==== ISSUE 133 ====    CONSUMABLE     ======== [January 20, 1998]

  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:  Fred Wilenius

 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: Ben Folds Five, _Naked Baby Photos_ - Bob Gajarsky
BOOK REVIEW: _Paul McCartney: Many Years From Now_ by Barry 
   Miles - Joe Silva
CONCERT REVIEW: Suddenly, Tammy! - Fred Wilenius
REVIEW: Transmutator, _Take Over_ - Joe Silva
 REVIEW: Deepak Chopra and Christopher Franke, _Transformation 
   of Mind_ - Joann D. Ball
INTERVIEW: Deni Bonet - Bob Gajarsky
INDEPENDENT MUSIC REVIEWS: Suran Song In Stag, Evelyn Forever, 
   Bionic Rhoda - Al Muzer
REVIEW: Luke Slater, _Freek Funk_ - Krisjanis P. Gale
REVIEW: Nicklebag, _Mas Feedback_ - Linda Scott
REVIEW: Who Hit John, _Hey Buffy_ - Scott Slonaker
TOUR DATES: Bouncing Souls, Joe Canzano, Jimbo Mathus & 
   His Knockdown Society, Oasis, Pave The Rocket, Sister 
   Hazel / Alana Davis, Third Eye Blind / Smash Mouth, Ween
NEWS: Life of Agony
THE READERS WRITE BACK!
Back Issues of Consumable
---
	REVIEW: Ben Folds Five, _Naked Baby Photos_ (Caroline)
		- Bob Gajarsky
	'Pianos can't be used for alternative music.'  'Bands don't 
release rarities discs while on their ascent in the world of music.' 
Ben Folds Five continue to prove exceptions to both of these axioms 
with the release of an album full of rarities and live tracks, 
_Naked Baby Photos_.
	_NBP_ starts off quite promisingly.  The band's first ever 
single, "Jackson Cannery" / "Eddie Walker", was limited to a press 
run of less than 1000 sold-out vinyl-only copies.  "Cannery" was 
eventually reworked for the debut self-titled album, and this 
version's unevenly spaced vocal introduction provides an 
interesting example of the band's future maturation.
	Other key cuts, including "Tom And Mary" and "Emaline" 
(both cut from the first album), showcase the depth of the BFF 
catalog and fit in perfectly with any fan's collection.
	If Ben Folds Five had veered more towards metal music, 
rather than Squeeze or Joe Jackson...well, the results are here.  
"The Ultimate Sacrifice" gives a glimpse into one of BFF's 
hidden musical personalities.  Ironically, Folds is shown on the 
cover wearing a Guns N Roses t-shirt - and on the back over, he has 
it pulled over his head, a la the Cornholio skit from Beavis and 
Butthead.
	"Dick Holster" is 30 seconds of an instrumental ragtime 
outtake, while "For Those Of Y'All Who Wear Fanny Packs" is a 
soundcheck rap a la Vanilla Ice, but with no such attempts to be 
taken seriously.  Thank goodness.
	Most fans of BFF were first introduced to the band via 
their sleeper radio hit, "Underground", which is included here 
from a 1995 North Carolina concert.  Another of the eight live 
songs which encapsulate this compilation is a previously 
unavailable cover of Built To Spill's "Twin Falls" from a 1996 Tokyo 
concert.
	The only complaint here - where's their live cover of the 
Buggles' "Video Killed The Radio Star"?  And why all the live 
versions of songs when, surely, studio versions of these same 
tracks exist?  Given BFF's open attitude towards live recording, 
I'm sure many of the band's devotees already own many of these 
live tracks.
	Until Ben Folds Five forget how to write alterna-pop music, 
it's hard to imagine them releasing a bad album.  This rarities/live 
collection offers proof of the talent behind this trio, and is 
stronger than many band's best efforts.
---
	BOOK REVIEW: _Paul McCartney: Many Years From Now_ by Barry 
		Miles (Henry Holt and Co.)
		- Joe Silva
	Ever since the Fabs created a stir about themselves 
again with the Anthology series, our Sir Paul has been on a 
roll.  There was the Knighthood, the Anthology afterglow 
that lent an unwarranted sheen to his next solo 
LP, and gobs of attention/sales for his shaky 
symphonic poem "Standing Stone." But while our 
Paulie may be creatively a-snooze upon his laurels at 
the moment, it's that very same period of more or less 
ten years that remains the stuff of endless scrutiny.
	But truthfully, you'd be somewhat hard pressed to 
find a more compelling musical history or a set of origins 
more steeped in lore and innovation. And finally Mr. McCartney, 
