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Consumable Online Issue 189
== ISSUE 189 ==== CONSUMABLE ONLINE ======== [October 12, 1999]
Editor: Bob Gajarsky
E-mail: editor@consumableonline.com
Managing Editor: Lang Whitaker
Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim
Kennedy, Al Muzer, Joe Silva
Correspondents: Michelle Aguilar, Christina Apeles, Niles J.
Baranowski, Mike Bederka, Jason
Cahill, Matthew Carlin, Patrick Carmosino, John
Davidson, Andrew Duncan, Krisjanis Gale, Paul
Hanson, Chris Hill, Eric Hsu, Franklin Johnson,
Steve Kandell, Reto Koradi, Robin Lapid, Wes
Long, Iain Kenneth MacLeod, Linda Scott, Don
Share, Scott Slonaker, Kerwin So, Chelsea Spear,
Jon Steltenpohl, Michael Van Gorden, Simon West
Technical Staff: Chris Candreva, David Landgren, Dave Pirmann
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 |
`------------'
REVIEW: Limp Bizkit, _Significant Other_ - Jason Cahill
REVIEW: Stereophonics, _Performance and Cocktails_ - Scott Slonaker
REVIEW: Ash, _Nu-Clear Sounds_ - Robin Lapid
REVIEW: Shack, _HMS Fable_ - Tim Kennedy
REVIEW: Various Artists, _Music For Our Mother Ocean 3_ - Andrew Duncan
INTERVIEW: Luke Slater (Part 2) - Krisjanis Gale
REVIEW: Various Artists, _Never Give In - A Tribute to Bad
Brains_ - Andrew Duncan
REVIEW: Ramones, _Hey Ho Let's Go! Anthology_ - Bob Gajarsky
REVIEW: Various Artists, _That 70's Show Jammin' Album_ / _That 70's Show
Rockin' Album_ - Don Share
REVIEW: Various Artists, _Nowcore! The Punk Rock Evolution_ - Kerwin So
REVIEW: The Minders, _Cul-de-Sacs & Dead Ends_ - Robin Lapid
REVIEW: Bows, _Blush_ - Andrew Duncan
REVIEW: Oysterband, _Here I Stand_ - Chris Hill
REVIEW: Porcupine Tree, _Stupid Dream_ - Jon Steltenpohl
REVIEW: The Paladins, _Slippin' In_ - Daniel Aloi
REVIEW: Showoff, _The Hush_ - Michael Van Gorden
NEWS: Apples In Stereo, Pat Benatar
TOUR DATES: Agnostic Front, Anti Flag / Dropkick Murphys, Art of Noise,
Ben Folds Five / Fleming & John, Buzzcocks / Lunachicks / Down By Law,
Danzig, Del The Funky Homosapien & Casual, Ani DiFranco, DJ Shadow,
Johnny Dowd, Fastbacks, Ben Harper, Indigo Girls, Rickie Lee Jones,
Ben Lee, Len / Styles of Beyond, Live, Luscious Jackson, Minders,
Moby, Alanis Morissette, Tom Petty & Heartbreakers, Pietasters,
Pilfers & Spring Heeled Jack, Sheila Divine, Sisters of Mercy,
Stereo Total, Sally Taylor, Tonic / Goo Goo Dolls, Type O Negative,
Tom Waits, Robbie Williams
Back Issues of Consumable
---
REVIEW: Limp Bizkit, _Significant Other_ (Flip/Interscope)
- Jason Cahill
When Limp Bizkit broke onto the music scene two years ago, they
did so with a cover of George Michael's "Faith." An odd choice considering
that Limp Bizkit were a band entrenched in the world of hard rock,
complete with a "fuck you" attitude and a sound that would annoy even
the coolest of neighbors. But one listen and you realize that Limp
Bizkit's version of "Faith" was a different song entirely, and in the
end they managed to do the impossible -- turn an otherwise crappy pop
song into a hard rock anthem. No small task indeed, and even tougher to
top -- or so we thought.
Fast forward to the release of Limp Bizkit's sophomore effort,
_Significant Other_, an album equal to the task of following up their
impressive debut. The album is a perfect blend of hip-hop and hard rock,
and the band manages to pull it all off without sacrificing credibility
or originality.
The album's first single, "Nookie," is perhaps the finest in a
year otherwise devoid of anything memorable, and contains a chorus
forever ingrained in the minds of every adolescent teen. "Break Stuff"
is a song full of angst and anger, a call to arms which literally was
the impetus for the trouble at this year's Woodstock festival. "Just Like
This" is atypical of much on _Significant Other_, a blend of DJ Lethal's
hip-hop beats with a hard rock edge. But perhaps the album's most mature
and endearing track is also a promising sign of things to come for Limp
Bizkit. The track "Re-Arranged" is Limp Bizkit at their most vulnerable.
The song is pure atmosphere, building with each verse and chorus, leading
to its inevitable emotional climax. Reminiscent of early Jane's
Addiction, the song stands out among stand outs, and gives a glimpse
into the direction the band could take with its next release.
That "Significant Other" works as well as it does can be
attributed to the combination of lead singer Fred Durst, producer Terry
Date and the band's unsung hero, DJ Lethal. Lethal, whose beats,
scratches and samples are at the core of every cut on the album, is
perhaps the band's most vital member, if not the most unheralded. By
the album's third track, it becomes readily apparent that he provides
"Significant Other" with its flavor. Credit also goes to the album's
producer Terry Date, who managed to take a band full of attitude and
angst and help them create an album surprising in its maturity. But of
course, the heart of Limp Bizkit is lead singer Fred Durst, whose
lyrics, vocals and personality are laced throughout "Significant
Other." It is Durst who shines brightest on the album, and Durst who
will be the main force behind the growth and maturity of a band already
well on its way.
---
REVIEW: Stereophonics, _Performance and Cocktails_ (V2)
- Scott Slonaker
The sophomore record from Wales' biggest band is not likely to
change any fortunes in America, but it has easy appeal to any Anglophile
who's picked up on Stereophonics' dynamic, classic sound.
Stereophonics are somewhere musically between Oasis and the
Manic Street Preachers, more thoughtful than the former and with less to
say than the latter. Along with those two acts, they carry the
arena-rock torch left behind by U2 on that act's field trip to the
state of confusion.
The band's strengths are quite obvious, and plenty effective.
Singer Kelly Jones has the best voice in British rock music today - Liam
Gallagher's soar minus the annoying whine and plus a bluesy, shivery
edge. As this might indicate, Stereophonics do ballads quite well. I
count no less than six here-none as luxurious and atmospheric as
"Traffic", the centerpiece of _Word Gets Around_, but all solid enough.
