== ISSUE 193 ====  CONSUMABLE ONLINE  ======== [November 23, 1999]

  Editor:             Bob Gajarsky
                         E-mail: editor@consumableonline.com
  Managing Editor:    Lang Whitaker
  Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim 
                      Kennedy, Al Muzer, Joe Silva 
  Correspondents:     Michelle Aguilar, Christina Apeles, Niles J. 
                      Baranowski, Mike Bederka, Jason 
                      Cahill, Matthew Carlin, Patrick Carmosino, John 
                      Davidson, Andrew Duncan, Krisjanis Gale, Paul 
                      Hanson, Chris Hill, Eric Hsu, Scott Hudson,   
                      Steve Kandell, Reto Koradi, Robin Lapid, Wes 
                      Long, I.K. MacLeod, Wilson Neate, Mike Pfeiffer,  
                      Linda Scott, Don Share, Scott Slonaker, Kerwin So,  
                      Chelsea Spear,Jon Steltenpohl, Michael Van Gorden, 
                      Simon West
  Technical Staff:    Chris Candreva, David Landgren, Dave Pirmann

 Address all comments to staff@consumableonline.com ; subscription 
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	All articles in Consumable remain (C) copyright their author(s). 
Permission for re-publication in any form must be obtained from the 
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                            .------------.
                            |  Contents  |
                            `------------'
REVIEW: Foo Fighters, _There is Nothing Left to Lose_ - Steve Kandell
REVIEW: Ani DiFranco, _To the Teeth_ - Jon Steltenpohl
REVIEW: Beastie Boys, _The Sounds of Science_ - Bob Gajarsky
REVIEW: Live, _The Distance to Here_ - Scott Hudson
INTERVIEW: Marshall Crenshaw - Michael Van Gorden
REVIEW: Marshall Crenshaw, _# 447_ - Michael Van Gorden
REVIEW: Alanis Morissette, _Unlpugged_ - Bob Gajarsky
REVIEW: Type O Negative, _World Coming Down_ - Andrew Duncan
REVIEW: Counting Crows, _This Desert Life_ - Linda Scott
REVIEW: Perry Farrell, _Rev_ - Bob Gajarsky
REVIEW: Violent Femmes, _Live_ - Paul Hanson
REVIEW: Stroke 9, _Nasty Little Thoughts_ - Linda Scott
LIVE REVIEW: Godhead, Mortiis, Christian Death - Mike Pfeiffer
REVIEW: Gin Blossoms, _Outside Looking In - Best Of_ - Bob Gajarsky
REVIEW: Various Artists, _Best of Moog_ - Mike Pfeiffer
REVIEW: Supafuzz, _Supafuzz_ - Paul Hanson
REVIEW: Peter Urlich, _Pathways and Dawns_ - Mike Pfeiffer
NEWS: Bob Marley Tribute, Reel Big Fish, Sally Taylor, Perry Farrell
TOUR DATES: Alaline Trio, John Digiweed, Ben Harper, Ben Lee, Mike Ness, 
   Westbam
Back Issues of Consumable
---
	REVIEW: Foo Fighters, _There is Nothing Left to Lose_ (RCA)
		- Steve Kandell
	It's strange to think that playing drums in one of the most 
influential rock bands of the past twenty years would be little more 
than a footnote in someone' career, but that's what's starting to 
happen to Dave Grohl.  With the release of the third Foo Fighters 
album, _There is Nothing Left to Lose_, he has now equalled the entire 
output of his former band (not including live and b-side compilations), 
and Grohl only played on two of those.  In 1995, comparisons were 
inevitable, but enough time has passed that Foo Fighters can finally 
be judged on its own faults or merits, and the matter of Grohl's 
previous gig has become oddly irrelevant.
	The self-titled debut Foo Fighters album, on which Grohl wrote 
and played everything, was something of a revelation as Grohl turned the 
tragedy of Cobain's death and Nirvana's subsequent demise into a 
personal triumph.  Who would have thought that the guy flailing behind 
the drum set would turn out to be such an accomplished pop songwriter? The 
follow-up, _The Colour and the Shape_, delivered on the promise of the 
debut and established Grohl as a legitimate rock star in his own right, 
a label that, unlike his two former bandmates, he was more than 
comfortable wearing.
	Recorded at Grohl's home studio in Virginia, what makes the new 
album work so well is Grohl's infallible ear for hooks.  From the 
grinding opening riff to "Stacked Actors" to the infectious lead 
single, "Learn to Fly," the eleven tracks are pop songs in the best 
sense of the word.  Without resorting to obvious ballads, the songs 
are radio-friendly and accessible, benefitting from big, fat, production 
values courtesy of Seattle veteran Adam Kasper and the band, which 
features former Sunny Day Real Estate bassist Nate Mendel and Taylor 
Hawkins on drums.  (Though this is only the third album, Foo Fighters 
have already seen drummer William Goldsmith and guitarists Pat Smear 
and Franz Stahl come and go, adding fuel to the rumors that Grohl is 
something of a despot now that he's calling the shots.)
	Despite the personnel turmoil, TINLTL sounds like a record made 
by a cohesive unit, and there is not a single song here that does not 
evidence some sort of impressive musicianship.  Grohl comes alive in 
"Generator," featuring plenty of Framptonesque vocoder voice box 
noodling while "Headwires" recalls the last album's "Everlong" and 
the languidly paced "Ain't It the Life" nicks the melody from the 
Beatles' "Across the Universe." Also very much in evidence here is the 
soft verse/loud chorus formula that was so prevalent in both Nirvana and 
the other Foo Fighters records, and must be as innately natural to Grohl 
as breathing.  But despite these structural patterns, the songs don't 
sound tired or repetitive.  As commercially successful as the second 
album was, the songs were hit and miss, while the new album, _There is 
Nothing Left to Lose_, is a more consistent affair, sonically more akin 
to the first record.  Simply put, it's that increasingly rare beast: a 
great commercial rock album, pop without being pandering.
