==== ISSUE 149 ====    CONSUMABLE     ======== [July 27, 1998]

  Editor:             Bob Gajarsky
                         E-mail: editor@consumableonline.com
  Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim 
                      Kennedy, Reto Koradi, David Landgren, Sean 
                      Eric McGill, Tim Mohr, Al Muzer, Joe Silva, 
                      Lang Whitaker
  Correspondents:     Tracey Bleile, Lee Graham Bridges, Scott  
                      Byron, Jason Cahill, Patrick Carmosino, 
                      Krisjanis Gale, Emma Green, Paul Hanson, 
                      Eric Hsu, Tim Hulsizer, Robin Lapid, 
                      Linda Scott, Scott Slonaker, Chelsea Spear, 
                      Simon Speichert, Jon Steltenpohl, Simon West
  Technical Staff:    Chris Candreva, Dave Pirmann
  Also Contributing:  Franklin Johnson

 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 
editor.
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                            .------------.
                            |  Contents  |
                            `------------'
INTERVIEW: John Bush, Anthrax - Sean Eric McGill
REVIEW: Anthrax, _Volume 8 The Threat Is Real_ - Sean Eric McGill
REVIEW: Beastie Boys, _Hello Nasty_ - Franklin Johnson
REVIEW: John Fogerty, _Premonition_ - Bill Holmes
REVIEW: Drugstore, _White Magic For Lovers_ - Simon West
REVIEW: Various Artists, _Amp 2_ - Krisjanis P. Gale
MINI REVIEWS: Dario G / Catatonia - Bob Gajarsky
REVIEW: Pulp, _Countdown 1992-1983_ - Simon West
REVIEW: Tripping Daisy, _Jesus Hits Like The Atom Bomb_ - Jon Steltenpohl
REVIEW: Shonen Knife, _Happy Hour_ - Chelsea Spear
SOUNDTRACK REVIEWS: _Baseketball_ / _Welcome To Woop Woop_ - Bob Gajarsky
REVIEW: Front 242, _Live Code_ - Krisjanis P. Gale
COMPILATION REVIEWS: Human League, Sugarcubes, Cravin' Melon - Bob 
   Gajarsky
NEWS: B-52's, Black Crowes, Consumable Online, Smashing 
   Pumpkins, Tom Waits
TOUR DATES: Tori Amos, Beastie Boys, B 52's / Pretenders / Royal 
   Crown Revue, Black Crowes, Blue Oyster Cult, Connells, Cravin' 
   Melon, Culture Club / Human League / Howard Jones, Dakota Moon, 
   Front 242, Nanci Griffith, HORDE Tour, Irving Plaza, Joan of Arc, 
   K's Choice, Lilith Fair, Metallica / Jerry Cantrell / Days of 
   the New, Phish, Phunk Junkeez / Clutch, Smokin' Groovies Tour, 
   John Taylor, Third Eye Blind / Our Lady Peace / Eve 6
THE READERS WRITE BACK!
Back Issues of Consumable
---
	INTERVIEW: John Bush, Anthrax
		- Sean Eric McGill
	I must be honest. I've not a fan of the interview process, 
the idea of just letting someone answer a question without any 
interjections from myself.
	But, I still do interviews from time to time, and I 
enjoy doing them with people who I really like as musicians, which 
is why I jumped at the chance to interview Anthrax's John Bush. The 
band, who have just released their latest album, _Volume 8 The 
Threat Is Real_ (Ignition), have always been pioneers in the hard 
rock field, and John and I sat on the other side of a phone line 
recently and spoke about the new album, touring, and a few other 
subjects.

