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== ISSUE 174 ==== CONSUMABLE ONLINE ======== [April 12, 1999]
Editor: Bob Gajarsky
E-mail: editor@consumableonline.com
Managing Editor: Lang Whitaker
Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim
Kennedy, Tim Mohr, Al Muzer, Joe Silva
Correspondents: Christina Apeles, Niles J. Baranowski, Tracey
Bleile, Jason Cahill, Patrick Carmosino,
John Davidson, Andrew Duncan, Krisjanis Gale,
Paul Hanson, Chris Hill, Eric Hsu, Tim Hulsizer,
Franklin Johnson, Steve Kandell, Reto Koradi,
Robin Lapid, Linda Scott, Scott Slonaker,
Kerwin So, Chelsea Spear, Simon Speichert, Jon
Steltenpohl, Michael Van Gorden, Simon West
Technical Staff: Chris Candreva, David Landgren, Dave Pirmann
Also Contributing: Dan Enright
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.
==================================================================
.------------.
| Contents |
`------------'
INTERVIEW: Jimmy Eat World - Tracey Bleile
REVIEW: Soundtracks, _Go_ / _Forces of Nature_ / _Ed TV_ - Bob Gajarsky
REVIEW: The Rentals, _Seven More Minutes_ - Chris Hill
REVIEW: The Go-betweens, _The Lost Album '78-'79_ - David Landgren
REVIEW: Soundtrack, _Lock, Stock & Two Smoking Barrels_ - Chris Hill
REVIEW: Various Artists, _Virgin Voices - A Tribute to Madonna
Volume 1_ - Joann D. Ball
REVIEW: Hugo Largo, _Drum_ - Chelsea Spear
REVIEW: Tal Bachman, _Tal Bachman_ - Michael Van Gorden
REVIEW: Add N to (X), _Avant Hard_ - Niles Baranowski
REVIEW: Nik Kershaw, _15 Minutes_ - Bob Gajarsky
REVIEW: Planes Mistaken For Stars, _Planes Mistaken For Stars_ /
Starmarket, _Calendar_ - Andrew Duncan
REVIEW: Julia Fordham, _The Julia Fordham Collection_ - Chris Hill
REVIEW: Ian Tyson, _Lost Herd_ - Jon Steltenpohl
REVIEW: The Jellybricks, _SoapOpera_ - Dan Enright
TOUR DATES: Aerosmith / Afghan Whigs, Beastie Boys, Ben Folds Five /
Fleming & John, Bouncing Souls, Candlebox, Cubanismo Spring Tour,
Ani DiFranco, Dubtribe Sound System, Eve 6 / Lit, Firewater / Girls
Against Boys , Gardener, Godsmack / Loudmouth, Gomez / Mojave 3,
Miles Hunt, Kent / Papa Vegas, Low, Mercury Rev, Steve Miller Band,
Of Montreal, Olivia Tremor Control, Pan Sonic, Placebo / Stabbing
Westward, Ernest Ranglin , Residents, Sleepyhead, Sparklehorse /
Varnaline, Splender, Sally Taylor, Underworld, Wilco, David Wilcox
THE READERS WRITE BACK!
Back Issues of Consumable
---
INTERVIEW: Jimmy Eat World
- Tracey Bleile
The band Jimmy Eat World is more than three-quarters through
their tour of duty criss-crossing the Midwest, and as they make their
way to the Foxfire Coffee Lounge in downtown Minneapolis, they had
that road-trip glaze that only comes from too many close-quartered days
in a van filled with six people and all their gear. Fresh from a video
game and cradling a giant cup of hot tea, bassist Rick Burch graciously
took some time to talk about their new album, _Clarity_.
The excitement being generated ahead them of in every town, and
growing with every date, is due to the single "Lucky Denver Mint," which
is also included on the soundtrack to the new Drew Barrymore movie
_Never Been Kissed._ The band also made a video for "Lucky Denver Mint"
that was directed by Darren Doane (who retains the hyper moves and
humorous story line that made Blink 182's "Dammit" a hoot).
"A lot of people have been coming up to us saying, 'Yeah, we
heard you on the radio, and we wanted to check you out live,'" Burch says.
"And we filmed a video for "Lucky Denver Mint.' We had done a video before,
but it was mostly live performance shots. There was actually some set-ups
for this video. There's some Frisbee and basketball; it was really fun."
When _Clarity_ finally made it out after being in limbo with their
label - due in no small part to the single's success - the band's first
priority was hitting the road. They were already well-rehearsed from the
break between recording and the actual release of the album. Preparation
for the tour consisted of playing a couple of live shows for the hometown
crowd at the new venue The Green Room in Tempe, and then they were off.
They also had a couple of notable appearances at the increasingly
overwhelming SXSW music conference. Burch noted with humor that the band
played an in-store where people actually came to hear the band play
instead of being pissed off by loud music while attempting to shop, and
then played to an overflow crowd at The Electric Lounge.
As for how they survived their sophomore effort with a major, well,
that's a bit tricky. Most of their energy was dedicated to the music, as
the band thought it should be. With regards to recording _Clarity_, Burch
credits the focus and maturity of their sound to working a second time
with Mark Trombino, who also produced _Static Prevails_. He credits the
expansion of their sound with a band's best friend and sometimes worst
enemy: time. "We had a lot more time in the studio and we had worked with
Mark Trombino on the first record, so we already had a strong relationship
with him, no getting to know each other, and so we got together and boom,
we took off, and it was just awesome," Burch says.
One of the results of all that time was the shift in direction. From
the rawer, punkier energy emerged more moody, thoughtful moments, and more
varied instrumentation, which Burch said came after the original melodies
had already been written. Also, some sounds that turned up later
(mellotron, keyboards, bells) originally existed as alternate guitar lines
that had already been written. This enables the band to re-translate the
songs live, without any additional musicians, or the bane of the live
show, tape loops. "We got into the studio," Burch says, "and there were
all these toys and it was like, 'Let's try it on the Hammond B-3.' We just
went crazy with it.
"We were trying to pay a little bit more attention to detail," Burch
continues. "We wanted to get as much into the songs as we could, make it a
little more interesting than just the basic verse, chorus, verse, chorus,
bridge that's normally out there." Burch gave high praise to violinist
Suzie Katayama, who he says they "turned loose" on the album, and with Jim
Adkins and Trombino, Katayama added many beautiful string arrangements to
songs like "Just Watch The Fireworks" and "A Sunday."
"Eventually, on our next tour," says Burch in his next breath, "I
think we're going to have a couple extra musicians with us -- an extra guitar
player, a vocalist, a keyboard player, and also a second percussionist."
At a later point in this tour they will be hooking up with the San Diego
band No Knife, who will be aiding and abetting with some of the above
noted duties.
