==== ISSUE 125 ====    CONSUMABLE     ======== [October 17, 1997]

  Editor:             Bob Gajarsky
		        Internet: gaj@westnet.com
  Sr. Correspondents: Tim Kennedy, Reto Koradi, David Landgren, 
                      Sean Eric McGill, Tim Mohr, Al Muzer, Joe Silva
  Correspondents:     Daniel Aloi, Joann Ball, Tracey Bleile, Lee 
                      Graham Bridges, Scott Byron, Patrick Carmosino, 
                      Bill Holmes, Eric Hsu, Tim Hulsizer, Robin Lapid, 
                      Stephen Lin, Scott Miller, Linda Scott, Rainier 
                      Simoneaux, Scott Slonaker, Simon Speichert, Jon 
                      Steltenpohl, Simon West, Lang Whitaker
  Technical Staff:    Chris Candreva, Dave Pirmann

 Address all comments, subscriptions, etc. to gaj@westnet.com
==================================================================
	All articles in Consumable remain (C) copyright their author(s). 
Permission for re-publication in any form must be obtained from the 
editor.
==================================================================
                            .------------.
                            |  Contents  |
                            `------------'
REVIEW: Various Artists, _The Duran Duran Tribute Album_ - Joann D. Ball
CONCERT REVIEW: David Bowie - Rainier Simoneaux
REVIEW: Front Line Assembly, _Reclamation_ - Sean Eric McGill
CONCERT REVIEW: Teenage Fanclub - Tim Kennedy
INTERVIEW: Muffs - Al Muzer
REVIEW: Various Artists, _One Step Up Two Steps Back The Songs of 
   Bruce Springsteen_ - Bob Gajarsky
REVIEW: Soundtrack, _Hurricane Streets_ - Sean Eric McGill
REVIEW: Size 14, _Size 14_ - Bill Holmes
REVIEW: Tsunami, _A Brilliant Mistake_ - Robin Lapid
REVIEW: Brain Surgeons, _Box of Hammers_ - Eric Hsu
CONTEST WINNERS
NEWS: Eve's Plum, Howie B, Urge Overkill/King Roeser, Roy Wood / Move
TOUR DATES: David Byrne, Chemical Brothers, Clarissa, Cravin' Melon, 
   Dirty Dozen, Down By Law, God Street Wine, Irving Plaza (New York 
   City concert hall), Jane's Addiction, Jars of Clay / Plumb, Letters 
   To Cleo / Everclear, Motley Crue / Cheap Trick, Moxy Fruvous, 
   Old 97s, Graham Parker, Promise Ring / Compound Red, Seven Mary 
   Three, Shootyz Groove / Tree, Slackers, Sneaker Pimps / Junkster, 
   Third Eye Blind / Reef, Two Dollar Pistols, Type O Negative
Back Issues of Consumable
---
	REVIEW: Various Artists, _The Duran Duran Tribute Album_ (Mojo)
		- Joann D. Ball
	The billboard outside Tower Records on the Sunset Strip in West 
Hollywood recently read "Come Pay Tribute to Duran Duran."  On Sunday, 
October 12, hundreds of fans and five bands on the recently released cd 
_The Duran Duran Tribute Album_ did just that...and Duran Duran turned 
up to thank them all for their dedication and support.
	The Tower Records' Duranpolooza was the ultimate kickoff for 
the release of _The Duran Duran Tribute Album_ and Duran Duran's eleventh 
offering, _Medazzaland_ (Capitol).  This reunion of Duranies of all ages 
was a celebration of Nineties ska and punk as well as classic New Wave, 
as thirtysomethings, twentysomethings, and their younger counterparts 
soaked up new versions of Eighties staples under the California sun.
	Once a Duranie, always a Duranie and that was obvious on both 
sides of the VIP/press section.  Actually, Duran Duran should be credited 
for prompting a good number of women to enter the entertainment business.  
All of those years of following the band and trying to obtain information 
in the days before the Internet quickly made tons of female Duranies pros 
at stadium and hotel logistics, knowledgable of record industry publicity, 
promotion and public relations practices, and expert photographers and 
interviewers. But the tribute cd and concert put the spotlight on the 
often ignored male Duranies, many of whom were heavily ridiculed when 
admitting that they too held a flame for the British pin-ups.  _The 
Duran Duran Tribute Album_ , though, proves once and for all that the 
guy Duranies were the ultimate cool dudes who recognized great music by 
its sound, style, color and shape.
	Goldfinger kicks off the 15-track tribute collection  with a 
musical twist on "Rio" which pays tribute to both Duran Duran and Ronnie 
James Dio.  Midway through the tune, Goldfinger switches into metal mode 
as they turn up the guitars, notch the vocals up an octave and change 
"Rio" to "Dio."  Goldfinger's creative ska-punk-metal fusion works, 
both on record and on stage, and the band quickly got the concert crowd 
jumping  and headbanging when the launched into the song.  Proving that 
they are true Eighties music fans, they included in their short set 
covers of the Specials' "Nightclub" and the Cure's "Just Like Heaven" 
along with their own hardcore anthem, "Fuck LA. "
	San Diego natives Buck-O-Nine are second in line on the tribute 
compilation, and they transform "Hold Back the Rain" into a ska classic 
with horns and an upbeat tempo.  This track is a great introduction to 
the ska-punk outfit, whose debut record _Twenty-Eight Teeth_ was 
recently released on TVT Records.
	Duran Duran's very first single, "Planet Earth," is also the 
tribute's first track for radio.   Home Grown infuse the song with 
their infectious skapop, taking the edge off Andy Taylor's signature 
guitar line and making it a real sing-and-dance along treat.  If the 
Tower concert audience's response to the band's inspired and energized 
set is any indication, this currently unsigned band should be grabbed 
up any minute now.
	Madonna's favorite Duranies, Maverick Records' Deftones, win 
the award for most faithful delivery.  Lead singer Chino Moreno 
obviously spent many days and nights practicing his Simon LeBon 
imitation, and the cover captures the moodiness and sexiness of the 
original.  On the other hand, the now defunct Wise Crack turn "Come 
Undone " into a skater's delight.  These 16 year-olds obviously had a 
blast doing the tribute, but maybe they took the tune's title too 
seriously in the process.
	If the video for "Hungry Like the Wolf" didn't explain the 
song's take on female/male relations clearly enough for you, Reel Big 
Fish's spoken word introduction should set the record straight.  The 
band then puts the tune in its proper Nineties relationship context, 
and delivers it with true swinger style as a lounge-ska number.  Duran 
Duran's label mates Less Than Jake, offer something altogether different. 
On their skapunk interpretation of "The Reflex," the horns and 
do-it-yourself vocals grab the spotlight.
	Opening the tribute concert in front of die-hard Duran Duran 
fans wasn't an easy task, but Riverfenix pulled it off without a 
problem.  The band quickly tapped into the universal spirit of the 
video gods, and their straight ahead pop-rock version of "Ordinary 
World" connected immediately with the crowd.  The band's full-length 
debut record is forthcoming on Drive Thru Records, and it's definitely 
worth a listen.
	For about 18 seconds, GOB deliver a faithful cover of "A View 
to a Kill."  For the remaining minute and a quarter, though, the James 
Bond movie theme becomes a moshpit soundtrack in full effect with a 
shouted chorus and guitars of fury.  If the disco dance floor is more 
your speed, you need not fear.  ABBA tribute band Bjorn Again answers 
your S.O.S with its Europop dance stylings on "Girls on Film."  This 
unsigned (in America - _Flashback_ for European readers) live sensation 
knows how to make your booty shake.
 	The female vocals of Bjorn Again and Eve's Plumb soften the 
edges at just the right point on the collection. Eve's Plumb's 
emotional, melodramatic take on "Save A Prayer," is the one song 
female Duranies would have done themselves.  This beautiful version 
of Duran Duran's most popular and beloved slow song should click 
immediately with all the women who used to kiss their posters goodnight 
before drifting off to sweet dreams of romantic bliss with their 
favorite Duran.  Given the incredible job Eve's Plumb does with the 
track, it's hard to understand why 550/Epic dropped the band from its 
roster.
	Sandwiched between the female vocals of Bjorn Again and Eve's 
Plumb are The Wrens' who add Beach Boy-like vocal harmonies to their 
version of "Seventh Stranger."  But it's Jimmy Eat World which takes 
the road less taken on the tribute disc by actually slowing down the 
tempo on a Duran Duran classic.  And their interpretation of "New 
Religion" is so different from the original that it sounds like a 
completely different song.  Although the band's "emo-core" sound wasn't 
as obvious during their short tribute concert set, it can be further 
enjoyed on their upcoming Capitol Records follow-up to _Static Prevails_ .
	Mr. T Experience pay tribute to Duran Duran on the selection 
"Is There Something I Should Know?" and manage to capture the essence 
of early Kinks in the process.  These Lookout! Records California 
punksters infuse the spirit of Dave Davies into Andy Taylor's guitar 
parts, and effectively connect the Eighties British Invasion with its 
Sixties predecessor.  And finally, there is the album closer, another 
version of "Girls on Film" done this time by the Wesley Willis Fiasco. 
Chicago cult figure and prolific song writer Willis' unmistakable vocals 
and enthusiasm overflows here in what amounts to a karaoke-like take on 
the original.  And as always, Willis signs off with his signature "Rock 
over London, Rock on Chicago."  These two phrases will bring a smile to 
any Chicago Duranie who avidly listened to the British-based "Rock over 
London" radio show and watched the local music television show "Rock on 
Chicago" to keep tabs on Duran Duran.
	Without a doubt, _The Duran Duran Tribute Album_ is the 
ultimate tip of the fedora to Duran Duran because it cleverly 
demonstrates the extent to which the Fab Five continues to influence 
and inspire fans.  Mojo's decision to include creative covers of classic 
songs by up-and-coming and unsigned ska, punk, and alternative bands was 
a bold move which will introduce audiences to new music while reminding 
them of the good old days.  This collection will appeal to Duranies and 
eighties music devotees as well as fans of the current ska, punk and 
alternative scenes.  After all, as the tribute cd proves, sometimes 
these supposedly different groups of music fans of are one in the same.
	That Duran Duran is hip to the Internet should come as no 
surprise, especially given Nick Rhodes' obsession with technology.  In 
fact, Nick revealed to me that he and the band are excited about online 
music magazines such as Consumable and that they look forward to 
communicating with fans through chats and their soon-to-be launched 
website ( http://www.duranduran.com ).  The Duran Duran Yearbook 
website ( http://members.aol.com/lindanikon/ddyb.htm ), run quite 
professionally by a group of seriously dedicated Duranies, is a fan's 
perfect source for Duran Duran articles, photos, audio and video.  The 
Yearbook layout will certainly remind you of high school and all those 
teen magazines in which the original party of five were frequently 
featured.  The Yearbook staff also coordinates the annual DURANCON 
convention, which will be held in the LA area in January 1998, and 
details about the event can be found at the site. If you still need 
more of a Duran Duran info fix, check out the Capitol Records website 
to see what the label is saying about the band 
( http://www.hollywoodandvine.com/duranduran ).

