== ISSUE 171 ==== CONSUMABLE ONLINE ======== [March 19, 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: Kevin Verspoor 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: Doug Powell - Bob Gajarsky REVIEW: Wilco, _Summer Teeth_ - Daniel Aloi REVIEW: Dave Davies, _Unfinished Business: Dave Davies Kronikles 1963-1998_ - Joann D. Ball REVIEW: Crash Test Dummies, _Give Yourself a Hand_ - Tracey Bleile REVIEW: Jeff Beck, _Who Else!_ - Linda Scott REVIEW: Kelly Willis, _What I Deserve_ - Chris Hill REVIEW: David Wilcox, _Underneath_ - Jon Steltenpohl REVIEW: Gladhands, _Wow and Flutter_ - John Davidson REVIEW: Hugh Cornwell, _Black Hair Black Eyes Black Suit_ - Reto Koradi REVIEW: Tommy Womack, _Positively Na Na_ - Bill Holmes REVIEW: Low, _Secret Name_ - Andrew Duncan REVIEW: Various Artists, _Paris Is Sleeping - Respect Is Burning_ - Kevin Verspoor REVIEW: Various Artists, _The Electronic Eighties Volume 1 & 2_ - Joann D. Ball REVIEW: Helium Angel, _Early Clue To The New Direction_ - Bill Holmes NEWS: Grand Royal TOUR DATES: All / Less Than Jake, Asian Dub Foundation, Babe The Blue Ox / Trinket / Interpreters, Better Than Ezra / Jude, Braid / Seaweed, Candlebox, Cibo Matto, Hugh Cornwell, Cubanismo Spring Tour, Hang Dogs, Eve 6 / Lit, Finger Eleven, Flick, Godsmack, Sammy Hagar, Hepcats, Jets To Brazil, Jude, Jungle Brothers, Kodo, Korn, Local H, Low, Marvelous 3, Mighty Blue Kings, Alanis Morissette, Olivia Tremor Control, Placebo / Stabbing Westward, Promise Ring, Push Kings, Sepultura / One Minute Silence / Biohazard, Sick Of It All, Silverchair / Grinspoon, Elliott Smith, Sparklehorse / Varnaline, Sally Taylor, Ten Foot Pole, 3 Colours Red, Whistler, Wilco Back Issues of Consumable --- INTERVIEW: Doug Powell - Bob Gajarsky For many recording artists, getting signed to a major label is the culmination of a dream. But when Doug Powell became a casualty of major label politics unrelated to his music, the music for his second album lay waiting in the dust - and the dream for his music to be heard started to fade. His first record, _Ballad of the Tin Men_, generated a critical, if not quite a commercial, buzz. Songs such as "Return To Sender" and "Unmutual" became instant favorites of anyone who heard them with their hummable choruses and talented musicianship. But when Powell went looking around with his demos - in search of another record deal - the response was surprising. "My manager shopped me to just about everyone and got the same response: 'I love this stuff. Can I keep the tape? I wish I could sign it, but no one would buy it.'," Powell remembers. "It was worse to me than being disliked." But, finally, a man with the conviction to release quality music came into the picture. Enter Bruce Brodeen, the founder of Colorado-based power-pop label Not Lame. When Not Lame issued a Nashville Pop compilation in 1997, the seeds were sown for a Powell / Not Lame collaboration. That partnership now takes the form of _Curiouser_, a thirteen song collection of Powell's demos which sound (without a major label's budget) far smarter and more complete than almost all other albums. At times, this release comes across as a distant cousin to Jeff Lynne's Electric Light Orchestra, with their parental units the Beatles. Sure, "Graceland" owes much of its structure to _Sgt. Pepper_, but there's no shame when your songs can be thought of in favorable comparisons to the Liverpudlian pioneers. "Don't Say" will instantly draw comparisons to Nilsson's "Without You", which, as astute fans pop fans might draw upon, was written by members of Badfinger - who recorded the Paul McCartney song "Come And Get It". The six degrees of the Beatles comes full circle here. And the key track, "Torn", is that rare song that stays locked in your mind, long after the final note has stopped playing. Powell's _Curiouser_ is being issued on Not Lame Limited, which according to Brodeen, "means to be an unencumbering thing for both the label and artist - no paper contracts, to allow them (the artist) the flexibility of not being shackled to a small label while looking for a bigger deal." With a printing of only 800 copies, _Curiouser_ is truly limited - unless demand encourages Powell and Brodeen to press more copies. That depends on initial support from fans. But the key feature for being on Not Lame Limited? "It has to be *fun* for both the label and the artist," emphasizes Brodeen. For now, Powell's future plans include continuing to write and perform, with a song ("Everyday Is Christmas") slated to appear on a Ringo Starr Christmas album. In addition, he is performing in a band called Swag - with Powell on lead guitar and vocals, Tom Petersson (Cheap Trick) on bass, Ken Coomer (Wilco) on drums, the Mavericks' Robert Reynolds (rhythm guitar/vocals) and Jerry McFadden (keyboards/vocals) and Scotty Huff on guitar and horns - which is being shopped to various labels. And fortunately, we can hear the latest standout work from Doug Powell on _Curiouser_. With or without the support of a major label. For further information on Not Lame - or to purchase the Doug Powell disc _Curiouser_ online - check out the website at http://www.notlame.com --- REVIEW: Wilco, _Summer Teeth_ (Reprise) - Daniel Aloi As if to prove just how far from the "alternative country" label you can run, Wilco has made the perfect pop album of the late '90s, or the late '60s, for that matter. You can play _Summer Teeth_ alongside _Pet Sounds_ and _Sgt. Pepper's Lonely Hearts Club Band_ and it will hold up. Replete with Beatlesque melodies and backward tape loops, Beach Boys harmonies, experimental keyboard sounds and cracked-mirror introspection (a la those groups' geniuses John Lennon and Brian Wilson), _Summer Teeth_ wraps its overriding darkness in pretty pop melodies and multilayered production. It isn't a total departure, as it takes off from the pop side and downcast, troubled characters of 1996's double album _Being There_. Frontman Jeff Tweedy said last year that Wilco's next album would have "zero country references," and he stayed true to his word. With Max Johnston gone and taking his dobro, fiddle, banjo and mandolin playing to The Gourds and Freakwater, this third Wilco album relies on keyboards more than guitars and other strings. Multi-instrumentalist Jay Bennett is responsible for much of the sound, with Mellotron tape loop samples, a Moog synthesizer and orchestral swells tying the album together as surely as Tweedy's maladjusted, up-from-the-unconscious lyrical themes. Bells chime, birds twitter and an alarm clock rings -- loudly. To borrow a phrase from another band, it's a head trip in every key. It's also catchy as a cold, and when the words set in, ultimately just as miserable. Loneliness, alienation, drug dependence ("A Shot in the Arm"), violence, and thoughts of murder and suicide occupy the characters' minds. The breezy, uptempo title track recounts a loner's recurring dreams, while a running stream and chirping birds accompany the guitar's melody. Tweedy, no stranger himself to revealing tortured souls in his songs, gets as down as Lennon ever did in "We're Just Friends," writing on piano in the late Beatle's solo style -- and dashing any chance of that phrase being considered positive. With its moody bassline, "How to Fight Loneliness" offers this gloomy sarcastic advice: "You smile all the time" and "You laugh at every joke." On "She's a Jar," Tweedy sings "she begs me not to miss her" and the line later becomes "She begs me not to hit her." On the powerful centerpiece, "Via Chicago," his narrator's fevered mind reveals all: "Dreamed about killing you again last night/and it felt alright to me/Dying on the banks of Embarcadero skies/I sat and watched you bleed," as the song builds from acoustic guitar to a full crescendo and back. While the opening track "Can't Stand It" is the first single and represents the dark pop content to come, "Nothing'severgonnastandinmyway(again)" could be the surefire hit, with handclaps and a killer chorus. Talking of hooks, "I'm Always in Love" pounds along like the Velvet Underground's "Waiting for the Man," in a bash-out powered by bassist John Stirratt and drummer Ken Coomer, supplemented with Bennett's rubbery piano and a keening synthesizer that might remind you of Styx. "Pieholden Suite" is a ringer for the later Elvis Costello, and "Candyfloss" recalls the Beach Boys by way of the Attractions, with the added oddity of an operatic tenor voice holding a note at the coda. There's a further nod to Harry Nilsson in Tweedy's voice and slow piano-led tempo on "My Darling," which also contains more Beach Boys "bow-bow-pow" harmonies. While it's fun to play spot-the-reference, this is also an ambitious work in its own right, and one true to Wilco's identity, country content or no country content. And never mind that all but Bennett came to the band from the ashes of Uncle Tupelo (the album is credited: "Written, Produced and Performed by Wilco"). Tweedy's acoustic guitar runs through most of the tracks, and his and Bennett's electric guitar playing rings out as it always has. What longtime fans of Uncle Tupelo (and Wilco's rootsy rock 'n' roll debut _A.M._) should understand is that _Summer Teeth_ isn't a betrayal, or even a total departure. It's a direction and a milestone, and a statement by a band trying to make its mark. The band has had a fair amount of stage and studio time for their roots-music talents since the transitional _Being There,_ with Tweedy's membership in the heartland pop supergroup Golden Smog and Wilco's involvement in the Woody Guthrie song project _Mermaid Avenue_ with Billy Bragg. And the other Wilco members have a group of their own, Courtesy Move, that backed up Australian country rocker Sherry Rich on an album in 1997. Wilco began playing some of these new songs live over a year ago, along with a mix of songs from all of the Tweedy projects (from Uncle Tupelo's "New Madrid" to "Candyfloss"). And if those shows are any indication, the current European tour and upcoming U.S. dates (with added keyboard player Leroy Bach) will be real eye-openers, for old fans and new ones drawn to the new material's undeniable melodic appeal. It should be one joyous bummer of a summer. Tour dates and lyrics are available at the band's official website, http://www.wilcoweb.com --- REVIEW: Dave Davies, _Unfinished Business: Dave Davies Kronikles 1963-1998_ (Velvel/Meta Media) - Joann D. Ball In 1963, Dave Davies discovered how to make his guitar scream. His innovative but dangerous experiment with amplifiers in his Muswell Hill front room produced the raw, distorted guitar crunch that continues to rock the world in some form or another. But that's only the genesis in the long and loud story of Dave Davies and the Kinks. The 2-CD compilation _Unfinished Business: Dave Davies Kronikles 1963-1998_ is actually an expanded version of _Unfinished Business (Solo Kronikles 1980-1997)_, a collection Dave compiled for his fans and sold at his live solo concerts. The new commercial retrospective is also the musical counterpart to Dave's tell-all autobiography "Kink." Both CDs and the book reflect Dave's desire to put his past in perspective and to also enter his important musical contributions onto the rock and roll historical record. _Unfinished Business: Dave Davies Kronikles 1963-1998_ includes undeniable evidence of Dave's evolution as a musician, singer and songwriter. The 31-track retrospective is divided into the equally revealing Kink Kronikles and Solo Kronikles. The former begins with a demo of the Dave Davies-penned "I Believed You," recorded by his first band the Ravens and featuring older brother Ray who had recently left art school to join the quartet. Soon afterward, the band became the Kinks and produced the monumental hit "You Really Got Me" which enlisted the group in the British Invasion. While primary singer and songwriter Ray Davies has garnered much of the praise for the Kinks' success, the centrality of Dave's straightforward fretwork, charged vocals and lively spirit cannot be dismissed. Rave-ups like his songs "Beautiful Delilah" and "Long Tall Shorty" (from the debut album), and the live version of "All Day And All of The Night (from a 1979 performance), all showcase Dave's wild abandon, The Kinks' essential energy and power source. By the late '60s, Dave and the Kinks were exploring American blues and country and infusing these styles into their sound. This "roots" approach was brilliantly captured on Dave's previously unreleased gem from 1969 "Climb Your Wall" and on "You Don't Know My Name" (from 1972's _Everybody's in Showbiz_). This rollicking mix of mandolin, acoustic and slide guitars appeared prominently in Rod Stewart's early solo material and can be heard even today on Lucinda Williams' current Grammy-winning record. Rounding out the Kinks Kronikles are Dave's songs from the post-rock theater period. The single "Living On A Thin Line," from the surprise 1984 hit _Word of Mouth_, remains his most recognized song in America. But it is "Trust Your Heart" (from 1977's _Misfits_) that is more characteristic of the matured and seasoned