==== ISSUE 93 ====         CONSUMABLE         ======== [December 2, 1996]

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

 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: Ocean Colour Scene, _Moseley Shoals_ - Joann D. Ball
REVIEW: Chemical Brothers, "Setting Sun" - Bob Gajarsky
REVIEW: Grateful Dead, _Dozin' At The Knick_ - Jim Flammia 
REVIEW: The Cardigans, _First Band On The Moon_ - Robin Lapid
REVIEW: Jason & The Scorchers, _Clear Impetuous Morning_ - Al Muzer
REVIEW: The Connells, _Weird Food & Devastation_ - Joann D. Ball
REVIEW: Qkumba Zoo, _Wake Up And Dream_ - Bob Gajarsky
REVIEW: Chris Isaak, _Baja Sessions_ - Robin Lapid
REVIEW: Various Artists, _The Doo Wop Box II_ - Daniel Aloi
COMPILATION REVIEWS: Party Of Five, Space Jam, John Waite - Bob Gajarsky
REVIEW: Zoe, _Hammer_ - Reto Koradi
REVIEW: Joe Henry, _Trampoline_ - Scott A. Miller
NEWS: Enigma, Goo Goo Dolls, Roadrunner Records, White Party
TOUR DATES: Arm Dogs, Barenaked Ladies, Black Crowes, Boiled In 
   Lead, Tracy Bonham, Johnny Cash, Chimera, Phil Cody, Deftones,
   Ginger, Lizard Music, London Suede, Sarah McLachlan, Morcheeba,
   Teddy Morgan, Ocean Colour Scene, Professor & Maryann, Pure, 
   Republica, SNFU, Sponge / Ruth Ruth, Tool / Psychotica, Tree, 
   Miss Lavelle White, Bill White Acre, Yatsura
THE READERS WRITE BACK!
Back Issues of Consumable
---
	REVIEW: Ocean Colour Scene, _Moseley Shoals_ (MCA)
		- Joann D. Ball
	I first heard about Ocean Colour Scene in late November 
1990.  The band was spotlighted as an indie-breakthrough phenomenon 
in a London nightlife magazine and the local club date on their 
first British headlining tour was listed as a must-see.  Eager to 
maximize my semester abroad since it was quickly coming to an end, 
I set out on a damp Saturday night to find the club and a good time.
Happily, I found both and Ocean Colour Scene played a tight, 
high-energy set which combined the best of the Stones (Rolling and 
Roses).  Despite the success of that tour and sound, Ocean Colour 
Scene was subsequently forced to ride the faddish shoegazer wave 
when their independent label hooked up with a major.
	The next time I saw Ocean Colour Scene was in mid-October 
1992.  They were touring Stateside, on my turf this time, in support 
of the long-delayed self-titled debut disc. As part of the Fontana 
Records tour, Ocean Colour Scene opened for then-label mates House 
of Love and Catherine Wheel.  While label compromises had softened 
support for the band in Britain, the well-received Fontana tour 
suggested that the band might connect with less jaded American 
audiences.   The big splash didn't occur, however, and Ocean Colour 
Scene returned home to England to decide which course to take the 
next time out.
	It's now late-November 1996, and I'm a few days away from 
seeing Ocean Colour Scene again.  I'm even more excited about the 
live show this time around, because their latest effort, _Moseley 
Shoals_ is an amazing release that is much more far-sighted than 
its predecessor.  Finding inspiration in the best of American and 
British rock, pop and soul,the quartet strips off the shoegazer 
polish to the essential basics of throaty vocals, McCartneyesque 
bass, fluid guitar and chord pounding piano.  On _Moseley Shoals_,
Simon Fowler (vocals), Steve Cradock (guitar), Damon Minchella 
(bass), and Oscar Harrison (drums) take the less-travelled 
Weller/Jam route back through British Rock history, a direction 
supported by Cradock's other job as Paul Weller's guitarist.   
	_Moseley Shoals_, recorded in the Birmingham, England  
studio of the same name, also taps into the sound of the famous 
Muscle Shoals, Alabama studio which produced some of the best 
American soul ever recorded.  The combination is a fresh one that 
is full of raw energy and emotion.
	On the twelve tracks that comprise the release, Ocean 
Colour Scene looks backward in order to move forward.  Shades of 
Sixties soul are evident on "40 Past Midnight"  and "The Riverboat 
Song,"  and the latter is rounded out by wah-wah guitar and Paul 
Weller's organ.  "The Day We Caught the Train,"  the current U.S. 
single, rocks and rolls along with pounding bass and piano.   
Weller turns up again, contributing guitar on the 
Brit-meets-American alternapop of "The Circle" and piano and 
backing vocals on the breezy "One for the Road."  And Fowler 
showcases his soulful vocals on the slow and moving "Lining 
Your Pockets" and "The Downstream."  "You've Got It Bad" is 
heavy on the tambourine and bluesy lead guitar, with the added 
touch of psychedelic-inspired keyboards, and epic jam "Get Away" 
completes the collection
	_Moseley Shoals_ has already reached the top of the 
British album and singles charts.  Hopefully, the current 
popularity of roots-influenced rock and pop music in these parts 
will provide some space for this fine release.  Not only does 
_Moseley Shoals_ offer American audiences a fuller and richer 
history of Britpop and English rock, it also highlights the 
legacy of American and English soul.  Fans of Paul Weller will 
immediately take to _Moseley Shoals_, and those who dig Counting 
Crows, the Tragically Hip, the Black Crowes and similar bands will 
find some familiar grooves here as well.  If this isn't enough to 
turn you on, check out Ocean Colour Scene live.  The power and 
strength of _Moseley Shoals_ guarantees that the live show will 
be a hot, sweaty conversion experience.
---
	REVIEW: Chemical Brothers, "Setting Sun" (Astralwerks)
		- Bob Gajarsky
	Among those in the know, some of the trend-setting
dance music that is making its way through the underground 
clubs will be the major breakthrough on radio in 1997.  If
this truly does happen, it's likely that the Chemical 
Brothers will be up at the forefront of the movement.	
	Their latest single, "Setting Sun", shows why things
could go their way.  Sounding like a re-recorded 1990's 
version of the Beatles' "Tomorrow Never Knows" while tripping 
on acid, Tom Rowlands and Ed Simons have taken the next
step in restoring something those former Manchesterites 
(England) can dance to when Black Grape isn't around.
	So what makes "Setting Sun" so different?  The 
collaboration with Oasis' lead vocalist Noel Gallagher.
The band explains how the unusual pairing came
about: "He (Gallagher) came up to us at Glastonbury (England's
largest annual rock festival) and said 'I love your album;
next time you're doing something, I'd love to do a track
with you.'"
	The comparison to "Tomorrow Never Knows" should
now come as no surprise to the man who religiously rips off
riffs from the Fab Four.  "He'd written the melody and the lyrics
(for "Setting Sun") and then we did a version which we
tweaked a bit."  The collaboration worked in their homeland;
the single entered the British charts at #1.
	And working with Gallagher wasn't the first
time the pair had merged the world between acid-dance and
British alternative music; they've already worked with Tim
Burgess of the Charlatans U.K.
	While the Chemical Brothers are preparing work on their
second album (which will include a track with Mercury Rev),
