==== ISSUE 121 ====    CONSUMABLE     ======== [September 15, 1997]

  Editor:             Bob Gajarsky
		        Internet: gaj@westnet.com
  Sr. Correspondents: Tim Kennedy, Reto Koradi, David Landgren, 
                      Sean Eric McGill, Tim Mohr, Al Muzer, Joe Silva
  Correspondents:     Daniel Aloi, Tracey Bleile, Lee Graham Bridges, 
                      Scott Byron, Patrick Carmosino, Janet Herman, 
                      Bill Holmes, Eric Hsu, Tim Hulsizer, 
                      Stephen Lin, Scott Miller, Linda Scott, 
                      Scott Slonaker, Simon Speichert, Jon 
                      Steltenpohl, Simon West, Lang Whitaker
  Technical Staff:    Chris Candreva, Dave Pirmann
  Also Contributing:  Tym Altman, Nancy Price, Ron Singer

 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: Radiohead (Part 2) - Nancy Price
REVIEW: Radiohead, _OK Computer_ - Scott Byron
ADVANCE REVIEW: Dream Theater, _Falling Into Infinity_ - Dan Birchall
CONCERT REVIEW: Power Station - Bob Gajarsky
INTERVIEW: Fish (Part 1) - Tym Altman and Ron Singer
REVIEW: Ralley, _Ralley_ - Tim Mohr
REVIEW: Soundtrack, _Kiss Me Guido_ - Sean Eric McGill
REVIEW: Jennifer Goree, _Jennifer Goree_ - Jon Steltenpohl
CONCERT REVIEW: The Montgomery Cliffs - Bill Holmes
REVIEW: Life of Agony, _Soul Searching Sun_ - Sean Eric McGill
SHORT TAKES: Hanuman Care Kit, Jaymz Bee And Royal Jelly Orchestra, 
   Abe Lincoln Story - Bob Gajarsky 
REVIEW: The Rudess Morgenstein Project, _The Rudess Morgenstein 
   Project_ - Linda Scott
REVIEW: Jenifer Smith, _Code Mesa_ - Jon Steltenpohl
NEWS: Squirrel Nut Zippers
TOUR DATES: Bailter Space / Sunday Puncher, David Bowie, Daft Punk / 
   Aphex Twin, Danielson/Soul Junk, Chris Duarte, Emerson, Lake & 
   Palmer, Foo Fighters , Greg Garing, Buddy Guy, (hed) p.e., Irving 
   Plaza, Life of Agony, Pantera / Coal Chamber / Machine Head, 
   Samples, Shootyz Groove / Tree, Tsunami
Back Issues of Consumable
---
	INTERVIEW: Radiohead (Part 2)
		- Nancy Price
	(The first part of this interview appeared in the September 1 
issue - #120 - of Consumable Online).
	Radiohead are one of a handful of bands who clearly seem to 
be plugged into the nineties, and even own their namesake domains 
(radiohead.com and, for Europe, radiohead.co.uk).  The website itself 
is certainly unique with its spartan content.  "Stanley Donwood does 
the website and does the artwork with Thom," explains O'Brien.  'We 
just didn't want to do one of those websites that is basically like 
`here's a picture of the band, here's the band on the set of their 
latest video, you can buy the video, you can buy the new single 
out now.'  We wanted something that provoked a bit more of a 
reaction - you either love it or hate it. People think it's 
interesting... and then other people say "why can't I get the chords 
to "Creep?" '  O'Brien was unaware that the website seems to be 
having a bit of trouble, and, for the past couple months has 
included the message, "This site, embarrassingly listed as the 
official Radiohead site, has been left in a state of confusion by
Stanley Donwood, who has vanished."
	Although the band may not visit their virtual home too often, 
they are, at least, computer literate.  "Oh, completely - yeah.  Totally.
Colin and Thom have got Powerbooks out on the road, Jonny's going to
buy a Powerbook."  So do they do much websurfing?  "Yeah," O'Brien
replies, "I find it so boring, though. I personally feel the best
thing about the internet is the text.  The graphics - it takes so
bloody long to download anything.  The text is the stuff that
interests me." (His insistence upon his interest only in the text is
intriguing, as I made no effort to steer the conversation in that
direction.  A couple days later, however, I learn from a writer from
Rolling Stone Online that she initially had an interview scheduled
with O'Brien to discuss sex-related websites... but the interview was
canceled without explanation.)
	O'Brien does, however, attest to the power of the web.  "When 
we're in the studio - the day after we tracked the songs, there was a 
website saying the songs we were recording.  We have no idea - *no 
idea* - how they got the names of the songs.  Okay, some of them we 
played live, some of them we haven't.  There's no way.  Stuff that 
had been written the night before, been tracked.  Really weird.  I 
just have got a feeling that one of the others in the band is going 
onto the computer about three in the morning and being a mole... and 
that's cool, that's fine."
	There's certainly a major demand for news about the band in 
the online world.  Radiohead's internet devotees span the globe - in 
fact, the UBL (Ultimate Band List) mentions more than seventy sites 
dedicated to the band, and their high-volume mailing list has over 
four hundred members... well, four hundred, and, on occasion, 
another five. O'Brien smiles, "When we were in the studio, we'd 
occasionally go in on that.  They wouldn't believe who we were. They 
told us to get off."
	For real-time online interaction, fans will pretty much have 
to wait for one of the numerous online chats featuring the band, or, 
as the case may be, the band minus O'Brien: "I always avoid [chats].  
I've done it once.  I'm not that interested at all.  You've always 
got some person regulating it, and I don't want to have just the `good' 
questions.  I want to see what else is being said, and it's really 
frustrating to have that `we can't show the band *that* question.'  If 
someone says `you guys, you suck, I hate your album' I want to retort, 
I want to respond to that."
	Personally, his favorite aspects of Internet connectivity 
vary.  On the web, he admits to liking "things like typing in a word 
and seeing where it gets you.  I'm also a big soccer fan - Manchester 
United - so I check out the MU sites, and there are a lot."  And 
though he has a Mac at home, "on the road, I can't get any of the 
world wide web.  I do e-mail with a palmtop - you can get text only." 
The written word - that text - again is apparently where his passion 
lies.  "I love e-mail, e-mail is brilliant.  It changes the way we 
talk.  Suddenly, you're getting letters on the road.  Contact, rather 
than you sending and it being one way the whole time."
	Contact with home and the outside world in general would 
be vital for anyone on the road, holed up with other band members 
and crew for sometimes months on end.  Still, even when they're back 
home, it sounds like they just can't be apart for too long.  "We all 
live in Oxford.  If we're back for months, we see other friends and 
chill out, and then by the second week, we're phoning one another up, 
saying `what are you doing?'"
	That honest, undiluted friendship is the foundation upon which 
Radiohead have built their remarkable career.  It is also what 
motivates them to move forward.  Of the future, O'Brien says he sees 
the band's goal as, "fairly simply, to continue making good and better 
records.  And remain friends, really.  Remain friends and remain human 
beings."  A moment's pause, then he clarifies, "If for one moment I 
believed that me and the band as a whole had become rock and roll 
casualties who don't get on, who become twisted...  you see a lot of 
these old rock and rollers - unwilling to take the rough, having had 
the smooth... then I wouldn't carry on. I'm not interested in 
compromising our characters or becoming rock and roll assholes - not 
interested in that at all."
---
	REVIEW: Radiohead, _OK Computer_ (Capitol)
		- Scott Byron
	Radiohead's third album, _OK Computer_, is a rarity in recent
history - a grand, well-thought-out, sonically adventurous *album*.  It's 
hard to come up with a contemporary comparison for this: an album that's a 
full-fledged experience, where the *sounds* are as important as the words. 
Each of the tracks here has been carefully constructed, with layers of 
guitars, multiple rhythms, and all sorts of other things on top and 
inside.  And then the tracks themselves have been placed together into a 
coherent whole.
        The way it all falls together has an almost Pink Floyd-ish 
quality.  Which is not to say that Radiohead now sounds like Pink Floyd. 
They don't.  But love 'em or hate 'em, Pink Floyd set the standard for 
grand concept albums.  And _OK Computer_ is grand in that same way, and 
somewhat thematic, loosely examining man's interaction with technology. 
Thankfully, Radiohead stops short of the sometimes-pretentious narrative 
style that sometimes dragged down Floyd's work.  [Though I must say that 
the band's announced intention to make videos for every song on this album 
may push them over the edge into pretension.  Still, the animated video 
for "Paranoid Android" is pretty great.  Whatever.]
        To fully experience this fine work, I encourage you to listen to 
_OK Computer_ straight through, perhaps through headphones.  And play it 
loud.  Focus on the details.  The way Thom Yorke's vocals float above 
"Lucky" but nestle into the center of "Let Down" and "Subterranean 
Homesick Alien."  How the latter's lush textures swirl and carry the 
listener, in stark contrast to the bold contrasts in the sections of the 
"Paranoid Android" suite.  Pay close attention to how the sound effects, 
distant drums and vocal treatments give "Climbing Up The Walls" an eerie, 