---
	REVIEW: Ani DiFranco, _To the Teeth_ (Righteous Babe)
		- Jon Steltenpohl
	In Ani DiFranco's world, time goes by twice as fast as it does 
for mortal musicians. It's been less than a year since her release of 
_Up, Up, Up, Up, Up, Up_, and barely a year and a half since _Little 
Plastic Castles_.  For those who've followed DiFranco through her 
roller coaster of releases, _To the Teeth_ will not be much of a 
surprise.
	In continuing her insatiable need for experimentation, DiFranco 
travels further down the funk and jazz trail on _To the Teeth_. Horns 
are everywhere on this album. Maceo Parker, famed instrumentalist for 
James Brown, adds his distinctive sax to a few tracks and flute to 
another, and Prince layers in the background vocals for a song 
DiFranco's been performing on tour called "Providence". (In return, 
DiFranco guests on both Parker's and Prince's new albums.)
	"Providence" is a powerful little song that's more soulful 
than funky.  Prince's vocals are there on it. They echo out from behind 
the mix like some apocalyptic backup choir in a Baptist church. Prince's 
strange knack for minor key harmonies plays oddly against such a 
lyrically strong song. Even for a big Prince fan, the effect is as 
unsettling as it is engaging. "Swing" sounds a bit funkier as DiFranco 
slides in a little rap by Corey Parker, some scratching by drummer 
Daren Hahn, and Maceo Parker's incredibly cool saxophone.
	Despite the funky emphasis, it only applies to a third of the 
album.  There are some songs which fit the old DiFranco mold. "To the 
Teeth," "Hello Birmingham" and "Back Back Back" are political and 
strong, and "Soft Shoulder" and "Cloud Blood" are personal and emotional. 
Other songs are DiFranco's individual home experiments which succeed 
with varying degrees of success. "Carry You Around" and "The Arrivals 
Gate" both work okay as upbeat, simple little songs set against a 
sampled beat. "I Know This Bar" is quiet, and one of the better songs 
on the album. It features a slightly off-tune piano and careful 
memories of a friend who was a waitress. It's a compelling song that 
reads like a balled-up poem you unfold to read one last time. But, 
then there's "Freakshow" which, true to its name, is a bit frightening. 
It's loud and abrasive, and, unfortunately, it sounds disturbingly 
like Alanis Morissette...which is NOT a good thing. DiFranco's voice 
is out of tune and grating.
	DiFranco tackles a lot of styles on _To the Teeth_. She has 
taken classes from the Picasso School of Savant Instruction. Picasso, 
years before creating the strange work he's famous for, was just a 
highly skilled young artist. Go to the National Gallery and see his 
work in chronological order, and you will see beautifully immaculate 
and realistic paintings at the start of his career. They are nearly 
photographs. But as the years go on, you see the attitude change, 
normalcy gives way to strange colors, misplaced eyes, and abstractions. 
DiFranco seems to be following the same path. Judging from her recent 
work, she's bored with making simple, powerful songs.
	She is a restless artist looking to expand her boundaries. 
There isn't a track on the album which sounds dated or in any way 
derivative. The individual songs are, for the most part, exceptional 
and compelling. They have lyrical power and moving rhythms. But, taken 
as a whole, they are a jumble of ideas and a clashing of styles. 
DiFranco is treating her albums as chronological records of her 
journey of musical experimentation. In true folk music style, DiFranco 
is showing the world the real her. It's a double-edged sword, and the 
quality of her albums as "albums" has suffered. It's as if every time 
she accumulates 70 minutes of incredible music in the studio, it gets 
released as an album.
	In that sense, _To the Teeth_ is no different than the last 
two DiFranco albums. One can't help but wish that she would sit on 
these songs long enough to split them up into albums that you could 
listen to from start to finish without pausing every other track to 
think, "I like that song, but I'm not in the mood for it." It is the 
complaint of a fan who begs for perfection. Because, with the exception 
of the horrific track, "Freakshow", the only real problem with _To the 
Teeth_ is that it feels like a compilation rather than album.
---
	REVIEW: Beastie Boys, _The Sounds of Science_ (Grand Royal / Capitol)
		- Bob Gajarsky
	Beastie Boys have had an amazingly tumultous career.  Booed 
offstage while supporting Madonna on her _Like A Virgin_ tour, the 
Beasties captured America's attention for their raucous behavior.  
While _Licensed to Ill_ sold zillions, frat boys rappped and fought for 
the right to party...and then poof!  The Beasties grew up.
	_Paul's Boutique_ became the record that critics loved, and 
_Licensed_ fans hated.  The smorgasbord that formed "Hey Ladies" was 
typical for the album; a hodgepodge of songs such as Roger's "So Ruff 
So Tuff", Zapp II's "Dance Floor",  Sweet's "Ballroom Blitz", Kurtis 
Blow's "Party Time", Jeanette Day "Come Let Me Love You", B-Side and Fab 
Five Freddy "Change Le Beat" unofficially comprised the core of the 
album's one 'hit'.  And by displaying their (and the Dust Brothers') 
record collection instead of their inflatable penises, the Beasties 
suddenly became en vogue.  Without the frat boys.
	Subsequent 'regular' albums - _Check Your Head_, _Ill 
Communication_ and _Hello Nasty_, along with the EPs and various B-sides - 
only served to strengthen their fan base.  And, now, their hits - coupled 
with plenty of outtakes and other assorted goodies - are collected on the 
2-CD _Sounds of Science_.
