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Consumable Online Issue 171
== ISSUE 171 ==== CONSUMABLE ONLINE ======== [March 19, 1999]
Editor: Bob Gajarsky
E-mail: editor@consumableonline.com
Managing Editor: Lang Whitaker
Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim
Kennedy, Tim Mohr, Al Muzer, Joe Silva
Correspondents: Christina Apeles, Niles J. Baranowski, Tracey
Bleile, Lee Graham Bridges, Jason Cahill, Patrick
Carmosino, John Davidson, Andrew Duncan,
Krisjanis Gale, Paul Hanson, Chris Hill, Eric
Hsu, Tim Hulsizer, Franklin Johnson, Steve
Kandell, Reto Koradi, Robin Lapid, Linda Scott,
Scott Slonaker, Kerwin So, Chelsea Spear, Simon
Speichert, Jon Steltenpohl, Simon West
Technical Staff: Chris Candreva, David Landgren, Dave Pirmann
Also Contributing: Kevin Verspoor
Address all comments to staff@consumableonline.com ; subscription
information is given at the end of this issue.
==================================================================
All articles in Consumable remain (C) copyright their author(s).
Permission for re-publication in any form must be obtained from the
editor.
==================================================================
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| Contents |
`------------'
INTERVIEW: Doug Powell - Bob Gajarsky
REVIEW: Wilco, _Summer Teeth_ - Daniel Aloi
REVIEW: Dave Davies, _Unfinished Business: Dave Davies Kronikles
1963-1998_ - Joann D. Ball
REVIEW: Crash Test Dummies, _Give Yourself a Hand_ - Tracey Bleile
REVIEW: Jeff Beck, _Who Else!_ - Linda Scott
REVIEW: Kelly Willis, _What I Deserve_ - Chris Hill
REVIEW: David Wilcox, _Underneath_ - Jon Steltenpohl
REVIEW: Gladhands, _Wow and Flutter_ - John Davidson
REVIEW: Hugh Cornwell, _Black Hair Black Eyes Black Suit_ - Reto Koradi
REVIEW: Tommy Womack, _Positively Na Na_ - Bill Holmes
REVIEW: Low, _Secret Name_ - Andrew Duncan
REVIEW: Various Artists, _Paris Is Sleeping - Respect Is Burning_
- Kevin Verspoor
REVIEW: Various Artists, _The Electronic Eighties Volume 1 & 2_
- Joann D. Ball
REVIEW: Helium Angel, _Early Clue To The New Direction_ - Bill Holmes
NEWS: Grand Royal
TOUR DATES: All / Less Than Jake, Asian Dub Foundation, Babe The Blue
Ox / Trinket / Interpreters, Better Than Ezra / Jude, Braid /
Seaweed, Candlebox, Cibo Matto, Hugh Cornwell, Cubanismo Spring Tour,
Hang Dogs, Eve 6 / Lit, Finger Eleven, Flick, Godsmack, Sammy
Hagar, Hepcats, Jets To Brazil, Jude, Jungle Brothers, Kodo, Korn,
Local H, Low, Marvelous 3, Mighty Blue Kings, Alanis Morissette,
Olivia Tremor Control, Placebo / Stabbing Westward, Promise Ring,
Push Kings, Sepultura / One Minute Silence / Biohazard, Sick Of
It All, Silverchair / Grinspoon, Elliott Smith, Sparklehorse /
Varnaline, Sally Taylor, Ten Foot Pole, 3 Colours Red, Whistler, Wilco
Back Issues of Consumable
---
INTERVIEW: Doug Powell
- Bob Gajarsky
For many recording artists, getting signed to a major
label is the culmination of a dream. But when Doug Powell became
a casualty of major label politics unrelated to his music, the
music for his second album lay waiting in the dust - and the dream
for his music to be heard started to fade.
His first record, _Ballad of the Tin Men_, generated a
critical, if not quite a commercial, buzz. Songs such as "Return
To Sender" and "Unmutual" became instant favorites of anyone who
heard them with their hummable choruses and talented musicianship.
But when Powell went looking around with his demos - in search of
another record deal - the response was surprising.
"My manager shopped me to just about everyone and got the
same response: 'I love this stuff. Can I keep the tape? I wish I
could sign it, but no one would buy it.'," Powell remembers. "It
was worse to me than being disliked."
But, finally, a man with the conviction to release quality
music came into the picture. Enter Bruce Brodeen, the founder of
Colorado-based power-pop label Not Lame. When Not Lame issued a
Nashville Pop compilation in 1997, the seeds were sown for a Powell /
Not Lame collaboration.
That partnership now takes the form of _Curiouser_, a thirteen
song collection of Powell's demos which sound (without a major label's
budget) far smarter and more complete than almost all other albums.
At times, this release comes across as a distant cousin
to Jeff Lynne's Electric Light Orchestra, with their parental units
the Beatles. Sure, "Graceland" owes much of its structure to _Sgt.
Pepper_, but there's no shame when your songs can be thought of in
favorable comparisons to the Liverpudlian pioneers. "Don't Say"
will instantly draw comparisons to Nilsson's "Without You", which,
as astute fans pop fans might draw upon, was written by members of
Badfinger - who recorded the Paul McCartney song "Come And Get It".
The six degrees of the Beatles comes full circle here. And the
key track, "Torn", is that rare song that stays locked in your
mind, long after the final note has stopped playing.
Powell's _Curiouser_ is being issued on Not Lame Limited,
which according to Brodeen, "means to be an unencumbering thing
for both the label and artist - no paper contracts, to allow them
(the artist) the flexibility of not being shackled to a small
label while looking for a bigger deal." With a printing of only
800 copies, _Curiouser_ is truly limited - unless demand
encourages Powell and Brodeen to press more copies. That depends
on initial support from fans. But the key feature for being on
Not Lame Limited? "It has to be *fun* for both the label and the
artist," emphasizes Brodeen.
For now, Powell's future plans include continuing to write
and perform, with a song ("Everyday Is Christmas") slated to appear
on a Ringo Starr Christmas album. In addition, he is performing in
a band called Swag - with Powell on lead guitar and vocals, Tom
Petersson (Cheap Trick) on bass, Ken Coomer (Wilco) on drums, the
Mavericks' Robert Reynolds (rhythm guitar/vocals) and Jerry
McFadden (keyboards/vocals) and Scotty Huff on guitar and horns -
which is being shopped to various labels. And fortunately, we can hear
the latest standout work from Doug Powell on _Curiouser_. With or
without the support of a major label.
For further information on Not Lame - or to purchase the Doug
Powell disc _Curiouser_ online - check out the website at
http://www.notlame.com
---
REVIEW: Wilco, _Summer Teeth_ (Reprise)
- Daniel Aloi
As if to prove just how far from the "alternative country"
label you can run, Wilco has made the perfect pop album of the late
'90s, or the late '60s, for that matter. You can play _Summer Teeth_
alongside _Pet Sounds_ and _Sgt. Pepper's Lonely Hearts Club Band_
and it will hold up.
