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== ISSUE 170 ==== CONSUMABLE ONLINE ======== [March 8, 1999]
Editor: Bob Gajarsky
E-mail: editor@consumableonline.com
Managing Editor: Lang Whitaker
Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim
Kennedy, Tim Mohr, Al Muzer, Joe Silva
Correspondents: Christina Apeles, Niles J. Baranowski, Tracey
Bleile, Lee Graham Bridges, Jason Cahill, Patrick
Carmosino, John Davidson, Andrew Duncan,
Krisjanis Gale, Paul Hanson, Chris Hill, Eric
Hsu, Tim Hulsizer, Franklin Johnson, Steve
Kandell, Reto Koradi, Robin Lapid, Linda Scott,
Scott Slonaker, Kerwin So, Chelsea Spear, Simon
Speichert, Jon Steltenpohl, Simon West
Technical Staff: Chris Candreva, David Landgren, Dave Pirmann
Also Contributing: Dan Birchall
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: Sloan - John Davidson
REVIEW: The Roots, _Things Fall Apart_ - Lang Whitaker
REVIEW: Ben Lee, _Breathing Tornados_ - Christina Apeles
REVIEW: Joe Henry, _Fuse_ - Chris Hill
REVIEW: Fun Lovin' Criminals, _100% Columbian_ - Tim Mohr
REVIEW: Built to Spill, _Keep it Like A Secret_ - Kerwin So
REVIEW: Beth Orton, _Central Reservation_ - Patrick Carmosino
REVIEW: Boo Radleys, _Kingsize_ - Tim Mohr
REVIEW: Adrian Belew, _Salad Days_ - Joann D. Ball
REVIEW: Fleming & John, _The Way We Are_ - John Davidson
REVIEW: Mojave 3, _Out Of Tune_ - Tim Mohr
REVIEW: Shabba Ranks and Friends, _Shabba Ranks and Friends_ - Joann D. Ball
CONCERT REVIEW: Man or Astroman? - Andrew Duncan
REVIEW: Robbie Nevil, _Wot's It To Ya - Best Of_ - Bob Gajarsky
REVIEW: The Merrymakers, _Bubblegun_ - Bill Holmes
REVIEW: Serah, _Senegal Moon_ - Joann D. Ball
NEWS: Sascha Konietzko, Triffids, Bill Laswell / PJ Olsson,
Brian Setzer
TOUR DATES: All / Less Than Jake, Babe The Blue Ox / Trinket /
Interpreters, Better Than Ezra / Jude, Braid, Candlebox,
Cibo Matto, Hank Dogs, Finger Eleven, Flick, Godsmack, Sammy
Hagar, Jets to Brazil, Jungle Brothers, King Missile, Kodo,
Korn, Local H, Marvelous 3, Mighty Blue Kings, Offspring,
Oleander / Vast, Placebo / Stabbing Westward, Plastic People
of the Universe, Promise Ring, Samples, Sepultura / One Minute
Silence / Biohazard, Silverchair / Grinspoon / Lit, Elliott Smith,
Sparklehorse / Varnaline, Ten Foot Pole, Vanilla Ice, Waco Brothers
Back Issues of Consumable
---
INTERVIEW: Sloan
- John Davidson
One of the best kept musical secrets in North America is Sloan.
While they win awards and enjoy great popularity in Canada, Sloan is
relatively unknown in the United States. With 1998's superb _Navy
Blues_, a live album this spring, and a new studio album later this
year, Sloan keeps on coming with great music. Consumable Online's
John Davidson interviewed Sloan's Chris Murphy at The Point in
Atlanta, GA on February 4, 1999.
Consumable Online: Is Murder Records (the band's label) just
the four of you?
Chris Murphy: Murder Records has gone through several stages.
It started out with no aspirations, and then we had a couple of records
out so we hired a guy to kind of run it. By the fourth record, it was
really more about documenting the community. It's always been a hobby,
it never really made money. Sloan made money, and that was also
because we were getting advances from Geffen and then on our third
record from The Enclave. Now we don't get advances from anyone, so
it's a very Sloan-centric vehicle now. We can't afford to sign
someone. We don't have a staff really, it's just a means of owning
our masters. There's our live record coming out that will be our
39th release [for the label] but I think Sloan has been five of the
last seven.
CO: So you're not going to do any releases by any other bands?
CM: Politically, I think it's impossible. Because we all own
it again, it would mean that we'd have to get approval from everyone.
So, if I have some sort of project I'm working on and we're trying to
make inroads down here [in the United States], playing to a small club
down here, "Why would we spend money on this project of yours when we
could spend it on another hotel room?" Again, we're not hurting for
money. We're in a peculiar economic situation because we live in
Canada and we do well there but in the States it's a little less.
CO: Not as many stadium shows?
CM: No, but that's a fun dichotomy to live, though. It's
enjoyable. I honest-to-God prefer to play this show as than any show
we'll play in Canada, because in Canada we've crossed over to the
degree where there's a lot of university students and casual
listeners. In the States there's a little more rabid listeners. In
Canada there's definitely rabid: we have almost a teeny-bopper thing
to contend with, and here we don't. There's no moshing and all that
stuff we have to deal with. We're almost interchangeable with Green
Day or something in Canada. That's okay, because I like kids and
we've cultivated an all-ages situation but it's also problematic
because you get a lot of bozos. But, if we were playing in this club a
nd we didn't have that money situation in Canada, I think we'd be really
frustrated by now. You know, seven years later and we're still playing
in a tiny club. We haven't had a huge opportunity to have a lot of
momentum in America, the way we have in Canada. But, we played here
four months ago and hopefully that will have paid off to let people
come tonight. Then, if we make a new record and get down here quick
I think we'll grow because we've only done it in fits and stops before.
CO: Where do you see the band five years from now? It's got to
be a big effort to go all over Canada and all over the States.
CM: It's okay. Not being on a major allows us to go territory
by territory. We've gone to Japan and worked out a deal with Universal.
We're just carving up the world. We did a really good job over there.
We just went over there in November. I'd like to see us grow in places
other than just the States.
CO: And your records are improving with each time...
CM: I like our records, but we have fights. Like, is this the
time we should use a producer or should we just do it again ourselves?
Do people kind of like the homespun of our group? I think that that
goes a little bit of a way. If we want to sell to more people, we
probably want a little more of a radio-friendly sound. It's hard.
It's a hard call.
CO: It's hard. Look at the Tragically Hip: sold loads in
Canada but couldn't get arrested down here. Then you get somebody
like the Barenaked Ladies who figure it out somehow and their dice
rolls up right.
CM: Well, they worked really hard, and toured really hard.
