== ISSUE 192 ====  CONSUMABLE ONLINE  ======== [November 15, 1999]

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

 Address all comments to staff@consumableonline.com ; subscription 
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==================================================================
	All articles in Consumable remain (C) copyright their author(s). 
Permission for re-publication in any form must be obtained from the 
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                            .------------.
                            |  Contents  |
                            `------------'
REVIEW: Queensryche, _Q2K_ - Chris Hill
REVIEW: The Divine Comedy, _A Secret History_ - Don Share
REVIEW: Eurythmics, _Peace_ - Jon Steltenpohl
REVIEW: Muse, _Showbiz_ - Scott Slonaker
REVIEW: Primus, _Antipop_ - Matthew Carlin
REVIEW: Charlatans UK, _Us and Us Only_ - Chris Hill
REVIEW: Gay Dad, _Leisure Noise_ - Don Share
REVIEW: Joe Strummer and The Mescaleros, _Rock Art and The X-Ray 
   Style_  - Tim Kennedy
REVIEW: The Wedding Present, _Singles 1995-1997_ - Christina Apeles
REVIEW: Les Rythmes Digitales, _Darkdancer_ - I.K. MacLeod
REVIEW: The Misfits, _Famous Monsters_ - Andrew Duncan
REVIEW: Victor Calderone, _e=vc2_ - Chris Hill
REVIEW: Andrea Parker, _Kiss My Arp_ - I.K. MacLeod
REVIEW: Arto Lindsay, _Prize_ - Jon Steltenpohl
REVIEW: Zucchero, _Overdose D'Amore_ - Reto Koradi
REVIEW: Warrant, _Greatest and Latest_ - Jeanne Schantz
REVIEW: Brand New Heavies, _In Tha Beginning..._ - Joann D. Ball
REVIEW: Kahimi Karie, _K.K.K.K.K._ - Niles Baranowski
NEWS: Korn, Bob Marley, Smashing Pumpkins
TOUR DATES: Alaline Trio, Blinker The Star, Death In Vegas, Bryan 
   Ferry, Ben Harper, Innocence Mission, Live, Mike Ness, 
   Silverchair / Blink 182, Sonia Dada, Joe Strummer & The 
   Mescaleros, Superchunk, Richard Thompson, Westbam, Josh Wink
Back Issues of Consumable
---
	REVIEW: Queensryche, _Q2K_ (Atlantic)
		- Chris Hill
	Queensryche made their masterpiece with the 1988 concept album 
_Operation: Mindcrime_. Their next, _Empire_, outsold the triple 
platinum Mindcrime by a million. So what? "Silent Lucidity" and "Empire" 
are lunar reflections of the sun that is _Operation: Mindcrime_. 
Queensryche will carry the pride and the burden _Operation: Mindcrime_ 
throughout their career.
	"I remember now. I remember how it started. I can't remember 
yesterday. I just remember doing what they told me." It's sheer glory 
from the intro, including the hospital page taken from stock sound. 
Hearing "Dr.David...Dr. Blair, Dr. J. Hamilton," sparks a smile, an 
in-joke for fans of the 'ryche, when it appears, seemingly ubiquitous 
in every tv show or movie hospital scene. Michael Kamen orchestration, 
an intelligent story (Imagine! Rock fans who think!), cinematic 
flourishes of dialogue and sound effects -- so many things to praise on 
that album, with the musicianship at the top of the list.
	How you view _Q2K_ depends on how you view your art. Are you 
looking for a Da Vinci to paint a Mona Lisa, then move on to other 
challenges? Or do you want Monet, with multiple, equally stunning 
portraits of the Rouen Cathedral? Will a disc different from the 
Mindcrime watermark disappoint or please? Up to you.
	Enough digression. Queensryche has a new album out, and to 
their credit, they continue to avoid a creative regression to past 
glories, despite the departure of founding ace guitarist and songwriter 
Chris DeGarmo and the reflex to recoil from a wound. Band friend, 
guitarist, and producer Kelly Gray fills this void ably. Forced change 
*can* be good -- see R.E.M. sans Bill Berry.
	Some bands are identified by their guitarists. With this one, 
it's the vocalist. Geoff Tate proves again why he stands at the 
forefront of rock singers. Voicing the tired lyrics of "Sacred Ground," 
("You're the one I want/you know it's true./Let go of everything/open up 
to me. You bring me to sacred ground/ when I'm inside you"), Tate 
impossibly makes the song fresh. His phrasing is perfection -- no 
surprise to those aware of Tate's talent.
	The Queensryche guitar magic is also unchanged: eleven songs 
containing solid riffs and breakout leads, just what you'd expect from 
old pros like Michael Wilton and Gray. Rounding out the band mentions, 
drummer Scott Rockenfield and bassist Eddie Jackson remain, 
underpinning, and, when given free rein, taking charge of the songs, 
giving _Q2K_ a strong, filler-free presence.
	"Beside You," opening with Tate softly crooning a hymnal, segues 
to thick-sliced chopping rhythms. The lyrical intimacy of a father's 
connection with his child works beautifully, backed by a slide guitar 
that morphs to an electric crescendo.
	The edgily menacing "Liquid Sky," my favorite on _Q2K_, harkens 
back to the glory days of "I Don't Believe in Love" and "Empire" without 
prostituting itself. The guitars slither around Tate's operatic range, 
appearing out of the shadows, then subtly disappearing again. There's a 
segment atmosphere, as if a line stretches to a suite of other, unheard 
songs.
	"When the Rain Comes," a plea for connection ("I feel the rain 
coming/I feel it in my heart, take away my pain/...Hold me now, just 
for awhile"),flies on Tate's vocals, beginning in his lower range then 
soaring and swooping like a bird. Remember the first time you heard 
"Queen of the Reich" in stunned amazement? Older, matured, Tate's 
voice retains that ability to astonish.
	"One life is like one prayer/One love to share/One thought is 
like one dream/One world, one meaning." Interestingly, a comparison to 
U2, evoked by "One Life"'s infinite guitar intro and this "world as 
one" theme, was reinforced by Queensryche covering "Bullet the Blue 
Sky" at their recent Seattle show.
	While other '80s rock bands appear on K-tel compilations and 
"Where Are They Now?" shows, Queensryche forges on, making their own 
way, uncompromised. So it's not Mindcrime. So what? If you've haven't 
strayed from the fold, _Q2K_ won't disappoint. If you have, step inside 
their site at http://www.queensryche.com, and see what you've missed.
---
	REVIEW: The Divine Comedy, _A Secret History_ (Setanta)
		- Don Share
	A secret history no more, one hopes, after this album. The 
Divine Comedy, really Neil Hannon, has been around for almost a decade 
now, and have a half-dozen or so CDs behind out, which are all but 
unknown in the US. It's true that this is the kind of music that could 
only come from the British, along with the likes of Baby Bird, Scott 
Walker and Noel Coward, all of whom I can hear in these lush, witty, 
wistful productions. I say productions, because Hannon plays the 
orchestra like an instrument -- but don't run away scared! As in some 
of the over-the-top pop creations of the '60s, orchestrated pathos is 
all part of the charm of this stuff -- musically, most of these songs 
could have been hits in that eclectic era -- yet anything pretentious 
in it is compensated for by Hannon's frequently hilarious, always 
poignant lyrics.
	In fact, this is devilishly clever stuff, as when in "The Frog 
Princess," which is about an affair with a French girl with a case of 
