== ISSUE 191 ====  CONSUMABLE ONLINE  ======== [November 1, 1999]

  Editor:             Bob Gajarsky
                         E-mail: editor@consumableonline.com
  Managing Editor:    Lang Whitaker
  Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim 
                      Kennedy, Al Muzer, Joe Silva 
  Correspondents:     Michelle Aguilar, Christina Apeles, Niles J. 
                      Baranowski, Mike Bederka, Jason 
                      Cahill, Matthew Carlin, Patrick Carmosino, John 
                      Davidson, Andrew Duncan, Krisjanis Gale, Paul 
                      Hanson, Chris Hill, Eric Hsu, Scott Hudson,   
                      Steve Kandell, Reto Koradi, Robin Lapid, Wes 
                      Long, Iain Kenneth MacLeod, Linda Scott, Don  
                      Share, Scott Slonaker, Kerwin So, Chelsea Spear, 
                      Jon Steltenpohl, Michael Van Gorden, Simon West
  Technical Staff:    Chris Candreva, David Landgren, Dave Pirmann

 Address all comments to staff@consumableonline.com ; subscription 
information is given at the end of this issue. 
==================================================================
	All articles in Consumable remain (C) copyright their author(s). 
Permission for re-publication in any form must be obtained from the 
editor.
==================================================================
                            .------------.
                            |  Contents  |
                            `------------'
INTERVIEW: Chuck D. - Lang Whitaker 
REVIEW: Stone Temple Pilots, _No. 4_ - Scott Hudson
REVIEW: Iggy Pop, _Avenue B_ - Steve Kandell
REVIEW: The Clash, _From Here To Eternity Live_ - Tim Kennedy
REVIEW: Pet Shop Boys, _Nightlife_ - Bob Gajarsky
REVIEW: Days of the New, _Days of the New II_ - Linda Scott
REVIEW: Filter, _Title of Record_ - Andrew Duncan
REVIEW: The Scorpions, _Eye II Eye_ -  Chris Candreva
REVIEW: Rees Shad, _Little Brown Book_ - Wes Long
REVIEW: The Frank and Walters, _Beauty Becomes More Than 
   Life_ - Patrick Carmosino
REVIEW: The Dust Brothers, _Fight Club_ Soundtrack_ - Michelle Aguilar
COMPILATION REVIEWS: Yaz, _The Best Of_  / Dennis DeYoung, _The 
   Ultimate Collection_ - Bob Gajarsky
REVIEW: Velvet Crush, _Free Expression_ - Wes Long
REVIEW: Various Artists, _International Pop Overthrow 
   Volume 2_ - John Davidson 
REVIEW: Tram, _Heavy Black Frame_ - Chris Hill 
REVIEW: Patty Larkin, _a gogo_ - Jon Steltenpohl
NEWS: Duran Duran, Korn, Alanis Morissete, Tonic
TOUR DATES: Alaline Trio, Blinker The Star, Buzzcocks / Lunachicks / 
   Down By Law, Danzig, Del The Funky Homosapien & Casual, Bryan Ferry, 
   Ben Harper, Ben Lee, Len / Styles of Beyond, Live, Luscious Jackson, 
   Andrea Parker, Silverchair / Blink 182, Sonia Dada, Joe Strummer & 
   The Mescaleros, Superchunk, Richard Thompson, Tonic / Goo Goo Dolls, 
   Watsonville Patio, Josh Wink
Back Issues of Consumable
---
	INTERVIEW: Chuck D. 
		- Lang Whitaker 
	When I was in seventh grade, I attended my first concert: EPMD, 
Run-DMC, Public Enemy, and DJ Jazzy Jeff & the Fresh Prince. Though I 
had a great time, the thing that stuck out in my mind was the image of 
Public Enemy frontman Chuck D. stalking around the stage, spitting 
lyrical fury. When rap music was popularized in the '80s, Chuck D. and 
PE were right there, providing a socio-political backbone to a music 
form that largely celebrated partying and dancing. And as we zoom into 
the year 2000, Public Enemy is still there, leading hip-hop's Internet 
revolution. 
	I first interviewed Chuck D. a few years ago. As fellow Atlanta, 
Ga., residents, we hit it off, and we now keep in constant contact. 
While Chuck is considerably softer and kinder in person than on record 
or stage, there is still an edge to his personality, as if at any moment 
he could lash out and begin preaching about fighting the power or not 
believing the hype. Even while sitting next to him on an overstuffed 
couch or gretting him with a hug, Chuck engenders a sense of caution. 
	After a recent show on PE's fortieth world tour, I recently sat 
down with Chuck D. and picked his always-controversial brain. 
	CONSUMABLE ONLINE: Chuck, I was talking to someone the other 
day, and when I told them I knew you they said 'Oh, isn't he an 
anti-Semite?' 
	CHUCK: (laughs) Oh, man. Where was that person from, a cave? 
You sure they weren't from a cave? 
	C.O.: Why would someone say that about you? 
	CHUCK: (sighs) I don't know. There's a lot of misinformation, 
and if they're subjected to only reading the headlines of a situation, 
then they're going to pass an opinion that's based on a fallacy or a 
non-fact. 
	C.O.: (laughs) Of course, you were accused of anti-Semitism by 
the Anti-Defamation League for your song "Swindler's Lust." I read 
somewhere on the Internet where they asked you about that situation, 
and if "Swindler's Lust" was anti-Semitic, and you said "They need to 
look into it for themselves." 
	CHUCK: Exactly. Anyone that's listened to the song can clearly 
recognize that I'm talking about my relationship with Polygram Records 
and Def Jam Records in 1998, and in retrospective, going back to '93 
and '92. And 'Swindler's Lust,' if they really think about 'Schindler's 
List,' they know that it was Spielberg's take on a guy that was dealing 
with the artistry of freedom of people in Nazi Germany. So, why 
couldn't I use that as an inspiration. I think it could be considered 
highly racist that I wouldn't be able to touch that area and be inspired 
by that area without people passing judgement. That's truly American of 
somebody to actually put that tag on me by just reading at a headline 
and not looking at the story. That's a problem American's have: We're 
dumbed down by the fact that we think the headline is the total story. 
That's precisely some of the things I like to talk about. I made 
'Don't Believe the Hype' twelve years ago to talk about the way 
Americans take information in. So I can't help it if someone happens 
to be less intelligent than me.  
	C.O.: (laughs) When you say the way Americans 'take information 
in,' I think you're referring more so to the way people misinterpret 
what they take in and misuse that interpretation, right? 
	CHUCK: Exactly! Americans like their food fast, but they like 
their info fast, too. Sometimes you have to read the whole, total 
picture. We're in a fast food society that wants information to be just 
as fast, health care to be just as fast and sex to be just as fast. So 
I can't speak for people who want to fuck their brains up and deal with 
their ride, and they just want to be satisfied off of a glimpse. the 
key to Public Enemy is that when you see us, you understand it's going 
to be special because we've been to six continents. And my discussion, 
when I deal with other continents, is usually at a higher level than 
when I deal with America. Americans, largely, are dumb. Which means 
that we're not trained to actually acknowledge the total picture 
outside the 2,000-by-3,000 mile box of the United States of America. 
	C.O.: You were talking about being involved worldwide, and for 
you a lot of that comes through the Internet, right? 
	CHUCK: Well, Public Enemy was the first rap group that planted 
our seeds worldwide. We weren't afraid, way back in the '80s, to go 
stay in Norway for three or four days, and deal with winters in Europe 
and summers in Africa. I think that very worldly experience helped us 
plant the seeds for rap music and hip-hop, not just for us, but for 
rap music and hip-hop. People like the Roots, Cypress Hill and the 
Fugees took advantage of that world sound. But...now we tour twenty 
percent of the time as opposed to seventy percent of the time back in 
the day, but we make sure that our twenty percent is quality time, 
because we got things to handle and businesses to take care of. 
	C.O.: What do you do the other eighty percent of the time? 
	CHUCK: The eight other things I do. 
	C.O.: (laughs) Well, what are they? 
	CHUCK: I'm not going to tell you everything because you'll 
probably end up printing them all in your article. (laughs) 
	C.O.: C'mon, Chuck (laughs). 
