==== ISSUE 79 ====         CONSUMABLE         ======== [June 15, 1996]

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

 Address all comments, subscriptions, etc. to gajarsky@email.njin.net
==================================================================
	All articles in Consumable remain (C) copyright their author(s). 
Permission for re-publication in any form must be obtained from the 
editor.
==================================================================
                            .------------.
                            |  Contents  |
                            `------------'
INTERVIEW: Doug Powell - Bob Gajarsky
CONCERT/ALBUM REVIEW: Dave Matthews Band, _Crash_  - Stephen Lin
REVIEW: Various Artists, _Music from and Inspired by Mission: Impossible_ /
   Various Artists, _Twister_ (Warner) - Sean Eric McGill
CONCERT REVIEW: "Writers In The Round" - Bob Gajarsky
REVIEW: Pantera, _The Great Southern Trendkill_  - Sean Eric McGill
CONCERT REVIEW: Steeleye Span - Paul Grzelak
REVIEW: Elysian Fields, _Elysian Fields_ - Stephen Jackson	
REVIEW: Charlie Hunter Quartet, _Ready...Set...Shango!_ - Ali Sinclair
REVIEW: Scheer, _Infliction_ - Lee Graham Bridges
NEWS: Baby Chaos, Crowded House/Finn, KSCA, Modified, 
   Organic '96, Phoenix Festival, Sonicnet Action Ready Singles,
   Virtual Netcasting Corporation
TOUR DATES: Anthrax, Baboon / Rubberbullet, David Bowie, Boyracer, 
   Cast/Self, Cheap Trick / Hot Water Music, Coax / Me / Lida Husik, 
   Compulsion / Evil Superstars (UK Tour Dates), Cordelia's Dad, 
   Dick Dale, Dread Zeppelin, Electrafixion, Grover, Love & Rockets, 
   Nada Surf, Me'Shell Ndegcocello, Nancy Boy, Poorhouse Rockers, Porno 
   For Pyros, Superdrag, Time's Up/Sky Falls Down/Nothing/Midfall Drive, 
   Tripmaster Monkey, 22 Bridge, Verve Pipe
Back Issues of Consumable
---
	INTERVIEW: Doug Powell
		- Bob Gajarsky
	Doug Powell is one of the rising stars in the "pure pop" -
as opposed to the Billboard Pop 100 - area of music.  His latest 
release on Mercury Records, _Ballad of the Tin Men_, has produced 
two tracks which have already received radio airplay: "Return to 
Sender" and the current single, "Unmutual".  That pure pop sound 
which emanates from his instruments is a pleasant contrast to the 
grunge which is seemingly everywhere.
	Consumable Online was able to catch up with Doug and ask him
a few questions about the thought process involved with his songwriting.