via old time pal Barry Miles, weighs in officially on both 
the minutiae and the big questions. It's sort of the 
"Anthology-plus", a primer, and a "let's-set-the-record 
straight-from-my-side-while-I-can-still-remember" 
account of his magical era all in one. All is told and 
rehashed in Mr. Miles 512 page narrative, interspersed 
with lengthy and candid quotes from "The Cute One" himself.
	We get to hear about the young Paul being aroused by the 
site of his mum in her nightgown, his brief dabbling with 
heroin, the loss of his first fiancee, and how he was chased 
off a street in Harlem for "lurking" near a playground. For the 
obsessed and the well-schooled there's enough new or obscure 
information to warrant the purchase. And for the merely curious, 
Mr. Miles sets up his subject in a matter-of-fact fashion that 
remains informative and fairly entertaining.
	Since the Anthology showed the world that the Beatles 
themselves can't always approach a consensus on what 
occurred in their collective past, this book if nothing 
else provides a fairly thorough take on what Paul thinks 
happens. Not as revisionist as it could have been, but 
certainly not the whole story either, _Many Years From Now_, 
is a great insider's look into one of the biggest somethings 
that took place in this now fading century. Oh yeah, and we 
finally find out who/what broke up the Beatles as well (didn't 
it ever occur to those guys just to take a break from one 
another?!).
---
	CONCERT REVIEW: Suddenly, Tammy! , Lancaster, PA December 23
		- Fred Wilenius
	I finally got a chance to see one of the more interesting, 
and unusual bands of recent years, Suddenly, Tammy! Sadly - through 
no fault of the band - things did not turn out quite as I hoped. 
Picture this probably all-too familiar scene - the band you really 
want to see is playing an all-ages show at a normally off-limits to 
under-21's rock club. So, the place is full of school kids more 
interested in showing off bad haircuts and parading around in 
circus tent size jeans than listening to the band. Guitar bands 
can usually manage to drown out the noise of disinterested 
audiences but Suddenly, Tammy! are a piano-led trio - no guitar 
in sight, fronted by Beth Sorrentino's strident but still waif-like 
vocals. From the moment they hit the stage, it was clear they 
didn't stand a chance; no way were they ever going to rise above 
a crowd of juveniles whose only real interest was each other.
	Fortunately, the band's performance was not a complete 
waste of time. Returning to their Lancaster, PA, home base - no 
doubt coupling the gig with a break for the holidays -  the 
Tammy's! showcased new songs from their forthcoming third album 
and threw in a selection from the first two, much to the delight 
of those of us who were paying attention. The new numbers are in 
much the same vein as those on the previous albums, slightly 
jazzy, off-kilter but melodic pop songs which require some 
listening. None of the songs received an introduction, but the 
new ones all augur well for the forthcoming album, which the band 
said would be out midway through'98. 
	Despite Beth's keyboard work and vocals being almost 
inaudible at times, especially on the acoustic numbers, what did 
penetrate through the hubbub was quite good. They write catchy 
songs and once you atune to Beth's vocal style, it's a rare 
treat as the encore of "Deck the Halls" proved.  From the 1995 
promotional EP _Shut Up It's Christmas_, it is as fine a paean to 
the holiday season as you are ever likely to hear. Even though 
this was not the most auspicious homecoming, they are a fine 
band who were poorly served by their home crowd; it was still a 
treat to finally get to see them at long last. But be warned: 
try and see them at a venue with either good acoustics or an 
attentive audience - preferably both!
---
	REVIEW: Transmutator, _Take Over_ (Hypnotic)
		- Joe Silva
	Just to prove that you need not be nested in any of the 
principal fonts of techno (NY, LA, London, Chicago, Detroit, 
Hawaii) to be akin with the vibe, Romell Regulacion creates the 
electro-facade of Transmutator in the seemingly disjointed realm 
