== ISSUE 180 ====  CONSUMABLE ONLINE  ======== [June 23, 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

 Address all comments to staff@consumableonline.com ; subscription 
information is given at the end of this issue. 
==================================================================
	All articles in Consumable remain (C) copyright their author(s). 
Permission for re-publication in any form must be obtained from the 
editor.
==================================================================
                            .------------.
                            |  Contents  |
                            `------------'
INTERVIEW: Wayne Coyne from the Flaming Lips - Andrew Duncan
REVIEW: London Suede, _Head Music_ - Christina Apeles
REVIEW: Pavement, _Terror Twilight_ - Steve Kandell 
REVIEW: Ani DiFranco and Utah Phillips, _Fellow Workers_ - Jon Steltenpohl
REVIEW: Soundtrack, _Austin Powers - The Spy Who Shagged Me_ 
   - Chris Candreva
REVIEW: Various Artists, _Music To Shag By_ - Bill Holmes
INTERVIEW: Cropduster Records - Al Muzer
REVIEW: Various Artists, _Burning London - The Clash Tribute_ / 
   Various Artists, _A Tribute To Erasure_ - Bob Gajarsky
REVIEW: Soundtrack, _The Book of Life_ - Chelsea Spear
REVIEW: Blessid Union of Souls, _Walking Off The Buzz_ - Linda Scott
REVIEW: Spacetime Continuum, _Double Fine Zone_ - Andrew Duncan
REVIEW: Dude of Life, _Under the Sound Umbrella_ - Matthew Carlin
REVIEW: Bikeride, _Thirty Seven Secrets I Only Told America_ - Bill Holmes
NEWS: Oleander Chat, Smashing Pumpkins, Smithereens' Pat Dinizio
TOUR DATES: Anti-Flag, Adrian Belew, Beta Band, Boredoms, R.L. Burnside, 
   Mary Chapin Carpenter, Chapter In Verse, Ani DiFranco / Maceo Parker, 
   Floraline, Go Betweens, Alanis Morissette, Mike Ness, Pietasters, 
   Rammstein, Rick Springfield, Sally Taylor, Ten Foot Pole, Those 
   Bastard Souls, UB40, Verve Pipe / Papa Vegas
Back Issues of Consumable
---
	INTERVIEW: Wayne Coyne from the Flaming Lips
		- Andrew Duncan
	Wayne Coyne has spent nearly half of his life shaking up the 
alternative and college rock worlds. Inspired by bands from Pink Floyd 
to Black Flag, the Flaming Lips has set new musical standards and 
turned the heads of many performers. With their formation in 1983 and 
the release of their 1986 debut, _Here It Is..._, the band has spent 
years transforming themselves into one of the biggest independent 
success stories around. Their first release for Warner Brothers, _Hit 
to Death in the Futurehead_, was a turning point for their career, and 
is considered by many to be their biggest influencing album to date.
	Throughout the years, band members have come and gone, with 
guitarist Ronald Jones being the most recent to depart, reducing the 
band to a three piece: Coyne (vocals, guitars and various tasks), Seven 
Drozd (drums, guitars and other stuff) and Michael Ivins (bass, guitars 
and vocals). Soon after Jones left the band, Drozd suffered hand injuries 
from a spider bite. The band almost broke up when doctors were considering 
amputation. Luckily, his hand healed, and the band was back in business. 
Coyne even wrote a song about this event on their upcoming release _The 
Soft Bulletin_.
	With their last effort, _Clouds Taste Metallic_, the band took a 
linear approach to their music, creating solid pop songs. For _The Soft 
Bulletin_, Coyne added sampled loops, orchestration and various effects.
	Veering away from their psychedelic pop and acoustic meandering, 
the band is looking at new ways to create music. With the _Zaireeka_ 
release -- a four-CD set meant to be played simultaneously -- in 1997, 
and their Boombox Experiments, featuring a gathering of boom boxes 
orchestrated to play different sounds, they changed the definition of a 
traditional live concert.
	Gaining experience from these events, the band took their live 
shows one step further by issuing audience members headphones and a 
radio set that has a direct feed into the sound board. Named the 
Headphone Concerts, this allowed the person to hear the actual show 
from one ear and a crystal-clear mix from the other.

