again the only word for it is beautiful; singer Gruff Rhys's Welsh accent just adding to the charm. Though I've suggested a 1970s feel to the album, please don't think it's in any way retro; it's as fresh and exciting an album as I've heard for a long time, and if you like to leave your turntable with a smile on your face, Super Furry Animals are your band. --- REVIEW: The Cheese, _Flip Your Lid_ (Curb) - Al Muzer Born and bred in the smelly heart of the Garden State - Ben Toro, Owen McCarthy, Joel Cannon and Brian Gabriel joyously plagiarize, modernize and bastardize supercharged classic rock and pop riffs nobody's thought to steal in years. Touted as "Electrifying Acid Rock" (which comes pretty damn close) by the re-energized and re-focused folks at Curb, The Cheese blast off with a swaggering slab of Aerosmith-meets-Cheap Trick radio-ready retro-rawk before paying happy, unabashed homage to a veritable Who's Who of influences ranging from Grand Funk to Urge Overkill - with stops along the way to incorporate the foursome's winking, smart-assed appreciation for Bowie, the Stones, the Beatles, Oasis, Peter Frampton, Badfinger, Nite Ranger, Queen, Jeff Beck, The Greenberry Woods, Supergrass, The Move, ELO, Pink Floyd, the Who and anything else catchy enough to stick in their ear as they were growing up. Despite a near parody-album level of lifted licks and musical moments that'll leave you asking yourself, "Now, where've I heard that before?"; The Cheese manage to pack enough energy, enthusiasm and warped inspiration into their Classic Rock 101 update to earn _Flip Your Lid_ a slot somewhere in the list of best-of-1996 albums. For more information, contact The Cheese Fan Club, PO Box 4, Waldwick, NJ 07643. Curb Records is on the web at: http://www.curb.com --- REVIEW: Sam Phillips, _Omnipop (It's Only a Flesh Wound Lambchop)_ (Virgin) - Daniel Aloi Sam Phillips has to her credit two of the most accessible and clever pop albums of the '90s, _The Indescribable Wow_ and _Martinis and Bikinis_. Her fourth album for Virgin is just as smart and accomplished, but not as ready to win you over. Instead, it's a bold artistic move by someone who's marginally commercial to start. With her cautious heart, furrowed brow and opinions and hopes all firmly in place, Phillips goes way beyond the cohesive Beatles pastiche of _Martinis and Bikinis_ (which earned her a 1994 Grammy nomination) and gamely ventures into more esoteric pop pursuits. Produced by Phillips' husband, T Bone (J. Henry) Burnett, _Omnipop_ is exactly what the title suggests: pop music from every angle. And while these diverse, complex tunes may seem little philosophic puzzles at first listen, all are aimed squarely at the heart, and at common sense. Unlike his recent distracting attempt at boundary-stretching for Jimmie Dale Gilmore, Burnett's multifarious efforts really work here - he adds oddball instruments, string arrangements, evocative circus noir backgrounds and volume, volume, volume on the percussion. Phillips first made records as a contemporary Christian artist; and Burnett produced _The Turning,_ her final album as Leslie Phillips. She doesn't even comment now on that phase of her career, but conscientious humanism and guarded optimism continue to define her now-secular lyrics. Supporting the artist's view that the world is a rough, unstable place (whether in relationships or the global economy), the arrangements on _Omnipop_ provide no safety net for Phillips at her most vulnerable, and lend muscle to her pointedly critical, sometimes jaded (but not cynical) lyrics. Her heart seeks answers, fulfillment and sometimes danger, and her head is worked up over our disposable, artificial, money-driven culture. On "Plastic is Forever," surreal squeals and squonks suggest a