==== ISSUE 78 ====         CONSUMABLE         ======== [June 5, 1996]

  Editor:             Bob Gajarsky
		        Internet: gajarsky@email.njin.net
  Sr. Correspondents: Jeremy Ashcroft, Martin Bate, 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,
                      Joe D'Andrea, Joe D'Angelo, Paul Grzelak, Eric Hsu, 
                      Tim Hulsizer, Stephen Jackson, Daniel Kane, Mario Lia, 
                      Al Muzer, P. Nina Ramos, Linda Scott, Ali Sinclair, 
                      Jon Steltenpohl
  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  |
                            `------------'
REVIEW: Various Artists, _Cowabunga! The Surf Box_ - Bob Gajarsky
REVIEW: Prong, _Rude Awakening_ - Sean Eric McGill
REVIEW: Buzzcocks, _All Set_ - Ali Sinclair
REVIEW: The Gravel Pit, _The Gravel Pit Manifesto_ - Reto Koradi
REVIEW: Splitsville U.S.A., _Splitsville U.S.A._ - Al Muzer
REVIEW: High Llamas, _Gideon Park_ / _Hawaii_ - Tim Kennedy
REVIEW: Steeleye Span, _Time_ - Paul Grzelak
REVIEW: J Mascis, _Martin + Me_ - Mario J. Lia
REVIEW: McRackins, _Short and Sweet (EP)_ - Reto Koradi
CONCERT REVIEW: Victoria - Tim Kennedy
REVIEW: Jason Becker, _Perspective_ - Linda Scott
REVIEW: D:Ream, _World_ - Daniel Kane
REVIEW: Umajets, _Demolotion_ - Joe Silva
NEWS: Ben Folds Five, Bloodhound Gang, Cure, Metallica, Porno For Pyros,
   Sonicnet/Tibetan Freedom Concert
TOUR DATES: Baboon / Rubberbullet, Big Stupid Guitars, Boyracer, Bryndle
   Charm Farm, Cocteau Twins, Compulsion / Evil Superstars, 
   Cordelia's Dad, Jayne County, Grover, Love & Rockets, Nields
   No Doubt, Porno For Pyros, Rosenbergs, Shallow, Ten O'Clock Scholar,
   22 Bridge, Varnaline, Velour, White Courtesy Telephone
Back Issues of Consumable
---
	REVIEW: Various Artists, _Cowabunga! The Surf Box_ (Rhino)
		- Bob Gajarsky
	It's been bubbling under like a shark in the water - and with 
the huge success of Pulp Fiction bringing the music ashore, what better
time than to rediscover surf music on Rhino Records 4 cd box set,
_Cowabunga! The Surf Box_. 
	Passing fans of the craze will note the Beach Boys songs 
("Surfin'", the Chuck Berry inspired "Surfin' U.S.A.", and "Surfer Girl")
and maybe other artists such as Jan & Dean, the Trashmen and the Ventures.
But the surf craze which captured California in the late 1950's and early
1960s was much more than these artists, who captured national attention 
without necessarily remaining true to the sound they supposedly represented.
	Surf music was played primarily by instrumental bands at local halls
with packs of surfers supporting the bands, and the bands supporting
the surfers.  It was truly a close-knit community, one which the land-locked
part of the nation couldn't quite grasp.
	Dick Dale, the "king of surf music", is amply represented on the
box - and with good reason.  He's not only the best from the surf music
crowd, but after the huge success of "Miserlou" from _Pulp Fiction_, he's
started his successful comeback.
	While the first three discs of this compilation look at the years
from 1960-1967, the fourth CD is a collection of what happened AFTER
the pounder crashed, and the craze wiped out; from 1977 through 1995, 
22 artists are represented, including Man or Astro-Man?  
	There's plenty here for the casual fan, as well as for the surf 
afficionado.  A 64 page booklet not only covers the background of each of 
the 82 songs represented here, but also includes pictures and commentaries 
by some of the luminaries of the era, such as Dale.  Many of the tracks are 
appearing on cd for the first time, which will only add to the excitement of 
the real fans, while turning a new generation on to the *real* surf sounds 
of the 60's.
	Rhino has gone above and beyond the call of duty in producing this
box set, both in selection of tracks and the liner notes.  So sit back
and check out this bitchin' collection of tunes.  Surf's up!
---
	REVIEW: Prong, _Rude Awakening_ (Epic)
		- Sean Eric McGill
	For the past ten years, Prong has sat on the edge of achieving 
great success in the hard rock genre. Their lineup has changed, their 
label has changed, and their sound has metamorphosed from straightforward
late-eighties metal to a more industrial flavored sound. Now, with their 
latest release, _Rude Awakening_, Prong can finally see the payoff of 
those ten years.
	Of course, these days to say a band has been around for ten years
is saying something in itself, especially in the rock genre. Ten years 
ago, we were dead in the middle of "glam rock", with groups like Poison
and Motley Crue ruling rock radio and rock album sales - while bands 
