==== ISSUE 112 ====    CONSUMABLE     ======== [June 11, 1997]

  Editor:             Bob Gajarsky
		        Internet: gajarsky@email.njin.net
  Sr. Correspondents: Jeremy Ashcroft, Reto Koradi, David Landgren, 
                      Sean Eric McGill, Tim Mohr, Al Muzer, Jamie 
                      Roberts, Joe Silva, John Walker
  Correspondents:     Daniel Aloi, Lee Graham Bridges, Scott Byron,
                      Patrick Carmosino, Janet Herman, Bill Holmes, Eric 
                      Hsu, Tim Hulsizer, Stephen Lin, Scott Miller, 
                      P. Nina Ramos, Linda Scott, Scott Slonaker,
                      Simon Speichert, Jon Steltenpohl, Simon West,
                      Lang Whitaker
  Technical Staff:    Chris Candreva, Dave Pirmann

 Address all comments, subscriptions, etc. to gajarsky@email.njin.net
==================================================================
	All articles in Consumable remain (C) copyright their author(s). 
Permission for re-publication in any form must be obtained from the 
editor.
==================================================================
                            .------------.
                            |  Contents  |
                            `------------'
CONCERT REVIEW: Suede / Longpigs - Robin Lapid
REVIEW: Sinead O'Connor, _Gospel Oak EP_ - Joe Silva
REVIEW: Ani DiFranco, _Living in Clip_ - Jon Steltenpohl
CONCERT REVIEW: Metallica - Simon Speichert
REVIEW: Various Artists, _POPTOPIA!_ - Bill Holmes
REVIEW: Sonic Dream Collective, _Gravity_ - Bob Gajarsky
REVIEW: Michelle Malone, _Beneath The Devil Moon_ - Lang Whitaker
REVIEW: Various Artists, _Sex-O-Rama_ - Tim Hulsizer
REVIEW: Kenickie, _At The Club_ - Patrick Carmosino
REVIEW: Amanda Green, _Junk And Stuff_ - Bob Gajarsky
REVIEW: The Frogs, _Starjob_ - Reto Koradi
REVIEW: The Irresponsibles, _Big Orange_ - Bill Holmes
REVIEW: Maximum Jack, _Do Not Disturb_ - Al Muzer
NEWS: Jeff Buckley, Chemical Brothers, Billy Joel, Sister 
  Hazel, W.B.Yeats
TOUR DATES: Blink 182, Bobgoblin, Buck-O-Nine, Johnny Cash, 
  Cellophane, Cowboy Mouth, Cravin' Melon, Five For Fighting,  
  Fluffy, Furthur Festival (incl. Black Crowes and many more), 
  G3 (Joe Satriani / Steve Vai / Kenny Wayne Shepherd), Sammy 
  Hagar, Paris Hampton, Hoven Droven, Indigo Girls, Irving Plaza,  
  Rickie Lee Jones, Wayne Kramer, Don Lewis Band, Matchbox 20, Blake 
  Morgan / Mini King, Moxy Fruvous , My Life With The Thrill Kill 
  Kult, No Doubt / Weezer / Lunachicks, Ozzfest (Ozzy Osbourne / Type 
  O Negative / Machine Head / more), Poorhouse Rockers, Sevendust, 
  Silver Jet, Sister Hazel, Skeleton Key, Todd Snider, Space, U2, Vallejo
Back Issues of Consumable
---
	CONCERT REVIEW: (The London) Suede / Longpigs, Fillmore 
		Theatre, San Francisco
		- Robin Lapid
	A rare but precious thing about live concerts is that special 
moment when a band performs *for* and *with* the audience rather than 
just playing *to* them.  And it's even better when the music doesn't 
suck - when it doesn't, it can positively soar.  Case in point: the 
London Suede.
	As a live act, Suede are a unique beast.  On paper, all the 
facts ring true:  there's the band, eager to prove to the world, and 
themselves, that their initial acclaim was no fluke.  That, with the 
addition of young guitarist Richard Oakes, and more recently with 
keyboardist/ backing vocalist and sometime songwriter Neil Codling, 
they can only become stronger and better.  And more importantly, they 
have to prove to Americans (barring those cult-pockets of Anglophiles 
and ex-pats), that they exist.  And that their music is worth repeated
listens.
	It certainly is.  The domestic release of their recent album, 
the more poppier than glam  _Coming Up_, hinted at the potential for a 
great live show.  Milk-fed on Bowie and T. Rex, singer-frontman Brett 
Anderson jumps enthusiastically to his own music, relishing the 
sold-out Fillmore crowd's screams and rumbling feet and outstretched 
hands, slowing down only to sing one of his Phantom-of-the-Opera-esque 
love songs for the 90's indie-pop listener ( like the lilting "Wild 
Ones" and the elegant "By the Sea").  Themes of frustration and anger 
divined through sex, drugs, and rock 'n roll that made their previous 
albums such a visceral release in concert give way to themes of stylish 
fun and frolic, now divined through, well, sex, drugs, and rock 'n 
roll.  The crowd can still sway and drown to the band's earlier sound, 
but now they can also pogo ecstatically at the wonder of a soundscape 
like that of the delectably catchy "Beautiful Ones":  "high on diesel 
and gasoline/ psycho for drum machine/ shaking their bits to the hits."
	Bassist Mat Osman and drummer Simon Gilbert anchor the show 
solidly, Oakes shakes his guitar a bit for that rockstar effect, 
Codling sits louchely at his keyboard, a deadpan "ah popstardom is so 
boring" stare at the crowd and occassional searches for another 
cigarette.  His synth-string and vocal additions on songs like "So 
Young" and "She" flesh out the live sound, creating a fuller and 
lovelier, more three-dimensional Suede.
	But the show is mostly Brett's.  Anderson pumps and preens 
for the crowd, inciting sing-alongs, bouncing and driven by his own 
music, feeding the crowd's energy as well as his own.  As far as 
charismatic singers go, he's got a lot to offer in such a skinny 
frame - a singer by the people and for the people.  Once a 
sexually-ambiguous force given to smacking his ass with the mike and 
doing provocatively sensual Indian dances, he now confidently strides, 
jumps, and shakes along with the fans.  "You're not singing!" he 
chides them mid-song, to which the obedient crowd shout along to 
his chorus of approval.
	Opening act Longpigs, a Sheffield outfit in the vein of Adorable 
and Echo and the Bunnymen, provided a melodically subdued pop 
performance, with lead singer Crispin Hunt pulling a Jarvis Cocker by 
inviting each audience member to "gently fondle the genitals of the 
person to your left" for the love song that followed.  Come to think of 
it, they were a perfect opener to the Suede show, which contained 
primarily songs from _Coming Up_, but also selections from previous 
albums as well as haunting b-sides ("Europe Is Our Playground").  Songs 
which sound merely great on stereo are unleashed as new beasts on stage, 
and become interactive pieces which enjoin the crowd in one of those 
special live "moments."
---
	REVIEW: Sinead O'Connor, _Gospel Oak EP_ (Chrysalis/EMI)
		- Joe Silva
	While much is being made of Sinead O'Connor's media-ready 
fangs being spiritually yanked by the birth of her second child (a 
daughter, Roisin), it seems like rock's problem lass has merely 
taken to finessing her anger into a more refined, palatable 
passion for this brief six song outing.
	Not one to step back from directness, Sinead appears so 
lyrically naked and open to scrutiny, ridicule, etc that even when 
laid gently against these cooing melodies and soothing tones, it's 
difficult to create a comfort zone around some of her material. 
