==== ISSUE 77 ====         CONSUMABLE         ======== [May 29, 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, 
                      Al Muzer, P. Nina Ramos, Linda Scott, Ali Sinclair, 
                      Jon Steltenpohl
  Technical Staff:    Chris Candreva, Dave Pirmann, Damir Tiljak,
		      Jason Williams

 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: Paul Westerberg, _Eventually_ - Chris Koehler
CONCERT REVIEW: Howard Jones, Bottom Line - Bob Gajarsky
REVIEW: Nancy Boy, _Nancy Boy_ - John Walker
REVIEW: Fred Schneider, _Just Fred_ - Reto Koradi
INTERVIEW: Lustre - Al Muzer
REVIEW: You Am I, _Hi Fi Way_ - Reto Koradi
REVIEW: Soundtrack, _The Truth About Cats and Dogs_ - Bob Gajarsky
REVIEW: Gumdrops, _High Speed, OK?_ - Al Muzer
REVIEW: Jars of Clay, _Jars of Clay_ - Linda Scott
REVIEW: James Brown, _Foundations Of Funk_ - Al Muzer
REVIEW: Broadside Electric, _More Bad News_ - Paul Grzelak
REVIEW: Gefkens, _Grind: The Demo Anthology_ - Bob Gajarsky
REVIEW: Super Deluxe, _Famous_ - Linda Scott
NEWS: Afghan Whigs, Lollapalooza, Sarah McLachlan, Modified, Performing
   Songwriter, Sonicnet Chats
TOUR DATES: Boyracer, Charm Farm, Cocteau Twins, Cordelia's Dad
   Dread Zeppelin, God Lives Underwater / Life of Agony, Grover,
   Half Hour To Go, Paris Hampton, Limblifter / Stanford Prison 
   Experiment / Local H, Love & Rockets, Alanis Morissette, Multiple Cat
   Nields, Nixons, No Doubt, Poorhouse Rockers, Professor & Maryann
   Pulp / The Drag, Slobberbone, Steeleye Span Reunion Tour, 22 Bridge
   Vitapup, Mike Watt, Weston
Back Issues of Consumable
---
	REVIEW: Paul Westerberg, _Eventually_ (Reprise)
		- Chris Koehler
	It's not easy watching your hero fail.  After listening to
Paul Westerberg's new album, _Eventually_, I can understand how
fans of John Lennon, Paul McCartney and Bob Dylan must have felt
upon hearing their first mediocre albums.  It may be presumptuous
of me to put Westerberg in such elite company, but for many, including
myself, Westerberg's former band, the Replacements, was as influential
in the 1980s as the Beatles and Stones were in the 1960s.  Three of
their albums, _Let It Be_, _Tim_, and _Pleased to Meet Me_, are considered
among the finest released in the previous decade and it was Westerberg's
terrific songwriting that made these albums so good.  The albums were
full of great pop songs, encompassing anthems like "Bastards of the
Young" and gutwrenching ballads, like "Here Comes a Regular" both from 
1986's _Tim_.  The Replacements had great songs, one hell of an attitude,
and a sense of humor, everything except for a hit.  Their lack of success
led to their break up in 1991 following the tour for their last album
_All Shook Down_.
        Westerberg released his first solo album _14 Songs_ in 1993 to
mixed reviews.  That album suffered from the same problem that his
latest release, _Eventually_, suffers from: several good
songs surrounded by too much filler.  _Eventually_ is a much more
subdued album than any of the Replacements efforts; this is not
a bad thing and provides evidence that Westerberg is attempting to
mature gracefully.  The person who once boasted about crashing parties
that he wasn't invited to now boasts about staying home every night of
the week.  This may be good for Westerberg, who appeared on the verge
at times of succumbing to the falling off the barstool and stage excesses
of the Replacements, but too often he makes it sound just plain boring.
Occasionally, Westerberg is successful at writing good songs about his
newfound domesticity.  The album's opener, "These Are the Days," an ode
to self-reflection, and "Once Around the Weekend" are pleasant enough
without being boring.  "Good Day," which is inspired by the Replacements'
first lead guitarist, Bob Stinson, who died in February 1995, is an
effective ballad.  "MammyDaddyDid" is another pleasant mid-tempo number
and is Westerberg's assertion that he won't raise his children the
way his parents raised him.  Speaking from experience, that's easier
said than done and Westerberg may find himself having to eat his lyric
sheet if he ever becomes a dad.  "Hide 'n Seekin'" is a worthwhile
ballad with ominous undertones.  "Century" which borrows part of Sweet's
"Ballroom Blitz" in the verse is an enjoyable rocker.  
	Unfortunately, things go downhill from there.  "Trumpet Clip" is 
notable only for the appearance of Replacements' bassist Tommy Stinson 
and for its hint of Westerberg's sense of humor, last officially sighted 
on "I Don't Know," from 1987's _Pleased to Meet Me_.  "Love Untold" sounds
pretty, but features lyrics so generic it begs to ask if Westerberg 
found them on a greeting card.  "You've Had It With You" isn't a bad 
rocker, but is annoying to anyone who's heard "Down Love" from 
Westerberg's first solo album, because it is a direct rip-off
of that song.  From there, the rest of the album is so slight that nothing
sticks out even after repeated listens.
        _Eventually_ isn't a complete failure, but compared to the
quality of his previous work, it is a letdown.  Westerberg may be
reaching for a more mature sound and subject matter, but that doesn't mean
he has to be boring - for proof, he might want to check out John Hiatt
or Neil Young.  It sounds like Westerberg is still struggling with the
transition from a confused 20 year old to a mature 35 year old.  Here's
hoping he finds the mark with the next album.  I don't know how many more
times I can watch him stumble. 
---
	CONCERT REVIEW: Howard Jones, Bottom Line - New York City
		- Bob Gajarsky
	The stage was set in this intimate setting at New York City's Bottom
Line, with nine candles and bare instruments enveloping the mood.  Howard 
Jones, adorned in a blue satin jacket, sat comfortably behind
his piano - it was "acoustic", after all - while percussion veteran
Carol Steele waited behind more than 10 instruments, ready for Jones'
