==== ISSUE 139 ====    CONSUMABLE     ======== [March 24, 1998]

  Editor:             Bob Gajarsky
		        Internet: gaj@westnet.com
  Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim 
                      Kennedy, Reto Koradi, David Landgren, Sean 
                      Eric McGill, Tim Mohr, Al Muzer, Joe Silva, 
                      Lang Whitaker
  Correspondents:     Tracey Bleile, Lee Graham Bridges, Scott  
                      Byron, Jason Cahill, Patrick Carmosino, 
                      Arabella Clauson, Krisjanis Gale, Eric Hsu, Tim 
                      Hulsizer, Robin Lapid, Scott Miller, Linda Scott, 
                      Scott Slonaker, Simon Speichert, Jon 
                      Steltenpohl, Simon West
  Technical Staff:    Chris Candreva, Dave Pirmann
  Also Contributing:  Franklin Johnson

 Address all comments, subscriptions, etc. to gaj@westnet.com
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                            .------------.
                            |  Contents  |
                            `------------'
INTERVIEW: Richard X. Heyman - Al Muzer
REVIEW: Various Artists, _Legacy: A Tribute To Fleetwood Mac's 
   Rumours_ - Bob Gajarsky
REVIEW: Propellerheads, _Decksanddrumsandrockandroll_ - Tim Hulsizer
REVIEW: Natalie Imgruglia, _Left Of The Middle_ - Franklin Johnson
REVIEW: Agents of Good Roots, _One By One_ - Lang Whitaker
REVIEWS: Electronique Cafe' (Air / Dimitri From Paris / Kerosene / 
   Williams Fairey Brass Band / DJ Frankie Bones / DJ Micro / Adam 
   F) - Joe Silva
CONCERT REVIEW: Pee Shy / Evelyn Forever / Space Gel - Al Muzer
REVIEW: Fastbacks, _Win, Lose or Both_ EP - Scott A. Miller
REVIEW: Todd Thibaud, _Favorite Waste of Time_ - Arabella Clauson
REVIEW: Rick Derringer And Friends, _King Biscuit Flower 
   Hour_ - Bill Holmes
REVIEW: Fat Amy, _Five Way Switch_ - Arabella Clauson
REVIEW: Walter Trout, _Walter Trout_ - Linda Scott
NEWS: Air, Big Air Series, Collective Soul, Hoboken Music Fest
TOUR DATES: Agents of Good Roots, Bluetones, Bush Tetras / Fall, 
   Buzzoven, China Drum, Cravin' Melon, Curve / Freaky Chakra, 
   Dave's True Story, Alana Davis, Feeder, High Llamas, Incubus, 
   Irving Plaza (NYC concert hall - www.irvingplaza.com), Luna, 
   Ziggy Marley & Melody Makers, Megadeth, Mono, Phish, Princess 
   Superstar, Promise Ring, Radiohead, Sherry Rich, Roni Size 
   Reparazent, Scrawl, Smart Went Crazy, Superdrag / Apples In 
   Stereo / Tuscadero, Swervedriver / Libido , Third Eye Blind / 
   Smash Mouth / Fat / Rebekah, Zeke
THE READERS WRITE BACK!
Back Issues of Consumable
---
	INTERVIEW: Richard X. Heyman
		- Al Muzer
	Hippie psychedelia, sensitive singer-songwriters, doo wop, 
rap, grunge, girl groups, teen idols, art rock, surf, country, 
disco, new jack, ska, techno, hair metal, bubblegum, lounge -  
sooner or later every flavor of the minute grows old, tired, 
stale and lifeless.
	And, be it be Beatles, Bangles, Badfinger, Beau Brummels 
or Brandy (You're A Fine Girl) -  a great pop song always seems 
to show up in the Knack of time to save radio and tide us all 
over until the next musical trend is ready for mass consumption.
	There are at least seven such songs on Richard X. Heyman's 
new album, _Cornerstone_.
	Bursting with depth, longing, bittersweet emotion and (more 
importantly) a slew of killer hooks, the 14 janglin' gems on 
_Cornerstone_ (Permanent Press Recordings) conjure up images of 
lost loves, blown saves, missed chances, long nights, lingering 
sighs, gray autumn days and tearful break-ups even as the 
deceptively bouncy melodies and Heyman's warm, earnest vocals 
sweep you away to a land where your feet just won't stop tapping.
	Heyman's been here before - even if you haven't.
	Despite reaching peaks of pure pop perfection on 1986's 
_Actual Size_ EP, 1988's _Living Room!_ and 1991's _Hey Man!_, 
the Plainfield, New Jersey native, screenplay writer, one man 
band and former Brian Wilson/Link Wray/Jonathan Richman drummer 
has inexplicably never managed to break through to the mainstream 
and all three of his previous efforts have, for the most part, 
been ignored by the masses.
	_Cornerstone_, however, appears to possess everything it 
takes to turn Heyman into the household name he deserves to 
become - or, at the very least, bestow a bit of Top 40 
immortality on the man.
	Resident pop-o-holic, unintentional Kenny Rogers 
impersonator and long-time Richard X. Heyman fan Al Muzer recently 
caught up with the artist on the eve of _Cornerstone_'s national 
release.

