== ISSUE 171 ====  CONSUMABLE ONLINE  ======== [March 19, 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:     Christina Apeles, Niles J. Baranowski, Tracey 
                      Bleile, Lee Graham Bridges, Jason Cahill, Patrick 
                      Carmosino, John Davidson, Andrew Duncan, 
                      Krisjanis Gale, Paul Hanson, Chris Hill, Eric 
                      Hsu, Tim Hulsizer, Franklin Johnson, Steve 
                      Kandell, Reto Koradi, Robin Lapid, Linda Scott, 
                      Scott Slonaker, Kerwin So, Chelsea Spear, Simon 
                      Speichert, Jon Steltenpohl, Simon West
  Technical Staff:    Chris Candreva, David Landgren, Dave Pirmann
  Also Contributing:  Kevin Verspoor

 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.
==================================================================
                            .------------.
                            |  Contents  |
                            `------------'
INTERVIEW: Doug Powell - Bob Gajarsky
REVIEW: Wilco, _Summer Teeth_ - Daniel Aloi
REVIEW: Dave Davies, _Unfinished Business: Dave Davies Kronikles 
   1963-1998_ - Joann D. Ball
REVIEW: Crash Test Dummies, _Give Yourself a Hand_ - Tracey Bleile
REVIEW: Jeff Beck, _Who Else!_ - Linda Scott
REVIEW: Kelly Willis, _What I Deserve_ - Chris Hill
REVIEW: David Wilcox, _Underneath_ - Jon Steltenpohl
REVIEW: Gladhands, _Wow and Flutter_ - John Davidson
REVIEW: Hugh Cornwell, _Black Hair Black Eyes Black Suit_ - Reto Koradi
REVIEW: Tommy Womack, _Positively Na Na_ - Bill Holmes
REVIEW: Low, _Secret Name_ - Andrew Duncan
REVIEW: Various Artists, _Paris Is Sleeping - Respect Is Burning_ 
   - Kevin Verspoor
REVIEW: Various Artists, _The Electronic Eighties Volume 1 & 2_ 
   - Joann D. Ball
REVIEW: Helium Angel, _Early Clue To The New Direction_ - Bill Holmes
NEWS: Grand Royal
TOUR DATES: All / Less Than Jake, Asian Dub Foundation, Babe The Blue 
   Ox / Trinket / Interpreters, Better Than Ezra / Jude, Braid / 
   Seaweed, Candlebox, Cibo Matto, Hugh Cornwell, Cubanismo Spring Tour, 
   Hang Dogs, Eve 6 / Lit, Finger Eleven, Flick, Godsmack, Sammy 
   Hagar, Hepcats, Jets To Brazil, Jude, Jungle Brothers, Kodo, Korn, 
   Local H, Low, Marvelous 3, Mighty Blue Kings, Alanis Morissette, 
   Olivia Tremor Control, Placebo / Stabbing Westward, Promise Ring, 
   Push Kings, Sepultura / One Minute Silence / Biohazard, Sick Of 
   It All, Silverchair / Grinspoon, Elliott Smith, Sparklehorse / 
   Varnaline, Sally Taylor, Ten Foot Pole, 3 Colours Red, Whistler, Wilco
Back Issues of Consumable
---
	INTERVIEW: Doug Powell
		- Bob Gajarsky
	For many recording artists, getting signed to a major 
label is the culmination of a dream.  But when Doug Powell became 
a casualty of major label politics unrelated to his music, the 
music for his second album lay waiting in the dust - and the dream 
for his music to be heard started to fade.
	His first record, _Ballad of the Tin Men_, generated a 
critical, if not quite a commercial, buzz.  Songs such as "Return 
To Sender" and "Unmutual" became instant favorites of anyone who 
heard them with their hummable choruses and talented musicianship.
But when Powell went looking around with his demos - in search of 
another record deal - the response was surprising.
	"My manager shopped me to just about everyone and got the 
same response: 'I love this stuff.  Can I keep the tape?  I wish I 
could sign it, but no one would buy it.'," Powell remembers.  "It 
was worse to me than being disliked."
	But, finally, a man with the conviction to release quality 
music came into the picture.  Enter Bruce Brodeen, the founder of 
Colorado-based power-pop label Not Lame.  When Not Lame issued a 
Nashville Pop compilation in 1997, the seeds were sown for a Powell / 
Not Lame collaboration.
	That partnership now takes the form of _Curiouser_, a thirteen 
song collection of Powell's demos which sound (without a major label's 
budget) far smarter and more complete than almost all other albums.  
	At times, this release comes across as a distant cousin 
to Jeff Lynne's Electric Light Orchestra, with their parental units 
the Beatles.  Sure, "Graceland" owes much of its structure to _Sgt. 
Pepper_, but there's no shame when your songs can be thought of in 
favorable comparisons to the Liverpudlian pioneers.  "Don't Say" 
will instantly draw comparisons to Nilsson's "Without You", which, 
as astute fans pop fans might draw upon, was written by members of 
Badfinger - who recorded the Paul McCartney song "Come And Get It".  
The six degrees of the Beatles comes full circle here.  And the 
key track, "Torn", is that rare song that stays locked in your 
mind, long after the final note has stopped playing.  
	Powell's _Curiouser_ is being issued on Not Lame Limited, 
which according to Brodeen, "means to be an unencumbering thing 
for both the label and artist - no paper contracts, to allow them 
(the artist) the flexibility of not being shackled to a small 
label while looking for a bigger deal."  With a printing of only 
800 copies, _Curiouser_ is truly limited - unless demand 
encourages Powell and Brodeen to press more copies.  That depends 
on initial support from fans.  But the key feature for being on 
Not Lame Limited? "It has to be *fun* for both the label and the 
artist," emphasizes Brodeen.
	For now, Powell's future plans include continuing to write 
and perform, with a song ("Everyday Is Christmas") slated to appear 
on a Ringo Starr Christmas album.  In addition, he is performing in 
a band called Swag - with Powell on lead guitar and vocals, Tom 
Petersson (Cheap Trick) on bass, Ken Coomer (Wilco) on drums, the 
Mavericks' Robert Reynolds (rhythm guitar/vocals) and Jerry 
McFadden (keyboards/vocals) and Scotty Huff on guitar and horns - 
which is being shopped to various labels.  And fortunately, we can hear 
the latest standout work from Doug Powell on _Curiouser_.  With or 
without the support of a major label.

