==== ISSUE 93 ==== CONSUMABLE ======== [December 2, 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: Daniel Aloi, Dan Birchall, Lee Graham Bridges, Scott Byron, Paul Grzelak, Janet Herman, Bill Holmes, Eric Hsu, Tim Hulsizer, Stephen Jackson, Daniel Kane, Stephen Lin, Bob Mackin, Scott Miller, Al Muzer, P. Nina Ramos, Linda Scott, Ali Sinclair, Simon Speichert, Jon Steltenpohl, Courtney Muir Wallner, Simon West Technical Staff: Chris Candreva, Dave Pirmann, Damir Tiljak, Jason Williams Also Contributing: Jim Flammia Address all comments, subscriptions, etc. to gajarsky@email.njin.net ================================================================== All articles in Consumable remain (C) copyright their author(s). Permission for re-publication in any form must be obtained from the editor. ================================================================== .------------. | Contents | `------------' REVIEW: Ocean Colour Scene, _Moseley Shoals_ - Joann D. Ball REVIEW: Chemical Brothers, "Setting Sun" - Bob Gajarsky REVIEW: Grateful Dead, _Dozin' At The Knick_ - Jim Flammia REVIEW: The Cardigans, _First Band On The Moon_ - Robin Lapid REVIEW: Jason & The Scorchers, _Clear Impetuous Morning_ - Al Muzer REVIEW: The Connells, _Weird Food & Devastation_ - Joann D. Ball REVIEW: Qkumba Zoo, _Wake Up And Dream_ - Bob Gajarsky REVIEW: Chris Isaak, _Baja Sessions_ - Robin Lapid REVIEW: Various Artists, _The Doo Wop Box II_ - Daniel Aloi COMPILATION REVIEWS: Party Of Five, Space Jam, John Waite - Bob Gajarsky REVIEW: Zoe, _Hammer_ - Reto Koradi REVIEW: Joe Henry, _Trampoline_ - Scott A. Miller NEWS: Enigma, Goo Goo Dolls, Roadrunner Records, White Party TOUR DATES: Arm Dogs, Barenaked Ladies, Black Crowes, Boiled In Lead, Tracy Bonham, Johnny Cash, Chimera, Phil Cody, Deftones, Ginger, Lizard Music, London Suede, Sarah McLachlan, Morcheeba, Teddy Morgan, Ocean Colour Scene, Professor & Maryann, Pure, Republica, SNFU, Sponge / Ruth Ruth, Tool / Psychotica, Tree, Miss Lavelle White, Bill White Acre, Yatsura THE READERS WRITE BACK! Back Issues of Consumable --- REVIEW: Ocean Colour Scene, _Moseley Shoals_ (MCA) - Joann D. Ball I first heard about Ocean Colour Scene in late November 1990. The band was spotlighted as an indie-breakthrough phenomenon in a London nightlife magazine and the local club date on their first British headlining tour was listed as a must-see. Eager to maximize my semester abroad since it was quickly coming to an end, I set out on a damp Saturday night to find the club and a good time. Happily, I found both and Ocean Colour Scene played a tight, high-energy set which combined the best of the Stones (Rolling and Roses). Despite the success of that tour and sound, Ocean Colour Scene was subsequently forced to ride the faddish shoegazer wave when their independent label hooked up with a major. The next time I saw Ocean Colour Scene was in mid-October 1992. They were touring Stateside, on my turf this time, in support of the long-delayed self-titled debut disc. As part of the Fontana Records tour, Ocean Colour Scene opened for then-label mates House of Love and Catherine Wheel. While label compromises had softened support for the band in Britain, the well-received Fontana tour suggested that the band might connect with less jaded American audiences. The big splash didn't occur, however, and Ocean Colour Scene returned home to England to decide which course to take the next time out. It's now late-November 1996, and I'm a few days away from seeing Ocean Colour Scene again. I'm even more excited about the live show this time around, because their latest effort, _Moseley Shoals_ is an amazing release that is much more far-sighted than its predecessor. Finding inspiration in the best of American and British rock, pop and soul,the quartet strips off the shoegazer polish to the essential basics of throaty vocals, McCartneyesque bass, fluid guitar and chord pounding piano. On _Moseley Shoals_, Simon Fowler (vocals), Steve Cradock (guitar), Damon Minchella (bass), and Oscar Harrison (drums) take the less-travelled Weller/Jam route back through British Rock history, a direction supported by Cradock's other job as Paul Weller's guitarist. _Moseley Shoals_, recorded in the Birmingham, England studio of the same name, also taps into the sound of the famous Muscle Shoals, Alabama studio which produced some of the best American soul ever recorded. The combination is a fresh one that is full of raw energy and emotion. On the twelve tracks that comprise the release, Ocean Colour Scene looks backward in order to move forward. Shades of Sixties soul are evident on "40 Past Midnight" and "The Riverboat Song," and the latter is rounded out by wah-wah guitar and Paul Weller's organ. "The Day We Caught the Train," the current U.S. single, rocks and rolls along with pounding bass and piano. Weller turns up again, contributing guitar on the Brit-meets-American alternapop of "The Circle" and piano and backing vocals on the breezy "One for the Road." And Fowler showcases his soulful vocals on the slow and moving "Lining Your Pockets" and "The Downstream." "You've Got It Bad" is heavy on the tambourine and bluesy lead guitar, with the added touch of psychedelic-inspired keyboards, and epic jam "Get Away" completes the collection _Moseley Shoals_ has already reached the top of the British album and singles charts. Hopefully, the current popularity of roots-influenced rock and pop music in these parts will provide some space for this fine release. Not only does _Moseley Shoals_ offer American audiences a fuller and richer history of Britpop and English rock, it also highlights the legacy of