	Consumable Online: It's been three years since _Stomp 424_ was
released...	
	John Bush: Well, not exactly three (laughs) more like two and 
a half.
	CO: Well, what has gone on between then and now?
	JB: Well, even though it's been a couple of years, it's not 
like we were sitting around picking our ass. We were writing and 
touring - obviously you got out tour for about a good year or a little 
longer after you release an album. And then the process of writing 
began, and for us it takes a little longer, especially on this record 
because we really wanted to concentrate on taking it to another level. 
So we really, really scrutinized on everything and worked super-hard 
on it and that process took about eight months.
	We started recording it, and then we took a break for a 
couple of months where we went on tour with Pantera, as well. It 
may seem like it was a long period of time when there was not much 
going on with Anthrax, but we were very busy.
	CO: And this album certainly does have a different sound on 
it; it's easy to see where all three of the albums that have come 
out since '93 have had a very different sound on them.
	JB: I totally agree with that. As a matter of fact, I'm real 
proud of the fact that I think every record I've done with the band 
is very different from one another.
	CO: When you came into the band, there was this fairly 
standard Anthrax sound that we had heard since _Spreading the 
Disease_ .  Did you bring something into the band, or did they get 
you and say "OK, now we can do all this other stuff we want to do"?
	JB: Well, you know, my ego wants to tell me that maybe that 
I opened the band up to other styles of writing that they felt they 
were unable to achieve with Joey Belladonna. I mean, I don't think 
that necessarily he was the reason, I'm sure everything he did 
with Anthrax was really positive.  Just maybe the band was ready 
to take a step and to do something different just because. It 
might not have changed without a personnel change or maybe I was 
the catalyst to it, but in any case, I do think that the band was 
ready to say was just ready to say "OK, we got to grow a little 
more here, and this is the way we're gonna do it"
	But you know, we're still a crushing rock band, and feel 
like we can do all kinds of stuff as witness to our record. It 
was important for us to take a step up in songwriting, I think 
that's the area we really grew in. We just became better writers, 
and we just seem to make the most out of whatever the length of a 
song is - four-and-a-half or five minute song or whatever, we 
feel like we get the most out of every second of that song.
	CO: You've been with the band for six years now, and the 
band itself has been around fifteen years. Why has Anthrax made 
it fifteen years, when most can't seem to make it the six you've 
been with them?
	JB: I know, it's amazing. Well, you know that's a good 
question, and without sounding arrogant, I just think we must be 
really good.  That's got to be one reason. Obviously, there's a 
demand for hearing Anthrax music. I think it's a band that's 
always been creative and done different things and willing to 
stick their neck out and say "We're going to try this and it 
might actually turn people off but it'll probably turn as many 
people on" and I think that's a great thing to do. And I think 
that on this record, I think it's exaggerated.
	Everyone's telling me that, and I know I feel that way, 
but people are telling us "Wow, this is really a diverse 
record". And I think this is kinda like the exclamation point 
on the band's career - I mean, I don't want it to be the end, 
but I just think that Anthrax has always been a band willing to 
take those kind of chances, and I think that's what keeps it 
fresh, and I think that's why it's an interesting group.
	There's a loyalty, even though sometimes we fight like 
cats and dogs, but deep down there's a loyalty and belief that 
we're really a great band.
	CO: Well, you talk about a band that's never been 
afraid to take a risk, I remember when Vibe magazine named 
"Bring the Noise" the best rap track of the year when that 
came out.
	JB: Well, yeah, there you go. "Bring the Noise" is one 
of the most increbible live songs ever. Sometimes I sit back 
and just freak on how crazy the crowd goes on that song. When 
we were touring with Pantera, it was like the highlight of the 
whole fuckin' show for any band, so that is an amazing song. 
And again, it goes shows that Anthrax is willing to do that. 
And it's probably one of the main reasons the band has had so 
much longevity and hopefully will have more. I mean, five 
more years, and that's a twenty-year career and that's a lot 
to be said.
	CO: And then you'll have done and been a part of 
something very few have.
	JB: Exactly, especially these days. You can sell five 
million albums on one album and then be history on the next 
one, and that's too bad. People are very, very narrow minded 
these days, and not only that, but their attention spans are 
minute.
	CO: And it's always easier to come out and do really 
well on your first album and then have people go, "OK, so now 
what have you got?" And if it's not what they were expecting, 
then they'll go find something else more often than not.
	JB: Yeah, because people spend so much time writing 
material before they get signed, that's why they have all 
these great songs. Then all of the sudden they have to make 
a second record, and it is difficult. But then again, 
remember that the public is so fickle these days, and with 
the evil that is MTV, and I say that with a bit of a 
tongue-in-cheek attitude, it creates this "Ah, that's 
great!" and then next week "That's great! Fuck last week!" 
and all that does if hurt the bands, because they're like 
"Well now what do we do?"
	CO: We are kinda stuck with MTV; there's really not 
much we can do about it at this point, although I do think 
it helps a bit that they're not playing as many videos as 
they used to.
	JB: I love that - I wish there weren't any videos. 
I wish it was "The Real World" and "Singled Out" all day 
long.
	CO: I thought it is. I flipped through there four 
times last week and every time it was "Road Rules".
	JB: I know, it's like "What the fuck is this?"
	CO: Are there any bands that you're particularly 
into right now?
	JB: I'm totally into the Foo Fighters newest 
album, I can't stop listening to it. I loved the last Faith 
No More record a lot, I thought it was brilliant and am very 
disappointed that they've called it quits. There's this band 
we just discovered out of England because we were there doing 
publicity called the Radiators that are fucking great. I'm 
looking forward to hearing the new Fear Factory album because 
I think they're a good, solid band. There's some great new 
music out there, and I try to stay away from anything too 
trendy, I like people who try to create their own identity, 
and that's not that easy to do.
	CO: The band is down to a four-piece in the studio, 
occasionally having guest musicians. On tour, do you bring 
someone with you?
	JB: Yeah, Paul Crook, who actually engineered our 
record and plays guitar on it is on the tour with us and he 
was on the previous tour, as well. He's like the fifth guy, 
even though he's not technically it, but he's almost more 
valuable than that because he engineered our record, and he 
plays lead - he just has all kinds of talent spewing from 
his pores.
	CO: How did you end up wanting to do music as a living?
	JB: I was exposed to music when I was about five 
years old by my older brother playing Beatles records, so I 
was lucking to have someone older than me turn me on to stuff, 
and I think it always was a part of me. Nobody really was 
musically inclined in my family, but I think that by the time 
I got into junior high I was just so into music, and it seemed 
like me and a circle of my friends were just kinda adventurous 
when it came to listening to different kinds of music and 
finding new bands, and we would be the ones finding someone 
and turning everyone on to it. We were in to that, and 
there's always a group that's like that, and then there is 
the mainstream.
	And then someone turned me on to singing - it was 
basically because I had this persona of a rock singer because 
I was kinda popular and a little bit of a big mouth and I fit 
that stupid stereotype. Which is funny because in a weird way 
I'm nothing like that, and people actually comment on that, 
that I'm the kinda anti-lead singer. It was just something 
that I really got into, and as I matured and got older I 
realized that I was really into it and started paying attention 
to how music is made and all that, and now I take it extremely 
serious.
	CO: How did you end up with Anthrax?
	JB: Well, I was in a band previous called Armored 
Saint, and we released five records and were around for about 
nine years. We never really achieved the success that Anthrax 
did, but we still had a world-renowned name, and they were 
aware of me based on that, and I guess they figured that when 
they parted ways with Joey Belladonna that my singing style 
would compliment their music. So we got in contact and 
eventually jammed and there was that chemistry and the rest 
is history.
	CO: In the live sets now, since you have three albums 
worth of material that you recorded with the band, is that 
pretty much what you concentrate on?
	JB: I think we're gonna play everything across the 
board, but we will exaggerate this record which is what you 
usually do when you have a new album. But we'll play stuff all 
the way through, and my goal is to play a couple of different 
songs from the old stuff. I don't want to play the obvious 
songs of older Anthrax, I want to do something different because 
I think people are just sick of that. I just want to experiment 
a little bit.
---
	REVIEW: Anthrax, _Volume 8 The Threat Is Real_ (Ignition)
		- Sean Eric McGill
	I began my review of Anthrax's last album, Stomp 442,  
with these words:
	"By conventional wisdom, Anthrax shouldn't be in existence. 
After more than a decade at the top of the metal pack, the future 
didn't seem to bode well for the band. They were, after all, a 
heavy metal act - not grunge, and as so many of the top acts of 
the eighties fell to the wayside during the first part of this 
decade, Anthrax seemed to be set up to suffer the same fate." 
	Well, it's now 1998, and Anthrax still hasn't bowed out. 
Instead, they've come out with _Volume 8 The Threat Is Real_, 
easily the most diverse and challenging album of their now fifteen 
year career. In fact, if you didn't have the album cover sitting 
there in front of you, there are quite a few songs on Volume 8 
which you wouldn't even recognize as being Anthrax. 
	"Toast to the Extras", complete with a country twang, is 
the most obvious case of the band trying something different than 
they have on previous albums, but that's not to say that the whole 
album is like that. For those of you who remember Anthrax as the 
kind of band that could peel the paint off walls, there's plenty 
here for you. Tracks like "Born again Idiot", "Inside Out" and 
"Killing Box" are among the most brutal the band has released 
since the early 80's. 
	Still a four-piece, the band - like on their previous 
release - uses a couple of guests to add to their sound, most 
notably on this release Dimebag Darrel and Phil Anselmo from 
Pantera. Also, touring guitarist Paul Crook is featured heavily 
