== ISSUE 159 ====  CONSUMABLE ONLINE  ======== [October 28, 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:     Christina Apeles, Niles J. Baranowski, Tracey 
                      Bleile, Lee Graham Bridges, Jason Cahill, Patrick 
                      Carmosino, Krisjanis Gale, Emma Green, Paul Hanson, 
                      Chris Hill, Eric Hsu, Tim Hulsizer, Franklin 
                      Johnson, Steve Kandell, Robin Lapid, Linda Scott, 
                      Scott Slonaker, Chelsea Spear, Simon Speichert, 
                      Jon Steltenpohl, Simon West
  Technical Staff:    Chris Candreva, Dave Pirmann
  Also Contributing:  Dan Birchall, Rob Hillard

 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  |
                            `------------'
REVIEW: R.E.M., _Up_ - Bob Gajarsky
INTERVIEW: John Curley / Afghan Whigs, _1965_ - Chris Hill
REVIEW: Robyn Hitchcock, _Storefront Hitchcock_ - Joe Silva
REVIEW: Placebo, _Without You I'm Nothing_ - Tim Mohr
REVIEW: Various, _Tommy Boy's Greatest Beats_ - Bob Gajarsky
REVIEW: Chris Isaak, _Speak of the Devil_ - Robin Lapid
REVIEW: Dream Theater, _Once in a LIVEtime_ - Dan Birchall
REVIEW: Firewater, _The Ponzi Scheme_ - Lang Whitaker
REVIEW: Mike Scott, _Still Burning_ - Tracey Bleile
REVIEW: Baxter, _Baxter_ - Tim Mohr
REVIEW: R.L. Burnside, _Come On In_ / Robert Cage, _Can See 
   What You're Doing_  / Bob Log III, _School Bus_ - Rob Hillard
REVIEW: Jocelyn Montgomery with David Lynch, _Lux Vivens (Living 
   Light)_ - Jon Steltenpohl
REVIEW: Bio Ritmo, _Rumba Baby Rumba!_ - Joe Silva
NEWS: Berlin, Lenny Kravitz, Yo La Tengo / Simpsons
TOUR DATES: Tori Amos / Unbelievable Truth, Archers of Loaf, 
   Better Than Ezra / Possum Dixon / Athenaeum, Cypress Hill, 
   Deftones, Everlast, Glen Matlock, Motley Crue, John Taylor, 
   Moe Tucker, Mike Watt
Back Issues of Consumable
---
	REVIEW: R.E.M., _Up_ (Warner)
		- Bob Gajarsky
	The names of Berry, Buck, Mills & Stipe appeared enough 
times in print for the foursome to start their own law firm.  
But when drummer Bill Berry left the band that he had been a 
part of for the past 18 years, R.E.M. realized they had to turn 
the page and move on.
	Although the departure of their longtime partner and 
friend came to those involved as a shock, Berry's departure did 
allow the band to create a different chapter in their history.  
"We were given the opportunity to totally do anything we wanted 
to," recalls Mike Mills.  
	_Up_ is a startling departure from their past, with results 
which may shock casual listeners.  The leadoff track "Airportman"
is a lonely, droning song with some feedback thrown in to accentuate 
the mood.  The effect on anyone familiar with R.E.M.'s past will 
be immediate - this isn't the band you used to know.
	And when the new approach works, things progress wonderfully.
"Hope" tips its hat to the 80s synthesizers, a cross between 
Kraftwerk and the Rentals, while nicking part of its structure from 
Lou Reed's "Suzanne" - to whom they give co-writing credits. 
"At My Most Beautiful" combines the elements of a slower R.E.M. 
song such as "Nightswimming" with a lush Brian Wilson (circa _Pet 
Sounds_) backdrop.  Strings are present in some songs - not 
in-your-face, but set in the background to complete a song's 
structure, rather than dramatically alter it.  
	"Walk Unafraid" - whose title was inspired by Patti Smith - 
has a hook unlike any R.E.M. song previous (note a trend?) which will 
capture the listener's ear on the second or third play, and won't let 
go.  And Smith's influence pops up again on "The Apologist" which 
has an aura of one of her late 70s songs.  The first single 
"Daysleeper" is not unlike earlier efforts such as "Country 
Feedback", but "Lotus" is the track most likely to click with 
fans of R.E.M.'s past.  With a song structure not far removed from 
"Crush With Eyeliner", this one might even be taking a poke at a 
past R.E.M. hit with the lyrics "dot dot dot and I feel fine" - a 
nod to their own "It's The End Of The World As We Know It."
	However, when the trio goes towards a more avant-garde and 
experimental, things go a bit awry.  On some songs such as 
"Diminished" ,  Stipe sings passively and dreamily, not at or to 
the listener, but off in some distant land.
	Names such as Brian Eno and John Zorn may flow from the tongue 
on first listen - or even a Pink Floyd, from the aura and atmosphere 
created on _Up_.  There are no 'classic' singles here, ones which 
either are likely to stand out as pop / modern rock hits in 5 years, 
or those which are instantly recognizable as 'an R.E.M. song'.  
	Mike Mills summarizes it as follows: "If you came in 
(to R.E.M.) on _Murmur_ or _Reckoning_ or any of those early albums, 
you'll know that we veer left and veer right, and that's what you 
should expect...it's good to show people that, whatever you 
expect from us, it's probably not what you're going to get."
	But what about the millions of fans who came onboard to 
the R.E.M. bandwagon circa _Green_ or _Monster_, albums which 
helped net the Athenians one of the largest contracts in music 
history?  They'll probably be vastly disappointed by the turn 
of events on _Up_.  And some of the fans who grew up with the 
jangly signature trademarks Byrdsian guitars will no doubt also 
wonder where the band went.  It takes a brave band to risk 
commercial failure in order to carve a new, uncharted path in 
their musical career.  With _Up_, R.E.M. have taken the first 
step in a brand new musical direction. 
---
	INTERVIEW: John Curley / Afghan Whigs, _1965_ (Columbia) 
		- Chris Hill
	You have to admire the nerve of a guy who records his 
lovemaking, titles a 23 second excerpt "Sweet Son of a Bitch", 
and puts it on an album which should be in a million teenage 
stockings on Christmas morn.  But that's Greg Dulli - rogue and 
auteur - guiding force of a band (Afghan Whigs) with a 
potentially platinum new album ( _1965_ ).
