== ISSUE 174 ====  CONSUMABLE ONLINE  ======== [April 12, 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, 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, Michael Van Gorden, Simon West
  Technical Staff:    Chris Candreva, David Landgren, Dave Pirmann
  Also Contributing:  Dan Enright

 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.
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                            .------------.
                            |  Contents  |
                            `------------'
INTERVIEW: Jimmy Eat World - Tracey Bleile
REVIEW: Soundtracks, _Go_ / _Forces of Nature_ / _Ed TV_ - Bob Gajarsky
REVIEW: The Rentals, _Seven More Minutes_ - Chris Hill
REVIEW: The Go-betweens, _The Lost Album '78-'79_ - David Landgren
REVIEW: Soundtrack, _Lock, Stock & Two Smoking Barrels_ - Chris Hill
REVIEW: Various Artists, _Virgin Voices - A Tribute to Madonna 
   Volume 1_ - Joann D. Ball
REVIEW: Hugo Largo, _Drum_ - Chelsea Spear
REVIEW: Tal Bachman, _Tal Bachman_ - Michael Van Gorden
REVIEW: Add N to (X), _Avant Hard_ - Niles Baranowski
REVIEW: Nik Kershaw, _15 Minutes_ - Bob Gajarsky
REVIEW: Planes Mistaken For Stars, _Planes Mistaken For Stars_ / 
   Starmarket, _Calendar_ - Andrew Duncan
REVIEW: Julia Fordham, _The Julia Fordham Collection_ - Chris Hill
REVIEW: Ian Tyson, _Lost Herd_ - Jon Steltenpohl
REVIEW: The Jellybricks, _SoapOpera_ - Dan Enright
TOUR DATES: Aerosmith / Afghan Whigs, Beastie Boys, Ben Folds Five / 
   Fleming & John, Bouncing Souls, Candlebox, Cubanismo Spring Tour, 
   Ani DiFranco, Dubtribe Sound System, Eve 6 / Lit, Firewater / Girls 
   Against Boys , Gardener, Godsmack / Loudmouth, Gomez / Mojave 3, 
   Miles Hunt, Kent / Papa Vegas, Low, Mercury Rev, Steve Miller Band, 
   Of Montreal, Olivia Tremor Control, Pan Sonic, Placebo / Stabbing 
   Westward, Ernest Ranglin , Residents, Sleepyhead, Sparklehorse / 
   Varnaline, Splender, Sally Taylor, Underworld, Wilco, David Wilcox
THE READERS WRITE BACK!
Back Issues of Consumable
---
	INTERVIEW: Jimmy Eat World
		- Tracey Bleile
	The band Jimmy Eat World is more than three-quarters through 
their tour of duty criss-crossing the Midwest, and as they make their 
way to the Foxfire Coffee Lounge in downtown Minneapolis, they had 
that road-trip glaze that only comes from too many close-quartered days 
in a van filled with six people and all their gear. Fresh from a video 
game and cradling a giant cup of hot tea, bassist Rick Burch graciously 
took some time to talk about their new album, _Clarity_.
	The excitement being generated ahead them of in every town, and 
growing with every date, is due to the single "Lucky Denver Mint," which 
is also included on the soundtrack to the new Drew Barrymore movie 
_Never Been Kissed._ The band also made a video for "Lucky Denver Mint" 
that was directed by Darren Doane (who retains the hyper moves and 
humorous story line that made Blink 182's "Dammit" a hoot).
	"A lot of people have been coming up to us saying, 'Yeah, we 
heard you on the radio, and we wanted to check you out live,'" Burch says. 
"And we filmed a video for "Lucky Denver Mint.' We had done a video before, 
but it was mostly live performance shots. There was actually some set-ups 
for this video. There's some Frisbee and basketball; it was really fun."
	When _Clarity_ finally made it out after being in limbo with their 
label - due in no small part to the single's success - the band's first 
priority was hitting the road. They were already well-rehearsed from the 
break between recording and the actual release of the album. Preparation 
for the tour consisted of playing a couple of live shows for the hometown 
crowd at the new venue The Green Room in Tempe, and then they were off. 
They also had a couple of notable appearances at the increasingly 
overwhelming SXSW music conference. Burch noted with humor that the band 
played an in-store where people actually came to hear the band play 
instead of being pissed off by loud music while attempting to shop, and 
then played to an overflow crowd at The Electric Lounge.
	As for how they survived their sophomore effort with a major, well, 
that's a bit tricky. Most of their energy was dedicated to the music, as 
the band thought it should be. With regards to recording _Clarity_, Burch 
credits the focus and maturity of their sound to working a second time 
with Mark Trombino, who also produced _Static Prevails_. He credits the 
expansion of their sound with a band's best friend and sometimes worst 
enemy: time. "We had a lot more time in the studio and we had worked with 
Mark Trombino on the first record, so we already had a strong relationship 
with him, no getting to know each other, and so we got together and boom, 
we took off, and it was just awesome," Burch says.
	One of the results of all that time was the shift in direction. From 
the rawer, punkier energy emerged more moody, thoughtful moments, and more 
varied instrumentation, which Burch said came after the original melodies 
had already been written. Also, some sounds that turned up later 
(mellotron, keyboards, bells) originally existed as alternate guitar lines 
that had already been written. This enables the band to re-translate the 
songs live, without any additional musicians, or the bane of the live 
show, tape loops. "We got into the studio," Burch says, "and there were 
all these toys and it was like, 'Let's try it on the Hammond B-3.' We just 
went crazy with it.
	"We were trying to pay a little bit more attention to detail," Burch 
continues. "We wanted to get as much into the songs as we could, make it a 
little more interesting than just the basic verse, chorus, verse, chorus, 
bridge that's normally out there." Burch gave high praise to violinist 
Suzie Katayama, who he says they "turned loose" on the album, and with Jim 
Adkins and Trombino, Katayama added many beautiful string arrangements to 
songs like "Just Watch The Fireworks" and "A Sunday."
	"Eventually, on our next tour," says Burch in his next breath, "I 
think we're going to have a couple extra musicians with us -- an extra guitar 
player, a vocalist, a keyboard player, and also a second percussionist." 
At a later point in this tour they will be hooking up with the San Diego 
band No Knife, who will be aiding and abetting with some of the above 
noted duties.
	As for that worst enemy -- time spent waiting after the work is 
done: the band had decided to go back into the studio very shortly after 
they came home from touring for over two years on _Static_, and Burch said 
they knew they were ready to move on, "We couldn't tour on that anymore, 
and we were ready to go back into the studio, but Capitol wasn't ready." 
So they recorded _Clarity_ and bided their time. In the interim after 
completing the album, they also recorded an EP featuring two of the songs 
from the album, and a demo version of a third, an exceptionally quiet and 
plaintive version of "Your New Aesthetic" which gave way to version on the 
full-length that was a head kick of a re-write. Rick laughs and says that 
it was *the* antidote to the softer, gentler turn the album was taking. 
"It's a really rockin' song," he understates.
	There are also two completely new songs ("Softer" and "Rollerqueen") 
that were completed after the _Clarity_ recording sessions ended. Capitol 
already had the full-length on hold, and were not interested in releasing 
the EP, so the band asked permission to go elsewhere. They eventually 
hooked up with Fueled by Ramen, an independent label in Gainesville, FL. 
"He offered to do it, we took him up on it, and it just went really well."
A DJ at KROQ in Los Angeles got a copy of the EP and started playing 
"Lucky Denver Mint," and finally Capitol relented and brought _Clarity_ 
out at the end of February. Burch's last comment on the subject was that 
_Clarity_ would have been released regardless, and what ever the future 
holds, they will continue to make records. A future project being 
considered is compiling the early Jimmy Eat World 7-inch singles and split 
singles, and re-releasing them on one CD, perhaps on the band's own label, 
An Industry For Outer Space.