	In this setting, it's amazing that "Fight For Your Right" was 
ever recorded at all.  Hip-hop by white boys from New York is what the 
Beasties have been about, and _Science_ drives that point home with an 
exclamation point. And even when goofing around - yes, it's Elton John's 
"Benny and the Jets", the quirky "Country Mike's Theme" - the Beasties 
somehow manage to stay true to their roots without selling out to the 
man.  The Tibetan-inspired "Bodhisattva Vow" was the Beasties contribution 
to the new-found political and religious beliefs.
	In the end, the Beasties' greatest contribution may be inspiring 
their fans to go to the record shops to dig out the old vinyl that provide 
the unique musical soundscape for their songs.  But in lieu of that, check 
out _Sounds of Science_.  
---
	REVIEW: Live, _The Distance to Here_ (Radioactive)
		- Scott Hudson
	Just as a great athlete, well past his prime, tries in vain 
to recapture the level of consistency and greatness that characterized 
his career, in reality the effort, although noble, will be futile. 
Factors such as age and injury contribute not only to the erosion of 
skills, but of agility and creativity that was once formally possessed. 
	Any great performance left will be sporadic at best, while most 
performances in general will be forced in an attempt to regain what 
is lost. The same analogy can be applied musically, and certainly does 
apply to Live.
	In 1994, Live released their second album, _Throwing Copper_, a 
record that spawned five mega-hits, sold seven million copies worldwide 
and catapulted the band to stardom. The band rode the crest of that wave 
for three years until the release of its much anticipated third offering, 
_Secret Samadhi_. It was a creative and commercial flop.
	With Live's newest release, _The Distance to Here_, one gets 
the sense that Live's potential for creating a consistent and compelling 
album is slowly eroding. Although the record is as energetic as any 
previous release, it comes across as a forced and unimaginative effort.
	The lyrical depth once possessed by Ed Kowalczyk has dissolved 
into nothing more than spiritual meanderings which grow tiresome by the 
minute. 
	Although a better record than _Secret Samadhi_, _The Distance 
to Here_ exhibits no real creativity or originality. There are however, 
some good songs here. "The Dolphin's Cry," "The Distance" and "They 
Stood Up For Love," are good songs, but hardly of the same caliber of 
previous classics like "I Alone," "Lightning Crashes and "Selling the 
Drama."
	Because of the album's lack of musical substance, _The Distance 
to Here_ tends to wear thin fast, and waiting for the record to grow on 
you could be as time-consuming as watching grass grow.
	It would seem that Live's musical prime consisted of one great 
album, _Throwing Copper_, and trying to recapture the raw energy and 
emotion of that well-crafted effort should be their lone aspiration.
	_The Distance to Here_ clearly demonstrates that subsequent 
releases to _Throwing Copper_ are just that...subsequent releases!
---
	INTERVIEW: Marshall Crenshaw
		- Michael Van Gorden
	I recently had a chance to talk with Marshall about his new 
album _# 447_ and his other side projects. Marshall was open about his 
music, and offered many insights into the new album.

	Consumable Online: I find _#447_ quite different from your other 
albums. It has an open sound; quiet, not mellow.  Was this planned, or a 
result of the equipment used?
	Marshall Crenshaw: Let's see....quiet. When I went in to master 
the record, the engineer said how hyped up do you want to make it. I 
thought the mixes had a sort of a warm, intimate vibe to them and I thought 
we should keep that. The other thing is that the bass is really nice 
because it's mixed on to analog tape using this really beautiful old 
tape machine that I bought called an Ampex, so sonically it's really 
warm.  
	There's also a lot of acoustic bass on the record; a lot of stand 
up bass.  I grew up on a lot of 50's rock; most of those records have 
stand up bass on them rather  than electric bass, and I always found the 
sound to be just really fat and sort of corky and this time around, I 
used a lot of acoustic bass on the record.
	CO: The instrumentals were very interesting to find on one of 
your album, but not out of place.  Two of them you wrote for the Yogi 
Berra documentary.  How did that come about? 
	MC: The producer was a guy that I knew from a long time ago.  
He used to write for a music trade magazine called "Record World" that 
isn't around anymore.  Sometime during the last 10 years he got involved 
in film production and so that's what he does now and he called me up 
asked me if I'd have any interest in doing it and I jumped at it .  I'm 
interested in doing  more of that kind of work.
	CO: Where'd you come up with that title for "West of Bald Knob"?
	MC: That was also written for a film that is in production right 
now; some friends of a friend are making this documentary and it's about 
their experience adopting a child.  Most of the action takes place down 
in Hotsprings, AK and it just so happens that I once looked on  a map and 
saw this town called Bald Knob, AK.  And Bald Knob is East of Hotsprings, 
so therefore Hotsprings is west of Bald Knob.
	CO: "Dime A Dozen Guy" was a riot; that's a funny song.
	MC: Yeah, that was just me and this guy David Cantor in New York, 
just fooling around.  I barely even knew him.  I heard this song he wrote 
a few years ago called "Florida Time".  About a guy on death row, but 
it's a humorous song.  One of the sickest kind of black humor songs 
I've ever heard.  I've always liked that song and I met a friend of 
his about a year ago and he said yeah David said he would like to get 
together with you and I just called him up and I'd only spoken to him 
once but we sort of just messed around for a couple of days and we came 
up with that.
	CO: What about "Ready Right Now"?  You've said that is your 
fatherhood song...you captured what it is like having a child.
	MC: I'm talking about something really intimately personal.  I 
don't discuss it; I mean, I'm not one for like really spilling my guts, 
to a bunch of strangers, but it came out, ended up being about that 
topic.  I just feel like the song it's possible to appreciate it more 
if I actually declare what it's about.  It's got some depth to it that 
somebody might not get it unless I sort of spell out what it's all about. 
When you love something that much, it's just so heavy, it carries all 
kinds of implications.
	CO: How did this VH1 thing come about?  Did it come as a result 
of the book you wrote?
	MC: Yeah, I worked on that book, I guess it was about 5 years 
ago now.  It was pretty well received by critics and historians, and so 
forth, I find that it's still in usage as a reference.
