==== ISSUE 55 ====         CONSUMABLE         ======== [October 3, 1995]

  Editor:             Bob Gajarsky
		        Internet: gajarsky@pilot.njin.net
  Sr. Correspondents: Jeremy Ashcroft, Martin Bate, Al Crawford,
                      Dan Enright, Reto Koradi, David Landgren, 
                      Tim Mohr, Jamie Roberts, Joe Silva, John Walker
  Correspondents:     Dan Birchall, Lee Graham Bridges, Scott Byron, Jason 
                      Cahill, Eric Hsu, Tim Hulsizer, Daniel Kane, Mario Lia,
                      Stephen Lin, Sean Eric McGill, P. Nina Ramos, Linda 
                      Scott, Ali Sinclair, Jon Steltenpohl, Courtney Muir 
                      Wallner, Britain Woodman
  Technical Staff:    Chris Candreva, Dave Pirmann, Damir Tiljak,
		      Jason Williams
 
 Address all comments, subscriptions, etc. to gajarsky@pilot.njin.net
==================================================================
	All articles in Consumable remain (C) copyright their author(s). 
Permission for re-publication in any form other than within this
document must be obtained from the editor.
==================================================================
                            .------------.
                            |  Contents  |
                            `------------' 
                              
REVIEW: Soundtrack, _Empire_ - Bob Gajarsky
REVIEW: Wire, _Behind the Curtain: Early Versions 1977-1978_ -Eric Hsu
REVIEW: Letters To Cleo, _Wholesale Meats and Fish_ - Courtney Muir Wallner
REVIEW: Soundtrack, _Desparado_ - Sean Eric McGill
REVIEW: Malfunkshun _Return to Olympus_ - Martin Bate
REVIEW: The Chemical Brothers, _Exit Planet Dust_ - Daniel Kane
REVIEW: Down, _Nola_ -Mario J. Lia
REVIEW: Dance Hall Crashers, _Lockjaw_ - Jason Cahill
REVIEW: Season To Risk _In a Perfect World_  - Martin Bate
REVIEW: The Foremen, _Folk Heroes_ - Bob Gajarsky
REVIEW: Tarnation, _Gentle Creatures_ - Lee Graham Bridges
REVIEW: Joe Beck _Finger Painting_ / T. J. Kirk  _T. J. Kirk_ - Ali Sinclair
REVIEW: The CMJ Music Marathon: Escape in New York - Jamie Roberts
TOUR DATES: Jude Cole, Cravin' Melon, Dread Zeppelin, Emmet Swimming, 
   Mary Ann Farley, God Lives Underwater / KMFDM / Korn, Letters to Cleo, 
   Machines of Loving Grace / Jim Rose's Circus Sideshow, Medicine / Long Fin 
   Killie, Oasis, Oingo Boingo, Joan Osborne/Rusted Root, 7 Mary 3, Shinebox 
   Tour (Mike Watt + Crew of Flying Saucer), Skirt, Squirrel Nut Zippers, 
   Toenut/Grover, Urchins/Caulfields
Back Issues of Consumable
---
	REVIEW: Soundtrack, _Empire_ (A&M)
		- Bob Gajarsky
	The movie _Empire_ focuses on a small record store and the plight
of six teenagers to save it from a corporate takeover.  The soundtrack
to this movie is the perfect combination between today's alternative hit 
makers and some of tomorrow's most promising (and even unsigned) bands.
	The first single from this collection is the Gin Blossoms' "'Til I 
Hear It From You".  It's notable for several reasons; it's the Blossoms' 
first song in three years, co-written by Marshall Crenshaw, and bears an
uncanny resemblance to the Smithereens' "Baby Be Good" (from their 
album _11_).  And, it would fit in perfectly with anything off of their
double platinum _New Miserable Experience_ album.  Another hit for the
band from Tempe, Arizona.
	Ex-Orange Juice member Edwyn Collins has already secured the biggest
hit of his U.K. career with "A Girl Like You".  The 60's-influenced
song, whose music sounds as if it came from an episode of Mission:
Impossible or any of the spy series from that time period, is 
irresistible to the ear.  As a sidenote, this video was directed by They 
Might Be Giants' John Flansburgh.
	The Cranberries have arguably released their best *rocking*
song to date in "Liar", which like many of the other songs, only
appears here.  And, Toad the Wet Sprocket return to the scene with
the introspective "Crazy Life".
	However, it's not just the "name" acts that make this a special
collection.  Drill's "What You Are" leaves a chilling feeling in the
spine, while Martini's "Free" (featuring ex-Pixies Joey Santiago and
Dave Lovering) could have been lifted from a _Doolittle_ outtake
session.  Finally, the bouncy, poppy sound of Canada's Coyote Shivers on 
"Sugarhigh" is an appropriate conclusion to this 15 song album.
	This is the year's deepest and best soundtrack.  Don't be left
out in the cold.
---
	REVIEW: Wire, _Behind the Curtain: Early Versions 1977-1978_ (EMI)
		-Eric Hsu
	During Elastica's recent rise to fame in England, there was something
of an uproar over their admitted heavy influence by early Wire (read:
borrowing of major song sections), which ended in a royalty settlement and
renewed interest in the band. Even now, the group Menswear is racing up the
British pop charts with a song "Daydreamer" which has been widely
derided/praised as a Wire ripoff/tribute.
	Not coincidentally, EMI has finally seen fit to release in England a
generous 31-song collection of demos and live tracks from the band's early
years. The collection is a must-buy for fans of early Wire, but probably
not a good introduction to the band. Newcomers to early Wire (including
fans of later Wire) are better off purchasing the actual first three (very
different) albums: _Pink Flag_, _Chairs Missing_, and _154_. If you're on a
very tight budget, the CD compilation _On Returning_ is a good
introduction.
	_Behind the Curtain_ is fascinating listening all around, especially
since the band was notorious for quickly discarding material they were
bored with. The demos have a relatively solid, punky Wire sound similar to
that of _Pink Flag_ and precisely the sound of their Peel Sessions. The
first six songs are live performances from their debut at the Roxy in 1977
and are a fun if rough glimpse at the punk origins of the group. There are
demos for three good songs that were prepared for _Pink Flag_ and then
abandoned, although bits and pieces make it into later songs. Except for
the title track, there is a notable lack of early versions of songs
actually on "Pink Flag", probably because they don't exist, and if they
did, they would sound redundant next to the album.
	There is a healthy selection of demos for _Chairs Missing_, which has
documentary value for catching the group trying to wrestle _Chairs Missing_
atmosphere out of _Pink Flag_ sounds and technique. The songs are different
from but (as you might expect) inferior to the polished versions on the
final album, which are tastefully enhanced by guitar effects and keyboards.
