==== ISSUE 125 ==== CONSUMABLE ======== [October 17, 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, Bill Holmes, Eric Hsu, Tim Hulsizer, Robin Lapid, Stephen Lin, Scott Miller, Linda Scott, Rainier Simoneaux, Scott Slonaker, Simon Speichert, Jon Steltenpohl, Simon West, Lang Whitaker Technical Staff: Chris Candreva, Dave Pirmann 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 | `------------' REVIEW: Various Artists, _The Duran Duran Tribute Album_ - Joann D. Ball CONCERT REVIEW: David Bowie - Rainier Simoneaux REVIEW: Front Line Assembly, _Reclamation_ - Sean Eric McGill CONCERT REVIEW: Teenage Fanclub - Tim Kennedy INTERVIEW: Muffs - Al Muzer REVIEW: Various Artists, _One Step Up Two Steps Back The Songs of Bruce Springsteen_ - Bob Gajarsky REVIEW: Soundtrack, _Hurricane Streets_ - Sean Eric McGill REVIEW: Size 14, _Size 14_ - Bill Holmes REVIEW: Tsunami, _A Brilliant Mistake_ - Robin Lapid REVIEW: Brain Surgeons, _Box of Hammers_ - Eric Hsu CONTEST WINNERS NEWS: Eve's Plum, Howie B, Urge Overkill/King Roeser, Roy Wood / Move TOUR DATES: David Byrne, Chemical Brothers, Clarissa, Cravin' Melon, Dirty Dozen, Down By Law, God Street Wine, Irving Plaza (New York City concert hall), Jane's Addiction, Jars of Clay / Plumb, Letters To Cleo / Everclear, Motley Crue / Cheap Trick, Moxy Fruvous, Old 97s, Graham Parker, Promise Ring / Compound Red, Seven Mary Three, Shootyz Groove / Tree, Slackers, Sneaker Pimps / Junkster, Third Eye Blind / Reef, Two Dollar Pistols, Type O Negative Back Issues of Consumable --- REVIEW: Various Artists, _The Duran Duran Tribute Album_ (Mojo) - Joann D. Ball The billboard outside Tower Records on the Sunset Strip in West Hollywood recently read "Come Pay Tribute to Duran Duran." On Sunday, October 12, hundreds of fans and five bands on the recently released cd _The Duran Duran Tribute Album_ did just that...and Duran Duran turned up to thank them all for their dedication and support. The Tower Records' Duranpolooza was the ultimate kickoff for the release of _The Duran Duran Tribute Album_ and Duran Duran's eleventh offering, _Medazzaland_ (Capitol). This reunion of Duranies of all ages was a celebration of Nineties ska and punk as well as classic New Wave, as thirtysomethings, twentysomethings, and their younger counterparts soaked up new versions of Eighties staples under the California sun. Once a Duranie, always a Duranie and that was obvious on both sides of the VIP/press section. Actually, Duran Duran should be credited for prompting a good number of women to enter the entertainment business. All of those years of following the band and trying to obtain information in the days before the Internet quickly made tons of female Duranies pros at stadium and hotel logistics, knowledgable of record industry publicity, promotion and public relations practices, and expert photographers and interviewers. But the tribute cd and concert put the spotlight on the often ignored male Duranies, many of whom were heavily ridiculed when admitting that they too held a flame for the British pin-ups. _The Duran Duran Tribute Album_ , though, proves once and for all that the guy Duranies were the ultimate cool dudes who recognized great music by its sound, style, color and shape. Goldfinger kicks off the 15-track tribute collection with a musical twist on "Rio" which pays tribute to both Duran Duran and Ronnie James Dio. Midway through the tune, Goldfinger switches into metal mode as they turn up the guitars, notch the vocals up an octave and change "Rio" to "Dio." Goldfinger's creative ska-punk-metal fusion works, both on record and on stage, and the band quickly got the concert crowd jumping and headbanging when the launched into the song. Proving that they are true Eighties music fans, they included in their short set covers of the Specials' "Nightclub" and the Cure's "Just Like Heaven" along with their own hardcore anthem, "Fuck LA. " San Diego natives Buck-O-Nine are second in line on the tribute compilation, and they transform "Hold Back the Rain" into a ska classic with horns and an upbeat tempo. This track is a great introduction to the ska-punk outfit, whose debut record _Twenty-Eight Teeth_ was recently released on TVT Records. Duran Duran's very first single, "Planet Earth," is also the tribute's first track for radio. Home Grown infuse the song with their infectious skapop, taking the edge off Andy Taylor's signature guitar line and making it a real sing-and-dance along treat. If the Tower concert audience's response to the band's inspired and energized set is any indication, this currently unsigned band should be grabbed up any minute now. Madonna's favorite Duranies, Maverick Records' Deftones, win the award for most faithful delivery. Lead singer Chino Moreno obviously spent many days and nights practicing his Simon LeBon imitation, and the cover captures the moodiness and sexiness of the original. On the other hand, the now defunct Wise Crack turn "Come Undone " into a skater's delight. These 16 year-olds obviously had a blast doing the tribute, but maybe they took the tune's title too seriously in the process. If the video for "Hungry Like the Wolf" didn't explain the song's take on female/male relations clearly enough for you, Reel Big Fish's spoken word introduction should set the record straight. The band then puts the tune in its proper Nineties relationship context, and delivers it with true swinger style as a lounge-ska number. Duran Duran's label mates Less Than Jake, offer something altogether different. On their skapunk interpretation of "The Reflex," the horns and do-it-yourself vocals grab the spotlight. Opening the tribute concert in front of die-hard Duran Duran fans wasn't an easy task, but Riverfenix pulled it off without a problem. The band quickly tapped into the universal spirit of the video gods, and their straight ahead pop-rock version of "Ordinary World" connected immediately with the crowd. The band's full-length debut record is forthcoming on Drive Thru Records, and it's definitely worth a listen. For about 18 seconds, GOB deliver a faithful cover of "A View to a Kill." For the remaining minute and a quarter, though, the James Bond movie theme becomes a moshpit soundtrack in full effect with a shouted chorus and guitars of fury. If the disco dance floor is more your speed, you need not fear. ABBA tribute band Bjorn Again answers your S.O.S with its Europop dance stylings on "Girls on Film." This unsigned (in America - _Flashback_ for European readers) live sensation knows how to make your booty shake. The female vocals of Bjorn Again and Eve's Plumb soften the edges at just the right point on the collection. Eve's Plumb's emotional, melodramatic take on "Save A Prayer," is the one song female Duranies would have done themselves. This beautiful version of Duran Duran's most popular and beloved slow song should click immediately with all the women who used to kiss their posters goodnight before drifting off to sweet dreams of romantic bliss with their favorite Duran. Given the incredible job Eve's Plumb does with the track, it's hard to understand why 550/Epic dropped the band from its roster. Sandwiched between the female vocals of Bjorn Again and Eve's Plumb are The Wrens' who add Beach Boy-like vocal harmonies to their version of "Seventh Stranger." But it's Jimmy Eat World which takes the road less taken on the tribute disc by actually slowing down the tempo on a Duran Duran classic. And their interpretation of "New Religion" is so different from the original that it sounds like a completely different song. Although the band's "emo-core" sound wasn't as obvious during their short tribute concert set, it can be further enjoyed on their upcoming Capitol Records follow-up to _Static Prevails_ . Mr. T Experience pay tribute to Duran Duran on the selection "Is There Something I Should Know?" and manage to capture the essence of early Kinks in the process. These Lookout! Records California punksters infuse the spirit of Dave Davies into Andy Taylor's guitar parts, and effectively connect the Eighties British Invasion with its Sixties predecessor. And finally, there is the album closer, another version of "Girls on Film" done this time by the Wesley Willis Fiasco. Chicago cult figure and prolific song writer Willis' unmistakable vocals and enthusiasm overflows here in what amounts to a karaoke-like take on the original. And as always, Willis signs off with his signature "Rock over London, Rock on Chicago." These two phrases will bring a smile to any Chicago Duranie who avidly listened to the British-based "Rock over London" radio show and watched the local music television show "Rock on Chicago" to keep tabs on Duran Duran. Without a doubt, _The Duran Duran Tribute Album_ is the ultimate tip of the fedora to Duran Duran because it cleverly demonstrates the extent to which the Fab Five continues to influence and inspire fans. Mojo's decision to include creative covers of classic songs by up-and-coming and unsigned ska, punk, and alternative bands was a bold move which will introduce audiences to new music while reminding them of the good old days. This collection will appeal to Duranies and eighties music devotees as well as fans of the current ska, punk and alternative scenes. After all, as the tribute cd proves, sometimes these supposedly different groups of music fans of are one in the same. That Duran Duran is hip to the Internet should come as no surprise, especially given Nick Rhodes' obsession with technology. In fact, Nick revealed to me that he and the band are excited about online music magazines such as Consumable and that they look forward to communicating with fans through chats and their soon-to-be launched website ( http://www.duranduran.com ). The Duran Duran Yearbook website ( http://members.aol.com/lindanikon/ddyb.htm ), run quite professionally by a group of seriously dedicated Duranies, is a fan's perfect source for Duran Duran articles, photos, audio and video. The Yearbook layout will certainly remind you of high school and all those teen magazines in which the original party of five were frequently featured. The Yearbook staff also coordinates the annual DURANCON convention, which will be held in the LA area in January 1998, and details about the event can be found at the site. If you still need more of a Duran Duran info fix, check out the Capitol Records website to see what the label is saying about the band ( http://www.hollywoodandvine.com/duranduran ). TRACK LISTING [artist in brackets]: Rio [Goldfinger], Hold Back the Rain [Buck-O-Nine], Planet Earth [Home Grown], The Chauffeur [Deftones], Come Undone [Wise Crack], Hungry Like the Wolf [Reel Big Fish], The Reflex [Less Than Jake], Ordinary World [Riverfenix], A View to a Kill [GOB], Girls on Film [Bjorn Again], The Seventh Stranger [The Wrens], Save a Prayer [Eve's Plumb], New Religion [Jimmy Eat World], Is There Something I Should Know? [Mr. T. Experience] and Girls on Film [Wesley Willis Fiasco]. --- CONCERT REVIEW: David Bowie - International Ballroom, Atlanta, GA - Rainier Simoneaux David Bowie has always been a chameleon. Undaunted by popular opinions and critics alike, he has throughout his career been both a trend setter and someone willing to follow the leads of others. This tour, which is currently making stops on a circuit of venues smaller than he would usually play, appears to be for the purpose of getting (re)acquainted with the twenty-somethings of alternative music culture. So when the 50 year-old rock legend appeared by himself on stage wearing a white suit in front of an audience predominantly half his age and dressed in post-goth black, he appeared to be out of his element. Had he misjudged the winds of popular music? Bowie answered by immediately