Replete with Beatlesque melodies and backward tape loops,
Beach Boys harmonies, experimental keyboard sounds and cracked-mirror
introspection (a la those groups' geniuses John Lennon and Brian
Wilson), _Summer Teeth_ wraps its overriding darkness in pretty pop
melodies and multilayered production. It isn't a total departure, as
it takes off from the pop side and downcast, troubled characters of
1996's double album _Being There_.
Frontman Jeff Tweedy said last year that Wilco's next album
would have "zero country references," and he stayed true to his word.
With Max Johnston gone and taking his dobro, fiddle, banjo and mandolin
playing to The Gourds and Freakwater, this third Wilco album relies on
keyboards more than guitars and other strings. Multi-instrumentalist
Jay Bennett is responsible for much of the sound, with Mellotron tape
loop samples, a Moog synthesizer and orchestral swells tying the album
together as surely as Tweedy's maladjusted, up-from-the-unconscious
lyrical themes. Bells chime, birds twitter and an alarm clock rings --
loudly. To borrow a phrase from another band, it's a head trip in
every key. It's also catchy as a cold, and when the words set in,
ultimately just as miserable. Loneliness, alienation, drug dependence
("A Shot in the Arm"), violence, and thoughts of murder and suicide
occupy the characters' minds. The breezy, uptempo title track recounts
a loner's recurring dreams, while a running stream and chirping birds
accompany the guitar's melody. Tweedy, no stranger himself to
revealing tortured souls in his songs, gets as down as Lennon ever
did in "We're Just Friends," writing on piano in the late Beatle's
solo style -- and dashing any chance of that phrase being considered
positive.
With its moody bassline, "How to Fight Loneliness" offers
this gloomy sarcastic advice: "You smile all the time" and "You laugh
at every joke." On "She's a Jar," Tweedy sings "she begs me not to
miss her" and the line later becomes "She begs me not to hit her." On
the powerful centerpiece, "Via Chicago," his narrator's fevered mind
reveals all: "Dreamed about killing you again last night/and it felt
alright to me/Dying on the banks of Embarcadero skies/I sat and watched
you bleed," as the song builds from acoustic guitar to a full crescendo
and back.
While the opening track "Can't Stand It" is the first single
and represents the dark pop content to come,
"Nothing'severgonnastandinmyway(again)" could be the surefire hit, with
handclaps and a killer chorus. Talking of hooks, "I'm Always in Love"
pounds along like the Velvet Underground's "Waiting for the Man," in a
bash-out powered by bassist John Stirratt and drummer Ken Coomer,
supplemented with Bennett's rubbery piano and a keening synthesizer
that might remind you of Styx. "Pieholden Suite" is a ringer for the
later Elvis Costello, and "Candyfloss" recalls the Beach Boys by way
of the Attractions, with the added oddity of an operatic tenor voice
holding a note at the coda. There's a further nod to Harry Nilsson in
Tweedy's voice and slow piano-led tempo on "My Darling," which also
contains more Beach Boys "bow-bow-pow" harmonies.
While it's fun to play spot-the-reference, this is also an
ambitious work in its own right, and one true to Wilco's identity,
country content or no country content. And never mind that all but
Bennett came to the band from the ashes of Uncle Tupelo (the album
is credited: "Written, Produced and Performed by Wilco"). Tweedy's
acoustic guitar runs through most of the tracks, and his and Bennett's
electric guitar playing rings out as it always has.
What longtime fans of Uncle Tupelo (and Wilco's rootsy rock 'n'
roll debut _A.M._) should understand is that _Summer Teeth_ isn't a
betrayal, or even a total departure. It's a direction and a milestone,
and a statement by a band trying to make its mark.
The band has had a fair amount of stage and studio time for
their roots-music talents since the transitional _Being There,_ with
Tweedy's membership in the heartland pop supergroup Golden Smog and
Wilco's involvement in the Woody Guthrie song project _Mermaid Avenue_
with Billy Bragg. And the other Wilco members have a group of their
own, Courtesy Move, that backed up Australian country rocker Sherry
Rich on an album in 1997.
Wilco began playing some of these new songs live over a year
ago, along with a mix of songs from all of the Tweedy projects (from
Uncle Tupelo's "New Madrid" to "Candyfloss"). And if those shows are
any indication, the current European tour and upcoming U.S. dates
(with added keyboard player Leroy Bach) will be real eye-openers, for
old fans and new ones drawn to the new material's undeniable melodic
appeal. It should be one joyous bummer of a summer.
Tour dates and lyrics are available at the band's official
website, http://www.wilcoweb.com
---
REVIEW: Dave Davies, _Unfinished Business: Dave Davies Kronikles
1963-1998_ (Velvel/Meta Media)
- Joann D. Ball
In 1963, Dave Davies discovered how to make his guitar scream.
His innovative but dangerous experiment with amplifiers in his Muswell
Hill front room produced the raw, distorted guitar crunch that continues
to rock the world in some form or another. But that's only the genesis
in the long and loud story of Dave Davies and the Kinks.
The 2-CD compilation _Unfinished Business: Dave Davies Kronikles
1963-1998_ is actually an expanded version of _Unfinished Business (Solo
Kronikles 1980-1997)_, a collection Dave compiled for his fans and sold
at his live solo concerts. The new commercial retrospective is also the
musical counterpart to Dave's tell-all autobiography "Kink." Both CDs
and the book reflect Dave's desire to put his past in perspective and
to also enter his important musical contributions onto the rock and roll
historical record.
_Unfinished Business: Dave Davies Kronikles 1963-1998_ includes
undeniable evidence of Dave's evolution as a musician, singer and
songwriter. The 31-track retrospective is divided into the equally
revealing Kink Kronikles and Solo Kronikles. The former begins with a
demo of the Dave Davies-penned "I Believed You," recorded by his first
band the Ravens and featuring older brother Ray who had recently left
art school to join the quartet. Soon afterward, the band became the
Kinks and produced the monumental hit "You Really Got Me" which enlisted
the group in the British Invasion. While primary singer and songwriter
Ray Davies has garnered much of the praise for the Kinks' success, the
centrality of Dave's straightforward fretwork, charged vocals and lively
spirit cannot be dismissed. Rave-ups like his songs "Beautiful Delilah"
and "Long Tall Shorty" (from the debut album), and the live version of
"All Day And All of The Night (from a 1979 performance), all showcase
Dave's wild abandon, The Kinks' essential energy and power source.
By the late '60s, Dave and the Kinks were exploring American
blues and country and infusing these styles into their sound. This
"roots" approach was brilliantly captured on Dave's previously
unreleased gem from 1969 "Climb Your Wall" and on "You Don't Know My
Name" (from 1972's _Everybody's in Showbiz_). This rollicking mix of
mandolin, acoustic and slide guitars appeared prominently in Rod
Stewart's early solo material and can be heard even today on Lucinda
Williams' current Grammy-winning record.