	1993's _Gentlemen_, stocked with gems like "Debonair", 
"What Jail is Like", and "Gentlemen", brought the Whigs to the 
attention of grunge-laden radio playlists.  1996's _Black Love_, 
though a respectable seller, was not as popular - blame either 
lack of label support or meatier, thought-provoking tunes.  Now 
come 1998, and they've returned with their lighter, bawdier side 
given full rein and a whip.
	Dulli's cinematic interests are evident, either with 
establishing shots opening songs (a striking match - "Somethin'
Hot", party babble - "Crazy", French dialogue - "Citi Soleil") 
or lyrical imagery ("You walked in just like smoke/with a little
come on, come on, come on in your walk" - "66").  These songs 
are lust walking with a wide-open fly - my favorite line du jour 
comes from "Somethin' Hot" - "You don't know just how I lie 
awake/and dream awhile about your smile/and the way you make your 
ass shake".  There's a plethora of randy quotables here.
	Working the publicity machine, John Curley, Whigs bass 
player, was kind enough to talk with me on the phone.  Past 
raving about the excellence of the album (ta, objectivity!), 
stylistic changes from _Black Love_, _1965_ guest musicians, the 
amazing Susan Marshall (whose vocals round out _1965_'s powerful 
groove), and their touring plans (sans horns, due to expense), 
I noticed the tape wasn't recording.  Sigh.  So we start with... 

	CO:  You guys pick great photographs for your albums.
	John:  Thank you.
	CO:  Angel Fernandez, who came up with the concept for 
_Gentlemen_ - that photograph is just amazing.  Should be a 
poster.
	John:  Angel's actually Greg, by the way.  That was his 
concept.  And we knew what the cover was going to be before we 
really started writing the songs.  We had a couple songs in the 
bag, that we had kind of started working out.  "Gentlemen" and 
"What Jail is Like" were two of the early ones.  And "My Curse" 
had been written some years before.  But he knew what the cover 
was going to be, and told us, before we really set down to work 
on the songs.
	In a subtle way - true, but I found it really helpful 
to know that.  Once I had the cover described to me, I was like 
"Yeah, I got it".   I don't know how much of that translates 
into the actual notes I play on bass, but it made it a lot 
easier to see where we were going and stuff.
	CO:  With the new record, you've got an astronaut over 
the Earth.  Was that Greg's idea, too?
	John:  At first, we wanted to use a collage of images 
from 1965, so we got a whole bunch of these images together, 
started looking at them, and it just became kind of obvious, 
definitely in looking at the cover of our last - of all our 
records, really - the single strong image seems to have more 
impact for all of us than a collage.  But there's a collage in 
there, on the back cover of the booklet.
	CO:  Why the image?  There's a real dichotomy between 
the shot in space and the intimate lyrics.  Was that an in-joke? 
	JC:  No, I don't think it's meant to be a joke at all. 
I mean, in that context, you're out in space with that spacesuit 
on, but inside it's kind of warm.  You're sort of alone with 
yourself.  There's probably several metaphors in that you could 
start to get out.  And then there's also that _2001: A Space 
Odyssey_ rebirth metaphor, too.  Not so much the music, but at 
the end, after he encounters the black box, you know ... reverts 
back to his baby self and the universe and stuff.  I don't
know.  We've never really talked about it much, but those 
are my musings.
	CO:  With pretty much the same personnel - Jeff Powell, 
Greg producing - HUGE difference in sound.  I'm wondering what 
the catalyst was between the last album and this album, 'cause 
this one's just ... sunshine.
	John:  Well, you know, I think getting off Elektra was a 
big boost for us, emotionally.  I think stuff happened in Greg's 
personal life and health-wise, where he's in a better state in 
both.  I mean, he's always said and even without saying, it's 
pretty obvious, but when he's feelin' good, he writes about 
feelin' good, and when he's feeling lousy, he writes about 
feeling lousy.  And he was feeling pretty good, and still is. 
	CO:  Some of Trent Reznor's fans hope he's always 
miserable, because he writes the best songs when he's miserable. 
	John:  Yeah, I used to say stuff like that.  Like when I 
was a kid, I would say that about Pete Townshend, "I wish he'd 
get addicted to heroin again" or something like that, 'cause he 
never wrote anything good after _Quadrophenia_ or whatever.  
But you get in a band, or you become friends with somebody who's 
an artist, and you know, it's just not worth it.  Greg said this 
to me in several interviews.  He's like "If I had to choose 
between feeling like that some more or not making any more 
albums, I wouldn't make any more albums."  It's just not worth 
it.  To see your friend not happy, that sucks, too.  And you 
can't do anything about it.  You just kinda got to sit there 
and watch.
	CO:  Well, he's said _Gentlemen_ was a pretty cathartic 
experience, sitting around with you guys, gushing out this 
emotional pain, that you guys were there for him.
	John:  I think that was the first time he really tried 
to do something like that.  And I remember doing the demos for 
that, and just listening to the lyrics and being able to hear 
the lyrics for the first time, 'cause you can't really hear 
them at practice, or at shows, necessarily, and just being like 
"wow, this is pretty personal." To be able to write it in such 
an articulate and direct way.  
	He's definitely one of my favorite lyric writers.  So 
I'm glad I get to be in a band with him too, 'cause I'd probably 
still listen to it, even if I wasn't.  I'm tough on lyrics, man. 
I get turned off really quick by some stupid lyric.
	CO:  Who are your favorites?  Do you have any modern 
guys piquing you?
	John:  Chuck D.  I think Chuck D writes great lyrics.  I 
think Thom from Radiohead writes some pretty good lyrics, and 
even the ones that aren't great are okay, you know?  It's hard.  
I've tried to do it before, and it's just like laughably stupid 
what I come up with.  I think it's really hard to say something 
in a cool and unique way.  A lot of it, too, is just conviction 
and believing in what you're saying.
	CO:  Your new drummer, Mike [Horrigan] sounds like he's 
been playing with you for a while.
	John:  I don't remember the first time I met him, but 
he's been in bands since we first started going out and playing 
with the Whigs.  We've known him for a long time.
	CO:  He's familiar with your drum riffs?
	John:  It would be safe to say he was a fan of the band.
	CO:  'Cause I'm hearing little touches in _1965_ that 
pop up throughout the other albums.  It's strange to have such a 
presence in the drums.  The opening riff of "Going to Town", I 
hear that showing up in other...
	John:  You say "Going to Town", that was actually ... 
you know, Greg's a drummer, too.
	CO:  Yeah, I read he wrote on multiple instruments.
	John:  Yeah, so that might be your connection, as far as 
hearing stuff, 'cause really, from about _Gentlemen_ on, he's 
been pretty specific about certain drum things, and he 
definitely has beats that are his favorites, that I recognize, 
that it's like "Oh, yeah, you like that stuff, don't ya?"  