otherworldly quality which morphs into majestic crescendos.  Revel in the 
truly amazing guitarwork throughout.
        Or just ignore all of that, turn up the volume, turn out the 
lights, and experience it.
---
	ADVANCE REVIEW: Dream Theater, _Falling Into Infinity_ (Elektra)
		- Dan Birchall
	It's a crazy year in metal.  Metallica are accused of selling 
out - again.  Ditto for Queensryche, whose label closed in 
mid-tour - ouch!  Soundgarden called it quits, and Fates Warning 
thumbed their noses at commercialism, releasing a single 53-minute 
song.  Amid all this, Dream Theater worked on _Falling Into Infinity,_ 
the first full album after their "A Change of Seasons" EP, which was 
released only after Internet fans buried the label in e-mail 
requests.  The on-line rumor mills have been running full tilt.  
How would Kevin Shirley work out as producer?  How was keyboardist 
Derek Sherinian fitting in?  Drummer Mike Portnoy's periodic updates 
on the band's website at http://www.rsabbs.com/dt helped calm the 
frenzy - a bit.
	To get to the bottom of this, I spoke with guitarist John 
Petrucci, bassist John Myung, and Portnoy this August, and gave 
the CD several listens.  Rich harmony, complex rhythms and 
arrangements, emotional vocals - it's definitely progmetal, and 
obviously Dream Theater.  Myung describes it as 'a classic Dream 
Theater record.'  Portnoy says, "It's the next step for us, but 
it's a logical step, where it sounds like us," and Petrucci affirms 
that it's less of a leap than Queensryche and Metallica made.
	That's not to say that there haven't been changes.  As the 
band members put it, "A lot of our fans love the _Images and Words_ 
album, and they love the _Awake_ album, but they have to remember 
that the music for _Images and Words,_ were written more than ten 
years ago.  We were in our early twenties; it was the late 80's when 
we wrote that material.  People want to hear that stuff again.  Will 
it be like _Images and Words?_  No, because we're ten years older; 
we're adults now.  The music around us is different now, our musical 
inspirations are different.  So it's not going to be anything like 
either of them.   But because we're the same people inside, of 
course it's going to be us.  No matter what we do, it's going to be 
us.  It's just going to be the next step, a further extension.  
We're the same people, we're the same writers; we have the
same interests, but you change, so the music is inevitably going to 
change as well."
	Many small surprises are on this album.  The 8-minute lead 
track "New Millenium" has an eastern, "new-age" feel to it, with 
some unusual progressions and a keyboard intro a la Alan Parsons.  
Track two, "You Not Me," circulated throughout the Internet, but 
band members say that "the album is very diverse.  It would be 
impossible to judge by one song," and they're right - it's not 
representative.  Co-authored by Desmond Child, it's short and 
accessible, with a simple beat, catchy chorus, and fairly typical 
pop-metal  vocals.  Further along, the 12-minute "Lines in the Sand" 
features soulful backing vocals by Doug Pinnick of King's X.  It 
seems appropriate that the song is full of spiritual imagery.
	"Lines in the Sand" is not the only "classic" Dream Theater 
song here. The disturbing child-abuse tale "Peruvian Skies" shifts 
from a ballad to metal reminiscent of Mercyful Fate.  "Burning My 
Soul" is an excellent first single, with vocalist James LaBrie 
spitting out the bitter lyrics.  A classic Dream Theater 
instrumental, "Hell's Kitchen" seems short at just over four 
minutes - but there are smooth segues at both ends of it!  In "Just 
Let Me Breathe," a hard-rocking free thought treatise, the band vent 
against the evils of drugs, MTV, record labels, and combinations 
thereof.  They mince no words, stating that "A daily dose of eMpTyV 
will flush your brain right down the drain." Look for a twisted 
reference to "Take the Time" in the lyrics of this one as well.  And 
of course, Myung's three-part, 13-minute "Trial of Tears" is an 
epic - this album's "Metropolis Part I."
	The big surprises are the three remaining songs, "Hollow 
Years," "Take Away My Pain," and "Anna Lee." All three are soft 
songs, and simpler than the others on the album.  More importantly, 
their lyrics are universal - Dream Theater fans will relate to 
these songs, but so will anyone else!  One expects to see them on 
rock charts, but with a quick remix, at most, they'd be equally 
well-suited for almost any genre.   It speaks well of the band that 
they've reached a level of maturity and skill where they can write 
songs with this kind of universal message, while maintaining 
their integrity and style.
	Dream Theater fans have little to worry about - there are 
some surprises, but the band remains true to the signature sound of 
their last few releases.  At 78 minutes, the album is so long, and 
the length of songs so varied, that the order had to be rearranged 
for the cassette version!  The technical mastery fans expect from 
the band is present in spades, and the results should be appealing. 
"Burning My Soul" will debut on radio September 15th, so keep your 
ears - and your mind - open!
	What's next for the band?  By the time you read this, they 
may already be in South America, where they expect to play a few 
shows before the September 23 release.  As soon as the album hits 
stores, they plan to be on the road in the USA.  It'll be a 
different experience, as three members of the band became fathers 
while working on this album, but they're looking forward to it - and 
they say the kids might go along in a few years!
---
	CONCERT REVIEW: Power Station 
		- Bob Gajarsky
	The Power Station have lost two members in the past two years.
The first, John Taylor, departed during the recording of _Living In 
Fear_ to pursue his solo career.  After calling in another ex-Chic 
member, Bernard Edwards, to double on bass guitar as well as with 
production duties, _Living In Fear_ was completed.  However, Edwards 
contracted a dangerous form of influenza and died in his sleep in 
Tokyo in April, 1996.  The group decided to continue on in his 
absence as a trio.
	At a recent showcase at New York City's Fashion Cafe, the 
Power Station flexed their collective muscle with six additional 
performers.  While their debut album on Guardian features members 
of the Tower of Power horn section, the Big Apple show included 
four members of the Uptown Horns, along with two additional guitar 
players.
	Lead singer Robert Palmer was decked out in his trademark 
brown suit, and waited 'backstage' before the show.  The former 
Duran Duran member Andy Taylor was affable to his fans, many of 
whom were clutching their _Rio_ albums, now emblazoned with the 
guitarist's John Hancock.  And the other former member of Chic, Tony 
Thompson appeared powerful while testing out the drum kit.
	The band opened with the T. Rex classic, "Get It On", which 
was trying for Palmer; he subtly instructed the soundman to raise his 
vocals to rise above the guitars, but unfortunately, throughout the 
entire performance, those vocals weren't at the proper level.  They 
proceeded to a trio of songs from the new disc; the first single, "She 
Can Rock It", which comes off as a slower version of their cover of 
"Get It On"; "Power Trippin'", seen here as a faster version of 
"Murderess", and the title cut "Living In Fear".  This latter song 
showcased the path towards which the Power Station have moved; 
Thompson's pounding on the skins and cymbals with Taylor's searing 
guitars would have fit in perfectly with mid 1980s Def Leppard, 
making an awkward place for Palmer's poorly mixed vocals.  So while 
the Power Station may have returned back to the music scene, some of 
the funk which made their eponymous debut so special ten years back 
has been replaced with a driving force nearly the equal of arena rock.
	This would prove to be the only new tracks the group would 
perform; the top 10 hit "Some Like It Hot" and Palmer's own #1 hit 
"Addicted To Love" brought the six song set to a rousing conclusion. 
The audience, consisting almost entirely of twenty and thirty 
somethings, were clearly pleased that the song selection included 
a couple of the 'classic' cuts.  
	A funny, but unfortunate, incident was recounted by Palmer 
to preclude "She Can Rock It".  Apparently, the band was booked to 
perform on the Regis & Kathy Lee show, but objections were raised to 
the line 'kisses like cocaine'.  Palmer agreed to modify the drug to 
'champagne', but the puritanical show then complained about the line 
'It's a sorry looking doughnut if it doesn't have a hole', and 
the booking was cancelled.  Makes you wonder how many other artists 
don't appear on daytime television because of an overly sensitive 
watchdog.
	While the Power Station may have modified their music output, 
the drive and determination is still present.  They've still got some 
time left before joining the ranks on any of the 1980s reunion tours.
---
	INTERVIEW: Fish
		- Tym Altman and Ron Singer
	Fish, the former lead-singer of Marillion, left the band
more than 10 years ago.  His first North American tour as a solo
artist recently took him through Vancouver, British Columbia, where
Consumable was able to catch up with him.

