== ISSUE 158 ==== CONSUMABLE ONLINE ======== [October 20, 1998] Editor: Bob Gajarsky E-mail: editor@consumableonline.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: Christina Apeles, Niles J. Baranowski, Tracey Bleile, Lee Graham Bridges, Jason Cahill, Patrick Carmosino, Krisjanis Gale, Emma Green, Paul Hanson, Chris Hill, Eric Hsu, Tim Hulsizer, Franklin Johnson, Steve Kandell, Robin Lapid, Linda Scott, Scott Slonaker, Chelsea Spear, Simon Speichert, Jon Steltenpohl, Simon West Technical Staff: Chris Candreva, Dave Pirmann Also Contributing: Rey Roldan Address all comments to staff@consumableonline.com ; subscription information is given at the end of this issue. ================================================================== 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: Elvis Costello with Burt Bacharach, _Painted From Memory_ - Joe Silva REVIEW: Depeche Mode, _The Singles 86>98_ - Robin Lapid REVIEW: Love and Rockets, _Lift_ - Niles Baranowski REVIEW: Bruce Hornsby, _Spirit Trail_ - Bob Gajarsky CONCERT REVIEW: Yo La Tengo / Superchunk - Steve Kandell REVIEW: Golden Smog, _Weird Tales_ - Christina Apeles CONCERT REVIEW: Garbage / Girls Against Boys - Joann D. Ball REVIEW: Mike Peters, _Rise_ - Rey Roldan REVIEW: Whale, _All Disco Dance Must End In Broken Bones_ - Tim Mohr REVIEW: Various, _Rare On Air KCRW Volume 4_ - Franklin Johnson REVIEW: Vanilla Ice, _Hard To Swallow_ / Everlast, _Whitey Ford Sings The Blues_ - Steve Kandell REVIEW: Throwing Muses, _In A Doghouse_ - Chelsea Spear REVIEW: Hooverville, _Blue Wonder Power Milk_ - Jon Steltenpohl REVIEW: Dishwalla, _And You Think You Know What Life's About_ - Joann D. Ball REVIEW: Gilby Clarke, _Rubber_ - Linda Scott NEWS: Cracker TOUR DATES: Air, Tori Amos / Unbelievable Truth, Archers of Loaf, Better Than Ezra / Possum Dixon / Athenaeum, R.L. Burnside, Cherry Poppin' Daddies / Spring Heeled Jack, Cordelia's Dad, Cypress Hill, N'Dea Davenport, Firewater, Garbage / Girls VS Boys, Io, Irving Plaza, Lenny Kravitz, Liquid Soul, Motley Crue, Samples, SNFU, Dee Snider's StrangeLand Tour, John Taylor, Mike Watt Back Issues of Consumable --- REVIEW: Elvis Costello with Burt Bacharach, _Painted From Memory_ (Mercury) - Joe Silva If it seems unlikely that the acerbic suffer-no-fools face of the New Wave and the Top 40 couturier of cocktail pop should wind up penning tunes in each other's pocket, then perhaps we weren't listening close enough. Costello has spent most of the decade stretching out compositionally and it's not too difficult to imaginatively cast Bacharach as the author of a sweet ditties like "Alison" once you subtract a percentage of the ire. But the pairing makes good sense on other levels as well. As Costello's core audience marches past the marker of their fourth decade, they probably need more serene, lush records like this for those quiet evenings of grilling on the back deck. And if this record takes off with the new generation of hipsters (who may be looking for something to wind down with after an evening at the local faux-swing palace), Bacharach's back catalog might get a healthy boost. The songs, however, thankfully veer from excess when it comes to sonically recreating the Bacharach's bygone era. There are signature moments (the soft horns that open "Toledo" for example), but mostly what these tracks bear are striking performances by Costello's pipes and swell orchestration. Lyrically Elvis doesn't seem to be operating on all cylinders despite the heartfelt delivery, but what's here suits the musical backdrops ideally. But then again Bacharach's contribution isn't staggering either. By the time you're headed for the LP's home-stretch, the small and brilliant flourishes (which you'll find in "The Sweetest Punch," "In The Darkest Place," and "What's Her Name Today?") don't atone for the bulk of this material sagging somewhat. Even the song that prompted this album's raison d'etre and closes the record, "God Give Me Strength," is unfortunately not the killer tune that some have made it out to be. So if you're currently hot about music with suave delivery and complex arrangements, this is fine stuff. But while Elvis might be seeking distraction from the burden of his stalled brilliance and Bacharach looking for some sustenance for his long flagging career, this tiny mutual appreciation society that they've fashioned could have been better served if they hadn't painted from Burt's past and worked from more extensive sketches of what they both conceive the future of pop might be. --- REVIEW: Depeche Mode, _The Singles 86>98_ (Reprise) - Robin Lapid Here's something for hard-line goths, new wavers, and classic techno-heads to rejoice in. Depeche Mode, the pop-synth fixture of the 80's on, chronicle the second half of their career with _The Singles 86>98_ . For the diehard completists and casual listeners, the two-disc release nicely captures the seedy yet otherworldly pop sensibility that made the Mode mainstays and pioneers in electronic-based music. Featuring every single from _Black Celebration_ through _Ultra_, along with a few bonus collector tracks, the compilation is meant as a companion piece to 1985's _Catching Up With Depeche Mode_ compilation. The first disc, covering 1986-90, contains some well-known but still relevant tracks that veer toward Depeche Mode's more pop-synth sensibilities, as opposed to the much blacker rhythms of their later years. Tracks like "Never Let Me Down Again" and "World In My Eyes", with its trickling stream of electronic beeps and rhythms, have provided a blueprint sound that bands like the Smashing Pumpkins have translated with great fanfare. That the band could use layers of synths to make gritty and morose-flavored -- but still largely pop -- songs pays testament to their cult-like appeal. The second disc stutters into 1993's _Songs of Faith and Devotion_ and on, from the screech and wail of "I Feel You" and to _Ultra_'s steadier but rather unremarkable fare. Also included are the tracks "Little 15", released in 1988 as a single only in France, a live version of "Everything Counts", and the new track, "Only When I Lose Myself", which sounds like prototypical Depeche Mode. Techno and mainstream artists owe a debt to the band that could create menacing hooks with keyboards and Dave Gahan's re-filtered, slightly off-kilter baritone couched snugly in the songs. _The Singles 86>98_ touches on the band's peaks and plateaus, but it serves as primer, reminder, and enforcer of Depeche Mode's staying power. --- REVIEW: Love and Rockets, _Lift_ (Red Ant) - Niles Baranowski For a while, Love and Rockets were the best source of the odd musical alloy known as goth-pop. While equally as pretentious as their former band Bauhaus, they left the bombast and grand sweeping ballads to the band's moody former