	Consumable: You recently performed acoustically at a concert in 
New York City (with Jules Shear, Richard Barone and Marti Jones).  What
are your favorite parts of playing without an "electrified" sound?
	Doug: My favorite part is getting through it without breaking 
out in hives.  I play solo so rarely that it still can be quite 
terrifying for me.  At the same time, it is the most satisfying knowing 
there are no crutches, no other musicians to distract visually or 
musically.  It comes down to the song and my rendering alone.  As a 
power-monger this appeals to me - to have all the responsibility and 
not rely on anybody else.
	C: What makes a perfect song?  What is one song which in
your eyes reflects the "perfect" song and is a personal favorite?
	D: The characteristics of the perfect song very with every 
set of ears.  I'm afraid my definitions of the perfect song are 
somewhat nebulus.  I can, however, point to a few of my favorites.  
My number one all time song is "Love Is The Answer" by Todd Rundgren.
The original version is on Utopia's _Oops! Wrong Planet_.  It's all 
there.  The melancholic melody housing an equally melancholic lyric 
about the meaning of life.  It's one of those songs that makes me want 
to go back to my computer job because I know I'll never attain the 
greatness of this song.  "Both Sides Now" by Joni Mitchell is
also a killer for me.  The last favorite for me is the Beatles' "A 
Day In The Life" - a timeless melody.  Now if I only knew what it 
was about.
	C: Much of the writing and music on _Ballad of the Tin
Men_ is of an "intellectual pop" style - songs that can be heard
time and time again, yet still sound fresh.  What were the greatest
influences on your sound?
	D: Todd Rundgren has been the object of my strongest musical 
fixations.  His continual reinvention is fascinating to me; his
musical evolution never ceases to incorporate new (to him) styles 
into his Philly Soul and blues foundation, thus creating something 
strikingly original.  His is the music of a music lover, one who 
refuses the mediocrity that is more and more becoming the standard.  
(There should be) Lessons for everyone!  
	Much the same can also said for Ray Davies.  He's always 
finding some new way to write songs you thought you've heard before 
and can't forget after hearing them.  Jules Shear didn't show up til 
the very tail end of high school for me.  _Watchdog_ had just come 
out and I bought it because of it's producer (Todd).  As soon
as the needle dropped, I knew I was on to something special.  No 
one I know has failed to be entranced by the incredible economy of 
the chord prgression of the opening song, "Whispering Your Name".
An absolute classic.  This record really got me into trying to 
understand just how songs work, how they are constructed.  The rest 
of his catalog does nothing to dispell the infallibility I held him 
after falling in love with that album.  Even more, (because of
the professional contact), I am priviledged to have scores of 
demos and unreleased songs that are often the most magical of his 
work.  The suppression of his work really angers me.  
	Elvis Costello is another one.  I was only a minor Elvis fan 
when I saw the _Punch The Clock_ tour but the experience was epiphanal.
That was when I knew it wasn't a guitarist, or bassist or drummer 
that I wanted to be, but a songwriter.  The songs came unstoppably 
after that concert.  They were no longer things I had to conjure up 
but instead, things I had to let out.  I had no choice.  The unspoken 
influence is, of course, the Beatles.  In light of all the things said 
about them, let me just say "Ditto."
	C: Are you a music lover?
	D: Definitely.
	C: As a "power-hungry" person, how long does it take before 
you are happy with the song?
	D: It depends on the song.  It seems the fastest ones are 
the ones that stand the test of time.
	C: The songs on _Ballad_ often speak from the soul, from what
could be personal experiences.  Do you draw your songwriting 
inspirations from your own life experiences, those around you, or both?
	D: I write awful fiction.  Therefore, I only write about me or 
my interpretations of others.  When I do write fiction the characters 
very quickly become caricatures and most often turns the song into a 
novelty song.  This is not in and of itself bad, but can run thin 
pretty quick so I don't do it too much. I do not speak very clearly 
about the things that are most important to me - therefore, I have 
songs.  They are my therapy, my disseratations, my essays and my 
ramblings.  They are very autobiographical as a result.  Living in
Nashville, which is a very songwriter-oriented town, this is 
commercial suicide. I've had a number of people recommend books on 
songwriting to set me straight so I can get a few cuts.  Yeehaw.
	C: How do you write your songs - in other words, is it
lyrics then music, music then lyrics, or at the same time?
	D: Always music first.  Often I'll have an idea and/or title 
and let that gestate until it represents itself musically.  Then just 
fill in the blanks, stir vigorously, and BOOM theres your song!
	C: You played piano and guitar at the "Writers in the Round" 
show.  What is your favorite instrument to play, and why?
	D: Piano.  It holds more secrets to me than guitar because 
it is less familiar.  I grew up on guitar and naturally hear in 
guitar-voicings.  This makes the piano more interesting.  Although, 
at that gig Carole King was in the audience which made playing the 
piano a little nerve-racking for me.
---
	CONCERT/ALBUM REVIEW: Dave Matthews Band, _Crash_ (RCA)
		- Stephen Lin
	Due to unforeseen complications, my party arrived late to the
Dave Matthews concert in Virginia.  We ended up arriving in the middle 
of the second song in the set, "Say Goodbye."  "Say Goodbye" is a 
beautiful song, highlighted by LeRoi Moore's fantastic flute melody, 
about friends becoming lovers for one night.  I was delighted to hear 
one of my favorite tracks off of _Crash_.  I was traumatized that I 
only heard half of it.  I learned later that DMB opened with "Two Step," 
also off of _Crash_; unfortunately, "Two Step" was plagued with 
technical problems.
	The entire evening was fascinating.  The set list consisted 
of almost all of _Crash_ and a few songs from the triple-platinum 
_Under the Table and Dreaming_.  While _Crash_ had only come out that 
same day, the sold out crowd danced and sang along with Matthews 