Beginning with the soft "This Is To Mother You," she moves slowly 
from promise to atonement, from whisper to strident call and back. 
Within a mix of hushed guitars and a near Enya-like backdrop of 
pizzicato strings, Sinead is able to resolve momentarily her well 
known struggle with "Mother" into an earnest pledge of motherhood.
	Following on with "I Am Enough For Myself" (inlaid with a 
recurring melody line that rings familiar) and "Petit Poulet," she 
offers faces of personal resolve and comfort respectively, that 
further cast her hard-baked willfulness into passages of a more 
positive, less calamitous strength.
	Coming smack dab in the center, "4 My Love" plays easily 
as the record's centerpiece. Set to a stern march and a pretty 
braid of accordion and Spanish-flavoured guitar work, Sinead sings 
an ode to the co-author of her child and a restive keeper of the 
Irish flame. But the featured item in all of this has to her voice 
itself as it travels layered and unlayered across the track.
	In the pop songstress category there are a few number of 
voices that contain character of such breadth.  Eventually the Tori 
Amos/Sarah Mclachlan camp will have to be herded together, but 
beyond a statement of self-assurance and hard won composure, the 
_Gospel Oak_ is another citing of a siren pre-eminent.
---
	REVIEW: Ani DiFranco, _Living in Clip_ (Righteous Babe)
		 - Jon Steltenpohl
	Prepare yourself.  _Living in Clip_ is a jaw dropping, groove 
driving, emotional train wreck.  Ani DiFranco takes a very bold step 
forward, further from obscurity, with a truly vital live double CD.  
In a day when live albums serve mainly to fill out the contracts of 
washed up artists, DiFranco smacks you across the face and passionately 
reminds you that music was meant to be lived and experienced.  On 
_Living in Clip_, DiFranco presents essential versions of her quiet 
folk songs, funky grooves, and inflamed rages that have already sold 
750,000 copies of her 8 studio albums. 
	"Wait a second!  Ani who?", you ask.  A fair question if you've 
only listened to your local "alternative" radio station.  DiFranco is 
the current reigning queen (king?) of her own punk-folk domain.  As a 
detached girl of divorced parents, she hung out at folk clubs and let 
the artists crash in her room after the shows.  When she eventually
picked up a guitar and started writing her own songs, she already knew 
the dangers of the music business.  By the time her self-produced tape 
started selling, DiFranco already had a reputation as an east coast, 
feminist, bisexual folk artist. 
	Now, on her 9th album, DiFranco's music is still raw and 
original, and she still runs her own label, Righteous Babe Records.  
About the only thing that's changed is that she's upset a few fans by 
actually falling in love with a man.  Impossible to categorize as just 
"folk", DiFranco completely blends folk, punk, and funk into her own 
style.  Like punk and folk musicians both, her original music bleeds 
with emotions.  She has tattoos and funky hair, she puts out her own 
records, and she plays in front of real audiences in town after town 
in D.I.Y. fashion. 
	_Living in Clip_ is a chronicle of DiFranco in real time.  The 
album starts with an improv of digitized voice loops harmonized live 
on stage and then breaks to DiFranco commenting, "Man, this is so 
fuckin' weird... it's unbelievable."  Exactly.  DiFranco hasn't simply 
recorded a single concert and then overdubbed the hell out of it.  
Instead, _Living in Clip_ captures DiFranco straight to 8 track in 
front of over 2 dozen audiences throughout North America over the 
course of 1995 and 1996.  Most of the tracks feature her with her 
bandmates Andy (drums) and Sara (bass). 
	The opening track is "Gravel", a new song that is 100% Ani.  
Upront is DiFranco's trademark staccato acoustic guitar.  Over the 
intro chords, DiFranco makes silly barnyard animal noises and giggles 
a bit.  And then the serious lyrics.  Her lover comes to see her after 
a fight, but he breaks down her pitiful defenses.  She compromises 
herself, and somehow justifies riding off into the sunset with someone 
she both abhors and adores.  Explains DiFranco, "You've been juggling 
two women like a stupid circus clown... telling us both we are the 
one.  And maybe you can keep me from ever being happy, but you're not 
gonna stop me from having fun." 
	Fans already know that DiFranco's ironic self awareness and 
twisted independence set her apart.  Whether political or personal, 
DiFranco rips her heart out, takes a good look for herself, and then 
tells you what you see as it beats before your eyes.  DiFranco takes 
the role of a topless dancer in "Letter to a John".  She sings 
defiantly, "I want you to pay me for my beauty.  I think it's only 
right 'cause I have been paying for it all of my life."  In the quiet 
"Joyful Girl" she looks in the mirror and says "Would you prefer the 
easy way?  No, well o.k. then, don't cry." 
	Taking the hard way has paid off for DiFranco.  By staying away 
from the major labels, she took a chance.  But DiFranco has persevered, 
and it has paid off.  She's even been featured by magazines like 
Forbes as a Gen X business woman, but those type of articles seem to 
ignore the fact that people buy her albums because of the power of the 
music. 
	_Living in Clip_ is perfect proof of the spoils gained by 
independence from the majors.  It is a fan's album in every way.  
There's a massive, full color photo album from the tour with on-stage
shots as well many candid backstage shots.  The tracks represent the 
best from every stage of DiFranco's career, and many, most notably 
"Adam and Eve", eclipse their studio versions.  There are many song 
intros left in place along with snippets of hilarious dialogue and bits 
of improv jams. 
	The only weak point on the album are two tracks that DiFranco 
recorded for the opening of a hockey rink with Doc Severinsen and his 
orchestra.  Sure, they're interesting in a surrealistic sort of way, 
but they don't match the energy and style of the rest of the album.  
Still, it's a slight indulgence for her most faithful fans to include 
them, and with 2 full CDs worth of music, they hardly begin to detract 
from this otherwise incredible collection. 
	Every few musical generations, an artist comes along that is so 
vital to a genre that the next few generations can't escape their 
influence.  Whether it be Woody Guthrie for folk, Robert Johnson for 
classic rock, or James Brown for funk and rap, certain fundamental 
artists bridge the gap from the past to the future of music.  So, allow 
me to make a prediction.  20 years from now, when the next generation 
of independent female artists are popping out of every corner, Ani 
DiFranco will be on their lips as the trail blazer who let them sing 
their souls without selling out. 
	(Although _Living in Clip_ is an independent album, it is 
available at most record stores or directly from Righteous Babe 
Records at 1-800-ON-HER- OWN.)

