==== ISSUE 139 ==== CONSUMABLE ======== [March 24, 1998] Editor: Bob Gajarsky Internet: gaj@westnet.com Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim Kennedy, Reto Koradi, David Landgren, Sean Eric McGill, Tim Mohr, Al Muzer, Joe Silva, Lang Whitaker Correspondents: Tracey Bleile, Lee Graham Bridges, Scott Byron, Jason Cahill, Patrick Carmosino, Arabella Clauson, Krisjanis Gale, Eric Hsu, Tim Hulsizer, Robin Lapid, Scott Miller, Linda Scott, Scott Slonaker, Simon Speichert, Jon Steltenpohl, Simon West Technical Staff: Chris Candreva, Dave Pirmann Also Contributing: Franklin Johnson 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/cgi-bin/ZineQuery?category=Music&src=catpg&name=Consumable&submit=Search and enter the 'music' area, then go to Consumable to rate us! ================================================================== .------------. | Contents | `------------' INTERVIEW: Richard X. Heyman - Al Muzer REVIEW: Various Artists, _Legacy: A Tribute To Fleetwood Mac's Rumours_ - Bob Gajarsky REVIEW: Propellerheads, _Decksanddrumsandrockandroll_ - Tim Hulsizer REVIEW: Natalie Imgruglia, _Left Of The Middle_ - Franklin Johnson REVIEW: Agents of Good Roots, _One By One_ - Lang Whitaker REVIEWS: Electronique Cafe' (Air / Dimitri From Paris / Kerosene / Williams Fairey Brass Band / DJ Frankie Bones / DJ Micro / Adam F) - Joe Silva CONCERT REVIEW: Pee Shy / Evelyn Forever / Space Gel - Al Muzer REVIEW: Fastbacks, _Win, Lose or Both_ EP - Scott A. Miller REVIEW: Todd Thibaud, _Favorite Waste of Time_ - Arabella Clauson REVIEW: Rick Derringer And Friends, _King Biscuit Flower Hour_ - Bill Holmes REVIEW: Fat Amy, _Five Way Switch_ - Arabella Clauson REVIEW: Walter Trout, _Walter Trout_ - Linda Scott NEWS: Air, Big Air Series, Collective Soul, Hoboken Music Fest TOUR DATES: Agents of Good Roots, Bluetones, Bush Tetras / Fall, Buzzoven, China Drum, Cravin' Melon, Curve / Freaky Chakra, Dave's True Story, Alana Davis, Feeder, High Llamas, Incubus, Irving Plaza (NYC concert hall - www.irvingplaza.com), Luna, Ziggy Marley & Melody Makers, Megadeth, Mono, Phish, Princess Superstar, Promise Ring, Radiohead, Sherry Rich, Roni Size Reparazent, Scrawl, Smart Went Crazy, Superdrag / Apples In Stereo / Tuscadero, Swervedriver / Libido , Third Eye Blind / Smash Mouth / Fat / Rebekah, Zeke THE READERS WRITE BACK! Back Issues of Consumable --- INTERVIEW: Richard X. Heyman - Al Muzer Hippie psychedelia, sensitive singer-songwriters, doo wop, rap, grunge, girl groups, teen idols, art rock, surf, country, disco, new jack, ska, techno, hair metal, bubblegum, lounge - sooner or later every flavor of the minute grows old, tired, stale and lifeless. And, be it be Beatles, Bangles, Badfinger, Beau Brummels or Brandy (You're A Fine Girl) - a great pop song always seems to show up in the Knack of time to save radio and tide us all over until the next musical trend is ready for mass consumption. There are at least seven such songs on Richard X. Heyman's new album, _Cornerstone_. Bursting with depth, longing, bittersweet emotion and (more importantly) a slew of killer hooks, the 14 janglin' gems on _Cornerstone_ (Permanent Press Recordings) conjure up images of lost loves, blown saves, missed chances, long nights, lingering sighs, gray autumn days and tearful break-ups even as the deceptively bouncy melodies and Heyman's warm, earnest vocals sweep you away to a land where your feet just won't stop tapping. Heyman's been here before - even if you haven't. Despite reaching peaks of pure pop perfection on 1986's _Actual Size_ EP, 1988's _Living Room!_ and 1991's _Hey Man!_, the Plainfield, New Jersey native, screenplay writer, one man band and former Brian Wilson/Link Wray/Jonathan Richman drummer has inexplicably never managed to break through to the mainstream and all three of his previous efforts have, for the most part, been ignored by the masses. _Cornerstone_, however, appears to possess everything it takes to turn Heyman into the household name he deserves to become - or, at the very least, bestow a bit of Top 40 immortality on the man. Resident pop-o-holic, unintentional Kenny Rogers impersonator and long-time Richard X. Heyman fan Al Muzer recently caught up with the artist on the eve of _Cornerstone_'s national release. CO: You've been touted by the likes of Rolling Stone and Goldmine as, more or less, 'the artist most likely to' with each new release. Has the lack of attention from radio and the lack of acceptance from its listeners driven you over the edge yet? RH: [laughs] For some reason, good music press just doesn't translate over to sales or radio play the way press translates for movies or on Broadway. If a play or a movie gets good reviews, well, then, that's everything. It starts the whole ball rolling. Music? It just doesn't seem to work that way with music. I tend to view music as a much needed emotional outlet - so I'm not into name games, don't care about accumulating press and I'm not trying to please anyone but myself. I'm also not out to assimilate my influences or duplicate any one sound. I hear certain artists who really seem to be into that whole thing, you know? Trying to create, say, a _Revolver_-sounding song - and, in trying to achieve the exact guitar tone, the right echo or the perfect production value - lose the song. The song winds up taking a back seat to the sound. CO: But, the 'sound' has always been one of the great things - for me, anyway - about your records. While your songs are generally outstanding, there's an almost timeless quality to the 'sound' of your albums that makes it hard to place when they were recorded. RH: Thank you! The thing that got me involved in music in the first place is that thing, that feeling, that