American and English soul. Fans of Paul Weller will immediately take to _Moseley Shoals_, and those who dig Counting Crows, the Tragically Hip, the Black Crowes and similar bands will find some familiar grooves here as well. If this isn't enough to turn you on, check out Ocean Colour Scene live. The power and strength of _Moseley Shoals_ guarantees that the live show will be a hot, sweaty conversion experience. --- REVIEW: Chemical Brothers, "Setting Sun" (Astralwerks) - Bob Gajarsky Among those in the know, some of the trend-setting dance music that is making its way through the underground clubs will be the major breakthrough on radio in 1997. If this truly does happen, it's likely that the Chemical Brothers will be up at the forefront of the movement. Their latest single, "Setting Sun", shows why things could go their way. Sounding like a re-recorded 1990's version of the Beatles' "Tomorrow Never Knows" while tripping on acid, Tom Rowlands and Ed Simons have taken the next step in restoring something those former Manchesterites (England) can dance to when Black Grape isn't around. So what makes "Setting Sun" so different? The collaboration with Oasis' lead vocalist Noel Gallagher. The band explains how the unusual pairing came about: "He (Gallagher) came up to us at Glastonbury (England's largest annual rock festival) and said 'I love your album; next time you're doing something, I'd love to do a track with you.'" The comparison to "Tomorrow Never Knows" should now come as no surprise to the man who religiously rips off riffs from the Fab Four. "He'd written the melody and the lyrics (for "Setting Sun") and then we did a version which we tweaked a bit." The collaboration worked in their homeland; the single entered the British charts at #1. And working with Gallagher wasn't the first time the pair had merged the world between acid-dance and British alternative music; they've already worked with Tim Burgess of the Charlatans U.K. While the Chemical Brothers are preparing work on their second album (which will include a track with Mercury Rev), fans will have to satisfy themselves with this 4 track (2 versions, an instrumental, and "Buzz Tracks") single. --- REVIEW: Grateful Dead, _Dozin' At The Knick_ (Arista) - Jim Flammia On March 24th 1990, my friends and I were driving down the New York State Thruway from the small Canadian industrial city of Hamilton, Ontario, where we had just seen two powerful Grateful Dead shows. Not one of us had tickets for the Albany, New York concert, but we were optimistic. In the past, we had obtained tickets in so many creative ways, and we were confident that we would see the show that night, and head back to New York in the morning. When we arrived in Albany, we were pleased to see a great scene - thousands of Deadheads selling food, clothes, stickers and all sorts of fun items. Unfortunately, few were selling extra tickets. About five minutes before showtime, two from our crew found a pair. Of course, I was happy for them, but the harsh reality of missing the show was drawing near. Finally, towards the end of the first set, I realized that this would be the first, and only, Dead show that I would try to get into, and fail. My two remaining cronies and I had our own little adventure out in the cold that night regardless. I only had a few opportunities to hear those shows since, but they were on poor quality bootleg tapes. Fortunately, the shows from the Dead's three night stand at Albany's Knickerbocker Arena have just released on the three disc set, _Dozin' At The Knick_. From songs and performances (complete with mistakes), to the packaging and crystal clear production, _Dozin' At The Knick_ is an excellent representation of the soul, passion and diversity of the Dead at a high point in the later part of its 30-year existence. After Jerry Garcia's passing, many Deadheads dove back into collecting bootleg tapes and CDs (yours truly included) because they knew that they would never again experience the physical element that was the heart and soul of the Grateful Dead, their live show. Heads have always been looking for that perfect soundboard tape, the killer "Morning Dew" or "St. Stephen," the one when Jerry said "goodnight everybody," or the one they attended when they had the "outer body experience." These days, even people who have shunned the whole concept, or have always had a slight curiosity about it, have, when no one was looking, purchased a CD or two from their local record shop. This set is an essential addition to anyone's music collection, Deadheads and non-Deadheads alike. Many know that a Dead show consists of two sets. The first is usually pretty straightforward, with Garcia and Bob Weir alternating songs back and forth. Sometimes you get a tune from bassist Phil Lesh, or whomever is occupying the keyboards at the time, but for the most part, it's unpredictable. The first disc is a collection of 9 songs from the first set of all three shows. It begins with Weir rousing up the crowd with "Hell in a Bucket" from the 1987 album _In The Dark_. Then they pulled out a little surprise for everyone with the seldom played "Dupree's Diamond Blues," a quirky little ditty about what a man will do for his woman, and the trouble he gets in while doing it. Also on the first disc are solid versions of the traditional bluegrass romp "Jack-A-Roe," the gentle beauty of "Row Jimmy," and the Dylan classic "When I Paint My Masterpiece," a Dead standard. The highlights on Disc One are the three offerings from the late keyboardist Brent Mydland: "Just a Little Light;" an electrifying version of the blues-filled "Never Trust a Woman," and