==== ISSUE 133 ==== CONSUMABLE ======== [January 20, 1998] 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 Also Contributing: Fred Wilenius 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: Ben Folds Five, _Naked Baby Photos_ - Bob Gajarsky BOOK REVIEW: _Paul McCartney: Many Years From Now_ by Barry Miles - Joe Silva CONCERT REVIEW: Suddenly, Tammy! - Fred Wilenius REVIEW: Transmutator, _Take Over_ - Joe Silva REVIEW: Deepak Chopra and Christopher Franke, _Transformation of Mind_ - Joann D. Ball INTERVIEW: Deni Bonet - Bob Gajarsky INDEPENDENT MUSIC REVIEWS: Suran Song In Stag, Evelyn Forever, Bionic Rhoda - Al Muzer REVIEW: Luke Slater, _Freek Funk_ - Krisjanis P. Gale REVIEW: Nicklebag, _Mas Feedback_ - Linda Scott REVIEW: Who Hit John, _Hey Buffy_ - Scott Slonaker TOUR DATES: Bouncing Souls, Joe Canzano, Jimbo Mathus & His Knockdown Society, Oasis, Pave The Rocket, Sister Hazel / Alana Davis, Third Eye Blind / Smash Mouth, Ween NEWS: Life of Agony THE READERS WRITE BACK! Back Issues of Consumable --- REVIEW: Ben Folds Five, _Naked Baby Photos_ (Caroline) - Bob Gajarsky 'Pianos can't be used for alternative music.' 'Bands don't release rarities discs while on their ascent in the world of music.' Ben Folds Five continue to prove exceptions to both of these axioms with the release of an album full of rarities and live tracks, _Naked Baby Photos_. _NBP_ starts off quite promisingly. The band's first ever single, "Jackson Cannery" / "Eddie Walker", was limited to a press run of less than 1000 sold-out vinyl-only copies. "Cannery" was eventually reworked for the debut self-titled album, and this version's unevenly spaced vocal introduction provides an interesting example of the band's future maturation. Other key cuts, including "Tom And Mary" and "Emaline" (both cut from the first album), showcase the depth of the BFF catalog and fit in perfectly with any fan's collection. If Ben Folds Five had veered more towards metal music, rather than Squeeze or Joe Jackson...well, the results are here. "The Ultimate Sacrifice" gives a glimpse into one of BFF's hidden musical personalities. Ironically, Folds is shown on the cover wearing a Guns N Roses t-shirt - and on the back over, he has it pulled over his head, a la the Cornholio skit from Beavis and Butthead. "Dick Holster" is 30 seconds of an instrumental ragtime outtake, while "For Those Of Y'All Who Wear Fanny Packs" is a soundcheck rap a la Vanilla Ice, but with no such attempts to be taken seriously. Thank goodness. Most fans of BFF were first introduced to the band via their sleeper radio hit, "Underground", which is included here from a 1995 North Carolina concert. Another of the eight live songs which encapsulate this compilation is a previously unavailable cover of Built To Spill's "Twin Falls" from a 1996 Tokyo concert. The only complaint here - where's their live cover of the Buggles' "Video Killed The Radio Star"? And why all the live versions of songs when, surely, studio versions of these same tracks exist? Given BFF's open attitude towards live recording, I'm sure many of the band's devotees already own many of these live tracks. Until Ben Folds Five forget how to write alterna-pop music, it's hard to imagine them releasing a bad album. This rarities/live collection offers proof of the talent behind this trio, and is stronger than many band's best efforts. --- BOOK REVIEW: _Paul McCartney: Many Years From Now_ by Barry Miles (Henry Holt and Co.) - Joe Silva Ever since the Fabs created a stir about themselves again with the Anthology series, our Sir Paul has been on a roll. There was the Knighthood, the Anthology afterglow that lent an unwarranted sheen to his next solo LP, and gobs of attention/sales for his shaky symphonic poem "Standing Stone." But while our Paulie may be creatively a-snooze upon his laurels at the moment, it's that very same period of more or less ten years that remains the stuff of endless scrutiny. But truthfully, you'd be somewhat hard pressed to find a more compelling musical history or a set of origins more steeped in lore and innovation. And finally Mr. McCartney, via old time pal Barry Miles, weighs in officially on both the minutiae and the big questions. It's sort