==== ISSUE 82 ====         CONSUMABLE         ======== [July 25, 1996]

  Editor:             Bob Gajarsky
		        Internet: gajarsky@email.njin.net
  Sr. Correspondents: Jeremy Ashcroft, Martin Bate, Dan Enright, Tim 
                      Kennedy, Reto Koradi, David Landgren,  Sean Eric 
                      McGill, Tim Mohr, Jamie Roberts, Joe Silva, John 
                      Walker
  Correspondents:     Dan Birchall, Lee Graham Bridges, Scott Byron,
                      Joe D'Andrea, Joe D'Angelo, Paul Grzelak, Eric Hsu, 
                      Tim Hulsizer, Stephen Jackson, Daniel Kane, Mario 
                      Lia, Bob Mackin, Al Muzer, P. Nina Ramos, Linda 
                      Scott, Ali Sinclair, Jon Steltenpohl, Courtney 
                      Muir Wallner
  Technical Staff:    Chris Candreva, Dave Pirmann, Damir Tiljak,
                      Jason Williams
  Also Contributing:  Robin Lapid, Michele Morabito

 Address all comments, subscriptions, etc. to gajarsky@email.njin.net
==================================================================
	All articles in Consumable remain (C) copyright their author(s). 
Permission for re-publication in any form must be obtained from the 
editor.
==================================================================
                            .------------.
                            |  Contents  |
                            `------------'
INTERVIEW: Ben Folds Five - Joe Silva
CONCERT REVIEW:  Chris Isaak - Robin Lapid
REVIEW: Rage Against The Machine, _Evil Empire_ - Mario J. Lia
CONCERT REVIEW: Mark Knoplfer - Ali Sinclair
REVIEW: The Nields, _Gotta Get Over Greta_ - Stephen Jackson
CONCERT REVIEW: Self, _Subliminal Plastic Motives_ / Cast - Jon Steltenpohl
CONCERT REVIEW: Presidents of the United States of America /
   Fastbacks / Menthol - Al Muzer
REVIEW: Space Needle, _Voyager_ - Scott Byron
REVIEW: Lizard Music, _Fashionably Lame_ - P. Nina Ramos
REVIEW: Tracy Bonham, _The Burdens of Being Upright_ - Courtney Muir Wallner
REVIEW: Psyclone Rangers, _Beatin' on the Bat Pole_ - P. Nina Ramos
REVIEW: Faux Savant, _Above it All_ - Michele Morabito
REVIEW: Mystery Machine, _10 Speed_ - Nina Ramos
NEWS: Bryndle, Charlatans, Neurotic Outsiders, Joan Osborne, Request 
   Line, Sonicnet Chats, V.A.N.I.S.H.
TOUR DATES: Art In The Anchorage, Baboon, Barkmarket, Adrian Belew, 
   Tracy Bonham / Everclear / Spacehog, Bryndle, Tracy Chapman / Charlie
   Hunter Quartet, Charm Farm, Chimera, Cordelia's Dad, Elvis Costello, 
   Cravin' Melon, Cure, Def Leppard / Tripping Daisy, Enormous / Perfect,
   James Hall, Hayden, H.O.R.D.E., It's Me, Margaret, Jawbox, Paul 
   Kelly / Tara MacLean, Nusrat Fateh Ali Khan / Donovan, Kiss, k.d. lang,
   Huey Lewis & The News, Little Feat, Lollapalooza, Lush, Natalie 
   Merchant, Pantera, Poorhouse Rockers, Possum Dixon / Yum Yum / Dig,
   Primitive Radio Gods, Sex Pistols / Gravity Kills, Horace Silver, 
   Slayer, Steely Dan, Superdrag / Nada Surf / Gravel Pit, Tina & B-Side
   Movement, Warped Tour, Wrens
Back Issues of Consumable
---
	INTERVIEW: Ben Folds Five
		- Joe Silva
	There's really no way that you can think of the piano as 
one of pop's truly maligned instruments. Now the bassoon; 
that's an entirely different matter. When was the last time 
you heard the grandaddy woodwind coming to the fore of a 
chart topper? Motown and Christmas 1970 are the only 
clues I can offer without giving it away entirely. But while 
there was much keyboard figuring into rock's nascent 
moments, it's been backhanded and relegated to a second 
class status ever since. Ergo, all the fuss afforded  the Ben 
Fold's Five since the release of their self titled debut last 
year. Forget Keith Emerson, forget the former Mr. Christie 
Brinkley, and for the moment you can put aside Elton as 
well. So fervent was the noise that the North Carolina trio 
was eventually asked to offset the power chords reigning 
over Lolla-Metallica's mainstage this year and give the indie 
kids something to gawk at on stage B.
	While en route to one of those aforementioned gigs, Ben 
Folds stepped out of the confines of their stylish Ryder 
rental and phoned in from a truck stop for the following:

