== ISSUE 178 ====  CONSUMABLE ONLINE  ======== [May 27, 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:     Michelle Aguilar, Christina Apeles, Niles J. 
                      Baranowski, Tracey Bleile, Jason Cahill, 
                      Matthew Carlin, Patrick Carmosino, John 
                      Davidson, Andrew Duncan, Krisjanis Gale, 
                      Chris Hill, Eric Hsu, Tim Hulsizer, Franklin 
                      Johnson, Steve Kandell, Reto Koradi, Robin 
                      Lapid, Linda Scott, Scott Slonaker, Kerwin So, 
                      Chelsea Spear, Jon Steltenpohl, Michael Van 
                      Gorden, Simon West
  Technical Staff:    Chris Candreva, David Landgren, Dave Pirmann
  Also Contributing:  Dan Birchall

 Address all comments to staff@consumableonline.com ; subscription 
information is given at the end of this issue. 
==================================================================
	All articles in Consumable remain (C) copyright their author(s). 
Permission for re-publication in any form must be obtained from the 
editor.
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                            .------------.
                            |  Contents  |
                            `------------'
REVIEW: The Cranberries, _Bury the Hatchet_ - Jon Steltenpohl
REVIEW: Ron Sexsmith, _Whereabouts_ - Matthew Carlin 
REVIEW: Fish, _Raingods With Zippos_ - Dan Birchall
REVIEW: Backsliders, _Southern Lines_ - Tracey Bleile
REVIEW: The Old 97s, _Fight Songs_ - John Davidson
REVIEW: Lit, _A Place in the Sun_ / Citizen King, _Mobile 
   Estates_ - Scott Slonaker
INTERVIEW: Sally Taylor - Joann D. Ball
REVIEW: Sponge, _New Pop Sunday_ - Bill Holmes
REVIEW: Kreidler, _Appearance and The Park_ - David Landgren
REVIEW: Colin Hay, _Transcendental Highway_ - Chris Hill
REVIEW: Mary Chapin Carpenter, _Party Doll and Other 
   Favorites_ - Jon Steltenpohl
REVIEW: Moa, _Universal_ - Tracey Bleile
REVIEW: Graham Parker, _The Mona Lisa's Sister_ - Bill Holmes
REVIEW: Whistler, _Whistler_ - Chris Hill
ERRATA: Rick Springfield
NEWS: New York City's Z-100 "Zootopia"
TOUR DATES: Beastie Boys, Black Crowes / Lenny Kravitz / Everlast, 
   Candy Butchers, Mary Chapin Carpenter, Chapter In Verse, Floraline, 
   Ben Harper, Alanis Morissette, Van Morrison, Beth Orton, Pinetop 
   Seven, Rammstein, 764-HERO, Skunk Anansie, Sonic Youth, 
   Sparklehorse / Mercury Rev, Sally Taylor, George Thorogood / 
   Jake Andrews, Those Bastard Souls, UB40, Verve Pipe / Papa Vegas
Back Issues of Consumable
---
	REVIEW: The Cranberries, _Bury the Hatchet_ (Island)
		- Jon Steltenpohl
	For Cranberries fans, _Bury the Hatchet_ has been worth the 
wait. O'Riordan and crew are back, and the only changes are those small, 
incremental improvements that result in an instantly familiar album that 
will completely satisfy the faithful.  You'll get the trademark soulful 
Delores O'Riordan backed appropriately by either scathing guitar or 
ethereal atmosphere.  O'Riordan can either deliver a breathless lullaby 
or howlingly mad banshee, and the band keeps up with every step.
	There is not tendency by the band to add in the proverbial 
kitchen sink, yet the arrangements are neither lacking nor sparse.  
It's just that they fit the songs perfectly.  It's a remarkable show 
of skill and restraint.  In "Copycat", there's shimmering guitar bubbles 
that lash out, a driving acoustic guitar that keeps the beat, and 
blossoming cymbals.  The guitar solo is a slight, Cure inspired line 
that keeps repeating over and over.  It's a driving, pulsing song with 
O'Riordan's vocals supported at every twist and turn.  A song later, on 
"What's on My Mind", features a simple formula -- take simple guitar, 
strings, and straightforward drums on a plain song with O'Riordan's 
expressive voice skirting around the edges.
	The Cranberries do their thing so effortlessly on _Bury the 
Hatchet_ that it is easy to forget the skill involved in making an 
album that is so instantaneously accessible.  In one or two listens, 
you begin cherishing the melodies.  You sing along as if the album has 
been a favorite for years, and you fail to see how you will ever get 
tired of it. Songs go by and transition from harsh to quiet and scathing 
to touching without a single pause or interruption.  _Bury the Hatchet_ 
is an album that you can listen to as an experience rather than a 
collection of singles.
	In a way, The Cranberries have fulfilled the promises of another 
"O", the early Sinead O'Connor.  On her debut, _The Lion and The Cobra_, 
O'Connor found a way to be both ruthless and tender, shy and sinister. 
But, after only one more album, O'Connor's life became a side show, 
and her music faded.  The Cranberries have had some of the same 
distractions, but O'Riordan and company give the listener what they 
want... passion and conviction.  Whether it's the personal lyrics of 
songs like "Promises" or "Animal Instinct" or the provocative lyrics 
of tracks like the anti-molestation tune "Fee Fi Fo", The Cranberries 
communicate to the listener directly and intensely.  O'Riordan is still 
showing us her underbelly, and she's making us feel what she feels.
	Her lyrics are consistently direct and rather simple.  "Dying 
in the Sun" is a sad little song of frailty and regret that closes the 
album. O'Riordan's voice is layered in counterpoint harmonies with a 
simply piano background.  Sing's O'Riordan "I wanted to be so perfect 
you see, I wanted to be so perfect."  The pain and remorse in her voice 
is touching and tearful.  By the fourth album, many bands give up on 
such honesty.
	Without question, The Cranberries have proved themselves to be 
one of the best bands of the 90's.  _Bury the Hatchet_ simply is the 
final chapter in the first decade of The Cranberries.  They might not 
be everyone's cup of tea, but for those who have fallen in love with 
The Cranberries, it is hard to find another band that has so steadfastly 
stuck to their own sound and produced consistently compelling albums.  
_Bury the Hatchet_ is, thankfully, just what you'd expect from a band 
as good as The Cranberries.
---
	REVIEW: Ron Sexsmith, _Whereabouts_ (Interscope)
		- Matthew Carlin 
	Just about every reference point with which to describe Ron 
Sexsmith's music comes from a time most whipper-snappers these days know 
nothing about. The golden age of the singer/songwriter - a fecund time 
for unshaven guys with long hair and acoustic guitars - started in the 
late-60s and all but disappeared a decade later. Sexsmith himself 
wistfully recounts his formative days in the early-90s playing Neil 
Young covers to unreceptive bar patrons in his native Canada. Now, after 
punk rock has been fully co-opted and indie rock has retreated into its 
collegiate cave, discerning music consumers are again buying well-crafted 
pop songs.
