== ISSUE 199 ====  CONSUMABLE ONLINE  ======== [Feburary 9, 2000]

  Editor:             Bob Gajarsky
                         E-mail: editor@consumableonline.com
  Managing Editor:    Lang Whitaker
  Sr. Correspondents: Daniel Aloi, Joann Ball, Chris Hill, Bill 
                      Holmes, Tim Kennedy, Jon Steltenpohl
  Correspondents:     Michelle Aguilar, Paul Andersen, Christina 
                      Apeles, Niles J. Baranowski, Jason Cahill, 
                      Matthew Carlin, John Davidson, Andrew Duncan, 
                      Krisjanis Gale, Jade Hughes, Paul Hanson, Eric 
                      Hsu, Scott Hudson, Steve Kandell, Reto Koradi, 
                      Robin Lapid, Wes Long, I.K. MacLeod, Wilson 
                      Neate, Mike Pfeiffer, Linda Scott, Don Share, 
                      Scott Slonaker, Kerwin So, Chelsea Spear, 
                      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 
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                            .------------.
                            |  Contents  |
                            `------------'
REVIEW: Enigma, _The Screen Behind the Mirror_ - Christopher Hill
REVIEW: Various Artists, _Fire & Skill The Songs of The Jam_ - Bob Gajarsky
REVIEW: Warren Zevon, _Life'll Kill Ya_ - Bill Holmes
REVIEW: Alex Chilton, _Set_ - Don Share
REVIEW: Badfinger, _BBC In Concert 1972-3_ - Bill Holmes
REVIEW: Boss Hog, _White Out_ - Matthew Carlin
INTERVIEW: Guster - Daniel Aloi
REVIEW: Scritti Politti, _Anomie & Bonhomie_ - Jon Steltenpohl
REVIEW: Pop Unknown, _If Arsenic Fails, Try Algebra_ - Andrew Duncan
REVIEW: Michael Penn, _MP4 (Days Since A Lost Time Accident)_ 
   - Jon Steltenpohl
REVIEW: Lambchop, _Nixon_ - Christina Apeles
REVIEW: Jimmy Somerville, _Manage the Damage_ - Christina Apeles
REVIEW: 38 Special, _Live at Sturgis_ - Bill Holmes
REVIEW: Yma Sumac, _The Ultimate Yma Sumac Collection_ - Don Share
REVIEW: Jim O'Rourke, _Halfway to a Threeway_ - Kerwin So
REVIEW: Shivaree, _I Oughta Give You A Shot in the Head for Making 
   Me Live in This Dump_ - Paul Andersen
REVIEW: Flying Saucer Attack, _Mirror_ - Kerwin So
REVIEW: Broadside Electric, _With Teeth_ - Chris Candreva
REVIEW: Starflyer 59, _Everybody Makes Mistakes_ - Christina Apeles
REVIEW: Slowrush, _Volume_ - Jade Hughes
NEWS: Beggars Banquet / Bowery Electric, Jeff Buckley, Doug 
   Fieger (Knack) , Maxim (Prodigy), Spin The Wheel / Superchunk, 
   Tragically Hip
TOUR DATES: Beck, Cracker, Cravin' Melon, Dismemberment Plan, Guster, 
   Ben Harper & Innocent Criminals, Richie Hawtin, Miles Hunt, Live, 
   Machine Head, Aimee Mann / Michael Penn, Pretenders, Stroke 9, 
   Stereophonics, u-ziq
THE READERS WRITE BACK!
Back Issues of Consumable
---
	REVIEW: Enigma, _The Screen Behind the Mirror_ (Virgin)
		- Christopher Hill
	"I don't always want to explain everything. It's high time 
that people begin to learn to read between the lines again," says the 
man behind the Enigma curtain, Michael Cretu. The first track ("The 
Gate") on this, the fourth Enigma cd, shows Cretu turning his words 
to action. Heavenly synths wash over a clinical recitation of 
astronomical data - "Closest approach to earth: 34,600,000 miles. 
Mean distance from the sun: 141,600,000 miles..." - without naming 
the subject. A half-minute bit of research brings up the answer: Mars. 
That's the easy part. But what does Mars have to do with the album? 
Mars being the Roman god of war, perhaps the martial allusion refers 
to the album's songs of people remaining true to their beliefs, 
fighting against societal pressures ("Modern Crusaders"), or people 
at war with themselves, their emotions battling logic ("Between Mind 
and Heart"). There's no simple answer in the liner notes.
	Coincidentally, Mars' mean distance figure is also the number 
of square miles of Earth's oceans. But unexpected associations are 
nothing new for Enigma, the project responsible for the groundbreaking 
fusion of Gregorian chant and electronica. Cretu now turns his welding 
talent to "o Fortuna," an instantly recognizable piece from Carl Orff's 
"Carmina Burana." Last heard in an unlicensed incarnation on Apotheosis' 
"o Fortuna," the selection features prominently on Enigma 4's eleven 
tracks.
	Lyrically, the album centers on self-actualization, with 
quotables like "The path of excess leads to the tower of wisdom" and 
"The experience of survival is the key to the gravity of love." The 
cynicism you bring to the writing depends on the day you've had. 
Post-grunge, it's difficult to listen to the earnest, sincere words 
without wincing. "They have no mission/ They have no passion/But they 
dare to tell us what's bad and what's good!/Stand up, join us/Modern 
crusaders alive." On a good day, it's thought provoking. On a bad day, 
it edges into New Kids on the Block positivity.
	If it's a bad day, that's when the music becomes the primary 
focus: the easy driving beats and sibilant French vocals on "Smell of 
Desire," the deft touches of water drops and striking matches used as 
percussive beats on "Traces (Light and Weight)," or the beatific vocals 
of Ruth-Ann, from the band Olive, carrying lead vocals on two tracks: 
"The Gravity of Love" and the contradictory final track, "Silence Must 
Be Heard." Not to mention the musical backbone of "o Fortuna," which 
stands the CD upright and proud. This piece solidifies the brief "Camera 
Obscura," whose backward vocals will remain a mystery, at least until 
someone spins the LP version in reverse, and summons Satan.
	"Heart is the engine of your body/but brain is the engine of 
life." On a good day, a nice image to take away from the album, once the 
last song has faded into Vangelis serenity.
	See http://www.spikes.com/enigma/ for an excellent Enigma FAQ 
and http://www.virginrecords.com/enigma/index.html for the official 
record site. If you've got hours to spare, and the Shockwave plug-in 
on your browser, the site has a beautifully intricate maze to navigate. 
Literally.
---
	REVIEW: Various Artists, _Fire & Skill The Songs of The 
		Jam_ (Epic / Ignition)
		- Bob Gajarsky
	The Jam may have been the most successful British act 
since Cliff Richard not to have even a touch of American success. 
Name checked by nearly every significant British band of the last 
20 years, the Mod-revivalist trio which derived their initial 
sound from an odd amalgamation of the Beatles, Who, Small 
Faces and Stax / Motown was a fixture at the top of the UK charts.
British youths of the seventies were reared on the group and 
the 'new' Mod scene with the same spirit as the punks, but 
completely different wardrobe.  Yet while the band were conquering 
the civilized world, they were proclaimed decidedly "too English" 
to dominate the United States, and their lack of success here 
remains one of the greater musical mysteries of the 20th century.
	Although they only recorded six albums from 1977-1982, 
that collection yielded nine Top 10 UK singles, including 
four Number Ones.  Lead vocalist Paul Weller kept his name at 
the top of the music scene after the breakup of the Jam with 
his soulful Style Council and later, as a solo act and the 
leader of the playfully coined "Dad Rock", which spawned 
groups such as Ocean Colour Scene.
	In that light, it seems appropriate that the leadoff 
track of _Fire & Skill_ includes the appearance of OCS' Steve 
Cradock, along with Oasis' vocalist Liam Gallagher.  Together, 
the duo dissect the lesser-known "Carnation" and turn it into 
