==== ISSUE 130 ====    CONSUMABLE     ======== [December 4, 1997]

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

 Address all comments, subscriptions, etc. to gaj@westnet.com
==================================================================
	All articles in Consumable remain (C) copyright their author(s). 
Permission for re-publication in any form must be obtained from the 
editor.
==================================================================
                            .------------.
                            |  Contents  |
                            `------------'
REVIEW: Finley Quaye, _Maverick A Strike_ - Lang Whitaker
REVIEW: Patti Smith, _Peace and Noise_ - Joann D. Ball
REVIEW: Deftones, _Around the Fur_ - Sean Eric McGill
REVIEW: AC/DC, _Bonfire_ - Chris Candreva
REVIEW: Soundtrack, _Trainspotting 2_ - Rey Roldan
REVIEW: Tranquility Bass, _Let The Freak Flag Fly_ - David Landgren
REVIEW: Space Monkeys, _The Daddy Of Them All_ - Bob Gajarsky
REVIEW: Various, _Everybody Wants Some_  - Bill Holmes
REVIEW: Olive, _Extra Virgin_ - Joann D. Ball
REVIEW: Dubstar, _Goodbye_ - Bob Gajarsky
REVIEW: The Toms, _The Toms_ - Bill Holmes
REVIEW: The Ramones, _We're Outta Here_ - Chris Candreva
COMPILATION REVIEWS: John Mellencamp, Saw Doctors, Joan Jett, 
   Sinead O'Connor - Bob Gajarsky
REVIEW: BMX Bandits, _Theme Park_ - Rey Roldan
REVIEW: Terry Draper, _Light Years Later_ - Bill Holmes
NEWS: Echobelly, Jars of Clay, Sister Hazel, Moe Tucker / Velvet Underground
TOUR DATES: Catherine Wheel, Paula Cole / Devlins, Deftones / Limp 
   Bizkit, Deftones, Dismemberment Plan, Duran Duran, Hed P.E., , Irving 
   Plaza (New York City concert hall: http://www.irvingplaza.com), Jane's 
   Addiction, Jars of Clay / Plumb, Lords of Acid / Jack Off Jill, Holly 
   McNarland, Moby, Motley Crue, Moxy Fruvous, Old 97s, Oneida / Be/Non, 
   Pantera / Anthrax / Coal Chamber , Phish, Rolling Stones / Third Eye 
   Blind, Shelter, Jane Siberry, Sister Hazel, Stereolab / High Llamas, 
   Tsunami
THE READERS WRITE BACK! 
Back Issues of Consumable
---
	REVIEW: Finley Quaye, _Maverick A Strike_ (550 Music)
		- Lang Whitaker
	Being a lesser-known relative in a well-known family can 
be murderous (LaToya Jackson, we hardly knew ya), but with _Maverick 
A Strike_ under his belt, Finley Quaye shouldn't have any problems 
marking his own territory.  The family Quaye was born into has a 
pedigree talented enough to shame even the Osmond Family. Consider: 
Quaye's father is a jazz composer, his brother is a musician who's 
played with everyone from Hall and Oates to Elton John, and oh yeah, 
he has this nephew named Tricky who does this little electronic thing. 
On this, Quaye's debut album, Finley has crafted a sound textured and 
rich enough to make people fall in love all over the world.
	The term his label has settled on to describe _Maverick A 
Strike_ is "post trip-hop". That's just fine with Quaye, who rationalizes, 
"...it sounds very much like it's got a lot to do with the 60s & 70s 
reggae era. A rasta at its height is coverage, total coverage. Eclectic, 
Coverage before you come up with anything to say, before you come up with 
any aptitude. Before you come with any couthness or right-on or 
appropriateness, you've got to check the coverage."
	Consider the coverage checked. In fact, the coverage is checked 
hard enough that if this was hockey, Quaye would probably draw a game 
misconduct penalty.
	The first single off of the album is the glorious "Sunday 
Shining", a song which features shared writing credits from the 
23-year-old Finley and reggae legend Bob Marley. Quaye combines a 
ringing Oasis-like guitar with the reggae vocal style of Marley 
and a drumbeat that propels everything along. It's quite an amazing 
and beautiful sound.
        Almost every song on _Maverick A Strike_ is uplifting and 
redemptive. Love runs deep on this CD. I guess nephew Tricky got all 
the bad vibes in the family.  Quaye serenades a lover on "Even After 
All", which has a "Walk on the Wild Side" groove to it. Over a humming 
guitar, Quaye proclaims "Them eyes are gorgeous girl/ No demise I 
prize/ I got to raise it again/ Them eyes are gorgeous/ I must 
advance." His unique singing/rapping style is so herky jerky that 
you almost need a chiropractor. However, what he does vocally fits 
perfectly with the music, and that is what is so beautful about these 
songs.
	"It's Great When We're Together" blends an entire string 
section with a gospel organ to make a song that sounds like it was 
written for Al Green.  "Ride On and Turn The People On" is a rap song 
that tastes like Lenny Kravitz with a slight aftertaste of War. The 
title track, "Maverick A Strike" is straight reggae, a story of the 
return of the narrator to ease his lover's pain.
	Something else odd and probably worth mentioning is the fact 
that this album was co-produced by Quaye and Kevin Bacon. I don't know 
if it's "Quicksilver"/"Footloose" Kevin Bacon or not, but either way 
this makes Quaye much easier to link the next time you're playing 
"Six Degrees of Kevin Bacon".
	This is the kind of record that will drive product managers at 
Blockbuster Music stores all over the world totally nuts. While most 
music mega-stores will probably end up classifying this as a reggae 
record, don't judge the book by the Dewey Decmial system number it 
gets assigned. Get it, put it in, and turn it up. Way up.    
---
	REVIEW: Patti Smith, _Peace and Noise_ (Arista)
		- Joann D. Ball
	_Peace and Noise_ is Patti Smith's second release since 1996.  
And this is definitely a signal that she may again produce records with 
the frequency and intensity of her work with the Patti Smith Group 
during the 1970s.
	Having dealt with the grief of losing her brother and her beloved 
husband, Fred "Sonic" Smith, on the recent _Gone Again_, Smith now 
explores the past, present and future of America with characteristic 
passion and vision. With the help of a solid band comprised of Lenny 
Kaye (guitar) and J.D. Daugherty (drums) from the Patti Smith Group, 
and newcomers Oliver Ray (guitar) Tony Shanahan (bass), Smith rocks with 
a renewed sense of direction and energy.  And her writing is just as 
ambitious as it was over two decades ago, frequently blending spoken 
word with textured instrumentation.
	While Smith shares songwriting credits with at least one of her 
bandmates on 9 of the 10 tracks, the collaboration with Ray seems 
especially promising and produced four songs.
	The most accessible tracks on _Peace and Noise_ are the first 
three.  The record opens with the religious fervor of the multi-layered 
"Waiting Underground," which features prominent piano and a sample of 
"Prayer Meeting" from the Smithsonian Folkways recording _Negro Folks 
Music of Alabama, Volume II_.  Next are the two radio friendly rockers, 
the bass driven "Whirl Away" and the bouncy "1959."  While the latter 
celebrates the unfulfilled American Dream and promise of the fabulous 
fifties, Smith turns her attention to the beat generation on "Spell."  
Poetry meets rock as she uses the late Allen Ginsberg's footnote to 
"Howl" as lyrics over a mix of hypnotic guitars and percussion.  And 
on the streetwise hustle and shuffle of "Don't Say Nothing," a statement 
about personal responsibility, she fully captures Ginsberg's spirit.
	On "Dead City" Smith embodies grit and grime as she snarls and 
spews forth the lyrics through a swirl of guitars and over Shanahan's 
ass-kicking bass lines and Daugherty's tight beat.  On the lighter side, 
"Blue Poles" evokes classic Neil Young with its harmonica and acoustic 
country-folk rock feel. And it's followed by "Death Singing" is a 
charged wake up call about the AIDS epidemic.
	But the most adventurous track here is "Memento Mori," which 
was improvised live in the studio.  A ten-and-a-half minute epic about 
a helicopter accident during the Vietnam War, this communal effort is 
proof that Smith and her band are very much in synch.  Its a slightly 
funky, psychedelic journey that alternates between highs and lows and 
concludes in a high speed crash.  It segues right into the record 
closer "Last Call," on which lone guest artist Michael Stipe of REM 
provides hushed backing vocals, echoing Smith on this response to the 
Heaven's Gate suicides.
	Fans of Patti Smith Group masterpieces _Horses_, _Radio 
Ethiopia_ and _Easter_ will find much to enjoy on this record.  Smith 
