==== ISSUE 88 ====         CONSUMABLE         ======== [October 1, 1996]

  Editor:             Bob Gajarsky
		        Internet: gajarsky@email.njin.net
  Sr. Correspondents: Jeremy Ashcroft, Dan Enright, Tim Kennedy, Reto 
                      Koradi, David Landgren,  Sean Eric McGill, Tim Mohr,
                      Jamie Roberts, Joe Silva, John Walker
  Correspondents:     Dan Birchall, Lee Graham Bridges, Scott Byron,
                      Paul Grzelak, Janet Herman, Eric Hsu, Tim Hulsizer, 
                      Stephen Jackson, Daniel Kane, Mario Lia, Stephen Lin,
                      Bob Mackin, Al Muzer, P. Nina Ramos, Linda 
                      Scott, Ali Sinclair, Jon Steltenpohl, Courtney 
                      Muir Wallner
  Technical Staff:    Chris Candreva, Dave Pirmann, Damir Tiljak,
                      Jason Williams

 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  |
                            `------------'
ANNOUNCEMENT: Changing addresses/unsubscribing
INTERVIEW - Eric Bazilian of the Hooters - Bob Gajarsky
REVIEW: Mary Margaret O'Hara, _Miss America_ - Eric Hsu
REVIEW: Various Artists, _Modern Rock:Hang The DJ_{1986-1988} - Bob Gajarsky
REVIEW: Holly Palmer, _Holly Palmer_ - Reto Koradi
REVIEW: Scarce, _Deadsexy_ - Al Muzer
REVIEW: Tears For Fears, _Saturnine Martial & Lunatic_ - Bob Gajarsky
REVIEW: Type O Negative, _October Rust_ - Sean Eric McGill
REVIEW: Ralph Marterie, _The Best Of: The Mercury Years_ - Al Muzer
REVIEW: Floodgate, _Penalty_ - Linda Scott
REVIEW: El Vez, _G.I. Ay Ay Blues_ - Al Muzer
REVIEW: Tina Arena, _Don't Ask_ - Daniel Kane
NEWS: CD Universe, Loop Guru, R.E.M., Virgin Records
TOUR DATES: Barenaked Ladies, Blithe, Block, Tom Cochrane / Tara MacLean,
   Cravin' Melon, El Vez, Melissa Etheridge, Mary Ann Farley, Garmarna,
   Government Mule / Screamin' Cheetah Wheelies, London Suede, Loop Guru,
   Loud Family / Sugarplastic, Marilyn Manson, Dave Matthews
   Bob Mould / Rasputina, Orbit, Ozzy Osbourne / Sepultura,
   Porno For Pyros, Professor & Maryann, Republica / Gravity Kills
   Sandbox, Screaming Trees / 54*40 /Solution A.D., Richard Thompson
Back Issues of Consumable
---
	ANNOUNCEMENT: Due to an unforeseen error on our part, any
messages which were sent before September 19 to unsubscribe or 
change subscription addresses for Consumable were not implemented.
Please re-send those messages; we apologize for any inconvenience
this causes.
---
	INTERVIEW - Eric Bazilian of the Hooters
		- Bob Gajarsky
	Eric Bazilian recently vaulted back into the music news when
Joan Osborne's "One Of Us" made playlists across the country and revived
interest in the band of which he is still a major force, the Hooters.
Philadelphia's favorite sons have been playing together since the early 
1980's and their current lineup - Bazilian, Rob Hyman, David Uosikkinen,
John Lilley, and Fran Smith, Jr - has been intact since 1988.  
	The opportunity to have a song do well outside of the Hooters,
especially on an international level, made it that much more rewarding
for Bazilian:  "There is something exciting about having a song thriving 
out there independent of one's further efforts. It's kind of like seeing 
your children succeed out on their own."
	Although fellow Philadelphian Daryl Hall didn't get
recognized as a "true" writer by members of the elitist press until
Paul Young took his "Everytime You Go Away" to #1, this wasn't the
first time Bazilian wrote for other artists outside of the Hooters.  
	"The collaboration with Joan felt totally familiar, as we've 
done similar projects with Cyndi Lauper, Patty Smyth, Sophie B. 
Hawkins, and others," recalls Bazilian.  "And even though Rob and I
spend the lion's share of our time writing together, we had certainly 
done our separate projects, such as Cyndi Lauper's "Time After
Time", already."
