== ISSUE 215 ==== CONSUMABLE ONLINE ======== [July 25, 2000] Editor: Bob Gajarsky E-mail: editor@consumableonline.com Managing Editor: Lang Whitaker Sr. Correspondents: Daniel Aloi, Joann D. Ball, Chris Hill, Bill Holmes, Tim Kennedy, Jon Steltenpohl Correspondents: Michelle Aguilar, Paul Andersen, Christina Apeles, Niles J. Baranowski, Jason Cahill, Matthew Carlin, John Davidson, Andrew Duncan, Matt Fink, Krisjanis Gale, Jade Hughes, Paul Hanson, Scott Hudson, Jianda Johnson, Steve Kandell, David J. Klug, Reto Koradi, Robin Lapid, Wes Long, I.K. MacLeod, Al Muzer, Wilson Neate, Linda Scott, Don Share, Scott Slonaker, Kerwin So, Chelsea Spear, Simon West Technical Staff: Chris Candreva, David Landgren, Dave Pirmann Address all comments to staff@consumableonline.com ================================================================== All articles in Consumable remain (C) copyright Consumable and their author(s). ================================================================== .------------. | Contents | `------------' REVIEW: Everclear, _Songs From An American Movie Volume One_ - Bill Holmes REVIEW: Gene, _Rising For Sunset_ - Wilson Neate REVIEW: Jimmy Eat World, _Singles_ - Kerwin So REVIEW: Unified Theory, _Unified Theory_ - Chris Hill REVIEW: Dusty Trails, _Dusty Trails_ - Chelsea Spear REVIEW: John Doe Thing, _Freedom Is. . ._ - Paul Andersen REVIEW: Consolidated, _Tikkun - Survivor Demos_ - Jon Steltenpohl INTERVIEW: B.J. Thomas - Al Muzer REVIEW: Future Bible Heroes, _I'm Lonely [And I Love It]_ - Christina Apeles REVIEW: Steve Morse, _Major Impacts_ - Dan Birchall REVIEW: Tsar, _Tsar_ - Scott Hudson REVIEW: Sally Taylor, _Apt. #6S_ - Joann D. Ball REVIEW: Cravin' Melon, _The Great Procrastinator_ - Bob Gajarsky REVIEW: Star People, _Genius_ - Dan Birchall NEWS: King Britt TOUR DATES: Dandy Warhols, Drunk Horse, Einsturzende Neubauten, Gaza Strippers, Goldfinger / Dynamite Hack, Indigo Girls, Kansas / Yes, Queers, Sister Hazel, Soulpreacher, Splender, Sally Taylor, Tonic, Warped Tour Back Issues of Consumable --- REVIEW: Everclear, _Songs From An American Movie Volume One_ (Capitol) - Bill Holmes Subtitled _Learning How To Smile_, this first of two Everclear disks slated for 2000 finds Art Alexakis on the rebound and channeling it into his music. Although (if I were a label guy) the entire Everclear catalogue could be gathered in a boxed set called _More Songs About Depression And Reality_, Alexakis now seems to see the silver lining in his personal clouds and equates this optimism with recollections (or yearnings for) youthful innocence and the simple joys of life, like AM radio. And if the "American Gothic" cover pose doesn't clue you in, the lyrics certainly hammer the point home. The song "AM Radio" opens with an aircheck and features some peppered period dialogue, a sample of the old hit "Mr. Big Stuff", and a refrain that will put a smile on your face ("I like pop/I like soul/I like rock/But I never liked disco."). The last note segues into a loose and funky cover of Van Morrison's "Brown Eyed Girl"; a not so subtle reminder that radio used to be the land of classic pop music of all types, not today's demographically segregated offerings (FM) and shock-jock talk babble (AM). As the song fades, Alexakis adds his own coda - "sing along when I hear it on the radio now..". Several of Art's new songs offer cautionary promises within their supposed optimism. In "Learning How To Smile" Art says tells the girl that he will "never let them break your heart" and that "life just keeps getting smaller and we never ask why". "Unemployed Boyfriend" finds Art promising that he "will never be like those other guys", and in the song to his daughter ("Annabella's Song") his repetitive chorus reassures her that "you are never alone". The over-the-top strings on the last track make it sound like the soundtrack from an old afternoon movie; perhaps metaphorically a pointer back to simpler times when family life was far less complicated and seemingly much more secure. Alexakis explored his personal history (broken home) on the last record with songs like "Father Of Mine", and spends much of his time away from music campaigning against deadbeat dads. Recently divorced, he dives into his angst again with "Wonderful", which sounds like the type of song that would be all smiles, but is anything but. Speaking from the perspective of a child (young Art, now also his daughter), he longs for "my life to be the same just like it used to be" and pleads "please don't tell me that everything is wonderful now". Many of Alexakis' songs sound like branches from the same root, as his lyrics often have a