==== ISSUE 84 ====         CONSUMABLE         ======== [August 16, 1996]

  Editor:             Bob Gajarsky
		        Internet: gajarsky@email.njin.net
  Sr. Correspondents: Jeremy Ashcroft, Martin Bate, Dan Enright, Tim 
                      Kennedy, Reto Koradi, David Landgren, Sean Eric 
                      McGill, Tim Mohr, Jamie Roberts, Joe Silva, John 
                      Walker
  Correspondents:     Dan Birchall, Lee Graham Bridges, Scott Byron,
                      Paul Grzelak, Eric Hsu, Tim Hulsizer, Stephen 
                      Jackson, Daniel Kane, Mario Lia, Stephe Lin,
                      Bob Mackin, Al Muzer, P. Nina Ramos, Linda Scott, 
                      Ali Sinclair, Jon Steltenpohl, Courtney Muir Wallner
  Technical Staff:    Chris Candreva, Dave Pirmann, Damir Tiljak,
                      Jason Williams

 Address all comments, subscriptions, etc. to gajarsky@email.njin.net
==================================================================
	All articles in Consumable remain (C) copyright their author(s). 
Permission for re-publication in any form must be obtained from the 
editor.
==================================================================
                            .------------.
                            |  Contents  |
                            `------------'
REVIEW: Neil Young with Crazy Horse, _Broken Arrow_ - Reto Koradi
BACKGROUND: Primitive Radio Gods, Chris O'Connor- Bob Gajarsky
REVIEW: Various Artists, _M.O.M. (Music For Our Mother Ocean)_ - Al Muzer
REVIEW: Various Artists, _Sweet Relief II_ - Stephen Lin
BACKGROUND: Hot Water Music - Bob Gajarsky
REVIEW: Semisonic, _Great Divide_  - Jon Steltenpohl
REVIEW: Soundtrack, _Supercop_ 	- Bob Gajarsky
REVIEW: Spacetime Continuum, _Emit Ecaps_ - Lee Graham Bridges
INDEPENDENT REVIEW: Tris McCall, _The Broken Loom_  - Jon Steltenpohl
THOUGHTS: Is 90's gangsta rap becoming 80's hard rock? - Sean Eric McGill
CONTEST WINNERS: Grass Records / Chimera Giveaway
NEWS: Robyn Hitchcock, Material Issue, Oglio, Sex Pistols, Sonicnet, 
   St. Louis
TOUR DATES: Barenaked Ladies, Adrian Belew, Frank Black, Johnny Bravo,
   Bryndle, L.T.J. Bukem / MC Conrad / D.J. Tayla, Tracy Chapman / 
   Charlie Hunter Quartet, Chimera, China Drum, Elvis Costello
   Cravin' Melon, Def Leppard / Tripping Daisy, Download, 
   Enit Tour (Love & Rockets, Porno For Pyros, Meat Beat Manifesto, Orb),
   Enormous / Perfect, Fleming & John, Goldfinger, David Gray, Hayden, 
   His Name Is Alive, Ho-Hum, H.O.R.D.E. (incl. King Crimson), Hunger,
   Jawbox, Nusrat Fateh Ali Khan, k.d. lang, Huey Lewis & The News
   Little Feat, Manic Street Preachers, Holly McNarland
   No Doubt, Pantera, Poorhouse Rockers, Possum Dixon / Yum Yum / Dig
   Primitive Radio Gods, Reel Big Fish, Scout, Sepultura / Far
   Sex Pistols / Gravity Kills, Slayer, Steely Dan, Velour / Camber,
   Young Dubliners
Back Issues of Consumable
---
	REVIEW: Neil Young with Crazy Horse, _Broken Arrow_ (Reprise)
		- Reto Koradi
	The thought of getting older can lose much of its terror if you
look at the right role models, such as Neil Young. It's not only that his
recording career has lasted for almost 30 years; it's more
that he has always kept, or even made, the pace of current music. And
there are still no signs of slowing down. 1994 brought the epic masterpiece
_Sleeps With Angels_, and in 1995 his collaboration with Pearl Jam on
_Mirror Ball_ showed that he's still on top when playing with today's kids.
With these constant style changes, how does his 1996 model surprise us?
	_Broken Arrow_ shows Neil Young back together with his old friends
from Crazy Horse. Considering that, one could expect a more backwards
oriented sound. This is indeed the case... partly. There are some of his
teasingly simple ballads, like "Scattered (Let's Think About Livin')" or
"This Town/Music Arcade" that have always brought him the largest
commercial success. Then there are a bunch of almost classical rock songs,
like "Big Time" and "Changing Highways". These are mostly very long and
serve as platform for some guitar excesses, where Neil Young finds
extensive opportunities to showcase his trademark playing style and
outstanding skills. His dirty guitar sound has become the basis for
grunge, but still nobody does it like the godfather himself.
	It's hard to put a label on _Broken Arrow_ - it's more like a
cross-section through Neil Young's whole career. The songs may seem overly
simple at first sight, but he always mastered the gentle art of making
music that is better than it pretends to be. _Broken Arrow_ should
probably not be the prime choice for new fans, but it's certainly another
excellent album in a long row of excellent albums, and is especially
recommended to the fans of Young's guitar playing. They will easily forgive
him that the album contains only 7 real songs (not counting the
questionable rendition of "Baby What You Want Me To Do") and the awful
packaging of the CD.
---
	BACKGROUND: Primitive Radio Gods, Chris O'Connor
		- Bob Gajarsky
	If the success of the Primitive Radio Gods hasn't changed 
main man Chris O'Connor, it sure hasn't lightened him up. 
	"Now I have an excuse for being an asshole!", O'Connor remarks
about the surprise success of his runaway hit, "Standing Outside A
Broken Phone Booth With Money In My Hand".
	It wouldn't be surprising for O'Connor to be just a little 
ticked at the music industry.  After several years and four independent
albums with the Santa Barbara, California based I-Rails, the group
disbanded.  While other members started the regular 9 to 5 grind, 
O'Connor finished recording his album - _Rocket_ - on the side,
for only $1,000, in a friend's garage on a broken-down, 1969 Ampex
16-track tape-deck.
	Fast forward to 1993, and the music bug bit O'Connor one more time.
