==== ISSUE 120 ==== CONSUMABLE ======== [September 1, 1997] Editor: Bob Gajarsky Internet: gaj@westnet.com Sr. Correspondents: Tim Kennedy, Reto Koradi, David Landgren, Sean Eric McGill, Tim Mohr, Al Muzer, Joe Silva Correspondents: Daniel Aloi, Tracey Bleile, Lee Graham Bridges, Scott Byron, Patrick Carmosino, Janet Herman, Bill Holmes, Eric Hsu, Tim Hulsizer, Jiji Johnson, Stephen Lin, Scott Miller, Linda Scott, Scott Slonaker, Simon Speichert, Jon Steltenpohl, Simon West, Lang Whitaker Technical Staff: Chris Candreva, Dave Pirmann Also Contributing: Nancy Price Address all comments, subscriptions, etc. to gaj@westnet.com ================================================================== All articles in Consumable remain (C) copyright their author(s). Permission for re-publication in any form must be obtained from the editor. ================================================================== .------------. | Contents | `------------' NOTES FROM THE EDITOR: 4 Year Anniversary, Contest, Search Engine And More! INTERVIEW: Radiohead - Nancy Price REVIEW: Oasis, _Be Here Now_ - Tim Kennedy ADVANCE REVIEW: Jars of Clay, _Much Afraid_ - Lang Whitaker REVIEW: John Hiatt, _Little Head_ - Bill Holmes ADVANCE REVIEW: Aqua, _Aquarium_ - Bob Gajarsky REVIEW: Megadeth, _Cryptic Writings_ - Simon Speichert REVIEW: Ziggy Marley & Melody Makers, _Fallen Is Babylon_ - Reto Koradi REVIEW: Rickie Lee Jones, _Ghostyhead_ - Joe Silva CONCERT REVIEW: Leah Andreone - Bob Gajarsky REVIEW: drivin' n' cryin, _drivin' n' cryin_ - Tracey Bleile REVIEW: Soundtrack, _Godmoney_ - Sean Eric McGill REVIEW: Coward, _Coward_ - Bill Holmes REVIEW: Madeleine Peyroux, _Dreamland_ - Jon Steltenpohl SHORT TAKES: Geezer, Verbow, Agnes Gooch - Al Muzer NEWS: Arcanum, Rockstock 97, Rob Zombie TOUR DATES: Bailter Space / Sunday Puncher, Big Top Tour (incl. Juan Atkins, Banco de Gaia, 808 State, Loup Garou, Moby, and many more), David Bowie, Comet Gain, Common Sense, Counting Crows / Wallflowers / Engine 88, Daft Punk / Aphex Twin, Dandy Warhols / Polara, Danielson / Soul Junk, Fluke, Irving Plaza, Life of Agony, Magoo, Matchbox 20, Pantera / Coal Chamber / Machine Head, Roadside Monument, Tsunami, Wu Tang Clan / Rage Against the Machine / Atari Teenage Riot Back Issues of Consumable --- NOTES FROM THE EDITOR: 4 Years of Consumable, Contest, Search Engine And More! With the September 1, 1997 issue of Consumable Online, we will be celebrating our four year anniversary. It has been a long, hard climb being the first collaborative online music reviews publication, but through the perseverance of everyone associated with us - and that includes our readership, contacts in the music industry, and writers - we have produced a quality publication which has spawned numerous imitators, but none which can claim the passionate love for music which has come to signify Consumable. In celebration of our four year anniversary, we have made two noticable changes to the Consumable web site. The first is the addition of a search engine, through which readers can search the Consumable archives to read past reviews and interviews to find what we've said about your favorite artists. We have included all articles from 1995 to August, 1997 in the database; we look forward to including the remainder of the articles, from 1993 and 1994, sometime in the near future. In addition to this, we are having one of the largest music giveaways ever on the Internet. Entering the contest is as easy as clicking a mouse button; simply go to our web site (located at http://www.westnet.com/consumable) between September 2 and September 22 and click on the CONTEST link. There, entrants will have to answer questions based on past issues of Consumable; links are there to guide you to the past issues, to aid with the contest. Twenty winners will be selected at random from among those contestants with the most correct answers. Each winner will take back twenty compact discs, for a total of 400 releases to be given away - 100 for each of Consumable's four years of publication. Since its creation in 1993, Consumable has provided its readership with hundreds of music reviews from critics on four continents. By placing the focus back on the music, Consumable offers insightful coverage into some of today's - and tomorrow's - best music. To those of you who have just found Consumable, welcome aboard. To those who have been loyal readers, thanks for supporting us the last four years. We hope you'll be pleased with our changes, and continue to make Consumable your choice for music reviews. - Bob Gajarsky, Editor In Chief, Consumable Online --- INTERVIEW: Radiohead - Nancy Price Radiohead's Jonny Greenwood - he of the manic, talking guitar - is standing in the lobby as I arrive at the trendy San Francisco hotel where the band is staying. Alas, Jonny isn't waiting for me, and Ed O'Brien, Radiohead's other able guitarist and my intended interview subject, is still asleep. Somewhere between San Francisco and Capitol's offices in New York, wires were crossed, and I got there an hour earlier than expected. "He's just going to take a shower and will be right down," their publicist apologizes. Unexpected wakeup calls aside, things are looking good for Radiohead. Their third LP, _OK Computer_ , debuted at number 21 in the US and easily reached the top of the charts in their native Britain. O'Brien and Jonny Greenwood, together with Jonny's brother Colin on bass, Phil Selway behind the drums and the owner of the breathtakingly lovely vocal contortions - singer/guitarist Thom Yorke - are Radiohead. The group (who don't consider themselves part of the 'Britpop' movement), has been playing sold-out shows across America, performing at venues with names including words like Theatre, Ballroom and Arena: certainly a step up from the club tours of the not-too-distant past. This band has been busy this last year: recording, touring, promoting, playing for Tibetan Freedom, and getting favorable attention from the press and an ever-increasing legion of fans. Even before the July first stateside release of the album, the band was getting the kind of attention usually reserved for music legends, fashion designers, and boxers. Face it: when you can count Madonna, Marilyn Manson, Sheryl Crow and members of U2, REM, Oasis and Blur among your fans, you're either doing something right or something revolutionary... or, in the case of Radiohead, very probably both. At the Warfield Theatre in San Francisco, their tight twenty-two-song set (including four songs over three encores), included every track