Which is not to say he says, "Sit down and play it like this" 
or whatever, but there's definitely parts where he says, "Yeah, 
I gotta hear this" and that goes for drums, bass, and guitar.
	CO:  So how complete are the songs when you come in?  
Pretty much like "Here's your line, go for it." or...?
	John:  Well, like "Somethin' Hot" was a demo that was 
recorded and there wasn't really any room to change the bass on 
it, or the drums, or the guitar.  It was a pretty straight-
forward song, so we just kind of learned it like the demo, and I 
mean, it changes subtly.  There's little fills or whatever, that 
everybody does that are unique to them.  But there wasn't really 
a whole lot of room to mess around with it.  "The Slide Song" - 
that ended up having an extra part, 'cause Greg wanted to sing 
it a certain way, and it needed that sort of second half of the 
verse where it descends, like the b-verse, I guess you'd call 
it.
	CO:  I have to bring up Susan Marshall again.  She's 
incredible.
	John:  She was in a band called The Mother Station.  And 
I believe - you should check this, but I believe they were on 
Epic.
	CO:  Okay.  [Atlantic, then on EastWest, according to 
the All-Music Guide web site]
	John:  She's from Memphis.  She sings with Ann Peebles
sometimes.  She sings with a lot of people down in Memphis.  
She's a great singer, though.  She's got this huge powerful 
voice, and when we were recording, you know, the house is huge, 
and it would just boom through the whole house, you know, and 
all the floors are tile and wood and stuff, so it would just 
echo all the way back into the farthest reaches of the house.
	CO:  Wow.  I noticed you played keyboards on this one.
	John:  A little bit, yeah.  I did a keyboard bass thing 
on "Crazy".
	CO:  I think it's pretty cool that you're personally 
responding to people on the site.  [ http://www.afghanwhigs.com ]
	John:  Yeah, I'm trying to.  Part of it's guilt-driven  
for not responding to the analog fan mail we've gotten over the 
years.  We've just tried a bunch of times to do it.  It's just 
too much work, and it winds up halfway getting done.  We've had 
a couple false starts on trying to start a fan club.
	CO:  Well, you've got a couple out there - fan sites - 
that are just amazing.  Meredith's page...
[ http://dolphin.upenn.edu/~borakove/whigs/ ]
	John:  I know.  Meredith, yeah.  The first time I ever 
got on the internet, I was like "Oooh, I'll type in Afghan 
Whigs"... 
	CO:  [laughs]
	John:  ...and saw that.  So, I mean, that was already 
there.  So, I'll be forever indebted to Meredith for making me 
think the Internet was pretty cool.
	CO:  How involved are you with the Interactive portion 
of Ultrastudio?  [ http://www.ultrastudio.com/ - the Cinncinnati 
studio he shares with partners]
	John:  I pretty much did the website for the studio.  My 
wife and one of my other partners, Dave, run the interactive 
thing.  Michelle, my wife, does all the enhanced cd programming, 
has a lot of corporate clients and stuff, and then Dave does the 
mastering and the digital audio work.  So basically, the 
UltraInteractive part is the catch-all for doing anything that's
not multi-track recording.
	CO:  It's pretty Renaissance - you've got bald eagles, 
fantasy baseball...
	John:  [laughs]  She's busy.  She's got boundless energy.
	CO:  All the press about the studio makes it sound like 
a communal thing.
	John:  Very much is.  We couldn't run it any other way, 
because when the Whigs go on tour, half the staff walks out the 
door.
	CO:  The rates are great.
	John:  Yup.  You won't find a better deal within 500 
miles.  I guarantee it.
	CO:  I read that you were in the black.  Are you still?
	John:  Pretty much.  I mean, if we were all trying to 
make a living out of it, I think it would be a little more 
difficult, but as long as it supports itself, we're all pretty 
happy, 'cause we have other things we do.  The whole point of it 
was never to get in over our heads, to the point where we'd just 
have to be slaves to paying the bills, and having to go out and 
hustle for business, and having to record just god-awful music 
that none of us liked. [laughs]
	CO:  Do you think Elektra was, in hindsight, almost good 
for not getting you out, so this album will be a little more 
fresh - a "who are these guys?" kind of thing?
	John:  I think Elektra did more to make us indie rock 
than SubPop, you know.  As far as that goes.
	CO:  Really?  Through lack of promotion?
	John:  Yeah.  You know what?  I mean, number one, it was 
a total different company that we signed with, than what we left 
on.  When we signed with Elektra, they put out 40 some odd 
records a year, then they folded in EastWest and Atco, and went 
to putting out maybe 140 records a year, 180 records a year, 
whatever.  They just don't have the long-term vision.  I don't 
think the new management had a clue what to do with us.  They 
had people telling them, "Oooh, these guys are good.  Don't give
up this band."  But they didn't know why.
	They made all these promises to us about a year-long 
commitment, and blah blah blah "We're in here for the long 
term".  Six weeks down the road, it was starting to filter back 
to us that they were saying "The Whigs' record's dead.  Let's 
concentrate on" ... whatever their flavor-of-the-month band was 
at that time.
	CO:  What made you go with Columbia then? 
	John:  The guy that signed us at Columbia, Tim Devine, 
has been a longtime fan of the band, and has come to see us.  In 
fact, there were a couple of people from Columbia, besides Tim, 
who'd been coming to see us just as fans for a long time.  Tim 
kind of made it known, through conversations with people, mutual 
friends and stuff, "Hey, if you guys ever wind up leaving 
Elektra, please talk to me."  And when it became clear that we 
were leaving Elektra, he let us know that we could come there if 
we wanted to.
	But we talked to a few labels.  We talked to Interscope, 
we talked to Capitol, talked to a couple others as well, just to 
see what was out there.  But eventually, we wound up going with 
Columbia, mostly because of Tim.  Beyond that, because of people 
that we met, they just really seemed to be on top of it these 
days.  And they've also committed to whatever it takes in the 
long term.

	John and I talked some more about his love for skiing, 
New Orleans' vibrant musical atmosphere, his pleasure at the 
makeup of the current Whigs setlist, and the touring life in 
general.  It was a fun interview.  All that's left is to tell 
you, the CO reader, to go buy _1965_.  Buy several as gifts, and 
I can see them with a horn section that much sooner.