chill you get when a song really hits home. I call it the 'happy/sad' feeling. It's the best! You get it when music has kind of a melancholy feel to it - yet is so good that it makes you feel happy at the same time. CO: Like most of the songs on _Cornerstone_? You know despite some truly killer hooks, everything on the disc seems to have a wistful, semi-sad, looking back feel to it. Were you shooting for that mood? RH: I really think, truthfully, that it has to do with the fact that there was this 'golden period' - or so it seemed with hindsight - in my life and the music I love. And, well I dunno, I guess I thought I felt all that sort of slipping away from me. I was longing for that time and that feeling again, so that found its way onto these songs. I don't consciously think about any of it though, you know? I just try to finish my songs and let them be about whatever they want to be about. CO: How do you get such a complete full band-type sound on your records when, for the most part, it's you singing and playing everything? RH: I think a lot of that comes down to the fact that my main instrument is the drums - so there's always a solid foundation behind what I do. But, it's not like I plan on being a one-man-band when I record my albums. I just always seem to wind up alone in the studio laying down, say, an idea I had or a vocal part or a percussion track or a guitar guide or a hand clap - and the next thing you know, the track is done. It's become almost an unconscious process for me. CO: You've been something of a cult figure along the lines of Tommy Keene (with whom Heyman played in a late-'70s band known as the Rage) and Alex Chilton for more than 10 years now, are your fans as, uhm intensely-devoted to you as theirs appear to be to them? RH: Not as intense, no, but still fairly serious. There are a few people in different parts of the country who, uhm, really know my records, you know? I was having a discussion just the other day about how strange it is when I meet someone who, although they only know me through my lyrics, really think they know me. It's pretty strange, actually, even a little frightening sometimes. CO: I've got to give you credit, you could've jumped on the grunge, ska or SevenMaryDaysOfTheAlice bandwagon at any time over the last few years and probably had yourself a hit - but you stuck with pop songs. RH: Oh, that's not even something I had to think about it. I come from a world of three-minute pop singles. Pop music is what I love. PS: The 'X' stands for, well, 'X' and is the full middle name given to Heyman by his dad in tribute to U.S. Army General Xavier Cheves. --- REVIEW: Various Artists, _Legacy: A Tribute To Fleetwood Mac's Rumours_ (Lava / Atlantic) - Bob Gajarsky _Rumours_, the album which nearly destroyed Fleetwood Mac (and at the same time, became the benchmark for any albums to aspire to), has sold more than 40 million copies. Stevie Nicks, Lindsey Buckingham, Christine and John McVie and Mick Fleetwood created a masterpiece that inspired an entire generation looking for an escape from disco beats and leisure suits. Now, twenty years after its original release, comes _Legacy: A Tribute To Fleetwood Mac's Rumours_. This time around, it's up to people who were in grade school when _Rumours_ was first released to steal the show. Jewel offers a predictable, but solid performance of "You Make Loving Fun"; the Irish folk-harmony group The Corrs provide a stunning rendition of "Dreams", which is the album's first single, and newcomer Duncan Sheik continues the vocalization which made "Barely Breathing" such a radio staple in 1997. The songs of the Mac bring out the best in bands I normally can't stomach. Tonic's "Second Hand News" is an upbeat, irresistible rocker, and even the Cranberries - whose wailing songs seem to bring out the dogs in the neighborhood - come out smelling like roses on their nearly-faithful version of "Go Your Own Way". It's impossible for the Goo Goo Dolls to shake the Paul Westerberg tag that has dogged them for so long, and the cover of "I Don't Want To Know" won't do anything to dispel that comparison. But while the Goo Goos provide the expected, Hootie-compared Sister Hazel break the mode, offering a Steve Tyler (Aerosmith)-like performance of "Gold Dust Woman". Ironically enough, it's Elton John's cover of "Don't Stop" which serves as this album's weakest cut. And regardless of anyone's opinion of Captain Fantastic, the fact that his song lies at the bottom of the performances herein is a testament to the strength of this collection. Nearly flawless in songwriting, production, choice of bands and execution, _Legacy_ is a perfect addition to the collection of teens, twenty-somethings, thirty-somethings... in other words, most of the people who already own _Rumours_ in the first place. BANDS FEATURED (In Order): Tonic, The Corrs, Matchbox 20, Elton John, The Cranberries, Duncan Sheik, Shawn Colvin, Jewel, Goo Goo Dolls, Tallulah, Sister Hazel --- REVIEW: Propellerheads, _Decksanddrumsandrockandroll_ (Dreamworks) - Tim Hulsizer So what's the popular term for dance music this week? "Bigbeat" seems to be soup du jour, an amalgam of breakbeats and fat basslines that resembles a hybrid of drum'n'bass (only slower) and instrumental hiphop (only faster). It's cool and funky, and easy to shake one's booty to, but unfortunately its acceptance into the mainstream hit machine has resulted in a blizzard of pointless and masturbatory releases. These include full-lengths that should have been EPs (Fatboy Slim, David Holmes, etc.) and blatant attempts at cashing in on the trend in the form of awful compilations (including the TVT disc with the offensively bad title _Big Rock'n Beats_). On the flipside