==== ISSUE 141 ====    CONSUMABLE     ======== [April 13, 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, Tim Mohr, Al Muzer, Joe Silva, 
                      Lang Whitaker
  Correspondents:     Tracey Bleile, Lee Graham Bridges, Scott  
                      Byron, Jason Cahill, Patrick Carmosino, 
                      Arabella 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
  Also Contributing:  Franklin Johnson

 Address all comments, subscriptions, etc. to gaj@westnet.com
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Permission for re-publication in any form must be obtained from the 
editor.
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                            .------------.
                            |  Contents  |
                            `------------'
INTERVIEW: High Llamas' Sean O'Hagan - Joe Silva
REVIEW: Semisonic, _Feeling Strangely Fine_ - Scott Slonaker
REVIEW: Bonnie Raitt, _Fundamental_ - Tracey Bleile
REVIEW: Junkie XL, _Saturday Teenage Kick_ - Lang Whitaker
REVIEW: Soundtrack, _Shooting Fish_ / _City of Angels_ - Bob Gajarsky
REVIEW: Goodie Mob, _Still Standing_ - Lang Whitaker
REVIEW: Triplefastaction, _Cattlemen Don't_ - Scott Slonaker
REVIEW: Alannah Myles, _Arival_ - Jon Steltenpohl
REVIEW: Todd Snider, _Viva Satellite_ - Scott A. Miller
REVIEW: Dakota Moon, _Dakota Moon_ - Linda Scott
REVIEW: Pitchshifter, _www.pitchshifter.com_ - Franklin Johnson
NEWS: Luscious Jackson, Mammoth, Run DMC / Jason Nevins, Rhino 
   Reissue Exchange Program
TOUR DATES: Addict, Agents of Good Roots, Cherry Poppin' Daddies, 
   Cows, Cravin' Melon, Alana Davis, Kyle Davis, Dismemberment 
   Plan / Calvin Krime, Flick, John Wesley Harding / Steve Wynn, 
   Irving Plaza (NYC concert hall), Kerosene 454 / Bluetip, Liquor 
   Giants, Luna, Ziggy Marley & Melody Makers, Mono, Morcheeba, 
   Promise Ring / Jimmy Eat World, Radiohead, Slackers, Smart Went 
   Crazy, Elliott Smith, Superdrag / Apples In Stereo / Tuscadero, 
   Third Eye Blind / Rebekah / Dance Hall Crashers, Trinket
THE READERS WRITE BACK!
Back Issues of Consumable
---
	INTERVIEW: High Llamas' Sean O'Hagan
		- Joe Silva
	Without as much as a bit of fanfare or dimming of lights, 
savvy Irish pop musos The High Llamas take the stage at Athens, 
Georgia's 40 Watt Club. It's St. Patrick's Day, but there's little 
going on in the way of outrageous merry making. The shabby settees 
are full of lounging townies unflustered by the band's arrival.  
Only a handful of the slightly more animated among them approach 
the front of the house once the band strikes up.  The room is 
instantly a-glitter with vibes, harmony, and warbling electronics.
	What started as a gentle tip of the hat on senior pop deity 
Brian Wilson on their second LP (_Gideon Gaye_), became the 
sprawling tribute on the follow-up (_Hawaii_), and the extremely 
distilled essence of the great man on their latest release, _Cold 
and Bouncy_ , possibly perfecting a vision they embarked upon four 
years prior. If I had to own just one album and wasn't too caught 
up in witnessing the evolution, I'd take the new one.  Some would 
cry heresy, but all bear the same quarter note keyboard lines, the 
lush backdrop of harmonies and strings, and the same oblique 
lyrical flourish. More elegant nods to Mr. Wilson's brilliance 
could possibly be had from Jellyfish and XTC (particularly during 
their Dukes period), but the depths to which the Llamas have 
accurately probed his tenets have won lead Llama Sean O'Hagan face 
time with the master himself.
	But O'Hagan maintains that their next record will have a 
fresh tack and it seems that he's satisfied with the lengths of 
which they've been able to take their current formula. In the 
midst of the media swirl that surrounds South By Southwest, Sean 
commented on the where the Llamas are headed and where they've 
been.