Perhaps the best is "Hurry Up and Wait", although "Just Looking" has
charted high overseas. Most of the rest clog up the second half of the
record, rendering it significantly less memorable than the first.
Even though this album doesn't have a true home run (goal?) such
as "Traffic", it is more consistent than its predecessor and contains a
couple of good faster singles as well. The lyrically Kinks-ish "The
Bartender and the Thief" and the effusive "Pick a Part That's New" show
the band filling out its bag of tricks quite nicely. Next project:
adding *memorable* strings and pianos and such without diluting anything.
Ask the Manics.
Stereophonics are a young band who have yet to make their
masterpiece - but they're getting closer. Hopefully their massive
overseas fanbase doesn't get in the way.
---
REVIEW: Ash, _Nu-Clear Sounds_ (Dreamworks)
- Robin Lapid
You could say that Ash's _Nu-Clear Sounds_ reflects a band that
has grown into their age, but please keep in mind that the oldest member
is all of 23. The release of the Trailer ep and then debut album _1977_
witnessed a trio of Irish upstarts and former metalheads making smarter,
catchy Buzzcockian punk-pop, a sound with the guitar amps set to 11 and
affixed to singer-guitarist Tim Wheeler's wispy vocals, perfectly
suited to hard-edged teen anthems dedicated to Jackie Chan. If you
caught them on tour for that album, you would be schooled in the art
of boys being boys, with, say, drinking and drug debauchery in Thailand
sandwiched in the press clippings alongside mock-street fights with
"Britpop" tour buddies Elastica. The music was just as fun, but at some
point you would expect a little teen spirit burn-out.
Three years later and the all-boys trio are now a co-ed quartet,
a little older, a little wiser, still given to a certain puckishness in
their music but more audibly concentrated on making the sound
consistent and dynamic. _Nu-Clear Sounds_ is a fine album, the
refined result of post-teen rockstar life lessons, some Iggy and the
Stooges and New York Dolls on the "what's in my CD player" now list,
and Ash's proven penchant for catchy pop.
There's plenty of glam-punk, heavy-artillery riffage here,
provided by able-bodied guitarist and latest addition Charlotte
Hatherley. "Jesus Says" heads off the U.S. release (the earlier U.K.
and elsewhere version has a different track listing) with some
infectious "ooh ooh ooh" refrains and exuberantly glittery guitar
licks, chronicling the headiness of a rollercoaster tour stop in New
York City, "a million light years from home." For a group still so
young in years, Wheeler and company sound smarter than your average
boy punk band, and possess an unfailing knack for pogo-inducing hooks
with telling lyrics like "Fate is your enemy, rebel against your
destiny; got a beautiful face, kind of fucked-up inside." There's also
slight remnants of their predilection for hyperbolic, hesher-esque
rawk-outs ("Numbskull's" first lyric, for example, is "Owwwwww!!!").
Adding a weightier tone to the album are quite a few lovely
ballads that tackle more contemplative themes apart from love -- think
teenage popstar existentialism. But the band pull it off with a
heartfelt, amiable charm on tracks like "Burn Out" and "Folk Song," a
melancholic number that has a wizened-sounding Wheeler whispering about
heaven and springtime "slipping away," continuing with allusions to an
emotional downward spiral after endless touring and the turning wheels
of "Top of the Pops"-style stardom. "Wild Surf" is fluffy and light as
a beach ball, a Cliffs Notes rendition of _1977_ tracks like "Girl From
Mars" and "Angel Interceptor." "A Life Less Ordinary," a track written
for the Danny Boyle movie of the same name, ends the U.S. release on an
optimistic note, with an innocent airiness that made the band's early
singles so appealing.
_Nu-Clear Sounds_ reveals a band with a little more consistency
in its music, a sense of maturity -- or else a decreased probability
that twenty minutes after the last track you will hear the sound of
drunk guys puking, followed by guys laughing at each other's puke --
with incidental meanderings into the kind of catch-all pop that
reassures you Ash are still messing with their sound and allowing
themselves a little youthful range to rawk out.
---
REVIEW: Shack, _HMS Fable_ (London)
- Tim Kennedy
The history of Shack has been one of false starts. Originating
from the ashes of early 80s luminaries Pale Fountains, Michael Head,
principal songwriter started the band circa the time of the Stone Roses
and Happy Mondays. Two albums have appeared in the U.K. under their
moniker before _HMS Fable_, including the classic Mersey pop album
_Waterpistol_. However live outings by the band have often been
shambolic with the results of extensive drug abuse often in evidence.
Probably the nearest album to this in spirit is the eponymous
La's album of 1990. The light feel and melodic guitars put Shack in
the same bracket as their fellow Liverpudlians.
The nautical theme of this album is a reference to heroin
addiction. Sailing in an old-fashioned clipper is a metaphor for escape
afforded by the accursed poppy. Thus in "Lends Some Dough" the hero
begins in some dive surrounded by the evidence of drug abuse, trying
to cadge a few pounds to restart his life (or perhaps get more smack)
and all of a sudden is transported to the high seas in a four masted
schooner.
The title track extends the metaphor, with a group of smack
heads transformed into the crew of a sailing ship run by an avuncular
captain who affords his crew much access to the rum ration. The musical
setting for this song is sumptuous with tinkling guitars and folky motifs
allied to a gentle melody. "Underneath the wings of a giant dove".
It has to be said that the subject matter of this album is
utterly distasteful, but in terms of modern day guitar pop this is as
good an album as has been heard in the past five years - with possibly
only _Waterpistol_ to compete with it.
Light and space are well in evidence here despite the grim
subject matter. Another track "Streets Of Kenny" takes the listener to
Ireland in search of the hero's friends and another bag of drugs,
however the music is uplifiting using Irish folk motifs. Like the sea,
Ireland is ever present in the scouse psyche. The singer is clearly
struggling with his urge to take drugs and the music echoes that fight.
"I Want You" sounds very similar to some recent Teenage Fan
Club material, working a neat melody around simple chords, and the vocal
even sounds not disimilar to TFC's Norman.
"Since I Met You" starts with a sinister scouse nursery rhyme
about a drug deal gone wrong ending in a shooting "Poor lamb, should
have been home for tea." The main narrative describes a supermarket
robbery with a fake gun, concentrating on the fear in the eyes of the
checkout girl. The chorus is another soaring blissful lovelorn "And I
can't think of anything since I met you".
Shack are the band that La's fans hoped Cast would be; they
play glorious 12-string guitar melodies and evoke a mood of freedom
and space. _Waterpistol_ was the finest, most underrated album of the
90s and now surely _HMS Fable_'s success will see Shack finally get off
the starting blocks.