	"Time After Time" was Lauper's biggest hit, and represented
the high point of her solo career.  In fact, Bazilian and Hyman *were*
her main backing band on the debut album _She's So Unusual_.  
They continued collaborating later on her _Hat Full of Stars_ album
(especially "That's What I Think") and Lauper's vocals appear on
the Hooters "Boys Will Be Boys", from _Out Of Body_.  
	Before the Hooters became known nationally, Hyman, Bazilian
and David Kagan released two unsuccessful albums on Arista as the
group Baby Grand.  The experience did bring future better-known
results: one of the tracks, "Never Enough" was slightly re-written as the
title track for her post-Scandal solo debut, and the producer for that
release was none other than Rick Chertoff.
	After that, the Hooters began to take form.  Their first two 
singles were a live version of "All You Zombies" and "Fightin' On The 
Same Side", which led to the 1983 independent release of _Amore_.  At 
the time, _Amore_ established new heights for the success of an indie 
album; an even more amazing sidelight is that 4/5 of the band from that 
effort are still in the band today, with only Fran Smith being a "newbie".
There are plans to reissue this on CD at some point in the future (with 
unreleased tracks), but nothing is concrete at this date.
	After 15 years of playing a song such as "All You Zombies", it
could get tiring to perform.  But, as Bazilian states, this is not the case.
Some unnamed songs do grate on him, but, "All You Zombies, is not 
one of them.  That song came into being in a miraculous way and it 
continues to inspire."
	Before Hooters albums come out, it seems like there are
test runs live in concert to see which songs perform well and which 
don't.  According to Eric, there are very few songs that haven't made 
it to record. "We have repeatedly tried to go out and perform batches 
of new songs live, but this is often not a very good barometer of what 
will translate to record.  We did perform a few new songs on tour last 
summer in Europe which was fun but, ultimately, the audience has limited
patience for unfamiliar material."
	Compiling the band's years on Columbia, _Hooterization: A 
Retrospective_ recently surfaced.  For dedicated fans, the only two new
tracks are "Lucy In The Sky With Diamonds", previously only a B-side to 
"Johnny B", and the Hyman/Cyndi Lauper-penned "Time After Time",
both live from a concert in Philadelphia at the Tower Theatre
during October of 1987.  Others may find out that there really is a lot
more to the band that had top 40 hits with "And We Danced" and "Day By 
Day", but ran into resistance from American radio progammers on other 
tracks which have stood the test of time such as "All You Zombies".
	So, today, everything comes full circle.  Nearly 20 years after 
Baby Grand released their first album, the Hooters are on yet another 
label - Rick Chertoff's Blue Gorilla - a division of Polygram, and best
known for spawning Osborne's _Relish_ album. The success of "One Of Us"
has opened more industry doors, including a friendship with the legendary
Carole King which has led to some writing.  And, the inevitable question:
When will there be a new Hooters album? Bazilian replies, "The writing 
is taking some time and it's been long enough that we really want it to 
be right.  Which doesn't mean "hits" or "perfect"; it just has to feel 
like it's something new and exciting to us.  We're trying to take 
Hooterization to the next level."  If it's anything like it has been in 
the past, it will include a healthy mix of rock and pop with a slight 
touch of reggae for flavoring, a great live show, and most importantly, 
some great fun.  Here's hoping that Americans finally realize what Europe 
and Japan have been saying for years - the Hooters are still a great band.