	Lying somewhere between the grandiose musical extravaganzas 
of Rufus Wainwright and the straightforward strumming of Elliott Smith, 
_Whereabouts_ boasts a full battalion of horns, strings and vintage 
keyboards, but never sounds cluttered. Although the instrumentation on 
_Whereabouts_ is more involved than that of Sexsmith's last release, 
_Other Songs,_ the production of the new tunes somehow seems a bit more 
focused. Yet the overall effect still feels loose and organic. Whereas 
the horns on "Clown in Broad Daylight" from _Other Songs_ seem to jump 
out and announce their arrival, the abundant brass and reeds on the new 
platter tastefully slink their way in and out of arrangements, remaining 
supportive rather than overpowering.
	On the soulful, organ-driven "Right About Now," Sexsmith starts 
with a laid back groove and slowly builds to a gentle string part that 
complements the final lines of the song quite nicely: "So my pen's 
writing this song,/but tonight the words are coming out wrong./I think 
I'll just let my heart speak./I sure could use your love/right about 
now./Oh, I need your love,/wish I could feel your love."
	Thanks in large part to uber-producers Mitchell Froom and Tchad 
Blake, _Whereabouts_ is a rare gem of an album in which the actual 
sounds used match each song perfectly. Despite an impressive cast of 
musicians - which includes downtown New York jazzers like bassist Brad 
Jones, cellist Jane Scarpantoni, reed player Chris Speed and trumpeter 
Cuong Vu, among others - Sexsmith, Froom and Blake present a carefully 
orchestrated pop album that never lets any one player stand out above 
each song as a whole.
	It's hard not to lapse into cliched critic jargon and use words 
like "tunesmith" and "craftsman" when describing Sexsmith's music. Which 
isn't a bad thing at all. And while  the spin doctors at his label like 
to play up the fact that Elvis Costello is a fan of Sexsmith ("I've been 
playing it all year and could listen to it for another 20," said the 
bespectacled Brit of Sexsmith's first album, if you must know), what 
really matters here is the songs. Sexsmith offsets somber ditties like 
"Riverbed" and "In a Flash" with more upbeat tracks like the rocking 
"Beautiful View" and the Sgt. Peppers-style march of "One Grey Morning," 
the end result being a great album well worth many listens. 
---
	REVIEW: Fish, _Raingods With Zippos_ (Roadrunner)
		- Dan Birchall
	Fresh on the heels of the _Kettle of Fish_ compilation 
celebrating the first decade of his solo career, former Marillion 
frontman Fish has returned with "Raingods With Zippos," featuring 
diverse songs that let him make good use of the vocal range fans 
love.
	The album begins with "Tumbledown," sandwiching a driving 
rock song between opening and closing piano solos.  "Mission Statement" 
rocks just as hard and features great lyrics, aiming to make the world 
a better place - even if it means not getting some work done.  Fish 
duets with Elisabeth Antwi on "Incomplete," a very pretty song about 
lost love.
	"Tilted Cross" features slightly more cryptic lyrics, but 
is every bit as pretty musically.  "Faith Healer" is harder, with 
a fairly straightforward subject, and music that would have fit 
easily into Queensryche's "Rage for Order" in 1986.  The individual 
songs draw to a close with another slow song of lost love, "Rites of 
Passage" - but the album's not over yet. 
	Like many progressive artists, Fish has a penchant for the 
occasional multi-song conceptual work.  In this case, the second 
half of the album consists of "Plague of Ghosts," a twenty-five 
minute piece in six parts about love, loss and rebirth.  Spanning 
the musical spectrum from ambient sound and spoken word to up-tempo 
pop, this should leave no doubt that Fish still has as much talent 
as ever.
---
	REVIEW: Backsliders, _Southern Lines_ (Mammoth)
		- Tracey Bleile
	Not all that long ago, Chip Robinson, singer and principal 
songwriter of Raleigh, N.C.'s Backsliders found himself living out 
the extreme end of a country song cliche, and it wasn't just a girl 
who left him or a truck that broke down. More like the defection of 
most of his band, just as the Backsliders were coming off the success 
of their first alt.country release, _Throwing Rocks At The Moon_ and 
halfway into the recording of their new effort for Mammoth, _Southern 
Lines_. Robinson lost his foil when his co-writer and singer Steve 
Howell had a parting of the ways with Robinson musically, and, finally, 
emotionally.
	_Southern Lines_ is in more ways than one then a nod to memories 
and regrets. The songs are filled with bluesy sentiment and hard knocks. 
The simpler country feel of Howell's songs remain in sharp contrast to 
Robinson's more aggressive barroom rock. The songs that showcase the last 
of their collaboration is of course, a magical blend of the two, the sad 
shuffle of "It Rained On Monday" follows the boozy snarl of "Don't Ask 
Me Why." The regret can truly be found in that the sound is far more 
developed and emotionally deep than _Throwing Rocks_. There are touches 
of many influences, but mostly a meeting of the ways once again of 
Chapel Hill jangle, southern rock grit and a voice that speaks weary 
volumes, nasal twang and all (shades of Neil Young, it's true), 
revealing one of the better-developed acts of the genre.
	Original lineup guitarist Brad Rice returned to help finish the 
album, and with the addition of a new crew of Backsliders, _Southern 
Lines_ did indeed see the brightening gray light of day. Like the last 
album, _Southern_ struts up out of the shadows and up to the bar in a 
swingin' blaze of cockiness with the opener (and first single) "Abe 
Lincoln," or takes you on a two-step around the room with a number like 
"Burning Bed," then slumps down in a chair, telling a sad story to 
anyone who will listen in "Two Candles."
	Honesty, faith, warmth, hope lost and hope found are Chip 
Robinson's touchstones. May those feelings never become cliches only 
found in a country song. The Backsliders succeed in making you believe 
it could be true.
---
	REVIEW: The Old 97s, _Fight Songs_ (Elektra)
		- John Davidson
	What's happening to the alt.country thing? Uncle Tupelo 
disappeared in 1994. The Jayhawks' _Sound Of Lies_ in '97 was a 
brilliant love letter to Big Star. This year, Wilco culminated 
their indifference towards anything country with the magnificent 
_Summer Teeth_. With beacons of "No Depression" seeking such lush 
pop fields, it's not much of a surprise to see another one of their 
kin, the Old 97s, wandering in a similar direction on _Fight Songs_.
	That's not to say that the scorched bluegrass flavorings 
and old-school country heartbreak have disappeared on _Fight Songs_; 
they've merely become influences, instead of foundations for song 
structure. The rugged backbeat on "Jagged," the twinkling banjo on 