of Hawaii. But unlike the island's other well known modern music 
ensemble, Poi Dog Pondering, Transmutator seems to be free of 
any nuances that would associate with his native terrain - a 
thoroughly ukulele-free zone.
	Having graduated from his New Wave pop origins and the 
industrial confines of Razed In Black (where he actually netted 
some time on the Sony Playstation circuit), Rommell has come up 
pure electronic with Transmutator.  What he carries from those 
beginnings that a lot of other purists don't is the notion that 
the smallest of hooks can't always tote the interest of the 
assembled masses on the dance floor for twelve minutes plus. 
There's something to be said for economy and the development of 
viable concepts when it comes to the production of this sort of 
music.  It's a premise that someone like the good Sir Goldie, 
aka Lord of the Jungle, has forgotten with his new double CD - 
the first of which is an hour long pseudo-symphonic poem ala 
Paul McCartney.
	The prime example of these smarts, as well as the 
album's premier draw, is "Brighton Rock (UVX Mix)." Starting 
off with a great film sample that sets up the song title, 
thundering beats immediately ensue before giving momentary 
pause to a sort of electronic jack hammer. A rubbery bass 
follows, robotic sirens and hoover sounds appear now and again, 
and the electric guitar break that Rommell throws in helps 
create enough tension and diversity to make the track stick 
long afterwards.
	Rommell influences seem to run everywhere - "My 
Wonderful Friend" and "Soul Cleanser" both touch on a bit of 
house music's origins, and "Destroy" features a bit of old 
school funk with what would appear to be a dash of Homer 
Simpson. You may want to fault him for re-visiting Beethoven's 
Fifth, but otherwise there's enough depth and assortment here 
to keep you keyed into Rommell's work for the long haul. Which, 
for his arena, says quite a bit.
---
	 REVIEW: Deepak Chopra and Christopher Franke, _Transformation 
		of Mind_ (Earthtone)
		- Joann D. Ball
	If your plans for 1998 include a healthier mind, body and 
soul and perhaps even trying something different, then consider 
_Transformation of Mind_.  An innovative approach to positive 
thinking and inner healing, _Transformation of Mind_ integrates 
the inspired, New Age musical stylings of Christopher Franke with 
short motivational readings from Dr. Deepak Chopra.  An enhanced cd, 
it also features the beautiful nature photographs of Bruce Heinemann.
	_Transformation of Mind's_ nine tracks offer an incredible 
blend of music, philosophy, imagery, and text.  The music for this 
uplifting cd was composed by Christopher Franke and performed by 
Franke and the Berlin Symphonic Film Orchestra.  A founding member 
of the pathbreaking electronic trio Tangerine Dream with which he 
performed from 1970 until 1988, Franke has explored the diverse 
terrains of techno, trance, ambient and world music as a solo 
artist.  On _Transformation of Mind_, he captures the spiritual 
and emotional elements of New Age music and transmits holistic 
energy throughout 45-minutes of lush and passionate orchestrations.
	Rising and resonant flutes and oboes, soothing strings and 
melodic piano carry Dr. Deepak Chopra's words from passage to 
passage.  Through a total of 20 minutes of readings, Dr. Chopra 
celebrates the integration of mind, body and spirit.  Chopra reads 
short, inspirational selections from his 1991 best-selling book, 
"Unconditional Life," and carefully chosen passages from the 
poetry of Rumi, Tagore, and Coleridge.  On this enhanced cd, 
playable on both PC and Macintosh, these words of wisdom and 
soundscapes are reflected in the intimate nature photographs of 
Bruce Heinemann.  Heinemann's brilliant landscape photography and 
transcribed thoughts from Dr. Chopra are also featured in 
_Transformation of Mind's_ beautiful 24-page cd booklet.
	_Transformation of Mind_ is a unique multi-dimensional 
release which captures the essence of New Age music and 
philosophy.  Michael and Debbie Duffey, co-founders of Duffey 
Digital and developers of the project, describe it as "a spa 