As for that worst enemy -- time spent waiting after the work is
done: the band had decided to go back into the studio very shortly after
they came home from touring for over two years on _Static_, and Burch said
they knew they were ready to move on, "We couldn't tour on that anymore,
and we were ready to go back into the studio, but Capitol wasn't ready."
So they recorded _Clarity_ and bided their time. In the interim after
completing the album, they also recorded an EP featuring two of the songs
from the album, and a demo version of a third, an exceptionally quiet and
plaintive version of "Your New Aesthetic" which gave way to version on the
full-length that was a head kick of a re-write. Rick laughs and says that
it was *the* antidote to the softer, gentler turn the album was taking.
"It's a really rockin' song," he understates.
There are also two completely new songs ("Softer" and "Rollerqueen")
that were completed after the _Clarity_ recording sessions ended. Capitol
already had the full-length on hold, and were not interested in releasing
the EP, so the band asked permission to go elsewhere. They eventually
hooked up with Fueled by Ramen, an independent label in Gainesville, FL.
"He offered to do it, we took him up on it, and it just went really well."
A DJ at KROQ in Los Angeles got a copy of the EP and started playing
"Lucky Denver Mint," and finally Capitol relented and brought _Clarity_
out at the end of February. Burch's last comment on the subject was that
_Clarity_ would have been released regardless, and what ever the future
holds, they will continue to make records. A future project being
considered is compiling the early Jimmy Eat World 7-inch singles and split
singles, and re-releasing them on one CD, perhaps on the band's own label,
An Industry For Outer Space.
When posed with the million-dollar question, "Where do you go from
here?" the road strain reappears on Rick's face, and you can tell it's an
incredibly overwhelming thought when all you can think about is putting on
a good show that night. "I don't know, it's kind of scary. What do we do
now? We have come a long way from our first record, but we did have about
three years between recordings. That's a long time, and there's a lot of
evolution in that time." He shifts in his chair, and sums it up the only
way you can without talking for another hour. "You get bored playing the
same songs, and you want to keep moving somewhere instead of just getting
somewhere and stopping." Given the way Jimmy Eat World has sustained and
perpetuated itself thus far, they have that law of physics down, and
remain a body in motion.
For the latest 100% accurate dirt, information and upcoming tour
dates, see the band's website at http://www.jimmyeatworld.net , which is
generated and maintained by the band themselves - drummer Zach Lind serves
as webmaster and updates info from the road whenever possible with his
trusty laptop.
---
REVIEW: Soundtracks, _Go_ (Work) / _Forces of Nature_ (Dreamworks) /
_Ed TV_ (Reprise)
- Bob Gajarsky
Another spring brings the rush for high budget films targeted
at your wallet. And if the powers that be can convince you to plunk
down an extra $15 on a soundtrack of the same name, they will. Here's a
quick look at some of the more recent entries to the soundtrack world.
_Go_. No Doubt returns with their first new single in 3 years,
"New", which will surprise anyone familiar with their 2-Tone
Roots. Gwen Stefani sounds more like Blondie than Debbie Harry,
and the resulting song just makes one more excited about the
California group's next album.
Natalie Imbruglia also returns with a new track, "Troubled
By The Way We Came Together", which indicates that she'll be able
to survive the sophomore jinx. Philip Steir's remix of
Steppenwolf's "Magic Carpet Ride" is taken from the Jason Nevins'
book of remixing, for better or worse. The drum 'n' bass of Esthero,
BT, and the Air French Band complements Leftfield's techno beats and
the quirkiness of Canadian newcomers Len. Already-released singles
by Fatboy Slim (is there a place Mr. Cook *hasn't* been these last six
months?), DJ Rap, Lionrock and an album cut from Eagle Eye Cherry only
add to the urgency and cutting edge appeal of this soundtrack. An
absolute winner.
_Forces of Nature_. Sandra Bullock tries to convince a
conservative Ben Affleck to get wild, and _Forces_ captures all the
high paced energy of the film. The jazzy-meets-Latin dancefloor remix
of Touch and Go's major UK dance hit "Would You...?" (go to bed with
me?) serves as the focal point of the soundtrack, but most of the tracks
(from artists including Gomez, Faithless, and Swervedriver's cover of
"Magic Bus") have previously appeared elsewhere the last few years.
New tracks include the dance/lounge feel of Holly Palmer's "A Rose By
Any Other Name" (produced by Howie B) and Tricky's trancey "Slowly".
Although an American film, the soundtrack is decidedly British, and
perfect for anyone wishing to capture the feeling of the English
nightclub scene.
_Ed TV_. A Ron Howard production, this soundtrack stays
closer to the mainstream audience who the film targets. New Bon
Jovi ("Real Life") and Meredith Brooks ("Careful What You Wish For")
cuts are the real draw here, as well as Muzzle's twangy pop "Been Hurt".
Some older veterans return to the spotlight covering other stars' hits.
The man after midnight, Barry White, successfully takes on Sly & The
Family Stone's "Thank You", while James Brown embarrasses himself on
"That's Life". If bad taste were a crime, Brown would never have
been free on bail...
A slew of already-released classic tracks (Otis Redding, Al
Green, Joe Tex) meets up with previously material from UB 40,
Ozomatli, Peter Wolf, and the Barenaked Ladies to complete the
collection. The hope from this compilation is that Ozomatli and
Cornershop reach an audience whose only album with strong non-English
influences may be Paul Simon's _Graceland_ - but those who enjoy the
film will more than likely be enthralled with the soundtrack.
---
REVIEW: The Rentals, _Seven More Minutes_ (Maverick)
- Chris Hill
A bouncy, effervescent travelogue of Matt Sharp's last
few years spent journeying around the U.S., the U.K., and Spain,
the sophomore effort by The Rentals nimbly dodges a second
album jinx. Not surprising - Sharp cut his musical chops as
Weezer's bassist, and the roster of talent both in the Rentals
and guesting herein have two dozen-plus albums to their credit.
A follow-on to the mega-successful _Return of the Rentals_,
with its then-inescapable pop gem "Friends of P", _Seven More
Minutes_ contains quite a few nuggets of its own.
"Getting By", an energetic, loopy song, opens the album.
Embracing the now, learning from his younger companions, Sharp
sings "lately I've felt like an old fat man/With her I lie and
say "I'm a young fool"...We got nothing in common that I can see/
We drink on, we drink on, we drink on.../and get by". Again
imbibing the half-full portion of the cup of life, Sharp sings
on "The Cruise": "Optimistic right now, maybe I am/I know how so
many people hate that/They'd rather see you lose/And drag you
in the hole they're into".