Terry Gilliam factory assembly line, befitting the subject. With "Animals on Wheels", Phillips tries to make sense of fame (and the concomitant traps of greed and ambition) - "but everytime I go after it/my ideals run off with my heart." The zippy "Zero Zero Zero!" (arranged by trumpeter Darrell Leonard) percolates with bachelor-pop touches - chamberlin, marimbas, bongos, Greg Liesz' steel guitar, and more -- flying merrily over a marching band arrangement, and a tight ska horn section. The message is serious, as always: instead of wanting "more," be happy with what you have, and who you are - "the zero in my hand is nothing to lose" and "everything that I'm not is all I've got," she sings. Nothing is also a valued, pure Zen ideal, she seems to suggest - whatever she's trying to say, the track is ab fab. "Faster Pussycat To The Library!" isn't as funny as it sounds; it's an up-front invitation to the dance, with "the library" a metaphor for discovery - possibly the black-and-blue kinks of the Russ Meyer reference in the title ("I'll show you every room/don't say a word/open every book for you/things you never heard.") Phillips plumbs the depths of her emotional longing in "Help Yourself" and "Your Hands," and wonders what she's in for in "Where Are You Taking Me." The closing "Slapstick Heart," the most straightforward Burnett production here, was cowritten with R.E.M. Yes, learning to love _Omnipop_ takes some effort, but the number of repeat listens required will be time well spent, and ultimately rewarded. --- REVIEW: Esquivel, _Merry Christmas From The Space Age Bachelor Pad_ (Bar/None) - Al Muzer Holiday schmaltz of the highest caliber - the lightly-toasted mind of Juan Garcia Esquivel adds a truly unique flavor to holiday classics such as "Jingle Bells" (zoop zoop zoobie wah - pow!); "The Christmas Song" (doo wee doo wah - wow!); "White Christmas" (doot doot doot - pow! pow! Pow!); "Frosty The Snowman" (zoo zoo zoo woops - Pow!); "Blue Christmas" (zoom-a-zoom zoom, pow pow - Pow!); and "Santa Claus Is Coming To Town" (doot doot doodle-a-doot-pow!). Perfectly suited for refined, upscale gatherings as well as crazed, tinsel-strewn holiday blowouts, this (for the most part) 1959-1962 compilation of Esquivel's unusual interpretations also features two new tracks recorded with Combustible Edison. --- NEWS: > There will be an Electric Eels set, featuring John Morton, Paul Marotta and Brian McMahon, to close the Tora Tora Torapalooz fest in Atlanta on Dec 6-8 at Dottie's. Also appearing will be Loren Mazzacone Connors, The Flying Lutenbachers, Silver Apples and others. > Extra Fancy is in a Los Angeles studio recording four new songs with Steve Kravac (who has worked with Offspring); these songs may see the light of day in early 1997 as part of an EP, which will either be released by the band themselves or as part of an independent deal. In the meantime, fans can search out the Album Network's _Virtually Alternative_ promo #75 for an Extra Fancy Christmas song. > The British group Northside will break up following their final concert in Manchester, England on December 12, 1996. > The Pulp song "Disco 2000", originally released on the album _Different Class_, has been remixed by the band and recently issued to radio stations. The new version contains a much heavier guitar section, which in parts replaces the keyboards; the remix appears to be done directly from the album version (as both songs clock in at 4 minutes, 33 seconds), but with a stronger feel to try and appeal to the American market. This song is not currently slated to be commercially released; however, it might finally be the trick that opens up the U.S. to this British band which has yet to find stateside success. > Seven Mary Three has just completed recording their