call to begin.
	Howard Jones first performed this acoustic tour in 1992 and, in
support of his Plump Records album, _Live Acoustic America_, he has
returned to show American audiences the "other" side of Howard Jones. 
Casual music fans might remember him for the #1 hit "No One Is To Blame"
and "Things Can Only Get Better" (both of which he performed this evening),
but it seemed that the Bottom Line's crowd knew every word to each of
the eleven "old" songs.  This audience, comprised mainly of people who 
were in their 20's when Jones first came to fame as a synth wizard, was 
hypnotized by the mesemerizing combination of Jones' piano playing and 
Steele's percussion wizardry.  
	What made the evening more special than just the music was the
anecdotes which were interspersed between songs.  Amusing tidbits, such
as the original erroneous Japanese translation for "Like To Get To Know 
You Well" ("I'd Like To Force Myself Upon You") and the inspiration for
"Life In One Day" (when his UK record company decided that "No One Is
To Blame" and the future top 10 UK hit "Look Mama" weren't hits, Jones
had to remember not to live his life in one day), invited the fans into
Jones' world in a way unique to many musicians.  
	Jones wasn't the only artist in top form on this evening; his
partner, Carol Steele, mastereed each of the more than ten instruments
which she played during the evening.  She also performed a powerful extended
percussion jam during "Everlasting Love" which inspired a tremendous 
thundering of applause.
	Two new tracks, "Not One of the Lonely Tonight" and "Wedding Song", 
graced the thirteen song set.  On "Lonely", Jones utilized a new instrument 
that he confessed he's fallen in love with: a Yamaha VL1, which resembled a
melodica in appearance, hooked up to a mixing board of sorts.  These
songs (both more reminiscent of his slower works than his bouncy keyboard
tracks such as "New Song") are both expected to appear on a forthcoming 
album set for release in late 1996. 
	After a nearly 90 minute set and brief encore, Jones and Steele
departed the stage.  One onlooker mentioned how this show brought together
every aspect that makes a concert special: good songs, great music,
and an intimate appreciation with the audience.  This critic couldn't
agree more.
---
	REVIEW: Nancy Boy, _Nancy Boy_ (Sire)
		- John Walker
	If you're the kind of person who likes your rock and roll hedonistic,
carefree and energetic, with more than a dash of style and pizazz,
then this is the band for you.  No doubt some in the jaded music press will
delight in heaping scorn upon a band featuring the offspring of two
pop culture figures from the 1960s--singer Donovan Leitch is the son
of the singer Donovan of "Mellow Yellow" fame, while guitarist Jason
Nesmith's daddy is Michael Nesmith from the Monkees.  Add Leitch's
career as a Calvin Klein supermodel to all of this, and you have a
recipe for cynicism.
	However, it's hard to remain cynical when your actually play the CD.
Produced by Shel Talmy of Who fame, _Nancy Boy_ is from start to
finish a glam-pop gem that doesn't pretend to have an ounce of social
significance beyond its espousal of a good-time ethic laced with a touch
of big city decadence.  What really gives the music here its
oomph is the fact that Nancy Boy don't forget that this kind of music
always benefits from some razor sharp guitar, a la Mick Ronson's
muscular backup of David Bowie's glam antics in the early 70s.  Here,
it is Jason Nesmith who supplies the requisite crunch, driving catchy
tunes like "Deep Sleep Motel" and the 60s-styled garage-rocker
"Can You Dig It?" over the top into glam-a-rama heaven.  Everything really
comes together on "Johnny Chrome & Silver," with its T-Rexish lyrics
("He's just a Jeep Boy / Looking for a tank girl"), discofied beat,
raunchy guitar skronk, and, as throughout, Leitch's foppish vocal
leer, a theatrical device as much as a musical one.  You'll be humming
this one for days after you play it.   
	Nancy Boy are obviously heavily indebted to their muscial forefathers,
if not their genetic ones.  "Dearest Girl" for instance, might just _be_
Bowie and The Spiders: if you slipped it into one of those _ChangesBowie_
collections, it wouldn't seem out of place.  And while "W.R.I.P." is a lame
tribute to Detroit that might best have been binned, "Colors" (which name
checks Gary Numan), "Foxtrot" and "Ultrasex" are all worthy of the underrated
glam-rock heritage which they extend: Numan, the Dolls, Japan, Soft Cell.
After years of self-absorbed navel-gazing, it seems that some of today's newer
rock bands are anxious to get back to what rock does best: extoll life
as an endless party.  And hey, isn't that what it is for young men in
rock and roll bands?  So if, like me, you're tired of wallowing in
hypocritical WASP guilt with the Billy Corgans of the world, Nancy Boy
are ready, willing and hungry (like the wolf) to take you into their world
of glitter, pills and thrills.  Sounds good to me.    
---
	REVIEW: Fred Schneider, _Just Fred_ (Reprise/Warner)
		- Reto Koradi
	Solo albums by members of well-known bands are interesting for
various reasons. First of all, they often demonstrate how much of the sound
comes from an individual member. So if you mainly associated the B-52's
with Kate Pierson, you'll be surprised how much Fred Schneider's voice
reminds you of the B-52's. Solo albums also show what kind of music the artists
would make if they had more freedom. In this case, it looks like Fred has
clearly realized that the band sound has gotten somewhat superficial and
slick recently. He warps back 15 years, to the legendary "Rock Lobster"
days, and then goes further.
	_Just Fred_ was recorded with three different bands, of which the
Deadly Cupcake contribute the largest (and best) part, production was done
by Steve Albini of Nirvana and PJ Harvey renown. Considering this, it's not