As an exception, the demo of "Men 2nd" is slowed-down and stands quite well
on its own, well enough that the whole collection was named after a line in
this song.  As Newman later commented, a lot of _Chairs Missing_ songs were
written at the same time as _Pink Flag_, but they couldn't figure out how
to do justice to them for the first album.
	The real revelations are the demo versions of songs from _154_.  The
selected songs are the strongest from that album and are stripped of the
confused electronic trickery that overwhelms them on record. The songs miss
the walls of harmony of the final studio versions, but the hooks are
clearer and more appropriate in their guitar origins and the songs are
generally more emotional. "Map Ref..." actually sounds like the awed
travelogue it is and "A Touching Display" is less pompous and seems
genuinely depressed.
	There are also some great unreleased songs, such as "Stepping Off Too
Quick", "Stablemate" and "No Romans", which judging from the order, seem to
have been written during the second and third albums but were abandoned for
sounding too much like _Pink Flag_.  There is also a superior version of
"Underwater Experiences" (previously only available on _Document &
Eyewitness_), as well as straightforward versions of their singles-only
songs, "Dot-Dash", "Options R", "Question of Degree" and "Former Airline".
These are all luckily available in their original superior form as bonus
tracks, but "Former Airline" is a most interesting example of Wire's
attempts to achieve with a live sound what they eventually used tape loops
and multiple tracks of screeching feedback to get.
	The upshot is that _Behind the Curtain_ is an invaluable documentary
for fans of the band and fun listening to boot. The alternate versions are
always interesting and the new songs are great. Most enjoyably, there is a
surprising continuity of sound. For a band that mutated dramatically
between albums, the performances have a certain consistency of sound and
style that links seemingly different songs. In fact, the way I most enjoy
listening to the CD is by shuffling the tracks randomly: the experience is
like listening to a Wire concert a bit after _Pink Flag_, previewing the
next two years worth of material.  A truly enterprising Wire fanatic with a
CD changer should try shuffling in songs from the first two Peel Sessions
(there is little overlap between the Sessions and _Curtain_).
	Word on the official Wire Web page is that there will be another
dip into the vaults, but not before the members try to work out various
solo projects.  I wouldn't hold my breath for it.  I suspect _Curtain_ is
as good a look into the Wire vaults as we'll get.
	P.S. The official Wire Home page is at
<http://www.contrib.andrew.cmu.edu/usr/aw36/wire/wirehome.html>
---
	REVIEW: Letters To Cleo, _Wholesale Meats and Fish_ (Giant)
		- Courtney Muir Wallner
	The much anticipated second album of the alternative-pop sounding
Letters  To Cleo is both a disappointment and an achievement.  It
may  sound funny to describe _Wholesale Meats and Fish_ with such
ambiguity,  especially since their 'sound' is rather  unique  and
consistent, but true to form, the finished product always reveals
the motivations of the energies behind it. Which in this case, is
as inconsistent and confused as the lyrics themselves.
	_Wholesale Meats and Fish_ contains only a smattering of the
unique  sound  that  originally brought LTC  recognition  on  the
_Melrose  Place_ soundtrack. What is  replaced  instead,  is  an
overwhelming amount of busy guitar, resulting in what sounds like
an  contrived effort to appear more 'alternative.' Kay Hanley has
an  exceptional  voice and yet throughout half the  album  it  is
hidden  behind  the music. This is a peculiar  point,  since  the
music  itself  seems  to be competing with her  crystalline,  yet
quirky voice rather than complementing it. The result is an album
that sounds more thrown together than carefully crafted.
	The best track off the record is by far the single "Awake."
The  lyrics are vague and meaningless and they actually start out
repeating  themselves: "I guess it's been awhile and a long  time
too"   but somehow they have managed to make them work here.  The
song  is cheerful and upbeat and actually gives resonance to  the
phrase,"You're awake and I'm asleep and we are so  complete  that
way...You're  asleep and I'm awake and everything is  so  great."
These  are, of course, the best lyrics of the album, as  they  go
way downhill from here.
	The  song "Jennifer" simply grates on the nerves as Hanley
moans in a scratchy voice "Jennifer, Jennifer, Jennifer..."  over
and  over  and  over  again. Then in the song  "Demon  Rock"  the
unorganized  and discordant guitar is responsible for distracting
the  listener rather than drawing them in. "Acid Jed" is a feeble
attempt at using the abstract to convey meaning with lyrics  such
as, "I was counting all the monsters I am ever going to be and  I
was  falling a thousand miles an hour swirling around,  the  only
sound  was  Acid Jed." The meaning is completely lost,  if  there
ever  was  a  meaning in the first place, and instead the  lyrics
sound ridiculous. And the music simply isn't appealing enough for
the listener to forgive the error.
	The overall impression of the record sounds as if the band
tried  too  hard to be trendy and in the process wound up  losing
their signature sound. Hanley's voice is their biggest asset  and
they  completely overlooked the numerous possibilities they  have
within  their  reach to utilize her voice to the  fullest.  Their
first  album,  _Aurora  Gory Alice_ is definitively  better  than
their current _Wholesale Meats and Fish_ and I am confident  that
if  the band focuses on their strengths rather than the current trend, 
their third will be their best album yet.
---
	REVIEW: Soundtrack, _Desparado_ (Epic Soundtrax)
		- Sean Eric McGill
	After seeing the film _Desparado_, a friend of mine remarked that 
it was the type of film Quentin Tarantino would make if he was Hispanic. 
The film does have witty dialogue, lots of guns - hell, it even has Steve 
Buscemi - so it's not hard to believe that the soundtrack to _Desparado_ 
is very Tarantino-esque?
	Not that this is a bad thing. The soundtracks to _Pulp Fiction_ 
and _Reservoir Dogs_ are both quite good, mainly on the stengths of the 
films they supported. _Desperado_ has the dialouge bits and whatnot that 
form a connection with the Tarantino soundtracks, but the thing that most 
connects the soundtracks to each other is the familiarity with the film 
