==== ISSUE 123 ====    CONSUMABLE     ======== [October 1, 1997]

  Editor:             Bob Gajarsky
		        Internet: gaj@westnet.com
  Sr. Correspondents: Tim Kennedy, Reto Koradi, David Landgren, 
                      Sean Eric McGill, Tim Mohr, Al Muzer, Joe Silva
  Correspondents:     Daniel Aloi, Joann Ball, Tracey Bleile, Lee 
                      Graham Bridges, Scott Byron, Patrick Carmosino, 
                      Janet Herman, Bill Holmes, Eric Hsu, Tim 
                      Hulsizer, Robin Lapid, Stephen Lin, Scott 
                      Miller, Linda Scott, Scott Slonaker, Simon 
                      Speichert, Jon Steltenpohl, Simon West, Lang 
                      Whitaker
  Technical Staff:    Chris Candreva, Dave Pirmann
  Also Contributing:  Rey Roldan

 Address all comments, subscriptions, etc. to gaj@westnet.com
==================================================================
	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: Jars of Clay - Lang Whitaker
REVIEW: The Verve, _Urban Hymns_ - Tracey Bleile
REVIEW: Beautiful South, _Blue is the Colour_ - Rey Roldan
REVIEW: Soundtrack, _G.I. Jane_ - Joann D. Ball
REVIEW: Spiritualized, _Ladies And Gentlemen We Are Floating In 
   Space_ - David Landgren
INTERVIEW: Lamb - Joe Silva
REVIEW: Pantera, _Official Live 101 Proof_ - Simon Speichert
REVIEW: Slobberbone, _Barrel Chested_ - Scott A. Miller
REVIEW: Jen Trynin, _Gun Shy Trigger Happy_ - Al Muzer
REVIEW: Love American Style, _Undo_ - Patrick Carmosino
REVIEW: Grey Eye Glances, _Eventide_ - Bob Gajarsky
REVIEW: Honeydogs, _Seen A Ghost_ - Bill Holmes
REVIEW: Junkster, _Junkster_ - Janet Herman
REVIEW: Kyra Lucas, _Deep At The Bottom Of Things_ - Bob Gajarsky
CONTEST GIVEAWAY: Godmoney soundtrack
NEWS: David Bowie, Kiss book, Midnight Oil, Specials, Neil Young movie
TOUR DATES : Backsliders, David Bowie, Billy Bragg, Coward, Cravin' 
   Melon, Alana Davis, Dots Will Echo, Chris Duarte, Foo Fighters, 
   Fu Manchu, God Street Wine, Buddy Guy, (hed) p.e., Interpreters, 
   Irving Plaza, Jars of Clay / Plumb, Less Than Jake, Letters To Cleo, 
   Love Spit Love / Closer, Ziggy Marley & Melody Makers, Old 97s, 
   Pantera / Coal Chamber / Machine Head, Promise Ring / Compound Red, 
   Samples, Scanner / DJ Spooky, Seven Mary Three, Third Eye Blind, 
   Tower of Power, Two Dollar Pistols
Back Issues of Consumable
---
	INTERVIEW: Jars of Clay
		- Lang Whitaker
	You could say that Jars of Clay has the Midas touch. Shortly 
after releasing a self-produced demo CD that sold out its entire run, 
JOC recorded their first album for Silvertone Records. Now, two years 
and two million copies later, Jars of Clay find themselves starting 
over again with the release of _Much Afraid_ , their second album for 
Silvertone.  Keyboardist Charlie Lowell took time to check in with 
Consumable from the road in Oklahoma City.
	On the heels of their platinum debut album, the release of 
_Much Afraid_ has sparked a range of emotions from the band. "There 
was a little fear, not knowing how people would respond. We knew that 
we were real excited about the new songs, and we worked hard on it and 
were pretty proud of it, but there's still an element of it may just 
not connect with people."
	Not surprisingly, it has connected, debuting at #7 on the 
Billboard Top 100. For Jars, this time around they feel much more 
connected with the album. and, according to Lowell, Jars couldn't be 
happier.  "I think we just feel like it's bit more mature. It's a bit 
more of where we are now personally and musically."
	When Jars first approached the making of the new record, they 
sought a producer, a change from their first two self-produced 
releases. "That was actually pretty difficult for us to do, because 
the four would all have produced the record in a slightly different 
way, so it's hard for the four of us the make decisions. We felt like 
we needed someone in a mediator role."  That someone became British 
producer Stephen Lipson (Annie Lennox's _Diva_ and _Medusa_ ), but 
only after he passed a few tests.
	"(Stephen Lipson) flew over to Nashville to meet with us and 
see if we'd get along and work well together. We'd met with a few 
other producers, and we would ask them 'Given this demo, how would you 
approach it? What would you do differently based on what you've 
heard?' The cool thing about Lipson was that he just said 'I don't 
know.' He said 'I don't know how I'd do it.  We'll just get in the 
studio and panic together"' and I think that was probably the best 
thing we could hear, and I don't think we knew it at the time. That 
attitude of not planning it out and saying 'This is how we're going to 
tackle each song,'; just trying to go in there and be creative and see 
what happens."
	As a test run, Jars went in with Lipson and recorded the song 
"5 Candles (You Were There)" for the "Liar Liar" Soundtrack. "About a 
week or two before the movie came out," Lowell recalled, "we heard 
that they wanted to change the ending, they wanted more of a humorous 
ending, and so they ended up cutting the song. We were really 
disappointed, because we thought that it would kind of go along really 
well with the movie. We ended up using for our record and felt like it 
fit in with the rest of the songs we did anyway."
	It does. The bubbling guitars and airy harmonies of "Five 
Candles" fit easily within the framework of _Much Afraid_ , a logical 
and progressive follow-up to _Jars Of Clay_ . While the self-titled 
album relied largely on studio overdubs and percussion loops, _Afraid_ 
is a much more straight-forward, rock-style album; much more band 
oriented. The first single, "Crazy Times",  has already started 
garnering radio airplay.
	One aspect of JOC's music that hasn't changed is their 
willingness to openly confront their hearts, both in their music and 
in their day-to-day lives. Devout Christians, JOC attribute all of 
their success to their personal relationships with Jesus Christ. 
However, even as they continue to find success and acceptance beyond 
their wildest dreams, they find themselves struggling with the question 
"Why us?"
	"I probably ask myself that question every day. We definitely 
don't feel like we've earned this position or this responsibility, and 
at times it definitely feels like 'Why us? Why not this other band that 
has a lot more talent, or a lot better attitude, or has done this a 
lot longer?'. Maybe that's part of these reason why God's used us to 
do this, because it's hard for us to take credit; it's hard for us not 
to give Him the glory."
---
	REVIEW: The Verve, _Urban Hymns_ (Virgin)
		- Tracey Bleile
	The music industry is currently fighting off one of its 
more massive slumps and many setbacks in the quest to not only 
find acts that have the talent to create great music, but to have 
it happen on a regular basis ever after.  It is at least a clear 
turn for the good when a band that broke up finds their way back 
together stronger than ever, and sends out a release that is 
clearly a step forward while also packing an emotional wallop - it 
bodes well for everyone involved.  The success-cut-short story of 
