== ISSUE 161 ==== CONSUMABLE ONLINE ======== [November 12, 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, Kerwin So, Chelsea Spear, Simon Speichert, Jon Steltenpohl, Simon West Technical Staff: Chris Candreva, Dave Pirmann 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: U2, _The Best Of 1980-1990_ - Bob Gajarsky REVIEW: Midnight Oil, _Redneck Wonderland_ - Chris Hill REVIEW: Various, _International Pop Overthrow_ - Steve Kandell REVIEW: Jude, _No One Is Really Beautiful_ - Chris Hill REVIEW: Jim Carroll, _Pools of Mercury_ - Christina Apeles REVIEW: Spiritualized, _Live At The Royal Albert Hall_ - Tim Mohr REVIEW: Jets to Brazil, _Orange Rhyming Dictionary_ - Kerwin So REVIEW: Various Artists, _Lost and Found - The Blue Rock Records Story_ - Joann D. Ball REVIEW: Delakota, _One Love_ - Tim Mohr REVIEW: The Band, _Jubilation_ - Linda Scott REVIEW: Bed of Roses, _The Kissing Tree_ - Chelsea Spear REVIEW: ? And The Mysterians, _Do You Feel It Baby?_ - Bill Holmes REVIEW: Ominous Seapods, _Matinee Idols_ - Linda Scott REVIEW: Baby Ray, _Monkeypuzzle_ - Joann D. Ball REVIEW: Kahimi Karie, _Kahimi Karie_ - Tim Mohr TOUR DATES: Better Than Ezra / Bic Runga, Buffalo Tom / Mercury Rev, Chocolate Genius, Cracker, Deftones / Pitchshifter / Quicksand, Everlast, Miles Hunt, Howard Jones, Jude / Sinead Lohan, Marilyn Manson, Motley Crue, Offspring, Psycore / Godsmack, Rev. Horton Heat / Amazing Crowns, Craig Savoy, Statuesque, Tin Star, Tricky / Whale, Moe Tucker, Wesley Willis / Cats & Jammers Back Issues of Consumable --- REVIEW: U2, _The Best Of 1980-1990_ (Island) - Bob Gajarsky Bono, Adam Clayton, Larry Mullin, and The Edge comprise the hugely successful Irish political rockers U2. Twenty years after playing in tiny places such as Dublin's Dandelion Market to conquering stages around the world, the foursome have released their first compilation album, _The Best Of 1980-1990_. With the possible exception of R.E.M., U2 is *the* band that made the world of 'modern rock' a viable, commercial form of music - and whether that is a good thing or bad is open to individual interpretation. But what everyone can agree on is that Bono sings - and speaks - what he feels, even if not necessarily politically correct (see the _Rattle and Hum_ film comments for some examples). Political concerts such as 1985's Live Aid and 1986's Amnesty International's Conspiracy of Hope cemented the band's willingness to support causes in which they believed. _The Best Of 1980-1990_ is not comprehensive, nor all-inclusive; the historically important single "11 O'Clock Tick Tock", for example, is nowhere to be found - and the odd album track or single ("In God's Country") is omitted. But the tracks which are included - 14 in the States, 15 in Japan - are a list of some of the most influential songs of the 1980s. Songs which paved the way to U2s international stardom, such as "New Year's Day", the provocative "Sunday Bloody Sunday" and the Martin Luther King song "Pride", lead into the anthematic "With Or Without You", "I Still Haven't Found What I'm Looking For", and a joining for the ages, their pairing with B.B. King on "When Love Comes To Town". A limited edition bonus treat for fans is a second disc comprising a mix of 15 of the band's B-sides. Devoted U2-files know that in addition to remixes and live cuts, the B-sides of singles would often include quality new material and familiar covers of classics. While not of the same quality as Oasis' B-sides - where record company execs at Creation and the band would often disagree about which songs should be the A-side - these flipsides are definitely not throwaways. Some of the tracks are familiar to the listeners; "Silver And Gold" appears on the _Sun City_ disc, the rawer, original version of "Sweetest Thing" (the new single, in fleshed out form appearing on the 'hits' disc) appeared back in 1987 after failing to be included on _The Joshua Tree_ , and "Hallelujah Here She Comes" garnered significant airplay around the time of "Desire"'s release. Plus, covers of Patti Smith's "Dancing Barefoot", the soulful/disco "Everlasting Love" and ghostly "Unchained Melody" showcase the breadth of U2s skills seldom seen in the commercial singles. For a rock band, U2 were a political magnet. And for a political group, they were a hell of a rock band. Were? Still are. --- REVIEW: Midnight Oil, _Redneck Wonderland_ (Columbia) - Chris Hill Having every subsequent album measured against _Diesel and Dust_ is inevitable for Midnight Oil. "Beds are Burning", "The Dead Heart", "Dreamworld", "Sometimes" - there isn't a bad song to be found on that record. To their credit, the Oils don't stage a retreat to the past with their latest, _Redneck Wonderland_. The sound remains raw and heavy, like their last studio album, _Breathe_, filled with a edgy anger that bleeds through in gritty, uncompromising lyrics and pounding rhythms. Unfortunately, _Breathe_ was stingy with the essential Oils' magic. The murky production overwhelmed the crisp lead guitars of Martin Rotsey and Jim Moginie. _Redneck Wonderland_ avoids that trap. The production unit here (Magoo, the Oils, and old friend Warne Livesy) allows breathing room for the guitars and space for Peter Garrett's distinctive vocals on all twelve tracks. The album opener and roaring title track rages with disdain for the current Australian political situation. Like the town crier alerting citizens to danger, "Redneck Wonderland" is a wake-up call to ANY country fighting internal wars against conservatism and intolerance - "I don't want to run, I don't want to stay/'Cos everything that's near and dear/is old and in the way...time to take a stand/Redneck wonderland". Backed by a heavy guitar riff and Rob Hirst's pounding drums, it reenergized my faith in this band's ability to use music as a means to air the dirty laundry of society - proselytizing and adamant on working change. Other album themes: the growing disconnection between humanity and the natural world ("Concrete", "Comfortable Place on the Couch"), intolerance (the title cut, "White Skin Black Heart", and misplaced capitalistic priorities ("Seeing is Believing", "Return to Sender"). Wandering