== ISSUE 179 ==== CONSUMABLE ONLINE ======== [June 10, 1999] Editor: Bob Gajarsky E-mail: editor@consumableonline.com Managing Editor: Lang Whitaker Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim Kennedy, Tim Mohr, Al Muzer, Joe Silva Correspondents: Michelle Aguilar, Christina Apeles, Niles J. Baranowski, Tracey Bleile, Jason Cahill, Matthew Carlin, Patrick Carmosino, John Davidson, Andrew Duncan, Krisjanis Gale, Chris Hill, Eric Hsu, Tim Hulsizer, Franklin Johnson, Steve Kandell, Reto Koradi, Robin Lapid, Linda Scott, Scott Slonaker, Kerwin So, Chelsea Spear, Jon Steltenpohl, Michael Van Gorden, 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 | `------------' INTERVIEW: Cibo Matto - Al Muzer REVIEW: Manic Street Preachers, _This Is My Truth Tell Me Yours_ - Tim Kennedy CONCERT REVIEW: Robbie Williams - Lang Whitaker REVIEW: Olivia Tremor Control, _Black Foliage: Animation Music_ - Chelsea Spear REVIEW: Various Artists, _Where is My Mind? A Tribute to the Pixies_ - Steve Kandell REVIEW: Prodigy, _Prodigy Present The Dirtchamber Sessions Volume 1_ - Simon West INTERVIEW: Chuck D. from Public Enemy - Lang Whitaker REVIEW: Mike Ness, _Cheating At Solitaire_ - Bill Holmes REVIEW: Taxiride, _Imaginate_ - Tracey Bleile REVIEW: Various Artists, _In Your Ear (Independent Film Channel)_ - Bill Holmes REVIEW: Julian Coryell, _Bitter To Sweet_ - Andrew Duncan REVIEW: Katharine Whalen, _Katharine Whalen's Jazz Squad_ - Michelle Aguilar REVIEW: Chris Wall, _Tainted Angel_ - Daniel Aloi ERRATA NEWS: Beastie Boys, Meredith Brooks, Primus, Tibetan Freedom Concert TOUR DATES: Anti-Flag, Adrian Belew, Boredoms, R.L. BURNSIDE, Candy Butchers, Mary Chapin Carpenter, Chapter In Verse, Ani DiFranco / Maceo Parker, Go Betweens, Grinspoon, Ben Harper, Ben Lee, Lilith Fair, Alanis Morissette, Van Morrison, Mike Ness, Beth Orton, Piestasters, Rammstein, 764-HERO, Skunk Anansie, Sonic Youth, Sparklehorse / Mercury Rev, Rick Springfield, Sally Taylor, Those Bastard Souls, UB40, Ultimate Fakebook, Paul Van Dyk, Verve Pipe / Papa Vegas Back Issues of Consumable --- INTERVIEW: Cibo Matto - Al Muzer Media darlings the moment their 10-song Warner Brothers debut, _Viva! La Woman_, hit the retail racks back in 1996, Cibo Matto keyboardist/creator-of-inspired-noises/producer Yuka Honda and vocalist/lyricist Miho Hatori have been through a lot together since meeting as members of Laito Lychee in 1994. Following their critically-acclaimed major label debut, the duo released the nine-song _Super Relax_ EP in 1997; had a track ("Spoon") featured on an episode of _Buffy The Vampire Slayer_; toured the world with artists such as Beck, Boss Hog, Butthole Surfers, Porno For Pyros and Everything But The Girl; and participated in the _Butter 08_ all-star project on Grand Royal Records. And, just in case that wasn't busy enough, Cibo Matto also slammed through an inspired version of "Birthday Cake" on Comedy Central's _Viva! Variety_; toured some more; and, after nearly a year in the studio, are about to unveil the astonishingly-diverse, brilliantly-melodic, 14-song _Stereotype A_ (Warner Brothers) to a nation of potential fans starving for a groove that'll take 'em somewhere solid this summer. A wonderful, hour-plus journey through warped, twisted, processed, fuzzed and filtered filaments of funk, soul, samba, jazz, pop, lounge, bossa nova, exotica, electronica, Egyptian, Indian, metal and classical influences - _Stereotype A_ is genius pushed to greatness thanks to the combination of Hatori's unique and sultry vocals; the quirky sounds, unique flourishes and layered, but loose, production provided by Honda; the in-the-pocket pulse and steady presence of drummer Timo Ellis; the percussion, vocals and turntable mastery of Duma Love; and the supple, propulsive bass lines and subtle-to-screaming guitar riffs of one Sean Ono Lennon. "What I'm proudest of is the collaboration," Hatori has said when asked about the expansion of her band for the recording of _Stereotype A_. "It's [the album] the product of four people [who are] listening all the time. Sean and Timo can play any instrument and were there every day helping out. This is like a family." "Sean was actually touring with us before we recorded _Viva! La Woman_," Honda says of the additional musical and songwriting inspiration provided by the three newest members of her band, "back when we were doing our really grungy, early shows and staying at like, Motel 6 or worse. He's always been very supportive of Cibo Matto. Timo is Sean's best friend and he joined the group about a year later. And, all four of us are very excited about the addition of Duma (who appears as a guest on the record) to the lineup." "It's much more musical and it's certainly a lot more fun to have a few people, instead of just two, involved in the creation of the music," Honda adds. "A lot of elements and ideas to choose from makes our music better and, I think, really helps us grow as people and musicians as well." "Our first songs were written to be played live in tiny places like CBGB's Gallery and, what's on our first record is, pretty much, what we did at our first shows," Honda has said. "We were kind of test-driving and didn't know shit. We've learned and evolved [and] spent time experimenting and taking chances. We set much bigger goals." Not something that's particularly high on the group's personal agenda - but certainly a very real possibility considering the across-the-board brilliance of _Stereotype A_ - is a radio hit. The near simultaneous release of _Star Wars I: The Phantom Menace_ and "Sci-Fi Wasabi," the first single from Cibo Matto's new album, is too perfect a fit not to be a success. "We really had no idea ... it wasn't something we were aiming for. But, now that we know about it, we're very psyched that they're both coming out at the same time," laughs Honda. "The album took much longer to make than we originally planned, so the timing in this - as all good timing seems to be - is totally coincidental." --- REVIEW: Manic Street Preachers, _This Is My Truth Tell Me Yours_ (Virgin) - Tim Kennedy There are some albums that are hard to review because the motivation is not there - but this is not one of them. This is possibly the album of the year, and definitely the single most important rock band of the 90s. Important not for record sales though they are selling respectably these days in the UK (although they were dropped by the U.S. affiliate Epic, and passed over by at least two other major labels), but important because they are the most intelligent, vital and interesting group for many years. There has always been a contradiction in the Manics: on the one hand music which blatantly borrows from the past and on the other, lyrics which are quite