Britain's premiere beautiful noise/shoegazers The Verve, was nothing 
short of a tragedy when they crashed and burned in late 1995, 
quitting right in the middle of their tour for _Northern Soul_ .  
Melodramatic?  Maybe.  Cliched?  Probably.   But even the most 
cynical think-they've-heard-it-all types will find it difficult to 
not be moved by the Verve's interpretation of what it's like to 
re-join life in progress.
	With the release of _Urban Hymns_ - I dare say the Verve 
sound almost...happy?  Well, Richard Ashcroft and Nick McCabe have 
mended their ways and their relationship, Simon Jones and Peter 
Salisbury are still the thunder and lightning of the storm, and 
they've added a second guitarist, Simon Tong.  So maybe they 
aren't exactly leaping up and down, but after the overweening 
sadness of _Northern_ , _Urban Hymns_ feels like their way of 
giving thanks for just being alive.  From the opening swells of 
sonic strings and electronic bird trills in the lead track/first 
single "Bitter Sweet Symphony" ,  you gain an immediate sense that 
dealing with the experiences of real life, both good and painful, 
is better than the agony and lack of control that drugs only 
sharpen.  Ashcroft's vocals have moved away from the keening warble 
so prevalent on previous releases, and have extended into a gentle 
Neil Finn/Crowded House tenor on many of the tracks.  Even when he 
moves into the higher ranges, it doesn't seem so painful - just damn 
powerful.  The second single, an acoustic and simple testament to 
getting sober, "The Drugs Don't Work" , says it all.
	_Urban Hymns_ is another lengthy effort, over 75 minutes 
(which includes hidden tracks), but there's a lot more going on 
than their trademark ethereal painting-with-sounds.  Oh, never fear, 
it's got the known-quantity Verve -  great orchestral swellings of 
keyboards and effects with Ashcroft rising and falling over the 
melody, which are consistent with what drew people to the band in 
the first place.  What gives this release validity are the songs 
that move far away from this norm.   Their worth is proved with 
the experimentation of everything from a trippy, glammy groove 
in "The Rolling People" which, even though a seven minute song, flows 
and pounds with all the insistence and energy of a high tide  - to 
the bouncy staccato backbone of "This Time" .  
	The Verve then proceeds to take on the Brit-pop sound 
currently being defined by certain bands who shall remain 
nameless (due to far too much publicity as it is), and stamps their 
own distinctive emotion all over the second half of the disc, and 
leave you stunned with their ability to do so much with so little.  
To this end, the naked longing in a string of moody, simply 
arranged songs with much toned-down guitars finds that they can 
communicate their feelings just as well as when they  deliver one 
of their big, sweeping pieces.   From "Space and Time" (if I had 
a vote, I'd say make this a single) to "Lucky Man" , Ashcroft does 
indeed sound like a supplicant giving thanks to the higher power 
guiding him.  In love and in music, he has found his calling.  
	The closing track "Come On" blends a little bit of the 
old and new, psychedelic and heavy and echoey and swoony - to 
Ashcroft's voice soaring and beckoning from above, and then 
barking out defiantly 'Fuck you!',  railing against whatever might 
hold him down.  Given the soundtrack feel of this disc, it is 
fitting that it is the end credits.  Anger, love, passion, hope, 
and for once, a sense of purpose, even if you know life ain't so 
great all the time.   How's that for a real life happy ending?
---
	REVIEW: Beautiful South, _Blue is the Colour_ (Go! Discs/Ark21)
		- Rey Roldan
	With their stillborn US career still not on the up & up and 
their UK career stabilizing, the surprisingly overlooked Beautiful 
South have released another batch of irony-laden, spiky lovesongs 
that skewer their way into alcohol-drenched hearts.  With this their 
fifth full-length (not including Best-of collection _Carry on Up the 
Charts_ , which was hugely successful everywhere EXCEPT the US), Paul 
Heaton, Dave Hemingway and Jacqueline Abbott harmonize their way 
through the 12 tracks effortlessly... and there lies the main 
problem.  Instead of expanding their trademark, easily listening-style 
of melodies and sweet vocals with ferociously toothy lyrics, they 
follow their formula as if by rote, without any hint of challenge.
	"One God" echoes much of _Miaow_ , their most staid album of 
hooky but smooth and non-bumpy pop songs.  Lyrically about the need 
for more than a singular God ("There's only one God/ There should be 
two or three"), the song hits a country-western snag and gets caught 
up in the torch and twang.  The smoky, lounge-bar vibe of "Alone" has 
a shuffling beat that suits Heaton's wine-soaked Bluesy vocals 
perfectly, showcasing their oft-examined theme of marriage gone 
boring.  But the real stand-out is Heaton's turn at becoming the next 
Shane MacGowen but gruffing up his voice and sounding like a drunkard 
who has consumed a few too many tequila shots in "Liar's Bar".  With 
his normal voice an uncharacteristic growl, Heaton pummels his way 
through a tale about a travelling salesman who seems to always go into 
to random bars for one drink and ending up with twenty empty glasses 
in front of him (echoes of a travelling "Old Red Eyes Is Back" 
from _0898_ ).
	The first single "Don't Marry Her" carries the shock-value 
tactic that the band has never explored before with the inclusion of 
a vulgarity.  Within their earlier material, they have escaped the 
easy route by offering cute euphemisms or image-laden irony.  In its 
stead, they offer the charming line "Don't marry her/ Fuck me."  
Whether this cheapens their normally reserved vision or brings it to 
another level is up for debate, but as a single, it offers little 
enjoyment for the puritanical mass media.
	All in all, _Blue Is the Colour_ follows in Beautiful South's 
tradition of lite pop songs quipped with a poison pen.  Fans and 
followers will embrace this while others may find it a bit "too 
provincial".  Compared to the full slate of albums, file this one 
before after their first three albums but before the inferior _Miaow_ .
---
	REVIEW: Soundtrack, _G.I. Jane_ (Hollywood)
		- Joann D. Ball
	The late summer box office hit _G.I. Jane_ is the 
fictional story of the first woman to train for the prestigious 
Navy SEALs.  Starring Demi Moore as Navy Intelligence officer Lt. 
Jordan O'Neil,  _G.I. Jane_ is a classic drama of good overcoming 
evil through strength, courage and determination.
	Rock and roll may not equal the Navy SEALs in terms of 
challenges and difficulty, but it certainly does require incredible 
stamina and perseverance.  And as film director Ridley Scott has 
aptly noted, singer/songwriter and rhythm guitarist Chrissie Hynde 
of the Pretenders personifies this and more.  According to Scott, 
"Chrissie Hynde is the only vocalist who shared the lead character's 
rare combination of sensuality and determination, toughness and 