Rounding out the Kinks Kronikles are Dave's songs from the
post-rock theater period. The single "Living On A Thin Line," from the
surprise 1984 hit _Word of Mouth_, remains his most recognized song in
America. But it is "Trust Your Heart" (from 1977's _Misfits_) that is
more characteristic of the matured and seasoned power-chord scream
featured on latter-day Kinks and solo records.
The Solo Kronikles highlight Dave's work during the last two
decades. The previously unreleased title track, recorded in 1997, is
a condensed version of Dave's experiences during his illustrious
career. It particularly speaks to Warner Brothers Records' consistent
refusals to reissue _Chosen People_ or license tracks from his third
solo album. The ever-resourceful Dave responded by recording a new
unplugged version of "Love Gets You," his favorite song on that record.
He also re-recorded a few of his UK Kinks singles (including 1967's
"Death of a Clown") especially for this release.
Dave's solo material bears the trademark of a guitarist who
has blossomed into a skilled singer, songwriter and musician. Not only
did he sing, write and produce all of the songs on his debut solo
album, _AFL1-3603_ (also affectionately called the "barcode album"), he
also played all of the instruments. Songs like the stellar "Imaginations
Real" and "The World is Changing Hands" on this musically and lyrically
powerful record reveal Dave's humanitarian nature and address a number
of social issues, ranging from inequality to world peace. In addition,
two other tracks from the debut, "Body" and "World of Our Own" from the
sophomore solo release _Glamour_, are also included. Rounding out this
disc of the retrospective are live versions of three Kinks' songs,
recorded in the 1997 at the Bottom Line in New York City.
Having now closed a significant chapter in his life, Dave
Davies continues to make music and take new directions in his songwriting.
Just prior to the release of _Unfinished Business: Dave Davies Kronikles
1963-1998_, Dave collaborated with his son Russell Davies under the
moniker Crystal Radio and produced the uplifting CD _Purusha and the
Spiritual Planet_ (Meta Media). For this immersion in spirituality and
inner peace, Dave put his guitar aside in order to explore the far
reaches of electronica. _Purusha and the Spiritual Planet_ and the
first incarnation of _Unfinished Business_ (which contains two new
tracks not included on the Velvel release) are available exclusively
through his website http://www.davedavies.com which also features
messages to fans, tour dates and related web links.
---
REVIEW: Crash Test Dummies, _Give Yourself a Hand_ (Arista)
- Tracey Bleile
Contrary to how humans react to new things, change is good.
Transitionary periods are important. One of my favorite mantras is,
"The only difference between a rut and a grave are the dimensions."
That said, there are strong, successful transitions, and there are
some that are meaningful only to the person doing the actual
transitioning. The new release from the literary, clever Dummies,
_Give Yourself a Hand_ takes one of those latter shifts that is going
to leave a lot of people scratching their heads.
This release, more than any previous effort, appears to be
more like the Brad Roberts Project than a true band collaboration. And
while the Dummies have reached into a deep, dark, groovy realm with
the music and the musicianship, the lyrical content has roamed into a
place that most of us left behind about junior high.
You don't need to be a rocket scientist to realize that the
title track is about exactly what you surmise it might be about. In an
effort to test boundaries of urban beat poetry (Roberts is currently
living in Harlem, and notes that has been a major source of inspiration)
_Give Yourself_ strings together a series of short, brutal vignettes,
that, had more of a literary cue been taken as in the past, could have
blown someone like Soul Coughing right out of the East River. And while
some of these scenarios work, like the witty call and response couplets
assembling the lead off "Keep A Lid On Things" (featuring Roberts
shifting gears from his usual bass baritone to a crazed falsetto),
and a humorously nasty take on euthanasia "Just Shoot Me, Baby." The
throw-off comes with most of the humor being on the order of a
Shakespearean-trained actor telling a fart joke; hey, there's no law
against it....but the shock value is frittered away when you're busy
playing pocket pool instead of throwing punches. There are moments that
will ring truer with Dummies lovers: "I Love Your Goo" where the object
of the protagonist's affections is described in visceral -- ahem,
literally -- detail; i.e. "I love your guts / I love your goo / Your
ugly blood / Your creepy heart") and "Aching To Sneeze," describing in
graphic detail the delicious agony of a tickly nose.
The saving grace here is the production value, much of which
was boosted from the collaboration of Brad Roberts with producer Greg
Wells, and the aural quality is as rich, dark and tasty as you could
want from serious funk, containing lounge, cinema noir and even drum
n' bass to enliven the mix. Hell, at this point the Dummies could
hook up with fellow Canadians Bootsauce (who re-wrote the entire book
on white boy funk, and nastiness, for that matter) on one scary double
bill and have it be a pairing from heaven. But there's enough missing
from _Give Yourself_ to make you view their previous release _A Worm's
Life_ with newfound appreciation and leave us pondering the Dummies'
fate.
---
REVIEW: Jeff Beck, _Who Else!_ (Epic)
- Linda Scott
Jeff Beck's _Who Else_, is the latest addition to a discography
that goes on for pages, spanning Beck's 40-odd year guitar career.
Beck garnered most attention in rock and roll after he joined The
Yardbirds as Clapton's replacement. His groundbreaking use of distortion,
feedback and sounds pushed the Yardbirds to the front of the rock band
pack. In an astounding move, the Yardbirds brought in Jimmy Page as
co-lead guitar, an uneasy situation at best.
Beck walked and soon started his own band, The Jeff Beck Group
(with Ron Wood, Rod Stewart, Mick Waller and Nicky Hopkins). Beck
controlled this band, and this period led to his becoming the world's
leading guitarist. The Group's _The Truth_ is widely regarded as the
heavy metal bible. Wood and Waller thunder out the rhythm, Stewart
sings in his trademark gravelly voice, and Beck's wailing lead guitar
lifts the band up like a tidal wave.
It is said that Jeff Beck has influenced every rock band in the
U.S. and the UK, and if you get hold of "I Ain't Superstitious" on
_Truth_, you'll see why. An 18 month layoff after a near-fatal car
accident led Beck to less brutal, more introspective music. Moving into
instrumental jazz and fusion rock, Beck explored new territory. A blend
of rock and his new musical interests, Beck came out with the
spectacular _Blow By Blow_, followed by _Wired_ (with Jon Hammer).
Beck continued with Hammer, exploring different musical styles, and
Hammer is with Beck on the most recent album, too.