	CONSUMABLE ONLINE: So, the band is about to embark on another 
world tour in support of _The Soft Bulletin_. When does this begin?
	WAYNE: The tour will begin in the middle of July. We actually 
played some dates in Europe the end of May.
	CO: Will you continue doing the headphone concerts for this tour?
	WAYNE: We will probably be doing it on all of our concerts from 
now on.  Technically, it's easy to do. I don't know why someone else has 
not done it already. With the technological quality of stereo equipment 
at home and in your vehicle, people really do get used to hearing 
quality sound. The worse sound that you hear is at a concert. I go to 
concerts a lot and coming up with the headphone concert idea was mostly 
of my own amusement.
	CO: Will you be performing mostly new or older material?
	WAYNE: We will be doing mostly new. We will be doing some older 
songs. We always gravitate more to the hits of the past. When I go to 
see a band and I want to hear their older material, I want them to be 
their best songs.
	CO: Now that the band is a three piece, will there be anyone to 
fill the shoes live?
	WAYNE: We were actually considering adding tour members, but 
that was an excuse not to consider it at all. When I was doing the 
boombox experiments, it was all the more reason not to have a proper 
touring band. We are just using backing tape. It's like loud Karaoke. 
We have done 15 or 16 shows like this and we didn't know what people 
would think. It's a lot of hassle. People are so used to seeing bands 
setting up so many microphones and equipment, it seems to throw people 
for a loop. It's so different than the way we used to do things.
	CO: What bands have you seen recently that you have been 
particularly impressed with?
	WAYNE: Belle and Sebastian, Mercury Rev and Sleater-Kinney.
	CO: How about shows that have influenced your life?
	WAYNE: We did shows with the Buttonhole Surfers that permanently 
changed our lives. They had fire and naked women -- all of the things 
that entertain you. We did some shows with Black Flag. The more we 
toured and the more experienced we became, the less impressed we were. 
I'm 38 years old, and I don't know if anything can change my life like 
some concerts do to young people.
	CO: With the new album, you enlisted R&B producer Peter Mokran 
(Michael Jackson and R. Kelly). Why did you choose him to rework some 
of the band's songs?
	WAYNE: He is a fairly successful commercial guy. We were 
shopping around for a commercial producer who has had some hits. We 
had a list of 200 top commercial producers. Our criteria for them were 
to like our music. That narrowed it down to six. Mokran did not know 
why we wanted our songs remixed. He thought they sounded fine the way 
they were.
	CO: Why did the band take the approach to explore more with 
string arrangements and various effects?
	WAYNE: We make records and explore what we feel is interesting 
at the time. It's basically a typical evolution of ideas. We feel more 
confident in ourselves. We didn't just walk into it; we went into it 
with the mindframe of exploring different sounds.
	CO: Did recording in upstate New York influence you in any way?
	WAYNE: There is a certain amount of isolation. We recorded some 
of the songs in Chicago with Peter around Christmas. There were 
millions of people bustling around and it was no different than being 
out in the middle of nowhere.
	CO: Which do you prefer making, records or playing live?
	WAYNE: I really like making records. I like the idea of creating 
than touting it. The real reasons I like doing it, I like making it 
more than hyping it, but I can see why we need both. I see myself as a 
cook. I like to cook, but I want to serve people. I would feel bad if 
I cooked something and no one ate it. So, I need to create something 
and serve it to a hungry crowd.
---
	REVIEW: London Suede, _Head Music_ (Columbia)
		- Christina Apeles
	Brit Pop's popularity has far from waned in the States, 
especially here in Los Angeles where several clubs promote a Brit 
Pop night with local bands offering their brands of English-inspired 
rock 'n' roll, and DJs spinning recent hits from Blur, Pulp, Verve, 
Oasis, and of course, the London Suede. No doubt one of the most 
successful bands to emerge from the second British Invasion, London 
Suede releases their latest album, _Head Music_, with thirteen tracks 
that far from break new ground musically, but will nonetheless please 
listeners with their effortless euphonies.
	I am far from being an expert, much less avid, fan of London 
Suede. The only album I heard before from the band (whose notoriety, 
it seemed, was largely based on image rather than musical accomplishments) 
was _Dogmanstar_, brimming with epic ballads that were truly 
unforgettable. I was pleasantly surprised then, as I am now, that 
London Suede's allure is not solely based on an androgynous posture 
dressed in sharp clothing.
	"Everything Will Flow" is among the memorable tracks on _Head 
Music_ conveying a soft disposition, wrought with longing vocals of 
the Peter Murphy persuasion, with familiar melodies, instrumental 
breaks, and a fair share of decorated string solos that made '80s new 
wave tunes so irresistible. I was immediately taken with "Down," a 
beautiful, lovelorn ballad with low-key musical accompaniment. Frontman 
Brett Anderson shines here, carrying the song's weight with lines like, 
"Hey, you chase the day away, hey, you draw the blinds and blow your 
mind away, and there's a sadness in your smile..." The lyrics are 
unadorned, but the way Anderson sings them are poignant, with a guitar 
solo following the chorus to carry the sentiment further.
	Aztec Camera meets the Waterboys in "She's in Fashion," a 
bittersweet song with a catchy melody, with witty lines like, "She's 
employed where the sun don't set and she's the shape of a cigarette, 
shake of a tambourine..." Meanwhile, the title track is sure to be a 
classic singalong for any man happy to chant, "Give me head, give me 
head...come on lose it to the music," layered with guitar distortion 
and steady beats, moving at the same pace with which it opened. "Hi-Fi" 
is everything but, with Anderson moving slowly, or rather slithering 
through the song. Here's the striptease song of the album, offering a 
lazy rhythm with calm drumbeats and a rich bass line. _Head Music_ 
overall is an evenhanded collection of songs that sway, slink, and 
beat with a groove that exudes sexual prowess. Couple that with good 
looks, and it's no wonder London Suede appeals to boys and girls alike.
---
	REVIEW: Pavement, _Terror Twilight_ (Matador)
		- Steve Kandell 
	With Producer of the Moment Nigel Godrich (Radiohead's _OK 
Computer_ Beck's _Mutations_) taking the helm of the latest Pavement 
album _error Twilight_ much will be made of the famously lo-fi band's 
leap into the world of Big Rock Sound, despite the fact that Mutations 
was little more than a glossier version of Beck's acoustic, homemade K 
Records releases. But the surprising thing about _Terror Twilight_ is 
not its fidelity or commercial sheen. The surprising thing is, it's not 
that good.
	The advance word on _Terror Twilight_ was that Godrich had 
reined in the band's quirkier tendencies towards finally crafting a more 
coherent, accessible album. (Of course, this is the exact sort of thing 
that was said upon the release of 1997's _Brighten the Corners_, but in 
order to believe that album was truly a step towards pop legitimacy, one 
would also have to agree with the critical consensus that 1995's _Wowee 
Zowee_ was a scatterbrained disaster rather than the eclectic tour de 
force it actually is.) If anything, _Wowee Zowee's_ biggest problem was 
that it had the misfortune of following _Slanted and Enchanted_ and 
_Crooked Rain, Crooked Rain_, arguably two of the most important and 
influential rock albums of the past twenty years, and dared to not 
sound exactly like them.
	The new Pavement album is not a major departure, sonically 
or otherwise. It serves as a fitting companion piece to _Brighten the 
Corners_, chock full of languid, mid-tempo numbers along the lines of 
that album's "Transport is Arranged," "Type Slowly," "We Are Underused," 
and "Starlings of the Slipstream." To be sure, there are more trippy 
sound effects than usual in the background of songs, particularly "You 
Are the Light," and "Ann Don't Cry" but by no means does this sound 
like a band reinvented. And for an album that intends to be broadly 
accessible, it is actually far less catchy upon first listen than its 
predecessor. Unfortunately, same goes for the 27th listen. This is not 
because the material is not too oblique, but rather, too staid. The 
songs are, for the most part, pale imitations of ones that they have 
already done to perfection.
	Part of the fun of any Pavement album is picking out the 
