==== ISSUE 124 ====    CONSUMABLE     ======== [October 9, 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, 
                      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:  Michele Morabito

 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: Moby - Robin Lapid
REVIEW: Love Spit Love, _Trysome Eatone_ - Joe Silva
CONCERT REVIEW: John Hiatt - Reto Koradi
REVIEW: Soundtrack, _Spawn_ - Stephen Lin
REVIEW: Sundays, _Static And Silence_ - Tim Kennedy
REVIEW: Super Deluxe, _Via Satellite_ - Scott Slonaker
ADVANCE REVIEW: Duran Duran, _Medazzaland_ - Michele Morabito
REVIEW: Stereophonics, "Local Boy in the Photograph" - Tim Mohr
REVIEW: Mike Watt, _Contemplating The Engine Room_ - Al Muzer
COMPILATION REVIEWS: Jackson Browne, _The Next Voice You Hear_ , _Euro 
   Dance Hi-NRG_ , _Pure Dance 1998_ - Bob Gajarsky
REVIEW: Too Much Joy, _Green Eggs and Crack_ - Tim Hulsizer
REVIEW: Smart Brown Handbag, _Lullabies For Infidels_ - Reto Koradi
REVIEW: Oral Groove, _Collisionville_ - Bill Holmes
CARTER U.S.M. CALL IT A DAY - Simon West
NEWS: Duran Duran, Golden Palominos, Walt Mink
TOUR DATES: Backsliders, David Bowie, David Byrne, Cravin' Melon, Alana 
   Davis, Foo Fighters , God Street Wine, Irving Plaza (New York City 
   concert hall), Jackyl, Jars of Clay / Plumb, Love Spit Love / Closer, 
   Motley Crue / Cheap Trick, Old 97s,  Promise Ring / Compound Red, 
   Samples, Scanner / DJ Spooky, Seven Mary Three, Shootyz Groove / Tree, 
   Slackers, Sneaker Pimps / Junkster, Third Eye Blind / Reef, Two Dollar 
   Pistols
Back Issues of Consumable
---
	INTERVIEW: Moby
		- Robin Lapid
	Listening to a Moby album is like a lesson in Learning to Love 
Schizophrenia.  He has long been known to many as the human face of 
techno, but as a hard-core music lover with influences ranging from Bad 
Brains to Bach, it is hard to pin the man down.  On albums like _Everything 
Is Wrong_ or _Animal Rights_, you can hear anything from ambient to 
hard-core punk from one track to the next.
	Moby is a prolific artist, to say the least.  Apart from his own 
albums (including numerous releases under pseudonyms), he has remixed
songs for the likes of Soundgarden, Smashing Pumpkins, Aerosmith, and 
Blur (his favorite being a "Beat It" remix for Michael Jackson).  He was 
set to produce the upcoming Guns 'n Roses album, but not wanting to move 
from New York City to Los Angeles for 8 months, Moby is now devoting the 
majority of his time to working on his next album.  Moby's "re-version" 
for the James Bond Theme has been making the rounds of alternative 
stations, and can also be heard on _I Like To Score_ (coming out in the 
U.S. on Oct. 21), a compilation of songs he's done for film and television. 
	His personality is as much a part of his music, something for 
which he's taken a lot of flak.  The release of his last album, _Animal 
Rights_, was more industrial/punk than his trademark electronic sound, 
leaving many of his techno fanbase crying traitor.  But what can't be 
denied is how much a role *all* of his influences play in his music.  
His set during the recent Big Top tour (an electronic-dance "rave," 
American-style) was befitting of Moby's personality, an unseemly, 
seamless contrariness of moods and emotions.  His unflinching honesty 
with his musical output, and his efforts at reflecting his human side 
in all its diversity, is what ultimately makes his music complex, vital, 
and alive.
	I caught up with Moby the day after his 32nd birthday, at Big 
Top's Oakland stop.  He had time before his 1 a.m. set (and a quick nap) 
to expand on his renewed love for techno and his vegan, Christ-loving 
lifestyle.