like Prong, Metallica, Anthrax, and others screamed noisily from the 
sidelines. But in the past few years, those former sideline players have
seemingly taken over the field, while those who once ruled the roost are 
on a perpetual tour of some third world country where they can still sell
an album or two. 
	_Rude Awakening_ is hard to pin down in terms of sound. Produced by
guitarist/vocalist Tommy Victor and Terry Date (White Zombie, Pantera), the
album does have a definite metal edge, but like Date's work with White
Zombie, there are little additions here and there that separate Rude
Awakening from the usual mix of drums, guitars and bass. Add to that the
collaboration of Charlie Clauser (Nine Inch Nails), and the sound becomes
what could best be called "techcore" at points.
	The multimedia track that accompanies _Rude Awakening_ does have
a couple of interesting features - for instance, an audio remix of the 
leadoff track, "Controller" - but some less than interesting points, like 
a "game" (for lack of a better word), where you have to figure out the 
URL for the band's webpage. Overall, I'm glad the disc won't cost any 
extra for the track - but it certainly doesn't bring down the value of 
the overall disc, either.
	The bottom line is this - when you listen to _Rude Awakening_, 
you'll think about Nine Inch Nails and White Zombie, and about ten other 
bands. But the key is that Prong has been around as long if not longer 
than newer bands who are using the Prong influence as a basis for their
music. These guys aren't an older band trying to cash in on the new 
sound. This "new sound" has been a part of their makeup for some time 
now - and people would do good to remember that.
---
	REVIEW: Buzzcocks, _All Set_ (IRS)
		- Ali Sinclair
	_All Set_ is the first studio release from the Buzzcocks since 1993, 
and they sound just as lively as they did back in the mid-seventies. 
The popular side of punk... less Vicious than Sid, more friendly
than the Stranglers - music for pogoing!  
	You'd think that 20-years-later, they'd have slowed down a bit,
"mellowed out", calmed down... but no, they still sound like
the Beatles overdosed on caffeine - or more...
	The lineup includes two of the Buzzcock's founding members,
vocalist/guitarist Pete Shelley and guitarist Steve Diggle, who together
with bassist Tony Barber and drummer Philip Barker produce a sound
which fits well into today's pop market.  The original Buzzcocks
inspired many younger bands--and their songs have been covered by
groups such as Heaven 17, and, of course, the Fine Young Cannibals'
excellent rendition of "Ever Fallen In Love".
	This recording is Fun with a capital "F".  Bouncy.  And there
are some melodic gems among the more manic cuts: "Back With You" and
"Hold Me Close" standing out as Buzzcocks classics.  "Totally From
The Heart" has Pete at his frantic best and "Without You" is nothing
like the Harry Nilsson classic of the same name.
	Look out for the Buzzcocks touring the UK and the USA later this 
year.  And take your pogoing shoes with you!
---
	REVIEW: The Gravel Pit, _The Gravel Pit Manifesto_ (Q Division)
		- Reto Koradi
	When writing reviews, you are always tempted to analyze the music,
and find a drawer that fits. So could we nail The Gravel Pit into the
grunge corner? Lump them into the ongoing punk craze? Not really, unless
you realize that both of these are just variations of something much more
universal that we often tend to forget about while watching all these
trends. The thing is called rock music, and that's the only fair
description of what The Gravel Pit perform.
	Despite the common theme, the tracks on _The Gravel Pit Manifesto_
come in different flavors. There are rough songs in the good old garage
rock tradition, interspersed with slower, balladesque pieces. The music is
quite simple and comes along completely naturally, and yet there is enough
substance to capture your attention and leave a lasting impression.
	If you only are after original and innovative music, this is not
for you. But for everybody who likes some good, timeless rock music now and
then, _The Gravel Pit Manifesto_ is heartily recommended. Chances are that
you will still listen to it after most of today's hypes are long forgotten.
---
	REVIEW: Splitsville U.S.A., _Splitsville U.S.A._ (Big Deal)
		- Al Muzer
	Led by former Greenberry Woods guiding lights and power pop lovin' 
twin brothers Matt and Brandt Huseman (who've reinvented themselves here 
as their cartoon-like alter-egos Messiah Kari and Johnny Immaculate);
Splitsville (which includes bassist/vocalist Captain Dusty) mates 
GW's joyously Beatle-esque reverence for tight, three-part harmonies 
