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== ISSUE 158 ==== CONSUMABLE ONLINE ======== [October 20, 1998]
Editor: Bob Gajarsky
E-mail: editor@consumableonline.com
Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim
Kennedy, Reto Koradi, David Landgren, Sean
Eric McGill, Tim Mohr, Al Muzer, Joe Silva,
Lang Whitaker
Correspondents: Christina Apeles, Niles J. Baranowski, Tracey
Bleile, Lee Graham Bridges, Jason Cahill, Patrick
Carmosino, Krisjanis Gale, Emma Green, Paul Hanson,
Chris Hill, Eric Hsu, Tim Hulsizer, Franklin
Johnson, Steve Kandell, Robin Lapid, Linda Scott,
Scott Slonaker, Chelsea Spear, Simon Speichert,
Jon Steltenpohl, Simon West
Technical Staff: Chris Candreva, Dave Pirmann
Also Contributing: Rey Roldan
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: Elvis Costello with Burt Bacharach, _Painted From
Memory_ - Joe Silva
REVIEW: Depeche Mode, _The Singles 86>98_ - Robin Lapid
REVIEW: Love and Rockets, _Lift_ - Niles Baranowski
REVIEW: Bruce Hornsby, _Spirit Trail_ - Bob Gajarsky
CONCERT REVIEW: Yo La Tengo / Superchunk - Steve Kandell
REVIEW: Golden Smog, _Weird Tales_ - Christina Apeles
CONCERT REVIEW: Garbage / Girls Against Boys - Joann D. Ball
REVIEW: Mike Peters, _Rise_ - Rey Roldan
REVIEW: Whale, _All Disco Dance Must End In Broken Bones_ - Tim Mohr
REVIEW: Various, _Rare On Air KCRW Volume 4_ - Franklin Johnson
REVIEW: Vanilla Ice, _Hard To Swallow_ / Everlast, _Whitey Ford
Sings The Blues_ - Steve Kandell
REVIEW: Throwing Muses, _In A Doghouse_ - Chelsea Spear
REVIEW: Hooverville, _Blue Wonder Power Milk_ - Jon Steltenpohl
REVIEW: Dishwalla, _And You Think You Know What Life's
About_ - Joann D. Ball
REVIEW: Gilby Clarke, _Rubber_ - Linda Scott
NEWS: Cracker
TOUR DATES: Air, Tori Amos / Unbelievable Truth, Archers of Loaf,
Better Than Ezra / Possum Dixon / Athenaeum, R.L. Burnside,
Cherry Poppin' Daddies / Spring Heeled Jack, Cordelia's Dad,
Cypress Hill, N'Dea Davenport, Firewater, Garbage / Girls VS Boys,
Io, Irving Plaza, Lenny Kravitz, Liquid Soul, Motley Crue, Samples,
SNFU, Dee Snider's StrangeLand Tour, John Taylor, Mike Watt
Back Issues of Consumable
---
REVIEW: Elvis Costello with Burt Bacharach, _Painted From
Memory_ (Mercury)
- Joe Silva
If it seems unlikely that the acerbic suffer-no-fools face of
the New Wave and the Top 40 couturier of cocktail pop should wind up
penning tunes in each other's pocket, then perhaps we weren't listening
close enough. Costello has spent most of the decade stretching out
compositionally and it's not too difficult to imaginatively cast
Bacharach as the author of a sweet ditties like "Alison" once you
subtract a percentage of the ire. But the pairing makes good sense on
other levels as well. As Costello's core audience marches past the
marker of their fourth decade, they probably need more serene, lush
records like this for those quiet evenings of grilling on the back
deck. And if this record takes off with the new generation of hipsters
(who may be looking for something to wind down with after an evening
at the local faux-swing palace), Bacharach's back catalog might get a
healthy boost.
The songs, however, thankfully veer from excess when it comes
to sonically recreating the Bacharach's bygone era. There are signature
moments (the soft horns that open "Toledo" for example), but mostly
what these tracks bear are striking performances by Costello's pipes
and swell orchestration. Lyrically Elvis doesn't seem to be operating
on all cylinders despite the heartfelt delivery, but what's here suits
the musical backdrops ideally. But then again Bacharach's contribution
isn't staggering either. By the time you're headed for the LP's
home-stretch, the small and brilliant flourishes (which you'll find
in "The Sweetest Punch," "In The Darkest Place," and "What's Her Name
Today?") don't atone for the bulk of this material sagging somewhat.
Even the song that prompted this album's raison d'etre and closes the
record, "God Give Me Strength," is unfortunately not the killer tune
that some have made it out to be.
So if you're currently hot about music with suave delivery and
complex arrangements, this is fine stuff. But while Elvis might be
seeking distraction from the burden of his stalled brilliance and
Bacharach looking for some sustenance for his long flagging career, this
tiny mutual appreciation society that they've fashioned could have been
better served if they hadn't painted from Burt's past and worked from
more extensive sketches of what they both conceive the future of pop
might be.
---
REVIEW: Depeche Mode, _The Singles 86>98_ (Reprise)
- Robin Lapid
Here's something for hard-line goths, new wavers, and
classic techno-heads to rejoice in. Depeche Mode, the pop-synth
fixture of the 80's on, chronicle the second half of their
career with _The Singles 86>98_ . For the diehard completists
and casual listeners, the two-disc release nicely captures the
seedy yet otherworldly pop sensibility that made the Mode
mainstays and pioneers in electronic-based music. Featuring
every single from _Black Celebration_ through _Ultra_, along
with a few bonus collector tracks, the compilation is meant as
a companion piece to 1985's _Catching Up With Depeche Mode_
compilation.
The first disc, covering 1986-90, contains some well-known
but still relevant tracks that veer toward Depeche Mode's more
pop-synth sensibilities, as opposed to the much blacker rhythms
of their later years. Tracks like "Never Let Me Down Again"
and "World In My Eyes", with its trickling stream of electronic
beeps and rhythms, have provided a blueprint sound that bands
like the Smashing Pumpkins have translated with great fanfare.
That the band could use layers of synths to make gritty and
morose-flavored -- but still largely pop -- songs pays testament
to their cult-like appeal.
The second disc stutters into 1993's _Songs of Faith
and Devotion_ and on, from the screech and wail of "I Feel You"
and to _Ultra_'s steadier but rather unremarkable fare. Also
included are the tracks "Little 15", released in 1988 as a
single only in France, a live version of "Everything Counts",
and the new track, "Only When I Lose Myself", which sounds
like prototypical Depeche Mode.