new album _Rock Crown_ at Daniel Lanois' Kingsway Studios in New Orleans; it is expected to be released in late January, 1997. --- TOUR DATES Archers of Loaf Nov. 22 Atlanta, GA Cottom Club Nov. 23 Knoxville, TN Flamingo's Nov. 24 Cincinnati, OH Sudsy's Nov. 25 Cleveland, OH Euclid Nov. 29 Washington, DC 9:30 Club Nov. 30 Charlotte, NC Tremont Dec. 1 Carrboro, NC Cat's Cradle Backsliders Nov. 22 Knoxville, TN Library w/ Webb Wilder Nov. 23 Greenville, NC The Attic Nov. 29 Augusta, GA Red Line Nov. 30 Atlanta, GA Smith's Old Bar Better Than Ezra / Fulflej Nov. 26 New York, NY Irving Plaza Black Crowes Nov. 22 Richmond, VA Landmark Theatre Nov. 24 Raleigh, NC Memorial Auditorium Nov. 26 Atlanta, GA Civic Center Nov. 27 Pensacola, FL Bayfront Auditorium Nov. 29 Miami, FL Sunrise Musical Theatre Nov. 30 Jacksonville, FL Florida Theatre Dec. 1 St. Petersburg, FL Mahaffey Theatre Johnny Cash Nov. 22 Philadelphia, PA Electric Factory Nov. 23 Niagara Falls, NY Convention Center Nov. 26 Toronto, ON Massey Hall Nov. 29 Wichita Falls, TX Auditorium Nov. 30 Bartlesville, OK Civic Center Chimera Nov. 29 Richmond, VA Twisters Phil Cody Nov. 22 Dallas, TX Trees Nov. 24 Denver, CO Bluebird Nov. 26 Salt Lake City, UT Zephyr Nov. 29 Vancouver, BC Town Pump Nov. 30 Seattle, WA Crocodile Cafe Dec. 1 Portland, OR Berbatis Pan Connells Nov. 22 Salt Lake City, UT Zephyr Nov. 23 Boulder, CO Fox Theater Nov. 29 Raleigh, NC The Ritz Nov. 30 Winston-Salem, NC Ziggy's Cravin' Melon Nov. 22 Athens, GA 40 Watt Deftones Nov. 22 Asbury Park, NJ Birch Hill Nightclub Nov. 23 Rochester, NY Harro East Nov. 24 Philadelphia, PA Theatre of Living Arts Nov. 25 New York, NY Irving Plaza Nov. 26 Boston, MA Middle East Nov. 27 Providence, RI Club Babyhead Nov. 29 Albany, NY Saratoga Winners Nov. 30 Syracuse, NY Lost Horizon Dirty Dozen Nov. 27 New Orleans, LA House of Blues DJ Kool Nov. 22 Stone Mountain, GA Flava's Night Club Nov. 23 Myrtle Beach, SC Myrtle Beach Convention Center Nov. 25 Raleigh, NC Civic Center Nov. 26 Johnson City, TN Encore Night Club Nov. 30 Montreal, QC Montreal Dome Dec. 1 Ontario, CA NAC Night Club Everything But The Girl / Frente Nov. 22 Austin, TX Austin Music Hall Nov. 23 Dallas, TX Deep Ellum Live Nov. 25 St. Louis, MO Mississippi Nights Nov. 26 Cincinnati, OH Bogart's Nov. 27 Chicago, IL Riviera Theater Nov. 29 New York, NY The Roxy Extra Fancy Nov. 22 Long Beach, CA Foothill Club Fireside Nov. 22 Detroit, MI Shelter Nov. 23 Milwaukee, WI Unicorn Nov. 24 Minneapolis, MN 7th Street Entry Nov. 26 Omaha, NE Ranch Bowl Nov. 27 Des Moines, IA Safari Nov. 28 Kansas City, MO Hurricane Nov. 29 Wichita, KS Rock Island Nov. 30 Denver, CO Bluebird Theatre Ginger Nov. 28 Edmonton, AB The Rev Nov. 29 Calgary, AB Dinny's Den Nov. 30 Saskatoon, SK Sammy's Godplow Nov. 25 Asbury Park, NJ The Saint Nov. 28 Baltimore, MD Memory Lane Nov. 29 Morgantown, WV Nyabinghi Dance Hall Gravity Kills Nov. 22 Seattle, WA RKCNDY Nov. 23 Portland, OR La Luna Nov. 26 Los Angeles, CA Whiskey Joe Henry Nov. 22 Ashland, OR Southern Oregon State College Boo Hewerdine / Darden Smith Nov. 22-23 Austin, TX Cactus Cafe Nov. 24 Houston, TX Fabulous Satellite Lounge Nov. 26 Nashville, TN Bluebird Cafe Nov. 27 Atlanta, GA Smith's Old Bar Jars of Clay Nov. 22 Omaha, NE Omaha Civic Auditorium Nov. 23 St. Louis, MO Youth Convention Nov. 23 Springfield, MO Radio Benefit Show (w/ Dishwalla, Leah Andreone) Nov. 26 Nashville, TN Caffe Milano Benefit Kula Shaker Nov. 22 Los Angeles, CA The Whiskey Liquid Soul Nov. 22 New York, NY Wetlands Nov. 23 Washington, DC State of the Union London Suede Nov. 22 Lille, Fra Le Splendid Nov. 26 Manchester, Eng Apollo Nov. 27 Wolverhampton, Eng. Civic Centre Nov. 28 Liverpool, Eng. Royal Court Nov. 30 Newcastle City Hall Dec. 1 Glasgow Barrowlands Tara