== ISSUE 185 ====  CONSUMABLE ONLINE  ======== [August 23, 1999]

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

 Address all comments to staff@consumableonline.com ; subscription 
information is given at the end of this issue. 
==================================================================
	All articles in Consumable remain (C) copyright their author(s). 
Permission for re-publication in any form must be obtained from the 
editor.
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                            .------------.
                            |  Contents  |
                            `------------'
INTERVIEW: John Linnell, They Might Be Giants - Daniel Aloi
REVIEW: Richard Thompson, _Mock Tudor_ - Don Share
REVIEW: Various Artists, _Y2K Beat The Clock_ - Andrew Duncan
CONCERT REVIEW: Pretenders, London Guiness Fleadh - Joann D. Ball
REVIEW: The Sheila Divine, _New Parade _ - Kerwin So
REVIEW: Vertical Horizon, _Everything You Want_ - Bob Gajarsky
REVIEW: Ministry, _Dark Side of the Spoon_ - Andrew Duncan
REVIEW: Soundtrack, _Stigmata_ - Chris Hill
REVIEW: Various Artists, _Across the Bridge of Hope_ - Jon Steltenpohl
REVIEW: Craig Armstrong, _Best Laid Plans_ / Craig Armstrong and Various 
   Artists, _Plunkett and Macleane_ - Christina Apeles
REVIEW: Moody Blues, _Strange Times_ - Don Share
REVIEW: Smash Palace, _Fast, Long, Loud_ - Bob Gajarsky
REVIEW: The Church, _A Box of Birds_ - Chris Hill
REVIEW: Lords of Acid, _Expand Your Head_ / Praga Kahn, _Twenty First 
   Century Skin_ - Jon Steltenpohl
REVIEW: Soundtrack, _Dick_ - Bob Gajarsky
NEWS: Worldwide Recordings, William Orbit
TOUR DATES: Atari Teenage Riot, Black Sabbath / Godsmack, Blinker The 
   Star, Blondie / Reel Big Fish, Billy Bragg, Duran Duran, Julian 
   Lennon, Men At Work, Alanis Morissette / Tori Amos, Pietasters, 
   Sevendust / Skunk Anansie / Powerman 5000, Verve Pipe, Voodoo Glow 
   Skulls, Tom Waits, Ween, Weird Al Yankovic
Back Issues of Consumable
---
	INTERVIEW: John Linnell, They Might Be Giants
		- Daniel Aloi
	"You're older than you used to be, and now you're even older," 
They Might Be Giants sing on their new, MP3-only rarities album, _Long 
Tall Weekend._
	In the Giants' case, they're not only older, but busier. Since 
leaving Elektra Records and releasing a live set, _Severe Tire Damage_, 
on Restless last year, TMBG mainmen John Flansburgh and John Linnell 
have been in high gear - with touring, film and TV soundtrack 
contributions, and high-profile appearances on public radio's "This 
American Life" and (in segments directed by Flansburgh)  on ABC's "Brave 
New World" summer series.
	Ted Koppel and TMBG -- who knew?
	The off-center rockers, who could hardly be described as cult 
figures anymore, also have more work cooking, ranging from a children's 
album due next year to more music for TV, and ongoing side projects like 
Flansburgh's band Mono Puff and Linnell's upcoming full-length CD of 
"State Songs."
	"We've really got tons of home work to do this summer, working in 
our home  studios," Linnell says from his Brooklyn home.
	_Long Tall Weekend,_ a 15-song album, includes unreleased work 
from the past two years, with some songs (like "She Thinks She's Edith 
Head") expected to  appear on the band's next proper studio album.
	"I have no clue as to how well it's doing," Linnell says, when 
asked if he was up on the number of hits and downloads one week after the 
album's July 20 release date. "I have no clear idea, despite the 
popularity of MP3, whether people want to pay money for them. I guess 
once they make it so you can't get them for free, that will change."
	Linnell himself is not one who'd readily go online to download 
music, citing some bad past experiences in trying to stream audio.
	"I haven't really had success at downloading an album from the 
Internet. I suspect until I do it will be frustrating for me," Linnell says.
	"Maybe I just don't have the patience. I really like the 
convenience of a CD. You put it in and push the button. You do have to 
go leave the house to get it..."
	MP3, an audio compression format, is popular for its sound 
quality, compared to streaming audio. "Plus you get the whole thing onto 
your hard drive, and from that point you're not at the mercy of your 
faulty telephone line," Linnell says.
	They Might Be Giants actually pioneered song delivery direct to 
fans - in a low-tech way - with its Dial-A-Song service.
	"Dial-A-Song is a free thing, although we pretty much put up our 
demos. We've had a lot of different things that were not exactly pop 
songs," Linnell says.  "But the premium work of They Might Be Giants is 
what we want people to pay for. Unless they can figure out some way to 
get it for free."
	"My partner (Flansburgh) is pretty much the one who maintains 
and stocks Dial-A-Song," Linnell says. "It used to be a phone machine 
in his kitchen. The setup now is a voice mail on his computer, also in 
his kitchen. It's about as unreliable as the phone machine was. It's 
only been one phone line for about 17 years. With http://dialasong.com, 
I think more people can listen at once."
	Flansburgh has put up anywhere from a handful to 30 unreleased 
songs - Linnell isn't sure how many -- on the Website. You go to 
http://dialasong.com, punch a big telephone button illustrated there, 
and you are linked to a song. "We've stuck to this policy of you don't 
get to decide what song you hear," Linnell says.
	As a sort of "premium" Dial-A-Song compilation, _Long Tall 
Weekend_ collects unreleased studio material that, taken together, stands 
up as well as any other TMBG release. It's full of surprises -- from the 
longtime Dial-A-Song favorites "Dark and Metric" and "Token Back to 
Brooklyn" (with Soul Coughing drummer Yuval Gabay) to the country stomper 
"Counterfeit Faker" to "The Edison Museum," co-written by Flansburgh about 
an actual famous haunted mansion in  New Jersey, and sung by WFMU deejay 
Nick Hill. Linnell found some surprises as well when they compiled the 
tracks.
	"When I listened to it last week afer I got the CD (a few 
promotional CD copies went to the MP3-unready, including Linnell and 
this writer), I was very pleased with the instrumental that opens it, 
that's probably about six or seven years old, called "Drinkin'." I had 
forgotten about it," Linnell says.
	"I like the performances by the band on `Certain People I Could 
Name' and `They Got Lost.' Something really clicked on that particular 
session."  
	"They Got Lost" is a true-to-life story about the two Johns not 
making it to a radio gig.
	"It's a composite of pretty much every single time we went in a 
car anywheres," Linnell says. "John Flansburgh and I have this 
particularly weird habit of getting turned around wherever we go."
	"It's the slow version of the song, originally intended for 
_Factory Showroom_ (Elektra, 1996) but unreleased until the very sped-up 
version came out on the 1998 live album.
	"I think it's a good record," Linnell says of the MP3 release. "I 
feel like I needed to be reminded of the reason why we wrote and recorded 
the songs. When you listen to your stuff after a period of time, it's 
kind of a fun experience."
	They Might Be Giants' _Long Tall Weekend_ is available in MP3 
format for 99 cents a song at goodnoise.com (linked to from the official 
TMBG sites and from http://emusic.com ). One track, "Older" (featured on 
the ABC show) is a free download.
---
	REVIEW: Richard Thompson, _Mock Tudor_ (Capitol)
		- Don Share
	Whatever the decade, whatever the trend, Richard Thompson has 
been with us from his folk-rock days in the 60's with Fairport Convention, 
to his 70's collaborations with former wife, Linda, all the way up 
through his quirky solo albums of the 80's and 90's. Dark, but wittily 
un-depressed lyrics underwritten by uncopyable guitar solos have always 
been his hallmarks. 1973's classic _I Want To See The Bright Lights 
Tonight_ and especially the singular and harrowing _Shoot Out The 
Lights_ from 1982 (a must-own for anyone going through a divorce!), 
should be in everybody's record collection, and after that, there are 
about a dozen worthwhile albums, including this one, to investigate. 
Thompson is so deadly smart with a lyric and a guitar that you'll very 
likely end up curious about everything he's done; if so, this is a fine 
album to start with, or keep going with.
	Working with producers who've been on the job with Elliot Smith, 
Beck, and Foo Fighters, and a band that includes veteran Dave Mattucks 
on drums, and two other Thompsons, son Teddy on guitar and vocals and 