Techno and mainstream artists owe a debt to the band
that could create menacing hooks with keyboards and Dave
Gahan's re-filtered, slightly off-kilter baritone couched
snugly in the songs. _The Singles 86>98_ touches on the band's
peaks and plateaus, but it serves as primer, reminder, and
enforcer of Depeche Mode's staying power.
---
REVIEW: Love and Rockets, _Lift_ (Red Ant)
- Niles Baranowski
For a while, Love and Rockets were the best source of the
odd musical alloy known as goth-pop. While equally as pretentious as
their former band Bauhaus, they left the bombast and grand sweeping
ballads to the band's moody former frontman, Peter Murphy, to create
a mix of black lipstick and white noise that had a note of menace
and importance to it, but was ultimately incredibly catchy. Sure,
they had a number of tear-jerking ballads to use as window dressing,
but more often than not, the lyrics were laughable (see "Kundalini
Express" if you disagree); it was as though in the Bauhaus divorce
settlement, Murphy had walked away with the words, leaving Daniel
Ash, David J. and Kevin Haskins with only their instruments.
On this latest record, Love and Rockets seem to have jumped
onto the au courant bandwagon, however, and traded their instruments
in for samplers and synths. While _Lift_ isn't the first time they've
attempted an electronic record, it's miles ahead of its predecessor
(1994's _Hot Trip To Heaven_) because it has a sense of the Love and
Rockets identity to it.
Though the best songs here all make use of programmed beats,
canned strings and even a Bauhaus sample or two, they don't float off
into electro-ether like the others do thanks to Daniel Ash's icy hiss.
Both charismatic and acidic, it's always been Love and Rockets's
secret weapon to save a doomed song and here it also serves to unify
the numerous different styles of dance music being brought out, from
the frantic house music of "Resurrection Hex" to the smoky dub of
"Deep Deep Down" and even the groovy pop stylings of "Holy Fool."
Probably _Lift_'s answer to "So Alive," "Holy Fool" is a good
indication what this record could have been. For this one song, they
found the perfect mix of electronic augmentation and old fashioned
_Earth, Sun, Moon_-style songwriting. With the help of Luscious
Jackson, the beats come alive but they cooperate with the song rather
than subverting it. Even though the rest of the album is sort of
sketchy, with a couple of cookie-cutter acid house tracks like
"R.I.P. 20 C." or either version of the title track for every truly
exciting one (I'd be remiss if I didn't mention the somber "Bad For
You," which I could almost see Tricky covering), one can't really
fault them. After all, with a highly successful Bauhaus reunion
taking place right now, they've got to keep their priorities straight.
We can only hope, though, that Peter Murphy nixes the idea of making
Bauhaus an electronic act.
---
REVIEW: Bruce Hornsby, _Spirit Trail_ (RCA)
- Bob Gajarsky
Grammy award-winner Bruce Hornsby has parlayed his piano
playing skills into multi-platinum records and the opportunity
to tour with his longtime idols, the Grateful Dead, from 1990-1992.
The effects of this tour can still be heard on the twenty-song,
double-disc _Spirit Trail_ .
Though firmly rooted in Hornsby's nimble fingers, _Spirit
Trail_ tips its hand to the Southern sounds of New Orleans and
jazz, gospel, folk and the blues. "Line In The Dust" fits right
alongside Hornsby classics such as "Mandolin Rain" and "The Way
It Is", but with more of the freelancing that has graced
Bruce's recent efforts since that tour with the Dead. And, yes,
he tips his hat to Jerry and the boys on the funk-meets-piano
of "Sunflower Cat", which samples the Dead's "China Cat Sun Flower".
Hornsby's illustrious career has seen performing and
writing partnerships with artists ranging from Bob Dylan and Don
Henley to Bela Fleck, and each time he works with a new artist,
it seems as if Hornsby incorporates some of that style into his
next album. This challenges his audience to pay attention to
his songs and their intricate musicianship, and rewards them
for their effort. _Spirit Trail_ proudly continues that tradition.
And that guy on the cover of the disc, ready to light a
cigarette in his ear? That's Bruce's deceased Uncle Charlie. Who
says it's not who you know?
---
CONCERT REVIEW: Yo La Tengo / Superchunk , Los Angeles
- Steve Kandell
I felt like I had won a contest, actually. Remember when
MTV did things like awarding a lucky viewer a brand new pink house
in Indiana and then having John Cougar Mellencamp play all day in
the backyard? Sort of like that, but in a completely different
sense. At one point about halfway through Yo La Tengo's short but
amazing set at Los Angeles' beautiful El Rey Theater on Tuesday
night and halfway through my fourth free Jack and Coke, a truly
stunning thought consumed me: Superchunk was still to come, and I
wasn't even supposed to be seeing any of this.
The event was the invite-only premiere party for the fourth
season of HBO's "Mr. Show with Bob and David," a big bucks
industry shindig that I, quite frankly, had no legitimate claim to
be attending as I have nothing to do with either HBO or "Mr. Show
with Bob and David." A friend of a friend's coworker, that sort
of thing. Had I not gotten a pass, I would have been just as
incensed as the rest of the indie rock community, excluded from
seeing their heroes Yo La Tengo and Superchunk play while a crowd
full of yammering, unappreciative suits and celebrities stands
around trying to pitch sitcoms over the din.
But being on the business side of the velvet rope for once,
I had no complaint. Apologies to my girlfriend for having to
listen me rant about standing on the sushi line between Laura
from Superchunk and Michael McKean of Spinal Tap fame. Great
sushi. And did I mention the open bar? But the point of the
evening was not to fight Janeane Garafalo and Ben Stiller for
space in the crowded smoking section - actually a comically small
portion of sidewalk chained off for us carbon monoxide-spewing
heathens - although though one could do worse than that for sport.
The point was the rock.
The season premiere of "Mr. Show" was introduced by its
stars and the evening's hosts, Bob Odenkirk and David Cross,
whose exquisite taste in potty humor is bested only by their
taste in music. The show was screened, it was pretty funny, hit
some slow stretches - but who gives a shit, I'm not reviewing
premium cable sketch comedy here. About a half an hour after the
big TV screen disappeared, along with the catering tables, Hoboken's
own Yo La Tengo took the stage.
Several dozen guests were gathered at the foot of the stage,
leaving the bulk of the party to continue oblivious. My friend
leaned over and sneered that the place would be pretty much cleared
out by the time Superchunk started playing. It was a school night,
after all. I nodded, hoping only that the talking of the
partygoers wouldn't drown out the music. For once, such cynicism
proved thoroughly ungrounded. Yo La Tengo opened, appropriately
enough, with "Sugarcube," the video for which featured our
evening's gracious hosts Bob and David training the low-key Tengos
how to be more "rock" in their rock videos. I turned around and
noticed that the entire theater was facing forward and paying rapt
attention. Not a peep could be heard during the quiet keyboard
intro to "Autumn Sweater." The forty-five-or-so minute set included
inspired versions of such hits (is that the right word?) as "From
a Motel 6," "Big Day Coming," and "Tom Courtenay," which was
particularly phenomenal.
