==== ISSUE 127 ====    CONSUMABLE     ======== [November 6, 1997]

  Editor:             Bob Gajarsky
		        Internet: gaj@westnet.com
  Sr. Correspondents: Tim Kennedy, Reto Koradi, David Landgren, 
                      Sean Eric McGill, Tim Mohr, Al Muzer, Joe Silva
  Correspondents:     Daniel Aloi, Joann Ball, Tracey Bleile, Lee 
                      Graham Bridges, Scott Byron, Patrick Carmosino, 
                      Krisjanis Gale, Bill Holmes, Eric Hsu, Tim 
                      Hulsizer, Robin Lapid, Stephen Lin, Scott Miller, 
                      Linda Scott, Rainier Simoneaux, Scott Slonaker, 
                      Simon Speichert, Jon Steltenpohl, Simon West, 
                      Lang Whitaker
  Technical Staff:    Chris Candreva, Dave Pirmann

 Address all comments, subscriptions, etc. to gaj@westnet.com
==================================================================
	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: Doors, _The Doors Box Set_ / X, _Beyond And Back The X 
   Anthology_ - Patrick Carmosino
REVIEW: Replacements, _All For Nothing_ - Bob Gajarsky
REVIEW: London Suede, _Sci-Fi Lullabies_ - Robin Lapid
REVIEW: Various Artists, _Live From 6A_ - Joann D. Ball
REVIEW: Moby, _I Like To Score_ - Robin Lapid
REVIEW: Cure, _Galore_ - Bob Gajarsky
REVIEW: Headrillaz, _Coldharbour Rocks_ - Krisjanis Gale
REVIEW: Ron Sexsmith, _Other Songs_ - Scott A. Miller
REVIEW: The Devlins, _Waiting_ - Jon Steltenpohl
REVIEW: The Geraldine Fibbers, _Butch_ - Daniel Aloi
REVIEW: Various Artists, _Urbal Beats_ - Krisjanis Gale
REVIEW: God Street Wine, _God Street Wine_ - Daniel Aloi
REVIEW: Congo Norvell, _Abnormals Anonymous_ - Patrick Carmosino
NEWS: Ben Folds Five, No Doubt, Walt Mink
TOUR DATES: Bentley Rhyhthm Ace, Daniel Cartier, Chemical Brothers / 
   Death In Vegas, Gilby Clarke, Deftones, Chris Duarte Group, Duran 
   Duran, Everclear / Our Lady Peace / Letters To Cleo , (hed) p.e./ 
   Suicidal Tendencies, High Llamas , Irving Plaza, Jane's Addiction, 
   Jars of Clay / Plumb, Live / Reef, Lunachicks, Moxy Fruvous, Ric 
   Ocasek, Promise Ring / Compound Red, Reel Big Fish, Jim Rose Circus, 
   Samples, Saw Doctors, Semisonic, Sister Hazel / Cravin' Melon, 
   Something Happens, Squirrel Nut Zippers, Subrosa, The Wrens
Back Issues of Consumable
---
	REVIEW: Doors, _The Doors Box Set_ (Elektra) / X, _Beyond And 
		Back The X Anthology_ (Elektra)
		- Patrick Carmosino
	Besides being two riveting, incredibly creative bands, The Doors 
and X were truly reflective of the ups and downs of Los Angeles rock 
culture in their own respective eras. Both very eloquently reflected 
the beauty and the cost of being amongst those in a mythological 
wonderland who, as Doors singer Jim Morrison once described "live 
more freely and powerfully than anywhere else, but it's also where 
old people come to die. Kids know both and we express both." Two bands: 
one suffering from the overexposure of classic rock nostalgia; the 
other, underexposed with a cultish following.  The existence of its 
parts taken for granted because of good living or...for actually still 
being  alive!
	The buzz on _The Doors Box Set_ began with the supposed 
spotlight song: the remaining Doors augmentation of a buried Morrison 
vocal and piano track, "Orange County Suite". At first observance, 
this and the mostly outtake-filled box set looks like a exact ripoff 
of the Beatles' _Anthology_ series and its centerpieces "Free As A 
Bird" and "Real Love". In reality though, Ray Manzarek, Robby Krieger 
and John Densmore beat Natalie Cole and the fab three to the 
playing-with-the-dead-man punch; and quite tastefully at that. For 
"Orange County Suite" comes from the same final Jim Morrison poetry 
and songs session (December 8, 1970) that sparked the Doors to create 
1978's _An American Prayer_ . The album, presaging the second wave of 
the band's popularity was, in more than the surviving member's defense, 
a carrying-out of one of the wishes the Lizard King wasn't able to 
fulfill at the time of his death in Paris in 1971: a full-fledged 
document of his spoken poetry, with sparse instrumentation. "Orange 
County Suite" fails to live up to the quality of Prayer solely 
because the song is pretty much already a completed song. Morrison's 
surprisingly competent piano self-accompaniment is really all the 
tune needs as one can hear Jimbo try to nail down the lyric melody 
and the lyric in his creative process.  Krieger's bluesy noodling, 
Manzarek's line-echoing electric piano and Densmore's jazzy brushes 
make it sound downright 1971 LA loungey as opposed to the starkness 
of the haunting work-in-progress.
	"Orange County Suite" is part of the two discs of outtakes 
and unreleased live performances, a third disc consists of live 
performances culled from three nights at New York's Felt Forum in 
1970 (which would stand up well as its own release). The fourth and 
final disc is a rather unnecessary collection of 15 'hits' picked by 
the remaining members. _Box Set_ 's contents alone don't scream out 
'exploitation' as much as 'for fans' only'. Being a fan, it does 
intrigue me a bit.
	Things open up with "Five To One", the only 'complete' song 
from the notorious 3/3/69 Miami concert where Morrison was convicted 
of profanity and indecent exposure. With a head full of performances 
from Julian Beck's revolutionary interactive Living Theater and 
several hours of airline drinks, Jimbo's latest influences resulted 
in him calling the audience "a bunch of fucking idiots' and 'slaves' 
and encouraging them to 'GRAB YOUR FUCKING FRIEND AND LOVE HIM' and 
later on, probably not whipping his willy out for all to see, 
despite working the crowd up to a fine frenzy.
	Despite the auspicious beginning, the outtakes are a bit 
revealing. The demo version of "Queen Of The Highway" reminds us of 
a jazz sensibility matched only by the Doors' love of traditional 
blues. Sounding more Vince Guaraldi than anything that was the rock 
revival of "Queen's" original home, _Morrison Hotel_ , this version, 
along with the inclusion of _Waiting For The Sun_ 's "Yes, The River 
Knows" on the 'hits' disc, shows that the band had a love and 
understanding of trad jazz that may have seemed to run contrary to 
a harder image. Also included here and sprinkled throughout the two 
outtake discs is the first Doors' demo from World Pacific studios, 
1965. "My Eyes Have Seen You", "Summer's Almost Gone", "Moonlight 
Drive" "Hello, I Love You" and "Go Insane" (from "The Celebration Of 
The Lizard") made up the tape. What one discovers from this is that 
producer Paul Rothchild was the studio savior of the Doors. He gave 
the songs atmosphere that supported Morrison's poems in a way that 
the demo's poor arrangements couldn't have accomplished. The demo 
also reveals that Morrison's vocals sounded more like Val Kilmer at 
one point than Kilmer vice versa in The Doors film.
	There are also plenty of overblown blues workouts that fill 
the unreleased material. Two of the more inspiring ones is the 
in-studio workout, "Rock Is Dead" and "Black Train Song" from the 
Spectrum in Philadelphia 1970. Although "Rock Is Dead" is perhaps 
the most guilty of overextension (almost 17 minutes at that!), you 
can hear the beautifully brutal drive of a rocker that had the 
potential to be another "Roadhouse Blues" had things been a bit 
more trite and the lyrics more realized. "Black Train Song" ponders 
the classic "Mystery Train" and traces the history of rock and roll 
right up to that particular night in Philly.
	The Live In New York disc shows the band in prime form during 