a psychedelic Beatles tune.  Garbage do likewise on the 
B-side "The Butterfly Collector".  And never one to ignore 
the opportunity to disassemble a song, the Beastie Boys turn 
"Start" into a Hammond organ-driven futuristic near-instrumental, 
with sparse vocals ("If I never ever see you...again") from Cibo 
Matto's Miho Hatori.
	Reasonable good facsimiles of the original come from 
the group once proclaimed the next Smiths, Gene, on the 
Motown-influenced "Town Called Malice", Reef's gruff 
interpretation of the song that every British band learns to 
play ("That's Entertainment"), and Ben Harper's "Modern 
World".
	Some of the Jam's songs work on a slower, even-keeled 
pace.  Buffalo Tom offer a gripping, clearly-pronounced version 
of "Going Underground", while Everything But The Girl offer a 
solem and delicately beautiful cover of "English Rose" - 
surprising given EBTG's venturing into dance beats.  And while 
the collection opens with one Gallagher from Oasis, it 'officially' 
closes with the other - songwriter Noel, with just an acoustic 
guitar, on "To Be Someone".  Unofficially - or for those willing 
to listen all the way through, there's a hidden track pairing Weller 
and Craddock on the Jam's _Extras_-only "No One In The World".
	Further uncredited instrumental backing from Paul Weller 
appears throughout, showing that while Weller may have an aversion 
to playing 'his' songs live in concert, he is still willing to 
revisit the past on album.
	The last tribute album to a significant British group - the 
Clash - failed because the names associated with the project didn't 
bring their A game to the studio.  Fortunately, _Fire & Skill_ avoids 
that disastrous fate.
---
	REVIEW: Warren Zevon, _Life'll Kill Ya_ (Artemis)
		- Bill Holmes
	Some see the glass as half-empty, while others see the glass 
as half-full. Warren Zevon sees the glass as broken - some of the 
contents spilled all over his pants, and the rest rolling around on 
the floor.
	With superb backing from longtime ace Jorge Calderon and 
drummer Winston Watson, Zevon continues to avoid the "big sound" for a 
more stripped down folk'n'roll approach. Naturally, focus then shifts 
to voice and words, where Zevon is king. "I can saw a woman in two/ but 
you won't want to look in the box when I do," he says in the 
Springsteen-ish "For My Next Trick I'll Need A Volunteer," which 
features Chuck Prophet on guitar. Taking the theme of "life sucks, 
then you die" to a new level, he explores the frailty of human existence 
and the quest for some sort of spiritual affirmation...which of course 
he's skeptical about. And, just for good measure, some songs about S&M 
and the self-inflicted demise of Elvis Presley.
	Having suffered the slings and arrows of a professional 
musician, Zevon's weather-beaten attitude could be self-righteous or 
pastoral. Instead, underneath the surface of the crusty observer, you 
know he's got it figured out; life's too short to let the posturing 
and bullshit cramp our style.
	"You know I hate it when you put your hand inside my head/ 
and switch all my priorities around," he says in "I'll Slow You Down," 
a tale as applicable to religious uncertainty as it is to relationship 
angst. Maybe we can settle for a simple "don't let us get sick/don't 
let us get old/don't let us get stupid, alright?" Even the record's 
lone cover, Steve Winwood's "Back In The High Life Again" at first 
seems an odd choice, but in the context of these takes on the inevitable, 
it's an ironic inclusion.
	"You can dream the American Dream," Zevon says, "but you 
sleep with the lights on/and wake up with a scream." Acerbic and clever 
as ever, Warren Zevon remains a unique treasure among American songwriters.
---
	REVIEW: Alex Chilton, _Set_ (Bar/None)
		- Don Share
	There are three things you should know: 1.) The album, as 
originally released (in Europe), was titled _Loose Shoes and Tight 
Pussy_; 2.) It does not sound in the slightest like Big Star; 3.) The 
reason it's called _Set_ in the US - other than the obvious reason, I 
mean - is that the none of the songs are "originals," but rather cover 
songs Alex can and does play in his solo sets. If none of these things 
offend your sensibilities, you can safely proceed.
	The material, not, as you might expect from the foregoing, is 
not all staxy and sexy - it ranges from a louche instrumental version 
of "April in Paris" and a loungy version of Johnny Guitar Watson's 
"Hook Me Up" to straightforward, albeit indescribably Chiltonesque 
versions of soul classics like "Lipstick Traces" and the great Eddie 
Floyd's "I've Never Found A Girl."
	Much of this is given Chilton's by-now standard cool-but-white-boy 
treatment, as if he fancies himself some sort of rock-and-roll Chet 
Baker.  Some will find this tiresome, and the rest of us will love it, 
as we have loved everything this peculiar man has recorded for years. 
After all, who else would dare, and I mean dare, a version of Brenton 
Wood's "The Oogum Boogum Song?" Never heard of the "The Oogum Boogum 
Song?" You will never forget it, once you hear it, and who better than 
Alex to introduce you? Similarly, the outrageous "You've Got a Booger 
Bear Under There" is so far out-there that the fact that the only 
sexual overtones in Chilton's version come from his ironic leer simply 
lays bare, so to speak, the true outrageousness of the original; he's 
always been simultaneously a fanatic historian of music and purveyor of 
its ridiculousness. I keep explaining to people who cringe at his 
versions of such set-pieces that his actual arrangements, often down 
to the very notes of his guitar solos, are truer to the spirit of the 
originals than more slavishly faithful remakes. A good example is "I 
Remember Mama," a sentimental tune if there ever was one: Alex sings it 
deadpan, which makes it funny if you're in the mood; yet he also wrenches 
out of it every teardrop, as he drawls on about Mama's being in the 
bosom of the Lord, that the six credited writers could have wished for.
	Some of this is listless. "If You's a Viper" isn't a hoot, once 
you've heard, say, Sidney Bechet's version of "Viper Mad," both tunes 
about reefer madness. "Shiny Stockings" and "April in Paris" show that 
Chilton still plays guitar extremely well - but they're throwaways, and 
the latter's one-more-time codas are excrutiating. Still, where the 
heck else do you get all the foregoing, plus Gary Stewart's wonderful 
"Single Again?"
	Another album, then, to disappoint those who've made Alex 
Chilton a pop prophet who's yet to come back and save them. After all 
this time, I'm starting to see the point of his disdaining the role, 
since it's impossible, and since nobody was listening when such things 
as Big Star actually mattered to him. I'm not waiting anymore; no, I'm 
all set.
---
	REVIEW: Badfinger, _BBC In Concert 1972-3_ (Fuel 2000)
		- Bill Holmes
	Culled from two concerts at pivotal points in their career, 
_BBC_ is remarkable in that the obvious hit singles are nowhere to be 
found. Instead, listeners will be surprised at just how talented Pete 
Ham and Joey Molland were as guitar players. Both shows were recorded 
at the Paris Theatre in London, with seven tracks from each included 
(along with "Come And Get It" from a 1970 show on Top Of The Pops as 
a bonus track).
	The first half of the disc features two shimmering acoustic 
numbers in "We're For The Dark" and "Sweet Tuesday Morning," which 
are counterbalanced against two Dave Mason covers(!). Badfinger 