	Consumable: How does it feel to be back in North America after 
being away for so long?
	Fish: It's very nice.  We're having a lot of fun. I never came 
back for more than 10 years. We never had a record deal. We never had 
really the opportunity.  I mean no promoter would seriously take us on, 
unless we had the radio umbrella - unless we had some record company 
working for us over here.  It's a strange feeling coming back, and 
getting the reactions that we've been getting on the tour.  Some of the 
gigs have been extremely moving. It's going to be interesting to see what 
happens tonight.
	C: There are a lot of great fans over here... a lot of hardcore 
fans have been waiting a long time for you to come back, so I think 
you'll be pleasantly surprised.
	F: I hope so.
	C: How does the experience in North America compare to Europe?
	F: Kind of similar. I'm not as intimidated by the US and Canada 
as I was.  It doesn't seem as alien an environment as it was before.  
Having been in Chile, and Argentina, South Africa, and Singapore, this 
is like normal for us.
	C: But we see on videos how crowds really get into it, and I 
don't see the same kind of reaction from North American crowds.  No one 
clapping along.
	F: No, no...they've been doing that! They've been doing that. 
It will be interesting tonight, when the crowd's kind of... sparse.  
But it's to be expected.  The record company in Canada has not exactly 
been active.  The album arrived only this week (Aug. 19), so it's a 
bad situation. But I'm not gonna be like "My god! There's only this many 
people, so we're gonna do a short show."  We'll do a full show, and 
we'll do it to the best of our abilities.  I mean every gig in North 
America is a showcase, you know? We'll already making plans to come 
back, including to Vancouver, no matter what happens tonight.  I'd like 
to come back and build on whatever happens tonight.
	C: I read about what happened in Quebec, at the Hull gig.  How 
did that situation come about?
	F: It was a gig sponsored by Budweiser.  The production company, 
the guys who were in charge of it, were given money by Budweiser.  There 
were no tickets.  It was a free gig, so there was no real pressure on 
them to sell the gig.  From my information, they didn't really sell 
it.  The production as far as the way it was organized, it was 
dreadful.  We were supposed to be the headline band.  We soundchecked, 
and then they broke our gear down.  They took all our mikes off and 
stuff.  And at the end of the day, it went overtime, and they asked us 
to cut our set. And then we went on.  They basically told us that 
everything was OK, and told us to go on.  And then we went on, and the 
gear wasn't right.  We ended up doing "Gentleman's Excuse Me" (from 
Fish's first solo album _Vigil In A Wilderness Of Mirrors_ ), and 
"Lavender" (from Marillion's classic _Misplaced Childhood_ ), you know, 
just to try and break it.  But it was difficult.  It was a 
French-speaking audience, and I don't speak Quebequois.  It kind of 
left us in a bad light.  We started the set, and about an hour and 
fifteen or twenty minutes in the set, they told us "That's it".  And 
I was really annoyed.  There was a lot of fans that waited a long time 
for me to come back, and they were just as disappointed as we were.  I 
wanted to put on a full show, and we weren't allowed to do it.
	C: Do you regret doing it at all?
	F: No! Because everybody said "Oh, we're going to do 5000 
people..blah blah blah"...and you know, you trust people.  In the USA 
and Canada there is a certain mentality...you come out with figures 
that are a lot more elaborate than what they actually are.  You just 
gotta deal with that.  I think it would have been better if we would 
have done an indoor show in that area, in Hull or Ottawa than doing 
the open-air.  But it's history. You know, you start blaming 
Budweiser... on stage I was pretty negative towards the whole corporate 
idea.  But what it comes down to is a bunch of guys who were acting 
as... you know, they were making their money... they didn't really 
care about what the fans or the audience were going to get.  They 
had their money, they've done the show, they didn't give a shit. We 
DID.  And that was the problem.  But I made my opinions very 
available on stage.  But it wasn't an anti-Budweiser thing.  I was 
just very, very annoyed.  It was probably the most aggressive show 
that I've done... in years.
	C: How have sales of _Sunsets On Empire_ (Fish's new album) 
gone in the US?
	F: They're good in US.  It's the Canada situation that annoys 
me - for example in Vancouver, it only arrived this week.  The press 
promo has been very limited.  There should have been a lot more of 
it. Then again, the gigs speak for themselves.  We're getting great 
reviews, and here we're already looking at coming back and doing a 
big festival, in Quebec, Ontario, and possibly one in this city next 
summer.  And I would like to get into Winnipeg, Calgary, and Edmonton.
	C: Do you think a live video or CD will come out from this 
North American tour?
	F: Maybe.  I think we're going to record the LA show.  We're 
just going to see how it goes.  I'm not going to put anything out just 
because it's been done. It's got to be a relative quality. Let's just 
see what happens.
	C: It's hard.  Like our Much Music (the Canadian equivalent of 
MTV, but cooler) doesn't play any Fish music.
	F: Yeah I know. I think it's up to the fans to start phoning 
them up and requesting the "Brother 52" video, and things like that.  
The good thing is, it's on the CD.  It's an enhanced CD.
	C: You've always been really good interacting with the crowds.  
Have there been any hecklers at the shows?
	F: Yeah, the heckling in North America has been pathetic.  What 
happens is that one guy shouts out, and I take him out, and everybody 
else goes like, "No. Well I better not say anything because..."  Well 
I've been raised on Scottish audiences, and - I'm kind of sharp.
	C: What do they heckle you about? Do you ever get the Phish 
fans that come in by mistake and realize they're at the wrong show?
	F: We've had some, but as far as I'm aware they're into it.  
Nobody's come up and said "I want my money back, because I wanted the 
band with the other spelling. "  You know, I respect the Phish guys.  
They're like myself - not exactly commercial in the sense of the word, 
not image oriented.  They're very concerned with the live vibe, do a 
lot of gigs.  That's the way they've collected their fans.  They take 
care of their fans; they've got very loyal fans.  And there's a lot of 
similarities in the way they work and the way I work.  We've got a lot 
of contact through people. They know what I'm doing, and I know what 
they're doing.  We've got this sort of mutual silence.  There's been 
no lawyers saying "You can not do this, because it's the same sort of 
name, and shit like that."  In Europe they go out and people think 
it's me playing small venues, and over here they think it's them 
playing small venues.  And there's a lot of Phish t-shirts at our 
gigs, and I think there's a lot of similarities, so be it. I've got 
no problems.  I'd love to do a double-headlining tour.  To support 
them would be interesting.
	C: Have you had any other new singles released since "Brother 
52" ?
	F: Yeah. "Change of Heart" has come out in the UK, but it's 
done nothing. Here the difference between Canada and USA, and UK, is 
that in the UK they're obsessed about image packaging, profile, and 
the wrapping paper.  Not the tapes, not the content.  And over here, 
you've got a vibrant rock radio, and that's the difference.  In 
Scotland we get A-listed on all the stations.  In England we get 
nothing.  But I'm thriving off the positive vibes that are around 
this tour.  I'm having more fun on this tour that I can ever remember 
having on any North American tour.  It's just fun.  And it's 10 years 
on, and I've got a different attitude now.  I'm a professional 
musician, and I love the gigs, and the vibes.  I love the 2 hour, 2 
hour & 15 minute we play.  I'm just a lot more mature than I was back 
then.
	The completion of this interview will appear in the next issue 
of Consumable.  Fish's official website can be accessed at:  
http://www.livjm.ac.uk/fish
---
	REVIEW: Ralley, _Ralley_ (Logic/BMG Europe)
		- Tim Mohr
	Distinguishing themselves with *the* summer single for 
European pop people, Ralley have sprung from Cologne, Germany, 
into the limelight with the Cardigans-esque "Zelten" ("Camping").
	A swirl of vintage organ, guitars, and "la la la"s, 
"Zelten" typifies the light, energetic sound of the self-titled 
debut. Suzie's vocals, particularly on the defiantly apathetic 
chorus, "scheiss egal, scheiss egal..." (a scatalogical way of 
saying "it doesn't matter" along the lines of "I don't give a 
shit"), are both perfectly suited to the music and inescapably 
alluring.
	The catchy melodies on _Ralley_ never let up, and the occasional 
theft of a classic ("30 KM" uses Bowie's "Heroes," and "Kuess mich" 
borrows heavily from the soul classic "Cool Jerk," which was also 
covered by the Go-Go's - which may explain how Ralley came up with 
it) can be ignored because of the fantastic original flair of 
"Zelten," "Halt mich" ("Hold me"), "Ich zeig Dir was" ("I'll show 
you something"), the groovy "Biest" ("Beast"), and others.
	The lyrics are clever, consciously girly, and staunchly 
opposed to anything of much consequence. The similarities to Sweden's 
Cardigans are obvious, though unlike other slavish imitators of 
the Cardigans (Finnland's Pansies, for instance), Ralley are just 
too good to be written off as mere pretenders. Ralley were also 
confident enough about such comparisons to record in Stockholm.
	Below the surface, and particularly live, Ralley are easily
distinguished from the Cardigans: their approach is tinged throughout 
with a punky sensibility that can recall Elastica or Kenickie. And 
the Cardigans' fascination with jurassic hard rock is not reflected 
in Ralley's tastes: while the Cardigans have covered Black Sabbath, 
Thin Lizzy and Ozzy, Rally do "Substitute" from the Who's early 
Beat phase.
	Heavy dependence on Cardigans references is an injustice 
to Ralley, as they create terrific, light pop with their own style 
and personality. A list of other comparisons - Comet Gain, Helen 
Love, Rocketship - would unfortunately say very little to most people. 
The debut record from Ralley deserves attention of its own, and 
comparisons to the Cardigans are only a tribute to the fundamental 
quality of what Ralley do.