musical references, real or imagined, embedded within the songs. Squint 
and you can hear "Pictures of Matchstick Men" in the lumbering "Cream of 
Gold," "Woman From Tokyo" in the sprawling mini-epic "Speak, See, 
Remember," and maybe the melody line from Prince's "Diamonds and Pearls" 
in its intro. Sadly missing from Terror Twilight are any songs from 
guitarist Scott Kannberg, whose "Kennel District" and "Date With Ikea," 
proved to be highlights of the last two Pavement albums.
	Upon the release of each new R.E.M album starting with 
_Document_ in 1987, critics would universally decree that Michael Stipe's 
once mumbled lyrics were finally intelligible, yet no less abstract. 
People could finally hear for themselves just how little sense the man 
was making. By the same token, Pavement, a band which is often compared 
to the R.E.M. of the 80's, takes advantage of its new streamlined 
musicianship and clarity in production to better showcase frontman 
Stephen Malkmus' hyperliterate, often surreal bon mots. But while 
_Brighten the Corners_ had these in spades, _Terror Twilight_ boasts 
few that stick in the craw, although there's something brilliant about 
the line "Pardon my birth, I just slipped out," ("Folk Jam").
	As the mainstream press hails this album as the breakthrough 
it is destined not to really be, one has to listen that much harder to 
the music in order to discern its true worth. The hype is there, the 
songs just don't quite live up to it. This is by no means a poor album, 
but given the other albums in the Pavement canon that it must contend 
with, _Terror Twilight_ can't help but pale in comparison. Though it 
pains me to say, Pavement have made their first truly lackluster misstep 
in their esteemed decade long career. They are forgiven. This time.
---
	REVIEW: Ani DiFranco and Utah Phillips, _Fellow Workers_ 
		(Righteous Babe)
		- Jon Steltenpohl
	When Ani DiFranco first "collaborated" with Utah Phillips, she 
borrowed a bunch of his concert recordings, picked out the best of 
his outspoken rants, and set them to a funky beat. The dazzling result 
was an album called _The Past Didn't Go Anywhere_. It was both a 
stunning retrospective of the mind that is Utah Phillips and the 
songstress that is Ani DiFranco. So, when a new collaboration between 
the two was announced, it could only be taken as a good sign for the 
fans of both artists.
	The result of their new collaboration turns the tables on the 
creative process. Where _The Past Didn't Go Anywhere_ was essentially 
DiFranco working on an archive of Phillips' concerts, _Fellow Workers_ 
is a Phillips performance with Ani DiFranco and friends adding live 
accompaniment. Essentially, this is Ani and Utah unplugged. Phillips 
focuses his topics for _Fellow Workers_ on his core repertoire of 
Union supporter, establishment debunker and pre-60's counter-culture 
historian.
	He tells stories of people being put down by the proverbial 
"Man." And in Phillips case, the Man is anyone who'd dare step on your 
rights and obstruct your freedoms. It's a rhetoric that is used in 
vain these days, but Phillips tells true cases of discrimination and 
injustice from the days before World War II. It's refreshing, given 
the faux efforts of retro-flower power and politically correct speech. 
He tells of poor folk fighting free speech laws by saying the things 
they shouldn't, just to get arrested and overflow the jails. He tells 
the story of Lucy Parsons, a little old lady who was so fed up with 
the system that she told a crowd of tramps to get their knives and 
guns and kill the rich. Then, in classic Phillips deadpan, he cracks 
"Well, she was just pissed! Now, you see, I'm a passivist, but I 
admire her spunk, by god!"
	Obviously speaking to a younger, yet very receptive, audience, 
Phillips seems invigorated. He teaches and tells of the how's and 
why's of the labor movements earlier in our century, when they were 
needed to guarantee an eight hour day and the end of child labor. It's 
a history rarely taught in our schools since it doesn't portray the 
USA as "#1"; and it gives the listener a pause. And, with all of 
these stories in your mind, Phillips makes his point. After a rant 
on the positive and real impacts of activism in the past, Phillips 
asks, "Why can't you young people, with all that you've got, do the 
same thing?" On paper, it seems rather silly, a bit reactionary and 
definitely stuck in the '60s. But, Phillips is hell bent on reminding 
us of the abuses that corporations and governments have inflicted 
on us in the past.
	In this context, Ani DiFranco's role in _Fellow Workers_ is 
somewhat limited. At times, it is a brilliant collaboration. "The Long 
Memory" is a mournful piece highlighted by guest Dave Pirner's trumpet, 
and the opening instrumental version of "Joe Hill" sets you up for 
contemplation and deep topics. "Direct Action" features a tight guitar 
and a funky beat driven by the synthesizer organ. Unfortunately, the 
live mixing doesn't always work too well, and, at times, the beat 
overpowers the simple songs and gristled voice of Phillips.
	This album is education first, humor second and music third. 
In other words, you'll learn and laugh, but you probably won't be 
putting this album on to sing along with. And, unfortunately, due to 
Phillips' declining health, recordings such as this are increasingly 
the only way to hear this legend; piggybacking on the audience of Ani 
DiFranco is a perfect way to do this. Unfortunately, there will also 
be some disappointed fans who just don't understand what DiFranco is 
doing with Phillips. The truth is, it shows DiFranco's heritage of 
growing up in the folk music community, where Phillips is a legend. 
So, if you're expecting emotional roller coasters, you won't find any. 
Instead, you'll get Utah Phillips, a man who wears his passions and 
emotions out front with a conviction as real and as heartfelt as 
DiFranco's lyrical work.
---
	REVIEW: Soundtrack, _Austin Powers - The Spy Who Shagged 
		Me_ (Maverick)
		- Chris Candreva
	The release of a second Austin Powers movie can mean only one 
thing: Another soundtrack album. Like the first, the album contains 
both original material in the style of the 60's, as well as covers 
from that era. For fans of the first album, this one has a bit more 
of an 'edge' to it, but still successfully captures the spirit of the 
time.
	By now I'm sure we've all heard the Lenny Kravitz cover of 
"American Woman" on the radio.  Big Blue Missile covers the Zombies 
"Time of the Season, with STP's Scott Weiland singing. It's an 
interesting treatment, which after listening to several times I 
still can't decide if I like or not. Burt Bacharach and Elvis Costello 
team up for a straight treatment of "I'll Never Fall In Love Again".
	Mike Myers gives a humorous rap version of "Just The Two Of 
Us" as Dr. Evil, lifted directly from the movie. Myers also proves 
he's a comic genius by keeping it short, doing only a single verse, 
not grinding the joke into the ground. Finally, there is a remix of 
Quincy Jones' "Soul Bossa Nova", the original of which appears on the 
first Austin Powers soundtrack. Frankly, I'll take the original 
version, as remixing has added nothing.
	One of the best tracks on the album for me is a previously 
unreleased BBC recording of The Who's "My Generation". It's them, 
live, in a studio from the early days. R.E.M. provides a stellar 
rendition of Tommy James' "Draggin' The Line", getting into the feel 
of the time to the extent that I wouldn't have recognized the band had 
it not been for the liner notes.
	Another high spot on the album is Madonna's "Beautiful 
Stranger", which is the first song of hers I can say I actually like. 
Madonna's vocals are more authentic and far reaching than ever before, 
which might explain my surprising appreciation of this song.
	The only track I've taken to skipping on repeated listenings 
was Scary Spice covering Cameo's "Word Up", but then again I never was 
a fan of the dance / club scene.
	All in all, it's an interesting collection.
---
	REVIEW: Various Artists, _Music To Shag By_ (Beast/Universal)
		- Bill Holmes
	_Star Wars: Phantom Menace_ is fast becoming the first movie 
that does not need one dollar of paid advertising. See, yet ANOTHER 
freebie reference! Ka-ching! Sorry...
	That would leave the door wide open for the sequel to _Austin 
Powers_, and you'd better believe that from magazine covers to Heineken 
ads, the Mike Myers shag--a--thon is all over that. And since every 
screamingly fast object creates a draft vacuum, other objects get to 
cruise in their wake like barnacles, some good, some eeee--vulllllll.
	_Music To Shag By_ is a collection of lava lamp love songs, most 
of which survivors of the original decade will remember. (Yes, we 
survivors do remember some details of the decade!) Bookended by the 
