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== ISSUE 199 ==== CONSUMABLE ONLINE ======== [Feburary 9, 2000]
Editor: Bob Gajarsky
E-mail: editor@consumableonline.com
Managing Editor: Lang Whitaker
Sr. Correspondents: Daniel Aloi, Joann Ball, Chris Hill, Bill
Holmes, Tim Kennedy, Jon Steltenpohl
Correspondents: Michelle Aguilar, Paul Andersen, Christina
Apeles, Niles J. Baranowski, Jason Cahill,
Matthew Carlin, John Davidson, Andrew Duncan,
Krisjanis Gale, Jade Hughes, Paul Hanson, Eric
Hsu, Scott Hudson, Steve Kandell, Reto Koradi,
Robin Lapid, Wes Long, I.K. MacLeod, Wilson
Neate, Mike Pfeiffer, Linda Scott, Don Share,
Scott Slonaker, Kerwin So, Chelsea Spear,
Michael Van Gorden, Simon West
Technical Staff: Chris Candreva, David Landgren, Dave Pirmann
Address all comments to staff@consumableonline.com ; subscription
information is given at the end of this issue.
==================================================================
All articles in Consumable remain (C) copyright their author(s).
Permission for re-publication in any form must be obtained from the
editor.
==================================================================
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| Contents |
`------------'
REVIEW: Enigma, _The Screen Behind the Mirror_ - Christopher Hill
REVIEW: Various Artists, _Fire & Skill The Songs of The Jam_ - Bob Gajarsky
REVIEW: Warren Zevon, _Life'll Kill Ya_ - Bill Holmes
REVIEW: Alex Chilton, _Set_ - Don Share
REVIEW: Badfinger, _BBC In Concert 1972-3_ - Bill Holmes
REVIEW: Boss Hog, _White Out_ - Matthew Carlin
INTERVIEW: Guster - Daniel Aloi
REVIEW: Scritti Politti, _Anomie & Bonhomie_ - Jon Steltenpohl
REVIEW: Pop Unknown, _If Arsenic Fails, Try Algebra_ - Andrew Duncan
REVIEW: Michael Penn, _MP4 (Days Since A Lost Time Accident)_
- Jon Steltenpohl
REVIEW: Lambchop, _Nixon_ - Christina Apeles
REVIEW: Jimmy Somerville, _Manage the Damage_ - Christina Apeles
REVIEW: 38 Special, _Live at Sturgis_ - Bill Holmes
REVIEW: Yma Sumac, _The Ultimate Yma Sumac Collection_ - Don Share
REVIEW: Jim O'Rourke, _Halfway to a Threeway_ - Kerwin So
REVIEW: Shivaree, _I Oughta Give You A Shot in the Head for Making
Me Live in This Dump_ - Paul Andersen
REVIEW: Flying Saucer Attack, _Mirror_ - Kerwin So
REVIEW: Broadside Electric, _With Teeth_ - Chris Candreva
REVIEW: Starflyer 59, _Everybody Makes Mistakes_ - Christina Apeles
REVIEW: Slowrush, _Volume_ - Jade Hughes
NEWS: Beggars Banquet / Bowery Electric, Jeff Buckley, Doug
Fieger (Knack) , Maxim (Prodigy), Spin The Wheel / Superchunk,
Tragically Hip
TOUR DATES: Beck, Cracker, Cravin' Melon, Dismemberment Plan, Guster,
Ben Harper & Innocent Criminals, Richie Hawtin, Miles Hunt, Live,
Machine Head, Aimee Mann / Michael Penn, Pretenders, Stroke 9,
Stereophonics, u-ziq
THE READERS WRITE BACK!
Back Issues of Consumable
---
REVIEW: Enigma, _The Screen Behind the Mirror_ (Virgin)
- Christopher Hill
"I don't always want to explain everything. It's high time
that people begin to learn to read between the lines again," says the
man behind the Enigma curtain, Michael Cretu. The first track ("The
Gate") on this, the fourth Enigma cd, shows Cretu turning his words
to action. Heavenly synths wash over a clinical recitation of
astronomical data - "Closest approach to earth: 34,600,000 miles.
Mean distance from the sun: 141,600,000 miles..." - without naming
the subject. A half-minute bit of research brings up the answer: Mars.
That's the easy part. But what does Mars have to do with the album?
Mars being the Roman god of war, perhaps the martial allusion refers
to the album's songs of people remaining true to their beliefs,
fighting against societal pressures ("Modern Crusaders"), or people
at war with themselves, their emotions battling logic ("Between Mind
and Heart"). There's no simple answer in the liner notes.
Coincidentally, Mars' mean distance figure is also the number
of square miles of Earth's oceans. But unexpected associations are
nothing new for Enigma, the project responsible for the groundbreaking
fusion of Gregorian chant and electronica. Cretu now turns his welding
talent to "o Fortuna," an instantly recognizable piece from Carl Orff's
"Carmina Burana." Last heard in an unlicensed incarnation on Apotheosis'
"o Fortuna," the selection features prominently on Enigma 4's eleven
tracks.
Lyrically, the album centers on self-actualization, with
quotables like "The path of excess leads to the tower of wisdom" and
"The experience of survival is the key to the gravity of love." The
cynicism you bring to the writing depends on the day you've had.
Post-grunge, it's difficult to listen to the earnest, sincere words
without wincing. "They have no mission/ They have no passion/But they
dare to tell us what's bad and what's good!/Stand up, join us/Modern
crusaders alive." On a good day, it's thought provoking. On a bad day,
it edges into New Kids on the Block positivity.
If it's a bad day, that's when the music becomes the primary
focus: the easy driving beats and sibilant French vocals on "Smell of
Desire," the deft touches of water drops and striking matches used as
percussive beats on "Traces (Light and Weight)," or the beatific vocals
of Ruth-Ann, from the band Olive, carrying lead vocals on two tracks:
"The Gravity of Love" and the contradictory final track, "Silence Must
Be Heard." Not to mention the musical backbone of "o Fortuna," which
stands the CD upright and proud. This piece solidifies the brief "Camera
Obscura," whose backward vocals will remain a mystery, at least until
someone spins the LP version in reverse, and summons Satan.
"Heart is the engine of your body/but brain is the engine of
life." On a good day, a nice image to take away from the album, once the
last song has faded into Vangelis serenity.
See http://www.spikes.com/enigma/ for an excellent Enigma FAQ
and http://www.virginrecords.com/enigma/index.html for the official
record site. If you've got hours to spare, and the Shockwave plug-in
on your browser, the site has a beautifully intricate maze to navigate.
Literally.
---
REVIEW: Various Artists, _Fire & Skill The Songs of The
Jam_ (Epic / Ignition)
- Bob Gajarsky
The Jam may have been the most successful British act
since Cliff Richard not to have even a touch of American success.