	For further information on Not Lame - or to purchase the Doug 
Powell disc _Curiouser_ online - check out the website at 
http://www.notlame.com
---
	REVIEW: Wilco, _Summer Teeth_ (Reprise)
		- Daniel Aloi
	As if to prove just how far from the "alternative country" 
label you can run, Wilco has made the perfect pop album of the late 
'90s, or the late '60s, for that matter. You can play _Summer Teeth_ 
alongside _Pet Sounds_ and _Sgt. Pepper's Lonely Hearts Club Band_ 
and it will hold up.
	Replete with Beatlesque melodies and backward tape loops, 
Beach Boys harmonies, experimental keyboard sounds and cracked-mirror 
introspection (a la those groups' geniuses John Lennon and Brian 
Wilson), _Summer Teeth_ wraps its overriding darkness in pretty pop 
melodies and multilayered production. It isn't a total departure, as 
it takes off from the pop side and downcast, troubled characters of 
1996's double album _Being There_.
	Frontman Jeff Tweedy said last year that Wilco's next album 
would have "zero country references," and he stayed true to his word. 
With Max Johnston gone and taking his dobro, fiddle, banjo and mandolin 
playing to The Gourds and Freakwater, this third Wilco album relies on 
keyboards more than guitars and other strings. Multi-instrumentalist 
Jay Bennett is responsible for much of the sound, with Mellotron tape 
loop samples, a Moog synthesizer and orchestral swells tying the album 
together as surely as Tweedy's maladjusted, up-from-the-unconscious 
lyrical themes. Bells chime, birds twitter and an alarm clock rings -- 
loudly. To borrow a phrase from another band, it's a head trip in 
every key. It's also catchy as a cold, and when the words set in, 
ultimately just as miserable. Loneliness, alienation, drug dependence 
("A Shot in the Arm"), violence, and thoughts of murder and suicide 
occupy the characters' minds. The breezy, uptempo title track recounts 
a loner's recurring dreams, while a running stream and chirping birds 
accompany the guitar's melody. Tweedy, no stranger himself to 
revealing tortured souls in his songs, gets as down as Lennon ever 
did in "We're Just Friends," writing on piano in the late Beatle's 
solo style -- and dashing any chance of that phrase being considered 
positive.
	With its moody bassline, "How to Fight Loneliness" offers 
this gloomy sarcastic advice: "You smile all the time" and "You laugh 
at every joke." On "She's a Jar," Tweedy sings "she begs me not to 
miss her" and the line later becomes "She begs me not to hit her." On 
the powerful centerpiece, "Via Chicago," his narrator's fevered mind 
reveals all: "Dreamed about killing you again last night/and it felt 
alright to me/Dying on the banks of Embarcadero skies/I sat and watched 
you bleed," as the song builds from acoustic guitar to a full crescendo 
and back.
	While the opening track "Can't Stand It" is the first single 
and represents the dark pop content to come, 
"Nothing'severgonnastandinmyway(again)" could be the surefire hit, with 
handclaps and a killer chorus. Talking of hooks, "I'm Always in Love" 
pounds along like the Velvet Underground's "Waiting for the Man," in a 
bash-out powered by bassist John Stirratt and drummer Ken Coomer, 
supplemented with Bennett's rubbery piano and a keening synthesizer 
that might remind you of Styx. "Pieholden Suite" is a ringer for the 
later Elvis Costello, and "Candyfloss" recalls the Beach Boys by way 
of the Attractions, with the added oddity of an operatic tenor voice 
holding a note at the coda. There's a further nod to Harry Nilsson in 
Tweedy's voice and slow piano-led tempo on "My Darling," which also 
contains more Beach Boys "bow-bow-pow" harmonies.
	While it's fun to play spot-the-reference, this is also an 
ambitious work in its own right, and one true to Wilco's identity, 
country content or no country content. And never mind that all but 
Bennett came to the band from the ashes of Uncle Tupelo (the album 
is credited: "Written, Produced and Performed by Wilco"). Tweedy's 
acoustic guitar runs through most of the tracks, and his and Bennett's 
electric guitar playing rings out as it always has.
	What longtime fans of Uncle Tupelo (and Wilco's rootsy rock 'n' 
roll debut _A.M._) should understand is that _Summer Teeth_ isn't a 
betrayal, or even a total departure. It's a direction and a milestone, 
and a statement by a band trying to make its mark.
	The band has had a fair amount of stage and studio time for 
their roots-music talents since the transitional _Being There,_ with 
Tweedy's membership in the heartland pop supergroup Golden Smog and 
Wilco's involvement in the Woody Guthrie song project _Mermaid Avenue_ 
with Billy Bragg. And the other Wilco members have a group of their 
own, Courtesy Move, that backed up Australian country rocker Sherry 
Rich on an album in 1997.
	Wilco began playing some of these new songs live over a year 
ago, along with a mix of songs from all of the Tweedy projects (from 
Uncle Tupelo's "New Madrid" to "Candyfloss"). And if those shows are 
any indication, the current European tour and upcoming U.S. dates 
(with added keyboard player Leroy Bach) will be real eye-openers, for 
old fans and new ones drawn to the new material's undeniable melodic 
appeal. It should be one joyous bummer of a summer.
	Tour dates and lyrics are available at the band's official 
website, http://www.wilcoweb.com
---
	REVIEW: Dave Davies, _Unfinished Business: Dave Davies Kronikles 
		1963-1998_ (Velvel/Meta Media)
		- Joann D. Ball
	In 1963, Dave Davies discovered how to make his guitar scream. 
His innovative but dangerous experiment with amplifiers in his Muswell 
Hill front room produced the raw, distorted guitar crunch that continues 
to rock the world in some form or another. But that's only the genesis 
in the long and loud story of Dave Davies and the Kinks.
	The 2-CD compilation _Unfinished Business: Dave Davies Kronikles 
1963-1998_ is actually an expanded version of _Unfinished Business (Solo 
Kronikles 1980-1997)_, a collection Dave compiled for his fans and sold 
at his live solo concerts. The new commercial retrospective is also the 
musical counterpart to Dave's tell-all autobiography "Kink." Both CDs 
and the book reflect Dave's desire to put his past in perspective and 
to also enter his important musical contributions onto the rock and roll 
historical record.
	_Unfinished Business: Dave Davies Kronikles 1963-1998_ includes 
undeniable evidence of Dave's evolution as a musician, singer and 
songwriter. The 31-track retrospective is divided into the equally 
revealing Kink Kronikles and Solo Kronikles. The former begins with a 
demo of the Dave Davies-penned "I Believed You," recorded by his first 
band the Ravens and featuring older brother Ray who had recently left 
art school to join the quartet. Soon afterward, the band became the 
Kinks and produced the monumental hit "You Really Got Me" which enlisted 
the group in the British Invasion. While primary singer and songwriter 
Ray Davies has garnered much of the praise for the Kinks' success, the 
centrality of Dave's straightforward fretwork, charged vocals and lively 
spirit cannot be dismissed. Rave-ups like his songs "Beautiful Delilah" 
and "Long Tall Shorty" (from the debut album), and the live version of 
"All Day And All of The Night (from a 1979 performance), all showcase 
Dave's wild abandon, The Kinks' essential energy and power source.
	By the late '60s, Dave and the Kinks were exploring American 
blues and country and infusing these styles into their sound. This 
"roots" approach was brilliantly captured on Dave's previously 
unreleased gem from 1969 "Climb Your Wall" and on "You Don't Know My 
Name" (from 1972's _Everybody's in Showbiz_). This rollicking mix of 
mandolin, acoustic and slide guitars appeared prominently in Rod 
Stewart's early solo material and can be heard even today on Lucinda 
Williams' current Grammy-winning record.
	Rounding out the Kinks Kronikles are Dave's songs from the 
post-rock theater period. The single "Living On A Thin Line," from the 
surprise 1984 hit _Word of Mouth_, remains his most recognized song in 
America. But it is "Trust Your Heart" (from 1977's _Misfits_) that is 
more characteristic of the matured and seasoned power-chord scream 
featured on latter-day Kinks and solo records.
	The Solo Kronikles highlight Dave's work during the last two 
decades. The previously unreleased title track, recorded in 1997, is 
a condensed version of Dave's experiences during his illustrious 
career. It particularly speaks to Warner Brothers Records' consistent 
refusals to reissue _Chosen People_ or license tracks from his third 
solo album. The ever-resourceful Dave responded by recording a new 
unplugged version of "Love Gets You," his favorite song on that record. 
He also re-recorded a few of his UK Kinks singles (including 1967's 
"Death of a Clown") especially for this release.
	Dave's solo material bears the trademark of a guitarist who 
has blossomed into a skilled singer, songwriter and musician. Not only 
did he sing, write and produce all of the songs on his debut solo 
album, _AFL1-3603_ (also affectionately called the "barcode album"), he 
also played all of the instruments. Songs like the stellar "Imaginations 
Real" and "The World is Changing Hands" on this musically and lyrically 
powerful record reveal Dave's humanitarian nature and address a number 