Rather than release a solo album, he took the monicker Primitive Radio
Gods (after a song on the I-Rails third album) and self-promoted the
album.  College radio dropped the ball, and the lukewarm response 
convinced O'Connor to give up the dream - until housecleaning in 1994,
when he blindly sent out a few copies to industry executives.
	That one-in-a-million shot happened.  The song whose inspiration
was (in O'Connor's words) "9 grams of psilocybil mushrooms", "Standing
Outside A Broken Phone Booth With Money In My Hand", caught the ear
of one executive after another.  
	Only two tracks from his I-Rails days - "Are You Happy" and 
"Where The Monkey Meets The Man" - made the final cut on _Rocket_.  
Refusing to revive the I-Rails material, O'Connor's band includes former 
I-Rails members Tim Lauterio on drums and Jeff Sparks on bass with 
new member Luke McAuliffe on guitar.  And the man who cites musical
influences ranging from K.C. & the Sunshine Band and Ohio Players to
rock staples Kansas and Journey has made a record, _Rocket_, which 
doesn't sound tired or dated.  And while O'Connor says "I've only just
begun to vindicate myself", the real story of _Rocket_ is that some
dreams still come true.
---
	REVIEW: Various Artists, _M.O.M. (Music For Our Mother Ocean)_ 
		(Surfdog/Interscope)
		- Al Muzer
	With most of the proceeds from the sale of this disc benefitting
the Surfrider Foundation, this eco-friendly package is one of the best 
buys of the summer.  Mixing outstanding originals from the likes of 
Porno For Pyros ("Bali Eyes"); Common Sense; Reverend Horton Heat; Pato 
Banton; Primus (a live version of "Mr. Know It All"); 7 Mary 3; 
Soundgarden ("My Wave"); Jewel; Everclear; and Sublime with fun 
covers of The Silly Surfers' "Gremmie Out Of Control" from Pearl 
Jam; The Beach Boys "Surfin' USA" all punked-up by Pennywise; Bill 
Doggett's "Honky Tonk" as done by The Brian Setzer Orchestra; 
Silverchair's spirited cover of "Surfin' Bird"; Helmet's heavy-as-hell
remake of Bjork's "Army Of Me"; No Doubt's laughably-histrionic, 
completely off-the-mark interpretation of Bad Brains "Sailin' On"; a 
newly-recorded version of "California Sun" from The Ramones; and the 
Beastie Boys deconstruction of Eddie Holman's "Hey There Lonely Girl"
makes for a vaguely thematic, always entertaining disc with a mere 
two songs (Beasties/No Doubt) that suck. 
---
	REVIEW: Various Artists, _Sweet Relief II - Gravity of the 
		Situation: The Songs of Vic Chesnutt_  (Columbia)
		- Stephen Lin
	In 1992, Victoria Williams was diagnosed with multiple sclerosis.
In 1993 _Sweet Relief_, a compilation of William's songs covered by 
other artists, was released to raise funds to help with medical costs.  
Pearl Jam, Soul Asylum, Lou Reed and eleven other artists all donated 
their time and efforts to the album.  Thus the Sweet Relief Musicians 
Fund was established as a non-profit organization to provide financial 
assistance to musicians facing medical hardships.  
	_Sweet Relief II_ was just released to help bolster the 
strength of the Sweet Relief Musicians Fund.  This time an equally 
star-stud cast of musicians, if not moreso, are covering the tunes of 
the Athens, Georgia based Vic Chesnutt.  The album's 14 tracks 
feature 18 artists performing some truly inspirational work.
	Soul Asylum is the only band to return for the sequel.  
Newcomers to the project include the likes of dog's eye view, 
Sparklehorse, Mary Margaret O'Hara, and Cracker.  Kristen Hersh 
adds a typically haunting acoustic performance of "Panic Pure."  
The Indigo Girls trade off on strong lead vocals and blend together 
for tight harmonies on their rendition of "Free of Hope."  Live's MTV 
Unplugged performance of "Supernatural" is also among the ranks.  
However, the album leaves off frontman Ed Kowalczyk's exaltation 
that "Supernatural" is "absolutely the most beautiful song ever 
written by a human being."  And, from their performance here, I 
almost believe it.
	Butch Vig's most recent project, Garbage, opens the album 
with a fairly mellow track titled "Kick My Ass."  Shirley Manson's 
vocals are as sultry and enticing as ever.  R.E.M. lends a lively 
version of "Sponge" which reminds me somewhat of what R.E.M.'s "King 
of Birds."  And unless I'm imagining things, Bill Berry is starting 
to sound an awful lot like a drum machine.
	Perhaps most fascinating thing about this compilation are 
the duets included.  Nanci Griffith and Hootie & the Blowfish perform
a very Hootie-sounding title track, "Gravity of the Situation."  
Smashing Pumpkins team up with Red Red Meat on "Sad Peter Pan."  This
track utilizes a drum track, among others, being played at half speed.
The effect is quite stunning in contrast to Billy Corgan's vocals.  
Joe Henry and his sister-in-law, Madonna, ironically sing together 
on "Guilty by Association."  The pair don't tend to blab about their 
relations, though Madonna does mention it during an MTV interview 
about the upcoming "Evita."  
	Finally, the album closes out with Vic Chesnutt and Victoria
Williams performing "God is Good."  They co-wrote and recorded this 
track at Rancho De La Luna in Joshua Tree, California during the 
last week of February.  It's a moody track perfect for ending a 
compilation with such a worthy cause.  As a whole, _Sweet Relief II_ 
is easily as strong as its predecessor.  Whether you're a Vic Chesnutt
fan or a fan of any of the individual artists, this album is 
definitely worth owning.  And hey, it is for a good cause.  
---
	BACKGROUND: Hot Water Music
		- Bob Gajarsky
	New York City hasn't had much of a country rock/blues 
following, but that might all change with the release of the debut
self-titled album by Big Apple natives Hot Water Music.	
	The members of Hot Water Music only use their first names.  