femininity."   That Hynde and fellow Pretenders drummer Martin 
Chambers, guitarist Adam Seymour and bassist Andy Hobson are also 
experts at musically reproducing the highs and lows of emotions and 
feelings makes the band the ideal choice for providing the signature 
songs for the film.
	The Pretenders contribute "Goodbye" and "The Homecoming," 
both produced by Trevor Horn.  The film's theme and first single, 
"Goodbye" is actually a Steve Earle tune.  It gets the classic 
Pretenders touch, though, as Chambers provides a gentle militaryesque 
beat while Hynde's voice soars over lush guitars, keyboards and 
strings.  The movie's end-title theme, "The Homecoming," is a 
Pretenders original penned by Hynde.  It hints at what can be 
expected on the band's eagerly anticipated follow-up to 1994's _The 
Last of the Independents_ .  A mid-tempo rocker, "The Homecoming" 
prominently features Seymour's brilliant fretwork which complements 
Hynde's unmistakable tough-love vocals.
	The two Pretenders tracks fit well with Trevor Jones' 
original movie score, represented on the soundtrack by the orchestral 
pieces "Conspiracy," "Time to Reflect" and "Endurance"  But between 
the Pretenders and the instrumentals are five songs by a diverse 
group of artists.
	Three Dog Night's "Mama Told Me (Not to Come)" puts a humorous 
spin on the Navy SEALs training process, while the macho power chords 
and subject of Bad Company's "Feel Like Makin' Love" reflect the sexual 
preoccupation of male recruits when a woman enters their military 
environment.  The new folk-and-western group Tarnation contributes 
"Two Wrongs Won't Make Things Right," a number which evokes the best of 
Patsy Cline and 1950s love songs. John Lee Hooker's blues rocker 
"Dimples" and "The Future is a War" by Auntie Christ round out the 
collection.   Auntie Christ is the new collaboration between former X 
members of Exene Cervenkova and D.J. Bonebrake and ex-Rancid bassist 
Matt Freeman, and the trio delivers an aggressive declaration full of 
punk spirit.
	The soundtrack to _G.I. Jane_ works because it is a collection 
of carefully selected songs.  The Pretenders tracks are the highlights 
here, and they operate as the bookend opposite of Trevor Jones' score 
selections.  The sonic assault of Auntie Christ is an unexpected 
surprise, and the band's inclusion here will hopefully spark interest 
in their new full length release.  The Three Dog Night, Bad Company 
and John Lee Hooker songs work amazingly well with the scenes they 
accompany in the film, but without the visual their presence is not 
quite as obvious.  Consequently, it takes a little thought and a bit 
of humor to figure out the connection.  Finally, Jones' instrumental 
pieces are big orchestral works which manage to recreate the gripping 
intensity of the film for the soundtrack listener.
---
	REVIEW: Spiritualized, _Ladies And Gentlemen We Are Floating 
		In Space_ (Arista)
 		- David Landgren
	I was hunting around the local record shop a while back, looking 
for something new, and came across the most amazing packaging for a CD 
I've ever seen in my life. Imagine a CD done up as a prescription drug. 
Like, "Use only as directed by a physician (see enclosed leaflet)/Store 
in a dry place/Keep out of reach of children/Play one twice daily," and 
so forth. The enclosed leaflet continues the theme. Needless to say I 
snapped it up without having the faintest idea of what it would sound 
like. (Ed. note: The regular American version doesn't look quite as 
cool, but just like a normal disc).
	To tell the whole story, that's not quite true. I had an idea, 
given the name of the band and album, that it would be something 
ambient, which, incidentally, would have been fine with me. But it 
turned out to be something quite different. Jason Pierce, leader of 
Spiritualized and one-time member of Spacemen 3, has come up with a 
majestic album that claims a heritage of the pure melody of Brian 
Wilson and the nihilism of Hank Williams. Easy Rider meets Fear and 
Loathing in Las Vegas (the book, not the film). In short, one of the 
most awesome things I've ever heard in my life.
	I initially dubbed the album onto tape so that I could listen 
to it while driving, however, the dynamic range of the album is so wide 
that I found myself constantly ramping up the volume, only to slam it 
down minutes later as the car filled with a wall of sound.
	Consider "I Think I'm In Love". Long, smooth intro consisting 
of a sustained note on a keyboard, a riff plucked out on a bass guitar, 
a slightly wah-wah electric guitar, and to gather you in to the fold, a 
gorgeous harmonica and breathy latter-day Beach Boys vocals. And then, 
exhale, a second of silence, inhale, and we're off. In comes the 
percussion, and yeah, well, we're floating in space. And then comes 
the really clever part, the lyrics, variations on a theme of "Think 
I'm your friend... probably just lonely", "Think I can 
rock'n'roll...probably just twistin'", "Think I want to tell the 
world... probably ain't listening". In as much as Nancy Reagan just 
never got it, it's easy enough send a message to kids to not take 
drugs, just say something they can decrypt: "Think I'm the life and 
soul... probably just snorting".
	The most engaging aspect of the album is the play of 
contradictions. Waves of outright distortion on a "Broken Heart", 
thrown upon a wailing arythmic saxophone on "The Individual", only to 
cut back to rich, soaring violins, mournful horns and aching, trembling 
vocals. Once again, we are floating in space.
	Then there's the heavy jamming on the instrumental track "No God 
Only Religion", with guitars that go beserk, held in check by the brass 
section. I still find myself reaching to turn down the volume, out of 
respect for the neighbours.
	After that, as a sort of catharsis, Spiritualized offers us a 
moment of respite on "Cool Waves", with nothing less than a full gospel 
choir, flutes, the whole business.
	Sadly, after seventy minutes, the album draws to a close all too 
soon, with the bluesy "Cop shoot cop...". Songs don't get much better 
than this. Tambourine, piano and handclaps rolling along, bass guitar 
noodling around, laconic vocals. It's all very laid back and then boom! 
in comes an electric guitar spitting venom and fire. Get spiritualized 
today, it's bezerk. And no, I'm still not cured. After a couple of 
months of listening, I still need my daily dose.
---
	INTERVIEW: Lamb
		- Joe Silva
	If you've even spent ten minutes in your local DJ shoppe
lately, you'd realize the small percentage of stuff that
actually escapes the breakbeat kingdom and acquires even a
nodding acquaintance with mainstream pop circles. In the worse
case scenario we'll have more Prodigy-like material escaping
from the confines of the subcultcha, but in a more just world
the future musical schema will approximate Lamb.
	At the onset of their recent tour of the States, Louise
Rhodes and Andrew Barlow took time to chat re: their blissful
mix of warm vocals and instrumentation (double bass, horns)
and the thumping and frenetic beats of the drum n bass corps.