unlike any in rock history. They aren't the only band to borrow from their mentors but they must be the only band to declare "originality is not important". WHAT they borrow is of great importance however and always reflects what they are trying to say with their invariably sad yet astounding lyrics. James was widely laughed at for calling Nicky a poet the other week in a UK music paper but you know what he is getting at when you read the lyric sheets of TIMTTMY. The themes are all Nicky's now - none of Richey's (the guitarist and fellow lyric writer who disappeared mysteriously in 1995) words adorn this CD. That means that instead of the searing verbal assault and deadly withering hail of self-hate, the words are more reflective, still cynical/naive but more reserved. James doesn't have to garble them to get them to fit on a line. Nicky describes his insular domestic existence in the Welsh village household he shares with his much-loved wife ("You Stole The Sun From My Heart", "My Little Empire", "I'm Not Working", "You're Tender And You're Tired", and more.) He also rails at the ageing process and the toll that the band's youthful verve is taking - fans or more likely he himself resents the fact that the band didn't simply explode in 1992, and that they are still her slogging away at being rock stars. "The gap that grows between our lives/The gap our parents never had to stop/Those thoughts control your mind/ Replace the things that you despise//Oh you're old I hear you say/ It doesn't mean that I don't care/I don't believe in it anymore/ Pathetic acts for a worthless cause" "Born A Girl" however reflects an old transgendered theme that the Manics have always worried and chewed at. Nicky of course wears a dress and eyeliner on stage to this day. "There's no room in this world for a girl like me". This album is more than just a turning from old lyrical concerns - it also features music with a very 1970s prog rock influence. Deep Purple-like riffs may pop up here and there, and the feel of much of the CD is Pink Floyd, circa _Dark Side Of The Moon_. It has those languid Rick Wright keyboards, lots of space and echo, with quiet, reflective moments counterpoised by bombast of almost inconceivable proportions by this band's original standards. This was a band that wore ripped clothes, posed like the Clash, idolised trash rockers like Dogs D'Amour and called Axl Rose "the most underrated lyricist of his time". But the truth is this band have always pillaged rock history with no regard for current trends. At the time when Richey was talking about Razzle, the doomed drummer of Dogs D'Amour, that was as 'outre' as can be imagined. Everyone was into Happy Mondays and Stone Roses and acid house. They were reviled at the time. There is some wonderful, inspired music on this album. Where for example Radiohead are virtuosos, who throw shadows of moody despair, the Manics embody the pain of love and loss - and know too well how to convey this with their music. The opener "The Everlasting" is a soft rock epic on the surface, but one with a depth that belies that description, and a lovely wall of sound production in the manner of Phil Spector. "Born A Girl" betrays a wayward guitar backing which is completely bewitching. "SYMM" uses some back masked guitar and has a killer solo that Dave Gilmour himself would be proud of. "You Stole The Sun From My Heart" has a great hook in it which would have Peter Hook standing legs akimbo and doing air bass. "My Little Empire" begins with a lovely understated guitar figure which Jimi might have used. "You're Tender And You're Tired" features some great whistling (!) and a totally mad piano passage. This track is probably the most inventive of the album - a slightly 60s psychedelic outing. "Black Dog" sounds like Glen Campbell doing Jimmy Webb, and has Nicky visualising himself as the hound in question, faithfully running for his lover. And it actually works, believe me. "Tsunami" is possibly the strongest song on the CD. It combines a sitar-drenched musical backing and a rip-roaring riff-laden chorus to match their best. The single "If You Tolerate This Your Children Will Be Next" is about the Spanish Civil War of the late 1930s. The dialectic here is between Nicky's pacifism and his admiration of Welsh farmers who took up the gun to help fight Spain's Nazi-backed fascist coup of the time. Musically it seems to be weak upon initial exposure, with a break beat and strings. It has a catchy chorus though, and its Spectoresque production rescues it in the end. "Nobody Loved You" is about their lost comrade Richey "Never had the chance to take you home/Now there's no reason/Just another tomorrow/You keep giving me your free air miles/What would I give for just one of your smiles/Just one of your smiles." The finale - "SYMM" actually stands for South Yorkshire Mass Murder. This song is a highly controversial attack aimed at the Sheffield police, who by their omissions allowed nearly one hundred Liverpool fans to die crushed in a terrace at Hillsborough Football Stadium in 1989, and to this day have not been indicted for their lack of action. "The ending for this song/Well I haven't really thought of one/There's nothing I could ever say/That could ever take the pain away." This album has all the reasons why this group are mad, bad and dangerous to know. They try too many styles, they dare to be poetic, to be sensitive, and they open their wounds in public. No album has come close in the past few years to the beauty of _This Is My Truth Tell Me Yours_. --- CONCERT REVIEW: Robbie Williams, Atlanta, Ga., 5/12/99 - Lang Whitaker If you combine the Jedi zen of Obi-Wan Kenobi with the suave sophistication of James Bond, then toss in a dash of the goofy licentiousness of Austin Powers, and you'll start getting a picture that resembles Robbie Williams. The anticipation stateside for the Robbie Williams' British invasion has been building for some time now, and rightfully so. After releasing two well-received albums in the United Kingdom, spawning several big hits (including the tuneful "Millenium" and the triumphant, anthemic "Angel"), Williams has succesfully resurrected his career from the ashes of his stint in Brit boy band Take That! With "Millenium" currently climbing the U.S. pop charts, Williams is nipping at the heels of a few ex-New Kids on the Block with his odd combination of ballsy hooligan street smarts and cheeky British smarm. Wearing a grey muscle shirt and grey karate pants, and sporting a freshly buzzed crew cut, Robbie Williams charged onto the Cotton Club stage needing only a glowing lightsaber to complete his Phantom Menace look. His doughy arms decorated by numerous tattoos, Williams began by leaping around and playing air guitar