So it's James on lead vocals, Lou on drums, and Harlan on guitar.  
The simplicity of the names almost tells the tale of the music: back
to basics rock and roll, simple yet rough, catchy but gritty.
	And if the sound of Hot Water Music makes you think of the
Fogerty brothers or start humming "Fortunate Son", don't jump to
the conclusion that they're a Credence influenced band.  James makes
quite sure to emphasize that fact: "We don't make an effort to sound
like them (CCR); we just draw from some of the same styles as they did".
	Those styles include legends such as Buddy Rich (whose
bootlegs are part of the Hot Water Music tape collection) and
Johnny Winters.  It might be not be in fashion to go back and
claim the roots of rock and roll as influences, but the band
work as one to bring out the blues and soul inside a guitar.
	"I write the lyrics and structure of the songs," says James,
"but the sound of the band comes from when we all play it together and
add our own rock and blues flavors to each song."
	The band's country side pops out periodically onstage, when
they might cover the WIllie Nelson song "How Do You Feel About
Foolin' Around".  But, as James adds, "We do it like the Doors would".
	Possibly the strongest track on _Hot Water Music_ is the 
first single "Same Day Twice",  which brings to mind some of the 
70's rock/blues bands such as ZZ Top (and I'm *not* talking about 
those synthesized days of the late 80's).  "Tumblin' Down" also 
stands out, and the ballad "All My Life" brings the piano back to 
the arena of rollicking rock and roll.  
	Getting signed to Elektra and releasing their first album
also offered new opportunities.  James adds that, "The best part 
of success is that we have the opportunity to work with people 
like Sonny Landroth and Richard Dodd (producer, who has also 
worked with Tom Petty)."
	It might be hard to break into radio playlists that dictate
"guitar sounds must be distorted", but with their tough rock and roll
debut, Hot Water Music might surprise a few programmers.
---
	REVIEW: Semisonic, _Great Divide_ (MCA)
		 - Jon Steltenpohl
	Attention Trip Shakespeare fans - listen up!  One half of 
the guys behind the quirky pop and dreamy rock ballads that 
characterized this classic band are back.  Dan Wilson and his buddy 
John Munson have risen from the ashes of the doomed band to form 
Semisonic along with newcomer Jake Slichter.  Semisonic features the 
same line-up that toured the past few years as Pleasure; an old 
funk band of the same name forced the change.
	Regardless of the band's name, _Great Divide_ is another in 
a long line of masterpieces from Wilson.  As the half of the Matt 
Wilson/Dan Wilson force behind Trip Shakespeare, these Minnesotan 
brothers built a base of songs that focused exclusively on the joys 
and sorrows of love and life.  Their ability to capture scenes in 
truly original ways set their themes apart from your average song of 
life.  Stuff like "Boy sells bomb-pops off a bike to win the girl" 
or "Boy asks girl to look at the moon so she won't see him cry" stuck
out at once as sad, funny, and ultimately real.  Likewise, what set 
the music apart was the band's free-form percussion, bubbling bass 
line, and their trademark falsetto harmonies.
	Dan's songs are the same old Trip Shakespeare fare.  They 
aren't quite as goofy as his brother Matt's, but they still paint 
their pictures vividly.  Each song is about love or desperation or 
both.  "F.N.T." sets the tone for the whole album with a fire engine 
guitar solo, volumous bass lines, and shimmering harmonies.  It's a 
little infatuation song to a "fascinating new thing" who'll be 
"lovely" and "precious" even when she is "not new."
	Later there's the melancholy ode to a girl called 
"Temptation".  Wilson comments, "Somewhere in the world tonight / 
Two lovers are treating each other right / Somewhere else in a lonely
town / One lover waits an endless hour / Driving home in the dark I 
say this time will be the last." In "No One Else", he muses "With a 
wave of your hand / I'm destroyed and Recreated / No one else can 
make me cry like you, you, love / You're the only one / Who did 
everything right."  The bittersweet sentiment riding through each 
song cuts through the glamour of the hopeless romantics and the 
hopeless pessimists.  In Wilson's world, each cloud has a silver 
lining and every silver lining has its cloud.
	Musically, _Great Divide_ is a slight shift from Trip 
Shakespeare. Semisonic blends some of the themes from the old band 
into its mix and covers a lot of new ground.  "Falling," "In Another 
Life," and "Temptation" could have been Trip Shakespeare outtakes.  
"No One Else" and "I'll Feel For You" are both slow, spacey songs that
have a lot of "effect washes and static hum" added to them.
	But the strong suit of Semisonic is the hard edged pop song.  
Songs like "Down in Flames" and "F.N.T." draw vague comparisons to 
bands like Weezer.  They are little carefree ditties despite their 
sometimes depressing lyrics, and it's hard to stop yourself from 
grooving along to the songs.  But despite the similarity, Semisonic's
sound is more mature than Weezer's, and I've never really heard a 
three piece band quite like this.  Even though they come from 
Minneapolis, the land of Husker Du and the Replacements, Semisonic 
manages to sound completely original.
	Fans of the late, great Trip Shakespeare will know to run and
get this album, but newcomers might be more hesitant.  If you've 
liked what's been on the radio so far, _Great Divide_ will not 
disappoint.  The grooves and guitar chops will push you as far as 
you'd like to go.  If you've never heard of Semisonic, I'd recommend 
taking a chance or visiting a listening station.  This is smart, 