for the mind and software for the soul."  So sit back, relax 
and treat yourself to an incredible multi-sensory, multi-media 
experience.  A new year, a new mind. . . _Transformation of Mind_ 
( www.transformationofmind.com ).
---
	INTERVIEW: Deni Bonet
		- Bob Gajarsky
	The love song tends to be the centerpiece of numerous 
artist's performances.  But whether the song is mushy-sappy or 
hateful, most artists tend to fall into stereotypical points of 
view.  Rising star Deni Bonet, on the other hand, writes about 
failed relationships with best friends - and wanting to hate 
ex-boyfriends, but being unable to do so.
	"Many songwriters will go for the suicidal mood...that's 
when I try to turn the situation around and laugh at myself," 
explains Bonet.  "What's the point of taking yourself so seriously 
that everyone just gets bummed out along with you?  Many of my 
songs have emerged from relationships that didn't make it."
	A classically trained pianist ("I play a mean Mendelsohnn!", 
laughs Bonet), Deni Bonet has already accumulated a resume which 
takes some performers decades to achieve.  Seven years on the 
National Public Radio show Mountain Stage afforded Bonet the 
opportunity to play violin and accordion with artists such as 
Richard Thompson, Warren Zevon, R.E.M., the Indigo Girls and Sarah 
McLachlan.  This success led to an opening act slot for (and 
performing onstage with) Robyn Hitchcock, and appearing on his 
_Moss Elixir_ album.
	The highlight of Bonet's performances - and her EP, simply 
titled _E.P._, is the bouncy, upbeat track "Sunshine".  Though the 
music from this song could fit in on a classic 70s pop song, the 
lyrics reflect Bonet's love of irony and modifying the expected results.  
Deni smiles while singing, "I want to be famous...I want to fuck 
you all the time - and that's why I need sunshine all the time."  
	"Sunshine" was written several years ago, after Bonet's 
two-year stint in London.  "I didn't enjoy (living in London) 
enough to want to spend the rest of my life there," Bonet recalls.  
"I came to New York to do some shows, the sun was all shiny, 
and I was *really happy* to be back amongst the loud and exuberant!"
	The time in London enabled Bonet to hone her skills, work 
briefly with the Shamen, and the opportunity for one of those chance 
musical encounters.   A Turkish promoter caught their show in England, 
and booked her band to highlight one of Istanbul's larger concerts; 
the Turks sang along, buoyed by local radio play of Bonet's 
circulating demo.
	Six songs from that demo comprise _E.P._  "Bigger Is 
Always Better" features Bonet's spoken-word, not too far from 
Blondie's "Rapture", in a humorous effort to explain why we want 
everything to be larger.  From the Bible to the Empire State 
Building, everything is bigger - and Bonet the wordsmith 
has pun with words, such as "Why be a bad guy when you can be 
a copper? / Why be copper when you can be platinum", and so on.  
Bonet's live performance features a fierce extended vocalization, 
rattling off about Trump and all his power, with Bonet finally 
screaming out "Coffee makes me nervous!"
	Longtime collaborator Roger Greenawalt has helped Bonet 
with some of her songs.  As Bonet explains, "He and I have written 
many songs together over the years.  We seem to bring out the 
humourous, but slightly evil side, of each other."
	Bonet's music - besides vocals, she plays violin, viola, 
accordion - would fit in comfortably with either Dave Matthews or 
John Mellencamp.  And while she gained her start in West Virginia, 
don't pin any of the typical stereotypes on her.  "It doesn't mean 
that I play the fiddle - when I play, it's very electric and 
in-your-face."  
	So what does the future hold for Ms. Bonet?  Despite the 
traditional obstacles of an unsigned artist (paying band members, 
publicity, booking, with no promises for the future), Bonet has her 
head held high.  "I can honestly say that my hope and dream is 
that I can keep on playing and writing and enjoying where I am 
right now.  I dream that someday soon, I can let some of the 
day-to-day details go, and concentrate on playing and writing my 
music!"