	Consumable: Where you guys approached for the second 
stage thing or did you want to be on it in particular?
	Ben Folds Five: Well I think probably everybody want to be 
on it. I'm not sure how it came about, but I think we were 
asked to do it. Based on our positioning on the second stage 
where we're basically opening up for the headliner. I don't 
think this was one of those things that we got bought on to, 
but you never know.
	C: Is it comfortable to do, going from city to city for 
this type of carnival thing?
	BF: It's probably not bad. They just tell you when to show 
up. They've got the piano to deal with stage wise, so we'll
probably have to be there before everyone else.
	C: When I saw you play here, it didn't look like a 
tremendous piano. I mean, you wouldn't think it would
be too difficult to cart around between, say three people.
Maybe I'm wrong.
	BF: It's a thousand pound piano, and that was a big stage
with a lot of distance between everybody. I don't know, 
put that thing in your living room and then check it out 
(laughs). It's big.
	C: Since the record came out back in, what, July last 
year, has the material started to wear thin a bit?
	BF:  The rigor of six nights a week and some of the 
traveling that we've been doing has made it seem like it 
wears thin sometimes, but I think we're just in time for the 
new record. It'll be a relief to play those songs in the middle 
of a set where people don't know the new stuff. We have 
hit that dirged out, shitty feeling very much. A couple of 
times. Right now we're learning how to hold the songs back 
and that may sound stupid, but we're really excited about it. 
We're not playing too fast all of sudden.
	C: You have stuff done up for the next record already?
	BF: Yeah, I was just in the back of the Ryder on the couch 
going through the number of possible songs. It's somewhere 
around thirty solid, good starts.
	C: And you've gen'd all that stuff up while traveling?
	BF: A lot of it. I'm a real slow writer. I don't really write 
that much. You know, I'll have an idea and three or four 
years later, it's kind of mulled over in my head and turned 
into something else. In fact one of the songs from the first 
album, "Video", was for the most part finished when I was 
in high school. It just kind of got the final touch on it right
before we [recorded]. So it's not like I've been slaving over 
for ten years (laughs)! About half of what I'm walking on 
now, the seeds are a year or so ago.
	C: Are you guys sticking with Caroline Records for the 
next one?
	BF: No, we signed with Epic/550 a few months after the 
record came out.
	C: Was there any reason in particular? Was this a 
distribution type thing?
	BF: Well there was a lot of reasons, but it basically came 
down to is with the kind of music we're making and the 
direction we're going, it wasn't going to remain an honest 
situation to remain with a label whose specialty is another kind of 
music. For the first album I think it was an interesting thing 
that we barely lapped over enough into the indie world by 
the nature of what we were doing - it had some hint of 
rebellion in there.  And for them, they're an indie that goes just 
enough into the side of pop music to where it worked out. 
But beyond that, they're a grass roots organization and if 
we write hit songs, it's hard for them to be hits. I'm sure 
they would like to do that, but honestly, I think what they're 
good at is discovering really cool stuff and making it work 
in a real musical grass roots way. If we had been on a major 
label, we would have been screwed. Not screwed by the 
label, but screwed by circumstances. We wouldn't have had to 
fight up from nothing like we had to and that gives
you a lot of stamina.
	C: Is it getting to be a bit of a drag having to continually 
talk about why your playing the piano and not a guitar?
	BF: Nah, because I'm happy that they're noticing that and 
it's setting us apart. We knew that was going to be the case 
when we started. We could only hope that we would have 
some kind of distinction. Think of how many bands are out 
there. I mean we don't want to wear make up to stand out. 
So the piano is a very dignified way of  standing out in the 
crowd. I don't mind talking about the piano because I play 
it all the time.
	C: I thought it was fun seeing the fair amount of abuse 
you give it during a performance like lying on your back and 
launching the stool at the keys.
	BF:  That was in lieu of diving into it.  I had a broken rib 
and I was wheezing through the gig. And when it was over I 
was in a funny mood and I wanted to dive into it, which I 
sometimes do, but I was hurting too bad. 
 	C: You broke a rib?
	BF: Yeah, I broke it doing the video [for the single "Uncle 
Walter" ]. I dove off a box onto Darren [Jesse, drummer] 
and he wasn't ready for me and I landed my full weight on 
his knee.
	C: Are you still doing the "Video Killed the Radio Star"
cover? I was amazed at how people just lost their minds 
over it.
	BF: Actually we're sort of getting ready to retire that. We 
chose that song because there was a compilation album 
coming out from Elektra of well known bands doing covers 
of one hit wonders. Elektra just gives you a catalogue to 
chose from and there's thousands of these one hit wonder 
songs. You know they're all funny for a second, but then 
you think "Fuck, this is a terrible song." Because with most 
one hit wonders, truth is, they're horrible songs. This song 
was one that once you get below the campy stuff, it really 
has a cool sentiment to it and a lot of energy. The original's 
not that energetic, and we put it in people's faces a little 
more and they realize how much they really like it, because 
it's a really good song.
	C: Have you had any odd reactions from playing a song 
like "Underground" which seems like a poke in the ribs at 
indie culture, in front of this mass of alternative fans.
	BF: It's like self-deprecation kinda. If you were like a Ray 
Stevens or something singing about [inserts twangy vocal 
here] 'them damn kids today..', it obviously comes from 
an outside point of view. But this is so obviously from 
within. Besides, people love making fun of themselves 
anyway. It's kind of like being a hipster, scenester type in a 
small town and everyone's walking around going 'There's a 
couple of hipsters, they know what's going on.' But the 
truth is they're looking at you saying the same thing if your 
onto the same vibe. It's been cool to be cool for too long 
now and now it's cool not to be cool.
---
	CONCERT REVIEW:  Chris Isaak at the Greek Theatre, U.C. Berkeley
		July 12, 1996
		- Robin Lapid
	Chris Isaak first introduced himself by telling the crowd what
to expect this evening.  The rockabilly crooner and part-time actor 
best known for moody love songs like "Wicked Game" promised to play 
stuff from all four of his albums, a couple of covers, "and then maybe
we'll do some Crosby, Stills, Nash and Young."  Of course, he was 
just kidding about the last part, as usual.  But this introduction 
epitomized the entire performance - a crowd-pleasing show which 
paired the heartfelt depth of his songs with the easygoing affability
of his personality.
	Chris Isaak is probably one of the better examples of that 
rare breed of performers who can truly call themselves "entertainers."
Isaak's honey-smooth vocals translate even better live.  From the 
plaintive falsetto down to the low, breathy whisper, when Isaak sings
words like "I want your love/ I need your love..." you're ready to 
believe him (which is probably what prompted one woman to scream out 
in response, "Right here!"). Not only that, but in between sets he 
treated the responsive crowd to his own comedic schtick.  All those 
years spent perfecting the consummate heartache song while starring 
in "Twin Peaks: Fire Walk with Me" and guesting on "Friends" have 
taught him well enough what it means to entertain.  And the capacity
crowd, which enjoyed a pleasant evening in the large, outdoor 
amphitheater while welcoming the San Francisco local back to the 
Bay Area, were up for a good time.  In a finely tailored suit covered
entirely with tiny, glinting mirrors that made him look like a 
guitar-playing disco ball, the rock 'n roll star/movie star gamely 
tells of late nights on the road spent "reading the Bible while 
watching CNN."
	The only thing that successfully overshadowed Chris Isaak 
the Affable Comedian, however, was Chris Isaak the Singer-Songwriter.
Following in the footsteps of idols Roy Orbison and Elvis Presley, 
Isaak warmed the chilly crowd with a voice that combines a seasoned 
twang with a bluesy rock'n roll sensibility. While Isaak broke the 
charts with a repertoire of sad songs traditionally about love, loss,
and loss of love (as with the title track to his latest album, 
_Forever Blue_) he should also be recognized for what could be called
his more "upbeat" tunes. Catchy numbers like "Goin' Nowhere" and 
"Somebody's Crying" highlight his penchant for hummable songs which
nicely straddle the line between rock 'n roll and country-western.  
Songs like these also allow Isaak's backing band, Silvertone, to show
off its deft musical stylings with bluesy rhythms anchored by Kenney
Dale Johnson's solid drumming. 
	Isaak delivered a live performance which combined well
crafted music with a fun time out with the band.  Despite a large 
