==== ISSUE 123 ==== CONSUMABLE ======== [October 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, Joann Ball, Tracey Bleile, Lee Graham Bridges, Scott Byron, Patrick Carmosino, Janet Herman, Bill Holmes, Eric Hsu, Tim Hulsizer, Robin Lapid, Stephen Lin, Scott Miller, Linda Scott, Scott Slonaker, Simon Speichert, Jon Steltenpohl, Simon West, Lang Whitaker Technical Staff: Chris Candreva, Dave Pirmann Also Contributing: Rey Roldan 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 | `------------' INTERVIEW: Jars of Clay - Lang Whitaker REVIEW: The Verve, _Urban Hymns_ - Tracey Bleile REVIEW: Beautiful South, _Blue is the Colour_ - Rey Roldan REVIEW: Soundtrack, _G.I. Jane_ - Joann D. Ball REVIEW: Spiritualized, _Ladies And Gentlemen We Are Floating In Space_ - David Landgren INTERVIEW: Lamb - Joe Silva REVIEW: Pantera, _Official Live 101 Proof_ - Simon Speichert REVIEW: Slobberbone, _Barrel Chested_ - Scott A. Miller REVIEW: Jen Trynin, _Gun Shy Trigger Happy_ - Al Muzer REVIEW: Love American Style, _Undo_ - Patrick Carmosino REVIEW: Grey Eye Glances, _Eventide_ - Bob Gajarsky REVIEW: Honeydogs, _Seen A Ghost_ - Bill Holmes REVIEW: Junkster, _Junkster_ - Janet Herman REVIEW: Kyra Lucas, _Deep At The Bottom Of Things_ - Bob Gajarsky CONTEST GIVEAWAY: Godmoney soundtrack NEWS: David Bowie, Kiss book, Midnight Oil, Specials, Neil Young movie TOUR DATES : Backsliders, David Bowie, Billy Bragg, Coward, Cravin' Melon, Alana Davis, Dots Will Echo, Chris Duarte, Foo Fighters, Fu Manchu, God Street Wine, Buddy Guy, (hed) p.e., Interpreters, Irving Plaza, Jars of Clay / Plumb, Less Than Jake, Letters To Cleo, Love Spit Love / Closer, Ziggy Marley & Melody Makers, Old 97s, Pantera / Coal Chamber / Machine Head, Promise Ring / Compound Red, Samples, Scanner / DJ Spooky, Seven Mary Three, Third Eye Blind, Tower of Power, Two Dollar Pistols Back Issues of Consumable --- INTERVIEW: Jars of Clay - Lang Whitaker You could say that Jars of Clay has the Midas touch. Shortly after releasing a self-produced demo CD that sold out its entire run, JOC recorded their first album for Silvertone Records. Now, two years and two million copies later, Jars of Clay find themselves starting over again with the release of _Much Afraid_ , their second album for Silvertone. Keyboardist Charlie Lowell took time to check in with Consumable from the road in Oklahoma City. On the heels of their platinum debut album, the release of _Much Afraid_ has sparked a range of emotions from the band. "There was a little fear, not knowing how people would respond. We knew that we were real excited about the new songs, and we worked hard on it and were pretty proud of it, but there's still an element of it may just not connect with people." Not surprisingly, it has connected, debuting at #7 on the Billboard Top 100. For Jars, this time around they feel much more connected with the album. and, according to Lowell, Jars couldn't be happier. "I think we just feel like it's bit more mature. It's a bit more of where we are now personally and musically." When Jars first approached the making of the new record, they sought a producer, a change from their first two self-produced releases. "That was actually pretty difficult for us to do, because the four would all have produced the record in a slightly different way, so it's hard for the four of us the make decisions. We felt like we needed someone in a mediator role." That someone became British producer Stephen Lipson (Annie Lennox's _Diva_ and _Medusa_ ), but only after he passed a few tests. "(Stephen Lipson) flew over to Nashville to meet with us and see if we'd get along and work well together. We'd met with a few other producers, and we would ask them 'Given this demo, how would you approach it? What would you do differently based on what you've heard?' The cool thing about Lipson was that he just said 'I don't know.' He said 'I don't know how I'd do it. We'll just get in the studio and panic together"' and I think that was probably the best thing we could hear, and I don't think we knew it at the time. That attitude of not planning it out and saying 'This is how we're going to tackle each song,'; just trying to go in there and be creative and see what happens." As a test run, Jars went in with Lipson and recorded the song "5 Candles (You Were There)" for the "Liar Liar" Soundtrack. "About a week or two before the movie came out," Lowell recalled, "we heard that they wanted to change the ending, they wanted more of a humorous ending, and so they ended up cutting the song. We were really disappointed, because we thought that it would kind of go along really well with the movie. We ended up using for our record and felt like it fit in with the rest of the songs we did anyway." It does. The bubbling guitars and airy harmonies of "Five Candles" fit easily within the framework of _Much Afraid_ , a logical and progressive follow-up to _Jars Of Clay_ . While the self-titled album relied largely on studio overdubs and percussion loops, _Afraid_ is a much more straight-forward, rock-style album; much more band oriented. The first single, "Crazy Times", has already started garnering radio airplay. One aspect of JOC's music that hasn't changed is their willingness to openly confront their hearts, both in their music and in their day-to-day lives. Devout Christians, JOC attribute all of their success to their personal relationships with Jesus Christ. However, even as they continue to find success and acceptance beyond their wildest dreams, they find themselves struggling with the question "Why us?" "I probably ask myself that question every day. We definitely don't feel like we've earned this position or this responsibility, and at times it definitely feels like 'Why us? Why not this other band that has a lot more talent, or a lot better attitude, or has done this a lot longer?'