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Consumable Online Issue 092
==== ISSUE 92 ==== CONSUMABLE ======== [November 22, 1996]
Editor: Bob Gajarsky
Internet: gajarsky@email.njin.net
Sr. Correspondents: Jeremy Ashcroft, 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,
Paul Grzelak, Janet Herman, Eric Hsu, Tim Hulsizer,
Stephen Jackson, Daniel Kane, Stephen Lin,
Bob Mackin, Al Muzer, P. Nina Ramos, Linda
Scott, Ali Sinclair, Simon Spreichert, Jon
Steltenpohl, Courtney Muir Wallner, Simon West
Technical Staff: Chris Candreva, Dave Pirmann, Damir Tiljak,
Jason Williams
Also Contributing: Daniel Aloi
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 |
`------------'
INTERVIEW: Chris Butler - Bob Gajarsky
REVIEW: Marilyn Manson, _Antichrist Superstar_ - Janet Herman
REVIEW: Orbital, _In Sides_ - Joe Silva
CONCERT REVIEW: Black Crowes - Linda Scott
REVIEW: Various Artists, _O Come All Ye Faithful: Rock For
Choice_ - Al Muzer
COMPILATION REVIEWS: Iggy Pop, Huey Lewis & The News, Grateful
Dead, Simply Red, Fine Young Cannibals - Bob Gajarsky
REVIEW: Baby Fox, _A Normal Family_ - David Landgren
REVIEW: Les Claypool And The Holy Mackerel, _Present Highball
With The Devil_ - Simon Speichert
REVIEW: Super Furry Animals, _Fuzzy Logic_ - Jeremy Ashcroft
REVIEW: The Cheese, _Flip Your Lid_ - Al Muzer
REVIEW: Sam Phillips, _Omnipop_ - Daniel Aloi
REVIEW: Esquivel, _Merry Christmas From The Space Age
Bachelor Pad_ - Al Muzer
NEWS:Electric Eels, Extra Fancy, Northside, Pulp "Disco 2000",
Seven Mary Three
TOUR DATES: Archers of Loaf, Backsliders, Better Than Ezra / Fulflej,
Black Crowes, Johnny Cash, Chimera, Phil Cody, Connells, Cravin'
Melon, Deftones, Dirty Dozen, DJ Kool, Everything But The Girl /
Frente, Extra Fancy, Fireside, Ginger, Godplow, Gravity Kills,
Joe Henry, Boo Hewerdine / Darden Smith, Jars of Clay, Kula
Shaker, Liquid Soul, London Suede, Tara MacLean, Mestizo Rockers,
Teddy Morgan, The Mother Hips, Ocean Colour Scene, Pen Pal,
Poorhouse Rockers, Professor & Maryann, Republica, Ruth Ruth,
Skulpey, Slush, SNFU, Speed McQueen, Sponge / Ruth Ruth / Red
Five, Stabbing Westward / Ash / Drill, Stillsuit, Corey Stevens,
Talking to Animals, Test Dept./Sheep on Drugs., Tool / Psychotica,
Tree, Wedding Present / Yatsura, Wesley Willis
Back Issues of Consumable
---
INTERVIEW: Chris Butler
- Bob Gajarsky
For those who lament the lack of music for the
almighty dollar, Chris Butler's latest release, "The Devil
Glitch", might satisfy your desires by clocking in at a whopping
73 minutes long. But at first glance, this disc only contains
two songs; a 5 minute "edit" version, and a 68 minute single,
broken up into 16 different "parts" by a wide assortment of
different artists.
The story is as intriguing as the length of the single.
Butler explains, "The concept was to have a 5 minute version of
the tune, then fill out the rest of the disc with a 65+ minute
version - with different music from different artists, and different
lyrics. Anybody can record a song using loops - the challenge
is to write a song with lyrics that change."
Butler was the guitarist, sole writer, and co-producer of
the Akron, Ohio based Waitresses. The band was initially formed
as a "hypothetical" band on the side from the real band he was
involved in, Tin Huey. "When I wrote songs that didn't fit into
the Tin Huey style", Butler muses, "I began to think of them as
'Waitresses' songs."
One of those songs was the almost top-40 hit, "I Know
What Boys Like". Butler soon moved to New York City, and in 1979,
industry executives wanted to know where the rest of the Waitresses
were. Putting together a band consisting of former Akron people
in the New York area and other friends and associates, The Waitresses
soon came into being. Although the sole writer for the group, Butler
falsely proclaims that "Songwriting doesn't come naturally to me; I
have to work at this. It's not a natural flowing event."
Fans might disagree, as the Waitresses were known for their
eccentric little pop ditties. "I Know What Boys Like" didn't
light up the charts on its release in the early 80's, but has
now become a staple on the flashback hours, and appeared
on compilations including one of the _Just Can't Get Enough_ series,
but also on the Waitresses' _Best Of_ compilation.
And, perhaps his best known song was the holiday single "Christmas
Wrapping" which has now become one of the cool songs you
don't mind hearing in late December.
"The song ("Christmas Wrapping") was a total goof. Our
independent label gave us one week to come up with a Christmas
song for an album they were recording. We gave them the song and
forgot about it, until one day my wife heard it on the radio."
For the past 15 years, that song has been on many a radio
station, and even been a #1 requested song surpassing Bruuuuuuce and
other more famous artists, at many stations.
Friends and musical acquaintances who Butler met over the years,
starting with his days before his fame with the Waitresses, became the
backbone of "The Devil Glitch". Participants in this effort included
people such as former Waitress saxophonist Mars Williams, who's
creating a stir of his own these days with the Chicago-based acid
jazz group Liquid Soul; Liam Sternberg, who wrote the Bangles
international #1 hit "Walk Like An Egyptian"; Hoboken indie-pop
band the Gefkens, and Freedy Johnston. The connection with Johnston
was founded the same way Butler got linked with artists such as
Scruffy The Cat and Joan Osborne - producing the albums which
jumpstarted their careers *before* hitting the bigtime.
So how did it feel to watch someone like a Joan Osborne
(some of Butler's work on _Blue Million Miles_ can be heard
on her recent re-issue, _Early Recordings_) working with a
new producer on the major label debut, without the typical
producer buy-out? Butler talks frankly, without any hint of
remorse or sense of vengeance: "Most producers say 'I'll do
this indie release cheaply, but if you go somewhere (to a major
label), you either have to hire me or buy me out.' I always thought
(to my naivete) that was a nasty thing to do to an artist. It spoils
the fact that the artist had won (by going to a major label)."
"I now understand why the paperwork is in there. I will work
smartly from now on, and be more mature in my business relationships.