	Consumable: How's the tour going?
	Moby: For me it's going really well.  It's the first time in 
a couple of years that I've gone out and played an all exclusively
electronic dance set.  The only problems are that ticket prices are too 
high, because most of the bands on the tour no one's ever heard of 
before.  What tends to happen is 808 State plays, and I play, and 
everyone goes home.  Tonight it should be fine because it's San 
Francisco and it's a weekend.  But in some of the smaller cities we've 
done during the week, I'll play and be done around 1 o'clock [in the 
morning], and then everyone just disappears - the bands that come after 
me are playing to empty houses.
	C:  How do you feel about the backlash you got from fans and 
critics for _Animal Rights_, when you decided to go for a more 
industrial, punk sound?
	Moby:  It kind of made sense to me.  But at the same time, 
when I was making _Animal Rights_, I also made the Voodoo Child album, 
which is an all-electronic, very quiet record, and I was making a house 
music record, and I was doing dance remixes, and I was writing classical 
music for movies.  So what tends to happen, is artists or musicians get 
judged on the record they make every 16 months as their sole creative 
output.  But I do all these different things, so when I made _Animal 
Rights_ , I thought it was just one part of the whole picture.
	Hopefully it will all be seen as a cohesive mass.  I think, in 
a few years, if anyone takes the trouble to do so, they look back and 
they'll see everything, all the records I've made all in relation to 
each other, and it'll all make sense.  But when it's happening, it might 
seem a little confusing to people.
	C:  Are you working on your next album right now?
	Moby:  Mm-hm.  That's why I wanna go home.
	C:  What's that album going to be like?
	Moby:  Stylistically, I don't really know.  I want it to be an 
emotional album.  _I Like To Score_ is coming out in October, but the 
record I'm working on now, I think it's much more in line with what 
people would expect a Moby album to be like.  I think with _Animal 
Rights_ , I kind of confused people more than I wanted to.
	C:  Was it intentional?  I know that in your music and your 
personal beliefs, you welcome and promote an open-mindedness.
	Moby:  I like lots of different types of music and I don't see 
why I should make one kind at the exclusion of anything else.  With 
_Animal Rights_ , I really didn't want to confuse people by making, 
like, a punk rock heavy metal record with really quiet classical 
interludes.  I think it's a remarkable record, and I think in the 
context of everything else I've done and hopefully will do in the 
future, it will make a lot of sense then.  But I didn't mean to confuse 
people quite as seriously as I did.
	C:  So you have a bigger plan with each album you put out?
	Moby:  Not an intentional bigger plan.  It's kind of like, say 
if you're married to someone - in the morning they're in a really foul 
mood.  Well, you don't assume they're going to be in a foul mood for the 
rest of their life.  You take that as part of their personality.  There 
are different facets to different people's personalities, and it works 
through an artistic level as well.  If you know someone for ten years, 
you realize that sometimes they're quiet, sometimes they're loud, 
sometimes they're funny, sometimes they're jerks.  It all combines 
into a cohesive whole, and I would hope that my creative output 
reflects that.
	As a human being and a musician, I'm comfortable enough with 
ambiguity, that I don't feel a need to constrain myself and say, "Okay, 
this is what I am."  I don't see any problem with loving classical music 
and also loving punk rock and speed metal.
	C:  Do you think that the music you put out is intimately 
connected to who you are as a person?
	Moby:  Yeah, I'm not quite sure how, but it all comes from me.  
And I tend to be more expressive through the music that I make than the 
way I live my life.  You can reveal a lot more through making music 
[than you can by living life].  A lot of the music I make has a sort 
of "epic" quality to it, and it's really hard to live an "epic" life 
(laughs).  I'm sort of like, shy and retiring.
	C:  What do you think of the techno music coming out now?
	Moby:  I can't generalize it.  Some of it I really like, and 
some of it I can't stand.  The thing I think that I miss is that it 
tends now to veer into a more esoteric sound.  In like 1989 to 1992, 
it was really uplifting and joyful.  It tended to be like a techno 
anthem.  There don't seem to be as many today.  It tends to be more 
underground, more esoteric now.  But I really miss the anthems.
	C:  What kind of music have you been listening to lately?
	Moby:  Classical music, and a lot of speed metal.  I really 
like stuff like the Toadies.  And my own music.  Classical music, 
speed metal, and my own music.
	C:  You mentioned recently that you went to a John Fogerty 
concert, and that you liked the fact that he was a "populist," and 
played just the hits, the songs that the audience wanted to hear.  
Do you feel the same pressure when you play shows?
	Moby:  I just feel like, I want to make people happy.  
Especially when you can do that, when I have the ability to make 
people happy through the music I make.  A lot of bands don't want to 
play old stuff, they just want to play new stuff.  As an audience 
member, you tend to want familiarity.  You're paying money to hear 
songs you love, and I'm overjoyed to provide that service.
	C:  What was the audience reaction like when you toured for 
_Animal Rights_?
	Moby:  We toured for five months in Europe, and the response 
was quite good. At this point, I had an epiphany where I realized I 
don't want to be that self-indulgent to my creative output.
	C:  Do you think you'll ever do another album like _Animal 
Rights_ ?
	Moby:  I'd probably do it under a different name, like, not 
put it out as "a new Moby album."
	C:  Were you trying to gain a new audience with that album?
	Moby:  I was just making a record that I wanted to make.  It 
never crossed my mind that I would alienate old fans or earn new fans. 
I'm bound to alienate people [in putting out the music that I do], but 
you can't make people happy all the time.
	C:  How did you become a Christian?
	Moby:  In my own weird way I love Christ and I love the 
teachings of Christ. The word "Christian" can mean a lot of different 
things.  In Macedonia it means a Russian Orthodox Christianity.  If 
you're in Ireland it means something different altogether.  There's 
so many different expressions of what Christianity is and they have 
nothing to do with each other.   I prefer to just think of myself as 
(searches for word) a Christ-liker.
	C:  Does that play into your music at all?
	Moby:  Oh yeah.  I'm not quite sure how, but it does.  Hopefully 
it affects my music in a cohesive, organic fashion.
	C:  You have an internet account, right?
	Moby:  I did many years ago, but I haven't been online for a while.
	C:  On the rec.music.christian newsgroup, a lot of people tend 
to see you as a sort of role model, and some people tend to think it's 
wrong that you condemn the Christian right.
	Moby:  I don't really condemn the Christian right.  If somebody 
considers themselves a conservative Christian, I have no problem with 
that.  What I have a problem with is judgementalism.  The conservative 
Christian ideology doesn't make sense to me.  I don't feel it has a 
foundation in the teachings of Christ.  Everyone's welcome to believe 
whatever they want to believe.  It's not my place to condemn someone 
for their belief structure.  But it does rub me the wrong way when 
someone calls themselves a Christian and their ideology doesn't seem 
to have much foundation in the teachings of Christ.
	I read an interview with Ralph Reed, and he's talking about 
the strength of the family unit, and personal American values, and I'm 
not saying those things are bad, but they really don't have anything to 
do with Christ.  So, when I criticize the conservative Christian right, 
[it's because] I feel that they're leading people astray.  A farmer from 
Kentucky, what do they know about Robert Mapplethorpe?  So it's really 
easy to say, "Those evil homosexuals in the big city, or those sinners, 
or those unwed mothers."  But the truth is, I think what Christ wanted 
us to strive for was compassion and nonjudgementalism.
	C:  So do you promote that message when you put out your music?
	Moby:  Yeah, primarily through the essays that I write, and in 
giving interviews.  My goal is never to try to convert anyone to 
anything or convince anyone of anything.  I just want to share my 
opinions, and hopefully people will share their opinions back, and 
you create a dialogue.  I've been wrong about so many things in my 
life that I certainly don't think I'm right now.  I believe what I 
believe at this moment.  It's all subject to change depending on [the 
beliefs that I have] and the contact I have with other people.
	C:  Do you feel that techno music is going back to those ideals 
that made you get into it in the first place, the celebration and 
enthusiasm of music?
	Moby:  It seems like, with the younger people involved in it 
now, there's a real celebratory quality to it.  The gregarious aspect 
of it and the celebration aspect of it, that's what I love about it.  
The music now is very uplifting.
---
	REVIEW: Love Spit Love, _Trysome Eatone_ (Maverick)
		- Joe Silva
	Not that the first Love Spit Love disc was so metaphysically 
detached from the Furs, but having floated at least one LP with 
moderate success, it's at least sonically clear that Richard Butler 
is more comfy with the association. That is to say that now when 
co-conspirator Richard Fortus strays closer to Butler's old flame, 
the singer's more apt to follow.
	Working essentially as a Morrissey/Marr styled duo, the two 
Richards have returned from the Imago fiasco with a brimful of tunes 
that are not only in league with their 94 debut release, but that 
also see them having the confidence to push the faders up and let 
loose with a little less melancholia and a bit more clamor.
	From the single's ("Long Long Time") opening moments, the 
verve runs at much higher levels and with Butler's voice in full 
croak, the combination gets to soaring quick. Hired hands Chris 
Wilson and Frank Ferrer are essentially solid, if not non-descript 
additions to the picture. And because they either had a protracted 
amount of time to mull over the content, or Fortus' ability to second 
guess Butler's tastes has improved, Love Spit Love beat the sophomore 
jinx cold.
	The tracks spin off the album one after another, loud, catchy, 
and not too far removed from the firmament that the Furs stood firmly 
upon nearly twenty years past. One number, the semi-somber "Fall On 
Tears," has a chorus etched into it that is sure to place it among 
Butler's better work.
	And while Butler's lyrics still more happenstance than 
forethought, it's easy to forgive him stealing more and more bits from 
his previous songbooks. They appear more as reassertion than repetition.
	Set to tour through the remainder of the fall and in and about 
the holidays, Love Spit Love's continually more respectable take on 
aggressive, modern pop will probably be worth an evening out. And if 
Fortus (who may still have his best work ahead of him) stays on track, 
Butler's raspy vocal signature may still have a forum to hold for years 
to come.
---
	CONCERT REVIEW: John Hiatt, Zurich, Switzerland
		- Reto Koradi
	Besides releasing one excellent album after the other, John 
Hiatt has also gained a solid (yet much too small) fan base through 
his live performances. This Monday night was off for an excellent 
start with supporting act Katell Keineg; you just can't stop 
wondering why she doesn't seem to hit it big.
	John Hiatt entered the stage alone, starting the show with an 
acoustic version of "Alone In The Dark". Almost from the first second, 
it was clear that it would be one of those concerts where all the 
pieces would just fall together. An artist who is obviously in a 
great mood - entering the stage with a big smile - and an audience 
which immediately connects.  The first part of the set mainly 
consisted of tracks from the new album _Little Head_ . While many 
times people prefer to hear their old favorites, the new material was 
quite well received. Songs like "Pirate Radio" and "Sure Pinocchio", 
which sound slightly simplistic on the album, gained a good deal in 
their more energetic live rendition, and turned out to be immediate 
winners. From the slower songs, "Far As We Go" showed that it has 
everything to make it a new Hiatt classic.
	Later in the show - and even more so in the numerous encores 
requested by the enthusiastic audience - Hiatt and his band performed
a well balanced cross section of his output from the last 20 years.  
Unavoidable, and always a special highlight, was "Have A Little Faith 
In Me". It is simply amazing that he can still play it with so much
dedication, and giving it a new twist every time, after having played 
it thousands of times.  One reason why he never gets tired of his 
classic songs is certainly the possibility to play them in different 
ways. "Thing Called Love", which can also make a wonderful slow 
track, came along as punching rock number this time.
	While Hiatt himself always stands in the center, his band also
deserves mentioning. Each member was technically perfect, and they 
managed to sound relaxed and spontaneous, while at the same time being 
incredibly precise and perfectly in synch.
	Apart from the musical output, Hiatt also captured the audience
as a highly gifted stage performer. He always shows that he really enjoys 
playing, and his facial expressions make you feel glad that he plays in 
small enough venues where you can see him from 10 feet away. He 
smiles almost all of the time, and his wide open, burning eyes seek 
contact with the audience. There is really no need for gadgets like 
video walls; a bunch of red and blue spot lights are all they need.
	The only thing left to be desired was that the show would have 
been longer. But even good things have to come to an end, and everybody 
in the audience probably felt privileged to have been part of such a 
special event. It was one of those rare concerts where everything fits 
together.
---
	REVIEW: Soundtrack, _Spawn_ (Immortal/Epic/Sony Soundtrax)
		- Stephen Lin
	Who would've thunk it?  That one man, a simple comic book 
writer/artist, could build a veritable empire.  Todd McFarlane is that 
man and Spawn is the foundation upon which his empire has been built.