as...jam band? You bet. "Only You Know And I Know" and "Feelin' 
Alright" get a serious thrashing, the latter track a nine minute 
indulgence of funk, soul and harmonic pop. Kicking off the set with a 
rocking rendition of "Better Days," and arguably at the height of their 
popularity, the band is confident and tight.
	The second show, recorded fourteen months later (October 1973) 
finds the band in their post-Apple, pre-Warner Brothers era. Although 
continuing to feature strong harmonies and solid musicianship, Badfinger 
dabbled in harder, more guitar oriented rock and roll. Look no further 
than the two versions of "Suitcase" - in 1972 it chugged along, but the 
1973 version is far more powerful. "Constitution" boasts some blistering 
axe work complete with wah-wah workout, and this live version of "I 
Can't Take It" might be the most intense track the band ever recorded.
	At the time, new songs like "Matted Spam" showed a taste of 
things to come...or so we thought. Tragically, Pete Ham took his life 
only a year and a half later, and eight years later, Tom Evans followed. 
Those not familiar with the band would be well advised to pick up 
"Without You: The Tragic Story Of Badfinger"; author Dan Matovina also 
wrote the liner notes for this release. Later this year, VH-1 will also 
recall their tale with an episode of "Behind The Music."
	Fuel 2000 has plans to mine the vaults and release or reissue 
many classic titles from the BBC vaults. In tandem with the King Biscuit 
releases, a new generation can finally savor what the elders among us 
enjoyed (and took for granted) as a weekly staple of our rock and roll 
lives.
---
	REVIEW: Boss Hog, _White Out_ (In The Red)
		- Matthew Carlin
	Since it's trite to call Cristina Martinez and Jon Spencer the 
sexiest couple in indie rock, and since the promo copy of the couple's 
new Boss Hog platter _White Out_ doesn't have any liner notes anyway 
(let alone any nudie pics), we'll just stick to the music here.
	A decidedly kitsch affair, _White Out_ is full of cheesy 
keyboards and chintzy-sounding drums with Jon Spencer guitar riffs 
slapped on top. The album-opening title track sets the tone with a 
kind of pseudo-slap bass and shouty chorus straight out of the rockin' 
'80s. And I'm pretty sure I heard an electronic hand clap on the intro 
to the wonderfully titled "Itchy & Scratchy." Though this 
already-commonplace '80s nostalgia is certainly a frightening trend in 
music, it rather suits the playful tone of this album.
	While Martinez handles most of the singing with a pretty 
standard hipster deadpan, the tunes on which Spencer shares vocal 
duties are spirited, peppy and way more fun. "Chocolate" kicks some 
major ass with nice interplay between the keyboard and guitar and 
patented Spencer lyrics about "eating fish sticks," and non-sequitur 
yelps like "Dirty movie!," "Pass the hatchet," and the soon-to-be-classic 
line about "kissin' and a huggin' and a motherfuckin'."
	It's probably no coincidence that the best tracks on _White 
Out_, poppy rockers like the aforementioned "Chocolate" and "Fear For 
You," have a lot in common with the tunes on Jon Spencer Blues 
Explosion's far superior _ACME_. And duds like "Get It While You Wait" 
do away with the dirtier Blues Explosion-style elements in favor of the 
straight '80s pop. On the whole, the new Boss Hog isn't offensive, but 
it certainly doesn't make a strong case for taking Spencer's _Orange_ 
off the turntable or serve up any tunes more hummable than the 
supremely catchy "Magical Colors" from _ACME_.
---
	INTERVIEW: Guster
		- Daniel Aloi
	Hot off of an appearance on the last Conan O'Brien show of 
1999, the acoustic pop trio Guster is finally going beyond its 
Boston-area roots after five years of hard work.
	"The three of us just moved out of Somerville in August, so 
we're out of the Boston scene," says guitarist Adam Gardner, calling 
from aboard a tour bus recently in Southern California. "I figured 
since I'm on the road 10 months of the year, why am I paying rent? 
So I went for homelessness, and when I'm off I go on vacation - I 
just went to New Zealand for a month."
	 "We've always felt outside of the Boston scene, especially 
when we were just starting out," Gardner says. "The local scene just 
didn't accept us. I felt just ostracized. Bands like The Push Stars 
are just starting to make it."
	The band is now on tour in support of their third album and 
major-label breakout, _Lost and Gone Forever_ (Sire). They're starting 
the current tour on the west coast to "follow up some radio play we've 
been getting," Gardner says. It gave the onetime college friends - 
Gardner and Ryan Miller on acoustic guitars and vocals, Brian 
Rosenworcel on percussion - a chance to play smaller cities, and 
try out new songs and equipment. Not that Guster would consider 
adding a wall of Marshall stacks and synthesizers.
	"I don't think we have any particular allegiance to acoustic 
guitar and hand percussion itself," Gardner says. "What I like about 
the acoustic guitar is it fills more of a dynamic range and frequency 
range than the electric guitar."
	Their first two albums, released independently, allowed the 
organic Guster sound to flourish (The second, "Goldfly," was eventually 
picked up by Sire).
	"_Parachute_ is very acoustic, there's hardly any electric 
sounds on there," Gardner says of their debut. "At the same time, 
there was a drum kit and a bass player, outside musicians. It sounded 
like us, but it wasn't really our energy."
	"It's certainly the thing people notice about us," Gardner 
says of the acoustic format, sans conventional rhythm section. "A lot 
of people who didn't see us said, 'Oh, they're a folk act, a hippie 
act.' At the end of the day, we're a pop band. We like pop melodies 
and choruses."
	That's evident throughout _Lost and Gone Forever_, an album 
filled with infectious pure pop elements. Gardner says the song "All 
the Way Up to Heaven" is the album's "most obvious nod to the Beach 
Boys, from the fact that it's very falsetto-ey to the theremin, which 
Page (McConnell, of Phish) came down and played. We weren't even hiding 
our influences there."
	While Sire has sent the latest upbeat Guster single, "Fa Fa," 
to radio stations, the album itself ends on a decidedly dark note with 
"Rainy Day": "holes uncovered/the walls will crumble/it all spells 
trouble."
	"It's definitely very depressing," Gardner concedes. "I can't 
imagine putting that track anywhere else but last. While at the same 
time, it's sort of a sad way to end a fairly upbeat, happy record. I 
think it fit the title so well. While the songs are upbeat, the lyrics 
aren't."
	The song "Barrel of a Gun," goes beyond the obvious associations. 
"That has nothing to do with Columbine. It's more about a kid 
fantasizing about a movie star and masturbating," he says.
	Producer Steve Lillywhite saw Guster play to full houses at 
Irving Plaza in New York, and at first considered having the band 
invite additional musicians into the recording studio.
	"Then he saw us a few more times and said `you don't need 
anyone else, you're covering the sounds. Let's take what you've got 
first, and then see what we've got. He said, `Brian, you're playing 
your percussion like a drummer anyway, so let's just find a way to 
keep this.'"
	Lillywhite helped them add some punch to their sound, but 
kept its key elements - acoustic rhythms and tight harmonies - intact.
	"Tony Levin played bass on a track, which was amazing, but 
