==== ISSUE 80 ====         CONSUMABLE         ======== [June 24, 1996]

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

 Address all comments, subscriptions, etc. to gajarsky@email.njin.net
==================================================================
	All articles in Consumable remain (C) copyright their author(s). 
Permission for re-publication in any form must be obtained from the 
editor.
==================================================================
                            .------------.
                            |  Contents  |
                            `------------'
REVIEW: Manic Street Preachers, _Everything Must Go_ - Tim Kennedy
REVIEW: Primitive Radio Gods, _Rocket_ - Bob Gajarsky
REVIEW: Iggy Pop, _Naughty Little Doggie_ - Jeremy Ashcroft
REVIEW: _Schoolhouse Rock: The Box Set_ - Bob Gajarsky
REVIEW: Various Artists, _Ultra-Lounge Vol. 1-6_ - Joe Silva
REVIEW: Asia, _Arena_ - Paul Grzelak
REVIEW: China Drum, _Goosefair_ - Reto Koradi
INTERVIEW: Half Hour To Go - Darren Tracy
REVIEW: Various Artists, _Growin' Up Too Fast: The Girl Group Anthology_ 
   Best of's from Shangri-La's, Angels, Lesley Gore - Al Muzer
CONCERT REVIEW: The Go-Betweens, Paris, France - David Landgren
REVIEW: Hampton Grease Band, _Music to Eat_ - Dan Enright
SINGLES REVIEWS (Bawl, Bluetones, Velour) - Bob Gajarsky
NEWS: Spin Control/Mixman, Material Issue, London Suede, Pacific National
   Exhibition, Sarah McLachlan, Summer Nights at the Pier
TOUR DATES: Baboon / Rubberbullet, Barkmarket, David Bowie, Boyracer
   Brooklyn Funk Essentials, Bryndle, Cocteau Twins, Compulsion / Evil
   Superstars, Coyote Shivers, Elvis Costello, Cravin' Melon, Def 
   Leppard / Tripping Daisy, Far, Jayne County, Cure, Customers
   Electrafixion, Everclear / Spacehog, Half Hour To Go, Haze, 
   It's Me Margaret, Kiss, Lollapalooza, Nada Surf, Nancy Boy, Pantera,
   Poorhouse Rockers, Porno For Pyros, Rembrandts, Spin Doctors / Hot
   Water Music, Sting / Natalie Merchant, Superdrag, Velour, Paul
   Westerberg
ERRATA
Back Issues of Consumable
---
	REVIEW: Manic Street Preachers, _Everything Must Go_ (Sony U.K.)
		- Tim Kennedy
	This is the album that by many accounts should never 
have happened.  The word from lead singer James in 
the interview last year in Consumable was that if one 
member left then the band would break up,  that the sum of 
the group was greater than the individuals.  Moreover the
trauma of their dear friend vanishing so suddenly could
have been too much for them to face going on as a unit.
	Richie has been gone over a year and the band have in no
way exploited their colleague's memory,  as some bands 
have with fallen figureheads (mentioning no names).
	However the Manics have gone on,  and after some low-key
support sets around the UK,  for Oasis in Wales,  for the
Stone Roses showpiece Wembley Arena extravaganza, and  
their touching rendition of Burt Bacharach's 'Raindrops
Keep Falling On My Head' on the _Help_ Bosnia charity CD,
at length they have emerged with this CD.  The title 
has a two-edged connotation: a rebuttal of accusations 
of any 'sellout' (the phrase is commonly used on UK shop
windows during Sales); and/or that the past is to be wiped
from the slate.  Certainly some Manics fans have reacted
badly to them continuing,  holding onto Richie's memory
out of misguided loyalty.
	It has to be said that Richie was never a great musical
presence in the Manics, singer James did rhythm AND lead
whenever I saw them and Richie never seemed to be that
motivated in a performance. Of course, he had the most
interesting intellect - and during interviews and
in his lyrics he was continually stimulating the fans
and the UK music scene generally.  His swansong _The
Holy Bible_ released in 1994 was one of the greatest
rock albums of all time in the opinion of this writer
mainly on the strength of Richie's paralysing analysis
of the twentieth century's horrific inhumanity set to 
electrifying punk rock (70s style not 90s). But what of 
its successor?
	The opener is strange, beginning with ambient lapping
of waves and acoustic musings.  The target of this 
song "Elvis Impersonators" is the pervasive effect
of gutter American nonculture.  The song kicks into 
rock midway,  but the presence of a harp in the chorus
points to a multi-instrumental approach which gradually
become more apparent as the CD goes on.  The lyrics on 
this are Richie's, finished by Nicky Wire, the bassist,
who it must be said was always a major lyrical contributor.
The Manics picked on America in a track on the last CD too,
but they are really concerned about artificial culture,
not exhibiting crass xenophobia.
	The current UK single "Design For Life" is one of
the very best songs they have ever written.  It has
a swaying riff which conveys deep anguish combined
with fury;  it is extremely moving.  This is a new
composition, with Nicky Wire lyrics. Strings underline
the track, but the orchestration is startling.  The 
lyrics describe alcohol abuse as an escape from life.
	The title track is a direct statement of intent by the
band "I hope you can forgive us,  but everything must
go".  The furious pace of the song implies that they 
are anything but sorry and are committed upon their
renewed mission.  Again strings are prominent.
	There are three musical layers in this CD:  the
acoustic aspect which begins several songs,  and others
are completely acoustic- but with the added instrumentation
of harps,  strings and the like.  This is particularly
effective on "Small Black Flowers That Grow In The Sky"
which is a harrowing Richie lyric.  The second layer is the
all-out rawk guitar which this band have always been 
adept at.  However the third layer is completely new -
a Phil Spector-esque orchestration where the strings have
a cavernous sound to them.  "Everything Must Go" the track
actually reminds a lot of "River Deep Mountain High",
Spector's ultimate production job in the 60s with Ike
and Tina. Elsewhere harps and horns also give this CD a
marvellously lush instrumental landscape.
	The subject matter of Richie's lyrics on this CD hasn't
got the meltdown-white-hot focus of _The Holy Bible_ -  it
reflects various subjects that interested the guitarist
in his last few months in the band. For example, he was
much taken with the character played by Dennis Hopper
in Coppola's Vietnam classic _Apocalypse Now_.  One
track "Kevin Carter" is about this war photographer.
The horns on this song give it an oddly 70s TV theme
feel.  This is another bleak majestic Manics classic.
	There won't be many CDs this year as accomplished,
interesting and multi-faceted.  This CD proves that 
the Manic Street Preachers can successfully experiment 
with their sound. It shows that they can survive the loss
of Richie.  They remain one of the finest rock bands
of any era.
---
	REVIEW: Primitive Radio Gods, _Rocket_ (Columbia)
		- Bob Gajarsky
	The Primitive Radio Gods' Chris O'Connor has already defied
the odds just by getting a record deal.  Formerly lead singer of the 
Santa Barbara, CA alternative rockers, the I-Rails, O'Connor watched
as that band disbanded after 1990.  An attempt at finishing the last
I-Rails album solo, and releasing it independently, failed.  Finally,
O'Connor mailed this completed album to other label representatives -
and Columbia took a flyer on him.
	_Rocket_, the debut from the Primitive Radio Gods, combines
aspects of the last 30 years without *consciously* mimicking them.  
There's Jimi Hendrix-like guitars mixed with a sound based firmly
in Public Enemy, with low-fi vocals coming over the top.  There's just
a brief moment in "Women" where Queen's "Radio Ga Ga" comes through,
and the chords from E.L.O.'s "Do Ya" echo in "Rocket".  Imagine 
the notes played by Nine Inch Nails, played solely on guitars, and
you might have a better idea of how _Rocket_ sounds.
	But the reason that this album will sell millions - and
rightly so - is because of the monster hit, "Standing Outside A 
Broken Phone Booth With Money In My Hand" which combines the low-fi 
sound of Beck's "Loser" with the extremely cool Lou Reed, 
specifically "Walk On The Wild Side".  Combine that with a wonderful 
B.B. King sample, and this song will be the track that anyone - and 
everyone - who likes alternative music will be singing. David Letterman 
was caught singing the sample continually during his evening telecast, and
you can bet it wasn't from the original King song "How Blue Can You Be".  
	If it was a one song album, this story might not have a happy
ending.  But there's tracks like the aforementioned "Women" and a 
likely future single, "Are You Happy", which can keep the Primitive
Radio Gods' train rolling on down the line.  _Rocket_ has ten songs, 
all of which could receive significant alternative rock airplay.  
Definitely the smash newcomer of the summer.
---
	REVIEW: Iggy Pop, _Naughty Little Doggie_ (Virgin)
		- Jeremy Ashcroft
	Forget what the rock'n'roll history books tell you, or what the
uncharacteristically tired look of the guy on the cover might lead you to
believe - Iggy Pop is still the angry teenager, at war at what he sees
wrong in the world and not yet cynical enough to give up the fight.
	The album opens in full swing with "I Wanna Live", a message 
