==== ISSUE 134 ==== CONSUMABLE ======== [February 2, 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 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. ================================================================== Help rate Consumable! The Ultimate Magazine Database is allowing people rate their favorite online magazines - go to http://www.dominis.com/lists/archives/zine-talk/0004.html and enter the 'music' area, then go to Consumable to rate us! ================================================================== .------------. | Contents | `------------' REVIEW: Pearl Jam, _Yield_ - Scott Slonaker REPORT: MP3 Music Files and the Internet - Bob Gajarsky REVIEW: Goldie, _Saturnzreturn_ - Tim Hulsizer REVIEW: Mary Lou Lord, _Got No Shadow_ - Al Muzer REVIEW: Various Artists, _The Bridge School Concerts Vol. One_ - Joann D. Ball SINGLE REVIEW: Ian Brown, "My Star" - Tim Kennedy REVIEW: Stubborn All Stars, _Back With A New Batch_ - Daniel Aloi REVIEW: Billie Myers, _Growing Pains_ - Jon Steltenpohl REVIEW: Various Artists, _Trip To The Andes_ - Joe Silva REVIEW: Thunderclap Newman, _Hollywood Dream_ - Al Muzer REVIEW: Boy Wonder, _Wonder-Wear_ - Daniel Aloi NEWS: Doors, Kinks / Dave Davies, L.A. Live / Mary Lou Lord, Sand Rubies, Volatile Music TOUR DATES: Apples In Stereo, Blue Mountain, Bouncing Souls, DJ Acucrack, John Flansburgh's Mono Puff Syndicate, Guster, Jimbo Mathus & His Knockdown Society, Oasis, Sister Hazel / Alana Davis, Old 97s, Luke Slater, Third Eye Blind / Smash Mouth THE READERS WRITE BACK! Back Issues of Consumable --- REVIEW: Pearl Jam, _Yield_ (Epic) - Scott Slonaker Fans of the most popular band of the first half of this decade, rejoice. Pearl Jam has remembered you. After making an album for themselves (1996's uneven, murky _No Code_), Seattle's sole survivors of That Thing return with a fine album that mines all their strengths and pleases the crowd without any need for pandering. New drummer Jack Irons has hit his stride, with his fat-bottomed tubthumping helping the band rediscover the stomperous clatter that made _Vs._ (1993) and _Vitalogy_ (1994) keepers. Let's face it, folks - the polished sheen of _Ten_ is not coming back. Opening with the brawling "Brain of J" (slightly reminiscent of "State of Love and Trust", from the _Singles_ soundtrack), _Yield_ is heavy on rave-ups and limits the balladry (the stars of _No Code_, no less) to the second half. "Wishlist" is a simple, heart-on- sleeve love song. "Do the Evolution", which begins with a scary doglike howl from singer Eddie Vedder, happens to be one of the better Iggy and the Stooges impressions to come along in awhile. "Given to Fly", the first single, is a casually winning, fittingly soaring marriage of Led Zeppelin's "Going to California" and PJ's own "Go". It also features Vedder's most gripping vocal performance since _Vitalogy_'s "Better Man". Vedder's voice seems to be slightly higher and warblier in general throughout _Yield_. While Pearl Jam have always taken cues from the Who, Vedder's strangled cries seem to evoke Roger Daltrey more than ever. With Irons' tangled Keith Moon-like pounding, the resemblance is only strengthened. Still, no one is going to mistake these tunes for anyone besides Pearl Jam. Lyrically, Pearl Jam is continuing the trend towards lighter topics and less angst. "I'm not trying to make a difference, no way," declares Vedder in "No Way". Eddie seems much more relaxed and less self-obsessed than previous efforts, and he has learned how to cut loose without venturing into such territory. While the lyrics may indeed be less weighty in general, Vedder is an expert at making them *sound* important, which is the essential factor. The later tunes on _Yield_ are mostly pleasant side trips. The easygoing "Low Light" (penned by bassist Jeff Ament) features some graceful, swaying backing vocals. "Push Me, Pull Me" is deadpan, clanking beat poetry with an unexpectedly airy chorus. And the closing tune (there is an obligatory hidden track, of course), guitarist Stone Gossard's "All Those Yesterdays", is utterly beautiful. _Yield_ is an easy return to form for Pearl Jam, and another blow struck for good, old-fashioned rock 'n roll in the face of the myriad of beeps, bloops, yodels, Spices, and thefts plaguing modern music today. --- REPORT: MP3 Music Files and the Internet - Bob Gajarsky Imagine sitting at home in your easy chair, and wanting to hear some different Pearl Jam songs. No, not "Alive"...but their live cover of the Who's "The Kids Are Alright". In the past, the only way to hear such a song was to catch one of the local radio stations obtaining a promotional copy of the concert, and being fortunate enough to listen at the time they played the track. However, with the advent of high speed modems, web sites with gigabytes of space, and an Internet account, a fan can listen to that song, any time they want. Real Audio - in which your computer is turned into a 'radio', enabling you to hear the song in realtime - is one way to hear these files. However, the controversy over songs on the web doesn't center so much around files in RA, as they are known, but around files in WAV and MP3 format. The wave (WAV) file