== ISSUE 167 ==== CONSUMABLE ONLINE ======== [February 1, 1999] Editor: Bob Gajarsky E-mail: editor@consumableonline.com Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim Kennedy, 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, Paul Hanson, Chris Hill, Eric Hsu, Tim Hulsizer, Franklin Johnson, Steve Kandell, Reto Koradi, Robin Lapid, Linda Scott, Scott Slonaker, Kerwin So, Chelsea Spear, Simon Speichert, Jon Steltenpohl, Simon West Technical Staff: Chris Candreva, David Landgren, 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: Gigolo Aunts, _Minor Chords And Major Themes_ - Bill Holmes REVIEW: Sandra Bernhard _I'm Still Here. . . Damn It!_ - Joann D. Ball REVIEW: Fish, _Kettle of Fish 88-98_ - Dan Birchall REVIEW: Seal, _Human Being_ - Simon West REVIEW: The Hope Blister, _...smile's ok_ - Chris Hill REVIEW: Various Artists, _Real - The Tom T. Hall Tribute_ - Chelsea Spear REVIEW: Snakefarm, _Songs From My Funeral_ - Chris Hill REVIEW: Wagon Christ, _Tally Ho!_ - Tim Hulsizer REVIEW: The Hollowbodies, _Viva La Dregs_ - Bill Holmes REVIEW: Various, _Blastered: A Musical Tribute to the Blasters_ - Daniel Aloi REVIEW: The Stone Coyotes, _Church Of The Falling Rain_ - Bill Holmes REVIEW: Hazeldine, _Orphans_ - Daniel Aloi REVIEW: Emilia, _Big Big World_ - Franklin Johnson REVIEW: Thom MacFarlane, _Gone So Long_ - Al Muzer NEWS: Candlebox, Fatboy Slim, KMFDM TOUR DATES: Afghan Whigs, Black Sabbath / Deftones / Pantera, Bluetip, Cardigans / Kent, Dave Davies Kink Kronikles, Eve 6 / Marvelous 3, 50 Tons of Black Terror / Groop Dogdrill, Jets To Brazil, Kodo, Local H, Macha, Alanis Morrissette, Ian Pooley, Rusted Root, Sloan, 12 Rods THE READERS WRITE BACK! Back Issues of Consumable --- REVIEW: Gigolo Aunts, _Minor Chords And Major Themes_ (E Pluribus Unum) - Bill Holmes Wow! Blasting back with their first full length record since 1994, the Gigolo Aunts have indeed made it worth the wait. Kicking off with the arena-pop crunch of "C'mon, C'mon" (not the Cheap Trick tune, but not a bad comparison either), the Aunts serve up a diverse platter that takes the best elements of their past work (huge hooks, good harmonies and bold guitar) and use them as a springboard for their most solid work to date. A few of the tunes roar right off the record. "Super Ultra Wicked Mega Love" echoes bands like The Odds who are able to combine power and finesse; "Fade Away" uses psychedelic sonics and a tasty wah-wah pedal to great effect. "The Big Lie" (with vocal help from guest Adams Duritz and Schlesinger - what, Sandler was busy?), like many tracks, starts with an acoustic skeleton and then revs from zero to sixty in ten seconds. "Lie", "Half A Chance" and "Everything Is Wrong" are classic pop reminiscent of records from _Revolver_ to The Jayhawks _Sound Of Lies_ and everything in-between. Producer Mike Denneen, who did a masterful job with Jen Trynin's _Gun Shy Trigger Happy_, applies a similar magic touch here. He mixes Gibbs' breathy vocals up front on slower tracks like the hypnotic "You'd Better Get Yourself Together Baby" (featured in TV’s "Felicity") and makes bassist Steve Hurley's vocal turn on "Residue" just as beautiful. With its strong pop sensibilities and smart lyrics, _Minor Chords And Major Themes_ is just as effective blasting from the speakers as it is accompanied by a rainy sunset and a broken heart. Although 1997's EP _Learn To Play Guitar_ seemed to lose the momentum that _Flippin' Out_ generated, any doubts about this band's talent have been cast aside. The song writing vastly improved, the playing seamless, and Dave Gibbs' vocals have never sounded better. When eight of the first nine tracks could easily be released as singles, you know you’re on to something. If you have any other records you want to listen to, you'd better play them now. Once this one gets in your player, it isn't going to come out for a long, long time. An absolute stunner. --- REVIEW: Sandra Bernhard _I'm Still Here. . . Damn It!_ (TVT) - Joann D. Ball A one-woman Broadway show for the price of a compact disc? Damn right! Sandra Bernhard defiantly declares _I'm Still Here. . . Damn It!