well-made music that won't go stale after a few listens.  So find a 
copy, crank up the stereo, get your groove on, and enjoy!
---
	REVIEW: Soundtrack, _Supercop_ (Interscope)
		- Bob Gajarsky
	The 70's were the age of all those bad (or good) karate films,
and just oh-so-much excess.  The latest Jackie Chan film, _Supercop_,
takes the 70's karate films into the 90's with a soundtrack that echoes
the timeline of the film.
	Tom Jones, together with Leslie Rankine from Ruby, takes 
Carl Douglas' "Kung Fu Fighting" to new levels - either good or bad,
again, depending on your point of view.  The key point is that the 
soundtrack is *fun*, not to be taken completely seriously.  Siobhan 
Lynch's slowed down, Coil-like cover of the Bee Gees' "Staying Alive"
will make a fan of those too young to remember Travolta's white leisure
suits.  And that offbeat group, Devo, do one of the coolest covers of 
the year - totally reconstructing Nine Inch Nails' "Head Like A Hole".
	As one critic who does not profess to have any liking for 
the West Coast gangsta rap, it may come off as a backhanded 
compliment that the Warren G/Adina Howard rap re-working of Tina 
Turner's hit, "What's Love Got To Do With It", comes off without a 
hitch and is a perfect candidate for pop radio.  But the song
works quite well, and the two vocalists' voices perfectly complement
each other.
	On the "new" tracks, Shaun Ryder leads Black Grape into
yet another baggy, Manchester-type song which would have suited
the Happy Mondays five years back, "Harry The Dog".   Pantera's
Dimebag Darrell contributes the metal "Caged In A Rage", and 
newcomers Polara, who have recently signed to Interscope, toss
in a re-recorded version of their 1994 song, "Scorched Youth
Policy".
	An appetizing combination of new and old.  Call it kitsch, 
alternative style.
---
	REVIEW: Spacetime Continuum, _Emit Ecaps_ (Astralwerks)
		- Lee Graham Bridges
	Spacetime Continuum's latest, aptly named _Emit Ecaps_, is an
interesting array of simpler, less mechanical sounds and rhythms - a
symmetrical hybrid of pseudo-string instruments, weightless synth hums and
chimes, heavy beats, and the occasional blip and buzz, that combine to form
a portrait of odd beauty.  _Emit Ecaps_ carries a multitude of subtle 808
State references, and could be compared to a smoother, this-worldly Aphex
Twin.  Surprisingly, the feeling one gets upon listening is that the beat,
though often dominant, is meant to massage or hypnotize the listener's ear
drums, not aggravate.  This is complemented by simple, well-arranged sets of
pleasant synth sounds and samples.
	"Kairo" is the busiest song on the album, with hyperactive bass and
beat to match.  "Swing Fantasy" stands out as a clear example of SC's 808
State infatuation.  "Vertigo" maintains high danceability with a faster
tempo and a hyperactive high hat cymbal.  "Twister," a combination of pops
and oddly matched tones and sounds, is more like a story than a song, but an
enthralling story at that.  The listener glides effortlessly through "Pod,"
one of several tracks that does not fit very well into the "techno" genre,
if such a cliche' can be used.
	_Emit Ecaps_ is an excellent semi-mellow album that replaces much of
the thousand-beats-per-minute mentality of today's techno with its own brand
of intensity.
---
	INDEPENDENT REVIEW: Tris McCall, _The Broken Loom_ (Ohio Records)
		 - Jon Steltenpohl
	The premise is simple.  The leader of a rock band records his 
original songs in a solo setting.  The tracks, never meant for release,
get traded around by his friends and the folks at his label until it's 
obvious that the songs deserve more attention.  This is basically how 
Tris McCall, leader of The Favorite Color, ended up releasing _The 
Broken Loom_.  A collection of tender acoustic ballads, _The Broken 
Loom_ is an engaging prelude to The Favorite Color's upcoming debut.
	The first track, "Hands Like Cool Water", folds itself around
you in quiet melancholy.  It's a song about a girl whose "hair pours 
down like moonlight" but who falls through the boy's "hands like cool
water."  Featuring subdued vocals, acoustic guitar, and electric piano,
the song could be a Paul Simon song from the 70's.  "Hands Like Cool 
Water" is definitely the standout of this album.  The rest of the album
continues in similar fashion and evokes the music of Luka Bloom, the 
vocals of John Wesley Harding, and the strange lyrics of Robyn Hitchcock.
	What is exciting about Tris McCall's album is that he is 
competely new to the scene.  He picked up his guitar and started his 
career as musician in 1993 at the age of 21.  These songs were written 
and recorded only 2 years from that time.  Admittedly, a few of the 
lyrics show his youth as a songwriter, but they are easy to forgive.  
But what McCall lacks in experience, he makes up with raw talent.  His 
vocals are expressive and deep, and his guitar work is atmospheric and 
sparse.
	_The Broken Loom_ is a work-in-progress masterpiece.  Most 
musicians never reach this level of expression, and McCall has reached 
it in 3 years.  Who knows what the future holds for this young musician?
His main project is his band, The Favorite Color.  Their album has just 
been released, and it promises a whole new set of McCall songs in a 
completely different setting.  Until then, e-mail Tris at 
TrisMcCall@aol.com or the main office at TFColor@aol.com, and check into
_The Broken Loom_.
---
	THOUGHTS: Is 90's gangsta rap becoming 80's hard rock?
		- Sean Eric McGill
	As a performer in hard rock bands in the eighties, I am more 
than qualified to say that it was at best an embarrassing time. For 
every good band that came out of the woodwork and actually accomplished
something professionally, we were drowning in half-assed groups who 
were signed on the basis of their hair and their ability to make a 