is the actual bits and bytes of a song. A four minute song takes up approximately 50 megabytes worth of space - more than a user's disk quota on many Internet accounts. A compression technique can be applied to these WAV files - with a minimal loss of quality, by removing 'inaudible' information - to produce an MP3 file. With this technique, a four minute song can be stored on a hard drive with 5 megabytes of space. And because of these compression techniques, music fans are taking to the web to share and exchange their MP3 files - of songs available in stores, and those that aren't available elsewhere. A quick search on the web yielded full MP3 songs from Duran Duran including many of their classic hits ( "View To A Kill", "Rio", "Girls On Film", "Save a Prayer", "Wild Boys", "Reflex", "All She Wants Is", "Hungry Like The Wolf") and some of their more recent singles ("Come Undone", "Ordinary World", "Out Of My Mind", "Electric Barbarella"). With a little time and perseverance, a Duran fan could create their own greatest hits disc for free, instead of purchasing _Decade_ or any of the other Duran Duran discs. One employee of BMG Music - a former musician - is worried about the ripple effects that MP3 copying could have within the music industry. "My fears about MP3s are twofold," begins the employee. "The illegal transfer of music through MP3s directly cut into albums sales which, in turn, directly cut into a label's profits meaning large scale cutbacks and layoffs. I also see it as a major blow to struggling musicians who depend on every dollar they make from royalties and album sales. It also cuts into the creativity fold where music is treated like a commodity and not as art. By transferring music as 'just a file', it takes away from the human aspect of music as art, not as product. To strip it (the song) down to a computer file is to ignore the concept of the CD as a functional and recreational work of art." The editor of the premier MP3 newsletter on the Internet, and webmaster of Dimension Music ( http://www.dimensionmusic.com ) goes by the alias 'Spyed'. His newsletter has increased in size over the last few months to include more than 4,000 subscribers, and the website offers links to numerous MP3 sites on the 'net. He offers an alternate view to the MP3 controversy. "Artists, many of them, love music, not money; they like millions to listen to their music, and a true artist wants their music heard," explains Spyed. "If you ask me, MP3's aren't putting a dent in anything; they aren't doing anything other than promoting GOOD music. A good CD will always be bought; MP3 files just give us the opportunity to listen to (other) tracks that are on a CD we want to buy." One area which has industry executives even more worried than the wholesale uploading of MP3s to the net is outright piracy of artist's music. It is fairly common knowledge that there are certain 'spies' on the Usenet newsgroups who seek out music pirates by pretending to be interested consumers. Postings in Usenet during the last few months only serve to reinforce the executives' fears. A recent disc offered for sale from a dealer in Hong Kong offered 14 complete albums - including the Backstreet Boys, 'Love Songs', and in the ultimate theft, a copy of Elton John's charity single, "Candle In The Wind 97", for $15 postpaid. And one company with a U.S. toll-free number, offered a similar deal as the Hong Kong company (but this time, with 'your favorite type of music') by spamming the Internet with their proud claim that they will sell you 10 hours of music on one disc. In the same breath, they state that "the record companies and major labels do not want you to know about this. It could ruin their big push for DVD in the next six months (or whenever they get off their ass), not to mention the fact that it could spawn rampant trading and copying of music, just as software is traded and copied today." In this case, of course, the omission of the word 'illegal' is quite noticable - but makes one wonder if these pirates have heard of the software busts which have garnered national press attention. MP3s are also being used by loyal fans to share rare and live recordings of their favorite artists. Tracks which were previously only available by travelling to a major city and purchasing discs stored under the counter are now being shared for free across the Internet. For every Tears For Fears or Pet Shop Boys that issue a B-sides compilation filled with out-of-print tracks, there are artists including Bruce Springsteen, Erasure, and Morrissey whose fans would kill for a 'legitimate', comprehensive, B-sides project - and if they want one, have to shell out big bucks in the black market. And even an R.E.M. - whose _Dead Letter Office_ was a flashback at most of their B-sides during the I.R.S. years - have dozens of tracks which haven't seen the commercial light of day in America. A representative of a major independent label sees the potential benefits and hindrances of releasing rare tracks on the Internet. "MP3s could both held and hurt sales of bands' records. As a means of getting music into the hands of people who might not necessarily had the opportunity to come