	CO: You've been touted by the likes of Rolling Stone and 
Goldmine as, more or less, 'the artist most likely to' with each 
new release. Has the lack of attention from radio and the lack of 
acceptance from its listeners driven you over the edge yet?
	RH: [laughs] For some reason, good music press just 
doesn't translate over to sales or radio play the way press 
translates for movies or on Broadway. If a play or a movie gets 
good reviews, well, then, that's everything. It starts the whole 
ball rolling. Music? It just doesn't seem to work that way with 
music.
	I tend to view music as a much needed emotional outlet - 
so I'm not into name games, don't care about accumulating press 
and I'm not trying to please anyone but myself. I'm also not out 
to assimilate my influences or duplicate any one sound. I hear 
certain artists who really seem to be into that whole thing, you 
know? Trying to create, say, a _Revolver_-sounding song - and, in 
trying to achieve the exact guitar tone, the right echo or the 
perfect production value - lose the song. The song winds up 
taking a back seat to the sound.
	CO: But, the 'sound' has always been one of the great 
things - for me, anyway - about your records. While your songs 
are generally outstanding, there's an almost timeless quality 
to the 'sound' of your albums that makes it hard to place when 
they were recorded.
	RH: Thank you! The thing that got me involved in music 
in the first place is that thing, that feeling, that chill you 
get when a song really hits home. I call it the 'happy/sad' 
feeling. It's the best! You get it when music has kind of a 
melancholy feel to it - yet is so good that it makes you feel 
happy at the same time.
	CO: Like most of the songs on _Cornerstone_? You know 
despite some truly killer hooks, everything on the disc seems 
to have a wistful, semi-sad, looking back feel to it. Were you 
shooting for that mood?
	RH: I really think, truthfully, that it has to do with 
the fact that there was this 'golden period' - or so it seemed 
with hindsight - in my life and the music I love. And, well I 
dunno, I guess I thought I felt all that sort of slipping away 
from me. I was longing for that time and that feeling again, so 
that found its way onto these songs. I don't consciously think 
about any of it though, you know? I just try to finish my songs 
and let them be about whatever they want to be about.
	CO: How do you get such a complete full band-type sound 
on your records when, for the most part, it's you singing and 
playing everything?
	RH: I think a lot of that comes down to the fact that 
my main instrument is the drums - so there's always a solid 
foundation behind what I do. But, it's not like I plan on being 
a one-man-band when I record my albums. I just always seem to 
wind up alone in the studio laying down, say, an idea I had or 
a vocal part or a percussion track or a guitar guide or a hand 
clap - and the next thing you know, the track is done. It's 
become almost an unconscious process for me.
	CO: You've been something of a cult figure along the 
lines of Tommy Keene (with whom Heyman played in a late-'70s 
band known as the Rage) and Alex Chilton for more than 10 years 
now, are your fans as, uhm intensely-devoted to you as theirs 
appear to be to them?
	RH: Not as intense, no, but still fairly serious. There 
are a few people in different parts of the country who, uhm, 
really know my records, you know? I was having a discussion 
just the other day about how strange it is when I meet someone 
who, although they only know me through my lyrics, really think 
they know me. It's pretty strange, actually, even a little 
frightening sometimes.
	CO: I've got to give you credit, you could've jumped on 
the grunge, ska or SevenMaryDaysOfTheAlice bandwagon at any time 
over the last few years and probably had yourself a hit - but 
you stuck with pop songs.
	RH: Oh, that's not even something I had to think about 
it. I come from a world of three-minute pop singles. Pop music 
is what I love.

	PS: The 'X' stands for, well, 'X' and is the full middle 
name given to Heyman by his dad in tribute to U.S. Army General 
Xavier Cheves. 
---
	REVIEW: Various Artists, _Legacy: A Tribute To Fleetwood 
		Mac's Rumours_ (Lava / Atlantic)
		- Bob Gajarsky
	_Rumours_, the album which nearly destroyed Fleetwood 
Mac (and at the same time, became the benchmark for any 
albums to aspire to), has sold more than 40 million copies.  
Stevie Nicks, Lindsey Buckingham, Christine and John 
McVie and Mick Fleetwood created a masterpiece that inspired 
an entire generation looking for an escape from disco beats and 
leisure suits.  Now, twenty years after its original release, 
comes _Legacy: A Tribute To Fleetwood Mac's Rumours_.
	This time around, it's up to people who were in grade 
school when _Rumours_ was first released to steal the show.  
Jewel offers a predictable, but solid performance of "You Make 
Loving Fun"; the Irish folk-harmony group The Corrs provide a 
stunning rendition of "Dreams", which is the album's first 
single, and newcomer Duncan Sheik continues the vocalization 
which made "Barely Breathing" such a radio staple in 1997.
	The songs of the Mac bring out the best in 
bands I normally can't stomach.  Tonic's "Second Hand 
News" is an upbeat, irresistible rocker, and even the 
Cranberries - whose wailing songs seem to bring out 
the dogs in the neighborhood - come out smelling like 
roses on their nearly-faithful version of "Go Your Own Way".
	It's impossible for the Goo Goo Dolls to shake the 
Paul Westerberg tag that has dogged them for so long, and the 
cover of "I Don't Want To Know" won't do anything to dispel 
that comparison.  But while the Goo Goos provide the expected, 
Hootie-compared Sister Hazel break the mode, offering a Steve 
Tyler (Aerosmith)-like performance of "Gold Dust Woman".
	Ironically enough, it's Elton John's cover of "Don't Stop" 
which serves as this album's weakest cut.  And regardless of 
anyone's opinion of Captain Fantastic, the fact that his song 
lies at the bottom of the performances herein is a testament 
to the strength of this collection.
	Nearly flawless in songwriting, production, choice of 
bands and execution, _Legacy_ is a perfect addition to the 
collection of teens, twenty-somethings, thirty-somethings...
in other words, most of the people who already own _Rumours_ 
in the first place.