is clearly in classic form here, thanks to a musical and spiritual 
solidarity with her four bandmates.  A record that demands the 
listener's complete attention, it is as cerebral as it is emotional.  
Thus, it may take those who prefer Smith's pop sensibilities, most 
evident on  _Wave_ and _Dream of Life_, and curious newcomers a bit of 
time and effort to fully comprehend.  But ultimately they too should 
find in _Peace and Noise_ an immensely rewarding piece from one of the 
last great rock poets.
---
	REVIEW: Deftones, _Around the Fur_ (Maverick)
		- Sean Eric McGill
	In the minds of many, the Deftones have always seemed to exist 
in the shadow of Korn. And while there are a few similarities between 
the two bands, with the release of _Around the Fur_ , the Deftones have 
now set themselves apart from not only Korn, but the rest of the 
harder-rock pack as well. And in the process, they have created the 
best harder rock album of the year.
	Vocalist Chino Moreno exhibits a vocal range on _Around the Fur_ 
that makes many of his contemporaries pale by comparison. He can 
still scream with the best of them, but there's a reason the Deftones 
were able to pull off a dead-on version of Duran Duran's "The 
Chauffeur". His voice can go from gentle to frightening in a second, 
and the band's music does the same thing.
	Songs like the album opener "My Own Summer (Shove It)" and 
"Rickets" show the harder edge of the band, while the title track and 
"MX" are the flip side of that coin. But the surprise of the album is 
without a doubt "Be Quiet and Drive (Far Away)". In one song, Deftones 
get to run through the range of their songwriting and performance 
abilities, and even get to sound a little like the Smashing Pumpkins 
in the process.
	Lyrically, _Around the Fur_ seems to be more preoccupied with 
interpersonal relationships and their problems than a simple dislike 
of the world. This is a welcome change in itself from a lot of their 
contemporaries, as well. While child abuse is truly a horrible thing, 
I just don't think I want to hear too many more songs about it, and 
the same goes for songs about how much the man is holding someone down.
	Overall, the Deftones, while already having a big following 
among rock fans, have released an album that should greatly increase 
that following. _Around the Fur_ has more depth and feeling than their 
earlier releases, and showcases more of the band's ability to craft 
quality songs. When suggesting albums to people, I always try to get 
an idea for what they're into beforehand. Not every Marilyn Manson fan 
will like the Rollins Band album, but I can't see where anyone with 
even the slightest interest in harder rock wouldn't love _Around the 
Fur_.
---
	REVIEW: AC/DC, _Bonfire_ (Elektra)
		- Chris Candreva
	AC/DC has released _Bonfire_, a 5 CD box set retrospective 
dedicated to their late singer Bon Scott. The set includes 3 CDs of 
live material, one of unreleased cuts and band picks, and a digitally 
remastered _Back In Black_, the first album released after Scott's 
passing.
	The first and strongest disk contains an 8 song radio 
concert, recorded live at Atlantic Studios in New York. Possibly due 
to the time restrictions, this is a tight, high-energy show. The 
other two disks of live material are from Let There Be Rock (The 
Movie), recorded live in Paris. These contain drawn out sections 
that probably go great with the antics Bon was known for on stage. 
Without the visuals, things start to drag by the third disk.
	Disc 4 , called _Volts_, contains five alternate lyrics, 
riffs and takes of well known songs, along with five favorite picks 
of the band ("Sin City", "She's Got Balls", "School Days", "It's a 
Long Way To The Top", and "Ride On"). No surprises here: AC/DC 
mixes and matches so much, you feel like you've heard these all 
before, and you probably have under a different title. 
	A twenty page biography of Bon Scott and AC/DC was included 
with our review copy. The final version is slated to include a 
collectors' reproduction of the original Back in Black artwork, 
Deluxe color book featuring many "rare and never seen" photos, and 
"A bunch of other goodies Bon would'be wanted you to have."
	This set will most likely be appreciated by serious AC/DC 
fans, if only for the live material. However, the prohibitive cost 
of a 5 disc set may not be worth it to some followers of the band. 
Frankly, I would have liked to have seen this as a 3 CD set, or 
possibly 1 single CD of the Atlantic session, and a 2 disc set of 
the Paris show. Most anyone with a passing interest in AC/DC will 
already own _Back In Black_, and there was probably a good reason 
Bon rewrote those other tracks instead of releasing them as-is.
	The printed material is by no means in-depth, but paints 
an honest picutre. Bon Scott liked booze, drugs, women, and 
rock-n-roll. He partied hard - and it killed him. No moralizing 
or posturing, this is what he was. Angus Young does admit, however 
"I think after Bon I felt horribly grown up in a way. When you're 
young you always think you're immortal and that time really spun 
me around."
	There's no Beatles: Anthology newness here. It's AC/DC 
being AC/DC. If you want five discs worth of that, get it all in 
one box.
---
	REVIEW: Soundtrack, _Trainspotting 2_ (Capitol)
		- Rey Roldan
	Like its impressive predecessor, _Trainspotting #2: Music from 
the Motion Picture Volume #2_ culls music from the dance underground, 
influential bands of the near past, and everyone’s rock icon, Iggy Pop.  
One distinctive trait that separates this from many other "volume 2’s" 
of soundtracks (i.e. "Romeo & Juliet", "Dirty Dancing", "Big Chill"), 
_Trainspotting #2_ isn’t so much a marketing ploy to cash into the 
demographic that bought into the first installment as it is a 
collection of well-chosen tracks that span the spectrum of "modern" 
music.  Like the soundtracks of John Hughes and Jonathan Demme, this 
second chapter is a cohesive unit by varied artists whose diverse 
sounds seemed to interlock naturally and tightly, without the 
constraints of differing genres and bpms.
	Represented by two tracks on this soundtrack, rock dinosaur 
Iggy Pop manages to sound fresh with material that is as wrinkled as 
his battered torso.  But it isn’t Pop that makes this second volume 
a worthy follow-up; it’s the electronic outfits whose moody textural 
atmospheres and pulsing rhythms strike up a sparkling fancy.  
Underworld (whose phenomenal "Born Slippy" was the backbone of both the 
film and the first soundtrack volume), is represented by two tracks: 
"Dark and Long (Dark Train Mix)" and "Born Slippy/NUXX (Darren Price 
Mix)".  The former who original version can be found on the seminal 
_dubnobasswithmyheadman_ formed the musical tapestry that hung like 
a pall over Renton’s heroin comedown in the film.  Taken purely as 
audio, it relays that same tense and head-pulsing emotion effortlessly, 
showcasing the mesmerizing, hypnotic quality that made their last 
full-length _Second Toughest of the Infants_ one of the most remarkable 
albums of last year.  Leftfield’s "A Final Hit" submerges the bass and 
sets the percussion in a cavernous spaciousness, opening up the 
claustrophobic, slightly derivative environment of Sleeper’s 
"Statuesque".  The pop-techno cum raga toasting of Ice MC’s "Think 
About the Way" has the majestic posturing of M People and the 
propulsive beats of 2Unlimited (and unfortunately, has more than a 
passing resemblance to the disco stylings of Bonnie Tyler).
	The representatives of previous decades, David Bowie’s 
"Golden Years", Heaven 17’s "Temptation", Fun Boy Three’s "Our Lips 
Are Sealed" and Primal Scream’s "Come Together" are all complementary 
tracks that find themselves snug within the rest of the album’s 
eclectic but well-meshed collection.  But it’s Joy Division’s 
"Atmosphere" (a personal favorite since forever) that pushes this 
album from being "just a well-constructed soundtrack" to being a 
perfectly-executed and expertly-sequenced compilation.  While other 
soundtrack sequels can be likened to similarly uneven B-sides 
collections, _Trainspotting #2_ is strong enough to stand on its 
own.  And in some respects like its mesmerizing opener "Choose 
Life" by PF Project featuring Ewan McGregor, it stands taller than 
its predecessor.      
---
	REVIEW: Tranquility Bass, _Let The Freak Flag Fly_ 
		(Astralwerks/Caroline)