audience seeking warmth under coats and blankets, the sincerity both
in Isaak's music and his personality made the open-air amphitheatre 
feel more like the cozy Bay Area clubs Isaak played back in the olden
days.  No Crosby, Stills, Nash and Young, but a good show nonetheless.
---
	REVIEW: Rage Against The Machine, _Evil Empire_ (Epic)
		- Mario J. Lia
	In the beginning, it was rock *or* rap...
	On one side you had groups like Public Enemy who would rap about 
real social and political problems. These songs had important lyrics 
against repetitive 'scratched' beats. On the other side there were 
bands like Led Zeppelin and Black Sabbath. These bands had huge riffs,
but the lyrics weren't quite as spectacular.
	These two great forces don't usually cross paths - at least
not until the release of Rage Against The Machine's self-titled debut
album, which has sold more than 3 million copies worldwide. Instead of 
going for that alterna-punk-rock hit sound, Rage is staying true to 
their ideals, and has just released _Evil Empire_. This time the lyrics
are stronger, the grooves are enlarged, and the power turned up past 11.
	The band has show support (sometimes financially) in numerous
causes ranging from anti-Nazi campaigns in Europe to anti-censorship 
efforts in the US. The later was punctuated when the four members walked 
on-stage on a Lollapalooza concert in Philadelphia nude, and tape on 
their mouths. As you may recall, they used the video for their song 
"Freedom" to urge the release of Native American activist Leonard 
Peltier.
	On _Evil Empire_ there are some new messages brought to mind. 
Several songs deal with the ongoing struggle of the Zapatistas. These 
farmers are seeking freedom from the ruling class and the problem at 
hand is most clearly stated in the song "Without A Face". Their struggle
is brought out with lyrics like "Yes I know my deadline sire, it's when
my life expires"
	Most bands would hail mass media has a good and use it for what 
it's worth. RATM blows a hole in right-wing talk shows via the song 
"Vietnow" saying "I tune in wit a bullet ta shut down tha devil 
sound/tha program of vietnow".
	Sometimes the lyrics of Zack De La Rocha(vocals) go astray and
leave the listener to wonder what he means.  At that place is where the
music kicks in, thanks to the superb guitar playing of Tom Morello.
Tom is able to create the mood and feelings that Zack sometimes misses.
Tom's style goes from Black Sabbath in "Wind Below" to the DJ-style 
scratching during the interlude of "Bulls On Parade"
	Sticking to what the do best, RATM has made another winning 
record. If you were a fan before, then _Evil Empire_ should be even 
better because of Tom's more diverse style of guitar playing.
---
	CONCERT REVIEW: Mark Knoplfer, Grenoble, France
		- Ali Sinclair
	Nineteen years or so after "Sultans of Swing" was first played 
to the public, it still stopped the show.  A screaming ovation - and 
only halfway through the two-and-a-half hour concert.  And hanging his
white towel on the humid air like a flag of surrender, Mark Knopfler 
accepted the appreciation with a humble grin.
	Another stop on his mammoth European tour, the "Summum" at 
Grenoble, France (a town surrounded by the Alps in southeastern France) 
holds nearly 3500 people.  All of the dates in France are in venues 
of about the same size.  It's not Dire Straits playing to a crowd 
of millions. It's better: it's Mark Knopfler and friends, playing to 
the people.
	The Summum wasn't _quite_ filled to capacity - there was room 
for at least two or three more people in the pit - but the magic 
between Mark and the audience was more electric than Wembley Stadium, 
more intimate than a crowded bar, and the enthusiam generated could 
have raised the roof.  It certainly seemed to have cleared the skies,
because for the first time in a week, the sun was shining this morning.
	My hands hurt from clapping.  My arms ache from waving. My 
feet hurt from jumping. I can't whistle any more.  And yes, it's all
worthwhile.
	Other "huge" names that I've seen - such as Joe Cocker a couple
of years ago, and Eurythmics at the height of their career - performed
as if they were behind glass, removed from the public, perfect but 
untouchable.  Mark Knopfler has as "big" a name as anyone else, but 
the humanity and humbleness that emanated from the stage was every 
bit as touching as his haunting guitar.
	"Romeo and Juliet", "Money for Nothing", "Calling Elvis"; 
all the old favourites, but some new ones too, such as "Rudiger" 
from his new album.  _Golden Heart_ is my prediction for the latest 
classic...restrained, moving, sad, powerful and pure Mark Knopfler.
 	Mark - no headband, less hair but more grey, and wearing a 
soft check shirt which looked like he'd borrowed it from an old 
country or folk singer--was just so incredibly relaxed, at least 
after the first three numbers.  He looked right at home, natural, 
the guitar as much a part of him as an arm or a leg, even when playing
those blasting, searing, soul-tearing solos: the hopelessness of 
"Telegraph Road", the pain and longing of "Brothers in Arms", the 
happy hopefulness of "Going Home".  Guitar strings sharp as glass. 
Fingernails catching the spotlight like the edges of diamonds.  
Dobro like a mirror in a searchlight.
	Mark was happy.  The band were happy.  The audience was ecstatic!
	And now, the morning after, the mist-covered mountains around 
this town are still echoing to the sound of his guitar...
---
	REVIEW: The Nields, _Gotta Get Over Greta_ (Razor & Tie)
		- Stephen Jackson
	On the road to rock & roll nirvana, family acts rarely, 
if ever, provide what one might call cutting edge entertainment.  
So when K-Tel reissues Abba or the Partridge Family in a complete 
boxed set, you won’t find me reaching for my credit card.  The 
list of great rock bands with sibling members is decidedly short,
and once you’ve driven past the Kinks, Van Halen, or the Finn 
brothers, there’s not much left to talk about.  Happily, the Nields,
a New England band comprised of three family members whose last 
name (duh!) is Nields, may soon change this perception.
	If you have to attach a genre label to what they do I 
might describe them as alternative folk,  with a pop sensibility 
ranging from Cowboy Junkies to Suzanne Vega to the Beatles.  In 
other words, if Nancy Griffith fronted the Jayhawks they would 
sound something like the Nields.
	This is not a band I liked right away.  On first listen 
to their new release, _Gotta Get Over Greta,_ I found their vocal
harmony too often evoked bad memories of the New Christy Minstrels
or Cowsills, bands whose legacy endures in cutout bins of old LPs.
But after several repetitions, their folk-pop arrangements revealed
a rougher edge, thanks largely to vocal interpretations given to 
the material by the Nields sisters, and some creative guitar lines
by David Nields.  Their sound has a home studio feel to it, with 
a minimum of fuss.  Just a few acoustic and electric guitars with 
a steady rhythmic backing, and the occasional keyboard or harmonica.
I have no idea which of the two Nields sisters, Nerissa or Katryna,
sings lead, but her voice reminds me of the Cranberries' Dolores 
Riordan, or perhaps an Irish version of Alaniss Morisette.
	Most of the lyrics were written by Nerissa Nields, who 
brings a particular woman’s focus to what are generally universal
concerns - the search for love, the loss of youth, the longing for
something better in one’s life.  Songs like "I Need a Doctor," 
"Bullet Proof," and "Blind" recreate the heartache of adjusting 
one’s dreams to fit the new truth of one’s everyday reality.  If 
you’re looking for heavy anthems to an angst ridden age, you won’t
find them here.  Instead, the Nields offer small moments of joy and
sorrow, that linger in one’s memory as a kind of quiet paean 
to the mystery of who we are and what it is we are about.
---
	CONCERT REVIEW: Self, _Subliminal Plastic Motives_ (Zoo)/ 
		Cast (Kansas City, MO)
		- Jon Steltenpohl
	Putting Self on stage after midnight on a Sunday night was 
a brave move.  Not everyone in the audience was a college student 
who could sleep through the next day of summer classes.  Some of 
us had jobs and deadlines.  But this was a show worth staying for,
and as the night wore on, the crowd grew larger instead of thinning
out.  Self definitely satisfied the masses and made the sleepless 
night worth it.
	Not that waiting was a problem.  A local group calling 
itself UB50 opened the show quite well.  Only Kansas City, MO and
Lawrence, KS insiders might have known who UB50 really were.  The 
flyers said The Hollowbodies and their amps had another local 
band's name (Truck Stop Love) stenciled on. Whatever their name, 
they played their catchy brand of start/stop slacker pop with good
energy.  Their lead singer was decked out in early American Bowling
Alley garb, and the drummer mugged at the girls in the front like 
a little imp.
	After the assumed UB50 left the stage, Brit-pop-meisters 
Cast took command.  You didn't have to know anything about the 
band to immediately realize their musical heritage.  Lead singer 
John Power, formerly of the La's, started out with the early Beatles
trademark head bob and guitar rock.  It looked like Paul McCartney 
all over again.  (Someone should teach these guys how to tap their 
toes.) "Sandstorm" stood out immediately as a catchy tune, and it 