	Consumable: So you're co-headlining this tour with Gus Gus, 
right?
	Louise Rhodes: Actually, we're opening for Gus Gus now. 
Somewhere along the line we became special guests. (laughs)
	C: Is the setup for the show very similar to other 
electronic, technology based bands?
	LR: We're very different from that. Very visual with 
Andy going completely mad on stage, and we've got live double 
bass, as well as a live trumpet player. There's a lot to watch, 
more like a live band. Once (someone's) seen us live, they can't 
make those comparisons. It's a very human experience.
	C: Now these songs we're finished and released in the UK 
some time ago. Do you still feel excited about the material?
	LR: I still get the buzz. I realized half way through singing 
"Cotton Wool" last night, that it still had the capacity to 
move me. I am 100% in those songs when I'm singing. But it's 
different each night and there are a whole load of factors 
as to why - the response you get from the audience, the moods 
we're all in. That's another difference between us and the other 
electronic acts. We rely on a lot more on a two-way thing with 
the audience. I know I do particularly when I see people responding 
to the songs. It's relatively rare that we have a bad night. We 
usually manage to connect with the audience. That's more likely 
to happen when we're playing for a festival.
	C: Now I know you played Glastonbury (England festival). 
What was that like?
	LR: One of the biggest buzzes of the summer. It 
was a weird one, because it was really bad weather, and sort 
of knee deep in mud all weekend. But it felt brilliant! We'd 
had a real ordeal getting in there. Basically all the tour buses 
were booked out that weekend. So we didn't a tour bus. So in the 
end I wound up driving down in a transit so I could sleep in the 
back. It took us ten hours to get on to the site from just outside. 
When it came to our show we were sort of wading through mud. I was 
just feeling so low and tired and weary and just like I was going 
to fall apart, like I couldn't do it all. And then when I met up 
with the rest of the band who sort of energized me a bit and when 
we went up on stage, the response from the audience was so amazing, 
I couldn't stop smiling. Despite the mud they were really up for it.
	C: Well you've had four singles from the album over there 
which is a lot. So people must have been familiar with you.
	LR: Yeah we've been milking that album (laughs)! But really, 
we've had four singles, because we wanted four singles. All 
those tracks were sort of asking to be singles.
	C: What was it like at first composing with Andy considering 
your different backgrounds?
	LR: That was what I was looking for. Basically, we didn't 
really discuss much in advance what we were going to do.  
We just got some free studio time and went in and wrote 
"God Bless" which was kind of a celebration of this bringing 
together of our various skills. Andy never wanted to work 
with vocals, so it must have been a weird one for him, because 
he wound up doing something that he hadn't really forseen, but 
enjoying it all the same. I knew I wanted to write songs, but do 
it in a different way like using the exciting beats that were 
inspiring me as well. Day in and day out we have problems because 
of the different people we are and the priorities we have. We fall 
out about everything. We fell out this morning about who was 
first in the shower.
	C: How has your work ethic changed over the time you got to 
be more familiar with one another?
	LR: It's constantly changing. Because we've been basically 
playing live solidly over the last year, I think our whole 
approach has changed. We've become a lot more spontaneous 
about how we treat our songs. Our approach to writing songs 
has kind of metamorphisized a little bit from playing live. 
We're more likely to get more basic ideas and jam them through 
as a band and let it develop, then go back into the studio and 
then put stuff into the sampler and mess around with it. We 
have a port studio on the bus with us. Andy's devised this 
wonderful little thing in a flat case where you just flip up the 
lid and there's your studio. We were doing things like putting 
down live double bass on the motorway in Europe and trumpet in 
a hotel room. So that's going to make a big difference. It's kinda 
hard to get motivated since you sort of have a half-life when your 
on tour. You come alive when your onstage, and that's it. 
It's a learning process, obviously.
	C: I particularly noticed that the lyrics on this record are 
positive personal statements. Is that a conscious thing?
	LR: Most people say we're really melancholy, and I 
don't know where they get that from. They try to lump us in 
with all those bands that are trip-hop and melancholy. I'm a 
total romantic, and very optimistic, and have that approach 
to relationships. Basically, you know that life is about 
learning and getting hurt and learning again. And with 
relationships you have a choice of either getting hurt and 
get bitter and twisted or rise like a phoenix from the ashes and 
hopefully go on and have a better relationship the next time. 
All our relationships are there to teach us something. The other 
people that we meet in life, especially the people who 
we form close relationships with, are there to teach us 
something. I love modern music, but sometimes I get frustrated 
because it lacks emotional depth. I need to have that in my music. 
People don't want to give that, they'd rather hide behind technology 
and not show any of themselves. It's very male dominated, 
especially the techno side. Young guys who do not want to show 
any emotion at all because it shows vulnerability. A lot of the 
stuff I listen to is old music like _Roberta Flack featuring 
Donny Hathaway_. It's a classic album. It kind of verges on corniness 
in the pure emotion that it's expressing, but I love that in it. 
I can't be really any other way. I've been so much more of a 
happier person since I've been able to express it in songs. Probably 
a bit self indulgent as well. You chose your role in life, and I think 
mine's definitely to communicate things like that cuz not so many 
people are doing. I might come out like a bit of an idiot sometimes, 
cuz I am so open about it, but I don't give a shit really.
	C: Andy, how are the performances for you? Fairly busy?
	Andy Barlow: We could have done it easier. You could have 
had me and Lou on tour with a tour manager and a DAT machine, but 
we've chosen to do it this way. It could have worked either way I 
suppose. With a DAT machine you've got stability, of course 