Jones boys - that's "Love Boat" Jack and "Trouser Snake" Tom to you 
young'ns - the eighteen song romp glorifies the era when the vocals 
were as lazy as the listeners. String arrangements and tiki whistles 
rule most of these love grooves, as crooners like Andy Williams and Vic 
Dana warble through wide collars and puca shells.
	Chris Montez, who depending on your outlook is either the coolest 
or wimpiest vocalist in recorded history, checks in with the classic 
"The More I See You," as do Peaches And Herb ("For You Love"), Jerry 
Butler ("I Dig You Baby") and the amazing Dusty Springfield ("The Look 
Of Love"). If you need a little more hipness in your shag serenade, it's 
hard to top three bonafide pop classics like "A Groovy Kind Of Love," 
"You Showed Me" and "Love Is All Around." And one more vote for Tom 
Jones, whose gospel-influenced version of "Without Love" may be way over 
the top, but man, that guy can sing rings around just about anyone when 
he feels like it.
	"Shag" catch-phrases will soon go the way of "Where's The Beef?" 
and "Show Me The Money," but song standards obviously live on - some of 
these date back fifty years. Like most compilations, appeal is limited, 
but the cross-section here is wide enough that there's something for 
everybody. Did I mention Tom Jones?
---
	INTERVIEW: Cropduster Records
		- Al Muzer
	The record industry as it's existed since the days of Elvis, 
Eddie Cochran and Jerry Lee Lewis truly is a thing of the past.
	With just a handful of major labels still active, indie 
imprints collapsing left and right and anything remotely 'edgy' or 
challenging on the radio dial long since sandpapered into sing-along 
blandness - the long-predicted death of rock 'n' roll, it would seem, 
is just around the corner.
	There is, however, hope. Pockets of resistance have begun 
cropping up around the globe in defiance of the Mariah-ization of music 
while the computer - long the exclusive domain of pale, intelligent, 
scientific-type geeks in cheap polyester lab wear - has been 
wholeheartedly embraced by pale, intelligent, musician-type geeks 
decked out in thrift store finery.
	A popular method for recording, altering and sampling music 
for nearly a decade, the home-based computer - thanks to recent advances 
in Internet and MP3 technology - has leveled the modern musical playing 
field. No longer are major label contracts, saturation distribution, Van 
Halen-sized budgets and Billboard chart action the only tickets to 
musical success.
	The Internet has made it possible for artists such as former 
Aquanettas drummer Stephanie Seymour and her band, Birdy; ex-Rain 
Deputies co-leader Chris Merola; one-time Winter Hours guitarist/vocalist 
Bob Perry; and singer Julia Greenberg to release new discs (respectively, 
the hit-packed _Supernominal Paraphernalia_ ; the rootsy _Straight Answer 
In A Crooked Town_ ; the tuneful _Light Fuse, Run Away_ ; and the 
pop-friendly _Past Your Eyes_ , all on Cropduster Records) that, with 
patience, luck and timing, have as good a chance of being heard by the 
masses as Beck's or Natalie Merchant's next efforts.
	One of those "pockets of resistance" that make the independent 
music landscape so interesting, the Cropduster family (and the word 
"family" is used in its truest sense) in addition to Merola, Greenberg, 
Perry and Seymour with Birdy, also includes James Mastro's Health & 
Happiness Show and The Other 99 featuring former tabulaRASA guitarist 
Chris Flynn, drummer Alan Katz and bassist Sean Seymour working with 
guitarist/vocalist Jeff Epstein.
	"We knew the first minute we got all five bands together in one 
room that we had something special," Sean Seymour has said. "Everyone 
told Wilbur and Orville Wright 'that thing will never fly,' yet, this 
Cropduster, like theirs, has really taken off."
	"We're all different enough," Perry says of Cropduster, "that 
we don't get in each other's way. But, we're all close enough that it 
just seems to work. One of my favorite parts about being a member of 
Cropduster is what we call a 'Cropduster Night' " when there are three 
or four Cropduster artists on the same bill. It's such a nice night of 
music ... between Birdy and Julia and The Other 99 ... it's a very 
shared, very warm experience."
	The Cropduster collective concept was initially realized in 
1994 when band members Perry, Flynn, Katz and Seymour pooled their 
considerable talents and marginal resources to release tabulaRASA's 
locally-acclaimed Somewhere Out There. A valuable learning experience, 
the long road from tabulaRASA's debut to Cropduster has been 
surprisingly smooth and ego free.
	"It's been great!" Merola, a graphic artist who has designed 
CD artwork including Perry's and Stephanie Seymour's and performs 
(with Flynn, Katz and Seymour) in Birdy, says of the Cropduster 
experience. "It's the only way to go. It's actually the way I've 
always felt playing music should be, but rarely found. Cropduster is 
all about shared joy, creativity and a positive...I hesitate to say, 
energy. Everyone here is working with the same goal in mind so when 
something good happens for one - it affects us all."
	"This really has been a positive experience for all of us," 
agrees The Other 99 vocalist/guitarist Jeff Epstein. "It's amazing 
that you could put five or six bands together and have everyone be as 
supportive as they've been. Everyone actually likes each other at 
Cropduster! I mean, I deal with artists all day [at a local disc 
manufacturer] and I've seen fist-fights break out between band members, 
so when you can get this many people to get along this well ... honestly, 
I think this is the most fun I've ever had, and I've been doing this 
for a long time."
	"I play in four out of six bands," explains guitarist Chris 
Flynn who also handles the Cropduster Web site, "which is fun for me on 
a purely selfish scale 'cause I get to play four sets in one night! 
I'm a project leader in a computer IT department in my day job - so I 
was the most familiar with the technology needed to set up the 
Cropduster Web site, which is how I wound up doing that. We all, 
however, brainstorm on ideas on how to liven it up and get a little 
traffic going, ya' know? Cropduster is a total labor of love."
	"I'd always written songs," begins Stephanie Seymour, "even 
when I was drumming with the Aquanettas I kind'a had it in my mind that 
I could, I should, be doing this. I found my band through James 
[Mastro]," she laughs, "and, that was that. Being a part of something 
like Cropduster really makes the ride feel a little easier, a little 
less rough, this time around. I don't think I've ever had this many 
friends before. We genuinely love hanging out with each other and we 
really do love playing with each other."
	"While it's not the most unique idea," comments Greenberg, "the 
response to Cropduster has been absolutely amazing. I mean, anytime I 
describe the concept to someone even vaguely connected to the music 
industry...there's, like, this long sigh of relief. [laughs] You know, 
I think Cropduster is a pretty positive response to the direction the 
record industry seems to be heading and I'm really excited to be 
involved, to be a member of the Cropduster 'family.' "
	"I was at the point where I didn't care if the Health & Happiness 
Show ever made another record," Mastro says of his absorption into 
the Cropduster collective. "I didn't feel like looking for a new deal 
and was just tired of the whole industry...'thing,' in general. I 
produced and played on a few Cropduster records and, just being around 
these guys and seeing what they were doing proved to be pretty inspiring."
	"I think this [Cropduster's Internet presence] is the way the 
record industry is going and that labels should be scared [chuckles 
wickedly]. I'm an old-fashioned kind'a guy," the former Bongo says 
when asked about the July release date for the 13-song Sad, And Sexy, 
"but this really seems to be a good way to enter the next century."
	"Cropduster is kind'a like this big umbrella we all got under," 
offers Perry. "We all had records that were ready to be released, but 
found ourselves asking the same questions: 'Where am I gonna go? What 
label will release this? Am I gonna try to put this out by myself? If 
I do try to put it out myself, where am I gonna get the money?' When 
you put five bands together and everyone splits the cost and duties 
and everyone has the same goal in mind, well, it just seems like it's 
a lot easier to get things done and," he adds with the wisdom of 
experience, "a lot less painful getting them done."
	For more information on Cropduster, check them out at 
http://www.cropduster.com .
---
	REVIEW: Various Artists, _Burning London - The Clash Tribute_ (Epic) / 
		Various Artists, _A Tribute To Erasure_ (Hypnotic)
		- Bob Gajarsky
