==== ISSUE 118 ====    CONSUMABLE     ======== [August 7, 1997]

  Editor:             Bob Gajarsky
		        Internet: gaj@westnet.com
  Sr. Correspondents: Jeremy Ashcroft, Tim Kennedy, Reto Koradi, David 
                      Landgren, Sean Eric McGill, Tim Mohr, Al Muzer, 
                      Jamie Roberts, Joe Silva, John Walker
  Correspondents:     Daniel Aloi, Tracey Bleile, Lee Graham Bridges, 
                      Scott Byron, Patrick Carmosino, Janet Herman, Bill 
                      Holmes, Eric Hsu, Tim Hulsizer, Jiji Johnson, 
                      Stephen Lin, Scott Miller, P. Nina Ramos, Linda Scott, 
                      Scott Slonaker, Simon Speichert, Jon 
                      Steltenpohl, Simon West, Lang Whitaker
  Technical Staff:    Chris Candreva, Dave Pirmann
  Also Contributing:  Dan Birchall, Derek Langsford, Malcolm O'Neill

 Address all comments, subscriptions, etc. to gaj@westnet.com
==================================================================
	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: Bettie Serveert - Al Muzer
REVIEW: Bettie Serveert, _Dust Bunnies_ - Joann D. Ball
REVIEW: Seven Mary Three, _Rock Crown_ - Scott Slonaker
REVIEW: David Byrne, _Feelings_ - Joe Silva
REVIEW: Paul Weller, _Heavy Soul_ - Tim Kennedy
CONCERT REVIEW: Jimmy Wilson Group and guests (Ween) - Al Muzer
REVIEW: Various Artists, _Random_ - Derek Langsford
REVIEW: Pat MacDonald, _Sleeps With His Guitar_ - Reto Koradi
CONCERT REVIEW: Michael Penn - Joe Silva
REVIEW: Various Artists, _DubMission2 The Remixes_ - Malcolm O'Neill
REVIEW: Finneus Gauge, _More Once More_ - Dan Birchall
REVIEW: Teenage Fanclub, _Songs From Northern Britain_ - Tim Kennedy
NEWS: Kip Winger 
TOUR DATES: Allman Brothers / Sister Hazel, Boston, Cake Like, Cowboy 
   Mouth, Darlahood, Government Mule / Sweet Vine, Life of Agony, 
   Lollapalloza, Lunachicks, Matchbox 20, Megadeth, Sinead O'Connor, 
   Poison Idea, Radiohead, Sister 7, Size 14, Supertramp, Tsunami, 
   Vision of Disorder, The Why Store, World Party, Wu Tang Clan / 
   Rage Against the Machine / Atari Teenage Riot
Back Issues of Consumable
---
	INTERVIEW: Bettie Serveert
		- Al Muzer
	Only a fool or someone with a poor command of the 
English language would accuse Bettie Serveert of producing 
"happy" pop music.
	Despite bright, occasionally jangly riffs, shimmering 
hooks, an obvious love for radio-friendly melodies and the clear, 
coy voice of singer/guitarist/songwriter Carol van Dijk; the deep 
lyrical focus and thoughtful instrumental approach taken by the 
Netherlands four-piece on _Dust Bunnies_ makes Aimee Mann sound 
like Up With People! in comparison.
	By pitting van Dijk's deep, compassionate, rainy day 
observations against the deceptively warm backing of Peter Visser's 
Neil Young-inspired guitar heroics and the solid rhythmic pulse 
laid down by drummer Berend Dubbe and bassist Herman Bunskoeke, 
the "open diary" feel and heart-on-sleeve slant of the group's 
vocals is nicely offset by an instrumental sound perfectly-suited 
for Top 40 radio.
	Everyone's favorite Dutch treat when their debut effort, 
_Palomine_, snuck its way up the alternative charts in 1992, the 
understated music and warm, heartfelt lyrics on songs such as 
"Leg," "Tom Boy," "Kid's Alright," "Balentine," "Brain-Tag" and 
the wistful title track were a perfect counterbalance for the 
anger and aggression popular at the time, and the album became 
one of the surprise hits of the year.
	"One of my biggest dreams, seven or eight years ago, was 
to visit the states at least once in my life, you know?" marvels 
Dubbe during a recent phone call from Amsterdam. "And now we've 
been over there so many times that it's actually quite amazing. 
We never planned on, or dreamed of, the level of success _Palomine_ 
eventually reached or the attention the record brought us. I mean," 
he chuckles, "we started the band with the intention of playing out 
no more than a couple of times a month just for the fun of it." 
	Still attempting to come to terms with the "overnight" 
success thrust on them courtesy of their debut, the group barely 
had time to recover from an exhausting global tour when they 
found themselves - ready or not - back in the studio working on 
_Lamprey_, their not-quite-as-well-received 1995 follow-up effort.
	"There was a lot of strain," Dubbe comments on the 
recording process for Lamprey. "There were a lot of monkeys on a 
lot of backs for that album. The hardest part, for us, was 
starting out with nothing, which we basically did, and then, 
all of a sudden, bang! We were overloaded with attention and 
found ourselves trying to live up to our reviews."
	Suffering from an overly-busy instrumental approach and 
a feeling of general restlessness, Lamprey, while coming close 
to stacking up song-for-song against Palomine, failed to make 
an impact on the charts or, for that matter on the fans and 
critics who'd so openly embraced the band a mere three years earlier.
	"This is a much brighter sounding album," Dubbe says of 
_Dust Bunnies_. "The second record became much darker and more 
somber than we wanted it to become. It was written during a period 
when there was a lot of uncertainty within the band. Plus, that 
second record thing [sophomore slump]?" he asks. "Well, we actually 
had it!"
	Re-focusing on the simplicity of their debut while retaining 