of social issues, ranging from inequality to world peace. In addition, 
two other tracks from the debut, "Body" and "World of Our Own" from the 
sophomore solo release _Glamour_, are also included. Rounding out this 
disc of the retrospective are live versions of three Kinks' songs, 
recorded in the 1997 at the Bottom Line in New York City.
	Having now closed a significant chapter in his life, Dave 
Davies continues to make music and take new directions in his songwriting. 
Just prior to the release of _Unfinished Business: Dave Davies Kronikles 
1963-1998_, Dave collaborated with his son Russell Davies under the 
moniker Crystal Radio and produced the uplifting CD _Purusha and the 
Spiritual Planet_ (Meta Media). For this immersion in spirituality and 
inner peace, Dave put his guitar aside in order to explore the far 
reaches of electronica. _Purusha and the Spiritual Planet_ and the 
first incarnation of _Unfinished Business_ (which contains two new 
tracks not included on the Velvel release) are available exclusively 
through his website http://www.davedavies.com which also features 
messages to fans, tour dates and related web links.
---
	REVIEW: Crash Test Dummies, _Give Yourself a Hand_ (Arista)
		- Tracey Bleile
	Contrary to how humans react to new things, change is good. 
Transitionary periods are important. One of my favorite mantras is, 
"The only difference between a rut and a grave are the dimensions." 
That said, there are strong, successful transitions, and there are 
some that are meaningful only to the person doing the actual 
transitioning. The new release from the literary, clever Dummies, 
_Give Yourself a Hand_ takes one of those latter shifts that is going 
to leave a lot of people scratching their heads.
	This release, more than any previous effort, appears to be 
more like the Brad Roberts Project than a true band collaboration. And 
while the Dummies have reached into a deep, dark, groovy realm with 
the music and the musicianship, the lyrical content has roamed into a 
place that most of us left behind about junior high.
 	You don't need to be a rocket scientist to realize that the 
title track is about exactly what you surmise it might be about. In an 
effort to test boundaries of urban beat poetry (Roberts is currently 
living in Harlem, and notes that has been a major source of inspiration) 
_Give Yourself_ strings together a series of short, brutal vignettes, 
that, had more of a literary cue been taken as in the past, could have 
blown someone like Soul Coughing right out of the East River. And while 
some of these scenarios work, like the witty call and response couplets 
assembling the lead off "Keep A Lid On Things" (featuring Roberts 
shifting gears from his usual bass baritone to a crazed falsetto), 
and a humorously nasty take on euthanasia "Just Shoot Me, Baby." The 
throw-off comes with most of the humor being on the order of a 
Shakespearean-trained actor telling a fart joke; hey, there's no law 
against it....but the shock value is frittered away when you're busy 
playing pocket pool instead of throwing punches. There are moments that 
will ring truer with Dummies lovers: "I Love Your Goo" where the object 
of the protagonist's affections is described in visceral -- ahem, 
literally -- detail; i.e. "I love your guts / I love your goo / Your 
ugly blood / Your creepy heart") and "Aching To Sneeze," describing in 
graphic detail the delicious agony of a tickly nose.
	The saving grace here is the production value, much of which 
was boosted from the collaboration of Brad Roberts with producer Greg 
Wells, and the aural quality is as rich, dark and tasty as you could 
want from serious funk, containing lounge, cinema noir and even drum 
n' bass to enliven the mix. Hell, at this point the Dummies could 
hook up with fellow Canadians Bootsauce (who re-wrote the entire book 
on white boy funk, and nastiness, for that matter) on one scary double 
bill and have it be a pairing from heaven. But there's enough missing 
from _Give Yourself_ to make you view their previous release _A Worm's 
Life_ with newfound appreciation and leave us pondering the Dummies' 
fate.
---
	REVIEW: Jeff Beck, _Who Else!_ (Epic)
		- Linda Scott
	Jeff Beck's _Who Else_, is the latest addition to a discography 
that goes on for pages, spanning Beck's 40-odd year guitar career.
	Beck garnered most attention in rock and roll after he joined The 
Yardbirds as Clapton's replacement. His groundbreaking use of distortion, 
feedback and sounds pushed the Yardbirds to the front of the rock band 
pack. In an astounding move, the Yardbirds brought in Jimmy Page as 
co-lead guitar, an uneasy situation at best.
	Beck walked and soon started his own band, The Jeff Beck Group 
(with Ron Wood, Rod Stewart, Mick Waller and Nicky Hopkins). Beck 
controlled this band, and this period led to his becoming the world's 
leading guitarist. The Group's _The Truth_ is widely regarded as the 
heavy metal bible. Wood and Waller thunder out the rhythm, Stewart 
sings in his trademark gravelly voice, and Beck's wailing lead guitar 
lifts the band up like a tidal wave.
	It is said that Jeff Beck has influenced every rock band in the 
U.S. and the UK, and if you get hold of "I Ain't Superstitious" on 
_Truth_, you'll see why. An 18 month layoff after a near-fatal car 
accident led Beck to less brutal, more introspective music. Moving into 
instrumental jazz and fusion rock, Beck explored new territory. A blend 
of rock and his new musical interests, Beck came out with the 
spectacular _Blow By Blow_, followed by _Wired_ (with Jon Hammer). 
Beck continued with Hammer, exploring different musical styles, and 
Hammer is with Beck on the most recent album, too.
	_What Else!_ is a record showcasing where Beck is now in his 
music, and he certainly has broken out of the rock guitarist mold. The 
styles hear are all over the place and they show Beck's versatility and 
knowledge.  Show Beck a genre, and he will write and play something 
magnificent! _Who Else!_ leads off with a techno creation called "What 
Mama Said," the first single off the album. A metallic, almost cold 
sound on this piece, but its position on the album shows Beck wants to 
shake you up a little right away. In contrast comes a bluesy, down 
home "Brush With The Blues". This one and "Space For The Papa" were 
recorded live in Germany. "Psycho Sam" comes back with that metallic, 
techno sound again. The coldness shows Beck's absolute genius in 
technical issues. "Space For The Papa" might be the best on the album 
except for an irritating voice over. "THX 138" is a terrific song with 
a hot rod, ripping vibe (title is Beck's license plate which was 
copied from a car in _American Graffiti_). "Even Odds" is for fans 
that want to hear Jeff Beck rock! And the final two songs on the album 
are just lovely little jewels, "Declan" and "Another Place". "Declan" 
has that wonderful Celtic sound and "Another Place" is acoustic. Beck 
made these two very short, and they deserved a fuller treatment.
	If you're a solid Beck fan or just a casual listener, pick up 
_What Else!_ Jeff Beck is a living guitar legend, and you need to have 
his most recent album, plus _Blow By Blow_, _Wired_, _Jeff Beck's 
Guitar Shop_, and The Jeff Beck Group's _Truth_ along with some 
Beck-era Yardbirds albums. This comprises a good beginning set of 
Beck albums. 
---
	REVIEW: Kelly Willis, _What I Deserve_ (Rykodisc)
		- Chris Hill
	It's been over five years since Kelly Willis's third album, 
_Kelly Willis_, was released. Between labels most of that time, Willis 
cropped up often enough on compilations and other people's records to 
keep her fans appeased. Willis now shows that a long count between 
releases doesn't mean you're out of the bout. Like fellow country 
artists Mary-Chapin Carpenter and Lucinda Williams, Willis seems to 
have benefited from the downtime -- her album glows with attention and 
care, much like the luminescent photos of the artist herself adorning 
the CD.
	A benefit of being Mr. Music Reviewer: the accompanying press 
release wherein Willis describes her feelings about each song. It's a 
fascinating glimpse into Willis' creative process. She co-wrote five 
of the album's thirteen tracks, and is solely responsible for one of 
the album's peaks -- the utterly charming ode to her heritage, "Talk 
Like That." The song finds Willis at peace with a childhood spent 
moving from place to place, finding firm ground in the fixed lineage 
of her family. "Talk Like That" gestated from a press conference the 
singer did with Ricky Skaggs, and the emotional associations which 
arose as she listened to Skaggs' drawling accent: "Lord how it takes 
me back/when you talk some."
	Pulling from non-obvious sources, Willis covers the 
Replacements' "They're Blind," Australian Paul Kelly's "Cradle of 
Love" (never recorded by the musician, only by Down Under country and 
bluegrass singer Anne Kirkpatrick) and Nick Drake's "Time Has Told 
Me," of which she says, "This may be the most beautiful love song I've 
ever heard." Of the Paul Kelly song, she says, "I started working this 
song with the band before it even occurred to me that there might be 
something sexy going on here." Despite the naiveté, she perfectly 
captures the song's mood and Kelly's knack for writing sexual hymns, 
songs both religiously comforting and sexually arousing: "Down in the 