	Note: This album is rumoured to be released in an English
version sometime in 1997 or early 1998.
---
	REVIEW: Soundtrack, _Kiss Me Guido_ (A&M)
		- Sean Eric McGill
	You can't walk down the aisles at your local music store 
without seeing at least twenty albums proclaiming to be "The Party 
Album of the Year". Regardless of your musical tastes (with the 
possible exception of metal), there's an album suited to your 
needs. You like the chessy Top-40 stuff? Theres one with "The 
Train" and "DJ Girl" (or God forbid, "Barbie Girl").  Dig that 
hip new electronica sound? Then there's an instant party CD just 
for you, featuring Chemical Brothers, Crystal Method, and the usual 
suspects.
	And in a lot of ways, the soundtrack to _Kiss Me Guido_ is a 
lot like that.  As a party album, it's damn good. Whereas the 
soundtracks for films like Spawn and both The Crow films were dark 
in overall tone, _Kiss Me Guido_ is uplifting with every track. Of 
course, this has a lot to do with the overall tones of the films, as 
well, but that's another issue altogether.
	I've struggled long and hard to come up with a way of 
describing the overall sound of the album without causing any 
ruckus (a first for me), and have decided that the best way to 
describe - while it may cause some ruckus - is still the best way. 
The soundtrack for _Kiss Me Guido_ sounds like the soundtrack for the 
best night a club you could have - especially if it's a gay nightclub.
	How am I, a heterosexual, qualified to make this judgment? 
Well, when I first started DJing in the early nineties, one of the 
few places I could not only get a job but get an appreciative crowd 
was in the local gay clubs. The audiences responded more to my own 
personal style (a mix of Parliament and Prodigy, with emphasis on the 
former) than the other clubs, where kids just wanted to hear "Baby 
Got Back" or some variation of "Whatever! There it is!" all night.
	Tracks like The Gap Bands "Burn Rubber On Me" have been a 
staple of my DJ sets from day one, and fit in perfectly with some 
of the newer dance tracks like Love Tribe's "Stand Up" (featured 
here in the eight-minute "Narcotic Mix"). And thats pretty much the 
span of the album - old school meeting the new kids and having a 
party. Edwin Starr's two contributions, "Contact" and "H.A.P.P.Y. 
Radio" make for some of the best moments, but Miquel Brown's "So 
Many Men, So Little Time" also stands out.
	So, should you buy it? If this is your thing, yeah, you 
should. This is an album that wasn't put together with hit singles 
in mind - it was put together with a sense of fun, and it shows.
---
	REVIEW: Jennifer Goree, _Jennifer Goree_ (NightShade/Ghostmeat)
		- Jon Steltenpohl
	Take heart.  Nestled somewhere, between the bleeding heart folk 
singers, "Freebird" covering Southern rockers, and "new" country, is a 
group of musicians who make smart, genuine music. The best of these 
bands make music that is gritty but beautiful, and emotional but 
unpretentious.  Cowboy Junkies typified this style with their stunning 
_Trinity Sessions_, but other examples fall few and far between.  Sheryl 
Crow and Bonnie Raitt made really slick versions that sold well to the 
VH-1 crowd, but those albums never escaped their commerical feel.  "No 
Depression" bands get the honesty down, but they tend to lack essential 
production values.
	Often, the only refuge left to find honest music is on 
independent labels.  That's where you'll find Jennifer Goree's 
self-titled release.  It's a collection of loose, bluesy grooves 
alongside tender, touching ballads.  Goree's style draws on a familiar 
tapestry of folk, blues, rock, and country roots.  She's at ease doing 
a Sheryl Crow style piece like "Running on Home", a Lucinda Williams 
hard luck woman track like "Nothing You Can Do", or a traditional, 
acapella folk tune like "Shady Grove."
	Hammond organ, a mournful guitar, and a sweet, soulful voice g
reet you when you put Jennifer Goree's CD in the player.  "Love Will 
Abide" is contemplative and optimistic.  Goree sings, "When I was a 
child I spoke like a child / But now I'm a woman and now I see / I see 
faith, hope, and I know that love will abide / So I'm saving all my 
love just for you."  It's a simple tune, but Goree's voice is sure and 
seductive.  Like the best of Cowboy Junkies, there's something soothing 
about being so laid back.
	Goree uses subtle textures to build her sound, and with the 
help of producer and guitarist Glenn Cannon, this album presents a near 
perfect balance of raw intimacy and studio production.  Goree's album 
caught the ear of Ghostmeat Records when she sang back-up vocals on 
another Cannon produced album by Tony Tidwell and The Scalded Dogs.  
Tidwell has an affinity for roots rock done southern style, but, like 
Goree, he shines out amongst his major label peers with a 
matter-of-fact simplicity.
	While many folk acts are trying to change their sound to get a 
little airplay, there are fortunately a few artists out there who still 
just make great music.  Jennifer Goree seems content with making music 
that feels and sounds just like music should.  These songs are casual 
and easy going.  The harmonies are sweet, the lyrics have meaning, and 
the music is alive.  This album is right up there with the best of 
Cowboy Junkies catalog, and without a doubt, Jennifer Goree puts her 
major label peers to shame.
	You can contact Jennifer Goree at jenny@appalachiansoul.com and 
http://www.meerkat-computing.com/jenny.  You can contact Ghostmeat 
Records at http://members.aol.com/ghostmeat/home.htm.
---
	CONCERT REVIEW: The Montgomery Cliffs, Fletcher's, Baltimore, MD
		- Bill Holmes
	In an age where so many things are jammed down your throat 
via mass-marketing and multi-million dollar advertising tie-ins, 
it's refreshing to have something sneak up and take you out at the 
knees just because it's great. Thank you, Montgomery Cliffs, for the 
sucker punch!
	The Cliffs are a three-piece from New York who play tight, 
catchy three minute songs with incredible energy and wit. Their 
track on the _Three Minute Revolution_ compilation was a standout, 
and their debut record _Andiamo!_ (115 Records) is more of the same; 
imagine a band with the pop sensibilities of The Smithereens but the 
power of The Attractions or The Jam. Recorded on the legendary 
shoestring budget in less than ideal conditions, _Andiamo!_ is a 
textbook example of why songs, not production tricks, are the essence of 
greatness. I drove to Baltimore faster than the bullet train with high 
expectations, usually not a great combination.
	Fletcher's is your typical big city rock club; small and hot 