---
	REVIEW: Robyn Hitchcock, _Storefront Hitchcock_ (Warner)
		- Joe Silva
	For those with only a passing familiarity of Robyn Hitchcock's 
work, he may seem to chalk up to not much more than an semi-obscure 80s 
pop quantity that never quite made the grade like - oh, let's say the 
Cure did. By while many of his post-punk contemporaries eventually 
were forced to return to their day jobs or simply ran out of new 
fashions to aspire to, Hitchcock has continued to hold together a 
modest core audience of listeners for close to twenty years. And more 
importantly, one of those listeners was filmmaker Jonathan Demme (Stop 
Making Sense, Silence of The Lambs, Beloved). When the two met 
backstage at one of Robyn's gig in a club not too far from Demme's 
home, the seed for another notch in Demme's filmography was planted.
	The resulting piece of celluloid should be making the rounds 
at the same sorts of theatres that periodically hold midnight showings 
of Clockwork Orange any time now.  Presenting Hitchcock in front of a 
small and audience of friends and fans while behind him the macrocosm 
of a busy New York City street rushes past him on the other side of a 
shop window, Demme has captured one of Robyn's most valuable assets - 
his ability to improvise and entertain with not much more than an 
acoustic guitar, a harmonica, and a traffic cone or two.
	Moving through a mixed bag of his tunes new and old, Robyn 
rants, regales and generally puts forth a savagely good show. 
Interspersed with his well known semi-nonsensical tales, Hitchcock 
gives up great renderings of old faves like "Glass Hotel," as well 
as new songs like "1974." Beyond being a prime example of how well-crafted 
his material is when it's stripped down as it is here, Robyn shows how 
versatile he can be with a six-string beneath his fingers (something 
he's not all that well known for).  The CD release and the film differ 
slightly in which tracks are used, but as it may be sometime before the 
video version is released, this soundtrack is a super illustration of a 
multi-dimensional artist in a sometimes overwhelmingly flat musical horizon.
---
	REVIEW: Placebo, _Without You I'm Nothing_ (Virgin)
		- Tim Mohr
	As if scanning the seating chart of an eighth-grade classroom, when 
you look at Brian Molko of Placebo you find yourself going, "boy, girl, 
boy, girl." Molko tends to wear slinky black outfits and lots of red 
lipstick. With the glamorous aspirations of a Hollywood startlet and an 
electric guitar that seems to have been tuned by Sonic Youth, Molko 
embodies a certain fin-de-siecle (or millenium, as the case may be) 
sensibility: youthful nihilism, the forced vacancy of anti-intellectualism, 
and wining self-pity all inform his lyrics on Placebo's second album, 
_Without You I'm Nothing_.
	Up to now, Placebo have gained notice primarily in the UK. Throwing 
down the androgeny card in a country where bands like Suede break the bank 
with only half-hearted bluffs in this direction, Placebo took the atonal 
riffs and nasal complaints of their eponymous debut into the top ten. 
Placebo look like little girls and have reinstated American guitars on the 
British charts.
	Placebo's musical tastes contrast sharply with the fey pop that 
typifies many British guitar bands du jour and the Teva-wearing, 
prep-school- athlete-turned-crunchy-musician-in-post-Grateful Dead jam 
bands of American college rock. From skidding, angular guitar lines hurried 
along by fuzzed bass lines and frenetic drums, to tinsel glam ballads 
worthy of early Bowie, Placebo represent both a new phase of alternative 
and a throw-back to the _Daydream Nation_-era of Lower East Side noise 
bands.
	Placebo's gender-bending imagery and ambiguous lyrics, though 
likely to make fraternity social chairmen rather ornery, lend an odd 
universality to the band and the problems they explore on _Without You I'm 
Nothing_. "I'm a queen,a libertine, and every time you vent your spleen I 
seem to lose the power of speech...you're slipping slowly from my 
reach--tick, tock, tick, tock," moans Molko on the title track, counting 
off the seconds as his companion withdraws.
	It is precisely this type of lyrical quandry that makes _Without 
You I'm Nothing_ the soundtrack that we deserve: comfortable in the 
abstract with proclaiming his more outlandish qualities, Molko recognizes 
the potentially alienating affect this can entail in practice.
	Placebo suffer from urban fatigue and are wary of stasis. "You try 
to break the mold before you get too old," sings Molko in "Summer's Gone," 
before resigning himself to a somewhat less ambitious goal: "You try to 
break the mold before you die." Not that that sentiment--or buying a record 
towards that end--is particularly original, but at least Placebo don't 
sound like Semisonic.
---
	REVIEW: Various, _Tommy Boy's Greatest Beats_ (Tommy Boy)
		- Bob Gajarsky
	Sometimes, writing reviews can be a chore.  Sometimes, 
reviews are not only easy to write, but truly enjoyable.  When 
the discs from the Tommy Boy _Greatest Beats_ came this way, the 
latter feeling of happiness truly came to the forefront.
	While DJing back in the mid 1980s, Tommy Boy was quickly 
known to me - and those dancing to the music - as a label which 
would always venture slightly ahead of the pack to produce 
superior music and artists with their ears firmly in the clubs.
	Of course, the super-influential and all-time top-selling 
12" single from Afrika Bambaattaa & Soul Sonic Force "Planet Rock" 
is the leadoff track here.  And what better song can signify 
the length to which Tommy Boy's influence would reach?  Where 
Kraftwerk had their core audience, "Planet Rock" married rap with 
the robotic sounds of the enigmatic European group and 
singlehandedly inspired Miami Bass, and touched the hearts of 
those who would start dancing to techno and jungle in a later 
year.
	But one song does not a career make, nor a label.  
The psychedelic hip-hop eye-opening experience of the Daisy 
Agers, De La Soul, freestyling via TKA, and rappers such as 
Queen Latifah all were under the Tommy Boy umbrella. 
Samples were also in vogue on Naughty By Nature's reworking 
of the Jackson 5's "ABC" into the more youthfully-respected 
"OPP"; the Stevie Wonder updating for Coolio's "Gangster Paradise"
If it was danceable and hip, odds are, it was on Tommy Boy.
	Always open to new sounds, Tommy Boy didn't solely strive 
for the urban beats; Information Society opened up the doors for 
a new generation of synthpop and Trekkies raced out and picked 
up "What's On Your Mind" for the sampling of Spock's 'Pure Energy'. 
Lisa Stansfield first became known in the States with Coldcut's 
hit "People Hold On", and 808 State's brief American moment in the 
raving sun is captured on "Pacific".  House of Pain commanded you 
to "Jump Around", and the crossdressing Rupaul proclaimed his/her/hir
(sic) world on "Supermodel".  But by marrying the sounds 
which were heard on the corners of New York City's streets - yet
weren't considered mainstream, acceptable, or enough of a 
risk for the major label's bottom line - Tommy Boy helped 
define the dance scene for the 80s and 90s, without ever losing 
their street credibility.