power-chord scream featured on latter-day Kinks and solo records. The Solo Kronikles highlight Dave's work during the last two decades. The previously unreleased title track, recorded in 1997, is a condensed version of Dave's experiences during his illustrious career. It particularly speaks to Warner Brothers Records' consistent refusals to reissue _Chosen People_ or license tracks from his third solo album. The ever-resourceful Dave responded by recording a new unplugged version of "Love Gets You," his favorite song on that record. He also re-recorded a few of his UK Kinks singles (including 1967's "Death of a Clown") especially for this release. Dave's solo material bears the trademark of a guitarist who has blossomed into a skilled singer, songwriter and musician. Not only did he sing, write and produce all of the songs on his debut solo album, _AFL1-3603_ (also affectionately called the "barcode album"), he also played all of the instruments. Songs like the stellar "Imaginations Real" and "The World is Changing Hands" on this musically and lyrically powerful record reveal Dave's humanitarian nature and address a number of social issues, ranging from inequality to world peace. In addition, two other tracks from the debut, "Body" and "World of Our Own" from the sophomore solo release _Glamour_, are also included. Rounding out this disc of the retrospective are live versions of three Kinks' songs, recorded in the 1997 at the Bottom Line in New York City. Having now closed a significant chapter in his life, Dave Davies continues to make music and take new directions in his songwriting. Just prior to the release of _Unfinished Business: Dave Davies Kronikles 1963-1998_, Dave collaborated with his son Russell Davies under the moniker Crystal Radio and produced the uplifting CD _Purusha and the Spiritual Planet_ (Meta Media). For this immersion in spirituality and inner peace, Dave put his guitar aside in order to explore the far reaches of electronica. _Purusha and the Spiritual Planet_ and the first incarnation of _Unfinished Business_ (which contains two new tracks not included on the Velvel release) are available exclusively through his website http://www.davedavies.com which also features messages to fans, tour dates and related web links. --- REVIEW: Crash Test Dummies, _Give Yourself a Hand_ (Arista) - Tracey Bleile Contrary to how humans react to new things, change is good. Transitionary periods are important. One of my favorite mantras is, "The only difference between a rut and a grave are the dimensions." That said, there are strong, successful transitions, and there are some that are meaningful only to the person doing the actual transitioning. The new release from the literary, clever Dummies, _Give Yourself a Hand_ takes one of those latter shifts that is going to leave a lot of people scratching their heads. This release, more than any previous effort, appears to be more like the Brad Roberts Project than a true band collaboration. And while the Dummies have reached into a deep, dark, groovy realm with the music and the musicianship, the lyrical content has roamed into a place that most of us left behind about junior high. You don't need to be a rocket scientist to realize that the title track is about exactly what you surmise it might be about. In an effort to test boundaries of urban beat poetry (Roberts is currently living in Harlem, and notes that has been a major source of inspiration) _Give Yourself_ strings together a series of short, brutal vignettes, that, had more of a literary cue been taken as in the past, could have blown someone like Soul Coughing right out of the East River. And while some of these scenarios work, like the witty call and response couplets assembling the lead off "Keep A Lid On Things" (featuring Roberts shifting gears from his usual bass baritone to a crazed falsetto), and a humorously nasty take on euthanasia "Just Shoot Me, Baby." The throw-off comes with most of the humor being on the order of a Shakespearean-trained actor telling a fart joke; hey, there's no law against it....but the shock value is frittered away when you're busy playing pocket pool instead of throwing punches. There are moments that will ring truer with Dummies lovers: "I Love Your Goo" where the object of the protagonist's affections is described in visceral -- ahem, literally -- detail; i.e. "I love your guts / I love your goo / Your ugly blood / Your creepy heart") and "Aching To Sneeze," describing in graphic detail the delicious agony of a tickly nose. The saving grace here is the production value, much of which was boosted from the collaboration of Brad Roberts with producer Greg Wells, and the aural quality is as rich, dark and tasty as you could want from serious funk, containing lounge, cinema noir and even drum n' bass to enliven the mix. Hell, at this point the Dummies could hook up with fellow Canadians Bootsauce (who re-wrote the entire book on white boy funk, and nastiness, for that matter) on one scary double bill and have it be a pairing from heaven. But there's enough missing from _Give Yourself_ to make you view their previous release _A Worm's Life_ with newfound appreciation and leave us pondering the Dummies' fate. --- REVIEW: Jeff Beck, _Who Else!_ (Epic) - Linda Scott Jeff Beck's _Who Else_, is the latest addition to a discography that goes on for pages, spanning Beck's 40-odd year guitar career. Beck garnered most attention in rock and roll after he joined The Yardbirds as Clapton's replacement. His groundbreaking use of distortion, feedback and sounds pushed the Yardbirds to the front of the rock band pack. In an astounding move, the Yardbirds brought in Jimmy Page as co-lead guitar, an uneasy situation at best. Beck walked and soon started his own band, The Jeff Beck Group (with Ron Wood, Rod Stewart, Mick Waller and Nicky Hopkins). Beck controlled this band, and this period led to his becoming the world's leading guitarist. The Group's _The Truth_ is widely regarded as the heavy metal bible. Wood and Waller thunder out the rhythm, Stewart sings in his trademark gravelly voice, and Beck's wailing lead guitar lifts the band up like a tidal wave. It is said that Jeff Beck has influenced every rock band in the U.S. and the UK, and if you get hold of "I Ain't Superstitious" on _Truth_, you'll see why. An 18 month layoff after a near-fatal car accident led Beck to less brutal, more introspective music. Moving into instrumental jazz and fusion rock, Beck explored new territory. A blend of rock and his new musical interests, Beck came out with the spectacular _Blow By Blow_, followed by _Wired_ (with Jon Hammer). Beck continued with Hammer, exploring different musical styles, and Hammer is with Beck on the most recent album, too. _What Else!