_ and proves just that on the seventy-three minute CD which captures her current Broadway show. Ms. Sandra is overflowing with attitude, sharp wit and sardonic observations about pop culture and its icons. She gives us her take on the proliferation of telephones (on the track of the same name), the natural ways of spiders on "Jazzy Spider," and the editorial content of National Geographic on the short but brilliant "Too Many Magazines." And on the funky spoken word and house music number "On the Runway," Ms. Sandra explores the reactions of self-centered supermodels like Naomi Campbell to the death of Gianni Versace. And of course, a dance remix version of "On the Runway" (which closes the release) has been released as a single and aimed at the trendiest of danceclubs especially for the big fashion crowd. Bernhard covers a lot of territory in her performance, but is still at her absolute best when she offers keen insights into the women of rock and roll. On _Without You I'm Nothing_, the 1988 Grammy nominated album which captured her show of the same name, Ms. Sandra spoke intimately of her obsession with Stevie Nicks. Ten years later, the object of interest is Hole frontwoman Courtney Love and the story is equally revealing. The track "Courtney Love" segues effortlessly into "The Beautiful Women in Hollywood," which Ms. Sandra dedicates to Goldie Hawn, Farrah Fawcett, Raquel Welch and even Cher, whom Bernhard tags with special affection. But it's the women of the Lilith Fair who are the special targets of Bernhard's show. She dedicates almost seven-and-a-half minutes deconstructing and critiquing Sarah McLachlan's female music extravaganza. Proclaiming that she's had it with the waifish alternative likes of Jewel, Alanis and Fiona Apple, Bernhard reveals that she yearns instead for a return to the days of no nonsense rockers like Joan Jett, Pat Benatar and her personal faves (and friends) Ann and Nancy Wilson of Heart. And once again, Bernhard uses the lyrics of the sisters Wilson to make her point that rock and roll is supposed to be about edge, grit and living the words you sing. Ms. Sandra finds similar streetwise sass and edge in some of the women of R&B and hip-hop, championing Mary J. Blige, Lil' Kim, Salt-n-Pepa and others in contrast to the butterfly-in-a-swimming pool known as Mariah Carey. Immediately following "Lilith Fair" is the track "Nightingale," a story and song delivered from the point of view of Fleetwood Mac's Christine McVie after trading the arena stage for a waitress/performer job in a Hollywood coffee shop. And yes, Bernhard is every bit a songbird on the gentle, reflective number. Whether commenting on the women in rock, "Romance and Drugs," her house painter, or her beloved Los Angeles, no one tackles the topics of the day like Sandra Bernhard. She is a pop culture commentator who's an expert on the subject because she knows it inside and out. Forever raw, honest, straightforward and absolutely hilarious, Bernhard never skips a beat in the songs and spoken word pieces that comprise her Broadway show (which runs through February 28th). Believe her when she says _I'm Still Here. . . Damn It!_ 'cuz she absolutely, positively means it. --- REVIEW: Fish, _Kettle of Fish 88-98_ (Roadrunner) - Dan Birchall Don't let the label fool you - Fish isn't the latest heavy-metal act. The former Marillion frontman, on his own for the last decade, is either god or devil to long-time fans of his old band, and a rather interesting fellow. There aren't many rockers about with backgrounds in forestry. Although his stylistic wanderings have taken him to some fairly odd points in the musical continuum during his solo career - the song "Brother 52" being a good example - Fish hasn't lost any of the ability he displayed prior to 1988. He can still sound passionate at any point in his broad dynamic range, be it a whisper to a shout, and his passion is put to good use with lyrics from introspective to accusatory. This compendium serves up a baker's dozen of Fish songs, including two new tracks. With sounds reminiscent of old Marillion, Peter Gabriel, traditional jigs, and the occasional bit of electronic pop, it displays the breadth of his work. All in all, a rather tasty morsel for new fans who'd like to sink their teeth into some Fish, and a suitable retrospective for existing fans' collections. --- REVIEW: Seal, _Human Being_ (Warner Bros.) - Simon West Seal, it's worth remembering, actually began his chart career in the _dance_ arena, as the uncredited vocalist on Adamski's 1990 classic single "Killer". The eponymous debut album was essentially a dance record too, while follow-up singles "Hey Joe" and a revamped "Killer" suggested Seal might be moving into a rockier, more guitar-driven sound. He didn't, of course. He re-teamed with producer Trevor Horn and took a wander down the 'adult contemporary' path. The also eponymous second album was a huge success, the lushly produced ballad "Kiss From A Rose" popping up on a Batman soundtrack and earning three Grammys along the way. Third album _Human Being_ has been a long time coming - and to some great extent, it's really more of the same - naked artiste on the cover, Trevor Horn's usual penchant for glossy over-production well to the fore, humanist lyrics in attendance. He seems to have forgotten the hooks this time around however, which may well affect the success of the album. There's really nothing as immediate here as the classic dance tracks "Crazy" and "Future Love Paradise" from the debut, or the atmospheric ballads like "Prayer For