Danny (no relation) on double bass, _Mock Tudor_ is proof that time has 
not mellowed or dulled Thompson's remarkable skills. Perhaps more than 
its predecessors, this is a focused, richly detailed collection of songs 
that, as always, start off sounding odd and grow and grow on you.
	One slight change is that the music here is a bit more on the 
radio-rootsy, i.e., Dave Matthews/Springsteeny side, than fans would 
expect. Still, you never heard those other guys sing about a "Cooksferry 
Queen," or an opportunist club-owner named Mulvaney who trades in mohair 
for tie-dye faded jeans. The opening track I'm describing growls like a 
train, and blows like a smokestack. "Sibella" features pounding, aching 
bass and drums, with a literate, but far from bookish lyric: "Some say 
you can learn a lot from books / Thrill-ride to second-hand living / 
Life is just as deadly as it looks / But fiction is more forgiving."
	"Bathsheba Smile" is swelling and angry, as well, but even 
sharper is the self-explanatory "Two-Faced Love," which features 
inspirational lines like the cubist "Two-Faced love feels so wrong it 
must be right," and the characteristically wry couplet, "Pardon my naive 
caress / tenderfoot tenderness." Similarly wonderful are the no-pun 
intended "Hard On Me," a great grim thumper, and "Uninhabited Man," in 
which the rhythm section chips away at the melody the way life has worn 
down the guy who sings, "If there's no me then there's no sin."
	Some of the songs are nearly country, like "Dry My Tears and 
Move On," and "Walking the Long Miles Home," which is about missing, 
literally the bus... instead of missing the woman. These are vintage 
clear Thompson vignettes: "The whole town's asleep / or maybe they're 
deep / in the old voulezvous." But exactly what country is it? "Sights 
and Sounds of London Town" features "Gillian... a Doncaster lass," so 
we know were not talkin', say, Nashville or Asbury Park.
	Best of all is "That's All, Amen, Close the Door," almost Tom 
Waitsy in its bumptious grind, by way of some Jarvis Cocker irony 
("There's beauty in what's brief / There's beauty in what's small / 
That's all.") and "Hope You Like the New Me," which I won't spoil by 
quoting. These songs are what we've counted on Thompson for all these 
years. They're not just sob-stories -- in every dark situation, Thompson 
finds bright new light.  It's a little old-fashioned, even a bit 
scruffy, but you have to be thankful he's still making such music. As 
he sings in "Crawl Back Under My Stone," "I've got a nerve just showing 
my face, don't you think?"
---
	REVIEW: Various Artists, _Y2K Beat The Clock_ (Columbia)
		- Andrew Duncan
	With the end of another millennium approaching and the prospect 
of facing the year 2000, the music industry, along with all the other 
entertainment media, are doing something never before attempted -- 
cashing in on the historical event by releasing music that had significant 
impact throughout the 1900s. Record companies, including Rhino, are 
recollecting on soul, hip-hop and the big '80s, while National Public 
Radio is collecting classical movements throughout the century. Of 
course, there are many other compilations sitting in the record stores.
	With the Y2K paranoia also lurking in a dark corner, Columbia is 
using the potential computer Armageddon to market the music-compilation 
craze.  Instead of using musical artists to demonstrate a 
strong-historical statement, Columbia is creating a product to be used 
as a party mix to bring in the new millennium. 
	Who cares, Columbia says, about the Y2K bug that will supposedly 
wipe out anything that relies on computers if not properly fixed before 
the clock turns to January 1, 2000? Just dance those worries right out 
the door.
	Sounds great in theory, but what exactly is there to dance to? 
Many great songs that have been featured on many other electronica 
compilations in the market, along with some more obscure pieces that 
can stay in the music vaults.
	Sure Fatboy Slim's "Rockafeller Skank" and his remix of 
Wildchild's "Renegade Master" are excellent choices, while Prodigy's 
"Out of Space" is a wonderful addition instead of using "Firestarter" 
for the 50th time, but the songs that are used are just too familiar to 
the world of electronica.  There are the popular songs like 
Propellerheads' "Bang On!" or The Crystal Method's "Busy Child," while 
the Chemical Brothers and The Orb show off songs from previous albums. 
For fans of this style of music, it's a good assumption that they 
already own the albums these songs came from.
	Unfortunately, the rare versions like Alec Empire's hideous 
remix of Bjork's "Joga" and a new version of the Sparks' "Beat the 
Clock" are not enough to solely make an investment in the CD.
---
	CONCERT REVIEW: Pretenders, London Guiness Fleadh
		- Joann D. Ball
	While the superb _Viva El Amor_ (Warner Bros.) is substantial 
evidence that "they don't make 'em like they used to," the Pretenders' 
live dates this summer have hit that point home harder than ever.  
Touring in support of the new record, the band played some warm up 
dates in Ireland before the first festival gig of the season at last 
month's London Guiness Fleadh.
	Taking the stage at the end of a music-filled day that also 
included incredible sets by Elvis Costello and Van Morrison, the 
Pretenders reinvigorated the hometown crowd with its hits laden hour-long 
set. Opening with a diesel-powered version of "Popstar" and then smoothly 
segueing into the classics "Message of Love" and "Talk of the Town," it 
was clear that the new material is a chip off the old block.  The crowd 
turned "Back on the Chain Gang" into a massive sing along of British 
football stadium proportions, and enthusiastically greeted "Human" 
which soared to new heights courtesy of Adam Seymour's sizzling guitar 
solo.
	Acknowledging the band's past, band leader Chrissie Hynde took 
a moment to dedicate "Kid" to late original members James Honeyman-Scott 
and Pete Farndon.  Moving forward to newer material, The Pretenders 
then moved forward to newer material, playing a heartfelt "I'll Stand 
By You" followed by the upbeat "Don't Get Me Wrong" which Hynde 
dedicated to her husband on their anniversary.  Changing the song's 
tempo at midpoint, the band delighted the crowd with a jazzy "Van 
Morrison version" and dedicated the night's performance to legendary 
singer.  The band then finished the rousing set with scorching versions 
of "Night in My Veins" and "Middle of the Road."
	For the much-demanded encore, The Pretenders chose "Stop Your 
Sobbing" and "Brass in Pocket" the two songs which launched the band's 
career two decades ago.   And they brought the London Fleadh to a 
memorable end by recruiting musical conteporary Elvis Costello to join 
them on a stellar cover of the Nick Lowe-penned classic "(What's So 
Funny 'Bout) Peace, Love and Understanding."
	Stateside, audiences were treated to the similar high-energy 
sets during the Pretenders' stint on the Lilith Fair and at a number 
of solo gigs across the country.  The Lilith Fair perfomances were 
extremely well received, reintroducing the band to older concert goers 
while garnering a whole new generation of fans.  Having completed the 
promotional tour for the new record, The Pretenders will play a series 
of dates in the UK and the rest of Europe before returning to North 
America for a proper headlining tour later this year.  In the meantime, 
American fans old and new can look forward to seeing the band on VH-1 
"Storytellers" and in a few other special features aired on the video 
network.
---
	REVIEW: The Sheila Divine, _New Parade _ (Roadrunner)
		- Kerwin So
	This is the moment that we self-indulgent record reviewers 
live for: the moment of discovery.  The sheer joy of finding a great 
new band and getting the opportunity to tell others about it.  The 
last time I felt this excited about a band was when I first heard 
Boston's Tugboat Annie; little surprise, then, that the fantastic 
new band The Sheila Divine is friends with them.  For those of you 
who happen to love The Replacements or Sunny Day Real Estate and are 
short on time, skip the rest of this review and go out right now to 
buy The Sheila Divine's new record on Roadrunner, _New Parade _.  
For those kind souls willing to listen further, read on.
	I'm not saying that The Sheila Divine is the new Replacements, 
but the comparisons do come immediately to mind, both in singer Aaron 
Perrino's heartfelt Westerberg-ian rasp and in his world-weary lyrics. 
You need a little clarity?  Check the similarity:

