== ISSUE 204 ==== CONSUMABLE ONLINE ======== [March 26, 2000] Editor: Bob Gajarsky E-mail: editor@consumableonline.com Managing Editor: Lang Whitaker Sr. Correspondents: Daniel Aloi, Joann D. Ball, Chris Hill, Bill Holmes, Tim Kennedy, Jon Steltenpohl Correspondents: Michelle Aguilar, Paul Andersen, Christina Apeles, Niles J. Baranowski, Jason Cahill, Matthew Carlin, John Davidson, Andrew Duncan, Krisjanis Gale, Jade Hughes, Paul Hanson, Scott Hudson, Jianda Johnson, Steve Kandell, Dave Kemper, Reto Koradi, Robin Lapid, Wes Long, I.K. MacLeod, Al Muzer, Wilson Neate, Mike Pfeiffer, Linda Scott, Don Share, Scott Slonaker, Kerwin So, Chelsea Spear, Michael Van Gorden, Simon West Technical Staff: Chris Candreva, David Landgren, Dave Pirmann Address all comments to staff@consumableonline.com ; subscription information is given at the end of this issue. ================================================================== All articles in Consumable remain (C) copyright Consumable and their author(s). ================================================================== .------------. | Contents | `------------' REVIEW: Smashing Pumpkins, _Machina The Machines of God_ - Steve Kandell REVIEW: Goldfinger, _Stomping Ground_ - Scott Hudson REVIEW: Jimmy Page & The Black Crowes, _Live At The Greek_ - Wes Long INTERVIEW: Angie Aparo - Bob Gajarsky REVIEW: The Melvins, _The Crybaby_ - Matthew Carlin REVIEW: Josh Rouse, _Home_ - Chris Hill REVIEW: Yo La Tengo, _And Then Nothing Turned Itself Inside-Out_ - Andrew Duncan REVIEW: Fishbone, _The Psychotic Friends Nuttwerx_ - Paul Andersen REVIEW: Catatonia, _Equally Cursed and Blessed_ - Niles Baranowski REVIEW: Bloodhound Gang, _Hooray For Boobies_ - Bob Gajarsky REVIEW: Sparklehorse _Good Morning Spider_ / _Disorted Horse_ - Christina Apeles CONCERT REVIEW: The Mekons - Wilson Neate REVIEW: Handsome Family, _In the Air_ - Chris Hill REVIEW: Don Dixon, _The Invisible Man_ - Bill Holmes REVIEW: Seely, _Winter Birds_ - Chris Hill REVIEW: Rick Derringer, _Live At The Paradise Theater_ - Bill Holmes REVIEW: Spring Heel Jack, _Treader_ - Andrew Duncan REVIEW: New Americans, _New Americans_ - Bill Holmes TOUR DATES: Beck, Charlatans / Stereophonics, Ani DiFranco, Filter / Chevelle, Goldie, Ben Harper And The Innocent Criminals, Incubus, Kelis, Korn, Tara MacLean, Ian Moore, Neko Case & Her Boyfriends, No Doubt / Suicide Machines, Oasis, Ginny Owens, Papas Fritas, Podunk, Red Hot Chili Peppers / Foo Fighters / Muse, Tonic / Third Eye Blind, Union Back Issues of Consumable --- REVIEW: Smashing Pumpkins, _Machina The Machines of God_ (Virgin) - Steve Kandell If pretentiousness could be measured in pounds, the new Smashing Pumpkins album would be too heavy to carry home from the record store, much less fit into your hi-fi. But this is nothing new, as the Pumpkins have always seeked to infuse their heavy brand of Sabbath riff rock with an air of posed artiness. Look no further than your song or album titles. "The Crying Tree of Mercury?" The Smashing Pumpkins are a throwback to a time when bands were supposed to put out double albums, so you could separate your stems and seeds on the gatefold. But it goes past that, to an unabashed sense of entitlement that Corgan et. al. exude with every note. That alone angers people because rock bands aren't supposed to want to be Big and Important anymore, so much of the self-aggrandizement just seems silly. And there's no shortage of silliness to be found here. When Bonhamesque drummer Jimmy Chamberlin was booted out of the band a couple of years ago for a much-documented opium-related incident, the remaining Pumpkins decided not to replace the master skinsmith with another, inferior human drummer, but rather with a digital machine. Though said machine probably took a far smaller cut of the publishing residuals, its presence resulted in _Adore_, an ill-conceived and poorly received stab at techno-cherub rock. Corgan's soundtrack work for _Lost Highway_ and _Stigmata_ went even further in this automated direction. With the return of the exiled Chamberlin to the fold, much has been made of the band's return to the bombast of old, but this may be overselling the point. The immersion into all things electronic is still very much in evidence on _Machina_, and not just in the album title. Leadoff track and single "The Everlasting Gaze" indeed recalls the sonic hugeness of days past, but is so awash in bells and whistles that the song lacks shape and doesn't stick in the craw like their best work can. And this is to say nothing of the "fickle fascination of an everlasting god" nonsense in the lyrics. Much of the album follows this overdriven trend -- not metal so much as metallic, like _Siamese Dream_ dipped in liquid silver. Or wrapped tin foil. Clocking in at ten minutes, "Glass and the Ghost Children" has a mid-song interlude in which Corgan ruminates on his place in the universe with all the depth and insight of a hungover frosh in a Philosophy 101 class. The tape of his voice speeds up and slows down, maybe to mask the identity of the speaker, maybe to couch the sermon in an air of artiness. Though you can't blame a guy for trying, there is a direct negative correlation between the level of pretention and the quality of the results. The record isn't all embarrassing enormo-rock, however. "I of the Mourning" and "Stand Inside Your Love" are classic Pumpkins, blending thunderous acoustics with a pop sensibility in the way that they're so good at, when they put their mind to it. --- REVIEW: Goldfinger, _Stomping Ground_ (Mojo/Universal) - Scott Hudson For most, March Madness means NCAA hoops and lots of it. For Goldfinger fans, the term takes on an entirely different meaning, the much anticipated release of the band's new record _Stomping Ground_. Goldfinger's path to this record is not without precedent. In the early '70s, a then-underground band called Kansas toured relentlessly off the beaten path, bringing their progressive overtures to seedy juke joints and cowboy bars. This hard work paid off in the form of a loyal fanbase which supported their first 3 albums until their breakthrough album, _Leftoverture_, after which Kansas became a household name. Similarly, Goldfinger's incessant touring schedule is legendary (385 shows in 365 days in 1996-97) and as a result, the band has garnered quite a loyal underground following of their own. With two studio releases, a live album and appearances on numerous soundtracks ("The Waterboy," "BASEketball," "Dead Man On Campus," "American Pie," "Kingpin") the band has chiseled out a sound that demands to be heard. _Stomping Ground_ is Goldfinger's first studio record in three years and by far their strongest, most inspired effort to date. However, that may be putting mildly. _Stomping Ground_ will be the record that elevates Goldfinger from underground stalwart to mainstream heavyweight. On _Stomping Ground_, the band clings ever-so-tightly to their punk roots churning out high velocity tunes tinged with just enough pop flavor to attract a much broader audience. The record captures the energy of the band's live performance coupled their penchant for writing catchy, hook-laden power-punk. "Don't Say Goodbye," "Think It's A Joke" and "San Simeon" are full-tilt, pedal-to-the-metal rockers while "I'm Down," "Pick A Fight" and "End Of The Day" are fueled by Charlie Paulson's crunchy rhythms