fans will have to satisfy themselves with this 4 track (2 versions,
an instrumental, and "Buzz Tracks") single.
---
	REVIEW: Grateful Dead, _Dozin' At The Knick_ (Arista) 
		- Jim Flammia 
	On March 24th 1990, my friends and I were driving down 
the New York State Thruway from the small Canadian industrial 
city of Hamilton, Ontario, where we had just seen two powerful 
Grateful Dead shows.  Not one of us had tickets for the Albany, 
New York concert, but we were optimistic. In the past, we had 
obtained tickets in so many creative ways, and we were confident 
that we would see the show that night, and head back to New York 
in the morning. 
	When we arrived in Albany, we were pleased to see a great 
scene - thousands of Deadheads selling food, clothes, stickers and 
all sorts of fun items.  Unfortunately, few were selling extra 
tickets.  About five minutes before showtime, two from our crew 
found a pair.  Of course, I was happy for them, but the harsh 
reality of missing the show was drawing near.  Finally, towards 
the end of the first set, I realized that this would be the first, 
and only, Dead show that I would try to get into, and fail. My two 
remaining cronies and I had our own little adventure out in the 
cold that night regardless.  I only had a few opportunities to 
hear those shows since, but they were on poor quality bootleg tapes. 
	Fortunately, the shows from the Dead's three night stand 
at Albany's Knickerbocker Arena have just released on the three 
disc set,  _Dozin' At The Knick_.  From songs and performances 
(complete with mistakes), to the packaging and crystal clear 
production, _Dozin' At The Knick_ is an excellent representation 
of the soul, passion and diversity of the Dead at a high point in 
the later part of its 30-year existence.  After Jerry Garcia's 
passing, many Deadheads dove back into collecting bootleg tapes 
and CDs (yours truly included) because they knew that they would 
never again experience the physical element that was the heart and 
soul of the Grateful Dead, their live show.  Heads have always been 
looking for that perfect soundboard tape, the killer "Morning Dew" 
or "St. Stephen," the one when Jerry said "goodnight everybody," 
or the one they attended when they had the "outer body experience."
These days, even people who have shunned the whole concept, or 
have always had a slight curiosity about it, have, when no one was 
looking, purchased a CD or two from their local record shop.  This 
set is an essential addition to anyone's music collection, 
Deadheads and non-Deadheads alike. 
	Many know that a Dead show consists of two sets.  The first 
is usually pretty straightforward, with Garcia and Bob Weir 
alternating songs back and forth.  Sometimes you get a tune from 
bassist Phil Lesh, or whomever is occupying the keyboards at the 
time, but for the most part, it's unpredictable.  The first disc 
is a collection of 9 songs from the first set of all three shows.  
It begins with Weir rousing up the crowd with "Hell in a Bucket" 
from the 1987 album _In The Dark_.  Then they pulled out a little 
surprise for everyone with the seldom played "Dupree's Diamond 
Blues," a quirky little ditty about what a man will do for his 
woman, and the trouble he gets in while doing it.  Also on the 
first disc are solid versions of the traditional bluegrass romp 
"Jack-A-Roe," the gentle beauty of "Row Jimmy," and the Dylan 
classic "When I Paint My Masterpiece," a Dead standard.  The 
highlights on Disc One are the three offerings from the late 
keyboardist Brent Mydland: "Just a Little Light;" an electrifying 
version of the blues-filled "Never Trust a Woman," and an intense 
rendition of "Blow Away," complete with sermon, to close the set. 
	The second set of a Dead show, at least since the late 70's, 
started off with an average of 3-6 songs (pre-Drums) that usually 
segue into each other, followed by "Drums."  This is a unique 
portion of the show in which drummers Mickey Hart and Billy 
Kreutzmann weave different percussive sounds that include 
everything from congas to electronic pads.  Combining various 
styles such as Latin and African rhythms with thunderous clashes 
and traditional rock & roll solos, "Drums" was never remotely 
similar from show to show.  From "Drums" came "Space," the most 
avant-garde segment of a Dead show, in which Garcia, Weir, Lesh 
and Mydland created a chaotic collage of sounds, using the Midi 
systems on their instruments.  From "Space," the Dead slowly creep 
back into the rest of the show (post-Space), teasing a tune or 
two on the way.  The second disc is the pre-Drums part of the set 
from the night of the 24th.  It begins with "Playin' in the Band," 
whose funky post-jam segues into the cheerful Dead classic "Uncle 
John's Band," which then slides into a furious version of the epic 
"Terrapin Station."  A special highlight is the Dear Prudence-like 
instrumental "Mind Left Body Jam," which on this CD is titled "Mud 
Love Buddy Jam" for reasons unknown. 
	The third disc consists of two different post-Space 
segments.  The first continues right from Disc Two with the 
post-Space and encore from the 24th.  Standouts include Dylan's 
"All Along The Watchtower" with an aggressive Garcia cutting it 
up on guitar, the haunting Garcia/Hunter ballad "Stella Blue," and 
Buddy Holly's "Not Fade Away."  The band returned for an encore 
with a spiritual a cappella interpretation of the traditional "We 
Bid You Goodnight." 
	The second post-Space segment on the third disc is from the 
25th and features the touching Mydland lullaby "I Will Take You 
Home."  A smoking "Goin' Down the Road Feeling Bad," with Garcia 
and Mydland wailing like two Southern preachers, rolls into a loose 
and laid-back "Black Peter."  Chuck Berry would have done a backflip 
had he heard the Dead tearin' it up with his classic "Around and 
Around" that night.  The perfect ending to any string of Dead 
shows, a heartfelt rendition of the favorite "Brokedown Palace,"
closes this set. 
	Most Deadheads who have listened to hours upon hours of 
tapes and seen dozens, even hundreds, of shows, will say that 
they've heard better version of most of the songs on _Dozin'_.   
However, I think that most will value this collection as a recording 
of remarkable quality, complete with a superb song list, and 
excellent performances of them.  Non-Deadheads can appreciate the 
same things, but also utilize it as an introduction to the band in 
their best form, the live show.  They were never referred to as a 
great studio band, but the Grateful Dead created an atmosphere 
unmatched with their stellar performances.  _Dozin' At The Knick_ 
captures the energy and passion of a band that defied all by 
creating their own genre, subculture, corporation, and most 
importantly, a spirituality that will live on.
--- 
	REVIEW: The Cardigans, _First Band On The Moon_ (Mercury)
		- Robin Lapid
	You've got to admire any band that persists in transforming 
Black Sabbath songs into kitschy-cool pop gems.  Lead singer Nina 
Persson can still prompt an amused chuckle from me when she sings, 