	"All I know is that I'm sick of everything that my money can 
buy." - The Replacements, "Here Comes a Regular"
	"Make your money / Don't stop working / You have your future / 
Financial planning / Without purpose / Like the robots / I have 
purpose / I won't settle."  The Sheila Divine, "Automatic Buffalo"

	"Seen your video/ That phony rock and roll/ We don't wanna 
know/ We don't wanna know!"  -- The Replacements, "Seen Your Video"
	"On the radio a bunch of fakes/ Just shut them down." -- The 
Sheila Divine, "Hum"

	"On the bus / Watch our reflection / On the bus / I can't stand 
no rejection." The Replacements, "Kiss Me on the Bus"
	"We don't stand a chance/ It's the death of true romance/ When 
a glance is just a glance/ We don't stand a chance." The Sheila Divine, 
"Awful Age"

	Those are just the lyrical parallels between The Sheila Divine 
and The Replacements, but the parallels don't stop there - what makes 
both these bands great is in their delivery, in sheer, gut-wrenching 
emotion. When Perrino screams "I'm a believer," there's no doubting it, 
just as you believed it when The Replacements' Paul Westerberg screamed 
"I'm so unsatisfied" back in '84.  On the occasions when Perrino's 
emotive voice careens over the edge, it immediately recalls Kurt 
Cobain or Sunny Day Real Estate's Jeremy Enigk.  And on the closing 
track's brooding nod to Radiohead, "Sweep the Leg," Perrino's vocals 
are a dead ringer for Thom Yorke's. 
	But while the musical parallels are evident, it's also clear 
that The Sheila Divine isn't blatantly imitating anyone else.  Yes, 
they did come up with the phrase "Automatic Buffalo" on their own-- 
you might find the title silly at first, until you realize that Native 
Americans used to stampede herds of buffalo off a cliff to slaughter 
them for a year's worth of food.  In that context, a song with lyrics 
like "So make your money / If it keeps you happy / There is no future 
/ When you're just pretty" becomes that much more chilling.  Moments 
of brilliance like this jump out at the listener throughout _New 
Parade _, braced by The Sheila Divine's distinctly dark, lyrical 
power-pop guitar jangle and heart-stopping breaks.
	My only complaint with this album is that, at twelve songs, 
it's a little too long-they all begin to sound alike after a while.  
Nine or ten songs would have been optimal, but this is still a killer 
debut. Make no mistake about it, folks-The Sheila Divine is the real 
thing.  In the process of mining their hearts and showing the rest of 
us what's inside, they've proven that rock ain't dead by a long shot.
---
	REVIEW: Vertical Horizon, _Everything You Want_ (RCA)
		- Bob Gajarsky
	Vertical Horizon's major label debut album _Everything 
You Want_ earmarks traces of Live and Barenaked Ladies for one 
of the most accessible yet distinctive sounds of the year.
	The core of the group - Matt Scannell and Keith Kane - met 
while undergraduates at Georgetown.  Rather than forming a full-fledged 
group, the pair became a popular acoustic attraction at the college.  
Although Scannell "loved electric guitar and playing in bands", it was 
"just easier to walk into a club with only an acoustic guitar and land 
a gig."
	Combinining the indie work ethic - succesful DIY albums with 
relentless touring - which helped launch bands such as Dave Matthews 
to stardom, Vertical Horizon released three albums which were eagerly 
snapped up by their growing fan base.  Word spread of the band's 
ability - Carter Beauford from Dave Matthews sat in on drums on 
1995s _Running On Ice_ - and so did the group's reputation.
	Bassist Sean Hurley and drummer Ed Toth were added in 1996, 
"By spending so much time on the road, we've really built up a loyal 
grassroots following," recalls Hurley.  "It helped us really develop 
as a band, even if it means being away from home."
	The anthemic title track has the potential to be a Generation 
X hit for years to come, with its lyrics "I am everything you want / 
I am everything you need / I am everything inside of you / That you 
wish you could be." "Send It Up" opens with a gentler lick akin to 
Hendrix' "Foxy Lady" mixed with the spirit of Dave Matthews, while 
"We Are" and "Best I Ever Had" are prime examples of the Live / Ladies 
mix that works like a charm.
	With so many references to the Dave Matthews Band, it's 
certain that DMB's fans caught on to Vertical Horizon years before.  
The rest of the nation should take its cue shortly.
---
	REVIEW: Ministry, _Dark Side of the Spoon_ (Warner Bros.)
		- Andrew Duncan
	Al Jourgenson, alias Hypo Luxa, is a name that will forever be 
a part of industrial rock history. The man was responsible for creating 
bands like Revolting Cocks and 1,000 Homo DJs, while collaborating with 
Jello Biafra in Lard and Skinny Puppy on _Rabies_, one of their most 
recognized efforts.
	Jourgenson, along with Paul Barker (alias Hermes Pan), have been 
known to create some intense deconstructive compositions -- "Stigmata," 
from their 1989 release _Land of Rape and Honey_, has been referenced 
more times in movies and TV than other songs.
	"Stigmata" was also a transformation for the band. That song 
sold their soul from disco-heavy new wave ("Everyday is Halloween") to 
heavy metal-induced, guitar-weighted nightmares, filled with samples of 
media and machinery.
	In 1989, the band introduced _Mind is a Terrible Thing to Taste_, 
and the new industrial revolution began. Their stage presence was awesome, 
with the band influencing many (including one skinny Trent Reznor) to 
scream "Head Like A Hole."
	The band was on a roll, later releasing the more enraged 1992 
platinum-selling _Psalm 69: The Way to Succeed and the Way to Suck Eggs_.
	But what happened to the purveyors of industrial sludge? They 
released the devastating _Filth Pig_ and it's been downhill from there. 
	With _Dark Side of the Spoon_, the band continues the downward 
spiral with mediocre songs from what is noted as Ministry's last album 
for Warner Brothers. Rumor had it that the band was due to call it quits 
and were set to continue other projects that had more promise than 
another Ministry album. Instead, they went back into the recording 
studio for what seems more like a contract obligation than trying to 
rebound from a creative slump.
	On _Dark Side_, there are some songs worthy of note: "Eureka 
Pile," "10/10." But the bad outweighs the good: "Step," "Kaif" and 
"Nursing Home," just to name a few.
	Why listen to "Nursing Home," when you have "Scarecrow" from 
_Psalm 69_? Why jam to "Supermanic Soul," when there is "Deity" from 
_Mind_? Isn't it about time to hang up the power tools and move on to 
something else?
---
	REVIEW: Soundtrack, _Stigmata_ (Virgin)
		- Chris Hill
	A mix of score and songs, the soundtrack precedes the movie by 
two weeks - heightening anticipation for the edgy, religion- and 
revelation-themed thriller starring Patricia Arquette as Frankie Paige, 
an unwilling recipient of the five marks of Christ, and Gabriel Byrne 
as Andrew Kiernan, a Catholic priest sent first to investigate, then 
to protect, her character.
	Without viewing the movie and being able to relate the score by 
Smashing Pumpkins' leader Billy Corgan and industry veteran Mike Garson 
to scenes, the music has to be appreciated as a stand-alone work. 
(However, there's the now-standard movie tie-in website 
( http://www.stigmata.com ), plus the movie trailer and an accompanying 
press release for plot info.
	As a score, it effectively communicates atmospheres and emotions. 
The only negative: rather than trust the strengths of each work, the 
brief instrumentals are lumped together. Tracks are a conglomeration of 
several pieces ("reflection/possession," "purge/10,000,000 voices/reflect 
(purity)/identify (peace)"). The pieces should have been spaced on their 
own with separate cues. They're fleshed sufficiently to merit 
individuality, rather than jumbled together. With that minor complaint 
aside, the eleven tracks exude an essence that credits the resumes of 
both Corgan and Garson.
	Mood and style morph within the confines of each track. "reflect 
(gray)/of sine waves" moves from dub lassitude to mechanized 
schizophrenia. Trip hop plays against aboriginal buzz on the first 
half of "reflect (time)/tree whispers" before spare piano rises to 