from _OK Computer_, half of _The Bends_, a lone number from their debut, _Pablo Honey_, and one B-side for the devout. The band's success would seem to be a natural result of their clear passion for the music, an obvious and mutual creative respect, and the fact that, well, they seem to be having a good time just being Radiohead. But was recording the songs as much fun as playing them in front of an audience? O'Brien smiles, 'We did kind of go a bit stir crazy recording _OK Computer_, when we were in Bath at Jane Seymour's house, but we had to go through that. We got to Christmas of '96, and we'd been kind of experimenting. The only thing we'd finished was "Exit Music," because that had to go to _Romeo and Juliet_ for the film. We had started about fourteen or fifteen songs, and it was then that we said, 'Right, we're going to have to start finishing stuff off.' What we'd do is half-finish fourteen songs, and then go on to a new one. We get bored very very quickly. So, by Christmas, it was basically that we wanted an album out by the summer, and we had to finish it off.' Well-versed in the fine art of procrastination, I imagine it was difficult to complete those songs. Nodding a deep yes, O'Brien says, 'It's all the little bits. We tracked a lot of this album live.' He pauses and searches the air for an analogy, 'It would be like building a kitchen. It's quite easy to get all the wood in and see something fairly immediate - but all those little joints and the hinges, and making sure the drawers and the cupboards open properly, and fixing all the little things - that's what takes a really long time. Smoothing down the edges. It's exactly the same when making a record. And mixing... mixing is kind of like the French polishing. It was fairly traumatic at times, because there's so much going on.' Radiohead's career development has been upward, if not smooth, since their days playing around Oxford as a band called On A Friday. Such progress comes directly from their unwavering dedication to the cause. O'Brien reckons they've all known since their mid-teens that they wanted to play together. 'There was never any question that we weren't going to do it, really, in terms of like make the effort to do it.' Although the band was on hold during their college years - reforming only during school breaks - they maintained that group cohesion, 'and [after] Thom finished college, we were signed in about four or five months. Looking back on it, what was amazing was the commitment. Ten years ago, we talked about it. We knew we wanted to do this - there was never any question.' As most of the members are in their late twenties, it's been nearly half a lifetime since the band's humble beginnings. Has the success they've finally achieved with the release of _OK Computer_ seemed a long time coming? 'It's been fine. You know, the big thing was signing at the end of '91, then in '92 touring around in a rusty white van. It was great to do small shows, opening up for people. 1993 - the first half of the year was really the same as '92, then of course "Creep" erupted, and we came over here,' recalls O'Brien. ' "Creep" was not what we expected. We all thought [the band's progress] would be slow - we didn't want any kind of big explosion. We wanted to, each time you do a gig, a few more people come along, word of mouth spreads, make a better record...' But are they satisfied? 'Yeah, now,' he concedes. 'We played the Warfield in San Francisco, we played the Wiltern in Los Angeles. We've played clubs, and they were great, but we've done three [U.S.] tours of clubs and you get a bit sick of them. It sounds better in these [larger] places. It looks amazing - you look out from the stage and there's a balcony, and it's very inspiring.' Of course, as the band's fanbase grows, they'll start to play larger venues. 'Obviously when you get great theaters, it would be lovely to do a residency for three nights, but, America is such a huge country that you wouldn't have the luxury of that. If you've got one night, you don't want people to not get in. We've done that where we played at a way way smaller venue than we should have.' On the other end of the spectrum, does he see an arena tour in the band's future? 'No, not really... we've never thought about it. There's more talk about it around us - people speculating - particularly in Britain. They all think we're going to be the next stadium band. Take U2 and REM's baton,' he scoffs. 'If it happens, it happens, but the only way it will happen is if we're comfortable with that... which we're not at the moment. And as long as the show's not compromised.' O'Brien explains, 'I know it's possible to do amazing shows: I saw the U2 Pop-Mart thing. There's no way you could do that inside - it's phenomenal. It was very moving, it was very personal at times, and it was extravagant and over the top. And it was fantastic. *That's* the way to do those things.' NEXT ISSUE: Ed talks about computers and the Internet... --- REVIEW: Oasis, _Be Here Now_ (Epic) - Tim Kennedy Oasis have assumed a Beatlesesque importance in the life of the British public. Adored by millions, despised by indie purists, detested by political pundits for their presumed bad influence on the young. The controversiality of the band mirrors maybe the period the Beatles went through when they announced they were doing acid. Liam is as hotly debated for his bad attitude as was the Stones way back when. And of course the music they make is played everywhere. They are a fully fledged phenomenon. This album is two years since the second, _Morning Glory_ which established them in the wider public gaze. It comes amid a ruthless publicity campaign which has made Creation Records widely reviled by critics around the country. It has sold by the truckload in the past several days since release. The first thing that strikes you about this album is it sounds big! Loud, cacophonous guitar makes this almost metal in parts. But once your nerves have learned to cope with the assault, great tunes come running out like beetles from under an upturned rock. The album opens with the sound of World War 2 bombers, possibly aiming their loads at the press who have given the band a bit of a hard time over the last year. "D'You Know What I Mean" is a fitting opener and makes a lot more sense in the context of the rest of the album. Over repeated listens what becomes attractive about this song is the feeling of eager anticipation it engenders. "My Big Mouth" is very punky, in a Sex Pistols vein. It describes Noel's chequered relationship