	Consumable Online: Just looking over your history, I
noticed that you actually did some road time with U2 while you 
were in Microdisney.
	Sean O'Hagan: Well, Ireland is a small place and it was 
natural that we'd play with them. I don't think it's any big 
deal, though.  U2 are fine and they're nice people and all but 
I don't think they do anything significant musically. I'm not a 
fan. It was a business thing.
	C.O.: Looking back to the first LP, it seems like the 
songs on _Santa Barbara_ have far more structure to them. Do 
you think you've come a long way from that at this point?
	O'Hagan: Oh, definitely. It was that album that really 
convinced me that I had to abandon that way of working. I found 
that method very restrictive. It only addresses one ethos, one 
emotion, one kind of artistic level of communication. There's 
enough people out there doing that. At best that record should 
have been (like) John Cale, but unfortunately most people don't 
know that and might sit down and think it sounds like Neil Young 
or Steely Dan or something.  And as much as I like Steely Dan 
and Neil Young, I don't want to be artistically in that court. 
So on _Gideon Gaye_ , I had to reposition the band very obviously 
and very dramatically. And once we did that, I realized we had 
found our spiritual home.
	C.O.: So how does a song evolve for you these days? What 
are the mechanics like now?
	O'Hagan: Well I still work at either the piano or acoustic 
guitar, but instead of writing the song all the way through, I 
write it almost in a sample form - the way a DJ would work. I 
just basically record ideas onto a four track or tape recorder 
and collect them over six or seven months. And then when we come 
to work in the studio, I'll actually call on (them) and sort of 
re-associate those parts. That's really the beginning of the 
undermining of the traditionalism of the writing.
	When we start to actually put the tracks down we always 
explore the filtering option. It's almost like there are new 
sounds out there and new ways to listen to music. But we still 
work with harmonies and with a lot of bands there aren't any 
(harmonies). Even with the experimentation, even with the amount 
of risk, we still have a harmonic basis.
	C.O.: What sort of interplay exists between the 
musicians? I assume you do the majority of the idea construction.
	O'Hagan: Yeah, the writing as far as the chords and the 
top line goes, I still do. As a band, we've been doing it for 
quite a few years, so we've really come to understand the workings 
of the studio. The idea of arranging in the studio isn't scary to 
us. We're pretty much able to make it up as we go along. So there 
is a certain amount of collaboration and improvisation in the 
studio when it comes to arrangement and counterpoint. 
	However, we kind of build in these methods to stop us from 
remaking our old records really. We do kind of check each other. 
That's why we kind of filter everything.  You know, "What does it 
sound like fresh? What does it sound like filtered? Okay, why 
don't we split the signal and have one filtered and one kind of 
dry." It gives you a mixing option. At the mix, we employ the 
same method of deconstructing the song that we've been doing over 
the past three records and I really haven't gotten tired of it. 
	I really think it's a good idea to deconstruct the songs 
immediately after we mix it. I would like to think that the way 
you listen to a Llamas record sounds like a kind of fusion and 
de-fusion.  If you looked at it anatomically, you'd basically 
have a molecular structure that has a kind of freestyle activity 
and it gather and then the gathering solidifies and that's a 
song. Then it kind of scatters and that's the deconstruction of 
the song. That's how we view the linear experience of the record.
	C.O.: Have the records done well enough in the U.K. that
you have the budgets now to take that notion further?
	O'Hagan:  We make our records quite cheaply and we don't 
use huge budgets. We work in cheap studios and just try to keep 
everything under control. I think once you get into the realm of 
big budgets and expensive studios, the working practices (change) 
and you don't control the event. I think it's very important to 
stay in control of things. So ultimately the best thing to do 
is to build your own studio, which you can do quite cheaply and 
work within a settled criteria.
	C.O.: Are you guys on the way to having your own space?
	O'Hagan: We pretty much have access to a space regularly 
that's very cheap.
	C.O.: Whatever similarities that might exist sonically 
between the last three records, do you think that you're going 
to take another angle to your sound?
	O'Hagan: Yeah, I think we have to really. Since you've 
identified those last three records almost like as a trilogy and 
even though that's got all sorts of conceptual aspects to it, 
which may or may not be accidental, I don't think I can take it 
on much further.  I think it would be disingenuous. The spirit of 
the band is investigation and re-associating ideas and sonic 
experimentation, so by the very nature of that ethos we do sort 
of have to work out a new avenue of discovery.
	C.O.: Does that mean we can look for more instrumental 
stuff?
	O'Hagan: Definitely and electronic as well.
	C.O.: How comfortable are you going to be doing that in 
a live forum?
	O'Hagan: I don't think you should ever connect the two. 
The minute you try to envisage how you are going to perform 
something and make a decision on that basis, you're restricting 
the idea. I think the very fact that it's the same people and you 
might be working from the same basis of composition that's enough 
to relate the two activities.  I think it's very important to 
keep the two separate.
	C.O.: As far as the lyrics are concerned, do you see 
any distinct progression?
	O'Hagan: I think my lyrics are completely unimportant. 
I'm not a literary person. When there's a vocal, the lyric is 
almost like a technique to inspire images. Now having said that, 
when there is a lyric I'll work hard to make sure that I'm 
comfortable with it.  But I won't use any gratuitous cliche or 
anything like that. What I'll do is try to create a kind of 
impression with wordplay or imagery. There's actually no theme, 
there is no one idea that runs through a song. They're separate 
lines and each line represents a sort of reduced idea, theme, story 
or whatever. I'm very interested in the idea of the rise and fall 
of the symbol and the color of the word.
	C.O.: Do you not ever feel the need to express something 
personal?
	O'Hagan: No, in fact I'm totally against that. One thing 
I find very annoying is when critics talk about the Llamas not 
involving themselves in passion. I think that should be a credit. 
I think passion is an overused word and that it's disingenuous, 
and an over-attributed virtue. Most of it is clinical and a 
marketing tool.
	I think that the idea that your voice kind of slightly 
cracks when you deliver a heartfelt line or a terribly personal 
line is kind of corny (laughs). I hate it and I don't enjoy it. I 
don't see how or why that's a virtue. I love the idea of a totally 
simulated vocal to the extent that that vocal is part of an 
arrangement - the vocal is not something your are attracted to. 
You're attracted to the music as a whole and the arrangement as a 