frontman, Peter Murphy, to create a mix of black lipstick and white noise that had a note of menace and importance to it, but was ultimately incredibly catchy. Sure, they had a number of tear-jerking ballads to use as window dressing, but more often than not, the lyrics were laughable (see "Kundalini Express" if you disagree); it was as though in the Bauhaus divorce settlement, Murphy had walked away with the words, leaving Daniel Ash, David J. and Kevin Haskins with only their instruments. On this latest record, Love and Rockets seem to have jumped onto the au courant bandwagon, however, and traded their instruments in for samplers and synths. While _Lift_ isn't the first time they've attempted an electronic record, it's miles ahead of its predecessor (1994's _Hot Trip To Heaven_) because it has a sense of the Love and Rockets identity to it. Though the best songs here all make use of programmed beats, canned strings and even a Bauhaus sample or two, they don't float off into electro-ether like the others do thanks to Daniel Ash's icy hiss. Both charismatic and acidic, it's always been Love and Rockets's secret weapon to save a doomed song and here it also serves to unify the numerous different styles of dance music being brought out, from the frantic house music of "Resurrection Hex" to the smoky dub of "Deep Deep Down" and even the groovy pop stylings of "Holy Fool." Probably _Lift_'s answer to "So Alive," "Holy Fool" is a good indication what this record could have been. For this one song, they found the perfect mix of electronic augmentation and old fashioned _Earth, Sun, Moon_-style songwriting. With the help of Luscious Jackson, the beats come alive but they cooperate with the song rather than subverting it. Even though the rest of the album is sort of sketchy, with a couple of cookie-cutter acid house tracks like "R.I.P. 20 C." or either version of the title track for every truly exciting one (I'd be remiss if I didn't mention the somber "Bad For You," which I could almost see Tricky covering), one can't really fault them. After all, with a highly successful Bauhaus reunion taking place right now, they've got to keep their priorities straight. We can only hope, though, that Peter Murphy nixes the idea of making Bauhaus an electronic act. --- REVIEW: Bruce Hornsby, _Spirit Trail_ (RCA) - Bob Gajarsky Grammy award-winner Bruce Hornsby has parlayed his piano playing skills into multi-platinum records and the opportunity to tour with his longtime idols, the Grateful Dead, from 1990-1992. The effects of this tour can still be heard on the twenty-song, double-disc _Spirit Trail_ . Though firmly rooted in Hornsby's nimble fingers, _Spirit Trail_ tips its hand to the Southern sounds of New Orleans and jazz, gospel, folk and the blues. "Line In The Dust" fits right alongside Hornsby classics such as "Mandolin Rain" and "The Way It Is", but with more of the freelancing that has graced Bruce's recent efforts since that tour with the Dead. And, yes, he tips his hat to Jerry and the boys on the funk-meets-piano of "Sunflower Cat", which samples the Dead's "China Cat Sun Flower". Hornsby's illustrious career has seen performing and writing partnerships with artists ranging from Bob Dylan and Don Henley to Bela Fleck, and each time he works with a new artist, it seems as if Hornsby incorporates some of that style into his next album. This challenges his audience to pay attention to his songs and their intricate musicianship, and rewards them for their effort. _Spirit Trail_ proudly continues that tradition. And that guy on the cover of the disc, ready to light a cigarette in his ear? That's Bruce's deceased Uncle Charlie. Who says it's not who you know? --- CONCERT REVIEW: Yo La Tengo / Superchunk , Los Angeles - Steve Kandell I felt like I had won a contest, actually. Remember when MTV did things like awarding a lucky viewer a brand new pink house in Indiana and then having John Cougar Mellencamp play all day in the backyard? Sort of like that, but in a completely different sense. At one point about halfway through Yo La Tengo's short but amazing set at Los Angeles' beautiful El Rey Theater on Tuesday night and halfway through my fourth free Jack and Coke, a truly stunning thought consumed me: Superchunk was still to come, and I wasn't even supposed to be seeing any of this. The event was the invite-only premiere party for the fourth season of HBO's "Mr. Show with Bob and David," a big bucks industry shindig that I, quite frankly, had no legitimate claim to be attending as I have nothing to do with either HBO or "Mr. Show with Bob and David." A friend of a friend's coworker, that sort of thing. Had I not gotten a pass, I would have been just as incensed as the rest of the indie rock community, excluded from seeing their heroes Yo La Tengo and Superchunk play while a crowd full of yammering, unappreciative suits and celebrities stands around trying to pitch sitcoms over the din. But being on the business side of the velvet rope for once, I had no complaint. Apologies to my girlfriend for having to listen me rant about standing on the sushi line between Laura from Superchunk and Michael McKean of Spinal Tap fame. Great sushi. And did I mention the open bar? But the point of the evening was not to fight Janeane Garafalo and Ben Stiller for space in the crowded smoking section - actually a comically small portion of sidewalk chained off for us carbon monoxide-spewing heathens - although though one could do worse than that for sport. The point was the rock. The season premiere of "Mr. Show" was introduced by its stars and the evening's hosts, Bob Odenkirk and David Cross, whose exquisite taste in potty humor is bested only by their taste in music. The show was screened, it was pretty funny, hit some slow stretches - but who gives a shit, I'm not reviewing premium cable sketch comedy here. About a half an hour after the big TV screen disappeared, along with the catering tables, Hoboken's own Yo La Tengo took the stage. Several dozen guests were gathered at the foot of the stage, leaving the bulk of the party to continue oblivious. My friend leaned over and sneered that the place would be pretty much cleared out by the time Superchunk started playing. It was a school night, after all. I nodded, hoping only that the talking of the partygoers wouldn't drown out the music. For once, such cynicism proved thoroughly ungrounded. Yo La Tengo opened, appropriately enough, with "Sugarcube," the video for which featured our evening's gracious hosts Bob and David training the low-key Tengos how to be more "rock" in their rock videos. I turned around and noticed that the entire theater was facing forward and paying rapt attention. Not a peep could be heard during the quiet keyboard intro to "Autumn Sweater." The forty-five-or-so minute