is now getting airplay as the second U.S. single.  As evidenced by 
their t-shirts, Cast are a pro-hemp band.  The lead singer's shirt
was a subverted United Parcel Service logo that read "United Pot 
Smokers."
	Fortunately, the band seemed relatively sober, and the 
songs were clearly lucid.  Cast shares a lot with groups like 
Squeeze and XTC.  The "she doesn't love me" type of songs didn't 
come across very well, but a more intimate setting might do them 
better justice.  By the end of their set, I was nearly convinced 
on Cast.  Unfortunately, they took a big chunk out of that 
enthusiasm when they disengaged their final song into a confusing
sprawl of distorted junk.  They started tearing up their guitar 
strings and trying to act out their own revival of The Who.  But 
then, they set their instruments down carefully and left the stage 
without smashing a single thing.  It was a confusing let down to 
an otherwise excellent performance of classic British pop.
	Finally, after a long night of music, Self took the stage 
around 12:45 am. I wasn't sure what to expect.  Their debut album,
_Subliminal Plastic Motives_, is primarily a one man show put on 
by Matt Mahaffey with a little help from his brother Mike.  It's a
superb album from this newcomer who looks disarmingly clean cut on
stage.  The clean cut image fits well with such an immaculate 
album.  _Subliminal Plastic Motives_ is produced with an excellence
and maturity that is surprising for an artist in his early 20's. 
Artist/producers like Trent Reznor and Prince usually take until 
their mid to late 20's to make such masterpieces, and Mahaffey 
seems to have a slight head start.
	The base of Self's sound is a grinding guitar that backs 
Mahaffey's vocals.  But this base only comes out after multiple 
listens because studio noodling is everywhere on this album.  Loops
of live drums are twinned with a wholly sampled backbeat.  Swirls 
of distorted samples and spacey effects are placed within the 
whole framework, and just when you get comfortable with the beat, 
Mahaffey changes everything.  The guitar that starts out grinding 
breaks way to tender strums or fuzzbox delights.
	Sometimes Mahaffey layers his vocals in 3 part harmony.  Then 
he sends them through an effects box and mirrors them with a quiet 
piano riff.  The effect reminds me a lot of more experimental groups
like Phish or even Frank Zappa.  Notes slide up and down in tight 
harmony.  The beat loops refuse to repeat blindly.  Instead, they 
morph into new sounds and stop in mid-beat just to turn around 
back again.  New instruments and samples emerge from nowhere.  
"Marathon Shirt" even takes the time out for a little jazz break.
	Yet, for all of its novel turns, _Subliminal Plastic Motives_
is extremely accessible to anyone.  It's the kind of album that has
your ears begging for another chance to listen.  For every twist 
and turn that Self puts you through, the basic song keeps pushing
along.  Front and center on every track is a catchy little song 
that is guaranteed to stick in your head.  The hit "So Low" is a 
perfect example.  It starts out with a mellow piano and guitar 
part, and within 20 seconds it's added a goofy bass line and 
scratching samples.  Before a full minute is up, the guitars are
booming, and the lyrics are glooming that "I'm so low that I 
wish I was dead."  Before "So Low" is done, there have been so 
many repetitions and changes that it feels like you've been 
through a musical blender.
	The question going into the concert was whether or not the
newly formed "band" Self could pull off what had originally been a
one man album.  They fielded Matt Mahaffey on lead guitar and 
vocals along with a bassist, a keyboardist, and a drummer.  On 
stage, they were fresh, new and genuinely excited to be there.  A 
Nintendo video game theme introduced them and Mahaffey calmed the 
cheering a bit by explaining "We haven't played yet -- you don't 
know if we suck or not."  Then he launched into a new song called
"Mummy".
	It took him a little to get going, but by the time he got to
the second song, things were going just fine.  This was 
"Stewardess" and the bouncing "Northeastern southwest Mississippi"
chorus pulled the crowd into the show.  A count of those singing 
along showed that about half of the audience knew the song at the 
start and everyone else followed suit after that.  The band kept 
up the energy through the rest of the night for an hour long, 15 
song set that featured 9 songs off of the new album.
	Most of Mahaffey's writing appears to focus on the music 
industry.  One of the new songs was about Smashing Pumpkins, and 
it was hard to tell if it was pro or con for the band.  He said 
"Superstar" was written for Juliana Hatfield, and Mahaffey 
described another new song as being "about Barry Manilow and 
growing up in the 70's".  The next song, "Big Important Nothing"
slammed Michael Jackson, and then a few songs later it was time 
for a cover song.  What was the cover?  A vicious version of 
Alanis Morrissette's song "Ironic" with a chorus that went "Isn't
she moronic".  Yes, as clean-cut as Mahaffey and his band looked,
the man him-self is one hell of a little smart ass.
	But behind the cocky attitude was an obvious newcomer to 
the touring scene.  At times, Mahaffey looked a tiny bit nervous, 
and he spent a lot of time looking at the disco ball spinning 
above his head.  There was no need for worry though because the 
"band" Self pulled it off.  Mahaffey switched once between guitars
and keyboards and his vocals switched between crystal clear tones 
backed with three part harmony and barking whelps and screams.  
James, the keyboard player, stuck in the samples just right, and 
the rest of the band held their own - even if the bassist kept 
reminding me of the comic Carrottop's little brother.
	By the time Self closed their show with "So Low" at 
almost 2 in the morning, the crowd was too tired to even try 
for an encore.  We filed out like zombies dazed by great music 
yet doomed to wake up for work in another 4 hours.  Self had 
presented themselves incredibly well.  The songs came together 
on stage with relative ease, and Self "the band" lived up to their
promise.  They are a new band that hasn't been warped by too much 
touring or too many record execs.  This is a band with a future.  
Pick up _Subliminal Plastic Motives_ and, if you're lucky, go see 
them live while you can still stand right next to the stage.
---
	CONCERT REVIEW: Presidents of the United States of America /
		Fastbacks / Menthol   Roseland, New York City
		- Al Muzer
	It felt as if the Roseland was hosting one of those wholesome,
family-friendly Nickelodeon Goo-Fests instead of a rock concert.
	An air of feverish excitement filled every corner of the New York 
City concert Mecca long before the opening act hit the stage as the 
cavernous club quickly became jammed with what appeared to be a small army
of short, hyperactive, constantly moving teen and pre-teen suburban 
hipsters decked out in brand new Presidents Of The United States Of 
America T-shirts, big sneakers, baggy jeans and MTV haircuts.
	A few paces behind each knot of jabbering, first-time concert 
goers, three or four sets of slightly-dazed parents put their wallets 
back into their pockets and watched in wonder as their new-shirt-wearin'
hopes for the future vanished into a crowd of pink and green-haired 
punks, aging hipsters, trendy Gen-Xer's, freshly-shaved Chris Ballew 
wannabe's, college kids and leather-jacketed metal-heads.
	Menthol came on promptly at 7:30 and, try as they might, their 
loud, glammish, power-rock approximation of Material Issue fell, for the 
most part, on deaf ears. Moving ant-like across the club floor, the 
alterna-kids were too busy checking each other out, eluding their 
parents and making new friends to pay attention to the stage and Menthol
left to polite applause after a game 30-minute set.
	With one band between them and their heroes, the crowd was more 
receptive to The Fastback's excellent Go Go's in hyperdrive version of 
L7 with hooks.
	No longer able to contain their Coca Cola-fueled energy, small 
mosh pits began to form in the audience while pint-sized floaters were 
politely passed along to an even more polite pit crew. Closing their set
with covers of The Raspberries' "Go All The Way" and Sweet's "Set Me Free,"
the band brought smiles to the faces of parents throughout the club who 
forgot, for a few minutes, that it was their 10-year-olds out there 
riding the crowd.
	Bouncing in excitement, the future leaders of America jockeyed 
for a better view during the set change and cheered wildly as the three
stringed guitbass and two-stringed basitar they knew so well from MTV 
were carried on stage.
	Riding the screams, basitarist Chris Ballew, drummer Jason Finn 
and guitbassist Dave Dederer grabbed their instruments and ripped into 
spirited versions of "Feather Pluckin'" and the MC5's "Kick Out The Jams"
that caused an eruption of beer cups, well-behaved mosh pits and happily
grinning floaters.
	Dodging the occasional love offering (books, magazines, demo 
tapes, hats, flowers, watches, a urinal cake) thrown to them, the band 
rocked their fans with favorites from last year's multi-platinum Columbia
Records debut ("Boll Weevil," "Dune Buggy," "Back Porch," "Kitty," 
"Peaches," "Lump," "Body" and "We Are Not Going To Make It") new tunes 
