==== ISSUE 67 ====         CONSUMABLE         ======== [February 1, 1996]

  Editor:             Bob Gajarsky
		        Internet: gajarsky@pilot.njin.net
  Sr. Correspondents: Jeremy Ashcroft, Martin Bate, Al Crawford,Dan Enright, 
                      Tim Kennedy, Reto Koradi, David Landgren, Sean Eric 
                      McGill, Tim Mohr, Jamie Roberts, Joe Silva, John Walker
  Correspondents:     Dan Birchall, Lee Graham Bridges, Scott Byron, Jason 
                      Cahill, Eric Hsu, Tim Hulsizer, Daniel Kane, Mario Lia,
                      P. Nina Ramos, Linda Scott, Ali Sinclair,
                      Jon Steltenpohl, Courtney Muir Wallner, Britain Woodman
  Technical Staff:    Chris Candreva, Dave Pirmann, Damir Tiljak,
		      Jason Williams
 
 Address all comments, subscriptions, etc. to gajarsky@pilot.njin.net
==================================================================
	All articles in Consumable remain (C) copyright their author(s). 
Permission for re-publication in any form other than within this
document must be obtained from the editor.
==================================================================
                            .------------.
                            |  Contents  |
                            `------------' 
REVIEW: Limblifter, _Limblifter_ - Sean Eric McGill
REVIEW: Squeeze, NYC Concert / _Ridiculous_ - David Pirmann
REVIEW: Passengers: Original Soundtracks 1 - Joe Silva
REVIEW: Dan Baird, _Buffalo Nickel_ - Donald Derrick
REVIEW: Ben Arnold, _Almost Speechless_ - Dan Enright
REVIEW: Once Blue, _Once Blue_ - Courtney Muir Wallner
REVIEW: Mick Harvey, _Intoxicated Man_  - Dan Enright
REVIEW: Lifter, _Melinda_, - Mario J. Lia
REVIEW: Reef, _Replenish_ - Linda Scott
CONCERT REVIEW: Nits, Zurich, January 18 1996 - Reto Koradi
REVIEW: Glueleg, _Heroic Doses_ - Mario J. Lia
NEWS: BoardAid3 for Lifebeat, Ghostmeat Records, John Hiatt,
   Lucy's Dream, MuCoMo Coffebreak Interviews, Performing Songwriter,
   Smug, SubCulture TapeZine, Tattletale Report
TOUR DATES: AC/DC, Walter Beasley, Cypress Hill, Dance Hall Crashers, 
   Everclear / Ruth Ruth, Freewheelers, Godplow, Paris Hampton, 
   Hum / Mercury Rev, I.C.U., Jayne County, Kilgore Smudge, Lemons, 
   Letters to Cleo, Huey Lewis & The News, Liquor Bike, Dave Matthews Band, 
   Mighty Mighty Bosstones/Dance Hall Crashers, Mike Peters, 
   Bob Seger/John Hiatt, 7 Mary 3/Lustre, Sister Machine Gun/Gravity Kills,
   Elliott Smith / The Softies, Verve Pipe, Vinyl Devotion, 
   Wild Strawberries / Suzanne Little, Jane Kelly Williams
THE READERS WRITE BACK!
Back Issues of Consumable
---
	REVIEW: Limblifter, _Limblifter_ (Mercury Records)
		- Sean Eric McGill
	I'm not easily surprised.  But on the basis of their name alone, 
I'm actually surprised I'm giving a good review to a band called Limblifter. 
When the tape first hit my doorstep, I cringed and alternately cursed 
our beloved editor. On the basis of their name alone, Limblifter seemed to 
be death metal at its finest...which I still find unbearable. So, all set to 
write the review and tear the band apart, I put the tape in...but to my 
surprise, the first thing that I heard wasn't some guy who sounds like 
he smokes ten packs of Marlboro's a day telling he was "ripping my
soul, eating my flesh".
	Instead, I got two guys harmonizing "I feel, but I can't find the 
words" over music that is so bubble gummy that it would make The Replacements
stand up and take notice. Having more in common with The Cars than Cannibal
Corpse, Limblifter is not only not death metal, but it's about as far
removed from death metal as you can possibly be (the one connection, both
bands use guitars and drums). From the opening bars of "Vicious" to the
closing of "Opinata," Limblifter combines that hip "alternative" attitude
that all the kids dig with catchy hooks and good songwriting. There's
nothing on their self-titled Mercury debut that you haven't heard before,
but that doesn't mean that it's no good.
	Most of the songs fall into the same sort of musical limbo inhabited
by Weezer, with crunching guitars and slick vocals. The band's overall sound
is built around brothers Ryan and Kurt Dahle, who play guitar and drums
respectively, and share vocal duties. Their rich harmonies resonate over
their songwriting on songs like "Death Defier" (the song titles are yet
another reason the band's sound surprised me, since other songs are titled
"Tinfoil" and "Beard of Bees") and "Screwed It Up."
	By their sound alone, Limblifter should be able to go places. Now, if
they can only get Spike Jonze to direct a video; I don't think anyone's doing
anything with the sets from "Laverne & Shirley" these days...
---
	REVIEW: Squeeze, NYC Concert / _Ridiculous_ (A&M Import)
		- David Pirmann
	Squeeze recently played a number of dates in the United States 
in support of their new album, _Ridiculous_, which, unfortunately, 
may never be released in this country.  The NYC show, at the Academy 
on November 22, 1995, featured the band, energetic as always, playing 
a lot of their new songs and a lot of their classics, mostly to appeal to 
the least common denominator of Squeeze fans. Opening with "Annie 
Get Your Gun", and playing three more classics before the first new 
song, "Last Summer".  Typical Squeeze pop, it would make a 
good U.S. single, but many American listeners may never find out!  
Among the other songs featured in the show were "Slap and Tickle", 
which the crowd seemed to enjoy although arguably one of their 
worst efforts, which segued directly into "Some Fantastic Place", 
arguably one of their best.  The last encore featured Chris and Glenn
and 1200 voices singing in an acoustic set playing "Tempted", and 
putting a new spin on their classic "Goodbye Girl". 
	While the concert focused on older material and newer,
unfamiliar material (which is not necessarily a Bad Thing) I would
have liked to hear more of their lesser-known songs that showcase
their songwriting and harmonizing abilities. They played only one song
from _Play_ ("Wicked and Cruel") and nothing from _Frank_.  Having
seen the _Frank_ tour in 1989, I missed "Love Circles", "Rose I Said"
and others like "Footprints". All in all, the crowd was active yet
well behaved - unusual for the Academy - and knew all of
the words to all but the new stuff. 
	The new album is Squeeze at their best. With an 11-album back
catalog, some reviewers might be tempted (no pun intended) to