	CHUCK: We just started Rapstation.com, which is like ESPN for 
rap music and hip-hop, and we launched that last week. There's 
Bringthenoise.com, which is Internet hip-hop radio. We play more rap 
joints than anyone around the world. I have a show where I play 
unsigned, independent artists around the planet. We do everything 
from movie studios...we've got four studios in operation. We've got 
two Atlanta studios and three Long Island studios, where we do 
everything from scoring commercials to voice overs. I had to step 
down from Fox at the beginning of the year because it was time for 
music. I mean, that's about five different things. I'm finishing up 
my book, 'Countdown to Armageddon,' which is coming out mid-2000, my 
second book. So, there's a lot of different things going on, all the 
time. You know, lots of stuff. 
	C.O.: Understandably. Just now you mentioned the middle man, 
and isn't that one of your reasons for getting involved with Internet 
stuff, because there is no middle man? 
	CHUCK: Well, there is a middle man, but you have to create the 
middle man. It doesn't eradicate the middle man, but what it does, is 
that you create a situation where the middle man has to share more. 
Business success depends on the naivete of the artist and the naivete 
of the public, right? And who ends up having all the information is 
the middle people, in the traditional ways of television, video and 
record companies. And usually, everyone ends up looking to the middle 
man for answers and money. So, the artist makes the art and gives it 
to the middle man, who determines the price and the mechanical 
structure that it goes to the public in, and the public doesn't know 
anything about the industry, and the artist doesn't know anything 
about the process. So, as long as both sides are naive, it kind of 
balances things out. What the internet does, is that in order to get 
on the internet, you can't go in with a naive state of mind. You've 
got to go into it knowing that you could become your own entity and 
business, and come up with a parallel world alongside the music 
business, as it exists today. I mean, if there's going to 100 million 
computers all modemed together around the world, don't you think that 
if a person wants to get Nas' latest, unreleased track, drop it to 
their hard drive and then drop in onto their CD burner that costs 
about $80 and make their own CD, do you really see them not going 
through that process, and instead going to the store and paying $17? 
	C.O.: Right. But how many people, now, have access to that? 
	CHUCK: More and more as we speak. The price of computers comes 
down. The largest ethnic group of people buying computers is black folk. 
More Americans have bought computers the last two years than television 
sets. Twelve years ago, how many cellular phones could you count in 
the black community. my whole thing is that the technology doesn't 
look for excuses. They look to set a precedent, and the people follow, 
regardless, because it's based on convenience. People are going to get 
their entertainment, especially rap music and hip-hop, where eighty-five 
percent of the music is underserviced and underexposed. 
	C.O.: What do you want to be remembered for, Chuck? 
	CHUCK: I want to be known as someone who actually spoke his 
mind, knowing that I could make a change for the benefit of people who 
don't think they can make a change. I can actually say, 'Boom, you can 
do it,' and you end up doing it, and it makes it better for a 
hundred-thousand or a million people to think for themselves. I think 
that's the end result -- if I can get somebody to think for themselves. 
Whether they agree or disagree, think for yourselves and don't be 
programmed. Break the programming. That's why I did 'Don't Believe the 
Hype.' Challenge the information. 
---  
	REVIEW: Stone Temple Pilots, _No. 4_ (Atlantic)
 		- Scott Hudson
	When the Stone Temple Pilots entered the studio last May for 
the sessions that would yield their fourth album, _No. 4_, frontman 
Scott Weiland was 40 days clean of an six-year heroin addiction that 
had effectively ended STP three years earlier.
	Rejuvenated, Weiland stormed through those sessions with a 
renewed sense of purpose. However, by the end of June he had not only 
fallen off of the wagon, but had overdosed.
	Already on probation for prior drug arrests, Weiland's overdose 
constituted a probation violation and on September 3rd he was sentenced 
to one year in jail.
	With Weiland now behind bars, their reunion tour postponed and 
the grunge wave that STP rode in on six years ago all but dead, some 
interesting questions remain. Will an everchanging musical climate that 
currently rolls out the red carpet to the likes of the Goo Goo Dolls 
and Ricky Martin embrace a grunge band that has been MIA for three 
years? Will anyone care? 
	The answers will be forthcoming with the release of _No. 4_, 
easily their most complete and consistent offering yet. 
	Aptly-titled and produced by Brenden O'Brien who has produced 
every STP album to date, _No. 4_ effortlessly meshes the white-knuckled 
grunge tones found on _Core_ with the psychedelic/pop sounds that grace 
_Purple_ and _Tiny Music_...
	Songs like "Down", "No Way Out" and "Heaven and Hot Rods" steam 
through the speakers like a heavy guitar-driven locomotive a' la Core's 
"Sex Type Thing."
	"Sex and Violence" is a high velocity Zeppelinesque workout 
and "Atlanta" is so eerily reminicent of the Doors that one would be 
led to believe the band raided Ray Manzarek's attic for this 
Morrisonian jewel.
	"Sour Girl" finds Weiland lamenting his recent split with his 
wife, while the fluid arrangements of "Church on Tuesday" and "Glide" 
give the band two radio-worthy pop tracks that mirror the vibe of 
_Purple_'s "Interstate Love Song."
	In the past, the Stone Temple Pilots have demonstrated a musical 
chemistry that most bands will never possess, nor understand. Guess what? 
Nothing has changed!
	Despite all of the turmoil, they were able to up the ante of 
their previous outings to produce their finest work to date. If winning 
back fans and attracting new ones is their aspiration, then _No. 4_ is 
the perfect carrot to dangle.
---
	REVIEW: Iggy Pop, _Avenue B_ (Virgin)
		- Steve Kandell
	Tired of the East Village grind, Iggy Pop, now into his 
fifties, has left the city and moved to Florida, meaning that the 
Godfather of Punk now officially has more in common with my 
grandparents than he does with his former drug-addled, peanut 
butter-covered self.  Of course, Iggy's too smart not to realize or 
even embrace this irony, so on his latest album, _Avenue B_, named 
for his former address in New York, he warmly welcomes you to his 
midlife crisis - a remarkable achievement for someone who was not 
expected to survive his thirties.  But whether or not you want to 
be privy to this crisis is another matter altogether.
	The songs here, many of which are backed by the neo-jazz 
trio Medeski, Martin and Wood, are largely on the mellow side, 
broken up by spoken word interludes about troubled relationships 
past and present.  While the idea of Iggy Pop hooking up with Medeski, 
Martin, and Wood seems like an odd combination on paper, their 
percussive backing arrangements actually prove to be an interesting 
fit on songs like "Felt the Luxury" and the title track.  Some may 
cry foul, but there's a dignity in not pretending he's a teenager 
anymore.  
	The rougher-edged songs, like the first single, "Corruption," 
and a remake of "Shakin' All Over" tend to work because there is some 
restraint at work, as opposed to the hard rock that marked recent 
efforts _Naughty Little Doggie_ and _American Caesar_. 
	This is not to say that _Avenue B_ is a successful album by 
any means.  The songwriting is on the flaccid side and the earnest 
spoken word interludes tend to be a little embarrassing more often 
than not.  But the record's saving grace, if there is one, has to 
be Iggy's self-effacing sense of humor, and his intimidating legacy. 
He can get away with things that would destroy the career of less 