As in any Yo La Tengo show, the three members constantly
switched roles. Rock critic-turned-rock star Ira Kaplan went from
guitar to keyboards while massive bassist/keyboardist James McNew
assumed guitar or percussion responsibilities, even taking vocals
for two songs. Georgia Hubley mostly stayed behind her drum kit
and added her ethereal vocals to her husband Ira's slightly nasal
ones, wearing a striped short-sleeved button down shirt that
looked exactly like the one all the Beach Boys wear on the cover
of this live album I have from 1966. By the time they finished
their devastating version of I Can Hear the Heart Beating as One's
epic "Deeper Into Movies," the El Rey did not feel like the site of
a party full of jaded show biz types. It felt exactly like a rock
show.
Difficult to comprehend was that this was merely the
opening act. With the possible exception of Fugazi, no band better
typifies indie rock integrity than veteran North Carolina four-piece
Superchunk, and the ugly (longtime, unfounded) rumor was that they were
getting ready to call it a career. This added a sense of urgency to the
festivities, at least to those of us who care far too much about such
matters. After an intermission just long enough for sufficient trips to
the men's room, the smoking pen, and the bar, the forever twenty-five
Mac McCaughan and the rest of his band hit the stage with "European
Medicine" from the last (but hopefully not last) Superchunk album
Indoor Living.. With wristband and wife-beater-wearing bassist
Laura Ballance doing her requisite nonstop bouncing stage left,
and the rest of the band tearing through songs old and new,
Superchunk did not look like the grizzled old-timers they are, and
they absolutely did not look like a band with nothing left to offer
or nothing left to gain by continuing to play together. By the
time the hyperkinetic "Skip Steps 1 &3" was through, the whole
theater was charged, and my friend's prophecy of the premature
exodus could not have been farther from the truth. The place was
packed. Perennial favorites like "Package Thief" and "Driveway to
Driveway" were mixed with newer songs like "Watery Hands" and
"Song for Marion Brown," with its faux-"Baba O'Riley" coda.
Any fears that the kids from Chapel Hill might tone things
down a notch for a cushy gig such as this proved as baseless as
the concerns about the crowd's potential for mass apathy. In fact,
having seen the band exactly a year earlier in the same venue, I
can say that this show was probably better, and no shorter than
the legitimate tour stop. The band left after "The First Part"
and a blistering "Hyper Enough," but not for very long. Superchunk
returned moments later with Yo La Tengo for an all-star jam that
put shame to the overcrowded and overtired Rock and Roll Hall of
Fame finales. The first song by Supertengo/Yo La Chunk was none
other than Peter Frampton's Big Rock Classic "Show Me the Way,"
with Georgia singing the trademark voice box/wah-wah guitar line
and Ira reading lyrics off notebook paper while Mac spun around
like a maniac and nearly knocked everyone else off the stage. The
capper was Superchunk's 1990 classic self-employment anthem "Slack
Motherfucker," sung convincingly by the band's shirtless friend
Phil, who slithered and preened like the winner of a "Be Iggy Pop
for Four Minutes" contest. When it all came to a crashing end
with David Cross diving into the grateful crowd, the lights came
back up, and everyone in attendance struggled to regain their
bearings. I'd say we all got our money's worth but no one paid.
Except HBO.
On line at the bar before Superchunk's set, a guy standing
next to me shook his head and smiled, wide-eyed and red-faced. "Do
you believe this shit?" he asked me. "This is indie rock heaven."
"You don't work for the show or anything, do you?"
"Fuck no." He went on the gleefully explain: friend of
someone he smoked out's friend. "This is unbelievable," he said as
the bartender handed him three free drinks.
God bless our entertainment industry.
---
REVIEW: Golden Smog, _Weird Tales_ (Rykodisc)
- Christina Apeles
_Weird Tales_ is the modern sing-a-long record of the year,
but not the most original. The all-star lineup of musicians Craig
Johnson (Run Westy Run), Gary Louris (The Jayhawks), Dan Murphy
(Soul Asylum), Marc Perlman (The Jayhawks), Jody Stephens (Big Star),
and Jeff Tweedy (Wilco), known as Golden Smog, offer fifteen songs
that are so easy to sing to that it's uncanny; then you remember
those things called hooks, hooks, hooks. Following their 1995 debut
album _Down By The Old Mainstream_ , _Weird Tales_ proves that this
collaboration is more than just a side project; rather, it is a
serious venture to take the best of country, pop, rock and folk,
thrown in with contemporary experiences, to produce songs that in
general, make you feel good. Heavy on choruses, rhymes and harmonies,
the tunes on this album are easy to remember, but impossible to place,
reminiscient of songs from numerous bands of the past and present.
Don't bother trying to name that tune or band, because you'll be
doing it the whole album.
The opening track "To Call My Own" has the old Soul Asylum
sound written all over it, with the raspy lead vocals, raw American
porch rock and sweet-hearted sentiment, with its fair share of "doot,
doot, doots" and "ooh, ooh, oohs" in the background. The festive,
knee-slapping tune "Until You Came Along" brought to mind a mix of
Crowded House, the Wallflowers and the Housemartins. Then there's
the acoustic twangy guitar solos with a bit of blues, in songs like
"Lost Love" and the ornamented country rock of "Looking Forward to
Seeing You."
Of course, _Weird Tales_ is not without its ballads. There
is the melancholy nature of "If I Only Had A Car" and the lucid feel
of "Jane," but "Making Waves" is what captivated me. The beautiful
harmonies, violin, drums, acoustic and electric guitars merged
together in the most darling love song. It is the most complex
piece on the album with the instruments talking to one another
reflecting the spirit of the song -- mixed, confused, yearning. The
violin playing is tense, the drumming is reserved, while one guitar
is dramatic and the other, repetitive. Meanwhile, the vocals are
dark and emotional with lyrics of longing: "Are you in there? Hello,
hello, hello . . . are you dying?"
