==== ISSUE 137 ====    CONSUMABLE     ======== [March 4, 1998]

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

 Address all comments, subscriptions, etc. to gaj@westnet.com
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                            .------------.
                            |  Contents  |
                            `------------'
REVIEW: 16 Horsepower, _Low Estate_ - Scott Byron
REVIEW: Black Grape, _Stupid, Stupid, Stupid_ - Simon West
REVIEW: Front 242, _Mut@ge.Mix@ge_ - Lee Graham Bridges
REVIEW: Far, _Water & Solutions_ - Jason Cahill
REVIEW: Various Artists, _We Are Not Devo_ - Al Muzer
REVIEW: David Arnold, _Shaken And Stirred - The James Bond 
   Project_ - Patrick Carmoisno
REVIEW: The Posies, _Success_ - Scott A. Miller
REVIEW: Talking to Animals, _Manhole_ - Arabella Clauson
REVIEW: China Drum, _Self Made Maniac_ - Bob Gajarsky
REVIEW: Muckafurgason, _Tossing A Friend_ - Robin Lapid
REVIEW: Richie Sambora, _Undiscovered Soul_ - Linda Scott
REVIEW: The Wrens, _Abbott_ - Al Muzer
REVIEW: Joe Canzano and the Rhythmic Revolution, _Armed & 
   Amplified_ - Daniel Aloi
REVIEW: Robert Miles,_23am_ - Thomas Brown
NEWS: Billboard Talent Net, Jeff Buckley, Sheryl Crow / Sting, 
   Trent Reznor / Josh Wink
TOUR DATES: Better Than Ezra, China Drum, Cravin' Melon, Dakota 
   Moon, Dave's True Story, Dream Theatre, Everclear / Jimmie's 
   Chicken Shack / Feeder, Fatboy Slim, G. Love & Special Sauce / 
   Alana Davis, Goldfinger / Sugar Ray, High Llamas, Irving Plaza,
   Chantal Kreviazuk, Megadeth, Ziggy Marley & Melody Makers, 
   Princess Superstar, Reel Big Fish / Pilfers / Mr. T Experience
   Shake Appeal, Third Eye Blind / Smash Mouth / Fat, Tim, Zeke
Back Issues of Consumable
---
	REVIEW: 16 Horsepower, _Low Estate_ (A&M)
		- Scott Byron
	From the opening notes of _Low Estate_, it's clear that 16 
Horsepower are something special.  There's a primal urgency to the 
band's music, a propulsive energy that drives the music forward, but 
there's also a rock-solid foundation.
	The first thing you notice is David Eugene Edwards' voice, an 
odd, compelling squawk that resonates deeply, but is used in a 
freewheeling, sometimes caterwauling way.  There are echoes of Tom 
Waits, Hank Williams and Nick Cave here, but it's no slavish 
imitation. Edwards is always the center of attention, but there's 
lots more to recommend 16 Horsepower.  The instrumentation is 
fascinating, a sorta proto-retro-psycho-honky-tonk that's performed 
mostly on vintage instruments, including bandoneon (an old 
accordion-like instrument that creates an eerie ambiance for many of 
the tracks), banjo, cello and fiddle, along with the more usual (today) 
bass, guitar and drums. The drumming, by Jan-Yves Tola, is the 
brilliant foundation that drives the music forward.  His jerky 
timing is a wonder, centering on odd little snare patterns that 
accent the rhythms perfectly.
	Once the music draws you in and has its impact, it's the words 
that hold your interest, and reveal themselves slowly with repeated 
listening.  Edwards' lyrics reflect great joy and despair, faith and 
passion, truth and soul.  They're delivered with a preacher's fire 
that draws the listener into his world; there's a palpable intensity 
to his imagery, drawn from personal pain and spirituality.
	This quintessential American Music has so far caught more ears 
in Europe (where they get lots of media attention and play the 
festival circuit) than in their homeland (though two band members are 
French, the band is Denver-based and the music definitely reflects 
Southern-American roots).  One can only hope that _Low Estate_, the 
group's second album, raises their profile at home.  I've experienced 
16 Horsepower live, and they're well worth seeing when they come your 
way later this year.  As this music doesn't fit easily into any of 
the radio/media categories that usually expose new music today, it 
may be hard for them to find their niche.  If you're the least bit 
intrigued, I encourage you to take a leap of faith and seek them out. 
---
	REVIEW: Black Grape, _Stupid, Stupid, Stupid_ (Radioactive)
		- Simon West
	Black Grape's 1995 debut, _It's Great When You're 
Straight...Yeah_, was the party album of the year, a raucous, hugely 
enjoyable mess of beats, brass, soul, rap, guitar, and the shouty 
genius of Shaun Ryder. They've opted for more of the same with 
_Stupid, Stupid, Stupid_, and the result is the party album of the 
year.
	The album kicks off with first single "Get Higher", an 
atypically laid-back slice of funk and dance, during which Ronald 
Reagan (or a reasonable facsimile thereof) reveals his and Nancy's 
heroin and marijuana addiction. Typically silly, good stuff, it is 
then upstaged completely as the tempo kicks into overdrive and it's 
time for silly sexual innuendo, a Ryder specialty.
	"I wanna get cheeky with ya/I wanna get squeaky inside ya", 
yells the man on "Squeaky", the first of four brilliant upbeat stomps 
in traditional Grape style.  "Marbles" is up next, currently 
getting much airplay with its insistent chorus of "Why you say yes 
when you mean no." Back to sex.  "Any chick with matching tits/My dad 
just had to shag" explains Shaun on "Dadi Was A Badi", a shoutalong 
anthem in the style of the first album's "Tramazi Parti", and probably 
the best track here. "Cheeba cheeba cheeba", he inexplicably shouts on 
the joyfully chaotic "Rubber Band."