mean face for the camera. In other words, their ability to look like 
they were "rockin'" superceded their ability to actually play - at 
least, that's what it seemed like.
	And now, the ghost of eighties hard rock is finally behind us. Oh 
sure, a band like Jackyl comes around every now again and resurrects the 
ghost, but that's O.K. You see, ten bands doing that shtick is one thing -
the thousand bands is something completely different.
	But it seems that every few years, a style of music becomes a 
parody of itself as hard rock did in the Reagan-era. And now it seems 
that rap (and more specifically, gansta rap) has become this era's 
self-parody of choice.  Now, I realize that by being a white male and 
criticizing gangsta rap I'm opening myself to a host of arguments, from 
"Well, you just don't get it" to "You're just a racist" - and if you feel
that way, I apologize. But like it or not, you didn't have to be young, 
white, and horny to realize that hard rock in the eighties was full of 
crap for the most part and you don't have to be young, black and angry to
realize that a good many rap artists today are making the genre they're 
a part of look more and more like a joke.
	First, let's hit the aesthetic qualities. In the eighties, the 
hair got bigger and the "come-hither" scowls or rockers like Don Dokken
and David Lee Roth were king. And in gangsta rap these days, the heads 
are getting balder and the scowls aren't as much "come-hither" as they 
are "get the hell away from me".
	Everyone has to be badder than the guy who preceded them. They're
more hardcore, they've done more time, they've smacked more bitches - 
whatever.
	Why? Because being more hardcore, and doing more time, and 
smacking more bitches translates to more album sales. And if you can 
recall the era and were male, you'll remember that in the eighties, 
you drank more beer, you screwed more bitches, and you were cooler 
than the guy who preceded you. After you heard the one-millionth band 
come out and sing about chasing down women, it became a joke. And after
you hear the one-millionth rapper come out and rap about chasing down 
the punk who tried to rip him off, it's still a joke.
	Now, this isn't to say that I'm advocating the death of rap 
music - not by a long shot. Rap, probably more than any other form of 
music, gets the closest to what's happening in our inner-cities. It's 
a lot easier for a young African-American to identify with Ice Cube's 
tales of street life than for a young white person to understand how 
Eddie Vedder hates being famous. But in the music industry, the idea 
of "too much of a good thing" is a valid one.  Aerosmith is one of the
best rock bands of all time - but we didn't need a million other bands
that tried to be them. And the same is true for rap music.
	I mean, let's be honest here - what brought this whole concept 
into my mind was that I ran across a rapper named "Kaution". There were 
about ten thousand rock bands named that in the eighties, and I'm sure
some of them are still playing the seedy bar of your choice where you 
live, knocking out Poison and Ratt songs to a roaring crowd of drunkards,
banging their heads in unison in their sleeveless "Rockin with Dokken" 
t-shirts. The point is this - there are so many "Kautions" and "Outlawz"
out there that a lot of the quality is getting lost in the quantity.
	And that's where the true problem is in this discussion. Like it 
or not, there were some good bands that played hard rock music and came 
out in the eighties. But there were more that got lost in the crowd, 
positioned between Grim Reaper and Guy Mann-Dude. And for every Ice Cube,
there's someone who's just as talented, but won't get recognized because
he's stuck between two fly-by-night acts. Just because something can 
sell doesn't mean it should.
---
CONTEST WINNERS:  The following five people were winners in
the Consumable/Grass Records giveaway for the Chimera E.P's:
David Kemper, J. D. Laub, Gary Pon, Joanna Slimmer and Sean Wiedel.
As a special unannounced bonus, all five EP's are autographed
by the band.  Congratulations!
---
NEWS:	> Robyn Hitchcock will be conducting a live chat on
Request Online on Friday, August 16 at 3:30 p.m. EST.  The site
is located at http://www.requestline.com 
	> Although Jim Ellison recently took his own life,
Material Issue will be releasing at least one more full length
album.  The album is comprised of approximately 15 songs completed 
before Ellison's untimely death, with the first single most 
likely to be either "What If I Killed Your Boyfriend" or 
"Satellite", and is likely to hit stores either on a major label 
or a large independent label in spring or summer of 1997.
	> The California based reissue label Oglio has recently
opened up a Web page.  Still in its infancy, the site is located
at http://www.oglio.com	
	> On Friday, August 23rd, the Sex Pistols concert from the
Palladium in Hollywood, California will be broadcast live on the
Internet.  Check out L.A. Live (http://www.lalive.com), IMusic
(http://www.imusic.com) or Rocktropolis (http://www.rocktropolis.com)
for more details. 
	> Sonicnet will have a chat with Perry Farrell, Black Grape
and Meat Beat Manifesto (the Enit Festival) on Friday, August 16 at
6 p.m. EST. at http://www.sonicnet.com/sonicore/chat
	> The St. Louis music and entertainment guide has
hopped on the Web - point your browsers at
http://www.stl-music.com for the site.
---
TOUR DATES
	Barenaked Ladies
Aug. 16 Atlanta, GA Coca Cola Dome (Live Radio Performance)
Aug. 17 Seattle, WA The Moore Theatre
Aug. 18 Whistler, BC On The Hill
Aug. 19 Portland, OR La Luna
Aug. 22 San Francisco, CA The Wharfield Theatre
Aug. 24 Detroit, MI Pine Knob
Aug. 25 Los Angeles, CA The Wiltern Theatre
Aug. 26 San Diego, CA 4th and B's

