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== ISSUE 192 ==== CONSUMABLE ONLINE ======== [November 15, 1999]
Editor: Bob Gajarsky
E-mail: editor@consumableonline.com
Managing Editor: Lang Whitaker
Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim
Kennedy, Al Muzer, Joe Silva
Correspondents: Michelle Aguilar, Christina Apeles, Niles J.
Baranowski, Mike Bederka, Jason
Cahill, Matthew Carlin, Patrick Carmosino, John
Davidson, Andrew Duncan, Krisjanis Gale, Paul
Hanson, Chris Hill, Eric Hsu, Scott Hudson,
Steve Kandell, Reto Koradi, Robin Lapid, Wes
Long, I.K. MacLeod, Linda Scott, Don
Share, Scott Slonaker, Kerwin So, Chelsea Spear,
Jon Steltenpohl, Michael Van Gorden, Simon West
Technical Staff: Chris Candreva, David Landgren, Dave Pirmann
Also Contributing: Jeanne Schantz
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 |
`------------'
REVIEW: Queensryche, _Q2K_ - Chris Hill
REVIEW: The Divine Comedy, _A Secret History_ - Don Share
REVIEW: Eurythmics, _Peace_ - Jon Steltenpohl
REVIEW: Muse, _Showbiz_ - Scott Slonaker
REVIEW: Primus, _Antipop_ - Matthew Carlin
REVIEW: Charlatans UK, _Us and Us Only_ - Chris Hill
REVIEW: Gay Dad, _Leisure Noise_ - Don Share
REVIEW: Joe Strummer and The Mescaleros, _Rock Art and The X-Ray
Style_ - Tim Kennedy
REVIEW: The Wedding Present, _Singles 1995-1997_ - Christina Apeles
REVIEW: Les Rythmes Digitales, _Darkdancer_ - I.K. MacLeod
REVIEW: The Misfits, _Famous Monsters_ - Andrew Duncan
REVIEW: Victor Calderone, _e=vc2_ - Chris Hill
REVIEW: Andrea Parker, _Kiss My Arp_ - I.K. MacLeod
REVIEW: Arto Lindsay, _Prize_ - Jon Steltenpohl
REVIEW: Zucchero, _Overdose D'Amore_ - Reto Koradi
REVIEW: Warrant, _Greatest and Latest_ - Jeanne Schantz
REVIEW: Brand New Heavies, _In Tha Beginning..._ - Joann D. Ball
REVIEW: Kahimi Karie, _K.K.K.K.K._ - Niles Baranowski
NEWS: Korn, Bob Marley, Smashing Pumpkins
TOUR DATES: Alaline Trio, Blinker The Star, Death In Vegas, Bryan
Ferry, Ben Harper, Innocence Mission, Live, Mike Ness,
Silverchair / Blink 182, Sonia Dada, Joe Strummer & The
Mescaleros, Superchunk, Richard Thompson, Westbam, Josh Wink
Back Issues of Consumable
---
REVIEW: Queensryche, _Q2K_ (Atlantic)
- Chris Hill
Queensryche made their masterpiece with the 1988 concept album
_Operation: Mindcrime_. Their next, _Empire_, outsold the triple
platinum Mindcrime by a million. So what? "Silent Lucidity" and "Empire"
are lunar reflections of the sun that is _Operation: Mindcrime_.
Queensryche will carry the pride and the burden _Operation: Mindcrime_
throughout their career.
"I remember now. I remember how it started. I can't remember
yesterday. I just remember doing what they told me." It's sheer glory
from the intro, including the hospital page taken from stock sound.
Hearing "Dr.David...Dr. Blair, Dr. J. Hamilton," sparks a smile, an
in-joke for fans of the 'ryche, when it appears, seemingly ubiquitous
in every tv show or movie hospital scene. Michael Kamen orchestration,
an intelligent story (Imagine! Rock fans who think!), cinematic
flourishes of dialogue and sound effects -- so many things to praise on
that album, with the musicianship at the top of the list.
How you view _Q2K_ depends on how you view your art. Are you
looking for a Da Vinci to paint a Mona Lisa, then move on to other
challenges? Or do you want Monet, with multiple, equally stunning
portraits of the Rouen Cathedral? Will a disc different from the
Mindcrime watermark disappoint or please? Up to you.
Enough digression. Queensryche has a new album out, and to
their credit, they continue to avoid a creative regression to past
glories, despite the departure of founding ace guitarist and songwriter
Chris DeGarmo and the reflex to recoil from a wound. Band friend,
guitarist, and producer Kelly Gray fills this void ably. Forced change
- can* be good -- see R.E.M. sans Bill Berry.
Some bands are identified by their guitarists. With this one,
it's the vocalist. Geoff Tate proves again why he stands at the
forefront of rock singers. Voicing the tired lyrics of "Sacred Ground,"
("You're the one I want/you know it's true./Let go of everything/open up
to me. You bring me to sacred ground/ when I'm inside you"), Tate
impossibly makes the song fresh. His phrasing is perfection -- no
surprise to those aware of Tate's talent.
The Queensryche guitar magic is also unchanged: eleven songs
containing solid riffs and breakout leads, just what you'd expect from
old pros like Michael Wilton and Gray. Rounding out the band mentions,
drummer Scott Rockenfield and bassist Eddie Jackson remain,
underpinning, and, when given free rein, taking charge of the songs,
giving _Q2K_ a strong, filler-free presence.
"Beside You," opening with Tate softly crooning a hymnal, segues
to thick-sliced chopping rhythms. The lyrical intimacy of a father's
connection with his child works beautifully, backed by a slide guitar
that morphs to an electric crescendo.
The edgily menacing "Liquid Sky," my favorite on _Q2K_, harkens
back to the glory days of "I Don't Believe in Love" and "Empire" without
prostituting itself. The guitars slither around Tate's operatic range,
appearing out of the shadows, then subtly disappearing again. There's a
segment atmosphere, as if a line stretches to a suite of other, unheard
songs.
"When the Rain Comes," a plea for connection ("I feel the rain
coming/I feel it in my heart, take away my pain/...Hold me now, just
for awhile"),flies on Tate's vocals, beginning in his lower range then
soaring and swooping like a bird. Remember the first time you heard
"Queen of the Reich" in stunned amazement? Older, matured, Tate's
voice retains that ability to astonish.