Name checked by nearly every significant British band of the last
20 years, the Mod-revivalist trio which derived their initial
sound from an odd amalgamation of the Beatles, Who, Small
Faces and Stax / Motown was a fixture at the top of the UK charts.
British youths of the seventies were reared on the group and
the 'new' Mod scene with the same spirit as the punks, but
completely different wardrobe. Yet while the band were conquering
the civilized world, they were proclaimed decidedly "too English"
to dominate the United States, and their lack of success here
remains one of the greater musical mysteries of the 20th century.
Although they only recorded six albums from 1977-1982,
that collection yielded nine Top 10 UK singles, including
four Number Ones. Lead vocalist Paul Weller kept his name at
the top of the music scene after the breakup of the Jam with
his soulful Style Council and later, as a solo act and the
leader of the playfully coined "Dad Rock", which spawned
groups such as Ocean Colour Scene.
In that light, it seems appropriate that the leadoff
track of _Fire & Skill_ includes the appearance of OCS' Steve
Cradock, along with Oasis' vocalist Liam Gallagher. Together,
the duo dissect the lesser-known "Carnation" and turn it into
a psychedelic Beatles tune. Garbage do likewise on the
B-side "The Butterfly Collector". And never one to ignore
the opportunity to disassemble a song, the Beastie Boys turn
"Start" into a Hammond organ-driven futuristic near-instrumental,
with sparse vocals ("If I never ever see you...again") from Cibo
Matto's Miho Hatori.
Reasonable good facsimiles of the original come from
the group once proclaimed the next Smiths, Gene, on the
Motown-influenced "Town Called Malice", Reef's gruff
interpretation of the song that every British band learns to
play ("That's Entertainment"), and Ben Harper's "Modern
World".
Some of the Jam's songs work on a slower, even-keeled
pace. Buffalo Tom offer a gripping, clearly-pronounced version
of "Going Underground", while Everything But The Girl offer a
solem and delicately beautiful cover of "English Rose" -
surprising given EBTG's venturing into dance beats. And while
the collection opens with one Gallagher from Oasis, it 'officially'
closes with the other - songwriter Noel, with just an acoustic
guitar, on "To Be Someone". Unofficially - or for those willing
to listen all the way through, there's a hidden track pairing Weller
and Craddock on the Jam's _Extras_-only "No One In The World".
Further uncredited instrumental backing from Paul Weller
appears throughout, showing that while Weller may have an aversion
to playing 'his' songs live in concert, he is still willing to
revisit the past on album.
The last tribute album to a significant British group - the
Clash - failed because the names associated with the project didn't
bring their A game to the studio. Fortunately, _Fire & Skill_ avoids
that disastrous fate.
---
REVIEW: Warren Zevon, _Life'll Kill Ya_ (Artemis)
- Bill Holmes
Some see the glass as half-empty, while others see the glass
as half-full. Warren Zevon sees the glass as broken - some of the
contents spilled all over his pants, and the rest rolling around on
the floor.
With superb backing from longtime ace Jorge Calderon and
drummer Winston Watson, Zevon continues to avoid the "big sound" for a
more stripped down folk'n'roll approach. Naturally, focus then shifts
to voice and words, where Zevon is king. "I can saw a woman in two/ but
you won't want to look in the box when I do," he says in the
Springsteen-ish "For My Next Trick I'll Need A Volunteer," which
features Chuck Prophet on guitar. Taking the theme of "life sucks,
then you die" to a new level, he explores the frailty of human existence
and the quest for some sort of spiritual affirmation...which of course
he's skeptical about. And, just for good measure, some songs about S&M
and the self-inflicted demise of Elvis Presley.
Having suffered the slings and arrows of a professional
musician, Zevon's weather-beaten attitude could be self-righteous or
pastoral. Instead, underneath the surface of the crusty observer, you
know he's got it figured out; life's too short to let the posturing
and bullshit cramp our style.
"You know I hate it when you put your hand inside my head/
and switch all my priorities around," he says in "I'll Slow You Down,"
a tale as applicable to religious uncertainty as it is to relationship
angst. Maybe we can settle for a simple "don't let us get sick/don't
let us get old/don't let us get stupid, alright?" Even the record's
lone cover, Steve Winwood's "Back In The High Life Again" at first
seems an odd choice, but in the context of these takes on the inevitable,
it's an ironic inclusion.
"You can dream the American Dream," Zevon says, "but you
sleep with the lights on/and wake up with a scream." Acerbic and clever
as ever, Warren Zevon remains a unique treasure among American songwriters.
---
REVIEW: Alex Chilton, _Set_ (Bar/None)
- Don Share
There are three things you should know: 1.) The album, as
originally released (in Europe), was titled _Loose Shoes and Tight
Pussy_; 2.) It does not sound in the slightest like Big Star; 3.) The
reason it's called _Set_ in the US - other than the obvious reason, I
mean - is that the none of the songs are "originals," but rather cover
songs Alex can and does play in his solo sets. If none of these things
offend your sensibilities, you can safely proceed.
The material, not, as you might expect from the foregoing, is
not all staxy and sexy - it ranges from a louche instrumental version
of "April in Paris" and a loungy version of Johnny Guitar Watson's
"Hook Me Up" to straightforward, albeit indescribably Chiltonesque
versions of soul classics like "Lipstick Traces" and the great Eddie
Floyd's "I've Never Found A Girl."
Much of this is given Chilton's by-now standard cool-but-white-boy
treatment, as if he fancies himself some sort of rock-and-roll Chet
Baker. Some will find this tiresome, and the rest of us will love it,
as we have loved everything this peculiar man has recorded for years.
After all, who else would dare, and I mean dare, a version of Brenton
Wood's "The Oogum Boogum Song?" Never heard of the "The Oogum Boogum
Song?" You will never forget it, once you hear it, and who better than
Alex to introduce you? Similarly, the outrageous "You've Got a Booger
Bear Under There" is so far out-there that the fact that the only
sexual overtones in Chilton's version come from his ironic leer simply
lays bare, so to speak, the true outrageousness of the original; he's
always been simultaneously a fanatic historian of music and purveyor of
its ridiculousness. I keep explaining to people who cringe at his
versions of such set-pieces that his actual arrangements, often down
to the very notes of his guitar solos, are truer to the spirit of the
originals than more slavishly faithful remakes. A good example is "I
Remember Mama," a sentimental tune if there ever was one: Alex sings it
deadpan, which makes it funny if you're in the mood; yet he also wrenches
out of it every teardrop, as he drawls on about Mama's being in the
bosom of the Lord, that the six credited writers could have wished for.