whole and the vocal is not a distraction. The lyric should be a 
visual and the vocal should be a kind of instrumental counterpoint 
and the vocal harmony should be as textured as a brass harmony. 
When you get something so crass as Oasis, that are supposed to be 
so great because they've got a passionate vocal; when it's reduced 
to that, you just realize that it doesn't stand up as a legitimate 
form of expression.
	C.O.: Well to bring their name up again, U2 (or 
specifically Bono) is a manipulator of sorts by the way he tries 
to capture a person's attention or emotions, but don't you think 
he means it to a degree?
	O'Hagan: It's disingenuous. I think he might be just a very 
good businessman. Don't you make that connection between marketing 
and performance?
	C.O.: Hmmm...hard to say. Considering their position, you'd 
have to wonder why they would feel the need to resort to that kind 
of posturing.
	O'Hagan: Well because they started off with that. It was 
their initial tool, wasn't it?  And they obviously don't want to 
abandon that. They have abandoned that to a point. They were very 
much into the idea of pop being disposable, which they didn't 
really succeed at very well, but I had much more respect for them 
for actually trying that. But U2 aren't on my hit list, but I'll 
tell you who is. Radiohead. 
	I don't believe them (Radiohead) for a second. I'm not 
vehemently down on them, as I am say Oasis, but I hate the way that 
that record ( _O.K. Computer_ ) is supposed to be the greatest 
record of all time and so radical. I don't think there's anything 
radical about what they do. They're careful, well-honed cliches. 
The perfect marketing tool and I think those things need to be 
exposed. I mean I hate to sound so bitchy about it, but I think 
it's incumbent upon people to make that point. Pavement excite me. 
I completely believe them. I got to know Steve on the last tour 
and was so excited to tour with them. Lyrically, they do things 
that I'd never be able to do; work with literature and rock and 
roll in such an intelligent way. I think Air is also making good 
pop music.
	C.O.: Now looking at the music from a visual perspective, 
is that a concern? As in the video for "The Sun Beats Down"...
	O'Hagan: That video started off as a great idea and was 
very badly executed. Apologies all around for that one. I think 
"Nomads" is totally us. Completely bang on.
	C.O.: Just out of curiosity, have you picked up the 
(Beach Boys) _Pet Sounds_ box?
	O'Hagan: Oh yeah, I've had to write about it.
	C.O.: What was your take?
	O'Hagan: I enjoyed the studio interplay between Brian and 
the musicians. I loved hearing the musicians improvise around the 
tunes. From a purely academic point of view, I liked analyzing 
the chords because there were certain chords that I could never 
pick out before. The stereo mix was okay; the acapella mix I 
wasn't too knocked out by.
	C.O.: In terms of somebody like Brian, who's much older 
now and struggling to recapture some of his glimmer of old, where 
do you see yourself gravitating to as you get older?
	O'Hagan: I think the obvious place for me to go is into 
film. One thing I want to allow myself, even though I love pop 
music, is to work outside of the pop format. I went to see Music 
for Eighteen Musicians by Steven Reich a few weeks ago in London, 
which had never been scored until recently when a student did it 
as a thesis. Well, it can be performed now and he performed it 
with the Steven Reich ensemble and it was very much done on 
shorthand musical notation and cues.  So there's Steven Reich, 
talking about it at the age of 58, working with this piece of music 
and it makes perfect sense. And you wouldn't even envision even 
an element of cringe or embarrassment in it. It was totally 
legitimate. I don't think that when I'm 58 and trying to perform 
music from Hawaii, I could conceivably do it justice (at that 
age). That's why I want to work with instrumental music. It's a 
natural area.
	C.O.: So what's up next?
	O'Hagan: I'm going to go back to England and record 
another single for "Turn On" , which is my other project with Tim 
Gane from Stereolab.  There are remix projects all piling up; 
Pizzicato Five, Kid Loco. A lot of people think that the High 
Llamas are about the orchestral pop thing when we actually have a 
lot of people from club culture that enjoy our music. That doesn't 
surprise me, though. I'm actually kind of warm and flattered by it.
---
	REVIEW: Semisonic, _Feeling Strangely Fine_ (MCA)
		- Scott Slonaker
	When it ain't broke, don't fix it.
	Last time around, the Minneapolis trio Semisonic recorded 
_Great Divide_ , one of 1996's best (and most criminally unheard) 
records.  A shining pop masterpiece, it was, all unforced emotion 
and classic dynamism.  Perhaps a little bad luck and a little bad 
marketing (placing the gorgeous  "f.n.t." on the soundtrack to the 
retread action flick _A Long Kiss Goodnight_ wasn't exactly a 
powerful push) were to blame.  For the follow-up, there obviously 
wasn't much the band or producer Nick Launay could add to the 
formula; singer/guitarist Dan Wilson and bassist John Munson have 
been honing their take on classicist pop/rock since the mid '80s 
with Trip Shakespeare.  So, they did what too many artists can't 
seem to do.  They left well enough alone and did what came naturally.
	_Feeling Strangely Fine_ kicks off with the first single, 
"Closing Time", now blasting from radios across the country, which 
resembles _Great Divide_'s "If I Run" plus some deft studio seasoning 
(drum machine on the breaks) that adds additional dimensions.  
"Singing in My Sleep"'s soaring chorus and propulsive rhythms might 
just make it the best of any of the band's songs.  Besides, it's 
about a mix tape.  How could it go wrong?
	It's when we hit the middle of the album that it becomes 
apparent where the band's sound may be heading.  "Secret Smile", 
"DND", and "Completely Pleased" all have a slightly more breathy, 
relaxed, R&B-styled spin that is not only effective, but refreshing, 
especially when put up next to the histrionic 
wailing-masquerading-as-sincerity (Matchbox 20, etc.) that is shoved 
down our throats on a daily basis.  "Completely Pleased", in 
particular, has a pulsating, serpentine vibe that is almost totally 
absent from most of today's "white" rock music. Wilson adds a croony 
element to his already wondrous voice that is absolutely intoxicating.
	Semisonic's penchant for studio experimentation again 
surfaces near the end of the album.  "All Worked Out" has dressings 
reminiscent of Brian Wilson and _Pet Sounds_, "She Spreads Her 
Wings" the spare, whispery intimacy of John Lennon's best solo work, 
and the string quartet that sweetens the final track, "Gone to the 
Movies", brings the record to a gentle close.
	Not since the days of Badfinger in the early '70s and 
Crowded House in the mid '80s has the mainstream been blessed with 
a pop band such as Semisonic- and actually responded.  Why is it 
that bands without gimmicks or trendy sonic trappings have such a 
tough time?  The success of "Closing Time" serves as a reminder that 
even in today's corrupt image-obsessed, next-big-thing marketplace, 
talented musicians can still make it based solely on their music.  
Congratulations to all involved; and add another record to the 
preliminary Best of '98 list.
---