that the soundtrack brings with it. What do I mean by that? When you hear 
a film soundtrack that works, you are able to easily recall certain 
moments in the film by hearing music from those moments on the soundtrack.
	In the past few years (and even going back to the John Hughes' 
films of the eighties), movie makers have been so preoccupied with 
loading up a soundtrack album with whatever stars are hot at the time in 
an effort to sell the film through the album. Occasionally it works (_The 
Crow_ soundtrack went through the roof, and helped sell the film even 
more than the curiosity factor behind Brandon Lee's death), but more 
often than not, what you get is a half-assed concoction of artists who 
are promoting a movie that just isn't any damn good, no matter who's on 
the soundtrack.
	But Robert Rodriguez and Tarantino both understand the concept of 
creating a mood with music in a film - and both have the ability to 
create that mood using something other than an orchestral score. Both 
_Pulp Fiction_ and _Reservoir Dogs_ were heavy on the seventies, and in 
_Desparado_, the music changes to fit the Mexican locale of the film.
	From "Cancion Del Mariachi," which opens the film, to "Let Love 
Reign" which closes it, the various songs set the tone for the various 
segments of the film with such style that it's impossible to keep 
memories of the film out of your head when you hear it. And if you 
haven't seen the film, then maybe you should pick up the soundtrack on 
your way to the movies.
	Unlike Tarantino, however, there is an actual score to the film, 
composed by Los Lobos - who also perform "Cancion Del Mariachi" (with 
vocals by Antonio Banderas) and "Let Love Reign." Their score shows up 
between tracks by Carlos Santana (whose "Bella" is one of the best tracks 
on the album), Dire Straits, Latin Playboys, Tito & Tarantula and Link 
Wrey & His Ray Men.
	And while many may recognize (or at least, have heard of) Los 
Lobos, Carlos Santana and Dire Straits, other artists like Tito & 
Tarantula and Link Wrey & His Ray Men may not be as familiar. Hopefully, 
this album will provide a springboard for them to the mainstream much in 
the same way the soundtracks for _Singles_ and _The Crow_ did for the 
artists and genres they contained.
	I've spent a considerable amount of time talking 
about other films and filmmakers instead of simply concentrating on the 
_Desperado_ soundtrack. So be it. What makes this soundtrack such a good 
album is not just the music, but its originality. In an age where 
soundtracks are almost as important as the movies they support 
(_Dangerous Minds_ for example, has hit hard times at the box office, 
while the soundtrack is currently in the top five), _Desparado_ stands 
out because not only is the genre of music different from the usual 
soundtrack material, but - here's the clincher - the songs are actually 
audiable in the film.
	_Batman Forever_, _The Crow_ and others have featured decent to 
pretty damn good soundtracks containing songs that you really had to 
strain to hear in the actual film. In _Desparado_, the music takes on a 
character all its own, making it as important as the actors and scenery. 
And like most of the characters in the movie, it's packing a hefty 
arsenal of guns ready to blow you away.
---
	REVIEW : Malfunkshun _Return to Olympus_ (Loosegroove/Sony)
		- Martin Bate
	I remember in 1990 hearing a song on a compilation. The song was
"Stardog Champion" by a Seattle (not that the place name meant much then)
band Mother Love Bone and it was equal parts old Aerosmith swagger and
Led Zeppelin bluster with a child-like "Na Na Na" looping end which built
until it was all that was in your head for a week. The album, _Apple_,
was bought and its mixture of pimp swagger and golden optimism blew me
away. I was hooked but found out that apart from another mini-album there
was to be no more. Singer, Andrew Wood, had died of a drug O.D. before the
album's release. Of course, Stone Gossard and Jeff Ament went on to form
Pearl Jam and get together with bits of Soundgarden for the one-off band
inspired by Andrew, Temple of the Dog. But you all knew that anyway.
	So, one perfect album and gone. Except, I read Andrew Wood was in
a pre-MLB band called Malfunkshun. I spent ages looking for something by
them, not knowing that there had been next to nothing released by the
trio. But now this unrelease debut arrives on Stone Gossard's Loosegroove
label. Was it worth the wait ?
	Yes and no. The seeds of what was to come are undoubtedly there
but it's the big rockisms that stopped me from embracing the mini-album
_Shine_ extrapolated even further back, which rule the show. Anyone
expecting a 'grunge' (God, that word sticks in the throat with retrospect)
album be warned - this is an early 80's metal band heavily influenced by
Kiss and Led Zeppelin who wore make-up and Spandex. Sort of mystic cock
rock if you will. They have a song called "Jezebel Woman"...
	The other problem is brother Kevin Wood's guitar playing. Songs
are marred by 100mph guitar-wank solos involving seemingly indiscriminate
notes played at the speed of light in the hope that someone might mistake
it for talent. In particular, "Mr. Liberty (With Morals)" is a fine song
ruined by little Kevin (I understand he may be a *fine* guitar player
these days) soloing wildly throughout the *entire* song. I'd have given
him a clip round the ear and sent him out to play in the traffic.
	But what still remains clear was that Andrew Wood was something
a little bit special. Here he's still finding his voice, but the rolling
groove of "My Only Fan", the gentle piano ballad "Until the Ocean",
the restrained rock of "Winter Bites" and the busy Led Zep funk of of
"Luxury Bed" prove that Wood was a far bigger part of the Mother Love
Bone sound than Gossard and Ament's fame would suggest.
	Fans of Andrew Wood should get a listen to this as an
interesting curio whose biggest problem really is just that it has become
dated. Played loud though, there's an endearing energy and rawness
to the whole thing and a distinct reminder of unfulfilled potential, with
the untitled live 'hidden' track 33 showing a marked similarity to early
Soundgarden (a fine thing). Cringe-inducing and sparkling in equal
measures, it's one for the fans' collections. 
---
	REVIEW: The Chemical Brothers, _Exit Planet Dust_ (Astralwerks)
		- Daniel Kane
	The primary creative elements of the band The Chemical Brothers, Tom
Rowlands and Ed Simons, met in Manchester, United Kingdom.  