set included inspired versions of such hits (is that the right word?) as "From a Motel 6," "Big Day Coming," and "Tom Courtenay," which was particularly phenomenal. As in any Yo La Tengo show, the three members constantly switched roles. Rock critic-turned-rock star Ira Kaplan went from guitar to keyboards while massive bassist/keyboardist James McNew assumed guitar or percussion responsibilities, even taking vocals for two songs. Georgia Hubley mostly stayed behind her drum kit and added her ethereal vocals to her husband Ira's slightly nasal ones, wearing a striped short-sleeved button down shirt that looked exactly like the one all the Beach Boys wear on the cover of this live album I have from 1966. By the time they finished their devastating version of I Can Hear the Heart Beating as One's epic "Deeper Into Movies," the El Rey did not feel like the site of a party full of jaded show biz types. It felt exactly like a rock show. Difficult to comprehend was that this was merely the opening act. With the possible exception of Fugazi, no band better typifies indie rock integrity than veteran North Carolina four-piece Superchunk, and the ugly (longtime, unfounded) rumor was that they were getting ready to call it a career. This added a sense of urgency to the festivities, at least to those of us who care far too much about such matters. After an intermission just long enough for sufficient trips to the men's room, the smoking pen, and the bar, the forever twenty-five Mac McCaughan and the rest of his band hit the stage with "European Medicine" from the last (but hopefully not last) Superchunk album Indoor Living.. With wristband and wife-beater-wearing bassist Laura Ballance doing her requisite nonstop bouncing stage left, and the rest of the band tearing through songs old and new, Superchunk did not look like the grizzled old-timers they are, and they absolutely did not look like a band with nothing left to offer or nothing left to gain by continuing to play together. By the time the hyperkinetic "Skip Steps 1 &3" was through, the whole theater was charged, and my friend's prophecy of the premature exodus could not have been farther from the truth. The place was packed. Perennial favorites like "Package Thief" and "Driveway to Driveway" were mixed with newer songs like "Watery Hands" and "Song for Marion Brown," with its faux-"Baba O'Riley" coda. Any fears that the kids from Chapel Hill might tone things down a notch for a cushy gig such as this proved as baseless as the concerns about the crowd's potential for mass apathy. In fact, having seen the band exactly a year earlier in the same venue, I can say that this show was probably better, and no shorter than the legitimate tour stop. The band left after "The First Part" and a blistering "Hyper Enough," but not for very long. Superchunk returned moments later with Yo La Tengo for an all-star jam that put shame to the overcrowded and overtired Rock and Roll Hall of Fame finales. The first song by Supertengo/Yo La Chunk was none other than Peter Frampton's Big Rock Classic "Show Me the Way," with Georgia singing the trademark voice box/wah-wah guitar line and Ira reading lyrics off notebook paper while Mac spun around like a maniac and nearly knocked everyone else off the stage. The capper was Superchunk's 1990 classic self-employment anthem "Slack Motherfucker," sung convincingly by the band's shirtless friend Phil, who slithered and preened like the winner of a "Be Iggy Pop for Four Minutes" contest. When it all came to a crashing end with David Cross diving into the grateful crowd, the lights came back up, and everyone in attendance struggled to regain their bearings. I'd say we all got our money's worth but no one paid. Except HBO. On line at the bar before Superchunk's set, a guy standing next to me shook his head and smiled, wide-eyed and red-faced. "Do you believe this shit?" he asked me. "This is indie rock heaven." "You don't work for the show or anything, do you?" "Fuck no." He went on the gleefully explain: friend of someone he smoked out's friend. "This is unbelievable," he said as the bartender handed him three free drinks. God bless our entertainment industry. --- REVIEW: Golden Smog, _Weird Tales_ (Rykodisc) - Christina Apeles _Weird Tales_ is the modern sing-a-long record of the year, but not the most original. The all-star lineup of musicians Craig Johnson (Run Westy Run), Gary Louris (The Jayhawks), Dan Murphy (Soul Asylum), Marc Perlman (The Jayhawks), Jody Stephens (Big Star), and Jeff Tweedy (Wilco), known as Golden Smog, offer fifteen songs that are so easy to sing to that it's uncanny; then you remember those things called hooks, hooks, hooks. Following their 1995 debut album _Down By The Old Mainstream_ , _Weird Tales_ proves that this collaboration is more than just a side project; rather, it is a serious venture to take the best of country, pop, rock and folk, thrown in with contemporary experiences, to produce songs that in general, make you feel good. Heavy on choruses, rhymes and harmonies, the tunes on this album are easy to remember, but impossible to place, reminiscient of songs from numerous bands of the past and present. Don't bother trying to name that tune or band, because you'll be doing it the whole album. The opening track "To Call My Own" has the old Soul Asylum sound written all over it, with the raspy lead vocals, raw American porch rock and sweet-hearted sentiment, with its fair share of "doot, doot, doots" and "ooh, ooh, oohs" in the background. The festive, knee-slapping tune "Until You Came Along" brought to mind a mix of Crowded House, the Wallflowers and the Housemartins. Then there's the acoustic twangy guitar solos with a bit of blues, in songs like "Lost Love" and the ornamented country rock of "Looking Forward to Seeing You." Of course, _Weird Tales_ is not without its ballads. There is the melancholy nature of "If I Only Had A Car" and the lucid feel of "Jane," but "Making Waves" is what captivated me. The beautiful harmonies, violin, drums, acoustic and electric guitars merged together in the most darling love song. It is the most complex piece on the album with the instruments talking to one another reflecting the spirit of the song -- mixed, confused, yearning. The violin playing is tense, the drumming is reserved, while one guitar is dramatic and the other, repetitive. Meanwhile, the vocals are dark and emotional with lyrics of longing: "Are you in there? Hello, hello, hello . . . are you dying?" "Keys" stands out the most because it is like nothing else any of the members' respective bands had done, or like any other tune on the album -- it is funky. Think Red Hot Chili Peppers meets the Monkees. The most modern of the batch, "Keys" is an upbeat tune with deep, breathy vocals, fuz-wah guitar, horns, and shout