== ISSUE 189 ====  CONSUMABLE ONLINE  ======== [October 12, 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, Franklin Johnson,  
                      Steve Kandell, Reto Koradi, Robin Lapid, Wes 
                      Long, Iain Kenneth 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

 Address all comments to staff@consumableonline.com ; subscription 
information is given at the end of this issue. 
==================================================================
	All articles in Consumable remain (C) copyright their author(s). 
Permission for re-publication in any form must be obtained from the 
editor.
==================================================================
                            .------------.
                            |  Contents  |
                            `------------'
REVIEW: Limp Bizkit, _Significant Other_ - Jason Cahill
REVIEW: Stereophonics, _Performance and Cocktails_ - Scott Slonaker
REVIEW: Ash, _Nu-Clear Sounds_ - Robin Lapid
REVIEW: Shack, _HMS Fable_ - Tim Kennedy
REVIEW: Various Artists, _Music For Our Mother Ocean 3_ - Andrew Duncan
INTERVIEW: Luke Slater (Part 2) - Krisjanis Gale
REVIEW: Various Artists, _Never Give In - A Tribute to Bad 
   Brains_ - Andrew Duncan
REVIEW: Ramones, _Hey Ho Let's Go! Anthology_ - Bob Gajarsky
REVIEW: Various Artists, _That 70's Show Jammin' Album_ / _That 70's Show 
   Rockin' Album_ - Don Share
REVIEW:  Various Artists, _Nowcore! The Punk Rock Evolution_ - Kerwin So
REVIEW: The Minders, _Cul-de-Sacs & Dead Ends_ - Robin Lapid
REVIEW: Bows, _Blush_ - Andrew Duncan
REVIEW: Oysterband, _Here I Stand_ - Chris Hill
REVIEW: Porcupine Tree, _Stupid Dream_ - Jon Steltenpohl
REVIEW: The Paladins, _Slippin' In_ - Daniel Aloi
REVIEW: Showoff, _The Hush_ - Michael Van Gorden
NEWS: Apples In Stereo, Pat Benatar
TOUR DATES: Agnostic Front, Anti Flag / Dropkick Murphys, Art of Noise, 
   Ben Folds Five / Fleming & John, Buzzcocks / Lunachicks / Down By Law, 
   Danzig, Del The Funky Homosapien & Casual, Ani DiFranco, DJ Shadow, 
   Johnny Dowd, Fastbacks, Ben Harper, Indigo Girls, Rickie Lee Jones, 
   Ben Lee, Len / Styles of Beyond, Live, Luscious Jackson, Minders, 
   Moby, Alanis Morissette, Tom Petty & Heartbreakers, Pietasters, 
   Pilfers & Spring Heeled Jack, Sheila Divine, Sisters of Mercy, 
   Stereo Total, Sally Taylor, Tonic / Goo Goo Dolls, Type O Negative, 
   Tom Waits, Robbie Williams
Back Issues of Consumable
---
	REVIEW: Limp Bizkit, _Significant Other_ (Flip/Interscope)
		- Jason Cahill
	When Limp Bizkit broke onto the music scene two years ago, they 
did so with a cover of George Michael's "Faith." An odd choice considering 
that Limp Bizkit were a band entrenched in the world of hard rock, 
complete with a "fuck you" attitude and a sound that would annoy even 
the coolest of neighbors. But one listen and you realize that Limp 
Bizkit's version of "Faith" was a different song entirely, and in the 
end they managed to do the impossible -- turn an otherwise crappy pop 
song into a hard rock anthem. No small task indeed, and even tougher to 
top -- or so we thought.
	Fast forward to the release of Limp Bizkit's sophomore effort, 
_Significant Other_, an album equal to the task of following up their 
impressive debut. The album is a perfect blend of hip-hop and hard rock, 
and the band manages to pull it all off without sacrificing credibility 
or originality.
	The album's first single, "Nookie," is perhaps the finest in a 
year otherwise devoid of anything memorable, and contains a chorus
 forever ingrained in the minds of every adolescent teen. "Break Stuff" 
is a song full of angst and anger, a call to arms which literally was 
the impetus for the trouble at this year's Woodstock festival. "Just Like 
This" is atypical of much on _Significant Other_, a blend of DJ Lethal's 
hip-hop beats with a hard rock edge. But perhaps the album's most mature 
and endearing track is also a promising sign of things to come for Limp 
Bizkit. The track "Re-Arranged" is Limp Bizkit at their most vulnerable. 
The song is pure atmosphere, building with each verse and chorus, leading 
to its inevitable emotional climax. Reminiscent of early Jane's 
Addiction, the song stands out among stand outs, and gives a glimpse 
into the direction the band could take with its next release.
	That "Significant Other" works as well as it does can be 
attributed to the combination of lead singer Fred Durst, producer Terry 
Date and the band's unsung hero, DJ Lethal. Lethal, whose beats, 
scratches and samples are at the core of every cut on the album, is 
perhaps the band's most vital member, if not the most unheralded. By 
the album's third track, it becomes readily apparent that he provides 
"Significant Other" with its flavor. Credit also goes to the album's 
producer Terry Date, who managed to take a band full of attitude and 
angst and help them create an album surprising in its maturity. But of 
course, the heart of Limp Bizkit is lead singer Fred Durst, whose 
lyrics, vocals and personality are laced throughout "Significant 
Other." It is Durst who shines brightest on the album, and Durst who 
will be the main force behind the growth and maturity of a band already 
well on its way.
---
	REVIEW: Stereophonics, _Performance and Cocktails_ (V2)
		- Scott Slonaker
	The sophomore record from Wales' biggest band is not likely to 
change any fortunes in America, but it has easy appeal to any Anglophile 
who's picked up on Stereophonics' dynamic, classic sound.
	Stereophonics are somewhere musically between Oasis and the 
Manic Street Preachers, more thoughtful than the former and with less to 
say than the latter.  Along with those two acts, they carry the 
arena-rock torch left behind by U2 on that act's field trip to the 
state of confusion.
	The band's strengths are quite obvious, and plenty effective.  
Singer Kelly Jones has the best voice in British rock music today - Liam 
Gallagher's soar minus the annoying whine and plus a bluesy, shivery 
edge.  As this might indicate, Stereophonics do ballads quite well.  I 
count no less than six here-none as luxurious and atmospheric as 
"Traffic", the centerpiece of _Word Gets Around_, but all solid enough. 
Perhaps the best is "Hurry Up and Wait", although "Just Looking" has 
charted high overseas.  Most of the rest clog up the second half of the 
record, rendering it significantly less memorable than the first.
	Even though this album doesn't have a true home run (goal?) such 
as "Traffic", it is more consistent than its predecessor and contains a 
couple of good faster singles as well.  The lyrically Kinks-ish "The 
Bartender and the Thief" and the effusive "Pick a Part That's New" show 
the band filling out its bag of tricks quite nicely.  Next project: 
adding *memorable* strings and pianos and such without diluting anything. 
Ask the Manics.
	Stereophonics are a young band who have yet to make their 
masterpiece - but they're getting closer.  Hopefully their massive 
overseas fanbase doesn't get in the way.
---
	REVIEW: Ash, _Nu-Clear Sounds_ (Dreamworks)
		- Robin Lapid
	You could say that Ash's _Nu-Clear Sounds_ reflects a band that 
has grown into their age, but please keep in mind that the oldest member 
is all of 23. The release of the Trailer ep and then debut album _1977_ 
witnessed a trio of Irish upstarts and former metalheads making smarter, 
catchy Buzzcockian punk-pop, a sound with the guitar amps set to 11 and 
affixed to singer-guitarist Tim Wheeler's wispy vocals, perfectly 
suited to hard-edged teen anthems dedicated to Jackie Chan. If you 
caught them on tour for that album, you would be schooled in the art 
of boys being boys, with, say, drinking and drug debauchery in Thailand 
sandwiched in the press clippings alongside mock-street fights with 
