== ISSUE 179 ====  CONSUMABLE ONLINE  ======== [June 10, 1999]

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

 Address all comments to staff@consumableonline.com ; subscription 
information is given at the end of this issue. 
==================================================================
	All articles in Consumable remain (C) copyright their author(s). 
Permission for re-publication in any form must be obtained from the 
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                            .------------.
                            |  Contents  |
                            `------------'
INTERVIEW: Cibo Matto - Al Muzer
REVIEW: Manic Street Preachers, _This Is My Truth Tell Me 
   Yours_ - Tim Kennedy
CONCERT REVIEW: Robbie Williams - Lang Whitaker
REVIEW: Olivia Tremor Control, _Black Foliage: Animation 
   Music_ - Chelsea Spear
REVIEW: Various Artists, _Where is My Mind? A Tribute to the 
   Pixies_ - Steve Kandell
REVIEW: Prodigy, _Prodigy Present The Dirtchamber Sessions 
   Volume 1_ - Simon West
INTERVIEW: Chuck D. from Public Enemy - Lang Whitaker
REVIEW: Mike Ness, _Cheating At Solitaire_ - Bill Holmes
REVIEW: Taxiride, _Imaginate_ - Tracey Bleile
REVIEW: Various Artists, _In Your Ear (Independent Film 
   Channel)_ - Bill Holmes
REVIEW: Julian Coryell, _Bitter To Sweet_ - Andrew Duncan
REVIEW: Katharine Whalen, _Katharine Whalen's Jazz 
   Squad_ - Michelle Aguilar
REVIEW: Chris Wall, _Tainted Angel_ - Daniel Aloi
ERRATA
NEWS: Beastie Boys, Meredith Brooks, Primus, Tibetan Freedom Concert
TOUR DATES: Anti-Flag, Adrian Belew, Boredoms, R.L. BURNSIDE, Candy 
   Butchers, Mary Chapin Carpenter, Chapter In Verse, Ani DiFranco / 
   Maceo Parker, Go Betweens, Grinspoon, Ben Harper, Ben Lee, Lilith 
   Fair, Alanis Morissette, Van Morrison, Mike Ness, Beth Orton, 
   Piestasters, Rammstein, 764-HERO, Skunk Anansie, Sonic Youth, 
   Sparklehorse / Mercury Rev, Rick Springfield, Sally Taylor, Those 
   Bastard Souls, UB40, Ultimate Fakebook, Paul Van Dyk, Verve 
   Pipe / Papa Vegas
Back Issues of Consumable
---
	INTERVIEW: Cibo Matto
		- Al Muzer
	Media darlings the moment their 10-song Warner Brothers 
debut, _Viva! La Woman_, hit the retail racks back in 1996, Cibo 
Matto keyboardist/creator-of-inspired-noises/producer Yuka Honda 
and vocalist/lyricist Miho Hatori have been through a lot together 
since meeting as members of Laito Lychee in 1994.
	Following their critically-acclaimed major label debut, the 
duo released the nine-song _Super Relax_ EP in 1997; had a track 
("Spoon") featured on an episode of _Buffy The Vampire Slayer_; 
toured the world with artists such as Beck, Boss Hog, Butthole 
Surfers, Porno For Pyros and Everything But The Girl; and participated 
in the _Butter 08_ all-star project on Grand Royal Records.
	And, just in case that wasn't busy enough, Cibo Matto also 
slammed through an inspired version of "Birthday Cake" on Comedy 
Central's _Viva! Variety_; toured some more; and, after nearly a 
year in the studio, are about to unveil the astonishingly-diverse, 
brilliantly-melodic, 14-song _Stereotype A_ (Warner Brothers) to a 
nation of potential fans starving for a groove that'll take 'em 
somewhere solid this summer.
	A wonderful, hour-plus journey through warped, twisted, 
processed, fuzzed and filtered filaments of funk, soul, samba, jazz, 
pop, lounge, bossa nova, exotica, electronica, Egyptian, Indian, 
metal and classical influences - _Stereotype A_ is genius pushed to 
greatness thanks to the combination of Hatori's unique and sultry 
vocals; the quirky sounds, unique flourishes and layered, but loose, 
production provided by Honda; the in-the-pocket pulse and steady 
presence of drummer Timo Ellis; the percussion, vocals and turntable 
mastery of Duma Love; and the supple, propulsive bass lines and 
subtle-to-screaming guitar riffs of one Sean Ono Lennon.
	"What I'm proudest of is the collaboration," Hatori has said 
when asked about the expansion of her band for the recording of 
_Stereotype A_. "It's [the album] the product of four people [who 
are] listening all the time. Sean and Timo can play any instrument 
and were there every day helping out. This is like a family."
	"Sean was actually touring with us before we recorded _Viva! 
La Woman_," Honda says of the additional musical and songwriting 
inspiration provided by the three newest members of her band, "back 
when we were doing our really grungy, early shows and staying at like, 
Motel 6 or worse. He's always been very supportive of Cibo Matto. Timo 
is Sean's best friend and he joined the group about a year later. And, 
all four of us are very excited about the addition of Duma (who appears 
as a guest on the record) to the lineup."
	"It's much more musical and it's certainly a lot more fun to 
have a few people, instead of just two, involved in the creation of 
the music," Honda adds. "A lot of elements and ideas to choose from 
makes our music better and, I think, really helps us grow as people 
and musicians as well."
	"Our first songs were written to be played live in tiny places 
like CBGB's Gallery and, what's on our first record is, pretty much, 
what we did at our first shows," Honda has said. "We were kind of 
test-driving and didn't know shit. We've learned and evolved [and] 
spent time experimenting and taking chances. We set much bigger goals."
	Not something that's particularly high on the group's personal 
agenda - but certainly a very real possibility considering the 
across-the-board brilliance of _Stereotype A_ - is a radio hit. The 
near simultaneous release of _Star Wars I: The Phantom Menace_ and 
"Sci-Fi Wasabi," the first single from Cibo Matto's new album, is too 
perfect a fit not to be a success.
	"We really had no idea ... it wasn't something we were aiming 
for. But, now that we know about it, we're very psyched that they're 
both coming out at the same time," laughs Honda. "The album took much 
longer to make than we originally planned, so the timing in this - as 
all good timing seems to be - is totally coincidental."
---
	REVIEW: Manic Street Preachers, _This Is My Truth Tell Me 
		Yours_ (Virgin)
		- Tim Kennedy
	There are some albums that are hard to review because the 
motivation is not there - but this is not one of them.  This is 
possibly the album of the year,  and definitely the single most 
important rock band of the 90s.  Important not for record sales 
though they are selling respectably these days in the UK (although 
they were dropped by the U.S. affiliate Epic, and passed over by at 
least two other major labels),  but important because they are the 
most intelligent, vital and interesting group for many years.
	There has always been a contradiction in the Manics: on the 
one hand music which blatantly borrows from the past and on the 
other, lyrics which are quite unlike any in rock history. They 
aren't the only band to borrow from their mentors but they must be 
the only band to declare "originality is not important".  WHAT 