all over the political and social map, the songs coax and bully awareness. This album also straddles the musical development of the Oils. "Blot" - a spoken-word rant on media celebrities - is a sonic wonder, with the same experimental quality that endeared 1982's _10,9,8,7...1_ to millions. "Cemetry in My Mind" and "The Great Gibber Plain" start off with the Oils' trademark acoustic guitars, though the latter segues into a fuzzed guitar backing a chorus. The album closer, "Drop in the Ocean", with its jangly piano and spare sound is a palate cleanser, with a final "one" sung both in plea and assertion - a tone reminiscent of _Blue Sky Mining_'s "One Country". It's interesting to read the Sony website's song notes. [ http://www.sonymusic.com.au/artists/midnightoil/home.html ]. Speaking of "Concrete in My Mind", drummer/songwriter Rob Hirst says, "I think it's a really successful track and putting it no. 2 on the record really sorts out the people that are going to go the distance on the album. Because there is some more melodic stuff later, but to put it number 2 it's like, okay, this is what this record is about." This conviction defines Midnight Oil. From the "White Fella Black Fella" tour of the outback in 1986 to Garrett's presidency of the Australian Conservation Foundation, this is a band that walks what they talk. As Garrett sings, "If you can't conceive of better lines and better times/then let silence bury you." The Oils have much to say. Sadly, it's unlikely the urgency of their message will ever stale. Thankfully, Midnight Oil is there to remind us of our obligation to make the world a better place. --- REVIEW: Various, _International Pop Overthrow_ (Del-Fi) - Steve Kandell Los Angeles-based label Del-Fi Records was something of a pop music powerhouse thirty-plus years ago, but has been out of the business of releasing new artists for some time now. With the _International Pop Overthrow_ collection, which features twenty different bands, the label seeks to reassert itself as a home for new, classic-sounding pop music. As a whole, this compilation sounds like a lost K-Tel record from 1978, which is sort of the point. The bands, many of whom were featured at this summer’s International Pop Overthrow Festival in L.A., do not strive to do anything but craft simple, hook-laden three minute nuggets - new, but inherently familiar. Part of the fun of an album like this is guessing who sounds like who. The influence of bands from Big Star to the Bay City Rollers can be heard on every track. Not that this in itself is anything new for contemporary bands. Red Kross would sound right at home here, and The Sun Sawed in 1/2’s "Denny’s Girl" sounds like a lost Material Issue track. Variety is not of the highest priority on the twenty songs assembled here; there are mid-tempo ones, kinda slower ones and a few slightly faster ones. Nothing groundbreaking or particularly innovative, but heads will bob. Standouts include "Remarkable Similarity" by The Jennys, which sounds almost .38 Specialish (this is not meant to be an insult) a bit rougher than most of the other selections, which generally skew towards the jangly. "Against the Grain" by the Nerk Twins is the most country- influenced of the selections. The verses of The Tearaways’ "It’s A Breakdown" sounds taken from an alternate take of Elvis Costello’s "This Year’s Girl." "Together Again" by John Moreman is so bubblegum the song virtually comes with its own Bazooka Joe comic. Album closer "Finding Out" by Single Bullet Theory sounds like American Music Club by way of Barry Manilow. Curiously, of the twenty songs here, not one is sung by a female. Plenty of songs about girls, but no actual girls to speak of, and this could not be due to a lack of bands to choose from. Is Del-Fi maybe holding out for Volume 2? --- REVIEW: Jude, _No One Is Really Beautiful_ (Maverick) - Chris Hill An olio of odd jobs and attendance at three universities has given Jude Christodal a wealth of experience to mine for the thirteen songs on his major label debut. Singing with confidence and panache, Jude delivers the goods - worldly observations on envy, betrayal, love, and beauty - combining a variety of moods, all linked by his strong voice and witty writing. Jude deftly uses love's spectrum for thematic grist. On "I'm Sorry Now", he sings of soured love, against a bouncy piano beat. The plaintive chorus repeats "I wish you wished I wished you love." In "Brad and Suzy", the only song not written entirely by Jude, he alternates speaking with a pure falsetto, to display the truth that envy underscores disdain. A catalog- perfect couple, Brad and Suzy are inseparable, and inspire his longing to know such uncomplicated surety. ("I wish that I was stuck with someone/I wish that I was half of a two"). "Battered, Broken" has the singer crashing against the carefully constructed walls of a guarded woman in need of love - "The sadness inside you was lost on exactly no one/There's nothing heroic or stoic in being a mime". The winsome, spare "I Do" is my favorite cut. A "what if?" contemplation, it's also a letting-go song, as a wedding invitation keys old memories and regrets, yet inspires his wish that she know a life and love she couldn't find with him. It hits a chord touched by songs like Harry Chapin's "Taxi" or "Nobody" by the Replacements. "You Mama You", the album opener, has rapid, scattershot vocals segueing to a bittersweet slower chorus ("Sometimes I call my lady mama/Just to feel at home for awhile"), as Jude bemoans the rarity of unconditional love in his life. After trading "Mellencamp towns" for West Coast sunshine, he's discovered he's lost something in the transition. He mocks superficiality in the pointed "Out of L.A.", offering images of a man with "Slicked-back hair shirt to his thigh/Import silk slave labor dyed" and an equally vacuous, though beautiful, woman as representative reasons to flee the city. Another song to add to the love/hate L.A. ode catalog. "Charlie Says" also turns the magnifying glass on the image- oriented, as competition in the male modeling world inures one such model to state "no one is really beautiful/They're all just mediocre men