	Adrian Belew
Aug. 24 Asbury Park, NJ Paramount
Aug. 25 Columbia, MD Merriweather Post
Aug. 26 Philadelphia, PA Mann Center

	Frank Black
Aug. 20 Boulder, CO Fox Theatre
Aug. 21 Salt Lake City, UT Bar & Grill
Aug. 23 Los Angeles, CA Alligator Lounge
Aug. 24 San Juan Capistrano, CA Coach House

	Johnny Bravo
Aug. 22 Boston, MA WFNX Show

	Bryndle
Aug. 18 Mammoth Lakes, CA Mammoth Mountain WestFest
Aug. 22-25 St. Paul, MN Minnesota State Fair Bandshell

	L.T.J. Bukem / MC Conrad / D.J. Tayla
Aug. 16 Washington, DC Sting/Buzz
Aug. 17 New York, NY Enit Festival
Aug. 18 Boston, MA Jungle Roots
Aug. 20 Philadelphia, PA 611

	Tracy Chapman / Charlie Hunter Quartet
Aug. 16 Houston, TX Cullen Auditorium
Aug. 17 Dallas, TX Bronco Bowl
Aug. 21 Portland, OR Shnitzer
Aug. 22 Seattle, WA Paramount
Aug. 24 Berkeley, CA Greek Theatre

	Chimera
Aug. 19 San Diego, CA Casbah
Aug. 21 West Hollywood, CA Luna Park

	China Drum
Aug. 16 Las Vegas, NV Rainbow
Aug. 17 Lake Havasu City, AZ Elks Club
Aug. 18 San Diego, CA Casbah
Aug. 19 Los Angeles, CA Dragonfly
Aug. 20 San Francisco, CA Bottom of the Hill

	Elvis Costello
Aug. 16 Detroit, MI Fox Theatre
Aug. 17 Rosemont, IL Rosemont Horizon
Aug. 18 Minneapolis, MN Orpheum Theatre
Aug. 20 Dallas, TX Bronco Bowl
Aug. 21 Austin, TX Backyard
Aug. 23 Denver, CO Paramount Theatre
Aug. 25 Santa Barbara, CA Santa Barbara Bowl

	Cravin' Melon
Aug. 17 Murrill's Inlet, SC Sandpiper
Aug. 22 Rock Hill, SC Silver $$
Aug. 23 Spartanburg, SC Magnolia's
Aug. 24 Atlanta, GA Chameleon