_ is a record showcasing where Beck is now in his music, and he certainly has broken out of the rock guitarist mold. The styles hear are all over the place and they show Beck's versatility and knowledge. Show Beck a genre, and he will write and play something magnificent! _Who Else!_ leads off with a techno creation called "What Mama Said," the first single off the album. A metallic, almost cold sound on this piece, but its position on the album shows Beck wants to shake you up a little right away. In contrast comes a bluesy, down home "Brush With The Blues". This one and "Space For The Papa" were recorded live in Germany. "Psycho Sam" comes back with that metallic, techno sound again. The coldness shows Beck's absolute genius in technical issues. "Space For The Papa" might be the best on the album except for an irritating voice over. "THX 138" is a terrific song with a hot rod, ripping vibe (title is Beck's license plate which was copied from a car in _American Graffiti_). "Even Odds" is for fans that want to hear Jeff Beck rock! And the final two songs on the album are just lovely little jewels, "Declan" and "Another Place". "Declan" has that wonderful Celtic sound and "Another Place" is acoustic. Beck made these two very short, and they deserved a fuller treatment. If you're a solid Beck fan or just a casual listener, pick up _What Else!_ Jeff Beck is a living guitar legend, and you need to have his most recent album, plus _Blow By Blow_, _Wired_, _Jeff Beck's Guitar Shop_, and The Jeff Beck Group's _Truth_ along with some Beck-era Yardbirds albums. This comprises a good beginning set of Beck albums. --- REVIEW: Kelly Willis, _What I Deserve_ (Rykodisc) - Chris Hill It's been over five years since Kelly Willis's third album, _Kelly Willis_, was released. Between labels most of that time, Willis cropped up often enough on compilations and other people's records to keep her fans appeased. Willis now shows that a long count between releases doesn't mean you're out of the bout. Like fellow country artists Mary-Chapin Carpenter and Lucinda Williams, Willis seems to have benefited from the downtime -- her album glows with attention and care, much like the luminescent photos of the artist herself adorning the CD. A benefit of being Mr. Music Reviewer: the accompanying press release wherein Willis describes her feelings about each song. It's a fascinating glimpse into Willis' creative process. She co-wrote five of the album's thirteen tracks, and is solely responsible for one of the album's peaks -- the utterly charming ode to her heritage, "Talk Like That." The song finds Willis at peace with a childhood spent moving from place to place, finding firm ground in the fixed lineage of her family. "Talk Like That" gestated from a press conference the singer did with Ricky Skaggs, and the emotional associations which arose as she listened to Skaggs' drawling accent: "Lord how it takes me back/when you talk some." Pulling from non-obvious sources, Willis covers the Replacements' "They're Blind," Australian Paul Kelly's "Cradle of Love" (never recorded by the musician, only by Down Under country and bluegrass singer Anne Kirkpatrick) and Nick Drake's "Time Has Told Me," of which she says, "This may be the most beautiful love song I've ever heard." Of the Paul Kelly song, she says, "I started working this song with the band before it even occurred to me that there might be something sexy going on here." Despite the naiveté, she perfectly captures the song's mood and Kelly's knack for writing sexual hymns, songs both religiously comforting and sexually arousing: "Down in the valley / You can lose your name / All your sorrow and your pain.../ So baby come on over / And lean your head on me / Come into my cradle of love." Love and relationships, grist for many an artist, are given their proper due here. "Take Me Down" boards a downbound love train with no marked exits. "Happy With That" wishes the roles reversed in a bad affair. "Got a Feelin' For Ya," wittily written by Dan Penn and Chuck Prophet ("I'm in the mood for somethin' sticky, need my ice cream treat / The road may get rocky, and the ride may get rough..."), provides a touchstone during love's travails. "Not Forgotten You" and "Wrapped," both written by Bruce Robison, Austin musician and Willis' husband, are placed back to back, neatly describing flipsides of the same coin, loss and love, in short order. Willis says, "I'm drawn into his songs emotionally and not just because I hope they're about me." The supporting cast is as stellar as the material. Amy Noelle Farris, member of Willis' touring band, contributes in a number of ways: fiddle, mandolin and sweet harmony vocals. Her backing vocals bolster Willis' own lower tones, the sum greater than the parts (particularly on the wonderful Damon Bramblett-penned elegy, "Heaven Bound"). Chuck Prophet (of Green on Red), Jon Dee Graham (True Believers), Bruce Robison, Charlie Robison, Lloyd Maines (Wilco, Richard Buckner) and pleasant surprise Michael Been (of '80s college fave, The Call), among many others, add to the mix, all honed by years of experience playing in small clubs around the country. Dave McNair does a fine job of guiding Willis and her ensemble, keeping extraneous touches to a minimum and focusing on the strengths of the players (as many as nine musicians are listed at one time in the song credits). _What I Deserve_ is a well-orchestrated balancing act, never overwhelming or slick, and worth the wait. --- REVIEW: David Wilcox, _Underneath_ (Vanguard) - Jon Steltenpohl In the world of modern folk music, there are two hemispheres. One seems destined to make simple music in a simple way. It's a world where live is the only way to play, and studios never seem to capture the magic. The other hemisphere is aimed at getting on the radio and VH-1. Rarely do the two hemispheres merge to form music which moves easily between stage and studio. David Wilcox is one of those artists who's never had a problem with either world. Like James Taylor and Joni Mitchell before him, Wilcox's music is flowing, soothing and lyrical. In concert, you're likely to get goose bumps and feel a connection that transcends the normal barrier between the audience and the performer, and on album, you get a recording that you don't get tired of. _Underneath_ is no exception. Wilcox emerged from the generation