while the Star Wars theme blared over the P.A. system, inexplicibly substituting a shovel for a guitar, which prompted the enthusiastic crowd to get even rowdier. People near the front of the stage undulated forward, arms flailing at Williams' feet, threatening to pull the popster into their mosh of perspiring humanity. And then the band came on stage. Williams began his show, proper, with the rollicking "Let Me Entertain You," imbuing the song with a Neil Diamond's "Brother Love's Travelin' Road Show" feel. Williams has so much charm and charisma, that at any moment I expected him to began hawking snake oil or a some miracle cure-all tonic. "Entertain You" then segued smoothly into Eminem's "My Name Is"; Williams, no slouch, nailed every word, changing every "Slim Shady" to "Robbie Williams," but otherwise rapping it out phrase for phrase. The show eventually wound through almost all the songs on Williams' current U.S. release, _The Ego Has Landed_, with the band occasionally drifting into a Beatles cover or a Rolling Stones chord riff. Williams, born to be a diva, repeatedly pointed out that it was NOT true that pop stars get shagged a lot, and he conveniently gave out directions to his hotel for any of the 800-member crowd interested in coming over after the show for a quick shag. This prospect so excited one well-endowed young woman that she spontaneously threw up her tank top to flash her headlights at Williams; he responded by tossing an unlight cigarette to the lucky fan. After encore versions of "Millenium" (which was sung along with a track while the band faked their instruments) and "Angel," Williams cheerfully waved goodbye and trotted off the stage. As Tom Jones' "It's Not Unusual" kicked to life through the magic of CD, the doleful crowd sauntered out, coming down from the highs of being entertained for the last hour by a master entertainer. And somewhere, in a hotel a few blocks away, Robbie Williams was probably feeling quite shagadelic. Yeah, baby! --- REVIEW: Olivia Tremor Control, _Black Foliage: Animation Music_ (Flydaddy) - Chelsea Spear Three years ago, the Olivia Tremor Control took the underground rock world by storm with their first long-player, _Music from the Unrealised Film Script, "Dusk At Cubist Castle"_. The album was far from perfect, but it was a heady combination unheard of in indie-rock circles: strange and beautiful pop songs that would be top ten hits in any other galaxy rubbed shoulders with musique concrete sound collages. Now, the mind-bending ensemble returns to the fray with another cinematically inspired album, _Black Foliage: Animation Music_. It too is charmingly imperfect, but it shows a great deal of growth and maturity for the ever-intriguing Olivias. Once again, the album is rife with pop tunes, gorgeous bites of melody performed with passion and love by a band that seems to only know how to create that. Will Cullen Hart and Bill Doss play off one another like a postmodern Lennon and McCartney; Hart writes the kind of three-minute tunes that populated AM radio in the 1960s (such as the irresistable "Hideaway"), while Doss brings his listeners into a thicket of black foliage through dreamy, cinematic musical effects (especially on the twinkling "Grass Cannons"). The two minds come together on "I Have Been Floated", a crescendic mini-opera starring many of the band's cronies from the Elephant 6 Recording Company, and on "Sylvan Street", a gorgeously droning tune with a duelling banjo/guitar bridge and an acapella coda worthy of _Smile_-era Beach Boys. Likewise, the production is superb. While fairly lo-fi production technique gave the band's last album a simple sound that put the attention squarely on the music, Robert Schneider's boardwork helps the band to get the most out of their unique sound, and paints the album in bright sonic colours and deep shading. If there's any fault to be found in this otherwise superb album, it's one of balance. The band still hasn't found the right balance between conceptual sound collage and music. While some of the musique-concrete material is wisely interspersed between songs, there's still a patch towards the end of the album made up of just sound collage, which can be difficult listening. All and all, this is a minor point in quibbling with such monumental greatness. The Olivia Tremor Control have created a challenging and breathtakingly beautiful album, one that will likely influence smart, passionate musicians for years to come. --- REVIEW: Various Artists, _Where is My Mind? A Tribute to the Pixies_ (Glue Factory) - Steve Kandell There is no denying that Boston's late, lamented Pixies are a band worthy of tribute. Like the Velvet Underground, they were underappreciated during their far too brief career, only to become lauded posthumously as one of the most influential bands of the past twenty years. Of course, tribute is one thing; tribute albums are quite another. Comprised of cover versions from small, modest college rock bands with a few bargain bin bound major label acts thrown in for good measure, there is nothing on this entertaining fifteen track collection to compare to the travesty of Hootie and the Blowfish's "Good Times, Bad Times" from the Led Zep tribute _Encomium_, or, God forbid, Third Eye Blind's "Train in Vain" on the new Clash tribute. Things get off to a shaky start with Eve 6's turgid version of Bossanova's "Allison," but for the most part, the bands capture the quirky, hypercharged energy that marked the best efforts of Joey Santiago, David Lovering, Kim Deal and The Artist Formerly Known as Black Francis. With two exceptions, the covers here are faithful, almost to the point of reverence. This is not to say that the cover versions are redundant. Perhaps the biggest testament to the Pixies' influence is that most of the bands on this record do not have to alter their own sound in the slightest in order to evoke the Pixies. A blow-by blow breakdown: 1) "Allison" by Eve 6: Overly produced and crooned in a style that falls just short of camp, this track raises questions as to whether Eve 6 has even heard the band they are allegedly paying tribute to. Far and above the weakest cover on the collection, so an odd way to start off. But fear not, it gets better. 2) "Alec Eiffel" by The Get-Up Kids: A raucous, low-fi tear through this single from the Pixies' last album, which bucked modern rock conventional wisdom by being ten times harder and rawer than anything they ever put out before it. 3) "Velouria" by Weezer: Sounds like Weezer, and it also sounds like the Pixies, which just goes to prove what I've thought all along: Weezer sort of sounds like the Pixies. 4) "Monkey Gone to Heaven" by Far: Faithful to the point of nearly being indistinguishable from the original, save for the distorted spoken word vocals in the verses. 