established artists, although this should not be used as a blanket 
excuse for pretension.  But at the end of the day, he's Iggy Pop - 
who the hell am I to criticize?
---
	REVIEW: The Clash, _From Here To Eternity Live_ (Epic)
		- Tim Kennedy
	_From Here To Eternity Live_ is a collection of live versions 
of Clash songs ranging from very early songs such as "London's Burning" 
and "What's My Name" through to later classics like "Straight To Hell" 
and "Should I Stay or Should I Go".
	The logo and design of the cover is reminiscent of the last 
couple of Manics albums and this must be no accident as the Manics 
borrowed heavily from the Clash. No doubt the label has their eye on 
the wallets of young Manics fans who may not be aware of their heroes 
nascent influences.  Scenes of the Westway flyover feature on the cover 
in a reference to the area of London where the band squatted early on 
and held their early rehearsals.
	The performances are from 1978 and 1982.  Clash fans familiar 
with their bootlegs from 1977 will note the quality of playing shows 
much improvement over that era.  However the greatness of the early 
Clash was in the very chaos of those performances - punk was all about 
spontaneity.
	Moreover in the new documentary 'Westway To The World' guitarist 
Mick Jones even extols the virtues of the first album over all the 
others because of its very rawness.  That the early tapes - of which 
there are many - are left out, likely points to the commercial nature 
of this release.  Whilst punks at the time celebrated their heroes' 
amateurishness,  the buying public today would probably not be impressed 
by what is in essence a cacophonous tuneless racket.
	By late 1978 when the earliest of these versions were recorded, 
punk was dead,  and to the bands who had taken part their prowess posed 
a dilemma.  The Clash released a punk/reggae single - "White Man In 
Hammersmith Palais",  the Kinks-riffing "Clash City Rockers" and another 
innovative song represented here which was the b-side of that track - 
"City Of The Dead",  which featured an unusual sax riff and other soul 
influences.
	Then in 1979 the band reissued the legendary "Capital Radio" 
(their first record which was given away free with NME in 1976) this time 
with a joke ending,  backed with a cover of Bobby Fuller's "I Fought The 
Law".  Both are here from the '78 London shows,  and both are good 
versions - "Capitol Radio" featuring a different adlib ending.
	Later in 1979 they released "London Calling",  this time clad 
in suits and hats like 1930s gangsters,  deliberately affronting their 
punk audience and challenging them to recognise that they must accept 
change.  The music was rock,  pop,  ska,  reggae and rockabilly,  a 
kaleidoscope of styles more truly reflecting the band's personal musical 
tastes.  A hard rocking rendering of the title track appears here as does 
their superb cover of Willi Williams' "Armagideon Time",  their finest 
reggae song which was on the b-side of "London Calling" the single.  
What makes this version stand out is the wonderful toasting of dub 
reggae dj legend Mikey Dread who accompanied the band on their 1979 UK 
tour.  Another reggae/punk track from that album "Guns Of Brixton" is 
also here,  a song written by Paul Simenon which was of course borrowed 
more recently by Beats International aka Norman Cook.
	1980 saw their three LP set _Sandinista_ which covered most 
musical styles and eras and caused total consternation amongst their 
audience.  What was also punk about the Clash was their musical 
adventurism.  Featured here from that album is "The Magnificent Seven" 
which was loosely based on The Sugarhill Gang's "Rappers' Delight" - a 
lively version containing more ad-libbing from Strummer.
	The final (i.e. with Topper and Mick) Clash album _Combat Rock_ 
(1982) is represented here by "Should I Stay Or Should I Go" and 
"Straight To Hell".  The latter doesn't quite work as a live track,  
missing the atmospheric strings and the backmasking which is such a 
striking feature of the album track but the former is just as you would 
expect - one of the great 'good time' rock songs of the 80s.
	Live, the Clash always remained a hot raunchy rock and roll 
band.  In their day they created an atmosphere which left audiences 
stunned and ecstatic but what they were like live bears little comparison 
with any band since then - except possibly the early Manics.  They were 
in the true tradition of their mentors the Rolling Stones except they 
went so much further than Jagger and company with basic rhythm and blues 
and totally transcended the punk indeed any genre.  The crucial early 
element of chaos is not here though,  and will always be elusive to us 
now,  in an age where music is defined by 'pure' digital sound.
---
	REVIEW: Pet Shop Boys, _Nightlife_ (Sire / London)
		- Bob Gajarsky
	Through a bevy of U.S. music labels - Bobcat, EMI, Atlantic 
and now Sire / London, the Pet Shop Boys have never lost their 
core audience.  It might have to do with the fact that, despite 
their lack of American radio airplay, the Boys consistently write 
and record danceable synth-pop that owes a debt to not only where 
the genres have been, but where they are going.
	This quality work continues on the Boys' latest effort, 
_Nightilfe_.  With assistance from top production / remixing names 
such as Rollo, David Morales and Craig Armstrong, Neil Tennant and 
Chris Lowe have crafted an album which stands up with some of 
the duo's best efforts.
	The first single "New York City Boy", with its Village 
People-like backing vocals (and ode to "YMCA") has a driving disco 
beat not unlike that on parts of _Bilingual_.  "Closer To Heaven" 
could be a 1999 version of "Suburbia", while "You Only Tell Me 
You Love Me When You're Drunk" is emblematic of the long 
titles / ironic love lyrics PSB are known for.
	A duet with Kylie Minogue on "In Denial" is one of the 
Boys' most sensitive storylines yet; a father and daughter singing 
to each other; she knowing he's gay, and both wanting to be loved 
by the other person.  
	Although _Nightlife_ isn't likely to win over new converts 
to the Pet Shop Boys camp, longtime fans of the English duo will 
be extremely satisfied by the latest album.
---
	REVIEW: Days of the New, _Days of the New II_ (Outpost Recordings)
		- Linda Scott
	With their eponymous first album, the Days of the New band 
jumped into the world of platinum rock success. The young quartet, 
headed by the intense Travis Meeks, seemed to have it made with 
appearances on Letterman, opening for Aerosmith and the mighty 
Metallica. They sounded like Alice in Chains, with Meeks' voice a young 
echo of Eddie Vedder. The acknowledged super-talent, Meeks was feeling 
impulses to fly beyond where he could go with this band.
	After some firings and reconciliations, one day the band 
dismissal took effect for good. Three original members were chucked out, 
and Meeks declared that he would keep the band name filling slots with 
possibly short-term musicians. He declared himself to be Days of the 
New (just as Axl Rose did to Guns N' Roses) and produced _Days of the 
New II_ as evidence that the times and Meeks had changed for good.
	This album is more a concept album to be listened to and judged 
more as a unit than as individual tracks. Meeks wrote all but one of the 
songs himself and surrounds his vocals with an orchestral sound. Guitars 
are still here, but cellos and violins underlie them, and oboes and brass 
accent bass and melody. The ex-rocker says he has moved closer to where 
he is going. More depth within arrangements and a wide range of melodies 
from all kinds of instruments is where Days of the New is going. With 
this vision on the one hand and the rock band idea on the other, is it 
any wonder this band split apart?
	New band members have been imported, but ultimately Days of the 
New's success or failure belongs to Travis Meeks. Like Jim Morrison, 
Meeks is becoming more of a visionary. For example, _Days of the New 
II_ opens with the sound of horses hooves charging. There's a scream, 
and a voice says, "Pain is my pill." The beginning leads through 