---
REVIEW: Various Artists, _Music For Our Mother Ocean 3_
(Surfdog/Hollywood)
- Andrew Duncan
"Hang ten surf doggy!" Sounds neat when the elderly lady
from the Old Navy commercial elegantly blurts those words out while
the Kens and Barbies dance about on the beach. Well oh gracious one,
those times are gone when American coasts were filled with miles of
clean, crystallized sand, the ocean water as blue as Sinatra's baby
blues and an abundance of saltwater fish swimming freely without the
worry of being wiped out from our technologically-advanced fishing boats.
Due to the overcrowding of Tropicana-clad people and decades
of pollution, we have put the ocean in an unwilling position as the
underdog. This is not news breaking information, as most are well
aware of the earth's fragile environment. However, we are living in
an age where people need to be given a reminder, and that is why
artists continue to contribute to the Music for our Mother Ocean CD
series.
The third installment in this series is well informative,
giving updated statistics underlying the problems with ocean
deterioration, and providing useful numbers to call for more information
in conjunction with cause and effect.
Oh yes, and there are the artists who are involved. The CD has
high tides with Brian Setzer teaming up with Brian Wilson to perform a
startlingly vivid version of "Little Deuce Coupe." Also Beck, the Red
Hot Chili Peppers and the Beastie Boys all contribute fascinating new
songs composed especially for this album.
Unfortunately there are low tides as well. Sprung Monkey
destroys a cover "Coconut," Allison Moorer performs a catastrophic
version of the Beatles' "Here Comes the Sun," and Snoop Doggy Dog teams
up with members of Rage Against the Machine to record an annoyingly
long "Snoop Bounce."
But hey, it's all for a good cause, right?
---
INTERVIEW: Luke Slater
- Krisjanis Gale
(Part 1 of this interview appeared in the September 28 issue of
Consumable, located at http://www.consumableonline.com/1999/09.28 )
CO: What inspires you when you're trying to get new sounds?
LS: To create something that sounds new, and exciting, and
fresh. To do something that I would buy in a record shop. I'm always
on the road DJ'ing, or whatever, in Europe, and I always carry a G3
Powerbook everywhere. And I record just anything, you know, ambient
shit at airports, and restaurants, any noise.
CO: Is there anything on _Wireless_ that just came together all
at once?
LS: "Bolt Up" - which is probably the hardest track on the album.
It was really quick. I'd written all the lyrics for it on a plane coming
back from France, I hooked it up in the studio, and just threw it
together, it just had such a power to it. And I just left it like that.
CO: Do the rigid mechanics of electronic music frustrate you?
LS: The mechanics of it. Yeah, sure man.
CO: There has to have been thousands of times when you were
tempted to try not to sequence something, and then do it live.
LS: You could do that.
CO: And then you realize that it's electronic music, so something
has to have a solid beat. It's sort of a necessary evil.
LS: I think we're moving into an age where studios aren't going to
be like studios anymore. I'm always trying to write things outside the the
studio, because I don't really like sitting in a studio with a lot of
machines in it. I haven't got a thing for machines in that way. I've
got a thing for technology, but I've got a thing for technology that
makes things less...technological.
CO: So your ideal situation is having some beautiful piece of
software on your G3.
LS: Well, that's basically what I do. Some of the tracks were
quite constructed on the G3. I've got a lot of programs for it; I've
written a lot of stuff on the road. When I'm sitting in hotels for a
long time, that's pretty much what I do. And that's great, because you
couldn't do that a few years ago. But that's the way it should be.
CO: I don't know. I saw Juno Reactor live, and they did
everything off a Powerbook. One synth and a Powerbook, and the whole
show was done on the computer.
LS: That's cool. I don't think we can get our live show down
to one synth and a Powerbook; we drag the whole studio around. As much
as I love computers. I'm still real hands-on. I like to have the control
of things be pretty quick.
CO: What's the core of Space Station Zero at the moment? What
piece of gear could you not live without?
LS: The computers. Apple Macs, man. Without them... nah. That's
a lie. Because if I didn't have them, I could still write stuff. I don't
know. My ears? (laugh)
CO: So you've got no gearlust for a particular piece of kit.
LS: Not really. I've got a bit of a fetish for say, the DMX drum
machine. That's something that goes back, for me. If you want to buy a
synth now, you can choose absolutely millions of sound modules, synths.
A lot of them are kind of the same. There's not really that much
difference about them.
You can buy an analog synth, and there's millions of them. That's
kind of slowed down now, whereas one point, when analog synths were made,
nobody really knew why they were making them. It wasn't like "We're
making it for the dance market" or "We're making it for the rock market,"
they were just making them. But now it's gotten a bit more pigeonholed
where synths are being made for a dance record. I don't really join that
gang. For me it's more interesting to make things out of instruments
that aren't really made to do anything in particular. Everything I've
written has really been done on basic equipment.
CO: So you have a greater interest in sampling something and
turning it into something.
LS: Ah, samplers, man. I couldn't live without samplers.
CO: I was listening to Tresor 78 - Joey Beltram's "Places" - and
it sort of reminded me of _Freek Funk._ If you had to try to put
_Wireless_ right alongside another artist, who would it be?
LS: I don't know. One of the old school electro guys; the whole
thing for me just goes back to the old school.
CO: There's a lot of breaks on _Wireless,_ more so than on _Freek
Funk._ What started you down the path of "Well here's a really good break,
now, how can I fuck it up and put it on my track?" (laugh) That's sort
of - getting less electro, and more breakbeat.
LS: They're both the same to me. Electro and breakbeats. It's
the attitude of using them, rather than one's with a drum machine and
one's just a break. We made a lot of our own breaks on the album. Al
and I were both drummers when we were kids - that's how we kind of met,
because we were both drummers. We actually did a two-hour session in
the studio, with both of us playing the drums live. We put it on tape.
CO: The songs, both on _Wireless_ and _Freek Funk,_ either go
really harsh or really ethereal. That's especially true of "Sum Tom
Tin" or "Body Freefall," and then you have a song like "Weave Your Web."
What motivates both extremes? Because there's no real grey area in the
middle.
LS: No. That's because I don't like middle-of-the-road, man. I
like to be on one side or the other.
CO: _Wireless_ is a radical departure, not only from _Freek Funk,_
but from a lot of other albums out right now in the electro genre. Where
do you see yourself, coming from _Wireless,_ to your future work?
LS: I don't know yet. I think _Wireless_ is something quite new,
and it feels to me we're kind of out on our own doing it, and playing it
live. We're just doing what we're doing, and take it where it goes.
