==== ISSUE 150 ====    CONSUMABLE     ======== [August 5, 1998]

  Editor:             Bob Gajarsky
                         E-mail: editor@consumableonline.com
  Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim 
                      Kennedy, Reto Koradi, David Landgren, Sean 
                      Eric McGill, Tim Mohr, Al Muzer, Joe Silva, 
                      Lang Whitaker
  Correspondents:     Tracey Bleile, Lee Graham Bridges, Scott  
                      Byron, Jason Cahill, Patrick Carmosino, 
                      Krisjanis Gale, Emma Green, Paul Hanson, 
                      Eric Hsu, Robin Lapid, Linda Scott, Scott 
                      Slonaker, Chelsea Spear, Simon Speichert, 
                      Jon Steltenpohl, Simon West
  Technical Staff:    Chris Candreva, Dave Pirmann

 Address all comments to staff@consumableonline.com ; subscription 
information is given at the end of this issue. 
==================================================================
	All articles in Consumable remain (C) copyright their author(s). 
Permission for re-publication in any form must be obtained from the 
editor.
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                            .------------.
                            |  Contents  |
                            `------------'
INTERVIEW: Cherry Poppin' Daddies - Al Muzer
REVIEW: Squirrel Nut Zippers, _Perennial Favorites_ - Joe Silva
REVIEW: Various Artists, _Tribute for the Masses_ - Sean Eric McGill
REVIEW: Grant Lee Buffalo, _Jubilee_ - Scott Slonaker
REVIEW: Bela Fleck and the Flecktones, _Left of Cool_ - Lang Whitaker
REVIEW: Pete Droge, _Spacey And Shakin_ - Bill Holmes
INTERVIEW: Bic Runga - Bob Gajarsky
REVIEW/CONCERT REVIEW: Brian Setzer Orchestra, _The Dirty 
   Boogie_ - Scott Slonaker
CONCERT REVIEW - Loud Family - Chelsea Spear
COMPILATION 80s REVIEWS: _Sedated In The 80s No. 5_ / _Wedding 
   Singer Volume 2_ / _Chart Toppers_ series - Bob Gajarsky
REVIEW: Fear Factory, _Obsolete_ - Sean Eric McGill
REVIEW: Nils Lofgren, _Acoustic Live_ - Linda Scott
REVIEW: Jupiter Coyote, _Here Be Dragons_ - Sean Eric McGill
REVIEW: Mr. Henry, _Jackhammer_ - Daniel Aloi
NEWS: Reverb (Green Day / Foo Fighters), Sublime, Toad the 
   Wet Sprocket, XTC
TOUR DATES: Tori Amos, Bauhaus, Beastie Boys / Tribe Called 
   Quest, B 52's / Pretenders / Royal Crown Revue, Blink 182, 
   Blue Oyster Cult, John Cale / Creatures, Culture Club / 
   Human League / Howard Jones, Dakota Moon, Front 242, 
   Nanci Griffith, HORDE Tour, Irving Plaza, K's Choice, 
   Lilith Fair, Phish, Phunk Junkeez / Clutch, Bonnie 
   Raitt / Jackson Browne, Smokin' Groovies Tour, John 
   Taylor, Verve
THE READERS WRITE BACK!
Back Issues of Consumable
---
	INTERVIEW: Cherry Poppin' Daddies
		- Al Muzer
	A stylish breath of cool, fresh, reet-petite air in the 
middle of the blistering, no-holds-barred, mosh 'til ya drop 
hardcore, punk and ska barrage powering this year's Van's Warped 
Tour - Eugene, Ore., by way of Binghamton, NY, resident Steve 
Perry, 34, and his Cherry Poppin' Daddies have been on the 
cutting edge for so long they've finally become fashionable.
	A ragtag group of punks with horns when Perry formed 
the band back in 1989, it's taken 10 years, a few changing faces, 
lots of patience and three self-released, mostly-ignored albums 
bursting with huge slabs of Bob Willis-style country-tonk, a raw, 
punkish, percolated energy, ultra-loud guitars and a swaggering, 
pre-WWII, ska-based pseudo-swing to get where Cherry Poppin' 
Daddies are today:
	Prominently featured covering Harry Belafonte's "Jump 
In Line" on South Park creators' Matt Stone's and Trey Parker's 
BASEketball movie soundtrack; in heavy rotation on MTV and VH1; 
appearing on ABC's In Concert, Jay Leno's late-nite gab fest and 
MTV's 12 Angry Viewers program; already booked for a September 
date at England's Reading Festival; and (go ahead, do a quick 
scan of your FM dial - okay, find it?) playing on a radio station 
somewhere near you at this very moment.
	An "overnight success" thanks, in part, to door-opening, 
ska-friendly acts such as No Doubt, Reel Big Fish, Goldfinger, 
Less Than Jake and Sublime, what eventually came out as _Zoot 
Suit Riot_ (which includes songs recorded in 1990, '94 and '96) 
was originally put together by Perry as a fan-fueled, swing-based 
compilation taken from _Kids On The Street_, _Ferociously Stoned_ 
and _Rapid City Muscle Car_, his band's first three records.
	Selling an astonishing 10,000-plus copies at shows 
across the nation, the group's home-made "best of" tape got the 
attention (thanks to Mighty Mighty Bosstone pal Dickie Barrett) 
of Mojo president Jake Rifkin and signed, spruced-up and 
re-released with four brand new tracks ("No Mercy For Swine," 
"When I Change Your Mind," "Brown Derby Jump" and the title tune) 
added for good luck, _Zoot Suit Riot_ hit the racks in the summer 
of 1997.
	Nothing happened. At first.
	Years of patiently explaining to metal-fried booking 
agents what type of music his band played, sitting around talking 
with enthusiastic new fans hours after the club closed, taking a 
ton of shit for his choice in band names ("I've had hot coffee 
thrown on me," Perry notes), dealing with punk, ska and swing 
purists who refused to accept his wiggy bastardization of all 
three musical genres and spending (practically) the last 
year-and-a-half on the road eventually paid off for Perry and 
his band.
	"Zoot Suit Riot" somehow managed to jazzbo-jump its way 
past the Third Eye Blind sound-a-likes and multiple Creeds on 
Billboard's Modern Rock Airplay chart to land smack-dab in the 
middle of the Top 20 list a year to the day after its initial 
release.
	"I was thinking, 'God, it'd be great if we could sell 
100,000 records,' you know?" Perry laughs during a recent phone 
call. "That was the top number I could conceive of - and it was 
hard to even allow myself to think that! Uhm, we now have 
ourselves a platinum record."
	"We knew that, independently, there was only so much we 
could do out there on our own," he explains when asked about the 
Mojo hookup. "We had hit the fuckin' ceiling, you know? We'd call 
a Mom & Pop store in, like, Richmond and say, 'Hey, we're gonna be 
playing in your town next month, do you wanna take some CD's from 
us and sell 'em?' 'No!' (laughs ruefully) 'Never heard of ya!  
Sorry.' Click! After awhile it's, like, 'Okay - how many more 
years like this can I go through? How much longer can I do this?' 
It sort'a came down to either 'get signed' or 'stop' and so, we did."
	"Now, how people react to what we do is their own thing," 
the Louis Prima-, Fletcher Henderson-, Cab Calloway-, Count Basie-, 
Louis Jordan-, Specials- influenced musician begins. "And, while I 
can't make people like our music, I'll like it better if I keep 
trying to make really good records that I like."
        "We've always tried to make ourselves happy [musically] 
by doing lots of different things," he says of the stylistic 
diversity found in abundance on the group's three Space Age Bachelor 
Pad releases, hinted at on _Zoot Suit Riot_ and trotted out in full, 
pressed 'n' pleated glory on Warped Tour stages. "And I think we 
probably made a lot of that [early] music just for ourselves [laughs] 
because we never thought that we'd ever be signed, or even viewed as 
marketable enough to be signed!"
	"Our vision, as a band, is much wider, actually, than what 
_Zoot Suit Riot_ would indicate," the former University of Oregon 
chemistry major offers. "We wanted to include more country and soul 
stuff - which we have on our earlier records, you know? Lots of 
different stuff. But...", he sighs and tails off as if the word 
"business" had actually been spoken.
	"I do wanna do more Western Swing kind'a stuff the next 
time out," Perry declares as he stops to consider the last few 
whirlwind months and looks forward to at least two more Mojo 
releases, "and a couple of ballad-type things, too. I have one 
ready now that'll, hopefully, be on the next record. Also, I really 
wanna get into different kinds of harder ska."
	"The next record'll be mostly swing," he chuckles, "but, 
you know - there'll be lots of other oddball stuff goin' on."
---
	REVIEW: Squirrel Nut Zippers, _Perennial Favorites_ (Mammoth)
		- Joe Silva
	After traversing the nation on the back of their late-blooming 
single "Hell," the cajun-cum-swing-cum-jazzy blues outfit that is the 
Zippers has delivered LP number three, _Perennial Favorites_.
	And while this record was laid to tape in an old run-down 
house with borrowed gear, what should have turned out to be a real 
down-homey sort of production, turns out to be their most expansive 
sounding work to date. Because of the muted horns and singer/banjo-ist 
(banjo player??) Katherine Whalen's Betty Boop-era vocals, both _The 
Inevitable_ and _Hot_ maintained much of the verite of the era that 
inspired them.  But _Perennial Favorites_ has a more of an aura in 
the music that has always inspired the Squirrels, rather than having 
its feet firmly grounded in those sensibilities.
	The opener, "The Suits Are Picking Up The Bill" is a veteran 
of their live set from the _Hot_ tour, as is the familiar Squirrel 
Nut romp that is now inate to their character. But immeadiately after, 