"I am Iron Man..." in her breathless baby-voice.  But before you 
know it, amusement is overtaken by the deep grooves of pop so fun 
it's hip again.  _First Band On The Moon_ blends jazz, 60's pop, 
some metal riffs de-fanged but funked up, and Persson's distinctive 
vocals into a fine kitsch-pop package.
	The Swedish outfit's second U.S. release proves a bit more 
experimental in its musical stylings.  The band lays down a plethora 
of sounds and instruments on each track, all anchored by some suave 
guitar licks by guitarist Peter Svensson and bassist Magnus 
Sveningsson, a duo whose heavy metal background finds a unique
outlet in this indie pop album.  Lyrics about wronged and obsessive 
love become catchy pop tunes filled with Persson's la la la's and 
some heavy, grooving beats.  Soon enough, you'll find yourself 
indulging in the Cardigans' infectious pop candy, singing along to 
lines like "I've been your sister, I've been your mistress/ maybe I 
was your whore" with a sweet smile on your face.
	However, as any five-year-old can tell you, too much sugar 
content can wear thin too soon.  Each song runs directly into the 
next, leading one to wonder that perhaps too much of a good thing 
is not that great.  The songs start to run the risk of becoming one 
big kitschy-pop tune, indistinctive of the others.  The album's 
saving grace lies in its continual efforts at a layered, occassional 
trip-pop diversity despite its overarching pop ethic.  There are 
enough quirky tracks like "Lovefool" and "Your New Cuckoo" to keep 
the sound from becoming too tiresome.  Although each song on _First 
Band On The Moon_ does not have the staying power as the tracks on 
the band's previous release, _Life_, the new album does herald a 
band that continues to grow and experiment with a sound that aims 
to be the definitive soundtrack for a sequel to "Barbarella".
---
	REVIEW: Jason & The Scorchers, _Clear Impetuous 
		Morning_ (Mammoth)
		- Al Muzer
	Looking to bust their way outta the barn ever since their 
absolutely amazing, early-'80s trilogy of Reckless Country Soul, 
Fervor and Lost & Found; this Nashville-based four-piece follow 
1995s _A Blazing Grace_ with another time and trend-defying blast 
of what has become, by now, formula Jason & The Scorchers thrash 
'n' twang.
	Featuring the usual well-chosen, over-the-top cover tune 
("Take Me Home, Country Roads," "19th Nervous Breakdown," "Absolutely 
Sweet Marie," and, this time out, latter period Byrds with "Drugstore 
Truck Drivin' Man") that you somehow just knew would be there - the 
group's latest slab of hi-energy corn also boasts: Jason Ringenberg's 
imperfect, but perfectly appropriate, "aw shucks" yokel yowl; Emmylou 
Harris guesting on the gorgeous "Everything Has A Cost"; a catchy 
potential hit in "To Feel No Love" (co-written by The 'Dirt Band's 
Jimmy McFadden); a slew of countrified boogie rock beats played with 
a swaggering abandon; and white-noise mongering, under-appreciated 
guitar hero Warner Hodges riffing with a foam-lipped, manic intensity 
as he spews out lead and rhythm chunks like a country-boy possessed by 
demon rock 'n' roll.
---
	REVIEW: The Connells, _Weird Food & Devastation_ (TVT)
		- Joann D. Ball
	If good news travels fast, why are The Connells still the 
best kept secret in American alternapop?  Perhaps mainstream 
alternative/modern rock radio can answer this question because 
The Connells have certainly done their part to expose themselves 
to the American public.  The Raleigh, North Carolina sextet has 
toured endlessly during the past twelve years, playing tiny bars, 
clubs and theaters and treating crowds to entertaining, energetic 
pop explosions.  They've also released a series of brilliant 
records showcasing intelligent lyrics and ringing guitars, which 
have received critical acclaim and solid support from college radio.
	When the cd _Ring_ was released in 1993, it looked like 
commercial radio and MTV would follow college radio's lead and give 
the band the attention they deserve.  Although "Slackjawed," the 
disc's first single, got noticable airplay, the follow-up "74-75" 
was completely ignored Stateside.  "74-75" became a smash hit in 
Europe, however, and propelled  the album to gold and platinum 
status in several countries.  European success led The Connells 
overseas where they spent much of the last few years touring and 
playing to massive audiences.
	_Weird Food and Devastation_, The Connells' sixth effort, 
and fifth on TVT Records, actually owes its title to the band's 
European touring experiences.  A slight departure from earlier 
offerings, _Weird Food and Devastation_ is more visceral, shaped 
by raw emotion and a rougher edge.  There's also more lyrical and 
musical variation, in large part because five of the six members 
contribute to the overall effort.  For the first time, the 
songwriting trio of lead vocalist Doug MacMillan and guitarists 
Mike Connell and George Huntley share duties with drummer Peele 
Wimberley and bassist David Connell.  And mainstay Steve Potak 
contributes piano, organ and keyboards in all of the right places 
on this 14-track buffet.
	The Connells kick off _Weird Food and Devastation_ with 
"Maybe," a gritty sonic assault.  MacMillan delivers this wake-up 
call over buzzing guitars, pounding drums and throbbing bass.   
"Fifth Fret," the first U.S. single, is another stellar 
guitar-fuelled tune, irresistable and memorable thanks to a 
catchy chorus.  The rave-up number "Let It Go," on which Huntley 
sings lead, and  "Smoke" are power pop servings with a Southern 
rock twist while "Start," "Any" and "Hang On" are classic 
Connells songs.    The slower, introspective numbers that have 
provided balance on previous records are also here but darker and 
moodier.  On the acoustic and lead guitar-laden "Back to Blue" and 
the cello and distortion-driven "Too High," the band exhibit 
genuine emotional depth and breadth.
	On _Weird Food and Devastation_, The Connells demonstrate 
that they are truly alternapop artisans whose work is regrettably 
under-appreciated on this side of the Atlantic.  To paraphrase the 
chorus of "Fifth Fret," they have everything but what they want, 
which is all of your attention.
---
	REVIEW: Qkumba Zoo, _Wake Up And Dream_ (Arista)
		- Bob Gajarsky
	Bands out of Africa are a rarity on the pop charts, but 
South Africa's Qkumba Zoo is breaking the rules with their debut
album, _Wake Up And Dream_.
	The standout track far and away is "The Child (Inside)".
Combining South African chants, a driving synth-pop keyboard
line, and irrepressible dance beat, this song would be an
international smash in a perfect world.  As it is, synth-pop
has fallen out of favor in some circles, and the band has not
received the credit they deserve for this absolutely brilliant
song.
	The remainder of _Wake Up And Dream_ doesn't reach the
lofty heights attained in "The Child (Inside)", but it also doesn't
go down the same path.  "Cloud Eyes (I'm Scared, You're Scared)" slows
down the pace a few notches while having a tender quality about it,
and other tracks such as "Mermaids", "Into The Night" and "Flesh and 