---
REVIEW: Various Artists, _Never Give In - A Tribute to Bad
Brains_ (Century Media)
- Andrew Duncan
Maybe not the most anticipated album of the year, this homage
to one of the greatest punk bands is certainly one of the better tributes
on the market. The niche is naturally those who love Bad Brains,
especially hardcore fans who love Bad Brains (who cares if Moby starts
off the CD with a version of "Sailin' On," displaying one of the most
depressing-sounding songs since Morrisey mopped around with The Smiths).
Within five minutes, Ignite acknowledges the classic "Pay To
Cum" and rips through an impressive version. Boy Sets Fire also pays
tribute to Bad Brain's most popular song "I Against I," and succeeds.
Some bands concentrate on Brains' more recent work. Entombed
cover "Yout' Juice" and sound more like they are covering a Monster
Magnet song. Sepultura take on a speed version of "Gene Machine/Don't
Bother Me," and Vision of Disorder scream through "Soulcraft."
Overall, there is a pleasing consistency, with each band paying
the highest regards to an influential band. The only disappointment
with this tribute is the lack of coverage with their reggae tunes, an
equally important part of the band. What other hardcore band in the
early '80s was playing traditional reggae songs?
---
REVIEW: Ramones, _Hey Ho Let's Go! Anthology_ (Rhino)
- Bob Gajarsky
Long before Green Day was even a thought in their parents'
minds, the Ramones were writing two-and-a-half minute anthems to
a new generation and, along with Blondie and Talking Heads,
turning the East Side dump CBGBs into a shrine and homage to the
punk revolution.
Now - a quarter century after leaving a cloud of dust
behind those guitar chords - the definitive 58-song collection of
the Ramones, _Anthology_, has hit the stores. But with more
compilation albums (both live and hits) than most bands this side
of the Moody Blues, why would a fan need to purchase _Anthology_?
Quite simply, the issuing label - Rhino Records.
Living up to their well-earned reputation for dedicated
efforts, Rhino includes a 74 page booklet along with this double
CD. With a foreword by manager Danny Fields and extensive liner
notes by David Fricke, the history of the Ramones - and their
environment - is lovingly resurrected and recounted as if it
were happening yesterday.
But $30 doesn't justify the purchase of the liner notes.
Instead, the meat of the package comes in the music.
Much more than the now frat/jock anthem "I Wanna Be
Sedated", the Ramones' form of pop punk covered politics
("My Brain Is Hanging Upside Down"), fun ("Blitzkrieg Bop",
"Sheena Is A Punk Rocker", "Rockaway Beach"), other artists'
songs ("Surfin' Bird", "Needles & Pins") and of course, forms of
getting high ("53rd & 3rd", "Now I Wanna Sniff Some Glue",
"Somebody Put Something In My Drink").
While their musical style may not have varied much during
their lengthy career, fans always knew that they could count on
the Ramones to deliver a musical punch. Rhino has captured that
feeling wonderfully on _Anthology_.
---
REVIEW: Various Artists, _That 70's Show Jammin' Album_ / _That
70's Show Rockin' Album_ (Volcano)
- Don Share
"Good taste" and "popular TV show" aren't phrases you'd normally
associate with each other, but, amazingly, "That 70's Show" is an
exception. The anachronisms in the show bother me, since I'm an
anachronism, myself, and actually remember those days. But the show's
producers are marketing, as seems inevitable, a pair of CDs to serve as
accompanying period-pieces, and they've done such an outstanding job that
these discs are among the very best anthologies of '70s music you can
get. Wisely, the music is divided into a _Rockin'_ album, which is, duh,
rock (did people say "duh" in the '70s?), and a _Jammin'_ album, which
is funk. Notice that the latter is funk, not disco! Another sign of
great wisdom and taste!
What's really nice is that the music on these discs isn't merely
there to invoke nostalgia in folks who remember the '70s, or to induce
chuckles from those who weren't around then but are entertained by the
woeful stylings of that era. Instead, this is good stuff, enjoyable on
its own terms, to the extent that really, the best review of them would
just be a listing of their contents!
What surprised me, not being much of a funkster in my day (I
remember having to dance with my girlfriend to these tunes in painful
misery, to be honest) is how much more fun the _Jammin'_ disc is. You
can get down tonight with K.C. and the Sunshine Band, Rufus will tell
you something good, and James Brown has "Hot Pants" while Parliament
tears the roof off the sucka. You get your requisite "Jungle Boogie"
from Kool and the Gang, Average White Band picks up the pieces, The Hues
Corporation rocks the boat, Ohio Express catch "Fire" and Wild Cherry
plays that funky music, white boy! Round things out with less obvious
choices like The Spinners' great "Rubber Band Man" and The Isley
Brothers "Fight the Power" as well as some Three Degrees and Tower of
Power. (I guess I'd have been really happy if they stuck some Jimmy
Castor Bunch on, too: remember "The Bertha Butt Boogie," anyone?!)
The _Rockin'_ album is no slouch, however. For starters, there's
the new version of the TV show's theme, "That 70's Song," which is really
a desecration of Big Star's "In the Street" (for which Alex Chilton
apparently only gets about 70 bucks a week!). Still, rewritten lyrics
and all, this version by Cheap Trick is actually decent. "Hello,
Wisconsin!"
You get real Cheap Trick, though, with the sublime "I Want You
To Want Me," along with the absolutely wonderful gem and one-hit-wonder,
Ram Jam's "Black Betty," Golden Earring's "Radar Love," James Gang's
"Funk #49," Skynyrd's "Saturday Night Special," Bachman Turner
Overdrive's "Let It Ride" (yay, not the over-anthologized "Takin'
Care of Business" or "You Ain't Seen Nuthin' Yet") and other gems
from Argent, Blue Oyster Cult, Alice Cooper ("Under My Wheels," and
not the over-anthologized "Eighteen!"), 10cc (not "I'm Not In Love,"
yay, again, but, oddly, "Wall Street Shuffle"), The Kinks and even
some stray Ted Nugent and Montrose. Best of all, the disc ends with the
eye-misting "September Gurls" from Big Star, which maybe makes up (in
royalties, let's hope) for the theme song-damage. A nicely-chosen, and
yes, rockin' selection.
Even if you don't watch the show, you know you'd like to have
these, and if you are a fan, um, well, there're neat pictures of the
stars inside. Each song is well-annotated, too. I can't see anybody
putting on these tunes and serving fondue before the wife-swapping
gets underway, but you can dance to them, surely, or sit back and think
back on things that were, or never were. Fun!