it wasn't necessary to go and hire the best bass player," Gardner 
says. "Tony has a place in Woodstock, near where we were recording 
the second half of the record with Steve, and they ran into each other 
at the grocery store. Steve told Tony who he was working with, and 
Tony's wife said `Oh, Guster, I love Guster!' Steve said `Come by the 
studio - oh, and bring your bass.'"
	Gardner considered Levin a hero, for playing with both Peter 
Gabriel and U2 - "the bands that inspired me to go into music in the 
first place. It was amazing to sit there, a very powerful day for me."
	Levin ended up adding bass and Chapman Stick to three songs. 
"On our record, we want to pick up and play electric guitars - whatever 
will get the sound we're looking for, I'll play," Gardner says. "We're 
actually experimenting; I've got a MIDI pickup on my acoustic guitar, 
so it plays the bass parts through the MIDI."
	Still, Gardner doesn't see a radical shift in style coming. 
"I don't think Brian will end up playing an actual drum kit and I'll 
pick up an electric guitar exclusively anytime soon; it's just part 
of our sound."
	The fans like them just fine the way they are. In fact, some 
are hardcore enough to follow the band to see shows night after night. 
A few of the fans won a contest to come into the studio and whistle on 
"All the Way Up to Heaven." It's a very tight-knit, grassroots group 
of supporters the band has come to see as "their crowd."
	"We're people's little secret, and they wanna keep it that 
way," Gardner says. "Now there's response to being on TV, and people 
were worried about hearing us on radio. They are calling the stations 
and requesting it, so they're part of it and trying to contribute to 
it. Obviously, these are good problems to have."
	Signing with a major label and going on television, selling 
out club shows and booking larger venues sometimes cause the fans 
concern, Gardner says. "But people who know us know our intentions, 
and we'd like as many people who might like our music to hear it. I 
don't think we're going to make any enemies with our fans by succeeding. 
Signing a deal, it wasn't a clash against our ideals. We wanted to get 
our music out there."
	For more information, see http://www.guster.com
---
	REVIEW: Scritti Politti, _Anomie & Bonhomie_ (Virgin)
		- Jon Steltenpohl
	There are times when "genre" can become a stifling anchor that 
drags an artist down. Scritti Politti's Green Gartside has no problem 
going beyond those walls. Despite being a Brit who came out of the 
late '70s/early '80s, he's reinvented himself over the years as an 
R&B artist. Despite a decade since his last release, _Anomie & 
Bonhomie_ sounds remarkably fresh for a British guy doing R&B. 
Somewhat like Hall and Oates trying desperately to be Motown or the 
Bee Gees inventing disco, Gartside takes modern hip hop, R&B, and 
funk and mixes it up his pop song skills. With guests such as Me'Shell 
Ndegeochello, Wendy of Wendy & Lisa, and rapper Mos Def, this obviously 
isn't a hollow attempt.
	Gartside ends up with a mix of songs that sometimes borrows 
styles seemingly at random, but ultimately makes for a pretty good 
album if you can appreciate the various flavors. You've got a reggae 
inspired song next to a Ndegeochello track which is preceded by a 
slow R&B crooner. But, overall, the production of the album is so 
strong that the changes in style aren't so jarring. Former Scritti 
Politti member David Gamson's production is impeccable. The raps come 
across as real raps with complex beats and samples. The spacey jazz 
sounds are deep and the atmosphere is thick.
	The "pop" songs are the real downside to this album. But then, 
that's a matter of taste. "Born to Be" can't decide if it's going to 
be melodramatic or retro. It veers between Morrisey and Lenny Kravitz. 
Even though the style is uneven, it's produced very well. Likewise, 
"The World You Understand (Is Over & Over & Over)" with Ndegeocello is 
a cross between one of her songs and an Enuff Z'nuff track. (For those 
of you who don't remember, Enuff Z'nuff was that 80's hair band who 
tried to merge Winger with Strawberry Alarm Clock...)
	Ironically, the worst songs on the album are 100% straight 
Scritti Politti pop. "Here Come July" has the band sound pushed to the 
point of distortion, and the song just starts and stays loud without 
any real purpose. Sure, mixed in are some nice little guitar hooks, but 
it's just not a great song. As for the others, well they follow the 
same sort of glazed over British pop that audiences in the USA have 
never really embraced.
	So, who should buy the new Scritti Politti album? Well, if 
you're just trying to relive your love of the band from the early 80's, 
you should just track down a copy of those albums. _Anomie & Bonhomie_ 
sounds best when Gartside sticks to the R&B sound. But, the more he adds 
his particular flavor of pop to the mix, the more the album suffers. So, 
in the end, a rap and funk loving listener who still remembers her old 
Scritti Politti is probably the only audience who'll truly enjoy _Anomie 
& Bonhomie_.
---
	REVIEW: Pop Unknown, _If Arsenic Fails, Try Algebra_ (Deep Elm)
		- Andrew Duncan
	Rising from the ashes of Austin-based bands Mineral, Imbroco 
and Feed Lucy, Pop Unknown breathes life into their music with an 
unrelentless pursuit of emotion and care into the songs that they 
create. _If Arsenic Fails..._ is the documentary.
	The band gave a sample of their talents with the 1999 E.P. 
_Summer Season Kills_, and five songs was all it took to get hooked 
into their beautiful melodies and solid noisy guitar constructions, 
creating a comfortable balance.
	With _If Arsenic Fails..._, the band takes eleven songs to 
dig deeper into expressionism and pull out a collection of intimate tunes.
	The first song, "Head in the Sand," is a powerful introduction 
to say the least. Simple driving chords willow around Tim Lasater's words 
that all come together in the chorus ("One step back, you've faded off 
again"). The song transforms into a majestic ending with Lasater changing 
the words to "One step better, one step closer to the end."  The lyrics 
melt in the air, allowing anyone to walk away with something meaningful.
	Lasater takes elements of Paul Westerberg's Replacements days 
minus the Reaganism, the feeling of My Bloody Valentine or The Church 
and the most important aspect - experience - and creates a sincerity not 
heard in many pop-rock bands. The words take you inside his mind and 
lets you experience love's conflicts, introspection and life itself.
	Pop Unknown plays '80s-style pop in a '90s post-hardcore world. 
The band is most dominant playing delicate lullabies. "An Offering," 
conveys this with Casper Eckois' bass keeping the song moving forward. 
The bottom drops out and leaves you weightless. "Lonely Here With Me" 
is equally as sobering. "Fallen Star" wanders into a dream state with 
soft melodies floating while one guitar chord chimes out with an echo 
effect. The band makes a final note with the ending instrumental 
"Forward=Rewind," a soft farewell that leaves you one step closer and 
one step farther from the truth. 
	There is a lot to take in, and the best way to experience this 
album is to dim the lights, relax and listen.
---
	REVIEW: Michael Penn, _MP4 (Days Since A Lost Time Accident)_ (Epic)
		- Jon Steltenpohl
	Michael Penn's latest album is the aptly titled _MP4 (Days 
Since A Lost Time Accident)_. It's a collection of 10 new songs which 
