== ISSUE 170 ====  CONSUMABLE ONLINE  ======== [March 8, 1999]

  Editor:             Bob Gajarsky
                         E-mail: editor@consumableonline.com
  Managing Editor:    Lang Whitaker
  Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim 
                      Kennedy, Tim Mohr, Al Muzer, Joe Silva 
  Correspondents:     Christina Apeles, Niles J. Baranowski, Tracey 
                      Bleile, Lee Graham Bridges, Jason Cahill, Patrick 
                      Carmosino, John Davidson, Andrew Duncan, 
                      Krisjanis Gale, Paul Hanson, Chris Hill, Eric 
                      Hsu, Tim Hulsizer, Franklin Johnson, Steve 
                      Kandell, Reto Koradi, Robin Lapid, Linda Scott, 
                      Scott Slonaker, Kerwin So, Chelsea Spear, Simon 
                      Speichert, Jon Steltenpohl, Simon West
  Technical Staff:    Chris Candreva, David Landgren, Dave Pirmann
  Also Contributing:  Dan Birchall

 Address all comments to staff@consumableonline.com ; subscription 
information is given at the end of this issue. 
==================================================================
	All articles in Consumable remain (C) copyright their author(s). 
Permission for re-publication in any form must be obtained from the 
editor.
==================================================================
                            .------------.
                            |  Contents  |
                            `------------'
INTERVIEW: Sloan - John Davidson
REVIEW: The Roots, _Things Fall Apart_ - Lang Whitaker
REVIEW: Ben Lee, _Breathing Tornados_ - Christina Apeles
REVIEW: Joe Henry, _Fuse_ - Chris Hill
REVIEW: Fun Lovin' Criminals, _100% Columbian_ - Tim Mohr
REVIEW: Built to Spill, _Keep it Like A Secret_ - Kerwin So
REVIEW: Beth Orton, _Central Reservation_ - Patrick Carmosino
REVIEW: Boo Radleys, _Kingsize_ - Tim Mohr
REVIEW: Adrian Belew, _Salad Days_ - Joann D. Ball
REVIEW: Fleming & John, _The Way We Are_ - John Davidson
REVIEW: Mojave 3, _Out Of Tune_ - Tim Mohr
REVIEW: Shabba Ranks and Friends, _Shabba Ranks and Friends_ - Joann D. Ball
CONCERT REVIEW: Man or Astroman? - Andrew Duncan
REVIEW: Robbie Nevil, _Wot's It To Ya - Best Of_ - Bob Gajarsky
REVIEW: The Merrymakers, _Bubblegun_ - Bill Holmes
REVIEW: Serah, _Senegal Moon_ - Joann D. Ball
NEWS: Sascha Konietzko, Triffids, Bill Laswell / PJ Olsson, 
   Brian Setzer
TOUR DATES: All / Less Than Jake, Babe The Blue Ox / Trinket / 
   Interpreters, Better Than Ezra / Jude, Braid, Candlebox, 
   Cibo Matto, Hank Dogs, Finger Eleven, Flick, Godsmack, Sammy 
   Hagar, Jets to Brazil, Jungle Brothers, King Missile, Kodo, 
   Korn, Local H, Marvelous 3, Mighty Blue Kings, Offspring, 
   Oleander / Vast, Placebo / Stabbing Westward, Plastic People 
   of the Universe, Promise Ring, Samples, Sepultura / One Minute 
   Silence / Biohazard, Silverchair / Grinspoon / Lit, Elliott Smith, 
   Sparklehorse / Varnaline, Ten Foot Pole, Vanilla Ice, Waco Brothers
Back Issues of Consumable
---
	INTERVIEW: Sloan
		- John Davidson
	One of the best kept musical secrets in North America is Sloan. 
While they win awards and enjoy great popularity in Canada, Sloan is 
relatively unknown in the United States.  With 1998's superb _Navy 
Blues_, a live album this spring, and a new studio album later this 
year, Sloan keeps on coming with great music.  Consumable Online's 
John Davidson interviewed Sloan's Chris Murphy at The Point in 
Atlanta, GA on February 4, 1999.