of late 80's folk artists and singer/songwriters who rode to the major labels on Suzanne Vega's coattails. Only Shawn Colvin kept her major label ties long enough to win a Grammy. The likes of Michelle Shocked, Sara Hickman and Wilcox were dropped when the sales never materialized, and the artists went back to a life of apparent obscurity. But outside the corporate world, small labels like Rounder, Flying Fish and Vanguard supported this sort of music before the majors were interested, and continue to support it to this day. The singer/songwriter world may not make Billboard headlines, but it is an industry dominated solely by performers with remarkable skill and intensity. It is for this reason that an album of such incredible simplicity and emotional depth could be considered commonplace. Fans of the folk genre have come to expect such things. _Underneath_ is Wilcox's 7th album, and all of the adjectives have already been used to describe his previous work. The music is soft and beautiful. Wilcox plays guitar with rolling, fingerpicked chords. The arpeggios roll and swirl in a calming mix with the accompaniment. Steve Buckingham's production is masterful, and guests like Jennifer Kimball and Alison Krauss add soft background vocals perfectly tailored to Wilcox's soft, expressive vocals. Wilcox tackles both sides of love, childhood, society's ills and the music industry on _Underneath_. Of all of the topics, those dealing with love have the most impact. Granted, songs such as "Leaving You" and "All My Life" don't cover any new ground when it comes to subject matter, but Wilcox and his co-writers capture fleeting moments in unexpected ways. Consider the opening of "Leaving You": "I've got nothing to say. You've been leaving all day," sings Wilcox. "Now it's time that you go, and let me cry. You've got somewhere to be; you're still waiting on me, but there's no reason to say good-bye." In six phrases, he captures not only the reality of the end, but the subtle lines that transcribe the relationship. You can see the regret of the moment, the awkward pause for the final word that refuses to materialize, and the futility of the situation. "All My Life" encompasses the beginning of a relationship just as deeply. Asks Wilcox, "Do you believe in signs that whisper inside your mind 'till you have to follow through, leading you home again to someplace you've never been? Well I feel that way for you. For how can it be true, the first time I see you, I look into your eyes, and suddenly I knew you all my life." If ever a song was begging to be included in a soundtrack, this is it. The songs on _Underneath_ cry for two lovers to share a slow dance in the twilight shade of the early evening. Wilcox's only misstep on the entire album is an indulgent swipe at the music industry on a track called "Sex and Music." An interviewer's nerdy voice at the start asks, "Does it bother you that this kind of music doesn't usually sell millions of units or are you hoping there will be a new trend...?" It's a somewhat silly song, and Wilcox talks and mumbles over a funky beat that doesn't really go anywhere. The real problem is that "Sex and Music" breaks the calming mood set by the rest of the album. Still, a perfect David Wilcox album is easy to obtain: just program the last track out of your playlist, and enjoy the first 12 songs. It's certainly not a reason to avoid such a good album. There are so few artists that make great music as consistently as Wilcox does that it's tough to pass up an album like _Underneath_. Fans of Wilcox should rush to embrace this one, but for the uninitiated, if you've always liked James Taylor and are looking for something mellow to add to your collection, David Wilcox's _Underneath_ is an easy choice. --- REVIEW: Gladhands, _Wow and Flutter_ (Big Deal) - John Davidson The Gladhands were on a roll. 1995's _From Here to Obscurity_ was a plucky pop record, and 1997's _La Di Da_ was a watershed of easy-going ear candy that even snared some critical recognition and a few year-end Top Ten honors. Using critical buzz as a stepping stone, the Gladhands managed to keep their head above water in the raging river of albums released that year. It's a modest feat to somehow find a rock to stand on (even if it's a small, slippery one), but unfortunately, this year's _Wow and Flutter_ probably won't make crossing the morass to commercial success any easier. Following a gem like _La Di Da_ raises the stakes, yet instead of building on the ideas that made that record so charming -- spunky, cheery nods to fine '70s pop -- the Gladhands have matured their sound, and at times veer towards easy listening. At first you might be fooled, what with the heavy Beatle-inspired opening lick ("Plastic Soul"), but the second track, "Get Real," is foreshadowing to the low points that lay ahead. Despite accomplished playing and sugary hooks all over the place, the homage at times seems to have shifted from the Raspberries to Chicago. Comparisons to the Peter Cetera-sounding vocals aside, all "Get Real" needs is a horn section to make you think you're listening to a tribute album. In fact, hearing a horn section on the very next song "Pipedream" may have you checking the liner notes for songwriting credits. Other slow moments add to the filler, such as indulgent ballads like "...As I Go Along," or the icky Carpenters moment of "Lisa's Lullabye." Closer "Sun Prairie Hymn" seems filled with every Bacharachian excess they could imagine. However, their attraction to this saccharine vibe isn't without some strong counter-balance. Beyond "Plastic Soul," "Destiny's Darling" careens and shakes like it belongs on _La Di Da_. The lyricless, swimming stereo of "70s Squareback" is fine, and "B.W.B" certainly has plenty of punch. "Too Good For You" and "Breath of Angels" both chug along with aplomb as the album winds down. It's as if they approach these songs with their guitars first, embracing the enthusiasm of their past records with upbeat tempos and a dash of punk energy. This is the spirit that has kept the Gladhands from getting lost in the shuffle. The Gladhands are surely talented, and their ability to deliver memorable riffs have should make any successful jingle writer nervous. Yet somewhere in between _La Di Da_ and _Wow and Flutter_ their identity seems to have shifted into something a little more comfortable, a little less adventuresome and a little more willing to become their influences rather than exploit them into something more fresh. The result is a decent album that will satisfy their fans