yet somehow boasting a legion of "name" acts on a daily basis. Playing 
the role of the meat in a three-band sandwich is not fun (the first 
band's gear is set at soundcheck, and the closer gets the crowd at 
its most primed) but The Cliffs were there to get in and kick ass 
regardless. Lead singer/bassist Joey Salvia has a small ponytail 
wafting off the back of his otherwise shaved head; guitarist Wayne 
Thomas Kurz and drummer Dennis Carollo look docile by comparison. 
Dressed in suits and skinny ties, the crowd wonders whether they're 
about to see a major league act or a New Wave band that forgot to 
quit. Four bars into the set, it's obvious that the former is true.
	Few bands at ANY level seem to remember the art of putting on 
a show; years of self-indulgent noodling and lead singers 
contemplating their sneakers have seemingly washed away the standards 
of professionalism on stage. The Cliffs came out, plugged in and 
proceeded to rip through four great songs with but a half-beat between 
them. Taking a moment to play with the crowd's head, Salvia encouraged 
them to come closer ("we're from NY, we ain't gonna hurt you or 
anything") and then blasted back with another four-song barrage. Somehow 
Kurz's guitar sounds like rhythm and lead at the same time; drummer 
Carollo ponds away while counting off the beats to himself. Salvia is 
a typhoon on a leash, head and bass neck bobbing sharply, face 
contorting to punch home witty lyrics, mesmerizing the crowd. We're 
talking serious front man qualities here; whatever "it" is, Salvia 
has enough "it" to dole out leftovers. The crowd begins as newcomers 
and leave as converts, even laughing when Salvia has the stones to 
tease them with "BAL-TI-MORRRRE...you guys are the BEST crowd in the 
USA!! Nah...just pulling yer leg..."
	And the songs! Short, sharp rockers like "Whaddya No?" and 
"If I Were You" sound even better live (the band slips into a faux 
fifties' style on one verse in the latter - nice touch!), tight vocal 
harmonies riding over even tighter music. They played most of their 
debut record during the forty minute set, standouts besides those 
mentioned included the shuffle-rock "Broken Heart" and "She Found God", 
boasting the immortal couplet "ready to blow my wad/she turns around 
and says that she found god...". They also did two covers, buzzsaw 
versions of "Crazy" and "Somewhere Over The Rainbow". When your 
weakest moment is a Patsy Cline standard, you've got some great 
original songs. It's tough to get an encore on a multiple bill, 
lights and house music usually blast on before the drummer stands 
up. The Cliffs got two that night.
	If I were in a band and had to follow these guys onstage, 
I'd demand to have the room hosed out and a fresh audience brought 
in. Nuff said.
---
	REVIEW: Life of Agony, _Soul Searching Sun_ (Roadrunner)
		- Sean Eric McGill
	When I'm not reviewing music for Consumable, I'm quite often 
reviewing films for other publications. One of the basic issues that 
I address with every new film - especially those with established 
actors, directors, etc. - is that regardless of their previous work, 
you have to take this new element of their career as a potentially 
different chapter. For instance, John Travolta wouldn't be the star 
he is now if people constantly made mental reference to Look Whos 
Talking Now!.
	What does this have to do with bands, and more specifically, 
Life of Agony's new release _Soul Searching Sun_? A lot, actually. No 
matter how hard you try, it's hard to view a bands newest release 
without looking at it in context of what has gone before by the band. 
As different as it is to their other albums, everybody had a good idea 
going in what the new Green Day was going to sound like, and the same 
goes for most any artist. True, there are those like David Byrne who 
continue to push the boundaries of their particular image with each 
release, but they are the exception, not the rule. Want proof? Ask 
one hundred Metallica fans what they thought of _Load_ .
	Now what this has to do with Life of Agony is simple: I can't 
view them in terms of their past releases, simply because I don't have 
any of their past releases. _Soul Searching Sun_, their third release, 
contains the first songs by the Brooklyn-based band that Ive ever heard. 
But, through some intrepid Jimmy Olson-esque reporting (I read the bio 
and called the label), I was able to come across the following:
	1. Life of Agony is comprised of some funny guys.
	2. They are kinda-sorta kindred spirits with their labelmates 
Type O Negative (their cover of "Lets Pretend" is one of the CDs bonus 
tracks).
	3. They used to be a lot harder than they are now.
	And there, Watson, lies the interesting part. If you are 
familiar with Life of Agony, then you know how hard they used to be. 
And even though I'm not familiar with their earlier work (sorta - a 
remixed version of "River Runs Red" appears on the album as a bonus, 
and it's pretty damn heavy) I can tell you that they aren't that heavy 
now.
	Not that this is a bad thing.  _Soul Searching Sun_ is packed 
with some of the tightest songwriting and execution I've heard this 
year. Most of the songs linger in that limbo realm between "harder 
rock" and "alternative", but dont quite make it into "alterna-rock", 
or whatever nifty marketing phrase you want to use. Produced by Phil 
Nicolo (Rolling Stones/Dishwalla/The Police) and the band, _Soul 
Searching Sun_ is truly an exercise in experimentation, regardless 
of the bands past. The lyrics are brutally honest but not brutal, 
and the music is straightforward and direct while still allowing the 
band to show a variety of facets to their sound. One facet, their use 
of harmony, is pretty much a universal aspect of the album. It shows 
up in the choruses of not only the melodic "My Mind is Dangerous", 
but the much-heavier "Whispers" and every other song in between.
	Since _Soul Searching Sun_ came across my desk, I've read and 
heard (all through the aforementioned Olsen-esque reporting) that Life 
of Agony's true venue of choice is on stage. And while _Soul Searching 
Sun_ is a solid studio album, I would have liked to have gotten more 
of a feel for the bands life show from its sound. Of course, this 
could be partly due to the fact that I haven't seen them live, or 
maybe because they're not coming anywhere near me so that I could 
check them out.
	Either way, _Soul Searching Sun_ is a quality rock album in 
every respect. For those of you familiar with the band, it may or may 
not throw you for a curve, but it's still a pitch worth taking a swing 
at.
---
	SHORT TAKES
		- Bob Gajarsky
	