finish the selection.
	On "reflect (clouds)/truth," Ray Lynch-ian new age segues to 
pounding electronic kettle drums. "of square waves/random thought" moves 
from tribal rhythms and struck piano strings to an insistent beat that 
enlarges progressively, only to suddenly dissipate.
	The "identify" and "reflect" motifs are revisited multiple 
times.  Notably, "identify," with lyrics by Corgan and vocals by Natalie 
Imbruglia, serves as the movie's title song. According to Corgan, "The 
music for 'identify' came from one of the love scenes in the movie. Mike 
Garson and I decided to make that cue the title song, and the words were 
written with the story in mind, from Patricia Arquette's character, 
Frankie's, perspective." Imbruglia's thin voice catches air and soars 
above the moody romance of the music.
	The chameleonic David Bowie contributes an original ("The 
Pretty Things are Going to Hell") specifically written for the movie. 
"Who to dis, who to trust/who to listen to, who to suss" sings Bowie, 
attracted to the project by the similarities between "Stigmata" and the 
1973 Donovan Joyce book, _The Jesus Scroll_, both concerned with 
religious teachings which the powerful Catholic Church might not 
necessarily want uncovered.
	Chumbawumba (of "Tubthumping" fame) contribute "Mary Mary 
(Stigmatic Mix)": driving rave beat, with alternating fiery and airy 
vocals. The cut closes with the "Hail Mary" in reverse. Not quite the 
associations of "The Omen" and "Carmina Burana," but a good eerie 
touch. Bjork's "All Is Full Of Love (Mark "Spike" Stent Mix)" displays 
her signature vocal gymnastics, over a glistening slow beat background. 
Both mixes are unique to this release.
	The seven songs are rounded out previously released cuts from 
Remy Zero ("Gramarye"), Afro Celt Sound System with Sinead O'Connor 
("Release"), and Massive Attack ("Inertia Creeps").
---
	REVIEW: Various Artists, _Across the Bridge of Hope_ (White)
		- Jon Steltenpohl
	Over the years, there have been numerous benefit albums released 
for one thing or another. One area that gets an album every year or so 
is the conflict in Ireland. Despite the baffling insistence of extremists 
on both sides to not let go of a conflict started long before they were 
born, there seem to be many more concerned with attaining peace. One of 
the things that seems to be driving the peace movement forward is the 
loss of collateral life in the war. The grudges of the extremists have 
translated into the bombings and shootings of the innocent.
	_Across the Bridge of Hope_ is a collection dedicated to 
supporting the Omagh Fund, which is a fund created to support those 
needing help after the Omagh bombing, which left many children and 
elderly dead a year ago on August 15, 1998. The musicians contributing 
to this CD are some of the biggest names you could get from the region. 
You've got Sinead O'Connor, Van Morrison, U2, and Enya all contributing 
tracks along with less well-known artists, including the Omagh Community 
Youth Choir. In addition, Liam Neeson speaks a few short lines of poetry. 
The collection ranges from pop to intimate acoustic singer/songwriters 
to the classic Irish tenor.
	Usually, there are 3 reasons to purchase a benefit compilation. 
Either, you want to support the cause, you love the collection of songs, 
or you've got to have any track you can by a particular artist. Anyone 
who isn't involved with the bombing can certainly empathize with bomb 
victims, but it's not a reason that most people who are not intimately 
connected will use to purchase an album. So, despite the tragedy, there 
goes one reason for most people.
	As an album, _Across The Bridge of Hope_ is pretty good. After 
you get past Sinead's odd contribution of Abba's "Chiquitita" and 
Boyzone's equally bizarre cover of the Bee Gees' "Words," the album 
settles down fairly well. The songs are all soft and reflective. U2's 
offering of "Please" is nice, and fits in well with its surroundings. 
Juliet Turner's stunning "Broken Things" is a sweet little song in the 
style of Nanci Griffith, and it is smartly followed up with "The 
Island" by Paul Brady. The Omagh Community Youth Choir is merely a 
good listen, until their intimate knowledge of the event dawns on you 
and the poignancy hits home. At that point, the song brings tears to 
your eyes and a lump in your throat. Because of the diversity of the 
styles, the album doesn't always flow perfectly from song to song. But, 
it is a good, quiet, reflective listen.
	As far as "must have" tracks go, it's a tough call. There aren't 
any tracks which are so good that they just begged to be owned. Only 
one, Van Morrison's "The Healing Game (The Alternative Acoustic 
Version)," comes close to that category. It isn't really acoustic, but 
it is very stripped down. As always, the man is impeccable and soulful, 
and, of all the tracks, this is probably the excuse to buy the album. 
There's a little guitar, a little organ and a little penny whistle, and 
a back-up singer to die for.
	All in all, _Across the Bridge of Hope_, is an album with a 
worthy cause and a group of decent songs from acts you know and acts 
you don't. It's not the "must have" compilation of the year, but it is 
worth checking out if a few of your favorite groups are featured.
	TRACK LISTING: 1 - Liam Neeson "The Cure at Troy," 2 - Sinead 
O'Connor "Chiquitita," 3 - The Divine Comedy "Sunrise," 4 - Boyzone 
"Words," 5 - The Corrs "What Can I Do?," 6 - Daniel O'Donnel "Beyond 
the Great Divide," 7 - Van Morrison "The Healing Game (The Alternative 
Acoustic Version)," 8 - Ash "I'm Gonna Fall," 9 - U2 "Please," 10 - 
Juliet Turner "Broken Things," 11 - Paul Brady "The Island," 12 - Liam 
Neeson "The Bridge," 13 - "Omagh Community Youth Choir," 14 - Enya 
"Silent Night"
---
	REVIEW: Craig Armstrong, _Best Laid Plans_ (Virgin) / Craig 
		Armstrong and Various Artists, _Plunkett and Macleane_ 
		(Astralwerks/Melankolic)
		- Christina Apeles
	This season presents the opportunity to experience the beauty 
and elegance of Craig Amstrong's compositions back-to-back on two 
upcoming movie soundtracks: _Plunkett and Macleane_ and _Best Laid 
Plans_. He combines the artistry of the classical with the modern 
utilization of electronics, produced with a sensibility that captures 
a spectrum of tones. I'm a fervent admirer of Armstrong since he did 
the string orchestration for "Family Life" on Blue Nile's _Peace At 
Last_ release, as well as composing the arrangements for the much 
lauded _Protection_ by Massive Attack, followed with "This Love" with 
Elizabeth Frasier (Cocteau Twins) on vocals in his first solo release, 
_The Space Between Us_. If your ears have yet to be stirred by 
Armstrong's aural landscapes, here is your chance for hours of 
listening pleasure.
	A noose decorates the CD while the cover has three gun-toting 
stars (Liv Tyler, Robert Carlyle, and Jonny Lee Miller) on the _Plunkett 
and Maclean_ soundtrack, so what would one expect from the twenty tracks 
that accompany such images? Madness. This is not necessarily the case 
though the songs on this release are definitely wrought with anxiety, 
but to sum up Armstrong's score in one word is impossible. The opening 
track "Hymm" is as it sounds -- something you would hear in a gothic 
cathedral, a chorus of voices surround you, rising and falling, which 
is prevalent throughout the soundtrack like "Unseen," a eerie, daunting 
song, coupled with a chorus of voices and horns, also swinging in 
different directions. "Rebecca" is divine as the theme song for Tyler, 
characterized by a motif of ominous voices which promptly allay into a 
wonderful soundscape of sentiment, rising into piano chords layered on 
top of strings, which one can imagine is like the dance of a leaf before 
it falls gently to the ground.
	The cheerful tune of the bunch is "Rochester," as a flute takes 
the listener through a steady dance of strings, only to be followed by 
the feeling of being on an empty street late at night in "Robbery;" the 
sense that something is going to happen, with random sounds echoing in 
the distance. Drums simulate a heartbeat, gathering speed as the tension 
rises to later descend into silence. "Ball" which is getting much radio 