"Lonely Holiday," even the fuzztone lead over the bouncy 2/2 in 
"Crash On the Barrelhead" showcase the band's ability to borrow 
country elements without bowing down to the Grand Ole Opry. Better 
still, when the Old 97s dive into pop, they step over the edge and 
don't look back. "Oppenheimer" gleams on a rootsy guitar and bell 
tones. "Nineteen" is a pretty straight forward rock song, and the 
first single "Murder (Or A Heart Attack)" could fit on any modern 
rock playlist. The Old 97s are adept at knowing when to twang a 
steel guitar and when to cruise on a sugary pop idea.
	If anything, _Fight Songs_ could use a dash of edgy intensity. 
Although the feisty Bloodshot label years are gone, there's still 
nothing here like "Time Bomb," the blistering lead-off from 1997's 
_Too Far To Care_. Songs seem a little less urgent, a little less 
willing to transcend the smart lyrics of singer/songwriter Rhett 
Miller. The result is that lines such as "It's a lonely, lonely 
feeling when your valentine was wrong" (from "Valentine") lose some 
ache in the laid back delivery.  The passion seems content to hide 
behind the words, afraid to become vulnerable in the context of the 
love-hurt stories.
	So, maybe it's because they're getting older, or maybe it's 
just the need to artistically mutate. At any rate, the cowpunk days 
of the Old 97s are fading, but the mellowing of their tone offers 
maturity in place of fire and brimstone. _Fight Songs_ wraps a smooth 
pop blanket around country loneliness and hopes for another chance at 
happiness. While drifting from their roots, the Old 97s don't seem too 
worried about what musical category they land in. They simply made a 
great album of songs from the heart, and beckon their past to follow.
---
	REVIEW: Lit, _A Place in the Sun_ (RCA) / 
		Citizen King, _Mobile Estates_ (Warner Bros.)
		- Scott Slonaker
	Every so often, radio gets its infusion of new blood. And 
naturally, a good deal of the new kids in town distinctly recall 
their airwave-hogging predecessors. Orange County's Lit do just that 
with their brand of power-pop. _A Place in the Sun_, the four-piece 
band's major-label debut, is a lot like Weezer reinterpreted by the 
high school football team, or Everclear as a party band who sings 
about girls instead of drugs -- in other words, a lot more slickly 
clean, straightforward '90s rock-radio guitars and rah-rah rhythms, 
and a lot less of the muffle 'n squeak of the ex-alternative nation.
	Lit's hit single "My Own Worst Enemy" spins a leftover AC/DC 
riff into a stoopid-happy pogothon about getting drunk and screwing 
people and things up. Voila! An anthem. The best of the rest of the 
album include the semi-power ballad "Miserable" ("You make me come/ 
You make me complete/ You make me completely miserable") and the 
punky bounce of "No Big Thing," which, more than anything, shows off 
the band's skate-punk roots.
	Milwaukee's Citizen King fits squarely with its predecessors 
as well: the Sugar Ray "he's-the-DJ-I'm-the-rocker" hybrid, Beck's 
cut-and-paste pop (the opening track, "Under the Influence," is quite 
aptly named). The quintet's debut album, _Mobile Estates_, is carefully 
calculated to sound off-the-cuff, like some sort of block-party mix 
tape. The hit single, "Better Days (And the Bottom Drops Out)," is 
somewhat of a "Ramblin' Man" for hip-hop reared suburbanites -- streaked 
with a good shot of Sublime and catchy as heck.
	Most of the rest of _Mobile Estates_ is solid late-nineties 
beatbox alterna-pop, when it's not stealing too many rhythms ("Safety 
Pin" seems taken wholesale from "The New Pollution"). Actually, the 
band shows themselves to be quite the vinyl aficionados, as evidenced 
by the long list of obscure samples in the album credits. The 
old-school hip-hop sound of "Basement Show" is enough of a winner on 
its own, but the boys work in a Fear sample and make it rock. Another 
standout is the singalong, twangy chorus of "Long Walk Home."
	Both _A Place in the Sun_ and _Mobile Estates_ are brimming 
with savory pop songs and maintain a good level of consistency from 
beginning to end. But, will that be enough to make a career? Neither 
act are former drug addicts who sing about their scars. Neither act 
has frontmen who are teen dreams or dead. Can solid craftsmanship and 
production stand in for personality and interview "hooks?" We'll know 
in a couple of years, won't we?
---
	INTERVIEW: Sally Taylor
		- Joann D. Ball
	Sally Taylor is an extremely gifted singer/songwriter who is 
poised to rejuvenate and update a folk-rock musical genre and style 
that enjoyed its heyday before she was born. Musically and spiritually 
she is connected to that earlier singer/songwriter scene, and it's 
evident on her self-released debut, _Tomboy Bride_ (Blue Elbow). 
Whether introspective or outward looking, Taylor's twelve songs 
(including a hidden track) on _Tomboy Bride_ exude an inspired, 
passionate, positive spirit.
	Taylor is also literally connected to Seventies folk-rock, as 
her musical roots include an extended family of singers and musicians. 
And then, of course, there are her parents. A dad who loves his work, 
and was so inspired by a beaming young Sally that he wrote the hit song 
"Your Smiling Face." (Yep, James Taylor.) And a mom, who in the 1980s 
occasionally featured Taylor's backing vocals on album tracks like 
"Coming Around Again/Itsy Bitsy Spider." For good reason, Sally Taylor 
is extremely proud of this very rich musical heritage. So much so, that 
she's chosen the Taylor family tattoo (which she herself sports) as her 
band's logo.
	But what makes Sally Taylor a rising star is not where she's 
from, but where she's going. Consumable Online caught up with Sally 
Taylor earlier this spring, before the first show on a short West Coast 
tour in support of _Tomboy Bride_.
	Taylor and band members bassist Kenny Castro, drummer Brian 
McRae, and lead guitarist Chris Soucy, were clearly excited about their 
first extended series of dates outside of their home base of Colorado. 
With sound guy Chris Delucchi and two close friends providing support, 
the Sally Taylor Band quickly loaded their equipment into the intimate 
San Diego, California niteclub The Casbah.
	Taylor was sincerely apologetic for arriving late, but 
amazingly positive despite the minor things that have delayed her and 
the band and eliminated the possibility of a soundcheck. It soon 
became clear, though, that this attitude is reflective of Taylor's 
general take on life -- things happen, so you just make the most of it. 
In spite of the delay, Taylor was happy and eager to talk with 
Consumable about how it's possible to follow your heart and succeed.
	"Tomboy Bride is my role model. She's my hero, the heroine in 
my life story. She's who I want to model my life after," Taylor said of 