	Three albums which aren't your usual fare...

	REVIEW: Hanuman Care Kit, _Visiting_ (Gorgone)

	Sometimes the best things come in unknown packages...
	Named for the Hindu monkey god (Hanuman), the French/English 
duo of Hanuman Care Kit incorporate nearly every dance sound 
imaginable to produce one of 'those' records that breaks down barriers 
and defies conventional descriptions.
	Like two chemists striving for perfection, the Frenchmen / 
musician (Flazz) and Englishman / vocalist (Stig) mix trip hop, 
techno, jungle, drum 'n' bass, rap, scratching and pop in a giant 
beaker to produce the perfect antidote to combat boredom from bland 
music - even if their names aren't exactly brilliant.
	A quick perusal through their debut album, _Visiting_, offers 
a glimpse into their exciting new world.  "Aural Exciter" pushes the 
limits of a new 'catch phrase' - jungle jazz???? - while keeping the 
beats pounding.  "Jezabella" wouldn't seem out of place on Space's 
_Spiders_ disc with its unique ambient-meets-trip hop feel, and 
"Ironality" is just tripping space-age rap.  "Sombeleev" was remixed 
by Massive Attack's DJ Gaffo Armagedion, and if there was one 
overriding comparison for _Visiting_, it would be straight to Massive 
Attack.
	Forget the stagnant American dance scene.  With the 
uprising of artists who parlez vous francais, it has become 
painfully obvious that the real cutting edge scene is 
emanating out of France - and the musical diversity on _Visiting_ 
positions Hanuman Care Kit right at the forefront of it all.
	Gorgone Productions can be contacted at PO Box 2242, Austin, 
TX 78768.