	BANDS FEATURED (In Order): Tonic, The Corrs, Matchbox 20, 
Elton John, The Cranberries, Duncan Sheik, Shawn Colvin, 
Jewel, Goo Goo Dolls, Tallulah, Sister Hazel
---
	REVIEW: Propellerheads, _Decksanddrumsandrockandroll_ (Dreamworks)
		- Tim Hulsizer
	So what's the popular term for dance music this week?  
"Bigbeat" seems to be soup du jour, an amalgam of breakbeats and 
fat basslines that resembles a hybrid of drum'n'bass (only slower) 
and instrumental hiphop (only faster).  It's cool and funky, and 
easy to shake one's booty to, but unfortunately its acceptance into 
the mainstream hit machine has resulted in a blizzard of pointless 
and masturbatory releases.  These include full-lengths that should 
have been EPs (Fatboy Slim, David Holmes, etc.) and blatant 
attempts at cashing in on the trend in the form of awful 
compilations (including the TVT disc with the offensively bad 
title _Big Rock'n Beats_).
	On the flipside of the coin is the duo of Alex Gifford and 
David Arnold, two gentlemen whose EP releases under the moniker 
Propellerheads have never disappointed in three years.  Finally we 
are blessed with the full-length release and it is mighty fine.  
Relentlessly funky and endlessly inventive, these guys have managed 
to find their niche in a genre that is fully stocked with fakes, 
uninspired ripoffs, and elevator music.
	I like this album for a variety of reasons, which of 
course include the beats themselves.  Gifford and Arnold are 
masters at unleashing a monster groove and effortlessly sustaining 
it.  They have a knack for finding the dirty side of a beat and 
twisting it until it screams funky.  Not only that, they use a 
bass sound that I can only describe as scratchy.  Not so much 
distorted as stretched, the Propellerheads basslines are 
simultaneously rough and smooth (no small feat, that).  They ooze 
into your ear like a grinning lover, sexy as hell but with a 
knowing wink.  The album is full of swaggering tunes that never 
take themselves too seriously.
	Propellerheads also pick some excellent samples.  From 
old movies (the perennial standby in dance music) to old rap 
tunes, these guys pay homage to a variety of sources in the best 
possible manner.  My personal favorite sampling is a short track 
called "A Number of Microphones", in which we hear a human 
beatbox doing his thing while a British gentleman talks about 
the placement of microphones and intones phrases like, "How 
extraordinary!"  You can say that again.
	Elsewhere on the album Gifford, Arnold, and a few friends 
of theirs pay homage to other influences.  Acknowledging the hip 
pleasures of the secret agent/1960's phenomenon, they include 
brass-filled lurkers like "Cominagetcha" and "Spybreak".  Not 
only that, they bring out Miss Shirley "Goldfinger" Bassey to 
belt out "History Repeating", and they present their own version 
of the theme from the 007 movie _On Her Majesty's Secret 
Service_.  The latter track is an ambitiously-produced 9 minute, 
20 second song that includes guitar, horns and organ.
	In fact, this track is also on another album David Arnold 
produced, the recent James Bond remix project entitled _Shaken 
and Stirred_.  Arnold was also responsible for the soundtrack to 
the latest Bond film, _Tomorrow Never Dies_, further proving his 
love for the spy game.  Propellerheads have other ways of 
exploring dance music, including guest vocals on a couple tracks 
by De La Soul and Jungle Brothers.  It's a tribute to their 
inventive arranging that the tracks work so well.
	_Decksanddrumsandrockandroll_ is an ass-shaking tour de 
force.  It never entirely breaks the mold of modern dance music, 
but neither is it a slave to what has come before.  It's a 
well-conceived, brilliantly-executed party disc that should 
please the hardcore fans of the genre while defining it all for 
the casual listener as well.  This release ranks among the best 
in the "big beat" category and it sets the standard by which all 
others must be measured.
---
	REVIEW: Natalie Imgruglia, _Left Of The Middle_ (RCA)
		- Franklin Johnson
	One of the major industry buzzes has circled Natalie Imbruglia.  
The 23 year old Australian (born in Sydney) first achived fame in her 
native land as a member of the soap opera Neighbors.  But forget 
(Stock-Aitkman-Waterman era) Kylie or Jason - this soap star doesn't 
have an ounce of disposable bubble-gum pop in her body. 
	The first track (and single), "Torn", is straight out of the 
Lisa Loeb AAA book.  Written and produced by former Cure member Phil 
Thornalley and produced by Nigel Godrich (of Radiohead fame), "Torn" was 
the second best seller in Europe (behind the Princess Diana tribute, 
"Candle In The Wind") in 1997.
	"It ("Torn") was one of the first demos I did," Imbruglia 
remembers. "I got signed in August of 1996...6 months prior, I met 
Phil Thornalley, and I just loved it.  It's one of those songs that - I 
don't know - there is something timeless about it".
	Some comparisons to Alanis surface ("One More Addiction", while 
"Wishing I Was There" recalls Morrissette's "All I Really Want"), 
when Imbruglia's vocals imitate the Canadian's, and the guitar and 
drum programming come to the forefront.  But just as Alanis is not 
Liz Phair, so is Imbruglia not Morrissette.
	Smoky vocals engulf the listener in a Portishead/Garbage trance 
on "Leave Me Alone", while the up-front rocker "Impressed" was written 
during Natalie's frequent trips to the local nightclubs.
	"It's about a sleazy guy with this six foot model who's with 
him for all the wrong reasons.  The girl with 'ice cream beauty - you 
know, that very artificial kind of sexiness."
	And continuing the modern feel which resounds through the entire 
_Left of the Middle_ disc, "Big Mistake" was written with Mark 
Goldenberg - who wrote "Novocaine For The Soul" for the Eels.  Imbruglia 
wrote or co-wrote nine of the album's twelve tracks, again showcasing 
her talents as much more than a pinup voicing someone else's songs.
	Likely to be one of the top albums of 1997, Imbruglia's debut 
blows away all the stereotypes associated with actors making the 
transition into the singing world.
---
	REVIEW: Agents of Good Roots, _One By One_ (RCA)
		- Lang Whitaker
	With bands sprouting from the east coast club scene 
into national prominence as fast as the Gremlins were birthed 
from that YMCA swimming pool, you kind of take any "east coast 
club scene" band making their major label debut with a grain of 