Some of this is listless. "If You's a Viper" isn't a hoot, once
you've heard, say, Sidney Bechet's version of "Viper Mad," both tunes
about reefer madness. "Shiny Stockings" and "April in Paris" show that
Chilton still plays guitar extremely well - but they're throwaways, and
the latter's one-more-time codas are excrutiating. Still, where the
heck else do you get all the foregoing, plus Gary Stewart's wonderful
"Single Again?"
Another album, then, to disappoint those who've made Alex
Chilton a pop prophet who's yet to come back and save them. After all
this time, I'm starting to see the point of his disdaining the role,
since it's impossible, and since nobody was listening when such things
as Big Star actually mattered to him. I'm not waiting anymore; no, I'm
all set.
---
REVIEW: Badfinger, _BBC In Concert 1972-3_ (Fuel 2000)
- Bill Holmes
Culled from two concerts at pivotal points in their career,
_BBC_ is remarkable in that the obvious hit singles are nowhere to be
found. Instead, listeners will be surprised at just how talented Pete
Ham and Joey Molland were as guitar players. Both shows were recorded
at the Paris Theatre in London, with seven tracks from each included
(along with "Come And Get It" from a 1970 show on Top Of The Pops as
a bonus track).
The first half of the disc features two shimmering acoustic
numbers in "We're For The Dark" and "Sweet Tuesday Morning," which
are counterbalanced against two Dave Mason covers(!). Badfinger
as...jam band? You bet. "Only You Know And I Know" and "Feelin'
Alright" get a serious thrashing, the latter track a nine minute
indulgence of funk, soul and harmonic pop. Kicking off the set with a
rocking rendition of "Better Days," and arguably at the height of their
popularity, the band is confident and tight.
The second show, recorded fourteen months later (October 1973)
finds the band in their post-Apple, pre-Warner Brothers era. Although
continuing to feature strong harmonies and solid musicianship, Badfinger
dabbled in harder, more guitar oriented rock and roll. Look no further
than the two versions of "Suitcase" - in 1972 it chugged along, but the
1973 version is far more powerful. "Constitution" boasts some blistering
axe work complete with wah-wah workout, and this live version of "I
Can't Take It" might be the most intense track the band ever recorded.
At the time, new songs like "Matted Spam" showed a taste of
things to come...or so we thought. Tragically, Pete Ham took his life
only a year and a half later, and eight years later, Tom Evans followed.
Those not familiar with the band would be well advised to pick up
"Without You: The Tragic Story Of Badfinger"; author Dan Matovina also
wrote the liner notes for this release. Later this year, VH-1 will also
recall their tale with an episode of "Behind The Music."
Fuel 2000 has plans to mine the vaults and release or reissue
many classic titles from the BBC vaults. In tandem with the King Biscuit
releases, a new generation can finally savor what the elders among us
enjoyed (and took for granted) as a weekly staple of our rock and roll
lives.
---
REVIEW: Boss Hog, _White Out_ (In The Red)
- Matthew Carlin
Since it's trite to call Cristina Martinez and Jon Spencer the
sexiest couple in indie rock, and since the promo copy of the couple's
new Boss Hog platter _White Out_ doesn't have any liner notes anyway
(let alone any nudie pics), we'll just stick to the music here.
A decidedly kitsch affair, _White Out_ is full of cheesy
keyboards and chintzy-sounding drums with Jon Spencer guitar riffs
slapped on top. The album-opening title track sets the tone with a
kind of pseudo-slap bass and shouty chorus straight out of the rockin'
'80s. And I'm pretty sure I heard an electronic hand clap on the intro
to the wonderfully titled "Itchy & Scratchy." Though this
already-commonplace '80s nostalgia is certainly a frightening trend in
music, it rather suits the playful tone of this album.
While Martinez handles most of the singing with a pretty
standard hipster deadpan, the tunes on which Spencer shares vocal
duties are spirited, peppy and way more fun. "Chocolate" kicks some
major ass with nice interplay between the keyboard and guitar and
patented Spencer lyrics about "eating fish sticks," and non-sequitur
yelps like "Dirty movie!," "Pass the hatchet," and the soon-to-be-classic
line about "kissin' and a huggin' and a motherfuckin'."
It's probably no coincidence that the best tracks on _White
Out_, poppy rockers like the aforementioned "Chocolate" and "Fear For
You," have a lot in common with the tunes on Jon Spencer Blues
Explosion's far superior _ACME_. And duds like "Get It While You Wait"
do away with the dirtier Blues Explosion-style elements in favor of the
straight '80s pop. On the whole, the new Boss Hog isn't offensive, but
it certainly doesn't make a strong case for taking Spencer's _Orange_
off the turntable or serve up any tunes more hummable than the
supremely catchy "Magical Colors" from _ACME_.
---
INTERVIEW: Guster
- Daniel Aloi
Hot off of an appearance on the last Conan O'Brien show of
1999, the acoustic pop trio Guster is finally going beyond its
Boston-area roots after five years of hard work.
"The three of us just moved out of Somerville in August, so
we're out of the Boston scene," says guitarist Adam Gardner, calling
from aboard a tour bus recently in Southern California. "I figured
since I'm on the road 10 months of the year, why am I paying rent?
So I went for homelessness, and when I'm off I go on vacation - I
just went to New Zealand for a month."
"We've always felt outside of the Boston scene, especially
when we were just starting out," Gardner says. "The local scene just
didn't accept us. I felt just ostracized. Bands like The Push Stars
are just starting to make it."
The band is now on tour in support of their third album and
major-label breakout, _Lost and Gone Forever_ (Sire). They're starting
the current tour on the west coast to "follow up some radio play we've
been getting," Gardner says. It gave the onetime college friends -
Gardner and Ryan Miller on acoustic guitars and vocals, Brian
Rosenworcel on percussion - a chance to play smaller cities, and
try out new songs and equipment. Not that Guster would consider
adding a wall of Marshall stacks and synthesizers.
"I don't think we have any particular allegiance to acoustic
guitar and hand percussion itself," Gardner says. "What I like about
the acoustic guitar is it fills more of a dynamic range and frequency
range than the electric guitar."
Their first two albums, released independently, allowed the
organic Guster sound to flourish (The second, "Goldfly," was eventually
picked up by Sire).
"_Parachute_ is very acoustic, there's hardly any electric
sounds on there," Gardner says of their debut. "At the same time,
there was a drum kit and a bass player, outside musicians. It sounded
like us, but it wasn't really our energy."
"It's certainly the thing people notice about us," Gardner
says of the acoustic format, sans conventional rhythm section. "A lot
of people who didn't see us said, 'Oh, they're a folk act, a hippie
act.' At the end of the day, we're a pop band. We like pop melodies
and choruses."