Originally formed in 1994 as The Dust Brothers, a lawsuit and a
"mindblowing debut" prompted the name change.  Beginning as disc jockeys,
Rowlands and Simons progressed to establishing strong ties within
Manchester's Naked Under Leather club and London's The Heavenly Sunday
Social, to self-produced singles to landing a label.
	The disc jockey and club base forms much of what makes _Exit Planet
Dust_ a solid release.  "In Dust We Trust," somewhat similar to a chase 
sequence, creatively employs synthesized bass for a unique sound.  
"Three Little Birdies Down Beats," with its haunting and relentless tone, 
exhibits quite an intriguing beat and is one of the band's more impressive 
accomplishments.  "Chemical Beats," while abundant with grunts, will likely 
otherwise grab your attention with intriguing descending and "gateway" sound 
effects.  "Chico's Groove," with a mellow, steady bass about one-half note 
sharp and a semiconscious "Lathe of Heaven"-ish format will likely perk the 
listener's ears as an interesting contrast to the band's traditional sound. 
 "Playground for a Wedgeless Firm" inspires symbolic images, such as that of
a conception or of an animal attempting to break free from constraint: quite
a unique and atypical sound.  "Alive Alone," nearly crooning of the shining
nature of the subject of the song, is another tangent to the typical
hard-driving style of The Chemical Brothers.  If you liked the somber tone of
Mazzy Star's 1993 "Fade Into You", the song will also likely appeal.
	A couple tracks detract from the overall aura of the album.
"Leave Home" doesn't work; reminiscent of the theme of an early
Seventies' action television program, it consists of rhythm in
discord and six words repeated dozens of times.  "Fuck Up Beats" is blandly
repetitive and monotonous while "Life Is Sweet" only distracts, with weak 
vocals making the song a sour experience.
	_Exit Planet Dust_ provides a stimulating and
talented audio array of underground style to which The Chemical Brothers can
make a claim with a degree of confidence.  Vocals, however, are at a marked
premium, giving _Exit Planet Dust_ the inherent originality of any advanced
electronics technician with a sound card.   
---
	REVIEW: Down, _Nola_ (Eastwest Records)
		-Mario J. Lia
	As soon as the beginning of the first song, "Temptation's Wings",
hits your eardrums your head and body will start moving and you will
think to yourself "This band kicks butt!"
	That's the way it was with me, but I was skeptical at first.  I
looked at the band's members - Philip Anselmo of Pantera (vocals and guitar), 
and Pepper Keenan of Corrosion Of Conformity (guitar). I liked and respected 
their past works but I was never really motivated to buy any of their albums. 
This album proves that if you put the right people together from the right 
bands you can end up with some great groves.  Rounding out the band is Jimmy 
Bower (drums) of Eye Hate God, Kirk Windstein (guitar) and Todd Strange (bass) 
both from Crowbar.
	The best way to describe the album is like this: It's a
teenager in a car speeding down the road, slowing up to let a cop car
pass, and then speeding down the road again.  The first six songs are
heavy hitters with some killer riffs which make you feel the honesty and 
intensity and alone make the album worth buying. 
	"Eyes Of The South" is a bit slower than the other songs, and starts 
off with a New Orleans sound.  Keenan describes this as "Jim, stoned, 
dropping that kick & snare behind the beat pushing along lazy & slippery 
guitar riffs".  That quote sums up this song nicely.  It starts off simple 
with a high hat, bass and a guitar that adds some simple blues riffs.  The
song builds and gets heavier, and breaks only for a brief a cappella bit, 
and then rocks on. 
	One of the reasons these people came together was that they
were all into the same music, such as Black Sabbath and its derivatives.
 "Jail", one of their slowest songs, is a perfect example of this influence, 
sounding similar to Black Sabbath's "Planet Cavern".
	The Jimmy Page/Led Zep guitar sound is all over this album.  
"Pray For The Locust" is an instrumental, with just acoustic guitar and some 
keyboards (done by Big Ross).  The title comes from the fact that they had a 
locust swarm problem while recording the album, possibly brought on by the 3 
feet of rain that flooded the studio.
	All in all this album is worth its purchase price.  There's no
long solos, just super grooving songs.   I think this album will
surprise a lot of rockers like it did to me - whether you like the fast 
distorted crazy riffs, slow crazy riffs or even some New Orleans blues.
---
	REVIEW: Dance Hall Crashers, _Lockjaw_ (510 Records)
		-Jason Cahill
	Consider Dance Hall Crashers to be the impetuous and adorable, yet 
deceptively wicked offspring of a mythical union between Elastica and Mighty 
Mighty Bosstones.  Traditional ska beats mixed with the infectious guitars 
and harmonies which have become associated with the recent onslaught of 
girl-fronted bands.  With all its eclecticness, _Lockjaw_ manages to be one 
of the more original and unique albums to come out in recent months, 
unrelenting in its energy and unflinchingly powerful.
	Dance Hall Crashers are a six-member band, with Elyse Rogers and 
Karina Denike sharing vocal duties.  The harmonies created by the two are 
one of the albums two greatest strengths.  The other is the combination of 
scathing guitars with traditional ska rhythms, quite reminiscent of the 
Bosstones, minus the horns and the gruff, creating an amazing dynamic which 
never lets up.  Dance Hall Crashers have that sound which is at times so 
familiar, yet, in the end, uniquely their own.   DHC seem to have been 
influenced by scores of bands who were pioneers in their respective genres.  
The band borrows its ability to couple energy with harmony from a band who 
began the girl-pop revolution, namely the Go-Go's, whose influence rips 
through _Lockjaw_, both in terms of sound and reckless abandon.  The bands' 
ska roots can be traced back to such trendsetters as English Beat and 
Madness, two groups whom DHC give musical nods to on more than one occasion..
	In terms of current bands, DHC's sound is most similar to Velocity 
Girl or Magnapop, bands which manage to balance smooth and luxurious vocals 
with hard edged guitars, all with delicate precision.  _Lockjaw_ is one of 
those albums which sustains its energy from start to finish, a complete album
in every sense of the word.  Every track seems to improve on its predecessor,