the post-Miami period; a time when the uncertainty of the future and 
the end being always near probably filled those involved with more 
dread than it did excitement.  From the opening Morrison Hotel power 
trio of "Roadhouse Blues", "Ship Of Fools" and "Peace Frog/Blue 
Sunday", Morrison's playfulness and the band's expansive response 
was a joy to hear and probably witness. The only drawback here is 
"The End", not for its lack of beauty but because the blues growl 
that drinking and smoking had reduced Morrison's voice to, at that 
point, just didn't do justice to the song's atmosphere. This is 
something particularly heartbreaking on the outtakes discs. Made up 
of a good amount of 1969/1970 material, what's left of his voice on 
much of this stuff, when compared to, say, the live prime Lizard 
King-era takes on "The Crystal Ship" and "I Can't See Your Face In 
My Mind" leaves a bit to be desired. Hear the way "The Crystal Ship" 
magically appears from the endless night of 1967 via lo-fi tape as 
it follows ragged, hoary versions of "Break On Through" from the 
_Isle Of Wight_ 1970 and the r&b classic turned blues romp, "Money" 
and you'll see what I mean.
	The 'Band Favorites' disc points to a few hidden treasures 
that a fan of the 'greatest hits' may not have paid attention to, 
such as "Wishful Sinful", "I Can't See Your Face In My Mind", "Yes, 
The River Knows" and "Wild Child". Besides that, I think Krieger put 
"Light My Fire" on there to make sure everyone knows he wrote the 
song. That's about all I could figure as to why the disc exists 
here. _The Doors Box Set_ (Jeez! With all of Jimbo's great poetry, 
you think the group could've come up with a better title!) would have 
best been a finely edited, one disc set succinct enough to grab new 
fans. Perhaps what Manzarek, Krieger and Densmore should really work 
on for the fans is refurbishing the Feast Of Friends documentary and, 
if it was finished, Highway, the 1969 Morrison-produced/directed film. 
Now let's address a band that could actually use some more exploitation.
	Indeed on the contrary, _Beyond & Back: The X Anthology_ , 
keeps the energy and the magic, at a constant level. It is no secret 
as to what Ray Manzarek found so appealing in this group for him to 
produce their first four albums. As far as raw energy goes and an 
uncanny feel for the dark side of Americana, X took up a mantle in 
1978 that was suddenly dropped in 1971.
	The first of the double-disc set is a veritable chug-a-thon; 
filled with unreleased demos and live stuff (some in piss-poor but 
energetically exciting condition) mixed with released versions. The 
rhythmicallly-themed sound that spoke of the human condition and punk 
rock came from the mournful tones of John Doe's and Exene Cervenkova's 
harmonies and Billy Zoom's country/rockabilly/Chuck Berry-tinged licks 
coming from his Gretsch Silver Jet. Tracks such as "The World's A 
Mess, It's In My Kiss" and "The Once Over Twice" was the sound of 
the American west obtaining a punk identity unique unto itself.
	"The New World" starts off disc two with a less immediate, 
more expansive approach that characterized 1983's _More Fun In The 
New World_ as well as the records that followed. With the exception 
of their one fluke hit (mistake?), a rather Joan Jett-ized version of 
"Wild Thing", the band's increasing country revelations, with the help 
of country-rockabilly-punk god Dave Alvin (who took over from Zoom), 
X had beaten the likes of Uncle Tupelo, Wilco, Son Volt, Bottle 
Rockets, Jayhawks et al to the No Depression punch. Their 1985 
release _Poor Little Critter On The Road_ , under their Knitters 
nom-de-terre fully revealed this. The poignant Alvin-penned "4th Of 
July", here in demo form, as well as "Burning House Of Love" and 
"Country At War" presented X in a circle that couldn't be unbroken.
	Paced economically and effectively, _Beyond & Back_ ranks 
amongst the _Rodney On the Roq_ collections, the Minutemen's _Double 
Nickels On The Dime_ and Black Flag's _Damaged_ as the ultimate 
documents of a time and place that was LA post 60's enlightenment/70's 
hangover. It does this more effectively in 2 discs than _The Doors Box 
Set_ does in 4.
---
	REVIEW: Replacements, _All For Nothing_ (Reprise)
		- Bob Gajarsky
	As the 1980s grew to a close, there were a few premier bands 
to whom college students - and the newly monickered 'modern rock' fans - 
gravitated.  The Replacements would soon go the way of Ireland's 
The Alarm - influencing many (see the Goo Goo Dolls as the most blatant 
imitation), but never quite breaking into the mainstream.  In a 
long-overdue attempt to expose the band that was to more fans, 
the second half of their career is collected on _All For Nothing_ .
	Originally known as the Impediments, Minnesota's Replacements 
took the circuitous road to success.  Led by Paul Westerberg, their live 
performances would range from shoddy to brilliant, depending on band 
members' ability to stand upright.  And it was this constant state of 
change, coupled with an ability to never take themselves too seriously, 
that propelled the 'Mats to alterna-stardom.  Westerberg once said, 
"One of the standing jokes in the band is that we're not musicians, and 
we're sort of proud of the fact that we don't wanna be".  But when they 
*did* want to be, the Replacements were able to write songs that 
transcended the empty rockers which came to reflect much of the eighties.
	Viewed as a whole, the 'Mats career can be seen in several 
stages: the Twin-Tone days, when the band was still feeling out their 
oats, and recording a couple brilliant indie albums ( _Hootenanny_ and 
_Let It Be_ ) which bordered on punk rock.  The breakup of the band
after 1991's _All Shook Down_ (unoficially Westerberg's first solo album) 
led to a softer Paul Westerberg, as witnessed on his _14 Songs_ and 
_Eventually_ .  The missing link was their moment in the major-label 
sun, which Reprise collect on this two disc retrospective.
	The songs aren't selected based on alterna-chart success 
(witness the omission of "Back To Back" from _Don't Tell A Soul_ , 
a more commercial song than those included) but divided equally, 
four tracks from each of their four major-label albums.  However, 
these are the songs which tend to be played most on modern rock 
stations today - "Kiss Me On The Bus" and "Alex Chilton" still 
sound fresh today, as if made by a band on the verge of making it big.
By all rights, of course, they should have.  Even the reputed sell-out 
"I'll Be You" had an authenticity surrounding it which many bands 
could only aspire for, and the hook - along with the apropos line
"Left the rebel without a clue" - are simply priceless.
	The second disc (subtitled _Nothing For All_ ) serves only as 
a supplement to hardcore 'Mats fans.  "Cruella Deville" (from the 1987 
Disney 'interpretation' album, _Stay Awake_ ) and "Like A Rolling Pin" 
are the highlights here, while the latter - a slight mockup of Dylan's 
classic - offers a slight teaser to drunken performances that would 
include such variations as "Fuck My School" (to the tune of "Let It 
Be" , with Westerberg's appropriately twisted lyrics).
	What _All For Nothing_ demonstrates is that the Replacements 
could have, if things had proceeded smoothly, been one of the top 
'alterna-rock' bands out there.  Ironically enough, their success in 
the then-new format - different from the raw sound which marked their 
Twin-Tone years - was probably what helped spell the end of one of 
Minnesota's greatest musical exports.