throughout just about every song.  Matthews used to perform weekly 
in Richmond and Charlottesville, where a great deal of the audience 
had already been exposed to many of the "newly released" songs.  
"Two Step" and "Drive In Drive Out," known to many bootleg owners 
as "Celebrate" and "Smelly Shoes" respectively have been fan favorites 
for years.  The deep grooving "So Much To Say" (which also happens to 
be my personal favorite) has also been on bootlegs for quite some 
time.  Another fan-favorite,"Tripping Billies" first appeared on the 
DMB self-released album _Remember Two Things_ which has gone on to sell 
more than 350,000 copies.  "Satellite," "Typical Situation," and what 
seemed like a 20 minute version of "Jimi Thing" represents some of the 
selections from _Under the Table_.
	The familiarity of the older songs and the first single "Too 
Much," which cluttered airwaves in the weeks preceding the concert, 
created a strong rapport between the band and the 10,000 members of 
the audience.  Before this show, I didn't think it possible to have 
an intimate concert with 10,000 people.  I was wrong.  Matthews' 
playful (and eccentric) stage demeanor fueled the audiences feel-good
fire.  In turn, Matthew's & Co. fed off of the audience's strong 
reaction to their Virginia homecoming.  The purple, red, and green 
lighting and the exceptionally painted backdrops only added to the 
electric atmosphere of the concert.
	The concert lasted about two and a half hours which included 
the five song encore.  During the encore, Matthews stated the 
exhaustion of the band at playing such a long concert after such a 
long hiatus from their regular touring.  He repeatedly mumbled 
something to the extent of "it feels like we've been up here for 
three years ... we're kinda tired."  Following this mumble session, 
Matthews proceeded to break a string on his Chet Atkins model Gibson 
guitar while performing a solo version of "Typical Situation."  With 
Carter Beauford on Drums and Stefan Lessard on Bass, Matthews 
(somewhat stream-of-consciously) told a story about a personal 
escapade in New York which turned into an improvised song with band 
members looking to each other for cues.  They closed the show with a 
full band, high energy version of "Tripping Billies," with Boyd 
Tinsley's monstrous fiddle solo leading the way.  DMB's return to 
Richmond was essentially a huge celebration.  A good time was had by 
all, performers and audience and even ushers.
	Unfortunately, whenever a band becomes remotely popular outside 
their local regions, some fans scream and yell.  Apparently, a number 
of DMB "Fans" have been crying "sell out" and "big-evil major label!"  
This has been in response to some of the different things Dave Matthews 
and Co. experimented with on _Crash_ such as baritone sax, flute, more 
electric guitar, louder louds and softer softs, etc.  Heaven forbid 
that they might expand as artists and try something different.  I 
applaud their willingness to take a risk, however drastic or meager 
it might seem.  _Crash_ is every bit as solid (if not more so) as its 
predecessors.  While I'm extremely fond of the _Recently EP_, I think 
_Crash_ is the best DMB release yet.
---
	REVIEW: Various Artists, _Music from and Inspired by Mission: 
		Impossible_ (Island) / Various Artists, _Twister_ (Warner)
		- Sean Eric McGill
	There's a right and a wrong way to do a movie soundtrack. And as 
luck would have it, we have examples of both on the market right now. 
But first, we must look at a couple of things which a good soundtrack 
album should have in order to be a success:
	1) Good songs - period. Nobody wants to even watch a movie 
filled with crap, and they certainly don't wanna buy the crappy 
soundtrack of said movie.  Where people seem to get confused with 
this point is in assuming that "popular" means "good". It doesn't. 
There are plenty of soundtracks out there (Ace Ventura II, Dangerous 
Minds, etc.) with fairly bad songs on them that just happen to be 
Top 40 hits. But enough of that, on to the next point.
	2) At some point in the film, you should actually be able to 
hear at least one note from each song on the soundtrack. This in and 
of itself is a pretty deep point, and since one of the soundtracks 
we'll be looking at violates it in a most heinous fashion, we'll 
	elaborate on it more in a bit.
	That's about it. No long list of demands, just two simple 
requests. Give us something we can hear in the movie, and make it work 
hearing. Just because Ace of Base has a hit song, that doesn't mean I 
want to see Uma Thurman and Christian Slater dancing to it. But enough
speculation, because right now on the shelves we have two new albums 
with show us without a doubt the right and wrong way to make a 
soundtrack album - and not only are they two new soundtracks, but 
they're soundtracks to the two biggest films at the box office so 
far this summer.
	The right soundtrack is _Twister_.  This motley concoction of
songs from artists ranging from Van Halen to Shania Twain not only 
works well as an album, but the songs also coexist perfectly in the
film. From the back-home feel of Mark Knopfler's "Darling Pretty" to 
the country swagger of Twain's "No One Needs To Know", the songs are 
arranged so that you never go from one extreme to another in between 
songs, giving the soundtrack the feel of a damn good compilation.
	And in the film itself, the songs are all visible. Got some 
trucks racing to catch a tornado? "Human Beings" by Van Halen, with 
its trademark drum sound and borderline rap vocals by Sammy Hagar, 
serves as the perfect backdrop. Got some people just sitting around 
and waiting for a tornado (these two actions make up the whole of 
Twister, by the way)? Then put on "BT's Tornado Mix" of "Talula" 
by Tori Amos and you're good to go.
	On the other hand, the soundtrack for _Mission: Impossible_
is the perfect example of how not to do a soundtrack. Of course, 
the album isn't really a soundtrack - why right there on the cover 
it tells us that these are "Songs From and Inspired By The Film 
Mission: Impossible". For those of you who don't know, "Songs From 
and Inspired By" translates roughly to "Only a couple of these songs 
have a damn thing to do with the movie, but the artists are hot or
some (industry) people want them to be hot, so here they are".
	Of the fifteen tracks on the album, only five of them actually 