alternative pop with an edge seldom seen.
	Lyricaly, however, _Lockjaw_ fails to break any new ground, dealing 
only with the traditional - unrequited love, relationship difficulties and 
varied forms of the break-up song, never quite approaching the cleverness 
and raw emotion of songwriters like Alanis Morisette or Courtney Love.  
But, while this is all stuff we've heard before, we've never quite heard it 
like this.  What separates Dance Hall Crashers from the sea of generic 
mediocrity and ultimately redeems the album is the twist and energy which 
the band laces through each song.  The opening track, "Shelley", depicts a 
girl who follows advice from everyone but those who might actually help her.
The song is brilliant in its use of melodies and vocal style to contrast 
the almost hypnotic ska rhythms.  So while the messages might be anything 
but inventive, the songs work on the strength of the music and vocals, which 
overflow with creative nuances.
	That said, _Lockjaw_ does have a few lyrical gems, songs laced with 
irony and gut wrenching emotion and absolute humor.  "Sticky" is a perfect 
example of the latter, a song so playful that it's easy to miss the ultimate
in "I hate you" lyrics - ("I often think about the way that I will watch 
you die / It's kind of creepy, but I'm looking forward to it / I'll probably 
try to linger over it a little while / you will fall down on your own knife 
and I'll just smile").  "Go" could be the ska response to The Clash's anthem
"Should I Stay Or Should I Go?", with DHC ultimately choosing the former 
("Wanna go with you but I think I'll stay").  The song is as clever as it 
as infectious.  The album closes out with songs making reference to both 
Stevie Wonder and Shonen Knife.  Any band who can successfully link those 
two sits leagues above the rest of the fodder.
	Musically, _Lockjaw_ is one of those rare albums which comes so 
close to perfection one starts actually looking for flaws because nothing 
can possibly be that good.  Music fans have a built in cynicism which grows 
with each disappointment, each album which failed to live up to even the 
smallest of expectations.  It's these experiences which make us wary and 
build up our defenses to almost impenetrable heights.  Well, cynics be 
damned, _Lockjaw_ is a jewel of an album, no dull moments here, just sparks 
of energy and humor injected into every note.     
---
	REVIEW : Season To Risk _In a Perfect World_ (Red Decibel/Columbia)
		 - Martin Bate
	Woah. Cheese wire guitars. Bass rumble. Clenched guitar screech.
Rattling drums. Throaty, threatening vocals.
	Think the darkness of Cop Shoot Cop, the upbeat snarl of the Jesus
Lizard, the unremitting weight of the Melvins. Chuck in a little Big Black
and No Means No and newer elements such as Quicksand, Girls Against Boys
(it's the way that bass *rumbles*), Clutch. Ha ha.
	Opener "Jack Frost" spits and snarls over strangled harmonics and
a spiralling mix of Jesus Lizard funk and Fugazi chorussing. All these
influences make them sound like themselves even though you know the area
they're operating in.
	Lyrically, it's all pained, wordy stuff. But fuck the lyrics, it's
the *sound*.  A few good stick-out phrases are all that's important
sometimes.
	"Absolution" - Pantera dragged through Shellac. "Terrain Vague",
looping and building until the masochistic squeals come as blessed relief.
Played loud, it damages. "Future Tense" - if you can avoid jerking at
least one part of your body through moments such as the staccato finish
then you`re already dead. 
	My only word of advice - never underestimate the power of a heart
wrenching tune in amongst all the carnage, guys (I'm thinking of Helmet,
Quicksand). The raging can get a little wearing even if the dynamics are
frequently breathtaking.
	Fists don't come much more clenched than this, the guitar necks
are gripped tight enough to snap. Buy it for those special pissed-off
days.
---
	REVIEW: The Foremen, _Folk Heroes_ (Reprise)
		- Bob Gajarsky
	It's been nearly 30 years since Harvard alum Tom Lehrer hit the
charts with his biting satirical songs, but the four man group The 
Foremen has taken up the mantle he left behind.
	The play on words run through this album from start to finish,
beginning with the group's name (you did catch it, didn't you?) and bouncing
off witty lyrics poking fun at the left and right in our nation.  Lead
singer (and writer) Roy Zimmerman has come up with a new term for
masturbation - "Firing The Surgeon General" (which used to be "freeing the
willy / used to Pat the Robertson"), a new dance ("Do The Clinton" - where
you "lean it to the left a little / now lean a lot to the right"), and
a new song for the 40 year olds who used to protest ("Peace Is Out").
	It's folk music, as all members sing vocals while playing guitar
and some banjo and mandolin.  If you've seen Mark Russell on PBS (or,
20 years ago, the television show "Real People"), you'll have a clue 
what The Foremen are all about.  Now add in some real vocals, and more
biting lyrics, and you'll be right on the mark.
	It'll have a short, but frequently played, life in your stereo
system.  Nearly everything is sung tongue-in-cheek, so it won't offend
your favorite political friends.  And the music is different on each song,
so you won't be bored within the first ten minutes.
	Political satire never sounded so good.
---
	REVIEW:  Tarnation, _Gentle Creatures_ (4AD/Warner Bros.)
		- Lee Graham Bridges
	My first introduction to San Francisco's Tarnation came with the
last track from _Gentle Creatures_, "It's Not Easy", a seemingly peppy
country-style number which I disregarded completely.  Furthermore, I was
appalled to hear that this "country" band was going to be signed to 4AD for
_Gentle Creatures_, though I now realize Tarnation is one of the most
interesting new bands of the year.
	Some have referred to Tarnation's style as "new country," but a
couple listens to the album shows that Tarnation's chiefly country-western
style lacks many modern country cliches, making it more of a throwback to
the art of uniquely American music as it existed many years ago.
Front-woman Paula Frazer has been influenced by musicians like Billie
Holliday, Hank Williams, Patsy Cline, and Ennio Morricone, but has also
spent time over the last ten years in the San Francisco post-punk scene with
bands such as Frightwig, Trial, and Pleasant Day.  _Gentle Creatures_
consists of a similar, intriguing mixture of nostalgia and unconventionality.