TRACK LISTING: Disc 1 - <Whatever>, <Wherever>, Gravel, Willing to 
Fight, Shy, Joyful Girl, Hide and Seek, Napoleon, I'm No Heroine, 
Amazing Grace, Anticipate, Tiptoe, Sorry I Am, The Slant/The Diner, 
32 Flavors, Out of Range; Disc 2 - Untouchable Face, Shameless, 
<Distracted>, Adam and Eve, Fire Door, Both Hands, Out of Habit, 
Every State Line, Not so Soft, <Travel Tips>, <Wrong with Me>, In or 
Out, We're All Gonna Blow, Letter to a John, Overlap
---
	CONCERT REVIEW: Metallica with Corrosion of Conformity
		- Simon Speichert
	Metallica have long been considered heavy metal gods in the eyes
of millions. But, with the release of last year's _Load_, an album heavily
criticized for sounding "alternative", it seemed like they had lost that
title. On May 28th, in Edmonton Coliseum, the last date of their year-long
tour, they took it back.
	Now, maybe I am biased because Metallica is one of my favorite
bands, but Metallica rocked the place to the ground. The tour's stage is 
set up right in the middle of the arena, where the Edmonton Oilers 
normally play hockey, and there is space around it for 900 people. 
Because of its placing, everyone gets a good view of the stage. There's 
actually two stages, a large one shaped like an eight, and a smaller 
circular one. During the show, the band switched stages a couple of times.
	During the opening band, Corrosion of Conformity's, set, the
Coliseum was barely one-quarter filled. That was really a shame, because
they were really good. Good and heavy. I take it not many people that were
there were COC fans, as the only song that really got a response was "King
of the Rotten" off of their new album _Wiseblood_, as it has been heavily
played on local radio.
	Metallica, the heavy metal gods, the captains of crunch, the dukes
of distortion, came on about 50 minutes after COC ended. There was no
dramatic entrance, no announcer, just four guys running in and giving the
crowd five. Those four guys then got on their instruments and ripped
through "So What" with the house lights still on!  Next came some awesome
pyrotechnics to accompany "Creeping Death". During the show, Metallica
mainly played their best songs, including "Enter Sandman" (which
everyone sang along to), "One", which boasted the night's most awesome
pyro, "Master of Puppets", "Seek and Destroy", "For Whom The Bell Tolls",
"Fade To Black", "Sad But True" (which, as one reporter put it, is "the
heaviest song ever written"), and "Hero of the Day", during which the
barrage of lighters held up probably overpowered the stage lights!
	Metallica has this amazing charisma that gets everyone in the act,
whether it's singing along, shaking your extremities to the beat, or
participating in James Hetfield's "repeat after me's" ("F**k no, James!"
"We don't give a s**t!"). Oh, yeah, I forgot the most emotional part of
the show, Jason Newsted's melodic bass solo, after which two tears came
running down his face. Here's a devil sign for you, Jason.
	All in all, an ass-kicking show, exactly what you get every time
with Metallica. This was the last show of the tour, and in a month
Metallica will be going back into the studio to finish their new record,
then it's back on the road to kick some more ass.
---
	REVIEW: Various Artists, _POPTOPIA! Power Pop Classics of the 70's_
		/ _of the 80's_ / _of the 90's_ (Rhino)
		- Bill Holmes
	Like revisionist history, bad commercial groups and disco divas are 
lauded at the exclusion of some of the most seminal bands of the last 
quarter century. God knows how many Time-Life and K-Tel infomercials and 
magazine ads trumpet the "greatest collection of music ever assembled" 
while people like Nina Blackwood (ex-MTV jock) to Dick Clark (who should 
know better, dammit!) try to pry the wallet out of my pocket by massaging 
my memory banks. The problem is, my favorite musical moments of the past 
thirty years of music don't involve disco, synthesizers or hair and 
spandex bands. (Maybe there's a good reason that these collections are 
"not sold in stores"!) How depressing it was to realize that as the 
years passed, it looked more and more like the only legacy from the era 
would be vapid videos and a collections of "hits" from what has arguably 
been radio's most banal period.
	Thanks to Rhino, this is no longer the case. Literally borrowing 
the title from the two-year old Los Angeles music festival, Rhino has 
assembled fifty-four slices of pop under the title POPTOPIA, with three 
individual eighteen song CDs representing the best of the 70s, 80s and 
90s. And although longtime pop lovers like myself may already have most 
or all of these songs in some format, those just discovering the world 
of power pop are in for a musical education that will change their lives.
	Naturally there are great songs that are not included for one 
reason or another. With eighteen songs per decade and one appearance 
per artist, it's tough to whittle down an era, but the staff at Rhino 
did an admirable job at band and song selection. Some omissions are 
due to licensing problems (XTC and Squeeze are nowhere to be found, 
nor is Badfinger's "No Matter What", arguably the best example of 
the genre of power pop). And of course there will be differing 
opinions - I'd take Adam Schmidt, Material Issue or The Gladhands 
over Velocity Girl in a heartbeat - but that should only make you 
realize how much great pop music is being made, despite the anal 
retentive radio formats that have yet to fully embrace it.
	But this collection is not meant to supplant or even sum up 
an era. What it does well is whet the appetite for more upbeat, 
heartfelt three minute songs.  And where some collections celebrate 
a long-gone movement in music, consider that the pop scene is 
exploding all over again on an international level. Amazingly, many 
of the artists featured on the 1970s disc are still playing together!. 
Some, like 20/20, reformed by demand, others like Cheap Trick and The 
Shoes have been going all along. Survey the artists on the 1990's 
disc and you'll find bands that without exception can be traced back 
to Big Star, Badfinger or the Raspberries.
	The 1970's disc features the bands that took the pop foundation 
and melodic sensibilities of the Beatles, Kinks, Who and Beach Boys 
and nurtured it to create a hybrid sound. Although some of these songs 
became bonafide hits, radio had changed enough after the 1960s that 
for every "Go All The Way" on the charts there was a "September Gurls" 
that wasn't. Still, bands from all over the world found an exciting 
common ground, whether they came from the British pub scene, the 
industrial Northeastern US or the heartland. Most of the selected 