Shiny, happy hedonists - Sharp and others - provide the
album's lyrical marrow. The pleasure of living in the moment,
the seeming contradiction of losing and finding oneself at the
same time, the fear of growing old, a love for the young and
carefree - all themes that pop up throughout the album. It's a
fly on the wall viewpoint: not uncomfortably so, however, as the
lessons learned are taken to heart and endearingly backed with
upbeat, poppy music: the frenzied "Insomnia", the Teletubby-like
chorus on "Say Goodbye Forever" (elegantly provided by Elastica
bassist Donna Matthews), the shout-along "Big Daddy C", the
rocking "Keep Sleeping", the contemplative "Hello, Hello".
Examples abound among the fifteen tracks.
"Big Daddy C", another monogrammatic character, contains
references to their breakthrough hit, "Friends of P" - the P
revealed to be Paulina Porizkova, model and wife of ex-Cars
singer and producer Ric Ocasek. "Big Daddy C" layers an
ambling drum beat and heavy bass over sing-song rhythms for a
similarly infectious tune.
Penning all the songs except one, Sharp manages to share
equal footing with all the album contributors. The divinely
delicate vocals of (now-defunct) that dog member Petra Haden add
a winsome innocence to eight of the fifteen tracks. Mixed on a
par with Sharp's vocals, many of her songs seem like duets.
Also given room on the stage: Miki Berenyi (of the sadly
disbanded Lush), Maya Rudolph, Tim Wheeler (Ash), Damon Albarn
(Blur), and Sharon McConochie. Rod Cervera (guitars) and Jim
Richards (moog/arp synthesizers) return, along with Haden, from
the first Rentals album. Weezer frontman and ex-bandmate Rivers
Cuomo appears with a co-writing credit on the idyllic, Pink
Floyd-tinged cut "My Head is In The Sun".
If you were lured in by the first record, prepare to be
trapped by this one. More information to be found at
http://www.therentals.net/
---
REVIEW: The Go-betweens, _The Lost Album '78-'79_ (Jetset)
- David Landgren
It's the story of a miracle. Some three to four years before
the Go-betweens released their first album, _Send me a lullaby_,
someone plugged a tape deck into the mixing desk during a rehearsal
in Robert Forster's bedroom. And a copy of this tape recently
resurfaced (hence this record).
Robert Forster sums it up best himself in the press release:
"This...is another world. This is us as a Seventies band. A Seventies
band that didn't really sound like many other Seventies bands. And
that for me is the charm of the whole thing and why I remember this
period with such fondness. That gave it power and a certain uniqueness."
And the amazing thing is how much it really works. I'm not
much of a fan of _Send me a lullaby_ (which will probably get me shot
in certain circles). So with that in mind I approached the idea of a
lost album with a certain amount of trepidation and suspicsion.
I truly was expecting some dreadful cringe material, or
something hopelessly self-indulgent. But it's something else again,
something quite magical. The sound quality is, to be honest, bloody
awful; it's like trying to watch a play by the shadows cast on walls.
At times, especially on "Long lonely day," the tape signal is washed
out with static. Faint squeals of feedback loom in the background like
thunderclouds, threatening to swamp everything.
For reasons I can't quite fathom, while listening to this
album, the closest parallel I can find is The Fall's _Perverted By
Language_. It has something to do with the rough nature of the music,
like an uncut gem. It's also pretty obvious that any attempts
(although I suppose they cleaned it up in minor ways) to clean up the
signal would probably also destroy the soul of the music.
But it works. Indisputably, it's a major record. At the same
time, it's a non-record, a record that will never be. It captures
things as they were, at the time. A couple of twenty year olds playing
their own material, at a time when most other people their age were no
doubt listening to Supertramp and Pink Floyd.
The two links to the future are held in the opening tracks,
"Lee Remick" and "Karen," songs that any self-respecting Go-betweens
fan should know off by heart.
The rest of the songs veer off into the unknown, unless of
course you were living in Brisbane twenty years ago - in which case
this is certainly going to bring back some memories for some people.
Some of the stronger tracks, despite the technical flaws, include
"Long lonely day" and "Day for night," which contain the seeds of
the future, and "The sound of rain" with its '60s vibe.
The bottom line is that this record is pretty much an
essential addition to any self-respecting Go-betweens fan. Again,
don't expect technical perfection; that's not what it's about.
However, I understand completely why Grant and Robert decided to
issue it, and I thank them for having had the courage to do so. For
all its warts, this record is amazingly engaging.
---
REVIEW: Soundtrack, _Lock, Stock & Two Smoking Barrels_ (Maverick)
- Chris Hill
If anything, a soundtrack pulling tracks nearly three decades old
deserves credit in my book for not being an obvious label ploy. Will
someone rush out and buy a James Brown box set because of the two songs on
this disc? Perhaps, but probably not. The eclectic array of artists
obviously come from a love for the music contained within the soundtrack.
(Perhaps they could also come from intentional posturing for musical
credibility, but that seems highly doubtful.)
Feeling like a Nick Hornby mix tape, the soundtrack ranges from
classic (James Brown's "The Payback" and "The Boss," Dusty Springfield's
"Spooky") to modern (E-Z Rollers' "Walk This Land," Evil Superstars'
"Oh Girl"), from punk (The Stooges' "I Wanna Be Your Dog") to pop/rock
(Ocean Colour Scene's "Hundred Mile High City"), from reggae (Junior
Murvin's signature song, "Police and Thieves") to crooning doo-wop (Pete
Wingfield's "18 With a Bullet") to funk (Stretch's "Why Did You Do It").
Oh, and the theme to "Zorba the Greek."
Given titles and attribution, snippets of dialogue are sprinkled
liberally between songs (11 songs, 7 sound bites). See the movie first,
then grin in recollection as Soap gives his sage "guns for show, knives
for a pro" philosophy, or as Plank wearily pleads, "I can't fuckin'
believe this! Could everyone STOP gettin' shot?!" The names and scenes may
fade with time, but these bits bring instant memory refreshment.
Will they keep the O. Henry ending when the Tom Cruise version
arrives? Will that movie's soundtrack feature the same splendid mix of
time and genre-scattered artists, or will it feature three top artists
and eight third tier bands? Go see the original now, while it's fresh,
if only to increase your dread and anticipation of the Hollywood version.
As a reminder of the movie's British wit and sly humor, wait for
the end of the soundtrack -- it ends on the same clever note. You'll
count your cash for a second viewing.
Similarly amusing, those visiting the movie site at
http://www.lockstock2barrels.com/ without the Macromedia Flash plug-in are
greeted by apish thug, Barry, telling you to piss off. Somehow, it's quite
endearing.