the book character from which she lifted the album and song titles.
	I asked her to explain further why she was inspired by the 
story of a very independent 19th century frontier woman making a life 
for herself in the Wild West.
	"That character's motto is 'be scared and do it anyway,' and 
that's the gist of that song and that storyline. It's about dealing 
with new environments constantly and putting yourself in uncomfortable 
situations that will stimulate you, inspire you and make you grow," she 
detailed. "And fly, soar, if you will," she added, in reference to the 
airplanes flying noisily overhead en route to nearby Lindbergh Field.
	Not too long ago, Sally Taylor herself packed up and left behind 
family and friends on the East Coast in order to start a new life in 
Colorado, settling finally in Boulder. So the uncharted adventures of 
the book's heroine hits close to home.
	"Tomboy Bride is somebody who I identify with," Taylor continued, 
"because I have moved out to Colorado and I have forged this little 
niche for myself. But it's also about somebody I hope to become in the 
future."
	It isn't clear to what extent music figured in the life of 
Tomboy Bride, but writing and playing music has certainly become a 
major part of Sally Taylor's life out West.
	"The CD came about completely unintentionally," she explained. 
"I started out just thinking I'd put some songs down on some quality 
tape that would withstand the elements. I didn't have a band. I just 
wanted it to be acoustic and vocal, and it ended up being a lot more. 
And that I'm producing it and manufacturing it is really exciting to me."
	And it just so happened that she found herself in the ideal 
place in which to do her own musical thing.
	"I think that Boulder and Denver are amazing environments for 
musicians, because the musicians are so supportive of each other. It's 
really not about ego, as much as it is about helping each other create 
art. Everybody's really in it for the freedom of it all instead of the 
competitiveness, and that's really inspiring," Taylor said.  "Especially 
since the ego thing really grosses me out," she added quickly.
	Sally Taylor says she considers herself "a tadpole," content 
and happy to play in the calmer, safer waters of small venues and clubs 
at this point in her developing career. And she's extremely excited 
about making her way across the country with her band.
	"It feels great, I mean, I wouldn't have it any other way!" she 
exclaimed. "I really, really enjoy the realness of it. There's seven of 
us in this band, and it's this tiny space because we have to put seven 
people and all of the instruments into the van. But these guys that I'm 
traveling with are just incredibly great. I love the way it feels to be 
on the road with these people and to be supported by these people and 
to be doing my own thing, singing."
	In addition to performing live with her band, Taylor admited to 
being especially thrilled about the closeness that characterizes the 
small venues she has played.
	"I really like being able to see audiences a lot," she 
explained. "I like being able to see audiences' faces, and be able to 
talk to people who come to the show and to talk people who buy my CD, 
and get feedback from those people."
	And given the power of songs like the honest and revealing lead 
track "The Complaint," the emotion-filled, jazz influenced "The Good 
Bye," and the soft and sweet bossa nova flavored "When We're Together," 
Taylor will probably receive nothing but praises from appreciative fans 
after the shows.
	_Tomboy Bride_ is a rich collection of songs about life and 
love, of which Taylor is especially proud. And she is eager to share 
her songs with others because they reflect such a natural part of the 
human experience.
	"I guess it's mood music. I get put in a mood, and then I write 
from that mood. The notes put words in my mouth," she explained.
	The one important, reoccurring mood on the record is the joy and 
pleasure of independence. It is celebrated on the tender title track, 
recorded at a live show and featuring only Taylor and her acoustic 
guitar. And it surfaces again on the bright, bouncy confessional song 
entitled simply, "Happy Now."
	Among all of these gems, though, it is "Sign of Rain" which 
stands out as the best song. With carefully chosen words and wonderfully 
textured instrumentation, the song tells a simple story which unfolds 
on her beloved Martha's Vineyard. Taylor paints such a vivid picture of 
local characters going about their way under overcast skies, that one 
can actually see the scenes and feel the coming storm of which she 
sings. And chances are pretty good that the Jamey mentioned in the song 
is a certain JT who considers "Sign of Rain" his favorite song, and who 
contributed his distinct guitar sound to the hidden track "Unsung Dance" 
that closes the CD.
	And Sally Taylor's favorite track on her impressive debut? 
"Definitely "Tomboy Bride," she confessed with a big smile.
	That's no surprise, given the parallels between her own life and 
that of her role model and the frontier spirit that they both embody. 
After all, to borrow the title of song by a certain Carly 
Simon, both stories are "the stuff that dreams are made of."
	The Sally Taylor Band is now undertaking an extensive U.S, summer 
tour that will hit major Eastern cities before returning to the West Coast 
in late June. For tour dates and details about the band's activities, 
including Sally Taylor's online tour diary entries, check her website 
at http://www.sallytaylor.com
---
	REVIEW: Sponge, _New Pop Sunday_ (Beyond/BMG)
		- Bill Holmes
	I get the pun, but if I didn't, the cartoon illustration on 
the cover would make it plain enough - sugar sweet music with an 
explosive edge. That Sponge goes pop is not surprising, they've 
certainly flashed the chops before. What is a bit of a shock is that 
they've toned down their edge as well, letting the guitars play second 
fiddle and making vocalist Vinnie Dombrowski the lead instrument. To 
say that his vocals on this record are mannered would be an 
understatement - he preens, seduces, drawls and doe-eyes his way 
through a collection of mostly shorter, simpler tracks. When it 
works, it works well, nailing a sound that most alterna-bands can 
only hope to catch once before the budget runs dry. But when it's 
off - and it sometimes is - it sounds like INXS trying to pretend 
they're a Midwestern rock band. That is not a good thing.
	On the positive side, though, guitarists Mike Cross and Joey 
Mazzola churn out taut lines throughout the record. "Polyanna" 
features staccato playing reminiscent of U2's Edge, as does the 
two-stroke rhythm on "All American World" and the more manic "When 
You're On Fire Baby, Roll". Although the pulsating "Live Her Without 
You" is getting the single push from the label and radio, "Planet 