_What Else!_ is a record showcasing where Beck is now in his
music, and he certainly has broken out of the rock guitarist mold. The
styles hear are all over the place and they show Beck's versatility and
knowledge. Show Beck a genre, and he will write and play something
magnificent! _Who Else!_ leads off with a techno creation called "What
Mama Said," the first single off the album. A metallic, almost cold
sound on this piece, but its position on the album shows Beck wants to
shake you up a little right away. In contrast comes a bluesy, down
home "Brush With The Blues". This one and "Space For The Papa" were
recorded live in Germany. "Psycho Sam" comes back with that metallic,
techno sound again. The coldness shows Beck's absolute genius in
technical issues. "Space For The Papa" might be the best on the album
except for an irritating voice over. "THX 138" is a terrific song with
a hot rod, ripping vibe (title is Beck's license plate which was
copied from a car in _American Graffiti_). "Even Odds" is for fans
that want to hear Jeff Beck rock! And the final two songs on the album
are just lovely little jewels, "Declan" and "Another Place". "Declan"
has that wonderful Celtic sound and "Another Place" is acoustic. Beck
made these two very short, and they deserved a fuller treatment.
If you're a solid Beck fan or just a casual listener, pick up
_What Else!_ Jeff Beck is a living guitar legend, and you need to have
his most recent album, plus _Blow By Blow_, _Wired_, _Jeff Beck's
Guitar Shop_, and The Jeff Beck Group's _Truth_ along with some
Beck-era Yardbirds albums. This comprises a good beginning set of
Beck albums.
---
REVIEW: Kelly Willis, _What I Deserve_ (Rykodisc)
- Chris Hill
It's been over five years since Kelly Willis's third album,
_Kelly Willis_, was released. Between labels most of that time, Willis
cropped up often enough on compilations and other people's records to
keep her fans appeased. Willis now shows that a long count between
releases doesn't mean you're out of the bout. Like fellow country
artists Mary-Chapin Carpenter and Lucinda Williams, Willis seems to
have benefited from the downtime -- her album glows with attention and
care, much like the luminescent photos of the artist herself adorning
the CD.
A benefit of being Mr. Music Reviewer: the accompanying press
release wherein Willis describes her feelings about each song. It's a
fascinating glimpse into Willis' creative process. She co-wrote five
of the album's thirteen tracks, and is solely responsible for one of
the album's peaks -- the utterly charming ode to her heritage, "Talk
Like That." The song finds Willis at peace with a childhood spent
moving from place to place, finding firm ground in the fixed lineage
of her family. "Talk Like That" gestated from a press conference the
singer did with Ricky Skaggs, and the emotional associations which
arose as she listened to Skaggs' drawling accent: "Lord how it takes
me back/when you talk some."
Pulling from non-obvious sources, Willis covers the
Replacements' "They're Blind," Australian Paul Kelly's "Cradle of
Love" (never recorded by the musician, only by Down Under country and
bluegrass singer Anne Kirkpatrick) and Nick Drake's "Time Has Told
Me," of which she says, "This may be the most beautiful love song I've
ever heard." Of the Paul Kelly song, she says, "I started working this
song with the band before it even occurred to me that there might be
something sexy going on here." Despite the naiveté, she perfectly
captures the song's mood and Kelly's knack for writing sexual hymns,
songs both religiously comforting and sexually arousing: "Down in the
valley / You can lose your name / All your sorrow and your pain.../ So
baby come on over / And lean your head on me / Come into my cradle of
love."
Love and relationships, grist for many an artist, are given
their proper due here. "Take Me Down" boards a downbound love train
with no marked exits. "Happy With That" wishes the roles reversed in
a bad affair. "Got a Feelin' For Ya," wittily written by Dan Penn and
Chuck Prophet ("I'm in the mood for somethin' sticky, need my ice
cream treat / The road may get rocky, and the ride may get rough..."),
provides a touchstone during love's travails.
"Not Forgotten You" and "Wrapped," both written by Bruce
Robison, Austin musician and Willis' husband, are placed back to back,
neatly describing flipsides of the same coin, loss and love, in short
order. Willis says, "I'm drawn into his songs emotionally and not just
because I hope they're about me."
The supporting cast is as stellar as the material. Amy Noelle
Farris, member of Willis' touring band, contributes in a number of
ways: fiddle, mandolin and sweet harmony vocals. Her backing vocals
bolster Willis' own lower tones, the sum greater than the parts
(particularly on the wonderful Damon Bramblett-penned elegy, "Heaven
Bound").
Chuck Prophet (of Green on Red), Jon Dee Graham (True
Believers), Bruce Robison, Charlie Robison, Lloyd Maines (Wilco,
Richard Buckner) and pleasant surprise Michael Been (of '80s college
fave, The Call), among many others, add to the mix, all honed by years
of experience playing in small clubs around the country. Dave McNair
does a fine job of guiding Willis and her ensemble, keeping extraneous
touches to a minimum and focusing on the strengths of the players (as
many as nine musicians are listed at one time in the song credits).
_What I Deserve_ is a well-orchestrated balancing act, never
overwhelming or slick, and worth the wait.
---
REVIEW: David Wilcox, _Underneath_ (Vanguard)
- Jon Steltenpohl
In the world of modern folk music, there are two hemispheres.
One seems destined to make simple music in a simple way. It's a world
where live is the only way to play, and studios never seem to capture
the magic. The other hemisphere is aimed at getting on the radio and
VH-1. Rarely do the two hemispheres merge to form music which moves
easily between stage and studio.
David Wilcox is one of those artists who's never had a
problem with either world. Like James Taylor and Joni Mitchell before
him, Wilcox's music is flowing, soothing and lyrical. In concert,
you're likely to get goose bumps and feel a connection that transcends
the normal barrier between the audience and the performer, and on
album, you get a recording that you don't get tired of. _Underneath_
is no exception.
Wilcox emerged from the generation of late 80's folk artists
and singer/songwriters who rode to the major labels on Suzanne Vega's
coattails. Only Shawn Colvin kept her major label ties long enough to
win a Grammy. The likes of Michelle Shocked, Sara Hickman and Wilcox
were dropped when the sales never materialized, and the artists went
back to a life of apparent obscurity. But outside the corporate world,
small labels like Rounder, Flying Fish and Vanguard supported this
sort of music before the majors were interested, and continue to
support it to this day. The singer/songwriter world may not make
Billboard headlines, but it is an industry dominated solely by
performers with remarkable skill and intensity.
It is for this reason that an album of such incredible
simplicity and emotional depth could be considered commonplace. Fans
of the folk genre have come to expect such things. _Underneath_ is
Wilcox's 7th album, and all of the adjectives have already been used
to describe his previous work. The music is soft and beautiful.
Wilcox plays guitar with rolling, fingerpicked chords. The arpeggios
roll and swirl in a calming mix with the accompaniment. Steve
Buckingham's production is masterful, and guests like Jennifer
Kimball and Alison Krauss add soft background vocals perfectly
tailored to Wilcox's soft, expressive vocals.
Wilcox tackles both sides of love, childhood, society's ills
and the music industry on _Underneath_. Of all of the topics, those
dealing with love have the most impact. Granted, songs such as "Leaving
You" and "All My Life" don't cover any new ground when it comes to
subject matter, but Wilcox and his co-writers capture fleeting moments
in unexpected ways.
Consider the opening of "Leaving You": "I've got nothing to say.