are just business as usual for this endearing artist. If you've ever 
liked Michael Penn, _MP4_ gives you more of what you'd expect. Penn 
takes the safe and narrow road of writing reflective pop songs with 
dense lyrics and a punchy acoustic guitar. No accidents here.
	In fact, the worst thing you can say about _MP4_ is that it 
remains formulaic and predictable for Penn. But, if you got snared a 
decade ago by Penn's hit, "No Myth," you won't mind a little consistency 
from Penn. His particular blend of pop sensibility, lyrical complexity, 
and drab viewpoint gives Penn a depth beyond what you might expect from 
a "one hit wonder."
	Penn focuses as much on lyrical poetry as he does on melody. 
Buried within his songs are depths of rhyming and alliteration that are 
rarely seen in modern music or poetry. Although sometimes they are a bit 
contrite ("Don't Let Me Go" has the phrase "Oh fuck/ got stuck/ you 
lose/ tough luck"), some of the lyrics are brilliant. In "Out of It's 
Misery," Penn writes "If you take my devotion/ and figure it as something 
you're due to accrue/ it's only emotion winding up the motion we are 
going through." As always, regardless of the complexity of the lyrics, 
the theme of Penn's work is dysfunctional love.
	Musically, Penn's sound is a bit more complicated on this 
release than on previous work. There's a "wall of sound" feel to _MP4_, 
and the simple interplay between Penn's guitar and Patrick Warren's 
keyboards is nearly gone. At the end of "Beautiful," Warren 
"deconstructs" the melody brilliantly with the sounds of an out of 
tune piano. But, it really doesn't have the same feel of some of their 
earlier collaborations. For the most part, Warren's keyboards are 
hidden behind conventional sounds or used only for adding "atmosphere."
	_MP4_ is a typical album from Michael Penn. If anything, the 
simplicity and stark earnestness of his previous work is lost a bit. 
He seems to be experimenting a bit in the studio, but the extra sounds 
tend to distract as much as entice. Ultimately, _MP4_ is an album that 
won't give Penn any new hits but is another solid, reliable release.
---
	REVIEW: Lambchop, _Nixon_ (Merge)
		- Christina Apeles
	_Nixon_ is what happens when a talented group of friends with 
a love for music gather rich melodies and altogether impressive 
songwriting. The orchestrations are exquisite, the lyrics are 
expressive, and the result is a soulful mix of songs that are seductive.
	This release can stand with the best of San Francisco Music 
Club or Smog, with enough pathos to immerse a listener in reverie, but 
a warmth that makes everything bearable. The thirteen musicians of 
Lambchop offer a polished collection of songs decorated with tender 
vocals and numerous instruments ranging from vibraphone to open end 
wrenches, Rhodes piano to a 1946 Gibson L7 guitar; you're instantly 
reminded of the limits of three piece outfits, when tunes are as 
memorable as these.
	"The Old Gold Shoe" is the most poignant of tracks, vocalist 
Kurt Wagner singing such somber lines as "it's certain that something's 
bound to break inside" and "the whole that you know gets closer to the 
ground" over a steady tempo of pensive strings. Wagner exercises his 
falsetto in the groovy "What Else Could It Be," "Up With People" brings 
The Bobby Jones Gospel Singers to accompany captivating horns and steel 
guitar for an inspirational tune; while the ominous sound of "Butcher 
Boy" opens with spoken word, taking you on a journey, with a convoy of 
drums, horns, and guitar distortion creating the momentum and feel of 
an a.m. car ride winding through wet, city streets. The arrangements 
unfold elegantly with every song, absorbed in sentiment, skilled in 
presentation and a stunning display of lyricism. Lambchop has rhythm, 
range and most importantly, talent; get _Nixon_ and you get something 
honest, pure, special.
---
	REVIEW: Jimmy Somerville, _Manage the Damage_ (Instinct)
		- Christina Apeles
	Some voices from the past you will never forget; one of them is 
that of Jimmy Sommerville. As with most artists that were popular in 
earlier years, Somerville needed to update his sound to appeal to the 
ears of the new generation, while maintaining his musical style to keep 
his loyal fans. People admired him in Bronski Beat, loved him in The 
Communards, and with this solo release - playful, dance friendly, 
heartfelt and poppy - fans are likely to embrace him for another 
incarnation.
	Somerville takes his trademark falsetto into a new decade, 
accompanied by a beat-heavy soundscape with dance clubs sure to welcome 
him, at the same time offering bits of eighties pop that made listeners 
fall for him in the first place. The release opens with a modern edge 
dance tune, "Here I Am," as inspiring and energetic as any Moby song, 
later followed by another club track, "Something to Live For," offering 
jovial beats and choruses.  Then just turn back time when Heaven 17 and 
Erasure ruled the airwaves to find the fervent rhthym of "Lay Down," or 
the light-hearted tone of ironically titled "Dark Sky."
	_Manage the Damage_, with all its joy and jubilation, is still 
a very personal and therapeutic album for Somerville, collaborating 
with his close friend Sally Herbert (Banderas), choosing to record at 
his home versus a studio, and especially the contemplative lyrics in 
each song. All is not carefree in the charming ballad "Girl Falling 
Down" or the sentimental "Rolling." The first is a polished storytelling 
ballad with strings, keyboards and acoustic guitar; the latter, filled 
with sincere reflections, Sommerville singing "we place so much upon 
silly things, we put our hopes and dreams in golden rings and I don't 
believe in the mystery of destiny... but I know what to do, we've got 
to keep on rolling." Musically, Somerville is not as creative as artists 
like Moby or William Orbit, nor eighties equivalent, Pet Shop Boys; but 
what sets him apart will always be his voice, hitting notes others can't.
---
	REVIEW: 38 Special, _Live at Sturgis_ (CMC International)
		- Bill Holmes
	Short of Steppenwolf's anthem, what better opening line could 
you have for Biker Week in South Dakota than "Cruisin' down the 
motorway..."? Live from the Buffalo Chip Fairgrounds it's "Rockin' Into 
The Night," and that's just what these classic rock radio survivors did 
in front of a huge throng of worshippers. Always more commercially 
viable than their predecessors Lynyrd Skynyrd, 38 Special had quite a 
run of hits; you might be surprised when you realize just how many! And 
before you cock an eyebrow at the mention of their name, give this disc 
a spin. Many of their contemporaries have fizzled out and lost it big 
time; these guys sound fresh. Well, apart from the cheesy synthesizer. 
Too "Kansas," man...
	Don Barnes and Donnie VanZandt sound exactly the same as they 
did the first time around, which is to say strong lead vocals and 
able-bodied harmony. Guitarist Danny Chauncey adds some ripping lead 
guitar to several tracks, as they roll through the classic catalogue 
along with a few newer numbers. And only the close-minded among us toss 
that "yee-hah rock" bandana on their work. "Hold On Loosely," "Back Where 
You Belong" and especially "Caught Up In You" are pure pop songs rolled 
in southern-fried bread crumbs. Sure, there 's a touching tribute to 
Ronnie VanZandt ("Rebel To Rebel") that ends with a little "Free Bird" 
riff, and yes, Donnie pays props by tossing in a whistle in place of a 