"One life is like one prayer/One love to share/One thought is
like one dream/One world, one meaning." Interestingly, a comparison to
U2, evoked by "One Life"'s infinite guitar intro and this "world as
one" theme, was reinforced by Queensryche covering "Bullet the Blue
Sky" at their recent Seattle show.
While other '80s rock bands appear on K-tel compilations and
"Where Are They Now?" shows, Queensryche forges on, making their own
way, uncompromised. So it's not Mindcrime. So what? If you've haven't
strayed from the fold, _Q2K_ won't disappoint. If you have, step inside
their site at http://www.queensryche.com, and see what you've missed.
---
REVIEW: The Divine Comedy, _A Secret History_ (Setanta)
- Don Share
A secret history no more, one hopes, after this album. The
Divine Comedy, really Neil Hannon, has been around for almost a decade
now, and have a half-dozen or so CDs behind out, which are all but
unknown in the US. It's true that this is the kind of music that could
only come from the British, along with the likes of Baby Bird, Scott
Walker and Noel Coward, all of whom I can hear in these lush, witty,
wistful productions. I say productions, because Hannon plays the
orchestra like an instrument -- but don't run away scared! As in some
of the over-the-top pop creations of the '60s, orchestrated pathos is
all part of the charm of this stuff -- musically, most of these songs
could have been hits in that eclectic era -- yet anything pretentious
in it is compensated for by Hannon's frequently hilarious, always
poignant lyrics.
In fact, this is devilishly clever stuff, as when in "The Frog
Princess," which is about an affair with a French girl with a case of
ennui, bits of the "Marseillaise" are played on a French horn in a
multiple musical pun. Or take my own favorite here, a transformation
of the Noel Coward tune, "I've Been to a Marvellous Party," (originally
from a tribute album) which starts off as a traditional piano croon,
then veers into hefty electronica, and ends up as disco.
_A Secret History_ isn't, be advised, a greatest hits collection,
though there are some UK chart toppers present ("Something For the
Weekend," a hit song about someone lurking in the woodshed, amazingly
enough, and "National Express," for example), or even a thorough sampler
(it omits, for instance, "The Booklovers," an amusing early novelty in
which the names of about 60 writers are recited, along with some comedic
interruptions), but it's a fine introduction to music that will come as
a superb astonishment to most American listeners. And even if you're
already a fan, there are two tasty new tracks here, including the
must-hear "Gin Soaked Boy," that make the disc a handy assortment.
Like an Austin Powers experiment in which Jarvis Cocker gets
mixed up in the laboratory blender with Burt Bacharach, _A Secret Affair_
is an entertaining cocktail that mixes a past that never was with a
garish, celebratory, and deeply observed present. Definitely shagadelic!
---
REVIEW: Eurythmics, _Peace_ (Arista)
- Jon Steltenpohl
It's been a long time since we've seen anything from the
Eurythmics as a complete band. Fans have had to do with Annie Lennox's
lovely solo albums, Dave Stewart's Spiritual Cowboys, and a few rare
glimpses of the two here and there for 10 years. This past year, Dave
and Annie hooked back up, one thing led to another, and a tour, a social
consciousness, and a new album were born. _Peace_ is the tour name, the
philosophy, and the album title, and Annie and David have put a big push
behind Greenpeace and Amnesty International. (See
http://www.peacetour.net for more info.)
Regardless of your views on those two activist groups, the
album doesn't drip with activist views. Instead, there's more of a
"perfect harmony" kind of feel to it which doesn't get involved in
specifics. "I Saved the World Today" might seem pretentious or preachy
from the title, but instead, it simply says "Hey, Hey \ I saved the
world today \ Everybody's happy now \ the bad thing's gone away \ and
everybody's happy now \ the good thing's come to stay \ please let it
stay." The other tracks that take a similar attitude are equally as
vague. Not that the album is all feel good and mellow. Tracks like
"Power To the Meek" and "I Want It All" are driving and driven by Dave's
guitar.
Between the mellow, the melodic, and the harder edged tracks,
_Peace_ sounds like the album true Eurythmics fans might expect. The
lead single, "17," is unmistakably a Eurythmics song. Like most of their
later work, the use of synthesizers is fairly sparse. The soul sound is
also missing, but there are ballads like "My True Love" which fans of
Annie Lennox's solo albums will enjoy. And, the upbeat tracks are guitar
heavy and reminiscent of songs like "Would I Lie to You" and "I Need a
Man."
Unfortunately, there isn't anything quite as powerful or as
poignant as in the past. _Peace_ has that slight hint of "reunion"
lurking behind the scenes. The lyrics are good, but not as good as you
remember. The music sounds pretty good, but doesn't quite have that
atmosphere that you remember. And, unfortunately, Annie's voice seems
to be losing a bit of its incredible charm and power. Even on the lead
single in the US, "17," you can hear her straining a bit. Quite frankly,
it's a shame. Even on their live performance on "Late Show with David
Letterman," they looked a little tired and Annie was getting a lot of
help from the backup singers.
Despite these failings, _Peace_ still is a very enjoyable album.
If you've liked a single from it, then you probably won't be
disappointed. Fans of the band who have followed them from their early
days in the Tourists through the various solo projects will find _Peace_
is an indispensable part of their collection. It certainly isn't their
worst album, and once you get used to the state of Annie's voice, it's
actually quite enjoyable. After such a long wait, you always hope for
perfection, and _Peace_ is a slight letdown for fans with lofty
expectations. However, it's a decent album and, for those who thought
they'd never hear another Eurythmics album again, _Peace_ is something
to be thankful for.
---
REVIEW: Muse, _Showbiz_ (Maverick)
- Scott Slonaker
Listen precisely twenty-one seconds into Muse's debut full-length
to figure out where the British trio's, er, muse comes from; singer
Matthew Bellamy opens his mouth, and bang. He channels Radiohead's Thom
Yorke so completely it's scary. That first track, "Sunburn" sounds like
an outtake from _The Bends_, to the point where anyone who isn't a
Radiohead fanatic would be quite easily fooled. And only part of this
is the presence of _Bends_ producer John Leckie.
Normally I hate judging an act based on those who came before it;
however, in this case, the similarity is so complete it is unavoidable.
This young trio writes the same sort of jagged, seether-then-ether rock
songs as everyone's favorite (to steal a Spin term) COR ("critic-oriented
rock") band. The bio acknowledges this, too. That aside, _Showbiz_ is
remarkably advanced for a debut album; no patchwork _Pablo Honey_
happenings here.