outs from the rest of the band; that out of nowhere breaks into an-Eels like transition into higher pitched vocals and drawn out guitar effects that promptly shifts back into the funky tempo it opened with. A bit of swing, jazz, funk and pop rolled into one from good ole' American rockers is something I didn't expect, but definitely welcomed. It demonstrated that Golden Smog is not just about somber acoustic ballads, country-tinged rock or folky pop harmonies, which is quite a pallet in any case. And although the majority of the songs on _Weird Tales_ sounds like something you've heard before, Golden Smog shows they are willing to experiment, incorporate and expand into other musical styles, which is still a commendable move -- whether unique or otherwise -- they do a satisfying job. --- CONCERT REVIEW: Garbage / Girls Against Boys, La Jolla, California - Joann D. Ball Girls Against Boys are definitely doing something right. They've been winning over music fans and critics everywhere with their new release _FREAK*ON*ICA_ (DGC Records). And on last summer's headlining tour, they generated a new level of intensity in clubs across America. Maybe that's why a group of their biggest fans, otherwise known as the band Garbage, handpicked Girls Against Boys to fill the coveted opening slot on their 1998 North American tour. It was clearly evident at the recent La Jolla, California show that Girls Against Boys are extremely qualified for the job. With a sound that blends rock, metal, disco, funk, techno and more, GVSB are down with the new and deliver on the promise that it holds. And Scott McCloud's supersexy rough-and-ready rasp, drummer Alexis Fleisig's block rockin' beats and the double bass assault of Eli Janney and Johnny Temple are even better live than on their satisfying studio efforts. In a set that mixed songs from _FREAK*ON*ICA_ with older selections from their Touch & Go outings, Girls Against Boys pulled out all the freaky effects from its bag of musical tricks on a largely unaware crowd. And GVSB made the most of the double bass grooove approach (one sadly missed since the demise of Ned's Atomic Dustbin) which kept the heads bobbing and the bodies moving. From the very first note, GVSB made it plain that they were there not just to warm up the stage for Garbage but to get the crowd's blood hot and pumping. The band immediately grabbed and pulled in the crowd at the RIMAC Arena on the University of California, San Diego campus with the self-described 'disco-tortion' of "Park Avenue." This lead track and single from _FREAK*ON*ICA_ was much louder and more aggressive during the live performance, an approach which suited the crowd just fine. It was all systems go on "Vogue Thing," also from the new record, and Girls Against Boys delivered a scorching version of "Super-Fire" from the earlier Touch and Go release _House of GvsB_. Crowd surfing began during the current single "Roxy," which was vibed up for the live show. And "Exorcisto," the last dip from the new record, was funked up for everyone in the house. Forty-five minutes of aggro-techno-funk-rock never sounded and felt better, and Girls Against Boys were triumphant in their effort to win over the crowd with their heavy fueled nine-song set. And to make sure that the newly converted committed the name Girls Against Boys/GVSB to memory, the band headed to the t-shirt booth during the show break to meet their new fans with smiles and autographs. Surely there is no doubt that Girls Against Boys will be bigger than cult favorites when they complete their show opening duties later this year. Concert headliners Garbage kicked off their rousing show with "Temptation Waits," the first song on their current long-player, _Version 2.0_ (Almo Sounds). Lead singer Shirley Manson indeed proved that she is a wolf in sheep's clothing throughout the night as she stalked the stage with hip-hop attitude in a simple outfit of red top and black jeans. Manson's vocals were loud and clear and she was up front and personal throughout the night. Holding down the musical fort behind her was drummer Butch Vig, who kept the beats coming all night long. Filling out the minimalist, open stage were guitarist Duke Erikson, guitarist/keyboardist/special effects man Steve Marker and a session bassist who all made sure that this was indeed a live show with a big boss sound. There were numerous highlights during the 17-song set , and they began early on with the dual guitar assault of "Not My Idea" from the self-titled debut record which got the crowd jumping and dancing in a frenzy. The single "Paranoid" was immediately recognizable from its slinky bass intro and Erikson's slashing guitar solo over the sample break made a huge impression on the audience. By the time Garbage tore into "Stupid Girl" and "Vow," just over halfway into the set, the crowd was already on its third wind. The band recreated all of the sonic effects from the studio versions of the two songs and gave them a heaping dose of venom by adding fresh live guitar chaos and bringing both to loud thundering finishes. Manson later gave a sincere heartfelt thanks to the crowd for supporting the band by dedicating the lead single "Push It" to those who came out to the show. And Manson gave the song some hip-hop flavor, hinting at Salt-n-Pepa's song of the same name, as she whipped up the sing-along crowd. And in what was the most spirited moment of the night, Manson changed the chorus of the encore closer "When I Grow Up" dropping in the lines " when you grow up" and "when we grow up" in a nod to the youngish audience. Not only did Garbage prove themselves a live band of the highest order, they also exhibited their talent for recognizing the cutting edge by bringing GVSB along with them on their eagerly awaited American tour. It's a double bill that works extremely well -- one that's big on sound and energy and is guaranteed to please. Don't miss the tour as it winds its way eastward across the country. --- REVIEW: Mike Peters, _Rise_ (Velvel) - Rey Roldan As a dedicated diehard fan and follower of the Alarm, I've lived for every song Mike Peters wrote, every live appearance he's done, and supported nearly every album he's released (although 1996's _Feel Free_ left a lot of be desired). _Rise_ finds Peters updating his sound to mixed results. "White Noise" compares quite favorably against The Alarm's best anthems, though the 'space noir' keyboard effects go overboard. Issue-centric and confrontational, Peters sings 'The creeds and the colours are out on the street/ A strange kind of glory exists we are what we eat/ a diet of violence and crime feed our screens every night.' The Beatle-esque "Trancendental" tackles a cheesy organ riff and incorporates it into an essentially cheesy lovesong. But as he's proven in classic Alarm