salt. However, it's hard to argue with success. Before even 
signing with a major label, the Richmond, Virginia-based band 
Agents of Good Roots had been playing over 200 shows a year up 
and down - here we go again - the "east coast club scene". They 
also had recorded two albums that sold well at their shows. Their 
self-made success attracted interest, and enabled AOGR to 
release _One By One_.
	They have several things going for them that separate 
them from the rest of the pack. The most obvious thing is lead 
singer/guitarist/keyboardist Andrew Winn's sandpaper vocals. After 
a skiing accident at age 14 crushed Winn's larynx, the doctors 
connected the dots with whatever was left, and as a result Winn's 
voice sounds like velcro combined with a case of unfiltered 
Marlboros. It sounds almost like Winn's voice is going through 
more special effects than James Cameron, but it's actually his 
everyday voice - which, to be honest, is kind of frightening.
	Another thing that sets AOGR apart is their bare sound. 
Lacking a traditional lead guitarist, AOGR seem to rely more on 
the interplay between Stewart Myers' bass and Brian Jones' funky 
drumming. Also, saxophonist J.C. Kuhl contributes perfunctory leads 
and fills from time to time. After mining the "east coast club 
scene", AOGR got their act together, and they sound polished and 
ready for mainstream success. Their sound is a weird combination of 
Aerosmith, Stevie Wonder, Bela Fleck, and the Wallflowers. There's 
also lots of jazz-influenced key signature play, and some pretty 
sweet instrumental synergy.
	There are at least 3 radio-friendly, toe tapping and head 
nodding singles practically hopping from the jewel case. "Upspin" 
sounds like a Motown standard from Berry Gordy, replete with 
Aretha-esque wailing background vocalists. "Two Bucks" allows 
drummer Jones a chance to take the lead vocal duties, and "Hoping, 
Waiting, Longing" is similar to "Upspin" with its harmonic 
simplicity.  And that's not even including the first single to 
catch radio's ear, "Smiling Up The Frown".
	_One By One_ has the possibility of being huge, but these 
songs are much too mature and complex to get lumped into the same
Wallflowers bargain bins. Here's hoping music fans recognize it.
---
	REVIEWS: Electronique Cafe' (Air / Dimitri From Paris / 
		Kerosene / Williams Fairey Brass Band / DJ Frankie 
		Bones / DJ Micro / Adam F)
		- Joe Silva
	While not even beginning to probe through the underground, 
the stack of fully commercial outings has grown exponentially and 
it's not even quite Spring yet. Forgetting the Grammy bone tossed 
at the Chemical Brothers for a moment, there are more than a 
handful of non-Big Beat releases to contend with:
	Dimitri From Paris, _Sacrebleu_ (Atlantic) - Ultra-smooth 
with no fear of poppy hooks, Dimitri goes for the "intimate thing." 
With bossa-nova flair, this Istanbul-born Frenchman boasts a groove 
that swings with a nostalgia that still plays fresh. Not so much 
swamped in the electronic as say fellow countrymen Air, Dimitri 
offers lounge ballads, creamy soul, and Euro-centric house moments 
that can serve as subtle, but supremely-crafted backdrops. Must 
hear: "Sacre Francais," "Nothing To Lose," "Love Love Mode."
	Kerosene, _Teenage Secret_ (Caipirinha Music) - Straight 
out of the gate, this LP shows that some Germans may still have 
an intuitive edge when it comes to the atmospherics of electronic 
music. Engaging, effectively moody without being overtly cerebral, 
this fellow has a fair hand with samples and copping sounds that 
are both arresting and unique (like the sax bits in "Your Muscles"). 
Must hear: "When You're A Young Girl," "Supercrash," "Your Muscles."
	Air, _Moon Safari_ (Caroline) - Coming more from a 
Jean-Michel Jarre/Space Odyssey 2001 with a hefty dollop of soul 
perspective than other members of the French electronic brain trust, 
Air's downbeat ambience is getting the lion's share (the lyon's 
share?) of the attention at the moment. With their more dated vibe, 
particularly on tracks like the brilliantly catchy "Kelly, Watch 
The Stars!," they are poised almost as a novelty in the current 
arena. With vocalist Beth Hirsh they approximate a more funky (or 
foxy) Portishead. The duo to watch. Must hear: "Sexy Boy," "Kelly, 
Watch The Stars!," "Remember."  A complete review appears in the 
March 11 issue (http://www.westnet.com/consumable/1998/03.11) of 
Consumable.
	The Williams Fairey Brass Band, _Acid Brass_ (Mute): A pub 
idea that grew enough appendages to get up, walk around and survive 
it's nascency to see the following day, this project spawned by one 
Jeremy Deller caused enough of a stir to attract the questionable 
attentions of the KLF rogues Bill Drummond and Jimmy Cauty. While 
it's surely a full-fledged curio (brass band covers of House 
mega-hits!!), it's also intensely listenable and further proof 
that there's some depth to the compositions of all these 
knob-twiddlers. Must hear: "Can U Dance?," "What Time Is Love?," 
"Cubik."
	Various Artists,  _Los Angeles: Critical Mass_ 
(Mindspore): An overview of L.A.'s budding hopefuls put together 
by Kevin Crosslin and KCRW DJ Kevin Lincoln. Ultra-atmospheric 
("Quay-Czar") to tribal ("You Are The Dream").  Broad flavored, 
but overly mellow to a fault. Never acquires much verve. 
Worthwhile: "Kiss" by TM.
	DJ Frankie Bones, _Technolo-G_ (ESP-SUN): The man himself 
spinning big house grooves that largely wear thin after a few 
minutes.
	DJ Micro, _Presents Micro-Tech-Mix (Moonshine Music): 
Initially getting a slow start, things pickup with Mr. Rossi 
Feat. UFO's "Return Trip." A healthy mix in more than a couple 
of spots. Recommended.
	Various Artists, _Moonshine Mixed Vol.2_ (Moonshine): 
Mixed by Steve Levy; funky bits and pieces from the like of 
Keoki, E.K.O., and Elli Mac. Generally does not get off the 
ground floor too often. Worthwhile: "Caterpillar (The Crystal 
Method Remix)."
	Derrick May, _Innovator_ (Transmat): A double CD's worth 
of the ultra-legend. Very lame in spots ("Strings Of The Strings 
Of Life"), pleasant at others ("A Little Spaced Out"), and 
occasionally triumphant ("A Relic Mix"). Possibly a must have, 
but weak in the "bang for your buck" department.
	Adam F, _Colours_ (Astralwerks): Drum n Bass with the 
depth that Goldie had hoped to achieve on his recent magnum 
opus. Tracey Thorn vocals and Grooverider mix onboard. 
Worthwhile: "Circles (Roni Size Mix)," "The Tree Knows Everything."