mystical, sometimes interesting sections like this. The musical 
orchestration is often delightful, sometimes overblown. The listener 
hears fiddle solos, guitars, loops, American Indian chants and other 
mixtures that are strange to the ear. This is an album to be listened 
to carefully, with no interruptions.
	But this is not to say that all of it is worth that attention. 
Sometimes the lyrics cause some eyerolling or laughing, but it's all 
worth a listen.  This little album is an odd one in today's rock world. 
Back in the days of Led Zep and Pink Floyd and Morrison, Meeks would have 
fit into that scene very well. It remains to be seen if today's listeners 
want to be so involved in the lyrics and music. Travis Meeks has something 
else in mind for his next album as he evolves toward the musical state he 
wants to live in. _Days of the New II_, if nothing else, is the statement 
of a talented musician in transit.
---
	REVIEW: Filter, _Title of Record_ (Reprise)
		- Andrew Duncan
	It's been a wild and bumpy road for Richard Patrick. A rock star 
in its true definition and frontman for the mainstream aggro-metal 
outfit Filter, Patrick has been through a lot in the four years that 
separated the band's debut release _Short Bus_, and the new album 
_Title Of Record_. Beyond all of the guitars and glitz -- the sex, 
drugs and rock-and-roll -- is a man simply trying to find himself.
	In the four years that passed between albums, two were focused 
on touring. The other two were more complicated. There were crumbling 
relationships with females, a close call to the band's extinction when 
Filter's second half, Brian Liesegang, left, and then there was the 
drug use that led Patrick aboard an unknown commercial airplane only 
to dissolve into a violent rage. All of these incidents caused 
strenuous delays, and the album that was on Alternative Press' "Most 
Anticipated Albums of the Year" for two years in a row has finally 
become a reality.
	With all of the expectations and anticipation, is _Title of 
Record_ exactly what the public was hoping for? Yes, and, well, no.
	When the band broke away from being a part of the Nine Inch 
Nails touring force, Filter surprised many and astonished more when 
they released the loud and heavy _Short Bus_. With _Title of Record_, 
there is little change -- the reason Liesegang left in the first place. 
The album does pack a punch in the first minutes with the song "Sand." 
The band quickly takes a relapse with territory they know best. In 
"Welcome To The Fold," the band brings back the muddled bass lines 
that is identified their prestigious single "Hey Man, Nice Shot," 
from anything else in radio land. The album dives off into a valley 
of monotonous power chords and song structures that are afraid to 
take a step forward. 
	This time around there is some acoustic diversions from the 
powerful power-chord exhaust fumes that stereotype the band. "Take A 
Picture" recalls the story of the uncharted flight experience, while 
"Miss Blue" remembers the crumpled relationship.
	The most experimental point in Title of Record is "Cancer," 
where the bass line creeps and crawls around punching drumbeats, 
creating a foggy atmosphere for Patrick to venture in, a great moment 
in the album.
	In the lengthy 70 minutes that passes from the distant hum of 
the introduction to the last pluck of an acoustic guitar, one will 
find moments of clarity and excitement, while others will go by 
unnoticed; not as anticipated as the hype portrays.
---
	REVIEW: The Scorpions, _Eye II Eye_ (Koch)
		-  Chris Candreva
	What a difference three years can make. 
	As recently as, 1996's _Pure Instinct_, The Scorpions were 
still using the sound that had served them well since their days of 
_Love At First Sting_. I love that album. With everyone else jumping 
on the grunge bandwagon, it was refreshing to hear a band stick to its 
roots.   Using bagpipes to open the record didn't hurt either.
	On _Eye To Eye_, the Scorpions are branching out, merging their 
trademark sound with some techno and dance influences. I will admit, it 
was disconcerting for this long time Scorps fan when I first heard the 
single "Mysterious". The first few times through, I wasn't sure what to 
make of the album. I had to listen to it a few more times, just to be 
sure. 
	Eventually, I realized this was a good sign in and of itself.
	It's a different album, but it's fun. "Mysterious" is a kicking 
rock number with a beat you can dance to and lyrics that don't make you 
want to slit your wrists. Wild, mysterious women -- now THAT'S rock and 
roll. "To Be No. 1", the European single and video, is a lighthearted 
song about a second banana who aspires to be top dog. While the 
character is nameless, references to 'Got no Monica to go to' give a 
hint as to who's being talked about.
	Not ones ever to keep one type of music on an album, The 
Scorpions give us a light ballad in "10 Light Years Away", and what 
might have once been called Adult Contemporary in "Obsession". (It 
might be called that -- except for the guitar kick midway through.)
	This album is different. Different from what's generally being 
done now, and different from what the Scorpions have done before. 
Die-hard Scorps fans may need some time to get used to it, and may 
want to start with the already mentioned "Mysterious", and "Mind Like 
A Tree". This album is good for anyone though who like a little more 
than three chords and a scream in their rock and roll.
---
	REVIEW: Rees Shad, _Little Brown Book_ (Sweetfish)
		- Wes Long
	If it were possible to clone a musician from bits and pieces 
of genetic information obtained from various sources, I'd likely 
point to artists like Freedy Johnston, Peter Case, Graham Parker, Lyle
 Lovett and James McMurtry as possible donors for the lab creation 
known as Rees Shad. Okay...that's a scientific impossibility, so let's 
just say that Shad was influenced by singer-songwriters of that ilk, 
and that he's as good as any of 'em.
	On his third release, following the much acclaimed _Anderson, 
Ohio_ and _The Riggley Road Stories_, Rees continues to pack plenty of 
oomph into his compelling and obviously heartfelt song stories. Shad 
shifts points of view from third person to first on this outing, 
culling songs originally penned with the intention of being covered 
by other musicians from his _Little Brown Book_. Used as a diary 
during her college years, Rees' late adoptive mother gave the book to 
her son knowing he'd keep his lyrics in it. "Its first few pages are 
packed tightly with her neat cursive descriptions of Massachusetts from t
he point of view of a small town Arkansas girl," says Shad. "Some time 
into her diary she met my father and the notes tapered off only to be 
followed by the scribblings of their adopted son years later." This 
personal diary is befitting of the introspective and honestly insightful 
lyrics that unconsciously doubled as Shad's diary entries.
	The title of the CD is not only the introduction to Rees' 
compelling song cycle, but also the strongest track. "Would you read 
these lyrics, tell me what you think," Shad asks, "are they worth the 
wood that they're on, are they worth their ink, they're in a crazy pen 
style, there's probably a spelling mistake, but this is about how I 
feel, expression is a chance I take." The remainder of the song 
foreshadows the nine to follow. "This is a love song for you," he 
sings regarding the eternally buoyant "Star," a song about the loving 
wife around whom planet Shad revolves. "This one protests a gun" refers 
to his "All Fall Down" which is a "little adventure into the mind of a 
man more in love with his gun than his humanity," held together with 
a _Reckoning_ era REM-ish guitar riff. From the haunting "Man Of The 
Sea" to the happy-go-lucky gospel inflected, yet never preachy, 
"Everybody Knows," Rees' proves himself an exquisite lyricist and a 
master of mood.
	These infectious songs are bound neatly within the cover of 
Shad's _Little Brown Book_, reprised as the final track in slight 
return fashion.  Combining the tastier elements of folk with all the 