that while perhaps his wilder days are behind him, at least he's left
his mark, and that there are still things to kick up against. The 
drumming is at once tight and loose, driving the beat but still funky;
the guitars suitably raw, and Iggy harking back to the higher-range 
vocal style of the early days - there's even a little lyrical reference 
to The Stooges "No Fun".
	"Pussy Walk" is Iggy vs. his hormones. Sure to be slated in 
some quarters for the admittedly sexist lyric, it's actually pretty 
funny as Iggy admits that he can't help himself when it comes to women;
"like you're supposed to go to the store and get a bottle of milk ... 
but on the way there's a girl and there's another girl ... and your 
eyes are going one way ... and your nose is going up ... and your nose 
is going down." He makes you feel almost sorry for him!
	With a guitar tone that evokes "Kill City" era James Williamson,
Iggy longs for a return to his "Innocent World" on the next track. Though
'innocent' and 'Iggy' aren't often associated with each other, it's as if
he finds 'grown up' life to be too corrupt, a theme also taken up on the
following "Knucklehead".
	Incredibly, I've heard "To Belong" described as Iggy's version of
Nirvana, as if they were the first band to do the slow verse/fast chorus
thing, but to me "Keep On Believing" has the more contemporary sound
(influenced no doubt by the choice of using Offspring's producer for the
recording). That said, it's still pure Iggy, a voice that's been lived
in, and I've yet to hear anything as perfect as the crazy wah-wah solo on
any recent "punk" records. [Trivia note: before joining Nirvana, Dave
Grohl once played in a one-off pick-up band with Iggy.]
	Cited as one of his major influences, I'd never really heard the
Velvet Underground in Iggy's music until "Outta My Head", with its 
droning feel and thump thump drum beat, though "Shoeshine Girl" has 
almost a country/folky feel, or at least Iggy's take on that kind of 
music. "Heart Is Saved" is more conventionally rocky, but is probably 
the most throwaway song on the album, unlike the final track, 
"Look Away".
	Although nearly all of Iggy's songs are in some way about the 
man himself and his experiences, "Look Away" seems even more personal. 
It's the story of Johnny Thunders, with whom Iggy "did not part friends",
but who he clearly had a lot of affection for, and in who he could 
maybe see himself - and since Johnny died chasing the rock'n'roll 
dream, whereas Iggy got clean, it's almost as if he's facing his own 
mortality. Amateur psychology aside, it's a very moving track.
	With his almost 20-year old classic, "Lust For Life", finding 
a new audience due to the recent success of the Iggy-inspired movie,
"Trainspotting", it's incredible to imagine him still making such vital
records, but while most "doggies" of his age are no more naughty than
breaking wind when visitors call, Iggy is still the puppy that tries to
screw your legs.
---
	REVIEW: _Schoolhouse Rock: The Box Set_ (Rhino)
		- Bob Gajarsky
	Walk up to anyone between the ages of 25 and 35 and speak
the words "Conjunction Junction" to them.  Rather than get a strange
look, or a call for the funny farm, you'll likely receive the answer 
of "What's Your Function?"  No secret code, this was part of the
irresistible song/learning series interspersed between Saturday
morning cartoons known as "Schoolhouse Rock".  And, just more than
twenty years later, _Schoolhouse Rock: The Box Set_ has finally
seen the light of day.
	The history of Schoolhouse Rock was paved with adoration.  From
the first episode in 1973 with "Three Is A Magic Number", the series
continued until 1985.  After an outcrying of support from cartoon fans
who were disappointed that their childhood favorites had been removed
from Saturday mornings, Schoolhouse Rock returned in 1992 with all
the "classic" episodes as well as a new subject, Money Rock.
	Schoolhouse Rock also featured musically talented associates.
Music director Bob Dorough was a renowned jazz artists; Jack Sheldon
(the voice behind "Conjunction Junction") served as the musical directory
for the Merv Griffin Show for 18 years, while Lynn Ahrens (vocals
on "Interplanet Janet") has written three Broadway shows.
	Just as most box sets, this is not meant to be absorbed all at 
once. In fact, of the 47 different original songs spanning four compact
discs , many people would initially think that only half of them were 
essential.  However, each of those people would be picking *different*
tracks - and therein lies the beauty of the box set.  It's a 
completists' dream, packaged smoothly in a three ring binder, with
school "notes" detailing the inspiration behind and the history
of the Schoolhouse Rock series.
	Most of these songs have never been heard outside of the
accompanying videos; only the "Multiplication Rock" series even 
was pressed onto slabs of vinyl.  And just mentioning some of the titles
should bring back childhood memories: "Three Is A Magic Number", 
"Lolly Lolly Lolly Get Your Adverbs Here", "A Noun Is A Person,
Place or Thing", "The Shot Heart 'Round The World", "I'm Just A Bill",
"Interplanet Janet" and the classic "Conjunction Junction".
	One thing which stands out, even today, is how musically 
accessible these songs were.  In 2 minutes, Schoolhouse Rock covered
the gamut from ragtime ("The Body Machine"), gospel ("Them Not So Dry
Bones"), doo wop ("A Victim of Gravity"), pop (many other songs), jazz
("Fireworks") and even "Interplanet Janet" sounds a bit like Susan 
Sarandon in Rocky Horror.
	Forget the tribute album with alterna-rockers covering these 
songs; this is the real deal.  The originals.  The ones we grew up with.
And, if you've got children, let them have the same excitement and 
learning experiences which we had in the 1970's through ABC's
Schoolhouse Rock.
---
	REVIEW: Various Artists, _Ultra-Lounge Vol. 1-6_ (Capitol)
		- Joe Silva
	It's probably fairly safe to view the UK success of the The 
Mike Flowers lounge version of Oasis' "Wonderwall" as a small 
velveteen blip on the musical spectrum, but if you look out across 
the Internet you'll get a better feel for Capitol's having this 
stuff exhumed en masse. The lounge revival, now a couple of years 
into it's resurgence, probably has as much verve to it now as any 
other going music trend. With a pre-mapped style quotient that 
covers everything from clothes to jargon to what your preferred 
liquid confection of the evening might be, it's a pose that's easily 
adopted. There are apparently scores of urban hipsters coveting 
their parents retired cocktail shakers and aspiring towards the lost 
glamour of the Fellini heydey.
	Initially, much of what it gathered here plays like a great 
hordes of over-skilled, under-payed jazz minstrels who did this sort 
of work to keep their gin reserves at an acceptable post-war level. 
Arrangements are string lush, vocalists croon and warble and the 
rhythm sections unearth every notional piece of percussion equipment 
to accentuate and provide some gimmicky distinction when things get 
bland.
	But in its essence, these were all probably highly trained 
players that saw this as just another aspect of the working musicians
livelihood. A fair number of the era's big names are assembled across
this "first" set of six discs with perhaps a few notable exceptions 
(Lounge giant Esquivel is nowhere to be found). But for those who 
still have a fairly difficult time adjusting to the cheese factor, 
understanding that this is all about mood and atmospheres is more 
than half the trick. With deference to that, Capitol has tried (and 
on occasion succeeds) to group some of the material accordingly.
	At its most pervasive, you could probably point out more
lounge-ish tunes that you've hummed along endlessly than you'd 
care to admit. Combustible Edison produced a snappy version of 
the Bewitched theme, reminding you that this stuff is embedded 
way deep in our collective culture. So as you browse the tracks 
you'll hear things like the "The Theme from Our Man Flint" by 
Elliot Fisher on the _Bachelor Pad Royale_ collection and draw 
an instant affinity to it. But as easy as you think this would 
be to compile, it seems like Capitol has erred more than once 
in how things were grouped that detract from the swank of the 
collective experience. For instance, it could be a licensing 
issue, but wouldn't you expect things like the Star Trek theme 
to show up on the _Space Capades_ disc? And why do we have more
than one version of "Fever" appear on separate discs? But what 
probably approximates the truth with these issues is that many 
of these tunes are fairly interchangeable given the right packaging. 
However, Capitol does get the right balance of swank and theme most 
of the time. _Mambo Fever_ works overall with its layers of Farfrisa 
and sufficient Cha-cha-chas. _Rhapsodesia_ edges to close to muzak 
frontier at times, but then again if the idea is that late night 
swoons from your lady fair, it's probably more digestible. 
	There's also a high pop content to contend with. The Dean 
Martins and Paul Ankas are wedged in here and there but don't 
necessarily detract from the plush goings on. At worst, those 
tracks simply may muddle one's conception of the period.
	Apart from a evening's sustained immersion in one of the 