songs are as fresh today as ever - there's a truly timeless quality 
to Dwight Twilley's "I'm On Fire" and Todd Rundgren's "Couldn't I 
Just Tell You". Other tracks range from the denser sound of the 
Flaming Groovies' "Shake Some Action" to the unbridled joy of the 
Rubinoos' almost-bubblegum anthem "I Wanna Be Your Boyfriend". But 
radio feasted first on progressive rock, then formulaic corporate 
music and its cross eyed cousin, disco. As the decade passed its 
midpoint, bands in New York and London revolted with New Wave and 
punk. Somehow pure pop got left behind.
	The 1980's was the first video decade, as MTV made its mark 
and the ability to write a good hook took a back seat to the ability 
of spandex rockers bedding models on videos. Pop bands were cranking 
out great music once more, but found it harder to make a dent. Even 
established artists like Rundgren (captured here with Utopia's 
"Crybaby") struggled to get airplay. Pop music became defined more 
by groups like Duran Duran and the Human League, who wrote more for 
the visual medium than the radio. Occasionally a great song would 
cross over - The Romantics' "What I Like About You" was irresistible 
enough to have club play and power pop credibility - but more often 
than not a brilliant pop statement would be relegated to cult hit 
status rather than the Top 100.  Witness the Plimsouls' classic 
track "A Million Miles Away" which remains little known despite 
being included on a film soundtrack and twice being released as a 
single!
	This middle disc walks the line between several better known 
classics and some excellent choices from lesser known acts. Besides 
the Romantics, probably the biggest "hit" is the Bangles "Going Down 
To Liverpool" (speaking of overlooked bands, this was a Katrina And 
The Waves cover). But savor these great artists - the late, great 
Phil Seymour with "Baby It's You"; the underrated Spongetones with 
"She Goes Out With Everybody"; Mitch Easter's combo Let's Active
and "Every Word Means No". How about Marshall Crenshaw's picture 
perfect "Whenever You're On My Mind", or the La's and the stunning 
"There She Goes"? Two I was particularly proud to see included were 
Bill Lloyd's beautiful "Lisa Anne" and "She's So Young" from the 
wonderful Canadian band The Pursuit Of Happiness. Next time somebody 
complains that the eighties sucked, you might want to correct them 
with this CD. Maybe radio sucked, but the eighties didn't!
	The last disc might be the toughest to audit, as the nineties 
were only two thirds over when these songs were compiled. 
Unfortunately, many of the bands included here are already defunct 
(Jellyfish, The Grays) or one step away from it (Velvet Crush, The 
Posies) because of the state of the music industry. Others like 
Matthew Sweet and Redd Kross survive but are anything but secure. 
Yet as the 90's progress, pop may have finally turned the corner. 
The Internet is becoming an important marketing tool, pop oriented 
magazines are flourishing, smaller independent labels are growing, 
and bands like The Records, 20/20 and Cheap Trick are producing new 
music that is as vital as their older material. Most importantly, 
hundreds of new bands weaned on the originals are writing, 
recording and touring. Some of the brightest new lights are included 
here - The Tearaways, The Rooks, Wondermints, P. Hux - household 
names to the true pop aficionado, exciting new acts for the newcomer. 
It's probably the most prolific and exciting time in power pop's 
history, and you couldn't ask for a better charter than these three CDs.
	The liner notes are written by three of the most respected 
names in pop journalism - John Borack, Carl Cafarelli and Jordan 
Oakes, whose own _Yellow Pills_ series is a less commercial yet 
equally indispensable collection of pop songs. In addition, many of 
the artists included in the series contributed short notes about their 
bands, their songs, and their perception of the movement then and 
now. And although the bands and songs are featured on the back sleeve 
as stacked-up soup cans, don't associate them with the Andy Warhol 
version - you'll give these classic tracks far more than Andy's 
"fifteen minutes of fame".
	Here's a tip - if you have a multi-disc CD player, pop these 
three in and set it to "shuffle" play. Regardless of the order, 
you'll hear song after great song, and that few seconds of mechanical 
noise in between numbers will make you think you have just pumped a 
roll of quarters into the greatest jukebox in the world. Which, of 
course, you have.
---
	REVIEW: Sonic Dream Collective, _Gravity_ (Interhit)
		- Bob Gajarsky
	If it suceeds once, and suceeds twice, why not a third time?
That could very well be the motto of Sweden's Sonic Dream Collective on 
their debut album, _Gravity_, which seems to take its cue from their
fellow homelanders Abba and Ace of Base.
	The three piece band, featuring Linn Engstrom on lead vocals,
pulls out all the tricks which helped those two groups soar to the
top of the European charts.  Engstrom's voice echoes reminiscent of 
Abba's Frida Lyngstad and Agnetha Faltskog can be heard, while
the music knocks off some of Ace of Base's biggest hits; "I Wonder
Why" owes a few nods to AoB's "The Sign", and the reggae-tinged "Don't
Go Breaking My Heart" might make a few people hum along to "All That
She Wants".  There's no shortage of potential happy house hits here;
"Oh Baby All", the title track, "Happy Tune", and the dead ringer
for Agnetha and Frida "I'm Alive", all could hit home with listeners.
	Throughout all this, however, there are two tracks which completely
eschew the effective - but predictable - Abba/Ace of Base formula. 
Both songs are acoustic numbers, and prove that a band based in dance
music can play an instrument other than the keyboards.  "Take Me Back", 
the key cut on this disc, has Engstrom sounding like Jewel in a folky
cabaret bar, and the acoustical reinterpretation of "Oh Baby All" 
would do well under the MTV Unplugged cameras.  
	If Ace of Base doesn't float your boat, and Abba's "Name of the
Game" and "One Of Us" don't ring familiar, it might be best to let
_Gravity_ float on by.  And while Sweden's latest export may not be 
setting any records for originality, Sonic Dream Collective will keep 
dance fans happy on _Gravity_ - and maybe even a couple Jewel fans as well.  
---
	REVIEW: Michelle Malone, _Beneath The Devil Moon_ (Velvel)
		- Lang Whitaker
	After releasing 5 previous albums to widespread acclaim, 
Michelle Malone is releasing her 6th album this summer- all the ripe 
old age of 29. A long-time fixture of the Atlanta folk music scene, 