of the "Anthology-plus", a primer, and a "let's-set-the-record straight-from-my-side-while-I-can-still-remember" account of his magical era all in one. All is told and rehashed in Mr. Miles 512 page narrative, interspersed with lengthy and candid quotes from "The Cute One" himself. We get to hear about the young Paul being aroused by the site of his mum in her nightgown, his brief dabbling with heroin, the loss of his first fiancee, and how he was chased off a street in Harlem for "lurking" near a playground. For the obsessed and the well-schooled there's enough new or obscure information to warrant the purchase. And for the merely curious, Mr. Miles sets up his subject in a matter-of-fact fashion that remains informative and fairly entertaining. Since the Anthology showed the world that the Beatles themselves can't always approach a consensus on what occurred in their collective past, this book if nothing else provides a fairly thorough take on what Paul thinks happens. Not as revisionist as it could have been, but certainly not the whole story either, _Many Years From Now_, is a great insider's look into one of the biggest somethings that took place in this now fading century. Oh yeah, and we finally find out who/what broke up the Beatles as well (didn't it ever occur to those guys just to take a break from one another?!). --- CONCERT REVIEW: Suddenly, Tammy! , Lancaster, PA December 23 - Fred Wilenius I finally got a chance to see one of the more interesting, and unusual bands of recent years, Suddenly, Tammy! Sadly - through no fault of the band - things did not turn out quite as I hoped. Picture this probably all-too familiar scene - the band you really want to see is playing an all-ages show at a normally off-limits to under-21's rock club. So, the place is full of school kids more interested in showing off bad haircuts and parading around in circus tent size jeans than listening to the band. Guitar bands can usually manage to drown out the noise of disinterested audiences but Suddenly, Tammy! are a piano-led trio - no guitar in sight, fronted by Beth Sorrentino's strident but still waif-like vocals. From the moment they hit the stage, it was clear they didn't stand a chance; no way were they ever going to rise above a crowd of juveniles whose only real interest was each other. Fortunately, the band's performance was not a complete waste of time. Returning to their Lancaster, PA, home base - no doubt coupling the gig with a break for the holidays - the Tammy's! showcased new songs from their forthcoming third album and threw in a selection from the first two, much to the delight of those of us who were paying attention. The new numbers are in much the same vein as those on the previous albums, slightly jazzy, off-kilter but melodic pop songs which require some listening. None of the songs received an introduction, but the new ones all augur well for the forthcoming album, which the band said would be out midway through'98. Despite Beth's keyboard work and vocals being almost inaudible at times, especially on the acoustic numbers, what did penetrate through the hubbub was quite good. They write catchy songs and once you atune to Beth's vocal style, it's a rare treat as the encore of "Deck the Halls" proved. From the 1995 promotional EP _Shut Up It's Christmas_, it is as fine a paean to the holiday season as you are ever likely to hear. Even though this was not the most auspicious homecoming, they are a fine band who were poorly served by their home crowd; it was still a treat to finally get to see them at long last. But be warned: try and see them at a venue with either good acoustics or an attentive audience - preferably both! --- REVIEW: Transmutator, _Take Over_ (Hypnotic) - Joe Silva Just to prove that you need not be nested in any of the principal fonts of techno (NY, LA, London, Chicago, Detroit, Hawaii) to be akin with the vibe, Romell Regulacion creates the electro-facade of Transmutator in the seemingly disjointed realm of Hawaii. But unlike the island's other well known modern music ensemble, Poi Dog Pondering, Transmutator seems to be free of any nuances that would associate with his native terrain - a thoroughly ukulele-free zone. Having