That's evident throughout _Lost and Gone Forever_, an album
filled with infectious pure pop elements. Gardner says the song "All
the Way Up to Heaven" is the album's "most obvious nod to the Beach
Boys, from the fact that it's very falsetto-ey to the theremin, which
Page (McConnell, of Phish) came down and played. We weren't even hiding
our influences there."
While Sire has sent the latest upbeat Guster single, "Fa Fa,"
to radio stations, the album itself ends on a decidedly dark note with
"Rainy Day": "holes uncovered/the walls will crumble/it all spells
trouble."
"It's definitely very depressing," Gardner concedes. "I can't
imagine putting that track anywhere else but last. While at the same
time, it's sort of a sad way to end a fairly upbeat, happy record. I
think it fit the title so well. While the songs are upbeat, the lyrics
aren't."
The song "Barrel of a Gun," goes beyond the obvious associations.
"That has nothing to do with Columbine. It's more about a kid
fantasizing about a movie star and masturbating," he says.
Producer Steve Lillywhite saw Guster play to full houses at
Irving Plaza in New York, and at first considered having the band
invite additional musicians into the recording studio.
"Then he saw us a few more times and said `you don't need
anyone else, you're covering the sounds. Let's take what you've got
first, and then see what we've got. He said, `Brian, you're playing
your percussion like a drummer anyway, so let's just find a way to
keep this.'"
Lillywhite helped them add some punch to their sound, but
kept its key elements - acoustic rhythms and tight harmonies - intact.
"Tony Levin played bass on a track, which was amazing, but
it wasn't necessary to go and hire the best bass player," Gardner
says. "Tony has a place in Woodstock, near where we were recording
the second half of the record with Steve, and they ran into each other
at the grocery store. Steve told Tony who he was working with, and
Tony's wife said `Oh, Guster, I love Guster!' Steve said `Come by the
studio - oh, and bring your bass.'"
Gardner considered Levin a hero, for playing with both Peter
Gabriel and U2 - "the bands that inspired me to go into music in the
first place. It was amazing to sit there, a very powerful day for me."
Levin ended up adding bass and Chapman Stick to three songs.
"On our record, we want to pick up and play electric guitars - whatever
will get the sound we're looking for, I'll play," Gardner says. "We're
actually experimenting; I've got a MIDI pickup on my acoustic guitar,
so it plays the bass parts through the MIDI."
Still, Gardner doesn't see a radical shift in style coming.
"I don't think Brian will end up playing an actual drum kit and I'll
pick up an electric guitar exclusively anytime soon; it's just part
of our sound."
The fans like them just fine the way they are. In fact, some
are hardcore enough to follow the band to see shows night after night.
A few of the fans won a contest to come into the studio and whistle on
"All the Way Up to Heaven." It's a very tight-knit, grassroots group
of supporters the band has come to see as "their crowd."
"We're people's little secret, and they wanna keep it that
way," Gardner says. "Now there's response to being on TV, and people
were worried about hearing us on radio. They are calling the stations
and requesting it, so they're part of it and trying to contribute to
it. Obviously, these are good problems to have."
Signing with a major label and going on television, selling
out club shows and booking larger venues sometimes cause the fans
concern, Gardner says. "But people who know us know our intentions,
and we'd like as many people who might like our music to hear it. I
don't think we're going to make any enemies with our fans by succeeding.
Signing a deal, it wasn't a clash against our ideals. We wanted to get
our music out there."
For more information, see http://www.guster.com
---
REVIEW: Scritti Politti, _Anomie & Bonhomie_ (Virgin)
- Jon Steltenpohl
There are times when "genre" can become a stifling anchor that
drags an artist down. Scritti Politti's Green Gartside has no problem
going beyond those walls. Despite being a Brit who came out of the
late '70s/early '80s, he's reinvented himself over the years as an
R&B artist. Despite a decade since his last release, _Anomie &
Bonhomie_ sounds remarkably fresh for a British guy doing R&B.
Somewhat like Hall and Oates trying desperately to be Motown or the
Bee Gees inventing disco, Gartside takes modern hip hop, R&B, and
funk and mixes it up his pop song skills. With guests such as Me'Shell
Ndegeochello, Wendy of Wendy & Lisa, and rapper Mos Def, this obviously
isn't a hollow attempt.
Gartside ends up with a mix of songs that sometimes borrows
styles seemingly at random, but ultimately makes for a pretty good
album if you can appreciate the various flavors. You've got a reggae
inspired song next to a Ndegeochello track which is preceded by a
slow R&B crooner. But, overall, the production of the album is so
strong that the changes in style aren't so jarring. Former Scritti
Politti member David Gamson's production is impeccable. The raps come
across as real raps with complex beats and samples. The spacey jazz
sounds are deep and the atmosphere is thick.
The "pop" songs are the real downside to this album. But then,
that's a matter of taste. "Born to Be" can't decide if it's going to
be melodramatic or retro. It veers between Morrisey and Lenny Kravitz.
Even though the style is uneven, it's produced very well. Likewise,
"The World You Understand (Is Over & Over & Over)" with Ndegeocello is
a cross between one of her songs and an Enuff Z'nuff track. (For those
of you who don't remember, Enuff Z'nuff was that 80's hair band who
tried to merge Winger with Strawberry Alarm Clock...)
Ironically, the worst songs on the album are 100% straight
Scritti Politti pop. "Here Come July" has the band sound pushed to the
point of distortion, and the song just starts and stays loud without
any real purpose. Sure, mixed in are some nice little guitar hooks, but
it's just not a great song. As for the others, well they follow the
same sort of glazed over British pop that audiences in the USA have
never really embraced.
So, who should buy the new Scritti Politti album? Well, if
you're just trying to relive your love of the band from the early 80's,
you should just track down a copy of those albums. _Anomie & Bonhomie_
sounds best when Gartside sticks to the R&B sound. But, the more he adds
his particular flavor of pop to the mix, the more the album suffers. So,
in the end, a rap and funk loving listener who still remembers her old
Scritti Politti is probably the only audience who'll truly enjoy _Anomie
& Bonhomie_.
---
REVIEW: Pop Unknown, _If Arsenic Fails, Try Algebra_ (Deep Elm)
- Andrew Duncan
Rising from the ashes of Austin-based bands Mineral, Imbroco
and Feed Lucy, Pop Unknown breathes life into their music with an
unrelentless pursuit of emotion and care into the songs that they
create. _If Arsenic Fails..._ is the documentary.
The band gave a sample of their talents with the 1999 E.P.
_Summer Season Kills_, and five songs was all it took to get hooked
into their beautiful melodies and solid noisy guitar constructions,
creating a comfortable balance.
With _If Arsenic Fails..._, the band takes eleven songs to
dig deeper into expressionism and pull out a collection of intimate tunes.