pigeonhole these songs into those albums, but I find that it is a
natural progression, spotlighting their great songwriting ability. As
with _Some Fantastic Place_, a number of songs are obvious single
material: "Electric Trains", "This Summer", "Grouch of the Day", and
"Lost for Words": "I'm lost for words which is strange for me/ I'm lost
for words and no longer see/why they've slipped right through my
hands". An upbeat song to be sure but Squeeze is not at a loss for
words.
	"Great Escape" continues their series of serious songs
concentrating on domestic abuse (e.g. "Tough Love", "Woman's World",
"Up the Junction"...): "... he lunged at her there she fell from the
couch/ he grabbed her body as he pulled her down/... tears fell from
her face as she cried and cried".  One of the gems buried on the
"second side" is "Temptation for Love", a short, acoustic ballad
featuring Glenn Tillbrook and guests Cathy Dennis on vocal and 
Heitor Peretor on guitar: "What have I done/ what did I say/ am I the
one you can not face/... could it be me that learns to mistake temptation 
for love".
	"Temptation" is a truly beautiful song among an album of
potential Squeeze classics.  It is unfortunate that A&M has relegated
Squeeze to the back catalog and import bin.  However, with the release
of _Ridiculous_ and excellent concerts, Squeeze is still a valuable band with
something to say.
---
	REVIEW: Passengers: Original Soundtracks 1 (Island)
		- Joe Silva
	After taking a year or so apart to flush their systems of the toxins 
acquired while off making stadium sized gestures at the world, the 
Dubliners known as U2 reconvened near the end of '94 to re-ignite the 
creative jets. But the principle yield from that initial muster might just 
divide the faithful and any other curious bystanders into distinct camps. 
Some may call it a well polished wank - a way to bide time between 
pop albums and indulge their artistic whimsy. Others will view it as 
a welcome aside or a logical progression from a rock unit that's 
done it's time in the verse-chorus-solo-verse-chorus grind. When 
leaning towards the latter you "could" say that if _Achtung Baby_ 
was U2 dismantling the old radio tower for a satellite uplink, then 
Zooropa was its first proper transmission and _Original 
Soundtracks 1_ its first wild feed.
	While _Soundtracks 1_ was fashioned with a disparate batch of 
guest crew members as a set of  musical responses to a variety of 
film pieces, the tracks hold together with a  fairly cohesive dynamic. 
Even Eno, notwithstanding what he did recently to Bowie's latest 
career moves, has an easy time here meshing with U2 as an official 
fifth wheel. Despite the immense flexibility that creating sonic 
backdrops like this afforded them, his ambient-ness managed to 
interject his "treatments" just at the right moments and in the right 
measure.
	What does figure largely into the project is the band's heavy 
fascination with the Blade Runner-esque landscape of modern 
Japan.  When "United Colours" open the record, it's with all the 
verve of the post-plutonium society as it streams along the 100 
Megabit per second pathway towards the millennium. A blaring 
horn sample is set up as a runaway siren, deep house bass rumbles 
are dropped almost off-handedly and eventually a burst of distorted 
six string work melts in and out the whir and screech of a Yellow 
Magic snyth line. Japan flat dazzled Bono and he's downloaded 
much of that exuberance here for the globe at large to see.
	There's far more to pore over tone wise considering how 
amorphous a stance all but Bono adopt throughout. Had Bill 
Flannigan's awkwardly reverent but insightful bio (_U2 At The End 
Of The World_) not ended right when _Soundtracks 1_ was 
brewing, it might have made some interesting reading. Apparently a 
good amount of instrument swapping went on, and both Clayton 
and Larry Mullen Jnr. had spent their time off sharpening their 
chops and broadening their palettes. More evident is Bono's rant 
lyric angle that he's partially adopted ever since he got some media 
praise for Bob Marley R&R Hall of Fame induction speech. His  
building on one thematic rap over the course of a song is sort of 
precarious, but when it works, as it does on "Slug" and the radio 
track "Miss Sarajevo," the predominant rhythmic feel distracts
sufficiently when the content may be off a touch. 
	The appearance of Pavarotti is notable mostly in that with U2 
compositionally stepping back from most of  its mega-rock 
inclinations the atmosphere is limber enough to weave in something 
as grandiose as the tenor. Normally the lush weight of such a stroke 
would bring all things to a lumbering point of collapse. As an 
interim release from a band who had gleefully acquired the 
trappings of  pop excess and an image of  being slightly over the 
top, _Soundtracks 1_ is a far more than an agreeable shift of gears 
for anyone who cares to give it their head. 
---
	REVIEW: Dan Baird, _Buffalo Nickel_ (American)
		- Donald Derrick
	My first concern, with the second solo release from former Georgia
Satellite lead singer Dan Baird, was the ever so dreadful "sophomore jinx" -
the curse that sometimes plagues the greatest bands and artists. After all,
how could he top his previous album, 1993's _Love Songs For the Impaired_?
Baird's answer is by recording some of his best work ever in this collection
of eleven in your face, guitar driven rock n roll.
	"Younger Face", the first track and the first single, leads things off.
Dan says that this is "My Neil Young super-riff with lyrics about the fate that 
awaits anyone who doesn't die young."  It's a refreshing return to the rock
and roll which America has been missing lately.  
	This track isn't the only solid song on the album - _Buffalo Nickel_
continues with more scorching rockers like "On My Way", "Cumberland River", 
and the hilarious "Lil Bit".  
	"Birthday" is quite different compared to Baird's previous work.
This song has potential for alternative radio airplay with its funky bass line 
and voice box on the vocals.   Baird also performs an intense version of Deep 
Purple's classic, "Hush". Joe South, the song's writer, also contributes 
background vocals.  
	_Buffalo Nickel_ reunites Baird with the same lineup as his first solo
album: Mauro Magellan on drums, Brendan O'Brien on the lead guitar (who also 
produces the album, and has worked with Pearl Jam and Matthew
