== ISSUE 167 ====  CONSUMABLE ONLINE  ======== [February 1, 1999]

  Editor:             Bob Gajarsky
                         E-mail: editor@consumableonline.com
  Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim 
                      Kennedy, Tim Mohr, Al Muzer, Joe Silva, Lang Whitaker 
  Correspondents:     Christina Apeles, Niles J. Baranowski, Tracey 
                      Bleile, Lee Graham Bridges, Jason Cahill, Patrick 
                      Carmosino, Krisjanis Gale, Paul Hanson, Chris Hill, 
                      Eric Hsu, Tim Hulsizer, Franklin Johnson, Steve 
                      Kandell, Reto Koradi, Robin Lapid, Linda Scott, 
                      Scott Slonaker, Kerwin So, Chelsea Spear, Simon 
                      Speichert, Jon Steltenpohl, Simon West
  Technical Staff:    Chris Candreva, David Landgren, Dave Pirmann

 Address all comments to staff@consumableonline.com ; subscription 
information is given at the end of this issue. 
==================================================================
	All articles in Consumable remain (C) copyright their author(s). 
Permission for re-publication in any form must be obtained from the 
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                            .------------.
                            |  Contents  |
                            `------------'
REVIEW: Gigolo Aunts, _Minor Chords And Major Themes_ - Bill Holmes
REVIEW: Sandra Bernhard _I'm Still Here. . . Damn It!_ - Joann D. Ball
REVIEW: Fish, _Kettle of Fish 88-98_ - Dan Birchall
REVIEW: Seal, _Human Being_ - Simon West
REVIEW: The Hope Blister, _...smile's ok_ - Chris Hill
REVIEW: Various Artists, _Real - The Tom T. Hall Tribute_ - Chelsea Spear
REVIEW: Snakefarm, _Songs From My Funeral_ - Chris Hill
REVIEW: Wagon Christ, _Tally Ho!_ - Tim Hulsizer
REVIEW: The Hollowbodies, _Viva La Dregs_ - Bill Holmes
REVIEW: Various, _Blastered: A Musical Tribute to the Blasters_ - Daniel Aloi
REVIEW: The Stone Coyotes, _Church Of The Falling Rain_ - Bill Holmes
REVIEW: Hazeldine, _Orphans_ - Daniel Aloi
REVIEW: Emilia, _Big Big World_ - Franklin Johnson
REVIEW: Thom MacFarlane, _Gone So Long_ - Al Muzer
NEWS: Candlebox, Fatboy Slim, KMFDM
TOUR DATES: Afghan Whigs, Black Sabbath / Deftones / Pantera, 
   Bluetip, Cardigans / Kent, Dave Davies Kink Kronikles, 
   Eve 6 / Marvelous 3, 50 Tons of Black Terror / Groop 
   Dogdrill, Jets To Brazil, Kodo, Local H, Macha, Alanis 
   Morrissette, Ian Pooley, Rusted Root, Sloan, 12 Rods
THE READERS WRITE BACK!
Back Issues of Consumable
---
	REVIEW: Gigolo Aunts, _Minor Chords And Major Themes_ (E 
		Pluribus Unum)
		- Bill Holmes
	Wow! Blasting back with their first full length record since 
1994, the Gigolo Aunts have indeed made it worth the wait. Kicking off 
with the arena-pop crunch of "C'mon, C'mon" (not the Cheap Trick tune, 
but not a bad comparison either), the Aunts serve up a diverse platter 
that takes the best elements of their past work (huge hooks, good 
harmonies and bold guitar) and use them as a springboard for their 
most solid work to date.
	A few of the tunes roar right off the record. "Super Ultra 
Wicked Mega Love" echoes bands like The Odds who are able to combine 
power and finesse; "Fade Away" uses psychedelic sonics and a tasty 
wah-wah pedal to great effect. "The Big Lie" (with vocal help from 
guest Adams Duritz and Schlesinger - what, Sandler was busy?), like 
many tracks, starts with an acoustic skeleton and then revs from zero 
to sixty in ten seconds. "Lie", "Half A Chance" and "Everything Is 
Wrong" are classic pop reminiscent of records from _Revolver_ to The 
Jayhawks _Sound Of Lies_ and everything in-between.
	Producer Mike Denneen, who did a masterful job with Jen Trynin's 
_Gun Shy Trigger Happy_, applies a similar magic touch here. He mixes 
Gibbs' breathy vocals up front on slower tracks like the hypnotic "You'd 
Better Get Yourself Together Baby" (featured in TV’s "Felicity") and 
makes bassist Steve Hurley's vocal turn on "Residue" just as beautiful. 
With its strong pop sensibilities and smart lyrics, _Minor Chords And 
Major Themes_ is just as effective blasting from the speakers as it is 
accompanied by a rainy sunset and a broken heart.
	Although 1997's EP _Learn To Play Guitar_ seemed to lose the 
momentum that _Flippin' Out_ generated, any doubts about this band's 
talent have been cast aside. The song writing vastly improved, the 
playing seamless, and Dave Gibbs' vocals have never sounded better. When 
eight of the first nine tracks could easily be released as singles, you 
know you’re on to something. 
	If you have any other records you want to listen to, you'd 
better play them now. Once this one gets in your player, it isn't going 
to come out for a long, long time. An absolute stunner.
---
	REVIEW: Sandra Bernhard _I'm Still Here. . . Damn It!_ (TVT)
		- Joann D. Ball
	A one-woman Broadway show for the price of a compact disc?  
Damn right! 
	Sandra Bernhard defiantly declares _I'm Still Here. . . Damn 
It!_   and proves just that on the seventy-three minute CD which 
captures her current Broadway show.  Ms. Sandra is overflowing with 
attitude, sharp wit and sardonic observations about pop culture and 
its icons.  She gives us her take on the proliferation of telephones 
(on the track of the same name), the natural ways of spiders on "Jazzy 
Spider," and the editorial content of National Geographic on the short 
but brilliant "Too Many Magazines."  And on the funky spoken word and 
house music number "On the Runway," Ms. Sandra explores the reactions 
of self-centered supermodels like Naomi Campbell to the death of Gianni 
Versace.  And of course, a dance remix version of "On the Runway" 