---
REVIEW: Various Artists, _Virgin Voices - A Tribute to Madonna
Volume 1_ (Cleopatra)
- Joann D. Ball
A true blue Madonna tribute was inevitable given her incredible
impact on contemporary popular music and culture. Sure, Madonna's
gotten props before, most notably from Sonic Youth on the late Eighties
Ciccone Youth project. And there have been some creative covers over
the years, such as the Lords of the New Church's hilarious take on
"Like A Virgin," Bigod 20's industrial-strength "Like a Prayer," and
the Drop Nineteens' outstanding guitar-reinforced wall of sound
reconstruction of "Angel." But the multiple artist cover collection
_Virgin Voices: A Tribute to Madonna Vol. 1_ updates 14 selections
from the Material Girl's vast catalog with the diverse elements of
electronica. This refashioning of Madonna's work is perfectly timed
given her current explorations of the genre's sounds and styles on
_Ray of Light_.
In matching artists and songs, Cleopatra Records took the bold
step of utilizing its significant roster of Eighties artists. Using
the tribute project to showcase the rebirth of several of Madonna's
contemporaries is a smashing success because it gives these acts room
to explore new musical territories and sounds. _Virgin Voices_ lets
loose with 1980s New Wavers Heaven 17 who seem to embody the
celebration theme of Madonna's breakthrough hit "Holiday" and Loleatta
Holloway who infuses some gospel soul into "Like A Prayer." When
performed by Bow Wow Wow's Annabella Lwin, the irony of "Like A
Virgin" takes a new form. Despite the years, Lwin has maintained her
teenage sense of fun and silliness which are clearly conveyed in
her bright and bouncy vocals. "Why It's So Hard" from Madonna's
_Erotica_ is a perfect song for Dead or Alive. It underscores Pete
Burns' gender-bending musical activism, and he delivers it with a
sincerity and emotional depth that is absent on signature hits like
"You Spin Me Round." And while Information Society draws upon its
smash "What's On Your Mind (Pure Energy)" for the cover of "Express
Yourself," Gene Loves Jezebel has done an about face, trading in the
guitars and over-the-top vocals for a darker, synth-driven cover of
"Frozen" that should click at underground danceclubs.
Since Berlin's "Take My Breath Away" has always seemed like
the not-too-distant relative of "Live to Tell," it is fitting that the
band was enlisted for the project so Terri Nunn could deliver a true
to form version of the slow burner. James Hardway with Amanda Ghost
Featuring Boy George contribute "Bad Girl," which is yet another
reason to revisit the _Erotica_ album. Even though Boy George's
vocals are so well blended into the mix that he's barely audible, the
song is light, airy and textured making it the best crafted track on
_Virgin Voices_. The pairing's use of a female vocal over
jungle-inspired percussion, along with Silverbeam's trip-pop
interpretation of "Bedtime Story," recall the British duo Olive with
the same infectious effect.
An impressive collection, _Virgin Voices: A Tribute to Madonna
Vol. 1_ is as much a tribute to Madonna's past as it is an
acknowledgement of her current musical direction. It is a testament to
the spirit of dance music, which crosses all sorts of boundaries to
create a communal sense of positivity, fun and adventure. Using
Madonna's contributions to popular dance music to show how new musical
approaches enrich the format is a brilliant approach, and the tribute
gets major bonus points for reminding us of the many bright spots in
Eighties music by enlisting artists from the decade for the project.
TRACK LISTING [artist in brackets]: Holiday [Heaven 17], Like A
Prayer [Loleatta Holloway], Like A Virgin (LCD Mix) [Annabella Lwin
of Bow Wow Wow], Why It's So Hard [Dead or Alive], Live To Tell
[Berlin], Vogue [Astralasia], Justify My Love [Frontline Assembly,
Bad Girl [James Hardway with Amanda Ghost Featuring Boy George],
Material Girl [KMFDM], Bedtime Story [Silverbeam], Express Yourself
[Information Society], Swim [Spahn Ranch], Frozen (Razed in Black
Mix) [Gene Loves Jezebel], Burning Up (Interface Mix) [The Voluptuous
Horror of Karen Black]
---
REVIEW: Hugo Largo, _Drum_ (All Saints/Thirsty Ear)
- Chelsea Spear
Hugo Largo's entrancingly beautiful music was an anomaly
on the scene it grew out of. Unlike the harsh No-Wave orchestrations
that bassist Tim Sommer was helping to sculpt with avant-garde
musician Glenn Branca, the music of Hugo Largo was ethereal,
melodic and deceptively strong. Their lineup (two basses, a violin,
and an occasional piano, held together with the spooky, operatically
influenced vocal stylings of Mimi Goese) was highly unusual. Though
their sound was rooted in traditions both experimental (the
Raincoats' _Odyshape_ album and the swooping, intoxicating vocal
tics of Mary Margaret O'Hara) and traditional for rock music (the
lush sound associated with Britain's 4AD label).
A decade after the Largos disbanded, the rock world has
gone through a similar cycle of growth, though obviously on a greater
commercial level than the dark, discordant avant-punk scene of the
Lower East Side; logy grunge has given way to ringing pop and Lilith
sweetness. Though detecting the influence that Hugo Largo's two albums
have had in that time is difficult compared to, say, finding the
influence of Sonic Youth or Big Black, _Drum_ and _Mettle_ still have
some relevant things to say to musicians and audiences alike in this
day and age. In light of this, Thirsty Ear Records has reissued the
band's spare, achingly beautiful debut album, _Drum_, after it
languished out of print for what seems like forever.
The beauty and majesty of _Drum_ has, thankfully, not aged
in that time. Producer Michael Stipe applied a spare hand to the
band's production, allowing the breathtaking beauty of their music
to emerge on its own, and on their own terms. Given the band's
pedigree, and given the unusual musical lineup, it occasionally
comes as a surprise that their music is so traditionally and lushly
melodic. However, the most satisfying moments come out of the band's
interest in messing around with conventional song structures (such as
on the atmospheric, cinematic tones of Country). More often than not,
the most satisfying musical moments come from the band's interest in
creating a mood for the audience to slip into, such as on "Second
Skin," which blends a crunching dynamic with an intoxicating,
slippery melody.
This reissue of _Drum_ eschews the brief song lineup of its
original vinyl release with the bonus track-happy lineup that was
reissued on John Cage's short-lived Warner Brothers imprint. While
the tunes are good, they restate themes that were demonstrated on the
album with much more grace and clarity. "Scream Tall" is an a cappella
scat number that manages to make Goese sound shrecky
instead of her usual graceful, and "Harper's" is a strange number that
manages to go through every time signature in the book without finding
one it likes. Indeed, this reissue is disappointing for several
reasons: it eschews making available some of the harder-to-find HL
stuff, like their Christmas single and other B-sides and demos, the
strange contrast of the print on the liner looks like a shoddy color
photocopy and the sublime "My Favourite People" is spaced from the
regular action of the album with a ten-second delay that suggests a
bonus track. In light of how wonderful this music is, and how
unavailable it has been for the past decade, however, I'm thankful
that someone had the foresight to reissue it. Bravo to Thirsty Ear,
and we'll take a look at their reissue of _Mettle_ in the near future.