and captivating hooks with the hyperactive bounciness of The Banana 
Splits and the raw, exuberant energy of Redd Kross. Featuring at least
seven potential hit singles (especially "Mr. Spaceman [Opus #3]" and 
"Shrinky Dink"), the many pop culture references lovingly cited by 
this Baltimore-based three-piece include: "Wipeout," Archie comics,
"Atari 2600," the green Power Ranger, a "Gremlin With Mags," "Brenda 
Starr," F-Troop and Larry Storch. 
---
	REVIEW: High Llamas, _Gideon Park_ (Alpaca Park - U.K.)
		- Tim Kennedy
	This CD has been on release in the UK for nearly a year and
has been followed up by a successor,  but despite critical
acclaim from certain quarters it has remained obscured in 
the public domain.
	The overwhelming impression gained from listening to this
music is just what a labour of love this was.  So close is
this to the spirit of Brian Wilson's output during the _Smile_
sessions that it makes a Beach Boys fanatic laugh out loud 
upon hearing the knowing references to unreleased or rare
_Smile_ album (1966) 'feels'. Even the name of the group is
a reference to the animals on the cover of _Pet Sounds_,  as 
is the record label - 'Alpaca Park'.
	The same blend of varied,  keyboard-led instrumentation and 
gentle harmonies is here, as is the use of layering and of 
gently recursing patterns building onwards.  Many of these 
songs are instrumentals. Frequently a song persists in a 
lunatic fashion, recalling the unhinged source of inspiration 
behind the work.
	Sean O'Hagan has penned notes from the golden age of creation when
virtually all of what we know of as modern music was climbing 
out of its egg, aided by the mother-henlike pecking and 
fussing of our Brian.  The other element running through this
music is a love of the whimsical McCartney muse of the same time.
Indeed the vocals are closer to homely Paul's than otherworldly
Brian.
	Steely Dan is a name one might also mention in passing,  though 
not to such a degree as that of the other two influences. Maybe 
that lack of innocence is perceptible - in contrast to Wilson the 
great master,  who almost unconsciously conceived and executed his
masterworks, and seems as perpexed about them afterwards as anyone 
else - if not more so.
	Many have taken direct inspiration from the 1965-66 era Beach 
Boys,  but few can have paid tribute in such moving terms as 
these.  A thing of beauty.
---
	REVIEW: High Llamas, _Hawaii_ (Alpaca Park- U.K.)
		- Tim Kennedy
	76 minutes and 26 seconds after this astonishing roller
coaster ride over ethereality  and downhome Beach
Boys happiness has begun,  you are struck as much by its
thematic musical nature as anything.  
	There has probably never been a concept album of easy
listening but this could be the nearest thing to it.  That is,
if easy listening is the right term for this gentle melange of
quirky pop.
	The High Llamas are of course the Beach Boys-obsessed 
brainchild of former Microdisney leading light Sean O'Hagan
and their _Gideon Gaye_ was many critics choice of last year
for its loving references to the genius of Brian Wilson circa 
'66 and to a lesser extent McCartney's whimsy.
	After the 1966-7 _Smile_ sessions,  Brian and the boys flew to 
Hawaii to recuperate. Later in the eighties Brian went to Hawaii 
after years of abuse to be healed by his then psychiatrist Eugene 
Landy.  What followed was a virtual rebirth, with Wilson losing 
mounds of flab and coming out of his shell to startling effect.  
So the title is a two-edged reference.
	Of course the aftermath of Wilson's 60s burst of creativity
was his retreat to bed and subsequent drift to Bacharach-esque 
escapism.  O'Hagan has instead dished up more strings,  bells,  
vibes,  brass,  and the ever-present piano refrain,  and of course 
those weird links with synths,  detuned radios and the like.
Inevitably a familiar deep, deep bass underpins it all.  To detail 
the tracks would be somewhat pointless - the melodies merge and
flow -  you are not experiencing a conventional rock album with
a standard twelve tracks.  But while this is easy relaxing music it
constantly inspires and intrigues. And some of the harmonising 
is magnificent.
	There are many who argue that this sort of music is unhealthy in 
our times - that bands should be looking forward and not to the 
past.  However what you tend to find is that people who say this 
kind of thing are just venting their prejudices - check their favourite
band for trademark riffs lifted from seventies rock heroes.  Or 
the samples pinched wholesale from George Clinton or James Brown.  