Sweet), and Keith Christopher on bass.
	Baird's longtime fans will find this disc is well worth the the wait 
and he is sure to make many new fans with this release. Baird's songs are
written about the common man and everyday life, which makes his songs fun to
listen to and easy to relate with.  This album is sure to generate a long stay
in any rock fan's disc player.
---
	REVIEW: Ben Arnold, _Almost Speechless_ (Ruffhouse/Columbia)
		- Dan Enright
	This marks Ben's debut on Ruffhouse. From the opening song, Ben's 
vocal style is reminiscent of other veteran songwriters like Bob Dylan 
and Tom Waits - course with limited range. But, like these performers, 
his strength lies not in his delivery but his content. I would peg this 
album as part of the resurgence in folk and folk/rock that's sprung up in 
the past couple of years.
	The album begins with "You," a pointed look at a failed
relationship that reminded me, stylistically, of Dylan's "Like a Rolling
Stone," and "Desolation Row." Failed because the parties involved, as Ben
says, "...slipped right out of fashion" - as if love's an accessory you
discard when you get bored with it. Then he pokes fun at superstition and
warped belief systems in "Astral Freak," where he describes himself
(rather tongue in cheek), "Cause I'm a studied astral freak/My
superstition runs so deep/It's a Taurean malfunction/Somewhere on the
zodiac/I just got lost and I can't get back/Point me in the right
direction." 
	He apparently got infected with the "spiritual virus" by the lover
he discusses in the next song, "Light of Love." But he seems to recognize
the objects of his searching keep turning out tarnished as he writes, "I
wasn't looking for a reborn spirit/And I wasn't questioning the stars
above/I think I'll only know it when I'm in it/I was just searching for
the light of love." 
	Ben's songs aren't all about flaky relationships and misguided
beliefs, however. He also writes about the lies of politicians, especially
the questionable New World Order, in "Meet the Press," gives Wilbur's take
on the Wright Brothers flight at Kitty Hawk in "Soar," and pays tribute to
the pain and suffering of common, simple people, murdered by men fighting
idealistic wars in "Here in the Mountain."
	Oh yeah, he also bitches (quite wittily) in "Help Myself" about being 
addicted to cigarettes, using the same excuse as most smokers I know, "I 
can't help myself!"
	Ben points a barbed pen and fine sense of melody at things in the
world that piss him off, including himself. But, he balances his outrage with
sympathetic lyrics for ideas and acts he believes are noble. In this repect
he keeps the traditions of singer-songwriters alive and well. And he does
it by being a unique link in a long chain. 
---
	REVIEW: Once Blue, _Once Blue_ (EMI)
		- Courtney Muir Wallner
	Rebecca Martin and Jesse Harris are Once Blue, the acoustic-rock
duo from Manhattan that has created quite a buzz around town with their
self-titled debut album.  Performing together for more than two and a
half years has built up a considerable and impressive following.  In
fact, it was after stumbling into a gig of theirs at CBGB's Gallery
that EMI president David Sigerson signed Once Blue on the spot.
	The carefully crafted, expertly written music unfolds for the
listener slowly; a single play of the album can not possibly afford
any sense of understanding or depth.  However, the music is beautifully
simple - Harris allows each instrument (albeit guitar or upright bass)
and each individual sound to be heard while Martin cleverly uses her
voice as an additional instrument, sometimes dominating, sometimes
leading and other times as an accompaniment to the music.
	Martin's child-like voice is high and sweet and textured with
deeper, richer undretones making for an infinitely subtle and
equally powerful deliverance.  Martin's voice is unique and undeniably
recognizable, giving the album a flavor that is Once Blue.
	Producer Steve Addobbo (Suzanne Vega) had known the band for 
more than a year before they began recording and completely understood
Harris' and Martin's desire of capturing the strong dynamic of their
live performance on the record.  Harris explains, "There are minimal
overdubs and most of Rebecca's vocals were done in one take.  [It's]
the raw excitement of a band making music in the moment.  Perfectionism
in the studio can sometimes take the life out of a final recording."
Martin adds, "We never sought perfection, just the power of 
collaboration."  And, it is just this that gives Once Blue their
signature sound.
---
	REVIEW: Mick Harvey, _Intoxicated Man_ (Mute)
		 - Dan Enright
	This is a concept album, using - and in some cases reworking - the 
songs of French poet and musician Serge Gainsbourg. Serge is described in 
the information accompaning the recording as "Notorious for his facial 
stubble, ponderous poses with cigarettes and pop hits with explicit sexual 
themes, Gainsbourg was a hero to many French people."
	While the songs have been chosen from his entire career, they could
also describe a year in the life of the writer, since most songs are 
narrated in the first person. Opening with a song sounding like the 
soundtrack accompaning the animated Saub (automobile) commercial that ran 
here in the States, the one where the guy's encouraged to quite his job and 
stop putting up with corperate bullshit - but still keep the Saub...
	But, I digress. This melodic style is central to the first song, 
"69 Erotic Year," which sets the scene.  "They're in love and they're 
sailing free/For one whole year at sea/He will pardon her caprice/Till 
1970... 69, Year of Love." The album then seems to follow the "hero" for 
the next year, as his life spirals slowly out of control. Intoxicated by 
alchohol and sex, never really connected to the world, the character of 
Gainsbourg seems lost and lonely. Unable to connect emotionally with his 
lovers or his life, he drifts alone through the year. Lines like, "...And 
if I die tonight/It's my destiny and my right/I think less well of life/Than 
of my motorbike" from "Harley Davidson" illustrate my point.
	Or the verse from "Intoxicated Man," the title song, "You sigh/and 
tell me what you're thinking./You're like,/a violet that is shrinking,/into 
the patterened left lapel,/of my dressing gown./Spinning on the carousel,/of 
my living room." Then there's his outrage at being betrayed by his lover in 