5) "Trompe Le Monde" by Braid: Like the Get-Up Kids, this is a frenetic selection from the swan song album of the same name. But the best part comes 1:41 into the song, with a hilarious line-by-line recital of Kim's famous "and there were rumors he was into field hockey players - bit from Surfer Rosa. Undoubtedly the album's high point. 6) "Wave of Mutilation" by Superdrag: By far the catchiest tune ever to have the word "mutilation" in its title. The Pixies often favored a slower, dirge-like version live, but this revved-up romp is more akin to the one on _Doolittle_. 7) "Manta Ray" by Teen Heroes: The most surprising thing about this song is not its baroque intro, but its selection. "Manta Ray" is a relatively obscure b-side, although it was one of the highlights of last year's Pixies at the BBC release. For the discerning listeners, there are a few references to other Pixies songs like "Dig for Fire" buried within. 8) "Tame" by Local H: Anything but. Originally on _Doolittle_. 9) "Gigantic" by Reel Big Fish: OK, this is the one I was dreading when I first saw the back cover. Primed for one of my all-time favorite songs done as bad faux-ska, I was ready for disappointment. But what I wasn't ready for was to hear it reinvented as kitschy, 80's-style synth pop, complete with electronic drums. The result is vaguely Weird Al-esque, and if this is meant as a tribute, then Reel Big Fish is cordially invited to give me the finger anytime. This is not to say that all of the covers need to be slavish reproductions, but considering that it is the only Kim Deal song represented here, something other than tossed-off novelty would have been nice. 10) "The Holiday Song" by The Siren Six: Reggae! But unlike the Reel Big Fish tune, the spirit of the original, from the _Come on Pilgrim_ EP, remains intact. 11) "Where is My Mind?" by Nada Surf: An appropriately dreamy take on this Surfer Rosa classic from a band that I keep getting confused with Nerf Herder. Which one had that song about Sammy Hagar ruining Van Halen? 12) "Gouge Away" by Promise Ring: Another solid, note-by-note cover. 13) "Here Comes Your Man" by Samiam: Produced by Green Day's Billie Joe Armstrong, this peppy take holds up as a great reminder why the song was the closest thing the Pixies ever had to a radio hit. 14) "La, La, Love You" by Weston: A cute, slinky version of what has to be the most ridiculous, but possibly most infectious song the Pixies ever recorded. 15) "Caribou" by Sense Field: Dreamier and more sonically expansive than the _Come on Pilgrim_ version, this closes the album on a far better note than the one it starts on. Considering that bassist Kim Deal is probably one of the most important and respected women in contemporary rock, it is odd that not a single female voice can be heard on this entire record. Granted, Kim's songwriting was discouraged by Black Francis just as it was starting to come into its own, which played no small part in the band's disintegration and the rise of Kim's Breeders. But if this is a tribute, credit should be given where due. Perhaps the one point that a tribute album like this gets across most clearly is how sorely the Pixies are missed right now. For all of the bands that pay lip service to being influenced by the Pixies, none possess the offbeat charm that counteracted their patently venomous delivery. Catchy surf pop that just happened to be about aliens; blistering punk tunes that just happened to be in Spanish. There was a brief time, right around the release of the first Frank Black album and the first two Breeders albums, that the breakup looked like a blessing in disguise; that the sum of the band's parts might actually exceed the whole. But, as pop music limps into the 21st century -- with Mr. Black exiled to Spinart and Kim Deal suspiciously AWOL -- their absence is felt on the airwaves more resoundingly than their presence ever was. Maybe that's why Eve 6 gets to go first. --- REVIEW: Prodigy, _Prodigy Present The Dirtchamber Sessions Volume 1_ (XL Recordings) - Simon West Ah, the DJ mix album. There's a lot of these about at the moment, running the gamut from blatant label self-promotion to ego trips of dubious merit. And then there are a few that are actually worth picking up. _Dirtchamber_ falls into the last category -- a brief trip through dance, old-school hip-hop, punk and funk, that showcases the mixing talents and musical influences of Prodigy mastermind Liam Howlett. Howlett's always had more of the b-boy about him than most of his commercial peers, and it shows clearly here. _Dirtchamber_ is a rough and ragged mix that sounds like it was recorded live at a DJ face-off. Assembled in just a few days, it packs more than 50 songs inside 50 minutes. With this much going on, the tracks don't really get much chance to breathe; it's a whistle-stop tour through someone's record collection, but it's thrown together with great style and a master's touch, and the atypical brevity certainly avoids any chance of boredom creeping in. In the mix are a diverse array of artists, from Jane's Addiction to Grandmaster Flash, The KLF and The Charlatans, usually clocking in at less than a minute each. Howlett's peers The Chemical Brothers, Fatboy Slim and Propellerheads make an appearance. The Prodigy themselves swing by briefly here and there, and hip hop is well represented by Tim Dog, Public Enemy and Digital Underground along with Ultramagnetic MC's (who contribute an extended snippet of "Give The Drummer Some," complete with the "smack my bitch up" line that so offended the Beastie Boys last year, looped a couple of times here for full effect). Perhaps not entirely accidentally, Liam finds space for a touch of old-school politically incorrect Beasties just a little later on. The high point is probably the least expected moment, when, about halfway through, a brief snatch of the Beasties' "It's The New Style" drops suddenly and without warning straight into the Sex Pistols' "New York." The whole bloody thing - three minutes of three chords which then mixes aptly into Fatboy Slim's "Punk To Funk" and kicks the beats back up. It shouldn't work, but it does, and it's entirely apropos coming from Howlett, whose punk sensibility has always been evident in his work with the Prodigy. In short, _Dirtchamber_ is brilliant -- a 50 minute journey into breakbeats, crossfades and cuts that serves as an object lesson in what to do if someone puts you in front of a couple of turntables and a box of vinyl. Highly recommended. In fact, I'm already looking forward to Volume 2. --- INTERVIEW: Chuck D. from Public Enemy - Lang Whitaker Chuck D., the fiery-voiced founder of the pioneering rap troupe Public