Girls" is the hands down winner. Scraping up every Ziggy-era Bowie 
lick and propelling it with trash can drumming, "Girls" is the best 
Mick Ronson nod I've heard in years. Sure it's lyrically silly, but 
who cares? Sometimes you just gotta rock. Sponge has finally 
(thankfully) shaken off the last of the grunge poseur posture and 
seem to be stepping towards a straight-ahead rock and roll sound, 
which should be a requirement or any Detroit band.
	Dombrowski writes about unrequited love and lost love and 
dead love just like everybody else, but is never to convoluted nor 
too simplistic. Neither is the music, which pretty much keeps it to 
the bare essentials  - solid rock, fairly repetitive but not 
annoyingly so, and the occasional flourish like the horns on 
"Disconnected" or the mandolin on "Lucky" . It's no coincidence that 
those two songs, which close the record, are among the strongest. 
Aside from "Planet Girls", there's nothing here that has the radio 
immediacy of "Wax Ecstatic", but there's certainly enough of a 
commitment to a newer direction so that listeners can easily decide 
whether to get on or off the Sponge bandwagon. (Note to fans - the 
title track might sound familiar if you own the Japanese version of 
_Wax Ecstatic_, albeit under a different name.)
	Sponge has been able to get some radio play and decent sales 
from their two previous records, and _New Pop Sunday_ should continue 
that trend. But with radio as fickle as it is, don't be surprised if 
these simpler, compact songs are destined to serve primarily as a 
launching pad for a more dynamic (read: LIVE) presentation. Sometimes 
radio just doesn't "get it" until it's too late. Don't let that stop you.
---
	REVIEW: Kreidler, _Appearance and The Park_ (Mute)
		- David Landgren
	From Tangerine Dream to Kraftwerk and Connie Plank to Blixa 
Bargeld, there has never been a shortage in Germany of musicians, 
offering the world a rich source of innovation and experimentation in 
music. Kriedler, a four piece band formed in Dusseldorf in 1994, are the 
latest incarnation of this ongoing exploration. The album is, with the 
exception of one track ("Coldness"), entirely instrumental. It is 
constructed with an extraordinary rigour and attention to detail, yet 
never falls into the trap of being too arty or pretentious.
	The overall feeling is one of understatement. Everything is 
held under control and yet at the same time, and this is where the group 
deserves credit, there is never a feeling of constraint. Like a Japanese 
garden, everything is in its rightful place. A single clash of cymbal to 
punctuate a song.
	Then there is the absence of samples: there are no voices or 
animals, or anything from the real world: the synthesisers emit purely...
synthetic sounds. But then, as a counterpoint, a real bass guitar and a 
real drum-kit add a human vibrancy. With this, you never lose sight of 
the fact that you are listening to a group of musicians playing together.
	The album starts out with "Tuesday", a shuffling burble of 
bleeps, like a demented dolphin caught in an oscilloscope. And then the 
song begins to take shape, soft warblings from a synthesiser, a subtle 
drum & cymbal backing, bass guitar picking out a simple melody. Nothing 
dramatic, but curiously effective; a definite case of the whole being 
greater than the sum of the parts.
	While this may sound a bit boring (like, what does that leave 
behind?) it does also lead to some amazing pieces of work, such as the 
unconditionally brilliant "Au-Pair", that starts out in the middle of 
nowhere, soars to glorious heights (check out the bassline), and comes 
down to land with effortless grace.
	A common affliction that strikes much electronica is the 
layering approach, whereby a song is built up by adding layer upon layer 
of instruments, loops and other oddments until the song reaches its full 
crescendo. The problem is, of course, how to end the juggernaut from 
rolling ever onward. "Au-Pair" deals with this in an extraordinarily 
successful way, and I find myself repeating the song over and over 
again, seeking clues as to how they do it, and why it works so well.
	It comes as a bit of a shock, when on the tenth track 
"Coldness", vocals make an unexpected appearance. But yeah, it more or 
less works. The problem is that they make a timid appearance in the 
middle of the song, as if courage was lacking to break the silence.
	Over the album, rare are the lapses into sonic mayhem as 
happens with, say, The Orb. Yet just when one starts to wish things were 
a little more... chaotic, they loosen the reins on the machines for 
"Venetian Blind" and segue into the shimmering, mesmerising "Cube". The 
latter song is built on a most outrageous electronic loop, a pummelling 
shoop-shoop-shoop of a virtual reality helicopter. People familiar with 
Ciccone Youth's _Whitey Album_ will see a parallel. Placed at the end 
of the album, the impact of these two tracks is all the more dramatic. 
I hope they continue in this direction in the future.
	The album closes with a remix of "Coldness", playing up on 
the eighties neu-wave sound. It's probably a better version. The vocals 
are bolder, more affirmed, and the singer really sings this time.
	All in all, an album that is immediately listenable on the 
first hearing, and reveals more details upon repeated listening. Not 
as bizarre or pompous as Tangerine Dream, and not as unabashedly pop as 
Kraftwerk can be, Kreidler walk somewhere in between. I'd say that on 
the strength of this album I'll be buying their next one with my eyes 
closed. It's a sure bet.
---
	REVIEW: Colin Hay, _Transcendental Highway_ (Farren Music)
		- Chris Hill
	Two Australians (Hay and the recently C.O.-reviewed Rick 
Springfield) present an interesting contrast, if their recent and 
future Seattle engagements are compared.  Hay, who played the 
smallish Tractor Tavern 5/20, with an $8 ticket price, offered an 
intimate glimpse at the man behind the once-inescapable hits 
"Down Under" and "Who Can It Be Now?".  Springfield, with a 
similar history of ubiquitous hits, has booked the Showbox, an 
800+ capacity venue, 6/18, and priced tickets at $27.50. 
Evidence of two performers with different estimations of their 
audience, their status, and their musical goals.  Is one trying 
to relive the glory days, while the other reconnects with an 
audience?
	Hay addresses his past fame on "My Brilliant Feat": "Once 
upon a time, I could do no wrong/though the candle flickers, the 
flame is never gone/To my brilliant feat/They all pay heed/I hear 
the crowds roar oh so loudly".  It's not envy at the success and 
adulation he once had that's now enjoyed by others.  Rather it's 
an understanding that nothing's permanent ("The world it won't 
wait for you/It's got its own things to do") and a fond look back 
at his moments in the sun.