The Dying" from 1994's follow-up. The first single "Human Beings" stands out as a strong opener in the style of 1992's "The Beginning", and "When A Man Is Wrong" sees Seal's voice leaping to the high register that is its true strength over an effective acoustic guitar and piano arrangement backed by a string section, but much of the rest of the album runs together as undistinguished mid-tempo balladry, spiced up here and there with the odd break beat or trip hop keyboard as a slight concession to Seal's original arena, but otherwise unremarkable. A well-documented falling-out with producer Horn (some of which is reproduced in a heated conversation found in the sleeve notes, bizarrely), threatened this album for a time. Perhaps now is the time for Seal to strike out on his own. A remarkable voice and a huge songwriting talent continue to flounder under the weight of overproduced dinner party soul/pop. --- REVIEW: The Hope Blister, _...smile's ok_ (4AD/Mammoth) - Chris Hill he Hope Blister is "a sequel of sorts" to the splendid trio of This Mortal Coil albums 4AD released from 1984 to 1991. This time, however, 4AD founder and mastermind Ivo Watts-Russell has condensed TMC's rotating roster of talent into six primary players: vocalist Louise Rutkowski, bass guitarist Laurence O'Keefe, and a string quartet (cello, viola, two violins). No matter - for fans of This Mortal Coil, this is a must-buy, as the musical distance between the projects is minimal. Despite the years separating the two (seven years from _Blood_ to the UK release of _...smile's ok_), the production makes for a seamless transition. A review of _...smile's ok_ has to focus on the performances within, as all eight songs are covers. Ranging from 1973's "Hanky Panky Nohow" by John Cale to 1997's "Sweet Unknown" off the Cranes' _Population Four_, Ivo has culled an impeccable assortment of songs and pulled off the daunting task of assembling performers equal to the reinterpretation of these likely obscure songs. I can't compare these with the originals, as I'm unfamiliar with them, yet I'm more than willing to seek them out. And perhaps that's a secondary motivation here - the impetus behind a good mix tape - "Here are my musical loves, I hope they'll be yours as well." Therefore, first in line to greet one on _...smile's ok_ are the vocals. Louise, along with sister Deirdre, sang the female lead on "Tarantula", off _Filigree and Shadow_, my favorite song and album of the three TMC recordings. Hearing that she was helming the vocals heightened my anticipation for this cd, like reading of a pre-season trade bringing the home team last season's all-star. She doesn't disappoint. Louise shines in the spotlight, imbuing David Sylvian's "Let the Happiness In" with the raw emotional power of Peter Gabriel's "Wallflower", and giving Heidi Barry's "Only Human" a bleeding heart vulnerability that cries for protection and comfort. Though _all_ the lyrics share a melancholia common to the This Mortal Coil canon, the inherent downbeat is offset by the underlying strength in her voice, which buoys the lyrics gently onto a musical surface. The ebb and flow of both voice and production on Chris Knox's "Outer Skin" exemplifies this metaphor - the song rises and falls, acapella vocals backed by electronically altered backing vox, until a raft of ambient strings enters to support both. This disc has been described by others as a "bath-and-candle" record, and I'd agree enthusiastically with that assessment. Despite the lyrics, there is a warmth that pervades the album, a sensuality which underlies both the vocals and music, and a relaxation that takes hold of the consciousness insistently. Perhaps because of the strings. The violins play at the corners of the senses, winding in and out of observation, Tinkerbells to the Peter Pan bass, which holds the plucked instrument position. Ivo deserves a commendation for relegating melody to the bass guitar (particularly on "Sweet Unknown") instead of a more traditional guitar or piano. If you like the caressing atmosphere of this record, watch the 4AD site, http://www.4ad.com/ . _Underarms_, an instrumental album recorded during the _...smile's ok_ sessions will soon be available only by mail order. And, if inspired, hunt down the two song freebie 4AD released for _...smile's ok_ in early '98. The demo version of "Is Jesus Your Pal" on that promo battles the finished product for aural superiority. (The other song is the album version of "Sweet Unknown"). --- REVIEW: Various Artists, _Real - The Tom T. Hall Tribute_ (Tomato/Sire) - Chelsea Spear Tom T. Hall could well be the best songwriter you've never heard of. There's no question that you've heard some of his songs, since the troubadour is behind such classic chestnuts as the Oscar-winning "Harper Valley PTA", "I Hope It Rains At My Funeral", and "Don't Forget The Coffee, Billy Joe". However, from what the liner notes suggest, Hall did most of his work behind the scenes as a songwriter in Nashville during the 1950s and 60s. His work has had a huge influence on the smart, song-based No Depression roots scene of today, and some of the movement's biggest stars return the inspiration with this outstanding tribute, _Real - The Tom T. Hall Project_. All the artists are true to Hall's spirit, turning in fiery, canny and spirited takes on Hall's tunes. Among the standouts are Syd Straw's by turns humourous and sexy take on Hall's best-known track, "Harper Valley PTA", and a new version of "I'm Not Ready Yet" by the Mary Janes that burns going down. Freedy Johnston contributes an endearingly meandering version of "Coffee, Coffee, Coffee", and Jonny Polonsky underplays "Old Enough to Want to (Fool Enough to Try)" to excellent effect. The compilation starts and ends on an admirably spooky note with Johnny Cash's take on "I Washed My Face in the Morning Dew" and Mark Olson and Victoria Williams' eerie, hymnlike harmonizing on "It Sure Can Get Cold in Des Moines", which sounds like a tune from a Flannery O'Connor story. In addition to providing a good place to start for the burgeoning Hall fan, this tribute also gives a good starting point for those interested in exploring the No Depression roots revival. Though there are no contributions by such frontrunners as Wilco or Lucinda Williams, outstanding singer/songwriters like Iris DeMent and Mary Cutrefillo, and the heavier, more experimental sounds of Whiskeytown and Calexio. In fact, fans of good music in general would be wise to check out _Real - The Tom T. Hall Project_, since this shows both the glorious past of pop singer-songwriters, and what it's about to become. --- REVIEW: Snakefarm, _Songs From My Funeral_ (BMG/RCA) - Chris Hill My first thought listening to this disc? VH1 production of beloved music my mother strummed during my childhood. With subsequent listens, the faithfulness, respect, and tribute Anna Domino and her husband/musical partner, Michel Delory, pay the ten traditional folk songs subverts my initial prejudice into grudging, then open, admiration. Potentially disconcerting, the modern arrangements breathe a freshness to these downbeat, sad tales of love gone wrong and lives badly ended. "John Henry", an old favorite, gives a western guitar ring to the classic man versus machine song, keeping the tragedy intact, while eulogizing his heroic, fatal effort. The pathos of "Pretty Horses", a lullaby sung by a wet nurse slave caring for a white child as her own cries in hunger, is admirably conveyed by Domino - her voice electronically altered for several verses, mirroring the unnaturalness of the situation. "This Train That I Ride", the most upbeat tune on the cd, brings a snare drum riff, reverb, and snapping fingers to its "lonely man far from home" subject, long a cowboy favorite. "Rising Sun" manages to give a new slant to the song perhaps best known by Eric Burdon's interpretation with the Animals. A whore's lament, it's appropriately sung by a woman, and Domino does the bitter, resigned lyrics credit. And if "Black Girl" sounds familiar, play "Where Did You Sleep Last Night" off Nirvana's _MTV Unplugged_. Their version is Huddie Ledbetter's adaptation with slight lyrical changes, while Snakefarm return to the original words, but the song remains the same. The arrangement here is spare for the first two verses, banjo and guitar pulled together, then pushed aside by drum and bass, which is eventually faded out, and replaced by the original banjo and guitar. The song embodies the spirit of the disc - weaving the threads of the past into the musical quilt of the present. Five other tracks await discovery: "Banks of the Ohio", "Frankie and Johnny", "Laredo", "Tom Dooley", and "St. James". Each is familiar and simultaneously surprising. As the TV generation ages, what will we sing to our children? The "Gilligan's Island" theme? "Smells Like Teen Spirit"? "Fascination Street"? No harm in that, but I'd advise looking farther back. Check this disc out. You might impress your folks, while enriching yourself and your children. --- REVIEW: Wagon Christ, _Tally Ho!