"Keys" stands out the most because it is like nothing else
any of the members' respective bands had done, or like any other tune
on the album -- it is funky. Think Red Hot Chili Peppers meets the
Monkees. The most modern of the batch, "Keys" is an upbeat tune with
deep, breathy vocals, fuz-wah guitar, horns, and shout outs from the
rest of the band; that out of nowhere breaks into an-Eels like
transition into higher pitched vocals and drawn out guitar effects
that promptly shifts back into the funky tempo it opened with. A bit
of swing, jazz, funk and pop rolled into one from good ole' American
rockers is something I didn't expect, but definitely welcomed. It
demonstrated that Golden Smog is not just about somber acoustic
ballads, country-tinged rock or folky pop harmonies, which is quite
a pallet in any case. And although the majority of the songs on
_Weird Tales_ sounds like something you've heard before, Golden Smog
shows they are willing to experiment, incorporate and expand into
other musical styles, which is still a commendable move -- whether
unique or otherwise -- they do a satisfying job.
---
CONCERT REVIEW: Garbage / Girls Against Boys, La Jolla, California
- Joann D. Ball
Girls Against Boys are definitely doing something right. They've
been winning over music fans and critics everywhere with their new
release _FREAK*ON*ICA_ (DGC Records). And on last summer's headlining
tour, they generated a new level of intensity in clubs across America.
Maybe that's why a group of their biggest fans, otherwise known as the
band Garbage, handpicked Girls Against Boys to fill the coveted opening
slot on their 1998 North American tour.
It was clearly evident at the recent La Jolla, California show
that Girls Against Boys are extremely qualified for the job. With a
sound that blends rock, metal, disco, funk, techno and more, GVSB are
down with the new and deliver on the promise that it holds. And Scott
McCloud's supersexy rough-and-ready rasp, drummer Alexis Fleisig's
block rockin' beats and the double bass assault of Eli Janney and
Johnny Temple are even better live than on their satisfying studio
efforts. In a set that mixed songs from _FREAK*ON*ICA_ with older
selections from their Touch & Go outings, Girls Against Boys pulled
out all the freaky effects from its bag of musical tricks on a largely
unaware crowd. And GVSB made the most of the double bass grooove
approach (one sadly missed since the demise of Ned's Atomic Dustbin)
which kept the heads bobbing and the bodies moving.
From the very first note, GVSB made it plain that they were there
not just to warm up the stage for Garbage but to get the crowd's blood
hot and pumping. The band immediately grabbed and pulled in the crowd
at the RIMAC Arena on the University of California, San Diego campus
with the self-described 'disco-tortion' of "Park Avenue." This lead
track and single from _FREAK*ON*ICA_ was much louder and more
aggressive during the live performance, an approach which suited the
crowd just fine. It was all systems go on "Vogue Thing," also from
the new record, and Girls Against Boys delivered a scorching version
of "Super-Fire" from the earlier Touch and Go release _House of GvsB_.
Crowd surfing began during the current single "Roxy," which was vibed
up for the live show. And "Exorcisto," the last dip from the new
record, was funked up for everyone in the house.
Forty-five minutes of aggro-techno-funk-rock never sounded and
felt better, and Girls Against Boys were triumphant in their effort to
win over the crowd with their heavy fueled nine-song set. And to make
sure that the newly converted committed the name Girls Against Boys/GVSB
to memory, the band headed to the t-shirt booth during the show break
to meet their new fans with smiles and autographs. Surely there is no
doubt that Girls Against Boys will be bigger than cult favorites when
they complete their show opening duties later this year.
Concert headliners Garbage kicked off their rousing show with
"Temptation Waits," the first song on their current long-player,
_Version 2.0_ (Almo Sounds). Lead singer Shirley Manson indeed proved
that she is a wolf in sheep's clothing throughout the night as she
stalked the stage with hip-hop attitude in a simple outfit of red top
and black jeans. Manson's vocals were loud and clear and she was up
front and personal throughout the night. Holding down the musical
fort behind her was drummer Butch Vig, who kept the beats coming all
night long. Filling out the minimalist, open stage were guitarist
Duke Erikson, guitarist/keyboardist/special effects man Steve Marker
and a session bassist who all made sure that this was indeed a live
show with a big boss sound.
There were numerous highlights during the 17-song set , and
they began early on with the dual guitar assault of "Not My Idea" from
the self-titled debut record which got the crowd jumping and dancing in
a frenzy. The single "Paranoid" was immediately recognizable from its
slinky bass intro and Erikson's slashing guitar solo over the sample
break made a huge impression on the audience. By the time Garbage tore
into "Stupid Girl" and "Vow," just over halfway into the set, the crowd
was already on its third wind. The band recreated all of the sonic
effects from the studio versions of the two songs and gave them a
heaping dose of venom by adding fresh live guitar chaos and bringing
both to loud thundering finishes. Manson later gave a sincere heartfelt
thanks to the crowd for supporting the band by dedicating the lead
single "Push It" to those who came out to the show. And Manson gave
the song some hip-hop flavor, hinting at Salt-n-Pepa's song of the
same name, as she whipped up the sing-along crowd. And in what was the
most spirited moment of the night, Manson changed the chorus of the
encore closer "When I Grow Up" dropping in the lines " when you grow
up" and "when we grow up" in a nod to the youngish audience.
Not only did Garbage prove themselves a live band of the highest
order, they also exhibited their talent for recognizing the cutting edge
by bringing GVSB along with them on their eagerly awaited American tour.
It's a double bill that works extremely well -- one that's big on sound
and energy and is guaranteed to please. Don't miss the tour as it winds
its way eastward across the country.
---
REVIEW: Mike Peters, _Rise_ (Velvel)
- Rey Roldan
As a dedicated diehard fan and follower of the Alarm, I've
lived for every song Mike Peters wrote, every live appearance he's
done, and supported nearly every album he's released (although
1996's _Feel Free_ left a lot of be desired). _Rise_ finds Peters
updating his sound to mixed results. "White Noise" compares quite
favorably against The Alarm's best anthems, though the 'space noir'
keyboard effects go overboard. Issue-centric and confrontational,
Peters sings 'The creeds and the colours are out on the street/ A
strange kind of glory exists we are what we eat/ a diet of
violence and crime feed our screens every night.' The Beatle-esque
"Trancendental" tackles a cheesy organ riff and incorporates it
into an essentially cheesy lovesong. But as he's proven in classic
Alarm songs such as "Spirit of 76" and "Rain in the Summertime", he
can turn even the most trite phrases into honest words of endearment
(witness 'all I have to offer you is everything in me' and 'I
would paint the sky a purple shade/ Dye the blue sea black/ Spray
the clouds in tangerine/ make the trees electric blue for you, all
for you').
Fortunately, Peters has learned from his past mistakes and
kept things low-key and restrained (for the sake of keeping this a
positive review, the horrid bonus tracks "The Message [The Mess Age
Mix]" and "White Noise [Part III] [Snakebite Mix]" should be
avoided at ALL costs - the former is an irritating beatbox rap cover
from his last album and the second is a sad attempt of M People-style
electro-house). His distinctively limited vocal range is best
suited for ballads and anthemic rockers which this record is rife
with. Gone are his experiments in rap. Gone are his grunge
posturing. And gone is my wish for him to return to form. Welcome
back, Mike. We missed ya!