. Maybe that's part of these reason why God's used us to do this, because it's hard for us to take credit; it's hard for us not to give Him the glory." --- REVIEW: The Verve, _Urban Hymns_ (Virgin) - Tracey Bleile The music industry is currently fighting off one of its more massive slumps and many setbacks in the quest to not only find acts that have the talent to create great music, but to have it happen on a regular basis ever after. It is at least a clear turn for the good when a band that broke up finds their way back together stronger than ever, and sends out a release that is clearly a step forward while also packing an emotional wallop - it bodes well for everyone involved. The success-cut-short story of Britain's premiere beautiful noise/shoegazers The Verve, was nothing short of a tragedy when they crashed and burned in late 1995, quitting right in the middle of their tour for _Northern Soul_ . Melodramatic? Maybe. Cliched? Probably. But even the most cynical think-they've-heard-it-all types will find it difficult to not be moved by the Verve's interpretation of what it's like to re-join life in progress. With the release of _Urban Hymns_ - I dare say the Verve sound almost...happy? Well, Richard Ashcroft and Nick McCabe have mended their ways and their relationship, Simon Jones and Peter Salisbury are still the thunder and lightning of the storm, and they've added a second guitarist, Simon Tong. So maybe they aren't exactly leaping up and down, but after the overweening sadness of _Northern_ , _Urban Hymns_ feels like their way of giving thanks for just being alive. From the opening swells of sonic strings and electronic bird trills in the lead track/first single "Bitter Sweet Symphony" , you gain an immediate sense that dealing with the experiences of real life, both good and painful, is better than the agony and lack of control that drugs only sharpen. Ashcroft's vocals have moved away from the keening warble so prevalent on previous releases, and have extended into a gentle Neil Finn/Crowded House tenor on many of the tracks. Even when he moves into the higher ranges, it doesn't seem so painful - just damn powerful. The second single, an acoustic and simple testament to getting sober, "The Drugs Don't Work" , says it all. _Urban Hymns_ is another lengthy effort, over 75 minutes (which includes hidden tracks), but there's a lot more going on than their trademark ethereal painting-with-sounds. Oh, never fear, it's got the known-quantity Verve - great orchestral swellings of keyboards and effects with Ashcroft rising and falling over the melody, which are consistent with what drew people to the band in the first place. What gives this release validity are the songs that move far away from this norm. Their worth is proved with the experimentation of everything from a trippy, glammy groove in "The Rolling People" which, even though a seven minute song, flows and pounds with all the insistence and energy of a high tide - to the bouncy staccato backbone of "This Time" . The Verve then proceeds to take on the Brit-pop sound currently being defined by certain bands who shall remain nameless (due to far too much publicity as it is), and stamps their own distinctive emotion all over the second half of the disc, and leave you stunned with their ability to do so much with so little. To this end, the naked longing in a string of moody, simply arranged songs with much toned-down guitars finds that they can communicate their feelings just as well as when they deliver one of their big, sweeping pieces. From "Space and Time" (if I had a vote, I'd say make this a single) to "Lucky Man" , Ashcroft does indeed sound like a supplicant giving thanks to the higher power guiding him. In love and in music, he has found his calling. The closing track "Come On" blends a little bit of the old and new, psychedelic and heavy and echoey and swoony - to Ashcroft's voice soaring and beckoning from above, and then barking out defiantly 'Fuck you!', railing against whatever might hold him down. Given the soundtrack feel of this disc, it is fitting that it is the end credits. Anger, love, passion, hope, and for once, a sense of purpose, even if you know life ain't so great all the time. How's that for a real life happy ending? --- REVIEW: Beautiful South, _Blue is the Colour_ (Go! Discs/Ark21) - Rey Roldan With their stillborn US career still not on the up & up and their UK career stabilizing, the surprisingly overlooked Beautiful South have released another batch of irony-laden, spiky lovesongs that skewer their way into alcohol-drenched hearts. With this their fifth full-length (not including Best-of collection _Carry on Up the Charts_ , which was hugely successful everywhere EXCEPT the US), Paul Heaton, Dave Hemingway and Jacqueline Abbott harmonize their way through the 12 tracks effortlessly... and there lies the main problem. Instead of expanding their trademark, easily listening-style of melodies and sweet vocals with ferociously toothy lyrics, they follow their formula as if by rote, without any hint of challenge. "One God" echoes much of _Miaow_ , their most staid album of hooky but smooth and non-bumpy pop songs. Lyrically about the need for more than a singular God ("There's only one God/ There should be two or three"), the song hits a country-western snag and gets caught up in the torch and twang. The smoky, lounge-bar vibe of "Alone" has a shuffling beat that suits Heaton's wine-soaked Bluesy vocals perfectly, showcasing their oft-examined theme of marriage gone boring. But the real stand-out is Heaton's turn at becoming the next Shane MacGowen but gruffing up his voice and sounding like a drunkard who has consumed a few too many tequila shots in "Liar's Bar". With his normal voice an uncharacteristic growl, Heaton pummels his way through a tale about a travelling salesman who seems to always go into to random bars for one drink and ending up with twenty empty glasses in front of him (echoes of a travelling "Old Red Eyes Is Back" from _0898_ ). The first single "Don't Marry Her" carries the shock-value tactic that the band has never explored before with the inclusion of a vulgarity. Within their earlier material, they have escaped the easy route by offering cute euphemisms or image-laden irony. In its stead, they offer the charming line "Don't marry her/ Fuck me." Whether this cheapens their normally reserved vision or brings it to another level is up for debate, but as a single, it offers little enjoyment for the puritanical mass media. All in all, _Blue Is the Colour_ follows in Beautiful South's tradition of lite pop songs quipped with a poison pen. Fans and followers will embrace this while others may find it a bit "too provincial". Compared to the full slate of albums, file this one before after their first three albums but before the inferior _Miaow_ . --- REVIEW: Soundtrack, _G.I. Jane_ (Hollywood) - Joann D. Ball The late summer box office