---
REVIEW: Tal Bachman, _Tal Bachman_ (Columbia)
- Michael Van Gorden
The most appearling element of POP music? It's all right
to wear your influences on your sleeve. Those that do it poorly
tend to be nothing more than a pale imitation. And those that do
it well are a pleasure to listen too.
Tal Bachman falls into the latter category....thankfully.
The easy influences to spot are of course the Beatles, Kinks,
XTC, Beach Boys, and the Guess Who (Tal's father is Randy
Bachman - Guess Who alumni, and the B in BTO). A more recent
comparison might be Adam Schmitt and A man called E (before he
added another e, an l and an s).
The CD starts off with the one two punch of "Darker Side
of Blue", a "Cheap Trick covers the Kinks" kind of song, while
listening to a little ELO. This is quickly followed by the
second hit of "She's So High", a great rumination on that
unattainable beauty we have all dreamed about. "She's as
perfect as she can be, why should I even bother" is a great
lyric that is followed up by the chorus that won't go
away ("she's so high, high above me, she's so lovely").
After this perfect start, Tal decides to slow things
down on the lovely ballad "If You Sleep", a song about
contemplating the fate of a loved one. His voice effortlessly
floats from a sweet falsetto to an anguished cry for help in the
chorus: "If you Sleep, you Sleep With God".
Tal Bachman takes you on a emotional roller coaster as
well, with the moody "Strong Enough", where he questions the
safety of an obsessed imagination by asking his lover 'Are you
strong enough to love me?' Then there is the soft romantic "Beside
You", which echoes the Beatles circa "I will" and "Julia" from
_The Beatles (White Album)_.
On "You Don't Know What It's Like", you hear the unmistakable
sound of Bowie and Marc Bolan as the raunchy guitars and sing-along
chorus reel you in to this pop delight. And yet Tal Bachman is not
just a about pop hooks. His words are simple, effective and
intelligent. Sample this line from "Romanticide": 'Whoever said
to take it on the chin, whoever said that good guys always, has
never seen the sorry state I'm in, the victim of Romantacide again.'
The listener will find pop gems all over _Tal Bachman_,
full of unforgettable melodies, elegant and often regal arrangements,
beautiful vocals and lyrical wonders. In a recent interview, Tal
said that he has devoted his life to the study and practice and
perfection of a musical ideal. Those studies have paid off ten-fold.
And, despite all the influences, Bachman has staked out a personal
style that is his alone and will hopefully attract many pop lovers
for years to come.
---
REVIEW: Add N to (X), _Avant Hard_ (Mute)
- Niles Baranowski
You may think you've never heard Add N to (X), but if you
watch MTV at all, you probably have without realizing it. The band
was commissioned to do "show packaging" (those faux-arty station ID's
that you see at the top and bottom of every hour) starting in
February and if those bleeps that you heard got you curious, _Avant
Hard_ will surely hook you in.
One of the most accessible of the "post-rock" bands working
today, this British trio mix the correct proportions of minimalism,
rhythmic complexity and twistedly kitschy in-jokes into their
retro-futuristic base stock. If the sounds remind you somewhat of
Kraftwerk (on, say, "Robot New York"), they are compressed into such
oddball tempos and time signatures that sounds tend to come out as
sudden bursts or in such powerful streams that you feel pushed along
by them.
Not as vocoderized or synth-strict as their stellar debut _On
the Wires of Our Nerves_, _Avant Hard_ seems focussed on pushing the
band's sense of humor center stage. One song titled "Buckminster
Fuller" repeats his name as a sort of mantra over a driving drum
beat (courtesy of High Llama Rob Allum) while "Metal Fingers in my
Body" repeats its so-naughty-its-harmless title over pummeling Trans
Am-esque guitar rock textures (allegedly the video for this single
is an animated porn film), probably the band's least synthetic
moment. Odder still, each member gets an eponymous song. Barry
Smith's "Barry 7's Contraption" sounds like a traffic jam of clown
cars being pulled forward on an ever accelerating conveyer belt
while Steve Claydon's "Steve's Going to Teach Himself Who's Boss"
uses Ian Curtis-damaged vocal samples as a sort of meaningless scat
speech over ground zero minimalism. Then you've got Anne Shenton
and "Anne's Eveready Equestrian" which sounds like a horse protesting
as it's driven off a stormy cliff. The meaning of this is clear:
Barry's the goofy one, Steve's the dark one and Anne...loves horses,
I guess.
While all this levity makes for some nice dance music (check
out the jumpy "Skills"), the band works best with long drawn-out
pieces that allow emotion to build as they manage to do on the
second half of the record. "Return of the Black Regent" is the
sequel to "The Black Regent," a single from _Nerves_. While the
original "Regent" was poppy, this new one is a dark orchestral
dirge, hypnotic in its gargantuan portions and allowed to develop
into a full cacophony. To screw things up even further, Add N to
(X) break with their entire recorded history by using the
non-vocoderized Shirley Bassey-esque vocals of Alison Goldfrapp,
making the track lushly noisy even in its darkness.
The album closes on a pair of quieter and less frenetic
tracks: the groovy, Sterolabby "Oh Yeah, Oh No" and "Machine is Bored
with Love." Chiming and whistling like Mono's semi-eponymous hit,
"Machine" feels suspended in ether and despite its title, probably
more romantic than anything the band has done in the past. While
_Avant Hard_ only approaches the satisfaction level of its
predecessor, it shows a uniquely powerful electronic band opening
doors and exploring all possibilities, refusing to shut itself into
harshness or cold minimalistic noodling.
---
REVIEW: Nik Kershaw, _15 Minutes_ (Pyramid)
- Bob Gajarsky
The last time we heard from Nik Kershaw, the songwriter,
was his penning the 1991 Chesney Hawkes #1 U.K. hit "The One
And Only". Astute fans may have previously noticed Kershaw
playing guitar on several Elton John tracks in the late 1980s.
But it was his European success for songs such as "Wouldn't It
Be Good", "The Riddle" and "I Won't Let The Sun Go Down On Me"
that endeared him to many fans.
Now, Nik has returned to the center of the stage with
the release of his latest album, _15 Minutes_. An interesting
selection of twelve introspective tracks, _15 Minutes_ reflects
an older and more mature man than the hitmaker of the mid 80s.