MacLean Nov. 25 Toronto, ON C'est What Nov. 29 Waterloo, ON Bombshelter (U. Of Waterloo) Mestizo Rockers Nov. 22 San Jose, CA Celebrities Nov. 23 Pomona, CA Ice House Nov. 29 Chicago, IL Aragon Nov. 30 Atlanta, GA Convention Center Teddy Morgan Nov. 22-23 Minneapolis, MN Bisquits & Blues Nov. 27 Madison, WI Harmony Bar Nov. 29 Detroit, MI Memphis Smoke Nov. 30 Cleveland, OH Wilbert's The Mother Hips Nov. 22 Eureka, CA Hefe's Nightclub Nov. 23 Chico, CA Oasis Bar & Grill Nov. 24 AUburn, CA Smoke Shop Nov. 30 Springdale, UT Bit N Spur Ocean Colour Scene Nov. 22 New York, NY Mercury Lounge Nov. 23 Cambridge, MA TT Bears Nov. 27 Detroit, MI Shelter Nov. 29 Chicago, IL Metro (w/Republica) Nov. 30 St. Louis, MO The Side Door Pen Pal Nov. 22 Portland, ME Geno's Nov. 27 New York, NY Coney Island High Poorhouse Rockers Nov. 22 Fredericksburg, VA Irish Brigade Nov. 23 Baltimore, MD Cafe Tattoo Nov. 24 New Hope, PA John & Peter's Nov. 28 Fells Point, MD Parker's Professor & Maryann Nov. 22 New York, NY Postcrypt Coffeehouse Nov. 26 New York, NY Fez Republica Nov. 23 San Francisco, CA Slim's Nov. 24 Palo Alto, CA Edge Nov. 28 Minneapolis, MN 7th Street Nov. 29 Chicago, IL Metro (w/Ocean Colour Scene) Nov. 30 Cleveland Flats, OH Peabody's D.U. Ruth Ruth Nov. 22 Boston, MA Axis Nov. 23 New Brunswick, NJ Rutgers - Cook College Nov. 24 Providence, RI Lupo's Nov. 26 Danbury, CT Tuxedo Junction Nov. 29 New York, NY Tramps Nov. 30 Old Bridge, NJ Birch Hill Skulpey Nov. 26 New York, NY Meow Mix Slush Nov. 24 Los Angeles, CA Billboard LIVE SNFU Nov. 22 Providence, RI Club Babyhead Nov. 23 New Haven, CT Tune Inn Nov. 24 New York, NY Coney Island High Nov. 25 Philadelphia, PA Pontiac Grill Nov. 27 Cleveland, OH Euclid Tavern Nov. 28 Toledo, OH Frankie's Inner City Nov. 29 Detroit, MI St. Andrew's Hall Nov. 30 Chicago, IL Fireside Bowl Speed McQueen Nov. 22 Virginia Beach, VA Scully's Nov. 23 Norfolk, VA Friar Tuchs Nov. 24 Virginia Beach, VA Hammerhedz Nov. 27 New York, NY Coney Island High Sponge / Ruth Ruth / Red Five Nov. 22 Boston, MA Axis Nov. 23 New Brunswick, NJ Cook College Nov. 24 Providence, RI Lupo's Nov. 26 Danbury, CT Tuxedo Junction Nov. 27 Poughkeepsie, NY The Chance Nov. 29 New York, NY Tramps Nov. 30 Old Bridge, NJ Birch Hill Nightclub Dec. 1 Syracuse, NY Atlantis Stabbing Westward / Ash / Drill Nov. 22 Chicago, IL Metro Nov. 23 Milwaukee, WI The Rav Stillsuit Nov. 23 Providence, RI Club Babyhead Nov. 24 New York, NY CBGB's Nov. 30 Deerfield, NY Knights of Columbus Corey Stevens Nov. 22 Minneapolis, MN Cabooze Nov. 23 Grand Forks, ND Sensation Night Club Nov. 25 Fargo, ND Cactus Jack's Nov. 26 Sioux Falls, SD Pomp Room Nov. 27 St. Joseph, MN Delwin Ballroom Nov. 28 Superior, WI Pacific Club Nov. 29 Rochester, MN North Star Bar Nov. 30 Appleton, WI Checkered Flag Talking to Animals Nov. 22 Cambridge, MA Lizard Lounge Nov. 23 Philadelphia, PA Grape Street Nov. 29 Providence, RI River City Test Dept./Sheep on Drugs. Nov. 22 Grand Rapids, MI The Reptile House Tool / Psychotica Nov. 22 New York, NY Roselands Nov. 23 Philadelphia, PA Electric Factory Nov. 26 Providence, RI Strand Theatre Nov. 27 Fitchburg, MA Wallace Civic Centre Nov. 29 Montreal, QC Le Medley Nov. 30-Dec. 1 Toronto, ON Warehouse Tree Nov. 22 Richmond, VA Tweister's Nov. 24 Atlanta, GA The Point Nov. 28 Pensacola, FL Sluggo's Dec. 1 Memphis, TN 616 Wedding Present / Yatsura Nov. 22 Chapel Hill, NC Cat's Cradle Nov. 23 Reading, PA Albright College Nov. 29 Cambridge, MA Middle East Nov. 30 New York, NY Knitting Factory Wesley Willis Nov. 22-23 San Francisco, CA Art Rock Yatsura Dec. 1 Hoboken, NJ Maxwell's --- Founded in August, 1993, Consumable Online is the oldest continuous collaborative music publication on the Internet. 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