"Britpop" tour buddies Elastica. The music was just as fun, but at some 
point you would expect a little teen spirit burn-out.
	Three years later and the all-boys trio are now a co-ed quartet, 
a little older, a little wiser, still given to a certain puckishness in 
their music but more audibly concentrated on making the sound 
consistent and dynamic.  _Nu-Clear Sounds_ is a fine album, the 
refined result of post-teen rockstar life lessons, some Iggy and the 
Stooges and New York Dolls on the "what's in my CD player" now list, 
and Ash's proven penchant for catchy pop.
	There's plenty of glam-punk, heavy-artillery riffage here, 
provided by able-bodied guitarist and latest addition Charlotte 
Hatherley. "Jesus Says" heads off the U.S. release (the earlier U.K. 
and elsewhere version has a different track listing) with some 
infectious "ooh ooh ooh" refrains and exuberantly glittery guitar 
licks, chronicling the headiness of a rollercoaster tour stop in New 
York City, "a million light years from home." For a group still so 
young in years, Wheeler and company sound smarter than your average
 boy punk band, and possess an unfailing knack for pogo-inducing hooks 
with telling lyrics like "Fate is your enemy, rebel against your 
destiny; got a beautiful face, kind of fucked-up inside." There's also 
slight remnants of their predilection for hyperbolic, hesher-esque 
rawk-outs ("Numbskull's" first lyric, for example, is "Owwwwww!!!").
	Adding a weightier tone to the album are quite a few lovely 
ballads that tackle more contemplative themes apart from love -- think 
teenage popstar existentialism. But the band pull it off with a 
heartfelt, amiable charm on tracks like "Burn Out" and "Folk Song," a 
melancholic number that has a wizened-sounding Wheeler whispering about 
heaven and springtime "slipping away," continuing with allusions to an 
emotional downward spiral after endless touring and the turning wheels 
of "Top of the Pops"-style stardom. "Wild Surf" is fluffy and light as 
a beach ball, a Cliffs Notes rendition of _1977_ tracks like "Girl From 
Mars" and "Angel Interceptor." "A Life Less Ordinary," a track written 
for the Danny Boyle movie of the same name, ends the U.S. release on an 
optimistic note, with an innocent airiness that made the band's early 
singles so appealing.
	_Nu-Clear Sounds_ reveals a band with a little more consistency 
in its music, a sense of maturity -- or else a decreased probability 
that twenty minutes after the last track you will hear the sound of 
drunk guys puking, followed by guys laughing at each other's puke -- 
with incidental meanderings into the kind of catch-all pop that 
reassures you Ash are still messing with their sound and allowing 
themselves a little youthful range to rawk out.
---
	REVIEW: Shack, _HMS Fable_ (London)
		- Tim Kennedy
	The history of Shack has been one of false starts.  Originating 
from the ashes of early 80s luminaries Pale Fountains,  Michael Head, 
principal songwriter started the band circa the time of the Stone Roses 
and Happy Mondays.  Two albums have appeared in the U.K. under their 
moniker before _HMS Fable_,  including the classic Mersey pop album 
_Waterpistol_.  However live outings by the band have often been 
shambolic with the results of extensive drug abuse often in evidence.
	Probably the nearest album to this in spirit is the eponymous 
La's album of 1990.  The light feel and melodic guitars put Shack in 
the same bracket as their fellow Liverpudlians.
	The nautical theme of this album is a reference to heroin 
addiction.  Sailing in an old-fashioned clipper is a metaphor for escape 
afforded by the accursed poppy.  Thus in "Lends Some Dough" the hero 
begins in some dive surrounded by the evidence of drug abuse,  trying 
to cadge a few pounds to restart his life (or perhaps get more smack) 
and all of a sudden is transported to the high seas in a four masted 
schooner.
	The title track extends the metaphor,  with a group of smack 
heads transformed into the crew of a sailing ship run by an avuncular 
captain who affords his crew much access to the rum ration.  The musical 
setting for this song is sumptuous with tinkling guitars and folky motifs 
allied to a gentle melody. "Underneath the wings of a giant dove".
	It has to be said that the subject matter of this album is 
utterly distasteful, but in terms of modern day guitar pop this is as 
good an album as has been heard in the past five years - with possibly 
only _Waterpistol_ to compete with it.
	Light and space are well in evidence here despite the grim 
subject matter.  Another track "Streets Of Kenny" takes the listener to 
Ireland in search of the hero's friends and another bag of drugs,  
however the music is uplifiting using Irish folk motifs.  Like the sea, 
Ireland is ever present in the scouse psyche. The singer is clearly 
struggling with his urge to take drugs and the music echoes that fight.  
	"I Want You" sounds very similar to some recent Teenage Fan 
Club material, working a neat melody around simple chords,  and the vocal 
even sounds not disimilar to TFC's Norman.
	"Since I Met You" starts with a sinister scouse nursery rhyme 
about a drug  deal gone wrong ending in a shooting "Poor lamb,  should 
have been home for tea."  The main narrative describes a supermarket 
robbery with a fake gun,  concentrating on the fear in the eyes of the 
checkout girl.  The chorus is another soaring blissful lovelorn "And I 
can't think of anything since I met you".
	Shack are the band that La's fans hoped Cast would be; they 
play glorious 12-string guitar melodies and evoke a mood of freedom 
and space.  _Waterpistol_ was the finest, most underrated album of the 
90s and now surely _HMS Fable_'s success will see Shack finally get off 
the starting blocks.
---
	REVIEW: Various Artists, _Music For Our Mother Ocean 3_ 
		(Surfdog/Hollywood)
		- Andrew Duncan
	"Hang ten surf doggy!" Sounds neat when the elderly lady 
from the Old Navy commercial elegantly blurts those words out while 
the Kens and Barbies dance about on the beach. Well oh gracious one, 
those times are gone when American coasts were filled with miles of 
clean, crystallized sand, the ocean water as blue as Sinatra's baby 
blues and an abundance of saltwater fish swimming freely without the 
worry of being wiped out from our technologically-advanced fishing boats.
	Due to the overcrowding of Tropicana-clad people and decades 
of pollution, we have put the ocean in an unwilling position as the 
underdog.  This is not news breaking information, as most are well 
aware of the earth's fragile environment. However, we are living in 
an age where people need to be given a reminder, and that is why 
artists continue to contribute to the Music for our Mother Ocean CD 
series.
	The third installment in this series is well informative, 
giving updated statistics underlying the problems with ocean 
deterioration, and providing useful numbers to call for more information 
in conjunction with cause and effect.
	Oh yes, and there are the artists who are involved. The CD has 
high tides with Brian Setzer teaming up with Brian Wilson to perform a 
startlingly vivid version of "Little Deuce Coupe." Also Beck, the Red 
Hot Chili Peppers and the Beastie Boys all contribute fascinating new 
songs composed especially for this album.
	Unfortunately there are low tides as well. Sprung Monkey 
destroys a cover "Coconut," Allison Moorer performs a catastrophic 
version of the Beatles' "Here Comes the Sun," and Snoop Doggy Dog teams 
up with members of Rage Against the Machine to record an annoyingly 
long "Snoop Bounce."
	But hey, it's all for a good cause, right?
---
	INTERVIEW: Luke Slater 
		- Krisjanis Gale
	(Part 1 of this interview appeared in the September 28 issue of 
Consumable, located at http://www.consumableonline.com/1999/09.28 )