"Sex Shop," where he angrily demands, "Come, you little harlot, tell to 
me/How was it between his sheets/Was it better than with me?/But, you 
little bitch, you're waiting still/For me to swollow this bitter pill/I 
swear I never will." 
	This is contrasted with "the Song of Slurs," where his lover 
screams, "YOU ARE VILE, YOU ARE VAGUE, YOU ARE VAIN/YOU'RE DEVIOUS AND 
ENVIOUS, YOU'RE INSIDE." To which he replies, "Evelyn don't say that, 
Evelyn I pray to thee/Evelyn you once loved me, don't you see." I don't 
believe his words, and neither does his lover, apparently.Especially when 
you hear his blow off in "I Have Come to Tell You That it's Goodbye."  
This was the song that convinced me the narrator was a loser, "Now the 
hour is nigh/Yeah I regret/To tell you it's goodbye/But I can't bear to 
hear you cry." What an asshole... but that's just my opinion. 
	Then there's the song about suicide, "The Barrel of My 45." "Aye, 
if I were to die/Blow myself sky high/To finish the story/With out you/This 
idea came to me, God knows where from/just a desire/I often have/I find it 
tempting." No kidding! His life is so empty of meaning, it's no surpise 
he's bored and unhappy and eager to die. But wait, there's more... In 
"Jazz in the Ravine," the camera pans in on a sports car, racing through 
the south of France... "Listen/Listen to that baby-doll/Hear that/My 
favorite part of all/So turn the music up full blast/And don't worry 
honey, I always drive this fast/ And then, just before Monte Carlo/It 
happened, well that's the final blow/The Jaguar left the bitumen/and 
somersaulted into a ditch with them/And while they lay there racked with 
pain/The radio kept blaring out this refrain/At dawn/They'll use a spoon/To 
scrape up their remains." 
	You get the idea. Mick Harvey's translations of the lyrics and 
arranging of the music, along with Anita Lane's haunting vocals, make this
an interesting study in contrasts - a beautiful, romantic portrait of a 
piece 'o shit loser. A difficult tasked, brilliantly executed.
---
	REVIEW: Lifter, _Melinda,(Everything Was Beautiful And Nothing Hurt)_,
		(Interscope) 
		- Mario J. Lia
	This threesome was formed in 1992 in Silverlake, CA. They started 
playing gigs around the L.A. area, and then over the next three years 
released indie seven inches on Fingerpaint, Triple X and Boy's Life 
Records. This helped spread the word of this rocking band. Now with 
_Melinda_, Lifter is ready to take the world by storm. 
	"I think it's important to write about what's inside of me not 
outside of me. I can't see myself ever writing storyline songs or political 
manifesto songs," remarks guitarist and lead singer Mike Coulter.  This 
raw honesty in the lyrics gives Lifter strength. Take for example "402" 
where Coulter says "I want to go back home and mow the lawn for my dad...
I want to walk to school and get high with my friends...why can't I leave 
this town and tell my mom I tried.."
	But there is more to Lifter then soul searching lyrics.   This 
album is like Grooves R Us, 'cause they can play them all. Slow grooves 
like in the song "Something Borrowed". This song is very poppy Lemonheads-ish,
to the point where(just for a second) you think it's Even Dando singing and 
playing it. Then there's "The Rich, Dark, Sultry Red Of Hate".  After a 
quiet intro this song breaks into a thick bass groove reminiscent of The 
Breeders' "Cannonball". The last track of the album is "Shine". This 
starts off sounding as slow wedding-band ballad. Then there's a feedback 
intense solo and then a sing-along-song type ending.
	Mike along with Jeff Sebelia(bass) and Johnny Rozas(drums) make 
Lifter a terrific threesome. Songs to rock to, songs to relate to. The 
songs of Lifter will ring in your ears and keep you grooving.
---	
	REVIEW: Reef, _Replenish_ (Epic)
		- Linda Scott
	_Replenish_ is Reef's debut album, and it's one to be proud of.  
Actually, the album was released in June 1994 in the the band's native UK 
where it was well received.  Sony designated Reef to cross the pond, hit 
the USA rock music scene, and follow in the success path of Oasis.
	Band members Gary Stringer (vocals), Kenywyn House (guitar), 
Dominic Greensmith (drums), and Jack Beasant (bass) got together in March 
1993 in West London and formed Naked.  They appeared as Naked for a year 
gigging around the UK, making demo tapes but made achange soon after to the
current Reef.  Two tracks, "Good Feeling" and "Naked",reached Numbers 24 
and 11, respectively on the UK charts.  With _Replenish_'s release, the 
band pulled in better gigs opening for the Rolling Stones at their "secret"
London gig, opening for Soundgarden and playing five UK festivals.
	Reef has made an amazing impact in the UK and now _Replenish_ is 
here in the states.  The album does have enough to get itself a hearing.  
The music rocks but has an alternative side to it. Reef sounds like Pearl 
Jam with vocals that are reminiscent of Black Crowes.  Guitars and drums 
are right on, and Stringer's vocals sound more American than British.  
	It's this combination which makes this one of the British bands 
which might capture America's fancy.  Check them out now - and impress 
your friends when, in six months, they rave about the "latest great 
British export" - Reef.
---
	CONCERT REVIEW: Nits, Zurich, January 18 1996
		- Reto Koradi
	The Nits are probably an unknown name to most of our readership in
the U.S., so this live review is also intended to serve as an introduction to
the band. Despite a career spanning nearly 20 years and 15 albums, with
some songs that gained remarkable popularity on the European continent,
this Dutch band has never hit it big world wide. Maybe that is because they
never caught the wave of a current trend and probably never wanted to. Their
style of pop was always timeless, and a touch too intellectual to attract
an even larger audience. But over the years, they acquired a solid base of
avid fans, not to the least with their great live shows. This explains why
the venue of 1,500 people in Zurich still sells out easily, even after the
greatest hits are 7 years old.
	The three core members, lead vocalist and guitarist Henk Hofstede,
keyboarder (and comedian) Robert Jan Stips, and drummer Rob Kloet, are
still going strong, despite a few grey hairs. On the current tour, they
are reinforced with a bassist and an additional percussionist. Of course