every show's the same, but that not what we're about- we're 
more interested in taking risk and taking chances. Having a 
unique show for better or worse.
	C: Who's idea was it to take the live instruments on tour?
	AB: Neither. It was a logical thing. Double bass is one that 
instruments that Lou and I both agree is one of the 
most tremendous instruments ever - the warmth of it. All of Lamb 
has been a string of coincidences. The more that we go on 
there's some kind of form. It goes wrong unless we do it as 
mutual as possible. We both like those instruments, so we got them 
included in the live set.
	C: How have your personalities meshed up 'till now?
	AB: It's hard work some times. There's lots of energy going 
with two people who are strong willed. That's why Lamb's got a 
spikey exterior, but a soft underbelly.
	C: Lou says you've brought the studio along for the tour.
	AB: Yeah, my mobile studio, it's wicked. You see when we 
get back from the states, we've got six months in Manchester (to 
write the next album) and we've already got four or five ideas. 
Half the fuckin' album's written, no problem!
	C: Will there be certain aspects or techniques that you'll 
carry over from the first record to the second?
	AB: The first album was all over the place. We don't really 
have a formula for writing stuff. Some samples or loops I've 
put together will inspire us or even just one sample will 
inspire Lou to come up with some lyrics. Sometimes she'll 
have lyrics and some guitar parts and then everything will 
get changed around and the guitar will get thrown out. It's 
pretty fluid. However it starts it starts. In fact we actually 
kind of take turns, because we see it has an effect 
on how it turns out.
	C: Have you spent a lot of time keeping up with all the 
stuff that's going on now in drum n' bass?
	AB: I haven't listened to a lot of music lately. I think 
drum n' bass has really gone up its arse. Even the shining 
pieces have a real effort to shine because they're really 
surrounded by all this shit.
	C: Even Tricky?
	AB: I can only listen to that so much, because it puts 
me in a bad mood. I saw him once at Glastonbury while I was 
tripping and he gave me a bad trip (laughs)!
---
	REVIEW: Pantera, _Official Live 101 Proof_ (East/West)
		- Simon Speichert
	The great southern trendkillers are back. Yeah, that means 
Pantera. Those cowboys from hell have returned to kick your ass with a 
little more metal. But this time, it's live.
	_Official Live 101 Proof_ is Pantera's fifth major label album, 
and the title tells the truth; there is enough heavy metal on here to 
get you wasted. The album contains an entire Pantera concert - that's 
fourteen songs - and two brand new, never-before-heard studio songs.
	On this album, vocalist Phil Anselmo, guitarist Dimebag 
Darrel, drummer Vinnie Paul and bassist Rex Brown belt out some of 
their greatest songs for a crowd of, I'd say, at least a few 
thousand. The tracks on this album include the first single "Cemetery 
Gates", "Sandblasted Skin", "Suicide Note Pt. 2" (from last year's 
_The Great Southern Trendkill_ ) and the two new songs, "Where You 
Come From" and "I Can't Hide".
	For those of you who are unaware of what Pantera sounds like, 
I've got only two words for you; heavy metal. Some of the heaviest 
music in the world has been spewed out by these four guys.
	_Official Live 101 Proof_ is a terrific live album, but I'd 
only recommend getting it if you've heard most of Pantera's stuff 
before, because it's quite a harsh introduction to the fury that is 
Pantera.
---
	REVIEW: Slobberbone, _Barrel Chested_ (Doolittle)
		- Scott A. Miller
	"Some people try for all their lives but they never make a 
dent." This is the second line of Slobberbone's sophomore effort 
_Barrel Chested_ (Doolittle) and while it may be true for a lot of 
folks, it should not be the case with this Denton, TX, alternative 
country act. This is the band's second strong album in a row and 
fans of the insurgent country movement should add both to their 
collections immediately.
	Slobberbone has been kicking around the Denton, TX, music 
scene since 1992 when Brent Best decided to start playing in public 
the tunes he was writing in his bedroom. The band's debut _Crow Pot 
Pie_ was originally recorded to land Best and company better gigs 
around Denton and nearby Austin. Jeff Cole, Doolittle's Mr. 
Everything, re-recorded it and the resulting incendiary blend of 
metal, punk and country caught on with a national audience.
	_Barrel Chested_ has all the elements that made _Crow Pot 
Pie_ a winner (two of the songs were even record during the "Crow" 
sessions), but it shows Best maturing as a lyricist and arranger. It 
still includes a few hyped up punk numbers ("Lame" and "Haze of 
Drink"), a couple of longer jams ("I'll Be Damned" at 7:02 and the 
sadly beautiful "Get Gone Again" at 6:17), and more songs about beer 
and whiskey (most of the above plus "Little Drunk Fists" and "One 
Rung"). The arrangements, however, now make deft use of fiddle and 
dobro, so the "country" isn't overwhelmed by the band's punk-metal 
fury. And the lyrics find Best struggling harder for redemption 
against tragic flaws like alcoholism, pride and bad luck.
	When he sings "I'll be damned if I let you pick me up and 
brush me off and give myself a reason to live" he may be projecting 
a truckload of punk attitude. But it's that same attitude - that 
tragic flaw - that keeps him from reaching the happy ending. "A happy 
ending would have belittled what I was driving at," Best says. "The 
point of the album is not letting myself off the hook."
	From "Crow," Best proved he could write a punk songs, country 
songs and metal songs. For this outing, he put a few new notches in 
his songwriting belt.  The suburban folk tale "Engine Joe" has nice 
Appalachian feel to it until it gets to its boot-stomping fuzz-box 
break. Afterward it quiets down again, still leaving you with a 
smile. "Little Drunk Fists" is quieter than anything on either 
Slobberbone album, but at the same time, it may be darker. The rich 
violin of Susan Volez, who has worked with Poi Dog Pondering and 
John Mellencamp, adds a mournful quality to a sad story.
	Though Mike Hill plays guitar on the album, he has since 
left the band and Jess Barr has taken over guitar duties. Brian 
Lane on bass and Tony Harper on drums have been with Best since 
the pre-Doolittle days.
	Best, who also plays guitar, handles all the vocal duties 
in a voice that ranges from southern-fried rebel yell to introspective 
singer-songwriter to beer-soaked pub philosopher, sometimes in the 
same song.