across an otherwise obscure band, MP3s could spur new sales of a band. And if the Internet supplied alternate versions of songs that were otherwise unavailable to the public (i.e. radio edits, club versions, demos and alternate takes), MP3s would be a blessing. In this capacity, they would not be interfering with the sale of a band's album and might in fact spike sales of the record if people like what they heard." Some fans are already bootlegging the bootleggers. The Oasis bootleg disc _The Untold Story_ consists primarily of pre-Creation/Sony Oasis recordings, where the band sounds like a cross between the Stone Roses, Charlatans, and Inspiral Carpets - or similar to 90% of the British unsigned bands of the time. The part of the disc with these unreleased tracks has been actively copied across the net by fans who feel the music should be available for free, and not putting money into the pockets of the bootleggers. But will this hurt those who sell live and rare music? One New York retailer who specializes in audio releases not available in regular stores doesn't think so. "Although people can get these songs from the Internet, it shouldn't hurt my business," believes this merchant. "How many people want to spend hours downloading the files, spending the money on buying a recorder, and learning how to handle the process? They'd rather spend $20, get the same stuff, and pop it immediately in their CD player." The record companies aren't pleased over these turn of events with MP3s. Sony / Creation sent a cease and desist letter to numerous Oasis-related sites last summer, threatening legal action if the sites didn't remove copyrighted materials (read: pictures and sounds) from their web pages. This sparked the beginning of a grass-roots groundswell, and an "Oasis Webmasters for Internet freedom" web page, which cites '35 closed or missing sites' as a result of the legal threats. One of those people whose site was closed had posted songs from _Be Here Now_ , prior to its release. This person claimed that he had obtained the song files from Sony's Brazil web pages. This isn't the first time in which songs from an album appeared on the Web before its release in the stores. Depeche Mode's _Ultra_ appeared on European web sites several months before its release (as reported in the February 27, 1997 Consumable) and Pearl Jam's _Yield_ also surfaced well before its February 2 commercial release. Actions such as these usually draw the most attention from the record companies. While the controversy over MP3 rages, in some circles, technophiles are eagerly awaiting the next step of compression; Advanced Audio Compression. Combining high bit rates and the used of MMX technology, AAC files offer a faster rate of compression, better sound quality, and takes up 2/3 the space of MP3 files. For now, however, the method of choice of music compression on the Internet is MP3s. And this new technology has opened up a Pandora's box of opinions of its legality, and what the future of music will look like. --- REVIEW: Goldie, _Saturnzreturn_ (FFRR) - Tim Hulsizer With Goldie's 1995 debut _Timeless_ having sold only in the tens of thousands in the U.S., it hardly seems accurate to say that this is his "long-awaited" followup. However, somehow this IS an event, and the music only tells half the story. Goldie himself has become something of a celebrity; dating models, DJing high-profile clubs, and sounding off on a variety of subjects. He is larger than life, with a rock solid physique and gem-encrusted gold teeth. It's no secret that he had a troubled childhood before breaking into graffiti art and music, and he deals with a lot of these issues on his new double-disc release. Disc one, entitled "Mother", is dominated by the 60-minute(!) title track, a sprawling orchestral piece that deals with his feelings about mom from pre-birth to present day. Goldie went into the studio and laid down hundreds of channels of sound, worked with dozens of musicians, and let his imagination run wild to produce this track. An hour is a long time to listen to almost anything, but by the time he unloads a beat around the 25-minute mark, it all falls into place. It's certainly an impressive accomplishment, even though I might not listen to it again in its entirety very soon. The other tune on the first disc is "Truth", a 15-minute song with outlandish David Bowie vocals. I found it pretty enjoyable, though I've always been a fan of Bowie anyway. The "Mother" disc is Goldie's latest sound laboratory, and he makes full use of the opportunity. He assembled several technicians, told them what he wanted, and ended up with a surprisingly solid result. Some people have criticized Goldie for being less of a "knob-twiddler" himself and more of an overseer in the studio. But as he put it recently, the blueprint is always there in his head, and the truth is that he puts forth tunes that the technicians themselves would never have thought to create. As far as I'm concerned, his music is certainly as valid as (and often better than) anyone else's stuff in the electronic arena. If the first disc is Goldie's lab, then the second one, "Saturn", is his playground. He really cuts loose