an intense rendition of "Blow Away," complete with sermon, to close the set. The second set of a Dead show, at least since the late 70's, started off with an average of 3-6 songs (pre-Drums) that usually segue into each other, followed by "Drums." This is a unique portion of the show in which drummers Mickey Hart and Billy Kreutzmann weave different percussive sounds that include everything from congas to electronic pads. Combining various styles such as Latin and African rhythms with thunderous clashes and traditional rock & roll solos, "Drums" was never remotely similar from show to show. From "Drums" came "Space," the most avant-garde segment of a Dead show, in which Garcia, Weir, Lesh and Mydland created a chaotic collage of sounds, using the Midi systems on their instruments. From "Space," the Dead slowly creep back into the rest of the show (post-Space), teasing a tune or two on the way. The second disc is the pre-Drums part of the set from the night of the 24th. It begins with "Playin' in the Band," whose funky post-jam segues into the cheerful Dead classic "Uncle John's Band," which then slides into a furious version of the epic "Terrapin Station." A special highlight is the Dear Prudence-like instrumental "Mind Left Body Jam," which on this CD is titled "Mud Love Buddy Jam" for reasons unknown. The third disc consists of two different post-Space segments. The first continues right from Disc Two with the post-Space and encore from the 24th. Standouts include Dylan's "All Along The Watchtower" with an aggressive Garcia cutting it up on guitar, the haunting Garcia/Hunter ballad "Stella Blue," and Buddy Holly's "Not Fade Away." The band returned for an encore with a spiritual a cappella interpretation of the traditional "We Bid You Goodnight." The second post-Space segment on the third disc is from the 25th and features the touching Mydland lullaby "I Will Take You Home." A smoking "Goin' Down the Road Feeling Bad," with Garcia and Mydland wailing like two Southern preachers, rolls into a loose and laid-back "Black Peter." Chuck Berry would have done a backflip had he heard the Dead tearin' it up with his classic "Around and Around" that night. The perfect ending to any string of Dead shows, a heartfelt rendition of the favorite "Brokedown Palace," closes this set. Most Deadheads who have listened to hours upon hours of tapes and seen dozens, even hundreds, of shows, will say that they've heard better version of most of the songs on _Dozin'_. However, I think that most will value this collection as a recording of remarkable quality, complete with a superb song list, and excellent performances of them. Non-Deadheads can appreciate the same things, but also utilize it as an introduction to the band in their best form, the live show. They were never referred to as a great studio band, but the Grateful Dead created an atmosphere unmatched with their stellar performances. _Dozin' At The Knick_ captures the energy and passion of a band that defied all by creating their own genre, subculture, corporation, and most importantly, a spirituality that will live on. --- REVIEW: The Cardigans, _First Band On The Moon_ (Mercury) - Robin Lapid You've got to admire any band that persists in transforming Black Sabbath songs into kitschy-cool pop gems. Lead singer Nina Persson can still prompt an amused chuckle from me when she sings, "I am Iron Man..." in her breathless baby-voice. But before you know it, amusement is overtaken by the deep grooves of pop so fun it's hip again. _First Band On The Moon_ blends jazz, 60's pop, some metal riffs de-fanged but funked up, and Persson's distinctive vocals into a fine kitsch-pop package. The Swedish outfit's second U.S. release proves a bit more experimental in its musical stylings. The band lays down a plethora of sounds and instruments on each track, all anchored by some suave guitar licks by guitarist Peter Svensson and bassist Magnus Sveningsson, a duo whose heavy metal background finds a unique outlet in this indie pop album. Lyrics about wronged and obsessive love become catchy pop tunes filled with Persson's la la la's and some heavy, grooving beats. Soon enough, you'll find yourself indulging in the Cardigans' infectious pop candy, singing along to lines like "I've been your sister, I've been your mistress/ maybe I was your whore" with a sweet smile on your face. However, as any five-year-old can tell you, too much sugar content can wear thin too soon. Each song runs directly into the next, leading one to wonder that perhaps too much of a good thing is not that great. The songs start to run the risk of becoming one big kitschy-pop tune, indistinctive of the others. The album's saving grace lies in its continual efforts at a layered, occassional trip-pop diversity despite its overarching pop ethic. There are enough quirky tracks like "Lovefool" and "Your New Cuckoo" to keep the sound from becoming too tiresome. Although each song on _First Band On The Moon_ does not have the staying power as the tracks on the band's previous release, _Life_, the new album does herald a band that continues to grow and experiment with a sound that aims to be the definitive soundtrack for a sequel to "Barbarella". --- REVIEW: Jason & The Scorchers, _Clear Impetuous Morning_ (Mammoth) - Al Muzer Looking to bust their way outta the barn ever since their absolutely amazing, early-'80s trilogy of Reckless Country Soul, Fervor and Lost & Found; this Nashville-based four-piece follow 1995s _A Blazing Grace_ with another time and trend-defying blast of what has become, by now, formula Jason & The Scorchers thrash 'n' twang. Featuring the usual