	REVIEW: Bonnie Raitt, _Fundamental_ (Capitol)
		- Tracey Bleile
	In a twist on the "old dog learns new trick" cliche, 
Bonnie Raitt's newest effort _Fundamental_ has Bonnie and her 
co-producers, Latin Playboy/honorary Los Lobos members Mitchell 
Froom and Tchad Blake blending the best of what they know to 
create great musical synergy.  Throw in the extremely good taste 
to round up members of Los Lobos and NRBQ as a backing band (who 
also contributed original songs for Raitt) and it's Super Dirty 
Blues with a serious head of steam.
	How refreshing and ironic that the signature keyboard-happy/
deep bottom end/noisy brass  of Froom's experimentation that got 
used to excess in Los Lobos' _Colossal Head_ serves here instead 
to gently frame and not overwhelm Raitt's rusty-blade-dipped-in-honey 
voice.  Raitt's signature twang and squeal bottle slide blues guitar 
becomes part of the picture without having to dominate the scene, 
and the many different sounds produced are definitely going to give 
guitar aficionados a thrill.  This hybrid of raunch and orchestral 
arrangement is definitely going to give mainstream listeners a 
pleasurable kick in the pants, period.
	Bonnie seems to relish more than ever that she is a rare 
creature - a female blues artist whose paid her dues, and proves 
she deserves to be where she is by infinitely expansion of her range 
any way chooses.  Even on the more trademark straight-ahead blues 
Raitt plays on "Spit Of Love", she sounds more free, and lyrically 
this album has some of the raciest lyrics since "Slow Ride".  She's 
sad, she's sassy, she's lounge-y.  Thanks to her long-time friend 
John Hiatt (who seems to have a never-ending wellspring of songs 
that sound so good on her)  she's even ultra-torchy on "Lovers Will".
	And because she is an old pro, she deftly throws in those 
couple of songs that will get all the airplay they can muster, just 
'cause they're bouncy and cool and you can belt out the chorus with 
her, and you know you wanna when you hear that long flowing guitar 
wail intro.  She neatly delivers unto us just such a pop/blues 
crossover with "Blue For No Reason".  There are a couple of times 
the music doesn't feel like original Raitt, as in a calypso-flavored 
number echoing of Blondie (read "Tide Is High"), right down to the 
spoken word break, but even that can't detract from the overall flow.
	At the end, "One Belief Away" closes with an all-out Latino 
flair (courtesy of The Texicali Horns doing up the mariachi sound) 
that fades off with Raitt playing an almost Hawaiian guitar 
flourish.  Makes you glad that a true professional knows when and 
how to roam into amateur territory.
---
	REVIEW: Junkie XL, _Saturday Teenage Kick_ (Roadrunner)
		- Lang Whitaker
	If the term "crossover" doesn't sound like a viable music 
genre to you, then you've obviously never listened to Tom Holkenborg's 
latest project, Junkie XL.
	"For me, crossover has always been the ultimate musical 
direction," says Holkenborg. "Bands don't usually blend Rock and 
Electronica well...what I try is to blend the guitars and dance 
elements into something new so they don't lose their original strengths."
	And blend he does, like Isaac behind the bar on the 
Promenade Deck. The best way to describe the sound of Junkie XL is 
to think of Prodigy minus the psuedo-punk posturing and multiple 
piercings. Dance floor beats thump underneath crunching guitars and 
pulsating sine waves. On top of it all, rappers Rude Boy (Urban 
Dance Squad) and Dino Cazares (Fear Factory) tag team on a stream 
of consciousness about pride, underacheivers, and even billy clubs.
	"Metrolike", with a lyrical flow reminiscient of U2's 
"Numb", eventually decomposes into a sea of beeps and pops. It is 
immediately followed by the funky, fuzzy guitar and clean drums of 
"X-panding Limits". "War"'s first shots are a totally dissected drum 
loop that explodes into a Roni Size-d trip-hop fury. The title track 
is a rollicking blast fueled by Mountian Dew and nicotine, an ode to 
pre-pubescent weekends spent chasing tail.
	There are plenty of other people out there trying to do 
what Junkie XL does. The difference between those posers and these 
players? Junkie XL does it well. Really well. There are no let downs 
on the CD, save for the 18-minute long "Future in Computer Hell", 
for which a more apt title might be "Present in Computer Hell". 
From the first few seconds of the album, beats flow forth like 
sexual harassment allegations against Bill Clinton. It's easy to 
see how one could become a junkie listening to addictive music like 
this.
---
	REVIEW: Soundtrack, _Shooting Fish_ (Capitol) / 
		Soundtrack, _City of Angels_ (Warner)
		- Bob Gajarsky
	To paraphrase Dickens, this is a tale of two 
soundtracks.  Both feature a fair number of previously-released 
cuts, but that's where the similarity ends.  One is constructed 
with the best bands money can buy (or license).  The other is 
built with cutting edge acts that won't likely bring big bucks 
to the label, but can provide endless pleasure to its record 
buyers.  Can you guess which is which?
	_City of Angels_, the Nicholas Cage/Meg Ryan flick, 
looks like the invite list at a music awards show.  Industry 
vets such as John Lee Hooker, Jimi Hendrix, Eric Clapton, U2 
and Peter Gabriel team up with newcomers including Sarah McLachlan, 
Paula Cole, Alanis Morrissette and the Goo Goo Dolls to make this 
a star-studded album.
	The Goo Goo Dolls' "Iris" includes a 20-piece string ensemble 
and the eagerly-anticipated Alanis Morrissette "Uninvited" 
also features strings - is completely unlike anything from 
_Jagged Little Pill_.  
	Alanis' first new contribution since the 15 million 
selling _Jagged Little Pill_ makes a sharp departure from that drum 
programmed album.  Morrissette *sings* on "Uninvited", exposing her 
vocals to previously unexplored new heights.  Depending on your 
feelings towards Alanis, the vocals are either stunning 
or awful - and there's some justification for both sides of the 
fence, as her voice sometimes can't reach the new limits.
Glen Ballard is nowhere to be found on this cut, and Morrissette 
explores with mid-eastern influenced strings in this slow, haunting 
song.
	"Uninvited" fits in well with the remainder of the soundtrack, 
due to its slow, downbeat feeling.  Gabriel's "I Grieve" best pulls 
off the trick, but songs such as "Biko" set the trail for this effort. 
Although it will likely sell millions, this is more on behalf of the 
vehicle (marketing team and movie) than the quality of the cuts within.
	On the other hand, _Shooting Fish_ - pays homage to an era 
gone by.  Featuring uptempo 'British' music with roots firmly 
planted in the 60s Bacharach era, this soundtrack is dominated by 
lesser-known 'modern' acts from the other side of the pond.
	Two top 10 (UK) singles from Space's debut record, _Spiders_, 
may be unfamiliar to American listeners ("Me & You Vs The World", 
"Neighbourhood"), but are instantly recognizable in their native land.  
Unfortunately, since the band was recently dropped from their American 
label (Universal), Yanks may not get to see any music from Space without 
going to the import bin.  
	The Bluetones "Bluetonic" is a dead ringer for vintage Stone 
Roses, and Supereal's "Body Medusa" - appearing in a mix from Leftfield - 
is the perfect antithesis for the lounge scene.  Dubstar's "In Charge" is 