hit _G.I. Jane_ is the fictional story of the first woman to train for the prestigious Navy SEALs. Starring Demi Moore as Navy Intelligence officer Lt. Jordan O'Neil, _G.I. Jane_ is a classic drama of good overcoming evil through strength, courage and determination. Rock and roll may not equal the Navy SEALs in terms of challenges and difficulty, but it certainly does require incredible stamina and perseverance. And as film director Ridley Scott has aptly noted, singer/songwriter and rhythm guitarist Chrissie Hynde of the Pretenders personifies this and more. According to Scott, "Chrissie Hynde is the only vocalist who shared the lead character's rare combination of sensuality and determination, toughness and femininity." That Hynde and fellow Pretenders drummer Martin Chambers, guitarist Adam Seymour and bassist Andy Hobson are also experts at musically reproducing the highs and lows of emotions and feelings makes the band the ideal choice for providing the signature songs for the film. The Pretenders contribute "Goodbye" and "The Homecoming," both produced by Trevor Horn. The film's theme and first single, "Goodbye" is actually a Steve Earle tune. It gets the classic Pretenders touch, though, as Chambers provides a gentle militaryesque beat while Hynde's voice soars over lush guitars, keyboards and strings. The movie's end-title theme, "The Homecoming," is a Pretenders original penned by Hynde. It hints at what can be expected on the band's eagerly anticipated follow-up to 1994's _The Last of the Independents_ . A mid-tempo rocker, "The Homecoming" prominently features Seymour's brilliant fretwork which complements Hynde's unmistakable tough-love vocals. The two Pretenders tracks fit well with Trevor Jones' original movie score, represented on the soundtrack by the orchestral pieces "Conspiracy," "Time to Reflect" and "Endurance" But between the Pretenders and the instrumentals are five songs by a diverse group of artists. Three Dog Night's "Mama Told Me (Not to Come)" puts a humorous spin on the Navy SEALs training process, while the macho power chords and subject of Bad Company's "Feel Like Makin' Love" reflect the sexual preoccupation of male recruits when a woman enters their military environment. The new folk-and-western group Tarnation contributes "Two Wrongs Won't Make Things Right," a number which evokes the best of Patsy Cline and 1950s love songs. John Lee Hooker's blues rocker "Dimples" and "The Future is a War" by Auntie Christ round out the collection. Auntie Christ is the new collaboration between former X members of Exene Cervenkova and D.J. Bonebrake and ex-Rancid bassist Matt Freeman, and the trio delivers an aggressive declaration full of punk spirit. The soundtrack to _G.I. Jane_ works because it is a collection of carefully selected songs. The Pretenders tracks are the highlights here, and they operate as the bookend opposite of Trevor Jones' score selections. The sonic assault of Auntie Christ is an unexpected surprise, and the band's inclusion here will hopefully spark interest in their new full length release. The Three Dog Night, Bad Company and John Lee Hooker songs work amazingly well with the scenes they accompany in the film, but without the visual their presence is not quite as obvious. Consequently, it takes a little thought and a bit of humor to figure out the connection. Finally, Jones' instrumental pieces are big orchestral works which manage to recreate the gripping intensity of the film for the soundtrack listener. --- REVIEW: Spiritualized, _Ladies And Gentlemen We Are Floating In Space_ (Arista) - David Landgren I was hunting around the local record shop a while back, looking for something new, and came across the most amazing packaging for a CD I've ever seen in my life. Imagine a CD done up as a prescription drug. Like, "Use only as directed by a physician (see enclosed leaflet)/Store in a dry place/Keep out of reach of children/Play one twice daily," and so forth. The enclosed leaflet continues the theme. Needless to say I snapped it up without having the faintest idea of what it would sound like. (Ed. note: The regular American version doesn't look quite as cool, but just like a normal disc). To tell the whole story, that's not quite true. I had an idea, given the name of the band and album, that it would be something ambient, which, incidentally, would have been fine with me. But it turned out to be something quite different. Jason Pierce, leader of Spiritualized and one-time member of Spacemen 3, has come up with a majestic album that claims a heritage of the pure melody of Brian Wilson and the nihilism of Hank Williams. Easy Rider meets Fear and Loathing in Las Vegas (the book, not the film). In short, one of the most awesome things I've ever heard in my life. I initially dubbed the album onto tape so that I could listen to it while driving, however, the dynamic range of the album is so wide that I found myself constantly ramping up the volume, only to slam it down minutes later as the car filled with a wall of sound. Consider "I Think I'm In Love". Long, smooth intro consisting of a sustained note on a keyboard, a riff plucked out on a bass guitar, a slightly wah-wah electric guitar, and to gather you in to the fold, a gorgeous harmonica and breathy latter-day Beach Boys vocals. And then, exhale, a second of silence, inhale, and we're off. In comes the percussion, and yeah, well, we're floating in space. And then comes the really clever part, the lyrics, variations on a theme of "Think I'm your friend... probably just lonely", "Think I can rock'n'roll...probably just twistin'", "Think I want to tell the world... probably ain't listening". In as much as Nancy Reagan just never got it, it's easy enough send a message to kids to not take drugs, just say something they can decrypt: "Think I'm the life and soul... probably just snorting". The most engaging aspect of the album is the play of contradictions. Waves of outright distortion on a "Broken Heart", thrown upon a wailing arythmic saxophone on "The Individual", only to cut back to rich, soaring violins, mournful horns and aching, trembling vocals. Once again, we are floating in space. Then there's the heavy jamming on the instrumental track "No God Only Religion", with guitars that go beserk, held in check by the brass section. I still find myself reaching to turn down the volume, out of respect for the