	When the alternative country moniker is thrown around, many 
draw a direct line to the early Uncle Tupelo albums. But having 
listened to albums like _No Depression_ and _Still Feel Gone_, I can 
honestly say Slobberbone has more in common with bands like AC/DC, 
pre-_Don't Tell a Soul_ Replacements and country's outlaw artists 
like Waylon Jennings and Willie Nelson than with the aforementioned
Uncle Tupelo.
	Slobberbone's country is more rural, its rock is louder, its 
punk is more ferocious. As the song goes, "I'll be damned."
---
	REVIEW: Jen Trynin, _Gun Shy Trigger Happy_ (Warner)
		- Al Muzer
	Well on her way to an Aimee Mann-like cult following - former 
New Jersey (exit 135 on the Garden State Parkway) resident Jennifer 
Trynin took nearly three years to drop half her first name and 
unleash the follow-up to _Cockamamie_ , her critically-acclaimed, 
1994 debut.
	A deeply personal break up diary set to music, the 13-song 
_Gun Shy Trigger Happy_ utilizes feel, finesse, pop-smart 
songwriting, reserved instrumentation and a warm, smoky voice thick 
with waste and wistful sadness to convey Trynin's thoughtful, 
insightful, occasionally painful tales of insecurity, betrayal, 
weakness, disgust, second thought, lost love and heartbreak.
	Despite the unwavering lyrical focus of her sophomore 
effort, Trynin sweetens her heartache and makes it accessible with 
musical touches that range from a bit of Mazzy-moodiness mixed with 
Cowboy Junkies vulnerability on "Everything" ; to a lush, 
melancholy, Fleetwood Mac-ish harmony groove that effortlessly 
propels "Getaway (February)" ; to the loud blast of alterna-pop 
crunch and "yeah, yeah, yeah," big-hook chorus that makes "Go 
Ahead" such a perfect choice as the first single.
	Other (but not limited to) highlights of one of this 
year's best albums include: the "Shaft"-ish guitar intro, hip 
hop-stomp beat and irresistible pop hook that powers "Bore Me"; 
the chunky T-Rex-ish riff and punky vocal snarl of "If I"; a 
gentle, Joni Mitchell jazzed-funk confessional called "Writing 
Notes"; the crotch-rock riff, Dwight Twilley break and galloping 
rhythm punch of "Love Letter"; and the sinuous groove and bluesy 
starkness of "I Don't Need You." 
---
	REVIEW: Love American Style, _Undo_ (Oxygen/BMG)
		- Patrick Carmosino
	Melodic, ear-catching, American 'alterna-rock' (ugh!) is 
becoming a right rarity as the 90's rot to a conclusion.  But Love 
American Style stand out in a field of dread not by default but by 
sheer talent and inspiration.  _Undo_ is a charming mish-mash of 
mixed tempos, ranging from the Brit-pop, bass-driven title track 
to the power chord Foo-esque "Not About To Lose It" to the airy 
accordion-aided "I Know You Know".
	Guitarist/vocalist/songwriter Rob Montejo has long had a 
knack for creating memorable hooks. His previous band, Smashing 
Orange released one of the ultimate samples of the short-lived 
dreampop/shoe gazing set with the single "My Deranged Heart" . On 
_Undo_ , Montejo revisits some of that territory with "Be In Your 
Body," which takes the air out of his previous incarnation and 
replaces it with some crunchiness and soul and "The Sky Will Be 
Milk," which puts the air right back in to dazzling effect.  
	What also emerges on this record is the depth of Montejo's 
voice, which may have been doubted in the past because of all the 
sound layers going on but comes out full and rich and has a 
higher-ended Brian Wilson-circa-Pet Sounds timber to it, especially 
on "Radio Smile" and the rather lovely "Anodyne".
	Love American Style is rounded out by drummer Bob Furlong 
and bassist Steve Haley, who, by the sound of the title track, seem 
to have locked in nicely as a rhythm section. To many, _Undo_ may 
not hit instantly, but a couple of listens should prove this one 
a rightful sleeper for 1997. Unlike their name, Love American Style 
aren't about vintage hip/kitsch nostalgia. They merely keep the ethic 
of pop alive in a mindlessly rocking world, which nowadays is food 
for life.
---
	REVIEW: Grey Eye Glances, _Eventide_ (Mercury)
		- Bob Gajarsky
	The trio known as Grey Eye Glances may have gotten their 
initial break through the unconventional means of self-bookings 
at East Coast Borders bookstores, but their combination of 
piano, cello, and 12 string guitars harkens back to a folk rock 
period which has long since been forgotten.  
	Though the faster pace of the first single, "Halfway Back", 
might recall the best of 10,000 Maniacs (without the social 
preaching) and the October Project, much of Grey Eye Glances' 
national debut, _Eventide_ , owes its debt to Fairport Convention 
and Joni Mitchell. 
	In other words, because this style of music is verboten on most 
radio stations, Grey Eye Glances will most likely only be heard in a 
listening booth - or at the appropriate coffeehouse setting.  
Worth a listen, it's folk rock for the 90s with an edge.
	Grey Eye Glances' web site can be found at 
http://www.greyeyeglances.com
---
	REVIEW: Honeydogs, _Seen A Ghost_ (Debris/Mercury)
		- Bill Holmes
	On their third release, Minneapolis' Honeydogs seem to be 
fighting the "alt-country" tag that's being stapled to them. Good 
thing - although there's some countrified sweetness on _Seen A 
Ghost_, there's much, much more to this record than that.
	Adam Levy writes catchy, melodic songs and stuffs them full 
of lyrical gems that put a smile on your face without taking the 
song off the track. Inverted cliches like "you took my breath 
away/now I want it back" sit alongside inspired lines like "don't 
tell me that it's raining/when you're peeing on my head". Levy 
claims he gets his lyrical ideas from listening to his band mates 
busting each other on the tour bus; if so, nobody sleeps much.
	Musically, the H-dogs are all over the map but do it with 
style. Two of the songs, "Cherub" and "Twitch", rock out like vintage 
Faces right down to the trademark Ronnie Wood guitar sounds. "Cut 
Me Loose, Napoleon" takes it a step further, echoing the Faces' 
bastard children, The Replacements (fellow Twin City homeboys who 
are a huge influence here).  At the core of both those bands were 
artists whose solo work falls more into the "alt-c" bucket, Ronnie 
Lane and Paul Westerberg. "John Brown", with its thick and saucy 
keyboards, could sit alongside any Lane composition from the _Long 
Player_ era (like "Debris", which ironically is the name Mercury 
chose for this side label). The acoustic closer "Sweet Pea" uses 
strings to wash the emotions over the listener, capping the gentle 
exit with a refrain of the title tune in the fade.  Beautiful touch.
	Right alongside these songs are a few shots of roadhouse 