The first song, "Head in the Sand," is a powerful introduction
to say the least. Simple driving chords willow around Tim Lasater's words
that all come together in the chorus ("One step back, you've faded off
again"). The song transforms into a majestic ending with Lasater changing
the words to "One step better, one step closer to the end." The lyrics
melt in the air, allowing anyone to walk away with something meaningful.
Lasater takes elements of Paul Westerberg's Replacements days
minus the Reaganism, the feeling of My Bloody Valentine or The Church
and the most important aspect - experience - and creates a sincerity not
heard in many pop-rock bands. The words take you inside his mind and
lets you experience love's conflicts, introspection and life itself.
Pop Unknown plays '80s-style pop in a '90s post-hardcore world.
The band is most dominant playing delicate lullabies. "An Offering,"
conveys this with Casper Eckois' bass keeping the song moving forward.
The bottom drops out and leaves you weightless. "Lonely Here With Me"
is equally as sobering. "Fallen Star" wanders into a dream state with
soft melodies floating while one guitar chord chimes out with an echo
effect. The band makes a final note with the ending instrumental
"Forward=Rewind," a soft farewell that leaves you one step closer and
one step farther from the truth.
There is a lot to take in, and the best way to experience this
album is to dim the lights, relax and listen.
---
REVIEW: Michael Penn, _MP4 (Days Since A Lost Time Accident)_ (Epic)
- Jon Steltenpohl
Michael Penn's latest album is the aptly titled _MP4 (Days
Since A Lost Time Accident)_. It's a collection of 10 new songs which
are just business as usual for this endearing artist. If you've ever
liked Michael Penn, _MP4_ gives you more of what you'd expect. Penn
takes the safe and narrow road of writing reflective pop songs with
dense lyrics and a punchy acoustic guitar. No accidents here.
In fact, the worst thing you can say about _MP4_ is that it
remains formulaic and predictable for Penn. But, if you got snared a
decade ago by Penn's hit, "No Myth," you won't mind a little consistency
from Penn. His particular blend of pop sensibility, lyrical complexity,
and drab viewpoint gives Penn a depth beyond what you might expect from
a "one hit wonder."
Penn focuses as much on lyrical poetry as he does on melody.
Buried within his songs are depths of rhyming and alliteration that are
rarely seen in modern music or poetry. Although sometimes they are a bit
contrite ("Don't Let Me Go" has the phrase "Oh fuck/ got stuck/ you
lose/ tough luck"), some of the lyrics are brilliant. In "Out of It's
Misery," Penn writes "If you take my devotion/ and figure it as something
you're due to accrue/ it's only emotion winding up the motion we are
going through." As always, regardless of the complexity of the lyrics,
the theme of Penn's work is dysfunctional love.
Musically, Penn's sound is a bit more complicated on this
release than on previous work. There's a "wall of sound" feel to _MP4_,
and the simple interplay between Penn's guitar and Patrick Warren's
keyboards is nearly gone. At the end of "Beautiful," Warren
"deconstructs" the melody brilliantly with the sounds of an out of
tune piano. But, it really doesn't have the same feel of some of their
earlier collaborations. For the most part, Warren's keyboards are
hidden behind conventional sounds or used only for adding "atmosphere."
_MP4_ is a typical album from Michael Penn. If anything, the
simplicity and stark earnestness of his previous work is lost a bit.
He seems to be experimenting a bit in the studio, but the extra sounds
tend to distract as much as entice. Ultimately, _MP4_ is an album that
won't give Penn any new hits but is another solid, reliable release.
---
REVIEW: Lambchop, _Nixon_ (Merge)
- Christina Apeles
_Nixon_ is what happens when a talented group of friends with
a love for music gather rich melodies and altogether impressive
songwriting. The orchestrations are exquisite, the lyrics are
expressive, and the result is a soulful mix of songs that are seductive.
This release can stand with the best of San Francisco Music
Club or Smog, with enough pathos to immerse a listener in reverie, but
a warmth that makes everything bearable. The thirteen musicians of
Lambchop offer a polished collection of songs decorated with tender
vocals and numerous instruments ranging from vibraphone to open end
wrenches, Rhodes piano to a 1946 Gibson L7 guitar; you're instantly
reminded of the limits of three piece outfits, when tunes are as
memorable as these.
"The Old Gold Shoe" is the most poignant of tracks, vocalist
Kurt Wagner singing such somber lines as "it's certain that something's
bound to break inside" and "the whole that you know gets closer to the
ground" over a steady tempo of pensive strings. Wagner exercises his
falsetto in the groovy "What Else Could It Be," "Up With People" brings
The Bobby Jones Gospel Singers to accompany captivating horns and steel
guitar for an inspirational tune; while the ominous sound of "Butcher
Boy" opens with spoken word, taking you on a journey, with a convoy of
drums, horns, and guitar distortion creating the momentum and feel of
an a.m. car ride winding through wet, city streets. The arrangements
unfold elegantly with every song, absorbed in sentiment, skilled in
presentation and a stunning display of lyricism. Lambchop has rhythm,
range and most importantly, talent; get _Nixon_ and you get something
honest, pure, special.
---
REVIEW: Jimmy Somerville, _Manage the Damage_ (Instinct)
- Christina Apeles
Some voices from the past you will never forget; one of them is
that of Jimmy Sommerville. As with most artists that were popular in
earlier years, Somerville needed to update his sound to appeal to the
ears of the new generation, while maintaining his musical style to keep
his loyal fans. People admired him in Bronski Beat, loved him in The
Communards, and with this solo release - playful, dance friendly,
heartfelt and poppy - fans are likely to embrace him for another
incarnation.
Somerville takes his trademark falsetto into a new decade,
accompanied by a beat-heavy soundscape with dance clubs sure to welcome
him, at the same time offering bits of eighties pop that made listeners
fall for him in the first place. The release opens with a modern edge
dance tune, "Here I Am," as inspiring and energetic as any Moby song,
later followed by another club track, "Something to Live For," offering
jovial beats and choruses. Then just turn back time when Heaven 17 and
Erasure ruled the airwaves to find the fervent rhthym of "Lay Down," or
the light-hearted tone of ironically titled "Dark Sky."
_Manage the Damage_, with all its joy and jubilation, is still
a very personal and therapeutic album for Somerville, collaborating
with his close friend Sally Herbert (Banderas), choosing to record at
his home versus a studio, and especially the contemplative lyrics in
each song. All is not carefree in the charming ballad "Girl Falling
Down" or the sentimental "Rolling." The first is a polished storytelling
ballad with strings, keyboards and acoustic guitar; the latter, filled
with sincere reflections, Sommerville singing "we place so much upon
silly things, we put our hopes and dreams in golden rings and I don't
believe in the mystery of destiny... but I know what to do, we've got
to keep on rolling." Musically, Somerville is not as creative as artists
like Moby or William Orbit, nor eighties equivalent, Pet Shop Boys; but
what sets him apart will always be his voice, hitting notes others can't.