	CO: What inspires you when you're trying to get new sounds?
	LS:  To create something that sounds new, and exciting, and 
fresh. To do something that I would buy in a record shop.  I'm always 
on the road DJ'ing, or whatever, in Europe, and I always carry a G3 
Powerbook everywhere.  And I record just anything, you know, ambient 
shit at airports, and restaurants, any noise.
	CO: Is there anything on _Wireless_ that just came together all 
at once?
	LS: "Bolt Up" - which is probably the hardest track on the album. 
It was really quick.  I'd written all the lyrics for it on a plane coming 
back from France, I hooked it up in the studio, and just threw it 
together, it just had such a power to it.  And I just left it like that.
	CO: Do the rigid mechanics of electronic music frustrate you?
	LS: The mechanics of it.  Yeah, sure man. 
	CO: There has to have been thousands of times when you were 
tempted to try not to sequence something, and then do it live.
	LS: You could do that.
	CO: And then you realize that it's electronic music, so something 
has to have a solid beat.  It's sort of a necessary evil.
	LS: I think we're moving into an age where studios aren't going to 
be like studios anymore. I'm always trying to write things outside the the 
studio, because I don't really like sitting in a studio with a lot of 
machines in it. I haven't got a thing for machines in that way.  I've 
got a thing for technology, but I've got a thing for technology that 
makes things less...technological.
	CO: So your ideal situation is having some beautiful piece of 
software on your G3.
	LS: Well, that's basically what I do.  Some of the tracks were 
quite constructed on the G3.  I've got a lot of programs for it; I've 
written a lot of stuff on the road.  When I'm sitting in hotels for a 
long time, that's pretty much what I do.  And that's great, because you 
couldn't do that a few years ago.  But that's the way it should be.
	CO:  I don't know.  I saw Juno Reactor live, and they did 
everything off a Powerbook.  One synth and a Powerbook, and the whole 
show was done on the computer.
	LS:  That's cool.  I don't think we can get our live show down 
to one synth and a Powerbook; we drag the whole studio around. As much 
as I love computers. I'm still real hands-on.  I like to have the control 
of things be pretty quick.
	CO: What's the core of Space Station Zero at the moment?  What 
piece of gear could you not live without?
	LS: The computers.  Apple Macs, man.  Without them... nah.  That's 
a lie.  Because if I didn't have them, I could still write stuff.  I don't 
know.  My ears?  (laugh)
	CO: So you've got no gearlust for a particular piece of kit.
	LS: Not really. I've got a bit of a fetish for say, the DMX drum 
machine. That's something that goes back, for me. If you want to buy a 
synth now, you can choose absolutely millions of sound modules, synths.  
A lot of them are kind of the same.  There's not really that much 
difference about them.  
	You can buy an analog synth, and there's millions of them.  That's 
kind of slowed down now, whereas one point, when analog synths were made, 
nobody really knew why they were making them.  It wasn't like "We're 
making it for the dance market" or "We're making it for the rock market," 
they were just making them.  But now it's gotten a bit more pigeonholed 
where synths are being made for a dance record.  I don't really join that 
gang.  For me it's more interesting to make things out of instruments 
that aren't really made to do anything in particular.  Everything I've 
written has really been done on basic equipment.
	CO: So you have a greater interest in sampling something and 
turning it into something.
	LS: Ah, samplers, man.  I couldn't live without samplers.
	CO: I was listening to Tresor 78 - Joey Beltram's "Places" - and 
it sort of reminded me of _Freek Funk._  If you had to try to put 
_Wireless_ right alongside another artist, who would it be?
	LS: I don't know. One of the old school electro guys; the whole 
thing for me just goes back to the old school. 
	CO: There's a lot of breaks on _Wireless,_ more so than on _Freek 
Funk._ What started you down the path of "Well here's a really good break, 
now, how can I fuck it up and put it on my track?" (laugh)  That's sort 
of - getting less electro, and more breakbeat.
	LS: They're both the same to me.  Electro and breakbeats.  It's 
the attitude of using them, rather than one's with a drum machine and 
one's just a break.  We made a lot of our own breaks on the album.  Al 
and I were both drummers when we were kids - that's how we kind of met, 
because we were both drummers.  We actually did a two-hour session in 
the studio, with both of us playing the drums live.  We put it on tape.
	CO: The songs, both on _Wireless_ and _Freek Funk,_ either go 
really harsh or really ethereal.  That's especially true of "Sum Tom 
Tin" or "Body Freefall," and then you have a song like "Weave Your Web."  
What motivates both extremes?  Because there's no real grey area in the 
middle.
	LS: No.  That's because I don't like middle-of-the-road, man.  I 
like to be on one side or the other.
	CO: _Wireless_ is a radical departure, not only from _Freek Funk,_ 
but from a lot of other albums out right now in the electro genre.  Where 
do you see yourself, coming from _Wireless,_ to your future work?
	LS: I don't know yet.  I think _Wireless_ is something quite new, 
and it feels to me we're kind of out on our own doing it, and playing it 
live.  We're just doing what we're doing, and take it where it goes.
---
	REVIEW: Various Artists, _Never Give In - A Tribute to Bad 
		Brains_ (Century Media)
		- Andrew Duncan
	Maybe not the most anticipated album of the year, this homage 
to one of the greatest punk bands is certainly one of the better tributes 
on the market. The niche is naturally those who love Bad Brains, 
especially hardcore fans who love Bad Brains (who cares if Moby starts 
off the CD with a version of "Sailin' On," displaying one of the most 
depressing-sounding songs since Morrisey mopped around with The Smiths).
	Within five minutes, Ignite acknowledges the classic "Pay To 
Cum" and rips through an impressive version. Boy Sets Fire also pays 
tribute to Bad Brain's most popular song "I Against I," and succeeds.
	Some bands concentrate on Brains' more recent work. Entombed 
cover "Yout' Juice" and sound more like they are covering a Monster 
Magnet song. Sepultura take on a speed version of "Gene Machine/Don't 
Bother Me," and Vision of Disorder scream through "Soulcraft."
	Overall, there is a pleasing consistency, with each band paying 
the highest regards to an influential band. The only disappointment 
with this tribute is the lack of coverage with their reggae tunes, an 
equally important part of the band. What other hardcore band in the 
early '80s was playing traditional reggae songs?
---
	REVIEW: Ramones, _Hey Ho Let's Go! Anthology_ (Rhino)
		- Bob Gajarsky
	Long before Green Day was even a thought in their parents' 
minds, the Ramones were writing two-and-a-half minute anthems to 
a new generation and, along with Blondie and Talking Heads, 
turning the East Side dump CBGBs into a shrine and homage to the 
punk revolution.  
	Now - a quarter century after leaving a cloud of dust 
behind those guitar chords - the definitive 58-song collection of 
the Ramones, _Anthology_, has hit the stores.  But with more 
compilation albums (both live and hits) than most bands this side 
of the Moody Blues, why would a fan need to purchase _Anthology_?  
	Quite simply, the issuing label - Rhino Records.  
	Living up to their well-earned reputation for dedicated 
efforts, Rhino includes a 74 page booklet along with this double 