		- David Landgren
	Imagine Santana and 10cc meets Transglobal Underground and The 
Orb.  If you can get your mind around the concept, you'll have an idea 
of what Tranquility Bass sounds like: one of the most extraordinarily 
vibrant dance records, tinged with blues and country, I've heard in a 
long time.
	The album opens up with "Five Miles High", a slice of funk that 
builds and builds in intensity, bursting out all over with all sorts 
percussion and brass. I can almost see the video clip: it's a live shot 
of the band, most of the musicians buried behind instruments and 
amplifier stacks. Then in comes this genuine Carlos Santana-style 
electric guitar, and you're hooked. Turns out, Tranquility Bass is not 
a cast of thousands... it's basically the work of Mike Kandel, backed 
up with a couple of friends, and a slab of electronic equipment. I 
think they call it deconstructed psychedelia.
	The second track, more subdued, draws a parallel with 
Transglobal Underground, with its arabic la-la-la's, woman singing 
"I know it's hard sometimes/But I'm the same as you" and croaking 
frogs. I swear they've sampled the "dooot" of an early Macintosh booting 
up, and then there's the effortless change of key drawing out the 10cc 
influences. All of which is solidly grounded on a sturdy backing of 
brass and percussion. This is followed by "The Bird", with its little 
fluffy Orb-like sample of a girl "I sit and think what God must look 
like", and the rappers chanting "Lord make us one, make us one". It 
swirls and pulses in six different directions, slowly spiralling down 
into immobility. This stuff sends shivers down my spine.
	And then, really strange, the fourth track is just a total 
anomaly.  "Soldier's Sweetheart" is a traditional song (vocals + some 
sort of banjo); the lament of a woman whose man heads off to World War 
I and is killed in action. I assume it has great personal importance 
to the artist, but it's a non sequitur to me. I tend to skip over it 
about 50% of the time. This also applies to the very last track on the 
album: "Lichen me to Wyomin'". I stop the CD if I'm near the player. 
No regrets.
	The gloom dissipates slowly through the murky stomp of "We All 
Want To Be Free!" Heavy-handed percussion, tired voices ("there's 
always someone in the crowd that just won't let us be"). Watch then, 
as things go spinning out of control in a blaze of sound on "Never 
Gonna End". This is definitely headphone material: check out the 
opening verse, where the left channel lyrics speak of youth and doubt, 
and the right channel lyrics speak of punishment and responsibility. 
Like the song says: "Give the freaks what they want." (and check out 
the cool electreatments to the voice). Irresistible.
	The album wraps up with two songs, "I'll Be Here" and the 
title track "Let The Freak Flag Fly". Interestingly, they share the 
same melody and rhythm. Replete with lots of Orb-ian sound-bites "I 
have a problem trying to find where I am in the world." or "I'm where 
I am, I'm what I am, and I don't know how else I can put it." And one 
of the best thirty-second guitar solos I've heard in a long time (i.e, 
the sixties I guess), as it segues into the title track.
	You're unlikely to hear any of this material on radio. Apart 
from the somewhat subversive nature of the message ("And if the 
children ask/it's just to free their minds/from the contstraints of 
space and time"... I wonder what he's talking about), the format is a 
long way from the three minute pop song: most of the tracks clock in 
at between seven to ten minutes. And in spite of the two dud tracks, 
I've bought three extra copies and given them to friends. So you should 
go out and buy one for yourself; you can't always count on a friend to 
slip you a copy. If your're still unconvinced, you can listen to some 
audio samples at the http://www.caroline.com/astralwerks/tranquility 
web site.
---
	REVIEW: Space Monkeys, _The Daddy Of Them All_ (Interscope)
		- Bob Gajarsky
	The sounds of Oasis, Happy Mondays, Stone Roses, Beatles, 
Chemical Brothers and jungle music all appear on one album.  Usually, when 
such a beast emerges in the music racks out of Britain, it's another of the 
_Absolute Best Alternative Album In The World...Ever!_ series.  This time, 
however, it's Manchester's Space Monkeys on their debut album, _The Daddy 
Of Them All_.
	The Liam Gallagher-like sneer on "Acid House Killed Rock And Roll" 
opens this musical cornucopia with an in-your-face attitude that doesn't 
let up.  In the band's words, "Some say it (acid house) did (kill rock 
and roll), some say it didn't.  Who gives a fuck?"  
	It's this same attitude that is pervasive throughout the entirety 
of _The Daddy Of Them All_.  Mixing up songs which border on pure genius, 
the Space Monkeys don't follow the rules on how to write songs - they 
make them.  DJ Tony Pipes' mixing, scratching, and keyboard parts offer a 
marked contrast to the acid-tinged guitars of lead vocalist Richard 
McNevin-Duff and Dom Morrison, and make the listener realise that sometimes, 
any hype in Britain is actually exceeded by the final product.
	"Sugar Cane" has a bit of the old De La Soul swagger mixed in with 
an insignificant sample from Public Enemy's "Bring The Noise".  The three 
samples which appear on _Daddy_ offer an insight into some of the 
non-Britpop music which the Monkeys have been listening to - the 
aforementioned P.E., Wu Tang Clan, and DJ Shadow.  But amazingly, these 
samples don't add much to the songs on which they appear - the Space Monkeys' 
energy and addictive beats have already built up killer tracks.
	"Ready For The Rampage" is what the Stone Roses could have become 
if John Squire had progressed forwards instead of leaning upon Led Zep for 
his new inspirations, while "Dear Dhinus" blends a backing jungle beat 
with a simple, light airy guitar-based foreground - and then quickly switches 
gear to the following track, "Smile America", in which the guitars - and 
jungle influences - become noticably stronger.
	The Space Monkeys claim that "We're not arrogant, we're confident".  
And with an album as rock-solid as this one, they have every reason to be.
The issue of Consumable with our writer's top 5 won't come out until next 
week, but here's a sneak preview of mine: _The Daddy Of Them All_ is my 
favorite album of 1997.
---
	REVIEW: Various, _Everybody Wants Some_  (Cherry Disc/Roadrunner)
		- Bill Holmes
	The Van Halen tribute begins and ends with two diverse yet equally 
stunning renditions of Eddie's finger-tapping showpiece, "Eruption", and 
in between lie fifteen of the most diverse interpretations of music found 
on any tribute record. Think of "E"'s unique take on "Jennifer Eccles" on 
the Hollies tribute as a benchmark. Yet somehow, amazingly, there are two 
songs here that could be hit singles in a better world.
	You have to imagine that any project "honoring" a band with front 
men like Sammy Hagar and Diamond Dave can't be all that reverential, and 
you're right (well, maybe that church organ rendition of "Eruption"!) 
Most of these Boston area bands took a wild stab and hit the bullseye. 
Trona's "Could This Be Magic" starts off the vocal selections, kicking 
in with a drum riff lifted from "Ballroom Blitz" and cruising through a 
cowpunk rendition with a vocal that's half Roaring Twenties, half Minnie 
Mouse (hmm...same era). Hell, she's gotta be better than Gary will be on 
VH3...
	Jajuya's "Jamie's Crying" combines Santana and War's "Spill The 
Wine"; "Mean Streets" by Elbow is all Dr. John and saucy bottleneck slide, 
and project head Captain Rock's version of Panama can only be likened to 
Chicago, on acid, with Frank Zappa producing. That's a compliment. Tom 
Leach gives "Dance The Night Away" a Poco-like twang spin, Talking To 
Animals takes "Everybody Wants Some" to Lounge land, and Red Time funks 
up "Beautiful Girls".
	Two songs here are so good they deserve to be bigger hits than 
the originals. Fuzzy's dead-on Ronettes impression absolutely Spectorizes 
"Feel Your Love", and the Gigolo Aunts' "Why Can't This Be Love" (despite 
being saddled with banal lyrics like "only time will tell if we can stand 
the test of time") gets the "That Thing You Do" treatment, right down to 
the bad sixties' harmonica.  These are two of the best songs I have heard 
all year! Unfortunately, the song that is getting the push is Mary Lou 