	This is all you really need to know. The tempo never wavers 
much - the nearest Black Grape get to 'slow' is a cover of Frederick 
Knight's soul hit "I've Been Lonely For So Long", though, presented 
here as "Lonely", it's hardly a ballad.
	The future of Black Grape is currently in some doubt - 
cancelled gigs and alleged mass firings are among the recent stories. 
Ryder's volatility is well documented, but it would be a shame for 
Black Grape to pack it in when they're still putting out albums like 
this.
	Best listened to with a load of people and a shitload of beer, 
the ten songs here are the sound of a hell of a party in full swing. 
There's not a lot new here, simply more of the same chaotic genius 
that Ryder's been displaying since Happy Mondays. "Stupid, stupid, 
stupid"? Hardly. Entertaining as hell.
---
	REVIEW: Front 242, _Mut@ge.Mix@ge_ (PIAS/Never)
		- Lee Graham Bridges
	Keyboardist Patrick Codenys said in an interview following 
Front 242's Lollapalooza stint that during the 80's "it was very 
difficult [doing aggressive electronic music]; you know how music 
is.  If you take the cinema industry, it's way more open minded.  
Music is a very traditional branch."
	Like other fans, Front 242 was my official breakthrough in 
understanding the creative entity in music.  People are 
increasingly constrained to the image of music over the substance; 
the MTV-ization of music has created a strange gospel for most: a 
sickeningly sweet pop rhetoric that permeates society, attached by 
claws of desperate normalcy.  Strangely, those who reject this 
lifestyle often end up creating a similarly ridiculous clique of 
their own in an effort to share safety in numbers, rather than a 
mutual respect for aesthetic of composition and performance.  
Before I knew anything about industrial or electronic music or 
any sort of "scene" derived from either of these genres, I 
appreciated the individual contribution Front 242 was making to 
music.  Though I've owned it since its release eight years ago, 
_Tyranny For You_ remains one of my most listened to albums.
	Bands with such a respect for Front 242 (founded in 1981 
and most commonly pronounced "two-four-two") have remixed the 
band's material according to their own equally pioneering styles.  
Needless to say, every remix album (or perhaps any remix in itself) 
deserves a fair amount of scrutiny.  What fans expect in a remix 
album sold under the band's name may be quite different from what 
they receive - in this case, a tribute to the band by other 
artists.  _Mut@ge.Mix@ge_ succeeds where other such remix albums 
have failed.  A balance has been carefully constructed between 
the remixers' own voice and adherence to the atmosphere created 
by the original track.
	The album is a collection of remixes of Front 242 material 
by mostly dance oriented electronic artists: the Orb, Prodigy, 
Underworld, etc.  Four original tracks from Front 242 are also 
included, and half of the remixes by other bands were previously 
unreleased.  The original tracks referenced by these remixes come 
from 242's last three studio albums: _Tyranny For You_, 
_06:21:03:11 Up Evil_, and _05:22:09:12 Off_.
	The band's own contributions include the supersensory 
"Junkdrome" - a highlight of _05:22:09:12 Off_ - as well as other 
newly-titled reconstructions of their work which can be recognized 
by sound structures salvaged from past tracks and reworked.  For 
instance, "Dancesoundtrackmusic" merges familiar melodies and 
sounds from at least three tracks on _Tyranny For You_ ; an 
entirely new composition results.
	"Rhythm of Time," from the _Tyranny For You_ album, is 
remixed twice by The Orb.  The "victor the cleaner" mix is a bit 
fuller and less ambient/minimal than the "messengers of Neptune" 
mix, and includes more samples from the original track.  The 
vocals are treated with a metallic distortion, and the rhythm 
enhanced; in effect, the Orb has done an excellent job of updating 
this track by merging their infectious sound sensibilities with 
those of Front 242.
	However, Underworld's versions of "Happiness" diverge a 
bit more from the original.  The "dub" mix comes on slow and 
builds to a somewhat peaceful climax.  The "dance" mix sounds 
similar but faster.  Smooth bass tones wind tightly between big 
drums, piano sounds and other subtle elements.
	Prodigy contributes remixes of "Religion".  The "bass 
under siege" mix sounds as rehashed and impotent as the "trance 
u down" mix sounds vibrant and wickedly sweet.  In the latter, 
the sampled "burn you down!" vocal, distorted and scary, 
penetrates the mix as the beat erupts like cannons all around, 
and consonantal beeps and strings soar above the whole composition.
	Which proves the main point: the material on _Mut@ge.Mix@ge_ 
is not a rehash of Front 242 - -far from it.  It's a reconstruction 
of the band's best moments, but done so in a fitting manner by other 
bands.  The contributors have, in their original work as well as in 
these remixes, strived to pull the listener in and create for them 
the same kind of overwhelming of the mind that Front 242 did in 
their most shining moments--which, thankfully, are not at all 
isolated.  It seems that _Mut@ge.Mix@ge_ might, as a result, 
provide a truer definition of "remix" than what has been utilized 
in other cases.
	At press, another live album, _Front 242 Live_, will hit 
the shops this spring.  Front 242 also plans to tour the U.S. in 