starting into "Quicksand" from the 1971 album _Hunky Dory_ , a relatively obscure song considering his vast repertoire of hits. He sang seemingly aloof of his surroundings and accompanied only by his own acoustic guitar. By the time he reached the chorus which plaintively expresses "...and I ain't got the power anymore," nothing could have been further from the truth than those lyrics. Bowie had the entire venue under his spell. Wrapping up the song with the addition of his four piece band, Bowie seemed to revel in the applause it garnered. Evidently impatient and not willing to be predictable, the band launched into a surprising cover of the Velvet Underground's "I'm Waiting for the Man" - another reference to his early career and also his friendships with Lou Reed and Andy Warhol. Amidst swirling Factory-esque video projections, Bowie belted out the classic as if it were one of his own, while the band's interpretation acknowledged the songs origins with a cacophony of syncopated feedback. From here Bowie settled into his main works, choosing to stay mostly within new material which he fortified with some older hits that appealed to the younger crowd. Bowie even did a "cover" of Nirvana's cover of his own "The Man Who Sold the World" (somewhat like a post-modern version of Velasquez's famous painting "Las Meninas," wherein the viewer is the subject of the painting) in his efforts to connect with his new found audience. Using multi-media effects, a high-powered light show, large stage props (including large beach ball-sized eyeballs which soon found their way to the audience, ala Journey 1979) each song became a well choreographed performance. All of this would have detracted from the music had it not been for the supporting cast Bowie assembled for his latest album, _Earthling_ , and ensuing tour. Co-songwriter Reeves Gabrels' guitar worked scorched through each composition but reached its ebb during "Looking for Satellites," definitely one of the highpoints of the evening. Gail Ann Dorsey laid the foundations with the bass lines and vocal accompaniment which included covering Freddy Mercury's part in an updated version of "Pressure" so well that I thought it was dubbed (who would have thought a female could emulate him so convincingly?) The drummer/loopist (?) and keyboardist provided the rhythms with bass\snare dance beats, anthemic rock licks, and Prince-ish funky twists. But this was very much Bowie's show. Commenting on his own threads, Bowie introduced the song "Fashion" by remarking, "It's not people who are famous, clothes are." Such a statement is not surprising coming from one who has made a living of assimilating popular culture into his own, and perhaps just to emphasis that he too had influences (some of them the same as those of today's alternative music scene), he finished the evening with a unbelievable cover of the Velvet Underground's "White Light, White Heat." David Bowie is a consummate performer but as slippery as mercury. --- REVIEW: Front Line Assembly, _Reclamation_ (Roadrunner) - Sean Eric McGill The first album I ever bought by an "industrial" band was Front Line Assembly's _Gashed Senses & Crossfire_ album back in 1989. Nobody else that I knew really liked it a whole helluvalot, and when pressed, I couldn't explain why I liked it. But there was something about that album that stuck with me. Now, almost a decade later, _Reclamation_ comes across my desk. And while the phrase "Greatest Hits Album" tends to conjure up memories of .38 Special more than it does dance/industrial acts, that's essentially what _Reclamation_ is: a trip through roughly a decade of some of the best industrial music. When Front Line Assembly first hit the scene in the late eighties, "industrial" was still exactly what the name suggested. But in the case of Front Line Assembly, Front 242, and Skinny Puppy, it wasn't the reliance on machinery that defined industrial; it was the overall sound. Early industrial was cold and distant - the music was what you could envision being created by a character from a William Gibson novel. There was a human underneath all that machinery, but the voice wasn't so much human anymore as it was the machine's. Tracks like "Digital Tension Dementia" and "No Limit" are instantly recognizable to those of us who frequented alternative dance clubs in the early nineties, but alas, it was about that time that the world of rock radio lured me into its steel grasp and I more or less lost all touch with the industrial scene for quite some time. And that's a shame, because I missed other great songs on the album like "Provision" and "Mindphaser". Of course, those of us from the United States (without easy access to import albums) have missed a few tracks on this album altogether. "Heatwave" , "Target" , and Mark Staggs "Pro-gress" Remix of "The Blade" are available for the first time in the U.S. on this compilation. But perhaps the most interesting aspect of _Reclamation_ is the chance to hear how the sound of Front Line Assembly stayed essentially the same, despite a decade of recording and numerous personnel changes. This isn't to say that the group didn't progress in their skills - but you can always tell a Front Line Assembly song when you hear it. Even now, I can't describe what it is, but I do so like it. --- CONCERT REVIEW: Teenage Fanclub, Manchester University (England) - Tim Kennedy The queue for Megadeth was lengthening outside as Beavis and Butthead (and his pervily dressed girlfriend) arrived by the dozen. In comparison the buzz on the steps of Manchester University Union, where Teenage Fanclub would soon be performing, was muted. Strange - considering they are now a fully fledged (album) chart phenomenon after about five years in the pop wilderness. Some whisper of an Oasis-sponsored gigantic renewed interest in beat groups being the benefactor. The first support - Warm Jets were just right - a sound not far off the early TFC. Rough guitar, few chords but catchy pop tunes. The singer is a rather intense yet oddly camp figure who looks like a healthier, cleaner-cut Cobain, and the others are of similar, somewhat mature years. The bassist, however, is a gorgeous oriental beauty (though she supplied no vocals - no threat to Kurt 2's position.) The guitarist spent the whole time trying to crack up the bassist, which at a rather intense moment towards the end of their set led to the singer losing his rag with them. Next up was Cornershop. Theirs is a strange and awkward marriage of funky drumbeats with Indian traditional instrumentation and muffled Indian vocals. The singer poses a rather comical podgy figure with a pair of sideburns that would make you frown. However it must be said that their (to these ears) turgid fare went down well with the crowd - by this time nearly all here. The Fannies strolled onto the stage in the most relaxed fashion, and casually Norman thanked everyone for coming - to tumultous cheers. And so the tone was set for the rest of the show. These are the most amiable bunch of chaps you could possibly hope to meet. The set was initially stuff from the _Songs From Northern Britain_ collection, and as such utterly wonderful. There cannot be many records ever released so happy-sounding and yet such superbly constructed melodies. But the Fannies are a rock beast too, and Norman is the happy-go-lucky nephew of Neil Young. The musical perfection of the recorded work is matched by a warm and spirited, yet skilful delivery live. The lead vocals are traded between the three frontmen of Norman, Gerard and Raymond, with each singing the songs he penned. Norman has a positive, upbeat oeuvre, Gerard is a bit more studied, whilst Raymond is the most downbeat of the three, also showing the most nerves onstage. It must be said, however, that Raymond is a great guitarist and and a performer who can really convey deep feeling in his songs. Bassist Gerard is reserved, and doesn't move around much. Norman does his Neil Youngesque prowling during the songs whilst in between numbers amusing the crowd by making gentle cracks at Raymond. The keyboardist takes guitar at one point, and all the musicians swap guitars regularly, Raymond sometimes doing bass. Only drummer Paul Quinn keeps his seat. The older material figures quite a lot though, with several tracks from the cult success of 1991 - _Bandwagonesque_ including "Starsign" - a blistering version of a great song. "Neil Jung" from _Grand Prix_ is a highlight, and we get songs from the tragically ignored _13_ album of some years ago. But the new material is proudly paraded to general applause. Songs like "I Don't Care" are classics of the 90s. It would be unfair to compare them with label mates Oasis (the Fannies worship at the altar of the Byrds, not the Pistols and the Beatles) but with no posturing and self-aggrandising, the songs simply shine through. To a maturer audience the Fannies' attitude is far easier to take than their cranky label-pals. Whilst there was a minority down the front who pogoed and moshed, many more simply listened apreciatively. These boys have had some bad times but now they are simply filled with love for their craft, and their enjoyment of their work is really infectious. There are no chips on these shoulders. They have suffered as much as any band from the fickle UK critics who build bands up to knock them down, but they clearly only care for the reactions of the crowds and tonight's show was a triumph. --- INTERVIEW: Muffs - Al Muzer Frolicking in the streets of a decaying New Jersey shore town before a recent gig, Muffs vocalist/guitarist Kim Shattuck looks slightly out of place - yet strangely at home - amidst the broken glass, crumbling sidewalks and boarded up buildings. While jeans, sneakers and t-shirt-clad bassist/vocalist Ronnie Barnett and drummer/vocalist Roy McDonald are clearly strangers in a strange land on streets that become dangerous after the sun goes down; Shattuck's long, skinny legs, white socks, girlish white dress, well-worn sweater and patent leather, Catholic school shoes don't draw half as much attention as you'd think they would on a Thursday afternoon in what's left of Asbury Park. As she twirls herself around a rusting street sign, waves at a passing commuter train, makes faces at a baby in a carriage pushed by an ancient grandmother, or smiles at the toughs in low-riders cruising by, something in Shattuck's eyes - or, perhaps, in the way she carries herself - emits a "don't fuck with me" signal that makes three hoods who'd slowed down for a better look stop midway through their "hey, baby" routine, roll up their windows, and quickly drive away. "Awww," chortles the hyperkinetic singer as she tosses her hair and crosses the road without bothering to look [hey, those cars'll stop]. "They must've just remembered, like, an appointment or something." As Ronnie and Roy [who'd decided to wait until it was safe to cross the street] hurry to catch up to her, Shattuck yanks open the door of the club and strides purposefully toward the tiny stage at the front of the room. Strapping on her guitar, she unleashes a distorted wad of feedback and a banshee-like howl as her bandmates pick up their instruments and break into a blistering, power-punk version of "Crush Me" from the group's third Warner/Reprise release, _Happy Birthday To Me_ . Static, humming and a loud buzzing noise suddenly fill the air as the group's sound guy frantically twiddles knobs and pushes buttons in a vain attempt to stop the ear-splitting noise. The song tails off into a long, uncomfortable silence before Shattuck strikes another loud chord and the room is, once again, filled with a painful buzz. "Maybe if you, like, turned your guitar down a little?" ventures someone in the back of the