	REVIEW: Jaymz Bee And Royal Jelly Orchestra, _Cocktail 
		Shaken And Stirred_ (Milan)
	
	While the lounge scene hasn't quite captured the fancy of 
North Americans as it has in the U.K., Canadian Jaymz Bee is hoping 
to change all that with the release of his cocktail covers compilation, 
_Cocktail Shaken And Stirred_.
	Bee has devoted this eleven track album to deconstructing and 
reworking hits - with different vocalists on each song - from some 
of Canadian's best known rockers.  "The Safety Dance" is transformed 
into a scene straight out of the Tijuana Brass meeting Ravi Shankar 
on the Dating Game, while crooning occurs on the Wayne Newton-esque 
twist on Loverboy's "Turn Me Loose" as well as an ultra-hip version of 
Bryan Adams' "Run To You".  The standout track is the James Bond meets 
Partridge Family feel to Corey Hart's "Sunglasses At Night", but 
alterna-fans will feel more comfortable with the cleaning detergent 
feel of Alanis' "You Oughta Know" - and, yes, they do say 'fuck'.
	A collection such as this, no matter how kitschy, still requires 
competent musicians to complete the mood, and the twelve piece Royal 
Jelly Orchestra is up to the task.  Using the traditional (trumpet, 
sax, piano) and unconventional (sitar, vibraharp, flugelhorn), they 
provide the perfect atmosphere for Bee's vocalists...and an easy 
chair...and a nice, dry, martini.  Shaken, not stirred.

	REVIEW: Abe Lincoln Story, _We're Having A Dance Party_ (Flipside)

	Flipside Records first gained a (belated) sense of national 
notoriety when they released a single, "MTV Makes Me Want To Smoke 
Crack", by a then-unknown Beck.  The other side of the double A-side 
was recorded by a band friendly with Beck, Bean, fronted by Steve 
Moramarco.  Now, several years later, Moramarco returns to the 
California scene leading the dignified Abe Lincoln Story.
	This time around, Moramarco leads a group of three regular 
members (Gary Viggers on bass, Jonathon Stearns on trumpet and 
keyboards, and Peter Fullerton on drum kit/percussion) and cast 
of many part-time members to generate a novelty ska-punk group that 
can play a tune.  Some of the outside contributors include the 
Geraldine Fibbers' Carla Bozulitch (who sings on "Come Home") and 
Glue drummer Peter Tomlinson.
	"I Don't Understand (Star 69)" owes much to Eddie Cochran, 
but with a powerful horn section and 'Mr. Popeil'-style backup 
singers.  Imagine Weird Al's original tunes combined with The Foremen's 
subtle sense of satire.  "Rock, Scissors, Paper" takes the age-old 
children's game, and makes it into something everyone can dance to.  
"Get High And Go To Work" is the raise-your-hands-and-pump-your-fists 
rock and roll that carried music in the 80s, but with a different 
tale of partying and getting even with the boss.
	It won't make a fiesta by itself, but _Dance Party_ offers an 
opportunity to get drunk and let the Abe Lincoln Story tell the tale.
---
	REVIEW: The Rudess Morgenstein Project, _The Rudess Morgenstein 
		Project_ (Domo)
		- Linda Scott
	The self titled debut album from the Rudess Morgenstein Project 
throws up a barrier as if to say, 'If you don't know what this is all 
about, find something else to listen to."  But if you could just open it 
in the store - or find a listening booth - you just might take it 
home.  
	What is Rudess Morgenstein?  For the millions of us not in the 
know, Jordan Rudess and Rod Morgenstein are part of that unique rock 
band, Dixie Dregs.  Rudess is the keyboardist and Morgenstein is 
drummer for this instrumental jazz/fusion/rock band.  The Dregs' most 
famous member is stellar guitarist Steve Morse although Morgenstein is 
well known as the glam/hair band Winger's skinman.  
	Dregs fans are legendary; they love the set switches from to 
rock to country to jazz to bluegrass, jigs and classical in a format 
bandleader Morse calls "electronic chamber music".  Their rendition 
of "Kashmir" could make Page/Plant look over their shoulders.  In 
short, a wonderful instrumental band that can do it live or on an 
album.  And if you're a Dixie Dregs fan or a fan of instrumental 
music, you'll want to hear the Rudess Morgenstein's take on this genre.
	If the keyboardist/drummer seems strange or sparse, the two 
had a chance to try it live first.  In 1994 with the Dregs on tour, a 
power failure took out everything but the keyboards.  Morgenstein 
flailed away at the drums joined by Rudess for an impromptu 10 minute 
drum/keyboard jam which inspired this project.
	The ten tracks here bring you about 50 minutes of music.  
You'll hear rock combined with elements of classical, jazz, and pop 
along with the latest music technology.  The album seems to have less 
rock than a Dregs album and with no covers of "My Sharona", you can 
take this one to the office without fear of offending or 
distracting.  This is one of the weaknesses for Dregs fans: because 
the Project doesn't rock hard enough and performs a more 'thinking 
man's' music than the Dregs, casual listeners may not get this record. 
That will be their loss.
	Both Rudess and Morgenstein are excellent musicians.  Rudess 
began at Juilliard at the age of nine being groomed for a concert 
pianist career.  But at age 18, he walked out of Juilliard to 
immerse himself in the rock and synthesizer world.  In 1994 he was 
voted Best New Talent by Keyboard Magazine readers.  Morgenstein's 
drumming style led to his winning Best Progressive Rock Drummer from 
Modern Drummer Magazine for 5 years in a row.  Morgenstein also helped 
found Dixie Dregs and the Steve Morse Band.  His drums pushed the 
sales of Winger albums toward the 4 million mark, and he plays drums 
on Kip Winger's new pop album.  The Project brings together these 
two megatalents who wanted to try something new.  
	This type of music with few musicians, lots of technical 
musical gadgets may not appeal to all.  That synth, perfect sound may 
just not make it for you.  On the other hand, Rudell and Morgenstein 
are part of Dixie Dregs, and the Dregs ARE worth listening to.  See 
what this subset of the Dregs can do.  And now that you've figured out 
who and what the Rudess Morgenstein Project is, you could spare them 
a listen.  
---
	REVIEW: Jenifer Smith, _Code Mesa_ (Point Music)
		 - Jon Steltenpohl
	Listening to the first track of Jenifer Smith's new 
album, _Code Mesa_, gets me excited.  "Mesa Drive" is reminiscent 
of the Eurythmics and Enya.  It starts with a cappella voices and 
forms an ethereal atmosphere with synthesized chimes.  Smith layers 
her voice across many octaves to create a shimmering sound that 
simply mesmerizes.  On track two, "Looking for Sleep", the good 
feelings continue.  It's the same minimal style backed with a funky 
little jive guitar that eventually moves into a engaging beat of two 
or three layers of voice on top of many more layers of instruments.
	But, Smith falters on the third track, "Radio Bagdad".  It 
starts out well enough with a monkish, echoed exercise in tonal 
harmonies, but by the end of the song, nothing has changed.  The 
dynamic is the same, the melody doesn't move, and the lyrics become 
annoyingly repetitive.  The power of repetition to gain a mantra 
effect is nothing new, but 5 and a half minutes of the same thing 
with no dynamic changes just doesn't cut it.  Other tracks follow 
the same pattern, and the album withers in a myriad of needless 
repetition.
	Smith provides us with only two more songs, "Return from 
Calvery" and "Bodycount", that live up to the promise of the first 
two tracks.  It's a shame, because the harmonies Smith has mastered 
are impressive.  _Code Mesa_ shows great promise for Smith, and the 
four superior tracks would make an incredible debut EP.  Unfortunately, 
four out of ten songs doesn't make for an incredible album, and _Code 
Mesa_ serves only as an announcement to keep an eye on this emerging 
artist.
---
NEWS: 	> The Squirrel Nut Zippers will be performing at 
a free concert in their hometown of Carrboro, North Carolina on 
September 19 at the Carrboro Town Commons.  The alcohol-free show will 
run from 5:30 pm until 9:30 pm.
---
TOUR DATES (Please confirm with site before travelling):
	Bailter Space / Sunday Puncher
Sep. 17 San Diego, CA Casbah
Sep. 18 Los Angeles, CA Spaceland
Sep. 22 Portland, OR Satryricon