neighbours. After that, as a sort of catharsis, Spiritualized offers us a moment of respite on "Cool Waves", with nothing less than a full gospel choir, flutes, the whole business. Sadly, after seventy minutes, the album draws to a close all too soon, with the bluesy "Cop shoot cop...". Songs don't get much better than this. Tambourine, piano and handclaps rolling along, bass guitar noodling around, laconic vocals. It's all very laid back and then boom! in comes an electric guitar spitting venom and fire. Get spiritualized today, it's bezerk. And no, I'm still not cured. After a couple of months of listening, I still need my daily dose. --- INTERVIEW: Lamb - Joe Silva If you've even spent ten minutes in your local DJ shoppe lately, you'd realize the small percentage of stuff that actually escapes the breakbeat kingdom and acquires even a nodding acquaintance with mainstream pop circles. In the worse case scenario we'll have more Prodigy-like material escaping from the confines of the subcultcha, but in a more just world the future musical schema will approximate Lamb. At the onset of their recent tour of the States, Louise Rhodes and Andrew Barlow took time to chat re: their blissful mix of warm vocals and instrumentation (double bass, horns) and the thumping and frenetic beats of the drum n bass corps. Consumable: So you're co-headlining this tour with Gus Gus, right? Louise Rhodes: Actually, we're opening for Gus Gus now. Somewhere along the line we became special guests. (laughs) C: Is the setup for the show very similar to other electronic, technology based bands? LR: We're very different from that. Very visual with Andy going completely mad on stage, and we've got live double bass, as well as a live trumpet player. There's a lot to watch, more like a live band. Once (someone's) seen us live, they can't make those comparisons. It's a very human experience. C: Now these songs we're finished and released in the UK some time ago. Do you still feel excited about the material? LR: I still get the buzz. I realized half way through singing "Cotton Wool" last night, that it still had the capacity to move me. I am 100% in those songs when I'm singing. But it's different each night and there are a whole load of factors as to why - the response you get from the audience, the moods we're all in. That's another difference between us and the other electronic acts. We rely on a lot more on a two-way thing with the audience. I know I do particularly when I see people responding to the songs. It's relatively rare that we have a bad night. We usually manage to connect with the audience. That's more likely to happen when we're playing for a festival. C: Now I know you played Glastonbury (England festival). What was that like? LR: One of the biggest buzzes of the summer. It was a weird one, because it was really bad weather, and sort of knee deep in mud all weekend. But it felt brilliant! We'd had a real ordeal getting in there. Basically all the tour buses were booked out that weekend. So we didn't a tour bus. So in the end I wound up driving down in a transit so I could sleep in the back. It took us ten hours to get on to the site from just outside. When it came to our show we were sort of wading through mud. I was just feeling so low and tired and weary and just like I was going to fall apart, like I couldn't do it all. And then when I met up with the rest of the band who sort of energized me a bit and when we went up on stage, the response from the audience was so amazing, I couldn't stop smiling. Despite the mud they were really up for it. C: Well you've had four singles from the album over there which is a lot. So people must have been familiar with you. LR: Yeah we've been milking that album (laughs)! But really, we've had four singles, because we wanted four singles. All those tracks were sort of asking to be singles. C: What was it like at first composing with Andy considering your different backgrounds? LR: That was what I was looking for. Basically, we didn't really discuss much in advance what we were going to do. We just got some free studio time and went in and wrote "God Bless" which was kind of a celebration of this bringing together of our various skills. Andy never wanted to work with vocals, so it must have been a weird one for him, because he wound up doing something that he hadn't really forseen, but enjoying it all the same. I knew I wanted to write songs, but do it in a different way like using the exciting beats that were inspiring me as well. Day in and day out we have problems because of the different people we are and the priorities we have. We fall out about everything. We fell out this morning about who was first in the shower. C: How has your work ethic changed over the time you got to be more familiar with one another? LR: It's constantly changing. Because we've been basically playing live solidly over the last year, I think our whole approach has changed. We've become a lot more spontaneous about how we treat our songs. Our approach to writing songs has kind of metamorphisized a little bit from playing live. We're more likely to get more basic ideas and jam them through as a band and let it develop, then go back into the studio and then put stuff into the sampler and mess around with it. We have a port studio on the bus with us. Andy's devised this wonderful little thing in a flat case where you just flip up the lid and there's your studio. We were doing things like putting down live double bass on the motorway in Europe and trumpet in a hotel room. So that's going to make a big difference. It's kinda hard to get motivated since you sort of have a half-life when your on tour. You come alive when your onstage, and that's it. It's a learning process, obviously. C: I particularly noticed that the lyrics on this record are positive personal statements. Is that a conscious thing? LR: Most people say we're really melancholy, and I don't know where they get that from. They try to lump us in with all those bands that are trip-hop and melancholy. I'm a total romantic, and very optimistic, and have that approach to relationships. Basically, you know that life is about learning and getting hurt and learning again. And with relationships you have a choice of either getting hurt and get bitter and twisted or rise like a phoenix from the ashes and hopefully go on and have a better relationship the next