==== ISSUE 127 ==== CONSUMABLE ======== [November 6, 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, Krisjanis Gale, 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: Doors, _The Doors Box Set_ / X, _Beyond And Back The X Anthology_ - Patrick Carmosino REVIEW: Replacements, _All For Nothing_ - Bob Gajarsky REVIEW: London Suede, _Sci-Fi Lullabies_ - Robin Lapid REVIEW: Various Artists, _Live From 6A_ - Joann D. Ball REVIEW: Moby, _I Like To Score_ - Robin Lapid REVIEW: Cure, _Galore_ - Bob Gajarsky REVIEW: Headrillaz, _Coldharbour Rocks_ - Krisjanis Gale REVIEW: Ron Sexsmith, _Other Songs_ - Scott A. Miller REVIEW: The Devlins, _Waiting_ - Jon Steltenpohl REVIEW: The Geraldine Fibbers, _Butch_ - Daniel Aloi REVIEW: Various Artists, _Urbal Beats_ - Krisjanis Gale REVIEW: God Street Wine, _God Street Wine_ - Daniel Aloi REVIEW: Congo Norvell, _Abnormals Anonymous_ - Patrick Carmosino NEWS: Ben Folds Five, No Doubt, Walt Mink TOUR DATES: Bentley Rhyhthm Ace, Daniel Cartier, Chemical Brothers / Death In Vegas, Gilby Clarke, Deftones, Chris Duarte Group, Duran Duran, Everclear / Our Lady Peace / Letters To Cleo , (hed) p.e./ Suicidal Tendencies, High Llamas , Irving Plaza, Jane's Addiction, Jars of Clay / Plumb, Live / Reef, Lunachicks, Moxy Fruvous, Ric Ocasek, Promise Ring / Compound Red, Reel Big Fish, Jim Rose Circus, Samples, Saw Doctors, Semisonic, Sister Hazel / Cravin' Melon, Something Happens, Squirrel Nut Zippers, Subrosa, The Wrens Back Issues of Consumable --- REVIEW: Doors, _The Doors Box Set_ (Elektra) / X, _Beyond And Back The X Anthology_ (Elektra) - Patrick Carmosino Besides being two riveting, incredibly creative bands, The Doors and X were truly reflective of the ups and downs of Los Angeles rock culture in their own respective eras. Both very eloquently reflected the beauty and the cost of being amongst those in a mythological wonderland who, as Doors singer Jim Morrison once described "live more freely and powerfully than anywhere else, but it's also where old people come to die. Kids know both and we express both." Two bands: one suffering from the overexposure of classic rock nostalgia; the other, underexposed with a cultish following. The existence of its parts taken for granted because of good living or...for actually still being alive! The buzz on _The Doors Box Set_ began with the supposed spotlight song: the remaining Doors augmentation of a buried Morrison vocal and piano track, "Orange County Suite". At first observance, this and the mostly outtake-filled box set looks like a exact ripoff of the Beatles' _Anthology_ series and its centerpieces "Free As A Bird" and "Real Love". In reality though, Ray Manzarek, Robby Krieger and John Densmore beat Natalie Cole and the fab three to the playing-with-the-dead-man punch; and quite tastefully at that. For "Orange County Suite" comes from the same final Jim Morrison poetry and songs session (December 8, 1970) that sparked the Doors to create 1978's _An American Prayer_ . The album, presaging the second wave of the band's popularity was, in more than the surviving member's defense, a carrying-out of one of the wishes the Lizard King wasn't able to fulfill at the time of his death in Paris in 1971: a full-fledged document of his spoken poetry, with sparse instrumentation. "Orange County Suite" fails to live up to the quality of Prayer solely because the song is pretty much already a completed song. Morrison's surprisingly competent piano self-accompaniment is really all the tune needs as one can hear Jimbo try to nail down the lyric melody and the lyric in his creative process. Krieger's bluesy noodling, Manzarek's line-echoing electric piano and Densmore's jazzy brushes make it sound downright 1971 LA loungey as opposed to the starkness of the haunting work-in-progress. "Orange County Suite" is part of the two discs of outtakes and unreleased live performances, a third disc consists of live performances culled from three nights at New York's Felt Forum in 1970 (which would stand up well as its own release). The fourth and final disc is a rather unnecessary collection of 15 'hits' picked by the remaining members. _Box Set_ 's contents alone don't scream out 'exploitation' as much as 'for fans' only'. Being a fan, it does intrigue me a bit. Things open up with "Five To One", the only 'complete' song from the notorious 3/3/69 Miami concert where Morrison was convicted of profanity and indecent exposure. With a head full of performances from Julian Beck's revolutionary interactive Living Theater and several hours of airline drinks, Jimbo's latest influences resulted in him calling the audience "a bunch of fucking idiots' and 'slaves' and encouraging them to 'GRAB YOUR FUCKING FRIEND AND LOVE HIM' and later on, probably not whipping his willy out for all to see, despite working the crowd up to a fine frenzy. Despite the auspicious beginning, the outtakes are a bit revealing. The demo version of "Queen Of The Highway" reminds us of a jazz sensibility matched only by the Doors' love of traditional blues. Sounding more Vince Guaraldi than anything that was the rock revival of "Queen's" original home, _Morrison Hotel_ , this version, along with the inclusion of _Waiting For The Sun_ 's "Yes, The River Knows" on the 'hits' disc, shows that the band had a love and understanding of trad jazz that may have seemed to run contrary to a harder image. Also included here and sprinkled throughout the two outtake discs is the first Doors' demo from World Pacific studios, 1965. "My Eyes Have Seen You", "Summer's Almost Gone", "Moonlight Drive" "Hello, I Love You" and "Go Insane" (from "The Celebration Of The Lizard") made up the tape. What one discovers from this is that producer Paul Rothchild was the studio savior of the Doors. He gave the songs atmosphere that supported Morrison's poems in a way that the demo's poor arrangements couldn't have accomplished. The demo also reveals that Morrison's vocals sounded more like Val Kilmer at one point than Kilmer vice versa in The Doors film. There are also plenty of overblown blues workouts that fill the unreleased material. Two of the more inspiring ones is the in-studio workout, "Rock Is Dead" and "Black Train Song" from the Spectrum in Philadelphia 1970. Although "Rock Is Dead" is perhaps the most guilty of overextension (almost 17 minutes at that!), you can hear the beautifully