(which closes the release) has been released as a single and aimed at 
the trendiest of danceclubs especially for the big fashion crowd.
	Bernhard covers a lot of territory in her performance, but is 
still at her absolute best when she offers keen insights into the women 
of rock and roll.  On _Without You I'm Nothing_, the 1988 Grammy 
nominated album which captured her show of the same name, Ms. Sandra 
spoke intimately of her obsession with Stevie Nicks.  Ten years later, 
the object of interest is Hole frontwoman Courtney Love and the story 
is equally revealing.  The track "Courtney Love" segues effortlessly 
into "The Beautiful Women in Hollywood," which Ms. Sandra dedicates 
to Goldie Hawn, Farrah Fawcett, Raquel Welch and even Cher, whom 
Bernhard tags with special affection.
	But it's the women of the Lilith Fair who are the special 
targets of Bernhard's show.  She dedicates almost seven-and-a-half 
minutes deconstructing and critiquing Sarah McLachlan's female music 
extravaganza. Proclaiming that she's had it with the waifish 
alternative likes of Jewel, Alanis and Fiona Apple, Bernhard reveals 
that she yearns instead for a return to the days of no nonsense 
rockers like Joan Jett, Pat Benatar and her personal faves (and 
friends) Ann and Nancy Wilson of Heart.  And once again, Bernhard 
uses the lyrics of the sisters Wilson to make her point that rock and 
roll is supposed to be about edge, grit and living the words you sing. 
Ms. Sandra finds similar streetwise sass and edge in some of the women 
of R&B and hip-hop, championing Mary J. Blige, Lil' Kim, Salt-n-Pepa 
and others in contrast to the butterfly-in-a-swimming pool known as 
Mariah Carey.  Immediately following "Lilith Fair" is the track 
"Nightingale," a story and song delivered from the point of view of 
Fleetwood Mac's Christine McVie after trading the arena stage for a 
waitress/performer job in a Hollywood coffee shop.  And yes, Bernhard 
is every bit a songbird on the gentle, reflective number.
	Whether commenting on the women in rock, "Romance and Drugs," 
her house painter, or her beloved Los Angeles, no one tackles the 
topics of the day like Sandra Bernhard.  She is a pop culture 
commentator who's an expert on the subject  because she knows it 
inside and out.  Forever raw, honest, straightforward and absolutely 
hilarious, Bernhard never skips a beat in the songs and spoken word 
pieces that comprise her Broadway show (which runs through February 
28th).  Believe her when she says _I'm Still Here. . . Damn It!_ 'cuz 
she absolutely, positively means it.
---
	REVIEW: Fish, _Kettle of Fish 88-98_ (Roadrunner)
		- Dan Birchall
	Don't let the label fool you - Fish isn't the latest heavy-metal 
act.  The former Marillion frontman, on his own for the last decade, is 
either god or devil to long-time fans of his old band, and a rather 
interesting fellow.  There aren't many rockers about with backgrounds 
in forestry.
	Although his stylistic wanderings have taken him to some fairly 
odd points in the musical continuum during his solo career - the song 
"Brother 52" being a good example - Fish hasn't lost any of the 
ability he displayed prior to 1988.  He can still sound passionate 
at any point in his broad dynamic range, be it a whisper to a shout, 
and his passion is put to good use with lyrics from introspective 
to accusatory.
	This compendium serves up a baker's dozen of Fish songs, including 
two new tracks.  With sounds reminiscent of old Marillion, Peter Gabriel, 
traditional jigs, and the occasional bit of electronic pop, it displays 
the breadth of his work.  All in all, a rather tasty morsel for new 
fans who'd like to sink their teeth into some Fish, and a suitable 
retrospective for existing fans' collections.
---
	REVIEW: Seal, _Human Being_ (Warner Bros.)
		- Simon West
	Seal, it's worth remembering, actually began his chart career 
in the _dance_ arena, as the uncredited vocalist on Adamski's 1990 
classic single "Killer". The eponymous debut album was essentially a 
dance record too, while follow-up singles "Hey Joe" and a revamped 
"Killer" suggested Seal might be moving into a rockier, more 
guitar-driven sound. He didn't, of course. He re-teamed with producer 
Trevor Horn and took a wander down the 'adult contemporary' path. The 
also eponymous second album was a huge success, the lushly produced 
ballad "Kiss From A Rose" popping up on a Batman soundtrack and 
earning three Grammys along the way.
	Third album _Human Being_ has been a long time coming - and to 
some great extent, it's really more of the same - naked artiste on the 
cover, Trevor Horn's usual penchant for glossy over-production well to 
the fore, humanist lyrics in attendance.
	He seems to have forgotten the hooks this time around however, 
which may well affect the success of the album. There's really nothing 
as immediate here as the classic dance tracks "Crazy" and "Future Love 
Paradise" from the debut, or the atmospheric ballads like "Prayer For 
The Dying" from 1994's follow-up.
	The first single "Human Beings" stands out as a strong opener 
in the style of 1992's "The Beginning", and "When A Man Is Wrong" sees 
Seal's voice leaping to the high register that is its true strength 
over an effective acoustic guitar and piano arrangement backed by a 
string section, but much of the rest of the album runs together as 
undistinguished mid-tempo balladry, spiced up here and there with the 
odd break beat or trip hop keyboard as a slight concession to Seal's 
original arena, but otherwise unremarkable.
	A well-documented falling-out with producer Horn (some of 
