==== ISSUE 103 ==== CONSUMABLE ======== [March 22, 1997] Editor: Bob Gajarsky Internet: gajarsky@email.njin.net Sr. Correspondents: Jeremy Ashcroft, Dan Enright, Reto Koradi, David Landgren, Sean Eric McGill, Tim Mohr, Al Muzer, Jamie Roberts, Joe Silva, John Walker Correspondents: Daniel Aloi, Lee Graham Bridges, Scott Byron, Janet Herman, Bill Holmes, Eric Hsu, Tim Hulsizer, Stephen Lin, Scott Miller, P. Nina Ramos, Linda Scott, Scott Slonaker, Simon Speichert, Jon Steltenpohl, Courtney Muir Wallner, Simon West, Lang Whitaker Technical Staff: Chris Candreva, Dave Pirmann 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: Shonen Knife - Al Muzer REVIEW: Rollins Band, _Come In and Burn_ - Sean Eric McGill CONCERT REVIEW: Matthew Sweet and Fastball - Bill Holmes REVIEW: u-Ziq, _Urmur Bile Trax Volume 1 Volume 2_ - Joe Silva REVIEW: Nerf Herder, _Nerf Herder_ - Bob Gajarsky REVIEW: Sloan, _One Chord To Another_ - Al Muzer REVIEW: Shudder To Think, _50000 B.C._ - P. Nina Ramos PORTRAIT/REVIEW: Arno, _Give Me The Gift_ - Reto Koradi REVIEW: fIVE fOR fIGHTING, _...Message For Albert..._ - Bob Gajarsky REVIEW: Slush, _North Hollywood_ - Joann D. Ball REVIEW: Chopper, _Chopper_ - Bill Holmes REVIEW: Humble Gods, _No Heroes_ - Simon Speichert REVIEW: The Clarks, _Someday Maybe_ - Linda Scott REVIEW: Javelin Boot, _Fundamentally Sound_ - Bill Holmes REVIEW: Various Artists, _Toon Tunes_ - Bob Gajarsky REVIEW: Vallejo, _Vallejo_ - Scott Slonaker NEWS: Cause & Effect, Nordic Entertainment, Pseudo Online TOUR DATES: Archers of Loaf / Engine 88 / Knapsack / Peppercorn, Baby Fox, Bloodhound Gang, Breeders, Catfish, Churn, Shawn Colvin / Freedy Johnston, Cordelia's Dad, Coward / Gravel Pit, Cravin' Melon, Crown Heights, Daddy Longhead, Darlahood, Descendants, Donovan, Drywall, Funky Green Dogs, Goldfinger / Reel Big Fish, H20, Susanna Hoffs / Jason Falkner, Horny Toad, Humpers, I'M'L, Irving Plaza (New York Concert Hall), Jewel, Luciano, John Mellencamp / Why Store, Metallica / Corrosion of Conformity, Nada Surf / Candy Butchers / Ditch Croaker / Wrens, Odds, Orange 9MM, Orbit, Ovum, Plexi, Professor & Maryann, Rasputina / Cranes, Samples / Stir, Duncan Sheik / Jill Sobule, Sick of It All, Sissy Bar, Sister Hazel, Stillsuit / Downset / Earth Crisis, They Might Be Giants, Urge, Volebeats THE READERS WRITE BACK! Back Issues of Consumable --- INTERVIEW: Shonen Knife - Al Muzer Sometimes a small step backwards can equal three well placed giant steps in the right direction. Take, for example, the sonic contrast between the last two Shonen Knife studio albums. While 1994's _Rock Animals_ strove for a hard-edged, riot grrrl roar that, more often than not, fell flat and was less than convincing; _Brand New Knife_, the Osaka, Japan-based trio's latest record, marks a welcome return to the hook-filled jangle of a much simpler place and time. While it may've been as lyrically naive as the six or seven records that preceded it, the aimed-at-the-mainstream, arena rawk sheen plastered all over _Rock Animals_ by co-producer Page Porrazzo contrasted uncomfortably with bassist/vocalist Michie Nakatani's and guitarist/vocalist Naoko Yamano's warbled, still-learning-the-language vocals, enthusiastically-sloppy riffing and simplistic world view. Shonen Knife as leather-clad, grrrl group rockers was, for the most part, a concept rejected not only by mainstream listeners, but by alterna-rock fans who already had a Shonen Knife disc or two in their collections. "We were very loud then," comments Naoko about sessions for the album. "While _Rock Animals_ captured our live sound much better than anything we had done before, maybe," she ponders, "it was too loud?" "People come up to us after shows all the time to tell us how surprised they are that we play as loud, and as well, as we do," chuckles Michie. "Everyone seems to really enjoy our shows, but they always tell us later how surprised they were that we can 'rock.' " Formed in 1982 by wide-eyed innocents Nakatani and Yamano with Yamano's younger sister, Atsuko, on drums; Shonen Knife has spent the last 15 years carving out a niche for themselves in the pop world by combining lyrics about simple pleasures such as fishing, bicycling, ice cream, kitty cats, jelly beans, insect collecting, diet products, chocolate bars and desert treats with some of the catchiest pop confection crafted since Redd Kross discovered the Rickenbacker. "We've always enjoyed writing songs about everyday things," says Michie in halting, hesitant English on the afternoon of the group's sold out performance at L. A.'s recent Poptopia Festival. "Besides, there are already enough bands out there singing about pollution, war and poverty. While we all care very much about those things, we also feel that music should be fun. You should be able to go [trills a few playful "la-la-la-la-la's"] when you hear your favorite song on the radio." That simple approach has worked surprisingly well for the group. While a rollicking version of Karen and Richard Carpenter's "Top Of The World" (from the 1994 _If I Were A Carpenter_ tribute compilation) is the closest they've ever come to an actual hit (thanks, in part, to its use in a Microsoft commercial), the band has enjoyed the respect and encouragement of their American musical peers since well before their first U.S. concert in 1990, 1991's attention-grabbing _712_ CD on Gasatanka/Rockville Records, or _Let's Knife_, their 1993 Virgin Records debut. Adopted by the punk and pop elite and feted by the likes of Nirvana and Redd Kross early on, the 1989 Shonen Knife tribute album, _Every Band Has A Shonen Knife Who Loves Them_, showcased 23 of America's hottest alterna-bands (including L7 and Sonic Youth) doing their very best to capture the child-like magic of Shonen Knife. While the record went nowhere commercially, the resulting press exposure helped ensure that there were, at the very least, curious club-goers waiting for them when Naoko, Michie and Atsuko landed on these shores for the first time the next year. After the misguided _Rock Animals_ album and their version of "Top Of The World" failed to do more than add a smattering of new fans to the group's cultish following, Virgin Records released the _Brown Mushrooms and Other Delights_ EP, an 18-track, _The Birds & The B-Sides_ compilation and, midway through last year, the band itself. Quickly inking a new contract with Big Deal Records, a New York-based indie label with an impressive roster of pop acts, decent distribution and a faultless industry reputation, Shonen Knife wasted little time before flying