hooks and urgency of pop and rock, Rees Shad invites us to partake in 
his ultra-heady collection of engaging material. "Here in my Little 
Brown Book, please won't you take a look," Rees urges, as do I.
---
	REVIEW: The Frank and Walters, _Beauty Becomes More Than Life_ 
		(Setanta)
		- Patrick Carmosino
	Earnestness is a virtue with The Frank And Walters. Thrown into 
an alternative rock world filled with faux grunge, faux rap and faux 
angst hep, earnestness has given an ironic hipness to the Irish trio's 
boring, straight ahead rock. But for their third effort, there is no 
jazzing up the fact that their earnestness is truly, purely boring, with 
The F & W's going over their own familiar territory with no good residual 
effect. It's too bad as well, because earnestness needs to be applauded 
and rewarded these days. But if the result is music like this, there is 
no hope.
	_Beauty Becomes More Than Life_ comes off more like a bar band's 
demo tape. Perhaps putting 3 guys from Cork in Brooklyn for 2 years and 
working with Black 47's producer is bound to produce such results. 
Consistent with the general flaws, vocalist Paul Linehan is coming off 
way too pleading and whining too often when a couple of the album's 
tastier riffs demand a cool croon. And someone needs to give the guitar 
player, Niall Linehan, an effects box - anything but the dry dry 
guitar sounds that nail the album's way too dry atmosphere. I don't 
really enjoy tearing this album apart, mind you; the F &W's seem to 
be likable blokes and all. However _Beauty Becomes More Than Life_ all 
too quickly becomes little more than tedium.
	Someone needs to give The Frank And Walters a Foo Fighters 
album to demonstrate how ernestness is done nowadays.
---
	REVIEW: The Dust Brothers, _Fight Club_ Soundtrack_ (Restless)
		- Michelle Aguilar
	I've not yet seen the much-talked-about movie _Fight Club,_ but 
I bet it takes place in a city; at least, it better take place in a city, 
because if there's anything that the Dust Brothers' instrumental 
soundtrack to this movie suggests, it's urban grit and grime. Even when 
they're looping in the sound of Gregorian monks singing in a cathedral 
("Homework"), the feel is not Old Europe but the depths of an American 
city, a city trapped in an unconscious mechanical repetition of movement 
so routinized that the inhabitants don't know that they are caught in 
the throes of an irreversible decay.
	Much of this soundtrack would also be very conducive to a long, 
stormy night drive on a superhighway. Its constant movement, coupled 
with a complete lack of warmth, feels at times like being hermetically 
sealed in a fast, expensive car, wondering idly about the ugly locales 
hurtling by that are too dangerous and too decrepit to tempt one into 
disembarking from the sealed environment within.
	Despite the wide expanses sonically suggested by the Brothers' 
sizzling keyboard swells (including warm bits of a Fender Rhodes keyboard 
here and there), electric sitar, harpsichord, carillon and harp, nothing 
on this soundtrack (and this includes the Gregorian monks) sounds 
remotely lush, natural, or pastoral.
	In interviews, John King and Ed Simpson said that they and 
director David Fincher wanted to create a soundtrack in which the 
listener can not rely on cues in the music itself to interpret the 
movie characters' intentions or anticipate the plot's movement. Their 
aim was to create music that instilled comfort, fear, transcendence and 
distress at any given moment, with little rhyme or reason.
	At first, this would seem to make _Fight Club_ an anti-soundtrack, 
counter-intuitive to the traditional purpose of the genre. After all, 
where would we be without "Psycho"'s screeching violins to heighten our 
fear of what's coming? Or, how would "Star Wars" fare without its blaring 
symphonies to let us know when it's time to root for the home team? But 
in fact, the Dust Brothers' approach here does work to create a mood -- 
one of confusion and paranoia. It is a vision of a dark hellhole of a 
world in which there is no one and nothing to rely on except oneself.
	Take for example, the track "Corporate World," an excellent and 
somewhat disturbing representation of its title. The song begins with 
a wonderful '50s samba clave, punctuated by delicious scratching and 
layers of quirky, pitched-down flute, brass and high scale piano, 
evoking a slightly twisted Brasil '66 or Herb Alpert's Tijuana Brass. 
This musical sendup of the anachronistic corporate culture could at 
first have easily been the backing track to the next Beck hit.
	Given the eerie, stripped-down dystopian beats and eerie 
keyboards the Dust Brothers have been offering up to this point, 
"Corporate World" at first feels like stumbling onto a welcome, albeit 
slightly strange, respite of brightness and light in this dark world. 
But then of course, there is something morbid and unsettling just below 
the surface here. The Brothers quickly go south and the song suddenly 
shifts into low gear, as all the tasty instrumentation dissolves into a 
low keyboard-driven drone stuck inside a web of reverb. Enter a brief 
cut of horror movie violins (ok, so they do fall back on these old 
tricks sometimes) that greet us for a moment. Then, we are soon thrust 
back into our dark hole, into the numb coldness of drum machines and 
what seems like a sitar riff stuck in permanent, trance-like repeat.
	The lesson? Appearances are deceiving. Underneath all the 
gleaming faces you meet is rotting flesh in the process of dying. Do 
not believe in them. Only believe in yourself and your own senses.
	Ironically, some of the tricks King and Simpson use to glue 
this disturbing collection of songs together are the same ones they 
have used to much warmer effect on their albums for other artists, 
particularly Beck and the Beastie Boys. The Dust Brothers' characteristic 
beat drops, sudden bursts of looped noise, abrupt cut-and-paste shifts in 
instrumentation and unexpected mood changes, especially in tracks like 
"Single Serving Jack," and "Space Monkeys," are like ghostly bits and 
pieces from 1989's _Paul's Boutique_ and 1996's _Odelay._ Here there 
are used masterfully to create tension and a general distress. For 
trip-hop and trance fans whose tastes run towards the darker edges, 
this is a great body of songs in which to lose oneself.
	But this is not the kind of album that's going to drag your 
typical clubber out onto the dance floor. While the _Fight Club_ 
soundtrack mixes equal elements of 808 simplicity, Trance, Jungle and 
Trip-Hop, weaving in and out between tracks seamlessly, this is not a 
traditional dance album. It's more the kind of album you want to lie 
in the dark listening to at top volume, letting its eerie, unfamiliar 
sonic landscape get inside your head until it feels like an organic 
part of your thoughts.
---
	COMPILATION REVIEWS: Yaz, _The Best Of_ (Mute / Reprise) / 
		Dennis DeYoung, _The Ultimate Collection_ (Hip-O)
		- Bob Gajarsky
	Synth-pop pioneer Vince Clarke may have been the driving 
force behind Depeche Mode and Erasure, but in between the two 
alterna-hit makers, Clarke took some time for a two-album foray 
with Alison Moyet on vocals.  Yaz (or, as known on the other side 
of the pond, Yazoo) was the result of this pairing.
	Yaz may not have had many hits, but the three key songs 
are still staples on modern rock stations and still make 
appearances in some dance clubs.  The sweet "Only You", and 
aggressive "Don't Go" and "Situation" may not have lit up 
American phone lines, but club DJs were no fools; Francois 
Kavorkian's remix of the latter song, with its "Move out 
(Don't mess around)" chorus, showcased the dominance 
that Clarke would have - and still maintain - on dancefloors 
even today.
	Moyet's deep soulful voice combined with Clarke's 
irresistible keyboard wizardry provided an elusive hook which 
is beautifully captured on _Best Of_.  Two versions of the big 
three songs appear here - the original 1980s versions, along with 
1999 remixes by Todd Terry, Club 69 and Richard Stannard 
with Julian Gallagher.  Definitely a palatable treat for 
synthpop fans everywhere.