things take a different turn. The textures are deeper, and there are 
bursts of free-form confusion and firecrackers set up to establish the 
air of a tune. But then all of this is thrust alongside traditional 
references to "Camptown Ladies" ("Ghost of Stephen Foster") and 
elegant pieces like "Evening At Lafitte's."
	Whatever the underlying emphasis is behind their latest bent, 
it's clear that while the Squirrel could have continued to traipse 
around the country cornering the swing revivalist movement, their 
artistic impetus to challenge themselves sonically is thriving and 
unmistakeable. Not to be missed, however, for relief to this year's 
oppressive heat should they come your way. 
---
	REVIEW: Various Artists, _Tribute for the Masses_ (1500 / A&M)
		- Sean Eric McGill
	I would love to see the size of the stick 1500 Records used to 
beat people away from the door when they announced they were accepting 
acts for _Tribute for the Masses_, a tribute album dedicated to Depeche 
Mode. You would be hard pressed to find not only a band more influential, 
but also so widely loved by not just musicians, but also by the general 
public.
	Although it pains me to admit this, Depeche Mode were one of my 
first forays into the musical world outside of big-haired hard rock, and 
I still hold _Black Celebration_ and _Some Great Reward_ as two albums 
I have to immediately replace if they get stolen or have some other fate 
befall them.  They were perhaps the first group to really show me how 
important songwriting was on the overall level, that good music without 
good lyrics was about as effective as an earth-shaking documentary on 
the WB network.  And therein lies the reason _Tribute for the Masses_ 
is such an effective album - even though sixteen different bands get a 
shot to put their own spin on the music of Depeche Mode, the lyrics 
stay the same - and still pack the same punch they did when they were 
first released.
	But perhaps the greatest credit to _Tribute for the Masses_ is 
not just the quality of the artists assembled, but the variety. As 
surprised as I was to see Monster Magnet and Deftones, I must admit 
the biggest surprise was see The Cure with a fine performance of "World 
In My Eyes", especially given their status as another of the driving 
forces behind alternative music in the eighties (and a band deserving 
of their own tribute album, in my opinion). And while I've heard rumors 
that Robert Smith and company were planning on employing a more raw 
sound on their next studio album, there's little evidence of it here, 
as "World In My Eyes" is one of the more elaborately-produced songs on 
the album.
	And unlike other tribute albums, where the goal seems to be to 
get your version of the song as far away from the original as possible, 
the majority of the bands never stray too far from the source material, 
including the bands that you wouldn't suspect like Deftones. Their 
version of "To Have and To Hold", while being considerably heavier 
than the original still holds the same dark intensity of the original, 
much like their version of "The Chauffeur" on last year's Duran Duran 
tribute album. And speaking of dark intensity, Rammstein's version of 
"Stripped" takes the award for being the creepiest song on the album; 
of course, most any Rammstein song would take that award.
	To name the qualities of all the good songs on the album would 
take up too much space, but there are a few songs that certainly bear 
noting. The lounge version of "Master and Servant" by Locust adds a 
new twist to the song by making it a duet. Monster Magnet actually 
succeed in somehow keeping the dark aspects of "Black Celebration", 
but lightening the song up a little at the same time - a trick of 
Copperfield-esque proportions. Among the contributions by lesser-known 
acts, Self's version of the relatively unknown (outside of hardcore 
fan circles, at least) "Shame" is extremely well-done, as is "I Feel 
You" by Apollo Four Forty.
	Produced by God Lives Underwater's Jeff Turzo and David 
Reilly (who, it should be noted, contribute a well-done version of 
"Fly on the Windscreen"), _Tribute for the Masses_ is a great tribute 
album. It keeps  true to the original concept of the band that it 
pays honor to by employing a variety of different forms and artists. 
And even when it doesn't work that well (Veruca Salt's version of 
"Somebody"), it still works pretty damn fine. Of course, it helps 
to have great source material to start with.
---
	REVIEW: Grant Lee Buffalo, _Jubilee_ (Slash/Warner Bros.)
		- Scott Slonaker
	After the departure of original bassist and producer Paul 
Kimble following Grant Lee Buffalo's third album, 1996's 
_Copperopolis_, I must admit that I was not very optimistic about 
the band's chances for survival; Kimble seemed to be the master 
conceptualist behind the band.  After the kinks were worked out in 
1993's embryonic _Fuzzy_, his vision was largely responsible for the 
fascinating concept album _Mighty Joe Moon_ (1994).  Despite a minor 
radio hit ("Mockingbirds"), both _Moon_ and the dense if eventually 
rewarding _Copperopolis_ kept GLB at cult status.  So, it was with a 
heavy heart that I read of Kimble's departure.
	But Grant Lee Buffalo, thanks to frontman Grant Lee Phillips, 
soldiered on, and it's a good thing they did.  _Jubilee_ manages to 
retain every iota of the band's unique aesthetic, and the appointment 
of an outside producer, Paul Fox, results in a finely crafted pop 
sheen that adds worlds of accessibility.
	Phillips might be the greatest singer in modern rock today.  
His voice can soar from a husky Neil Diamond croon to an angelic 
falsetto in a heartbeat, and the translucent sheets of art-rock 
guitar that accompany his voice provide many a moment of catharsis.  
Drummer Joey Peters and new bassist Dan Rothschild (ex-Tonic) are as 
steady as can be, adding to what almost constitutes a Spectorian wall 
of sound.
	The first five tracks are without peer; every last one possesses 
a drop-dead falsetto vocal hook that would make Brian Wilson smiley 
smile.  "APB" rattles the speakers like any good rock tune can.  
"Seconds" has a folkish feel.  The first single, "Truly, Truly", 
dispenses with the normal college-literate bent of Phillips' lyrics 
for a straight-out attempt at seduction.  No wonder it's been a 
perfect fit at the increasingly female-targeted modern rock radio 
format.  The Wallflowers' Rami Jaffee supplies B3 organ on the churchly 
"Testimony", one of the record's best tracks.
	From there, _Jubilee_ spreads out a bit.  The twangy, 
country-campfire title track is certainly different from what we usually 
hear from the band.  Singer/songwriter/professional eccentric Robyn 
Hitchcock adds vocals on "My, My, My" and "The Shallow End".Pop gremlin 
Jon Brion, late of Jellyfish, shows up all over, adding flavoring 
ranging from vibraphone to chamberlain to tack piano to the '70s 
children's toy called the Optigan(!).  The album's second half seems 
content with experimenting with the rustic half of the band's 
aesthetic.  Greg Leisz, who has worked with a variety of acts, adds 
pedal steel here and there. 
	_Jubilee_'s newfound accessibility makes it the best place to 
get acquainted with one of America's best and most underrated rock 
bands. No other band is modern music quite walks the line between 
"Americana" acts such as Wilco and Whiskeytown and mods in the vein 
of Smashing Pumpkins and Radiohead.  Without a doubt, another for the 
Best of 1998 listings.
---
	REVIEW: Bela Fleck and the Flecktones, _Left of Cool_ (Warner)
		- Lang Whitaker
	Bela Fleck and the Flecktones make jazz music for people who 
don't like jazz music. Fusing together spare parts and leftover bits 
of funk, jazz, country, bluegrass, pop, and rock, Fleck and his 
'tones have been charming serious music fans for years. Unfortunately 
(for them), they've never been able to garner much mainstream acclaim.
	To remedy things, Fleck grabbed his banjo and brought along 
the Flecktones (who consist of bassist Victor Wooten and drum machine 
operator Future Man) and went out on tour opening for Dave Matthews 
Band, even the joining DMB onstage during several shows. Fleck even 
guests on the latest overblown release from DMB, _Before These 
Crowded Streets_.
	Banjoist Fleck and bassist Wooten are each preeminent in 
their fields. On this album they each play like, well, like only 
they can play. Wooten provides tundras of room for Fleck to rumble 
across with his cascading banjo work. Behind it all sits Future Man 
tapping away on his, "drumitar," a drum machine converted into a 
guitar-like apparatus that essentially allows Future Man (who is 
actually the brother of Victor) to play a drum machine like some 
play a drum kit. What is so surprising about the drumitar is Future 
Man's nimbleness on it. It's virtually impossible to tell that it's 
being played live, yet it lacks the canned sap of a programmed loop.
	The opening track off _Left of Cool_ is, "Throwdown at the 
Hoedown," a romp built around what sounds like the remnants of the 
Inspector Gadget theme. Fleck calls on Dave Matthews to contribute 
the vocal equivalent of loitering on, "Communication," and on, 