	Deni Bonet can be contacted at Emotional Management, PO 
Box 7183, New York, NY 10150.  A web site (built by one of her 
fans) contains samples of several of her songs, and can be 
accessed at http://www.bway.net/~dbonet
---
	INDEPENDENT MUSIC REVIEWS
		- Al Muzer

	REVIEW: Suran Song In Stag, _Shiny Objects_

	As catchy a group of potential hits that'll never hit 
as you're gonna find anywhere else this year; Suran (lyrics,
vocals, action images) Song boasts a truly lovely vocal range, 
a spot-on bunch'a melodic-quirksters (including Claude Coleman 
Jr. and Dave Urbano) backing her, a uniquely-twisted world view 
and the unusual gift of turning everyday observations, disjointed 
phrases, disconnected words and simple directions to a beauty 
supply store into songs you can't get out of your head for days.
	Fans of Ween, Beck, Ani DiFranco and The Breeders will be 
especially delighted, but, given half a chance, this stuff should 
prove addictive to just about anyone with half a brain, half a 
clue and half-an-hour to spare. 
	Suran can be contacted via e-mail at ssong@simstar.com

	REVIEW: Evelyn Forever, _Nightclub Jitters_ (Airplay)

	The hooks and harmonies hinted at on last year's demo 
debut by this amazingly talented Jersey four-piece are a 
full-blown, fully-developed force to be reckoned with on their 
first full-length effort.
	Sportin' four (count 'em!) truly unforgettable, 
radio-ready, potential hits, the Beatles-inspired "Rock 'N' Roll 
Girl"; the brilliant, Cure-ish blast of"17"; a peppy burst of 
sing-along angst ("What I Need"); and the ringing popattack of 
"Double Dip" , the obvious singles are bolstered by strong support 
tracks (the rollicking "Wonderful," the giddy rush of "Never 
Once" and the full-bore assault of "Telephone" earn special 
mention) that are the sonic equivalent of what passes for "A" 
tracks on countless major label releases. A young band clearly 
destined for something bigger than New Brunswick, New Jersey. 
	The Airplay label can be contacted at PO Box 851, Asbury 
Park, NJ 07712 or e-mail: gimchipop@aol.com

	REVIEW: Bionic Rhoda, _Bionic Rhoda_ (Powerbunny)