to L. A. to record tracks for their tenth full length album, this time with Buffalo Tom, Lemonheads and Ringo Starr producers the Robb Brothers behind the boards. As whimsically preoccupied with the mundane events of day-to-day life as ever, the 13 new songs on the 20-track (the seven extras are in Japanese) Brand New Knife finds Shonen Knife turning their attention to such important topics as love, relationships, television psychics, sumo wrestling, rock idols, plastic robots, amusement park rides, fruits and vegetables, Japanese monuments, Barbie Dolls, Buddha, Twister, Star Trek and a severe case of Frogphobia. "That's me," giggles Michie. "I have frogphobia. I just don't like frogs. There's just something" she pauses in search of the right word before giving up and stating emphatically. "I really don't like frogs." "I don't want to sing about too many bad things or too many dark, sad things," proclaims Naoko. "I want everyone to enjoy the music of Shonen Knife. If I write and sing about fun things, Shonen Knife will make the people listening to us happy." Graced with simple melodies, driven guitars, inspired harmonies, skewed-in-translation lyrics, deeper meaning than some of those lyrics first let on, and a sweetly lilting sense of childlike naivete; _Brand New Knife_ is a gleaming return to _Let's Knife_-caliber Shonen-pop with enough of the hard grrrl energy displayed on _Rock Animals_ left over to induce serious bouts of air guitar riffing. "We don't want to limit where we can go with our music," says Naoko, "so we try to listen to everything - although I don't seem to care for 'noisy' music too much these days. I recently started listening to my Kiss records again. I even have a Kiss jacket with a cartoon drawing of the band on it," she laughs. "I remember when I was a child and I went to see my first Kiss concert, I was just soooo surprised by the show. It made me want to be up there singing and playing." "I really love good pop music," offers Michie. "The Beatles, Beach Boys, The Jam, Redd Kross, Cheap Trick." "Cheap Trick came to Japan last December," recalls Naoko. "I went to the show with Atsuko. I remember being very impressed by Robin Zander's voice, Rick's [Nielsen] many guitars and the way the band was" she sighs, "when I watch groups like Kiss or Cheap Trick, I'm always amazed at how much fun they seem to be having on stage." "Shonen Knife wants people to enjoy our show and our music, too," comments Michie. "But, most importantly, we have to be happy being Shonen Knife. We want to have fun. We want to write songs that make us happy when we record them, and make us happy when we play them again and again." "_Brand New Knife_ has many moments that make us very proud and very happy to be Shonen Knife," says Naoko. "Michie has good songs, I have good songs, the music is, I think, very good - it's a good album." "I really like 'The Perfect World' a lot, but," she adds sheepishly, "one of my favorite songs on the record is 'Magic Joe.' My sound concept when I was writing it wasn't 'Hey Bulldog' - which is what many people seem to think," Naoko laughs, "but Led Zeppelin. Maybe since I love the Beatles so much, I was subconsciously inspired by them when I wrote it." "Another good song is 'Buddha's Face,' " she offers. "We do that one live a lot because it's loud and fun to play. I was very angry at, uhm something," Naoko adds cryptically, "when I wrote that song." "I think the single ["E.S.P."] is very good and I really like "Magic Joe" a lot," offers Michie, "but, I'm especially proud of "The Perfect World." I think it's the best song I've ever written. Naoko plays the Mellotron and a great guitar break on it, and it has a good feel to it. I also enjoy "Loop Di Loop," she laughs, "which is about going on an amusement park ride." "You know, some people try to analyze what we're singing about and spend too much time trying to figure out, 'who is Shonen Knife?' " laughs Naoko. "But, as long as we have songs that make us smile when we play them and make our fans happy when they hear them, who cares if we sing about bad oysters, chocolate bars or ice cream?" Look for Shonen Knife on tour at a venue near you this spring. Learn more Big Deal information (such as Shonen Knife tour dates) by e-mailing: BIGDEALNYC@AOL.COM. Join the official Shonen Knife Fan Club by writing to: Knife Collectors, PO Box 1942, Hoboken, NJ 07030. --- REVIEW: Rollins Band, _Come In and Burn_ (Dreamworks) - Sean Eric McGill The general image of Henry Rollins is simple: a mass of tatoos and muscle which seem to exist in places most people don't even have places, screaming into a microphone against the evils of the world. That's about half right. Since his days with Black Flag, Rollins has always been one of the more intellectual figures in the music industry. His eleven books and eight spoken word releases have shown that this is more than just another screaming maniac with a band, and it is that sense of intellectualism that has helped garner his band, Rollins Band, one of the most faithful followings in the industry. But, it's been three years since the release of 1994's _Weight_, the band's most popular release to date. In that time, we haveve seen what appears to be the death of grunge, the rise of gangsta rap, and Michael Jackson became a parent (surely one of the first signs of the Armageddon). Has this changed Rollins Band? Well, yes and no. _Come In and Burn_ is their first release for Dreamworks, and from the first few seconds in, you get an idea of what you should be prepared for. "Shame", the album's lead-off song, starts off slow enough, with Rollins more-or-less speaking the lyrics, then he and the band kick in to shove the chorus down your throat. Rollins is known for a lot of things, but being one of the world's best vocalists isn't one of them. Which is why, like on _Weight_, if he isn't screaming (which he is very good at), he's delivering his lines with a certain cadence that calls to mind his spoken word material, but works well with the songs. The songs on _Come In and Burn_ are a mixed bag of "anger against society" songs like "During a City", and personal songs like "The End of Something" and "Saying Goodbye Again". The latter batch are the best on the album. Rollins' spoken word material has always been at its best when he is riding that fine line between performer and stand-up comedian, choosing to deal with the inter-personal relationships of himself and others instead of rallying against the world as a whole. As far as the sound of the album goes, it's important to note that