	TRACK LISTING  [artist in brackets]:  Rio [Goldfinger], Hold 
Back the Rain [Buck-O-Nine], Planet Earth [Home Grown], The Chauffeur 
[Deftones], Come Undone [Wise Crack], Hungry Like the Wolf [Reel Big 
Fish], The Reflex [Less Than Jake], Ordinary World [Riverfenix], A 
View to a Kill [GOB], Girls on Film [Bjorn Again], The Seventh 
Stranger [The Wrens], Save a Prayer [Eve's Plumb], New Religion [Jimmy 
Eat World], Is There Something I Should Know? [Mr. T. Experience] and 
Girls on Film [Wesley Willis Fiasco].
---
	CONCERT REVIEW: David Bowie - International Ballroom, Atlanta, GA
		- Rainier Simoneaux
	David Bowie has always been a chameleon. Undaunted by
popular opinions and critics alike, he has throughout
his career been both a trend setter and someone willing to
follow the leads of others. This tour, which is currently
making stops on a circuit of venues smaller than he would
usually play, appears to be for the purpose of getting
(re)acquainted with the twenty-somethings of alternative
music culture. So when the 50 year-old rock legend appeared
by himself on stage wearing a white suit in front of an
audience predominantly half his age and dressed in
post-goth black, he appeared to be out of his element.
Had he misjudged the winds of popular music?
	Bowie answered by immediately starting into "Quicksand"
from the 1971 album _Hunky Dory_ , a relatively obscure song
considering his vast repertoire of hits. He sang seemingly
aloof of his surroundings and accompanied only by his own
acoustic guitar. By the time he reached the chorus which
plaintively expresses "...and I ain't got the power anymore,"
nothing could have been further from the truth than those lyrics.
Bowie had the entire venue under his spell. Wrapping up the
song with the addition of his four piece band, Bowie seemed
to revel in the applause it garnered.
	Evidently impatient and not willing to be predictable, the
band launched into a surprising cover of the Velvet Underground's
"I'm Waiting for the Man" - another reference to his early career
and also his friendships with Lou Reed and Andy Warhol. Amidst
swirling Factory-esque video projections, Bowie belted out the
classic as if it were one of his own, while the band's
interpretation acknowledged the songs origins with a cacophony
of syncopated feedback.
	From here Bowie settled into his main works, choosing to stay
mostly within new material which he fortified with some older
hits that appealed to the younger crowd. Bowie even did a "cover"
of Nirvana's cover of his own "The Man Who Sold the World" (somewhat
like a post-modern version of Velasquez's famous painting
"Las Meninas," wherein the viewer is the subject of the
painting) in his efforts to connect with his new found audience.
Using multi-media effects, a high-powered light show, large stage
props (including large beach ball-sized eyeballs which soon
found their way to the audience, ala Journey 1979) each song became
a well choreographed performance. All of this would have detracted
from the music had it not been for the supporting cast Bowie assembled
for his latest album, _Earthling_ , and ensuing tour. Co-songwriter
Reeves Gabrels' guitar worked scorched through each composition but
reached its ebb during "Looking for Satellites," definitely one of
the highpoints of the evening. Gail Ann Dorsey laid the foundations
with the bass lines and vocal accompaniment which included covering
Freddy Mercury's part in an updated version of "Pressure" so well
that I thought it was dubbed (who would have thought a female could
emulate him so convincingly?) The drummer/loopist (?) and keyboardist
provided the rhythms with bass\snare dance beats, anthemic rock licks,
and Prince-ish funky twists.  But this was very much Bowie's
show.
	Commenting on his own threads, Bowie introduced the song 
"Fashion" by remarking, "It's not people who are famous, clothes are."
Such a statement is not surprising coming from one who has made
a living of assimilating popular culture into his own, and perhaps
just to emphasis that he too had influences (some of them the same
as those of today's alternative music scene), he finished the
evening with a unbelievable cover of the Velvet Underground's "White
Light, White Heat." David Bowie is a consummate performer but as
slippery as mercury.
---
 	REVIEW: Front Line Assembly, _Reclamation_ (Roadrunner)
		- Sean Eric McGill
	The first album I ever bought by an "industrial" band was Front 
Line Assembly's _Gashed Senses & Crossfire_ album back in 1989. Nobody 
else that I knew really liked it a whole helluvalot, and when pressed, 
I couldn't explain why I liked it. But there was something about that 
album that stuck with me.
	Now, almost a decade later, _Reclamation_ comes across my 
desk. And while the phrase "Greatest Hits Album" tends to conjure up 
memories of .38 Special more than it does dance/industrial acts, that's 
essentially what _Reclamation_ is: a trip through roughly a decade of 
some of the best industrial music.
	When Front Line Assembly first hit the scene in the late 
eighties, "industrial" was still exactly what the name suggested. But 
in the case of Front Line Assembly, Front 242, and Skinny Puppy, it 
wasn't the reliance on machinery that defined industrial; it was the 
overall sound. Early industrial was cold and distant - the music was 
what you could envision being created by a character from a William 
Gibson novel. There was a human underneath all that machinery, but 
the voice wasn't so much human anymore as it was the machine's.
	Tracks like "Digital Tension Dementia" and "No Limit" are 
instantly recognizable to those of us who frequented alternative dance 
clubs in the early nineties, but alas, it was about that time that the 
world of rock radio lured me into its steel grasp and I more or less 
lost all touch with the industrial scene for quite some time. And 
that's a shame, because I missed other great songs on the album like 
"Provision" and "Mindphaser". Of course, those of us from the United 
States (without easy access to import albums) have missed a few tracks 
on this album altogether. "Heatwave" , "Target" , and Mark Staggs 
"Pro-gress" Remix of "The Blade" are available for the first time in 
the U.S. on this compilation.
	But perhaps the most interesting aspect of _Reclamation_ is 
the chance to hear how the sound of Front Line Assembly stayed 