Blood" hook those keyboards with the beautiful vocals of lead singer 
and lyricist Levannah.
	The group's appearance definitely stands out; Levannah
has a shaved head with a pointed patch of hair in the middle of
her head, which is adorned with glittering stars, half moons
and rotating eyeballs; keyboardist Owl is bald, with a straggling
goatee hanging from his chin and dancer/sculptor Tziki (not unlike
Bez, formerly with the Happy Mondays and Black Grape) has a fully
tattooed and pierced body.  But although the appearance of the
band might be a bit distracting, the ability of Qkumba Zoo to link 
world music, especially the influences of their native South
Africa, with synthpop should not be taken lightly.
	If Blondie had been raised in a world consisting of keyboards,
Qkumba Zoo's _Wake Up And Dream_ might well have been the result.
---
	REVIEW: Chris Isaak, _Baja Sessions_ (Reprise)
		- Robin Lapid
	The booklet accompanying Chris Isaak's latest release 
reveals much about the album as a whole.  There's lots of pretty 
snapshots of Isaak  and the members of his band, Silvertone, 
hanging out and relaxing in sun-soaked Baja - pictures of 
leisurely drives, grass huts, fun with the band.  Isaak set out 
to make an album that was "the perfect setting for romance," yet 
the singer himself is pictured alone, except when he is pictured 
with his bandmates, his surfboard, or his guitar.  But he doesn't 
look melancholy and lonely.  On the contrary, he looks relaxed, 
occassionally lost in thought, his blue eyes drifting over the 
endless warm waters.  This is a vacation scrapbook providing 
visual cues to the sonic landscape of _Baja Sessions_, an album 
which captures Isaak's plaintive warblings about heartbreak and 
loneliness but with less rock 'n roll edginess and more easygoing 
melodies.  The focus shifts from the immediate pain and emotion in 
the songs to the loveliness of the music itself.
	The album contains reworked versions of songs from previous 
releases as well as covers, including Roy Orbison's "Only the 
Lonely" and Gene Autry's "South Of The Border."  Three new tracks 
are also included.  As opposed to a live album, this collection of 
tracks is described as "one-take songs...recorded live in the studio."
	The result is, at its worst, something like Chris Isaak 
Lite.  But the album is mainly Isaak at his best, as it captures 
some of the darkly romantic intimacy of Isaak's live shows.  The
songs embody a certain warm, lilting quality that soothes the 
listener with its languid strumming and deep vocals.  Songs like 
"Pretty Girls Don't Cry" and "Two Hearts" carry less of the 
heavy-hearted bite of the originals and veer toward sounding too 
pleasantly dismissive.  But they reveal some different sides to 
the Isaak repetoire, most notably in Hershel Yatovitz's  eloquently 
subtle lead guitar and Isaak's flawless vocals, complemented by 
Kenney Dale Johnson's percussion and backing vocals and the smooth 
rhythms of bassist Rowland Salley.  Less-produced versions of songs 
like "Dancin'" give a completely different feel to the originals - 
it's more introspective and just as moody, but there's a deeper 
groove to it, bringing the listener into the same room with Isaak.  
_Baja Sessions_  has romantic, stripped-down songs that fit the 
uniquely Chris Isaak mold.
---
	REVIEW: Various Artists, _The Doo Wop Box II: 101 More Vocal 
		Group Gems_ (Rhino)
		- Daniel Aloi
	The first Doo Wop Box in 1994 (Rhino's best-selling box set 
ever) clearly couldn't contain, over its 101 tracks, enough of the 
doos, waaaaahs, dow-wows and oo-wee-ooohs from the '50s and early 
'60s. So we get a sequel, and it's as vital and as full of surprises 
and memories as the first.  This box dishes up 101 more platters 
from 1951-63, extolling heartbreak, longing, devotion and joy. There 
are hits that stopped time at thousands of high school dances and on 
millions of car radios, whether cruising or stationary - as well as 
lesser-known songs that have influenced music to this day. Where 
would Boyz II Men be without The Platters? Nowhere, man, nowhere.
	Included are such essential sides (back when records had 
sides) as "Rubber Biscuit" by The Chips (laced with jailhouse slang, 
and covered by the Blues Brothers), "Ruby Baby" by The Drifters, "The 
ABC's of Love" by Frankie Lymon and the Teenagers (a major influence 
on '60s girl groups and Phil Spector's Wall of Sound), and The 
Platters' "My Prayer." Here as well is my personal fun favorite of 
the entire vocal group era, "Mr. Lee" by The Bobettes, girls from 
P.S. 109 in New York singing about a teacher they can't stand. And 
that's just on Volume Two!
	The other discs include such hits as "Secret Love" by The 
Moonglows and Leiber and Stoller's "Smokey Joe's Cafe" (both Vol. 1, 
1951-55) by The Robins - a precursor to the Drifters and Coasters, 
and featuring "Louie, Louie" songwriter Richard Berry. 
	Vol. 3 (1957-60) is highlighted by a number of great singles 
that competed with the likes of Elvis and Buddy, including The 
Shirelles' "Dedicated to the One I Love" and Dion and the Belmonts' 
"Where or When."  And on Vol. 4 (1960-63), there's The Cleftones' 
"Heart and Soul," Gene Chandler's "Duke of Earl," The Penguins' 
strange take on "Earth Angel" ("Memories of El Monte"), The Duprees' 
"You Belong to Me" and Jive Five's "What Time Is It?" (the latter 
two, incidentally, covered in the '80s by Marshall Crenshaw), among 
many, many others.
	Those songs may give this collection a commercial reason to 
be, but many of the obscure titles - like "The Door is Still Open" 
by The Cardinals, "Look in My Eyes" by The Chantels, "Arabia" by The 
Delcos, or the absolutely wild "Babalu's Wedding Day" by The Eternals, 
to name but three. These make the package a wealth of wide-eyed 
wonder, with two- and three-minute gems you may have never heard 
before now.
	While the singing and harmonies define the form, these 
sessions used instruments as well, and the arrangements played a 
large role in the birth and evolution of real rock'n'roll, as it 
emerged from late-'40s jazz, and gospel and rhythm and blues "race 
music."  The Crows' "I Love You So" is here; its original 1951 B-side 
"Gee" - included on the first box set - is widely considered one of 
the earliest true rock'n'roll records.  There's tinkling keyboards 
and brush drumming on the ballads, and steaming saxes on the uptempo 
numbers - and a lot of soul throughout.
	Influential and popular as it was in its day, doo wop couldn't 
last, and its singers, songwriters, producers and session musicians 
(and dozens of tiny record labels now revered by collectors) were 
swept aside by the first British Invasion and the ascension of self 
contained pop groups like The Beatles.
	The box set's 80-page book has some informative, brightly 
written essays that show a true fondness for the subject, as well 
as a comprehensive track-by-track history by singer Billy Vera and an 
array of publicity photos of the groups that made the music - and 
history in the process. 
---
	COMPILATION REVIEWS:
		- Bob Gajarsky