Rollins Band is one of the only (if not the only) band I know of that lists their soundman, Theo Van Rock, as part of the band. One of the things that originally caught my ear on _Weight_ was the rolling basslines of Melvin Gibbs, and how that complemented the guitar work of Chris Haskett and Sim Cains drumming. The same sound is intact on _Come In and Burn_, with no changes whatsoever, save for those that come from the songwriting itself. Rollins Band is a group to be reckoned with, much like their frontman. _Come In and Burn_ isn't really an album for the Marilyn Manson set - the songs don't make any attempt to hide their true meaning, and the vocalist isn't anywhere near as flashy - but if you appreciate good songwriting, good musicianship, and a nice, fat sound that will leave you shaken after the CD has left your player, then this album is for you. --- CONCERT REVIEW: Matthew Sweet and Fastball, Rochester, NY - Bill Holmes Matthew Sweet has to be one of the most unassuming pop stars on the planet. Most bands will remind you before, during and after every song that there is a new album on the way. Aside from one innocuous comment, the only clue that concert patrons had was Ric Menck's bass drum head which bore the phrase "Blue Sky On Mars", and if you were more than twenty feet away you would have missed that, too. With the album a month away, this was more of a flexing of the pop muscle than a full fledged dog and pony show to move discs. As usual, Sweet showed up with a stable of professionals. Besides stalwart Menck on drums, fellow Velvet Crush member Paul Chastain played guitar, keyboards and just about everything else he could get his hands on. Ex-Cruzados bassist Tony Marsico straddled the front line along with guitarist extraordinaire Ivan Julian, who has been a dominant creative axeman for over twenty years and still looks like a fresh face. Although they may still have been working on some arrangements for the newer songs or even the set list itself (two songs were added since the previous week), the band was certainly well-oiled and ready. As was the crowded club. Kicking the evening off with "Dinosaur Act", the band roared through twenty songs with hardly a break for air. Sweet has a wealth of killer material to draw upon and relied on much of it to fill the show, launching only four songs from the new record. No complaints from me! When you can slap a new killer like "Over It" in between "We're The Same" and "Sick Of Myself", that's a roll few artists can match. The crowd was familiar with the songs culled from _Girlfriend_ and _Altered Beast_ and responded with appropriate enthusiasm, and the new songs were met with deserved appreciation as well. The songs sounded much the same as they do on record (except for some of Julian's explorations), but probably the highlight of the show was a high-octane version of "Girlfriend", his breakthrough hit, played at a much faster tempo. Although not a "greatest hits" show by any means, after hearing "Winona", "Time Capsule" and "Come To Love", even long time fans were reminded just how prolific a pop songwriter Sweet has been in this decade. As expected, the crowd really caught fire whenever Sweet turned Julian loose for some aural pyrotechnics. Besides adding a needed edge to Sweet's pop songs (like fellow New York wizards Robert Quine and Richard Lloyd before him), Julian got a chance to stretch out and do his best Mick Ronson impression on a cover of Bowie's "Moonage Daydream", one of the encores. Also treated with reverence was the Kinks classic "Waterloo Sunset", a well-played homage to one of Sweet's heroes. This is the third time I have seen Matthew Sweet with a band, and while each was a fulfilling experience, they have also been among the loudest shows I have ever seen. Knowing them, I can rule out the clubs and the sound engineers, so I can only surmise that the shy popster feels safer behind a wall of noise. Pity - he's a supreme talent whose songs would shine in any arrangement, and an occasional break from ear-bleed territory would be a welcome respite. Much of the texture that Paul Chastain added was lost in the mix (his keyboards were almost inaudible) and the background vocals were sometimes drowned out by the thick wave of guitar. The closest the evening came to "unplugged" was when Sweet and Ivan Julian performed "I Thought I Knew You" as a duo - on ringing electrics, of course. But volume aside, it was a remarkable evening. Opening act Fastball was a real scene-stealer. Clearly the crowd was there to see the headliner, but they didn't care - they reared back and kicked ass for their entire set just the same. Pounding out hard crunchy pop and roll like a wittier Green Day, they fleshed out several songs from their major label debut, and even tossed in a spirited version of Tommy Tutone's classic "Jenny". Too bad there was no product of any kind in the house; they made a lot of friends that night. If and when this double bill hits your burg, better get there on time or you'll miss a real comer in Fastball. --- REVIEW: u-Ziq, _Urmur Bile Trax Volume 1 Volume 2_ (Caroline) - Joe Silva What generally doesn't work for me about jungle and its suspiciously analogous cousin drum n' bass (have you ever seen the two together at the same time?) is that I can't imagine the quantity of ephedrine-based goods that it would take to keep an entire club's worth of revelers moving along to its sputtering rhythms for any extended length of time. As a vehicle for dancing, it seems far too demanding an exercise. And while I haven't become acquainted with the new Orb platter yet, another player of some consequence in the techno arena has taken to jungle's hyper-paced realm. u-Ziq (pronounced "music") is the principal nom de techno that 25 year old Mike Paradinas uses while cranking out prolific amounts of his electronic whirs and gurgles. A bedfellow of sorts to the Aphex Twin (his debut releases were on the Twin's Rephlex label), u-Ziq came to be know for wonderful digital etchings that combined otherworldy motifs with fluid structures and drum tracks cranked up to where they were distorted, but just enough to be a true signature move rather than simply becoming annoying or gimmicky. True melodies seem to always be something of a concern (!!), and Mike P.'s sense of knowing how to wring his sampler for sounds that bear both charm and distinction is far more than keen. Now Mike has copped a vision of the jungle world on _Urmur Bile Trax Vol. 1&2_. But the challenge here is not whether the BPMs meet or surpass recommended daily