The brand of music purveyed by Mr O'Hagan and chums is as eternal as
romance.
---
	REVIEW: Steeleye Span, _Time_ (Shanachie)
		- Paul Grzelak
	Steeleye Span's latest release, _Time_, is the newest offering
from the folk / rock genre.  This album has been long awaited by fans
of Steeleye Span.  While it has been a long delay, the final result
is very much worth it.
	Steeleye Span is now composed of Maddy Prior, Gay Woods, Bob
Johnson, Peter Knight, Tim Harries and Liam Genockey.  Gay Woods, who
had performed on earlier Steeleye works, is back, and the vocal
combination of her voice and the voice of Maddy Prior is both beautiful
and haunting.
	The studio quality of this album is phenomenal.  The stereo
separation and vocal / instrumental effects make this an ideal album
for headphone listening.  Music swells around you as Steeleye Span
continues their rendition of folk music with modern instruments.
Along with some of the more classicly based folk tunes are some new
creations that transcend the traditional.
	The album begins with "The Prickly Bush", which is based on a story
about the imminent hanging of a maiden whose honor has been tarnished.
This reviewer cannot help but think of "Gallows Pole" by Led Zeppelin
when listening to this track.  The maiden implores her family for
gold (the symbol of integrity / virginity), but cannot get it from
them.
	"The Old Maid In The Garrett" is destined to become yet
another Steeleye Span classic.  This tale tells of a not-so-young
woman worrying about not getting married and being doomed to becoming
an old maid.  This is a vibrant and punchy tune that has a rolling
feel.  "Harvest Of The Moon" is a more reflective style ballad that
has a formal feel and a slower tempo than most of the album.
	"Underneath Her Apron" is another good story of sex, children,
and trying to hide both.  This is one of the more traditionally Steeleye
songs on the album.  Those familiar with Steeleye Span's other work
will see that this fits very well into much of their other songs.
	And then there is "The Cutty Wren".  It is a tradition in
England at Christmas to hunt down a wren.  Similar in concept and in
story to the a capella work "The King", "The Cutty Wren" adds an
entirely new dimension.  The story is simple, as are the lyrics, but
the performance is astounding!  This is a song for headphones: the
instrument placement, separation and vocal positioning engulfs the
listener in a wave of sound.  Headphones are a must here.
	"Go From My Window" is a traditional ballad style arrangement.
The combined voices of Gay Woods and Maddy Prior give this song
texture.  From here, we go to "The Elf Knight".  This is another
song for headphones.  The traditional lyric is set to an inspired
instrumental, surging with emotion.  The battle of good against evil
(in this case, the Lady Isabel vs. the Elf Knight) is well portrayed
in the emotion of the music.  Sex, violence, bewitchment and murder
are the themes here.  All with the depth of sound that was also seen
in "The Cutty Wren".
	"The Water Is Wide" is a love ballad.  The typical story of
life being an ocean to be sailed by a boat made for two.  Again,
terrific vocals in a very nice instrumental background.  This track,
along with "Go From My Window" remind this reviewer of the solo work
of Annie Haslam.
	From there we go to "You Will Burn".  Nice contrast.  Steeleye
Span wanders from a sweet love song into the middle of a witch
burning.  Nice.  Imagine a happy driving tune, such as "Padstow"
from _Tempted And Tried_, combined with a rather violent lyric that
takes Rush's "Witch Hunt" to its deadly conclusion.
	"Corbies" is a "Two Corbies" / "Twa Corbies" revisit from
previous traditional songs.  The old english lyrics are a nice touch
to the swelling bass and overwhelming music.  Another headphone track.
The image of two crows, feeding on a dead knight whose hawk / hound /
lady have deserted is such a pleasant image of the mutability of
things.  Those familiar with the earlier version of "Two Corbies"
are in for a surprise with this one.
	Finally, "The Song Will Remain" is a sentimental closing
song, similar in lyric and emotional content as Fairport Convention's
"Meet On The Ledge".  An excellent closing song, filled with emotion.
	Steeleye Span have crafted a work of art in _Time_.  This
album has much of the traditional feel of earlier Steeleye Span work,
but with a polish and power that was only hinted at in _Tempted And
Tried_.  The instrumentation and vocals of _Time_ leave the listener
awestruck at times.  The clarity and power of this album make it
worth the wait for Steeleye Span fans everywhere.
---
	REVIEW: J Mascis, _Martin + Me_ (Reprise)