similar cadence. But where _So Much For The Afterglow_ sounded like variations on the same demo song, here the diversity of his production approach yields much greater results. The pseudo hip-hop beat and na-na-na chorus on "Wonderful" and "Here We Go Again" are infectious as hell, and _Songs From An American Movie_ is littered with hooks. As much as Art's public persona can seem to be a little overbearing at times, with every record he proves that he is one hell of a songwriter. We are a long way from "Santa Monica", Toto. (http://www.everclearonline.com) --- REVIEW: Gene, _Rising For Sunset_ (Contra) - Wilson Neate On the strength of early singles like "For the Dead" (1994) and "Be My Light, Be My Guide" (1994), as well as their debut album _Olympian_ (1995), Gene were heavily touted for stardom in the British guitar-pop stakes. Through no real fault of their own, however, they've never really attained the kind of success for which they seemed destined. They've been dogged in equal measure by the standard fickleness of the British music press, by the mysterious ways of the pop gods (who reward no-marks with success and thwart the talented) and by the all too obvious workings of the entertainment industry. Having won an oh-so-prestigious NME Brat award for Best New Band of 1995, they've spent much of the last five years being dismissed in some quarters as workmanly, one-dimensional Smiths plagiarists. Despite having the songs, the frontman, the guitarist, a great live show and a loyal fan base, they somehow managed to get lost in the shuffle of post-Oasis and Blur Britpop. The unkindest cut of all was inflicted last April as Gene became another casualty of the purges endemic to the mega-merger culture of media empires (in this case, the takeover of PolyGram by Universal). Following "disappointing" sales of what some considered their strongest album to date -- _Revelations_ -- they parted company with their UK label, Polydor. The label, of course, hung onto cutting-edge acts like Boyzone and S Club 7 -- confirming Gene vocalist Martin Rossiter's recent observation that "stockbroking is the new rock 'n' roll." But rather than give up, Gene threw themselves back into the fray, their sold-out gig at the Kentish Town Forum earlier this year showing that, while they might not have a contract, they still have a dedicated following and are far from defeated. Indeed, Rossiter prefers to see their current, label-less status as a blessing in disguise insofar as it's granted Gene a refreshing degree of autonomy. "One of the joys of being independent again," he says, "is the fact that there are so many things that you are told you just simply can't do, like doing a show and having it as a live album three weeks later." That's precisely what Gene have done with _Rising For Sunset_, an album recorded live at the Troubadour in Los Angeles, simulcast over the web to 120,000 people and then released less than a month later. Things get off to a dodgy start as the band are introduced by the whingeing Los Angeles music scene "legend" Rodney Bingenheimer, who promises those crazy kids that, boy, they're in for a real treat tonight (thanks grandad). Still, he soon makes himself scarce and Gene charge into their ode to the drinking life, "Fill Her Up," from _Revelations_. Although it lacks Roddy Lorimer's trumpet work that punctuates the album version so memorably, this rendering sets the tone for an energized and passionate set that wholly justifies the hype that has always surrounded their performances. Gene's first album is well-represented here by melancholy old faves such as "Olympian," "Your Love, It Lies" and "London, Can You Wait?" Rossiter's plaintive, economical vibrato (a la Morrissey or Stipe) ably oversees their guitar- and Hammond-fueled flourishes. Also noteworthy are the live versions of the first two singles that put Gene on the map: "For the Dead," which stands as a timeless piece of crisp guitar pop; and "Be My Light, Be My Guide," which nicely captures the interplay of the keyboards with Steve Mason's guitar -- alternately melodic and searing -- that is characteristic of Gene at their best. Although the earlier material foregrounds Gene's talked-about-to-death musical, vocal and lyrical debt to the Smiths, the live performances on _Rising_ emphasize the fact that there has always been much more to Gene's music than the jangle and moan of Marr and Morrissey. This album also illustrates how they have matured significantly over the years. It showcases Gene's progress toward a fuller, more textured and soulful sound, intelligently and respectfully crafted -- not copied -- from other influences