essentially the same, despite a decade of recording and numerous 
personnel changes. This isn't to say that the group didn't progress 
in their skills - but you can always tell a Front Line Assembly song 
when you hear it. Even now, I can't describe what it is, but I do so 
like it.
---
	CONCERT REVIEW: Teenage Fanclub, Manchester University (England)
		- Tim Kennedy
	The queue for Megadeth was lengthening outside as Beavis and 
Butthead (and his pervily dressed girlfriend) arrived by the dozen.  
In comparison the buzz on the steps of Manchester University Union, 
where Teenage Fanclub would soon be performing, was muted. Strange - 
considering they are now a fully fledged (album) chart phenomenon 
after about five years in the pop wilderness.  Some whisper of an 
Oasis-sponsored gigantic renewed interest in beat groups being the 
benefactor.
	The first support - Warm Jets were just right - a sound not 
far off the early TFC.  Rough guitar, few chords but catchy pop tunes.  
The singer is a rather intense yet oddly camp figure who looks like a 
healthier,  cleaner-cut Cobain, and the others are of similar,  
somewhat mature years.  The bassist, however, is a gorgeous oriental 
beauty (though she supplied no vocals - no threat to Kurt 2's 
position.)  The guitarist spent the whole time trying to crack up 
the bassist, which at a rather intense moment towards the end of 
their set led to the singer losing his rag with them.
	Next up was Cornershop.  Theirs is a strange and awkward 
marriage of funky drumbeats with Indian traditional instrumentation 
and muffled Indian vocals.  The singer poses a rather comical podgy 
figure with a pair of sideburns that would make you frown.  However 
it must be said that their (to these ears) turgid fare went down 
well with the crowd - by this time nearly all here.
	The Fannies strolled onto the stage in the most relaxed 
fashion,  and casually Norman thanked everyone for coming - to 
tumultous cheers.  And so the tone was set for the rest of the 
show. These are the most amiable bunch of chaps you could possibly 
hope to meet.
	The set was initially stuff from the _Songs From Northern 
Britain_ collection,  and as such utterly wonderful.  There cannot 
be many records ever released so happy-sounding and yet such 
superbly constructed melodies.  But the Fannies are a rock beast 
too, and Norman is the happy-go-lucky nephew of Neil Young.  The 
musical perfection of the recorded work is matched by a warm and 
spirited,  yet skilful delivery live.
	The lead vocals are traded between the three frontmen of 
Norman,  Gerard and Raymond, with each singing the songs he penned.  
Norman has a positive,  upbeat oeuvre,  Gerard is a bit more 
studied,  whilst Raymond is the most downbeat of the three,  also 
showing the most nerves onstage.  It must be said, however, that 
Raymond is a great guitarist and and a performer who can really 
convey deep feeling in his songs.  Bassist Gerard is reserved,  
and doesn't move around much.  Norman does his Neil Youngesque 
prowling during the songs whilst in between numbers amusing the 
crowd by making gentle cracks at Raymond.
	The keyboardist takes guitar at one point, and all the 
musicians swap guitars regularly, Raymond sometimes doing bass.  
Only drummer Paul Quinn keeps his seat.
	The older material figures quite a lot though, with several 
tracks from the cult success of 1991 - _Bandwagonesque_ including 
"Starsign" - a blistering version of a great song.  "Neil Jung" 
from _Grand Prix_ is a highlight,  and we get songs from the 
tragically ignored _13_ album of some years ago.  But the new 
material is proudly paraded to general applause.  Songs like "I 
Don't Care" are classics of the 90s. It would be unfair to compare 
them with label mates Oasis (the Fannies worship at the altar of 
the Byrds,  not the Pistols and the Beatles) but with no posturing 
and self-aggrandising,  the songs simply shine through.  To a 
maturer audience the Fannies' attitude is far easier to take than 
their cranky label-pals.  Whilst there was a minority down the 
front who pogoed and moshed,  many more simply listened apreciatively.
	These boys have had some bad times but now they are simply 
filled with love for their craft,  and their enjoyment of their work 
is really infectious.  There are no chips on these shoulders.  They 
have suffered as much as any band from the fickle UK critics who 
build bands up to knock them down,  but they clearly only care for 
the reactions of the crowds and tonight's show was a triumph.
---
	INTERVIEW: Muffs
		- Al Muzer
	Frolicking in the streets of a decaying New Jersey shore town 
before a recent gig, Muffs vocalist/guitarist Kim Shattuck looks 
slightly out of place - yet strangely at home - amidst the broken 
glass, crumbling sidewalks and boarded up buildings.
	While jeans, sneakers and t-shirt-clad bassist/vocalist Ronnie 
Barnett and drummer/vocalist Roy McDonald are clearly strangers in a 
strange land on streets that become dangerous after the sun goes down; 
Shattuck's long, skinny legs, white socks, girlish white dress, 
well-worn sweater and patent leather, Catholic school shoes don't 
draw half as much attention as you'd think they would on a Thursday 
afternoon in what's left of Asbury Park.
	As she twirls herself around a rusting street sign, waves at a 
passing commuter train, makes faces at a baby in a carriage pushed by 
an ancient grandmother, or smiles at the toughs in low-riders cruising 
by, something in Shattuck's eyes - or, perhaps, in the way she carries 
herself - emits a "don't fuck with me" signal that makes three hoods 
who'd slowed down for a better look stop midway through their "hey, 
baby" routine, roll up their windows, and quickly drive away.
	"Awww," chortles the hyperkinetic singer as she tosses her 
hair and crosses the road without bothering to look [hey, those cars'll 
stop]. "They must've just remembered, like, an appointment or something."
	As Ronnie and Roy [who'd decided to wait until it was safe to 
cross the street] hurry to catch up to her, Shattuck yanks open the 
door of the club and strides purposefully toward the tiny stage at 
the front of the room.
	Strapping on her guitar, she unleashes a distorted wad of 
feedback and a banshee-like howl as her bandmates pick up their 