"Trouble and Strife." The latter is possibly the best opportunity 
for Bela and the 'tones to break through to radio, not only because 
of Matthews' golden touch, but also because it holds the same innate 
sense of melody that the most Fleck songs have. Amy Grant also turns 
up to bolster Royel on, "Step Quiet."
	Even on the heels of a Grammy win in 1997 (best pop 
performance for, "The Sinister Minister"), Fleck isn't afraid to 
tinker with a winning formula. Such is the genius of the master.
        For the first time, vocals play a major part in the Flecktone 
recipe. The idiosyncratic Future Man sings or speaks on eight of the 
fifteen tracks, although he is listed as vocalist under the 
pseudonym, "Royel." While his singing doesn't measure up to his 
vocal prowess, neither does he embarrass himself. To aid, "Royel," 
guest vocalists are entailed. There is also a new Flecktone in the 
mix, Jeff Coffin, who plays saxophone, saxello, clarinet, and flute. 
While the Flecktones were initially a 4-piece band, their original 
keyboardist/harmonica player left the band in 1992, and the band 
soldiered on as a three piece. Coffin's playing adds a life and 
sparkle to the band's sound, which was tight yet a tiny bit 
monotonous as a trio.
        Unfortunately, there are those that feel a band's musical 
credibility is predicated upon their commercial success. And George 
Michael isn't gay, he's just well kept. As long as musicians the 
caliber of Fleck and the Wooten brothers continue meeting up in 
recording studios, I'll be happy.
---
	REVIEW: Pete Droge, _Spacey And Shakin_ (57 Records/Epic)
		- Bill Holmes
	Pete Droge continues to shine with his latest release, and 
although there's nothing here to capture programmer's ears like "If 
You Don't Love Me I'll Kill Myself", there's southern soul rock a 
plenty for those of us with two good ones.
	Droge still sounds uncannily like Tom Petty, and it wouldn't 
be unfair to compare some of his vibe to early Heartbreakers stuff. 
Hell, Tom Petty looked no further than The Byrds for inspiration, 
and if you can't sift "Eight Miles High" out of "Evan's Radio" 
you're not doing your homework. There's almost a psychedelic flavor 
to many of the tracks here, keyboards helping to shape the aural 
essence of the title track and "Eyes On The Ceiling". But the 
straight ahead rockers like "Motorkid" and the slower, blues-tinged 
tracks like "I Want To Go Away" and "Walking By My Side" are equally 
effective. The band is flexible and tasty throughout, with guitarist 
Pete Stroud's textural work a standout. And you can be sure producer 
Brendan O'Brien did yeoman work on both sides of the studio glass.
	Unless you live in an area blessed by wide bandwidth radio, 
you're probably not going to hear this unless you grab your own copy 
or catch the band on tour. That's not Pete's fault. Give a listen to 
an artist who just keeps getting better. (And a bonus for those of 
you with enhanced CDROM capabilities - videos galore!)
---
	INTERVIEW: Bic Runga
		- Bob Gajarsky
	At the tender age of 19, she was signed to her first recording 
contract.  By the time she had turned 21, she had three top 10 hits in 
her native New Zealand and had written every song, played an assortment 
of instruments and produced her debut album _Drive_ (Columbia).  Yet 
through it all, Bic Runga manages to keep an even spin on things.
	"When I had my first top 10 single ("Drive"), I was still 
working in a shoe shop," recalls Runga.  "The public in New Zealand 
didn't realise how little money there was in music; when they saw me 
on the bus (and in the shop), there was some confusion about me.
However, the humble start is good for the soul and ego."
	It's from those simple beginnings that Runga's debut album 
rings true.  In an era of overblown productions, the simplicity 
of the song "Drive" is truly a welcome delight.  Other key tracks 
such as the lilting first single "Sway", "Suddenly Strange" and 
"Bursting Through" are nearly acoustic - thus her placing on that 
set during this summer's Lilith Fair tour - choosing to highlight 
Runga's voice instead of letting the instruments do the talking.
	"My instincts told me this album had to be about 
songwriting," remembers Runga, who confesses that she writes much of 
her music in the car, "and to achieve that, everything else had 
to be sparse."
	A list of her favorite artists - including Radiohead, 
Portishead, Depeche Mode, the Smiths and Grant Lee Buffalo - 
isn't too much like Runga's music (except for the Radiohead-influenced 
"Hey"), which is sort of a Julee Cruise meets Jewel vocals 
tested to its limits.  But there is one common thread from these 
artists, which Runga herself hopes to emulate -  "all those 
groups have strong songwriters behind them".
	One of the songs which wasn't a single in New Zealand 
is "Sorry".  Runga comes off as a Michelle Shocked fronting R.E.M. 
on this surprising upbeat rocker about people who apologise for 
all their mistakes.
	"The word sorry is not one that I have mastered; it was 
not a word I often heard in my household," states Runga in a 
matter-of-fact fashion.  "My mother is of the attitude that the 
word doesn't make things better. If you do something you have 
to apologise for, why did you do it in the first place?"
	Runga's spot on the Lilith Fair could offer her the chance 
to make some kind of political sentiments.  But she shows an 
attitude far beyond her years, and wisely chooses to leave this 
bantering to others: "My music is not in the slightest bit 
political. It is personal and sincere; simple almost to the point 
of naivete.  I have a lot of growing up to do before I start 
preaching to others about what they should do."
	And though Runga is sharing the dressing rooms with some 
of today's top women of rock, Runga is hopeful that the mix which 
forms today's Lilith Fair can be taken further.  "It's brilliant 
that women are coming to the forefront of music," she notes, "The 
next step is for these women to be recognized as individuals, 
and not be lumped together.  After all, Eryakh Badu is nothing 
like Jewel."
	With an impressive debut record such as _Drive_ and a 
fair full of fans to whom she can speak, Bic Runga has an 
opportunity to duplicate the success of her native New 
Zealand here in the U.S.  And with a little luck, those days in 
the shoe shop can linger as memories of days long gone by...
---
	REVIEW: Brian Setzer Orchestra, _The Dirty Boogie_ (Interscope) / 
		Live At Bogart's, Cincinnati, OH
		- Scott Slonaker
	The Brian Setzer Orchestra is what rock would sound like today 
if the Beatles and everything after them never happened and the '90s 
had only the landmarks of '50s rockabilly, jump blues, and WWII-era big 
band swing from which to draw.  Equipped with a 17-piece backing band, 
ex-Stray Cat Setzer has explored that "what if?" possibility for three 
albums.
	The BSO's eponymous 1994 debut was largely laid-back and jazzy, 
more Sinatra than Cochran.  1996's supercharged _Guitar Slinger_ did a 
180 in grand style, positively bursting with Setzer's manic Stray 
Cats-on-Viagra licks and the Orchestra's ear-splitting brass blasts.  
_The Dirty Boogie_ falls somewhere between the two extremes in tempo, 
but producer Peter Collins opts for a more "vintage" feel, toning down 
the Really Big Horn Rock aspect and making the record sound more like 
its influences instead of an update of them.
	As before, Setzer does about half covers and half originals.  
Usually, the best thing that can be said about his original tunes is 
that the lyrics' frequent anachronisms make them blend in pretty well 
with the classics (not a rip).  The opener, "This Cat's On a Hot Tin 
Roof", the title track, and "Let's Live It Up" all hold their own 
alongside versions of chestnuts such as "This Old House", "Since I 
Don't Have You", and even a retooling of Brian's own "Rock This Town" 
(a live staple for years).
	Setzer paid tribute to one of his prime inspirations, the 
legendary Louis Prima, quite nicely on _Guitar Slinger_'s "Hey, Louis 
Prima". Here, though, he and the boys outdo themselves with a 
flawless, reverent rendition of Prima's "Jump Jive An' Wail", the 
gem of the record.  It may not actually be the original (currently 
featured in a Gap commercial), but it's damn fine anyway.              
	Unfortunately, _The Dirty Boogie_ seriously loses steam 
through much of its second half.  A duet of Leiber/Stoller's 
deservedly obscure "You're The Boss" (originally done by Elvis and 
Ann-Margret- 'nuff said) with No Doubt's Gwen Stefani is cute, even 
charming, but not much can hide the song's glaring lyrical stupidity.  
Another Leiber/Stoller tune, "Nosey Joe", should have also remained 
forgotten.  Setzer's own "Hollywood Nocturne" tries vainly to be a 
loungy torch ballad, but ends up a snore.  (Try looking back to the 
gorgeous "September Skies" from the first album for a good slow 
tune.) Setzer's shortcomings as a singer all seem to surface 
simultaneously on the last track, a surprisingly flat version of 
Bobby Darin's "As Long As I'm Singin'".
	_The Dirty Boogie_ may be the weakest of the Brian Setzer 
Orchestra's three albums, but that doesn't mean that it doesn't 
contain several fine additions to the band's visionary revivalist 
canon.