	Two of the more significant bands of the alternative music scene
were the Clash and Erasure.  While the Clash brought out the punk in 
many, Erasure brought 'coming out' to a new extreme.  The contrast 
between the bands, as well as the tributes, represent extremes in the 
modern rock spectrum.
	While Americans were no doubt influenced by the group's punk ethic, 
The Clash were first and foremost a product of the 1970s British environment. 
Therefore, it comes as quite a surprise that there are no British (!) bands 
(with the exception of Billy Idol's guest vocals on one track) present on 
this major label tribute to the Clash.
	The Idol track - "Hateful", in which he provides backing vocals 
to complement No Doubt and Gwen Stefani - is one of two tracks that actually 
works.  No Doubt's SoCal-version of the Clash cut has enough twists from 
the original, with enough of a hook to keep the listener interested.  
Ice Cube and Mack 10 rap to "Should I Stay Or Should I Go", which samples 
the original - but *this* is something the Clash would approve of.  Guts, 
spunk, and an in-your-face attitude pervade this song, holding almost 
no similarities to the original - but showing the same spirit the Clash 
held nearly 20 years earlier.
	Unfortunately, the rest of the cuts range the spectrum of "bad" - 
whether poorly executed (311), unoriginal (The Urge), or losing any of 
the biting edge (Indigo Girls) which made the Clash a major influence 
on a generation.  Probably the greatest travesty on the disc is Third 
Eye Blind's pasteurization - just as Pat Boone did to black America 
in the 1950s - of the Clash's "Train In Vain".  Although this track 
was one of the few bones the Clash could toss the pop world, 3EB tries 
to use this as their entrance into the alternative world. Sorry, try 
again.  
	The best part of this project?  Profits from the sale of this 
disc will go to The Children's Hospital of Los Angeles' High Risk Youth 
Program.  The proper reason to buy this disc might be as a tax writeoff.
	_A Tribute to Erasure_ employs bands unknown except to the hardest 
core synthpop fans, with greater results.  Although these artists stay more 
faithful to the original tracks (and are unable to necessarily reach Andy 
Bell's expanded vocal range), the complete package is much easier to digest.
	Nova's techno/euro-disco twist of "Oh L'Amour" - with an 
appropriate increase in BPMs - could pack the dancefloors in clubs that 
consider Erasure's original (or even Dollar's cover) too dated.  On 
Element's take of "A Little Respect", the lead singer sings in a low-key, 
quiet fashion which runs counter-intuitive to Andy Bell's original - yet 
still works marvelously, not unlike a comparison between KLF's ambient or 
pulsating versions of "3 AM Eternal".
	Female vocals offer a welcome change of pace from the  
Bell-soundalikes; Con-cept's "Breath Of Life" offers a throwback to 
the Yaz(oo) days of Alison Moyet, while Sometimes Me's "Always" and 
I.O.U.'s "Love To Hate You" maintain the hummable, dancable sound which 
seemingly always accompany Erasure's songs.
	While _A Tribute To Erasure_ may not offer up any surprises - or 
draw in any new fans to synthpop - it targets the core of Erasure's 
loyal fans.  Those fans should be quite pleased with the results of this 
compilation.
---
	REVIEW: Soundtrack, _The Book of Life_ (Echostatic)
		- Chelsea Spear
	Hal Hartley's _The Book of Life_ is a kalidescopic meditation 
on the events that may well unfold on December 31, 1999.  The film 
itself blends modern philosophy, up-to-the minute technology, espionage 
and intrigue, and Hartley's trademark dry wit to bring us into the 
new millenium.
	Hartley has a notably rock-and-roll sensibility; new fans 
might have figured this out by his casting of PJ Harvey as Jesus 
Christ's secretary, Mary Magdalena, and old fans knew it all along 
from his previous incarnation in a rock band, the gorgeous minimalist 
scores he writes for his other films, and the intuitive, musical 
approach he gives to his films.  With the soundtrack to _The Book 
of Life_, Hartley has created one of the hippest soundtracks 
availible today, something that provides a nifty souvenir for fans, 
but also brings together an amazing collection of bands.
	Not surprisingly, two of the highlights of the soundtrack 
come from Hartley's "house band", Ryful -- a  quintet of musicians 
whose previous experience includes scoring Hartley's previous film, 
_Henry Fool_.  After the shrill, minimalist debacles voiced by the 
silver-throated Lydia Kavanaugh on that score, she returns to form 
with a lovely, understated folk song, "King of Boys"; and the Ryfuls 
create an amusingly over-the-top spy theme, "Fugitive", that's as 
funny here as it was in the film.
	The spy-music theme continues throughout the album, with 
David Byrne's expansive, cinematic "Macchu Picchu" and a lovely, 
textured new track from Yo La Tengo called "Turtle Soup" that's so 
intriguing they played it twice.   Phlyr's techno-enhanced "In A 
Hole" was best left on the movie screen; its breakbeats work well 
within the context of the movie, but draw unnecessary attention to 
themselves within the context, giving the listener the impression 
that they wandered into a videogame by mistake.
	Another recurring theme on the album is solemn, church-y 
music. The album begins and ends with two lovely hymns by the German 
chorus Osnabrucker Jugend Chor, and is softly punctuated by the 
equally scintillating "Mrs. Nedelija Became Famous" by Le Mysterie 
Des Voix Bulgares.  These help to remind us that, though we are 
dealing with an irrereverant examination of how corrupt organized 
religion has become, at its core the film is still partially about, 
y'know, God stuff.  These tunes are beautiful listening on their own, 
though highly unusual under the circumstances.
        And, finally, there's everyone's favourite genre which pops 
up on Hartley soundtracks -- that of melodic East Village art-rock, 
the kind that wouldn't exist were it not for soundtracks like this.  
Hub Moore contributes his aching, droney "Two People" from his 
self-titled album; Miss Crabtree's "Waking Up" is a haunting, 
melancholy smear of melody and strange noises, and "Lincoln" by 
Super 5 Thor offers up an understated drone and low-key come-hither 
voice that almost makes waiting for a new Luna album a little easier.  
One of the best tracks features new musician Pascal Comelade working 
with PJ Harvey on the irresistably aching "Love Too Soon"; its 
understated melody and lounge-y use of xylophones helps create a 
low-key, longing mood for Peej's vocal that's not heard much, and 
shows off what an excellent vocalist she is.
	All in all, _The Book of Life_ soundtrack is a worthwhile 
spin for those who have seen and enjoyed the film, and makes a good 
sampler for adventurous listeners.  The only problem with it is that 
it doesn't have any snippets of Hartley's hilariously skewed dialouge, 
but hey.  Learn more about Hal Hartley by going to 
http://www.best.com/~drumz/Hartley/ .
---
	REVIEW: Blessid Union of Souls, _Walking Off The Buzz_ (PUSH)
		- Linda Scott
	Blessid Union of Souls is not a Christian rock band. Despite 
the name, the Cincinnati-based group is a standard rock/pop group with 
a name chosen from the dialogue of a M*A*S*H episode. _Walking Off The 
Buzz_ is the band's third album, and they have done well so far. Their 
debut album, _Home_, released in 1995, generated the chart-topping 
single "I Believe," which eventually became the 4th most played song 
of 1995. "Let Me Be The One," their second single, pushed _Home_ to 
platinum status. Their second album had these hits: "I Wanna Be There" 
and "Light In Your Eyes." However, the sophomore album was not as 
successful as _Home_, probably due to their label (EMI) folding just 
after the album came out.
	Many bands today are also undergoing the confusion of label 
disappearance and artist shuffling. Blessid Union found themselves with 
Capitol. Capitol picked up the third album option, but the band decided 
to ask for a release and move to an independent where they would have 
more musical freedom and attention. Blessid Union feels they work more 
tightly on _Walking Off The Buzz_ than ever before.
	The first single is "Hey Leonardo (She Likes Me For Me)," a 
crazy little song with a catchy melody and lyrics. The celebrity 
references are funny, and range from the great DiCaprio to Cindy 
Crawford and Robert Redford. This song is sure to be a winner. The 
single was released in March and is soaring up the CHR/Pop charts.
	But not all tracks are happy tunes. The title track deals with 
broken relationships.  It's a good song, but painful. One of the star 
tracks is "Standing At The Edge of The World," which Blessid Union did 
for the _Armageddon_ Soundtrack. Although they lost their spot out to 