They definitely put on a really good live show. It's a total circus
atmosphere, and they toured regionally like we're trying to do. But,
we have a shorter battery. We can't stay out longer than three weeks
without the band breaking up. Whereas, they're out for three weeks
and they're already planning week four. Working radio, chasing radio
and that's how you have to do it. I think you get really burned out
that way. I think if we had done that we would have broken up by now.
We'd like to keep the band together longer. A lot of groups make a
load of cash, and then people turn their backs on them but they don't
care because they made a million dollars. I think that our records
are good, we're my own favorite band, and I think we're better than
every other group, and people will just come around someday. We're
in no rush, because again, we're in the Canadian situation where we
make money. If all we had to rely on was gigs like these tonight,
we'd be fucked. A lot of groups in the States that are good are
fucked because they don't have a cash cow like we do. We're really
lucky. We're fortunate.
CO: How many records do you sell in Canada? How many of
_Navy Blues_?
CM: 80,000.
CO: And how many down here?
CM: 12,000, maybe. It's hard to tell because I'm going kind
of by Sound Scan. When you sell that small of a number...well, it
works for Mariah Carey but if it's small you can't tell because you
sell them in Mom & Pop stores and there's no Sound Scan. There's no
way of telling.
CO: Do you have a distribution deal for Murder here in the US?
CM: Yeah, it's with Proper Distribution. Who knows, in the
States we might have a more elaborate situation someday, but it's
fine the way it is now. One of the biggest thrills is to be able to
go to Japan and work out whatever deal we want, or Australia. It's
[_Navy Blues_] is on Murder Records in Australia. Again, that's not
gonna amount to millions in sales, but it's nice.
CO: It's better than giving half of it away.
CM: Yeah. And over time, if someday some record comes out on
a major we'll own all those old records. We don't own _Twice Removed_,
but we own the rest of them. We own "Twice Removed" in Canada, but we
don't own it internationally. If we had a huge radio hit, we'd be in
trouble because then we'd be chasing radio and Andrew (the main
drummer) would snap and quit because he doesn't want to tour too long.
If you wanna chase radio, you gotta stay on the road. I personally
could do it [chase radio]. I'd like to work two years straight and
just do it and then get to a point where we can pick and choose. Our
management is smart and everything has really worked out perfectly.
Every failure has been turned into a positive thing. Where The
Enclave shut down, we got money and we got our records back.
CO: When you're writing songs, do you feel like you have to
create music that is "sellable"?
CM: It's funny because I had this song when I was a kid in
my first band with Jay in '87. It was about that kind of thing, and
being commercial. I don't mean to quote myself because it's obnoxious
but you said almost the same thing. The words were, "You've painted
yourself some pretty pictures and some were put out on display, and
some you've decided wouldn't sell that well and all these have been
hidden away." Again, I'd like to think that every record before this
one has been, on my part, I'm trying to write singles and catchy
songs. I do it for myself. I'm not like, "Well, fuck, I hate my
own songs." I like my own songs, I think they're smart and good,
but we have a song on this record called "Suppose We Close the
Door," and it's obviously not going to be a hit. To me, that was
almost hard to do because I had ten songs to choose from and Jay was
really positive about that song. Yes, it was an album track, but
it's nice to have your singles. Instead of having twelve attempts
at a single, and three of them are good and the rest are kind of
sub-par singles, have your single attempts and good album tracks.
Even though I had songs that went into the garbage, I'll just bring
them out again to piss them off.
CO: Do you have any sage advice?
CM: Sage advice? Make your own records and deliver them
finished so no one can tell you what to do. Not just that, but so
they know what they're getting, too.
---
REVIEW: The Roots, _Things Fall Apart_ (MCA)
- Lang Whitaker
The latest CD from The Roots, _Things Fall Apart_, comes at a
time when things seemed to be coming together for the Philadelphia-based,
organic hip-hop combo. After disassociating themselves from Geffen
Records and inking a new deal with MCA, The Roots were said to be a
much happier group of late (The Roots reportedly were less than
thrilled with Geffen's hip-hop marketing schemes).
But on _Things Fall Apart_, the total sound of The Roots
appears to have had a colonic. No longer stuffed full of jazzy
instrumental spills and throbbing bass, The Roots have toned everything
but the vocals down, creating a sleeker, more streamlined sound. This
works particularly well on tracks like "Dynamite!" and "Act Too (Love
of My Life)."
With their air time increased, The Roots' rappers -- Black
Thought (born Tariq Trotter) and Malik B. -- are forced to get on the
mike and deliver more than ever before. Black Thought's voice is
steeped in sizzle, boasting and bragging his way throughout the record.
But for the most part, his lyrics lack luster, as he continues
proclaiming his and Philadelphia's supremacy. Though Malik remains a
supporting character -- the Ed McMahon to Black Thought's Johnny
Carson -- on _Things Fall Apart_ Malik turns in his best performance
yet, flipping phrases and words with an insouciant, Redman-like tone,
showing audible artistic growth from his efforts a few years back.
Most of The Roots' recent acclaim is spurred by the sumptuously
laconic love movement "You Got Me," a ghetto fable of star-crossed
lovers whose lives have them unknowingly crossing paths, before they
ultimately come together only to, natch, fall apart. Easily the best
song on _Fall Apart_ (and probably the best hip-hop song of '99 thus
far), "You Got Me" allows earthy soul diva Erykah Badu to keep her
turban in the public eye, as she croons the undecipherable yet
unrelenting hook. The songs climaxes on the final chorus, when Roots
drummer ?uestlove drops the beat in favor of a funked out series of
jungle speed bumps. In this final 40 seconds, The Roots show what
sets them apart from the rest of hip-hop's Phat Farm-wearin' crowd:
their musical ability.
Though most rap groups are content to let their producers shape
their sound (which means all live performances are basically
professional Karaoke), The Roots have always included a full band
along with their rhymes. Drummer ?uestlove is as metronomic as usual,
but the rest of the crew (including Leonard Hubbard on bass and the
multifarious Kamal on keyboards & guitars) steps into the role of
human samplers, basically playing simple little instrumental parts
over and over again. They don't sample the sounds, but they might as
well.
The live forum has traditionally been where The Roots find
their stride, as their instruments are allowed to roam free. If their
gorgeous performance of "You Got Me" on David Letterman's "The Late
Show" last week was even a hint of what's to come when The Roots hit
the road with this new material under their belts, we should all
sprint to Ticketmaster. But as The Roots prove on this new release,
what happens if you leave a great live band in the studio for too
long? Things fall apart.