	Consumable Online:  Is Murder Records (the band's label) just 
the four of you?
	Chris Murphy:  Murder Records has gone through several stages.  
It started out with no aspirations, and then we had a couple of records 
out so we hired a guy to kind of run it.  By the fourth record, it was 
really more about documenting the community.  It's always been a hobby, 
it never really made money.  Sloan made money, and that was also 
because we were getting advances from Geffen and then on our third 
record from The Enclave.  Now we don't get advances from anyone, so 
it's a very Sloan-centric vehicle now.  We can't afford to sign 
someone.  We don't have a staff really, it's just a means of owning 
our masters.  There's our live record coming out that will be our 
39th release [for the label] but I think Sloan has been five of the 
last seven.
	CO:  So you're not going to do any releases by any other bands?
	CM:  Politically, I think it's impossible.  Because we all own 
it again, it would mean that we'd have to get approval from everyone.  
So, if I have some sort of project I'm working on and we're trying to 
make inroads down here [in the United States], playing to a small club 
down here, "Why would we spend money on this project of yours when we 
could spend it on another hotel room?"  Again, we're not hurting for 
money.  We're in a peculiar economic situation because we live in 
Canada and we do well there but in the States it's a little less.
	CO:  Not as many stadium shows?
	CM:  No, but that's a fun dichotomy to live, though.  It's 
enjoyable.  I honest-to-God prefer to play this show as than any show 
we'll play in Canada, because in Canada we've crossed over to the 
degree where there's a lot of university students and  casual 
listeners.  In the States there's a little more rabid listeners.  In 
Canada there's definitely rabid:  we have almost a teeny-bopper thing 
to contend with, and here we don't.  There's no moshing and all that 
stuff we have to deal with.  We're almost interchangeable with Green 
Day or something in Canada.  That's okay, because I like kids and 
we've cultivated an all-ages situation but it's also problematic 
because you get a lot of bozos.  But, if we were playing in this club a
nd we didn't have that money situation in Canada, I think we'd be really 
frustrated by now.  You know, seven years later and we're still playing 
in a tiny club.  We haven't had a huge opportunity to have a lot of 
momentum in America, the way we have in Canada.  But, we played here 
four months ago and hopefully that will have paid off to let people 
come tonight.  Then, if we make a new record and get down here quick 
I think we'll grow because we've only done it in fits and stops before.
	CO:  Where do you see the band five years from now?  It's got to 
be a big effort to go all over Canada and all over the States.
	CM:  It's okay.  Not being on a major allows us to go territory 
by territory.  We've gone to Japan and worked out a deal with Universal.
We're just carving up the world.  We did a really good job over there.  
We just went over there in November.  I'd like to see us grow in places 
other than just the States.
	CO:  And your records are improving with each time...
	CM:  I like our records, but we have fights.  Like, is this the 
time we should use a producer or should we just do it again ourselves?  
Do people kind of like the homespun of our group?  I think that that 
goes a little bit of a way.  If we want to sell to more people, we 
probably want a little more of a radio-friendly sound.  It's hard.  
It's a hard call.
	CO:  It's hard.  Look at the Tragically Hip:  sold loads in 
Canada but couldn't get arrested down here.  Then you get somebody 
like the Barenaked Ladies who figure it out somehow and their dice 
rolls up right.
	CM:  Well, they worked really hard, and toured really hard.  
They definitely put on a really good live show.  It's a total circus 
atmosphere, and they toured regionally like we're trying to do.  But, 
we have a shorter battery.  We can't stay out longer than three weeks 
without the band breaking up.   Whereas, they're out for three weeks 
and they're already planning week four.  Working radio, chasing radio 
and that's how you have to do it.  I think you get really burned out 
that way.  I think if we had done that we would have broken up by now. 
We'd like to keep the band together longer.  A lot of groups make a 
load of cash, and then people turn their backs on them but they don't 
care because they made a million dollars.  I think that our records 
are good, we're my own favorite band, and I think we're better than 
every other group, and people will just come around someday.  We're 
in no rush, because again, we're in the Canadian situation where we 
make money.  If all we had to rely on was gigs like these tonight, 
we'd be fucked.  A lot of groups in the States that are good are 
fucked because they don't have a cash cow like we do.  We're really 
lucky.  We're fortunate.
	CO:  How many records do you sell in Canada?  How many of 
_Navy Blues_?
	CM:  80,000.
	CO:  And how many down here?
	CM:  12,000, maybe.  It's hard to tell because I'm going kind 
of by Sound Scan.  When you sell that small of a number...well, it 
works for Mariah Carey but if it's small you can't tell because you 
sell them in Mom & Pop stores and there's no Sound Scan. There's no 
way of telling.
	CO:  Do you have a distribution deal for Murder here in the US?
	CM:  Yeah, it's with Proper Distribution.  Who knows, in the 
States we might have a more elaborate situation someday, but it's 
fine the way it is now.  One of the biggest thrills is to be able to 
go to Japan and work out whatever deal we want, or Australia.  It's 
[_Navy Blues_] is on Murder Records in Australia.  Again, that's not 
gonna amount to millions in sales, but it's nice.
	CO:  It's better than giving half of it away.
	CM:  Yeah.  And over time, if someday some record comes out on 
a major we'll own all those old records.  We don't own _Twice Removed_, 
but we own the rest of them.  We own "Twice Removed" in Canada, but we 
don't own it internationally.  If we had a huge radio hit, we'd be in 
trouble because then we'd be chasing radio and Andrew (the main 
drummer) would snap and quit because he doesn't want to tour too long. 
If you wanna chase radio, you gotta stay on the road.  I personally 
could do it [chase radio].  I'd like to work two years straight and 
just do it and then get to a point where we can pick and choose.  Our 
management is smart and everything has really worked out perfectly.  
Every failure has been turned into a positive thing.  Where The 
Enclave shut down, we got money and we got our records back.
	CO:  When you're writing songs, do you feel like you have to 
create music that is "sellable"?
	CM:  It's funny because I had this song when I was a kid in 
my first band with Jay in '87.  It was about that kind of thing, and 
being commercial.  I don't mean to quote myself because it's obnoxious 
but you said almost the same thing.  The words were, "You've painted 
yourself some pretty pictures and some were put out on display, and 
some you've decided wouldn't sell that well and all these have been 
hidden away."  Again, I'd like to think that every record before this 
one has been, on my part, I'm trying to write singles and catchy 
songs.  I do it for myself.  I'm not like, "Well, fuck, I hate my 
own songs."  I like my own songs, I think they're smart and good, 
but we have a song on this record called "Suppose We Close the 
Door," and it's obviously not going to be a hit.  To me, that was 
almost hard to do because I had ten songs to choose from and Jay was 
really positive about that song.  Yes, it was an album track, but 
it's nice to have your singles.  Instead of having twelve attempts 
at a single, and three of them are good and the rest are kind of 
sub-par singles, have your single attempts and good album tracks.  
Even though I had songs that went into the garbage, I'll just bring 
them out again to piss them off.  
	CO:  Do you have any sage advice?
	CM:  Sage advice?  Make your own records and deliver them 
finished so no one can tell you what to do.  Not just that, but so 
they know what they're getting, too.
---
	REVIEW: The Roots, _Things Fall Apart_ (MCA)
		- Lang Whitaker
	The latest CD from The Roots, _Things Fall Apart_, comes at a 
time when things seemed to be coming together for the Philadelphia-based, 
organic hip-hop combo. After disassociating themselves from Geffen 
Records and inking a new deal with MCA, The Roots were said to be a 
much happier group of late (The Roots reportedly were less than 
thrilled with Geffen's hip-hop marketing schemes).
	But on _Things Fall Apart_, the total sound of The Roots 
appears to have had a colonic. No longer stuffed full of jazzy 
instrumental spills and throbbing bass, The Roots have toned everything 
but the vocals down, creating a sleeker, more streamlined sound. This 
works particularly well on tracks like "Dynamite!" and "Act Too (Love 
of My Life)."
	With their air time increased, The Roots' rappers -- Black 
Thought (born Tariq Trotter) and Malik B. -- are forced to get on the 
mike and deliver more than ever before. Black Thought's voice is 
steeped in sizzle, boasting and bragging his way throughout the record. 
But for the most part, his lyrics lack luster, as he continues 
proclaiming his and Philadelphia's supremacy. Though Malik remains a 
supporting character -- the Ed McMahon to Black Thought's Johnny 
Carson -- on _Things Fall Apart_ Malik turns in his best performance 
yet, flipping phrases and words with an insouciant, Redman-like tone, 
showing audible artistic growth from his efforts a few years back.
	Most of The Roots' recent acclaim is spurred by the sumptuously 
laconic love movement "You Got Me," a ghetto fable of star-crossed 
lovers whose lives have them unknowingly crossing paths, before they 
ultimately come together only to, natch, fall apart. Easily the best 
song on _Fall Apart_ (and probably the best hip-hop song of '99 thus 
far), "You Got Me" allows earthy soul diva Erykah Badu to keep her 
turban in the public eye, as she croons the undecipherable yet 
unrelenting hook. The songs climaxes on the final chorus, when Roots 