country. "Mainline" is straight Bakersfield shuffle, no chaser, 
and "Those Things Are Hers" is classic two-step twang.  And if that 
isn't enough, "Into Thin Air" is borderline psychedelic, great 
biting slide driving the chorus throughout.
	What could be formulaic in other singer's hands is dynamic 
here because Levy is as good a singer as he is a songwriter. His 
phrasing, especially on the should-be-a-hit "I Miss You", accentuates 
his lyrics, toying with rhymes and puns. And isn't it great to hear 
a "band-on-the-road" song that's a real love song instead of all 
this "loner/cowboy" bullshit that everyone seems to write?  That song, 
along with "Your Blue Door" and "Rumor Has It" might kick down the 
door that Wilco has been trying hard to open for the last two years.
	Usually when a band's sound is this diverse it's a bad sign, 
a warning signal that they lack direction. But if the band in 
question does it all so well and with such passion, how can I knock 
them? The Replacements were equally strong with "Alex Chilton" and 
"Skyway", ditto The Faces with "Stay With Me" and "Debris". While it's 
too soon to place The Honeydogs in such esteemed company, they're 
sure headed in the right direction. In the meantime, I can't keep 
this one out of the player, and I'll bet you can't either.
---
	REVIEW: Junkster, _Junkster_ (RCA)
		- Janet Herman
	Hailing from Ireland, the quintet Junkster makes their 
debut with a self-titled album that makes a strong attempt to fit 
in to some of today's most popular artists.  Unfortunately this 
attempt is made so strongly that  Junkster seems to lack a unique 
style of their own.  A random hip-hop beat that appears on some of 
the tracks might evoke comparisons to Tricky, but the more evident 
similarities are to Sarah McLachlan and Garbage, though one can not 
expect from listening to Junkster to find a voice and musical sound 
so haunting as the work of Ms. McLachlan.  There is a similarity in 
vocal range of Deirdre O'Neill, the lead singer, to that of Sarah 
McLachlan's  but the musical style is much closer to that of Garbage 
(hence the similar name, perhaps?).  Many of  the tracks including 
"Slide" and "Liar" have the same sort of effect to that of Garbage: 
the feeling of a woman ranging in emotions and attitude from coquettish 
to angry backed by musical accompaniment involving strong percussions 
and pouncing guitars.
	Another artist that strongly comes to mind when listening to 
Junkster is Sophie B. Hawkins, whose influence screams out the most 
in the lovely track  "Clown".  I truly thought Ms. O'Neill would start 
singing the lines,  'As I lay me down to sleep, I pray that you will 
hold me near....'  Needless to say, she doesn't, but the sound is 
definitely there.
	Overall I do see a strong potential for Junkster.  They 
appear at a time  when strong female vocalists are on a rise (Tori 
Amos, Sarah MacLachlan,  Ani DiFranco, Jewel, Fiona Apple, Shirley 
Manson, to name a few) and it is apparent that they want to be part 
of that group.  Hopefully they will be able to find their own unique 
sound among the influence of their peers.
---
	REVIEW: Kyra Lucas, _Deep At The Bottom Of Things_ (Pinnacle)
		- Bob Gajarsky
	Yet another Berklee College of Music graduate has entered the 
professional music world.  This time, it's Kyra Lucas, who has left 
the Boston-based music mecca to reside in nearby Harvard.  Her  
debut album, _Deep At The Bottom of Things_ , owes much to the 
trails blazed by Sarah McLachlan and Tori Amos; outstanding vocals 
which not only can deliver a song to the listener, but add a 
powerful instrumentation in support of traditional musical 
accompaniment.
	And, yes, it's 'those' vocals which are the driving force 
behind _Deep_ .  Deftly moving between the sounds of the aforementioned 
women while interspersing elements of new age and soul, Lucas 
sings of deceit ("Turnspeak"), reconciling the past ("The 
Homecoming"), fear ("Showers of Grace") and hope (appropriately 
enough titled "Hope").
	The only drawback on this debut album is that the piano 
sometimes overshadows Lucas' vocals, which command such a strong 
presence that overmixed musical instruments actually detract from her 
performance.  Given the focus of everything on this album, it 
should come as no surprise to discover Lucas' day job - teaching 
voice lessons.
	Further information on Kyra Lucas can be found on the
Pinnacle web site, at http://www.pinnacle-records.com  
---
CONTEST GIVEAWAY
	> In conjunction with C Notes Interactive and V2 Records, we 
are giving away five copies of the _Godmoney_ sountrack.  Reviewed in 
Consumable ( http://www.westnet.com/consumable/1997/09.01/revgodmo.html ), 
this soundtrack contains songs by Pennywise, the Descendents, Rollins 
Band, Dance Hall Crashers, and others.
	To enter the contest, simply send an e-mail note to the 
address gaj@westnet.com before October 10 with a subject of 
"Godmoney", containing your name, address, phone number and e-mail
address.  Five winners will be selected at random and receive a copy of
the soundtrack.  For more information on the soundtrack at the C Notes 
site, check out http://www.cnotes.com/cnotes.artists/godmoney.html .
---
NEWS:	> David Bowie's "I'm Afraid Of Americans", from his _Earthling_ 
album, has been given a remix by Nine Inch Nails and will be released 
on October 14 as part of a six track EP.  Five of the remixes are 
remixed by NIN, with a guest rap by Ice Cube on one of the mixes.  The 
sixth remix was overseen by Rupert Parkes (Photek).
	> The rock and roll comeback of Kiss continues unabated as 
_The Kiss Years_ , a book of memories and photos on the band by Kiss 
photographer-of-choice Barry Levine, has been issued in its second 
printing.
	> Entering their 22nd year, Midnight Oil will be releasing 
an 18 song greatest hits album, _20000 Watt RSL_ on November 4.  
The compilation will include two new songs - "What Goes On" and 
"White Skin Black Heart".
	> Ska pioneers The Specials have recently signed with Way 
Cool / MCA and will be releasing a new album in early 1998, to be 
preceded by a single in late 1997.
	> _Year Of The Horse_ , a rock and roll movie about Neil Young 
and Crazy Horse, will be released throughout the United States during 
October and November.  Filmed by Jim Jarmusch, the movie is culled 
from 1996 performances in Europe and the United States as well as 
behind-the-scenes footage from that tour, interviews, and material 
from 1976 and 1986.
---
TOUR DATES (Please confirm with site before travelling):
	Backsliders
Oct. 2 Nashville, TN 12th & Porter
Oct. 3 Charlotte, NC Double Door
Oct. 4 Columbia, SC Rockafella's