TRACK LISTING for _Hooterization_ : And We Danced, Nervous Night, All 
   You Zombies, Satellite, Karla With A K, Where Do The Children Go, 500 
   Miles, Fightin' On The Same Side, Day By Day, Lucy In The Sky With 
   Diamonds (Live), Heaven Laughs, Brother Don't You Walk Away, Johnny B, 
   She Comes In Colors, Time After Time (Live), Beat Up Guitar
---
	REVIEW: Mary Margaret O'Hara, _Miss America_ (Koch)
		- Eric Hsu
	I can only offer this, my personal testimonial as to why I 
love this CD.  It's been a while since I felt a missionary fervor 
about a piece of music, a while since I felt like music mattered 
and wasn't a bunch of self-centered poseurs doodling around for a 
buck, leeching off the insecurities of teenagers.  Koch has done the 
music world a great service by re-releasing this special piece of 
music. They have also promised to re-release Mary Margaret O'Hara's 
_Christmas EP_, her only other formal release. It's a real crime that 
M2OH hasn't had wider exposure and more outlets for her music (she 
shows up in cameos on The Henrys, Gary Lucas, and weird places like 
_Sweet Relief 2_).  She may be Canada's best kept secret, and if you 
give _Miss America_ a chance, it might enrich your life.
	I first looked up this record because I noticed that both 
halves of the Throwing Muses (Kristin Hersh and Tanya Donelly, now of 
Belly) listed this record in their Top Ten Favorite Albums.  It was 
impossible to find in record stores, but luckily a Canadian friend had 
it on tape.  On the first listening, it was a little bit of a blur, but 
she clearly had a dynamite voice and a broad variety of styles, some 
quiet and brooding some spastically rhythmic.  A piece of one song, 
stuck in my head "when a memory's all I've got, I'll remember I've got 
a lot. Not having you, but keeping you in mind," because it sounded 
strikingly like a woman singing herself to sleep to the sound of her 
favorite jazz record, consoling herself with the sound and comfort of 
individual notes.  So, I returned to the record and a new part of 
another song stayed with me: "But I'll still feel for you when you go 
and you... you'll know better than to cry about": the way she slips 
into a falsetto on the word "feel" is so gorgeous and heartbroken that 
the song seems to burst open. I was hooked.
	I started to notice the startlingly tasteful bass work on some of
the songs, especially the songs with a groove: "Anew Day" throbs with a
subtle and beautiful bass line that uplifts you indirectly, complementing
the oblique lyrics. The chorus _sounds_ like encouragement ("everyone 
walk in brightness, because it's a new day"), until the lyrics start to 
bewilder you ("it is better to disappear than just to stand near a 
hole?"), and then when you check the lyric sheet, you realize it's 
actually "anew day", which is subtly but importantly different from "a 
new day".  "When You Know Why You're Happy" has another memorable and 
repeated bass line.  "You move much better than you know not just some 
jerk to and fro when you know why you're happy"  But the happiness 
sounds manic and desperate. "Your world goes to smash too" and the smash 
does not sound like such a good thing when it's encased in this obsessive
groove.
	A number of the songs express a fascination with repetition. 
It would be oversimplifying to call the repetition "insane", but it's a 
few steps beyond passionate. "Joy is the aim" becomes the repeated 
syllables "is the aim eh joy", in "Year in Song".  "Treat me, I'm getting 
low, high up where the floaters go ready to put you under light sedation, 
I'm not ready to go under! I'm not ready to go under!" M2OH (as she calls 
herself!) pushes and shreds and tangles her voice in this song to 
stunning effect.  Her voice, so often clear and strong, becomes hoarse 
with screaming and fluid with babbling.
	Some songs have a clear (not simplistic) center of gravity, often 
a phrase with simple words, but surprisingly rich for the length: "Help 
Me Lift You Up", which is already a beautiful phrase gains a dimension 
that is more than a simple twist when preceded by lines like "you'll 
have to be with your own kind, I'll have to stay with my own kind, help 
me lift you up".  M2OH compresses a lot of consolation into another short
phrase: "You Will Be Loved Again" is another beautiful phrase. A lot of 
the healing after a breakup has to do with believing in that phrase 
again, and the song itself is stripped bare (only accompanied by 
stand-up bass), again having the air of talking/crying yourself to sleep.
	This whole record is marked with an amazing appropriateness. The
playing is first-rate, and all the musical contributions seem essential 
and informed by a dedication to taste. The instruments on the songs 
typically include ringing guitar lines, chiming and clear piano, looping
bass lines, and aching slide guitar.  A number of the songs have no 
drums, and often they sit back as texture in the mix.  Don Rooke, who 
contributed guitar on the record, enthused about M2OH's grasp of strange 
cross-rhythms. I'm enthused too, because they actually complement the 
emotion of the piece: "Help Me Lift You Up" has a simple bass figure 
played in 5/8 against a straight quarter-note beat for the voice and 
guitar, but it simply comes across as moody and elusive and not some 
wacky trick. In contrast, the 5/8 guitar line in "Not Be Alright" seems
spastic and disjoint, much like the rest of the song ("to lean away and 
to fall back on it to prohibit the development of new types and to seek 
to ensure to agree as follows"), which is an extended rant by a woman 
whose mental television seems to constantly flip through channels, 
making obsessive memories collide with disassociated boilerplate text.
	The record itself was mostly done in 1984, but its release was
delayed, presumably because Virgin thought M2OH was a lunatic. Virgin
brought in Michael Brook as "co-producer" to mainstream-ize this unusual
record, and finally released it in 1988, didn't support it, and then 
buried it.  Koch has repackaged the CD nicely, spicing up the insert 
with many lively and light illustrations by M2OH herself. They also 
notably shrunk down a lot of Michael Brook's production and guitar 
credits and touched up the cover art.  This record is the perfect 
soundtrack for post-romantic-trauma manic-depression, as I can testify.
It's inspiring, consoling, mind-blowing and everything that music should
be and so rarely is. Try this record.
---
	REVIEW: Various Artists, _Modern Rock:Hang The DJ_{1986-1988} (Rhino)
		- Bob Gajarsky
	These three CD's, available separately but mentioned here
as a collection, form a 54 song look back at the end of the synth-pop
era and the beginning of what many consider the breakthrough of 
"alternative" music to Top 40 stations.
	With the title of the series culled from the recurring
"chorus" of The Smiths "Panic" (where Morrissey and schoolboys 
scream to "Hang The DJ"), the collection is weighted is split
nearly equally between American and non-American bands.  Most of
the groups should be immediately recognizable to fans; it's 
interesting to realize that many of the songs are still known today 
and helped create a new chart on Billboard ("Modern Rock"), break a 
new video program (MTV's "120 Minutes"), and, for better or worse,
display to major labels how lucrative the "alternative" market
could be.
	_1986_ is definitely the most consistently accessible of the
three discs; nearly every song on the collection is still played
today at radio stations "Flashback" shows, and would be the best
present for the modern-rock fan.  However, for tracks which are
harder to find (or, also, not played as often on "Flashbacks"), check
out _1987_ which includes the previously challenging-
to-find in the U.S., Icicle Works' addictive "Understanding Jane",
and the since-withdrawn 10,000 Maniacs cover of Cat Stevens' "Peace
Train".  Meanwhile, _1988_ falls somewhere between these two fronts;
plenty of well-known songs to U.S. alterna-philes, but some tracks
which never received as much attention (Transvision Vamp, "Tell
That Girl To Shut Up", Everything But The Girl's "Apron Strings").
A necessary purchase for anyone who doesn't get to hear the 
late 1980's music quite enough.