and John Feldmann's emotionally-charged vocals. "Carry On," "Don't Say Goodbye" and the band's first single "Counting The Days" are among the finest tunes you'll find in the punk idiom. To disregard adding _Stomping Ground_ to your collection would be a huge mistake. After all, this record is 13 tracks of essential listening for those familiar with the genre. Goldfinger fans will soon find this out. Then it will be up to everyone else play catch up. --- REVIEW: Jimmy Page & The Black Crowes, _Live At The Greek_ (Musicmaker.com) - Wes Long One common element in big-time rock bands like the Black Crowes, and the millions of bands that weren't able to kick down the garage door and make the scene, is that they all probably honed their chops on Led Zeppelin tunes. Zeppelin was one of the more influential bands in the history of rock, easily mentioned in the same breath as the Beatles and the Stones, and a big reason for that is the inventive guitar talent known as Jimmy Page. In June of 1999 Page contacted the Crowes, requesting that they back him at a benefit concert in Paris. Four months later they played six magical gigs which have somehow already entered into the arena of rock legend. The last two dates of that mini-tour were at the Los Angeles Greek Theatre, and they were recorded. The Black Crowes, more so than any band I can think of, are a perfect fit for Page's fingerings. The southern-dipped style oozing from their amps embodies all the old-school aesthetics of the ass-kickin' rock band. Crowes singer Chris Robinson's whiskey and nicotine drenched voice swims effortlessly amidst a sea of deftly executed grooves created by his tighter-than-tight backing band. While the majority of the tunes captured here are Zeppelin covers, the Crowes add a great deal of their own special spice to the mix. "It's not just a Zeppelin thing," says Chris Robinson, we bring the way we play to it also. We stick to the meat of the matter, but I just have a different sort of (singing) style. Mine is more like if Tina Turner was in Led Zeppelin." Page's playing seems fresh and invigorated as the result of time spent with his exuberant young band-mates, and rumors abound of a 2000 tour. Until then you can get your fix with this excellent live recording available only, that is ONLY, online. Musicmaker.com, http://musicmaker.com/ , offers you the opportunity to download as much or as little of the 19 digitally recorded tracks as you like, and in the order you like. "Giving the fans the ability to select songs makes them part of the creative process, " offers Page. Chris Robinson adds: "It's always difficult to sequence the songs on an album. We thought we'd give that problem to the fans." It's somehow fitting that Page, the man who pushed the hell out of the rock-guitar envelope during his reign with Zeppelin, is now a part of a movement that threatens to forever change the manner in which music is packaged, marketed and sold. --- INTERVIEW: Angie Aparo - Bob Gajarsky Angie Aparo hasn't been declared the future of rock and roll, the American savior, or a poet laureate. But with the poignancy, storytelling, and sheer intelligent rock and roll present on his major label debut _The American_ (Melisma/Arista), he may soon receive some of those accolades. Limiting Angie's music and lyrics to one genre is not only be impossible, but would misrepresent the artist. A refreshing voice that is a cross between James Taylor and Ireland's Saw Doctors, landing somewhere near Jeff Buckley, this part-folkie, part-rocker hybrid truly defies simple categorization. "My influences have always been singer / songwriters who have been 'plugged in'," Aparo states. "Bruce Springsteen and David Bowie are two of them, and as far as bands, U2 was a big influence." That influence comes through most clearly on a track such as "Green Into Gold", which could have been come out of a _Joshua Tree_ era cut. And while first single "Spaceship" might have been culled from a poppier Jeff Buckley cut and other tracks including "Hush", "Free Man", and some other dark moody tracks bring to mind old Toad the Wet Sprocket, the most redeeming quality of _The American_ is its ever-changing musical landscape. Part of this was brought to fruition by producer Matt Serletic, who has worked with artists such as Matchbox 20, Collective Soul, Aerosmith and Santana, yet cut back some of his production time to work with newcomer Aparo. "A great producer magnifies the artist's vision and I think also contributes greatly to the sonic interpretation of the lyrics - and Matt is all that," expresses Aparo in obvious respect for Serletic's contributions. "Having the immense resources of Matt's ability, money and time {the latter two from Arista}, I was able to get to a place that was more than a document. I love _Out of the Everywhere_, but I definitely didn't have the luxury of any of those resources." _Out of the Everywhere_ was Aparo's independent project which generated a fan-based buzz. Although only one track ("Wonderland") surfaced on _The American_, its indie success helped pave the way to this major-label debut. Aparo honed his trade around Atlanta and on the road, including the various "Writers in the Round" series that have started to permeate certain major cities. "I love performing there {in the 'rounds'} because they're part living-room, part jam, and part laboratory," Aparo enthusiastically explains. He also hosted one of a "pretty successful" round in Atlanta a couple of years ago, but since then "I haven't had the time while in pursuit of this record and the subsequent band." While opening for artists such as Matchbox 20 and Edwin McCain, fans continued to wonder when a 'new' release would surface. Songs which appeared here were first premiered at some of these concerts, and one thing which has garnered Aparo's growing legion of fans in the Southeast is his liberal concert taping policy. And landing on a major hasn't changed Aparo's view of the tape trees which helped cultivate the popularity of bands from the Grateful Dead, Spin Doctors and the Dave Matthews Band. "I could still support that {taping of the live concerts} - the notion of a live experience belongs to everyone {who attends}. But I can't speak for the label!," laughs Aparo. It's OK, Angie. If the music-buying public has half a brain, I have a feeling that the subsequent sales of _The American_ will alleviate the fears of any bean counters at your label. --- REVIEW: The Melvins, _The Crybaby_ (Ipecac) - Matthew Carlin There is something distinctly off-putting about the Melvins. The slow tempos, the unintelligible lyrics, the not-giving-a-shit-what-even-their-fans-think aesthetic. It's like Buzz & co. purposely make it hard to like them. Yet there is a solid underground of freaks and weirdoes who love the Melvins. Regardless, _The Crybaby_ is perhaps the most brilliant concept album (the last installment in a trio of concept albums no less) ever. With guest vocalists and musicians from a completely haphazard and unlikely array of sources, the Melvins prove themselves to be the most clever, even if still the most annoying, band in rock. The shear audacity of recording "Smells Like Teen Spirit" with 70s has-been Leif Garrett on lead vocals is funny enough in theory. His earnest, straight rock, multi-tracked treatment of it casts the '90s punk anthem in an entirely new light. Of