	To steer clear of: Steve Stoll, _Blunted Boy Wonder_ (NovaMute)
---
	CONCERT REVIEW: Pee Shy / Evelyn Forever / Space Gel
		- Al Muzer
	Living up to each and every word of their considerable 
advance press, New York by way of Tampa four-piece Pee Shy were 
the perfect headliner for a bill that featured two local bands 
clearly on their way to bigger and better.
	With their irresistible hit "Mr. Whisper" and its tinkling 
toy piano a staple on the local airwaves and their 11-song Blue 
Gorilla/Mercury Records debut, _Don't Get Too Comfortable_ edging 
its way up the charts, Pee Shy drew an early crowd that kept The 
Saint (Asbury Park, N.J.) partying and packed until closing time.
	An artsy, quirky, granola-fed, punk-informed Roches update 
with a minor Esquivel jones and a working knowledge of Portishead, 
Ivy, Mary's Danish, St. Etienne and Julianna Hatfield; 
bassist/vocalist Mary Guidera, drummer/vocalist Billy Orrico, 
guitarist/keyboardist/accordionist/clarinetist/vocalist Jenny 
Juristo and guitarist/accordionist/vocalist Cindy Wheeler did 
more than just duplicate their extraordinary sophomore release 
on stage - they also managed to charm a typically tough Asbury 
Park audience into thinking that they not only knew, but loved, 
every song in the group's two album arsenal.
	Alternately recalling Sparks, Siouxsie, the Pistols, Wendy 
O. Williams, the Nymphs, Nina Hagen, the Dead Boys and CBGB's 
circa-1978, North Jersey's Space Gel opened the evening with a 
40-minute energy assault that included jet engine-loud blasts of 
glam-, punk-, pop-, techno-, goth-, grunge-, lounge- and metal-based 
insanity made even more entertaining thanks to the visually-freaked 
stage persona of lead vocalist Andrea Montagna and a couple of 
guitarists not at all afraid to solo.
	Currently being courted by more than a few major labels, 
Evelyn Forever's pop-centric 45-minute closing set had the crowd 
(which included the visibly delighted members of Pee Shy) bouncing 
along to spirited versions of songs such as "Rock 'N' Roll Girl," 
"What I Need," "Teenage Love Murder Suicide," "17," "Double Dip" 
and "Sultry" while it proved (once and for all) that the hoopla, 
hope, hype and handshakes surrounding this talented New Brunswick 
four-piece are based on the real goods.	
---
	REVIEW: Fastbacks, _Win, Lose or Both_ EP (Popllama)
		- Scott A. Miller
	Consumable's Al Muzer once described the Fastbacks as an 
"excellent Go Go's in hyperdrive version of L7 with hooks." I could 
give you a few more fluffy adjectives about the band's sound, but 
the truth is Al hit the nail on the head.
	Guitarist/songwriter Kurt Bloch plays his power pop hooks 
with an energy and crunch that The Go Go's seemed uninterested in. 
Plus, you could brew coffee with the perkiness of Kim Warnick (bass 
and vocals) and Lulu Gargiulo (guitar and vocals). It's easy to see 
why this band has survived since 1979 - and, no, that's *not* a typo.
	_Win, Lose or Both_ gives listeners a good sense that the 
sound and energy from each of the band's studio efforts translates 
almost verbatim to the live setting. This is an EP in name only. 
After the four new studio songs, listeners are treated to nine 
tracks from the band's 1997 tour. And because the band does such a 
great job of capturing its live sound in the studio (or its studio 
sound live), the live tracks come across as an extension of the 
four new songs, not just some music lacquered on the end to make the 
EP a better value.
	The four new songs (three by Bloch and one by Dr. Frank) 
continue the Fastbacks' tradition of short, punky bursts of 
power-pop energy. "So Wrong" is the most furiously played song I've 
heard this year. And the Dr. Frank number, "Book of Revelation," is 
a speed-pop dream complete with a classical-style guitar hook -- all 
in just over two minutes of playing time.
	The live set isn't really a set; it was taken from several 
performances.  But it feels coherent because the band starts out 
loose and even a little flat but ends up sharp as a tack.
	Some good-natured goofing after the opening eventually gives 
way to a little real anger at a rude fan screaming for "Rocket 
From the Crypt." Like real pros, though, the band doesn't channel 
its fury toward the audience, but funnels it back into the songs 
with slashing chords, jack-hammered snares and crackling vocals.
	It's no surprise the Fastbacks are legends in their native 
Seattle. What is surprising -- and so totally uplifting -- is that 
nearly 20 years after forming the band can still get you on your 
feet with some of the brightest, most energetic rock on CD.
---
	REVIEW: Todd Thibaud, _Favorite Waste of Time_ (Doolittle)
		- Arabella Clauson
	Perhaps the most striking facet of Todd Thibaud is his 
optimistic, warm tenor voice, something quite inspiring from yet 
another victim of the ruthless music industry.  Relativity Records 
signed and dropped the former Courage Brothers songwriter within 
six months after changing to an all-rap format.  Left to his own 
devices, Thibaud wrote, financed, and recorded his own album, 
releasing several thousand copies in the Boston area.
	Thibaud comes into his own on _Favorite Waste of Time_, 
merging pop, rock, blues, and folk into something entirely his own 
creation, perhaps surprising after his Americana rock band days 
with the Courage Brothers.  He elicits comparisons to Tom Petty, 
a less raspy John Hiatt, and Steve Earle, whose "Copperhead Road" 
appears as an improvised bonus track.  Thibaud released the self 
financed album in Boston last year, before shopping around for a 
record label, finally signing on with Austin's Doolittle Records 
last summer.  Returning to the studio, Thibaud and producer Kevin 
Salem (Freedy Johnston) recorded two new songs,  "Cold," which 
sounds like something straight out of a Robert Rodruiguez film, 
and "2 a.m." a twangy, heartfelt ballad about self-reflection.  
The result is a finely tuned, extremely balanced collection of 
Southern country-rock tunes, no doubt a reflection on the 
songwriter's talent and life experiences.
	"Sweet Destiny" calls for some Toad the Wet Sprocket 
comparisons, boasting a mellow acoustic sound and smooth vocals.  
Kathleen Wilhoite makes a cameo appearance on "Give My Heart Back," 
an unromantic, yet still rather sad, duet. Thibaud also wrote the 
standout track "That Wasn't Me" soon after the drop from Relativity, 
resulting in a bitterly ironic, yet somehow still upbeat lyrical 
self-examination with "I don't know where I went wrong I guess I 
just lost track/lately all the ones I love are the ones that I 
attack."  He seems fiercely self-critical, but perhaps through 
personal experience, Thibaud found the sheer determination 
required for a struggling artist to keep faith in both the industry 
and his own music.
---
	REVIEW: Rick Derringer And Friends, _King Biscuit Flower 
		Hour_ (KBFH)
		- Bill Holmes
	Back when rock radio was about the music and not about the 
demographics, weekly radio shows like the BBC Rock Hour and King 
Biscuit brought an eclectic mix of artists into your home. For the 
thousands of us that taped many of them on inferior equipment and 
cheap tapes, station Ids and commercials intact, the CD versions of 
the BBC and Biscuit series are a godsend. This 1983 benefit show 
(for Rick Derringer and his band, actually, as their equipment 
truck and everything on it had just been stolen!) features the _Good 
Dirty Fun_ era Derringer band and several guest stars.
	Derringer found early fame with The McCoys, was ..uh...
instrumental in the success of both Johnny and Edgar Winter and 
enjoyed a semi-successful solo career. Although best known for the 
true rock classics "Rock And Roll Hoochie Koo" and "Hang On Sloopy", 
Derringer's band and solo efforts also produced a number of 
hook-laden pop songs and frantic guitar workouts, neither of which 
seemed to find a home on radio. Musicians like Neil Geraldo, Kenny 
Aronson, Danny Johnson and Myron Grombacher all interned with 
Derringer, and although some of the studio material was average at 
best, the live Derringer always kicked ass (and still does - the guy 
is on the road constantly!). This show is no exception.
	Derringer has never been a great singer; his voice often 
thin and/or flat. His guitar playing, on the other hand, is legendary. 
Not many players could go toe-to-toe with Johnny Winter (any doubters 