Lord's slow version of "Jump" - a great idea except Aztec Camera had a 
hit with the exact same arrangement over ten years ago. Call that radio 
station, kids! Vote for Fuzzy and the Aunts!!
	Okay, so there's no information on the band members and they 
printed the booklet backwards (or maybe it's the first booklet made for 
southpaws). Nit picking - this album is a friggin' riot, whether you love 
or loathe Van Halen (I'd bet it appeals more to the latter). One of the 
best tributes ever, and I've heard them all. Liner notes indicate there 
are enough tracks in the can for Volume Two - let's hope so!
---
	REVIEW: Olive, _Extra Virgin_ (RCA)
		- Joann D. Ball
	Olive is keyboardist Tim Kellett and vocalist Ruth-Ann 
Boyle. This dynamic duo from Northern England produce a distinct sound 
that is best described as trip-pop, since it unites the ethereal 
stylings of trip-hop with melody.  More than just ambient sounds, 
Olive combines an adventurous mix of drum 'n' bass, jungle and reggae 
dub with British soul on their debut release _Extra Virgin_.
	Combining current forms of British dance music with soul is a 
natural move for Olive, given Kellett's tenure as keyboardist for 
Simply Red and Ruth-Ann's rich and sensual vocals.  What is unexpected, 
though, is the use of horns which add a jazzy touch and the 
incorporation of live strings. The strings are courtesy of The Duke 
Quartet, which last added the classical touch to the Pretenders' 
stripped-down offering _The Isle of View_.
	The variety of ingredients makes Olive's musical cocktail 
extremely pleasurable and listenable.  But the twelve tracks on _Extra 
Virgin_ are meant to be much more than pretty background music.  
Complementing the instrumentation are intelligent and insightful 
lyrics which engage the listener.  Kellett writes from a feminine 
point of view, and Ruth-Ann interprets his words with incredible 
emotion and feeling.  The result is a collection of stories about 
such universal human experiences as longing ("This Time"), love 
("Falling"),  adultery ("Curious") and relationships ("You Are Nothing").
	The first single and smash hit from _Extra Virgin_, is the 
intoxicating "You're Not Alone."  Featuring Ruth-Ann's almost a capella 
vocal over strings and a dub beat, the song stands out from anything 
currently in rotation at American alternative and dance music radio.  
A follow-up single has not yet been selected, but there are at least 
several more excellent choices here, including the bright, upbeat 
"Outlaw."  Despite being extremely radio friendly, the songs on the 
release still have a hip club vibe, making them ripe for dancefloor 
remixes.
	But the essence of Olive is best experienced in long form.  As 
a complete collection of twelve beautiful soundscapes, _Extra Virgin_ 
is a trip-pop relish from the slow grooves of "Miracle" to "I Don't 
Think So," the final track which ends with the demo version of "You're 
Not Alone."
---
	REVIEW: Dubstar, _Goodbye_ (A&M)
		- Bob Gajarsky
	Lazy critics have compared them to the Smiths and Pet 
Shop Boys, but a more appropriate comparison for Britain's Dubstar 
is the non-political lyrics of Billy Bragg (noting that's a rare 
feat, indeed) combined with Kirsty Macoll's vocals.  The Bragg 
comparison comes as no surprise to anyone who's spoken to 
lyricist and keyboardist Steve Hillier.
	"There isn't another band dealing with this (lyrical) 
subject matter," notes Hillier.  "My favorite songwriters are 
people like Billy Bragg and the Red House Painters; they sing 
about specific things that mean something to them and communicate 
that well to the listener."
	Melancholy lead vocalist Sarah Blackwood does just that on 
the band's most recent album, _Goodbye_.  Like a whirlpool, Dubstar's
music sucks the listener in and won't let go.  The light sounds would 
work both at the early evening hours of a club as well as during 
the afternoon hours of an adult alternative radio station.  Because of 
this distinct audience, American radio has had a hard time discerning 
exactly *where* to fit Dubstar into their formats.  I'd suggest simply 
programming it into AAA, and letting the wonderful pop music do the talking.
	The highlight of this 17 (!) song selection is the first single, 
"Stars", which is a biographical tale of a musician's life.  Hilliard 
explains, "You're playing away and no one is paying attention.  You've 
put your heart into it and it's not working.  It's a desperate song, 
from a sense of failure...the stars are a metaphor for your dreams (which) 
are fading."
	Dance remixes of the singles "Not So Manic Now" and "Stars" 
offer immediate comparisons to Todd Terry's mixing work for Everything But 
The Girl, but it's best not to get caught up in the British hits.  
Rather, let _Goodbye_ envelop you and take over your mind.  After just one 
listen, you'll be glad you did.
---
	REVIEW: The Toms, _The Toms_ (Not Lame Archive Series)
		- Bill Holmes
	The first entry in Bruce Brodeen's dust-off-some-worthy-classics 
project celebrates the joyous pop of Tom Marolda. Yes, that's "Toms" as 
in Tom playing this, Tom playing that - a start-to-finish 1979 DIY job 
that makes me wonder one thing - how could a guy who writes songs like 
these not be heard from again? Unfortunately, I know the answer to that 
question, which is why I'm happy that Not Lame Recordings is trying to 
erase that mistake.
	I could think of a thousand comparisons to make, and all of them 
would be right. The melody structure is pure 60's Britpop influence. Think 
Kinks, Beatles, Badfinger, Searchers - classic Rickenbacker pop songs that 
should have been cascading out of car radios everywhere. Tom's double 
tracked harmonies transcend very good pop songs into great pop songs. 
"Other Boys Do" would have kept The Knack's career afloat. Listen to 
"The Door" and tell me Badfinger isn't alive and well. Ditto Dwight 
Twilley on "You Put Me Up To This". Makes one nostalgic for eighteen 
years ago, when "hit radio" was full of songs, not trends.
	The production is a little dusky in spots, but considering it 
was recorded in a home studio, it's pretty crisp under the surface. 
Occasionally ("The Flame") it will sound like you're listening to an 
old 45 RPM that's just slightly oval...but so what? Listen to the pure 
Beatle-esque majesty of "Let's Be Friends Again" and "Think About Me" 
and "I Cannot Spot You" and you'll soon focus on the essence and not the 
wrapping. Nineteen songs, and with the possible exception of the gimmicky 
"Hook" (a song about a song), not a clunker among them.
	This is an amazing pop record, an historical document that 
belongs in every pop collection. So I ask again - where is Tom, and how 
quickly can we get him into the studio? I'd say he's due for another shot at 
the brass ring. (contact Not Lame on the Internet at popmusic@notlame.com 
or visit at http://www.notlame.com )
---
	REVIEW: The Ramones, _We're Outta Here_ (MCA)
		- Chris Candreva
	The Ramones have always seemed to me like two bands. 
In the studio, I've always thought they owed more to the Motown 
sound and Phil Specter then to Sex Pistols Punk. There's actually 
a melody in there. Sped up, distorted, but you can hear it.
	The times I've seen them live, however, I've wondered if 
this was the same band. It's lounder, it's faster, it's raw, 
it's powerful - it's incomprehensible. You were lucky if you 
could figure out what song they were playing at any given point 
in the show. The first time I attributed it to a sucky sound 
system (Joey kept motioning off stage, and finally threw his 
mike down and walked off stage in disgust. The replacment mike 
was no better.), but EVERY TIME ?
	After hearing _We're Outta Here_, I now know the answer: 
Whoever does their stage sound doesn't know a sound board from a 
cutting board. This is what a live show should sound like. 
Twice as fast, three times as hard - but you can still tell 
what the hell song you are listening to. We're not talking 
hi-fidelity here: Our copy came on a cassette tape, and frankly 
I can't see a CD sounding any better. Recorded at their last 
show at the Palace in Hollywood, CA, This captures the feeling 
of seeing the Ramones in a club - with a competent sound man.
	Are The Ramones gone for good ? Who knows, but even the 
rumor is as good an excuse as any for a live album. This is a 
must have for any Ramones fan. Keep a copy in the car for long 
highway drives.
---
	COMPILATION REVIEWS:
		- Bob Gajarsky