	TRACK LISTING, Disc 1: Left Of The Dial, Kiss Me On The Bus, 
Bastards of Young, Here Comes A Regular, Skyway, Alex Chilton, The Ledge, 
Can't Hardly Wait, I'll Be You, Achin' To Be, Talent Show, Anywhere's 
Better Than Here, Merry Go Round, Sadly Beautiful, Nobody, Somebody 
Take The Wheel
---
	REVIEW: London Suede, _Sci-Fi Lullabies_ (Columbia)
		- Robin Lapid
	London Suede's last fanclub gig in London, a now-legendary 
event, was an enthusiastically-received "all b-sides" affair.  The 
show proved portentous, since the band have now released _Sci-Fi 
Lullabies_ , a compilation of b-sides spanning their three-album 
career.  Anyone wondering why a band that has only put out three 
albums would now release a b-sides compilation should just ask 
Morrissey, who has been known to cover "My Insatiable One" in concert, 
or the loyal legions that still yell for songs like  "Killing of a 
Flashboy" and "My Dark Star" at the London Suede's live shows.  For 
these kids, at least, _Sci-Fi Lullabies_ *had* to be made.
	The two-disc compilation includes 28 tracks, a 32-page 
booklet, and a fitting chronicle of London Suede's (known simply as 
Suede elsewhere around the world) career, from its glam-rock Bowie-esque 
highs to its more sugary pop plateaus.  These songs help illustrate why 
the compilation was created - there exists an in-between spirit of 
London Suede that doesn't quite cater to the three-minute pop song 
rule - listen to the extended guitar solos on songs like "He's Dead" 
for proof.  Instead, they throw together mixes of guitar and voice that 
simultaneously attract and repel each other and come out sounding better 
than a "b-side" should.  Even more precious are songs like the seminal 
favorite "My Dark Star" and the acoustic "The Living Dead," where you 
can strip away the preening guitar licks and the dramatic falsetto 
voice and hear Suede in silence and solemnity.
	The spirit of Bernard Butler, the genius guitarist who left in 
a controversial huff, rises again on the first half of the compilation.   
These older b-sides are a bit more raw than the album tracks, and come 
off sounding like distorted mirror images of the a-sides.  Singer Brett 
Anderson sounds more self-assured and introspective, and Butler is able 
to get away with more guitar strutting, which of course he does to the 
hilt.  The same wallowing guitar revelry is in the heady strings of 
"Where the Pigs Don't Fly" like it is in _Suede_ 's "Sleeping Pills," 
but the b-sides have a more free-for-all feel that may have restrained 
them on the album tracks.  London Suede are different but still good 
with new guitarist Richard Oakes.  However, it is the Butler-era songs 
which evince the tortured heart and soul that defined London Suede in 
the first place, and the b-sides prove it.
	What are London Suede now?  Listen to Oakes' first 
collaboration, "Together," and you'll get a good idea.  They still 
revel in their popstar life, and the music reflects that.  The guitar 
no longer angles for center stage - it now serves to prop up Anderson's 
pop ethos.  But the pop hooks still take root in your head.  Anderson 
remains the Pavlovian dog salivating at all the popstar cliches - sex, 
drugs, "the love and poison of London" - and somehow gives it the proper 
perspective.  Anderson and the band (including newer member Neil Codling 
on keyboards) tackle lyrical themes chronicling a London that still 
rises and falls by the sun, of sad Saturday nights that continue to 
embrace the decadence but are still trying to flush out the emptiness 
in the heart.
	The newer b-sides reveal the band experimenting with more 
diverse soundscapes, taking their trademark glam sound and adding 
some haunting keyboards (as in "Europe Is Our Playground") and more 
airy pop ballads ("Another No-One," "This Time").  The tracks are more 
straightforward and fun pop-wise, but the sound is not as dynamic or 
intense.  Without the heavy guitar personality in the later songs, 
Anderson relies more on his emoting prowess and some melodramatic pop 
melodies.  His voice sounds fuller and more mature, which partially 
makes up for flatter, less dynamic guitar.  The b-sides circa _Coming 
Up_ are more for show, and sees the band becoming pop extroverts rather 
than moody introverts.
	You can hear something subtly diminishing through the 
progression of b-sides.  There was a vocal longing that seems now to 
have achieved its goal, and no longer sounds so naive or desperate - 
more self-assured, yet less complex sonically or emotionally.  
Desperation has given way to reveling and a glossy happiness, but the 
troubled heart is always more eloquent than the happy one.  For better 
and worse, London Suede have evolved.
	_Sci-Fi Lullabies_ will inevitably stir up the same old debates, 
but you'll always reach the same conclusion.  The older b-sides are 
better than the newer ones.  Butler was a more visionary guitarist 
than Oakes.  London Suede are still better than most bands, b-sides or not.
---
	REVIEW: Various Artists, _Live From 6A_ (Mercury)
		- Joann D. Ball
	Conan O'Brien has an ear for music - and that's no joke!  As the 
disc jacket suggests, _Live From 6A_ is a collection of "great musical 
performances" from "Late Night With Conan O'Brien."  This live music 
sampler includes some of today's best artists, others who are now 
enjoying frequent radio airplay and a few alternative music pioneers.  
The 12-track collection is the perfect introduction to a wide range 
of artists, and stands on its own as a cohesive live record.
	The incredible audio production quality of _Live From 6A_ puts the
performers up front and center to such a degree that actually seeing the 
bands would be a distraction.  The emotion and humor which colors Ani 
DiFranco's concerts is captured on "Shameless," the record opener.  
DiFranco's is the rare track here that includes crowd reactions during 
the performance-crowd noise is kept to a minimum on the collection with 
applause usually introducing and closing the songs.  But there is 
nothing, however, to distinguish Matthew Sweet 's brilliant cover of 
ELO's "Do Ya" from a studio outtake since it was recorded at the 
soundcheck.
	The inclusion of Edwyn Collins and David Bowie on the same live 
collection provides an opportunity to really evaluate the degree to 
which the former sounds like the rock 'n' roll chameleon.  Collins' 
delivery on "A Girl Like You" only skims the surface of Bowie's vocal 
capabilities.  As the emotional richness of the acoustic "Dead Man 
Walking" reveals, Bowie is capable of a depth that only a few artists 
can match.  Among this select crowd is Elvis Costello, who performs 
"All This Useless Beauty" accompanied by simple acoustic guitar and piano.
	In direct contrast to the Bowie and Costello numbers is 
Jamiroquai's slick and sparkly "When You Gonna Learn."  Jamiroquai's 
irresistible funky discoesque pop was captured four years ago, and like 
the Squirrel Nut Zippers' 1995 performance of "Lover's Lane," is a 
preview of an artist and sound that has only recently managed to 
crack mainstream radio.  Chart-toppers 311 and Cake, on the other 
hand, perform their most popular hits to date during 1996 "Late 
Night" appearances.
	_Live From 6A_. is true to "Late Night's" commitment to 
introducing audiences to new alternative rock music.   The show is 
also dedicated to promoting critically acclaimed artists from these 
genres, and this is best demonstrated here by the inclusion of 
Jonathan Richman's characteristic lounge chic on "Let Her Go Into 
The Darkness."  This sonic gem will hopefully send listeners in 
search of Richman's solo releases and his earlier work with the 
Modern Lovers.
	Overall, _Live From 6A_. is a great crash course in current 
alternative music.  The 12 tracks here, recorded on Late Night between 
November 1993 and June 1997, are enjoyable and memorable chapters in a 
worthwhile "Late Night" study session.