just enough edge from their second effort; the recently released, 
13-song _Dust Bunnies_ is a glowing commercial and artistic achievement.
	"This takes us back to, like, the first record," offers 
Dubbe. "But, without the sloppiness of that album. The pre-production 
time we spent in this little hole in New York City with Bryce 
[Pavement/Spacehog producer Bryce Goggin] before we entered the 
studio really, I think, helped the record in the long run. Bryce 
was actually going, 'Well where are you going with that part? Why 
did you play that there?' " he laughs. "And we actually had to 
answer to someone, which was a little difficult. I think it really 
paid off on the record, though."
	Recorded with Goggin behind the boards near Woodstock, New 
York, at Todd Rundgren's Bearsville Studios, songs such as 
"Rudder," "Geek," "Co-Coward," "What Friends?" and "Story In A 
Nutshell" have already drawn considerable press, MTV and radio 
attention while the band's upcoming arena tour with The Wallflowers 
and Counting Crows should be all it takes to completely convince 
casual fans that Bettie Serveert's _Palomine_ was no fluke.
	"We're really looking forward to those shows," Dubbe says 
of the Crows/Wallflowers/Serveert bills. "It'll be three weeks 
spent in big arenas - which is gonna be totally new for us and, 
I think, a little weird. It should be a real adventure. Oh, yeah, 
we're also looking at a small tour with Son Volt to happen sometime 
not long after that."
	"You know," he adds thoughtfully, "the next few weeks are 
gonna be where it either happens for us, or it doesn't. A lot of 
people who don't know us at all are gonna see us play - whether 
they want to or not - so these shows are really important."
	"We just played on a bill with Ben Folds Five," he says as 
he quickly changes the subject, "which, I think, was a totally 
weird combination of bands. I mean, we've got great songs. Those 
guys've got great songs x but, still, for some reason, we just 
didn't seem to connect musically."
	"There were two very distinct camps of people in the crowd," 
Dubbe laughs as he recalls a wall of stone-faced non-fans. "Although 
I did see more than a few Ben Folds Five fans who looked like they 
were enjoying our music the longer we played."
	"I really love sitting up there behind the drums," he 
chuckles. "You can see everything. You know, there are more and 
more shows where I see more and more people singing along with 
Carol. And more shows with a lot of girls - and a lot of men - out 
there pining for her."
	"Although, sometimes," he says quietly, "it does get a 
little bit scary up there. A little weird looking out into the 
crowd and seeing so many people so intensely involved in the 
music - and so many people so intensely involved in the lead singer."
---
	REVIEW: Bettie Serveert, _Dust Bunnies_ (Capitol)
		- Joann D. Ball
	Bettie Serveert delivers yet another sonic treat on their third
release_Dust Bunnies_. The thirteen tracks here showcase Carol van Dijk's
unique vocals and Peter Visser's brilliant fretwork, which are the
foundation of the band's unmistakable sound.
	Like their pleasurable debut _Palomine_, this latest collection 
features the quartet's irresistible bash and pop.  Here it is served up 
in heaping portions on "Geek,"  "What Friends?"  and "Rudder."  And on 
the short ditty "Story in a Nutshell," the Betties even incorporate some 
of the wit and bubbliness characteristic of Lemonhead Evan Dando.
	But the real gems here are slower, introspective tracks like the 
acoustic "Dust Bunny" which alternate with the more typical uptempo 
rockers.  Hardly uneven or ragged, this arrangement complements Bettie 
Serveert's musical abilities and van Dijk's lyrical acumen.
	Life is indeed an up and down experience, and this is captured 
in the songs individually and on the disc as a whole.  That  van Dijk 
is a keen observer of perspectives, feelings and experiences is evident 
on "Pork and Beans" and "Fallen Foster."  Through her deceptively 
simple lyrics, she manages to reveal the complexities of daily life in 
such a manner that the listener can easily connect with the songs and 
their subjects.
	Without a doubt, _Dust Bunnies_  is a real Dutch treat. So go ahead 
and indulge - you'll be glad you did.
---
	REVIEW: Seven Mary Three, _Rock Crown_ (Atlantic)
		- Scott Slonaker
	One thing one certainly might not expect upon pressing play with
the sophomore disc from Florida's Seven Mary Three in the CD
player is an immediate Beatles reference.  "Mean Mr. Mustard says
he's bored," goes the opening line to "Lucky".  7M3's debut album,
1995's platinum _American Standard_, owed more to the crunching
arena-rock of Live and early Pearl Jam, with singer Jason Pollock's
nuanced growl distinctly recalling Metallica's James Hetfield.
The band also bears the dubious distinction of being one of the
last "grunge" bands to hit big.  This, naturally, targeted them
for a large amount of the backlash that emerged from grunge's
death throes.
	_Rock Crown_ does manage to diversify the quickly-monotonous
two-pitch arsenal of its predecessor (loud riffers/overwrought
ballads) somewhat, but Seven Mary Three still comes off as largely
the same band trying too hard escape a now-undesirable
classification.  In fact, they seem frightened of the riffy
thudding that made them a teenage favorite; only a handful of the
fifteen tracks really shake the speakers.  Nevertheless, some of