TRACK LISTING: 1986 - Smiths "Panic"; New Order "Bizarre Love Triangle";
   Siouxie & The Banshees "Cities In Dust"; Psychedelic Furs "Pretty
   In Pink"; Orchestral Manoeuvres In The Dark "If You Leave", Pretenders
   "Don't Get Me Wrong"; Art of Noise "Peter Gunn"; Alarm "Strength";
   Bangles "Walk Like An Egyptian"; Depeche Mode "A Question of Time";
   Oingo Boingo "Weird Science"; Eurythmics "Missionary Man"; Gene
   Loves Jezebel "Desire"; Blow Monkeys "Digging Your Scene"; Bananarama
   "Venus"; INXS "What You Need"; Divinyls "Pleasure And Pain";
   Guadalcanal Diary "Cattle Prod"
1987 - R.E.M. "It's The End Of The World As We Know It"; Julian Cope
   "World Shut Your Mouth"; Bangles "Hazy Shade of Winter"; Jesus and
   Mary Chain "April Skies"; Smiths "Ask"; 10000 Maniacs "Peace Train"; 
   Love and Rockets "No New Tale To Tell"; New Order "True Faith"; 
   Sugarcubes "Birthday"; Psychedelic Furs "Heartbreak Beat"; Red
   Hot Chili Peppers "Fight Like A Brave"; X "4th of July"; Concrete
   Blonde "Still In Hollywood"; Guadalcanal Diary "Litany"; Hoodoo
   Gurus "What's My Scene"; P.I.L. "Seattle"; Bananarama "I Heard
   A Rumour"; Icicle Works "Understanding Jane"
1988 - Church "Under The Milky Way"; Primitives "Crash"; Billy Bragg
   "Waiting For The Great Leap Forwards"; Jane's Addiction "Mountain
   Song"; R.E.M. "Orange Crush"; Transvision Vamps "Tell That Girl
   To Shut Up"; Smithereens "Only A Memory"; Erasure "Chains of Love";
   INXS "Need You Tonight"; Siouxie & Banshees "Peek A Boo"; Robyn
   Hitchcock & Egyptians "Balloon Man"; Psychedelic Furs "All That
   Money Wants"; Ministry "Stigmata"; Cowboy Junkies "Sweet Jane";
   Peter Murphy "All Night Long"; Mission UK "Tower of Strength"; 
   The Fall "Victoria"; Everything But The Girl "Apron Strings"
---
	REVIEW: Holly Palmer, _Holly Palmer_ (Reprise/Warner)
		- Reto Koradi
	Even when you listen to a lot of good new music, it is a rare
event to discover an album where you feel that you encountered something
special and extraordinary. Holly Palmer's self-titled debut is such a 
case; more than just a "record", it sounds like the outbreak of a talent
that was just too strong to be held in chains.
	While there is a good number of female singers/songwriters around,
they are still rare enough for newcomers to be overly compared to more
established names. Hearing a piano based song like "Sal The Gardener", some
people will certainly draw the line from Holly Palmer to Tori Amos. But
Holly Palmer covers a much wider musical spectrum than Tori Amos did on her
first two albums; most tracks feature a full band, and the rhythmic nature
of some songs reminds more of Sarah McLachlan. Her past in jazz bands
shows on the track "Come Lie With Me", a beautiful song with a bar room
jazz sound and a sweet chorus. Going even further, "Oxblood 2x4s" features
a classical instrumentation with piano and strings.
	Holly Palmer's lyrics are personal and full of sensitivity,
presented with a wonderful, very sensual voice. With these qualities, even
a basically simple love song like "Wide Open Spaces" comes across as
something expressive and truly wonderful. While the vocals are always in
the center, the tasteful arrangements show Palmer's musical education.
	With all these qualities, the most surprising thing is that the
hard work that is certainly behind it does not cause any negative effects
in the final result. Everything sounds natural, often playful, and like it
was done with ease. _Holly Palmer_ will be a strong contender for "best
album of the year", it is a must for fans of female singers/songwriters,
and highly recommended to everybody else with good taste.
---
	REVIEW: Scarce, _Deadsexy_ (A&M)
		- Al Muzer
	Former Anastasia Screamed front-guy Chick Graning bounces 
back from personal tragedy (a brain hemorrhage and 18-day coma) with 
one of the finest grunge-pop offerings since Kurt Cobain shook up the
scene way back when.
	While every track on _Deadsexy_ is at least as good as the 
recent output of the current alterna-elite; six songs in particular 
stand head and shoulders above most of what's been waxed in the last 
few years - and are natural selections for any "Best Of" compilations 
being put together covering the '90s.
	The Boston-based three-piece kicks their debut off with the 
brilliant aggro-jangle, punchy beat and infectiously in-your-face hook 
of "Honey Simple" - a song that features Graning's ravaged vocals, 
stuttering riffs and humbucking guitar colliding with an almost British
Invasion, multi-harmony, male/female chorus for a wild, steering 
wheel-pounding, three-minute ride to the top of the Buzz Bin heap.
	Other songs of special note include: "Rains Of Kansas," which 
blends a Son Volt-worthy guitar drone, on-the-road imagery and Silo's 
caliber twang with vocalist/bassist Joyce Raskin's Exene-like harmonies; 
the Top 10 chaos, "La, la, la" chorus and crunchy pulse of "Crimea River";
"Glamourizing Cigarettes," an angry, aggressive blast of Soul Asylum-like 
power-pop elevated to greatness by Graning's throaty rasp, Raskin's 
deceptively-sweet harmony and drummer Joe Propatier's Keith Moon-ish 
fluidity and unabashed abandon; the hit-bound beauty, from-the-heart 
lyrics and ascending vocal hook of "Days Like This"; and the Buffalo 
Tom-meets-Bush roar and subtle pop shadings of "Freakshadow."
	Damned if this ain't essential listening.
---
	REVIEW: Tears For Fears, _Saturnine Martial & Lunatic_ (Mercury)
		- Bob Gajarsky
	Picking up the pieces of most of the Tears For Fears output
since their departure from Mercury, _Saturnine Martial & Lunatic_
provides a pleasant surprise for an album comprised mainly of 
B-sides and once throwaway songs.
	Some tracks have seen the light of day before on other 
series - the consistent "New Star" on the _Threesome_ soundtrack, 
a deadly accurate cover of Bowie's "Ashes To Ashes" on the NME UK 
compilation _Ruby Trax_, the most hated Tears For Fears synthpop
UK hit "The Way You Are" (_Flashback Favorites, Vol. 4_) and
"Pharaohs" on _Sedated In The Eighties Vol. 4_ - but contains 
most of the Tears For Fears B-sides.  There are still a few which
didn't make this collection, but it's a good starting point for
TFF completists.
	"Lord Of Karma" melds pseudo-Hendrix guitars with the 
wah-wah Manchester sound, while "Marauders", the B-side to "The 
Way You Are", is TFF venturing carefully into the world we now call
new age or ambient; of course, this term wasn't as prevalent in the 
early/mid 1980's.  And, "Johnny Panic and the Bible of Dreams", a
twist of "Sowing The Seeds of Love" with a world beat-styled rap,
became a dance hit in its own right.  A few other tracks on here
also were reworkings (or instrumentals) of songs which eventually did
make it to a Tears For Fears album.
	Unfortunately, in parts, _Saturnine Martial & Lunatics_ is 
stronger than some of Orzabal's Tears For Fears, post-Curt Smith, 
works.  That only shows how good Tears For Fears once was.  

