== ISSUE 207 ====  CONSUMABLE ONLINE  ======== [April 19, 2000]

  Editor:             Bob Gajarsky
                         E-mail: editor@consumableonline.com
  Managing Editor:    Lang Whitaker
  Sr. Correspondents: Daniel Aloi, Joann D. Ball, Chris Hill, Bill 
                      Holmes, Tim Kennedy, Jon Steltenpohl
  Correspondents:     Michelle Aguilar, Paul Andersen, Christina 
                      Apeles, Niles J. Baranowski, Jason Cahill, 
                      Matthew Carlin, John Davidson, Andrew Duncan, 
                      Matt Fink, Krisjanis Gale, Jade Hughes, Paul Hanson,  
                      Scott Hudson, Jianda Johnson, Steve Kandell, 
                      Dave Kemper, Reto Koradi, Robin Lapid, Wes 
                      Long, I.K. MacLeod, Al Muzer, Wilson Neate,
                      Mike Pfeiffer, Linda Scott,  Don Share, Scott 
                      Slonaker, Kerwin So, Chelsea Spear, Michael 
                      Van Gorden, Simon West
  Technical Staff:    Chris Candreva, David Landgren, Dave Pirmann

 Address all comments to staff@consumableonline.com ; subscription 
information is given at the end of this issue. 
==================================================================
	All articles in Consumable remain (C) copyright Consumable 
and their author(s). 
==================================================================
                            .------------.
                            |  Contents  |
                            `------------'
REVIEW: Travis, _The Man Who_ - Joann D. Ball
REVIEW: Peter Case, _Flying Saucer Blues_ - Jon Steltenpohl
INTERVIEW: Grandaddy - Chris Hill
CONCERT REVIEW: Crosby Stills Nash & Young - Paul Andersen
REVIEW: Reverend Horton Heat, _Spend A Night In The Box_ - Michael 
   Van Gorden
REVIEW: Kreidler, _Weekend_ - Chris Hill
REVIEW: Mr. Oizo, _Analogue Worms Attack_ - Krisjanis Gale
REVIEW: Peter Searcy, _Could You Please and Thank You_ - Jon Steltenpohl
REVIEW: The Black Halos, _The Black Halos_ ; The Go, _Whatcha 
   Doin'_ ; Beachwood Sparks, _Beachwood Sparks_ - Joann D. Ball
REVIEW: Transatlantic, _SMPTe_ - Scott Hudson
REVIEW: The Spinanes, _Imp Years_ - Christina Apeles
REVIEW: Robert Bradley's Blackwater Surprise, _Time to Discover_ - Matt Fink
REVIEW: The Breetles, _Writerscramp_ - Paul Andersen
REVIEW: Michelle Tumes, _Center of my Universe_ - Jon Steltenpohl
NEWS: Live / Counting Crows, Jimmy Page / Black Crowes 
TOUR DATES: Fiona Apple / Eels, Robert Bradley's Blackwtaer Surprise, 
   Bush / Moby, Ani DiFranco, Fishbone / Workhorse Movement, 
   Goldfinger / U.S. Crush, Kelis, Loud Family, Tara MacLean, 
   Magnetic Fields, Mix Master Mike, Ian Moore, Oasis / Travis, 
   Red Hot Chili Peppers / Foo Fighters / Muse, Tonic / Third Eye Blind, 
   Train / Gas Giants, Union
Back Issues of Consumable
---
	REVIEW: Travis, _The Man Who_ (Epic/Independente)
		- Joann D. Ball
	Travis is the current Big New Thing in Britain right now.  And at 
long last, the band's release _The Man Who_ (Epic/Independente) has been 
released Stateside.  To support it, Travis has been touring America as the 
opening act for Oasis, a band that you may recall was the Big New Thing in 
Britain several years ago.  While Oasis seems to have somehow stalled in 
their ability to capitalize on their initial Stateside success, tour mates 
Travis seem much better equipped and prepared to maximize their steadily 
increasing critical acclaim and popularity in America.
	First things first.  Travis is indeed a band, and no, there's no 
one named Travis in the Scottish quartet.  Singer/songwriter Fran Healy is 
the guiding force, though, joined by guitarist Andy Dunlop, bassist Dougie 
Payne and drummer Neil Primrose.  And the outstanding _The Man Who_ is 
actually the band's second release.  It was released in Europe last May 
and eventually became the best selling album of 1999 in the U.K.  By the 
way, Travis' debut record _Good Feeling_ (Epic/Independente), was 
released in 1997 and is certainly worth (re)discovering.  Now that 
such crucial background information has been covered, here's the story 
morning glory.
	On _The Man Who_, Travis showcase an atmospheric and melodic sound 
that perfectly suits Fran Healy's sensitive and fluid vocals.  While the 
band's sound and Healy's songwriting have art school roots, abstraction 
and intellectual tendencies influence rather than distract or overwhelm. 
As a songwriter, Healy is unashamedly empathetic as he explores the 
intimacies of the human condition.  And his lyrics, which are often 
amazingly poetic, easily evoke emotion and feeling.  Travis' is a 
kinder, gentler Britpop that emphasizes subtlety, musical textures and 
adult acoustic pop sensibilities instead of volume, aggression or 
quirkiness.
	The essence of Travis is perfectly illustrated on "Why Does It 
Always Rain On Me," the catchy and engaging lead American single and video. 
Similarly, the record opener "Writing To Reach You" demands attention with 
inviting vocals and prominent acoustic guitars incorporated into the rich 
instrumentation.  On "Driftwood" the band skillfully use acoustic and 
chiming guitars to perfectly recreate the dreamy sensation of drifting and 
floating.  And in the achingly beautiful "Luv," co-written by Healy with 
former Katydids visionary and current Pretenders guitarist Adam Seymour, 
Travis has crafted one of the most touching ballads in Britpop history. 
These four brilliant tracks are among the ten gems which make _The Man 
Who_ a classic, cohesive collection of songs.
	Having the coveted opening slot on Oasis' tour has certainly helped 
Travis (re)introduce themselves and promote _The Man Who_ in the States. 
And the tour has provided the essential exposure that the band most 
certainly deserves.  Will the Stateside trek help Oasis eventually regain 
their American success?  Maybe.  Will wowing American concert-goers help 
Travis pass the most difficult test of "breaking" America?  Definitely! 
---
	REVIEW: Peter Case, _Flying Saucer Blues_ (Vanguard)
		- Jon Steltenpohl
	If you're familiar with Peter Case, there isn't much point in 
reading this review.  He's got a new album out.  It's as great as his 
other albums.  And it's time to get to a record store and pick it up.
	If you're not familiar with Case, well, listen up.  Case is a 
great "hidden" talent in the same vein as Dylan and Westerberg.  He 
plays lighthearted music with a very "American" feel.  This isn't the 
brooding and detached sound instigated by Uncle Tupelo.  This is just 
fun music that feels fun to listen to.  Case keeps it simple and 
straightforward.  It's all about the song with Case, and there's 
liberal use of fiddles, horns, harmonicas, and banjos to go along 
with the standard acoustic guitars.
	It would be tempting to call the music Case makes as "true 
folk" music, but so many elements of pop, rock, blues, and rockibilly 
weasel their way in that it wouldn't do Case justice.  Like the 
electric Dylan, Case proves that "folk" music isn't just about a 
stereotype.  Instead, Case simply makes music which is organic. 
"Black Dirt & Clay" is a perfect example.  It's two main instruments 
are lap steel guitar and fiddle.  Should be a country western song, 
right?  Well, not really.  It's more like an upbeat travelling song, 
and the beat has a little Zydeco feel to it.  The lyrics are actually 
an innocent memory of digging a whole as a kid and then wishing he 
was back with his old friends.  Case manages to be simultaneously 
excited about reliving his memories and melancholy about his lost 
childhood.
	The first track of the album, "Paradise Etc," is filled with 
similar contradictions.  Written like a triumphant lullaby, Case 
captures the essence of childhood in one verse.  "She says so what & 
I don't care / laughs at the mention of underwear / gets mad & pouts 
when it's time to eat."  Sings Case, "I'm afraid she'll run out in 
the street."  But, dispite the silly mood, underneath the surface is 
an undertone of not knowing what direction life gives us.
	Of course, most of Case's songs share such split 
personalities.  "Cold Trail Blues" isn't a blues song at all. 
Instead, it's a soft song about a lost love.  "It's almost like you 
never came," reflects Case.  "I swear I almost lost your name / once 
you meant so much to me / I though your love would set me free." 
Another track, "Blue Distance", relates the bittersweet memories of a 
love that nearly was.  Case, in a perfect example of the "folk 
process", uses parts of a melody often borrowed by both Dylan and 
Guthrie, and extends it with a sad chorus of pedal steel and 
harmonium.  The comparisons to Dylan are even stronger with the 
extended, rambling ballad called "Two Heroes".  Similarly, the 
cynical "Walking Home Late" evokes Paul Westerberg and "Lost in your 
Eyes" sounds similar to Elvis Costello's "Let em' Dangle".
	Still, despite the similarities, Case remains uniquely 
original and fresh.  He is a peer with some of America's best 
songwriters and performers.  His lyrics are both insightful and 
aloof, and him musical style is free and unencumbered.  _Flying 
Saucer Blues_ is another great album in Case's discography.
---
	INTERVIEW: Grandaddy
		- Chris Hill
	Grandaddy recently played a well-appreciated Seattle show 
that, for their relatively small catalog, felt like a greatest 
hits extravaganza.  The band mixed favorites like "A.M. 180", 
"Everything Beautiful is Far Away", "Levitz", and "Taster" with 
tracks from the upcoming album (_Sophtware Slump_)for a 
memorable show that ended all too soon.  Prior to the show, 
Aaron Burtch (drummer), Jim Fairchild (guitarist), and Jason 
Lytle (singer, guitarist, and keyboards) sat down with 
Consumable for a relaxed chat.