Even with the ominous shadow of Thom & Co. hanging overhead, high
points are scattered throughout _Showbiz_. The striking first single,
"Muscle Museum", slithers along on swaying bass and careening organ.
"Falling Down" is a gorgeous Jeff Buckley-esque torcher. The driving
"Fillip" is surely a highlight of the band's live act. Given free reign
with such a young band, Leckie really gets a chance to shine. Tracks
like the piano-and-guitar effect-drenched "Cave" makes Muse sound like
they've been making records for a decade. Unfortunately, they haven't
been writing lyrics as long, and Bellamy's inconsolable shrieking can
wear thin without the deft imagery that Radiohead is known for.
Still, the energy level is quite impressive, and can only bode
well for a group whose members average 20 years of age. Keep an eye on
Muse.
---
REVIEW: Primus, _Antipop_ (Interscope)
- Matthew Carlin
Back when "Jerry Was a Racecar Driver" hit the MTV airwaves, Primus
truly was the oddest rock group on the tube. A pubescent music nerd's
wet dream, all three members had the chops of their heroes in Rush, the
quirkiest cartoon-voiced lead singer and songs that were just plain weird.
They had already won legions of fans in the Bay Area with legendary live
shows and two albums on Caroline Records that came before their big label
debut, _Sailing the Seas of Cheese_, but the idea of Les Claypool stomping
around stage singing about "John the Fisherman" and a horny cat named
Tommy while on tour opening for U2 was about as 'alternative' as music
could get in the early-90s.
Alas, the salad days when Primus headlined Lollapalooza are long
gone with the festival itself. And Primus-influenced groups like Limp
Bizkit and Korn rule the airwaves and incite riots at Woodstock. It is a
sad, sad time in music. I digress. What's truly depressing is that Primus
is still up to the same exact tricks. In fact the production on _Antipop_
sounds exactly like their first studio album, _Frizzle Fry_, right down
to the thin, snappy snare drum, the Stewart Copeland-style sibilant high
hats and Larry Lalonde's psychedelic waves of guitar. Only the tunes
aren't as inventive (since Claypool has been writing the same four songs
since 1990) and the lyrics are getting stupider.
'I am _Antipop_/I'll run against the grain till the day I drop/I
am the _Antipop_/the man you cannot stop,' Claypool belts on the title
track. I won't even bother pointing out the irony of such a statement
given the aforementioned prevalence of Primus-y bands littering MTV now.
Other lyrical gems on _Antipop_ include: 'The best of times the
worst of times/the times you can't ignore./Sometimes you bite the
bullet/and flip flop on the floor.' (from "Mama Didn't Raise No
Fool"); 'Lacquer Head knows but one desire/Lacquer Head sets his skull
on fire/Lacquer Head knows no in betweens/huffin' on bags of gasoline'
(from the appropriately-titled "Lacquer Head" which was actually
produced by Limp Bizkit jerk-in-chief Fred Durst).
Discounting Claypool's awful lyrics, the first few tunes on
_Antipop_ do rock like old Primus. Although not as well, since
Claypool's basslines used to be much more interesting. And drummer Brain,
who played some truly incredible, inventive stuff with Bill Laswell and
guitar maniac Buckethead in Praxis, sounds uncomfortably similar to
former Primus trapsman Tim 'Herb' Alexander. They even cover "The
Heckler" from their debut live album from 1989, just in case you forgot
they've been working the same shtick for ten years.
By track seven _Antipop_ just becomes tedious. The songs start
to blend into a haze of Pink Floyd pomp, cheesy Stanley Clarke bass
antics and weak metal stomps. Despite guest producers like Rage Against
the Machine's Tom Morello (who also lends his buzz saw guitar stylings)
and drumming legend Stewart Copeland (!!!), Primus just ain't what it
used to be. The one exception being the truly fantastic "Coattails of
a Dead Man" which boasts an appearance by Tom Waits on mellotron and
vocals, who also gets credit as producer for the track. A dirgy,
nightmarish waltz with trippy vocals by Tricky-collaborator Martina
Topley-Bird, the only lousy part of this one is Claypool's vocals.
---
REVIEW: Charlatans UK, _Us and Us Only_ (MCA)
- Chris Hill
Now on their sixth studio album, the Charlatans UK again
deliver with the talent and creativity that has carried the band
through the lean years in their ten year career. While other Manchester
bands like the Happy Mondays and the Stone Roses have faltered, the
Charlatans UK (the UK added to appease a namesake '60s band) have
weathered shifting public attention and an internal tragedy in the
death of founding member and keyboardist Rob Collins, the man responsible
for their signature organ sound. Sobered, refocused, the band is now
touring behind an album touted as their best yet.
Tony Rogers, Collins' permanent replacement, took some big shoes
and filled them well. The soul of _Us and Us Only_ is found in the
keyboards, whether romp-stomping honky-tonk on "The Blonde Waltz," '60s
psychedelic atmosphere on "Forever Full," or the bluesy, Southern
"Senses." The guitar and bass are essential limbs in the band's sound,
but its body is found in the organ.
If the organ's the body, singer Tim Burgess is its soul. On the
Stones-y "Impossible," Burgess grounds his distinctive tones against a
swirling organ, bouncing keyboards, and an impish harmonica. On "The
Blonde Waltz," which wouldn't be out of place on an Elliott Smith or
Harry Nilsson album, he phrases the lyrics to roll over themselves,
establishing a rhythm that breaks like a wave at the chorus. "Wouldn't
it be nice to get away/Shout "Morning! How are you today?"/My hands
are blazing/My arms are broken/...I guess I didn't take a look/I guess
I'm your man." Burgess's vocals are more audible here than on previous
releases, and the disc benefits greatly for it.
The ten-song album flows from strong track to strong track. On
"A House is Not a Home," the fifth song, the guitar takes center stage
with a repeating loopy riff that backs the sneering vox. "This is a
house/This is not a home/...I can't do this anymore/I have sworn this/I
will never be yours." "I Don't Care Where You Live" , a short number
with a tinkling piano backbone, uses harmony choruses that swell from
the quiet verses, cresting in the sweet final lines "I don't care where
you live/ for today I started loving you again." Track nine, "The Blind
Stagger" contains some odd lyrics: "You've been bitten/by eleven hungry
kittens/who will go the whole distance/while the blind stagger." Adding
to the fun, an acoustic guitar that gives way halfway through to a
muscled electric, and thundering keyboards.
