== ISSUE 190 ==== CONSUMABLE ONLINE ======== [October 21, 1999] Editor: Bob Gajarsky E-mail: editor@consumableonline.com Managing Editor: Lang Whitaker Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim Kennedy, Al Muzer, Joe Silva Correspondents: Michelle Aguilar, Christina Apeles, Niles J. Baranowski, Mike Bederka, Jason Cahill, Matthew Carlin, Patrick Carmosino, John Davidson, Andrew Duncan, Krisjanis Gale, Paul Hanson, Chris Hill, Eric Hsu, Scott Hudson, Steve Kandell, Reto Koradi, Robin Lapid, Wes Long, Iain Kenneth MacLeod, Linda Scott, Don Share, Scott Slonaker, Kerwin So, Chelsea Spear, Jon Steltenpohl, Michael Van Gorden, Simon West Technical Staff: Chris Candreva, David Landgren, Dave Pirmann Address all comments to staff@consumableonline.com ; subscription information is given at the end of this issue. ================================================================== All articles in Consumable remain (C) copyright their author(s). Permission for re-publication in any form must be obtained from the editor. ================================================================== .------------. | Contents | `------------' REVIEW: Nine Inch Nails, _The Fragile_ - Krisjanis P. Gale REVIEW: XTC, _Homespun_ - Wes Long REVIEW: Gomez, _Liquid Skin_ - Christina Apeles REVIEW: Indigo Girls, _Come On Now Social_ - Bob Gajarsky REVIEW: The Smithereens, _God Save the Smithereens_ - Don Share REVIEW: Stereophonics, _Performance and Cocktails_ - Scott Slonaker REVIEW: Everything but the Girl, _Temperamental_ - Chris Hill REVIEW: Various Artists, _Saturday Night Live The Musical Performances Vols. 1 & 2_ - Scott Hudson REVIEW: Johnny Cash, _At Folsom Prison_ - John Davidson REVIEW: ZZ Top, _XXX_ - Don Share REVIEW: The Innocence Mission, _birds of my neighborhood_ - Jon Steltenpohl REVIEW: Long Beach Dub Allstars, _Right Back_ - Scott Hudson REVIEW: Pennywise, _Straight Ahead_ - Steve Kandell REVIEW: Sloan, _Between the Bridges_ - Iain Kenneth MacLeod REVIEW: Archer Prewitt, _White Sky_ - Chelsea Spear NEWS: Jimmy Page / Black Crowes TOUR DATES: ABC, Agnostic Front, Anti Flag / Dropkick Murphys, Ben Folds Five / Fleming & John, Broadside Electric, Buzzcocks / Lunachicks / Down By Law, Danzig, Del The Funky Homosapien & Casual, Ani DiFranco, DJ Shadow, Johnny Dowd, Fastbacks, Ben Harper, Indigo Girls, Ladybug Transistor, Ben Lee, Leftfield, Len / Styles of Beyond, Live, Luscious Jackson, Magnetic Fields, Minders, Moby, Alanis Morissette, Pietasters / Pilfers / Spring Heeled Jack, Smash Palace, Sonia Dada, Stereo Total, Superchunk, Sally Taylor, Richard Thompson, Tonic / Goo Goo Dolls, Type O Negative, Watsonville Patio, Robbie Williams, Josh Wink Back Issues of Consumable --- REVIEW: Nine Inch Nails, _The Fragile_ (Nothing / Interscope) - Krisjanis P. Gale After a long period of musical silence, and a fair amount of personal strife, Trent Reznor is back with a vengeance. During his absence, fans ellicited numerous requests to "save rock and roll," and with his work on _The Fragile,_ it may well be said that he has come pretty close. More so than his previous efforts, this seems to be a definitive rock album, with some genuine straight-ahead traditional guitar work screaming along with the synths, metallic percussion, and raw distortion. Also, like never before, Trent's lyrics are actually coherent and audible beyond his thickly, deliberately constructed walls of sound. More expressive than his previous work, _The Fragile_ goes further than mere angst, dipping into Trent's own tattered psyche, and pulling out shards of musical mirrors. Although Trent will deny any resemblence of this album to his debut outing _Pretty Hate Machine_ and the frightfully bizarre _Downward Spiral," it is undeniable that he's gotten back to his old tricks, refining and expanding them. It's all here. All the bits and pieces that make NIN what it is are all present and accounted for: clever synth-work, strange electronically assembled choirs, traveling percussion, distorted syncopation, wandering and funky basslines, and high-pitched piano-esque leads that arrive without warning to punch through the mix only to leave just as abruptly. And let's not forget that Trent's been rapping in that deep deadpan "don't care worth a damn" voice ever since "Down In It" first hit the airwaves. There is the the time-tested formula of brutal, punishing verses of ascending screams and fuzzy guitar work, climaxing to absolute insanity, breaking down to near silence, and building up to another explosion of noise. And there are the exceptions to the rule: the slow, soulful groove-centric songs aching with beautiful emotional oblivion. Fortunately, perhaps taking a tip from the critics, or (most likely) following his own desire to always expand his horizons, Trent's taken the signature sound in new directions, going so far as to add echoes of spaghetti-Western guitar twang, funky synth-bass, and hints of trip-hop and jungle. The only real downside to _The Fragile_ are the songs that are par for the course, but are lost among the songs that shine with brilliance, technical prowess, and fine execution. Trent could have middled the 2-CD, 23-song set down to one disc - but would a white quartz shine as brightly if not the the grey stones around it? I think not. The noteworthy tunes are really quite remarkable. "The Day the World Went Away" is a big, fat rock epic which, in parts, has all the groove and soul of Faith No More's "Edge of the World" (and other assorted bits of "The Real Thing"). "The Frail" is an edgy ambient tune which leads quite cleanly into "The Wretched," a track which sounds like a fitting sequel to "Sanctified," from _Pretty Hate Machine,_ with a pounding drumline, and a deep,haunting piano line. The title track, "The Fragile," has a slow, heavy rhythm, and a chorus that'll remind you of "Piggy," from _Downward Spiral._ At minute 2, second 25, Trent goes off on a tangent, and delves into a cacophony of odd, dissonant, pitch-bent guitar. The tune picks up again into a Soundgarden-esque black hole of a solo. "Just Like You Imagined" is, in my humble opinion, the most powerful track on the whole set. This well-done instrumental piece starts off with some understated, minimalist tribal percussion. A slick cascade of piano introduces a bit of silence, then a lead screams right into the mix, the percussion starts up again, and then layer by layer, more and more guitar and synth work is added until, sadly, the song ends too soon, just as quietly as it began. A true trip-hop tune, "Even Deeper" has some very clever percussion, syncopating and fumbling over itself, a set of big, flowing, sad strings, and filtered echo guitar filling out the mix. The trip-hop tricks pause appropriately for Trent's signature power-chord guitar & screaming vocal choruses. At this point, disc "Left" delves into some more sheer noise, some bubble-gum Industrial ala Stabbing Westward on "No, You Don't", a bit of ambient featuring an upright