You've been leaving all day," sings Wilcox. "Now it's time that you go,
and let me cry. You've got somewhere to be; you're still waiting on me,
but there's no reason to say good-bye." In six phrases, he captures not
only the reality of the end, but the subtle lines that transcribe the
relationship. You can see the regret of the moment, the awkward pause
for the final word that refuses to materialize, and the futility of
the situation.
"All My Life" encompasses the beginning of a relationship just
as deeply. Asks Wilcox, "Do you believe in signs that whisper inside
your mind 'till you have to follow through, leading you home again to
someplace you've never been? Well I feel that way for you. For how can
it be true, the first time I see you, I look into your eyes, and
suddenly I knew you all my life." If ever a song was begging to be
included in a soundtrack, this is it. The songs on _Underneath_ cry
for two lovers to share a slow dance in the twilight shade of the
early evening.
Wilcox's only misstep on the entire album is an indulgent
swipe at the music industry on a track called "Sex and Music." An
interviewer's nerdy voice at the start asks, "Does it bother you that
this kind of music doesn't usually sell millions of units or are you
hoping there will be a new trend...?" It's a somewhat silly song, and
Wilcox talks and mumbles over a funky beat that doesn't really go
anywhere. The real problem is that "Sex and Music" breaks the calming
mood set by the rest of the album.
Still, a perfect David Wilcox album is easy to obtain: just
program the last track out of your playlist, and enjoy the first 12
songs. It's certainly not a reason to avoid such a good album. There
are so few artists that make great music as consistently as Wilcox
does that it's tough to pass up an album like _Underneath_. Fans of
Wilcox should rush to embrace this one, but for the uninitiated, if
you've always liked James Taylor and are looking for something mellow
to add to your collection, David Wilcox's _Underneath_ is an easy
choice.
---
REVIEW: Gladhands, _Wow and Flutter_ (Big Deal)
- John Davidson
The Gladhands were on a roll. 1995's _From Here to Obscurity_
was a plucky pop record, and 1997's _La Di Da_ was a watershed of
easy-going ear candy that even snared some critical recognition and
a few year-end Top Ten honors. Using critical buzz as a stepping
stone, the Gladhands managed to keep their head above water in the
raging river of albums released that year. It's a modest feat to
somehow find a rock to stand on (even if it's a small, slippery one),
but unfortunately, this year's _Wow and Flutter_ probably won't make
crossing the morass to commercial success any easier. Following a gem
like _La Di Da_ raises the stakes, yet instead of building on the
ideas that made that record so charming -- spunky, cheery nods to
fine '70s pop -- the Gladhands have matured their sound, and at times
veer towards easy listening.
At first you might be fooled, what with the heavy Beatle-inspired
opening lick ("Plastic Soul"), but the second track, "Get Real," is
foreshadowing to the low points that lay ahead. Despite accomplished
playing and sugary hooks all over the place, the homage at times seems
to have shifted from the Raspberries to Chicago. Comparisons to the
Peter Cetera-sounding vocals aside, all "Get Real" needs is a horn section
to make you think you're listening to a tribute album. In fact, hearing a
horn section on the very next song "Pipedream" may have you checking the
liner notes for songwriting credits. Other slow moments add to the
filler, such as indulgent ballads like "...As I Go Along," or the icky
Carpenters moment of "Lisa's Lullabye." Closer "Sun Prairie Hymn" seems
filled with every Bacharachian excess they could imagine.
However, their attraction to this saccharine vibe isn't without
some strong counter-balance. Beyond "Plastic Soul," "Destiny's Darling"
careens and shakes like it belongs on _La Di Da_. The lyricless, swimming
stereo of "70s Squareback" is fine, and "B.W.B" certainly has plenty of
punch. "Too Good For You" and "Breath of Angels" both chug along with
aplomb as the album winds down. It's as if they approach these songs
with their guitars first, embracing the enthusiasm of their past records
with upbeat tempos and a dash of punk energy. This is the spirit that
has kept the Gladhands from getting lost in the shuffle.
The Gladhands are surely talented, and their ability to deliver
memorable riffs have should make any successful jingle writer nervous.
Yet somewhere in between _La Di Da_ and _Wow and Flutter_ their identity
seems to have shifted into something a little more comfortable, a little
less adventuresome and a little more willing to become their influences
rather than exploit them into something more fresh. The result is a
decent album that will satisfy their fans but not delight them, and may
even keep the Gladhands where they were in 1998.
---
REVIEW: Hugh Cornwell, _Black Hair Black Eyes Black Suit_ (Velvel)
- Reto Koradi
They say you can't teach an old dog new tricks. While this
latest solo effort of ex-Stranglers leader Hugh Cornwell does not do
much to contradict this principle, at least he shows that dogs don't
forget their old ones. _Black Hair Black Eyes Black Suit_ was previously
released overseas under the title _Guilty_, and now enters the US market
with a new name, new cover art and two new tracks.
Nobody would expect anything short of a fine album from an
artist who lead one of the most influential (even though atypical)
bands of the punk era, which transformed to record some of the finest
pop songs (like "Golden Brown" and "Always the Sun") of the previous
decade. And _Black Hair Black Eyes Black Suit_ meets expectations,
having its best moments on melodic tracks like "One Burning Desire"
and "Endless Day Endless Night," which remind of trademark Stranglers
songs from more than 10 years back.
But while the album is solid from start to finish, much of it
sounds overly simple and somewhat uninspired. Some of the songs also
sound strangely familiar. "Nerves Of Steel" borrows patterns from Bob
Dylan's "Like a Rolling Stone," throwing in the trademark guitar riff
from the Stones' "Satisfaction." And "Hot Head" sounds remarkably
similar to Robert Palmer's "Johnny & Mary." Cornwell occasionally tries
to modernize his sound (a few trip-hop elements on "Torture Garden"),
but he seems to get stuck half way.
Without a doubt, _Black Hair Black Eyes Black Suit_ is a good
album. But it fails to achieve the extraordinary that you hope for from
an artist with the history of Hugh Cornwell.
---
REVIEW: Tommy Womack, _Positively Na Na_ (Checkered Past)
- Bill Holmes
File this under "How the hell did I miss this one last year?"
because this potpourri of countrified, witty rock and roll would have
camped its butt somewhere in my "Best Of The Year" tome. Womack simply
made the record everyone wishes Paul Westerberg would have made upon
leaving the Replacements: irreverent, wry and bombastic, yet somehow
lyrically poignant and subtle when it wants to be.
Womack is the author of _The Cheese Chronicles_, tales of life
on the road will his ill-fated band Government Cheese, and his sharp
eye for detail and characters is what makes _Na Na_ so special. "Skinny
And Small" is a Stonesy romp about a high school loser coming back to
wreak havoc on his tormentors, much like Carrie's evil twin. The bluesy
barroom stomp of "Sweet Hitchhiker" and slide rocking "She Ain't
Speakin' To Me" would succeed with music alone, but coupled with
Womack's tales of roadside psychotics, cross dressers and born losers,
they're ten times as good.