	With this album, Hay continues down the balladeer path of 
previous, post-Men at Work releases with simply written, romantic 
vignettes centered around his acoustic guitar, though his backing 
band provides him ample support.  Twelve songs long, the only 
hollow note comes with "Death Row Conversation", possibly written 
at 3 a.m. in a lonely hotel room while "Dead Man Walking" played 
on pay-per-view.  While affecting, it treads old ground, or 
ground perhaps better left to his brilliant countryman Paul 
Kelly.
	That criticism out of the way, it's the exception on the 
record, which is fortunate for us, as this is his first non- 
Australian release since 1990.  "If I Go" will bring back all the 
summer memories for which _Business As Usual_ served as the 
soundtrack.  Musically co-written with Bobby Z, it glistens.  An 
immediate attention-getter.  The hopeful, hearty "I'll Leave the 
Light On" and the wind-blown instrumental "Cactus" are similarly 
potent.  Stretching, the Scotland born-and-raised Hay pulls in 
bagpipes and a snare drum for the inspirational "Freedom Calling" 
and takes the spoken-lyric path for the title track, a subtly 
humorous look at the interconnection the internet's provided the 
world.
	But it's truly on the quieter acoustic numbers like "I 
Just Don't Think I'll Ever Get Over You" where Hay's voice 
practices its familiar magic with hypnotic wonder.
	A gentle snippet of a song hides at the close, with Hay 
singing "And no matter where we go/And no matter what we do/You 
hold on to me/And I'll hold on to you".  An unfinished song or a 
promise?  Either/or, it's a nice sentiment. 
---
	REVIEW: Mary Chapin Carpenter, _Party Doll and Other 
		Favorites_ (Columbia)
		- Jon Steltenpohl
	Although she's had a number of big country hits, it's hard to 
just lump Mary Chapin Carpenter in with the shameless new country 
drones who are more schtick than substance. Not so with Mary Chapin 
Carpenter. She has remained an independent singer songwriter who 
writes and performs great music. Since her debut, _Hometown Girl_, to 
hits like "I Feel Lucky" and "Shut Up and Kiss Me," Carpenter has 
been able to sound like true country while making serious music.
	Now, 12 years since her first release, it's time for her to 
release a greatest hits album. Now, this isn't any old greatest hits 
compilation. Instead, not only do you get the required hits, but you 
get 6 live tracks, 2 new songs, and "Party Doll," a cover of a Mick 
Jagger song. The rest of the album is topped off with a few fan 
favorites like "This Shirt" and rarities like "Grow Old With Me" from 
the John Lennon tribute album, "Dreamland" from the _Til Their Eyes 
Shine_ compilation, and "10,000 Miles" from the _Fly Away Home_ 
soundtrack. Absent are any songs from her latest album, _A Place In 
The World_.
	At 17 tracks and 72 minutes, it's a great collection, and 
_Party Doll_ is just about perfect. All of the songs are relevant and 
a joy to listen to, and many are not available anywhere else. If 
anything, the live versions of some songs are so good that they 
outshine some of the slightly overproduced songs from her earlier days.
	"I Take My Chances" from _Come On, Come On_ was recorded live 
in November of 1998. It has joyous piano and acoustic guitar, full 
harmonies, and a crowd that eats it up. A live version of "Stones in 
the Road" features Carpenter's voice up front before an acoustic 
background of guitars, bass, and piano. And while it's understandable 
to keep the original versions of the hits like "Passionate Kisses," 
"Down At the Twist and Shout" is the one hit with a well deserved live 
version. It's from Super Bowl XXXI and  features Beausoleil playing 
live with Carpenter. It's a real treat despite the slightly reduced 
sound quality. A missing live track is the acoustic version of "This 
Shirt" that was included on a Columbia sampler series sent to radio 
stations. Still, including the original of "This Shirt" was a wise choice.
	The new songs, "Almost Home" and "Wherever You Are," are just 
what you'd expect from Mary Chapin Carpenter. They aren't as free 
spirited or silly as her biggest hits, but they will please the fans 
who know her more reflective side. Similarly, the new cover of Mick 
Jagger's "Party Doll" is soft and melancholy. Carpenter's voice, a 
slightly countrified breeze that is thankfully free of twang, is full 
of expression. Her acoustic guitar keeps beat while an electric guitar 
with a steel guitar voice adds counterpoint melody. There are slight 
breathless moments and regret in every corner. It's a beautiful rendition.
	Being a greatest hits album, _Party Doll and Other Favorites_ 
might be a no brainer. But, Mary Chapin Carpenter had other plans for 
her greatest hits package. As she succinctly puts it, "I thought, why 
not also collect all those songs out there that were part of special 
projects, soundtracks, live recordings, different versions, benefit 
tapes, whatever might give this album a broader perspective than 
what's usually delivered... and include that new song or two. So that 
is what I proudly believe we have done." And indeed, _Party Doll and 
Other Favorites_ is an album she can certainly be proud of.
	Track Listing: 1-"Can't Take Love for Granted (Live from 
Letterman Show in London," 2-"Wherever You Are (new)," 3-"Down at the 
Twist and Shout (Super Bowl Version featuring Beausoleil)," 4-"I Feel 
Lucky," 5-"Dreamland (Til Their Eyes Shine Compilation)," 6-"Passionate 
Kisses," 7-"Quittin Time (Live, 1994)," 8-"This Shirt," 9-"Grow Old 
With Me (Working Class Hero/John Lennon Tribute)," 10-"He Thinks He'll 
Keep Her," 11-"I Take My Chances (Live, 1998)," 12-"Shut Up and Kiss 
Me," 13-"The Hard Way (Live)," 14-"10,000 Miles (_Fly Away Home_ 
soundtrack), 15-"Stones in the Road (Live, 1994)," 16-"Almost Home 
(new)," 17-"Party Doll (new cover)"
---
	REVIEW: Moa, _Universal_ (Tommy Boy/Spor)
		- Tracey Bleile
	Hmmm, let's see what we have here...pixie-type from Iceland with 
unusual looks, a crazy musical hook, and a co-writer/producer/musician 
"soulmate." Oh, no, wait a minute...it's not who you think, honest! One 
of the fine new acts to grace these shores from the apparently magic 
princess-infested country of Iceland is solo artist Moa (with an acute 
accent over the "o," darn HTML anyway, and *don't* ask me how to 
pronounce it) and she verges on the same sort of infectiousness as a 
certain predecessor with her release _Universal_.
	Moa has a voice like Lena Horne inhaling a touch of helium singing 
cabaret, and the electronica jazz/drum 'n bass that makes up _Universal_ 
is something you'd find in a dimly-lit nightclub straight out of a Ridley 
Scott film. If anything, there's not a lot of variance in the beat or song 
structure, so it's happy techno with a singer or Massive Attack-inspired 
dreaminess. The foamy synth and programming backdrop is provided by Eythor 