allowances, but how to traverse the aesthetic and not weigh in like so many other faceless knob tweakers. The Twin did it (more or less) on his recent _Richard D. James_ LP, and u-Ziq's slant is also fairly convincing and near or about the mark. The tracks here are long (the shortest coming in at 6:14) and the beats unmercifully torqued. The title cut sets the template for what's to follow; long atmospheric breaks in otherwise dense rhythm flourishes and ear-catching samples. But unlike his other work, there is no option for gently wading your techno sensibilities onto his canvas. Once immersed, you must flail along with the masses to keep abreast of all that's going on. By the third on fourth listen the subtle colours of the material begin to surface, but until then the driving gait of the tracks doesn't lose its neon sheen. When he does back off somewhat, the haunting and cryptic feel of what's laid down temporarily seduces your attention span. It's as if when all of a sudden the drum machine quits hammering (or overheats), you are drawn to the interesting asides that waft in. For instance, when you've come 6:20 into "The Hydrozone," you're fed a swirl of spacey Kraftwerk-isms that are dead-on enchanting. By 9:35 the jungle reasserts its hold, but for the duration of the lull, you're reminded of Mike P.'s true strong suit. As a sidelong adventure for young upstart, _Bile Trax_ bubbles along just fine, but as anything more than a "phase" in his trajectory, the average devotee might find their tolerance levels dwindling over time. --- REVIEW: Nerf Herder, _Nerf Herder_ (Arista) - Bob Gajarsky The Ramones meet Weezer on the self titled debut album from the Santa Barbara, California trio known as Nerf Herder. The song which thrust Nerf Herder into the national spotlight is "Van Halen". Played coast-to-coast (and a favorite of Howard Stern's), this track takes laments the David Lee Roth/Sammy Hagar debacle through the eyes of one of VH's devoted fans. A cute novelty hit, this is the type of track that would normally wind up on a Dr. Demento compilation years down the line. However, Nerf Herder deftly avoids the novelty trap, and has produced a collection of simple, but eminently hummable, songs. The key track here is the rollicking "Sorry". A tale of an obsessive apologetic ex-boyfriend, this typifies the "geek rock" attitude which most recently came to light on Weezer's debut album. With "Sorry", lead singer Parry progresses from the realistic ("Sorry I puked up on your bedspread") to the slightly ludicrous ("Sorry I jacked off outside your window / While you were sleeping / I thought you'd never know"). But whereas Weezer's lyrics skirt gently around the subject, Nerf Herder's come full strength at the listener, talking to the geek inside nearly everyone (at one time or another). Parry tells us on "Golfshirt" that "I'm not the one you want to be seen with" and reassures himself with the knowledge that "When you're tired of being hurt, you'll long for the comfort of my golfshirt". Nerf Herder's name comes from a line in "The Empire Strikes Back" - and Luke Skywalker (Mark Hamill) appears in the video for "Sorry". With ten songs packed into just over thirty minutes, the joke doesn't grow old too quickly. So even when the lyrics resort to material which would be better found in Weird Al Yankovic's outtake pile ("Nose Ring Girl" - the only song to truly miss the mark), it's soon over, to take the listener on another journey through bouncy tunes such as "Down On Haley" and "Annalee". If Nerf Herder were still on an independent label, critics would be spooging over them - but now that they're on a major label with their simple guitar chords, it might be a different story. Nerf Herder is likely to draw widely differing reactions of love or hate from music fans. But the one thing that they're unlikely to do is generate indifference. --- REVIEW: Sloan, _One Chord To Another_ (The Enclave) - Al Muzer The third full-length release from Nova Scotia's Sloan finds Geffen's former next-big-things relaxed, confident and in full control of their musical destiny on a brand new label. Elevating the assured pop brilliance explored on 1994s _Twice Removed_ to a near-genius level with this release, the four very distinct singer/songwriters that make Sloan one of the few working democracies in existence all share mutual musical roots that include artists such as the Zombies, the Hollies, T-Rex, _Pet Sounds_-era Beach Boys, Raspberries, the Move, Beatles, Steelers Wheel and AM radio bubble-gum by artists like the Strawberry Alarm Clock, the Archies and the Flying Machine. While potential hits like "The Good In Everyone," "Take The Bench," "G Turns To D," "Autobiography" and "Everything You've Done Wrong" recall their classic influences, a musical nod in the direction of modern seekers of the perfect jangle such as Matthew Sweet, Teenage Fanclub, Velvet Crush, the Spongetones and The Vandalias helps Sloan continue to carve a distinct pop niche of its own. --- REVIEW: Shudder To Think, _50000 B.C._ (Epic) - P. Nina Ramos Just as the flame has dimmed on Shudder To Think's last album, _Pony Express Record_ along comes _50,000 BC_. Shudder To Think has taken a 180 degree turn back to their well earned roots. With a little Spanish spice and hard core sounds they still come forth as one of the best rock bands around. The entire record seems like a joy ride inside of a haunted house. At times dark and mysterious, the next bend can shed the most detail you'll see through the entire journey. Moving, romantic, pop and soul are all poured with honesty and feeling by Craig and the boys. Suprisingly enough, "Red House" (the first single on radio, previously released), has stood the test of time. Proving once again the bad boys from Dischord could very easily slip into the Epic family without many scratches. As an added bonus, Shudder has included a Multimedia treat. The main gist of it is a collection of sounds, images and surprises you will go back for again and again. Stroll down to your nearest Internet cafe or your own room to experience this lovely collage that is Shudder to Think with their latest release, _50,000 BC_. --- PORTRAIT/REVIEW: Arno, _Give Me The Gift_ (Citizen X) - Reto Koradi It's been almost 10 years, but the memory of the first sighting of Arno is still fresh: He was performing his minor hit "Tango de la Peau" in a TV show. Dressed all black, very pale, messy dark hair hanging into his face, eyes closed all the time. A perfect match for the slow, intense song, obviously an artist who lives his music. The