of the coin is the duo of Alex Gifford and David Arnold, two gentlemen whose EP releases under the moniker Propellerheads have never disappointed in three years. Finally we are blessed with the full-length release and it is mighty fine. Relentlessly funky and endlessly inventive, these guys have managed to find their niche in a genre that is fully stocked with fakes, uninspired ripoffs, and elevator music. I like this album for a variety of reasons, which of course include the beats themselves. Gifford and Arnold are masters at unleashing a monster groove and effortlessly sustaining it. They have a knack for finding the dirty side of a beat and twisting it until it screams funky. Not only that, they use a bass sound that I can only describe as scratchy. Not so much distorted as stretched, the Propellerheads basslines are simultaneously rough and smooth (no small feat, that). They ooze into your ear like a grinning lover, sexy as hell but with a knowing wink. The album is full of swaggering tunes that never take themselves too seriously. Propellerheads also pick some excellent samples. From old movies (the perennial standby in dance music) to old rap tunes, these guys pay homage to a variety of sources in the best possible manner. My personal favorite sampling is a short track called "A Number of Microphones", in which we hear a human beatbox doing his thing while a British gentleman talks about the placement of microphones and intones phrases like, "How extraordinary!" You can say that again. Elsewhere on the album Gifford, Arnold, and a few friends of theirs pay homage to other influences. Acknowledging the hip pleasures of the secret agent/1960's phenomenon, they include brass-filled lurkers like "Cominagetcha" and "Spybreak". Not only that, they bring out Miss Shirley "Goldfinger" Bassey to belt out "History Repeating", and they present their own version of the theme from the 007 movie _On Her Majesty's Secret Service_. The latter track is an ambitiously-produced 9 minute, 20 second song that includes guitar, horns and organ. In fact, this track is also on another album David Arnold produced, the recent James Bond remix project entitled _Shaken and Stirred_. Arnold was also responsible for the soundtrack to the latest Bond film, _Tomorrow Never Dies_, further proving his love for the spy game. Propellerheads have other ways of exploring dance music, including guest vocals on a couple tracks by De La Soul and Jungle Brothers. It's a tribute to their inventive arranging that the tracks work so well. _Decksanddrumsandrockandroll_ is an ass-shaking tour de force. It never entirely breaks the mold of modern dance music, but neither is it a slave to what has come before. It's a well-conceived, brilliantly-executed party disc that should please the hardcore fans of the genre while defining it all for the casual listener as well. This release ranks among the best in the "big beat" category and it sets the standard by which all others must be measured. --- REVIEW: Natalie Imgruglia, _Left Of The Middle_ (RCA) - Franklin Johnson One of the major industry buzzes has circled Natalie Imbruglia. The 23 year old Australian (born in Sydney) first achived fame in her native land as a member of the soap opera Neighbors. But forget (Stock-Aitkman-Waterman era) Kylie or Jason - this soap star doesn't have an ounce of disposable bubble-gum pop in her body. The first track (and single), "Torn", is straight out of the Lisa Loeb AAA book. Written and produced by former Cure member Phil Thornalley and produced by Nigel Godrich (of Radiohead fame), "Torn" was the second best seller in Europe (behind the Princess Diana tribute, "Candle In The Wind") in 1997. "It ("Torn") was one of the first demos I did," Imbruglia remembers. "I got signed in August of 1996...6 months prior, I met Phil Thornalley, and I just loved it. It's one of those songs that - I don't know - there is something timeless about it". Some comparisons to Alanis surface ("One More Addiction", while "Wishing I Was There" recalls Morrissette's "All I Really Want"), when Imbruglia's vocals imitate the Canadian's, and the guitar and drum programming come to the forefront. But just as Alanis is not Liz Phair, so is Imbruglia not Morrissette. Smoky vocals engulf the listener in a Portishead/Garbage trance on "Leave Me Alone", while the up-front rocker "Impressed" was written during Natalie's frequent trips to the local nightclubs. "It's about a sleazy guy with this six foot model who's with him for all the wrong reasons. The girl with 'ice cream beauty - you know, that very artificial kind of sexiness." And continuing the modern feel which resounds through the entire _Left of the Middle_ disc, "Big Mistake" was written with Mark Goldenberg - who wrote "Novocaine For The Soul" for the Eels. Imbruglia wrote or co-wrote nine of the album's twelve tracks, again showcasing her talents as much more than a pinup voicing someone else's songs. Likely to be one of the top albums of 1997, Imbruglia's debut blows away all the stereotypes associated with actors making the transition into the singing world. --- REVIEW: Agents of Good Roots, _One By One_ (RCA) - Lang Whitaker With bands sprouting from the east coast club scene into national prominence as fast as the Gremlins were birthed from that YMCA swimming pool, you kind of take any "east coast club scene" band making their major label debut with a grain of salt. However, it's hard to argue with success. Before even signing with a major label, the Richmond, Virginia-based band Agents of Good Roots had been playing over 200 shows a year up and down - here we go again - the "east coast club scene". They also had recorded two albums that sold well at their shows. Their