---
REVIEW: Ben Lee, _Breathing Tornados_ (Grand Royal/Capitol)
- Christina Apeles
The darling of the indie music scene and indie pop stars
alike (as well as the paramour of teen-angst queen Claire Danes),
20-year-old Australian Ben Lee continues to charm listeners with _
Breathing Tornados_. A collection of witty lyrics and hooks galore,
on _Tornados_ the former Noise Addict frontman exits his teens into
a more diverse, polished brand of pop. Luminaries such as producer
Ed Buller (Suede, Pulp, Spiritualized), Harmony Korine (Gummo/Kids),
Petra Hayden (That Dog), Sean Lennon (John and Yoko) and Donovan
Leitch contribute their two cents to Lee's latest oeuvre. A follow-up
to 1997's acoustically-driven _Something to Remember Me By_,
_Tornados_ will take many fans by surprise due to one important
fact: The whole album was recorded on computers. If you can get past
the synth sounds and keyboard-heavy tunes, you are sure to find
pleasure in a smart, fairly low-tempo sound that showcases Lee's
talented musicianship, with decades of songwriting ahead of him and
a hell of a lot of charisma to offer.
There's a fair mix of styles thrown into _Breathing Tornados_,
largely due to the incorporation of keyboards and drum machines
(which I could definitely do without), creating Lee's most
radio-friendly album yet. The record ranges from the Psychedelic
Furs-tinged "Nothing Much Happens," to the light-hearted pop track
"Cigarettes Can Kill You," as well as the rich, lazy groove of
"Sunflower." I found my longing for Lee's earlier raw, sensitive
nature (like he displayed in his solo debut "Grandpa Would")
satisfied with "Birthday Song," a poignant ballad with Lee at his
best -- stripped down to an acoustic guitar, the weight of his
emotions palpable with every nuance of his voice.
But what does a twenty-year-old know about desire and defeat
in the first place? He'll convince you in passionate numbers such as
"Burn to Shine" and "Sleepwalk." His unique ability to express such
sentimentality and get away with it is because he seems so terribly
honest, and his somber offerings compare favorably to the bittersweet
songwriting of Mark Eitzel (ex-American Music Club), though Lee is
almost half his age.
Not all of _Breathing Tornados_ is so blue. Lee showcases
his sexy side in the jazzy, ornate "Nighttime," decorated with a
backdrop of cool horns, seductive bass lines and Lee's alluring
voice to stir your senses. Still, nothing compares to "Ship My Body
Home," which every guy will be playing air guitar along to. It is
the most rocking track on the album, laden with electric axe riffs
(though repetitive). The momentum builds with Lee's clever word
plays and timely music breaks making you wish the song would never
end, but this is a pop album and nothing hits the four minute mark.
And that's why you just can't get enough of it.
---
REVIEW: Joe Henry, _Fuse_ (Mammoth)
- Chris Hill
When an album pulls its title from one of its tracks, that
song merits extra scrutiny. Why was it singled out? What makes that
one more special than any of the others? Is it truly worthy of a
titular honor? It's a glimpse into the taste of the artist (or the
record company) and another info tidbit for the scrap-hungry fan.
The title song of _Fuse_ is brilliant - a one-song showcase for
everything the Joe Henry fan would expect: simple, evocative lyrics
with warm musical swaddling. Three weeks of listening, and it's still
undergoing multiple repeats before the cd is allowed to segue to the
next song. "Here comes the night/ there go your knees/ reaching for
the floor/ You say, 'I'll stand guard down here'/ she stands in the
door..." The evoked image is three-dimensional, with small guitar
riffs and a sultry-sweet piano, cushioned by gentle drums. The cherry
on top of the sundae: the lyric, "But her fingers on your lips/ are
like a penny for a fuse," which simply stunned me into slack-jawed
appreciation as the song wanders to fade.
Repeat. Repeat. Repeat.
The other ten songs? Not surprisingly, also splendid. The
Dirty Dozen Brass Band, Chris Whitley, Jakob Dylan, Carla Azar,
Anthony Wilson, Randy Jacobs -- old friends and new -- lend Henry
assistance. The Brass Band contributes greatly to _Fuse_, as the
jazz/hip-hop flavor of this release shows Henry once again morphing
his musical contours.
It's a far cry from 1992's _Short Man's Room_ and 1993's
_Kindness of the World_, the discs Henry recorded using the Jayhawks
as his backing band. _Fuse_ *is* a kissing musical cousin to his last,
_Trampoline_, though_Fuse_ possesses a singular production presence
compared to _Trampoline_ and its individual splendors ("Flower Girl,"
"Trampoline," "Ohio Air Show Plane Crash"). A glue on the unified
ambience -- throughout _Fuse_ are sprinkled excerpts of a two
decades-old reading by poet George Seedorff, serving as a carnival
barker with ironic clues and commentary to the show behind the curtain.
Not to say _Fuse_ lacks an array of songs vying for individual
attention. The flat-out charming first verse of "Great Lake" makes
for a strong contender. Also stepping to the forefront are the
relentlessly cheerful "Skin and Teeth," and "Like She Was a Hammer,"
with Henry clearly savoring every syllable sung. Also calling
attention to themselves are the ambling, leisurely "Angels," which
speaks of scruffy guardians more likely to distract than to guide,
and the crooning "Want Too Much," with its slow burn jazz trumpet.
There's even an instrumental ode to baseball great Curt Flood, who
brought Major League Baseball to the Supreme Court with a 1970
lawsuit against the reserve clause.
Mixed by T-Bone Burnett, Rick Will, and Daniel Lanois, _Fuse_
finds Henry comfortable and assured. When the last song, "We'll Meet
Again," rings in with a blithe farewell, it's with a warranted
confidence.
---
REVIEW: Fun Lovin' Criminals, _100% Columbian_ (Capitol)
- Tim Mohr
On their second album, the Fun Lovin' Criminals slow the pace
a bit and lower the novelty factor. But they still show a great sense
of humor ("I got supermodels on my D" goes the chorus of "Big Night
Out"), and their consciously down-market sensibility is actually
well-served by a little sweaty down-tempo.
The opening track sounds like A Tribe Called Quest's "Bonita
Applebaum"--a slow soul backdrop decorated with some sax and sitar.
"Love Unlimited" has a similar soul throb to it, and the "Barry White
saved my life" theme purposely highlights the cheesy aspect of the
sound.
The style of "Scooby Snacks" is revisited on several tracks
that feature raucous guitars or guitar samples. "Korean Bodega" (a
Bo Diddley-esque trot), "All For Self" (swirling guitars punctuated
by horns), and the aforementioned "Big Night Out" (complete with Tom
Petty sample) are all guitar-driven, catchy, and fun. Other tracks
show the metal leanings of the Criminals, as "Southside" and "10th
Street" both race along atop aggressive, churning guitar riffage.
The final two tracks of the album are straight (if ironic) bar-room
shuffles, anchored by live country-ish bass lines and near-rockabilly
guitar.