Aerosmith, Blessid Union is rightfully proud of this cut. One that is 
good but is not being pushed is the cover of the Beatles' "Revolution." 
This track ends the album and is really an amazing cover.
	Blessid Union is touring in support of _Walking Off The Buzz_ with 
Matchbox20 and Sarah McLachlan. If you like a good pop/rock band with 
grand vocals, some great lyrics, and rocking melodies, pick up _Walking 
Off The Buzz_.
---
	REVIEW: Spacetime Continuum, _Double Fine Zone_ (Astralwerks)
		- Andrew Duncan
	Jonah Sharp has returned with a new album that remembers more of 
his jazz roots than the dance floor debauching of his last release, 
_Emit Caps_. With the help of saxophonist and longtime friend Brian 
Iddenden, has Sharp lost the Spacetime out of his Continuum, or just 
moved to a higher level in the universe of electronica?
	_Double Fine Zone_ is an unexpected change for the San Francisco 
musician, yet a logical regression when understanding that he based his 
career as a drummer in the Edinburgh jazz-club scene and session drummer 
for the label Acid Jazz.
	Immigrating to San Francisco in the early '90s, Sharp began 
experimenting with electronic equipment and turntablism. He formed his 
own label, Reflective -- a primitive outfit for releasing his Spacetime 
Continuum alter ego. People were impressed, especially Astralwerks. 
Sharp became the first domestic artist on the Astralwerks roster.
	Working with the likes of Bill Laswell and Tetsu Inuoe while 
reconstructing Nine Inch Nails' "The Perfect Drug," Sharp became well 
versed in the electronic industry.
	Now with Double Fine Zone, Sharp still can still shake a hip or 
two while creating space-age bachelor pad eroticism. "The Ring" 
introduces Sharp's new sound with hazy swoops of Iddenden's saxophone 
that could be used as backdrop for a James Bond love scene. "Microjam" 
wakes up the CD with urbanized movement flashing hip-hop beats and bass 
lines like traffic blurring by on Fifth Avenue.
	Sharp incorporates a sense of tongue-in-cheek humor to his music 
especially evident on the adolescent video-game antics of "Biscuit Face," 
placed somewhere between Autechre's intellect and U-Ziq's manic 
programming.
	The space bleeps of "Beveled Edge" pays homage to the free jazz 
movement led by the pioneer Sun Ra. "Freezone" and "Manaka" leans more 
towards traditional jazz, adding subtle modern effects including echoes 
and distortion. 
	Even though songs like "Spin Out" can easily be seen 
encapsulating a dance floor, much of the album is really just intelligent 
electronic jazz experimentation that is equally captivating.
---
	REVIEW: Dude of Life, _Under the Sound Umbrella_ (Phoenix Rising)
		- Matthew Carlin
	The Dude of Life (nee Steve Pollak) basically has one thing 
going for him: he's good pals with the members of Phish. Which, unless 
you ask a relatively small portion of the noodle-dancing public, isn't 
really such a good thing. Worse yet, most Trey Anastasio-worshipping 
denizens don't even like the Dude that much.
	Just in time for the millennium, the Dude is back with a whole 
new set of tunes. This time he's only got three-quarters of Phish 
laying down tracks.  And they probably just did it as a favor to an 
old friend, which is exactly what it sounds like. In fact, the whole 
album still only sort-of-makes sense if you listen to it in terms of 
what it really is - the musically-dabbling college buddy of a highly 
successful band miraculously given a second chance to commit his mildly 
humorous sins to acetate for an imaginary dorm-full of ears hungry for 
goofy songs.
	The songs on _Under the Sound Umbrella_ span three decades - 
none of which are this one. In some regards, Pollak is trapped in the 
'60s, rejoicing in his carefree good times and singing his songs for 
all the other dudes passing the doobage around at his party. Musically, 
it's all '70s pomp - big guitars with controlled distortion and overblown 
choruses that always contain the name of the song repeated many times. 
Finally, the production is straight out of the super-slick '80s. The 
inane Scuba Dive (chorus: "Scuba Dive!") actually contains a harmonized 
guitar solo that sounds just like what the mullet-headed, black jeans 
clad, Reebok-sneaker-wearing salesman at Guitar Center would play while 
demonstrating the newest model of the Rocktron 2000 Electronic Guitar 
God Machine.
	Despite incorrigible ballads like "Puppydog Named Madness" and 
wanking guitars like Anastasio's overbearing lead on "Francella," the 
most absolutely excruciating aspect of the Dude's album is the vocals. 
With the obnoxious, nasal delivery of a faux-Brit rocker and literary 
skills that are adolescent at best, there are really no redeeming 
qualities about the Dude's contributions to the platter that bears his 
name. Which is a shame, because the Dude seems like the kind of guy 
you'd really want to live next door to in the dorms at a state college 
of your choice. His lyrics would be really funny at 3 o'clock in the 
morning after a night spent getting severely inebriated. But immortalized 
forever on CD, they just make you wince and wish he would go away:
	"It's time for celebration / Are you ready for the feast? / All 
the sundry are invited / Including the beast / I'll meet you at the 
shindig / If you make it through the fog / But you better beware of 
the dog." (excerpt from: "Beware of the Dog" by the Dude of Life)
---
	REVIEW: Bikeride, _Thirty Seven Secrets I Only Told America_ 
		(Hidden Agenda/Parasol)
		- Bill Holmes
	Wish all my school projects came out this good; Bikeride came 
together in 1997 to flesh out leader Tony Carbone's collegiate thesis 
and wound up releasing a full length recording called _Here Comes The 
Summer_. In keeping with the theme and process, Carbone spent the next 
couple of years jotting down ideas and lyrics over lunch breaks for this 
sophomore project.
	Bikeride's low-key approach and Carbone's high vocals remind me 
of the Three O'Clock, Apples In Stereo and even early Mitch Easter, 
although you wouldn't call this record power pop by any stretch of the 
imagination. Sure, there are hummable melodies galore, like the opening 
track "Erik And Angie" (think New Radicals without all the bombast), the 
snare-driven hand-clapper "Jennifer" and the Farfisa-laden "America's 
Favorite Omlettes." What's most impressive, however, are offbeat touches 
like the engaging horn arrangements on the peppy "The Letter Dropper" and 
the carefree, whistling intro to "Samarah." By driving on the other side 
of the road...er, bikepath, the band sounds unencumbered and fresh, the 
antithesis to overproduced hit single attempts.
	In this age of one-sided recordings, the art of balancing two 
halves of an album has gone by the wayside, but "Do You Like Ping-Pong?" 
is a clever palette cleanser (yes, it's nothing but several seconds of a 
ping-pong game), especially if you are wearing headphones. The loopy 
instrumental "Clean Sports, Clean Living" also bridges the gap between 
the bouncy closers: "Parasol" (no wonder the label liked them!) and "Can 
You Hear?" The record is full of different sounds and tempos that bear 
repeated listenings.
	Bikeride won't be radio stars, but with lines like "I told myself 
it was too much heaven/just to see you walking into a 7-11," you'll find 
yourself walking up to the DJ or record shop counter and asking, "Who WAS 
that?" And if you get that chance, you'll find these songs worming their 
way into your heart. If that's not enough, you'll fall in love with the 
girl on the roller blades, just like I did. A great summer record to 
brighten your day.
---
NEWS:	> Rockers Oleander, who have hit with 
their single "Why I'm Here", will be conducting an 
online chat through Sonicnet and Yahoo.  The chat 
will be held on Tuesday, June 29 at 7:00 pm at either 
http://www.sonicnet.com/channels or http://chat.yahoo.com .
	> The original lineup of the Smashing Pumpkins - 
Billy Corgan, James Iha, D'Arcy and Jimmy Chamberlin - are in 
the studio working on their fifth album.  The album is 
tentatively scheduled for an October release.
 	> Writers searching for the next big break may want 
to check out http://www.psycholaborations.com , the site 
designed by the Smithereens' Pat DiNizio.
	Lyricists can log on to submit their prose to DiNizio, 	
who will create the music, record the tune, and deliver it to 
the writer in the form of a completed song.  
	In addition to Psycholaborations, Smithereens fans can 
look forward to a fall release of _God Save The Smithereens_ 
produced by Don Fleming (Teenage Fanclub, Alice Cooper).
---
TOUR DATES:
	Anti-Flag
Jun. 24 Detroit, MI St. Andrews Hall
Jun. 25 Toronto, ON Opera House
Jun. 26 Montreal, PQ Le Medley
Jun. 28 Ottawa, ON Barrymore's Music Hall 
Jun. 29 Ste. Madeleine, PQ Brasiervil
Jun. 30 London, ON Call the Office