	CO: Do you guys like talking about themes for the album?
	JL: I was thinking the other day that, me being the most 
qualified to talk about it, I still feel totally unqualified to 
talk about it.
	JF: Even when he's told me what he specifically had in 
mind when he wrote the song, people will come up all excited, and 
go, "Yeah, I heard this, and you're talking about this...".  It's 
totally off-base from what he had in mind, but it's almost neater 
in that they come up with their own interpretation.
	JL: Especially when you end up liking other people's 
versions more than what could have been the original version.
	CO: Do you ever discover something you didn't realize 
you'd put into a song?  Something that worked its way in 
subconsciously?
	JL: Yeah, I think that every now and then.  A lot of that 
comes out from talking to other people about it.  Other people's 
interpretations end up being pretty therapeutic, because I end up 
finding things out.  "Whoa, shit, maybe that's what was going on 
there."  A lot of times, it is pretty neat.
	CO: "Everything Beautiful..." seemed like it was right 
out of a Ray Bradbury story: man on a Martian landscape, looking 
out.
	JL:  That song, I'd actually just got done with this long 
drive through the desert.  Finally, you just go "I can't stand it 
anymore.  I need to be a part of this."  Pull over the car and 
you get out and start heading towards what it is you're looking 
at, and next thing you know you're traipsing through sticker 
bushes and it's hot outside and you're worried about losing your 
car and the next thing you know, you might as well just get back 
in your car, and look at it from a distance.  And then my mind 
started racing, and I started all these comparisons with that 
basic idea.  But the actual story is pretty similar to a movie I 
saw when I was a little kid.  I took like a little snippet, a 
remembrance of that movie, and then just kind of ran with it, my 
own version of it.  This movie called "Robinson Crusoe on Mars".  
(laughs)  I only saw it when I was a little kid and I vaguely 
remember it, but I just remember being totally mystified by it.
	CO:  Don't watch it again.
	JL:  I know. I think I've decided if the opportunity 
comes, I'm not going to watch it.  I've already built it up too 
much in my head.
	CO: _The Sophtware Slump_, you guys have been working on 
for how long?  Six months? A year?
	JF: It took about four months to record.
	JL: Yeah, it happened in spurts: chunks of productivity, 
then total disinterest.  Let it rest, take off, then chunks of 
productivity, then disinterest.
	CO:  I have an image of you [Jason] having taped hours of 
noodling just to find these sounds that make it onto the record.
	JL: Yeah, there's a lot.  I wish I had better knowledge 
of wave synthesis and the manipulation of synthesizers and all 
that, but I do do a lot of sound design, I guess.  It's really 
hearing the original sounds and maybe hearing like a shred, maybe 
10% of it, which is something nice, so let's retape this and work 
with it for a while, and maybe see if we can't get it to have 65% 
more human being to it, and maybe 35% machinery.  Or vice versa.  
So there is a lot of time spent noodling and messing around.  Not 
being in a hurry and just listening to sounds.
	JF:  Jason doing that has inspired all of our creativity, 
too, just in everything.  Just constantly writing stupid, little 
ideas, or whatever.  Some little visual or something, because you 
have to embrace that shit.  Because not only do you not know when 
it's going to pop up again, but also you don't know when you're 
going to be able to actually execute it.
	CO: Do you find hard to motivate yourself out in Modesto?
	JL: Yeah, totally.  There's something to be said for 
surrounding yourself with like-minded people and that's very much 
not the case out there.  That whole "going against the grain" 
thing only works so much.
	JF: I think it has worked against us.  It seriously took 
us a long time to do anything.  The _Signal to Snow Ratio_...
	CO: I love that cover.
	JF: Thanks.  We had to fight to get that cover.
	CO: Seriously?  Couldn't you just say, "'Fargo'! 'A 
Simple Plan'!  It works."
	JF: See, you got it!  It's a fuckin' stupid cartoon.  You 
can make your own story up out of the sequence of pictures.
	JL: I had to try to modernize it and put it in 
comprehensible, digestible terms: "Blair Witch Project".  You 
start attaching some sort of huge chunk of money and how much 
money that movie made, and all of a sudden it becomes okay.
	JF: Everyone at the label is really nice and we get along 
really well with them and they're understanding of our ideas.  
But I think sometimes they're just so used to people bending 
pretty easily.  They called me - "The cover has us really 
worried", 'cause it was after the Columbine shooting, and they 
said, "We need to change it."  I'm looking at it, going "I gotta 
talk to everybody else, but my first response is there's no 
fuckin' way we're changing it.  This is not reprehensible in any 
way."
	CO:  Do you read the press before you get to a town?  In 
"The Stranger" [a Seattle weekly], one of their comments is that 
you won't be in a small place like this next time.
	JL:  You can only be told all these nice things and be 
sincere with your thank-yous so much, and then you just finally 
shift into this whole other mode.  You never quit appreciating 
people's compliments, but almost for your own peace of mind, your 
own self-defense, you just gotta kinda only give away so much 
anymore.  You gotta save some for yourself.
	JF:  I think all the attendant stuff is the freaky stuff 
for me.  The other night, a girl was asking me about it.  She 
said that two or three years ago she had written to us.  She was 
pretty touched by the fact that I wrote out this letter back to 
her and said, "Thanks."  Once again, I'll never take that stuff 
for granted, but it increases step by step by step and then 
eventually, now we get enough letters, to where I remember it 
would seriously drain me to sit down and write back to a bunch
of people by hand.  Exactly what Jason said, I felt like I didn't 
really have much left to myself.
	JL: It would actually be nice if the stuff showed up and 
they made their point, and they expressed their appreciation, but 
it's usually the last ten lines go, "So, anyway, I was wondering 
if I could get this and get that..."
	JF/AB: (laugh)
	JL:  I mean, not always.  But it would just be nice if it 
was just "This is my appreciation."  Put it out there, and that's 
it, because that is nice.  Because it does get read, and it does 
get appreciated, and it does make a difference to hear that.
	CO: So you're still including the post office address in 
the album?
	JF: Yeah, they wouldn't let us put our own fuckin' URL on 
there.  [http://www.grandaddylandscape.com]  It just became this 
fight.  We just went "You know, we're not going to deal with it.  
We're just going to promote it on our own as much as we possibly 
can."  It's a really provincial attitude they have.  They almost 
consider us an opponent.
	CO: Who designs the website?  Is that anybody's baby?
	JF: Primarily, him [Aaron] and Kevin, our bass player, 
and myself.
	AB: I'm actually a little scared. Kevin's reading up on 
how to do a website, because we started from scratch, with 
absolutely no knowledge of how to do it.  So we were doing stuff 
you're not really supposed to do, as far as layout and design.  
I'm afraid we're going to lose some of that.  So I'm actually 