they borrow is of great importance however and always reflects 
what they are trying to say with their invariably sad yet astounding 
lyrics.  James was widely laughed at for calling Nicky a poet the 
other week in a UK music paper but you know what he is getting at 
when you read the lyric sheets of TIMTTMY.
	The themes are all Nicky's now - none of Richey's (the 
guitarist and fellow lyric writer who disappeared mysteriously in 
1995) words adorn this CD.  That means that instead of the searing 
verbal assault and deadly withering hail of self-hate,  the words 
are more reflective,  still cynical/naive but more reserved.  James 
doesn't have to garble them to get them to fit on a line.  Nicky 
describes his insular domestic existence in the Welsh village 
household he shares with his much-loved wife ("You Stole The Sun 
From My Heart",  "My Little Empire", "I'm Not Working",  "You're 
Tender And You're Tired", and more.)  He also rails at the ageing 
process and the toll that the band's youthful verve is taking - 
fans or more likely he himself resents the fact that the band 
didn't simply explode in 1992,  and that they are still her slogging 
away at being rock stars. "The gap that grows between our lives/The 
gap our parents never had to stop/Those thoughts control your mind/
Replace the things that you despise//Oh you're old I hear you say/
It doesn't mean that I don't care/I don't believe in it anymore/
Pathetic acts for a worthless cause"
	"Born A Girl" however reflects an old transgendered theme 
that the Manics have always worried and chewed at. Nicky of course 
wears a dress and eyeliner on stage to this day.  "There's no room 
in this world for a girl like me".
	This album is more than just a turning from old lyrical 
concerns - it also features music with a very 1970s prog rock 
influence.  Deep Purple-like riffs may pop up here and there,  and 
the feel of much of the CD is Pink Floyd,  circa _Dark Side Of The 
Moon_.  It has those languid Rick Wright keyboards,  lots of space 
and echo,  with quiet,  reflective moments counterpoised by bombast 
of almost inconceivable proportions by this band's original 
standards.  This was a band that wore ripped clothes,  posed like 
the Clash,  idolised trash rockers like Dogs D'Amour and called 
Axl Rose "the most underrated lyricist of his time".
	But the truth is this band have always pillaged rock history 
with no regard for current trends.  At the time when Richey was 
talking about Razzle,  the doomed drummer of Dogs D'Amour, that 
was as 'outre' as can be imagined.  Everyone was into Happy Mondays 
and Stone Roses and acid house.  They were reviled at the time.
	There is some wonderful,  inspired music on this album.  
Where for example Radiohead are virtuosos,  who throw shadows of 
moody despair,  the Manics embody the pain of love and loss - and 
know too well how to convey this with their music.
	The opener "The Everlasting" is a soft rock epic on the 
surface,  but one with a depth that belies that description,  and a 
lovely wall of sound production in the manner of Phil Spector.
	"Born A Girl" betrays a wayward guitar backing which is 
completely bewitching.  "SYMM" uses some back masked guitar and has 
a killer solo that Dave Gilmour himself would be proud of.  "You 
Stole The Sun From My Heart" has a great hook in it which would 
have Peter Hook standing legs akimbo and doing air bass.  "My 
Little Empire" begins with a lovely understated guitar figure 
which Jimi might have used.  "You're Tender And You're Tired" 
features some great whistling (!) and a totally mad piano passage.  
This track is probably the most inventive of the album - a slightly 
60s psychedelic outing.
	"Black Dog" sounds like Glen Campbell doing Jimmy Webb, 
and has Nicky visualising himself as the hound in question,  
faithfully running for his lover.  And it actually works, believe me.
	"Tsunami" is possibly the strongest song on the CD. It 
combines a sitar-drenched musical backing and a rip-roaring 
riff-laden chorus to match their best.
	The single "If You Tolerate This Your Children Will Be 
Next" is about the Spanish Civil War of the late 1930s.  The 
dialectic here is between Nicky's pacifism and his admiration of 
Welsh farmers who took up the gun to help fight Spain's Nazi-backed 
fascist coup of the time.  Musically it seems to be weak upon 
initial exposure,  with a break beat and strings.  It has a catchy 
chorus though,  and its Spectoresque production rescues it in the 
end.
	"Nobody Loved You" is about their lost comrade Richey "Never 
had the chance to take you home/Now there's no reason/Just another 
tomorrow/You keep giving me your free air miles/What would I give 
for just one of your smiles/Just one of your smiles."
	The finale - "SYMM" actually stands for South Yorkshire Mass 
Murder.  This song is a highly controversial attack aimed at the 
Sheffield police,  who by their omissions allowed nearly one hundred 
Liverpool fans to die crushed in a terrace at Hillsborough Football 
Stadium in 1989,  and to this day have not been indicted for their 
lack of action.  "The ending for this song/Well I haven't really 
thought of one/There's nothing I could ever say/That could ever take 
the pain away."
	This album has all the reasons why this group are mad,  bad 
and dangerous to know.  They try too many styles,  they dare to be 
poetic,  to be sensitive, and they open their wounds in public.  No 
album has come close in the past few years to the beauty of _This 
Is My Truth Tell Me Yours_.
---
	CONCERT REVIEW: Robbie Williams, Atlanta, Ga., 5/12/99
		- Lang Whitaker
	If you combine the Jedi zen of Obi-Wan Kenobi with the suave 
sophistication of James Bond, then toss in a dash of the goofy 
licentiousness of Austin Powers, and you'll start getting a picture that 
resembles Robbie Williams. The anticipation stateside for the Robbie 
Williams' British invasion has been building for some time now, and  
rightfully so. After releasing two well-received albums in the United
Kingdom, spawning several big hits (including the tuneful "Millenium" and 
the triumphant, anthemic "Angel"), Williams has succesfully resurrected 
his career from the ashes of his stint in Brit boy band Take That! With 
"Millenium" currently climbing the U.S. pop charts, Williams is nipping at 
the heels of a few ex-New Kids on the Block with his odd combination of 
ballsy hooligan street smarts and cheeky British smarm.
	Wearing a grey muscle shirt and grey karate pants, and sporting a 
freshly buzzed crew cut, Robbie Williams charged onto the Cotton Club 
stage needing only a glowing lightsaber to complete his Phantom Menace 
look. His doughy arms decorated by numerous tattoos, Williams began by 
leaping around and playing air guitar while the Star Wars theme blared 
over the P.A. system, inexplicibly substituting a shovel for a guitar, 
which prompted the enthusiastic crowd to get even rowdier. People near 
the front of the stage undulated forward, arms flailing at Williams' 