self-made success attracted interest, and enabled AOGR to release _One By One_. They have several things going for them that separate them from the rest of the pack. The most obvious thing is lead singer/guitarist/keyboardist Andrew Winn's sandpaper vocals. After a skiing accident at age 14 crushed Winn's larynx, the doctors connected the dots with whatever was left, and as a result Winn's voice sounds like velcro combined with a case of unfiltered Marlboros. It sounds almost like Winn's voice is going through more special effects than James Cameron, but it's actually his everyday voice - which, to be honest, is kind of frightening. Another thing that sets AOGR apart is their bare sound. Lacking a traditional lead guitarist, AOGR seem to rely more on the interplay between Stewart Myers' bass and Brian Jones' funky drumming. Also, saxophonist J.C. Kuhl contributes perfunctory leads and fills from time to time. After mining the "east coast club scene", AOGR got their act together, and they sound polished and ready for mainstream success. Their sound is a weird combination of Aerosmith, Stevie Wonder, Bela Fleck, and the Wallflowers. There's also lots of jazz-influenced key signature play, and some pretty sweet instrumental synergy. There are at least 3 radio-friendly, toe tapping and head nodding singles practically hopping from the jewel case. "Upspin" sounds like a Motown standard from Berry Gordy, replete with Aretha-esque wailing background vocalists. "Two Bucks" allows drummer Jones a chance to take the lead vocal duties, and "Hoping, Waiting, Longing" is similar to "Upspin" with its harmonic simplicity. And that's not even including the first single to catch radio's ear, "Smiling Up The Frown". _One By One_ has the possibility of being huge, but these songs are much too mature and complex to get lumped into the same Wallflowers bargain bins. Here's hoping music fans recognize it. --- REVIEWS: Electronique Cafe' (Air / Dimitri From Paris / Kerosene / Williams Fairey Brass Band / DJ Frankie Bones / DJ Micro / Adam F) - Joe Silva While not even beginning to probe through the underground, the stack of fully commercial outings has grown exponentially and it's not even quite Spring yet. Forgetting the Grammy bone tossed at the Chemical Brothers for a moment, there are more than a handful of non-Big Beat releases to contend with: Dimitri From Paris, _Sacrebleu_ (Atlantic) - Ultra-smooth with no fear of poppy hooks, Dimitri goes for the "intimate thing." With bossa-nova flair, this Istanbul-born Frenchman boasts a groove that swings with a nostalgia that still plays fresh. Not so much swamped in the electronic as say fellow countrymen Air, Dimitri offers lounge ballads, creamy soul, and Euro-centric house moments that can serve as subtle, but supremely-crafted backdrops. Must hear: "Sacre Francais," "Nothing To Lose," "Love Love Mode." Kerosene, _Teenage Secret_ (Caipirinha Music) - Straight out of the gate, this LP shows that some Germans may still have an intuitive edge when it comes to the atmospherics of electronic music. Engaging, effectively moody without being overtly cerebral, this fellow has a fair hand with samples and copping sounds that are both arresting and unique (like the sax bits in "Your Muscles"). Must hear: "When You're A Young Girl," "Supercrash," "Your Muscles." Air, _Moon Safari_ (Caroline) - Coming more from a Jean-Michel Jarre/Space Odyssey 2001 with a hefty dollop of soul perspective than other members of the French electronic brain trust, Air's downbeat ambience is getting the lion's share (the lyon's share?) of the attention at the moment. With their more dated vibe, particularly on tracks like the brilliantly catchy "Kelly, Watch The Stars!," they are poised almost as a novelty in the current arena. With vocalist Beth Hirsh they approximate a more funky (or foxy) Portishead. The duo to watch. Must hear: "Sexy Boy," "Kelly, Watch The Stars!," "Remember." A complete review appears in the March 11 issue (http://www.westnet.com/consumable/1998/03.11) of Consumable. The Williams Fairey Brass Band, _Acid Brass_ (Mute): A pub idea that grew enough appendages to get up, walk around and survive it's nascency to see the following day, this project spawned by one Jeremy Deller caused enough of a stir to attract the questionable attentions of the KLF rogues Bill Drummond and Jimmy Cauty. While it's surely a full-fledged curio (brass band covers of House mega-hits!!), it's also intensely listenable and further proof that there's some depth to the compositions of all these knob-twiddlers. Must hear: "Can U Dance?," "What Time Is Love?," "Cubik." Various Artists, _Los Angeles: Critical Mass_ (Mindspore): An overview of L.A.'s budding hopefuls put together by Kevin Crosslin and KCRW DJ Kevin Lincoln. Ultra-atmospheric ("Quay-Czar") to tribal ("You Are The Dream"). Broad flavored, but overly mellow to a fault. Never acquires much verve. Worthwhile: "Kiss" by TM. DJ Frankie Bones, _Technolo-G_ (ESP-SUN): The man himself spinning big house grooves that largely wear thin after a few minutes. DJ Micro, _Presents Micro-Tech-Mix (Moonshine Music): Initially getting a slow start, things pickup with Mr. Rossi Feat. UFO's "Return Trip." A healthy mix in more than a couple of spots. Recommended. Various Artists, _Moonshine Mixed Vol.2_ (Moonshine): Mixed by Steve Levy; funky bits and pieces from the like of Keoki, E.K.O., and Elli Mac. Generally does not get off the ground floor too often. Worthwhile: "Caterpillar (The Crystal Method Remix)." Derrick May, _Innovator_ (Transmat): A double CD's worth of the ultra-legend. Very lame in spots ("Strings Of The Strings Of Life"), pleasant at others ("A Little Spaced Out"), and occasionally triumphant ("A