for an album due out in November ("Bug City," "Big In Vegas," "Mach Five,"
"Confusion," "Tube Amplifier" and "Twig In The Wind") and twisted covers 
of "Dueling Banjos," "Video Killed The Radio Star" and The Beatles' "Baby
You're A Rich Man."
	In an era rife with crime, hunger, homelessness and the very real
possibility of, literally, no future; the nonsense lyrics, cartoonish 
image, curious guitars and Primus-meets-Grand Funk Railroad roar of The
Presidents Of The United States Of America makes for great entertainment
and a welcome, albeit brief, escape from reality.
---
	REVIEW: Space Needle, _Voyager_ (Zero Hour)
		- Scott Byron
	Space Needle is a band on the edge.  The edge of exactly _what_
remains to be determined, but they're somewhere nearby.  Hailing from Long
Island and buzzing around the New York scene for a couple of years, this
decidedly lo-fi duo recorded _Voyager_ on a four-track in a basement, but
the album does not reflect those limitations or have any sense of
confinement. 
	Rather, by building layer on layer on layer of guitar strums,
synthesized keyboard figures, drum patterns, eerie effects and deadpan
vocals, Space Needle creates a '90s take on the spacey, progressive,
underground musics that have opened vistas of imagination and sound since
the first synthesizers were created. 
	There's a pop sensibility sometimes at work here, too, and the
most accessible tracks would segue nicely with, say Primitive Radio Gods
or the Cocteau Twins.  The band would likely balk at such comparisons, but
they're apt.  "Before I Lose My Style," for example, had me swaying with
eyes closed, drifting...  But of course, in keeping with proper New York
attitude, that dreamy track is followed by the abrasive, jarring, epic,
in-your-face and out-the-back-of-your-head "Scientific Mapp," an
experiment-in-sound recording that could never be described as pop. 
	I've listened to _Voyager_ at least a dozen times now, trying to
get a firm grip on it for your benefit, but have found it elusive in the
best possible way.  From the first listen, I was fascinated and entranced,
and on each successive playing I've discovered something new that draws
my focus.  If that kind of challenge intrigues you, as it still does me,
pick up this album.
---
	REVIEW: Lizard Music, _Fashionably Lame_ (World Domination)
		- P. Nina Ramos
	Never mind that they're from New Jersey. Don't pay attention to 
the Steve Albini credit. Flat out ignore the usual label they carry in 
reviews, "an intelligent pop band". It's all one big lie alluding to 
the inevitable. This band is actually one rippin' roaring mama!
	From the depths of the Jersey shore comes this silly little 
crazy band o' wackos. Best remembered for "The Boss" and Bon Jovi, New
Jersey has actually spawned some strong driving bands. Monster Magnet, 
Nudeswirl, Godspeed and still my favorite, Daisycutter, are amongst 
the finer hard edged sounds you think only come out of New York City. 
And Lizard Music, in their unique pop approach, represent eclectic 
sounds of our generation of music.
	Before Ministry and Nine Inch Nails, there was Steve Albini. 
More acurately, there was Big Black, one of the best hard driving bands
of the 80's. What does this have to do with Lizard Music? Everything. 
Albini helped shape the sound that is _Fashionably Lame_. And Lizard 
Music perfected their vision into a 13 track release. 
	Don't trust that first instinct to demand your money back. If 
I hadn't magically received this in the mail, I too would've been 
wringing someone's neck. Don't listen to that pounding you'll cause to 
your head the second time either. It's just not worth it. Otherwise 
you'll miss your chance to experience what you'll never forget. That 
third time, now that's the charm! You'll be hooked on "the Lizards" 
forever. 
	Claiming influences from Rita Coolidge to Rita Moreno, these 
swank boys from the Garden State don't miss a step. Hidden in tracks 
like "Jacko's Book" are more funk oriented sounds. In general, the 
entire CD plays more like a well thought compilation of similar sounding
bands. Which is favorable because no one want to listen to the same 
song 13 times!
---
	REVIEW: Tracy Bonham, _The Burdens of Being Upright_ (Island)
		- Courtney Muir Wallner
	Tracy Bonham, an enterprising newcomer to the alternative
music scene, is winning the hearts of everyone who listens to her 
major label debut, _The Burdens Of Being Upright_. Bonham has a quirky
voice that is smooth and beautiful one minute and screeching 
desperately the next.
	Bonham has a striking edge to her music and an unusual grounding
to her songs and lyrics. The songs themselves are a complete motley of 
emotion, each one being its own incorporated capsule loaded with meaning,
both darkness and light.  It is immediately realized that Bonham is a 
talented musician, but after closer inspection of her music, it dawns 
on the listener that they have stumbled onto an artist who is creating
music that is suitable today yet will be revelant tomorrow.
	Bonham is a twenty-seven year old Boston resident who attended 
both the University of Southern California and the Berklee College of 
Music, and who originally hails from Eugene, Oregon. As a small child 
she embraced classical violin and continued on as a classical violinist 
until adulthood, when she chose to study guitar and voice. Almost 
instantly, she became a staple performer in Boston's club scene, and 
was awarded Best New Artist, Best Female Vocalist, and Best Indie Single
at the 1995 Boston Music Awards.
	The first single off her latest album is "Mother, Mother," a 
song riddled with the angst one experiences growing into themselves, and 
into the space they want to occupy in the world, all the while craving 
to tell their situation to those closest to them, yet knowing they 
cannot.
	Not everyone is going to find meaning in Bonham's work. The 
song "Brain Crack" takes the concept of minimalism to new heights 
as she chants "that's the sound of your brain cracking" throughout 
much of the song.  The subtext here is one of "psychic disturbance."
 	Bonham's second single, "The One," is an oddly upbeat and 
catchy song that recounts a lover who seemed perfect up front and 
wound up to be everything but: "You're the one/ that froze the sun/ 
say you love me as/ you pull the trigger/ better today/ rather than/ 
tomorrow." The lyrics here are pointedly clear: they examine the 
devastation a toxic relationship can bring to an otherwise healthy
individual. What goes around hopefully comes around, as she ends 
with "You should enjoy the weather/ soon you'll burn with what you've
done...you'll hurt no one." Who hasn't wished that at least once in 
their life?
---
	REVIEW: Psyclone Rangers, _Beatin' on the Bat Pole_ (World Domination)
		- P. Nina Ramos
	Welcome to the ride of your life. A ride where the drivers are 
the passengers. And you are just another spectator.
	Now, as a sidelines eye, you can do one of two things: let 
the dust collect on your cornea, (leaving you blind for life) or
jump in and never look back. Personally, I'd recommend the latter.
	They've toured with Reverend Horton Heat. They'll give you 
a spanking erection (they recommend avoiding cock rings). They've 
been described as  "A chainsaw falling down the stairs." and "near 
genius punk..."
	Psyclone Rangers are worth the chaos. A mesh of Butthole 
Surfers meets Big Black in a big Reverend Horton Heat party, these
music freaks will bring you to impact point zero.   By no means am 
I denying the quality of their sound. I only intend to create the 
picture in my head. Race (Bannon) the drummer, Scot (Dantzer) the 
guitar, and Jonathan (Valania) the voice combine for some truly
crowd pleasing noise. 
	World Domination wins serious brownie points with the 
latest Ranger EP, _Beatin' on the Bat Pole_.  The never-stop-to-look
at-what-I-trampled attitude reigns the entire piece. Running 
through five smooth porcupine-like tunes, you are sure to love 
that sting to go back for seconds, and thirds, and...
---
	REVIEW: Faux Savant, _Above it All_ (EP); (Europhoria)
		- Michele Morabito
	If you ever wanted to hear something new and old at the 
same time, Faux Savant is it. This Washington, DC band has the 
sound to make it big and then bigger. One thing that got me going 
is the beat, I liked after hearing it once (which is rare for me).
	Faux Savant started in summer 94 and haven't looked back. 
They mesh well together in both their musical style and lyrical 
writing.  They have the hard-edge sound of the 90's with a distinctive 
New Wave 80's sound, which might help explain how they've opened for 
Velocity Girl and Cheap Trick - two different ends of the spectrum.  
	This entire EP off their vanity label is club, danceable music
that sets you moving. "Why Can't I Get It Right" has the makings of a 
Top Ten hit with its marriage of good sound, beat and voice.  "You 
Can Feel It" satisfies the punk/hard-edge with its guitar work of 
Bryan Davis while vocals of Darren Sloper shows great range.  Bassist
Andy Luper and drummer Mike Partaine always seemingly hit the right 
rhythm for each song. Of course, the slow "Standing Behind You" is 
perfect for calming down with its melancholy tones.
	No special cover tunes, no fancy & expensive studio just 
five talented guys with everywhere to go. I can't wait to hear a 
full-length LP.

