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