I kept thinking more from the artist's point of view than the
producer's. Everyone who I've worked with, I wish nothing but the
best and that's sincere - I'm friends with all these people, and
intend to stay friends with all of them. That's not the same as
wanting my piece of the pie."
The matter-of-fact manner in which Butler talks about
incidents shows that he's not only a realist, but also a true
lover of *music*. Butler's interests lie not only in the present,
but the past. He has recorded two singles, "The Wilderness Years"
(Volumes 1 and 3 - no Volume 2) using instruments from the past: a
Webster-Chicago Model 180-1 wire recorder from the late 1940s, and
a late 19th century Edison "Spring Motor" phonograph.
While putting the finishing touches on these records - released
in 1995 - a pair of other musicians managed to hear a copy and liked
the approach of recording today's music on equipment nearly 100
years old. And with the release of _Factory Showcase_,
They Might Be Giants have taken the "old is new" idea to
a national audience.
Although neither Flansburgh or Linnell were among the
artists who submitted material for "The Devil Glitch", their
eccentric style makes its way in many of the tracks. The
North Jersey pop band Fear of Falling plays using a ukelele,
and winds up sounding like an alternative barbershop quartet.
Former Waitresses soundman Kramer took a 24 track tape from a band
which had stiffed him money, turned it upside down, and ran their
music backwards through the multi track machine, all the while
moving the faders and reversing everything yet again. Another
Chris Butler (this one with the middle initial D.) made up
instruments by distorting and filtering the sound waves. And
so it goes - each musician taking a similar intro/outro to the
song, and Butler's repetitive opening of "Sometimes you can fix
something by..." and sculpting their own design.
On the letter Butler sent out to prospective contributors,
Butler explained the idea behind the lyrics. "'The Devil Glitch'
tune is about wrestling with a dysfunctional machine-a computer,
a toaster, an ATM - anything that suddenly decides not to work
as advertised...and usually at the worst possible moment. 'The
Devil Glitch is a gremlin...the malevolent ghost in the machine
(or in our lives) that is waiting to wreck everything."
A disc such as "Devil Glitch" would cause marketing
nightmares at some major labels, trying to determine the proper
format, edits, remixes, etc. One of the benefits of producing
and releasing your own record is avoiding such headaches. But
what was the goal of "The Devil Glitch?"
After a short pause, Butler responds: "I wanted to have a
hell of a lot of fun in the studio; see if I could do something
that was totally crazy, get back in touch with people I haven't
worked with in a long time, and do something which is entirely new."
The project took 1 1/2 years to complete, and according
to Butler, "I think it's amazing. There are some things I would
change; I stressed for people to do something weird, and I hoped
that people would change things more. I think there's a nice blend
between stuff that really rocks, and stuff that's just out there.
It's the most fun project i've ever worked on".
If Butler's vocals could be compared to anyone's, it would
probably be Michael Penn's - a little rough around the edges. However,
the beauty of "The Devil Glitch" isn't in the vocals, but the
never-ending, never-repetitive lyrics combined with the uniqueness
each artists adds to Butler's original design. It's like being invited
to see the finished product of many different musicians - and then
seeing where it all started. Most of the time, we're only able to see
one completed path - the initial demo, and the final interpretation
of this demo. In this case, Butler allows the artists to take his
canvas and thoughts and create their own artwork from his original idea.
To purchase "The Devil Glitch", send $11.24 ($10 + 1.24 shipping)
as a check or money order to Future Fossil Music, PO Box 6248,
Hoboken, NJ 07030. Or, to find out more information on the musical
voyages of Mr. Butler, he may be contacted directly via e-mail
at beezwax2@aol.com
---
REVIEW: Marilyn Manson, _Antichrist Superstar_ (Interscope)
- Janet Herman
As I sit at my desk at my day job the repetitive but
infectious chorus of "The Beautiful People", Marilyn Manson's
first single off of their latest release, runs over and over
in my head. The scariest aspect of this is that, according to
the creepy press kit that I received with the compact disc, this
is exactly what Mr. Manson and his crew had in mind for their
listeners and I have almost succumbed to his wishes. Marilyn
Manson, whose name is formed by the combination of Marilyn
Monroe and Charles Manson, seems to believe in a definite dark
side to human existence and hopes that everyone who listens to
this album will see the dark, so to speak, and realize this as well.
Mr. Manson, the lead singer of this doomsaying group, is
also a reverend of the Church of Satan and insists that his image,
which consists of ripped black stockings, lots of leather, missing
eyebrows and self-inflicted cuts all over his body, does not
disappear after his shows. He insists that he is not just a parody
of the dark side of human nature, but is actually a parody of a
parody of this. Are you still following this? I'm not sure if I
am either, so don't worry. If you want to believe the ideas
expressed on this album, feel free. However, I am sure that many
will agree that Marilyn Manson basically comes off purely as an
attention seeker whose strongest weapon is shock value. If you
want to scare the parents, then this is the album to buy for
musical and visual reasons.
Musically speaking, Marilyn Manson sounds quite a bit
like Nine Inch Nails, which is really no surprise as the album is
coproduced by Trent Reznor, their kindred spirit in revolution.
In a similar fashion to Trent Reznor, Marilyn Manson will jump
back and forth from a scream to a whisper as he is backed up by
the sounds of pounding techno/industrial samples and creepy
noises. What struck me the most is that the lead-in drumbeat of
"The Beautiful People" sounds awfully similar to that of Green
Day's "Longview". This is a catchy track but it also complies
with the supposed purpose of Marilyn Manson: take something that
most people know well and twist it into something dark and ugly
and makes us question the good and evil aspects of what we are
dealing with.
Compared to Marilyn Manson, Nine Inch Nails almost sounds
happy. While Reznor sings, 'If there is a Hell, I'll see you
there' in "Heresy" from _The Downward Spiral_, Marilyn Manson
seems to be claiming that there IS a Hell and we are all already
there. Mr. Manson obviously means to shock or disturb his
listeners with lyrics like, 'The beautiful people/it's all
relative to the size of your steeple' and, 'Each time I make my
mother cry/an angel dies and falls from Heaven.' Manson's
music and lyrics can be fun to listen to if you're in the mood
for doom and gloom, whether you take Manson seriously or not.
However, as my friend Sam puts it, 'Marilyn Manson is ear candy' -
meaning that on the surface, it's enjoyable - but after a while
it can turn sour and become overdone and nauseating. Such is
the case with the music and lyrics of Marilyn Manson which after
a while hit you over the head with Manson's hatred of American
society, aiming most often at the Christian Church.
I'll leave the reader to discover for themselves the
ever-so-lovely visual disturbances that accompany this album.
Let's just say a picture on the back of the jewel box gives a
certain sexual act new meaning.