	Their bio claims that the group, "hopes to use the 
album as a tool to widen their fanbase." One listen to 
"Charm", "Douglass Fresh" or "Gum Cemetery" by any semi-savvy 
A&R-type should be morethan enough to ensure a very broad fan 
base for this inspired five-piece unit.
	Kicking things off with the sparse, moody, slightly 
off-kilter wail andcuriously compelling beat of "Charm" , Bionic 
Rhoda (great logo!) reach outand grab, and hold, your undivided 
attention throughout this generally brilliant, Claude (Ween) 
Coleman Jr.-produced effort.
	Whether they're careening wildly through blasts of 
intense, Only Ones-stylepunk pop ("Chili Dog"); a funked-out 
stoner shuffle ("Souped Up Soft Drink");a Dickies-meets-Monkees 
raveup ("Douglass Fresh"); an energetic slice of jangle-pop 
("Blessed Cow"); a bit of lilting, deceptively simple 
Hollies-fluff("Tricycle"); some hard-edged alterna-churn 
("Ben & Ben" or "Macabee"); atwitchy, Peter Gabriel-like 
[early Genesis seems to've had something of an influence on 
the band] wall of glass-shattering angst ("How I Survived A 
Disfiguring Car Accident"); or a wild Todd Rundgren-meets-
Sweet-inspired romp through the depths of boogie-metal that 
leaves you breathless ("Gum Cemetery"), Bionic Rhoda don't let 
up for a second on an album that has what it takes to land it 
on the charts and playlists with minimal A&R effort. 
	Powerbunny can be contacted, at PO Box 792, New Brunswick, 
NJ 08903 or via scavone@rci.rutgers.edu .
---
	REVIEW: Luke Slater, _Freek Funk_ (Novamute)
		- Krisjanis P. Gale
	Lock Underworld and Richie Hawtin in a room and let 
them produce a lovechild.  Take away his guilty tendency to 
twist knobs and encourage him to concentrate instead on producing 
unique soundscapes, and what you get is quite possibly the 
strangest electronic act this side of Download.  His name is 
Luke Slater, and he is definately one of a kind.
	The beats exhibited on this album do much to stray from 
the mainstream 'boom tiss boom tiss,' wandering into a variety 
of syncopated stylings.  But much more important than that is 
the sheer number of distinct environments and artificial 
situations he traverses in the span of just one sixteen-track album.
	I found myself lost in a drinking straw at a throbbing 
dance club at around midnight... attending a space station 
throbfest, then sitting outside listening to satellite's pass...
confounded by confusion...tapping my pencil on my office desk, 
frantic, frenzied...holding conversations with mainframes...being 
tossed around by beat-factions competing for global media 
attention...relaxing to some fancy break-infused freak hypnosis...
bowing to a digital god in a psuedo-religious dub chant...shaking 
my stuff in a wild seventies funk beat cutup...grooving harder to 
a rebirth of rave culture...munching on groove-spiced bleepcore, 
sucking down a very sweet dance-trance milkshake for desert...and 
finally finding my way home for some much-deserved chilling.
	What a trip!  I heartily suggest this album to any fans 
of the genre. Forget for a moment that you may not know his name 
or his game, and pick up Luke Slater's _Freek Funk_ and give it 
a listen...  cuz this boy's got skills.
---
	REVIEW: Nicklebag, _Mas Feedback_ (Iguana)
		- Linda Scott
	The times, like the music scene, are a changin'.  Just 
as rock n' roll has been pronounced dead, some new bands are 
bringin' it all back home.  Nicklebag's _Mas Feedback_ opens up 
rock's coffin and yanks it back out.  
	The album has a professional, polished sound coming 
