==== ISSUE 152 ====    CONSUMABLE     ======== [September 2, 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, 
                      Chris Hill, Eric Hsu, Tim Hulsizer, Franklin 
                      Johnson, 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 
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                            .------------.
                            |  Contents  |
                            `------------'
REVIEW: Korn, _Follow the Leader_ - Sean Eric McGill
CONCERT REVIEW: V98 Festival (Stereophonics, Seahorses, 
   Morcheeba, Polly Jean Harvey, Ian Brown, Charlatans, 
   St. Etienne, Green Day, Iggy Pop, Verve and more)
    Leeds, England - Tim Kennedy
REVIEW: Rancid, _Life Won't Wait_ - Eric Hsu
REVIEW: Shudder to Think, _High Art_ - Chelsea Spear
REVIEW: Plastiscene, _Seeing Stars_ - Chris Hill
REVIEW: Cracker, _Gentleman's Blues_ - Tracey Bleile
REVIEW: Richard Buckner, _Since_ - Chris Hill
REVIEW: Sinead Lohan, _No Mermaid_ - Dan Aloi
REVIEW: Rob Zombie, _Hellbilly Deluxe_ - Sean Eric McGill
REVIEW: Local H, _Pack Up The Cats_ - Jason Cahill 
REVIEW: Howard Jones, _People_ - Paul Hanson
REVIEW: Tommy Keene, _Songs from the Film_ - Joann D. Ball
REVIEW: John Hiatt, _The Best Of John Hiatt_ - Reto Koradi
REVIEW: Culture Club, _Storytellers/Greatest Hits_ - Paul Hanson
REVIEW: Nick Cave and the Bad Seeds, _Best Of_ - Scott Slonaker
NEWS: Punk O Rama , Smoke City, A Tribe Called Quest
TOUR DATES: Tori Amos / Devlins, Anthrax / Grinspoon, Bauhaus, 
   Beastie Boys, Candlebox, Connells, Creed / Fuel / Finger Eleven, 
   Dakota Moon, Fear Factory, Flick, HORDE Tour, 
   Massive Attack / Lewis Parker, Metallica / Jerry Cantrell / 
   Days of the New, Bob Mould / Varnaline, One Minute Silence, 
   Vast, Wilco, Josh Wink
Back Issues of Consumable
---
	REVIEW: Korn, _Follow the Leader_ (Immortal/Epic)
		- Sean Eric McGill
	Of all the interesting changes that we've seen in music 
in the nineties, Korn has been the one that has probably 
interested me the most. Sony marketed the band with the intriguing 
tag line of "Time to Vent", but nothing would have prepared me for 
what I heard on the album. I've often said that if Anthony Hopkins 
was the personification of evil in Silence of the Lambs, then 
Korn's sound on their debut was the personification of pure anger, 
leaning heavily towards hatred. Needless to say, I liked it a lot.
	Then came 1996's _Life Is Peachy_ , which clocked in at 
number three on my own top five that year. And while I did like 
it as much as I did the debut, I also noted that Korn should be 
careful to try the same structure a third time, lest they come to 
look like a one-trick pony of sorts.
	So, I eagerly awaited _Follow the Leader_ for a couple of 
reasons. One, I just wanted to hear some new Korn, and two, I 
wanted to see if my prophecy had come to pass. Well, it hasn't.
	Of course, the album still sounds like Korn, but it's a 
different Korn sound - more experimental than in the past. With 
assists from Ice Cube, Tre Hardson from Pharcyde and Fred Durst 
from Limp Bizkit, Korn brings more of a - and I really hesitate 
to say this, but I can't think of how else to put it - hip-hop 
sound to the album. Nowhere is this more evident than on 
"Cameltosis", which features Hardson solo through most of the 
verses over a rolling bassline, just begging from someone to 
take an 808 to it and turn it into a remix.
	Ice Cube's contribution, "Children of the Korn" is a 
passable attempt to meld the two genres, but it doesn't seem 
to progress much farther than the catchy title. But with Cube 
going on the road with Korn for their "Family Values" tour 
this fall, it should be interesting to see what other 
collaborations the two can come up with.
	But perhaps the most interesting is when Durst and 
Korn vocalist Jonathan Davis square off against one another 
on "All in the Family". Imagine the rap showdowns of the 
early eighties between the likes of Kool Moe Dee and others, 
but with guitars and a little more brutal, with shots being 
taken at each other's appearance and their respective talents. 
It's much more fun than similar tracks from _Life is Peachy_ , 
where shock value was the key element to adding a lighter 
touch to the album.
	More highlights on the album include "Pretty", which 
counts as the overt child abuse song on the album, or, as a 
friend of mine puts it the "someone touched my area" song. If 
you heard the first two albums, you know that child abuse played 
a major role in the lyrical content, and perhaps Jonathan Davis 
can be believed when he said in a recent interview that he has 
"exorcised a lot of demons" on the first two albums. This 
album is certainly more engaging musically than the previous 
two, partly due to the wealth of experimentation the band uses 
in getting their music across.
	Other tracks of note include the first single "Got 
the Life", the epic closer "My Gift to You" and my own personal 
favorite "Reclaim My Place". And don't stop the CD after "My 
Gift to You", otherwise you'll miss Korn's version of "Earache 
My Eye" - complete with guest vocals from Cheech Marin.
	_Follow the Leader_ is Korn's best effort to date, and 
the perfect way to bring what has been an absolutely brutal 
summer to a close.
---
	CONCERT REVIEW: V98 Festival, Leeds, England
		- Tim Kennedy
	The V98 Festival - run by Richard Branson's Virgin 
Corporation - covered a good spread of talent old and new - 
mostly from the UK.  The organisation was pretty good and 
the Leeds site was not too remote to cause access problems 
yet was rural enough to provide sufficient space for the 
vast crowds attending and in many cases camping at the 
festival.  Security was efficient yet not heavyhanded, as 
certain other English festivals have been in recent years, 
and likewise policing was light - I didn't see a single 
uniform inside the site all weekend and no-one was arrested 
anywhere near me.  The crowd were very relaxed too, and 
in great humour.