---
REVIEW: Orbital, _In Sides_ (FFRR)
- Joe Silva
It may be a stretch, but techno might be finally
approaching the pre-dawn moments of its next era. The masses
will tire eventually of the faceless electro-beats being thrust
upon them by those white label fiends shut up nice and cozy like
high above them in their vaguely lit sanctuaries. A real shift
in the momentum of popular dance is inevitable. And when those
who care enough to chronicle these things start to look back and
draw lines between the all the genres and the various points of
distinction, Orbital might just be one of the outfits that makes
the grade.
But first the differences between the knob twiddlers
and the craftsmen have to be firmly established. The wooden
legions of the techno-by-numbers school are still at large
(sixteen counts of this, add a new sample, sixteen counts of
that, etc.). And while their acid tested techniques might
preserve one or two blissful moments on the dancefloor, they're
more often a protracted way for the DJ to amble over to the
smart drink bar for a refill, while you the patron are left
thirsting for some vitality. Enter Orbital.
Never mind that one of the brothers Hartnoll is a
frightfully normal person with kids and all, or that the duo
have a clearly non-hedonistic concern for the environment, but
instead take note that they've actually done things like
headline the infamous Glastonbury festival in the UK and by all
accounts kicked...er, bottom. And then there's the sheer
baked-in goodness of this record's lead track, "The Girl With The
Sun In Her Head" (recorded entirely with solar electricity that
Greenpeace provided a la carte), which is possibly the choicest
bit of techno to be hatched this year. It comes to life with
deceptively torpid and anonymous whoosh sound before blossoming
into a lively space age ramble with crisscrossing synth lines,
agile rhythms, and a fluid and barely tangible bass line.
What Orbital seem to keep ever present in their frontal
lobes is that even the most nimble footed of their followers
probably appreciate having their attention drawn and sonically
cultivated while they simultaneously stress their newest set of
activewear out on the floor. And while most of the hoopla
surrounding bands of this ilk usually remains forever UK-centric,
if you have a look at a couple of the recent radio charts for the
past month or so you might notice that Orbital's sublime single
"The Box" has made a few well-respected add-lists of late. For
all its Dr. Who like flavourings, the deep trance-like hook gets
a fair amount of mileage even in its extended incarnations.
Available with a limited U.S.-only EP that's quite worth hunting
for, _In Sides_ may be one of the few audio placards out there
gesturing towards the future.
---
CONCERT REVIEW: Black Crowes, AJ Palumbo Center
Pittsburgh PA, 11/6/96
- Linda Scott
A cold November evening in Pittsburgh - people
moving fast downtown heading for AJ Palumbo Center and
the Black Crowes. The Crowes' solid following in the
city showed in the long line to collect special fan club
tickets at the box office.
Government Mule opened for the Crowes doing a 40
minute, 6 song set. Late arrivals missed a rocking show
with a performance exceeding the usual opening act fare.
Changeover to the Black Crowes set was thankfully
short with no overblown props and scenery. The band's
entry was a simple walk-on, a surprise for those of us
used to pyrotechnics and blackouts. The audience rose
to its feet and cheered, and the Crowes swung into
action. Tapes started spinning everywhere; the Black Crowes
are in the forefront of allowing recordings of their conerts,
with no special tickets or seating required.
Vocalist Chris Robinson was right on throughout
the set nailing song after song. Robinson made the night's
performance with that distinctive voice that makes the
Crowes instantly recognizable. The rest of the band did
not quite have Robinson's energy that night. While
musically solid, the band did not connect with the audience
as well as expected. Past hits of "A Conspiracy" and
"Shake Your Money Maker" were greeted with expected applause,
and even the lesser known tracks such as "Pimpers
Paradise" and "Stare It Cold" received an enthusiastic
reception. The instrumental sections weren't quite as good,
as the band just did not seem to have their hearts in
things. Reports from other Crowes performances indicate
some shows with similar problems while most leave the
audience breathless. The tour in support of _Three
Snakes and One Charm_ is a typically long, intense one,
and the guys may just need a rest. Certainly Black
Crowes has the energy to give when they can.
Overall it was a wonderful evening with a good
audience and a great show. Chris Robinson has definitely
outgrown the Jagger comparisons and has gained his own identity.
The band no longer suffers from showing more attitude
than talent. Black Crowes has a strong fan base developed
from decisions made by the band to provide a good fan
club with exceptional seating for members, the decision
on taping that lets the fans take home some of the
concert, and Internet chats that let fans talk to
the band directly. Definitely a good time!
---
REVIEW: Various Artists, _O Come All Ye Faithful: Rock For
Choice_ (Columbia)
- Al Muzer
Henry Rollins begins this excellent benefit for reproductive
freedom by converting "The Night Before Christmas" into a mesmerizing
inner-city nightmare via a dramatic reading of the Dickens holiday
classic layered over a hypnotic siren effect and the eerie
manipulations of Joe Cole.
Dance Hall Crashers pick up the pace with a percolating blast
of Go Go's/Waitresses perk-pop called "I Did It For The Toys" that
puts a bright spin on gift giving, while Sponge check in with an
amazing bit of holiday angst that fleshes out an Alarm-ish riff and
Kitchens Of Distinction-like dynamics with despondent, Bauhaus-dark
vocals and a pulsing, irresistible beat. Julianna Hatfield offers the
typically whispy, typically pretty "Make It Home" before Shudder To
Think speak in tongues on "Al Hanisim" and Wool turn up with an
aggressive burst of Green Day-like punk.
A live wank from Bush that melds Elvis, "Good King
Watzisname" and Hendrix's "Hey Joe" into 2:22 of amateurish,
sound-check piss-off guaranteed to disappoint any fan of the band is
the disc's only real letdown, but is quickly forgotten as Luscious
Jackson offer a cool bit of head-bobbin' semi-jazz and Mid-Eastern
shuffle on the excellent "Queen Of Bliss" - which just happens to
segue into a totally wigged Sonny Sharrock-like version of "The
Little Drummer Boy" from Mike Watt and crew.
"Christmas Piglet" features The Presidents Of The United
States Of America doing what TPotUSOA do so well - only with piano
and acoustic guitar. The disc winds down with a faithful version of
"Happy Christmas (War Is Over)" from The Cranes and Face To Face's
Texas-swing-worthy-of-the-King shot at "Blue Christmas."
Deep Forest and Wes Madiko are up last with a third-world
chant and trance-like hum called "Nemene" that closes this truly
commendable melange for a damn good cause on a perfect, far
reaching note.