	REVIEW: Various Artists, _Party Of Five_ (Reprise)

	With the success of Fox' "Party Of Five" television 
show and the frequent use of background music in the series,
it was inevitable that a compilation would come out from this
show.  And although the show is aimed at people from their teens
to the mid-twenties, the soundtrack (and music from the show)
is aimed decidedly at the adult alternative market.
	Wisconsin's Bodeans bookend the compilation, with their
breakthrough hit "Closer To Free", which first appeared on 
1993's _Go Slow Down_, and the new "Heart Of A Miracle", which
will be featured on an upcoming album from the folk-rock group.
	The rest of the album combines previously released 
material such as Joe Jackson's "Stranger Than Fiction", the
blues of Big Bad Voodoo Daddy on "Cruel Spell" and the concert
favorite from Rusted Root, "Send Me On My Way", with tracks from
forthcoming albums such as the serene Howard Jones "If You Love",
which marks a mellower approach for the keyboard wizard and
covers such as Rickie Lee Jones' version of Donovan's "Sunshine
Superman" and Stevie Nicks reinterpreting, albeit poorly, Tom
Petty's "Free Fallin'".
	Possibly the standout track here is the collaboration
between B.T. (classically trained pianist and master remixer Brian 
Transeau) and Tori Amos on "Blue Skies".  First appearing on
his own _Ima_ disc, this track comes off as a combination of Depeche 
Mode and Utah Saints, with multiple layering of synthesizers and 
sounds beneath a vocal which wouldn't necessarily be thought of in 
a dance context.  B.T. first worked with Amos in a remix of her 
"Talula" song for the _Twister_ soundtrack, and the pairing here -
though somewhat out of place with the rest of the soundtrack - is
nearly perfect.
	The listing of artists tells the tale on _Party Of Five_.
If three or four of the artists are to your liking, then the adult
alternative music of _Party Of Five_ is for you.