the band's attempts to branch out do connect.  "Needle Can't Burn
(What the Needle Can't Find)" chugs along fluidly in a Hootie-in-
fast-mode groove; it's tuneful enough to hum.  "People Like New"
is a piano-based ballad that actually succeeds surprisingly well
(before being tarnished by gratuitous guitar wanking at the end).
"Make Up Your Mind" is another hushed tune that clicks due to
Pollock's initial vocal restraint (the lack of such being a major
problem with the slower numbers on _American Standard_).  "What
Angry Blue?" throws in some dobro and "na-na-na" backing vocals,
cleverly copping Stone Temple Pilots' "Big Empty" in the process.
And the aforementioned "Lucky", despite the poorly disguised
lyrical inspiration, does possess an appealing acoustic hook.
	Unfortunately, for every new ingredient that works, two don't.
"Houdini's Angels" fails to build its lush orchestral backing into
anything tangible.  "Player Piano" is a clumsy stab at jazz.  The
spare  "Times Like These" and "I Could Be Wrong" float by without
much impression at all.  "Honey of Generation", one of the few
songs that moves at faster than mid-tempo speed, buries itself
beneath completely toneless and overwrought vocal histrionics by
Pollock and dopey lyrics ("It's the honey of generation/Makes you
forget/Where you came from").  Tom Morris' production tries to
create some live-in-the-studio ambience, especially on the multitude
of acoustic songs, but the sounds that emerge often end up sounding
canned and forced.  And with so little going on musically within the
frequently-spare arrangements, too much ends up depending on
Pollock's cryptic and cliched lyrics (although his pacing and
phrasing are improving somewhat).
	The problem with _Rock Crown_ is not the fact that Seven Mary 
Three are trying to do different things; in fact, I applaud any band's
efforts to diversify musically.  It's just that 7M3's new direction
is going to completely alienate their younger audience that picked
up on the band's pit-ready, Metalliskynyrdly debut.  How many of
those fans are going to be happy with a record that has exactly three
tracks (and really only one good one, the title track) that might be
able to stir those same feelings?  (The middle third of the album, in
fact, consists entirely of ballads.)  Seven Mary Three may eventually
turn into a band that's comfortable with both of its faces, but for
now, it seems as though they have sacrificed their meal tickets for
spotty experimentation.  A handful of jewels do point towards a light
at the end of the tunnel for Seven Mary Three, but this _Rock Crown_
is largely a dubious honor.
---
	REVIEW: David Byrne, _Feelings_ (Luaka Bop/Warner) 
		- Joe Silva
	Since this project started to get airtime, Byrne has made much 
noise about his coming to believe in the verite of the home studio 
ethic and that much of this LP was born in that very fashion.  And 
thousands of indie outfits bear out this same notion annually with 
sometimes no than a four-track rig and a couple of grand to get 
their discs pressed. But when the term "home studio" passes across 
David Byrne's lips, he's apparently not speaking in quite the same 
tongues as those who exist in and about the lo-fi arena.
	Not fifteen seconds into the lead track ("Fuzzy Freaky"), with 
its phat wah-wah intro and thick rhythmic undertow, you realize that 
no one who's shared much close artistic space with Brian Eno, is going 
to suddenly jettison twenty years of forward musical thinking to 
resemble some sub-Superchunk pop unit. In fact, Byrne has once 
again, taken his left-ish field musical vision and conjured an 
album that's as sonically compelling as anything that's beared his name.
	There may not be the eerie urban perfection of _Fear of Music_, 
or the brilliant pastiche of his _Life In The Bush of Ghosts_ project 
he co-sired with Eno, but Byrne continues along the same omni
directional path that all of his solo material has benefitted from.
	By now, he's almost entirely slipped from radio's 
consciousness into the limbo that is hyper-critical acclaim, and 
by that travesty, records as well executed as this release, will 
most likely be ignored. _Feelings_ carries on in the same strong 
second-wind form as the previous, self-titled LP demonstrated.
	For all the other-worldly music that Byrne probably 
saturates himself with, the appearance of the Salsa-fied "Miss 
America" alongside the oddball grooviness of the opener "Fuzzy 
Freaky" and the plaintive grace of "A Soft Seduction" shows that 
Byrne has remained rooted in a largely balanced musical perspective. 
Casting his many faces across these fourteen tracks, Byrne addresses 
almost all of his strengths and characteristics that have endeared 
him to the devoted over the past two decades. To find another 
rhythmic intuition as flawless, married to a lyrical balance 
that's just grim enough, just humorous enough while being butted 
up against intellectually cool pop melodies, is not a simple thing.
	The collaborations (Devo, Morcheeba, The Black Cat Orchestra) 
seem to bear enough fruit, and hodge-podge moments like "The Gates of 
Paradise" show that in just over three minutes, Byrne can also move 
with as much effortlessness between as many styles (jungle, country, 
pop). There are a few moments of depleted magic though, and if you 
were saddled with a partner, pets, four children and x amount of 