time. All our relationships are there to teach us something. The other people that we meet in life, especially the people who we form close relationships with, are there to teach us something. I love modern music, but sometimes I get frustrated because it lacks emotional depth. I need to have that in my music. People don't want to give that, they'd rather hide behind technology and not show any of themselves. It's very male dominated, especially the techno side. Young guys who do not want to show any emotion at all because it shows vulnerability. A lot of the stuff I listen to is old music like _Roberta Flack featuring Donny Hathaway_. It's a classic album. It kind of verges on corniness in the pure emotion that it's expressing, but I love that in it. I can't be really any other way. I've been so much more of a happier person since I've been able to express it in songs. Probably a bit self indulgent as well. You chose your role in life, and I think mine's definitely to communicate things like that cuz not so many people are doing. I might come out like a bit of an idiot sometimes, cuz I am so open about it, but I don't give a shit really. C: Andy, how are the performances for you? Fairly busy? Andy Barlow: We could have done it easier. You could have had me and Lou on tour with a tour manager and a DAT machine, but we've chosen to do it this way. It could have worked either way I suppose. With a DAT machine you've got stability, of course every show's the same, but that not what we're about- we're more interested in taking risk and taking chances. Having a unique show for better or worse. C: Who's idea was it to take the live instruments on tour? AB: Neither. It was a logical thing. Double bass is one that instruments that Lou and I both agree is one of the most tremendous instruments ever - the warmth of it. All of Lamb has been a string of coincidences. The more that we go on there's some kind of form. It goes wrong unless we do it as mutual as possible. We both like those instruments, so we got them included in the live set. C: How have your personalities meshed up 'till now? AB: It's hard work some times. There's lots of energy going with two people who are strong willed. That's why Lamb's got a spikey exterior, but a soft underbelly. C: Lou says you've brought the studio along for the tour. AB: Yeah, my mobile studio, it's wicked. You see when we get back from the states, we've got six months in Manchester (to write the next album) and we've already got four or five ideas. Half the fuckin' album's written, no problem! C: Will there be certain aspects or techniques that you'll carry over from the first record to the second? AB: The first album was all over the place. We don't really have a formula for writing stuff. Some samples or loops I've put together will inspire us or even just one sample will inspire Lou to come up with some lyrics. Sometimes she'll have lyrics and some guitar parts and then everything will get changed around and the guitar will get thrown out. It's pretty fluid. However it starts it starts. In fact we actually kind of take turns, because we see it has an effect on how it turns out. C: Have you spent a lot of time keeping up with all the stuff that's going on now in drum n' bass? AB: I haven't listened to a lot of music lately. I think drum n' bass has really gone up its arse. Even the shining pieces have a real effort to shine because they're really surrounded by all this shit. C: Even Tricky? AB: I can only listen to that so much, because it puts me in a bad mood. I saw him once at Glastonbury while I was tripping and he gave me a bad trip (laughs)! --- REVIEW: Pantera, _Official Live 101 Proof_ (East/West) - Simon Speichert The great southern trendkillers are back. Yeah, that means Pantera. Those cowboys from hell have returned to kick your ass with a little more metal. But this time, it's live. _Official Live 101 Proof_ is Pantera's fifth major label album, and the title tells the truth; there is enough heavy metal on here to get you wasted. The album contains an entire Pantera concert - that's fourteen songs - and two brand new, never-before-heard studio songs. On this album, vocalist Phil Anselmo, guitarist Dimebag Darrel, drummer Vinnie Paul and bassist Rex Brown belt out some of their greatest songs for a crowd of, I'd say, at least a few thousand. The tracks on this album include the first single "Cemetery Gates", "Sandblasted Skin", "Suicide Note Pt. 2" (from last year's _The Great Southern Trendkill_ ) and the two new songs, "Where You Come From" and "I Can't Hide". For those of you who are unaware of what Pantera sounds like, I've got only two words for you; heavy metal. Some of the heaviest music in the world has been spewed out by these four guys. _Official Live 101 Proof_ is a terrific live album, but I'd only recommend getting it if you've heard most of Pantera's stuff before, because it's quite a harsh introduction to the fury that is Pantera. --- REVIEW: Slobberbone, _Barrel Chested_ (Doolittle) - Scott A. Miller "Some people try for all their lives but they never make a dent." This is the second line of Slobberbone's sophomore effort _Barrel Chested_ (Doolittle) and while it may be true for a lot of folks, it should not be the case with this Denton, TX, alternative country act. This is the band's second strong album in a row and fans of the insurgent country movement should add both to their collections immediately. Slobberbone has been kicking around the Denton, TX, music scene since 1992 when Brent Best decided to start playing in public the tunes he was writing in his bedroom. The band's debut _Crow Pot Pie_ was originally recorded to land Best and company better gigs around Denton and nearby Austin. Jeff Cole, Doolittle's Mr. Everything, re-recorded it and the resulting incendiary blend of metal, punk and country caught on with a national audience. _Barrel Chested_ has all the elements that made _Crow Pot Pie_ a winner (two of the songs were even record during the "Crow" sessions), but it shows Best maturing as a lyricist and arranger. It still includes a few hyped up punk numbers ("Lame" and "Haze of Drink"), a couple of longer jams ("I'll Be Damned" at 7:02 and the sadly beautiful "Get Gone Again" at 6:17), and more songs about beer and whiskey (most of the above plus "Little Drunk Fists" and "One Rung"). The arrangements, however, now make deft use of fiddle