	When posed with the million-dollar question, "Where do you go from 
here?" the road strain reappears on Rick's face, and you can tell it's an 
incredibly overwhelming thought when all you can think about is putting on 
a good show that night. "I don't know, it's kind of scary. What do we do 
now? We have come a long way from our first record, but we did have about 
three years between recordings. That's a long time, and there's a lot of 
evolution in that time." He shifts in his chair, and sums it up the only 
way you can without talking for another hour. "You get bored playing the 
same songs, and you want to keep moving somewhere instead of just getting 
somewhere and stopping." Given the way Jimmy Eat World has sustained and 
perpetuated itself thus far, they have that law of physics down, and 
remain a body in motion.
	For the latest 100% accurate dirt, information and upcoming tour 
dates, see the band's website at http://www.jimmyeatworld.net , which is 
generated and maintained by the band themselves - drummer Zach Lind serves 
as webmaster and updates info from the road whenever possible with his 
trusty laptop.
---
	REVIEW: Soundtracks, _Go_ (Work) / _Forces of Nature_ (Dreamworks) / 
		_Ed TV_ (Reprise)
		- Bob Gajarsky
	Another spring brings the rush for high budget films targeted 
at your wallet.  And if the powers that be can convince you to plunk 
down an extra $15 on a soundtrack of the same name, they will.  Here's a 
quick look at some of the more recent entries to the soundtrack world.
	_Go_. No Doubt returns with their first new single in 3 years, 
"New", which will surprise anyone familiar with their 2-Tone 
Roots.  Gwen Stefani sounds more like Blondie than Debbie Harry, 
and the resulting song just makes one more excited about the 
California group's next album.
	Natalie Imbruglia also returns with a new track, "Troubled 
By The Way We Came Together", which indicates that she'll be able 
to survive the sophomore jinx.  Philip Steir's remix of 
Steppenwolf's "Magic Carpet Ride" is taken from the Jason Nevins' 
book of remixing, for better or worse.  The drum 'n' bass of Esthero, 
BT, and the Air French Band complements Leftfield's techno beats and 
the quirkiness of Canadian newcomers Len.  Already-released singles 
by Fatboy Slim (is there a place Mr. Cook *hasn't* been these last six 
months?), DJ Rap, Lionrock and an album cut from Eagle Eye Cherry only 
add to the urgency and cutting edge appeal of this soundtrack.  An 
absolute winner.
	_Forces of Nature_.  Sandra Bullock tries to convince a 
conservative Ben Affleck to get wild, and _Forces_ captures all the 
high paced energy of the film.  The jazzy-meets-Latin dancefloor remix 
of Touch and Go's major UK dance hit "Would You...?" (go to bed with 
me?) serves as the focal point of the soundtrack, but most of the tracks 
(from artists including Gomez, Faithless, and Swervedriver's cover of 
"Magic Bus") have previously appeared elsewhere the last few years.  
New tracks include the dance/lounge feel of Holly Palmer's "A Rose By 
Any Other Name" (produced by Howie B) and Tricky's trancey "Slowly".
Although an American film, the soundtrack is decidedly British, and 
perfect for anyone wishing to capture the feeling of the English 
nightclub scene.
	_Ed TV_.  A Ron Howard production, this soundtrack stays 
closer to the mainstream audience who the film targets.  New Bon 
Jovi ("Real Life") and Meredith Brooks ("Careful What You Wish For") 
cuts are the real draw here, as well as Muzzle's twangy pop "Been Hurt".  
Some older veterans return to the spotlight covering other stars' hits.  
The man after midnight, Barry White, successfully takes on Sly & The 
Family Stone's "Thank You", while James Brown embarrasses himself on 
"That's Life".  If bad taste were a crime, Brown would never have 
been free on bail...
	A slew of already-released classic tracks (Otis Redding, Al 
Green, Joe Tex) meets up with previously material from UB 40, 
Ozomatli, Peter Wolf, and the Barenaked Ladies to complete the 
collection.  The hope from this compilation is that Ozomatli and 
Cornershop reach an audience whose only album with strong non-English 
influences may be Paul Simon's _Graceland_ - but those who enjoy the 
film will more than likely be enthralled with the soundtrack.
---
	REVIEW: The Rentals, _Seven More Minutes_ (Maverick)
		- Chris Hill
	A bouncy, effervescent travelogue of Matt Sharp's last 
few years spent journeying around the U.S., the U.K., and Spain, 
the sophomore effort by The Rentals nimbly dodges a second 
album jinx.  Not surprising - Sharp cut his musical chops as 
Weezer's bassist, and the roster of talent both in the Rentals 
and guesting herein have two dozen-plus albums to their credit. 
A follow-on to the mega-successful _Return of the Rentals_, 
with its then-inescapable pop gem "Friends of P", _Seven More 
Minutes_ contains quite a few nuggets of its own.
	"Getting By", an energetic, loopy song, opens the album. 
Embracing the now, learning from his younger companions, Sharp 
sings "lately I've felt like an old fat man/With her I lie and 
say "I'm a young fool"...We got nothing in common that I can see/ 
We drink on, we drink on, we drink on.../and get by".  Again 
imbibing the half-full portion of the cup of life, Sharp sings 
on "The Cruise": "Optimistic right now, maybe I am/I know how so 
many people hate that/They'd rather see you lose/And drag you 
in the hole they're into".
	Shiny, happy hedonists - Sharp and others - provide the 
album's lyrical marrow.  The pleasure of living in the moment, 
the seeming contradiction of losing and finding oneself at the 
same time, the fear of growing old, a love for the young and 
carefree - all themes that pop up throughout the album.  It's a 
fly on the wall viewpoint: not uncomfortably so, however, as the 
lessons learned are taken to heart and endearingly backed with 
upbeat, poppy music: the frenzied "Insomnia", the Teletubby-like 
chorus on "Say Goodbye Forever" (elegantly provided by Elastica 
bassist Donna Matthews), the shout-along "Big Daddy C", the 
rocking "Keep Sleeping", the contemplative "Hello, Hello". 
Examples abound among the fifteen tracks.
	"Big Daddy C", another monogrammatic character, contains 
references to their breakthrough hit, "Friends of P" - the P 
revealed to be Paulina Porizkova, model and wife of ex-Cars 
singer and producer Ric Ocasek.  "Big Daddy C" layers an 
ambling drum beat and heavy bass over sing-song rhythms for a 
similarly infectious tune.
	Penning all the songs except one, Sharp manages to share 
equal footing with all the album contributors.  The divinely 
delicate vocals of (now-defunct) that dog member Petra Haden add 
a winsome innocence to eight of the fifteen tracks.  Mixed on a 
par with Sharp's vocals, many of her songs seem like duets. 
Also given room on the stage:  Miki Berenyi (of the sadly 
disbanded Lush), Maya Rudolph, Tim Wheeler (Ash), Damon Albarn 
(Blur), and Sharon McConochie.  Rod Cervera (guitars) and Jim 
Richards (moog/arp synthesizers) return, along with Haden, from 
the first Rentals album.  Weezer frontman and ex-bandmate Rivers 
Cuomo appears with a co-writing credit on the idyllic, Pink 
Floyd-tinged cut "My Head is In The Sun".
	If you were lured in by the first record, prepare to be 
trapped by this one.  More information to be found at 
http://www.therentals.net/
---
	REVIEW: The Go-betweens, _The Lost Album '78-'79_ (Jetset)
		- David Landgren
	It's the story of a miracle. Some three to four years before 
the Go-betweens released their first album, _Send me a lullaby_, 
someone plugged a tape deck into the mixing desk during a rehearsal 
in Robert Forster's bedroom. And a copy of this tape recently 
resurfaced (hence this record).
	Robert Forster sums it up best himself in the press release: 
"This...is another world. This is us as a Seventies band. A Seventies 
band that didn't really sound like many other Seventies bands. And 
that for me   is the charm of the whole thing and why I remember this 
period with such fondness. That gave it power and a certain uniqueness."
	And the amazing thing is how much it really works. I'm not 
much of a fan of _Send me a lullaby_ (which will probably get me shot 
