== ISSUE 168 ==== CONSUMABLE ONLINE ======== [February 15, 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: Sebadoh, _The Sebadoh_ - Steve Kandell REVIEW: Sparklehorse, _Good Morning Spider_ - Chris Hill REVIEW: Marvelous 3, _Hey! Album_ - Bill Holmes REVIEW: Cassius, _1999_ - Christina Apeles REVIEW: Nancy Wilson, _Live At McCabe's Guitar Shop_ - Bill Holmes REVIEW: Various Artists, _United States of Punk_ - Steve Kandell REVIEW: Mucho Macho, _The Limehouse Link_ - Christina Apeles REVIEW: Various Artists, _Reich Remixed_ - Chris Hill REVIEW: Cesar Rosas, _Soul Disguise_ - Tracey Bleile REVIEW: Plastico, _Boomerang_ - Chris Candreva CONCERT REVIEW: Fuzzbubble - Al Muzer REVIEW: Oleander, _February Son_ - Jason Cahill NEWS: Boo Radleys TOUR DATES: Absinthe, Afghan Whigs, Babe The Blue Ox / Trinket / Interpreters, Joan Baez / Hank Dogs, Better Than Ezra / Jude, Candlebox, Cardigans / Kent, Eve 6 / Marvelous 3, 50 Tons of Black Terror / Groop Dogdrill, Flys, King Missile, Kodo, Local H, Alanis Morrissette, Offspring, Plastic People of the Universe, Rusted Root, Samples, Sepultura / One Minute Silence / Biohazard, Sloan, Ten Foot Pole, Waco Brothers, Josh Wink THE READERS WRITE BACK! Back Issues of Consumable --- REVIEW: Sebadoh, _The Sebadoh_ (Sub Pop / Sire) - Steve Kandell In an interview with The Big Takeover around the time of Harmacy's 1996 release, Sebadoh's Lou Barlow lamented that he felt he was destined to become the next Paul Westerberg, which is not the compliment it used to be. By this, he meant that he felt himself making the ugly transition from fussy post-punk icon to cuddly easy listening drone. The please-play-me-on-the-radio sheen that marked that album's singles "Willing to Wait" and "Ocean," showed an eagerness to usher in that mainstream acceptance sooner rather than later. In his apologetic mission statement on the band's official website, Barlow now distances himself from that album and its bald-faced grab for the brass ring. Three years and one drummer later - newcomer Russ Pollard is actually the band's third, supplanting Bob Fay, who replaced founding member Eric Gaffney - Sebadoh has reemerged with the new, sort of eponymous The Sebadoh, an album of fifteen songs that neither break new ground nor hint at Billboard glory. And that, Barlow seems to be saying, is just fine. For the better part of the 90's Barlow has ranked among the elite songwriters in rock. The odd thing is, he might not even be the best songwriter in his own band. Some of Sebadoh's most memorable songs have actually come from bassist Jason Loewenstein, a fact that often gets overlooked because his and Barlow's voices and styles tend to be pretty similar. It's easy to imagine the plaintive "Happily Divided" (from 1993's Bubble and Scrape) or "License to Confuse" (from 1994's Bakesale) coming from Barlow, but they don't. On the new album's "Decide" and "Bird in the Hand," Loewenstein actually sounds more like Mudhoney's Mark Arm than he does his own bandmate, and he continues to carve himself a reputation as being anything but Barlow's subordinate. Barlow might be the more high-profile member, even scoring an unlikely Top 40 hit with "Natural One" from the Kids soundtrack, but without Loewenstein's solid contributions, this album would be nothing more than a middling EP. With the exception of Barlow's glossy ballad "Love is Stronger," The Sebadoh largely consists of mid-tempo rock tunes. Like Guided by Voices, Sebadoh has managed to successfully trade the gleefully low-fi hiss of their early four-track recordings for a big-studio sound without turning into The Smashing Pumpkins. Only Barlow's "Tree" sounds like it could have been recorded in a bedroom. "Sorry" sounds expressly written for Bob Fay, who was unceremoniously dismissed from the band after the last tour, and is thanked no less than eight times in the liner notes. But to paraphrase a band from a generation ago, the songwriting, pretty much all of which deals with some sort of relationship-fueled angst, remains the same. Love songs, nothing but love songs. Ironically, the album's new wavey first single, "Flame," has more commercial potential than anything on the last album. Undeniably catchy pop that goes a long way with a four-note riff, it could wind up being the exact sort of crossover hit that the band claims to not care about having. Sebadoh's latest may not be the commercial breakthrough that 1996's _Harmacy_ tried to but failed to become, nor may it