valley / You can lose your name / All your sorrow and your pain.../ So 
baby come on over / And lean your head on me / Come into my cradle of 
love."
	Love and relationships, grist for many an artist, are given 
their proper due here. "Take Me Down" boards a downbound love train 
with no marked exits. "Happy With That" wishes the roles reversed in 
a bad affair. "Got a Feelin' For Ya," wittily written by Dan Penn and 
Chuck Prophet ("I'm in the mood for somethin' sticky, need my ice 
cream treat / The road may get rocky, and the ride may get rough..."), 
provides a touchstone during love's travails. 
	"Not Forgotten You" and "Wrapped," both written by Bruce 
Robison, Austin musician and Willis' husband, are placed back to back, 
neatly describing flipsides of the same coin, loss and love, in short 
order. Willis says, "I'm drawn into his songs emotionally and not just 
because I hope they're about me."
	The supporting cast is as stellar as the material. Amy Noelle 
Farris, member of Willis' touring band, contributes in a number of 
ways: fiddle, mandolin and sweet harmony vocals. Her backing vocals 
bolster Willis' own lower tones, the sum greater than the parts 
(particularly on the wonderful Damon Bramblett-penned elegy, "Heaven 
Bound").
	Chuck Prophet (of Green on Red), Jon Dee Graham (True 
Believers), Bruce Robison, Charlie Robison, Lloyd Maines (Wilco, 
Richard Buckner) and pleasant surprise Michael Been (of '80s college 
fave, The Call), among many others, add to the mix, all honed by years 
of experience playing in small clubs around the country. Dave McNair 
does a fine job of guiding Willis and her ensemble, keeping extraneous 
touches to a minimum and focusing on the strengths of the players (as 
many as nine musicians are listed at one time in the song credits).
	_What I Deserve_ is a well-orchestrated balancing act, never 
overwhelming or slick, and worth the wait.
---
	REVIEW: David Wilcox, _Underneath_ (Vanguard)
		- Jon Steltenpohl
	In the world of modern folk music, there are two hemispheres. 
One seems destined to make simple music in a simple way. It's a world 
where live is the only way to play, and studios never seem to capture 
the magic. The other hemisphere is aimed at getting on the radio and 
VH-1. Rarely do the two hemispheres merge to form music which moves 
easily between stage and studio.
	David Wilcox is one of those artists who's never had a 
problem with either world. Like James Taylor and Joni Mitchell before 
him, Wilcox's music is flowing, soothing and lyrical. In concert, 
you're likely to get goose bumps and feel a connection that transcends 
the normal barrier between the audience and the performer, and on 
album, you get a recording that you don't get tired of. _Underneath_ 
is no exception.
	Wilcox emerged from the generation of late 80's folk artists 
and singer/songwriters who rode to the major labels on Suzanne Vega's 
coattails. Only Shawn Colvin kept her major label ties long enough to 
win a Grammy. The likes of Michelle Shocked, Sara Hickman and Wilcox 
were dropped when the sales never materialized, and the artists went 
back to a life of apparent obscurity. But outside the corporate world, 
small labels like Rounder, Flying Fish and Vanguard supported this 
sort of music before the majors were interested, and continue to 
support it to this day. The singer/songwriter world may not make 
Billboard headlines, but it is an industry dominated solely by 
performers with remarkable skill and intensity.
	It is for this reason that an album of such incredible 
simplicity and emotional depth could be considered commonplace. Fans 
of the folk genre have come to expect such things. _Underneath_ is 
Wilcox's 7th album, and all of the adjectives have already been used 
to describe his previous work. The music is soft and beautiful. 
Wilcox plays guitar with rolling, fingerpicked chords. The arpeggios 
roll and swirl in a calming mix with the accompaniment. Steve 
Buckingham's production is masterful, and guests like Jennifer 
Kimball and Alison Krauss add soft background vocals perfectly 
tailored to Wilcox's soft, expressive vocals.
	Wilcox tackles both sides of love, childhood, society's ills 
and the music industry on _Underneath_. Of all of the topics, those 
dealing with love have the most impact. Granted, songs such as "Leaving 
You" and "All My Life" don't cover any new ground when it comes to 
subject matter, but Wilcox and his co-writers capture fleeting moments 
in unexpected ways.
	Consider the opening of "Leaving You": "I've got nothing to say. 
You've been leaving all day," sings Wilcox. "Now it's time that you go, 
and let me cry. You've got somewhere to be; you're still waiting on me, 
but there's no reason to say good-bye." In six phrases, he captures not 
only the reality of the end, but the subtle lines that transcribe the 
relationship. You can see the regret of the moment, the awkward pause 
for the final word that refuses to materialize, and the futility of 
the situation.
	"All My Life" encompasses the beginning of a relationship just 
as deeply.  Asks Wilcox, "Do you believe in signs that whisper inside 
your mind 'till you have to follow through, leading you home again to 
someplace you've never been? Well I feel that way for you. For how can 
it be true, the first time I see you, I look into your eyes, and 
suddenly I knew you all my life." If ever a song was begging to be 
included in a soundtrack, this is it. The songs on _Underneath_ cry 
for two lovers to share a slow dance in the twilight shade of the 
early evening.
	Wilcox's only misstep on the entire album is an indulgent 
swipe at the music industry on a track called "Sex and Music." An 
interviewer's nerdy voice at the start asks, "Does it bother you that 
this kind of music doesn't usually sell millions of units or are you 
hoping there will be a new trend...?" It's a somewhat silly song, and 
Wilcox talks and mumbles over a funky beat that doesn't really go 
anywhere. The real problem is that "Sex and Music" breaks the calming 
mood set by the rest of the album.
	Still, a perfect David Wilcox album is easy to obtain: just 
program the last track out of your playlist, and enjoy the first 12 
songs. It's certainly not a reason to avoid such a good album. There 
are so few artists that make great music as consistently as Wilcox 
does that it's tough to pass up an album like _Underneath_. Fans of 
Wilcox should rush to embrace this one, but for the uninitiated, if 
you've always liked James Taylor and are looking for something mellow 
to add to your collection, David Wilcox's _Underneath_ is an easy 
choice.
---
	REVIEW: Gladhands, _Wow and Flutter_ (Big Deal)
		- John Davidson
	The Gladhands were on a roll. 1995's _From Here to Obscurity_ 
was a plucky pop record, and 1997's _La Di Da_ was a watershed of 
easy-going ear candy that even snared some critical recognition and 
a few year-end Top Ten honors. Using critical buzz as a stepping 
stone, the Gladhands managed to keep their head above water in the 
raging river of albums released that year. It's a modest feat to 
somehow find a rock to stand on (even if it's a small, slippery one), 
but unfortunately, this year's _Wow and Flutter_ probably won't make 
crossing the morass to commercial success any easier. Following a gem 
like _La Di Da_ raises the stakes, yet instead of building on the 
ideas that made that record so charming -- spunky, cheery nods to 
fine '70s pop -- the Gladhands have matured their sound, and at times 
veer towards easy listening.
	At first you might be fooled, what with the heavy Beatle-inspired 
opening lick ("Plastic Soul"), but the second track, "Get Real," is 
foreshadowing to the low points that lay ahead. Despite accomplished 
playing and sugary hooks all over the place, the homage at times seems 
to have shifted from the Raspberries to Chicago. Comparisons to the 
Peter Cetera-sounding vocals aside, all "Get Real" needs is a horn section 
to make you think you're listening to a tribute album. In fact, hearing a 
horn section on the very next song "Pipedream" may have you checking the 
liner notes for songwriting credits. Other slow moments add to the 
filler, such as indulgent ballads like "...As I Go Along," or the icky 
Carpenters moment of "Lisa's Lullabye." Closer "Sun Prairie Hymn" seems 
filled with every Bacharachian excess they could imagine.
	However, their attraction to this saccharine vibe isn't without 
some strong counter-balance. Beyond "Plastic Soul," "Destiny's Darling" 
careens and shakes like it belongs on _La Di Da_. The lyricless, swimming 
stereo of "70s Squareback" is fine, and "B.W.B" certainly has plenty of 
punch. "Too Good For You" and "Breath of Angels" both chug along with 
aplomb as the album winds down. It's as if they approach these songs 
with their guitars first, embracing the enthusiasm of their past records 
with upbeat tempos and a dash of punk energy. This is the spirit that 
has kept the Gladhands from getting lost in the shuffle.
	The Gladhands are surely talented, and their ability to deliver 
memorable riffs have should make any successful jingle writer nervous. 
Yet somewhere in between _La Di Da_ and _Wow and Flutter_ their identity 
seems to have shifted into something a little more comfortable, a little 
less adventuresome and a little more willing to become their influences 