	Another thing the songs on _Gentle Creatures_ lack is the feel-good,
cheery attitude of a large part of modern country.  Unifying the entire
album is a painful retelling of the tales of several tortured souls ruined
by their broken heart, their lost home, the slipping away of time, or some
other form of darkness in their lives.  Tarnation's ballads are some of the
saddest in recent times.  There is no glimmer of hope offered among
them--just an unchanging, unresolved coldness.
	Standout tracks include "The Well" (an dark, supernatural tune),
"Big O Motel", "Lonely Lights" ("Dancing where the lonely lights are dim,
holding on to just a memory of him."), "The Hand" ("There is a restless
weight on me, in the shape of things to come."), and "Burn Again".  These
tracks show off the great songwriting talent of Tarnation.
	_Gentle Creatures_ goes one step beyond the 90's longing for 70's
culture--it strikes to the core of the free-spirited music of the American
west while bending the style slightly, transforming it into something not
quite country, but something very creative and deeply moving.
---
	REVIEW: Joe Beck _Finger Painting_  (Wavetone Records),
		T. J. Kirk  _T. J. Kirk_  (Warner Brothers)
		- Ali Sinclair
	Two "modern" jazz albums - and two very different sounds.  Joe Beck's
_Finger Painting_ is melodic and easy to listen to, reminiscent of
John McLaughlin or Pat Metheny, but not as immediate.  _T. J. Kirk_ is as
insistent as Joe Beck is not: rooted deep in James Brown and Thelonious
Monk, very electric, very driving, very acid.  Two different sounds:
both CDs well produced and nicely presented, with Joe Beck's having the
edge on sound quality.
	Joe Beck is a veteran session and studio musician with several 
well-received recordings to his name.  _Finger Painting_ features three other 
well-known names: Bill Evans on sax, Mark Egan on bass and Danny Gottlieb on 
drums.  In contrast, T. J. Kirk are the next generation: young jazz musicians
straight from the hotbed of San Francisco.
	I've listened to both CDs several times.  I found that I had to be in
exactly the right mood to listen to T. J. Kirk, otherwise it was removed
from the CD player within two minutes, whereas I could start listening
to _Finger Painting_, wander out of the room and within the same two
minutes have forgotten that I was listening to anything at all.  
	Recommended tracks: "You Can Have Watergate Just Gimme Some Bucks And 
I'll Be Straight" from _T. J. Kirk_ and "What Would I Do Without You" from 
_Finger Painting_. 
	I can't say that either of these CDs will go straight to the top of my
most-played list, but I'll probably play Joe Beck more often than T. J.:
I found almost an hour of T. J. Kirk a little too much to share my home with:
probably live, in a club in downtown San Francisco, I'd be raving about
them and dancing all night.  _Finger Painting_ is good background sound:
it doesn't impose, it doesn't strike a bad note.  But I'm ten times more 
likely to reach for a John McLaughlin CD, and even more likely to choose
Pat Metheny: because they both _say_ something with every note.  However, 
somehow I suspect that I may still be listening to _Finger Painting_ now and 
again in ten years time...  The sales blurb says that it will be a "classic".
I'll reserve my judgment for a year or two.
---
	REVIEW: The CMJ Music Marathon: Escape in New York
		- Jamie Roberts
	Based, oddly enough, in New York City's Lincoln Center (bastion of fine
arts), this almost-four day celebration of the not-so-fine arts ran the gamut
from outstanding to utterly embarrasing. The days and nights spent shuttling
from venue to venue in order to see alternative music's finest has always
been a test of any music-lover's mettle.  What could have been a debacle of
poor organization, wound up being refreshingly well handled by the College
Music Journal volunteers and staff; there was always someone on hand to give
directions to a panel, answer a variety of questions, and even recommend that
evening's "show to see".  Not since my first CMJ Music Marathon years ago
have I not felt like one amongst a herd of cattle.  The planners helped the
shows become less crowded, due to the numerous choices of bands and locations
on different levels of notoriety.
	So many things to do and see inevitably produce a solid "Best and 
Worst" list.  Here are some of the highlights of CMJ.  The more worthy that 
are summarized here will appear in greater depth in the next installment of 
Consumable's CMJ Music Marathon coverage.
	Best Band in Concert - Soul Coughing at the Supper Club on Sept. 6.  
This much-hyped band helped celebrate the preview of the movie _Blue In The 
Face_, along with Spearhead, David Byrne, Paula Cole, Geggy Tah, and Da Bush 
Babees.  They lived up to all lofty expectations with their 3-song set, and 
their backup job with soundtrack-master David Byrne)
	Most Interesting Live Act - Foetus at the Limelight on Sept. 7.  Jim
Thirlwell, ever the showman, wobbled and slurred his way through his
shortened set at the church that Rock-and-Roll 'ruined'.  One thing that must
be said of Foetus, is that he is close to his audience... falling right on
top of them as he rolls off the stage!
	Most Boring Concert - Matthew Sweet at the Academy on Sept. 9.  His 
songs were ever-so-sweet - no pun intended - but Matthew and his band did not 
stray from the V formation they started out in...the music was great, but
the performance of it put me to sleep... Oh!  Is it over?
	Best Surprise - Goo Goo Dolls in Cooper Square on September 8.  This 
outdoor grunge-fest was the perfect example of showmanship - even if they 
didn't play "We Are The Normal".
	Most Disappointing Show - Mean Reds at The Rodeo Bar on Sept. 8 
This all-gal rockabilly-ish band was utterly unmelodic.  The Lustre Kings, who
followed on that night, but were not promoted as a CMJ show, were a lot better.
	Best Party - Interscope's Prom-O-Rama.  Also the most crowded party I
have ever seen!  Featuring tiaras, bowties, and loads of new, loud acts.
	Best Movie Premiere - Empire.  This Generation-X slice of teen
angst-ridden life was funny, cool, and engaging.
	More to come in the next issue!
---
TOUR DATES
	Jude Cole
Oct. 3 Northampton, MA Iron Horse
Oct. 4 Philadelphia, PA Tin Angel
Oct. 5 Baltimore, MD 8*10 Club
Oct. 6 Fairfax, VA George Mason University
Oct. 8 Charleston, SC Mountain Stage
Oct. 13 Rock Island, IL Rock Island Brewing Co.
Oct. 15 Ames, IA People's
Oct. 17 New Orleans, LA Jimmy's
Oct. 19 Houston, TX Rockefeller's
Oct. 20 Austin, TX Cactus Cafe
Oct. 21 Dallas, TX The Rehab