Enemy (perhaps the most politically relevant rap combo of all time), has always been on the cutting edge of the music industry, but usually as an artist. Now, following a break-up with his long-time label home Def Jam Records, Chuck has gone digital, recently signing a record deal with the internet-based label Atomic Pop Records. As Public Enemy's newest album, _There's a Poison Goin' On..._, is released for downloading, Chuck paused to talk with Consumable Online about the future of the music business. CONSUMABLE ONLINE: Hey Chuck. What's up with your record? How many people have been downloading the single? CHUCK D: Well, we can't get the final counts from Real Networks. Because Real distributes 10 million players, people are going to be getting the song automatically, and the Real jukebox is free. So, they don't really take final counts. They can get some read outs every month, but as far as our site ( http://www.public-enemy.com ), I know 100,000 people are getting it. But this is all qualified over a long period of time. It's not like how the record business has become now, where you have one week to get all your numbers in, and then it's on to the next thing. These numbers will continue on over a long period of time. CO: Are you thinking that you'll continue doing this after this album, or is this just an experimental thing? CHUCK D: Ain't no experimental thing. it's the real thing. Within two years, downloadable music will be the equivilant of the fifth major record label. So, by 2001 or 2002, it's going to be as usual as getting it from a store. CO: How often do you yourself download music? CHUCK D: I do it quite a bit. My whole thing with the stores is that there's nothing romantic about going to the stores and buying something for $16 or $17. The major labels haven't even realized that they've turned the business into a singles medium, but they still want to get the album price and the high rate for the CD, so they need to make some adjustments. They really need to figure out how they include downloadable music. CO: And you've kind of beat them to the punch, huh? CHUCK D: Yeah, if you want to say that, Lang. CO: Do you have set expectations as far as what kind of sales you'd like? CHUCK D: My expectations? One sale. One signifies whether we have a success or not. Everybody bugs out when I say that, but this all new, so I got nothing to lose. Our conventional methods for a distribution system nationally should distribute the album offline in June. But also, we have a couple of big retail outlets -- who shall go unnamed -- coming to the table that will probably have exclusive sales of the album. That means they'll probably have mid-six figures sales on the record. So, this is all good. We're showing people the way to go. CO: Definitely, definitely. I hope this all works out for you, man. CHUCK D: There's no way I can lose by selling one record, so what do you mean? What do you mean? The only way it can not work out for me is if I'm contracted by another situation that limits me from doing what I want. How can you figure it doesn't work out for me? I sell one copy, I'm good. The key is infiltrating the system with different revenue streams and different technologies. I mean, this will be the first ever album on Zip discs. Iomega and Public Enemy have made a big deal to release this record on Zip discs. There's four or five technology companies coming to the table to show people that. CO: Give me an example, Chuck, of what you're talking about. CHUCK D: (thinks for a second) Well, you watch Seinfeld, right? CO: Right. CHUCK D: You have nothing to do with Seinfeld's revenue streams, do you? CO: Not directly. CHUCK D: So what constitutes that Seinfeld is a $10 million show? CO: Right...(silence) CHUCK D: No, I'm asking you. What constitutes that Seinfeld is a $10 show? CO: Oh, I thought you were being rhetorical. It's the commercials and stuff. CHUCK D: Right. There's a bunch of different revenue streams. That's what's gonna take place with music. Almost like when you hit a fly ball to the outfield - what's up on the wall helps pay for the stadium. --- REVIEW: Mike Ness, _Cheating At Solitaire_ (Time Bomb) - Bill Holmes Although on the surface a fiery punk group, Mike Ness' band Social Distortion is melodic at the core; witness their success with roots rock riffs in songs like "I Was Wrong" and "Bad Luck". Ness, who has been in the band more than half his life, grew up on a combination of early rock and roll and American country icons like Johnny Cash, Hank Williams and Woody Guthrie. _Cheating At Solitaire_ is a peek back at his influences through a few classic covers and a slew of originals written in a similar style. The list of song titles cements the tone of the collection. "No Man's Friend", "Ballad Of A Lonely Man", and "Crime Don't Pay" all sound like they were ripped from the pages of a pulp novel, and indeed they're a cross between a black hat western and a gangster movie epic. His vocal range is limited at best, but so are those of his heroes Cash and Dylan, whose "Don't Think Twice" jump-starts the record with a rockabilly lurch - the antithesis of The Four Seasons' cover under the guise of The Wonder Who. Mixing heartfelt guitar playing with emotional vocal performances, Ness shines on this gumbo of country, blues, hillbilly and rock. Guests like Springsteen (vocals on "Misery Loves Company") and Brian Setzer (as always, excellent stunt guitar on "Crime Don't Pay") will draw the attention, but it's the lesser known Billy Zoom of X who steals the show with his contribution to "Dope Fiend Blues" (perhaps a tip of the cap to the late Johnny Thunders). Likewise, Chris Lawrence's pedal steel work lights up the countrified songs like "You Win Again" and the autobiographical "Rest Of Our Lives". The garage punk "I'm In Love With My Car" finds Ness bludgeoning three chord rock while his vocals sound like they were recorded through a megaphone, "Sweet Jane" turned inside out and upside down. Although a departure from the heavier sound of his band, fans will not be too jarred by this temporary tangent. After all, musically speaking, Mike Ness has always worn his heart on his sleeve. Of course, with all his tattoos, it was just harder to spot. --- REVIEW: Taxiride, _Imaginate_ (Sire) - Tracey Bleile Another pick-of-the-litter band has popped itself head and shoulders above the crowd of movies that has marked the beginning of another summer season by way of that elusive perfect, catchy tune. With roots tucked firmly in '70s-style electrified folk, and exploding outward with glorious four-part harmonies, the Melbourne, Australia, band Taxiride upholds a long and rich tradition of Australian pop music with their debut _Imaginate_. The first single, "Get