bass on "La Mer", and an understated outro. Onto disc "Right" we go. Following the introduction of "The Way Out is Through," "Into the Void" starts with some odd, metallic, tribal percussion, and an uncharacteristic bit of cello work (Trent? cello?). The tune stumbles right into some slick drum work and a funky synth-bass line that cruises down Eddy Grant's "Electric Avenue," bobbing its head all the way. Next up is "Where is Everybody," a song in which Trent apparently actually sings, instead of simply screaming in tune. The chorusis a forced rhyme which shouldn't work, but has an undeniably catchy cadence. "Please" could have just as easily appeared on the Smashing Pumpkins' next outing, with a really clean and funky pluck-and-slap bassline, and a sing-songy chorus with an infectious rock progression. Despite its unfortunate title and chorus, there's a lot going on within the overstated angst of "Starf*ckers, Inc." Trent does this trick with his voice in the verses, wherein he has clearly sampled his voice, cut it up, and sequenced each bit deliberately, precisely in line with the rhythm. What you get is an awesome, inhuman, robotic effect. Besides that, there's some great rhythm work on this track, and guitar lines that'll pick you up and get you slam-dancing. Then, the second disc wanders for several tracks, exploring sounds akin to Garbage's _2.0,_ some strange machine-noise, whistling vocals, and clean omniscient synths. "Underneath it all" gets back to business. This track is somewhat like "Mr. Self Destruct" on _Downward Spiral,_ but less punishing and with a much better executed layer of vocals. A good eight or nine Trent-clones pile one atop the other, phasing their way right above the rest ofthe mix. "Ripe (with Decay)" is fitting end to the two discs, with little to no percussion, and an acoustic calmly plucking itsway towards distraction. There's lots to like about _The Fragile._ There's also plenty to upset and disturb your average listener. It's a fair bet that long-time fans of Nine Inch Nails will be willing to negate the bad, and focus on the bits of genius scattered about the two discs. Everyone else previewing a few tracks of disc "Left" in their local record store will probably be disappointed and ask kindly to havethe album put back on the shelves. In either case, it's clear that Trent Reznor has stood up once again to the challenge of being one of the noisiest, strangest, and truly experimental among the veterans electronic music. --- REVIEW: XTC, _Homespun_ (TVT) - Wes Long When his nearly debilitating bout of stage fright derailed the incessantly touring bullet train that was XTC in the early 80's, Andy Partridge happily resigned himself to the role of studio wizard. Content to mimic Oz's man behind the curtain, Andy would be the first to tell you to pay him no attention, it's the music, not the man that matters. This was ever evident when the lads from Swindon returned from a somewhat self imposed seven year musical hiatus with Apple Venus Volume 1, a sparkling release chock-full of courage, heart and brains that easily found a home on the short list of 1999's better recordings. While the promise of _Apple Venus Volume 2_ looms on the horizon, slated for a spring 2000 release date, the duo (trio minus longtime guitar guru Dave Gregory) have released a quick fix to stave off the ensuing withdrawal symptoms in their piranha rabid fan base. _Homespun_ offers the fans a glimpse at AV1 in its original 8-track home demo form. With identical track sequence, _Homespun_ contains extensive liner notes for each song written by Andy and bassist Colin Moulding as well as hand written lyrics complete with furious scratch marks and corrections. The packaging couldn't be nicer, and in keeping with the title and idea of the disc the cover art is a cross-stitch version of the peacock feathered AV1 cover. In the words of Mr. Partridge: "We put together _Homespun_ because everyone likes to be voyeuristic, and XTC admirers more than anyone else seem to have a voyeuristic streak. So we thought we'd treat them to a look at our sketches for AV1 - though most fans probably already have them in tenth-generation bootlegged cassettes. The spooky thing is it doesn't sound all that different from the finished product. Does this mean that we are 8-track demogods?" Yes Andy, judging by the quality of the demos, it does. _Homespun_ is a must have for any fan of the band, and surprisingly not a bad place to start for the XTC novice. Though they gilded the lily a bit by hiring a producer to clean up and master their original demos, what you get here is XTC stripped down to the bare minimum, and that's something not heard since the early days of the band. XTC fans have come to expect the unexpected over the twenty something year career of the band that rarely records and refuses to tour. That XTC could survive a period of more than two decades having dangerously little commercial success is a tribute to their music. _Homespun_ is a tribute to their fans. --- REVIEW: Gomez, _Liquid Skin_ (Virgin) - Christina Apeles Who's afraid of the sophomore jinx? Not Gomez. Their debut album, _Bring It On_, was no doubt one of the most refreshing albums of last year, and their second album, _Liquid Skin_, serves as yet another glisten of hope that rock'n'roll will continue to evolve. After receiving numerous awards from their home country of England and well-deserved acclaim in the U.S., Gomez returns with a brilliant collection of songs that showcases their genius. Plentiful in its rock fervor, bluesy rhythms and rich verse, _Liquid Skin_ is far from a poor follow-up album; it is lyrical splendor. Tom Gray, Ian Ball, Ben Ottewelle, Paul Blackburn and Olly Peacock together offer a tour through a textured musical landscape full of suprising lyrical turns, chorus upon chorus, dense orchestrations and experimental twists, in songs like "Bring It On," "Blue Moon Rising" and "We Haven't Turned Around." "Rythm & Blues Alibi" is a stunning song, with Ball and Ottewell trading off on verses and choruses, steeped in Americana, as is "California." With a vocal factor of three (Ball, Ottewell, Gray) creating a diverse number of tracks, with one to three of the members singing on each song, alongside stratified bass lines, percussion, keyboards, and guitars, at times, so much is happening at once, it is overwhelming. But then again, when's the last time a song overwhelmed you? Gomez's music is a kind of archeological exploration of musical directions over the decades where you may come across The Beatles, Jimi Hendrix, Nirvana and even Dusty Springfield. The eleven tracks on _Liquid Skin_ reach back through history, incorporating horns in the tradition of jazz, variations on early pop hooks, harmonica to capture the true Americana spirit; at the same time pushing forward into the future with the use of an underwater microphone, an electric guitar as a gigantic drum mic and playing percussion on a fire