"The whole process started about four years ago," Kershaw
explains, "but I didn't realize I was making an album. I had a
few ideas that I couldn't see anyone else doing, but I had to
get them out of my system. I recorded a few demos that took
more time than I thought they would, and the next thing I knew
was 'What am I doing here? I'm making an album.'"
That album owes more to the latter part of Kershaw's
first solo foray than to his initial start. His fourth album,
_The Works_, offered an insight to the thoughtfulness which
would predate _15 Minutes_ ; for those familiar with "Elisabeth's
Eyes", the writing style of _15 Minutes_ will come as no surprise.
"In the 80s, I did everything I could to not write about
myself," Kershaw explains. "I was a bit nervous playing this
record for other people because it exposed me - I can't hide
behind anything with these songs."
And the first single, "Somebody Loves You", has an
almost autobiographical feel to it. "It's my party / I don't
have to care less / I can always play my part; / They know my face
and they know my name / They know my shamelessness but not my
shame" sings Kershaw, and the listeneer just knows that this song
came from the heart. The look at a man's sensitive side ("Billy")
and "Find Me An Angel" (which takes a page out of the Chris Isaak
songbook) offer a different side of Nik Kershaw which never
previously saw the light of day.
When the 'good looking' men came out of Britain in the
early 1980s, many questioned their staying power. Duran Duran
has consistently managed to defy the critics, and Howard Jones has
continued his successful music output. Nik Kershaw, however,
was staying behind the scenes and out of the spotlight - until now.
And just as Jones showed a more mature side with _People_, so has
Nik Kershaw with _15 Minutes_.
---
REVIEW: Planes Mistaken For Stars, _Planes Mistaken For Stars_ /
Starmarket, _Calendar_ (Deep Elm)
- Andrew Duncan
Emo music could not be more vital than it is today. In a global
society that can be so isolated, emo music breaks free of any boundaries
that tend to hold back the musician. To define emo simply as a prefix
for emotion or emotional, yet its sense of existence is more
complicated than that. Emo music or emo-core can offer a sense of
therapy, beauty and intensity all in the same breath.
Planes Mistaken For Stars proves the above analysis to be
correct, but not in safe flight patterns. If you are hoping to easily
take your emotions from point A to point B without turbulence, think
again, as this album is filled with harsh phrasing and teeth-gritting
feelings. First captured on Deep Elm's _The Moment Of Truth: The Emo
Diaries Chapter III,_ the Peoria, Illinois band (who recently moved
to Denver, Colorado) takes an abstract, post-hardcore approach to
their self-titled EP.
Less than a half-an-hour in length, the time is not a factor
when it comes to eight songs of intense bitterness. Vocalist/guitarist
Gared O'Donnel is angry, not only in his voice, but with his words as
well. On the song "When The Arrow Went Out," O'Donnell screams out,
"And I don't know if it was the weight of your words or the way you
said my name that sent me packing." This is a demonstrative example
to get a feel for the tone of the release.
Listen closely and it's the precision and musicianship that
really makes this release shine. There is a nice array of feedback,
disdainful guitar riffs and classical guitar influences that seems
most impressive.
Starmarket is a different story in a different context. With
_Calendar_, the band focuses on the song as a whole. Instead of
creating a gamut of emotional range within one song, the Swedish
group uses simple forward-driving chord structures and melodic power
pop to get their point across. It's not to say that the band not
powerful. Their dynamics exist from one song to the next. "Losing
Track" is a powerful example of what makes this band great - Frederik
Brandstrom's excellent vocal range and simplistic, yet creative music.
"You Can't Come" is the slow song when it's time to dance with the
girl - awkward but nevertheless a release of feeling. Wait a minute
and it's again time to rock with great, catchy tunes like "Wither,"
"Choker" and "Hate You Still." These are the songs that you will
catch yourself humming to without the CD spinning. This is a band
that has increased in popularity, and there is no doubt that the
excellence of _Calendar_ will take Starmarket even further.
---
REVIEW: Julia Fordham, _The Julia Fordham Collection_ (Virgin)
- Chris Hill
Seeing its U.S. release at last, this collection by British songbird
Julia Fordham provides presents for both a longtime fan and a newborn
convert: two new songs ("Kid" and "It Was Nothing That You Said"),
reworkings of three classic tracks and ten other choice cuts culled from
her five full-length cds, spanning a decade from 1988's self-titled debut
to 1997's _East West_. Assembled with care, it's a perfect retrospective
and a promise of what Fordham's future holds.
Two remixes kick off the collection. "Happy Ever After (Rain Forest
Mix '98)" finds Julia modernizing her '88 blending of a soured personal
relationship and her dismay at black/white inequality in apartheid South
Africa, to account for the freeing of Nelson Mandela and that country's
abolition of apartheid. On the second track, "Where Does the Time Go? ('98
Remix)," Curtis Stigers brings a wonderful male vocal presence to Julia's
rich tones. Hearing their voices intertwine, locating the emotional core
in every line and word, then lifting it to the sky, is worth the price
of the disc by itself.
The third '98 remix, "I Thought It Was You," shows up ninth. It's a
moody, bass-driven take on a heartbreakingly intimate and all too common
scene: "I'm not looking for the answer, baby/I'm just looking for a little
love/We're all looking for someone/For a minute.../I thought it was you."
An oxymoron -- uplifting sadness -- which is present in spades in her work.
Julia's never flinched from examining the heart in minute detail.
The songs here attest to that. "Girlfriend" pleads for a stout, silent
comforting shoulder. "Porcelain" portrays a woman struggling with emotions
she should, but can't, return. "I Can't Help Myself" is an airy abandon of
the self to love. "East West" sees her discovering, to paraphrase Buckaroo
Banzai, that wherever she goes, she still finds herself and her broken heart.
Perhaps for all the worms she's encountered, the soil is fresh and vital
in each track. Whereas some divas dig tired ground with songs of love's
fickle nature, Julia manages to always produce fruit.
With this concentrated glance into her career, it's also pleasantly
obvious that Julia sublimates her dulcet tones to the importance of the
song, rather than parading her powerful range for a lessened impact of
ability over emotion. There's no scale exercises found here; when she
stretches, it's in the service of her muse.
There's wealth to be found in the back catalog, as well. Any of her
albums contain songs equally representative of her brilliance ("Honeymoon,"
"As She Whispers" or "Behind Closed Doors," for example). On a stage of
divas, she merits a dais all her own. This is a welcome spotlight.
---
REVIEW: Ian Tyson, _Lost Herd_ (Vanguard)
- Jon Steltenpohl
The prevailing notion of just what a cowboy should be is
ingrained deep in the lore of the Americas. We have images of black
and white heroes fighting off Indians, and ruffians shooting it out
at high noon. So, when one is presented with the honest-to-god real
thing, it sets you back for a moment of reflection. Ian Tyson doesn't
try to sell an image as the last of a breed; he embodies it. While
"Cowboy Poets" have littered our cultural landscape with quirky poems
and aw-shucks witticisms doled out with requisite mustache and drawl,
Ian Tyson has lived quietly up in Canada and looked down upon it all.