which is reproduced in a heated conversation found in the sleeve 
notes, bizarrely), threatened this album for a time. Perhaps now is 
the time for Seal to strike out on his own. A remarkable voice and a 
huge songwriting talent continue to flounder under the weight of 
overproduced dinner party soul/pop.
---
	REVIEW: The Hope Blister, _...smile's ok_ (4AD/Mammoth)
		- Chris Hill
	he Hope Blister is "a sequel of sorts" to the splendid 
trio of This Mortal Coil albums 4AD released from 1984 to 1991. 
This time, however, 4AD founder and mastermind Ivo Watts-Russell 
has condensed TMC's rotating roster of talent into six primary 
players: vocalist Louise Rutkowski, bass guitarist Laurence 
O'Keefe, and a string quartet (cello, viola, two violins).  No 
matter - for fans of This Mortal Coil, this is a must-buy, as 
the musical distance between the projects is minimal.  Despite 
the years separating the two (seven years from _Blood_ to the UK 
release of _...smile's ok_), the production makes for a seamless 
transition.
	A review of _...smile's ok_ has to focus on the 
performances within, as all eight songs are covers.  Ranging 
from 1973's "Hanky Panky Nohow" by John Cale to 1997's "Sweet  
Unknown" off the Cranes' _Population Four_, Ivo has culled an 
impeccable assortment of songs and pulled off the daunting task 
of assembling performers equal to the reinterpretation of these 
likely obscure songs.  I can't compare these with the originals, 
as I'm unfamiliar with them, yet I'm more than willing to seek 
them out.  And perhaps that's a secondary motivation here - the 
impetus behind a good mix tape - "Here are my musical loves, I 
hope they'll be yours as well."
	Therefore, first in line to greet one on _...smile's ok_ 
are the vocals.  Louise, along with sister Deirdre, sang the 
female lead on "Tarantula", off _Filigree and Shadow_, my 
favorite song and album of the three TMC recordings.  Hearing 
that she was helming the vocals heightened my anticipation for 
this cd, like reading of a pre-season trade bringing the home 
team last season's all-star.  She doesn't disappoint.  Louise 
shines in the spotlight, imbuing David Sylvian's "Let the 
Happiness In" with the raw emotional power of Peter Gabriel's 
"Wallflower", and giving Heidi Barry's "Only Human" a bleeding 
heart vulnerability that cries for protection and comfort. 
	Though _all_ the lyrics share a melancholia common to 
the This Mortal Coil canon, the inherent downbeat is offset by 
the underlying strength in her voice, which buoys the lyrics 
gently onto a musical surface.  The ebb and flow of both voice 
and production on Chris Knox's "Outer Skin" exemplifies this 
metaphor - the song rises and falls, acapella vocals backed 
by electronically altered backing vox, until a raft of ambient 
strings enters to support both.
	This disc has been described by others as a "bath-and-candle" 
record, and I'd agree enthusiastically with that assessment.  
Despite the lyrics, there is a warmth that pervades the album, 
a sensuality which underlies both the vocals and music, and a 
relaxation that takes hold of the consciousness insistently.  
Perhaps because of the strings.  The violins play at the corners 
of the senses, winding in and out of observation, Tinkerbells to 
the Peter Pan bass, which holds the plucked instrument position. 
Ivo deserves a commendation for relegating melody to the bass 
guitar (particularly on "Sweet Unknown") instead of a more 
traditional guitar or piano.
	If you like the caressing atmosphere of this record, 
watch the 4AD site, http://www.4ad.com/ .  _Underarms_, an 
instrumental album recorded during the _...smile's ok_ sessions 
will soon be available only by mail order.  And, if inspired, 
hunt down the two song freebie 4AD released for _...smile's ok_ 
in early '98.  The demo version of "Is Jesus Your Pal" on that 
promo battles the finished product for aural superiority.  (The  
other song is the album version of "Sweet Unknown").
---
	REVIEW: Various Artists, _Real - The Tom T. Hall Tribute_ 
		(Tomato/Sire) 
		- Chelsea Spear
	Tom T. Hall could well be the best songwriter you've never 
heard of.  There's no question that you've heard some of his songs, 
since the troubadour is behind such classic chestnuts as the 
Oscar-winning "Harper Valley PTA", "I Hope It Rains At My Funeral", 
and "Don't Forget The Coffee, Billy Joe".  However, from what the 
liner notes suggest, Hall did most of his work behind the scenes 
as a songwriter in Nashville during the 1950s and 60s.  His work 
has had a huge influence on the smart, song-based No Depression 
roots scene of today, and some of the movement's biggest stars 
return the inspiration with this outstanding tribute, _Real - The 
Tom T. Hall Project_.
	All the artists are true to Hall's spirit, turning in fiery, 
canny and spirited takes on Hall's tunes.  Among the standouts 
are Syd Straw's by turns humourous and sexy take on Hall's best-known 
track, "Harper Valley PTA", and a new version of "I'm Not Ready Yet" 
by the Mary Janes that burns going down.  Freedy Johnston contributes 
an endearingly meandering version of "Coffee, Coffee, Coffee", and 
Jonny Polonsky underplays "Old Enough to Want to (Fool Enough to 
Try)" to excellent effect.  The compilation starts and ends on an 
admirably spooky note with Johnny Cash's take on "I Washed My Face 
in the Morning Dew" and Mark Olson and Victoria Williams' eerie, 
hymnlike harmonizing on "It Sure Can Get Cold in Des Moines", which 
sounds like a tune from a Flannery O'Connor story.
	In addition to providing a good place to start for the 
burgeoning Hall fan, this tribute also gives a good starting point 