on the album (not to mention he engineered and co-produced the 
album) alongside the remaining lineup of John Bush, Scott Ian, 
Frank Bello and Charlie Benante.
	Written, produced, and recorded by the band at their own 
studio between their departure from Elektra Records and signing 
with Tommy Boy imprint Ignition Records, Volume 8 is full of 
honest, aggressive songs. It is easily the perfect catalyst for 
Anthrax as they approach the second half of their second decade 
as a band. 
	And when you step back and take a look at the big picture, 
that's probably the biggest compliment you could pay the album 
and the band. Fifteen years into a career; they're still writing 
relevant songs and not hanging on to the success of the past. 
There are a lot of bands that came out fifteen years ago who don't 
even exist anymore, not to mention the bands that are out today 
that won't even be blips on the musical radar a decade and a half 
from now. But for reasons ranging from their personalities to 
(most importantly) the sheer quality of their music, Anthrax has 
made it where few others have. Volume 8 is nothing less than one 
of the best albums of the year, and easily the best of their 
career.
---
	REVIEW: Beastie Boys, _Hello Nasty_ (Capitol)
		- Franklin Johnson
	I hate hearing _License To Ill_ blaring out of fraternity 
jocks' stereos, thinking they're somehow cool by hearing the 
Beastie Boys in their earliest creative days.  Fortunately for 
you, me, and the rest of the world, the Beasties have never 
stopped evolving with some of the best music to ever hit 
the street on _Hello Nasty_.
	With a title based on the way their publicity firm 
(Nasty Little Man) answers the phone, this disc is the essence 
of maturity, sampling technology, and incredible vision.  
Samples range from Tito Puente to Run DMC, beats which were 
only hinted on since the days of _Paul's Boutique_, are 
in full effect with _Hello_.
	All the traditional Beastie elements - samples from 
every imaginable source, the feeling for the street, and 
keeping it real - can be heard here.  _Hello_ can serve 
as the soundtrack to a blaxploitation film, an outstanding 
fusion of hip-hop and rap, or a space age feeling of ambience, 
seemingly all at once.  Sure, there are potential singles 
("Super Disco Breakin'", "The Negotiator Limerick File" and 
the first one, "Intergalactic"), but they don't seem to matter 
much.  Selecting two or three songs from this collection, and 
presenting them independent of the rest of the disc, is akin 
to trying to select the best part of a seven course meal at 
an exclusive French restaurant.  You may pick out something 
special, but it's the whole dinner - not just one part - that 
leaves you feeling full and complet
	I just know that the sample listing included here isn't 
complete, because there are so many beats that I've heard 
before at some point in my life.  The Beasties' magic formula 
is to incorporate everything you've ever heard before, 
and turn it into something completely different.  With 
_Hello Nasty_, all those years of hard work have finally paid 
off with a masterpiece.
---
	REVIEW: John Fogerty, _Premonition_ (Reprise)
		- Bill Holmes
	Fresh off the Grammy success of _Blue Moon Swamp_, John 
Fogerty has finally wrestled his Credence catalogue demons to 
the ground and is comfortable - no, make that excited - about 
performing some of the best American rock and roll music ever 
made for a whole new generation. If you lived from single to 
single with Creedence thirty years ago like I did, the music 
is as vital and refreshing as ever. And if you're a new 
y'alternative sort checking out this fossil (although besides 
Jeff Beck, few sixties rockers look better), put those Wilco 
and Son Volt CDs down for a minute and hear what Tweedy and 
other current purveyors cut their teeth upon.
	Aerosmith proclaims themselves the best rock American 
rock band, but for a few short years there was no band more 
productive, successful or dynamic than Credence. Fogerty's 
songs were playful or joyous or sometimes pointedly painful, 
but behind it all a rhythmic pulse churned away. The bass player 
never funked out, the drummer kept time in best Charlie Watts 
tradition, and the guitar work steered the ship rather than 
ignite the engines. Thankfully, Fogerty hasn't forgotten what 
made those great songs so great three decades later. The band 
on this live CD is crackerjack, but the song is the star of the 
show, not the solo. Kicking off with a vibrant "Born On The 
Bayou" (which, ironically, he wasn't!), _Premonition_ rips 
through eighteen tracks including a dozen hits, his popular 
solo efforts "Centerfield" and "The Old Man Down The Road", 
and a touching ode to his wife, "Joy Of My Life". Fogerty is 
in great voice, and if you have seen the VH-1 special that most 
of this was recorded at, his guitar playing is better than ever.
	Well, okay, it would be nice to have "Who'll Stop The 
Rain" or "Sunday Never Comes", but rather than complain, why not 
appreciate the killer renditions of "Almost Saturday Night" (he 
must have heard Dave Edmunds' version!) and "Rockin' All Over 
The World" that are here? And, sure, perhaps "Fortunate Son" 
isn't as angry or volatile as it was the first time around, 
but how could it be? The original was released during the peak 
of the Vietnam War as one of the most literate and emotional 
reactions of its time. It's still a great song, and features 
one of Fogerty's best vocal performances on the record.
	Through it all, John sounds like he is celebrating the 
joy of sharing his music once again. But rather than an artist 
recalling his career at day's end, he seems more like a man 
setting the standards for what he'd like to do in the future. 
Bring a nickel, tap your feet.
---
	REVIEW: Drugstore, _White Magic For Lovers_ (Roadrunner)
		- Simon West
	The second album from international quartet Drugstore is one 
of those records that reminds you why you spend all your money on 
music, scouring magazines and web sites for the latest artists and 
releases, wasting hours in used CD shops flicking through the racks. 
It's that good.
	_White Magic For Lovers_ adds Ian Burdge on cello to the 
lineup, adding a drama and fuller sound missing from the eponymous 
debut. Augmented in places by violins, horns, and even a mariachi 
band on one track, the sound here is more polished and complex than 
before. Singer Isabel Monteiro's voice is wonderful - by turns 
vulnerable, growling, pleading and demanding - beautifully expressive.
	The album kicks off with live favorite "Say Hello", an ode 
to the "junkies, the sinners and the creeps".  Other highlights 
recent single "El President", a dramatic, flamenco-soaked song about 
the overthrow of Chilean leader Allende, featuring a duet with 
Radiohead's Thom Yorke. "Song For Pessoa" is a haunting acoustic 
tune for Portugese poet Pessoa, "I Know I Could" is a plaintive tune 
where the dark side of Monteiro suggested by the self-made voodoo 
dolls on the album cover rears its head: "I could do so much harm / 
I could do you no good / I'll leave a stain in your heart / I 
would", she whispers over acoustic guitar and cello. "Mondo Cane" is 
a driving, noisy little bash with Moneiro in terrific form, growling 
and snarling; "You can stuff your beliefs and your nursery rhymes / 
I drink 'til I'm senseless whatever the wine / With no hope / No 
glory / And no Jesus Christ / We all turn into ashes / Welcome to 
the show."
	There are a couple of weak spots - guitarist Daron 
Robinson occasionally takes over lead vocals, removing some of 
Drugstore's magic. When Monteiro sings, however, there's a drama, 
a spark and a shadow to Drugstore that I've not heard from any new 
band in a good few years. Final song "The Funeral" is a case in 
point - a lovely little waltz about dying that wanders through 
such typical images as snow in July, fireworks and roses, before 
Isabel, in a dreamy little voice, suggests "All my ex-lovers will 
talk through the night / Heart breaking tales of passion and 
pride / They will say / That I had a cunt made of gold."
	_White Magic For Lovers_ is a terrific album, the sort 
of discovery that leads you on endless journeys around record 
shops for that last b-side you need to complete your collection... 
Beautiful, dark, dramatic and melodic, one of the albums of the 
year. The sort of band a fanatical following springs up around, 
and quite right too.
---
	REVIEW: Various Artists, _Amp 2_ (Astralwerks)
		- Krisjanis P. Gale
	This second compilation from the techno-centric MTV Series 
"Amp" is a radical departure from the first batch of ambient, 
intelligent dance (IDM), and techno.  You will not find any tracks on 
this Amp by Future Sound of London, Underworld, Chemical Brothers, 
and the like.
	What you will find, however, is a pretty fresh collection of 
all that is trip hop.  What is trip hop?  Imagine old school rap 
producers suddenly thrown headlong into a room full of synthesizers and 
beat boxes.  What you get is something considerably new and different.
	On _Amp 2_ , you will find rap greats Method Man, the Low-Fidelity 
Allstars, Chuck D, Public Enemy, Kool Keith, and KRS One right alongside 
Prodigy, Pigeonhead, Ticc-Tacc, Amber Sunshower, Hardkiss, and Goldie.  
It's this sort of cooperational effort that will ensure that hip hop 
flava will live on in a future generation of electronic street shakers, 
and you get to hear it here.
	Aside from the breakthrough co-ops, you'll find the number one 
single "Rockefella Skank" by Fatboy Slim, a deliciously bassified Jungle 
Brothers track, an Air tune remixed by Beck, the hard-hitting tour 
de'force "Genius" by Pitchshifter and remixed by Luke Vilbert, a bizarre 
Adam F. headtrip mixed up with some DJ Jazzy Jeff loops, the 
tried-and-true "Brown Paper Bag" by drum and bass pioneer Roni Size, and 
"Bang On!" by the Propellerheads, which can only be described as 
breakbeat-infused experimental hardcore acid trance.
	I have to admit that I didn't receive this disc very well when I 
first listened to it.  But it grew on me as soon as I realized I don't 
own anything at all like it.  It's a great mix, and it's probably unlike 
anything you've heard before.
---
	MINI REVIEWS: Dario G / Catatonia
		- Bob Gajarsky
	A U.K. number one record is no testament to greatness, as 
many previous British chart-toppers can attest.  The latest in the 
line of pretenders to the throne is the British trio of Scott 
Rosser and non-siblings Paul and Stephen Spencer, better known as 
Dario G.
	'That' single which captured radio listeners across 
Europe and was even chosen by Nelson Mandela as the theme song 
for the Red Cross promotional campaign in South Africa is "Sunchyme". 
A combination of world-music dance beats, lilting piano and a 
mix of the Dream Academy's 1985 hit "Life In A Northern Town", 
"Sunchyme" perfectly utilizes the power of sampling technology and 
creative spirits.  Unfortunately, the rest of _Sunmachine_ 
(Kinetic/Reprise) is nothing more than a series of blips on the 
musical map.
	The title cut here samples David Bowie's "Memory of a 
Free Festival", and is the only other tolerable track on an 
otherwise forgettable debut.  "Carnaval De Paris" sounds like 
"Clementine" performed at a bar-mitzvah, and the rest of the album 
reflects a cleansed version of ambient and techno music in a 
seemingly never-ending series of repetitive derivative beats, 
stripping its soul and leaving what remains behind - elevator music.
	A third-rate Utah Saints.