songs such as "Spirit of 76" and "Rain in the Summertime", he can turn even the most trite phrases into honest words of endearment (witness 'all I have to offer you is everything in me' and 'I would paint the sky a purple shade/ Dye the blue sea black/ Spray the clouds in tangerine/ make the trees electric blue for you, all for you'). Fortunately, Peters has learned from his past mistakes and kept things low-key and restrained (for the sake of keeping this a positive review, the horrid bonus tracks "The Message [The Mess Age Mix]" and "White Noise [Part III] [Snakebite Mix]" should be avoided at ALL costs - the former is an irritating beatbox rap cover from his last album and the second is a sad attempt of M People-style electro-house). His distinctively limited vocal range is best suited for ballads and anthemic rockers which this record is rife with. Gone are his experiments in rap. Gone are his grunge posturing. And gone is my wish for him to return to form. Welcome back, Mike. We missed ya! --- REVIEW: Whale, _All Disco Dance Must End In Broken Bones_ (Virgin) - Tim Mohr Do you remember the huge beat, brash guitars, and devil-may-care girly vocals of Whale's "Hobo Humpin' Slobo Babe" that blew up in '94 and led to a support slot on Blur's North American tour? Well if that record was too Beasties for you in its reckless energy and combination of chaotic guitars and hip-hop energy, Whale could still get you with their new release. Gone is Gordon Cyrus, the hip-hop afficianado who must have been responsible for Whale's early style, for gone also are the metallic guitars, shouted choruses, and joyously un-self-conscious enthusiasm. Instead, Cia Soro's vocals are sung over a back-drop more Sneaker Pimps than "Sabatage." _All Disco Dance_ opens with the single, "Crying At Airports," an effective piece of mellow trip-hop-ish work, with a slide-guitar sample, catchy organ line, and restrained vocals. Then "Deliver The Juice" runs a little towards the old Whale style, all Waitresses-esque vocals and prominent live guitar, though here, too, they contain themselves much more than they did on their debut. These two songs represent the outer boundaries of the record, with the rest falling somewhere within these parameters. There are interesting sounds to be found within these boundaries: "Roadkill" swerves in a neo-80s direction, running atop a minimalist drum machine beat are vocals traded between a breathy Cia and a distorted male voice. The central portion of the album is more muscular. "Smoke" has a threatening bass line and bursts of noise, "Four Big Speakers" returns to the shouted choruses and guitar riffs of old Whale songs, and "Losing CTRL" is faster than anything else on the record. As "Puma Gym" and "2 Chord Song" fade, you realize that Whale want to sound like Kenickie and Sleeper, but that they also have a fascination with groups like Cibo Mato, Intastella, and Sneaker Pimps, who manage to place their indie origins into hip-hop contexts. Whale come across like Luscious Jackson on their _Search For Manny_ ep: sometimes adopting beats, sometimes playing like a band. This leaves the record varied - if slightly tentative - and bodes well. _All Disco Dance Must End In Broken Bones_ delivers alot of good songs and cuts effectively across stylistic lines. Particularly for fans of Sneaker Pimps, Morcheeba, and Sleeper songs like "Nice Guy Eddie," Whale's sophomore album should be on your shopping list. --- REVIEW: Various, _Rare On Air KCRW Volume 4_ (Mammoth) - Franklin Johnson Eclectic Los Angeles radio station KCRW has been providing morning radio listeners with a diverse group of music for more than 20 years. Through the efforts of Mammoth Records, _Rare On Air_ gives people the chance to hear acoustic and live performances from these artists - even if they don't reside near the City of Angels. _Volume 4_ of this ongoing series captures more of the live show that is featured on the National Public Radio's flagship station in Southern California. There aren't a lot of bonafide hit songs here (only Marcy Playground's "Sex and Candy" qualifies), but that adds to the collection's beauty. Who hasn't heard of Radiohead, Ani Difranco, Sarah McLachlan or Tom Waits? No one - and here, some of their morning performances can be heard. But at the same time, newer artists such as Ozomatli, Zap Mama and Cafe Tacuba deserve to be heard - and so they are, thanks to KCRW and Mammoth. --- REVIEW: Vanilla Ice, _Hard To Swallow_ (Universal) / Everlast, _Whitey Ford Sings The Blues_ (Tommy Boy) - Steve Kandell There might not be a more loaded phrase in all of pop music than 'white rapper.' The early 90's saw albums from Vanilla Ice and House of Pain reach commercial heights unseen by most black rappers, bringing charges of cultural piracy from the hip-hop community. House of Pain didn't help matters by wearing Larry Bird jerseys, even though they had street credibility that blonde poseur Vanilla Ice could never hope to achieve. Only the Beastie Boys have managed to fully transcend the stigma; five full-length albums over the course of thirteen years have silenced the harshest of naysayers. Now Vanilla Ice and Everlast, the former House of Pain leader, are both back with albums that aren't afraid to boast their white boy roots. However, this is about as much as these two albums have in common. It can't be easy for an overnight pop sensation created by a board room full of record execs to strive for career longevity and credibility, to prove he's not an untalented puppet. Like Pinocchio, Vanilla Ice wants to be a real boy. _To the Extreme_ , the album that spawned the "Under Pressure" retread "Ice Ice Baby," sold more than 13 million copies worldwide in 1990. His movie, Cool as Ice hit screens in the final seconds of his fifteen minutes of fame. And then he went away. Vanilla Ice's first attempt to reinvent himself to the fickle teen set as a dreadlocked dope fiend came with _Mind Blowin'_, on which he brags about his superhuman THC intake to a world that could not have cared less. But rather than say uncle and live off back royalties, the former Robbie Van Winkle presses on with his new album, _Hard to Swallow_ (cue Butt-head chuckling), this time coming back as a snarling, tattooed neo-metal guy - think Korn if it were spelled with a 'C.' He wants you to know that this is the real Vanilla Ice, and that he's hardcore and that he's pissed and that he still smokes a lot of pot ("Zig Zag Stories"). As a mean metal guy, he's no more convincing than when he tried to pass himself off in the press as Miami gang kid eight years ago (Van Winkle's from suburban Texas). But it's far too easy to make fun of Vanilla Ice based solely on his hilariously malleable public image. So, onto the music. His Coldness has teamed up with Ross Robinson, producer