with the media, especially in relation to his outspoken comments on drug use. Exciting, fast and furious, this song harks back to the first album _Definitely Maybe_. "Magic Pie" is a lowkey psychedelic-tinged rocker that has a peculiar vocal effect in parts. Based upon a Moog-ish keyboard riff it goes on a little long and the chorus is maybe a little pedestrian a tune for an Oasis song. "Stand By Me", is notable as one of the two standout tracks on the album. It has a tune that sets the hairs on the neck a-prickling, better even than "Don't Look Back In Anger". The lyric starts implausibly with 'Made a meal and threw it up on Sunday/ I've got a lot to learn'. Liam is in best-ever form on this album and this song is possibly his best performance yet. The ironic 'What's the matter with you/sing me something new' pokes at detractors who accuse the band of plagiarism; in rock music, that particular accusation is like handing out speeding tickets at the Indianapolis 500. "I Hope, I Think, I Know" is a typical Oasis rocker which is decorated by the again-superb singing of Liam. It thunders along in a familiar punk rock fashion. "The Girl In The Dirty Shirt" is a love song explicitly aimed at Noel's wife Meg. Whilst entreating her to cheer up, the track lopes along with a tune which whilst seeming at first humdrum, actually hides some sparkling gems of hooklines. "Fade In Fade Out" is a blues-tinged call to arms, and a dare to any other band that might stoop to criticise Oasis. The guitar is almost inflammatory with its stop-start intro. This track would be eminently suitable as the track to play when your favourite soccer/football/whatever team were taking the field. It isn't a million miles from Jon Bon Jovi's "Blaze Of Glory" either. "Don't Go Away" is the other stand-out track on the CD. The lyric is a heartrending one, which clearly refers to the pain of leaving his wife whilst touring abroad, and the clash of band versus relationship priorities. The guitar intro steps a little on the toes of the old Oasis favourite "Slide Away" from the first album, but it develops into a thing of awesome majesty which Noel could justifiably have carved on his gravestone. "Be Here Now" has an unusual techno-ish intro/riff, and on immediate listen appears a bit ordinary, but on repeated listens proves to be quite catchy. The refrain 'Been kickin' up a storm / since the day that I was born' constitutes two references to his birth so far! "All Around The World" is clearly meant to be the keynote track of the album, with its lets-all-get-together-and-be-mates concept, and the chorus is repeated for an astonishingly long time 'All around the world/tell 'em what you heard/Gonna make a better day'. For the more cynical listener, this may be difficult to stomach. However it is couched in a rather humourous set of verses. Some might say (!) that there are rather too many na-na-na-na's here. The tune is again, on immediate listening, a bit ordinary, but it soon insinuates itself into your senses, and delivery men will soon be whistling it. The brash optimism of the track ('It's gonna be ok') wins in the end. "It's Getting Better Man" is a fine, raucous punkoid anthem which steps back from the almost ludicrous singsong-ism of the previous track. It is definitive traditional Oasis territory and an old punk could even pogo to it. The album ends with an orchestral reprise to "All Around The World" which reiterates the 'message'. The band have now managed three good albums in a row which is quite an achievement in these times. They don't claim to be original - they aren't original anyway - but they are the best at what they do. What they do is create songs that strike a chord with an astonishingly wide-ranging audience. This is a rare talent for a serious rock act. The final sound on the CD is someone walking away, and a door slamming - a mysterious portent... --- ADVANCE REVIEW: Jars of Clay, _Much Afraid_ (Silvertone) - Lang Whitaker While many bands struggle to find their own sound even two and three albums into their careers, Jars of Clay's first album coined a sound so distinctive and inventive that it sold more than two million copies. After their self-titled debut release went platinum riding their unique combination of acoustic instruments and percussive whirlwinds, their burgeoning fan base was curious as to how Jars would follow it up. With the sparkling _Much Afraid_, Jars shows that they don't have anything to be scared of. After producing their self-titled first album on their own, this time Jars turned over production duties to British producer Stephen Lipson, who had previously worked with Annie Lennox (_Diva_, _Medusa_) and done some re-mix work with Sting. Lipson successfully blended the Jars' sound with a light wash of European lushness that sounds just right. Gone are the hoe-down violins that dominated _Jars of Clay_, replaced with a thick slice of electric guitars, but surprisingly the songs all retain the old Jars sound. The first single off _Much Afraid_ is "Crazy Times", a straight-forward rocker with crunching guitars and booming drums. As soon as the electric guitar solo kicks in, you realize that Jars of Clay isn't in Kansas anymore. Unlike anything off of _Jars of Clay_, both in style and in sheer sonic size, "Crazy Times" details the emotional weight of searching through life for answers that seem harder and harder to find. Rocking along with "Crazy Times" is the song "Overjoyed", where jangly guitars and stacked harmonies harken back to the 60's British invasion. After "Crazy Times" and "Overjoyed", Jars returns to the same basic sound that they patented on _Jars of Clay_, with a few subtle expansions. "Truce" begins with an industrial drum loop that eventually transforms into a head-nodding rocker with a chorus more infectious than the monkey in the movie Outbrea". Both "Fade to Grey", which was the first song ever written by the band, and "Truce" resurrect the signature Jars sound, with acoustic guitars bouncing along over drum loops. However, both tracks eventually melt real drums and electric guitars into the mix, bulking up the overall sound of the songs. Jars also dabble in the pop genre, with great success. "Five Candles (You Were There)", originally written to be played during the closing credits of Jim Carrey's dramatic flop "Liar Liar", is a beautiful little nugget of a tune. It's probably just as well that the song was dropped from the "Liar Liar" soundtrack, because "Five Candles" is better than even Jim Carrey's best spit take - three and a half minutes of pop