of the hour". Jealousy or truth? You make the call. Cavalier male behavior is targeted on the funky, radio- friendly "Rick James", where an egotistical history of using and discarding women is lanced ("Don't be fooled/Don't be flattered/ It's not like you ever mattered/Not to me/Rick James was the original super freak"). "The Asshole Song" sees the same egoist give his explanation for his self-centered world, and closes the album. It's an interesting choice, as "goodbye, I'm an asshole" fades from the speakers, it draws a last setlist tune cry for an encore. Jude pulled in a "who's who" of talent to produce the record. The musician credits are equally filled with well known names: Benmont Tench (the Heartbreakers), Michael Ward & Rami Jaffe (the Wallflowers), Paul Kimble (Grant Lee Buffalo), and Andy Prieboy (Wall of Voodoo and solo artist), among many others. It's an impressive show of support, and justified in the final result - uptempo and melancholy numbers comfortably resting together on a memorable debut album. --- REVIEW: Jim Carroll, _Pools of Mercury_ (Mercury) - Christina Apeles The first time I was introduced to Jim Carroll's music was in the eighties movie Tuff Turf in which he and his band (with Robert Downey Jr. posing as the drummer) performed that unforgettable punk song, "People Who Died." Almost a decade later, I became acquainted with his writing and life with the performance of Leonardo DiCaprio as Carroll in the screen adaptation of _The Basketball Diaries_. Now with _Pools of Mercury_, Carroll demonstrates his continuing mastery of songwriting and spoken word in this impressive fifteen track release, without a Hollywood actor in sight -- Carroll is the star. One thing you could never accuse Carroll of is impassivity. With lines like, 'It goes with vanquished steam gray desire, the last vapors of your dreams...,' in "It Goes," or 'Your will is one with the force of my flow...' from "Message Left on a Phone Machine," his words exude anger, hunger, sorrow, and even complacency. Carroll's music is secondary to his spoken word pieces in _Pools of Mercury_; first off, only five of the tracks are songs and secondly, it's his poetry that seduces here, more than his melodies. This is not to say that a song like "Falling Down Laughing" is not moving. It is a somber tune, opening with slow, mellow guitar and sound effects, that gain momentum as Carroll's singing turns into wails, with the instruments getting louder to meet him in a chorus of pure rock with heavy distortion, energetic drumming, and dramatic vibrations; while "Hairshirt Fracture" could not be farther from his punk roots, with a more ethereal feel, reminiscent of the Paris, Texas soundtrack. And there is also the noteworthy title track, "Pools of Mercury," where Carroll throws in a gothic feel, sounding much like Love and Rockets, offering intense guitar riffs, electronic, rhythmic beats, and soft bass to support his dark, processed vocals. However, it is his spoken word pieces that are most poignant, those kept me wanting more. I could never know what it's like listening to Jim Carroll from a man's point of view, but as a woman, to hear him read his poetry, is to be enraptured. It's not just his sexy voice that draws me in, because many people have deep, sensual voices -- but without anything to say. Carroll, on the other hand, strings words together as an exceptional artist would: 'like a Germanic cough drop dissolving in John Cage's tongue' ("It Goes"), 'I am not a corpse buried in the snow waiting for spring,' ("I Am Not Kurt Schwitters"), 'Saints follow Christ, I followed a woman up 8th Ave. today, it was the color of her hair . . . shaking like dried vanilla beans' ("Female as Thunder"). For the most part, each spoken word piece opens up with quiet atmospheric sounds that could possibly be heard on the city streets, in an industrial factory, or even the outset of an opera, rarely overpowering his voice; the instrumental backdrop serves to heighten his words, aiding the listener to further uncover the messages in his poetry. Though the rhythm of his spoken word isn't unique -- plenty of poets read in the same style -- it is what he writes about that is brilliant. "Zeno's Law of High-Heeled Shoes" is a poem that contemplates 'every next inch of the heels of your shoes...drops me closer' which proceeds to break into smaller and smaller increments, down to the '64th inch of the heels,' until he is on his knees, musing about the 'crescent shape of numbers.' And just when I thought he couldn't top such verse, Carroll closes _Pools of Mercury_ with "8 Fragments of Kurt Cobain," a heartfelt reflection on the trappings of fame, the demands of celebrity status, and the struggle with drug addiction. Trying to rationalize both the death of Cobain and his own survival of similar circumstances, Carroll speaks directly to the former Nirvana frontman, 'Genius is not a generous thing, pills and powders only placate it for a while . . . the greater the money and the fame, the slower the pendulum of fortune swings.' Carroll even mentions how he had Cobain's tape in his walkman when he heard the news of his death: 'But Kurt, didn't the thought of never writing . . . make you think twice . . . that's what I don't understand . . . it's kept me alive over any wounds.' Need I say more? --- REVIEW: Spiritualized, _Live At The Royal Albert Hall_ (Arista) - Tim Mohr Burn, burn the cartoon-version of the rock and roll dream put about by the likes of the Verve and Embrace. Gut the pompous arrangements that smooth the rough patches of bloated, over-produced Oasis tracks. Envision the future, the past, the totality of rock in its purest form--Keith Richards' ashes adrift on the fetid breeze of time. A mournful organ line, a sincere lament, then the cacauphony of a full orchestra. Yes, indeed, Spiritualized are joined by an orchestra - used to create striking juxtapositions with the threadbare, minimalist melodies laid down by the Spiritualized core. Melodies that, in sheer emotional power, rival the roar of the hundred instruments that occasionally punctuate them. This live recording captures Spiritualized's dream project, the ultimate