---
REVIEW: Various Artists, _Nowcore! The Punk Rock
Evolution_ (K-Tel)
- Kerwin So
K-tel has jumped into the late '90s just in time with this
collection of tracks from bands that have hovered beneath America's
rock radar for the past 7 years. As they did with the starlight pop
hits of the '60s and '70s, and the new wave hits of the '80s, K-tel
attempts to document a particular sound, arguably a scene or an
overall musical trend. "It isn't the way it sounds," writes _Punk
Planet_'s Josh Hooten in the liner notes. "It's the way it feels."
The bands represented here definitely share a certain "feel."
Whether they be Modest Mouse, The Promise Ring, or Braid, most
of these groups ostensibly hold firm places in the record collection
of what one writer deemed "wallet-chain America." Adding more
melody, dynamics, and instrumental breaks to punk rock's energetic
structure, most modern-day emo/post-whatever bands (as accurately
documented in _Nowcore_) eschew punk's traditionally political
stance for more introspective lyrics, with a keen inclination towards
the subject matter of girls, relationships on rocky shores, and the
like. K-tel deserves a lot of credit for picking the signature songs
of many of these bands, from Mineral's insistent, tenderly anguished
"ForIvadell," to Knapsack's "Decorate the Spine," which showcases
singer Blair Shehan's startling ability to upshift from a cloying, fey
vocal into a menacing hardcore growl at an instant's notice. Post-
punk icon J. Robbins is also adequately represented in this
compilation, with tracks from Jawbox and Burning Airlines appearing
next to Robbins-produced songs like Texas is the Reason's " Jack
with One Eye." Hum's dreamy, heavy 1995 alterna-radio hit "Stars"
(once Howard Stern's favorite song) also makes a welcome and
worthy appearance, and say what you will about Samiam 'selling
out,' their 1998 song "She Found You" rips the lid off this comp with
the purest adrenaline rush of punk-pop you've probably heard in
three years.
Even the packaging for _Nowcore_ manages to impress: instead
of your standard chintzy CD insert, you get passionate liner notes
packed with catchy slogans tucked inside a nice envelope with more
catchy slogans. As C. Montgomery Burns might say, I know what I
hate, and I don't hate this. There's only a few problems with
_Nowcore_, the main one being that it's a tough sell. People who
already like these bands will have most of these songs already, as they
are all album tracks, and more mainstream music consumers scooping
up the latest Jewel and Bush albums may not be interested in any of
the bands listed here. Worst of all, after 16 songs, most of these
bands begin to sound - well, alike. Although _Nowcore_ is a valiant
and altogether on-target compilation, your time would probably be
better spent digging up the actual albums from which this CD drew its
selections. Start with the Promise Ring and let me know what all the
hype is about.
TRACK LISTING: The Promise Ring - Why Did We Ever Meet, Hum -
Stars, Seaweed - Start With, Modest Mouse - Convenient Parking, Braid -
New Nathan Detroits, At the Drive In - For Now We Toast, Mineral -
ForIvadell, Compound Red - Versus the Ocean, Samiam - She Found You,
Burning Airlines - Wheaton Calling, Unwound - Unauthorized
Autobiography, The Dismemberment Plan - The Ice of Boston, Drive Like
Jehu - Caress, Texas is the Reason - A Jack with One Eye, Knapsack -
Decorate the Spine, Jawbox - Savory
---
REVIEW: The Minders, _Cul-de-Sacs & Dead Ends_ (spinART)
- Robin Lapid
If you're not familiar with the Elephant 6 collective, you'd
know them by their modus operandi -- they're a gang of like-minded
bands that offer up their own skewed homages to the psychedelic pop of
the Beatles and the Beach Boys. So you probably wouldn't be surprised
at the Minders' signature sound. English frontman Martyn Leaper,
admitting to having grown tired of making "modern" sounds, seems to
give the Minders a clear decree -- "if it's not British Invasion-era
pop, it's crap!" As such, his band offer up very faithful pop odes to
those classic '60s sounds, compiling out-of-print singles that were
released before and after their debut album, _Hooray for Tuesday_,
into this handy disc.
_Cul-de-Sacs_ is an album of 17 honey-spun songs running two
or three minutes each, a graceful length for melodies that, upon
extended listens, might give the listener a sugarache. Leaper's
nasally, hazy pop tunes will have you harking back to Paul McCartney
in his more foppish-haircut days. The Minders rarely deviate from a
tried-and-true formula of persistently sunny rhythms backed against a
strumming guitar, some background "la la la's," and Leaper's high-pitched
vocals filtered through a lo-fi, echoing microphone. Tracks like "Rocket
58" are relative experiments in the genre, with keyboard noodlings and
bits of samples melting into the melodies. "Build" and "Chatty Patt" are
more representative tracks, swatches of pretty British pop that makes
you wonder if you've sudenly time-traveled into the past.
The Minders are probably too faithful to the sounds they love
so much, and while cheerful pop ditties are not to be dismissed, there
is something to be said about having too much of a good thing. Still,
_Cul-de-Sacs_'s mindful tunes proffer vacuum-sealed pop that, in small
doses, are infectiously bright.
---
REVIEW: Bows, _Blush_ (Too Pure)
- Andrew Duncan
Bound within the realm of trip-hop and no-beat minimalism, the
Bows provide ice cream textures with silky elegance that takes one step
away from the reality that Portishead and Bjork created.
There is a sense of fantasy involved with their spacious music
by erasing any concept of time and creating material that is subconscious
in nature. The beats involved are the only thing defines realism by
clearly and concisely accentuate each.
Layered beyond the mixture of human and electronic drumming is
another world of sampled classical strings. The loops wax and wane
freely most commonly filling in the gaps from either the lack of a beat
or cunningly averting the attention to a transitional phase as with
"Troy Polenta's Big Break" or "Girls Lips Glitter," both drowsy
compositions reminiscent of modern classical freeform.
Occasionally, the band gets a mood swing and transforms a
classical melody into after-hours jazz by looping in a bass riff as
with "Speed Marina."
In between all of this swirling chaos of strings and a modern
kaleidoscope of delicate electronica lie Signe Hoirup Wille-Jorgenson's
elegant vocal chords. She can softly penetrate the air with her beautiful
melodies and whisping voice. "It'll Be Half Time in England Soon"
demonstrates this ability with the help of Luke Sutherland's combining
to bring a meditative effect to the bustling urban drum and bass filling
the gaps.
After this climatic leap, the band drops into a void stopping
time with "Sleepyhead." The tremolo guitar effects are tinged with an
old-style country western feel backed up by violins crying out like a
dusty Southwestern town. All of these lead to the finale appropriately
titled "Sleepyhead." There is no turning back as the music escapes
gravity and structure.