TRACK LISTING  [artist in brackets]:  Shameless [Ani DiFranco], Dead Man
Walking [David Bowie], Do Ya [Matthew Sweet], When You Gonna Learn
[Jamiroquai], Human Behavior [Bjork], All This Useless Beauty [Elvis
Costello], The Distance [Cake], Let Her Go Into The Darkness [Jonathan
Richman], A Girl Like You [Edwyn Collins], Down [311], Soundtrack to Mary
[Soul Coughing], and Lover's Lane [Squirrel Nut Zippers]
---
	REVIEW: Moby, _I Like To Score_ (Elektra)
		- Robin Lapid
	So you're at the movie theater, watching that climactic 
scene where Pacino finally faces DeNiro in a cinematic showdown, 
and all you're thinking is, "What's that cool song in the background?"  
It's probably Moby - techno godfather, remix master to the stars, and, 
more recently, music contributor to feature films.
	On his latest release, _I Like To Score_ , Moby has asembled 
a top-notch collection of tracks featured in films like "Scream," 
"Heat," and the upcoming "Double Tap," for which he is writing the 
entire score.  Moby draws on his arsenal of sonic tricks and creates 
some epic-sounding techno and ambient tracks, incorporating angelic 
hymns, sensual moans, and a slew of seriously groovy, hard-driving 
beats.  The dance-friendly "re-version" of the "James Bond Theme" 
will likely garner him the most mainstream attention after years of 
notoriety in the burgeoning dance scene.
	But there's more to the album than stylish action-movie theme 
songs.  The eerie re-working of the "Twin Peaks" theme on the track, 
"Go," befits a hyperspeed David Lynch landscape, like a dream where 
you're constantly running but always staying in the same place.  
Other standout tracks weave through moods ranging from subtle to 
frenetic.  There's the ethereal "God Moving Over the Face of the 
Water" or the hard-core dance rhythms of "Ah-Ah" or his formidably 
anguished cover of Joy Division's "New Dawn Fades."  Moby provides a 
uniquely modern spin on the movie soundtrack, offering atmospheric, 
echoing landscapes filtered through with distinctly human elements, 
whether it's a human wail or whisper or moan, synth strings that 
weep provocatively, or Moby's own bleeding vocals.
	As a compilation album there's less cohesiveness - the songs 
move along like different parts of different movies, naturally, 
although they all maintain a similarly cinematic feel.  The album 
doesn't rival his diverse masterpiece, _Everything Is Wrong_ , but 
_I Like To Score_ is a good primer in the type of music that brought 
Moby to his well-deserved prominence in the rave scene. Moby has said 
he wishes there were more "techno anthems" - he should just listen to 
his album.
---
	REVIEW: Cure, _Galore_ (Elektra)
		- Bob Gajarsky
	Nearly twenty years after causing a furor with people who 
hadn't read Camus, the Cure have returned with a second jam-packed 
greatest hits album, _Galore_ .
	Spotlighting the last ten years of the Cure's existence, 
_Galore_ contains all the commercial singles - as opposed to radio 
singles (such as the two tribute songs, the Doors' "Hello I Love You" 
and Jimi Hendrix' "Purple Haze" ) - which the band has released 
during the last yean years. And despite what die-hards may feel, during 
this span (with the possible exception of _Disintegration_ ) the Cure 
have been a great singles band, but merely an adequate *album* band.  
In other words, 4 top notch songs and 6-8 fillers.  _Galore_ solves 
the problem by assembling all the singles in one collection.
	When taken together, we can see how Robert Smith sometimes 
recycles his ideas for new songs; the psychedelic twists from 
_Disintegration_ reappear on "A Letter To Elise", while "Mint Car" 
comes from "Friday I'm In Love" (which some say emanates from 
"Lovesong" ) and "Just Like Heaven" spawned a 'did/did not' copy among 
Cure and New Order fans in the late 80s.  But at the same time, tracks 
such as "Why Can't I Be You," and "Never Enough" don't sound like 
anything else the Cure have recorded.  The new track, "Wrong Number", 
continues the Cure's evolution, with quirky sound effects added to the mix. 
It's not groundbreaking, but shows Smith isn't content to simply stand 
still for new songs.
	As a greatest hits collection, _Galore_ helps accentuate 
the positive traits of the Cure's last ten years of existence.  May 
Robert Smith long continue on.