two and a half minutes of synthesized harmonized Britpop, and the 
Supernaturals "The Day Before Yesterday's Man" is more Britpop 
which pays respect at the bedside of Brian Wilson.  Oldtimers Jackie 
DeShannon and Dionne Warwick are also included here, along with another 
Bacharach-covered song ("I'm A Better Man (For Having Loved You)") by 
David McAlmont.  
	Two soundtracks with different marketing budgets.  Two different 
ends of the alternative spectrum.  But still, either one is an infinitely 
better soundtrack than one about a boat which sunk 80 years before...
---
	REVIEW: Goodie Mob, _Still Standing_ (LaFace)
		- Lang Whitaker
	Jesus Christ once told his disciples that they should 
be in the world but not of the world. Similarly, on Atlanta rap 
group Goodie Mob's second album, _Still Standing_, the hip-hoppers 
discover the benefits of being in the world but not of the world on 
this, the best rap release of 1998.
	Straddling the divisive line between hypocrite and 
helper, Goodie Mob delivers a pointed missiveat teh very community 
they reside in. _Still Standing_ is a breathtaking showcase of 
maturation and expansion sprouting from Goodie Mob's first record, 
_Soul Food_. The four men (Khujo, Big Gipp, T-Mo, and Cee-Lo) use 
_Standing_ to smartly side-step the now played out gangsta fury 
that cropped upthroughout _Soul Food_. Instead, on _Standing_ they 
focus their sharp commentary and biting wit on the problems facing 
society, specifically the inherent flaws of the inner-city black 
community.
	The album starts with "The Experience", a showcase for 
Cee-Lo's unusual testifying from his personal pulpit. His 
gold-toothed grin gives his intelligent rhymes an immediate 
credibility. Setting the tone for the rest of the record, Cee-Lo 
says, "You ain't a nigga because you black, you a nigga because of 
how you act." The son of two southern Baptist preachers, Cee-Lo is 
the most underrated talent in hip-hop today. HIs nasal singing and 
pontificating brings to mind the love child of Jesse Jackson, Martin 
Luther King, Al Green, and a helium baloon.
	The genius of Goodie Mob is in the way all four members' 
voices weave together into a beautiful yet raw tapestry, exploring 
the dynamic spectrums like the Robinson Family. Playing off of 
Cee-Lo's divine drawl and Big Gipp's conversationist concerns, T-Mo 
delivers an ever shifting flow, while Khujo brings a possesed social 
conscience, referencing current events from the Ennis Cosby shooting 
to genocide.
	For production, Goodie once again collabrated with the 
Atlanta collective Organized Noize (TLC, OutKast). Instead of relying 
on the cymbal heavy sound now prevalent in hip-hop, they've created 
a sound they termed "techno-gothic funk", where phat bass lines 
serve as a foundation for trip-hop beats and clean guitar noodlings.
	Unlike many other rap groups, each member of Goodie Mob 
appears content playing his own part, recognizing that the sum is 
greater than its parts.  Here's hoping everyone else realizes how 
great it is.
---
	REVIEW: Triplefastaction, _Cattlemen Don't_ (Deep Elm)
		- Scott Slonaker
	Even though they may not see much any more in the way of 
radio aiplay (excepting "I Want You to Want Me" and maybe the 
occasional soft-rock spin of "The Flame"), the American Midwest's 
own Cheap Trick have left quite a lasting legacy on today's rock 
bands - and, of course, they continue to this day. 
Triplefastaction, who share the Trick's home state of Illinois, 
have survived harsh treatment (signed in '94, album held up until 
spring '96, then unceremoniously dropped) at the hands of a major 
label, then landing at an indie to record their second album of 
Tricksteresque rough-edged, supercharged guitar-pop.
	Frontman Wes Kidd, despite a somewhat indistinctive voice 
that is somewhere between Paul Westerberg and Kurt Cobain, still 
manages to pen a batch of tunes that stick to the cranium quite 
nicely.  The melodies are what get the job done, with prominent 
choruses and bridges that have that knack for making the listener 
feel that twinge of not-quite-placeable recognition.  The first 
song, "Pure", kicks off with a clatterous drumroll and a mutant 
cousin of the "Wipeout" riff before launching into a brawling, 
aggressive raveup punctuated by the occasional falsetto croon. 
It may not be complicated, but it's plenty effective enough.
	The band does throw in enough curveballs to keep things 
just the slightest bit off-balance.  "If" explodes into a 
eardrum-scorching compost heap of feedback.  The title track is 
an uncharacteristically restrained ballad.  The single, "I'm 
Ready", has a chugging, sirenlike rhythm that would do its job 
nicely (prove hummable for hours) if given half a chance on the 
radio.  And the horns that suddenly flare up in the middle of the 
gentle "Sent Them Straight" are an unexpected treat.
	The canonical list of Rules for Producing '90s Rock may 
have dictated that a certain Nirvana-ness hang over the 
proceedings contained on _Cattlemen Don't_, but don't be fooled. 
Under the rough exterior, Triplefastaction are just looking for 
a little of their own "Hot Love". And there aren't any 
grimace-inducing Beatles or Elvis covers in the bunch.  Give 
this talented and overlooked band a look on the web at 
http://www.rockfetish.com/deepelm/triple.
---
	REVIEW: Alannah Myles, _Arival_ (Ark21)
		 - Jon Steltenpohl
	It's tough being a one hit wonder.  Alannah Myles rocketed 
straight to number one with her bluesy song "Black Velvet", sold 
7 million albums, and then plunged straight into the footnotes of 
pop music history.  Now, on her 4th album, she's on Miles 
Copeland's Ark 21 label, and she's free to do her own thing.
	As it happens, her own thing sounds very much like "Black 
Velvet", but without as much pop polish.  This is straight forward 
rock music with a strong classic rock and blues influence.  
There's a homage to Led Zeppelin called "Everything Missing", and 
some early Rolling Stones tunes are hiding behind a few tracks.  
Myles' love of Janis Joplin goes a little too far into the 
shredded vocal chord realm at times, but, as producer, she 
thankfully avoids looping her voice to hide the flaws.  Warts 
and all, _Arival_ is an album with integrity.
	Myles is a true musician with a stable touring band 
backing her.  She shares songwriting credits with 11 different 
cowriters including Eric Bazilian and Desmond Child.  Her 
collaboration with those two, "Bad for You", is a cliche with 
chords.  Fortunately, she sings it with just a hint of tongue in 
her cheek, and it works.  "What Am I Gonna Do With You?" doesn't 
fare so well.  It starts out with a beautiful vocal and piano 
melody, and then, with an awkward key change, trots out a line of 
pure cheese -- "You struck me like a match / and I had to burn," 
recalls Myles.  As the song goes on, the simple melody gets 
forced louder, and Myles' voice gets scratchier and more strained.
	But more often than not, _Arival_ is a decent album.  
Despite the years in her voice, she sings boldly and confidently 
in a style that fans of "Black Velvet" will relate to.  At times, 
she is reminiscent of a cross between Pat Benatar and Melissa 
Etheridge (before she became a lesbian poster child).  The lyrics 
are serious, but not too deep, and the melodies are catchy.  
"Kisses are Weapons" has a "Love is a Battlefield" feel to it 