July.  For more info visit http://www.front242.com
---
	REVIEW: Far, _Water & Solutions_ (Epic)
		- Jason Cahill
	When Far released their major label debut, _Tin Cans With 
Strings To You_, many dismissed it as sloppy, noise driven rock.  
This assessment wasn't too far off, as Tin Cans' kicking and 
screaming attitude grew tiresome by the album's end.  Now, two 
years later, the band have released _Water & Solutions_, an album 
rich in sound and surprising in its maturity.  Fans of Far's 
previous efforts will be impressed with the band's growth and those 
listening for the first time will simply be impressed.
	To begin with, _Water & Solutions_ is an emotionally jarring 
and surprisingly focused album.  Credit producer D. Sardy (Helmet) 
with having the good sense to pull back on the reins just enough so 
as not to smother Far's raw energy and honest approach.  The result 
is an album as intense as it is good.
	The music on _Water & Solutions_ is reminiscent of bands 
like Catherine; soft, intense vocals giving way to an outpouring of 
guitar based rage.  The album's first and finest track, "Bury White", 
begins with an almost anthemic, pulsing bass over gentle vocals, 
eventually culminating in a chorus of unbridled sonic release.  
"Mother Mary", perhaps the album's most radio friendly fare, is a 
powerful rocker, rich in melodies and an underlying intelligence.  
Other standouts include the tender, atmospheric "In 2 Again" and the 
blistering "The System".
	The album's brutally honest and introspective lyrics more 
than make up for what they lack in complexity.  Songwriter Jonah 
Matranga manages to give the listener twelve intimate, emotional 
selections, leaving almost nothing left to reveal by the album's 
end.  While _Water & Solutions_ does contain its share of typical 
"love gone wrong" songs, Matranga's heartfelt sincerity can't help 
but seep to the surface as it does so vividly in "In 2 Again" when 
he sings, "...I worry that everyone but me will be laughing at 
something I didn't see".
	In the end, _Water & Solutions_ marks a turning point of 
sorts for Far.  Proof that underneath their hardened exterior and 
hard core roots lies a maturity and insight absent until now.	
---
	REVIEW: Various Artists, _We Are Not Devo_ (Centipede)
		- Al Muzer
	Much better than the concept, budget, bands involved, group 
honored, label and, for that matter, the songs selected would lead you 
to expect, _We Are Not Devo_ defies seemingly astronomical odds and 
logs in not only as one of the finest tribute discs released in recent 
memory, but as a valid contender for year-end Top 10 album lists across 
the nation come December.
	A glowing example of how to absorb a unique, challenging and 
fairly well-known catalog of material and reinvent it as something 
completely your own, the (mostly) So-Cal bands that appear on _We Are 
Not Devo_  obviously love, respect and, more importantly, grew up 
listening to the songs that turn up on producer/label head Jim 
Goodwin's Devo-sanctioned (Mark Mothersbaugh even contributed artwork) 
disc.
	Despite the appearance of Possum Dixon's bizarre, 
Santana-on-acid shot at "Mongoloid," the Voodoo Glow Skulls' super-ska 
version of "Time Out For Fun," Lagwagon's energetic assault on 
"Freedom Of Choice," The Vandals' neurotic romp through "The Day My 
Baby Gave Me A Surprise" and outstanding contributions from Supernova, 
Face To Face, SNFU, One Hit Wonder, The Aquabats and Jughead's 
Revenge; the album is practically stolen by relative unknowns Ridel 
High (who check in with a truly urgent update of "Blockhead") and the 
Don Knotts Overdrive's disc-dominating take on "Snowball."
---
	REVIEW: David Arnold, _Shaken And Stirred - The James Bond 
		Project_ (Sire)
		- Patrick Carmoisno
	David Arnold's pedigree is without dispute. Having 
participated in a terrific collaboration with Bjork, "Play Dead", 
as well as composing and realizing a cache of the most stylish and 
sonic soundtracks (Stargate, Independence Day etc.), putting a James 
Bond tribute in Arnold's hands should be a natural thing. The results 
of _Shaken And Stirred_, though, are not so natural and none too 
special. The general sound of S&S is nice, just about quaint. A 
collection of classic Bond themes that pit Arnold's atmospheres with 
some of the more intriguing characters of pop culture (Iggy Pop, 
David McAlmont, Leftfield, LTJ Bukem, Chrissie Hynde, Martin Fry, 
Pulp, Propellerheads and more) is bound to at least achieve that. 
The lack of gravy, so to speak, is what disappoints.
	Amongst the few highlights of S&S is Aimee Mann's unique take 
on "Nobody Does It Better", which features a claustrophobic mix of 
compressed, dry vocals, harmonium and sitar. This gives the song a 
brutal sensuality that got covered up in the glamorous production 
that was Carly Simon's original version.  Iggy Pop's mournful croon 
on "We Have All The Time In The World" is also a great aural pleasure 
to be held. It would be too apt if it were to be his swan song effort. 
S&S also further reveals the talents of David McAlmont, whose 
"Diamonds Are Forever" is a fitting tribute to the exotic elegance 
of Shirley Bassey's original take. Arnolds work on McAlmont's upcoming 
release will probably prove to be a better fit for the diva-esque 
singer than his previous project with ex-Suede guitarist Bernard Butler.
	Other than that, the collection is really an offbeat take 