Relic Mix"). Possibly a must have, but weak in the "bang for your buck" department. Adam F, _Colours_ (Astralwerks): Drum n Bass with the depth that Goldie had hoped to achieve on his recent magnum opus. Tracey Thorn vocals and Grooverider mix onboard. Worthwhile: "Circles (Roni Size Mix)," "The Tree Knows Everything." To steer clear of: Steve Stoll, _Blunted Boy Wonder_ (NovaMute) --- CONCERT REVIEW: Pee Shy / Evelyn Forever / Space Gel - Al Muzer Living up to each and every word of their considerable advance press, New York by way of Tampa four-piece Pee Shy were the perfect headliner for a bill that featured two local bands clearly on their way to bigger and better. With their irresistible hit "Mr. Whisper" and its tinkling toy piano a staple on the local airwaves and their 11-song Blue Gorilla/Mercury Records debut, _Don't Get Too Comfortable_ edging its way up the charts, Pee Shy drew an early crowd that kept The Saint (Asbury Park, N.J.) partying and packed until closing time. An artsy, quirky, granola-fed, punk-informed Roches update with a minor Esquivel jones and a working knowledge of Portishead, Ivy, Mary's Danish, St. Etienne and Julianna Hatfield; bassist/vocalist Mary Guidera, drummer/vocalist Billy Orrico, guitarist/keyboardist/accordionist/clarinetist/vocalist Jenny Juristo and guitarist/accordionist/vocalist Cindy Wheeler did more than just duplicate their extraordinary sophomore release on stage - they also managed to charm a typically tough Asbury Park audience into thinking that they not only knew, but loved, every song in the group's two album arsenal. Alternately recalling Sparks, Siouxsie, the Pistols, Wendy O. Williams, the Nymphs, Nina Hagen, the Dead Boys and CBGB's circa-1978, North Jersey's Space Gel opened the evening with a 40-minute energy assault that included jet engine-loud blasts of glam-, punk-, pop-, techno-, goth-, grunge-, lounge- and metal-based insanity made even more entertaining thanks to the visually-freaked stage persona of lead vocalist Andrea Montagna and a couple of guitarists not at all afraid to solo. Currently being courted by more than a few major labels, Evelyn Forever's pop-centric 45-minute closing set had the crowd (which included the visibly delighted members of Pee Shy) bouncing along to spirited versions of songs such as "Rock 'N' Roll Girl," "What I Need," "Teenage Love Murder Suicide," "17," "Double Dip" and "Sultry" while it proved (once and for all) that the hoopla, hope, hype and handshakes surrounding this talented New Brunswick four-piece are based on the real goods. --- REVIEW: Fastbacks, _Win, Lose or Both_ EP (Popllama) - Scott A. Miller Consumable's Al Muzer once described the Fastbacks as an "excellent Go Go's in hyperdrive version of L7 with hooks." I could give you a few more fluffy adjectives about the band's sound, but the truth is Al hit the nail on the head. Guitarist/songwriter Kurt Bloch plays his power pop hooks with an energy and crunch that The Go Go's seemed uninterested in. Plus, you could brew coffee with the perkiness of Kim Warnick (bass and vocals) and Lulu Gargiulo (guitar and vocals). It's easy to see why this band has survived since 1979 - and, no, that's *not* a typo. _Win, Lose or Both_ gives listeners a good sense that the sound and energy from each of the band's studio efforts translates almost verbatim to the live setting. This is an EP in name only. After the four new studio songs, listeners are treated to nine tracks from the band's 1997 tour. And because the band does such a great job of capturing its live sound in the studio (or its studio sound live), the live tracks come across as an extension of the four new songs, not just some music lacquered on the end to make the EP a better value. The four new songs (three by Bloch and one by Dr. Frank) continue the Fastbacks' tradition of short, punky bursts of power-pop energy. "So Wrong" is the most furiously played song I've heard this year. And the Dr. Frank number, "Book of Revelation," is a speed-pop dream complete with a classical-style guitar hook -- all in just over two minutes of playing time. The live set isn't really a set; it was taken from several performances. But it feels coherent because the band starts out loose and even a little flat but ends up sharp as a tack. Some good-natured goofing after the opening eventually gives way to a little real anger at a rude fan screaming for "Rocket From the Crypt." Like real pros, though, the band doesn't channel its fury toward the audience, but funnels it back into the songs with slashing chords, jack-hammered snares and crackling vocals. It's no surprise the Fastbacks are legends in their native Seattle. What is surprising -- and so totally uplifting -- is that nearly 20 years after forming the band can still get you on your feet with some of the brightest, most energetic rock on CD. --- REVIEW: Todd Thibaud, _Favorite Waste of Time_ (Doolittle) - Arabella Clauson Perhaps the most striking facet of Todd Thibaud is his optimistic, warm tenor voice, something quite inspiring from yet another victim of the ruthless music industry. Relativity Records signed and dropped the former Courage Brothers songwriter within six months after changing to an all-rap format. Left to his own devices, Thibaud wrote, financed, and recorded his own album, releasing several thousand copies in the Boston area. Thibaud comes into his own on _Favorite Waste of Time_, merging pop, rock, blues, and folk into something entirely his own creation, perhaps surprising after his Americana rock band days with the Courage Brothers. He elicits comparisons to Tom Petty, a less raspy John Hiatt, and Steve Earle, whose "Copperhead Road" appears as an improvised bonus track. Thibaud released