	REVIEW: John Mellencamp, _The Best That I Could Do 1978-1988_ (Mercury)

	As the title of this album suggests, _The Best That I Could Do_ 
is a compilation of the first half of John (Cougar) Mellencamp's career.  
While most greatest hits collections are summaries up to the present time, 
Mellencamp chose to limit this one to the first half of his career - thus 
ensuring future album sales of recent discs such as _Mr. Happy Go Lucky_.
	While Mellencamp grudgingly gains critical respect, he has also lost 
much of the commercial luster which greeted such monster hits as "Jack And 
Diane", "R.O.C.K. In The U.S.A." and "Hurts So Good".  As the mid 1980s 
approached, Mellencamp's had sound shifted from imitations of his heroes 
(Rolling Stones, Chuck Berry) to the voice of the Midwestern-person and a 
sound uniquely his own - and the American public ate it up.
	Here, then, we get a quick glimpse at how John was able to 
effortlessly weave the straight-ahead guitar sound which also catapulted 
Bruce to stardom with violins, accordions, and other instruments not usually 
associated with rock.  Every song (but one) included here is instantly 
recognizable to anyone over the age of 18, as tracks such as "I Need A 
Lover" have aged wonderfully.  That one exception - a cover of Terry 
Reid's "Without Expression" - comes off a bit weaker than his classic hits.
	The unfortunate part of this collection is some of the omissions; 
"This Time", one of his early breakthrough hits, is omitted, as are "Hand 
To Hold On To", a beautiful B-side cover of "Under The Boardwalk", and 
several hits from _Scarecrow_ and _Lonesome Jubilee_.  And for a man as 
successful as John Mellencamp, 57 minutes of hits from his first decade 
somehow doesn't do him justice.
	The liner notes, penned by Billboard editor Timothy White, are a 
joy to read.  White offers the buyer a rare glimpse into many facets of 
the self-proclaimed "Little Bastard" by chronicling the Mellencamp tree 
and the influences behind many of the hit singles.
	All in all, this collection could have been better by chronicling 
more of the Mellencamp hit parade.  But for an artist this popular, 
nitpicks are almost always inevitable.  Well worth a listen in this 
holiday season.