feet, threatening to pull the popster into their mosh of perspiring 
humanity.
	And then the band came on stage.
	Williams began his show, proper, with the rollicking "Let Me 
Entertain You," imbuing the song with a Neil Diamond's "Brother Love's 
Travelin' Road Show" feel. Williams has so much charm and charisma, 
that at any moment I expected him to began hawking snake oil or a some 
miracle cure-all tonic. "Entertain You" then segued smoothly into 
Eminem's "My Name Is"; Williams, no slouch, nailed every word, changing 
every "Slim Shady" to "Robbie Williams," but otherwise rapping it out 
phrase for phrase.
	The show eventually wound through almost all the songs on 
Williams' current U.S. release, _The Ego Has Landed_, with the band 
occasionally drifting into a Beatles cover or a Rolling Stones chord 
riff. Williams, born to be a diva, repeatedly pointed out that it was 
NOT true that pop stars get shagged a lot, and he conveniently gave 
out directions to his hotel for any of the 800-member crowd interested 
in coming over after the show for a quick shag. This prospect so 
excited one well-endowed young woman that she spontaneously threw up 
her tank top to flash her headlights at Williams; he responded by 
tossing an unlight cigarette to the lucky fan.
	After encore versions of "Millenium" (which was sung along 
with a track while the band faked their instruments) and "Angel," 
Williams cheerfully waved goodbye and trotted off the stage. As Tom 
Jones' "It's Not Unusual" kicked to life through the magic of CD, the 
doleful crowd sauntered out, coming down from the highs of being 
entertained for the last hour by a master entertainer. And somewhere, 
in a hotel a few blocks away, Robbie Williams was probably feeling 
quite shagadelic. Yeah, baby!
---
	REVIEW: Olivia Tremor Control, _Black Foliage: Animation 
		Music_ (Flydaddy)
		- Chelsea Spear
	Three years ago, the Olivia Tremor Control took the underground 
rock world by storm with their first long-player, _Music from the 
Unrealised Film Script, "Dusk At Cubist Castle"_.  The album was far from 
perfect, but it was a heady combination unheard of in indie-rock circles: 
strange and beautiful pop songs that would be top ten hits in any other 
galaxy rubbed shoulders with musique concrete sound collages.  Now, the 
mind-bending ensemble returns to the fray with another cinematically 
inspired album, _Black Foliage: Animation Music_.  It too is charmingly 
imperfect, but it shows a great deal of growth and maturity for the 
ever-intriguing Olivias.
	Once again, the album is rife with pop tunes, gorgeous bites of 
melody performed with passion and love by a band that seems to only know 
how to create that.  Will Cullen Hart and Bill Doss play off one another 
like a postmodern Lennon and McCartney; Hart writes the kind of 
three-minute tunes that populated AM radio in the 1960s (such as the 
irresistable "Hideaway"), while Doss brings his listeners into a thicket of 
black foliage through dreamy, cinematic musical effects (especially on the 
twinkling "Grass Cannons").  The two minds come together on "I Have Been 
Floated", a crescendic mini-opera starring many of the band's cronies from 
the Elephant 6 Recording Company, and on "Sylvan Street", a gorgeously 
droning tune with a duelling banjo/guitar bridge and an acapella coda 
worthy of _Smile_-era Beach Boys.
	Likewise, the production is superb.  While fairly lo-fi production 
technique gave the band's last album a simple sound that put the attention 
squarely on the music, Robert Schneider's boardwork helps the band to get 
the most out of their unique sound, and paints the album in bright sonic 
colours and deep shading.
	If there's any fault to be found in this otherwise superb album, 
it's one of balance.  The band still hasn't found the right balance between 
conceptual sound collage and music.  While some of the musique-concrete 
material is wisely interspersed between songs, there's still a patch 
towards the end of the album made up of just sound collage, which can be 
difficult listening.
	All and all, this is a minor point in quibbling with such 
monumental greatness.  The Olivia Tremor Control have created a challenging 
and breathtakingly beautiful album, one that will likely influence smart, 
passionate musicians for years to come.
---
	REVIEW: Various Artists, _Where is My Mind? A Tribute to 
		the Pixies_ (Glue Factory)
		- Steve Kandell
	There is no denying that Boston's late, lamented Pixies are 
a band worthy of tribute. Like the Velvet Underground, they were 
underappreciated during their far too brief career, only to become 
lauded posthumously as one of the most influential bands of the past 
twenty years. Of course, tribute is one thing; tribute albums are 
quite another.
	Comprised of cover versions from small, modest college rock 
bands with a few bargain bin bound major label acts thrown in for 
good measure, there is nothing on this entertaining fifteen track 
collection to compare to the travesty of Hootie and the Blowfish's 
"Good Times, Bad Times" from the Led Zep tribute _Encomium_, or, God 
forbid, Third Eye Blind's "Train in Vain" on the new Clash tribute. 
Things get off to a shaky start with Eve 6's turgid version of 
Bossanova's "Allison," but for the most part, the bands capture the 
quirky, hypercharged energy that marked the best efforts of Joey 
Santiago, David Lovering, Kim Deal and The Artist Formerly Known as 
Black Francis. With two exceptions, the covers here are faithful, 
almost to the point of reverence. This is not to say that the cover 
versions are redundant. Perhaps the biggest testament to the Pixies' 
influence is that most of the bands on this record do not have to 
alter their own sound in the slightest in order to evoke the Pixies.
	A blow-by blow breakdown:
	1) "Allison" by Eve 6: Overly produced and crooned in a style 
that falls just short of camp, this track raises questions as to 
whether Eve 6 has even heard the band they are allegedly paying 
tribute to. Far and above the weakest cover on the collection, so an 
odd way to start off. But fear not, it gets better.
	2) "Alec Eiffel" by The Get-Up Kids: A raucous, low-fi tear 
through this single from the Pixies' last album, which bucked modern 
rock conventional wisdom by being ten times harder and rawer than 
anything they ever put out before it.
	3) "Velouria" by Weezer: Sounds like Weezer, and it also 
sounds like the Pixies, which just goes to prove what I've thought 
all along: Weezer sort of sounds like the Pixies.
	4) "Monkey Gone to Heaven" by Far: Faithful to the point of 
nearly being indistinguishable from the original, save for the 
distorted spoken word vocals in the verses.
	5) "Trompe Le Monde" by Braid: Like the Get-Up Kids, this is 
a frenetic selection from the swan song album of the same name. But 
the best part comes 1:41 into the song, with a hilarious line-by-line 
recital of Kim's famous "and there were rumors he was into field 
hockey players - bit from Surfer Rosa. Undoubtedly the album's high 