	Those willing to plunk down their bucks for the entire 
4 disc box set will find themselves rewarded with an additional 
bonus fifth disc of classic tunes remixed from some of today's 
cutting-edge DJs.  Check out that list - including Dimitri from 
Paris,  Dee Jay Punk Roc, Grooverider, and Jason Nevins - and save 
up the pennies to buy the whole box.  Absolutely essential.
---
	REVIEW: Chris Isaak, _Speak of the Devil_ (Reprise)
		- Robin Lapid
	You know Chris Isaak -- he's that guy who parades around 
in VH-1 videos with a half-naked model while cementing his 
historical role as alt music's master transcriber of love gone 
wrong.  What if I told you that on his latest release, _Speak 
of the Devil_, he actually lifts himself out of that 'I'm the 
singer with the movie star looks who gets dumped all the time' 
fog and creates an album chock-full of full-bodied rock music 
that explores a different musical terrain such as Isaak has 
never before approached?  I'd be half off-base, is what.  There 
are subtle hints of surprise on the album, but the singer still 
shows a knack for plaintive-sweet warblings a la Roy Orbison and 
a seductively sinister  Elvis impression that is completely like 
the Isaak of old.  
	Which is not a bad thing, considering that the 
singer-songwriter, like an updated Orbison or Presley, knows 
how to perfect the rock-and-country sound of a heart melting 
into heartache or pelted with frustration and misplaced lust.  
But also on the album are welcome nuances of uncovered territory, 
like the surf-y instrumental "Super Magic 2000", which sounds 
something akin to if the Pixies' Frank Black had been obsessed 
with the Wild West instead of space aliens. "Speak of the Devil" 
builds into a rollicking rock song wherein Isaak lets loose with 
the crooning wail more evident in his looser live shows.  "Don't 
Get Down On Yourself" blends Isaak's soft and tender vocals 
with acoustic guitar and hints at how good a lo-fi, 
less-produced Chris Isaak album might sound.
	Most of the songs, however, fit into the mold that both 
sets Isaak apart and invariably limits him. The opening track 
and first single, "Please", with a salacious and gritty guitar 
line backing Isaak's dead-on rockabilly croon.  "Black Flowers" 
carries Isaak's soft and deadly vocals much like the formidable 
"Dancin'" did, crescendoing into an eloquent and controlled 
chorus and some complementary guitar licks. In all, _Speak of 
the Devil_  conflates Isaak's trademark sound with a tad more 
playful sonic variations. Not a big leap forward, but more like 
a suave sway to the left.
---
	REVIEW: Dream Theater, _Once in a LIVEtime_ (EastWest)
		- Dan Birchall
	Dream Theater has been a part of the progressive rock and 
metal scene for a decade, and a major force since vocalist James 
LaBrie joined the band in the early 90's.  Three full-length albums 
and two EP's later, the band consists of LaBrie, bassist John 
Myung, guitarist John Petrucci, drummer Mike Portnoy, and 
keyboardist Derek Sherinian.  On this live double album, the  
five showcase their technical and artistic abilities.
	They're hardly lacking in either area.  Why simplify 
complex studio songs for the road like most bands?  They add even 
more twists, turns and rhythm fills in person.  On stage, they 
leap at chances to include embellishments or improvise as a group 
in mid-song.  Their antics are akin to the Grateful Dead or 
Phish - but with an emphasis on technique, a driving beat, and 
the volume knob set on eleven.  Songs stretch far beyond their 
normal length.  Unknown lyrics crop up.  And often, they veer 
unexpectedly into a few bars of something from Pink Floyd, Led 
Zeppelin, Metallica, or even Lynyrd Skynyrd.
	Four tracks, including the opener and closer, are 
segments of the group's 23-minute epic song, "A Change of 
Seasons."  They also draw extensively from their last three 
albums, and include one song from their first album, along with 
three instrumental solos - two of which evolve into group jams.  
Other surprises include an amusing pause in the midst of a song 
for a "french horn" playing an equestrian fanfare, and a great 
guest appearance by Spyro Gyra's Jay Beckenstein on alto 
saxophone, lending a jazzy, new-age flavor to "Take Away My 
Pain."
	This is obviously a "must have" for Dream Theater's 
diehard fans, but it's more than that.  The sheer volume of 
material crammed in a single jewel case - 23 songs and 154 
minutes of music on 2 discs - makes it the ideal overview of the 
band's career to date.  Excellent sound and production and an 
enthusiastic crowd make it even better.  Whether you're a new 
fan interested in the past, a pop fan wondering what the whole 
"progressive" fuss is about, or a collector looking for the 
ultimate single example of Dream Theater's work, _Once in a 
LIVEtime_ is highly recommended.
---
	REVIEW: Firewater, _The Ponzi Scheme_ (Universal)
		- Lang Whitaker
	If the "Spy vs. Spy" cartoon in Mad Magazine had a soundtrack, 
it would sound like Firewater's new album _The Ponzi Scheme_. Taking 
the unbeatable attitude of brit-rock and proselytizing it with the 
pop sensibility of The Beach Boys, Firewater creates a boisterous 
yet refined sound. Owing as much to the chutzpah of Anthony Quinn's 
Zorba the Greek as to The Eagles harmonic balance, on _Ponzi_, 
Firewater's second full album, the kids show us that they are alright.
	After their debut album drew as much noise for its title 
(_Get Off The Cross, We Need The Wood For The Fire_), the more 
controversial subjects are abstained from in order to focus on the 
music.
	The ringmaster of Firewater's circus is lead singer Tod A., 
formerly of Cop Shoot Cop. He's totally British, faking the accent, 
but all balls, guts and lager. On "So Long, Superman" he manages to 
rhymes the phrase "...I will follow" with "...like Lou Ferrigno." A's 
scuffed baritone is gutteral and at odds against the clean arrangements.
	Despite their clean sound, Firewater injects a soul and drive 
to the music so that it's not as hollow as Fastball.
	There really aren't any duds on _The Ponzi Scheme_. The opening 
track, "Ponzi's Scheme," sounds relatively sinister yet orchestral, 
pitting brash horn stacks against guitars howling to be heard above 
the din.  "Another Perfect Catostrophe" is a swarthy and romantic 
tango in Tijuana. Another shot of tequila please, senor. "Knock 'Em 
Down" is a pew stomping good time, a Civil War-era, anti-church hymn 
("I don't believe in God because he don't believe in me," A. sings).