_ (Astralwerks) - Tim Hulsizer Luke Vibert has been around since the late 80's, sampling all sorts of odd sci-fi movies and other sources to create a home-grown sound that is bass-filled and spacy, throbbing and dynamic. His vision of dance music is a more simplistic one and he feels that he never quite reached that until now. Previously, Vibert experimented with faster breaks, resulting in the brilliant Plug drum'n'bass material. Remixes followed, for artists like Meat Beat Manifesto and Nine Inch Nails. He has previous albums of Wagon Christ tunes and he also recorded under his own name (MoWax Records' awesome _Big Soup_ disc from last year), all of which results in a track record that is exemplary if not consistent. He may not stick with one genre all the time but he never disappoints. Besides, who wants an artist to restrain themselves in favor of cultivating their own musical niche? His sound is also hard to miss. Bouncing along with a mind of its own, Wagon Christ beats seem to bubble over with ideas while remaining singleminded in their purpose: entertainment. The fact that he seems to be an artistic pioneer in breakbeats doesn't change the fact that he doesn't see himself that way. "With Wagon Christ the music doesn't really have any pretentions," states Vibert. "It's not supposed to be overly analyzed at all. I hate it when people read too much into dance music." That doesn't seem to be a problem here. From the faster rhythm of the title track to the tongue-in-cheek mode of "Juicy Luke Vibert" and "Piano Playa Hata", this is all on the light side of electronic music. That may scare off some of the more hardcore supporters of underground beats, as these are some of Vibert's "fluffiest" songs to date, but that's really what the Wagon Christ pseudonym is there for. It's an outlet for him to explore his more accessible ideas and present them to the listener. Even the comic book-style cover art yells "fun!" Best of all, it's got something for the die-hard fans like myself as well. It's difficult to put my finger on exactly what that "something" is, but if pressed I'd have to call it the Vibert Touch. He leaves an indelible fingerprint on anything he does. Perhaps it's the sparing but effective use of vocal samples, or simply that moment where you nod your head and say, "Yeah, that's a Vibert track." Whatever it is, it keeps me coming back to hear everything he does. It's also the reason some people consider Vibert/Plug/Wagon Christ the best artist out there, calling Luke a genius. At the risk of over-analyzing this "dance music", I think I have to agree. --- REVIEW: The Hollowbodies, _Viva La Dregs_ (Polydor/A&M) - Bill Holmes On their second major label release the trio has raised the bar another notch. _Viva La Dregs_ combines the melodic sophistication of bands like Semisonic and the late great Caulfields with the stripped down approach of a bar band fighting its way out of the garage. Songwriter Philip Roebuck spouts some complex and obtuse lyrics; perhaps those Dylan roots are most evident on the centerpiece "My Little Woman". However, his slight twang-drawl is just chameleon enough for the musical mood swings on the record, where the band ranges from delicate moods to a lean mean rockin machine. "Lakefly", "Underground" and the wonderfully titled "Ignoramus Spectaculus" are fist-pumping rockers with punkish energy, while "Plasticine Mesmerism" is acoustic flair and "Little King" features a falsetto chorus over jangling guitars. The best melody may have been saved for last - "Kodo And The Queensbound R" is beautiful. Someday I might even figure out what the lyrics mean. Although the name may conjure up acoustic troubadours, it's impossible to pigeonhole this band into a musical category. Isn't that refreshing? --- REVIEW: Various, _Blastered: A Musical Tribute to the Blasters_ (Run Wild) - Daniel Aloi Dave Alvin has probably covered more Blasters songs than anyone - the odd thing being, he wrote them. On a number of solo albums since leaving the band in 1986, he has seen fit to revisit and rework his songs, and go for the darker musical edge and appropriate mournful tone of his lyrics, abandoning the rockabilly beat of, say, "Barn Burning" and "Long White Cadillac," and rerecording the songs to express the kind of menace and hopelessness he had in mind when writing them. So with that kind of inherent possibility, a Blasters tribute album by others would be just as diverse and expansive, right? Well... it isn't, but that's not necessarily a bad thing. This tribute is as good a roots-rock party album (with think-about-it undertones intact) as anything by the Blasters themselves. Most of the 18 tracks on _Blastered_ are faithful to the originals, poured in the same sweaty Saturday night rockabilly mold as the ahead-of-its-time (and way behind it, too) band from Downey, California. The Blasters drew from a well of blues, folk, country, R&B and rockabilly influences, and ruled the '80s underground in the most un-MTV way you could imagine in a decade of synthesizers and British hair bands. The bands here -- from San Francisco's Sloe Gin Joes to Pittsburgh's Highway 13 and Ireland's Sabrejets -- also defy contemporary pop trends, and kick into high gear to show their appreciation. Their names are enough indication of what to expect - The Blacktop Rockets, The Barn Burners, Hot Rod Lincoln, Jumpin' Jupiter, and the aforementioned Sabrejets, the only non-American act here. But there are