telling Kevin to back off from learning too much about it, so it 
can stay kind of a little bit undesigned.
	CO:  Why "grandaddylandscape"?  "grandaddy" was taken?
	JF: It was.  Our old manager had it.  He actually offered 
it back, but "grandaddylandscape" is a nice, evocative...  That's 
another thing that's weird about technology.  People have gotten 
impatient.  I tell people it's "grandaddylandscape" and they'll 
go "It's so fuckin' long."  It's eighteen letters!  It takes 
seriously, four seconds to type "grandaddylandscape.com".  People 
don't want to do that.  Barnes & Noble, their URL is "bn", 
because it's got to be simple.
	JL:  I remember thinking about that when I was trying to 
think of what the title of the album made me think of.  It's like 
there's almost this slow extinction of this individual - like the 
Tom Joad character of "Grapes of Wrath" - the honest, polite, 
hard-working, "it's going to take a while for us to get through 
this, but we'll get through it".  It's the fading away of that 
sort of individual.  What it's being replaced with is that which 
doesn't encourage problem solving and patience and figuring 
things out.  That to me is really a shame.
	CO: Are you finding that more money coming in equals more 
tools to play with?  Or are you trying to keep it lo-fi and 
closer to your roots?
	JF: No, there's ever been a deliberate "keep it lo-fi".  
Like keep it grounded and maybe organic, but certainly not lo-fi.
	JL:  My biggest problem with that is that when I think 
static, static to me means... I think of plotting the music in 
visual terms.  It's like an organ could easily be water, and 
scratchy, dotted guitar notes can be looking at a freeway from 
the top and seeing all the dots being cars.  And static is one of 
my favorites, because static can be anything.  Rain, dust flying 
up, whipping leaves.  But automatically, if there's static on the 
album, it's considered lo-fi.  But it's just a texture.  It's a 
great texture and tool.  I've always thought that Hammond organs, 
that bubbly sound, sounded like an organ underwater.  As if 
somebody were to actually tape the keys down and throw it in the 
water, and it kept playing.  Always thought that was a real neat 
description.  "You just sunk that organ!"
	CO:  It almost sounds cinematic.
	JL:  There was a big emphasis put on just disappearing, I 
think.  Music being a key to getting the hell out of here.  I 
just remember if there was ever one thing that kept popping up, 
maybe being stumped production-wise, going "Okay, where does this 
song need to go?  What can we do with this?", and saying, "Well, 
above all else, it needs to have that transportable quality, to 
take us the hell out of here."
	Amen. _The Sophtware Slump_ is due out May 15 in 
the U.K. and May 16 in the U.S.  Web surfers can check out the 
label at http://www.v2music.com/ and for the 
band, http:/www.grandaddylandscape.com .
---
	CONCERT REVIEW: Crosby Stills Nash & Young, Arrowhead Pond, 
		Anaheim, Calif.
		- Paul Andersen
	Supergroup is a label that is too often bandied about by pop music 
critics to describe bands that don't really qualify for the term. 
Occasionally, though, there are times when it is the only description 
possible. When speaking of the sporadic union of David Crosby, Stephen 
Stills, Graham Nash and Neil Young, it is a term defined.
	One of the amazing things to consider is the fact that over the 
course of the last 30 plus years, the foursome have released a grand 
total of only five albums, a number that includes a greatest hits 
collection and a live concert set. In reality, their latest album, 
_Looking Forward_, released this past October on the Reprise label, is 
only their third set of new material, their first since '88s _American 
Dream_. It is just proof that when these four artists get together, it 
is indeed a rare occasion.
	The trio of Crosby, Stills and Nash has long been a staple on 
the concert trail, but the addition of Young, Stills' partner in the 
legendary Buffalo Springfield, is one that has been officially missing 
from the concert stage since '74. When news that the four were going to 
tour in support of the new disc broke, it was met with glee from 
longtime fans.
	The group's show at Anaheim's Arrowhead Pond, the second of two 
Southern California dates, was much more than a nostalgia fest, which 
probably would have sufficed for many fans. Instead, it showcased a 
band that has drawn together some wonderful new material, which they 
generously shared, playing nine of the album's twelve tunes.
	Interlaced throughout the show, the new tunes provided the impetus 
for the tour, giving proof that this band still has something important to 
contribute to the world of music. Songs like Crosby's "Stand and Be 
Counted," Nash's "Someday Soon" and Young's title song are as good as 
anything the group has done in the past, which is saying quite a lot.
	The remainder of the thirty-song, three-hour-plus show was a body 
of work that still sounds as wonderful now as it did all those years ago. 
A mix of songs drawn from the Woodstock era when the group was laying 
the groundwork for the Eagles and other Southern California bands to come, 
along with some staples from Young's solo career and a pair of Stills 
classics, including perhaps the archetypal protest song from the '60s, 
"For What It's Worth," the group gave an incendiary performance that 
should be a case study for musicians who too many times just go through 
the motions on stage.
	So far on the tour, many reviewers have focused chiefly on Young's 
contributions to the show, virtually dismissing the work of the other 
three. They have also called into question the amount of nostalgia 
generated onstage, and the fact that, except for Young's "Rocking in the 
Free World," there is nothing representing the years between the band's 
last tour and the new album.
	I'd like to rebut those points. It is true that Young is playing 
with a fire and a playfulness that is nothing short of amazing, but 
don't discount the guitar dueling that he has once again generated with 
Stills, something that goes back to their days together in the Buffalo 
Springfield. Though Stills might not be as animated a performer as the 
bounding-across-the-stage Young, nevertheless his fretwork and 
passionate playing were equal highlights of the show. And it is true 
that he doesn't hit the higher notes vocally that he once did, but 
Stills is crafty enough to realize his limits, and play within them.
	The revelation that I came away with was the contributions by 
Crosby and Nash. For all of Crosby's trials and tribulations that he has 
been through over the past, including the recent revelations of his 
'parental contributions' to Melissa Etheridge, it was Crosby who 
provided many of the show's highlights. His version of "Almost Cut 
My Hair," which has never been a particular favorite song of mine, 
turned into a passionate affirmation of life. And Nash, whose harmonies 
with Crosby have always been one of the sweetest sounds in rock, has 
seemingly frozen in time when it comes to his voice. Of the four, his 
singing has emerged the most unscathed by the passage of time.
	As for the nostalgia factor, the past has always been a place for 
plundering in the world of pop music. The list of artists who have 
remained mired in the past is an extensive one. Instead, Crosby, Stills, 
Nash and Young have chosen, like the album says, to also look forward, to 
generate something for the past yet to come. The nostalgia they invoked in 