	A real gem is the track "Isle of Dogs," which is surprisingly 
uplifting and, well, beautiful. It's a song where Firewater doesn't 
get caught up in their own war games, and as a result they are able 
to create a slow jam that borders on the serious.
	Thankfully, the tongues are immediately shoved right back in 
cheek, exactly where they belong.
---
	REVIEW: Mike Scott, _Still Burning_ (Minty Fresh)
		- Tracey Bleile
	Whatever you may think of the Waterboys' Mike Scott - a 
little over the top, a little too arms flung wide - he is a 
showman first and a proselytizer second.  He passionately 
believes, and he wants you to, too.   And he'll pull out every 
trick he knows in the hopes of keeping you following along.
	The Big Music is back, minus the rest of the Waterboys, 
but Scott works hard to revive the past with _Still Burning_.   
His first solo effort, _Bring 'Em All In_, was more of an 
exploration of Man plus Guitar equals Serious Singer/Songwriter.  
And while there are some quieter moments on this release ("Personal", 
"Sunrising"), Scott's area of strength doesn't lie in the minutiae 
of self-examination, but on the largesse of emotion and proclaiming 
one's feelings at the top of  your lungs.  And  _Burning_ brings 
all of that rushing back with much trumpet fanfare and guitars blazing.
	Mike Scott is very much like Michael Been of The Call - an 
artist bent on bringing you closer to understanding their view of 
life's mysteries through their music.  And the songs can be read 
many ways -  the private love of the deity you worship, in a song 
like "Open" or the devotion to one human being that builds up and 
flows over with a song like "Love Anyway" - listen each time with 
an open mind, and you'll hear it a different way every time.   
Yet like the archangel whose name they share, there is also the 
examination of anger and earthbound demons playing a part in the 
human struggle that Scott faces in armed only with grinding heavy 
guitar in "My Dark Side" and the extra added thunder of an RD500 
keyboard on "Dark Man Of My Dreams".
	If you're a Waterboys fan, you've heard this all before, that 
unforgettable throaty warble bubbling through the songs that follow 
a very predictable, cadenced rhythm, which makes the absence of 
how much more percussion there used to be far more noticeable.   But 
he has found an excellent groove between the excess and the folkiness 
with songs like "Rare, Precious and Gone", with the help of a 
Wurlitzer and the omnipresent horns.  He is still an irrepressible 
and enjoyable performer, playing his Pan pipe and calling you to 
follow.  With an album like _Still Burning_ you find yourself chasing 
after, laughing and singing the whole way.
	Also released is a long-overdue "greatest" collection,  
_Whole Of The Moon_  which spans the entire W'boys catalog, and 
includes tracks from both solo Scott albums.  Guess some things are 
worth resurrecting.  Also available (but currently only as an import) 
is a great double-disc set _Live Adventures Of The Waterboys_, which 
includes killer versions of "This Is The Sea", "We Will Not Be 
Lovers", their biggest U.S. hit "Whole Of The Moon", and just 
because you can never have too much Prince, their cover of "Purple 
Rain".
	The Big Music Lives!
---
	REVIEW: Baxter, _Baxter_ (Maverick)
		- Tim Mohr
	Baxter's individual members come from very different backgrounds, 
the combination of which on their debut album works extremely well. The 
most important components are the dub and jungle stylings brought to the 
project by Ricky Tillblad, and the song- and lyric-writing of Nina Ramsby, 
who honed her skills at the helm of the Swedish indie outfit, Salt. The 
result is ambient drum and bass with an atmosphere that would feel at home 
on 4AD records.
	What makes the record enjoyable is the way Baxter avoid most of the 
trappings of the various styles: drum and bass usually comes in one of two 
formats--the instrumental variety of, for instance, DJ Krust, or the 
house-inflected stylings of people like Alex Reece or Goldie. Baxter take 
their cue from the more minimalist instrumental school but add vocals. And 
likewise, the vocals--with their morose quality and thoughtful lyrics--lean 
towards the trip-hop of Portishead or Lamb, but the musical backdrop is 
more lively and less self-consciously melodramatic.
	There are some particularly interesting moments: On "So Much I've 
Heard," Baxter loop a dusty guitar sample in Tricky's signature style, but 
then add frantic, crashing drum and bass percussions to the track. Some of 
the pieces have the haunted dancehall feel of Witchman, with a dark, spooky 
piano line looped over sinister snares. "Possible" takes something of this 
approach, then adds horns--mirroring another common drum and bass 
technique, the jazzy sample--to create what might be mistaken for a 
top-drawer re-mix of Portishead.
	Sometimes the mix is less effective: "All Of My Pride" could be a 
Sade remix, what with the lyrical tone and the muted trumpet line.
	Baxter make a good case for the genre cross-pollenization that 
they attempt. Tracks such as "So Much I've Heard" should make believers of 
people who like all manner of beatz, and particularly those who already 
seek out similar projects -- The Aloof come to mind with their organic, 
dub-heavy, vocal excursions.
---
	REVIEW: R.L. Burnside, _Come On In_ / Robert Cage, _Can See 
		What You're Doing_  / Bob Log III, _School Bus_ 
		(Fat Possum Records)
		- Rob Hillard
	Out in the rolling hill country region of northern Mississippi, 
there ain't a whole lot to sing about.  The days are hot, the roads 
are dusty, and the economic conditions are as mean and nasty as a 
junkyard dog.
	Fortunately, the blues are alive and well in this lonely and 
forsaken place.  But you might never know it if it weren't for the 
brave souls at Fat Possum Records.  Based in the tiny metropolis of 
Oxford, this fiercely independent group of modern-day archivists is 
working hard to expose the next generation of Mississippi's trailblazing 
blues bogeymen.  Yet the core of their talent includes many of the 
last living disciples of vintage Delta blues, made famous in this 
region by legendary characters like Son House, Robert Johnson, Muddy 
Waters, Howlin' Wolf, Willie Dixon, and Elmore James.