next step was buying his album _Charlatan_, and listening to it countless times. If this man needed a label, it would have to be "the European answer to Tom Waits". Even if he never made the big headlines outside Belgium, at least he always sold enough to release album after album, and to always remain present. Seeing him live for the first time a few years later raised the level of appreciation even more. It is rare to see an artist who would put so much into his performance; he does not just sing with his mouth, but with every fibre of his body, soul and mind. With a brilliant band, and the capability to vary the pace between slow ballads and tough rock songs, it is no wonder that he attracts a larger audience than the hypes of today, and some die-hard fans follow him during his tours. So now comes the next step for Arno: _Give Me The Gift_ is his first US release, packing tracks from his past six albums together with a few new ones. Due to that concept, the album covers a wide range of material. A handful of songs, like the title track, "Watch Out Boy", or "Les Yeux de ma Mere" are in his genuine style: slow, sparse, with lots of accordion, often with a touch of tango rhythm, and very intense with his unique, raspy voice. His talent for driving rock songs is shown in tracks like the strong "Meet The Freaks", and "Putain Putain" brings his old punk days back to mind. Other highlight tracks are his dark rendition of Bobby Womack's "It's All Over Now" and the collaboration with dEUS on the haunting "I'm Not Myself". Zap Mama also make a guest appearance on "Seul". The variety of songs drawn from different albums makes _Give Me The Gift_ have a less clear concept than some of his earlier work, like the wonderful _A la Francaise_ from '95, which almost entirely concentrated on songs close to the French chanson style. Even if this could be considered a negative feature, _Give Me The Gift_ is a perfect vehicle for introducing Arno to the American market, showing his full range, and with a wealth of excellent tracks. Like he sings in one of his most important songs: "stoned, stoned, stoned, stoned, let's get stoned, music is the dope." --- REVIEW: fIVE fOR fIGHTING, _...Message For Albert..._ (EMI) - Bob Gajarsky While industry rags have been touting - or forcing - 1997 to be the year of electronica, it may be the "old fashioned" instrument of the piano which is one of the year's most celebrated instruments. Ben Folds Five's approach to the piano has been similar to Joe Jackson and Squeeze, taking an alternative to the Billy Joel/Elton John rock-piano combination. While the key member of fff, John Ondrasik, has less in common with Folds than with either Billy or Elton, he also takes a unique approach to re-introducing the piano as a instrument which can be used to rock. "I don't consider myself a pianist," Ondrasik notes, trying to separate himself from the stereotyped perception. "I consider myself a songwriter who can use the piano as a writing and performing tool." And on cuts such as the first single "Bella's Birthday Cake", Ondrasik and fIVE fOR fIGHTING do exactly that. The cake is for the 50 year old woman who is the centerpiece of the song. And the lyrics, while open-ended to interpretation, probably hit home to many people. "Love Song" is about divorcing parents through the eyes of an innocent youngster, with a pace that strikes memories of 10,000 Maniacs' "What's The Matter Here", while other tracks touch on human emotions with a sensitivity seldom seen in most rock songs. The music on _...Messsage For Albert..._ also is distringuishable from most other acts. Check out the strings on "Day By Day", "Ocean" and "White Picket Fence", which blend eloquently with Ondrasik's piano and the sound which fIVE fOR fIGHTING is trying to create. "Wise Man" utilizes backup vocals such as those used by Crosby, Stills, Nash & Young with guitars of the 1990s, and other tracks such as the aforementioned "Bella's Birthday Cake", "2 Frogs" and "Happy" evoke comparisons to Queen, The Who, and many other classic rock favorites of the 1970s. Because of Ondrasik's raspy voice a la Mother Love Bone's Andrew Wood, the band sometimes bears much in common (with the addition of piano and harmonies) to some of Seattle's better known grunge bands. And as some of those Pearl Jam fans grow older, it wouldn't be surprising to see them take to the lyrical and musical talents of fIVE fOR fIGHTING. --- REVIEW: Slush, _North Hollywood_ (Discovery) - Joann D. Ball You just kinda find yourself in the middle of _North Hollywood_, the debut release from Slush. The in-your-face lead track, "Throw Me A Line," might cause you to wonder whether you've made a serious wrong turn, but don't mistake the aggression, energy and volume. There's really nothing dangerous or threatening here. It's just four young dudes expressing themselves. Slush guides you through a neighborhood of grunge-inspired alternarock and garage pop on this twelve block tour. It's the same type of commercial territory which Bush roams, but infused here with Southern California quirks, sunshine and a sense of humor. Perhaps it's no coincidence, though, that Slush also makes mention of its urban, metropolitan roots - like the respective inner suburbs with which both bands identify, the surroundings are accessible, familiar and identifiable. "Mercury De Sade," the first single from the release, is a highly fueled burst of guitar-driven energy. Variations on this power performance formula appear throughout the disc, most notably on "Stumble," "Milla," and "Last Drop." And when Slush switches gears and slows down a bit, as on "So Volatile" and "Sleep Forever," frontman Johnne Peters showcases his vocal range over an intricate and textured layer of sounds. Peters also has a knack for the bizarre, hence "Amoeba," a psychedelic groove which periodically mutates into mosh pit thrash. With all sincerity, he woos an object of desire by comparing himself to the microscopic, one-celled creature. Amazingly, it's a pickup technique that not only makes you take notice, but actually works. For the record, _North Hollywood_ has character, grit and spark. There's quite a bit happening here with enough hip and interesting spots to warrant frequent visits. Yours to discover. --- REVIEW: Chopper, _Chopper_ (Big Deal) - Bill Holmes I know I shouldn't blame the band for the jewel case stickers that hype them to the prospective buyer. But somebody must answer for a disc that's trumpeting such fizz as "power pop at its finest" and "the purest of pop bands in the style of Big