	Faux Savant can be contacted on the WWW at 
http://www.cymedia.com/washdc/bandlinks/paolo.htm and on a public 
access show (ZTV Take Two) at http://www.geocities.com/Hollywood/2578.  
For further information, contact Europhoria at Box 166, Centreville, 
VA 22020.
---
	REVIEW: Mystery Machine, _10 Speed_ (Nettwerk)
		- P. Nina Ramos
	Four boys from Vancouver gathered five years ago and grouped
as Mystery Machine. Arming themselves with a strong Husker Du 
influence and the standard rock instruments, they set forth in the 
world of sounds.
	Their latest effort, _10 Speed_ has all the elements of a 
contemporary rock band. With a strong sound, cohesive melodies and 
technology on their side it seems there's nothing left for them to 
cover. Precise, with a very tight flow, _10 Speed_ is produced in a
manner most albums should. This is a great listen!
	The first track is actually a Quicktime movie. If you don't 
have Macintosh System 7 or Windows 3.1, you probably won't be able to
experience it. Which is too bad, because these short pieces nicely 
round up their music. The first thing that loads is a short film of 
a scatter. Did anyone have a Fisher Price "pixel 2000" camera? It 
was very low quality, but much, much fun - and this actually looks 
like that. It follows the scatter all over a town. The action is in
real-time and sped up. One of their instrumental songs follows the
action, pacing the rhythm of each turn. The next piece is live 
footage of track #8 "Sinker". If you try to exit early, they throw 
in a special surprise. No I won't tell you, it'll spoil things!...
	All in all, _10 Speed_ is a complete representation of what
a good pop band should be. The sweet hardness of rock, all the high 
end visual resources at their disposal and cool pictures to laugh at
in the CD sleeve. Why wouldn't you just love it?
---
NEWS: 	> Andrew Gold has left the band Bryndle.  For further information
on this or the band, check out the unofficial Bryndle web site at 
http://www.wco.com/~paulg/bryndle/
	> The Charlatans' Rob Collins recently died in an
automobile accident in England in the morning hours.  No 
additional details on the cause of the accident were 
available at press time.
	> The Neurotic Outsiders (Steve Jones, Duff McKagan, John Taylor
and Matt Sorum) recently played a special show in London at the 
Borderline.  Due to Jones' touring with the Sex Pistols, the Outsiders
will not be performing live until September, in concurrence with
the release of their forthcoming album.
	> Joan Osborne recently opened three shows for The Who's 
_Quadrophenia_ performances at New York City's Madison Square Garden.
After performing in Atlanta at the Olympics on August 2, Joan will
start work on her next record, and then commence touring in Australia
and Japan.
	> Request Magazine has joined the on-line world in the form of
Request Line, located at http://www.requestline.com
	> Sonicnet chats include: D Generation, Thursday July 25 at
6:30 p.m.; Tommy Stinson, Monday July 29 at 9 p.m.; De La Soul, Tuesday
July 30 at 8 p.m.  To connect on the World Wide Web, go to
http://www.sonicnet.com/sonicore/chat
	> The Voters Against North Carolina Incumbent Senator
Helms (V.A.N.I.S.H.) Benefit Concert will be held on July 27 from noon 
to 11 pm at Durham Athletic Park in Durham, North Carolina.  The
concert, which includes already confirmed bands such as Superchunk,
Archers of Loaf, Flat Duo Jets, June and more, will generate funds for
several nonprofit groups in North Carolina who desire the defeat of 
Senator Helms in this year's elections.
---
TOUR DATES
	Art In The Anchorage Series (base of Brooklyn Bridge; 
	more information at http://www.sonicnet.com/ctime)
Jul. 25 Jose Halac and Ahmed El-Motassem
Jul. 26 Experimental Audio Research (EAR)/Harmony Rockets/Elysian Fields
Jul. 27 Scanner