ennui, bits of the "Marseillaise" are played on a French horn in a 
multiple musical pun. Or take my own favorite here, a transformation 
of the Noel Coward tune, "I've Been to a Marvellous Party," (originally 
from a tribute album) which starts off as a traditional piano croon, 
then veers into hefty electronica, and ends up as disco.
	_A Secret History_ isn't, be advised, a greatest hits collection, 
though there are some UK chart toppers present ("Something For the 
Weekend," a hit song about someone lurking in the woodshed, amazingly 
enough, and "National Express," for example), or even a thorough sampler 
(it omits, for instance, "The Booklovers," an amusing early novelty in 
which the names of about 60 writers are recited, along with some comedic 
interruptions), but it's a fine introduction to music that will come as 
a superb astonishment to most American listeners. And even if you're 
already a fan, there are two tasty new tracks here, including the 
must-hear "Gin Soaked Boy," that make the disc a handy assortment.
	Like an Austin Powers experiment in which Jarvis Cocker gets 
mixed up in the laboratory blender with Burt Bacharach, _A Secret Affair_ 
is an entertaining cocktail that mixes a past that never was with a 
garish, celebratory, and deeply observed present. Definitely shagadelic!
---
	REVIEW: Eurythmics, _Peace_ (Arista)
		- Jon Steltenpohl
	It's been a long time since we've seen anything from the 
Eurythmics as a complete band. Fans have had to do with Annie Lennox's 
lovely solo albums, Dave Stewart's Spiritual Cowboys, and a few rare 
glimpses of the two here and there for 10 years. This past year, Dave 
and Annie hooked back up, one thing led to another, and a tour, a social 
consciousness, and a new album were born. _Peace_ is the tour name, the 
philosophy, and the album title, and Annie and David have put a big push 
behind Greenpeace and Amnesty International. (See 
http://www.peacetour.net for more info.)
	Regardless of your views on those two activist groups, the 
album doesn't drip with activist views. Instead, there's more of a 
"perfect harmony" kind of feel to it which doesn't get involved in 
specifics. "I Saved the World Today" might seem pretentious or preachy 
from the title, but instead, it simply says "Hey, Hey \ I saved the 
world today \ Everybody's happy now \ the bad thing's gone away \ and 
everybody's happy now \ the good thing's come to stay \ please let it 
stay." The other tracks that take a similar attitude are equally as 
vague. Not that the album is all feel good and mellow. Tracks like 
"Power To the Meek" and "I Want It All" are driving and driven by Dave's 
guitar.
	Between the mellow, the melodic, and the harder edged tracks, 
_Peace_ sounds like the album true Eurythmics fans might expect. The 
lead single, "17," is unmistakably a Eurythmics song. Like most of their 
later work, the use of synthesizers is fairly sparse. The soul sound is 
also missing, but there are ballads like "My True Love" which fans of 
Annie Lennox's solo albums will enjoy. And, the upbeat tracks are guitar 
heavy and reminiscent of songs like "Would I Lie to You" and "I Need a 
Man."
	Unfortunately, there isn't anything quite as powerful or as 
poignant as in the past. _Peace_ has that slight hint of "reunion" 
lurking behind the scenes. The lyrics are good, but not as good as you 
remember. The music sounds pretty good, but doesn't quite have that 
atmosphere that you remember. And, unfortunately, Annie's voice seems 
to be losing a bit of its incredible charm and power. Even on the lead 
single in the US, "17," you can hear her straining a bit. Quite frankly, 
it's a shame. Even on their live performance on "Late Show with David 
Letterman," they looked a little tired and Annie was getting a lot of 
help from the backup singers.
	Despite these failings, _Peace_ still is a very enjoyable album. 
If you've liked a single from it, then you probably won't be 
disappointed. Fans of the band who have followed them from their early 
days in the Tourists through the various solo projects will find _Peace_ 
is an indispensable part of their collection. It certainly isn't their 
worst album, and once you get used to the state of Annie's voice, it's 
actually quite enjoyable. After such a long wait, you always hope for 
perfection, and _Peace_ is a slight letdown for fans with lofty 
expectations. However, it's a decent album and, for those who thought 
they'd never hear another Eurythmics album again, _Peace_ is something 
to be thankful for.
---
	REVIEW: Muse, _Showbiz_ (Maverick)
		- Scott Slonaker
	Listen precisely twenty-one seconds into Muse's debut full-length 
to figure out where the British trio's, er, muse comes from; singer 
Matthew Bellamy opens his mouth, and bang.  He channels Radiohead's Thom 
Yorke so completely it's scary.  That first track, "Sunburn" sounds like 
an outtake from _The Bends_, to the point where anyone who isn't a 
Radiohead fanatic would be quite easily fooled.  And only part of this 
is the presence of _Bends_ producer John Leckie.
	Normally I hate judging an act based on those who came before it; 
however, in this case, the similarity is so complete it is unavoidable.  
This young trio writes the same sort of jagged, seether-then-ether rock 
songs as everyone's favorite (to steal a Spin term) COR ("critic-oriented 
rock") band.  The bio acknowledges this, too.  That aside, _Showbiz_ is 
remarkably advanced for a debut album; no patchwork _Pablo Honey_ 
happenings here.
	Even with the ominous shadow of Thom & Co. hanging overhead, high 
points are scattered throughout _Showbiz_.  The striking first single, 
"Muscle Museum", slithers along on swaying bass and careening organ.  
"Falling Down" is a gorgeous Jeff Buckley-esque torcher.  The driving 
"Fillip" is surely a highlight of the band's live act.  Given free reign 
with such a young band, Leckie really gets a chance to shine.  Tracks 
like the piano-and-guitar effect-drenched "Cave" makes Muse sound like 
they've been making records for a decade.  Unfortunately, they haven't 
been writing lyrics as long, and Bellamy's inconsolable shrieking can 
wear thin without the deft imagery that Radiohead is known for.
	Still, the energy level is quite impressive, and can only bode 
well for a group whose members average 20 years of age.  Keep an eye on 
Muse.
---
	REVIEW: Primus, _Antipop_ (Interscope)
		- Matthew Carlin
	Back when "Jerry Was a Racecar Driver" hit the MTV airwaves, Primus 
truly was the oddest rock group on the tube. A pubescent music nerd's 
wet dream, all three members had the chops of their heroes in Rush, the 
quirkiest cartoon-voiced lead singer and songs that were just plain weird. 
They had already won legions of fans in the Bay Area with legendary live 
shows and two albums on Caroline Records that came before their big label 
debut, _Sailing the Seas of Cheese_, but the idea of Les Claypool stomping 
around stage singing about "John the Fisherman" and a horny cat named 
Tommy while on tour opening for U2 was about as 'alternative' as music 
could get in the early-90s.
	Alas, the salad days when Primus headlined Lollapalooza are long 
gone with the festival itself. And Primus-influenced groups like Limp 