reading of their three-album song-book. The band and orchestra's noisy crescendos relegate the quiet passages to a previously unimaginably distant pole--giving their normal lyrical desolation a heightened ability to chill the blood. Just a scan through the song titles reveals that the obsessions of Spiritualized are those of rock bands since the dawn of the genre: "I Think I'm In Love," "Broken Heart," "Electricity." And with the recurrence of religious imagery - coupled with the gospel chior - Spiritualized deliver a perfect summation of rock doctrine, touching upon the word and the spirit. But be prepared: Spiritualized approach the project with reverence and sincerity. There is none of the punk extremity and post-punk irony of Jon Spencer or the Make-up. There is also none of the artiness of Tindersticks, and none of the literate despair of Low. _Live At The Royal Albert Hall_ has nothing to lend it indie-cool: it is an unabashedly rock and roll record. Spiritualized relinquish the right to point to their own (indie) lineage - Spacemen 3 - by conjuring the legacy of rock itself. Fortunately, Spiritualized succeed where so many have failed: _Live At The Royal Albert Hall_ transcends the cheesy excess of the Verve or Oasis, and the pathetic wannabe-ur-rock attempted by U2 on _Rattle and Hum_. The scale of the Spiritualized double live album, however, warrants such comparisons: _Live At The Royal Albert Hall_ makes the arena rock of latter day Verve, Oasis, and the Rolling Stones sound like dime-store knock-offs of the genuine item. --- REVIEW: Jets to Brazil, _Orange Rhyming Dictionary_ (Jade Tree) - Kerwin So Rock fans, rejoice. One of this decade's best songwriters, Blake Schwarzenbach, has returned to the fray. As singer, guitarist, and frontman for popular sadcore-punk trio Jawbreaker, Schwarzenbach lyrically explored the darkest recesses of isolation and depression against backdrops of gritty guitars and hard-hitting rhythms. But when the punk community in which Jawbreaker was nurtured collectively disowned the band in disgust after they signed to major label Geffen in 1995, Jawbreaker - without a fan base and, eventually, patience with each other - called it quits in July of 1996. Blake swore he would never make music again, and moved back to Brooklyn from San Francisco. Funny how fate works sometimes. The night of Jawbreaker's final show, Blake met one Jeremy Chatelain, then singer for the band Handsome, and the two forged what would prove to be a lasting friendship. Soon afterward, Handsome would break up, Jeremy would persuade Blake to play music again, and drummer Chris Daly (ex- of Texas is the Reason) would join them in forging a new musical project. On the strength of one demo and their credentials, record label Jade Tree eagerly signed the band, put them on tour with the Promise Ring, and has now released Jets to Brazil's debut album _Orange Rhyming Dictionary_ . Let's make a few things clear here. One: Jets to Brazil is not Jawbreaker Part II - although Blake clearly shows he still has the knack for delivering aching lyrics and emotional guitar work. Two: _Orange Rhyming Dictionary_ is not a New Wave dance party - although at times it owes as much to Gary Numan for its arrangements as Blake does to Richard Butler's vocals. And three: Jets to Brazil is not the "next big thing" -- but I have a feeling that they soon may be. _Orange Rhyming Dictionary_ blasts off with the crunchy rocker "Crown of the Valley," which before long gets bogged down by Blake's tendency towards the verbose, a problem which re-emerges two songs later in the super-syllabic "Starry Configurations." Little wonder, then, that Jets to Brazil chose the name that they did for their debut record. But the album's overall strengths more than outweigh its initial weaknesses. "Lemon Yellow Black"'s wah-wah splashings and bouncy basslines will get your head, if not your booty, moving. "Conrad" also grooves, albeit in a catchier and more linear fashion, with chugging sing-song verses and a spare, surging guitar line in the fadeout to make sure the song sticks to the inner walls of your brain like the ear candy that it is. "Sea Anemone," surely one of the best songs of the year (and just as likely to unfortunately be overlooked), allows the Jets to establish a powerful connection to the listener via a simpler musical and lyrical approach. A slow, breathy beat and pulsing guitar shimmer underscore the desperation in Blake's lyrics, at once subtle and shocking: "Now I'm making out the shapes/ Like the shower rod -- Can it take my weight?" Schwarzenbach is still the master of treading the depths of human emotional experience and emerging to tell us the tale, as he does again in "I Typed for Miles," a brilliant (and rather Jawbreaker-ish) ode to madness: "Leave me here to my devices/ The call could come at any time." The album closes with the appropriately titled "Sweet Avenue," an occasionally gawky but appealing testament to the redemptive power of love, all blushes and strummy acoustic guitars. Whereas much of _Orange Rhyming Dictionary_ deals with themes of drugs, isolation, and paranoia, "Sweet Avenue" wraps things up on a charmingly upbeat note, with lines like "Now all these tastes improve through the view that comes with you." That's something Jawbreaker would never have gotten away with. Indeed, many elements of Jets to Brazil's debut -- wah-wah, vocal harmonies, New Wave guitar effects-- would never have been allowed in a punk or hardcore setting. It's clear that the members of Jets to Brazil are now free to do what they want to do musically and are not afraid to experiment, a testament to their versatility and near limitless potential. _Orange Rhyming Dictionary_ is a striking debut from a band paving its own musical path, but who is destined to become as adored and influential as its sadcore/hardcore ancestors. This record grows on me every time I listen to it; I can't wait for Jets to Brazil's next album to see how far they've evolved. --- REVIEW: Various Artists, _Lost and Found - The Blue Rock Records Story_ (Mercury/Chronicles) - Joann D. Ball Soul music is experiencing a major renaissance in the United States