that surprising to find a darker sound with real drums and (sometimes
howling) guitars. The tracks are diverse, yet consistent, and there's a
natural kind of power and energy in them. Even if he only wrote the lyrics
himself, it's obvious that Fred found his creative spirit again; anybody
writing a track titled "Radioactive Lady Eyeball" must be a winner.
	If the sound is so different, why does the album still sound so
much like B-52's?  It's clearly the voice. Granted, Fred
can't really sing, but he still delivers vocals that are highly unique
and seems to be able to give songs a rhythm with his voice. And it's
mainly this groove which makes most of the songs dancable. If this
album doesn't make you at least wiggle your toes, you need treatment.
	Seeing Fred Schneider so full of enthusiasm and ideas, we can
really look forward to the next B-52's album, which is already planned.
And in the meantime, we can thoroughly enjoy _Just Fred_.
---
	INTERVIEW: Lustre
		- Al Muzer
	Leather jackets, Marshall Amps, rolling papers and rock 'n' roll 
are not common to Zebulon (pop. 2,055), North Carolina.
	Located just east of Raleigh; Opie, Sheriff Andy Taylor, 
moonshine, chewin' tobacco and country music are the first images that 
spring to mind when one pictures Zebulon. A loud, brash, aggressive rock 
'n' roll band with roots in catchy, British Invasion pop just doesn't seem 
like a natural product of the tobacco belt. 
	"Yeah, we were brought up in that, uhm, culture," drawls Lustre 
vocalist/guitarist Will Marley during a recent phone call. "But, I think 
our album makes it pretty clear that we were inspired by outside forces."
	Breaking out like punch-drunk, riff-happy Raspberries or a 
consistently-brilliant Teenage Fanclub; Lustre's self-titled A&M Records 
debut loudly defies the band's Deep-South origins by drawing on those 
"outside forces" for 10 muscular, loosely-played, guitar-driven power-pop 
songs bursting with sweet vocals, bright harmonies, crunchy, fuzz-laden 
hooks, heavy, semi-grunged beats and the earnest, ringing clarity of Bob 
Mould's best work.
	"There's a real interesting mixture of musical tastes at work in 
the band," explains Marley of his group's unlikely sound. "John (bassist 
John Ray) has played in heavy metal bands, Greg (ex-Antiseen drummer Greg 
Clayton) was into punk and I've always been this, like, total pop guy."
	"While each member contributes different elements and influences 
from their past to Lustre's sound," he adds, "basically, we just try to 
make music that sounds good to us. Luckily enough, things have finally 
started happening."
	Joining forces through a mutual love of loud, melodic noise and 
classic pop hooks that haunt you in the middle of the night; Lustre was 
born a few years ago on a small North Carolina stage playing for no one.
	After a few largely-ignored cassette demos, a slew of underdog 
gigs in front of indifferent, occasionally hostile crowds, thousands of 
miles spent traveling in a cramped, smelly, uncomfortable tour van, 
enough greasy fast food to clog the collective artery of a major city, 
a split 7" single with Uncle Joe's Big Ol' Driver, a song on the Empire 
Records soundtrack, extensive American tours supporting Babes in Toyland, 
Seven Mary Three and The Nixons and a full-length, major label debut - 
things have finally started happening at an accelerated pace around the 
band. Lustre is in danger of becoming rock's latest "overnight" success.
	"The switch to A&M doesn't seem to've made that big a difference 
in our touring habits or lifestyles yet," says Marley. "Although we still 
think it's a shame that we only get to play for, like, 60-minutes a day 
and then spend the other 23 hours doing nothing. If you think about it, 
besides a sound-check and playing our set, most of our day is spent 
traveling in the van, sleeping in a motel room or waiting to get up 
and play. So being on stage is, I'd say, definitely our favorite part 
of the day."
	"Some people like to point out to us that our album, 'isn't 
very original and sounds like, blah, blah, blah,' " Marley chuckles in 
amusement. "Which is okay. Really! (laughs) They say stuff like, 'well, 
you're not really doing anything super-innovative, but the record is 
good.' Well, thanks," he drawls sarcastically, "but it's pretty much 
just-about all been done already anyway, hasn't it?"
	"We just try to do what we do well, ya' know? I think the people 
who've had the biggest problem with us were probably expecting, like, 
some sort of 'alternative' act," he laughs. "And the problem with that 
is that we think we're a pop band. That's all we're up there doin' - 
playing good, entertaining rock 'n' roll music. We're just a pop band."
	"People like pop music, I think, because it's easier to, uhm, 
take. It's easier to listen to," Marley explains. "And, after years of 
hearing it on their radio and television, people are almost conditioned 
to actually need pop music."
	"It's (writing good pop music) all about creating lyrics and 
music that people can identify with. There's always been, and always 
will be," he adds, "a need for good, entertaining pop songs."
	"I think our record sounds great," Marley states with obvious 
pride, "but, I just don't know if it's gonna grab hold of the folks out 
there who're buying records right now. I mean, we're glad to be able 
to do this for a living and it won't be the end of the world if we 
don't sell a million copies. But, as far as us on today's charts? Well, 
let's just say that it's real hard to tell what's gonna be a hit anymore."
	"You never know what's going to happen," he adds, "so I think 
that all three of us try not to think about it (success) too much. All 
we can do is go out and try to have a good time. We at least get to do 
this. We're not working at, like, the hardware store," Marley laughs, 
"and I'm not a food salesman anymore. We're just glad to not have to do that."