on James Bond music; nothing more, nothing less. If you already had 
imagined the sound of Pulp doing "All Time High" or Chrissie Hynde 
merely replacing the vocals of Paul McCartney on "Live And Let Die",
then there is no need to hear them outside of your head. Other 
none-too-special moments include LTJ Bukem's cover on "The James Bond 
Theme" adding up only to token drum n bass artist insertion. What's 
worse is he does not stretch the limitless capabilities of drum n bass 
with a track custom-built for such a stretch. Unfortunately, it 
incorporates some already heard, cozy d n b beats with the famous 
film noir-ish coda laid down in the breaks. Propellerheads show no 
indication here of why exactly they are being lauded as the future 
of electronica, with the symphonic melody of "On Her Majesty's Secret 
Service" simply sampled over some Chemical Brothers-friendly beats.
	Overall, _Shaken And Stirred_ is a rather harmless collection 
best suited for James Bond completists, completists of the artists 
involved and shopkeepers in search for happening in-store music. The 
greatest harm here is that it doesn't fully reveal the musical genius 
of David Arnold.
---
	REVIEW: The Posies, _Success_ (Pop Llama)
		- Scott A. Miller
	Why would The Posies turn triskaidekaphobic now? They've 
been through line-up changes, popular apathy in the face of 
incredible songwriting and performing, and label indifference. Of 
COURSE they'd release a CD called _Success_ (Pop Llama) on Friday 
(February) the 13th. What's the worse that could happen?
	Well for one this could be, as the press kit states, the 
last we see of The Posies on record. John Auer, one-half of the 
songwriting team that includes Ken Stringfellow, has already formed 
his own project, Lucky Me, and was on tour with it just before this 
album was scheduled to come out.  At a recent Posies radio 
appearance, Auer also said "the Posies as a way of life are over."
	For another, the completely keyboard song "Start a Life" 
might, against all the odds, become an incredibly huge hit - think 
Smashmouth's "Walking on the Sun" - and the band would become known 
as a one-hit wonder.  Stranger things have happened, but that would 
be the greatest indignity to a band whose power pop output rivals 
that of any band in the genre.
	_Success_ finds the band closing the circle of its career 
on the beloved Seattle label that gave Auer and Stringfellow their 
start, Pop Llama. Their first album, _Failure_, hinted at a 
songwriting team with what one critic called "a deep wellspring of 
talent." Geffen snapped the boys up and three excellent, 
commercially ignored albums followed. After 1996's _Amazing 
Disgrace_ failed to find the band a wider audience, Geffen backed 
away.
	The good news for both those new to the band and longtime 
fans is that _Success_ provides a decent overview of the band's 
unique abilities: fine melodies, great vocals and thought-provoking 
takes on (mostly failed) relationships.
	"Somehow Everything" provides an upbeat start to the 12-song 
set. It's followed by "You're the Beautiful One," arguably one of 
the prettiest songs the band has ever produced.
	With its feedback drenched chorus, "Placebo" sounds like 
an "Amazing Disgrace" song, while "Farewell Typewriter" and "Every 
Bitter Drop" would not have seemed out of place on the gentler 
"Dear 23."
	The biggest surprise of the album is the aforementioned 
keyboard lament "Start A Life." Fans of Tim Finn (former Split Enz 
and Crowded House) will love this song to death, from its quiet 
bossa nova percussion opening to the ghostly keyboard riff that 
floats throughout. The deceptively simple lyrics hint that danger 
lurks around every corner for those who try to take a different 
path.
	As a "Seattle band" who mostly eschewed grunge in favor of 
pop, The Posies know a little about that.
 	This worthwhile effort is probably readily available 
throughout the northwest United States. For those who can't find 
it at the record stores, call Pop Llama at 206-527-8816. Tell them 
you want PLCD-3232. (Backwards that catalog number is 2323 -- get 
it?)
---
	REVIEW: Talking to Animals, _Manhole_ (Velvel)
		- Arabella Clauson
	A long time in coming, Talking to Animals finally releases
the highly anticipated _Manhole_ after living for two years in limbo. 
The band was previously signed with Sony's Columbia label, which
ruthlessly dropped the developing artists on the eve of their
major-label debut last January.  Strangely enough, the Columbia website
still lists them as "coming soon." After shopping around for a few
months, band successfully gained distribution through small label
Velvel.
	It seems impossible to describe Boston's Talking to Animals 
without acknowledging a most prominent element, Juliana Nash, who 
possesses an absolutely stunning vocal range.  Nash pens all the songs 
and then takes them to the band for musical interpretation, which is 
usually refined through live performance.  The result of this continuous 
songwriting process is _Manhole_ , which really begs for the 
attention of words like dynamic and powerful.  This is a slightly 
grungy, but disturbingly refreshing disc evoking Sarah McLachlan's 
_Surfacing_ disc on "Mouth Tattoo," the likes of Mazzy Star on 
"Breathe" and "Kid is not Alright," and unquestionable Concrete Blonde 
influences on "Turning Into Beautiful," which is perhaps the most 