boast the highs of their best album, _Bakesale_, but it does go a long way in establishing the band as more than a one-weapon arsenal. --- REVIEW: Sparklehorse, _Good Morning Spider_ (Capitol) - Chris Hill _Vivadixiesubmarinetransmissionplot_, the first album by Sparklehorse, is a bluebook exam in musical guise, years of study consolidated in a brief space. An accumulation of moods and tempos, the 16 songs reintroduce themselves over time: one day, it's the plodding guitar of "Cow" that appeals, the next day, the footstomping "Rainmaker" strikes your fancy, and the day after that, the in-your-face "Someday I Will Treat You Good" is the song du jour. _Viva..._ enjoyed success overseas while Sparklehorse's native America remained indifferent, perhaps offput by the dream-inspired title and a sound that evaded categorization. While on a U.K. tour for the album, Mark Linkous (who essentially *is* Sparklehorse, while in the studio) accidentally overdosed on prescription medication, and awkwardly collapsed in his hotel room in such a way that prevented circulation to his legs. Discovered hours later, Linkous was rushed to a hospital, where doctors worked to save his legs. His heart stopped during the operation. Revived on the table, he spent three months in the hospital, and endured numerous operations to save his legs. After a long rehab and a year in a wheelchair, he's now back on his feet and out on tour. A blackly humorous NME review of _Viva..._, lauding Mark's bleak-yet-beautiful songwriting, ended with "Mark Linkous is now in a wheelchair. Bad karma or what? The next Sparklehorse record's gonna be so great!" Very precognitive. Mark's misfortune set the stage for _Good Morning Spider_. On his second full-length, the glimpses into his experience and new outlook make for a frankly confessional album of bared nerves and pain, couched in a musical balm, aided by a cast of musical friends, that included members of Cracker. (Sadly, good friend Vic Chesnutt doesn't play on the record, but his voice appears, explaining his absence to Mark's phone on "Sunshine".) References to his injuries abound: "I want a new body that's strong/I'm a butchered cow" ("Pig"), "My bones wish to escape/...to sleep, oh to sleep" ("Box of Stars (Part One)"), or "blanket me, sweet nurse/...In the bloody elevator/Going to the bright theater now" (the heartbreaking "Saint Mary"). At times, the feeling is claustrophobic. Balancing the weight of the words is a musical jigsaw puzzle, ranging from distorted glam to country lullaby to sugar pop to instrumental, all connected by their disconnection. "Maria's Little Elbows" is a beautiful country ballad, straight and true with acoustic guitar, cello, and drums. "Cruel Sun", against a squalling vocal and driving electric guitar, spits words dart-like, terse and short. "Come On In" uses vibraphone, cello, organ, and piano to provide a gentle, comforting musical pillow to an "if I die before I wake" entreaty. And the gentle lilt of "Painbirds" counters the despair of its lyrics, which evoke a Van Gogh sky of crows, black wings bringing their burden of hurt closer, beat by beat. Linkous' worldview CAN be grim. Note the cover graphic of a sparrow in flight and consider the wry food chain titular humor. "It's a hard world for little things", he sings. Or a second interpretation - the attraction of the sparrow in flight to a wheelchair-bound man. Much like the album, there's no easy answer. Linkous is easily pictured in bed, enduring and stewing, fermenting the album while recovering. In _Good Morning Spider_, he's pieced bits of experience and environment together into a diary of a trip to the other side of the mountain and back. For more of the guidebook - http://www.parlophone.co.uk/sparklehorse/ --- REVIEW: Marvelous 3, _Hey! Album_ (Elektra) - Bill Holmes Now we're talking! If you ever need to define the epitome of power pop to someone, all you're going to need is a copy of _Hey! Album_ and a loud stereo. The three piece Atlanta band is well schooled in the college of Cheap Trick, Rubinoos, The Sweet, and The Cars, as well as lesser known purveyors like The Beat Angels and Shazam. In other words, great harmonies, sharp drumming, a solid bottom, big guitar and hook after hook after hook. Get those mopey shoe-gazers off the stage, because power pop rules again! "Freak Of The Week" seems to have grabbed the initial headlines with its Cars-like riff, but "You're So Yesterday" is equally strong, handclaps and