	Originally appeared in Music Paper
---
	REVIEW: You Am I, _Hi Fi Way_ (Warner)
		- Reto Koradi
	Looking at the few, but great rock (Midnight Oil, INXS) and pop
(Crowded House) bands that Australasia shows to the world, it always had to
be assumed that there must be some hidden treasures that they try to keep
all for themselves. _Hi Fi Way_, the second album by the Sidney band
You Am I, clearly supports this theory.
	"Instead of getting a perfect grunge rock beard, I'd rather learn
how to write songs properly," says band leader Tim Rogers, summing up their
intention perfectly. While many people use "pop" nearly as a curse word,
thinking of the lush and boring stuff that often sails under this flag,
this is pop music in the best sense, centered around excellently written
songs with melodies that have the potential to stick in your head almost
longer than you wish. You Am I master the gentle art of making music that
sounds relaxed and intense at the same time. It's not all slow and sweet,
as there are a bunch of fast paced tracks, and though the guitar sounds make it
crystal clear that this is music from the 90s, traces of Bristol pop can
easily be identified. The fact that they were chosen as a supporting act for
Soundgarden on a previous tour shows that they don't fit into a simple
scheme.
	You Am I are certainly one of the best things that the Australians
have sent over the oceans recently. _Hi Fi Way_ is an album that keeps
growing with repeated listening, a true pop gem.
---
	REVIEW: Soundtrack, _The Truth About Cats and Dogs_ (A&M)
		- Bob Gajarsky
	Uma and Janeane.  Janeane and Uma.  These two women (Janeane Garofalo
and Uma Thurman) and Ben Chaplin are the stars of _The Truth About Cats and
Dogs_.  The backing star is the soundtrack for the film.
	Unlike the _Mission: Impossible_ soundtrack, the songs here are not
only in the movie, but are part of the film.  Paul Weller's "You Do Something
To Me", which is not a new track, gains a new life when used at a critical 
moment in the movie.  Some new tracks do fit in nicely with their performer's
careers; the blues tinged Robert Cray track "Well I Lied" is 
one of the artist's best, and Suzanne Vega's "Caramel" returns to ground
not unlike her song "Rusted Pipe", while perennial popsters Squeeze produce
another eminently singable song with "This Road".
	The next big alternative superstar tag has been applied to Ben 
Folds Five.  Imagine the spirit of the Replacements coupled with a piano 
player on speed, and you've got the general idea for Folds, and why tracks 
such as "Bad Idea" have got many industry insiders abuzz.
	The only song that is a let-down is the Sting/Ranking Roger (formerly
of English Beat and General Public) duet of the Police song, "Bed's
Too Big Without You".  True, the Police loved venturing towards reggae, but
this track would have been best left on the cutting room floor. 
	All in all, it's not *the* soundtrack for 1996, but is better
than most.  Fans of "adult alternative" music should flock to this in droves.