---
REVIEW: Whale, _All Disco Dance Must End In Broken Bones_ (Virgin)
- Tim Mohr
Do you remember the huge beat, brash guitars, and devil-may-care
girly vocals of Whale's "Hobo Humpin' Slobo Babe" that blew up in '94 and
led to a support slot on Blur's North American tour? Well if that record
was too Beasties for you in its reckless energy and combination of chaotic
guitars and hip-hop energy, Whale could still get you with their new
release.
Gone is Gordon Cyrus, the hip-hop afficianado who must have been
responsible for Whale's early style, for gone also are the metallic
guitars, shouted choruses, and joyously un-self-conscious enthusiasm.
Instead, Cia Soro's vocals are sung over a back-drop more Sneaker Pimps
than "Sabatage."
_All Disco Dance_ opens with the single, "Crying At Airports," an
effective piece of mellow trip-hop-ish work, with a slide-guitar sample,
catchy organ line, and restrained vocals. Then "Deliver The Juice" runs a
little towards the old Whale style, all Waitresses-esque vocals and
prominent live guitar, though here, too, they contain themselves much
more than they did on their debut. These two songs represent the outer
boundaries of the record, with the rest falling somewhere within these
parameters.
There are interesting sounds to be found within these boundaries:
"Roadkill" swerves in a neo-80s direction, running atop a minimalist drum
machine beat are vocals traded between a breathy Cia and a distorted male
voice.
The central portion of the album is more muscular. "Smoke" has a
threatening bass line and bursts of noise, "Four Big Speakers" returns to
the shouted choruses and guitar riffs of old Whale songs, and "Losing CTRL"
is faster than anything else on the record.
As "Puma Gym" and "2 Chord Song" fade, you realize that Whale want
to sound like Kenickie and Sleeper, but that they also have a fascination
with groups like Cibo Mato, Intastella, and Sneaker Pimps, who manage to
place their indie origins into hip-hop contexts. Whale come across like
Luscious Jackson on their _Search For Manny_ ep: sometimes adopting beats,
sometimes playing like a band. This leaves the record varied - if slightly
tentative - and bodes well. _All Disco Dance Must End In Broken Bones_
delivers alot of good songs and cuts effectively across stylistic lines.
Particularly for fans of Sneaker Pimps, Morcheeba, and Sleeper songs like
"Nice Guy Eddie," Whale's sophomore album should be on your shopping list.
---
REVIEW: Various, _Rare On Air KCRW Volume 4_ (Mammoth)
- Franklin Johnson
Eclectic Los Angeles radio station KCRW has been
providing morning radio listeners with a diverse group of music
for more than 20 years. Through the efforts of Mammoth Records,
_Rare On Air_ gives people the chance to hear acoustic and
live performances from these artists - even if they don't reside
near the City of Angels.
_Volume 4_ of this ongoing series captures more of the
live show that is featured on the National Public Radio's flagship
station in Southern California. There aren't a lot of bonafide
hit songs here (only Marcy Playground's "Sex and Candy" qualifies),
but that adds to the collection's beauty. Who hasn't heard of
Radiohead, Ani Difranco, Sarah McLachlan or Tom Waits? No one -
and here, some of their morning performances can be heard. But
at the same time, newer artists such as Ozomatli, Zap Mama and
Cafe Tacuba deserve to be heard - and so they are, thanks to
KCRW and Mammoth.
---
REVIEW: Vanilla Ice, _Hard To Swallow_ (Universal) / Everlast,
_Whitey Ford Sings The Blues_ (Tommy Boy)
- Steve Kandell
There might not be a more loaded phrase in all of pop music
than 'white rapper.' The early 90's saw albums from Vanilla Ice and
House of Pain reach commercial heights unseen by most black rappers,
bringing charges of cultural piracy from the hip-hop community. House
of Pain didn't help matters by wearing Larry Bird jerseys, even though
they had street credibility that blonde poseur Vanilla Ice could never
hope to achieve. Only the Beastie Boys have managed to fully transcend
the stigma; five full-length albums over the course of thirteen years
have silenced the harshest of naysayers. Now Vanilla Ice and Everlast,
the former House of Pain leader, are both back with albums that aren't
afraid to boast their white boy roots. However, this is about as much
as these two albums have in common.
It can't be easy for an overnight pop sensation created by a
board room full of record execs to strive for career longevity and
credibility, to prove he's not an untalented puppet. Like Pinocchio,
Vanilla Ice wants to be a real boy. _To the Extreme_ , the album that
spawned the "Under Pressure" retread "Ice Ice Baby," sold more than 13
million copies worldwide in 1990. His movie, Cool as Ice hit screens
in the final seconds of his fifteen minutes of fame. And then he went
away.
Vanilla Ice's first attempt to reinvent himself to the fickle
teen set as a dreadlocked dope fiend came with _Mind Blowin'_, on which
he brags about his superhuman THC intake to a world that could not have
cared less. But rather than say uncle and live off back royalties, the
former Robbie Van Winkle presses on with his new album, _Hard to
Swallow_ (cue Butt-head chuckling), this time coming back as a
snarling, tattooed neo-metal guy - think Korn if it were spelled with
a 'C.' He wants you to know that this is the real Vanilla Ice, and
that he's hardcore and that he's pissed and that he still smokes a lot
of pot ("Zig Zag Stories"). As a mean metal guy, he's no more
convincing than when he tried to pass himself off in the press as
Miami gang kid eight years ago (Van Winkle's from suburban Texas).
But it's far too easy to make fun of Vanilla Ice based solely on his
hilariously malleable public image. So, onto the music.
His Coldness has teamed up with Ross Robinson, producer for
such rap-metal bands as Korn and Limp Bizkit. Robinson's job here is
to make the audience forget that it is Vanilla Ice they are listening to,
and at times, does this successfully. Lyrics are growled as much as
rapped over churning guitar chords and industrial-strength drums. The
formula does not vary much over _Hard to Swallow_'s twelve tracks. To
Robinson's credit, the album sounds nothing at all like the kid-tested,
mother-approved Vanilla Ice of old. As far as the rhymes go, he
doesn't really have anything intelligent to say, but he says it with
conviction. The storied Vanilla Ice/Snow rivalry heats up with "Scars."
And if anyone's still looking for offensive rap lyrics in this jaded day
and age, look no further than "The Horny Song," which makes one long for
the subtlety of Luther Campbell.