CD.  With a foreword by manager Danny Fields and extensive liner 
notes by David Fricke, the history of the Ramones - and their 
environment - is lovingly resurrected and recounted as if it 
were happening yesterday.
	But $30 doesn't justify the purchase of the liner notes.  
Instead, the meat of the package comes in the music.  
	Much more than the now frat/jock anthem "I Wanna Be 
Sedated", the Ramones' form of pop punk covered politics 
("My Brain Is Hanging Upside Down"), fun ("Blitzkrieg Bop", 
"Sheena Is A Punk Rocker", "Rockaway Beach"), other artists' 
songs ("Surfin' Bird", "Needles & Pins") and of course, forms of 
getting high ("53rd & 3rd", "Now I Wanna Sniff Some Glue", 
"Somebody Put Something In My Drink").
	While their musical style may not have varied much during 
their lengthy career, fans always knew that they could count on 
the Ramones to deliver a musical punch.  Rhino has captured that 
feeling wonderfully on _Anthology_.
---
	REVIEW: Various Artists, _That 70's Show Jammin' Album_ / _That 
		70's Show Rockin' Album_ (Volcano)
		- Don Share
	"Good taste" and "popular TV show" aren't phrases you'd normally 
associate with each other, but, amazingly, "That 70's Show" is an 
exception. The anachronisms in the show bother me, since I'm an 
anachronism, myself, and actually remember those days. But the show's 
producers are marketing, as seems inevitable, a pair of CDs to serve as 
accompanying period-pieces, and they've done such an outstanding job that 
these discs are among the very best anthologies of '70s music you can 
get. Wisely, the music is divided into a _Rockin'_ album, which is, duh, 
rock (did people say "duh" in the '70s?), and a _Jammin'_ album, which 
is funk. Notice that the latter is funk, not disco! Another sign of 
great wisdom and taste!
	What's really nice is that the music on these discs isn't merely 
there to invoke nostalgia in folks who remember the '70s, or to induce 
chuckles from those who weren't around then but are entertained by the 
woeful stylings of that era. Instead, this is good stuff, enjoyable on 
its own terms, to the extent that really, the best review of them would 
just be a listing of their contents!
	What surprised me, not being much of a funkster in my day (I 
remember having to dance with my girlfriend to these tunes in painful 
misery, to be honest) is how much more fun the _Jammin'_ disc is. You 
can get down tonight with K.C. and the Sunshine Band, Rufus will tell 
you something good, and James Brown has "Hot Pants" while Parliament 
tears the roof off the sucka. You get your requisite "Jungle Boogie" 
from Kool and the Gang, Average White Band picks up the pieces, The Hues 
Corporation rocks the boat, Ohio Express catch "Fire" and Wild Cherry 
plays that funky music, white boy! Round things out with less obvious 
choices like The Spinners' great "Rubber Band Man" and The Isley 
Brothers "Fight the Power" as well as some Three Degrees and Tower of 
Power. (I guess I'd have been really happy if they stuck some Jimmy 
Castor Bunch on, too: remember "The Bertha Butt Boogie," anyone?!)
	The _Rockin'_ album is no slouch, however. For starters, there's 
the new version of the TV show's theme, "That 70's Song," which is really 
a desecration of Big Star's "In the Street" (for which Alex Chilton 
apparently only gets about 70 bucks a week!). Still, rewritten lyrics 
and all, this version by Cheap Trick is actually decent. "Hello, 
Wisconsin!"
	You get real Cheap Trick, though, with the sublime "I Want You 
To Want Me," along with the absolutely wonderful gem and one-hit-wonder, 
Ram Jam's "Black Betty," Golden Earring's "Radar Love," James Gang's 
"Funk #49,"  Skynyrd's "Saturday Night Special," Bachman Turner 
Overdrive's "Let It Ride" (yay, not the over-anthologized "Takin' 
Care of Business" or "You Ain't Seen Nuthin' Yet") and other gems 
from Argent, Blue Oyster Cult, Alice Cooper ("Under My Wheels," and 
not the over-anthologized "Eighteen!"), 10cc (not "I'm Not In Love," 
yay, again, but, oddly, "Wall Street Shuffle"), The Kinks and even 
some stray Ted Nugent and Montrose. Best of all, the disc ends with the 
eye-misting "September Gurls" from Big Star, which maybe makes up (in 
royalties, let's hope) for the theme song-damage. A nicely-chosen, and 
yes, rockin' selection.
	Even if you don't watch the show, you know you'd like to have 
these, and if you are a fan, um, well, there're neat pictures of the 
stars inside. Each song is well-annotated, too. I can't see anybody 
putting on these tunes and serving fondue before the wife-swapping 
gets underway, but you can dance to them, surely, or sit back and think 
back on things that were, or never were. Fun!
---
	REVIEW:  Various Artists, _Nowcore! The Punk Rock 
		Evolution_ (K-Tel)
		- Kerwin So
	K-tel has jumped into the late '90s just in time with this 
collection of tracks from bands that have hovered beneath America's 
rock radar for the past 7 years.  As they did with the starlight pop 
hits of the '60s and '70s, and the new wave hits of the '80s, K-tel 
attempts to document a particular sound, arguably a scene or an 
overall musical trend.  "It isn't the way it sounds," writes _Punk 
Planet_'s Josh Hooten in the liner notes. "It's the way it feels."
        The bands represented here definitely share a certain "feel." 
Whether they be Modest Mouse, The Promise Ring, or Braid, most 
of these groups ostensibly hold firm places in the record collection 
of what one writer deemed "wallet-chain America."  Adding more 
melody, dynamics, and instrumental breaks to punk rock's energetic 
structure, most modern-day emo/post-whatever bands (as accurately 
documented in _Nowcore_) eschew punk's traditionally political 
stance for more introspective lyrics, with a keen inclination towards 
the subject matter of girls, relationships on rocky shores, and the 
like.  K-tel deserves a lot of credit for picking the signature songs 
of many of these bands, from Mineral's insistent, tenderly anguished 
"ForIvadell," to Knapsack's "Decorate the Spine," which showcases 
singer Blair Shehan's startling ability to upshift from a cloying, fey 
vocal into a menacing hardcore growl at an instant's notice.  Post-
punk icon J. Robbins is also adequately represented in this 
compilation, with tracks from Jawbox and Burning Airlines appearing 
next to Robbins-produced songs like Texas is the Reason's " Jack 
with One Eye." Hum's dreamy, heavy 1995 alterna-radio hit "Stars" 
(once Howard Stern's favorite song) also makes a welcome and 
worthy appearance, and say what you will about Samiam 'selling 
out,' their 1998 song "She Found You" rips the lid off this comp with 
the purest adrenaline rush of punk-pop you've probably heard in 
three years.
	Even the packaging for _Nowcore_ manages to impress: instead 
of your standard chintzy CD insert, you get passionate liner notes 
packed with catchy slogans tucked inside a nice envelope with more 
catchy slogans.  As C. Montgomery Burns might say, I know what I 
hate, and I don't hate this.  There's only a few problems with 
_Nowcore_, the main one being that it's a tough sell.  People who 
already like these bands will have most of these songs already, as they 
are all album tracks, and more mainstream music consumers scooping 
up the latest Jewel and Bush albums may not be interested in any of 
the bands listed here.  Worst of all, after 16 songs, most of these 
bands begin to sound - well, alike.  Although _Nowcore_ is a valiant 
and altogether on-target compilation, your time would probably be 
better spent digging up the actual albums from which this CD drew its 
selections.  Start with the Promise Ring and let me know what all the 
hype is about.