	Back in 1992, McFarlane and group of the comic book industries 
hottest creators formed their own company, Image.  It was an isolated 
event of "breaking the rules."  Image generated an infectious excitement 
with their new line of comic book titles (including Spawn).  I'd be 
surprised if anyone was clairvoyant enough to recognize just how popular 
Image and Spawn would become.
	Apparently, popular enough for a few spin-off titles to be 
published.  Popular enough for Todd McFarlane to start his own toy 
company.  Popular enough for HBO to pick up on an animated 
adult-oriented series.  Popular enough for a live-action movie.  And 
perhaps most significantly, popular enough for Sony to release _Spawn_ 
as a companion to the movie.
	Remember the _Judgement Night Soundtrack_ from a few years ago? 
Where they got a bunch of hip-hop artists to team up with a bunch of 
alterna-rockers together?  _Spawn_ uses the same concept, but a 
different mix.  Instead of hip-hop, we have the "electronica."  (Ah, yes 
"electronica!"  Catch phrase of the week!)  With the flash success of 
Prodigy and the like, why not team them with real live rock bands?  
It works - most of the time.
	The album opens up with Filter & The Crystal Method.  "(Can't 
You) Trip Like I Do" is easily the best blend of talents and sounds.  
It sounds like one cohesive unit playing one collectively written song. 
This may result from Filter's pre-existing comfort with the use of 
electronics.  Even though "Trip Like I do" has its own singular sound,
you can definitely pick out the individual artists influences.  Another
well-blended track is Mansun (who happen to put on one of the best live
shows I've ever seen) & 808 State's "Skin Up Pin Up."  Mansun's
distinctive vocals and song structure sound perfectly at home in the
electronic ambience of 808 State.
	Following Filter  & the Crystal Method are Marilyn Manson & 
Sneaker Pimps.  I'll be the first to admit that I'm not a big Manson 
fan - but I absolutely adore the Pimps.  While "Long Hard Road Out of 
Hell" is definitely more Manson than Pimps, it still impressed me.
"Long Hard Road Out of Hell" has the perfect amount of eeriness, 
groove, and aggression piled on top of one another.  Rumor has it 
that a Spawn remix album may be in the works where a Sneaker Pimps & 
Marilyn Manson (more Pimps athan Manson) version of "Long Hard Road 
Out of Hell" may appear.  Please?
	Orbital & Kirk Hammett's "Satan" sounds more like Orbital 
remixing Hammett than a collaboration between the artists.  The 
same can be said of Butthole Surfers & Moby's "Tiny Rubberband" 
and Silverchair & In Vitro's "Spawn." Prodigy & Tom Morello's "One 
Man Army" and Henry Rollins & Goldie's "T-4 Strain" sound entirely 
like one artist with the other's guest vocals.  One band inevitably 
disappears beneath the other.  (Not to mention that "One Man Army" 
has an irritating and repetitious sample which does not sound unlike 
a Yugo car-horn.)
	Soul Coughing & Roni Size's "A Plane Scrapped Its Belly on 
a Sooty Yellow Moon" is the biggest disappointment on the album; 
it is nearly impossible to discern any Soul Coughing influence other 
than M. Doughty's vocals  (Doughty's performance on 808 State's album
_Don Solaris_ is infinitely more satisfying.)  Stabbing Westward & 
Wink's "Torn Apart" remains rather non-descript in my memory.
	One of the more shockingly entertaining tracks includes Korn & 
Dust Brothers "Kick the P.A."  It boggles the mind.  Typically Dust 
Brothers hip-hoppy beats with the ridiculously raucous and crunchy 
Korn distorted armada of guitars and bass permeate the being of this 
song.  It sounds as if the Dust Brother and Korn were held at 
gun-point and forced to write the track together.  Nothing blends - 
and that's the beauty of it.  Similarly entertaining is Slayer & 
Atari Teenage Riot's "No Remorse (I Wanna Die)."  It's a speed metal 
freak's wet-dream come true  - a mish-mash of Slayer's unbelievably 
fast guitar riffs scrambling to keep up with ATR's super-hyper 
jungle-esque beats.
	Mr. McFarlane, do you see what you've created?  You haven't
simply created a comic book character.  You've 'spawned' an empire from
which others can create.  Even if you're not necessarily a fan of some 
of the above mentioned bands, you'll want to check into this album.  
The amalgamation of two often distinct bands can produce surprising 
results.
---
	REVIEW: Sundays, _Static And Silence_ (Geffen)
		- Tim Kennedy
	1997 has been the year of great expectations.  Primal Scream, 
former Stone Rose John Squire's band Seahorses,  Oasis (the greatest
expectation of all),  Radiohead,  each strove to satisfy their 
expectant followings with new product.  Amidst that motley lot emerge 
an unlikely comeback from yesteryear - The Sundays.
	The Sundays' last offering - _Blind_ - was in 1992, a not 
entirely satisfying successor to their stunning debut _Reading Writing 
And Arithmetic_ of 1989.   That debut was a glorious showcase for 
the ethereal,  technically superb voice of Harriet.  At times 
it recalled the Smiths at their best,  at others the Cocteau 
Twins without the 'wibbly wibbly' lyrics.  _Can't Be Sure_ was 
surely *the* alternative anthem for those not in the thrall of The 
Stone Roses who debuted in the same period.  That album has 
not aged a minute and still stands today as a modern classic.
	Like expecting Oasis to come back sounding like Goldie or 
Prodigy, it is pointless to expect a Sundays album to not be anything 
but a downbeat,  spooky,  yet inspiring listening experience,  where 
the little voice so arrests the ears that one strains to hear each 
line.
	This record is actually a departure from the style of the 
first two albums in that it borrows from various musical styles, 
with each track varying quite a bit from the last.  Also Harriet 
has become huskier of voice since the last outing.  The 
intonation is the same however. Apparently there is now a little 
Sunday whose appearance has been part of the reason for delay... 
	At times the songs stray into funkier territory (though not 
funk in the sense that James Brown might understand it - more Maria 
McKee),  at others a desolate take on Fleetwood Mac circa _Rumours_. 
The hallmark of Harriet's voice prevents the source of musical 
inspiration from taking centre stage however. Her voice belongs 
truthfully to folk,  though here even country is tackled.
	It is quite galling to think that the one good song the 
Cranberries ever did was a Sundays impression,  upon which success 
a career spent on guitar histrionics was based.  "Linger" of course 
was a good song, but listen to this album and you'll wonder why 
Dolores didn't stick to gentler themes like her mentors.
	This is a thoughtful album of varied hue,  and could be the 
surprise success of the autumn.
---
	REVIEW: Super Deluxe, _Via Satellite_ (Revolution)
		- Scott Slonaker
	I wish those three little blond kids sounded like this.
	Seattle has always had its own little pop scene, probably 
formed as a release from the prevailing gloom 'n grunge.  One of its 
shining lights are Super Deluxe, a pop band's pop band, steeped 
in the traditions of Redd Kross, Cheap Trick, Big Star, and the 
Posies.  They're young, boyishly handsome, and harmonious, and 
probably less obnoxious than that Okie trio.
	_Via Satellite_ is the follow-up to Super Deluxe's debut, 
_Famous_ , which happened to contain the best power-pop single 
of the last couple of years, "She Came On".  Despite moderate 
radioplay and a cute Speed Racer-ish video, that song failed to 
ignite in the tragic coulda-shoulda been tradition.
	This new album's irresistible single, without a doubt, is 
"Farrah Fawcett", a heavenly bundle of hook 'n dazzle with an "oh, 
yeah" chorus and monolithically huge chord changes.  Singer Braden 
Blake's rose-tinted visions of "making out with you there in the 
closet (oh yeah, oh yeah)/You reminded me of Farrah Fawcett," is 
truly memorable.  Naturally, the record company released the 
Britpop-y "Love Liquid Wraparound" instead, a rock-solid song 
in its own right but not quite up to the same level.
	Yet, the strengths of _Via Satellite_ also highlight the 
weaknesses.  When you're a pop band after hit singles (or, as a 
consolation, three-minute bits of sugary nirvana), it naturally 
follows that some songs are destined for the A-side and some 
the B-side.  So, for every "Your Pleasure's Mine", a catchy, 
Redd Kross-ish chunkfest, there's a lite-punk wannabe like "Lost 
In Your Failures".  The pleasant piano and jangle of "Alright" 
lead right into the overlong and overblown "Commonplace" .  The 
high-school-French of the bouncy "What's Up With Me" soon yields 
to the turgid plodding of "One In a Million".  "New Variations" 
may parlay an overused Ramones riff into an enjoyable ride, but 
"Half Asleep" floats by without an impact.  Breaking the pattern 
somewhat, the band strings two fine tunes (the jangly "Suicide 
Doll and the simply beautiful, spare "Years Ago") together 
consecutively at the end of the album.  And thankfully, the 
now-obligatory hidden track doesn't hurt anything or leave a 
dull taste.
	Super Deluxe has charm, chops, and charisma to burn, and 
one of these days, they might just catch a break.  _Via 
Satellite_ may be a bit hit-and-miss, but its high points are 
truly wonderful, and fans of the genre or band in particular 
shouldn't need a push to get to the record store.  Anyone else 
wondering what happened to guitar-based pop music in the 
hailstorm of techno beats, horn sections, and G-funk bravado 
need look no further.
---
	ADVANCE REVIEW: Duran Duran, _Medazzaland_ (Capitol)
		- Michele Morabito
	Duran Duran have finally returned back to their roots - great 
pop dance music - on their latest album, _Medazzaland_.  This new CD adds 
a little electronica and other wizardry alongside beautiful lyrics. 
	The first CD to come out of the newly slimmer Duran (with the 
departure of founding member and bassist John Taylor last January), 
_Medazzaland_ immediately captures the listener's interest with the title 
track.  It includes the electronically enhanced voice of Nick Rhodes, 
a first time on vocals for the keyboardist. It also introduces the 
production team of Nick and its guitarist Warren Cuccurullo as TV 
Mania (who recently produced two songs for the upcoming Blondie 
reunion album).
	_Medazzaland_ also has the honor of being the first album to 
have its first single being sold, previewed and downloaded (legally!) 
over the Internet before it hits retail distribution.  The first single 
is "Electric Barbarella", an upbeat pop song tribute to the film in 
which the named themselves after - it remains to be seen whether they 
will run into legal problems, a la Aqua and "Barbie Girl".  
	One new song, "Out Of My Mind", appeared on _The Saint_ 
soundtrack last April.  The other songs include "Big Bang Generation", 
a wonderfully poppy song that can easily be sung along to. "Who Do 
You Think You Are?" is a beautifully written classic ballad. "Silva 
Halo" is a departure from the album as it is a bit gloomy and dark. 
"Be My Icon" is about fan obsession, which takes on an eerie aura with 
Princess Diana's death a few weeks ago.  "Buried in the Sand" is 
rumored to be written about Taylor, the founding bassist who left 
earlier this year; it is a short, soft song.  "Michael" is another 
soft ballad song that ends with powerful keynotes. "Midnight Sun" is a 
perfect in between rockish-and-ballad-song with a little acapella and 
some violins. 
	"So Long Suicide" is the most surprising song on the album, 
with a beginning soft like a lullaby to a powerful booming line of 
'Hello, I'm alive' and alternates between a rocker and gentle closing. 
Duran's contemporary for this type of song would be Oasis - or is it 
Oasis like Duran?. The final track, "Undergoing Treatment", has a 
slight funky beat and whistle to it - and ends definitively with a 
door slamming.
	The Duran Duran website, located at 
http://hollywoodandvine.com/duranduran can fill you in on the 'official' 
news of the band - but a wide variety of fan sites, such as one at 
http://www.geocities.com/Hollywood/2578/dduran.html can help fans stay 
one step ahead with the latest unoffical news and rumours.
	_Medazzaland_ will be released in stores on October 14.
---
	REVIEW: Stereophonics, "Local Boy in the Photograph" (V2 Europe)
		- Tim Mohr
	The explosion of Welsh bands continues with the Stereophonics, 
whose brand of brash guitars, up-speed tempos, and rasping vocals are 
without a doubt influenced by the most famous of Welsh bands, the 
Manic Street Preachers. The comparisons end there, however, for while 
some would complain  about the Freddie Mercury quality to vocal lines 
of the Manic Street Preachers, Stereophonics lean, predictably, 
towards Liam Gallagher.
	There is one more important thing to say about Stereophonics: 
with "Local Boy," they have written one of the best singles of the 
year, a perfect combination of heart-breaking lyrics and loud guitars 
that keep the song from dipping into bathos. Not to mention the 
fantastic b-side, "Buy Myself a Small Plane."
	Smalltown life atop driving guitars: "Something blocks the 
line again and the train runs late for the first time. Pebble beach, 
we're underneath a pier just been painted red, where we heard the 
news for the first time. And all the friends lay down the flowers, 
sit on the bank and drink for hours, talk of the way they saw him 
last...local boy in the photograph today."
	The music is full but sticks to the basic rock combination 
of guitar-bass-drums and eschews frills that must have tempted the 
producer given the lyrical content.
	Stereophonics have an amazing gift for saying so much by 
actually leaving many things unstated. Perhaps a cliche, but a 
lyricist who can actually write this way shows how effective the 
technique can be. Right or wrong, had "Local Boy" gone 'My buddy 
got hit by a train, waah, waah' it would have elicited only yawns.
	This rare quality is also evident on the b-side: "I'm gonna 
buy myself a small plane, I'm gonna crash it on the South Lawn...just 
big enough for me." In context, the song seems a cry of frustration 
about the way President Clinton managed to start as a candidate from 
the left-of-center and then shift to the right in what then became 
the model for Tony Blair and New Labour. The freight truck driver in 
the lyrics, part of the working-class backbone of the old Democratic 
constituency, seems unable to gain the attention of the top Democrat 
except by landing on the White House grounds.
	The obtuse but incisive manner in which Stereophonics approach 
their subject matter is unmatched by any current band.