point.
	6) "Wave of Mutilation" by Superdrag: By far the catchiest 
tune ever to have the word "mutilation" in its title. The Pixies often 
favored a slower, dirge-like version live, but this revved-up romp is 
more akin to the one on _Doolittle_.
	7) "Manta Ray" by Teen Heroes: The most surprising thing about 
this song is not its baroque intro, but its selection. "Manta Ray" is 
a relatively obscure b-side, although it was one of the highlights of 
last year's Pixies at the BBC release. For the discerning listeners, 
there are a few references to other Pixies songs like "Dig for Fire" 
buried within.
	8) "Tame" by Local H: Anything but. Originally on _Doolittle_.
	9) "Gigantic" by Reel Big Fish: OK, this is the one I was 
dreading when I first saw the back cover. Primed for one of my all-time 
favorite songs done as bad faux-ska, I was ready for disappointment. 
But what I wasn't ready for was to hear it reinvented as kitschy, 
80's-style synth pop, complete with electronic drums. The result is 
vaguely Weird Al-esque, and if this is meant as a tribute, then Reel 
Big Fish is cordially invited to give me the finger anytime. This is 
not to say that all of the covers need to be slavish reproductions, 
but considering that it is the only Kim Deal song represented here, 
something other than tossed-off novelty would have been nice.
	10) "The Holiday Song" by The Siren Six: Reggae! But unlike 
the Reel Big Fish tune, the spirit of the original, from the _Come on 
Pilgrim_ EP, remains intact.
	11) "Where is My Mind?" by Nada Surf: An appropriately dreamy 
take on this Surfer Rosa classic from a band that I keep getting 
confused with Nerf Herder. Which one had that song about Sammy Hagar 
ruining Van Halen?
	12) "Gouge Away" by Promise Ring: Another solid, note-by-note 
cover.
	13) "Here Comes Your Man" by Samiam: Produced by Green Day's 
Billie Joe Armstrong, this peppy take holds up as a great reminder why 
the song was the closest thing the Pixies ever had to a radio hit.
	14) "La, La, Love You" by Weston: A cute, slinky version of 
what has to be the most ridiculous, but possibly most infectious song 
the Pixies ever recorded.
	15) "Caribou" by Sense Field: Dreamier and more sonically 
expansive than the _Come on Pilgrim_ version, this closes the album 
on a far better note than the one it starts on. Considering that 
bassist Kim Deal is probably one of the most important and respected 
women in contemporary rock, it is odd that not a single female voice 
can be heard on this entire record. Granted, Kim's songwriting was 
discouraged by Black Francis just as it was starting to come into its 
own, which played no small part in the band's disintegration and the 
rise of Kim's Breeders. But if this is a tribute, credit should be 
given where due.
	Perhaps the one point that a tribute album like this gets 
across most clearly is how sorely the Pixies are missed right now. For 
all of the bands that pay lip service to being influenced by the Pixies, 
none possess the offbeat charm that counteracted their patently 
venomous delivery. Catchy surf pop that just happened to be about 
aliens; blistering punk tunes that just happened to be in Spanish. 
There was a brief time, right around the release of the first Frank 
Black album and the first two Breeders albums, that the breakup looked 
like a blessing in disguise; that the sum of the band's parts might 
actually exceed the whole. But, as pop music limps into the 21st 
century -- with Mr. Black exiled to Spinart and Kim Deal suspiciously 
AWOL -- their absence is felt on the airwaves more resoundingly than 
their presence ever was. Maybe that's why Eve 6 gets to go first.
---
	REVIEW: Prodigy, _Prodigy Present The Dirtchamber Sessions 
		Volume 1_ (XL Recordings)
		- Simon West
	Ah, the DJ mix album. There's a lot of these about at the 
moment, running the gamut from blatant label self-promotion to ego 
trips of dubious merit. And then there are a few that are actually 
worth picking up. _Dirtchamber_ falls into the last category -- a 
brief trip through dance, old-school hip-hop, punk and funk, that 
showcases the mixing talents and musical influences of Prodigy 
mastermind Liam Howlett.
	Howlett's always had more of the b-boy about him than most 
of his commercial peers, and it shows clearly here. _Dirtchamber_ is 
a rough and ragged mix that sounds like it was recorded live at a DJ 
face-off. Assembled in just a few days, it packs more than 50 songs 
inside 50 minutes. With this much going on, the tracks don't really 
get much chance to breathe; it's a whistle-stop tour through someone's 
record collection, but it's thrown together with great style and a 
master's touch, and the atypical brevity certainly avoids any chance 
of boredom creeping in.
	In the mix are a diverse array of artists, from Jane's Addiction 
to Grandmaster Flash, The KLF and The Charlatans, usually clocking in 
at less than a minute each. Howlett's peers The Chemical Brothers, Fatboy 
Slim and Propellerheads make an appearance. The Prodigy themselves 
swing by briefly here and there, and hip hop is well represented by 
Tim Dog, Public Enemy and Digital Underground along with Ultramagnetic 
MC's (who contribute an extended snippet of "Give The Drummer Some," 
complete with the "smack my bitch up" line that so offended the Beastie 
Boys last year, looped a couple of times here for full effect). Perhaps 
not entirely accidentally, Liam finds space for a touch of old-school 
politically incorrect Beasties just a little later on.
	The high point is probably the least expected moment, when, 
about halfway through, a brief snatch of the Beasties' "It's The New 
Style" drops suddenly and without warning straight into the Sex Pistols' 
"New York." The whole bloody thing - three minutes of three chords which 
then mixes aptly into Fatboy Slim's "Punk To Funk" and kicks the beats 
back up. It shouldn't work, but it does, and it's entirely apropos 
coming from Howlett, whose punk sensibility has always been evident in 
his work with the Prodigy.
	In short, _Dirtchamber_ is brilliant -- a 50 minute journey 
into breakbeats, crossfades and cuts that serves as an object lesson 
in what to do if someone puts you in front of a couple of turntables 
and a box of vinyl. Highly recommended. In fact, I'm already looking 
forward to Volume 2.
---
	INTERVIEW: Chuck D. from Public Enemy
		- Lang Whitaker
	Chuck D., the fiery-voiced founder of the pioneering rap troupe 
Public Enemy (perhaps the most politically relevant rap combo of all 
time), has always been on the cutting edge of the music industry, but 
usually as an artist. Now, following a break-up with his long-time label 
home Def Jam Records, Chuck has gone digital, recently signing a record 
deal with the internet-based label Atomic Pop Records. As Public Enemy's 
newest album, _There's a Poison Goin' On..._, is released for downloading, 
Chuck paused to talk with Consumable Online about the future of the music 
business.