The album closes with "Watching You," all epic bravado that
springs up from a repeating keyboard riff and runs headlong into the
distance. "It took a long time/and I'm missing you/ It took a long
time/but I found you" - the sentiment makes for a great, well-chosen
finale.
---
REVIEW: Gay Dad, _Leisure Noise_ (London)
- Don Share
Cliff Jones was such a fan of Pink Floyd that he assembled
and published a book called "Another Brick in the Wall" which explained
every song the band was known to have come up with; the work of a true
rock obsessive. When he assembled a band called Gay Dad, there was
reason to believe that someone so fixated on musical details could make
one hell of a record. The name raised eyebrows, and so did the logo for
the band, a kind of walking restroom-sign silhouette that looked
amazingly like...a gay dad. A few pre-album singles made an impression
in Jones's native England, but by the time the long-awaited album
arrived, the British music press, far more influential than that in
the US, turned on him, the kiss of commercial death: Gay Dad became
the object of ridicule. All this before anyone on our shores had a
chance to check out their music, which has gotten zero attention, good
or bad, here. So, you maybe ask, how is it?
Well, Cliff and company were smart enough to tone down the Floyd
references (except for a few sly seagulls), and they have a sound of
their own: chunky guitars, sweet wistful vocals and swirling synth
touches, all very British-sounding. Touched by an appealing but low-key
"Life In a Northern Town"-kind of nostalgia, it adds up to very little,
unfortunately. _Leisure Noise_ is earnest, pleasant, sometimes catchy,
but also turgid and sometimes unsalvageably lame, a kind of whimper at
the end of the millennium.
"Dimstar," which kicks things off, is acceptably soaring and
reflective, while "Joy" burbles and pounds and clangs infectiously.
But "Oh Jim," despite late-70's Stones guitar, is burdened with some
Badfinger-lite lyrics: "Oh, Jim / Can't you feel the pain I'm in?" "My
Son Mystic" sounds like Indigo Girls would if they had a guy in there
someplace and is a tell-me-about-your-life-and-I'll-do-likewise kinda
tune. The self-explanatory "Black Ghost" is gentle and swooshing, like
a less long-winded Porcupine Tree, if you've heard them. Alas, even
legendary early-Bowie producer Tony Visconti can't save the fey "To
Earth With Love," which contains -- beware -- strung-together lyrical
allusions to '70s bands. "Dateline" amusingly hammers nails into this
musical coffin with rhymes like "started feeling blue" in "1972,"
"started feeling fine" in "1989," and, get this, "1999," the "end of
modern time!" "Pathfinder" goes so far (or short) as to beg someone to
"kiss me like you still remember me" -- huh? "Different Kind of Blue"
ain't Miles Davis, and the closer, "Jesus Christ," ain't Alex Chilton.
"Jesus Christ made a good man outta me," sing Gay Dad. You want to warm
to this, not least because it isn't cynical at all, and that is sincerely
refreshing. Yet the '70s nostalgia here is so pallid that I wish this
music had been more marked by what it alludes to -- say a good dose of
Slade or Sweet; instead, it's mostly a missed opportunity, except to
prove that Britpop is finally, irrevecably over.
---
REVIEW: Joe Strummer and The Mescaleros, _Rock Art and The X-Ray
Style_ (Hellcat)
- Tim Kennedy
Joe's last recorded work was in 1985, a brief flurry of activity
which was the sum total of his output since the ill-fated final Clash
lineup of bassist Paul Simenon, Joe and three clones - a sad coda to
the noble story of Punk's other great band. Whilst his old sparring
partner and guitarist Mick Jones went on to be a major success with Big
Audio Dynamite during the 80s, Joe was content to remain out of the
limelight.
By his own admission during this time Joe has been sitting out
his contract with CBS. His quarrel with the record company mirrored
that of George Michael but Joe lacked the means to buy himself out of
the contract. Now that he has emerged to record again, naturally
expectation is high of the most charismatic rock singer of his era.
This album is best compared to the more experimental work that
the Clash released - for example on the second and third discs of the
triple album set _Sandinista_ (1980), and the second side of _Combat
Rock_ (1981)
Joe returns to his Clash era reggae influences for the opener -
"Tony Adams" which doesn't refer lyrically to the soccer defender of
Arsenal and England fame. It is a strong opener, with Joe's voice
still evidently in good shape. His vocal style on this CD ranges
between the raw anger of tracks like "Tommy Gun" and "London Calling"
and the more introspective 'old man' style of works like "Garageland",
"Call Up" and "On Broadway".
"Sandpaper Blues" is a fast-paced mix of African chants and
synth - but really a rock song with techno tendencies. Elements of
hiphop are also here, but as with later Clash works, different styles
are merged into each other so that no single influence can be recognised
as dominant.
"X Ray Style" mixes some social comment with scattered references
to other familiar Clash themes such as guns and rockabilly. Joe is
accompanied by acoustic guitars and backed by furious bongos.
"Techno D Day" is a humourous take on big dance events, with the
appearance of our hero as a reserve D J at a techno version of Omaha
Beach. Of course military imagery is another theme the Clash frequently
returned to. This is rock music albeit with techno elements. The vocal
again is very strong, with Joe very much on form.
"Road To Rock n Roll" is a descendant of "Four Horsemen" from
1979's seminal _London Calling_, a little more relaxed than its
predecessor, ambling along as Joe tells of rock's pitfalls. The words
of the title appear rather too much - it's repetitive and a little too
long.
"Nitcomb" must be the first rock song to mention the perennial
curse of 90s parents - headlice. Joe would be aware of this unavoidable
affliction, having as he does a young daughter. This lovely, mostly
acoustic track surveys futility, litter and decay both at home and in
the streets. The nitcomb in question seems to be intended for removing
human 'lice' e.g. himself.
"Diggin The New" starts with rock riffing that recall the glory
years of Joe's career, and has a fine Clash chorus which affirms a place
in the present "You gotta live in this world". This song is closest to
what most buyers of this album would probably most like to hear from Joe,
but to his credit he is determined to challenge musical boundaries with
this music, just as the Clash did with _London Calling_, _Sandinista_
and _Combat Rock_. therefore there are few concessions to punk roots
on this album. The Clash were always the most eclectic band of their
time and it is this eclecticism which Joe displays here.