well-chosen, over-the-top cover tune ("Take Me Home, Country Roads," "19th Nervous Breakdown," "Absolutely Sweet Marie," and, this time out, latter period Byrds with "Drugstore Truck Drivin' Man") that you somehow just knew would be there - the group's latest slab of hi-energy corn also boasts: Jason Ringenberg's imperfect, but perfectly appropriate, "aw shucks" yokel yowl; Emmylou Harris guesting on the gorgeous "Everything Has A Cost"; a catchy potential hit in "To Feel No Love" (co-written by The 'Dirt Band's Jimmy McFadden); a slew of countrified boogie rock beats played with a swaggering abandon; and white-noise mongering, under-appreciated guitar hero Warner Hodges riffing with a foam-lipped, manic intensity as he spews out lead and rhythm chunks like a country-boy possessed by demon rock 'n' roll. --- REVIEW: The Connells, _Weird Food & Devastation_ (TVT) - Joann D. Ball If good news travels fast, why are The Connells still the best kept secret in American alternapop? Perhaps mainstream alternative/modern rock radio can answer this question because The Connells have certainly done their part to expose themselves to the American public. The Raleigh, North Carolina sextet has toured endlessly during the past twelve years, playing tiny bars, clubs and theaters and treating crowds to entertaining, energetic pop explosions. They've also released a series of brilliant records showcasing intelligent lyrics and ringing guitars, which have received critical acclaim and solid support from college radio. When the cd _Ring_ was released in 1993, it looked like commercial radio and MTV would follow college radio's lead and give the band the attention they deserve. Although "Slackjawed," the disc's first single, got noticable airplay, the follow-up "74-75" was completely ignored Stateside. "74-75" became a smash hit in Europe, however, and propelled the album to gold and platinum status in several countries. European success led The Connells overseas where they spent much of the last few years touring and playing to massive audiences. _Weird Food and Devastation_, The Connells' sixth effort, and fifth on TVT Records, actually owes its title to the band's European touring experiences. A slight departure from earlier offerings, _Weird Food and Devastation_ is more visceral, shaped by raw emotion and a rougher edge. There's also more lyrical and musical variation, in large part because five of the six members contribute to the overall effort. For the first time, the songwriting trio of lead vocalist Doug MacMillan and guitarists Mike Connell and George Huntley share duties with drummer Peele Wimberley and bassist David Connell. And mainstay Steve Potak contributes piano, organ and keyboards in all of the right places on this 14-track buffet. The Connells kick off _Weird Food and Devastation_ with "Maybe," a gritty sonic assault. MacMillan delivers this wake-up call over buzzing guitars, pounding drums and throbbing bass. "Fifth Fret," the first U.S. single, is another stellar guitar-fuelled tune, irresistable and memorable thanks to a catchy chorus. The rave-up number "Let It Go," on which Huntley sings lead, and "Smoke" are power pop servings with a Southern rock twist while "Start," "Any" and "Hang On" are classic Connells songs. The slower, introspective numbers that have provided balance on previous records are also here but darker and moodier. On the acoustic and lead guitar-laden "Back to Blue" and the cello and distortion-driven "Too High," the band exhibit genuine emotional depth and breadth. On _Weird Food and Devastation_, The Connells demonstrate that they are truly alternapop artisans whose work is regrettably under-appreciated on this side of the Atlantic. To paraphrase the chorus of "Fifth Fret," they have everything but what they want, which is all of your attention. --- REVIEW: Qkumba Zoo, _Wake Up And Dream_ (Arista) - Bob Gajarsky Bands out of Africa are a rarity on the pop charts, but South Africa's Qkumba Zoo is breaking the rules with their debut album, _Wake Up And Dream_. The standout track far and away is "The Child (Inside)". Combining South African chants, a driving synth-pop keyboard line, and irrepressible dance beat, this song would be an international smash in a perfect world. As it is, synth-pop has fallen out of favor in some circles, and the band has not received the credit they deserve for this absolutely brilliant song. The remainder of _Wake Up And Dream_ doesn't reach the lofty heights attained in "The Child (Inside)", but it also doesn't go down the same path. "Cloud Eyes (I'm Scared, You're Scared)" slows down the pace a few notches while having a tender quality about it, and other tracks such as "Mermaids", "Into The Night" and "Flesh and Blood" hook those keyboards with the beautiful vocals of lead singer and lyricist Levannah. The group's appearance definitely stands out; Levannah has a shaved head with a pointed patch of hair in the middle of her head, which is adorned with glittering stars, half moons and rotating eyeballs; keyboardist Owl is bald, with a straggling goatee hanging from his chin and dancer/sculptor Tziki (not unlike Bez, formerly with the Happy Mondays and Black Grape) has a fully tattooed and pierced body. But although the appearance of the band might be a bit distracting, the ability of Qkumba Zoo to link world music, especially the influences of their native South Africa, with synthpop should not be taken lightly. If Blondie had been raised in a world consisting of keyboards, Qkumba Zoo's _Wake Up And Dream_ might well have been the result. --- REVIEW: Chris Isaak, _Baja Sessions_ (Reprise) - Robin Lapid The booklet accompanying