heaven. "Tea and Sympathy" is another mid-tempo song that further underlines Jars' excellence, surrounding the sweet melody with enough harmonies to shame even Hanson. Dan Haseltine sings with a self-assured gait. His lyrics and melodies are intelligent and literate, while being simultaneously accessible. The guitar and bass work of Stephen Mason is solid without being overwhelming. Matthew Odmark's acoustic guitars continue to provide the backbone for much of Jars of Clay's music, while Charlie Lowell's keyboard role has been greatly expanded from _Jars of Clay_ to _Much Afraid_. There's also a message in the music. As the first band from the normally outdated Contemporary Christian Music genre to totally find cross-over acceptance, Jars don't back down from their convictions at all on _Much Afraid_. While a few songs deal with everyday issues like friendship and accountability ("Five Candles", "Tea and Sympathy"), every song has some spiritual reference or application to it. What really sets Jars of Clay apart from the rest of the current field of angst-ridden alterna/electro rock bands is their affability. Up front in their assertation that they themselves are far from perfect, with _Much Afraid_ they occasionally approach perfection. Jars of Clay's _Much Afraid_ will be released on September 16. --- REVIEW: John Hiatt, _Little Head_ (Capitol) - Bill Holmes John Hiatt's life has taken him down some dark roads, the results of which have been captured in many powerful and emotional songs. The earnest pain in such classics as "Have A Little Faith In Me" can only come from that deep well, Hiatt salving his wounds in song and allowing us to voyeuristically share his bared soul. His long and mostly under appreciated career has seen him progress from Midwestern folkie to New Wave "angry young man" (many at the time foresaw him as the American answer to Elvis Costello) acoustic troubadour and everything in between. Even long time die hard fans knew that no matter how good each successive record was, radio didn't have time for people like John Hiatt, and hoped that the label would somehow give him another shot at the brass ring. 1987 and _Bring The Family_ changed all that, a bonafide bottom-of-the-ninth game winning home run for Hiatt. Newly remarried and finally sober, BTF combined the anguish of a tortured past with the joy of a man finding peace within himself and struck a chord with everyone. His voice had evolved into a unique bluesy timbre; his guitar playing more assured and strident, his songs capturing slices of life we take for granted yet can't seem to put into words. The world was let in on this great secret that only his fans and peers knew about - John Hiatt was one hell of a songwriter. Subsequent records sealed the deal. With _Little Head_, a relaxed and confident Hiatt has probably released his most comfortable - dare I say "fun"? - record, and ironically is suffering a critical backlash because it isn't stuffed with angst-ridden masterpieces. Imagine the irony of toiling for twenty plus years, finally getting the respect and credibility you deserve, and then having your own "high bar" used against you! As if there aren't great songs here...check out the lyrics of "Graduated" or the sweetness of "Far As We Go" and "Runaway" and name three people who could write like that. Didn't think so. Those surprised by the bawdy humor of the title track must not know Hiatt very well; "Since His Penis Came Between Us" was a staple of his live shows for years. Okay, so it isn't poetry - so what? No, there isn't a "She Loves The Jerk" or "Angel Eyes" or "Faith" on _Little Head_, but they would seem out of place if they were. This record gives a whole new meaning to the phrase "greasy"; thick with Memphis soul and lathered with funk. Hiatt drops numerous audio tips of his cap to the 1970's, from the Barry White-ish intro to "After All This Time" to the send-Zevon-a-dollar rip of "Werewolves Of London" in "Sure Pinocchio". All those Spinners and Del-Fonics and War records John heard on the radio have come back out years later in "My Sweet Girl" and "Woman Sawed In Half". 'Pebbles' Immergluck's mastery of the stringed instrument supports this stylish mix with a sonic potpourri; cat like moans, fat greasy gee-tars and lilting mandolins among the stew's best features. "Pirate Radio" is a radio hit that never will be for self-explanatory reasons; ditto "Sure Pinocchio" and its horn-powered killer refrain. But Hiatt fans are used to savoring his best moments away from the airwaves, and thankfully there are enough fans to allow him to indulge his muse. This is Capitol's first shot at marketing John, a marriage he seems to feel positive about because they want to promote his career, not just his record. We'll see - Hiatt seems to last two to three records at each label, but each time he leaves there's a bidding war. He's gone through a few bands also, but seems to have settled on a musical soul mate in Davey Faragher, bassist and co-producer. _Little Head_ is the sound of John Hiatt enjoying this moment in his life, cruising down the road in that big-ass pink Cadillac, smiling and waving and hoping you can wave back. Let this one grow on you and reap the rewards. --- ADVANCE REVIEW: Aqua, _Aquarium_ (MCA) - Bob Gajarsky She's been on more dream dates than Cindy Crawford. Her measurements, if converted to real life, would be 39-18-33 on a 5'6, 110 pound frame, and cause her to lean over more than a certain tower in Pisa. In 1992, the average American girl owned 7 Barbie dolls. And now, Barbie is the star of the flirtatious song which is coming out of seemingly every radio station. The Danish group Aqua is responsible for bringing the perky blonde to life in the single "Barbie Girl", in which Ken and Barbie nearly engage in verbal doll foreplay ("You can brush my hair / undress me anywhere", later followed by "Make me walk, make me talk, do whatever you please / I can act like a star, I can beg on my knees") in a campy frolic through a Eurodisco hit owing much to the early 1980s. The rest of the Danish group's debut album, _Aquamarine_, also owes much to the eighties timeframe. Nearly every track on _Aquarium_ incorporates familiar sounds or singing methods, with predictable results - no deep messages, but Eurodisco that will get the part-time clubbers out of the suburbs and onto the dance floors. "My Oh My" is one of the 'highlighted' tracks on _Aquamarine_. Although it debuted on the Danish charts at #1, it doesn't maintain the endearing quality - or hook - that most chart-toppers