While not as immediately engaging as the debut album, _100%
Columbian_ makes a good listen, continuing the Fun Lovin' Criminals'
run as a working class version of the Beastie Boys - dishing out wild
variations in style, wit, beats, and urban cool. And instead of
investing in rich-boy causes - as the Beasties do - the Fun Lovin'
Criminals bought a local garbage removal company with their
first-album windfall. They're keeping it much more real while
mellowing out on their second album. So kick back and enjoy a lazy
Sunday afternoon drive - on a trash truck.
---
REVIEW: Built to Spill, _Keep it Like A Secret_ (Warner Bros.)
- Kerwin So
The top 5 things everyone else has said about Built to Spill
this time around:
1) This album represents the first time Built to Spill has
recorded with the same lineup that played on the previous album (1997's
brilliant _Perfect from Now On_). Main Spiller Doug Martsch has finally
decided to forego his ongoing policy of voluntarily rotating band
members, originally implemented to assure a different sound on each
record.
2) The songs are shorter this time around, not "sprawling"
like on the aforementioned _Perfect_.
3) This shorter length recalls the bouncier pop of 1994's
_There's Nothing Wrong with Love_, although the songs sound like a
cross between that album and _Perfect_.
4) Doug Martsch is really not concerned with record sales,
although his label (Warner Brothers) is, particularly since Built to
Spill's last release on Warner didn't do as well as expected. Thus the
major publicity push this time around.
5) The song "You Were Right" re-hashes some of the better-known
cliches from yesteryear's dinosaur rock songs ("You were right when you
said all that glitters isn't gold/ You were right when you said we're
all just bricks in the wall," etc.).
The top 5 things Kerwin has to add:
1) Let us not forget the talents of producer Phil Ek, who has
worked with the band since _There's Nothing Wrong with Love_. He
makes Doug's background vocals sound positively angelic on tracks
like "Else" and "Center of the Universe."
2) Is Doug the "Great White Hope" of indie-rock? Is indie-rock
dead? Do we really care, when a band like Built to Spill consistently
releases brilliant albums abounding with well-structured songs,
replete with tasteful solos and profoundly simple lyrics? No, we
need merely be grateful.
3) This album will definitely sell more copies than _Perfect
From Now On_. The shorter song length, poppier song structure and
deft production all add up to -- gasp! -- a radio-ready sound. Next
thing you know, Built to Spill will land a primo soundtrack spot for
some Warner Bros. cash cow flick. You heard it here first.
4) "You Were Right" is probably the only misstep of the
album, wherein Mr. Martsch (rather fittingly) brandishes a cock-rock
guitar wail in order to complement his rehashing of classic rock
cliches. This song more than any other illustrates the influence
that classic rock has had on Built to Spill.
5) Doug really isn't concerned with record sales, as one can
gather by reading or listening to any interview with him. A man who
writes lyrics like "This history lesson doesn't make any sense in
any less than ten thousand-year increments" certainly understands
his place in the universe.
The top 5 reasons (ie. songs) to buy _Keep it Like A Secret_:
1) "Else"
2) "Temporarily Blind"
3) "The Plan"
4) "Center of the Universe"
5) "Sidewalk"
---
REVIEW: Beth Orton, _Central Reservation_ (Arista/Deconstruction)
- Patrick Carmosino
Originally hyped as a UK club-savored diva (for her work with
the Chemical Brothers), Beth Orton whipped up a debut record (_Trailer
Park_ , 1997) that married her spacious trip hop and electronic
yearnings perfectly with a rather dynamic folk form that evoked images
of not only Joni Mitchell, but also early Carole King and Carly Simon.
It was that comfy, early 70's feel as well as her ghostly voice that
was the kicker to it all.
On _Central Reservation_, gone are the abstract trip hop
leanings (save for the stark "Stars All Seem To Weep"). Present are a
mix of very pretty, jazz-inspired waltzy ballads and bare but lush
guitar and voice pieces that keep the spaces just as beautifully
wide-open.
Also present are the shuffling progressions of such songs as
the lead song, "Stolen Car." With its token snarling guitar to go
along, one could think momentarily that Orton's bought into the edgy
blandness disguised as the pseudo-righteousness of Lilith Fair-land.
The track's growing intensity defies all that nonsense, though, and
fulfills its spot as a fine intro taster (yet not tasting like
anything else the album is about).
"Sweetest Decline," which comes in right after "Stolen Car,"
is the first of the three waltz-oriented numbers and, wonderfully,
the schmaltziest. With its ride cymbal tick-tocks, string
orchestrations and violin plucks, you get the sense the elegant
lounge gown fits Orton as well as her jeans and trainers. The other
two waltzes -- "So Much More" and "Pass In Time" -- come from a more
be-bop (and yes, Joni Mitchell "Blue"-period) backdrop. On "So Much
More," Orton uses a synthesized mandolin sound instead of an actual
mandolin, and it fits the song beautifully; she gets a new and unique
version out of a traditional sound. And check out the "slide" vibes
on "Couldn't Cause Me Harm" that, along with the melody, put you in
your favorite afternoon room in 1973.
The title track finds Beth Orton at her inspired best lyrically:
"I can still smell you on my fingers and taste you on my breath.
Stepping through brilliant shades of the colour you bring/ And nothing
is as sacred as we want it to be when it's real." These are but nuggets
of her profound writings that fill her first 2 records. Ben Watt's remix
of "Central Reservation" at the end of the record turns more into a pop
song or intro music for a hip major film rather than any deep club
groove that one can see Orton getting further into at some point. As
an album, _Central Reservation_ avoids a sophomore slump with a batch
of songs both fresh in their approach, yet containing the essential
sparks that sent you Beth Orton's way from the start.
---
REVIEW: Boo Radleys, _Kingsize_ (Creation/Never)
- Tim Mohr
_Kingsize_ turns out to be the final album from the late,
nearly-great Boo Radleys, who have decided to pack it in after a decade.
Fittingly, it exemplifies their considerable strengths, as well as their
weaknesses and idiosynchrasies.
Songwriter Martin Carr is a boffin capable--when he feels like
it - of writing eerily perfect pop songs such as "Finest Kiss" from
_Learning To Walk_ or "Wake Up, Boo!" and "Find The Answer Within" from
_Wake Up, Boo!_. But most of the time he seems intent on undercutting
his songs with eccentric ideas that usually include lots of noise
(_C'mon Kids_) or weird sounds and arrangements (_Giant Steps_) -
resulting in lots of near-misses.
The title song on _Kingsize_ shows what Carr can do--it's a
buoyant pop song that swells to anthemic proportions. "Eurostar" and
"Comb Your Hair" also showcase the beauty of the Boos: "You've been
away too long. It's lonely when you're gone" goes a chorus that Boo
fans may soon be singing to the band members.
"Blue Room in Archway," the album opener, has soft melodic vocals
over a gentle piano line that yields to distorted vocals over loud
guitar passages supplemented by horns and strings - experimental in a
mid-60s Beatles way, but also, in the same way, very pop.