TRACK LISTING: Bodeans - Closer To Free; Big Bad Voodoo Daddy - Cruel
   Spell; Laurie Sargent - Without Letting Go; BT Featuring Tori Amos -
   Blue Skies; Chaka Khan - Love Me Still; Joe Jackson - Stranger Than
   Fiction; Syd Straw - People of Earth; Holly Palmer - All I Really 
   Wanna Do; Howard Jones - If You Love; Rickie Lee Jones - Sunshine
   Superman; Nanci Griffith - It's A Hard Life Wherever You Go; 
   Rusted Root - Send Me On My Way; Shawn Colvin - Climb On (A Back
   That's Strong); Bodeans - Heart of a Miracle
---
	REVIEW: Various Artists, _Space Jam_ (Atlantic)

	While Michael Jordan and Bugs Bunny have teamed up to produce
the kids monster hit of the season, the soundtrack for _Space Jam_ 
targets the people who are on the court playing b-ball in the local
playgrounds.  
	R. Kelly's poignant ballad "I Believe I Can Fly" (with the 
Motown Romance Orchestra!) serves as one of the inspiring moments of 
the film.  Robin S. of "Show Me Love" fame returns to the dancefloor 
setting with a song written with Todd Terry, "Givin' U All That I've 
Got".  And Quad City DJ's have recorded another party anthem (along 
the lines of "The Train" and "Whoot, There It Is") with the title 
track which rolls over the opening credits, "Space Jam".
	"Hit 'Em High (The Monstars Anthem)", is an all star lineup of 
rappers and hip hoppers featuring B Real, Busta Rhymes, Coolio, LL Cool 
J & Method Man.  If _Space Jam_ needed any credence at the street level, 
this killer track is likely to establish it - and also come blaring out
of many boom boxes.
	There are some letdowns on _Space Jam_, however.  Bugs Bunny's
"Buggin'", though cute (featuring the voice of Billy West, also known as
the voice for Ren & Stimpy), seems only to be album filler to hit the
Warner Bros. crowd.  And while Seal's cover of Steve Miller's "Fly Like 
An Eagle" soars high - with a brief lyrical insertion from his own hit, 
"Crazy" - Salt N Pepa's reinterpretation of Diana Ross' "Upside Down" and 
the Spin Doctors (with Biz Markie) cover of That's The Way (I Like It) both 
fall flatter than a deflated ball at the end of a slam dunk competition.  
	A mixed bag of tracks that should sell well, _Space Jam_, the 
soundtrack, is Madison Avenue's urban wet dream.
---
	REVIEW: John Waite, _Falling Backwards_ (EMI)

	John Waite's career first ascended with the British rock
group The Babys; during that time, Journey's Jonathan Cain would
join up, and the pair would reunite again in 1989 as part of
Bad English.  In between, Waite managed one monster hit which
Tina Turner has recently covered, "Missing You", and recently
returned back to a solo career in 1995 with the release of the
underrated _Temple Bar_.  Waite's rock and ballad style hadn't
gone away, but was a victim of the quirks of the music industry.
	When the Imago label went through some restructuring last year, 
several artists, including Waite and former lead singer Aimee Mann
got lost in the shuffle.  Although he notched a top 5 
adult contemporary hit with "How Did I Get By Without You", 
the album crashed and burned because of no exposure.  Three tracks
from that album, including "Downtown" (co-written with Glen Burtnick),
appear here to magnify Waite's latest work.
	_Falling Backwards_ does not serve as a complete 
history of Waite's career; there are plenty of examples of hits
(both on the charts, or in the hearts of fans) which are omitted.
Instead, it follows the pattern of some European compilations by
serving up an assortment of hits, leaving the completist wanting 
more, but satisfying the palate of the casual fan.  