Bizkit and Korn rule the airwaves and incite riots at Woodstock. It is a 
sad, sad time in music. I digress. What's truly depressing is that Primus 
is still up to the same exact tricks. In fact the production on _Antipop_ 
sounds exactly like their first studio album, _Frizzle Fry_, right down 
to the thin, snappy snare drum, the Stewart Copeland-style sibilant high 
hats and Larry Lalonde's psychedelic waves of guitar. Only the tunes 
aren't as inventive (since Claypool has been writing the same four songs 
since 1990) and the lyrics are getting stupider.
	'I am _Antipop_/I'll run against the grain till the day I drop/I 
am the _Antipop_/the man you cannot stop,' Claypool belts on the title 
track. I won't even bother pointing out the irony of such a statement 
given the aforementioned prevalence of Primus-y bands littering MTV now.
 	Other lyrical gems on _Antipop_ include: 'The best of times the 
worst of times/the times you can't ignore./Sometimes you bite the 
bullet/and flip flop on  the floor.' (from "Mama Didn't Raise No 
Fool"); 'Lacquer Head knows but one desire/Lacquer Head sets his skull 
on fire/Lacquer Head knows no in betweens/huffin' on bags of gasoline' 
(from the appropriately-titled "Lacquer Head" which was actually 
produced by Limp Bizkit jerk-in-chief Fred Durst).
	Discounting Claypool's awful lyrics, the first few tunes on 
_Antipop_ do rock like old Primus. Although not as well, since 
Claypool's basslines used to be much more interesting. And drummer Brain, 
who played some truly incredible, inventive stuff with Bill Laswell and 
guitar maniac Buckethead in Praxis, sounds uncomfortably similar to 
former Primus trapsman Tim 'Herb' Alexander. They even cover "The 
Heckler" from their debut live album from 1989, just in case you forgot 
they've been working the same shtick for ten years. 
	By track seven _Antipop_ just becomes tedious. The songs start 
to blend into a haze of Pink Floyd pomp, cheesy Stanley Clarke bass 
antics and weak metal stomps. Despite guest producers like Rage Against 
the Machine's Tom Morello (who also lends his buzz saw guitar stylings) 
and drumming legend Stewart Copeland (!!!), Primus just ain't what it 
used to be. The one exception being the truly fantastic "Coattails of 
a Dead Man" which boasts an appearance by Tom Waits on mellotron and 
vocals, who also gets credit as producer for the track. A dirgy, 
nightmarish waltz with trippy vocals by Tricky-collaborator Martina 
Topley-Bird, the only lousy part of this one is Claypool's vocals.
---
	REVIEW: Charlatans UK, _Us and Us Only_ (MCA)
		- Chris Hill
	Now on their sixth studio album, the Charlatans UK again 
deliver with the talent and creativity that has carried the band 
through the lean years in their ten year career. While other Manchester 
bands like the Happy Mondays and the Stone Roses have faltered, the 
Charlatans UK (the UK added to appease a namesake '60s band) have 
weathered shifting public attention and an internal tragedy in the 
death of founding member and keyboardist Rob Collins, the man responsible 
for their signature organ sound. Sobered, refocused, the band is now 
touring behind an album touted as their best yet.
	Tony Rogers, Collins' permanent replacement, took some big shoes 
and filled them well. The soul of _Us and Us Only_ is found in the 
keyboards, whether romp-stomping honky-tonk on "The Blonde Waltz," '60s 
psychedelic atmosphere on "Forever Full," or the bluesy, Southern 
"Senses." The guitar and bass are essential limbs in the band's sound, 
but its body is found in the organ.
	If the organ's the body, singer Tim Burgess is its soul. On the 
Stones-y "Impossible," Burgess grounds his distinctive tones against a 
swirling organ, bouncing keyboards, and an impish harmonica. On "The 
Blonde Waltz," which wouldn't be out of place on an Elliott Smith or 
Harry Nilsson album, he phrases the lyrics to roll over themselves, 
establishing a rhythm that breaks like a wave at the chorus. "Wouldn't 
it be nice to get away/Shout "Morning! How are you today?"/My hands 
are blazing/My arms are broken/...I guess I didn't take a look/I guess 
I'm your man." Burgess's vocals are more audible here than on previous 
releases, and the disc benefits greatly for it.
	The ten-song album flows from strong track to strong track. On 
"A House is Not a Home," the fifth song, the guitar takes center stage 
with a repeating loopy riff that backs the sneering vox. "This is a 
house/This is not a home/...I can't do this anymore/I have sworn this/I 
will never be yours." "I Don't Care Where You Live" , a short number 
with a tinkling piano backbone, uses harmony choruses that swell from 
the quiet verses, cresting in the sweet final lines "I don't care where 
you live/ for today I started loving you again." Track nine, "The Blind 
Stagger" contains some odd lyrics: "You've been bitten/by eleven hungry 
kittens/who will go the whole distance/while the blind stagger." Adding 
to the fun, an acoustic guitar that gives way halfway through to a 
muscled electric, and thundering keyboards.
	The album closes with "Watching You," all epic bravado that 
springs up from a repeating keyboard riff and runs headlong into the 
distance. "It took a long time/and I'm missing you/ It took a long 
time/but I found you" - the sentiment makes for a great, well-chosen 
finale.
---
	REVIEW: Gay Dad, _Leisure Noise_ (London)
		- Don Share
	Cliff Jones was such a fan of Pink Floyd that he assembled 
and published a book called "Another Brick in the Wall" which explained 
every song the band was known to have come up with; the work of a true 
rock obsessive. When he assembled a band called Gay Dad, there was 
reason to believe that someone so fixated on musical details could make 
one hell of a record. The name raised eyebrows, and so did the logo for 
the band, a kind of walking restroom-sign silhouette that looked 
amazingly like...a gay dad. A few pre-album singles made an impression 
in Jones's native England, but by the time the long-awaited album 
arrived, the British music press, far more influential than that in 
the US, turned on him, the kiss of commercial death: Gay Dad became 
the object of ridicule. All this before anyone on our shores had a 
chance to check out their music, which has gotten zero attention, good 
or bad, here. So, you maybe ask, how is it?
	Well, Cliff and company were smart enough to tone down the Floyd 
references (except for a few sly seagulls), and they have a sound of 
their own: chunky guitars, sweet wistful vocals and swirling synth 
touches, all very British-sounding. Touched by an appealing but low-key 
"Life In a Northern Town"-kind of nostalgia, it adds up to very little, 
unfortunately. _Leisure Noise_ is earnest, pleasant, sometimes catchy, 
but also turgid and sometimes unsalvageably lame, a kind of whimper at 
the end of the millennium.
	"Dimstar," which kicks things off, is acceptably soaring and 
reflective, while "Joy" burbles and pounds and clangs infectiously. 
But "Oh Jim," despite late-70's Stones guitar, is burdened with some 
Badfinger-lite lyrics: "Oh, Jim / Can't you feel the pain I'm in?" "My 
Son Mystic" sounds like Indigo Girls would if they had a guy in there 