brutal drive of a rocker that had the potential to be another "Roadhouse Blues" had things been a bit more trite and the lyrics more realized. "Black Train Song" ponders the classic "Mystery Train" and traces the history of rock and roll right up to that particular night in Philly. The Live In New York disc shows the band in prime form during the post-Miami period; a time when the uncertainty of the future and the end being always near probably filled those involved with more dread than it did excitement. From the opening Morrison Hotel power trio of "Roadhouse Blues", "Ship Of Fools" and "Peace Frog/Blue Sunday", Morrison's playfulness and the band's expansive response was a joy to hear and probably witness. The only drawback here is "The End", not for its lack of beauty but because the blues growl that drinking and smoking had reduced Morrison's voice to, at that point, just didn't do justice to the song's atmosphere. This is something particularly heartbreaking on the outtakes discs. Made up of a good amount of 1969/1970 material, what's left of his voice on much of this stuff, when compared to, say, the live prime Lizard King-era takes on "The Crystal Ship" and "I Can't See Your Face In My Mind" leaves a bit to be desired. Hear the way "The Crystal Ship" magically appears from the endless night of 1967 via lo-fi tape as it follows ragged, hoary versions of "Break On Through" from the _Isle Of Wight_ 1970 and the r&b classic turned blues romp, "Money" and you'll see what I mean. The 'Band Favorites' disc points to a few hidden treasures that a fan of the 'greatest hits' may not have paid attention to, such as "Wishful Sinful", "I Can't See Your Face In My Mind", "Yes, The River Knows" and "Wild Child". Besides that, I think Krieger put "Light My Fire" on there to make sure everyone knows he wrote the song. That's about all I could figure as to why the disc exists here. _The Doors Box Set_ (Jeez! With all of Jimbo's great poetry, you think the group could've come up with a better title!) would have best been a finely edited, one disc set succinct enough to grab new fans. Perhaps what Manzarek, Krieger and Densmore should really work on for the fans is refurbishing the Feast Of Friends documentary and, if it was finished, Highway, the 1969 Morrison-produced/directed film. Now let's address a band that could actually use some more exploitation. Indeed on the contrary, _Beyond & Back: The X Anthology_ , keeps the energy and the magic, at a constant level. It is no secret as to what Ray Manzarek found so appealing in this group for him to produce their first four albums. As far as raw energy goes and an uncanny feel for the dark side of Americana, X took up a mantle in 1978 that was suddenly dropped in 1971. The first of the double-disc set is a veritable chug-a-thon; filled with unreleased demos and live stuff (some in piss-poor but energetically exciting condition) mixed with released versions. The rhythmicallly-themed sound that spoke of the human condition and punk rock came from the mournful tones of John Doe's and Exene Cervenkova's harmonies and Billy Zoom's country/rockabilly/Chuck Berry-tinged licks coming from his Gretsch Silver Jet. Tracks such as "The World's A Mess, It's In My Kiss" and "The Once Over Twice" was the sound of the American west obtaining a punk identity unique unto itself. "The New World" starts off disc two with a less immediate, more expansive approach that characterized 1983's _More Fun In The New World_ as well as the records that followed. With the exception of their one fluke hit (mistake?), a rather Joan Jett-ized version of "Wild Thing", the band's increasing country revelations, with the help of country-rockabilly-punk god Dave Alvin (who took over from Zoom), X had beaten the likes of Uncle Tupelo, Wilco, Son Volt, Bottle Rockets, Jayhawks et al to the No Depression punch. Their 1985 release _Poor Little Critter On The Road_ , under their Knitters nom-de-terre fully revealed this. The poignant Alvin-penned "4th Of July", here in demo form, as well as "Burning House Of Love" and "Country At War" presented X in a circle that couldn't be unbroken. Paced economically and effectively, _Beyond & Back_ ranks amongst the _Rodney On the Roq_ collections, the Minutemen's _Double Nickels On The Dime_ and Black Flag's _Damaged_ as the ultimate documents of a time and place that was LA post 60's enlightenment/70's hangover. It does this more effectively in 2 discs than _The Doors Box Set_ does in 4. --- REVIEW: Replacements, _All For Nothing_ (Reprise) - Bob Gajarsky As the 1980s grew to a close, there were a few premier bands to whom college students - and the newly monickered 'modern rock' fans - gravitated. The Replacements would soon go the way of Ireland's The Alarm - influencing many (see the Goo Goo Dolls as the most blatant imitation), but never quite breaking into the mainstream. In a long-overdue attempt to expose the band that was to more fans, the second half of their career is collected on _All For Nothing_ . Originally known as the Impediments, Minnesota's Replacements took the circuitous road to success. Led by Paul Westerberg, their live performances would range from shoddy to brilliant, depending on band members' ability to stand upright. And it was this constant state of change, coupled with an ability to never take themselves too seriously, that propelled the 'Mats to alterna-stardom. Westerberg once said, "One of the standing jokes in the band is that we're not musicians, and we're sort of proud of the fact that we don't wanna be". But when they *did* want to be, the Replacements were able to write songs that transcended the empty rockers which came to reflect much of the eighties. Viewed as a whole, the 'Mats career can be seen in several stages: the Twin-Tone days, when the band was still feeling out their oats, and recording a couple brilliant indie albums ( _Hootenanny_ and _Let It Be_ ) which bordered on punk rock. The breakup of the band after 1991's _All Shook Down_ (unoficially Westerberg's first solo album) led to a softer Paul Westerberg, as witnessed on his _14 Songs_ and _Eventually_ . The missing link was their moment in the major-label sun, which Reprise collect on this two disc retrospective. The songs aren't selected based on alterna-chart success (witness the omission of "Back To Back" from _Don't Tell A Soul_ , a more commercial