	Cravin' Melon
Oct. 13 Charlottesville, VA Crossroads (T)
Oct. 14 Greensboro, NC Kilroy's
Oct. 15 Brevard, NC Outdoor Festival
Oct. 19  Asheville, NC Be Here Now
Oct. 20 Columbia, SC USC
Oct. 21 Winston Salem, NC Ziggy's

	Dread Zeppelin
Oct. 3 Washington, DC 930 Club
Oct. 4 Richmond, VA Flood Zone
Oct. 5 Columbia, SC Rockafella's
Oct. 6 Charleston, SC Music Farm
Oct. 7 Atlanta, GA Masquerade
Oct. 14 Santa Monica, CA Alligator Lounge
Oct. 27-28 Las Vegas, NV Fremont Street

	Emmet Swimming
Oct. 17 Washington, DC 9:30 Club
Oct. 21 Atlanta, GA Smith's Old Bar
Oct. 22 Atlanta, GA Darkhorse Tavern

	Mary Ann Farley
Oct. 20 New Brunswick, NJ Cafe News
Oct. 24 New York, NY Sidewalk Cafe

	God Lives Underwater / KMFDM / Korn
Oct. 14 Cleveland, OH Odeon
Oct. 15 Lakewood, OH Lakewood Civic Auditorium
Oct. 16 Rochester, NY Water Street Music Hall
Oct. 17 Boston, MA Avalon
Oct. 18 New York, NY Roseland
Oct. 19 Providence, RI Strand
Oct. 20 Baltimore, MD Hammerjack's
Oct. 21 Norfolk, VA Boathouse