Tyson's view of the world isn't revisionist or sappy. He
simply tells it like it is. The plains are rapidly being divided into
20 acre pre-fab ranches and corporate megafarms. The modern
conveniences of cell phones and faxes may not seem like key points
of the cowboy's prose, but Tyson works them in among tales of wild
rivers and untamed horses. Yet Tyson is a modern cowboy who, while
yearning for the past, certainly doesn't pretend he's in the middle
of a different century. These are the songs of a 20th century cowboy.
Wait... cowboy music? In an alternative music publication?
Well, yes.
Tyson is about as far from New Country as a cowboy can get.
This is mellow music set at a slow pace. Lap steel guitar is set
alongside a slightly jazzy saxophone that might as well be lifted
from a Sting song. There's a rustic quality to Tyson's voice, but it's
set against a smooth background. Take the lounge out of k. d. lang's
_Ingenue_, and you've got the idea. Shades of Chris Isaak come out now
and then, but the Roy Orbison falsetto and the rockabilly side never
show. The echo on Tyson's voice is set on "a little to strong," but
that's about the only blemish to the excellent sonic production.
Ian Tyson's _Lost Herd_ certainly won't be showing up in
MTV's Buzz Bin, but it's expertly crafted music for its genre. Even
the crowd pleasing version of "Somewhere Over the Rainbow" seems like
it was written for a man on a horse. Alternative country fans will
probably know Tyson from his extensive back catalog, but there's
undoubtedly a large audience who've never come across this gentleman.
If you've ever enjoyed some of Willie Nelson's work, like "Blue Eyes
Crying in the Rain," you'll certainly enjoy _Lost Herd_.
For more information, visit http://www.vanguardrecords.com/tyson
---
REVIEW: The Jellybricks, _SoapOpera_ (Rite-Off Records)
- Dan Enright
With this second release on the Badlees private label Rite-Off
Records, the Jellybricks ( http://www.thejellybricks.com ) have honed
their artschool pop influences -- that creative surge in pop that
occurred 20 years ago in pockets of England (the Clash, the Jam, Joe
Jackson, and most obviously Elvis Costello) and the U.S. (Steely Dan,
Husker Du, The Replacements, Graham Parker) -- into a strong collection
of hard-edged pop songs.
The songwriting and performances are tight, melodic and
inventive. Complimented by the production team (Dale Epperson & Robert
Welsh) at the Green Room in Harrisburg, Penn. (more on Harrisburg
later), the result is 45 minutes of great music.
The songs are lyrically clever, like Costello's writing with
the Attractions; the old boy-meets-girl-means-doom chestnut is pushed
and pulled into new territories. Band mates Larry Kennedy, Garrick
Chow, Bryce Connor and Laine Wehler have collaborated to create this
collection of insightful, intelligent, witty -- even a bit sarcastic
at times -- short stories set to music and told in three or four minutes.
There are a broad array of styles, all of them "radio friendly"
(in a good way). "Bittersweet Day," for example, has a great melodic
hook which sweetly links the verses to the chorus and takes the edge
off the protagonist's cold, empty lament, "You were the first one
listening to someone with nothing to say," then the perfectly
dissonant, "bittersweet day." It's a gentle & sympathetic tale about
surviving the depression following a relationship break up, featuring
tightly voiced pop harmonies.
Three and a half "schizophrenic" [default running order]
minutes later, they're blistering through "Mite" as fast and lean and
angry as anything the Replacements or the Clash ever released. The
opening lyrics, "jammin' me in like I waste your time/makin' me feel
like I'm asinine" or "...with eyes revolting red with all the things
you said" are prime examples of the approach to writing these guys
have taken.
And the album is overloaded, on every song, with more of the same.
They're getting good reviews for the energy of their live
performances and the arrangements hint at the possibility the songs
could be expanded, ala jam-bands like Phish or Government Mule, during
live performances. By continuing to polish their songwriting and
performance skills and expanding their attention beyond clever
laments / rants (la'rants?) of love lost, they could lead a major
expansion of the pop-genre envelope. They're certainly pushing it
hard enough.
If you like this kind of music, catch this band now, at the
beginning of their career. It'll save you the heartache of trying to
find their indie discs, secondhand.
Back to Harrisburg: Potential Scene Alert. Harrisburg appears
to be in the early stages of building and nurturing an original music
community. From what I can gather, they've got everything necessary
for that kind of creativity to bloom -- and I mean on the level of
Seattle, Minneapolis, Boston, or Cleveland. There are a sizeable
collection of talented, proficient musicians and songwriters,
co-operative regional radio playlists (WQXA-FM), a supportive (and
affordable) studio (the Green Room) staffed by an experienced group
of producers/engineers/perfomers, sizeable cities with numerous
clubs/theaters within a couple hours drive (Allentown, Philadelphia,
New York City) and a seasoned management team (One Louder Management)
to help guide the resulting professional careers.
If the market doesn't get flooded by heroin (or receive
meddling corporate attention), it should produce some outstanding
music over the next decade. I suggest taking "Made in Harrisburg" --
and this latest, of the city's emerging bands -- seriously.
---
TOUR DATES:
Aerosmith / Afghan Whigs
Apr. 13 Memphis, TN The Pyramid
Apr. 15 Greensboro, NC Greensboro Coliseum
Apr. 17 Greenville, SC Bi-Lo Center
Apr. 19 Birmingham, AL Birmingham-Jefferson Coliseum
Apr. 21 Biloxi, MS Mississippi Coast Coliseum
Beastie Boys
Apr. 19 Stuttgart, GER Schleyerhalle
Apr. 20 Rotterdam, NET Ahoy
Apr. 21 Cologne, GER Cologne Arena
Ben Folds Five / Fleming & John
Apr. 16 Brunswick, ME Bowdoin College Morrell Gym
Apr. 17 Amherst, MA Amherst College Gym
Apr. 18 Lancaster, PA Franklin & Marshall College Alum Sports Ctr.