TRACK LISTING: Johnny Panic & The Bible of Dreams, The Big Chair, 
  Schrodinger's Cat, My Life In The Suicide Rankws, When In Love With
  A Blind Man, Pharaohs, Deja Vu & The Sins of Science, The Marauders,
  Tears Roll Down, New Star, The Body Wah, Lord of Karma, Bloodletting
  Go, Always In The Past, Sea Song, Ashes To Ashes, Empire Building, 
  The Way You Are
---
	REVIEW: Type O Negative, _October Rust_ (Roadrunner)
		- Sean Eric McGill
	When reviewing Type O Negative, you have to understand one 
simple thing: they are not a joke. Their cover of "Summer Breeze" on 
their _Bloody Kisses_ album, as well as their cover of Neil Young's 
"Cinnamon Girl" on the latest, entitled _October Rust_, is not meant 
in jest. Sure, they sound a little different, but those versions of 
the covers listed above are only songs done in their style: lots of 
crunch, with Peter Steeles brooding vocals.
	Now, all that being said, it must be said that when I told 
my editor I was interested in the latest from Type O Negative, I did 
so by saying that they are "always good for a laugh". But _October 
Rust_ stops that train of thought in its tracks. From the opening of 
the album, one minute-plus of fuzzy sound entitled "Bad Ground:", to 
the ending of the album, which closes the same way (both followed by 
and preceded by announcements from the band that they appreciate you 
buying the album, as well as letting you know they'll see you on the 
road - a novel idea if there ever was one), _October Rust_ is packed 
with good songs done in the typical Type O Negative fashion.
	Songs like the first musical track on the album, "Love You to
Death" to the closer "Haunted" stick with you more than anything on 
either _Origin of the Feces_ or _Bloody Kisses_. Steele's vocals lend 
themselves well to a song like the occult-themed "Be My Druidess" where
his entoning of "I'll do anything to make you come" seems like not 
only a promise, but a warning, as well.
	And while that concept alone may sound amusing enough, true fun
on the _October Rust_ album can be found in the little ditty "My 
Girlfriend's Girlfriend". Steeles vocal delivery, which could best be 
described as a cross between Barry White and Glenn Danzig, changes 
the complexion of all the musical arrangements on the album.
	But the arrangements of the album are where Type O Negative 
seem to have fallen into a rut. Each song is of a fairly good length, 
which most running in the five or six minute time frame. And while 
some other bands have no problems with this, there just isnt that 
much lyrically or musically in the songs to warrant that much time. 
The end result is something quite like Spinal Tap, where each song 
has that nice mellow part (the best Tap example of this is "Stonehenge").
	Overall, the majority of the songs on _October Rust_ work, 
although tracks like "Die With Me" and thewell, interesting "The 
Glorious Liberation of the Peoples Technocratic Republic of Vinnland 
By The Combined Forces of the United Territories of America" (a song 
whose title takes longer to say than the track itself) don't hold up 
against "Red Water (Christmas Mourning)" or "In Praise of Bacchus". 
Type O Negative has progressed miles from the style they exhibited on 
_Bloody Kisses_, and it should be interesting to see where they go next.
---
	REVIEW: Ralph Marterie, _The Best Of: The Mercury Years_ (Mercury)
		- Al Muzer
	Much cooler and far more marketable than the folks at Mercury 
seem to realize, the 1950's output of trumpeter/band leader Ralph 
Marterie is a natural addition to any space age hipster's collection 
of Esquivel, Les Baxter, Martin Denny, Combustible Edison, Everlounge
and Eden Ahbez records.
	One of the last of the Big Band leaders, Marterie wasn't afraid 
to add a new twist, unusual arrangement, uncommon instrument, odd horn 
chart, Latin rhythm or crazy cha-cha beat to a Big Band standard or 
jazzed-up Puccini tune - while his original compositions display a 
rebellious soul and restless spirit not content with the lush banality 
and cloying sweetness of his musical time.
---
	REVIEW: Floodgate, _Penalty_ (Roadrunner)
		- Linda Scott
	Rock and Roll is dead - didn't Lenny Kravitz just tell us that?
Lately it seems that rock's demise has been greatly exaggerated.  Some
of the monster rock bands such as Guns N'Roses, Aerosmith, Kiss, Ozzy 
Osbourne, are springing into action.  Another good sign is that new 
bands are on the way.  Floodgate (out of New Orleans, formerly known 
as Penalty) is a new band looking to grab the metal ring.  
	From the first track on their debut album _Penalty_, you know 
what kind of music this band is all about.  No trying to touch all the 
bases and appeal to everyone; no, this is a rock band.  Go through the 
album and you hear influences of their idol, Black Sabbath.  Musically, 
they might be Sabbath's and Kiss's children, but the lead singer surely 
sounds like Metallica's Hetfield.  And, hey, what's wrong with that?
Hetfield can really nail a hard rock song.  So can Floodgate's Kyle Thomas.
	Thomas has put together a band with brother Kevin on bass, 
Steven Fisher on guitar, and Neil Montgomery on drums.  Thomas himself is
lead vocalist, guitarist and chief songwriter.  As a classically trained 
singer, Thomas is one whose lyrics can be heard and understood.  That's as
it should be because the man has a lot to say.  On "Till My Soil" he 
blasts society's vices and exhorts listeners to use their minds.  
"Running With Sodden Legs" gives the sense of being trapped in a nightmare.
	Thomas says Floodgate is on its way now to its longterm goal of
being an arena rock band.  Floodgate has a strong frontman in Kyle 
Thomas with talent and drive to push his band there.  Right now they are 
just getting started - but if you are a fan of hard rock, and appreciate
a Black Sabbath influence in a band, _Penalty_ might be perfect for you.
---
	REVIEW: El Vez, _G.I. Ay Ay Blues_ (Big Pop)
		- Al Muzer
	Just because the King kicked on the crapper back in '77 
doesn't mean you can't experience the gaudy pageantry of an Elvis 
Presley show today.
	The chance to marvel at the mad spectacle of El Vez (The 
Mexican Elvis) comes when Robert Lopez - former guitarist/vocalist 
for San Diego punks The Zeros, one-time member of Catholic Discipline 
and Elvis Presley impersonator since 1988 - brings his Latino-via-Memphis