instruments and break into a blistering, power-punk version of "Crush Me" 
from the group's third Warner/Reprise release, _Happy Birthday To Me_ .
	Static, humming and a loud buzzing noise suddenly fill the air 
as the group's sound guy frantically twiddles knobs and pushes buttons 
in a vain attempt to stop the ear-splitting noise.
	The song tails off into a long, uncomfortable silence before 
Shattuck strikes another loud chord and the room is, once again, 
filled with a painful buzz.
	"Maybe if you, like, turned your guitar down a little?" ventures
someone in the back of the club.
	"Turning down is NOT an option!" snaps the singer as she 
checks to make sure the volume controls on both her guitar and 
amplifier are at "10."
	A few more ear-fracturing attempts by Shattuck and the sound 
man and a bit of fiddling around with wires and plugs precede the 
announcement that the guitarist has blown yet another Hi-Watt amp head 
(similar to the one used - without incident - by Pete Townshend, 
guitarist in the world's loudest band) and that sound-check would, 
understandably, be delayed.
	Sipping a cup of coffee in the club's dressing room while 
things get fixed on-stage, Shattuck picks idly at a smiley-face 
bandage on her knee and reads the graffiti-covered walls.
	"Oh, look!" she exclaims. "Lunachicks - Ween - Dash Rip Rock 
Oww!" Shattuck winces as the bandage pulls skin and stitches from her 
knee. "That really hurt!" she adds as she presses it back in place and 
looks for something else to do with her hands.
	"That's for cutting my knee," Shattuck says as she reaches over 
and smacks (former boyfriend) Barnett in the arm.
	"Me and Ronnie got into a big fight the other night," she 
explains, "we were kind'a comin' at each other physically and he ended 
up pushing me a little. I lost my balance and, blam! I slammed into the 
ground and cut myself on a sharp piece of wood. We've pushed each other 
around plenty before," Shattuck laughs, "but that's the first time 
anything like that's ever happened."
	"I had to go to the hospital," she adds matter-of-factly. "It 
was, like, a possible Ike and Tina Turner situation in the making, but 
we're over it now."
	"Well, maybe not quite over it," Barnett says quietly. "But, 
it'll pass. The two of us went out together for three years a long 
time ago."
	"So, we generally know what will, and won't, set each other off," 
laughs Shattuck. "We mostly get along. Actually, it's really important 
for the band that we do get along.
	"We've grown into a much friendlier relationship over the years," 
offers Barnett. "There's more give and take personally and as bandmates."
	"I think the amount of time this lineup has spent together 
really paid off on the new record," Shattuck says with obvious pride 
of the group's outstanding, 15-song effort. "You can really hear it 
on every track - things are just 'on'."
	"She's right," Barnett adds. "It really is a good record. It's 
probably the best thing any of us has ever done and, hopefully, it'll 
add a few new names to the mailing list and extend our careers another 
couple'a years. Someday," he laughs, "we may even get played on MTV."
	"We've managed to outlive quite a few of the groups who were 
huge when we first started," he continues. "Which is kind'a weird. 
What's even stranger, however, is seeing our name used as a description 
in reviews and stuff. You know, 'a Muffs-y sound' or 'Muffs-influenced.' 
It's flattering, but really weird at the same time."
	"I actually kind'a like the way our career has gone," 
reflects Shattuck. "We didn't flame out with a big, first album and 
then vanish. We've slowly, but surely, managed to build a great 
word-of-mouth following."
	"I mean, we wouldn't have complained or turned it down if 
we were to've flamed early with, like, a Green Day-size hit," she 
laughs. "But, things just seem to've worked out much better for us 
this way. People know about us, people come to our shows, we get to 
play what we want to on our records and, apparently, there are at 
least a few people out there actually buying the things."
---
	REVIEW: Various Artists, _One Step Up Two Steps Back The
		Songs of Bruce Springsteen_ (The Right Stuff)
		- Bob Gajarsky
	The latest in a seemingly never-ending selection of tribute 
albums pays homage to the pride of the Jersey Shore, Bruce Springsteen.
	Avoiding the simplistic trap of including only Bru-u-u-u-uce's 
hits, this collection actually bypasses many of the Boss' album 
tracks in favor of lesser known songs.  The second disc of this 2 CD 
collection features ten (of 14) songs which never appeared on an 
official Springsteen album, as interpreted by a wide variety of global 
rock and roll artists.  Disco diva Donna Summer pairs up with an 
all-star backing band (Bruce, Roy Bittan and most of Toto) on the 
electric "Protection" and a Knackified version of "Don't Look Back" 
(which nearly appeared on _Get The Knack_ in 1979) are two lesser-known 
songs which stand out on disc two of this set.  But the first disc 
is what makes this compilation stand head and shoulders above the 
crowd.
	Back when Bruce's back jeans pocket was sprawled all across the 
magazines and "Born In The U.S.A." blared from every FM radio station, 
one cut was overlooked from that mega-successful album.  Today, 
the Smithereens take "Downbound Train" and make it their own, 
turning an already-poignant cut and flavoring it in the same vein 
as their own "Blood And Roses".  This standout selection will compel 
Smithereens fans to purchase _One Step Up_ , yet it's far from the 
only reason to take a listen to this disc.
	Folk-noir poet John Wesley Harding reinterprets "Jackson Cage" 
as if it were his own, Paul Cebar turns in a perfect Latin Boss 
impression on "One Step Up", and John Hiatt's wonderful version of 
"Johnny 99" begs to ask why Hiatt hasn't achieved a modicum of fame 
one-tenth that of Springsteen.  Several of the Boss' band, including 
Nils Lofgren and Clarence Clemons, are the feature artists on 
various tracks.  And, Springsteen favorite Joe Grushecky brings the
house down on "Light Of Day", which could fit in perfectly with a Meat 
Loaf/Jim Steinman/E Street band album.
	You don't have to be a Springsteen fan to like the album, but 
even his detractors will gain an appreciation for Bruce's songwriting 
skills on _One Step Up Two Steps Back_ .