Anaheim was one of joyous celebration as they looked back to their roots. 
The fact that it skipped past a 25-year gap became incidental, but also 
reflective of their sometime-stormy history.
	It will be interesting to see if any of the current generation of 
bands ages as gracefully as these four old timers have. Regardless of how 
you view it, they struck a resounding blow for the geezers of the world.
	Thanks, guys.
---
	REVIEW: Reverend Horton Heat, _Spend A Night In The 
		Box_ (TimeBomb/Arista)
		- Michael Van Gorden
	A confession: I have to admit that I have never heard a note 
of The Reverend's music. For different reasons I always dismissed him 
and his music and just never paid it any mind. But when I listened to 
_Spend A Night In The Box_, I knew this album was hot. From the first 
note to the last, I could not stop moving, and dancing and regretting 
I had ignored the Right Reverend for so long.
	The album kicks off, and I do mean kicks off, with the title 
track "Spend A Night In The Box", a song inspired by the movie Cool 
Hand Luke and detailing the punishment our hero receives if he steps 
out of line with his little lady.
	Of course the obligatory songs about truck drivin', drinkin', 
and lovin' are all present and accounted for. But the Reverend and his 
band inject a newness and most importantly a sense of humor to themes 
and sounds done many times before. In "Sue Jack Daniels" the protagonist 
lets us know that "I'm gonna sue Jack Daniels for hittin' me / With 
the trunk of a big old oak tree...he pushed me into a thorny old bush / 
Pulled about a hundred needles out of my tush".
	Great literature? No. Fun, good time rock and roll? You bet. In 
fact from start to finish the Reverend and his congregation deliver. On 
"The Bedroom Again" they slow things down slightly for a little old time 
country pickin' which finds the singer longing for the lovin' that used 
to be, a longing made even more pathetic by the fact that the couple are 
now divorced.
	Bassist Jimbo Wallace keeps the soon to be classic truck drivin' 
anthem "Sleeper Coach Driver" moving right along with his staccato on 
speed bass line, never missing a beat as Heat describes the ultimate 
rig: "45 feet long and 11 feet tall / 14 televisions, shower and all / 
two refrigerators and a satellite dish / I'll drive this sleeper coach 
wherever this wish."
	Seems after all this time the Reverend and I have a lot in 
common, his favorite song on the CD, same as mine is the cool, slick 
ballad "The Girl In Blue". Using spring reverb to give the song its 
back room 60's feel, the Reverend once again is preaching about the 
evils of the Girl in Blue, all the while wishing from afar that things 
were a little closer.
	The album draws to a close with even more hot guitar and 
irresistible  boogie with the instrumental called "the millionaire".  
Perhaps not a true instrumental as the one line "Now you're the 
millionaire" echoes in the background from time to time, Heat still 
scorches your ear drums with some of the hottest, greasiest guitar I 
have heard in a long time. Jimbo Wallace and Scott Churilla on drums 
hold down the fort, driving the Reverend into a guitar frenzy.  Not 
giving you anytime to breathe "Unlucky In Love" is the sad tale of a 
man who can't seem to find his true love, and he has tried many times: 
My first love she left me alone / my second love she cut me to the bone / 
my third, fourth and fifth lord tell me up above / why am I unlucky in 
love".
	The music was recorded outside of Austin, TX, in Willie Nelson's 
Pedernales Studios, and was produced by ButtHole Surfer's Paul Leary. In 
fact, the Reverend feels this album at times sounds like the Surfers 
mixed with Jerry Lee Lewis, an apt description indeed. This disc proves 
that not everything you hear has to have some deep meaning, nor does it 
have to break new experimental ground to be enjoyable. Sometimes it just 
has to be Rock and Roll. Honest, from the gut rock and roll. On _Spend 
A Night In The Box_ The Reverend Horton Heat delivers.
---
	REVIEW: Kreidler, _Weekend_ (Mute)
		- Chris Hill
	The German avant-garde band Kreidler trace their genesis back to 
a 1994 evening when Thomas Klein, Andreas Reihse, and Stefan Schneider, 
performing as three-piece Deux Baleines Blanches (Two White Whales), 
met DJ Detlef Weinrich (a.k.a. DJ Sport). Mutual admiration followed, 
and Kreidler was born, with Weinrich's turntable talent added to the 
trio's existing bass, drums, and electronic structure. Over the group's 
history, its members have explored sonic landscapes within and outside 
the band, most notably Schneider, who's also part of To Rococo Rot, the 
palindromic German experimental group.
	The songs on _Weekend_, an album originally released in 1996, now 
seeing a 2000 U.S. release, entertain in an ambient, post-rock fashion, 
progressing like a Mobius strip around central, repeated rhythmic 
patterns, relying on the listener for the majority of the forward momentum.
	This is not to say Kreidler takes a clinical and precise approach 
to their adventures. "La Capital" is a Mr. Freezy ice cream truck careening 
to avoid a yelping bunch of keyboard puppies. "If" bubbles to life with 
rich, oily notes, mixing vinyl scratching with a high hat for Krell lab 
ambience. "Lio" is a synth kitchen floor waxed to mirror shine, its notes 
and slapped drums sparkling in the afternoon sun.
	"Reflections", one of two favorite tracks, doles out its elements 
(cycling keyboard, softly brushed drums, methodical bass) piecemeal until 
the combination falls from the sky at terminal velocity. It's one of the 
few tracks where the drums feel integral to the pacing, versus being 
atmospheric and colorful. This is the song that I'd pull as an 
introductory sample: "The first one's free, but the next one will cost 
you."
	That second dose for the future addict would be "Shaun", a song 
where an eerie keyboard appears and disappears like Carel Struycken in 
"Twin Peaks", fading in to impart a revelation or a warning, then out 
with his mystery still intact.
	_Weekend_ is split between the familiar, classical arena of bass 
guitar and drums, and the electronic realm of keyboards and samples, for 
a simultaneously inviting and benevolently alien experience. Take a 
listen, and hear why Momus, David Bowie, and Stereolab number among 
their fans.
	http://www.mute.com, for Mute Records, the band's U.S. label, 
http://www.freibank.com/kreidler/ for their German home.
---
	REVIEW: Mr. Oizo, _Analogue Worms Attack_ (Mute / F-Communications)
		- Krisjanis Gale
	Following production of two EP's released via F-Communications, 
"#1" and "M-Seq," and several videos for techno legend Laurent 
Garnier, including "Crispy Bacon", "The Hoe," and "Flashback," 
artist/musician Quentin Dupieux was to become best known for his 
single "Flat Beat," used in a series of Levi's TV spots featuring 
his own sock-puppet creation "Flat Eric."  Although the single 
garnered him 2 million sales of the single and a top spot 
in Euro charts, the artist now known as Mr. Oizo declined offers 
for more remixes, ads, and videos.
	Instead, he entered the studio to record _Analogue Worms Attack._
	Scribbly purple worm creatures on the front cover, a sticker 
with a sock puppet claiming "this is music i dance to," and a first 
track entitled "Bad start" are all clues that Mr. Oizo is an odd 
being who doesn't take himself too seriously - which is good because 
it's that attitude that has lead to the production of the fun, 