impressive track capturing the emotional uncertainty of a first date 
through a hook driven chorus. "Little by Little" illustrates street 
life in New York City through punchy, powerful vocals.
	Nash has a most incredible voice, commanding and essentially 
lifting the band out of a dreaded "alternative" rut.  She has the 
driving passion of Johnette Napolitano coupled with a vocal talent the 
music industry deperately needs, like that of the much underrated Atlanta 
native Michelle Malone. If Nash's melody-driven, energetic songs 
themselves fail to capture attention, her voice refuses to allow just 
the casual listen, adding a sultry depth to what might otherwise be a 
fairly typical music base.
---
	REVIEW: China Drum, _Self Made Maniac_ (Beggars Banquet)
		- Bob Gajarsky
	The trio of the brothers McQueen - Dave on bass and Bill on 
guitar - and singer/drummer Adam Lee have returned with their latest 
full length release, _Self Made Maniac_.
	Featuring instant in-your-face guitars, with periodic 
background harmonies (!), the pop-punk, Ned's meets Inspiral Carpets 
and Wonderstuff sound of China Drum proves the perfect medicine for 
those sick of Green Day wanna-be's.	
	The first single and pseudo-title track, "Fiction of Life", 
dispels any myths that punk can't have pop sensibilities.  And if you 
listen closely, you can almost hear sped-up R.E.M. guitar chords, on 
this one (bits resembling "Second Guessing") and "Down By The River", 
with its opening similar to "Ignoreland".
	"Guilty Deafness" veers perilously close to Metallica, but 
reverts just before crossing the line into never-metal land.  "Another 
Toy" showcases the band's darker side, with its 'When I'm broke and 
you are gone, you will find another toy' lyrics accompanied by 
appropriately brooding guitars.
	Unfortunately, some of the punk attitude (think early Husker 
Du) which marked their first release, _Goosefair_ (510/MCA), and 
European EPs has veered more towards the pop-rock side. This 
maturation process may lose some fans who favoured three chords and 
a cloud of dust, but those who stick around for the entire trip will 
be pleased with the final results.
---
	REVIEW: Muckafurgason, _Tossing A Friend_ (Deep Elm)
		- Robin Lapid
	Don't ask me what Muckafurgason means, because I don't know 
either.  It may be a fitting amalgam of any number of different words 
or just a jumble of sounds that somehow make sense to the ear.  If 
that's the case, it's a fitting monicker.  The band, comprised of 
"one Brit and two Yanks," start off their debut full-length album 
with Weezer-esque pop harmonies and glide effortlessly from there 
into any number of genres, be it country, hip-hop, or punk rock.
	The music hinges on a lo-fi pop mentality with enough 
playfulness in style and lyrics to keep everything from turning 
stale.  In terms of influences, Muckafurgason happily wear their 
hearts on their sleeves.  Each song is a tongue-in-cheek tribute 
to anything and everything, whether it's the fuzzy Clash guitars of 
"Punk Rock" or the human beat-box Beck anthem about "Lunch," or a 
nostalgic pop song about a beloved Atari game ("Plug it into the 
back of my TV/  Come with me back to 1983/ Reliving my happy 
childhood/ With my 2600").  There are even the appropriate indie-pop 
culture references -- I have to admire any band that aspires to be 
the next "Cute Band Alert in Sassy Magazine."
	Rather than make demi-god knock-offs of their favorite bands, 
_Tossing A Friend_ sticks to sparse, often folk-inflected pop that's 
wondrously devoid of pretension.  And that's the sincerest form of 
flattery.
---
	REVIEW: Richie Sambora, _Undiscovered Soul_ (Mercury)
		- Linda Scott
	Richie Sambora is best known as the long time lead guitarist 
for Bon Jovi and his marriage to actress Heather Locklear.  More than 
just a respected guitar player, Sambora has co-written Bon Jovi 
lyrics, produced the songs, and helped manage the band's extensive 
business dealings.  He and Jon Bon Jovi took the New Jersey bar band 
and piloted it to world wide success.  Under their guidance, the band 
has evolved from big hair glam, to metal, to hard rock, to rock/pop.
	With prosperity insured, Sambora is going the solo route, using 
the downtime following Bon Jovi's world stadium tour in support of 
_These Days_ (1995).  He's soloed before - see 1991s _Stranger In This 
Town_ - which netted decent reviews but not producing the big sales 
figures.  
	Given Sambora's lead guitar status in Bon Jovi, _Undiscovered 
Soul_ is a surprise.  Expectations of a Jeff Beck-style guitar solo 
album will be quickly put aside.  The showcase here is not Sambora on 
guitar but Sambora as song writer, vocalist and guitarist - which 
sounds much like the work of Bon Jovi, but sans Jon's lead vocals.  
Sambora has an above average voice in which there are echoes of Jon 
Bon Jovi, especially in the phrasing.  And with heavy hitter 
contributions ranging from Kenny Aronoff to Don Was, there's no 
lack of fellow musicians.
	Sambora is given guitar credit, of course, but there are no 
endless guitar solos or show stopping riffs.  The guitar playing on 
_Undiscovered Soul_ is a spare, clean, Clapton-like sound - which 
shouldn't come as a surprise, since Richie cites the guitar legend 
as one of his major influences.
	If you like Bon Jovi - or even Def Leppard or Extreme - 
chances are you'll like _Undiscovered Soul_.  
---
	REVIEW: The Wrens, _Abbott_
		- Al Muzer