	Another group 'cursed' with the UK number one position 
is the Welsh band Catatonia.  Fronted by the charismatic Cerys 
Matthews (who had the good sense to duet with Space on "The 
Ballad of Tom Jones"), they hit the top of the charts in Britain 
with the full-length album _International Velvet_ (Vapor / Warner).
	There's no denying that the group has the *potential* to 
record one of the 'classic' British albums; "Mulder and Scully" 
(which, other than the title, has no X-Files references, thank 
goodness) is a top-notch indie-rock classic which lives up to 
all the advance billing.  "Road Rage", the follow-up single, 
also turns down the same path of guitar rock which has been 
falling from favour in 1998 Britain.
	These two key cuts provide ample evidence of Catatonia's 
abilities.  Unfortunately, much of the remainder of _International 
Velvet_ languishes in the level of B-sides.  "Game On" and "I 
Am The Mob" are top notch album tracks, but from there, things 
go downhill.  "Don't Need The Sunshine" could be an acoustic 
Beautiful South song, but this critic thinks "Sunshine" is an 
example of a good idea not quite completed.  "Why I Can't Stand 
One Night Stands", may be a great title, but the song plods 
along without much purpose.
	Definitely of interest to fans of UK indie-rock, 
Catatonia's American debut falls short of the expectations 
launched by the massive international hype machine, and 
the music-buying public would have been best served with this as 
a 6 song EP, until enough good songs were composed.  More than 
anything, the success of _International Velvet_ amplifies the 
dearth of good independent British groups.  
---
	REVIEW: Pulp, _Countdown 1992-1983_ (Fire)
		- Simon West
	Pulp finally met success with 1994's _His 'n' Hers_, and 
superstardom followed shortly thereafter. This, however, was the 
culmination of more than a decade of existence, the recorded 
history of which is collected on _Countdown_, a double-disc set. 
Unfortunately, for the most part it justifies the decade of 
obscurity - Pulp weren't much fun to listen to in the Eighties...
	The best material here is the initial batch  from 1991's 
"Countdown" single and 1992's _Separations_ album. "My Legendary 
Girlfriend" and "She's Dead" contain some of the lyrical style 
and vocal delivery of later work. We go downhill from there. The 
music gets less interesting, the vocal considerably less tuneful 
and compelling. The low point of disc 1 is reached at the end 
with "They Suffocate At Night", from 1987's _Freaks_ album, an 
uncomfortably tuneless effort that leaves you wondering who 
actually allowed it to be recorded at all.
	Disc 2, unfortunately, doesn't get any better. As we move 
further back in time, there's less and less recognizable Pulp 
and more and more reasons to be amazed at the astonishing 
increase in quality that occured in the early 1990s. By the 
time we reach selections from 1983's _It_ there's even a bloody 
flute in it, along with a warbling vocal that's not particularly 
easy on the ears. By the time the extended version of _Countdown_ 
closes the collection, it sounds like an absolute classic by 
comparison.
	Pulp completists would be advised to pick up _His 'n' 
Hers_ and accompanying singles, the _Pulpintro_ compilation and 
the aforementioned _Separations_. These showcase the evolution of 
Pulp while maintaining a high quality throughout. About the only 
argument for picking up _Countdown_ would be its budget price. 
It's easy to see why even Jarvis Cocker advised against buying 
it. It's hard to imagine deliberately listening to most of this 
more than once. For absolute completists only.
---
	REVIEW: Tripping Daisy, _Jesus Hits Like The Atom Bomb_ (Island)
		- Jon Steltenpohl
	When Tripping Daisy first got signed, their independent album 
was so good that Island Records re-released it as originally recorded.  
Their regional following in Texas was rabid, and their live shows were 
so good that there seemed no limit to their potential.  Unfortunately, 
Tripping Daisy's second album only spawned the minor hit "I Got a 
Girl" and didn't seem to shift them out of "promising" gear.  In 
concert, the band still was incredible, but it hadn't translated in 
the studio.  _Jesus Hits Like The Atom Bomb_ meanders again with a 
shift in sound, and instead of fulfilling their grand promise, Tripping 
Daisy sounds like they're starting over.
	Instead of a halfway goofy take on Jane's Addiction, Tripping 
Daisy's sound is now somewhere between The Beach Boys, Pink Floyd, 
David Bowie, and The Pixies.  Unfortunately, this is exactly the kind 
of sound Frank Black drifted to after breaking up The Pixies, and he 
did a much better job of it.  Space sounds, soaring harmonies, and 
random distortions alternately stimulate and ruin this album.  
Tripping Daisy is going for something on a grander scale, but the 
effect is lost.  The band sounds like a bunch of talented alternative 
rockers trying to play a 70's art rock song book. It's not horrible, 
but they'd be better off sticking to their own style.
	Take "Sonic Bloom".  It's got a catchy little melody with the 
potential to be another "I Got a Girl."  "I can't believe it happened 
to me," swoons Delaughter, "the magic's in my heart".  Cute, but 
unfortunately, Tripping Daisy frames it with a shoegazer/4AD kind 
of sound.  In the hands of The Cure, this song becomes "Friday, I'm 
in Love", but Tripping Daisy doesn't pull it off.  They can't leave 
well enough alone, and add Beach Boy harmonies and a Pink Floyd-esque 
whistling chorus.  "Mechanical Breakdown" almost come out okay.  In 
the beginning, it's fun and punky, and, at the core, it feels like 
a DIY pop-punk song.  But by the end, the song veers severely off 
course.  It meanders near a David Bowie space rock sound, and then 
mutates into a horrible screeching vocal section that's just plain 
wrong.  Some songs, such as "New Plains Medicine" are virtually 
unlistenable for similar reasons.
	_Jesus Hits Like The Atom Bomb_ takes one shot at respectability 
with a three song montage of "Our Drive to the Sun", "Can A Man Mark 
It?", and "Human Contact".  Somehow, these songs put it all together.  
If the entire album was like these three songs, it would rival both 
Bowie and Pink Floyd's best.  They are full of sonic grandeur and 
careful restraint that goes beyond just the melody.
	Unfortunately though, they aren't representative of the album 
as a whole.  Tripping Daisy has always written decent songs, and 
there is no doubt that these songs will sound much better in concert, 
which lately is a rare feat.  However, it feels too much like an album 
of studio experimentation that hasn't had a chance to develop into a 
mature sound. In other words, _Jesus Hits Like The Atom Bomb_ puts 
Tripping Daisy back at square one.  Their new sound is an admirable 
attempt, but despite 3 albums under their belt, Tripping Daisy still 
just remains a band with great promise.
---
	REVIEW: Shonen Knife, _Happy Hour_ (Big Deal)
		- Chelsea Spear
	The word "cute" hangs around the collective necks of 
Shonen Knife like a large albatross - or a cuddly dodo, if 
you prefer.  The constant citing of the word in reference to 
this trio of talented, playful musicians has some root in 
reality; a quick glance at the lyrics sheet for their latest 
album, _Happy Hour_, reveals odes to the Jackalope and the 
sushi bar, admonishions to watch out for people traps and to 
catch your bus, and an account of one of the most beloved game 
shows on Japanese television.  This isn't typical song fodder 
outside of Dr Demento's radio show, and their loose handle on 
the English language gets condescending pats on the head from 
music critics who should know better.  Most reviews gloss over 
what amazing songwriters and musicians this power trio is in 
favour of their camera-ready adorableness.
	The Knife's latest album, _Happy Hour_, reveals the 
band to be deepening their craft.  The tight, cohesive ensemble 
gets to demonstrate their considerable skills over thirteen 
tracks; the songs are spot-on ear candy for any power pop 
fiends, short and melodic enough to hold the shortest attention 
spans, decorated with the spangly musical jewelry of well-placed, 
attention-getting hooks.
	What's more, Shonen Knife seem to be experimenting with 
new ideas, bringing elements of the intriguing sounds that have 
been developing in recent pop to their time-honored, Ramones- 
and Cheap Trick-inspired tunes.  Granted, in some places this 
approach works better than others; the electronica dabbling of 
"Shonen Knife Planet" falls flat under its own chirpiness.  
However, the bridge for the infectious "Banana Chips" is awash 
in a shoegazer guitar drone reminiscent of My Bloody Valentine 
on a sugar high, and the vocal harmonies and handclaps recall 
the vibrant sonic colours and bratty attitude of Lush.
	With the rest of the album, the Knife remind their 
audience of their endearing nature with their familiar blend 
of infectious guitar pop.  Sure, tunes like the giddy 
"Konnichiwa", a Number One hit in any other galaxy, might not 
be the most profound musical statements ever committed to 
aluminum discus, but for tunes that will slap a smile on your 
face and put a spring in your step, they can't be beat.  If 
you're looking for a party album par excellence, whip out the 
banana chips and the hot chocolate, roll out the trampoline, 
and throw _Happy Hour_ on the turntable.  You won't be 
disappointed.
---
	SOUNDTRACK REVIEWS: _Baseketball_ / _Welcome To Woop Woop_ 
		- Bob Gajarsky
	Gen-X meets the Extreme Games, at least in principle, on 
the soundtrack to _Baseketball_ (Mojo).
	The film - which stars Trey Parker and Matt Stone, to 
whom Comedy Central is forever indebted for South Park - is 
about the new sport (baseketball) which is catching on across 
the nation.  The team is bad news, but isn't the bears - 
rather, they are the beers.  And so goes the spirit of the 
film.
	The soundtrack takes the same So-cal feelings and vibes 
by incorporating many of the West Coast's newest and most 
exciting bands into a mix of original and previously-released 
songs.
	Reel Big Fish make two appearances here, with "Beer" 
and the ska-dified, previously-unavailable commercially cover 
of A-Ha's smash, "Take On Me".
	The bands featured here are fairly predictable in their 
originals, or re-interpretations.  If the Dickies' cover of 
the Banana Splits theme remains etched in your memory, 
make room for their punk cover of the Isleys' "Nobody But Me"
Harry Belafonte's calypso-tinged "Jump In The Line" is covered 
by Cherry Poppin' Daddies, and the Smashmouth cover of 
War's "Why Can't We Be Friends" appeared on their 1997 debut album.
	New standout tracks from Deep Blue Something ("Tonight" - 
which gratefully is nothing like the predictable "Breakfast At 
Tiffany's") and Supersuckers ("Psyched Out") bring a renewed 
feel of excitement to album listeners.  The psychedelic-tinged 
"Lemon Yellow" from Plastiscene (from their forthcoming album) 
gives listeners a chance to catch the latest Oasis-influenced 
wave straight from England.
	An ironic inclusion here is Soul Asylum's "I Will Still 
Be Laughing", from their abysmal _Candy From A Stranger_ .  This 
group might have fit in wonderfully during their Twin-Tone days, 
but post- _And The Horse They Rode In On_ material shows a band 
which has lost their fiery edge...to most of the other acts 
included here.
	Just like the movie, the soundtrack to _Baseketball_ 
may not stand up several years down the road - but for now, 
it's perfect.
	A standout collection.  But while _Baseketball_ gives 
listeners a great reason to plunk their hard-earned money on 
the counter, two other soundtracks offer mixed bags.
	The soundtrack to _Welcome To Woop Woop_ (Universal) 
includes a large number of classic musical songs remade by 
today's artists, but doesn't produce the expected results.
	Producer extraordinairre Junior Vasquez offers up 
some remixing on the Peggy Wood reworking of "Climb Ev'ry Mountain
and Robin S' version of "You'll Never Walk Alone" while 
Moodswings and Neneh Cherry, Reel Big Fish and Poe also provide 
90s covers of Rodgers and Hammerstein classics.  Junior's dance 
remixes aren't bad, but they won't appear on any of his 
greatest-hits compilations.  And, by the same note, the lackluster 
execution of the Rodgers/Hammerstein songs can't be excused by 
claiming the 'songs' themselves were never any good.
	Chumbawamba's "Timebomb" doesn't make quite as good use 
of Stephen Stills' "For What It's Worth" lyrics as Public Enemy did, 
and Boy George's title track is on the ragga tip - as much as he 
can be.  Merril Bainbridge's pairing with reggae master Shaggy on 
the Sonny & Cher song "I Got You Babe" regretfully under-utilizes 
both of their skills to question why this cover was ever included.
	Listening booths are provided for a reason.  Utilize one 
before purchasing this soundtrack.