TRACK LISTING: Dionne Farris - "For Once In My Life", Suzanne Vega - 
"Caramel", Sting/Ranking Roger - "Bed's Too Big Without You", Cowboy 
Junkies - "Angel Mine", Squeeze - "This Road", Al Green - "Give It 
Everything", Aaron Neville - "I Can't Imagine", Blues Traveler -"Run-Around",
Robert Cray Band - "Well I Lied", Jill Sobule - "Where Do I Begin", Paul 
Weller - "You Do Something To Me", Brand New Heavies - "World Keeps 
Spinning", Ben Folds Five - "Bad Idea", Howard Shore - "Cats & Dogs"
---
	REVIEW: Gumdrops, _High Speed, OK?_ (Grass)
		- Al Muzer
	Gumdrops produce a lo-key, lo-fi,large-sonics wash of hypnotic, 
nicely-fuzzed Giant Sand/Sebadoh-style dream pop that shimmers with 
sweetly-lilting Jap-core (the band is from Nagoya) vocals, odd samples, 
heavy, occasionally moshable beats, edgy blasts of skittering, slashing, 
feedback and distortion-drenched sideways-guitar, curiously-processed girl 
and grrrl group influences, bizarre sound effects, an open, first-take
playfulness and a soft, gauzy, cocoon-like warmth. Quite possibly the 
best record released so far this year. 
---
	REVIEW: Jars of Clay, _Jars of Clay_ (Silvertone)
		- Linda Scott
	Jars of Clay is one of several Christian rock bands competing in the 
alterna-rock genre.  Bible pop continues the trend of Debby Boone ballads,
Stryper metal, and Michael W. Smith's current ballads, while the new generation
takes Christian messages and wraps them in today's rock.  Jars of Clay along
with DC Talk, and Newsboys ply their trade in this arena.
	Jars of Clay are four Christian messengers from Illinois.  Together 
about three years, band members are Dan Haseltine (vocals), Charlie Lowell 
(keyboard), Steve Mason (bass), and Matt Odmark (guitar).  Influences cover 
a wide range: the Beatles, Depeche Mode, Hendrix, and Toad the Wet Sprocket.
The band got together in college, put together a demo cd that led to their 
signing and debut album.  Adrian Belew produced two tracks with the band 
finishing the remainder.
	The self-titled album would have benefited from Mr. Belew's continuing
attention; the two tracks he produced are the best of the bunch.  "Flood" is 
the first single and video off the album.  It's very interesting to listen to 
and has lyrics that only hint at a Christian message.  "Liquid" is 
beautifully produced with strings added by Belew.  Chances for a wide appeal 
on this one are dimmed by the heavy handed religious message ("Arms nailed 
down, he didn't die for nothing").  Most tracks have lyrics that could as 
easily be interpreted as everyday love songs as love between man and the 
Christian Savior.  These tracks with that kind of innocuous lyrics attached 
to pleasant alternative music can carry Jars of Clay outside the Christian 
rock perimeter if that's where they want to be; dump the hard sell religious
lyrics, and they're there.  
	Will Jars of Clay try to keep to the middle ground delivering veiled
messages, or will they sway from their religious background? Will they get 
a tighter grip on the religious message lyrics and hammer out religious 
messages from Christian clubs?  Their next album's direction should be
interesting.  With this one, _Jars of Clay_, if you like Christian rock, 
this is a keeper.  If you like alternative, you might give this band a try,
but the lyrics may scare some people away.
---
	REVIEW: James Brown, _Foundations Of Funk: A Brand New Bag 1964-1969_ 
		(Polygram/Chronicles)
		- Al Muzer
	This amazing 27-song retrospective gloriously traces Brown's gradual
transformation of soul music ("Let Yourself Go," "Out Of Sight") into the
propulsive, hard-slammin' funk ("Cold Sweat," "Give It Up Or Turnit Loose")
eventually appropriated by the, literally, thousands of bands who've since
attempted to follow in the man's sweaty footprints. In addition to a
comprehensive 24-page booklet that includes a well-written history, rare
photos and detailed track credits, the digitally remastered disc features
several recently unearthed, unedited live performances (the nine minute take
on "Mother Popcorn" is da shit!), a few alternative takes, unreleased tracks,
longer versions of most songs and a definitive, extended romp through "I
Don't Want Nobody To Give Me Nothing (Open Up The Door I'll Get It Myself)"
that firmly cements Brown's reputation as the king of all things funk.
---
	REVIEW: Broadside Electric, _More Bad News_ (Clever Sheep)
		- Paul Grzelak
	_More Bad News_ is the third album from the Philadelphia
based band Broadside Electric.  Broadside Electric is a folk / rock
band that reminds us that not all folk music is based on acoustic
guitars and Bob Dylan lyrics.  This folk music has teeth, as the