	Pop music you almost have to be in the mood for as 
opposed to pop music that works every time you hear it, The 
Wrens are still, apparently, thoroughly pissed at Grass Records 
for the screwing-over the poorly-run label/brilliantly-conceived 
tax write-off gave 'em after they couldn't make anything happen 
with 1994's _Silver_ or the critically-acclaimed _Secaucus_ two 
years later.
	With the dust finally settled, Sett, Whelen G.E., Charles 
Mexico and Jerome MACdonnell return with six lyrically bitter 
pills of XTC-like punk-centric guitar-quirk that try their best 
to blend the sparseness and elliptical hooks of the Police with a 
noisy, hyperactive, Brian Wilson-on-crank desire to fill every 
single second with some sort'a ringing, chiming, clanging, 
attention - getting noise.
	The Wrens can be contacted at PO Box 81, Ocean View, NJ 08230.
---
	REVIEW: Joe Canzano and the Rhythmic Revolution, _Armed & 
		Amplified_ (Rocket Bomb)
		- Daniel Aloi
	If you miss the late Bon Scott and don't want to shell out 
big bucks for the AC/DC box set, you can hear the next best thing to 
the late Aussie screamer - and much cheaper.
	This New Jersey rock trio's namesake lead singer-guitarist has 
Scott's well-documented vocal histrionics down - even if his band 
doesn't hew too closely to the car-crushing simplicity and volume of 
Angus Young and company's arena rock.
	The rock'n'roll they play is straightforward, to be sure, but 
it goes beyond being plain fast'n'loud. Canzano adds touches like 
Zappaesque phrasing and a Lou Reed feeling to some of the lyrics and 
arrangements, reflecting two influences from the artier end of the 
'70s musical spectrum - making this more than the barroom rock'n'roll 
it first appears to be. The rhythm section of Eric Rachel (bass) and 
Rob Eastlund (drums) adds more than the beat to the effort, meshing 
with and complementing Canzano's riffs and rants like "Sort of 
Antisocial" and "Total Garbage."
	Some songs are from the New Jersey working-class school, 
especially "If I Were a Millionaire" (which continues its chorus: 
"You'd be in love right now.") I don't hear a lot of airplay potential 
here, but this album's production suggests the band is a high-energy 
live act, and the CD, like the band itself, wouldn't be unwelcome at 
a keg party.
	The 10-song CD is available for $8 postpaid from Rocket Bomb, 
an Internet record label. Go to http://www.rocketbomb.com for info, 
sound clips, and free subscriptions to the electronic newsletter The 
Red Glare Record. You can also write to the label at P.O. Box 70, 
South River NJ 08882 or call 800/995-0393.
---
	REVIEW: Robert Miles,_23am_ (Arista)
		- Thomas Brown
	23am is Robert Miles second release to date.  His first album, 
_Dreamland_ yielded the international hit titled "Children", which 
went to number 1 in most of Europe and won many awards along the way.  
	Robert, being both a DJ and a clubber, said he wrote the songs 
to calm people down, because of all the deaths caused by kids going 
clubbing in Italy.  Kids taking a deadly mix of drugs and liquor were 
being charged by the hard and fast techno music, which made their 
adrenalin skyrocket.  They would then climb into their cars and would 
drive at insane speeds.   They would, on top of that, ignore all the 
road signs and the result would be up to twenty and thirty deaths each 
week.  20,000 mothers joined together into something called the "Mamma 
Anti-Rock" protest movement.  They would march down streets in Europe 
to raise awareness about the kids of today.  
	Troubled by all the deaths of kids, Robert Miles took that 
fast, hard  techno and made it slow.  The result made Robert Miles an 
overnight sensation and everyone loved it.  The results were 
_Dreamland_ and _23am_, with Robert making use of all his composing, 
producing, piano, and DJ'ing experience into these songs.
	I found this album quite relaxing.  While sleeping and 
listening to this record images would pop into your mind, such as, 
high cliffs with water crashing on them, babies crying, long elegant 
beaches, green pastures, snow caped mountains, and many other things.  
These are the results of the soothing samples, lyrics, pianos, and 
other delights of this record.  The booklet is incredibly good also, 
with a black figure standing on a street.  The only part I hated about 
this record was the vocal input by Kathy Sledge.  If you are into 
this slow piano-techno genre, then _23am_ is for you.  
---
NEWS:	> Billboard Talent Net, sponsored by the music magazine of 
the same name, is designed to help unsigned artists get recognized 
by industry professionals around the globe.  Further information 
on this is available at their website, at http://www.billboardtalentnet.com
	> _Sketches (for my sweetheart, the drunk)_, a two-disk 
collection of new songs and performances by the late Jeff Buckley, 
compiled in conjunction with his family, will be released on May 19. 
	Disc 1 contains ten tracks from his studio sessions; disc 2 
contains his last compositions, personal four-track recordings of 
new songs and refinements of older songs.  
	> Sheryl Crow and Sting will be collaborating with Waylon 
Jennings on "She's Too Good For Me" from Jennings' forthcoming 
album, _Closing in on the Fire_. 
	> Trent Reznor will be contributing vocals to the debut 
album by Josh Wink, slated for release in June.
---
TOUR DATES:
	Better Than Ezra
Mar. 14 San Antonio, TX Six Flags