Day 1: Sunny
	Stereophonics reproduced their excellent debut album 
onstage to perfection. However it is much more satisfying 
to hear a band who can make their back catalogue work for 
them by reinterpreting their old songs.  There is no doubt 
the Welshmen are one of the premier rock acts in the UK, 
but they should check out their countrymen Manic Street 
Preachers to see a band generate something unique whenever 
they play.  In the meantime, theirs was definitely one of 
the better performances of the weekend.  It will be 
interesting to see what they will sing about on the next 
album,  having now transcended their previous small town 
subject matter.
	Theaudience singer Sophie plays Barbie Doll in a black 
dress to the hilt, and went down quite well with the crowd at 
the NME Stage.  The band do a reasonable line in Blondie-style 
power pop to help advance her claims to the vacant throne of 
La Harry.  Sadly they still have some way to go in terms of 
strong material.  They are OK but not great,  however 
persistence could pay off in the long term although some may 
find her presentation a tad to clinical for their taste.
	Republica are an act some may find very irritating.  A large 
degree of their show is generated by backing tapes,  leaving the 
drummer, underemployed guitarist and a very busy synth/tape operator 
to fill in, whilst the admittedly vivacious and pretty Saffron exuded 
much energy and bounced around like an 'indie' Janet Jackson.  Her 
lyrics are cliched in the extreme,  It is beyond belief that a 
supposedly serious rock act in the late 1990s can without a shred of 
irony use phrases like "Ready To Go" or "Drop Dead Gorgeous" in a 
song.  Despite the rapturous reception by the Leeds crowd one 
couldn't help feeling that much of what they performed had been 
prepared months ago in the safety of the studio and that we'd been 
cheated.
	If one is pleasantly stoned and relaxing in convivial company, 
the reggae music made by Morcheeba is probably quite the kind of thing 
to listen to.  Their female singer, whilst having a bewildering sense 
of style, is quite sweet and friendly.  However their material is a 
bit too much of the same thing.  Whilst being reasonable, they end 
up making you realise that there is actually some great reggae music 
about - but this isn't it.
	Polly Jean Harvey has had her ups and downs,  but her set was 
a stunning return to form.  She played fierce psych blues filled with 
the devil,  sex and madness,  a truly manic lady preacher.  She truly 
challenged her audience's preconceptions of what rock music should be 
about with a fiery yet happy glint in her eye and grim themes that we 
hear precious little of these days.  The material was mostly new,  
with only "To Bring You My Love" recognisable to this writer.  For 
someone who supposedly hates performing live, she looked absolutely 
terrific by the end.
	Ian Brown walked a fine line between 'dying' onstage and 
providing a fascinating performance.  His voice was out of sorts as 
it has been since the final stages of the Stone Roses,  and he looked 
as before like a dosser in his zipped up anorak and hat,  marching on 
the spot in a disturbing fashion.  Then he opened with Hendrix's 
"Little Wing",  his slick sidemen demonstrating superb skills,  and 
left many a jaw slack with amazement as to why the choice.  The rest 
of the material came from the solo album and he sounded more vengeful 
than ever,  though fading out on occasion.  His adoring legion of 
fans cheered him to the echo and roared along to the lyrics,  a 
somewhat bizarre sight when faced with such a diffident and almost 
autistic figurehead.  His songs are quite strong - especially when 
performed by such good musicians - and at times show a soulful touch, 
but the negativity of the lyrics lead one to wonder what he will 
write about when he gets over being abandoned by John Squire - which, 
incidentally, was more than two years ago.
	The Charlatans' set was the climax of the first night and 
showed how in their element this band are in a stadium.  Their 
polished performance wowed the thousands massed before the main 
stage.  The only downside was that perhaps the anarchy that is part 
of true psych music has gone out of the Charlatans forever,  now that 
they are one of the top-grossing acts in Europe.  One wonders where 
the band can go from here.