drummer ?uestlove drops the beat in favor of a funked out series of 
jungle speed bumps. In this final 40 seconds, The Roots show what 
sets them apart from the rest of hip-hop's Phat Farm-wearin' crowd: 
their musical ability.
	Though most rap groups are content to let their producers shape 
their sound (which means all live performances are basically 
professional Karaoke), The Roots have always included a full band 
along with their rhymes. Drummer ?uestlove is as metronomic as usual, 
but the rest of the crew (including Leonard Hubbard on bass and the 
multifarious Kamal on keyboards & guitars) steps into the role of 
human samplers, basically playing simple little instrumental parts 
over and over again. They don't sample the sounds, but they might as 
well.
	The live forum has traditionally been where The Roots find 
their stride, as their instruments are allowed to roam free. If their 
gorgeous performance of "You Got Me" on David Letterman's "The Late 
Show" last week was even a hint of what's to come when The Roots hit 
the road with this new material under their belts, we should all 
sprint to Ticketmaster. But as The Roots prove on this new release, 
what happens if you leave a great live band in the studio for too 
long? Things fall apart.
---
	REVIEW: Ben Lee, _Breathing Tornados_ (Grand Royal/Capitol)
		- Christina Apeles
	The darling of the indie music scene and indie pop stars 
alike (as well as the paramour of teen-angst queen Claire Danes), 
20-year-old Australian Ben Lee continues to charm listeners with _
Breathing Tornados_. A collection of witty lyrics and hooks galore, 
on _Tornados_ the former  Noise Addict frontman exits his teens into 
a more diverse, polished brand of pop. Luminaries such as producer 
Ed Buller (Suede, Pulp, Spiritualized), Harmony Korine (Gummo/Kids), 
Petra Hayden (That Dog), Sean Lennon (John and Yoko) and Donovan 
Leitch contribute their two cents to Lee's latest oeuvre. A follow-up 
to 1997's acoustically-driven _Something to Remember Me By_, 
_Tornados_ will take many fans by surprise due to one important 
fact: The whole album was recorded on computers. If you can get past 
the synth sounds and keyboard-heavy tunes, you are sure to find 
pleasure in a smart, fairly low-tempo sound that showcases Lee's 
talented musicianship, with decades of songwriting ahead of him and 
a hell of a lot of charisma to offer.
	There's a fair mix of styles thrown into _Breathing Tornados_, 
largely due to the incorporation of keyboards and drum machines 
(which I could definitely do without), creating Lee's most 
radio-friendly album yet. The record ranges from the Psychedelic 
Furs-tinged "Nothing Much Happens," to the light-hearted pop track 
"Cigarettes Can Kill You," as well as the rich, lazy groove of 
"Sunflower." I found my longing for Lee's earlier raw, sensitive 
nature (like he displayed in his solo debut "Grandpa Would") 
satisfied with "Birthday Song," a poignant ballad with Lee at his 
best -- stripped down to an acoustic guitar, the weight of his 
emotions palpable with every nuance of his voice.
	But what does a twenty-year-old know about desire and defeat 
in the first place? He'll convince you in passionate numbers such as 
"Burn to Shine" and "Sleepwalk." His unique ability to express such 
sentimentality and get away with it is because he seems so terribly 
honest, and his somber offerings compare favorably to the bittersweet 
songwriting of Mark Eitzel (ex-American Music Club), though Lee is 
almost half his age.
	Not all of _Breathing Tornados_ is so blue. Lee showcases 
his sexy side in the jazzy, ornate "Nighttime," decorated with a 
backdrop of cool horns, seductive bass lines and Lee's alluring 
voice to stir your senses. Still, nothing compares to "Ship My Body 
Home," which every guy will be playing air guitar along to. It is 
the most rocking track on the album, laden with electric axe riffs 
(though repetitive). The momentum builds with Lee's clever word 
plays and timely music breaks making you wish the song would never 
end, but this is a pop album and nothing hits the four minute mark.
	And that's why you just can't get enough of it.
---
	REVIEW: Joe Henry, _Fuse_ (Mammoth)
		- Chris Hill
	When an album pulls its title from one of its tracks, that 
song merits extra scrutiny. Why was it singled out? What makes that 
one more special than any of the others? Is it truly worthy of a 
titular honor? It's a glimpse into the taste of the artist (or the 
record company) and another info tidbit for the scrap-hungry fan. 
The title song of _Fuse_ is brilliant - a one-song showcase for 
everything the Joe Henry fan would expect: simple, evocative lyrics 
with warm musical swaddling. Three weeks of listening, and it's still 
undergoing multiple repeats before the cd is  allowed to segue to the 
next song. "Here comes the night/ there go your knees/ reaching for 
the floor/ You say, 'I'll stand guard down here'/ she stands in the 
door..." The evoked image is three-dimensional, with small guitar 
riffs and a sultry-sweet piano, cushioned by gentle drums. The cherry 
on top of the sundae: the lyric, "But her fingers on your lips/ are 
like a penny for a fuse," which simply stunned me into slack-jawed 
appreciation as the song wanders to fade.
	Repeat. Repeat. Repeat.
	The other ten songs? Not surprisingly, also splendid. The 
Dirty Dozen Brass Band, Chris Whitley, Jakob Dylan, Carla Azar, 
Anthony Wilson, Randy Jacobs -- old friends and new -- lend Henry 
assistance. The Brass Band contributes greatly to _Fuse_, as the 
jazz/hip-hop flavor of this release shows Henry once again morphing 
his musical contours.
	It's a far cry from 1992's _Short Man's Room_ and 1993's 
_Kindness of the World_, the discs Henry recorded using the Jayhawks 
as his backing band.  _Fuse_ *is* a kissing musical cousin to his last, 
_Trampoline_, though_Fuse_ possesses a singular production presence 
compared to _Trampoline_  and its individual splendors ("Flower Girl," 
"Trampoline," "Ohio Air Show Plane Crash"). A glue on the unified 
ambience -- throughout _Fuse_ are sprinkled excerpts of a two 
decades-old reading by poet George Seedorff, serving as a carnival 
barker with ironic clues and commentary to the show behind the curtain.
	Not to say _Fuse_ lacks an array of songs vying for individual 
attention.  The flat-out charming first verse of "Great Lake" makes 
for a strong contender. Also stepping to the forefront are the 
relentlessly cheerful "Skin and Teeth," and "Like She Was a Hammer," 
with Henry clearly savoring every syllable sung. Also calling 
attention to themselves are the ambling, leisurely "Angels," which 
speaks of scruffy guardians more likely to distract than to guide, 
and the crooning "Want Too Much," with its slow burn jazz trumpet. 
There's even an instrumental ode to baseball great Curt Flood, who 
brought Major League Baseball to the Supreme Court with a 1970 
lawsuit against the reserve clause.
	Mixed by T-Bone Burnett, Rick Will, and Daniel Lanois, _Fuse_ 
finds Henry comfortable and assured. When the last song, "We'll Meet 
Again," rings in with a blithe farewell, it's with a warranted 
confidence.
---
	REVIEW: Fun Lovin' Criminals, _100% Columbian_ (Capitol)
		- Tim Mohr
	On their second album, the Fun Lovin' Criminals slow the pace 
a bit and lower the novelty factor. But they still show a great sense 
of humor ("I got supermodels on my D" goes the chorus of "Big Night 
Out"), and their consciously down-market sensibility is actually 
well-served by a little sweaty down-tempo.
	The opening track sounds like A Tribe Called Quest's "Bonita 
Applebaum"--a slow soul backdrop decorated with some sax and sitar. 
"Love Unlimited" has a similar soul throb to it, and the "Barry White 
saved my life" theme purposely highlights the cheesy aspect of the 
sound.
	The style of "Scooby Snacks" is revisited on several tracks 
that feature raucous guitars or guitar samples. "Korean Bodega" (a 
Bo Diddley-esque trot), "All For Self" (swirling guitars punctuated 
by horns), and the aforementioned "Big Night Out" (complete with Tom 
Petty sample) are all guitar-driven, catchy, and fun. Other tracks 
show the metal leanings of the Criminals, as "Southside" and "10th 
Street" both race along atop aggressive, churning guitar riffage. 
The final two tracks of the album are straight (if ironic) bar-room 
shuffles, anchored by live country-ish bass lines and near-rockabilly 
guitar.
	While not as immediately engaging as the debut album, _100% 
Columbian_ makes a good listen, continuing the Fun Lovin' Criminals' 
run as a working class version of the Beastie Boys - dishing out wild 
variations in style, wit, beats, and urban cool. And instead of 
investing in rich-boy causes - as the Beasties do - the Fun Lovin' 
Criminals bought a local garbage removal company with their 
first-album windfall. They're keeping it much more real while 
mellowing out on their second album. So kick back and enjoy a lazy 
Sunday afternoon drive - on a trash truck.
---
	REVIEW: Built to Spill, _Keep it Like A Secret_ (Warner Bros.)
		- Kerwin So
	The top 5 things everyone else has said about Built to Spill 
this time around:
	1) This album represents the first time Built to Spill has 
recorded with the same lineup that played on the previous album (1997's 
brilliant _Perfect from Now On_). Main Spiller Doug Martsch has finally 
decided to forego his ongoing policy of voluntarily rotating band 
members, originally implemented to assure a different sound on each 
record.
	2) The songs are shorter this time around, not "sprawling" 
like on the aforementioned _Perfect_. 
	3) This shorter length recalls the bouncier pop of 1994's 
_There's Nothing Wrong with Love_, although the songs sound like a 
cross between that album and _Perfect_.
	4) Doug Martsch is really not concerned with record sales, 
although his label (Warner Brothers) is, particularly since Built to 
Spill's last release on Warner didn't do as well as expected. Thus the 
major publicity push this time around.
	5) The song "You Were Right" re-hashes some of the better-known 
cliches from yesteryear's dinosaur rock songs ("You were right when you 
said all that glitters isn't gold/ You were right when you said we're 
all just bricks in the wall," etc.).