group is quick to point out in their CD liner notes, web pages, etc.
By teeth, they refer to the sex, blood & violence so common in Celtic
folk songs, but present everywhere else as well.
	While Broadside Electric is a Celtic folk rock band, you can
see differences that make them very much unique.  First is the
instrumentation.  Among the "standard" recorders, acoustic guitars,
etc., is a Chapman Stick, electric violin, and an occasional sax.
The three band members (Tom Rhoads, Jim Speer and Helene Zisook)
combine to make a sound more akin to an entire troupe, rather than
just a trio.  Melissa Demian, previously in the band, provides some
additional backing vocals.
	The sound that Broadside Electric produces shows a strong
Celtic folk / rock style, but with additional eastern influences.
These influences add accents and flavors to the album.  Broadside
Electric shows the influences of folk bands such as Steeleye Span
but with other influences such as Boiled In Lead.  People who enjoy
this style of music would be very glad to hear this album.
	We open the album with "Babylon".  While this traditional
tune and story are rather simple in concept, the execution by
Broadside Electric really gets this album off to a good (and
somewhat bloody) start.  The distorted Chapman Stick sets up the
scene.  Two murders and a suicide later, we move on to the second
track, "Lord Bateman".  This is a love song about commitment, with
Slavic influences.  "Bucimis" is a dance tune with Bulgarian origins.
Broadside Electric has sped it up a bit, and made a rather quick
and lively piece out of it.
	More mayhem then occurs within "Silkie".  This tune sounds
like it has a bit more of a mellow, John Renbourn sound.  Don't
let the mellow sound confuse you - add two to the body count.  And
let's not forget the random sex...
	The next is a collection of reels titled "The Spinning
Wheel and the Bronze Axe".  The CD liner notes tell us how the
band comes up with the names for these reel collections - select
a random college textbook, flip through randomly until you find
something that looks good.
	"Pastures Of Plenty" is almost a western flavor.  This is
a Woody Guthrie piece that is played almost like a Bad Company tune.
The effect is a perfect contrast to the rest of the album.  "As I
Roved Out" inherits some of the feeling of the Boiled In Lead that
inspired this song.  Broadside Electric has made it very much their
own.  The story of the song is one of a married soldier tricking
a young lady into casual sex.  No big surprise for anyone who
follows Celtic folk / rock.
	"Gas Nign & Makedonsko Devojce" is a Jewish / Macedonian
influenced instrumental combination.  The combination of electric
violin, Chapman Stick and electric guitar makes this an unusual and
enjoyable tune.  "Sheath and Knife" brings the body count to seven.
Still a mellow tune, softly told events of incest, murder and
vengeance.  "J'ai Vu Le Loup" closes out the album with a French
flair.
	Broadside Electric's third album _More Bad News_ is good
news for anyone who is interested in folk / rock music.  This trio
out of Philadelphia creates a sound that is reminiscent of Steeleye
Span and Boiled in Lead, but remains uniquely their own.  _More Bad
News_ is a strong recommendation for anyone interested in Celtic
music, folk / rock, etc.  Keep in mind the violence and sex - a
common theme in the Celtic tradition.  There is lots of it here.
Also, the combination of traditional themes from around the world
and the musicianship of the band members makes this a must hear.
	Album body count: 7 (3 women, 2 men, 2 children)  There
is rumor of an eighth death, but this reviewer has not been able
to confirm it, or identify the remains.
	Broadside Electric has a web site.  For more information,
look them up at http://atomsun.harvard.edu/broadside/
---
	REVIEW: Gefkens, _Grind: The Demo Anthology_ (P.O.S. Records)
		- Bob Gajarsky
	Date: 1991.  Local New Jersey band The Fundamentals are just about
to make the big break to the big-time. After several appearances on
national compilations such as CMJ Monthly, through their own record
label, an EP (_Feeling Strange_) produced by Richard Barone, a bonafide
single "Cycles" and countless comparisons to R.E.M., and signing to MCA,
things couldn't appear brighter.  But, major label politics soon took over,
and the imprint which the Fundamentals were signed soon dissolved...leaving
the Fundies without a label, and soon, the band broke up.
	Fast forward to 1995.  After the driving forces behind the 
Fundamentals (Fran and Matt Azzarto) teamed up with Chris Gefken, the trio
became the Gefkens, and soon drew a buzz around New York (Vin Scelsa)