	TRACK LISTING: I Need A Lover, Ain't Even Done With The Night, 
Hurts So Good, Jack And Diane, Crumblin' Down, Pink Houses, Authority Song, 
Lonely Ol' Night, Small Town, R.O.C.K. In The U.S.A., Paper In Fire, 
Cherry Bomb, Check It Out, Without Expression


	REVIEW: Saw Doctors, _Sing A Powerful Song_ (Paradigm)

	Ah, but you haven't heard of the Saw Doctors, have ye?  
With none of their previous three albums seeing the light of day 
in the United States, this wouldn't be the least bit surprising - 
but the Saw Doctors have already got a loyal following in 
the Irish-American communities, or among transplanted Europeans.
	And with the release of _Sing A Powerful Song_, highights 
of the three previously-released albums are now available on one 
disc.  The seventeen songs encompassed here shy away from the 
political songs which seem to be more normal among Irish exports 
and instead focus on love songs, favorite roads and the like.
"I Useta Lover", one of the top selling singles in Irish history, 
is the type of song which can (and has) get a room full of people 
to start dancing uncontrollably - even if the people have no 
prior knowledge of the band.  
	Sort of a Tommy Makem / Clancy Brothers (for the 90s) 
meeting the Pogues with the charisma and live performance of 
the 1980s Springsteen, the Saw Doctors represent a welcome, 
bouncy change from downtrodden angst.  _Sing A Powerful Song_ 
is guaranteed to get you out of that chair and take notice of 
this talented four piece Irish group.

	TRACK LISTING: Green And Red of Mayo, It Won't Be Tonight, 
Wake Up Sleeping, Macnas Parade, What A Day, Hay Wrap, N 17, 
Exhilirating Sadness, Red Cortina, Clare Island, To Win Just Once, 
Share The Darkness, Same Oul' Town, Never Mind The Strangers, Why 
Do I Always Want You, Sing A Powerful Song, I Useta Lover


	REVIEW: Joan Jett, _Fit To Be Tied_ (Mercury)

	Back in the mid 80s, Joan Jett was such a hot commodity amongst 
the rock crowd that MTV had *2* of her singles, at the same time, as MTV 
exclusives.  The fact that neither song ("I Love You Love Me Love", "I 
Need Someone") is included here only showcases how underappreciated she 
is in the eyes of the public.
	Combining an attitude which would make Chuck Berry proud, Jett's hits 
ranged from covers of glam rocker Gary Glitter ("Do You Wanna Touch Me"), 
Tommy James ("Crimson And Clover") and "I Love Rock N Roll", to her own 
songs such as "I Hate Myself For Loving You" and "Bad Reputation.  When 
capturing the essence of other people's songs, Jett brought a high level of
rock and roll enthusiasm to each cut - often times better than was ever 
originally intended.  And in light of Sly & The Family Stone's "Everyday 
People" being used for a commercial, one could expect Jett's energetic 
cover of this song to receive additional radio airplay.
	The previously unreleased "World Of Denial" (as well as different 
versions of "Roadrunner", "I Hate Myself For Loving You" and "Little Liar") 
are some of the 'new' songs which appear here.  The cover of the Mary Tyler 
Moore song "Love Is All Around" offers an alternate view - somewhere to the 
right of Husker Du's timeless version - of this 'classic' tv show theme.
	Rock and roll is in good hands as long as Joan Jett is still 
performing.

	TRACK LISTING: Bad Reputation, Light Of Day, Do You Wanna Touch Me, 
Roadrunner, I Love Rock N Roll, Victim of Circumstance, Everyday People, 
I Hate Myself For Loving You, Crimson And Clover, Fake Friends, Make 
Believe, Cherry Bomb, Little Liar, World Of Denial, Love Is All Around


	REVIEW: Sinead O'Connor, _So Far - The Best Of_ (Chrysalis)

	With the closing of the United States EMI offices this year, 
many artists' careers were thrown into a temporary limbo.  And while 
a Garth Brooks delayed his album until publicity departments and 
other promotional avenues were in place at other labels, artists 
who had *just* released discs - such as Sinead O'Connor - got the 
short end of the stick.  And when Sinead's last album (the _Gospel 
Oak_ E.P.) didn't achieve her expected level of sales, she departed 
for Sony.
	_So Far - The Best Of_ traces her history on Chrysalis / EMI.
While it's clear that Sinead can perform brilliant 'hit' songs 
("Mandinka", "Emperor's New Clothes", "I Want Your Hands On Me", 
Prince's "Nothing Compares 2 U"), it appears as if Ms. O'Connor 
doesn't want to pursue that direction.  So outside of the aforementioned 
hits, the rest of the album highlights the direction in which we can 
expect her career to follow.  Her work with Bomb The Bass on "Empire" 
stretches her defined limits, and the Clyde Stubblefield / James 
Brown sample on "I Am Stretched On Your Grave" - recorded in the middle 
of the Brown sampling craze - still stands the test of time.  And, 
her poignant cover of "Don't Cry For Me Argentina" would allow 
O'Connor - her shaved head notwithstanding - to appear completely at 
home in front of a debonair audience wearing tuxedos and thousand 
dollar evening gowns.
	Like David Byrne, Sinead's creative output hasn't stopped 
flowing, but has merely expanded into more non-conventional directions.  
_So Far_ does an excellent job of capturing many of the angles of 
this multi-faceted woman.