they play a bunch of newer songs, some of their greatest hits, like
"J.O.S. Days", but also a surprising number of old tunes, like "Cabins",
"Port Of Amsterdam", or this reviewers favorite, "Typist Of Candy". Old
songs, most notably the classic "Sketches Of Spain", are reworked
drastically, to make this a highly interesting encounter. This is completed
with some unusual cover versions and audience requests. The whole show is
very well balanced, subtle ballads change with powerful songs, creating a
high tension. The almost 2.5 hour set leaves back an ecstatic audience,
which gets a well deserved additonal encore long after the lights went on.
	It's hard to explain in a few words what makes The Nits such a
special band. One thing is that they can play their instruments, which not
all bands could claim. All of them even play multiple instruments, drums
and violin are a particularly interesting combination. Then they just write
great, intelligent pop songs with excellent, sometimes weird, and often
hilarious lyrics. And last but not least, what mainly comes through in
their live shows: they enjoy playing, and entertaining the audience. You'll
hardly see another band laughing so much on stage, and this positive
attitude makes you want to see them every day. While other bands prefer to
insult the crowd, Henk brings his video cam during the encore, and films
the audience.
	The current release of The Nits is a greatest hits compilation
titled _Nest_ (also in a video version, "Vest"), which gives a good
introduction to the band. For compilation haters, we recommend the twofer
_Henk/Kilo ('83/'86)_, their best-seller _In The Dutch Mountains_, or the
wonderful live double CD _Urk_. More information can be found at:
http://sunserver1.rz.uni-duesseldorf.de/~steinj/nits.html
---
	REVIEW: Glueleg, _Heroic Doses_ (Pure)
		- Mario J. Lia
	The best way to describe Glueleg is a mixture, not 
one of anything.  Their sound is that of The Mighty Mighty 
Bosstones + rap + Santana.  That's a tall order to pull off but 
somehow they do it. Ruben Huizenga(guitars and vocals), Carlos 
Alonso(Chapman Stick and vocals) and Christian Simpson
(percussion) provide dense grooves that have helped this band 
garner heavy rotation on the Canadian equivalent to a cooler 
MTV, Much Music. The most interesting feature of this 
quartet is Andy Wyse who not only sings but also plays 
saxophone on several songs. His high notes punctuate almost 
every song. Ska plus hard rock...what could come next? How 
about Spanish? Further adding to the mix is the fact that some 
of the songs are partially spoken in Spanish, even a few Spanish 
titles.
---
NEWS:	> BoardAid3 for Lifebeat will be taking place on February 14
at Big Bear Lake, California.  Bad Religion, 7 Year Bitch and Unwritten
Law will headline this combination skate/snowboarders/music festival.
For more information on BoardAid3, check out the WWW site at
http://www.boardaid.com
	> Ghostmeat Records has a page on the World Wide Web,
located at: http://users.aol.com/rlhallauer/home.htm
	> John Hiatt will be performing the song "Cry Love" on February 14
when he appears on the Late Night with Conan O'Brien show.
	> Lucy's Dream has a WWW page at:
http://www.mathcs.duq.edu/~richwals/ld.html
	> The weekly CoffeeBreak interview series MuCoMo 
(http://www.mucomo.com), has the following artists scheduled for interviews:
Feb. 1 Offspring, February 7: Candlebox, February 14: Mr. Mirainga
February 21: Bad Religion, February 28: Mike Muir
	> The Performing Songwriter is a unique magazine.
Rather than reporting on gossip and innuendos - unrelated to music, but
great for tabloid covers - The Performing Songwriter finds out how the
songs are written - their inspiration, the thought process, and the
work involved in making them become more than just another song.  
Recent interviews with Billy Joel and k.d. Lang are among the most
substantial seen on either artist.  In addition to these interviews, there 
are plenty of pointers, "how-to's", and tips for up-and-coming 
performers.  The Performing Songwriter is crucial to any performers 
working their way up the ladder in the music industry or fans of any 
of the profiled artists.  Individual issues are $4.95; a year-long
subscription (6 issues) is $25.95.  For more information, contact them
via e-mail at perfsong@aol.com or on the WWW at 
http://songs.com/noma/tps
	> Smug, a New York City-based free regional alternative monthly
newspaper, recently celebrated its one year anniversary.  Editor Shirley
Halperin's publication covers the world of music and film with the
attitude of its title and is distributed to clubs and record stores.  For
more information on Smug, drop a line to smugnyc@aol.com 
	> SubCulture TapeZine takes the common 'zine premise but (obviously)
turns it upside down by its sole distribution being on 60 minute cassette.
Although editor Melita Dennett claims that it is "not a radio show", 
the combination of interviews, reviews and song snippets come across
as an ultra-cool radio show that's way above the college level.  Issue #1
shines on through interviews with artists such as Kim Deal, Delicatessen,
Bandit Queen and an archive interview with Julian Cope, while Issue 2
(slated for February release) plans to include interviews with Echobelly
and Perfume and an archive interview with the Ramones.  
For more information on this limited edition (1,000) quality 'zine, 
e-mail crowradio@mistral.co.uk.  Or, to directly purchase the 'zine,
send 2 pounds (UK residents) or $4 (outside UK) to SubCulture TapeZine,
7 Phoenix Place, Brighton BN2 2ND United Kingdom
	> The Tattletale Report is a regionalized newsletter which lets 
readers know audience reaction, the draw, professionalism of the act, if the 
club would invite the band back again, and if the band arrived on time.  
Believe it or not, the answers to these questions are not always yes!
With further contacts, this could quickly fill a niche for promoters and 
booking agents of small clubs.  Individual issues are $5; for more 
information, contact them at 212-505-2441 or via e-mail at heymeow@aol.com
---
TOUR DATES
	AC/DC
Feb. 1 Los Angeles, CA Forum
Feb. 2 San Jose, CA Arena
Feb. 3 Oakland, CA Coliseum
Feb. 5 Sacramento, CA Arco Arena
Feb. 7 Portland, OR Rose Garden
Feb. 9 Vancouver, BC GM Palace
Feb. 10 Tacoma, WA Tacoma Dome
Feb. 12 San Diego, CA Sports Arena
Feb. 16-17 Mexico City, MEXICO Sports Palace