"Forbidden City" is another fine midpaced rock song concerning
injustice in China and the Tiananmen Square massacre - at one point
sampled gunfire is heard.
"Yalla Yalla" boasts not only a puzzling chorus but a fine
slowpaced techno melody which is an excellent accompaniment for Joe's
great singing - as Leftfield's "Open Up" was for Johnny Rotten. Its
theme is the toughness of an urban life relieved by the freedom given
by cars and rap and dance music. The Clash's old stamping ground of
Ladbroke Grove even gets a mention.
"Willesden to Cricklewood" is set to a gentle breakbeat and is
a charming piano and keyboard tune describing the landscape of leafy
North London. This is a surprising end to the album, almost pastoral
by Strummer's past standards.
This album contains the variety as you would expect from a man
whose career spanned punk, reggae, hiphop, rockabilly, synthesizer
experimentation and even gospel. Joe's voice is as inspiring as ever
and conveys both anger and warmth in equal measure. He is not content
to retread his old glories, and continues his eclectic musical path to
great effect.
---
REVIEW: The Wedding Present, _Singles 1995-1997_ (spinART)
- Christina Apeles
Two singles compilations from Wedding Present in one year --
_Singles 1989-1991_, released on Manifesto earlier this year, and now,
_Singles 1995-1997_, on spinART -- show the breadth of music that this
indie Brit favorite has produced over a career that has exceeded a
decade, with a sound that far from wanes listening to years later. Any
band that crosses that ten year mark and still has a strong following
is a band worth looking into. Definitely sharing the ranks of indie
mainstays like Superchunk, Guided By Voices and The Flaming Lips,
Wedding Present's latest singles compilation offers a taste of songs
originally released on multiple labels that are no doubt keepers.
From their offbeat cover of the theme from Cheers, "Where
Everybody Knows Your Name," to the acoustic version of "Jet Girl" and
live performance of popular "Brassneck," _Singles 1995-1997_ is a fine
collection of songs that rock, thrill and bounce. "Red Shoes by the
Drugstore," with its hypnotic bass line aside spoken word, has a poetic
movement, twang of rockabilly, and lead singer David Gedge's relentless
self-reflection. Meanwhile, you'll muse over the jangle pop of "Drive,"
a playful song that signals pogo heaven to any concert goer. And there's
"Go, Man Go," the classic indie love track about a failed relationship
much like songs by Kitchens of Distinction and Sugar, understanding a
broken heart through guitar distortion.
I am constantly surprised when I come across indie fans that
haven't heard of The Wedding Present, not because they have been around
for more than a decade, but simply because they are so damn good.
Gedge's oh-so-manly voice is unforgettable, in this particular release,
softened by Jayne Lockey's sweet vocals on several tracks, and musically
every song has momentum, building with heavy drumming, bass and a
two-guitar assault. You won't feel cheated by any songs on _Singles
1995-1997_, whether you are a new listener or old fan, their songs
still sound exceptional. They have a dynamic sound that is frenetic,
drawing you in with every strum and beat.
---
REVIEW: Les Rythmes Digitales, _Darkdancer_ (Astralwerks)
- I.K. MacLeod
The only thing French about electro-disco artist Jacques Lu
Cont (aka Brit Stuart Price) is the layer of decade-old fromage that
coats this new CD. There is nary a break-beat to be found in this
production, just mounds of nostalgic house and refurbished funk grated
over a series of repetitive rhythms in a watered-down Kraftwerk
aesthetic. In other words, it is designed for people who appreciate
music that doesn't take itself too seriously and are looking to maximize
their fun.
Les Rythmes Digitales isn't afraid to put a big happy face on
top of faceless electronica and does it just as effectively as the
cartoony Cassius and the masquerading Daft Punk. "(Hey You) What's
That Sound?" works well by mixing a little Gary Numan with Bronx
braggado while "Hypnotise" will wake you up from your sweet dreams
thinking you are witness to a long lost Eurythmics remix. The slithering
bass line of "Music Makes You Lose Control" and the stutter of "Jacques
Your Body (Make Me Sweat)" will both bring exciting peaks to your party.
Most of the tracks feature cut-up vocal snippets or samples, but there
are a few full fledged songs spread throughout the program to keep your
attention. If you like your soul synthesized and want to see a spark
on the dance floor, then _Darkdancer_ is the one for you.
---
REVIEW: The Misfits, _Famous Monsters_ (Roadrunner)
- Andrew Duncan
Here's a quick history lesson:
In 1977 a group of hooligans decided to form a punk band and
name it after Marilyn Monroe's last film, "The Misfits." Their blend
of '50s-style rock with horror movie lyrics won over fans of punk music
worldwide. They sang songs like "Horror Business," "Halloween" and
"Die, Die My Darling," and released albums with titles like _Earth
A.D./Wolfs Blood_ and _Legacy of Brutality_. Lead vocalist Glen Danzig
was targeted as frontman with his deranged aura, distinctive "Devilock"
hairdo and Elvis-like croon. They played together for many years until
Danzig left the band and the band broke up...blah, blah, blah.
Now, the year is 1999, and the newly reformed Misfits are on
their second release, the appropriately titled _Famous Monsters_.
Instead of Mr. Danzig, we have Michale Graves. Dr. Chud is one
of many drummers who have joined the band, and Doyle Wolfgang Von
Frankenstein and Jerry Only still remain.
Not as intelligent as the album title, the Misfits have slumped
into a habit of naming their songs after horror and science fiction
movies. Sure, The Misfits from days of yore named a song "Return of
the Fly," with lyrics so complexingly crafted: "Return of the Fly/Return
of the Fly/With Vincent Price/Return of the Fly." Now we have songs
titled "Lost in Space" and "Crawling Eye." How about "Die Monster Die"
or "Scarecrow Man?" What happened to a sense of imagination?
The song structures are standard Misfits compositions -- quick,
dirty and to the point -- and Mr. Graves doesn't do a bad job filling in
Mr. Danzig's shoes. The only difference is the modern, more full-sounding
guitar sound. Blame it on better studio recording methods. If "Texas
Chainsaw Massacre" were filmed without its graininess, would it still
be a cult classic?
To put it in layman's terms, the 18 songs are listenable with
some better than others. For dedicated fans, there are remnants of the
golden years, but don't expect Rome to be built in a day.