	Stereophonic's _Word Gets Around_ full length is slated to 
be released in the United States on October 28.
---
	REVIEW: Mike Watt, _Contemplating The Engine Room_ (Columbia)
		- Al Muzer
	An honest, blue collar presence in an increasingly white 
collar musical world, former Minutemen/fiREHOSE bassist Mike Watt's 
second solo offering pays a gritty, sprawling, free-form homage to 
his father, strong coffee, the Navy, drowning, the towns of San 
Pedro and Red Bluff, shore duty, his former bands and salt o' the 
earth guys with dirt under their nails and sweat on their brows.
	Returning to the three-man configuration (with guitarist 
Nels Cline and drummer Steve Hodges) that suited him so well in 
his previous outfits - Watt thunders mightily on the edgy, 
drone-like "In The Engine Room"; mixes jazz, JJ Cale and Sonny 
Sharrock on "Red Bluff"; vents his spleen on a very Minutmen 
"Bluejackets Manual"; and spends the rest of this challenging, 
but ultimately satisfying disc, bouncing from fiREHOSE free-forms, 
full-on guitar freakouts, percolatin' mothership funk, salsa-fueled 
fusion, bossa nova Django, acid rock, ambient noise, Lizard King 
darkness and salty, Popeye-caliber seafarin' ditties.
	Conceived, according to Watt, as a punk rock opera "about 
three guys [working together] in the engine room of a boat"; 
_Contemplating The Engine Room_ - which name-checks folks such 
as Hurley, Ginn, Hart, Mould, Rollins, the Kirkwoods, Norton and 
D Boon (D Boon is "The Boilerman") - serves as a cathartic coming 
to terms for one of alternative music's most influential elder 
statesmen while it also celebrates the sound of "three [new] 
people playing together."
---
	COMPILATION REVIEWS
		- Bob Gajarsky