here and unleashes some of his hardest-hitting tunes to date. One of his best traits is his willingness to experiment with songs, and that is quite evident right out of the box. The first song "Temper Temper" is an inferno, with Noel Gallagher of Oasis grinding out guitar noise while Goldie snarls lyrics of fury. The second track is even better, a landmark song called "Digital" that features rapper KRS-One on vocals. Unbelievably cool, this track will hopefully convince more than one high-profile rap act to experiment with drum'n'bass beats. It's a perfect fit, and KRS-One has no trouble keeping up with Goldie's instrumentals. On some parts of the album Goldie gets a little more personal, and as with "Mother" these can be a little hard to take at times. He likes use a soulful sound sometimes, with muted horns and vocals by Diane Charlamagne. This pops up on cuts like "Believe" (which is nice and funky) and the beat-less track "Letter of Fate", in which Goldie reads and old suicide note. These are actually pretty good tracks which serve to break up the album and give it some variety. However, I can see where people could be put off by them. Still, there are more than enough reasons to keep listening. Songs like "Dragonfly" and "Crystal Clear" mix up the soul sounds with excellent grooves, drawing the listener in before they know what's hit them. Not only that, but when Goldie cuts loose for the dancefloors, no one else alive can keep up. "Chico-Death of a Rockstar" mixes distorted guitar samples with a No U-Turn-style beat to spin something crazy that still retains a very Metalheadz sound. "I'll Be There For You" almost has an older sound, reminding me of mid-90's instrumentals. It employs a "magic shuffle" and wind chimes, and it's almost ethereal at times. "Fury-The Origin" and "Demonz" are pure, punishing house rockers that should please just about any drum'n'bass fan. I'll spare you all of the latest bullshit terminology ("tech-step", "dark-step", etc.). Suffice to say, these tracks deliver the goods. The bottom line on Goldie's latest release? There's only good things to say about _Saturnzreturn_. Admittedly, his longer, "artsy" tracks are less accessible than his dance tracks, but I think that's a good thing. How many other artists in the drum'n'bass genre would include tracks like these? What other artist would create and release a cut like "Mother"? Few or none, most likely. Goldie is more than just hype. He is an artist that does not compromise, and an individual in a world of cookie-cutter junglists. Highly recommended. --- REVIEW: Mary Lou Lord, _Got No Shadow_ (WORK) - Al Muzer As much a showcase for the brilliant songwriting (seven credits) and distinctive guitar buzz of Bevis Frond frontman Nick Saloman as it is for the London-born, Boston-bred subway busker and occasional Courtney Love hate object that is its namesake; Mary Lou Lord's long-awaited major label debut is not only a truly great record sure to turn up on more than a few rockcritic's year-end "best of" lists, it also proves that top-notch tunes (in addition to Saloman's contributions, Lord wrote or co-wrote seven tracks and turns in definitive versions of "Shake Sugaree" and Freedy Johnston's "Lucky-One") played with heart and earnest conviction can rise above even the glossiest (layered on by Tom Rothrock and Rob Schnapf) of production sheens. Although a bit of the joy, vibrancy and wide-eyed innocence of their prior incarnations is diluted in the updates presented here, the previously-released "Lights Are Changing," "Western Union Desperate" and "Some Jingle Jangle Morning" are still potential sing-along hits just waiting for their chance to hook you; while "His Latest Flame," "Lucky-One," "She Had You," "Two Boats" and (especially) "Supergun" are thoughtful, folk-fueled, jangle-centric, irresistibly-catchy contenders for major chart action as well. Requiring at least four listens before it becomes an essential addition to your CD collection, _Got No Shadow_ is a star-studded effort that features inspired guest appearances from Saloman, Elliot Smith, Nels Cline, Money Mark, Will Goldsmith, Jon Brion, long-time MLL inspiration Shawn Colvin and 12-string guitarist, Rock 'N' Roll Hall of Famer and former Byrds frontman Roger McGuinn. If you enjoyed Mary Lou Lord's first full-length CD, _Got No Shadow_ , you're bound to appreciate these still available blasts from her past: Various Artists, _Shreds - The Best of Underground American Rock_ (Shredder, 1994). Worth whatever this thing costs for the Mary Lou Lord ["Some Jingle Jangle Morning" - her first appearance on CD] and Karl Hendricks Trio tunes alone; tracks from the likes of Corduroy, Moist, Parasites, The Odd Numbers, The Mr. T Experience, Stink, Prisonshake and Tugboat Annie make this a rollicking, high energy, totally enjoyable sampling of some of the best independent singles released last year. Mary Lou Lord, _Mary Lou Lord_ (Kill Rock Stars, 1995). Destined for the big time even without the high profile battles with Ms. Cobain, Mary Lou Lord's wistful, longing, winesomely melodic voice shines on seven acoustic tracks and one cut, Bevis Frond's electrified "Lights Are Changing", that would be