song than those included) but divided equally, four tracks from each of their four major-label albums. However, these are the songs which tend to be played most on modern rock stations today - "Kiss Me On The Bus" and "Alex Chilton" still sound fresh today, as if made by a band on the verge of making it big. By all rights, of course, they should have. Even the reputed sell-out "I'll Be You" had an authenticity surrounding it which many bands could only aspire for, and the hook - along with the apropos line "Left the rebel without a clue" - are simply priceless. The second disc (subtitled _Nothing For All_ ) serves only as a supplement to hardcore 'Mats fans. "Cruella Deville" (from the 1987 Disney 'interpretation' album, _Stay Awake_ ) and "Like A Rolling Pin" are the highlights here, while the latter - a slight mockup of Dylan's classic - offers a slight teaser to drunken performances that would include such variations as "Fuck My School" (to the tune of "Let It Be" , with Westerberg's appropriately twisted lyrics). What _All For Nothing_ demonstrates is that the Replacements could have, if things had proceeded smoothly, been one of the top 'alterna-rock' bands out there. Ironically enough, their success in the then-new format - different from the raw sound which marked their Twin-Tone years - was probably what helped spell the end of one of Minnesota's greatest musical exports. TRACK LISTING, Disc 1: Left Of The Dial, Kiss Me On The Bus, Bastards of Young, Here Comes A Regular, Skyway, Alex Chilton, The Ledge, Can't Hardly Wait, I'll Be You, Achin' To Be, Talent Show, Anywhere's Better Than Here, Merry Go Round, Sadly Beautiful, Nobody, Somebody Take The Wheel --- REVIEW: London Suede, _Sci-Fi Lullabies_ (Columbia) - Robin Lapid London Suede's last fanclub gig in London, a now-legendary event, was an enthusiastically-received "all b-sides" affair. The show proved portentous, since the band have now released _Sci-Fi Lullabies_ , a compilation of b-sides spanning their three-album career. Anyone wondering why a band that has only put out three albums would now release a b-sides compilation should just ask Morrissey, who has been known to cover "My Insatiable One" in concert, or the loyal legions that still yell for songs like "Killing of a Flashboy" and "My Dark Star" at the London Suede's live shows. For these kids, at least, _Sci-Fi Lullabies_ *had* to be made. The two-disc compilation includes 28 tracks, a 32-page booklet, and a fitting chronicle of London Suede's (known simply as Suede elsewhere around the world) career, from its glam-rock Bowie-esque highs to its more sugary pop plateaus. These songs help illustrate why the compilation was created - there exists an in-between spirit of London Suede that doesn't quite cater to the three-minute pop song rule - listen to the extended guitar solos on songs like "He's Dead" for proof. Instead, they throw together mixes of guitar and voice that simultaneously attract and repel each other and come out sounding better than a "b-side" should. Even more precious are songs like the seminal favorite "My Dark Star" and the acoustic "The Living Dead," where you can strip away the preening guitar licks and the dramatic falsetto voice and hear Suede in silence and solemnity. The spirit of Bernard Butler, the genius guitarist who left in a controversial huff, rises again on the first half of the compilation. These older b-sides are a bit more raw than the album tracks, and come off sounding like distorted mirror images of the a-sides. Singer Brett Anderson sounds more self-assured and introspective, and Butler is able to get away with more guitar strutting, which of course he does to the hilt. The same wallowing guitar revelry is in the heady strings of "Where the Pigs Don't Fly" like it is in _Suede_ 's "Sleeping Pills," but the b-sides have a more free-for-all feel that may have restrained them on the album tracks. London Suede are different but still good with new guitarist Richard Oakes. However, it is the Butler-era songs which evince the tortured heart and soul that defined London Suede in the first place, and the b-sides prove it. What are London Suede now? Listen to Oakes' first collaboration, "Together," and you'll get a good idea. They still revel in their popstar life, and the music reflects that. The guitar no longer angles for center stage - it now serves to prop up Anderson's pop ethos. But the pop hooks still take root in your head. Anderson remains the Pavlovian dog salivating at all the popstar cliches - sex, drugs, "the love and poison of London" - and somehow gives it the proper perspective. Anderson and the band (including newer member Neil Codling on keyboards) tackle lyrical themes chronicling a London that still rises and falls by the sun, of sad Saturday nights that continue to embrace the decadence but are still trying to flush out the emptiness in the heart. The newer b-sides reveal the band experimenting with more diverse soundscapes, taking their trademark glam sound and adding some haunting keyboards (as in "Europe Is Our Playground") and more airy pop ballads ("Another No-One," "This Time"). The tracks are more straightforward and fun pop-wise, but the sound is not as dynamic or intense. Without the heavy guitar personality in the later songs, Anderson relies more on his emoting prowess and some melodramatic pop melodies. His voice sounds fuller and more mature, which partially makes up for flatter, less dynamic guitar. The b-sides circa _Coming Up_ are more for show, and sees the band becoming pop extroverts rather than moody introverts. You can hear something subtly diminishing through the progression of b-sides. There was a vocal longing that seems now to have achieved its goal, and no longer sounds so naive or desperate - more self-assured, yet less complex sonically or emotionally. Desperation has given way to reveling and a glossy happiness, but the troubled heart is always more eloquent than the happy one. For better and worse, London Suede have evolved. _Sci-Fi Lullabies_ will inevitably stir up the same old debates, but you'll always reach the same conclusion. The older b-sides are better than the newer ones. Butler was a more visionary guitarist than Oakes. London Suede are still better than most bands, b-sides or not. --- REVIEW: Various Artists, _Live From 6A_ (Mercury) - Joann D. Ball Conan O'Brien