many clubs that now boast a lounge night, it might be difficult to 
gen up the right ambiance for these discs to achieve their due 
appreciation. Vibraphones only resound so well outside those 
particular environments. But for moments when you're trying one of 
the suggested concoctions conveniently laid out in the liner notes
(although, Hot Wired's Virtual Blender is probably a better spot 
for recipes), you probably couldn't find a better accompanying 
musical backdrop. Beats a night of Pabst and an old Replacements album...
---
	REVIEW: Asia, _Arena_ (Resurgence)
		- Paul Grzelak
	_Arena_ is the 8th album by Asia.  Asia initially started in
1981 a lineup of very strong progressive musicians.  In their latest
release, the combination of Geoff Downes and John Payne is very
interesting.  Along with this pair (working together since _Astra_),
are Elliott Randall from Steely Dan, Aziz Ibrahim, Michael Sturgis
and Luis Jardim.
	While there is some hint of the former versions of Asia
present on this album, the sound is significantly different from
their previous big hits on _Asia_.  Listeners looking to _Arena_ to
hear new renditions of "Heat Of The Moment" are in for a surprise.
	Lead guitarist Elliott Randall brings some of the qualities
of his association with Steely Dan to _Arena_.  This album has a
warmer quality over Asia's initial releases - possibly due to increased
use of Hammond organs over standard synthesizers.  These differences
make for a significantly different, more relaxed sound that still
seems to capture some of the same emotion that fans will recognize.
	"Into The Arena" is an introductory instrumental, with warm
Steely Dan guitars, maracas, warm organ and congas - a nice mellow
warmup to the songs to come.  The "Arena" itself is a continuation
of the same sound, but building as it describes an almost gladiatorial
battleground.
	"Heaven" has a bit more of a rock feel, with an initial
sound slightly reminiscent of Pink Floyd.  "Two Sides Of The Moon" is
a bit more hard edged in vocals, and to some extent, synthesizer.
The execution of "Two Sides Of The Moon" is gripping, and has a more
creative and progressive sound than most of the album.
	"The Day Before The War" is a somewhat faster moving song,
with a bit of Asia'a old punch in the intro.  This nine minute
track is a combination of fast moving instrumental and reflective soft-
spoken vocals.  Along with this, there are some captivating instrumental
sections.  The total effect is to build a kind of reverie for times
past, not to be regained.
	"Never" is an interesting combination of strong synthesizer and
overwhelming vocals.  The guitar work during the refrains is very strong.
"Falling" reminds this critic more of synthesizer pop than progressive
or alternative style.  "Words" is a lively synthetic pop sounding track
with a bit of style.
	This album still has a surprise or two left.  "U Bring Me Down"
has an eastern influence to its initial synthesizer, and an interesting
beat.  The vocals are almost completely disjoint from the driving beat.
In the liner notes, this section is referred to as "Counter Rap", but
sounds nothing at all like rap.  It is an interesting work.
	"Tell Me Why" is a slower quiet track with strong undertones,
picking up to a stronger tempo and lyric.  This may be a statement
responding to the "Arena" and "The Day Before The War" theme.  This
would be the grief of the day after.
	"Turn It Around" feels like more of the same as much of the
album.  The instrumental "Bella Nova" closes out the album with a nice
warm fuzzy happy sound, punctuated by rather sharp drumming.
	Taken as a whole, _Arena_ by Asia is the latest in a series of
albums by a band that started out of the fine progressive / rock
tradition.  This reviewer (more familiar with the Asia long gone, the
Asia that created _Asia_ and _Alpha_) was a bit surprised by the sound
of this album.  This album reminds one of a combination of the
old Asia, Steely Dan, and maybe some Boston / Styx / Mike + The Mechanics.
This combination produces a much warmer, softer, kinder, gentler sound.
	_Arena_ has a number of strong points, and some songs that
are quite good, and unique.  There are a number of songs that seem to
blend into each other or fade to the background as well.  This is
definitely an album of merit for those who follow the new Asia, and
expect the sound.  Fans of the old Asia can expect some strong 
points mixed with some weak ones.
---
	REVIEW: China Drum, _Goosefair_ (510 Records)
		- Reto Koradi
	You couldn't say that China Drum do anything wrong. Not at 
all; this English punk band has everything you could expect. They 
have fast and tough songs which are well balanced with slower ones. 
The drummer can hold a rhythm, there are crunchy guitars, the singer
has a decent voice, and there are plenty of catchy melodies and hooks.
	Yet something doesn't work quite right. Maybe the problem 
IS that they do what one expects from a punk band, and hardly 
manage to surprise the listener. What lacks is a certain inspiration 
that would make this band unique. Many of the patterns sound all 
too familiar. In light of that, it may sound a bit ironic to say that 
their version of Kate Bush's classic "Wuthering Heights" is the most 
interesting track on the album, but covers that are entirely different 
from the original were always the most interesting. It only pops up 
after 30 minutes of silence, though, sometimes it makes you wonder 
why some people think that "hidden tracks" are still a cool idea.
	The problem might also be that we're just getting a bit 
overfed with this punk revival craze. If you're still longing for 
more of it, and can hardly wait for the next Green Day album, China 
Drum's _Goosefair_ might well be one of your best bets. But if your 
excitement for it is fading (or never started at all), it won't 
convert you.
---
	INTERVIEW: Half Hour To Go
		- Darren Tracy
	New Jersey's Half Hour to Go has just released their debut album
_Items for the Full Outfit_ (Grass Records) and things haven't always
been easy.  Plagued with line-up changes, changing record release dates,
and an audience who, for the most part, have never even heard of them, 
Half Hour to Go are geared to change all that.  And soon.
	Formed in 1993 when core members guitarist/vocalist Vic 
Marinelli and bassist/vocalist Michael Dutcher decided that the drum
machine they used was just not working out (musical differences were 
cited), they realized that needed a much more human beat.  So, they 
dumped the electronics and picked up Mike Hart, who was doing double 
duty since he was still very much a member of Kittywinder.  In this 
incarnation, Half Hour to Go recorded the EP _Don't Forget the 
Children_ in June 1994 which got them a fair amount of press and 
much-needed attention.  With that record firmly in their pocket, 
they attracted the eye of the acclaimed producer Bob Weston (Archers
of Loaf, Sebadoh) and recorded their _Items for the Full Outfit_ in 
a Chicago studio.  Ultra-melodic and widely diverse, the album wanders
the same catchy indie rock terrain that Superchunk and Polvo have 
travelled before them, but adding a little bit of New Jersey 
radioactive charm to the mix. 
	In the meantime, their label (Grass) was enduring major 
changes, which subsequently would delay release of the new album 
for more than a year.  "It was frustrating," says Dutcher about 
the long delay.  "When you finish something, you really want it to 
come out right away."
	Soon after recording wrapped up, the band played a handful 
of dates testing out the newly recorded material, and making sure it 
held up (it did). But that is when it became evident that a second 
guitarist was needed.  After a healthy search, Joe Centeno joined on 
board.  When all seemed right, Kittywinder beckoned Hart to return 
full-time.  Subsequently, he announced his resignation from the band
and soon replaced by Ernie Intorella, marking hopefully the last 
line-up change for quite a while.
	"We felt like a band the first time [the current line-up] 
played together," says Marinelli.  "It just clicked!  I was writing
stuff with Joe twenty minutes after we met."  Feeling a strong 
affinity for the new and improved Half Hour to Go, the band decided 
to rework and re-record some of the songs ("Shave", "Theatre on the 
Round", and "John Glenn") on their still-unreleased debut, utilizing
the energy and freshness that the new members brought into the band. 
	Booking a tour to coincide with the soon-to-be-delayed-again 
release date of April 1996, the band practiced and primed their set, 
itching to put the year-old record out on the shelves.  Days before 
its release, their label informed them that _Items for the Full Outfit_
was plagued with sound quality problems, pushing its arrival in 
stores back another three months to June.  "Again, it was frustrating,"
says Dutcher.  "We had a tour booked all the way out to California 
and back again, and we didn't even have a record to sell."  But 
instead of tucking tail and sulking, they headed out to road test 
the songs to vastly unknown crowds in Boston, Orlando, Kansas City, 
and Austin, people who were, for the most part, hearing these songs 
for the first time.  "Hey, when you don't have a record out yet, 