some original takes worth noting. Tom Clifford (of Austin's King Soul) leads the "local supergroup" Alvin City Limits on a Blasters-worthy roadhouse version of "Trouble Bound," minus any attempt to ape the Jordanaires backing on the original. On the very next track, King Kerosene, an original but Blasters-loving band from New Jersey, adds those very same hiccuping vocal harmonies (to great effect) to the kinda-sad Casanova study "Help You Dream." Hot Rod Lincoln adds Tejano flavor to "Border Radio" and backs up Josie Kreuzer on "Red Rose," and on an album of almost exclusively male exercises in rockabilly rebellion, a fantastic female voice like Libbi Bosworth's on "Hey Girl (Boy)" is most welcome. The standout track appropriately closes the album. Last Train Home, recently voted Washington, D.C.'s best country band, slows down the pace of "So Long Baby Goodbye" to make it an emotional parting song -- rather than the speedy getaway suggested by either the original or the other cover of it here, by Lucky 7 (with Kenny Margolis, formerly of Mink Deville). All in all, this is a fine tribute to a great band that deserved even more than the loving cult of fans it found -- and shows that even a band that found its heart in what came before can be a seminal influence in its own right. For more information, check out http://members.aol.com/BluTwang/index.html . --- REVIEW: The Stone Coyotes, _Church Of The Falling Rain_ (Red Cat) - Bill Holmes Barbara Keith began writing and performing her songs years ago in Greenwich Village, while husband Doug Tibbles made his mark as a television writer. When they both walked away from show biz, Doug took up the drums and his eleven year old son picked up a bass, and they began honing a stripped down rock and roll sound. The result is one kick ass Family Affair that filters blues, country, and gospel through straight-no-chaser rock and roll. The Stone Coyotes pull no punches - guitar, bass and drums are hammered and squeezed for all they're worth. "Saw You At The Hop" and "Hammer On A Nail" rip with Ramones-like fervor, and Keith's solos here and elsewhere show she can guitar wrangle with the best of them. Likewise "Little White Lies" would melt the shoes of line dancers, staccato guitar racing Doug's slap-snare pace. Keiths vocal range is not wide on these songs, but her voice is powerful and confident, reminiscent of a more restrained Grace Slick. On the slower song-stories like "Folded Wings" and "The Mark Of Cain", her textures are more clearly demonstrated. The rhythm section is rock-solid throughout. Twelve good songs and a band that kicks ass - somebody has got to sign them up and get them out there where people can hear them. It's just too damned great to be my little secret. --- REVIEW: Hazeldine, _Orphans_ (All Swoll/Morebarn) - Daniel Aloi Female singers Shawn Barton, Tonya Lamm and Anne Tkach and guitarist-banjoist Jeffrey Richards of Hazeldine show liberal and adventurous taste on this album of their favorite cover songs. If you expect something PC in regard to the No Depression orientation of the band, then Gram Parsons, the Appalachian folk tradition and John Anderson (via the Mekons) are given their due, but they're alongside covers of Genesis-era Peter Gabriel, Neutral Milk Hotel and Radiohead. And it all sounds great together, befitting the band's punk-to-country roots. "We've listened to this Radiohead song so many times we thought WE wrote it," they say in the liner notes of "Lucky," one of the darkest dirges covered here - a Sparklehorse song, "Heart of Darkness," is sunny by comparison. But the other side of the '90s surveyed here isn't down at all - Richards sings on East River Pipe's pop nugget "Here We Go" like he's auditioning for The Apples in Stereo. And some songs move along like The Silos - fitting, since special guest Walter Salas-Humara plays drums and guitar here. There are enough moods in the 10 songs to take you down and lift you up in the space of half an hour, but the dominant thread running through _Orphans_ is one paralleling the folk tradition, in the sisterly harmonies of the lead singers and mostly acoustic arrangements. It's like a late-night song pull among hip college students, all trying to outdo their peers in their affection for obscurities. Some of the songs are inspired by other artists' versions - like Hank Cochrane's beautiful lament "It's Only Love," learned off John Doe's first solo album, or "Whiskey In a Jar," first heard as an old Thin Lizzy standby. Hazeldine is a band born to do traditional songs -- particularly "Whiskey In the Jar" and "Mining Camp Blues," opening the album with full harmonies and a shuffle arrangement that's almost upbeat enough to belie the tragedy it relates. They come full circle and pay direct tribute to one of their main influences at the end of the album, with Parsons' "A