Day 2: Raining
	Swedish band Whale had the unenviable task of vibing up 
a wet Leeds Sunday early afternoon,  but by golly they set about 
the task with enthusiasm. Their small, long dark haired female 
singer has presence and charm,  and the lads backing her 
delivered a competent rock barrage.  They got a good rapport 
going with the medium-sized crowd at the front of the main stage 
and the very tall guitarist launched himself from a considerable 
height into the crowd below which drew warm applause too.
	Smiler delivered a set of fairly anonymous garage fare.
	Superstar's connections to the Teenage Fan Club go further 
than just that they are Scottish and are friends - their set was 
similar the TFC of a couple of albums ago.  They were reasonably 
melodic in a Neil Young kind of way,  and liked to solo in the 
time-honoured Crazy Horse manner.  Sadly their lead singer (Joe 
McAlinden) is short,  fat and ugly; and he and his high pitched 
voice seem bizarrely paired.  Without any charisma, they will 
remain well adrift of the goal that their name implies.
	The Montrose Avenue are a competent bunch who in all 
respects take their cue from the late 60s West Coast guitar bands, 
with nods to worthies such as the Byrds,  the Association and 
Love.  The problem is that this path has been well trodden by 
R.E.M. and latterly Tim Finn and his old group Crowded House. It 
takes an extremely good set of tunes to compete with that lot and 
TMA aren't there yet.  They do make for a pleasant hour's listening 
however and they've certainly got the clothes and hair right.  Well, 
you've got to start somewhere.
	Gomez are much touted in some quarters as this season's 
contenders.  However it will take more than what sound like outtakes 
from Boo Radleys 1993 _Giant Steps_ album to convince the cynics. 
They started brightly enough with a puff of coloured smoke and a 
whiff of psych guitar but sadly degenerated into directionless 
guitar meanderings set to an amateurish reggae beat.  Vocals are 
performed in turn by most members,  one of whom sounds like a 
drunk (i.e. more than usual) Jim Morrison circa _Morrison Hotel_ .
	Chumbawamba proved that they really only have one song 
worth bothering with,  and that has worn out its welcome after a 
year or so.
	A timely reminder was then forthcoming from the father of 
punk rock Iggy Pop (he started it all back in the 60s, you know) 
to the young and foolish on how to do the deed.  He danced like a 
demon,  sang his heart out,  his band rocked like a rocking thing 
on a very rocky day,  and he even insulted the crowd heartily,  
much to everyone's pleasure and amusement.  All favourites were 
present and most disorderly, plus a few more this writer (admittedly 
not a big fan up till now) didn't recognise.
	Green Day gave the most amusing set of the weekend.  They 
took the main stage by storm,  with their very derivative material 
but highly entertaining style.  Anyone who has seen GD in operation 
will recall the following :  indecency,  drum bonfires,  smashed 
equipment,  much running around and crowd invasions (by the band).  
They livened up a rather soggy crowd,  and were most spectacular if 
a little pantomimesque.  Cynics may remain unconvinced by the music, 
especially those who saw rather too many such also-ran punk outfits 
during the tail end of the 70s.
	St Etienne are really an elaborate joke played on gullible 
pop-pickers.  Singer Sarah Cracknell's style takes precociousness 
to lengths not seen outside of junior school musical productions.  
Her sidekicks are music paper journalists who obviously kill 
themselves laughing in private.  Their ditties are recycled 70s 
naffness personified.  You keep expecting her to burst into "I've 
Got A Brand New Pair Of Rollerskates" a la Melanie.  Her carefully 
groomed appearance - long blonde hair and white suit,  is one 
strange sight in a crowded muddy field outside Leeds.  But they've 
been at it so long now (8 years if you include their first single 
which didn't feature Cracknell) with their clever-clever titles and 
fey semi-tunes that they're now accepted as old timers on the music 
scene.  A bit of a waste of everyone's time,  their critics would 
say.  They would never catch on in the U.S. (Ed. Note: Sub Pop 
sure hopes they do!),  where such inconsequential fare would be 
seen for what it is.  Rearrange the words 'clothes',  'emperors' 
and 'new' to form an appropriate phrase.
	Seahorses were the highlight of the weekend.  The band took 
the stage to exultation from the thousands at the main stage and 
did not disappoint. Former Stone Rose John Squire demonstrated what 
it is to be the only cult guitar hero in an 'indie' band.  He 
paraded in psychedelic finery (the same stuff he's always worn,  
as is his floppy fringe).  He soloed a la Page. He strutted up and 
down the stage with consummate arrogance.  Chris Helms voice was 
in superb form and he also looked cool and confident with cropped 
hair and smart casual attire. He had his solo spot with an acoustic 
guitar and passed with flying colours.  The new material sounded 
great and the stuff off the last album sounded so much better live. 
They strike a superb balance between the pure pop of Squire's early 
days in the Roses and the rock guitar machismo that he developed 
latterly.  The band look set to be the best band in Britain,  
especially in the light of subsequent events on this night...
	Tonight's headliner was to be the glorious highlight of 
Verve's astonishing year and a half in which they have outstripped 
their friends Oasis to become the top UK rock act.  But instead, 
the departure of guitarist Nick McCabe looks to have wrecked 
everything.  Ashcroft took the stage looking even more mournful 
than usual - but now he really has something to look upset about.  
The quality of his singing was not in question,  but the absence 
of lead guitar and the predominance of the slide guitar in its 
place left the Verve's set sounding bedraggled.  They began with 
the more spaced out and ambient tracks from _Urban Hymns_ ,  
emphasising the lowkey performance further.  The crowd had clearly 
looked forward to seeing them,  stood ardently by their campfires 
in the gloom and mud, and would not be robbed their moment,  so 
their reaction was still adulatory,  but it was clear to anyone 
but a blind fanatic that the Seahorses had blown them off stage.  
Sure enough the following day Ashcroft announced that Verve were to 
split (again).
	All in all then a good festival,  with some ups and downs 
but some clear pointers as to who to watch in the next few months.  
It wasn't possible to see everyone - James Brown made an appearance 
as did Catatonia and the Jesus & Mary Chain plus many more, but 
sadly I couldn't catch up with them.
---
	REVIEW: Rancid, _Life Won't Wait_ (Epitaph)
		- Eric Hsu
	"What you are about to hear may well revolutionize your 
way of thinking," begins Rancid's new record (recalling NWA's 
album opener "You are about to witness the power of street 
knowledge!" ), before the single "Bloodclot" charges in the 
door. On the first listenings, it sounds like just another 
recent Rancid song: dual vocals, energy to spare, big chorus 
singalongs, and "Hoover Street" follows with a fuzzed up intro 
that promises more of the same old, and suddenly the song becomes, 
dare I say it, delicate. Sure, the song kicks in with loud guitar 
chorus, but these sound halfhearted somehow, and it's the hypnotic 
and quiet "it's a glass pipe murder" phrase that stays with you. 
And the chorus singing "oh yeah!" actually sounds tempered with 
sadness about drug abuse and not the wall of marching soldiers 
chanting of "Salvation".
	It's enough to take the edge off of Lint Armstrong's 
annoyingly stylized slurring (has it gotten worse?!) which turns 
relatively passionate words into a big glob of spit.  Consistently 
great singing from Lars helps too, as well as guest vocals from a 
lineup of (presumably) from ska and dancehall all-stars (from the 
Specials, Hepcat, Buju Banton, even the Mighty Mighty Bosstones! ) 
scattered throughout. I'm not qualified to judge their credibility, 
but their presence uniformly adds variety and texture to the 
record. And, I find the pseudo-authentic stylings of old-school 
ska and dancehall here to be way more appealing and bearable than 
the toiling masses of punk-ska bands, probably because I don't 