	REVIEW: Jackson Browne, _The Next Voice You Hear_ (Elektra)

	Several years ago, a Jackson Browne promotional-only compilation 
disc generated tremendous fanfare on the collector front; even today, 
this item fetches prices up to $100.  Browne has finally decided to 
release a legitimate hits compilation, complete with two new selections.
	It seems incredible that his signing by David Geffen for the
then-startup Asylum Records was controversial, but when Jackson hit 
the top 10 with "Doctor My Eyes" (a feat that wouldn't be duplicated 
until 1982's "Somebody's Baby"), he erased all doubts to his commercial 
success.  And when _Running On Empty_ was released in 1978, Browne 
cemented his stature as a successful rock artist.
	However, Browne takes a decidedly non-commercial turn on this 
compilation. The Sprinsteen-like "Running On Empty" is the only selection 
from that classic album, omitting "Stay," "Cocaine," and "Load-out"; 
"Boulevard" and "That Girl Could Sing" (from _Hold Out_ ) are left off 
in favor of "Call It A Loan", and other upbeat singles such as "For 
A Rocker," "Lawyers In Love," and the controversial "For America" 
are excluded from this set.
	While omitting many of his aforementioned 'rocking' songs, 
the two new tracks ( "The Rebel Jesus" , "Next Voice You Hear" ) 
reinforce Jackson's softer side.  At nearly 80 minutes, _The Next 
Voice You Hear_ isn't skimping on quantity; however, it serves more 
as a sampler to the softer side of Jackson Browne than a full blown 
'greatest hits' album.