Chris Isaak's latest release reveals much about the album as a whole. There's lots of pretty snapshots of Isaak and the members of his band, Silvertone, hanging out and relaxing in sun-soaked Baja - pictures of leisurely drives, grass huts, fun with the band. Isaak set out to make an album that was "the perfect setting for romance," yet the singer himself is pictured alone, except when he is pictured with his bandmates, his surfboard, or his guitar. But he doesn't look melancholy and lonely. On the contrary, he looks relaxed, occassionally lost in thought, his blue eyes drifting over the endless warm waters. This is a vacation scrapbook providing visual cues to the sonic landscape of _Baja Sessions_, an album which captures Isaak's plaintive warblings about heartbreak and loneliness but with less rock 'n roll edginess and more easygoing melodies. The focus shifts from the immediate pain and emotion in the songs to the loveliness of the music itself. The album contains reworked versions of songs from previous releases as well as covers, including Roy Orbison's "Only the Lonely" and Gene Autry's "South Of The Border." Three new tracks are also included. As opposed to a live album, this collection of tracks is described as "one-take songs...recorded live in the studio." The result is, at its worst, something like Chris Isaak Lite. But the album is mainly Isaak at his best, as it captures some of the darkly romantic intimacy of Isaak's live shows. The songs embody a certain warm, lilting quality that soothes the listener with its languid strumming and deep vocals. Songs like "Pretty Girls Don't Cry" and "Two Hearts" carry less of the heavy-hearted bite of the originals and veer toward sounding too pleasantly dismissive. But they reveal some different sides to the Isaak repetoire, most notably in Hershel Yatovitz's eloquently subtle lead guitar and Isaak's flawless vocals, complemented by Kenney Dale Johnson's percussion and backing vocals and the smooth rhythms of bassist Rowland Salley. Less-produced versions of songs like "Dancin'" give a completely different feel to the originals - it's more introspective and just as moody, but there's a deeper groove to it, bringing the listener into the same room with Isaak. _Baja Sessions_ has romantic, stripped-down songs that fit the uniquely Chris Isaak mold. --- REVIEW: Various Artists, _The Doo Wop Box II: 101 More Vocal Group Gems_ (Rhino) - Daniel Aloi The first Doo Wop Box in 1994 (Rhino's best-selling box set ever) clearly couldn't contain, over its 101 tracks, enough of the doos, waaaaahs, dow-wows and oo-wee-ooohs from the '50s and early '60s. So we get a sequel, and it's as vital and as full of surprises and memories as the first. This box dishes up 101 more platters from 1951-63, extolling heartbreak, longing, devotion and joy. There are hits that stopped time at thousands of high school dances and on millions of car radios, whether cruising or stationary - as well as lesser-known songs that have influenced music to this day. Where would Boyz II Men be without The Platters? Nowhere, man, nowhere. Included are such essential sides (back when records had sides) as "Rubber Biscuit" by The Chips (laced with jailhouse slang, and covered by the Blues Brothers), "Ruby Baby" by The Drifters, "The ABC's of Love" by Frankie Lymon and the Teenagers (a major influence on '60s girl groups and Phil Spector's Wall of Sound), and The Platters' "My Prayer." Here as well is my personal fun favorite of the entire vocal group era, "Mr. Lee" by The Bobettes, girls from P.S. 109 in New York singing about a teacher they can't stand. And that's just on Volume Two! The other discs include such hits as "Secret Love" by The Moonglows and Leiber and Stoller's "Smokey Joe's Cafe" (both Vol. 1, 1951-55) by The Robins - a precursor to the Drifters and Coasters, and featuring "Louie, Louie" songwriter Richard Berry. Vol. 3 (1957-60) is highlighted by a number of great singles that competed with the likes of Elvis and Buddy, including The Shirelles' "Dedicated to the One I Love" and Dion and the Belmonts' "Where or When." And on Vol. 4 (1960-63), there's The Cleftones' "Heart and Soul," Gene Chandler's "Duke of Earl," The Penguins' strange take on "Earth Angel" ("Memories of El Monte"), The Duprees' "You Belong to Me" and Jive Five's "What Time Is It?" (the latter two, incidentally, covered in the '80s by Marshall Crenshaw), among many, many others. Those songs may give this collection a commercial reason to be, but many of the obscure titles - like "The Door is Still Open" by The Cardinals, "Look in My Eyes" by The Chantels, "Arabia" by The Delcos, or the absolutely wild "Babalu's Wedding Day" by The Eternals, to name but three. These make the package a wealth of wide-eyed wonder, with two- and three-minute gems you may have never heard before now. While the singing and harmonies define the form, these sessions used instruments as well, and the arrangements played a large role in the birth and evolution of real rock'n'roll, as it emerged from late-'40s jazz, and gospel and rhythm and blues "race music." The Crows' "I Love You So" is here; its original 1951 B-side "Gee" - included on the first box set - is widely considered one of the earliest true rock'n'roll records. There's tinkling keyboards and brush drumming on the ballads, and steaming saxes on the uptempo numbers - and a lot of soul throughout. Influential and popular as it was in its day, doo wop couldn't last, and its singers, songwriters, producers and session musicians (and dozens of tiny record labels now revered by collectors) were swept aside by the first British Invasion and the