	BASEKETBALL ARTISTS LISTING: Reel Big Fish, Nerf Herder, 
Deep Blue Something, Supersuckers, Plastiscene, Soul Asylum, 
Cherry Poppin' Daddies, Louchie Lou & Michie One, Ernies, 
Goldfinger, Dickies, Smashmouth

	WOOP WOOP ARTIST LISTING: Cake, Reel Big Fish, Chumbawamba, 
Poe, Boy George, Merril Bainbridge / Shaggy, Moodswings / Neneh Cherry, 
Eels, Robin S, Peggy Wood
---
	REVIEW: Front 242, _Live Code_ (Play it Again Sam)
		- Krisjanis P. Gale
	A bit more quick-and-dirty than polished studio productions 
by Front 242, but it's all here - everything that has made the group 
remain true to the industrial genre.  Beautifully architected 
orchestral facades.  Long introductions and bridges, filled with lots 
of dirty, distorted leads.  Lots of cryptic lyrics with heavy german 
accent, and enough modern age angst to grind any casual luddite into 
dust.
	This is the sort of music you would hear in the late 80s/early 
90s, when industrial was quite new to college radio; before the mainstream 
had ever heard of Nine Inch Nails, Skinny Puppy, Ministry, Meat Beat Manifesto, etc.
	Hardcore fans of Front 242 will find live versions of some of 
their favorite tunes from _Tyranny 4 You_, including really decent 
performances of "Tragedy For You" and "Headhunter', two of my favorites 
from way back in the day.
	At first listen, I was a bit surprised to hear tunes that were 
so dated, but then I looked at the date of the performance - October 
25, 1993.  And then I was able to just revel in nostaligia, remembering 
a time before the term "electronica" was even coined; a time when 
freeform musical experimentation was more important than record sales.
	Despite the fairly sketchy job on the live mix by the on-stage 
engineers, this is an important piece of history, and anyone seeking to 
expand their collection of industrial music should pick this disc up.
---
	COMPILATION REVIEWS: Human League , Sugarcubes , Cravin' Melon
		- Bob Gajarsky
	When I heard that a greatest hits album had been slated 
for the Human League, my initial reaction was positive; finally, 
there'd be an addendum to the 1988 release of their hits.  Perhaps 
this one would include the Giorgio Moroder / Philip Oakey 
collaboration "Together In Electric Dreams" which was included on 
the 1988 UK release, but inexplicably omitted from the stateside 
version.  Hopefully, their later hits ("Heart Like A Wheel", 
"Tell Me When" and, maybe even the 1996 pseudo-techno remix of 
"Don't You Want Me" - which doesn't fare well when compared to 
the original synthpop version but does work if thought of in a 
separate context - would see the collection.
	Amazingly, all of these things came to pass.  _The Very 
Best Of The Human League_ (Ark 21), 1998 version, affords 
today's listeners a glimpse into the American success of one of 
the pioneers of 80s synthpop, from the original "Don't You Want 
Me" to its techno remix, and nearly all of the group's American 
hits.
	In addition to the thirteen songs comprising this 
collection, a nearly 10 minute chat with the band about their 
origins (based around a Kraftwerk record and Donna Summer 
track), the formation of Heaven 17 from the implosion of the 
League and their breaking in the states is of curious interest 
to the loyalists.
	Since the Human League achieved much of its success 
outside of America, worldwide fans may want to seek out more 
comprehensive collections.  But for American completists, synthpop 
fans who didn't purchase the 'hits' album the first time around, 
or those longing for a CD version of the Electric Dreams title 
cut, this collection is for you.