	At the top of the Fat Possum roster is a stubborn, ol' whiskey 
swillin', wide-grinnin' son-of-a-bitch named R.L. Burnside, whose 
stripped-down, electrified guitar blues is as wicked and intense as 
a New Years Day hangover.  My first exposure to Burnside was at the 
1996 Johnstown Folk Fest, where he shared a bill with his friend and 
labelmate, the late, great Junior Kimbrough.  Backed by the Kenny 
Brown Blues Band, Burnside rambled onto the stage about three or four 
songs into the set carrying a shabby looking electric guitar that 
looked like it might have been pulled out of a dumpster.  He then 
proceeded to display his raw wizardry, unleashing some of the most 
hypnotic and high-voltage backwoods blues I'd ever heard.  Stretching 
and scratching the strings as often as he stroked them, Burnside 
spewed forth an hour-long, alcohol-fueled set of howling, stomping, 
straight-ahead mojo madness. Above the swirling din of spontaneous 
guitar licks came the sound of Burnside's growling, caterwauling 
vocals - rough, rootsy, and seething with passion.  The entranced 
crowd responded in style, partaking in the most down and dirty, 
reptilian dancing ever witnessed in this conservative, blue-collar town.
	With three recording projects already under his belt, including 
a 1996 session with the Jon Spencer Blues Explosion that yielded the 
critically acclaimed _A Ass Pocket of Whiskey_, Burnside is always 
looking for a fresh new sound.  Never one to pay much homage to 
maintaining tradition, Burnside's latest Fat Possum release, _Come 
On In_, may be his most daring adventure yet.  On this fascinating 
collection of experimental remixes of new and previously recorded 
tracks, famed Beck producer Tim Rothrock makes use of ambient sounds, 
drum loops, and sampling to add yet another dizzying dimension to 
Burnside's trance-inducing southern boogie.  The result is sonically 
intense, yet still surprisingly primitive.
	Moving from the hell-bent fury of "Let My Baby Ride" to the 
spooky technofried blues of "Shuck Dub," the album manages to capture 
the spirit of a modern-day dance hall without diminishing the spark 
of Burnside's fiery juke joint blues.  Compare the untouched live 
version of the title track to the two remixed versions that are 
scattered throughout the album's twelve tracks and you will see what 
I mean.  Other memorable genre-bending moments include the urban 
hip-hop rhythm romp "Don't Stop Honey," which features Burnside's 
grandson Cedric on drums, and "Rollin' Tumblin," a driving swamp-stomp 
rocker that is sure to tickle the toes of even the baddest technophobe.
	Burnside is currently on the road, reluctant as he may be to 
leave his modest home in Holly Springs, Mississippi.  Opening a 
majority of the shows is another veteran Fat Possum bluesman, Robert 
Cage, whose lean and mean pre-war blues hits you like a musty blast 
of air from a long-shuttered root cellar.  Once you get acclimated to 
his vintage grunting sound, it's very cool.  This trademark vocal 
style is a rough and tumble tradition that Cage picked up from his 
long-time mentor, a Woodville, Mississippi blues legend named Scott 
Dunbar.
	After nearly four decades playing electric blues, Cage returns 
to his roots on his first recording for Fat Possum, _Can See What You're 
Doing_.  While the disc contains two potent, electrified numbers, 
including the opening butt-thumper "Get Outta Here" and the searing 
"Instrumental #5," most of the remaining tracks follow the old-school 
acoustic country blues theme.  Listening to Cage "doo doo doo" his way 
through "Little Eddie Blues," you almost get the feeling you're sitting 
out on his backporch sipping on a cool can of Colt 45, watching the 
sun settle down over the old Rosemont plantation.  Cage grunts his 
way through "How Do You Get Your Rolling Done," a wailing tune that 
evokes the spirit of Mississippi Fred McDowell.  Other highlights 
include an unrestrained take on the traditional "Liza Jane" and 
spirited renditions of Leadbelly's "Easy Rider" and "Goodnight Irene."
	A few select dates on the Burnside-Cage tour will also feature the 
monkey-pawed, caffeinated slide-guitar and kitchen sink percussion of Bob 
Log III, a self-proclaimed rock'n'roll rebel who regularly performs wearing 
a motorcycle helmet.  While the helmet adds an air of mystery to Log's 
already puzzling persona, it has an even greater effect on his vocal style. 
Yep, that's right.  He actually sings through the helmet, using cheap 
telephone microphones to create a bizarre lo-fi sound that is nearly as 
intriguing as his self-generated psychedelic blues rave-ups.  Never mind 
that you can barely understand a damn thing Log is singing.  Vocals 
definitely take a back seat to the lightning-speed slide guitar riffs and 
funky junkyard rhythms in this unique one-man-band.
	One half of the Tucson-based post-punk blues outfit Doo Rag, 
Log has long experimented with primal beats and unorthodox guitar 
effects.  On his Fat Possum solo debut, _School Bus_, Log hammers 
out a series of short, percussive romps that range from supercharged 
breakdowns like "String on a Stick" and "Big Ass Hard On" to the 
loping blues shuffle of "Fire in the Hole" and "Land of a Thousand 
Swirling Asses."  The mojo really gets working on a funky little 
ditty called "All the Rockets Go Bang," a rowdy call and response 
number that must surely be a highlight of the live Log experience.  
"Pig Tail Swing," a wickedly paced slice of slide thrash that clocks 
in at just under two minutes, conjures up depraved images of Log 
chasing hogs around at an all-night Midwestern barn dance.  While 
the abbreviated length of these tunes creates an appearance that 
they may have been tailored for commercial radio, it's far more 
likely that Log is merely suffering from some sort of severe 
attention deficit disorder.
	For further information on these artists or Fat Possum 
records, you check out the web site at http://www.fatpossum.com
---
	REVIEW: Jocelyn Montgomery with David Lynch, _Lux Vivens (Living 
		Light)_ (Mammoth)
		- Jon Steltenpohl
	Throughout his career, David Lynch has tried time and time again 
to create visions of slightly twisted parallel world where the bizarre 
is seemingly everywhere.  He's brought that vision to light not only 
with characters and visuals, but also with music.  Even in his early 
cult classic, _Eraserhead_, there was a miniature girl in the radiator 
singing about heaven.  His later albums with Angelo Badalamenti and 
Julee Cruise provided a mysterious, yet silly take on the Twin Peaks 
theme, and lately, he was responsible for bringing Rammstein to the 
masses with the Lost Highway soundtrack.
	However, regardless of the success of his work, Lynch remains an 
artist for whom you always wonder if you can take seriously.  His work 
is often bizarre just for the sake of being bizarre.  Now, collaborating 
with Jocelyn Montgomery, David Lynch has produced an album which is 
remarkable for both it other-worldliness and its stunning beauty.  And 
thankfully, Lynch has restrained his need to tweak the nose of rational 
thought.  _Lux Vivens (Living Light)_ manages to be both mysterious and 
serious without taking away from either aspect.
	Lynch discovered Montgomery as she walked down the street singing 
to herself.  With an eye for talent and itching to get going in his new 
recording studio, Lynch recruited Montgomery as his next diva.  