	TRACK LISTING: The Promise Ring - Why Did We Ever Meet, Hum - 
Stars, Seaweed - Start With, Modest Mouse - Convenient Parking, Braid - 
New Nathan Detroits, At the Drive In - For Now We Toast, Mineral - 
ForIvadell, Compound Red - Versus the Ocean, Samiam - She Found You, 
Burning Airlines - Wheaton Calling, Unwound - Unauthorized 
Autobiography, The Dismemberment Plan - The Ice of Boston, Drive Like 
Jehu - Caress, Texas is the Reason - A Jack with One Eye, Knapsack - 
Decorate the Spine, Jawbox - Savory
---
	REVIEW: The Minders, _Cul-de-Sacs & Dead Ends_ (spinART)
		- Robin Lapid
	If you're not familiar with the Elephant 6 collective, you'd 
know them by their modus operandi -- they're a gang of like-minded 
bands that offer up their own skewed homages to the psychedelic pop of 
the Beatles and the Beach Boys. So you probably wouldn't be surprised 
at the Minders' signature sound. English frontman Martyn Leaper, 
admitting to having grown tired of making "modern" sounds, seems to 
give the Minders a clear decree -- "if it's not British Invasion-era 
pop, it's crap!" As such, his band offer up very faithful pop odes to 
those classic '60s sounds, compiling out-of-print singles that were 
released before and after their debut album, _Hooray for Tuesday_, 
into this handy disc.
	_Cul-de-Sacs_ is an album of 17 honey-spun songs running two 
or three minutes each, a graceful length for melodies that, upon 
extended listens, might give the listener a sugarache. Leaper's 
nasally, hazy pop tunes will have you harking back to Paul McCartney 
in his more foppish-haircut days.  The Minders rarely deviate from a 
tried-and-true formula of persistently sunny rhythms backed against a 
strumming guitar, some background "la la la's," and Leaper's high-pitched 
vocals filtered through a lo-fi, echoing microphone. Tracks like "Rocket 
58" are relative experiments in the genre, with keyboard noodlings and 
bits of samples melting into the melodies. "Build" and "Chatty Patt" are 
more representative tracks, swatches of pretty British pop that makes 
you wonder if you've sudenly time-traveled into the past.
	The Minders are probably too faithful to the sounds they love 
so much, and while cheerful pop ditties are not to be dismissed, there 
is something to be said about having too much of a good thing. Still, 
_Cul-de-Sacs_'s mindful tunes proffer vacuum-sealed pop that, in small 
doses, are infectiously bright.
---
	REVIEW: Bows, _Blush_ (Too Pure)
		- Andrew Duncan
	Bound within the realm of trip-hop and no-beat minimalism, the 
Bows provide ice cream textures with silky elegance that takes one step 
away from the reality that Portishead and Bjork created.
	There is a sense of fantasy involved with their spacious music 
by erasing any concept of time and creating material that is subconscious 
in nature. The beats involved are the only thing defines realism by 
clearly and concisely accentuate each.
	Layered beyond the mixture of human and electronic drumming is 
another world of sampled classical strings. The loops wax and wane 
freely most commonly filling in the gaps from either the lack of a beat 
or cunningly averting the attention to a transitional phase as with 
"Troy Polenta's Big Break" or "Girls Lips Glitter," both drowsy 
compositions reminiscent of modern classical freeform.
	Occasionally, the band gets a mood swing and transforms a 
classical melody into after-hours jazz by looping in a bass riff as 
with "Speed Marina." 
	In between all of this swirling chaos of strings and a modern 
kaleidoscope of delicate electronica lie Signe Hoirup Wille-Jorgenson's 
elegant vocal chords. She can softly penetrate the air with her beautiful 
melodies and whisping voice. "It'll Be Half Time in England Soon" 
demonstrates this ability with the help of Luke Sutherland's combining 
to bring a meditative effect to the bustling urban drum and bass filling 
the gaps. 
	After this climatic leap, the band drops into a void stopping 
time with "Sleepyhead." The tremolo guitar effects are tinged with an 
old-style country western feel backed up by violins crying out like a 
dusty Southwestern town. All of these lead to the finale appropriately 
titled "Sleepyhead." There is no turning back as the music escapes 
gravity and structure.
---
	REVIEW: Oysterband, _Here I Stand_ (Omnium)
		- Chris Hill
	Relentlessly uplifting, even when the lyrics take a turn for 
the serious, Oysterband's latest is a gust of fresh, folk roots air 
from England, a country where attitude and image seem to dominate the 
popular press attention. Raising the bar set by their last, 1997's 
_Deep Dark Ocean_, the Oysters continue their lyrical search for 
personal relevance in an alienating world. By album's end, the answers 
are found in the things they hold close to their hearts, be they ideals 
or loved ones.
	Uncertainty amidst the hectic speed of the modern age being the 
predominant theme, the lyrics are rife with quotables: "The hustle, the 
hassle, jostle and the muscle/Squeeze it out to the last corpuscle...
Everybody's gonna be a spare wheel" (in the opener, "On the Edge"); "A 
hard wind is blowing, it's slippy on the street/Me and my friends/we're 
only trying to keep our feet" (the moody "Ways of Holding On"); "Never 
thought we'd get this far/Now we don't know where we are/But hey...
we're hanging on" (the anthemic "I Know It's Mine"). The world is a 
storm of chaos and confusion.
	But there's an eye to the hurricane, containing music and 
love. "This is the Voice" praises the edifying ability of a musician 
to illuminate and elate: "Though the voice is wearing thin/I can hear 
it rise and fall/Cutting clean through the din/To turn my world around." 
The song is assisted by the talents of Chumbawumba. "In Your Eyes" 
gives a poetic illustration of a lover's gaze: "Wonder what the spark 
is/when you turn your eyes on me/Some kind of magic and it will not 
let me be/Rip! goes reality, walls are falling down/Snap! goes the 
iron chain/That ties me to the ground." Love is a natural force, ours 
to seize and hold, if we can.
	Back to uncertainty. Love is also an elusive presence. "Street 
of Dreams," with Rowan Godel's swan-like guest vox a magnificent 
addition, begins as a love ballad ("Underneath a magic moon/In my 
dream I lay there waiting/You came naked to my room") before revealing 
that it's written from the point of view of a hapless man who can only 
idolize what he sees ("Walk right by me in the gutter/Lying here outside 
your door"). The lilt of the fiddle combined with Godel's voice form a 
singular beauty. The song leaps into the ears.
	Bedding the lyrics is an impressive roster of equipment: 
acoustic and electric guitars, banjo, fiddles, cello, harmonica, drums, 
mandolin, and concertina. These instruments are spotlit in several 
interludes: "cello drop" (a cello arrangement of a Gustav Holst piece), 
the winsome toast of "a last glass," and the quiet waltz, "kantele." 
Not surprisingly, though, it's the protean fiddle which lynchpins the 
album: made devotional and plaintive on "A Time of Her Own," capricious 
on "Ways of Holding On," glorious and rollicking when it appears late 
in "This Town" and mournful with a companion cello on "Someone You Might 
Have Been."
	Artists similar to the Oysters come easily to mind: Van Morrison, 
the Chieftains and the Levellers. Bolster this name-dropping with the 
able support of Chumbawumba and Great Big Sea, plus others, and _Here I 
Stand_ proves a formidable CD.
	If you find yourself inhaling this album daily, check out their 
website, http://www.oysterband.co.uk/, for details on an eighteen song 
_Alive and Acoustic_ CD, available only at their shows and through mail 
order.
---
	REVIEW: Porcupine Tree, _Stupid Dream_ (k scope)
		- Jon Steltenpohl
	There used to be a '70s craze called art rock that generated a 
whole host of bands trying to create otherworldly music which touched you 
somewhere that just rock or just classical music never could reach. Most 
of them, despite having a rabid core of fans, never were very popular, 
and have faded into the background. If they're lucky, classic rock radio 
has picked up a song or two for us to remember them by. (Quick, name any 
other song by Jethro Tull other than "Aqualung.") Others, such as Genesis, 