everything is new," Marinelli explains.  "That'll change now that 
the album is out," he grins.  
	With the line-up solidified, the record officially released,
and a tour that is already two months old and continues straight 
through the summer, Half Hour to Go seem to be officially on their 
way.   Their first single, the jagged yet surprisingly melodic 
"John Glenn," is starting to show some radio play and the buzz 
that they maintained for the last few months of touring is bound 
to get louder.  With their history, it seems like things are 
destined to change again, this time for the better.  "It's been 
an interesting trip, I'll give you that" says Dutcher without a hint
of irony, "and it's bound to get more and more interesting."
---
	REVIEW: Various Artists, _Growin' Up Too Fast: The Girl Group
		Anthology_ / Best of's from Shangri-La's, Angels, Lesley
		Gore (Mercury)
		- Al Muzer
	The Queens-based Shangri-Las brought sex, tragedy and the 
darker side of teenage love to a nation still reeling from the death
of JFK, bored with Bobby Darin and just beginning to discover long 
hair in Liverpool.
	The group's "Best Of" features lead vocalist Mary Weiss 
laying waste to the "look, don't touch!" sexual repression of the 
era on 25 heart-wrenching, echo-laden, drama-filled odes to bad boys, 
forbidden love, quivering anticipation, loss of virginity, teenage 
pregnancy, dead lovers and furtive meetings with leather-jacketed 
guys who were, "good/bad - but not evil."  Among the brilliantly
maudlin, end-of-the-world songs included are: "Remember (Walkin' In 
The Sand)," "Leader Of The Pack," "I Can Never Go Home Anymore," 
"Dressed In Black" and "Never Again."
	Not quite as successful and more doo-wop based than The 
Shangri-Las, New Jersey's Angels are best remembered for 1961s 
"'Till" and their 1963 hits, "My Boyfriend's Back" and "I Adore Him."
	Limited to the songs their producers (which included future 
Go Go's svengali Richard Gottehrer) provided, the group occasionally
found themselves saddled with novelty tunes like "The Guy With The 
Black Eye," "Little Beatle Boy" and "Wow Wow Wee! (He's The Boy For 
Me)"; Top 10 sound-alikes such as "I Adore Him" and "(He Is) The 
Kissing Kind" and hilariously-titled trash like "My Boyfriend's 
Woody." Despite the miss-fires, at least half of these 25 tracks 
are keepers.
	Although the bulk of her chart-toppers came in 1963-64, the 
52-song Lesley Gore retrospective includes songs waxed through 1969 
and features the New Jersey singer's distinctive, albeit slight, 
lisp prominently on several rare B-sides, four unreleased tunes, 
nine never-before-on-an-album tracks, two-or-three obvious Supremes
rejects, a weak version of "Wedding Bell Blues" and classic hits 
such as "It's My Party," "Judy's Turn To Cry," "She's A Fool," "You
Don't Own Me," "Maybe I Know" and "California Nights."
	The cream of Mercury's reissue series, however, is the 50-song 
_Growin' Up Too Fast: The Girl Group Anthology_.
	Just as the success of the Beatles, Elvis and Pearl Jam spawned
imitators of dubious talent and intent, the girl group craze of the 
early-'60s begat its own unique brand of imitation cheese.
	While the set includes hits from major acts such as The 
Shangri-Las, Connie Francis, Dusty Springfield and The Angels - it's 
one-hit wonders from long-forgotten artists like Kenni Woods and 
Diane Renay, no-hit wonders from The Paris Sisters, The Sham-Ettes, 
Ginny Arnell and The Bobbi-Pins and the truly horrible, occasionally
hilarious attempts to cash in from The Secrets, The Nu-Luvs, Sadina, 
Diane Ray, The Pixies Three and The Whyte Boots that make the record
an essential addition to any collection. 
---
	CONCERT REVIEW: The Go-Betweens, Paris, France
		- David Landgren
	I can still remember the day, Christmas time 1989, 
when Robert Forster and Grant McLennan put an end to their 10 
year old group, The Go-Betweens. Together, they crafted some of 
the most beautiful pop songs and managed to go completely unnoticed
by everyone except for a small group of loyal fans. In the space of
a year, they put out two incredible albums _Tallulah_ and _16 
Lover's Lane_ and suddenly everyone started to pay attention.
	The group had a new bassist and were rehearsing for a new 
album, when suddenly they lost their way. And so, the band did what
very few bands have ever had the courage to do. They called it a day
and left one of the most valuable and enduring legacies to pop music.
	That's the history. While not officially reformed, Robert 
and Grant's friendship has remained strong enough for them to want
to do a few gigs from time to time. They've done a couple of gigs 
in Australia over the last couple of months, and, perhaps as a 
token of appreciation to the French fans, they decided to play 
Le Palace in Paris.
	The crowd was sitting around, waiting for the concert to
begin, when the lights went out and a tall, lanky man in a 
lemon yellow linen suit and white shirt strode onto the stage, 
arms aloft, waving V for victory. Robert looked pretty much the 
troubadour he ever was, while Grant looked older. He's losing hair
and thickening around the waist; like a cross between Phil Collins 
and Frank Black. The crowd went wild.
	I had seen them on a TV show the night before, and already 
knew that Lindy Morrisson and Amanda Brown were not part of the 
group. It turns out that they have picked up two very competent 
musicians, Adele Pickvance on bass and Glenn Thompson on drums.
	The songs chosen spanned the Go-Betweens' entire career.
It was heartening to see that the new members were familiar with 
all the material. It was also clear to see that they had a hell 
of a lot of fun, everyone laughing and winking. Everyone was miked 
for vocals, and they hit those killer harmonies that at times 
make singing Go-Betweens songs to oneself such a difficult proposition.
	One of the spookier moments was the rendering of "Bye-bye
Pride" early in the set, with Grant's acoustic guitar ringing out 
the melody...but all I could hear was the ghost of Amanda Brown's 
oboe, which makes the song so powerful on _Tallulah_. And I 
wondered if this wasn't going to be a drag, but all up, it turned
out that the group infused the songs with a life of their own, 
and deftly averted lapses into nostalgia.
	Robert played the showman, talked to us, listened to the 
hecklers and handed out bottles of mineral water. He talked about 
how much they were influenced in the early days by The Mamas & 
The Papas, and they played "This Girl, Black Girl", a definite 
tip o' the hat to them. This was followed by a couple of other 
songs, including a glorious "Dive For Your Memory".
	After which, Robert announced that "it's time to play a
little bit of that music they call rock'n'roll", a let rip "In 
The Core of a Flame". The following song "Right Here" was 
dedicated by Robert, aptly I thought, to absent friends, the 
previous members of the group: Lindy Morrison, Amanda Brown and 
Robert Vickers.
	Robert introduced one song as recorded in France, with 
the assistance of one Jacques Loussier. I think he was expecting
Jacques to be in the audience, but Jacques was not at the venue. 
This song, typical of Go-Betweens' bitter-sweet sense of humour, 
was "Draining the Pool for You", that is, "I got tired of...".
	Later on, Robert said that all the band members would
have to turn around and face each other, because the start of 
the next song was incredibly difficult and very hard to do well. 
Very free, free jazz. Maybe, maybe not, but the song turned out 
to be "Spring Rain", the same song they did the night before 
on television. This was followed by the lovely "Lee Remick" 
and the set finished with "Love Goes On".
	The punters roared, whistled and clapped, and after a 
few minutes the group came back to perform "Love Is A Sign" 
and "Was There Anything I Could Do?', and then disappeared again.
	Everyone screamed and shouted a bit more, and this 
time only Robert and Grant returned. Grant picked up his acoustic 
guitar, and they launched into a perfect version of "Cattle and 
Cane" and a haunting "Clouds". Unbelievably, thoroughly 
excellent. And then was it...or so the Go-Betweens thought.
	The audience wouldn't let them go that easily - shouting,
clapping, and foot stomping, and then, success! - the four 
members returned back onto the stage.
	Robert slipped off a shoe and threw it into the audience. 
Odd. He then took his other shoe, ripped off the sole (aha! which 
was already half detached), and threw both pieces into the 
audience. So, there are three Go-Betweens fans in the Paris 
region with Go-Betweens icons no doubt gracing their mantlepieces.
Grant threw a laconic "only bought them two weeks ago" to the 
crowd, the only thing he said all night. Robert commented, "I just
want some affection", and they launched into "Karen". And this 
time, it was well and truly over.
	To cap it all, "Les Inrockuptibles", the premier French 
music weekly gave audience members a free 11-track CD featuring 
eight acoustic demos of material that wound up on _16 Lovers Lane_.
Bonus city. And, regarding the question as to whether *you* will 
see the Go-Betweens in your part of the world, I'm afraid I can't 
answer that, but they did say that they "enjoy playing together." 
So who knows?