	The top 5 things Kerwin has to add:
	1) Let us not forget the talents of producer Phil Ek, who has 
worked with the band since _There's Nothing Wrong with Love_. He 
makes Doug's background vocals sound positively angelic on tracks 
like "Else" and "Center of the Universe."
	2) Is Doug the "Great White Hope" of indie-rock? Is indie-rock 
dead? Do we really care, when a band like Built to Spill consistently 
releases brilliant albums abounding with well-structured songs, 
replete with tasteful solos and profoundly simple lyrics? No, we 
need merely be grateful.
	3) This album will definitely sell more copies than _Perfect 
From Now On_. The shorter song length, poppier song structure and 
deft production all add up to -- gasp! -- a radio-ready sound. Next 
thing you know, Built to Spill will land a primo soundtrack spot for 
some Warner Bros. cash cow flick. You heard it here first.
	4) "You Were Right" is probably the only misstep of the 
album, wherein Mr. Martsch (rather fittingly) brandishes a cock-rock 
guitar wail in order to complement his rehashing of classic rock 
cliches. This song more than any other illustrates the influence 
that classic rock has had on Built to Spill.
	5) Doug really isn't concerned with record sales, as one can 
gather by reading or listening to any interview with him. A man who 
writes lyrics like "This history lesson doesn't make any sense in 
any less than ten thousand-year increments" certainly understands 
his place in the universe.