disposable income, opting for the last LP might be slightly more 
satisfying. But given more time in its company, there's a fair 
chance that _Feelings_ may warrant a retraction of the previous 
statement.
---
	REVIEW: Paul Weller, _Heavy Soul_ (Island)
		- Tim Kennedy
	Paul Weller has a huge and adoring UK following,  many of them
dating back to the late seventies heyday of the Jam.  He is
probably the most respected figure of his generation still
in music.  His comeback since the implosion of the Style
Council has been meteoric.
	The last album _Stanley Road_ to these ears was not a
consistent affair,  ranging from moody and downright
depressing to suddenly euphoric and inspired.  However
it was celebrated by the UK critics,  and sold truckloads
at home.
	The latest offering is a more consistent performance,  with
a homely sound being created by the efficient backing of
Ocean Colour Scene.  Weller's songs are soundly constructed,
and nicely offset with occasional sixties flashbacks.
	If Weller has a godfather it would not be McCartney,  but
Neil Young.  Both share the same grim determination to see
the job through,  and frequently seem desolated.  Their songs
seem to rail at the unfairness of the situations of these two
icons of late 20th Century rock and roll (well apparently).
Not that unfair,  say all of us.
	The light touch of Weller's late seventies work is present in
"In Suze's Room" (one may recall "Fly" from _All Mod Cons_).
Elsewhere the mood is more sombre,  though at times a little
funky.  The emphasis is on 'heavy' more than on 'soul'.
	This is not an album of innovation,  but rather one which
displays an unerring dedication to the craft of the rock
song,  and will be eagerly welcomed by his legions of
admirers.
---
	CONCERT REVIEW: Jimmy Wilson Group and guests (Ween)
		- Al Muzer
	Promising to be one of the strangest nights of musical 
mayhem in recent New Jersey history, the "special guests" hinted 
at in the ads for this bill were the real reason a long line of 
happily-chattering surfers, jocks, metal heads, frat boyz ('n' 
grrrls), country music fans and skate punks lined the sidewalk 
outside The Saint (Asbury Park, New Jersey.) a full half hour 
before the doors were scheduled to open.
	Busy from the moment the first group of excited customers 
had their hands stamped, club manager Scott Stamper slammed into 
counters, beer coolers, garbage cans, door frames and anything 
(and anyone) else behind the bar that remained stationary long 
enough to get in his way as he insanely attempted to keep up with 
the continuous demand for "more beer!" while Petey cranked up the 
music and the place quickly filled to capacity.
	Wandering up to the bar with heavy-lidded eyes and a 
sheepish look on his face, Deen Ween seemed pleasantly baffled 
when he overheard a couple discussing the last time they 
experienced the Jimmy Wilson Group live.
	"What," he drawled incredulously as he grabbed another 
cold one from a dangerously oscillating Stamper, "you mean to tell 
me that you've seen the Jimmy Wilson disaster before and actually 
came back for more? Wow!?!"
	The band (actually a weird combination of assorted Moist 
Boyz, Ween members and whoever else happened to feel like climbing 
up on stage for a song or two) chose that moment to burst into a 
wigged-out version of a Chris Harford tune (with Chris on vocals) 
that segued into a Vanilla Fudge-like take on "Aquarius (Let The 
Sun Shine In)" that somehow became a mutant rendition of King 
Crimson's "Cat Food" that, in turn, shifted into a Wayne 
Kramer-ized assault on the blues that was followed by a doodlin' 
version of "Fire On The Mountain."
	While the group took a second to catch their breath, 
Deener ambled up and strapped on a guitar for a slammin' blast 
of Funkadelic's "Red Hot Mama" that briefly became "21st Century 
Schizoid Man," "If Six Was Nine" and "Fire" before Gene (who had 
somehow found his way on stage during a Doorsy rendition of 
Hendrix' best acid vision) burped out a crazed solo that devolved 
into a manic wall of feedback and noise.
	With the club officially packed and the full Ween contingent 
now strapped in, Gene and Deen broke into "I'm Dancing In The Show 
Tonight," "The Mollusk" (featuring a bizarre Jacques Cousteau 
underwater keyboard break), "The Golden Eel," "The Blarney Stone" 
(bitchin' trombone solo!) and a whole bunch'a other songs from 
their Elektra album, _The Mollusk_ (as well as a few blasts from 
the past) that I was simply way too buzzed to write down.
	Fulfilling the crowd's expectations for musical brilliance, 
sick humor and a totally twisted weirdness that went beyond 
anything witnessed in scenic Asbury Park since the last time the 
same group of musicians shared (more than) a few bottles and broke 
a few strings on the Saint's stage - The Jimmy Wilson Group's 
latest assault on music will long be remembered (by those actually 
sober enough to recall it) as one of the concert highlights of the 
summer.
---
	REVIEW: Various Artists, _Random (not a tribute to Gary Numan)_ 
		(Beggars Banquet)
		- Derek Langsford
	Beggars Banquet state this is not a tribute album, rather a set
of songs that were "solid and could be translated for a wider
audience."  Beggars continue to walk that fine line between hiding
their embarrassment and making money off the UK music press's
favorite whipping boy, Gary Numan, the late 70s/early 80s synth