for those interested in exploring the No Depression roots revival.  
Though there are no contributions by such frontrunners as Wilco or 
Lucinda Williams, outstanding singer/songwriters like Iris DeMent 
and Mary Cutrefillo, and the heavier, more experimental sounds of 
Whiskeytown and Calexio.  In fact, fans of good music in general 
would be wise to check out _Real - The Tom T. Hall Project_, since 
this shows both the glorious past of pop singer-songwriters, and 
what it's about to become.
---
	REVIEW: Snakefarm, _Songs From My Funeral_ (BMG/RCA)
		- Chris Hill
	My first thought listening to this disc? VH1 production 
of beloved music my mother strummed during my childhood.  With 
subsequent listens, the faithfulness, respect, and tribute Anna 
Domino and her husband/musical partner, Michel Delory, pay the 
ten traditional folk songs subverts my initial prejudice into 
grudging, then open, admiration.  Potentially disconcerting, the 
modern arrangements breathe a freshness to these downbeat, sad 
tales of love gone wrong and lives badly ended.
	"John Henry", an old favorite, gives a western guitar 
ring to the classic man versus machine song, keeping the tragedy 
intact, while eulogizing his heroic, fatal effort.
	The pathos of "Pretty Horses", a lullaby sung by a wet 
nurse slave caring for a white child as her own cries in hunger, 
is admirably conveyed by Domino - her voice electronically 
altered for several verses, mirroring the unnaturalness of the 
situation.
	"This Train That I Ride", the most upbeat tune on the 
cd, brings a snare drum riff, reverb, and snapping fingers to 
its "lonely man far from home" subject, long a cowboy favorite.
	"Rising Sun" manages to give a new slant to the song 
perhaps best known by Eric Burdon's interpretation with the 
Animals.  A whore's lament, it's appropriately sung by a woman, 
and Domino does the bitter, resigned lyrics credit.
	And if "Black Girl" sounds familiar, play "Where Did You 
Sleep Last Night" off Nirvana's _MTV Unplugged_.  Their version 
is Huddie Ledbetter's adaptation with slight lyrical changes, 
while Snakefarm return to the original words, but the song 
remains the same.  The arrangement here is spare for the first 
two verses, banjo and guitar pulled together, then pushed aside 
by drum and bass, which is eventually faded out, and replaced 
by the original banjo and guitar.  The song embodies the spirit 
of the disc - weaving the threads of the past into the musical 
quilt of the present.
	Five other tracks await discovery: "Banks of the Ohio", 
"Frankie and Johnny", "Laredo", "Tom Dooley", and "St. James". 
Each is familiar and simultaneously surprising.
	As the TV generation ages, what will we sing to our 
children?  The "Gilligan's Island" theme?  "Smells Like Teen 
Spirit"?  "Fascination Street"?  No harm in that, but I'd advise 
looking farther back.  Check this disc out.  You might impress 
your folks, while enriching yourself and your children.
---
	REVIEW: Wagon Christ, _Tally Ho!_ (Astralwerks)
		- Tim Hulsizer
	Luke Vibert has been around since the late 80's, sampling 
all sorts of odd sci-fi movies and other sources to create a 
home-grown sound that is bass-filled and spacy, throbbing and 
dynamic.  His vision of dance music is a more simplistic one and 
he feels that he never quite reached that until now.  
	Previously, Vibert experimented with faster breaks, 
resulting in the brilliant Plug drum'n'bass material.  Remixes 
followed, for artists like Meat Beat Manifesto and Nine Inch 
Nails.  He has previous albums of Wagon Christ tunes and he also 
recorded under his own name (MoWax Records' awesome _Big Soup_ 
disc from last year), all of which results in a track record 
that is exemplary if not consistent.  He may not stick with one 
genre all the time but he never disappoints.  Besides, who wants 
an artist to restrain themselves in favor of cultivating their 
own musical niche?
	His sound is also hard to miss.  Bouncing along with a 
mind of its own, Wagon Christ beats seem to bubble over with 
ideas while remaining singleminded in their purpose: entertainment. 
The fact that he seems to be an artistic pioneer in breakbeats 
doesn't change the fact that he doesn't see himself that way.  
"With Wagon Christ the music doesn't really have any pretentions,"
states Vibert. "It's not supposed to be overly analyzed at all.  
I hate it when people read too much into dance music."
	That doesn't seem to be a problem here.  From the faster 
rhythm of the title track to the tongue-in-cheek mode of "Juicy 
Luke Vibert" and "Piano Playa Hata", this is all on the light 
side of electronic music.  That may scare off some of the more 
hardcore supporters of underground beats, as these are some of 
Vibert's "fluffiest" songs to date, but that's really what the 
Wagon Christ pseudonym is there for.  It's an outlet for him to 
explore his more accessible ideas and present them to the 
listener.  Even the comic book-style cover art yells "fun!"  
	Best of all, it's got something for the die-hard fans 
like myself as well.  It's difficult to put my finger on exactly 
what that "something" is, but if pressed I'd have to call it the 
Vibert Touch.  He leaves an indelible fingerprint on anything he 
does.  Perhaps it's the sparing but effective use of vocal 
samples, or simply that moment where you nod your head and say, 
"Yeah, that's a Vibert track."  Whatever it is, it keeps me 
coming back to hear everything he does.  It's also the reason 
some people consider Vibert/Plug/Wagon Christ the best artist 
out there, calling Luke a genius.  At the risk of over-analyzing 
this "dance music", I think I have to agree.
---
	REVIEW: The Hollowbodies, _Viva La Dregs_ (Polydor/A&M)