rather than exploit them into something more fresh. The result is a 
decent album that will satisfy their fans but not delight them, and may 
even keep the Gladhands where they were in 1998.
---
	REVIEW: Hugh Cornwell, _Black Hair Black Eyes Black Suit_ (Velvel)
		- Reto Koradi
	They say you can't teach an old dog new tricks. While this 
latest solo effort of ex-Stranglers leader Hugh Cornwell does not do 
much to contradict this principle, at least he shows that dogs don't 
forget their old ones. _Black Hair Black Eyes Black Suit_ was previously 
released overseas under the title _Guilty_, and now enters the US market 
with a new name, new cover art and two new tracks.
	Nobody would expect anything short of a fine album from an 
artist who lead one of the most influential (even though atypical) 
bands of the punk era, which transformed to record some of the finest 
pop songs (like "Golden Brown" and "Always the Sun") of the previous 
decade. And _Black Hair Black Eyes Black Suit_ meets expectations, 
having its best moments on melodic tracks like "One Burning Desire" 
and "Endless Day Endless Night," which remind of trademark Stranglers 
songs from more than 10 years back.
	But while the album is solid from start to finish, much of it 
sounds overly simple and somewhat uninspired. Some of the songs also 
sound strangely familiar. "Nerves Of Steel" borrows patterns from Bob 
Dylan's "Like a Rolling Stone," throwing in the trademark guitar riff 
from the  Stones' "Satisfaction." And "Hot Head" sounds remarkably 
similar to Robert Palmer's "Johnny & Mary." Cornwell occasionally tries 
to modernize his sound (a few trip-hop elements on "Torture Garden"), 
but he seems to get stuck half way.
	Without a doubt, _Black Hair Black Eyes Black Suit_ is a good 
album. But it fails to achieve the extraordinary that you hope for from 
an artist with the history of Hugh Cornwell.
---
	REVIEW: Tommy Womack, _Positively Na Na_ (Checkered Past)
		- Bill Holmes
	File this under "How the hell did I miss this one last year?" 
because this potpourri of countrified, witty rock and roll would have 
camped its butt somewhere in my "Best Of The Year" tome. Womack simply 
made the record everyone wishes Paul Westerberg would have made upon 
leaving the Replacements: irreverent, wry and bombastic, yet somehow 
lyrically poignant and subtle when it wants to be.
	Womack is the author of _The Cheese Chronicles_, tales of life 
on the road will his ill-fated band Government Cheese, and his sharp 
eye for detail and characters is what makes _Na Na_ so special. "Skinny 
And Small" is a Stonesy romp about a high school loser coming back to 
wreak havoc on his tormentors, much like Carrie's evil twin. The bluesy 
barroom stomp of "Sweet Hitchhiker" and slide rocking "She Ain't 
Speakin' To Me" would succeed with music alone, but coupled with 
Womack's tales of roadside psychotics, cross dressers and born losers, 
they're ten times as good.
	The loping title track is probably the most Westerbergian (he 
even bastardizes a Mats lyrical couplet with "graduate unskilled/with 
a prom dress unfulfilled"). Along with the Dylanesque closer "I'll Give 
You Needles," this song shows just how powerful he can be with little 
more than words and an acoustic guitar. "A Little Bit Of Sex," one of 
his older songs, is thankfully included here. And how can you not like 
a guy who writes an ode to Cheetah Chrome, "the man with the orange 
Dead Boys dome?"
	The supporting musicians are first rate, with Brad Jones (who 
also produced), Ross Rice, Al Perkins (yes, THAT Al Perkins), and 
guitarists George Bradfute and Mike Grimes among them. This Venn 
diagram of talent has its roots and tentacles into everything from 
Kevin Salem, Jason And The Scorchers and Bare Jr., to the cream of the 
new Nashville pop movement. Although the music is all over the map, 
there's a natural flow throughout _Positively Na Na_ that makes it 
fresh and vital.
	After eleven strong songs the record is over and you are left 
with that bittersweet feeling of wishing it would go on forever. Since 
it doesn't, I've found that playing it over and over again is just 
about as satisfying. Tommy Womack is a major talent and comes highly 
recommended.  For more information visit the label website 
http://www.checkeredpast.com .
---
	REVIEW: Low, _Secret Name_ (Kranky)
		- Andrew Duncan
	In 1994, Low began their career with the debut release, 
_I Could Live In Hope._ Influenced by '80s new wave, guitarist 
Alan Sparhawk, drummer and wife Mimi Parker and bass player Zak 
Sally - who came into the picture a year later - were convinced 
that less is better. Equipped with a guitar, a bass, and a drum 
kit only consisting of a bass drum, snare and cymbal, they patiently 
created sparsely rich textured soundscapes.
	By 1995, their pop-minimalist sound surfaced with _Long 
Division._ The collection of soberly, cold songs caught the 
fascination of many musicians, as well as critics alike. People 
were so impressed that reviewers would characterize any slow, 
brooding band to _Long Division._ Their following attempt, _Curtain 
Hits the Cast,_ did not gain as much recognition, but now the 
Minnesota trio may set some new standards with _Secret Name._
	A first for the Chicago label Kranky, _Secret Name_ is a 
marvelous diary carefully documenting the sights and sounds of the 
Midwest. The band packed their bags and drove to Windy City to record 
with indie-guru Steve Albini (Big Black, Rapeman).
	With _Secret Name,_ the band mildly ventures into new 
territory with the addition of a string section, timpani and pianos 
adding more layering to the music. Don’t worry though, the music is 
still slow as molasses with fainting harmonies and cloudy melodies.
	The album begins with Parker kicking out a beat that would 
make a Native American burial ground cry while Sparhawk nervously 
sings, 'I remember graduation.' Songs like "Starfire" provides more 
warmth, but the breeze is still there blowing in your hair. And it's 
a matter of time, before the temperature drops with the sad mood of 
"Sour." The album fluctuates, but the climactic moment is with 
"2-Step." Harking back to the _Long Division_ days, the music is 
thick as each note is carefully plucked. Both Sparhawk and Parker 
trade lyrics coming together to whispfully sing, '2-step around the 
room, kneel down, unwound.' On the surface, this may be the most 
depressing band in the music business, but look more closely and 
Sparhawk and Parker crafts their lyrics like a photographer tells 
a story documenting everyday life in the heart of the American 
dream. What Garrison Keiler does to folk music, Low does to minimalism.
---
	REVIEW: Various Artists, _Paris Is Sleeping - Respect 
		Is Burning_ (Astralwerks)
		- Kevin Verspoor
	_Paris is Sleeping - Respect is Burning_ is the second 
in the highly touted series of house music compilations that has 
the picks of the favorite Parisian DJs.  The DJs - spinning 
for the party Respect held at Queen in Paris - mix their music 
to a crowd of all nationalities, ethnicities, and sexual 
preferences with one goal in mind: dancing for a good time.
	This disk has some of the more popular tracks that we  
saw from Europe this year including Stardust's (one half of 
Daft Punk) "Music Sounds Better With You" and Deejay 
Punk-Roc's European breakthrough hit "My Beatbox", mixed by Les 
Rythmes Digitales. The feeling varies from track to track but the 
basic feeling of the CD is lounge-mixed garage type nuances. 
While no American-style hard house can be found here, a soulful 
and smooth feel dominates the vibe. The disc also has some trancy 
tracks, such as "Where Does Your Mind Go" by Chezere, which is 
reminiscent of Dee-Lite and "Revolution" by Mysterious People. 
Many of the songs are peppered with funky late 70s sounds and 
early 80s beats styled with 90s technology, such as a dub version 
of the Freez club classic "I.O.U.".   All in all, _Paris Is 
Sleeping_ has some great party music whether you want to dance 
or just sit back and lounge.
---
	REVIEW: Various Artists, _The Electronic Eighties Volume 1 & 2_ 
		(Chronicles/PolyGram Records)
		- Joann D. Ball
	Still trying to locate some of those oldies but goodies from the 
1980s? Then you might want to check out _The Electronic Eighties Volume 
1 &2_ from the good folks at Chronicles/PolyGram Records.
	A celebration of the electronic new wave that was a high school 
soundtrack for many twenty and thirty-somethings, both CDS feature songs 
you know by heart, some you may have forgotten and a couple you may have 
missed. The highlights of _The Electronic Eighties Volume 1_ include 
Bronski Beat's "Smalltown Boy," Yello's "I Love You," and 12" versions 
of Peter Godwin's "Baby's in the Mountains" and Visage's "Fade to 
Grey." Of particular importance is Kraftwerk's influential "Trans 
Europa Express," which has never popped up on the most readily 
available '80s compilations. _The Electronic Eighties Volume 2_ is a bit 
less adventurous, but does includes Ultravox's captivating "Dancing With 
Tears in My Eyes" and Level 42's "Starchild" along with Gary Numan's 
smash hit "Cars."
	Available at Sound Savers prices, _The Electronic Eighties 
Volume 1 &2_ is perfect for parties, reunions or pre-millenium 
celebrations. The releases also make excellent gifts for those aging 
new wavers and youngsters who wanna know what it was all about.