doo-doo-doo background vocals that should make listeners run to turn up the volume. "Write It On Your Hand" is a major player, pulsating beat leading to a call-and-response chorus worthy of the Knack, or The Jags, or Jellyfish ... damn, there I go again. But it doesn't matter if it's the psychedelic "Lemonade", the bouncy "Mrs. Jackson" or any other track - each of the twelve songs is bursting with energy and personality. Guitarist/songwriter Butch Walker, bassist Jayce Fincher and "Slug" the drummer pack a wallop and nail three part harmonies throughout the record. Every power pop record comes complete with the big slow-dance anthem, and that's "Let Me Go" - an arena ballad with sweeping falsetto vocals. I can see the Bic lighters and the swaying crowd already. My favorite is the irresistible "Vampires In Love", which mixes clever but goofy lyrics with an absolute killer hook that you'll be singing in your sleep. Last year pop bands like Fastball and Semisonic got an opening and exploded onto the charts. It stands to reason that some programmer won't need the Homer Simpson head-slap to realize that there's an audience for energetic, exciting music. If this record isn't a bonafide smash, bleeding out of radios four tracks deep, something is very, very wrong. --- REVIEW: Cassius, _1999_ (Astralwerks) - Christina Apeles What do any of us really have to look forward to in 1999? Well, Cassius proposes their brand of electronica with credits galore to back them up. This production team has worked with MC Solaar and remixed the likes of Daft Punk, Depeche Mode, Air, and Bjork -- now that is something to write home about. Bringing in a blend of hip hop beats, underground sensibility, and house grooves plus a bit of funk, Cassius' _1999_ appeals to the clubgoer of varied tastes along with vocal samplings to singalong to. The mellow, slow tempos of "Crazy Legs" and all-about-the-bass track, "Chase," commingle with the funkier, fast-paced rhythms of "La Mouche" and disco-tinged, house stylings of "Foxxy" in this sixteen track release. Consisting of Parisians' Boombass and Philippe Zdar, this pairing create tunes that are generally free of the anxiety that the year 1999 promises in anticipation of the new millenium. Their use of technology has a lithium effect on the aural senses rather than feeding into the paranoia the mass media has already wrought. The _1999_ that Cassius offers is one that many will welcome. --- REVIEW: Nancy Wilson, _Live At McCabe's Guitar Shop_ (Epic) - Bill Holmes John Hiatt was reborn in this intimate setting over a decade ago, a performance which led to the classic _Bring The Family_ record that finally brought him commercial success and widespread critical raves. No such metamorphosis is going to occur to Nancy Wilson as a result of this record, but then again she's already got a well documented history with Heart. Instead, this record is a signpost in her career - a true treat for her fans, and a notice to skeptics that her talents don't require a stack of Marshall amps. Opening without introduction, the familiar lines of "Even It Out" kick in, until the first verse is launched by her strong vocal. Playful and emotive, she sounds as good as her sister did on the original. She follows that with a solid rendition of "Kathy's Song", which reminded me how long it has been since Paul Simon wrote simple, poignant, classic songs. Switching to mandolin, she then introduces "Half Moon", her first original on the record. Nancy plays the mandolin as well as the guitar, but every acoustic mandolin song by either Wilson sister sounds remarkably like Led Zeppelin's "Battle Of Evermore" (which the sisters covered on the _Singles_ soundtrack with their side project, The Lovemongers). Of her other originals, "Ground Zero" had the most appeal to me - a dark, brooding Richard Thompson feel that seemed further removed from the usual Heart material. I don't need to hear another version of "In Your Eyes" - every acoustic troubadour does that one, thanks - but her pipes shine on Joni Mitchell's "A Case Of You", and a less bombastic version of "These Dreams" is a plus. (Although it seems to follow the Heart blueprint, "Dreams" is a cover - Bernie Taupin and Martin Page wrote the song.) The sound of the record is crystal clear, as if she were in your living room. Wilson clearly enjoys her performance, giggling on occasion and joking about the missing campfire. For those who get lost in such atmosphere, _Live At McCabe's