Set," is featured on the soundtrack for the dark comedy _Election_ . This glossy, stylish sound is equal parts Seal -- in the strength of the arrangements and musicianship ("Rocketship" and the aforementioned "Get Set") -- and another part that is Simon & Garfunkel and CSN in the revitalized art of rock harmonies ("Can You Feel," "Ditty"). The buffing given by uber-producer Jack Joseph Puig reveals a definite ghost of Jellyfish floating around this charmed little release on both ends of the spectrum, from the almost acapella and sweetly sad "Let Me Die Young," to the giddy Sgt. Pepper moment in "Ice Cream." If anything, Taxiride may be a bit too perfect. There is a sense of not a note out of place, and as a result, there an edginess that was traded off for accessibility. However, this gathering of multi-faceted and multi-talented musicians is, as I said, head and shoulders above any dance-moves and harmonies-only boy group dominating the pop collective at the present. Swoon away. That's exactly what they want, but they'll truly be glad you did. --- REVIEW: Various Artists, _In Your Ear (Independent Film Channel)_ (Hybrid Recordings) - Bill Holmes Music for film and television falls into three distinct camps: the score, the hit compilation and the character music. Record companies incessantly push the second upon the listener as well as the filmmaker, for most "soundtrack" albums are merely a collection of trendy songs that may have little to do with the film itself. Many times the featured song only appears during the closing credits, if at all! The scores, when in the right hands (John Williams, Randy Newman, Danny Elfman, etc.) are a truer emotional bond with the visual presentation, but most don't sell. In the populist's eyes, the "character pieces" combine the worst elements of both - little known songs from usually little seen movies. Yet here are where some of the gutsiest, most artistic interpretive sounds are being made, often on a budget that couldn't cover a gaffer's lunch at the commissary. I'm not talking _Dawson's Creek_ and _Felicity_ music, either; a vehicle which has usurped MTV as the best marketing opportunity to reach white teenage girls. No, this is more _Homicide_ territory, where work from a wide variety of mostly esoteric artists is used to enhance scenes rather than buy time between them. The Independent Film Channel is a godsend to those cable subscribers who can get it; an oasis in the popular desert where John Lurie and Jim Jarmusch are household words. A majority of the films were made on a comparative shoestring budget, so you can imagine how few dollars are available for the music. In other words, you won't be hearing any Diane Warren or Desmond Child songs. Instead, unknown musicians and songwriters share soundscapes with artists like Tom Waits and Morphine who put their hearts before their wallets. This collection of eleven diverse cuts stands strongly on its own, but is also an enticing invitation to check out some of the great film work being created out of the main arena. Waits, who has worked on both sides of the camera, has one of the most emotionally resonant voices on the planet - "Good Old World" (from Jarmusch's _Night On Earth_) is riveting. Ditto another acquired taste, Shane MacGowan, with "The Old Main Drag"; a painful but absorbing shanty recorded with the Pogues. Morphine, a favorite of _Homicide_ viewers, uses their unorthodox instrumentation and style to provide a perfect soundtrack for urban desperation. The aforementioned John Lurie is represented by the themes from _Manny & Lo_, ably abetted by Marc Ribot and Medeski, Martin & Wood. Not all works come from the dark side, though - Victoria Williams' helium pipes grace "Love," and Hub Moore's "Walk Away" is lower case power pop. _In Your Ear_ will probably sell about as well as some of these artists do - poorly - but those looking for a viable alternative never cared about the Billboard charts, anyway. Whether this collection brings back memories of great films you've seen or opens a door to a world you know little about, you'll discover that there's nothing second rate going on here. --- REVIEW: Julian Coryell, _Bitter To Sweet_ (Mojo) - Andrew Duncan This may seem like yet another tale of a rising star born into the music business, but Julian Coryell's talent goes beyond his association of his father, Larry Coryell, being a great jazz musician. At the age of 14, Julian became an addition to his father's band, playing what he calls "lower-profile gigs." For the world traveler, those gigs were his boot camp gaining him the experience he needed for the real world. Of course a degree from the Berkelee College of Music probably helped out as well. As much as Julian enjoyed jazz and wanted to be like his father, he really had his eye on The Beatles and '60s pop. After playing many gigs in New York and piddling around in the studio, he was convinced to record in Los Angeles with producer Niko Bolas, who has worked with everyone from Stan Getz to Neil Young. What results is his debut release _Bitter To Sweet_, a technical album that deals with diversity, more than the concept of a crisp, pop album. From the beginning, the Beatles influence is immediately identified, but who hasn't been influenced by the Beatles? But then again, the album hints at anything from orchestral arrangements to '70s rock to alternative rock. Julian's ability to tell a story through verse is exceptional, with songs about hope ("Overcome") and despair ("Let Me Fall"). His voice often conjures up the image of a mature Andy Partridge, which is especially evident on the title track. The music is more than complimenting, through accenting the right moments and creating a thick backdrop rich in texture and emotion. Whether it's an acoustic strum or a sweep of a violin bow, every tone is carefully planned out. For those seeking a quick listen, look elsewhere. There's a lot going on in Coryell's world and, time permitting, he will tell his story the way he knows how - through beautiful musical imagery. --- REVIEW: Katharine Whalen, _Katharine Whalen's Jazz Squad_ (Mammoth) - Michelle Aguilar As any performer from Donny Osmond to David Bowie knows, one of the hardest things in the world to escape can be a persona. This is perhaps the dilemma Katharine Whalen faced when recording her first solo album, a vacation from her day job as resident Billie Holiday stand-in for the hot North Carolina retro band, The Squirrel Nut Zippers. In the past five years, Whalen has good-naturedly and with a lot of cheek gone along with the Zippers in their ironic, postmodern flirtations with uptempo hot combos and jazz swing genres of the '20s, '30s and '40s. Yet, notwithstanding Whalen's indefatigable enthusiasm for running