Vol. 1 TRACK LISTING [artist in brackets]: Sex (I'm A...) [Berlin], 
Smalltown Boy [Bronski Beat], She Blinded Me With Science [Thomas 
Dolby], Things Can Only Get Better [Howard Jones], Trans Europa Express 
[Kraftwerk], Lucky Number [Lene Lovich], Tainted Love/Where Did Our Love 
Go [Soft Cell], Fade to Grey [Visage], Baby's In The Mountains [Peter 
Godwin], I Love You [Yello]

Vol. 2 TRACK LISTING [artist in brackets]: The Look of Love [ABC], Sweet 
Dreams (Are Made of This) [Eurythmics], One Thing Leads to Another [The 
Fixx], Starchild [Level 42], Safety Dance [Men Without Hats], Cars [Gary 
Numan], Shout [Tears For Fears], Da Da Da (I Don't Love You You Don't Love 
Me) [Trio], Dancing With Tears in My Eyes [Ultravox], Everybody Have Fun 
Tonight [Wang Chung]
---
	REVIEW: Helium Angel, _Early Clue To The New Direction_ 
		(Pilot Error)
		- Bill Holmes
	When your record starts off with a Keith Moon drum flourish, 
a staccato beat, and harmonies right out of The Small Faces, you have 
my attention! Mods and rockers, meet seaside please! Though San 
Francisco based, Helium  Angel draws inspiration directly from early 
Britpop bands like the Kinks, Zombies and Who and blends it with the 
West Coast psych-pop of The Byrds for an irresistible result.
	Although the band retains garage pop sensibilities, the 
production on this small label release are first rate. Drummer Stephen 
Cass, who engineered the record, is able to capture his energetic drum 
sound without overemphasizing it, and the vocals he and guitarist 
Blake Ricks create sound at once individual and in unison.
	Like all good psych-pop records, there are many obtuse lyrics 
to chew on, but also several more conventionally great turns of phrase 
("forgive me if I seem too cautious/ that you seem so nice/ but if I 
won the lottery/ I'd check the number twice"). Still, for me it's the 
music that truly sells this record. While being reverent to Mod, it 
sounds as perfect as a 1990's statement as it would have in the 1960's. 
"Motorcade," with it's great choppy guitar rhythms and spiraling chorus, 
is absolutely majestic. "Lizard," which morphs from a tremolo guitar 
workout into a psychedelic  jam, is another high point, as is the 
beautiful piano ballad "One Glass." The fourteen original tunes are 
followed by a Billy Bragg cover ("Accident Waiting To Happen") that 
closes the record.
	This is yet another case of a band worthy of much bigger 
attention not yet getting the exposure it deserves. For more 
information about the band, e-mail blakericks (at) yahoo.com.
---
NEWS: 	 > In keeping with its tradition of staying one technological 
step ahead of the music industry,  Grand Royal has become the first 
established record label to launch its own Internet radio station. 
The station, which is accessible via http://www.grandroyal.com , 
launched earlier this week and his since served as a 24-hour 
showcase of the label's catalogue (which includes Ben Lee, Bis, 
Sean Lennon, Buffalo Daughter and many more).
---
TOUR DATES:
	All / Less Than Jake
Mar. 20 Cameron Park, CA Club X-Treme
Mar. 23 Pomona, CA Glass House
Mar. 24 Ventura, CA Ventura Theater
Mar. 25 San Luis Obispo, CA Achievement House
Mar. 26 San Diego, CA Soma
Mar. 27 Las Vegas, NV Huntridge Theatre
Mar. 28 Mesa, AZ Nile Theatre
Mar. 29 Tuscon, AZ Rialto Theatre
Mar. 30 Albuquerque, NM The Zone
Mar. 31-Apr. 1 Denver, CO Lodo Music Hall