This is not to say that the album is without its entertainment
value. Despite the new title, "Too Cold" is actually a remake of "Ice
Ice Baby," with heavy distorted power chords and a busy sound mix
taking the place of the ubiquitous "Under Pressure" bass line. Ice's
innocuous braggadocio from eight years ago has been reinvented an
aggressive threat, and it's genuinely funny; one can only hope against
hope that he meant for it to be.
It hardly seems fair to group Everlast's impressive new solo
album with Vanilla Ice's noisy resurrection, but where one trick pony
_Hard to Swallow_ sounds pandering, _Whitey Ford Sings the Blues_ is
genuine and eclectic.
Following a brief movie career (Judgment Night) and a near-fatal
heart attack, Everlast returns with his first solo album since House of
Pain disbanded. a far-reaching album that defies the sort of simple
categorization that Vanilla Ice craves. Acoustic guitars, horns, and
live drums complement the otherwise conventional rap numbers on the
new disc - more Basehead than Sublime. Standouts include the
rollicking "7 Years," which incorporates the piano riff from "Hard
to Handle" and horns, and the more plaintive "What It's Like" and
"Ends." Despite the country feel of the album's artwork and some of
the songs, Everlast has not abandoned his hip-hop roots. "Tired" would
have sounded at home on a House of Pain record while "Funky Beat" is a
traditional old-school rap featuring Brand Nubian, Sadat X, and Casual.
Lyrically, there is more at stake here than jumping around.
Everlast's brush with mortality at the hands of a congenital heart
condition is touched on in the huge-sounding "Death Comes Calling,"
"Painkillers," "Praise the Lord," and well-wishing answering machine
messages from the likes of Gang Starr's Guru and Cypress Hill's Sen
Dog. "The Letter" is about the end of relationships - both with a
woman and with the House of Pain.
Rather than try and use rock guitar and imagery to weasel his
way back into favor with the mall set, Everlast utilizes it as a means
of crafting an original, personal, and affecting hip-hop record.
---
REVIEW: Throwing Muses, _In A Doghouse_ (Throwing Music/Rykodisc)
- Chelsea Spear
Ten years after influential bands on today's commercial
alternative scene made inroads into the American musical consciousness
via college radio, and the tombstone might as well be erected: RIP
College Rock. On certain New England college campuses, I've found
that the heirs apparent to the thrones of REM, the Replacements, and
10,000 Maniacs seem to be the Backstreet Boys, Aayilah, and Usher.
Where's a fan of the music that rocked the dorms of yesteryear and a
lover of challenging music that sparkles with insight and smarts with
life supposed to turn?
One good place to tune in is _In A Doghouse_, the reissue of
the early recordings of influential post-punk band Throwing Muses.
This release finally makes the band's eponymous debut availible on
American shores, and compiles the EP _Chains Changed_ and early demo
recordings on CD. Obviously, longtime fans need this release, but the
people who really need to hear this are those who might have caught a
glimpse of the Muses' musical magic but didn't know where to start.
_In A Doghouse_ cemented the musical approach that the band
would broaden throughout their tenure. Different parts of songs fused
unexpectedly, lurching from prettily strummed pop song to asymmetric
thrash at a moment's notice. Like many bands of the era, the Muses
favoured a jangly guitar sound, but unlike the radio-ready
Rickenbacker tickle of REM and their ilk, this band hid the sound
underneath a lurching, nauseated bass weave. Thus, the jangling
guitar that was a hallmark of power-pop bands of the era was instead
changed to the sound of a frayed nerve being hit one more time.
To accompany this musical sense of unease, the Muses
complemented their compelling approach with lyrics that gave voice to
marginalized mindsets, such as boys dealing with homosexuality in a
closed-minded small town, people so hated within their surroundings
that they turn to killing, and the popular favourite, young women
struggling with mental illness. Rather than glorifying any of these
characteristics, or condescending to them from the outside, lyricist
Kristin Hersh got into the skin of her subjects, and her scary uneasy
lyrics offer much insight but little resolution. Her vocal approach
is so angry and passionate that at some points, it sounds like she's
vomiting up her lyrics instead of merely singing them.
_In A Doghouse_ offers a look inside how the band progressed
from their early days to the music that was finally released as their
first few records. The second disc includes "The Doghouse Cassette",
the demo tape with which the band procured a contract with the
influential British label 4AD. The songs are more raw in their
initial versions, with Kristin's bloodcurdling screams in "Hate My
Way" and "Vicky's Box" bringing the songs to such an intense, visceral
level that they're almost impossible to listen to.
The final part of the album features the Muses' last lineup
performing some older, never-before-recorded songs. I don't know about
this last part -- the songs are as strong as the material on the album,
and hearing the mature and eclectic lineup adds an interesting
dimension, but the ingenuity and intensity just isn't there in the
same way that it was earlier in the album.
However, this is a small quibble. Listening to the pure-blooded
passion that drives _In A Doghouse_ gives ample reason as to why this
album has been so revered within the ranks of critics, artists, and
lonely college girls alike. In a season where dispassionate R&B is
the musical flavour of choice within dormitories, hearing something
that can change lives through the mere excitement and energy contained
within is refreshing. This should give those ivy-covered walls the
shaking that they've needed for quite some time.
---
REVIEW: Hooverville, _Blue Wonder Power Milk_ (Epic)
- Jon Steltenpohl
Were it not for the fact that countless other artists have made
dreamy electronica with strings and sparkly noises, Hooverphonic's latest
release, _Blue Wonder Power Milk_ might be worthy of some attention.
Instead, all we find is a rehash of what Depeche Mode did so brilliantly
in the 80's with little flashes of Soho's "Hippychick" and ambient techno
slipping in here and there.
Unfortunately, Hooverville never expands past the musical
landscape of their predecessors. The use of a full orchestra is
interesting, but ultimately diversionary from the more fundamental
problems. "Eden" makes nice use of what sounds like french horns set
against a cello or two. The production is tight and flawless. Geike
Arnaert's lyrics are particularly arresting on this track, but despite
crossing the proverbial "t"'s, the song remains flat. Arnaert, the
horns, and the strings simply repeat without any sense of passion or
drama. Music of this type often moves the listener to deep emotions,
but Hooverville simply finds the groove and stick there. "Renaissance
Affair" is similar, but it actually has some emotional depth to it.
Unfortunately, "Renaissance Affair" ends with a extended high pitched
string part that gradually becomes incredibly annoying.