		- Bill Holmes
	On their second major label release the trio has raised the 
bar another notch. _Viva La Dregs_ combines the melodic sophistication 
of bands like Semisonic and the late great Caulfields with the stripped 
down approach of a bar band fighting its way out of the garage.
	Songwriter Philip Roebuck spouts some complex and obtuse 
lyrics;  perhaps those Dylan roots are most evident on the centerpiece 
"My Little Woman". However, his slight twang-drawl is just chameleon 
enough for the musical mood swings on the record, where the band 
ranges from delicate moods to a lean mean rockin machine. "Lakefly", 
"Underground" and the wonderfully titled "Ignoramus Spectaculus" are 
fist-pumping rockers with punkish energy, while "Plasticine Mesmerism" 
is acoustic flair and "Little King" features a falsetto chorus over 
jangling guitars. The best melody may have been saved for last - "Kodo 
And The Queensbound R" is beautiful. Someday I might even figure out 
what the lyrics mean.
	Although the name may conjure up acoustic troubadours, it's 
impossible to pigeonhole this band into a musical category. Isn't that 
refreshing?
---
	REVIEW: Various, _Blastered: A Musical Tribute to the Blasters_ 
		(Run Wild)
		- Daniel Aloi
	Dave Alvin has probably covered more Blasters songs than anyone - 
the odd thing being, he wrote them.
	On a number of solo albums since leaving the band in 1986, he 
has seen fit to revisit and rework his songs, and go for the darker 
musical edge and appropriate mournful tone of his lyrics, abandoning 
the rockabilly beat of, say, "Barn Burning" and "Long White Cadillac," 
and rerecording the songs to express the kind of menace and hopelessness 
he had in mind when writing them.  So with that kind of inherent 
possibility, a Blasters tribute album by others would be just as 
diverse and expansive, right? Well... it isn't, but that's not 
necessarily a bad thing. This tribute is as good a roots-rock party 
album (with think-about-it undertones intact) as anything by the 
Blasters themselves.
	Most of the 18 tracks on _Blastered_ are faithful to the 
originals, poured in the same sweaty Saturday night rockabilly mold 
as the ahead-of-its-time (and way behind it, too) band from Downey, 
California. The Blasters drew from a well of blues, folk, country, 
R&B and rockabilly influences, and ruled the '80s underground in the 
most un-MTV way you could imagine in a decade of synthesizers and 
British hair bands.
	The bands here -- from San Francisco's Sloe Gin Joes to 
Pittsburgh's Highway 13 and Ireland's Sabrejets -- also defy 
contemporary pop trends, and kick into high gear to show their 
appreciation. Their names are enough indication of what to expect - 
The Blacktop Rockets, The Barn Burners, Hot Rod Lincoln, Jumpin' 
Jupiter, and the aforementioned Sabrejets, the only non-American 
act here.
	But there are some original takes worth noting. Tom Clifford 
(of Austin's King Soul) leads the "local supergroup" Alvin City 
Limits on a Blasters-worthy roadhouse version of "Trouble Bound," 
minus any attempt to ape the Jordanaires backing on the original. On 
the very next track, King Kerosene, an original but Blasters-loving 
band from New Jersey, adds those very same hiccuping vocal harmonies 
(to great effect) to the kinda-sad Casanova study "Help You Dream."  
Hot Rod Lincoln adds Tejano flavor to "Border Radio" and backs up 
Josie Kreuzer on "Red Rose," and on an album of almost exclusively 
male exercises in rockabilly rebellion, a fantastic female voice 
like Libbi Bosworth's on "Hey Girl (Boy)" is most welcome.
	The standout track appropriately closes the album. Last Train 
Home, recently voted Washington, D.C.'s best country band, slows down 
the pace of "So Long Baby Goodbye" to make it an emotional parting 
song -- rather than the speedy getaway suggested by either the 
original or the other cover of it here, by Lucky 7 (with Kenny 
Margolis, formerly of Mink Deville).
	All in all, this is a fine tribute to a great band that 
deserved even more than the loving cult of fans it found -- and shows 
that even a band that found its heart in what came before can be a 
seminal influence in its own right. 
	For more information, check out 
http://members.aol.com/BluTwang/index.html .
---
	REVIEW: The Stone Coyotes, _Church Of The Falling Rain_ (Red Cat)
		- Bill Holmes
	Barbara Keith began writing and performing her songs years 
ago in Greenwich Village, while husband Doug Tibbles made his mark
 as a television writer.  When they both walked away from show biz, 
Doug took up the drums and his eleven year old son picked up a bass, 
and they began honing a stripped down rock and roll sound. The result 
is one kick ass Family Affair that filters blues, country, and gospel 
through straight-no-chaser rock and roll.
	The Stone Coyotes pull no punches - guitar, bass and drums 
are hammered and squeezed for all they're worth. "Saw You At The 
Hop" and "Hammer On A Nail" rip with Ramones-like fervor, and Keith's 
solos here and elsewhere show she can guitar wrangle with the best 
of them. Likewise "Little White Lies" would melt the shoes of line 
dancers, staccato guitar racing Doug's slap-snare pace. Keiths vocal 
range is not wide on these songs, but her voice is powerful and 
confident, reminiscent of a more restrained Grace Slick. On the 
slower song-stories like "Folded Wings" and "The Mark Of Cain", her 
textures are more clearly demonstrated. The rhythm section is 
rock-solid throughout.
	Twelve good songs and a band that kicks ass - somebody has 
got to sign them up and get them out there where people can hear 
them. It's just too damned great to be my little secret.