appear in the movie, and what's worse is that three of them are 
portions of the Danny Elfman score and another is the Larry Mullen/Adam
Clayton remake of the original theme song. So basically, with the 
exception of The Cranberries' "Dreams", none of the other ten tracks 
on the album ever appear in the film.
	And this isn't an entirely bad thing, either. Many of the 
songs, from Bjork's "Headphones" to "You, Me and World War III" by 
Gavin Friday just aren't that good. And while they would probably 
make good album or B-side filler, they really don't have a place on 
this soundtrack.
	So basically, let's sound the call now and sound it loud. With 
movies like The Crow II: City of Angels and Cable Guy rushing up on us, 
it's time to make it known that if all record companies are going to 
do for a soundtrack is recycle the same songs from the same artists 
over and over, then - and I'll just speak for myself on this one - I'd
rather have the score...at least those can be useful for something, 
because as it is now, the majority of soundtracks make great coasters
and little else.
---
	CONCERT REVIEW: "Writers In The Round", Bottom Line, New York City
		- Bob Gajarsky
	The "Writers In The Round" concert series is a periodic uniting
of several musician/songwriters performing acoustically at New York City's
Bottom Line.  Based loosely on similar concerts at Nashville's Bluebird 
Cafe, where waitresses have the authority to eject someone who
repeatedly talks during the performances, these shows are geared for
the music connoisseur who can appreciate a good *song*.
	And this evening provided a plethora of quality songs.  Regular
hosts Jules Shear and Richard Barone were bookends on the stage in
introducing Marti Jones and Doug Powell.  Jones, who is the wife of 
producer/performer Don Dixon, sounds not unlike Mary Chapin Carpenter, 
while Powell harks from the "pure pop" era, with tips of the hat to
such popsters as Ray Davies and (of course) the Beatles.
	Each performer played four songs, for a total of 16 tracks - 
and they weren't necessarily the four "greatest hits" of each artist.
For example, Jules Shear opened the show with "We Were Only Making
Love' (from _The Great Puzzle_) which had all the earmarks of a Paul
Simon or Bob Dylan track, while Marti Jones each played songs which are
unavailable on any album; Jones' "Silent Partner", from a future
album, and Doug Powell's ballad, "Can't Break My Heart".  Powell's 
"Return To Sender", from his recent _Ballad of the Tin Men_, stood 
out as a timeless track even without traditional overdubs.
	The artists also worked in tandem with each other; Barone played
his "Clouds Over Eden" with Powell on piano; while Shear dueted with 
Marti Jones on a track which bore similarities to a countrified "Don't
Pass Me By".
	Shear and Barone did each play their best known song; in Jules'
case, it was the Cyndi Lauper-covered "All Through The Night", and 
Barone took the Bongos' "Numbers With Wings", stripped it bare with 
a cellist, and re-worked the tune into a powerful crescendo.
	The concluding track was a cover of the Beatles' "Free As A Bird".
Shear introduced the song with an anecdote about how many writers
feel Jeff Lynne's production to the track diminished its power. 
When these four artists, plus a cellist, "took the song apart and 
reconstructed it" (Shear's words), it sent goosebumps up this writer's
spine.  That almost *was* the Beatles on-stage, if just for a brief
moment; Shear became Lennon while Powell's eyeglasses said Lennon but 
his vocals echoed George Harrison.  A spine-tingling encore that
was a spectacular ending to a fantastic evening.
---
	REVIEW: Pantera, _The Great Southern Trendkill_ (East/West)
		- Sean Eric McGill
	Every one of Pantera's four major-label albums have one thing 
in common: as time has gone on, Pantera has become increasingly heavier, 
distancing themselves by miles from their days as a borderline glam
band back in the mid-eighties. Their latest album, _The Great Southern
Trendkill_, is no exception.
	Produced by Terry Date and drummer Vinnie Paul, _The Great Southern
Trendkill_ is the kind of album you would expect from a band as their fourth
release. You can easily tell the growth of the band from their first major
album, 1990's _Cowboys From Hell_, which shows in every area from overall
sound to songwriting ability. 
	As a band, Pantera has grown tighter as they have cruised a path
towards hardcore metal. Pantera has never fallen into the trap of having
one band member eclipse the rest of the group in terms of perceived 
musicianship, a fact which has shown itself time and again in their ability
to showcase songs instead of music. 
	The songs on _The Great Southern Trendkill_ tend to be more 
story-oriented than some of their earlier attempts, the prime example 
being "Suicide Note Part 1" and "Suicide Note Part 2". In "Part 1", 
we're being told "would you look at me now/can't you see I'm a man/with 
the scars on my wrists/to prove I'll try again" - while in "Part 2", the 
same character informs us that what he's doing is not for "family, nor 
pre-judge army/this is for me and me only/cowards only try it". 
Basically, "Suicide Note" is the perfect example of a concept song as 
opposed to running the whole concept out for an album - in which case 
the usual result is that the concept itself becomes boring and worn-out
by about the fifth song.
	But more than anything else, many of the songs on _The Great 
Southern Trendkill_ aren't about telling you a story as they are vehicles
for the band to vent some of their aggression on those at whom they're 
particularly ticked off. And first and foremost on this list is the 
media - whom vocalist Phil Anselmo promptly tells "fuck your magazine 
and fuck your plastic scene" on the album's title track.
	Many times, by this point in a band's career, their albums aren't
really the kind of thing you would let someone hear to get them into a 
band. But for someone wanting to get into Pantera, playing anything 
other than their latest work would be a wasted effort. This is band that 
is still evolving after over a decade in the industry in a genre so ripe 
for stagnant bands, and it's going to be interesting to see where they 
go to next.
---
	CONCERT REVIEW: Steeleye Span, Theater of Living Arts, Philadelphia
		- Paul Grzelak
	This reviewer was very pleased at the opportunity to attend a
concert by Steeleye Span.  This was the first time in a long while