		- Mario J. Lia
	One of the last times we saw J was in a video for his band Dinosaur
Jr. It was for the song "I Don't Think So". At that time, J was driving
a pickup truck, driving around two big fuzzy monsters. If you are
expecting more fuzzy monsters from _Martin + Me_, you won't get it, as
there are none.  Also, if you have any other preconceived
notions about J, his music, and live recordings; prepare to be shocked.
	J breaks most live album traditions.  On live albums there is usually
a lot of witty banter between the singer and the screaming fans. That
has been reduced. There are very few comments made from J, and the
cheering of the fans are just for a second or two at the end of some
songs. Most of the songs go, bing-bang-boom right after one another.
	Also if you're an avid Dinosaur Jr. fan, you're in for a breath of
fresh air. On the studio albums there are usually several distorted
guitars on top of a thumping drum, and booming bass. First off, it's
just J on a Martin acoustic and that's it.  No bass, or drums. The only
other musician on the album is Kurt Fedora, who plays guitar with
Mascis on the song "Drawerings"(he also plays the right speaker solo on
the original version).
	The only live cliche is cover songs. Out of the 14 tracks on 
_Martin + Me_, four of them are covers. These songs further promote the 
eclectic quality of the album. The songs J covers are: "The Boy With The 
Thorn In His Side" by The Smiths, "On The Run" by The Wipers' Greg Sage,
"Anticipation" by Carly Simon, and "Every Mother's Son" by Lynyrd
Skynyrd.
	Three of the songs are from Dinosaur Jr's _Green Mind_ album. Most
notable of the three, is the song "Thumb". The original version of
"Thumb" that appears on _Green Mind_ has a flute in the intro as well
as the verses. Mr. Mascis takes care of that with some nice guitar
arpeggios.
	_Where You Been_ was the album that first brought Dinosaur Jr. into
the media spotlight, with the videos for "Out There" and "Start
Choppin'". The four songs that are done acoustically are some of the
best on both albums. The aforementioned "Drawerings" is spectacular.
"Drawerings" was a great song and it gets even better acoustically
live. Kurt Fedora gives another scorching guitar solo on this version.
As if that wasn't enough there are also acoustic versions of songs
that were only available on imports and various EPs.
	All in all this is the one of the best live album I've heard since
_Frampton Comes Alive!_(and certainly better then _Frampton Comes Alive
2!_). And it totally beats the pants off any MTV unplugged show.
For those of you who liked Dinosaur Jr. before, you will love the
change of pace and lyrical clarity. And for those of you who where
skeptical before, here's your chance to get hooked!
---
	REVIEW: McRackins, _Short and Sweet (EP)_ (Shredder)
		- Reto Koradi
	It's only been a few weeks since we reviewed _In On The Yolk!_, the
McRackins 4th album, and now the punk band dressed up as chickens and eggs
is back already, meeting their promise to release 100 songs in 15 months.
And while 8 songs would fill an epic albums with many bands, it's just good
enough for a 14 minute EP for the McRackins.
	Not surprisingly, not much has changed since the last time. The
music is simple, fast, energetic, catchy, and fun. They out themselves as
Flintstone fans in "Caveman" ("the dinosaurs are sleeping, please don't
wake up old T-rex, Betty's gettin' horny, wachin' Wilma havin' sex."), and
talk about their "Colorado Van Crash", where a blown tire almost ended
their lives last year.
	You can certainly find more carefully crafted records, but this is
punk rock how it's meant to be. It doesn't even matter that they borrow a
hook from the Beatles' "Ob-la-di, Ob-la-da" for "Mickey and Mallory".
---
	CONCERT REVIEW: Victoria, The Roadhouse,  Manchester, UK May 30
		- Tim Kennedy
	The Roadhouse is a converted cellar just off Piccadilly
Gardens in Manchester,  the sort of place that most bands 
have to toil around in their early days.  A dying species in
fact,  at least in the UK where high rents in the big city 
are squeezing out the breeding grounds for what are our
probably the country's best export these days- young rock
'n' roll bands.
	Victoria have the unenviable position of bottom of the
bill in this dive.  They are also forced to play before 
most of the audience have finished their halves at the 
Students Union bar- let alone arrived at the venue.
	Faced with this calamity,  Victoria carry on unfazed.
They are a high octane mix of drums 'n' bass aggression,
menacing keyboards,  quixotic psychedelic lead guitar