TRACK LISTING: (solo) How Did I Get By Without You, In Dreams,
   Downtown, Act of Love, If Anybody Had A Heart, Encircled, Missing
   You, Change
   (With Bad English) Straight To Your Heart, When I See You Smile,
   Price of Love
   (With Babys) Back On My Feet Again, Midnight Rendezvous, Head First,
   Broken Heart, Isn't It Time, If You've Got The Time
SURPRISING OMISSION: Bad English "Possesion" and "Forget Me Not";
   Babys "Everytime I Think Of You" (referred to in the liner notes as
   appearing on _Greatest Hits, Vol. 2_); solo "These Times Are Hard For
   Lovers", "Every Step Of The Way", "Tears"
---
	REVIEW: Zoe, _Hammer_ (RCA)
		- Reto Koradi
	Instead of not judging books by their covers, maybe 
we should establish the new rule to not judge an album by its 
first two tracks. Those from _Hammer_ would make it all too 
easy to put a label on Zoe: yet another angry woman with a 
vengeance on men ("if I had a hammer, I'd hit you on the head"). 
These two rock tracks aren't bad at all, though, they have plenty 
of hit potential. But they could easily lead to the wrong 
impression that Alanis II is approaching.
	Much of the rest of the album goes along much more 
peaceful waters. There are many ballads with a definite folk 
feel, like the outstandingly beautiful "Virgin Snow". A celtic 
touch can be felt all through the album, most pronounced on 
songs like "I Once Loved A Lad".  Only two tracks sound somewhat 
like commercial compromises. One is the dance oriented "Early In 
The Morning" which sounds quite trendy, but does very well at it. 
Another one, "Reach Out", has very clear traces of the Bristol 
sound that seems to creep in everywhere.
	Zoe's voice doesn't sound spectacular at first sight, but 
it's likable and expressive. Combined with excellent song writing, 
tasteful arrangements and the fine production by Killing Joke (!) 
bassist Youth, this makes for a terrific album. It's not only the 
quantity (67 minutes) that is remarkable about this album, but 
also the quality of  Zoe's _Hammer_. Highly recommended!
---
	REVIEW: Joe Henry, _Trampoline_ (Mammoth)
		- Scott A. Miller
	Joe Henry is Madonna's brother-in-law. Yeah, that Madonna.
	But you can't pick your in-laws and you shouldn't pick up 
his fifth full-length album, _Trampoline_, expecting to 
find even one dance number. What you get with Henry are songs built 
to last, songs that grow on you, songs you can develop a 
relationship with and learn to appreciate more when you've spent 
some time with them.
	Henry is foremost a storyteller. He sets the mood with a 
deft use of acoustic, quiet electric and tremolo guitars. His opening 
lines have a near-journalistic ability to spill the entire tale and 
make you want more at the same time. His stories unfold in layers, 
the musical equivalent of a Quentin Tarantino movie. His beats lope 
along, as if he has most of the day to tell you the nine stories 
that appear here and you have some time on your hands to listen.
	The title track, about a man clinging to a failed 
relationship, is one example. Over an almost "Crimson and Clover" 
guitar line, Henry sings "the floor will have its way it seems. It 
fights me like a trampoline. It won't let me on the ground. So this 
time I'm not coming down." Three verses later you find out the 
protagonist knows he's living a lie, but he clings to it because he 
thinks it's the only thing keeping him from giving up.
	The entire album is filled with lines so good they almost 
make you want to stop the music, just so you can think about them. 
But gems like these shine in every verse, so you just let the music 
play and listen to the story. And learn to appreciate each one each 
time you hear it.
	Henry's previous albums have come with notable contributions 
from the Jayhawks, Don Cherry and T Bone Burnett. This outing finds 
him enlisting the help of producer Patrick McCarthy, who has done 
work for R.E.M. and Counting Crows, and Helmet guitarist Page 
Hamilton. The guest spots are a fitting tribute to a first-rate 
songwriter.
	So kick off those dancing shoes and get on Henry's _Trampoline_. 
Like the person in the title track, you, too, may not want to come down.
---
NEWS:	> The band Enigma is now on the Web at http://www.enigma3.com
with information on the band, Gregorian chants and much more.
Michael Cretu will have an online chat on December 13 at 5 pm EST on 
America Online, simulcast on the Website.
	> The Goo Goo Dolls have given legal notice to Metal Blade
Records (distributed by Warner Brothers) that they no longer record
for the label.  The band contends that they have been signed to an
unfair and unenforcable contract, and cites sales of more than two
million copies of their _A Boy Named Goo_ album, but claim that
they have received no money in artist royalties, among other
disputes.  
	> Roadrunner Records has recently gone on the World
Wide Web at http://www.roadrun.com
	> The annual "White Party" AIDS fundraiser has been one of the
industry's most attended events.  In conjunction with this event,
_The White Party - A Continuous Club Mix_ has been released.  This
compilation dance remix CD includes artists such as Donna Summer, Dan
Hartman/Loleatta Holloway and Shawn Christopher.  Proceeds will
benefit the Miami Health Crisis Network. 
---
TOUR DATES
	Arm Dogs
Dec. 4 Los Angeles, CA Luna Park
Dec. 5 Los Angeles, CA Cicada
Dec. 6 Los Angeles, CA Mark & Brian XMas Show

	Barenaked Ladies
Dec. 3 Boston, MA The Orpheum
Dec. 6 Philadelphia, PA Tower Theatre
Dec. 8 Detroit, MI Palace Of Auburn Hills
Dec. 9 Washington, DC 9:30 Club

	Black Crowes
Dec. 3 Little Rock, AR Robinson Auditorium
Dec. 4 Tulsa, OK Brady Theatre
Dec. 6 Lafayette, LA Heyman Perf. Arts Center
Dec. 7 Dallas, TX Dallas Music Complex
Dec. 8-9 Austin, TX City Coliseum

	Boiled In Lead
Dec. 4 Madison, WI Angelic Brewing Company
Dec. 5 Chicago, IL Abbey Pub
Dec. 6 Detroit, MI 7th House
Dec. 8 Pawling, NY Towne Crier (Acoustic)

	Tracy Bonham 
	(All shows are sponsored by the listed radio station)
Dec. 2 Hartford, CT WMRQ
Dec. 3 Boston, MA WBCN
Dec. 4 Minneapolis, MN KEGE
Dec. 5 Philadelphia, PA WDRE
Dec. 7 St. Louis, MO KPNT

	Johnny Cash
Dec. 4 Austin, TX University of Texas

	Chimera
Dec. 2 Athens, GA Atomic Music Hall 
Dec. 3 Atlanta, GA Hard RockCafe 
Dec. 6 Tallahassee, FL Cow Haus 
Dec. 7 Pensacola, FL Sluggo's 
Dec. 8 New Orleans, LA Monaco Bob's 