	Baboon
Aug. 2 Austin, TX Emo's
Aug. 3 Houston, TX Emo's

	Barkmarket
Jul. 25 Portland, OR Satyricon
Jul. 27 Seattle, WA Moe's
Jul. 29 Salt Lake City, UT Bar & Grill
Jul. 30 Denver, CO Mercury Cafe
Jul. 31 Lawrence, KS Bottleneck
Aug. 2 Chicago, IL Empty Bottle
Aug. 3 Minneapolis, MN 7th St. Entry
Aug. 4 Madison, WI Chamber

	Adrian Belew
Jul. 26 Berkeley, CA Greek Theatre
Jul. 27 Los Angeles, CA Greek Theatre
Jul. 29 Ventura, CA Ventura Theatre
Jul. 30 San Diego, CA Summer Pops Bowl Park

	Tracy Bonham / Everclear / Spacehog
Jul. 26 Bonner Springs, KS Sandstone Amphitheatre
Jul. 27 Oklahoma City, OK TNT Building
Jul. 28 Dallas, TX Bronco Bowl
Jul. 30 Phoenix, AZ Centennial Hall
Jul. 31 Santa Monica, CA Santa Monica Civic Auditorium
Aug. 2 San Francisco, CA Warfield Theatre

	Bryndle
Jul. 30 Richmond, VA Life of Virginia
Jul. 31 Albany, NY Empire State Convention Center
Aug. 3 St. Paul, OR Champoeg State Park
Aug. 4 Eugene, OR Cuthbert Amphitheatre

	Tracy Chapman / Charlie Hunter Quartet
Jul. 25 Santa Fe, NM Paolo Soleri
Jul. 27 Denver, CO Red Rocks
Jul. 29 Chicago, IL Rosemont
Jul. 30 Detroit, MI Meadowbrook
Aug. 2 Montreal, QC St. Denis Theatre
Aug. 4 Boston, MA Harborlights Pavillion
Aug. 5 New York, NY Central Park Summerstage

	Charm Farm
Aug. 3 Detroit, MI WRIF Summer Arts Festival

	Chimera
Jul. 31 New Hyde Park, NY Dublin Pub

	Cordelia's Dad
Jul. 26 Toronto, ON Molson Place (w/Jane Siberry)
Jul. 28 Duncan, BC Island Folk Festival
Aug. 1 Seattle, WA Tractor Tavern
Aug. 4 Santa Cruz, CA Kuumbwa Jazz Center
Aug. 5 Santa Monica, CA Live on KCRW (broadcast Aug. 11)

	Elvis Costello
Jul. 26 London, England Shepherd's Bush Empire
Aug. 3 Loker, Belgium Folkfestival Dranouter
Aug. 4 Stockholm, Sweden Stockholm Water Festival

	Cravin' Melon
Jul. 27 Columbia, SC Elbow room

	Cure
Jul. 31 Portland, OR Rose Garden
Aug. 2 Vancouver, BC Pacific National Exhibition
Aug. 3 Tacoma, WA Tacoma Dome

	Def Leppard / Tripping Daisy
Jul. 26 Raleigh, NC Walnut Creek Amphitheatre
Jul. 27 Charlotte, NC Blockbuster Pavillion
Jul. 28 Birmingham, AL Oak Mountain Amphitheatre
Jul. 30 Maryland Heights, MO Riverport Performing Arts
Jul. 31 Little Rock, AR Riverfront Amphitheatre
Aug. 2 Dallas, TX Starplex Amphitheatre
Aug. 3 Austin, TX South Park Meadows
Aug. 4 Woodlands, TX Woodlands Pavillion