---
REVIEW: Oysterband, _Here I Stand_ (Omnium)
- Chris Hill
Relentlessly uplifting, even when the lyrics take a turn for
the serious, Oysterband's latest is a gust of fresh, folk roots air
from England, a country where attitude and image seem to dominate the
popular press attention. Raising the bar set by their last, 1997's
_Deep Dark Ocean_, the Oysters continue their lyrical search for
personal relevance in an alienating world. By album's end, the answers
are found in the things they hold close to their hearts, be they ideals
or loved ones.
Uncertainty amidst the hectic speed of the modern age being the
predominant theme, the lyrics are rife with quotables: "The hustle, the
hassle, jostle and the muscle/Squeeze it out to the last corpuscle...
Everybody's gonna be a spare wheel" (in the opener, "On the Edge"); "A
hard wind is blowing, it's slippy on the street/Me and my friends/we're
only trying to keep our feet" (the moody "Ways of Holding On"); "Never
thought we'd get this far/Now we don't know where we are/But hey...
we're hanging on" (the anthemic "I Know It's Mine"). The world is a
storm of chaos and confusion.
But there's an eye to the hurricane, containing music and
love. "This is the Voice" praises the edifying ability of a musician
to illuminate and elate: "Though the voice is wearing thin/I can hear
it rise and fall/Cutting clean through the din/To turn my world around."
The song is assisted by the talents of Chumbawumba. "In Your Eyes"
gives a poetic illustration of a lover's gaze: "Wonder what the spark
is/when you turn your eyes on me/Some kind of magic and it will not
let me be/Rip! goes reality, walls are falling down/Snap! goes the
iron chain/That ties me to the ground." Love is a natural force, ours
to seize and hold, if we can.
Back to uncertainty. Love is also an elusive presence. "Street
of Dreams," with Rowan Godel's swan-like guest vox a magnificent
addition, begins as a love ballad ("Underneath a magic moon/In my
dream I lay there waiting/You came naked to my room") before revealing
that it's written from the point of view of a hapless man who can only
idolize what he sees ("Walk right by me in the gutter/Lying here outside
your door"). The lilt of the fiddle combined with Godel's voice form a
singular beauty. The song leaps into the ears.
Bedding the lyrics is an impressive roster of equipment:
acoustic and electric guitars, banjo, fiddles, cello, harmonica, drums,
mandolin, and concertina. These instruments are spotlit in several
interludes: "cello drop" (a cello arrangement of a Gustav Holst piece),
the winsome toast of "a last glass," and the quiet waltz, "kantele."
Not surprisingly, though, it's the protean fiddle which lynchpins the
album: made devotional and plaintive on "A Time of Her Own," capricious
on "Ways of Holding On," glorious and rollicking when it appears late
in "This Town" and mournful with a companion cello on "Someone You Might
Have Been."
Artists similar to the Oysters come easily to mind: Van Morrison,
the Chieftains and the Levellers. Bolster this name-dropping with the
able support of Chumbawumba and Great Big Sea, plus others, and _Here I
Stand_ proves a formidable CD.
If you find yourself inhaling this album daily, check out their
website, http://www.oysterband.co.uk/, for details on an eighteen song
_Alive and Acoustic_ CD, available only at their shows and through mail
order.
---
REVIEW: Porcupine Tree, _Stupid Dream_ (k scope)
- Jon Steltenpohl
There used to be a '70s craze called art rock that generated a
whole host of bands trying to create otherworldly music which touched you
somewhere that just rock or just classical music never could reach. Most
of them, despite having a rabid core of fans, never were very popular,
and have faded into the background. If they're lucky, classic rock radio
has picked up a song or two for us to remember them by. (Quick, name any
other song by Jethro Tull other than "Aqualung.") Others, such as Genesis,
quickly outgrew the "art rock" tag or split up into various other projects
that ultimately proved much more compelling.
Porcupine Tree tries their hardest to paint themselves into an
art rock genre (see the Jethro Tull-esque flute in "Tinto Brass"), but
fortunately, they mostly pull out a decent melody rather than mire in
self-important muck. Still, it's a thin line when you first pick up the
CD. The blue metallic liner notes with anonymous pictures of a clean
room used for processing CD's and an olivine fish fossil on the back get
you to wondering just what the heck is going on. The illegible white
lyrics spaced cleanly in columns 4 letters wide upon a sleek silver
background almost stop you from putting the CD in the player. But, put
it in the player you do, and remarkably, find yourself relaxing to
_Stupid Dream_ for an hour. You'll forget about the self importance and
just get into the flowing, head swirling music.
Like a cross between Pink Floyd and The Church, Porcupine Tree
manages to be both larger than life, personally involved, and melody
friendly. ("Tinto Brass" even has a Pink Floyd-esque phone beep sampled
for the beat.) On song like "Don't Hate Me," not only are you treated to
an atmospheric feast that ranges from Sting-inspired alto sax to
melancholy guitar to satellite echoes, but you can get emotionally
involved with the lyrics. "A Smart Kid" has echoes of David Bowie's
"Major Tom," but, due to its mellowness, is closer to "Major Tom on
Prozac." Other songs such as "Baby Dream in Cellophane" do go a little
over the "art rock" edge with effects like echoed acid trip voices.
Still, if you aren't turned off by a band who's trying to craft
a sound environment, Porcupine Tree might be right for you. Their bio
seems to imply that they've tried just about every style available and
settled on this one. Which, all told, isn't that bad. The melodies manage
to make their ways past the atmosphere, and the orchestration, although a
bit contrived, is lush and fairly complex. And fortunately, unlike those
gawd awful '70s art rock bands, Porcupine Tree rarely ruins a song just
to sound avante garde or complex. At the worst, the sound effects and
studio production merely sound a little over done. While never completely
mellow, _Stupid Dream_ is a nice attempt at ambient rock that will
absolutely engage some listeners and completely bore the rest.
---
REVIEW: The Paladins, _Slippin' In_ (Ruf)
- Daniel Aloi
On their new album, Southern California band The Paladins stay
true to their original mission -- to make great rockabilly music.
While 1994's excellent _Ticket Home_ had the blues-drenched
roots-rock ethos of co-producer Cesar Rosas stamped all over it, here
they go back to the sound of their first LP -- and with their original
producer, Mark Neill. They play rockabilly like they live it, and show
their facility with a wide range of American roots influences, in the
tradition of everyone from the Crickets to Double Trouble.