flightly, experimental bit of electro funk _Analogue Worms Attack._
	Diced up with clever breaks, blips, and some fabulously monstrous 
basslines, the album journeys into a vast expanse of twisted, 
distorted, minimal hip-hop beatbox experimentalism.  In much the same 
way as the latter half of Daft Punk's _Homework_ and Howie B's album 
_Music for Babies,_ the focus is not on well constructed tapestries  
of perfect audio, but rather, firing up the samplers and synths 
with half an idea and seeing what develops.
	Deciding which of the fifteen tracks to highlight is 
a daunting task, but here goes...
	The title track is a bit too long, but it has merit.  Extreme 
distortion, a slow fat chunky break, and a looming synth defines 
the term "Analogue Worms," and the manner in which they "Attack." 
This tune is developed later on in the nearly nine minute track 
fourteen - the "Sequel" delves further into raw synthetics, effect 
and filter wizardry.
	"Monophonic Shit" sounds at first like Autechre's "c/pach" 
on Tri Repeatae, with a snappy, klacky rhtyhm, and then at 1:23, 
it kicks into something akin to Aphex Twin's Window Licker, as if 
remixed in a "less is more" frame of mind.
	"Inside the Kidney Machine," though highly repetitive, features 
a snarling, nasty pit bull of a bass synth which twiddles its way 
around an unchanging beat loop.  The beat complements it perfectly, 
contrasting the dirt of the synth with clean, high end hi hat 
and snare.
	"Last Night a DJ Killed My Dog" reminds me of Stardust's "Music 
Sounds Better With You," with its chopped guitar twangs, but better 
done and with more clever beat and bassline work.  Some definite 
funk on this one.
	"Feadz On" gives DJ Fabien Feadz Pianta, responsible for all 
the scratchwork on the rest of the album, a little more than a 
minute to flex his incredible fader swapping, deck fumbling talent.
	The now famous "Flat Beat," which appears dead last, 
and "Flat 55," on track 12, are lighter and simpler than the other 
tracks, with quick, clean rhythms and pure, unadulterated 
bass synth.  It seems these tracks are unrelated to the ominous 
noise-music Mr. Oizo has grown more accustomed to creating. 
Nevertheless, the included video for "Flat Beat," featuring "Flat 
Eric" the puppet as a desk-bound executive making calls and 
bopping his head along to the tune, is truly hysterical.  
	To conclude:  if you enjoyed the roots of oldskool hip-hop 
and early electro, and lust after funk bass and noisy breakbeat, 
Mr. Oizo does an excellent job of mixing all those elements 
in totally chaotic form and futurist vision.  _Analogue Worms 
Attack_ may not be pretty, but remember what a mess your baking 
soda and vinegar volcano made of your mother's kitchen?  And how 
much fun that was?  Mr. Oizo does the same with music.
---
	REVIEW: Peter Searcy, _Could You Please and Thank You_ (Time Bomb)
		- Jon Steltenpohl
	Peter Searcy's publicists know what they need to do. They've 
already positioned a little ditty called "Hateful" in the background 
of _Dawson's Creek_ soundtrack and are pimping "Losing Light Fast" as 
the next big video. It could happen. Anything could. Searcy's latest 
album, a solo effort, is called _Could You Please And Thank You._ It's 
a fairly average recording of spunky, toe-tapping pop music with a bit 
of angst and guitar crunch thrown in along the way.
	Unfortunately, it doesn't all seem kosher. See, Searcy is the 
former leader of Big Wheel. Big Wheel was one of my favorite "sounds 
kinda like R.E.M. or The Replacements" indie bands from the '90s along 
with The Connells, Goo Goo Dolls, and Dharma Bums. Unfortunately, those 
bands came almost 10 years too early for _Dawson's Creek_, and with the 
exception of the Goo Goo Dolls, all were completely ignored on the 
radio. Now Searcy, finds himself in the middle of a radio landscape 
that sounds remarkably like what he and groups like The Connells were 
making years ago, only dominated by bands like Third Eye Blind who are 
produced into pure pop perfection. So, what's a guy to do? Make an 
album that will sell records, right?
	Not that there's really anything wrong with that. It's just 
that _Could You Please and Thank You_ sounds and feels a bit 
pre-fabricated. Maybe cookie cutter is a better phrase? Need a 
punchy, high powered track? Ch-kunk... try "Bored." What about the 
mellow, heartfelt song? Ch-kunk... how about "Nothing"? And on and on. 
Big Wheel had a refined and earnest sound to them years ago. Back then, 
Searcy seemed to be releasing parts of his soul on each song. But 
_Could You Please and Thank You_ doesn't have time for that. It's 
got an edge. It's driven. The melodies aren't bad. And that's about it.
	Take the lead track, "Furniture". It starts off up-tempo and 
with a crunchy guitar riff and stays that way through the whole song. 
Every instrument is turned up loud, and even though there's a good 
beat, the effect is that the song feels forced. Lyrically, it makes the 
point that even though life is boring, if you change things around it 
"might not change your life, but then again it might."
	Which, is pretty much how you might approach _Could You Please 
and Thank You_. You might not like this album, but then again you might. 
This is straight forward pop/rock that doesn't move much beyond the 
genre. Hints of Searcy's past skill at writing great songs and 
insightful lyrics are seen here and there in some of the tracks, but 
there isn't really even a single song that stands out on the album. 
Maybe I'm just overreacting because Searcy solo isn't the same as Big 
Wheel, but I don't think so. The sample track at 
http://www.timebombrecordings.com of "Bored" represents the entire 
album fairly well. It's got an urgent beat with ringing guitars, and, 
well, that's about the end of it. If "Bored" grabs you, the rest of 
the album will too because, frankly, the songs are pretty much all 
interchangeable. So, if the tracks seem a bit repetitious, don't say 
I didn't warn you.
---
	REVIEW:  The Black Halos, _The Black Halos_ (Die Young Stay
		Pretty); The Go, _Whatcha Doin'_ (Sub Pop); Beachwood
		Sparks, _Beachwood Sparks_ (Sub Pop)
		- Joann D. Ball
	To those who rock on Sub Pop , we salute you!  Sub Pop Records has 
always had a knack for having its ear to the ground, and it proved that 
point at an impressive South By Southwest (SXSW) showcase last month. 
Rock, in its various forms, is definitely not dead-it's thriving on both 
Sub Pop and its sizzling imprint Die Young Stay Pretty.  Need proof?  
Check out these stellar new debut releases from SXSW pleasers The Black 
Halos, The Go and Beachwood Sparks.
	The Black Halos are definitely among the rock stars on Sub Pop's 
Die Young Stay Pretty roster.  Formed in 1994 as the Black Market Babies, 
the Vancouver, Canada band rechristened itself three years later and swore 
allegiance to old school hard rock.  Led by the energetic and intensely 
animated Billy Helpless, the Black Halos perform with reckless abandon on 
stage and capture that super turbo charge on their self-titled debut. 
_The Black Halos_ is a latter day rock album of classic proportions, with 
Helpless shouting out ferocious anthems like "Fucked From the Start," 
"The Ugly Truth," and the lead track "Shooting Stars"  The latter sonic 
supernova, is propelled by Zepplinesque drums and scorching guitars, and 
rolls right into the glam, punk and pop (!) infused sing-along "Retro 
World."  The band may sound and look the part of New York's mid-1970s 