Guitar Shop_ is a pleasant way to spend the evening. Of course, "Kumbaya" is optional. --- REVIEW: Various Artists, _United States of Punk_ (Music Club) - Steve Kandell This mid-priced collection of American punk classics and rarities gets off to a strange start, with a live version of the New York Dolls' "Personality Crisis" that sounds so muffled it would barely qualify as bootleg-caliber. There's no denying the energy of the performance or the quality of the song itself, but I can't help but wonder why it sounds like David Johansen is singing in a club across the street from the rest of his band. But then again, defying sonic expectations was what these early punk bands were all about, so why not? In addition to showcasing legendary bands like the Dolls, Dead Kennedys and The Ramones (represented here by a demo version of "Judy Is a Punk"), lesser-known bands such as Boston's DMZ are also featured on this disk. The word "punk" is too easily associated with fast songs and snarling lyrics, but there is a lot of room for variety in the genre as far as styles are concerned. Songs like "Wimp" by Southern California's Weirdos and The Real Kids' "Do the Boob" are also slower, and even playful. "Rocket USA," from New York's Suicide, is droning, minimalist synth pop, but it's still somehow no less "punk" than Jello Biafra's angry ranting. Thing is, if you already appreciate this mid-to-late-70's proto-punk, then you probably have most of these songs in other, more sonically strident versions. In fact, the included versions of the Dead Boys' "Sonic Reducer" and Dead Kennedys' "Holiday in Cambodia" don't appear to be outtakes at all. A notable exception is Devo's four-track basement recording of "Mongoloid," Ohio lo-fi that predates Guided By Voices by well over a decade. These alternate tracks are not without their curiosity value to the punk completist, but they are hardly revelations. There is simply not that much difference, musically speaking, between a Ramones demo and a final version - hell, there's not even much difference between individual Ramones songs at all - but that's exactly the appeal of this music. At its inception, punk was a direct reaction to the canned theatrics of prog-rock, and the whole point was that the records were all demos, raw and of the moment rather than produced and nuanced. On the other hand, if a sampler like this is your introduction to most of these seminal American bands, you would do well to go down to your local used shop and trade in those Green Day and Offspring CD's for as many early Ramones and Dolls albums as you can. But if you must, this compilation is an inexpensive way to start. --- REVIEW: Mucho Macho, _The Limehouse Link_ (Beggars Banquet) - Christina Apeles If you're among those that long for the dance music of yesteryear, when acid house music ruled the undergrounds and techno only began to make its way into everyone's vocabulary, _The Limehouse Link_ may be the answer to your prayers. You'd have to rummage through deejay tapes at the onset of this decade to find a mix like this, because if old school dance is what you want, Mucho Macho delivers. When I say old school, I'm referring to that time in the underground scene before ravers treated the speakers like gods, surrendering themselves to that space closest to the altars of sound, gyrating to the music because the music was too monotonous or too fast -- in short, not danceable. Mucho Macho's Tim Punter and Neil Dunford have been DJing since the mid 80s and their expertise is evident with a release that takes you back out onto the dancefloor with tracks that make you just want to move with familiar breakbeats, synthesizer progressions, and sounds that can take you well into the a.m. hour. With a keen bass line, seriously groovy beats, and timely breaks versus the typical repetitive nature of recent techno, "Rap Is Really Changing" has the ups and downs that keeps you entertained. Followed by "The Airport Freeze" and "Rockley Sands" which any 808 State fan would scream, 'Rip offs!' I treat these songs as more of Mucho Macho’s way of paying homage to one of the masters of electronic music. Not just another lofty dance mix, _The Limehouse Link_ is a non-stop hip-shaking, sweat-dripping collection of tracks. And if you can't take my word for it, consider this: Guess who the Beastie Boys invited to play their launch party for Grand Royal Records in the U.K.? If anyone in this world knows what fun music is all about, the