course, it's too bizarre to even try to dissect or analyze. The logical combination of the Melvins and Jesus Lizard yelper David Yow on a couple of tracks and the dirgy 11-minute "The Man With the Laughing Hand is Dead," with female singer Bliss Blood, will probably sate regular Melvins fans. Then again, the country ditties with Hank Williams III on vocals and Helmet's Henry Bogdan on pedal steel make just as much sense in some perverse way. More interesting is "Divorced," a surprisingly cohesive, though sprawling and atmospheric, pairing with Tool. "Spineless" is by far the Melvins' catchiest ditty, with N.Y. electro-popsters Skeleton Key -- another surprising combination. A brooding mood piece with J.G. (Foetus) Thurwell and a semi-disappointing track with Ipecac co-honcho and former Faith No More man Mike Patton round out the collection. The audio equivalent of a slightly nauseating, but entirely intriguing spectacle, the novelty of this album will certainly entertain even folks who can't normally stomach the Melvins. --- REVIEW: Josh Rouse, _Home_ (Slow River/Rykodisc) - Chris Hill Rouse's _Dressed Up Like Nebraska_ is a perfect debut album: one of those rare creations that lingers in the psyche throughout the day, tugging at the mind with an embarrassing wealth of great lyrics and music. "I could help you open and unfurl," "miscommunication/turns into a fight/and all the years you been frustrated/they finally subside/and now you walk away/to face your day alone," "it's the being in the dark that makes me so paranoid" -- the album's jammed with words that bubble up from the subconscious at the oddest moments. Rouse avoided the sophomore jinx by joining Lambchop's singer/guitarist Kurt Wagner for 1999's splendid EP, _Chester_, with Wagner writing the lyrics, and Rouse, the music. The combo proved brilliant: five songs that displayed Wagner's sparkling verbal wit and Rouse's knack for producing hooks out of his magician's hat. Fans will be pleased to know that _Home_, Rouse's full-length follow-up, again showcases the ex-Nebraska (and current Nashville) resident to perfection with ten songs, nicely divided between energetically upbeat and quietly introspective offerings. Strings, guitar, brass and keyboards combine for haunting melodies of friends and lovers tested by time and distance, and of a man coalescing from indecision into solid determination. Rouse's lyrics are impressionistic portraits of people and their relationships: country vistas viewed from a speeding car, seen for a blurry moment, briefly distinct, then left behind in the distance. "100m Backstroke" is a Byronic ode of beauty walking: "Watch the way you backstroke across the room/Arms out, floating/It consumes me/You haunt in your trail." Rouse then switches from passive, affected observer to involved participant with "In Between," describing a self-created limbo ("When the secrets aren't worth fighting for/people stay in between/and in between you'll stay") and a lover that is left sadly behind as her depths are plumbed and found shallow. Whether planned with confidence or uncertainty, defining the future is another pervasive theme on _Home_. The rousing leadoff "Laughter" ("Now I watch what I say/and I watch what I do.../Think I got it all figured out/I think my plan is safe/from laughter") and the choppy waters of "Afraid to Fail" ("It's time I made myself clear.../Not that I don't want to/I'm just afraid to fail") both advance into a brave, new world. On "Hey Porcupine," he addresses the distance that separates friends over time as priorities shift and goals change. "I don't call you anymore/It's a difference in our taste." The song plays as a sequel to the rollicking "Directions," where he berates someone for their aimless squandering of time. Rouse understands that drifting with life's current takes you someplace regardless of if you swim or not. For me, the heart of _Home_ is "Parts and Accessories," a blushing, adorational track ("As you walked in/ the room became a glow"). This person is idolized in his eyes with a memorable chorus: "So don't let on/don't let go/You should know/It's just parts of who you are." Ned Henry's violin plays at the edges of the song, adding an irresistible emotional undercurrent. With members of Lambchop guesting, _Home_ has a gentler, more soulful presence than his debut. Paul Birch's vibes add a piquant kiss to Rouse's heart-tugging vocals on "100m Backstroke" and Dennis Cronin's trumpet is the baited hook of "Laughter." After recent viewings of Lambchop's tour with Yo La Tengo, perhaps I'm sensitized to their contributions, because Rouse allows all his supporting cast moments in the spotlight. This unselfishness is just part of his charm. The closer "Little Know It All" conveys his willingness to go the distance. When he sings "be on the lookout for me," he finds no argument here; http://www.joshrouse.com for more information. --- REVIEW: Yo La Tengo, _And Then Nothing Turned Itself Inside-Out_ (Matador) - Andrew Duncan For 13 years, Yo La Tengo has been pop's most aspiring band. Georgia Hubley, Ira Kaplan and James McNew has developed a technique that combines sweet melody with decadent distortion; a sound only Yo La Tengo can intimately pull off in such a peculiar way that combines quirky abstract definition and dark angst. After listening to a Yo La Tengo song, there is a feeling of discovery. Going on their tenth release, their lacking desire to change but constant redevelopment as a band allows them to create the best music being played today, and their new release demonstrates that their music can simply be described as music only Yo La Tengo can make. _And Then Nothing Turned Itself Inside-Out_ is the calm before the storm when a summer breeze dims to a still rage of confusion and beauty. The album begins with the experimental and dreary opener, "Everyday." As the bass line creeps up and down a scale and a strange percussive drum pounds out a minimalist pattern, Kaplan sings a distant melody of coffee-shop lyrics, coordinated with the mysterious hum of an organ and underpowered by a weeping guitar that rarely makes its play. Like many of their songs, "Everyday" forms a complete painting of cloudy textures. "Our Way To Fall" is the song that bids welcome into the album with a Simon and Garfunkel, "Feelin' Groovy" walkabout. "Let's Save Tony Orlando's House," one of the band's funnier song titles, is Hubley's vocal introduction into the album, as she delicately comes across comparing to Karen Carpenter or a sedate Mamas and Papas B-side, later disseminating into the soft strums of "The Last Days of Disco" and "The Crying Of Lot G." The band lights up on the George McRae tune "You Can Have It All," turning the disco hit into a hummable pop song. The band ends as they began, on a quiet note, with "Night Falls On Hoboken," the city where they reside. Even though Hoboken rests 2 miles west of bustling New York City, Yo La Tengo musically describes Hoboken like a small, humble town in the middle of nowhere that fades into a vertigo of sounds swirling into nothing. The three-year time lapse between this release and _I Can Hear the Heart Beating As One_ was well worth the style and structure of each note placed into what could easily be one of the best albums to be released this year. --- REVIEW: Fishbone, _The Psychotic Friends Nuttwerx_ (Hollywood) - Paul Andersen The frenetic, ever-mutating musical gumbo that is at the core of the veteran L.A.