TRACK LISTING: Doctor My Eyes, These Days, Fountain Of Sorrow, Late 
For The Sky, Pretender, Running On Empty, Call It A Loan, Somebody's 
Baby, Tender Is The Night, In The Shape Of A Heart, Lives In The 
Balance, Sky Blue And Black, The Barricades of Heaven, The Rebel 
Jesus, The Next Voice You Hear

	DANCE REVIEWS: Various Artists, _Euro Dance Hi-NRG_ (Priority) / 
		_Pure Dance 1998_ (Polygram TV)

	_Euro Dance Hi-NRG_ , filled with acts unknown to America, combines 
the disco era of the 70s with today; two songs are remixed in a '70s dance 
mix' - Amya's diva-like "Got To Believe" and the cover of Milli Vanilli's 
"Girl You Know It's True", by Centory featuring Trey D, which has a 
distinctive Philadelphia feel to it.  And a cover of America's "Horse 
With No Name", with sound-alike vocals backed by a driving keyboard 
beat, owes its origin to the decade many would like to forget.
	Blue Ocean's "Whales" stands out as the key track here; with an 
instrumental similar to Robert Miles' worldwide smash, "Children", 
this is the track most likely to garner significant airplay.  But even 
with the possible success of Ace of Base clones Sonic Dream Collective 
("Don't Go Breaking My Heart"), it's unlikely that the casual 
dance fan will find this collection enticing.  The solid Euro-clubber 
will, however, take an immediate liking to this diverse collection.
	In marked contrast, _Pure Dance 1998_ (released several months 
before the new year) appeals to a much larger audience.  Top 40 hits 
such as the Cardigans "Lovefool", OMC's "How Bizarre" and U2's 
"Discotheque" are all familar tracks, but surface on _Pure Dance_ 
in dramatically remixed versions to change the pace for people who 
have heard those singles (in their original form) just one too many 
times.
	Clueless' eurodance cover of No Doubt's huge hit, "Don't Speak", 
doesn't change much from the original song, but modern smashes such 
as Crush's "Jellyhead" (remixed here), Amber's "This Is Your Night" 
and Sash's "Encore Une Fois" more than make up for this shortcoming.  
With other songs performed by the likes of Crystal Waters, David 
Morales and Funky Green Dogs, _Pure Dance 1998_ might well be getting 
played into the year of its title.
---
	REVIEW: Too Much Joy, _Green Eggs and Crack_ (Sugar Fix)
		- Tim Hulsizer
	If you're anything like me, the wait between Too Much Joy albums 
is long and interminable.  As far as I'm concerned, there's just nobody 
else playing their own, unique sort of...well, pop music.  Not only that, 
there has always been a gaping hole at the beginning of my Too Much 
Joy collection, right where their actual debut album should have been. 
Until now.
	That's right, the fabled vinyl-only album they first released in 
1987, _Green Eggs and Crack_, is now available from the wonderful folks 
at Sugar Fix Records.  And this is a revelation.  Up until now, the album 
(if you could get a copy) suffered from the age/scratchiness of the vinyl 
you had, and also from the weaknesses of the mix itself.  Now that it's 
on CD, one can truly appreciate where they were coming from at the time.
	When they originally put the record out, they mostly sent them to 
college radio, press, and any pretty girl that happened to seem receptive 
to hearing a band of goofy guys having fun.  This plan paid off. 
_...Crack_ is a time capsule, an aural picture of some young men learning 
how to write songs and actually play them.  The most amazing thing about 
the record is that it's as good as it is!  The lyrics, while juvenile, 
are vintage TMJ, and I think I love the instrumentation all the more 
because it's somewhat inept.  And besides, I really don't think the 
band would find the term "juvenile" an insult.  As singer Tim Quirk 
puts it in the liner notes, "our goal as a rock band was to blow up 
the balloon and pop it at the same time."
	It all begins in high school, if you can bear with me for a 
moment.  The band members knew each other, practiced, wrote some songs, 
went to college, and in between beer and classes, they met back home to 
practice some more.  Oh wait, scratch the beer part, I'm not sure they 
were ever "between beers".  Finally they record an album, it has a cool 
title, and it enters the pantheon of rock'n'roll legend.
	All in all, _Green Eggs and Crack_ is alot of fun to listen to. 
I've always preferred the wild-eyed rantings of young people to the 
refined thoughts of my elders, and this CD fits the bill.  "Drum Machine" 
alone is worth the price of admission.  What other song mentions Elmer 
Fudd?  Very few, my friend.  Even remastered, you can still hear the 
clank of beer bottles in the background, the terrific semi-singing of 
Mr. Quirk himself, and almost smell the atmosphere of the studio.
	Tacked onto the end of the album are three tracks recorded 6 
years later, in 1993.  The band had just parted ways with their major 
label connection, and it shows.  There's an energy that runs through 
these tunes that really connected with me.  "Drunk and In Love" speaks 
for itself.  It's not just a great lyric, but it has that amazing 
buzzpop sound they were wielding at the time (see the _Cereal Killers_ 
/ _Mutiny_ albums on Giant Records for reference).  "Frustrated" and 
"Secret Handshake" both bear the marks of the band/label split, and 
each refer to the music industry directly or indirectly.  These three 
tracks are must-haves for fans of the band, and for non-fans it gives 
a nice peek at what the band grew into, post-_Crack_.
	So hey, this is good, but not the best Too Much Joy album. But 
we knew that, right?  It's not about that at all.  It's about looking 
at one of my favorite bands and seeing where they came from.  It's 
about being a completist, and having all of the TMJ stuff I can get 
my hands on.  It's about having fun. And as you'll find out when you 
put this disc in the player, Too Much Joy has always been able to deliver.

	Sugar Fix Recordings can be reached at: P.O.Box 46361, Los 
Angeles, CA 90046-0361
---
	REVIEW: Smart Brown Handbag, _Lullabies For Infidels_ (Stonegarden)
		- Reto Koradi
	There were the times, when bands like Aztec Camera, China Crisis 
or The Icicle Works made shamelessly good pop music which yet was not 
cheesy enough to swim in the middle of the mainstream. If you sometimes 
long back to those times in the midst of some 80s flashback lunch, 
Smart Brown Handbag from Los Angeles are your instant fix.
	_Lullabies For Infidels_ contains a whole number of those
sensible, yet catchy songs that you rarely hear nowadays; tracks 
like "Solid Gold" or "Stretching Out" stand out as first class pop 
songs. The comparison above was not accidental, the vocals and some 
hooks remind of Aztec Camera.  Smart Brown Handbag have a wider 
spectrum thatn Roddy Frame's group, however; "Cucumber Vodka" and a 
few other tracks feature noisy guitars, while the vocal lines are still 
gentle and melodic. Band leader David Steinhart could easily win the 
title for most inappropriate name for a musician.
	To make sure that their output does not remain unreleased, David 
Steinhart shorthandedly founded his own record label. We can only hope
that it will pay off. _Lullabies For Infidels_ is highly recommended to 
all fans of tasteful pop music.