someplace and is a tell-me-about-your-life-and-I'll-do-likewise kinda 
tune. The self-explanatory "Black Ghost" is gentle and swooshing, like 
a less long-winded Porcupine Tree, if you've heard them. Alas, even 
legendary early-Bowie producer Tony Visconti can't save the fey "To 
Earth With Love," which contains -- beware -- strung-together lyrical 
allusions to '70s bands. "Dateline" amusingly hammers nails into this 
musical coffin with rhymes like "started feeling blue" in "1972," 
"started feeling fine" in "1989," and, get this, "1999," the "end of 
modern time!" "Pathfinder" goes so far (or short) as to beg someone to 
"kiss me like you still remember me" -- huh? "Different Kind of Blue" 
ain't Miles Davis, and the closer, "Jesus Christ," ain't Alex Chilton. 
"Jesus Christ made a good man outta me," sing Gay Dad. You want to warm 
to this, not least because it isn't cynical at all, and that is sincerely 
refreshing. Yet the '70s nostalgia here is so pallid that I wish this 
music had been more marked by what it alludes to -- say a good dose of 
Slade or Sweet; instead, it's mostly a missed opportunity, except to 
prove that Britpop is finally, irrevecably over.
---
	REVIEW: Joe Strummer and The Mescaleros, _Rock Art and The X-Ray 
		Style_ (Hellcat)
 		- Tim Kennedy
	Joe's last recorded work was in 1985, a brief flurry of activity 
which was the sum total of his output since the ill-fated final Clash 
lineup of bassist Paul Simenon,  Joe and three clones - a sad coda to 
the noble story of Punk's other great band.  Whilst his old sparring 
partner and guitarist Mick Jones went on to be a major success with Big 
Audio Dynamite during the 80s,  Joe was content to remain out of the 
limelight.
	By his own admission during this time Joe has been sitting out 
his contract with CBS.  His quarrel with the record company mirrored 
that of George Michael but Joe lacked the means to buy himself out of 
the contract.  Now that he has emerged to record again, naturally 
expectation is high of the most charismatic rock singer of his era.
	This album is best compared to the more experimental work that 
the Clash released - for example on the second and third discs of the 
triple album set _Sandinista_ (1980), and the second side of _Combat 
Rock_ (1981)
	Joe returns to his Clash era reggae influences for the opener - 
"Tony Adams" which doesn't refer lyrically to the soccer defender of 
Arsenal and England fame.  It is a strong opener,  with Joe's voice 
still evidently in good shape.  His vocal style on this CD ranges 
between the raw anger of tracks like "Tommy Gun" and "London Calling" 
and the more introspective 'old man' style of  works like "Garageland",  
"Call Up" and "On Broadway".
	"Sandpaper Blues" is a fast-paced mix of African chants and 
synth - but really a rock song with techno tendencies.  Elements of 
hiphop are also here, but as with later Clash works, different styles 
are merged into each other so that no single influence can be recognised 
as dominant.
	"X Ray Style" mixes some social comment with scattered references 
to other familiar Clash themes such as  guns and rockabilly.  Joe is 
accompanied by acoustic guitars and backed by furious bongos.
	"Techno D Day" is a humourous take on big dance events, with the 
appearance of our hero as a reserve D J at a techno version of Omaha 
Beach. Of course military imagery is another theme the Clash frequently 
returned to.  This is rock music albeit with techno elements.  The vocal 
again is very strong, with Joe very much on form.
	"Road To Rock n Roll" is a descendant of "Four Horsemen" from 
1979's seminal _London Calling_,  a little more relaxed than its 
predecessor, ambling along as Joe tells of rock's pitfalls.  The words 
of the title appear rather too much - it's repetitive and a little too 
long.
	"Nitcomb" must be the first rock song to mention the perennial 
curse of 90s parents - headlice.  Joe would be aware of this unavoidable 
affliction, having as he does a young daughter.  This lovely, mostly 
acoustic track surveys futility,  litter and decay both at home and in 
the streets.  The nitcomb in question seems to be intended for removing 
human 'lice' e.g. himself.
	"Diggin The New" starts with rock riffing that recall the glory 
years of Joe's career,  and has a fine Clash chorus which affirms a place 
in the present "You gotta live in this world".  This song is closest to 
what most buyers of this album would probably most like to hear from Joe, 
but to his credit he is determined to challenge musical boundaries with 
this music, just as the Clash did with _London Calling_, _Sandinista_ 
and _Combat Rock_.  therefore there are few concessions to punk roots 
on this album. The Clash were always the most eclectic band of their 
time and it is this eclecticism which Joe displays here.
	"Forbidden City" is another fine midpaced rock song concerning 
injustice in China and the Tiananmen Square massacre - at one point 
sampled gunfire is heard.
	"Yalla Yalla" boasts not only a puzzling chorus but a fine 
slowpaced techno melody which is an excellent accompaniment for Joe's 
great singing - as Leftfield's "Open Up" was for Johnny Rotten.  Its 
theme is the toughness of an urban life relieved by the freedom given 
by cars and rap and dance music.  The Clash's old stamping ground of 
Ladbroke Grove even gets a mention.
	"Willesden to Cricklewood" is set to a gentle breakbeat and is 
a charming piano and keyboard tune describing the landscape of leafy 
North London.  This is a surprising end to the album, almost pastoral 
by Strummer's past standards.
	This album contains the variety as you would expect from a man 
whose career spanned punk, reggae, hiphop, rockabilly, synthesizer 
experimentation and even gospel.  Joe's voice is as inspiring as ever 
and conveys both anger and warmth in equal measure. He is not content 
to retread his old glories, and continues his eclectic musical path to 
great effect. 
---
	REVIEW: The Wedding Present, _Singles 1995-1997_ (spinART)
		- Christina Apeles
	Two singles compilations from Wedding Present in one year -- 
_Singles 1989-1991_, released on Manifesto earlier this year, and now, 
_Singles 1995-1997_, on spinART -- show the breadth of music that this 
indie Brit favorite has produced over a career that has exceeded a 
decade, with a sound that far from wanes listening to years later. Any 
band that crosses that ten year mark and still has a strong following 
is a band worth looking into. Definitely sharing the ranks of indie 
mainstays like Superchunk, Guided By Voices and The Flaming Lips, 
Wedding Present's latest singles compilation offers a taste of songs 
originally released on multiple labels that are no doubt keepers.
	From their offbeat cover of the theme from Cheers, "Where 
Everybody Knows Your Name," to the acoustic version of "Jet Girl" and 
live performance of popular "Brassneck," _Singles 1995-1997_ is a fine 
collection of songs that rock, thrill and bounce. "Red Shoes by the 
Drugstore," with its hypnotic bass line aside spoken word, has a poetic 
movement, twang of rockabilly, and lead singer David Gedge's relentless 
self-reflection. Meanwhile, you'll muse over the jangle pop of "Drive," 