vocal growl (a Ronnie trademark), but the crowd eats it up. And frankly, 
when a band paves the career road for you and featured your late brother, 
it would be hedonistic NOT to tip the hat to the icon.
	And to prove that all the chips weren't cashed in fifteen years 
ago, a new studio track ("Just One Girl") is tacked on at the end. The 
song has a nice low-key push and gets its bounce from some great organ 
playing. But if an album full of hits and a catchy new tune isn't enough 
for you, there is that biker chick on the cover...
---
	REVIEW: Yma Sumac, _The Ultimate Yma Sumac Collection_ (Capitol)
		- Don Share
	You probably can't pronounce her name, and you almost 
certainly won't be able to understand lyrics like "Taita Inty!! 
K'ontikipa unanchasccan...Unanchasccayquil!" But Yma Sumac, who was 
once a household name, may well be on her way to entering your threshold 
now.
	Yma Sumac is a Peruvian of Inca descent who became a star in 
South America, and then was discovered by Americans in the '40's and 
'50's after a stunning debut at, of all places, the Hollywood Bowl. Hmm, 
Capitol Records, Hollywood Bowl...is there a Beatles connection here? 
No. Is it rock and roll?? Well, in the sense that, like all great rock 
music, this stuff can be used to induce feelings of euphoria while 
simultaneously irritating the neighbors...Possibly. Sumac's five-octave 
voice is indescribable, though the album notes on this wonderful 
compilation includes entertaining attempts; here's mine: imagine 
having a nightmare (or exotic sex dream, take your pick) in which a 
huge, brightly-colored South American bird trills mightily in your 
ear, and then you wake up next to a woman you met at a Tiki bar whom 
you met while discussing Ethel Merman. Ok, that sucks, but maybe you 
get the idea, just a bit.
	There are high-pitched quaverings, low-throated grumblings, 
and everything in-between, some of it sounding evil, some of it 
sounding paradisiacal. And all this is accompanied by weird bongo/mango 
orchestral music with occasional side-vocals from her male-slave.
	My own favorite is "Ataypura (High Andes)," which majestically 
swells into a frenzy of hollering the likes of which nobody on this 
continent can possibly hope to understand. Beginners, however, may 
prefer her great singles, "Babalu" and "Wimoweh" - this last known to 
some as "The Lion Sleeps Tonight." You can't miss with songs whose 
title translations indicate that they describe earthquakes, monkeys, 
the lure of unknown love, a virgin of the sun god, and - irresistably - 
"the forest creatures."
	Among the most exotic, then, of exotica, these recordings of 
Yma Sumac (mostly arranged by her musicologist and husband, Moises 
Vivanco) are available again for everyone to discover. Sumac once 
joked that her real name was Amy Camus...so maybe she does have some 
of that Beatles mystique, after all!
---
	REVIEW: Jim O'Rourke, _Halfway to a Threeway_ EP (Drag City)
		- Kerwin So
	Some of our more observant readers might remember that Jim 
O'Rourke released a full-length record not too long ago. These same 
readers would also know from our review of that record (entitled 
_Eureka_) that O'Rourke is hardly one to rest on his laurels. Rest 
assured that these four new songs in EP form deserve some time in your 
hectic listening schedule - that is, if you don't pay too much attention 
to the lyrics. So much for being observant.
	Don't believe me? Besides the hokey wordplay found in "The 
Workplace" ("Women look good here with their suits on/ It suits them"), 
the title track ventures into some rather perverse territory that I'd 
prefer not to spell out here. All I can say is, use your imagination. 
Hopefully O'Rourke was just exercising a twisted sense of humor on this 
song. But if you can overlook this deviance, as well as the fact that 
the first song, "Fuzzy Sun," sounds uncannily like "Ghost Ship in a 
Storm" off _Eureka_, a humble treasure awaits.
	The EP as a whole finds O'Rourke taking strong songwriting 
skills and arrangements into catchier and more straightforward 
territory, resulting in delicious nuggets of finger-picked acoustic 
guitar bliss, with none of that annoying lounge pop to water it down. 
The seven-minute instrumental piece "Not Sport, Marital Art" [sic] 
holds these songs up on its own merits, flourishing the cornet of 
Isotope 217's Rob Mazurek to accent the warm, wonderful rhythmic 
changes and bossa nova variations that make this tune a rewarding 
journey through the heart of whatever it is that makes those crazy 
Chicago underground musicians tick. Sam Prekop from The Sea and Cake 
adds his vocal talents to "The Workplace," whose final five minutes are 
a masterpiece of hummability so simple and soothing that I can only 
envision myself watching an episode of "Sesame Street" on TV while it's 
pouring rain outside. I just can't describe it any better than that.
	The guitars and gentle embellishments of horns and piano on 
this EP will certainly uplift you, but O'Rourke's voice also contributes 
an element of tranquil stability. Again, just don't take the lyrics too 
seriously, and be glad he's not singing the same refrain 20-plus times 
in succession. The rest will come naturally - no pun intended.
---
	REVIEW: Shivaree, _I Oughta Give You A Shot in the Head for 
		Making Me Live in This Dump_ (Odeon/Capitol)
		- Paul Andersen
	From the opening strains of the nursery rhyme-like "Cannibal 
King," you instantly know that this album isn't going to be a 
cookie-cutter paint-by-the-numbers next-big-thing throw-corporate-
dollars-at-it affair. Well, maybe that last part - after all, Odeon 
Records is under the Hollywood and Vine umbrella of Capitol Records 
- still has a jury out on it, especially if you look at how they are 
marketing it, but no matter. This is, simply and foremost, an album 
that is going to sink its meathooks in you and not let go.
	If you followed the Capitol marketing scheme, you would swear 
that Shivaree is actually a person, but it is really a three-piece 
band. The chosen Capitol center of the universe on this project is 
singer Ambrosia Parsley - you don't make up a name like that one, 
folks - of whose songs this record swirls around. But don't forget 
her bandmates, guitarist Duke McVinnie and keyboardist Danny McGough - 
a Tom Waits sideman, no less - because their contributions to the 
hard-to-describe sound (think of it as 16 Horsepower with a sensual 
instead of spiritual rant to it, mixed with a dash of Concrete 
Blonde darkness) are essential, lifting Parsley's vocals into an 
ethereal kaleidoscope of sound that will have you leaving the repeat 
button in the 'on' position.
	Simply put, this is a wonderful debut from a band worth watching.  
---
	REVIEW: Flying Saucer Attack, _Mirror_ (Drag City)
		- Kerwin So
	So we got through this Y2K thing with barely a scratch, more or 
less, and let's face it - the year 2000 pretty much feels like 1999 
warmed over.  Does the new millenium really mean anything? Space-rock 
outfit Flying Saucer Attack seems to think it does, and they've 
announced its onset with their latest offering on Drag City.
	Appropriately titled _Mirror_, this disc manages to reflect 
both sides of the millennial chasm, incorporating the atmosphere of the 
countryside with the sound of hyper-modern urbania. Somehow, core FSA 
member David Pearce has managed to merge pastoral acoustic guitars, 
electric feedback drone, and jungle beats into a beautifully 