extinguisher. So maybe someone played on an extinguisher before, but at the heart of these schemes is a desire to experiment and develop their sound which Gomez continues to do, and do well. _Liquid Skin_ is a journey you should take again and again, because just as with Gomez's first album, _Bring It On_, you only begin to appreciate what a jewel it is when its many musical layers are revealed -- then embraced -- with every listen. --- REVIEW: Indigo Girls, _Come On Now Social_ (Epic) - Bob Gajarsky On the Indigo Girls seventh studio album _Come On Now Social_, Emily Saliers and Amy Ray show that more than a decade of performing hasn't dulled their musical senses, but instead, made them sharper. With a diversity much wider than the background from their Georgia base, _Come On Now Social_ covers the American music scene in all its glory. Need proof? Here's some examples: The eerie and dark "Sister" cover the Julee Cruise / haunted genre, while the harmonious "Peace Tonight", with a surprising complement of horns, works delightfully. First single "Go" and "Trouble" are as rock as Emily and Amy have ever been on record, with both women showing off their electric guitars. And the country-rock sound of "Ozilline" is a quieter, more subdued version of something found on a John Mellencamp record. And punk? Yup, that's on here too. "Compromise" gets a helping hand from Luscious Jackson's Kate Schellenbach on drums, and bass from Me'Shell Ndegeocello. Maybe a more powerful voice than Ray's would expose this song to a crowd that has never heard the Indigo Girls before, but we'll see if some band on Epitaph has the foresight to put this on their next album. Old Indigo Girls fans shouldn't fret, however. The folky "Gone Again" has a timeless feel to it, while "Soon To Be Nothing" gives older Indigo Girls fans a sense of warm familiarity, as it is strife with musical references to their hit, "Power of Two". Other guests appear with the Girls on some of the tracks, including backing vocals from Joan Osborne and Sheryl Crow. Rather than expect the album to sound just like those artists, however, Saliers and Ray have chosen to expand their musical horizons with the diverse influences of their guests. And, on _Come On Now Social_, the duo have wildly succeeded. --- REVIEW: The Smithereens, _God Save the Smithereens_ (Velvel/Koch) - Don Share The title alludes to an old Reprise Records campaign to reawaken interest in The Kinks following a few hard and low key years when, forsaking hits, Ray Davies turned out masterpieces, instead. The Smithereens have similarly just emerged from a 5-year period of fragmentation, dormancy, and scrambling for a record label. Here they are again, with their sixth album, which for this reason and that almost never happened. It's an unusual album, too. This time around, all four members of the band contributed to the songwriting; this being a band whose work and career is full of analogues to '60s counterparts, maybe it's worth pointing out that this was the case at the end of Creedence Clearwater's string of albums, as well. At any rate, _God Save the Smithereens_ is tinged with a compelling combination of darkness and pent-up excitement. With the first track, we're in familiar territory: "She's Got a Way" is good old-fashioned, hook-laden, single-from-the-album material. But right away, with "House at the End of the World," which is a male/female duet, things are less British Invasion and more Imperial Bedroom. Ominous lyrics and music characterize the track, as they also do the striking "Flowers in Blood" and "Try" -- some of this is as dark and textured as the Posies used to get in their murkier moments. Not a bad thing, but it's disconcerting to hear in our beloved Smithereens! There are still the homages to pop from the past we've come to cherish, though. "The Long Loneliness" is almost like Martin Newell (worth checking out, if you haven't heard of him); it features a pounding Mike Mesaros bass line to match the strong lyric: "I broke the rules thoughout the book..." Meanwhile, "Someday" has the Beatles-esque phrase, "things we did today," which is a bit distracting, while "The Age of Innocence" is more Kinks than Edith Wharton, with its _Something Else_-style trombone and handclaps. Meanwhile, "All Revved Up" is a cousin to the Beach Boys' "Dance, Dance, Dance," while "Even If I Never Get Back Home" is a little like the Move, though Roy Wood never sounded so grim. But beyond these familiar touches, it's a strange, unsettling album, and strangest of all is a version of Billie Holiday's classic "Gloomy Sunday," which Pat DiNizio makes his own: a diminishment, alas, through no fault of his. Tellingly, on "I Believe," DiNizio sings, "There just has to be more to this life than the will to survive." Since _God Save the Smithereens_ provides ample proof that the band has indeed survived, you have to wonder what the implications are; on the closer, "The Last Good Time," the words, "Good-bye, good-bye, good-bye," are chanted. This is a band that deserves more than survival, to be sure. While this album is a distant descendent of the great _Especially For You_, _Green Thoughts_, and _11_, let's hope there's more to come. --- REVIEW: Stereophonics, _Performance and Cocktails_ (V2) - Scott Slonaker The sophomore record from Wales' biggest band is not likely to change any fortunes in America, but it has easy appeal to any Anglophile who's picked up on their dynamic, classic sound. Stereophonics are somewhere musically between Oasis and the Manic Street Preachers, more thoughtful than the former and with less to say than the latter. Along with those two acts, they carry the arena-rock torch left behind by U2 on their field trip to the state of confusion. The band's strengths are quite obvious, and plenty effective. Singer Kelly Jones has the best voice in British rock music today -- Liam Gallagher's soar, minus the annoying whine and plus a bluesy, shivery edge. As this might indicate, Stereophonics do ballads quite well. I count no less than six here -- none as luxurious and atmospheric as "Traffic," the centerpiece of _Word Gets Around_, but all solid enough. Perhaps the best is "Hurry Up and Wait," although "Just Looking" has charted high overseas. Most of the rest clog up the second half of the record, rendering it significantly less memorable than the first. Even though this album doesn't have a true home run (gooooooal?) such as "Traffic," it is more consistent than its predecessor and contains a couple of good faster singles as well. The lyrically Kinks-ish "The Bartender and the Thief" and the effusive "Pick a Part That's New" show the band filling out its bag of tricks quite nicely. Next project: adding *memorable* strings and pianos and such without diluting anything. Ask the Manics. Stereophonics are a young band who have yet to make their masterpiece -- but they're getting closer. Hopefully their massive overseas fanbase doesn't get in the