as the Nineties come to a close, and this time it's being positioned in mainstream popular culture as more than the soundtrack of big chill memories. That sweet soul music is being used to advertise automobiles, shampoos, fast food restaurants and a host of other products, all of which combine music with a feel good message. While many of the ads are created especially to reach financially secure members of the chill generation, the commercial use of soul seems to target buyers of all ages. And this current mass marketing of soul makes the California raisins' appropriation of "I Heard It Through The Grapevine" seem small and minor in comparison. So what then becomes of soul music as it was originally defined? Whether it was love and love-making music or message and (Power to the) People music it helped shape the musical and social landscape of 1960s and 1970s America and has had a tremendous impact on popular music worldwide. As a result of the renewal process now underway, however, it seems almost certain that the category "soul music" will be reconfigured, modified and transformed. Commercial radio is also a significant factor in this process, too, with the advent of Classic-Soul-The-Format which has appeared in such radio markets as the Bay Area, San Diego and elsewhere. Additionally, new and noticeably more generic Classic Soul stations are popping up in cities like Chicago right beside established R&B and urban contemporary stations that have always played soul music to a loyal listenership. Given the overexposure and oversaturation of classic rock formats nationwide, applying the same principles and limited playlist practices to soul appears to be the new expressway to the gold mine. Unfortunately, it seems to strategically bypass legendary soul DJs and listeners in favor of the "Most Desirable Target Market." If Classic Soul (food) for the radio means heavy on the Aretha and James, ample portions of Motown with some Stax on the side and a few garnishes, then the music formerly known as soul will be woefully underserved. One can only hope that radio consultants and programmers search beyond the comfortably familiar to include a greater variety of artists and songs. Making space for marginalized, forgotten and ignored material would make the canonization of soul a lot easier to swallow. To this end, _Lost and Found: The Blue Rock Records Story_ is one of many rich and essential primary sources. Back in the day (1964-1969), Blue Rock was Mercury Records' soul music imprint. It was a determined effort by Mercury to enhance its roster beyond pop-slanted acts like Dinah Washington, Brook Benton and Clyde McPhatter. Unfortunately, Blue Rock was less coordinated than Motown and less recognizable than Stax. Unlike those two legendary homes of soul music, Blue Rock Records lacked a geographical urban identity. Blue Rock operated out of New York and Chicago, and signed talent from across the country without the benefit of a signature house band. Thus, there isn't a definitive Blue Rock sound, but it is clearly evident from this collection that the performers on the imprint were deeply rooted in and committed to the essence, spirit and creative artistry of soul music. _Lost and Found: The Blue Rock Records Story_ is an extensive compilation of singles released during the label's brief existence. The 60 selections featured here were prepared from the original 2-track master mixdown tapes, and the only singles not included were those lacking the crucial master tapes. The double disc collection contains almost three hours of soul stirrings from forty or so artists. Many of them, like Otis Leavill (whose "Let Her Love Me" was the label's first national hit), the Brothers of Love who declared "Yes I Am," and the duo Johnny and Jake who shouted out "It's A Mess I Tell You" are performers whose names and songs barely register on the average recognition scale. Others, like Dizzy Jones who offered up "Come On And Love Me" and "Let Me Talk To You," had strong ties to musical luminaries but are scarcely remembered today. Jones had been a musical partner of James Brown's saxist and trumpeter, and Blue Rock artist James Crawford frequently opened for the Godfather of Soul on the road and got Brown to produce the shouter "Got No Excuse" for him. And Dee Dee Warwick was the more down to earth sister of pop vocalist Dionne. Her Blue Rock singles included "Do It With All Your Heart," "Gotta Get A Hold of Yourself," and the 1965 hit "We're Doing Fine." The Blue Rock roster did include some performers who managed to avoid obscurity. Featured on the compilation are The Shirelles whose Blue Rock contributions "Sweet, Sweet Lovin'" and "Call Me" are chronologically and thematically removed from the sweet innocence of "Soldier Boy." Windy City fixtures the Chi-Lites generated the singles "Never No More" and "She's Mine" for the label before their 1970s string of hits. And Chicago blues mainstay Junior Wells infused some funky old soul into his sound for Blue Rock efforts "Party Power" and "You're Tuff Enough." Then there's also the song that subsequently became a hit the second time around for another, more popular soul artist. Even though Sir Mack Rice first recorded "Mustang Sally" for Blue Rock, it is the cover version by his ex-Falcons bandmate Wilson Picket that has stood the test of time. _Lost and Found: The Blue Rock Records Story_ is a valuable and immensely enjoyable collection. Mercury/Chronicles Records has given a whole new lease on life for these Sixties soul tracks, many of which are available on compact disc for the very first time. It's doubtful that any of these songs will provide the musical backdrop to a clever television commercial. And whether any of these Blue Rock cuts will get airplay on those the new Classic Soul radio stations remains to be heard. In spite of that, though, _Lost and Found: The Blue Rock Records Story_ provides tangible proof that soul music was once indicative of a distinctive, urban Black American sound that was born of equal parts hope and frustration in an era that has become increasingly distorted and distant. --- REVIEW: Delakota, _One Love_ (Go! Beat Import) - Tim