a playful song that signals pogo heaven to any concert goer. And there's 
"Go, Man Go," the classic indie love track about a failed relationship 
much like songs by Kitchens of Distinction and Sugar, understanding a 
broken heart through guitar distortion.
	I am constantly surprised when I come across indie fans that 
haven't heard of The Wedding Present, not because they have been around 
for more than a decade, but simply because they are so damn good. 
Gedge's oh-so-manly voice is unforgettable, in this particular release, 
softened by Jayne Lockey's sweet vocals on several tracks, and musically 
every song has momentum, building with heavy drumming, bass and a 
two-guitar assault. You won't feel cheated by any songs on _Singles 
1995-1997_, whether you are a new listener or old fan, their songs 
still sound exceptional. They have a dynamic sound that is frenetic, 
drawing you in with every strum and beat.
---
	REVIEW: Les Rythmes Digitales, _Darkdancer_ (Astralwerks)
		- I.K. MacLeod
	The only thing French about electro-disco artist Jacques Lu 
Cont (aka Brit Stuart Price) is the layer of decade-old fromage that 
coats this new CD. There is nary a break-beat to be found in this 
production, just mounds of nostalgic house and refurbished funk grated 
over a series of repetitive rhythms in a watered-down Kraftwerk 
aesthetic. In other words, it is designed for people who appreciate 
music that doesn't take itself too seriously and are looking to maximize 
their fun.
	Les Rythmes Digitales isn't afraid to put a big happy face on 
top of faceless electronica and does it just as effectively as the 
cartoony Cassius and the masquerading Daft Punk. "(Hey You) What's 
That Sound?" works well by mixing a little Gary Numan with Bronx 
braggado while "Hypnotise" will wake you up from your sweet dreams 
thinking you are witness to a long lost Eurythmics remix. The slithering 
bass line of "Music Makes You Lose Control" and the stutter of "Jacques 
Your Body (Make Me Sweat)" will both bring exciting peaks to your party. 
Most of the tracks feature cut-up vocal snippets or samples, but there 
are a few full fledged songs spread throughout the program to keep your 
attention.  If you like your soul synthesized and want to see a spark 
on the dance floor, then _Darkdancer_ is the one for you.
---
	REVIEW: The Misfits, _Famous Monsters_ (Roadrunner)
		- Andrew Duncan
	Here's a quick history lesson:
	In 1977 a group of hooligans decided to form a punk band and 
name it after Marilyn Monroe's last film, "The Misfits." Their blend 
of '50s-style rock with horror movie lyrics won over fans of punk music 
worldwide. They sang songs like "Horror Business," "Halloween" and 
"Die, Die My Darling," and released albums with titles like _Earth 
A.D./Wolfs Blood_ and _Legacy of Brutality_. Lead vocalist Glen Danzig 
was targeted as frontman with his deranged aura, distinctive "Devilock" 
hairdo and Elvis-like croon. They played together for many years until 
Danzig left the band and the band broke up...blah, blah, blah.
	Now, the year is 1999, and the newly reformed Misfits are on 
their second release, the appropriately titled _Famous Monsters_.
	Instead of Mr. Danzig, we have Michale Graves. Dr. Chud is one 
of many drummers who have joined the band, and Doyle Wolfgang Von 
Frankenstein and Jerry Only still remain.
	Not as intelligent as the album title, the Misfits have slumped 
into a habit of naming their songs after horror and science fiction 
movies. Sure, The Misfits from days of yore named a song "Return of 
the Fly," with lyrics so complexingly crafted: "Return of the Fly/Return 
of the Fly/With Vincent Price/Return of the Fly." Now we have songs 
titled "Lost in Space" and "Crawling Eye." How about "Die Monster Die" 
or "Scarecrow Man?" What happened to a sense of imagination?
	The song structures are standard Misfits compositions -- quick, 
dirty and to the point -- and Mr. Graves doesn't do a bad job filling in 
Mr. Danzig's shoes. The only difference is the modern, more full-sounding 
guitar sound. Blame it on better studio recording methods. If "Texas 
Chainsaw Massacre" were filmed without its graininess, would it still 
be a cult classic?
	To put it in layman's terms, the 18 songs are listenable with 
some better than others. For dedicated fans, there are remnants of the 
golden years, but don't expect Rome to be built in a day. 
---
	REVIEW: Victor Calderone, _e=vc2_ (Tommy Boy)
		- Chris Hill
	Victor Calderone's remix resume contains big industry names: 
Madonna, Garbage, Gloria Estefan, Bette Midler and Elton John. Some 
anomalous to the dance floor, others who've made their careers on it. 
Two (Madonna and Garbage) are included on Victor Calderone's first 
dance mix CD. They're placed at the end, leaving the first ten tracks 
for lesser-known floor packers, including a version of Clivilles & 
Cole's 1987 hit (under the name 2 Puerto Ricans, A Blackman, and A 
Dominican), "Do It Properly." The track features ex-C&C Music Factory 
vocalist, Deborah Cooper.
	For the clubgoing, it's a glimpse into the style and skill of 
this globe-hopping DJ at work, with an hour's worth of his favorite 
music pumped into a personally endorsed package. "I wanted it to be a 
journey that captures the vibe of my peak hour live sets," says 
Calderone. "Every song was painstakingly selected and programmed. Every 
track included is one that I'd play in my set -- there's no filler, no 
compromises."
	For the non-dance fan, it's fine background music. The energy 
is infectious, even if you're not a devotee of the genre, guaranteeing 
sympathetic body movement. The Madonna remix, exclusive to this disc, 
alone justifies purchase, exemplifying Madonna's skill at choosing her 
collaborators.
	2000 will see Calderone coming out with an a full-length album 
of his own music. "Although there will be elements of what people have 
come to recognize as my sound, there will also be live instrumentation, 
strong vocal tracks and elements of electronic music," he reveals.
	Tracks: Pete Heller - Big Love (Dronez Dub), Veronica - Someone 
to Hold (Johnny Vicious Hard Mix), Dan Q - Aura Tribe (Club 69 Tribal 
Mix)/Basement Jaxx - Fly Life, Deborah Cox - It's Over Now (Hex Hector 
Dub), Robbie Rivera - Feel This, Kim English - Unspeakable Joy (Razor N 
Guido Remix), Andrea Martin - Share The Love (Hani Hyperkickass Mix)/
Royal House - Can You Party, Giacomo - Theme From Love (Hex Drum Dub), 
The Collaboration (Victor Calderone & Peter Rauhofer) - Do It Properly, 
Hyperdelics - Are U Ready (Tribal Mix), Madonna - Sky Fits Heaven 
(Calderone Future Mix), Garbage - Push It (Calderone Mix).
---
	REVIEW: Andrea Parker, _Kiss My Arp_ (Mo Wax)
		- I.K. MacLeod
	The title is a reference to a vintage keyboard, but is the sound 
and feel of this album are what end up aging gracefully. It is an 
extremely well thought out release, which explains why it took four 
years of studio tinkering to complete. It has an introspective, as 
opposed to an indulgent, DJs touch with the added bonus of blending pure 
emotion seamlessly with underlying sophisticated sonic themes.
	"The Unknown" sets the mood, with it's deep percussion and gloomy 