and is punched up with a bluesy harmonica and sharp drum beat.  
Myles sings with force, but manages to avoid the vocal pitfalls 
of some other tracks.
	Alannah Myles seems to have no problems living in the 
shadow of her past success.  _Arival_ is not a formula-driven 
stab at reclaiming ancient history.  Instead, it's a loose, 
well-produced album of uncompromised blues rock.  Myles vocals 
are an acquired taste, but if acquired, _Arival_ reveals itself 
to be a decent release.
	For more information and a muddy real audio version of 
"Bad for You", visit http://www.ark21.com
---
	REVIEW: Todd Snider, _Viva Satellite_ (MCA)
		- Scott A. Miller
        What's Tom Petty up to these days? Heck, I don't know. 
But with Todd Snider putting out stuff this good, I don't have to 
know. _Viva Satellite_ swaggers across southern rock territory so 
confidently I'd swear Snider had stolen Petty's muse, got it drunk 
and won its everlasting love.
	This is Snider's third album, a minor miracle in an industry 
that demands you hit a home run with your first swing of the bat 
(and then you better keep hitting homers or you're outta there). But 
this Memphis songwriter has two things going for him: a truckload of 
rock 'n' roll attitude and a couple of kegs of smart-ass to tap into 
whenever the mood suits him.
	_Satellite_ is chock full of lines Todd Snider fans are used 
to.  "I don't ever wanna have to go work for my dad, I guess that's 
about the only dream I ever had" is from "Out All Night." "I gotta 
make my last stand, this time I can't be bought, then again on the 
other hand, how much ya got?" is from "Can't Complain."
	But where Snider's words really hit their mark this time out 
is when he's spewing real venom, like on "Positively Negative." A 
guy turns the tables on his lying, cheating girlfriend. Nothing new 
there. But when Snider sings "if you think you're jaded now, babe, 
wait 'til you've seen the rest of me," it isn't a warning, it's a 
promise. And an evil one at that.
	For all the snide lyrics, there are even more hooks and 
riffs. Snider's band, The Nervous Wrecks (Will Kimbrough, lead 
guitar;  Joe Mariencheck, bass;  Paul Buchignani, drums), travels 
easily from acoustic rock to rock anthem to blues to gospel, all on 
this album. The lead-off single, "I Am Too," showcases a tight 
rhythm section while throwing in a few power chords that would have 
made Molly Hatchet proud. The band's take on Steve Miller's classic 
"The Joker" struts out the song's original hook while Snider adds 
just the right cocky tone to the braggadocio lyrics. And stick 
around for the "theme" song hidden track at the end. It's a 
rip-the-knobs-off rocker.
	I'd be doing a disservice to Snider if I didn't mention 
that he's capable of more than macho wise-acre commentary (and I 
mean that in the best way)."Never Let Me Down" is one of the best 
love songs I've heard. And he does a great job of channeling the 
emotion of some rural country gospel singer on "Once He Finds Us."
	This CD was originally set for release in January, but was 
delayed several months because (the label said) the artwork wasn't 
ready. I hope that means it's going to get the push it deserves, 
because Todd Snider is the real rock 'n' roll deal.
---
	REVIEW: Dakota Moon, _Dakota Moon_ (Elektra)
		- Linda Scott
	Dakota Moon's self-titled album is a pleasant change from 
other recent debut albums.  The first difference - these guys can 
sing!  Consequently, the vocals are mixed high so that the listener 
can understand every word.  Dakota Moon has a knack for storytelling, 
and every song tells a story of romance and life that most listeners 
will relate to.
	The band harmonizes in a style reminiscent of Boyz II Men.  
All four performers get vocal credit.  Ray Artes is on bass, Joe Dean 
and Ty Taylor are on guitar, and Malloy is on percussion.   On this 
album, vocals are first with the music supporting, not starring.  
Hailing from Los Angeles, Dakota Moon have been working on their live 
show over the past two years.  With club dates all over LA providing 
them the needed exposure and experience, the band was asked to open 
on the Tina Turner tour.
	The band's been busy, but they found time to blend pop and 
R&B for the thirteen tracks of _Dakota Moon_.  Their influences range 
from The Eagles to Bill Withers.  If you like soft, romantic music, 
you'll like _Dakota Moon_. The band doesn't show a lot of range here, 
but this debut album clearly showcases their strong suits of vocals and 
lyrics.  If this band gets MTV exposure, they're going all the way 
with this one.
---
	REVIEW: Pitchshifter, _www.pitchshifter.com_ (Geffen)
		- Franklin Johnson
	Web sites are most definitely a creature of the 1990s.  
So is industrial and aggressive rock and roll.  Combining two of 
the more prominent aspects of this decade is the recipe for 
Pitchshifter on _www.pitchshifter.com_. 
	The band's fifth album - and first for a major label - 
is a facial barrage of machine-gun guitars for a new generation.  If
Henry Rollins, Trent Reznor the Prodigy and Extreme Noise Terror put 
their heads - and tattoos - together, they might sound like Pitchshifter.
	To afficionados of the British band, the Prodigy is already 
a prime focal point - guitarist Jim Davies has already put down licks 
for "Firestarter" and "Breathe".  "Genius", with its 'dysfunction is a 
function' lyrical refrain, and the NIN-like "Civilized Society" offer 
listeners a good starting point into the beast known as Pitchshifter.
	Finally, when the album's 13 tracks are complete, the band 
offers you the opportunity to go to their website and obtain 50 samples 
which the band utsed on their album - and fans are encouraged to 
'steal' them to make their own music (with proper credit given to 
the band).  I don't have to tell you the band's web site, do I?
---
NEWS:	> Luscious Jackson keyboardist Vivian Trimble has 
departed the band in an amciable split from the group to 
pursue other musical interests.  Luscious Jackson is currently 
demoing material for its follow-up to 1996's _Fever In Fever Out_ ,
with plans to begin recording in the late spring.
	> Mammoth Records has redesigned their website, located at 
http://www.mammoth.com , with advance previews of new singles and videos, 
as well as much of the Mammoth catalog.  In addition, all future single 
artist CD releases will contain a multimedia CD-Rom tracks.
	> Run DMC helped revive Aerosmith's career with their 
rap modernization of "Walk This Way", so it's only fair that Jason 
Nevins picks up the trio's sagging career with his update of "It's 
Like That".  Nevins is set to also remix another Run DMC song, and 
is at work on updating a tribute version of Falco's "Rock Me Amadeus".
	> Reissue king Rhino Records has announced their Insane CD 
Exchange Program. This allows consumers to exchange one of their 
"lesser-quality various artist, best-of, or reissue CDs - from any label 
or mail order house" - for any Rhino single CD.
	There is a limit of one exchange per person per lifetime.  For 
further information on the promotion, check out Rhino's web site, located 
at http://www.rhino.com
---
TOUR DATES:
	Addict
Apr. 14 Atlanta, GA Point
Apr. 16 Sacramento, CA Bojangles
Apr. 17 San Francisco, CA Paradise Club
Apr. 18 San Jose, CA Cactus Club
Apr. 20 Phoenix, AZ Mason Jar
Apr. 21 San Diego, CA Casbah
Apr. 22 Los Angeles, CA Troubadour