and a bit of northern sophistication in the shape of 
vocalist Vicky.
	The first thing that occurs to one listening to this band
is that this could be the dark spiky pop that emanated 
from the UK Ska scene of 78-79.  The tunes have that catchy
quality - and this is certainly no conventional guitar
garage combo.  But the clinically efficient rythm section,  
and the swirling keyboards have the unmistakeable air of
The Stranglers around the time of their second album. (I
must declare an interest at this point,  having been a 
fan of said band for 18 years.) The bassist is particularly
good,  and underpins the sound as did JJ Burnel in the 
Stranglers and Peter Hook in Joy Division, then New Order.
The keyboards complement the rythm section well and the 
drums are spot on.
	A fascinating mixture indeed. Vicky is no Hugh Cornwell
and she has none of the brooding menace that is being
generated by the rest of the band. She appears to be
remarkably well-adjusted considering she's a member of a rock
and roll band.  She has no need of a gimmicky stage neurosis 
of course, since she is a talented singer (which sets her aside 
from most rock vocalists).  Although the sound quality is 
no great shakes this much is clear.  Blonde and pretty,  
but somehow fairly down-to-earth, she comes across low-key
and certainly not overly dramatic,  she makes an odd
contrast to the big fierce-looking bassist who is
the centre of gravity in this band.  Gary the guitarist
strikes Townshendish poses on stage-right.  Victoria 
haven't worked at an overall 'look',  as do most.  
However in these post-style times,  any 'look' is a
bit of a joke anyway.
	The final number is at times reminiscent of "Lucifer
Sam" of Barrett-era Floyd fame and Gary shows
off some mighty fine frazzled guitar a la the great Syd,
finally winning the battle with the sound system in the
process.
	Comparison with other female-fronted bands doesn't
hold up.  Vicky is the singer but she doesn't reduce
the rest to anonymous sidemen - the individual parts
add up to the sum of the entertainment on offer in
this case.  Victoria are a hybrid - but hybrids are 
always the most interesting bands to follow.
---
	REVIEW: Jason Becker, _Perspective_ (Jason Becker Music)
		- Linda Scott
	Guitar wizard Jason Becker got his first public notice in the 
late 1980's when he and Marty Friedman formed Cacophony, a speed 
metal band which mixed a synergy of rock, classical and blues training.   
By 1990, Becker learned that he would fill Steve Vai's old slot of lead 
guitarist with David Lee Roth.  His selection brought only brief 
celebration, because a week later, Jason Becker was diagnosed with 
Amyotrophic Lateral Sclerosis (A.L.S. or Lou Gehrig's Disease) an 
incurable, inexorable disease which attacks the nervous system.
	Completing Roth's _A Little Ain't Enough_ with a final burst of 
the stunning guitar work that rivaled Vai's, Becker was too ill to 
tour and moved in with his family.  His deteriorating health did not 
affect his mind or his desire to create music.  He conceived a project 
that would fill the next five years with frustration as well as 
satisfaction - the making of _Perspective_.  
	Using a Midi-based studio and keyboard, Macintosh sequencing 
software (Vision), and an analog recording system, Becker adapted to 
making music by computer, to translating the music he heard in his 
head into keystrokes.  As the project moved forward, this young man 
of 26 found himself in a motorized wheelchair and unable to speak 
intelligibly - yet he pressed on with _Perspective_ to its completion.
	With this heartbreaking background, it would be tough to come 
out against _Perspective_ - but sympathy isn't necessary.  The album 
contains eight tracks of original material and a cover of Dylan's 
"Meet Me In The Morning".  Primarily an instrumental album, there 
are some vocals on "Higher", "Primal", and "Meet Me In The Morning" 
although the first two have vocal touches, not story-type lyrics.  
If you can stop looking for Becker's speed metal trademark, you can 
appreciate the ethereal, slow moving beauty of these compositions.  
Think more New Age, not metal.  There are interesting, appropriate 
sounds such as the bamboo flutes and rain stick on "Primal".  
_Perspective_ is pleasant to listen to, and Becker wrote it to be 
uplifting.  The album is recommended to those who enjoy New Age and 
soft, non-intrusive instrumentals.  
	Becker's next musical project which will definitely require 
computer software and a monitor sensitive to his eye movements;
he is now unable to work the keyboard now.   Believe in miracles, and
check out the beauty of _Perspective_.