Arnalds (who was indeed previously in a band with Bjork) and produced by 
Phil Chill and Brian New (most recently finished work was with Neneh 
Cherry). Soap-bubble fun and games don't last long, but are very enjoyable 
in the moment.
	Even with the potential to burn out too quickly in what could be 
perceived as a trend-following album (and at the trailing end of it for 
that matter), _Universal_ is certainly something you could slip into 
rotation at just about any place there's dancing, and someone will most 
surely ask "who *is* this?" And there won't be any mistaking her for 
anyone else.
---
	REVIEW: Graham Parker, _The Mona Lisa's Sister_ (Buddha)
		- Bill Holmes
	The amount of Graham Parker releases over the past three years 
has been absolutely staggering, especially when you consider that just 
about all of them anthologize older material. Buddha Records (yes, the 
spelling is different than it used to be) has nabbed one of Parker's 
pivotal records from the mid-80s and offers the listener an exciting 
remastered version complete with original artwork, new liner notes and 
a bonus track ("Ordinary Girl"). I say exciting because as anyone 
knows, most "remastered" releases differ little from their original 
counterparts unless the prior version sounds like it was recorded 
underwater. The sound quality on the original was very good, but here 
it's stunning. The bass line on "Under The Mask Of Happiness" is so 
pronounced it's as if you are playing along with the record. The 
acoustic guitars ring, drums snap, and Parker's vocals are bright and 
full. 
	After some early success with pub rock r&b and the unfortunate 
albatross of being lumped together with Elvis Costello and Joe Jackson 
as "angry young men" from the UK, Parker hit his commercial zenith with 
_Squeezing Out Sparks_ and the smash hit "Local Girls". Afterwards, 
though, US fame waned, despite the occasional radio play ("Wake Up 
Next To You") and even a duet with the then red-hot Boss. Fans remained 
loyal, however, and without his backing band to fill out the sound, 
Parker became a much better guitar player and emotive vocalist. 
_Sister_ features nods to his new directions with reggae ("The Girl 
Isn't Ready"), Americana folk ("Blue Highways") and even inspired 
covers ("Cupid", a song he currently performs acapella, thanks to the 
day his accompanist left a recent songwriters tour). "Get Started 
(Start A Fire)", a fine acoustic driven pop song, even had some 
moderate radio success. From this release on, Parker seemed to reinvent 
himself as a musician as forceful alone with a guitar as he was with 
his stellar backing band from the salad days.
	Graham Parker may not be an angry young man anymore, but his 
acerbic wit is as sharp as ever. This advance did not contain his newly 
penned liner notes, but if they are anything like his frequent diatribes 
on his web site ( http://www.punkhart.com/gparker/ ), fans are in for a 
real treat. As an added incentive, Buddha's Original Masters Series are 
available at a reduced price. So what are you waiting for? 
( http://www.buddharecords.com )
---
	REVIEW: Whistler, _Whistler_ (Wiija Records)
		- Chris Hill
	Whistler, formed by vocalist Kerry Shaw, ex-EMF guitarist 
Ian Dench, and James Topham on viola, played small shows around 
London in its gestative state, establishing a buzz and a fan
base, keeping the limelight low and the attention on a riveting 
live show.  After a time, they self-released the drolly titled 
_First EP_, which resulted in a gushing Melody Maker review. 
Signed to Wiija Records, Whistler then dropped three singles on 
the unsuspecting British public.
	"Rare American Shoes", the first single to precede their 
debut album, is utter brilliance condensed into three minutes, 
seven seconds.  From the opening notes that spring from a Jew's- 
harp, it's obvious something new is moving under the sun. 
Joined by a melodious viola, a chug-chug-chug acoustic guitar, 
lip-smacking drums, and Shaw's sweet, clinical British tones that 
ride the line between singing and speaking, it's a head-turner of 
a song, a "Am I really hearing this?" double take that imparts a 
blissful sense of justified purchase and inspires proselytizing 
messages to friends.
	It might not be the best song on the record.  The second 
single, "If I Give You a Smile", earned a Melody Maker "Single of 
the Week" nomination from Arab Strap, while the third single, 
"Don't Jump In Front of My Train", attained that honor in NME. 
And either of these *still* might not be the best song on the 
record.
	"The End" pits a waspish electric guitar against both an 
acoustic and a bass guitar.  As they battle, a viola plays 
against the rise and fall of the vocals, descending capriciously 
into a snarl, bow scraping against the strings, while drums and 
cymbals add to the chaos.  Only the bass guitar remains standing, 
near the end.  "Closing Time" tumbles an acoustic guitar about 
the room, until it finally crashes into strings that start at the 
base of the spinal cord, grip it securely, and run up the 
vertebrae with an piquant, orgasmic thrum.   Two other wonderful 
songs, on a disc that, at less than thirty-seven minutes, leaves 
one hungry for more.
	Molding the _Whistler_ vibe, Shaw's voice is coy yet 
powerful, a gamine with muscles, whether venomously delivering 
the poison pen letter of "Emily", bubbling with mirth while 
skewering a sanctimonious twit on "Heaven Help Me", or taking the 
cavalier path on "Please Don't Love Me Any More" ("sorry if you 
feel/I've wasted your time/I wouldn't say/that you'd wasted mine/ 
We live and learn/That's what it's for/Please don't love me any 
more").  Her voice lends a delicacy to the tracks that the viola 
and acoustic guitar reinforce.
	 Add a cajon (Afro-Peruvian wooden percussive box, don't 
you know), harmonica, wood blocks, drums, and bass, and it makes 
for quite the heady concoction of Silverado and London acoustica.
---
ERRATA: As noted by reader Kurt T., Rick Springfield 
released a European album _Sahara Snow_ (MTM) several 
years back, which has a "funk/pop sound; not as mature 
feeling as {his latest release} _Karma_ ".
---
NEWS:	> New York City's Z-100 "Zootopia", an all-star concert at 
East Rutherford's Continental Airlines Arena, sold out in 28 minutes. 
In addition to the standard teeny-bop idols of the day (Britney 
Spears, former New Kidders Joey McIntyre / Jordan Knight, 98 Degrees), 
the show will feature Sugar Ray, UB40 and Sixpence None The Richer.
The radio station will give away more than 250 pairs of tickets to 
its listeners; Profits from the June 4 concert will go towards the 
purchase of computers for public schools in the New York City 
metropolitan area.  
---
TOUR DATES:
	Beastie Boys
May 27 Tasmania, Aus Town Hall
May 29 Auckland, Aus Northshore Events Centre
May 30 Wellington, Aus Queens Wharf