	TRACK LISTING: Nothing Compares 2 U, Mandinka, Emperor's New Clothes, 
The Last Day Of Our Acquaintance, Fire On Babylon, Troy, I Am Stretched On 
Your Grave, Success Has Made A Failure Of Our Home, John I Love You, Empire, 
I Want Your Hands On Me, Heroine, Don't Cry For Me Argentina, You Made Me 
The Thief Of Your Heart, Just Like U Said It Would B
---
	REVIEW: BMX Bandits, _Theme Park_ (Big Deal)
		- Rey Roldan
	Now darn near 12 years old, Scotland's unsung heroes of cutesy 
pop BMX Bandits have ventured Stateside and are all-the-more ready for 
the onslaught.  _Theme Park_ encompasses the cuddlecore aesthetic w
ithout falling on its twee smiley smiles and its cheeky cheeks.  
Wielding huge pop hooks and simple but very potent melodies, BMX 
Bandits have scored a winning victory with chimy guitars and 
heartless but not disinterested vocals.
	Sounding quite like the Scottish equivalent to New Zealands 
own unsung popsters The Bats, this ever-shifting and ever-evolving 
band has always been about the musical genius of sole original 
member Duglas Stewart.  Like an indie pop equivalent of John Mayall, 
Stewart has nurtured and help start the careers of prodigies who 
have since surpassed his own success.  Being the godfather of 
Shaggy/Baggy Trousers indie dance, hes held house for the likes of 
Sean Dickson and Jim McCulloch (Soupdragons), Norman Blake (Teenage 
Fanclub), Joe McAlinden (Superstar), and Eugene Kelly and Gordon Keen 
(Eugenius).  Now teamed with Francis McDonald (whose worked with Melody 
Dog and Boy Hairdressers), Stewart has reached deep into his pockets 
and pulled out gems like the Byrdsy "Girl Next Door" and the 
tribal-beated "Nuclear Summertime".
	As fey as he sometimes comes across, like on the cloying "I 
Wanna Fall in Love" (featuring guest vocalist Kle) and the Burt 
Bacharach-y "Love Makes the World Go Round", BMX Bandits seem to 
easily overcome the smarminess with a seemingly genuine appreciation 
for pure pop constructions and a clear hats-off to Big Star.  But its 
the winning "Before the Blue Moon" with a loungy, luau vibe and 
the bouncy "In the Afterglow" that are just so feel-good and clever 
that they merit the band a place in the Perfect Euro Pop Realm that is 
occupied by Trashcan Sinatras, The Dylans, Five Thirty and The Las.
        As their first foray and introduction into the US market, 
_Theme Park_ may not be thrilling as the latest zero gravity 
rollercoaster or stomach-turning Tilt-a-Whirl.  But sometimes, it's nice 
to ride the carousels and merry-go-rounds and devour cotton candy by 
the handful.  And rides like that that make me smile.
---
	REVIEW: Terry Draper, _Light Years Later_ (Permanent Press)
		- Bill Holmes
	Short history lesson for you young'uns - In 1977 Kiss wore 
makeup and everyone thought Klaatu were the Beatles in disguise (after 
all, no one ever saw Badfinger and Klaatu at the same time!). Fast 
forward twenty years to the present - Klaatu photos prove they were not 
the Beatles, Kiss without greasepaint is downright scary, so they slap 
it back on and tour the world. Oh well...
	Canadian Terry Draper, an original Klaatu member, is back with a 
sugary pop record that even features fellow Klaatuites Dee Long and John 
Woloschik on three tracks. The songs themselves span almost the twenty 
year period, and although they won't get the Beatle police out in force, 
Draper has a good knack for arrangements that flesh out his melodies. 
The former drummer plays several instruments well, and guest guitarist 
Grant Fullerton absolutely torches the bluesy "Here's To You". Song 
style is all over the map, from the Moody Blues-Supertramp-Kansas 
waltz-rock to a cop of Jay & The American's version of "Come A Little 
Bit Closer" in "Back To Acapulco". Much of the record has a 70's feel, 
but that's almost to be expected considering the source.
	Draper's weakness is in his lyrics. Granted, pop songs can be 
about almost nothing ("Hang On Sloopy", for example), but majestic 
arrangements are usually meant to frame something. "Winter In Peru", 
Draper's personal version of "Cold Turkey", drones without the pain, 
although that may be a result of writing under that very influence. 
Lines like "friendship is the best ship that we know" help sink (no pun) 
an otherwise enjoyable "We're Not Alone".  Draper is better when he 
writes ballads like "Be With You" and "Come Back To Me", love pleas in 
a sweet and low setting.
	A few live tracks are included, as well as two bonus tracks from 
an upcoming children's album called "Terry's Tunes". I predict that will 
fare better than this outing, as Draper's natural sunny disposition and 
soft-sell vocals work better in that format. Klaatu fans will no doubt 
be thrilled to hear this record, but it's not consistent enough to make 
a statement for Draper as a solo act of note.
---
NEWS:	> Echobelly may not have a U.S. record deal, but they do have 
an unofficial web site at http://www.echobelly.com
	> Jars of Clay's holiday song, a cover of the classic 
"Little Drummer Boy", has recently been released as a commercial 
single.  The Drummer Boy EP will also contain 2 unreleased tracks, 
"BLind (Fluffy Sav Mix)" and "Wicker Baskets".
	> Sister Hazel's self-titled album has recently been 
reissued by Universal.
 	> Moe Tucker, drummer in the Velvet Underground,
will have two independent releases in December.  An EP CD includes
versions of the Phil Spector songs "Da Doo Ron Ron", "Be My Baby",
"To Know Him Is To Love Him" and "Then He Kissed Me", while a
single CD includes new versions of "I'm Sticking With You" and
"Afterhours".  Further information on these CD's and other projects 
is available at http://www.spearedpeanut.com/tajmoehal
---
TOUR DATES (Please confirm with site before travelling):
	Catherine Wheel
Dec. 4 Kitchener, ON Lyric
Dec. 5 London, ON Nac
Dec. 6 Cleveland, OH Odeon
Dec. 8 Washington, DC 930 Club
Dec. 9 New Haven, CT Toad's Place
Dec. 10 New York, NY Irving Plaza
Dec. 13 Philadelphia, PA Theatre of Living Arts
Dec. 14 Toronto, ON Warehouse
Dec. 16 Pontiac, MI Clutch Cargo's

	Paula Cole / Devlins
Dec. 4 Burlington, VT Flynn Theatre
Dec. 5 Oneonta, NY SUNY/Oneonta
Dec. 6 Upper Darby, PA Tower Theatre
Dec. 7 Durham, NH Univ. of NH
Dec. 9 South Hadley, MA Chapin Theatre
Dec. 11 Syracuse, NY Backstage Ballroom
Dec. 12 Morristown, NJ Community Theatre
Dec. 13 Pittsburgh, PA Metropol

	Deftones / Limp Bizkit
Dec. 5 Pontiac, MI Clutch Cargos
Dec. 6 Chicago, IL Metro
Dec. 7 Des Moines, IA Super Toads (KAZR show)
Dec. 9 Minneapolis, MN First Avenue
Dec. 10 Omaha, NE Ranch Bowl
Dec. 11 St. Louis, MO Galaxy
Dec. 12 Kansas City, MO Guitars

	Deftones
Dec. 13 St. Paul, MN Wilkens Center (93X show)
Dec. 14 Albuquerque, NM Launch Pad
Dec. 16 Reno, NV Pioneer Theatre

	Dismemberment Plan
Dec. 7 Kalamazoo, MI Club Soda
Dec. 8 Cleveland, OH Grog Shop 
Dec. 10 Providence, RI Met

	Duran Duran
Dec. 5 San Jose, CA San Jose Rec
Dec. 6 Sacramento, CA Memorial Aud
Dec. 8 San Diego, CA Spreckles
Dec. 9 Los Angeles, CA Universal Amphitheatre
Dec. 11 Chicago, IL Q101 Radio Show

	Hed P.E.
Dec. 12 Pocatello, ID Roache Motel
Dec. 13 Bozeman, MT Zebra Lounge
Dec. 14 Missoula, MT Jay's Upstairs
Dec. 15 Helena, MT Fat Boy and Charlie's
Dec. 16 Spokane, WA Outback Jack's

	Irving Plaza (New York City concert hall: http://www.irvingplaza.com)
Dec. 4 Moby
Dec. 6 Sick Of It All
Dec. 10 Catherine Wheel
Dec. 12 Crystal Method

	Jane's Addiction
Dec. 4 Phoenix, AZ Mesa Amp.