that Steeleye Span would tour the United States, and the first time
this reviewer would ever see them.
	The Theater of Living Arts is located on South Street in
Philadelphia.  This venue was a rather good choice for attending the
concert.  The house was packed with a rather odd mix of first
generation fans (having seen Steeleye Span from their first albums in
the early 70's) and a new generation of folk / rock music fans.
	Steeleye Span's lineup for this concert was Maddy Prior,
Gay Woods, Bob Johnson, Peter Knight, Tim Harries and Liam Genockey.
This is the same lineup that appears on their new album _Time_.
	The band opened with "The Prickly Bush" from their new album.
_Time_ has only been available in the US for the last few weeks.  The
impact of the new material on the crowd was astounding.  Complete and
utter silence followed by thunderous applause.
	Steeleye Span performed "The Prickly Bush", "Go From My Window",
"Underneath Her Apron", "Seagull", "The Elf Knight", "The Weaver and
the Factory Maid", "Lark In The Morning", "The Water Is Wide",
"Padstow", "Thomas The Rhymer", and "The Old Maid In The Garrett".  The
encores included "All Around My Hat", a series of reels / jigs this
reviewer could not identify, and "Cadgwith Anthem".
	During the jigs / reels, Maddy Prior and Gay Woods went into
some jigging around on stage ending with glittering confetti (magic
fairy dust ???) tosses from Gay and Maddy climbing off the stage and
circling the audience.
	The mixing was good, the sound was excellent and the
performance fantastic!  A few very nice surprises appeared in the song 
list.  This reviewer did not expect "Lark In The Morning", "The Weaver And
The Factory Maid", or "Cadgwith Anthem", a personal favorite.
In addition, the jigging and performance made this show special.
	And, of course, the Bob Johnson comments on elf stories and the
Peter Knight light bulb joke: How many folkies does it take to change
a light bulb?  Ten - One to change the bulb, four to sing about the
old bulb, and five to walk out because it is electric.  This reviewer
later learned that the joke had been told during Steeleye Span's
other tour dates, but that doesn't matter.
	The Steeleye Span concert, billed in promotion flyers as "the
long-awaited history-making North American concert tour of the reunion
of Steeleye Span", was history making and is sure to delight those
who follow folk / rock music.  While the first leg of the tour is
scheduled to end June 5th, a second leg of the tour is planned for
August.
---
	REVIEW: Elysian Fields, _Elysian Fields_ (Radioactive)
		- Stephen Jackson	
	The great Ulysses once tied himself to the mast in order to 
hear the sirens call.  Listening to Elysian Fields alone at night, 
I can't decide whether to drown myself on the rocks or plug my ears 
with wax.  One thing is certain, if you've got a major case of the 
shakes, then you'll find yourself in good company with this band.
	It's too bad the title "Bohemian Rhapsody" has already been
taken.  That would have been an ideal monicker for this debut 
release by Elysian Fields.  But If you feel in the mood for a little 
risque adventure, try putting on the dog with this new artist.  You'll
find yourself transported into the back alleys of Amsterdam's red 
light district, or the French Quarter at 3 a.m.  Like some jazz 
inflected Mazzy Star, the music of Elysian Fields is a soundtrack 
to a wet dream, a kind of theme music to carnal desires, and one 
with a distinctively European flavor.  
	Four selections are on this EP, all played at legato tempo 
with the dark overtones of diminished chords vamped against minor 
ninth scales.  The sounds caress one's nervous system like the 
whisper of a bar room pickup, calling you to some late night 
rendezvous in the local boudoir.  If there was ever a musical lacuna 
for the pleasures of the flesh, this music fills the gap.  
	None of the usual similes apply here.  We have here a strange 
brew of sensuality and jazz with rock lobster rhythms and blue light 
instrumentation.  Call it alternative jazz-folk-rock, smoke-filled 
bar, late-at-night, scotch & soda, ash-tray-overflowing-with-lipstick-
smeared-butts music.  Billie Holliday meets Lou Reed in a dark alley, 
or Greta Garbo does Torch Song Trilogy.  With Oren Bloedow  running 
down Gabor Szabo licks on his guitar, and Ed Pastorini's keys, 
Elysian Fields is marking out new territory for the miss lonelyhearts 
of tomorrow.  Torch songs, yes.  But more akin to the texture of film 
noir than traditional jazz.  
	The person most responsible for casting this spell is Jennifer
Charles, who provides a radioactive vocal to the Elysian Fields 
ensemble.  Like any good temptress, Jennifer's voice is full of smoke 
and mirrors, promising to lead you to heaven's gate, but never quite 
surrendering the goods.  If Marlene Dietrich could return as a jazz 
singer, she might sound like Ms. Charles.  
	On a track called "Star," she displays a quaalude vampish 
quality, something like a lullaby for down home smack users.  With 
"Diamonds All Day," she exudes a lush, glistening in the gutter feel 
of roaming cobblestone streets late at night in a bad part of town, 
when all the bars have closed and even the street walkers have 
called it quits.  Another track, "Move Me," made me feel like I was 
on the wrong kind of medication but it felt too good to complain.
	Some of God's children believe that spirits can be awakened 
by human voices.  If so, Jennifer Charles should be in great demand 
by the poltergeist set.  Whether she can awaken the dead or not 
remains an open question.  But she's got my attention, and Jennifer 
Charles will do nicely until Marlene D. decides to reappear.
	Unfortunately, you probably won't be hearing Elysian Fields
mentioned on Casey Kasem's Top 40 countdown any time soon.  It is so 
far from the mainstream palate, that one feels a slight blush of 
concern for this group's chances of climbing beyond the college 
radio market.  With only an EP to judge, it's too early to say 
whether this unusual group will sustain their first effort and 
find a niche for themselves on the alternative shelf.  But if Portishead
could do it...
---
	REVIEW: Charlie Hunter Quartet, _Ready...Set...Shango!_ (Blue Note)
		- Ali Sinclair
	Listening to the follow-up recording to _Bing, Bing, Bing!_, I was 
immediately impressed by the flow and smoothness of the style of Hunter;