graduated from his New Wave pop origins and the industrial confines of Razed In Black (where he actually netted some time on the Sony Playstation circuit), Rommell has come up pure electronic with Transmutator. What he carries from those beginnings that a lot of other purists don't is the notion that the smallest of hooks can't always tote the interest of the assembled masses on the dance floor for twelve minutes plus. There's something to be said for economy and the development of viable concepts when it comes to the production of this sort of music. It's a premise that someone like the good Sir Goldie, aka Lord of the Jungle, has forgotten with his new double CD - the first of which is an hour long pseudo-symphonic poem ala Paul McCartney. The prime example of these smarts, as well as the album's premier draw, is "Brighton Rock (UVX Mix)." Starting off with a great film sample that sets up the song title, thundering beats immediately ensue before giving momentary pause to a sort of electronic jack hammer. A rubbery bass follows, robotic sirens and hoover sounds appear now and again, and the electric guitar break that Rommell throws in helps create enough tension and diversity to make the track stick long afterwards. Rommell influences seem to run everywhere - "My Wonderful Friend" and "Soul Cleanser" both touch on a bit of house music's origins, and "Destroy" features a bit of old school funk with what would appear to be a dash of Homer Simpson. You may want to fault him for re-visiting Beethoven's Fifth, but otherwise there's enough depth and assortment here to keep you keyed into Rommell's work for the long haul. Which, for his arena, says quite a bit. --- REVIEW: Deepak Chopra and Christopher Franke, _Transformation of Mind_ (Earthtone) - Joann D. Ball If your plans for 1998 include a healthier mind, body and soul and perhaps even trying something different, then consider _Transformation of Mind_. An innovative approach to positive thinking and inner healing, _Transformation of Mind_ integrates the inspired, New Age musical stylings of Christopher Franke with short motivational readings from Dr. Deepak Chopra. An enhanced cd, it also features the beautiful nature photographs of Bruce Heinemann. _Transformation of Mind's_ nine tracks offer an incredible blend of music, philosophy, imagery, and text. The music for this uplifting cd was composed by Christopher Franke and performed by Franke and the Berlin Symphonic Film Orchestra. A founding member of the pathbreaking electronic trio Tangerine Dream with which he performed from 1970 until 1988, Franke has explored the diverse terrains of techno, trance, ambient and world music as a solo artist. On _Transformation of Mind_, he captures the spiritual and emotional elements of New Age music and transmits holistic energy throughout 45-minutes of lush and passionate orchestrations. Rising and resonant flutes and oboes, soothing strings and melodic piano carry Dr. Deepak Chopra's words from passage to passage. Through a total of 20 minutes of readings, Dr. Chopra celebrates the integration of mind, body and spirit. Chopra reads short, inspirational selections from his 1991 best-selling book, "Unconditional Life," and carefully chosen passages from the poetry of Rumi, Tagore, and Coleridge. On this enhanced cd, playable on both PC and Macintosh, these words of wisdom and soundscapes are reflected in the intimate nature photographs of Bruce Heinemann. Heinemann's brilliant landscape photography and transcribed thoughts from Dr. Chopra are also featured in _Transformation of Mind's_ beautiful 24-page cd booklet. _Transformation of Mind_ is a unique multi-dimensional release which captures the essence of New Age music and philosophy. Michael and Debbie Duffey, co-founders of Duffey Digital and developers of the project, describe it as "a spa for the mind and software for the soul." So sit back, relax and treat yourself to an incredible multi-sensory, multi-media experience. A new year, a new mind. . . _Transformation of Mind_ ( www.transformationofmind.com ). --- INTERVIEW: Deni Bonet - Bob Gajarsky The love song tends to be the centerpiece of numerous artist's performances. But whether the song is mushy-sappy or hateful, most