atmosphere that winds around her vocals. "Clutching at Straws" continues 
along the same path, sounding like the soundtrack to a European thriller. 
"In Two Minds" has a dense hard-house sound that is not overbearing or 
angry and "Sneeze" was constructed of the sudden spasmodic reflex of 
breath caught on DAT. It is all techno enhanced with a classical 
sensibility, exemplified by the lush orchestral sweeps of Wil Malone 
on "Return of the Rocking Chair." The songs are strong evidence that 
Andrea's voice was made for her own eclectic mixes, while the instrumentals 
(like the epic "Melodious Thunk") can stand firmly on their own deep 
grooves and reliable rhythms.
	It all adds up to an adventurous mix of Massive Attack ("Breaking 
the Code") through the ears of a well behaved Aphex Twin ("Some Other 
Level"). It's a deep and rich dish of raw isolationism that is best 
served with your favourite set of headphones.
---
	REVIEW: Arto Lindsay, _Prize_ (Righteous Babe)
		- Jon Steltenpohl
	Their are some artists who are defined by their lack of 
convention and desire to break boundaries. Arto Lindsay has always been 
one of those artists. Dive into his biography (at www.artolindsay.com) 
and you will discover a history of experimental music you've probably 
never heard about.
	So strange is Lindsay's catalog that some music sites resort to 
categorize him simply as "jazz." "Abstract bossa nova-ist" might be a 
better term. His latest recording, _Prize_ is like a lounge music 
cocktail with a twist of alternative lime.
	There has been a trend in the past decade for musicians from 
the United States to travel overseas and pick up a local foreign flavor 
and bring it back to the US and "recreate" it for us. Paul Simon and 
David Byrne tried it with various degrees of success. But Arto Lindsay 
is the "real thing." (To Byrne's credit, Lindsay has appeared on Byrne's 
label Luaka Bop.) A dual dweller of Brazil and the United States, 
Lindsay seems to be freed from cultural conventions and simply draws 
from the musical landscape around him. 
	Take a song like "Modos (Manners)." It seems to have a mellow, 
bossa nova groove to it if you casually listen. But listen deeper, and 
there is a depth below the still calmness. Cymbals are not really 
cymbals but rather crashing metal sheets and the beat in the background 
reveals itself to be a strange, looped chiming tone.
	"Resemblances" is a mellow song with a plucking bass, orchestral 
touches, and background soundscape work similar to "Modos." It is 
somewhat like a David Lynch and Angelo Badalamenti sound experiment, 
only with a much deeper understanding of the musical structure. The 
warbling strings are reminiscent of some of Camper Van Beethoven's later 
work during the _Key Lime Pie_ era. David Byrne would be fond of 
"Interior Life." It is a goofy song that , and seems to share the loose 
associations of an artist like Beck. "Prefeelings" is the most 
experimental track on the album. It is louder than the bossa nova 
tracks, and is purposely deconstructed and reconstructed from jazz, 
rap, samba, and techno. Amidst the mish mash of sounds comes form. Over 
the top is Lindsay; calmly trying to sing a bossa nova song with 
constant interruptions from the music and from free form rap by Beans 
of the Anti-Pop Consortium. Like any good piece of abstract art, it is 
completely disjointed up close, but taken from a distance, it somehow 
works as a singular whole.
	Lindsay is one of those artists you have to "get." If you "get" 
it, he's a sonic genius flitting in the zone between mellow jazz, bossa 
nova, and avant garde. If you don't, he just sounds like bad lounge 
music. This is certainly music to be pretentious by. It is complex and 
articulate without sacrificing form and melody. It is also the first 
third-party release by Ani DiFranco on her Righteous Babe Records. 
_Prize_ is a good choice for the label because it is intelligent yet 
truly alternative. Arto Lindsay might not be everyone's cup of tea, 
but for those who can dive in, _Prize_ is an incredibly deep and 
intriguing album.
---
	REVIEW: Zucchero, _Overdose D'Amore_ (Ark21)
		- Reto Koradi
	The American music market has always been a hard ground for 
artists from Continental Europe. Zucchero managed to make a small dent 
into it in 1991, scoring a top 5 hit with "Sense of a Woman/Senza Una 
Donna," his duet with Paul Young, but has come nowhere near the 
superstar status that he enjoys in Italy. His attempt to change this 
comes in _Overdose D'Amore_, a collection of ballads spanning more than 
10 years, spiced up with some new material.
	Zucchero has never been afraid to transcend borders, both in 
style and language. On the new songs, he joins forces with Sheryl Crow 
(who sings lyrics written by U2's Bono) for "Blue," and Sting for an 
Italian version of "Mad About You." He flirts with classical music in 
"Va, Pensiero," which originates from an Aria by Verdi, and "Miserere," 
his duet with Pavarotti from 1992. 
	Even though these big names might add appeal, Zucchero stands 
strong all by himself. A sub-average Sting song is not good enough to 
be a highlight on this album, Sheryl Crow certainly doesn't add any 
significant talent, and at least in the opinion of this reviewer, the 
big tenors would be just as well off doing what they do best: sing 
operas. The true pearls on _Overdose D'Amore_ are performed without 
prominent help. "Diamante," a song that Zucchero dedicates to his 
grandmother, is as beautiful as a ballad gets. "Senza Una Donna" in 
its original version is as outstanding as it was 12 years ago. A number 
of other songs, like "Cosi' Celeste" and "Menta E Rosmarino," show that 
Zucchero masters the rare art of writing and performing songs of sheer 
beauty without ever getting sugary.
	Zucchero may not be the most original and innovative artist you 
will ever encounter, but his songwriting skills and distinctive voice 
make his work timeless. If you want to broaden the scope of your record 
collection with material from one of the culturally richest European 
countries, _Overdose D'Amore_ is an excellent buy.
---
	REVIEW: Warrant, _Greatest and Latest_ (Deadline/Cleopatra)
		- Jeanne Schantz
	They'll be your 'Cherry Pie'.
	The energetic, fun, and frivalous bad boys of Warrant are 
back with a greatest hits / remix album entitled _Greatest & Latest_.  
Composed of their 'monster ballads' and matured bubblegum rock, the 
disc boasts nine rerecorded favorites including the tongue-in-cheek 
"Cherry Pie", MTV Viewers Choice winner "Uncle Tom's Cabin", and a 
plethora of the characteristic heart-warming ballads that made lead 
vocalist Jani Lane and co. a hot commodity in the late '80s/early 
'90s. Three brand new tunes - straightforward pop "The Jones", bayou 
ballad "Southern Comfort", and bass-driven, hard-rocking "Bad Tattoo" - 
prove that Lane and the boys are a hot commodity for the new 
millennium, as well.
	To fill your palate with even more delictable sounds, four 
techno-enhanced remixes of some of the band's earlier tunes, including 
their debut single,  "Down Boys", are provided.  Giving a collection 
of greatest hits, a latest twinge.
	Ready to rock, giving you more than your "32 pennies" worth, 