pioneer.  Beggars boast that they had more tracks offered than
could fit on two CDs yet some of the rumoured big names such as
Tori Amos and Nine Inch Nails are notably absent, some relatively
unknown artists are present, and only 60 mins of music is on each
CD.  Despite this apparent deflation of the expectations, the final
product admirably achieves its goal and amply illustrates why
many are reevaluating Gary Numan some 17 years after his peak
success.
	The tracks are mostly from Numan's Beggars Banquet catalog
(78-83) with two somewhat unexplainable exceptions - 1986's "I
Can't Stop" (one of Numan's less likeable songs) given a brooding
treatment by newcomers Peck Slip and 1994's "Absolution" by Amanda
Ghost - a decidely dull rendition of his most recent single.  The
other tracks include straightforward covers ("We Are So Fragile"
- Jesus Jones), pulsating dance interpetations ("Stormtrooper in
Drag" - St. Etienne), song obliteration with rap overdub ("Films"
- Underdog) and keyboard noodlings with little attention to the
original song ("Joe the Waiter" - The Orb).   The interpretations
run the gamut from excellent (a Hendrix/Reznor influenced "Poetry
and Power" - Gravity Kills), intriguing (Chris Holmes's refreshing
rework of "Remember I Was Vapour"), novel (a Lene Lovich/Siouxsie
inspired "She's Got Claws" - Posh), and dull ("Are Friends Electric?"
- An Pierle, a Belgian Tori Amos soundalike with Sheryl Crow envy).
	While some songs are given new life by the artists (Kenickie -
"I'm An Agent", EMF - "We Are Glass", Dubstar - "Everyday I Die",
Moloko - AFE), others seem stale before you reach the first chorus
(Republica, Windscale). Many of the new crop of artists are cliched,
simply recycling influences of the last 30 years like so many of the
"new" bands (there's even a Queen sample from the early 70s). But there
are notable interpretations from Matt Sharp (Weezer, The Rentals)
and Damon Albarn (Blur) - "We Have a Technical",  The Magnetic Fields
- " I Die: You Die", Jimi Tenor's "Down in the Park", and Bis - "We
Are So Fragile".
	Like all "tribute" albums one's first impressions are always
shaded by the comparison with the originals. Various artist
compilations also always suffer from lack of sonic continuity.  Treating
each cover separately may not be a good indicator of the overall
experience but I have come full circle.  _Random_ is not the mixed bag
I first thought it was.  I now appreciate most of the interpretations
and really like many of them.  It may even have taught me to
appreciate some styles that have previously left me cold.  Maybe this
will introduce fans of these performers to Numan's songs and even
provide Numan with a much looked-for boost in viability as he launches
his new album n ealry September, again on his own UK-only label.  An
album of techno mixes _Random II_ is due soon but _Random_ itself is
well worth the effort to search out.  Look for it "filed under Numan".
---
	REVIEW: Pat MacDonald, _Sleeps With His Guitar_ (Ark21)
		- Reto Koradi
	It's a new name on the cover, but Pat MacDonald is not a
freshman.  Timbuk 3 was the name of the band he formed with his wife 
Barbara K., spawning at least minor hits with songs like "The Future's 
So Bright, I Gotta Wear Shades". While the Neil Young reference in the 
title indicates that MacDonald has not lost his wit, the trademark 
cynicism and social criticism of Timbuk 3 is largely absent from his 
first solo album.
	This more serious approach enables MacDonald to showcase musical
qualities that could hardly be expected from him. In the foreground is an
expressive and full voice, combined with some very fine playing on the
acoustic guitar. A prime example is the breathtakingly beautiful ballad
"Missing". Sensible and deep lyrics like the ones in "Like Water" ("wish
I wish I could find, a way to get inside you, a way inside your crazy
head, but you're like water, slippin' through my hands") are prevalent over
most of the album. Really reminiscent of Timbuk 3 is only "The History Of
Man", which rather cynically treats the vast topic in 4:30 ("Cicero couldn't
keep his big mouth shut, so Anthony wreaked some havoc on his butt, then
lost his to Cleopatra, that slut"). A good deal of irony is also in the
title "Stupid Simple Song", which may be rather simple, but far less
stupid than most songs by other artists.
	_Sleeps With His Guitar_ is an album that does not make use of
any cheap thrills; it sounds unspectacular at first listen. But it shows a
degree of honesty and dedication that is rarely found. Unfortunately
this is not what is needed on the mass market, so Pat MacDonald is 
likely to join the club of great underrated artists, with people like 
T Bone Burnett. But this should not stop you from enjoying this 
wonderful album for your own private pleasure.
---
	CONCERT REVIEW: Michael Penn, Live at Southern Tracks Atlanta
		- Joe Silva
	Somewhere midway during this set, which was being recorded 
for a future local radio broadcast, Michael Penn somewhat sheepishly 
confessed to not being known for having a massive stage presence. 
But before his fairly new outfit began their next tune, he added in 
a Woody Allen-ish deadpan that he'd take part of the responsibility 
for that circumstance if the audience would own up to their share as 
well.
	Now three records into his career, that statement is a subtle 
but honest jab coming from the man who was awarded MTV's Best New 