play, is a danceable track of heavy beats and a repetitive succession of 
keyboard chords and scales. "Business: part 1/part 2/part 3" is my 
favorite on this release with horns, strings, and beats moving about 
in accord, that break into a heavy techno rhythm with a woman's touch 
of vocal elegies to heighten the piece, finishing in a drum'n'bass 
fashion where a steady bass line closes out the trilogy. One standout 
track, just because it is so radically different from the others, is 
the hip-hop sound of "Houses in Motion," with Lewis Parker's word play 
and distinct chorus provided by Helen White intervening periodically, 
in an upbeat, radio-friendly track segueing (only God knows how this is 
possible) into Armstrong's brief denoument of "Childhood," reminding me 
of This Mortal Coil with a the lucid sound of strings and piano 
decorating the backdrop.
	_Best Laid Plans_ has the feeling of a candlelight setting, a 
less anxiety-driven collection of songs than _Plunkett and Macleane_, 
with Armstrong contributing tracks alongside Neneh Cherry and her 
brother Eagle Eye Cherry, Massive Attack, Mazzy Star, Gomez, and Patsy 
Cline. Neneh Cherry is dazzling in "Twisted Mess" with every breath; 
it's best described as an a.m. hour song, as most of the tracks on the 
release can be termed: folks, this is a song to be shared in the 
bedroom. Mazzy Star is as darling as ever on "Flowers in December" 
and "Look on Down From the Bridge," with Hope Sandoval's captivating 
vocals lulling the listener into a peaceful state.
	Armstrong's songs are primarily mellow and serene as well, with 
"Father and Son" and the title track both remaining on a steady melodious 
plane; while Armstrong's "Lissa Montage" is a sentimental composition of 
piano and strings, opening much like his "Balcony Scene" from the _Romeo 
and Juliet_ soundtrack, shifting into a more electronic panorama of 
sound effects.
	These days it is not unusual to remember a movie for its 
soundtrack - often, it is what makes the movie so memorable. Neither 
"Best Laid Plans" nor "Plunkett and Macleane" has been released, but 
if either film is half as poignant as its music, moviegoers are sure 
to be roused.
---
	REVIEW: Moody Blues, _Strange Times_ (Universal)
		- Don Share
	The 90's are strange times: new Moody Blues albums, Pink Floyd 
and Roger Waters tours...even Procol Harum reunions! While neo-prog and 
neo-psych bands abound, from Spock's Beard and Monster Magnet to Gorky's 
Zygotic Mynci and Super Furry Animals, the prototypes still walk, 
scarily, among us. Is the magic still here, or did you have to be there 
in the late '60's and early '70's?
	Well, don't expect any trippy effects or lyrics about Timothy 
Leary being dead on _Strange Times_, because this album resembles its 
more recent predecessors, like _Octave_ more than the early classic, 
and classically inspired efforts. Featuring synth programming and other 
bells and whistles from the entertainingly-named Danilo Madonia, who 
replaces Patrick Moraz (who replaced Mike Pinder), this is a more mellow 
than mellotron Moodies lineup.
	The opener, "English Sunset," sounds promising, with hints of 
melancholy and large doses of tea-for-the-vicar local color, or should 
I say "colour." But like most of what is to come, and despite Justin 
Hayward's still-honeyed voice and guitar, it seems pleasantly 
indistinct. While there are songs by the rest of the band here, much 
of this is almost a Hayward solo album. That is, he bears much of the 
singing and songwriting burden, and the music sounds more Moodies-related 
than like the band of yore.
	Many of the songs are nominally love songs about how you can't 
stay in the past, and the lyrics reflect an obvious message from the 
band that they ought not be held to the old days either: "It's time that 
we moved on/Into a new tomorrow," goes John Lodge's "Wherever You Are;" 
and "It was beautiful, glorious/We were riding a wave," says Hayward's 
"Foolish Love," and so on.
	But while the album seldom sounds more than nice, and the songs 
generally range, as ever, from catchy to highly orchestrated, it is 
less fluent than we might hope for. The transition from the Age of 
Aquarius to the Internet Age is awkwardly reflected in a line from 
"Sooner Or Later (Walkin' On Air)": "So take a walk in the sunshine/Send 
a message on your online." Even Graeme Edge's requisite recital, the 
not-necessarily-true "Nothin Changes," sounds heavy, a bit tired. The 
title song decries "temples of greed," and we want to resist the idea 
that the album was put out for profit, not art's sake, despite the ads 
for merchandise lurking behind the CD tray.
	There are some lovely moments, notably Hayward's "The Swallow," 
a cousin to Paul McCartney's "Blackbird." And John Lodge's voice is as 
lonely and appealing as ever. But Pinder is missed, and he's not all 
that's missing. 
	The Moody Blues used to have detractors who complained about 
portentous lyrics and magesterial, non-rock musical arrangements, but 
the band was always serious and reflective, not just sweet.
	What it boils down to is that if you have all the albums, and 
the boxsets, and the Red Rocks video, and will catch them when they 
tour - that is, if you want to be chilled out, instead of far out - 
you will enjoy _Strange Times_. But if you miss the old days, well, 
stick with the old albums, the likes of which will never be made again.
---
	REVIEW: Smash Palace, _Fast, Long, Loud_ (Imagine)
		- Bob Gajarsky
	The 1980s Philadelphia scene consisted primarily of guitar-rock 
bands looking to make it big.  Although the Hooters made the jump to 
national prominence and Tommy Conwell got his video into MTV's prime 
rotation circuit, for many fans outside the city of Brotherly Love, 
that 'scene' never happened.  Given those roadblocks, what chance was 
there of an American band named Smash Palace recording Brit-pop 
sounding like the Psychedelic Furs, before Britgroups were accepted 
en masse, breaking through in the States?  Even the Stone Roses 
couldn't achieve the breakthrough...
	Now, twelve years later, the Butler brothers (no relation 
to the Furs' members with the same surname) return back with their 
second album.  _Fast, Long, Loud_ doesn't have the backing of a major 
label, but does contain the hooks essential for any band - which seems 
to have been forgotten by many up and coming youngsters.
	Tracks such as "Let Me Go" and "Another Man" will have Beatles 
fans of "She's A Woman" and "I Feel Fine"  humming and tapping along 
to every beat.  But more than just the straight Beatles' influence, 
it appears as if the Butlers were bowled over by another supergroup; 
the Traveling Wilburys.  
	True, George Harrison was in both groups.  However, hints 
of Dylan and Jeff Lynne pop their heads through in cuts such as 
"Try" and "Ancient Rhyme".  And I'd be surprised if the ghost of Roy 
Orbison didn't pop up for inspiration during the recording of _Fast, 
Long, Loud_.
	Welcome back, Smash Palace.  It's great to have a record with 
such strong musicianship coupled with irresistible melodies.  Let's 
hope the next record doesn't take 13 years to see the light of day.
	For further information on Smash Palace, check out the label's 
website at http://www.imaginerecords.com .
---
	REVIEW: The Church, _A Box of Birds_ (Thirsty Ear)
		- Chris Hill
	Interesting move on the Church's part, releasing an album of 
ten favorite covers. It could have been campy or calculated, but instead 
the album compliments a band nearing its third decade and showing no 
signs of becoming stale. There's a paradoxical breath of fresh air 
coming from the vaults opened herein.
	The ten tracks on _A Box of Birds_ are expanded from two cuts 
intended for fanclub-only release through the Church fanzine NSEW (named 
for "North, South, East and West" off _Starfish_). The Church have always 
done well by their fans: NSEW released "White Star Line" and "Gypsy 
Stomp," two outakes from '96's _Magician Among the Spirits_, as a 
fanclub-only CD single. Limited edition bonus CDs have accompanied 
several of their albums. And the coup de grace -- the eight cover 
concepts in the front booklet of _A Box of Birds_ were chosen from 
many dozens submitted to Shadow Cabinet, the Church website 
( http://church.tristesse.com ). Refold the booklet, and voila!, the 