-based ska/funk/whathaveyou band known as Fishbone makes itself known once again on their Hollywood debut, _The Psychotic Friends Nuttwerx_, proving that while some bands lose their sight along the way, others only get better as they get grayer. Fishbone not only belong to the latter category, they are poster children for the Organization of Musical Futurists Now. The grooves contained within this recording will still be fresh two millenniums from now. I guarantee it. Like any band that has been around for more than 20 years, Fishbone has seen a number of changes over time. Down to a core trio of Angelo Moore, Norwood Fisher and Dirty Walt' Kibby II from the old days, they have reincarnated themselves by grafting fresh players into spots that most other bands would have folded over, becoming even stronger in the process. Add in a guest list of musicians ranging from George Clinton, Flea, Gwen Stefani and Blowfly to Jeff Skunk' Baxter and Donnie Osmond -- yeah, you read that right -- and you come up with a potent mix that will blow your speakers clean out of the brackets (this is great music to cruise with). If Clinton is the master of P-Funk, then Fishbone is a both a branch of that family tree and a fresh synthesis of the essence of what funk is all about. More than any other band currently playing, they know that funk is not just a style of music, but a life force all its own. Come get the juices flowing, baby, and immerse yourself in the joy that is Fishbone. --- REVIEW: Catatonia, _Equally Cursed and Blessed_ (Atlantic) - Niles Baranowski Catatonia lead singer Cerys Matthews is blessed with the sort of versatile, show-stopping voice that the Alanises of the world would kill for. She can soothe and seethe with equal facility and her earthy groan sounds as confident and forceful as it does sexual. When she hisses "Joan of Arc can kiss my arse,"the gravelly sass in her voice is worth the price of admission, an attitude that you could fall in love with. The curse in Catatonia's third album, then, is the rest of her band, who can at best underscore her vocals and at worse can undercut them; they don't seem to have enough of their own will to create any counterpoint. On their last album, _International Velvet_, that wasn't the problem it is here since the songs were, on the whole, straightforward rave-ups that went down free of complication. The two top-selling singles from that album are represented here: "Road Rage" and "Mulder and Scully," a pair of rockers so anthemic that you may find yourself humming the latter as the credits to the _X-Files_ roll. They display succinctly the force that is missing from _Equally Cursed and Blessed_, modern rock at its cathartic, lusty best. _Cursed_ is a more subdued affair, its volume middling and its songs usually confining themselves to a single dynamic level. There are a few sappy tracks where Matthews feels overwhelmed by canned violins. "Bulimic Beats" gets gummed up in a wall of strings that makes one long for the minimalism of Phil Spector. "Dead From the Waste Down" is a lyrically interesting bedroom plea (think Summer of Love meets the old adage "make hay while the sun shines") that has no musical force, just a sort of lazy prettiness. Even a bouncing tune like "Karaoke Queen" is bland and grating when performed by the dull rhythm section of bassist Paul Jones and drummer Dafydd Iuean. "Karaoke Queen" used to be the sort of sprightly, innocuous single candidate that Catatonia excelled at back in the days of _Way Beyond Blue_ but Matthews is maturing too much as a singer to be contented with mere pop now. Her best tracks take on the strength of performance pieces; they're like hysteric monologues set to music. On "Shoot the Messenger," she plots drunken revenge and it sounds like seduction. Her coarse coyness makes comparisons to Tom Waits hardly unlikely. And when she can unleash her force against something specific, the results are dynamite, like the snide "Londinium" ("London doesn't sleep, it just sucks"). "Post Script" is the most fully-shaped story here, Matthews talking about how she gave her girlhood to a slick-talking shyster and there's not a word of regret here because "if you live a lie, you die a liar." No prissy little-girl romanticism, just a mess of lip-smacking attitude. Finally, if you want your daily requirement of Cerys without worrying about even the vaguest requirements of song form, you may be interested in "Storm the Palace," two minutes of Cerys whipping a crowd into a castle-torching frenzy. There's no verse, no break, no chorus, just the moment where drunkenness becomes revolutionary fervor -- all distilled into distortion. As the middle ground between the gonzo acid kool-aid of the Super Furry Animals and the brash, brainy "dad rock" of the Manic Street Preachers, Catatonia are far from the most revolutionary band on the Welsh music scene. Don't be surprised if you start following Cerys Matthews with a near-revolutionary fervor, though. --- REVIEW: Bloodhound Gang, _Hooray For Boobies_ (Geffen) - Bob Gajarsky The Bloodhound Gang can retire now. Thanks to the huge international smash of "Bad Touch", the Bloodhound Gang must have enough money to move out of the beer-chugging, no-chicks environment which they've espoused in songs such as "I Wish I was Queer So I Could Get Chicks". And while the Pennsylvania-based group that took the Beasties' fight for your right to party to new extremes recorded their new album _Hooray For Boobies_ , somehow, a totally irresistible synthpop beat over a white boy rapping about "doing it like they do on the Discovery Channel" achieved #1 status in five European countries, and top 20 status in another eight. "It's shocking to open pop-culture magazines there and see poster inserts of Star Wars, Metallica and the Bloodhound Gang," says Jimmy Pop Ali. "We just knocked out Oasis out of the #1 spot in Spain. We're as big as the Backstreet Boys, but the difference is we like girls - and we don't have their bad shaving habits." Not bad for a band that wouldn't get booked in nearby Philadelphia for fear that no one would show up. Or, as the lyrics to "The Ballad of Chasey Lain" and "Yummy Down On This" summarize, unlikely to get laid. "We're just happy that girls will talk to us now," bassist Evil Jared Hasselhoff states in the off-hand, never totally serious fashion that pervades all the Bloodhound Gang's conversations and lyrics. "My day-job fixing lawnmores wasn't much of an aphrodisiac." Fans of the 'old' Bloodhound Gang needn't worry that the success of "Bad Touch" will change the sound of _Boobies_. "Mope" takes wonderfully warped lyrics and melds them with Frankie's "Relax" for a nonsensical song which alternately irritates and fascinates, while additional themes on _Boobies_ include rhyming words with vagina ("Three Point One Four"), sampling Metallica ("Long Way Home"), spliff ("Along Comes Mary"), and lap dancers with personal problems ("A Lap Dance Is So Much Better When The Stripper Is Crying". People looking for 12 copies of "Bad Touch" might want to look elsewhere. So should anyone searching for the answer to the mysteries of life. _Hooray For Boobies_ is obviously infantile, but if you were expecting anything else out of the Bloodhound Gang, shame on you. --- REVIEW: Sparklehorse _Good Morning Spider_ (Capitol) / _Disorted Horse EP_ (Odeon) - Christina Apeles Less somber than 1995 debut release _Vivadixiesmarinetransmissionplot_, lauded by critics and peers though largely ignored by consumers, _Good Morning Spider_ and _Distorted House_ prove that Mark Linkous is one of the most talented songwriters of his generation. Linkous' appeal resides in a dimly-lit milieu filled with poetic lyricism, pensive tempos fraught with quandary and revelation. What some may term as dismal, the tone of these releases vary from relentless noise to stripped down ballads, with evocative verse ever present. On _Good Morning Spider_, "Sick of Goodbyes" may be the radio-friendly track any label could hope for with its catchy chorus and rock for everyone feel, it is an inspiring, folk-influenced track that anyone can enjoy. Then there's the epic feel of "Chaos of The Galaxy/Happy Man" with one song proceeding into the next, that is lo-fi rock grandeur. Like most of the ballads on this release, Hey Joe is sparse in instrumentation, with acoustic guitar and piano backing the dreary vocals of "Linkous" expressing his brand of optimism: There's a happy man, there's a star for you, while "Ghost of His Smile" exhibits Linkous' Guided By Voices musical sensibility with true pop fervor. There's a raw element to each song, whether it be static, reverb, or cracking vocals, adding an engaging aspect to the album, sounding more in line with a live show than studio-produced release. Meanwhile, _Distorted House_ furnishes listeners with actual live tracks of the acoustic, wintry "Gasoline Horseys" and the energetic mood of "Happy Pig." An additional treat is Daniel Johnston's piano playing sampled for a guitar heavy cover of Johnston's "My Yoke is Heavy," recognizing one of Linkous' biggest influences. In both releases, vocals and instruments tend to move from rants to murmurs falling then into silence, shifting back into an earful of sonic distortion in signature Sparklehorse fashion, fitting nicely between records by Vic Chesnutt and recent Tom Waits; with _Good Morning Spider_ also rewarding in your CD-rom drive, offering videos suited to the music: drab colors, out of focus shots, rarely static -- yet all of it dazzling. --- CONCERT REVIEW: The Mekons - Wilson Neate The Mekons opened their account at the Bowery Ballroom with a rousing rendition of "I'm Not Here (1967)," the title of which proved oddly prescient as vocalist Sally Timms certainly wasn't quite all there last night. After the first song an ailing Timms described, in detail, how (and how much) she'd just vomited. She went on to inform the crowd that, since there was a real danger of her doing so again in the near future, she might have to leave the stage at any moment. Jon Langford -- looking like an alternative James Doohan (circa 1990) with an ill-advised mustache -- wasn't having any of it, sympathetically encouraging her to just throw up on the crowd and not bother with the bathroom. Not only would the lucky punters at the front lap it up (metaphorically speaking), he argued, they'd also eagerly preserve Mekons chunder in vials as the perfect souvenir of an evening of chunk/punk rock. Despite being a little older and -- with the exception of Tommy Greenhalgh -- larger in the trouser department, the Mekons proved that while it might have been a little unwell last night, punk is certainly not dead. With the classic line-up almost completely reassembled -- Langford, Timms and Greenhalgh being joined by Steve Goulding on drums and Rico Bell on accordion and harmonica -- the Mekons served up their singular brand of thinking/drinking person's folk/punk. Even between songs, the Mekons are always entertaining. While Bell's dashing orange-and-white polka-dot blouse seemed to indicate that he was on a bold one-man crusade for the reintroduction of the gypsy or perhaps pirate look, Langford informed us that Rico's attire was in fact punishment for alcohol-related infractions committed the previous evening in Cambridge, Mass. Although Langford was the first to admit that his own shirt was equally hideous, and pajama-like to boot, he declined to disclose the details of his own peccadilloes. A strident version of "Heaven and Back" saw Greenhalgh taking care of primary vocal duties and engaging in some of the first Elvis kicks of the evening. Then, although "Gin Palace" from _Honky Tonkin'_ took us back to the unsavory decade horribilis of Thatcher's casino economy, its waltzy, sea-shanty, bar-room flavor soon washed the bitter taste out of our mouths. Not surprisingly, a fair bit of last night's material was drawn from the new album _Journey to the End of the Night_ (Quarterstick), the title of which sends a rather erudite shout out to Cline and his 1932 novel of Bardamu's odyssey from WWI European battlefields, to West Africa, on to New York and Detroit and finally back to a French lunatic asylum. But there's more than a superficial reference at stake here on the new outing. The hallmarks of Cline's aesthetic -- lyricism, black humor, irreverence and idealism -- are the very tropes that characterize the Mekons' approach on _Journey_. Dark and elusive, bleak yet ultimately hopeful and shot through with jagged moments of humor, this album leads the listener on a subjective, nocturnal journey through the urban ruins of capitalism. If the title sets a tone of literary tourism, then "Myth" runs with the idea. Backed with some fine harmonies and violin, Tommy Greenhalgh takes us on a doleful cultural excursion of sorts, appearing to map classical mythology and the travails of Heracles onto the contemporary cityscape of New York. On "Out in the Night," Langford sings a brooding, woeful ballad; "The Last Weeks of the War" is a similarly melancholy number on which he and Timms square off, albeit in a subdued fashion. Like many of the tracks on the album, this distinctly unhappy, downbeat and fragile song is subtly held together by Susie Honeyman's beautifully lilting, country-tinged violin (unfortunately absent from last night's performance). "Tina" is the first of three tracks on this album that are characterized by a distinctly '80s white UK/punk/pop reggae guitar-signature, and it finds Langford disillusioned, at the end of his political and ideological tether and yet still ultimately optimistic. In a similar vein musically, "Ordinary Night" has Greenhalgh at the vocal helm again. On "Neglect" -- probably the most successful of the trilogy -- Bell's accordion adds a welcome layer beyond the vaguely anachronistic skank-lite sound. Interestingly, the live performance of the latter two really foregrounded the songs' comic side that remains understated on record. "Powers and Horror," a virtually a cappella number with a smattering of piano and accordion, deepens the intertextuality of the album by alluding to Julia Kristeva's _Powers of Horror_, itself a dense reflection on Cline's work. But lest that sound weighty and pretentious, in performance this is another track that the Mekons manage to re-signify with a marked degree of humor. On _Journey_, it's lyrically abstruse and rather grim but live, the Mekons' barbershop quartet -- hands clasped and looking decidedly ironic -- brings a disarming element of levity to the track. "Cast No Shadows" is a pumping sing-a-long with great guitar and filled with yet more dark nocturnal imagery. Lyrically, it charts a pessimistic