	Asian Dub Foundation
Mar. 23 West Hollywood, CA Troubadour
Mar. 24 San Francisco, CA Justice Leauge
Mar. 26 Seattle, WA Arospace
Mar. 27 Vancouver, BC The Starfish Room
Mar. 30 Chicago, IL Double Door
Mar. 31 Detroit, MI Shelter

	Babe The Blue Ox / Trinket / Interpreters
Mar. 20 New York, NY Mercury Lounge

	Better Than Ezra / Jude
Mar. 20 Philadelphia, PA Trocadero

	Braid
Mar. 22 Chico, CA Blue Room 

	Braid / Seaweed
Mar. 23 San Fransisco, CA Bottom of the HIll 
Mar. 24 Claremont, CA Pomona College 
Mar. 25 Los Angeles, CA Troubadour 
Mar. 26 Santa Ana, CA Koos Cafe
Mar. 27 San Diego, CA Casbah 
Mar. 29 Phoenix, AZ Modified 
Apr. 1 St. Louis, MO Sidedoor

	Candlebox
Mar. 20 Miami, FL Button South
Mar. 21 Orlando, FL Hard Rock Live
Mar. 23 Jacksonville, FL Milk Bar
Mar. 24 Atlanta, GA Masquerade
Mar. 25 Charleston, SC Music Farm
Mar. 26 Fayetteville, NC Club Metro
Mar. 27 Richmond, VA Diamond
Mar. 29 Toronto, ON Opera House
Mar. 30 Fort Wayne, IN Piere's

	Cibo Matto
Mar. 20 Austin, TX La Zona Rosa

	Hugh Cornwell
Mar. 20 Pontiac, MI 7th House
Mar. 21 Philadelphia, PA Upstairs At Nick's

	Cubanismo Spring Tour
Mar. 20 San Francisco, CA Bimbo's
Mar. 21 Sacramento CA Harlow's
Mar. 23 Saratoga, CA Carriage House
Mar. 24 Santa Barbara Coach House
Mar. 25 Tucson, AZ Rialto Theater
Mar. 26 San Diego, CA 4th & B
Mar. 27 West Hollywood, CA House of Blues
Mar. 28 Irvine, CA Irvine Barclay Theater
Mar. 30 San Luis Obispo, CA Cal.Poly Univ Perf. Arts Center
Mar. 31 Santa Rosa, CA Luther Burbank Ctr for the Arts

	Hank Dogs 
Mar. 20 Austin, TX SXSW showcase (Antone's)

	Eve 6 / Lit
Mar. 26 Killington, VT Pickle Barrel
Mar. 27 Providence, RI Lupo's

	Finger Eleven
Mar. 21 Ft. Myers, FL Lee County Sports Complex
Mar. 27 Norfolk, VA Boathouse
Mar. 30 Knoxville, TN Moose's
Mar. 31 Birmingham, AL Five Points

	Flick
Mar. 20 Montreal, QC Spectrum
Mar. 22 Boston, MA Avalon Ballroom
Mar. 23 Providence, RI Lupo's Heartbreak Hotel
Mar. 24 Old Bridge, NJ Birch Hill Nightclub
Mar. 26 Philadelphia, PA Electric Factory
Mar. 27 Washington, DC 9:30 Club
Mar. 29-30 New York, NY Irving Plaza

	Godsmack
Mar. 20 Memphis, TN Mardi Gras

	Sammy Hagar (All shows at Hard Rock Cafe)
Mar. 20 Los Angeles, CA
Mar. 22 Phoenix, AZ
Mar. 23 San Francisco, CA

	Hepcats
Mar. 23 Providence, RI The Met Cafe
Mar. 24 Boston, MA Paradise
Mar. 25 New London, CT El-N-Gee Club
Mar. 26 Washington, DC 9:30 Club
Mar. 27 Philadelphia, PA The Trocadero
Mar. 28 New York, NY Tramps
Mar. 30 Cleveland, OH The Odeon
Mar. 31 Chicago, IL Metro
Apr. 1 Pittsburgh, PA Graffiti
 
	Jets to Brazil
Mar. 22 Phoenix, AZ Boston's 
Mar. 23 San Diego, CA SOMA 
Mar. 24 Los Angeles, CA The Ruby) 
Mar. 25 Pomona, CA Glass House
Mar. 26-27 San Francisco, CA Bottom of the Hill
Mar. 30 Seattle, WA Rockcandy
Mar. 31 Boise, ID Nuerolux