in certain circles). So with that in mind I approached the idea of a 
lost album with a certain amount of trepidation and suspicsion.
	I truly was expecting some dreadful cringe material, or 
something hopelessly self-indulgent. But it's something else again, 
something quite magical. The sound quality is, to be honest, bloody 
awful; it's like trying to watch a play by the shadows cast on walls. 
At times, especially on "Long lonely day," the tape signal is washed 
out with static. Faint squeals of feedback loom in the background like 
thunderclouds, threatening to swamp everything.
	For reasons I can't quite fathom, while listening to this 
album, the closest parallel I can find is The Fall's _Perverted By 
Language_. It has something to do with the rough nature of the music, 
like an uncut gem.  It's also pretty obvious that any attempts 
(although I suppose they cleaned it up in minor ways) to clean up the 
signal would probably also destroy the soul of the music.
	But it works. Indisputably, it's a major record. At the same 
time, it's a non-record, a record that will never be. It captures 
things as they were, at the time. A couple of twenty year olds playing 
their own material, at a time when most other people their age were no 
doubt listening to Supertramp and Pink Floyd.
	The two links to the future are held in the opening tracks, 
"Lee Remick" and "Karen," songs that any self-respecting Go-betweens 
fan should know off by heart.
	The rest of the songs veer off into the unknown, unless of 
course you were living in Brisbane twenty years ago - in which case 
this is certainly going to bring back some memories for some people. 
Some of the stronger tracks, despite the technical flaws, include 
"Long lonely day" and "Day for night," which contain the seeds of 
the future, and "The sound of rain" with its '60s vibe.
	The bottom line is that this record is pretty much an 
essential addition to any self-respecting Go-betweens fan. Again, 
don't expect technical perfection; that's not what it's about. 
However, I understand completely why Grant and Robert decided to 
issue it, and I thank them for having had the courage to do so. For 
all its warts, this record is amazingly engaging.
---
	REVIEW: Soundtrack, _Lock, Stock & Two Smoking Barrels_ (Maverick)
		- Chris Hill
	If anything, a soundtrack pulling tracks nearly three decades old 
deserves credit in my book for not being an obvious label ploy. Will 
someone rush out and buy a James Brown box set because of the two songs on 
this disc? Perhaps, but probably not. The eclectic array of artists 
obviously come from a love for the music contained within the soundtrack. 
(Perhaps they could also come from intentional posturing for musical 
credibility, but that seems highly doubtful.)
	Feeling like a Nick Hornby mix tape, the soundtrack ranges from 
classic (James Brown's "The Payback" and "The Boss," Dusty Springfield's 
"Spooky") to modern (E-Z Rollers' "Walk This Land," Evil Superstars' 
"Oh Girl"), from punk (The Stooges' "I Wanna Be Your Dog") to pop/rock 
(Ocean Colour Scene's "Hundred Mile High City"), from reggae (Junior 
Murvin's signature song, "Police and Thieves") to crooning doo-wop (Pete 
Wingfield's "18 With a Bullet") to funk (Stretch's "Why Did You Do It"). 
Oh, and the theme to "Zorba the Greek."
	Given titles and attribution, snippets of dialogue are sprinkled 
liberally between songs (11 songs, 7 sound bites). See the movie first, 
then grin in recollection as Soap gives his sage "guns for show, knives 
for a pro" philosophy, or as Plank wearily pleads, "I can't fuckin' 
believe this! Could everyone STOP gettin' shot?!" The names and scenes may 
fade with time, but these bits bring instant memory refreshment.
	Will they keep the O. Henry ending when the Tom Cruise version 
arrives? Will that movie's soundtrack feature the same splendid mix of 
time and genre-scattered artists, or will it feature three top artists 
and eight third tier bands? Go see the original now, while it's fresh, 
if only to increase your dread and anticipation of the Hollywood version.
	As a reminder of the movie's British wit and sly humor, wait for 
the end of the soundtrack -- it ends on the same clever note. You'll 
count your cash for a second viewing.
	Similarly amusing, those visiting the movie site at 
http://www.lockstock2barrels.com/ without the Macromedia Flash plug-in are 
greeted by apish thug, Barry, telling you to piss off. Somehow, it's quite 
endearing.
---
	REVIEW: Various Artists, _Virgin Voices - A Tribute to Madonna 
		Volume 1_ (Cleopatra)
		- Joann D. Ball
	A true blue Madonna tribute was inevitable given her incredible 
impact on contemporary popular music and culture.  Sure, Madonna's 
gotten props before, most notably from Sonic Youth on the late Eighties 
Ciccone Youth project.  And there have been some creative covers over 
the years, such as the Lords of the New Church's hilarious take on 
"Like A Virgin," Bigod 20's industrial-strength "Like a Prayer," and 
the Drop Nineteens' outstanding guitar-reinforced wall of sound 
reconstruction of "Angel."  But the multiple artist cover collection 
_Virgin Voices: A Tribute to Madonna Vol. 1_ updates 14 selections 
from the Material Girl's vast catalog with the diverse elements of 
electronica.  This refashioning of Madonna's work is perfectly timed 
given her current explorations of the genre's sounds and styles on 
_Ray of Light_.
	In matching artists and songs, Cleopatra Records took the bold 
step of utilizing its significant roster of Eighties artists.  Using 
the tribute project to showcase the rebirth of several of Madonna's 
contemporaries is a smashing success because it gives these acts room 
to explore new musical territories and sounds.  _Virgin Voices_ lets 
loose with 1980s New Wavers Heaven 17 who seem to embody the 
celebration theme of Madonna's breakthrough hit "Holiday" and Loleatta 
Holloway who infuses some gospel soul into "Like A Prayer."  When 
performed by Bow Wow Wow's Annabella Lwin, the irony of "Like A 
Virgin" takes a new form.  Despite the years, Lwin has maintained her 
teenage sense of fun and silliness which are clearly conveyed in 
her bright and bouncy vocals.  "Why It's So Hard" from Madonna's 
_Erotica_ is a perfect song for Dead or Alive.  It underscores Pete 
Burns' gender-bending musical activism, and he delivers it with a 
sincerity and emotional depth that is absent on signature hits like 
"You Spin Me Round." And while Information Society draws upon its 
smash "What's On  Your Mind (Pure Energy)" for the cover of "Express 
Yourself," Gene Loves Jezebel has done an about face, trading in the 
guitars and over-the-top vocals for a darker, synth-driven cover of 
"Frozen" that should click at underground danceclubs.
	Since Berlin's "Take My Breath Away" has always seemed like 
the not-too-distant relative of "Live to Tell," it is fitting that the 
band was enlisted for the project so Terri Nunn could deliver a true 
to form version of the slow burner.  James Hardway with Amanda Ghost 
Featuring Boy George contribute "Bad Girl," which is yet another 
reason to revisit the _Erotica_ album.  Even though Boy George's 
vocals are so well blended into the mix that he's barely audible, the 
song is light, airy and textured making it the best crafted track on 
_Virgin Voices_.  The pairing's use of a female vocal over 
jungle-inspired percussion, along with Silverbeam's trip-pop 
interpretation of "Bedtime Story," recall the British duo Olive with 
the same infectious effect.
        An impressive collection, _Virgin Voices: A Tribute to Madonna 
Vol. 1_ is as much a tribute to Madonna's past as it is an 
acknowledgement of her current musical direction.  It is a testament to 
the spirit of dance music, which crosses all sorts of boundaries to 
create a communal sense of positivity, fun and adventure.  Using 
Madonna's contributions to popular dance music to show how new musical 
approaches enrich the format is a brilliant approach, and the tribute 
gets major bonus points for reminding us of the many bright spots in 
Eighties music by enlisting artists from the decade for the project.