	Phil Cody
Dec. 4 San Francisco, CA Slims
Dec. 6 San Juan Capistrano, CA Coach House
Dec. 7 Ventura, CA Ventura Theatre

	Deftones
Dec. 2 Cleveland, OH Odeon
Dec. 4 Chicago, IL Metro
Dec. 5 Grand Rapids, MI Reptile House
Dec. 6 Detroit, MI St. Andrews Hall
Dec. 7 Milwaukee, WI The Rave
Dec. 8 Minneapolis, MN First Avenue

	Ginger
Dec. 5 London, ON Call The Office
Dec. 6 Toronto, ON The Horseshoe
Dec. 7 Ottawa, ON Zaphod's
Dec. 8 Hamilton, ON The X Club

	Lizard Music
Dec. 2 Teaneck, NJ Fairleigh Dickinson University

	London Suede
Dec. 2 Edinburgh Usher Hall
Dec. 4 Bradford Windsor Baths
Dec. 5 Southend Cliffs Pavillion
Dec. 6 Ipswich The Gaumont
Dec. 8 Cardiff David's Hall
Dec. 9 Bristol Hippodrome

	Sarah McLachlan
Dec. 5 New York, NY Madison Square Gardens
Dec. 6 Philadelphia, PA Tower Theatre
Dec. 7 Houston, TX KRBE Show
Dec. 8 Detroit, MI Palace Of Auburn Hills
Dec. 9 Washington, DC 9:30 Club

	Morcheeba
Dec. 2 Los Angeles, CA Luna Park (9:00pm upstairs)

	Teddy Morgan
Dec. 5 Grand Rapids, MI Rhythm Kitchen
Dec. 6 Chicago, IL B.L.U.E.S. Etc.
Dec. 7 Lansing, MI Capitol Hill Station

	Ocean Colour Scene
Dec. 7 San Francisco, CA Slims
Dec. 8 San Diego, CA Casbah

	Professor & Maryann
Dec. 3 New York, NY Caroline's Comedy Club

	Pure
Dec. 5 New York, NY Brownie's

	Republica
Dec. 2 Montreal, QC Cabaret

	SNFU
Dec. 2 Milwaukee, WI The Rave 
Dec. 4 Omaha, NE Cog Factory 
Dec. 6 Denver, CO The Snake Pit 

	Sponge / Ruth Ruth / Red Five
Dec. 3 Raleigh, NC Marzz 
Dec. 5 Virginia Beach, VA Abyss 
Dec. 6 Winston Salem, NC Ziggy's 
Dec. 7 Charlotte, NC Sound Factory 
Dec. 9 Orlando, FL Embassy Music Hall 

	Tool / Psychotica
Dec. 3 Washington, DC Capitol Ballroom

	Tree
Dec. 3 Nashville. TN Lucy's Record Shop 
Dec. 6 Lexington, KY Area 51 
Dec. 8 Chicago, IL Fireside Bowl 

	Miss Lavelle White
Dec. 7 Austin, TX Top Of The Marc

	Bill White Acre
Dec. 7 Los Angeles, CA Bourbon Square

	Yatsura
Dec. 2 New York, NY Brownie's
Dec. 5 Detroit, MI Shelter
Dec. 6 Chicago, IL Lounge Ax
Dec. 7 Minneapolis, MN 7th Street Entry
Dec. 9 San Francisco, CA Bottom of the Hill
---
THE READERS WRITE BACK!
	> I've been reading _Consumable_ for a little over 2 years 
now, and I usually find it informative, complete, and unabashedly 
critical.  The reviews I've come to expect from Consumable are of 
above-average to excellant quality, certainly far superior to most 
print-based, mass media marketing efforts - which is why Janet 
Herman's mediocre review of Marylin Manson's new album came as 
such a disappointing surprise.
	Herman makes it clear that she doesn't take Manson 
seriously, and that's certainly her prerogative.  But to write Manson 
off as a shock artist does him and his fans a severe disservice.  
Manson speeks to a small but growing and increasingly vocal 
subculture of both American and European listeners that are young, 
vital, and highly dissatisfied with the current mainstream.  
	It seems most likely to me that Herman was just a bad match 
to the album - which is not her fault.  This is most evident in her 
blanket admonishment that the album "grows sour over time" without 
her providing even one concrete example of what that means.  Manson 
isn't trying to appeal to an audience seeking harmony and 
reassurance - he is trying to expose something dark in all of us, 
and whether or not he takes himself seriously, there are quite a 
few people who find meaning in his music.  He follows a genre that, 
like punk, grows by design almost self-destructively disharmonious.  
Rather than calling attention to the obvious, the reviewer should 
explore what contributions Manson does or doesn't add.  Herman did
this a bit with her analysis of "Beautiful People" but failed in general
to live up to the deeper level of analysis I've come to expect from a
_Consumable_ review.  The obvious example of a comparative look at his 
cover of the Eurythmics' signature peace, "Sweet Dreams (Are Made of 
These)" wasn't even present in the review.
	Overall Herman had what felt like a solid beginning 
that was finished in a hurry.  Blanket statements of the overall 
feel of an album certainly have their place, especially if they can 
be backed up with examples from the songs or information about the 
band.  But this can never replace the need for a deeper level of 
analysis, especially in a magazine of as high a quality as 
_Consumable_; Herman's rather surface analysis of the album only 
looked all the more so next to reviews that contained that greater 
depth. - Rich P

	> You're right, the Les Claypool album _Present Highball With 
The Devil_ is amazing. I wish people would listen to this instead of 
trendy Oasis. - Mark K., Canada
---
Founded in August, 1993, Consumable Online is the oldest continuous
collaborative music publication on the Internet.
To get back issues of Consumable, check out:
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===