the self financed album in Boston last year, before shopping around for a record label, finally signing on with Austin's Doolittle Records last summer. Returning to the studio, Thibaud and producer Kevin Salem (Freedy Johnston) recorded two new songs, "Cold," which sounds like something straight out of a Robert Rodruiguez film, and "2 a.m." a twangy, heartfelt ballad about self-reflection. The result is a finely tuned, extremely balanced collection of Southern country-rock tunes, no doubt a reflection on the songwriter's talent and life experiences. "Sweet Destiny" calls for some Toad the Wet Sprocket comparisons, boasting a mellow acoustic sound and smooth vocals. Kathleen Wilhoite makes a cameo appearance on "Give My Heart Back," an unromantic, yet still rather sad, duet. Thibaud also wrote the standout track "That Wasn't Me" soon after the drop from Relativity, resulting in a bitterly ironic, yet somehow still upbeat lyrical self-examination with "I don't know where I went wrong I guess I just lost track/lately all the ones I love are the ones that I attack." He seems fiercely self-critical, but perhaps through personal experience, Thibaud found the sheer determination required for a struggling artist to keep faith in both the industry and his own music. --- REVIEW: Rick Derringer And Friends, _King Biscuit Flower Hour_ (KBFH) - Bill Holmes Back when rock radio was about the music and not about the demographics, weekly radio shows like the BBC Rock Hour and King Biscuit brought an eclectic mix of artists into your home. For the thousands of us that taped many of them on inferior equipment and cheap tapes, station Ids and commercials intact, the CD versions of the BBC and Biscuit series are a godsend. This 1983 benefit show (for Rick Derringer and his band, actually, as their equipment truck and everything on it had just been stolen!) features the _Good Dirty Fun_ era Derringer band and several guest stars. Derringer found early fame with The McCoys, was ..uh... instrumental in the success of both Johnny and Edgar Winter and enjoyed a semi-successful solo career. Although best known for the true rock classics "Rock And Roll Hoochie Koo" and "Hang On Sloopy", Derringer's band and solo efforts also produced a number of hook-laden pop songs and frantic guitar workouts, neither of which seemed to find a home on radio. Musicians like Neil Geraldo, Kenny Aronson, Danny Johnson and Myron Grombacher all interned with Derringer, and although some of the studio material was average at best, the live Derringer always kicked ass (and still does - the guy is on the road constantly!). This show is no exception. Derringer has never been a great singer; his voice often thin and/or flat. His guitar playing, on the other hand, is legendary. Not many players could go toe-to-toe with Johnny Winter (any doubters simply need play _Johnny Winter And Live_ to settle that bet!). But consider that this concert was taped in the early 1980s, when live shows often aired "warts and all" and serious guitar wanking was the order of the day. As a result, be prepared to suffer many audience participation yelps, bad stage banter and the inevitable endless "dueling guitar and vocal" trick that both Derringer and Edgar Winter were a little too fond of (check the close of "Rock And Roll Hoochie Koo" - it just doesn't date well). If you can tolerate that, however, you'll be rewarded with strong versions of little-heard songs like "Guitars And Women" and "Party At The Hotel" and a smoking version of "Let Me In" that rivals the one on the not-yet-on-cd _Derringer Live_. Besides the band numbers there are guest appearances by ringers like Dr. John, Edgar Winter and Ian Hunter (a nice turn with "Just Another Night" , "All The Young Dudes", "Roll Away The Stone" and "Ships"). Although more of Rick's material would have been nice, it's good to have these joint performances captured for posterity. Overall, this release is a nice addition to Derringer's catalogue, which unfortunately is thin at the moment. Hopefully 1998 will see the overdue release of the aforementioned _Live_, as well as the collectors item _Live In Cleveland_ and the inexplicably delayed _Archive Alive_. Now if someone would only get off their ass and reissue _Guitars And Women_ and _Good Dirty Fun_ and dig up some live shows that Derringer did with Edgar Winter and Dan Hartman, Rick would get more of the respect he richly deserves. In the meantime, enjoy this blast from the past, and make sure you have your lighter ready for the encore. --- REVIEW: Fat Amy, _Five Way Switch_ (Rubber Records) - Arabella Clauson Solid, staunchy meat-and-potatoes midwestern rock drives Fat Amy's indie label release, _Five Way Switch_. Lead singer Bobby Guiney's vocals recall a more subdued Kurt Cobain with the range of a glee club choirboy. Without thinking twice, he could probably, quite successfully, segueway into Andrew Lloyd Webber's Requiem for an encore performance. Edgy alternative trademark guitars push the album through some brief rough spots on "Chili Red." Suprisingly smooth vocals and sincere lyrics emerge in the midst of "Come Undone" with "She never said you were too afraid to ask/How will you ever forget me/I come undone." With the common vagueness characteristic of much contemporary music, the lyrics leave plenty of room for personal interpretation. Some glam rock overtones introduce "In The Middle," though stunningly beautiful vocals emerge in more subdued moments. Guiney could be a reincarnated Simon Le Bon in a 1990s do-it-yourself rock era. He certainly has the vocal range and boyish good looks which endeared the Duran Duran singer to millions. Recent national circuit predecessors from Michigan like The Verve Pipe