TRACK LISTING  [artist in brackets]:  Holiday [Heaven 17], Like A 
Prayer [Loleatta Holloway], Like A Virgin (LCD Mix) [Annabella Lwin 
of Bow Wow Wow], Why It's So Hard [Dead or Alive], Live To Tell 
[Berlin], Vogue [Astralasia], Justify My Love [Frontline Assembly, 
Bad Girl [James Hardway with Amanda Ghost Featuring Boy George], 
Material Girl [KMFDM], Bedtime Story [Silverbeam], Express Yourself 
[Information Society], Swim [Spahn Ranch], Frozen (Razed in Black 
Mix) [Gene Loves Jezebel], Burning Up (Interface Mix) [The Voluptuous 
Horror of Karen Black]
---
	REVIEW: Hugo Largo, _Drum_ (All Saints/Thirsty Ear)
		- Chelsea Spear
	Hugo Largo's entrancingly beautiful music was an anomaly 
on the scene it grew out of. Unlike the harsh No-Wave orchestrations 
that bassist Tim Sommer was helping to sculpt with avant-garde 
musician Glenn Branca, the music of Hugo Largo was ethereal, 
melodic and deceptively strong. Their lineup (two basses, a violin, 
and an occasional piano, held together with the spooky, operatically 
influenced vocal stylings of Mimi Goese) was highly unusual. Though 
their sound was rooted in traditions both experimental (the 
Raincoats' _Odyshape_ album and the swooping, intoxicating vocal 
tics of Mary Margaret O'Hara) and traditional for rock music (the 
lush sound associated with Britain's 4AD label).  
	A decade after the Largos disbanded, the rock world has 
gone through a similar cycle of growth, though obviously on a greater 
commercial level than the dark, discordant avant-punk scene of the 
Lower East Side; logy grunge has given way to ringing pop and Lilith 
sweetness. Though detecting the influence that Hugo Largo's two albums 
have had in that time is difficult compared to, say, finding the 
influence of Sonic Youth or Big Black, _Drum_ and _Mettle_ still have 
some relevant things to say to musicians and audiences alike in this 
day and age. In light of this, Thirsty Ear Records has reissued the 
band's spare, achingly beautiful debut album, _Drum_, after it 
languished out of print for what seems like forever.
	The beauty and majesty of _Drum_ has, thankfully, not aged 
in that time. Producer Michael Stipe applied a spare hand to the 
band's production, allowing the breathtaking beauty of their music 
to emerge on its own, and on their own terms. Given the band's 
pedigree, and given the unusual musical lineup, it occasionally 
comes as a surprise that their music is so traditionally and lushly 
melodic.  However, the most satisfying moments come out of the band's 
interest in messing around with conventional song structures (such as 
on the atmospheric, cinematic tones of Country). More often than not, 
the most satisfying musical moments come from the band's interest in 
creating a mood for the audience to slip into, such as on "Second 
Skin," which blends a crunching dynamic with an intoxicating, 
slippery melody.
	This reissue of _Drum_ eschews the brief song lineup of its 
original vinyl release with the bonus track-happy lineup that was 
reissued on John Cage's short-lived Warner Brothers imprint. While 
the tunes are good, they restate themes that were demonstrated on the 
album with much more grace and clarity. "Scream Tall" is an a cappella 
scat number that manages to make Goese sound shrecky 
instead of her usual graceful, and "Harper's" is a strange number that 
manages to go through every time signature in the book without finding 
one it likes. Indeed, this reissue is disappointing for several 
reasons: it eschews making available some of the harder-to-find HL 
stuff, like their Christmas single and other B-sides and demos, the 
strange contrast of the print on the liner looks like a shoddy color 
photocopy and the sublime "My Favourite People" is spaced from the 
regular action of the album with a ten-second delay that suggests a 
bonus track. In light of how wonderful this music is, and how 
unavailable it has been for the past decade, however, I'm thankful 
that someone had the foresight to reissue it. Bravo to Thirsty Ear, 
and we'll take a look at their reissue of _Mettle_ in the near future.
---
	REVIEW: Tal Bachman, _Tal Bachman_ (Columbia)
		- Michael Van Gorden
	The most appearling element of POP music?  It's all right 
to wear your influences on your sleeve.  Those that do it poorly 
tend to be nothing more than a pale imitation. And those that do 
it well are a pleasure to listen too.
	Tal Bachman falls into the latter category....thankfully. 
The easy influences to spot are of course the Beatles, Kinks, 
XTC, Beach Boys, and the Guess Who (Tal's father is Randy
Bachman - Guess Who alumni, and the B in BTO). A more recent 
comparison might be Adam Schmitt and A man called E (before he 
added another e, an l and an s).
	The CD starts off with the one two punch of "Darker Side 
of Blue", a "Cheap Trick covers the Kinks" kind of song, while 
listening to a little ELO.  This is quickly followed by the 
second hit of "She's So High", a great rumination on that 
unattainable beauty  we have all dreamed about.  "She's as 
perfect as she can be, why should I even bother" is a great 
lyric that is followed up by the chorus that won't go 
away ("she's so high, high above me, she's so lovely").
	After this perfect start, Tal decides to slow things 
down on the lovely ballad "If You Sleep", a song about 
contemplating the fate of a loved one. His voice effortlessly
floats from a sweet falsetto to an anguished cry for help in the
chorus: "If you Sleep, you Sleep With God".
	Tal Bachman takes you on a emotional roller coaster as 
well, with the moody "Strong Enough", where he questions the 
safety of an obsessed imagination by asking his lover 'Are you 
strong enough to love me?' Then there is the soft romantic "Beside 
You", which echoes the Beatles circa "I will" and "Julia" from  
_The Beatles (White Album)_.
	On "You Don't Know What It's Like", you hear the unmistakable 
sound of Bowie and Marc Bolan as the raunchy guitars and sing-along 
chorus reel you in to this pop delight.  And yet Tal Bachman is not 
just a about pop hooks. His words are simple, effective and 
intelligent. Sample this line from "Romanticide":  'Whoever said 