has an ear for music - and that's no joke! As the disc jacket suggests, _Live From 6A_ is a collection of "great musical performances" from "Late Night With Conan O'Brien." This live music sampler includes some of today's best artists, others who are now enjoying frequent radio airplay and a few alternative music pioneers. The 12-track collection is the perfect introduction to a wide range of artists, and stands on its own as a cohesive live record. The incredible audio production quality of _Live From 6A_ puts the performers up front and center to such a degree that actually seeing the bands would be a distraction. The emotion and humor which colors Ani DiFranco's concerts is captured on "Shameless," the record opener. DiFranco's is the rare track here that includes crowd reactions during the performance-crowd noise is kept to a minimum on the collection with applause usually introducing and closing the songs. But there is nothing, however, to distinguish Matthew Sweet 's brilliant cover of ELO's "Do Ya" from a studio outtake since it was recorded at the soundcheck. The inclusion of Edwyn Collins and David Bowie on the same live collection provides an opportunity to really evaluate the degree to which the former sounds like the rock 'n' roll chameleon. Collins' delivery on "A Girl Like You" only skims the surface of Bowie's vocal capabilities. As the emotional richness of the acoustic "Dead Man Walking" reveals, Bowie is capable of a depth that only a few artists can match. Among this select crowd is Elvis Costello, who performs "All This Useless Beauty" accompanied by simple acoustic guitar and piano. In direct contrast to the Bowie and Costello numbers is Jamiroquai's slick and sparkly "When You Gonna Learn." Jamiroquai's irresistible funky discoesque pop was captured four years ago, and like the Squirrel Nut Zippers' 1995 performance of "Lover's Lane," is a preview of an artist and sound that has only recently managed to crack mainstream radio. Chart-toppers 311 and Cake, on the other hand, perform their most popular hits to date during 1996 "Late Night" appearances. _Live From 6A_. is true to "Late Night's" commitment to introducing audiences to new alternative rock music. The show is also dedicated to promoting critically acclaimed artists from these genres, and this is best demonstrated here by the inclusion of Jonathan Richman's characteristic lounge chic on "Let Her Go Into The Darkness." This sonic gem will hopefully send listeners in search of Richman's solo releases and his earlier work with the Modern Lovers. Overall, _Live From 6A_. is a great crash course in current alternative music. The 12 tracks here, recorded on Late Night between November 1993 and June 1997, are enjoyable and memorable chapters in a worthwhile "Late Night" study session. TRACK LISTING [artist in brackets]: Shameless [Ani DiFranco], Dead Man Walking [David Bowie], Do Ya [Matthew Sweet], When You Gonna Learn [Jamiroquai], Human Behavior [Bjork], All This Useless Beauty [Elvis Costello], The Distance [Cake], Let Her Go Into The Darkness [Jonathan Richman], A Girl Like You [Edwyn Collins], Down [311], Soundtrack to Mary [Soul Coughing], and Lover's Lane [Squirrel Nut Zippers] --- REVIEW: Moby, _I Like To Score_ (Elektra) - Robin Lapid So you're at the movie theater, watching that climactic scene where Pacino finally faces DeNiro in a cinematic showdown, and all you're thinking is, "What's that cool song in the background?" It's probably Moby - techno godfather, remix master to the stars, and, more recently, music contributor to feature films. On his latest release, _I Like To Score_ , Moby has asembled a top-notch collection of tracks featured in films like "Scream," "Heat," and the upcoming "Double Tap," for which he is writing the entire score. Moby draws on his arsenal of sonic tricks and creates some epic-sounding techno and ambient tracks, incorporating angelic hymns, sensual moans, and a slew of seriously groovy, hard-driving beats. The dance-friendly "re-version" of the "James Bond Theme" will likely garner him the most mainstream attention after years of notoriety in the burgeoning dance scene. But there's more to the album than stylish action-movie theme songs. The eerie re-working of the "Twin Peaks" theme on the track, "Go," befits a hyperspeed David Lynch landscape, like a dream where you're constantly running but always staying in the same place. Other standout tracks weave through moods ranging from subtle to frenetic. There's the ethereal "God Moving Over the Face of the Water" or the hard-core dance rhythms of "Ah-Ah" or his formidably anguished cover of Joy Division's "New Dawn Fades." Moby provides a uniquely modern spin on the movie soundtrack, offering atmospheric, echoing landscapes filtered through with distinctly human elements, whether it's a human wail or whisper or moan, synth strings that weep provocatively, or Moby's own bleeding vocals. As a compilation album there's less cohesiveness - the songs move along like different parts of different movies, naturally, although they all maintain a similarly cinematic feel. The album doesn't rival his diverse masterpiece, _Everything Is Wrong_ , but _I Like To Score_ is a good primer in the type of music that brought Moby to his well-deserved prominence in the rave scene. Moby has said he wishes there were more "techno anthems" - he should just listen to his album. --- REVIEW: Cure, _Galore_ (Elektra) - Bob Gajarsky Nearly twenty years after causing a furor with people who hadn't read Camus, the Cure have returned with a second jam-packed greatest hits album, _Galore_ . Spotlighting the last ten years of the Cure's existence, _Galore_ contains all the commercial singles - as opposed to radio singles (such as the two tribute songs, the Doors' "Hello I Love You" and Jimi Hendrix' "Purple Haze" ) - which the band has released during the last yean years. And despite what die-hards may feel, during this span (with the possible exception of _Disintegration_ ) the Cure have been a great singles band, but merely an adequate *album* band. In other words, 4 top notch songs and 6-8 fillers. _Galore_ solves the problem by assembling all the singles in one collection. When taken together, we can see how Robert Smith sometimes recycles his ideas for new songs; the psychedelic twists from _Disintegration_ reappear on "A Letter To Elise", while "Mint