	Jars of Clay / Plumb
Dec. 4 Austin, TX Austin Music Hall
Dec. 6 Dallas, TX Bronco Bowl
Dec. 7 St. Louis, MO American Theatre

	Lords of Acid / Jack Off Jill
Dec. 4 Orlando, FL The Embassy 
Dec. 5 Atlanta, GA Masquerade 
Dec. 6 New Orleans, LA Howling Wolf 
Dec. 8 San Antonio, TX White Rabbit 
Dec. 9 Houston, TX Theatre at Baylor Place
Dec. 10 Austin, TX Liberty Lunch 
Dec. 11 Dallas, TX Deep Ellum Live
Dec. 14 Los Angeles, CA Palladium (with KMFDM, and Rammstein)

	Holly McNarland
Dec. 4 New Orleans, LA House of Blues	

	Moby
Dec. 4 New York, NY Irving Plaza
Dec. 6 Philadelphia, PA Theater For Living Arts
Dec. 8 New Haven, CT Toad's
Dec. 10 Boston, MA Axis

	Motley Crue
Dec. 5 Boise, ID Boise State Univ. Pavilion (w/Hed P.E.) 
Dec. 6 Salt Lake City, UT E Center (w/Hed P.E.) 
Dec. 9 Tucson, AZ Tucson Convention Ctr. Arena (w/Hed P.E.) 
Dec. 10 Phoenix, AZ American West Arena (w/Hed P.E.) 
Dec. 11 Albuquerque, NM Tingley Coliseum (w/Hed P.E.) 

	Moxy Fruvous
Dec. 4 Clinton, NY Fillius Events Barn
Dec. 5 Syracuse, NY Styleen's Rhythm Palace
Dec. 7 Northampton, MA Iron Horse

	Old 97s
Dec. 4 Oklahoma City OK VZD's 
Dec. 6 Lawrence, KS The Bottleneck 

	Oneida / Be/Non
Dec. 4 Rochester, NY Bug Jar
Dec. 6 Middlebury, VT Gamut
Dec. 7 Boston, MA Kirkland Cafe
Dec. 9 New York, NY knitting factory (w/Sunday Puncher, Bailter Space)
Dec. 10 Philadelphia, PA Upstairs At Nicks
Dec. 12 Durham, NC Duke Coffee Shop
Dec. 13 Winston Salem, NC Warehouse
Dec. 14 Philadelphia, PA Balcony 
Dec. 15 Arlington, VA Galaxy Hut

	Pantera / Anthrax / Coal Chamber 
Dec. 4 W. Palm Beach, FL West Palm Beach Aud.
Dec. 5 Tampa, FL Expo Hall
Dec. 7 Biloxi, MS Miss. Coast Coliseum

	Phish
Dec. 5 Cleveland, OH CSU Convocation Ctr.
Dec. 6 Detroit, MI Palace of Auburn Hills
Dec. 7 Dayton, OH Ervin J. Nutter Ctr. - Wright St. Univ.
Dec. 9 State College, PA Bryce Jordan Ctr.
Dec. 11 Rochester, NY Rochester War Memorial
Dec. 12-13 Albany, NY Pepsi Arena

	Rolling Stones / Third Eye Blind
Dec. 5 Miami, FL Orange Bowl 
Dec. 9 Atlanta, GA Georgia Dome

	Shelter
Dec. 4 Cleveland, OH Euclid Tavern
Dec. 6 Chicago, IL Fireside Bowl
Dec. 7 Detroit, MI St. Andrews Hall

	Jane Siberry
Dec. 4 New York, NY Town Hall
Dec. 5 Boston, MA Somerville Theater
Dec. 6 Northampton, MA Iron Horse
Dec. 7 Philadelphia, PA Painted Bride Arts Center
Dec. 9 Los Angeles, CA Billboard Live
Dec. 10 Santa Rosa, CA Luther Burbank Center
Dec. 11 San Francisco, CA Great American Music Hall
Dec. 12 Seattle, WA King Kat Theater
Dec. 13 Vancouver, BC Vogue Theater
Dec. 15 Ottawa, ON National Arts Center
Dec. 16 Guelph, ON Church of Our Lady

	Sister Hazel
Dec. 6 Atlanta, GA Roxy

	Stereolab / High Llamas
Dec. 5 Atlanta, GA Cotton Club
Dec. 7 Washington, DC 9:30 Club
Dec. 8 Philadelphia, PA Trocadero
Dec. 9 New York, NY Tramps

	Tsunami
Dec. 4 Charlottesville, NC Tokyo Rose
Dec. 5 Washington, DC Black Cat 
---
THE READERS WRITE BACK! (Dave Matthews / Errata)
	> I don't mean to be rude or anything, but the LARR CD is 
8-15-95, not 8-24.  Also, "Granny" is not on LARR. It was in the 
8-24 concert, because I have that tape as well.  However DMB did
not play this song on 8-15.  I would disagree with the statement 
you made about Tim Reynolds.  You said, "His presence infuriates many 
fans, who point out that he is not officially in the band."   Most 
people love to hear Tim's intricate guitar style and believe that
he is a great addition to the band.  People search specifically for 
DMB shows with Tim playing at them. - Matt

Matt - Thanks for the catch on that.  Here's someone who slightly 
disagrees with your assesment.

	> Your review of the Dave Matthews Band's latest release was 
very refreshing. Concise and musically informative, this review captures 
the magic of Dave Matthews and his fellow band members.  I especially 
appreciated the musical insight used to describe each member's addition 
to the band's sound.  It's time that music critics recognize the band's 
talent rather than their mainstream appeal.  I now know that there are 
indeed music critics who actaully know something about music.
Thank you - Christopher M., Wyoming
---
Founded in August, 1993, Consumable Online is the oldest continuous
collaborative music publication on the Internet.
To get back issues of Consumable, check out:
        WWW:     http://www.westnet.com/consumable
        (Delphi) Music Fandom forum; GO ENT MUSIC

To subscribe to Consumable, send an e-mail message to
consumable-request@westnet.com with the body of the message stating
"subscribe consumable".  To unsubscribe, send a message to the
same address stating "unsubscribe consumable".

Web access contributed by WestNet Internet Services (westnet.com),
serving Westchester County, NY.

Address any written correspondence to Bob Gajarsky, Consumable Online,
409 Washington St. #294, Hoboken, New Jersey 07030
===