nominated for song of the year if this disc had any money behind it. Mary Lou Lord, "Martian Saints" single (Kill Rock Stars, 1997). A repackaging of her final KRS seven-inch coupled with acoustic versions of Pete Droge's "Sunspot Stopwatch" and Pete Laughner's "Cinderella Backstreet"; the title track [yet another Nick Saloman tune] is a more-than-worthy successor to the joyous jangle of "Lights Are Changing" while "Salem '76", Lord's sole writing credit on the CD, is suspiciously similar to her own "Some Jingle Jangle Morning." A stripped-down rendition of Elliot Smith's "I Figured You Out" is the surprise highlight. --- REVIEW: Various Artists, _The Bridge School Concerts Vol. One_ (Reprise) - Joann D. Ball Rock and roll artists and activists have long recognized the power of music to create awareness and support for worthwhile causes and campaigns. For more than a decade, Neil Young has organized concerts in the San Francisco Bay area as a way to support and publicize the Bridge School. A cause very dear to Neil and his wife Pegi, the Bridge School was founded in 1987 as a unique educational program for children with severe speech and physical impairments. Throughout the fifteen tracks on _The Bridge School Concerts Vol. One_ , it is clear that the children are the inspiration for the performances. The release features some of the most dynamic artists in popular music, and all of them sing and play from the heart. The crowd responses captured on the CD reveal that these efforts were enthusiastically received, making the benefit concerts successful and memorable events. Neil Young opens _The Bridge School Concerts Vol. One_ with a tender version of "I Am A Child" from the 1986 concert. He dedicates the song to the children of the Bridge School and to children everywhere, a defining theme of this live acoustic record. Young's opening declaration is followed by Tom Petty's stirring solo version of "Shadow Of A Doubt (A Complex Kid)," also from 1986. While the smooth transition between these two artists is not surprising, _The Bridge School Concerts Vol. One_ manages to maintain such a peaceful, even flow and sincerity throughout the hour-long set. Thus, "Sense of Purpose" by the Pretenders with the Duke Quartet moves right into Beck's stripped down and direct "It's All In Your Mind." And Bonnie Raitt's upbeat and bluesy "The Road's My Middle Name" rolls right into Don Henley's cover of the Beatles' "Yes It Is." The real surprise here, though, is Ministry's perfect take on the Grateful Dead's "Friend Of The Devil." Ministry leader Al Jourgensen reveals his tender side, and captures the sweet essence of Jerry Garcia's tale of life on the run. Other outstanding contributions here include David Bowie's "Heroes," Simon & Garfunkel's touching "America" from the 1993 concert and "Nothingman" from Neil Young's pals Pearl Jam. Lovemongers, also known as Ann and Nancy Wilson of Heart, offer a simple yet amazing cover Led Zepplin's "Battle of Evermore." And Patti Smith and her band bring _The Bridge School Concerts Vol. One_ to a close with a rousing "People Have The Power" from a 1996 performance. _The Bridge School Concerts Vol. One_ is an extremely enjoyable collection which features great live acoustic versions of some rock classics and soon-to-be classics. The record's brilliant production captures the sound and spirit of the performances, making it the next best thing to being in the audience. But most importantly, the CD benefits a much needed and well-deserving program. Proceeds from the _The Bridge School Concerts Vol. One_ benefit the Bridge School and its students, some of whom are pictured on the pages of the CD jacket. So, enjoy the music and support the effort. Visit the Bridge School's website at http://www.bridgeschool.org --- SINGLE REVIEW: Ian Brown, "My Star" (Polydor UK) - Tim Kennedy The return of the singer from the notorious Stone Roses comes in the form of a curious but welcome offering. Lead track "My Star" opens with astronauts chatting, and then bursts into a riff which immediately recalls "Dear Prudence" from the Beatles _White Album_, though more the Banshees' cover than the original. The lyric is a madcap excursion into NASA Mars shots, and seems to allude to military purposes and conspiracy theory. "I'll see you in my star", croons Ian mysteriously. The guitar, supplied by the ill-fated replacement Roses guitarist Aziz Ibrahim, is excellent, his solo exquisite. Marvellous stuff. The drumming is excellent and above all the singing is of sound quality, accepting that Brown is no Robert Plant. Second track "See The Dawn" is psychedelia in the vein of such obscure '60s nuggets as "My White Bicycle" by Tomorrow (Who? What do you mean who??) Ian indulges in a little freeform 'rapping' towards the end of this trippy number, cryptically muttering along. The musical references are very tasteful and once again this is a fine song, well played and well sung. The third, "Fourteen" is a drum 'n' bass - or rather just drum - experiment, which may or may not appeal to those who appreciate such things. It speeds up and slows down rather worryingly. This is a great taster for the soon-to-be-released opus _Unfinished Monkey