	TRACK LISTING: Don't You Want Me (Original and Snap Remix), Love 
Action (I Believe In Love), Mirror Man, (Keep Feeling) Fascination, 
Tell Me When, Stay With Me Tonight, Human, Together In Electric 
Dreams, Heart Like A Wheel, One Man In My Heart, Being Boiled, 
The Lebanon

	
	For three albums, the Sugarcubes delicately walked the line 
between innovative music and accessible music, always challenging the 
status quo with cutting-edge music from a country (Iceland) whose 
music already seemed too far removed from the mainstream.  Somehow, 
the Sugarcubes - and eventually with her solo career, Cubes' lead 
singer Bjork Gudmundsdottir - made the mainstream move a little 
closer to them.
	_The Great Crossover Potential_ (Elektra) (the album's 
title emanates from an industry executive commenting that by modifying 
their sound slightly, they could have great crossover potential - 
something the band ignored) neatly wraps up their brief but bright 
career.  Their three albums - the groundbreaking _Life's Too Good_, 
_Here Today Tomorrow Next Week_ and their finale _Stick Around For Joy_ 
are all adequately represented by their key tracks and singles. 
	"Birthday", with its "Walk On The Wild Side"-like guitar 
riff;' the Motown-meets-the Cure done up with a twist on "Vitamin", 
the hooks no-one else discovered, before or since, on "Cold Sweat" 
and "Motorcrash", and Einar Orn's just plain strange repetitive lines
(squeaky clean on "Deus" and screaming out "I really don't like 
lobster!" on the smash "Regina") mixed with the deliberate 
off-key notes and wrong-chord changes all somehow make perfect 
sense combined with Bjork's vocals.  Bjork's foray into the world 
of trip-hop predates what was musically acceptable, but there's 
even a bit of scratching on the modern rock #1, 
appropriately-titled "Hit".
	Always ahead of their time, the Sugarcubes' _The Great 
Crossover Potential_ presents an opportunity to look in hindsight at 
the music that was too weird to get played 10 years ago - even on 
the same modern-rock stations that today welcome Bjork with open arms.