for such rap-metal bands as Korn and Limp Bizkit. Robinson's job here is to make the audience forget that it is Vanilla Ice they are listening to, and at times, does this successfully. Lyrics are growled as much as rapped over churning guitar chords and industrial-strength drums. The formula does not vary much over _Hard to Swallow_'s twelve tracks. To Robinson's credit, the album sounds nothing at all like the kid-tested, mother-approved Vanilla Ice of old. As far as the rhymes go, he doesn't really have anything intelligent to say, but he says it with conviction. The storied Vanilla Ice/Snow rivalry heats up with "Scars." And if anyone's still looking for offensive rap lyrics in this jaded day and age, look no further than "The Horny Song," which makes one long for the subtlety of Luther Campbell. This is not to say that the album is without its entertainment value. Despite the new title, "Too Cold" is actually a remake of "Ice Ice Baby," with heavy distorted power chords and a busy sound mix taking the place of the ubiquitous "Under Pressure" bass line. Ice's innocuous braggadocio from eight years ago has been reinvented an aggressive threat, and it's genuinely funny; one can only hope against hope that he meant for it to be. It hardly seems fair to group Everlast's impressive new solo album with Vanilla Ice's noisy resurrection, but where one trick pony _Hard to Swallow_ sounds pandering, _Whitey Ford Sings the Blues_ is genuine and eclectic. Following a brief movie career (Judgment Night) and a near-fatal heart attack, Everlast returns with his first solo album since House of Pain disbanded. a far-reaching album that defies the sort of simple categorization that Vanilla Ice craves. Acoustic guitars, horns, and live drums complement the otherwise conventional rap numbers on the new disc - more Basehead than Sublime. Standouts include the rollicking "7 Years," which incorporates the piano riff from "Hard to Handle" and horns, and the more plaintive "What It's Like" and "Ends." Despite the country feel of the album's artwork and some of the songs, Everlast has not abandoned his hip-hop roots. "Tired" would have sounded at home on a House of Pain record while "Funky Beat" is a traditional old-school rap featuring Brand Nubian, Sadat X, and Casual. Lyrically, there is more at stake here than jumping around. Everlast's brush with mortality at the hands of a congenital heart condition is touched on in the huge-sounding "Death Comes Calling," "Painkillers," "Praise the Lord," and well-wishing answering machine messages from the likes of Gang Starr's Guru and Cypress Hill's Sen Dog. "The Letter" is about the end of relationships - both with a woman and with the House of Pain. Rather than try and use rock guitar and imagery to weasel his way back into favor with the mall set, Everlast utilizes it as a means of crafting an original, personal, and affecting hip-hop record. --- REVIEW: Throwing Muses, _In A Doghouse_ (Throwing Music/Rykodisc) - Chelsea Spear Ten years after influential bands on today's commercial alternative scene made inroads into the American musical consciousness via college radio, and the tombstone might as well be erected: RIP College Rock. On certain New England college campuses, I've found that the heirs apparent to the thrones of REM, the Replacements, and 10,000 Maniacs seem to be the Backstreet Boys, Aayilah, and Usher. Where's a fan of the music that rocked the dorms of yesteryear and a lover of challenging music that sparkles with insight and smarts with life supposed to turn? One good place to tune in is _In A Doghouse_, the reissue of the early recordings of influential post-punk band Throwing Muses. This release finally makes the band's eponymous debut availible on American shores, and compiles the EP _Chains Changed_ and early demo recordings on CD. Obviously, longtime fans need this release, but the people who really need to hear this are those who might have caught a glimpse of the Muses' musical magic but didn't know where to start. _In A Doghouse_ cemented the musical approach that the band would broaden throughout their tenure. Different parts of songs fused unexpectedly, lurching from prettily strummed pop song to asymmetric thrash at a moment's notice. Like many bands of the era, the Muses favoured a jangly guitar sound, but unlike the radio-ready Rickenbacker tickle of REM and their ilk, this band hid the sound underneath a lurching, nauseated bass weave. Thus, the jangling guitar that was a hallmark of power-pop bands of the era was instead changed to the sound of a frayed nerve being hit one more time. To accompany this musical sense of unease, the Muses complemented their compelling approach with lyrics that gave voice to marginalized mindsets, such as boys dealing with homosexuality in a closed-minded small town, people so hated within their surroundings that they turn to killing, and the popular favourite, young women struggling with mental illness. Rather than glorifying any of these characteristics, or condescending to them from the outside, lyricist Kristin Hersh got into the skin of her subjects, and her scary uneasy lyrics offer much insight but little resolution. Her vocal approach is so angry and passionate that at some points, it sounds like she's vomiting up her lyrics instead of merely singing them. _In A Doghouse_ offers a look inside how the band progressed from their early days to the music that was finally released as their first few records. The second disc includes "The Doghouse Cassette", the demo tape with which the band procured a contract with the influential British label 4AD. The songs are more raw in their initial versions, with Kristin's bloodcurdling screams in "Hate My Way" and "Vicky's Box" bringing the songs to such an intense, visceral level that they're almost impossible to listen to. The final part of the album features the Muses' last lineup performing some older, never-before-recorded songs. I don't know about this last part -- the songs are as strong as the material on the album, and hearing the mature and eclectic lineup adds an interesting dimension, but the ingenuity and intensity just isn't there in the same way that it was earlier in the album. However, this is a small quibble. Listening to the pure-blooded passion that drives _In A Doghouse_ gives ample reason as to why this album has been so revered within the ranks of critics, artists, and lonely college girls alike. In a season where dispassionate R&B is the musical flavour of choice within dormitories, hearing something that can change lives through the mere excitement and energy contained within is refreshing. This should give those ivy-covered walls the shaking that they've needed for quite some time. --- REVIEW: Hooverville, _Blue Wonder Power Milk_ (Epic) - Jon Steltenpohl Were