that were always there if critics had taken the time to listen: later period Jam, The Spencer Davis Group and the Small Faces, among others. All of this is underscored by the tracks from _Revelations_ -- still unreleased on this side of the Atlantic -- such as the driving "The British Disease," the epic "You'll Never Walk Again" and the harder-edged "Mayday" and "As Good as it Gets." The latter two are anthemic numbers that encapsulate the overtly oppositional politics of the last album, thus marking a welcome shift away from the self-absorbed tenor of much of Rossiter's prior lyrical output and a transition to a more collectively oriented sensibility. "As Good as it Gets" -- Rossiter's expression of anger at New Labour's selling out of the Left -- is one of the stand-out tracks, combining Mason's lush guitar and a chiming piano line. _Rising For Sunset_ also features two new songs. On the title track, a new wave synth is soon -- mercifully -- pushed into the background of a dreamy, textured sound which is enhanced by Rossiter's melodic musings about Ibiza and some soaring and evocative guitar. More downbeat is the set closer, "Somewhere in the World," with its country-tinged guitar and vaguely hymnal vocal feel. Of course, the effect of this CD will be largely that of preaching to the converted. At the same time, this live sampling of some of Gene's best material offers the unconverted a perfect introduction to the band. Hopefully, this DIY outing will initiate a new chapter in their career that sees their arguably under-recognized talents ultimately rewarded. For more information check out http://www.genenet.co.uk --- REVIEW: Jimmy Eat World, _Singles_ (Big Wheel Recreation) - Kerwin So The latest word is that Jimmy Eat World, despite earning the highly prestigious award for best album of 1999 (given by this correspondent for the wonderful _Clarity_), got kicked to the curb by record label Capitol. Selling over 40,000 copies of a record is nothing to sneeze at, but those numbers are pretty slim by major label standards. It just goes to show that currying favor with J-Love (Jennifer Love-Hewitt) and Drew Barrymore do not guarantee success (_Clarity_'s single "Lucky Denver Mint" was prominently featured in both the FOX television show "Time of Your Life" and the movie _Never Been Kissed_.) So be it. Big Wheel Recreation's doing their part to help Jimmy Eat World find a new label home by compiling this CD of rare and compilation-only tracks, and making sure everyone gets a chance to hear it. The two kickoff tracks, "Opener" and "77 Satellites," are barrelling, gutsy anthems so catchy that it's clear our exhaustive search for the next Foo Fighters is now over. The next three songs, including a cover of Duran Duran's "New Religion," are stale ballads worth forgetting, particularly once the absolutely _rockin'_ "H Model" roars out of the speakers. The treats are rounded off with songs like "Carbon Scoring," which showcases an uncharacteristically aggressive side of the band, and "Ramina," an enchanting instrumental which could provide a fertile source of new ideas to enliven the band's more traditional song structures. Oh yes, and dedicated JEW fans will also find the alternate version of "Digits" here, originally found on the band's Capitol debut _Static Prevails_. So, is _Singles_ great summer driving music the next time you and the crew head out to a Six Flags theme park near you? Absolutely. Is it essential listening? No. If anything, _Singles_ highlights the brilliance behind _Clarity_'s strength as an entire album, and just how much the band has grown up over the past five years. This is not to belittle _Singles_ outright, as it does display aspects of Jimmy Eat World that many of us may not have known existed. Plus, if you've attended a Jimmy Eat World show in the past year or so, you can check the crowd pictures in the sleeve to see if you're in there. In the meantime, the band is still searching for a new label to record the full-length follow-up to _Clarity_... hello Jade Tree, Vagrant Records, anyone out there listening? --- REVIEW: Unified Theory, _Unified Theory_ (3:33) - Chris Hill Unified Theory unites Dave Krusen, drummer on Pearl Jam's landmark _Ten_ cd, Christopher Thorn (guitars) and Brad Smith (bass) from Blind Melon, and vocalist Chris Shinn. A praiseworthy combination of rock punch and radio-friendly glossiness, though its shelf life is questionable. Frankly, if I played this album another dozen times, I'd enjoy the album each time, but once the cd left my player, I'd move on to other music without a backwards glance. Damning with faint praise, for an album