Song For You." _Orphans_ is distributed by E-Squared (Steve Earle's label) and available through Miles of Music, its first U.S. release after several months' availability only in Europe. It will be followed by their Polydor debut _Digging You Up,_ also now available as an import only. For more information, check out http://www.morebarn.com/Hazeldine . --- REVIEW: Emilia, _Big Big World_ (Universal) - Franklin Johnson The latest Swedish export up for sampling, 20 year old Emilia caused a major sensation in her home nation with the release of the single "Big Big World". The ballad became the fastest growing single by rocketing to #1 in just one week. Her debut effort (with the same name) doesn't stray far from the path trodden by this single, with its Ace of Base-like synthesizers and Mariah Carey-esque vocal chords. Tinges of Latin music ("Twist of Fate") sometimes add a new flavor to the sound, but her countrymen's largest hit ("The Sign") serves as the inspiration for much of the disc, especially the first song "Good Sign". Lightweight synthesized pop fans, take note. --- REVIEW: Thom MacFarlane, _Gone So Long_ - Al Muzer Former Beethoven Brother Thom MacFarlane follows-up 1996's critically-acclaimed _Longtime_ ('the brightest musical talent to stick a plug into a wall socket connected to a New Jersey power supply) with 12 more brilliant examples of musical progression and melodic growth that come pretty darn close to fulfilling his life-long quest for the perfect pop song. Mastered by Eric Rachel and featuring musical contributions from Blondie/Dramarama drummer Clem Burke, Rolling Stones sax player Dave Watson, Saturday Night Live Band bassist Paul Ossola and Blondie guitarist Abel Dominguez; a key element of this disc's warmth and engaging spirit should be credited to the sympathetic core duo of bassist Harry Kopy and drummer/producer/engineer Joe Bank playing off the guitar, keyboard and vocal wizardry of MacFarlane. A pop traditionalist, MacFarlane is respectful of classic influences like The Beatles, Steelers Wheel, Brian Wilson, Jeff Lynne, Squeeze, 10CC and Todd Rundgren; yet isn't afraid to loosen up and pay playful homage to pop geniuses such as Karl Wallinger, the Cyrkle, The Cowsills, Classics IV, Lobo, Fountains of Wayne, Figdish, Firefall and England Dan & John Ford Coley throughout this wonderful sophomore effort. For further information, check out http://www.bands-online.com/artists/thommacfarlane . --- NEWS: > Dave Krusen, founding member of Pearl Jam and drummer for Candlebox for the past year and a half, has left the band. According to Krusen, the forthcoming arrival of his second child has found combining home life and touring to be too difficult to maintain. No replacement for Krusen has been named. > Fatboy Slim's "Praise You" single, which has recently been added to MTV's playlist, will be released commercially on February 23 with the non-album track "Sho Nuff" and the Mulder's Urban Takeover Mix of "The Rockafeller Skank". > According to Sascha Konietzko, founder of KMFDM, "KMFDM is dead". He also stated there would be a media blackout until March 1st - which would have been the 15th anniversary of the group - regarding the end of KMFDM. --- TOUR DATES: Afghan Whigs Feb. 9 Cincinnati, OH Bogart's Feb. 10 Detroit, MI St. Andrews Hall Feb. 12 Syracuse, NY Styleen's Rhythm Palace Feb. 13 Providence, RI Met Cafe Feb. 14 Boston, MA Paradise Rock Club Black Sabbath / Deftones / Pantera Feb. 1 State College, PA Jordan Center Feb. 3 Boston, MA Fleet Center Feb. 5 East Rutherford, NJ Continental Arena Feb. 6 Uniondale, NY Nassau Coliseum Feb. 9 Buffalo, NY Marine Midland Arena Feb. 11 Montreal, QC Forum Feb. 14-15 Auburn Hills, MI Palace of Auburn Hills Bluetip Feb. 2 Worchester, MA Clark University Feb. 3 Boston, MA Middle East Cardigans / Kent Feb. 1 Philadelphia, PA TLA Feb. 2 Washington, DC 9:30 Club Feb. 4 New York, NY Irving Plaza Feb. 5 Providence, RI Lupo's Feb. 6 Boston, MA Roxy Feb. 8 Montreal, QC Le Spectrum Feb. 9 Toronto, ON Guvernment Feb. 10 London, ON Embassy Feb. 12 Detroit, MI St. Andrews Hall Feb. 13 Chicago, IL Metro Feb. 14 Minneapolis, MN First Avenue Dave Davies Kink Kronikles Feb. 3 Cambridge, MA Middle East Club Feb. 4 Montpelier, VT Emerald City Feb. 5-6 Maynard, MA Sit 'n Bull Feb. 11 Piermont, NY The Turning Point Feb. 12 Glenside, PA Keswick Theatre Feb. 13 Atlantic City, NJ Trump Marina Eve 6 / Marvelous 3 Feb. 3 West Palm Beach, FL Respectable Street Feb. 4 Miami, FL Hard Rock Cafe Feb. 5 Tampa, FL The Rubb Feb. 6 Gainesville, FL Brick City Music Feb. 8-9 Orlando, FL Sapphire Supper Club Feb. 11 Spartanburg, SC Magnolia Street Pub Feb. 12 Atlanta, GA Roxy Theatre Feb. 13 Winston-Salem, NC Ziggy's Feb. 14 Charlotte, NC Tremont Music Hall 50 Tons of Black Terror / Groop Dogdrill Feb. 13 New York, NY Brownie's Jets To Brazil Feb. 5 