and Los Angeles (radio station KROQ).  _Grind: The Demo Anthology_ was
released to show off the different sides of the Gefkens.  
	The obvious comparison is *still* the Byrds styled-riffs of
R.E.M., with an unabashed amount of power pop added in to flavor the mixture.
But rather than be pigeonholed, _Grind_ demonstrates that the band have
several avenues in which they can proceed.  "Blind" recalls some recent 
Soul Asylum,  while "Thousandaire" emits similarities to the aforementioned
should-have-been hit, "Cycles".  Ironically, one of the demos with the
least production, "Happy" comes across as a powerful, but untapped, acoustic
gem.
	Yeah, it's 1996, but these guys still haven't seen the chance they
truly deserve.  With any kind of luck and justice, it will come sooner
rather than later.
	P.O.S. Records can be reached at 105 10th St. Suite 1 Hoboken, New
Jersey 07030 or via e-mail at mattgefken@aol.com
---
	REVIEW: Super Deluxe, _Famous_ (Revolution Records)
		- Linda Scott
	Super Deluxe hails from Nirvana territory but isn't into teenage angst.
This band started life as a lighthearted pop band less than two years ago ,
and they intend to stick with the musical path they're on.  Bandmembers
are lead singer/guitarist Braden Blake, guitarist/vocalist John Kirsch,
bassist Jake Ness, and drummer Chris Lockwood.  Working in the genre
of Cheap Trick, the Posies, early Beatles, and about a thousand other
bands, Super Deluxe knows the importance of finding something special
to set themselves apart from the pack.  The Blake/Kirsch harmonies are
what will set them apart.
	_Famous_ is the debut album of Super Deluxe.  There are 10 tracks of
original material although the tracks are somewhat short, the total time just
exceeding the 30 minute mark.  _Famous_ is a good introduction, and some-
where in the record bins is a Christmas EP from 1995.  Super Deluxe recorded
_Famous_ in a friend's studio at little cost. When listening to _Famous_,
give some special attention to "Smile", "She Came On", and "Flustered".  
	What chance does Super Deluxe have of going to the top?  The band 
seems weak because there are many similar songs that zip by leaving little 
impression.  Listeners may be happy listening to this happy pop sound, but
how long does it stay with them when the songs are very short and the 
lyrics need little thought?  There doesn't seem to be a really strong 
track that could be pulled off as a single - but several seem as though 
they could be made stronger with more time.  
	Super Deluxe seems very marketable - songs that don't offend, that 
are good for dancing and relaxing, good harmonies and decent music.  MTV 
can't be far away.
---
NEWS:	> The Afghan Whigs' May 30 New York City concert at Irving
Plaza will be broadcast live across the Internet at their label's
web site, located at: http://www.elektra.com
	> The second and third stages for Lollpalooza are as
follows: Second Stage (1st half): Girls Against Boys, Ben Folds Five,
Cornershop, Satchel, You Am I, Beth Hart.  Second Stage (2nd half):
Soul Coughing, Sponge, Melvins, Ruby, Jonny Polonsky, Low &
Sweet Orchestra.  Third Stage (1st half): Chune, Moonshake, Lutefisk,
Capsize 7.  Third Stage (2nd half): COWS, Long Fin Killie, Thirty
Ought Six, Varnaline.
	> Sarah McLachlan will be singing the Canadian national anthem
at the upcoming Major League Baseball All Star Game on July 9 in 
Philadelphia.  The unconfirmed voice for the American anthem is 
Kelsey Grammar, the star of television's Frasier.
	> UK new media group Modified has released AutoWeb Groove Cruiser,
an online 4 track interactive music video designed exclusively 
for the World Wide Web.  The 1300 K interactive Shockwave single enables
Web users to listen to a changing multi-channel soundtrack while
surfing.  The single is programmed to respond to mouse clicks 
irrespective of which site a user subsequently visits. For more information,
check out the web site at http://www.compulink.co.uk/~modified/
	> The May/June issue of Performing Songwriter has been released.
Highlights include a lengthy feature interview with former Beach Boy Brian
Wilson, an interview with Natalie Merchant, and tips for aspiring
songwriters.
	> Sonicnet Chats this week (http://www.sonicnet.com/sonicore/chat)
are as follows; all times are p.m. EST unless otherwise noted.
May 29, Don Fleming, 7:30; May 30, Porcupine Tree, 2:00; May 30, 
Southern Culture on the Skids, 7:00; May 31, Candy Snatchers, 3:00;
June 3, Jayne County, 7:30; June 4, Pulp, TBA
---
TOUR DATES
	Boyracer
Jun. 2 Petaluma, CA Phoenix Theatre 
Jun. 3 San Francisco, CA Bottom Of The Hill 
Jun. 5 Los Angeles, CA Dragonfly 
Jun. 7 Tempe, AZ Stinkweeds 
Jun. 8 Tuscon, AZ Luna Loca 