but not delight them, and may even keep the Gladhands where they were in 1998. --- REVIEW: Hugh Cornwell, _Black Hair Black Eyes Black Suit_ (Velvel) - Reto Koradi They say you can't teach an old dog new tricks. While this latest solo effort of ex-Stranglers leader Hugh Cornwell does not do much to contradict this principle, at least he shows that dogs don't forget their old ones. _Black Hair Black Eyes Black Suit_ was previously released overseas under the title _Guilty_, and now enters the US market with a new name, new cover art and two new tracks. Nobody would expect anything short of a fine album from an artist who lead one of the most influential (even though atypical) bands of the punk era, which transformed to record some of the finest pop songs (like "Golden Brown" and "Always the Sun") of the previous decade. And _Black Hair Black Eyes Black Suit_ meets expectations, having its best moments on melodic tracks like "One Burning Desire" and "Endless Day Endless Night," which remind of trademark Stranglers songs from more than 10 years back. But while the album is solid from start to finish, much of it sounds overly simple and somewhat uninspired. Some of the songs also sound strangely familiar. "Nerves Of Steel" borrows patterns from Bob Dylan's "Like a Rolling Stone," throwing in the trademark guitar riff from the Stones' "Satisfaction." And "Hot Head" sounds remarkably similar to Robert Palmer's "Johnny & Mary." Cornwell occasionally tries to modernize his sound (a few trip-hop elements on "Torture Garden"), but he seems to get stuck half way. Without a doubt, _Black Hair Black Eyes Black Suit_ is a good album. But it fails to achieve the extraordinary that you hope for from an artist with the history of Hugh Cornwell. --- REVIEW: Tommy Womack, _Positively Na Na_ (Checkered Past) - Bill Holmes File this under "How the hell did I miss this one last year?" because this potpourri of countrified, witty rock and roll would have camped its butt somewhere in my "Best Of The Year" tome. Womack simply made the record everyone wishes Paul Westerberg would have made upon leaving the Replacements: irreverent, wry and bombastic, yet somehow lyrically poignant and subtle when it wants to be. Womack is the author of _The Cheese Chronicles_, tales of life on the road will his ill-fated band Government Cheese, and his sharp eye for detail and characters is what makes _Na Na_ so special. "Skinny And Small" is a Stonesy romp about a high school loser coming back to wreak havoc on his tormentors, much like Carrie's evil twin. The bluesy barroom stomp of "Sweet Hitchhiker" and slide rocking "She Ain't Speakin' To Me" would succeed with music alone, but coupled with Womack's tales of roadside psychotics, cross dressers and born losers, they're ten times as good. The loping title track is probably the most Westerbergian (he even bastardizes a Mats lyrical couplet with "graduate unskilled/with a prom dress unfulfilled"). Along with the Dylanesque closer "I'll Give You Needles," this song shows just how powerful he can be with little more than words and an acoustic guitar. "A Little Bit Of Sex," one of his older songs, is thankfully included here. And how can you not like a guy who writes an ode to Cheetah Chrome, "the man with the orange Dead Boys dome?" The supporting musicians are first rate, with Brad Jones (who also produced), Ross Rice, Al Perkins (yes, THAT Al Perkins), and guitarists George Bradfute and Mike Grimes among them. This Venn diagram of talent has its roots and tentacles into everything from Kevin Salem, Jason And The Scorchers and Bare Jr., to the cream of the new Nashville pop movement. Although the music is all over the map, there's a natural flow throughout _Positively Na Na_ that makes it fresh and vital. After eleven strong songs the record is over and you are left with that bittersweet feeling of wishing it would go on forever. Since it doesn't, I've found that playing it over and over again is just about as satisfying. Tommy Womack is a major talent and comes highly recommended. For more information visit the label website http://www.checkeredpast.com . --- REVIEW: Low, _Secret Name_ (Kranky) - Andrew Duncan In 1994, Low began their career with the debut release, _I Could Live In Hope._ Influenced by '80s new wave, guitarist Alan Sparhawk, drummer and wife Mimi Parker and bass player Zak Sally - who came into the picture a year later - were convinced that less is better. Equipped with a guitar, a bass, and a drum kit only consisting of a bass drum, snare and cymbal, they patiently created sparsely rich textured soundscapes. By 1995, their pop-minimalist sound surfaced with _Long Division._ The collection of soberly, cold songs caught the fascination of many musicians, as well as critics alike. People were so impressed that reviewers would characterize any slow, brooding band to _Long Division._ Their following attempt, _Curtain Hits the Cast,_ did not gain as much recognition, but now the Minnesota trio may set some new standards with _Secret Name._ A first for the Chicago label Kranky, _Secret Name_ is a marvelous diary carefully documenting the sights and sounds of the Midwest. The band packed their bags and drove to Windy City to record with indie-guru Steve Albini (Big Black, Rapeman). With _Secret Name,_ the band mildly ventures into new territory with the addition of a string section, timpani and pianos adding more layering to the music. Don’t worry though, the music is still slow as molasses with fainting harmonies and cloudy melodies. The album begins with Parker kicking out a beat that would make a Native American burial ground cry while Sparhawk nervously sings, 'I remember graduation.' Songs like "Starfire" provides more warmth, but the breeze is still there blowing in your hair. And it's a matter of time, before the temperature drops with the sad mood of "Sour." The album fluctuates, but the climactic moment is with "2-Step." Harking back to the _Long Division_ days, the music is thick as each note is carefully plucked. Both Sparhawk and Parker trade lyrics coming together to whispfully sing, '2-step around the room, kneel down, unwound.' On the surface, this may be the most depressing band in the music business, but look more closely and Sparhawk and Parker crafts their lyrics like a photographer tells a story documenting everyday life in the heart of the American dream. What Garrison Keiler does to folk music, Low does to minimalism. --- REVIEW: Various Artists, _Paris Is Sleeping - Respect Is Burning_ (Astralwerks) - Kevin Verspoor _Paris is Sleeping - Respect is Burning_ is the second in the highly touted series of house music compilations that has the picks of the favorite Parisian DJs. The DJs - spinning for the party Respect held at Queen in Paris - mix their music to a crowd of all nationalities, ethnicities, and sexual preferences with one goal in mind: dancing for a good time. This disk has some of the more popular tracks that we saw from Europe this year including Stardust's (one half of Daft Punk) "Music Sounds Better With You" and Deejay Punk-Roc's European breakthrough hit "My Beatbox", mixed by Les Rythmes Digitales. The feeling varies from track to track but the basic feeling of the CD is lounge-mixed garage type nuances. While no American-style hard house can be found here, a soulful and smooth feel dominates the vibe. The disc also has some trancy tracks, such as "Where Does Your Mind Go" by Chezere, which is reminiscent of Dee-Lite and "Revolution" by Mysterious People. Many of the songs are peppered with funky late 70s sounds and early 80s beats styled with 90s technology, such as a dub version of the Freez club classic "I.O.U.". All in all, _Paris Is Sleeping_ has some great party music whether you want to dance or just sit back and lounge. --- REVIEW: Various Artists, _The Electronic Eighties Volume 1 & 2_ (Chronicles/PolyGram Records) - Joann D. Ball Still trying to locate some of those oldies but goodies from the 1980s? Then you might want to check out _The Electronic Eighties Volume 1 &2_ from the good folks at Chronicles/PolyGram Records. A celebration of the electronic new wave that was a high school soundtrack for many twenty and thirty-somethings, both CDS feature songs you know by heart, some you may have forgotten and a couple you may have missed. The highlights of _The Electronic Eighties Volume 1_ include Bronski Beat's "Smalltown Boy," Yello's "I Love You," and 12" versions of Peter Godwin's "Baby's in the Mountains" and Visage's "Fade to Grey." Of particular importance is Kraftwerk's influential "Trans Europa Express," which has never popped up on the most readily available '80s compilations. _The Electronic Eighties Volume 2_ is a bit less adventurous, but does includes Ultravox's captivating "Dancing With Tears in My Eyes" and Level 42's "Starchild" along with Gary Numan's smash hit "Cars." Available at Sound Savers prices, _The Electronic Eighties Volume 1 &2_ is perfect for parties, reunions or pre-millenium celebrations. The releases also make excellent gifts for those aging new wavers and youngsters who wanna know what it was all about. Vol. 1 TRACK LISTING [artist in brackets]: Sex (I'm A...) [Berlin], Smalltown Boy [Bronski Beat], She Blinded Me With Science [Thomas Dolby], Things Can Only Get Better [Howard Jones], Trans Europa Express [Kraftwerk], Lucky Number [Lene Lovich], Tainted Love/Where Did Our Love Go [Soft Cell], Fade to Grey [Visage], Baby's In The Mountains [Peter Godwin], I Love You [Yello] Vol. 2 TRACK LISTING [artist in brackets]: The Look of Love [ABC], Sweet Dreams (Are Made of This) [Eurythmics], One Thing Leads to Another [The Fixx], Starchild [Level 42], Safety Dance [Men Without Hats], Cars [Gary Numan], Shout [Tears For Fears], Da Da Da (I Don't Love You You Don't Love Me) [Trio], Dancing With Tears in My Eyes [Ultravox], Everybody Have Fun Tonight [Wang Chung] --- REVIEW: Helium Angel, _Early Clue To The New Direction_ (Pilot Error) - Bill Holmes When your record starts off with a Keith Moon drum flourish, a staccato beat, and harmonies right out of The Small Faces, you have my attention! Mods and rockers, meet seaside please! Though San Francisco based, Helium Angel draws inspiration directly from early Britpop bands like the Kinks, Zombies and Who and blends it with the West Coast psych-pop of The Byrds for an irresistible result. Although the band retains garage pop sensibilities, the production on this small label release are first rate. Drummer Stephen Cass, who engineered the record, is able to capture his energetic drum sound without overemphasizing it, and the vocals he and guitarist Blake Ricks create sound at once individual and in unison. Like all good psych-pop records, there are many obtuse lyrics to chew on, but also several more conventionally great turns of phrase ("forgive me if I seem too cautious/ that you seem so nice/ but if I won the lottery/ I'd check the number twice"). Still, for me it's the music that truly sells this record. While being reverent to Mod, it sounds as perfect as a 1990's statement as it would have in the 1960's. "Motorcade," with it's great choppy guitar rhythms and spiraling chorus, is absolutely majestic. "Lizard," which morphs from a tremolo guitar workout into a psychedelic jam, is another high point, as is the beautiful piano ballad "One Glass." The fourteen original tunes are followed by a Billy Bragg cover ("Accident Waiting To Happen") that closes the record. This is yet another case of a band worthy of much bigger attention not yet getting the exposure it deserves. For more information about the band, e-mail blakericks (at) yahoo.com. --- NEWS: > In keeping with its tradition of staying one technological step ahead of the music industry, Grand Royal has become the first established record label to launch its own Internet radio station. The station, which is accessible via http://www.grandroyal.com , launched earlier this week and his since served as a 24-hour showcase of the label's catalogue (which includes Ben Lee, Bis, Sean Lennon, Buffalo Daughter and many more). --- TOUR DATES: All / Less Than Jake Mar. 20 Cameron Park, CA Club X-Treme Mar. 23 Pomona, CA Glass House Mar. 24 Ventura, CA Ventura Theater Mar. 25 San Luis Obispo, CA Achievement House Mar. 26 San Diego, CA Soma Mar. 27 Las Vegas, NV Huntridge Theatre Mar. 28 Mesa, AZ Nile Theatre Mar. 29 Tuscon, AZ Rialto Theatre Mar. 30 Albuquerque, NM The Zone Mar. 31-Apr. 1 Denver, CO Lodo Music Hall Asian Dub Foundation Mar. 23 West Hollywood, CA Troubadour Mar. 24 San Francisco, CA Justice Leauge Mar. 26 Seattle, WA Arospace Mar. 27 Vancouver, BC The Starfish Room Mar. 30 Chicago, IL Double Door Mar. 31 Detroit, MI Shelter Babe The Blue Ox / Trinket / Interpreters Mar. 20 New York, NY Mercury Lounge Better Than Ezra / Jude Mar. 20 Philadelphia, PA Trocadero Braid Mar. 22 Chico, CA Blue Room Braid / Seaweed Mar. 23 San Fransisco, CA Bottom of the HIll Mar. 24 Claremont, CA Pomona College Mar. 25 Los Angeles, CA Troubadour Mar. 26 Santa Ana, CA Koos Cafe Mar. 27 San Diego, CA Casbah Mar. 29 Phoenix, AZ Modified Apr. 1 St. Louis, MO Sidedoor Candlebox Mar. 