Charlie says that he is now into "antacid jazz, which is a snappy way of 
saying this is an anti-acid jazz album".  I prefer this to _Bing..._: it 
seems more natural, as if it came together by itself without any forcing.
	The Quartet comprises Charlie Hunter (8-string guitar), Dave Ellis
(Tenor Sax), Calder Spanier (Alto Sax) and Scott Amendola: Dave Ellis
has since moved on to other things, and Kenny Brooks of Alphabet Soup
will be joining the band for their upcoming live dates.
	"Shango" is a "mythical dance".  Whatever that means; "It has no
steps... it's a bogus cultural dance movement that's a figment of my
imagination", says Charlie.  But how does it sound?  
The nearest I can get is the drifting memory that comes from that
bar-scene somewhere in the middle of the first Star Wars film, when
Harrison Ford is sitting at a table with Chewbacca and there are all
those weird-and-wonderful creatures from various galaxies and star
systems hanging out: some drinking, some creating trouble and some
playing a type of sax.  _Ready... Set... Shango!_ has
the same sort of feel - futuristic, but deep-rooted.  And memorable, too.
---
	REVIEW: Scheer, _Infliction_ (4AD/Warner Bros.)
		- Lee Graham Bridges
	Whimsy paired with understatement--this is one way of viewing the
half-troubled, half-wispy vocals of Audrey Gallagher merging into the raw
electricity of Scheer, the new, captivating, nebulous musical experience,
perhaps defined by some as rock for the sake of rock--but is it really?
	4AD Records, despite the signing of bands like Tarnation and the
loss of Red House Painters, has never raised quite as many eyebrows as when
they recently signed this not-so-shoegazing Irish rock band.  The event has
been seen by many 4AD fans as, at best, quite a change in the way the label
does business.  But it is illogical for fans to say that 4AD is really
rocking the boat by signing a band specializing in such straightforward
harshness--they've done it multiple times before (Pixies, Unrest/Air Miami,
and more).  The band asserts, however, that there is nothing aesthetically
flawed about pure rock.  If comparisons are to be made, Scheer is less
eccentric, more user-friendly than their fellow harder label-mates.
	The bottom line is that Scheer are a glittering, beautifully rough
act in concert, but are standard rock stars on record.  Having seen them on
the St. Louis date of Shaving the Pavement (the recent 4AD festival tour),
it is apparent that although _Infliction_ is catchy, energetic, and a good
listen, it is easier to listen to without a yawn after such an impressive
performance (the album was completely uninteresting to me before the show).
In fact, 4AD founder Ivo Watts-Russell felt the same way after seeing the
band perform, saying that he was unsure about the band until that point, but
something just "clicked" at the show.  Whether it was difficulty in the
studio or bad planning that flawed the final product, Scheer unfortunately
presents themselves on their album as neither terribly boring nor incredibly
interesting.
	Standout tracks include "Shea", "Wish You Were Dead", "Demon",
"Screaming", "Goodbye".  Vague pieces of familiar 4AD themes can be heard on
such tracks by imaginative souls after several listens.  Yet this a
difficult task, because the band succeeds at avoiding displaying influences
from other bands, just as they had hoped.  But for fun, this reviewer must
take a stab at pegging them, as the rest of the music press already has.  In
a certain mood, Scheer could possibly be compared, as an unidentified
reviewer proposed, to a "turbocharged Sundays."  However, what they really
are is best left to the listener to decide.
---
NEWS: 	> The band Baby Chaos has its own web page, located at
http://www.babychaos.co.uk
	> Crowded House officially broke up after their June 3 show 
at London's Hanover Grand venue.  Although Neil Finn was slated to tell
the audience of the split during the performance, the show was going
so well that he didn't want to put a cloud of gloom over things.
	Fans of the Finn brothers needn't worry, however; Capitol will
be issuing a greatest hits album in July with three extra tracks, and 
Discovery Records will be issuing _Finn_ (by the Finn brothers), which
has been available in Europe since autumn 1995, but will finally be 
seeing its release Stateside.  A review of this album will be appearing in
a future issue of Consumable.
	For more information, including the full text of the press release
and an interview with Neil, check out the Crowded House Web site at 
http://www.etext.org/Mailing.Lists/house/whereabouts.html and Finn Brothers 
information at http://www.etext.org/Mailing.Lists/house/finnformation.html
People interested in checking out the Crowded House mailing list who
don't have access to the Web should email marck@nwu.edu for information.
	> Los Angeles radio station KSCA has its own web page located at
http://ksca.com
	> The UK new media group Modified has released AutoJungle
Drum Bruiser as the first in a series of online singles enabling 
web users to listen to an ever-changing multi-channel soundtrack
while surfing.  The site is at: http://www.compulink.co.uk/~modified/
	> Organic '96 will be held June 22 at the Snow Valley Resort
in Running Springs, California.  The timetable of the bands brings to
mind some of the outdoor raves of the early 90's; Loop Guru 7:00pm;
Meat Beat Manifesto 8:00pm; Underworld 9:30pm; The Chemical Bros 11pm;
Orbital 12:40am; The Orb 2:30am.  In addition, there will be four 
sound systems with Michael Dog & Jason Bentley and others hitting
the decks.
	> England's Phoenix Festival is on-line - check out
the information at http://www.goodcleanfun.freud.co.uk
	> Sonicnet has released volume 5 of Action Ready singles, including
a B-side from De La Soul, and material from KMFDM/Nicole Blackman, the 
Boredoms, Moonshake and Jawbox. 
	> Virtual Netcasting Corporation, The Factory Network and Audionet are
teaming up to offer a regularly scheduled series of concerts on the 
Internet at http://www.lalive.com - the first two concerts were from
Dishwalla and Far, while upcoming concerts include the Bay City Rollers,
Candlebox and Exene Cervenka of X.
---
TOUR DATES
	Anthrax
Jun. 15 New Orleans, LA Jimmy's
Jun. 17 Jacksonville, FL Shades
Jun. 18 Tampa, FL Parathenon
Jun. 19 Miami, FL Club Nu
Jun. 20 Fort Myers, FL Pyramids
Jun. 21 Orlando, FL Embassy Music Hall
Jun. 22 Atlanta, GA Masquerade