artists tend to fall into stereotypical points of view. Rising star Deni Bonet, on the other hand, writes about failed relationships with best friends - and wanting to hate ex-boyfriends, but being unable to do so. "Many songwriters will go for the suicidal mood...that's when I try to turn the situation around and laugh at myself," explains Bonet. "What's the point of taking yourself so seriously that everyone just gets bummed out along with you? Many of my songs have emerged from relationships that didn't make it." A classically trained pianist ("I play a mean Mendelsohnn!", laughs Bonet), Deni Bonet has already accumulated a resume which takes some performers decades to achieve. Seven years on the National Public Radio show Mountain Stage afforded Bonet the opportunity to play violin and accordion with artists such as Richard Thompson, Warren Zevon, R.E.M., the Indigo Girls and Sarah McLachlan. This success led to an opening act slot for (and performing onstage with) Robyn Hitchcock, and appearing on his _Moss Elixir_ album. The highlight of Bonet's performances - and her EP, simply titled _E.P._, is the bouncy, upbeat track "Sunshine". Though the music from this song could fit in on a classic 70s pop song, the lyrics reflect Bonet's love of irony and modifying the expected results. Deni smiles while singing, "I want to be famous...I want to fuck you all the time - and that's why I need sunshine all the time." "Sunshine" was written several years ago, after Bonet's two-year stint in London. "I didn't enjoy (living in London) enough to want to spend the rest of my life there," Bonet recalls. "I came to New York to do some shows, the sun was all shiny, and I was *really happy* to be back amongst the loud and exuberant!" The time in London enabled Bonet to hone her skills, work briefly with the Shamen, and the opportunity for one of those chance musical encounters. A Turkish promoter caught their show in England, and booked her band to highlight one of Istanbul's larger concerts; the Turks sang along, buoyed by local radio play of Bonet's circulating demo. Six songs from that demo comprise _E.P._ "Bigger Is Always Better" features Bonet's spoken-word, not too far from Blondie's "Rapture", in a humorous effort to explain why we want everything to be larger. From the Bible to the Empire State Building, everything is bigger - and Bonet the wordsmith has pun with words, such as "Why be a bad guy when you can be a copper? / Why be copper when you can be platinum", and so on. Bonet's live performance features a fierce extended vocalization, rattling off about Trump and all his power, with Bonet finally screaming out "Coffee makes me nervous!" Longtime collaborator Roger Greenawalt has helped Bonet with some of her songs. As Bonet explains, "He and I have written many songs together over the years. We seem to bring out the humourous, but slightly evil side, of each other." Bonet's music - besides vocals, she plays violin, viola, accordion - would fit in comfortably with either Dave Matthews or John Mellencamp. And while she gained her start in West Virginia, don't pin any of the typical stereotypes on her. "It doesn't mean that I play the fiddle - when I play, it's very electric and in-your-face." So what does the future hold for Ms. Bonet? Despite the traditional obstacles of an unsigned artist (paying band members, publicity, booking, with no promises for the future), Bonet has her head held high. "I can honestly say that my hope and dream is that I can keep on playing and writing and enjoying where I am right now. I dream that someday soon, I can let some of the day-to-day details go, and concentrate on playing and writing my music!" Deni Bonet can be contacted at Emotional Management, PO Box 7183, New York, NY 10150. A web site (built by one of her fans) contains samples of several of her songs, and can be accessed at http://www.bway.net/~dbonet --- INDEPENDENT MUSIC REVIEWS - Al Muzer REVIEW: Suran Song In Stag, _Shiny Objects_ As catchy a group of potential hits that'll never hit as you're gonna find anywhere else this year; Suran (lyrics, vocals, action images) Song boasts a truly lovely vocal range, a spot-on bunch'a melodic-quirksters (including Claude