it not for the fact that countless other artists have made dreamy electronica with strings and sparkly noises, Hooverphonic's latest release, _Blue Wonder Power Milk_ might be worthy of some attention. Instead, all we find is a rehash of what Depeche Mode did so brilliantly in the 80's with little flashes of Soho's "Hippychick" and ambient techno slipping in here and there. Unfortunately, Hooverville never expands past the musical landscape of their predecessors. The use of a full orchestra is interesting, but ultimately diversionary from the more fundamental problems. "Eden" makes nice use of what sounds like french horns set against a cello or two. The production is tight and flawless. Geike Arnaert's lyrics are particularly arresting on this track, but despite crossing the proverbial "t"'s, the song remains flat. Arnaert, the horns, and the strings simply repeat without any sense of passion or drama. Music of this type often moves the listener to deep emotions, but Hooverville simply finds the groove and stick there. "Renaissance Affair" is similar, but it actually has some emotional depth to it. Unfortunately, "Renaissance Affair" ends with a extended high pitched string part that gradually becomes incredibly annoying. "Out of Tune" works on a few levels because it tosses up the sound. Arnaert's airy vocals soar behind the mix of a simple drum beat, satellite guitars, and sound effects tossed in and out. The notes bend around the beat in a way which creates rhythm from the mis-tuning. The song which follows, "This Strange Effect" continues with the mood started by "Out of Tune". It uses Arnaert's voice as a sonic anchor while the waves of the instruments weave and bob around it. There's a slight Julee Cruise feel to "This Strange Effect" which leaves the listener distanced by the snarled music but drawn ever closer by the diva inside. But typically, Hooverville seems to have an idea for a song that leaves no room for much variation or depth. It's kind of like a demo for each song that shows you how neat it could be, but never goes all the way. _Blue Wonder Power Milk_ is never mellow enough to be ambient, never pop enough to be radio friendly, never driven enough to be dance, and never weird enough to be ear candy. It is an impeccably produced and performed album that never really shows any soul or emotional depth. --- REVIEW: Dishwalla, _And You Think You Know What Life's About_ (A&M) - Joann D. Ball What becomes of the band with the smash single the next time around? That's what everyone is asking in reference to Dishwalla, who recently released _And You Think You Know What Life's About_ . Of course, this record is the much-anticipated follow-up to 1995's Gold album _Pet Your Friends_. And yes, that album was the one which spawned the smash hit "Counting Blue Cars," one of the most frequently played songs of 1996. In fact the song got so much airplay that it won that year's Billboard Rock Song of the Year award. Santa Barbara, California's favorite sons Dishwalla are back, eager to prove that they can rise above the dreaded sophomore slump and that they can produce an album's worth of tunes as good or better than that old hit single. As to be expected, some major changes have taken place since the last outing. Most notable is the mature and introspective subject matter explored on _And You Think You Know What Life's About_. And that's not a coincidence since the record is largely a response to the band's eye-opening experiences on the road promoting the breakthrough record. The extensive touring and countless live shows also influenced Dishwalla's overall sound as this effort is fuller and has an unexpected edgy toughness. Both of these improvements are effective and brilliantly captures the band's passionate modern rock approach. _And You Think You Know What Life's About_ begins with the rousing "Stay Awake." With a bit of a nod to Lenny Kravitz, this track about insomnia is supercharged with big chunky guitars over a funky beat . The industrial/techno effects on this track are an unexpected but welcome surprise, and the song stands out from the guitar-based, straight ahead rock stylings found on other tracks. More typical of the band is "Once in a While," the record's second track and lead single, which has all of the ingredients that made "Counting Blue Cars" such a memorable song. Another variation on the winning formula is "Until I Wake Up", one of the best power ballads delivered in the last few years. The song's rise and fall structure provides the perfect balance between the soft sweetness of acoustic guitar and keyboards and the surge of sweeping power chords. The quieter, mellow approach is explored more fully on "The Bridge Song" which suggests that the band could also pursue this direction successfully. One of the most striking things about the twelve songs on _And You Think You Know What Life's About_ is the emotion conveyed by lead vocalist J.R. Richards. Richards has a very good voice that is further enhanced by the band's big, rich and powerful sound. To his credit he at times recalls the best vocal work of U2's Bono. And similarly, Richards succeeds in capturing the listener's attention and making the songs come alive. With _And You Think You Know What Life's About_, Dishwalla stands out as a rock band that combines infectious guitar hooks, haunting melodies and intelligent lyrics. The new edgier sound successfully lifts the band out of the one-hit wonder category and hints at the likelihood of longevity. That is, as long as the band avoids the trap of relying on power guitars and heavy handedness to attract attention. Here's hoping that throwing in a cover/sample of AC/DC's "Back in Black" in the middle of "Counting Blue Cars" during a recent Southern California live performance was reflective of the band's musical appreciation and not a sign of things to come. --- REVIEW: Gilby Clarke, _Rubber_ (Pavement) - Linda Scott Gilby Clarke's a rock and roll soldier. He's fronted two bands, been part of one of the greatest rock bands in the world, and most recently released/toured on three solid solo rock albums. This soldier's done it all. Clarke became a name during his stint as rhythm guitarist (substituting for Izzy Stradlin) for Guns N'Roses. Izzy walked out on the bloated GNR circus that was the Illusion tour, and GNR lead guitarist Slash found Gilby to be a talented guitarist and compatible second row guy in the band. Clarke stuck with GNR until the tour's end and beyond, recording GNR's last album, _The Spaghetti Incident_. Armies don't encourage soldiers to question the general's commands, and neither do bands. Clarke found himself shown the door for privately and publicly questioning Axl Rose's plans to produce a techno-industrial sound for the band. While Clarke was the first to stand