---
REVIEW: Victor Calderone, _e=vc2_ (Tommy Boy)
- Chris Hill
Victor Calderone's remix resume contains big industry names:
Madonna, Garbage, Gloria Estefan, Bette Midler and Elton John. Some
anomalous to the dance floor, others who've made their careers on it.
Two (Madonna and Garbage) are included on Victor Calderone's first
dance mix CD. They're placed at the end, leaving the first ten tracks
for lesser-known floor packers, including a version of Clivilles &
Cole's 1987 hit (under the name 2 Puerto Ricans, A Blackman, and A
Dominican), "Do It Properly." The track features ex-C&C Music Factory
vocalist, Deborah Cooper.
For the clubgoing, it's a glimpse into the style and skill of
this globe-hopping DJ at work, with an hour's worth of his favorite
music pumped into a personally endorsed package. "I wanted it to be a
journey that captures the vibe of my peak hour live sets," says
Calderone. "Every song was painstakingly selected and programmed. Every
track included is one that I'd play in my set -- there's no filler, no
compromises."
For the non-dance fan, it's fine background music. The energy
is infectious, even if you're not a devotee of the genre, guaranteeing
sympathetic body movement. The Madonna remix, exclusive to this disc,
alone justifies purchase, exemplifying Madonna's skill at choosing her
collaborators.
2000 will see Calderone coming out with an a full-length album
of his own music. "Although there will be elements of what people have
come to recognize as my sound, there will also be live instrumentation,
strong vocal tracks and elements of electronic music," he reveals.
Tracks: Pete Heller - Big Love (Dronez Dub), Veronica - Someone
to Hold (Johnny Vicious Hard Mix), Dan Q - Aura Tribe (Club 69 Tribal
Mix)/Basement Jaxx - Fly Life, Deborah Cox - It's Over Now (Hex Hector
Dub), Robbie Rivera - Feel This, Kim English - Unspeakable Joy (Razor N
Guido Remix), Andrea Martin - Share The Love (Hani Hyperkickass Mix)/
Royal House - Can You Party, Giacomo - Theme From Love (Hex Drum Dub),
The Collaboration (Victor Calderone & Peter Rauhofer) - Do It Properly,
Hyperdelics - Are U Ready (Tribal Mix), Madonna - Sky Fits Heaven
(Calderone Future Mix), Garbage - Push It (Calderone Mix).
---
REVIEW: Andrea Parker, _Kiss My Arp_ (Mo Wax)
- I.K. MacLeod
The title is a reference to a vintage keyboard, but is the sound
and feel of this album are what end up aging gracefully. It is an
extremely well thought out release, which explains why it took four
years of studio tinkering to complete. It has an introspective, as
opposed to an indulgent, DJs touch with the added bonus of blending pure
emotion seamlessly with underlying sophisticated sonic themes.
"The Unknown" sets the mood, with it's deep percussion and gloomy
atmosphere that winds around her vocals. "Clutching at Straws" continues
along the same path, sounding like the soundtrack to a European thriller.
"In Two Minds" has a dense hard-house sound that is not overbearing or
angry and "Sneeze" was constructed of the sudden spasmodic reflex of
breath caught on DAT. It is all techno enhanced with a classical
sensibility, exemplified by the lush orchestral sweeps of Wil Malone
on "Return of the Rocking Chair." The songs are strong evidence that
Andrea's voice was made for her own eclectic mixes, while the instrumentals
(like the epic "Melodious Thunk") can stand firmly on their own deep
grooves and reliable rhythms.
It all adds up to an adventurous mix of Massive Attack ("Breaking
the Code") through the ears of a well behaved Aphex Twin ("Some Other
Level"). It's a deep and rich dish of raw isolationism that is best
served with your favourite set of headphones.
---
REVIEW: Arto Lindsay, _Prize_ (Righteous Babe)
- Jon Steltenpohl
Their are some artists who are defined by their lack of
convention and desire to break boundaries. Arto Lindsay has always been
one of those artists. Dive into his biography (at www.artolindsay.com)
and you will discover a history of experimental music you've probably
never heard about.
So strange is Lindsay's catalog that some music sites resort to
categorize him simply as "jazz." "Abstract bossa nova-ist" might be a
better term. His latest recording, _Prize_ is like a lounge music
cocktail with a twist of alternative lime.
There has been a trend in the past decade for musicians from
the United States to travel overseas and pick up a local foreign flavor
and bring it back to the US and "recreate" it for us. Paul Simon and
David Byrne tried it with various degrees of success. But Arto Lindsay
is the "real thing." (To Byrne's credit, Lindsay has appeared on Byrne's
label Luaka Bop.) A dual dweller of Brazil and the United States,
Lindsay seems to be freed from cultural conventions and simply draws
from the musical landscape around him.
Take a song like "Modos (Manners)." It seems to have a mellow,
bossa nova groove to it if you casually listen. But listen deeper, and
there is a depth below the still calmness. Cymbals are not really
cymbals but rather crashing metal sheets and the beat in the background
reveals itself to be a strange, looped chiming tone.
"Resemblances" is a mellow song with a plucking bass, orchestral
touches, and background soundscape work similar to "Modos." It is
somewhat like a David Lynch and Angelo Badalamenti sound experiment,
only with a much deeper understanding of the musical structure. The
warbling strings are reminiscent of some of Camper Van Beethoven's later
work during the _Key Lime Pie_ era. David Byrne would be fond of
"Interior Life." It is a goofy song that , and seems to share the loose
associations of an artist like Beck. "Prefeelings" is the most
experimental track on the album. It is louder than the bossa nova
tracks, and is purposely deconstructed and reconstructed from jazz,
rap, samba, and techno. Amidst the mish mash of sounds comes form. Over
the top is Lindsay; calmly trying to sing a bossa nova song with
constant interruptions from the music and from free form rap by Beans
of the Anti-Pop Consortium. Like any good piece of abstract art, it is
completely disjointed up close, but taken from a distance, it somehow
works as a singular whole.
Lindsay is one of those artists you have to "get." If you "get"
it, he's a sonic genius flitting in the zone between mellow jazz, bossa
nova, and avant garde. If you don't, he just sounds like bad lounge
music. This is certainly music to be pretentious by. It is complex and
articulate without sacrificing form and melody. It is also the first
third-party release by Ani DiFranco on her Righteous Babe Records.
_Prize_ is a good choice for the label because it is intelligent yet
truly alternative. Arto Lindsay might not be everyone's cup of tea,
but for those who can dive in, _Prize_ is an incredibly deep and
intriguing album.