Coleman Jr. and Dave Urbano) backing her, a uniquely-twisted world view and the unusual gift of turning everyday observations, disjointed phrases, disconnected words and simple directions to a beauty supply store into songs you can't get out of your head for days. Fans of Ween, Beck, Ani DiFranco and The Breeders will be especially delighted, but, given half a chance, this stuff should prove addictive to just about anyone with half a brain, half a clue and half-an-hour to spare. Suran can be contacted via e-mail at ssong@simstar.com REVIEW: Evelyn Forever, _Nightclub Jitters_ (Airplay) The hooks and harmonies hinted at on last year's demo debut by this amazingly talented Jersey four-piece are a full-blown, fully-developed force to be reckoned with on their first full-length effort. Sportin' four (count 'em!) truly unforgettable, radio-ready, potential hits, the Beatles-inspired "Rock 'N' Roll Girl"; the brilliant, Cure-ish blast of"17"; a peppy burst of sing-along angst ("What I Need"); and the ringing popattack of "Double Dip" , the obvious singles are bolstered by strong support tracks (the rollicking "Wonderful," the giddy rush of "Never Once" and the full-bore assault of "Telephone" earn special mention) that are the sonic equivalent of what passes for "A" tracks on countless major label releases. A young band clearly destined for something bigger than New Brunswick, New Jersey. The Airplay label can be contacted at PO Box 851, Asbury Park, NJ 07712 or e-mail: gimchipop@aol.com REVIEW: Bionic Rhoda, _Bionic Rhoda_ (Powerbunny) Their bio claims that the group, "hopes to use the album as a tool to widen their fanbase." One listen to "Charm", "Douglass Fresh" or "Gum Cemetery" by any semi-savvy A&R-type should be morethan enough to ensure a very broad fan base for this inspired five-piece unit. Kicking things off with the sparse, moody, slightly off-kilter wail andcuriously compelling beat of "Charm" , Bionic Rhoda (great logo!) reach outand grab, and hold, your undivided attention throughout this generally brilliant, Claude (Ween) Coleman Jr.-produced effort. Whether they're careening wildly through blasts of intense, Only Ones-stylepunk pop ("Chili Dog"); a funked-out stoner shuffle ("Souped Up Soft Drink");a Dickies-meets-Monkees raveup ("Douglass Fresh"); an energetic slice of jangle-pop ("Blessed Cow"); a bit of lilting, deceptively simple Hollies-fluff("Tricycle"); some hard-edged alterna-churn ("Ben & Ben" or "Macabee"); atwitchy, Peter Gabriel-like [early Genesis seems to've had something of an influence on the band] wall of glass-shattering angst ("How I Survived A Disfiguring Car Accident"); or a wild Todd Rundgren-meets- Sweet-inspired romp through the depths of boogie-metal that leaves you breathless ("Gum Cemetery"), Bionic Rhoda don't let up for a second on an album that has what it takes to land it on the charts and playlists with minimal A&R effort. Powerbunny can be contacted, at PO Box 792, New Brunswick, NJ 08903 or via scavone@rci.rutgers.edu . --- REVIEW: Luke Slater, _Freek Funk_ (Novamute) - Krisjanis P. Gale Lock Underworld and Richie Hawtin in a room and let them produce a lovechild. Take away his guilty tendency to twist knobs and encourage him to concentrate instead on producing unique soundscapes, and what you get is quite possibly the strangest electronic act this side of Download. His name is Luke Slater, and he is definately one of a kind. The beats exhibited on this album do much to stray from the mainstream 'boom tiss boom tiss,' wandering into a variety of syncopated stylings. But much more important than that is the sheer number of distinct environments and artificial situations he traverses in the span of just one sixteen-track album. I found myself lost in a drinking straw at a throbbing dance club at around midnight... attending a space station throbfest, then sitting outside listening to satellite's pass... confounded by confusion...tapping my pencil on my office desk, frantic, frenzied...holding conversations with mainframes...being tossed around by beat-factions competing for global media attention...relaxing to some fancy break-infused freak hypnosis... bowing to a digital god in a psuedo-religious dub chant...shaking