	Former Styx lead singer Dennis DeYoung has finally seen 
a collection of his greatest solo recordings hit the record 
stores.  Although his solo career in the States pales in 
comparison to that of the Chicago-based rock group which 
catapulted him to stardrom, devoted fans made his rare Japanese 
hits collection a rarity worth several hundred dollars.
	After his Styx days, the solo DeYoung - who authored 
the classic "Lady" - escaped from the louder Styx to a 
quieter, simpler sound.  Now, _The Ultimate Collection_ keeps 
track of fifteen of his non-theatrical works.
	His few eighties hits - the Karate Kid 2's "This Is The 
Time", "Don't Wait For Heroes", "Call Me" and the near-classic 
"Desert Moon" - are all present and accounted for, as is the 
political Styx sound-alike, "Black Wall".  Styx (and DeYoung) 
devotees may be more interested in the 'extra' tracks which 
appear here; three B-sides and a symphonic reworking of 
"Grand Illusion", which now appears in the Siegfried and Roy 
Magic Box film.  With the rest of DeYoung's solo material being 
near-impossible to find on compact disc, _Ultimate Collection_ 
serves as an excellent primer to re-introduce DeYoung to 
Styx fans.
---

	REVIEW: Velvet Crush, _Free Expression_ (Bobsled)
		- Wes Long
	Any meaty hooked properly carved slab of melodic pop must bare 
comparisons to the ever-reigning rulers of that realm, The Beatles.  
While Velvet Crush rarely sounds much like the lads from Liverpool, 
they too are capable of churning out short bursts of no-cure-for-it 
infectious material seemingly at will.  
	Matthew Sweet, no stranger to concise well-crafted retro-ish 
pop, assists the Crush here in both performance and a bit of knob 
twisting from his home recording studio.  Songs like "Kill Me Now" and 
"Worst Enemy" are tattooed with Sweet's pop sensibilities and with the 
exception of the vocals are nearly indiscernible from his own recordings.    
	The sumptuous and all too brief "Things Get Better," a 
Blackbird inspired ship with Simon & Garfunkle at its' helm, is 
quite magical.  The country tinged "Heaven Knows" is reminiscent of 
Traveling Wilbury's era Tom Petty and features a handsome middle 
eight similar to the one in _Rubber Soul_'s "I'm Looking Through You" 
in all the right ways. "Roman Candle" is Elliott Smith fine, cleverly 
written with breathy understated vocals not too dissimilar to the 
songs on last years gem XO.  If those songs don't time warp you back 
to 1967 the incessantly throbbing chords of "Ballad of Yesteryear" will. 
	_Free Expression_, the band's fourth release, finds Velvet 
Crush in fine form.  With contributions from Matthew Sweet and Gigolo 
Aunts' David Gibbs they effortlessly breathe fresh air into the 
classic sounds of rock's past.  Part Byrds, part Big Star, all good. 
---
	REVIEW: Various Artists, _International Pop Overthrow Volume 2_ 
		(Del-Fi) 
		- John Davidson 
	True pop fanatics seem few and far between anymore. Oh sure, 
you've got plenty of screaming teens who get bleary-eyed for the boy 
groups and Britney Spears, but that's not the kind of pop Del-Fi is 
supporting with their second compendium of rising stars. Here, they're 
more concerned with talented musicians, not pinup-styled dancing kids 
who wouldn't dream of writing their own music or (gasp!) play an 
instrument. 
	The International Pop Overthrow festival was conceived by 
contemporary pop enthusiast David Bash to show the world that there 
are piles of great bands out there who aren't in it for the product 
tie-ins or million dollar videos. Held over a week in various L.A. 
venues, the shows drew packed crowds and inspired the successful 
compilation _Volume 1_. Thus, _Volume 2_ isn't much of a surprise, 
unless you consider the fact that now there are two discs showcasing 
over forty acts! That amounts to gallons of ice cream for even the 
biggest fan of sugary hooks. 
	Kicking off with a previously unreleased Jason Faulkner gem was 
wise, since he's easily the biggest "name" involved. "She's Not the 
Enemy" is typical of the modern, Posie-esque smarts that came from 
this year's stellar _Can You Still Feel?_. From there, though, the 
collection is long on '60s pop and short on modern stuff in the mode 
of XTC or even festival namesake Material Issue. The Hollies, in 
particular, cast the longest shadow of influence, with songs like 
"Where Do I Go When You Dream" by the Outrageous Cherry, "Big Man In 
Town" by the Liquor Giants, and "Zen Gazzara" by IGMO. Elsewhere, 
there's a dose of '70s-inspired saccharine a la the Raspberries 
("December Song" by Helium Angel or "Forever and a Day" by Single 
Bullet Theory) but thankfully, the icky strings representing the 
Carpenter's legacy are absent. 
	_Volume Two_ falls a little short in two areas. One, the retro 
vibe sort of ends somewhere around Big Star territory. The daring pop 
that put Alex Chilton and company on a pedestal rarely makes an 
appearance, and thus the homogenous, sunny-day tunes seem unbroken. 
Quirkier bands mining the pop vein, such the Ladybug Transistor or 
Olivia Tremor Control, seem given short thrift. Secondly, two full 
discs of bands you hardly know performing original material can be 
taxing to listen to, despite the surplus of great songs. The "give 
everyone a shot" concept is good in theory, but harder to execute over 
the course of two hours. 
	Still, the album's concept -- an outlet for little-known power 
pop bands to show off their formidable songwriting goods -- works. The 
International Pop Overthrow has proven that this kind of music is not 
only a viable alternative to whatever trend SPIN/Rolling Stone/Details 
is serving up, but it's one of the few places that you can reliably 
find a hummable, happy tune. 
---  
	REVIEW: Tram, _Heavy Black Frame_ (Jetset) 
		- Chris Hill 
	If Low and Paul Williams birthed a child, Tram would be its 
name, with Nick Drake and Red House Painters honored as the godparents. 
Tram's slow and minimal songs don't climax; they break, swirl, recede, 
then cease; waves of musical emotion that die at the feet of a person 
staring out from the shoreline to a cold, dark, and lonely ocean. 