	Def Leppard / Tripping Daisy
Aug. 16 Atlanta, GA Lakewood Amphitheatre
Aug. 17 Antioch, TN Starwood Amphitheatre
Aug. 18 Lampe, MO Black Oak Mountain
Aug. 20 Oklahoma City, OK Zoo Amphitheatre
Aug. 21 Bonner Springs, MO Bandstone Amphitheatre
Aug. 23 Denver, CO Fiddler's Green
Aug. 24 Park City, UT Wolf Mountain Amphitheatre
Aug. 26 Phoenix, AZ Desert Sky Pavillion

	Download
Aug. 15 Atlanta, GA Masquerade
Aug. 16 Charlotte, NC Baha Club
Aug. 17 Springfield, VA JAXX
Aug. 18 Philadelphia, PA Middle East
Aug. 20 Hamilton, ON Nekropolis
Aug. 21 Toronto, ON The Opera House
Aug. 22 Ottawa, ON Barrymore Music Hall
Aug. 25 New York, NY Tramps
Aug. 26 Detroit, MI St. Andrew's Hall

	Enit Tour (Love & Rockets, Porno For Pyros, Meat Beat 
	Manifesto, Orb)
Aug. 15 Pittsburgh, PA Starlake
Aug. 17 Holmdel, NJ Garden State Arts Center
Aug. 18 Philadelphia, PA E-Center
Aug. 20 Boston, MA Great Woods
Aug. 23 San Francisco, CA Calaveras County
Aug. 24 Los Angeles, CA Bear Mountain

	Enormous / Perfect
Aug. 16 Chicago, IL Double Door
Aug. 17 Milwaukee, WI Unicorn
Aug. 18-19 Minneapolis, MN 7th Street

	Fleming & John
Aug. 21 Nashville, TN Stairs at Alumni
Aug. 22 Chattanooga, TN Sandbar
Aug. 23 Birmingham, AL 5 Points Music Hall
Aug. 24 Atlanta, GA Cotton Club

	Goldfinger
Aug. 22 Los Angeles, CA Universal Amphitheater
Aug. 23,25 Los Angeles, CA Palladium

	David Gray
Aug. 16 Chicago, IL Schuba's
Aug. 17 Toledo, OH Frankie's
Aug. 18 Grand Rapids, MI Reptile House
Aug. 20 Toronto, ON Horeshoe Tavern
Aug. 21 Pittsburgh, PA Graffiti
Aug. 22 Columbus, OH Stache's
Aug. 23 Cincinnati, OH Club Gotham

	Hayden
Aug. 21 London, ENG Garage (w/Weezer)
Aug. 23 Reading, ENG Reading Festival
Aug. 24 Leopoldsburg, BEL Pukkelpop Festival
Aug. 25 Delft, NET Lowlands

	His Name Is Alive
Aug. 21 Boston, MA Middle East
Aug. 22 Hoboken, NJ Maxwell's
Aug. 23 New York, NY Fez
Aug. 24 Philadelphia, PA Kyber Pass
Aug. 25 Washington, DC Black Cat

	Ho-Hum
Aug. 22 Fayetteville, AR JR'S

	H.O.R.D.E. (incl. King Crimson)
Aug. 16 New York, NY Randall's Island
Aug. 17 Hartford, CT Meadows Music
Aug. 18 Saratoga, NY SPAC
Aug. 20 Buffalo, NY Darien Lake
Aug. 22 Portland, ME Maine Ent. Center
Aug. 23 Hershey, PA Hershey Park

	Hunger
Aug. 15 Chicago, IL Cubby Bear
Aug. 16 Milwaukee, WI Rave
Aug. 17 Detroit, MI Palladium
Aug. 18 Toledo, OH Underground
Aug. 20 Toronto, OH Horseshoe

	Jawbox
Aug. 16 Toronto, ON Lee's Place
Aug. 17 Montreal, QC Cabaret
Aug. 18 Burlington, VT Club Toast
Aug. 20 Cambridge, MA Middle East
Aug. 21 Hoboken, NJ Maxwell's
Aug. 22 New York, NY Irving Plaza
Aug. 23 Philadelphia, PA Trocadero
Aug. 24 Washington, DC 930 Club

	Nusrat Fateh Ali Khan
Aug. 17 Seattle, WA Paramount Theatre
Aug. 19 Vancouver, BC Orpheum Theatre
Aug. 21 New York, NY Radio City
Aug. 22 Chicago, IL Bismarck Theatre
Aug. 24 Toronto, ON Roy Thompson Hall
Aug. 26 Detroit, MI State Theatre

	k.d. lang
Aug. 16 Berkeley, CA Greek Theatre
Aug. 17 Santa Barbara, CA Santa Barbara Fairgrounds
Aug. 19 Los Angeles, CA Greek Theatre
Aug. 23 Burgettown, PA Starlake Amphitheatre
Aug. 24 Wailingford, CT Oakdale Theatre
Aug. 25 Rochester, NY Fingerlakes Auditorium