my stuff in a wild seventies funk beat cutup...grooving harder to a rebirth of rave culture...munching on groove-spiced bleepcore, sucking down a very sweet dance-trance milkshake for desert...and finally finding my way home for some much-deserved chilling. What a trip! I heartily suggest this album to any fans of the genre. Forget for a moment that you may not know his name or his game, and pick up Luke Slater's _Freek Funk_ and give it a listen... cuz this boy's got skills. --- REVIEW: Nicklebag, _Mas Feedback_ (Iguana) - Linda Scott The times, like the music scene, are a changin'. Just as rock n' roll has been pronounced dead, some new bands are bringin' it all back home. Nicklebag's _Mas Feedback_ opens up rock's coffin and yanks it back out. The album has a professional, polished sound coming from the veteran and high profile band members. The duo of vocalist Bernard Fowler and guitarist Stevie Salas are joined on this album by some world class performers. Fowler is currently singing backup vocals for the Rolling Stones on their _Bridges to Babylon_ tour and also sang on their _Voodoo Lounge_ tour. Salas is an astonishing rock n'roll guitarist who's made several albums on his Colorcode solo project. Producer Bill Laslow (Mick Jagger, Iggy Pop, Material) brought these two together, and the Salas/Fowler combination is an electrifying winner. _Mas Feedback_ is further supported by former Living Colour bassist Doug Wimbish, former Slash's Snakepit tour drummer Brian Tichy, former Funkadelic keyman Bernie Worrell, ex Pearl Jam drummer Dave Abbruzzese, Rolling Stones tour bassist Darryl Jones, and Rolling Stones backup singer Lisa Fischer. The band has talent to spare. Salas and Fowler alone or in combination penned 9 of the 14 tracks. The single "Grow" is a burning rock track that sets the album groove with its first track position. Covers of some familiar songs are powerful and funky. Funkadelic's "Hit It And Quit It" is louder, fiercer and funkier than ever. The Beatles' "I Am The Walrus" receives the same full bore rock treatment, and Stevie Wonder's "Don't Know Why I Love You" has a bluesier tone than Wonder ever used, and the song builds like a pressure cooker. Keep the name Nicklebag, and their album _Mas Feedback_, in mind. It's killer rock for the nineties! --- REVIEW: Who Hit John, _Hey Buffy_ (Not So Permanent) - Scott Slonaker Merging the scruffy garage sensibilities of the Replacements with the dreamy harmonies and bright hooks of classic '60s AM radio, Nashville's Who Hit John have come up with that rarest of beasts: a consistently entertaining and stylistically varied power-pop record that scatters its best moments throughout all eleven tunes. After the pacesetting opener "Smile Together" quickly comes high point number one on _Hey Buffy_: "Giving a Twist a Turn". Driven home by drop-dead vocal hooks, the tune deserves to be blasting from car radios right next to the Gin Blossoms' "Hey Jealousy" 'till the cows come home. Singer Chuck Tate (I think he's the main vocalist; it's unclear from the liner) especially summons the Westerbergian ghosts on tracks like "Fan Club" and "The Ballad of What Will Never Be", as the band stomps out engaging rough-edged melodies, not unlike Minnesota's finest. However, Who Hit John has more than one mode, as evidenced by the sweet power balladry of "Incomplete" and the disc's best song, the Who-ish clapalong power-bop of "Somebody". Piano, harmonica, and 12-string guitar are tossed into the mix for maximum retro impact. Another pleasant touch is bassist Pat Meusel's comparatively roughed-up vocal turn on his "Above the Fold". To top off the whole extravaganza, the boys roll out a reverent cover of another of their musical forebears. The rendition of seminal Nashville power-poppers Big Star's "Don't Lie to Me" sounds just like the original, and that's good. Like the rest of the year's best power-pop album, it's a class act. For information on Who Hit John, check out the website at: http:\\www.geocities.com\~whohitjohn\. --- TOUR DATES: Bouncing Souls Jan. 23 Richmond, VA Twisters Jan. 24 Chapel Hill, NC Lizard & Snake Jan. 25 Atlanta, GA Somber Reptile Jan. 27 New Orleans, LA Jimmy's Club Jan. 29 Jacksonville, FL