ascension of self contained pop groups like The Beatles. The box set's 80-page book has some informative, brightly written essays that show a true fondness for the subject, as well as a comprehensive track-by-track history by singer Billy Vera and an array of publicity photos of the groups that made the music - and history in the process. --- COMPILATION REVIEWS: - Bob Gajarsky REVIEW: Various Artists, _Party Of Five_ (Reprise) With the success of Fox' "Party Of Five" television show and the frequent use of background music in the series, it was inevitable that a compilation would come out from this show. And although the show is aimed at people from their teens to the mid-twenties, the soundtrack (and music from the show) is aimed decidedly at the adult alternative market. Wisconsin's Bodeans bookend the compilation, with their breakthrough hit "Closer To Free", which first appeared on 1993's _Go Slow Down_, and the new "Heart Of A Miracle", which will be featured on an upcoming album from the folk-rock group. The rest of the album combines previously released material such as Joe Jackson's "Stranger Than Fiction", the blues of Big Bad Voodoo Daddy on "Cruel Spell" and the concert favorite from Rusted Root, "Send Me On My Way", with tracks from forthcoming albums such as the serene Howard Jones "If You Love", which marks a mellower approach for the keyboard wizard and covers such as Rickie Lee Jones' version of Donovan's "Sunshine Superman" and Stevie Nicks reinterpreting, albeit poorly, Tom Petty's "Free Fallin'". Possibly the standout track here is the collaboration between B.T. (classically trained pianist and master remixer Brian Transeau) and Tori Amos on "Blue Skies". First appearing on his own _Ima_ disc, this track comes off as a combination of Depeche Mode and Utah Saints, with multiple layering of synthesizers and sounds beneath a vocal which wouldn't necessarily be thought of in a dance context. B.T. first worked with Amos in a remix of her "Talula" song for the _Twister_ soundtrack, and the pairing here - though somewhat out of place with the rest of the soundtrack - is nearly perfect. The listing of artists tells the tale on _Party Of Five_. If three or four of the artists are to your liking, then the adult alternative music of _Party Of Five_ is for you. TRACK LISTING: Bodeans - Closer To Free; Big Bad Voodoo Daddy - Cruel Spell; Laurie Sargent - Without Letting Go; BT Featuring Tori Amos - Blue Skies; Chaka Khan - Love Me Still; Joe Jackson - Stranger Than Fiction; Syd Straw - People of Earth; Holly Palmer - All I Really Wanna Do; Howard Jones - If You Love; Rickie Lee Jones - Sunshine Superman; Nanci Griffith - It's A Hard Life Wherever You Go; Rusted Root - Send Me On My Way; Shawn Colvin - Climb On (A Back That's Strong); Bodeans - Heart of a Miracle --- REVIEW: Various Artists, _Space Jam_ (Atlantic) While Michael Jordan and Bugs Bunny have teamed up to produce the kids monster hit of the season, the soundtrack for _Space Jam_ targets the people who are on the court playing b-ball in the local playgrounds. R. Kelly's poignant ballad "I Believe I Can Fly" (with the Motown Romance Orchestra!) serves as one of the inspiring moments of the film. Robin S. of "Show Me Love" fame returns to the dancefloor setting with a song written with Todd Terry, "Givin' U All That I've Got". And Quad City DJ's have recorded another party anthem (along the lines of "The Train" and "Whoot, There It Is") with the title track which rolls over the opening credits, "Space Jam". "Hit 'Em High (The Monstars Anthem)", is an all star lineup of rappers and hip hoppers featuring B Real, Busta Rhymes, Coolio, LL Cool J & Method Man. If _Space Jam_ needed any credence at the street level, this killer track is likely to establish it - and also come blaring out of many boom boxes. There are some letdowns on _Space Jam_, however. Bugs Bunny's "Buggin'", though cute (featuring the voice of Billy West, also known as the voice for Ren & Stimpy), seems only to be album filler to hit the Warner Bros. crowd. And while Seal's cover of Steve Miller's "Fly Like An Eagle" soars high - with a brief lyrical insertion from his own hit, "Crazy" - Salt N Pepa's reinterpretation of Diana Ross' "Upside Down" and the Spin Doctors (with Biz Markie) cover of That's The Way (I Like It) both fall flatter than a deflated ball at the end of a slam dunk competition. A mixed bag of tracks that should sell well, _Space Jam_, the soundtrack, is Madison Avenue's urban wet dream. --- REVIEW: John Waite, _Falling Backwards_ (EMI) John Waite's career first ascended with the British rock group The Babys; during that time, Journey's Jonathan Cain would join up, and the pair would reunite again in 1989 as part of Bad English. In between, Waite managed one monster hit which Tina Turner has recently covered, "Missing You", and recently returned back to a solo career in 1995 with the release of the underrated _Temple Bar_. Waite's rock and ballad style hadn't gone away, but was a victim of the quirks of the music industry. When the Imago label went through some restructuring last year, several artists, including Waite and former lead singer Aimee Mann got lost in the shuffle. Although he notched a top 5 adult contemporary hit with "How Did I Get By Without You", the album crashed and burned because of no exposure. Three tracks from that album, including "Downtown" (co-written with Glen Burtnick), appear here to magnify Waite's latest work. _Falling Backwards_ does not serve as a complete history of Waite's career; there are plenty of examples of hits (both on the charts, or in the hearts of fans) which are omitted. Instead, it