	Walter Beasley
Feb. 1 Fort Worth, TX Caravan of Dreams
Feb. 2 Houston, TX Rockefeller's
Feb. 3 New Orleans, LA House of Blues
Feb. 4 Birmingham, AL Alabama Theatre
Feb. 6 St. Paul, MN O'Shaughnessy Auditorium
Feb. 8 Tulsa, OK Brady Theatre
Feb. 9 St. Louis, MO Mississippi Nights
Feb. 10 Chicago, IL Park West Theatre
Feb. 11 Royal Oak, MI Royal Oak Music Theatre
Feb. 14 Washington, DC Warner Theatre
Feb. 15 Durham, NC Carolina Theatre
Feb. 16 South Amboy, NJ Club Bene
Feb. 17 Camden, NJ Sony Blockbuster Entertainment Center

	Cypress Hill
Feb. 1  Houston, TX  Int'l Ballroom
Feb. 2  New Orleans, LA Lakefront Arena
Feb. 3  Atlanta, GA  Int'l Ballroom
Feb. 5  Washington, DC 930 Club
Feb. 6  Washington, DC 930 Club
Feb. 7  Baltimore, MD (tentative)
Feb. 9  Philadelphia, PA Electric Factory
Feb. 10  Worchester, MA  Aud
Feb. 11  Providence, RI  The Strand