way. --- REVIEW: Everything but the Girl, _Temperamental_ (Atlantic) - Chris Hill "I'm going to let nobody down," sings Tracey Thorn in "Low Tide of the Night." She could be voicing the lyric to fans of the group. Rarely does a band of so many years reinvent themselves with such success, but EbtG has made its transition from undeserved adult-contemporary limbo to house favorites look routine. No surprise. EbtG built an reputation early on for mutability. As Thorn said in a 1988 interview, "It just seems to us the obvious thing to do...once we've made one LP, nothing would interest us less than to do the same one again." Jazz, country, pop, orchestra, acoustic, drum 'n' bass, house -- all facets of the EbtG diamond, and ones that glint here and there on _Temperamental_. Let's recap. EbtG's current incarnation owes life to several things: a brilliant pairing with British dub sensations Massive Attack, Todd Terry's smash remix of "Missing," and, perhaps most intimately, Ben Watt's near-fatal contraction of Churg-Strauss Syndrome (documented in his personal account, "Patient"). Having faced death, Watt gained a new perspective on risk and reward. The stagnancy EbtG had complained of in interviews no longer appeared as an obstacle. '96s _Walking Wounded_ was their first complete step in yet another arena, wooing club culture with tracks like "Before Today," "Wrong" and "Single." Now the new album is out, with the Watt/Thorn duo grown comfortable in their new clothes. "Five Fathoms," the first single, is a seamless segue from the last EbtG release, their collaboration with Deep Dish on the song, "The Future of the Future (Stay Gold)" (released by the latter on _Junk Science_ and included on _Temperamental_). It's a pulsing rumpshaker, and if you can get around the album's weakest lyric ("I'm not immune. I love this tune."), then you're hooked. Only two other shortcomings to mention: the ninety-eight-percent instrumental "Compression" and the regrettable absence of Watt's vocals. "Compression" is filler, and places should have been exchanged with a vocal track, or even the Latin-flavored "Firewall", the b-side instrumental featured on the "Five Fathoms" single(s). As for Watt, perhaps he's more comfortable scratching and laying down beats, but he's missed. Time has been well spent since the last record. As Watt says on their official website (http://www.ebtg.co.uk): "I was out in the city so much...At night in midweek clubs, coming home alone from DJing, during the day record-shopping, watching people, feeling changed by what I saw, absorbing. It spoke to me a lot. A lot of the lyrics explore this, I think." "Who should I be tonight?/Who's gonna see tonight?" ("Low Tide of the Night"), "How much of yourself do you give away/after someone's left your life in disarray?/It still hurts but it won't show/because I'm too proud/so you're never ever gonna know" ("Lullaby of Clubland"). As with _Walking Wounded_, the lyric writing has been tailored to fit the form. Short, quick couplets, dealing with themes both fresh and familiar to the longtime fan, but primarily the irony that hedonism both allays and amplifies one's isolation with pretense and masks, finding release in the club scene, enjoying the immediate satisfaction of physical exertion and attraction, but gaining awareness of the gap that separates us all by stepping on to the bridge. The wagging finger rhythms of the spurned lover moving on in "Lullaby of Clubland" are wildly infectious. If this isn't slotted for a single, it should be. The title track was pegged as the second single, but that honor's been shifted to the more uptempo, less soulful "Blame" (perhaps due to the falsetto Thorn employs on "Temperamental"?). Unfortunate. The risk should be rewarded. It's a deeper cut, though "Blame" employs beats and a bass courtesy of Metalheadz' J Majik, so perhaps it was chosen for crossover appeal. For old-school EbtG fans, their jazz history is perfectly meshed with house music on cuts like "Downhill Racer" and "No Difference." Horns slide in and out of the rhythms, with Thorn's voice capturing the same winsome melancholia of past favorites like "Oxford Street" or "Two Star." Truly, Thorn's singing has always been a strength in their various incarnations, and here it's no different. "Hatfield 1980," a gutsy title given that it points out the age difference between the band and many of their newfound fans, is a sweetly voiced recollection set to a dreamy, slow beat. The lyrical aloneness is mirrored by the vacant, urban landscape: "We'll have to go through the deserted shopping centre/Pedestrian walkways/I thought they were meant to make things better/but it's just emptier/and scary at night time." Subject to interpretation, "Downhill Racer" is a look at EbtG's career and the affection that's stood up between the pair through the years and trials. "If you can ride the backlash/ there's still time for a comeback/you don't have to lie down and die/but Lazarus he only did it the one time/he couldn't face another try." Luckily, Thorn and Watt could. All in all, a more assured effort than _Walking Wounded_, and worth the wait. --- REVIEW: Various Artists, _Saturday Night Live The Musical Performances Vols. 1 & 2_ (Dreamworks) - Scott Hudson Let the celebration begin! Saturday Night Live is celebrating 25 years as television's reigning king of groundbreaking, cutting edge, late-night comedy. And while many networks are singing it's praises through a proliferation of interviews, reruns and specials; SNL and Dreamworks Records have chosen to commemorate the event with the release of the most memorable musical moments from the show. Hence, _Saturday Night Live 25, The Musical Performances Vols.1 & 2_. This two-volume compilation, sold separately, reflects the show's vital commitment of presenting to their audience, a wide variety of musical styles. Volume 1 features a treasure-trove of standup performances for Pop/Rock lovers. Billy Joel's chart-topper "Only The Good Die Young" is nothing short of masterful, while Lenny Kravitz' "Are You Gonna Go My Way" rocks the audience like nobody's business. Eric Clapton's signature guitar licks give his passionate version of "Wonderful Tonight" a touch of class and is a perfect segue to the Counting Crows somber intro to "Round Here." Jazzy renditions like Jewel's "Who Will Save Your Soul" and Sting's "If I Ever Lose My Faith In You" are squeaky clean, while Randy Newman's love for the City of Angels is solidified in his classic "I Love L.A." This disc also includes Elvis Costello's controversial 1977 appearance where he abruptly halted the "record company-sanctioned" "Less Than Zero" in midstream and blasted into the "music-industry indictment," "Radio, Radio" in one of the most memorable performances in SNL history. The disc also includes classic sets by the Greatful Dead, David Bowie, Paul Simon and Tom Petty to name a few. Volume 2 boasts a more diverse mix of artists and styles. The highlights of