Beasties do, and they chose Mucho Macho. --- REVIEW: Various Artists, _Reich Remixed_ (Nonesuch) - Chris Hill A gem in a sonic landscape littered with ill conceived or executed tribute projects, _Reich Remixed_ is a quality effort on all counts: the subject is honor-worthy, the artists chosen are uniformly at the top of their fields, and the redone pieces are aesthetically superb. Named as one of the most important composers in the latter half of the 20th century, Steve Reich is a vanguard in the minimalist tradition, a position he holds alongside Philip Glass, Terry Riley, and LaMonte Young. The minimalist form, composed of ideas examined in minute, repetitive detail, is unlike traditional Western classical structure, which is directional, guiding a piece towards a climax. Minimalism is directionless, and cyclical or static in design. The form lends itself to attentive listening - the changes occur gradually, audibly, like a tide moving in and out. Reich pioneered "phasing" while experimenting with two spoken word tape loops playing in tandem. He delayed one incrementally, pulling it out of phase with the second, until it eventually returned to sync, but one beat behind, creating a tactile aural vibration in the process. This technique guided many of his early works, first using spoken word manipulation for structural clay, then moving to acoustic instruments like violin, piano and organ. "Drumming", composed after a three month study under a Ghanian master drummer, expanded upon his phasing style, by playing with subtactile beats - the spaces between the tactile, heard beats. Rests are substituted for beats over time, then reintroduced, creating a negative space as apparent as the positive. Much like a 3D poster, relaxed concentration inverts the rhythm, bringing the background to the foreground. His later works move from strict minimalism, wedding orchestral elements to his penchant for recording and sampling everyday sounds of the cityscape. Track listing: "Music for 18 Musicians (Coldcut remix)", "Eight Lines (Howie B remix)", "The Four Sections (Andrea Parker remix)", "Megamix (Tranquility Bass remix)", "Drumming (Mantronik - Maximum Drum Formula)", "Proverb (DJ Takemura remix)", "Piano Phase (D*Note's Phased and Konfused Mix)", "City Life (DJ Spooky that Subliminal Kid (Open Circuit))", and "Come Out (Ken Ishii remix)". Each version is faithful to the original, while artists seamlessly blend in elements of their individual areas of strength (turntablism, house, trip- and hip-hop, ambient house, techno, and more). Particularly wonderful are the palate cleansing "Megamix", a sinuous assortment of the various themes and ideas found on Reich's resume, including 1966's "Come Out" and 1996's "City Life" (found further on the stack), and "Piano Phase" - a well chosen combination of artist and selection. Ideal for experimental dance act D*Note, the co-mingling of synthesizers, percussion, and piano evolves over five minutes into an ideal modern dance accompaniment. "Come Out", remixed by techno artist Ken Ishii is yet another standout. Backed by simple rhythmic instrumentation, the phrase "I had to, like, open the blues up, and let some of the blues blood come out to show them" is dissected, repeated, and phased: tape manipulation from 1966 that predates hip-hop sampling by decades. Granted, this is only a cursory overview - exhaustive essays and information are available on the web, both on Reich and the artists involved, which makes for fascinating reading, and a true picture of Reich's impressive influence on music. Begin with http://www.slis.keio.ac.jp/~ohba/srhome.html and http://atlantic-records.com/steve_reich for Reich. --- REVIEW: Cesar Rosas, _Soul Disguise_ (Rykodisc) - Tracey Bleile The next step in a long, industrious career as a member of a well-known band (or many bands) can sometimes be the solo effort. You've already got the fan base, now you gotta see if they want to hear you on your own. In the case of Cesar Rosas, a founding part of Los Lobos, a Latin Playboy, and most recently the California/Texas supergroup Los Super Seven, his release _Soul Disguise_, is a prime candidate to reach said fans and so many more. _Soul Disguise_ serves to deliver this extension of Rosas and what he has brought to these projects all these years in fine solo-artist form. Besides, it's just plain fun to be in charge for once, and he takes full advantage. This disc is a return to the pre-_Kiko_ Los Lobos sound, lots more