	For more information on Smart Brown Handbag, contact 
Stonegarden Records at 3101 Exposition Place, Los Angeles, CA 90018.
---
	REVIEW: Oral Groove, _Collisionville_ (Cross Records)
		- Bill Holmes
	A long time ago I made a rule for myself - never review a 
disc without listening to it at least five times on at least three 
different days. I'm only human, and like most people, my mood can 
affect the initial impression that a slab of new music will have on 
me. Add to that the typical press kit - loaded with superlatives and 
setting few bands can ever attain. Gotta be objective and open 
minded - sometimes a CD that seemed incredibly inspired will wear 
thin after only a few listens, and other times a record will start 
to gnaw its way into my brain and let its charm do the talking. Oral 
Groove's _Collisionville_ is gnawing and charming me still.
	The Groove boys are a four piece from Brooklyn (although they 
can pronounce those "th" sounds with minimal effort) who were weaned 
on New Wave and Power Pop as well as the other radio sounds we all 
couldn't avoid. The result is a clean, crisp pop-punk hybrid that 
will appeal to fans of three minute car radio nirvana. The 
production pushes Joe Mannix's vocals way up front, which sometimes 
works wonders ("Levitate Her") and sometimes falls flat ("Id"), but 
the harmonies are strong throughout. "Car Driver", the opening cut 
and first single, is reminiscent of The Cars and The Jags - rhythmic, 
sharp and punchy.  Better still are the songs that lean closer to the 
60's roots these guys were probably too young to experience 
firsthand. "A Deeper Look Inside" could be a Britpop song from 1966 
as easily as it could be a New Wave single a decade later. All the 
songs were written by the band as a unit.
	"Hold It In" and "Human Hands" slow down the tempo but are no 
less effective - good vocal arrangements and hooks that stick in your 
head after only a couple of listens. "Tell Me You Love Me", the 
closer, is a sweet piano ballad. "Danny Felter", on the other hand, 
sounds eerily like an outtake from Elvis Costello's first record - 
play this next to "Mystery Dance" and you'll do a double take. With 
"England's Dreaming", OG  dresses in Jam clothing and takes a swipe 
at the Oasises and Blurs who have the portfolio of clippings but 
can't muster a British Invasion like the two before them. Up yours, 
Gallagher.
	My favorite one-two punch is "Something I Had To Do" and 
"Come On". Drummer Chris Peck kick-starts "Something" the song never 
lets you go, a great pedal-to-the-floor driving tune. And has there 
ever been a bad song called "Come On"? Ed Fingerling's bass lead 
gives this rocker a unique flavor, leading the band to the infectious 
refrain and a classic pop guitar solo.  Outside of "Id" there really 
isn't a bad song, and "Id" is only 90 seconds long.
	There's an error on the CD booklet that reverses track 11 
and track 12.  Outside of that, Oral Groove didn't make many mistakes 
on _Collisionville_. A solid release from a band that might be even 
better than the press kit says it is.

	For more information on Oral Groove, check out the band at 
http://www.crossrecords.com .
---
	CARTER U.S.M. CALL IT A DAY
		- Simon West
	After ten years of social commentary, cycling caps and some 
of the most appalling lyrical punning ever devised, Carter The 
Unstoppable Sex Machine has called it a day. In a statement on the 
band's official web site, guitarist/keyboardist Fruitbat explained, "I 
think that we have made our best records and played some of the best 
gigs ever in the last twelve months. Unfortunately, the weight of our 
previous success has become too much, we do not want to end up like 
Madness, coming together to play greatest hits and playing a 'crowd 
pleasing' setlist...We never expected that we would be touring just 
to satisfy the crowd's need for nostalgia. I know that this is not 
true for most of you reading this, but, for me, that's how it felt on 
the last couple of tours."
	Formed out of the ashes of pop band Jamie Wednesday in 1987, 
singer/guitarist Jimbob and Fruitbat mixed synth beats, punk guitars and 
irresistable hooks behind lyrics dealing with such diverse subjects as 
military racism, alcoholism and domestic violence, always with a savage 
sense of humor. They hit the British singles charts in 1991 with 
"Sheriff Fatman" and reached a commercial zenith with 1992's  _1992: The 
Love Album_ , which hit number one,  and its accompanying single "The 
Only Living Boy In New Cross" . The Top 40 singles would keep coming 
through their next two albums, 1994's _Post Historic Monsters_  and 
1995's _Worry Bomb_  adding a drummer, Wez, and continuing to 
diversify and expand their sound.
	The final Carter album, as yet untitled, will be released in 
early 1998, and you haven't heard the last of Brixton's finest. "At 
the moment Jim and I are both writing/demoing for our new projects. Jim 
is looking at a solo career as plain Jimbob and will probably go out on 
tour sometime next year," says Fruitbat. "I am still deciding what to 
do, I'm not sure that I want to form a new band. I have written loads 
of music but as yet not many lyrics - it has been a long time since I 
wrote words and it might take me a while to get back into it. There is 
a possibilty of teaming up with a female vocalist to do a single, but 
I'm not sure about that."
	Carter's official web site is at
http://www.users.dircon.co.uk/~fruity/index.html
---
NEWS:	> Duran Duran fans will get a double fill of their group on 
Sunday, October 12 in Los Angeles at Tower Records Sunset parking lot. 
The afternoon will feature several artists who perform on the 
forthcoming _Duran Duran Tribute Album_ , while the evening includes 
a live concert from LeBon and friends.
	> _Dead Outside_, the remixes of the Golden Palominos' _Dead 
Inside_ album, will be available for free only on the Internet from 
October 15 through November 15.  Remixers on the project include 
Sean Beavan, Raymond Watts, Mark Walk, John Van Eaton and Scanner.
The album, which will never be commercially available, can be 
downloaded from either http://www.nicole-blackman.com or 
http://www.goldenpalominos.com .
	> After eight years, Walt Mink has decided to call it a day. 
All remaining tour dates have been cancelled; their last show is 
scheduled for Saturday, November 1 at the Mercury Lounge in New 
York City.
---
TOUR DATES (Please confirm with site before travelling):
	Backsliders
Oct. 11 Raleigh, NC The Brewery
Oct. 18 Flat Rock, NC Black Mountain Music Festival

	David Bowie
Oct. 12 Washington, DC Capitol Ballroom
Oct. 17 Chicago, IL Aragon Ballroom
Oct. 18 Minneapolis, MN Roy Wilkins Auditorium