	Huey Lewis & The News
Aug. 20 Interlochen, MI Interlochen Center
Aug. 21 Clarkston, MI Pine Knob
Aug. 22 Kettering, OH Fraze Pavillion
Aug. 23 Highland Park, IL Ravinia Festival
Aug. 25 Des Moines, IA Sec Taylor Stadium

	Little Feat
Aug. 23 Sheboygan, WI Sheboygan Lake Fest.
Aug. 24 Baltimore, MD Pier 6
Aug. 25 (Afternoon) Croton, NY Croton Point Park
Aug. 25 (Evening) Suntan Lake, NJ Suntan Lake

	Manic Street Preachers
Aug. 23 Montreal, QC Club Soda
Aug. 24 Toronto, ON Phoenix
Aug. 25 Cleveland, OH Grog Shop

	Holly McNarland
Aug. 16 San Francisco, CA Bottom of the Hill

	No Doubt / Goldfinger
Aug. 16 Providence, RI Strand 
Aug. 17 Chicago, IL Aragon
Aug. 18 Milwaukee, WI Eagles
Aug. 20 Asbury Park, NJ Stone Pony (w/ Dog Eat Dog)
Aug. 21 New York, NY Roseland Ballroom (w/ Dog Eat Dog)

	No Doubt
Aug. 22 Philadelphia, PA Trocadero
Aug. 23 Washington, DC 930 Club
Aug. 24 Norfolk, VA Boathouse
Aug. 25 Raleigh, NC Marrz

	Pantera
Aug. 16 Hamilton, ON Copps Coliseum
Aug. 18 Burgettstown, PA Starlake Amphitheatre
Aug. 19 Philadelphia, PA Blockbuster Ent. Center
Aug. 22 Hartford, CT Meadows
Aug. 23 Bristow, VA Nissan Pavillion
Aug. 24 East Rutherford, NJ Continental Airlines Arena

	Poorhouse Rockers
Aug. 16 Ocean City, MD Talbot Street Cafe
Aug. 17 Ocean City, MD Dungeon
Aug. 22 Fells Point, MD Horse You Rode In On

	Possum Dixon / Yum Yum / Dig
Aug. 17 Atlanta, GA Point
Aug. 23 Tucson, AZ Congress
Aug. 25 Los Angeles, CA Spaceland

	Primitive Radio Gods
Aug. 17 Toronto, ON Velvet Underground Club
Aug. 19 Cleveland, OH Peabody's
Aug. 20 Philadelphia, PA Theatre of Living Arts
Aug. 22 Boston, MA Paradise
Aug. 23 Cambridge, MA TT The Bears
Aug. 24 Providence, RI Met Cafe

	Reel Big Fish
Aug. 16-18 Anaheim, CA Arrowhead Pond
Aug. 24 Los Angeles, CA USC

	Scout
Aug. 18 New York, NY Knitting Factory

	Sepultura / Far
Aug. 21 Toronto, ON Opera House
Aug. 22 Montreal, QC Verdun Auditorium
Aug. 23 Boston, MA Avalon Ballroom
Aug. 24 Providence, RI Lupo's
Aug. 26 Northampton, MA Pearl St.

	Sex Pistols / Gravity Kills
Aug. 16 Detroit, MI Cobo Hall
Aug. 17 Chicago, IL Aragon Ballroom
Aug. 20 Mexico City, Mexico Sports Palace
Aug. 24 Los Angeles, CA Palladium

	Slayer
Aug. 16 Milwaukee, WI Rave-Eagles Club
Aug. 17 Chicago, IL Metro
Aug. 18 St. Louis, MO Mississippi Nights
Aug. 19 Lawrence, KS Liberty Hall
Aug. 21 Denver, CO Ogden Theatre
Aug. 22 Salt Lake City, UT Salt Air
Aug. 24 San Francisco, CA Trocadero
Aug. 25 Los Angeles, CA Whiskey

	Steely Dan
Aug. 16-17 George, WA The Gorge

	Velour / Camber
Aug. 23 New York, NY Mercury Lounge

	Young Dubliners
Aug. 21 Santa Ana, CA The Galaxy 
Aug. 22 Santa Monica, CA Santa Monica Pier
Aug. 24 Denver, CO Colorado Irish Festival
Aug. 25 Fort Collins, CO Mishiwaka Amphitheatre
Aug. 26 Evergreen, CO Little Bear
---
To get back issues of Consumable, check out:
        FTP:     ftp.etext.org in the directory /pub/Zines/Consumable
		 ftp.prouser.org
        Gopher:  diana.zems.etf.hr
                 Engleski Jezik/Music/Consumable or          
                 Hrvastki Jezik/Glazbena Rubrika/Consumable
        (URL)    gopher://diana.zems.etf.hr:70/11/eng/Music/Consumable
                 http://www.westnet.com/consumable/Consumable.html 
        (WWW)    http://www.westnet.com/consumable
        (CIS)    on Compuserve Notes: GO FORUM
        (Delphi) Music Fandom forum; GO ENT MUSIC
Web access contributed by WestNet Internet Services (westnet.com),
serving Westchester County, NY.
Promotional support provided by Music Interactive
(http://musicinteractive.com), a free online resource for aspiring musicians
and other music professionals seeking to expand their careers, networking,
music skills and scope.

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