Star, Badfinger and The Byrds...it boggles the mind to try and imagine how Chopper might progress from this". Sure I was excited, wouldn't you be? Now on to reality: Great pop bands need to have the big three - vocals, songs and chops, and Chopper is one leg shy right now. What they lack is a dynamic singer. That's not to say that I wouldn't be pogoing in place to crunchy pop like "You're Tearing Me up" or "Bloodspill", I would be doing my best Gabba Gabba Hey in a second. Musically, they usually feature that fat-bottom, crispy top power pop sound, but on songs like "Nice Girls (Don't Explode)" they prove they can flat out rock. Although the four piece is fronted by writers/guitarists/singers Steven Deal and Robert Dietrich, it's the rhythm section of Dean McNulty (bass) and Furgis Allen (drums) that propel those power chords with a solid, no-frills style. Three of the thirteen songs are covers, and I'm glad to see any band include a chestnut like "Itchycoo Park" as a bonus track. hopper captures the essence of the song beautifully, and despite a screw up (it is a live cut), they pick it back up at the chorus and meet at the end. It's obvious that these guys consider 60's AM pop a strong influence; also on the "extra" list is a cover of George Harrison's "The Inner Light" in all its psych-pop glory, also live. Pretty impressive, even though Homey don't do Yogi. The originals are pretty solid as well; Steven Deal knows how to line the hooks up like a pro. Overall I like Chopper, but if I were giving anyone the CD I'd rip that sticker full of hype off the jewel case and let the band be judged on their own merits. I like them a lot better ego-deflated, and so will you. --- REVIEW: Humble Gods, _No Heroes_ (Hollywood) - Simon Speichert When I first recieved Humble Gods' CD, _No Heroes_, I was skeptical. Will this be like some of the other punk music I've heard, vague and unoriginal? Or will it change my view of punk and be a refreshing change? I'll let you answer that question. Humble Gods' debut CD is a nice contrast to other punk music, making a place for itself. I've heard other songs by other punk groups that, sometimes, give hints to what they are talking (or in this case singing) about. Not Humble Gods. They're quite straightforward. In fact, the first words sung on the CD are "Fucked up/drunk/outta tune again." _No Heroes_ rocks, for several reasons. One reason is that it is the last recording of late Pennywise bassist Jason Thirsk, whose music I really enjoyed. Another reason is that it is forty-nine minutes of pure original punk music, with one exception. Lastly, that exception is a balls-to-the-wall cover of Tom Petty's "American Girl". _No Heroes_ is a vital peice of punk. It has a bunch of great songs from a bunch of talented people. If you want to know what all-around punk is, pick it up. You'll be amazed at what some would call "just another band from Orange County" can do. --- REVIEW: The Clarks, _Someday Maybe_ (Way Cool Music/MCA) - Linda Scott Pittsburgh music fans will be likely to re-title the latest release by the Clarks _Local Boys Make Good_. The city dotes on hometown heroes, and The Clarks have given them something to brag about. Well known and loved for soldiering on the small club circuit for ten years, building up and extending their fan base, The Clarks now have a big time record contract to show for it. The Clarks are four nice guys named Scott Blasey (vocals, guitar), Greg Joseph (bass, mandolin, vocals), Robert James (guitar, vocals), Dave Minarek (drums, vocals). The Pennsylvania/Ohio area is their region with Pittsburgh at its heart. Using their own label, they released four albums and built their following up to 40,000 unit sales worth - enough for Way Cool to pick them up. _Someday Maybe_ , the band's self-released 1996 collection was remastered, rearranged and reissued by Way Cool. The record company gave The Clarks a big push by throwing some experienced talent to work on their recording. Tim Bamba (Rusted Root, Gilby Clarke) produced; John Siket (Soul Asylum, Dave Matthews Band) was the engineer. The Clarks style is a song-oriented, grassroots Americana guitar band. Their stock in trade are uptempo road songs, rocking love songs, acoustic serenades and always those catchy choruses. Cited influences include The Replacements, The Rainmakers, The Rave-Ups, and Tom Petty. The single, "Caroline", can be heard all over Pittsburgh radio, and it is the first single off the new album. But the 13 tracks include other possibilities and other local favorites, notably "One Day In My Life" and "Cigarette". Not every song is a winner of course. If The Clarks have a fault it may be in lyrics which can tend toward the juvenile, e.g. "Courtney". Several of the songs have been remixed from the 1996 collection, and there are several that could have benefited. In some cases, the vocals are mixed so high that you wonder if the rest of the band is down the street. The album is uneven, but the high points reflect what has endeared the band to the 'burgh. The Clarks are not currently on a national tour, but are continuing to develop their growing fan base in Pittsburgh and make the same national breakthrough as city-mates Rusted Root. This is a band worth trying if you like rocking, upbeat music. You can keep up with The Clarks story on their web site at http://www.clarksonline.com. Tip: Click on the Harley. --- REVIEW: Javelin Boot, _Fundamentally Sound_ (Pravda) - Bill Holmes I really wanted to like this one. Texas trio Javelin Boot are one of those bands that you think you'll like before you even crack the shrink wrap on the disc. Good song titles, nice packaging, and they look like guys who don't take themselves too seriously. You know, three guys you'd go to the pub with and have a couple of beers. That's how I see _Fundamentally Sound_. If I walked into a college bar and they were playing, I'd probably start tapping my foot, then nodding my head, and eventually thinking "hey - these guys aren't bad!". But away from the beer and the atmosphere, with my focus strictly on the disc in the player, it isn't holding up. All three sing, but of the three only Blake Patterson possesses a voice that has the commanding presence you'd expect from a band on this level. Drummer David Mider is a little on the flat side, and guitarist Dan O'Neill's nasal tone can get a little tiring if you're impatient about these things - and admittedly, I am. Ironically, the three part harmonies are very, very good. The melodies are pleasant, ranging from folk-pop to surf instrumentals, with the standout