"The Old Newsstand at Hamilton Square" picks up some faux-soul
groove - like Dodgy - then swings into a chunky guitar solo. The Boos
adamantly refuse to go in one direction, much less musical style, in any
given song. "Future Is Now" is a reach: the vintage synth burps and
swirls could go.
Compared to the distractingly noisy _C'mon Kids_, _Kingsize_ is
a very restrained affair. The arrangements are a little odd - a Curtis
Mayfield sample here, some programmed beats, strings, or scratches
there - but remain relatively quiet.
_Kingsize_ sees the Boos going out with a whimper, not a bang,
but this may please fans put off by the seemingly contrived bluster of
_C'mon Kids_.
---
REVIEW: Adrian Belew, _Salad Days_ (Thirsty Ear)
- Joann D. Ball
Adrian Belew is one of the most innovative and creative
electric guitarists in popular music, but it's quite possible that
you may not realize that you've already heard his work. Milestone's
in Belew's industrious musical career include playing and touring
with Frank Zappa, David Bowie and the Talking Heads (and their various
solo projects). Also, Belew's unmistakable fretwork has been a
prominent part of King Crimson's latter-day sound (since the release
of _Discipline_). Outside of his duties as co-lead guitarist and lead
vocalist of King Crimson, Belew was a member of The Bears, and he
also released a number of solo records, including the commercially
notable _Mr. Music Head_ (which spawned the catchy single "Oh Daddy").
The positive reception of live acoustic versions of his songs
during solo concert performances prompted Belew to compile his latest
release, _Salad Days_, which features two live tracks and some songs
previously included on his self-released (but almost impossible to
find) albums: _The Acoustic Adrian Belew_ and _Belewprints_. Even
though it is an acoustic record, it is full and rich, with 16 tracks
diverse in sound and structure. Among the outstanding cuts on this
50-minute record are the vocal-and-strings only "Men in Helicopters,"
"Never Enough," which is what pop singles were meant to sound like,
and "I Remember How To Forget" which is full of melodic twists and
turns. The live solo acoustic version of King Crimson's "Three Of A
Perfect Pair" is even more compelling than the original. For
something different, there's also the experiment-in-sound selections
"Return of the Chicken" and its percussion counterpart with the
self-explanatory title, "Things You Hit With A Stick."
If you aren't familiar with Adrian Belew's impressive track
record and previous work, _Salad Days_ is a great introduction to
the essence of his sound. It is one of the most enjoyable and
entertaining records of this year, and will hopefully connect with
a host of music fans who treasure pop rock fundamentals and
appreciate acoustic music. Definitely a must for fans of the Beatles,
XTC, Robyn Hitchcock and Ben Folds Five, who should find Adrian
Belew's acoustic pop irresistible.
---
REVIEW: Fleming & John, _The Way We Are_ (Universal)
- John Davidson
From their living room studio in Nashville, Fleming McWilliams
and her husband John Mark Painter have taken a determined step forward
from 1995's _Delusions of Grandeur._ At once melodic and eccentric,
the myriad of pop stylings and voicings on "The Way We Are" avoids
easy categorization. Long-time friend and collaborator Ben Folds has
called the group "The Carpenters of the 90s with the Led Zeppelin
rhythm section," but the Carpenters were never this complicated and
Zeppelin never so tasteful.
They could have a radio hit if they wanted ("Comfortable" or
the giddy, bouncy "Radiate") but Fleming & John seem content throughout
the album to experiment with as many musical ideas as they can,
creating complex musical landscapes. The strength of this approach is
that some of the chances they take work: the waltz on "Suppressed
Emotions" and the disco tempo of "Sadder Day" seem to fit in and shine.
The downside is that some songs appear out of place, and occasionally
the tinkering can be excessive. John, a talented arranger and
multi-instrumentalist who does almost everything on the album but
sing lead, seems fascinated with production at times. He mostly
avoids overdoing things, but a simple ballad like "Don't Let it Fade"
probably needed little more accompaniment than a guitar. Like her
husband, Fleming also embraces an aura of musical exploration, going
from diva to seductress to rock star and everything in between. Her
beautiful voice is a solid foundation to their work, giving them the
versatility to pursue any mood they fancy.
In the end, the divergence of styles probably lessens the
impact of "The Way We Are" as a whole. There are a few too many ideas
present and the album is at least three songs too long. Still, the
production value is very good, and it's hard to imagine a big studio
making these songs sound any more vibrant or more listenable. It's a
sunny, memorable pop outing that showcases an up-and-coming band with
some strong, original material.
---
REVIEW: Mojave 3, _Out Of Tune_ (4AD/Sire)
- Tim Mohr
Their debut album was a beautiful amalgam of early Cowboy
Junkies, Mazzy Star, and Low. Retaining the sense of melody and the
molasses-paced meloncholy from their days in Slowdive, Rachel Goswell
and Neil Halstead seemed perfectly suited to the hushed American
setting they created from the ruins of their English shoe-gazing phase.
_Out Of Tune_ is not as successful. "Give What You Take" has
the feel of early 70s post-hippy rock--like America's "Horse With No
Name." "Yer Feet" is unnecessarily Dylanesque.
"Some Kinda Angel" is more like their previous material -
except that the mid-tempo time signature might as well be hardcore
techno compared to the asleep-at-the-wheel dirges of their debut.
On "All Your Tears," Mojave 3 (there's five of them, by the way)
ease down, and Goswell joins Halstead to good effect in front of a
mournful vintage organ. "Caught Beneath Your Heel" has the pair
harmonizing over a similar background before gospel backing vocals
conjure up an overblown Pink Floyd concert.
Two problems surface on Mojave 3's sophomore effort: first, they
spent too much on production, inadvertantly losing the touchingly frank
feel of the debut in an array of superfluous instruments. Second, where
was Rachel? Vocal duties on the debut were split, but here she appears
only as occasional back-up singer--which is a shame (and a waste).
---
REVIEW: Shabba Ranks and Friends, _Shabba Ranks and Friends_ (Epic)
- Joann D. Ball
The critical and commercial success of Lauryn Hill and the
Fugees represents the latest approach to blending of American R&B and
hip-hop with reggae. A similar African Diaspora musical reunion took
place earlier this decade, when Jamaican dance hall king Shabba Ranks
demonstrated the tremendous possibilities of blending his brand of
reggae with the urban/contemporary R&B and hip-hop sounds of the time.
Because Shabba's efforts were often brilliant collaborations with
talented performers from the U.S. and his native Jamaica, it is fitting
that his greatest hits collection is called _Shabba Ranks and Friends_.