Malone graduated from her previous spot on Amy Ray's (Indigo Girls) 
Daemon Records and moved on to Velvel Records with her stirring new 
release _Beneath The Devil Moon_.
	The songs that comprise _Moon_ sound like they were drawn at 
random out of a hat. They range from straight-forward rockers ("Grace", 
"In the Weeds") to airy flamenco jazz ("Edge") to pseudo-R&B ("Dimming 
Soul"). Even though the styles of the songs shift dramatically from 
track to track, they more or less hold up as an entire body of work. 
The melodies and harmonies are ear-catching  without being too 
overwhelming.
	The album was co-produced by Malone and David Ryan Harris, who 
formerly played guitar with Follow For Now and Dionne Farris. According 
to Harris, "What I brought to the project was keeping the production 
based around guitar and layering different textures, instead of ending 
up with loud, monochromatic guitars." Harris' influence is loud in its 
own way, as the guitars indeed are layered as thick as a baklava.
	Relying on the obvious strength of her vocals to carry past 
albums, Malone now has a more mature approach to her vocals that matches 
the direction Harris took to the guitars. On the first track ("Grace") 
Malone starts singing at a whisper, sounding like Lori Carson, before 
the song builds into a pounding mass. Malone's vocals have a definite 
flexibility and familiarity. She sounds a lot like Sheryl Crow 
throughout the album, but without Crow's radio-friendly sugar coating.
        After going through two backing bands (Drag the River and Band 
de Soleil), Malone is able to showcase her deft guitar touch here thanks 
to the stripped down production. Drummers Melvin Watson, Jr. and Danny 
Bigay alternate, and Mike Snowden and Chris Wilson tag in and out on the 
bass.
        Malone cites jazz, blues, gospel, and rock as her influences, 
and they combine to form a work that at times is transcendent, and, at
times redundant. In general though, this is a very good release.
---
	REVIEW: Various Artists, _Sex-O-Rama_ (Oglio)
		- Tim Hulsizer
	Our friends at Oglio were facing a quandary.  They had formed a
few years back with the express purpose of releasing great 80's pop music
that was getting ignored by all the other record labels.  However, as the
end of 1996 loomed, they realized that labels are leaping all over the
80's reissue bandwagon, from new wave and rockabilly to goth and hair
metal.  The solution?  Time to get wacky.
	Enter _Sex-O-Rama_.  What better way to celebrate the original
spirit of the label while branching out into other forms of music.  How
many times have we all been talking to our friends, had them make some
subtle innuendo, and suddenly thought of THAT RIFF.  You know the one,
that swaggering "wakka-chikka" riff that we assume all "classic porn"
music had.  The riff that kicked in whenever a big sex scene was about to
take place (i.e. every 5 minutes).  Well, I'm here to tell you we were
right.  The music DID have that patented wakka-chikka.  And it's every
bit as funny, sexy, and satisfying as we always thought.
	Now, I'm not an avid porno fan.  I'll admit to the usual casual
knowledge of the genre, maybe my youthful hormones led me astray once or
twice at the video store, but that's about it.  Folks, I have
gotta tell you I love this CD.  Sure, it's in poor taste.  Yes, there's a
half-naked porno star named Jenna Jameson wearing a cheerleader outfit on
the CD artwork (see booklet for fan club info).  But how can you not love
an album with this kind of chutzpah?!  It knows what it wants to do
and it does it with style.
	Basically what they did was to put together a batch of very
competent musicians, listen to the tunes in the movies, then faithfully
reproduce the songs in the studio with the original instruments.  Don't
be disappointed that these aren't "culled from the master tapes";  it
undoubtedly sounds better than the real thing anyway.  And speaking of
the band, the names listed in the CD booklet are absolutely hilarious.
There's Sid Getzoff on guitar, Haywood Jablomi on bass, Phil McCrackin
playing flute, and many more stellar musicians.
	The liner notes themselves are certainly the funniest, most
straightforward I've ever read as well.  Robert Rimmer presents each
piece of music with some historical background on the films and
revelations about the whole industry, etc. (Most of the pornographic
films of the 70's/early 80's era were done on film, not video as they
apparently are today).  Also, Scott Ramsay talks candidly about his first
encounter with porn movies in a neighborhood theater ("Up until then the
only pornography I'd ever seen was crappy 8mm sex movies ordered from the
back of Pregnant Lesbian magazine...")
	From the opening notes of "The Shower Scene" from Debbie Does
Dallas to the final waxing strains of Deep Throat's "Main Title Theme",
this is instrumental music at its finest.  Maybe you wouldn't be
caught dead watching this stuff, but a disc of the music sure makes a
great conversation piece.  Many more well-known movies are represented
here, including "Behind the Green Door", "I Like to Watch", and more.
	I suppose everyone can't be expected to like this album.  I
showed it to several friends and their reactions ran the entire gamut of
emotions, from laughs and curiousity to casual smirks and indifference,
and one person was even insulted.  C'est la vie.  Personally, I find the
idea charming and it's presented here quite tastefully (note Ms.Jameson's
playful poses).  All in all, it doesn't deliver any real answers as to why
we know the titles of these films, but I came to some conclusions of my
own.  First, some of those titles are freaking funny.  And second, it's
the music, stupid!  Do yourself a favor: grab your pom poms, a close
friend, and this entertaining release.  Maybe you'll find your fantasies
fulfilled.
---
	REVIEW: Kenickie, _At The Club_ (Warner)
		- Patrick Carmosino
	The most fun bunch of Brits to down a pint with since Lush, this 
young quartet brings the noise sassy and flashy yet very much for real. 
Combining the smarts of Sleeper with the punch of Elastica and the 
youthful exuberance of Bis (in fact, like the Galswegian trio, they 
cast doubt upon overtly politically correct, lo-fi, diy culture with 
the track "Punka"), Kenickie show a mature understanding of the pop 
form, harmonies and all and how to make it work. This is all topped 
off by the Clare Grogan-gone-bad vocals of Lauren Laverne. All this 
and they are barely out of their twenties!
---
	REVIEW: Amanda Green, _Junk And Stuff_ (Y&T)
		- Bob Gajarsky
	Critics can sometimes get lazy in their reviewing, and ignore
lesser known artists in favor of today's latest, greatest major label