	CONSUMABLE ONLINE: Hey Chuck. What's up with your record? How 
many people have been downloading the single?
	CHUCK D: Well, we can't get the final counts from Real Networks. 
Because Real distributes 10 million players, people are going to be 
getting the song automatically, and the Real jukebox is free. So, they 
don't really take final counts. They can get some read outs every month, 
but as far as our site ( http://www.public-enemy.com ), I know 100,000 
people are getting it. But this is all qualified over a long period of 
time. It's not like how the record business has become now, where you 
have one week to get all your numbers in, and then it's on to the next 
thing. These numbers will continue on over a long period of time.
	CO: Are you thinking that you'll continue doing this after this 
album, or is this just an experimental thing?
	CHUCK D: Ain't no experimental thing. it's the real thing. 
Within two years, downloadable music will be the equivilant of the fifth 
major record label. So, by 2001 or 2002, it's going to be as usual as 
getting it from a store.
	CO: How often do you yourself download music?
	CHUCK D: I do it quite a bit. My whole thing with the stores is 
that there's nothing romantic about going to the stores and buying 
something for $16 or $17. The major labels haven't even realized that 
they've turned the business into a singles medium, but they still want 
to get the album price and the high rate for the CD, so they need to 
make some adjustments. They really need to figure out how they include 
downloadable music.
	CO: And you've kind of beat them to the punch, huh?
	CHUCK D: Yeah, if you want to say that, Lang.
	CO: Do you have set expectations as far as what kind of sales 
you'd like?
	CHUCK D: My expectations? One sale. One signifies whether we 
have a success or not. Everybody bugs out when I say that, but this all 
new, so I got nothing to lose. Our conventional methods for a 
distribution system nationally should distribute the album offline in 
June. But also, we have a couple of big retail outlets -- who shall go 
unnamed -- coming to the table that will probably have exclusive sales 
of the album. That means they'll probably have mid-six figures sales on 
the record. So, this is all good. We're showing people the way to go.
	CO: Definitely, definitely. I hope this all works out for you, 
man.
	CHUCK D: There's no way I can lose by selling one record, so 
what do you mean? What do you mean? The only way it can not work out 
for me is if I'm contracted by another situation that limits me from 
doing what I want. How can you figure it doesn't work out for me? I 
sell one copy, I'm good. The key is infiltrating the system with 
different revenue streams and different technologies. I mean, this 
will be the first ever album on Zip discs. Iomega and Public Enemy have 
made a big deal to release this record on Zip discs. There's four or 
five technology companies coming to the table to show people that.
	CO: Give me an example, Chuck, of what you're talking about.
	CHUCK D: (thinks for a second) Well, you watch Seinfeld, right?
	CO: Right.
	CHUCK D: You have nothing to do with Seinfeld's revenue streams, 
do you?
	CO: Not directly.
	CHUCK D: So what constitutes that Seinfeld is a $10 million show?
	CO: Right...(silence)
	CHUCK D: No, I'm asking you. What constitutes that Seinfeld is a 
$10 show?
	CO: Oh, I thought you were being rhetorical. It's the commercials 
and stuff.
	CHUCK D: Right. There's a bunch of different revenue streams. 
That's what's gonna take place with music. Almost like when you hit a 
fly ball to the outfield - what's up on the wall helps pay for the 
stadium.
---
	REVIEW: Mike Ness, _Cheating At Solitaire_ (Time Bomb)
		- Bill Holmes
	Although on the surface a fiery punk group, Mike Ness' band 
Social Distortion is melodic at the core; witness their success with 
roots rock riffs in songs like "I Was Wrong" and "Bad Luck". Ness, 
who has been in the band more than half his life, grew up on a 
combination of early rock and roll and American country icons like 
Johnny Cash, Hank Williams and Woody Guthrie. _Cheating At Solitaire_ 
is a peek back at his influences through a few classic covers and a 
slew of originals written in a similar style. The list of song titles 
cements the tone of the collection. "No Man's Friend", "Ballad Of A 
Lonely Man", and "Crime Don't Pay" all sound like they were ripped 
from the pages of a pulp novel, and indeed they're a cross between a 
black hat western and a gangster movie epic.
	His vocal range is limited at best, but so are those of his 
heroes Cash and Dylan, whose "Don't Think Twice" jump-starts the record 
with a rockabilly lurch - the antithesis of The Four Seasons' cover 
under the guise of The Wonder Who. Mixing heartfelt guitar playing with 
emotional vocal performances, Ness shines on this gumbo of country, 
blues, hillbilly and rock. Guests like Springsteen (vocals on "Misery 
Loves Company") and Brian Setzer (as always, excellent stunt guitar on 
"Crime Don't Pay") will draw the attention, but it's the lesser known 
Billy Zoom of X who steals the show with his contribution to "Dope 
Fiend Blues" (perhaps a tip of the cap to the late Johnny Thunders). 
Likewise, Chris Lawrence's pedal steel work lights up the countrified 
songs like "You Win Again" and the autobiographical "Rest Of Our Lives". 
The garage punk "I'm In Love With My Car" finds Ness bludgeoning three 
chord rock while his vocals sound like they were recorded through a 
megaphone, "Sweet Jane" turned inside out and upside down.
	Although a departure from the heavier sound of his band, fans 
will not be too jarred by this temporary tangent. After all, musically 
speaking, Mike Ness has always worn his heart on his sleeve. Of course, 
with all his tattoos, it was just harder to spot.
---
	REVIEW: Taxiride, _Imaginate_ (Sire)
		- Tracey Bleile
	Another pick-of-the-litter band has popped itself head and 
shoulders above the crowd of movies that has marked the beginning of 
another summer season by way of that elusive perfect, catchy tune. 
With roots tucked firmly in '70s-style electrified folk, and exploding 
outward with glorious four-part harmonies, the Melbourne, Australia, 
band Taxiride upholds a long and rich tradition of Australian pop 
music with their debut _Imaginate_. The first single, "Get Set," is 
featured on the soundtrack for the dark comedy _Election_ .
	This glossy, stylish sound is equal parts Seal -- in the 
strength of the arrangements and musicianship ("Rocketship" and the 
aforementioned "Get Set") -- and another part that is Simon & 
Garfunkel and CSN in the revitalized art of rock harmonies ("Can 
You Feel," "Ditty"). The buffing given by uber-producer Jack Joseph 
Puig reveals a definite ghost of Jellyfish floating around this 
charmed little release on both ends of the spectrum, from the almost 
acapella and sweetly sad "Let Me Die Young," to the giddy Sgt. Pepper 
moment in "Ice Cream."
	If anything, Taxiride may be a bit too perfect. There is a 
sense of not a note out of place, and as a result, there an edginess 
that was traded off for accessibility. However, this gathering of 
multi-faceted and multi-talented musicians is, as I said, head and 
shoulders above any dance-moves and harmonies-only boy group 
dominating the pop collective at the present. Swoon away. That's 
exactly what they want, but they'll truly be glad you did.
---
	REVIEW: Various Artists, _In Your Ear (Independent Film 
		Channel)_ (Hybrid Recordings)
		- Bill Holmes
	Music for film and television falls into three distinct camps: 