---
	REVIEW: Hazeldine, _Orphans_ (All Swoll/Morebarn)
		- Daniel Aloi
	Female singers Shawn Barton, Tonya Lamm and Anne Tkach and 
guitarist-banjoist Jeffrey Richards of Hazeldine show liberal and 
adventurous taste on this album of their favorite cover songs. If 
you expect something PC in regard to the No Depression orientation 
of the band, then Gram Parsons, the Appalachian folk tradition and 
John Anderson (via the Mekons) are given their due, but they're 
alongside covers of Genesis-era Peter Gabriel, Neutral Milk Hotel 
and Radiohead. And it all sounds great together, befitting the band's 
punk-to-country roots.
	"We've listened to this Radiohead song so many times we 
thought WE wrote it," they say in the liner notes of "Lucky," one of 
the darkest dirges covered here - a Sparklehorse song, "Heart of 
Darkness," is sunny by comparison.
	But the other side of the '90s surveyed here isn't down at 
all -  Richards sings on East River Pipe's pop nugget "Here We Go" 
like he's auditioning for The Apples in Stereo. And some songs move 
along like The Silos - fitting, since special guest Walter Salas-Humara 
plays drums and guitar here.
	There are enough moods in the 10 songs to take you down and 
lift you up in the space of half an hour, but the dominant thread 
running through _Orphans_ is one paralleling the folk tradition, in 
the sisterly harmonies of the lead singers and mostly acoustic 
arrangements. It's like a late-night song pull among hip college 
students, all trying to outdo their peers in their affection for 
obscurities.
	Some of the songs are inspired by other artists' versions - 
like Hank Cochrane's beautiful lament "It's Only Love," learned off 
John Doe's first solo album, or "Whiskey In a Jar," first heard as an 
old Thin Lizzy standby. Hazeldine is a band born to do traditional 
songs -- particularly "Whiskey In the Jar" and "Mining Camp Blues," 
opening the album with full harmonies and a shuffle arrangement that's 
almost upbeat enough to belie the tragedy it relates. They come full 
circle and pay direct tribute to one of their main influences at the 
end of the album, with Parsons' "A Song For You."
	_Orphans_ is distributed by E-Squared (Steve Earle's label) 
and available through Miles of Music, its first U.S. release after 
several months' availability only in Europe. It will be followed by 
their Polydor debut _Digging You Up,_ also now available as an import only.
	For more information, check out http://www.morebarn.com/Hazeldine .
---
	REVIEW: Emilia, _Big Big World_ (Universal)
		- Franklin Johnson
	The latest Swedish export up for sampling, 20 year old 
Emilia caused a major sensation in her home nation with the 
release of the single "Big Big World". The ballad became 
the fastest growing single by rocketing to #1 in just one 
week.  
	Her debut effort (with the same name) doesn't stray 
far from the path trodden by this single, with its Ace of Base-like 
synthesizers and Mariah Carey-esque vocal chords.   Tinges 
of Latin music ("Twist of Fate") sometimes add a new flavor 
to the sound, but her countrymen's largest hit ("The Sign") 
serves as the inspiration for much of the disc, especially 
the first song "Good Sign".  Lightweight synthesized pop fans, 
take note.
---
	REVIEW: Thom MacFarlane, _Gone So Long_ 
		- Al Muzer
        Former Beethoven Brother Thom MacFarlane follows-up 1996's 
critically-acclaimed _Longtime_ ('the brightest musical talent to
 stick a plug into a wall socket connected to a New Jersey power 
supply) with 12 more brilliant examples of musical progression and 
melodic growth that come pretty darn close to fulfilling his life-long 
quest for the perfect pop song.
        Mastered by Eric Rachel and featuring musical contributions 
from Blondie/Dramarama drummer Clem Burke, Rolling Stones sax player 
Dave Watson, Saturday Night Live Band bassist Paul Ossola and Blondie 
guitarist Abel Dominguez; a key element of this disc's warmth and 
engaging spirit should be credited to the sympathetic core duo of 
bassist Harry Kopy and drummer/producer/engineer Joe Bank playing 
off the guitar, keyboard and vocal wizardry of MacFarlane.
        A pop traditionalist, MacFarlane is respectful of classic 
influences like The Beatles, Steelers Wheel, Brian Wilson, Jeff Lynne, 
Squeeze, 10CC and Todd Rundgren; yet isn't afraid to loosen up and 
pay playful homage to pop geniuses such as Karl Wallinger, the Cyrkle, 
The Cowsills, Classics IV, Lobo, Fountains of Wayne, Figdish, 
Firefall and England Dan & John Ford Coley throughout this wonderful 
sophomore effort.
	For further information, check out 
http://www.bands-online.com/artists/thommacfarlane .
---
NEWS:	> Dave Krusen, founding member of Pearl Jam and drummer 
for Candlebox for the past year and a half, has left the band. 
According to Krusen, the forthcoming arrival of his second child 
has found combining home life and touring to be too difficult 
to maintain.  No replacement for Krusen has been named.
	> Fatboy Slim's "Praise You" single, which has recently 
been added to MTV's playlist, will be released commercially 
on February 23 with the non-album track "Sho Nuff" and the 
Mulder's Urban Takeover Mix of "The Rockafeller Skank".
	> According to Sascha Konietzko, founder of KMFDM, 
"KMFDM is dead".  He also stated there would be a media blackout 
until March 1st - which would have been the 15th anniversary 
of the group - regarding the end of KMFDM.  
---
TOUR DATES:
	Afghan Whigs
Feb. 9 Cincinnati, OH Bogart's
Feb. 10 Detroit, MI St. Andrews Hall
Feb. 12 Syracuse, NY Styleen's Rhythm Palace
Feb. 13 Providence, RI Met Cafe
Feb. 14 Boston, MA Paradise Rock Club