	Letters to Cleo
Oct. 13 Dallas, TX Deep Ellum Live
Oct. 14 Tulsa, OK Cain's Ballroom
Oct. 16 Albuquerque, NM (TBA)
Oct. 17 Phoenix, AZ Gibson's
Oct. 19 Hollywood, CA (TBA)
Oct. 20 San Francisco, CA Slim's

	Machines of Loving Grace / Jim Rose's Circus Sideshow
Oct. 6 Minneapolis,MN First Avenue
Oct. 7 Chicago, IL Metro
Oct. 9 Grand Rapids, MI Reptile House (without Sideshow) 
Oct. 10 Indianapolis, IN Vogue
Oct. 11 Cincinnati, OH Bogarts
Oct. 13 Cleveland, OH Odeon
Oct. 14 Detroit, MI Majestic Theatre
Oct. 16 Buffalo, NY Network
Oct. 17 Toronto, ONT Phoenix
Oct. 19 Dayton, OH Canal Street Tavern (without Sideshow) 
Oct. 20 Louisville, KY The Brewery (without Sideshow) 
Oct. 21 St. Louis, MO Other World (without Sideshow)

	Medicine / Long Fin Killie
Oct. 13 Salt Lake City, UT Bar & Grill
Oct. 15 Portland, OR Satyricon
Oct. 16 Vancouver, BC Town Pump
Oct. 17 Seattle, WA Moe
Oct. 19 San Francisco, CA Bottom of the Hill
Oct. 20 Hollywood, CA Whisky
Oct. 21 Santa Barbara, CA Underground
Oct. 22 San Diego, CA Casbah

	Oasis (Oct. 24-28 unconfirmed at press time)
Oct. 13 Danbury, CT Tuxedo Junction
Oct. 14 Boston, MA Orpheum
Oct. 16 Pittsburgh, PA Metropol
Oct. 17 Buffalo, NY Ogden Concert Hall
Oct. 18 Toronto, ON Warehouse
Oct. 20 Columbus, OH Newport Music Hall
Oct. 21 Chicago, IL Riviera Theatre
Oct. 22 Royal Oak, MI Royal Oak Theatre
Oct. 24 Cincinnati, OH Bogart's
Oct. 25 St. Louis, MO Mississippi Nights
Oct. 26 Lawrence, KS Kansas University
Oct. 28 Dallas, TX Deep Ellum Live

	Oingo Boingo (Oct. 26 San Francisco show has been cancelled)
Oct. 19 San Diego, CA Open Aire Theatre
Oct. 26 Los Angeles, CA Irvine Meadows

	Joan Osborne
Oct. 18-19 New York, NY Beacon Theater (with Rusted Root)

	7 Mary 3
Oct. 10 Toronto, CAN CFNY Show
Oct. 12 New York, NY Brownie's
Oct. 14 Evans, GA WCHZ Radio Show @ Evans High
Oct. 15 Charleston, SC WAVF Festival
Oct. 17 New Orleans, LA Jimmy's
Oct. 18 Baton Rouge, LA Varsity Theatre
Oct. 20 San Antonio, TX Wacky's

	Shinebox Tour (Mike Watt + Crew of Flying Saucer)
Oct. 13 Philadelphia, PA Trocadero
Oct. 14 Washington, DC Black Cat
Oct. 15 Charlottesville, VA Trax
Oct. 16 Norfolk, VA Boathouse (with Sonic Youth)
Oct. 17 Charleston, SC Music Farm
Oct. 18 Jacksonville Beach, FL Einstein A Go-Go
Oct. 19 Tampa, FL Rubb
Oct. 20 Orlando, FL Sapphire Supper Club
Oct. 21 Gainesville, FL Covered Disk

	Skirt
Oct. 6 Little Rock, AR Juanita's 
Oct. 7 Springfield, MO Regency Showcase 
Oct. 8 Lincoln, NE Duffy's 
Oct. 9 Denver, CO Mecrcury Cafe 
Oct. 11 San Francisco, CA Dna 
Oct. 12 Los Angeles, CA Dragonfly 
Oct. 14 Los Angeles, CA 50 Bucks 
Oct. 15 San Diego, CA Brick By Brick 
Oct. 16 Phoenix, AZ Gibson's 
Oct. 19 New Orleans, LA Mermaid Lounge 
Oct. 20 Atlanta, GA High Musuem 
Oct. 21 Atlanta, GA Sob's 

	Squirrel Nut Zippers
Oct. 13-15 Asheville, NC Black Mountain Festival
Oct. 17 Evanston, IL Northwestern Univ.
Oct. 18 Chicago, IL The Green Mill
Oct. 19 St. Louis, MO Washington Univ.
Oct. 20 Chicago, IL The Double Door
Oct. 21 Madison, WI Univ. Wisconsin

	Toenut/Grover
Oct. 4 Chicago, IL Schuba's
Oct. 5 Detroit, MI The Shelter @ St. Andrews Hall
Oct. 8 Atlanta, GA Masquerade/AIDS Benifit - tbc
Oct. 11 Birmingham, AL The Nick
Oct. 12 Memphis, TN Void
Oct. 13 Nashville, TN The 328
	
	Urchins/Caulfields
Oct. 7 Long Branch, NJ The Metro
---
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