follows the pattern of some European compilations by serving up an assortment of hits, leaving the completist wanting more, but satisfying the palate of the casual fan. TRACK LISTING: (solo) How Did I Get By Without You, In Dreams, Downtown, Act of Love, If Anybody Had A Heart, Encircled, Missing You, Change (With Bad English) Straight To Your Heart, When I See You Smile, Price of Love (With Babys) Back On My Feet Again, Midnight Rendezvous, Head First, Broken Heart, Isn't It Time, If You've Got The Time SURPRISING OMISSION: Bad English "Possesion" and "Forget Me Not"; Babys "Everytime I Think Of You" (referred to in the liner notes as appearing on _Greatest Hits, Vol. 2_); solo "These Times Are Hard For Lovers", "Every Step Of The Way", "Tears" --- REVIEW: Zoe, _Hammer_ (RCA) - Reto Koradi Instead of not judging books by their covers, maybe we should establish the new rule to not judge an album by its first two tracks. Those from _Hammer_ would make it all too easy to put a label on Zoe: yet another angry woman with a vengeance on men ("if I had a hammer, I'd hit you on the head"). These two rock tracks aren't bad at all, though, they have plenty of hit potential. But they could easily lead to the wrong impression that Alanis II is approaching. Much of the rest of the album goes along much more peaceful waters. There are many ballads with a definite folk feel, like the outstandingly beautiful "Virgin Snow". A celtic touch can be felt all through the album, most pronounced on songs like "I Once Loved A Lad". Only two tracks sound somewhat like commercial compromises. One is the dance oriented "Early In The Morning" which sounds quite trendy, but does very well at it. Another one, "Reach Out", has very clear traces of the Bristol sound that seems to creep in everywhere. Zoe's voice doesn't sound spectacular at first sight, but it's likable and expressive. Combined with excellent song writing, tasteful arrangements and the fine production by Killing Joke (!) bassist Youth, this makes for a terrific album. It's not only the quantity (67 minutes) that is remarkable about this album, but also the quality of Zoe's _Hammer_. Highly recommended! --- REVIEW: Joe Henry, _Trampoline_ (Mammoth) - Scott A. Miller Joe Henry is Madonna's brother-in-law. Yeah, that Madonna. But you can't pick your in-laws and you shouldn't pick up his fifth full-length album, _Trampoline_, expecting to find even one dance number. What you get with Henry are songs built to last, songs that grow on you, songs you can develop a relationship with and learn to appreciate more when you've spent some time with them. Henry is foremost a storyteller. He sets the mood with a deft use of acoustic, quiet electric and tremolo guitars. His opening lines have a near-journalistic ability to spill the entire tale and make you want more at the same time. His stories unfold in layers, the musical equivalent of a Quentin Tarantino movie. His beats lope along, as if he has most of the day to tell you the nine stories that appear here and you have some time on your hands to listen. The title track, about a man clinging to a failed relationship, is one example. Over an almost "Crimson and Clover" guitar line, Henry sings "the floor will have its way it seems. It fights me like a trampoline. It won't let me on the ground. So this time I'm not coming down." Three verses later you find out the protagonist knows he's living a lie, but he clings to it because he thinks it's the only thing keeping him from giving up. The entire album is filled with lines so good they almost make you want to stop the music, just so you can think about them. But gems like these shine in every verse, so you just let the music play and listen to the story. And learn to appreciate each one each time you hear it. Henry's previous albums have come with notable contributions from the Jayhawks, Don Cherry and T Bone Burnett. This outing finds him enlisting the help of producer Patrick McCarthy, who has done work for R.E.M. and Counting Crows, and Helmet guitarist Page Hamilton. The guest spots are a fitting tribute to a first-rate songwriter. So kick off those dancing shoes and get on Henry's _Trampoline_. Like the person in the title track, you, too, may not want to come down. --- NEWS: > The band Enigma is now on the Web at http://www.enigma3.com with information on the band, Gregorian chants and much more. Michael Cretu will have an online chat on December 13 at 5 pm EST on America Online, simulcast on the Website. > The Goo Goo Dolls have given legal notice to Metal Blade Records (distributed by Warner Brothers) that they no longer record for the label. The band contends that they have been signed to an unfair and unenforcable contract, and cites sales of more than two million copies of their _A Boy Named Goo_ album, but claim that they have received no money in artist royalties, among other disputes. > Roadrunner Records has recently gone on the World Wide Web at http://www.roadrun.com > The annual "White Party" AIDS fundraiser has been one of the industry's most attended events. In conjunction with this event, _The White Party - A Continuous Club Mix_ has been released. This compilation dance remix CD includes artists such as Donna Summer, Dan Hartman/Loleatta Holloway and Shawn Christopher. Proceeds will benefit the Miami Health Crisis Network. --- TOUR DATES Arm Dogs Dec. 4 Los Angeles, CA Luna Park Dec. 5 Los Angeles, CA Cicada Dec. 6 Los Angeles, CA Mark & Brian XMas Show Barenaked Ladies Dec. 3 Boston, MA The Orpheum Dec. 6 Philadelphia, PA Tower Theatre Dec. 8 Detroit, MI Palace Of Auburn Hills Dec. 9 Washington, DC 9:30 Club Black Crowes