	TRACK LISTING: Aram - Something In The Eight; Smithereens - 
Downbound Train; Kurt Neumann - Atlantic City; John Wesley Harding - 
Jackson Cage; Nils Lofgren - Wreck On The Highway; John Hiatt - Johnny 
99; Dave Alvin - Seeds; Joe Grushecky - Light Of Day; Martin Zellar - 
Darkness On The Edge of Town; Janey Don't You Lose Heart - Mrs. 
Fun/Tina & The B-Side Movement; Marshall Crenshaw - All Or Nothin' At 
All; Syd Straw - Meeting Across The River; Ben E. King - 4th Of July 
Asbury Park; Paul Cebar - One Step Up; Knack - Don't Look Back; 
Donna Summer - Protection; Joe Cocker - Human Touch; Elliott 
Murphy - Stolen Car; David Bowie - It's Hard To Be A Saint In The City; 
Rocking Chairs - Restless Nights; Robbin Thompson - Guilty; Sonny 
Burgess - Tiger Rose; Gary U.S. Bonds - Love's On The Line; Clarence 
Clemons - Savin' Up;  Southside Johnny & Asbury Jukes - The Fever; 
Little Bob Story - Seaside Bar Song; Allan Clarke - If I Was The 
Priest; Richie Havens - Streets of Philadelphia
---
	REVIEW: Soundtrack, _Hurricane Streets_ (Mammoth)
		- Sean Eric McGill
	We've heard the story before - a maverick young filmmaker goes out 
and makes a movie practically all by himself, with a virtually unknown 
cast and crew. Then, said movie gets some recognition at film festivals 
and picks up a distributor. And since the movie is about young people, 
there just has to be a soundtrack, filled with the kind of music the 
young people in the movie (and the ones watching) would listen to.
	And when it comes to getting a lot of artists out in one 
package, soundtracks are the undisputed king. They give you the ability 
to not only package a lot of different artists together, but they 
occasionally give you the chance to showcase a lot of newer talent, and 
occasionally blend genres (as witnessed by the soundtracks to _Judgment 
Night_ and _Spawn_ ).
	The soundtrack to _Hurricane Streets_ is like that. Where else 
but on a soundtrack will you find established rap acts like De La Soul 
sharing space with current alternative flavor of the month Atari 
Teenage Riot? The movie itself is about young street kids, and the 
album does actually feel like a collection of music young street kids 
would listen to, which I suppose is the greatest compliment one could 
pay a soundtrack.
	As for the songs, while they do span a variety of genres, only 
rarely do they step completely out of the ever-expanding realm of 
"alternative", and when they do, they're hitting in a genre which 
has become more and more accepted in alternative culture, rap.
	The album opens with "Change" by Shadez of Brooklyn. With its 
melodic groove and catchy raps, "Change" is one of the best tracks on 
the album. And while I didn't quite get the buzz a few months ago when 
they first came to my attention, Atari Teenage Riot's self-titled song 
also counts among the best on the album.
	But it is rare that you see a soundtrack without any truly 
established artists on it, and _Hurricane Streets_ is no exception. And, 
as often is the case, the true genius on the album is in their 
contributions. Vic Chesnutt, perhaps the most talented songwriter 
in popular music, contributes the previously released "Gravity of the 
Situation", by far the best track on the album. And while the music of 
Peter Salett isn't familiar to me, his contribution, "Walking Dream" 
easily qualifies as second-best.
	Other tracks, like "The Foundation" by Kzibit and a cover of 
"Stayin' Alive" by Supple are engaging at first listen, but quickly 
lose their appeal, particularly "Stayin' Alive". In the past year and a 
half, I have found two covers of "Stayin' Alive" on soundtrack albums; 
the other being Siobhan Lynch's version on the soundtrack to 
_Supercop_ . Both times I was intrigued at first, but was able to 
quickly dismiss the song itself. Of course, part of the reason may be 
that I never really liked "Stayin Alive" to begin with.
	But anyways, that's another story altogether. The bottom line 
is that the soundtrack to _Hurricane Streets_ is, overall, a quality 
product. There's more new talent here than established acts, but it's 
the established acts that really carry the day. If the movie is as good 
as the soundtrack, then certainly the prospects are good. By the way, 
you might want to hang on to this review - the movie itself doesn't 
open until January 8, 1998. Don't you just love Hollywood?
---
	REVIEW: Size 14, _Size 14_ (Volcano)
		- Bill Holmes
	Boy, record companies sure like to jump on a trend! Right 
along with all the punk, pop and ska clones that are popping up like 
rabbits are a group of bands who play alterna-humor (their hyphen, 
not mine). Tongue firmly in cheek, hand firmly on my wallet, most try 
to be Weird Al's children while simultaneously trying to display street 
cred. Bad formula. Instant suck. You know their names. Actually, you've 
forgotten their names...
	A few are not bad, though, because they truly *are* funny. Size 
14, a Los Angeles-based band, write songs that could easily reside on a 
Weezer or Flipp record. Borrowing the power punch of bands like Cheap 
Trick, the music is riff-driven, catchy pop. Size 14 takes it a step 
further by actually slinging some guitar solos (no word on whether 
they're sincere or part of the parody, but they are pretty good!). 
Lead vocalist and lyricist "Linus" takes shots at everything, sometimes 
reverent (the hysterical "Claire Danes Poster"), and sometimes with a 
blatant wink and nudge. (This last explanation is a public service 
announcement for those heavy metal heads too dense to realize that 
"Prototype" is making fun of them.) "Shane", about a human photo-op, 
and "Superbabe 2000" ('she's a punk rock Sharon Stone...') continue in 
the "Danes" vein. Sounds like "Linus" masturbates a little too much, 
but hey - a muse is a muse.
	"Linus" claims he writes what he thinks and merely exploits 
his insecurities. I'll have to give him that one; lines like "she's 
got a great body but it comes with a brain/and that's too bad" are 