"Out of Tune" works on a few levels because it tosses up the
sound. Arnaert's airy vocals soar behind the mix of a simple drum
beat, satellite guitars, and sound effects tossed in and out. The
notes bend around the beat in a way which creates rhythm from the
mis-tuning. The song which follows, "This Strange Effect" continues
with the mood started by "Out of Tune". It uses Arnaert's voice as
a sonic anchor while the waves of the instruments weave and bob
around it. There's a slight Julee Cruise feel to "This Strange
Effect" which leaves the listener distanced by the snarled music
but drawn ever closer by the diva inside.
But typically, Hooverville seems to have an idea for a song
that leaves no room for much variation or depth. It's kind of like a
demo for each song that shows you how neat it could be, but never
goes all the way. _Blue Wonder Power Milk_ is never mellow enough to
be ambient, never pop enough to be radio friendly, never driven enough
to be dance, and never weird enough to be ear candy. It is an
impeccably produced and performed album that never really shows any
soul or emotional depth.
---
REVIEW: Dishwalla, _And You Think You Know What Life's About_ (A&M)
- Joann D. Ball
What becomes of the band with the smash single the next time
around? That's what everyone is asking in reference to Dishwalla,
who recently released _And You Think You Know What Life's About_ .
Of course, this record is the much-anticipated follow-up to 1995's
Gold album _Pet Your Friends_. And yes, that album was the one
which spawned the smash hit "Counting Blue Cars," one of the most
frequently played songs of 1996. In fact the song got so much
airplay that it won that year's Billboard Rock Song of the Year award.
Santa Barbara, California's favorite sons Dishwalla are back,
eager to prove that they can rise above the dreaded sophomore slump
and that they can produce an album's worth of tunes as good or better
than that old hit single. As to be expected, some major changes have
taken place since the last outing. Most notable is the mature and
introspective subject matter explored on _And You Think You Know
What Life's About_. And that's not a coincidence since the record
is largely a response to the band's eye-opening experiences on the
road promoting the breakthrough record. The extensive touring and
countless live shows also influenced Dishwalla's overall sound as
this effort is fuller and has an unexpected edgy toughness. Both
of these improvements are effective and brilliantly captures the
band's passionate modern rock approach.
_And You Think You Know What Life's About_ begins with the
rousing "Stay Awake." With a bit of a nod to Lenny Kravitz, this
track about insomnia is supercharged with big chunky guitars over a
funky beat . The industrial/techno effects on this track are an
unexpected but welcome surprise, and the song stands out from the
guitar-based, straight ahead rock stylings found on other tracks.
More typical of the band is "Once in a While," the record's second
track and lead single, which has all of the ingredients that made
"Counting Blue Cars" such a memorable song. Another variation on
the winning formula is "Until I Wake Up", one of the best power
ballads delivered in the last few years. The song's rise and fall
structure provides the perfect balance between the soft sweetness of
acoustic guitar and keyboards and the surge of sweeping power chords.
The quieter, mellow approach is explored more fully on "The Bridge
Song" which suggests that the band could also pursue this direction
successfully.
One of the most striking things about the twelve songs on
_And You Think You Know What Life's About_ is the emotion conveyed
by lead vocalist J.R. Richards. Richards has a very good voice that
is further enhanced by the band's big, rich and powerful sound. To
his credit he at times recalls the best vocal work of U2's Bono.
And similarly, Richards succeeds in capturing the listener's
attention and making the songs come alive.
With _And You Think You Know What Life's About_, Dishwalla
stands out as a rock band that combines infectious guitar hooks,
haunting melodies and intelligent lyrics. The new edgier sound
successfully lifts the band out of the one-hit wonder category and
hints at the likelihood of longevity. That is, as long as the band
avoids the trap of relying on power guitars and heavy handedness to
attract attention. Here's hoping that throwing in a cover/sample of
AC/DC's "Back in Black" in the middle of "Counting Blue Cars" during
a recent Southern California live performance was reflective of the
band's musical appreciation and not a sign of things to come.
---
REVIEW: Gilby Clarke, _Rubber_ (Pavement)
- Linda Scott
Gilby Clarke's a rock and roll soldier. He's fronted two
bands, been part of one of the greatest rock bands in the world, and
most recently released/toured on three solid solo rock albums. This
soldier's done it all. Clarke became a name during his stint as
rhythm guitarist (substituting for Izzy Stradlin) for Guns N'Roses.
Izzy walked out on the bloated GNR circus that was the Illusion tour,
and GNR lead guitarist Slash found Gilby to be a talented guitarist
and compatible second row guy in the band. Clarke stuck with GNR
until the tour's end and beyond, recording GNR's last album, _The
Spaghetti Incident_.
Armies don't encourage soldiers to question the general's
commands, and neither do bands. Clarke found himself shown the door
for privately and publicly questioning Axl Rose's plans to produce a
techno-industrial sound for the band. While Clarke was the first to
stand up and say this wasn't a good direction for GNR, every other
band member has been fired or quit over this same issue. Clarke's
been leading the way showing that they all have the names and
followings individually to have a lot of fun as musicians.
Recording and touring with Slash's Snakepit for the _It's
Five O'Clock Somewhere_ album, Clarke and Slash continued their dual
guitar role from GNR. At this time Clarke was also flying high with
the release of his first (highly recommended) solo album, _Pawnshop
Guitars_ . As part of the Snakepit club shows, Clarke would do a
couple songs from his album and the Snakepit album. Crowds found
Clarke to be a congenial guy who connected with the audience and took
time to sign autographs and chat after the shows.
_The Hangover_ was Clarke's second album. It was good, but
not quite as good as _Pawnshop_. Pavement Records released the
current album _Rubber_, and it gets another positive recommendation.
Once again, the multi-talented Clarke is credited with writing,
playing all guitars on all tracks, and singing lead vocals. With
_Rubber_, Clarke has pulled together a solid rock album. With nods
all over the place to The Beatles and The Rolling Stones, Clarke's
albums all have an uptempo familiarity; no wallowing in anguished
phrasing about sad subjects. Even the first track, "Kilroy Was Here",
written about suicide, is from the point of view of acceptance.
Risking the wrath of classic rock purists, Clarke wrote music for
Janis Joplin's "Mercedes Benz". Listen to it a couple times on
_Rubber_ . It's so in tune with that era that you begin to believe
this was the way it always was. Clarke writes what he lives and
knows, so the songs have honesty. A man who loves his motorcycles
and his family, Clarke has laid down "The Hell's Angels" and
"Frankie's Planet" (for daughter Francesca).
_Rubber_ is another "highly recommended" Gilby Clarke album,
and if you like classic rock, Slash's Snakepit, Guns N'Roses, Izzy
Stradlin, The Beatles, The Rolling Stones, you should give it a try.
Clarke put a little of all of these in _Rubber_ but mostly himself.