	Adrian Belew
Jun. 23 Milwaukee, WI Shank Hall 
Jun. 26 Cleveland, OH Wilbert's 
Jun. 27 Cincinnati, OH 20th Century 

	Beta Band
Jun. 24 Los Angeles, CA Roxy 
Jun. 26 San Francisco, CA Bimbo's 
Jun. 28 Seattle, WA Aro.Space 

	Boredoms
Jun. 25 San Francisco, CA Slim's 
Jun. 29 Vancouver, BC Richards on Richards
Jun. 30 Seattle, WA Crocodile Cafe
Jul. 4 Orange County, CA Oak Canyon Ranch

	R.L. BURNSIDE
Jun. 24 Nashville, TN Dancin in the District
Jun. 27 San Diego, CA Casbah
Jun. 28 Los Angeles, CA Spaceland
Jun. 29 San Francisco, CA Gre American Music Hall
Jun. 30 Petaluma, CA Mystic There

	Mary Chapin Carpenter
Jun. 24 Houston, TX Aerial Theatre
Jun. 25 Austin, TX Backyard
Jun. 26 Fort Worth, TX Billy Bob's
Jun. 27 Lake Charles, LA Riverboat Casino
Jun. 28 New Orleans, LA House of Blues
Jun. 30 Nashville, TN Ryman Auditorium