	The Orchestra's recent show at Bogart's in Cincinnati was 
my second BSO extravaganza.  The crowd on hand was much larger and 
younger than last year's, which goes to show what a difference can 
be made when a certain style of music hits a spike in popularity.  
	Aside from the addition of much of _The Dirty Boogie_ to the 
setlist and the corresponding deletion of just about everything from 
_Brian Setzer Orchestra_ (boo!), the show remained largely unchanged.  
The Orchestra's fourteen horns (five saxophones, four trumpets, four 
trombones) all have swanky matching purple music stands adorned with 
the equally swanky BSO logo, which skillfully incorporates a martini 
glass and olive. (I bought a T-shirt at last year's show because of 
that logo.)  Unfortunately, MTV Beach House-refugee statues ("I am 
the Mighty Beach House Tiki God!") remained scattered across the 
stage.
	Aside from the contradictory stage decor, the Orchestra 
remains one of the greatest show bands in modern music.  Setzer 
looked and acted as though he was having the time of his life, and 
took frequent pauses between or during songs to cut loose with 
solos on a variety of vintage guitars.  The songs from _Guitar 
Slinger_ sounded wonderfully classic, with Setzer's downright 
possessed lead on "(The Legend Of) Johnny Kool" earning special 
mention.  Regrettably left behind was the version of "Town Without 
Pity", my personal favorite.  "You're The Boss", "Nosey Joe", and 
"Hollywood Nocturne" were also left out, so that made the omission 
of "Pity" a fair enough trade.
	Setzer tossed in "Stray Cat Strut" (complete with a 
transition to the "Pink Panther" theme in the middle) alongside 
"Rock This Town", which earned the biggest pop of the evening from 
the kids.  I was disappointed he didn't end the show crooning "My 
Way" like before, which in this year's context would have been a 
fitting tribute to the Chairman of the Board himself.  Oh, well.  
For all my quibbling, the world's loudest swing band is without 
peer in a live club setting, and gives their songs life that is 
unattainable on record.  Don't miss 'em.
---
	CONCERT REVIEW - Loud Family, TT The Bear's/Boston
		- Chelsea Spear
	After producing a challenging musical epic in the form 
of _Interbabe Concern_, smart popster Scott Miller unleashed a 
more streamlined pop vision for 1998 in the form of his band - 
the Loud Family - on their latest album, _Days for Days_ (Alias).  
The question remained -- how would this vehicle for pop songs 
that moved your cerebral cortex as surely as they shook your 
ass translate on stage?
	The answer beautifully manifested itself on a hot 
summer night inside a cavernous night club just outside 
Boston's city limits.  Not surprisingly, the new songs 
acclimated themselves well outside the studio, given the band's 
more organic, live-in-the-studio approach with _Days_.  Even the 
between-song bits on the album were given new life on stage, 
coming out from their role of providing the previous track with 
a new perspective to become full-fledged, if short, tunes.  The 
band instead took its trademark off-kilter approach to 
reinterpreting their back catalouge, including a drastically 
reinvented version of "Sword Swallower" from their first album, 
whose loping beat and call-and-response backup vocals suggested 
a Pavement influence.  The presence of new keyboardist and 
backup vocalist Alison Faith Levy promised further archival 
treats, including a souped-up version of "Here It Is Tomorrow" 
and an energetic rendition of "Room For One More, Honey".
	Indeed, "energetic" could have been the password for the 
evening.  The band had presence to spare, and their enthusiasm 
about playing and passion for the music they make was infectious.  
Miller's nerdy-boy-as-rock-star approach to the role of frontman 
seemed to be a role many of the earnest indie-boys in the 
audience would love to play, but he backed up his arena-dude 
posing with substance and craft to spare.   Levy's presence was 
also welcome -- her go-go dancing behind the keyboard brought a 
smile to many audience members' faces, and probably launched a 
thousand crushes.  The band as a whole were tight and cohesive, 
doing justice to the songs' tricky arrangements  and bringing 
them into a glorious new light.
	Local popsters the Pills opened the show with their 
retro-melodic thing.  Their tunes are catchier than the bubonic 
plague, their lyrics dumb fun, their stage presence amusing and 
enthusiastic, and their haircuts cool.  Certainly they seem 
excited about what they do in a very genuine way, as opposed 
to the smug stage personas of fellow power-pop acts Bunnygrunt 
and the Push Kings, but their music isn't interesting enough to 
warrant as more than sonic wallpaper.
---
	COMPILATION 80s REVIEWS: _Sedated In The 80s No. 5_ / 
		_Wedding Singer Volume 2_ / _Chart Toppers_ series
		- Bob Gajarsky
	The latest volume of the _Sedated In The 80s No. 
5_ (Capitol) series again returns the focus to singles, 
rather than B-sides and live versions which graced Volume 4. 
Represented by most of the cool genres - power pop (The Kings 
and Dwight Twilley), underground (Josie Cotton, Pato Banton), 
alternative (Concrete Blonde, Patti Smith), alterna-pop 
(Tears For Fears, Crowded House) and the tough-on-CD (Russ 
Ballard's "The Fire Still Burns") - _Sedated_ manages to 
cover many of the bases in an already crowded field of 
reissues.
	Breaking no new ground is _The Wedding Singer Volume 2_.  
While the first volume of this series focused on the bigger 
hits from the movie - and thus was probably *not* essential 
to hardcore 80s fans - it still provided an excellent vehicle 
for passive music fans to complement their music collection.  
Volume 2 unfortunately offers up only one 'difficult' track, 
the Flying Lizards' cover of "Money", which inevitably won't 
fit the demographics of the probably purchaser.  The artists 
chosen here, for the most part, are fine - but if going for 
the lowest common denominator 80s hits, why choose 'lesser' 
big hits?
	It will still sell well, but doesn't provide the same 
type of value for your money as volume 1.
	The Priority label has also joined in the reissues 
with several individual discs associated by the 'chart 
toppers' name.  These discs, broken down by musical 
category, offer a mixed bag of readily-available tracks.
	The Modern Rock volumes (1 and 2) offer a selection 
of music which best stands the test of time.  Common 
cuts (Culture Club, Robert Palmer) combined with well-known, 
but more difficult tracks (After The Fire, Bronski Beat) to
provide listeners (in anywhere but Los Angeles) the music 
opportunity to compete with their local radio stations' 
Flashback lunch hour.
	The line between modern rock and rock is blurred in 
many fans' eyes, and indeed is blurred on the Rock Hits 
collection.  Nearly half the acts featured here would be 
included in many of those flashback 'alternative' hours, 
and it's interesting to see how many of the cuts included 
here - including REO Speedwagon's "Keep On Loving You" and 
Rick Springfield's "Jessie's Girl" - are among the songs 
which have lasted the longest in the musical archives.
	The Priority series is best recommended for passive 
music collectors who have already purchased _The Wedding 
Singer_, part 1...