For further information, write to Rock For Choice at:
8105 West Third Street #1, Los Angeles, CA 90048; or e-mail:
R4C@aol.com. Online at: //www.feminist.org
---
COMPILATION REVIEWS
- Bob Gajarsky
With the end of the year, labels always rush to release
a flurry of greatest hits and other compilations designed to
be the "safe" year end gift. Don't know what to get for that
special someone? A greatest hits package!
Usually, they don't tear up the charts, and most reviews
conveniently omit track listings - which is a pivotal reason to
consider buying a compilation when having many of an artist's
previous releases. Here's some of the recent reissue packages:
REVIEW: Iggy Pop, _Nude and Rude: The Best Of_ (Virgin)
Iggy Pop had always seemed to remain in the shadows; often
cited by others as one of the leaders of the punk movement from his
time in the late 60's and early 70's with the Stooges, but never
achieving much commercial success.
His longevity helped spawn his breakthrough hit "Candy" with
the B 52s' Kate Pierson at a time when radio stations were looking
for established artists with viable commercial songs, but even
ignoring that one track, it's hard to encapsule 30 years of ground
breaking music on one CD. _Nude and Rude_ does a fairly good job of
it, including four songs ("Funtime", "Nightclubbing", "China Girl",
and "Lust For Life") co-written with the man who always seemed to
overshadow Iggy, David Bowie: "The Passenger", with its hook that
would never leave a rebellious youth's head, and classics such as
"Search & Destroy" and "Real Wild Child". A solid summary of
a nearly impossible task: capturing the history of Iggy Pop.
TRACK LISTING: I Wanna Be Your Dog, No Fun, Search & Destroy,
Gimme Danger, I'm Sick Of You, Funtime, Nightclubbing, China
Girl, Lust For Life, The Passenger, Kill City, Real Wild Child,
Cry For Love, Cold Metal, Candy, Home, Wild America
REVIEW: Huey Lewis & The News, _Time Flies: Best Of_ (Elektra)
Combining 70's AM radio backup vocals with horns (sometimes
the Tower of Power), some doo-wop and a bar band attitude, Huey
Lewis & The News never garnered much critical praise, but satisfied
the record buying public with albums such as _Sports_ and _Fore_,
which spawned a total of 10 Top 40 hits between them.
The band once refused to issue a greatest hits album by
reasoning that it would "signal the end of our career". The four
new tracks which buttress this compilation are unfortunately the
weakest tracks on here; only the first single "100 Years From Now"
comes close to approaching their stellar output during those
hit filled years. It would have been better spent including more of
their hits, including the curious omission of the #1, Lewis-Bruce
Hornsby tune, "Jacob's Ladder". 1983 and 1986 seem so long ago...
TRACK LISTING: The Heart Of Rock & Roll, Heart And Soul, Doing It All
For My Baby, Do You Believe In Love, Trouble In Paradise (Live), The
Power Of Love, If This Is It, Bad Is Bad, Workin' For A Livin', It's
Alright, Stuck With You, I Want A New Drug, 100 Years From Now, So
Little Kindness, 'Til The Day After, When The Time Has Come
BEST SURPRISES: "Trouble In Paradise (Live)", formerly only on the
_U.S.A. For Africa_ collection; a-cappella "It's Alright"
SURPRISING OMISSION: #11 Couple Days Off; #1 Jacob's Ladder, #3 Hip
To Be Square, #3 Perfect World, 6 other charted singles
REVIEW: Grateful Dead, _The Arista Years_ (Arista)
When Jerry Garcia passed away, adults grieved more than for any
other rock star - with the exception of John Lennon - than anyone else
star during the last 20 years.
And, until now, the only studio compilations of the Dead
were complete only through the mid 1970's. With the release of
_The Arista Years_, pieces of Americana fall into place as seen through
the eyes of the most successful touring band in history.
Extensive and thorough liner notes by Richard Gehr and Blair
Jackson help solidify this collection for even casual fans, but it's
the music that takes center stage - from the 50's sound of "Alabama
Getaway" to their actual, bonafide, top 10 hit of "Touch of Grey".
And those aren't the radio edits that appear on _The Arista Years_, but
the original full length songs in their unadulterated formats.
One Deadhead friend of mine said that "There is no way to
truly capture the Dead from studio records". That might be part of
the reason why 35 minutes of this double disc set comes from live
shows, including "Eyes of the World" with an appearance by Branford
Marsalis. Marsalis' appearance, which closes out the second disc,
is representative of the different styles the Dead could play and
how the band could seamlessly fuse rock, jazz and blues into not just
a band, or an album, but a way of life.
A one disc set would have sold out the Dead's loyal fans who
don't buy singles, but full albums and go to the live shows. A 4 CD
box set would have scared away casual listeners of the group. This
2 disc collection is probably the perfect compromise to let fans see
the Dead's achievements of the last 20 years.
TRACK LISTING: Estimated Prophet, Passenger, Samson & Delilah, Terrapin
Station, Good Lovin', Shakedown Street, Fire On The Mountain, I Need
A Miracle, Alabama Getaway, Far From Me, Saint of Circumstance, Dire
Wolf, Cassidy, Feel Like A Stranger, Franklin's Tower
Touch Of Grey, Hell In A Bucket, West L.A. Fadeaway, Throwing Stones,
Black Muddy River, Foolish Heart, Built To Last, Just A Little Light,
Picasso Moon, Standing On The Moon, Eyes Of The World
REVIEW: Simply Red, _Greatest Hits_ (East West)
Kick-starting the career with a cover of the Valentine Brothers'
"Money$ Too Tight To Mention", the rock-flavored tinge of Mick Hucknall
quickly gave way to a pair of #1 faux-soulful ballads, "Holding Back The
Years" and a cover of Harold Melvins & The Blue Notes' "If You Don't
Know Me By Now". Even with minor chart success from tracks such as
"Stars" and "The Right Thing", this was all most American listeners
heard from Simply Red.
European audiences graced Hucknall with numerous top 10 singles
including "Fairground", which takes a background hook from The Goodmen's
techno club smash "Give It Up" which took *its* hook from Sergio Mendes'
"Fanfarra", and the one new track, a collaboration with hot group of
the month, The Fugees, on a remake of Aretha Franklin's "Angel".
Probably a good bet for Americans who are listening to the "adult
alternative" stations.
TRACK LISTING: Holding Back The Years, Money$ Too Tight To Mention, The
Right Thing, It's Only Love, A New Flame, You've Got It, If You Don't Know
Me By Now, Stars, Something Got Me Started, Thrill Me, Your Mirror, For
Your Babies, So Beautiful, Angel, Fairground
SURPRISING OMISSION: None for American fans. European fans could have
gotten a double disc with all of Hucknall's success.