	It's pretty hard to find.  But people that have it go back to it 
like and know and again I get some kind of a call about it from somebody 
somewhere like around the same time this VH1 thing came along, I just 
finished, I did this interview for BBC2 radio documentary that was kind 
of based on the book, so I get asked to through in my 2 cents when people 
discuss rock n roll  movies because of the book. 
	CO: Is this knowledge in your head?  You seem to have such a 
vast knowledge of not just rock n roll, but music.
	MC: Oh...I guess.  I mean I have a pretty big library. I feel 
like that's a good thing to have in your life.  I once said in an 
interview that maybe half the books that I have were about music, but 
I think that's wrong, I think more like 1/3.  I'm an avid listener and 
avid reader.
	CO: Getting back to this VH1 thing real quick, the movie "Dean 
Reed -American Rebel", that was an amazing story.  I'd never even heard 
on him, but just your little synopsis, it just interesting how he 
disappeared, just when he was about to begin a US tour.  A little 
conspiracy there.
	MC: I know, you gotta wonder about that. He was huge too, I mean 
in the documentary, they have lots of clips from his movies and massive 
adulation that the guy had and then he just disappeared like that and 
nobody asked any questions about it.  It's a very peculiar thing.  I 
talked to the guy who made the film, he was so spooked out by what happened.
	CO: What was it like auditioning for Bob Dylan?  Are you a big fan?
	MC: I felt a little awkward.  At the same time it was real 
interesting.  I'm happy to have had the experience.  The best part of 
it was, I really dug into his music in a way that I really never did 
before.  I got to be a much bigger fan because of that, just hearing 
all those fantastic songs.   The other thing that was interesting to me 
about him was when I finally got to understand a little bit about his 
sources, the interesting combination of influences that he brought 
together and what he ultimately did with them, is something completely 
unique.
	CO: Do you keep up with the Power Pop underground?
	MC: You know what, I really don't like underground.   I still 
really enjoy listening to Buddy Holly and the Beatles and other 50's and 
60's music, but the latter day stuff, most of it just, I don't have any 
feel for it.  It's just too white bread for me.  Too much of it is like 
Anglophile, like suburban Anglophile music and that really just turns me 
off.
	CO: You said that you're really getting into jazz, have you 
always listened to it?  It just now seems to be coming to the forefront 
of your music.
	MC: Yeah, that's true, I've always had a casual interest in it, 
but about 5-6 years ago I was in Tower Records, in Nashville and I made 
like an impulse buy. I wanted to hear some HammondB3, so I got a Jimmy 
Smith greatest hits cassette to listen in the car and it's kinda just 
gone on from there after that it was more Jimmy Smith, and then other 
organ players, then I started checking out drummers and then from there 
it's just sort of developed from there.  Another thing was after my 
daughter was born, I guess I heard someplace that playing music was 
beneficial to their mental development, and I though that made sense, 
so I started getting really interested and thinking about what kind of 
music I should play for her, so I played her lots of Bach and Mozart 
and I also wanted to play some stuff for her that had some sort of 
humor to it and so I started playing some Fats Whaler and Thelonius 
Monk, and she really loved this one album by Max Roach, called M'boom, 
but it's this percussion ensemble with lots of xylophone and tinkly 
bell stuff, so she really loved that so you know part of it was having 
to play music for my little girl.  I found that for about  a year and 
a half I was listening to almost exclusively jazz and classical music.
---
	REVIEW: Marshall Crenshaw, _# 447_ (Razor & Tie)
		- Michael Van Gorden
	It is hard to believe it has been 17 years since Marshall 
Crenshaw released his self-titled debut. Full of pop hooks, and simple 
songs about love and life, Marshall set a new standard for pop music.
	The time between his 1996 album _Miracle of Science_ and his 
latest, _#447_ , has not been wasted. Marshall has begun to dabble in 
writing for Soundtracks, and writing a column for VH1, based on his 
book "Hollywood Rock - A guide to rock and roll in the movies".
 	The album starts out with what many may perceive as a mistake, 
but is just Marshall having a little fun in the studio. And the fun 
doesn't stop there, as Marshall kicks into a humorous tale about a love 
lost and the inevitable questions that arise when you see her with 
another guy, or in this case a "Dime a Dozen Guy". 
	Marshall has written some of the best relationship songs in pop 
music.  And he outdoes himself on some of the albums choicest tracks. 
"T.M.D." will surely put a smile on your face as the sheer joy of being 
love comes through in not only Marshall's words, but in the light spring 
time feel of the music.
	Another highlight of the is "Television Light". Written for a 
movie soundtrack, the song details the feelings of someone who almost 
threw away something precious. The pain of infidelity can be felt with 
words like "What I wouldn't wish for nearly came true to throw your love 
away was what I didn't want to do....the way I feel for you to make your 
bitter tears fall was what I didn't want to do" 
	Thankfully there is some humor as well as Marshall sings in 
"Tell Me All about it": "Now I do believe that it's just like Adam 
learned with Eve / People can hide things up their sleeve even when 
naked".
 	 On display throughout the album are 3 instrumentals that give 
some indication as to what Marshall has been up to. "You Said What" and 
"Eydie's Tune" were written for the documentary he scored for PBS on 
Yogi Berra. While "West Of Bald Knob" shows Marshall's increased 
interest in Jazz is having an influence on his music. All a very good 
thing. I hope as he gets more involved in scoring movies it finds its 
way into more of his "mainstream" work. 
	You can't help but appreciate the little musical touches that 
have been  added to this album. Chris Carmichael makes "Television 
Light" come alive with his fiddle solo!  Marshall is also joined by a 
great supporting cast such as Bill Lloyd ex of Foster & Lloyd as well 
as the owner of some fine solo pop albums himself. Andy York from the 
John Mellencamp Band, longtime musical partner Brad Jones,  as well as 
Bassist Extrordinaire David Hofstra and Greg Leisz on lap steel and dobro. 