simply need play _Johnny Winter And Live_  to settle that bet!). But 
consider that this concert was taped in the early 1980s, when live 
shows often aired "warts and all" and serious guitar wanking was the 
order of the day. As a result, be prepared to suffer many audience 
participation yelps, bad stage banter and the inevitable endless 
"dueling guitar and vocal" trick that both Derringer and Edgar 
Winter were a little too fond of (check the close of "Rock And Roll 
Hoochie Koo" - it just doesn't date well). If you can tolerate that, 
however, you'll be rewarded with strong versions of little-heard 
songs like "Guitars And Women" and "Party At The Hotel" and a 
smoking version of "Let Me In" that rivals the one on the 
not-yet-on-cd _Derringer Live_.
	Besides the band numbers there are guest appearances by 
ringers like Dr. John, Edgar Winter and Ian Hunter (a nice turn 
with "Just Another Night" , "All The Young Dudes", "Roll Away The 
Stone" and "Ships"). Although more of Rick's material would have 
been nice, it's good to have these joint performances captured for 
posterity. Overall, this release is a nice addition to Derringer's 
catalogue, which unfortunately is thin at the moment. Hopefully 
1998 will see the overdue release of  the aforementioned _Live_, as 
well as the collectors item _Live In Cleveland_ and the inexplicably 
delayed _Archive Alive_. Now if someone would only get off their ass 
and reissue _Guitars And Women_ and _Good Dirty Fun_ and dig up some 
live shows that Derringer did with Edgar Winter and Dan Hartman,  
Rick would get more of the respect he richly deserves.
	In the meantime, enjoy this blast from the past, and make 
sure you have your lighter ready for the encore.
---
	REVIEW: Fat Amy, _Five Way Switch_ (Rubber Records)
		- Arabella Clauson
	Solid, staunchy meat-and-potatoes midwestern rock drives 
Fat Amy's indie label release, _Five Way Switch_.  Lead singer 
Bobby Guiney's vocals recall a more subdued Kurt Cobain with the 
range of a glee club choirboy. Without thinking twice, he could 
probably, quite successfully, segueway into Andrew Lloyd Webber's 
Requiem for an encore performance. Edgy alternative trademark 
guitars push the album through some brief rough spots on "Chili 
Red." Suprisingly smooth vocals and sincere lyrics emerge in the 
midst of "Come Undone" with "She never said you were too afraid to 
ask/How will you ever forget me/I come undone."  With the common 
vagueness characteristic of much contemporary music, the lyrics 
leave plenty of room for personal interpretation. Some glam rock 
overtones introduce "In The Middle," though stunningly beautiful 
vocals emerge in more subdued moments. Guiney could be a reincarnated 
Simon Le Bon in a 1990s do-it-yourself rock era.  He certainly has 
the vocal range and boyish good looks which endeared the Duran 
Duran singer to millions.
	Recent national circuit predecessors from Michigan like 
The Verve Pipe helped pave the group's way out of East Lansing 
obscurity.  Producer Tim Patalan (Sponge, Fretblanket) showcases 
the rough guitar and rhythmic undercurrents which have brought Fat 
Amy success in the midwest and on the Internet indie scene.  Before a 
stellar performance at the South by Southwest Music Festival, the 
band shared the stage with the Goo Goo Dolls, They Might Be Giants, 
and the Verve Pipe.  Their live performances are noted for their 
intense energy and audience rapport - with good reason as Guiney has 
a permanent smile plastered from ear to ear, and the whole band 
breaks a sweat within 30 seconds of taking the stage.
	_Five Way Switch_ is a spectacular debut album,  capturing 
the essence of the intense live performance, and signaling there is 
something unusual going on near the Great Lakes.  With the popularity 
of the AWARE Compilations (on which Fat Amy makes a recent appearance), 
the region produces bands quicker than Florida ships out bundles of 
citrus fruit.
---
	REVIEW: Walter Trout, _Walter Trout_ (Ruf)
		- Linda Scott
	The European success of Walter Trout, yet his relative 
anonymity in his own country (United States), is as much a mystery 
to him as to his fans.  An ace guitarist who ranked #6 among the 
Top 20 all-time greatest guitarists in a 1993 BBC poll (just 2 
votes behind Jimmy Page) can not possibly have been ignored by 
American music fans - but, unfortunately, he has been. 
	At 46, Walter Trout is a man that has given his life to 
music.  Known as a soulful, bluesy lyricist/vocalist with a 
killer guitar, Trout at one time played here for Canned Heat 
and John Mayall's Bluesbreakers. A Danish promoter and label 
rep spotted Trout and persuaded him to come to Europe, start his 
own band, and make some albums there.  Over the past years, Trout 
has released seven albums in Europe only two of which including this 
current one have also been available in the US.  
	In Europe, Trout is known as a passionate, versatile 
blues/rock musician who likes all kinds of music from hard rock to 
sweet ballads, all of which he lays over a blues edge.  High marks 
for songwriting and for singing where his good range and husky, 
masculine tone compliment his near-perfect delivery.  Trout makes 
his eponymously-titled album a joy to listen to.
	Trout has a three member band - bass, keyboards, drums - but 
he is clearly the band's focal point.  The band does a good job on 
the 16 tracks of _Walter Trout_, and you can hear the influences 
from the Beatles to Bob Dylan, Joni Mitchel and Paul Butterfield.  
There are some lovely songs and some lonely songs.  The first single 
off the album is "Tender Heart" promoted with a limited edition, 
heartshaped disk.  The producer responsible for pulling all this 
together is none other that Jim Gaines who did such fine work for 
Blues Traveler, Stevie Ray Vaughn, Steve Miller, and Carlos 
Santana.  The album is a professional one from the first track, "Got 
A Broken Heart", a blues rocker that shows what Trout can do.
       Who's going to like _Walter Trout_?  People who like rock, 
people who like beautiful, meaningful lyrics, people who like the 
blues.  But even though Trout has a reputation as a blues master, you 
don't have to be a huge blues fan to like _Walter Trout_.  Trout has 
room for all kinds of fans. Let's hope this American musician stays 
here for a long time.
---
NEWS: 	> Air will be in Los Angeles to film the second single 
"Kelly, Watch The Stars".  The single/EP for "Sexy Boy" - 
which includes 4 versions of the title cut including a remix 
by Beck, and a brand new track "Jeanne" - will be released on April 7.
	> The Bud Light Big Air Series - a pro-invitational 
snowboard competition - is not just about sports, but about 
bands as well.  Confirmed bands to appear at these events 
include the Mighty Mighty Bosstones, Fastball, Rancid, 
Blink 182, Pennywise, Sugar Ray, Specials, Novacaine, 
God Lives Underwater, Our Lady Peace and more.
	The festival will be held on Saturdays in Summit West (WA), 
Sugar Bowl (CA), Loon Mountain (NH) and Mt. Hood (OR).  For exact 
site locations and further information, check out the web sites at
http://www.solsnowboarding.com or http://www.onboardent.com
	> Collective Soul has been at work on their fourth 
album, _Dosage_, which is scheduled to be released in late 
August.  Lead vocalist Ed Roland will be producing the album, 
which was pared down from the more than 35 songs which Roland 
had written.
	> Hoboken-based music organization Stop and Smell The Locals 
is presenting the first annual Mile Square Musicfest '98 from April 1 
to April 4.
	More than 50 Hoboken area bands - including Chris Butler, 
Mary Ann Farley, Fear of Falling, the Gefkens, Kate Jacobs and The 
Wrens - will be appearing at seven venues (Liberty Bar, Liquid Lounge, 
Lovesexy, O'Nieals, The Quiet Woman, Shannon Lounge and Zell's) 
throughout Hoboken.  All Access Passes for all shows during the four 
evenings are $20; nightly passes (good for all shows during any one 
evening) are $8.
	For more information on the Mile Square Musicfest '98, check 
out the website at http://www.hobokeni.com/stop/musicfest98.htm
---
TOUR DATES:
	Agents of Good Roots
Mar. 24 Roanoke, VA Graudin
Mar. 25 Harrisonburg, VA Main Streets
Mar. 26 Charlottesville, VA Trax
Mar. 27 Richmond, VA Floodzone
Mar. 28 Philadelphia, PA Trocadero
Apr. 2 Greenville, NC Attic
Apr. 3 Davidson, NC Davidson College
Apr. 4 Williamsburg, VA Lake Matoaka Fest