The loping title track is probably the most Westerbergian (he
even bastardizes a Mats lyrical couplet with "graduate unskilled/with
a prom dress unfulfilled"). Along with the Dylanesque closer "I'll Give
You Needles," this song shows just how powerful he can be with little
more than words and an acoustic guitar. "A Little Bit Of Sex," one of
his older songs, is thankfully included here. And how can you not like
a guy who writes an ode to Cheetah Chrome, "the man with the orange
Dead Boys dome?"
The supporting musicians are first rate, with Brad Jones (who
also produced), Ross Rice, Al Perkins (yes, THAT Al Perkins), and
guitarists George Bradfute and Mike Grimes among them. This Venn
diagram of talent has its roots and tentacles into everything from
Kevin Salem, Jason And The Scorchers and Bare Jr., to the cream of the
new Nashville pop movement. Although the music is all over the map,
there's a natural flow throughout _Positively Na Na_ that makes it
fresh and vital.
After eleven strong songs the record is over and you are left
with that bittersweet feeling of wishing it would go on forever. Since
it doesn't, I've found that playing it over and over again is just
about as satisfying. Tommy Womack is a major talent and comes highly
recommended. For more information visit the label website
http://www.checkeredpast.com .
---
REVIEW: Low, _Secret Name_ (Kranky)
- Andrew Duncan
In 1994, Low began their career with the debut release,
_I Could Live In Hope._ Influenced by '80s new wave, guitarist
Alan Sparhawk, drummer and wife Mimi Parker and bass player Zak
Sally - who came into the picture a year later - were convinced
that less is better. Equipped with a guitar, a bass, and a drum
kit only consisting of a bass drum, snare and cymbal, they patiently
created sparsely rich textured soundscapes.
By 1995, their pop-minimalist sound surfaced with _Long
Division._ The collection of soberly, cold songs caught the
fascination of many musicians, as well as critics alike. People
were so impressed that reviewers would characterize any slow,
brooding band to _Long Division._ Their following attempt, _Curtain
Hits the Cast,_ did not gain as much recognition, but now the
Minnesota trio may set some new standards with _Secret Name._
A first for the Chicago label Kranky, _Secret Name_ is a
marvelous diary carefully documenting the sights and sounds of the
Midwest. The band packed their bags and drove to Windy City to record
with indie-guru Steve Albini (Big Black, Rapeman).
With _Secret Name,_ the band mildly ventures into new
territory with the addition of a string section, timpani and pianos
adding more layering to the music. Dont worry though, the music is
still slow as molasses with fainting harmonies and cloudy melodies.
The album begins with Parker kicking out a beat that would
make a Native American burial ground cry while Sparhawk nervously
sings, 'I remember graduation.' Songs like "Starfire" provides more
warmth, but the breeze is still there blowing in your hair. And it's
a matter of time, before the temperature drops with the sad mood of
"Sour." The album fluctuates, but the climactic moment is with
"2-Step." Harking back to the _Long Division_ days, the music is
thick as each note is carefully plucked. Both Sparhawk and Parker
trade lyrics coming together to whispfully sing, '2-step around the
room, kneel down, unwound.' On the surface, this may be the most
depressing band in the music business, but look more closely and
Sparhawk and Parker crafts their lyrics like a photographer tells
a story documenting everyday life in the heart of the American
dream. What Garrison Keiler does to folk music, Low does to minimalism.
---
REVIEW: Various Artists, _Paris Is Sleeping - Respect
Is Burning_ (Astralwerks)
- Kevin Verspoor
_Paris is Sleeping - Respect is Burning_ is the second
in the highly touted series of house music compilations that has
the picks of the favorite Parisian DJs. The DJs - spinning
for the party Respect held at Queen in Paris - mix their music
to a crowd of all nationalities, ethnicities, and sexual
preferences with one goal in mind: dancing for a good time.
This disk has some of the more popular tracks that we
saw from Europe this year including Stardust's (one half of
Daft Punk) "Music Sounds Better With You" and Deejay
Punk-Roc's European breakthrough hit "My Beatbox", mixed by Les
Rythmes Digitales. The feeling varies from track to track but the
basic feeling of the CD is lounge-mixed garage type nuances.
While no American-style hard house can be found here, a soulful
and smooth feel dominates the vibe. The disc also has some trancy
tracks, such as "Where Does Your Mind Go" by Chezere, which is
reminiscent of Dee-Lite and "Revolution" by Mysterious People.
Many of the songs are peppered with funky late 70s sounds and
early 80s beats styled with 90s technology, such as a dub version
of the Freez club classic "I.O.U.". All in all, _Paris Is
Sleeping_ has some great party music whether you want to dance
or just sit back and lounge.
---
REVIEW: Various Artists, _The Electronic Eighties Volume 1 & 2_
(Chronicles/PolyGram Records)
- Joann D. Ball
Still trying to locate some of those oldies but goodies from the
1980s? Then you might want to check out _The Electronic Eighties Volume
1 &2_ from the good folks at Chronicles/PolyGram Records.
A celebration of the electronic new wave that was a high school
soundtrack for many twenty and thirty-somethings, both CDS feature songs
you know by heart, some you may have forgotten and a couple you may have
missed. The highlights of _The Electronic Eighties Volume 1_ include
Bronski Beat's "Smalltown Boy," Yello's "I Love You," and 12" versions
of Peter Godwin's "Baby's in the Mountains" and Visage's "Fade to
Grey." Of particular importance is Kraftwerk's influential "Trans
Europa Express," which has never popped up on the most readily
available '80s compilations. _The Electronic Eighties Volume 2_ is a bit
less adventurous, but does includes Ultravox's captivating "Dancing With
Tears in My Eyes" and Level 42's "Starchild" along with Gary Numan's
smash hit "Cars."
Available at Sound Savers prices, _The Electronic Eighties
Volume 1 &2_ is perfect for parties, reunions or pre-millenium
celebrations. The releases also make excellent gifts for those aging
new wavers and youngsters who wanna know what it was all about.
Vol. 1 TRACK LISTING [artist in brackets]: Sex (I'm A...) [Berlin],
Smalltown Boy [Bronski Beat], She Blinded Me With Science [Thomas
Dolby], Things Can Only Get Better [Howard Jones], Trans Europa Express
[Kraftwerk], Lucky Number [Lene Lovich], Tainted Love/Where Did Our Love
Go [Soft Cell], Fade to Grey [Visage], Baby's In The Mountains [Peter
Godwin], I Love You [Yello]
Vol. 2 TRACK LISTING [artist in brackets]: The Look of Love [ABC], Sweet
Dreams (Are Made of This) [Eurythmics], One Thing Leads to Another [The
Fixx], Starchild [Level 42], Safety Dance [Men Without Hats], Cars [Gary
Numan], Shout [Tears For Fears], Da Da Da (I Don't Love You You Don't Love
Me) [Trio], Dancing With Tears in My Eyes [Ultravox], Everybody Have Fun
Tonight [Wang Chung]
---
REVIEW: Helium Angel, _Early Clue To The New Direction_
(Pilot Error)
- Bill Holmes
When your record starts off with a Keith Moon drum flourish,
a staccato beat, and harmonies right out of The Small Faces, you have
my attention! Mods and rockers, meet seaside please! Though San
Francisco based, Helium Angel draws inspiration directly from early
Britpop bands like the Kinks, Zombies and Who and blends it with the
West Coast psych-pop of The Byrds for an irresistible result.