from the veteran and high profile band members.  The duo of 
vocalist Bernard Fowler and guitarist Stevie Salas are joined 
on this album by some world class performers.  Fowler is currently 
singing backup vocals for the Rolling Stones on their _Bridges 
to Babylon_ tour and also sang on their _Voodoo Lounge_ tour.  
Salas is an astonishing rock n'roll guitarist who's made several 
albums on his Colorcode solo project.  Producer Bill Laslow 
(Mick Jagger, Iggy Pop, Material) brought these two together, 
and the Salas/Fowler combination is an electrifying winner.  
	_Mas Feedback_ is further supported by former Living 
Colour bassist Doug Wimbish, former Slash's Snakepit tour 
drummer Brian Tichy, former Funkadelic keyman Bernie Worrell, 
ex Pearl Jam drummer Dave Abbruzzese, Rolling Stones tour 
bassist Darryl Jones, and Rolling Stones backup singer Lisa 
Fischer.  The band has talent to spare.
	Salas and Fowler alone or in combination penned 9 of 
the 14 tracks.  The single "Grow" is a burning rock track that 
sets the album groove with its first track position.  Covers of 
some familiar songs are powerful and funky.  Funkadelic's "Hit 
It And Quit It" is louder, fiercer and funkier than ever.  The 
Beatles' "I Am The Walrus" receives the same full bore rock 
treatment, and Stevie Wonder's "Don't Know Why I Love You" has 
a bluesier tone than Wonder ever used, and the song builds like 
a pressure cooker.
	Keep the name Nicklebag, and their album _Mas Feedback_, 
in mind. It's killer rock for the nineties!
---
	REVIEW: Who Hit John, _Hey Buffy_ (Not So Permanent)
		- Scott Slonaker
	Merging the scruffy garage sensibilities of the Replacements 
with the dreamy harmonies and bright hooks of classic '60s AM radio, 
Nashville's Who Hit John have come up with that rarest of beasts: 
a consistently entertaining and stylistically varied power-pop 
record that scatters its best moments throughout all eleven tunes.
	After the pacesetting opener "Smile Together" quickly comes 
high point number one on _Hey Buffy_: "Giving a Twist a Turn". 
Driven home by drop-dead vocal hooks, the tune deserves to be 
blasting from car radios right next to the Gin Blossoms' "Hey 
Jealousy" 'till the cows come home.
	Singer Chuck Tate (I think he's the main vocalist; it's 
unclear from the liner) especially summons the Westerbergian ghosts 
on tracks like "Fan Club" and "The Ballad of What Will Never Be", 
as the band stomps out engaging rough-edged melodies, not unlike 
Minnesota's finest.  However, Who Hit John has more than one mode, 
as evidenced by the sweet power balladry of "Incomplete" and the 
disc's best song, the Who-ish clapalong power-bop of "Somebody". 
Piano, harmonica, and 12-string guitar are tossed into the mix 
for maximum retro impact.
	Another pleasant touch is bassist Pat Meusel's comparatively 
roughed-up vocal turn on his "Above the Fold".  To top off the whole 
extravaganza, the boys roll out a reverent cover of another of their 
musical forebears.  The rendition of seminal Nashville power-poppers 
Big Star's "Don't Lie to Me" sounds just like the original, and 
that's good.  Like the rest of the year's best power-pop album, 
it's  a class act.
	For information on Who Hit John, check out the website at: 
http:\\www.geocities.com\~whohitjohn\.
---
TOUR DATES:
	Bouncing Souls
Jan. 23 Richmond, VA Twisters 
Jan. 24 Chapel Hill, NC Lizard & Snake 
Jan. 25 Atlanta, GA Somber Reptile 
Jan. 27 New Orleans, LA Jimmy's Club 
Jan. 29 Jacksonville, FL Moto Lounge 
Jan. 30 St. Petersburg, FL State Theater 
Jan. 31 Ft. Lauderdale, FL Squeeze 