with the SNZ boys' antics, their ethos seems to have consistently boxed her into singing all her songs through one of only two personas: Lady Day or Betty Boop. Whalen's self-titled solo debut seems to be trying to break out of that box, resisting the temptation to wheedle the young hipsters with her old parlor tricks and instead demanding that they experience her on her own terms. Meet her terms: The eponymous album by the Jazz Squad is a collection of hits and forgotten hits from the 1920s and '30s, with spot-on vocals and a fairly authentic sounding backing band. There are no winks here, no Hello Kitty-style playing around with the limited archetypes available to women singers in the Depression Era. Whalen lilts lovingly over songs like the Fred Rose/Walter Hirsch mid-'20s hit "Deed I Do" and Gus Kahn and Walter Donaldson's "My Baby Just Cares For Me," with a deep affection and with a clear desire to pass for the real thing. So, there's little flapper-girl sultriness or the cutesy Tin-Pan Alley antics, like Whalen's employed on SNZ records. Her approach here is more sophisticated, showing off more of what her voice can do. The selection of songs from the '20s and '30s is a bit of a red herring. For what Whalen seems to be aiming at with this record is an evocation of the more stripped-down but stately jazz combos of the '40s and '50s. In fact, Whalen seems here to be channeling another, quite different Lady Day, i.e. jazz vocalist Anita O'Day, who like Whalen first made her name in a thrill-seeking boy-dominated band. In the 1940s and '50s, O'Day successfully left Gene Krupa's band and began doing her own unique takes on the melodies and rhythms of standards and hits from the '20s and '30s. As a result, O'Day became one of the few performers to survive the music industry's new demand for crooners and individual voices. While Whalen has nothing nearly so complicated on her agenda, like O'Day, she is relaxed and confident enough on this album to break out of what people might expect her to do with an album full of Depression-era hits. Whalen's vocals on this record are more poised and relaxed and sound rather like the real thing, although at times they perhaps veer a little too close to cocktail jazz. The clean production on these backing tracks, which feature little more than standup bass, piano and guitar (the last one provided by husband and day-tripping Zipper James Mathus) steer clear of the liberal dose of goofiness to be found in your average SNZ album. For better or for worse, Whalen's attempt is much less humorous and more intent on getting it right, so to speak. Throughout the album, Whalen, with understated joy, rolls over and under these songs' rhythms, pitches and lyrics. In "My Old Flame," a piano torch song which has Whalen reminiscing about a first love so old she can't remember his name anymore, her voice is atmospherically breathy yet strong, strolling effortlessly through hard-to-catch pentatonic tones. In "There Is No Greater Love," Whalen is able for the first time to use her voice to convey genuine melancholia, a feat she never really accomplished with SNZ. She doesn't give in to her older ways, even in "Sugar," which verges almost on Dixieland territory and could have been right at home in the SNZ catalogue (I'd never cheat on my sugar/'cause I'm sweet on my sugar/my sugar baby of mine). On a SNZ recording, I expect that Whalen would most likely have turned on her lovelorn flapper voice (see "You're Driving Me Crazy," and "Prince Nez"), but here, without the manic stylings of the Zippers behind her, her voice is strong and steady, adeptly navigating the waters without resorting to cuteness. All Squirrel Nut Zippers fans are not going to like this album. It's not exactly an album that's going to inspire anyone to dance, or do anything really except sit and listen in appreciation. But it is a beautiful, highly personal record. Listening to this album is rather like watching a tomboy as she tries on her first prom dress and realizes there is a world of possibilities out there for expression. --- REVIEW: Chris Wall, _Tainted Angel_ (Cold Spring) - Daniel Aloi If you think Hank Williams Jr. hasn't done anything good since before he cut the Monday Night Football theme and that all the great barroom singers are either gone or shadows of what they were, there's at least one of the breed still carrying that flame and burning down the honky-tonks with it. Although the outlaw movement has been thought long dead or relegated to obscurity by the changing commercial tides of country music, Texan Chris Wall is (cliche time) the real deal, a man out of time, a honky-tonk hero. His entertaining, to-the-bone songs were probably inspired early on by the music of the jukebox joints I frequented in Texas nearly 20 years ago, before everything turned to formula-driven ballads and reheated classic rock with faint hints of fiddles and steel (you know, to "keep it country"). Bearded, black-hatted and with hard-won experience and the courage of his convictions in every note he sings, Wall hits hard with honest revelations in his songs of drinking, driving, dancing and loving. Especially loving what's lost, whether it's a memory (in "Three Across") of barreling down the highway in better times blasting "Born to Run" on the pickup's radio, or of a woman in the traditional sounding "I Never Got Over Losing You," keeping his brave face on and the music upbeat. And sincere -- he isn't afraid to admit what led him to his current condition. Wall gives us a great cowboy love song in "Waltz to Cheyenne," an unknown legend in "Dylan Montana's Last Ride," bravado as big as the Lone Star state in "Half of What Killed Elvis," and straight-out, ungarnished rock'n'roll in the hammering twang of "No Sweat." This is the true sound of foundation-shaking salvation that Jason and the Scorchers were forever trying to call up with their Hank Sr.