Artist award more than six years ago and then quickly dropped off 
the radio map. In fact, the week after he won that award, RCA 
inexplicably canned a follow-up single and video that was almost 
sure to cash in on the radio/video success of his initial hit "No 
Myth." You can place the blame in any number of places (poor 
marketing strategy, the rise of grunge, etc), but not even Penn 
knows for certain how he became almost instantly forgotten. His 
second record (_Free For All_) went virtually unpromoted and was 
followed by a period of corporate restructuring that left him with 
virtually no means to record or sign elsewhere.
	But now amidst the low watt glow of multi-coloured lava 
lamps, indian carpeting, and fantastic acoustics, Michael's band 
helps him re-emphasize why that was all a great wrong-doing.
	Showcasing only material from his new release _Resigned_, 
Penn's voice boomed across these softened surroundings and giving 
these tunes a even more compelling face than they had when they 
were initially laid to tape in this very room.
	While he sings, Penn latches on to an blank stare that is 
aimed at a nowhere point in the back of the room as he begins the 
reserved first verse of his new single "Try. " But when he meets 
the chorus a few moments later, there is an intensity to the timbre 
of his voice and the band's mood that locks the entire room into 
the verve of the moment. Superb keyboardist Jebin Bruni is revealed 
a moment or two later as Penn's ace in the hole. Bruni helps morphs 
the grittier bits of the song's radio release into a stirring bit 
of atmosphere that will hopefully not be lost when the electric 
version of this band hits larger venues during their summer opening 
slots for Sheryl Crow.
	Later Penn heads into a stunning version of "Strawberry 
Fields Forever" and his voice makes an eerie but striking fit for 
Lennon's that along with Bruni's actual mellotron passages recalls 
all that was haunting and beautiful about this thirty year-old 
classic. Other highlights include "Like Egypt Was," a semi-psychedelic 
upbeat number about Los Angeles facing the millenium and the X-file 
like circumstances surrounding a woman's last few moment in a local 
hospital.  Combined with stellar pop moments like "All That That 
Implies" and "Me Around," the brief set was tremendously satisfying 
glimpse of what his shows will deliver on the road.
	And while Penn may never raise eyebrows with his performing 
demeanor, he is nonetheless right now in strong shape vocally and the 
tunes bear out how sound his writing still is.  The only unfortunate 
aspect to the evening may have been that this small setting was 
probably the optimal way to appreciate what's best about Penn and 
_Resigned_, and that the rest of the concert going AOR fans that 
Sheryl Crow will draw to her feet will not be able to fully 
appreciate his worth in a short set, hampered by lousy arena 
acoustics and loud cries for the beer guy.
---
	REVIEW: Various Artists, _DubMission2 The Remixes_ (Qwango/Island)
		- Malcolm O'Neill
	While both dub and ambient tend to rely on studio technology
and a fair amount of repetition, the end results can be substantially
different. The ethereal sounds of ambient attempt to paint sonic
landscapes to soothe the soul but dub is usually something more of a
physical adventure.
	Originating in the 60/70s from the low-tech studios of Jamaica,
early dub (Lee Scratch Perry and Scientist to name two of the
heavier hitters) would strip a track down to its basic rhythm
and then add back guitar, horns, and vocal sounds with lots of
echo, phasing and left/right speaker hopping.  Modern technology has
made life a little easier for new dub artists (such as the excellent
The Mad Professor) and 50% of dub now originates from worldwide sources
outside of Jamaica.
	Showing the evident influences of the old hands and current 
flavours of techno, _DubMission2_ contains examples of the new Dub 
generation remixing tracks by established reggae artists such as Gregory 
Issacs, Black Uhuru, Sly & Robbie, and Burning Spear. Although the
compilation might appear to be stocked with filler (you get two versions 
of "Boof'n'Baff...", two versions of "Night Nurse", and two versions of 
"Demolition City"), this is to afford you the opportunity to compare
dub's various styles and some of its occasional dramatic contrasts.
	Thievery Sound Systems version of "Boof'n'Baff...", which starts
with the emphasis on drum and bass before really taking off, wins out
over the two versions by Fila Brazillia. Brazillia's first remix takes a
traditional stance with a few sound effects thrown in for good measure,
but the techno-rich second remix is disappointingly too much like a 
Trenchtown Alex Patterson. "Demolition City" reworkings are trad-Dub (Smith
and Mighty) versus crazy Dub (Graveyard City), with the latter maintaining
lots of action over, above, and beyond the basic rhythm.  "Night Nurse" two
different treatments come from the laid back style of Kruder and Dorfmeister
and Cottonbelly's asian-influenced and provocative remix that features some
really great bass. "Rockers HiFi" starts and finishs with twittering birds
(environmental dub) and sandwhiches dance beats in between. But the track's
electronic bass was etched without feeling.  In contrast, SubDub use great
bass lines with trad-Dub sounds (sharp guitars/echo/vocal) here, but things