seedy, trash and thrash rock underground.  But there's no mistaking the 
Black Halo's sensibilities on "Tracks" which has the memorable chorus, 
"tracks were all you left for me after you o.d."  The Black Halos gave it 
their all and then some on this twelve song record, and in the process 
produced one of the best rock songs recorded in ages.  The stellar "No 
Road of Dreams" is simply irresistible with a big crackin' sound launched 
by soaring guitars and driven home with killer riffs, power chords, hand 
clapping, and an all-together-now group chorus finish.
	The Go are from Detroit, and that says volumes about their 
dedication to the kind of no-frills, straightforward rock and roll made 
famous by hometown forefathers the MC5 and Iggy Pop.  The Go is also 
extremely faithful to the spirit of late 1960s garage rock, so much so 
that it's easy to forget that _Whatcha Doin'_ was released a few months 
ago. Guitarist John Krautner, drummer Marc Fellis and lead singer Bobby 
Harlow are the core of the recently formed Motor City quintet, and they 
generate some serious garage infected maximum R&B on their debut record. 
_Whatcha Doin'_ is an amazing lo-fi affair, with The Go effectively 
using the studio to magically recreate the comforting sound and feel of 
vinyl.  Sonic guitars and a rumbling rhythm section lay the grooves on 
the record's twelve short-but-sweet tracks.  Among the highlights are 
the boomy record opener "Meet Me At the Movies," the barely two-minute 
garage pop treat "You Can Get High," the psychedelic-laced "It Might Be 
Bad," and the hard and ballsy "Get You Off."
	Southern California sunshine, the country/folk rock sounds of 1970s 
and the spirit of Gram Parsons fill _Beachwood Sparks_.  On this brand new 
self-titled debut, Beachwood Sparks offer a warm, breezy, laid back, and 
easy going collection of tunes.  While the lap-steel guitar twang of the 
bouncy opener "Desert Skies" is clearly American, the song also suggests 
that klassic Kinks sound thanks to its musical arrangement and Ray 
Davies-like vocal.  But Beachwood Sparks is most obviously indebted to the 
Byrds, and freely incorporate that band's classic 12-string guitar sound 
into its own.  Especially Byrdsy are "The Calming Seas" and the "Something 
I Don't Recognize," and the "Silver Morning After" particularly echoes the 
beautiful "Born to Follow" which was featured in the film "Easy Rider." 
"Silver Morning After," preceded by the eerie "Ballad of Never Rider" 
which sounds like a hidden message played backwards, is clearly a tender 
ode to the film's fallen motorcycle heroes.  "Sister Rose," on the other 
hand, alternates between the hippie vibe of the Grateful Dead's 
"Truckin,'" and the full on pop-rock of _Revolver_ era Beatles.  
Beachwood Sparks generate a one-of-a-kind brand of neo-country/folk 
rock which emphasizes soft harmonies and sweet melodies and also updates 
the original genre by adding the occasional pop jangle and some spaced 
out ramblings.  Goin' up the country never sounded so good.
---
	REVIEW: Transatlantic, _SMPTe_(Radiant/Metal Blade)
		- Scott Hudson
	When Neal Morse (Spock's Beard) got a call from Mike Portnoy (Dream 
Theater) about the possiblity of doing a project together, not only were 
the wheels quickly set into motion, Transatlantic was born. The addition 
of bassist Pete Trewavas (Marillion) and guitarist Roine Stolt (Flower 
Kings) solidified this lineup of exceptionally talented musicians from 
both sides of the Atlantic. Their debut release, _SMPTe_ is a prog/rock 
lovers dream.
	"All Of The Above" in typical prog fashion clocks in at just over 
30 minutes in length and is actually six tunes carefully meshed together 
amidst a frenzy of rapid-fire syncopations, stop-on-the-dime tempo changes 
and plenty of Wakemanesque keyboard flourishes. Of the six tunes, it is 
the haunting "October Winds" carried by Trewavas' melodic bass lines that 
stand out among the others.
	"Mystery Train" is by far the best and most inspired track on this 
record. It also happens to be one of the shortest of the five tracks (at 
almost seven minutes), proving once again that good things come in small 
packages. Seriously, this song has a density and drive that makes it worth 
the price of the whole CD. The funky guitar and bass lines are augmented 
by thickly-synthesized strings. The song is also fresh; it doesn't hint at 
all to a rip-off of older prog dinosaurs, although the vocal harmonies are 
pleasantly reminiscent of King's X in their prime. "Mystery Train" is as 
good as contemporary prog gets.
	"My New World" opens with beautifully arranged cellos. The song 
also tells a fascinating story about a lost love: boy meets hippie girl, 
boy goes off to Nam, girl gets more fried, relationship flounders when he 
comes home. Here, at least, the musical drama legitimately carries the 
story. In fact, one of the historically pervasive problems with prog was 
that the lyrical content seldom justified the thematic excesses. Here, the 
blend between words and music is finely meshed. An engrossing story, with 
some of the prettiest musical passages (including Stolt's lovely 
volume-knob guitar interlude, a la Steve Howe) on the record.
	Those unfamiliar with the prog/rock genre or those who lack the 
discipline required to sit through its musical discourse would find 
Transatlantic's _SMPTe_ to be not only palatable, but downright engrossing.
	For those diehard prog-heads, never mind; you probably already own 
it!
---
	REVIEW: The Spinanes, _Imp Years_ (Merge)
		- Christina Apeles
	If you are new to The Spinanes and are one of those unlucky 
folks that consistently stumbles upon a great band just before they 
break up, I'm sorry to inform you it already happened years ago. The 
_Imp Years_ serves as their adieu, an encore release of hits that 
will forever keep them imprinted on college radio playlists and among 
faithful, adoring fans. Utter gratitude goes to the people at Merge 
for giving us one last release from this talented two-piece outfit of 
vocalist/guitarist Rebecca Gates and drummer Scott Plouf, who left 
the band in 1996 to play with fellow indie favorite Built to Spill.
	The divine "Hawaiian Baby," is reason enough to rush to your 
local record store. One of the hardest singles to find, "Hawaiian 
Baby" is simply one of finest indie rock ballads, sure to set your 
heart afloat in that bittersweet kind of way. It is one of the 
longest singles from the band stretching over 5 minutes, with Gate's 
acoustic guitar in tow and Plouf's soft drumming accompanied by harsh, 
sentimental lyrics, "Santa Claus with the baby that you brought me / 
this is the taste of your right earlobe can't you hear me / it's my 
heart and it doesn't fit yours." The first four tracks, which includes 
"Hawaiian Baby" and "Suffice," were among their first releases 
beginning in '92, released on Imp Records, thus the title. Another 
hard-to-find, "Messy Shitty," released on a compilation put out by 
Schizophonic records also in 1992, is an upbeat number with their 
trademark harmonies and the sound of a full piece, backed by another 
guitar, bass and pull.a.tune. The release closes with the elegant, 
previously unreleased "Handful of Heart," validating the personal and 
genuine nature of The Spinanes music. Their lo-fi pop pairing has been 
unmatched and will sure to be missed but with _Imp Years_ you can get 
a taste of their early greats one last time.
---
	REVIEW: Robert Bradley's Blackwater Surprise, _Time to 
		Discover_ (RCA)
		- Matt Fink
	At first glance, it might seem that the story behind the 