possess. However, "My" and other songs such as has the bouncy, happy feel that can seamlessly blend between tracks from Whigfield and Ace of Base. Rene' Dif's rap comes off as a clone of Real McCoy's O-Jay, and supports Lene Grawford Nystrom's lead vocals. But, just like sugar coated candy that you know - in the long run - is bad for you, Aqua's bubblegum sound draws you in like bees to honey. "Roses Are Red" is more Ace of Base - but this time, if the Swedes were on acid. "Lollipop (Candyman)" skirts the edges of techno and happy house, showing more traces of Real McCoy. "Good Morning Sunshine" and "Heat Of The Night" have a slight Latin tinge, a la Madonna's "La Isla Bonita" being tossed into a copy of the Pet Shop Boys' _Bilingual_. More Madonna/PSB permutations occur on "Turn Back Time", which is a mixture of PSB's "Heart" and a sped up version of "Live To Tell". "Calling You" comes off as a Barry Harris hybridization; his days with Kon Kan ("Harry Houdini") blending with his current outfit, Outta Control, especially on their cover of Joan Osborne's "One Of Us". The key to all of these tracks is that while they bear resemblances to known songs, Aqua turn them into something new, and uniquely irresistible. From top to bottom, _Aquamarine_ is a top notch dance album incorporating much of the eighties dance sound for the nineties. If America is ready to handle Eurodisco, Aqua could well be the pioneers of this genre. Otherwise, look for "Barbie Girl" to fall in the Top 40 book with an 'N', for novelty, next to its title. Aqua's _Aquarium_ hits U.S. record stores on September 16. --- REVIEW: Megadeth, _Cryptic Writings_ (Capitol) - Simon Speichert One of the last great metal bands, Megadeth has struck back on a pop-laden society with _Cryptic Writings_, their brand new album. Unlike some other band singer/guitarist Dave Mustaine was in during the early 80's (who could that be?), Megadeth's latest offering is pure, solid, heavy metal. It's hard to explain how the band sound, because not every song is fast and saturated with tons of distorted guitars. I like the fact that every band member gets their time in Mustaine's spotlight (not that he hogs it). For drummer Nick Menza, it's the throbbing tom beats at the beginnings of "Trust" and "Sin". Dave Ellefson's bass grabs your ear at the start of "Mastermind", and lead guitarist Marty Friedman gets the attention every time there's a solo. Megadeth is portrayed solely as a metal band, and that's what they are, but some of the songs on _Cryptic Writings_ show their fantastic skills at writing all kinds of tunes, including some slower ones with string arrangements. Some of the real enigmatic songs include "Trust", "Use The Man", "I'll Get Even", and "FFF". Taking into account everything I've said here, I believe Megadeth is a very open-minded, versatile band with a rock hard edge, and _Cryptic Writings_ will prove to be one of the best metal records of 1997. --- REVIEW: Ziggy Marley & Melody Makers, _Fallen Is Babylon_ (Elektra) - Reto Koradi Reggae has not been in the focus of attention in recent years, apart from Inner Circle storming the charts a few years ago, and a wave of poppified reggae with acts like Ace Of Base, Dr. Alban and Shaggy. More traditional reggae never fully recovered from the much to timely death of Bob Marley and Peter Tosh, even though Jimmy Cliff and a few others always held the flag up. Ziggy Marley has been continuing the family tradition with eight albums over 10 years, but avoided just walking in his fathers oversized footsteps by mixing in influenced from various music styles on his earlier albums. _Fallen Is Babylon_ finds Ziggy more at peace with the roots, one sign being a cover of the Curtis Mayfield classic "People Get Ready", which was also performed by his dad. Even though the song has been covered so many times, this version gives it an interesting new twist. It starts out close to the original form, but is then more and more decomposed into pieces, which are reassembled to something almost completely different. While he definitely inherited the voice, Ziggy will probably have to live with the fact that he will never quite reach the song writing genius of his father, just like all the others who never got there. Measuring him with equal forces, songs like "Born To Be Lively" are about as good as reggae gets, catchy enough to stick in your head after a few listens, and guaranteed to at least get your toes wiggling. Most of the lyrics show the positive attitude and optimism that makes reggae such an enjoyable music style. This carefully arranged and perfectly recorded album is warmly recommended to anybody with interest in reggae that goes beyond owning a Bob Marley compilation. -- REVIEW: Rickie Lee Jones, _Ghostyhead_ (Reprise) - Joe Silva Having ridden the fence betwixt pop recognition and jazz verite, Jones' records have always appeared to be keeping one eye trained on each camp. Now, with her first proper album since she and Walter Becker co-birthed the super _Flying Cowboys_, she's traced a line from her urban coffee house leanings of old down to the corner where the hip hoppers live. Pieced together over four months with the help of H.O.R.D.E. acquaintance Rick Boston earlier this year, Jones' voice, languid and cunning as ever, moves across a modern vista that's big on rhythms and wispy melodies. But unlike Dame Bowie and the chieftains of Bono-Mart, there's not the clumsy marriage here of standard inclinations and the brave new world. Much like the smooth and groove environs of the Wu-Tang nation, Rickie sets her vocals atop a lush, funky backdrops that goes for the vibe instead of the jugular. All of this is a lot more...ahem..tricky than it may at first seem. Much of these new reflexes in the hands of more traditional musicians tend to become a somewhat heavily smothered canvas, but Jones manages to still steer through a heavy rhythmic undertow, smart peripheral ambiences, and her sometimes dense lyrics , and still appear to sound low fat. She can even manage to inject a flourish of honest scat without it seeming at all out of place. This all makes for adventurous, if only occasionally less than engaging, listening. With many artists veering on the electronic highway, Jones stands a fair chance of being a point of distinction considering the mammoth appeal and singularity of her voice. While Boston helped her find a comfort zone in her new sandbox, Becker was probably more successful in having Rickie remain more tunefully objective. But while it may meander a touch, _Ghostyhead_ more