The Paladins, known as skilled interpreters and powerful,
passionate entertainers to legions of sweat-soaked crowds, do the Stray
Cats one better on the title track, a classic rockabilly cover. And they
take their collective influences to a new level throughout the original
tunes on _Slippin' In_.
Back-to-back novelty numbers set the she-done-me-wrong-song
form on its ear -- the original "Baby Don't Move Me" (about a car) sets
a rocking '60s surf beat to rapid-fire verses and Everly Brothers
harmonies on the chorus. Johnny Bond's "Five Minute Love Affair"
continues the fickle-female theme, about a real woman this time, but
from the point of view of a cigarette. Later on, Bobby Bare's ode to a
TV horror host, "Vampira," makes "fun" one of the band's key elements.
They pay tribute to a generation of '60s surf rockers (and Link
Wray) on the original instrumental "Return to Polara." "Gone Again" is
a nice bit of country-styled rockabilly, and Gram Parsons' "Strong Boy"
and the original "California Boogie" both add Gerry Walker's steel
guitar for some real Inland Empire country rock.
The photo of the vintage Seeburg jukebox on the cover just
about says it all about the band's mission. The lifelong dedication
of the band members tells the rest. Founding member and singer/guitarist
Dave Gonzalez schooled himself on Elvis and Buddy Holly, but also
worshiped Buddy Guy, Jimi Hendrix, Wes Montgomery and Charlie Christian.
Drummer Brian Fahey used to sit behind Gene Krupa in church, learned
jazz and swing basics from Pat Dama (Fahey's solid playing shows the
lessons took) and toured in a latter-day Bill Haley & the Comets. He
joined The Paladins in 1989 just in time to play on the "Let's Buzz"
LP. Bassist Joe Jazdewski used to sneak into Paladins bar gigs. After
playing in the jump-swing band The Juke Stompers and touring the world
with the James Harman Band, he joined the band in 1997, fulfilling a
long-standing dream and taking over from Tom Yearsley, one of his
biggest influences.
In their style, attitude and commitment, as much as in their
performing and songwriting, The Paladins remain, after nearly 20 years
at it, the real thing. No mere revivalists, they mine old records for
inspiration and make the music seem as fresh and vital as it was
originally. Now that's integrity.
---
REVIEW: Showoff, _The Hush_ (Warner)
- Michael Van Gorden
Are Showoff a few days late for the dance, or are they about
to start their own? Green Day, Rancid and others tried somewhat
successfully to put a punk mark on the mainstream, but the revolution
only lasted a little bit.
I think if Showoff had been at the forefront, it might have
lasted longer and still be going strong today. While one cannot minimize
what those other bands accomplished, Showoff take it a step further.
Taking their cue from new wave originals such as Elvis Costello and
mixing in the raw punk energy of the Buzzcocks, all the while combining
the pop smarts of both, Showoff have given us a CD full of smart songs
full of energy and fun. And you can dance to it!! Born out of the Chicago
punk scene, Chris and Dave Envy, singer/guitarist and bass player
respectively, teamed up with Dan Castady on drums and Graham Jordan
on lead guitar to form Showoff, the name coming from frontman Chris
being described often as a showoff.
The CD kicks off with the full frontal guitar attack of
"backstab." Full of punk vocal harmonies and a driving back beat, you
know you're in for a good time. But this band is not only about punk
fury. For proof, listen to "falling star." This song echoes the best
of the new wave sound before it became another Madison Avenue marketing
scheme. Think of bands like The Jags or The Vapors, and you have a good
idea what Showoff is capable of.
Lyrically, the songs are intelligent and full of feeling, such
as in the beautiful ballad "Unspoken Words": "Blind man inside my head.
Tell me again. Not everything begins, but everything must end."
The band's familiarity with each other (they claim they do
everything together) can be heard in the tight, cohesive way the songs
come across. You'll also hear shadows of The Figs' "Favorite Shirt"
stutter-stop style in "Bully," as well as a hint of Green Day in "Gone."
All in all, you'll hear four guys who love to play rock and
roll together having a great time.
One of the nice things about getting to review CDs is that
you get to hear music that you might not normally get to hear or might
not pick up on a whim. Sadly, Showoff might have been one of them,
simply because of the old "too much music, too little time" scenario.
But don't let it happen it to you. Check out Showoff.
---
NEWS: > Apples In Stereo may not be the best known band by
mainstream America, but that may change when their song
"Strawberry Fire" is used in a Sony ad later this year.
> In celebration of the twentieth anniversary of Pat Benatar's
debut album, a three-CD box set, _Synchronistic Wanderings: Recorded
Anthology 1979-1999_ (Chrysalis / Capitol) has been released on October 5.
---
TOUR DATES:
Agnostic Front
Oct. 14 Mesa, Az The Nile
Oct. 15 Corona, CA Showcase Theater
Oct. 16 Los Angeles, CA Whisky
Oct. 19 Salt Lake City, UT Dv8
Oct. 20 Denver, CO Ogden Theatre
Anti Flag / Dropkick Murphys
Oct. 13 Reno, NV Del Mar
Oct. 15 San Francisco, CA Maritime Hall
Oct. 16 LA, CA The Palace
Oct. 17 San Diego, CA Cane's
Oct. 19 Phoenix, AZ Nile Theater
Oct. 20 El Paso, TX Club 101
Art of Noise
Oct. 12 New York, NY Irving Plaza
Oct. 13 Boston, MA Paradise
Ben Folds Five / Fleming & John
Oct. 15 Cincinnati, OH Taft Theater
Buzzcocks / Lunachicks / Down By Law
Oct. 14 Atlanta, GA Masquerade
Oct. 15 Carrboro, NC Cat's Cradle
Oct. 16 Richmond, VA Twister's
Oct. 17 Washington, DC 930 Club
Oct. 19 New York, NY Irving Plaza
Oct. 20 Newark, DE Stone Balloon
Danzig
Oct. 19 Columbus, OH Newport Musichall
Oct. 20 Cleveland, OH Agora Ballroom
Del The Funky Homosapien & Casual
Oct. 12 Boulder, CO Fox Theater
Oct. 14 Seattle, WA The Showbox
Oct. 15 Bellingham, WA W.Washington Univ
Oct. 17 Victoria, BC Legends
Oct. 18 Portland, OR Roseland Theater
Oct. 20 Eugene, OR Wild Duck Brewery
Ani DiFranco
Oct. 12 Blacksburg, VA Burruss Auditorium
Oct. 14 New Orleans, LA Mcalister Aud Tulane Univ.