Washington, DC Black Cat Kodo Feb. 4 San Antonio, TX Laurie Auditorium Feb. 5 Austin, TX Bass Concert Feb. 6-7 Houston, TX Jones Hall Feb. 10-13 Dallas, TX McFarlin Auditorium Local H Feb. 6 Philadelphia, PA Theater of Living Arts Feb. 7 Virginia Beach, VA Abyss Feb. 9 Winston Salem, NC Ziggy's Feb. 10 Charlotte, NC Tremont Music Hall Feb. 11 Knoxville, TN Moose's Feb. 12 Spartanburg, SC Ground Zero Feb. 13 Orlando, FL House of Blues Macha Feb. 5 Athens, GA 40 Watt Club Feb. 9 Washington, DC Metro Feb. 10 Boston, MA Middle East Feb. 11 New York, NY Brownie's Feb. 12 Philadelphia, PA Khyber Pass Feb. 13 Baltimore, MD Auto Bar Alanis Morrissette Feb. 1 Atlanta, GA Fox Theatre Feb. 4 Birmingham, AL Botwell Aud. Feb. 6 Chapel Hill, NC Carmichael Aud. Feb. 7 Richmond, VA Landmark Theatre Feb. 9 Washington, DC Patriot Center Feb. 11 Amherst, MA Mullins Center Feb. 13 Philadelphia, PA First Union Ian Pooley Feb. 4 Halifax, CA Velvet Olive Feb. 5 Montreal, Canada Sona Feb. 6 Gainesville, FL Simonís Feb. 8 Tampa, FL Club 1509 Feb. 11 Cincinnati, OH Lift Feb. 12 Washington, DC Buzz Feb. 13 Toronto, Canada Industry Feb. 14 Philadelphia, PA Fluid Rusted Root Feb. 11 Philadelphia, PA Tower Theatre Feb. 13 York, PA York College Feb. 14 Burlington, VT Memorial Auditorium Sloan Feb. 1 Nashville, TN End Feb. 3 Gainesville, FL U.F. Rion Ballroom Feb. 4 Atlanta, GA Point Feb. 5 Carrboro, NC Room 4 Feb. 6 Washington, DC Black Cat Feb. 7 Philadelphia, PA Khyber Pass Feb. 9 Hoboken, NJ Maxwell's Feb. 10 Albany, NY Valentine's Feb. 11 Northampton, MA Iron Horse Feb. 12 Cambridge, MA Middle East Feb. 13 New York, NY Bowery 12 Rods Feb. 14 Minneapolis, MN The Entry --- THE READERS WRITE BACK! The Pearl Jam review which sparked these comments, written by Steve Kandell, appeared in the December 7, 1998 issue ( http://www.consumableonline.com/1998/12.07/index.html ) The Editor's Notes to reader's comments, penned by Bob Gajarsky, appeared in the January 19, 1999 issue ( http://www.consumableonline.com/1999/01.19/index.html ). > Band Worship 301: Trying To Be A Rock Critic...When trying to write an album review, you will envitably (sic) be criticised. Instead of accepting that perhaps you really do not know what you are talking about, ignore all valid points made in any 'letter to the editor' and instead respond with the some drole (sic) remarks in (an) attempt to sound witty and intelligent. This will deflect attention from your poor review and not cast you as a pompous, ignorant ass. Then wait for the job offer from Rolling Stone that will surely come. It will won't it?? - S.V., Canada > I enjoyed the quick lesson in Band Worship 101 that followed three slavish, mind-controlled Pearl Jam Still Rules letters. I can't help but wonder if these fans actually hear the passion and power that makes _Ten_ so personally important and listenable seven years later, while all of their follow-up releases pale sadly in comparison. I've the right to this opinion, having waited for a midnight sale for _Versus_ while in college and an early morning sale for _Vitalogy_. I've got _No Code_ and _Yield_ as well, both of which are unlistenable to me. _Versus_ and _Vitalogy_ have some good songs; they suffer from the inevitable comparison to the strength and personality of _Ten_ and fail miserably to impress. Can I be the only person who hears the gaping hole in Eddie's songwriting in everything since _Ten_? The feeling that these are songs written by a writer who knows he has shot his creative wad the first time out and there's nothing left but fulfilling the contract runs through PJ's post-Ten catalog. Now there's nothing left but rap, swing, and Metallica doing 70s covers. The dream of 91-92 has died; will the last fan out of the building please urinate on the Ticketmaster sign? - David U. > I enjoyed your "Band Worship 101" quip...very funny and amusing. One thing I noticed, when back in my hometown of Chicago during the winter, was that of all possible bands, the single one they played the most was Pearl Jam. (Despite this) their new music off _Yield_ was not getting the same amount of airplay as a "Closing Time". (Most of the songs) were older, played-to-death hits such as "Alive", "Jeremy" and "Daughter". I'm enjoying Pearl Jam's 'maturing', if you will, of their newer music, their innovations to the production stage, etc. but I can't expect everyone to care or even find the same positive aspects in it that I do. I can dispute one reader's comment about all the shows selling out; the Alpine Valley show on June 27, 1998 did not sell out (or if it did, only at the last moment) one of my friends bought tickets as late as 1pm that day. I enjoy reading Consumable; you provide an honest opinion on music. - Michael S. --- 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". 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