	This isn't just imagery. Paul Anderson's lyrics are gray and 
bleak, the cathartic product, one would assume, of a badly broken 
heart. Several rays of sun come through the clouds, but their rarity, 
and the barren splendor of the music, combine to make an irrestible 
undertow from start to finish. 
	The first track, "Nothing Left to Say," focuses on the sorrow 
of soured romance ("that numbing feeling, the sadness underneath/who's 
gonna catch me the way you used to?") with an undulating harmonium 
sighing in resignation against a strummed electric guitar. "Don't 
prolong the agony, the knowing when to go/Cut out the cancer, before 
it grows." Thibault De Montford's oboe gently closes the door, only to 
fittingly appear again on "I've Been Here Before," a bookend to this 
song. "It's all right/I know just what to do/Leave behind those things 
that pull me down/...I'll be fine/I've been here once before." 
	"Expectations" meditates on the same emotions found in "Nothing 
Left to Say" ("your eyes have lost their shine now/ expression changed, 
your interest waned/...I can tell you're disappointed/you're trying hard 
to hide it"). The interplay of Anderson's sensitive, trembling voice, 
Martine Roberts' light vocals and the measured pace, recall the best 
moments of Low's debut, _I Could Live in Hope_. "Reason Why" also uses 
male/female counterpointing well, adding depth and perspective to the 
emotionally resolved lyrics ("My mind's working overtime/to find a 
reason why/I'd walk 500 miles/to find a place to hide/...You won't see 
the best of me"). 
	(If Roberts' name rings a bell, Tram boasts both her and Broken 
Dog partner, Clive Painter, among its five members.) 
	The instrumentals "Like Clockwork" and "You Can Go Now (if you 
want)" give the players a chance to stretch their legs without the 
distractions of lyrics. The latter is a moody, Western-tinged piece 
reminiscent of the wondrous Canadian band Godspeed You Black Emperor!, 
though free of the strings which catapult that band to another realm. 
	Tram's debut isn't a disc for a sunny day. In much the way 
that Low is best appreciated at night or during an overcast day, this 
cd requires proper atmospheric accompaniment. Though, if your mood is 
gray, it won't really matter when you play this, will it? Just close 
your eyes and put on the headphones. It's working for me now.   
---
	REVIEW: Patty Larkin, _a gogo_ (Vanguard Records)
		- Jon Steltenpohl
	Outside the confines of VH-1, there lives an underground 
culture of singer/songwriters who, for lack of a better word, are 
lumped into a category of "folk," and, despite legions of dedicated 
fans, seem to escape the notice of the world at large. In that world, 
Patty Larkin is one of the superstars, and her current album, _a gogo_ 
is an album that keeps her solidly at the top.
	These singer songwriters usually travel and play alone with just 
their guitar, and Larkin is no exception. _a gogo_ is a greatest hits 
collection of in-concert recordings that truly capture the essence of 
the perfect, intimate folk concert. It is an album to be treasured by 
folk fans because it's like being there at the performance. Unlike most 
rock bands who can't even play their own hits, today's singer songwriters 
tour first and record albums later. It is an all too common occurrence 
to have a singer songwriter absolutely amaze you in concert and bore 
you to tears on CD.  Often, they bring in studio musicians and have a 
producer do hurried arrangements in the few days they've rented the studio.
	When it's done right, you get a Shawn Colvin album that wins a 
Grammy. But, more often than not, the incredible electricity of the live 
performer is completely lost in the sterile confines of the studio. _a 
gogo_ captures the essence of Patty Larkin's concert sound so well that, 
if you close your eyes, you are sitting right there with her playing next 
to you. You can feel the strings vibrate and resonate as they're being 
struck, and you can hear all of the little nuances in Larkin's voice and 
breath. The multiple layers of rhythms and melodies she produces from a 
single acoustic guitar make it sound as if she's got at least two or 
three musicians behind her. And her smart lyrics and attitude make it a 
thoroughly uninhibited experience.
	Simply put, _a gogo_ is everything you could want in a modern 
folk album. It is energetic, intimate, complex, and unpretentious. 
Larkin simply recorded her concerts at every stop on her tour, and the 
result is a collection of the best performances from an incredible 
performer. The only way to go wrong with a plan like that is to have 
bad sound equipment, and _a gogo_ is recorded flawlessly. Quite simply, 
Patty Larkin's _a gogo_ is a must have for fans of acoustic music.
---
NEWS:	> Duran Duran recently taped a performance to 
be shown on VH1's Hard Rock Live.  At the concert, the band 
previewed two new songs, "Hallucinating Elvis" and "Somebody 
Else Not Me", from their forthcoming year 2000 release, _Pop 
Trash_.
	> Korn will be offering "Falling Away From Me", 
the first single from their forthcoming _Issues_ album, 
to fans via their website at http://www.korn.com .  Korn will 
donate 25c (up to $250,000) for each person who signs the 
guestbook to Childhelp USA and Children of the Night.
	> Alanis Morissette will be contributing a track, 
"Still", to the soundtrack to _Dogma_.  The remainder of the 
_Dogma_ disc includes Howard Shore numbers scored for the film.
 	> Tonic fans can get a sneak preview of part of their new 
album, _Sugar_.  Liquid Audio versions of "Knock Down Walls" (the 
first single from the album) and "Mean To Me" were added to the 
digital download section of http://www.amazon.com on October 
21st, more than two weeks before the album hits the shelves on 
November 9th.  The download promotion will run through 
December 9th, and fans will be able to listen to the downloaded 
songs until December 30th, when the downloaded versions will 
expire.
---
TOUR DATES:
	Alaline Trio
Nov. 3 Iowa City, IA Gabe's Oasis
Nov. 4 Milwaukee, WI Globe Theatre
Nov. 5 Minneapolis, MN Foxfire
Nov. 8 Missoula, MT Jay's 
Nov. 9 Seattle, WA Crocodile