this volume are many, from Nirvana's angst-ridden rendition of "Rape Me" to Chrissie Hynde's (Pretenders) soulful lament on "I'll Stand By You." Rock fans will devour the live versions of Oasis' "Acquiesce", Green Day's "When I Come Around" and the Beastie Boys wicked performance of "Sabotage" which kicks royal ass. Hip-Hop king Dr. Dre owns the audience on "Been There Done That" while TLC lures them in on "Creep." Not to be forgotten are outstanding performances by R.E.M., Alanis Morissette, Hole, Beck and many more. While SNL 25, The Musical Performances, Vols. 1 & 2 are outstanding compilations in and of themselves, they only represent 30 of nearly a 1,000 musical performances aired by the show in the past 25 years. However, the development of further volumes is in the works which will include not only vintage musical performances, but musical comedy as well. In the meantime, SNL 25 Vols. 1 & 2 should keep listeners glued to their CD players, gettin' off on classic musical moments courtesy of Saturday Night Live! --- REVIEW: Johnny Cash, _At Folsom Prison_ (Sony/Legacy) - John Davidson Johnny Cash is a legend whose contribution to popular music can hardly be overstated. But you already knew that, and since his musical presence has been with you your entire life, you probably haven't ever bothered to wonder how he became so famous, let alone go out and buy one of his albums. Oh, you might have picked up one of his American Recordings albums around the time SPIN was christening it hip enough, but you most likely weren't picking up musty classics like _Hello, I'm Johnny Cash_ from the used vinyl bin. After all, with his music showing up in every nook and cranny of Americana and over sixty albums to choose from, where would you begin anyway? _At Folsom Prison_ is a dandy place to start, although it was originally released only about ten years into a career that has spanned close to forty-five. As a setting or even a publicity stunt, it's hard to imagine a modern musician cutting a live album in a prison, despite the abundance of bleeding hearts involved in the entertainment industry. However, it was perfect for Cash and his believable, common man bravado. There's no mistaking his sneer at the problems in a "correctional" facility, and this marked the beginning of a variety of causes he took on over the years. Still, this album is powerful for the gritty musical performance Cash gave that cool day back in January of 1968. Country music has long been a venue for the down and out storyteller, and here Cash proves that he is the master. His distinct baritone, while not at all virtuoso, is filled with conviction and rumble, somehow carrying experience that transcends the lyrics without the goofy over-emoting so common in music today. Whether scrapping along in the classic "Folsom Prison Blues" or bleeding in "Dark As the Dungeon," you get the feeling he's been to the places he's singing about. Other now-classic Cash tunes in his trademark rockabilly such as "Cocaine Blues," "Dirty Old Egg-Sucking Dog" and "Jackson" (with future wife June Carter) come alive here, and benefit tremendously from the 20-bit re-mastering. A fine bonus to this re-issue are photos, Cash's Grammy-winning liner notes, liner notes by Steve Earle, previously unpublished photos and three previously unissued bonus tracks -- the kind of stuff generally reserved for a boxed set. While the major labels can rightfully be accused of trying to make a fast buck by re-releasing new versions of classics on compact disc, Sony's American Heritage Series has started things off right by providing solid value in _At Folsom Prison_. It's an excellent upgrade from the vinyl version, and though it's a too brief sample of a long, wonderful career, this timeless album from Johnny Cash could bookend any music fan's collection. --- REVIEW: ZZ Top, _XXX_ (RCA) - Don Share The new ZZ Top album is called _XXX_ -- is it rated Triple-X? Does it stand for 30 years of something, or 30 albums (that one seems plausible!) or three identical-looking guys (hmm, also plausible)? Let's assume it's all or some of the above, or that it really doesn't matter. From the '70s all the way into the '90s, the Little Old Band From Texas has been putting out albums which are remarkably consistent in quality, and whose sound and songwriting has been tweaked just enough to update things ever so slightly; a winning, for the most part, formula. Those early albums were really something, too: if you were around back then, you might recall that the Top nearly rivaled the Stones and Skynyrd, on the radio and in concert, for excitement. Look at those bands today: with personnel modifications, they sorta soldier on, while ZZ Top are still intact (well, there's only 3 guys to worry about), and I'd say that the Top are for the most part doing so less embarassingly than their colleagues. Yet because their formula has been so tried and true, it's now true to call it a bit tired. You get your fill of grungy gut-bucket guitar with greasy vocals -- but the novelty songs seem to have less novelty, and, to paraphrase Led Zeppelin (a band not around anymore), the songs remain mostly the same. If you're a big ZZ Top fan, this is welcome news, of course. Like _Fandango_, a better album, _XXX_ is part studio, part live. The studio tracks are a bit hip-hoppy, which isn't a big problem: nothing disguises the Top, and change is good, right? And tunes like "Poke Chop Sandwich," about Lightnin' Hopkins' drummer, Spider, keeping such a sammich on his tom-tom, and the more obvious "Crucifixx-A-Flatt," (about, well, I guess about having faith to spare on the rocky road of life) are even close to Tom Waitsy. But then you have "Fearless Boogie," "36-22-36" and a live reworking of "Pincushion" called "Sinpusher," which are mostly, ahem, retreads. "Made Into A Movie," if I can analyze a Top tune, makes no sense. It says, "I found her again and that's not just a line," and that finding love again is a story that's right outta Hollywood: but if it's a script for a movie, then it's filled with lines, right? Oh, well. "Beatbox" pays tribute to the Walkman (it's also the anniversary of the Walkman, ya know), and "Tripping" pays tribute to, er, tripping. Both are in the tuneless chugaloo department. For the other songs, the band have their tongues firmly in their cheeks, which are so bearded by now you can't see 'em. "Dreadmonboogaloo" uses samples of radio weirdo Art Bell -- ingeniously, too. You hear Bell intone, "This is Art...!" Art, get it? "(Let Me Be Your) Teddy Bear" is sung (by Dusty) as a slow blues of all things, while "Hey Mr. Millionaire" features, apparently, a rare assisting vocal from Jeff Beck! Best by far is last: "Belt Buckle" - superb bit of vintage Texas shuffling and scraping. ZZ Top are OK. Their charm hasn't aged at all, and they're tight as...tight as can be. The tunes are zippy and catchy and if you don't like one, another comes along. If there's a ho-hummable song