	Chapter In Verse
Jun. 24 Boston, MA The Irish Embassy 
Jun. 25 Bernardsville,NJ The Stone Tavern Brewery
Jun. 26 New York, NY The Bitter End 

	Ani DiFranco / Maceo Parker
Jun. 23 Cleveland, OH Nautica Stage
Jun. 25 Columbus, OH Brewery Pavillion
Jun. 26 Rochester Hills, MI Meadowbrooks
Jun. 27 Chicago, IL Aragon Ballroom
Jun. 30 St. Louis, MO Forest Park Amphitheatre

	Floraline
Jul. 1 New Orleans, LA Mermaid Lounge

	Go Betweens
Jun. 23 Boston, MA Paradise
Jun. 24 Washington, DC 930 Club
Jun. 26 New York, NY Fez
Jun. 29 Seattle, WA Crocodile Cafe
Jun. 30 San Francisco, CA Great American Music Hall
Jul. 1 Los Angeles, CA Troubadour

	Alanis Morissette
Jun. 23 Milan, Italy Filaforum
Jun. 25 Marseilles, France Le Dome
Jun. 26 Toulouse, France Le Dome
Jun. 28 Madrid, Spain La Riviera
Jun. 29 Lisbon, Portugal Atlantico Pavilion

	Mike Ness
Jun. 22 Nashville, TN 328 Performance Hall
Jun. 25 Birmingham, AL 5 Points South Music
Jun. 26 New Orleans, LA House Of Blues
Jun. 29 Austin, TX La Zona Rosa
Jun. 30 Dallas, TX Arcadia Theatre

	Pietasters
Jun. 25 Boundbrook, NJ The Palace
Jun. 26 Misquamicut Beach, RI Poseidon Room
Jun. 27 Hampton, NY Dublin Over
 
	Rammstein
Jun. 23 Los Angeles, CA Shrine Auditorium And Expo Hall
Jun. 27 Tokyo, JP Liquid

	Rick Springfield
Jun. 25 Stockton, CA San Joaquin Fair 
Jun. 26 Eureka, MO Six Flags Park

	Sally Taylor  
Jun. 24 Denver, CO Soiled Dove 
Jun. 30 San Diego, CA Java Joe's   

	Ten Foot Pole
Jun. 28 Wallingford, CT Extreme Skatepark 
Jun. 29 Asbury Park, NJ Casino Skatepark 
Jun. 30 Pittsburgh, PA Club Laga 

	Those Bastard Souls
Jun. 24 San Francisco, CA Bottom of the Hill
Jun. 26 San Diego, CA Casbah
Jun. 29 Tucson, AZ Club Congress
Jun. 30 Albuquerque, NM Launchpad
Jul. 2 Austin, TX Emo's

	UB40
Jun. 23 Atlanta, GA Tabernacle
Jun. 24 Orlando, FL House of Blues
Jun. 25 Pompano Beach, FL Pompano Bch. Amph.
Jun. 26 Tampa, FL Tampa Bay Performing Arts Center

	Verve Pipe / Papa Vegas
Jun. 23 Washington, DC 930 Club
Jun. 25 New York, NY Bowery
Jun. 26 Boston, MA Paradise
Jun. 30 Milwaukee, WI Lazer Stage Summerfest
Jul. 1 St. Louis, MI Karma
Jul. 2 Chicago, IL Double Door
---
Founded in August, 1993, Consumable Online is the oldest 
music reviews publication on the Internet.
To get back issues of Consumable, check out:
        WWW:     http://www.consumableonline.com

To subscribe to Consumable, send an e-mail message to
consumable-request@westnet.com with the body of the message stating
"subscribe consumable".  To unsubscribe, send a message to the
same address stating "unsubscribe consumable".

Web access contributed by WestNet Internet Services (westnet.com),
serving Westchester County, NY.

Address any written correspondence to Bob Gajarsky, Consumable Online,
409 Washington St. PMB 294, Hoboken, New Jersey 07030
===