	TRACK LISTING: Why Can't I Be You?, Catch, Just Like Heaven, 
Hot Hot Hot, Lullaby, Fascination Street, Lovesong, Pictures Of You, 
Never Enough, Close To Me, High, Friday I'm In Love, A Letter To Elise, 
The 13th, Mint Car, Strange Attraction, Gone!, Wrong Number
---
	REVIEW: Headrillaz, _Coldharbour Rocks_ (Gee Street)
		- Krisjanis Gale
	Not quite Chemical Brothers, not quite Omni Trio, not quite 
Autechre, not quite Crystal Method, not quite synth-funk, not quite 
drum and bass, not quite minimalist-industrial, not quite trip-hop 
acid squelch, Headrillaz can be found in some bizarre middle-ground the 
rein.  Ears wide open, minds even wider, they've taken ideas from just 
about everything currently popular about electronica, ground it all up 
in samplers and synthesizers, and produced a brilliantly chaotic 
album entitled _Coldharbour Rocks_ .
	It is not entirely chaotic, however; every song seems to follow 
this basic recipe:  start a beat, introduce the first melodic bit, let 
it fade, introduce another melodic bit, re-introduce the first, repeat 
N times, break it all down, build it back up again, let it roll to a 
climax, and finish abrubtly with a radically different end-sequence.  
This would seem to suggest _Coldharbour_ as being a formula album.  It 
is - but it matters not.  Why?  Think about how most jazz is composed.  
It follows the same basic recipe.  What makes jazz interesting is a 
complex combination of rhythm and orchestration... the result is order 
from chaos.  Headrillaz are employing the same theory. Although most of 
the songs seem quite repetitive, if you really listen you'll discover 
they aren't at all, and taken as a whole, Coldharbour Rocks sounds like 
a performance piece... a layering of insanely random otherworldly 
synthetic textures atop a stable ear-drilling beat, making it equally 
worthy of dancehall madness, or introspective, albeit disturbed, 
private listening.
	The final word:  Headrillaz are clever boys, restless about the
current state of electronica, and brave enough to issue a wake-up call.  
In much the same way old-school rap beats once echoed through the streets, 
eminating from boom boxes resting on the shoulders of a generation 
almost two decades past, the sounds of Headrillaz, and their successors, 
will invade our aural environment of the future.
---
	REVIEW: Ron Sexsmith, _Other Songs_ (Interscope)
		- Scott A. Miller
	Ron Sexsmith is always surprised by how sad his songs sound, 
even the upbeat ones. "Some of the songs I've recorded, I remember 
just singing them out and having a really good time, and then the 
track is finished and it sounds sad," the Canadian singer-songwriter 
told Request earlier this year.
	Sexsmith won't ever take you by storm, but his pure high tenor 
voice and unadorned observations on life will certainly keep your 
attention once he gets it. His second album, _Other Songs_ (Interscope), 
is a mix of pop tunes, folk ballads and "near-rock" that builds on his 
successful 1995 debut.
	There's a danger to calling Sexsmith a "sensitive" singer-songwriter, 
though, because it has the connotation that he's sappy. He's not. Take the 
song "Pretty Little Cemetery." It's a simple melody and story about a dad 
taking his young son to a cemetery. In the break though, the young son 
points to the graveyard and, in the way kids do, says to an elderly 
couple "this is where we go to when we die, my papa told me so. The old 
man says yes we know." You almost cringe at how real a scene like that 
is. And no pretty acoustic guitar solo is going to take away the sting 
of an innocent preschooler confronting an elderly couple with their own 
mortality.
	This is what Sexsmith does so well throughout the entire album - 
challenge the notion that a pretty voice and pretty acoustic-based 
melodies equal clean-cut emotions and cookie-cutter songs. In fact, the 
emotional range runs the gamut, from uneasiness ("Pretty Little 
Cemetery") and poignancy ("Honest Mistake" and "So Young") to buoyant 
comedy ("Clown in Broad Daylight"), outright sadness ("Strawberry 
Blonde" and "Child Star") and self-deprecation ("Average Joe").
	The arrangements are uniformly understated, but producers 
Mitchell Froom, who did so much for former Del Fuego Dan Zanes' 1995 
album _Cool Down Time_ (Private Music) as well as Sexsmith's debut, and 
Tchad Blake, who put the finishing touches on the album, imbue each song 
with its own unique flavor by adding an organ here and horn there.
	Singer-songwriters remain relevant in today's hip-hop world 
because listeners still enjoy relating the confessions and ruminations 
of the artists to their own lives. Because he is a singer-songwriter at
heart, some of Sexsmith's vignettes will have more meaning for certain 
listeners than for others. That's what makes it difficult to pick a 
standout track. I lean toward "Honest Mistake" and "Average Joe" but 
it's a tribute to Sexsmith's ability that others will choose other songs.
---
	REVIEW: The Devlins, _Waiting_ (Radiouniverse)
		- Jon Steltenpohl
	The new Devlins album is the first "must have" album I've come 
across since the last Ani DiFranco release.  Without ego posturing and 
claiming they're the next Beatles, these Irish brothers (Colin and 
Peter) just do music the right way.  Like Toad the Wet Sprocket's 
emphatic, straight-forward sound, the songs on _Waiting_ are impeccable 
and enduring.  The Devlins give us one of those deja vu albums that, 
from first chord, makes you think you've been there before.
	The musical tone set by _Waiting_ is atmospheric and driving.  
Colin Devlin's lyrics replay glimpses of all his losses and anxieties 
for us. Moody indulgence hasn't gone out of style despite Morrissey's 
excesses, and The Devlins are content at simply presenting the honest 
truth.  But, no matter how much it hurts, these guys never seems to 
give up on a relationship.  As the title track emphasizes, "If you 
ever change your mind, I'll still be waiting".  Waiting where you 
wonder?  "At the turnstile", "in a daydream", "with the orphans", 
and...  Well, you get the point.  "Waiting" is the epitome of the 
Devlins.  It's an unrequited love song drowning in calculated self 
pity and mellow martyrdom.  Yet, it treads the narrow path between 
going over the top and wimping out.  Subtly, Colin pleads his case, 
but he never loses his cool.
	As with any great song writers, the brothers Devlin capture 
perfect vignettes of climaxing relationships.  There's lovers coming, 
going, and wondering what the hell happened.  "Years Could Go By" has 
a pulsing guitar driving a sad chorus of cellos.  Sings Colin, "And I 
look in your eyes, and I feel no surprise, when you tell me now you 
have to go away."  It's depressing, but it never feels overly 
melodramatic.  One begins to wonder how many failed relationships the 
guys have been in.  "Where Are You Tonight" has him pondering what 
went wrong, and "Disappear" is a kiss off. In "Surrender", he pleads 
for love, and in "Reckless", he's trying to put a relationship back 
together.
	Writing smart, modern pop wasn't good enough for these two 
brothers from Ireland.  No, The Devlins brought in producer Pierre 
Marchand and mixer Tom Lord-Alge to perfectly polish this album.  
Marchand is famous for producing Sarah McLachlan (whom the Devlins 
have toured with).  Double Grammy winner Lord-Alge has "only" mixed 
just about everyone on the planet including recently Oasis, Toad the 
Wet Sprocket, Dave Matthews Band, and Black Grape. When teamed with 
an incredible band like The Devlins, these two are guaranteed success.
	Marchand adds keyboards and atmospheric touches that are simply
incredible.  There is a lot of similarity between this album and James'
1993 album, _Laid_, which featured the hit "Say Something".  Brian Eno
produced _Laid_, and Marchand is nothing if not a protege (and friend) of
both Eno and Daniel Lanois.  These guys all have the amazing ability to
make a song sound quiet and moody without giving up a mesmerizing beat.
Marchand's work with Sarah McLachlan is a perfect example of taking what
could be ordinary music and turning it into something electrifying.
	_Waiting_ is certainly a masterpiece.  The songs can be quiet, 
and the lyrics pensive.  In fits of despair foreshadowed by a grating 
guitar, The Devlins tear small bits of pain from each song.  Anyone 
acquainted with the work of Sarah McLachlan will understand the mood, 
but any fan of decent music should be pleased by this excellent album.
---
	REVIEW: The Geraldine Fibbers, _Butch_ (Virgin)
		- Daniel Aloi
	The new Geraldine Fibbers album should carry a warning 
sticker: "Critics and casual listeners are advised to do more than 
spot-check the first two tracks on this CD."
	The band is so far-ranging on _Butch_ that anyone who doesn't 
play this all the way through is missing out. They're all over the map, 
from the catchy-but-disaffected pop opener "California Tuffy" through 
the visceral punk of "Toybox" and "I Killed the Cuckoo," the 
confessional "Swim Back to Me" and "Seven or In 10," the postmodern 
mood-instrumental "Claudine," and a stunning pair of country songs.
	The title track uses a string section and an anguished Carla 
Bozulich vocal to evocative effect. And a heavy cover of Can's "You 
Doo Right" is powerful - Bozulich's voice coils around the song 
tightly, letting go only when the the band cranks into the coda, 
which dissolves into alien radio feedback.  "The Dwarf Song" is an 
atmospheric art-rock fantasy. Halfway through, the band'ss country 