	SEDATED ARTISTS: Bow Wow Wow, Fine Young Cannibals, The 
Kings, Dwight Twilley, Concrete Blonde, Patti Smith Group, Russ 
Ballard, Motels, Divinyls, Josie Cotton, Dead or Alive, Pato 
Banton, Billy Idol, Tears For Fears, Crowded House

	WEDDING ARTISTS: Kajagoogoo, Cars, Spandau Ballet, 
B-52's, Flying Lizards, Dead Or Alive, Depeche Mode, J. Geils 
Band, Hall & Oates, Madonna, Adam Sandler

	CHART TOPPERS: Modern Rock Volume 1 - INXS, Flock of 
Seagulls, Bow Wow Wow, Psychedelic Furs, Culture Club, Men At 
Work, Fixx, Church, Bangles, After The Fire, Living Colour, 
Nena, XTC, Til Tuesday, Something About You
	Modern Rock Volume 2 - Modern English, Plimsouls, 
Big Country, Icicle Works, Bronski Beat, Bananarama, ABC, 
Power Station, Tears For Fears, Romeo Void, Robert Palmer, 
Oingo Boingo, Timbuk 3, World Party, Michael Penn
	Rock Hits - Eurythmics, Tears For Fears, Fixx, Madness, 
Wang Chung, Stray Cats, Eddie Money / Ronnie Spector, 
Hooters, Gary Numan, Crowded House, Hall & Oates, REO 
Speedwagon, Rick Springfield, The Call, Styx
---
	REVIEW: Fear Factory, _Obsolete_ (RoadRunner)
		- Sean Eric McGill
	I like being surprised by the new music I hear. I like it 
when something completely throws me and goes places I didn't think 
it would. Obsolete, the third full-length album from Fear Factory 
does that in a number of ways.  The album alternates between 
full-froth head-banging to smooth grooves, and yes - even a full 
eleven-piece orchestra - usually within one song.
	Fear Factory is one of a handful of bands that truly has 
its own distinctive sound. When you hear a Fear Factory song, you 
know it, and that's probably the biggest key to the success of 
Obsolete. While songs like "Hi-Tech Hate" are fairly straightforward 
cranium-banging fests, and "Timelessness" (which features the 
eleven-piece Vancouver Chamber Ensemble) are both distinctively 
Fear Factory.
	Part of it is the lyrical delivery of Burton C. Bell, who 
can be smooth and melodic one moment, and delivering lines with 
all the subtlety of a sledgehammer the next.  More than any other 
track, "Resurrection" sums up the album better than any other. After 
working on smooth melodies for about the first minute, the song 
kicks in - and if you're not ready for it, it'll throw you hard. 
Before long, Bell and the remainder of the band are not just 
switching the sound from soft to hard between verses, it's between 
measures. And that's the Fear Factory sound. Just when you think 
it's going in one direction, it goes in another, while never 
straying away from the core, which is fairly straight-forward 
heavy rock.
	"The concept of this record is that man is obsolete," says 
Bell, so who better to produce the album than Rhys Fulber, whose 
past resume includes previous stints with Front Line Assembly and 
now with Delirium, Intermix, and Will? Fulber, who also produced 
the band's 1992 remix album, _Fear Is the Mind-Killer_ , once 
again shows his ability to bridge the gap between hard rock and 
industrial. The album really does have a predominately mechanical 
sound to it, especially from the drums of Raymond Herrera, which 
at times resemble loops with their speed. At a time when a lot of 
bands and artists either dabble in one genre or the other (I fully 
expect a techo Puff Daddy song by the end of the year), it's truly 
interesting to hear when a group nails it dead on and still manages 
to put their own distinctive stamp to it. This isn't a Ministry 
album, nor a Nine Inch Nails album - it's a Fear Factory album.
---
	REVIEW: Nils Lofgren, _Acoustic Live_ (Right Stuff)
		- Linda Scott
	Rock guitarist Nils Lofgren has been working professionally 
for just over thirty years.  He's performed solo and at other times 
as an amazing sideman for rock kings like Neil Young, Bruce 
Springsteen, Rod Stewart, and Ringo Starr.  His reputation and 
real genius are generally accepted as being a key guitarist for 
other artists rather than his solo forays.  Still, Lofgren likes 
the role of singer-songwriter-guitarist, and he gives solo work 
another shot on _Acoustic Live_.
	_Acoustic Live_ was recorded at Barnes of Wolftrap in Vienna, 
Virginia on January 18, 1997.  This sound recording is exceptional.  
Lofgren is accompanied by brother Tom on piano and synth, guitar, 
vocals.  Paul Bell also does guitar work and backing vocals.  Two 
more Lofgren brothers, Michael and Mark, make backing vocal and 
guitar contributions as well.  Lofgren fans will recognize quite 
a few of the 17 tracks including his classic "Keith Don't Go" which 
was written for Keith Richards.  Six new songs are included, and all 
17 were written by Lofgren.  He's a gifted songwriter, and the 
acoustic musical setting makes it possible to hear and enjoy every 
line.  The lyrics have a heartfelt, universal appeal similar to 
Springsteen's and Young's.  There are some rockers and some ballads - 
and there are some real jewels.  The music is sweet and tender and 
complements Lofgren's strong tenor.  In short, _Acoustic Live_ is 
for the longtime Lofgren fan and those looking for an excellent 
acoustic rock guitar album.
	Nils Lofgren had his big break when Neil Young picked him up 
for a couple of albums and tours, has since gone on to play in 
Springsteen's E Street Band and was one of Ringo's All Starr Band and 
is now known as a flash guitarist who even played jumping on a 
trampoline.  But between these gigs, he has always gone back to solo 
work even though this overall has not be a very successful area for 
him.  _Acoustic Live_ is his latest solo, and it's one he can be proud 
of.  Lofgren has launched a tour in support of the album, and the tour 
schedule is available on his web site: http://www.rockhouse.com/nils/
---
	REVIEW: Jupiter Coyote, _Here Be Dragons_ (Autonomous/Roadrunner)
		- Sean Eric McGill
	Ten years ago, the concept of a band selling 100,000 copies 
of their album without a major record company contract was virtually 
unheard of. But as technology (most notably the Internet) has 
advanced, it's become easier for a band to find ways to sell their 
product. Of course, playing live doesn't hurt, either, and that seems 
to be the preferred method for Jupiter Coyote.  The Macon, GA-based 
five-piece has (according to their press materials) been on the road 
for the past five years, selling albums and forming "a legion of 
staunch supporters and a doggedly loyal fanbase".
	It's not hard to see how. With a sound that falls somewhere 
between Hootie and the Blowfish and the Dave Matthews Band, Jupiter 
Coyote play a form of infectious beer-drinking guitar rock that makes 
it impossible for you not to at least bob your head in time with the 
music. This is music that was designed with live performance in mind, 
with most of the best tracks clocking in at over six minute each, 
giving the album a sort of recorded jam feeling. 
	And while the title refers to a nautical designation for 
uncharted land, Jupiter Coyote don't really chart any new territory 
themselves, but that's not a detriment to the album by a long shot. 