	Thanks go to members of the members of the Tallulah mailing 
list (majordomo@infoseek.com "subscribe tallulah your-email-name") 
who helped contribute information for this review.
---
	REVIEW: Hampton Grease Band, _Music to Eat_ (Columbia/Legacy/Shotgun)
		- Dan Enright
	This re-release by Sony - thanks to producer Brendan O'Brien's label,
Shotgun Records - was first released in 1971. It apparently sank 
(I'd never heard of them - and I was actively collecting this kind of 
music when it was first released) because it was so eclecticly...different.
	The first impression I formed, which permeates every listening,
has to do with the "sound" of the production. Sparse and unfiltered, it
sounds just like what it is; guitars plugged into amps and recorded by
mics. Very uncluttered. And while it dates the recording, I prefer it this
way. The songwriting/performance however, is something completely different.
	It begins with "Halifax" - a raw, unorganized, under-rehearsed 
jam, accompanied off-key "singing" of a chamber-of-commerce brochure 
(or something frightfully close) about Halifax, Nova Scotia. However, 
slowly and subtly, an incredibly tight performance emerges - reminiscent 
of, at times, of the very best work bands like the Jefferson Airplane, 
Quicksilver Messenger Service, Grateful Dead, Santana, Mothers of 
Invention, Beefheart, John Coltrane and others were doing at the same time. 
	One moment, disjointed, inchoherent ramblings by unnconected
instruments quickly transforms into tight psychedelic rock, then freeform
jazz, then complete (by design) technical imcompetence, and then back into
a straight ahead, tightly woven, groove rockin jam. Broken by a voice 
announcing, "I don't trust the tape, let's do it again..." Which twists 
(twists, hell... forces) the song back into its beginning, and onto a 
mobius loop.
	The entire album follows in this "genre."   They were far 
enough ahead of their time, that a lot of styles have since emerged, 
similar - in part - to this quartet, but certainly not different 
enough to have been directly influenced. Had they been on the west 
coast, instead of Georgia, they'd have fared much better, I think. 
And they would have fit right in.
	If you like this kind of stuff, this is an essential release. 
And it still sounds as fresh as when it was released.
---
	SINGLES REVIEWS (Bawl, Bluetones, Velour) - Bob Gajarsky