Mohr Thank god this decade looks to be finishing up like the previous one: with complete lunatics from bleak British towns putting together joyously unfettered music assembled from various bits and pieces of current musical style. If the Happy Mondays and Primal Scream managed to close the book on the 80s with _Pills'n'Thrills'n'Bellyaches_ and _Screamadelica_ , Delakota may well have produced the first such (last) record of the 90s with _One Love_ . Then again, perhaps _One Love_ is in fact the missing member of a trinity of albums that should have launched the 90s, as Delakota sound rather like the Stone Roses at the apex of their career (i.e. "I Am The Resurrection" and the two post-album singles, including "Fool's Gold"). Delakota even managed to name their album after the last real Stone Roses' single, too, assuming the post-Led Zeppelin nightmare that emerged after the post-"One Love" hiatus was something other than the real Stone Roses. Delakota have essentially made the record that we all wanted _Second Coming_ to be. Since John Squire's tragic (and apparently permanent) loss of all semblance of taste is the easiest diagnosis of the demise of _Second Coming_ (and indeed the real Stone Roses), it is perhaps clever that Delakota made _One Love_ without a proper guitar player--or band for that matter. Delakota are two guys, a bunch of gear, and some computers. Typically a song is constructed from a home-made guitar loop, a drum sequencer, and a voice like Ian Brown's. The pipes belong in fact to a Browne named Cass, formerly drummer with the Senseless Things, a truly excrable guitar outfit who managed to reach the unenviable "peak" of touring Germany as opener for the New Model Army--just as Britpop was taking shape. But that is just a chuckle-inducing footnote now, for Delakota are among the leaders of the next school of British indie, the one that includes Cornershop, Space, and a rejuvenated Primal Scream, the one that promises to make the next few years as exciting as the Madchester era a decade ago, the one that once again remembers that this thing called rock was invented for dancing. --- REVIEW: The Band, _Jubilation_ (River North) - Linda Scott In America in the sixties, five young musicians pose for pictures in the Mecca of Woodstock. Dressed in string ties and black suits and dark hats, they don't look like the other popular bands then - or now. But the album they are releasing, _Music From Big Pink_ is about to take America by storm. The album became a huge hit, then a classic; and was followed by the self-titled _The Band_ . More albums followed carrying The Band on a tidal wave of music into the Rock and Roll Hall of Fame in 1993. By the nineties, they've lost a couple members to death and solo projects, but three of the five original members found three new members and 13 guest musicians to help them put out their tenth studio album. They did it because they love the music and in honor of the 30th anniversary of _Music From Big Pink_. Several books have been written about The Band's history, and that's probably where you should look for the definitive facts on the group. It takes a book to tell the whole story of the young men who started out as The Hawks, played backup for Bob Dylan in his move from acoustic to electric, and all that meant in terms of the experience The Band got. When Dylan had his near fatal motorcycle accident and recuperated in Woodstock, he made music with The Band in the basement of their house called Big Pink. The Basement Tapes were the product of Dylan's recuperation. In the meantime The Hawks became The Band, and wrote _Music From Big Pink_. This was their own music in their own style, and singles like "Up On Cripple Creek", "The Night They Drove Old Dixie Down", and their masterpiece, "The Weight" can just blow you away even in 1998. Timeless music is The Band's specialty. _Jubilation_ has a big tradition to follow. Original members Garth Hudson, Rick Danko, and Levon Helm are together again with the three new members Richard Bell, Randy Ciarlante, and Jim Weider. Of the 13 guest musicians, the most notable are Eric Clapton and John Hiatt. Clapton is a long time fan of The Band and inducted them into the Hall of Fame while noting that he had come to the U.S. to see if there was anyway at all he could get into The Band. _Jubilation_ has 11 new songs and most were written by some combination of members of The Band. In homage to _Music From Big Pink_, _Jubilation_ was written in a converted barn in Woodstock during the first half of this year. _Jubilation_ is The Band from the first track, and it's good to hear them again. "Book Faded Brown" has an easy country rock sound with good lyrics and (hats off to Danko) great vocals. Pack up your VW and head for Woodstock! But The Band hasn't lasted 30 years by living completely in the past. The music, the beautiful melodies, driving bass lines add up to a beautiful and sophisticated album. Starting off with a drum roll and "Book Faded Brown", the album opens with one of its strongest tracks. This one has to be a single. "Last Train To Memphis" features Clapton on lead guitar making the whole party song brighter and better. "Kentucky Downpour" is another swinger with lyrics that flash images of a wild, rainy country night. John Hiatt contributes the lyrics to "Bound By Love" and of course does some wonderful bass work here. "If I Should Fail" is another strong song sung just perfectly by Danko. The powerful lyrics are about a man facing death on the battlefield in the morning. This is another one that should be released as a single. Excellent treatment by The Band....and the list goes on and on. The Band appeals most strongly to its old fans and to those who like that easy, down home music. Modern fans? If you were a fan of The Jayhawks, that's the kind of music you'll find here. _Jubilation_ is recommended to everyone who likes country rock from one of the pioneers of that format. --- REVIEW: Bed of Roses, _The Kissing Tree_ (DivaNation) - Chelsea Spear When I first received this CD from our fearless leader, I had no idea what to expect. The band's name conjured up images of a horrifically saccharine romantic