it's Warrant.
---
	REVIEW: Brand New Heavies, _In Tha Beginning..._ (Music Club)
		- Joann D. Ball
	_In Tha Beginning..._ by The Brand New Heavies is a testament 
to the fact that the band was critical to the development of acid jazz 
as a music genre. Available for the first time in the US, _In Tha 
Beginning..._ features the original nine studio tracks from the band's 
UK-only eponymous debut in their original form and order, plus three 
additional live cuts. Live versions of the instrumental lead track 
"Bnh" and the hip-hop influenced "Gimme One of Those" from the debut 
were recorded in Japan along with the song "Mr. Tanaka," which completes 
the almost hour-long release.
	Emerging in Britain in the late '80s, The Brand New Heavies 
played such a fresh and innovative blend of funk, jazz, soul and hip-hop 
that it quickly became an underground phenomenon in the country. The band 
was eventually so closely identified with the UK record label Acid Jazz 
to which it was signed that the entire sound and scene which the band 
pioneered became known as acid jazz. While The Brand New Heavies' 
groundbreaking 1989 debut was a huge hit in Britain and ignited an 
international acid jazz movement, the record in its original form was 
never released in the United States. And by the time of the band's 
American debut (also titled _The Brand New Heavies_) on Delicious 
Vinyl in 1992, The Brand New Heavies had already changed in composition 
and focus.
	The American release is particularly significant because it 
showcased the new song "Never Stop" among the original nine songs. With 
the track listing radically refigured by the inclusion of the American 
R&B Top 10 hit, the song's success also spotlighted new lead singer 
N'Dea Davenport.  Subsequently, the band's emphasis shifted from 
instrumentals to vocals and the band also moved beyond its acid jazz 
foundations. Both _Heavy Rhyme Experience: Vol. 1_ from 1992, which 
featured a who's who of critically acclaimed rap performers, and the 
1994 follow-up _Brother Sister_ had a profound influence on trends in 
urban soul and hip-hop that can still be heard today. The eventual 
development of The Brand New Heavies beyond its incredible roots, 
however, makes _In Tha Beginning_ an even more essential reissue.
---
	REVIEW: Kahimi Karie, _K.K.K.K.K._ (Le Grand Magistery)
		- Niles Baranowski
	The voice of Tokyo's "Queen of Pop," Kahimi Karie is a slippery, 
slight soprano. It's the sort of voice that seems better suited for 
feelings than words; the shape of the consonants is lost in her natural 
hiss while vowels slide into cutesy coos or clever come-ons, depending on 
the context. Unlike the rest of the Le Grand Magistery crew, Karie is not 
a visionary, but an interpreter. That's not a put-down either: her 
collaborations with Momus are legendary in Japan, many of them hits. 
But even though his lewd, self-conscious fingerprints are all over this 
album, the song that best sums up Karie is his attempt to defer to her 
point of view. "What Are You Wearing?" sums up the contradictions of 
being seen as both Japan's pop sex kitten and the seductive side of the 
Shibuya avant-garde (she dated sample auteur Cornelius for a period). "I 
used to be a big Suicide fan... and where it's at is where I am," comes 
as close as anything else to summing up the essential contradiction of 
being a modern Japanese pop star.
	Unlike her American debut, an eponymous collection of singles, 
_K.K.K.K.K._ seems to be edging a little closer to her avant-garde roots, 
with a less than desired effect. Unlike the effervescent grooves of "Good 
Morning World," a lot of this utilizes vocoders and limp dance beats. The 
eponymous tribute to Harmony Korine is spot-on in its withering put-down 
of his perverse art but the effect is somewhat odd to hear it sung in 
Karie's childlike tone over a maraca that shakes like a metronome. Her 
cover of Jimmy Cliff's "The Harder They Come" works a lot better, her 
voice multi-tracked to accent the chorus with a minimal bossa nova beat 
drawing attention from the verses. It might be tempting to blame 
technology for the shortcomings of the record (especially with useless 
remixes contributed by Add N to X and Buffalo Daughter), except that 
such innovations have always mixed well in Karie's work. Even "Good 
Morning World" uses a Soft Machine sample. Even on here, "The Symphonies 
of Beethoven" tinkers with Moog melodies and ends up better than Momus'
original version of the song.
	No matter what her producers, writers and remixers try to make 
of her, though, Karie's strength will always be the ye-ye-based 
Francopop that she cut her teeth covering. Almost half of the songs 
here are in French and French singer/songwriter Katerine ranks behind 
only Momus as the album's dominant voice (surprisingly, not a word of 
Japanese is uttered over the course of the album). Even when she's not 
en francais, the fragile tones of her voice evoke such figures as Jane 
Birkin or Brigette Bardot, as does her adorable confusion. On "What is 
Blue?" (the sole track on here with Karie-penned lyrics) she admires 
both her kitten and her heart's desire with a sort of cute, spunky 
ambivalence that would do Patty Duke proud. And the irresistably sweet 
and sinfully catchy "Clip Clap" takes foot fetishes to a new level. The 
walk of the hottie in front of her that she's hitting on in her mind 
("Hey! Foxy, where are you going?") becomes the rhythm of her heart 
while all she can think to ask is where he bought the shoes.
	And even when the song doesn't justify wasting her voice (like 
the singing cowboyish signature anthem "Kahimi Karie et Moi"), Karie 
evokes a timeless vision of cool, the effortlessly sexy chanson who 
couldn't choose a man, country or language to save her life. Perhaps 
that's why the album doesn't really settle into a consistent groove 
until the last five songs.
	No matter; her "meow"'s still sound like sex and even her growls 
are smooth and moist. She may show all the contradictions of a Japanese 
ex-photographer singing the words of a noted Scottish pervert, but it's 
the sunny, deceptively naive voice that makes it all fit snugly 
together, without giving away too much of the irony. You remember that 
smile she says she's wearing (in "What Are You Wearing?")? You can hear 
every inch of it in _K.K.K.K.K._'s best songs.
---
NEWS:	> Korn will mark the arrival of their new 
album _Issues_ with a live performance at Harlem's 
Apollo Theatre on November 15.  The event will be 
broadcast at 10:00 pm EST at http://www.korn.com .
	> Palm Pictures will be releasing the Marley 
Family-endorsed version/remix of the hit "Sun Is Shining" in 
the United States.  The remix is by the Ibiza All Stars and 
Messy Boys. 
	> It has been incorrectly reported in some circles that 
the Smashing Pumpkins' _Mellon Collie and the Infinite Sadness_ 
will be reissued with new artwork.  Instead, on November 16, 
Virgin will be re-releasing _Siamese Dream_ with the original 
20 page booklet.
---
TOUR DATES:
	Alaline Trio
Nov. 16 Los Angeles, CA PCH
Nov. 17 San Diego, CA Che Cafe
Nov. 18 Tempe, AZ Modified
Nov. 22 San Antonio, TX Reverb Lounge