"Rock & Revolution" tour on the road.  Witnessing El Vez (and his many 
costume changes) in concert is always a unique experience.
	As the raucous sounds of the Memphis Mariachis blares from the 
PA, the lovely Elvettes (Priscillita, Lisa Maria, Que Linda Thompson 
and Gladysita) slink on stage and begin swaying in time to the music.
	Winking and glowing under the lights (one of El Vez's favorite 
outfits is a white jumpsuit covered in red, white and green rhinestones
with a sequined Virgin Of Guadalupe on the back) as he bursts onto the 
boards, the outlandishly-dressed man who would be King begins singing 
what sounds like The Big E's "Now Or Never" - only with anti-gang lyrics 
and an infectiously-danceable beat grafted to the melodies of "Maggie 
May," "Losing My Religion" and "The Godfather Theme."
	Strutting across the stage, the small, brightly-plumed figure 
grabs Gladysita and the two execute a brief tango and exaggerated dip 
before El Vez twitches back to center-stage in time to belt out an old 
favorite, "En el Barrio."
	Artfully fusing Traffic's "Dear Mr. Fantasy" with the Beatles' 
"I've Got A Feeling" and vivid, pro-Latino lyrics; the deft 
bastardization of the King's "In The Ghetto" appeared on Lopez's first 
album as El Vez not long after the diminutive impostor outraged thousands 
of die-hard Elvis fans during a 1988 Elvis Tribute Week performance at 
Bad Bob's nightclub in Memphis.
	The notoriety garnered from his Graceland appearance resulted in 
reams of positive articles in a variety of nationwide newspapers, as well 
as guest shots on NBC's 2 HIP 4 TV and the series, Hunter.
	The full-length El Vez albums that followed (_El Vez Is Alive_, 
_Graciasland_ and _Fun en Espanol_) displayed quirky flashes of true 
musical genius as El Vez reworked songs such as: "Viva Las Vegas" into 
"Viva La Raza"; "Suspicious Minds" into "Immigration Time"; "Blue Suede 
Shoes" into "Huaraches Azules" (which includes bits of Jimi Hendrix's 
"Wind Cries Mary"); and "That's Alright, Mama" into "Esta Bien Mamacita."
	In a world filled with bad Elvis Presley imitators, Robert Lopez 
and his alter ego, El Vez, have long been cited as one of the most unique
and original practitioners of the fine art of Elvis.  And now, returning to 
record stores as well as to the stage, El Vez's latest offering, _G.I. Ay 
Ay Blues_, is the Chicano-King's most diverse and exciting call for 
revolution and Latino-pride ever.
	Whether you latch onto "Say It Loud, I'm Brown And I'm Proud," 
"Taking Care Of Business," "The Arm Of Obregon," "Frida's Life Of Pain," 
"Malinche," "Soy un Pocho," "Whip," "J.C. Si Lowrider Superstar," "Cesar 
Chavez '96" or the future El Vez show-stopper, "Mexican American 
Trilogy" - the songs on _G.I. Ay Ay Blues are sure to fill you with a 
bandana-wearin' revolutionary spirit even as you're whipping up a couple 
of fried peanut butter and banana samwiches (uhm 'thank you' thank you very 
much) and washing 'em down with a quart of Nehi Orange.
	In addition to releasing _G.I. Ay Ay Blues_, El Vez is working 
on a gospel album with The Jon Spencer Blues Explosion, has plans for 
a one-off collaboration with Doo Rag, is being courted for a starring 
role in a full-length European film - and continues to tour and spread 
the message of "Rock & Revolution" wherever he thinks it's needed most.
	For El Vez information, or to get your hands on a copy of 
_G.I. Ay Ay Blues_, contact Big Pop Records at: PO Box 12870, 
Philadelphia, PA 19108.
---
	REVIEW: Tina Arena, _Don't Ask_ (Epic)
		- Daniel Kane
	Tina Arena, the recipient of critical acclaim for _Don't Ask_ 
delivers an album that's part Billie Ray Martin, part Celine Dion, but
all beautiful pop music.
	_Don't Ask_ starts with "Chains."  The haunting smoothness of 
Arena's lyrics in the building sounds of desperation in "Chains" makes 
the title track one of my favorites personally, and is a perfect fit in
the Boiler Room scene of Clive Barker's "Hell on Earth."
	"Heaven Help My Heart" is a slower, innocently refreshing 
account of the singer's plea to the gods to answers on where love is. 
"Sorrento Moon (I Remember)" is a beautiful love song incorporating the
higher ranges of Tina Arena's voice with a sound between American 
contemporary and Spanish ballad, similar in many ways to Madonna's 
"La Isla Bonita."
	I enjoy love songs from the Fifties to the Nineties; however,
"Love is the Answer" sounds bubble-gummish.  While I love John Lennon's
"Imagine" and the implications, "Love is the Answer" proposes to 
singularly solve hunger, greed, deception and war, presumably 
simultaneously.  David Tyson's keyboard arrangement on "Greatest Gift" 
is incredible.
	"That's the Way a Woman Feels" contains pretty vocals as all 
of Tina's songs do; the lyrics, however, give every female the social
position of nurturing martyr.  Similarly, every male of "Be a Man" is 
given the role of a sperm-producing machine.
	Further information on Tina Arena's talented debut is available 
at website http://www.sony.com
---
NEWS:	> CD Universe is an online music store which carries more
than 180,000 items covering mainstream releases and imports as well as small 
independent releases with a selection that's hard to match.  
In addition, reviews, biographies, and other assorted information
are available at the click of a button, making it more than your normal
online music store.  The site is located on the World Wide Web at 
http://www.cduniverse.com.
	> Loop Guru will broadcast its October 2 concert from Moe's
in Seattle at the Web site http://imusic
	> R.E.M. will be releasing _Road Movie_, a home video shot during
the final three nights of 1995's _Monster_ tour (in Atlanta, GA), on
October 8.
	> Virgin Records has launched its website, located at
http://www.virginrecords.com with an acoustic version of the
Smashing Pumpkins "Cherub Rock" and a live version of Iggy Pop's
"Raw Power" - located only at the site.
---
TOUR DATES
	Barenaked Ladies
Oct. 1 Champaign, IL Foellinger Auditorium
Oct. 2 Oxford, OH Miami University
Oct. 4 Indianapolis, IN Egyptian Room
Oct. 5 DeKalb, IL N. Illinois University
Oct. 6 Minneapolis, MN The Fitzgerald
Oct. 7 Madison, WI Barrymore Theatre
Oct. 9 St. Louis, MO The American Theatre
Oct. 11 Canton, OH The Palace Theatre
Oct. 12 Utica, NY Hamilton College
Oct. 14 Ypsilanti, MI Eastern Michigan University
Oct. 16 Athens, OH Ohio University