to take it on the chin, whoever said that good guys always, has 
never seen the sorry state I'm in, the victim of Romantacide again.'
	The listener will find pop gems all over _Tal Bachman_, 
full of unforgettable melodies, elegant and often regal arrangements, 
beautiful vocals and lyrical wonders.  In a recent interview, Tal 
said that he has devoted his life to the study and practice and 
perfection of a musical ideal. Those studies have paid off ten-fold. 
And, despite all the influences, Bachman has staked out a personal 
style that is his alone and will hopefully attract many pop lovers 
for years to come.
---
	REVIEW: Add N to (X), _Avant Hard_ (Mute)
		- Niles Baranowski
	You may think you've never heard Add N to (X), but if you 
watch MTV at all, you probably have without realizing it. The band 
was commissioned to do "show packaging" (those faux-arty station ID's 
that you see at the top and bottom of every hour) starting in 
February and if those bleeps that you heard got you curious, _Avant 
Hard_ will surely hook you in.
	One of the most accessible of the "post-rock" bands working 
today, this British trio mix the correct proportions of minimalism, 
rhythmic complexity and twistedly kitschy in-jokes into their 
retro-futuristic base stock.  If the sounds remind you somewhat of 
Kraftwerk (on, say, "Robot New York"), they are compressed into such 
oddball tempos and time signatures that sounds tend to come out as 
sudden bursts or in such powerful streams that you feel pushed along 
by them.
	Not as vocoderized or synth-strict as their stellar debut _On 
the Wires of Our Nerves_, _Avant Hard_ seems focussed on pushing the 
band's sense of humor center stage.  One song titled "Buckminster 
Fuller" repeats his name as a sort of mantra over a driving drum 
beat (courtesy of High Llama Rob Allum) while "Metal Fingers in my 
Body" repeats its so-naughty-its-harmless title over pummeling Trans 
Am-esque guitar rock textures (allegedly the video for this single 
is an animated porn film), probably the band's least synthetic 
moment.  Odder still, each member gets an eponymous song. Barry 
Smith's "Barry 7's Contraption" sounds like a traffic jam of clown 
cars being pulled forward on an ever accelerating conveyer belt 
while Steve Claydon's "Steve's Going to Teach Himself Who's Boss" 
uses Ian Curtis-damaged vocal samples as a sort of meaningless scat 
speech over ground zero minimalism.  Then you've got Anne Shenton 
and "Anne's Eveready Equestrian" which sounds like a horse protesting 
as it's driven off a stormy cliff. The meaning of this is clear: 
Barry's the goofy one, Steve's the dark one and Anne...loves horses, 
I guess.
	While all this levity makes for some nice dance music (check 
out the jumpy "Skills"), the band works best with long drawn-out 
pieces that allow emotion to build as they manage to do on the 
second half of the record.  "Return of the Black Regent" is the 
sequel to "The Black Regent," a single from _Nerves_.   While the 
original "Regent" was poppy, this new one is a dark orchestral 
dirge, hypnotic in its gargantuan portions and allowed to develop 
into a full cacophony.  To screw things up even further, Add N to 
(X) break with their entire recorded history by using the 
non-vocoderized Shirley Bassey-esque vocals of Alison Goldfrapp, 
making the track lushly noisy even in its darkness.
	The album closes on a pair of quieter and less frenetic 
tracks: the groovy, Sterolabby "Oh Yeah, Oh No" and "Machine is Bored 
with Love." Chiming and whistling like Mono's semi-eponymous hit, 
"Machine" feels suspended in ether and despite its title, probably 
more romantic than anything the band has done in the past.  While 
_Avant Hard_ only approaches the satisfaction level of its 
predecessor, it shows a uniquely powerful electronic band opening 
doors and exploring all possibilities, refusing to shut itself into 
harshness or cold minimalistic noodling.
---
	REVIEW: Nik Kershaw, _15 Minutes_ (Pyramid)
		- Bob Gajarsky
	The last time we heard from Nik Kershaw, the songwriter, 
was his penning the 1991 Chesney Hawkes #1 U.K. hit "The One 
And Only".  Astute fans may have previously noticed Kershaw 
playing guitar on several Elton John tracks in the late 1980s.
But it was his European success for songs such as "Wouldn't It 
Be Good", "The Riddle" and "I Won't Let The Sun Go Down On Me" 
that endeared him to many fans.
	Now, Nik has returned to the center of the stage with 
the release of his latest album, _15 Minutes_.  An interesting 
selection of twelve introspective tracks, _15 Minutes_ reflects 
an older and more mature man than the hitmaker of the mid 80s.
	"The whole process started about four years ago," Kershaw 
explains, "but I didn't realize I was making an album.  I had a 
few ideas that I couldn't see anyone else doing, but I had to 
get them out of my system.  I recorded a few demos that took 
more time than I thought they would, and the next thing I knew 
was 'What am I doing here?  I'm making an album.'"
	That album owes more to the latter part of Kershaw's 
first solo foray than to his initial start.  His fourth album, 
_The Works_, offered an insight to the thoughtfulness which 
would predate _15 Minutes_ ; for those familiar with "Elisabeth's 
Eyes", the writing style of _15 Minutes_ will come as no surprise.
	"In the 80s, I did everything I could to not write about 
myself," Kershaw explains.  "I was a bit nervous playing this 
record for other people because it exposed me - I can't hide 
behind anything with these songs."
	And the first single, "Somebody Loves You", has an 
almost autobiographical feel to it.  "It's my party / I don't 
have to care less / I can always play my part; / They know my face 
and they know my name / They know my shamelessness but not my 
shame" sings Kershaw, and the listeneer just knows that this song 
came from the heart.  The look at a man's sensitive side ("Billy") 
and "Find Me An Angel" (which takes a page out of the Chris Isaak 
songbook) offer a different side of Nik Kershaw which never 
previously saw the light of day.
	When the 'good looking' men came out of Britain in the 
early 1980s, many questioned their staying power.  Duran Duran 