Although the band retains garage pop sensibilities, the
production on this small label release are first rate. Drummer Stephen
Cass, who engineered the record, is able to capture his energetic drum
sound without overemphasizing it, and the vocals he and guitarist
Blake Ricks create sound at once individual and in unison.
Like all good psych-pop records, there are many obtuse lyrics
to chew on, but also several more conventionally great turns of phrase
("forgive me if I seem too cautious/ that you seem so nice/ but if I
won the lottery/ I'd check the number twice"). Still, for me it's the
music that truly sells this record. While being reverent to Mod, it
sounds as perfect as a 1990's statement as it would have in the 1960's.
"Motorcade," with it's great choppy guitar rhythms and spiraling chorus,
is absolutely majestic. "Lizard," which morphs from a tremolo guitar
workout into a psychedelic jam, is another high point, as is the
beautiful piano ballad "One Glass." The fourteen original tunes are
followed by a Billy Bragg cover ("Accident Waiting To Happen") that
closes the record.
This is yet another case of a band worthy of much bigger
attention not yet getting the exposure it deserves. For more
information about the band, e-mail blakericks (at) yahoo.com.
---
NEWS: > In keeping with its tradition of staying one technological
step ahead of the music industry, Grand Royal has become the first
established record label to launch its own Internet radio station.
The station, which is accessible via http://www.grandroyal.com ,
launched earlier this week and his since served as a 24-hour
showcase of the label's catalogue (which includes Ben Lee, Bis,
Sean Lennon, Buffalo Daughter and many more).
---
TOUR DATES:
All / Less Than Jake
Mar. 20 Cameron Park, CA Club X-Treme
Mar. 23 Pomona, CA Glass House
Mar. 24 Ventura, CA Ventura Theater
Mar. 25 San Luis Obispo, CA Achievement House
Mar. 26 San Diego, CA Soma
Mar. 27 Las Vegas, NV Huntridge Theatre
Mar. 28 Mesa, AZ Nile Theatre
Mar. 29 Tuscon, AZ Rialto Theatre
Mar. 30 Albuquerque, NM The Zone
Mar. 31-Apr. 1 Denver, CO Lodo Music Hall
Asian Dub Foundation
Mar. 23 West Hollywood, CA Troubadour
Mar. 24 San Francisco, CA Justice Leauge
Mar. 26 Seattle, WA Arospace
Mar. 27 Vancouver, BC The Starfish Room
Mar. 30 Chicago, IL Double Door
Mar. 31 Detroit, MI Shelter
Babe The Blue Ox / Trinket / Interpreters
Mar. 20 New York, NY Mercury Lounge
Better Than Ezra / Jude
Mar. 20 Philadelphia, PA Trocadero
Braid
Mar. 22 Chico, CA Blue Room
Braid / Seaweed
Mar. 23 San Fransisco, CA Bottom of the HIll
Mar. 24 Claremont, CA Pomona College
Mar. 25 Los Angeles, CA Troubadour
Mar. 26 Santa Ana, CA Koos Cafe
Mar. 27 San Diego, CA Casbah
Mar. 29 Phoenix, AZ Modified
Apr. 1 St. Louis, MO Sidedoor
Candlebox
Mar. 20 Miami, FL Button South
Mar. 21 Orlando, FL Hard Rock Live
Mar. 23 Jacksonville, FL Milk Bar
Mar. 24 Atlanta, GA Masquerade
Mar. 25 Charleston, SC Music Farm
Mar. 26 Fayetteville, NC Club Metro
Mar. 27 Richmond, VA Diamond
Mar. 29 Toronto, ON Opera House
Mar. 30 Fort Wayne, IN Piere's
Cibo Matto
Mar. 20 Austin, TX La Zona Rosa
Hugh Cornwell
Mar. 20 Pontiac, MI 7th House
Mar. 21 Philadelphia, PA Upstairs At Nick's
Cubanismo Spring Tour
Mar. 20 San Francisco, CA Bimbo's
Mar. 21 Sacramento CA Harlow's
Mar. 23 Saratoga, CA Carriage House
Mar. 24 Santa Barbara Coach House
Mar. 25 Tucson, AZ Rialto Theater
Mar. 26 San Diego, CA 4th & B
Mar. 27 West Hollywood, CA House of Blues
Mar. 28 Irvine, CA Irvine Barclay Theater
Mar. 30 San Luis Obispo, CA Cal.Poly Univ Perf. Arts Center
Mar. 31 Santa Rosa, CA Luther Burbank Ctr for the Arts
Hank Dogs
Mar. 20 Austin, TX SXSW showcase (Antone's)
Eve 6 / Lit
Mar. 26 Killington, VT Pickle Barrel
Mar. 27 Providence, RI Lupo's
Finger Eleven
Mar. 21 Ft. Myers, FL Lee County Sports Complex
Mar. 27 Norfolk, VA Boathouse
Mar. 30 Knoxville, TN Moose's
Mar. 31 Birmingham, AL Five Points
Flick
Mar. 20 Montreal, QC Spectrum
Mar. 22 Boston, MA Avalon Ballroom
Mar. 23 Providence, RI Lupo's Heartbreak Hotel
Mar. 24 Old Bridge, NJ Birch Hill Nightclub
Mar. 26 Philadelphia, PA Electric Factory
Mar. 27 Washington, DC 9:30 Club
Mar. 29-30 New York, NY Irving Plaza
Godsmack
Mar. 20 Memphis, TN Mardi Gras
Sammy Hagar (All shows at Hard Rock Cafe)
Mar. 20 Los Angeles, CA
Mar. 22 Phoenix, AZ
Mar. 23 San Francisco, CA
Hepcats
Mar. 23 Providence, RI The Met Cafe
Mar. 24 Boston, MA Paradise
Mar. 25 New London, CT El-N-Gee Club
Mar. 26 Washington, DC 9:30 Club
Mar. 27 Philadelphia, PA The Trocadero
Mar. 28 New York, NY Tramps
Mar. 30 Cleveland, OH The Odeon
Mar. 31 Chicago, IL Metro
Apr. 1 Pittsburgh, PA Graffiti
Jets to Brazil
Mar. 22 Phoenix, AZ Boston's
Mar. 23 San Diego, CA SOMA
Mar. 24 Los Angeles, CA The Ruby)
Mar. 25 Pomona, CA Glass House
Mar. 26-27 San Francisco, CA Bottom of the Hill
Mar. 30 Seattle, WA Rockcandy
Mar. 31 Boise, ID Nuerolux
Jude
Mar. 20 Philadelphia, PA Trocadero
Jungle Brothers
Mar. 20 San Francisco, CA Justice League
Mar. 21 Seattle, WA Aro Space
Mar. 23 Los Angeles, CA Ruby
Kodo
Mar. 20 Clearwater, FL Eckherd Hall
Korn
Mar. 20 Providence, RI Providence Civic Center
Mar. 22 State College, PA Bryce Jordan at Penn State
Mar. 23 Philadelphia, PA First Union Center
Mar. 25 Chicago, IL Rosemont Horizon
Mar. 26 Ft. Wayne, IN Coliseum
Mar. 27 Grand Rapids, MI Van Andel Arena
Mar. 29 Greensboro, NC Coliseum
Local H
Mar. 20 Milwaukee, WI The Rave & Eagles Aud.