	Blinker The Star
Nov. 16 Salt Lake City, UT Liquid Joes
Nov. 18 Vancouver, BC Starfish
Nov. 19 Seattle, WA Crocodile
Nov. 20 Portland, OR Roseland
Nov. 23 Los Angeles, CA Troubadour
Nov. 24 San Diego, CA Brick By Brick

	Death In Vegas
Nov. 17 New York, NY Irving Plaza
Nov. 18 Boston, MA Paradise
Nov. 20 Toronto, ON Lee's Palace
Nov. 22 Detroit, MI St. Andrews
Nov. 23 Chicago, IL Double Door

	Bryan Ferry
Nov. 17 Orange County, CA Sun Theater 
Nov. 21 Seattle, WA Paramount

	Ben Harper
Nov. 16 Knoxville, TN Tenn. Theater
Nov. 18 New Orleans, LA Orpheum Theater
Nov. 19 Houston, TX Aeriel Theater
Nov. 20 Austin, TX Music Hall
Nov. 21 Dallas, TX Bronco Bowl

	Innocence Mission
Nov. 22 Alexandria, VA Birchmere
Nov. 23 Annapolis, MD Ram's Head

	Live
Nov. 16 Orono, ME Alfond Arena
Nov. 18 Boston, MA Orpheum Theatre
Nov. 19 New York, NY Hammerstein Ballroom
Nov. 21 Upper Darby, PA Tower Theater

	Mike Ness
Nov. 16 Boulder, CO Fox Theatre
Nov. 18 Lawrence, KS Liberty Hall
Nov. 19 Columbia, MO Blue Note
Nov. 20 St. Louis, MO Firehouse
Nov. 22 Louisville, KY Headliner's Music Hall
Nov. 23 Indianapolis, IN Vogue

	Silverchair / Blink 182
Nov. 16 Philadelphia, PA Electric Factory
Nov. 18 Orlando, FL U. of Central Florida Arena
Nov. 19 Jacksonville, FL Riverview Music Shed
Nov. 20 Atlanta, GA Tabernacle

	Sonia Dada
Nov. 20 Chicago, IL The Vic. Theatre 
 
	Joe Strummer & The Mescaleros
Nov. 16 Cincinnatti, OH Bogarts
Nov. 18 Detroit, MI St. Andrews
Nov. 19 Cleveland, OH Odeon Concert Club
Nov. 20 Toronto, ON The Guverment
Nov. 22 Boston, MA The Roxy
Nov. 23 New York, NY Roseland
Nov. 24 Philadelphia, PA Tla 

	Superchunk
Nov. 16 Tallahassee, FL Downunder / FSU 
Nov. 17 St. Petersburg, FL State Theatre 
Nov. 18 Orlando, FL Sapphire Supper Club 
Nov. 19 Gainesville, FL Covered Dish 
Nov. 20 Atlanta, GA Echo Lounge 

	Richard Thompson
Nov. 16 Boston, MA Orpheum Theatre
Nov. 18 Northampton, MA Calvin Theatre

	Westbam
Nov. 17 Dallas, TX Red Jacket
Nov. 19 Chicago, IL Crobar

	Josh Wink
Nov. 19 San Francisco, CA Nikita's
---
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