Apr. 19-20 Philadelphia, PA Theater of Living Arts
Bouncing Souls
Apr. 16 Detroit, MI St. Andrews Hall
Apr. 17 Cleveland, OH Agora Theater
Candlebox
Apr. 13 Ventura, CA Ventura Theatre
Apr. 15 San Diego, CA 4th & B
Apr. 16 Santa Ana, CA Galaxy Concert
Apr. 17 Phoenix, AZ Celebrity Theatre
Apr. 18 Las Vegas, NV House of Blues
Cubanismo Spring Tour
Apr. 14 Granville, OH Dennison University
Apr. 16 Ann Arbor, MI EMU Convocation Ctr
Apr. 17 Cleveland, OH Tri-C Jazz Festival
Apr. 18 Lexington, KY Grand Ballroom
Apr. 20-21 St.Paul, MN Planet Ordway
Ani DiFranco
Apr. 13 Durham, NH Whittemore Arena
Apr. 14 Burlington, VT Memorial Auditorium
Apr. 16 Orono, ME Hutchins Concert Hall
Apr. 17 Portland, ME State Theatre
Apr. 18 Newark, DE Bob Carpenter Center
Apr. 20 Charlottesville, VA Charlottesville Pac
Apr. 21 Charlotte, NC Grady Cole Center
Dubtribe Sound System
Apr. 13 Boston, MA Karma
Apr. 16 Rochester, NY Gate
Apr. 21 Harrisburg, PA Wire Coffee House
Eve 6 / Lit
Apr. 13 Minneapolis, MN Ground Zero
Apr. 14 Milwaukee, WI Rave
Apr. 15 St. Louis, MO Mississippi Nights
Firewater / Girls Against Boys
Apr. 13 Hoboken, NJ Maxwell's
Apr. 14 Philadelphia, PA Pontiac Grill
Apr. 15 Cambridge, MA Middle East
Apr. 16 New York, NY Mercury Lounge
Apr. 17 Washington, DC Black Cat
Apr. 18 Fredricksburg, VA Mary Washington College
Gardener
Apr. 13 Albuquerque, NM Launch Pad
Apr. 14 El Paso, TX Headquarter Records
Apr. 16 Austin, TX Emo's
Apr. 20 Los Angeles, CA The Smell
Godsmack / Loudmouth
Apr. 14 Cleveland, OH Odeon
Apr. 16 Myrtle Beach, NC House of Blues
Gomez / Mojave 3
Apr. 13 Cambridge, MA Middle East
Apr. 14 Hoboken, NJ Maxwell's
Apr. 15 New York, NY Bowery Ballroom
Apr. 17 Toronto, ON Lee's Palace
Apr. 18 Detroit, MI St. Andrews
Apr. 20 Chicago, IL Double Door
Apr. 21 Minneapolis, MN 400 Bar
Miles Hunt
Apr. 13 Ferndale, MI The Majick Bag
Apr. 15 Toronto, ONT El Macambo
Kent / Papa Vegas
Apr. 16 Minneapolis, MN First Avenue
Apr. 17 Milwaukee, WI Rave
Apr. 19 Lawrence, KS Bottleneck
Low
Apr. 13 Columbia, SC Hunter-Gatherer
Apr. 14 Athens, GA 40 Watt Club
Apr. 16 Richmond, VA Alley Katz
Apr. 17 Washington, DC Black Cat
Mercury Rev
Apr. 14 Chicago, IL Double Door
Apr. 16 Pontiac, MI Mill Street Entry
Apr. 17 Buffalo, NY Showplace Theatre
Apr. 18 Cambridge, MA Middle East
Apr. 19 New York, NY Bowery Ballroom
Apr. 20 Washington DC Black Cat
Steve Miller Band
Apr. 13 Des Moines, IA Veterans Memorial Auditorium
Apr. 14 Chicago, IL Rosemont Theater
Apr. 15 Peoria, IL Peoria Civic Center
Apr. 16 Columbus, OH Shottenstein Center at Ohio State
Apr. 18 Columbia, MO Hearnes Center at UM
Of Montreal
Apr. 16 Chatanooga, TN Lamar's
Apr. 17 Athens, GA 40 Watt Club
Apr. 18 Nashville, TN Exit Inn
Apr. 19 Louisville, KY Mercury Paw
Apr. 20 Columbia, MO Shattered
Apr. 21 Lawrence, KS Replay Lounge
Olivia Tremor Control
Apr. 15 New Orleans, LA Howlin' Wolf
Apr. 16 Houston, TX Rudyard's
Apr. 17 Austin, TX Electric Lounge
Apr. 19 Albuquerque, NM Launchpad
Apr. 21 Ponoma, CA Claremont College
Pan Sonic
Apr. 20 Cambridge, MA Middle East
Apr. 21 Montreal, PQ Cabaret
Placebo / Stabbing Westward
Apr. 13 Portland, OR La Luna
Apr. 16 Los Angeles, CA Palace
Ernest Ranglin
Apr. 16 New Orleans, LA House of Blues
Apr. 17 Austin, TX Flamingo Cantina
Apr. 18 Houston, TX International Festival
Residents
Apr. 13-14 Chicago, IL House of Blues
Apr. 17 Portland, OR La Luna
Apr. 18 Seattle, WA Showbox
Apr. 20 Berkeley, CA University of California
Apr. 21 Sacramento, CA Crest Theatre
Sleepyhead
Apr. 17 Boston, MA Lizard Lounge
Apr. 24 New York, NY Brownie's
Sparklehorse / Varnaline
Apr. 13 Toronto, ON Horse Shoe
Apr. 14 Montreal, QC Jailhouse
Apr. 16 Boston, MA Middle East
Apr. 17 New York, NY Bowery Ballroom
Apr. 18 Philadelphia, PA TLA
Splender
Apr. 14 New York, NY CBGB's
Apr. 15 Cambridge, MA TT The Bears
Apr. 16 Long Island, NY Village Pub
Apr. 17 Asbury Park, NJ The Saint
Apr. 18 Philly, PA Pontiac Grille
Apr. 21 Wash, DC The Metro Cafe
Sally Taylor
Apr. 21-22 Boulder, CO Fox Theatre
Apr. 23 Colorado Springs, CO Colorado Music Hall
Underworld
Apr. 20 Washington DC 9:30 Club
Apr. 21 New York, NY Hammerstein Ballroom
Wilco
Apr. 14 Madison, WI The Barrymore
Apr. 15 Urbana, IL The Canopy
Apr. 16 Grand Rapids, MI Calvin College
Apr. 17 Toronto, ON The Guvernment
Apr. 19 Northhampton, MA Pearl St.
Apr. 20-21 New York, NY Irving Plaza
David Wilcox
Apr. 13 Milwaukee, WI Shank Hall
Apr. 16 Pittsburgh, PA Rosebud
Apr. 18 Pawling, NY Towne Crier
---
THE READERS WRITE BACK!
> On the importance of one word...the original title
of the Pretty Things' most recent disc was _Fuck Oasis and
Fuck You Too_ (the too was omitted), which of course is a
pun on another popular band name. The title as quoted above
misses that entirely by leaving out that one critical word.
- Gallandro, Arizona
---
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