side comes out, in all its dark glory and acoustic innocence.
	The Fibbers' last effort for Virgin, 1994's _Lost Somewhere 
Between the Earth and My Home_ , as well as the 1996 EP "What Part of 
Get Thee Gone Don't You Understand?" (on Sympathy for the Record 
Industry) earned them widespread critical acclaim for wedding 
unflinching modern rock with rock-of-ages country music.
	And it's the country songs here, too, that are endearing.  
"Folks Like Me" starts as a dirge and then it swings. "Pet Angel" is 
an Appalachian waltz, a courting song that turns into a murder 
ballad, with lines like "The cat's in the bag/The bag's in the 
river/And the river makes me cry."
	Bozulich's non-gender-specific voice carries the aptly titled 
album through its ever-changing moods. She could sound like Patti 
Smith one minute, Gavin Rossdale, Donovan or Syd Straw the next. 
You have to respect her for her individuality, if nothing else - in 
a sea of female singer-songwriters out there, Bozulich is distinctly 
her own singer.
	And as uncommercial as they may be, The Geraldine Fibbers are 
true to their own dark dreams as well.
---
	REVIEW: Various Artists, _Urbal Beats_ (Polygram TV)
		- Krisjanis Gale
	The acts exhibited on _Urbal Beats_ can be well-classified 
into three groups:  pioneers of the past, mainstays of the present, 
and revolutionaries of the future.  All of them are fighting for 
space on this compilation. 
	The pioneers:
	Prodigy's featured track, "Poison" , amazingly enough still 
holds quite a bit of cult popularity despite its age.  Chemical 
Brothers' "Block Rockin' Beats" is approaching "how many more times am I 
gunna have to hear this?" status.  Wink's "Higher State of 
Consciousness" is a throwback to acid-house long gone but still 
appreciable.  Underworld "Born Slippy" is holding on pretty tight.
	The mainstays:
	The complete remix of Future Sound of London's "We Have 
Explosive" is surprising. C.J. Bolland's "Sugar is Sweeter" still 
sticks to your sweet-tooth.  The airy flute and bass hook on Orbital's 
version of "The Saint" shows off their versatility.  The Orb's 
"Toxygene" marks their major comeback, into a niche that works well 
for them; down and dubby, with plenty of ambient flair.  Goldie's 
"Inner City Life" is an oldie but goodie.  Everything But the 
Girl's "Before Today" is still chewing up much of the bubble-gummy 
drum & bass market.
	The revolutionary:
	DJ Icey's "Big Ditch" is cool and refreshing - nice and dicey.  
Rabbit in the Moon's "O.B.E." is trance as it should be done - not too 
much of anything, all following a logical progression.  D.J. Keoki rips 
it up on "Caterpillar".  Reprazent and Roni Size won't "Share the Fall" 
with anyone.  Portishead won't have many more "Sour Times" if they hold 
their own.  And the members of Crystal Method will definitely learn what 
it is to be a "Busy Child".
	I'm not quite sure if Urb magazine's intention was to compile 
so much of the old with the new - but that's surely what _Urbal Beats_ 
is.  a collection of the big names and the big tracks they've produced. 
This will cause either one of two reactions in the listener.  To 
newbies of the genre, it will be eaten up and used as an index for 
further research.  To the veterans, the presence of the somewhat 
outdated tracks will make them want to cast it aside like so much 
hype about this big "new" thing called "electronica."  I for one 
think it's a pretty decent all-in-one package.
---
	REVIEW: God Street Wine, _God Street Wine_ (Mercury)
		- Daniel Aloi
	Never mind the wherefores of all these new self-titled 
albums from bands that have been around for ages, what I really 
want to question is, what does God Street Wine truly aspire to be?
	Yes, they're a "jam band." Meaning, they play extended 
instrumental passages that go on for-freakin'-ever and their fans 
think that's far-freakin'-out. But these New York City groovers are 
capable of going beyond all those hippie-lovin' good vibes and making 
an artistic statement. After finally releasing one very good album 
(1996's home studio effort _Red_ , with its unerring simulations of 
Dylan and Pink Floyd), GSW has reverted to selling records for Winos 
(as its fans are punnily known) and errant, what-do-I-do-now? Deadheads.
	The songs on _God Street Wine_ are tailor-made to be played 
live, but they all stop short of what they were built for - the jams. 
"Angeline," "Feather" and "She Comes Up Softly" are all decent songs, 
while "Happy Birthday, Mr. President" and "Don't Speak of These Things" 
are hollow, Dead-like anthems-in-waiting.
	There's nothing inherently wrong with any of this - that is, 
if _Red_ weren't out there for contrast. I can't fault anyone for 
playing the soundtrack for someone's communal good time, especially 
in this shoe-gazing, mosh injury-prone era.
	I just expected so much more. I once said that GSW were the 
most deserving of all the bands in line to take the Grateful Dead's 
place (Dave Matthews being a one-note messiah and Phish just too damn 
weird), and by God if that isn't coming true. Sorry, guys. Next time, 
don't read your own press.
---
	REVIEW: Congo Norvell, _Abnormals Anonymous_ (Jetset)
		- Patrick Carmosino
	Congo Norvell is the musical union of ex-Cramps/Bad Seeds/Gun Club 
guitarist Kid Congo Powers and vocalist Sally Norvell. Their latest 
release, _Abnormals Anonymous_ is a mix of fiendish, desperate and 
probing moods: combining American gothic, torch song desperation and 
charm, blues and on "Johnny In The Boudoir", new wave nostalgia noir.  
The buzz on the Los Angeles-based duo was that of something just a bit 
rockier than, say, Combustible Edison. Truth be known is that although 
things seem to begin with and are based on the loungey, torchy voice of 
Sally Norvell, the band has quite a broad palette, wearing the influences 
of past associations with Nick Cave, Jeffrey Lee Pierce and Wim Wenders 
(both Powers and Norvell have been in his films) on their collective 
sleeve.
	Song titles such as "She's Like Heroin To Me", "Brother Jack", 
"Dark Eyes" and "The Last Word: Jack Is Back" alone bring images of the 
pulp and the desolate to life. If things aren't dark enough, America's 
king of beautiful mope, Mark Eitzel duets with Sally Norvell on five 
tracks. "Brother Jack" is perhaps the most stunning of these songs; 
with momentum slowly building up with Norvell's whispery scream of 
"brother Jack" repeatedly being answered by Eitzel with an incredibly 
throaty "will your family take you back?". "Blue Sky" finds Congo 
Norvell entering into Eitzel's American Music Club territory with its 
mellow, sprawling arrangement until it reaches its tense, instrumentally 
expanded chorus which reminds you whose album this is. Later, in "...Jack 
Is Back" , Eitzel's contribution is a monotone, deadpan, spoken delivery 
with lines like "I'm sorry there was no audience for your crucifixion." 
Amongst the Eitzel-less highlights is the hypnotic "Dark Eyes" which has 
to be the most haunting celebration of a new born ever put to recording 
tape. "Johnny In The Boudoir" is basically the Shangri-La's meet 
Martha & The Muffins meet Josey Cotton in Death Valley '69: a pastiche 
of organ-driven retro, manic melodrama whose suddenness virtually splits 
the record in two. Meanwhile, always lurking in the background is the 
scratchings of  Powers' guitar, reminiscent of Daniel Ash's work with 
Bauhaus, which informs the heart of _Abnormals Anonymous_ as well as 
Norvell's soulful take on torch singing which, from time to time, 
stretches to a Patti Smith-like passion.
	_Abnormals Anonymous_ evokes evolved moods from a couple of 
thirty-something former punks who may not have been considered punks 
because of any outward aggressive approach to music but more because 
they have built a career out of approaching music in their own 
incredibly unique way. The darkness doesn't necessarily fade away 
with life experience, but one certainly gets a few more different 
views of it as one's adulthood progresses. _Abnormals Anonymous_ is a 
good soundtrack for the desperate hours that remain long after the 
restlessness is gone. The comforts of the lounge set cannot contain 
Congo Norvell.
---
NEWS:	> A new Ben Folds Five album, _Naked Baby Photos_ , will be 
released on January 13, 1998 by Caroline Records.  The album contains 
16 songs - some live, some different versions and some new. The 
complete track listing is as follows: 
	(Live songs): Underground, Julianne, Song For The Dumped, 
Philosophy, Boxing, Twin Falls (cover of a Built To Spill song), 
Satan Is My Master and The Ultimate Sacrifice.
	(Previous Unavailable): Eddie Walker, Emaline, Dick Holster, 
Tom and Mary, For Those of Ya'll Who Wear Fanny Packs.
	(Other songs): Jackson Cannery (out of print 7"), Alice 
Childress (live on KCRW), Bad Idea (Original Version)
	> _Live In The Tragic Kingdom_, a 90 minute video of No Doubt's 
tour for their eight-times platinum _Tragic Kingdom_ album, will be 
released on November 11.
	> Walt Mink has recently called it quits on their career as a 
band and taped their final live performance on November 1 at New York 
City's Mercury Lounge.  A live album from this show will be released 
in January on Deep Elm Records.
---
                    TOUR DATES (Please confirm with site before travelling):
	Bentley Rhyhthm Ace
Nov. 14 Los Angeles, CA Frequency
Nov. 15 Seattle, WA Crocodile Cafe
Nov. 18 San Francisco, CA Bimbos
Nov. 19 Chicago, IL Double Door
Nov. 21 New York, NY El Flamingo