---
REVIEW: 38 Special, _Live at Sturgis_ (CMC International)
- Bill Holmes
Short of Steppenwolf's anthem, what better opening line could
you have for Biker Week in South Dakota than "Cruisin' down the
motorway..."? Live from the Buffalo Chip Fairgrounds it's "Rockin' Into
The Night," and that's just what these classic rock radio survivors did
in front of a huge throng of worshippers. Always more commercially
viable than their predecessors Lynyrd Skynyrd, 38 Special had quite a
run of hits; you might be surprised when you realize just how many! And
before you cock an eyebrow at the mention of their name, give this disc
a spin. Many of their contemporaries have fizzled out and lost it big
time; these guys sound fresh. Well, apart from the cheesy synthesizer.
Too "Kansas," man...
Don Barnes and Donnie VanZandt sound exactly the same as they
did the first time around, which is to say strong lead vocals and
able-bodied harmony. Guitarist Danny Chauncey adds some ripping lead
guitar to several tracks, as they roll through the classic catalogue
along with a few newer numbers. And only the close-minded among us toss
that "yee-hah rock" bandana on their work. "Hold On Loosely," "Back Where
You Belong" and especially "Caught Up In You" are pure pop songs rolled
in southern-fried bread crumbs. Sure, there 's a touching tribute to
Ronnie VanZandt ("Rebel To Rebel") that ends with a little "Free Bird"
riff, and yes, Donnie pays props by tossing in a whistle in place of a
vocal growl (a Ronnie trademark), but the crowd eats it up. And frankly,
when a band paves the career road for you and featured your late brother,
it would be hedonistic NOT to tip the hat to the icon.
And to prove that all the chips weren't cashed in fifteen years
ago, a new studio track ("Just One Girl") is tacked on at the end. The
song has a nice low-key push and gets its bounce from some great organ
playing. But if an album full of hits and a catchy new tune isn't enough
for you, there is that biker chick on the cover...
---
REVIEW: Yma Sumac, _The Ultimate Yma Sumac Collection_ (Capitol)
- Don Share
You probably can't pronounce her name, and you almost
certainly won't be able to understand lyrics like "Taita Inty!!
K'ontikipa unanchasccan...Unanchasccayquil!" But Yma Sumac, who was
once a household name, may well be on her way to entering your threshold
now.
Yma Sumac is a Peruvian of Inca descent who became a star in
South America, and then was discovered by Americans in the '40's and
'50's after a stunning debut at, of all places, the Hollywood Bowl. Hmm,
Capitol Records, Hollywood Bowl...is there a Beatles connection here?
No. Is it rock and roll?? Well, in the sense that, like all great rock
music, this stuff can be used to induce feelings of euphoria while
simultaneously irritating the neighbors...Possibly. Sumac's five-octave
voice is indescribable, though the album notes on this wonderful
compilation includes entertaining attempts; here's mine: imagine
having a nightmare (or exotic sex dream, take your pick) in which a
huge, brightly-colored South American bird trills mightily in your
ear, and then you wake up next to a woman you met at a Tiki bar whom
you met while discussing Ethel Merman. Ok, that sucks, but maybe you
get the idea, just a bit.
There are high-pitched quaverings, low-throated grumblings,
and everything in-between, some of it sounding evil, some of it
sounding paradisiacal. And all this is accompanied by weird bongo/mango
orchestral music with occasional side-vocals from her male-slave.
My own favorite is "Ataypura (High Andes)," which majestically
swells into a frenzy of hollering the likes of which nobody on this
continent can possibly hope to understand. Beginners, however, may
prefer her great singles, "Babalu" and "Wimoweh" - this last known to
some as "The Lion Sleeps Tonight." You can't miss with songs whose
title translations indicate that they describe earthquakes, monkeys,
the lure of unknown love, a virgin of the sun god, and - irresistably -
"the forest creatures."
Among the most exotic, then, of exotica, these recordings of
Yma Sumac (mostly arranged by her musicologist and husband, Moises
Vivanco) are available again for everyone to discover. Sumac once
joked that her real name was Amy Camus...so maybe she does have some
of that Beatles mystique, after all!
---
REVIEW: Jim O'Rourke, _Halfway to a Threeway_ EP (Drag City)
- Kerwin So
Some of our more observant readers might remember that Jim
O'Rourke released a full-length record not too long ago. These same
readers would also know from our review of that record (entitled
_Eureka_) that O'Rourke is hardly one to rest on his laurels. Rest
assured that these four new songs in EP form deserve some time in your
hectic listening schedule - that is, if you don't pay too much attention
to the lyrics. So much for being observant.
Don't believe me? Besides the hokey wordplay found in "The
Workplace" ("Women look good here with their suits on/ It suits them"),
the title track ventures into some rather perverse territory that I'd
prefer not to spell out here. All I can say is, use your imagination.
Hopefully O'Rourke was just exercising a twisted sense of humor on this
song. But if you can overlook this deviance, as well as the fact that
the first song, "Fuzzy Sun," sounds uncannily like "Ghost Ship in a
Storm" off _Eureka_, a humble treasure awaits.
The EP as a whole finds O'Rourke taking strong songwriting
skills and arrangements into catchier and more straightforward
territory, resulting in delicious nuggets of finger-picked acoustic
guitar bliss, with none of that annoying lounge pop to water it down.
The seven-minute instrumental piece "Not Sport, Marital Art" [sic]
holds these songs up on its own merits, flourishing the cornet of
Isotope 217's Rob Mazurek to accent the warm, wonderful rhythmic
changes and bossa nova variations that make this tune a rewarding
journey through the heart of whatever it is that makes those crazy
Chicago underground musicians tick. Sam Prekop from The Sea and Cake
adds his vocal talents to "The Workplace," whose final five minutes are
a masterpiece of hummability so simple and soothing that I can only
envision myself watching an episode of "Sesame Street" on TV while it's
pouring rain outside. I just can't describe it any better than that.
The guitars and gentle embellishments of horns and piano on
this EP will certainly uplift you, but O'Rourke's voice also contributes
an element of tranquil stability. Again, just don't take the lyrics too
seriously, and be glad he's not singing the same refrain 20-plus times
in succession. The rest will come naturally - no pun intended.
---
REVIEW: Shivaree, _I Oughta Give You A Shot in the Head for
Making Me Live in This Dump_ (Odeon/Capitol)
- Paul Andersen
From the opening strains of the nursery rhyme-like "Cannibal
King," you instantly know that this album isn't going to be a
cookie-cutter paint-by-the-numbers next-big-thing throw-corporate-
dollars-at-it affair. Well, maybe that last part - after all, Odeon
Records is under the Hollywood and Vine umbrella of Capitol Records
- still has a jury out on it, especially if you look at how they are
marketing it, but no matter. This is, simply and foremost, an album
that is going to sink its meathooks in you and not let go.