	Bluetones
Mar. 25 Cambridge Corn Exchange
Mar. 27 Guildford Civic Hall
Mar. 28 London Shepherd's Bush Empire

	Bush Tetras / Fall
Mar. 30-31 New York, NY Coney Island High
Apr. 3 Boston, MA Middle East
Apr. 4 Philadelphia, PA Trocadero
Apr. 5 Washington, DC Black Cat

	Buzzoven
Mar. 24 New York, NY Continental
Mar. 25 Portsmouth, NH Elvis Room
Mar. 26 Concord, NH Club Eclipse
Mar. 27 New London, CT El-N-Gee
Mar. 30 Cleveland, OH Euclid Tavern
Mar. 31 Ann Arbor, MI Heidleberg Cafe
Apr. 1 Grand Rapids, MI Intersection
Apr. 2 Chicago, IL Empty Bottle

	China Drum
Mar. 24 Costa Mesa, CA Club Mesa
Mar. 25 Los Angeles, CA Viper Room
Mar. 26 San Francisco, CA Paradise Lounge

	Cravin' Melon
Apr. 4 Macon, GA Wesleyan College 	
Apr. 5 Wilmington, NC Azeala Festival	

	Curve / Freaky Chakra
Mar. 28 Cleveland, OH The Odeon
Mar. 30 Boston, MA Axis
Apr. 3 New York, NY Knitting Factory
Apr. 4 Washington, DC 9:30 Club

	Dave's True Story
Mar. 28 Philadelphia, PA Tin Angel

	Alana Davis
Apr. 2 St. Louis, MO Side Door
Apr. 3 Kansas City, MO Beaumont Club
Apr. 4 Denver, CO Bluebird Theater

	Feeder
Apr. 1 Kansas City, MO The Hurricane
Apr. 3 Chicago, IL Double Door
Apr. 4 Detroit, MI Shelter @ St. Andrews
Apr. 5 Cleveland, OH The Grog Shop

	High Llamas
Mar. 25 San Francisco, CA G.American Music Hall
Mar. 27 Seattle, WA Crocodile
Mar. 28 Vancouver, BC Starfish Room
Mar. 29 Portland, OR Music Millenium
Mar. 31 Denver, CO Bluebird Theatre
Apr. 1 Lawrence, KS Bottleneck
Apr. 2 St. Louis, MO Side Door
Apr. 3 Chicago, IL Metro
Apr. 4 Toronto, ON Concert Hall