somnambulent, psychedelic creation. Consequently, you don't listen to 
this record so much as let it seep into your pores.
	There are some definite lines drawn here: the second song, 
"Suncatcher," clearly extracts influence from troubador Nick Drake, with 
its plaintive plucking and dream-like whispers, and the commencement of 
the album's "technological" second half is unmistakably launched with 
"Wintersong's" drum'n'bass groove anchoring FSA's trademark gauzy 
feedback. The connecting threads through all these seemingly divergent 
tracks are Pearce's hypnotically tranquil vocals, and a pervading sense 
of quiet. It might be fair to label  _Mirror_ as subliminal trip-hop - 
indeed, not too long ago Pearce moved from the English countryside to 
the more urban environment of Bristol, home of such artists as Massive 
Attack and Portishead. The effect of both rural and urban environments 
shines clearly throughout this record, suggesting a potential future in 
which a cohesive humanity can reconcile the introspection and simplicity 
of the countryside with the technology and progress of modern life.
	For now, though, put this record on, take a deep breath, and 
listen with the lights off. And see where it takes you.
---
	REVIEW: Broadside Electric, _With Teeth_ 
		- Chris Candreva
	I will state here at the outset that I have been friends 
with the drummer of Broadside Electric, Joe D'Andrea, for more 
than ten years now. This does not in any way effect my review, however, 
as I would have no problem saying "Gee Joe, your drumming is great as 
usual, but the rest of it is just plain awful !"
	Luckily, _With Teeth_ is far from awful.
	Broadside Electric calls themselves a "progressive folk 
ensemble", and that is probably as good a description as any. The 
closest analogy in the pop world would probably be Traffic (one song 
did sound reminiscent of _John Barleycorn Must Die_ ). However, they 
remind me strongly of the bands I heard in pubs in Ireland, playing 
traditional tunes.
	Broadside Electric pulls their music not just from Ireland, 
but utilizing traditional songs from Bulgaria, Canada, Croatia, 
England, France, Scotland, and Scandinavia. Not just pulls, but 
blends songs across various styles. An example: _With Her Head Tucked 
Underneath Her Arm_, a song about Anne Boleyn, is (obviously) of 
English origin, written in the early 1930's for Stanley Holloway. 
They perform it, however, as a Klezmer, complete with another Klezmer 
piece (_Ternovka Sher_) as a solo in the middle.
	Equally eclectic is their choice of instruments, which 
include the crumhorn, juice bottle caps (yes -- exactly what it says), 
tin whistles, a concertina, and a rauschpfiefe. Most prominent to 
their sound seems to be the Chapman Stick, a 10- or 12-stringed 
electric instrument which consists of a single long fretboard, played 
by hanging it from your belt and a shoulder strap and taping on the 
strings with both hands.
	Broadside Electric has managed to secure distribution of 
_With Teeth_ through Amazon.com, where you can here samples of all the 
tracks in RealAudio format.  They also have a 1 minute montage of the 
tracks available from their web site, available in RealAudio 
( http://www.broadside.org/audio/rm/teethmarks.ra ) and MP3 
( http://www.broadside.org/audio/mp3/teethmarks.mp3 ) formats. Rather 
than ramble on trying to describe the music, I will suggest visiting 
the sites above to sample the album for yourself, and end with the 
word of Jerry Pournelle:
        Recommended.
---
	REVIEW: Starflyer 59, _Everybody Makes Mistakes_ (Tooth & Nail)
		- Christina Apeles
	In the same vein as Slowdive, stargazing work of Ride, My 
Bloody Valentine, and anything put out on 4AD, Starflyer produces music 
with beauty and grace in mind. This release is filled with rainy day 
tunes that are just the right tempo, setting a mellow mood for 
smoke-filled rooms with soothing guitar riffs and steady vocals to 
comfort your ears.
	Through the hushed utterances of Jason Martin, layered over 
languorous beats and elegant guitar playing, it is evident that this 
trio means to charm. From the darling piano-driven ballad of "20 
Dollar Bills" to the romantic disposition, Morrisey-tinged tune of "No 
More Shadows," _Everybody Makes Mistake_ is an exquisite collection of 
addictive pop hooks and synthetic ballet.
---
	REVIEW: Slowrush, _Volume_ (Epic)
		- Jade Hughes
	Slowrush's _Volume_ hit me right in the face as 
soon as I put it in my stereo, and my hand unconsciously 
pushed the volume button up.
	The songs are a mix of heavy, striking guitar riffs and 
electronic sounds which give each song an extra boost. Rob 
Daiker's voice is packed with feeling; at times it has a 
hard, cutting knife sound to it, at others it takes a softer tone.
	"Concrete Bubble" and "Junkie" jump from slower and softer 
to hard and explosive without transition. A smart mix that works 
extremely well within the powerful lyrics, while "Star" is slower, 
but just as powerful.
	The songs are a mix of hate, anger, pain and love, something 
everyone can relate to.
	You may find yourself making sure the music is loud enough 
to fill the whole house and even wanting to shout along. The 
riffs are stirring and lively.
	Slowrush seem to have many different musical influences such 
as Nine Inch Nails and Smashing Pumpkins, but they have managed to 
add their own originality, making an excellent debut album - one 
to listen to if you like a good mix of power and beauty, and if 
you're not scared of loud music.   I personally love it!
---
NEWS:	> Beggars Banquet is giving visitors to their website the 
chance to remix a track from the forthcoming Bowery Electric album 
_Lushlife_ until February 22.  Further information is available at the 
label's site, http://www.beggars.com/us/news .
	> May 9 will see the release of a live album 
from the late Jeff Buckley.  The still-untitled album 
features the following tracks: Dream Brother, I Woke Up In 
A Strange Place, Mojo Pin, Lilac Wine, What Will You Say, 
Last Goodbye, Eternal Life, Grace, Mood Swing Whiskey, 
The Man That Got Away, Kanga Roo, Hallelujah/I Know It's 
Over (medley).
	> Doug Fieger (vocalist from the Knack) has released 
his solo album, _First Things First_.  Further information 
on the album and ordering information is available from the 
Knack Fan Club at http://www.knack.com/ 
 	> Maxim from the Prodigy is currently making his 
solo album.  Guest production and vocals come from Gang 
Starr's Guru, The Sneaker Pimps and Skunk Anansie's Skin. 
	> Spin the Wheel Press has released their first publication, 
The Deck of Chance, a deck of playing cards exploring accident, 
fortunate, luck and the haphazard in daily life through poetry, 
short stories, commentary and artwork by thirty-four published and 
emerging writers and artists.  Some of the people who have written 
the text on the cards include Los Angeles writer Norman Kling, 
Austrian art critic Otto Neumaier and Superchunk's Laura Ballance. 
The deck is limited to a print run of 500.  Check out 
http://spinthewheelpress.homepage.com for more information.
	> Tragically Hip fans should be happy with the 
re-release of three more albums from the band's catalog.  
Sire / London have re-released _Road Apples_, _Up To Here_ 
and _The Tragically Hip EP_ enhanced with promotional music 
videos using state of the art HyperCD technology.
---
TOUR DATES:
	Beck
Feb. 9 Montreal, QC Univ. Of Montreal
Feb. 11-12 Boston, MA Orpheum Theatre
Feb. 14-15 New York, NY Radio City Music Hall