Mar. 22 DeKalb, IL Duke Ellington Ballroom
Low
Mar. 25 Minneapolis, MN 400 Bar
Mar. 26 Madison, WI Club 770 - UW Memorial Union
Mar. 27 Milwaukee, WI Miramar Theater
Mar. 29 Indianapolis, IN Indigo Coffeehouse
Mar. 30 Cincinnati, OH Sudsey Malone's
Mar. 31 Toledo, OH Frankie's
Marvelous 3
Mar. 20 Louisville, KY Toy Tiger
Mar. 22 St. Louis, MO Side Door
Mar. 23 Des Moines, IA The Safari
Mar. 25 Denver, CO Bluebird theater
Mar. 26 Albuquerque, NM Launch Pad
Mar. 27 Scottsdale, AZ Cajun House
Mar. 28 Tucson, AZ Gotham
Mighty Blue Kings
Mar. 20 Philadelphia, PA 5 Spot
Mar. 23 Hoboken, NJ Maxwell's
Mar. 25 Washington, DC Black Cat
Mar. 26 Carrboro, NC Cat's Cradle
Mar. 30 Jacksonville, FL Jack Rabbit's
Alanis Morissette
Mar. 21 Phoenix, AZ Desert Sky
Mar. 23 Denver, CO McNichols Arena
Mar. 24 Salt Lake City, UT E Center
Mar. 26 Boise, ID Idaho Center
Mar. 27 Yakima, WA Valley Sundome
Mar. 29 Seattle, WA Key Arena
Mar. 30 Portland, OR Rose Garden
Olivia Tremor Control
Mar. 24 Chatanooga, TN Lamar's
Mar. 25 Louisville, KY Mercury Paw
Mar. 26 Chicago, IL Lounge Ax
Mar. 27 Minneapolis, MN 400 Bar
Mar. 29 Columbus, OH OSU
Mar. 30 Detroit, MI Magic Stick
Mar. 31 Toronto, ONT Horseshoe
Placebo / Stabbing Westward
Mar. 20 Montreal, QC Spectrum
Mar. 22 Boston, MA Avalon
Mar. 23 Providence, RI Lupo's
Mar. 24 Old Bridge, NJ Birch Hill Night Club
Mar. 26 Philadelphia, PA Electric Factory
Mar. 27 Washington, DC 9:30 Club
Mar. 29-30 New York, NY Irving Plaza
Promise Ring
Mar. 20 Annandale, NY Bard college
Mar. 21 Phildelphia, PA The Church @ 2125 chestnutt
Mar. 23 Chicago, IL The Metro
Push Kings
Mar. 20 Memphis, TN Echo Lounge
Mar. 22 Columbia, SC New Brookland Tavern
Mar. 23 Washington, DC Metro
Mar. 25 Rochester, NY Bug Jar
Mar. 26 Philadelphia, PA Khyber Pass
Mar. 27 Cambridge, MA Tt The Bears
Mar. 30 West Hartford, CT Kingwood Oxford High School
Mar. 31 New York, NY Mercury Lounge
Sepultura / One Minute Silence / Biohazard
Mar. 20 Atlanta, GA Masquerade
Sick Of It All
Mar. 22 New Orleans, LA House Of Blues
Mar. 23 Lake Buena Vista, FL House Of Blues
Mar. 24 Jacksonville, FL Club 5
Mar. 26 Atlanta, GA Tabernacle
Mar. 27 N. Myrtle Beach, SC House Of Blues
Mar. 28 Raliegh, NC Ziggy's
Mar. 30 Washington, DC 9:30
Mar. 31 New York, NY Roseland Ballroom
Silverchair / Grinspoon / Lit
Mar. 20 Toronto, ON Warehouse
Mar. 22 Montreal, QC Le Spectrum
Mar. 23 Boston, MA Paradise
Elliott Smith
Mar. 20 Charlotte, NC Tremont Music Hall
Mar. 21 Raleigh, NC Ritz
Mar. 23 Washington, DC 9:30 Club
Mar. 24 Philadelphia, PA Trocadero
Mar. 25-26 New York, NY Irving Plaza
Mar. 30 Burlington, VT Higher Ground
Sparklehorse / Varnaline
Mar. 23 Phoenix, AZ Mason Jar
Mar. 24 San Diego, CA Casbaha
Mar. 26 Los Angeles, CA Troubador
Mar. 27 San Francisco, CA Great American Music Hall
Mar. 30 Portland, OR Satyricon
Mar. 31 Seattle, WA Crocodile
Sally Taylor
Mar. 20 Los Angeles, CA The Troubador
Mar. 23 San Francisco, CA Hotel Utah
Mar. 24 Mill Valley, CA Sweetwater
Mar. 26 Portland, OR White Eagle
Mar. 27 Seattle, WA Sit and Spin
Mar. 31 Crested Butte, CO Center for the Arts
Ten Foot Pole
Mar. 23 New Orleans, LA State Palace Upstairs
Mar. 25 San Antonio, TX White Rabbit
Mar. 26 Austin, TX Emo's
Mar. 27 Dallas, TX Galaxy Club
Mar. 30 Mesa, AZ The Nile
3 Colours Red
Mar. 20 Providence, RI Met Cafe
Mar. 22 New York, NY Mercury Lounge
Mar. 23 Boston, MA Paradise
Mar. 24 Chicago, IL Lounge Ax
Mar. 25 Salt Lake City, UT DV8
Mar. 27 Seattle, WA Crocodile Cafe
Mar. 28 Portland, OR EJs
Mar. 30 San Francisco, CA Slim's
Mar. 31 Las Vegas, NV Join
Apr. 1 Los Angeles, CA House Of Blues
Whistler
Mar. 20 Austin, TX Fat Tuesday
Wilco
Mar. 22 Brussels, BEL Ancienne Belgique
Mar. 23 Amsterdam, HO Melkweg
Mar. 25 Hamburg, GER Grunspan
Mar. 27 London, ENG Shepherd's Bush
---
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