	David Bowie
Oct. 3 Philadelphia, PA Electric Factory
Oct. 7 Miami, FL Chili Pepper
Oct. 10 Atlanta, GA International Ballroom

	Billy Bragg
Oct 4 New York, NY Irving Plaza (w/Clarissa)
Oct 5 Washington, DC 9:30 Club

	Coward
Oct 9 New York, NY The Continental

	Cravin' Melon
Oct. 1 Nashville, TN Exit In 
Oct. 2 Clarksville, TN Austin Peay Univ 
Oct. 3 Birmingham, AL 5 Points Music Hall
Oct. 4 Knoxville, TN Univ Of Tenn 
Oct. 10 New York, NY Irving Plaza 

	Alana Davis
Oct 1 Winston Salem,NC Ziggy's
Oct 2 Tampa, FL Janus Landing
Oct 3 Orlando, FL House Of Blues
Oct 4 Pompano Beach, FL Pompano Beach Amp.

	Dots Will Echo
Oct. 8 New York, NY Arlene's Grocery

	Chris Duarte
Oct. 1 Dallas, TX Red Jacket Club
Oct. 2 Bryan, TX Dixie Theater
Oct. 3 Austin, TX Stubbs
Oct. 5 Mobile, AL Mobile Bayfest
Oct. 9 Fort Collins, CO Lindens Nightclub
Oct. 10 Aspen, CO Double Diamond
Oct. 11 Boulder, CO Fox Theater and Cafe

	Foo Fighters 
Oct. 1 Raleigh, NC The Ritz
Oct. 2 Washington, DC Capitol Ballroom
Oct. 4 Norfolk, VA Old Dominion University
Oct. 5 New York, NY Roseland Ballroom
Oct. 7 Providence, RI The Strand
Oct. 9 Fitchburg, MA Wallace Civic Center
Oct. 10 Montreal, Canada Metropolis

	Fu Manchu
Oct. 9 Los Angeles, CA The Troubadour (Record Release Show)

	God Street Wine
Oct. 4 Roanoke, VA Roanoke College
Oct. 9-10 New York, NY Irving Plaza

	Buddy Guy
Oct. 5 Agawam, MA Riverside Park Stadium 

	(hed) p.e.
Oct. 3 Riverside, CA The Barn

	Interpreters
Oct. 6 New York, NY Brownie's

	Irving Plaza (NYC concert hall: http://www.irvingplaza.com)
Oct. 3 From Good Homes
Oct. 7-8 Son Volt

	Jars of Clay / Plumb
Oct. 4 Amarillo, TX Amarillo Civic Center
Oct. 5 Las Cruces, NM Pan American Center
Oct. 6 Phoenix, AZ Union Hall
Oct. 7 Fresno, CA Fresno District Fair
Oct. 9 Los Angeles, CA John Anson Ford Theatre

	Less Than Jake
Oct. 1 Rochester, NY Water Street
Oct. 2 Montreal, QC Metropolis
Oct. 3 New York, NY Tramps
Oct. 4 Asbury Park, NJ Stone Pony
Oct. 5 Philadelphia, PA Trocadero
Oct. 6 Washington, DC Capitol Ballroom
Oct. 7 Virginia Beach, VA Peabody's
Oct. 8 Chapel Hill, NC Cat's Cradle
Oct. 9 Atlanta, GA Masquerade

	Letters To Cleo
Oct. 3 Portland, ME Zootz
Oct. 4 Burlington, VT Toast
Oct. 7 Boston, MA Downtown Crossing
Oct. 8 New London, CT El N'Gee
Oct. 9-10 New York, NY Mercury Lounge

	Love Spit Love / Closer
Oct. 3 Philadelphia, PA Theatre of Living Arts
Oct. 5 Boston, MA Paradise
Oct. 8 Cleveland, OH Agora Ballroom
Oct. 9 Detroit, MI St. Andrews Hall
Oct. 10 St. Louis, MO Mississppi Nights

	Ziggy Marley & Melody Makers
Oct 1 Winston Salem, NC Ziggy's
Oct 2 Tampa, FL Janus Landing
Oct 3 Orlando, FL House of Blues
Oct 4 Pompano Bch., FL Pompano Bch. Amp.

	Old 97s
Oct. 8 Memphis, TN Newby's
Oct. 9 Lexington, KY Lynagh's Musiclub
Oct. 10 Cincinnati, OH Top Cat

	Pantera / Coal Chamber / Machine Head
Oct. 1 San Antonio, TX Sunken Garden
Oct. 2 Corpus Christi, TX Sky Amphitheatre

	 Promise Ring / Compound Red
Oct. 1 London, ON Call The Office
Oct. 2 Toronto, ON Shangai Club
Oct. 3 Ottawa, ON Club Saw
Oct. 4 Montreal, QC The Loft
Oct. 5 Charny, QC The Library
Oct. 6 Portsmith, NH The Elvis Room
Oct. 7 Worcester, MA The Warehouse
Oct. 8 Hartford, CT Trinity College
Oct. 9 Long Island, NY V.F.W. Hall
Oct. 10 New York, NY Brownies (W/ Castor)

	Samples
Oct. 1 Northampton, MA Pearl Street
Oct. 2 Boston, MA Avalon
Oct. 3 Burlington, VT UVM Campus
Oct. 4 Portland, ME Stone Coast
Oct. 6 New York, NY Irving Plaza
Oct. 7 New Haven, CT Toads Place
Oct. 8 Providence, RI Lupos
Oct. 9 Albany, NY Saratoga Winners
Oct. 10 Rochester, NY Water Street

	Scanner / DJ Spooky
Oct. 1 Detroit, MI Magic Stick
Oct. 2 Kent, OH Kent State University/Manchester Field
Oct. 3 Chicago, IL The Metro
Oct. 4 St. Louis, MO The Galaxy
Oct. 7 New York, NY Downtime

	Seven Mary Three
Oct. 3 Mobile, AL Bayfest
Oct. 4 Tallahassee, FL Floyd's
Oct. 6 Greenville, SC Characters
Oct. 8 Grand Rapids, MI The Intersection
Oct. 9 Huntingon, WV Drop Shop
Oct. 10 Columbus, OH Newport Music Hall

	Third Eye Blind
Oct. 1 Washington, DC 9:30 Club
Oct. 2 New York,, NY Supper Club
Oct. 4 Hartford, CT WMRQ Radio
Oct. 5 Poughkeepsie, NY The Chance
Oct. 6 N. Hampton, MA Pearl St.
Oct. 9 Philadelphia, PA Theatre of Living Arts
Oct. 10 Providence, RI The Strand

	Tower of Power
Oct. 3 Universal City, CA Amphitheatre
Oct. 4 Las Vegas, NV Hard Rock
Oct. 7 Phoenix, AZ Celebrity Theatre
Oct. 8 San Diego, CA Humphrey's
Oct. 9 Fresno, CA Fairground
Oct. 10-11 San Francisco, CA Fillmore

	Two Dollar Pistols
Oct. 9 Raleigh, NC The Brewery
Oct. 10 Wilmington, NC Cowboys
---
Founded in August, 1993, Consumable Online is the oldest continuous
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