quickly outgrew the "art rock" tag or split up into various other projects 
that ultimately proved much more compelling.
	Porcupine Tree tries their hardest to paint themselves into an 
art rock genre (see the Jethro Tull-esque flute in "Tinto Brass"), but 
fortunately, they mostly pull out a decent melody rather than mire in 
self-important muck. Still, it's a thin line when you first pick up the 
CD. The blue metallic liner notes with anonymous pictures of a clean 
room used for processing CD's and an olivine fish fossil on the back get 
you to wondering just what the heck is going on. The illegible white 
lyrics spaced cleanly in columns 4 letters wide upon a sleek silver 
background almost stop you from putting the CD in the player. But, put 
it in the player you do, and remarkably, find yourself relaxing to 
_Stupid Dream_ for an hour. You'll forget about the self importance and 
just get into the flowing, head swirling music.
	Like a cross between Pink Floyd and The Church, Porcupine Tree 
manages to be both larger than life, personally involved, and melody 
friendly. ("Tinto Brass" even has a Pink Floyd-esque phone beep sampled 
for the beat.) On song like "Don't Hate Me," not only are you treated to 
an atmospheric feast that ranges from Sting-inspired alto sax to 
melancholy guitar to satellite echoes, but you can get emotionally 
involved with the lyrics. "A Smart Kid" has echoes of David Bowie's 
"Major Tom," but, due to its mellowness, is closer to "Major Tom on 
Prozac." Other songs such as "Baby Dream in Cellophane" do go a little 
over the "art rock" edge with effects like echoed acid trip voices.
	Still, if you aren't turned off by a band who's trying to craft 
a sound environment, Porcupine Tree might be right for you. Their bio 
seems to imply that they've tried just about every style available and 
settled on this one. Which, all told, isn't that bad. The melodies manage 
to make their ways past the atmosphere, and the orchestration, although a 
bit contrived, is lush and fairly complex. And fortunately, unlike those 
gawd awful '70s art rock bands, Porcupine Tree rarely ruins a song just 
to sound avante garde or complex. At the worst, the sound effects and 
studio production merely sound a little over done. While never completely 
mellow, _Stupid Dream_ is a nice attempt at ambient rock that will 
absolutely engage some listeners and completely bore the rest.
---
	REVIEW: The Paladins, _Slippin' In_ (Ruf)
		- Daniel Aloi
	On their new album, Southern California band The Paladins stay 
true to their original mission -- to make great rockabilly music.
	While 1994's excellent _Ticket Home_ had the blues-drenched 
roots-rock ethos of co-producer Cesar Rosas stamped all over it, here 
they go back to the sound of their first LP -- and with their original 
producer, Mark Neill. They play rockabilly like they live it, and show 
their facility with a wide range of American roots influences, in the 
tradition of everyone from the Crickets to Double Trouble.
	The Paladins, known as skilled interpreters and powerful, 
passionate entertainers to legions of sweat-soaked crowds, do the Stray 
Cats one better on the title track, a classic rockabilly cover. And they 
take their collective influences to a new level throughout the original 
tunes on _Slippin' In_.
	Back-to-back novelty numbers set the she-done-me-wrong-song 
form on its ear -- the original "Baby Don't Move Me" (about a car) sets 
a rocking '60s surf beat to rapid-fire verses and Everly Brothers 
harmonies on the chorus. Johnny Bond's "Five Minute Love Affair" 
continues the fickle-female theme, about a real woman this time, but 
from the point of view of a cigarette. Later on, Bobby Bare's ode to a 
TV horror host, "Vampira," makes "fun" one of the band's key elements.
	They pay tribute to a generation of '60s surf rockers (and Link 
Wray) on the original instrumental "Return to Polara." "Gone Again" is 
a nice bit of country-styled rockabilly, and Gram Parsons' "Strong Boy" 
and the original "California Boogie" both add Gerry Walker's steel 
guitar for some real Inland Empire country rock.
	The photo of the vintage Seeburg jukebox on the cover just 
about says it all about the band's mission. The lifelong dedication 
of the band members tells the rest. Founding member and singer/guitarist 
Dave Gonzalez schooled himself on Elvis and Buddy Holly, but also 
worshiped Buddy Guy, Jimi Hendrix, Wes Montgomery and Charlie Christian. 
Drummer Brian Fahey used to sit behind Gene Krupa in church, learned 
jazz and swing basics from Pat Dama (Fahey's solid playing shows the 
lessons took) and toured in a latter-day Bill Haley & the Comets. He 
joined The Paladins in 1989 just in time to play on the "Let's Buzz" 
LP. Bassist Joe Jazdewski used to sneak into Paladins bar gigs. After 
playing in the jump-swing band The Juke Stompers and touring the world 
with the James Harman Band, he joined the band in 1997, fulfilling a 
long-standing dream and taking over from Tom Yearsley, one of his 
biggest influences.
	In their style, attitude and commitment, as much as in their 
performing and songwriting, The Paladins remain, after nearly 20 years 
at it, the real thing. No mere revivalists, they mine old records for 
inspiration and make the music seem as fresh and vital as it was 
originally. Now that's integrity.
---
	REVIEW: Showoff, _The Hush_ (Warner)
		- Michael Van Gorden
	Are Showoff a few days late for the dance, or are they about 
to start their own? Green Day, Rancid and others tried somewhat 
successfully to put a punk mark on the mainstream, but the revolution 
only lasted a little bit.
	I think if Showoff had been at the forefront, it might have 
lasted longer and still be going strong today. While one cannot minimize 
what those other bands accomplished, Showoff take it a step further. 
Taking their cue from new wave originals such as Elvis Costello and 
mixing in the raw punk energy of the Buzzcocks, all the while combining 
the pop smarts of both, Showoff have given us a CD full of smart songs 
full of energy and fun. And you can dance to it!! Born out of the Chicago 
punk scene, Chris and Dave Envy, singer/guitarist and bass player 
respectively, teamed up with Dan Castady on drums and Graham Jordan 
on lead guitar to form Showoff, the name coming from frontman Chris 
being described often as a showoff.
	The CD kicks off with the full frontal guitar attack of 
"backstab." Full of punk vocal harmonies and a driving back beat, you 
know you're in for a good time. But this band is not only about punk 
fury. For proof, listen to "falling star." This song echoes the best 
of the new wave sound before it became another Madison Avenue marketing 
scheme. Think of bands like The Jags or The Vapors, and you have a good 
idea what Showoff is capable of.
	Lyrically, the songs are intelligent and full of feeling, such 
as in the beautiful ballad "Unspoken Words": "Blind man inside my head. 
Tell me again. Not everything begins, but everything must end."
	The band's familiarity with each other (they claim they do 
everything together) can be heard in the tight, cohesive way the songs 
come across.  You'll also hear shadows of The Figs' "Favorite Shirt" 
stutter-stop style in "Bully," as well as a hint of Green Day in "Gone."
	All in all, you'll hear four guys who love to play rock and 
roll together having a great time.
	One of the nice things about getting to review CDs is that 
you get to hear music that you might not normally get to hear or might 
not pick up on a whim. Sadly, Showoff might have been one of them, 
simply because of the old "too much music, too little time" scenario. 
But don't let it happen it to you. Check out Showoff.
---
NEWS:	> Apples In Stereo may not be the best known band by 
mainstream America, but that may change when their song 
"Strawberry Fire" is used in a Sony ad later this year.
 	> In celebration of the twentieth anniversary of Pat Benatar's 
debut album, a three-CD box set, _Synchronistic Wanderings: Recorded 
Anthology 1979-1999_ (Chrysalis / Capitol) has been released on October 5.
---
TOUR DATES:
	Agnostic Front
Oct. 14 Mesa, Az The Nile
Oct. 15 Corona, CA Showcase Theater
Oct. 16 Los Angeles, CA Whisky
Oct. 19 Salt Lake City, UT Dv8
Oct. 20 Denver, CO Ogden Theatre