	Black Sabbath / Deftones / Pantera
Feb. 1 State College, PA Jordan Center
Feb. 3 Boston, MA Fleet Center
Feb. 5 East Rutherford, NJ Continental Arena
Feb. 6 Uniondale, NY Nassau Coliseum
Feb. 9 Buffalo, NY Marine Midland Arena
Feb. 11 Montreal, QC Forum
Feb. 14-15 Auburn Hills, MI Palace of Auburn Hills

	Bluetip
Feb. 2 Worchester, MA Clark University 
Feb. 3 Boston, MA Middle East 

	Cardigans / Kent
Feb. 1 Philadelphia, PA TLA
Feb. 2 Washington, DC 9:30 Club
Feb. 4 New York, NY Irving Plaza
Feb. 5 Providence, RI Lupo's
Feb. 6 Boston, MA Roxy
Feb. 8 Montreal, QC Le Spectrum
Feb. 9 Toronto, ON Guvernment
Feb. 10 London, ON Embassy
Feb. 12 Detroit, MI St. Andrews Hall
Feb. 13 Chicago, IL Metro
Feb. 14 Minneapolis, MN First Avenue

	Dave Davies Kink Kronikles
Feb. 3 Cambridge, MA Middle East Club
Feb. 4 Montpelier, VT Emerald City
Feb. 5-6 Maynard, MA Sit 'n Bull
Feb. 11 Piermont, NY The Turning Point
Feb. 12 Glenside, PA Keswick Theatre
Feb. 13 Atlantic City, NJ Trump Marina

	Eve 6 / Marvelous 3
Feb. 3 West Palm Beach, FL Respectable Street 
Feb. 4 Miami, FL Hard Rock Cafe
Feb. 5 Tampa, FL The Rubb
Feb. 6 Gainesville, FL Brick City Music
Feb. 8-9 Orlando, FL Sapphire Supper Club 
Feb. 11 Spartanburg, SC Magnolia Street Pub 
Feb. 12 Atlanta, GA Roxy Theatre
Feb. 13 Winston-Salem, NC Ziggy's 
Feb. 14 Charlotte, NC Tremont Music Hall 

	50 Tons of Black Terror / Groop Dogdrill
Feb. 13 New York, NY Brownie's

	Jets To Brazil
Feb. 5 Washington, DC Black Cat

	Kodo
Feb. 4 San Antonio, TX Laurie Auditorium
Feb. 5 Austin, TX Bass Concert
Feb. 6-7 Houston, TX Jones Hall
Feb. 10-13 Dallas, TX McFarlin Auditorium

	Local H
Feb. 6 Philadelphia, PA Theater of Living Arts
Feb. 7 Virginia Beach, VA Abyss
Feb. 9 Winston Salem, NC Ziggy's
Feb. 10 Charlotte, NC Tremont Music Hall
Feb. 11 Knoxville, TN Moose's
Feb. 12 Spartanburg, SC Ground Zero
Feb. 13 Orlando, FL House of Blues 