personally have any notions of ska-authenticity and just listen 
to the pretty sounds. And of course the playing is sharp 
throughout and the singing gravelly and energetic.
	Despite the opening warning of a revolution, this record 
traces an evolutionary path. After "Hoover Street" Rancid serves 
up a great string of songs that progressively strays from their 
mastered _Out Come the Wolves_ sound: "Black Lung", words spilling 
out dreaming of a workers revolt and the end of  day; "Life Won't 
Wait", a medium paced ska with the chant "the vision is a new world 
order" (I think) which implants itself into your brain; "New 
Dress", a rather pretty song... bellowing vocals backed with 
restrained guitar and vocals; "Warsaw", Rancid doing a Pogues 
song (not literally); "Hooligans", another infectious speedy ska 
song busting into "Crane Fist", the most hypnotic and looping and 
unusual and braingrabbing song on the record. "Leicester Square" 
finishes off a great run of music with energy and a great sounding 
guitar riff - Rickenbackers, according to the press release.
	Most of the second half of the record hasn't grabbed me 
nearly as much as the first. "Backslide" and "Who Would've 
Thought" are huge letdowns after the great run. "WWT" sounds 
like a rewrite of "Ruby Soho" minus the excitement and even the 
pretense of street poetry.  The snare sounds good, at least. 
Anyway, you'll probably get to judge for yourself since I have a 
horrible feeling they're going to release this song as a single.
	Then follow "Cocktails", pretty ordinary;  "The Wolf", 
as little of a departure from the last record as the title 
suggests; and "1998" could have been an average Rancid song in 
1994.  "Wrongful Suspicion" is a bit better with return to a ska 
sound, but then follow a string of unobjectionable songs ending 
with Lint's vocal at its irritating worst in "Corozon de Oro". 
"Coppers" seems like a weak and weary end to a long affair. It's 
probably made worse by Long Record Syndrome- 22 songs is a lot 
to handle - but I do think the second half is not as strong,  
interesting, memorable, or good as the first.
	The only standout song for me from the second half is 
"Cash Culture and Violence" which proves that if you start with 
a great title, take Matt Freeman playing his usual precise and 
ornate bass, annoying vocals saved with a brilliant sounding 
echo, and toss in a chorus that makes your heart soar, it doesn't 
matter if you can't understand the words, it could be just a 
jumble of protest-type words and phrases, but it rocks. I prefer 
to imagine that Rancid released a brilliant single record (the 
first ten tracks) which ends with "Cash Culture and Violence", 
and then threw in eleven bonus tracks.  And, thanks to the magic 
of CD programming, you can imagine it too,
---
	REVIEW: Shudder to Think, _High Art_ (Velvel/Bottom Line)
		- Chelsea Spear
	Shudder to Think create music that demands attention.  Their 
blend of raucous grunge guitar, primal rhythm and operatic vocals 
high-pitched enough to make Pavoratti cross his legs makes for great 
theatre, but isn't exactly the kind of thing you'd expect to hear as 
a film score.  So it was anyone's guess what director Lisa Cholodenko 
was thinking when she cast the theatrical trio as the braintrust 
behind the score for her hallucinatory and disarmingly fresh 
examination of the art world, _High Art_.
	Surprisingly enough, StT pull off their star turn with 
admirable aplomb.  However, in listening to the score for _High Art_, 
you'd hardly guess that this is the same power trio whose spectacular 
live sets opening for Pavement breathed new life into the intriguing 
but much-maligned genre of psychedelic prog rock.  Instead of taking 
the velvety approach that first turned heads, score artists Craig 
Wedren and Nathan Larsen don a slinkier coat and use a trip 
hop-influenced manse to provide the background music for the film.  
Thus, their extensive contributions to the _High Art_ soundtrack bear 
more resemblance to Luna's use of pure, droney guitar riffs set to a 
loping drum loop on their most recent album, _Pup Tent_, than to any 
of Shudder's previous musical output.  However, where Luna's sound is 
more crystalline and dispassionate, Shudder's music suggests someone 
strung out in the corner, heavy eyelids lowering; someone who once 
cared, but can't bring themselves to feel anything anymore.  Perfect 
music for a movie whose molasses-slow pacing and limpid, burgundy-tinted 
cinematography gives a shimmering exterior for someone trying to kick 
their craving for horse, but can't help but feel seduced by the 
sublime numbness it offers.
---
	REVIEW: Plastiscene, _Seeing Stars_ (Mojo/Universal)
		- Chris Hill
	The Dandy Warhols' were touted by Rolling Stone as "the 
best British group to come from America".  Well, not anymore. 
LA band Plastiscene appropriates the crown with cocksure ease. 
Maybe they have an unfair advantage - British-born singer Roger 
Gisborne oozes a 90s Ziggy Stardust air, all impertinent style 
and confident swagger.  However, the six-member band rates high 
on musicianship as well.  Fuzzed-out guitars, a tight percussive 
backbone, & lively organ/keyboards combine for a thickly-layered 
opus.
	Gisborne, the primary writer for the group, has a knack 
for short, bursting couplets:  "You'll go down/Boy, you'll live 
underground/Yeah, you live in today/It's the American way" 
on the first single, "Lemon Yellow".  The terse, infectious  
lyrics are quickly ingrained in the consciousness.
	"What are you gonna do?  What are you gonna say?  When 
it all comes down to you?" ("Sundial") - personal awareness is 
a strong theme on the record ("Who Are You", "Big Wheel"), but 
there's room for pure fun, as well.
	The effervescent "Around the World" has a Herman's 
Hermits/Beatles lively joy to it.  "On Your Own Time" hits the 
Oasis target squarely on the head, while "Times Don't Change" has 
a vocal hook vastly superior to the _Dawson's Creek_ theme.
	In keeping with 60s influences, _Seeing Stars_ also has 
its share of psychedelic imagery ("Super girl is scary green", 
"The superglue man with the shiny hand", "When the spaceship 
lands/You know I'm going on"), yet the album avoids foolishness 
or parody.
	If they aren't huge within the year, it's the result of a 
market glut.  I actually wanted to dislike the band on first 
listen - they're accomplished and precise, with a maturity 
that belies their youth.  But with every listen, a euphoric glow 
sparked and flamed, upon recognition of a consistency I haven't 
heard since School of Fish's _Human Cannonball_.  Much credit 
must go to producer Rich Costey for crafting such a cohesive 
release.
	As Kelly LeBrock said, "Don't hate me because I'm 
beautiful".  Okay.  There's plenty of room at the table for 
another good band.  Give Plastiscene a chance. Set a place and 
crank the amp to 11.
---
	REVIEW: Cracker, _Gentleman's Blues_ (Virgin)
		- Tracey Bleile
	The master of sad, ironic humor has come back to the 
campfire to spin his yarns about the unkind and highly amusing 
thing that is David Lowery's alter-ego life.  Yup, Cracker's 
back.  And they've brought a whole circus with them.  Lowery 
is the hobo clown, scary and funny once more and he's got Don 
Smith as his ringleader, back in as producer/engineer.  What's 
resulted  is a glowing patch of swampfire for us to stumble 
onto in the dark with _Gentleman's Blues_.   Lowery's back with 
his own brand of sneaky savagery  after doing it someone else's 
way (1996's _The Golden Age_) which drills the industry in the 
bitterest and best track on the disc, "Star".  "Gonna make you 
a star../We'll blow you through the door/into a million bits / 
We'll even sample it/That's how we'll make a hit/And make you 
a star..."  Insert one chill down one spine here.
	The current Cracker state of things draws on the circus 
analogy of long roads and freak shows on more than one track, 
and it's no cute Barnum & Bailey big top...more like the carnival 
from "Something Wicked This Way Comes".  Do you dare peek between 
your fingers at the "unholy circus camp...a drunken trapeze act" 
featuring many guest musicians on the first single "The Good 
Life"?  Do you dare ride the psycho-calliope brawl of "I Want 
Out of the Circus"?  Get on kids, there's more where that came 
from. It's easy to forget you're screaming your head off when 