comedy from a few years back, and the cover art resembled an eye-catching, richly colourful flyer for "goth night" at the famed Boston nightclub Man Ray. On perusing the liner notes, I recognized the name of BoR ringleader as a member of My Scarlet Life, whose inventive, silky cover of "Suspended in Gaffa" graced the exemplary Kate Bush tribute album _I Wanna Be Kate_ . However, none of these signposts belied the true artistry behind this album. Quite simply, _The Kissing Tree_ is a musical truffle whose rich, dense flavours should appeal to many palates. Goths will find the spooky storm backdrop appealing, and 4AD geeks can swoon at the sound tapestry of swirling, gauzy layers that permeates each track. The romantic ambiance will hook the lusty lovers who will use this as mood music over their candlelight dinners, and overstressed students and worker bees like myself may well take solace in the lulling melodies and relaxed, drony cello. Usually, music of this nature does nothing for me; the pure whimsy and wispiness of most etherial bands bores me and leaves me feeling hungry for some substantial music about half an hour later. With Bed of Roses, though, the musicianship at the core adds another level of enjoyment to the listening experience, and paying attention to the interplay between chanted vocals, cello arrangements that dance gracefully, and bobbing and weaving guitar parts can keep one awake as soon as the music in full can sound like a lullabye. This ensemble is also more musically adventurous than many others. While the Tricky-like rap that opens "It Glows In My Hand" probably looked better on paper than it sounded on record, I'm glad the band had the ingenuity to add another element to the mix. All in all, _The Kissing Tree_ is a scintillating, high-quality album of unusual grace and syncopation, one that comes highly recommended to fans of This Mortal Coil, Massive Attack, and Portishead. To hear it is to savour it. For more information on Bed of Roses, check out the website located at: http://www.divanation.com --- REVIEW: ? And The Mysterians, _Do You Feel It Baby?_ (Norton) - Bill Holmes The lucky citizens of New York city get to have events like "Cave Stomp", and I'm jealous. Garage rock is alive and well the world over, but it never hurts to pile several hundred people into venues like Coney Island High and prove it every so often. And although there are many current practitioners worth seeking out, when you get the opportunity to get an old school fix, you'd better jump on it. What's that? Didn't make it there? Well, me either, but thanks to the folks at Norton Records, you've now got seventy five minutes of groovin', smokin' rock and roll from "?" and the Mysterians! What's that? Ohhhh, mannn.....if you don't know who I'm talking about, stop reading this article, find someone who knows what the word "vinyl" means, and beg them to help you immediately. "96 Tears", of course, defines the essence of what makes garage rock so great - it's universally recognized as one of the best songs ever recorded, yet it is so simple that it's not long before your embryonic band can take a shot at it too. After this huge hit thirty years ago, most people assumed that Rudy Martinez (That's "?" to you) went the way of so many other one hit wonders, but the band made several singles (many recaptured here) and kept on chugging their soul-pop groove to believers everywhere. The band's strut hasn't changed a bit - Rudy still makes a grand entrance that Elvis would be jealous of, and Frank Rodriguez' trademark organ sound can still fill a dance floor in a flash. True "cool" never dies. This live show, the recording and release of which was reportedly unplanned, proves three things beyond a shadow of a doubt: 1. The Mysterians rock. 2. Rudy Martinez says the word "baby" more than a room full of expectant mothers. 3. The Mysterians REALLY rock! Do I feel it baby? Yes, you know I do. --- REVIEW: Ominous Seapods, _Matinee Idols_ (Hydrophonic) - Linda Scott Ominous Seapods are a mixture of latter day hippie band and psychedelic funk jam band, and they're very good at what they do. If you haven't heard of them, which is becoming more difficult as they approach 300,000 miles on their 15 seat van, think of Grateful Dead, Phish, The Band. _Matinee Idols_ is their debut album on Hydrophonic, and their second album release. These funky freaks hail from upper New York state, but their rocketing sixties style has them rocketing across the country playing all kind of gigs. The 'Pods (as referred to by their fans) are into live shows with bizarre theatrics, psychedelic light shows, costumes, funny masks, and some cool grooves. The band encourages taping and sells their own tapes at shows - just like other bands with cult followings from the Dead to Dave Matthews. _Matinee Idols_ is built from soundboards of four live shows from spring 1998. Listening to _Matinee Idols_ gives you a good idea what the band can do musically, but stories of rubber headed sci fi costumes makes you wish for a video. The band's name choice is strange and may falsely imply that the Ominous Seapods are a punk band. The album artwork supports the name with that old, weird, latenight sci fi movie feeling. This is one band that may not get much impulse buying. And that's too bad, because from the first track the band is wonderful. The 'Pods know how to write songs with a rock vibe, how to play them and jam on them. The ghost of Jerry Garcia seems to be riding in that van with them. _Matinee Idols_ has ten original 'Pods tracks which are highly recommended to listeners wanting sixties groove with long jams and peaceful fun. For more information on the Ominous Seapods, check their website at http://www.netspace.org/seapods . --- REVIEW: Baby Ray, _Monkeypuzzle_ (Thirsty Ear) - Joann D. Ball Baby Ray is not typical. Rather quirky, a bit odd at times but certainly captivating and entertaining, this Boston-based quartet delivers what they call "pop gone wrong." And that ain't at all a bad thing. Baby Ray has just tossed out the debut album _Monkeypuzzle_ for you to play with and it should keep you occupied for a long time. What seems