release. But every so often, an artist like Amanda Green comes along
and slaps us in the face, to reminds us *why* such prejudices aren't
completely justified.  
	On her debut album, _Junk And Stuff_, Green has put together 
a stellar collection of fourteen tracks which will call to mind 
DiFranco, Tori Amos, Joan Osborne, Kate Bush and the upper 
echelon of alternative female performers.  
	The classically trained pianist puts that talent to use on the
tender ballad "Like I Do" (think Tori's "Silent All These Years" coupled
with Joan Osborne's vocals) and the poignant, inquisitive "Why Do I Have
To Die?", while the Liz Phair-esque guitar rockers "Make It Right" and 
"I Stay Home"  shine the spotlight on the harder side of this Miami native.
	Green's label, Y&T is best known for being the launching ground 
for the group For Squirrels.  And even though _Junk And Stuff_ was
released in 1996, it stands head and shoulders over many of the better
known alternative albums released this year.
	_Junk And Stuff_ is one release that makes a critic
remember that not all the good talent gets claimed by the major labels.
For more information on this release, contact Y&T Music at 1755 NE
149 Street, Miami, FL 33181.
---
	REVIEW: The Frogs, _Starjob_ (EP) (Scratchie)
		- Reto Koradi
	One song is grunge, another one TMBG style quirky fun pop, the 
next one a bittersweet ballad that reminds of Bryan Ferry, then come 
one or two clever and catchy pop songs in the Kinks tradition, and the 
whole thing closes with soft rock elements, Scorpions style. And all of 
this is on one EP of 16 minutes, by one band.
	The bad thing about this variability is that it makes it hard 
for a reviewer to put a label on The Frogs. The good thing is that the 
music is fresh, intelligent, and highly enjoyable all through. The 
lyrics go from ironic ("I Only Play For Money") to cynical and 
potentially controversial ("Raped").
	It is hardly possible to make a final judgement on The Frogs 
based on _Starjob_. But it certainly shows potential, it would be 
interesting to see how they do on a full length release. We are 
keeping our eyes open.
---
	REVIEW: The Irresponsibles, _Big Orange_ (Isabelle Records)
		- Bill Holmes
	It's unusual to find a band on a small label that tosses in 
cello, mandolin, harpsichord, banjo and accordion on top of the 
guitar/bass/drum axis.  Actually, most major label bands don't do 
that. But I guess you're going to need the whole orchestra if you 
cover as much musical turf as The Irresponsibles do on _Big Orange_.
	Starting off with a couple of fairly straight-ahead tracks, _Big 
Orange_ twists and turns its way through country, bluegrass, funk, 
pop, and even an acoustic ballad with orchestration. I admire the 
ambition - the instrumentation is diverse and well placed, and the 
production is first-rate for an independent release. What I don't get 
from this record is any cohesion - no band identity, no continuity. While 
most of the record is pleasant, it's all over the map, which means some 
people may not find enough of what they like on it.
	The kickoff track, "When The Sun's Out", is one of the record's 
strongest moments. Using echoes and floating background vocals, the music 
is equal parts 1960 and 1990, although the quirky lyrics  ("Come home 
but the locks have been changed / My parents like me but they think I'm 
deranged...") betray the song's cheerful title. When the lyrics are a 
little clever or different, like these are, they can lift an ordinary 
song a notch higher. Most times, the Irresponsibles are leaning on their 
music, and songs like "Weight Of The Universe" fall flat.
	Three other recommended songs are "Love Freedom", "By The Way" 
and "Walk With Me", which are all written or co-written by Dominic 
Laudani. He doesn't appear to be a permanent member of the group; I 
suggest the Irresponsibles keep his number handy. Also fun is the 
banjo-driven "Barking At Airplanes", a song Ben Vaughn would love.
	Diversity can be a great thing or a sign of a band pulled in 
too many directions. There's good talent here, so it will be interesting 
to see what happens during the Irresponsibles' next chapter.
---
	REVIEW: Maximum Jack, _Do Not Disturb_ (Maxjack)
		- Al Muzer
	A damn-near brilliant band, New Jersey's Maximum Jack! teeter 
on the brink of recalling REM, Badfinger, Better Than Ezra, Game Theory 
("Behind The Tree" should'a been on _The Big Shot Chronicles_), Shoes, 
America (the end of "Zoloft" lifts the riff from "Sister Golden Hair"), 
Big Star, Tommy Keene ("Ballad Of Twenty Dollars"), the Raspberries 
("October" packs a gorgeous power-pop punch), the Who, the Jam and the 
Plimsouls without quite committing to any one particular style, source 
or sound.
	The four-piece's deft incorporation of several "A"-list 
influences on each song (five outta eight would fare well as singles), 
outstanding musicianship, excellent vocals, catchy hooks and urgent
melodies makes Maximum Jack's debut a "must-have" blast of high quality, 
high caliber, pop-based jangle-noize worthy of your immediate
attention. 
	The disc can be purchased for $12 direct from Maxjack Records 
at: Maximum Jack, c/o Greg Hoy, 731 Park Ave. Suite A, Hoboken, NJ 07030
or via their web site at http://www.webcom.com/maxjack
---
NEWS:	> Jeff Buckley's body was found in the Memphis, Tenn. harbor
on Wednesday, June 4, bringing a week-long search for the singer to
an unfortunate end.  According to officers involved, there were no
obvious indications of any cause of death other than accidental drowning.
	> The Chemical Brothers have finished up work on their
next single, "Elektro Bank", which will feature a B-side with guest
vocalist Justin Warfield.
	> Billy Joel will be covering a Bob Dylan song, "To Make You
Feel My Love", on a greatest hits album which will be released later
this year.
	> Sister Hazel will be on America Online for a chat with fans
(see keyword: ABCKids) at 4:30 pm EST on Wednesday, June 18.
	> Lyrical master William Butler Yeats will be the focal
point of a tribute album.  The U.K. label Grapevine has issued 
the compilation album _Now And In Time To Be - A Musical 
Celebration of the Works of W.B. Yeats_, which features works
by musicians who have incorporated Yeats' poems into their music.
	Although many of the artists performing here - including 
the Cranberries, Shane Macgowan, and World Party - are best known 
for their musical accomplishments, one of the participants is not;
an early spoken word recording from the poet himself.  More 
information will be provided in a future review in Consumable.
---
TOUR DATES:
	Blink 182
Jun. 20 Las Vegas, NV Huntridge Theater
Jun. 21 Mesa, AZ Nile Theater