you're laughing at the same time...
	There are touches of hootenanny, gritty Southern twang 
and a fair amount of desert rock to be found all through 
_Gentleman_.   Johnny Hickman, faithful guitar player and rodeo 
clown keeps the wild animals moving in a circle and not escaping 
to eat the audience.  The tasty swamp blues (the smoldering 
title track) with more than an edge of gospel ("Lullabye" and 
the mercifully easy-to-get-to hidden track) gives him a place 
to stretch out.  A lot of the mid-tempo stuff is way more 
accessible and bouncy like mid-era Camper Van and earlier 
Cracker, and much more readily enjoyable, "Waiting For You Girl" 
and "Wild One" keeps the show on the road.  I would even venture 
so far as to say he could have pulled "I Hate My Generation" 
from _Golden Age_, replaced one of the more repetitive numbers 
that does drag this release a bit ("The World Is Mine" is a 
pale imitation of "Teen Angst (What The World Needs Now"), and 
probably could have dispensed with the previous album altogether. 
But that's what you get when you take a clown out of his element 
and try and make him be the star of the show.  But leave it to 
him to make it his own show once again, it is as it should be; 
part sideshow, part revival meeting, all entertaining.
---
	REVIEW: Richard Buckner, _Since_ (MCA Records)
		- Chris Hill
	"Faith, hope and courage, all that, it's a scam to keep 
people on their toes.  I don't believe in any of that; what 
happens happens, and that's it", said Richard Buckner in an 
interview with William S. Burroughs.  This resigned fatalism 
underscores the simple beauty prominent throughout his impressive 
third album, which mines the country, folk, and alternative 
veins with polydextrous ease.
	There's a cathartic quality to the soul-baring honesty 
unapologetically bleeding from Buckner's words: "All cure and 
comfort/Where's the bed I called you for?" ("Hand @ the Hem"), 
"Honey, I can hear your heart from here/It hasn't always seemed 
to be the truth that lays us down/Well, the truth is tonight I 
truly want you/But I'll still slip away somehow" ("Jewelbomb"). 
We sympathize with the pain in the words, and perversely, 
experience pleasure through the music.
	The 16 songs are divided almost equally between lush and 
spare instrumentation.  Some ("Slept", "Boys, The Night Will 
Bury You") evoke deep South back-porch sing-a-longs, while 
others ("Goner w/ Souvenir", "Jewelbomb", and the viscerally 
powerful opener "Believer") employ a full-band sound.  There's 
no awkwardness in this - Buckner's comfortable in both arenas. 
Depending on the mood, his voice is rough-hewn then fragile, 
tender then merciless, a whisper then a roar.
	Listen with headphones.  Small sonic gifts are scattered 
through the record: an eerie, slithering stereo effect opens and 
closes "Coursed", a wood block clocks in on "Believer", strings 
swell on "10-Day Room", bongo drums keep time on "Lucky Buzz". 
	Buckner's previous efforts, _Bloomed_ and _Devotion + 
Doubt_ made multiple "year-end best" lists.  Odds are good 
_Since_ will make it a threepeat.
---
	REVIEW: Sinead Lohan, _No Mermaid_ (Interscope)
		- Dan Aloi
	Sinead who?
	At first I was skeptical about this Irish singer-songwriter's 
American debut, given the hype she's received. And not just in the press 
clips -- the fates were somehow determined to make me hear this album. 
I was handed a 2-song sampler by a Lilith Fair vendor a few weeks ago 
(a date she wasn't on the tour, by the way), then I had an advance 
album to review. (The fully finished product arrived a few days ago.)
	Once I had the advance CD, I kind of half-listened, warily. No 
response.  A few days later, I'm working around the house, taping a 
Neil Young album.  After Neil, Sinead creeps on the changer. And... 
	Wow.
	"I am no mermaid, I am no mermaid..." Lohan's voice carries 
over waves of distant drums and guitar strums on the opener; the 
oceanic folk is a nicely atmospheric but forceful background. The 
song seems to be a statement of empowerment. Joan Baez even sang it 
on the recent Newport Folk Festival tour, an endorsement of this young 
Irish talent.
	Lohan and producer Malcolm Burn must have sensed that it could 
become tiresome if all the songs sounded like this, so they mix it up. 
So "Loose Ends" is a cabaret blues, while other tracks use just voice 
and guitar to stark effect.  Percussion and keyboards layer into a 
modern femme-rock arrangement (in terms of beats), on  "Hot On Your 
Trail."
	A lot of the advance word had her compared to that other 
Sinead, but to me, Lohan's singing and songs are closer to Suzanne 
Vega, particularly on "What Can Never Be," a plainly arranged ballad 
of powerful emotion that doesn't need the angry-grrrl treatment to 
get its point across.
	At the end of the album, "Diving to Be Deeper" has a fun, new 
wave beat, a nice poppy little summer single on its own, a further 
reward for listening.  Sinead Lohan has all the artistic vision and 
personal grit of Vega, the grandeur of fellow Celt Van Morrison, and 
the incise mastery of words and music of a Richard Thompson or a Paul 
Kelly.
	And did I say hype? Damned if it's not deserved. I'm going to 
turn my 15-year-old daughter on to Sinead Lohan -- the most promising 
voice from the British Isles I've heard, at least since Beth Orton and 
_Trailer Park_ .
---
	REVIEW: Rob Zombie, _Hellbilly Deluxe_ (Geffen)
		- Sean Eric McGill
	Rob Zombie has become the Roger Corman (or Fred Olen Ray, 
the choice is yours) of rock music. The music of White Zombie and 
his new solo album _Hellbilly Deluxe_ have the same sort of 
schlock to them that makes them the sonic equivalent of a B-Movie. 
There's something to the overall spookiness of it that makes you 
realize that the music (or its creator) isn't taking itself all 
that seriously, so why should you? At least, that's what I hope.
	Because if Rob Zombie isn't the freaked-out carnival 
barker that he seems to be and is truly serious about not just his 
music, but its lyrical content, he might well be headed into a 
claymation deathmatch ring to challenge Marilyn Manson for the 
title of "Most Evil Man Alive". _Hellbilly Deluxe_, Zombie's first 
solo album, is full of song titles like "Demonoid Phenomenon" and 
"The Ballad of Resurrection Joe and Rosa Whore", and my own 
personal favorite "Dragula" (named after Grandpa Munster's car). 
And even without the actual band White Zombie (save for drummer 
John Tempesta), Rob Zombie and fellow producer Scott Humphrey put 
together a band and a sound that adds a more industrial flavor to 
Zombie's past efforts, but still maintains the core that lets you 
know who the creator is.
	Outside of Tempesta, the lineup for the album is fairly 
simple, including Charlie Clouser and Danny Lohner from Nine Inch 
Nails and Prisoner No. 896876 himself, Tommy Lee, who plays on 
"Meet the Creeper" and "Resurrection Joe".
	And now, here's the problem. This is the part in the 
review that you usually use to describe the sound of a band. But 
the biggest problem I've always had with White Zombie, and am 
having again with _Hellbilly Deluxe_, is that I've never been able 
to pin down what it was about their sound that I liked so much. It 
is a full, rich mixture of different genres (mainly hard rock and 
industrial) that I particularly enjoy, but perhaps the concept of 
the band struck me as much more interesting.
	And the concept that Zombie started with the band White 
Zombie continues here with _Hellbilly Deluxe_ . Much like the old 
A.I.P. pictures like The Raven with Vincent Price (or newer A.I.P. 
fare like Hollywood Chainsaw Hookers with Linnea Quigley), 
_Hellbilly Deluxe_ delivers cheap thrills that don't really leave 
any lasting substance behind with them. Of course, that's not bad - 
that's what entertainment is  for sometimes. Not every song on 
every album by every band should be loaded with deep meaning, and 
I just hope these songs aren't. Then, I would be truly frightened.
---
	REVIEW: Local H, _Pack Up The Cats_ (Island)
		- Jason Cahill 
	When Local H released their breakthrough album, _As 
Good As Dead_, two things happened.  First, the song "Bound 
For The Floor" pushed the word 'copacetic' back into the pop 
culture lexicon and, more importantly, attention was called 
to a band equally adept in creating both hard rock diatribes 