	Macha
Feb. 5 Athens, GA 40 Watt Club
Feb. 9 Washington, DC Metro
Feb. 10 Boston, MA Middle East
Feb. 11 New York, NY Brownie's
Feb. 12 Philadelphia, PA Khyber Pass
Feb. 13 Baltimore, MD Auto Bar
	
	Alanis Morrissette
Feb. 1 Atlanta, GA Fox Theatre
Feb. 4 Birmingham, AL Botwell Aud.
Feb. 6 Chapel Hill, NC Carmichael Aud.
Feb. 7 Richmond, VA Landmark Theatre
Feb. 9 Washington, DC Patriot Center
Feb. 11 Amherst, MA Mullins Center
Feb. 13 Philadelphia, PA First Union

	Ian Pooley
Feb. 4 Halifax, CA Velvet Olive
Feb. 5 Montreal, Canada Sona
Feb. 6 Gainesville, FL Simonís
Feb. 8 Tampa, FL Club 1509
Feb. 11 Cincinnati, OH Lift
Feb. 12 Washington, DC Buzz
Feb. 13 Toronto, Canada Industry
Feb. 14 Philadelphia, PA Fluid

	Rusted Root
Feb. 11 Philadelphia, PA Tower Theatre
Feb. 13 York, PA York College
Feb. 14 Burlington, VT Memorial Auditorium

	Sloan
Feb. 1 Nashville, TN End
Feb. 3 Gainesville, FL U.F. Rion Ballroom
Feb. 4 Atlanta, GA Point
Feb. 5 Carrboro, NC Room 4
Feb. 6 Washington, DC Black Cat
Feb. 7 Philadelphia, PA Khyber Pass
Feb. 9 Hoboken, NJ Maxwell's
Feb. 10 Albany, NY Valentine's
Feb. 11 Northampton, MA Iron Horse
Feb. 12 Cambridge, MA Middle East
Feb. 13 New York, NY Bowery

	12 Rods
Feb. 14 Minneapolis, MN The Entry 
---
THE READERS WRITE BACK!
	The Pearl Jam review which sparked these comments, written 
by Steve Kandell, appeared in the December 7, 1998 issue 
( http://www.consumableonline.com/1998/12.07/index.html )
The Editor's Notes to reader's comments, penned by Bob Gajarsky, 
appeared in the January 19, 1999 issue
( http://www.consumableonline.com/1999/01.19/index.html ).

	> Band Worship 301: Trying To Be A Rock Critic...When trying 
to write an album review, you will envitably (sic) be criticised. 
Instead of accepting that perhaps you really do not know what you 
are talking about, ignore all valid points made in any 'letter to 
the editor' and instead respond with the some drole (sic) remarks 
in (an) attempt to sound witty and intelligent.  This will deflect 
attention from your poor review and not cast you as a pompous, 
ignorant ass. Then wait for the job offer from Rolling Stone that 
will surely come. It will won't it?? - S.V., Canada

	> I enjoyed the quick lesson in Band Worship 101 that followed 
three slavish, mind-controlled Pearl Jam Still Rules letters. I can't 
help but wonder if these fans actually hear the passion and power 
that makes _Ten_ so personally important and listenable seven years 
later, while all of their follow-up releases pale sadly in comparison.
 	I've the right to this opinion, having waited for a midnight
sale for _Versus_ while in college and an early morning sale for 
_Vitalogy_. I've got _No Code_ and _Yield_ as well, both of which 
are unlistenable to me. _Versus_ and _Vitalogy_ have some good songs; 
they suffer from the inevitable comparison to the strength and 
personality of _Ten_ and fail miserably to impress.
	Can I be the only person who hears the gaping hole in Eddie's 
songwriting in everything since _Ten_? The feeling that these are 
songs written by a writer who knows he has shot his creative wad the 
first time out and there's nothing left but fulfilling the contract 
runs through PJ's post-Ten catalog.
	Now there's nothing left but rap, swing, and Metallica doing 
70s covers. The dream of 91-92 has died; will the last fan out of 
the building please urinate on the Ticketmaster sign? - David U.

	> I enjoyed your "Band Worship 101" quip...very funny and amusing.
One thing I noticed, when back in my hometown of Chicago during the 
winter, was that of all possible bands, the single one they played 
the most was Pearl Jam.  
	(Despite this) their new music off _Yield_ was not getting 
the same amount of airplay as a "Closing Time".  (Most of the 
songs) were older, played-to-death hits such as "Alive", "Jeremy" 
and "Daughter".
	I'm enjoying Pearl Jam's 'maturing', if you will, of 
their newer music, their innovations to the production stage, 
etc. but I can't expect everyone to care or even find the same 
positive aspects in it that I do.
	I can dispute one reader's comment about all the shows 
selling out; the Alpine Valley show on June 27, 1998 did not sell 
out (or if it did, only at the last moment) one of my friends bought 
tickets as late as 1pm that day.
	I enjoy reading Consumable; you provide an honest opinion 
on music. - Michael S.
---
Founded in August, 1993, Consumable Online is the oldest 
music reviews publication on the Internet.
To get back issues of Consumable, check out:
        WWW:     http://www.consumableonline.com
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===