	The top 5 reasons (ie. songs) to buy _Keep it Like A Secret_:
	1) "Else"
	2) "Temporarily Blind"
	3) "The Plan"
	4) "Center of the Universe"
	5) "Sidewalk"
---
	REVIEW: Beth Orton, _Central Reservation_ (Arista/Deconstruction)
		- Patrick Carmosino
	Originally hyped as a UK club-savored diva (for her work with 
the Chemical Brothers), Beth Orton whipped up a debut record (_Trailer 
Park_ , 1997) that married her spacious trip hop and electronic 
yearnings perfectly with a rather dynamic folk form that evoked images 
of not only Joni Mitchell, but also early Carole King and Carly Simon. 
It was that comfy, early 70's feel as well as her ghostly voice that 
was the kicker to it all.
	On _Central Reservation_, gone are the abstract trip hop 
leanings (save for the stark "Stars All Seem To Weep"). Present are a 
mix of very pretty, jazz-inspired waltzy ballads and bare but lush 
guitar and voice pieces that keep the spaces just as beautifully 
wide-open.
	Also present are the shuffling progressions of such songs as 
the lead song, "Stolen Car." With its token snarling guitar to go 
along, one could think momentarily that Orton's bought into the edgy 
blandness disguised as the pseudo-righteousness of Lilith Fair-land. 
The track's growing intensity defies all that nonsense, though, and 
fulfills its spot as a fine intro taster (yet not tasting like 
anything else the album is about).
	"Sweetest Decline," which comes in right after "Stolen Car," 
is the first of the three waltz-oriented numbers and, wonderfully, 
the schmaltziest. With its ride cymbal tick-tocks, string 
orchestrations and violin plucks, you get the sense the elegant 
lounge gown fits Orton as well as her jeans and trainers. The other 
two waltzes -- "So Much More" and "Pass In Time" -- come from a more 
be-bop (and yes, Joni Mitchell "Blue"-period) backdrop. On "So Much 
More," Orton uses a synthesized mandolin sound  instead of an actual 
mandolin, and it fits the song beautifully; she gets a new and unique 
version out of a traditional sound. And check out the "slide" vibes 
on "Couldn't Cause Me Harm" that, along with the melody, put you in 
your favorite afternoon room in 1973.
	The title track finds Beth Orton at her inspired best lyrically: 
"I can still smell you on my fingers and taste you on my breath. 
Stepping through brilliant shades of the colour you bring/ And nothing 
is as sacred as we want it to be when it's real." These are but nuggets 
of her profound writings that fill her first 2 records. Ben Watt's remix 
of "Central Reservation" at the end of the record turns more into a pop 
song or intro music for a hip major film rather than any deep club 
groove that one can see Orton getting further into at some point. As 
an album, _Central Reservation_ avoids a sophomore slump with a batch 
of songs both fresh in their approach, yet containing the essential 
sparks that sent you Beth Orton's way from the start.
---
	REVIEW: Boo Radleys, _Kingsize_ (Creation/Never)
		- Tim Mohr
	_Kingsize_ turns out to be the final album from the late, 
nearly-great Boo Radleys, who have decided to pack it in after a decade. 
Fittingly, it exemplifies their considerable strengths, as well as their 
weaknesses and idiosynchrasies.
	Songwriter Martin Carr is a boffin capable--when he feels like 
it  - of writing eerily perfect pop songs such as "Finest Kiss" from 
_Learning To Walk_ or "Wake Up, Boo!" and "Find The Answer Within" from 
_Wake Up, Boo!_. But most of the time he seems intent on undercutting 
his songs with eccentric ideas that usually include lots of noise 
(_C'mon Kids_) or weird sounds and arrangements (_Giant Steps_) - 
resulting in lots of near-misses.
	The title song on _Kingsize_ shows what Carr can do--it's a 
buoyant pop song that swells to anthemic proportions. "Eurostar" and 
"Comb Your Hair" also showcase the beauty of the Boos: "You've been 
away too long. It's lonely when you're gone" goes a chorus that Boo 
fans may soon be singing to the band members.
	"Blue Room in Archway," the album opener, has soft melodic vocals 
over a gentle piano line that yields to distorted vocals over loud 
guitar passages supplemented by horns and strings - experimental in a 
mid-60s Beatles way, but also, in the same way, very pop.
	"The Old Newsstand at Hamilton Square" picks up some faux-soul 
groove - like Dodgy - then swings into a chunky guitar solo. The Boos 
adamantly refuse to go in one direction, much less musical style, in any 
given song. "Future Is Now" is a reach: the vintage synth burps and 
swirls could go.
	Compared to the distractingly noisy _C'mon Kids_, _Kingsize_ is 
a very restrained affair. The arrangements are a little odd - a Curtis 
Mayfield sample here, some programmed beats, strings, or scratches 
there - but remain relatively quiet.
	_Kingsize_ sees the Boos going out with a whimper, not a bang, 
but this may please fans put off by the seemingly contrived bluster of 
_C'mon Kids_.
---
	REVIEW: Adrian Belew, _Salad Days_ (Thirsty Ear)
		- Joann D. Ball
	Adrian Belew is one of the most innovative and creative 
electric guitarists in popular music, but it's quite possible that 
you may not realize that you've already heard his work. Milestone's 
in Belew's industrious musical career include playing and touring 
with Frank Zappa, David Bowie and the Talking Heads (and their various 
solo projects). Also, Belew's unmistakable fretwork has been a 
prominent part of King Crimson's latter-day sound (since the release 
of _Discipline_). Outside of his duties as co-lead guitarist and lead 
vocalist of King Crimson, Belew was a member of The Bears, and he 
also released a number of solo records, including the commercially 
notable _Mr. Music Head_ (which spawned the catchy single "Oh Daddy").
	The positive reception of live acoustic versions of his songs 
during solo concert performances prompted Belew to compile his latest 
release, _Salad Days_, which features two live tracks and some songs 
previously included on his self-released (but almost impossible to 
find) albums: _The Acoustic  Adrian Belew_ and _Belewprints_. Even 
though it is an acoustic record, it is full and rich, with 16 tracks 
diverse in sound and structure. Among the outstanding cuts on this 
50-minute record are the vocal-and-strings only "Men in Helicopters," 
"Never Enough," which is what pop singles were meant to sound like, 
and "I Remember How To Forget" which is full of melodic twists and 
turns. The live solo acoustic version of King Crimson's "Three Of A 
Perfect Pair" is even more compelling than the original. For 
something different, there's also the experiment-in-sound selections 
"Return of the Chicken" and its percussion counterpart with the 
self-explanatory title, "Things You Hit With A Stick."
	If you aren't familiar with Adrian Belew's impressive track 
record and previous work, _Salad Days_ is a great introduction to 
the essence of his sound. It is one of the most enjoyable and 
entertaining records of this year, and will hopefully connect with 
a host of music fans who treasure pop rock fundamentals and 
appreciate acoustic music. Definitely a must for fans of the Beatles, 
XTC, Robyn Hitchcock and Ben Folds Five, who should find Adrian 
Belew's acoustic pop irresistible.
---
	REVIEW: Fleming & John, _The Way We Are_ (Universal)
		- John Davidson
	From their living room studio in Nashville, Fleming McWilliams 
and her husband John Mark Painter have taken a determined step forward 
from 1995's _Delusions of Grandeur._  At once melodic and eccentric, 
the myriad of pop stylings and voicings on "The Way We Are" avoids 
easy categorization.  Long-time friend and collaborator Ben Folds has 
called the group "The Carpenters of the 90s with the Led Zeppelin 
rhythm section," but the Carpenters were never this complicated and 
Zeppelin never so tasteful.   
	They could have a radio hit if they wanted ("Comfortable" or 
the giddy, bouncy "Radiate") but Fleming & John seem content throughout 
the album to experiment with as many musical ideas as they can, 
creating complex musical landscapes.  The strength of this approach is 
that some of the chances they take work:  the waltz on "Suppressed 
Emotions" and the disco tempo of "Sadder Day" seem to fit in and shine. 
The downside is that some songs appear out of place, and occasionally 
the tinkering can be excessive.  John, a talented arranger and 
multi-instrumentalist who does almost everything on the album but 
sing lead, seems fascinated with production at times.  He mostly 
avoids overdoing things, but a simple ballad like "Don't Let it Fade" 
probably needed little more accompaniment than a guitar.  Like her 
husband, Fleming also embraces an aura of musical exploration, going 
from diva to seductress to rock star and everything in between.  Her 
beautiful voice is a solid foundation to their work, giving them the 
versatility to pursue any mood they fancy.
	In the end, the divergence of styles probably lessens the 
impact of "The Way We Are" as a whole.  There are a few too many ideas 
present and the album is at least three songs too long.  Still, the 
production value is very good, and it's hard to imagine a big studio 
making these songs sound any more vibrant or more listenable.  It's a 
sunny, memorable pop outing that showcases an up-and-coming band with 
some strong, original material.
--- 
	REVIEW: Mojave 3, _Out Of Tune_ (4AD/Sire)
		- Tim Mohr
	Their debut album was a beautiful amalgam of early Cowboy 
Junkies, Mazzy Star, and Low. Retaining the sense of melody and the 
molasses-paced meloncholy from their days in Slowdive, Rachel Goswell 
and Neil Halstead seemed perfectly suited to the hushed American 
setting they created from the ruins of their English shoe-gazing phase.