REVIEW: Fine Young Cannibals, _Finest_ (MCA)
Numerous bands have compilations which should only have
contained two albums worth of material. While recording their
third album, Fine Young Cannibals grew dissatisfied with the
results, called it a day as a group, and decided their greatest
hits album would contain two albums worth of songs plus three
new tracks that had been prepared for the scrapped third album.
Lead singer Roland Gift and his partners - David Steele
and Andy Cox, both formerly of the English Beat - have hooked up
the best of _The Raw and The Cooked_ and their self-titled debut
to form _Finest_, a fourteen song collection.
"She Drives Me Crazy" still stands the test of time today,
as do the covers of Elvis Presley's "Suspicious Minds" and the
Buzzcocks "Ever Fallen In Love". New tracks include the soft "The
Flame", which draws instant comparisons to another of their hits,
"I'm Not The Man I Used To Be", and the slightly 70s soulful feel
of "Take What I Can Get" and "Since You've Been Gone". A nice
addition if you're not one of the more than 2 million Americans
who purchased _The Raw and The Cooked_, and European buyers can
seek out the limited second disc, _The Rare and the Remixed_.
TRACK LISTING: She Drives Me Crazy, The Flame, Johnny Come Home,
Good Thing, Suspicious Minds, Blue, Ever Fallen In Love, Don't Look
Back, Tell Me What, I'm Not The Man I Used To Be, Couldn't Care More,
Funny How Love Is, Take What I Can Get, Since You've Been Gone
---
REVIEW: Baby Fox, _A Normal Family_ (Malawi/Roadrunner)
- David Landgren
I slide the CD into the player, crank up the volume, and out
comes this nouveau scratchy-vinyl sound, and some badass whispers
"Come to me....bleeuahgh". Score one for Baby Fox; I've never
heard anyone throwing up on record before. And a captivating flutey
sample that has had me racking my brains trying to come up with the
original source. This album deserves closer scrutiny.
Dub is like that. Much of its power lies in its ability, through
the creative use of samples, to tickle your memory, to nudge your
synapses and dredge up half-forgotten recollections of music once
heard. UK readers may already be familiar with a recent single "Johnny
Lipstick", from this North London trio comprised of Christine Ann
Leach, Alex Gray and Dwight. There's more good stuff like that on this
album.
The comparison with Portishead is pretty hard to avoid, but
amongst all the other trip-hop bands that popped up after last year's
discovery of the Bristol Sound, Baby Fox has apparently sidestepped
and outsmarted the best of them. For instance, "Ladybird", a slow and
sultry number, brings out the best of Christine's vocals.
What doesn't work? I can't get enthused over "Alienway".
It's probably the only flat spot on the album; I can't shake the image
of some seedy karaoke bar, with a girl singing her heart out and the
rest of the punters are busy watching the sports channel. Maybe ease
up on the reverb, guys.
After the ambient "Our Face Is Not A Jackal" (and a fine track
it is), the album shifts gears and lifts the pace up a notch, firstly for
"Za Za (Get Ready)", a discoid number with sugary vocals. Another
potential single would be "Rain", a smouldering number, lightened up
with little piano riffs and a beat that lies somewhere between a drum
machine and a wah-wah. I'm definitely having trouble at the moment
getting this one out of my head.
The album closes with an absolute killer track, a cover of
Lee Scratch Perry's "Curlylocks". This is brilliant: powered by
brass, punctuated by samples of shrieking Formula 1 race cars. As
with all perfect reggae tracks, you just start bobbing up and down
helplessly; it's just irresistible. This song and a couple of others reflect
a heritage that goes back to vintage UB40, _Signing Off_. There's
another track that is a cover of the Marc Bolan song "Girl" (that I'm
not familiar with), and like the Lee Scratch Perry cover, they don't
sound like covers, but integrate well with the other tracks and
into the overall Baby Fox sound.
All in all, I dig this album, worthy of being filed along
side Portishead and Tricky. Watch this band.
---
REVIEW: Les Claypool And The Holy Mackerel, _Present
Highball With The Devil_ (Interscope)
- Simon Speichert
Holy Mackerel! On first hearing of Les Claypool's new solo
album, there was one thought I had in my mind: "This sure isn't Primus."
That's exactly what the enigmatic frontman of Primus
wants you to think. On this record, Claypool hasn't been confined to
his normal routine of bass and vocals. Les explodes, playing guitar,
drums, singing, and of course living up to his bass-god status.
Recorded at Claypool's home, or "Rancho Relaxo" as he
likes to call it, the record has a great sound, reminiscent of
Primus (I wonder why?), and spans forty-eight minutes and 15 songs.
_Highball With The Devil_ features a host of wacky guests,
including Mark "M.I.R.V." Haggard, Charlie Hunter, Jay Lane, and
Henry Rollins.
Les says that he is the true dictator on this album. With
the ideas he has on this album, any country where he's the
dictator would be pretty cool! The album sounds like Primus mixed
with the Residents and some 80's pop culture. It's not really that
easy to explain. It's music that could only have come from Les'
twisted mind.
The highlights of the album include 51-second lead-off track
"Running The Gauntlet", "Highball With The Devil", surf-like
"Hendershot", "El Sobrante Fortnight" and "The Awakening", a bass
and drum duet by Otis Redding's son Dexter.
Let's face it. This record isn't really a solo album. Mr.
Claypool even admits that he wasn't going to put his name on it
until he realized that "it would be nice to sell a couple of these
bastards." The album is amazing, with the best stuff I've heard
from Les in quite awhile, and it basically only come out of jamming
with friends.
So, is this album worth buying? If you're a Primus fan, you
probably already have it. If you're not, but are ready to be dazzled
by the many talents of Les Claypool and friends, I'd go for it.
---
REVIEW: Super Furry Animals, _Fuzzy Logic_ (Epic)
- Jeremy Ashcroft
A land of song; a land of poets; a land whose history is
entwined with mythology; a land known for its hellraisers and
people who like to party to excess. A land that spawned Super
Furry Animals. Croeso i cymru (Welcome to Wales).
Though the band may claim that they could have come from
anywhere, it would have to be a similar anywhere to Wales, since
the above Welsh character is quite evident in this, their debut album.
"God, Show Me Magic" opens the album in a piano-jangling,
synth-blaring party mood. It's excessive. It's silly. I'm having a
good time already.
Though the mood of the next track, "Fuzzy Birds", is a lot
calmer - acoustic guitars and flutes this time - the band are no
more serious; at least I don't think a lyric based on an imagined
conversation between the singer and his pet hamster can be serious,
can it?