	Anti Flag / Dropkick Murphys
Oct. 13 Reno, NV Del Mar
Oct. 15 San Francisco, CA Maritime Hall
Oct. 16 LA, CA The Palace
Oct. 17 San Diego, CA Cane's
Oct. 19 Phoenix, AZ Nile Theater
Oct. 20 El Paso, TX Club 101

	Art of Noise
Oct. 12 New York, NY Irving Plaza
Oct. 13 Boston, MA Paradise

	Ben Folds Five / Fleming & John
Oct. 15 Cincinnati, OH Taft Theater

	Buzzcocks / Lunachicks / Down By Law
Oct. 14 Atlanta, GA Masquerade
Oct. 15 Carrboro, NC Cat's Cradle
Oct. 16 Richmond, VA Twister's
Oct. 17 Washington, DC 930 Club
Oct. 19 New York, NY Irving Plaza
Oct. 20 Newark, DE Stone Balloon

	Danzig
Oct. 19 Columbus, OH Newport Musichall
Oct. 20 Cleveland, OH Agora Ballroom

	Del The Funky Homosapien & Casual
Oct. 12 Boulder, CO Fox Theater
Oct. 14 Seattle, WA The Showbox
Oct. 15 Bellingham, WA W.Washington Univ
Oct. 17 Victoria, BC Legends
Oct. 18 Portland, OR Roseland Theater
Oct. 20 Eugene, OR Wild Duck Brewery

	Ani DiFranco
Oct. 12 Blacksburg, VA Burruss Auditorium
Oct. 14 New Orleans, LA Mcalister Aud   Tulane Univ.
Oct. 15 Austin, TX The Backyard
Oct. 17 Dallas, TX Bronco Bowl Theatre
Oct. 18 Houston, TX Aerial Theatre Bayou Place