	China Drum
Mar. 13 Philadelphia, PA Pontiac Grill
Mar. 14 Boston, MA Bill's Bar
Mar. 15 Providence, RI The Call

	Cravin' Melon
Mar. 7 Elon College, NC Elon College
Mar. 10 Myrtle Beach, SC House Of Blues
Mar. 13 Annville, PA NACA East Regional Mainstage Showcase

	Dakota Moon
Mar. 10 Dallas, TX Dark Room
Mar. 11 Atlanta, GA Smith's Old Bar
Mar. 12 New York, NY Mercury Lounge

	Dave's True Story
Mar. 4 New York, NY Baby Jupiter
Mar. 7 New York, NY Postcrypt

	Dream Theatre
Mar. 4 Helsinki, Finland House of Culture
Mar. 6 Bremen, Germany Pier 2
Mar. 7 Hannover, Germany Music Hall
Mar. 8 Stuttgart, Germany Messe B
Mar. 10 Munich, Germany Colosseum
Mar. 11 Mannheim, Germany Capitol
Mar. 13 Dusseldorf, Germany Philipshalle
Mar. 14 Munster, Germany Halle Munsterland
Mar. 15 Berlin, Germany Huxley's

	Everclear / Jimmie's Chicken Shack / Feeder
Mar. 4 Lake Buena Vista, FL House Of Blues
Mar. 5 Charleston, SC Music Farm
Mar. 6 Charlotte, NC Tremont Music Hall
Mar. 7 Norfolk, VA The Boathouse
Mar. 9 Richmond, VA The Flood Zone
Mar. 10 Hartford, CT Webster Theater
Mar. 11 Portland, ME The Asylum
Mar. 12 Burlington, VT Club Toast
Mar. 13 Buffalo, NY The Show Place
Mar. 14 Columbus, OH Newport Music Hall