helped pave the group's way out of East Lansing obscurity. Producer Tim Patalan (Sponge, Fretblanket) showcases the rough guitar and rhythmic undercurrents which have brought Fat Amy success in the midwest and on the Internet indie scene. Before a stellar performance at the South by Southwest Music Festival, the band shared the stage with the Goo Goo Dolls, They Might Be Giants, and the Verve Pipe. Their live performances are noted for their intense energy and audience rapport - with good reason as Guiney has a permanent smile plastered from ear to ear, and the whole band breaks a sweat within 30 seconds of taking the stage. _Five Way Switch_ is a spectacular debut album, capturing the essence of the intense live performance, and signaling there is something unusual going on near the Great Lakes. With the popularity of the AWARE Compilations (on which Fat Amy makes a recent appearance), the region produces bands quicker than Florida ships out bundles of citrus fruit. --- REVIEW: Walter Trout, _Walter Trout_ (Ruf) - Linda Scott The European success of Walter Trout, yet his relative anonymity in his own country (United States), is as much a mystery to him as to his fans. An ace guitarist who ranked #6 among the Top 20 all-time greatest guitarists in a 1993 BBC poll (just 2 votes behind Jimmy Page) can not possibly have been ignored by American music fans - but, unfortunately, he has been. At 46, Walter Trout is a man that has given his life to music. Known as a soulful, bluesy lyricist/vocalist with a killer guitar, Trout at one time played here for Canned Heat and John Mayall's Bluesbreakers. A Danish promoter and label rep spotted Trout and persuaded him to come to Europe, start his own band, and make some albums there. Over the past years, Trout has released seven albums in Europe only two of which including this current one have also been available in the US. In Europe, Trout is known as a passionate, versatile blues/rock musician who likes all kinds of music from hard rock to sweet ballads, all of which he lays over a blues edge. High marks for songwriting and for singing where his good range and husky, masculine tone compliment his near-perfect delivery. Trout makes his eponymously-titled album a joy to listen to. Trout has a three member band - bass, keyboards, drums - but he is clearly the band's focal point. The band does a good job on the 16 tracks of _Walter Trout_, and you can hear the influences from the Beatles to Bob Dylan, Joni Mitchel and Paul Butterfield. There are some lovely songs and some lonely songs. The first single off the album is "Tender Heart" promoted with a limited edition, heartshaped disk. The producer responsible for pulling all this together is none other that Jim Gaines who did such fine work for Blues Traveler, Stevie Ray Vaughn, Steve Miller, and Carlos Santana. The album is a professional one from the first track, "Got A Broken Heart", a blues rocker that shows what Trout can do. Who's going to like _Walter Trout_? People who like rock, people who like beautiful, meaningful lyrics, people who like the blues. But even though Trout has a reputation as a blues master, you don't have to be a huge blues fan to like _Walter Trout_. Trout has room for all kinds of fans. Let's hope this American musician stays here for a long time. --- NEWS: > Air will be in Los Angeles to film the second single "Kelly, Watch The Stars". The single/EP for "Sexy Boy" - which includes 4 versions of the title cut including a remix by Beck, and a brand new track "Jeanne" - will be released on April 7. > The Bud Light Big Air Series - a pro-invitational snowboard competition - is not just about sports, but about bands as well. Confirmed bands to appear at these events include the Mighty Mighty Bosstones, Fastball, Rancid, Blink 182, Pennywise, Sugar Ray, Specials, Novacaine, God Lives Underwater, Our Lady Peace and more. The festival will be held on Saturdays in Summit West (WA), Sugar Bowl (CA), Loon Mountain (NH) and Mt. Hood (OR). For exact site locations and further information, check out the web sites at http://www.solsnowboarding.com or http://www.onboardent.com > Collective Soul has been at work on their fourth album, _Dosage_, which is scheduled to be released in late August. Lead vocalist Ed Roland will be producing the album, which was pared down from the more than 35 songs which Roland had written. > Hoboken-based music organization Stop and Smell The Locals is presenting the first annual Mile Square Musicfest '98 from April 1 to April 4. More than 50 Hoboken area bands - including Chris Butler, Mary Ann Farley, Fear of Falling, the Gefkens, Kate Jacobs and The Wrens - will be appearing at seven venues (Liberty Bar, Liquid Lounge, Lovesexy, O'Nieals, The Quiet Woman, Shannon Lounge and Zell's) throughout Hoboken. All Access Passes for all shows during the four evenings are $20; nightly passes (good for all shows during any one evening) are $8. For more information on the Mile Square Musicfest '98, check out the website at http://www.hobokeni.com/stop/musicfest98.htm --- TOUR DATES: Agents of Good Roots Mar. 24 Roanoke, VA Graudin Mar. 25 Harrisonburg, VA Main Streets Mar. 26 Charlottesville, VA Trax Mar. 27 Richmond, VA Floodzone Mar. 28 Philadelphia, PA Trocadero Apr. 2 Greenville, NC Attic Apr. 3 Davidson, NC Davidson College Apr. 4 Williamsburg, VA Lake Matoaka Fest Bluetones Mar. 25 Cambridge Corn Exchange Mar. 27 Guildford Civic Hall Mar. 28 London Shepherd's Bush Empire Bush Tetras / Fall Mar. 30-31 New York, NY Coney Island High Apr. 3 Boston, MA Middle East Apr. 4 Philadelphia, PA Trocadero Apr. 5 Washington, DC Black Cat Buzzoven Mar. 24 New York, NY Continental Mar. 25 Portsmouth, NH Elvis Room Mar. 26 Concord, NH Club