up and say this wasn't a good direction for GNR, every other band member has been fired or quit over this same issue. Clarke's been leading the way showing that they all have the names and followings individually to have a lot of fun as musicians. Recording and touring with Slash's Snakepit for the _It's Five O'Clock Somewhere_ album, Clarke and Slash continued their dual guitar role from GNR. At this time Clarke was also flying high with the release of his first (highly recommended) solo album, _Pawnshop Guitars_ . As part of the Snakepit club shows, Clarke would do a couple songs from his album and the Snakepit album. Crowds found Clarke to be a congenial guy who connected with the audience and took time to sign autographs and chat after the shows. _The Hangover_ was Clarke's second album. It was good, but not quite as good as _Pawnshop_. Pavement Records released the current album _Rubber_, and it gets another positive recommendation. Once again, the multi-talented Clarke is credited with writing, playing all guitars on all tracks, and singing lead vocals. With _Rubber_, Clarke has pulled together a solid rock album. With nods all over the place to The Beatles and The Rolling Stones, Clarke's albums all have an uptempo familiarity; no wallowing in anguished phrasing about sad subjects. Even the first track, "Kilroy Was Here", written about suicide, is from the point of view of acceptance. Risking the wrath of classic rock purists, Clarke wrote music for Janis Joplin's "Mercedes Benz". Listen to it a couple times on _Rubber_ . It's so in tune with that era that you begin to believe this was the way it always was. Clarke writes what he lives and knows, so the songs have honesty. A man who loves his motorcycles and his family, Clarke has laid down "The Hell's Angels" and "Frankie's Planet" (for daughter Francesca). _Rubber_ is another "highly recommended" Gilby Clarke album, and if you like classic rock, Slash's Snakepit, Guns N'Roses, Izzy Stradlin, The Beatles, The Rolling Stones, you should give it a try. Clarke put a little of all of these in _Rubber_ but mostly himself. Check out Pavement Record's web site for Gilby Clarke at: http://www.pavementmusic.com/gilby.html . This rock and roll soldier can play with the biggest and best, but when it comes to speaking his mind on musical direction. this soldier is ready to go over the wall and try it out there on his own. --- NEWS: > Cracker will appear on America Online on October 23 for a chat prior to their concert (at 9:00 PST) in San Francisco's Fillmore Theatre. Fans will also have the opportunity to vote for which song Cracker should perform as an encore, and at 11:00 pm, a cybercast of the concert will be held at http://www.broadcast.com . Finally, fans can check out a bonus track called "Disintegration" until November 22 (at http://www.virginrecords.com/cracker ) after which time the song will no longer be playable on the computer. --- TOUR DATES: Air Oct. 23 New York, NY Town Hall Tori Amos / Unbelievable Truth Oct. 21 Nashville, TN Vanderbilt Gym Oct. 23 Norfolk, VA Chrysler Hall Oct. 25 Providence, RI PAC Oct. 27 Dayton, OH Hara Auditorium Oct. 28 Louisville, KY Gardens Oct. 29 Evanston, IL McGraw Hall Oct. 31 W. Lafayette, IN Elliot Hall Archers of Loaf Oct. 23 Madison, WI University of WI Oct. 24 Minneapolis, MN 7th St. Entry Oct. 26 Columbia, MO Blue Note Oct. 27 Lawrence, KS Bottleneck Oct. 30 Boise, ID Neurolux Better Than Ezra / Possum Dixon / Athenaeum Oct. 21 Des Moines, IA Safari Oct. 22 Omaha, NE Ranch Bowl Oct. 23 Columbia, MO Blue Note Oct. 24 St. Louis, MO Mississippi Nights Oct. 25 Kansas City, MO Beaumont Club Oct. 27 Fayetteville, AR Dickson Street Oct. 29 Oxford, MS Library Oct. 30 Memphis, TN 616 Club Oct. 31 Houston, TX Aerial Theatre R.L. Burnside Oct. 21-22 Cambridge, MA House of Blues Oct. 23 Northhampton, MA Iron Horse Oct. 24 Philadelphia, PA Upstairs @ Nick's Cherry Poppin' Daddies / Spring Heeled Jack Oct. 26 Indianapolis, IN Egyptian Room Oct. 27 Cincinnati, OH Bogart's OCt. 28 Columbus, OH Newport Music Hall Oct. 29 Detroit, MI State Theatre Oct. 30 Cleveland, OH Agora Theatre Oct. 31 Toronto, ON Warehouse Cordelia's Dad Oct. 29 Seattle, WA Tractor Tavern Cypress Hill Oct. 29 Philadelphia, PA Electric Factory Oct. 30 Boston, MA Avalon Oct. 31 New York, NY Roseland N'Dea Davenport Oct. 21 Minneapolis, MN 1st Avenue Oct. 22 Chicago, IL Double Door Oct. 24 Detroit, MI St. Andrews Hall Oct. 25 Toronto, CAN Opera House Oct. 27 Montreal, CAN The Cabaret Oct. 28 Philadelphia, PA Theatre of the Living Arts Oct. 29 Washington, DC The Bayou Firewater Oct. 21 Atlanta, GA Point Oct. 22 Orlando, FL Sapphire Supper Club Oct. 23 Tallahassee, FL Cow Haus Oct. 24 New Orleans, LA Mermaid Lounge Oct. 25 Austin, TX Emo's Oct. 26 Dallas, TX Trees Garbage / Girls VS Boys Oct. 21 Lake Buena Vista, FL House of Blues Oct. 23 Atlanta, GA Tabernacle Oct. 24 Raleigh, NC The Ritz Oct. 25 Washington, D.C. Bender Arena Oct. 28 Worcester, MA Palladium Oct. 30 New York, NY Roseland Oct. 31 Asbury Park, NJ Convention Hall Nov. 1 Providence, RI Lupo's Heartbreak Hotel Io Oct. 23 Concord, NH Cafe Eclipse Irving Plaza (http://www.irvingplaza.com - New York concert hall) Oct. 21 BB King Oct. 22 Soul Coughing Oct. 28 Corrs Oct. 29-31 Cheap Trick Lenny Kravitz Oct. 22 Philadelphia, PA Electric Factory Oct. 24 New York, NY Roseland Liquid Soul Oct. 23 Des Moines, IA Drake University Motley Crue Oct. 21 Des Moines, IA Civic Auditorium Oct. 23 Detroit, MI State Theatre Oct. 24 Akron, OH Civic Theatre Oct. 26 Cincinatti, OH Taft Theatre Oct. 30 New York, NY Beacon Theatre Oct. 31 Boston, MA Orpheum Theatre Samples Oct. 21 Charleston, SC Music Farm Oct. 24 Washington, DC 930 Club SNFU Oct. 22 Seattle, WA Off Ramp Oct. 23 Eugene, OR John Henry's Oct. 24 Portland, OR E.J.'s Oct. 27 San Francisco, CA Cocodrie Oct. 29 Fresno, CA Club Fred Oct. 30 San Jose, CA The Cactus Club Oct. 31 Reno, NV Del Mar Station Dee Snider's StrangeLand Tour (Soulfly + more) Oct. 21 Kansas City, MO The Beaumont Oct. 24 Seattle, WA DV8 Oct. 25 Vancouver, BC Palladium John Taylor Oct. 21 Columbus, OH Mekka Oct. 22 Detriot, MI Alvin's Oct. 24 Boston, MA Mama Kin Oct. 26 Danbury, CT Tuxedo Junction Oct. 27 Hoboken, NJ Maxwell's Oct. 28 New York, NY Life Oct. 30 Old Bridge, NJ Birch Hill Nightclub Oct. 31 Springfield, VA Jaxx Mike Watt Oct. 21 Cincinnati, OH Sudsy Malone's Oct. 22 Cleveland, OH Grog Shop Oct. 23 Detroit, MI Alvin's Oct. 24 Louisville, KY Mercury Paw Oct. 25 Nashville, TN The End Oct. 26 Birmingham, AL The Nick Oct. 27 Memphis, TN Barrister's Oct. 28 Fayetteville, AR Dickson Street Oct. 29 St. Louis, MO Side Door Oct. 31 Minneapolis, MN First Avenue --- 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.consumableonline.com (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 ===