Shabba added a new twist to the combination of musical styles
and sounds which was evident in the Bronx, New York origins of hip-hop
music and culture. He also drew upon the foundation laid by Stevie
Wonder, when the musical genius introduced R&B audiences to the classic
reggae sound of Jamaican legend Bob Marley in the late 1970s/early
1980s (on the song "Jammin'/Master Blaster). Shabba Ranks' approach
was so dynamic because it featured ample amounts of bass and
sexuality, at a time when American R&B music and urban contemporary
radio desperately needed something fresh and exciting.
Shabba Ranks first gained attention stateside with his 1991
debut _Raw As Ever_. The record featured a collaboration with rapper
KRS-One (from Boogie Down Productions) on "The Jam," which became
Shabba's first American crossover hit. It was the July 1992 follow-up,
_Rough and Ready, Vol. 1_, that really established Shabba as a
musical and sexual tour de force. On "Mr. Loverman," the album's lead
track and smash hit single, it was clear that he was absolutely
serious about taking care of business. That Shabba and female vocalist
Cheuvelle Franklin repeatedly called out his name throughout the song
in celebration of his microphone and bedroom skills was undeniable
proof of Shabba's unmistakable abilities.
Shabba's rough and ready approach meshed easily with
contemporary R&B and hip-hop, making the dance hall-driven sound the
ultimate form of urban dance music. Less than three months after "Mr.
Loverman"'s conquest, Shabba let it all hang out on _X-Tra Naked_.
This third record was also a commercial success, due in part to the
sultry hit "Slow and Sexy." The combination of Shabba's raw reggae
sex appeal with the smooth and slick soul of former New Edition
heartthrob Johnny Gill was irresistible, and unabashedly suggestive.
With a string of successful records, three massive singles
and constant airplay on urban radio, it seemed as though Shabba Ranks
and his innovative sound was making permanent and long-lasting inroads
into the urban contemporary format. But perhaps it was too much too
soon. While the collaboration with Maxi Priest on "House Call (Your
Body Can't Lie To Me)" from the 1993 release _Rough and Ready,
Vol. 2_ was well received, it didn't match the success of the
previous singles. And despite the strength of Shabba's fifth effort
_A Mi Shabba_ (which featured a collaboration with Mykal Rose on the
Black Uhuru classic "Shine Eye Gal" and a duet with reggae femme
fatale Patra on "Ice Cream Love"), the record failed to receive
the attention it deserved.
Maybe it's still not too late for Shabba Ranks to make a
triumphant return. With the release of the eleven-song collection
_Shabba Ranks and Friends_, there is a chance that Shabba's later
work will be rediscovered and his groundbreaking hits resurrected.
Not too long ago, Shabba Ranks had his finger on the pulse of a new
promising sound, and the new track "Mr. G." suggests that Shabba
still knows how to deliver the goods. Here's hoping that he rises
to the top once again during this current revival of R&B, hip-hop
and reggae fusion.
---
CONCERT REVIEW: Man or Astroman?, Indianapolis, Indiana
- Andrew Duncan
A sound echoes through the amplifiers filling the room with a
rumbling bass frequency so low, it feels like the room is floating in
space. The origin of the sound comes from a series of samples that
mimics the emotion of a hovercraft with a transmission problem.
Vintage green and yellow-screen computer monitors sporadically
tower on the stage. The blank screens leave something to be desired.
However, the faux-satellite dish and neon red and green plastic tubing
that coils around microphone stands and dangles from the rafters are a
sign that something incredible is about to take place.
That something is Man or Astroman?
The small club on the north side of Indianapolis earth people
likes to call The Patio was packed waiting to see the surf/sci-fi group.
"My perception of surf music is the Beach Boys," said Jane
Briscoe, 30, who has never seen or heard of the band. "I am wanting to
be enlightened, and by the end of the show, I'm sure I will be a fan."
This is also a first for Ben Adrian, 23.
"I've listened to and enjoyed Man or Astroman? for a few years,
but I've never driven to see them."
The audience's interest was satisfied as bassist and sampler
controller Coco, drummer Birdstuff and guitarists Blazar The Probe
Handler and Trace Readings walked on stage dressed in homemade jumpsuits
and futuristic colors - bright oranges, blues and chrome. Both Blazar and
Readings are new members to the Astro-team.
Picking up their instruments, the bland computer monitors change
to images of NASA space footage and‘ 50s education videos. Like
warp speed, the band kicked off the set with "Maximum Radiation Level"
from the album _Infinity Within_.
The live interpretations of their songs - or experiments as they
like to refer to - were much faster in tempo than with their studio
releases and like a whirlwind of sound, one song interchanged with
another.
Sometimes hard to detect and sometimes blatantly obvious, the
band would make mistakes. Whoever would make mistakes was required to
do a series of push-ups as punishment. During the song, "Man Made Of
CO2," from the EP 1000X, both Blazar and Readings were required to
submit to military punishment.
The band kept to their set list schedule like a mission statement
and even showcased a few songs from their upcoming album _EEVIAC_, due
out in spring.
With a new album will come a new tour and stage concept. Talking
with Birdstuff prior to the show, he stated that the band will expand
their stage show by turning their amplifiers and monitors into huge,
behemoth supercomputers. Like the UNIVAC, designed in the 70s, the
EEVIAC is a supercomputer for the 90s.
"EEVIAC is a supercomputer designed by Coco," he said. "No
longer are people going to want to rely on personal computers. People
are going to go back to using computers that would occupy entire
buildings."
By the end of their set, Coco showcased an oversized, homemade
tesla coil. After everyone assumed a safe distance, Coco lit up the
stage with bright blue electrical currents. The heat from the bolts of
electricity radiated the club with cigarette smoke blending into burning
air particles. People walked out of the show never to forget what they
just witnessed.
"The show was completely insane," said Adrian. "I didn't expect
the show to be so haphazard."
---
REVIEW: Robbie Nevil, _Wot's It To Ya - Best Of_ (Razor & Tie)
- Bob Gajarsky
The New York City-based label Razor and Tie has returned
with another overlooked reissue in the form of Robbie Nevil's _Wot's
It To Ya - The Best of Robbie Nevil_.
While Nevil's best known for his #2 hit reverse-crossover
hit "C'est La Vie", music insiders knew Nevil's name long before
that 1986 smash. As a songwriter for urban artists such as El
DeBarge and the Pointer Sisters (see the U.S.A. For Africa compilation
disc for Nevil's writing contribution), Robbie could always break
down barriers between the world of rock and rhythm and blues.
In the course of his three album, five year career as a
solo artist, Nevil generated seven chart hits, including the
top 10 hits "Dominoes" and "Wot's It To Ya", and the funkified
"Just Like You". Always underappreciated by the masses, Robbie's
career hit the proverbial sophomore jinx with 1988's _A Place Like
This_ - and when his third and final album (_Day 1_) failed to
ignite the spark of his self-titled debut five years earlier,
he was dropped by his EMI label.