and softer, more acoustic based songs.  "High-Fiving MF" and 
"Eddie Vedder" fell on opposite ends of the musical spectrum, 
but fit nicely on that album, a diverse and eclectic hodgepodge 
of sound.  The only question which remained was which direction 
the band would take with their next effort.  Well, with the 
recent release of _Pack Up The Cats_, Local H have provided 
us with the answer, showing that a perverse maturity does indeed 
fester behind the band's hardened exterior.
	_Pack Up The Cats_, the third release from the Chicago 
based duo, seems to be a more cohesive album than 1995's 
_Hamfisted_ and more focused than _As Good As Dead_ .  The album 
opens with the band's concert staple "All-Right (Oh, Yeah)", a 
noisy rocker with Local H's trademark blend of overpowering 
drums and nonsensical lyrics.  From there, it's on to the pure 
unfiltered rock of "'Cha!' Said The Kitty" and "Hit The Skids 
Or:  How I Learned To Stop Worrying And Love The Rock", both 
laced with Local H's effective blend of cynical sarcasm and 
testosterone filled beats.  But, unlike on their debut album, 
_Hamfisted_, the band shows their maturity here by switching 
moods, playing with styles and trying their hardest to make an 
album that screams of diversity and musical growth.  It works.  
	"Lead Pipe Cinch" is nothing short of breathtaking in 
its pure stripped down simplicity, "Stoney" is an instrumental 
which takes its cue from Van Halen's "1984" (the song, not the 
album), eventually leading into one of the album's better songs, 
"Laminate Man", a straight rocker which owes more to Chris Mars 
than perhaps Local H would care to admit.
	Lyrically, Local H are the same playful bunch they've 
always been.  There are times when the album's lyrics are 
completely nonsensical ("sickle cell anemia, carpal tunnel and 
bulemia") and downright strange ("I don't know where I'm at / I 
think I killed my cat"); word phrasings which give one the 
impression that Local H are somewhere laughing hysterically at 
what passes for lyrics these days.   Yet start to write them 
off as lyrical hacks and Local H will begin to surprise.  
Because underneath all the inside jokes and utter silliness, 
the band can be downright touching.  From the gentle beauty of 
"Lead Pipe Cinch" ("something in my mind won't let my heart and 
head and mouth connect") to the simplistic, yet dead-on "All 
The Kids Are Right" ("All the kids, they hold a grudge, you 
fail them and they won't forget it").  Like the Replacements 
before them, Local H have discovered that a sense of humor 
coupled with a sarcastic irony can be a wonderful thing.  
	In all, _Pack Up The Cats_ represents the maturation 
of Local H's sound.  It's an album filled with the band's blend 
of playful sarcasm, hyperactive energy and, in its simplest 
form, fierce melodic rock.  
---
	REVIEW: Howard Jones, _People_ (Ark 21)
		- Paul Hanson
	As an 80s child, I grew up with Jones' syrupy synthpop songs. 
"No One Is To Blame" always seemed to be on the radio, blasting through 
the speakers at the roller rink and even the local record stores. Then, 
magically, I grew up.  Jones' dominance on the American Top 40 dried up 
like ice in the desert as words like "grunge" and "Seattle sound" took 
over. I didn't mourn Jones losing his status as a major player in the 80s 
pop scene - - I barely noticed his absense or the absense of bands like 
Culture Club and Human League, two other 80s bands that have released 
"new" releases.
	So, on holding the 1998 release _People_ from Howard Jones, I 
expected an 80s sounding disc, with fluffy vocals and silly synthesizers 
puncturing Jones' appealing voice. This is, though, definitely a 90s disc 
with sophisticated drum programming, outstanding background vocals and a 
scorching electric guitar on disc opener "You're the Buddah." The next 
track, "Tomorrow is Now" screams out "Top 40 comeback!" to programmers 
willing to give qualified songs a chance. "Everything" dips into a reggae 
groove while "If you love" - which gives me goosebumps - is the closest 
Jones gets to his "No One Is To Blame" vein. 
	What strikes me most about this disc is Jones' unpredictablility. 
My preconceived idea of "Wedding Song" was a full-blown drippy ballad. 
Jones takes the words of a could-be ballad and puts them into a mid-tempo 
track with success: "I need you to help me to find the strength to walk 
with me all through my life/ my lover, my husband, my wife/ Share this 
journey with me/ Write our story with me" are some of the great lyrics here.
	This disc surprised me a great deal. I am equally surprised with 
how often I find it in my CD player while other discs find less air time.
---
	REVIEW: Tommy Keene, _Songs from the Film_ (Geffen)
		- Joann D. Ball
	More than ten years after its initial issuance, Geffen Records 
has finally released Tommy Keene's major label debut _Songs From the 
Film_ on compact disc.  For those who have treasured Keene's unique 
brand of power pop since the record's critically acclaimed 1986 
release, having _SongsFrom the Film_ on CD is a wish come true.  
Finally, there's no need to worry about how to replace a well-worn 
vinyl or cassette copy of what was a hard-to-find musical gem. After 
relishing _Songs_ on disc, one can only hope that a re-release of 
Keene's second and final long-player for Geffen, 1989's stellar 
_Based on Happy Times_, is also planned.  Even though the CD 
revolution was well underway when _Based on Happy Times_ hit music 
stores, few discs turned up in the racks because Keene was dropped 
from the major label around the same time.
	But let's go back to the mid-1980s, when the snap, crackle 
and pop of records was a common experience, when portable cassette 
players were still somewhat new and when college radio was energing 
from campus basements. Back then, Tommy Keene was hearalded as The 
Next Big Thing and it seemed as though a pop revolution was just 
around the corner.  Coming out of the same Southeastern U.S. scene 
as college radio faves R.E.M. and Let's Active, Keene attracted a 
host of major labels majors by virtue of the strength of the 
EP's _Places That Are Gone_ and _Back Again (Try)_, his two 
releases on North Carolina's Dolphin Records.  Geffen eventually 
signed Keene, and recognizing that his sound was descended from 
the classic pop of the Beatles, sent him and his band off to 
Beatles' producer George Martin's Air Studios in Montserrat to 
record.  The magical result was _Songs From the Film_, produced 
by the Fab Four's old engineer Geoff Emerick, who captured the 
essence of Keene and company's sound and the spirit of unfettered 
and straightforward pop.  The record's title itself is Keene's 
nod to his Liverpudlian forefathers' influences as it refers to 
the way the movie soundtracks to "Help" and "Hard Day's Night" 
were prefaced by the unforgettable phrase "Songs From the Film."
	Listening to it now, it's not too hard to figure out why 
there was much talk about Keene and the heightened anticipation 
about the release of _Songs_.  Keene's unmistakable pure powerpop 
stood out amidst the New Wave of the period and recalled a pre-MTV 
era when songs were memorable without the aid of a video.  Keene's 
sincere and emotional vocal presence is wrapped in and around 
irresistible melodies and textured, chiming guitars on songs like 
the opener "Places That Are Gone," "In Our Lives," "Call on Me" and 
"As Life Goes By."  And as the record's first US single, the bass 
and beat driven swirls of "Listen to Me" put Keene on the airwaves 
of hip commercial FM stations and cool college stations.  Remember 
how great "Places" sounded next to David & David's "Welcome to the 
Boomtown" and 'til Tuesday's "What About Love," two other great 
singles from stellar 1986 releases?
	The 1998 version of _Songs From the Film_ features 21 tracks, 
including the original 12 cuts (slightly altered here by the 
previously unreleased "Take Back Your Letters" slipped in as track 
#11) plus bonus songs. Resurfacing here are five of the six cuts 
(minus the live version of "Kill Your Sons") from the _Run Now EP_, 
which was released almost a year after the long-player.  The song 
"Run Now" has the electricity and charge that has always been one 
of Keene's most distinctive features, and the stories that are 
"Back Again" and "They're In Their Own World" capture the quirks 