	Blithe
Oct. 1 Boston, MA Mama Kin
Oct. 2 New York, NY Brownie's
Oct. 3 Hoboken, NJ Maxwell's

	Block
Oct. 3 Piitsburgh, PA Rosebud Cafe
Oct. 4 Huntingdon, WV Calamity Cafe
Oct. 9 Chapel Hill, NC Lizard & Snake
Oct. 10 Savannah, GA Velvet Elvis
Oct. 13 Athens, GA Half Moon

	Tom Cochrane / Tara MacLean
Oct. 5 Powell River, BC Evergreen Theatre
Oct. 6 Victoria, BC MacPherson Theatre
Oct. 7 Courtney, BC Sid Williams Theatre
Oct. 12 Kelowna, BC Kelowna Community
Oct. 13 Banff, AB Banff Centre of the Arts
Oct. 15 Calgary, AB MacKewen Hall, U of C
Oct. 16 Edmonton, AB Myer Horowitz, U of A

	Cravin' Melon
Oct. 3 Augusta, GA Caffeine
Oct. 4 Columbia, SC Elbow Room
Oct. 5 WinstonSalem, NC Ziggy's
Oct. 6 Clemson, SC Derby Days
Oct. 10 Greenwood, SC Griffin's Pub
Oct. 11 Charleston, SC Music Farm
Oct. 12 Statesboro, GA Legends

	El Vez (The Mexican Elvis)
Oct. 4 Hoboken, NJ Maxwell's
Oct. 7 New York, NY Fez
Oct. 8 New York, NY Mercury Lounge

	Melissa Etheridge
Oct. 1 Green Bay, WI Brown County Arena
Oct. 2 Milwaukee, WI Bradley Center
Oct. 4 Omaha, NE Civic Center
Oct. 5 St. Louis, MO Kiel Center
Oct. 6 Moline, IL Mark of the Quad Cities
Oct. 8 Columbus, OH Convention Center
Oct. 9 Cincinnati, OH Riverfront Coliseum
Oct. 11 Cleveland, OH Gund Arena
Oct. 12 Chicago, IL Rosemont Horizon
Oct. 13 Toledo, OH Savage Hall
Oct. 15 Kalamazoo, MI Wings Stadium