---
REVIEW: Zucchero, _Overdose D'Amore_ (Ark21)
- Reto Koradi
The American music market has always been a hard ground for
artists from Continental Europe. Zucchero managed to make a small dent
into it in 1991, scoring a top 5 hit with "Sense of a Woman/Senza Una
Donna," his duet with Paul Young, but has come nowhere near the
superstar status that he enjoys in Italy. His attempt to change this
comes in _Overdose D'Amore_, a collection of ballads spanning more than
10 years, spiced up with some new material.
Zucchero has never been afraid to transcend borders, both in
style and language. On the new songs, he joins forces with Sheryl Crow
(who sings lyrics written by U2's Bono) for "Blue," and Sting for an
Italian version of "Mad About You." He flirts with classical music in
"Va, Pensiero," which originates from an Aria by Verdi, and "Miserere,"
his duet with Pavarotti from 1992.
Even though these big names might add appeal, Zucchero stands
strong all by himself. A sub-average Sting song is not good enough to
be a highlight on this album, Sheryl Crow certainly doesn't add any
significant talent, and at least in the opinion of this reviewer, the
big tenors would be just as well off doing what they do best: sing
operas. The true pearls on _Overdose D'Amore_ are performed without
prominent help. "Diamante," a song that Zucchero dedicates to his
grandmother, is as beautiful as a ballad gets. "Senza Una Donna" in
its original version is as outstanding as it was 12 years ago. A number
of other songs, like "Cosi' Celeste" and "Menta E Rosmarino," show that
Zucchero masters the rare art of writing and performing songs of sheer
beauty without ever getting sugary.
Zucchero may not be the most original and innovative artist you
will ever encounter, but his songwriting skills and distinctive voice
make his work timeless. If you want to broaden the scope of your record
collection with material from one of the culturally richest European
countries, _Overdose D'Amore_ is an excellent buy.
---
REVIEW: Warrant, _Greatest and Latest_ (Deadline/Cleopatra)
- Jeanne Schantz
They'll be your 'Cherry Pie'.
The energetic, fun, and frivalous bad boys of Warrant are
back with a greatest hits / remix album entitled _Greatest & Latest_.
Composed of their 'monster ballads' and matured bubblegum rock, the
disc boasts nine rerecorded favorites including the tongue-in-cheek
"Cherry Pie", MTV Viewers Choice winner "Uncle Tom's Cabin", and a
plethora of the characteristic heart-warming ballads that made lead
vocalist Jani Lane and co. a hot commodity in the late '80s/early
'90s. Three brand new tunes - straightforward pop "The Jones", bayou
ballad "Southern Comfort", and bass-driven, hard-rocking "Bad Tattoo" -
prove that Lane and the boys are a hot commodity for the new
millennium, as well.
To fill your palate with even more delictable sounds, four
techno-enhanced remixes of some of the band's earlier tunes, including
their debut single, "Down Boys", are provided. Giving a collection
of greatest hits, a latest twinge.
Ready to rock, giving you more than your "32 pennies" worth,
it's Warrant.
---
REVIEW: Brand New Heavies, _In Tha Beginning..._ (Music Club)
- Joann D. Ball
_In Tha Beginning..._ by The Brand New Heavies is a testament
to the fact that the band was critical to the development of acid jazz
as a music genre. Available for the first time in the US, _In Tha
Beginning..._ features the original nine studio tracks from the band's
UK-only eponymous debut in their original form and order, plus three
additional live cuts. Live versions of the instrumental lead track
"Bnh" and the hip-hop influenced "Gimme One of Those" from the debut
were recorded in Japan along with the song "Mr. Tanaka," which completes
the almost hour-long release.
Emerging in Britain in the late '80s, The Brand New Heavies
played such a fresh and innovative blend of funk, jazz, soul and hip-hop
that it quickly became an underground phenomenon in the country. The band
was eventually so closely identified with the UK record label Acid Jazz
to which it was signed that the entire sound and scene which the band
pioneered became known as acid jazz. While The Brand New Heavies'
groundbreaking 1989 debut was a huge hit in Britain and ignited an
international acid jazz movement, the record in its original form was
never released in the United States. And by the time of the band's
American debut (also titled _The Brand New Heavies_) on Delicious
Vinyl in 1992, The Brand New Heavies had already changed in composition
and focus.
The American release is particularly significant because it
showcased the new song "Never Stop" among the original nine songs. With
the track listing radically refigured by the inclusion of the American
R&B Top 10 hit, the song's success also spotlighted new lead singer
N'Dea Davenport. Subsequently, the band's emphasis shifted from
instrumentals to vocals and the band also moved beyond its acid jazz
foundations. Both _Heavy Rhyme Experience: Vol. 1_ from 1992, which
featured a who's who of critically acclaimed rap performers, and the
1994 follow-up _Brother Sister_ had a profound influence on trends in
urban soul and hip-hop that can still be heard today. The eventual
development of The Brand New Heavies beyond its incredible roots,
however, makes _In Tha Beginning_ an even more essential reissue.
---
REVIEW: Kahimi Karie, _K.K.K.K.K._ (Le Grand Magistery)
- Niles Baranowski
The voice of Tokyo's "Queen of Pop," Kahimi Karie is a slippery,
slight soprano. It's the sort of voice that seems better suited for
feelings than words; the shape of the consonants is lost in her natural
hiss while vowels slide into cutesy coos or clever come-ons, depending on
the context. Unlike the rest of the Le Grand Magistery crew, Karie is not
a visionary, but an interpreter. That's not a put-down either: her
collaborations with Momus are legendary in Japan, many of them hits.
But even though his lewd, self-conscious fingerprints are all over this
album, the song that best sums up Karie is his attempt to defer to her
point of view. "What Are You Wearing?" sums up the contradictions of
being seen as both Japan's pop sex kitten and the seductive side of the
Shibuya avant-garde (she dated sample auteur Cornelius for a period). "I
used to be a big Suicide fan... and where it's at is where I am," comes
as close as anything else to summing up the essential contradiction of
being a modern Japanese pop star.