wearing its good intentions on its sleeve. Earnest and upbeat, even the darker tracks like "Keep On" and "Bloodlet" have a sunny, unthreatening presence thanks to Shinn's soaring voice and the supporting music. Barring the heavy power chord riffs of "California", the album's guitars are highly polished on each of the twelve tracks, with a definite lack of edge. The elevating intent is inescapable, which means this album should do well on alternative radio, and please fans of the members' previous bands. Shinn says, "We miss that there's so few bands anymore that when you leave their concert you feel as if you've been to church or had a spiritual experience; where the music and vibe changed your life." "Fin", written in, and influenced by, the Bahamas, describes just such a epiphany. "We paddle through the waves/All solutions find their ways/...The healing is over/We have discovered/Where we stand." Given the untimely demise of Blind Melon's Shannon Moon and vocalist Shinn losing his house and possessions years ago in a fire, there's more substance here than one might suspect. So perhaps a backwards glance or three is merited, after all. --- REVIEW: Dusty Trails, _Dusty Trails_ (Atlantic) - Chelsea Spear Imagine you've been road-tripping through the Mojave Desert in a large pink convertible with fins sprouting from the back, make circa 1956. After riding through dust and sand all day you've pulled your road-boat over by the side of an endless asphalt road snaking through the sand dunes, and you find yourself toasting a perfect pink-and-orange sunset with a salted crimson margerita as it melts into the horizon. The music gracing this scene would undoubtably be Dusty Trails' self-titled debut. Former Luscious Jackson keyboardist Vivian Trimble has joined forces with Josephine Wiggs (who played bass for the Breeders way back when) to create music as laid-back and evocative as those bands' brews were stimulating and undeniably original. Loping melodies, airy arrangements, and "ba-ba-ba" vocals are the order of the day. On those occasions when eclecticism rears its asymmetrical head, songs take on the sophisticated strut of French ye-ye ballads that wouldn't sound out of place in _Shoot the Piano Player_, or break down into torchy country-and-western ballads. Dusty Trails' music has its idiosyncratic charm, but one wishes for less retro-sounding evocation of Burt Bachrach-esque cinematheque and more involvement. The album's closest branch on the Grand Royal/LJ family tree, Trimble's acoustic duo the Kostars, brought the listeners in with charming, homespun folk tunes you could dance to. As it stands, what Trimble and Wiggs want to do with this project is create music that evokes rather than emotes, but one wishes for a little more substance to back up this thesis. Perhaps these charming, funky little shuffles will gain more significance in their use in Brad Anderson's upcoming film _Happy Accidents_, but for now this makes little more than ideal use as background music for brunch at some space-age bachelorette's pad. --- REVIEW: John Doe Thing, _Freedom Is. . ._ (SpinART) - Paul Andersen It's been a bit since we last heard from John Doe, ex of X and one of the seminal figures in the history of Los Angeles rock. He's been busy acting (a recurring role in "Roswell" and all sorts of parts in all sorts of movies, big and small), taking part in numerous X reunion shows and recording this album, which took over two-and-a-half years to do, with the sessions taking place in the living room of his buddy, producer Dave Way (Macy Gray, TLC, Savage Garden and a whole slew of others). But, like a good wine, _Freedom Is. . ._ was well worth the wait. Doe has always been a songwriter with a poet's soul, and that soul is in evidence throughout this record. It tends towards the beat era, with a flair for real life substance that would make Bukowski proud - fitting, since Doe once lived in a house that Bukowski resided in. Songs such as "Catch Me" reflect a world-weariness of insight that can seemingly only be gained through actual life. X was always rooted in the grit of the everyman experience and the tunes here are no different; like the various Beatle solo projects, some of the fun here is picking out those songs that would have fit in with the parent group. "Ever After," which features Exene on vocals, is basically an X song, but there are others too. You'll have to pick 'em out yourself, though. Musically, the John Doe Thing merges a lot of Americana and folk flavorings with the edge and rhythmic energy of the alternative scene that Doe had a hand in starting (back in a time when it truly was _alternative_, and not some media hound's easy categorization). Melody has become more important to Doe through the years, and plays an important role here - there are actually some hit singles lying in wait here, if there is a radio programmer brave enough to find them. But, most importantly, the passion in the playing here is almost palpable... which, of course, is a hallmark of Doe. Doe is promising to tour behind this project, and if he should come to a town even remotely near you, it would be a worthy destination. You won't be sorry. --- REVIEW: Consolidated, _Tikkun - Survivor Demos_ (Orchard) - Jon Steltenpohl If there's one thing you can say about Adam Sherburne, it's that the man has a purpose. In a world of talk-show whiners and armchair quarterbacks, Sherburne has spent a lot of time putting his opinions into action. This has been the one constant in Sherburne's life since he transitioned himself from a second rate Depeche Mode clone with his previous band Until December into the activist machine known as Consolidated. Those who've followed Consolidated though its decade long life have been treated to a rollercoaster of musical styles supporting Sherburne's dogged liberal beliefs. Whether it be animal rights, the evils of big music labels, or women's rights, Sherburne is focused and driven. Unfortunately, it's hard to follow Sherburne's musical styles. What started out as industrial dance beats has diffused over the years into Jimi Hendrix licks. Sherburne and partner Mark Pistel made some incredible beats on their first few albums. But, as Sherburne has gone off on his own, the sound faltered and eventually bottomed out with _Dropped_. _Tikkun - Survivor Demos_, Sherburne's latest work, follows in the shoes of _Dropped_. But, where _Dropped_ sounded muddled and unfinished, _Tikkun_ comes alive. Sherburne is getting better with his Hendrix licks and his melodies. They still don't flow smoothly, but at least _Tikkun_'s songs are slightly catchy and listeneable. There is a nice balance between ballads and dance and "noise" tracks. Sherburne's message on _Tikkun_ focuses on tragedies in his personal life and on his continued focus on feminism as it applies to the male perspective. The tracks relating to his personal life are heartbreaking. The lead single, "Impermanence", has a decent melody and is lyrically devastating considering the personal tragedy behind it. (Download the mp3 at: http://www.consolidatedmusic.org/juke.htm). "Sex Work" is one of the best dance tracks Consolidated has written in the past 5 years. It is dense and engrossing while also carrying the subtext of the problems with the sex industry. Over and over, Sherburne repeats the harrowing phrase from the holocaust that "work makes you free". Of course, unless you follow Sherburne's message, other tracks might just turn you off. He tends to mix and match thoughts in a stream of consciousness that can be overwhelming. Consider the closing lyrics on "Behold the Power of Cheese". "I'm so glad that you like stripping but it / Won't stop johns from killing prostituted women / You ass licking entrepreneurs try to sell your manure / You can't use my name it ain't yours / I still use music to resist the grip of capitalism's rule / Monoculture", raps Sherburne. Lyrics like this don't exactly roll off the average tongue. Still, those who've followed the Consolidated saga will find that _Tikkun_ is a step up from _Dropped_ and the dance tracks are similar to some of _Business of Punishment_. Aside from current fans and those who share Sherburne's political and social views, _Tikkun_ probably won't appeal to the general population. But, if you need a fix for the unique Consolidated experience, _Tikkun_ is worth a listen. --- INTERVIEW: B.J. Thomas - Al Muzer Those of a "certain" age know the song by heart. A No. 1 smash for four weeks back in November, 1969, and a Top 40, oldies and karaoke favorite ever since, B.J. Thomas' version of Burt Bacharach's and Hal David's "Raindrops Keep Fallin' On My Head" is one of the most instantly-recognizable tunes ever recorded. Fifteen Top 40 Pop hits, 15 Gold or Platinum records, 10 Top 40 Country hits, five Grammy's, two Dove Awards, and more than 34 years after he entered the public conscious with a soaring, Top 10 cover of Hank Williams' "I'm So Lonesome I Could Cry" finds B.J. Thomas back in action with the 11-song _You Call That A Mountain_ on Nashville's, Kardina Records. Highlighted by the gorgeous, steel-drenched title track; a lush, 1 a.m.