too funny to be fiction. And speaking of funny, I've heard fewer songs 
funnier than "I Touched Her Ass" , and that's not a tune I want to be 
caught singing out loud. But dammit, I will - it's infectious chorus 
is irresistible, and the slap at Motley Crue is icing on the cake.
	Most humor records wear thin after a few listens - how many 
times can you listen to the same joke? When the music is not there to 
back it up, like "Earthquake," it's just forgettable noise. But more 
often than not, Size 14 flashes the chops to back up the fun. If they 
continue to write songs like "510" and "I Touched Her Ass," they might 
stick for a while. If not, make room next to Nerf Herder in the dump bin.
---
	REVIEW: Tsunami, _A Brilliant Mistake_ (Simple Machines)
		- Robin Lapid
	Apart from being impressed by the finely-crafted cd booklet 
accompanying this release (it has layers of translucent paper, 
emphasizing the layers of words and lyrics - nice touch), I'm already 
impressed by Tsunami's fierce DIY ethic.  In the space of 3 full-length 
albums and a plethora of 7" singles (including collaborations with 
bands like Velocity Girl and Superchunk), guitarists/vocalists Jenny 
Toomey and Kristin Thomson created their own label and offered a 
booklet for budding indie purists on how to release records.  And then 
there's the music.  Smoky riffs layered under subtly resonant vocals 
against all your best indie-pop dreams, _A Brilliant Mistake_ is music 
to stop and *really* listen to.
	The album, like the band, is all about layers.  There's the 
moody, sparse guitar arragements, the heartfelt vocals, and the words, 
which are at once incisive and melting, sung with a stinging sincerity.  
Toomey blends melodies with barbs, decrying the corporate rock 
lifestyle; "I've seen the best minds of my generation drowning in the 
best designer medications, perfecting a dedication to their lazy 
fix...There ain't enough coin in the coffer to ever make it legit."  
The pop hooks may deceive you, but listen to the tongue-twisting lyrics 
and you'll realize that this D.C. band is punker than punk.  In an 
interview, Toomey defines punk as "just shorthand for a work ethic 
mixed with questioning authority."  Credit this to the band that 
successfully lobbied for a booth to sell independent records when they 
were invited to play second stage at Lollapalooza.
	The opening track, "Old Grey Mare," sets the tone both in mood 
and music.  Toomey's soft but sure-footed voice builds toward Tsunami's 
lyrical manifesto:  "I won't be formed to the readymade or matched to 
the cut of the retrograde or led by the reins to a pony show or 
marketed coy with a blow-job m.o."  The sound is a lyrical wail 
surfacing amongst a sea of moody, elemental pop.  With Andrew Webster 
and Rob Christiansen on bass/trombone and Luther Gray on drums, Tsunami 
craft low-key, slightly experimental pop songs.
	It's Toomey's voice that implores you to listen.  Her vocals 
straddle the lines of deep but controlled musical philosphizing, often 
winding round choruses that cry out from pure devotion to the craft.  
Unlike the Alanis screech, Toomey's is the voice of reason blending 
into a music of simple authority.
---
	REVIEW: Brain Surgeons, _Box of Hammers_ (Cellsum)
		- Eric Hsu
	This is the nicest sounding hard rock (modernspeak for heavy 
metal) band I've ever heard. And what's the point of that? I mean, sure 
you've got the skillful guitar playing the usual "exotic" modes, and the 
steady (though curiously un-heavy) drumming, and the raspy emoting of 
the vocals.  But on the usual dumbbell heavy metal scorecard, they 
fall short:
	(1) Sex, and super-sexed male vocalists. We strike out here 
since the singer is a woman. There are guest male singers, but they 
sing on oddball covers and joke songs like "The Donkey Song". A 
certain rock critic wrote in 1985, "Although other ever-popular 
topics for metal-rumination are power, death, revenge, and madness, 
most male teenagers - still metal's prime audience - are not 
particularly interested in any product that does not offer the promise 
of getting laid, or at least clues to how to go about it." That critic 
was Deborah Frost, the lead singer.
	(2) Anti-intellectualism and elitism. Strike two, Frost is 
a Harvard graduate and rock critic and the drummer, Al Bouchard, though 
an ex-leader of the Blue umlaut-Oyster Cult, does not seem interested 
in playing dumb. He said of BOC's singer "It worried Eric that they 
would find out that he wasn't a tough biker guy, but really college 
educated and kind of frail..." They don't - both playing it blue-collar 
(e.g. the ending "Overture" has the strangely bleated and repeated 
chorus "cappuccino!").
	(3) Unyielding heaviosity. Strike three. They cover country 
songs, fer 666-sake, e.g. Dwight Twilley's "I'm On Fire". Very little 
in the way of musings about Hell(TM). Sure you get metal guitar tones 
and metallic modes and fleet soloing, but you get breaks from it, and 
I'm not talking long drum solos. Their music reflects multiple 
influences: blues, country, doo-wop.
	So without the goofball trappings or working class pretensions 
of heavy metal, you get fairly complicated music in the same ballpark 
as Mr. Bungle, a sense of humor and play and a sense of good musicians 
who are fans of a lot of different kinds of music just playing whatever 
they like.
	Considering that I reflexively despise heavy metal (because (a) 
I'm an intellectual (nothing to proud of) and (b) I did not grow up a 
lower/middle class white male), this record is surprisingly 
inoffensive.  This is usually the kiss of death for a metal record, but 
I don't think the Brain Surgeons are aiming at a broad metal market 
here. I think they're aiming at the narrow band of listeners who enjoy 
complexity and play and a heavy sound, but not to the point of humorless 
and wrist-maiming Yngwie-type Bach-rock. It's heavy, but varied and 
skillful and seems to have a good heart behind it. If you recognize 
yourself in that listening audience, give this CD a shot.