	DJ Shadow
Oct. 12 Eugene, OR WOW
Oct. 13 Seattle, WA Aro.Space
Oct. 14 Portland, OR Station 315
Oct. 17 Baltimore, MD Fletchers
Oct. 18 Philadelphia, PA TLA
Oct. 19 New York, NY Bowery Ballroom

	Johnny Dowd
Oct. 15 Memphis, TN Hi-Tone
Oct. 16 Nashville, TN Sutler
Oct. 17 Columbus, OH Little Brother's

	Fastbacks
Oct. 16 Seattle, WA Crocodile Cafe
Oct. 20 San Diego, CA Casbah 

	Ben Harper
Oct. 12 Vancouver, BC Orpheum Theater
Oct. 13 Seattle, WA Mercer Arena
Oct. 14 Spokane, WA Opera House
Oct. 15 Portland, OR Theater Of The Clouds
Oct. 17 Salt Lake City, UT Abravanel Hall
Oct. 19 Denver, CO Fillmore Auditorium

	Indigo Girls
Oct. 12 New York, NY Beacon Theatre
Oct. 15 Asbury Park, NJ Convention Hall
Oct. 16 Amherst, MA Mullins Center

	Rickie Lee Jones
Oct. 15, 17, 18 New York, NY Joe's Pub

	Ben Lee
Oct. 12 Poughkeepsie, NY The Chance
Oct. 13 Northhampton, NY Iron Horse
Oct. 15 Annapolis, MD Naval Academy
Oct. 16 Richmond, VA Mulligans
Oct. 17 Atlanta, GA Masquers De
Oct. 19 Dallas, TX Deep Ellum Live
Oct. 20 Houston, TX Numbers

	Len / Styles of Beyond
Oct. 12 Boston, MA Paradise
Oct. 13 New York, NY Bowery
Oct. 15 Detroit, MI St. Andrews Hall
Oct. 17 Minneapolis, MN Quest
Oct. 19 Denver, CO Bluebird

	Live
Oct. 13 Denver, CO Fillmore Auditorium
Oct. 15 Portland, OR The Roseland Theater
Oct. 16 Vancouver B.C. Vogue Theater
Oct. 17 Seattle, WA Moore Theater
Oct. 19-20 San Francisco, CA Fillmore

	Luscious Jackson
Oct. 12 Poughkeepsie, NY The Chance
Oct. 15 Annapolis, MD Nav. Acad. 
Oct. 16 Richmind, VA Mulligan's
Oct. 17 Atlanta, GA Masquerade
Oct. 19 Dallas, TX Deep Ellum Live
Oct. 20 Houston, TX Numbers

	Minders
Oct. 13 Long Beach, CA Di Piazzo's Lava Lounge 
Oct. 14 Los Angeles, CA Spaceland 
Oct. 15 San Francisco, CA Bottom of the Hill
Oct. 16 Portland, OR EJ's
Oct. 17 Seattle, WA Breakroom

	Moby
Oct. 15 Portland, ME The Asylum
Oct. 16 Buffalo, NY Showplace Theater
Oct. 17 Rochester, NY Gotham City
Oct. 19 Syracuse, NY Goldstein Auditorium (Syracuse University)

	Alanis Morissette
Oct. 13 Canberra, Australia AIS Arena
Oct. 14 Sydney, Australia Entertainment Center
Oct. 15 Wollongong, Australia Entertainment Center
Oct. 16 Newcastle, Australia Entertainment Center
Oct. 18 Brisbane, Australia Entertainment Center
Oct. 20 Manila, Phillipines Folk Art Theatre

	Tom Petty & Heartbreakers
Oct. 12 Madison, WI Kohl Center
Oct. 15 Las Vegas, NV MGM Grand Garden Arena
Oct. 16 Los Angeles, CA Hollywood Bowl

	Pietasters, Pilfers & Spring Heeled Jack
Oct. 13 Hollywood, CA The Roxy 
Oct. 14 San Francisco, CA Slim's
Oct. 15 Eugene, OR WOW Hall 
Oct. 17 Seattle, WA RKCNY 
Oct. 18 Boise, ID Bogies 
Oct. 20 Salt Lake City, UT DV8

	Sheila Divine
Oct. 14 Philadelphia, PA Upstairs at Nick's
Oct. 15 Hoboken, NJ Maxwell's 
Oct. 16 New York, NY Bowery Ballroom
Oct. 17 Northampton, MA Pearl Street 
Oct. 18 Albany, NY Valentine's 
Oct. 20 Cambridge, MA Middle East 
Oct. 21 Asbury Park, NJ The Saint 

	Sisters of Mercy
Oct. 13 Atlanta, GA Tabernacle
Oct. 14 Fort Lauderdale, FL Chili Pepper
Oct. 15 Orlando, FL House of Blues
Oct. 21 Mexico City, MX Palacio de los Deportes

	Stereo Total
Oct. 12 Philadelphia, PA Khyber
Oct. 13 Boston, MA Middle East
Oct. 14 Hoboken, NJ Maxwell's
Oct. 15-16 New York, NY Brownie's
Oct. 17 Toronto, ON El Macombo
Oct. 18 London, ON Call the Office
Oct. 19 Columbus, OH Bernie's
Oct. 20 Cleveland, OH Grog Shop

	Sally Taylor
Oct. 13 Portland, OR St. John's                          
Oct. 14 Arcata, CA Cafe Tomo  
Oct. 15 Mill Valley, CA Sweetwater 
Oct. 20 Los Angeles, CA Troubador 

	Tonic / Goo Goo Dolls
Oct. 12 Green Bay, WI Brown Cty. Arena
Oct. 14 Ypsilanti, MI EMU Convocation Center
Oct. 15 Dayton, OH Dayton Arena
Oct. 16 East Lansing, MI MSU
Oct. 19 University Park, PA PSU
Oct. 20 Amherst, MA U. of Mass.

	Type O Negative
Oct. 14 San Francisco, CA Maritime Hall 
Oct. 15 Hollywood, CA The Palace 
Oct. 16 Las Vegas, NV Huntridge Theater 
Oct. 20 Dallas, TX Deep Ellum Live 

	Tom Waits
Oct. 12-13 Denver, CO Paramount Theatre
Oct. 15 Eugene, OR Hult Center
Oct. 17 Vancouver, BC Orpheum
Oct. 18-19 Seattle, WA Fifth Avenue

	Robbie Williams
Oct. 12 Boston, MA Avalon Ballroom
Oct. 13 Philadelphia, PA Tower Theater
Oct. 15 New York, NY Hammerstein Ballroom
Oct. 18 Toronto, ON The Warehouse
Oct. 19 Kitchener, ON The Lyric
---
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