	Here's a few singles which have come in to Consumable which
were of interest:
	Bawl, "Glen Campbell Nights" (Dependent U.K.) - The third
single from this Dublin three piece band recalls the best of 
alternative icons such as the Cure and the Smiths, without relying 
entirely on either of those bands, combined with a twinge of the
punk spirit.  Given that both of the B-sides maintain the high 
standards (and their debut single, "Bathroom", was the NME Debut 
Single of the Year), their debut album should be quite strong.
	Bluetones, "Bluetonic" (A&M U.K.) - While the Bluetones 
debut has been out in England for some time, it won't be released until
late July in the States.  "Bluetonic" really does sound like a mix
between the Stone Roses and Wonder Stuff, and was the third single
off their debut album.
	Velour, "Choice" / "Let Her Go" (Deep Elm) - In the spirit
of Smashing Pumpkins and Screaming Trees comes this Westchester, New
York based band.  This isn't too far from the grunge-fest that 
has captured America's fancy, and it's real easy to see this song
eventually being a grunge anthem.  Whatever grunge means to you.
(e-mail: popvinyl@aol.com)
---
NEWS:	> Home DJ's are getting more options today with the release
of Spin Control/Mixman.  The first in an unlimited series captures
the San Francisco dance scene; the audio portion includes funky grooves
from artists such as Freaky Chakra, Bassbin Twins, Bass Kittens and
more.  To check it out on the Web, and create your own remixes/songs,
go to http://www.mixman.com
	> Lead singer Jim Ellison of Material Issue was found dead 
on June 19, at the age of 31, a victim of an apparent suicide.  He was
found in his garage on a moped, with a car engine running.
	> London Suede are releasing their third album in England on 
September 2nd with a U.K. first single "Trash" out July 29th.  There is 
a new band member, Neil Codling, on keyboards and backing vocals.  
The group will be playing at various European festivals in July and 
August with a full English tour to follow in September, a European tour
in October and more UK dates in November.  The album is slated for 
American release early in 1997 with a full U.S. tour to follow.
	> The Pacific National Exhibition in Vancouver, B.C. is 
relaunching its Star Spectacular Concert Series after a 17-year 
hiatus. Tickets for all concerts are $20 or less and include fair 
admission. The summer fair, Aug. 17 to Sept. 2, is Canada's second 
largest. The web site at <http://www.pne.bc.ca>
	> Soundbites for the new Sarah McLachlan retrospective 
release "Rarities B-Sides and Other Stuff" are located on the Nettwerk
Web page at http://www.nettwerk.com/newreleases/SarMc.new.html
	> The concert series "Summer Nights at the Pier", in 
Seattle, WA, has launched a World Wide Web site; check it out at
http://www.speakeasy.org/1reel/summernights/index.html
---
TOUR DATES
	Baboon / Rubberbullet
Jun. 25 Richmond, VA Twisters
Jun. 27 Athens, GA Landfill
Jun. 28 Savannah, GA Velvet Elvis
Jun. 29 Orlando, FL Ultraviolet
Jun. 30 Tallahassee, FL Cow Haus
Jul. 2 Pensacola, FL Sluggo's
Jul. 3 Jackson, MS Starplex