-meets-Van Halen workouts. As Wall sees it, there are criteria for great country songs, in stories "set somewhere between exuberance and desperation." His gruff baritone (think Merle Haggard) and self-awareness convey the latter, his band and optimism the former. Recording a year ago in Austin, Wall found his way to a true sound in a crack band, Reckless Kelly -- with Cody and Willy Braun, brothers Wall's known since they were kids. You can hear how close they are in just about every bar of music they play together. Although they put out a more conventional, with-the-times country record of their own (_Millican_) on Wall's Cold Spring label in 1997, here they rock out and twang hard, as if they're playing a bar on the hottest, drunkest night of the year and out to prove that the music is worth something much more than formulas and fame. It's good to have someone like Wall, not too settled in midlife to be kicked in the ass by a young band, to bring back a little of the music's old magic, fire and fury. Even if no one else picks up his torch and carries it to Nashville, he's a singular reminder of what makes country music great, and he'll keep running with it. For more on Chris Wall and Reckless Kelly: http://www.coldspring.com, http://www.chriswall.com or e-mail: music (at) coldspring.com --- ERRATA: > In the May 27 issue of Consumable, Elvis Costello was mistakenly referred to as British, when his birthplace is actually Ireland. Thanks to reader Jim F. for pointing this out. --- NEWS: > The Beastie Boys are offering three unreleased tracks for free download exclusively on http://www.launch.com - and donating, along with LAUNCH, $1 per new visitor to charities (CARE and MADRE) which support the Kosovo relief effort. The first track to be made available will be the previously unavailable DJ Design Remix of their current hit single, "The Negotiation Limerick File" from their multi-platinum album, _Hello Nasty_ . > Meredith Brooks fans can get a closer look at the making of her latest album, _Deconstruction_, at the artist's website, http://www.meredithbrooks.com . Rough versions of tracks which are being prepared for the forthcoming album will appear on the site, as will audio messages from Ms. Brooks herself. > Primus is finishing up work on their as-yet-untitled album due this fall. Current highlights include a collaboration with Tom Waits and guest appearances from Rage Against The Machine's Tom Morello, Metallica's Kirk Hammett, and Jim Martin, formerly of Faith No More. > On June 13th, 1999, the Tibetan Freedom Concerts will bring together 47 bands and millions of people on four continents for one goal - freedom for the people of Tibet. This year's Tibetan Freedom Concerts will take place in Amsterdam, Chicago, Sydney, and Tokyo. The concerts and the worldwide events that weekend will be linked by a common website, http://www.tibet99.com , the official site of the Tibetan Freedom Concert, while the broadcast is being streamed by the House of Blues ( http://www.hob.com ). Confirmed performers in Chicago include Run D.M.C., the Cult, Beastie Boys, Blondie, Roots, Outkast, Live, Eddie Vedder and Tracy Chapman. In Amsterdam, artists include Garbage, Blur, Rage Against the Machine, Alanis Morissette, Ben Harper, Joe Strummer, Thom Yorke, and Luscious Jackson. --- TOUR DATES: Anti-Flag Jun. 10 Los Angeles, CA Troubadour Jun. 11 Anaheim, CA Chain Reaction Jun. 12 Berkeley, CA Gilman Street Jun. 13 Portland, OR 17 Nautical Miles Jun. 14 Seattle, WA RKCNDY Jun. 15 Eugene, OR WOW Hall Adrian Belew Jun. 10 Boston, MA Middle East Jun. 11 Philadelphia, PA New Market Caberet Jun. 12 Hoboken, NJ Maxwell's Jun. 13 Arlington, VA Birchmere Jun. 15 Carrboro, NC Cat's Cradle Boredoms Jun. 11 Philadelphia, PA Trocadero Jun. 12 Washington, DC 9:30 Club Jun. 14 Cambridge, MA Middle East Downstairs R.L. BURNSIDE Jun. 12 Anchorage, Alaska Anchorage Blues Festival Candy Butchers Jun. 11 Denver, CO The Blue Bird Mary Chapin Carpenter Jun. 10 Saratoga, CA Villa Montalvo Jun. 11 San Raphael, CA Marin Arts Center Jun. 13 Portland, OR Oaks Park Jun. 14 Boise, ID Morrison Center Jun. 15 Salt Lake City, UT Red Butte Garden Chapter In Verse Jun. 11 Portsmouth, NH The Portsmouth Gaslight Co. Ani DiFranco / Maceo Parker Jun. 14 Vienna, VA Wolftrap Jun. 15 Baltimore, MD Pier Six Pavillion Go Betweens Jun. 10 Cleveland, OH Grog Shop Jun. 11 Detroit, MI 7th House Jun. 12 Chicago, IL Double Door Jun. 14 Minneapolis, MN 400 Bar Jun. 15 Milwaukee, WI Shank Hall Grinspoon Jun. 10 Toledo, OH Main Event Jun. 11 Pittsburgh, PA Metropol Jun. 13 Dewey Beach, DE Bottle & Cork Jun. 16 Hartford, CT Webster Theatre Ben Harper Jun. 13 Amsterdam, Holland Tibet Freedom Festival Ben Lee Jun. 10 Hollywood, CA The Palladium Jun. 11 Las Vegas, NV House Of Blues Jun. 12 San Diego, CA Open Air Ampitheater Jun. 13 San Francisco, CA Warfield Theater Jun. 15 Portland, OR Aladdin Theater Lilith Fair Jul. 10 George, WA The Gorge Jul. 11 Portland, OR Civic Stadium Jul. 13-14 Mountain View, CA Shoreline Amphitheatre Mercury Rev Jun. 11 New York, NY Irving Plaza Jun. 12 Philadelphia, PA The Trocadero Jun. 14 Pittsburgh, PA Graffiti Jun. 15 Toronto, ON Opera House Alanis Morissette Jun. 10 Dresden, Germany Junge Garde Jun. 13 Holland Tibet Concert Jun. 14 Brussels, Belgium Forest National Jun. 15 Paris, France Le Zenith Van Morrison Jun. 12 Chicago, IL Fleadh Festival Jun. 13 New York, NY Roseland Jun. 14 Wantagh, NY Jones Beach Mike Ness Jun. 11 Boston, MA Berklee Performance Jun. 12 Providence, RI Lupo's Heartbreak Hotel Jun. 13 Hartford, CT Webster Theater Jun. 15 Washington, DC 9:30 Club Beth Orton Jun. 11 Cleveland, OH The Odeon Jun. 12 Chicago, IL Fleadh Fest Jun. 13 Minneapolis, MN The Quest Jun. 15 Detroit, MI St. Andrew's Hall Pietasters Jun. 11 Hoboken, NJ Maxwells Jun. 12 Long Island, NY Praise Tabernacle Jun. 13 Ithaca, NY The Haunt Rammstein Jun. 10 Cleveland, OH Agora Theater Jun. 11 Chicago, IL Odeum Jun. 12 St. Paul, MN Roy Wilkins Auditorium Jun. 14 Denver, CO Fillmore Auditorium Jun. 15 Salt Lake City, UT Wasatch Events Center 764-HERO Jun. 10 Cambridge, MA The Middle East Jun. 11 New York, NY The Mercury Lounge Jun. 13 Morgantown, WV 123 Pleasant Street Jun. 15 Columbia, MO Shattered Skunk Anansie Jun. 10 Cleveland, OH Agora Theater Jun. 11 Chicago, IL Odeon Jun. 12 San Francisco, CA Bottom Of The Hill Jun. 14 Los Angeles, CA Troubador Sonic Youth Jun. 13 New York, NY South Street Seaport Sparklehorse / Mercury Rev Jun. 11 New York City, NY Irving Plaza Jun. 12 Philadelphia, PA Trocadero Jun. 14 Pittsburgh, PA Graffiti Jun. 15 Toronto Opera House Rick Springfield Jun. 11 Kansas City, MO Station Casino Jun. 12 Columbus, OH Mekka-Metrostage Summer Concert Series Jun. 13 Hershey Park, PA Hershey Park Amphitheater Sally Taylor Jun. 11 New York, NY Mercury Lounge Jun. 12 Bryn Mawr, PA The Point Jun. 13 King of Prussia, PA Concert Under the Stars Those Bastard Souls Jun. 10 New York, NY Tramps UB40 Jun. 11 Las Vegas, NV The Joint - Hard Rock Jun. 12 Los Angeles, CA KISS Radio Show Jun. 13 San Francisco, CA Greek Theatre Jun. 15 Denver, CO Mammoth Events Center Ultimate Fakebook Jun. 10 Kansas City, MO Hurricane Jun. 12 Fort Wayne, IN Back Door Jun. 14 New York, NY Coney Island High Jun. 15 Columbus, OH Little Brothers Paul Van Dyk Jun. 11 New York, NY Twilo Jun. 12 Toronto , ON Industry Jun. 13 Chicago, IL Club 950 Jun. 14 Miami, FL Shadow Lounge Verve Pipe / Papa Vegas Jun. 13 San Francisco, CA Slim'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 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. PMB 294, Hoboken, New Jersey 07030 ===