often than not does keep your gaze fixed upon its atmosphere. As the lady muses: "And you walk through the funhouse, yeah/Those sonic faces hit you like a bus/ Till you're knocked down by Doppler waves of trust". --- CONCERT REVIEW: Leah Andreone, Arlene's Grocery, New York - Bob Gajarsky On a recent Thursday evening, Leah Andreone was singing at New York City's Arlene's Grocery. That someone performed on an evening was no surprise at the free admission Soho venue; after all, Arlene's typically has 4 or so bands displaying their wares on any given night. But to the limited few who have heard her debut record, _Veiled_, it remains a shock that Andreone is still, unfortunately, playing 100 people capacity clubs. _Veiled_ was this critic's favorite album in 1996 and one year later, still receives its fair share of listening time. While Andreone has been exposed to larger audiences as part of the Lilith tour, much of the country has heard, at most, only one song from this album - the leadoff single "It's Alright It's OK". During this brief weeknight set, Andreone whipped through seven songs from her debut record (and one for a compilation to help fund breast cancer research) and displayed a fiery passion in each song. A master storyteller with lyrics that speak *through* the eyes of others and actually mean something, Andreone displayed the unique ability to put harmonies with words and keep everyone focused solely on her. The content of Andreone's songs comes from all angles; an abused child who feels *they* are the problem in "Problem Child", a neglected child from her re-married parents ("It's Alright It's OK), those who only help to achieve points in the afterlife ("Hell To Pay"), and a woman suffering from breast cancer ("We're Not Alone"). She elegantly performed each of these, whether with an impassioned plea for help, or as an angsty rocker. For those who haven't been able to capture Andreone's live shows - or her singles - imagine Jewel, in a rock setting, with farther-reaching vocals. Andreone tosses in the occasional yelp (and almost yodel) for maximum effect throughout her songs as an added form of emphasis. And when she notices something that interests her - such as two loyal fans who came across from New Jersey - she was genuinely impressed that they had travelled across the Hudson to see her. Even as she is on a major label and garnering airplay, Leah manages to keep a down-to-earth feel to her set. It seems like a matter of bad timing that there seems to be a quota on the number of female AAA performers who can get radio airplay - and Leah might be one over that number. Her cover of Carole King's "I Feel The Earth Move", which seemed like a great idea to add to a movie soundtrack, had the misfortune of being included on one of the worst Die Hard imitations ever - better known as Speed 2. Although the latest single, "Mother Tongue", isn't likely to turn the tide and make Leah Andreone a household name, it can continue to slowly draw in more fans to the Andreone camp. And with continued impressive performances like that at Arlene's Grocery, it's only a matter of time - like a good wine - for her talents to be recognized on a wider scale. --- REVIEW: drivin' n' cryin, _drivin' n' cryin_ (Ichiban) - Tracey Bleile The peerless Georgia trio are back in fine form, back with more solid power pop brought to you courtesy of modern-day balladeer Kevn Kinney leading you along with his hook firmly set in your ear. Their past two releases have seen them sketch a wide and uneasy circle in experimentation - from the way-too-heavy (and massively panned) _Smoke_ to the ultra-gentle countrified _Wrapped In Sky_. The latest eponymous offering finds them squarely where they should be: rededicating themselves to the right to wear a crown of rough-cut diamonds as kings of Americana. Die-hard d'n'c fans will have to be a little patient to get into it - but a few spins paying full attention will soon have it on heavy rotation in your frontal lobe. The sweet rollicking Athens sound is really this band's strong suit - anyone schoolward bound or ready to take the last road trip of the summer needs to make a home for this one in the car. The harder stuff this time around isn't so, um, metal, this time, and even when they commit the goofball sin of naming a song after themselves, it's a garage grinder that you'll forgive for them in the end. Kinney and company were among the forerunners of 'ringing' or 'chiming' guitars - and they know how to give it an edge that makes you glad they still like to show off that harder side - check out the dismally optimistic "Beneath The Undertow" and its great echoey passages. One of drivin's fondnesses is the juxtaposing of really hard followed by really soft. If you know their music, you're used to it. New initiates will probably find this release more accessible, in that there's a lot more evenness in the pacing. Tempo shifts are a little more steady, ranging from mid-tempo to almost waltz time. Kinney's had plenty of time and two solo acoustic efforts to hone his storytelling, and he plays out every character from the old man in "I've Got A Message" set against the country jubilee of mandolin and lap steel, to the confusion of young love set to a hammond organ and harmonica crying together in "Around the Long Way". The highest low point always comes anytime a violin has something to say in a might-have-been love song, on "Passing Through", you almost don't realize that you're heart is throbbing with in sympathetic sorrow with the string section. A welcome jolt into high gear is yet another almighty kiss-off "Paid In Full", which cuts everyone involved just about dead - proving once again that this band's great forte is being one serious ass-kickin' bar band that's always got energy for one last go before the lights come up for the night. If you want an encore, when you drape your arms around all your companions and sing the chorus, then look no farther than "Everything's Gonna Be Alright" with its "American Pie" (or "Straight To Hell" for that matter) feel - one that everyone will know and belt out, even if the rest of the words are lost in the blur of a good time and the reluctance of bringing the evening to an end. As my best friend puts it - they are a band who epitomize the energy of an arena band concentrated at the barroom level. So as they Ramone their way through the end track "Nothing to Lose", it's clear the carpe diem philosophy set against the solidity of drivin' n' cryin's talent shows them to be ever at the ready for stories to be told, hearts