now and then, it doesn't hurt much. The trouble is that with such a great back-catalog, most folks don't need _XXX_. Yep, you guessed it: this is an album for dedicated fans. --- REVIEW: The Innocence Mission, _birds of my neighborhood_ (RCA/Kneeling Elephant) - Jon Steltenpohl There is something indescribably beautiful about the way an Innocence Mission song can touch you. Softness and delicacy pervade their albums so completely that they makes you take pause. It is a gift that few artists have, and that even fewer can consistently draw upon. With their fourth album in thirteen years, The Innocence Mission has again created an album of incredible simplicity and peace. Although the time between albums is painfully long for their fans, _birds of my neighborhood_ makes the waiting worth it. _birds of my neighborhood_ was recorded by Don and Karen Peris on vocals and guitars and with bassist Mike Bitts in their home and at a converted factory in Lancaster, Pennsylvania near the Amish country. In the press release, Don Peris says "We recorded all around the house, in the attic, the dining room and in the basement among drying laundry." For a pop album, it is an environment far away from the hustle and bustle of the big city, and it allows for reflection and pondering. Which are exactly what Karen Peris' lyrics thrive upon. She creates a setting that feels like sitting by a frosted window on a quiet winter afternoon and reflecting on the most personal and private moments of your life. In the past, Karen Peris focused mainly on emotional stories which seemed to be observations of others. Her portraits always seemed to be of dusty images in a forgotten scrapbook, but on _birds of my neighborhood_ she is much more focused on her own struggles. One theme that resonates strongly is the Peris' struggle to have a child. In a sorrowful song called "July," Peris sings, "This barren July / we both wake up so dry / that no more tears can leave us." On "Birdless," she describes a time "when we are lost in Carlisle / when we are birdless / flowerless in the spring / and cannot sing." Yet, in both songs, she finds slight pieces of hope despite her melancholy. "The Lakes of Canada" brilliantly touches on those small flashes of goodness. "Look for me another day," she implores, "I feel that I could change / there's a sudden joy that's like / a fish, a moving light / I thought I saw it / rowing on the lakes of Canada." Along with their own songs, for the first time, The Innocence Mission includes a cover of another artist. The track is an old John Denver song called "Follow Me." It's a choice that might induce a raised eyebrow or a chuckle, but where Denver's version feels dated, The Innocence Mission brings the song alive. The soft bass and chiming electric guitar put a background on Karen Peris' soft vocals, and, in their hands, it is as much of a love song as it is a lullaby. The biggest change with _birds of my neighborhood_ is a focus on sparse arrangements. _Glow_ had a more electronic, pop feel to it, and its first sounds were the beat of Steve Brown's drums. But the band has parted ways with percussionist Steve Brown on all but one song on _birds of my neighborhood_, and has focused on an acoustic bass and guitar rhythm backed with atmospheric bells from the electric guitar and keyboards. While the songs and the style remain true to their previous albums, this is a much more intimate album that doesn't feel the need to keep up with a beat. Peris's unique vocals have always been beautiful yet hard to decipher, and they benefit from this simpler setting. Mike Bitts sticks to an upright acoustic bass, and the lush background he provides is perfectly subtle and sparse. _birds of my neighborhood_ is another beautiful album from The Innocence Mission. While it doesn't feel as radio friendly as their previous album, _Glow_, it is a fan's delight. It combines all of those things which makes The Innocence Mission such a treasure. Karen Peris continues her string of deeply simple and emotional portraits of everyday life, and Don Peris' arrangements are dreamy and beautiful. --- REVIEW: Long Beach Dub Allstars, _Right Back_ (Dreamworks) - Scott Hudson For Sublime bandmates drummer Bud Gaugh and bassist Eric Wilson, 1996 was a year of unimaginable highs and tragic lows. There was the multi-platinum success of Sublime's self-titled disc coupled with the death of friend and frontman Brad Nowell of an heroin overdose. And while the death of Nowell brought the curtain down on the genre-defying Sublime, Gaugh and Wilson dusted themselves off and forged ahead with the formation of the Long Beach Dub Allstars and their debut release _Right Back_. _Right Back_ proves to be a departure, though not a total one, from the proven formula that made Sublime successful. This seven-piece unit further expands the musical boundries defined by their predecessor to create a reggae/rock/hip-hop/dub blowout where warm grooves and crunchy rhythms abound. Absent however, are the hits. There is no "What I Got," "Santeria" or "Wrong Way" to captivate the airwaves. Instead there are twelve lively tracks that flow seamlessly from one song to the next while meticulously maintaining the integrity of their roots. The record gets off to a great start with the road-trip party rockin' "Rosarito," while former Bad Brains frontman HR lends his haunting vocal expertise to "New Sun." On "Kick Down" the band lifts from the cool vibe of Billy Preston's classic chorus line "Nothin' from nothin' leaves nothin,'" while guest vocalist Tippa Irie takes you on a ganja-woven glide through Kingston on "Sensi." Reggae luminary Barrington Levy also reprises his own acoustic-driven, melodic ballad "Saw Red." With Right Back, the Long Beach Dub Allstars have created an energetic and fluid offering that will undoubtably appeal to Sublime fans and reggae purists alike. And while listeners may find the band with one foot planted firmly in its players' celebrated past, they'll also notice the other stepping lively into the future. --- REVIEW: Pennywise, _Straight Ahead_ (Epitaph) - Steve Kandell Though the omnipresent single "Alien" sounds more than a little bit like latter-day Bad Religion, the new Pennywise album is simple old-school, politically charged Orange County punk. Although there is some attention to crafting full-sounding production, this is hardly coated with a poppy sheen, as opening track "Greed" wastes no time in establishing. With machine-gun drumming and thick guitars, this is basic, no-frills punk rock. The seventeen songs on the appropriately titled _Straight Ahead_ race by with little thought given to diversity or experimentation. Pennywise does one thing well, and they stick to it tenaciously. The closest thing to an exception is the aforementioned "Alien," which is more midtempo and melodic and is presumably the bane of any diehard Pennywise fan's existence. Although the frequent radio airplay no doubt brings cries of sellout