Car" comes from "Friday I'm In Love" (which some say emanates from "Lovesong" ) and "Just Like Heaven" spawned a 'did/did not' copy among Cure and New Order fans in the late 80s. But at the same time, tracks such as "Why Can't I Be You," and "Never Enough" don't sound like anything else the Cure have recorded. The new track, "Wrong Number", continues the Cure's evolution, with quirky sound effects added to the mix. It's not groundbreaking, but shows Smith isn't content to simply stand still for new songs. As a greatest hits collection, _Galore_ helps accentuate the positive traits of the Cure's last ten years of existence. May Robert Smith long continue on. TRACK LISTING: Why Can't I Be You?, Catch, Just Like Heaven, Hot Hot Hot, Lullaby, Fascination Street, Lovesong, Pictures Of You, Never Enough, Close To Me, High, Friday I'm In Love, A Letter To Elise, The 13th, Mint Car, Strange Attraction, Gone!, Wrong Number --- REVIEW: Headrillaz, _Coldharbour Rocks_ (Gee Street) - Krisjanis Gale Not quite Chemical Brothers, not quite Omni Trio, not quite Autechre, not quite Crystal Method, not quite synth-funk, not quite drum and bass, not quite minimalist-industrial, not quite trip-hop acid squelch, Headrillaz can be found in some bizarre middle-ground the rein. Ears wide open, minds even wider, they've taken ideas from just about everything currently popular about electronica, ground it all up in samplers and synthesizers, and produced a brilliantly chaotic album entitled _Coldharbour Rocks_ . It is not entirely chaotic, however; every song seems to follow this basic recipe: start a beat, introduce the first melodic bit, let it fade, introduce another melodic bit, re-introduce the first, repeat N times, break it all down, build it back up again, let it roll to a climax, and finish abrubtly with a radically different end-sequence. This would seem to suggest _Coldharbour_ as being a formula album. It is - but it matters not. Why? Think about how most jazz is composed. It follows the same basic recipe. What makes jazz interesting is a complex combination of rhythm and orchestration... the result is order from chaos. Headrillaz are employing the same theory. Although most of the songs seem quite repetitive, if you really listen you'll discover they aren't at all, and taken as a whole, Coldharbour Rocks sounds like a performance piece... a layering of insanely random otherworldly synthetic textures atop a stable ear-drilling beat, making it equally worthy of dancehall madness, or introspective, albeit disturbed, private listening. The final word: Headrillaz are clever boys, restless about the current state of electronica, and brave enough to issue a wake-up call. In much the same way old-school rap beats once echoed through the streets, eminating from boom boxes resting on the shoulders of a generation almost two decades past, the sounds of Headrillaz, and their successors, will invade our aural environment of the future. --- REVIEW: Ron Sexsmith, _Other Songs_ (Interscope) - Scott A. Miller Ron Sexsmith is always surprised by how sad his songs sound, even the upbeat ones. "Some of the songs I've recorded, I remember just singing them out and having a really good time, and then the track is finished and it sounds sad," the Canadian singer-songwriter told Request earlier this year. Sexsmith won't ever take you by storm, but his pure high tenor voice and unadorned observations on life will certainly keep your attention once he gets it. His second album, _Other Songs_ (Interscope), is a mix of pop tunes, folk ballads and "near-rock" that builds on his successful 1995 debut. There's a danger to calling Sexsmith a "sensitive" singer-songwriter, though, because it has the connotation that he's sappy. He's not. Take the song "Pretty Little Cemetery." It's a simple melody and story about a dad taking his young son to a cemetery. In the break though, the young son points to the graveyard and, in the way kids do, says to an elderly couple "this is where we go to when we die, my papa told me so. The old man says yes we know." You almost cringe at how real a scene like that is. And no pretty acoustic guitar solo is going to take away the sting of an innocent preschooler confronting an elderly couple with their own mortality. This is what Sexsmith does so well throughout the entire album - challenge the notion that a pretty voice and pretty acoustic-based melodies equal clean-cut emotions and cookie-cutter songs. In fact, the emotional range runs the gamut, from uneasiness ("Pretty Little Cemetery") and poignancy ("Honest Mistake" and "So Young") to buoyant comedy ("Clown in Broad Daylight"), outright sadness ("Strawberry Blonde" and "Child Star") and self-deprecation ("Average Joe"). The arrangements are uniformly understated, but producers Mitchell Froom, who did so much for former Del Fuego Dan Zanes' 1995 album _Cool Down Time_ (Private Music) as well as Sexsmith's debut, and Tchad Blake, who put the finishing touches on the album, imbue each song with its own unique flavor by adding an organ here and horn there. Singer-songwriters remain relevant in today's hip-hop world because listeners still enjoy relating the confessions and ruminations of the artists to their own lives. Because he is a singer-songwriter at heart, some of Sexsmith's vignettes will have more meaning for certain listeners than for others. That's what makes it difficult to pick a standout track. I lean toward "Honest Mistake" and "Average Joe" but it's a tribute to Sexsmith's ability that others will choose other songs. --- REVIEW: The Devlins, _Waiting_ (Radiouniverse) - Jon Steltenpohl The new Devlins album is the first "must have" album I've come across since the last Ani DiFranco release. Without ego posturing and claiming they're the next Beatles, these Irish brothers (Colin and Peter) just do music the right way. Like Toad the Wet Sprocket's emphatic, straight-forward sound, the songs on _Waiting_ are impeccable and enduring. The Devlins give us one of those deja vu albums that, from first chord, makes you think you've been there before. The musical tone set by _Waiting_ is atmospheric and driving. Colin Devlin's lyrics replay glimpses of all his losses and anxieties for us. Moody indulgence hasn't gone out of style despite Morrissey's excesses, and The Devlins are content at simply presenting the honest truth. But, no matter