	For more information on the Brain Surgeons, contact Cellsum Records
at PO Box 1070, Fort George Station, New York, NY 10040-9998.
---
CONTEST WINNERS: > Congratulations to David Concannon, Dan Goodspeed, 
Rob Hillard, Jennie Jowsey and Nigel Swope.  Each person will win one 
copy of the soundtrack to _Godmoney_ .  Thanks to V2 Records and 
C Notes Interactive for their sponsorship of the contest.
---
NEWS:	> Eve's Plum is no longer a working band, though they 
continue to play some gigs together, have a song ("Save A Prayer") 
on the Duran Duran tribute album, and have even 
mentioned in-concert the possibility of an indie release of new 
material. Eve's Plum guitarist Michael Kotch is now a full-time 
member of Ruth Ruth. 
 	> Mixer and producer Howie B will be in New York City on 
October 24 heating up the turntables at Twilo from 11:30 pm - 1:30 am.
	> No longer with Urge Overkill, King 'Eddie' Roeser's new 
band, Electric Airlines play their first major show at the Metro 
in Chicago on October 31, sharing the bill with Dinosaur Jr.
	> In conjunction with the just-released (in the U.K.) Move 
box set, the Roy Wood big band will be kicking off a U.K. tour from 
October 24 through December, after which time he will head to the 
States.  Further information on Roy Wood/Move can be found at the 
web site http://www.roywood.com - and to join the mailing list, 
send an e-mail to move-list-request@eskimo.com with a subject of subscribe.
---
TOUR DATES (Please confirm with site before travelling):
	David Byrne
Oct. 21 Knoxville, TN Bijou Theatre
Oct. 22 Cincinnati, OH Bogarts
Oct. 23 Nashville, TN 328 Performance Hall
Oct. 26 New Orleans, LA House of Blues
Oct. 29 Jacksonville, FL Florida Theatre
Oct. 31 Miami Beach, FL Cameo Theatre
Nov. 1 St. Petersburg, FL Janus Landing