	Over the years Marshall Crenshaw has delighted us with no less 
than 10 releases, 7 all new, one hits, one live and one CD released last 
year with B sides and outtakes. While 17 years into a career many 
musicians are on the nostalgia circuit or have called it a day and 
gone on to other things, Marshall thankfully has kept at it and released 
what is probably his most exciting album yet.
---
	REVIEW: Alanis Morissette, _Unlpugged_ (Maverick)
		- Bob Gajarsky
	When your second album 'only' sells seven 
million copies, you've established lofty heights. 
Alanis Morissette's _Supposed Former Infatuation Junkie_ 
may not have been as commercial a hit as some wanted, 
but it served the singer's purposes well.
	While the mega-successful _Jagged Little Pill_ 
showed an "angry young female" (as coined by lazy critics), 
_SFIJ_ showed that young woman turning into an adult - 
and not quite sure of which direction she wanted to take.  
	This _Unplugged_ performance is culled from a 
recent live performance on MTV at Brooklyn's Academy of 
Music.  And while wags initially thought Alanis a 
concoction of studio wizardry, her low-key performance 
works wonders to contradict those images.
	In "You Oughta Know", Alanis' voice and tone 
has changed - from someone whose obsession with this 
former lover will strangle her own life, to someone 
who has come to grips that she's got better things to 
do than wist over a former lover.
	The cover of the Police's "King Of Pain" - 
sung slowly and drawn out - suggests that Morissette 
could feel this song as her own, an introspective look 
into her soul.  The current radio single "That I 
Would Be Good" offers another look into her soul, 
in a state of calming satisfaction with herself.
	Three new tracks - "No Pressure Over Cappucino" 
(originally performed live on the _Jagged_ tour) and 
outtakes from _SFIJ_, "These R The Thoughts" and "Princes 
Familiar" should delight the legions of Ms. Morissette's 
fans.
	With _Unplugged_, Morissette has a new label that 
lazy critics can attach to her byline - interpreter.  
It sounds far better than angry white female.
---
	REVIEW: Type O Negative, _World Coming Down_ (Roadrunner)
		- Andrew Duncan
	Doom metal, sludge-core, molasses mosh -- however you want to 
describe this musical style, Type O Negative is the king of "it." But 
what is "it" you ask?
	"It" refers to a style of music that is overpowered by sleepy 
guitar rock, slowed down to resemble dripping maple syrup. To better 
emphasize it, the music sounds like sewer sludge with the tempo creeping 
by at the pace of lava oozing down a Hawaiian volcano.
	Type O Negative may not have started this musical generation 
that feeds off of gloom and doom, but they sure as hell have successfully 
captured the innovativeness of this comatose musical style.
	_World Coming Down_ is not creatively new for the band. In fact, 
you could mix together all of their songs throughout the years and not 
much would change. Since their 1991 debut, _Slow, Deep and Hard_, 
vocalist Peter Steele still punctuates every syllable with his basement 
croon. There are still the rock-God moments where Steele is wailing out 
doom poetry while he and other guitarist Kenny Hickey pound out power 
chords like asteroids pummeling the earth. There are the Vincent 
Price-haunting keyboards, thanks to Josh Silver, and Johnny Kelly's 
drums hit like a migraine headache.
	The only difference this time is that _World Coming Down_ is 
truly one of the greatest rock albums of the '90s, and Type O Negative's 
best recording effort to date. Every song soothingly clicks together 
flawlessly with intrigue.
	Steele is an extremely intelligent individual, and is crafty 
at elegant use of restraint, a key concept to anything that is meant 
to be suspenseful or horrific.
	"White Slavery" opens up the CD with lines of lyrics that 
generally add up to two or three words. When he sings "I rot away," 
or "Everyone I love is dead," from the song with the same name, you 
can feel it deep inside.
	There is the sobering "Who Will Save the Sane," and the 
beautiful title track epic that is as much Black Sabbath as it is 
middle-ages tragedy.
	In previous releases, the band has dimly covered songs like 
"Cinnamon Girl" and "Summer Breeze." This time it is The Beatles' 
"Day Tripper," and it surprisingly works within Type O Negative's 
master plan.
---
	REVIEW: Counting Crows, _This Desert Life_ (Geffen)
		- Linda Scott
	Adam Duritz may be the only band member most people know in 
Counting Crows.  He's the lyricist, he's the lead vocalist, and he's 
the frontman. With seven band members, a guy could get lost, but 
Duritz' talent and charisma uses the other guys for backdrop. Without 
Adam Duritz, there is no Counting Crows.  Duritz put the band together 
beginning in 1989, and by the end of 1993 the brilliant _August And 
Everything After_ was released.  The sophomore album was _Recovering 
The Satellites_ in 1996. _This Desert Life_ is very much a Counting 
Crows album, and if you liked the others, you'll like this one, no 
question.  Some critics find Duritz to be too earnest, too angst-ridden, 
too self-absorbed.  Listeners who can look inside themselves with  Adam 
Duritz see all the lonely people and their hopes and dreams.  Duritz 
can tell a story before you can drop a dime. He is one of the most 
talented lyricists today.
	Adam Duritz says _This Desert Life_ is a little brighter, a 
little more hopeful than the past two albums.  And it is.  The first 
single, "Hangaround", is the first album track and sets the album tone. 
Although it is the most carefree, rocking song on the album, there are 
other lighter songs. Of course, it wouldn't be a Counting Crows album 
without some thought provoking and introspective songs.  "I Wish I Was 
A Girl" is about the effort men have to make to express their feelings. 
"All my Friends" tells about the people in Adam's life that have left 
him behind.  A great, great song is "Mrs. Potter's Lullaby".  This 
"lullaby" is an epic poem set to music, runs nearly eight minutes, and 
is about risk taking.