how much it hurts, these guys never seems to give up on a relationship. As the title track emphasizes, "If you ever change your mind, I'll still be waiting". Waiting where you wonder? "At the turnstile", "in a daydream", "with the orphans", and... Well, you get the point. "Waiting" is the epitome of the Devlins. It's an unrequited love song drowning in calculated self pity and mellow martyrdom. Yet, it treads the narrow path between going over the top and wimping out. Subtly, Colin pleads his case, but he never loses his cool. As with any great song writers, the brothers Devlin capture perfect vignettes of climaxing relationships. There's lovers coming, going, and wondering what the hell happened. "Years Could Go By" has a pulsing guitar driving a sad chorus of cellos. Sings Colin, "And I look in your eyes, and I feel no surprise, when you tell me now you have to go away." It's depressing, but it never feels overly melodramatic. One begins to wonder how many failed relationships the guys have been in. "Where Are You Tonight" has him pondering what went wrong, and "Disappear" is a kiss off. In "Surrender", he pleads for love, and in "Reckless", he's trying to put a relationship back together. Writing smart, modern pop wasn't good enough for these two brothers from Ireland. No, The Devlins brought in producer Pierre Marchand and mixer Tom Lord-Alge to perfectly polish this album. Marchand is famous for producing Sarah McLachlan (whom the Devlins have toured with). Double Grammy winner Lord-Alge has "only" mixed just about everyone on the planet including recently Oasis, Toad the Wet Sprocket, Dave Matthews Band, and Black Grape. When teamed with an incredible band like The Devlins, these two are guaranteed success. Marchand adds keyboards and atmospheric touches that are simply incredible. There is a lot of similarity between this album and James' 1993 album, _Laid_, which featured the hit "Say Something". Brian Eno produced _Laid_, and Marchand is nothing if not a protege (and friend) of both Eno and Daniel Lanois. These guys all have the amazing ability to make a song sound quiet and moody without giving up a mesmerizing beat. Marchand's work with Sarah McLachlan is a perfect example of taking what could be ordinary music and turning it into something electrifying. _Waiting_ is certainly a masterpiece. The songs can be quiet, and the lyrics pensive. In fits of despair foreshadowed by a grating guitar, The Devlins tear small bits of pain from each song. Anyone acquainted with the work of Sarah McLachlan will understand the mood, but any fan of decent music should be pleased by this excellent album. --- REVIEW: The Geraldine Fibbers, _Butch_ (Virgin) - Daniel Aloi The new Geraldine Fibbers album should carry a warning sticker: "Critics and casual listeners are advised to do more than spot-check the first two tracks on this CD." The band is so far-ranging on _Butch_ that anyone who doesn't play this all the way through is missing out. They're all over the map, from the catchy-but-disaffected pop opener "California Tuffy" through the visceral punk of "Toybox" and "I Killed the Cuckoo," the confessional "Swim Back to Me" and "Seven or In 10," the postmodern mood-instrumental "Claudine," and a stunning pair of country songs. The title track uses a string section and an anguished Carla Bozulich vocal to evocative effect. And a heavy cover of Can's "You Doo Right" is powerful - Bozulich's voice coils around the song tightly, letting go only when the the band cranks into the coda, which dissolves into alien radio feedback. "The Dwarf Song" is an atmospheric art-rock fantasy. Halfway through, the band'ss country side comes out, in all its dark glory and acoustic innocence. The Fibbers' last effort for Virgin, 1994's _Lost Somewhere Between the Earth and My Home_ , as well as the 1996 EP "What Part of Get Thee Gone Don't You Understand?" (on Sympathy for the Record Industry) earned them widespread critical acclaim for wedding unflinching modern rock with rock-of-ages country music. And it's the country songs here, too, that are endearing. "Folks Like Me" starts as a dirge and then it swings. "Pet Angel" is an Appalachian waltz, a courting song that turns into a murder ballad, with lines like "The cat's in the bag/The bag's in the river/And the river makes me cry." Bozulich's non-gender-specific voice carries the aptly titled album through its ever-changing moods. She could sound like Patti Smith one minute, Gavin Rossdale, Donovan or Syd Straw the next. You have to respect her for her individuality, if nothing else - in a sea of female singer-songwriters out there, Bozulich is distinctly her own singer. And as uncommercial as they may be, The Geraldine Fibbers are true to their own dark dreams as well. --- REVIEW: Various Artists, _Urbal Beats_ (Polygram TV) - Krisjanis Gale The acts exhibited on _Urbal Beats_ can be well-classified into three groups: pioneers of the past, mainstays of the present, and revolutionaries of the future. All of them are fighting for space on this compilation. The pioneers: Prodigy's featured track, "Poison" , amazingly enough still holds quite a bit of cult popularity despite its age. Chemical Brothers' "Block Rockin' Beats" is approaching "how many more times am I gunna have to hear this?" status. Wink's "Higher State of Consciousness" is a throwback to acid-house long gone but still appreciable. Underworld "Born Slippy" is holding on pretty tight. The mainstays: The complete remix of Future Sound of London's "We Have Explosive" is surprising. C.J. Bolland's "Sugar is Sweeter" still sticks to your sweet-tooth. The airy flute and bass hook on Orbital's version of "The Saint" shows off their versatility. The Orb's "Toxygene" marks their major comeback, into a niche that works well for them; down and dubby, with plenty of ambient flair. Goldie's "Inner City Life" is an oldie but goodie. Everything But the Girl's "Before Today" is still chewing up much of the bubble-gummy drum & bass market. The revolutionary: DJ Icey's "Big Ditch" is cool and refreshing - nice and dicey. Rabbit in the Moon's "O.B.E." is trance as it should be done - not too much of anything, all following a logical progression. D.J. Keoki rips it up on "Caterpillar". Reprazent and Roni Size won't "Share the Fall" with anyone. Portishead won't have many more "Sour Times" if they hold their own. And the