the score, the hit compilation and the character music. Record companies 
incessantly push the second upon the listener as well as the filmmaker, 
for most "soundtrack" albums are merely a collection of trendy songs 
that may have little to do with the film itself. Many times the featured 
song only appears during the closing credits, if at all! The scores, 
when in the right hands (John Williams, Randy Newman, Danny Elfman, 
etc.) are a truer emotional bond with the visual presentation, but most 
don't sell. In the populist's eyes, the "character pieces" combine the 
worst elements of both - little known songs from usually little seen 
movies. Yet here are where some of the gutsiest, most artistic 
interpretive sounds are being made, often on a budget that couldn't 
cover a gaffer's lunch at the commissary.  I'm not talking _Dawson's 
Creek_ and _Felicity_ music, either; a vehicle which has usurped MTV 
as the best marketing opportunity to reach white teenage girls. No, 
this is more _Homicide_ territory, where work from a wide variety of 
mostly esoteric artists is used to enhance scenes rather than buy time 
between them.
	The Independent Film Channel is a godsend to those cable 
subscribers who can get it; an oasis in the popular desert where John 
Lurie and Jim Jarmusch are household words. A majority of the films were 
made on a comparative shoestring budget, so you can imagine how few 
dollars are available for the music. In other words, you won't be 
hearing any Diane Warren or Desmond Child songs. Instead, unknown 
musicians and songwriters share soundscapes with artists like Tom Waits 
and Morphine who put their hearts before their wallets. This collection 
of eleven diverse cuts stands strongly on its own, but is also an 
enticing invitation to check out some of the great film work being 
created out of the main arena.
	Waits, who has worked on both sides of the camera, has one of 
the most emotionally resonant voices on the planet - "Good Old World" 
(from Jarmusch's _Night On Earth_) is riveting. Ditto another acquired 
taste, Shane MacGowan, with "The Old Main Drag"; a painful but absorbing 
shanty recorded with the Pogues. Morphine, a favorite of _Homicide_ 
viewers, uses their unorthodox instrumentation and style to provide a 
perfect soundtrack for urban desperation. The aforementioned John Lurie 
is represented by the themes from _Manny & Lo_, ably abetted by Marc 
Ribot and Medeski, Martin & Wood. Not all works come from the dark 
side, though - Victoria Williams' helium pipes grace "Love," and Hub 
Moore's "Walk Away" is lower case power pop.
	_In Your Ear_ will probably sell about as well as some of these 
artists do - poorly - but those looking for a viable alternative never 
cared about the Billboard charts, anyway. Whether this collection brings 
back memories of great films you've seen or opens a door to a world you 
know little about, you'll discover that there's nothing second rate 
going on here.
---
	REVIEW: Julian Coryell, _Bitter To Sweet_ (Mojo)
		- Andrew Duncan
	This may seem like yet another tale of a rising star born 
into the music business, but Julian Coryell's talent goes beyond his 
association of his father, Larry Coryell, being a great jazz musician.
	At the age of 14, Julian became an addition to his father's 
band, playing what he calls "lower-profile gigs." For the world traveler, 
those gigs were his boot camp gaining him the experience he needed for 
the real world.
	Of course a degree from the Berkelee College of Music probably 
helped out as well.
	As much as Julian enjoyed jazz and wanted to be like his 
father, he really had his eye on The Beatles and '60s pop. After 
playing many gigs in New York and piddling around in the studio, he 
was convinced to record in Los Angeles with producer Niko Bolas, who 
has worked with everyone from Stan Getz to Neil Young.
	What results is his debut release _Bitter To Sweet_, a technical 
album that deals with diversity, more than the concept of a crisp, pop 
album.
	From the beginning, the Beatles influence is immediately 
identified, but who hasn't been influenced by the Beatles? But then 
again, the album hints at anything from orchestral arrangements to '70s 
rock to alternative rock.
	Julian's ability to tell a story through verse is exceptional, 
with songs about hope ("Overcome") and despair ("Let Me Fall"). His 
voice often conjures up the image of a mature Andy Partridge, which 
is especially evident on the title track. The music is more than 
complimenting, through accenting the right moments and creating a 
thick backdrop rich in texture and emotion. Whether it's an acoustic 
strum or a sweep of a violin bow, every tone is carefully planned out.
	For those seeking a quick listen, look elsewhere. There's a lot 
going on in Coryell's world and, time permitting, he will tell his story 
the way he knows how - through beautiful musical imagery.
---
	REVIEW: Katharine Whalen, _Katharine Whalen's Jazz Squad_ (Mammoth)
		- Michelle Aguilar
	As any performer from Donny Osmond to David Bowie knows, one of 
the hardest things in the world to escape can be a persona. This is 
perhaps the dilemma Katharine Whalen faced when recording her first 
solo album, a vacation from her day job as resident Billie Holiday 
stand-in for the hot North Carolina retro band, The Squirrel Nut Zippers.
	In the past five years, Whalen has good-naturedly and with a lot 
of cheek gone along with the Zippers in their ironic, postmodern 
flirtations with uptempo hot combos and jazz swing genres of the '20s, 
'30s and '40s. Yet, notwithstanding Whalen's indefatigable enthusiasm 
for running with the SNZ boys' antics, their ethos seems to have 
consistently boxed her into singing all her songs through one of only 
two personas: Lady Day or Betty Boop.
	Whalen's self-titled solo debut seems to be trying to break out 
of that box, resisting the temptation to wheedle the young hipsters 
with her old parlor tricks and instead demanding that they experience 
her on her own terms.
	Meet her terms: The eponymous album by the Jazz Squad is a 
collection of hits and forgotten hits from the 1920s and '30s, with 
spot-on vocals and a fairly authentic sounding backing band. There are 
no winks here, no Hello Kitty-style playing around with the limited 
archetypes available to women singers in the Depression Era. Whalen 
lilts lovingly over songs like the Fred Rose/Walter Hirsch mid-'20s 
hit "Deed I Do" and Gus Kahn and Walter Donaldson's "My Baby Just 
Cares For Me," with a deep affection and with a clear desire to pass 
for the real thing. So, there's little flapper-girl sultriness or the 
cutesy Tin-Pan Alley antics, like Whalen's employed on SNZ records. 
Her approach here is more sophisticated, showing off more of what her 
voice can do.
	The selection of songs from the '20s and '30s is a bit of a red 
herring.  For what Whalen seems to be aiming at with this record is an 
evocation of the more stripped-down but stately jazz combos of the '40s 
and '50s. In fact, Whalen seems here to be channeling another, quite 
different Lady Day, i.e. jazz vocalist Anita O'Day, who like Whalen 
first made her name in a thrill-seeking boy-dominated band. In the 
1940s and '50s, O'Day successfully left Gene Krupa's band and began 
doing her own unique takes on the melodies and rhythms of standards and 
hits from the '20s and '30s. As a result, O'Day became one of the few 
performers to survive the music industry's new demand for crooners and 
individual voices. While Whalen has nothing nearly so complicated on her 
agenda, like O'Day, she is relaxed and confident enough on this album to 