	Dance Hall Crashers
Feb. 4 Boulder, CO Fox Theatre 
Feb. 6 Omaha, NE Ranch Bowl 
Feb. 7 Lawrence, KS Bottleneck 
Feb. 8 St Louis, MO Galaxy 
Feb. 9 Chicago, IL Metro 
Feb. 10 Ann Arbor, MI Blind Pig 
Feb. 11 Cleveland, OH Grog Shop 

	Everclear / Ruth Ruth
Feb. 1 Memphis, TN New Daisy Theatre
Feb. 2 St. Louis, MO Galaxy
Feb. 3 Kansas City, MO Memorial Hall
Feb. 4 Minneapolis, MN First Avenue
Feb. 5 Milwaukee, WI Marquette University
Feb. 7 Chicago, IL Metro
Feb. 8 Detroit, MI St. Andrews Hall
Feb. 10 Cleveland, OH Odeon
Feb. 11 Pittsburgh, PA Metropol
Feb. 13 Buffalo, NY Showplace
Feb. 14 Toronto, ON Opera House
Feb. 15 Montreal, QC Club Soda
Feb. 16 Providence, RI Lupo's
Feb. 17 Washington, DC New 930 Club
Feb. 18 New York, NY Tramps

	Freewheelers
Feb. 1 Denver, CO Bluebird Theatre
Feb. 2 Breckenridge, CO Joshas
Feb. 4 Salt Lake City, UT Zephyr Club
Feb. 6 Boise, ID Bogey's
Feb. 7 Lewiston, ID Tomfoolery
Feb. 8 Seattle, WA Off Ramp
Feb. 9 Vancouver, BC Richard's
Feb. 11 Portland, OR Key Largo
Feb. 12 Eugene, OR Wild Duck
Feb. 14 Santa Rosa, CA Magnolia's
Feb. 15 Chico, CA Brickworks
Feb. 17 Lake Tahoe, CA Humpty's

	Godplow
Feb. 1 Birmingham, AL The Nick
Feb. 2 St. Petersburg, FL State Theatre
Feb. 3 Miami, FL Churchill's
Feb. 4 Fort Myers, FL Offbeat Records
Feb. 6 Pensacola, FL Sluggo's
Feb. 7 Lafayette, LA Metropolis
Feb. 8 Houston, TX Abyss
Feb. 9 Austin, TX Emo's
Feb. 10 Denton, TX The Argo
Feb. 13 Omaha, NE Cog Factory
Feb. 16 Davenport, IA Smile Coffeehouse
Feb. 17 Des Moines, IA The Safari
Feb. 19 Columbia, MO Deep Blues

	Paris Hampton
Feb. 1 New York, NY Wetlands
Feb. 15 New York, NY CBGB Gallery

	Hum / Mercury Rev
Feb. 1 Columbia, MO Blue Note
Feb. 2 Lawrence, KS Bottleneck
Feb. 3 Kansas City, MO Hurricane
Feb. 4 Wichita, KS Rock Island
Feb. 5 Oklahoma City, OK Bricktown Live
Feb. 6 Dallas, TX Orbit Room
Feb. 7 Austin, TX Liberty Lunch
Feb. 8 Houston, TX Abyss
Feb. 9 Baton Rouge, LA Varsity Theatre
Feb. 10 New Orleans, LA Howlin' Wolf
Feb. 11 Pensacola, FL Sluggo's
Feb. 12 Tallahassee, FL FLorida State
Feb. 13 Jacksonville, FL Milk Bar
Feb. 14 Cocoa, FL Cape SIerra
Feb. 15 Tampa, FL The Robb
Feb. 16 Atlanta, GA Masquerade
Feb. 17 Athens, GA 40 Watt Club

	I.C.U. (Intensive Care Unit)
Feb. 9 New York, NY CBGB's

	Jayne County (formerly Wayne County)
Feb. 9 New York, NY Squeezebox
Feb. 14 Los Angeles, CA The Viper Room
Feb. 16 Los Angeles, CA Club Cherry

	Kilgore Smudge
Feb. 1 Raleigh, NC Players
Feb. 2 Wilmington, NC Mad Monk (w/DRI, Acid Bath)

	Lemons
Feb. 3 Seattle, WA Moe's
Feb. 7 Spokane, WA Outback Jack's
Feb. 8 Missoula, MT Jay's Bar
Feb. 9 Pullman, WA The Zoo
Feb. 10 Boise, ID Neuro-Lux
Feb. 11 Fife, WA Java Jump
Feb. 15 Salem, OR Grand Theatre
Feb. 16 Seattle, WA Rockcandy
Feb. 18 Portland, OR La Luna

	Letters to Cleo
Feb. 1 Olathe, MO Guitars and Cadillacs
Feb. 2 St. Louis, MO Mississippi Nights
Feb. 3 Chicago, IL Metro
Feb. 4 Toledo, OH Main Event
Feb. 6 Cleveland, OH The Odeon

	Huey Lewis & The News
Feb. 12 San Antonio, TX Joe Freeman Coliseum

	Liquor Bike
Feb. 1 Morgantown, WV Nyabinghi Dance Hall
Feb. 2 Wilkes-Barres, PA Mantis Green
Feb. 3 Philadelphia, PA Upstairs At Nick's

	Dave Matthews Band
Feb. 1 Bloomington, IN Indiana Auditorium
Feb. 2 Champagne, IL Foellinger Auditorium
Feb. 4 Davenport, IA Adler Theatre
Feb. 5 Ames, IA Cy Stephens Auditorium
Feb. 6 Decorah, IA Luther College
Feb. 8 East Lansing, MI Michigan State University
Feb. 9 Geneva, NY Smith Opera House
Feb. 10 Binghampton, NY Binghampton University
Feb. 11 Amherst, MA Lefrak Hall
Feb. 13 Burlington, VT Flynn Theatre
Feb. 14 Waterville, ME Colby College
Feb. 16 Middlebury, VT Middlebury College
Feb. 17 Storrs, CT Jorgensen Auditorium
Feb. 18 Hanover, NH Dartmouth College

	Mighty Mighty Bosstones/Dance Hall Crashers
Feb. 14 Pittsburgh, PA Metropol  
Feb. 15 Columbus, OH Newport Music Hall  
Feb. 16 Cincinnati, OH Bogart's  
Feb. 17 Memphis, TN 616  