has consistently managed to defy the critics, and Howard Jones has 
continued his successful music output.  Nik Kershaw, however, 
was staying behind the scenes and out of the spotlight - until now.  
And just as Jones showed a more mature side with _People_, so has 
Nik Kershaw with _15 Minutes_.
---
	REVIEW: Planes Mistaken For Stars, _Planes Mistaken For Stars_ / 
		Starmarket, _Calendar_ (Deep Elm)
		- Andrew Duncan
	Emo music could not be more vital than it is today. In a global 
society that can be so isolated, emo music breaks free of any boundaries 
that tend to hold back the musician. To define emo simply as a prefix 
for emotion or emotional, yet its sense of existence is more 
complicated than that. Emo music or emo-core can offer a sense of 
therapy, beauty and intensity all in the same breath.
	Planes Mistaken For Stars proves the above analysis to be 
correct, but not in safe flight patterns. If you are hoping to easily 
take your emotions from point A to point B without turbulence, think 
again, as this album is filled with harsh phrasing and teeth-gritting 
feelings. First captured on Deep Elm's _The Moment Of Truth: The Emo 
Diaries Chapter III,_ the Peoria, Illinois band (who recently moved 
to Denver, Colorado) takes an abstract, post-hardcore approach to 
their self-titled EP.
	Less than a half-an-hour in length, the time is not a factor 
when it comes to eight songs of intense bitterness. Vocalist/guitarist 
Gared O'Donnel is angry, not only in his voice, but with his words as 
well. On the song "When The Arrow Went Out," O'Donnell screams out, 
"And I don't know if it was the weight of your words or the way you 
said my name that sent me packing." This is a demonstrative example 
to get a feel for the tone of the release.
	Listen closely and it's the precision and musicianship that 
really makes this release shine. There is a nice array of feedback, 
disdainful guitar riffs and classical guitar influences that seems 
most impressive.
	Starmarket is a different story in a different context. With 
_Calendar_, the band focuses on the song as a whole. Instead of 
creating a gamut of emotional range within one song, the Swedish 
group uses simple forward-driving chord structures and melodic power 
pop to get their point across. It's not to say that the band not 
powerful. Their dynamics exist from one song to the next. "Losing 
Track" is a powerful example of what makes this band great - Frederik 
Brandstrom's excellent vocal range and simplistic, yet creative music. 
"You Can't Come" is the slow song when it's time to dance with the 
girl - awkward but nevertheless a release of feeling. Wait a minute 
and it's again time to rock with great, catchy tunes like "Wither," 
"Choker" and "Hate You Still." These are the songs that you will 
catch yourself humming to without the CD spinning. This is a band 
that has increased in popularity, and there is no doubt that the 
excellence of _Calendar_ will take Starmarket even further.
---
	REVIEW: Julia Fordham, _The Julia Fordham Collection_ (Virgin)
		- Chris Hill
	Seeing its U.S. release at last, this collection by British songbird 
Julia Fordham provides presents for both a longtime fan and a newborn 
convert: two new songs ("Kid" and "It Was Nothing That You Said"), 
reworkings of three classic tracks and ten other choice cuts culled from 
her five full-length cds, spanning a decade from 1988's self-titled debut 
to 1997's _East West_. Assembled with care, it's a perfect retrospective 
and a promise of what Fordham's future holds.
	Two remixes kick off the collection. "Happy Ever After (Rain Forest 
Mix '98)" finds Julia modernizing her '88 blending of a soured personal 
relationship and her dismay at black/white inequality in apartheid South 
Africa, to account for the freeing of Nelson Mandela and that country's 
abolition of apartheid. On the second track, "Where Does the Time Go? ('98 
Remix)," Curtis Stigers brings a wonderful male vocal presence to Julia's 
rich tones. Hearing their voices intertwine, locating the emotional core 
in every line and word, then lifting it to the sky, is worth the price 
of the disc by itself.
	The third '98 remix, "I Thought It Was You," shows up ninth. It's a 
moody, bass-driven take on a heartbreakingly intimate and all too common 
scene: "I'm not looking for the answer, baby/I'm just looking for a little 
love/We're all looking for someone/For a minute.../I thought it was you." 
An oxymoron -- uplifting sadness -- which is present in spades in her work.
	Julia's never flinched from examining the heart in minute detail. 
The songs here attest to that. "Girlfriend" pleads for a stout, silent 
comforting shoulder. "Porcelain" portrays a woman struggling with emotions 
she should, but can't, return. "I Can't Help Myself" is an airy abandon of 
the self to love. "East West" sees her discovering, to paraphrase Buckaroo 
Banzai, that wherever she goes, she still finds herself and her broken heart. 
Perhaps for all the worms she's encountered, the soil is fresh and vital 
in each track. Whereas some divas dig tired ground with songs of love's 
fickle nature, Julia manages to always produce fruit.
	With this concentrated glance into her career, it's also pleasantly 
obvious that Julia sublimates her dulcet tones to the importance of the 
song, rather than parading her powerful range for a lessened impact of 
ability over emotion. There's no scale exercises found here; when she 
stretches, it's in the service of her muse.
	There's wealth to be found in the back catalog, as well. Any of her 
albums contain songs equally representative of her brilliance ("Honeymoon," 
"As She Whispers" or "Behind Closed Doors," for example). On a stage of 
divas, she merits a dais all her own. This is a welcome spotlight.
---
	REVIEW: Ian Tyson, _Lost Herd_ (Vanguard)
		- Jon Steltenpohl
	The prevailing notion of just what a cowboy should be is 
ingrained deep in the lore of the Americas. We have images of black 
and white heroes fighting off Indians, and ruffians shooting it out 
at high noon. So, when one is presented with the honest-to-god real 
thing, it sets you back for a moment of reflection. Ian Tyson doesn't 