	Becker has also established a $10,000 music scholarship at the 
Atlanta Institute of Music and is accepting applications through 
August 31, 1996.  Applicants may submit audio or video tapes of 
any length to: Jason Becker/A.I.M. Scholarship, 6145-D North Belt 
Parkway, Norcross, GA 30071  The winner will be chosen by Becker.
---
	REVIEW: D:Ream, _World_ (Elektra)
		- Daniel Kane
	You don't have to ask this critic a second time to review the
new album by D:Ream, _World_.  This album hit platinum or gold in 
the United Kingdom, Australia, and most of Europe, and with good reason.
	In 1994, D:Ream was also nominated for both Music Television Europe
Music Awards and the Brit Awards for Artist of the Year.     
Peter Cunnah of Derry, Ireland and now of London, brings a sharp ear and
positive bond to the house scene.  "D:Ream will always be about heart, mind
and soul," he says.
	The first track on _World_, "The Power (Of All the Love in the World)"
is a must-hear.  100% -- sing along, shower superstars, to a celebration of
talent, life and energy!  Another favorite of mine is "Heart of Gold," 
which embraces a serious message, not quite so inspirational but
beautifully instrumental.
	Recognizing perhaps preconceptions of dance music in certain social
circles, Cunnah brings a talent and inspiration, while simultaneously
seeking to clarify his and the group's purpose and intentions: "There used 
to be this idea that rock music was intellectual and dance music was just 
a totally physical thing.  I think we're one of the bands that has 
succeeded in breaking that down.  If people just want to dance to our 
music, that's fine. If they want to sit down and take in some of the 
serious points addressed by the lyrics, that's also fine.  If they want 
to listen to it on both levels, that's even better."
	Cunnah and the band demonstrate a remarkable range of ability and
knowledge of the craft with an impressive array of vocals and
instrumentation.  The lyrics provide for an uplifting experience, and
the standout tracks, such as "The Power", make this an enjoyable album
for dance fans.
---
	REVIEW: Umajets, _Demolotion_
		- Joe Silva
	Courtesy of a weird skip that glanced across my radio while lost
in the North Georgia mountains, I had one of those mini radio epiphanies 
that stick at least until you hold the culpable disc in your hand and have
played it close to infinitum. Done up in lug nut tight harmonies, solid 
grooves and general melodic splendor, the Umajets are the cream of 
Atlanta's pop holdouts. Originally configured as a duo that performed 
acoustically under the name Thing 1 Thing 2, principal members Tim Smith 
is late of Jellyfish (bass) while Rob Aldridge was the vocal side of Holly 
Faith. While I've heard them deny that their name is any roundabout homage 
paid to a certain starlet, the 16 tracks that make up _Demolotion_ are 
fairly fetching in themselves.
	Coupled with the release of the Imperial Drag album (that features
two other ex-Jellyfish-ermen), it's now easy to see all the elements that
were more or less integral to that particular pop beast. Imperial Drag 
walked away with all the glam-ish bits while the Umajets got the sugary 
hooks and the inventive arrangements. As a quick for instance, Rob and 
Tim drop a sucker punch chorus into "Fly" and practically retool the 
mid-tempo feel of the track without the listener feeling unnecessarily 
jostled. The brilliant "Half Man Half Wrecking Ball" is illuminated by 
a nifty bridge and sweet backdrop harmonies through the refrains. And 
while I half promised myself that I wouldn't inject the near inevitable 
Beatles allusion, a relisten to songs like "Mother" and "My Weary Eyes"
have melodies that are so unblemished that they approach the high flung
McCartney-esque standards for perfect ballads.
	Had you heard the demo of "Girl Named God," you might agree that
the electric version included here doesn't quite nab your ear as the 
former.  And even though I'm not quite sure that the running order plays 
to all the strengths of the album, there's so much going right for 
_Demolotion_ over 17 tracks all told, thats it's nothing to quibble 
over. Now fleshed out as a four piece, they'd be a must see if you 
were planning to brave the Olympic hordes and be in the Atlanta area 
this summer and could catch them during one of their rare club gigs. 
Overall, quite a gem for the pop faithful. 
	Still in the process of considering different labels, interested
parties can write to the band at: Umajets, 1387 Oxford Rd., Suite 203,
Atlanta, GA  30307 or umajets@aol.com   
---
NEWS: 	> There's a Ben Folds Five Mailing List, based entirely
on subscribers e-mail, comments, etc.  To subscribe,
send an e-mail message to maynard@oeonline.com           
	> The Bloodhound Gang has just finished the mastering for
their next album, _One Fierce Beer Coaster_.  The first video for the
song, "Kiss Me Where It Smells Funny", is being shot in Los Angeles.
Fans can check out their Web site at http://home.earthlink.net/~lupusbhg/
	> The Cure have their own web page, located at 
http://www.the-cure.com
	> Metallica and Apple Computer will broadcast a fanclub members-only
show on the Web at http://live.apple.com on June 10, 1996.  The live show,
which occurs in San Francisco, will debut material from their upcoming
album, _Load_. 
	> Porno For Pyros will be on tour shortly in the five piece 
incarnation; Perry Farrell on lead vocals, Peter DiStefano on guitar,
Stephen Perkins on Drums, Tom Johnson on samples/keyboards and Mike Watt 
on bass.
	> SonicNet's website is the official web hub for all online 
activities surrounding the Tibetan Freedom Concert (June 15 & 16), and
will be prociding the cybercast feed for the entire two days.
Online chats will occur before and during the event; the June 10 chat
(at http://www.sonicnet.com/sonicore/chat), from 8:00-9:00 pm EST, will
center on the Beastie Boys' Adam Yauch and Milarepa Fund's Erin Potts,
talking about the Tibetan acuse and what the conference hopes to project.
The concert will be held from 3:00 pm - 8:00 pm EST each day.  
	Scheduled artists include, but not guaranteed and not limited to:
Beastie Boys, Smashing Pumpkins, Tribe Called Quest, John Lee Hooker, Foo 
Fighters, Cibo Matto, Red Hot Chili Peppers, Fugees, Bjork, Rage Against 
the Machine, De La Soul, Beck, Sonic Youth, Yoko Ono Chaksam-Pa and more.
---
TOUR DATES
	Baboon / Rubberbullet
Jun. 6 Shreveport, LA Herbert's
Jun. 7 Fort Smith, AR Ravie's
Jun. 8 Topeka, KS Tap Room
Jun. 9 St. Louis, MO Cicero's
Jun. 11 Chicago, IL Fireside Bowl
Jun. 12 Detroit, MI Magic Stick
Jun. 13 Toledo, OH Frankie's Lounge
Jun. 14 Charleston, WV Common Ground
Jun. 15 Pittsburgh, PA Electric Banana