	Daniel Cartier
Nov. 11 Philadelphia, PA North Star
Nov. 12 New York, NY Fez
Nov. 13 Boston, MA Kendall Cafe
Nov. 15 Hartford, CT Atomic Club
Nov. 16 Portland, ME Raoul's
Nov. 17 Burlington, VT Metronome
Nov. 18 Philadelphia, PA North Star
Nov. 19 New York, NY Fez
Nov. 20 Boston, MA Kendall Cafe

	Chemical Brothers / Death In Vegas
Nov. 12 Boston, MA The Roxy
Nov. 13 Philadelphia, PA Electric Factory
Nov. 14-15 New York, NY Hammerstein Ballroom
Nov. 17 San Diego, CA SOMA
Nov. 18 Los Angeles, CA The Palladium

	Gilby Clarke
Nov. 11 Atlantic City, NJ Hard Rock
Nov. 12 Baltimore, MD Hard Rock
Nov. 13 Providence, RI Strand
Nov. 14 Port Jefferson, NY Village Pub
Nov. 15 Springfield, VA Jaxx
Nov. 16 New York, NY Wetlands
Nov. 18 Springfield, MA Infinity
Nov. 19 Danbury, CT Tuxedo's
Nov. 20 Boston, MA Mama Kin
Nov. 21 Old Bridge, NJ Birch Hill

	Deftones
Nov. 12 Las Vegas, NV Huntridge Theatre
Nov. 14 Dallas, TX Galaxy (KEGL event)
Nov. 15 Dallas, TX Trees
Nov. 16 Austin, TX Liberty Lunch
Nov. 17 Houston, TX Abyss
Nov. 19 Atlanta, GA Cotton Club
Nov. 20 St. Petersburg, FL State Theatre

	Chris Duarte Group
Nov. 11 Pittsburgh,PA Metropol (with Government Mule)
Nov. 13 Louisville, KY Phoenix Hill Tavern (with Government Mule)
Nov. 14 Lexington, KY Lynagh's (with Government Mule)
Nov. 15 Dayton, OH Hara Arena (with Sammy Hagar)
Nov. 17 Bloomington, IN The Bluebird
Nov. 19 Baltimore, MD Fletcher's
Nov. 20 Washington, DC Metro Cafe
Nov. 21 Rochester, NY Water Street Music Hall

	Duran Duran
Nov. 13 Boston, MA The Orpheum
Nov. 15 Montreal, QC Metropolis
Nov. 16 Toronto, ON The Warehouse
Nov. 18 Philadelphia, PA Electric Factory
Nov. 19 New York, NY Roseland