disc has a different cover and a different fan's vision graces a Church 
album.
	But not only does it look pretty, the music dazzles, as well. 
The second track, the Beatles' "It's All Too Much," begins with a fuzzed 
wash of guitar, Tim Powles drops in with the drums and the song is racing 
down the track. Handclaps kick in, followed shortly by Steve Kilbey's 
warm vocals.  "Floating down the sea of time/From life to life with 
me.../Show me that I'm everywhere/And get me home for tea": George 
Harrison's lyrics fit the Church's penchant for complex, psychedelic,  
stream-of-consciousness writing like a glove. And, just for perversity, 
Kilbey throws in a few lyrics from Eddy Grant's "Electric Avenue" as 
the song winds down. 
	Neil Young's brilliant "Cortez the Killer," many a band's 
concert staple, closes the disc. An epic 11:08, it's given a reverential 
and luscious treatment, with Peter Koppes and Marty Willson-Piper forming 
a potent guitar duo. The song choice again feels natural -- the lyrics 
carry the same story quality as _Priest = Aura_'s "Dome" or _Sometime 
Anywhere_'s "Loveblind." Really, any of the songs on _A Box of Birds_ 
provide grist for conjecture as to why they were chosen: lyrics? music? 
artist? some intangible?
	Regardless of origin, there's no irony involved in the 
performances. Steve manages an vocal intensity that's absent in the 
poised original of Ultravox's "Hiroshima Mon Amour," and again on David 
Bowie's "All the Young Dudes." Steve and Marty trade lead vocals, 
foregoing the backing female vox of Bowie's song, while maintaining 
other classic qualities: the ad-libbed shouts as the song trails off, 
the guitar riffs that line its walls.
	With Television's "Friction," Kilbey's voice echoes and 
emphasizes Tom Verlaine's wordplay with vim. Later, the band tears into 
Hawkwind's "Silver Machine," capturing and expanding the Rocky Horror 
Picture Show "Time Warp" guitar riffs buried in the original, for a 
brilliant reinterpretation.
	The other four covers: the Monkees' "Porpoise Song" (written by 
Gerry Goffin and Carole King, and sung by Micky Dolenz), Kevin Ayers' 
"Decadence," Alex Harvey's "The Faith Healer," and Iggy Pop's "The 
Endless Sea."
	Fan of the originals or the Church should check this CD out. _A 
Box of Birds_ has something wonderful in store for both.
---
	REVIEW: Lords of Acid, _Expand Your Head_ / Praga Kahn, _Twenty 
		First Century Skin_ (Antler Subway Records)
		- Jon Steltenpohl
	"Okay Alex, I'll take _Famous Techno Phrases_ for $400 please..."
	"Alright Dirk, the phrase is: 'Darling come here and...'"
	If you know how to finish this phrase (in the form of a question, 
please), you are certainly a fan of Lords of Acid and their classic 
track "I Sit On Acid." In fact, you probably also really like "Rough 
Sex," another classic track. And, if you don't have enough copies and 
remixes of them by now, you can find two more of each on the Lords of 
Acid's new album, _Expand Your Head_. (There is, uncharacteristically, 
only one remix of their classic "I Must Increase My Bust.") _Expand Your 
Head_ is really nothing more than a remix collection with a few new 
tracks including "Am I Sexy" from this summer's blockbuster "Austin 
Powers: The Spy Who Shagged Me." Neither of the two other new tracks 
are of any real value, and, for new material, you'll have to flip the 
switch to find Praga and his crew on Praga Kahn's latest "solo" album, 
_Twenty First Century Skin_. It's a denser, darker collection of songs 
that predictably alternate between drugs, alcohol, and sex. In other 
words, lather, rinse, repeat.
	In the years since Lords of Acid invaded the musical 
consciousness of both dance freaks and bondage freaks around the world, 
there has been a change in the musical landscape. Where the original 
Lords of Acid tracks came out as shocking, teasing, deliciously 
naughty, and decidedly hardcore, the band has transformed over the years 
into bubble gum bondage and lollipop dance. No longer is it a band that 
shocks. Like the goofiness of Austin Powers, it's schlock. They might as 
well be singing, "Darling come here and ... shag me till I'm horny, 
baby! Grrr!" Despite the initial tease of a mixmaster mistress in drag 
who's got a masked slave by a chain, even the cover of _Expand Your 
Head_ features fruity pink and purple for its lettering. For some, this 
could still be naughty fun. But, it's more like Disney overhauling 
midtown New York: you know something's wrong when the strippers and the 
winos start breaking into their own renditions of "It's a Small World 
After All."
	Fortunately, Praga Kahn and his friends are kind enough to 
appease us and split their various personalities among various subtitles 
and alternate headings. Praga Kahn's "solo" release of _Twenty First 
Century Skin_ is probably closer to the original Lords of Acid than any 
of the subsequent Lords of Acid releases since _Lust_. Kahn's view of 
the world has been remarkably full of debauchery for over a decade, but 
like Ministry, he somehow keeps going and going. (Watch out boys, you 
know what Keith and Mick look like today.) Still, _Twenty First Century 
Skin_ is one of the few albums since Nine Inch Nails' _The Downward 
Spiral_ to adequately capture a dark world of demons sparked by rhythm 
from first beat to last.
	Yet where NIN focuses on the fragile failings in relationships 
and in the hypocrites in the world, Praga Kahn is content on describing 
his own slow slide into a personal purgatory. Whether the album is 
autobiographical or not, you get the idea that the central figure is 
at the end of a wild ride where everything is falling apart, cybersex 
is the only, lonely way to make love and separation is the name of the 
game. A sampling of the song titles says it all: "Isolation"; "Lonely"; 
"What's Wrong With Me"; "Bored Out of My Mind"; "One Foot in the Grave."
	Unlike the pathetic poseur boy known as Marilyn Manson, Praga 
Khan seems much more likely to really be living this life (at least on 
his bad days, when he isn't mixing Lords of Acid tracks). Like NIN, 
this isn't darkness and mystery for the sake of getting kids with black 
hair, black lipstick, and black nails to buy the album. Instead, _Twenty 
First Century Skin_ is a dog days album meant for black moods and 
mirroring your feelings of being alone and isolated. It's one part 
gothic, one part The Cure and one part techno, and it's dutifully mixed 
to launch the millennium. The fact that most of the tracks have a decent 
beat doesn't hurt either.
	With their split personalities, Praga Khan and friends are 
basically giving you the choice of cheese with your deprivation. Pick 
the Lords of Acid platter, and you get sex and drugs with a large dose 
of hilarity. Choose the Praga Kahn special, and you get sex and drugs 
with a heavy dose of depressing reality. Both are done well, but the 
Lords of Acid album is mainly just a bunch of rehashed tracks. _Expand 
Your Head_ is an album either for Lords of Acid beginners or completists. 
If you're in between, it's a tough sell, since some of the remixes 
aren't as good as the originals. Praga Kahn's _Twenty First Century 
Skin_ has an equally qualified recommendation. If you're looking for 
dark and debauched, it's a great album. But if not, don't even go there.
	Those of you who can appreciate both Praga Khan and Lords of 
Acid at the same time will be pleased by going both ways. And you know 
who you are, you sick, sick bastards.
---
	REVIEW: Soundtrack, _Dick_ (Virgin)
		- Bob Gajarsky
	The Nixon administration is back - on the big screen - 
in this summer's comedy film, Dick.  Supplementing the 70s 
revival is a soundtrack of songs reminiscent of the era, if 
not the exact years of Nixon's reign.
	While the only new track is Sixpence None The Richer's 
faithful cover of Abba's "Dancing Queen" (OK, Abba's hit was 
during the Carter administration), the rest of the collection 
can serve as a retro-party collection for forty-somethings, as 
well as those young'uns weaned on today's television ads.  
Commercials have made songs such as Jean Knight's "Mr. Big 
Stuff", popular with a new generation, while traditional 
favorites including Elton John's "Crocodile Rock" and Labelle's 
"Lady Marmalade" capture the fun of a previous generation.