But that isn't to say there's nothing original going on here, either. 
Matt Mayes' "guijo" - what seems to be a Stratacaster body with a 
banjo neck invented by Mayes - does give the album a unique sound 
in the guitar department.
	And anyone who has read their fair share of my reviews in 
Consumable knows what a stickler I am for songwriting - which is 
something that Jupiter Coyote does a damn good job of doing. Songs 
like "Words" and "Better" are finely crafted rock songs, as are 
the remainder of the songs on the album. 
	_Here Be Dragons_ is a well-made rock 'n roll album, and 
perhaps the perfect album to start off the summer with. Unless, 
of course, you plan on spending your summer dressed in black or 
locked in your room playing whatever new videogame comes down the 
pike this summer. As for me, I'll be at the ballpark having a beer.
---
	REVIEW: Mr. Henry, _Jackhammer_ (Mighty Hudson Music)
		- Daniel Aloi
	New York City has, believe it or not, a thriving country rock 
scene, anchored by folks like Greg Garing, Y'All (soon heading for 
Nashville, alas) and The Hangdogs. A recent Twangcore II festival 
(July 10-11 at Coney Island High) showcased some of the city's best 
as well as out-of-towners like Cheri Knight, Tim Carroll and Drive By 
Truckers.
	Playing in a handful of their regular clubs and putting out 
music on their own indie labels, a number of these NYC acts weld 
rural musical traditions with more modern forms like punk (Lancaster 
County Prison immediately pogos to mind) and Southern rock. The 
latter is one of the pistons that drives Mr. Henry's engine, 
although the band is closer to the pop roots of Big Star than it 
is to either the Allmans or R.E.M.
	New York-based Mr. Henry has raised its profile with its 
second album, _Jackhammer,_ taking out full-page ads in No 
Depression magazine ("12 songs, 64,244 miles later") reflecting 
heavy touring and showcases from Austin to Toronto.
	Moving and jangly and melodic, Mr. Henry walks a tightrope 
between alt-country and modern rock, filtered through roots rock 
akin to that of The Badlees and Hootie and the Blowfish. They might 
work with a net -- the songs have hooks aplenty --  but they don't 
fall.
	The songs on _Jackhammer,_  accessible as they are, run deeper 
than mere FM radio fodder. The songs are honest on an emotional level 
few acts in modern rock can attain -- that's a large part of the 
band's appeal to the No Depression crowd. The four-piece band is 
also tight, integrating pop and roots influences into something 
unmistakably contemporary, and in many ways all their own.
	"Lonesome Bus" and "Mess" exemplify main songwriter Dave 
Slomin's talent for conciseness, crystallizing critical moments 
in hit-and-miss relationships. He practically has a genre unto 
himself, reluctant rocking on the edge of leaving. Slomin is 
recently married, but I don't think he'll lose that edge.
	From what I know of him he's quite a happy guy -- and in 
person, offstage, he almost belies his songwriter's persona, that 
of a romantic dwelling in love's shadowy corners.
	His best song here may "Valentino Dancing," about a woman 
cataloging the qualities of her ideal man, with a very seductive 
arrangement that underscores her emotional wanting, needing, hoping. 
It's one of four songs here produced by Niko Bolas.
	And in "Herkimer," Slomin sings about the other New York, 
the rural upstate region "a hundred miles from in between," mostly 
unknown to the city and the rest of the country. And like any home, 
it's difficult to leave. He's itching to go, but he's torn too, 
playing off the image of spinning out of a driveway on a snowy March 
day: "There's no traction in this town/Don't know what keeps me here."
	Guitarist Steve Conte takes the lead on his two songs, "Big 
Fat Stars and Glue" and "Rock & Rye Queen," cowritten with Karen Zusman 
(Slomin and Conte also share music credits on several songs). Both 
tracks convey damaged romance with poetic images -- "cicada songs in 
your hair," "In her eyes were fadin' stars" -- and they neatly 
complement Slomin's more compact narratives. The only thing possibly 
keeping Mr. Henry off of commercial radio may be their lack of a major 
label deal (provided they even want one -- if so, it should be the 
RIGHT deal). They have the goods, as much as any of their heroes or 
contemporaries.
	Here's a concept -- America needs a real roots rock tour. How 
about a "No Last Names" package with Mr. Henry, Parlor James, Sister 
Hazel, Moonshine Willy, Lonesome Bob, Oh Susanna and Farmer Not So 
John, etc. It could be the next semi-big thing, a real y'all-a-palooza, 
giving a fair shake to these acts (the criminally underrated Bonepony, 
who have kicked this idea around themselves, could have benefited 
bigtime) and doing what Lilith Fair and HORDE have done for others.
	Mr. Henry's albums are available on the Internet (go to 
http://mrhenry.com, or e-mail hank@mrhenry.com) or from Miles of 
Music (888/766-8742 orMilesOMusc@aol.com).
--- 
NEWS:	> The 90 minute season-ending episode of Reverb, HBO's 
late-night concert/music show, will air on August 7 at 1230 EST/PST. 
Taped at Vancouver's Thunderbird Stadium, the concert includes 
one hour of Green Day playing their hits including "Welcome 
To Paradise", "Geek Stink Breath", "When I Come Around" and 
"Good Riddance"; brief interviews with Billie Joe, and even 
bringing a fan up to play guitar during the set and then 
having him dive back into the crowd.  The Foo Fighters are also 
featured in a half hour set.  For further information on the 
Reverb series, check out the cable channel's web page at 
http://www.hbo.com
	> Sublime's lead singer Brad may no longer be with us, 
but the band's histry has been explored by director Joshua 
Fischel on the two hour videotape, _Stories Tales Lies and 
Exaggerations_, which features interviews with numerous friends 
and associates of Sublime, rare live footage, and behind-the
scenes footage of the Sublime recording process.
	> Toad the Wet Sprocket have officially called it a day. 
Citing emerging differences among their four members, lead 
singer Glen Phillips stated that "We came together as kids but 
have grown in different directions as adults.  By ending the 
band now we can look back on our career together with a 
sense of pride and pleasure."  Expect all four members of 
Toad to continue making music in future projects.
 	> Legendary English band XTC has recently signed with 
TVT Records.  The band's first studio album since 1992's 
_Nonesuch_, a mixture of orchestral and acoustic melodies along 
with the band's special lyrical content, is slated to be issued 
in the first quarter of 1999.  A second album, more in the 
tradition of XTC pop, will be issued in the fall. 
---
TOUR DATES:
	Tori Amos
Aug. 6 Canandaigua, NY Finger Lakes P.A.C.
Aug. 8 Washington, DC MCI Center
Aug. 11 Richmond, VA Landmark Theatre
Aug. 12 Charlotte, NC Ovens Auditorium
Aug. 14 Birmingham, AL Birm.-Jefferson Coliseum
Aug. 15 Knoxville, TN Thompson-Boling Arena