break out of what people might expect her to do with an album full of 
Depression-era hits.
	Whalen's vocals on this record are more poised and relaxed and 
sound rather like the real thing, although at times they perhaps veer a 
little too close to cocktail jazz. The clean production on these backing 
tracks, which feature little more than standup bass, piano and guitar 
(the last one provided by husband and day-tripping Zipper James Mathus) 
steer clear of the liberal dose of goofiness to be found in your average 
SNZ album. For better or for worse, Whalen's attempt is much less 
humorous and more intent on getting it right, so to speak.
	Throughout the album, Whalen, with understated joy, rolls over 
and under these songs' rhythms, pitches and lyrics. In "My Old Flame," 
a piano torch song which has Whalen reminiscing about a first love so 
old she can't remember his name anymore, her voice is atmospherically 
breathy yet strong, strolling effortlessly through hard-to-catch 
pentatonic tones. In "There Is No Greater Love," Whalen is able for the 
first time to use her voice to convey genuine melancholia, a feat she 
never really accomplished with SNZ. She doesn't give in to her older 
ways, even in "Sugar," which verges almost on Dixieland territory and 
could have been right at home in the SNZ catalogue (I'd never cheat on 
my sugar/'cause I'm sweet on my sugar/my sugar baby of mine). On a SNZ 
recording, I expect that Whalen would most likely have turned on her 
lovelorn flapper voice (see "You're Driving Me Crazy," and "Prince 
Nez"), but here, without the manic stylings of the Zippers behind her, 
her voice is strong and steady, adeptly navigating the waters without 
resorting to cuteness.
	All Squirrel Nut Zippers fans are not going to like this album. 
It's not exactly an album that's going to inspire anyone to dance, or 
do anything really except sit and listen in appreciation. But it is a 
beautiful, highly personal record. Listening to this album is rather 
like watching a tomboy as she tries on her first prom dress and 
realizes there is a world of possibilities out there for expression.
---
	REVIEW: Chris Wall, _Tainted Angel_ (Cold Spring)
		- Daniel Aloi
	If you think Hank Williams Jr. hasn't done anything good since 
before he cut the Monday Night Football theme and that all the great 
barroom singers are either gone or shadows of what they were, there's 
at least one of the breed still carrying that flame and burning down 
the honky-tonks with it.
	Although the outlaw movement has been thought long dead or 
relegated to obscurity by the changing commercial tides of country 
music, Texan Chris Wall is (cliche time) the real deal, a man out of 
time, a honky-tonk hero. His entertaining, to-the-bone songs were 
probably inspired early on by the music of the jukebox joints I 
frequented in Texas nearly 20 years ago, before everything turned to 
formula-driven ballads and reheated classic rock with faint hints of 
fiddles and steel (you know, to "keep it country").
	Bearded, black-hatted and with hard-won experience and the 
courage of his convictions in every note he sings, Wall hits hard with 
honest revelations in his songs of drinking, driving, dancing and 
loving. Especially loving what's lost, whether it's a memory (in 
"Three Across") of barreling down the highway in better times blasting 
"Born to Run" on the pickup's radio, or of a woman in the traditional 
sounding "I Never Got Over Losing You," keeping his brave face on and 
the music upbeat. And sincere -- he isn't afraid to admit what led him 
to his current condition.
	Wall gives us a great cowboy love song in "Waltz to Cheyenne," 
an unknown legend in "Dylan Montana's Last Ride," bravado as big as the 
Lone Star state in "Half of What Killed Elvis," and straight-out, 
ungarnished rock'n'roll in the hammering twang of "No Sweat."
	This is the true sound of foundation-shaking salvation that 
Jason and the Scorchers were forever trying to call up with their Hank 
Sr.-meets-Van Halen workouts. As Wall sees it, there are criteria for 
great country songs, in stories "set somewhere between exuberance and 
desperation." His gruff baritone (think Merle Haggard) and self-awareness 
convey the latter, his band and optimism the former.
	Recording a year ago in Austin, Wall found his way to a true 
sound in a crack band,  Reckless Kelly -- with Cody and Willy Braun, 
brothers  Wall's known since they were kids. You can hear how close 
they are in just about every bar of music they play together.
	Although they put out a more conventional, with-the-times 
country record of their own (_Millican_) on Wall's Cold Spring label 
in 1997, here they rock out and twang hard, as if they're playing a 
bar on the hottest, drunkest night of the year and out to prove that 
the music is worth something much more than formulas and fame.
	It's good to have someone like Wall, not too settled in midlife 
to be kicked in the ass by a young band, to bring back a little of the 
music's old magic, fire and fury. Even if no one else picks up his 
torch and carries it to Nashville, he's a singular reminder of what 
makes country music great, and he'll keep running with it.
	For more on Chris Wall and Reckless Kelly: 
http://www.coldspring.com, http://www.chriswall.com or e-mail: 
music (at) coldspring.com
---
ERRATA:	> In the May 27 issue of Consumable, Elvis Costello was 
mistakenly referred to as British, when his birthplace is 
actually Ireland.  Thanks to reader Jim F. for pointing this out.
---
NEWS:	> The Beastie Boys are offering three unreleased tracks 
for free download exclusively on http://www.launch.com  - and 
donating, along with LAUNCH, $1 per new visitor to charities 
(CARE and MADRE) which support the Kosovo relief effort.
The first track to be made available will be the previously 
unavailable DJ Design Remix of their current hit single, "The 
Negotiation Limerick File" from their multi-platinum album, 
_Hello Nasty_ .
	> Meredith Brooks fans can get a closer look at the 
making of her latest album, _Deconstruction_, at the artist's 
website, http://www.meredithbrooks.com . Rough versions of 
tracks which are being prepared for the forthcoming album will 
appear on the site, as will audio messages from Ms. Brooks herself.
	> Primus is finishing up work on their as-yet-untitled 
album due this fall.  Current highlights include a collaboration 
with Tom Waits and guest appearances from Rage Against The 
Machine's Tom Morello, Metallica's Kirk Hammett, and Jim Martin, 
formerly of Faith No More.
	> On June 13th, 1999, the Tibetan Freedom Concerts will 
bring together 47 bands and millions of people on four continents 
for one goal - freedom for the people of Tibet.  This year's 
Tibetan Freedom Concerts will take place in Amsterdam, Chicago, 
Sydney, and Tokyo.
	The concerts and the worldwide events that weekend will 
be linked by a common website, http://www.tibet99.com , the 
official site of the Tibetan Freedom Concert, while the broadcast 
is being streamed by the House of Blues ( http://www.hob.com ).
	Confirmed performers in Chicago include Run D.M.C., the 
Cult, Beastie Boys, Blondie, Roots, Outkast, Live, Eddie Vedder 
and Tracy Chapman.  In Amsterdam, artists include Garbage, Blur, 
Rage Against the Machine, Alanis Morissette, Ben Harper, Joe 
Strummer, Thom Yorke, and Luscious Jackson.  
---
TOUR DATES:
	Anti-Flag
Jun. 10 Los Angeles, CA Troubadour
Jun. 11 Anaheim, CA Chain Reaction
Jun. 12 Berkeley, CA Gilman Street
Jun. 13 Portland, OR 17 Nautical Miles
Jun. 14 Seattle, WA RKCNDY
Jun. 15 Eugene, OR WOW Hall