members of Crystal Method will definitely learn what it is to be a "Busy Child". I'm not quite sure if Urb magazine's intention was to compile so much of the old with the new - but that's surely what _Urbal Beats_ is. a collection of the big names and the big tracks they've produced. This will cause either one of two reactions in the listener. To newbies of the genre, it will be eaten up and used as an index for further research. To the veterans, the presence of the somewhat outdated tracks will make them want to cast it aside like so much hype about this big "new" thing called "electronica." I for one think it's a pretty decent all-in-one package. --- REVIEW: God Street Wine, _God Street Wine_ (Mercury) - Daniel Aloi Never mind the wherefores of all these new self-titled albums from bands that have been around for ages, what I really want to question is, what does God Street Wine truly aspire to be? Yes, they're a "jam band." Meaning, they play extended instrumental passages that go on for-freakin'-ever and their fans think that's far-freakin'-out. But these New York City groovers are capable of going beyond all those hippie-lovin' good vibes and making an artistic statement. After finally releasing one very good album (1996's home studio effort _Red_ , with its unerring simulations of Dylan and Pink Floyd), GSW has reverted to selling records for Winos (as its fans are punnily known) and errant, what-do-I-do-now? Deadheads. The songs on _God Street Wine_ are tailor-made to be played live, but they all stop short of what they were built for - the jams. "Angeline," "Feather" and "She Comes Up Softly" are all decent songs, while "Happy Birthday, Mr. President" and "Don't Speak of These Things" are hollow, Dead-like anthems-in-waiting. There's nothing inherently wrong with any of this - that is, if _Red_ weren't out there for contrast. I can't fault anyone for playing the soundtrack for someone's communal good time, especially in this shoe-gazing, mosh injury-prone era. I just expected so much more. I once said that GSW were the most deserving of all the bands in line to take the Grateful Dead's place (Dave Matthews being a one-note messiah and Phish just too damn weird), and by God if that isn't coming true. Sorry, guys. Next time, don't read your own press. --- REVIEW: Congo Norvell, _Abnormals Anonymous_ (Jetset) - Patrick Carmosino Congo Norvell is the musical union of ex-Cramps/Bad Seeds/Gun Club guitarist Kid Congo Powers and vocalist Sally Norvell. Their latest release, _Abnormals Anonymous_ is a mix of fiendish, desperate and probing moods: combining American gothic, torch song desperation and charm, blues and on "Johnny In The Boudoir", new wave nostalgia noir. The buzz on the Los Angeles-based duo was that of something just a bit rockier than, say, Combustible Edison. Truth be known is that although things seem to begin with and are based on the loungey, torchy voice of Sally Norvell, the band has quite a broad palette, wearing the influences of past associations with Nick Cave, Jeffrey Lee Pierce and Wim Wenders (both Powers and Norvell have been in his films) on their collective sleeve. Song titles such as "She's Like Heroin To Me", "Brother Jack", "Dark Eyes" and "The Last Word: Jack Is Back" alone bring images of the pulp and the desolate to life. If things aren't dark enough, America's king of beautiful mope, Mark Eitzel duets with Sally Norvell on five tracks. "Brother Jack" is perhaps the most stunning of these songs; with momentum slowly building up with Norvell's whispery scream of "brother Jack" repeatedly being answered by Eitzel with an incredibly throaty "will your family take you back?". "Blue Sky" finds Congo Norvell entering into Eitzel's American Music Club territory with its mellow, sprawling arrangement until it reaches its tense, instrumentally expanded chorus which reminds you whose album this is. Later, in "...Jack Is Back" , Eitzel's contribution is a monotone, deadpan, spoken delivery with lines like "I'm sorry there was no audience for your crucifixion." Amongst the Eitzel-less highlights is the hypnotic "Dark Eyes" which has to be the most haunting celebration of a new born ever put to recording tape. "Johnny In The Boudoir" is basically the Shangri-La's meet Martha & The Muffins meet Josey Cotton in Death Valley '69: a pastiche of organ-driven retro, manic melodrama whose suddenness virtually splits the record in two. Meanwhile, always lurking in the background is the scratchings of Powers' guitar, reminiscent of Daniel Ash's work with Bauhaus, which informs the heart of _Abnormals Anonymous_ as well as Norvell's soulful take on torch singing which, from time to time, stretches to a Patti Smith-like passion. _Abnormals Anonymous_ evokes evolved moods from a couple of thirty-something former punks who may not have been considered punks because of any outward aggressive approach to music but more because they have built a career out of approaching music in their own incredibly unique way. The darkness doesn't necessarily fade away with life experience, but one certainly gets a few more different views of it as one's adulthood progresses. _Abnormals Anonymous_ is a good soundtrack for the desperate hours that remain long after the restlessness is gone. The comforts of the lounge set cannot contain Congo Norvell. --- NEWS: > A new Ben Folds Five album, _Naked Baby Photos_ , will be released on January 13, 1998 by Caroline Records. The album contains 16 songs - some live, some different versions and some new. The complete track listing is as follows: (Live songs): Underground, Julianne, Song For The Dumped, Philosophy, Boxing, Twin Falls (cover of a Built To Spill song), Satan Is My Master and The Ultimate Sacrifice. (Previous Unavailable): Eddie Walker, Emaline, Dick Holster, Tom and Mary, For Those of Ya'll Who Wear Fanny Packs. (Other songs): Jackson Cannery (out of print 7"), Alice Childress (live on KCRW), Bad Idea (Original Version) > _Live In The Tragic Kingdom_, a 90 minute video of No Doubt's tour for their eight-times platinum _Tragic Kingdom_ album, will be released on November 11. > Walt Mink has recently called it quits on their career as a band and taped their final live performance on November 1 at New York City's Mercury Lounge. A live album from this show will be released in January on Deep Elm Records. --- TOUR DATES (Please confirm with