	Bauhaus
Aug. 13-14 Seattle, WA Moore Theatre
Aug. 15 Vancouver, BC Queen Elizabeth Theatre

	Beastie Boys / Tribe Called Quest
Aug. 7 Kansas City, MO Kemper Arena 
Aug. 8 St. Louis, MO Kiel Arena 
Aug. 10 Minneapolis, MN Target Center 
Aug. 11 Milwaukee, WI Mecca Arena 
Aug. 12 Chicago, IL Rosemont Horizon 
Aug. 14 Cleveland, OH Convocation Center 
Aug. 15 Toronto, ONT Molson Park 

	B 52's / Pretenders / Royal Crown Revue
Aug. 7 Chula Vista, CA Coors Amphitheatre
Aug. 8 Las Vegas, NV MGM Grand Garden
Aug. 9 Mountain View, CA Shoreline Amphitheatre
Aug. 10 Reno, NV Reno Hilton Amph.
Aug. 14 George, WA Gorge
Aug. 15 Portland, OR River Queen Showplace

	Blink 182
Aug. 6 Boise, ID Skateworld
Aug. 7 Spokane, WA Playfair Race Track
Aug. 9 Pocatello, ID Bannock Fairgrounds
Aug. 11 Salt Lake City, UT Wasatech Events Center
Aug. 12 Denver, CO Ogden Theatre
Aug. 13 Boulder, CO Boulder Theatre
Aug. 14 Lawrence, KS Liberty Hall
Aug. 15 St. Louis, MO Galaxy