try to sell an image as the last of a breed; he embodies it. While 
"Cowboy Poets" have littered our cultural landscape with quirky poems 
and aw-shucks witticisms doled out with requisite mustache and drawl, 
Ian Tyson has lived quietly up in Canada and looked down upon it all.
	Tyson's view of the world isn't revisionist or sappy. He 
simply tells it like it is. The plains are rapidly being divided into 
20 acre pre-fab ranches and corporate megafarms. The modern 
conveniences of cell phones and faxes may not seem like key points 
of the cowboy's prose, but Tyson works them in among tales of wild 
rivers and untamed horses. Yet Tyson is a modern cowboy who, while 
yearning for the past, certainly doesn't pretend he's in the middle 
of a different century. These are the songs of a 20th century cowboy.
	Wait... cowboy music? In an alternative music publication? 
Well, yes.  
	Tyson is about as far from New Country as a cowboy can get. 
This is mellow music set at a slow pace. Lap steel guitar is set 
alongside a slightly jazzy saxophone that might as well be lifted 
from a Sting song. There's a rustic quality to Tyson's voice, but it's 
set against a smooth background.  Take the lounge out of k. d. lang's 
_Ingenue_, and you've got the idea. Shades of Chris Isaak come out now 
and then, but the Roy Orbison falsetto and the rockabilly side never 
show. The echo on Tyson's voice is set on "a little to strong," but 
that's about the only blemish to the excellent sonic production.
	Ian Tyson's _Lost Herd_ certainly won't be showing up in 
MTV's Buzz Bin, but it's expertly crafted music for its genre. Even 
the crowd pleasing version of "Somewhere Over the Rainbow" seems like 
it was written for a man on a horse. Alternative country fans will 
probably know Tyson from his extensive back catalog, but there's 
undoubtedly a large audience who've never come across this gentleman. 
If you've ever enjoyed some of Willie Nelson's work, like "Blue Eyes 
Crying in the Rain," you'll certainly enjoy _Lost Herd_.	
	For more information, visit http://www.vanguardrecords.com/tyson 
---
	REVIEW: The Jellybricks, _SoapOpera_ (Rite-Off Records)
		- Dan Enright
	With this second release on the Badlees private label Rite-Off 
Records, the Jellybricks ( http://www.thejellybricks.com ) have honed 
their artschool pop influences -- that creative surge in pop that 
occurred 20 years ago in pockets of England (the Clash, the Jam, Joe 
Jackson, and most obviously Elvis Costello) and the U.S. (Steely Dan, 
Husker Du, The Replacements, Graham Parker) -- into a strong collection 
of hard-edged pop songs.
	The songwriting and performances are tight, melodic and 
inventive. Complimented by the production team (Dale Epperson & Robert 
Welsh) at the Green Room in Harrisburg, Penn. (more on Harrisburg 
later), the result is 45 minutes of great music.
	The songs are lyrically clever, like Costello's writing with 
the Attractions; the old boy-meets-girl-means-doom chestnut is pushed 
and pulled into new territories. Band mates Larry Kennedy, Garrick 
Chow, Bryce Connor and Laine Wehler have collaborated to create this 
collection of insightful, intelligent, witty -- even a bit sarcastic 
at times -- short stories set to music and told in three or four minutes.
	There are a broad array of styles, all of them "radio friendly" 
(in a good way). "Bittersweet Day," for example, has a great melodic 
hook which sweetly links the verses to the chorus and takes the edge 
off the protagonist's cold, empty lament, "You were the first one 
listening to someone with nothing to say," then the perfectly 
dissonant, "bittersweet day." It's a gentle & sympathetic tale about 
surviving the depression following a relationship break up, featuring 
tightly voiced pop harmonies.
	Three and a half "schizophrenic" [default running order] 
minutes later, they're blistering through "Mite" as fast and lean and 
angry as anything the Replacements or the Clash ever released. The 
opening lyrics, "jammin' me in like I waste your time/makin' me feel 
like I'm asinine" or "...with eyes revolting red with all the things 
you said" are prime examples of the approach to writing these guys 
have taken.
	And the album is overloaded, on every song, with more of the same.  
	They're getting good reviews for the energy of their live 
performances and the arrangements hint at the possibility the songs 
could be expanded, ala jam-bands like Phish or Government Mule, during 
live performances. By continuing to polish their songwriting and 
performance skills and expanding their attention beyond clever 
laments / rants (la'rants?) of love lost, they could lead a major 
expansion of the pop-genre envelope. They're certainly pushing it 
hard enough.
	If you like this kind of music, catch this band now, at the 
beginning of their career. It'll save you the heartache of trying to 
find their indie discs, secondhand.
	Back to Harrisburg: Potential Scene Alert. Harrisburg appears 
to be in the early stages of building and nurturing an original music 
community.  From what I can gather, they've got everything necessary 
for that kind of creativity to bloom -- and I mean on the level of 
Seattle, Minneapolis, Boston, or Cleveland. There are a sizeable 
collection of talented, proficient musicians and songwriters, 
co-operative regional radio playlists (WQXA-FM), a supportive (and 
affordable) studio (the Green Room) staffed by an experienced group 
of producers/engineers/perfomers, sizeable cities with numerous 
clubs/theaters within a couple hours drive (Allentown, Philadelphia, 
New York City) and a seasoned management team (One Louder Management) 
to help guide the resulting professional careers.
	If the market doesn't get flooded by heroin (or receive 
meddling corporate attention), it should produce some outstanding 
music over the next decade. I suggest taking "Made in Harrisburg" -- 
and this latest, of the city's emerging bands -- seriously.
---
TOUR DATES:
	Aerosmith / Afghan Whigs
Apr. 13 Memphis, TN The Pyramid
Apr. 15 Greensboro, NC Greensboro Coliseum
Apr. 17 Greenville, SC Bi-Lo Center
Apr. 19 Birmingham, AL Birmingham-Jefferson Coliseum
Apr. 21 Biloxi, MS Mississippi Coast Coliseum