site before travelling): Bentley Rhyhthm Ace Nov. 14 Los Angeles, CA Frequency Nov. 15 Seattle, WA Crocodile Cafe Nov. 18 San Francisco, CA Bimbos Nov. 19 Chicago, IL Double Door Nov. 21 New York, NY El Flamingo Daniel Cartier Nov. 11 Philadelphia, PA North Star Nov. 12 New York, NY Fez Nov. 13 Boston, MA Kendall Cafe Nov. 15 Hartford, CT Atomic Club Nov. 16 Portland, ME Raoul's Nov. 17 Burlington, VT Metronome Nov. 18 Philadelphia, PA North Star Nov. 19 New York, NY Fez Nov. 20 Boston, MA Kendall Cafe Chemical Brothers / Death In Vegas Nov. 12 Boston, MA The Roxy Nov. 13 Philadelphia, PA Electric Factory Nov. 14-15 New York, NY Hammerstein Ballroom Nov. 17 San Diego, CA SOMA Nov. 18 Los Angeles, CA The Palladium Gilby Clarke Nov. 11 Atlantic City, NJ Hard Rock Nov. 12 Baltimore, MD Hard Rock Nov. 13 Providence, RI Strand Nov. 14 Port Jefferson, NY Village Pub Nov. 15 Springfield, VA Jaxx Nov. 16 New York, NY Wetlands Nov. 18 Springfield, MA Infinity Nov. 19 Danbury, CT Tuxedo's Nov. 20 Boston, MA Mama Kin Nov. 21 Old Bridge, NJ Birch Hill Deftones Nov. 12 Las Vegas, NV Huntridge Theatre Nov. 14 Dallas, TX Galaxy (KEGL event) Nov. 15 Dallas, TX Trees Nov. 16 Austin, TX Liberty Lunch Nov. 17 Houston, TX Abyss Nov. 19 Atlanta, GA Cotton Club Nov. 20 St. Petersburg, FL State Theatre Chris Duarte Group Nov. 11 Pittsburgh,PA Metropol (with Government Mule) Nov. 13 Louisville, KY Phoenix Hill Tavern (with Government Mule) Nov. 14 Lexington, KY Lynagh's (with Government Mule) Nov. 15 Dayton, OH Hara Arena (with Sammy Hagar) Nov. 17 Bloomington, IN The Bluebird Nov. 19 Baltimore, MD Fletcher's Nov. 20 Washington, DC Metro Cafe Nov. 21 Rochester, NY Water Street Music Hall Duran Duran Nov. 13 Boston, MA The Orpheum Nov. 15 Montreal, QC Metropolis Nov. 16 Toronto, ON The Warehouse Nov. 18 Philadelphia, PA Electric Factory Nov. 19 New York, NY Roseland Everclear / Our Lady Peace / Letters To Cleo Nov. 11 New York, NY Irving Plaza Nov. 13 Boston, MA Paradise Nov. 14 Providence, RI Lupo's Nov. 15 Philadelphia, PA Theatre of Living Arts Nov. 16 Washington, DC 930 Club Nov. 18 Atlanta, GA Cotton Club Nov. 19 Nashville, TN 328 Performance Hall Nov. 20 Memphis, TN New Daisy Theatre (hed) p.e./Suicidal Tendencies Nov. 11 Santa Fe, NM Alumni Hall/College of Santa Fe Nov. 13 Flagstaff, AZ Post Office Nov. 14 Las Vegas Huntridge Nov. 15 San Bernadino, CA Arena High Llamas Nov. 11 New York, NY Mercury Lounge w/Home Nov. 12 Cambridge, MA Middle East w/Lothars Nov. 13 Toronto, ON Horseshoe Tavern Nov. 14 Pontiac, MI 7th House Nov. 15 Chicago, IL Lounge Ax w/The Rachels Nov. 17 Minneapolis, MN 400 Bar Nov. 20 Seattle, WA Crocodile Cafe Nov. 21 Vancouver, BC Starfish Room w/Ujz me Doma Irving Plaza (New York City concert hall: http://www.irvingplaza.com) Nov. 11 Everclear / Our Lady Peace / Letters to Cleo Nov. 12 Jars of Clay / Plumb Nov. 13-15 Radiators Nov. 18 Ratt Nov. 19 Cornershop / Gus Gus Nov. 20 Atari Teenage Riot Nov. 21 Ric Ocasek Jane's Addiction Nov. 13 Miami, FL Bayfront Park Nov. 15 Atlanta, GA International Ballroom Jars of Clay / Plumb Nov. 11 Wexford, PA Orchard Hill Church Nov. 12 New York, NY Irving Plaza Nov. 14 Baltimore, MD UMBC Fieldhouse Nov. 15 Worcester, MA Worcester Memorial Auditorium Nov. 16 Philadelphia, PA Electric Factory Nov. 18 Lynchburg, VA Vine Center Nov. 19 Columbus, OH Veterans Memorial Auditorium Live / Reef Nov. 12 Portland, ME Civic Center Nov. 13 Northampton, MA Mullins Center Nov. 14 New Haven, CT Veterans Coliseum Nov. 15 West Point, NY Eisenhower Hall Nov. 18 Fairfax, VA Patriot Center Nov. 19 Lancaster, PA F&M College Lunachicks Nov. 11 Quebec City, QC Bar Arlequin Nov. 13 Toronto, ON Lee's Palace Nov. 15 Lansing, MI Mac's Bar Nov. 16 Milwaukee, WI Rave Bar Nov. 19 Minneapolis, MN 7th Street Entry Moxy Fruvous Nov. 11 Washington, DC Bayou Nov. 13 Philadelphia, PA TLA Nov. 14-16 New York Mercury Lounge Nov. 18 Bloomington, IN Second Story Nov. 19 St. Louis, MO The Galaxy Ric Ocasek Nov. 16 Poughkeepsie, NY The Chance Nov. 17 New Haven, CT Toad's Place Nov. 18 Washington, DC 9:30 Club Nov. 20 Philadelphia, PA 5 Spot Promise Ring / Compound Red Nov. 12 Victoria, BC W/ Roadside Monument Nov. 13 Vancouver, BC W/ Roadside Monument Nov. 14 Redmond, WA Redmond Ymca W/ Roadside Monument Nov. 15 Portland, OR Oakstreet Arts Center W/ Roadside Monument Nov. 16 Seattle, WA The Velvet Elvis W/ Roadside Monument, Frodus Nov. 19 Los Angeles, CA Ymca W/ Jejune Nov. 20 Silverlake, CA Silverlake Lounge Reel Big Fish Nov. 14 Asbury Park, NJ Stone Pony Nov. 15 New Brunswick, NJ Cook College Nov. 18 Orlando, FL Embassy Music Hall Nov. 19 Gainsville, FL Brick City Music Hall Jim Rose Circus Nov. 11 Jacksonville, FL Milk Bar Nov. 12 Gainsville, FL Brick City Music Hall Nov. 13 Athens, GA Georgia Theatre Nov. 14 Atlanta, GA Masquerade Nov. 16 Nashville, TN 328 Performance Hall Nov. 19 Memphis, TN Omni New Daisy Samples Nov. 7 Hailey, ID The Mint Nov. 8 Seattle, WA Fenix Nov. 9 Portland, OR Grand Ballroom-Art Museum Nov. 11 San Franciso, CA Great American Music Hall Nov. 12 San Diego, CA Brick by Brick Nov. 13 Los Angeles, CA House of Blues Nov. 14 Santa Barbara, CA Yucatan Nov. 15 Scottsdale, AZ Cajun House Nov. 16 Tucson, AZ The Cage Saw Doctors Nov. 12 Alexandria, VA Birchmere Nov. 14 Boston, MA Roxy Nov. 16 Cleveland, OH Peabody's Down Under Nov. 18 Ann Arbor, MI Ark Nov. 19 Chicago, IL Metro Semisonic Nov. 7 Ames, IA Peoples Nov. 8 Lawrence, KS The Bottleneck Nov. 15 Saint Cloud, MN Red Carpet Sister Hazel / Cravin' Melon Nov. 18-19 Chicago, IL House Of Blues Nov. 20 Ann Arbor, MI Blind Pig Something Happens Nov. 11 Arlington, VA Iota Cafe Nov. 12 Woodstock, NY Tinker Street Cafe Nov. 13 Boston, MA Bill's Bar Nov. 14 Philadelphia, PA Samuel Adams Brewhouse Nov. 15 Baltimore, MD Fletcher's Nov. 16 Bronx, NY Quay's Nov. 17 New York, NY Mercury Lounge Nov. 18 Asbury Park, NJ Saint Squirrel Nut Zippers Nov. 19 Chicago, IL The Vic Theater Nov. 20 Cincinnati, OH Bogart's Subrosa Nov. 12 New York, NY Mercury Lounge Nov. 14 Philadelphia, PA Saint Nov. 16 Atlantic City, NJ Hard Rock Cafe Nov. 17 Washington, DC 930 Club Nov. 20 Boston, MA Axis The Wrens Nov. 12 Detroit, MI Magic Stick Nov. 13 Cleveland, OH Grog Shop Nov. 14 Chicago, IL Thurstons Nov. 15 Cincinnati, OH Sudsy's --- 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 (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 ===