Business_. --- REVIEW: Stubborn All Stars, _Back With A New Batch_ (Triple Crown) - Daniel Aloi Young ska-punks could take a musical lesson or two from the Stubborn All-Stars, who go entirely old-school on their second full-length album. With members of The Toasters, Skinnerbox, The Pietasters, The Slackers and Metro Stylee, the All-Stars represent the cream of New York City's ska scene, which has kept the spirit of first-wave and Two-Tone ska going for more than a decade. I first discovered the All-Stars when their horn section played with Rancid on Lollapalooza '96, and while there I picked up the entire Stubborn Records ethic with the compilation "Roots, Branches and Stem" -- original music based on the influential groundwork laid by earlier reggae, first-wave ska and classic R&B artists. _Back With a New Batch_ continues the mission, with such thoughtful and positive '70s reggae replications as "One Glimmer of Hope" paying major respect to Robert Nesta Marley. Likewise, "Pick Yourself Up" carries the message forward, and features the members of Rancid and Dicky Barrett of the Mighty Mighty Bosstones on background vocals. But the album is still a very giddy piece of work, covering the Jamaican musical map (Lee "Scratch" Perry, Skatalites, et al.) with authority. "I Can't Touch You" is a soulful, tender ballad; that and the jump blues of "Because of You" serves as a reminder of the influence of '50s R&B on the earliest ska and reggae artists. "Struggling Version" brings it up-to-date (to, say, 1978) with upfront toasting by Jack Ruby Jr. This is like the Cliff Notes version of a comprehensive history of ska and reggae, all rolled up into one 11-song CD. It serves its purpose, informing with concise accuracy, but it makes you want to learn more. --- REVIEW: Billie Myers, _Growing Pains_ (Universal) - Jon Steltenpohl Billie Myers' debut, _Growing, Pains_, sounds disarmingly like the second coming of Cher backed by Richard Marx's band. "Kiss the Rain", the first single, is an all-out, power ballad tailored keenly for the VH-1 and Top-40 crowd. Lonely and separated from her lover, Myers finds herself hearing voices in the background of a phone call. And so she pleads, "Kiss the rain, whenever you need me / Kiss the rain, whenever I'm gone / If your lips feel lonely and thirsty / kiss the rain and wait for the dawn...". Sappy? Sure. Pitiful? Possibly. A Casey Casem long distance dedication? Without a doubt. To be honest, _Growing, Pains_ is the type of album that reviewers of cool, hip, alternative publications aren't supposed to like. Littered througout _Growing, Pains_ are the crunching guitars, generic drum beats, and echoed vocals that typified late 80's pop music before "alternative" and "grunge" took over the airwaves. Accordingly, "Kiss the Rain" is a fair representation of the entire album. The lyrics are emotionally and sexually charged, and the music features a lot of power chords. The sound's been updated a bit to include a little Alanis Morrissette crunch to it, but you can't help but wondering if Myer's was the lead singer for 4 Non Blondes. There are a few hidden surprises. The liner notes include poem versions of the songs which are more powerful than the most of the song's lyrics. Only the last track of the album breaks from the Top-40 mold. "Much Change Too Soon" is a quiet surprise that finds Myers comfortably slipping into a smokey diva mode. There are no backup singers and no percussion. All you'll find are a rhythm guitar, strings, and what sounds like a jazzy, melancholy trumpet. This track and the poems included on the liner notes hint at a deeper Billie Myers than we see on this debut. Given Tori Amos' debut experiment as guitar goddess, it's easy to imagine that there's more to Myers than a VH-1-abee. Still, set the hints of future greatness aside, and there's still something to be said for _Growing, Pains_. Desmond Child's production skills are simply phenomenal, and within all of his layers, you find that each song has a decent, memorable melody. Myers' wailing vocals steal too much of their style from Cher, yet she belts out each song with an unwavering conviction that renders the comparison irrelevant. And while certain surly reviewers might demur, Cher has sold a ton albums, and there are certainly fans of the "Kiss the Rain" single out there who will love and cherish this album also. --- REVIEW: Various Artists, _Trip To The Andes_ (ARK21) - Joe Silva There's probably not much virgin territory left in the world beat realm, but techno-mancers are bound to gravitate to that end of their palette as long as they can continue to spike their tracks with enough exotica to breed a bit of distinction into their work. This collection, which focuses on samples lifted from the Inca Quena (TUMI) LP, lets loose a gang of remix artists into the pre-Spanish Peruvian terrain of pan pipes and other ancient gear. The challenge here being, of course, that those involved can make the trip and effectively re-transmit the vibe back to the listener. The question posed therefore, is twelve tracks later, do we see/feel the crumbling pyramids, thick rainforests, and the undisturbed groove of a lost people? Hmmmm... T-Power's