Unlike her American debut, an eponymous collection of singles,
_K.K.K.K.K._ seems to be edging a little closer to her avant-garde roots,
with a less than desired effect. Unlike the effervescent grooves of "Good
Morning World," a lot of this utilizes vocoders and limp dance beats. The
eponymous tribute to Harmony Korine is spot-on in its withering put-down
of his perverse art but the effect is somewhat odd to hear it sung in
Karie's childlike tone over a maraca that shakes like a metronome. Her
cover of Jimmy Cliff's "The Harder They Come" works a lot better, her
voice multi-tracked to accent the chorus with a minimal bossa nova beat
drawing attention from the verses. It might be tempting to blame
technology for the shortcomings of the record (especially with useless
remixes contributed by Add N to X and Buffalo Daughter), except that
such innovations have always mixed well in Karie's work. Even "Good
Morning World" uses a Soft Machine sample. Even on here, "The Symphonies
of Beethoven" tinkers with Moog melodies and ends up better than Momus'
original version of the song.
No matter what her producers, writers and remixers try to make
of her, though, Karie's strength will always be the ye-ye-based
Francopop that she cut her teeth covering. Almost half of the songs
here are in French and French singer/songwriter Katerine ranks behind
only Momus as the album's dominant voice (surprisingly, not a word of
Japanese is uttered over the course of the album). Even when she's not
en francais, the fragile tones of her voice evoke such figures as Jane
Birkin or Brigette Bardot, as does her adorable confusion. On "What is
Blue?" (the sole track on here with Karie-penned lyrics) she admires
both her kitten and her heart's desire with a sort of cute, spunky
ambivalence that would do Patty Duke proud. And the irresistably sweet
and sinfully catchy "Clip Clap" takes foot fetishes to a new level. The
walk of the hottie in front of her that she's hitting on in her mind
("Hey! Foxy, where are you going?") becomes the rhythm of her heart
while all she can think to ask is where he bought the shoes.
And even when the song doesn't justify wasting her voice (like
the singing cowboyish signature anthem "Kahimi Karie et Moi"), Karie
evokes a timeless vision of cool, the effortlessly sexy chanson who
couldn't choose a man, country or language to save her life. Perhaps
that's why the album doesn't really settle into a consistent groove
until the last five songs.
No matter; her "meow"'s still sound like sex and even her growls
are smooth and moist. She may show all the contradictions of a Japanese
ex-photographer singing the words of a noted Scottish pervert, but it's
the sunny, deceptively naive voice that makes it all fit snugly
together, without giving away too much of the irony. You remember that
smile she says she's wearing (in "What Are You Wearing?")? You can hear
every inch of it in _K.K.K.K.K._'s best songs.
---
NEWS: > Korn will mark the arrival of their new
album _Issues_ with a live performance at Harlem's
Apollo Theatre on November 15. The event will be
broadcast at 10:00 pm EST at http://www.korn.com .
> Palm Pictures will be releasing the Marley
Family-endorsed version/remix of the hit "Sun Is Shining" in
the United States. The remix is by the Ibiza All Stars and
Messy Boys.
> It has been incorrectly reported in some circles that
the Smashing Pumpkins' _Mellon Collie and the Infinite Sadness_
will be reissued with new artwork. Instead, on November 16,
Virgin will be re-releasing _Siamese Dream_ with the original
20 page booklet.
---
TOUR DATES:
Alaline Trio
Nov. 16 Los Angeles, CA PCH
Nov. 17 San Diego, CA Che Cafe
Nov. 18 Tempe, AZ Modified
Nov. 22 San Antonio, TX Reverb Lounge
Blinker The Star
Nov. 16 Salt Lake City, UT Liquid Joes
Nov. 18 Vancouver, BC Starfish
Nov. 19 Seattle, WA Crocodile
Nov. 20 Portland, OR Roseland
Nov. 23 Los Angeles, CA Troubadour
Nov. 24 San Diego, CA Brick By Brick
Death In Vegas
Nov. 17 New York, NY Irving Plaza
Nov. 18 Boston, MA Paradise
Nov. 20 Toronto, ON Lee's Palace
Nov. 22 Detroit, MI St. Andrews
Nov. 23 Chicago, IL Double Door
Bryan Ferry
Nov. 17 Orange County, CA Sun Theater
Nov. 21 Seattle, WA Paramount
Ben Harper
Nov. 16 Knoxville, TN Tenn. Theater
Nov. 18 New Orleans, LA Orpheum Theater
Nov. 19 Houston, TX Aeriel Theater
Nov. 20 Austin, TX Music Hall
Nov. 21 Dallas, TX Bronco Bowl
Innocence Mission
Nov. 22 Alexandria, VA Birchmere
Nov. 23 Annapolis, MD Ram's Head
Live
Nov. 16 Orono, ME Alfond Arena
Nov. 18 Boston, MA Orpheum Theatre
Nov. 19 New York, NY Hammerstein Ballroom
Nov. 21 Upper Darby, PA Tower Theater
Mike Ness
Nov. 16 Boulder, CO Fox Theatre
Nov. 18 Lawrence, KS Liberty Hall
Nov. 19 Columbia, MO Blue Note
Nov. 20 St. Louis, MO Firehouse
Nov. 22 Louisville, KY Headliner's Music Hall
Nov. 23 Indianapolis, IN Vogue
Silverchair / Blink 182
Nov. 16 Philadelphia, PA Electric Factory
Nov. 18 Orlando, FL U. of Central Florida Arena
Nov. 19 Jacksonville, FL Riverview Music Shed
Nov. 20 Atlanta, GA Tabernacle
Sonia Dada
Nov. 20 Chicago, IL The Vic. Theatre
Joe Strummer & The Mescaleros
Nov. 16 Cincinnatti, OH Bogarts
Nov. 18 Detroit, MI St. Andrews
Nov. 19 Cleveland, OH Odeon Concert Club
Nov. 20 Toronto, ON The Guverment
Nov. 22 Boston, MA The Roxy
Nov. 23 New York, NY Roseland
Nov. 24 Philadelphia, PA Tla
Superchunk
Nov. 16 Tallahassee, FL Downunder / FSU
Nov. 17 St. Petersburg, FL State Theatre
Nov. 18 Orlando, FL Sapphire Supper Club
Nov. 19 Gainesville, FL Covered Dish
Nov. 20 Atlanta, GA Echo Lounge
Richard Thompson
Nov. 16 Boston, MA Orpheum Theatre
Nov. 18 Northampton, MA Calvin Theatre
Westbam
Nov. 17 Dallas, TX Red Jacket
Nov. 19 Chicago, IL Crobar
Josh Wink
Nov. 19 San Francisco, CA Nikita's
---
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