	Incubus
Mar. 24 Philadelphia, PA Pontiac Grill
Mar. 25 Asbury Park, NJ Saint
Mar. 26 New York, NY Coney Island High
Mar. 27 Worcester, MA Espresso Bar/Music
Mar. 28 Buffalo, NY Show Place Theatre
Mar. 29 Rochester, NY Water Street
Mar. 30 Detroit, MI Shelter
Mar. 31 Chicago, IL Cabaret Metro
Apr. 4 Lawrence, KS Bottleneck

	Irving Plaza (NYC concert hall - www.irvingplaza.com)
Mar. 24 Joe Satriani
Mar. 25 Propellerheads
Mar. 28 Greyboy Allstars
Mar. 31 Los Fabulosos Cadillacs / Cherry Poppin' Daddies

	Luna
Apr. 3 Dallas, TX Deep Ellum Live
Apr. 4 Austin, TX Liberty Lunch

	Ziggy Marley & Melody Makers
Apr. 3 Boulder, CO Fox Theater
Apr. 4 Durango, CO Ft. Lewis College

	Megadeth
Mar. 26 Atlanta, GA Masquerade
Mar. 27 Jacksonville, FL Fairgrounds Bldg.
Mar. 28 Tampa, FL Livestock (WXTB)
Mar. 29 Ft. Lauderdale, FL Theater Clb Con Hall
Mar. 30 Orlando, FL House of Blues 
 
	Mono
Apr. 1 Chicago, IL Double Door
Apr. 3 San Francisco, CA Bimbo's
Apr. 4 Seattle, WA Aro Space

	Phish
Apr. 2-3 Uniondale, NY Nassau Coliseum
Apr. 4-5 Providence, RI Providence Civic Center

	Princess Superstar
Mar. 26 San Francisco, CA Chameleon
Mar. 30 Seattle, WA Colorbox

	Promise Ring
Mar. 25 Orlando, FL Broadies Warehouse
Mar. 26 Tampa, FL Skate Park Of Tampa
Mar. 27 Tallahasse, FL Florida State University
Mar. 28 Gainesville, FL Covered Dish
Mar. 29 Chapel Hill, NC Cats Cradle
Mar. 30 Richmond, VA Twisters
Mar. 31 Baltimore, MD Fletchers W/ Burning Airlines
Apr. 1 Washington, DC Black Cat W/ Burning Airlines
Apr. 2 Philadelphia, PA Tla W/ Burning Airlines, Jets To Brazil
Apr. 3 New York, NY Brownies W/ Jets To Brazil
Apr. 4 New York, NY Coney Island High W/ Burning Airlines
Apr. 5 Hanover, NH Dartmouth University

	Radiohead
Mar. 28 Houston, TX Theatre At Bayou Place
Mar. 29 Dallas, TX Music Hall @ Fair Park
Apr. 1 Los Angeles, CA Universal Amphitheatre
Apr. 2 San Francisco, CA Bill Graham Civic
Apr. 4 Salem, OR Salem Armory Arena
Apr. 5 Seattle, WA Paramount

	Sherry Rich
Apr. 2 Nashville, TN Sutler

	Roni Size Reparazent
Mar. 25 Seattle, WA Showbox
Mar. 27 San Francisco, CA Bimbo's
Mar. 28-29 Los Angeles, CA Roxy

	Scrawl
Mar. 26 New York, NY Knitting Factory

	Smart Went Crazy
Mar. 27 Blacksburg, VA House show
Mar. 28 Knoxville, TN World of Gifts
Mar. 30 Athens, GA House show
Mar. 31 Tallahassee, FL The CowHaus
Apr. 1 Layfayette, LA Bucky's Skate Ranch
Apr. 3 Denton, TX Rubber Glove
Apr. 4 Lubbock, TX Kitchen Club
Apr. 5 Alberquerque, NM Nob Hill

	Superdrag / Apples In Stereo / Tuscadero
Apr. 2 Carrboro, NC Cat's Cradle
Apr. 3 Huntington, WV Drop Shop

	Swervedriver / Libido 
Mar. 25 Denver, CO Bluebird Theater 
Mar. 26 Salt Lake City, UT Zephyr Club 
Mar. 28 Seattle, WA RKCNDY 

	Third Eye Blind / Smash Mouth / Fat
Mar. 25 Milwaukee, WI Eagles Aud.
Mar. 26 Chicago, IL Aragon Ballroom
Mar. 27 Omaha, NE Creighton Univ./Aksarben Col.

	Third Eye Blind / Rebekah
Mar. 30 Nashville, TN Vanderbuilt Univ. - Gym
Mar. 31 Ferrum, VA Ferrum College
Apr. 3 Jacksonville, NC New River Marine Station
Apr. 4 Savannah, GA The Roundhouse
Apr. 5 Dayton Beach, FL Embry Riddle Univ. - Fieldhouse

	Zeke
Mar. 26 Dallas, TX Trees
Mar. 27 Austin, TX Emo's
Mar. 28 Houston, TX Blue Iguana
Mar. 29 Denton, TX Rick's Place
Mar. 31 Albequerque, NM Launch Pad
Apr. 1 San Diego, CA Casbah
Apr. 2 Signal Hill, CA Foothill
Apr. 3 San Francisco, CA Cocodrie
---
THE READERS WRITE BACK!
	> I don't normally feel compelled to write letters to magazines 
that I enjoy, but I thought I'd make an exception with Consumable.  I 
moved from Colorado to Bordeaux, France last September.  As you might 
imagine, I've been wrestling more than occasionally with culture shock, 
not least because typical French musical tastes are, well, let's just say 
radically different than mine, a former college radio DJ.  Thus I've come 
to rely on y'all as a source of information about current releases by some 
of my favorite bands. In fact, I've recently bought a couple of discs 
based upon your reviews (Boy Wonder's excellent _Wonder Wear_ and the 
cool Devo Tribute _We Are Not Devo_), and have not been disappointed.  
Thanks for producing a consistently interesting and informative 
alternative music publication.  You've helped me cope with being a little 
homesick (well, you and various online CD stores, really), and prevented 
me from developing an undoubtedly severe case of music withdrawal upon 
leaving the US.  I'm still searching for something by The Montgomery 
Cliffs, though... - Dave H., Bordeaux, France
---
Founded in August, 1993, Consumable Online is the oldest 
music reviews publication on the Internet.
To get back issues of Consumable, check out:
        WWW:     http://www.westnet.com/consumable
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===