stripped-down and tight blues ("Tough To Handle"), and that unique blend of Nortena (featuring The Man Flaco Jimenez on accordion) and roots rock (that all-important title track) that took Rosas and his bandmates from a Latin/Mexican-American audience to encompass any red-blooded dancin' fool who comes along. "Shack and Shambles" has enough soulful sax groove and overheated Hammond to transport you instantaneously to that dark smoky club that lives for your ears, not your wallet. "Treat Me Right" and "Racing The Moon" might as well be the backdrop to a basement dance party that ends sometime around the wee hours of the morning in time to drive your baby home to the disc's slow burnin' ender, "E. Los Ballad #13". The only place _Disguise_ suffers a bit is the dual-role Rosas played as producer. It's a bit too thick and thumpy in spots, even for the blues, and there are some definite flattened spots that could have used some push in the mixing phase. But for doing it all himself, and having a great many excellent musician friends around him, Cesar Rosas is hiding nothing in _Soul Disguise_. This is open, honest enjoyable music showing the staying power of the combination of classic American influence and a classy musician at work. --- REVIEW: Plastico, _Boomerang_ (Epic Import) - Chris Candreva I'm going to cut to the chase on this one: Buy this album. _Boomerang_ marks the second release from the Swedish group Plastico. While their self-titled debut album is available only as an import, Plastico's stateside appearance can't come soon enough; I'm tired of only playing old music at my parties. Juding from the links on their web site (located at http://www.cabal.se/mnw/mnwlabel/plastico/index.html ), Plastico seems to call themselves a glam band, citing the 70s influences of Abba, Marc Bolan, David Bowie, Gary Glitter and Sweet. On this one album though I hear a multitude of styles; they owe as much to Blondie, Berlin, and Joan Jett as any glam rocker. A few tracks almost even have a Nine Inch Nails flavor. Rather than just another "Retro" band, what we end up with is a Glam / Pop / New Wave / Rock / Techno fusion that may be one of the only truly unique sounds to come out recently. The driving force behind Plastico's sound is the duo of Peter Guzz on keyboards and guitar, and Penny on guitar, percussion, and CD-ROM design the lead vocals, both individual and as duets. Guzz is also the main composer and producer of their work. A host of other musicians provide other instruments and vocals, resulting in the full and varied sound we hear on the album. _Boomerang_ opens with "I Fade Away", a driving techno-rhythm with vaguely sexual lyrics that, though slightly unclear, make you want to pull the love of your life out on to the dance floor. "(I Wanna Get Into Your) Heart" is a moderate up-tempo rock number whose name should be self-explanatory. "Waste of Time" is the closest the album comes to a downer. Though it's a song about getting out of a relationship, it's a pretty acoustic ballad otherwise. We pick right up with other musical references including "The Bump" (apparently a cover about doing - you guessed it - The Bump), "Going Down" (where Penny harkens to Joan Jett singing "Black Leather"), "Resist" (about how you can't), "How We Try" (with a drum-beat ala Gary Glitter), and "Voulez Vous" (which manages to mix Blondie with The Runaways while completely avoiding the Abba song of the same name). If you like Pop, Glam, or music about going out and having fun instead of sitting around and complaining in flannel, then Plastico is exactly what you have been waiting for. --- CONCERT REVIEW: Fuzzbubble, Asbury Park, New Jersey - Al Muzer Featuring one of the best rock 'n' roll vocalists to stand and deliver since Lennon left most of his tonsils in Abbey Road's Studio Two laying down tracks for Anytime At All, New York's Fuzzbubble are one of the best selling bands you've heard, but never heard of, before. With a track ("Bliss") featured on a Bad Boy/Footlocker compilation; the same tune on the _Hell City Hell_ indie collection; another song ("Out There") prominently placed on the five million (and counting) sold Godzilla soundtrack disc; another track ("Nowhere To Run") on South Park's Chef Aid album that is actually Old Dirty Bastard, DMX and Ozzy Osbourne backed by Fuzzbubble; a guest appearance on Puff Daddy & The Family's "It's All About The Benjamins" rock remix; and camera time in Puffy's video for "Rock Benjamins" that