	Charm Farm
Jun. 8 Detroit, MI Franklin St. Brewery

	Cocteau Twins
Jun. 7 Atlanta, GA Roxy
Jun. 9 Washington, DC 9:30 Club
Jun. 10 Boston, MA Avalon

	Cordelia's Dad
May 31 Hartford, CT Universiy of Hartford

	Dread Zeppelin
Jun. 5 W. Hollywood, CA House Of Blues
Jun. 7 Foothill Ranch, CA Peppa Fest '96
Jun. 8 Solana Beach, CA Belly Up Tavern

	God Lives Underwater / Life of Agony
Jun. 2 Camden, NJ Camden Center

	Grover
Jun. 6 Wilmington, NC Mass Symposium
Jun. 7 Atlanta, GA Point

	Half Hour To Go
May 31 Chatham, NJ United Methodist Church (Amnesty International Fundraiser)

	Paris Hampton
Jun. 4 New York, NY CB's Gallery

	Limblifter / Stanford Prison Experiment / Local H
Jun. 1 Seattle, WA Moe

	Love & Rockets
Jun. 2 Columbus, OH Newport Music Festival
Jun. 3 Cincinnati, OH Bogart's
Jun. 4 Nashville, TN 328 Performance
Jun. 6 Orlando, FL Embassy
Jun. 7 Miami, FL Club Nu
Jun. 8 Tampa, FL Masquerade
Jun. 9 Jacksonville, FL Shades

	Alanis Morissette
Jun. 12 Santa Barbara, CA County Bowl 
Jun. 13 Las Vegas, NV Aladdin
Jun. 15-19 Los Angeles, CA Greek Theatre 
Jun. 20 Irvine, CA Irvine Meadows 
Jun. 22 San Diego, CA Del Mar Fairground 
Jun. 23 Phoenix, AZ America West Arena
Jun. 27 Milwaukee, WI Summerfest

	Multiple Cat
Jun. 3 New York, NY Mercury Lounge 
Jun. 7 Wilmington, NC Club Axis

	Nields
Jun. 9 Kerrville, TX Kerrville Folk Festival

	Nixons / Grover
Jun. 1 Harrisburg, PA Metron
Jun. 2 Philadelphia, PA WIBF Festival

	No Doubt
Jun. 1 Waltham, MA Gosman Center
Jun. 2 Camden, NJ Camden E-Center
Jun. 3 Providence, RI Strand
Jun. 5 Dayton, OH Hara Arena
Jun. 6 St. Louis, MO American Theatre
Jun. 7 Omaha, NE Mancuso Hall
Jun. 8 Bonner Springs, KS Sandstone Amphitheatre
Jun. 9 Lampe, MD Black Oak Amphitheatre

	Poorhouse Rockers
Jun. 7 Ocean City, MD Fager's Island

	Professor & Maryann
Jun. 5 New York, NY HMV (34th/6th)

	Pulp / The Drag
May 31 Detroit, MI St. Andrews Hall
Jun. 3 New York, NY Irving Plaza
Jun. 4 Washington, DC 9:30 Club
Jun. 9 Philadelphia, PA Theatre of Living Atrs

	Slobberbone
Jun. 1 Kansas City, MO Davey's Uptown 
Jun. 2 Dallas, TX Barleypalooza 
Jun. 4 Memphis, TN Barrister's 
Jun. 5 Nashville, TN Exit Inn 
Jun. 6 Athens, GA 40 Watt 
Jun. 7 Wilmington Beach, NC MASS Symposium 

	Steeleye Span Reunion Tour
Jun. 1 Pittsburgh, PA Carnegie Lecture Hall
Jun. 3-4 New York, NY Bottom Line
Jun. 5 Somerville, MA Somerville Theatre

	22 Bridge
Jun. 5 New York, NY Westbeth Theatre 
Jun. 7 Philadelphia, PA Trocadero 

	Vitapup
Jun. 5 New York, NY The Cooler

	Mike Watt
Jun. 1 Corona, CA Showcase Theatre (Dos)

	Weston
Jun. 5 Rockford, IL Pit Skatepark
Jun. 6 Chicago, IL Fireside Bowl
---
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