	_Out Of Tune_ is not as successful. "Give What You Take" has 
the feel of early 70s post-hippy rock--like America's "Horse With No 
Name." "Yer Feet" is unnecessarily Dylanesque.
	"Some Kinda Angel" is more like their previous material - 
except that the mid-tempo time signature might as well be hardcore 
techno compared to the asleep-at-the-wheel dirges of their debut.
	On "All Your Tears," Mojave 3 (there's five of them, by the way) 
ease down, and Goswell joins Halstead to good effect in front of a 
mournful vintage organ. "Caught Beneath Your Heel" has the pair 
harmonizing over a similar background before gospel backing vocals 
conjure up an overblown Pink Floyd concert.
	Two problems surface on Mojave 3's sophomore effort: first, they 
spent too much on production, inadvertantly losing the touchingly frank 
feel of the debut in an array of superfluous instruments. Second, where 
was Rachel? Vocal duties on the debut were split, but here she appears 
only as occasional back-up singer--which is a shame (and a waste).
---
	REVIEW: Shabba Ranks and Friends, _Shabba Ranks and Friends_ (Epic)
		- Joann D. Ball
	The critical and commercial success of Lauryn Hill and the 
Fugees represents the latest approach to blending of American R&B and 
hip-hop with reggae. A similar African Diaspora musical reunion took 
place earlier this decade, when Jamaican dance hall king Shabba Ranks 
demonstrated the tremendous possibilities of blending his brand of 
reggae with the urban/contemporary R&B and hip-hop sounds of the time. 
Because Shabba's efforts were often brilliant collaborations with 
talented performers from the U.S. and his native Jamaica, it is fitting 
that his greatest hits collection is called _Shabba Ranks and Friends_.
	Shabba added a new twist to the combination of musical styles 
and sounds which was evident in the Bronx, New York origins of hip-hop 
music and culture. He also drew upon the foundation laid by Stevie 
Wonder, when the musical genius introduced R&B audiences to the classic 
reggae sound of Jamaican legend Bob Marley in the late 1970s/early 
1980s (on the song "Jammin'/Master Blaster). Shabba Ranks' approach 
was so dynamic because it  featured ample amounts of bass and 
sexuality, at a time when American R&B music and urban contemporary 
radio desperately needed something fresh and exciting.
	Shabba Ranks first gained attention stateside with his 1991 
debut _Raw As Ever_. The record featured a collaboration with rapper 
KRS-One (from Boogie Down Productions) on "The Jam," which became 
Shabba's first American crossover hit. It was the July 1992 follow-up, 
_Rough and Ready, Vol. 1_, that really established Shabba as a 
musical and sexual tour de force. On "Mr. Loverman," the album's lead 
track and smash hit single, it was clear that he was absolutely 
serious about taking care of business. That Shabba and female vocalist 
Cheuvelle Franklin repeatedly called out  his name throughout the song 
in celebration of his microphone and bedroom skills was undeniable 
proof of Shabba's unmistakable abilities.
	Shabba's rough and ready approach meshed easily with 
contemporary R&B and hip-hop, making the dance hall-driven sound the 
ultimate form of urban dance music. Less than three months after "Mr. 
Loverman"'s conquest, Shabba let it all hang out on _X-Tra Naked_. 
This third record was also a commercial success, due in part to the 
sultry hit "Slow and Sexy." The combination of Shabba's raw reggae 
sex appeal with the smooth and slick soul of former New Edition 
heartthrob Johnny Gill was irresistible, and unabashedly suggestive.
	With a string of successful records, three massive singles 
and constant airplay on urban radio, it seemed as though Shabba Ranks 
and his innovative sound was making permanent and long-lasting inroads 
into the urban contemporary format. But perhaps it was too much too 
soon. While the collaboration with Maxi Priest on "House Call (Your 
Body Can't Lie To Me)"  from the 1993 release _Rough and Ready, 
Vol. 2_ was well received, it didn't match the success of the 
previous singles. And despite the strength  of Shabba's fifth effort 
_A Mi Shabba_ (which featured a collaboration with Mykal Rose on the 
Black Uhuru classic "Shine Eye Gal" and a duet with reggae femme 
fatale Patra on "Ice Cream Love"), the record failed to receive 
the attention it deserved.
	Maybe it's still not too late for Shabba Ranks to make a 
triumphant return. With the release of the eleven-song collection 
_Shabba Ranks and Friends_, there is a chance that Shabba's later 
work will be rediscovered and his groundbreaking hits resurrected. 
Not too long ago, Shabba Ranks had his finger on the pulse of a new 
promising sound, and the new track "Mr. G." suggests that Shabba 
still knows how to deliver the goods. Here's hoping that he rises 
to the top once again during this current revival of R&B, hip-hop 
and reggae fusion.
---
	CONCERT REVIEW: Man or Astroman?, Indianapolis, Indiana
		- Andrew Duncan
	A sound echoes through the amplifiers filling the room with a 
rumbling bass frequency so low, it feels like the room is floating in 
space. The origin of the sound comes from a series of samples that 
mimics the emotion of a hovercraft with a transmission problem.
	Vintage green and yellow-screen computer monitors sporadically 
tower on the stage. The blank screens leave something to be desired. 
However, the faux-satellite dish and neon red and green plastic tubing 
that coils around microphone stands and dangles from the rafters are a 
sign that something incredible is about to take place.
	That something is Man or Astroman?
	The small club on the north side of Indianapolis earth people 
likes to call The Patio was packed waiting to see the surf/sci-fi group.
	"My perception of surf music is the Beach Boys," said Jane 
Briscoe, 30, who has never seen or heard of the band. "I am wanting to 
be enlightened, and by the end of the show, I'm sure I will be a fan."
	This is also a first for Ben Adrian, 23.
	"I've listened to and enjoyed Man or Astroman? for a few years, 
but I've never driven to see them."
	The audience's interest was satisfied as bassist and sampler 
controller Coco, drummer Birdstuff and guitarists Blazar The Probe 
Handler and Trace Readings walked on stage dressed in homemade jumpsuits 
and futuristic colors - bright oranges, blues and chrome. Both Blazar and 
Readings are new members to the Astro-team.
	Picking up their instruments, the bland computer monitors change 
to images of NASA space footage and&lsquo; 50s education videos. Like 
warp speed, the band kicked off the set with "Maximum Radiation Level" 
from the album _Infinity Within_. 
	The live interpretations of their songs - or experiments as they 
like to refer to - were much faster in tempo than with their studio 
releases and like a whirlwind of sound, one song interchanged with 
another.
	Sometimes hard to detect and sometimes blatantly obvious, the 
band would make mistakes. Whoever would make mistakes was required to 
do a series of push-ups as punishment. During the song, "Man Made Of 
CO2," from the EP 1000X, both Blazar and Readings were required to 
submit to military punishment.
	The band kept to their set list schedule like a mission statement 
and even showcased a few songs from their upcoming album _EEVIAC_, due 
out in spring.
	With a new album will come a new tour and stage concept. Talking 
with Birdstuff prior to the show, he stated that the band will expand 
their stage show by turning their amplifiers and monitors into huge, 
behemoth supercomputers. Like the UNIVAC, designed in the 70s, the 
EEVIAC is a supercomputer for the 90s.
	"EEVIAC is a supercomputer designed by Coco," he said. "No 
longer are people going to want to rely on personal computers. People 
are going to go back to using computers that would occupy entire 
buildings."
	By the end of their set, Coco showcased an oversized, homemade 
tesla coil. After everyone assumed a safe distance, Coco lit up the 
stage with bright blue electrical currents. The heat from the bolts of 
electricity radiated the club with cigarette smoke blending into burning 
air particles. People walked out of the show never to forget what they 
just witnessed.
	"The show was completely insane," said Adrian. "I didn't expect 
the show to be so haphazard."
---
	REVIEW: Robbie Nevil, _Wot's It To Ya - Best Of_ (Razor & Tie)
		- Bob Gajarsky
	The New York City-based label Razor and Tie has returned 
with another overlooked reissue in the form of Robbie Nevil's _Wot's 
It To Ya - The Best of Robbie Nevil_.
	While Nevil's best known for his #2 hit reverse-crossover 
hit "C'est La Vie", music insiders knew Nevil's name long before 
that 1986 smash.  As a songwriter for urban artists such as El 
DeBarge and the Pointer Sisters (see the U.S.A. For Africa compilation   
disc for Nevil's writing contribution), Robbie could always break 
down barriers between the world of rock and rhythm and blues.
	In the course of his three album, five year career as a 
solo artist, Nevil generated seven chart hits, including the 
top 10 hits "Dominoes" and "Wot's It To Ya", and the funkified 
"Just Like You".  Always underappreciated by the masses, Robbie's 
career hit the proverbial sophomore jinx with 1988's _A Place Like 
This_ - and when his third and final album (_Day 1_) failed to 
ignite the spark of his self-titled debut five years earlier, 
he was dropped by his EMI label.
	Nevil hasn't completely disappeared from the music scene, as 
his co-writing credits on the soulful Kele Le Roc 1998 European hit 
"Little Bit Of Lovin'" will attest to.  And for those fans who want to 
revisit the spark that surrounded Nevil's debut album more than ten 
years ago, _Wot's It To Ya_ is the perfect place to go.