	Joe Canzano
Jan. 22 South Amboy, NJ Central Cafe

	Jimbo Mathus & His Knockdown Society
Jan. 21 Carrboro, NC Cat's Cradle
Jan. 22 Charlotte, NC Double Door
Jan. 23 Athens, GA 40 Watt Club
Jan. 24 Atlanta, GA Cotton Club
Jan. 26 Orlando, FL Sapphire Supper Club
Jan. 27 Gainesville, FL Covered Dish
Jan. 30 New Orleans, LA Howlin' Wolf
Jan. 31 Vicksburg, MS The Biscuit Company

	Oasis
Jan. 23 Vancouver, BC General Motors
Jan. 24 Seattle, WA Seattle Center
Jan. 27-28 Los Angeles, CA Universal Amp.
Jan. 31 Dallas, TX Bronco Bowl

	Pave The Rocket
Jan. 21 Cleveland, OH Speak In Tongues
Jan. 22 New York, NY Mercury Lounge
Jan. 23 Pittsburgh, PA Groovy
Jan. 24 Chicago, IL Fireside Bowl
Jan. 29 St. Louis, MO Side Door

	Sister Hazel / Alana Davis 
Jan. 22 Phoenix, AZ Celebrity Theater 
Jan. 23 San Diego, CA Jack Murphy Field 
Jan. 24 San Diego, CA Superbowl Superfest 
Jan. 26 W. Hollywood, CA House of Blues 
Jan. 27 Santa Ana, CA Galaxy Theater 
Jan. 28 Carmichael, CA El Dorado Saloon 
Jan. 30 Eugene, OR W.O.W. Hall 
Jan. 31 Portland, OR Roseland Theater 

  	Third Eye Blind / Smash Mouth
Jan. 29 Visalia, CA Convention Center 
Jan. 30 Bakersfield, CA BC Gym 
Jan. 31 San Francisco, CA The Warfield 

	Ween
Jan. 20 Athens, GA 40 Watt 
Jan. 22 Orlando, FL The Embassy 
Jan. 23 Tampa, FL The Rubb 
Jan. 24 Ft. Lauderdale, FL Button South 
Jan. 25 Jacksonville, FL Milk Bar 
Jan. 27 Columbia, SC Tremont Music Hall 
Jan. 28 Asheville, NC Be Here Now 
Jan. 29 Richmond, VA Alley Catz 
Jan. 30 Philadelphia, PA Trocadero 
Jan. 31 Boston, MA Roxy  
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NEWS:	> Life of Agony has recruited former Ugly Kid Joe 
member Whitfield Crane as lead vocalist following 
the unexpected departure of former lead singer Keith 
Caputo.
---
THE READERS WRITE BACK!
	> Just a quick note to say thanks for the 
excellent job (as always) this year.  Consumable is still 
the best! - Geoff D. , California


	> Another stellar issue.  Truly, it's one of the 
only favorites list I've ever read where I didn't find myself 
saying, "ohh, they suck, and they suck, and all the good albums 
of the year have been forgotten for Hanson, Spice Girls, Alanis, 
and other assorted crap."
	Thanks for being the defining voice of Internet music 
(and alas, any medium).
	You and your staff should be very proud of your magazine, 
and I look forward to coming excellence... Scott G., Boston, MA

	(Ed. Note - Aw, shucks, you're making us blush.  
Thanks for the kind words on Consumable...we'll try to maintain 
the quality which we hope our readership expects in 1998...)

	> Thanks for all the issues of Consumable!  Here's my 
top 5 from 1997:
	Primal Scream, _Vanishing Point_. Those who stick 
with the old times, namely _Screamadelica_, the hell with'em. 
Together with Portishead's self-titled record, this is the 
perfect record for the rock-fan. You can't actually dance to it, 
you just throw yourself on the couch. And listen....
	Mogwai, _Young Team_. Who needs words when you can 
bombard the listener with this sound?  Think Sonic Youth, Daydream 
Nation.  And if you don't believe the word of this writer, take 
Pavement's Malkmus' word on it.  If you hear about Mogwai doing a 
concert nearby, drop everything and run to buy a ticket. I did, 
and their sonic attacks still resonate in my ears!
	X, _Box set_. Okay, I'll admit it, I don't have it. Why would 
you need it when you have LA and Wild Gift? But anyway if you haven't 
got a X-record in your collection, run and buy it. Just to hear those 
blasphemous lines about Elvis doing fellatio. 
	Pixies, _Death To the Pixies_. The band that didn't only 
learn how to sing Kurt, but probably inspired Chris Carter to take a 
chance at inventing stories about aliens. Yes, I have all the Pixies 
records. Frankly? This is the one to go for, if you get the bonus live 
session with it. 
	Pavement, _Brighten the Corners_. The record with only hits 
that yet again didn't make it to the top of the charts, like Velvet 
Underground's _Loaded_. SM still managed to write lyrics that make you 
wonder what he's on about.  The early days of Swell Maps inspired sound 
are gone, but this bunch still managed to make a *swell* record. 
	- Nathalie, Belgium
---
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