of relationships and friendships.   Rounding out the musical 
flashback are three other previously unreleased tracks including 
the cover of The Flamin' Groovies' "Teenage Head", which Keene and 
his band often performed live.
	The resurrected and enhanced version of _Songs From the 
Film_ has a musical flow that takes the listener on a memorable 
sonic journey.  It works amazingly well, because it has an 
inherent balance between Keene's softer introspective songs like 
"Underworld" and "The Story Ends" and more aggressive and upstart 
assaults from that are "Papaer Words and Lies" and "Gold Town."  
Geffen was wise to release _Songs_ in such a way that it captures 
a critical moment in Keene's career and in pop music history.  
While one wonders what would have happened if Geffen had stuck by 
Keene almost a decade ago, releasing _Songs_ at a time when 
power-pop once again emerges as a viable option for listeners 
otherwise burned out by the latest music fads may finally give the 
sound the push it needs to finally breakthru from the underground.
	Despite the meteoric rise and subsequent crash and burn of 
his major label excursion, Keene persevered and continued to ride 
the rock 'n' roll roller coaster by returning to his indy label 
roots and playing the clubs.  Since the early 1990s, Keene has looked 
back not in anger but with true dedication to his passion by releasing 
a collections of old and new material.  And actually his Spring 1998 
effort  _Isolation Party_ on Matador Records - bristles with the same 
kind of promise of his two major label records.  Perhaps once and for 
all,  the long overdue CD release of _Songs From the Film_ will get 
Keene's name up on the big, bright marquee of rock and roll.
---
	REVIEW: John Hiatt, _The Best Of John Hiatt_ (Capitol)
		- Reto Koradi
	With a career that has been spanning 25 years, John Hiatt 
never really got out of the twilight zone between stardom and 
well-kept secret.  His music always had the potential to appeal to 
a wide audience, and he is arguably one of the most gifted 
singer/songwriters in business. The latest attempt comes in the 
form of this compilation covering mostly his work from the 80s and 
90s, his earlier output having been collected before on albums 
including _Y'All Caught?_ and _Living A Little, Laughing A Little_.
	Not surprisingly, _The Best Of_ has a heavy focus on Hiatt's 
most successful phase during the second half of the 80s and his 
career with Capitol. His masterpiece album _Bring The Family_ 
from '87 is represented by 3 songs: the groovy "Memphis In The 
Meantime", probably his strongest upbeat song, the essential ballad 
"Have A Little Faith In Me", and "Thing Called Love". _Slow Turning_ 
from '88 makes 4 appearances with the title track, "Drive South", 
"Tennessee Plates" and "Feels Like Rain". A number of other albums 
are represented with mostly one song only, starting with "Take Off 
Your Uniform" from the '79 release _Slug Line_ up to "Cry Love" 
from the '95 album _Walk On_.
	The previously available material is completed with two 
new songs, the ballad "Love In Flames" and the catchy midtempo 
number "Don't Know Much About Love". Both of these neither stand out 
or fall off compared to the older songs. The only real 
disappointment is that some songs are presented in re-recorded 
versions; "Have A Little Faith In Me" was pretty much slaughtered 
in this process, adding drum machines and unnecessary background 
vocals.
	Alternative track selections would certainly have been 
possible in some cases, but the choice of 17 songs from such a 
wealth of material must always leave some gaps. If you missed out 
on John Hiatt so far, this CD is a good opportunity to change that. 
People with a dislike for compilations and a preference for 
original version of all songs may instead consider picking up 
_Bring The Family_ and _Slow Turning_ from the mid-price section 
of their favorite record store.
---
	REVIEW: Culture Club, _Storytellers/Greatest Hits_ (Virgin)
		- Paul Hanson
	I lived through Culture Club vocalist Boy George being called 
everything from "talentless skinny transvestite" to "odd" with zillions 
of other adjectives in between. Whatever your adjective, the fact that 
Boy George and Culture Club enjoyed a plethora of success on the 
American Top 40. This two CD collection, one a full-fledged Greatest 
hits the other from VH1's Storytellers, therefore, captures the best 
moments of the band's 80s success with 28 total pop gems. Unfortunately, 
there seems to be a marketing ploy in the works. If you strip away the 
songs found on both CDs, you end up with seventeen tracks, the perfect 
amount for ONE CD. But since no one would buy a full-fledged box set (or 
would you), this two CD collection will have to do. Don't be misled into 
thinking that CC had 28 greatest hits.
	When you get past the statistics, however, you begin to really 
hear how catchy this music is. I think the lead-off on the Greatest Hits 
"Do You Really Want to Hurt Me?" epitomizes what the band was about. A 
simple reggae rhythm with simple lyrics and a simple intent. The band 
never claimed to be musical geniuses - - they would have been laughed off 
the planet. The hypnotic drumbeat, though, is catchy. "Time (Clock of the 
Heart)" is equally appealing. "I'll Tumble 4 Ya" is probably my favorite 
song on this collection.  "Church of the Poison Mind" rang out numerous 
times on Sunday afternoons at the skating rink. "Love is Love" is perhaps 
their finest ballad, complete with lyrics like "Love is every second we 
speak" and "Open up your eyes and you will see/ Love is love is everything 
to me."
	As aforementioned, the _Storytellers_ disc is from the VH1 
special.  Recorded live, the upbeat Motown-influenced "Church of the 
Poison Mind" features a delectable gospel singer (not Helen Terry this 
time around) who compliments Boy George's rushed vocals. This disc proves 
that calling the band "talentless" is a gross misstatement. I gained a 
greater appreciation for the band as musicians through these two discs.
	For the 80s enthusiast, most of these songs can be found on the 
"Best of the 80s" series advertised on television. For the casual listener, 
this collection serves as a memory jogger to the days of synthesizer pop 
and roller skating. For me, it served as a springboard to remembering a 
simpler time. Judging by the crowd's applause on the _Storytellers_ disc, 
it springboarded a lot of people.
---
	REVIEW: Nick Cave and the Bad Seeds, _Best Of_ (Mute/Reprise)
		- Scott Slonaker
	In case you've ever been interested in the music of Nick 
Cave but didn't know where to start, he's got his first US best-of 
compilation (can't really call it a "greatest hits") that does an  
excellent job of sampling Nick's ten or so studio albums, from the 
primal wail of the title track to 1984's _From Her to Eternity_ all 
the way up to the elegant, spare UK single "Into My Arms", from last 
year's _The Boatman's Call_.  Gorgeous duets with Polly Jean Harvey 
("Henry Lee") and Kylie Minogue ("Where the Wild Roses Grow") are 
also included.  Since the closest any of Cave's music has ever come 
to the mainstream in the US outside of a 1993 Lollapalooza spot and 
the placement of "Red Right Hand" (included) in several movies and 
episodes of _X-Files_, he tends to appeal more to a cult audience.  
That said, however, he's one of the most eloquent songwriters of 
the last twenty years.  No one, excepting maybe Leonard Cohen or 
Elliott Smith, covers life's dark underbelly like Nick Cave.  
Highly recommended, particularly for Nick neophytes. 
---
NEWS:	> Epitaph has released _Punk-O-Rama 3_ , a 
compilation of 25 songs from groups including Rancid, 
Bouncing Souls, Wayne Kramer and unreleased tracks 
from Pennywise and NoFX
	> Smoke City's "Underwater Love", a top 5 UK hit which 
was featured in a Levi's ad, has finally been released in the 
States - with remixes by David Morales, Aphrodite, and 
Lionrock - by Jive Records.
	> After having been together for more than a decade, A 
Tribe Called Quest, which consists of Q-Tip, Phife and Ali Shaheed 
Muhammed, has decided to disband.
	The group will release their last album, _The Love 
Movement_ , on September 29 and are currently on tour with the 
Beastie Boys. 
---
TOUR DATES:
	Tori Amos / Devlins
Sep. 2 West Valley, UT E Center
Sep. 9 Vancouver, BC General Motors Place