unending trek but vocally, its sound is completely uplifting, courtesy largely of Sally Timms. Among the new tracks that the Mekons unfortunately glossed over last night was "City of London," another dark one made extra-special by Timms' breathy intimate vocals that graft various levels of loss, demise and death onto the geography of London and, indeed, onto the Empire itself. Also conspicuous by its absence was the more familiarly Mekons' number "Last Night on Earth" which, against the grain of its miserable lyrics that chronicle things falling apart as the witching hour draws close, paradoxically manages to pull off a cheery sing along. But meanwhile back at the Bowery Ballroom...the Mekons also served up fine versions of "Orpheus," "Poxy Lips" and "When Darkness Falls." The latter was a particular winner. Langford ironically dedicated it to the very same "Big A&M Herb," immortalized by the greatest living Englishman Mark E. Smith, and Sally Timms proceeded to sing rather beautifully about wishing horrible physical torments on someone. Having been the consummate trooper, however, a poorly Timms finally gave up the ghost toward the end of the evening and made for the bathroom. This was Langford's cue to inform the crowd that the boys (and bassist Sarah Corina) would now take advantage of her absence, rub liniment into their legs and play some rugby. Luckily, Langford didn't make good on that threat but, rather, the Mekons played a ripping version of "Fancy" by the Kinks. They finished things off with a great set of encores. For a frenetic version of "Where Were You," they inevitably enlisted the assistance of roadie Mitch (complete with appropriate yellow hair). There was more Elvis kicking, writhing on the floor and an enforced stage dive for Mitch, courtesy of a shove in the back from Langford. Equally excellent versions of "Memphis Egypt," "Prince of Darkness," and "Lost Highway" provided the final touches. A great time was had by all. Downbeat country-folk balladry, upbeat punk rock, driving guitars and classic Mekons wit and charm. How much longer can they keep this up? --- REVIEW: Handsome Family, _In the Air_ (Carrot Top) - Chris Hill The Handsome Family, consisting of modern American Gothic couple Rennie Sparks, Edgar Allen Poetess of death and madness, and Brett Sparks, bi-polar, baritone singer, have returned from the shadowlands with more rich, erudite folk songs fit for urban nihilists and backwoods moonshiners alike. Fans of their last, _Through the Trees_, will be pleased to note that Rennie's song writing skills continue to awe. She captures brief instants in time and fills them with astonishing detail, endowing characters with tragic flaws and scenes with tangible reality, making the inevitable tragedies all the more poignant. _In the Air_ contains the dire stories fans have come to expect and love: an Edward Gorey picture of a woman spurned by her lover, then devoured by crows ("Poor, Poor Lenore"); a murder ballad of possessive, obsessive love ("My Beautiful Bride"); a watery suicide ("Lie Down"); alcoholic, chaotic madness ("So Much Wine"); fratricide ("Up Falling Rock Hill"); Sunny beach music, this isn't. Several rays of light do manage to pierce the lyrical dark. "Don't Be Scared" is an angelic tune of a fearful man finding reassurance in his dreams: "Whenever Paul thinks of snow/soft winds blow/round his head/and his phone rings just once late at night-/like a bird calling out, 'Wake up, Paul./ Don't be scared./Don't believe you're all alone.'" And "Grandmother Waits For You," a track carried over from the Handsome Family's 1997 vinyl-only EP _Invisible Hands_ paints a serene picture of heaven, as infirmities are left behind with the body: "The hills are scattered with empty wheelchairs/and hearing aids thrown to the ground/The long night is over/The shadow has passed/and farewells forever are done." Brett's solemn, rootsy vocals treat each song seriously -- one might say gravely -- rolling under and over the words with obvious relish. Brett also pens the music that backs his wife's visual lyrics; tunes that include a three-step waltz ("The Sad Milkman"), finger-pickin' hobo guitar ("In the Air"), and violin- and guitar-infused melancholy ("Up Falling Rock Hill"). In the same way that grandfather could read about a wicked wolf devouring a helpless grandmother, these grim songs are somehow strangely comforting. While you're held safe on an ample lap, pipe tobacco, Old Spice cologne and warm arms around you, the world's terrors, still only imagined, are held easily at bay. Brett's voice conveys that same heartening feeling of security -- the dawn's not far away, no matter how dark it is now. _In The Air_ also includes a video from the band's _Milk and Scissors_ cd: the affecting "Amelia Earhart vs. the Dancing Bear," a song of the images that flash through the aviatrix's mind as her plane crashes and burns. For your exploration: http://www.carrottoprecords.com/ and http://handsomefamily.home.mindspring.com/ -- label and band site. --- REVIEW: Don Dixon, _The Invisible Man_ (Gadfly) - Bill Holmes "Invisible Man" would be a good nickname for someone whose recording career seemed to slam on the brakes in 1995, but Don Dixon's production and session work for some of music's brighter lights has kept him very busy. And it's not like radio is screaming for a literate, funny writer with a knack for hooks and a raspy but soulful voice. _The Invisible Man_ certainly won't qualify him for stadium tour status, but it's a solid collection of songs presented through the guise of a song cycle, albeit a scattered one. Usually thematic pieces are presented in order; but Dixon's life observations are ordered more by musical structure. What do you want from a producer? The first three songs are presented from the viewpoint of a man in the prime of his life, and the music is appropriately confident and upbeat. "Invisible & Free" (which you will think is called "Kara" until you look at the track list) is an upbeat song that plays with the lyrics effectively, a typical Dixon maneuver. "Do So Well" is probably the closest to his prior solo work -- soulful Southern rock and R&B -- while the lively "Tax The Churches" could best be described as Memphis surf music, a kissing cousin to "Praying Mantis." But two songs later, the stark and frail "All I Wanted" is narrated by an 85 year old man recounting a life of wasted opportunity. The vocal is a drop dead Elvis Costello intonation as a single, rhythmic acoustic guitar ticks away what little time remains. "Digging A Grave" and "Then I Woke Up" are sung as the ruminations of a man in late middle age, and despite the characters' mortality questions, are also strong musically. The oddest piece, "High Night For The Tide," juxtaposes island rhythms and a sound not unlike Mike Oldfield's Tubular Bells. The somber island percussion reappears on the closing song "Why Do Children Have To Die?," whose placement on the record is as odd as its title. I know Dixon is not going for a hit record here, but I'm not sure that's the taste he wanted to leave in my ear as I depart, either. Dixon fans may dive into this redemptive opera wholeheartedly, or they may opt to dip in only for the songs that tickle their fancy. If anyone on Americana or (gasp!) pop radio ever hears these tunes, they'll be one at a time, so buying into the concept won't be