formation of Robert Bradley's Blackwater Surprise would make a good 
idea for a bad sitcom.  The plot line would follow a middle aged blind 
street singer meeting up with four kids from the alternative rock scene 
after they happen to hear him singing through an open window while 
they are in the recording studio, and after asking said street singer 
to join their band, hilarity ensues.  Luckily, the factors that 
determine the quality of television and music aren't the same.
	_Time to Discover_, the second offering from Alabama born Robert 
Bradley and his Detroit bandmates, is an excellent mix of soul, Motown, 
R&B and funk grooves.  And while much of the hype around this band 
centers on the eclecticism of their music, they are really a fairly 
straightforward R&B band.  Without a doubt, Bradley possesses one of 
the richest, most soulful voices to be heard in recent memory, with 
comparisons to Lenny Kravitz, Richie Havens, Seal, and Marvin Gaye all 
being more than warranted.  Most surprising might be his backup band 
and their talent in turning out soulful riffs and tight grooves.
	Strangely, the album kicks off with one of its weaker tracks, 
the plodding funk groove of "Higher," on which Kid Rock appears to toss 
out some annoying background raps.  "Ride" sounds like something that 
could have very easily come off a Sly & the Family Stone album, with 
classy brass arrangements and ringing organ.  Where Bradley shines the 
most is on shimmering soul ballads such as "Baby" and the laidback 
"Ultimate Sacrifice," the former bearing more than a passing resemblance 
to the work of Al Green. The ghost of Marvin Gaye even turns up on the 
gospelish, "You & Me" and the falsetto drenched "Mr. Tony."  The slightly 
countrified melody of "Tramp 2," co-written by Bradley and Kid Rock, 
makes sure that the latter's cameo is not a total loss. 
	Occasionally, on tracks like the bluesy "Gambler," the formula 
of building to an emotional repeated chorus doesn't work, as the lyrics 
aren't really strong enough to merit so much emphasis.  If anything, 
this is where the majority of the complaints could be directed.  Still, 
Bradley is such an excellent singer that even if he doesn't have all 
that much to say, he sells it enough that you'll believe he does.  The 
bouncy piano driven finale, "Uncle John" sounds enough like a lost John 
Lennon track that it makes one consider that it could be some sort of 
homage to the former Beatle.
	All in all, Robert Bradley's Blackwater Surprise have crafted 
a solid and satisfying effort.  Though it is doubtful that this kind of 
music is going to find a massive following, as an oldies audience is 
probably going to receive it about as well as the MTV crowd, _Time to 
Discover_ is a well-rounded collection that is no doubt the product of 
considerable talent.  Even if their story would make for a corny sitcom, 
it would still be worth watching for the music.
---
	REVIEW: The Breetles, _Writerscramp_ (Permanent Press)
		- Paul Andersen
	Okay, I bet you are thinking the obvious: what is this, a take on 
the Beatles? The answer is, well, maybe a little bit yes, but there are 
others at play here also . . .
	The Breetles consist of New Jersey native Chris Breetveld (hence 
the name, though one gets the feeling that it is just an excuse to pay 
tribute), a true pop music genius. And that's it; the Breetles are 
basically a one-man show. On this, their (his?) sixth recording, he has 
once again brought along a few guest artists to flesh out the sound -- 
Dennis Diken of the Smithereens and a few members of the "East Coast Pop 
Mafia," including R. Stevie Moore, Chris Butler and Lane Steinberg, all of 
whom, like Breetveld, usually go it alone. But this is Breetveld's 
showcase all the way, and he utilizes it to display a songwriting craft 
that harkens back to the Beatles, as well as the Beach Boys, the Kinks, 
XTC and 10 cc, also. In fact, the latter group's Godley and Creme could 
easily be Breetveld's patron saints. It is their music and lyrical wit 
that resonates more than any other influence through this recording.
	The 16 tracks on _Writerscramp_ share a constant: they are as 
melodically memorable as they are cleverly worded. Grounded in the 
history of his inspirations (which he even alludes to in "My Sense of 
Wonder"), Breetveld builds a sound that he describes as "voltage 
enhanced pop," a sort of power pop for the new millennium. This is 
confectionery music that doesn't float away like cotton candy when it 
meets the tongue. Rather, it is a sweetness that will draw you back 
again and again.
---
	REVIEW: Michelle Tumes, _Center of my Universe_ (Sparrow)
		- Jon Steltenpohl
	Michelle Tumes is one of the new breed of Christian artists 
whose appeal goes far beyond religion. _Center of My Universe_ is an 
album that sounds much like Enya without the Celtic influences. Tumes 
creates an engaging "percolating" beat which bubbles under the surface 
and she layers her vocals in airy, pristine harmonies. _Center of My 
Universe_ is an upbeat and hopeful album that is consistently quiet 
and glistening from start to finish. It is frequently touched with 
small piano parts which quietly echo in the background and other 
similar small, but important touches.
	Tumes really doesn't follow the typical "Amy Grant" mold of 
Christian artists. She is not a pop singer or a diva, and she doesn't 
bother with sermons. Instead, she makes quiet, pretty music with 
orchestral touches and simple, heartfelt lyrics. _Center of My 
Universe_ sounds as if it might be bundled with an aroma therapy candle 
or something. This is soothing music that borders on new age 
pretentiousness.
	Fortunately, the album limits itself pretty well, and doesn't 
cross into cliches. At the worst, some of the synthesized orchestrations 
sound a bit canned. "Missing You" is a good example, where the 
violins sound electronically produced. However, it doesn't distract 
much, and many listeners probably won't even notice. At best, the 
programmed sounds are incredible. "Chant", a simple four line song, 
is stunning in both its simplicity and its studio production. Tumes 
and guest vocalist Chris Beatty are transformed into a small vocal 
group performing with a string quartet in a cathedral with the help 
of David Leonard's programming and production.
	The only problem one might have with _Center of My Universe_ 
is that it's too mellow and too "nice". But, in reality, that's one 
of its strengths.  There is only one song, "Do Ya", which is fast 
paced and upbeat with louder guitars. But, it manages to fit it by 
sharing the harmonies and orchestral touches of the more subdued 
tracks. Otherwise, the album is consistent in its tone and style, 
and it ebbs and flows within those limits without going beyond. 
Michelle Tumes' _Center of My Universe_ is a nearly perfect album 
to listen to because from start to finish, it maintains its style 
and focus. For those who enjoy Tumes' musical style, _Center of My 
Universe_ offers no gotchas or groaners. Consistency is a virtue, 
and it makes listening to this album a pleasure.
---
NEWS:	> Live and the Counting Crows will be co-headline a major 
summer tour beginning July 28 in Kansas City, MO.
	> Jimmy Page and the Black Crowes will be launching a major 
concert tour this summer beginning June 24 in Chicago.  Tickets for 
each of the three legs of the summer tour will be going onsale on 
April 29.
---
TOUR DATES:
	Fiona Apple / Eels
Apr. 22 Knoxville, TN Knoxville Civic Auditorium