won an MTV Viewer's Choice Award - Fuzzbubble are already about nine million records ahead of most bands with, technically, nothing more than a four-song advance and a slew of local gigs to their name. A pop-perfect four-piece that'd be golden even without the golden touch of Sean 'Puffy' Combs and his Bad Boy Records, vocalist / guitarist Mark DiCarlo, guitarist/vocalist Jim Bacchi, drummer/vocalist Jason Camiolo and bassist Brett Rothfield kicked off their first official East Coast mini-tour under the Bad Boy umbrella with an engaging, arena-ready blast of Beatle-esque three-part harmonies and solid Gibson chime undercut by walloping drums and a powerful, strut-stepping guitar crunch that had Asbury Park's (N.J.) The Saint respectable, if not exactly packed, Tuesday night crowd hooked in no time. Anchoring the neck-snapping, jet-engine blast (and one of those things so many other bands seem to leave out these days) were genuinely-memorable pop songs sportin' big-ass hooks made brilliant by playful, occasionally sly, nods in the direction of legends such as George Harrison ("Isn't It A Pity" on "Real World"), Paul McCartney ("Rock Show" and "Jet" during soundcheck), Golden Earring, the Who and Cheap Trick. Proudly inspired by influences ranging from Kiss, Cheap Trick, the Raspberries, Beatles, Badfinger and Big Star to Jellyfish, Best Kissers In The World, Matthew Sweet, Husker Du and The Pursuit Of Happiness; Fuzzbubble pack enough sugar into each three-minute wonder to make you wanna sing (loudly) along - and just enough snarl into their buzzed-out crunch-pop to push ’em right over the top. --- REVIEW: Oleander, _February Son_ (Republic) - Jason Cahill The opening chords of "Why I'm Here", the opening track on _February Son_, are so alarmingly reminiscent of Nirvana that I thought I had mistakenly cued up _In Utero_ . In retrospect, I wish I had. _February Son_, the major label debut from Sacramento's Oleander is, at its best, the backwash at the bottom of the soda can that was grunge music. Instead of allowing that genre its dignified demise, Oleander seem intent on reminding us of the good old days when plaids were fashion and bands like Sponge were the flavor of the minute. One of the few bands who have successfully maintained the so-called grunge sound and built upon the foundation laid by bands like Nirvana is Local H. Odd when you consider that Steven Haigler, the producer behind Local H's early masterpiece Ham Fisted, is also produces _February Son_. With Local H and Fuel, Haigler managed to capture a raw energy while still sculpting a cohesive rock landscape. _February Son_, by comparison, sounds stale and processed with relatively few elements of raw energy. Haigler's fault? Possible, but improbable when you consider his track record. Sometimes you just can't get blood from a stone. In terms of the album's actual sound, it's something of a conglomeration of varied styles. Think Soundgarden meets White Lion. Traditional hard rock coupled with the occasional metal ballad thrown in for good measure. None of what is heard on _February Son_ is either cutting or original; some of it works, most of it doesn't. "Why I'm Here", the album's first single, takes the opening riff of Nirvana's "Rape Me", but fails to borrow any of that song's edge or originality. "How Could I?" is slow, very slow and contains lyrics like "..how could I be so blind that I could not see...". Well doesn't that just go without saying? Oleander does show signs of life in "I Walk Alone", which could just as easily have been a Third Eye Blind single, and "Lost Cause", a fun rocker which manages to do something most of the other songs on the album don't - it rocks. One of the album's better moments comes in the form of a cover of The Cure's "Boys Don't Cry". While the vocals don't begin to even approach the stylistic and emotive wails of Cure frontman Robert Smith, the cover does have its charm. Then again, it may just have been a welcomed respite from Oleander's tiresome originals. Imagine a mediocre opening band finally playing something other than songs from their soon to be released album - you'd still rather they just left the stage, but if they absolutely must stay, they might as well play something you know. The centerpiece of _February Son_ is "Never Again", a song which borrows lyrics from, of all bands, Reo Speedwagon. Enough said. --- NEWS: > The Boo Radleys, after being together for the past ten years, have split up. Songwriter