and dobro, so the "country" isn't overwhelmed by the band's punk-metal fury. And the lyrics find Best struggling harder for redemption against tragic flaws like alcoholism, pride and bad luck. When he sings "I'll be damned if I let you pick me up and brush me off and give myself a reason to live" he may be projecting a truckload of punk attitude. But it's that same attitude - that tragic flaw - that keeps him from reaching the happy ending. "A happy ending would have belittled what I was driving at," Best says. "The point of the album is not letting myself off the hook." From "Crow," Best proved he could write a punk songs, country songs and metal songs. For this outing, he put a few new notches in his songwriting belt. The suburban folk tale "Engine Joe" has nice Appalachian feel to it until it gets to its boot-stomping fuzz-box break. Afterward it quiets down again, still leaving you with a smile. "Little Drunk Fists" is quieter than anything on either Slobberbone album, but at the same time, it may be darker. The rich violin of Susan Volez, who has worked with Poi Dog Pondering and John Mellencamp, adds a mournful quality to a sad story. Though Mike Hill plays guitar on the album, he has since left the band and Jess Barr has taken over guitar duties. Brian Lane on bass and Tony Harper on drums have been with Best since the pre-Doolittle days. Best, who also plays guitar, handles all the vocal duties in a voice that ranges from southern-fried rebel yell to introspective singer-songwriter to beer-soaked pub philosopher, sometimes in the same song. When the alternative country moniker is thrown around, many draw a direct line to the early Uncle Tupelo albums. But having listened to albums like _No Depression_ and _Still Feel Gone_, I can honestly say Slobberbone has more in common with bands like AC/DC, pre-_Don't Tell a Soul_ Replacements and country's outlaw artists like Waylon Jennings and Willie Nelson than with the aforementioned Uncle Tupelo. Slobberbone's country is more rural, its rock is louder, its punk is more ferocious. As the song goes, "I'll be damned." --- REVIEW: Jen Trynin, _Gun Shy Trigger Happy_ (Warner) - Al Muzer Well on her way to an Aimee Mann-like cult following - former New Jersey (exit 135 on the Garden State Parkway) resident Jennifer Trynin took nearly three years to drop half her first name and unleash the follow-up to _Cockamamie_ , her critically-acclaimed, 1994 debut. A deeply personal break up diary set to music, the 13-song _Gun Shy Trigger Happy_ utilizes feel, finesse, pop-smart songwriting, reserved instrumentation and a warm, smoky voice thick with waste and wistful sadness to convey Trynin's thoughtful, insightful, occasionally painful tales of insecurity, betrayal, weakness, disgust, second thought, lost love and heartbreak. Despite the unwavering lyrical focus of her sophomore effort, Trynin sweetens her heartache and makes it accessible with musical touches that range from a bit of Mazzy-moodiness mixed with Cowboy Junkies vulnerability on "Everything" ; to a lush, melancholy, Fleetwood Mac-ish harmony groove that effortlessly propels "Getaway (February)" ; to the loud blast of alterna-pop crunch and "yeah, yeah, yeah," big-hook chorus that makes "Go Ahead" such a perfect choice as the first single. Other (but not limited to) highlights of one of this year's best albums include: the "Shaft"-ish guitar intro, hip hop-stomp beat and irresistible pop hook that powers "Bore Me"; the chunky T-Rex-ish riff and punky vocal snarl of "If I"; a gentle, Joni Mitchell jazzed-funk confessional called "Writing Notes"; the crotch-rock riff, Dwight Twilley break and galloping rhythm punch of "Love Letter"; and the sinuous groove and bluesy starkness of "I Don't Need You." --- REVIEW: Love American Style, _Undo_ (Oxygen/BMG) - Patrick Carmosino Melodic, ear-catching, American 'alterna-rock' (ugh!) is becoming a right rarity as the 90's rot to a conclusion. But Love American Style stand out in a field of dread not by default but by sheer talent and inspiration. _Undo_ is a charming mish-mash of mixed tempos, ranging from the Brit-pop, bass-driven title track to the power chord Foo-esque "Not About To Lose It" to the airy accordion-aided "I Know You Know". Guitarist/vocalist/songwriter Rob Montejo has long had a knack for creating memorable hooks. His previous band, Smashing Orange released one of the ultimate samples of the short-lived dreampop/shoe gazing set with the single "My Deranged Heart" . On _Undo_ , Montejo revisits some of that territory with "Be In Your Body," which takes the air out of his previous incarnation and replaces it with some crunchiness and soul and "The Sky Will Be Milk," which puts the air right back in to dazzling effect. What also emerges on this record is the depth of Montejo's voice, which may have been doubted in the past because of all the sound layers going on but comes out full and rich and has a higher-ended Brian Wilson-circa-Pet Sounds timber to it, especially on "Radio Smile" and the rather lovely "Anodyne". Love American Style is rounded out by drummer Bob Furlong and bassist Steve Haley, who, by the sound of the title track, seem to have locked in nicely as a rhythm section. To many, _Undo_ may not hit instantly, but a couple of listens should prove this one a rightful sleeper for 1997. Unlike their name, Love American Style aren't about vintage hip/kitsch nostalgia. They merely keep the ethic of pop alive in a mindlessly rocking world, which nowadays is food for life. --- REVIEW: Grey Eye Glances, _Eventide_ (Mercury) - Bob Gajarsky The trio known as Grey Eye Glances may have gotten their initial break through the unconventional means of self-bookings at East Coast Borders bookstores, but their combination of piano, cello, and 12 string guitars harkens back to a folk rock period which has long since been forgotten. Though the faster pace of the first single, "Halfway Back", might recall the best of 10,000 Maniacs (without the social preaching) and the October Project, much of Grey Eye Glances' national debut, _Eventide_ , owes its debt to Fairport Convention and Joni Mitchell. In other words, because this style of music is verboten on most radio stations, Grey Eye Glances will most likely only be heard in a listening booth - or at the appropriate coffeehouse setting. Worth a listen, it's folk rock for the 90s with an edge. Grey Eye Glances' web