	Chemical Brothers
Oct. 28 Seattle, WA Mercer Arena
Oct. 31 Los Angeles, CA Palladium

	Clarissa
Oct. 25 Carrboro, NC Cat's Cradle 

	Cravin' Melon
Oct. 21 Atlanta, GA Cotton Club 
Oct. 22-23 Columbia, SC Elbow Room 
Oct. 24 Greenville, NC Attic 
Oct. 30 Myrtle Beach, SC House Of Blues

	Dirty Dozen
Oct. 26 New Orleans, LA Donna's Bar & Grill
Oct. 31 New Orleans, LA Witchful Thinking Halloween Ball

	Down By Law
Oct. 17 Boston, MA Rat
Oct. 18 New York, NY Coney Island High
Oct. 19 Philadelphia, PA First Unitarian
Oct. 21 Washington, DC 930 Club
Oct. 22 Winston-Salem, NC Pablo's
Oct. 23 Atlanta, GA Somber Reptile
Oct. 24 St. Petersburg, FL State Theatre
Oct. 25 Jacksonville, FL Milk Bar

	God Street Wine
Oct. 21 Atlanta, GA Cotton Club
Oct. 23 Pittsburgh, PA Metropol
Oct. 24 Toronto, ON Lee's Place
Oct. 25 Detroit, MI Majestic
Oct. 28 Columbus, OH Newport
Oct. 29 Cincinnati, OH Garage
Oct. 30 Indianapolis, IN Patio
Oct. 31 Chicago, IL House of Blues

	Irving Plaza (New York City concert hall; http://www.irvingplaza.com)
Oct. 21 Goldfinger / Save Ferris / Kara's Flowers
Oct. 29 Superchunk

	Jane's Addiction
Oct. 30-31 New York, NY Hammerstein 

	Jars of Clay / Plumb
Oct. 21 Boise, ID BSU Pavilion
Oct. 22 Salt Lake City, UT Abravenal Hall
Oct. 25 Rapid City, SD Rushmore Plaza Civic Center Theatre
Oct. 26 Sioux City, IA Sioux City Auditorium
Oct. 27 St. Louis, MO American Theatre
Oct. 30 Omaha, NE Aksarben Coliseum

	Letters To Cleo / Everclear
Oct. 30 Lawrence, KS Liberty Hall
Oct. 31 St. Louis, MO Mississippi Nights

	Motley Crue / Cheap Trick
Oct. 21 Hershey, PA Hershey Park Arena
Oct. 22 Cleveland, OH CSU Convocation Ctr.
Oct. 24 Philadelphia, PA The Spectrum
Oct. 25 Worcester,MA The Centrum
Oct. 26 Long Island,NY Nassau Col.
Oct. 28 Fairfax, VA Patriot Ctr.
Oct. 29 Charlotte, NC Charlotte Col.
Oct. 31 Tampa, FL Sun Dome

	Moxy Fruvous
Oct. 17 Nashville, TN Union Station
Oct. 18 Asheville, NC Black Mountain Music Festival
Oct. 21 Baltimore, MD Fletchers
Oct. 22 Ithaca, NY The Nines

	Old 97s
Oct. 21 Washington, DC Nightclub 9:30

	Graham Parker
Oct. 23 San Juan Capistrano, CA Coach House
Oct. 24 Santa Cruz, CA Palookaville
Oct. 25 San Francisco, CA Great American Music Hall
Oct. 26 Los Angeles, CA Billboard

	Promise Ring / Compound Red
Oct. 21 Gainesville, FL Full Circle
Oct. 22 Miami, FL Space Cadette
Oct. 23 Orlando, FL D.I.Y. Records
Oct. 24 New Orleans, LA Mermaid Lounge
Oct. 25 Houston, TX Emo's
Oct. 26 Austin, TX Emo's W/ Mineral
Oct. 27 Denton, TX The Rubber Glove
Oct. 28 Little Rock, AR University Of Arkansas
Oct. 29 Memphis, TN Barrister's
Oct. 30 Champaign, IL Blind Pig
Oct. 31 Rock Island, IL Slowfish Building

	Seven Mary Three
Oct. 21 Cincinnati, OH The Garage
Oct. 23 Savannah, GA The Roundhouse
Oct. 24 Nashville, TN 328 Performance Hall
Oct. 25 Birmingham, AL Oak Mountain Ampitheater
Oct. 28 New York, NY Irving Plaza
Oct. 29 Buffalo, NY Showplace
Oct. 30 Rochester, NY Water Street Music Hall

	Shootyz Groove / Tree
Oct. 26 New York, NY Tramps

	Slackers
Oct. 21 Denver, CO Bluebird
Oct. 22 Provot, UT ABG's
Oct. 23 Sacramento, CA El Dorado
Oct. 24 Corona, CA Showcase Theatre
Oct. 27 Tucson, AZ Cellar
Oct. 28 El Paso, TX 710 Texas
Oct. 30 Austin, TX Flamingo Cantina
Oct. 31 San Antonio, TX White Rabbit

	Sneaker Pimps / Junkster
Oct. 21 New Orleans, LA House of Blues 
Oct. 23 Atlanta, GA Cotton Club 
Oct. 24 Charlotte, NC Tremont Music Hall 
Oct. 25 Athens, GA 40 Watt Club 
Oct. 28 St.Petersburg, FL Janus Landing 

	Third Eye Blind / Reef
Oct. 22 Chicago, IL Metro
Oct. 23 Milwaukee, WI The Rave
Oct. 24 Madison, WI Barrymore Theatre

	Two Dollar Pistols
Oct. 21 New Orleans, LA Mermaide Lounge
Oct. 22 Houston, TX Satellite Lounge
Oct. 23 Austin, TX Continental Club
Oct. 24 Dallas, TX Lava Lounge
Oct. 25 Memphis, TN Young Ave. Deli
Oct. 27 Nashville, TN Wolfy's
Oct. 30 Birmingham, AL The Nick
Nov. 1 Chapel Hill, NC Local 506

	Type O Negative
Oct. 21 Asbury Park, NJ Stone Pony
Oct. 22 Toledo, OH Asylum
Oct. 23 Detroit, MI St. Andrews Hall
Oct. 24 Chicago, IL Vic
Oct. 25 Columbus, OH Newport Music Hall
Oct. 28 Cleveland, OH Odeon
Oct. 29 New York, NY Roseland
Oct. 30 Raleigh, NC Mission
Oct. 31 Philadelphia, PA Trocadero
Nov. 1 Boston, MA Avalon
Nov. 2 Washington, DC 930 Club
---
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