	Baboon / Rubberbullet
Jun. 18 Boston, MA The Rat
Jun. 19 Philadelphia, PA Upstairs At Nick's
Jun. 20 Rochester, NY Bug Jar

	David Bowie
Jun. 15 St. Petersburg, Russia St. Petersburg Sq-White Nights Festival
Jun. 18 Moscow, Russia Kremlin Palace Concert Hall
Jun. 20 Reykjavik, Iceland Laugardalsholl-"Reykjavik Festival"
Jun. 22 Loreley, Germany "Rockpalast Nacht"
Jun. 23 Lisbon, Portugal "Super Bock Super Rock"

	Boyracer
Jun. 18 Huntington, WV Drop Shop 
Jun. 19 Atlanta, GA Point 
Jun. 20 Birmingham, AL American Beat 
Jun. 21 Nashville, TN Lucy's Rec Shop 
Jun. 22 Augusta, GA Red Lion Pub 

	Cast/Self
Jun. 15 Portland, OR Roseland
Jun. 18 Los Angeles, CA Troubador
Jun. 19 San Diego, CA Backdoor
Jun. 20 Tempe, AZ Gibson's
Jun. 24 Salt Lake City, UT Zephyr

	Cheap Trick / Hot Water Music
Jun. 18 Poughkeepsie, NY Tickets
Jun. 19 Wilmington, DE Big Kahuna
Jun. 20 Reading, PA Silo
Jun. 21 Hampton Bays, NY CPI
Jun. 22 Harrisburg, PA Metro