Martin Carr, who has been working in his home studio, plans to pursue solo projects. --- TOUR DATES: Absinthe Feb. 18 Pittsburgh, PA Rosebud Feb. 19 Arlington, VA IOTA Feb. 20 Philadelphia, PA Pontiac Feb. 21 New York, NY Mercury Lounge Feb. 23 Providence, RI Met Feb. 24 Boston, MA Lansdowne St. Playhouse Afghan Whigs Feb. 17 Philadelphia, PA TLA Feb. 18-20 New York, NY Bowery Ballroom Feb. 21 New Haven, CT Toad's Place Feb. 23 Old Bridge, NJ Birch Hill Nightclub Feb. 24 Baltimore, MD Bohager's Babe The Blue Ox / Trinket / Interpreters Feb. 16 Columbia, SC University of South Carolina Feb. 17 Durham, NC Page Auditorium Feb. 18 Blacksburg, VA Sheraton Feb. 19 Charlotte, NC Cone Center Feb. 20 Raleigh, NC Ballroom Feb. 22 Clemson, SC Edgar's Feb. 23 Atlanta, GA Smith's Old Bar Feb. 24 Athens, GA 40 Watt Club Joan Baez / Hank Dogs Feb. 16 Albuquerque, NM Popejoy Hall Feb. 17 Phoenix, AZ Orpheum Theater Feb. 19-20 Fort Worth, TX Caravan of Dreams Feb. 23 Austin, TX Paramount Theater Feb. 24 New Orleans, LA House of Blues Better Than Ezra / Jude Feb. 19 Jackson, MS Rodeo's Feb. 20 Birmingham, AL 5 Points South Music Feb. 23 Fort Lauderdale, FL Chili Pepper Feb. 24 Tampa, FL Rubb Candlebox Feb. 19 Missoula, MT UM Theatre Feb. 20 Pocatello, ID Rock Feb. 21 Bozeman, MT Cat's Paw Feb. 22 Billings, MT Shrine Auditorium Cardigans / Kent Feb. 17 Seattle, WA King Cat Feb. 18 New Orleans, LA House of Blues Feb. 20 San Francisco, CA Fillmore Feb. 22 Los Angeles, CA Palace Feb. 23 San Diego, CA SOMA Eve 6 / Marvelous 3 Feb. 16 Virginia Beach, VA The Abyss Feb. 17 Charlottesville, VA Trax Feb. 18 New Orleans, LA Howlin' Wolf Feb. 19 Washington, DC 9:30 Club Feb. 20 Baltimore, MD Bohager's Feb. 21 Poughkeepsie, NY The Chance Theater Feb. 23 Concord, NH Chantilly's Feb. 24 Boston, MA Paradise 50 Tons of Black Terror / Groop Dogdrill Feb. 16 Washington, DC Phantasmagoria Feb. 19 Atlanta, GA Echo Lounge Flys Feb. 18 Greenville, NC Attic Feb. 19 Nashville, TN 328 Performance King Missile Feb. 19 Carrboro, NC The Temple Feb. 20 Columbia, SC New Brookland Tavern Feb. 21 Atlanta, GA Point Feb. 22 Orlando, FL Sapphire Supper Club Feb. 23 Tallahasse, FL Cow Haus Feb. 24 Baton Rouge, LA Bayou Kodo Feb. 17 Milwaukee, WI Pabst Theatre Feb. 18 Madison, WI Union Theatre Feb. 20 Chicago, IL Medina Temple Feb. 23-25 Ann Arbor, MI Power Center Local H Feb. 16 St. Petersburg, FL State Theater Feb. 17 Jacksonville, FL Choices Feb. 18 Atlanta, GA Roxy Feb. 19 Birmingham, AL 5 Pts. Music Hall Feb. 20 Fayetteville, AR JR Dickson St. Ballroom Alanis Morrissette Feb. 16 Cincinnati, OH Crowne Center Feb. 18 Uniondale, NY Nassau Coliseum Feb. 19 East Rutherford, NJ Continental Arena Feb. 21 State College, PA Bryce Jordan Center Feb. 22 Boston, MA Fleet Center Offspring Feb. 24 Cleveland, OH CSU Convention Center Plastic People of the Universe Feb. 23 Boston, MA Middle East Feb. 24 Montreal PQ Foufounes Rusted Root Feb. 16 Wayne, NJ William Paterson University Feb. 17 New Haven, CT Palace Feb. 19 Worcester, MA Palladium Feb. 20 Providence, RI PAC Feb. 21 Portland, ME Expo Center Feb. 23 Albany, NY Suny Albany Samples Feb. 16 Killington, VT Pickle Barrel Feb. 17 Providence, RI Lupo's Feb. 18 Northampton, MA Pearl Street Feb. 19 New York, NY Irving Plaza Feb. 20 Saratoga Springs, NY Skidmore College Feb. 24 Manchester, NH Chantilly's Sepultura / One Minute Silence / Biohazard Feb. 16 San Francisco, CA Maritime Hall Feb. 18 Seattle, WA Fenix Underground Feb. 19 Everett, WA Jimmy Z's Feb. 20 Vancouver, BC Croatian Cult Centre Feb. 21 Portland, OR Roseland Theatre Feb. 23 Las Vegas, NV Huntridge Theatre Sloan Feb. 16 Pittsburgh, PA Rosebud Feb. 17 Toledo, OH Main Event Feb. 18 Cleveland, OH Peabody's Feb. 19 Buffalo, NY Tralf Feb. 20 East Lansing, MI Erickson Kiva Ten Foot Pole Feb. 19 San Francisco, CA Cocodrie Feb. 20 Sacramento, CA Bojangles Feb. 21 Reno, NV Del Mar Station Feb. 22 Boise, ID Bogie's Feb. 23 Salt Lake City, UT DV8 Basement Feb. 24 Denver, CO Aztlan Theater Waco Brothers Feb. 18 Lexington, KY Lyngagh's Feb. 19 Newport, KY Southgate House Josh Wink Feb. 20 London, England The End Nightclub --- THE READERS WRITE BACK! > Hi! I've been enjoying Consumable Online a lot over the past few months. Can you recommend any good music email-discussion lists? Thanks! - Pat L. (Ed. Note - Can any readers suggest any? We'll publish a list of the most popular ones in a future issue of Consumable). --- 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 ===