	_This Desert Life_ is highly recommended for Counting Crows 
fans and fans of  R.E.M, Van Morrison, Bob Dylan.  The music from those 
seven band members rings true and supports the wonderful, and ok, 
sometimes self indulgent, lyrics from Adam Duritz.  You'll enjoy it!  
---
	REVIEW: Perry Farrell, _Rev_ (Warner)
		- Bob Gajarsky
	Perry Farrell.  Visionary.  Somehow, those words 
seem to automatically gravitate towards each other.
	Whether in Jane's Addiction, Porno For Pyros, or as 
the creator of Lollapalooza, Farrell has always stood out 
from the crowd - different not to attract attention, but as a
man with one eye toward the future.  _Rev_, a greatest hits 
project with two new tracks, highlights both his past and 
his present.
	Modern rock classics litter _Rev_'s roadway.  Jane's 
hits such as "Been Caught Stealing", "Jane Says", "Stop" and 
"Mountain Song", couple with Porno's "Pets", are instantly 
recognizable to anyone who's turned into alternative music 
in the last ten years. 
	And, Farrell's present.  "Rev" - with contributions 
from Rage's Tom Morello, the Chili Peppers' John Frusciante 
and longtime drummer Stephen Perkins - owes a debt to the 
Jane's classics with a modern twist.  That twist shows up 
even more on a cover of Led Zeppelin's "Whole Lotta Love".  
Not content to merely sing the song, Farrell gives the 
rock classic a complete overhaul - into modern trip-hop.  
Having to be heard to be believed, this reworking - along 
with _Rev_ - has Perry Farrell still way ahead of the rest of 
the world on the music curve.
---
	REVIEW: Violent Femmes, _Live_ (Beyond)
		- Paul Hanson
	Listening to the Violent Femmes over a 12 pack of beer is 
ideal. Only after slight inebriation can this music really get you 
moving and grooving. Stone cold sober fans wouldn't know a bad CD if 
it crumbled into dust around their genitals.
	It'd be easy to say, "Yes, this CD rocks!" based solely on a 
couple of tracks. Songs from their first CD like "Prove My Love," 
"Confessions," "Good Feeling," "Gone Daddy Gone," "Add it Up," and 
"Kiss Off" do rock with varying degrees. To Joe Blow Average fan they 
are most likely to be recognized by melody, if not by the poetic lyrics 
of the band.
	But the rest of the tracks, and there are 13, are awful. "Don't 
Talk About My Music" screams, "Leave me on the cutting floor room!" It 
is a short 2:13 track, yet you're likely to be mortified by the off-key 
vocals. "I'm Nothing" is another dead track . . . and the band chose to 
make it track #2. "Special" includes the enlightening lyrics, "Special! 
Special! What do you get!"
	My answer is to hope that the band realizes, somehow, the bright 
spots are those songs from the band's first CD. Sounding somewhat like 
a typical band's fan, it's easy to bemoan follow-up material as not 
having as much spark and drive that the first CD did. And here, that's 
definitely true. "Kiss Off" is the ultimate "You suck, so go to hell" 
song.
	Those tracks, up against the painfully shouts of "Dahmer is 
Dead," make most of this CD unbearable. The drawn out intro of 
"American Music" evokes multiple yawns before a typical (read: boring) 
shuffle beat begins.
	The Violent Femmes would be best served if they toured and 
only played the material from their first CD. Often, fans of a band 
will direct their fellow fans to the band's debut as the base against 
which all comparisons should be based. Van Halen fans I have encountered 
hold Van Halen upon a pedastal so high, I may never see the top. The 
same is true with this band. The material they wrote for that first 
album kicks so much butt that they will never be able to top it. Give 
up and do the KISS role: play "Kiss Off" on Saturday Night Live and 
we'll all be happy, critic and fan alike.
---
	REVIEW: Stroke 9, _Nasty Little Thoughts_  (Universal)
		- Linda Scott
	Stroke 9 is a rock quartet based in San Francisco and preparing 
to belong to the world. Luke Esterkyn (vocals, guitar), John McDermott 
(guitar, backing vocals) and Greg Gueldner (bass) formed the band about 
ten years ago, and their tightness shows in their music.  Drummer Eric 
Stock signed on a couple of years ago but has fit right in.  The four 
have all graduated from college and are giving the music business a 
fulltime shot. In the past they've released a couple of other albums 
on their own, but when they signed their contract, they were able to 
put a professional smoothness on _Nasty Little Thoughts_.  
	The album was co-produced by Jerry Harrison, ex-Talking Heads 
and producer for Live, Kenny Wayne Shepherd, and by Rupert Hine (Howard 
Jones, The Fixx),  They polished up the sound to commercial Readiness, 
and one single, "Little Black Backpack" is on its way already.  
	If you've seen the film "EdTV" directed by Ron Howard, you've 
seen the band!  What was planned to be a punk band slot turned into 
Stroke 9's slot when the band showed off an aggressive song written 
for the film.  Mostly the band is not an aggressive, in your face, 
rock band.  _Nasty Little Thoughts_  is full of pop-rock songs that 
have a positive spin.  The harmony that characterizes their songs is 
only outdone by the lyrics and vocals themselves. Esterkyn has a 
natural range that may be the envy of other rock vocalists.  Music 
and lyrics are all by Stroke 9, and they claim to have lots more up 
their sleeves. 
	This is a good debut album, and perhaps its only failing is 
that there may be range in the vocals but not so much in the songs 
themselves.  More variation would be an improvement, but as a starter 
album, it's a hot one.
	The band has toured its heart out in the past, mostly in the 
California area.  For exact tour dates and information, check out their 
website at http://www.stroke9.com .  In sorcery, the ninth stroke is 
used for casting spells.  Their band name is well chosen.