20 Miami, FL Button South Mar. 21 Orlando, FL Hard Rock Live Mar. 23 Jacksonville, FL Milk Bar Mar. 24 Atlanta, GA Masquerade Mar. 25 Charleston, SC Music Farm Mar. 26 Fayetteville, NC Club Metro Mar. 27 Richmond, VA Diamond Mar. 29 Toronto, ON Opera House Mar. 30 Fort Wayne, IN Piere's Cibo Matto Mar. 20 Austin, TX La Zona Rosa Hugh Cornwell Mar. 20 Pontiac, MI 7th House Mar. 21 Philadelphia, PA Upstairs At Nick's Cubanismo Spring Tour Mar. 20 San Francisco, CA Bimbo's Mar. 21 Sacramento CA Harlow's Mar. 23 Saratoga, CA Carriage House Mar. 24 Santa Barbara Coach House Mar. 25 Tucson, AZ Rialto Theater Mar. 26 San Diego, CA 4th & B Mar. 27 West Hollywood, CA House of Blues Mar. 28 Irvine, CA Irvine Barclay Theater Mar. 30 San Luis Obispo, CA Cal.Poly Univ Perf. Arts Center Mar. 31 Santa Rosa, CA Luther Burbank Ctr for the Arts Hank Dogs Mar. 20 Austin, TX SXSW showcase (Antone's) Eve 6 / Lit Mar. 26 Killington, VT Pickle Barrel Mar. 27 Providence, RI Lupo's Finger Eleven Mar. 21 Ft. Myers, FL Lee County Sports Complex Mar. 27 Norfolk, VA Boathouse Mar. 30 Knoxville, TN Moose's Mar. 31 Birmingham, AL Five Points Flick Mar. 20 Montreal, QC Spectrum Mar. 22 Boston, MA Avalon Ballroom Mar. 23 Providence, RI Lupo's Heartbreak Hotel Mar. 24 Old Bridge, NJ Birch Hill Nightclub Mar. 26 Philadelphia, PA Electric Factory Mar. 27 Washington, DC 9:30 Club Mar. 29-30 New York, NY Irving Plaza Godsmack Mar. 20 Memphis, TN Mardi Gras Sammy Hagar (All shows at Hard Rock Cafe) Mar. 20 Los Angeles, CA Mar. 22 Phoenix, AZ Mar. 23 San Francisco, CA Hepcats Mar. 23 Providence, RI The Met Cafe Mar. 24 Boston, MA Paradise Mar. 25 New London, CT El-N-Gee Club Mar. 26 Washington, DC 9:30 Club Mar. 27 Philadelphia, PA The Trocadero Mar. 28 New York, NY Tramps Mar. 30 Cleveland, OH The Odeon Mar. 31 Chicago, IL Metro Apr. 1 Pittsburgh, PA Graffiti Jets to Brazil Mar. 22 Phoenix, AZ Boston's Mar. 23 San Diego, CA SOMA Mar. 24 Los Angeles, CA The Ruby) Mar. 25 Pomona, CA Glass House Mar. 26-27 San Francisco, CA Bottom of the Hill Mar. 30 Seattle, WA Rockcandy Mar. 31 Boise, ID Nuerolux Jude Mar. 20 Philadelphia, PA Trocadero Jungle Brothers Mar. 20 San Francisco, CA Justice League Mar. 21 Seattle, WA Aro Space Mar. 23 Los Angeles, CA Ruby Kodo Mar. 20 Clearwater, FL Eckherd Hall Korn Mar. 20 Providence, RI Providence Civic Center Mar. 22 State College, PA Bryce Jordan at Penn State Mar. 23 Philadelphia, PA First Union Center Mar. 25 Chicago, IL Rosemont Horizon Mar. 26 Ft. Wayne, IN Coliseum Mar. 27 Grand Rapids, MI Van Andel Arena Mar. 29 Greensboro, NC Coliseum Local H Mar. 20 Milwaukee, WI The Rave & Eagles Aud. Mar. 22 DeKalb, IL Duke Ellington Ballroom Low Mar. 25 Minneapolis, MN 400 Bar Mar. 26 Madison, WI Club 770 - UW Memorial Union Mar. 27 Milwaukee, WI Miramar Theater Mar. 29 Indianapolis, IN Indigo Coffeehouse Mar. 30 Cincinnati, OH Sudsey Malone's Mar. 31 Toledo, OH Frankie's Marvelous 3 Mar. 20 Louisville, KY Toy Tiger Mar. 22 St. Louis, MO Side Door Mar. 23 Des Moines, IA The Safari Mar. 25 Denver, CO Bluebird theater Mar. 26 Albuquerque, NM Launch Pad Mar. 27 Scottsdale, AZ Cajun House Mar. 28 Tucson, AZ Gotham Mighty Blue Kings Mar. 20 Philadelphia, PA 5 Spot Mar. 23 Hoboken, NJ Maxwell's Mar. 25 Washington, DC Black Cat Mar. 26 Carrboro, NC Cat's Cradle Mar. 30 Jacksonville, FL Jack Rabbit's Alanis Morissette Mar. 21 Phoenix, AZ Desert Sky Mar. 23 Denver, CO McNichols Arena Mar. 24 Salt Lake City, UT E Center Mar. 26 Boise, ID Idaho Center Mar. 27 Yakima, WA Valley Sundome Mar. 29 Seattle, WA Key Arena Mar. 30 Portland, OR Rose Garden Olivia Tremor Control Mar. 24 Chatanooga, TN Lamar's Mar. 25 Louisville, KY Mercury Paw Mar. 26 Chicago, IL Lounge Ax Mar. 27 Minneapolis, MN 400 Bar Mar. 29 Columbus, OH OSU Mar. 30 Detroit, MI Magic Stick Mar. 31 Toronto, ONT Horseshoe Placebo / Stabbing Westward Mar. 20 Montreal, QC Spectrum Mar. 22 Boston, MA Avalon Mar. 23 Providence, RI Lupo's Mar. 24 Old Bridge, NJ Birch Hill Night Club Mar. 26 Philadelphia, PA Electric Factory Mar. 27 Washington, DC 9:30 Club Mar. 29-30 New York, NY Irving Plaza Promise Ring Mar. 20 Annandale, NY Bard college Mar. 21 Phildelphia, PA The Church @ 2125 chestnutt Mar. 23 Chicago, IL The Metro Push Kings Mar. 20 Memphis, TN Echo Lounge Mar. 22 Columbia, SC New Brookland Tavern Mar. 23 Washington, DC Metro Mar. 25 Rochester, NY Bug Jar Mar. 26 Philadelphia, PA Khyber Pass Mar. 27 Cambridge, MA Tt The Bears Mar. 30 West Hartford, CT Kingwood Oxford High School Mar. 31 New York, NY Mercury Lounge Sepultura / One Minute Silence / Biohazard Mar. 20 Atlanta, GA Masquerade Sick Of It All Mar. 22 New Orleans, LA House Of Blues Mar. 23 Lake Buena Vista, FL House Of Blues Mar. 24 Jacksonville, FL Club 5 Mar. 26 Atlanta, GA Tabernacle Mar. 27 N. Myrtle Beach, SC House Of Blues Mar. 28 Raliegh, NC Ziggy's Mar. 30 Washington, DC 9:30 Mar. 31 New York, NY Roseland Ballroom Silverchair / Grinspoon / Lit Mar. 20 Toronto, ON Warehouse Mar. 22 Montreal, QC Le Spectrum Mar. 23 Boston, MA Paradise Elliott Smith Mar. 20 Charlotte, NC Tremont Music Hall Mar. 21 Raleigh, NC Ritz Mar. 23 Washington, DC 9:30 Club Mar. 24 Philadelphia, PA Trocadero Mar. 25-26 New York, NY Irving Plaza Mar. 30 Burlington, VT Higher Ground Sparklehorse / Varnaline Mar. 23 Phoenix, AZ Mason Jar Mar. 24 San Diego, CA Casbaha Mar. 26 Los Angeles, CA Troubador Mar. 27 San Francisco, CA Great American Music Hall Mar. 30 Portland, OR Satyricon Mar. 31 Seattle, WA Crocodile Sally Taylor Mar. 20 Los Angeles, CA The Troubador Mar. 23 San Francisco, CA Hotel Utah Mar. 24 Mill Valley, CA Sweetwater Mar. 26 Portland, OR White Eagle Mar. 27 Seattle, WA Sit and Spin Mar. 31 Crested Butte, CO Center for the Arts Ten Foot Pole Mar. 23 New Orleans, LA State Palace Upstairs Mar. 25 San Antonio, TX White Rabbit Mar. 26 Austin, TX Emo's Mar. 27 Dallas, TX Galaxy Club Mar. 30 Mesa, AZ The Nile 3 Colours Red Mar. 20 Providence, RI Met Cafe Mar. 22 New York, NY Mercury Lounge Mar. 23 Boston, MA Paradise Mar. 24 Chicago, IL Lounge Ax Mar. 25 Salt Lake City, UT DV8 Mar. 27 Seattle, WA Crocodile Cafe Mar. 28 Portland, OR EJs Mar. 30 San Francisco, CA Slim's Mar. 31 Las Vegas, NV Join Apr. 1 Los Angeles, CA House Of Blues Whistler Mar. 20 Austin, TX Fat Tuesday Wilco Mar. 22 Brussels, BEL Ancienne Belgique Mar. 23 Amsterdam, HO Melkweg Mar. 25 Hamburg, GER Grunspan Mar. 27 London, ENG Shepherd's Bush --- 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 (Delphi) Music Fandom forum; GO ENT MUSIC 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. #294, Hoboken, New Jersey 07030 ===