Moto Lounge Jan. 30 St. Petersburg, FL State Theater Jan. 31 Ft. Lauderdale, FL Squeeze Joe Canzano Jan. 22 South Amboy, NJ Central Cafe Jimbo Mathus & His Knockdown Society Jan. 21 Carrboro, NC Cat's Cradle Jan. 22 Charlotte, NC Double Door Jan. 23 Athens, GA 40 Watt Club Jan. 24 Atlanta, GA Cotton Club Jan. 26 Orlando, FL Sapphire Supper Club Jan. 27 Gainesville, FL Covered Dish Jan. 30 New Orleans, LA Howlin' Wolf Jan. 31 Vicksburg, MS The Biscuit Company Oasis Jan. 23 Vancouver, BC General Motors Jan. 24 Seattle, WA Seattle Center Jan. 27-28 Los Angeles, CA Universal Amp. Jan. 31 Dallas, TX Bronco Bowl Pave The Rocket Jan. 21 Cleveland, OH Speak In Tongues Jan. 22 New York, NY Mercury Lounge Jan. 23 Pittsburgh, PA Groovy Jan. 24 Chicago, IL Fireside Bowl Jan. 29 St. Louis, MO Side Door Sister Hazel / Alana Davis Jan. 22 Phoenix, AZ Celebrity Theater Jan. 23 San Diego, CA Jack Murphy Field Jan. 24 San Diego, CA Superbowl Superfest Jan. 26 W. Hollywood, CA House of Blues Jan. 27 Santa Ana, CA Galaxy Theater Jan. 28 Carmichael, CA El Dorado Saloon Jan. 30 Eugene, OR W.O.W. Hall Jan. 31 Portland, OR Roseland Theater Third Eye Blind / Smash Mouth Jan. 29 Visalia, CA Convention Center Jan. 30 Bakersfield, CA BC Gym Jan. 31 San Francisco, CA The Warfield Ween Jan. 20 Athens, GA 40 Watt Jan. 22 Orlando, FL The Embassy Jan. 23 Tampa, FL The Rubb Jan. 24 Ft. Lauderdale, FL Button South Jan. 25 Jacksonville, FL Milk Bar Jan. 27 Columbia, SC Tremont Music Hall Jan. 28 Asheville, NC Be Here Now Jan. 29 Richmond, VA Alley Catz Jan. 30 Philadelphia, PA Trocadero Jan. 31 Boston, MA Roxy --- NEWS: > Life of Agony has recruited former Ugly Kid Joe member Whitfield Crane as lead vocalist following the unexpected departure of former lead singer Keith Caputo. --- THE READERS WRITE BACK! > Just a quick note to say thanks for the excellent job (as always) this year. Consumable is still the best! - Geoff D. , California > Another stellar issue. Truly, it's one of the only favorites list I've ever read where I didn't find myself saying, "ohh, they suck, and they suck, and all the good albums of the year have been forgotten for Hanson, Spice Girls, Alanis, and other assorted crap." Thanks for being the defining voice of Internet music (and alas, any medium). You and your staff should be very proud of your magazine, and I look forward to coming excellence... Scott G., Boston, MA (Ed. Note - Aw, shucks, you're making us blush. Thanks for the kind words on Consumable...we'll try to maintain the quality which we hope our readership expects in 1998...) > Thanks for all the issues of Consumable! Here's my top 5 from 1997: Primal Scream, _Vanishing Point_. Those who stick with the old times, namely _Screamadelica_, the hell with'em. Together with Portishead's self-titled record, this is the perfect record for the rock-fan. You can't actually dance to it, you just throw yourself on the couch. And listen.... Mogwai, _Young Team_. Who needs words when you can bombard the listener with this sound? Think Sonic Youth, Daydream Nation. And if you don't believe the word of this writer, take Pavement's Malkmus' word on it. If you hear about Mogwai doing a concert nearby, drop everything and run to buy a ticket. I did, and their sonic attacks still resonate in my ears! X, _Box set_. Okay, I'll admit it, I don't have it. Why would you need it when you have LA and Wild Gift? But anyway if you haven't got a X-record in your collection, run and buy it. Just to hear those blasphemous lines about Elvis doing fellatio. Pixies, _Death To the Pixies_. The band that didn't only learn how to sing Kurt, but probably inspired Chris Carter to take a chance at inventing stories about aliens. Yes, I have all the Pixies records. Frankly? This is the one to go for, if you get the bonus live session with it. Pavement, _Brighten the Corners_. The record with only hits that yet again didn't make it to the top of the charts, like Velvet Underground's _Loaded_. SM still managed to write lyrics that make you wonder what he's on about. The early days of Swell Maps inspired sound are gone, but this bunch still managed to make a *swell* record. - Nathalie, Belgium --- 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 ===