	Track Listing: Sixpence None The Richer - Dancing 
Queen, Jackson 5 - ABC, Elton John - Crocodile Rock, 
Labelle - Lady Marmalade, David Essex - Rock On, Blue Swede - 
Hooked On A Feeling, Hot Butter - Popcorn, George McCrae - Rock 
Your Baby, Love Unlimited Orchestra - Love's Theme, Jean 
Knight - Mr. Big Stuff, Grand Funk Railroad - Locomotion, 
Redbone - Come And Get Your Love, Harry Nilsson - Coconut, 
Stories - Brother Louie, Carly Simon - You're So Vain
---
NEWS:	> Worldwide Recordings has just launched a system for any 
bands to build a free homepage on their http://www.worldrecords.com server. 
In addition, each page is included in the site's search engine, and 
is linked to from their music forum.  Bands interested in adding their 
page should check out http://www.worldrecords.com/bands_adm/
	> William Orbit, who most recently won a Grammy for his 
work on Madonna's _Ray of Light_, will release a solo album, _Pieces 
In A Modern Style_, on Maverick in early 2000.  The album features 
Orbit's interpretation of classical arrangements written by Vivaldi, 
Beethoven, Handel and others. 
---
TOUR DATES:
	Atari Teenage Riot
Aug. 28 Leeds, UK Reading Festival