	Barkmarket
Jul. 2 New York, NY Coney Island High
Jul. 3 Philadelphia, PA Nick's
Jul. 4 Baltimore, MD Memory Lane

	David Bowie
Jun. 25 Toulon, France Zenith
Jun. 28 Halle, Germany Outside Festival
Jun. 30 Roskilde, Denmark Roskilde Festival
Jul. 1 Athens, Greece P.A.O. Stadium Rockin Athens Festival
Jul. 3 Tel Aviv, Israel Hayorkan Park-Tel Aviv Festival

	Boyracer
Jun. 24 Orlando, FL Saphire Supper Club
Jun. 25 Jacksonville, FL Moto Lounge 
Jun. 28 Washington, DC Black Cat
Jun. 29 Baltimore, MD Memory Lane
Jun. 30 New York, NY Mercury Lounge
Jul. 3 Rochester, NY Bug Jar 

	Brooklyn Funk Essentials
Jun. 25 New York, NY Mad 61 (in Barney's)
Jun. 29 Brooklyn, NY Prospect Park

	Bryndle
Jun. 26 Chattanooga, TN Riverbend Festival
Jun. 29 Jacksonville, OR Britt Festival

	Cocteau Twins
Jun. 24 Los Angeles, CA Mayan

	Compulsion / Evil Superstars (UK Tour Dates)
Jun. 24 Southampton Koiners Arms
Jun. 25 Plymouth Cooperage
Jun. 27 Bristol Fleece & Firkin
Jun. 29 Leeds Cockpit
Jul. 1 Liverpool Lomax
Jul. 2 Reading Alleycat
Jul. 3 Stoke Stage
Jul. 4 Manchester Roadhouse