	Bobgoblin
Jun. 20 Denton, TX Rick's Place

	Buck-O-Nine
Jun. 13 New Orleans, LA Faubourg Center 
Jun. 14 Atlanta, GA Masquerade 
Jun. 17 Pensacola, FL Sluggo's 
Jun. 18 Tallahassee, FL Cow Haus 
Jun. 19 Orlando, FL Sapphire 
Jun. 20 St. Petersburg, FL State Theater 
Jun. 21 Oakland Park, FL Prop Room 

	Johnny Cash
Jun. 13 Saratoga, CA Montalvo Center
Jun. 14 Los Angeles, CA Greek Theatre
Jun. 17 Boulder, CO Boulder Theatre
Jun. 19 Telluride, CO Bluegrass Festival
Jun. 21 Lake Delton, WI Crystal Grand Music Theatre

	Cellophane
Jun. 14 Santa Monica, CA Santa Monica Pier (ESPN Extreme Games)

	Cowboy Mouth
Jun. 20-21 New Orleans, LA House Of Blues

	Cravin' Melon
Jun. 12 Greenville, SC Characters
Jun. 13 Asheville, NC Be Here Now
Jun. 14 Myrtle Beach, SC House Of Blues
Jun. 19-20 Columbia, SC Elbow Room
Jun. 21 Hillsboro, NC Family Hog Fest

	Five For Fighting
Jun. 13 Philadelphia, PA North Star
Jun. 14 Asbury Park, NJ Saint
Jun. 17 Atlanta, GA Point
Jun. 18 Columbia, SC Elbow Room

	Fluffy
Jun. 13 Anaheim, CA Linda's Doll Hut
Jun. 14 Santa Monica, CA Santa Monica Pier

	Furthur Festival (incl. Black Crowes and many more)
Jun. 20 West Palm Beach, FL Coral Sky

	G3 (Joe Satriani / Steve Vai / Kenny Wayne Shepherd)
Jun. 18 Camden, NJ Blockbuster Center
Jun. 19 Hartford, CT Meadows
Jun. 20 Wantagh, NY Jones Beach
Jun. 21 Holmdel, NJ PMC Arts Center

	Sammy Hagar
Jun. 19 South Padre, TX South Padre Island Conv. Ctr.