If you followed the Capitol marketing scheme, you would swear
that Shivaree is actually a person, but it is really a three-piece
band. The chosen Capitol center of the universe on this project is
singer Ambrosia Parsley - you don't make up a name like that one,
folks - of whose songs this record swirls around. But don't forget
her bandmates, guitarist Duke McVinnie and keyboardist Danny McGough -
a Tom Waits sideman, no less - because their contributions to the
hard-to-describe sound (think of it as 16 Horsepower with a sensual
instead of spiritual rant to it, mixed with a dash of Concrete
Blonde darkness) are essential, lifting Parsley's vocals into an
ethereal kaleidoscope of sound that will have you leaving the repeat
button in the 'on' position.
Simply put, this is a wonderful debut from a band worth watching.
---
REVIEW: Flying Saucer Attack, _Mirror_ (Drag City)
- Kerwin So
So we got through this Y2K thing with barely a scratch, more or
less, and let's face it - the year 2000 pretty much feels like 1999
warmed over. Does the new millenium really mean anything? Space-rock
outfit Flying Saucer Attack seems to think it does, and they've
announced its onset with their latest offering on Drag City.
Appropriately titled _Mirror_, this disc manages to reflect
both sides of the millennial chasm, incorporating the atmosphere of the
countryside with the sound of hyper-modern urbania. Somehow, core FSA
member David Pearce has managed to merge pastoral acoustic guitars,
electric feedback drone, and jungle beats into a beautifully
somnambulent, psychedelic creation. Consequently, you don't listen to
this record so much as let it seep into your pores.
There are some definite lines drawn here: the second song,
"Suncatcher," clearly extracts influence from troubador Nick Drake, with
its plaintive plucking and dream-like whispers, and the commencement of
the album's "technological" second half is unmistakably launched with
"Wintersong's" drum'n'bass groove anchoring FSA's trademark gauzy
feedback. The connecting threads through all these seemingly divergent
tracks are Pearce's hypnotically tranquil vocals, and a pervading sense
of quiet. It might be fair to label _Mirror_ as subliminal trip-hop -
indeed, not too long ago Pearce moved from the English countryside to
the more urban environment of Bristol, home of such artists as Massive
Attack and Portishead. The effect of both rural and urban environments
shines clearly throughout this record, suggesting a potential future in
which a cohesive humanity can reconcile the introspection and simplicity
of the countryside with the technology and progress of modern life.
For now, though, put this record on, take a deep breath, and
listen with the lights off. And see where it takes you.
---
REVIEW: Broadside Electric, _With Teeth_
- Chris Candreva
I will state here at the outset that I have been friends
with the drummer of Broadside Electric, Joe D'Andrea, for more
than ten years now. This does not in any way effect my review, however,
as I would have no problem saying "Gee Joe, your drumming is great as
usual, but the rest of it is just plain awful !"
Luckily, _With Teeth_ is far from awful.
Broadside Electric calls themselves a "progressive folk
ensemble", and that is probably as good a description as any. The
closest analogy in the pop world would probably be Traffic (one song
did sound reminiscent of _John Barleycorn Must Die_ ). However, they
remind me strongly of the bands I heard in pubs in Ireland, playing
traditional tunes.
Broadside Electric pulls their music not just from Ireland,
but utilizing traditional songs from Bulgaria, Canada, Croatia,
England, France, Scotland, and Scandinavia. Not just pulls, but
blends songs across various styles. An example: _With Her Head Tucked
Underneath Her Arm_, a song about Anne Boleyn, is (obviously) of
English origin, written in the early 1930's for Stanley Holloway.
They perform it, however, as a Klezmer, complete with another Klezmer
piece (_Ternovka Sher_) as a solo in the middle.
Equally eclectic is their choice of instruments, which
include the crumhorn, juice bottle caps (yes -- exactly what it says),
tin whistles, a concertina, and a rauschpfiefe. Most prominent to
their sound seems to be the Chapman Stick, a 10- or 12-stringed
electric instrument which consists of a single long fretboard, played
by hanging it from your belt and a shoulder strap and taping on the
strings with both hands.
Broadside Electric has managed to secure distribution of
_With Teeth_ through Amazon.com, where you can here samples of all the
tracks in RealAudio format. They also have a 1 minute montage of the
tracks available from their web site, available in RealAudio
( http://www.broadside.org/audio/rm/teethmarks.ra ) and MP3
( http://www.broadside.org/audio/mp3/teethmarks.mp3 ) formats. Rather
than ramble on trying to describe the music, I will suggest visiting
the sites above to sample the album for yourself, and end with the
word of Jerry Pournelle:
Recommended.
---
REVIEW: Starflyer 59, _Everybody Makes Mistakes_ (Tooth & Nail)
- Christina Apeles
In the same vein as Slowdive, stargazing work of Ride, My
Bloody Valentine, and anything put out on 4AD, Starflyer produces music
with beauty and grace in mind. This release is filled with rainy day
tunes that are just the right tempo, setting a mellow mood for
smoke-filled rooms with soothing guitar riffs and steady vocals to
comfort your ears.
Through the hushed utterances of Jason Martin, layered over
languorous beats and elegant guitar playing, it is evident that this
trio means to charm. From the darling piano-driven ballad of "20
Dollar Bills" to the romantic disposition, Morrisey-tinged tune of "No
More Shadows," _Everybody Makes Mistake_ is an exquisite collection of
addictive pop hooks and synthetic ballet.
---
REVIEW: Slowrush, _Volume_ (Epic)
- Jade Hughes
Slowrush's _Volume_ hit me right in the face as
soon as I put it in my stereo, and my hand unconsciously
pushed the volume button up.
The songs are a mix of heavy, striking guitar riffs and
electronic sounds which give each song an extra boost. Rob
Daiker's voice is packed with feeling; at times it has a
hard, cutting knife sound to it, at others it takes a softer tone.
"Concrete Bubble" and "Junkie" jump from slower and softer
to hard and explosive without transition. A smart mix that works
extremely well within the powerful lyrics, while "Star" is slower,
but just as powerful.
The songs are a mix of hate, anger, pain and love, something
everyone can relate to.
You may find yourself making sure the music is loud enough
to fill the whole house and even wanting to shout along. The
riffs are stirring and lively.
Slowrush seem to have many different musical influences such
as Nine Inch Nails and Smashing Pumpkins, but they have managed to
add their own originality, making an excellent debut album - one
to listen to if you like a good mix of power and beauty, and if
you're not scared of loud music. I personally love it!