Nevil hasn't completely disappeared from the music scene, as
his co-writing credits on the soulful Kele Le Roc 1998 European hit
"Little Bit Of Lovin'" will attest to. And for those fans who want to
revisit the spark that surrounded Nevil's debut album more than ten
years ago, _Wot's It To Ya_ is the perfect place to go.
TRACK LISTING: C'est La Vie, Dominoes, Wot's It To Ya, Time Waits
For No One, Simple Life, Back To You, Look Who's Alone Tonight,
Somebody Like You, Since When, Back On Holiday, Getting Better, Mary
Lou, Just Like You, For Your Mind, Temptation, Tell Me Something Good
---
REVIEW: The Merrymakers, _Bubblegun_ (Big Deal)
- Bill Holmes
Believe the hype -- The Merrymakers are that good. Fans of
melodic bands like Badfinger, Jellyfish and the like, now have another
group to add to their list of favorites: The Merrymakers. The Swedish
duo of Anders Hellgren and David Myhr are a veritable pop factory,
churning out treasures that are immediately accessible. And speaking
of Jellyfish, if you've missed the superlative talents of Andy
Sturmer, he's all over this record as drummer, producer and co-writer.
It's amazing how a band from halfway across the planet can
sound so naturally in tune with the American pop sound, but five seconds
into the opening of "Saltwater Drinks" cements that fact. It rocks,
much like "Superstar" (think The Mosquitos doing The Monkees' "That
Was Then, This Is Now"). "April's Fool," one of Sturmer's co-writes,
sounds like a collaboration between ELO and Harry Nilsson, with a
little George Harrison guitar sound tossed in as icing on the cake.
Vocal arrangements are outstanding throughout, perhaps no more so than
on the explosive "I'm in...love!", a great song that uses a key change
and emotionally charged vocal to perfectly capture that incandescent
moment when your heart overrules your mind. Like all great pop records,
songs are about falling in or out of love, with lyrics to match. The
delicate ballad "Outside Looking In" is a prime example ("when troubles
occur/ we don't let them stay/ we look at the clouds/ and just blow
them away...")
The original (import) version of _Bubblegun_ is available as
a reissue in the U.S. except for one track, and the initial release
includes a bonus disk with five tracks from 1995's _No Sleep Til
Famous_. Those of you who have resisted buying the more expensive
import records will be pleased to finally enter the world of the
Merrymakers. Now if Big Deal would only release that new Wondermints
record domestically...
---
REVIEW: Serah, _Senegal Moon_ (Great Northern Arts)
- Joann D. Ball
The name Serah may not be immediately recognizable, but that
is likely to change, given the innovative methods being used introduce
the artist and her latest release _Senegal Moon_ to American audiences.
Serah is a talented singer/songwriter who has crafted her
own, distinctive sound by bridging cultures and musical genres. East
Africa, where Serah once lived, is the primary inspiration for her
music and lyrics. Her creative blend of contemporary pop and New Age
with world music is perfectly suited for her poetic lyrics. It's a
wonderful combination, which makes _Senegal Moon_ the most impressive
of Serah's four releases.
A collection of eleven songs, _Senegal Moon_ captures the
beauty of nature and the essence of human spirit. Among the most
uplifting songs are those which feature African dialect ad libs,
contributed by Daby Toure on title track and "Papillion," and by
Daby and Omar Toure and Guilla Thiam on "Wedding Song," "Singing
Tree" and "Papaya Moon."
Produced by Grammy Award winner Neil Dorfsman (Sting, Dire
Straits, Bruce Hornsby), _Senegal Moon_ is truly a cross-cultural,
multinational record. Joining the American-born vocalist was a group
of talented musicians, including bassist Bernard Paganotti,
keyboardist Bertrand LaJudie, guitarist Patrice Tison, percussionist
Xavier Desandre-Navarre, and drummers Pierre-Alain Dahan and Antoine
Paganotti. Also, a number of background singers add a rich texture to
the record.
Released by New York-based record label Great Northern
Artists (GNA), _Senegal Moon_ has figured prominently in an
alternative music marketing campaign in which traditional radio
airplay is only one component. In the past three months, Serah's
record has been featured as an in-flight selection on Delta and
Northwest Airlines. During this same period, the lead singles ("Papaya
Moon" and "The Wedding Song") have been introduced to audiences in
more than 2,000 United Artists movie theaters and in independent
theaters in several major U.S. cities. And _Senegal Moon_ has been
placed in over 300 coffee houses nationwide as part of the Cafe
Music Network.
Serah's music and lyrics are socially conscious and she has
consistently used her music to promote world peace. To this end, she
and her band will perform on the opening day of the Hague Appeal for
Peace (this celebration of the First International Peace Conference
will be held May 11-15, 1999, in the Netherlands).
_Senegal Moon_ will catch your ear because of Serah's clear
and soothing voice, and its positive and moving sound. The elegant,
environmentally conscious design of the CD package will certainly
capture your attention, and the celebration of life and nature
projected throughout the almost hour long release will capture your
heart and soul.
---
NEWS: > Fans of Sascha Konietzko and the disbanded-KMFDM
will be interested to note of the alliance between Sascha
and Tim Skold in the incarnation of MDFMK, and the
assoicated website http://www.mdfmk.net
> David McComb, singer and writer for the
now-defunct, Triffids died recently at the age of 37
due to complications after a car accident.
> Bill Laswell and PJ Olsson have collaborated
on a remix of Olsson's new single "Visine," which is
being previewed at http://www.pjolsson.com .
> The title track from Brian Setzer's _The Dirty
Boogie_ will be available for a 30 day listening period
from http://www.a2bmusic.com
---
TOUR DATES:
All / Less Than Jake
Mar. 8 Calgary, AB Mcewan Ballroom
Mar. 9 Edmonton, AB Old Scona Arts Barn
Mar. 11 Bellingham, WA Western Wa. Univ.
Mar. 12 Vancouver, BC Croation Cultural Ctr.
Mar. 13 Seattle, WA Dv8
Mar. 14 Portland, OR Roseland Ballroom
Mar. 15 Eugene, OR Wow Hall
Babe The Blue Ox / Trinket / Interpreters
Mar. 9 St. Louis, MO Gargoyle
Mar. 12 Columbus, OH Ohio Union Ballroom
Mar. 14 Cleveland, OH Peabody's
Better Than Ezra / Jude
Mar. 9 Virginia Beach, VA Peabody's
Mar. 10 Washington, DC 930 Club
Mar. 11 Baltimore, MD Bohager's
Mar. 12 Providence, RI Lupo's
Mar. 13 Boston, MA Avalon
Mar. 14 Manchester, NH Chantilly's
Braid
Mar. 11 Minneapolis, MN Foxfire w/ Selby Tigers
Mar. 12 Sioux Falls, SD Augustana College
Mar. 13 Winnepeg, MB Pyramid Cabaret
Mar. 15 Saskatoon, SK Amigo's
Candlebox
Mar. 8 Sauget, IL Pop's
Mar. 10 Fayetteville, AR Dickson St.