	Paris Hampton
Jun. 18 New York, NY Brownies

	Hoven Droven
Jun. 13 Toronto, ON NXNE Showcase performance
Jun. 14 Andersonville, IL Midsommer Festival
Jun. 15 Minneapolis, MN Cedar Cultural Center

	Indigo Girls
Jun. 13 Kettering, OH Fraze Pavillion
Jun. 14 Clarkston, MI Pine Knob Music Theatre

	Irving Plaza (New York concert hall; http://www.irvingplaza.com)
Jun. 13 Motorhead / W.A.S.P.
Jun. 14 Breeders / Toyota Comedy Festival
Jun. 20 Misfits

	Rickie Lee Jones
Jun. 13 Portland, OR Roseland
Jun. 14 Vancouver, BC Greceland
Jun. 17 Minneapolis, MN First Avenue
Jun. 18 Chicago, IL Metro
Jun. 19 Detroit, MI St. Andrews Hall

	Wayne Kramer
Jun. 14 Chapel Hill, NC Lizard & Snake
Jun. 17 Washington, DC Black Cat
Jun. 18 Cambridge, MA TT Bears
Jun. 19 Philadelphia, PA Pontiac Grill
Jun. 20 New York, NY Mercury Lounge

	Don Lewis Band
Jun. 20 Honesdale, PA Joey C's
Jun. 21 Salisbury Mills, NY Loughran's

	Matchbox 20
Jun. 17 Houston, TX Numbers
Jun. 18 Austin, TX Liberty Lunch
Jun. 21 Dallas, TX Texas Motor Speedway
Jun. 22 Oklahoma City, OK Zoo Amp.

	Blake Morgan / Mini King
Jun. 13 New York, NY Mercury Lounge

	Moxy Fruvous 
Jun. 14 Amagansett, NY Stephen's Talkhouse (w/Mary Black)
Jun. 15 New York, NY Randalls Island
Jun. 17 Pittsburgh, PA Rosebud

	My Life With The Thrill Kill Kult
Jun. 13 Columbia, MO Blue Note
Jun. 14 St. Louis, MO Mississippi Nights
Jun. 15 Minneapolis, MN First Avenue
Jun. 17 Milwaukee, WI The Rave
Jun. 18 Chicago, IL Cabaret Metro
Jun. 19 Grand Rapids, MI Orbit Room
Jun. 20 Columbus, OH Newport Music Hall
Jun. 21 Cleveland, OH Odean Theatre

	No Doubt / Weezer / Lunachicks
Jun. 17 Virginia Beach, VA Va. Beach Amphitheatre
Jun. 18 Bristow, PA Nissan Pavillion
Jun. 20 Camden, NJ Blockbuster Sony Center

	Ozzfest (Ozzy Osbourne / Type O Negative / 
	Machine Head / more)
Jun. 14 Mansfield, MA Great Woods
Jun. 15 East Rutherford, NJ Giants Stadium
Jun. 17 Columbus, OH Polaris
Jun. 19 Chicago, IL World Amphitheatre
Jun. 21 East Troy, WI Alpine Valley

	Poorhouse Rockers
Jun. 21 Fells Point, MD Leadbetters

	Sevendust
Jun. 21 Virginia Beach, VA Virginia Beach Amphitheatre 

	Silver Jet
Jun. 13 St. Petersburg, FL Jannus Landing
Jun. 14 Ft. Lauderdale, FL Chili Pepper
Jun. 15 Orlando, FL Embassy
Jun. 16 Orange Park, FL Shades
Jun. 18 Atlanta, GA Roxy
Jun. 19 N. Myrtle Beach, SC House of Blues
Jun. 20 Myrtle Beach, SC Sound Factory
Jun. 21 Norfolk, VA Boathouse

	Sister Hazel
Jun. 11 St. Louis, MO Side Door
Jun. 12 Springfield, MO Bar Next Door
Jun. 14 Atlanta, GA Chameleon Club
Jun. 15 Birmingham, AL City Stages
Jun. 20 West Palm Beach, FL Meyer Amphitheater
Jun. 21 Orlando, FL WSHE Birthday Show

	Skeleton Key
Jun. 13 New London, CT El N Gee Club
Jun. 14 Philadelphia, PA Pontiac Grille
Jun. 19 Baltimore, MD Fletchers
Jun. 20 Charlottesville, NC Tokyo Rose
Jun. 21 Washington, DC Black Cat

	Todd Snider
Jun. 18 Chattanooga, TN Riverbend Festival

	Space
Jul. 14 Santa Barbara, CA Emerald City
Jun. 16 San Diego, CA Cane's
Jun. 17 Los Angeles, CA El Rey
Jun. 18 Tempe, AZ Gibson's
Jun. 21 Salt Lake City, UT Utah State Fair Park

	U2
Jun. 14 Edmonton, AB Commonwealth Stadium
Jun. 18 Oakland, CA Oakland Coliseum
Jun. 21 Los Angeles, CA L.A. Memorial Coliseum

	Vallejo
Jun. 13 Reno, NV KDOT Festival 
Jun. 14 Birmingham, AL City Stages 
Jun. 15 Los Angeles, CA Santa Monica Pier 
Jun. 19 Shreveport, LA KTUX Festival 
Jun. 21 Englewood, COFiddler's Green 
---
Founded in August, 1993, Consumable Online is the oldest continuous
collaborative music publication on the Internet.
To get back issues of Consumable, check out:
        WWW:     http://www.westnet.com/consumable
        FTP:     ftp.quuxuum.org in the directory /pub/consumable 
		 ftp.prouser.org
        (URL)    http://www.westnet.com/consumable/Consumable.html 
        (Delphi) Music Fandom forum; GO ENT MUSIC
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serving Westchester County, NY.

Address any written correspondence to Bob Gajarsky, Consumable Online,
409 Washington St. #294, Hoboken, New Jersey 07030
===