	David Byrne
Oct. 13 Baltimore, MD Bohagers
Oct. 14 Sayreville, NJ Club Bene
Oct. 15 Newark, DE Stone Balloon
Oct. 16 Washington, DC 930 Club
Oct. 19 Charleston, SC 96 Wavefest

	Cravin' Melon
Oct. 11 Newark, DE Stone Balloon 
Oct. 12 Pooughkeepsie, NY The Chance
Oct. 14 Northampton, MA Pearl Street 
Oct. 15 Boston, MA The Avalon 
Oct. 17 Philadelphia, PA Trocadero 
Oct. 18 Washington, DC 9:30 Club 
Oct. 20 Chapel Hill, NC Cats Cradle 

	Alana Davis
Oct 15 New York, NY Mercury Lounge

	Foo Fighters 
Oct. 11 Toronto, Canada Arrow Hall
Oct. 13 Sudbury, MA Big Thunder
Oct. 14 Kitchener, MS The Lyric
Oct. 16-17 E. Rutherford, NJ Giants Stadium (w/ Rolling Stones)

	God Street Wine
Oct. 12 Poughkeepsie, NY Chance
Oct. 14 Northampton, MA Pearl St.
Oct. 15 Boston, MA Avalon
Oct. 17 Philadelphia, PA Trocadero
Oct. 18 Washington, DC 930 Club
Oct. 20 Carrboro, NC Cat's Cradle

	Irving Plaza (New York City concert hall; http://www.irvingplaza.com)
Oct. 11 Jayhawks
Oct. 14 Musical Box
Oct. 15 Machine Head
Oct. 16 Nixons / Radish
Oct. 17 Knockout Drops
Oct. 18 Old 97s / Whiskeytown

	Jackyl
Oct. 11 Flint, MI IMA (w/Seven Mary Three/Nixons/Coal Chamber)
Oct. 14 Old Bridge, NJ Birch Hill
Oct. 15 New Cumberland, PA Courtyard
Oct. 16 Scranton, PA Staircase
Oct. 17 Bethlehem, PA Lupo's
Oct. 18 Milton, PA Fiddlestyx

	Jars of Clay / Plumb
Oct. 11 San Jose, CA San Jose State Event Center
Oct. 16 Spokane, WA Opera House
Oct. 17 Tacoma, WA Pacific Lutheran University
Oct. 18 Eugene, OR Hult Center
Oct. 19 Portland, OR Chiles Center-University of Portland

	Love Spit Love / Closer
Oct. 11 Chicago, IL House of Blues
Oct. 12 Minneapolis, MN Fine Line
Oct. 14 Denver, CO Blue Bird Theatre

	Motley Crue / Cheap Trick
Oct. 10 Cedar Rapids, IA Five Seasons Ctr.
Oct. 12 Minneapolis, MN Target Ctr.
Oct. 14 Cincinnati, OH The Crown
Oct. 15 Chicago, IL Rosemont Horizon
Oct. 17 Milwaukee, WI Wisconsin Ctr.
Oct. 18 Detroit, MI Palace of Auburn Hills
Oct. 19 Pittsburgh, PA Civic Arena

	Old 97s
Oct. 11 Ann Arbor, MI Blind Pig
Oct. 13 Cleveland, OH Peabody's Down Under
Oct. 14 Toronto, ON Horseshoe Tavern
Oct. 16 Portland, ME Zootz
Oct. 17 Cambridge, MA T.T. Bears
Oct. 18 New York, NY Irving Plaza

	 Promise Ring / Compound Red
Oct. 11 Hoboken, NJ Maxwell's (W/ Castor)
Oct. 12 Boston, MA The Middle East (W/ Castor)
Oct. 13 Philadelphia, PA Pontiac Grill (W/ Castor)
Oct. 14 Washington, DC The Black Cat
Oct. 15 Harrisonburg, VA Artful Dodger (W/ Castor)
Oct. 16 Chapel Hill, NC Lizard And Snake (W/ Castor)
Oct. 17 Columbia, SC Hunters And Gatherers (W/ Castor)
Oct. 18 Atlanta, GA Georgia Tech
Oct. 19 Athens, GA 40 Ultra Mod Compound
Oct. 20 Tampa, FL 403 Kaos Record

	Samples
Oct. 11 Ann Arbor, MI Michigan Theatre
Oct. 14 Columbus, OH Newport Music Hall
Oct. 15 Chicago, IL Vic Theatre
Oct. 16 Madison, WI Barrymore Theatre
Oct. 17 Minneapolis, MN First Avenue
Oct. 18 Omaha, NE Ranch Bowl
Oct. 19 Lawrence, KS Liberty

	Scanner / DJ Spooky
Oct. 12 Los Angeles, CA The Troubador
Oct. 13 San Francisco, CA Justice League
Oct. 15 Eugene, OR WOW Hall
Oct. 16 Seattle, WA The Showbox
Oct. 17 Vancouver, BC Chameleon Club
Oct. 18 Bellingham, WA Western Washington Univ.
Oct. 19 Portland, OR La Luna

	Seven Mary Three
Oct. 11 Flint, MI IMA
Oct. 12 Lansing, MI Old Town October Fest
Oct. 14 Toronto, ONT Opera House
Oct. 15 London, ONT Embassy
Oct. 17 Knoxville, TN Barley & Hopps
Oct. 18 Carrboro, NC Cat's Cradle
Oct. 19 Charleston, SC Waveland
Oct. 20 Columbia, SC Rockafella's

	Shootyz Groove / Tree
Oct. 18 Washington, DC Capitol Ballroom

	Slackers
Oct. 13 Washington, DC Bayou
Oct. 15 Pittsburgh, PA Graffitti Cafe
Oct. 16 Madison, WI Mango Grill
Oct. 17 Chicago, IL Reynolds Club
Oct. 19 Lawrence, KS Bottleneck

	Sneaker Pimps / Junkster
Oct. 11 Pomona, CA Glass House 
Oct. 12 La Jolla, CA UCSD Price Center 
Oct. 14 Phoenix, AZ Celebrity Theater 
Oct. 15 Albuquerque, NM El Rey 
Oct. 17 Dallas, TX Trees 
Oct. 18 Austin, TX Liberty Lunch 
Oct. 20 Houston. TX Numbers 

	Third Eye Blind / Reef
Oct. 11 Boston, MA Paradise
Oct. 13 State College, PA Crowbar
Oct. 14 Scranton, PA Tinks
Oct. 15 Rochester, NY Water Street
Oct. 16 Cleveland,OH Odeon
Oct. 18 Columbus,OH Newport Music Hall
Oct. 19 Detroit, MI St. Andrews Hall
Oct. 20 Grand Rapids, MI Orbit Room

	Two Dollar Pistols
Oct. 17 Charleston, SC Cumberland's
Oct. 20 Athens, GA 40 Watt
---
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