	Cracker
Feb. 9 Santa Cruz, CA Catalyst
Feb. 10 San Francisco, CA Slims
Feb. 11 San Francisco Slims
Feb. 12 Petaluma, CA Mystic Theater

	Cravin' Melon
Feb. 11 Danville, VA Sir Richards

	Dismemberment Plan
Feb. 8 Ft. Walton, FL Java Pit (w/ Alkaline Trio)
Feb. 9 New Orleans, LA Movie Pitchers (w/ Alkaline Trio)
Feb. 11 Denton, TX Ribber Gloves (w/ Alkaline Trio)
Feb. 12 Austin, TX Emo's (w/ Alkaline Trio)
Feb. 17 San Diego, CA Che Cafe (w/ Trizteza & All Scars)

	Guster
Feb. 9 Carrboro, NC Cat's Cradle
Feb. 10 Athens, GA Georgia Theater
Feb. 11 Salem, VA Roanoke College
Feb. 12 Columbia, SC Gallery 701
Feb. 14 Orlando, FL Sapphire Supper Club
Feb. 15 Gainesville, FL Brick City Music Hall
Feb. 16 New Orleans, LA House of Blues French Quarter
Feb. 17 Houston, TX Satellite Lounge

	Ben Harper & Innocent Criminals
Feb. 9 Pittsburgh, PA Metropol
Feb. 11 Columbus, OH Newport Music Hall
Feb. 12 Cleveland, OH Odeon
Feb. 13 Cincinnati, OH Bogarts
Feb. 14 Bloomington, IN Iu Auditorium
Feb. 16 Champaign, IN University Of Illinois
Feb. 17 St. Louis, MO Mississippi Nights

	Richie Hawtin
Feb. 9 Calgary Republic
Feb. 10 Edmonton The Rev
Feb. 15 Los Angeles, CA The Viper Room
Feb. 16 San Diego, CA E. Street Alley
Feb. 17 Seattle, WA The Showbox

	Miles Hunt
Feb. 16 New York, NY The Fez 

	Live
Feb. 11 Winnipeg, MN Walker Theater
Feb. 14 Calgary, AB South Jubilee Auditorium
Feb. 15 Edmonton, AB Shaw Conference Centre

	Machine Head
Feb. 8 Virginia Beach, VA The Abyss 
Feb. 9 Washington, DC 9:30 Club 
Feb. 10 Philadelphia, PA Trocadero 
Feb .11 Worcester, MA The Palladium 
Feb. 12 New York, NY Irving Plaza 
Feb. 14 Pittsburgh, PA Graffiti 
Feb. 15 Hunington, WV Gyrationz 
Feb. 16 Cincinatti, OH Bogarts 
Feb. 17 Cleveland, OH The Odeon 

	Aimee Mann / Michael Penn 
Feb. 9,11 Philadelphia, PA The Theater of the Living Arts
Feb. 12 Somerville, MA The Somerville Theater
Feb. 13 Providence, RI Lupos Heartbreak Hotel 
Feb. 15-19 New York City, NY Joe's Pub 

	Pretenders 
Feb. 10 Phoenix, AZ Union Hall 
Feb. 11 Los Angeles, CA Universal
Feb. 12 Las Vegas, NV House Of Blues 
Feb. 13 Bakersfield, CA Fox Theatre 
Feb. 14 San Francisco, CA Fillmore 
Feb. 16 Seattle, WA Paramount Theatre 
Feb. 17-18 Portland, OR Roseland Ballroom

	Stroke 9
Feb. 10 Tallahassee, FL The Moon
Feb. 12 Myrtle Beach, SC House of Blues
Feb. 13 Chapel Hill, NC Memorial Hall
Feb. 15 Greenville, NC The Attic
Feb. 16 Charlotte, NC Tremont Music Hall

	 Stereophonics 
Feb. 9 Edmonton, AB Skyreach Centre
Feb. 10 Saskatoon, SK Saskatchewan Place
Feb. 12 Prince George, AB Prince George Multiplex
Feb. 13 Kamloops, BC Riverside Coliseum
Feb. 14 Kalowna, BC Skyreach Place
Feb. 15 Vancouver, BC General Motors Place

	u-ziq
Feb. 9 Portland, OR Lola's
Feb. 10 Los Angeles, CA El Ray
Feb. 11 San Francisco, CA Bimbo's
Feb. 12 Seattle, WA Club I-Spy
---
THE READERS WRITE BACK!
	> I appreciate the recent piece on Robert Cray - 
however, I wanted to call one item to your attention. Robert 
passed on a healthy offer to renew his contract at Mercury 
and chose instead to sign with Rykodisc to insure the priority 
afforded by a smaller, more music-focussed label. This was all 
consummated prior to the Mercury merger taking place or any 
of us being aware that it was even possible. Also, Robert's 
"sophomore jinx" went well beyond gold which is the sort 
of jinx all but a few artists in the world should be happy 
to be hounded with. - Mike Kappus, Manager, Robert Cray
---
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