	David Bowie
Sep. 15 San Francisco, CA Warfield
Sep. 21 Detroit, MI State Theater
Sep. 24 Montreal, QC Metropolis

	Daft Punk / Aphex Twin
Sep. 17 Denver, CO Ogden Theatre 
Sep. 19 Las Vegas, NV Hard Rock 
Sep. 20 Los Angeles, CA Snow Summit 
Sep. 23 Seattle, WA DV8 

	Danielson/Soul Junk
Sep. 18 Charlottesville, VA Tokyo Rose
Sep. 19 Chapel Hill Lizard and Snake

	Chris Duarte
Sep. 16 Lawrence, KS The Bottleneck
Sep. 17 Cedar Rapids, IA Big Dogs
Sep. 18 Kansas City, MO Grand Emporium
Sep. 19 Wichita, KS Cotillion Ballroom
Sep. 20 Omaha, NE Ranch Bowl
Sep. 21 Lincoln, NE Zoo Bar
Sep. 23 Salt Lake City, UT Zephyr Club w/ Ronnie Dawson
Sep. 25 Solana Beach, CA Belly Up Tavern

	Emerson, Lake & Palmer
Sep. 17 Cleveland, OH Nautica 
Sep. 18 Auburn Hills, MI The Palace 
Sep. 19 Chicago, IL Rosemont Theatre 
Sep. 20 Milwaukee, WI Eagle Ballroom 
Sep. 23 Phoenix, AZ Union Hall 
Sep. 25 Los Angeles, CA Universal Amp.e 

	Foo Fighters 
Sep. 18 Las Vegas, NV Huntridge Theatre
Sep. 19 Irvine, CA Irvine Meadows Amphitheatre (w/ Rage Against The Machine)
Sep. 21 Phoenix, AZ Blockbuster Desert Sky (w/ Rage Against The Machine)
Sep. 23 Austin, TX Austin Music Hall
Sep. 24 Dallas, TX Bronco Bowl

	Greg Garing
Sep. 15 New York, NY Arlene's Grocery

	Buddy Guy
Sep. 20 Monterey, CA Pattee Arena

	(hed) p.e.
Sep. 18 Fremont, CA Club Chaos
Sep. 19 San Francisco, CA Cocodrie
Sep. 20 Sacramento CA Cattle Club
Sep. 21 Reno, NV Little Waldorf
Sep. 23 San Diego, CA Canes Bar & Grill
Sep. 24 Signal Hill, CA Foothill Club

	Irving Plaza (NYC concert hall: http://www.irvingplaza.com)
Sep. 19 Reel Big Fish / Save Ferris
Sep. 20 Helmet / Melvins

	Life of Agony
Sep. 15 Pittsburgh, PA Club Laga
Sep. 16 Huntington, WV Drop Shop
Sep. 17 Washington, DC 930 Club
Sep. 19 Ft. Lauderdale, FL House of Rock
Sep. 20 Tampa, FL State Theatre
Sep. 22 Raleigh, NC Mission

	Pantera / Coal Chamber / Machine Head
Sep. 16 Cleveland, OH Nautica
Sep. 18 Kalamazoo, MI Wings Stadium
Sep. 19 Auburn Hills, MI Palace
Sep. 20 Toledo, OH Sports Arena
Sep. 21 Cincinnati, OH River Bend
Sep. 23 Chicago, IL Aragon
Sep. 24 St. Paul, MN Wilkins Auditorium

	Samples
Sep. 16 Denver, CO Bluebird Theatre
Sep. 17 Manhattan, KS Wareham Hall
Sep. 18 St. Louis, MO Mississippi Nights
Sep. 19 Springfield, MO Juke Joint
Sep. 20 Cincinnati, OH Bogarts
Sep. 23-24 Washington, DC Bayou
Sep. 25 Baltimore, MD Bohagers

	Shootyz Groove / Tree
Sep. 16 New London, CT El N Gee
Sep. 17 Poughkeepsie, NY Chance
Sep. 18 Hoboken, NJ Maxwell's
Sep. 19 Portchester, NY 7 Willow St.
Sep. 20 Providence, RI Lupo's
Sep. 21 Cleveland Heights, OH Grog Shop
Sep. 22 Pittsburgh, PA Rainforest
Sep. 23 Detroit, MI Shelter
Sep. 24 Huntington, WV Drop Shop
Sep. 25 Canton, OH B.B. McClain's

	Tsunami
Sep. 15 Orlando, FL Sapphire Supper Club w/Sonora Pine
Sep. 16 Miami, FL Space Cadette Records w/Sonora Pine
Sep. 17 Tampa, FL Harbour Club w/Sonora Pine
Sep. 18 Talahassee, FL Cow Haus w/Sonora Pine
Sep. 19 Athens, GA 40 Watt/Atomic
Sep. 20 Charlotte, NC Tremont Music Hall
Sep. 21 Chapel Hill, NC Lizard & Snake
---
Founded in August, 1993, Consumable Online is the oldest continuous
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To get back issues of Consumable, check out:
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