	Coyote Shivers
Jun. 30 Asbury Park, NJ Saint
Jul. 2 New York, NY Brownie's

	Elvis Costello
Jun. 26 Dublin, Ireland National Stadium
Jun. 28 Paris, France Rex Club
Jun. 29 Amsterdam, Netherlands Carre
Jul. 1 Athens, Greece Festival
Jul. 3 Hamburg, Germany Grosse Freiheit 36

	Cravin' Melon
June 28 Raleigh, NC Lake Boone CC
Jun. 29 Charlotte, NC Blockbuster Pavillion(afternoon)
Jun. 29 Charlotte, NC Sound Factory (night)
Jul. 3 Spartanburg, SC Magnolias

	Def Leppard / Tripping Daisy
Jun. 26 Kalamazoo, MI Wings Stadium
Jun. 28 Cuahoga Falls, OH Blossom Music Center
Jun. 29 Noblesville, IN Deer Creek Music Center
Jun. 30 Milwaukee, WI Summerfest Mainstage
Jul. 2 Cincinnati, OH Riverbend
Jul. 3 Columbus, OH Polaris

	Far
Jun. 25 Las Vegas, NV Joint (w/Fishbone)
Jun. 26 Las Vegas, NV Tower Records
Jun. 28 Berkeley, CA Berkeley Square
Jul. 2 Sacramento, CA El Dorado

	Jayne County
Jun. 24 New York, NY Coney Island High

	Cure
Jul. 2 Worcester, MA Centrum
Jul. 4 Montreal, QC Molson Center

	Customers
Jun. 28 Stockholm, Sweden Varldshuset Tantogarden
Jun. 30 Roskilde, Denmark "Roskilde Festival" (at Red Stage)
Jul. 1 Hamburg, Germany Knust Club
Jul. 3 Amsterdam, Holland Melkweg
Jul. 4 Frankfurt, Germany M.T.W.

	Electrafixion
Jun. 24 Tampa, FL Rubb
Jun. 25 Miami, FL Respectable St. Cafe
Jun. 26 Orlando, FL Sapphire Supper Club
Jun. 28 Atlanta, GA Cotton Club
Jun. 29 Charlotte, NC Tremont Music Hall
Jun. 30 Raleigh, NC Brewery
Jul. 2 Norfolk, VA Baitshack

	Everclear / Spacehog
Jun. 26 Portland, OR Rose Garden Theatre
Jun. 27 Vancouver, BC PNE Forum
Jun. 28 George, WA The Gorge
Jun. 30 Salt Lake City, UT Salt Air
Jul. 1 Denver, CO Mammoth Events Center
Jul. 3 St. Paul, MN Roy Wilkins Aud.

	Half Hour To Go
Jun. 25 Eugene, OR John Henry's
Jun. 27 Sacramento, CA Old Ironsides
Jul. 3 Fresno, CA Club Fred

	Haze
Jun. 30 Los Angeles, CA Whisky

	It's Me, Margaret
Jun. 28 Los Angeles, CA Petterson's

	Kiss
Jun. 28 Detroit, MI Tiger Stadium
Jun. 30 Louisville, KY Freedom Hall
Jul. 2 St. Louis, MO Keil
Jul. 3 Kansas City, MO Kemper Arena

	Lollapalooza
Jun. 27 Kansas City, MO Longview Lake
Jun. 28 Des Moines, IA State Fair
Jun. 30 Rockford, IL Winnebago Fairgrounds
Jul. 2 Indianapolis, IN Deer Creek Soccer Field
Jul. 3 Columbus, OH Buckeye Lake

	Nada Surf
Jun. 25 Toronto, ON Horseshoe Tavern
Jun. 27 Cambridge, MA TT The Bear's
Jun. 28 New London, CT El N Gee

	Nancy Boy
Jun. 24 San Diego, CA Kasbah
Jun. 25 Hollywood, CA Dragonfly
Jun. 26 West Hollywood, CA Viper Room

	Pantera
Jun. 28 Winston-Salem, NC Livm Coliseum
Jun. 29 Hampton, VA Hampton Coliseum
Jul. 1 Louisville, KY Louisville Gardens
Jul. 2 Antoch, TN Starwood
Jul. 3 Pelham, AL Oak Mountain

	Poorhouse Rockers
Jun. 28 Ocean City, MD Talbot Street Cafe
Jun. 29 Ocean City, MD Dungeon

	Porno For Pyros
Jun. 25 Denver, CO Ogden Theatre
Jun. 27 Dallas, TX Deep Ellum
Jun. 29 New Orleans, LA Howlin' Wolf
Jul. 2 Fort Lauderdale, FL Edge

	Rembrandts
Jul. 1 Pleasanton, CA Alameda County Fair
Jul. 2 Del Mar, CA Del Mar Fair

	Spin Doctors / Hot Water Music
Jun. 27 New York, NY Irving Plaza

	Sting / Natalie Merchant
Jun. 25 Memphis, TN Pyramid
Jun. 26 Nashville, TN Starwood
Jun. 28 Atlanta, GA Lakewood
Jun. 29 Raleigh, NC Walnut Creek
Jun. 30 Charlotte, NC Blockbuster Pavillion
Jul. 2 Virginia Beach, VA Virginia Beach Amphitheatre
Jul. 3 Washington, DC Nissan Pavillion
Jul. 5 Camden, NJ Blockbuster Sony Entertainment Center

	Superdrag
Jun. 25 Denver, CO Mercury Cafe
Jun. 27 Minneapolis, MN 7th Street Entry
Jun. 28 Chicago, IL Metro
Jun. 29 Detroit, MI Shelter
Jun. 30 Cleveland, OH Grog Shop

	Velour
Jun. 27 New York, NY Cooler

	Paul Westerberg
Jun. 30 Cincinnati, OH Bogarts
Jul. 1  Columbus, OH Newport Music Hall
Jul. 2  Chicago, IL Cabaret Metro

---
ERRATA:	> The title of the Van Halen song in the _Twister_ 
soundtrack should have been listed as "Humans Being".
---
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===