---
NEWS: > Beggars Banquet is giving visitors to their website the
chance to remix a track from the forthcoming Bowery Electric album
_Lushlife_ until February 22. Further information is available at the
label's site, http://www.beggars.com/us/news .
> May 9 will see the release of a live album
from the late Jeff Buckley. The still-untitled album
features the following tracks: Dream Brother, I Woke Up In
A Strange Place, Mojo Pin, Lilac Wine, What Will You Say,
Last Goodbye, Eternal Life, Grace, Mood Swing Whiskey,
The Man That Got Away, Kanga Roo, Hallelujah/I Know It's
Over (medley).
> Doug Fieger (vocalist from the Knack) has released
his solo album, _First Things First_. Further information
on the album and ordering information is available from the
Knack Fan Club at http://www.knack.com/
> Maxim from the Prodigy is currently making his
solo album. Guest production and vocals come from Gang
Starr's Guru, The Sneaker Pimps and Skunk Anansie's Skin.
> Spin the Wheel Press has released their first publication,
The Deck of Chance, a deck of playing cards exploring accident,
fortunate, luck and the haphazard in daily life through poetry,
short stories, commentary and artwork by thirty-four published and
emerging writers and artists. Some of the people who have written
the text on the cards include Los Angeles writer Norman Kling,
Austrian art critic Otto Neumaier and Superchunk's Laura Ballance.
The deck is limited to a print run of 500. Check out
http://spinthewheelpress.homepage.com for more information.
> Tragically Hip fans should be happy with the
re-release of three more albums from the band's catalog.
Sire / London have re-released _Road Apples_, _Up To Here_
and _The Tragically Hip EP_ enhanced with promotional music
videos using state of the art HyperCD technology.
---
TOUR DATES:
Beck
Feb. 9 Montreal, QC Univ. Of Montreal
Feb. 11-12 Boston, MA Orpheum Theatre
Feb. 14-15 New York, NY Radio City Music Hall
Cracker
Feb. 9 Santa Cruz, CA Catalyst
Feb. 10 San Francisco, CA Slims
Feb. 11 San Francisco Slims
Feb. 12 Petaluma, CA Mystic Theater
Cravin' Melon
Feb. 11 Danville, VA Sir Richards
Dismemberment Plan
Feb. 8 Ft. Walton, FL Java Pit (w/ Alkaline Trio)
Feb. 9 New Orleans, LA Movie Pitchers (w/ Alkaline Trio)
Feb. 11 Denton, TX Ribber Gloves (w/ Alkaline Trio)
Feb. 12 Austin, TX Emo's (w/ Alkaline Trio)
Feb. 17 San Diego, CA Che Cafe (w/ Trizteza & All Scars)
Guster
Feb. 9 Carrboro, NC Cat's Cradle
Feb. 10 Athens, GA Georgia Theater
Feb. 11 Salem, VA Roanoke College
Feb. 12 Columbia, SC Gallery 701
Feb. 14 Orlando, FL Sapphire Supper Club
Feb. 15 Gainesville, FL Brick City Music Hall
Feb. 16 New Orleans, LA House of Blues French Quarter
Feb. 17 Houston, TX Satellite Lounge
Ben Harper & Innocent Criminals
Feb. 9 Pittsburgh, PA Metropol
Feb. 11 Columbus, OH Newport Music Hall
Feb. 12 Cleveland, OH Odeon
Feb. 13 Cincinnati, OH Bogarts
Feb. 14 Bloomington, IN Iu Auditorium
Feb. 16 Champaign, IN University Of Illinois
Feb. 17 St. Louis, MO Mississippi Nights
Richie Hawtin
Feb. 9 Calgary Republic
Feb. 10 Edmonton The Rev
Feb. 15 Los Angeles, CA The Viper Room
Feb. 16 San Diego, CA E. Street Alley
Feb. 17 Seattle, WA The Showbox
Miles Hunt
Feb. 16 New York, NY The Fez
Live
Feb. 11 Winnipeg, MN Walker Theater
Feb. 14 Calgary, AB South Jubilee Auditorium
Feb. 15 Edmonton, AB Shaw Conference Centre
Machine Head
Feb. 8 Virginia Beach, VA The Abyss
Feb. 9 Washington, DC 9:30 Club
Feb. 10 Philadelphia, PA Trocadero
Feb .11 Worcester, MA The Palladium
Feb. 12 New York, NY Irving Plaza
Feb. 14 Pittsburgh, PA Graffiti
Feb. 15 Hunington, WV Gyrationz
Feb. 16 Cincinatti, OH Bogarts
Feb. 17 Cleveland, OH The Odeon
Aimee Mann / Michael Penn
Feb. 9,11 Philadelphia, PA The Theater of the Living Arts
Feb. 12 Somerville, MA The Somerville Theater
Feb. 13 Providence, RI Lupos Heartbreak Hotel
Feb. 15-19 New York City, NY Joe's Pub
Pretenders
Feb. 10 Phoenix, AZ Union Hall
Feb. 11 Los Angeles, CA Universal
Feb. 12 Las Vegas, NV House Of Blues
Feb. 13 Bakersfield, CA Fox Theatre
Feb. 14 San Francisco, CA Fillmore
Feb. 16 Seattle, WA Paramount Theatre
Feb. 17-18 Portland, OR Roseland Ballroom
Stroke 9
Feb. 10 Tallahassee, FL The Moon
Feb. 12 Myrtle Beach, SC House of Blues
Feb. 13 Chapel Hill, NC Memorial Hall
Feb. 15 Greenville, NC The Attic
Feb. 16 Charlotte, NC Tremont Music Hall
Stereophonics
Feb. 9 Edmonton, AB Skyreach Centre
Feb. 10 Saskatoon, SK Saskatchewan Place
Feb. 12 Prince George, AB Prince George Multiplex
Feb. 13 Kamloops, BC Riverside Coliseum
Feb. 14 Kalowna, BC Skyreach Place
Feb. 15 Vancouver, BC General Motors Place
u-ziq
Feb. 9 Portland, OR Lola's
Feb. 10 Los Angeles, CA El Ray
Feb. 11 San Francisco, CA Bimbo's
Feb. 12 Seattle, WA Club I-Spy
---
THE READERS WRITE BACK!
> I appreciate the recent piece on Robert Cray -
however, I wanted to call one item to your attention. Robert
passed on a healthy offer to renew his contract at Mercury
and chose instead to sign with Rykodisc to insure the priority
afforded by a smaller, more music-focussed label. This was all
consummated prior to the Mercury merger taking place or any
of us being aware that it was even possible. Also, Robert's
"sophomore jinx" went well beyond gold which is the sort
of jinx all but a few artists in the world should be happy
to be hounded with. - Mike Kappus, Manager, Robert Cray
---
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