	Agents of Good Roots
Apr. 18 Washington, DC Bayou

	Cherry Poppin' Daddies
Apr. 13 Atlanta, GA Masquerade
Apr. 14 Lake Buena Vista, FL House of Blues
Apr. 15 Miami Beach, FL Cameo
Apr. 16 St. Petersburg, FL Jannus Landing
Apr. 18 New Orleans, LA House of Blues

	Cows
Apr. 14 Tallahassee, FL Cow Haus
Apr. 15 Baton Rouge, LA Bayou
Apr. 16 Houston, TX Fitzgeralds
Apr. 17 Austin, TX Emos 
Apr. 18 Dallas, TX Galaxy
Apr. 19 Oklahoma City, OK Vzd
Apr. 20 Kansas City, MO Hurricane
Apr. 21 Lincoln, NE Duffy's
Apr. 23 Denver, CO Bluebird Theatre

	Cravin' Melon
Apr. 18 Raleigh, NC Walnut Creek

	Alana Davis
Apr. 14 New York, NY Irving Plaza
Apr. 15 Boston, MA Avalon Ballroom
Apr. 16 Philadelphia, PA TLA
Apr. 17 Pittsburgh, PA Metropol
Apr. 20 Cincinnati, OH Bogarts
Apr. 21 Cleveland, OH Odeon
Apr. 22 Detroit, MI Clutch Cargos
Apr. 25 Charlotte, NC City Fest

	Kyle Davis
Apr. 20 New York, NY Bottom Line 
Apr. 21 Philadelphia, PA The Kyhber 
Apr. 23 Nashville, TN 12th & Porter 