	Beastie Boys
Apr. 19 Stuttgart, GER Schleyerhalle
Apr. 20 Rotterdam, NET Ahoy
Apr. 21 Cologne, GER Cologne Arena

	Ben Folds Five / Fleming & John
Apr. 16 Brunswick, ME Bowdoin College Morrell Gym
Apr. 17 Amherst, MA Amherst College Gym
Apr. 18 Lancaster, PA Franklin & Marshall College Alum Sports Ctr.
Apr. 19-20 Philadelphia, PA Theater of Living Arts

	Bouncing Souls
Apr. 16 Detroit, MI St. Andrews Hall 
Apr. 17 Cleveland, OH Agora Theater 

	Candlebox
Apr. 13 Ventura, CA Ventura Theatre
Apr. 15 San Diego, CA 4th & B
Apr. 16 Santa Ana, CA Galaxy Concert
Apr. 17 Phoenix, AZ Celebrity Theatre
Apr. 18 Las Vegas, NV House of Blues

	Cubanismo Spring Tour
Apr. 14 Granville, OH Dennison University
Apr. 16 Ann Arbor, MI EMU Convocation Ctr
Apr. 17 Cleveland, OH Tri-C Jazz Festival
Apr. 18 Lexington, KY Grand Ballroom
Apr. 20-21 St.Paul, MN Planet Ordway

	Ani DiFranco
Apr. 13 Durham, NH Whittemore Arena 
Apr. 14 Burlington, VT Memorial Auditorium 
Apr. 16 Orono, ME Hutchins Concert Hall 
Apr. 17 Portland, ME State Theatre 
Apr. 18 Newark, DE Bob Carpenter Center 
Apr. 20 Charlottesville, VA Charlottesville Pac 
Apr. 21 Charlotte, NC Grady Cole Center 

	Dubtribe Sound System
Apr. 13 Boston, MA Karma
Apr. 16 Rochester, NY Gate
Apr. 21 Harrisburg, PA Wire Coffee House

	Eve 6 / Lit
Apr. 13 Minneapolis, MN Ground Zero
Apr. 14 Milwaukee, WI Rave
Apr. 15 St. Louis, MO Mississippi Nights

 	Firewater / Girls Against Boys 
Apr. 13 Hoboken, NJ Maxwell's
Apr. 14 Philadelphia, PA Pontiac Grill
Apr. 15 Cambridge, MA Middle East
Apr. 16 New York, NY Mercury Lounge
Apr. 17 Washington, DC Black Cat
Apr. 18 Fredricksburg, VA Mary Washington College

	Gardener
Apr. 13 Albuquerque, NM Launch Pad 
Apr. 14 El Paso, TX Headquarter Records
Apr. 16 Austin, TX Emo's
Apr. 20 Los Angeles, CA The Smell

	Godsmack / Loudmouth
Apr. 14 Cleveland, OH Odeon
Apr. 16 Myrtle Beach, NC House of Blues

	Gomez / Mojave 3
Apr. 13 Cambridge, MA Middle East
Apr. 14 Hoboken, NJ Maxwell's
Apr. 15 New York, NY Bowery Ballroom
Apr. 17 Toronto, ON Lee's Palace
Apr. 18 Detroit, MI St. Andrews
Apr. 20 Chicago, IL Double Door
Apr. 21 Minneapolis, MN 400 Bar

	Miles Hunt
Apr. 13 Ferndale, MI The Majick Bag 
Apr. 15 Toronto, ONT El Macambo 

	Kent / Papa Vegas
Apr. 16 Minneapolis, MN First Avenue
Apr. 17 Milwaukee, WI Rave
Apr. 19 Lawrence, KS Bottleneck

	Low
Apr. 13 Columbia, SC Hunter-Gatherer 
Apr. 14 Athens, GA 40 Watt Club 
Apr. 16 Richmond, VA Alley Katz 
Apr. 17 Washington, DC Black Cat 

	Mercury Rev
Apr. 14 Chicago, IL Double Door
Apr. 16 Pontiac, MI Mill Street Entry
Apr. 17 Buffalo, NY Showplace Theatre
Apr. 18 Cambridge, MA Middle East
Apr. 19 New York, NY Bowery Ballroom
Apr. 20 Washington DC Black Cat

	Steve Miller Band
Apr. 13 Des Moines, IA Veterans Memorial Auditorium
Apr. 14 Chicago, IL Rosemont Theater
Apr. 15 Peoria, IL Peoria Civic Center
Apr. 16 Columbus, OH Shottenstein Center at Ohio State
Apr. 18 Columbia, MO Hearnes Center at UM

	Of Montreal
Apr. 16 Chatanooga, TN Lamar's
Apr. 17 Athens, GA 40 Watt Club
Apr. 18 Nashville, TN Exit Inn 
Apr. 19 Louisville, KY Mercury Paw 
Apr. 20 Columbia, MO Shattered 
Apr. 21 Lawrence, KS Replay Lounge 

	Olivia Tremor Control
Apr. 15 New Orleans, LA Howlin' Wolf 
Apr. 16 Houston, TX Rudyard's 
Apr. 17 Austin, TX Electric Lounge 
Apr. 19 Albuquerque, NM Launchpad 
Apr. 21 Ponoma, CA Claremont College 

	Pan Sonic
Apr. 20 Cambridge, MA Middle East
Apr. 21 Montreal, PQ Cabaret

	Placebo / Stabbing Westward
Apr. 13 Portland, OR La Luna
Apr. 16 Los Angeles, CA Palace
 
	Ernest Ranglin 
Apr. 16 New Orleans, LA House of Blues
Apr. 17 Austin, TX Flamingo Cantina
Apr. 18 Houston, TX International Festival

	Residents
Apr. 13-14 Chicago, IL House of Blues
Apr. 17 Portland, OR La Luna
Apr. 18 Seattle, WA Showbox
Apr. 20 Berkeley, CA University of California
Apr. 21 Sacramento, CA Crest Theatre

	Sleepyhead
Apr. 17 Boston, MA Lizard Lounge 
Apr. 24 New York, NY Brownie's 

	Sparklehorse / Varnaline
Apr. 13 Toronto, ON Horse Shoe
Apr. 14 Montreal, QC Jailhouse
Apr. 16 Boston, MA Middle East
Apr. 17 New York, NY Bowery Ballroom
Apr. 18 Philadelphia, PA TLA

	Splender
Apr. 14 New York, NY CBGB's 
Apr. 15 Cambridge, MA TT The Bears 
Apr. 16 Long Island, NY Village Pub 
Apr. 17 Asbury Park, NJ The Saint 
Apr. 18 Philly, PA Pontiac Grille 
Apr. 21 Wash, DC The Metro Cafe 

	Sally Taylor
Apr. 21-22 Boulder, CO Fox Theatre
Apr. 23 Colorado Springs, CO Colorado Music Hall

	Underworld
Apr. 20 Washington DC 9:30 Club
Apr. 21 New York, NY Hammerstein Ballroom
 
	Wilco
Apr. 14 Madison, WI The Barrymore
Apr. 15 Urbana, IL The Canopy
Apr. 16 Grand Rapids, MI Calvin College 
Apr. 17 Toronto, ON The Guvernment
Apr. 19 Northhampton, MA Pearl St.
Apr. 20-21 New York, NY Irving Plaza

	David Wilcox
Apr. 13 Milwaukee, WI Shank Hall
Apr. 16 Pittsburgh, PA Rosebud
Apr. 18 Pawling, NY Towne Crier
---
THE READERS WRITE BACK!
	> On the importance of one word...the original title 
of the Pretty Things' most recent disc was _Fuck Oasis and 
Fuck You Too_ (the too was omitted), which of course is a 
pun on another popular band name.  The title as quoted above 
misses that entirely by leaving out that one critical word. 
- Gallandro, Arizona
---
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