TRACK LISTING: C'est La Vie, Dominoes, Wot's It To Ya, Time Waits 
For No One, Simple Life, Back To You, Look Who's Alone Tonight, 
Somebody Like You, Since When, Back On Holiday, Getting Better, Mary 
Lou, Just Like You, For Your Mind, Temptation, Tell Me Something Good
---
	REVIEW: The Merrymakers, _Bubblegun_ (Big Deal)
		- Bill Holmes
	Believe the hype -- The Merrymakers are that good. Fans of 
melodic bands like Badfinger, Jellyfish and the like, now have another 
group to add to their list of favorites: The Merrymakers. The Swedish 
duo of Anders Hellgren and David Myhr are a veritable pop factory, 
churning out treasures that are immediately accessible. And speaking 
of Jellyfish, if you've missed the superlative talents of Andy 
Sturmer, he's all over this record as drummer, producer and co-writer.
	It's amazing how a band from halfway across the planet can 
sound so naturally in tune with the American pop sound, but five seconds 
into the opening of "Saltwater Drinks" cements that fact. It rocks, 
much like "Superstar" (think The Mosquitos doing The Monkees' "That 
Was Then, This Is Now"). "April's Fool," one of Sturmer's co-writes, 
sounds like a collaboration between ELO and Harry Nilsson, with a 
little George Harrison  guitar sound tossed in as icing on the cake. 
Vocal arrangements are outstanding throughout, perhaps no more so than 
on the explosive "I'm in...love!", a great song that uses a key change 
and emotionally charged vocal to perfectly capture that incandescent 
moment when your heart overrules your mind. Like all great pop records, 
songs are about falling in or out of love, with lyrics to match. The 
delicate ballad "Outside Looking In" is a prime example ("when troubles 
occur/ we don't let them stay/ we look at the clouds/ and just blow 
them away...")
	The original (import) version of _Bubblegun_ is available as 
a reissue in the U.S. except for one track, and the initial release 
includes a bonus disk with five tracks from 1995's _No Sleep Til 
Famous_. Those of you who have resisted buying the more expensive 
import records will be pleased to finally enter the world of the 
Merrymakers. Now if Big Deal would only release that new Wondermints 
record domestically...
---
	REVIEW: Serah, _Senegal Moon_ (Great Northern Arts)
		- Joann D. Ball
	The name Serah may not be immediately recognizable, but that 
is likely to change, given the innovative methods being used introduce 
the artist and her latest release _Senegal Moon_ to American audiences.
	Serah is a talented singer/songwriter who has crafted her 
own, distinctive sound by bridging cultures and musical genres. East 
Africa, where Serah once lived, is the primary inspiration for her 
music and lyrics. Her creative blend of contemporary pop and New Age 
with world music is perfectly suited for her poetic lyrics. It's a 
wonderful combination, which makes _Senegal Moon_ the most impressive 
of Serah's four releases.
	A collection of eleven songs, _Senegal Moon_ captures the 
beauty of nature and the essence of human spirit. Among the most 
uplifting songs are those which feature African dialect ad libs, 
contributed by Daby Toure on title track and "Papillion," and by 
Daby and Omar Toure and Guilla Thiam on "Wedding Song," "Singing 
Tree" and "Papaya Moon."
	Produced by Grammy Award winner Neil Dorfsman (Sting, Dire 
Straits, Bruce Hornsby), _Senegal Moon_ is truly a cross-cultural, 
multinational record. Joining the American-born vocalist was a group 
of talented musicians, including bassist Bernard Paganotti, 
keyboardist Bertrand LaJudie, guitarist Patrice Tison, percussionist 
Xavier Desandre-Navarre, and drummers Pierre-Alain Dahan and Antoine 
Paganotti. Also, a number of background singers add a rich texture to 
the record.
	Released by New York-based record label Great Northern 
Artists (GNA), _Senegal Moon_ has figured prominently in an 
alternative music marketing campaign in which traditional radio 
airplay is only one component. In the past three months, Serah's 
record has been featured as an in-flight selection on Delta and 
Northwest Airlines. During this same period, the lead singles ("Papaya 
Moon" and "The Wedding Song") have been introduced to audiences in 
more than 2,000 United Artists movie theaters and in independent 
theaters in several major U.S. cities. And _Senegal Moon_ has been 
placed in over 300 coffee houses nationwide as part of the Cafe 
Music Network.
	Serah's music and lyrics are socially conscious and she has 
consistently used her music to promote world peace. To this end, she 
and her band will perform on the opening day of the Hague Appeal for 
Peace (this celebration of the First International Peace Conference 
will be held May 11-15, 1999, in the Netherlands).
	_Senegal Moon_ will catch your ear because of Serah's clear 
and soothing voice, and its positive and moving sound. The elegant, 
environmentally conscious design of the CD package will certainly 
capture your attention, and the celebration of life and nature 
projected throughout the almost hour long release will capture your 
heart and soul.
---
NEWS:	> Fans of Sascha Konietzko and the disbanded-KMFDM 
will be interested to note of the alliance between Sascha 
and Tim Skold in the incarnation of MDFMK, and the 
assoicated website http://www.mdfmk.net 
	> David McComb, singer and writer for the 
now-defunct, Triffids died recently at the age of 37 
due to complications after a car accident.
	> Bill Laswell and PJ Olsson have collaborated 
on a remix of Olsson's new single "Visine," which is 
being previewed at http://www.pjolsson.com .  
	> The title track from Brian Setzer's _The Dirty 
Boogie_ will be available for a 30 day listening period 
from http://www.a2bmusic.com 
---
TOUR DATES:
	All / Less Than Jake
Mar. 8 Calgary, AB Mcewan Ballroom
Mar. 9 Edmonton, AB Old Scona Arts Barn
Mar. 11 Bellingham, WA Western Wa. Univ.
Mar. 12 Vancouver, BC Croation Cultural Ctr.
Mar. 13 Seattle, WA Dv8
Mar. 14 Portland, OR Roseland Ballroom
Mar. 15 Eugene, OR Wow Hall