---
	LIVE REVIEW: Godhead, Mortiis, Christian Death; Detroit, MI
		- Mike Pfeiffer
	I expected to see a dark show with a bit of horror thrown in, 
but damn, what I experienced was down right evil!
	Driving through a cold, rainy night, I arrived just in time to 
catch most of Godhead's show. Godhead play industrial goth with a '90s 
metal influence. They have a strong stage presence and decent songs, 
and the lead singer reminded me of a cross between Billy Corgan and 
Uncle Fester from the Addams Family -- wait a minute, aren't they the 
same person?
	Mortiis followed with a stage show that is still affecting me 
days later.  For those of you not familiar with Mortiis, he's a strange 
fellow to say the least. Picture a trollish man, with spock ears, 
Pinocchio's nose and dressed in a mixture Medieval wizard garb and 
S&M bondage gear. Mortiis' stage set included three sets of drum 
pads -- each with skull on the front -- a kettledrum, a torture post, 
an axe and other assorted torturing material. His band included two 
very goth percussionists and a female vocalist.
	Mortiis' music is hard to describe. Mostly it's epic chamber 
music, very atmospheric yet not relaxing at all, probably due to the 
pounding rhythms driving each track on like a battle march. It would 
be quite difficult to translate this music live, so Mortiis doesn't 
even try; he and his percussionists play their drum pads to sequenced 
music coming through the speakers. Mortiis is in it for the show. His 
scary presence was only the beginning to the horror he had in store 
for us.
	During his second song he spoke in his low demonic voice. Later 
he brought out a bucket of blood and poured it over his head. Then, 
covered in blood, he brought a woman on stage and attached her wrists 
and legs to the torture post. I was a bit shocked, but it was nothing 
I couldn't handle. With a look of terror on her face as she hung there 
suspended, Mortiis continued to play.
	After this song, a torch was brought to Mortiis, which he blew 
heartily at, throwing the flame from the torch, I could feel the heat 
and smell the flames. My already heightened apprehension grew at this 
point.
	Before I continue, let me tell you about the audience. I was 
expecting a crowd of goths in leather and make up. However, in addition 
to the goths, there was something of a much more sinister element here: 
older men and women dressed in black, some long hair death metal fans 
and two clowns with hideous make-up. Basically, this was a gathering 
for satanists, serial killers and freaks.
	Mortiis finished his song with the woman still attached to the 
post, he then got a knife, gave an intense glare to the audience and 
proceeded to cut the woman open, spilling blood from her stomach. The 
audience cheering for this horrifying act, coupled with Mortiis 
bringing his victim down, putting her over his shoulders and running 
out into the audience, was the final straw for my anxiety. Shaking, I 
watched Mortiis run off through the audience to "dump the body." I was 
seriously scared about Mortiis returning to the stage (I didn't want 
him coming near me!). He ran back through the audience, got on stage 
and finished his set. With a sigh of relief, I wasn't harmed during 
his set and eventually found out that it was all staged, I realized 
for his show to affect me this much -- he was fucking awesome!
	Christian Death, even with their elaborate stage show and Valor, 
the lead singer, at his most charismatic, couldn't really impress me. 
Starting their set in wedding dresses and covered in veils, they played 
loud gothic rock, with some extreme guitar playing. I'm not really a 
fan of Christian Death. They rely far to heavily on their guitars to 
carry the songs and Valor's shrill voice tends to annoy me. Their 
presence was good though. After a few songs draped in the veils, they 
left the stage and returned in outrageous black outfits. The songs 
became heavier and faster, with Valor looking like an Egyptian demon 
parading around the stage. Before too long, their bassist broke a bass 
string (how hard do you have to be playing to have this happen?) and 
they took a full ten minutes to get her guitar restrung. During this 
time I thought about how late it was and there was no way I was going 
to see more than what I've already seen. A disturbing night I wouldn't 
recommend to anybody, but being near Halloween and always liking a good 
scare, you could say I got what I came for.
---
	REVIEW: Gin Blossoms, _Outside Looking In - Best Of_ (A&M)
		- Bob Gajarsky
	Tempe, Arizona's Gin Blossoms provided a wonderful contrast 
to the grunge world of the early 1990s.  Their Byrds-like guitar and
harmonies offered a reason to be happy, rather than wallow in self-pity. 
And although they only had two proper full-length albums, their 
brief career is collected here on this greatest hits disc.
	Despite early mis-perceptions, guitarist Doug Hopkins did NOT 
write all the band's material.  The success of the first two 
Hopkins-penned tunes - "Hey Jealousy" and "Found Out About You" - 
may have spurred the erroneous reports.  And while Hopkins had been 
replaced in the band before their first tour, wags wondered if the 
Blossoms would be able to duplicate the first disc's success - 
minus Hopkins, who had committed suicide.
	The answer was an unconditional "maybe".  Hits from the 
_Empire_ soundtrack "'Til I Hear It From You" (co-written with 
fellow pop guru Marshall Crenshaw) and "Follow You Down" provided a 
strong ray of hope, but a weak 'complete' second disc provided a 
precursor to the band's downfall.  _Congratulations, I'm Sorry_ 
would prove to be the band's last effort. 
	Although the Blossoms will reunite for a New Year's 
Eve performance in Phoenix, there are no future plans for any more 
power-pop recordings from the Gin Blossoms.  So, _Outside Looking In_ 
will have to serve as a primer for those who never quite got the 
energy to purchase _New Miserable Experience_.
---
	REVIEW: Various Artists, _Best of Moog_ (Loud Records)
		- Mike Pfeiffer
	Let's face it: today's electronic music has become too 
sophisticated for the average listener. From catchy beats produced 
on a couple of pieces of cheap equipment to today's complicated 
equation of rhythms, breakbeats and samples from multiple pieces of 
expensive gear, it's like you need a degree in electronica just to 
decipher it.