	Fatboy Slim
Mar. 6 Washington, DC The Ballroom 
Mar. 7 Atlanta, GA The Roxy 
Mar. 9 Miami, FL Salvation 
Mar. 10 Miami, FL Groove Jet 
Mar. 12 San Francisco, CA Warfield Theater 
Mar. 13 Los Angeles, CA Palladium 
Mar. 14 Seattle, WA Showbox 

	G. Love & Special Sauce / Alana Davis
Mar. 10 Omaha, NE Ranch Bowl 
Mar. 11 Milwaukee, WI Modjeska Theater
Mar. 13 Columbus, OH Newport Music Hall
Mar. 14 Cincinnati, OH Bogart's
Mar. 15 Cleveland, OH Odeon

	Goldfinger / Sugar Ray
Mar. 6 San Francisco, CA Warfield
Mar. 7 Los Angeles, CA Palladium

	High Llamas
Mar. 14 Washington, DC 9:30 Club
Mar. 15 Carrboro, NC Cat's Cradle

	Irving Plaza (NYC concert hall - www.irvingplaza.com)
Mar. 14 Insane Clown Posse

	Chantal Kreviazuk
Mar. 6 Boston, MA Paradise
Mar. 7 Providence, RI Lupo's
Mar. 9 Virginia Beach, VA Pavillion 
Mar. 11 Vienna, VA The Barns 
Mar. 12 New York, NY Shine

	Megadeth
Mar. 5 Vancouver, BC Rage
Mar. 6 Seattle, WA Paramount Theater
Mar. 7 Portland, OR Roseland Theater
Mar. 8 Boise, ID Idaho Center
Mar. 11 St. Paul, MN Wilkens Auditorium
Mar. 13 Chicago, IL Aragon Ballroom
Mar. 14 Dayton, OH Hara Arena
Mar. 15 Toledo, OH Sports Arena

	Ziggy Marley & Melody Makers
Mar. 4 Hanover, NH Leede Arena - Dartmouth College
Mar. 5 Millersville, PA Pucillo Gym - Millersville Univ.
Mar. 6 Providence, RI Lupo's
Mar. 7 Westbury, NY Westbury Music Fair
Mar. 8 Killington, VT The Picketbarrel
Mar. 10 Washington, DC 9:30 Club
Mar. 11 Baltimore, MD Bohager's
Mar. 12 Winston-Salem, NC Millenium
Mar. 13 Boone, NC Appalachian State Univ.
Mar. 14 Myrtle Beach, FL House of Blues

	Princess Superstar
Mar. 5 New York, NY Knitting Factory
Mar. 6 Philadelphia, PA Upstairs At Nicks
Mar. 11 Washington, DC Black Cat
Mar. 13 Chapel Hill, NC Cave
Mar. 14 Atlanta, GA Criminal Records
Mar. 15 Atlanta, GA Dottie's

	Reel Big Fish / Pilfers / Mr. T Experience
Mar. 5 Hartford, CT Webster Theatre
Mar. 6 Philadelphia, PA Electric Factory
Mar. 7 Worcester, MA Palladium
Mar. 8 Pittsburgh, PA Metropol
Mar. 9 Columbus, OH Newport Music Hall
Mar. 10 Pontiac, MI Clutch Cargo's
Mar. 11 Cincinati, OH Bogart's
Mar. 12 St. Louis, MO Mississippi Nights
Mar. 13 Chicago, IL Riviera
Mar. 14 Milwaukee, WI Rave
Mar. 15 Sioux Falls, SD Pomp Room

	Shake Appeal
Mar. 5 Chapel Hills, NC Local 506
Mar. 9 Athens, GA High Hat Club
Mar. 11 Orlando, FL Go Lounge
Mar. 13 Pensacola, FL Handle Bar

	Third Eye Blind / Smash Mouth / Fat
Mar. 4 Boston, MA Orpheum Theatre
Mar. 5 Burlington, VT Memorial Auditorium
Mar. 6 Hamilton, NY Colgate U./Cotterell Court Gym
Mar. 7 San Francisco, CA California Music Awards
Mar. 10 Toronto, ON The Docks
Mar. 11 Cleveland, OH Agora Theater
Mar. 12 Columbus, OH Veterans Memorial Aud.
Mar. 13 Detroit, MI State Theater
Mar. 14 Ada, OH Ohio N. Univ. - King Horn Ctr

	Tim
Mar. 12 Philadelphia, PA Khyber
Mar. 13 New Brunswick, NJ Melody
Mar. 14 West Chester, PA Rex's
Mar. 15 Doylestown, PA Siren Records

	Zeke
Mar. 12 Eugene, OR John Henry's
Mar. 13 San Francisco, CA Paradise Lounge
Mar. 14 Hollywood, CA Dragonfly
---
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