	Robert Bradley's Blackwtaer Surprise
Apr. 22 New York, NY Hammerstein Ballroom
Apr. 27 Indianapolis, IN Vogue

	Bush / Moby
Apr. 22 Las Cruces, NM New Mexico State
Apr. 24 Tucson, AZ U. of Arizona
Apr. 25 La Jolla, CA U. Cal San Diego

	Ani DiFranco 
Apr. 22 Phoenix, AZ Phoenix Celebrity Theatre 
Apr. 25 Albuquerque, NM Kiva Auditorium 
Apr. 26 Vail, CO Dobson Arena 
               
	Fishbone / Workhorse Movement
Apr. 20 San Francisco, CA Hemp Festival
Apr. 21 San Diego, CA Cane's
Apr. 22 Las Vegas, NV Huntridge Theatre

	Gas Giants
Apr. 20 Springfield, IL Spot
Apr. 23 Nashville, TN 3rd & Lindsey
Apr. 25 Champaign, IL Highdive

	Goldfinger / U.S. Crush
Apr. 25 Allentown, PA Crocodile Rock
Apr. 26 Washington, DC 9:30 Club
Apr. 29 Indiana, PA Indiana University

	Kelis
Apr. 23-24 New York, NY Bowery Ballroom

	Loud Family
Apr. 26 Austin, TX Stubb's BBQ

	Tara MacLean
Apr. 25 Cleveland, OH Liquid

	Magnetic Fields
Apr. 22 New Orleans, LA Tipitina's Uptown
Apr. 25 Carboro, NC The Artcenter
Apr. 26 Charlotte, NC The Artcenter

	Mix Master Mike
Apr. 22 Hartford, CT Expo Center
Apr. 23 Northampton, MA Pearl Street
Apr. 24 Washington, DC 9:30 Club
Apr. 26 Orono, ME University of Maine
Apr. 27 Winooski, VT Higher Ground

	Ian Moore
Apr. 22 Baton Rouge, LA Varsity 
Apr. 26 San Antonio, TX Sunset Station 
Apr. 27 Kileen, TX Sandy's 

	Oasis / Travis
Apr. 22 Indianapolis, IN Murat Center
Apr. 25 Pittsburgh, PA Palumbo Center
Apr. 26 Philadelphia, PA Tower Theatre
Apr. 27 Boston, MA Orpheum Theatre

	Red Hot Chili Peppers / Foo Fighters / Muse
Apr. 25 Omaha, NE Civic Auditorium
Apr. 26 Iowa City, IA Carver Hawkeye

	Tonic / Third Eye Blind
Apr. 24-25 Boston, MA Orpheum Theater
 
	Train / Gas Giants
Apr. 26 Davenport, IA St. Ambrose
Apr. 27 Detroit, MI St. Andrews Hall

	Union
Apr. 22 Worcester, MA Lucky Dog
Apr. 26 Baltimore, MD. Daytonas
Apr. 27 Allentown, PA Crocodile Rocks
---
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