Check out Pavement Record's web site for Gilby Clarke at:
http://www.pavementmusic.com/gilby.html . This rock and roll soldier
can play with the biggest and best, but when it comes to speaking his
mind on musical direction. this soldier is ready to go over the wall
and try it out there on his own.
---
NEWS: > Cracker will appear on America Online on October 23
for a chat prior to their concert (at 9:00 PST) in San
Francisco's Fillmore Theatre. Fans will also have the
opportunity to vote for which song Cracker should perform as
an encore, and at 11:00 pm, a cybercast of the concert will
be held at http://www.broadcast.com . Finally, fans can
check out a bonus track called "Disintegration" until November
22 (at http://www.virginrecords.com/cracker ) after which
time the song will no longer be playable on the computer.
---
TOUR DATES:
Air
Oct. 23 New York, NY Town Hall
Tori Amos / Unbelievable Truth
Oct. 21 Nashville, TN Vanderbilt Gym
Oct. 23 Norfolk, VA Chrysler Hall
Oct. 25 Providence, RI PAC
Oct. 27 Dayton, OH Hara Auditorium
Oct. 28 Louisville, KY Gardens
Oct. 29 Evanston, IL McGraw Hall
Oct. 31 W. Lafayette, IN Elliot Hall
Archers of Loaf
Oct. 23 Madison, WI University of WI
Oct. 24 Minneapolis, MN 7th St. Entry
Oct. 26 Columbia, MO Blue Note
Oct. 27 Lawrence, KS Bottleneck
Oct. 30 Boise, ID Neurolux
Better Than Ezra / Possum Dixon / Athenaeum
Oct. 21 Des Moines, IA Safari
Oct. 22 Omaha, NE Ranch Bowl
Oct. 23 Columbia, MO Blue Note
Oct. 24 St. Louis, MO Mississippi Nights
Oct. 25 Kansas City, MO Beaumont Club
Oct. 27 Fayetteville, AR Dickson Street
Oct. 29 Oxford, MS Library
Oct. 30 Memphis, TN 616 Club
Oct. 31 Houston, TX Aerial Theatre
R.L. Burnside
Oct. 21-22 Cambridge, MA House of Blues
Oct. 23 Northhampton, MA Iron Horse
Oct. 24 Philadelphia, PA Upstairs @ Nick's
Cherry Poppin' Daddies / Spring Heeled Jack
Oct. 26 Indianapolis, IN Egyptian Room
Oct. 27 Cincinnati, OH Bogart's
OCt. 28 Columbus, OH Newport Music Hall
Oct. 29 Detroit, MI State Theatre
Oct. 30 Cleveland, OH Agora Theatre
Oct. 31 Toronto, ON Warehouse
Cordelia's Dad
Oct. 29 Seattle, WA Tractor Tavern
Cypress Hill
Oct. 29 Philadelphia, PA Electric Factory
Oct. 30 Boston, MA Avalon
Oct. 31 New York, NY Roseland
N'Dea Davenport
Oct. 21 Minneapolis, MN 1st Avenue
Oct. 22 Chicago, IL Double Door
Oct. 24 Detroit, MI St. Andrews Hall
Oct. 25 Toronto, CAN Opera House
Oct. 27 Montreal, CAN The Cabaret
Oct. 28 Philadelphia, PA Theatre of the Living Arts
Oct. 29 Washington, DC The Bayou
Firewater
Oct. 21 Atlanta, GA Point
Oct. 22 Orlando, FL Sapphire Supper Club
Oct. 23 Tallahassee, FL Cow Haus
Oct. 24 New Orleans, LA Mermaid Lounge
Oct. 25 Austin, TX Emo's
Oct. 26 Dallas, TX Trees
Garbage / Girls VS Boys
Oct. 21 Lake Buena Vista, FL House of Blues
Oct. 23 Atlanta, GA Tabernacle
Oct. 24 Raleigh, NC The Ritz
Oct. 25 Washington, D.C. Bender Arena
Oct. 28 Worcester, MA Palladium
Oct. 30 New York, NY Roseland
Oct. 31 Asbury Park, NJ Convention Hall
Nov. 1 Providence, RI Lupo's Heartbreak Hotel
Io
Oct. 23 Concord, NH Cafe Eclipse
Irving Plaza (http://www.irvingplaza.com - New York concert hall)
Oct. 21 BB King
Oct. 22 Soul Coughing
Oct. 28 Corrs
Oct. 29-31 Cheap Trick
Lenny Kravitz
Oct. 22 Philadelphia, PA Electric Factory
Oct. 24 New York, NY Roseland
Liquid Soul
Oct. 23 Des Moines, IA Drake University
Motley Crue
Oct. 21 Des Moines, IA Civic Auditorium
Oct. 23 Detroit, MI State Theatre
Oct. 24 Akron, OH Civic Theatre
Oct. 26 Cincinatti, OH Taft Theatre
Oct. 30 New York, NY Beacon Theatre
Oct. 31 Boston, MA Orpheum Theatre
Samples
Oct. 21 Charleston, SC Music Farm
Oct. 24 Washington, DC 930 Club
SNFU
Oct. 22 Seattle, WA Off Ramp
Oct. 23 Eugene, OR John Henry's
Oct. 24 Portland, OR E.J.'s
Oct. 27 San Francisco, CA Cocodrie
Oct. 29 Fresno, CA Club Fred
Oct. 30 San Jose, CA The Cactus Club
Oct. 31 Reno, NV Del Mar Station
Dee Snider's StrangeLand Tour (Soulfly + more)
Oct. 21 Kansas City, MO The Beaumont
Oct. 24 Seattle, WA DV8
Oct. 25 Vancouver, BC Palladium
John Taylor
Oct. 21 Columbus, OH Mekka
Oct. 22 Detriot, MI Alvin's
Oct. 24 Boston, MA Mama Kin
Oct. 26 Danbury, CT Tuxedo Junction
Oct. 27 Hoboken, NJ Maxwell's
Oct. 28 New York, NY Life
Oct. 30 Old Bridge, NJ Birch Hill Nightclub
Oct. 31 Springfield, VA Jaxx
Mike Watt
Oct. 21 Cincinnati, OH Sudsy Malone's
Oct. 22 Cleveland, OH Grog Shop
Oct. 23 Detroit, MI Alvin's
Oct. 24 Louisville, KY Mercury Paw
Oct. 25 Nashville, TN The End
Oct. 26 Birmingham, AL The Nick
Oct. 27 Memphis, TN Barrister's
Oct. 28 Fayetteville, AR Dickson Street
Oct. 29 St. Louis, MO Side Door
Oct. 31 Minneapolis, MN First Avenue
---
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