Oct. 15 Austin, TX The Backyard
Oct. 17 Dallas, TX Bronco Bowl Theatre
Oct. 18 Houston, TX Aerial Theatre Bayou Place
DJ Shadow
Oct. 12 Eugene, OR WOW
Oct. 13 Seattle, WA Aro.Space
Oct. 14 Portland, OR Station 315
Oct. 17 Baltimore, MD Fletchers
Oct. 18 Philadelphia, PA TLA
Oct. 19 New York, NY Bowery Ballroom
Johnny Dowd
Oct. 15 Memphis, TN Hi-Tone
Oct. 16 Nashville, TN Sutler
Oct. 17 Columbus, OH Little Brother's
Fastbacks
Oct. 16 Seattle, WA Crocodile Cafe
Oct. 20 San Diego, CA Casbah
Ben Harper
Oct. 12 Vancouver, BC Orpheum Theater
Oct. 13 Seattle, WA Mercer Arena
Oct. 14 Spokane, WA Opera House
Oct. 15 Portland, OR Theater Of The Clouds
Oct. 17 Salt Lake City, UT Abravanel Hall
Oct. 19 Denver, CO Fillmore Auditorium
Indigo Girls
Oct. 12 New York, NY Beacon Theatre
Oct. 15 Asbury Park, NJ Convention Hall
Oct. 16 Amherst, MA Mullins Center
Rickie Lee Jones
Oct. 15, 17, 18 New York, NY Joe's Pub
Ben Lee
Oct. 12 Poughkeepsie, NY The Chance
Oct. 13 Northhampton, NY Iron Horse
Oct. 15 Annapolis, MD Naval Academy
Oct. 16 Richmond, VA Mulligans
Oct. 17 Atlanta, GA Masquers De
Oct. 19 Dallas, TX Deep Ellum Live
Oct. 20 Houston, TX Numbers
Len / Styles of Beyond
Oct. 12 Boston, MA Paradise
Oct. 13 New York, NY Bowery
Oct. 15 Detroit, MI St. Andrews Hall
Oct. 17 Minneapolis, MN Quest
Oct. 19 Denver, CO Bluebird
Live
Oct. 13 Denver, CO Fillmore Auditorium
Oct. 15 Portland, OR The Roseland Theater
Oct. 16 Vancouver B.C. Vogue Theater
Oct. 17 Seattle, WA Moore Theater
Oct. 19-20 San Francisco, CA Fillmore
Luscious Jackson
Oct. 12 Poughkeepsie, NY The Chance
Oct. 15 Annapolis, MD Nav. Acad.
Oct. 16 Richmind, VA Mulligan's
Oct. 17 Atlanta, GA Masquerade
Oct. 19 Dallas, TX Deep Ellum Live
Oct. 20 Houston, TX Numbers
Minders
Oct. 13 Long Beach, CA Di Piazzo's Lava Lounge
Oct. 14 Los Angeles, CA Spaceland
Oct. 15 San Francisco, CA Bottom of the Hill
Oct. 16 Portland, OR EJ's
Oct. 17 Seattle, WA Breakroom
Moby
Oct. 15 Portland, ME The Asylum
Oct. 16 Buffalo, NY Showplace Theater
Oct. 17 Rochester, NY Gotham City
Oct. 19 Syracuse, NY Goldstein Auditorium (Syracuse University)
Alanis Morissette
Oct. 13 Canberra, Australia AIS Arena
Oct. 14 Sydney, Australia Entertainment Center
Oct. 15 Wollongong, Australia Entertainment Center
Oct. 16 Newcastle, Australia Entertainment Center
Oct. 18 Brisbane, Australia Entertainment Center
Oct. 20 Manila, Phillipines Folk Art Theatre
Tom Petty & Heartbreakers
Oct. 12 Madison, WI Kohl Center
Oct. 15 Las Vegas, NV MGM Grand Garden Arena
Oct. 16 Los Angeles, CA Hollywood Bowl
Pietasters, Pilfers & Spring Heeled Jack
Oct. 13 Hollywood, CA The Roxy
Oct. 14 San Francisco, CA Slim's
Oct. 15 Eugene, OR WOW Hall
Oct. 17 Seattle, WA RKCNY
Oct. 18 Boise, ID Bogies
Oct. 20 Salt Lake City, UT DV8
Sheila Divine
Oct. 14 Philadelphia, PA Upstairs at Nick's
Oct. 15 Hoboken, NJ Maxwell's
Oct. 16 New York, NY Bowery Ballroom
Oct. 17 Northampton, MA Pearl Street
Oct. 18 Albany, NY Valentine's
Oct. 20 Cambridge, MA Middle East
Oct. 21 Asbury Park, NJ The Saint
Sisters of Mercy
Oct. 13 Atlanta, GA Tabernacle
Oct. 14 Fort Lauderdale, FL Chili Pepper
Oct. 15 Orlando, FL House of Blues
Oct. 21 Mexico City, MX Palacio de los Deportes
Stereo Total
Oct. 12 Philadelphia, PA Khyber
Oct. 13 Boston, MA Middle East
Oct. 14 Hoboken, NJ Maxwell's
Oct. 15-16 New York, NY Brownie's
Oct. 17 Toronto, ON El Macombo
Oct. 18 London, ON Call the Office
Oct. 19 Columbus, OH Bernie's
Oct. 20 Cleveland, OH Grog Shop
Sally Taylor
Oct. 13 Portland, OR St. John's
Oct. 14 Arcata, CA Cafe Tomo
Oct. 15 Mill Valley, CA Sweetwater
Oct. 20 Los Angeles, CA Troubador
Tonic / Goo Goo Dolls
Oct. 12 Green Bay, WI Brown Cty. Arena
Oct. 14 Ypsilanti, MI EMU Convocation Center
Oct. 15 Dayton, OH Dayton Arena
Oct. 16 East Lansing, MI MSU
Oct. 19 University Park, PA PSU
Oct. 20 Amherst, MA U. of Mass.
Type O Negative
Oct. 14 San Francisco, CA Maritime Hall
Oct. 15 Hollywood, CA The Palace
Oct. 16 Las Vegas, NV Huntridge Theater
Oct. 20 Dallas, TX Deep Ellum Live
Tom Waits
Oct. 12-13 Denver, CO Paramount Theatre
Oct. 15 Eugene, OR Hult Center
Oct. 17 Vancouver, BC Orpheum
Oct. 18-19 Seattle, WA Fifth Avenue
Robbie Williams
Oct. 12 Boston, MA Avalon Ballroom
Oct. 13 Philadelphia, PA Tower Theater
Oct. 15 New York, NY Hammerstein Ballroom
Oct. 18 Toronto, ON The Warehouse
Oct. 19 Kitchener, ON The Lyric
---
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