	Enormous / Perfect
Jul. 25 Washington, DC Bayou
Jul. 26 Philadelphia, PA Upstairs At Nicks
Jul. 27 Hoboken, NJ Maxwell's
Jul. 28 Asbury Park, NJ Saint
Jul. 31 New York, NY CB GB's
Aug. 1 New London, CT El N Gee
Aug. 2 Providence, RI Club Babyland
Aug. 3 Boston, MA TT The Bears
Aug. 5 Albany, NY Bogie's

	Hayden
Jul. 31 Toledo, OH Underground
Aug. 1 Cincinnati, OH Club Gotharn
Aug. 2 Pittsburgh, PA Rosebud
Aug. 3 Cleveland Heights, OH Grog Shop
Aug. 5 Minneapolis, MN 7th Street Entry

	H.O.R.D.E.
Jul. 29 Mountain View, CA Shoreline Amphitheatre
Jul. 30 Sacramento, CA Cal Expo
Aug. 1 Salt Lake City, UT Wolf Mountain
Aug. 3 Portland, OR Meadows
Aug. 4 George, WA Gorge

	It's Me, Margaret
Jul. 27 Los Angeles, CA Love Lounge

	Jawbox
Jul. 26 Boise, ID Crazy Horse
Jul. 27 Salt Lake City, UT Bar and Grill
Jul. 29 Denver, CO Mercury Cafe
Jul. 31 Minneapolis, MN First Avenue
Aug. 1 Eau Claire, WI Golden Chair
Aug. 2 Green Bay, WI Concert Cafe
Aug. 3 Chicago, IL Cabaret Metro
Aug. 5 Des Moines, IA Safari

	Paul Kelly / Tara MacLean
Jul. 31 Victoria, BC Limit
Aug. 1 Vancouver, BC Starfish Room
Aug. 5-6 Banff, AB Wild Bills

	Nusrat Fateh Ali Khan / Donovan
Aug. 1 New York, NY Radio City
Aug. 3 Washington, DC Warner Theatre

	Kiss
Jul. 25-27 New York, NY Madison Square Garden
Jul. 28 Hartford, CT Civic Center
Jul. 30 Providence, RI Civic Center
Jul. 31 Boston, MA Fleet Center

	k.d. lang
Jul. 25 Clearwater, FL Eckerd Hall
Jul. 26 Sunrise, FL Sunrise Theatre
Jul. 27 Orlando, FL Parr Auditorium
Jul. 29 Houston, TX Woodlands Pavillion
Jul. 30-31 Austin, TX Backyard
Aug. 2 Kansas City, MO Starlite Theatre
Aug. 3 Des Moines, IA Civic Center Theatre
Aug. 5 Clarkston, MI Pineknob Theatre

	Huey Lewis & The News
Jul. 26 Fort Mills, NC Knights Stadium
Aug. 2 Birmingham, AL Birmingham-Jefferson Civic Center

	Little Feat
Aug. 4 Atlantic City, NJ A.C. Harbor Music Fest.

	Lollapalooza
Jul. 25 Ferris, TX Old Fort Dallas

	Lush
Aug. 3 Benicassim, SPAIN Festival

	Natalie Merchant
Jul. 25 Garden State Arts Center
Jul. 28 Rochester, NY Finger Lakes
Jul. 29 Mansfield, MA Great Woods

	Pantera
Jul. 25 Portland, OR Memorial Coliseum
Jul. 26 Vancouver, BC Pacific Coliseum
Jul. 27 George, WA Gorge Amphitheatre
Jul. 30 Denver, CO Red Rocks
Aug. 1 Wichita, KS Kansas Coliseum
Aug. 2 Maryland Heights, MO Riverport Amphitheatre
Aug. 3 Bonner Springs, KS Sandstone Amphitheatre
Aug. 5 Minneapolis, MN Target Center

	Poorhouse Rockers
Jul. 28 New Hope, PA John & Peter's
Aug. 1 Towson, MD Flutie Garcia's

	Possum Dixon / Yum Yum / Dig
Jul. 25 Denver, CO Mercury Cafe
Jul. 27 Tulsa, OK Ikon
Jul. 28 Lawrence, KS Bottleneck
Jul. 29 Minneapolis, MN 7th St. Entry
Jul. 30 LaCrosse, WI Warehouse
Jul. 31 Milwaukee, WI Unicorn
Aug. 1 Cincinnat, OH Sudsy Malone's
Aug. 2 Fort Wayne, IN Piere's Nightclub
Aug. 3 Chicago, IL Double Door
Aug. 4 Detroit, MI Magic Stick
Aug. 5 London, ON Call The Office

	Primitive Radio Gods / James Hall
Jul. 28 Santa Cruz, CA Catalyst
Jul. 29 San Jose, CA Cactus Club
Jul. 30 San Francisco, CA Slim's
Jul. 31 Sacramento, CA Press Club
Aug. 2 Vancouver, BC Starfish 
Aug. 3 Seattle, WA Kitsap Fairgrounds
Aug. 4 Portland, OR Timberland Park

	Sex Pistols / Gravity Kills
Jul. 31 Denver, CO Red Rocks
Aug. 2 Dallas, TX The Complex
Aug. 3 Houston, TX International Ballroom
Aug. 4 Memphis, TN Mud Island Amphitheater

	Horace Silver
Jul. 30 - Aug. 4 New York, NY Blue Note

	Slayer
Aug. 2 Cleveland, OH Odeon
Aug. 5-6 New York, NY Irving Plaza

	Steely Dan
Jul. 26 Mansfield, MA Great Woods
Jul. 27 Hartford, CT Meadows
Jul. 28 Toronto, ON Molson Amphitheatre
Aug. 2 Chicago, IL World Theatre
Aug. 3 East Troy, MI Alpine Valley
Aug. 4 Minneapolis, MN Target Center

	Superdrag / Nada Surf / Gravel Pit
Jul. 25 Athens, GA 40 Watt Club

	Tina & B-Side Movement
Jul. 26 Waukishaw, WI Festival
Jul. 27 Hudson, WI St. Croix Arts Fest

	Warped Tour (including Rocket From The Crypt, Red 5, 
	Dick Dale, Figgs and more.  Confirm all dates.)
Jul. 25 Cincinnati, OH Riverbend Second Stage
Jul. 26 Buffalo, NY Lasalle Park
Jul. 27 Bowmanville, ON Mosport Park
Jul. 28 Montreal, QC Hippodrome
Jul. 31 Columbia, MD Merriweather
Aug. 1 Camden, NJ Sony Auditorium
Aug. 2 Long Island, NY Nassau Coliseum
Aug. 3 Hyannis, MA Fairgrounds

	Wrens
Jul. 26 Austin, TX Electric Lounge
Jul. 27 Denton, TX Argo
Jul. 29 Lafayette, LA Metropolis
Jul. 31 Atlanta, GA The Point
Aug. 1 Chapel Hill, NC Lizard & Snake
---
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===