	Blue Oyster Cult
Aug. 6 Medina, MN Medina Entertainment Center
Aug. 7 Chicago, IL Skyline Stage
Aug. 8 Maryland Heights, MO Riverport Amphitheatre
Aug. 9 Bonner Springs, KS Sandstone Amphitheatre
Aug. 11 Clarkston, MI Pine Knob Music Theatre

	John Cale / Creatures
Aug. 5-6 New York, NY LIFE

	Culture Club / Human League / Howard Jones
Aug. 6 Wallingford, CT Oakdale Theater
Aug. 7 Mansfield, MA Harborlights
Aug. 8 Port Jervis, NY New Hope Farms
Aug. 10 Saratoga Springs, NY Saratoga Springs Arts Center
Aug. 12 Clarkston, MI Pine Knob Music Theater
Aug. 13 Indianapolis, IN Market Square Arena
Aug. 14 Burgettstown, PA Coca Cola Star Lake Amph
Aug. 15 Rosemont, IL Rosemont Horizon

	Dakota Moon
Aug. 6 Arlington, VA Fashion Ctr @Pentagon City
Aug. 8 Knoxville, TN West Town Mall
Aug. 9 Jacksonville, FL The Avenues
Aug. 11 Orange Park, FL Orange Park Mall
Aug. 12 Orlando, FL Florida Mall
Aug. 13 Clearwater, FL Countryside Mall
Aug. 14 New Orleans, LA New Orleans Centre
Aug. 15 San Antonio, TX Ingram Park Mall

	Front 242
Aug. 6 Jacksonville, FL Milk Bar
Aug. 7 Atlanta, GA Roxy
Aug. 8 Charlotte, NC Tremont Music Hall
Aug. 9 Washington, DC 9:30 Club
Aug. 11 Philadelphia, PA Trocadero
Aug. 12 New York City, Irving Plaza 

	Nanci Griffith 
Aug. 8 Newport, RI Fort Adams State Park 
Aug. 9 Saratoga Springs, NY Performing Arts Ctr. 
Aug. 15 Raleigh, NC Walnut Creek Amph. 

	HORDE Tour (Blues Traveler, Barenaked Ladies, Alana 
Davis, Ben Harper, and many others)
Aug. 7 Buffalo, NY Darien Lakes 
Aug. 8 Camden, NJ Blockbuster Pav. 
Aug. 11 Virginia Beach, VA GTE Amph. 
Aug. 12 Raleigh, NC Walnut Creek Amph. 
Aug. 14 Antioch, TN Starwood Amph. 
Aug. 15 Charlotte, NC Blockbuster Pav. 

	Irving Plaza (http://www.irvingplaza.com - New York concert hall)
Aug. 11 Grant Lee Buffalo
Aug. 12 Front 242

	K's Choice
Aug. 6 Chicago, IL Metro
Aug. 7 Indianapolis, IN World Mardi Gras
Aug. 8 Pontiac, MI 7th House
Aug. 10 Columbus, OH Ludlows
Aug. 11 Cincinnati, OH Bogart's
Aug. 12 Pittsburgh, PA Metropol
Aug. 15 Philadelphia, PA Theater of Living Arts

	Lilith Fair Tour 
Aug. 6 Cleveland, OH Blossom Music Ctr. 
Aug. 8 Cincinnati, OH Riverbend Music Ctr. 
Aug. 9 Pittsburgh, PA Coca-Cola Star Lake Amph. 
Aug. 10 Hershey, PA Hershey Park 
Aug. 11 Mansfield, MA Great Woods Ctr. 

	Phish 
Aug. 6 Atlanta, GA Lakewood Amph. 
Aug. 7 Raleigh, NC Walnut Creek 
Aug. 8 Columbia, MD Merriweather Post Pav. 
Aug. 9 Virginia Beach, VA GTE Amph. 
Aug. 11 Burgettstown, PA Star Lake Amph. 
Aug. 12 Vernon, NY Vernon Downs 

	Phunk Junkeez / Clutch
Aug. 6 Pontiac, MI Clutch Cargos
Aug. 7 Cincinnati, OH Riverbend Amphitheatre
Aug. 8 Columbus, OH Newport Music Hall
Aug. 9 Cleveland, OH Odeon

	Bonnie Raitt / Jackson Browne
Aug. 9 Columbus, OH Polaris Amph. 
Aug. 10 Noblesville, IN Deer Creek Music Ctr. 
Aug. 11 Pittsburgh, PA I.C. Light Amph. 
Aug. 13 Holmdel, NJ PNC Bank Arts Ctr. 
Aug. 14 Wantagh, NY Jones Beach Amph. 

	Smokin' Groovies Tour (Public Enemy, Cypress Hill, 
Wyclef Jean, Busta Rhymes, Gangstarr and more).
Aug. 6 Houston, TX Astro Arena 
Aug. 7 Dallas, TX Starplex 
Aug. 8 Sandstone, KS Sandstone Amp. 
Aug. 9 Denver, CO Red Rocks 
Aug. 11 El Paso, TX County Coliseum 
Aug. 12 Phoenix, AZ Desert Sky 
Aug. 13-14 Universal City, CA Universal Amp. 
Aug. 15 San Diego, CA Coors Amp.  

	John Taylor
Aug. 6 Seattle, WA Fenix
Aug. 8 San Francisco, CA Slim's
Aug. 14 Hollywood, CA Hollywood Athletic Club
Aug. 15 Scottsdale, AZ Cajun House

	Verve
Aug. 5-6 New York, NY Hammerstein Ballroom 
Aug. 9 Houston, TX Aerial Theatere 
Aug. 11 Morrison, CO Red Rocks 
Aug. 14 Los Angeles, CA Arrowhead Pond 
Aug. 15 San Francisco, CA Bill Graham Civic Auditorium
---
THE READERS WRITE BACK!
	> While I agree entirely with your criticisms of Catatonia in the 
July 27 edition, the conclusion that "more than anything, the success of 
_International Velvet_ amplifies the dearth of good independent British 
groups" seems more than a little bizarre.
	Catatonia are a second-rate student indie band, no more and no 
less. I saw them opening for Pulp they looked very, very ordinary - 
particularly in comparison with Jarvis and co. Their success over here 
seems to be based on a couple of user-friendly tunes plus lead singer 
Cerys' status as media flavour of the month. Reading any more into it 
than that is a bit risky - since when has the Top 40 been an accurate 
reflection of the level of musical creativity in the country at large, 
either here or in the US?
	I reckon your UK correspondent should maybe get with the 
programme and send your way recent albums by the likes of Arnold, Hefner, 
Gomez, The Delgados, Six By Seven, Santa Cruz and, well, you get the 
picture. Some dearth.
	Still and all, nice magazine. - Regards, Andy B. 
---
Founded in August, 1993, Consumable Online is the oldest 
music reviews publication on the Internet.
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