club. "Turning down is NOT an option!" snaps the singer as she checks to make sure the volume controls on both her guitar and amplifier are at "10." A few more ear-fracturing attempts by Shattuck and the sound man and a bit of fiddling around with wires and plugs precede the announcement that the guitarist has blown yet another Hi-Watt amp head (similar to the one used - without incident - by Pete Townshend, guitarist in the world's loudest band) and that sound-check would, understandably, be delayed. Sipping a cup of coffee in the club's dressing room while things get fixed on-stage, Shattuck picks idly at a smiley-face bandage on her knee and reads the graffiti-covered walls. "Oh, look!" she exclaims. "Lunachicks - Ween - Dash Rip Rock Oww!" Shattuck winces as the bandage pulls skin and stitches from her knee. "That really hurt!" she adds as she presses it back in place and looks for something else to do with her hands. "That's for cutting my knee," Shattuck says as she reaches over and smacks (former boyfriend) Barnett in the arm. "Me and Ronnie got into a big fight the other night," she explains, "we were kind'a comin' at each other physically and he ended up pushing me a little. I lost my balance and, blam! I slammed into the ground and cut myself on a sharp piece of wood. We've pushed each other around plenty before," Shattuck laughs, "but that's the first time anything like that's ever happened." "I had to go to the hospital," she adds matter-of-factly. "It was, like, a possible Ike and Tina Turner situation in the making, but we're over it now." "Well, maybe not quite over it," Barnett says quietly. "But, it'll pass. The two of us went out together for three years a long time ago." "So, we generally know what will, and won't, set each other off," laughs Shattuck. "We mostly get along. Actually, it's really important for the band that we do get along. "We've grown into a much friendlier relationship over the years," offers Barnett. "There's more give and take personally and as bandmates." "I think the amount of time this lineup has spent together really paid off on the new record," Shattuck says with obvious pride of the group's outstanding, 15-song effort. "You can really hear it on every track - things are just 'on'." "She's right," Barnett adds. "It really is a good record. It's probably the best thing any of us has ever done and, hopefully, it'll add a few new names to the mailing list and extend our careers another couple'a years. Someday," he laughs, "we may even get played on MTV." "We've managed to outlive quite a few of the groups who were huge when we first started," he continues. "Which is kind'a weird. What's even stranger, however, is seeing our name used as a description in reviews and stuff. You know, 'a Muffs-y sound' or 'Muffs-influenced.' It's flattering, but really weird at the same time." "I actually kind'a like the way our career has gone," reflects Shattuck. "We didn't flame out with a big, first album and then vanish. We've slowly, but surely, managed to build a great word-of-mouth following." "I mean, we wouldn't have complained or turned it down if we were to've flamed early with, like, a Green Day-size hit," she laughs. "But, things just seem to've worked out much better for us this way. People know about us, people come to our shows, we get to play what we want to on our records and, apparently, there are at least a few people out there actually buying the things." --- REVIEW: Various Artists, _One Step Up Two Steps Back The Songs of Bruce Springsteen_ (The Right Stuff) - Bob Gajarsky The latest in a seemingly never-ending selection of tribute albums pays homage to the pride of the Jersey Shore, Bruce Springsteen. Avoiding the simplistic trap of including only Bru-u-u-u-uce's hits, this collection actually bypasses many of the Boss' album tracks in favor of lesser known songs. The second disc of this 2 CD collection features ten (of 14) songs which never appeared on an official Springsteen album, as interpreted by a wide variety of global rock and roll artists. Disco diva Donna Summer pairs up with an all-star backing band (Bruce, Roy Bittan and most of Toto) on the electric "Protection" and a Knackified version of "Don't Look Back" (which nearly appeared on _Get The Knack_ in 1979) are two lesser-known songs which stand out on disc two of this set. But the first disc is what makes this compilation stand head and shoulders above the crowd. Back when Bruce's back jeans pocket was sprawled all across the magazines and "Born In The U.S.A." blared from every FM radio station, one cut was overlooked from that mega-successful album. Today, the Smithereens take "Downbound Train" and make it their own, turning an already-poignant cut and flavoring it in the same vein as their own "Blood And Roses". This standout selection will compel Smithereens fans to purchase _One Step Up_ , yet it's far from the only reason to take a listen to this disc. Folk-noir poet John Wesley Harding reinterprets "Jackson Cage" as if it were his own, Paul Cebar turns in a perfect Latin Boss impression on "One Step Up", and John Hiatt's wonderful version of "Johnny 99" begs to ask why Hiatt hasn't achieved a modicum of fame one-tenth that of Springsteen. Several of the Boss' band, including Nils Lofgren and Clarence Clemons, are the feature artists on various tracks. And, Springsteen favorite Joe Grushecky brings the house down on "Light Of Day", which could fit in perfectly with a Meat Loaf/Jim Steinman/E Street band album. You don't have to be a Springsteen fan to like the album, but even his detractors will gain an appreciation for Bruce's songwriting skills on _One Step Up Two Steps Back_ . TRACK LISTING: Aram - Something In The Eight; Smithereens - Downbound Train; Kurt Neumann - Atlantic City; John Wesley Harding - Jackson Cage; Nils Lofgren - Wreck On The Highway; John Hiatt - Johnny 99; Dave Alvin - Seeds; Joe Grushecky - Light Of Day; Martin Zellar - Darkness On The Edge of Town; Janey Don't You Lose Heart - Mrs. Fun/Tina & The B-Side Movement; Marshall Crenshaw - All Or Nothin' At All; Syd Straw - Meeting Across The River; Ben E. King - 4th Of July Asbury Park; Paul Cebar - One Step Up; Knack - Don't Look Back; Donna Summer - Protection; Joe Cocker - Human Touch; Elliott Murphy - Stolen Car; David Bowie - It's Hard To Be A Saint In The City; Rocking Chairs - Restless Nights; Robbin Thompson - Guilty; Sonny Burgess - Tiger Rose; Gary U.S. Bonds - Love's On The Line; Clarence Clemons - Savin' Up; Southside Johnny & Asbury Jukes - The Fever; Little Bob Story - Seaside Bar Song; Allan Clarke - If I Was The Priest; Richie Havens - Streets of Philadelphia --- REVIEW: Soundtrack, _Hurricane Streets_ (Mammoth) - Sean Eric McGill We've heard the story before - a maverick young filmmaker goes out and makes a movie practically all by himself, with a virtually unknown cast and crew. Then, said movie gets some recognition at film festivals and picks up a distributor. And since the movie is about young people, there just has to be a soundtrack, filled with the kind of music the young people in the movie (and the ones watching) would listen to. And when it comes to getting a lot of artists out in one package, soundtracks are the undisputed king. They give you the ability to not only package a lot of different artists together, but they occasionally give you the chance to showcase a lot of newer talent, and occasionally blend genres (as witnessed by the soundtracks to _Judgment Night_ and _Spawn_ ). The soundtrack to _Hurricane Streets_ is like that. Where else but on a soundtrack will you find established rap acts like De La Soul sharing space with current alternative flavor of the month Atari Teenage Riot? The movie itself is about young street kids, and the album does actually feel like a collection of music young street kids would listen to, which I suppose is the greatest compliment one could pay a soundtrack. As for the songs, while they do span a variety of genres, only rarely do they step completely out of the ever-expanding realm of "alternative", and when they do, they're hitting in a genre which has become more and more accepted in alternative culture, rap. The album opens with "Change" by Shadez of Brooklyn. With its melodic groove and catchy raps, "Change" is one of the best tracks on the album. And while I didn't quite get the buzz a few months ago when they first came to my attention, Atari Teenage Riot's self-titled song also counts among the best on the album. But it is rare that you see a soundtrack without any truly established artists on it, and _Hurricane Streets_ is no exception. And, as often is the case, the true genius on the album is in their contributions. Vic Chesnutt, perhaps the most talented songwriter in popular music, contributes the previously released "Gravity of the Situation", by far the best track on the album. And while the music of Peter Salett isn't familiar to me, his contribution, "Walking Dream" easily qualifies as second-best. Other tracks, like "The Foundation" by Kzibit and a cover of "Stayin' Alive" by Supple are engaging at first listen, but quickly lose their appeal, particularly "Stayin' Alive". In the past year and a half, I have found two covers of "Stayin' Alive" on soundtrack albums; the other being Siobhan Lynch's version on the soundtrack to _Supercop_ . Both times I was intrigued at first, but was able to quickly dismiss the song itself. Of course, part of the reason may be that I never really liked "Stayin Alive" to begin with. But anyways, that's another story altogether. The bottom line is that the soundtrack to _Hurricane Streets_ is, overall, a quality product. There's more new talent here than established acts, but it's the established acts that really carry the day. If the movie is as good as the soundtrack, then certainly the prospects are good. By the way, you might want to hang on to this review - the movie itself doesn't open until January 8, 1998. Don't you just love Hollywood? --- REVIEW: Size 14, _Size 14_ (Volcano) - Bill Holmes Boy, record companies sure like to jump on a trend! Right along with all the punk, pop and ska clones that are popping up like rabbits are a group of bands who play alterna-humor (their hyphen, not mine). Tongue firmly in cheek, hand firmly on my wallet, most try to be Weird Al's children while simultaneously trying to display street cred. Bad formula. Instant suck. You know their names. Actually, you've forgotten their names... A few are not bad, though, because they truly *are* funny. Size 14, a Los Angeles-based band, write songs that could easily reside on a Weezer or Flipp record. Borrowing the power punch of bands like Cheap Trick, the music is riff-driven, catchy pop. Size 14 takes it a step further by actually slinging some guitar solos (no word on whether they're sincere or part of the parody, but they are pretty good!). Lead vocalist and lyricist "Linus" takes shots at everything, sometimes reverent (the hysterical "Claire Danes Poster"), and sometimes with a blatant wink and nudge. (This last explanation is a public service announcement for those heavy metal heads too dense to realize that "Prototype" is making fun of them.) "Shane", about a human photo-op, and "Superbabe 2000" ('she's a punk rock Sharon Stone...') continue in the "Danes" vein. Sounds like "Linus" masturbates a little too much, but hey - a muse is a muse. "Linus" claims he writes what he thinks and merely exploits his insecurities. I'll have to give him that one; lines like "she's got a great body but it comes with a brain/and that's too bad" are too funny to be fiction. And speaking of funny, I've heard fewer songs funnier than "I Touched Her Ass" , and that's not a tune I want to be caught singing out loud. But dammit, I will - it's infectious chorus is irresistible, and the slap at Motley Crue is icing on the cake. Most humor records wear thin after a few listens - how many times can you listen to the same joke? When the music is not there to back it up, like "Earthquake," it's just forgettable noise. But more often than not, Size 14 flashes the chops to back up the fun. If they continue to write songs like "510" and "I Touched Her Ass," they might stick for a while. If not, make room next to Nerf Herder in the dump bin. --- REVIEW: Tsunami, _A Brilliant Mistake_ (Simple Machines) - Robin Lapid Apart from being impressed by the finely-crafted cd booklet accompanying this release (it has layers of translucent paper, emphasizing the layers of words and lyrics - nice touch), I'm already impressed by Tsunami's fierce DIY ethic. In the space of 3 full-length albums and a plethora of 7" singles (including collaborations with bands like Velocity Girl and Superchunk), guitarists/vocalists Jenny Toomey and Kristin Thomson created their own label and offered a booklet for budding indie purists on how to release records. And then there's the music. Smoky riffs layered under subtly resonant vocals against all your best indie-pop dreams, _A Brilliant Mistake_ is music to stop and *really* listen to. The album, like the band, is all about layers. There's the moody, sparse guitar arragements, the heartfelt vocals, and the words, which are at once incisive and melting, sung with a stinging sincerity. Toomey blends melodies with barbs, decrying the corporate rock lifestyle; "I've seen the best minds of my generation drowning in the best designer medications, perfecting a dedication to their lazy fix...There ain't enough coin in the coffer to ever make it legit." The pop hooks may deceive you, but listen to the tongue-twisting lyrics and you'll realize that this D.C. band is punker than punk. In an interview, Toomey defines punk as "just shorthand for a work ethic mixed with questioning authority." Credit this to the band that successfully lobbied for a booth to sell independent records when they were invited to play second stage at Lollapalooza. The opening track, "Old Grey Mare," sets the tone both in mood and music. Toomey's soft but sure-footed voice builds toward Tsunami's lyrical manifesto: "I won't be formed to the readymade or matched to the cut of the retrograde or led by the reins to a pony show or marketed coy with a blow-job m.o." The sound is a lyrical wail surfacing amongst a sea of moody, elemental pop. With Andrew Webster and Rob Christiansen on bass/trombone and Luther Gray on drums, Tsunami craft low-key, slightly experimental pop songs. It's Toomey's voice that implores you to listen. Her vocals straddle the lines of deep but controlled musical philosphizing, often winding round choruses that cry out from pure devotion to the craft. Unlike the Alanis screech, Toomey's is the voice of reason blending into a music of simple authority. --- REVIEW: Brain Surgeons, _Box of Hammers_ (Cellsum) - Eric Hsu This is the nicest sounding hard rock (modernspeak for heavy metal) band I've ever heard. And what's the point of that? I mean, sure you've got the skillful guitar playing the usual "exotic" modes, and the steady (though curiously un-heavy) drumming, and the raspy emoting of the vocals. But on the usual dumbbell heavy metal scorecard, they fall short: (1) Sex, and super-sexed male vocalists. We strike out here since the singer is a woman. There are guest male singers, but they sing on oddball covers and joke songs like "The Donkey Song". A certain rock critic wrote in 1985, "Although other ever-popular topics for metal-rumination are power, death, revenge, and madness, most male teenagers - still metal's prime audience - are not particularly interested in any product that does not offer the promise of getting laid, or at least clues to how to go about it." That critic was Deborah Frost, the lead singer. (2) Anti-intellectualism and elitism. Strike two, Frost is a Harvard graduate and rock critic and the drummer, Al Bouchard, though an ex-leader of the Blue umlaut-Oyster Cult, does not seem interested in playing dumb. He said of BOC's singer "It worried Eric that they would find out that he wasn't a tough biker guy, but really college educated and kind of frail..." They don't - both playing it blue-collar (e.g. the ending "Overture" has the strangely bleated and repeated chorus "cappuccino!"). (3) Unyielding heaviosity. Strike three. They cover country songs, fer 666-sake, e.g. Dwight Twilley's "I'm On Fire". Very little in the way of musings about Hell(TM). Sure you get metal guitar tones and metallic modes and fleet soloing, but you get breaks from it, and I'm not talking long drum solos. Their music reflects multiple influences: blues, country, doo-wop. So without the goofball trappings or working class pretensions of heavy metal, you get fairly complicated music in the same ballpark as Mr. Bungle, a sense of humor and play and a sense of good musicians who are fans of a lot of different kinds of music just playing whatever they like. Considering that I reflexively despise heavy metal (because (a) I'm an intellectual (nothing to proud of) and (b) I did not grow up a lower/middle class white male), this record is surprisingly inoffensive. This is usually the kiss of death for a metal record, but I don't think the Brain Surgeons are aiming at a broad metal market here. I think they're aiming at the narrow band of listeners who enjoy complexity and play and a heavy sound, but not to the point of humorless and wrist-maiming Yngwie-type Bach-rock. It's heavy, but varied and skillful and seems to have a good heart behind it. If you recognize yourself in that listening audience, give this CD a shot. For more information on the Brain Surgeons, contact Cellsum Records at PO Box 1070, Fort George Station, New York, NY 10040-9998. --- CONTEST