	Big Stupid Guitars
Jun. 12 New York, NY Lion's Den

	Boyracer
Jun. 11 Austin, TX Emo's 
Jun. 12 Denton, TX Argo 
Jun. 13 Wichita, KS Panama Reds 
Jun. 14 St Louis, MO Cicero's 
Jun. 15 Chicago, IL Fireside Bowl 
Jun. 16 Ypsilanti, MI Green Room 

	Bryndle
Jun. 8 Santa Monica, CA McCabe's

	Charm Farm
Jun. 15 Toledo, OH Asylum

	Cocteau Twins
Jun. 12 New York, NY Roxy

	Compulsion / Evil Superstars (UK Tour Dates)
Jun. 11 Wolverhampton Varsity
Jun. 12 Brighton Richmond
Jun. 13 Chelmsford Y Club
Jun. 14 Exeter Cavern
Jun. 15 Hastings Crypt
Jun. 17 Newcastle Riverside 2

	Cordelia's Dad
Jun. 13 Cambridge, MA Middle East
Jun. 15 New Salem, MA New Salem Meeting House

	Jayne County
Jun. 13 Portland, ME Granny Killem's
Jun. 15 Boston, MA Mama Kin
Jun. 16 Northampton, MA Iron Horse

	Grover
Jun. 12 Philadelphia, PA Khyber Pass
Jun. 13 Boston, MA Tt The Bear's
Jun. 15 Toronto, ON El Mocambo

	Love & Rockets
Jun. 11 Athens, GA 40 Watt
Jun. 12 Raleigh, NC New Bar
Jun. 13 Baltimore, MD Hammerjacks
Jun. 14 New Haven, CT Toad's Place
Jun. 16 Philadelphia, PA Trocadero

	Nields
Jun. 15 Birmingham, AL City Stages

	No Doubt
Jun. 11 Denver, CO Ogden Theatre

	Porno For Pyros
Jun. 12 Vancouver, BC Commodore Ballroom
Jun. 14 Seattle, WA Moore Theatre
Jun. 15 Portland, OR La Luna

	Rosenbergs
Jun. 5 New York, NY Lion's Den

	Shallow
Jun. 14 Toronto, ON Xrays

	Ten O'Clock Scholar
Jun. 15 Long Branch, NJ Brighton Bar

	22 Bridge
Jun. 14 Charlotte, NC World Mardi Gras 
Jun. 15 Toronto, ON Horseshoe

	Varnaline
Jun. 14 Toronto, ON Rivoli
Jun. 15 New York, NY Brownie's 

	Velour
Jun. 6 New York, NY Knitting Factory

	White Courtesy Telephone
Jun. 14 New York, NY Brownie's
Jun. 17 New York, NY Coney Island High
---
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