site can be found at http://www.greyeyeglances.com --- REVIEW: Honeydogs, _Seen A Ghost_ (Debris/Mercury) - Bill Holmes On their third release, Minneapolis' Honeydogs seem to be fighting the "alt-country" tag that's being stapled to them. Good thing - although there's some countrified sweetness on _Seen A Ghost_, there's much, much more to this record than that. Adam Levy writes catchy, melodic songs and stuffs them full of lyrical gems that put a smile on your face without taking the song off the track. Inverted cliches like "you took my breath away/now I want it back" sit alongside inspired lines like "don't tell me that it's raining/when you're peeing on my head". Levy claims he gets his lyrical ideas from listening to his band mates busting each other on the tour bus; if so, nobody sleeps much. Musically, the H-dogs are all over the map but do it with style. Two of the songs, "Cherub" and "Twitch", rock out like vintage Faces right down to the trademark Ronnie Wood guitar sounds. "Cut Me Loose, Napoleon" takes it a step further, echoing the Faces' bastard children, The Replacements (fellow Twin City homeboys who are a huge influence here). At the core of both those bands were artists whose solo work falls more into the "alt-c" bucket, Ronnie Lane and Paul Westerberg. "John Brown", with its thick and saucy keyboards, could sit alongside any Lane composition from the _Long Player_ era (like "Debris", which ironically is the name Mercury chose for this side label). The acoustic closer "Sweet Pea" uses strings to wash the emotions over the listener, capping the gentle exit with a refrain of the title tune in the fade. Beautiful touch. Right alongside these songs are a few shots of roadhouse country. "Mainline" is straight Bakersfield shuffle, no chaser, and "Those Things Are Hers" is classic two-step twang. And if that isn't enough, "Into Thin Air" is borderline psychedelic, great biting slide driving the chorus throughout. What could be formulaic in other singer's hands is dynamic here because Levy is as good a singer as he is a songwriter. His phrasing, especially on the should-be-a-hit "I Miss You", accentuates his lyrics, toying with rhymes and puns. And isn't it great to hear a "band-on-the-road" song that's a real love song instead of all this "loner/cowboy" bullshit that everyone seems to write? That song, along with "Your Blue Door" and "Rumor Has It" might kick down the door that Wilco has been trying hard to open for the last two years. Usually when a band's sound is this diverse it's a bad sign, a warning signal that they lack direction. But if the band in question does it all so well and with such passion, how can I knock them? The Replacements were equally strong with "Alex Chilton" and "Skyway", ditto The Faces with "Stay With Me" and "Debris". While it's too soon to place The Honeydogs in such esteemed company, they're sure headed in the right direction. In the meantime, I can't keep this one out of the player, and I'll bet you can't either. --- REVIEW: Junkster, _Junkster_ (RCA) - Janet Herman Hailing from Ireland, the quintet Junkster makes their debut with a self-titled album that makes a strong attempt to fit in to some of today's most popular artists. Unfortunately this attempt is made so strongly that Junkster seems to lack a unique style of their own. A random hip-hop beat that appears on some of the tracks might evoke comparisons to Tricky, but the more evident similarities are to Sarah McLachlan and Garbage, though one can not expect from listening to Junkster to find a voice and musical sound so haunting as the work of Ms. McLachlan. There is a similarity in vocal range of Deirdre O'Neill, the lead singer, to that of Sarah McLachlan's but the musical style is much closer to that of Garbage (hence the similar name, perhaps?). Many of the tracks including "Slide" and "Liar" have the same sort of effect to that of Garbage: the feeling of a woman ranging in emotions and attitude from coquettish to angry backed by musical accompaniment involving strong percussions and pouncing guitars. Another artist that strongly comes to mind when listening to Junkster is Sophie B. Hawkins, whose influence screams out the most in the lovely track "Clown". I truly thought Ms. O'Neill would start singing the lines, 'As I lay me down to sleep, I pray that you will hold me near....' Needless to say, she doesn't, but the sound is definitely there. Overall I do see a strong potential for Junkster. They appear at a time when strong female vocalists are on a rise (Tori Amos, Sarah MacLachlan, Ani DiFranco, Jewel, Fiona Apple, Shirley Manson, to name a few) and it is apparent that they want to be part of that group. Hopefully they will be able to find their own unique sound among the influence of their peers. --- REVIEW: Kyra Lucas, _Deep At The Bottom Of Things_ (Pinnacle) - Bob Gajarsky Yet another Berklee College of Music graduate has entered the professional music world. This time, it's Kyra Lucas, who has left the Boston-based music mecca to reside in nearby Harvard. Her debut album, _Deep At The Bottom of Things_ , owes much to the trails blazed by Sarah McLachlan and Tori Amos; outstanding vocals which not only can deliver a song to the listener, but add a powerful instrumentation in support of traditional musical accompaniment. And, yes, it's 'those' vocals which are the driving force behind _Deep_ . Deftly moving between the sounds of the aforementioned women while interspersing elements of new age and soul, Lucas sings of deceit ("Turnspeak"), reconciling the past ("The Homecoming"), fear ("Showers of Grace") and hope (appropriately enough titled "Hope"). The only drawback on this debut album is that the piano sometimes overshadows Lucas' vocals, which command such a strong presence that overmixed musical instruments actually detract from her performance. Given the focus of everything on this album, it should come as no surprise to discover Lucas' day job - teaching voice lessons. Further information on Kyra Lucas can be found on the Pinnacle web site, at http://www.pinnacle-records.com --- CONTEST GIVEAWAY > In conjunction with C Notes Interactive and V2 Records, we are giving away five copies of the _Godmoney_ sountrack. Reviewed in Consumable ( http://www.westnet.com/consumable/1997/09.01/revgodmo.html ), this soundtrack contains songs by Pennywise, the Descendents, Rollins Band, Dance Hall