lead off bid, "The Inti Raymi Remix" offers up twittering bird noises and spooky flute flourishes, but the fretless bass drone employed throughout leaves you feeling blissed in a semi-sterile New Age fashion some eight minutes later. From there though, things brighten a touch. The Bristol contingent, Hidden Chipsters, picks up the pace somewhat ("New Day"), but things don't quite begin to become engaging until Gavin King (aka Aphrodite) makes his spacey entrance with "Q-Flutes." Done up in regulation jungle-vision, King winds up turning in the first credible balance of modern rhythm and pagan resonance. But King's a virtual under-achiever alongside the crusty likes of Youth. His "Half Moon," with its head lodged in old world hedonism and its heart in classic house, quickly becomes one of the disc's high watermarks. From known previous efforts, The Trans-Global Underground contribution ("Cazares Mix") doesn't quite meet up to expectations by playing a bit too far on the more monotonous side of ambient. And although the majority of remaining names (Fun-da-mental, Astralasia, Finitribe) tend to lose themselves in the theme at hand, u-ZIQ's Mike Paradinas maintains the essential elements of his striking personality while he's off probing the essence of his assignment. While initially setting out in an organic mode like his other colleagues here, his eventual exchange of the mystic for the mechanized is an artfully executed and welcome deviation by disc's end. While never truly approaching the primitive, this assortment provides a mildly intriguing mix of jungle-isms, ambient, and cosmic fiddling. But beyond the few key moments mentioned, the buyer may be submitting to the danger that of good number of these twelve "postcards" from the Andes might resemble one another a might too closely to warrant the expense. --- REVIEW: Thunderclap Newman, _Hollywood Dream_ (Track/Touchwood) - Al Muzer A studio outfit put together by producer Pete Townshend more or less as a way of thanking John "Speedy" Keen for his 1967 contribution ("Aremenia City In The Sky") to _The Who Sell Out_ ; Thunderclap Newman's odd-man-in lineup featured 16 year-old future wings guitarist/eventual suicide victim Jimmy McCulloch, an unaccredited Townshend (listed as Bijou Drains) on bass, vocalist/drummer/songwriter/former John Mayall roadie Keen (whose nose rivaled the prominence of his mentor's) and former postman/traditional jazz keyboardist/woodwind player Andy Newsman. A reminder of the Summer Of Love some two years later or, perhaps, a _Tommy_ outtake deemed somehow inappropriate for that particular album, "Something In The Air" was a brilliant AM radio single as well as a dead-ringer for classic Who and, as a result, spent two weeks in the lower rungs of the American Top 40 in the latter half of 1969. That, however, proved to be it for Thunderclap Newman. Despite a couple of potential singles, a touch of Traffic-like jazz, Small Faces psychedelia, a few hints at Badfinger-style pop, McCulloch's wonderful "Hollywood Dream (Instrumental)," a nine minute bit of existential spaceout and Speedy's _Who Came First_ Pete Townshend-ish vocals and songwriting ability; nothing else on _Hollywood Dream_ managed to catch radio's attention quite like "Something In The Air" and the band self-destructed while on tour in 1970. A "must have" for Who fans, the reissue of this semi-operatic (indeed, _Hollywood Dream_ fits quite nicely between _Tommy_ parts one and two) album includes the single versions of "Something In The Air," "Accidents" and "The Reason," as well as two strange slabs of Bix Beiderbecke beerhall jazz penned by Newman and another slice of tasty period pop by McCulloch. --- REVIEW: Boy Wonder, _Wonder-Wear_ (Cherry Disc/Roadrunner) - Daniel Aloi Boston band Boy Wonder plays power pop with killer harmonies, sharp lyrics and tight musicianship, and their arrangements are so well thought-out you'd think they had Eric Carmen and Phil Spector tied up in the basement. Singer-guitarist Paula Kelley's (ex-Drop Nineteens, Hot Rod) lyrics seem to rail at the superficial idealism suggested by the cover's '50s advertising graphics, depicting perfection and happiness. Her issues are real and personal, her comments pointed. After three tracks of Kelley's relationship diatribe ("Mission to destroy/you're a boy/and I'll do anything/it takes to make your black heart sting"), the band's other singer-guitarist, Jake Zavracky, gets a turn with "I Would," a nice ballad that could have been a hit for the Raspberries in 1974. Zavracky came to the band along with bassist-singer Paul Natale from Dancer 13; together they add layered harmonies and skilled playing. Drummer Bruce Caporal is equally proficient, keeping both the mood and the beat with ease. Zavracky's "Liar Baby" employs the punchy, color-coded New Wave chords of The Cars, and the album-closing Wham!