	Black Sabbath / Godsmack
Aug. 24 Wantaugh, NY Jones Beach

	Blinker The Star
Aug. 26 Norfolk, VA Liquid Lounge
Aug. 27 Charlottesville, VA Trax's
Aug. 30 Asbury Park, NJ The Saint
Aug. 31 Carlisle, PA Dickinson College
Sep. 1  Bethlehem, PA Lehigh University

	Blondie / Reel Big Fish
Aug. 24 Phoenix, AZ Celebrity Theatre
Aug. 25 Santa Fe, NM Paolo Soleri Ampitheater
Aug. 27 Dallas, TX Bronco Bowl
Aug. 28 Houston, TX Aerial Theatre
Aug. 31 Miami, FL Gleason Theatre
Sep. 1 Tampa, FL Sundome
Sep. 3 Atlanta, GA Tabernacle

	Billy Bragg
Aug. 30 Los Angeles, CA House of Blues
Sep. 2 Portland, OR Rose Garden, Amphitheatre 
Sep. 3 Seattle, WA Bumbershoot Opera House

	Duran Duran
Aug. 24 Atlanta, GA Chastain Park 
Aug. 27 Myrtle Beach, NC House of Blues 
Aug. 28 Orlando, FL House of Blues 
Aug. 29 Sunrise, FL Sunrise Musical Theatre 
Aug. 31 Denver, CO Fillmore Auditorium 
Sep. 2 Concord, CA Concord Pavilion 
Sep. 3 Universal City, CA Universal Ampitheatre 
Sep. 4 Las Vegas, NV Hard Rock Hotel's The Joint 

	Julian Lennon
Aug. 23 Dallas, TX Deep Ellum Live
Aug. 24 Austin, TX Stubbs Bar-B-Que
Aug. 25 New Orleans, LA House Of Blues
Aug. 27 Atlanta, GA Roxy Theatre
Aug. 28 Nashville, TN Exit/In
Sep. 1 Charleston, WV Charleston Stern Wheel Regatta

	Men At Work
Aug. 24 Norfolk, VA Peabody's
Aug. 25 Richmond, VA Innsbrook Pavilion
Aug. 26 Winston Salem, NC Ziggy's
Aug. 27 Tampa, FL Raymond James Stadium
Aug. 28 Quebec City, QC Expo Quebec
Aug. 30 San Juan, PR Bellas Artes
Sep. 1 Omaha, NE The Shadow
Sep. 2 Oklahoma City, OK Bricktown
Sep. 3 Kansas City, MO Spirit Festival

	Alanis Morissette / Tori Amos
Aug. 24 Charlotte, NC Blockbuster
Aug. 25 Washington, DC Merriweather Post Amphitheater
Aug. 27 Camden, NJ E Center Amphitheater
Aug. 28 Holmdel, NJ PNC Bank Arts Center 
Aug. 31 Boston, MA Tweeter Center
Sep. 1 New York, NY Jones Beach
Sep. 3 Buffalo, NY Darien Lake Amphitheater

	Pietasters
Aug. 26 Hamburg, GERMANY St. Pauli Stadium
Aug. 27 Minden, GERMANY Weser Ufer
Aug. 28 Du Isburg, GERMANY Landschaftspark Nord
Aug. 29 Reading, UK Reading Festival
Aug. 30 Leeds, UK Temple Newsam
Sep. 2 Bologne, ITALY Arena

	Sevendust / Skunk Anansie / Powerman 5000
Aug. 24 New York, NY Roxy
Aug. 25 Philadelphia, PA Electric Factory
Aug. 26 Providence, RI Lupo's
Aug. 27 Hampton Beach, VA Casino Ballroom
Aug. 28 Old Bridge, NJ Birch Hill
Sep. 3 Rockford, IL On the Waterfront

	Verve Pipe
Aug. 23 Rochester, NY Milestones 
Aug. 24 Poughkeepsie, NY The Chance 
Aug. 25 New Haven, CT Toads Place 
Aug. 26 Providence, RI India Point Park 
Aug. 28 Long Island, NY Jones Beach 	
Aug. 29 Buffalo, NY La Salle Park 	
Aug. 31 Albany, NY Northern Lights 	
Sep. 3 Pontiac, MI Phoenix Plaza 

	Voodoo Glow Skulls
Aug. 24 Salt Lake City, UT Area 51 
Aug. 25 Denver, CO The Snake Pit 
Aug. 27 Lansing, IL Wicker Memorial Park Ampitheatre 
Aug. 28 Indianapolis, IN Emerson Theatre 
Aug. 29 Chicago, IL Fireside Bowl 
Aug. 30 Pittsburgh, PA Club Laga

	Tom Waits
Aug. 23-24 Toronto, ON  Hummingbird Center
Aug. 26-27 Chicago, IL Chicago Theatre
Aug. 29-30 Minneapolis, MN State Theatre

	Ween
Aug. 24 Atlanta, GA Masqueraqde Music Pk 
Aug. 25 Winston-Salem, NC Ziggy's 
Aug. 26 Towson, MD Recher Theatre 
Aug. 27 Plainview, NY The Vanderbilt
Aug. 28 Philadelphia, PA Electric Factory 

	Weird Al Yankovic
Aug. 24 Sacramento, CA California State Fair
Aug. 26 Boise, ID Western Idaho Fair
Aug. 27 Lancaster, CA Antelope Valley Fair
Aug. 28 Kellogg, ID Silver Mountain Amphitheatre
Aug. 29 Salem, OR Oregon State Fair/Expo Center
Aug. 30 Monroe, WA Evergreen State Fair
Aug. 31 Kelseyville, CA Konocti Field Amphitheatre
---
Founded in August, 1993, Consumable Online is the oldest 
music reviews publication on the Internet.
To get back issues of Consumable, check out:
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