with some awful, whining electronic sounds (upholding The Mad Professor 
thesis of knowing where and when to use sound effects).  Best of all was 
Ion Loops "Ion Storm" with it's solid nix of dub and drum and bass.  The
vocals were almost conventional but the sounds were wild, weird and
wonderful making you want to hear more from this team.
	As a good intro to modern dub that may make you want to delve into
its past, then this will serve you purposes. As the now deceased dub poet
Michael Smith said "Give me little dub music right here so tonite."
---
	REVIEW: Finneus Gauge, _More Once More_ 
		- Dan Birchall
	It seems easy to compare Finneus Gauge to Echolyn.  After 
all, the Gauge are led by Chris Buzby, former keyboard wizard for 
Echolyn.  Familiar sounds pop up here and there throughout their 
work.  Both bands have five members and hail from the greater 
Philadelphia area.  And both bands blend progressive rock and jazz.
	After listening to the new Finneus Gauge CD, _More Once More_ 
a few times, though, the ease of comparison is gone, and I'm left to 
face the fact that - but for a few scattered moments - this is a 
horse of a completely different hue.  The differences in a nutshell? 
Echolyn was a progressive rock band which dabbled with jazz, fronted 
by the fiery, "in-your-face" vocals of Ray Weston.  Finneus Gauge, on 
the other hand, is a jazz quintet which crosses over into progressive 
rock, and features the airy, passionately breathy Laura Martin.
	These changes result in something difficult - if not impossible - 
to define.  Finneus Gauge's list of ingredients - 'jazz, rock, fusion,
funk inflections' - is so broad that one might expect nearly anything
to transpire during the album's 72 minutes, and transpire it will.  
Five-second clips from this recording, played on "Name That Tune," 
would have contestants guessing everything from Marilyn Monroe to Dream 
Theater.
	Martin's vocals are backed by brothers Chris and Jonn Buzby, 
who play keyboards and drums respectively.  Rounding out the quintet 
are Scott McGill on guitar and Chris Eike on bass.  With an average 
song length of six minutes, there's plenty of time for extended jazz, 
rock and fusion jams and solos, including two purely instrumental 
pieces totalling more than nine minutes.  Lyrically, the 
self-deterministic angst beloved by Echolyn fans is complemented by a 
wry song or two in the style of The Bobs, and even tracks resembling 
traditional 'torch songs.'
	The overall result is a repertoire which would sound perfect 
in any small, cozy club known for hosting insanely trendy jazz, rock 
and poetry, and probably populated by a too-hip-to-live crowd of art 
music connoisseurs sipping cappuccinos or microbrews.  I doubt Finneus 
Gauge would appreciate being wedged into the "lounge act" pigeonhole - 
or any other - but if we could get music this good in lounges, the 
stigma usually associated with the genre would fade quickly.
	The album is diverse - ask ten fans for their favorite song, 
and you'll probably get eleven answers.  I've got some ideas about 
which songs will appeal most to fans of Echolyn, Dr. Demento or The 
Bobs, but this is music for intellectuals, and any attempt to 
second-guess your tastes would be disrespectful.  Listen to it for 
yourself, and just try to draw comparisons to whatever you've heard 
before - I double-dare you.
	This being the Information Age, you can e-mail 
finneus-gauge@juno.com, or view their homepage at 
http://ghostland.com/finneus.html for more information.
---
	REVIEW: Teenage Fanclub, _Songs From Northern Britain_ (Creation/Sony)
		- Tim Kennedy
	The latest offering from the Glasgow beat combo is certainly
no departure from their established reputation for making
understated, subtle yet uplifting melodic guitar music.
	The last album,  1995's _Grand Prix_,  was many UK critics'
choice for album of the year (the year when *that* Oasis
album appeared).
	Fans of REM,  Neil Young and The Byrds will immediately
warm to this band,  who combine a 'wall of sound' approach
with superb timing and a gift for great tunes.  They have
smoothed off the rough edges that characterised the early
material and this CD is the best yet.
	The boys appear to have settled down happily with their
wives and/or girlfriends and moved house to their beloved
Scottish countryside.  The sleeve of this CD is various
tasteful pictures of odd corners of Scotland.  They sing
about finding true love,  about rediscovering the beauty
of their country.
	In short they are in a good mood.  This CD is a great
antidote for depression,  although those of a more cynical
cast of mind may condemn this as shallow escapism.
	They never wrote protest songs in the past,  though they
often displayed humour.  The current crop of tunes will
no doubt make many more friends,  coming as this CD does
on the crest of a wave of guitar pop purveyed by artists
often of lesser ability.
---
NEWS:	> Kip Winger will be performing the national anthem before
the Seattle Mariners' home game on August 20.
---
TOUR DATES (Please confirm with site before travelling):
	Allman Brothers / Sister Hazel
Aug. 7-8 Denver, CO Red Rocks Amphitheater
Aug. 10 Minneapolis, MN Northrop Auditorium
Aug. 12 Columbus, OH Polaris Amphitheater
Aug. 13 Cincinnati, OH Riverbend Music Center
Aug. 15 Indianapolis, IN Deer Creek Park
Aug. 16 Chicago, IL New World Music Theater
Aug. 17 Detroit, MI Pine Knob