Montgomery, a trained vocal artist, had recently been exposed to the 
music of a German nun named Hildegard von Bingen who lived from 1098-1179.
	The resulting album of these three unlikely collaborators is a 
treasure. It unfolds like a dream where you find yourself floating over 
Eden. Montgomery's single a Capella voice echoes as if you were in an 
ancient monastery.  The echoes float back and forth over themselves in 
a most incredible display of self harmonization that turns one voice 
into a chorus of angels.
	Unlike the Enigma albums or the Benedictine Monks remixes of a 
few years back, _Lux Vivens (Living Light)_ contains no dance beat behind 
it.  There is no percussion.  Strings, wind and rain, bird sounds, and 
other effects set a quiet backdrop for Montgomery's practiced voice.  
She is crystal clear, like a small bell.  Simple, subdued.  Yet within 
each note, Montgomery caresses and consoles the melody to the point of 
breathlessness.
	After a single listen, the title comes as no surprise.  _Lux 
Vivens (Living Light)_ begs to be played with candles in the room.  
Something about the music is solemn and contemplative.  It's as if 
there is a ceremony in progress.  The listener is practically dared 
to find a bath or a massage to complement the album.  Just toss that 
_Songs of the Humpback Whales_ album by "Yanni wannabe #23" in the 
trash, put this album in the player, and relax away.  _Lux Vivens 
(Living Light)_ is riddled with continuity and consistency as one song 
softly flickers into another.
	The album is, like most of Lynch's work, more different and 
abstract than what you'd normally find in the mainstream.  But, unlike 
his previous body of work, the quirkiness is restrained and very 
refined.  Lynch, with Montgomery as his voice, has finally found a way 
to focus on just his genius and leave the rest behind.  _Lux Vivens 
(Living Light)_  is an auditory masterpiece.
---
	REVIEW: Bio Ritmo, _Rumba Baby Rumba!_ (Mercury)
		- Joe Silva
	This octet of mostly non-Hispanics may appear as if they're 
doing some pretty high-wire tap dancing by putting out an album of 
Latin jive, but at times these guys can actually manage this bit 
of sleight of hand.
	Led by Cuban emigre' Rene Herrera, Bio Ritmo strike a 
compromise between Herrera's background and more marketable brand of 
big band merriment that live makes them a big hit with those who are 
just now making room for Salsa in their musical vocabulary. 
	Songs like "Ugly" and "Call Me Up" are jokey numbers and 
straight-up pop fare respectively that just happened have a Latin 
taint to them.  And while their "Tequila" cover may just seem like 
easy filler, there are some breaks within its framework that show what 
savvy musicians these guys actually are. In fact "Un Carnaval En La 
Habana," "Una Palabra," and "Sientate Ahi" comes pretty close to 
servicing all of the genre's essential elements both musically and 
vocally. Herrera's voice might be a touch saccharine, but it's 
convincing enough at least for this tune to inspire the rest of the 
troops to some damn precise backup vocals. 
	While I might take Marc Ribot's ("Marc Ribot Y Los Cubanos 
Postizos") release over this despite it being even further removed 
from the real article, there's enough sincerity and genuine 
professionalism within Bio Ritmo not to dismiss them as big band 
opportunists. A few more mojitos and a visit to the old county 
might be in order however. 
---
NEWS:	> The band Berlin revealed during a recent live gig 
that it is currently shopping a new studio record to the 
labels.  And the band has been performing several of the brand 
new songs in concert along with their biggest Eighties hits.  
The new song with the most potential is the sultry "I Can 
Love Again," written by Berlin vocalist Teri Nunn and former 
Concrete Blonde leader Johnette Napolitano.
	> Lenny Kravitz' _5_ album has recently been certified 
gold (500,000 shipped) by the RIAA. 
	> Yo La Tengo will join two other performers (Sonic 
Youth and Tito Puente) to cover the Simpsons theme song in 
an episode of the television show.  Their psychedelic version 
will appear at the end of the November 15 episode.
---
TOUR DATES:
	Tori Amos / Unbelievable Truth
Nov. 1 Detroit, MI Rose Arrena
Nov. 3 Eau Claire, WI Zorn Arena
Nov. 4 Madison, WI Dane County Expo
Nov. 6 Pittsburgh, PA Civic Arena

	Archers of Loaf
Nov. 1 Seattle, WA Show Box
Nov. 3 Vancouver, BC Starfish
Nov. 4 Seattle, WA Crocodile

	Better Than Ezra / Possum Dixon / Athenaeum
Nov. 1 West Palm Beach, FL WPBZ Radio Show

	Cypress Hill
Nov. 2 Washington, DC 9:30 Club
Nov. 3 Detroit, MI Clutch Cargos
Nov. 4 Chicago, IL House Of Blues

	Deftones
Nov. 3 Petaluma, CA Phoenix Theatre
Nov. 4 Los Angeles, CA Palladium
Nov. 5 San Diego, CA Soma
Nov. 6 Phoenix, AZ Mesa Amphitheater

	Everlast
Oct. 28 Boston, MA Axis
Oct. 29 Old Bridge, NJ Birch Hill
Nov. 1 Pittsburgh, PA Club Laga
Nov. 2 Cleveland, OH Peabody's
Nov. 5 Charlottesville, VA Trax
Nov. 6 Washington, DC The Bayou

	Glen Matlock
Oct. 30 London Mean Fiddler
Oct. 31 Dublin Mean Fiddler
Nov. 4 York Fibbers
Nov. 5 Doncaster Leopard's

	Motley Crue
Nov. 1 New Haven, CT Oakdale Theatre
Nov. 3 Wilkes Barre, PA Kirby Theatre
Nov. 4 Rochester, NY Auditorium Theatre
Nov. 6 Syracuse, NY Landmark Theatre

	John Taylor
Nov. 3 Jacksonville, FL Moto Lounge
Nov. 4 Hallandale, FL Button
Nov. 6 Orlando, FL House of Blues
Nov. 7 Atlanta, GA The Cotton Club

	Moe Tucker
Nov. 4 New Hope, PA John & Peter's
Nov. 6 New Haven, CT Tune Inn

	Mike Watt
Nov. 1 Minneapolis, MN First Avenue 
Nov. 2 Iowa City, IA Gabe's Oasis 
Nov. 3 Omaha, NE Ranch Bowl 
Nov. 4 Lawrence, KS The Bottleneck 
Nov. 6 Denver, CO Bluebird Theatre 
---
Founded in August, 1993, Consumable Online is the oldest 
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