	Babe The Blue Ox / Trinket / Interpreters
Mar. 9 St. Louis, MO Gargoyle
Mar. 12 Columbus, OH Ohio Union Ballroom
Mar. 14 Cleveland, OH Peabody's

	Better Than Ezra / Jude
Mar. 9 Virginia Beach, VA Peabody's
Mar. 10 Washington, DC 930 Club
Mar. 11 Baltimore, MD Bohager's
Mar. 12 Providence, RI Lupo's
Mar. 13 Boston, MA Avalon
Mar. 14 Manchester, NH Chantilly's

	Braid
Mar. 11 Minneapolis, MN Foxfire w/ Selby Tigers 
Mar. 12 Sioux Falls, SD Augustana College 
Mar. 13 Winnepeg, MB Pyramid Cabaret 
Mar. 15 Saskatoon, SK Amigo's 

	Candlebox
Mar. 8 Sauget, IL Pop's
Mar. 10 Fayetteville, AR Dickson St.
Mar. 11 Dallas, TX Deep Ellum Live
Mar. 15 New Orleans, LA House of Blues

	Cibo Matto
Mar. 11 Hoboken, NJ Maxwell's
Mar. 12 Washington, DC 930 Club
Mar. 13 Philadelphia, PA TLA
Mar. 14 Carrboro, NC Cat's Cradle
Mar. 15 Athens, GA 40 Watt Club

	Hank Dogs 
Mar. 10 Chicago, IL Schuba's
Mar. 13 Seattle, WA Tractor Tavern

	Finger Eleven
Mar. 11 Champaign, IL Mabel's
Mar. 12 Peoria, IL Infirmary
Mar. 13 Lincoln, NE Royal Grove
Mar. 15 Minneapolis, MN 7th Street Entry

	Flick
Mar. 8 Atlanta, GA Roxy
Mar. 12 Tulsa, OK Cain's Ballroom
Mar. 13 Lawrence, KS Granada Theatre
Mar. 15 St. Louis, MO Karma

	Godsmack
Mar. 12 Hartford, CT WCCC Show
Mar. 13 Dover, VT Bud Light Stage
Mar. 14 Syracuse, NY Lost Horizons
Mar. 15 State College, PA Crowbar

	Sammy Hagar (All shows at Hard Rock Cafe)
Mar. 8 Boston, MA
Mar. 9 New York, NY 
Mar. 11 Cleveland, OH
Mar. 12 Chicago, IL
Mar. 13 St. Louis, MO
 
	Jets to Brazil
Mar. 11 Chapel Hill, NC Cats Cradle 
Mar. 12 Atlanta, GA Echo Lounge
Mar. 13 Jacksonville, FL JACK RABBITS 
Mar. 14 Orlando, FL Sapphire Supper Club 
Mar. 15 Tallahassee, FL Cow Haus 

	Jungle Brothers
Mar. 10 New York, NY Bowery Ballroom
Mar. 12 Chicago, IL Metro
Mar. 14 Miami, FL Winter Music Conference

	King Missile
Mar. 8 Portland, OR Satyricon
Mar. 9 Seattle, WA OK Hotel
Mar. 12 Minneapolis, MN 7th Street Entry

	Kodo
Mar. 8 New Brunswick, NJ State Theatre
Mar. 9 Princeton, NJ McCarter Theatre
Mar. 10 Washington, DC Constitution Hall
Mar. 13 Atlanta, GA Rialto Center

	Korn
Mar. 9 Ft. Lauderdale, FL National Car Rental Center
Mar. 11 Dayton, OH Nutter Center
Mar. 12 Moline, IL Mark of the Quad Cities
Mar. 13 Detroit, MI Palace of Auburn Hills
Mar. 15 Hamilton, ONT Copps Coliseum

	Local H
Mar. 10 Manchester, NH Chantillys
Mar. 11 Providence, RI Lupos Hearbreak Hotel
Mar. 12 Poughkeepsie, NY The Chance
Mar. 13 Rutland, VT Killington Ski Resort

	Marvelous 3
Mar. 8 Calgary, AB Singer Center 	
Mar. 11 Saskatoon, SAS Centennial Hall 	
Mar. 13 Regina, SAS Centre of the Arts 
Mar. 14 Winnipeg, MAN Walker theater 	
Mar. 15 Thunder Bay, ONT Community Theater

	Mighty Blue Kings
Mar. 9 Bloomington, IN Bluebird
Mar. 10 Kalamazoo, MI Club Soda
Mar. 11 Detroit, MI Majestic Theatre
Mar. 12 Buffalo, NY Tralfmadore Cafe
Mar. 13 Rochester, NY Milestones
Mar. 14 Syracuse, NY Syleen's

	Offspring
Mar. 8 Buffalo, NY Flickinger Arena
Mar. 9 Philadelphia, PA Electric Factory
Mar. 10 Washington, DC Patriot Center

	Oleander / Vast
Mar. 9 San Francisco, CA Bottom of the Hill
Mar. 11 Portland, OR Roseland
Mar. 12 Seattle, WA Crocodile Cafe
Mar. 13 Las Vegas, NV KXTE Show

	Placebo / Stabbing Westward
Mar. 8 Knoxville, TN Moose's
Mar. 9 Atlanta, GA Roxy
Mar. 10 New Orleans, LA Howling Wolf
Mar. 12 Tulsa, OK Cains
Mar. 13 Lawrence, KS Granada Theatre
Mar. 15 St. Louis, MO Karma

	Plastic People of the Universe
Mar. 9 Vancouver, BC Richard on Richards
Mar. 10 Seattle, WA Crocodile Cafe
Mar. 11 Portland, OR Satyricon
Mar. 12 San Francisco, CA Bottom of the Hill
Mar. 13 Los Angeles, CA Spaceland

	Promise Ring
Mar. 12 Green Bay, WI Concert Cafe

	Samples
Mar. 9 Indianapolis, IN Vogue
Mar. 13 Baltimore, MD Bohager's

	Sepultura / One Minute Silence / Biohazard
Mar. 8 West Warwick, RI Lupo's 
Mar. 10 Pittsburgh, PA Metropol 
Mar. 11 Philadelphia, PA Trocadero 
Mar. 12 Worcester, MA Palladium 
Mar. 13 Asbury Park, NJ Convention Hall 
Mar. 14 West Springfield, VA Jaxx 

	Silverchair / Grinspoon / Lit
Mar. 10 Atlanta, GA Roxy
Mar. 11 Washington, DC 930 Club
Mar. 12 Philadelphia, PA Trocadero
Mar. 15 Chicago, IL Vic Theater

	Elliott Smith
Mar. 9 Dallas, TX Trees
Mar. 10 Austin, TX Liberty Lunch
Mar. 12 Baton Rouge, LA Varsity Theatre
Mar. 13 New Orleans, LA Dream Palace
Mar. 15 Orlando, FL Saphhire Supper Club

	Sparklehorse / Varnaline
Mar. 12 Chapel Hill, NC Cat's Cradle
Mar. 13 Atlanta, GA Echo Lounge
Mar. 15 Birmingham, AL The Nick

	Ten Foot Pole 
Mar. 9 Burlington, VT 242 Main 
Mar. 10 Portsmouth, NH Elvis Room 
Mar. 12 Bound Brook, NJ The New Palace

	Vanilla Ice
Mar. 10 Stephenville, TX City Limits
Mar. 11 Tulsa, OK Cain's Ballroom
Mar. 12 Dallas, TX Deep Ellum
Mar. 13 South Padre Is., TX Charlie's Paradise

	Waco Brothers
Mar. 12 New York, NY Lakeside Lounge
Mar. 13 Hoboken, NJ Maxwell's
---
Founded in August, 1993, Consumable Online is the oldest 
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