Mar. 11 Dallas, TX Deep Ellum Live
Mar. 15 New Orleans, LA House of Blues
Cibo Matto
Mar. 11 Hoboken, NJ Maxwell's
Mar. 12 Washington, DC 930 Club
Mar. 13 Philadelphia, PA TLA
Mar. 14 Carrboro, NC Cat's Cradle
Mar. 15 Athens, GA 40 Watt Club
Hank Dogs
Mar. 10 Chicago, IL Schuba's
Mar. 13 Seattle, WA Tractor Tavern
Finger Eleven
Mar. 11 Champaign, IL Mabel's
Mar. 12 Peoria, IL Infirmary
Mar. 13 Lincoln, NE Royal Grove
Mar. 15 Minneapolis, MN 7th Street Entry
Flick
Mar. 8 Atlanta, GA Roxy
Mar. 12 Tulsa, OK Cain's Ballroom
Mar. 13 Lawrence, KS Granada Theatre
Mar. 15 St. Louis, MO Karma
Godsmack
Mar. 12 Hartford, CT WCCC Show
Mar. 13 Dover, VT Bud Light Stage
Mar. 14 Syracuse, NY Lost Horizons
Mar. 15 State College, PA Crowbar
Sammy Hagar (All shows at Hard Rock Cafe)
Mar. 8 Boston, MA
Mar. 9 New York, NY
Mar. 11 Cleveland, OH
Mar. 12 Chicago, IL
Mar. 13 St. Louis, MO
Jets to Brazil
Mar. 11 Chapel Hill, NC Cats Cradle
Mar. 12 Atlanta, GA Echo Lounge
Mar. 13 Jacksonville, FL JACK RABBITS
Mar. 14 Orlando, FL Sapphire Supper Club
Mar. 15 Tallahassee, FL Cow Haus
Jungle Brothers
Mar. 10 New York, NY Bowery Ballroom
Mar. 12 Chicago, IL Metro
Mar. 14 Miami, FL Winter Music Conference
King Missile
Mar. 8 Portland, OR Satyricon
Mar. 9 Seattle, WA OK Hotel
Mar. 12 Minneapolis, MN 7th Street Entry
Kodo
Mar. 8 New Brunswick, NJ State Theatre
Mar. 9 Princeton, NJ McCarter Theatre
Mar. 10 Washington, DC Constitution Hall
Mar. 13 Atlanta, GA Rialto Center
Korn
Mar. 9 Ft. Lauderdale, FL National Car Rental Center
Mar. 11 Dayton, OH Nutter Center
Mar. 12 Moline, IL Mark of the Quad Cities
Mar. 13 Detroit, MI Palace of Auburn Hills
Mar. 15 Hamilton, ONT Copps Coliseum
Local H
Mar. 10 Manchester, NH Chantillys
Mar. 11 Providence, RI Lupos Hearbreak Hotel
Mar. 12 Poughkeepsie, NY The Chance
Mar. 13 Rutland, VT Killington Ski Resort
Marvelous 3
Mar. 8 Calgary, AB Singer Center
Mar. 11 Saskatoon, SAS Centennial Hall
Mar. 13 Regina, SAS Centre of the Arts
Mar. 14 Winnipeg, MAN Walker theater
Mar. 15 Thunder Bay, ONT Community Theater
Mighty Blue Kings
Mar. 9 Bloomington, IN Bluebird
Mar. 10 Kalamazoo, MI Club Soda
Mar. 11 Detroit, MI Majestic Theatre
Mar. 12 Buffalo, NY Tralfmadore Cafe
Mar. 13 Rochester, NY Milestones
Mar. 14 Syracuse, NY Syleen's
Offspring
Mar. 8 Buffalo, NY Flickinger Arena
Mar. 9 Philadelphia, PA Electric Factory
Mar. 10 Washington, DC Patriot Center
Oleander / Vast
Mar. 9 San Francisco, CA Bottom of the Hill
Mar. 11 Portland, OR Roseland
Mar. 12 Seattle, WA Crocodile Cafe
Mar. 13 Las Vegas, NV KXTE Show
Placebo / Stabbing Westward
Mar. 8 Knoxville, TN Moose's
Mar. 9 Atlanta, GA Roxy
Mar. 10 New Orleans, LA Howling Wolf
Mar. 12 Tulsa, OK Cains
Mar. 13 Lawrence, KS Granada Theatre
Mar. 15 St. Louis, MO Karma
Plastic People of the Universe
Mar. 9 Vancouver, BC Richard on Richards
Mar. 10 Seattle, WA Crocodile Cafe
Mar. 11 Portland, OR Satyricon
Mar. 12 San Francisco, CA Bottom of the Hill
Mar. 13 Los Angeles, CA Spaceland
Promise Ring
Mar. 12 Green Bay, WI Concert Cafe
Samples
Mar. 9 Indianapolis, IN Vogue
Mar. 13 Baltimore, MD Bohager's
Sepultura / One Minute Silence / Biohazard
Mar. 8 West Warwick, RI Lupo's
Mar. 10 Pittsburgh, PA Metropol
Mar. 11 Philadelphia, PA Trocadero
Mar. 12 Worcester, MA Palladium
Mar. 13 Asbury Park, NJ Convention Hall
Mar. 14 West Springfield, VA Jaxx
Silverchair / Grinspoon / Lit
Mar. 10 Atlanta, GA Roxy
Mar. 11 Washington, DC 930 Club
Mar. 12 Philadelphia, PA Trocadero
Mar. 15 Chicago, IL Vic Theater
Elliott Smith
Mar. 9 Dallas, TX Trees
Mar. 10 Austin, TX Liberty Lunch
Mar. 12 Baton Rouge, LA Varsity Theatre
Mar. 13 New Orleans, LA Dream Palace
Mar. 15 Orlando, FL Saphhire Supper Club
Sparklehorse / Varnaline
Mar. 12 Chapel Hill, NC Cat's Cradle
Mar. 13 Atlanta, GA Echo Lounge
Mar. 15 Birmingham, AL The Nick
Ten Foot Pole
Mar. 9 Burlington, VT 242 Main
Mar. 10 Portsmouth, NH Elvis Room
Mar. 12 Bound Brook, NJ The New Palace
Vanilla Ice
Mar. 10 Stephenville, TX City Limits
Mar. 11 Tulsa, OK Cain's Ballroom
Mar. 12 Dallas, TX Deep Ellum
Mar. 13 South Padre Is., TX Charlie's Paradise
Waco Brothers
Mar. 12 New York, NY Lakeside Lounge
Mar. 13 Hoboken, NJ Maxwell's
---
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