	Everclear / Our Lady Peace / Letters To Cleo 
Nov. 11 New York, NY Irving Plaza
Nov. 13 Boston, MA Paradise
Nov. 14 Providence, RI Lupo's
Nov. 15 Philadelphia, PA Theatre of Living Arts
Nov. 16 Washington, DC 930 Club
Nov. 18 Atlanta, GA Cotton Club
Nov. 19 Nashville, TN 328 Performance Hall
Nov. 20 Memphis, TN New Daisy Theatre

	(hed) p.e./Suicidal Tendencies
Nov. 11 Santa Fe, NM Alumni Hall/College of Santa Fe
Nov. 13 Flagstaff, AZ Post Office
Nov. 14 Las Vegas Huntridge
Nov. 15 San Bernadino, CA Arena

	High Llamas 
Nov. 11 New York, NY Mercury Lounge w/Home
Nov. 12 Cambridge, MA Middle East w/Lothars
Nov. 13 Toronto, ON Horseshoe Tavern
Nov. 14 Pontiac, MI 7th House
Nov. 15 Chicago, IL Lounge Ax w/The Rachels
Nov. 17 Minneapolis, MN 400 Bar
Nov. 20 Seattle, WA Crocodile Cafe
Nov. 21 Vancouver, BC Starfish Room w/Ujz me Doma

	Irving Plaza (New York City concert hall: http://www.irvingplaza.com)
Nov. 11 Everclear / Our Lady Peace / Letters to Cleo
Nov. 12 Jars of Clay / Plumb
Nov. 13-15 Radiators
Nov. 18 Ratt
Nov. 19 Cornershop / Gus Gus
Nov. 20 Atari Teenage Riot
Nov. 21 Ric Ocasek

	Jane's Addiction
Nov. 13 Miami, FL Bayfront Park
Nov. 15 Atlanta, GA International Ballroom

	Jars of Clay / Plumb
Nov. 11 Wexford, PA Orchard Hill Church
Nov. 12 New York, NY Irving Plaza
Nov. 14 Baltimore, MD UMBC Fieldhouse
Nov. 15 Worcester, MA Worcester Memorial Auditorium
Nov. 16 Philadelphia, PA Electric Factory
Nov. 18 Lynchburg, VA Vine Center
Nov. 19 Columbus, OH Veterans Memorial Auditorium

	Live / Reef
Nov. 12 Portland, ME Civic Center
Nov. 13 Northampton, MA Mullins Center
Nov. 14 New Haven, CT Veterans Coliseum
Nov. 15 West Point, NY Eisenhower Hall
Nov. 18 Fairfax, VA Patriot Center
Nov. 19 Lancaster, PA F&M College

	Lunachicks
Nov. 11 Quebec City, QC Bar Arlequin
Nov. 13 Toronto, ON Lee's Palace
Nov. 15 Lansing, MI Mac's Bar
Nov. 16 Milwaukee, WI Rave Bar
Nov. 19 Minneapolis, MN 7th Street Entry

	Moxy Fruvous
Nov. 11 Washington, DC Bayou
Nov. 13 Philadelphia, PA TLA
Nov. 14-16 New York Mercury Lounge
Nov. 18 Bloomington, IN Second Story
Nov. 19 St. Louis, MO The Galaxy

	Ric Ocasek
Nov. 16 Poughkeepsie, NY The Chance 
Nov. 17 New Haven, CT Toad's Place 
Nov. 18 Washington, DC 9:30 Club 
Nov. 20 Philadelphia, PA 5 Spot 

	Promise Ring / Compound Red
Nov. 12 Victoria, BC W/ Roadside Monument
Nov. 13 Vancouver, BC W/ Roadside Monument
Nov. 14 Redmond, WA Redmond Ymca W/ Roadside Monument
Nov. 15 Portland, OR Oakstreet Arts Center W/ Roadside Monument
Nov. 16 Seattle, WA The Velvet Elvis W/ Roadside Monument, Frodus
Nov. 19 Los Angeles, CA Ymca W/ Jejune
Nov. 20 Silverlake, CA Silverlake Lounge

	Reel Big Fish
Nov. 14 Asbury Park, NJ Stone Pony
Nov. 15 New Brunswick, NJ Cook College
Nov. 18 Orlando, FL Embassy Music Hall
Nov. 19 Gainsville, FL Brick City Music Hall

	Jim Rose Circus
Nov. 11 Jacksonville, FL Milk Bar
Nov. 12 Gainsville, FL Brick City Music Hall
Nov. 13 Athens, GA Georgia Theatre
Nov. 14 Atlanta, GA Masquerade
Nov. 16 Nashville, TN 328 Performance Hall
Nov. 19 Memphis, TN Omni New Daisy

	Samples
Nov. 7 Hailey, ID The Mint
Nov. 8 Seattle, WA Fenix
Nov. 9 Portland, OR Grand Ballroom-Art Museum
Nov. 11 San Franciso, CA Great American Music Hall
Nov. 12 San Diego, CA Brick by Brick
Nov. 13 Los Angeles, CA House of Blues
Nov. 14 Santa Barbara, CA Yucatan
Nov. 15 Scottsdale, AZ Cajun House
Nov. 16 Tucson, AZ The Cage

	Saw Doctors
Nov. 12 Alexandria, VA Birchmere
Nov. 14 Boston, MA Roxy
Nov. 16 Cleveland, OH Peabody's Down Under
Nov. 18 Ann Arbor, MI Ark
Nov. 19 Chicago, IL Metro

	Semisonic
Nov. 7 Ames, IA Peoples
Nov. 8 Lawrence, KS The Bottleneck
Nov. 15 Saint Cloud, MN Red Carpet

	Sister Hazel / Cravin' Melon
Nov. 18-19 Chicago, IL House Of Blues 
Nov. 20 Ann Arbor, MI Blind Pig 

	Something Happens
Nov. 11 Arlington, VA Iota Cafe
Nov. 12 Woodstock, NY Tinker Street Cafe
Nov. 13 Boston, MA Bill's Bar
Nov. 14 Philadelphia, PA Samuel Adams Brewhouse
Nov. 15 Baltimore, MD Fletcher's
Nov. 16 Bronx, NY Quay's
Nov. 17 New York, NY Mercury Lounge
Nov. 18 Asbury Park, NJ Saint

	Squirrel Nut Zippers	
Nov. 19 Chicago, IL The Vic Theater
Nov. 20 Cincinnati, OH Bogart's

	Subrosa
Nov. 12 New York, NY Mercury Lounge
Nov. 14 Philadelphia, PA Saint
Nov. 16 Atlantic City, NJ Hard Rock Cafe
Nov. 17 Washington, DC 930 Club
Nov. 20 Boston, MA Axis

	The Wrens
Nov. 12 Detroit, MI Magic Stick
Nov. 13 Cleveland, OH Grog Shop
Nov. 14 Chicago, IL Thurstons
Nov. 15 Cincinnati, OH Sudsy's
---
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