	Anthrax / Grinspoon
Sep. 3 Cincinnati, OH Bogart's
Sep. 4 Kansas City, KS Sandstone
Sep. 6 San Antonio, TX White Rabbit
Sep. 8 Memphis, TN Daisy Theatre
Sep. 9 Atlanta, GA Masquerade

	Bauhaus
Sep. 2 Toronto, ON Warehouse
Sep. 3 Washington, DC 9:30 Club
Sep. 10-11 New York, NY Hammerstein 

	Beastie Boys
Sep. 2 Atlanta, GA Lakewood Amphitheater 

	Candlebox
Sep. 2 Oxford, MX Grove
Sep. 4 Kansas City, KS Sandstone
Sep. 5 Maryland Heights, MO Riverport Amp.
Sep. 6 Oklahoma City, OK All Sports Stadium
Sep. 7 Springfield, MO Holiday Drive-In
Sep. 10 Minneapolis, MN Quest Club

	Connells
Sep. 5 Virginia Beach, VA American Music Festival
Sep. 6 Manteo, NC Roanoke Island Festival

	Creed / Fuel / Finger Eleven
Sep. 2 Kansas City, KS Memorial Hall
Sep. 3 Wichita, KS Cotillion
Sep. 4 St. Louis, MO American Theatre
Sep. 9 Cleveland, OH Nautica Stage
Sep. 10 Pittsburgh, PA Light Amph.

	Dakota Moon
Sep. 6 Oakland, CA Oakland Col.

	Fear Factory
Sep. 2 Rochester, NY Armory
Sep. 3 Montreal, PQ Verdum Auditorium
Sep. 4 Quebec City, PQ The Agora
Sep. 5 Worcester, MA Palladium
Sep. 6 Asbury Park, NJ Convention Center
Sep. 8 Hartford, CT Webster Theatre
Sep. 9 Baltimore, MD Michael's 8th Avenue
Sep. 10 Philadelphia, PA Electric Factory

	Flick
Sep. 5 Bonner Springs, KS Spirit Fest 
Sep. 7 Springfield, MO Edge Fest 
Sep. 10 Columbia, MO The Bocomo Fall 

	HORDE Tour (Blues Traveler, Barenaked Ladies, Alana 
Davis, Ben Harper, and many others)
Sep. 3 Boise, ID Idaho Center Amph.
Sep. 4 George, WA The Gorge
Sep. 5 Portland, OR Portland Meadows

	Massive Attack / Lewis Parker
Sep. 3 Miami, FL Cameo Theater
Sep. 4 Ybor City, FL Ritz Theater
Sep. 6 Atlanta, GA Roxy Theater
Sep. 10 Washington, DC 9:30 Club

	Metallica / Jerry Cantrell / Days of the New 
Sep. 3 Portland, OR Portland Meadows
Sep. 4 Vancouver, BC Thunderbird Stadium
Sep. 5 Quincy, WA The Gorge
Sep. 7 Ogden, UT Stewart Stad.
Sep. 8 Englewood, CO Fiddlers Green Amphitheater

	Bob Mould / Varnaline
Sep. 10 Fargo, ND Playmakers Pavilion 

	One Minute Silence
Sep. 4 Newburgh, NY The Avalon 
Sep. 5 Amityville, NY Dr. Shea's 

	Vast
Sep. 2 Oklahoma City, OK Boar's Head
Sep. 4 Denver, CO Bluebird Theater
Sep. 6 Salt Lake City, UT Holy Cow
Sep. 8 Portland, OR Roseland Theater
Sep. 9 Seattle, WA RKCNDY

	Wilco
Sep. 5 Columbus, OH WWCD - Radio Show

	Josh Wink
Sep. 5 Orlando, FL Zen Festival
Sep. 6 Columbus, OH Red Zone
---
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