Crashers, and others. To enter the contest, simply send an e-mail note to the address gaj@westnet.com before October 10 with a subject of "Godmoney", containing your name, address, phone number and e-mail address. Five winners will be selected at random and receive a copy of the soundtrack. For more information on the soundtrack at the C Notes site, check out http://www.cnotes.com/cnotes.artists/godmoney.html . --- NEWS: > David Bowie's "I'm Afraid Of Americans", from his _Earthling_ album, has been given a remix by Nine Inch Nails and will be released on October 14 as part of a six track EP. Five of the remixes are remixed by NIN, with a guest rap by Ice Cube on one of the mixes. The sixth remix was overseen by Rupert Parkes (Photek). > The rock and roll comeback of Kiss continues unabated as _The Kiss Years_ , a book of memories and photos on the band by Kiss photographer-of-choice Barry Levine, has been issued in its second printing. > Entering their 22nd year, Midnight Oil will be releasing an 18 song greatest hits album, _20000 Watt RSL_ on November 4. The compilation will include two new songs - "What Goes On" and "White Skin Black Heart". > Ska pioneers The Specials have recently signed with Way Cool / MCA and will be releasing a new album in early 1998, to be preceded by a single in late 1997. > _Year Of The Horse_ , a rock and roll movie about Neil Young and Crazy Horse, will be released throughout the United States during October and November. Filmed by Jim Jarmusch, the movie is culled from 1996 performances in Europe and the United States as well as behind-the-scenes footage from that tour, interviews, and material from 1976 and 1986. --- TOUR DATES (Please confirm with site before travelling): Backsliders Oct. 2 Nashville, TN 12th & Porter Oct. 3 Charlotte, NC Double Door Oct. 4 Columbia, SC Rockafella's David Bowie Oct. 3 Philadelphia, PA Electric Factory Oct. 7 Miami, FL Chili Pepper Oct. 10 Atlanta, GA International Ballroom Billy Bragg Oct 4 New York, NY Irving Plaza (w/Clarissa) Oct 5 Washington, DC 9:30 Club Coward Oct 9 New York, NY The Continental Cravin' Melon Oct. 1 Nashville, TN Exit In Oct. 2 Clarksville, TN Austin Peay Univ Oct. 3 Birmingham, AL 5 Points Music Hall Oct. 4 Knoxville, TN Univ Of Tenn Oct. 10 New York, NY Irving Plaza Alana Davis Oct 1 Winston Salem,NC Ziggy's Oct 2 Tampa, FL Janus Landing Oct 3 Orlando, FL House Of Blues Oct 4 Pompano Beach, FL Pompano Beach Amp. Dots Will Echo Oct. 8 New York, NY Arlene's Grocery Chris Duarte Oct. 1 Dallas, TX Red Jacket Club Oct. 2 Bryan, TX Dixie Theater Oct. 3 Austin, TX Stubbs Oct. 5 Mobile, AL Mobile Bayfest Oct. 9 Fort Collins, CO Lindens Nightclub Oct. 10 Aspen, CO Double Diamond Oct. 11 Boulder, CO Fox Theater and Cafe Foo Fighters Oct. 1 Raleigh, NC The Ritz Oct. 2 Washington, DC Capitol Ballroom Oct. 4 Norfolk, VA Old Dominion University Oct. 5 New York, NY Roseland Ballroom Oct. 7 Providence, RI The Strand Oct. 9 Fitchburg, MA Wallace Civic Center Oct. 10 Montreal, Canada Metropolis Fu Manchu Oct. 9 Los Angeles, CA The Troubadour (Record Release Show) God Street Wine Oct. 4 Roanoke, VA Roanoke College Oct. 9-10 New York, NY Irving Plaza Buddy Guy Oct. 5 Agawam, MA Riverside Park Stadium (hed) p.e. Oct. 3 Riverside, CA The Barn Interpreters Oct. 6 New York, NY Brownie's Irving Plaza (NYC concert hall: http://www.irvingplaza.com) Oct. 3 From Good Homes Oct. 7-8 Son Volt Jars of Clay / Plumb Oct. 4 Amarillo, TX Amarillo Civic Center Oct. 5 Las Cruces, NM Pan American Center Oct. 6 Phoenix, AZ Union Hall Oct. 7 Fresno, CA Fresno District Fair Oct. 9 Los Angeles, CA John Anson Ford Theatre Less Than Jake Oct. 1 Rochester, NY Water Street Oct. 2 Montreal, QC Metropolis Oct. 3 New York, NY Tramps Oct. 4 Asbury Park, NJ Stone Pony Oct. 5 Philadelphia, PA Trocadero Oct. 6 Washington, DC Capitol Ballroom Oct. 7 Virginia Beach, VA Peabody's Oct. 8 Chapel Hill, NC Cat's Cradle Oct. 9 Atlanta, GA Masquerade Letters To Cleo Oct. 3 Portland, ME Zootz Oct. 4 Burlington, VT Toast Oct. 7 Boston, MA Downtown Crossing Oct. 8 New London, CT El N'Gee Oct. 9-10 New York, NY Mercury Lounge Love Spit Love / Closer Oct. 3 Philadelphia, PA Theatre of Living Arts Oct. 5 Boston, MA Paradise Oct. 8 Cleveland, OH Agora Ballroom Oct. 9 Detroit, MI St. Andrews Hall Oct. 10 St. Louis, MO Mississppi Nights Ziggy Marley & Melody Makers Oct 1 Winston Salem, NC Ziggy's Oct 2 Tampa, FL Janus Landing Oct 3 Orlando, FL House of Blues Oct 4 Pompano Bch., FL Pompano Bch. Amp. Old 97s Oct. 8 Memphis, TN Newby's Oct. 9 Lexington, KY Lynagh's Musiclub Oct. 10 Cincinnati, OH Top Cat Pantera / Coal Chamber / Machine Head Oct. 1 San Antonio, TX Sunken Garden Oct. 2 Corpus Christi, TX Sky Amphitheatre Promise Ring / Compound Red Oct. 1 London, ON Call The Office Oct. 2 Toronto, ON Shangai Club Oct. 3 Ottawa, ON Club Saw Oct. 4 Montreal, QC The Loft Oct. 5 Charny, QC The Library Oct. 6 Portsmith, NH The Elvis Room Oct. 7 Worcester, MA The Warehouse Oct. 8 Hartford, CT Trinity College Oct. 9 Long Island, NY V.F.W. Hall Oct. 10 New York, NY Brownies (W/ Castor) Samples Oct. 1 Northampton, MA Pearl Street Oct. 2 Boston, MA Avalon Oct. 3 Burlington, VT UVM Campus Oct. 4 Portland, ME Stone Coast Oct. 6 New York, NY Irving Plaza Oct. 7 New Haven, CT Toads Place Oct. 8 Providence, RI Lupos Oct. 9 Albany, NY Saratoga Winners Oct. 10 Rochester, NY Water Street Scanner / DJ Spooky Oct. 1 Detroit, MI Magic Stick Oct. 2 Kent, OH Kent State University/Manchester Field Oct. 3 Chicago, IL The Metro Oct. 4 St. Louis, MO The Galaxy Oct. 7 New York, NY Downtime Seven Mary Three Oct. 3 Mobile, AL Bayfest Oct. 4 Tallahassee, FL Floyd's Oct. 6 Greenville, SC Characters Oct. 8 Grand Rapids, MI The Intersection Oct. 9 Huntingon, WV Drop Shop Oct. 10 Columbus, OH Newport Music Hall Third Eye Blind Oct. 1 Washington, DC 9:30 Club Oct. 2 New York,, NY Supper Club Oct. 4 Hartford, CT WMRQ Radio Oct. 5 Poughkeepsie, NY The Chance Oct. 6 N. Hampton, MA Pearl St. Oct. 9 Philadelphia, PA Theatre of Living Arts Oct. 10 Providence, RI The Strand Tower of Power Oct. 3 Universal City, CA Amphitheatre Oct. 4 Las Vegas, NV Hard Rock Oct. 7 Phoenix, AZ Celebrity Theatre Oct. 8 San Diego, CA Humphrey's Oct. 9 Fresno, CA Fairground Oct. 10-11 San Francisco, CA Fillmore Two Dollar Pistols Oct. 9 Raleigh, NC The Brewery Oct. 10 Wilmington, NC Cowboys --- 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 ===