Perhaps a clue to what's behind their view of the world
comes on "Something For The Weekend". "First time, I did it for
the hell of it/stuck it on the back of my tongue and then swallowed
it". As with many of the other tracks, the music here is 70s UK
pop - not as in the spot-the-riff style of, say, Oasis, but in terms
of instrumentation, production and overall feel, they evoke such
bands as ELO, The Rubettes, the Sensational Alex Harvey Band and
Mott The Hoople.
Speaking of the latter, "If You Don't Want Me To Destroy
You" - concludes with a great "All The Young Dudes"/"Hey Jude"-style
finale. Not so crazy this time - it's a beautiful and moving song.
"Hangin' With Howard Marks" is a cheeky wink at their fellow
Welshman. To give you a clue to his imfamy, the album cover also
features photos of the same guy in various disguises he adopted to
evade Customs officers throughout the world. ("Something For The
Weekend"?) The song also features one of the album's most amusing
lyrics: "You and me and the guy from Sparks, hangin' out with
Howard Marks". Anyone who would like to hang out with Ron Mael is
cool with me.
Though it's not strictly the last track, "Long Gone" is a
great end-of-album kind of song. A melancholic lament to (presumably)
a lost love. Again the only word for it is beautiful; singer Gruff
Rhys's Welsh accent just adding to the charm.
Though I've suggested a 1970s feel to the album, please
don't think it's in any way retro; it's as fresh and exciting an
album as I've heard for a long time, and if you like to leave your
turntable with a smile on your face, Super Furry Animals are your band.
---
REVIEW: The Cheese, _Flip Your Lid_ (Curb)
- Al Muzer
Born and bred in the smelly heart of the Garden State - Ben
Toro, Owen McCarthy, Joel Cannon and Brian Gabriel joyously
plagiarize, modernize and bastardize supercharged classic rock and
pop riffs nobody's thought to steal in years.
Touted as "Electrifying Acid Rock" (which comes pretty damn
close) by the re-energized and re-focused folks at Curb, The Cheese
blast off with a swaggering slab of Aerosmith-meets-Cheap Trick
radio-ready retro-rawk before paying happy, unabashed homage to a
veritable Who's Who of influences ranging from Grand Funk to Urge
Overkill - with stops along the way to incorporate the foursome's
winking, smart-assed appreciation for Bowie, the Stones, the Beatles,
Oasis, Peter Frampton, Badfinger, Nite Ranger, Queen, Jeff Beck,
The Greenberry Woods, Supergrass, The Move, ELO, Pink Floyd, the
Who and anything else catchy enough to stick in their ear as they
were growing up.
Despite a near parody-album level of lifted licks and
musical moments that'll leave you asking yourself, "Now, where've
I heard that before?"; The Cheese manage to pack enough energy,
enthusiasm and warped inspiration into their Classic Rock 101 update
to earn _Flip Your Lid_ a slot somewhere in the list of best-of-1996
albums.
For more information, contact The Cheese Fan Club, PO Box 4,
Waldwick, NJ 07643. Curb Records is on the web at: http://www.curb.com
---
REVIEW: Sam Phillips, _Omnipop (It's Only a Flesh Wound
Lambchop)_ (Virgin)
- Daniel Aloi
Sam Phillips has to her credit two of the most accessible
and clever pop albums of the '90s, _The Indescribable Wow_ and
_Martinis and Bikinis_. Her fourth album for Virgin is just as
smart and accomplished, but not as ready to win you over. Instead,
it's a bold artistic move by someone who's marginally commercial to
start.
With her cautious heart, furrowed brow and opinions and hopes
all firmly in place, Phillips goes way beyond the cohesive Beatles
pastiche of _Martinis and Bikinis_ (which earned her a 1994 Grammy
nomination) and gamely ventures into more esoteric pop pursuits.
Produced by Phillips' husband, T Bone (J. Henry) Burnett,
_Omnipop_ is exactly what the title suggests: pop music from every
angle. And while these diverse, complex tunes may seem little
philosophic puzzles at first listen, all are aimed squarely at the
heart, and at common sense.
Unlike his recent distracting attempt at boundary-stretching
for Jimmie Dale Gilmore, Burnett's multifarious efforts really work
here - he adds oddball instruments, string arrangements, evocative
circus noir backgrounds and volume, volume, volume on the percussion.
Phillips first made records as a contemporary Christian
artist; and Burnett produced _The Turning,_ her final album as Leslie
Phillips. She doesn't even comment now on that phase of her career,
but conscientious humanism and guarded optimism continue to define
her now-secular lyrics. Supporting the artist's view that the world
is a rough, unstable place (whether in relationships or the global
economy), the arrangements on _Omnipop_ provide no safety net for
Phillips at her most vulnerable, and lend muscle to her pointedly
critical, sometimes jaded (but not cynical) lyrics. Her heart seeks
answers, fulfillment and sometimes danger, and her head is worked up
over our disposable, artificial, money-driven culture.
On "Plastic is Forever," surreal squeals and squonks suggest
a Terry Gilliam factory assembly line, befitting the subject. With
"Animals on Wheels", Phillips tries to make sense of fame (and the
concomitant traps of greed and ambition) - "but everytime I go after
it/my ideals run off with my heart."
The zippy "Zero Zero Zero!" (arranged by trumpeter Darrell
Leonard) percolates with bachelor-pop touches - chamberlin, marimbas,
bongos, Greg Liesz' steel guitar, and more -- flying merrily over a
marching band arrangement, and a tight ska horn section. The message
is serious, as always: instead of wanting "more," be happy with what
you have, and who you are - "the zero in my hand is nothing to lose"
and "everything that I'm not is all I've got," she sings. Nothing is
also a valued, pure Zen ideal, she seems to suggest - whatever she's
trying to say, the track is ab fab.
"Faster Pussycat To The Library!" isn't as funny as it sounds;
it's an up-front invitation to the dance, with "the library" a
metaphor for discovery - possibly the black-and-blue kinks of the
Russ Meyer reference in the title ("I'll show you every room/don't
say a word/open every book for you/things you never heard.")
Phillips plumbs the depths of her emotional longing in "Help
Yourself" and "Your Hands," and wonders what she's in for in "Where
Are You Taking Me." The closing "Slapstick Heart," the most
straightforward Burnett production here, was cowritten with R.E.M.
Yes, learning to love _Omnipop_ takes some effort, but the
number of repeat listens required will be time well spent, and
ultimately rewarded.
---
REVIEW: Esquivel, _Merry Christmas From The Space Age
Bachelor Pad_ (Bar/None)
- Al Muzer
Holiday schmaltz of the highest caliber - the lightly-toasted
mind of Juan Garcia Esquivel adds a truly unique flavor to holiday
classics such as "Jingle Bells" (zoop zoop zoobie wah - pow!); "The
Christmas Song" (doo wee doo wah - wow!); "White Christmas" (doot
doot doot - pow! pow! Pow!); "Frosty The Snowman" (zoo zoo zoo woops -
Pow!); "Blue Christmas" (zoom-a-zoom zoom, pow pow - Pow!); and "Santa
Claus Is Coming To Town" (doot doot doodle-a-doot-pow!).