-meets-Wonder Stuff dance track, "Gone," could make them huge in France. Sure, there are other references aplenty -- Zavracky throws in Rolling Stones guitar riffs as well as the aforementioned Cars chords, there's some of Nick Lowe's sardonic pure-pop glory, and Kelley's teen-queen vocals will remind you of Juliana Hatfield -- but mostly that's just their Boston (the city, stupid) and '70s rock influences showing. The band has so much going for it, they could channel the Partridge Family and still do no wrong. Recommended, if you like Eve's Plum, The Muffs, or any good girl-power pop for that matter. --- NEWS: > The Doors Box set has recently been certified gold. > This year promises to be a busy one for Dave Davies of The Kinks. In February, the "younger" Davies celebrates his 51st birthday with the release of his autobiography "KINK," published by Hyperion (US) and Boxtree (UK). And in the next few months, Davies will follow-up last fall's successful East Coast concert tour with some shows west of the Mississippi River. At the club dates, Davies' has been selling his new CD _Unfinished Business_ (Velvel). The eleven-track release includes new songs as well as underappreciated gems from his three early 1980s solo records. Available domestically for the first time on CD are the original versions of the stellar "Imagination's Real" from _AFL1-3603_ and "World Of Our Own" from _Glamour_, and a new version of "Love Gets You" from _Chosen People_. Dave Davies' management promises a retail version of "Unfinished Business" with some different kuts later this year. Also, Velel Records is scheduled to re-release the Kinks' 1970s catalogue on CD this year. > L.A. Live (http://www.lalive.com) will present Mary Lou Lord live from the Troubadour on February 3. > The Sand Rubies have put the finishing touches on their newest recordings and are currently shopping the record to certain major labels. For further information on its status, check out http://www.contingency.com > Volatile Music has taken 'creating your own CD' to the Web. At their Web site ( http://www.ezcd.com ), users can create their own disc with 10 songs for $14.99 + $3 shipping and handling. --- TOUR DATES: Apples In Stereo Feb. 5 San Diego, CA Gavin Feb. 6 Chicago, IL Metro Feb. 7 Ann Arbor, MI Blind Pig Feb. 8 Cleveland, OH Grog Shop Feb. 9 Toronto, ON Horseshoe Tavern Feb. 10 Buffalo, NY Show Place Feb. 12 Providence, RI The Call Feb. 13 New York, NY Knitting Factory Feb. 14 Storrs, CT University of Conn. Feb. 15 Baltimore, MD Fletcher's Feb. 17 Louisville, KY Toy Tiger Blue Mountain Feb. 6 Hattiesburg, MS Blues Alley Feb. 14 Lexington, KY Lynagh's Feb. 16 Cleveland Hts, OH Grog Shop Bouncing Souls Feb. 5 Pittsburgh, PA Club Laga Feb. 8 Long Island, NY Deja One DJ Acucrack Feb. 3 Austin, TX Atomic Cafe Feb. 5 Scotsdale, AZ Atomic Cafe Feb. 6 San Diego, CA Therapy Feb. 8 Hollywood, CA Coven 13 John Flansburgh's Mono Puff Syndicate Feb. 5 New York, NY Mercury Lounge Guster Feb. 2 New York, NY Bottom Line Feb. 4 Greenville, SC Handlebar Feb. 5 Augusta, GA Red Lion Pub Feb. 6 Atlanta, GA Point Feb. 7 Winston Salem, NC Ziggy's Feb. 10 Columbia, SC Elbow Room Feb. 11 Chapel Hill, NC Cat's Cradle Feb. 12 Richmond, VA Alley Katz Feb. 13 Charlottesville, VA Traxx Feb. 14 Asbury Park, NJ Stone Pony Jimbo Mathus & His Knockdown Society Feb. 2 Oxford, MS Proud Larry's Oasis Feb. 5 West Palm Beach, FL West Palm Audit. Feb. 6 Orlando, FL UCF Arena Feb. 8 Atlanta, GA Fox Theatre Sister Hazel / Alana Davis Feb. 3 Spokane, WA Met Theater Feb. 4 Seattle, WA Showbox Feb. 6 Salt Lake City, UT Zephyr Club Old 97s Feb. 3 Lubbock, TX The Depot Feb. 4 Albuquerque, NM Dingo Bar Feb. 5 Tempe, AZ Gibson's Feb. 6 Los Angeles, CA Troubadour Feb. 7 San, Francisco, CA Great, American, Music, Hall Feb. 10 Berkeley, CA Starry Plough Feb. 12 Eugene, OR John Henry's Feb. 13 Portland, OR Berbati's Pan Feb. 14 Seattle, WA The Crocodile Feb. 15 Vancouver, BC Starfish Room Luke Slater Feb. 5 Toronto, ON Denial Feb. 6 Montreal, QC Club Sona Feb. 7 Detroit, MI Club Majestic Feb. 8 Milwaukee, WI Matisse Feb. 12 Chicago, IL The Tunnel Feb. 13 New York, NY Twilo Third Eye Blind / Smash Mouth Feb. 2 Las Vegas, NV The Joint Feb. 3 Salt Lake City, UT Univ. of Utah - Ballroom Feb. 5 Denver, CO Ogden Theatre Feb. 6 Boulder, CO Univ. of CO - CU Field House Feb. 7 Kansas City, MO Performance Hall --- THE READERS WRITE BACK! > A couple of comments on your Ben Folds Five _Naked Baby Photos_ review: You didn't directly imply that "Eddie Walker" on NBP is taken from the b-side of the 7", but to clarify - the track on NBP is one that was recorded for the first album but not included, as was "Emaline". "Tom & Mary" is from the same session but was in fact included on the Japanese release of the CD. And "Video Killed the Radio Star" was supposedly recorded for a compilation of covers that never came out, so it may be that whoever was putting that together holds the rights to release that track. There is still a wealth of old material that the band noodled around with before they signed with Caroline, including some stuff that Ben brought over from Majosha, like Kalamazoo and Rocky, that I'd like to hear updated. Maybe on the next album, if we're lucky. - Frank Maynard, Novi, Michigan Moderator: The Magical Armchair, the Ben Folds Five Mailing List http://oeonline.com/bff/ --- Founded in August, 1993, Consumable Online is the oldest continuous collaborative music publication on the Internet. 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