simple, straightforward and breezy on the surface, is actually a collection of stuttered rhythm patterns and melodies which explores a full range of subjects, experiences, and emotions. On the lead track "Never Know My Name," lead vocalist/guitarist Erich Groat picks up where such bands as the Judybats and Guadalcanal Diary left off. His affected vocals aren't southern but are stamped with a wacko/bizzaro sorta twang that comes from his own secret place. On "The Ballad of Baby Ray," Groat travels from the deep growl vocal territory of Webb Wilder to the tippy-top highs of his own range, the result being a very descriptive account of this unusual being. The one band whose influence is everywhere but in no particular place on this record, is British pop pioneers XTC. Fans of Partridge and company will likely resonate with most of the tracks here, and fans of such different performers as Primus, Barenaked Ladies and Robyn Hitchcock should delight in the entirely offbeat "Buster Pig Man" and "Thing Called Springtime." Those who prefer their pop a bit more straight will take an immediate liking to "Sugar Mine!" But the plaintive vulnerability of the acoustic (but way too short) "Curl" and the sweet "Check It Out" are both unexpected gems, even on this surprise-filled record. From the folky-pop skiffle of "Little Red Caboose" to the instrumental magical mystery tour that is the unlisted bonus track at the end of "Monekypuzzle," it is obvious that Baby Ray is all about a fun, guitar driven sound. Overall, Baby Ray is a real treat and a wonderful, happy little plaything that quickly grows on you. --- REVIEW: Kahimi Karie, _Kahimi Karie_ (Minty Fresh) - Tim Mohr Minty Fresh compiles Kahimi's bubbly singles--previously available only in Japan and Europe--for the US market. Her collaborators offer a reasonable introduction to her sound, and they include Momus, Beck, Katerine, Pizzicato Five, and Cornelius. The songs are bouncy, punctuated with horn bits, and topped with dreamy, breathy vocals. The song title "Lolitapop Dollhouse" could also be used to describe the tone of the album: girly, but with a tanglibly sexual undercurrent. Kahimi covers Serge Gainsbourg to add to the effect, but with her own lyrics along the lines of "If you really love me smash the walls around me/If you really want me take me how you found me" or "Tell me I'm allowed to jump on the crowd/when I'm all wet with sweat and the music is loud," she hardly needs to allude to past masters of the easy-sleaze genre. The melodies can sound familiar: "Le Roi Soleil" borrows the melody of the Ramones' "I Wanna Be Sedated" for the verses, "Candyman" winks at the opening of the Jackson Five's "ABC", and "Elastic Girl" sounds like an off-kilter re-working of Sheryl Crow's "All I Wanna Do". That said, the obvious parallels are limited to bits and pieces, and the context makes the songs - even the ones that gently tug at past pop memories--sound original. The singles are more playful even than those of the Cardigans or Saint Etienne, with whom Kahimi Karie could be compared. "Good Morning World" appeared on the Bungalow Records "Sushi 2002" compilation among a batch of light, eccentric, Japanese club-pop that made Kahimi's song seem serious by comparison, but placed alongside England's girl bands--Sleeper, Elastica, Kenickie, et al--Kahimi Karie would song like a spoof. Still, the instrumentation and structure of her songs are closer to the Cardigans than the truly loopy concoctions of Pizzicato Five or Cibo Mato. This compilation is great fun, a barbie doll recreation of 60s Euro-trash with echoes of the past masters of trafficking in cheap sex submerged in faux-innocent pop such as Brigitte Bardot. --- TOUR DATES: Better Than Ezra / Bic Runga Nov. 17 Scottsdale, AZ Cajun House Nov. 18 San Diego, CA 4th And B Nov. 19 Ventura, CA Ventura Theatre Nov. 20 Los Angeles, CA House Of Blues Buffalo Tom / Mercury Rev Nov. 14 Providence, RI Met Cafe Chocolate Genius Nov. 14 New Haven, CT Palace Theatre Nov. 15 Syracuse, NY Landmark Theatre Nov. 16 Columbus, OH Newport Music Hall Cracker Nov. 14 Denver, CO Ogden Theatre Nov. 15 Lincoln, NE Guitars & Cadillacs Nov. 17 Minneapolis, MN First Avenue Nov. 18 Des Moines, IA Super Toad Nov. 19 Milwaukee, WI The Rave Nov. 20 Chicago, IL Metro Deftones / Pitchshifter / Quicksand Nov. 16 Baltimore, MD Michael 8th Avenue Nov. 17 New York, NY Roseland Nov. 18 Portland, ME State Theatre Nov. 20 Asbury Park, NJ Convention Hall Everlast Nov. 17 Spartanburg, SC Magnolia Street Pub Nov. 18 Athens, GA 40 Watt Club Nov. 20 Baton Rouge, LA Varsity Theatre Miles Hunt Nov. 17 Asbury Park, NJ Fast Lane Nov. 20 New York, NY Mercury Lounge Howard Jones Nov. 16 Columbus, OH Ludlow's Nov. 17 Syracuse, NY Styleen's Nov. 19-20 New York, NY Shine Jude / Sinead Lohan Nov. 14 Asheville, NC Stella Blue Marilyn Manson Nov. 16 Detroit, MI State Theatre Nov. 18 Toronto, ON Massey Hall Nov. 19 Syracuse, NY Landmark Theatre Motley Crue Nov. 17 Milwaukee, WI Riverside Theatre Nov. 18 Indianapolis, IN Murat Centre Nov. 20 Omaha, NB Mancuso Conv. Hall Offspring Nov. 15 Phoenix, AZ Club Rio Nov. 17-19 Los Angeles, CA The Palace Psycore / Godsmack Nov. 13 Milwaukee, WI Rave Nov. 14 Chicago, IL Thurston's Nov. 15 Minneapolis, MN 400 Bar Nov. 17 St. Louis, MO Side Door Nov. 18 Cincinnati, OH Top Cats Nov. 19 Ann Arbor, MI Blind Pig Rev. Horton Heat / Amazing Crowns Nov. 17 Charlotte, NC Tremont Music Hall Nov. 18 Chapel Hill, NC Cat's Cradle Nov. 19 Richmond, VA Flood Zone Nov. 20 Washington, DC 930 Club Craig Savoy Nov. 21 Los Angeles, CA Joint Statuesque Nov. 17 Washington, DC Black Cat Nov. 18 New York, NY Mercury Lounge Nov. 19 Boston, MA TT The Bears Nov. 20 Wellesley, MA Wellesley College Tin Star Nov. 13 New York, NY Shine Tricky / Whale Nov. 17 Providence, RI Lupo's Nov. 18 Baltimore, MD Bohanger's Nov. 19 New York, NY Eisner and Lubin Auditorium Moe Tucker Nov. 17 Providence, RI Met Cafe Nov. 18 Philadelphia, PA Khyber Pass Nov. 19 Arlington, VA Iota Wesley Willis / Cats & Jammers Nov. 16 Boston, MA The Middle East Nov. 17 New York, NY Coney Island High Nov. 18 Baltimore, MD Otto Bar --- 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 ===