clearly being the upbeat "It's All You", with "Jiffy" and "Go" other possibilities (although the Gin Blossoms might have to get some of the royalties). Lyrically, it's a crapshoot. When the band writes about relationships, like O"Neill's "Self-Inflicted", some of the lyrics approach poetry. But other times the metaphors are laid on with a trowel, like "Down" and "Under The Big Top". Still, you have to like a band that can write a song about women's work plights and include the phrase "Her nose pressed against the glass ceiling/She's trying to smell success/But they let her climb the corporate ladder/So they could look up her dress". I'll bet that Javelin Boot are probably likable on stage and use that approachable aura to their benefit. If they do, they're probably touring a lot of small clubs and college towns, which is where I'd expect them to be with _Fundamentally Sound_ as their benchmark. Hopefully they'll show us what else they have up their sleeve, tighten their sound, and take it to the next level. --- REVIEW: Various Artists, _Toon Tunes_ (Kid Rhino) - Bob Gajarsky Fifty theme songs, spanning sixty years of animated fun, are the focus of this _Toon Tunes_, from Kid Rhino. The definitive collection of cartoon classics, this collection sounds like a "Who's Who" of the the hall of fame of cartoons. There probably isn't a soul in the country who hasn't watched "Popeye", "Tom & Jerry", "Woody Woodpecker" (appearing in its full length form) and "Mighty Mouse". Continuing on through the late 50s and early 60s, four songs from the vastly popular "Rocky and Bullwinkle" show appear - the theme, "Dudley Do-Right", "Fractured Fairy Tales" and "Peabody's Improbable History" - highlight the third decade of cartoons. Each theme also includes a little blurb besides its entry. For example, can you name the show which had only 24 episodes produced from 1962-1984, before another 51 episodes were produced for syndication? The answer appears later in this column. For the people who have only seen Schoolhouse Rock (represented here with possibly its most famous song, "Conjunction Junction") in repeats, 90s themes such as "The Simpsons", "Animaniacs", and "Rugrats" may get multiple repeats on the disc player. With so many themes across the ages - many of which are classics and familiar to everyone - there is slight room to quibble. "Wacky Races" fails to show up on here, but the spinoff from that series (Dick Dastardly & Muttley, "Stop That Pigeon"), does. Oh, the answer to that trivia question is the Jetsons. Funny, as a youngster, I never realised there were so few episodes produced. And, although targeted for the youngsters on the Kid Rhino label, _Toon Tunes_ is really for the child inside all of us. --- REVIEW: Vallejo, _Vallejo_ (TVT Records) - Scott Slonaker Take Collective Soul-esque '70s riffing, add glammy vocals (a la Jellyfish/Imperial Drag singer Eric Dover, or Mother Love Bone's late Andrew Wood) and garnish with hearty doses of Santana-style Latin percussion and feel-good lyrics, and one might have the approximate recipe of the Austin, Texas quintet Vallejo. TVT Records snapped up the band after watching Vallejo's eponymous debut sell 5,000 copies locally, bringing the album to national shelves. Like so many other bands, Vallejo is a family affair. The band features not one, not two, but three brothers; singer/lead guitarist A.J., drummer Alejandro, and bassist Omar, all bearing the surname that gives the act its name. Guitarist Bruce Castleberry and percussionist Steve Ramos fill out the rest of the act. It is hard to believe that _Vallejo_ was produced for a local indie label, as the bright and clean production stands out as having the production values of a record with a much larger budget. Kudos to producer Steve Peck (and the band, who get co-credit) for his excellent work. The opening track, "Shining Sun", kicks _Vallejo_ off in grand style, its muscular riffs and smooth vocal harmonies marking it as one of the record's best tunes. "Life Story" and "Nomad" slide into easier, midtempo Spanish grooves. "Omega", "Sangre'", and first single "Just Another Day" follow the chunky rock-oriented stylings of the opening track. "Just Another Day" stands out as most distinctive, due to its "voicebox" vocals, harmonica, wah-wah riffing, and handclapped chorus. Too bad there aren't more songs quite as distinctive on _Vallejo_. While the album is extremely well-played and produced, the songs do tend to run a bit together, especially towards the end. This happens despite the generally good variance of tempos throughout. I'm going to have to place the emphasis on the somewhat one-dimensional vocals and lyrics, which are not particularly weak or strong, being mostly good-natured invitations to party, elementary discourses of life on the road, and life's joys and hardships. The other songs that stand out in particular do so due to an injection of an additional element, as evidenced by the wicked funk of "House (Casa De Amor)" or the chugging soft-hardcore riff and clanky bass of "Boogieman". Still, _Vallejo_ is an impressive debut, and one that could see success in both the United States and Mexico. The musically illiterate may try to lump Vallejo with 311, but the two acts deal with two completely different ethnicities of music. The band is most likely lots of fun live (and probably touring a college campus near you), and stand only to improve with their next effort. Recommended for fans of any of the bands mentioned as reference points, and also for those who enjoy their light, fun, collegiately-themed rock with some chips 'n salsa, chunky style. --- NEWS: > The band Cause and Effect ("Another Minute") has its own web page located at http://www.oz.net/alien/cause_and_effect > Nordic Entertainment Worldwide has recently started selling CD quality music directly through the Internet, with no shipping costs. The label sells its music on a song-by-song basis, so users can download digital copies of songs. Check out http://www.nordicdms.com for more information. > The Psuedo Online Network has Real Audio shows on a weekly basis including one geared to fans of the 1980s (Rock N Roll Hangover), indies (Desert Flower Indie Hour), hip hop, NYC bands, and more. Check out http://www.pseudo.com for more information. --- TOUR DATES: Archers of Loaf / Engine 88/ Knapsack / Peppercorn Mar. 22 Cleveland, OH Euclid Baby Fox Mar. 24 Miami, FL KGB Bloodhound Gang Mar. 23 Dallas, TX Galaxy Mar. 24 Houston, TX Urban Art Bar Mar. 26 Atlanta, GA The Point Mar. 28 Vail, CO Dobson Ice Arena/Transworld Event Mar. 