	Mary Ann Farley
Oct. 12 New York, NY Luna Lounge

	Garmarna
Oct. 9 Minneapolis, MN Cedar Cultural Center
Oct. 10 Bloomington, IL Second Story
Oct. 11 Chicago, IL The Abbey
Oct. 12 Rockford, IL Memorial Hall
Oct. 14 Seattle, WA Backstage 
Oct. 16 San Francisco, CA Great American Music Hall

	Government Mule / Screamin' Cheetah Wheelies
Oct. 1 Valdosta, GA JP's
Oct. 2 Gainsville, FL Richenbacher's
Oct. 3 Ft. Myers, FL Pyramids
Oct. 4 Orlando, FL The Embassy
Oct. 5 Ybor City, FL Frankie's Patio

	London Suede
Oct. 1 Glasgow Barrowlands
Oct. 3 Sheffield The Octagon
Oct. 4 Leicester De Montford Hall
Oct. 5 Hanley Victoria Halls
Oct. 7 Leeds Town & Country Club
Oct. 8 Hull City Hall w/Geneva
Oct. 10-11 London Kilburn National w/Geneva
Oct. 13 Norwich Uea w/Geneva
Oct. 14 Birmingham Que Club w/Geneva

	Loop Guru
Oct. 3 Seattle, WA Moe's
Oct. 4 Vancouver, BC Richards
Oct. 5 Portland, OR La Luna
Oct. 9 Los Angeles, CA Magic Wednesdays

	Loud Family / Sugarplastic
Oct. 2 Phoenix, AZ Hollywood Lounge
Oct. 3 Los Angeles, CA Spaceland

	Marilyn Manson
Oct. 3 Kalamazoo, MI State Theatre
Oct. 4 Davenport, IA Coliseum Ballroom
Oct. 5 St. Louis, MO Mississippi Nights
Oct. 7 Columbia, MO Blue Note
Oct. 8 Lawrence, KS Liberty Hall
Oct. 9 Minneapolis, MN First Avenue
Oct. 11 Milwaukee, WI Madjeska Theatre
Oct. 12 Chicago, IL Riviera Theatre
Oct. 13 Madison, WI Barrymore Theatre
Oct. 15 Detroit, MI State Theatre
Oct. 16 Columbus, OH Newport Music Hall

	Dave Matthews
Oct. 3-4 New York, NY Madison Square Garden

	Bob Mould / Rasputina
Oct. 5 Toronto, ON Lee's Palace
Oct. 7 Detroit, MI St. Andrews
Oct. 8 Pittsburgh, PA Metropol
Oct. 10 Washington, DC 930 Club
Oct. 12 Philadelphia, PA Trocadero

	Orbit
Oct. 4 Minneapolis, MN 7th St.
Oct. 5 Chicago, IL Empty Bottle

	Ozzy Osbourne / Sepultura
Oct. 2 Saginaw, MI Wendler Arena
Oct. 4 Cincinnati, OH Riverfront Coliseum
Oct. 5 Nashville, TN Starwood Amphitheatre
Oct. 8 Tulsa, OK Convention Center
Oct. 10 Wichita, KS Kansas Coliseum
Oct. 12 Lampe, MO Black Oak Mt.
Oct. 13 Dallas, TX Starplex
Oct. 15 Lincoln, NE Pershing Auditorium

	Porno For Pyros
Oct. 1 New Haven, CT Toad's Place
Oct. 4 Port Chester, NY The Capitol
Oct. 5 New Brunswick, NJ Rutgers University
Oct. 6 Northampton, MA Pearl Street
Oct. 8 Providence, RI The Strand
Oct. 9 Rochester, NY Harro East Theatre
Oct. 11 Burlington, VT Burlington Memorial Aud.
Oct. 13 Toronto, ON Varsity Arena
Oct. 14 Buffalo, NY Ogden Street
Oct. 16 Detroit, MI Sanctum

	Professor & Maryann
Oct. 11 New York, NY Fez

	Republica / Gravity Kills
Oct. 1 Houston, TX Numbers
Oct. 2 Austin, TX Liberty Hall
Oct. 3 San Antonio, TX Sneakers
Oct. 4 Dallas, TX Trees
Oct. 5 Oklahoma City, OK Bricktown Brewery
Oct. 11 Richmond, VA Flood Zone
Oct. 12 Washington, DC 930 Club
Oct. 14 Baltimore, MD Hammerjacks
Oct. 15 Philadelphia, PA Trocadero

	Sandbox
Oct. 2 Asbury Park, NJ The Saint
Oct. 3 Woodstock, NY Tinker Street
Oct. 5 Detroit, MI Shelter

	Screaming Trees/54*40/Solution A.D.
Oct. 1 Regina, SK Lazy Owl
Oct. 2 Edmonton, AB Convention Ctr.
Oct. 3-4 Calgary, AB MacEwan Hall
Oct. 6 Vancouver, B.C. The Rage

	Richard Thompson
Oct. 1 Solana Beach, CA Belly Up Tavern
Oct. 4 Fort Worth, TX Caravan of Dreams
Oct. 5 Austin, TX Backyard
Oct. 6 Houston, TX Rockefeller's
Oct. 7 New Orleans, LA House of Blues
Oct. 9 Atlanta, GA Variety Playhouse
Oct. 11 Carrboro, NC Cat's Cradle
Oct. 13 Washington, DC GWU
Oct. 14 Baltimore, MD Senator Theatre
Oct. 15-16 New York, NY Irving Theatre
---
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