	Coax / Me / Lida Husik
Jun. 17 Portchester, NY The Beat
Jun. 18 Boston, MA Mama Kin
Jun. 19 New York, NY Brownie's
Jun. 20 Washington, DC Black Cat
Jun. 21 Chapel Hill, NC Cat's Cradle
Jun. 22 Arlington, VA Tokyo Rose

	Compulsion / Evil Superstars (UK Tour Dates)
Jun. 18 Hull Adelphi
Jun. 19 Buckley Tivoli
Jun. 20 Leicester Princess Charlotte
Jun. 21 London U.L.U.
Jun. 22 Neath Gwynn Hall

	Cordelia's Dad
Jun. 21 Wilbraham, MA Wilbraham-Monson Academy
Jun. 23 Amherst, MA Black Sheep

	Dick Dale
Jun. 15 Springfield, MO Juke Joint
Jun. 17 Boulder, CO Fox Theater
Jun. 22 Irvine, CA Taste of Orange County

	Dread Zeppelin
Jun. 21 Las Vegas, NV Drink

	Electrafixion
Jun. 15 Santa Ana, CA Galaxy
Jun. 16 Los Angeles, CA Troubadour
Jun. 17 San Francisco, CA Bimbo's
Jun. 20 Austin, TX  Liberty Lunch
Jun. 21 Dallas, TX  Trees

	Grover
Jun. 18 Columbus, OH Statches 
Jun. 20 Cleveland, OH Grogg Shop 
Jun. 21 Chicago, IL Lounge Ax 

	Love & Rockets
Jun. 22 Denver, CO Fiddler's Green
Jun. 23 Salt Lake City, UT DV8

	Nada Surf
Jun. 17 Omaha, NE Ranch Bowl
Jun. 18 St. Louis, MO Galaxy
Jun. 21 Minneapolis, MN 7th Street Entry
Jun. 22 Chicago, IL Double Door

	Me'Shell Ndegcocello
Jun. 15 San Francisco, CA Bimbo's
Jun. 18 Los Angeles, CA The Whisky

	Nancy Boy
Jun. 21 San Francisco, CA Bimbo's
Jun. 22 Sacramento, CA Press Club

	Poorhouse Rockers
Jun. 15 Gardenville, MD Cafee Tattoo
Jun. 22 Churchville, MD McStagger's

	Porno For Pyros
Jun. 18 San Francisco, CA Fillmore
Jun. 19 San Francisco, CA Trocadero
Jun. 21 Los Angeles, CA American Legion Hall

	Superdrag
Jun. 16 San Francisco, CA Bottom of the Hill
Jun. 20 Portland, OR La Luna
Jun. 21 Seattle, WA Moe's

	Time's Up/Sky Falls Down/Nothing/Midfall Drive
Jun. 20 Lincroft, NJ First Episcopalian Church

	Tripmaster Monkey
Jun. 16 San Francisco, CA Bottom of the Hill
Jun. 17 San Jose, CA Cactus Club
Jun. 19 Los Angeles, CA Alligator Lounge
Jun. 22 Tempe, AZ Nida's Hideaway

	22 Bridge
Jun. 20 Woodstock, NY Tinker St Cafe 

	Verve Pipe
Jun. 21 Detroit, MI State Theatre
Jun. 22 Indianapolis, IN Midsummer Fest
---
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