Perfectly suited for refined, upscale gatherings as well as
crazed, tinsel-strewn holiday blowouts, this (for the most part)
1959-1962 compilation of Esquivel's unusual interpretations also
features two new tracks recorded with Combustible Edison.
---
NEWS: > There will be an Electric Eels set, featuring John Morton, Paul
Marotta and Brian McMahon, to close the Tora Tora Torapalooz fest
in Atlanta on Dec 6-8 at Dottie's. Also appearing will be Loren
Mazzacone Connors, The Flying Lutenbachers, Silver Apples and others.
> Extra Fancy is in a Los Angeles studio recording four new
songs with Steve Kravac (who has worked with Offspring); these songs
may see the light of day in early 1997 as part of an EP, which will
either be released by the band themselves or as part of an independent
deal. In the meantime, fans can search out the Album Network's
_Virtually Alternative_ promo #75 for an Extra Fancy Christmas song.
> The British group Northside will break up following their final
concert in Manchester, England on December 12, 1996.
> The Pulp song "Disco 2000", originally released on the
album _Different Class_, has been remixed by the band and recently issued
to radio stations. The new version contains a much heavier guitar
section, which in parts replaces the keyboards; the remix appears to
be done directly from the album version (as both songs clock in at 4
minutes, 33 seconds), but with a stronger feel to try and appeal
to the American market. This song is not currently slated
to be commercially released; however, it might finally be the trick
that opens up the U.S. to this British band which has yet to
find stateside success.
> Seven Mary Three has just completed recording their new album
_Rock Crown_ at Daniel Lanois' Kingsway Studios in New Orleans; it
is expected to be released in late January, 1997.
---
TOUR DATES
Archers of Loaf
Nov. 22 Atlanta, GA Cottom Club
Nov. 23 Knoxville, TN Flamingo's
Nov. 24 Cincinnati, OH Sudsy's
Nov. 25 Cleveland, OH Euclid
Nov. 29 Washington, DC 9:30 Club
Nov. 30 Charlotte, NC Tremont
Dec. 1 Carrboro, NC Cat's Cradle
Backsliders
Nov. 22 Knoxville, TN Library w/ Webb Wilder
Nov. 23 Greenville, NC The Attic
Nov. 29 Augusta, GA Red Line
Nov. 30 Atlanta, GA Smith's Old Bar
Better Than Ezra / Fulflej
Nov. 26 New York, NY Irving Plaza
Black Crowes
Nov. 22 Richmond, VA Landmark Theatre
Nov. 24 Raleigh, NC Memorial Auditorium
Nov. 26 Atlanta, GA Civic Center
Nov. 27 Pensacola, FL Bayfront Auditorium
Nov. 29 Miami, FL Sunrise Musical Theatre
Nov. 30 Jacksonville, FL Florida Theatre
Dec. 1 St. Petersburg, FL Mahaffey Theatre
Johnny Cash
Nov. 22 Philadelphia, PA Electric Factory
Nov. 23 Niagara Falls, NY Convention Center
Nov. 26 Toronto, ON Massey Hall
Nov. 29 Wichita Falls, TX Auditorium
Nov. 30 Bartlesville, OK Civic Center
Chimera
Nov. 29 Richmond, VA Twisters
Phil Cody
Nov. 22 Dallas, TX Trees
Nov. 24 Denver, CO Bluebird
Nov. 26 Salt Lake City, UT Zephyr
Nov. 29 Vancouver, BC Town Pump
Nov. 30 Seattle, WA Crocodile Cafe
Dec. 1 Portland, OR Berbatis Pan
Connells
Nov. 22 Salt Lake City, UT Zephyr
Nov. 23 Boulder, CO Fox Theater
Nov. 29 Raleigh, NC The Ritz
Nov. 30 Winston-Salem, NC Ziggy's
Cravin' Melon
Nov. 22 Athens, GA 40 Watt
Deftones
Nov. 22 Asbury Park, NJ Birch Hill Nightclub
Nov. 23 Rochester, NY Harro East
Nov. 24 Philadelphia, PA Theatre of Living Arts
Nov. 25 New York, NY Irving Plaza
Nov. 26 Boston, MA Middle East
Nov. 27 Providence, RI Club Babyhead
Nov. 29 Albany, NY Saratoga Winners
Nov. 30 Syracuse, NY Lost Horizon
Dirty Dozen
Nov. 27 New Orleans, LA House of Blues
DJ Kool
Nov. 22 Stone Mountain, GA Flava's Night Club
Nov. 23 Myrtle Beach, SC Myrtle Beach Convention Center
Nov. 25 Raleigh, NC Civic Center
Nov. 26 Johnson City, TN Encore Night Club
Nov. 30 Montreal, QC Montreal Dome
Dec. 1 Ontario, CA NAC Night Club
Everything But The Girl / Frente
Nov. 22 Austin, TX Austin Music Hall
Nov. 23 Dallas, TX Deep Ellum Live
Nov. 25 St. Louis, MO Mississippi Nights
Nov. 26 Cincinnati, OH Bogart's
Nov. 27 Chicago, IL Riviera Theater
Nov. 29 New York, NY The Roxy
Extra Fancy
Nov. 22 Long Beach, CA Foothill Club
Fireside
Nov. 22 Detroit, MI Shelter
Nov. 23 Milwaukee, WI Unicorn
Nov. 24 Minneapolis, MN 7th Street Entry
Nov. 26 Omaha, NE Ranch Bowl
Nov. 27 Des Moines, IA Safari
Nov. 28 Kansas City, MO Hurricane
Nov. 29 Wichita, KS Rock Island
Nov. 30 Denver, CO Bluebird Theatre
Ginger
Nov. 28 Edmonton, AB The Rev
Nov. 29 Calgary, AB Dinny's Den
Nov. 30 Saskatoon, SK Sammy's
Godplow
Nov. 25 Asbury Park, NJ The Saint
Nov. 28 Baltimore, MD Memory Lane
Nov. 29 Morgantown, WV Nyabinghi Dance Hall