	Blinker The Star
Nov. 2 New York, NY Mercury Lounge
Nov. 3 Philadelphia, PA Pontiac Grille
Nov. 4 Boston, MA Bill's Bar
Nov. 5 Washington, DC 9:30 Club
Nov. 7 Cleveland, OH Peabody's
Nov. 8 Detroit, MI Shelter
Nov. 10 Toronto, ON Opera House
Nov. 11 Chicago, IL Double Door

	Buzzcocks / Lunachicks / Down By Law
Nov. 2 Cincinnati, OH Bogart's
Nov. 3 Milwaukee, WI Rave Bar
Nov. 4 Chicago, IL Metro
Nov. 6 Minneapolis, MN First Avenue

	Danzig
Nov. 1 Los Angeles, CA Palladium 
Nov. 2 Portland, OR Roseland
Nov. 4 Phoenix, AZ Celebrity Theatre
Nov. 6 San Antonio, TX Live Oak Civic Center 
Nov. 7 Corpus Christi, TX Center Theatre
Nov. 9 Atlanta, GA Roxy Theatre
Nov. 10 Spartanburg, SC Ground Zero
Nov. 12 Philadelphia, PA Electric Factory

	Del The Funky Homosapien & Casual
Nov. 1 New Orleans, LA Tiptina's
Nov. 3 Talahassee, FL The Moon
Nov. 4 Tampa, FL Masquerade
Nov. 5 Atlanta, GA Variety Playhouse
Nov. 6 Charlotte, NC Cat's Cradle
Nov. 7 Nofolk, VA Rogues

	Bryan Ferry
Nov. 4 Philadelphia, PA Gershwin Auditorium
Nov. 5 New York, NY Beacon Theater
Nov. 7 Boston, MA Berklee Perf. Center
Nov. 9 Toronto, ON Massey Hall
Nov. 10 Detroit, MI Opera House
Nov. 11 Chicago, IL Riviera Theater

	Ben Harper
Nov. 2 Boston, MA Avalon Ballroom
Nov. 4 New York, NY Roseland Ballroom
Nov. 6 Northampton, MA Greene Hall/Smith College
Nov. 7 Washington, DC Bender Arena
Nov. 9 Raleigh, NC Ritz
Nov. 10 Charlotte, NC Grady Cole Ctr.

	Ben Lee
Nov. 1 Portland, OR Roseland
Nov. 2 Seattle, WA King Carl Theater
Nov. 3 Vancouver, BC The Rage

	Len / Styles of Beyond
Nov. 1 Tempe, AZ Green Room
Nov. 4 Austin, TX La Zona Rosa
Nov. 5 Houston, TX Engine Room

	Live
Nov. 1 College Station, TX Rudder Auditorium
Nov. 3 St Louis, MO American Theater
Nov. 4 Milwaukee, WI Milwaukee Riverside Theatre
Nov. 5 Chicago, IL Riviera Theater
Nov. 6 Minneapolis, MN Orpheum Theater
Nov. 8 Normal, IL Braden Auditorium
Nov. 9 Indianapolis, IN Murat Theater/Egyptian Room
Nov. 10 Detroit, MI Detroit State Theatre

	Luscious Jackson
Nov. 1 Portland, OR Roseland
Nov. 2 Seattle, WA Kit Cat Theater
Nov. 3 Vancouver, BC Rage

	Andrea Parker 
Nov. 3 New York, NY Baktun @ The Cooler
Nov. 5 Montreal, QC Sona
Nov. 6 Toronto, ON B-Side

	Silverchair / Blink 182
Nov. 2 Mesa, AZ Mesa Amp.
Nov. 3 San Luis Obispo, CA Cal Poly Event Center
Nov. 4 San Francisco, CA Graham Aud.
Nov. 5 Los Angeles, CA Universal Amp.
Nov. 8 Minneapolis, MN Wilkins Aud.
Nov. 10 Toronto, ON Maple Leaf Gardens

	Sonia Dada
Nov. 2 Boise, ID Joe's @ 6th & Main 
Nov. 3 Seattle, WA Fenix 
Nov. 4 Portland, OR Roseland Grill 
Nov. 5 Reno, NV Hilton Theatre 
Nov. 6 Sacramento, CA Harlowís 
Nov. 10 Solano Beach, CA Belly Up 
Nov. 11 San Francisco, CA Great American Music Hall

	Joe Strummer & The Mescaleros
Nov. 1 Seattle, WA Moore Theater
Nov. 2 Portland, OR Roseland Theater
Nov. 4 San Francisco, CA Warfield
Nov. 5 Anaheim, CA The Sun Theater
Nov. 6 Los Angeles, CA House Of Blues
Nov. 7 Las Vegas, NV The Joint
Nov. 9 Denver , CO Ogden Theater
Nov. 11 Minneapolis, MN The Quest

	Superchunk
Nov. 1 London, ONT the Embassy
Nov. 3 Milwaukee, WI Rave Bar 
Nov. 5 Columbia, MO Blue Note
Nov. 6 Memphis, TN Last Place On Earth
Nov. 7 Nashville, TN Exit In
Nov. 9 Birmingham, AL Five Points Music Hall
Nov. 10 New Orleans, LA Howlin' Wolf 

	Richard Thompson
Nov. 2 Princeton, NJ McCarter
Nov, 5 Glensice, PA Keswick Theatre
Nov. 6 Pittsburgh, PA Rosebud
Nov. 7 Cleveland, OH Odeon

	Tonic / Goo Goo Dolls
Nov. 2 Tallahassee, FL Florida State University
Nov. 3 Gainesville, FL University of Florida
Nov. 4 Orlando, FL Hard Rock
Nov. 6 Columbia, SC Carolina Coliseum

	Watsonville Patio
Nov. 6 Laramie, WY Buckhorn 
Nov. 11 Missoula, MT Buck's 

	Josh Wink
Nov. 4 Baltimore, MD Fever
---
Founded in August, 1993, Consumable Online is the oldest 
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