	The people behind the "Best of Moog" collection, Disinformation, 
an interesting website at http://www.disinfo.com , and Loud Records 
understand this dilemma. 
	_Best of Moog_ takes the listener back to the kinder, gentler, 
and certainly simpler days of electronic music. These songs are all 
moog tracks, where the main instrument is the funky moog synthesizer. 
Although a few of the songs will remind you of those demo tracks on 
the Casio at Toys'R'Us, that's the beauty of things.
	_Best of Moog_ gets back to the basics with 19 moog classics. 
Chances are you've heard these melodies before in one form or another, 
"The Savers" was the theme to the TV game show "Joker's Wild," "Shank" 
is a moog take off on Issac Hayes "Shaft." The final track features 
old school meets new school as Fatboy Slim extends an old moog 
standard. If you like electronic music pay some respect to the 
founding fathers and buy _Best of Moog._
---
	REVIEW: Supafuzz, _Supafuzz_ (Gotham Records)
		- Paul Hanson
	Supafuzz play a brand of rock that starts out innocent enough 
before becoming severely guilty of the following offense: catchy 
rock-pop. Not since Live has a band come onto the scene with enough 
heaviness for the heavy music fans (not heavy metal) but with enough 
radio-friendly tunes to appease conservative radio stations. Supafuzz 
walks the tightrope with ease. Starting their 14 track self-titled 
release with a sure-fire radio hit called  "Superstar," the band 
quickly begins a journey through tight melodies and creative arrangements.
	And while it may be easy to classify the band as just another 
trio hoping to cash in on the success of bands like Live, Bush and, 
more recently, Lit, Supafuzz is smarter. Sure, they write short catchy 
tunes that would be good for radio stations. Sure, "Mr. Policeman" 
collapses into a Whitesnake-type riff from their Slip of the Tonge era 
song "Judgement Day."  It's a compliment to liken guitarist/vocalist 
David Angstrom to the guitarist on Tongue: Steve Vai. Drummer Chris 
Leathers turns in a commendable performance as well.
	While some newer bands fade by the time their CD reaches track 
12, "Hollow" is one of their sharpest songs. Track 13, "Breathe" is an 
equally strong track, starting with a Helmet-like guitar riff.
	Perhaps the only thing that is deterring from this band's 
dominance of your airwaves is that you haven't been requesting their 
songs. While the band can be likened to some heavy bands, their style 
is firmly in an accessible vibe. A major national tour is in order to 
get them the exposure they deserve. For more information, contact their 
record label at http://www.gothamrecords.com
---
	REVIEW: Peter Urlich, _Pathways and Dawns_ (Projekt)
		- Mike Pfeiffer
	As the drummer and percussionist for Dead Can Dance, Peter 
Urlich doesn't stray too far from their uniquely eloquent sound on 
_Pathways and Dawns_. Like Dean Can Dance, Peter draws upon a number 
of traditional instruments, horns, flutes, pipes and strings and employs 
them in a modern interpretation, leaving the listener quietly seduced by 
the subtly lush arrangements.
	The opening track "Taqaharu's Leaving" is the story of a child 
leaving to war, the song like others is played in epic detail. While 
not quite as distinctive, Peter's voice is surprising a close match to 
his fellow bandmate and producer on this release, Brendan Perry. A sense 
of majesty and mystery is conveyed through all tracks on _Pathways and 
Dawns._
	Although Peter has a tendency to lean too forward in a folk 
direction which may detract from the strength of his haunting 
compositions, this is a great release for fans of Dead Can Dance and 
other Projekt records.
---
NEWS:	> The Pretenders' Chrissie Hynde will be participating 
in the "One Love: All Star Tribute To Bob Marley" concert in 
Jamaica on 4th December. The concert will be aired worldwide 
on Turner Network Broadcasting. Other artists confirmed 
include Lauryn Hill, Sheryl Crow, Seal, Willie Nelson, Erykah 
Badu, Busta Rhymes, Queen Latifah, Jimmy Cliff, Sarah 
McLachlan, Tracy Chapman and Ziggy Marley.
 	> Sally Taylor is currently in the studio working on 
the follow-up to her debut release.  "Amity," a song Taylor 
co-wrote and sings with Carly Simon is appropriately featured 
on the soundtrack and in the just released daughter/mother 
relationship film "Anywhere But Here."
	> Mojo Records will re-release a new, enhanced version 
of Reel Big Fish's early indie _Everything Sucks_ on January 
25, 2000.  The CD consists of early demos of songs which 
eventually found their way to the band's major label releases, 
along with two "lost" recordings - "Superhero #5" and "I'm 
Her Man", as well as new artwork.
	> Perry Farrell has been signed to Virgin Records 
and his new album, _The Diamond Jubilee_, is tentatively 
scheduled for a worldwide release in April or May of 2000.
---
TOUR DATES:
	Alaline Trio
Nov. 24 Denton, TX Rubber Gloves (w/ Discount)
Nov. 27 Chicago, IL Fireside Bowl

	John Digiweed
Nov. 29 New York, NY Twilo

	Ben Harper
Nov. 27 Kansas City, MO Uptown Theater
Nov. 28 St. Louis, MO Miss. Nights

	Ben Lee
Nov. 27 New York, NY Hammerstein 

	Mike Ness
Nov. 24 Chicago, IL House of Blues
Nov. 26 Pontiac, MI Clutch Cargo's
Nov. 27 Pittsburgh, PA Graffiti
Nov. 28 Poughkeepsie, NY Chance
Nov. 30 Winooski, VT Higher Ground

	Westbam
Nov. 24 Victoria, BC The Limit
Nov. 25 Edmonton, AB The Lush
Nov. 26 San Francisco, CA Nikita
---
Founded in August, 1993, Consumable Online is the oldest 
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