	Jude
Mar. 20 Philadelphia, PA Trocadero

	Jungle Brothers
Mar. 20 San Francisco, CA Justice League
Mar. 21 Seattle, WA Aro Space
Mar. 23 Los Angeles, CA Ruby

	Kodo
Mar. 20 Clearwater, FL Eckherd Hall

	Korn
Mar. 20 Providence, RI Providence Civic Center
Mar. 22 State College, PA Bryce Jordan at Penn State
Mar. 23 Philadelphia, PA First Union Center
Mar. 25 Chicago, IL Rosemont Horizon
Mar. 26 Ft. Wayne, IN Coliseum
Mar. 27 Grand Rapids, MI Van Andel Arena
Mar. 29 Greensboro, NC Coliseum

	Local H
Mar. 20 Milwaukee, WI The Rave & Eagles Aud.
Mar. 22 DeKalb, IL Duke Ellington Ballroom

	Low
Mar. 25 Minneapolis, MN 400 Bar 
Mar. 26 Madison, WI Club 770 - UW Memorial Union 
Mar. 27 Milwaukee, WI Miramar Theater 
Mar. 29 Indianapolis, IN Indigo Coffeehouse 
Mar. 30 Cincinnati, OH Sudsey Malone's 
Mar. 31 Toledo, OH Frankie's 

	Marvelous 3	
Mar. 20 Louisville, KY Toy Tiger 	 	
Mar. 22 St. Louis, MO Side Door 	 	
Mar. 23 Des Moines, IA The Safari 	 	
Mar. 25 Denver, CO Bluebird theater 	
Mar. 26 Albuquerque, NM Launch Pad 	 	
Mar. 27 Scottsdale, AZ Cajun House 	 	
Mar. 28 Tucson, AZ Gotham	 	

	Mighty Blue Kings
Mar. 20 Philadelphia, PA 5 Spot
Mar. 23 Hoboken, NJ Maxwell's
Mar. 25 Washington, DC Black Cat
Mar. 26 Carrboro, NC Cat's Cradle
Mar. 30 Jacksonville, FL Jack Rabbit's

	Alanis Morissette
Mar. 21 Phoenix, AZ Desert Sky
Mar. 23 Denver, CO McNichols Arena
Mar. 24 Salt Lake City, UT E Center
Mar. 26 Boise, ID Idaho Center
Mar. 27 Yakima, WA Valley Sundome
Mar. 29 Seattle, WA Key Arena
Mar. 30 Portland, OR Rose Garden

	Olivia Tremor Control
Mar. 24 Chatanooga, TN Lamar's 
Mar. 25 Louisville, KY Mercury Paw 
Mar. 26 Chicago, IL Lounge Ax 
Mar. 27 Minneapolis, MN 400 Bar 
Mar. 29 Columbus, OH OSU 
Mar. 30 Detroit, MI Magic Stick 
Mar. 31 Toronto, ONT Horseshoe 

	Placebo / Stabbing Westward
Mar. 20 Montreal, QC Spectrum
Mar. 22 Boston, MA Avalon
Mar. 23 Providence, RI Lupo's
Mar. 24 Old Bridge, NJ Birch Hill Night Club
Mar. 26 Philadelphia, PA Electric Factory
Mar. 27 Washington, DC 9:30 Club
Mar. 29-30 New York, NY Irving Plaza

	Promise Ring
Mar. 20 Annandale, NY Bard college
Mar. 21 Phildelphia, PA The Church @ 2125 chestnutt
Mar. 23 Chicago, IL The Metro

	Push Kings
Mar. 20 Memphis, TN Echo Lounge
Mar. 22 Columbia, SC New Brookland Tavern
Mar. 23 Washington, DC Metro
Mar. 25 Rochester, NY Bug Jar
Mar. 26 Philadelphia, PA Khyber Pass 
Mar. 27 Cambridge, MA Tt The Bears
Mar. 30 West Hartford, CT Kingwood Oxford High School
Mar. 31 New York, NY Mercury Lounge

	Sepultura / One Minute Silence / Biohazard
Mar. 20 Atlanta, GA Masquerade 

	Sick Of It All
Mar. 22 New Orleans, LA House Of Blues
Mar. 23 Lake Buena Vista, FL House Of Blues
Mar. 24 Jacksonville, FL Club 5
Mar. 26 Atlanta, GA Tabernacle
Mar. 27 N. Myrtle Beach, SC House Of Blues
Mar. 28 Raliegh, NC Ziggy's
Mar. 30 Washington, DC 9:30
Mar. 31 New York, NY Roseland Ballroom
 
	Silverchair / Grinspoon / Lit
Mar. 20 Toronto, ON Warehouse
Mar. 22 Montreal, QC Le Spectrum
Mar. 23 Boston, MA Paradise

	Elliott Smith
Mar. 20 Charlotte, NC Tremont Music Hall
Mar. 21 Raleigh, NC Ritz
Mar. 23 Washington, DC 9:30 Club
Mar. 24 Philadelphia, PA Trocadero
Mar. 25-26 New York, NY Irving Plaza
Mar. 30 Burlington, VT Higher Ground

	Sparklehorse / Varnaline
Mar. 23 Phoenix, AZ Mason Jar
Mar. 24 San Diego, CA Casbaha
Mar. 26 Los Angeles, CA Troubador
Mar. 27 San Francisco, CA Great American Music Hall
Mar. 30 Portland, OR Satyricon
Mar. 31 Seattle, WA Crocodile

	Sally Taylor
Mar. 20 Los Angeles, CA The Troubador
Mar. 23 San Francisco, CA Hotel Utah
Mar. 24 Mill Valley, CA Sweetwater
Mar. 26 Portland, OR White Eagle
Mar. 27 Seattle, WA Sit and Spin 
Mar. 31 Crested Butte, CO Center for the Arts
 
	Ten Foot Pole 
Mar. 23 New Orleans, LA State Palace Upstairs 
Mar. 25 San Antonio, TX White Rabbit 
Mar. 26 Austin, TX Emo's 
Mar. 27 Dallas, TX Galaxy Club 
Mar. 30 Mesa, AZ The Nile 

	3 Colours Red
Mar. 20 Providence, RI Met Cafe
Mar. 22 New York, NY Mercury Lounge
Mar. 23 Boston, MA Paradise
Mar. 24 Chicago, IL Lounge Ax
Mar. 25 Salt Lake City, UT DV8
Mar. 27 Seattle, WA Crocodile Cafe
Mar. 28 Portland, OR EJs
Mar. 30 San Francisco, CA Slim's
Mar. 31 Las Vegas, NV Join
Apr. 1 Los Angeles, CA House Of Blues

	Whistler
Mar. 20 Austin, TX Fat Tuesday

	Wilco
Mar. 22 Brussels, BEL Ancienne Belgique
Mar. 23 Amsterdam, HO Melkweg
Mar. 25 Hamburg, GER Grunspan
Mar. 27 London, ENG Shepherd's Bush
---
Founded in August, 1993, Consumable Online is the oldest 
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