	Black Crowes / Lenny Kravitz / Everlast
May 28 Boston, MA Great Woods
May 29 Wantagh, NY Jones Beach Amphitheatre
May 30 Holmdel, NJ PNC Bank Arts Center

	Candy Butchers
Jun. 1 New York, NY Mercury Lounge
Jun. 3 Atlanta, GA The Cotton Club
Jun. 4 Nashville, TN 328 Performance Hall
Jun. 5 Cleveland, OH Wilberts

	Mary Chapin Carpenter
May 27 Princeton, NJ Princeton University
May 28-29 Vienna, VA Wolf Trap
Jun. 3 Phoenix, AZ Celebrity Center
Jun. 4 San Diego, CA Humphrey's
Jun. 5 Santa Barbara, CA Santa Barbara Bowl

	Chapter In Verse
Jun. 4 Nashua, NH Martha's Exchange 

	Floraline
May 29 New York, NY Coney Island High 
May 30 Hoboken, NJ  Maxwell's 
May 31 Asbury Park, NJ The Saint
Jun. 2 Cambridge, MA TT The Bears
Jun. 5 Cleveland, OH The Grog Shop

	Ben Harper
May 29 Santa Barbara, CA Santa Barbara Bowl
May 30 Angels Camp, CA Mountain Aire '99
Jun. 1 Medford, OR Medford Armory
Jun. 4 Eureka, CA Eureka, Municipal
Jun. 5 San Francisco, CA The Fleadh Festival

	Alanis Morissette
May 27 Oberhaussen, Germany Arena
May 28 Hanover, Germany Stadionsortshall
May 30 Copenhagen, Denmark The Forum
May 31 Oslo, Norway The Spektrum
Jun. 2 Helsinki, Finland Hartwall Arena
Jun. 4 Gothenburg, Sweden Scandinavium
Jun. 5 Stockholm, Sweden The Globe

	Van Morrison
Jun. 3 Minneapolis, MN Target Center
Jun. 4 Los Angeles, CA Universal Amphitheater
Jun. 5 San Francisco, CA Fleadh Festival

	Beth Orton
May 29 Baltimore, MD WHFS Fest @ Ravens Stadium
Jun. 2 Washington DC 9:30 Club
Jun. 3 New York, NY Roseland
Jun. 4 Philadelphia, PA Theater of the Living Arts

	Pinetop Seven
May 27 New York, NY Mercury Lounge 
May 28 Boston, MA Middle East Upstairs 
May 29 Montreal, QC The Jailhouse Rock Cafe
May 30 Toronto, ON Horseshoe Tavern 
Jun. 1 London, ON Call the Office 
Jun. 2 Detroit, MI Magic Stick 
Jun. 3 Chicago, IL Metro 
Jun. 4 St. Louis, MO Side Door
Jun. 5 Nashville, TN The End 

	Rammstein
Jun. 1 Washington, DC Nation Ballroom
Jun. 2 Philadelphia, PA Electric Factory
Jun. 4 New York, NY Hammerstein Ballroom
Jun. 5 Worcester, MA Worcester Palladium

	764-HERO
Jun. 3 Minneapolis, MN 7th Street Entry
Jun. 4 Chicago, IL Fireside Bowl
Jun. 5 Louisville, KY Mercory Paw

	Skunk Anansie
Jun. 1 Washington, DC Nation
Jun. 2 Philadelphia, PA Electric Factory
Jun. 4 New York, NY Hammerstein Ballroom
Jun. 5 Worcester, MA Palladium

	Sonic Youth
Jul. 2 Berkeley, CA The Greek
Jul. 4 Irvine Lakes, CA Irvine Lakes

	Sparklehorse / Mercury Rev
Jun. 2 Chicago, IL Metro 
Jun. 3 Columbus, OH Mekka 
Jun. 5 Atlanta, GA Cotton Club 

	Sally Taylor
May 28 Destin, FL Harbor Docks 
Jun. 1 Nags Nead, NC Port O' Call   
Jun. 3 Arlington, VA Iota Club & Cafe 
Jun. 4 Baltimore, MD Recher Theater   
Jun. 5 Ocean City, MD Mellow Beach Sunset Bar   

	George Thorogood / Jake Andrews
Jun. 2 Knoxville, TN Tennessee Theater               
Jun. 3 Toledo, OH Promenade Park
Jun. 4 Peoria, IL Madison Theater
Jun. 5 Chicago, IL House of Blues
Jun. 6  St. Louis, MO Fox Theater

	Those Bastard Souls
May 27 Atlanta, GA Echo Lounge
May 28 Nashville, TN End
May 29 Memphis, TN Hi Tone
May 30 St. Louis, MO Blueberry Hill
May 31 Champaign, IL Mike and Molly's
Jun. 2 Iowa City, IA Gabe's
Jun. 3 Minneapolis, MN 400 Bar
Jun. 4 Chicago, IL Empty Bottle
Jun. 5 Detroit, MI Magic Stick

	UB40
Jun. 4 East Rutherford, NJ The Meadowlands
Jun. 5 Washington, DC 9:30 Club

	Verve Pipe / Papa Vegas
May 27 Green Bay, WI Riverside Ballroom
May 28 Minneapolis, MN Fine Line
May 31 Denver, CO Bluebird
Jun. 3 Seattle, WA Showbox Theatre
Jun. 4 Portland, OR Roseland Theatre
---
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