from the faithful, the album as a whole really is not in this more commercially accessible vein. In fact, people expecting to hear more songs like the single are in for a rude - and loud - awakening, which may very well be the band's m.o. Most of Jim Lindberg's fist-pumpingly anthemic songs are odes to forging individual identities or decrying governmental/parental hypocrisy. In other words, the kids love it. ("My Own Country" actually manages to work in both themes at once.) This more traditional, intelligent strain of punk may come as a welcome relief to those frustrated by Pennywise's fellow second generation O.C. "punk" bands, such as the faux ska-punk of No Doubt or Sugar Ray that usually passes for "cutting edge" radio. --- REVIEW: Sloan, _Between the Bridges_ (Murderecords) - Iain Kenneth MacLeod During a band's year and a half hiatus, there is enough time for rumors to spread about breakups, supposed infighting to leak to the media, and alleged solo projects to be discussed behind the counter of many small record stores. Perhaps that is why Sloan decided to work straight through that time and produce 3 great albums, have their most potent single ("Money City Maniacs") fused with Labatt's Blue beer ads and also compile a video anthology called "Second Hand Views." More specifically, their fans were rewarded with the quintessential double live album entitled _4 Nights at the Palais Royale_ and their critics were left to proclaim that rock is still alive and alright with the addition of _Navy Blues_ to their catalog. Those already familiar with this post-fab foursome should read no further and quickly add their sixth release _Between the Bridges_ to a nearby shopping cart. It contains all the essential elements that make discovering which influences were smeared on the many sided record sleeves so rewarding. With a world tour to begin at the end of October, Sloan have not only committed themselves to the business but have been consistently able to keep their 'art' in the right place. If there is any concept behind this CD, it is hovering over the city that bore (bored?) them. _Between the Bridges_ is a half-baked pretentious pop-opera about Halifax, it is a a personal "Farewell to Nova Scotia" as the band headed off to Toronto. A Maratimer will pick up on the opening track's reference to an infamous mental institution while "The Marquee And The Moon," with it's bizarre name checking and John Cale-like drone, will put a smile on faces within the landscape between the MacKay and MacDonald bridges. The other tracks show Sloan continuing to grow and challenge themselves, as well as their listeners, from the phase shifting of "Sensory Deprivation" to the friendly sing along harmonies of the first single, "Losing California." _Between the Bridges_ is not only an extremely solid pop album, but it is also one of Sloan's most cohesive, mature and focused albums to date. It is equal parts sensitive, quirky, sensible, and cerebral... all thanks to the contributions of guitarist Jay Ferguson, bassist Chris Murphy, guitarist Patrick Pentland and drummer Andrew Scott, respectively. Since each band member brought an equal portion of songs to the turntable this time, it will stand up as the first clear example of what the Sloan democracy is capabale of sounding and feeling like. --- REVIEW: Archer Prewitt, _White Sky_ (Carrot Top) - Chelsea Spear Prepackaged autumnal chill rules the day on Archer Prewitt's latest album, _White Sky_. With song titles like "Summer's End," "Last Summer Days" and "Final Season," this album would be as inappropriate a soundtrack to throwing one's sweaters in mothballs and suffering hay fever as, say, Game Theory's _Big Shot Chronicles_ is to contemplating the purchase of school supplies and raking dead leaves. Unfortunately, however, much of what gives _White Sky_ its collegiate, fall-like feel is not the things that the song titles would suggest. Unfortunately, many parts of the album sound like the tunes emanating from upperclassmen dormitories of years past. The extensive song lengths ("Walking on the Farm" clocks in at 8:00, with a median song length of about five minutes), combined with the focus on jam session-esque interludes and general "chops" all around, brings no one but '70s jazz-rock avatars Steely Dan to mind. This wouldn't be such a bad thing were this (unintentional?) tribute committed with the toungue-in-cheek spirit of the Minutemen's "Dr. Wu" cover, except that Prewitt is lacking the jovial spirit and sense of humour that marked the entire recorded output of D. Boon and Mike Watt. Prewitt recapitulates the cold steel angles of rock music with esoteric influences with a straight face, making songs like the aforementioned "Walking on the Farm" unbearable to listen to. A pity, really, since Prewitt's sonic playfulness and sense of humour made his earlier combo, the Coctails, a thoroughly enjoyable bunch. While this kind of jam-session musicianship has a time and a place, it would have been much more listenable had it been more carefully blended with a stronger sense of melody and playfulness. Some tracks showcase Prewitt's past, such as the lush and gorgeous "Raise on High," and others, such as the rueful "I'll Be Waiting," point him in a new direction. While _White Sky_ is a much more assertive record than his previous album, _In the Sun_ (which was so listenable that one only noticed when the CD stopped spinning), it's questionable whether moving from "easily listenable" to "at times actively annoying" is a step in the right direction. On the other hand, some tracks show the singer and songwriter's deft melodic skills, or show that less is more. Here's hoping his next album finds him forging ahead in a more positive and enjoyable direction. --- NEWS: > Jimmy Page recently joined forces with the Black Crowes as part of a six-show, mini-tour with shows in New York City, Boston and Los Angeles. The setlist from the New York show included songs from the Black Crowes (No Speak No Slave, Wiser Time, Shake Your $ Maker, Remedy, Hard To Handle), Led Zeppelin (Celebration Day, Custard Pie, Sick Sagain, What Is & What Should Never Be, Ten Years Gone, In My Time of Dying, Your Time Is Gonna Come, Lemon Song, Heartbreaker, Hey Hey What Can I Do, Out On The Tiles, Whole Lotta Love), the Yardbirds' Shapes of Things, Jimmy Rodgers' Sloppy Drunk, and Fleetwood Mac's Oh Well. --- TOUR DATES: ABC Oct. 21 Palo Alto, CA The Edge Oct. 22 Portland, OR Aladdin Theatre Oct. 24 Seattle, WA Fenix Underground Oct. 26 Minneapolis, MN First Avenue Oct. 27 Chicago, IL House of Blues Oct. 28 Pontiac, MI Clutch Cargos Oct. 30 Plainview, NY Vanderbilt Club Agnostic Front Oct. 21 Lawrence, KS The Bottleneck Oct. 22 St. Louis, MO The Galaxy Oct. 23 Little Rock, AR Vino's Oct. 26 Pittsburgh, PA Grafitti's Oct. 28 Baltimore, MD Fletcher's Oct. 29 Poughkeepsie, NY The Chance Oct. 31 Worcester, MA The Palladium Anti Flag / Dropkick Murphys Oct. 21 San Antonio, TX White