as critical. And that's vintage Dixon -- putting his wares out on that table and letting you find the gems for yourself. Welcome back. (http://www.gadflyrecords.com) --- REVIEW: Seely, _Winter Birds_ (Koch) - Chris Hill The oft-mentioned comparisons to ex-Too Pure label mates Stereolab are justifiable. Seely's music is fraught with retro synth ambience and Euro continental flair. But allow Seely to escape from under a namedrop, and they charm all on their own. Their latest kicks off with a "lonely road" song, "El Cajon." Steven Satterfield's sultry voice, sounding like a drag Garbo of Scandanavian poise and smoky impenetrability, breathily complains "It's a long way from home/engines drone, we roam/why am I alone." The misery's easily counterbalanced by screeching bits of static samples and drums that slip and carom around the keyboard runs. The song's a lovely opener for their fourth LP (or third, if you consider that their second album _Julie Only_ was essentially a reworking of the _Parentha See_ first release). Satterfield and bassist Joy Waters split Seely's vocal duties, giving the band a chocolate and vanilla ice cream swirl sweetness. Neither impart edge to the sometimes sharply pointed lyrics, except on the catty "Sister Total Emptiness," a spearing of a model whose outer beauty subverts her inner soul. With Waters' dreamy voice trading lead and backing vocals with Satterfield's, the venom of "Altamaha," a song inspired by the band's dissolved partnership with the Too Pure label, ("you should have just come clean at first/time hides and finds your reserve broken/by and by/lies will be spoken") is neutralized - a poison pen letter with perfumed stationery. Another track prompted by personal loss, "Alias Grace," lays bare the hurt of Waters' divorce, brought into focus when she hears her ex's song on the radio. The lushness of her voice and the murmuring of the keyboards play against the harsh sting of her memories. "Sunsites" heads down the same dark lyrical path, as water, a medium traditionally symbolic of life and rebirth, instead evokes untimely death: "Take me to the river's end/throw me in the water/let me see if he's down below." Again, the synths pasteurize the bacterial sadness, and Waters' voice floats above the sorrow, touched, yet not consumed. But on the final track, Waters dives deep. "Sandy," a poignant "loved and lost" nightclub ballad ("Sandy, can you hear me/you're a wild thing/and I miss your softness") was penned for Waters' deceased dog. The loss is conveyed with finesse by Waters' heartfelt delivery of lines like "You made it hard to let you be/with somebody else but me." My favorite track seems the only song unaffected by the labor pains of _Winter Birds_. "Planes Circle Do" lists off a series of cities in a Gaudi mosaic of stream of consciousness images and impressions. Waters' graceful, fizzy vocals guide the tune along dizzily - "Lagos, Rio, coming in low/altostratus, nimbostratus/people getting skinny/smokers, eaters, tiny/planes must circle/Cape Town, Dakkar, Seattle..." - until it dwindles in the distance, a delectable ride of 7:32. _Winter Birds_ also includes two instrumental tracks that show concert jam potential: the energetic "Sapelo Sound" and the palpitating "The Kangaroo Communique." Out of context, a lyric seems appropriate here: "when I listened to your song on the radio/couldn't help but make me want to go and say hey." http://www.seelymusic.com/ -- go say "hey." --- REVIEW: Rick Derringer, _Live At The Paradise Theater_ (Phoenix Gems) - Bill Holmes He may not be in Cleveland's Rock And Roll Hall Of Fame, but Rick Derringer was enshrined in mine years ago. From teen idol to third Winter Brother to guitar god to pop guy to blues man, Derringer has strapped on that guitar, hit the stage and kicked ass. Unfortunately, previous concert documents have not effectively captured what live audiences have enjoyed for so long. _Derringer Live_ was good but spotty, and the King Biscuit release featured his last, weakest band lineup and too many guest stars. Only the radio promo _Live In Cleveland_ (there's irony for you!) came close, but if the legitimate release has never made it to CD, don't hold your breath for the promotional disc. A travesty. Now that's changed, thanks to Phoenix Media Group. With thousands of hours of live music tapes and radio broadcasts at their disposal, the Phoenix Gems imprint will be used to get some classic (and in some cases, unheard) concerts out to the public. The first four releases feature The Tubes, Omar And The Howlers, Spirit, and this Derringer concert from late 1998 in Boston. _Live At The Paradise Theater_ was the same show (and perhaps the same master tape) that was supposed to be released in 1998 under the Archive Alive label, but was shelved when the King Biscuit disc hit the market two months before. The sound quality is phenomenal, and if all Phoenix Media's shows are this crisp and clear, the market for live concerts just changed dramatically. The first Derringer band, with axe whiz Danny Johnson, was more riff and jam oriented. After Johnson left, Derringer kept bassist Kenny Aaronson and brought in drummer Myron Grombacher. Recording as a trio (with some help from old pal Dan Hartman), _If I Weren't So Romantic, I'd Shoot You_ found Rick steering his band towards shorter, single oriented material. Needing a second guitarist for the road, he selected Neil Geraldo (who, with Grombacher, would anchor Pat Benatar's band for years afterwards). Although the band was only together briefly, Geraldo plays some great barrelhouse piano and trades leads on guitar, Grombacher is tireless, and Aaronson is an inventive, fluid anchor on bass. Sure, there's the requisite speed-noodling on "Rock And Roll Hoochie Koo" and "Beyond The Universe," and this talented group kept up with Derringer step for step. What makes this disc really special are the moments when they absolutely rip through Derringer's best mid-career songs. "Teenage Love Affair," "Let Me In" (always Derringer's best vocal) and the Chinn-Chapman hit "It Ain't Funny" are on fire, while the finale of "Roll With Me," "Back In The U.S.A." and "Long Tall Sally" contain Derringer's best work since the _Roadwork_ album with Edgar Winter. The band was hot that night Rick Derringer shows no signs of slowing down after over 35 years of rocking the world. Let this CD hold you over until he rocks your town again. (http://www.radiophoenix.com) --- REVIEW: Spring Heel Jack, _Treader_ (Thirsty Ear) - Andrew Duncan Drum and bass, or jungle, whichever you prefer, has come a long way, transcending into an art form that goes beyond the powerful drum samples that jackhammer beats per minute faster than the brain can register. Times have changed and musicians are using drum and bass as a tool to create intelligent music. Talvin Singh turned drum and bass into an international experience while LTJ Bukem made jungle intergalactic. However, it is Spring Heel Jack, comprised of John Coxon and Ashley Wales, that use orchestration as a blueprint to transform the dance music into an intellectual piece of modern art. _Treader_ has a slow beginning, but there is plenty of time for the album to unfold with nearly 75 minutes of play time. "Is" begins with screeching strings that quickly bounce into a sultry accompaniment that would sound perfect in a James Bond film. "Winter" has