	TRACK LISTING: Birthday, Cold Sweat, Mama, Motor Crash, Deus, 
Regina, Pump, Planet, Water, Hit, Vitamin, Walkabout, Gold, Chihuahua

	
	The pride of South Carolina, Cravin' Melon have followed 
up their debut album (_Red Clay Harvest) with a live seven song 
E.P., _Squeeze Me_.
	Nearing their fifth year as a unit, Cravin' Melon has 
slowly started to receive nationwide recognition which had 
previously only been focused from their Southern base.
	Recorded at the House of Blues in Myrtle Beach, South 
Carolina, _Squeeze Me_ incorporates five previously-unreleased 
songs on disc, along with their first Mercury single, "Come 
Undone" and the breakthrough anthematic ode to that 
uniquely-Southern drink, "Sweet Tea".
	The live tracks come through with the same enthusiasm 
which is present at a Melon concert, and "Ex-Stepmother", a 
bouncy, upbeat rocker, about (of course) an ex-stepmother who's 
gay, is done in such a fun way, it could erode some of the 
pre-existing biases towards Southern acceptances of alternative 
lifestyles.  The Hoyt Axton cover of "Never Been To Spain"
isn't much different than other versions of that classic, but 
the remainder of the tracks - including "Camelot" - are a 
pleasant treat to the group's loyal fans.
	Recommended for fans of the 90s version of Southern rock.

	TRACK LISTING: Come Undone, Running, Ex-Stepmother, Land 
of Oz, Never Been To Spain, Camelot, (hidden track) Sweet Tea
---
NEWS:	> The B-52's have released a 12 song video 
retrospective of their career.  Titled _Time Capsules 
Songs For A Future Generation_, the collection includes 
10 songs from their recent greatest hits as well as 
"Legal Tender" and "Girl From Ipanema Goes To Greenland".
	> The Black Crowes' first album for Columbia, _By 
Your Side_, has now been moved back to a November 17 release 
date.  In addition, there will be a deluxe, digitally remastered 
box set released on August 11. 
	The box set will contain all the band's albums, along 
with seven full length videos, screensavers, a bonus live EP featuring 
five unreleased songs from 1995 at New York's Beacon Theatre, and 
seven other bonus tracks.
	> Consumable Online, the Internet's oldest publication 
dedicated to music reviews, has been named the recipient of the 
"Best of the Net" award for alternative music from the Mining 
Company for the month of July.
	> Smashing Pumpkins fans based in the Big Apple can get a 
chance to see the band perform live on the David Letterman show 
on July 30, outside the Late Night studios on 53rd Street.  The 
band will also be performing on Live with Regis & Kathie Lee on 
August 4th. 
	> Tom Waits has recently been signed to a one 
album deal to Epitaph.
---
TOUR DATES:
	Tori Amos
Jul. 28 New York, NY Madison Square Garden
Jul. 29 Philadelphia, PA CoreStates Spectrum
Jul. 31 Poughkeepsie, NY Mid-Hudson Civic Center
Aug. 1 Boston, MA Fleet Center
Aug. 2 Springfield, MA Symphony Hall
Aug. 4 Wallingford, CT Oakdale Theatre
Aug. 5 Albany, NY Palace Theatre

	Beastie Boys
Jul. 31 Seattle, WA Key Arena 
Aug. 1 Vancouver, BC PNE Coliseum 
Aug. 2 Portland, OR Rose Garden Arena 
Aug. 4 Salt Lake City, UT E Center 
Aug. 5 Denver, CO McNichols Arena 

	B 52's / Pretenders / Royal Crown Revue
Jul. 28 Phoenix, AZ Blockbuster Desert Sky Pavilion
Jul. 30 Englewood, CO Fiddler's Green Amp.
Aug. 1 Concord, CA Concord Pavilion
Aug. 2 Irvine, CA Irvine Meadows Amph.
Aug. 3 Paso Robles, CA California Mid-State Fair
Aug. 4-5 Universal City, CA Universal Amphitheatre

	Black Crowes
Jul. 28 Philadelphia, PATheatre Of The Living Arts
Jul. 30 Baltimore, MD Bohagers
Jul. 31 Washington, DC 9:30 Club
Aug. 1-2 Aspen, CO Concert For Harmony

	Blue Oyster Cult
Aug. 1 Darrington, WA Classic Rock Music Fest @ White Horse Mountain Amph.

	Connells
Jul. 28 New Orleans, LA Howlin' Wolf
Jul. 29 Jackson, MS Depot
Jul. 30 Atlanta, GA Variety Playhouse
Jul. 31 Birmingham, AL Five Points Music Hall
Aug. 1 Memphis, TN New Daisy Theatre

	Cravin' Melon
Jul. 29 Danville, VA Sir Richards
Jul. 30 Roanoke, VA Coffee Pot
Jul. 31 Herndon, VA Herndon Municipal Ctr 
Aug. 1 Charlotte, NC Tremont Music Hall

	Culture Club / Human League / Howard Jones
Jul. 29 Manassas, VA Nissan Pavillion
Jul. 30 New York City Radio City Music Hall
Aug. 1 Wantagh, NY Jones Beach Music Theater
Aug. 2 Holmdel, NJ PNC Bank Arts Center
Aug. 5 Philadelphia, PA Mann Music Center

	Dakota Moon
Jul. 27 Minneapolis, MN Mall Of America
Jul. 28 Lincolnwood, IL Town Center
Jul. 29 Orland Park, Il Orland Square
Jul. 30 Indianapolis, In Circle Center
Jul. 31 Bloomington, IN College Mall
Aug. 3 New York, NY Manhattan Mall
Aug. 4 Lake Grove, NY Smithhaven Shopping Center
Aug. 5 Edison, NJ Menlo Park Mall