	Dismemberment Plan / Calvin Krime
Apr. 14 Baltimore, MD Otto Bar
Apr. 15 Boston, MA Middle East-Upstairs
Apr. 16 New York, NY Coney Island High 
Apr. 17 Providence, RI RISD
Apr. 18 Cleveland, OH Grog Shop
Apr. 19 Flint, MI Empire of One
Apr. 21 Minneapolis, MN Terminal Bar (w/ Smart Went Crazy)
Apr. 22 Minneapolis, MN 7th Street Entry 

	Flick
Apr. 14 Lawrence, KS The Bottleneck
Apr. 15 Columbia, MO The Blue Note
Apr. 16 Springfield, MO Juke Joint

	John Wesley Harding / Steve Wynn
Apr. 16 Alexandria, VA Birchmere
Apr. 17 New York, NY Mercury Lounge
Apr. 18 Cambridge, MA TT's The Bear's Place
Apr. 19 Albany, NY Valentine's
Apr. 20 Burlington, VT Club Metronome
Apr. 21 Rochester, NY Milestones
Apr. 23 Ann Arbor, MI Gypsy Cafe

	Irving Plaza (NYC concert hall - www.irvingplaza.com)
Apr. 14 Sister Hazel / Alana Davis
Apr. 15 String Cheese Incident
Apr. 16-18 Radiators
Apr. 20 Specials
Apr. 23 Tori Amos

	Kerosene 454 / Bluetip
Apr. 14 Chicago, IL Fireside Bowl
Apr. 15 Kalamazoo, MI Club Soda

	Liquor Giants
Apr. 16 Costa Mesa, CA Club Mesa
Apr. 18 San Francisco, CA Boomerang
Apr. 19 San Francisco, CA Bottom Of The Hill 

	Luna
Apr. 17 Amherst, MA Amherst College - Front Room

	Ziggy Marley & Melody Makers
Apr. 15 Norfolk, VA The Boathouse
Apr. 16 Hampden Sydney, VA Hampden Sydney College
Apr. 17 Philadelphia, PA Electric Factory
Apr. 18 Gettysburgh, FL Gettysburgh Univ.
Apr. 19 Richmond, VA Mayo Island Music
Apr. 21 East Lansing, MI Michigan State Univ.
Apr. 22 Romeoville, IL Lewis University
Apr. 23 Chicago, IL Park West

	Mono
Apr. 13 Boston, MA Paradise
Apr. 14 New York, NY Shine
Apr. 17 Toronto, ON Lee's Place

	Morcheeba
Apr. 13 Vancouver, Canada Richards on Richards
Apr. 14 Seattle, WA Showbox Theatre
Apr. 16 San Francisco, CA Bimbo's
Apr. 17 Los Angeles, CA El Rey Theater
Apr. 20 Boulder, CO Fox Theatre Cafe
Apr. 22 Minneapolis, MN First Avenue
Apr. 23 Milwaukee, WI The Rave

	Promise Ring / Jimmy Eat World 
Apr. 14 Columbus, OH Ohio State University
Apr. 15 Bloomington, IN Rhino's
Apr. 16 Champaign, IL Blind Pig
Apr. 17 Normal, IL Illinois State
Apr. 18 Columbia, MO Blue Note
Apr. 19 Chicago, IL Fireside Bowl

	Radiohead
Apr. 13 Montreal, QC Molson Center
Apr. 15 Worcester, MA Worcester Centrum
Apr. 17-18 New York, NY Radio City Music Hall

	Slackers
Apr. 16 New York, NY Artist Space 
Apr. 17 Wheaton, MD Phantasmagoria 
Apr. 18 Philadelphia, PA Philadelphia Textile College 
Apr. 19 Pittsburgh, PA Laga 

	Smart Went Crazy
Apr. 14 Portland, OR E.J.'s
Apr. 15 Seattle, WA Velvet Elvis
Apr. 16 Boise, ID 507 15th St.
Apr. 17 Salt Lake City, UT U. of Utah Union Theatre
Apr. 18 Denver, CO Double Entandre
Apr. 19 Lawarence, KS Replay Lounge
Apr. 20 Omaha, NE Cog Factory
Apr. 21 Minneapolis, MN Terminal Bar
Apr. 23 Green Bay, WI Concert Cafe

	Elliott Smith
Apr. 15 Boston, MA Middle East
Apr. 16 Princeton, NJ Campus Club
Apr. 17 Washington, DC Black Cat
Apr. 18 Philadelphia, PA Pontiac
Apr. 22 New York, NY Tramps

	Superdrag / Apples In Stereo / Tuscadero
Apr. 15 Washington, DC 9:30 Club
Apr. 16 Philadelphia, PA Trocadero
Apr. 17 Boston, MA Paradise
Apr. 18 New York, NY Tramps
Apr. 21 Syracuse, NY Styleen's
Apr. 23 Cleveland, OH Agora Ballroom

	Third Eye Blind / Rebekah
Apr. 13 Las Cruces, NM NM State Univ. - Pan Am Ctr.
Apr. 14 Tucson, AZ Prima County Fair
Apr. 17 San Diego, CA UCSD/RIMAC Arena

	Third Eye Blind / Dance Hall Crashers
Apr. 18 Santa Barbara, CA County Bowl
Apr. 19 Claremont, CA Bridges Aud.
Apr. 21 Reno, NV Lawlor Events Center
Apr. 22 Redding, CA Redding Civic Center
Apr. 23 Sacramento, CA Memorial Aud.

	Trinket
Apr. 17-19 St. Petersburg, FL Pier
Apr. 20 Daytona, FL Oasis
Apr. 21 Gainesville, FL Univ. of Gainesville
Apr. 22 Jacksonville, FL Milk Bar
Apr. 23 Athens, GA 40 Watt Club
---
THE READERS WRITE BACK!
	> Just a note, again, your magazine amazes me.    I am getting 
sick of writing what a big fan I am and how much I appreciate 
it..... Could you suck just for a while so that I could get mad?   It 
seems strange not being mad at music reviews. 
	Peace, Scott G., New Hampshire
---
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