the same effect, incorporating blasts of burlesque horn samples that are dragged out too long. Coxon and Wales turn up the knobs with "Blackwater." The song makes excellent use of computer sound effects embedded in a canopy of beats that ping-pong back and forth. The music becomes more intense as the CD progresses. "Eyepa," the high point of the album, creates science-fiction textures with more paranoid loops that leak hints of industrialism. "More Stuff No One Saw" breaks free from the true definitions of drum and bass and looks at the music in the same fashion as Miles Davis did to jazz -- limitless. The band really shines best when they break free of traditional drum and bass and explore new terrain like that of Phillip Glass or John Zorn. "Toledo" and "1st Piece for La Monte Young" begins as ambient texture that eventually fall into a sequence of mathematical beats and humming basslines. Coxon and Wales end _Treader_ with two bonus songs from _The Sound of Music EP_, which covers Rodgers & Hammerstein's "My Favorite Things" and "Climb Every Mountain." The two are such purists when it comes to the remixes that most fans of Rodgers & Hammerstein's work will truly appreciate. Spring Heel Jack create respectable music that is intelligent and diverse. Not every song is easily accepted, but the music proves that drum and bass is still ahead of its time. --- REVIEW: New Americans, _New Americans_ (Fufkin) - Bill Holmes The cover photo is a dead ringer for the cover of Simon and Garfunkel's _Bookends_ album, which is a pretty ballsy statement for any duo to make. Fortunately, the liner notes quickly tell you that Dan Touhy and Casey Fundaro are merely guys who were tremendously influenced by classic pop songwriters like Simon, Bacharach, Brian Wilson and Gram Parsons. They also admire contemporary artists like Jeff Tweedy, Bill Lloyd, and Matthew Sweet. While that's admirable, Touhy and Fundaro are not playing in that league. However, they do write gentle pop melodies that call to mind bands like America, Bread and The Carpenters. Lyrically, they're smack dab into that introspective era, with eight songs about lost love, found love, and the search for meaning in one's life. That's not to say this is a coffeehouse special. Occasionally there's a nice burst -- "Lookin' Down" is given life by Neil Young-ish guitar and harmonica; "So Alone" has the "Chestnut Mare" chord progression as the skeleton of its chorus, and "Comin' To An End" also mines Byrds territory. The leadoff track, "Anna," might be just perky enough to be a hit in better hands. But despite the light arrangements, the lead vocals rarely rise above coffeehouse level, and that's just not enough to make anything here truly special. (http://www.fufkin.com) --- TOUR DATES: Beck Mar. 27 Den Hague, Holland Congresgebouw Mar. 28 Brussels, Belgium Halles De Schaarbeeck Mar. 29 Paris, France Le Zenith Charlatans / Stereophonics Mar. 27 Los Angeles, CA House of Blues Mar. 28 San Francisco, CA The Warfield Mar. 30 Seattle, WA Showbox Mar. 31 Vancouver, BC Commodore Apr. 3 Minneapolis, MN The Quest Apr. 4 Chicago, IL The Vic Apr. 5 Toronto, ON The Warehouse Ani DiFranco Apr. 3 Missoula, MT Adams Center Apr. 4 Banff, AB Eric Harvie Theatre Apr. 5 Edmonton, AB Jubilee Auditorium Filter / Chevelle Mar. 27 Houston, TX Aerial Theatre Mar. 29 Lake Buena Vista, FL House of Blues Mar. 30 Fort Lauderdale, FL Chili Pepper Mar. 31 Tampa, FL University of Sou Florida Goldie Apr. 1 Detroit, MI Motor Apr. 3 Chicago, IL House Of Blues Apr. 4 Denver, CO Trinity La Rumba Apr. 5 Minneapolis, MN Quest Club Apr. 6 New York, NY Roxy Ben Harper And The Innocent Criminals Mar. 27 Strasbourg, France Hall Rhenus Mar. 28 Lyon, France Palais Des Sport Mar. 29 Grenoble, France Summum Mar. 31 Marseille, France Le Dome Apr. 1 Milan, Italy Palalido Apr. 3 Modena, Italy Palasport Apr. 5-6 Rome, Italy Palacisalfa Incubus Mar. 27 Portland, OR Roseland Theatre Mar. 30 San Diego, CA Cane's Kelis Mar. 29 Chicago, IL Double Door Mar. 30 Ann Arbor, MI University of Michigan w/Wyclef Jean Apr. 1 Cincinnati, OH Xavier University w/Wyclef Jean Apr. 2 Carlisle, PA Dickenson College w/Wyclef Jean Apr. 4 San Francisco, CA Bimbo's Apr. 6 Los Angeles, CA El Rey Korn Mar. 30 Worcester, MA Centrum Apr. 1 Baltimore, MD Baltimore Arena Apr. 3 Detroit, MI Palace of Auburn Hills Apr. 5 Columbus, OH Shottenstein Center Tara MacLean Mar. 27 Boston, MA TT The Bear Mar. 30 Chicago, IL Park West Mar. 31 Cleveland, OH Shooters Apr. 1 Akron, OH Borders Apr. 2 Austin, TX La Zona Rosa Ian Moore Mar. 31 Denton, TX Rick's Apr. 1 Fayetteville, AR Dave's On Dixon Apr. 4 Kansas City, MO Grand Emporium Apr. 5 Columbia, MO Mojo's Apr. 6 St. Louis, MO Sidedoor Neko Case & Her Boyfriends Mar. 28 Saskatoon, SK Amigo's Mar. 29 Edmonton, AB Black Dog Mar. 30 Calgary, AB Republik Mar. 31 Vancouver, BC Richard On Richards Apr. 1 Seattle, WA Tractor Tavern No Doubt / Suicide Machines Mar. 27 Toronto, ON Guvernment Mar. 29 Boston, MA Avalon Mar. 30 Philadelphia, PA Electric Factory Apr. 1 Atlanta, GA Roxy Apr. 3 Orlando, FL Hard Rock Live Apr. 5 Washington, DC 930 Club Apr. 6 New York, NY Roseland Oasis Apr. 5 Seattle, WA Paramount Theatre Apr. 6 Portland, OR Scnitzer Auditorium Ginny Owens Mar. 28 Nashville, TN The People's Church Mar. 30 Charleston, SC Charleston Southern University Mar. 31 Atlanta, GA Six Flags Over Georgia Apr. 1 Jefferson City, TN Carson Newman College Apr. 4 Tulsa, OK First Christian Church Apr. 5 Waco, TX Ferrell Center Papas Fritas Mar. 27 Portland, OR Satyricon Mar. 28 Seattle, WA Crocodile Cafe w/ Sunset Valley Mar. 30 Salt Lake City Kilby Court Mar. 31 Denver, CO 15 Street Tavern Apr. 1 Boulder, CO Tulagi's Apr. 3 Iowa City, IA Gabe's Oasis w/ The Hang Ups Apr. 4 Minneapolis, MN First Avenue w/ The Hang Ups Apr. 6 Chicago, IL Schuba's w/ The Hang Ups Podunk Mar. 31 Columbus, OH Newport Music Hall Red Hot Chili Peppers / Foo Fighters / Muse Mar. 27 Carbondale, IL SIU Arena Mar. 28 Champaign, IL Assembly Arena Mar. 30 Dayton, OH Nutter Center Mar. 31 Columbus, OH Value City Arena Apr. 2 Amherst, MA Mullins Center Apr. 3 Albany, NY Pepsi Center Apr. 5 State College, PA Bryce Jordan Arena Apr. 6 Roanoke, VA Civic Center Tonic Mar. 28 Harrisonburg, VA PC Ballroom Mar. 29 Clarion, PA Tippin Gym Mar. 31 Atlantic City, NJ Trump Marina Tonic / Third Eye Blind Apr. 1 Philadelphia, PA Electric Factory Apr. 2 Poughkeepsie, NY Marist College Apr. 3 New York, NY Hammerstein Ballroom Apr. 4 Newark, DE Carpenter Center Apr. 6 Atlanta, GA The Tabernacle Union Mar. 28 Lincoln, NE Royal Groove Mar. 29 Cloud, MN Red Carpet Mar. 31 Sauget Ill. Pops Annex Apr. 2 Omaha, NE Holiday Inn Apr. 4 Kansas City, Mo. Hurricane Apr. 5 Peoria, IL Infirmary Apr. 6 Decatur, IL Twisters --- Founded in August, 1993, Consumable Online is the oldest music reviews publication on the Internet. To get back issues of Consumable, check out: WWW: http://www.consumableonline.com To subscribe to Consumable, send an e-mail message to consumable-request@westnet.com with the body of the message stating "subscribe consumable". To unsubscribe, send a message to the same address stating "unsubscribe consumable". Web access contributed by WestNet Internet Services (westnet.com), serving Westchester County, NY. Address any written correspondence to Bob Gajarsky, Consumable Online, 409 Washington St. PMB 294, Hoboken, New Jersey 07030 ===