to be won, lessons to be learned, or just to hop in the car and go for a long ride. This disc invites you along for the ride, and you know they genuinely want you there. The band has a website at www.drivinncryin.com. --- REVIEW: Soundtrack, _Godmoney_ (V2 Records) - Sean Eric McGill Back in the late eighties and early nineties, I was big into skateboarding. But, due to the limitations of time and the fact that my knees are one good fall away from surgery, I had to get out of it. The soundtrack for _Godmoney_, however, made me wish I was able to go back out again. The director of the film, Darren Doane, describes the soundtrack to his film as "the ultimate mixed tape". Hes right. When I was skating, we put together tapes all the tape to listen to while we skated. Bands like Suicidal Tendencies, The Ramones, Black Flag, P.I.L, and others all found their way onto our tapes. We had only two requirements for our tapes - they had to be music that we enjoyed, and they had to be loud. The soundtrack to _Godmoney_ certainly fulfills both of those demands. Even the lighter songs, like Farsides "Hope You're Unhappy" remind me of those long-ago days spent in parking lots, building ramps and whatnot. But, sticking true to my own musical tastes, it's the heavier tracks like "Rusty" by Slick Shoes and "Reject" by Living Sacrifice that got my blood pumping. And for me, these feelings were key to my enjoyment of the album since every track reminded me of some pleasant memories. Now, it needs to be said that Godmoney (the film) isn't about skateboarding, or pleasant memories, for that matter. Which brings us to the point about whether or not the film works in conjunction with the movie it is a part of. Honestly, I can't say for sure. The film, which will premiere at movie festivals and then start working its way across the country, probably won't come with three hundred miles of my hometown, so needless to say, I haven't seen it. But, from what I do know about it, it's a dark story of a young man (Rick Rodney of Strife, whose band contributes "Untitled", one of the best tracks of the album) who leaves his home and his lifestyle behind him and finds that no matter where you go, you can never run from yourself. Now, when you compare that description of the film to the music on _Godmoney_, you certainly do have a connection. Overall, the soundtrack to _Godmoney_ is not only the album I wish I had seven years ago, but also one damn fine movie soundtrack. No effort is made to cater to a multiple set of genres, giving it a perfect coherence. Even when it lightens up, it never shifts gears. Come to think of it, neither did we on those long-ago days. --- REVIEW: Coward, _Coward_ (Elektra) - Bill Holmes How's this for irony - the band kicks off the record with a tune called "Cliche" that apes every 1970's rock move right down to the synthesizer fills and the "C'mon C'mon" vocals. Pretty ballsy - are they in on their own joke, or what? Must admit that when I got this CD I wasn't enthused. Front cover band name in "neon lights" (Heavy Metal Alert #1) and on the back cover of the CD, a tight shot of that "devil horn salute" (fist raised, pinky and index finger extended) that usually means a moron is attached directly below. Well, glad I continued. "Fell Down", the second cut, mines that territory that houses pop bands from The Cars to Silver Jet - attention grabbing, hooky numbers that follow the tried and true power chord formula. However, most of the songs like "Boring" and "My Wisdom" even take it a step further, echoing New Wave heroes like The Jags and The Fools more than modern power pop. Others like "Swallow" and "I'm All Right" kick in with a harder edge (think Green Day). Good harmonies, chunky guitars and tight playing throughout the record make it enjoyable, albeit short, ride. My favorite is probably the snappy "Popularity Kills" - silly, but with an infectious chorus that you can't get out of your head. Probably best heard at high volume with the windows rolled down, there's lots of promise here, whether they're truly into this style or just aping a la Weezer. But next time I hope they leave that damn synthesizer at home. --- REVIEW: Madeleine Peyroux, _Dreamland_ (Atlantic) - Jon Steltenpohl Musicians who go back to their roots are nothing new. But every once in a while, a new artist comes along and breathes new life into a genre. Newcomer Madeleine Peyroux is one of those artists. W hile musicians like Bessie Smith and Billie Holiday are certainly not forgotten, there aren't many modern artists who do anything but covers that sound like, well, covers. Peyroux does the grand matriarchs true justice by singing like she's a contemporary rather than a mimic. Take the first track, a cover of "Walkin' after Midnight". You can arguably ask why another version of this song needs to be recorded, but Peyroux finds her own path through the song. With the help of a tender Hammond organ from Charlie Giordano, Mark Ribot's guitar, and James Carter's bluesy saxophone, Peyroux pulls off a lazy, loping version that never begs to be compared to the original. "Hey Sweet Man", the second track, is a classic seduction song in the style of Bessie and Billie. "Got a mind to love you. My love won't leave you be.", sings Peyroux. Ribot's sparse dobro sets off her perfectly sultry voice. She bends her notes around each word, and ends each phrase in a fading vibrato. Marcus Printup adds a few touches of trumpet in place of a traditional harmonica, and the effect is the same as any classic recording from the first half of the century. But, the surprise comes when you look for the credits and find that Peyroux herself wrote "Hey Sweet Man". It's actually one of three songs she penned herself. The other two are equally impressive and each take on a different genre. "Always a Use" has a slight blues flavor to it, but is more of a sparse folk song in the style of Lucinda Williams (writer of the country song, "Passionate Kisses"). The title track, "Dreamland", is set with a more modern sound reminiscent of 10,000 Maniacs. As the title would suggest, the mood of _Dreamland_ is laid back and easy going. There are silly songs like "I'm Going to Sit Myself Down and Write Myself a Letter" and "Was I?". In "Was I?", Peyroux asks such morning after questions as "Was I drunk?, Was he handsome?, and Did momma give me hell?". Melancholy songs like the smokey French bar song, "La Vie en Rose", and the solemn "A Prayer" come at the album's midpoint. Then, to end on a high note, Peyroux gives us two able covers of Bessie Smith's "Reckless Blues" and "Lovesick Blues". It's a great close to a fabulous album. Madeleine Peyroux has pulled off a tough task. Not everyone can cover classic songs with such style and poise, but Peyroux sings as if she was a sister to these ladies. Peyroux uses the expression in her voice to get the style across, and never pushes the limits. The music follows the same carefree style, and the effect is superb. These songs are simple, smooth, and uncluttered. _Dreamland_ is an outstanding collection that will please new and old fans of traditional rhythm and blues. It is simply a marvelous album. --- SHORT TAKES - Al Muzer REVIEW: Geezer, _Black Science_ (TVT) Former Black Sabbath bassist/lyricist Geezer Butler's second solo offering jettisons Fear Factory throat Burton C. Bell for complete unknown Clark Brown - and pays for that folly more than once on these 13 dated-sounding Butler/Pedro (guitar) Howse compositions. Taking their musical cues from artists as diverse as Nine Inch Nails, Suicidal Tendencies, Alice In Chains, The Police, Marilyn Manson, Metallica, White Zombie, Robert Palmer and Prodigy; Geezer and the crew rip out a few bitchin' riffs (especially on "Justified" and "Xodiak") and try their damnedest to rise above the sludge - Brown's limited chops and weak attack, however, routinely drag the proceedings down to a Ronnie James Dio-fronts-Scorpions level. REVIEW: Verbow, _Chronicles_ (Epic) Featuring captivating, big-boned potential rock anthems with giant hooks, bright harmonies, fully-realized melodies, radio-friendly choruses, real heart and not less than five possible hits; this Bob Mould-produced Chicago four-piece pits the brilliantly-melodic, Badfinger-fueled songwriting and mellow-ternative vocals of punk-schooled guitarist Jason Narducy against slinky blasts of gentle sawing, static noize and classical-instrument-as-machine-gun sprawl sprayed into the mix by cellist Alison Chesley. REVIEW: Agnes Gooch, _Blind_ (Revolution) Featuring a drummer that lays claim to Joyce (Three's Company) DeWitt for a stepmother and a sound that brings to mind Cheap Trick as swaggering late-'60s West Coast rockers heavily influenced by the walls of sound explored by Kitchens Of Distinction, the Cobain legacy and the first Radiohead record - Gooch vocalist Mat Baker recalls a young Glenn Tilbrook playing off a real sense of anger and urgency while guitarist Nathan Ehrenfeld lays down a six-string assault worthy of the heaviest of metals that bubbles with a subtle pulse and sonic goo all its own. --- NEWS: > The synthpop group Arcanum has signed a licensing agreement with the German label Visage to reissue _The Spoken Scream_ on an international level. > Rockstock '97, hosted by Chicago's WRCS, will take place on September 6 at the New World Music Amphitheatre. Bands expected to perform include Megadeth, Veruca Salt, Faith No More, Seven Mary Three, Helmet, Cracker, Local H, Silverchair, Gravity Kills, and The Nixons. > Rob Zombie (of White Zombie) will make his directing debut on the third installment of The Crow series, titled The Crow:2037. There is no word yet on who the movie's soundtrack will contain, although it seems likely that White Zombie will contribute another song for the soundtrack. --- TOUR DATES (Please confirm with site before travelling): Bailter Space / Sunday Puncher Sep. 3 Washington, DC Black Cat (Bailter Space only) Sep. 4 Chapel Hill, NC Lizard and Snake Sep. 5 Atlanta, GA Point Sep. 6 Jacksonville, FL Milk Bar Sep. 9 Pensacola, FL Handle Bar Sep. 10 New Orleans, LA Howlin Wolf Big Top Tour (incl. Juan Atkins, Banco de Gaia, 808 State, Loup Garou, Moby, and many more) Sep. 3 Washington, DC Capitol Ballroom Sep. 5 Atlanta, GA Masquerade Music Park Sep. 9 Dallas, TX Bronco Bowl David Bowie Sept. 6 Vancouver, BC Plaza of Nations Sept. 7 Seattle, WA Paramount Sept. 10 Denver, CO Mammoth Comet Gain Sep. 6 New York, NY Cooler Common Sense Sept. 5 San Diego, CA Street Scene Sept. 7 Sacramento, CA Hard Rock Counting Crows / Wallflowers / Engine 88 Sep. 5 Seattle, WA The Gorge Sep. 6 Portland, OR Rose Garden Theater Daft Punk / Aphex Twin Sep. 5 Washington, DC 9:30 Club Sep. 6 Philadelphia, PA Trocadero Sep. 7 Boston, MA Avalon Dandy Warhols / Polara Sep. 2 Asbury Park, NJ Saint Sep. 4 New York, NY Knitting Factory Sep. 5 Hoboken, NJ Maxwell's Sep. 7 Richmond, VA Twisters Danielson/Soul Junk Sept. 1 St Louis, MO Cicero's w/ Lullaby For The Working Class Sept. 2 Chicago, IL Lounge Ax Sept. 3 Cleveland, OH Speak in Tounges Sept. 4 New York, NY Brownie's w/ Danielson Family only, Velour100 Fluke Sept. 5 Chicago, IL Chicago Pier Grand Ballroom Sept. 10 Salt Lake City, UT SaltAir Resort Main Pavilion Irving Plaza (NYC concert hall: http://www.irvingplaza.com) Sep. 3 G Love & Special Sauce / Mansun / Save Ferris / Travis Sep. 4 Superchunk / Butterglory/Pipe Sep. 5 Man or Astro-man? / Skeleton Key Sep. 6 Tanya Donelly / Juliana Hatfield Life of Agony Sep. 2 Portland, ME Zootz Sep. 3 Montreal, QC Les Foufounes Sep. 4 Toronto, ON Lee's Palace Sep. 5 Columbus, OH Chelsie's Sep. 6 Cleveland, OH Peabody's Sep. 7 Detroit, MI St. Andrews Sep. 9 Denver, CO Bluebird Magoo Sep. 4 New York, NY Continental Sep. 5 New York, NY Wetlands Matchbox 20 Sept 6 West Lafayette, IN Slayter Hill Amp/Purdue Univ Sept 7 Lawrence, KS Jayhawk Music Fest Pantera / Coal Chamber / Machine Head Sep. 4 Anitoch, TX Starwood Sep. 5 Winston-Salem, NC LJVM Coliseum Sep. 6 Fayetteville, NC Cumberland County Arena Sep. 7 Atlanta, GA International Ballroom Sep. 9 Philadelphia, PA Electric Factory Sep. 10 New York, NY Roseland Roadside Monument Sep. 4 New York, NY Brownie's Sep. 5 Philadelphia, PA LaSalle Univ Sep. 9 Ann Arbor, MI Blind Pig Tsunami Sep. 1 Detroit, MI Magic Stick w/Franklin Bruno Sep. 2 Chicago, IL Fireside Bowl w/Van Pelt Sep. 3 Chicago, IL Lounge Ax w/Van Pelt Sep. 4 Minneapolis, MN Whole Music Club w/Van Pelt Sep. 5 Madison, WI O'Cayz Corral w/ Van Pelt Sep. 6 Davenport, IA Kanga Gallery w/Van Pelt Sep. 7 Iowa City, IA Gabe's Oasis w/Van Pelt Sep. 9 Oberlin, OH Oberlin w/Van Pelt Sep. 10 Louisville, KY Toy Tiger Wu Tang Clan / Rage Against the Machine / Atari Teenage Riot Sep. 1 Kansas City, KS Sandstone Amp. Sep. 3 Minneapolis, MN Target Center --- 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 To subscribe to Consumable, send an e-mail message to consumable-request@westnet.com with the body of the message stating "subscribe consumable". To unsubscribe, send a message to the same address stating "unsubscribe consumable". 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 ===