Rabbit Oct. 23 Houston, TX Fitzgeralds Oct. 24 Dallas, TX Trees Oct. 27 Virginia Beach, VA Peabody's Oct. 29 Philadelphia, PA Toscadero Oct. 30 New York, NY Tramps/Irving Plaza Oct. 31 Worcester, MA The Palladium Ben Folds Five / Fleming & John Oct. 30 Baltimore, MD Reitz Arena Broadside Electric Oct. 23 State College, PA Acoustic Brew Coffeehouse Buzzcocks / Lunachicks / Down By Law Oct. 21 Philadelphia, PA TLA Oct. 22 Waterbury, CT City Limits Oct. 24 Providence, RI Lupo's Oct. 29 Columbus, OH Al Rosa Oct. 30 Detroit, MI St. Andrews Hall Oct. 31 Cleveland, OH Agora Danzig Oct. 21 Chicago, IL House Of Blues Oct. 23 Detroit, MI State Theatre Oct. 26 Minneapolis, MN The Quest Oct. 27 Milwaukee, WI The Rave Ballroom Oct. 30 Salt Lake City, UT Salt Air Palace Oct. 31 Boston, MA The Roxy Del The Funky Homosapien & Casual Oct. 21 Arcata, CA Cafe Tomo Oct. 22 Chico, CA Brick Works Oct. 24 San Francisco, CA Maritime Hall Oct. 25 Santa Cruz, CA Palookaville Oct. 27 Tempe, AZ Pompeii Oct. 28 Albuqyerque, NM Sunshine Theater Oct. 29 Austin, TX Liberty Lunch Oct. 31 Houston, TX Club Waxx Ani DiFranco Oct. 22 Milwaukee, WI Eagles Ballroom Oct. 23 Ames, IA Stephens Auditorium Oct. 25 Bloomington, IN IU Auditorium DJ Shadow Oct. 22 Detroit, MI St. Andrews Oct. 23 Chicago, IL Smart Bar Oct. 24 Minneapolis, MN The Quest Oct. 26 Denver, CO Bluebird Oct. 28 Houston, TX Numbers Oct. 30 Austin, TX Musical Hall Oct. 31 Honolulu, HI Club Superstar Nov. 1 Waikiki, HI Wave Waikiki Johnny Dowd Oct. 31 New York, NY Tonic Fastbacks Oct. 21 Los Angeles, CA Spaceland Oct. 22 Long Beach, CA Lava Lounge Oct. 23 San Francisco, CA Bottom of the Hill Ben Harper Oct. 21 Ames, IA Stevens Aud. Oct. 22 Chicago, IL Riviera Theater Oct. 23 Chicago, IL Riviera Theater Oct. 24 St. Paul, MN Roy Wilkens Aud. Oct. 25 Madison, WI Union Theater Oct. 27 Ann Arbor, MI Hili Auditorium Oct. 30-31 Montreal, QC Metropolis Indigo Girls Oct. 22 Athens, GA University of Georgia Oct. 24 Mobile, AL USA Mitchell Center Ladybug Transistor Oct 29 New York, NY Mercury Lounge Oct 31 Arlington, VA Galaxy Hut Ben Lee Oct. 21 Austin, TX La Zona Rosa Oct. 23 Phoenix, AZ Balbos Cafe Oct. 24 San Diego, CA Canes Oct. 25 Los Angeles, CA House Of Blues Oct. 26 Pomona, CA Glass House Oct. 27 Fullerton, CA Cal State Fullerton Oct. 29 San Francisco, Ca Maritime Hall Oct. 30 Sacremento, CA Old Ironside Leftfield Oct. 21 Seattle, WA Aerospace Oct. 22 Los Angeles, CA Club ID Oct. 23 San Francisco, CA Funky Techno Tribe party Oct. 26 Boulder, CO SOMA Oct. 28 New York, NY Roxy Oct. 30 Toronto, ON Congress Center Len / Styles of Beyond Oct. 21 Salt Lake City, UT DV8 Oct. 22 Boise, ID Neurolux Oct. 24 Seattle, WA DV8 Oct. 25 Portland, OR Crystal Ballroom Oct. 27 Sacramento, CA 815 L Oct. 29 Los Angeles, CA Palace Oct. 31 San Diego, CA Cane's Live Oct. 21 Los Angeles, CA Mayan Oct. 23 Phoenix, AZ Veteran's Memorial Coliseum Oct. 24 Las Vegas, NV House Of Blues Oct. 26-27 Mexico City, MX Hard Rock Cafe Oct. 29 Dallas, TX Bronco Bowl Oct. 30 Houston, TX Aerial Theater Oct. 31 Austin, TX Austin Music Hall Luscious Jackson Oct. 21 Austin, TX La Zona Rosa Oct. 23 Las Vegas, NV Radio Show Oct. 24 San Diego, CA Cane's Ballroom Oct. 25 Los Angeles, CA House Of Blues Oct. 26 Ponoma, CA Glass House Oct. 29 San Francisco, CA Maritime Hall Oct. 30 Sacramento, CA Radio Show Magnetic Fields Oct. 22 Hoboken, NJ Maxwell's Oct. 23 Cambridge, MA Middle East Minders Oct. 21 Minneapolis, MN Foxfire Lounge Oct. 22 Madison, WI Club 770 Oct. 23 Chicago, IL Schubas Oct. 24 Pittsburgh, PA Carnegie Mellon University Oct. 25 Buffalo, NY Mohawk Place Oct. 26 Toronto, Ontario at Horseshoe Tavern Oct. 27 Clinton NY, Hamilton College Oct. 31 Philadelphia, PA Khyber Pass Moby Oct. 28 New York City, NY Roxy Oct. 31 New Orleans, LA Voodoo Festival, Tad Gormley Stadium Alanis Morissette Oct. 24 Hong Kong, China Exhibition Hall Oct. 26 Seoul, South Korea Olympic Gym #1 Oct. 28 Kuala Lumpur, Malaysia Shah Alam Oct. 29 Singapore WTC Harbour Pavillion Pietasters / Pilfers / Spring Heeled Jack Oct. 21 Cleveland, OH Aztlan Theater Oct. 24 Detroit, MI St. Andrews Oct. 26 Cleveland, OH Agora Theater Oct. 27 Pittsburgh, PA Club Laga Oct. 29 Amherst, MA Alumni Gym Oct. 30 Philadelphia, PA Trocadero Oct. 31 Washington, DC Nation Smash Palace Oct. 22 Marlton, NJ Border's Oct. 30 Philadelphia, PA South Street Head House Sonia Dada Oct. 28 Ft. Collins, CO Aggie Theatre Oct. 29 Denver, CO Gothic Theatre Oct. 30 Colorado Springs, CO Colorado Music Hall Oct. 31 Salt Lake City, UT Zephyr Stereo Total Oct. 21 Detroit, MI Magic Stick (w/Dean Fertita) Oct. 22 Chicago, IL Lounge Ax (w/Dean Fertita) Oct. 23 Minneapolis, MN 400 Bar Oct. 25 Vancouver, BC Starfish Room Oct. 26 Seattle, WA Crocodile Oct. 28 San Francisco, CA San Fran. State Univ. Oct. 29 San Francisco, CA Justice League Oct. 30 Los Angeles, CA Spaceland Superchunk Oct. 28 Columbus, OH Little Brothers Oct. 29 Cleveland, OH Grog Shop Oct. 30 Toronto, ONT Lee's Palace Oct. 31 Montreal, QUE Cabaret Music Hall Sally Taylor Oct. 21 Santa Ana, CA Coach House Oct. 22 Scottsdale, AZ Martini Ranch Oct. 23 Las Vegas, NV Legends Oct. 24 Salt Lake City, UT Zephyr Nov. 20 W. Long Branch, NJ Monmouth University Richard Thompson Oct. 29 Durham, NC Carolina Theatre Oct. 31 Charleston, WV Mountain Stage Tonic / Goo Goo Dolls Oct. 22 Towson, MD Towson U. Oct. 24 Loudenville, NY Recreation Center Oct. 25 Binghamton, NY Broom Cty. Arena Oct. 26 Allentown, PA Lehigh U. Oct. 27 Montclair, NJ Yogi Berra Stadium Oct. 28 Philadelphia, PA Temple University Oct. 29 Newark, DE Carpenter Center Type O Negative Oct. 21 Houston, TX Numbers Oct. 23 Memphis, TN New Daisy Theatre Oct. 26 Washington, DC The 9:30 Club Oct. 29 New York, NY Roseland Ballroom Oct. 30 Boston, MA Avalon Oct. 31 Philadelphia, PA The Trocadero Watsonville Patio Oct. 21 Madison, WI Mango Grill Oct. 23 Iowa City, IA Maintenance Shop Oct. 24 Lincoln, NE Duffy's Oct. 25 Lincoln, NE Homer's Oct. 29 Houston, TX Instant Karma Oct. 30 Austin, TX Hole in the Wall Robbie Williams Oct. 21 Pittsburgh, PA A.J. Palumbo Center Oct. 22 Washington, DC 9:30 Club Oct. 24 Atlanta, GA The Tabernacle Oct. 25 Orlando, FL Hard Rock Live Oct. 29 Houston, TX Aerial Theater Oct. 30 Dallas, TX Bronco Bowl Nov. 1 Austin, TX Austin Josh Wink Oct. 23 Memphis, TN Apocalypse Oct. 29 San Diego, CA Montage --- Founded in August, 1993, Consumable Online is the oldest music reviews publication on the Internet. To get back issues of Consumable, check out: WWW: http://www.consumableonline.com To subscribe to Consumable, send an e-mail message to consumable-request@westnet.com with the body of the message stating "subscribe consumable". To unsubscribe, send a message to the same address stating "unsubscribe consumable". Web access contributed by WestNet Internet Services (westnet.com), serving Westchester County, NY. Address any written correspondence to Bob Gajarsky, Consumable Online, 409 Washington St. PMB 294, Hoboken, New Jersey 07030 ===