Dec. 3 Little Rock, AR Robinson Auditorium Dec. 4 Tulsa, OK Brady Theatre Dec. 6 Lafayette, LA Heyman Perf. Arts Center Dec. 7 Dallas, TX Dallas Music Complex Dec. 8-9 Austin, TX City Coliseum Boiled In Lead Dec. 4 Madison, WI Angelic Brewing Company Dec. 5 Chicago, IL Abbey Pub Dec. 6 Detroit, MI 7th House Dec. 8 Pawling, NY Towne Crier (Acoustic) Tracy Bonham (All shows are sponsored by the listed radio station) Dec. 2 Hartford, CT WMRQ Dec. 3 Boston, MA WBCN Dec. 4 Minneapolis, MN KEGE Dec. 5 Philadelphia, PA WDRE Dec. 7 St. Louis, MO KPNT Johnny Cash Dec. 4 Austin, TX University of Texas Chimera Dec. 2 Athens, GA Atomic Music Hall Dec. 3 Atlanta, GA Hard RockCafe Dec. 6 Tallahassee, FL Cow Haus Dec. 7 Pensacola, FL Sluggo's Dec. 8 New Orleans, LA Monaco Bob's Phil Cody Dec. 4 San Francisco, CA Slims Dec. 6 San Juan Capistrano, CA Coach House Dec. 7 Ventura, CA Ventura Theatre Deftones Dec. 2 Cleveland, OH Odeon Dec. 4 Chicago, IL Metro Dec. 5 Grand Rapids, MI Reptile House Dec. 6 Detroit, MI St. Andrews Hall Dec. 7 Milwaukee, WI The Rave Dec. 8 Minneapolis, MN First Avenue Ginger Dec. 5 London, ON Call The Office Dec. 6 Toronto, ON The Horseshoe Dec. 7 Ottawa, ON Zaphod's Dec. 8 Hamilton, ON The X Club Lizard Music Dec. 2 Teaneck, NJ Fairleigh Dickinson University London Suede Dec. 2 Edinburgh Usher Hall Dec. 4 Bradford Windsor Baths Dec. 5 Southend Cliffs Pavillion Dec. 6 Ipswich The Gaumont Dec. 8 Cardiff David's Hall Dec. 9 Bristol Hippodrome Sarah McLachlan Dec. 5 New York, NY Madison Square Gardens Dec. 6 Philadelphia, PA Tower Theatre Dec. 7 Houston, TX KRBE Show Dec. 8 Detroit, MI Palace Of Auburn Hills Dec. 9 Washington, DC 9:30 Club Morcheeba Dec. 2 Los Angeles, CA Luna Park (9:00pm upstairs) Teddy Morgan Dec. 5 Grand Rapids, MI Rhythm Kitchen Dec. 6 Chicago, IL B.L.U.E.S. Etc. Dec. 7 Lansing, MI Capitol Hill Station Ocean Colour Scene Dec. 7 San Francisco, CA Slims Dec. 8 San Diego, CA Casbah Professor & Maryann Dec. 3 New York, NY Caroline's Comedy Club Pure Dec. 5 New York, NY Brownie's Republica Dec. 2 Montreal, QC Cabaret SNFU Dec. 2 Milwaukee, WI The Rave Dec. 4 Omaha, NE Cog Factory Dec. 6 Denver, CO The Snake Pit Sponge / Ruth Ruth / Red Five Dec. 3 Raleigh, NC Marzz Dec. 5 Virginia Beach, VA Abyss Dec. 6 Winston Salem, NC Ziggy's Dec. 7 Charlotte, NC Sound Factory Dec. 9 Orlando, FL Embassy Music Hall Tool / Psychotica Dec. 3 Washington, DC Capitol Ballroom Tree Dec. 3 Nashville. TN Lucy's Record Shop Dec. 6 Lexington, KY Area 51 Dec. 8 Chicago, IL Fireside Bowl Miss Lavelle White Dec. 7 Austin, TX Top Of The Marc Bill White Acre Dec. 7 Los Angeles, CA Bourbon Square Yatsura Dec. 2 New York, NY Brownie's Dec. 5 Detroit, MI Shelter Dec. 6 Chicago, IL Lounge Ax Dec. 7 Minneapolis, MN 7th Street Entry Dec. 9 San Francisco, CA Bottom of the Hill --- THE READERS WRITE BACK! > I've been reading _Consumable_ for a little over 2 years now, and I usually find it informative, complete, and unabashedly critical. The reviews I've come to expect from Consumable are of above-average to excellant quality, certainly far superior to most print-based, mass media marketing efforts - which is why Janet Herman's mediocre review of Marylin Manson's new album came as such a disappointing surprise. Herman makes it clear that she doesn't take Manson seriously, and that's certainly her prerogative. But to write Manson off as a shock artist does him and his fans a severe disservice. Manson speeks to a small but growing and increasingly vocal subculture of both American and European listeners that are young, vital, and highly dissatisfied with the current mainstream. It seems most likely to me that Herman was just a bad match to the album - which is not her fault. This is most evident in her blanket admonishment that the album "grows sour over time" without her providing even one concrete example of what that means. Manson isn't trying to appeal to an audience seeking harmony and reassurance - he is trying to expose something dark in all of us, and whether or not he takes himself seriously, there are quite a few people who find meaning in his music. He follows a genre that, like punk, grows by design almost self-destructively disharmonious. Rather than calling attention to the obvious, the reviewer should explore what contributions Manson does or doesn't add. Herman did this a bit with her analysis of "Beautiful People" but failed in general to live up to the deeper level of analysis I've come to expect from a _Consumable_ review. The obvious example of a comparative look at his cover of the Eurythmics' signature peace, "Sweet Dreams (Are Made of These)" wasn't even present in the review. Overall Herman had what felt like a solid beginning that was finished in a hurry. Blanket statements of the overall feel of an album certainly have their place, especially if they can be backed up with examples from the songs or information about the band. But this can never replace the need for a deeper level of analysis, especially in a magazine of as high a quality as _Consumable_; Herman's rather surface analysis of the album only looked all the more so next to reviews that contained that greater depth. - Rich P > You're right, the Les Claypool album _Present Highball With The Devil_ is amazing. I wish people would listen to this instead of trendy Oasis. - Mark K., Canada --- Founded in August, 1993, Consumable Online is the oldest continuous collaborative music publication on the Internet. To get back issues of Consumable, check out: WWW: http://www.westnet.com/consumable 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 (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 ===