	Mike Peters
Feb. 10 Chicago, IL Double Door
Feb. 11 Detroit, MI Alvin's
Feb. 12 Oxford, OH First Run
Feb. 13 St. Louis, MO Mississippi Nights
Feb. 14 Lawrence, KS The Jazz House
Feb. 15 Kansas City, MO Hurricane
Feb. 17 Salt Lake City, UT Bar & Grill

	Bob Seger / John Hiatt
Feb. 13 Philadelphia, PA Spectrum
Feb. 15 Washington, DC US Air Arena
Feb. 17 Albany, NY Knickerbocker

	7 Mary 3 / Lustre
Feb. 1 Hollywood, CA Whiskey
Feb. 2 Solana Beach, CA Belly Up Tavern
Feb. 3 Santa Ana, CA Galaxy
Feb. 4 Las Vegas, NV Area 51
Feb. 6 El Dorado, CA Carmichael Theatre
Feb. 7 Palo Alto, CA Edge
Feb. 8 San Francisco, CA Great American

	Sister Machine Gun / Gravity Kills
Feb. 2 Normal, IL IL. State Univ.
Feb. 3 Champaign, IL Mabel's 
Feb. 4 Ames, IA People's 
Feb. 5 Louisville, KY Toy Tiger
Feb. 6 Cincinnati, OH Bogart's-WOXY Radio Show
Feb. 8 Atlanta, GA Masquerade
Feb. 9 Charlotte, NC Amos
Feb. 10 Myrtle Beach, SC The Head Room
Feb. 11 Greenville, SC Gargoyle's
Feb. 13 Charleston, SC Acme
Feb. 14 Fayetteville, SC Flaming Mug
Feb. 15 Huntsville, AL Vapors
Feb. 16 Nashville, TN Cannery
Feb. 17 Macon, GA Elizabeth Reed Music Hall

	Elliott Smith / The Softies
Feb. 9 Chico, CA Juanita's
Feb. 11 Los Angeles, CA Jabberjaw
Feb. 12 San Diego, CA Che Cafe
Feb. 13 Phoenix, AZ Stinkweed's Records
Feb. 14 Tucson, AZ Cafe Luna Loca
Feb. 15 Lubbock, TX Einstein's
Feb. 16 Austin, TX Electric Lounge
Feb. 17 Houston, TX Rice U. Coffee House

	Verve Pipe
Feb. 1 Lawrence, KS Jazzhaus
Feb. 2 Columbia, MO Side Door
Feb. 9 Atlanta, GA Smith's Old Bar
Feb. 10 Greenville, NC Peasants
Feb. 14 Carrboro, NC Cat's Cradle
Feb. 15 Asheville, NC Be Here Now
Feb. 16 Columbia, SC Elbow Room
Feb. 17 Charleston, SC Music Farm

	Vinyl Devotion
Feb. 8 San Francisco, Bottom of the Hill

	Wild Strawberries / Suzanne Little
Feb. 8 London, ON Call the Office
Feb. 9 Ottawa, ON Barrymore's
Feb. 10 Kitchener, ON Volcano
Feb. 16 Hamilton, ON X Club
Feb. 17 Toronto, ON Lee's Palace

	Jane Kelly Williams
Feb. 3 Philadelphia, PA Tin Angel
Feb. 16 Washington, DC Folk Alliance (Renaissance Wash. Hotel)
---
THE READERS WRITE BACK!
	I was recently looking through the web to find out 
information about the Fountains, a group Joe Silva had written 
an article about in the December 9, 1994 issue of Consumable.
	I have seen the Fountains perform in Binghamton, NY 
at a bar called Westside Cheers recently;  the review Mr. Silva 
wrote was about the Fountains and their first cd _Welcome_ on 
Plow Records.  I hope he gets a chance to hear _Stamp_,  the next 
album that the Andrews Brothers have released.  "A Spark" is my 
favorite track. - Jeff H., Binghamton, NY

	I've been recieving Consumable since sometime around last November.  I
really enjoy your e-zine, especially your listing of tour dates - and the
concert reviews are great.  I also like the reviews of albums, which I 
use to get another opinion about CD's I plan to buy; your reviews are 
helpful because I can get some opinions about the entire album.  
Keep up the good work. - Jacob J., Hazlehurst, GA 

	Thanks for the great interview with Brendan Ryan of Bogmen.  I saw 
their sold-out show in NYC at the Academy over the Thanksgiving weekend, and 
it was great!  I actually flew in from CA to see the Rake's Progress, who 
opened for Bogmen, but I'd bought "Life Begins at 40 Million" before the 
show and fell in love with the Boggers, too.
	The two groups have toured together quite a bit, and they assist 
each other on some songs.  In the show I saw, PJ O'Connor played percussion
one of the Rake's songs, and Tim Cloherty sang lead on one of Bogmen's 
songs.  It's wonderful to see musicians appreciate and support each other.
(Especially nice because they're on different labels.)  Bill Campion and 
Tim Cloherty both write some wicked lyrics!  
	Your interview didn't mention that the Bogmen's CD is available in 
a "multimedia" format (possibly limited edition?) that you can drop into a 
CD-ROM player and enjoy on your computer (Mac or Windows).  It's quite 
funny and charming -- contains music samples, interview clips, comix, and 
QuickTime movies of the band at work
	I always enjoy reading what Consumable has to say.  - Scottie Z, 
Palo Alto, CA
---
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Address any written correspondence to Bob Gajarsky, Consumable Online,
409 Washington St. #294, Hoboken, New Jersey 07030
===