	Front 242
Jul. 27 Phoenix, AZ Bash on Ash
Jul. 29 El Paso, TX Club 101
Jul. 31 Austin, TX Music Hall
Aug. 1 Baton Rouge, LA Varsity Theater
Aug. 3 Tampa, FL The Edge
Aug. 4 Hallendale, FL Button South
Aug. 5 Orlando, FL Embassy

	Nanci Griffith 
Jul. 30 Atlanta, GA Lakewood Amph. 
Aug. 1 Philadelphia, PA Entertainment Center 
Aug. 2 Wantagh, NY Jones Beach 

	HORDE Tour (Blues Traveler, Barenaked Ladies, Alana 
Davis, Ben Harper, and many others)
Jul. 28 Toronto, ON Molson Park Amph. 
Jul. 30 Mansfield, MA Great Woods 
Jul. 31 Holmdel, NJ PNC Bank Arts Ctr. 
Aug. 1 Scranton, PA Montage Mountain 
Aug. 2 Saratoga Springs, NY SPAC 
Aug. 4 Hartford, CT The Meadows 
Aug. 5 Wantagh, NY Jones Beach Theater 

	Irving Plaza (http://www.irvingplaza.com - New York concert hall)
Jul. 30 Anthrax / Monster Magnet
Aug. 1 From Good Homes

	Joan Of Arc
Jul. 29 Cincinati, OH Sudsy Malones
Jul. 30 Cleveland, OH Speak In Tongues
Jul. 31 Pittsburgh, PA Midvale Industrial Center

	K's Choice
Jul. 27 San Francisco, CA Slim's
Jul. 28 Los Angeles, CA Troubadour
Jul. 29 San Diego, CA Canes
Jul. 30 Scottsdale, AZ Cajun House
Aug. 1 Salt Lake City, UT Zephyr
Aug. 2 Denver, CO Bluebird Theatre
Aug. 4 Kansas City, MO Hurricane

	Lilith Fair Tour 
Jul. 27 Orlando, FL Central Florida Fairgrounds 
Jul. 29-30 Houston, TX The Woodlands 
Jul. 31 Austin, TX South Park Meadows 
Aug. 1 Dallas, TX Coca-Cola Starplex 
Aug. 3 Nashville, TN Starwood Amph. 
Aug. 4 St. Louis, MO Riverport Amph. 
Aug. 5 Chicago, IL New World Music Theater 

	Metallica / Jerry Cantrell / Days of the New 
Jul. 28 Maryland Heights, MO Riverport Amphitheater 
Jul. 29 Bonner Springs, KS Sandstone Amphitheater 
Jul. 31 Dallas, TX Starplex Amphitheater 
Aug. 1 San Antonio, TX Retama Park Racetrack 
Aug. 2 Houston, TX Woodlands Pav. 

	Phish 
Jul. 28 Bonner Springs, KS Sandstone Amph. 
Jul. 29 Maryland Hgts, MO Riverport Amph. 
Jul. 31 Columbus, OH Polaris Amph. 
Aug. 1 Troy, WI Alpine Valley Music Theater East 
Aug. 2-3 Noblesville, IN Deer Creek Music Center 

	Phunk Junkeez / Clutch
Jul. 27 Albuquerque, NM Zone
Jul. 29 Austin, TX Liberty Lunch
Jul. 30 Houston, TX Abyss
Jul. 31 New Orleans, LA Tipitina's
Aug. 1 Fayetteville, AR JR Dickson Street Ballroom
Aug. 2 St. Louis, MO Mississippi Nights
Aug. 4 Minneapolis, MN Ground Zero
Aug. 5 Chicago, IL Metro

	Smokin' Groovies Tour (Public Enemy, Cypress Hill, 
Wyclef Jean, Busta Rhymes, Gangstarr and more).
Jul. 28 Camden, NJ E-Center 
Jul. 29 Clarkston, MI Pine Knob 
Jul. 31 Chicago, IL International Amp. 
Aug. 1 Columbus, OH Polaris Amp. 
Aug. 3 Atlanta, GA Lakewood Amp. 
Aug. 5 Corpus Christie, TX Texas Sky Park 

	John Taylor
Jul. 29 Solana Beach, CA Belly Up Tavern
Jul. 30 Yucaipa, CA Crossroads
Jul. 31 San Juan Capistrano, CA Coach House

	Third Eye Blind / Our Lady Peace / Eve 6
Aug. 1 Augusta, GA Ft. Gordon 
---
THE READERS WRITE BACK!
	> (In response to the James review in the July 14 issue)
	This is befuddling.  Even during the hey-day of "Madchester" 
(ala the band's _Gold Mother_), the band rarely -- if ever -- used the 
same acid house and 60's guitar pop that so defined the era.  Citing 
that JAMES "employed trademark Madchester rhythms and pyrotechnics" 
is not only contradictory to the actual music they created, but also 
very unpersuasive as an argument since no specifics are even 
mentioned.  It's easy to lump the band into the baggy movement, 
especially since they rose around the same time and the same area as 
the genre "dictated," but as you said yourself, JAMES were never truly 
attached to the style in the first place (one could possibly make 
the case with the horn-led ecstasy of "Come Home" and its various 
remixes, but the band at that time rarely employed anything more 
"baggy" than that).  Plus, one is hardly convinced they ever went 
in a similar direction even as a *diversion* in their career because 
the similarities to the "diversionary" style are too hard to come by.
	_Wah Wah_ is a highly divisive album, nothing to decry here, 
but to single out "Walking The Ghost" is peculiar.  If anything, one 
would have to lump in songs like "Top Of The World" or "Lullaby" as 
they go for extremely similar goals (i.e. what's so atypical and 
bizarre about a song like "Walking The Ghost"?).
       The reason (for some notable omissions) is because the vast 
majority of the songs picked for _The Best Of..._ were not only from the 
Polygram and Sire years, but from their biggest hits to date.  The only 
song that was never a big chart success (i.e. not a single) was "Out To 
Get You," and I'm sure the band had to coax the label to get that non-single
on there.  Tim Booth clearly admits that the collection is not technically 
a _Best Of..._ since the band don't necessarily agree with the picks, 
and the whole shebang is obviously more of a greatest hits package than 
anything else ("It's not the Best Of...but it's fucking good.")
       But applause for even mentioning the acoustic version of "Protect
Me"...it's miles above any studio version and one of the most poignant
moments in the band's entire career.
	There is more to JAMES than an offspring of a nearly ten 
year-old genre, and more to their history and progression than how 
they "survived" such a tie.  JAMES are a gem, to be sure, but it's 
Manchester -- not "Madchester" -- that should be proud.  - D.C., Los 
Angeles, CA
---
Founded in August, 1993, Consumable Online is the oldest 
music reviews publication on the Internet.
To get back issues of Consumable, check out:
        WWW:     http://www.consumableonline.com
        (Delphi) Music Fandom forum; GO ENT MUSIC

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Address any written correspondence to Bob Gajarsky, Consumable Online,
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===