	Adrian Belew
Jun. 10 Boston, MA Middle East 
Jun. 11 Philadelphia, PA New Market Caberet 
Jun. 12 Hoboken, NJ Maxwell's 
Jun. 13 Arlington, VA Birchmere 
Jun. 15 Carrboro, NC Cat's Cradle 

	Boredoms
Jun. 11 Philadelphia, PA Trocadero
Jun. 12 Washington, DC 9:30 Club
Jun. 14 Cambridge, MA Middle East Downstairs

	R.L. BURNSIDE
Jun. 12 Anchorage, Alaska Anchorage Blues Festival
 
	Candy Butchers
Jun. 11 Denver, CO The Blue Bird

	Mary Chapin Carpenter
Jun. 10 Saratoga, CA Villa Montalvo
Jun. 11 San Raphael, CA Marin Arts Center
Jun. 13 Portland, OR Oaks Park
Jun. 14 Boise, ID Morrison Center
Jun. 15 Salt Lake City, UT Red Butte Garden

	Chapter In Verse
Jun. 11 Portsmouth, NH The Portsmouth Gaslight Co. 

	Ani DiFranco / Maceo Parker
Jun. 14 Vienna, VA Wolftrap
Jun. 15 Baltimore, MD Pier Six Pavillion

	Go Betweens
Jun. 10 Cleveland, OH Grog Shop
Jun. 11 Detroit, MI 7th House
Jun. 12 Chicago, IL Double Door
Jun. 14 Minneapolis, MN 400 Bar
Jun. 15 Milwaukee, WI Shank Hall

	Grinspoon
Jun. 10 Toledo, OH Main Event
Jun. 11 Pittsburgh, PA Metropol
Jun. 13 Dewey Beach, DE Bottle & Cork
Jun. 16 Hartford, CT Webster Theatre

	Ben Harper
Jun. 13 Amsterdam, Holland Tibet Freedom Festival

	Ben Lee
Jun. 10 Hollywood, CA The Palladium
Jun. 11 Las Vegas, NV House Of Blues
Jun. 12 San Diego, CA Open Air Ampitheater
Jun. 13 San Francisco, CA Warfield Theater
Jun. 15 Portland, OR Aladdin Theater
 
	Lilith Fair
Jul. 10 George, WA The Gorge
Jul. 11 Portland, OR Civic Stadium
Jul. 13-14 Mountain View, CA Shoreline Amphitheatre

	Mercury Rev
Jun. 11 New York, NY Irving Plaza
Jun. 12 Philadelphia, PA The Trocadero
Jun. 14 Pittsburgh, PA Graffiti
Jun. 15 Toronto, ON Opera House

	Alanis Morissette
Jun. 10 Dresden, Germany Junge Garde
Jun. 13 Holland Tibet Concert
Jun. 14 Brussels, Belgium Forest National
Jun. 15 Paris, France Le Zenith

	Van Morrison
Jun. 12 Chicago, IL Fleadh Festival
Jun. 13 New York, NY Roseland
Jun. 14 Wantagh, NY Jones Beach

	Mike Ness
Jun. 11 Boston, MA Berklee Performance
Jun. 12 Providence, RI Lupo's Heartbreak Hotel
Jun. 13 Hartford, CT Webster Theater
Jun. 15 Washington, DC 9:30 Club
 
	Beth Orton
Jun. 11 Cleveland, OH The Odeon
Jun. 12 Chicago, IL Fleadh Fest
Jun. 13 Minneapolis, MN The Quest
Jun. 15 Detroit, MI St. Andrew's Hall

	Pietasters
Jun. 11 Hoboken, NJ Maxwells
Jun. 12 Long Island, NY Praise Tabernacle
Jun. 13 Ithaca, NY The Haunt
 
	Rammstein
Jun. 10 Cleveland, OH Agora Theater
Jun. 11 Chicago, IL Odeum
Jun. 12 St. Paul, MN Roy Wilkins Auditorium
Jun. 14 Denver, CO Fillmore Auditorium
Jun. 15 Salt Lake City, UT Wasatch Events Center

	764-HERO
Jun. 10 Cambridge, MA The Middle East
Jun. 11 New York, NY The Mercury Lounge
Jun. 13 Morgantown, WV 123 Pleasant Street
Jun. 15 Columbia, MO Shattered

	Skunk Anansie
Jun. 10 Cleveland, OH Agora Theater
Jun. 11 Chicago, IL Odeon
Jun. 12 San Francisco, CA Bottom Of The Hill
Jun. 14 Los Angeles, CA Troubador

	Sonic Youth
Jun. 13 New  York, NY South Street Seaport

	Sparklehorse / Mercury Rev
Jun. 11 New York City, NY Irving Plaza 
Jun. 12 Philadelphia, PA Trocadero 
Jun. 14 Pittsburgh, PA Graffiti 
Jun. 15 Toronto Opera House 

	Rick Springfield
Jun. 11 Kansas City, MO Station Casino
Jun. 12 Columbus, OH Mekka-Metrostage Summer Concert Series
Jun. 13 Hershey Park, PA Hershey Park Amphitheater

	Sally Taylor
Jun. 11 New York, NY Mercury Lounge   
Jun. 12 Bryn Mawr, PA The Point 
Jun. 13 King of Prussia, PA Concert Under the Stars 

	Those Bastard Souls
Jun. 10 New York, NY Tramps

	UB40
Jun. 11 Las Vegas, NV The Joint - Hard Rock
Jun. 12 Los Angeles, CA KISS Radio Show
Jun. 13 San Francisco, CA Greek Theatre
Jun. 15 Denver, CO Mammoth Events Center

	Ultimate Fakebook
Jun. 10 Kansas City, MO Hurricane
Jun. 12 Fort Wayne, IN Back Door 
Jun. 14 New York, NY Coney Island High
Jun. 15 Columbus, OH Little Brothers

	Paul Van Dyk
Jun. 11 New York, NY Twilo
Jun. 12 Toronto , ON Industry
Jun. 13 Chicago, IL Club 950
Jun. 14 Miami, FL Shadow Lounge

	Verve Pipe / Papa Vegas
Jun. 13 San Francisco, CA Slim's
---
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