WINNERS: > Congratulations to David Concannon, Dan Goodspeed, Rob Hillard, Jennie Jowsey and Nigel Swope. Each person will win one copy of the soundtrack to _Godmoney_ . Thanks to V2 Records and C Notes Interactive for their sponsorship of the contest. --- NEWS: > Eve's Plum is no longer a working band, though they continue to play some gigs together, have a song ("Save A Prayer") on the Duran Duran tribute album, and have even mentioned in-concert the possibility of an indie release of new material. Eve's Plum guitarist Michael Kotch is now a full-time member of Ruth Ruth. > Mixer and producer Howie B will be in New York City on October 24 heating up the turntables at Twilo from 11:30 pm - 1:30 am. > No longer with Urge Overkill, King 'Eddie' Roeser's new band, Electric Airlines play their first major show at the Metro in Chicago on October 31, sharing the bill with Dinosaur Jr. > In conjunction with the just-released (in the U.K.) Move box set, the Roy Wood big band will be kicking off a U.K. tour from October 24 through December, after which time he will head to the States. Further information on Roy Wood/Move can be found at the web site http://www.roywood.com - and to join the mailing list, send an e-mail to move-list-request@eskimo.com with a subject of subscribe. --- TOUR DATES (Please confirm with site before travelling): David Byrne Oct. 21 Knoxville, TN Bijou Theatre Oct. 22 Cincinnati, OH Bogarts Oct. 23 Nashville, TN 328 Performance Hall Oct. 26 New Orleans, LA House of Blues Oct. 29 Jacksonville, FL Florida Theatre Oct. 31 Miami Beach, FL Cameo Theatre Nov. 1 St. Petersburg, FL Janus Landing Chemical Brothers Oct. 28 Seattle, WA Mercer Arena Oct. 31 Los Angeles, CA Palladium Clarissa Oct. 25 Carrboro, NC Cat's Cradle Cravin' Melon Oct. 21 Atlanta, GA Cotton Club Oct. 22-23 Columbia, SC Elbow Room Oct. 24 Greenville, NC Attic Oct. 30 Myrtle Beach, SC House Of Blues Dirty Dozen Oct. 26 New Orleans, LA Donna's Bar & Grill Oct. 31 New Orleans, LA Witchful Thinking Halloween Ball Down By Law Oct. 17 Boston, MA Rat Oct. 18 New York, NY Coney Island High Oct. 19 Philadelphia, PA First Unitarian Oct. 21 Washington, DC 930 Club Oct. 22 Winston-Salem, NC Pablo's Oct. 23 Atlanta, GA Somber Reptile Oct. 24 St. Petersburg, FL State Theatre Oct. 25 Jacksonville, FL Milk Bar God Street Wine Oct. 21 Atlanta, GA Cotton Club Oct. 23 Pittsburgh, PA Metropol Oct. 24 Toronto, ON Lee's Place Oct. 25 Detroit, MI Majestic Oct. 28 Columbus, OH Newport Oct. 29 Cincinnati, OH Garage Oct. 30 Indianapolis, IN Patio Oct. 31 Chicago, IL House of Blues Irving Plaza (New York City concert hall; http://www.irvingplaza.com) Oct. 21 Goldfinger / Save Ferris / Kara's Flowers Oct. 29 Superchunk Jane's Addiction Oct. 30-31 New York, NY Hammerstein Jars of Clay / Plumb Oct. 21 Boise, ID BSU Pavilion Oct. 22 Salt Lake City, UT Abravenal Hall Oct. 25 Rapid City, SD Rushmore Plaza Civic Center Theatre Oct. 26 Sioux City, IA Sioux City Auditorium Oct. 27 St. Louis, MO American Theatre Oct. 30 Omaha, NE Aksarben Coliseum Letters To Cleo / Everclear Oct. 30 Lawrence, KS Liberty Hall Oct. 31 St. Louis, MO Mississippi Nights Motley Crue / Cheap Trick Oct. 21 Hershey, PA Hershey Park Arena Oct. 22 Cleveland, OH CSU Convocation Ctr. Oct. 24 Philadelphia, PA The Spectrum Oct. 25 Worcester,MA The Centrum Oct. 26 Long Island,NY Nassau Col. Oct. 28 Fairfax, VA Patriot Ctr. Oct. 29 Charlotte, NC Charlotte Col. Oct. 31 Tampa, FL Sun Dome Moxy Fruvous Oct. 17 Nashville, TN Union Station Oct. 18 Asheville, NC Black Mountain Music Festival Oct. 21 Baltimore, MD Fletchers Oct. 22 Ithaca, NY The Nines Old 97s Oct. 21 Washington, DC Nightclub 9:30 Graham Parker Oct. 23 San Juan Capistrano, CA Coach House Oct. 24 Santa Cruz, CA Palookaville Oct. 25 San Francisco, CA Great American Music Hall Oct. 26 Los Angeles, CA Billboard Promise Ring / Compound Red Oct. 21 Gainesville, FL Full Circle Oct. 22 Miami, FL Space Cadette Oct. 23 Orlando, FL D.I.Y. Records Oct. 24 New Orleans, LA Mermaid Lounge Oct. 25 Houston, TX Emo's Oct. 26 Austin, TX Emo's W/ Mineral Oct. 27 Denton, TX The Rubber Glove Oct. 28 Little Rock, AR University Of Arkansas Oct. 29 Memphis, TN Barrister's Oct. 30 Champaign, IL Blind Pig Oct. 31 Rock Island, IL Slowfish Building Seven Mary Three Oct. 21 Cincinnati, OH The Garage Oct. 23 Savannah, GA The Roundhouse Oct. 24 Nashville, TN 328 Performance Hall Oct. 25 Birmingham, AL Oak Mountain Ampitheater Oct. 28 New York, NY Irving Plaza Oct. 29 Buffalo, NY Showplace Oct. 30 Rochester, NY Water Street Music Hall Shootyz Groove / Tree Oct. 26 New York, NY Tramps Slackers Oct. 21 Denver, CO Bluebird Oct. 22 Provot, UT ABG's Oct. 23 Sacramento, CA El Dorado Oct. 24 Corona, CA Showcase Theatre Oct. 27 Tucson, AZ Cellar Oct. 28 El Paso, TX 710 Texas Oct. 30 Austin, TX Flamingo Cantina Oct. 31 San Antonio, TX White Rabbit Sneaker Pimps / Junkster Oct. 21 New Orleans, LA House of Blues Oct. 23 Atlanta, GA Cotton Club Oct. 24 Charlotte, NC Tremont Music Hall Oct. 25 Athens, GA 40 Watt Club Oct. 28 St.Petersburg, FL Janus Landing Third Eye Blind / Reef Oct. 22 Chicago, IL Metro Oct. 23 Milwaukee, WI The Rave Oct. 24 Madison, WI Barrymore Theatre Two Dollar Pistols Oct. 21 New Orleans, LA Mermaide Lounge Oct. 22 Houston, TX Satellite Lounge Oct. 23 Austin, TX Continental Club Oct. 24 Dallas, TX Lava Lounge Oct. 25 Memphis, TN Young Ave. Deli Oct. 27 Nashville, TN Wolfy's Oct. 30 Birmingham, AL The Nick Nov. 1 Chapel Hill, NC Local 506 Type O Negative Oct. 21 Asbury Park, NJ Stone Pony Oct. 22 Toledo, OH Asylum Oct. 23 Detroit, MI St. Andrews Hall Oct. 24 Chicago, IL Vic Oct. 25 Columbus, OH Newport Music Hall Oct. 28 Cleveland, OH Odeon Oct. 29 New York, NY Roseland Oct. 30 Raleigh, NC Mission Oct. 31 Philadelphia, PA Trocadero Nov. 1 Boston, MA Avalon Nov. 2 Washington, DC 930 Club --- 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 ===