Eclipse Mar. 27 New London, CT El-N-Gee Mar. 30 Cleveland, OH Euclid Tavern Mar. 31 Ann Arbor, MI Heidleberg Cafe Apr. 1 Grand Rapids, MI Intersection Apr. 2 Chicago, IL Empty Bottle China Drum Mar. 24 Costa Mesa, CA Club Mesa Mar. 25 Los Angeles, CA Viper Room Mar. 26 San Francisco, CA Paradise Lounge Cravin' Melon Apr. 4 Macon, GA Wesleyan College Apr. 5 Wilmington, NC Azeala Festival Curve / Freaky Chakra Mar. 28 Cleveland, OH The Odeon Mar. 30 Boston, MA Axis Apr. 3 New York, NY Knitting Factory Apr. 4 Washington, DC 9:30 Club Dave's True Story Mar. 28 Philadelphia, PA Tin Angel Alana Davis Apr. 2 St. Louis, MO Side Door Apr. 3 Kansas City, MO Beaumont Club Apr. 4 Denver, CO Bluebird Theater Feeder Apr. 1 Kansas City, MO The Hurricane Apr. 3 Chicago, IL Double Door Apr. 4 Detroit, MI Shelter @ St. Andrews Apr. 5 Cleveland, OH The Grog Shop High Llamas Mar. 25 San Francisco, CA G.American Music Hall Mar. 27 Seattle, WA Crocodile Mar. 28 Vancouver, BC Starfish Room Mar. 29 Portland, OR Music Millenium Mar. 31 Denver, CO Bluebird Theatre Apr. 1 Lawrence, KS Bottleneck Apr. 2 St. Louis, MO Side Door Apr. 3 Chicago, IL Metro Apr. 4 Toronto, ON Concert Hall Incubus Mar. 24 Philadelphia, PA Pontiac Grill Mar. 25 Asbury Park, NJ Saint Mar. 26 New York, NY Coney Island High Mar. 27 Worcester, MA Espresso Bar/Music Mar. 28 Buffalo, NY Show Place Theatre Mar. 29 Rochester, NY Water Street Mar. 30 Detroit, MI Shelter Mar. 31 Chicago, IL Cabaret Metro Apr. 4 Lawrence, KS Bottleneck Irving Plaza (NYC concert hall - www.irvingplaza.com) Mar. 24 Joe Satriani Mar. 25 Propellerheads Mar. 28 Greyboy Allstars Mar. 31 Los Fabulosos Cadillacs / Cherry Poppin' Daddies Luna Apr. 3 Dallas, TX Deep Ellum Live Apr. 4 Austin, TX Liberty Lunch Ziggy Marley & Melody Makers Apr. 3 Boulder, CO Fox Theater Apr. 4 Durango, CO Ft. Lewis College Megadeth Mar. 26 Atlanta, GA Masquerade Mar. 27 Jacksonville, FL Fairgrounds Bldg. Mar. 28 Tampa, FL Livestock (WXTB) Mar. 29 Ft. Lauderdale, FL Theater Clb Con Hall Mar. 30 Orlando, FL House of Blues Mono Apr. 1 Chicago, IL Double Door Apr. 3 San Francisco, CA Bimbo's Apr. 4 Seattle, WA Aro Space Phish Apr. 2-3 Uniondale, NY Nassau Coliseum Apr. 4-5 Providence, RI Providence Civic Center Princess Superstar Mar. 26 San Francisco, CA Chameleon Mar. 30 Seattle, WA Colorbox Promise Ring Mar. 25 Orlando, FL Broadies Warehouse Mar. 26 Tampa, FL Skate Park Of Tampa Mar. 27 Tallahasse, FL Florida State University Mar. 28 Gainesville, FL Covered Dish Mar. 29 Chapel Hill, NC Cats Cradle Mar. 30 Richmond, VA Twisters Mar. 31 Baltimore, MD Fletchers W/ Burning Airlines Apr. 1 Washington, DC Black Cat W/ Burning Airlines Apr. 2 Philadelphia, PA Tla W/ Burning Airlines, Jets To Brazil Apr. 3 New York, NY Brownies W/ Jets To Brazil Apr. 4 New York, NY Coney Island High W/ Burning Airlines Apr. 5 Hanover, NH Dartmouth University Radiohead Mar. 28 Houston, TX Theatre At Bayou Place Mar. 29 Dallas, TX Music Hall @ Fair Park Apr. 1 Los Angeles, CA Universal Amphitheatre Apr. 2 San Francisco, CA Bill Graham Civic Apr. 4 Salem, OR Salem Armory Arena Apr. 5 Seattle, WA Paramount Sherry Rich Apr. 2 Nashville, TN Sutler Roni Size Reparazent Mar. 25 Seattle, WA Showbox Mar. 27 San Francisco, CA Bimbo's Mar. 28-29 Los Angeles, CA Roxy Scrawl Mar. 26 New York, NY Knitting Factory Smart Went Crazy Mar. 27 Blacksburg, VA House show Mar. 28 Knoxville, TN World of Gifts Mar. 30 Athens, GA House show Mar. 31 Tallahassee, FL The CowHaus Apr. 1 Layfayette, LA Bucky's Skate Ranch Apr. 3 Denton, TX Rubber Glove Apr. 4 Lubbock, TX Kitchen Club Apr. 5 Alberquerque, NM Nob Hill Superdrag / Apples In Stereo / Tuscadero Apr. 2 Carrboro, NC Cat's Cradle Apr. 3 Huntington, WV Drop Shop Swervedriver / Libido Mar. 25 Denver, CO Bluebird Theater Mar. 26 Salt Lake City, UT Zephyr Club Mar. 28 Seattle, WA RKCNDY Third Eye Blind / Smash Mouth / Fat Mar. 25 Milwaukee, WI Eagles Aud. Mar. 26 Chicago, IL Aragon Ballroom Mar. 27 Omaha, NE Creighton Univ./Aksarben Col. Third Eye Blind / Rebekah Mar. 30 Nashville, TN Vanderbuilt Univ. - Gym Mar. 31 Ferrum, VA Ferrum College Apr. 3 Jacksonville, NC New River Marine Station Apr. 4 Savannah, GA The Roundhouse Apr. 5 Dayton Beach, FL Embry Riddle Univ. - Fieldhouse Zeke Mar. 26 Dallas, TX Trees Mar. 27 Austin, TX Emo's Mar. 28 Houston, TX Blue Iguana Mar. 29 Denton, TX Rick's Place Mar. 31 Albequerque, NM Launch Pad Apr. 1 San Diego, CA Casbah Apr. 2 Signal Hill, CA Foothill Apr. 3 San Francisco, CA Cocodrie --- THE READERS WRITE BACK! > I don't normally feel compelled to write letters to magazines that I enjoy, but I thought I'd make an exception with Consumable. I moved from Colorado to Bordeaux, France last September. As you might imagine, I've been wrestling more than occasionally with culture shock, not least because typical French musical tastes are, well, let's just say radically different than mine, a former college radio DJ. Thus I've come to rely on y'all as a source of information about current releases by some of my favorite bands. In fact, I've recently bought a couple of discs based upon your reviews (Boy Wonder's excellent _Wonder Wear_ and the cool Devo Tribute _We Are Not Devo_), and have not been disappointed. Thanks for producing a consistently interesting and informative alternative music publication. You've helped me cope with being a little homesick (well, you and various online CD stores, really), and prevented me from developing an undoubtedly severe case of music withdrawal upon leaving the US. I'm still searching for something by The Montgomery Cliffs, though... - Dave H., Bordeaux, France --- Founded in August, 1993, Consumable Online is the oldest music reviews 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 ===