Gravity Kills
Nov. 22 Seattle, WA RKCNDY
Nov. 23 Portland, OR La Luna
Nov. 26 Los Angeles, CA Whiskey
Joe Henry
Nov. 22 Ashland, OR Southern Oregon State College
Boo Hewerdine / Darden Smith
Nov. 22-23 Austin, TX Cactus Cafe
Nov. 24 Houston, TX Fabulous Satellite Lounge
Nov. 26 Nashville, TN Bluebird Cafe
Nov. 27 Atlanta, GA Smith's Old Bar
Jars of Clay
Nov. 22 Omaha, NE Omaha Civic Auditorium
Nov. 23 St. Louis, MO Youth Convention
Nov. 23 Springfield, MO Radio Benefit Show (w/ Dishwalla, Leah Andreone)
Nov. 26 Nashville, TN Caffe Milano Benefit
Kula Shaker
Nov. 22 Los Angeles, CA The Whiskey
Liquid Soul
Nov. 22 New York, NY Wetlands
Nov. 23 Washington, DC State of the Union
London Suede
Nov. 22 Lille, Fra Le Splendid
Nov. 26 Manchester, Eng Apollo
Nov. 27 Wolverhampton, Eng. Civic Centre
Nov. 28 Liverpool, Eng. Royal Court
Nov. 30 Newcastle City Hall
Dec. 1 Glasgow Barrowlands
Tara MacLean
Nov. 25 Toronto, ON C'est What
Nov. 29 Waterloo, ON Bombshelter (U. Of Waterloo)
Mestizo Rockers
Nov. 22 San Jose, CA Celebrities
Nov. 23 Pomona, CA Ice House
Nov. 29 Chicago, IL Aragon
Nov. 30 Atlanta, GA Convention Center
Teddy Morgan
Nov. 22-23 Minneapolis, MN Bisquits & Blues
Nov. 27 Madison, WI Harmony Bar
Nov. 29 Detroit, MI Memphis Smoke
Nov. 30 Cleveland, OH Wilbert's
The Mother Hips
Nov. 22 Eureka, CA Hefe's Nightclub
Nov. 23 Chico, CA Oasis Bar & Grill
Nov. 24 AUburn, CA Smoke Shop
Nov. 30 Springdale, UT Bit N Spur
Ocean Colour Scene
Nov. 22 New York, NY Mercury Lounge
Nov. 23 Cambridge, MA TT Bears
Nov. 27 Detroit, MI Shelter
Nov. 29 Chicago, IL Metro (w/Republica)
Nov. 30 St. Louis, MO The Side Door
Pen Pal
Nov. 22 Portland, ME Geno's
Nov. 27 New York, NY Coney Island High
Poorhouse Rockers
Nov. 22 Fredericksburg, VA Irish Brigade
Nov. 23 Baltimore, MD Cafe Tattoo
Nov. 24 New Hope, PA John & Peter's
Nov. 28 Fells Point, MD Parker's
Professor & Maryann
Nov. 22 New York, NY Postcrypt Coffeehouse
Nov. 26 New York, NY Fez
Republica
Nov. 23 San Francisco, CA Slim's
Nov. 24 Palo Alto, CA Edge
Nov. 28 Minneapolis, MN 7th Street
Nov. 29 Chicago, IL Metro (w/Ocean Colour Scene)
Nov. 30 Cleveland Flats, OH Peabody's D.U.
Ruth Ruth
Nov. 22 Boston, MA Axis
Nov. 23 New Brunswick, NJ Rutgers - Cook College
Nov. 24 Providence, RI Lupo's
Nov. 26 Danbury, CT Tuxedo Junction
Nov. 29 New York, NY Tramps
Nov. 30 Old Bridge, NJ Birch Hill
Skulpey
Nov. 26 New York, NY Meow Mix
Slush
Nov. 24 Los Angeles, CA Billboard LIVE
SNFU
Nov. 22 Providence, RI Club Babyhead
Nov. 23 New Haven, CT Tune Inn
Nov. 24 New York, NY Coney Island High
Nov. 25 Philadelphia, PA Pontiac Grill
Nov. 27 Cleveland, OH Euclid Tavern
Nov. 28 Toledo, OH Frankie's Inner City
Nov. 29 Detroit, MI St. Andrew's Hall
Nov. 30 Chicago, IL Fireside Bowl
Speed McQueen
Nov. 22 Virginia Beach, VA Scully's
Nov. 23 Norfolk, VA Friar Tuchs
Nov. 24 Virginia Beach, VA Hammerhedz
Nov. 27 New York, NY Coney Island High
Sponge / Ruth Ruth / Red Five
Nov. 22 Boston, MA Axis
Nov. 23 New Brunswick, NJ Cook College
Nov. 24 Providence, RI Lupo's
Nov. 26 Danbury, CT Tuxedo Junction
Nov. 27 Poughkeepsie, NY The Chance
Nov. 29 New York, NY Tramps
Nov. 30 Old Bridge, NJ Birch Hill Nightclub
Dec. 1 Syracuse, NY Atlantis
Stabbing Westward / Ash / Drill
Nov. 22 Chicago, IL Metro
Nov. 23 Milwaukee, WI The Rav
Stillsuit
Nov. 23 Providence, RI Club Babyhead
Nov. 24 New York, NY CBGB's
Nov. 30 Deerfield, NY Knights of Columbus
Corey Stevens
Nov. 22 Minneapolis, MN Cabooze
Nov. 23 Grand Forks, ND Sensation Night Club
Nov. 25 Fargo, ND Cactus Jack's
Nov. 26 Sioux Falls, SD Pomp Room
Nov. 27 St. Joseph, MN Delwin Ballroom
Nov. 28 Superior, WI Pacific Club
Nov. 29 Rochester, MN North Star Bar
Nov. 30 Appleton, WI Checkered Flag
Talking to Animals
Nov. 22 Cambridge, MA Lizard Lounge
Nov. 23 Philadelphia, PA Grape Street
Nov. 29 Providence, RI River City
Test Dept./Sheep on Drugs.
Nov. 22 Grand Rapids, MI The Reptile House
Tool / Psychotica
Nov. 22 New York, NY Roselands
Nov. 23 Philadelphia, PA Electric Factory
Nov. 26 Providence, RI Strand Theatre
Nov. 27 Fitchburg, MA Wallace Civic Centre
Nov. 29 Montreal, QC Le Medley
Nov. 30-Dec. 1 Toronto, ON Warehouse
Tree
Nov. 22 Richmond, VA Tweister's
Nov. 24 Atlanta, GA The Point
Nov. 28 Pensacola, FL Sluggo's
Dec. 1 Memphis, TN 616
Wedding Present / Yatsura
Nov. 22 Chapel Hill, NC Cat's Cradle
Nov. 23 Reading, PA Albright College
Nov. 29 Cambridge, MA Middle East
Nov. 30 New York, NY Knitting Factory
Wesley Willis
Nov. 22-23 San Francisco, CA Art Rock
Yatsura
Dec. 1 Hoboken, NJ Maxwell's
---
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