	Boston
Aug. 11 San Diego, CA Summer Pops
Aug. 13 Concord, CA Concord Pavillion
Aug. 14 Reno, NV Reno Amp.
Aug. 16 George, WA Gorge

	Cake Like
Aug. 14 Seattle, WA Crocodile Cafe
Aug. 15 Portland, OR Satyricon
Aug. 17 San Francisco, CA Kilowatt
Aug. 19 San Diego, CA Casbah
Aug. 21 Los Angeles, CA Spaceland

	Cowboy Mouth
Aug. 16 Croton, NY The Bayou Blues Festival

	Darlahood
Aug. 11 Cleveland, OH The Odeon
Aug. 12 Lancaster, PA Chameleon
Aug. 16 Dewey Beach, DE Bottle & Cork
Aug. 19 Scranton, PA Tinks
Aug. 20 Pittsburgh, PA The Metropol

	Government Mule / Sweet Vine
Aug. 13 New York, NY Irving Plaza 
Aug. 17 Vernon, NY Vernon Downs Radio Show

	Life of Agony
Aug. 13 New York, NY CBGB
Aug. 14 Providence, RI Club Met
Aug. 15 Island Park, NY Industry
Aug. 16 Portchester, NY 7 Willow Street
Aug. 17-18 Albany, NY QE 2

	Lollapalooza (Tool/Prodigy/Korn/many more)
Aug. 13 George, WA Gorge Amp.
Aug. 15 San Jose, CA Shoreline
Aug. 17-18 Los Angeles, CA Irvine Meadows

	Lunachicks
Aug. 12 Chicago, IL Fireside Bowl 
Aug. 14 Pittsburgh, PA Club Laga

	Matchbox 20
Aug. 8 Ft. Wayne, IN Allen Mem. Col.
Aug. 9 Indianapolis, IN WRZX radio show
Aug. 11 Cleveland, OH The Odeon
Aug. 12 Lancaster, PA Chameleon
Aug. 14 Washington, DC WHFS radio show
Aug. 15 Norfolk, VA WROX radio show
Aug. 16 Dewey Beach, DE Bottle & Cork
Aug. 17 Utica, NY WOUR radio show
Aug. 19 Scranton, PA Tinks

	Megadeth
Aug. 12 Detroit, MI State Theater
Aug. 14 New York, NY Hammerstein Ballroom
Aug. 15 Boston, MA Great Woods
Aug. 16 Asbury Park, NJ Convention Hall
Aug. 18 Pittsburgh, PA Ice Garden Arena
Aug. 19 Washington, DC 9:30 Club
Aug. 21 Orlando, FL Tsunami

	Sinead O'Connor
Aug. 12-13 San Francisco, CA The Warfield
Aug. 15 Las Vegas, NV The Joint
Aug. 16 Los Angeles, CA The Greek Theater
Aug. 18 Denver, CO Paramount Theater
Aug. 21 Atlanta, GA Chastain Park

	Poison Idea
Aug 15 Redmond, WA Old Firehouse
Aug 16 Seattle, WA Crocodile Cafe

	Radiohead
Aug. 12 Washington, DC 9:30 Club
Aug. 13 Pittsburgh, PA Metropol
Aug. 15 Detroit, MI State Theatre
Aug. 16 Cleveland, OH Lakewood Civic
Aug. 18 London, ON The Nac
Aug. 19 Toronto, ON Arrow Hall
Aug. 20 Ottawa, ON Congress Center

	Sister 7
Aug. 15-16 Telluride, CO Fly Me To The Moon

	Size 14
Aug. 19 Chicago, IL Metro

	Supertramp
Aug. 11 Concord, CA Pavillion
Aug. 14-15 Los Angeles, CA Greek Theatre

	Tsunami
Aug. 15 Philadelphia, PA Silk City w/Ida
Aug. 16 Washington, DC Black Cat w/ Ida
Aug. 17 New York, NY Brownies w/Ida and Beekeeper

	Vision of Disorder
Aug. 15 New Haven, CT Tune Inn
Aug. 16 Syracuse, NY Hungry Charlie's
Aug. 17 Cambridge, MA Middle East
Aug. 18 Moosic, PA Sea Sea's
Aug. 19 Pittsburgh, PA Club Laga
Aug. 20 Cleveland, OH Grog Shop

	The Why Store
Aug. 16 Berrien Sprgs., MI Berrien Cnty Youth Fair

	World Party
Aug. 12 Denver, CO Paramount
Aug. 14 Boulder, CO Fox
Aug. 16 San Francisco, CA Fillmore
Aug. 17 Los Angeles, CA Mayan

	Wu Tang Clan / Rage Against the Machine / Atari Teenage Riot
Aug. 9 West Palm Beach, FL Sky Amp.
Aug. 11 Atlanta, GA Lakewood Amp.
Aug. 12 Antioch, TN Starwood Amp.
Aug. 13 Charlotte, NC Blockbuster Pav.
Aug. 21 Mansfield, MA Great Woods
---
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