29 Providence, RI Living Room Breeders Mar. 22 Philadelphia, PA Middle East Mar. 24 Pittsburgh, PA Metropool Mar. 26 Albany, NY Bogies Mar. 27 Northampton, MA Pearl Street Mar. 28 Providence, RI The Living Room Mar. 29 Boston, MA Paradise Catfish Mar. 26 Saginaw, MI On Stage Mar. 27 Grand Rapids, MI The Rocker Mar. 28 Goshen, IN The Body Shop Mar. 30 Westland, MI Mosquito Club Apr. 1 Louisville, KY Coyotes Churn Mar. 24 New York, NY Mercury Lounge Mar. 27 Madison, WI O'cayz Corral Shawn Colvin / Freedy Johnston Mar. 22 Chicago, IL Chicago Theatre Mar. 23 Indianapolis, IN Murat Theatre Mar. 25 Madison WI Barrymore Theatre Mar. 26 Minneapolis, MN State Theatre Mar 28-29 Denver, CO Paramount Theatre Mar. 31 Salt Lake City, UT Kingsbury Hall Cordelia's Dad Mar. 22 Anaheim, CA Living Traditions Mar. 24 Sonora, CA Coyote Creek Cafe Mar. 25 Oakhurst, CA Oakhurst Lutheran Church Mar. 26 Mariposa, CA High Country Cafe Mar. 29 San Diego, CA Thomas Paine Coffeehouse Coward / Gravel Pit Mar. 22 Troy, NY McNeil Room/RPI Cravin' Melon Mar. 22 Asheville, NC Be Here Now Mar. 26 Danville, VA Sir Richards Mar. 27 Lynchburg, VA Cattle Annies Mar. 28 Charlottesville, VA Trax Mar. 29 Richmond VA, Alley Cats Crown Heights Mar. 22 Cleveland, OH Euclid Tavern Daddy Longhead Mar. 22 Tallahassee, FL Cow Haus Mar. 23 Jacksonville, FL Moto Lounge Mar. 25 Gainsville, FL Covered Dish Mar. 26 Ft. Lauderdale, FL Rock Candy Mar. 27 Tampa, FL The Rub Mar. 28 Savannah, GA Bay St. Mar. 29 Atlanta, GA Masquerade Darlahood Mar. 22 Toledo, OH Frankies Mar. 24 Huber Heights, OH The Sanctuary Mar. 26 Springfield, MO Juke Joint Mar. 27 Columbia, MO Blue Note Mar. 28 Carbondale, IL Copper Dragon Mar. 29 St. Louis, MO Mississippi Nights Descendants Mar. 22 Winston-Salem,NC Ziggy's Mar. 23 Norfolk,VA Riverview Mar. 25 Lancaster, PA Chameleon Club Mar. 26 Northampton, MA Pearl St. Mar. 27 Syracuse, NY Lost Horizon Mar. 28 Buffalo, NY Showplace Mar. 29 Pittsburgh, PA Metropol Mar. 31 Indianapolis, IN Emerson Theater Donovan Mar. 22 San Francisco, CA Bimbos Drywall Mar. 27 San Diego, CA Brick By Brick Mar. 28 Ventura, CA Nicolby's Mar. 29 San Francisco, CA Slim's Funky Green Dogs Mar. 28 Pensacola, FL The Office Goldfinger / Reel Big Fish Mar. 22 San Felipe, MX Rockadile Mar. 27 Ventura, CA Ventura Theatre Mar. 28 San Diego, CA Soma Mar. 29 Hollywood, CA The Palace H2O Mar. 29 Wash DC the old Safari Club Susanna Hoffs / Jason Falkner Mar. 28 San Juan Capistrano, CA Coach House Mar. 29 Santa Monica, CA McCabe's Horny Toad Mar. 22 Chicago, IL ireside Bowl Mar. 23 Indianapolis, IN The Patio Mar. 24 St. Louis, MO The High Pointe Mar. 26 San Antonio, TX White Rabbit Mar. 27 Austin, TX Emos Mar. 28 Dallas, TX The Orbit Room Humpers Mar. 22 Albuquerque, NM Dingo Bar Mar. 23 Tucson, AZ Club Congress I'M'L Mar. 24 New York, NY Lion's Den Irving Plaza (New York Concert Hall - http://www.irvingplaza.com) Mar. 22 Status Quo Mar. 28 Downset / Earth Crisis / Crown of Thornz / Stillsuit Mar. 29 Zap Mama Jewel Mar. 22 Kansas City, MO Memorial Auditorium Mar. 25 Denver, CO Paramount Mar. 28 Seattle, WA Paramount Mar. 29 New Westminster, BC Massey Theatre Mar. 30 Portland, OR Theatre of the Clouds Luciano Mar. 22 Toronto, ON Scooter Roller World Mar. 23 Rochester, NY Harro East John Mellencamp / The Why Store March 22-23 Boston, MA Orpheum Theater March 28-30 Indianapolis, IN Murat Theater Metallica / Corrosion of Conformity Mar. 25 Buffalo, NY Marine Midland Arena Mar. 26 Pittsburgh, PA Pittsburgh Civic Arena Mar. 28 Montreal, QC Molson Centre Mar. 29 Quebec City, QC Quebec Colisee Arena Mar. 30 Ottawa, ON Corel Centre Nada Surf / Candy Butchers / Ditch Croaker / Wrens Mar. 28 New York, NY The Knitting Factory Odds Mar. 23 Vancouver, BC The Rage Orange 9MM Mar. 22 Omaha, NE Ranch Bowl Mar. 23 Denver, CO Bluebird Theatre Mar. 25 Minneapolis, MN First Avenue Mar. 26 Chicago, IL Fireside Bowl Mar. 28 Knoxville, TN Mercury Theatre Mar. 29 Atlanta, GA Masquerade Mar. 30 Jacksonville, FL Milk Bar Mar. 31 Fort Lauderdale, FL Prop Room Orbit Mar. 22 San Diego, CA Casbah Mar. 29 Denver, CO Snake Pit Mar. 30 Lawrence, KS Granada Mar. 31 St. Louis, MO Side Door Ovum Mar. 23 Miami Beach, FL Groove Jet Plexi Mar. 22 Austin, TX Emo's Mar. 25 Tucson, AZ The Cellar Mar. 29 Los Angeles, CA Moguls Professor & Maryann Mar. 22 Hoboken, NJ Maxwell's Mar. 28 New York, NY Hotel Galvez Rasputina / Cranes Mar. 22 Chicago, IL Metro Mar. 25 Austin, TX Electric Lounge Mar. 26 Houston, TX Urban Art Bar Mar. 29 Denver, CO Ogden Theater Mar. 31 Salt Lake City, UT DV8 Samples / Stir Mar. 29 Denver, CO Denver University Duncan Sheik / Jill Sobule Mar. 22 Toronto, ON C'est What Mar. 24 Indianapolis, IN Patio Mar. 25 Chicago, IL Park West Mar. 26 Minneapolis, MN Fine Line Mar. 28 St. Louis, MO Mississippi Nights Sick of It All Mar. 22 San Diego, CA Soma Mar. 23 Las Vegas, NV The Huntridge Theatre Mar. 26 St. Louis, MO High Pointe Mar. 28 Chicago, IL The Metro Mar. 29 Detroit, MI St. Andrew's Hall Mar. 30 Cleveland, OH Agora Ballroom Sissy Bar Mar. 24 Hollywood, CA Opium Den Sister Hazel Mar. 22 Atlanta, GA Chameleon Club Mar. 25-26 Orlando, FL Pleasure Island Mar. 27 Miami, FL Stella Blue Mar. 28-29 Key West, FL Hammerheads Stillsuit / Downset / Earth Crisis Mar. 22 Old Bridge, NJ Birch Hill Mar. 23 Philadelphia, PA Trocadero Mar. 25 Clinton, MA St. John's Gym Mar. 26 Providence, RI Lupo's Mar. 27 New Britain, CT Sports Palace Mar. 28 New York, NY Irving Plaza Mar. 29 Syracuse, NY Hungry Charley's They Might Be Giants Mar. 22 Sydney, AUS The Metro Mar. 25 Adelaide, AUS Tivoli Hotel Mar. 27 Perth, AUS Planet Mar. 30-Apr. 1 Osaka, JP Club Quattro Urge Mar. 22 Asbury Park, NJ Stone Pony Mar. 23 Washington, DC Bayou Mar. 25 Virginia Beach, VA Nocturnal Cafe Mar. 26 Winston-Salem, NC Ziggy's (w/The Roots) Mar. 27 Columbia, SC Elbow Room Mar. 28 Atlanta, GA Masquerade Mar. 29 New Orleans, LA Tipitina's Volebeats Mar. 22 Lansing, MI Mac's --- THE READERS WRITE BACK! > I wanted to let you know that there is a Stina Nordenstam mailing list. You can subscribe by sending a message to: majordomo@maillist.il.ft.hse.nl with "subscribe stina-list" in the BODY of the message. Also, to hear (another) different side of Stina Nordenstam, she does vocals on the new YELLO single. - Daniel P., Netherlands > (In regards to Marilyn Manson's cover of "I Put A Spell On You"), this was done originally by Screamin' Jay Hawkins. - Lee W. --- 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 (URL) http://www.westnet.com/consumable/Consumable.html (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 ===