-rendition of Michael Martin Murphey's "What's Forever For"; the bracingly honest "Somebody's Gonna Lose"; and solid remakes of "Don't Worry Baby," "Another Done Somebody Wrong Song," "I'm So Lonesome I Could Cry" and, of course "Raindrops" - the album is something for everyone that somehow manages to satisfy all. A catchy, radio-worthy, comfortable combination of pop and country, past and present -- _You Call That A Mountain_ also serves as a showcase for what is, remarkably, still one of the richest, smoothest, mellowest, most distinctive voices in music. "I redid a few of the old songs to get people to listen to my new music," offers the tanned, fit and very relaxed 57-year-old singer during a Fan Fair 2000 interview in Nashville. "I'd been listening to the radio a lot over the last few years and decided that it was time to put out an album of 'songs.' Real songs," Thomas says in his rich Texas drawl. "One of the things, I think, that shapes why certain artists have longer careers than others or why some are able to cross over into other genres more readily is the music they grew up listening to," he says of his three-plus decades in the business. "What were their inspirations and influences? How broad are their musical roots?" "I was lucky when I was young," he continues, "because radio was all Top 40 back then. There were no 'Rap' or 'Rock' or 'Easy Listening' stations. Someone listening to the radio was exposed to pop, folk, soul, R&B, dance, countryeven Montovani. Radio was all about 'songs' and everything got played on the same station." "I've always looked for songs that suited my voice with messages I could believe in and identify with," Thomas adds. "Pop, country, gospel, soulas long as it's a great song, none of that, really, should matter." "I've been pretty lucky and got to record a few great songs over the years," he concludes modestly. "You know, you really couldn't ask for a better signature tune than 'Raindrops' It was a real career song, one of the Top 25 cuts of the '60s and '70s, and I'm real proud that people are still moved by it and still call radio stations to request it." Thomas can be reached via: http://www.kardina.com. --- REVIEW: Future Bible Heroes, _I'm Lonely [And I Love It]_ (Merge) - Christina Apeles If you love the techno, somber pop of Stephin Merritt's other projects like Magnetic Fields, Gothic Archies and The 6ths, you won't be disappointed by the electronic do wop that Merritt and co-collaborators, Christopher Ewen and Claudia Gonson, present as Future Bible Heroes. In their six track love affair with synth beats galore and dead pan vocals to boot, if you're not dancing to their tunes, you'll be laughing at the entertaining quirkiness of them. Is this the future of alternative dance? Doubtful that you'll find "My Blue Hawaii" or "Hopeless" at any danceclubs in the future, but in the privacy of your own home or house party, drunken head bobbing will do. --- REVIEW: Steve Morse, _Major Impacts_ (Magna Carta) - Dan Birchall Steve Morse is a different sort of guitar god. While axemen like Joe Satriani and Steve Vai have risen to their greatest fame outside of bands and made their mark by releasing solo instrumental albums of their trademark sounds, Morse has maintained a somewhat lower profile over his 25-year career. Aside from a brief stint as an airline pilot, he's spent most of his time as a member of various bands, including the Dixie Dregs, Kansas, his own Steve Morse Band, and Deep Purple - not as a solo star. On _Major Impacts_, Morse takes on the lead role, backed by and long-time Steve Morse Band members Dave LaRue and Van Romaine on bass drums respectively. Instead of dishing out an album of his own sound, though, he serves up a collection of instrumental tributes to the guitarists who influenced him. No, these aren't cover tunes - they're original Steve Morse tunes. But each song reflects the style or styles of one or more Morse influences. The list of honorees is quite impressive in itself: Eric Clapton, Jimi Hendrix, Jeff Beck, Alex Lifeson, Roger McGuinn, Jimmy Page, Keith Richards, George Harrison, the Allman Brothers, and more. More impressive by far is the success with which Morse reproduces each style in his own songs on this album. "Led On" sounds for all the world like an actual Led Zeppelin song. "How Does It Feel?" will have all your friends swearing on a stack of Rolling Stones CD's that it's Mick Jagger and the boys. Unlike the single-themed releases most other guitar gods offer, _Major Impacts_ displays Steve Morse's great flexibility, while providing fifty-plus minutes of great music for any fan of the great guitarists of the 1960s and 1970s. Of course, in the process of emulating them all, Morse demonstrates that he, too, is a great guitarist. --- REVIEW: Tsar, _Tsar_ (Hollywood) - Scott Hudson If you've been waiting for that quintessential pop/rock record to inhabit your lives, guess what? Your wait is over! With the release of their self-titled debut release, Tsar is set to take their brand of brash, free-spirited power pop from the streets of L.A. to the world. Does this sound like overblown propaganda? Perhaps. But one listen to this record and you may just agree that these guys are something special and their music splendid. We're not talking about a second coming of The Beatles. If anything, Tsar could be considered the Cheap Trick of the new millenium. And what about the legacy of Cheap Trick? Consider this: these guys owned the late 70's and early 80's producing several multi-platinum records and strings of sold-out shows all over the world. Albums like _Live At Budokan_ and _Dream Police_ gave us classic rock anthems like "Surrender," "I Want You To Want Me" and "Dream Police" that are to that era what "Born To Be Wild" was to the late 60's. This is exactly where the comparisons to are drawn. Like Cheap Trick, Tsar possesses that unique ability to create energetic, lighter-waving anthems combining powerful rock rhythms with strong pop hooks and an uncompromising melodic sensibility within the framework of their rock/brit-pop/punk underpinnings. The band makes no bones about it, this record has its crosshairs firmly fixed on the teenybopper demographic. As vocalist Jeff Whalen explains, "hopefully this album awakens the secret revolution in every child's heart, a sort of screaming freedom that demands anything is possible." No doubt listeners will be hooked immediately as the album's opening track, the anthemic "Calling All Destroyers" smokes across the speakers with Whalen's urgent Robin Zander (Cheap Trick) / Liam Gallagher (Oasis) vocals leading the charge. Also scoring big are high-energy rockers like "I Don't Wanna Break Up," "Teen Wizards" and the overly infectious "Kathy Fong Is The Bomb." The real gems however, are the brilliant acoustic numbers such as "Ordinary Gurl" and a real hidden treasure in "The Girl Who Wouldn't Die," which features perfectly subdued strings and Whalen's graceful vocals. Hats off to Jeff Whalen, Daniel Kern, Jeff Soloman and Steve Coulter for an exciting debut record that exudes songwriting maturity without sacrificing that energetic live performance feel. If you're interested in catching Tsar live, you'll certainly have many opportunities to do so as the band embarks on a U.S. tour as the opening act for Duran Duran in late July. --- REVIEW: Sally Taylor, _Apt. #6S_ (Blue Elbow) - Joann D. Ball It didn't take Sally Taylor very long at all to settle in. After exploring the challenges of following a dream on her no frills acoustic-based debut _Tomboy Bride_, Taylor returns older, wiser and more free on _Apt. #6S_ . And this time around she has the benefit of her bandmates who generously contribute their talents and inspire her best musical qualities. _Apt. #6S_ is the well crafted, uptempo pay off for spending much of last year on the road. After several extensive national club tours, Sally Taylor and her fellow road warriors Kenny Castro (bass), Chris Soucy (guitar), original drummer and percussionist Brian McRae, and sound wizard Chris Delucchi refined the band's adult acoustic pop-rock sound. The camaraderie and musical bonds cemented while traveling in the extended white van named Moby, along with the insights and observations Taylor shared freely on her website ( http://www.sallytaylor.com ) provide the solid foundation for this new release. _Apt. #6S_ opens on a cheerful note with the bouncy pop rocker "All This Time." With a splash of wurlitzer and keyboards courtesy of Jeremy Lawton, this song co-written by Taylor and songwriter Scot Sax is a radio friendly delight. The two also co-wrote the equally catchy "March Like Soldiers" and the bubbly, mandolin-based tune "How Can I." Taylor also shared songwriting duties with guitarist Chris Soucy on both the acoustic ode "Nisa," and on the fluid and gentle rocker "40 Years" which features a saxophone solo from the legendary Maceo Parker. It is Sally Taylor's solo-penned effort "Give Me the Strength," however, that is the centerpiece of this record. The unplugged number features only Lawton's melodic piano lifting her emotional and crystal clear vocals to the heavens. Even though it sounds like Taylor is in her darkest hour, her voice reveals an inner strength, conviction and determination that suggests without a doubt that she will ultimately overcome her fears and succeed. _Apt. #6S_ is a sophomore record which reflects incredible wisdom, with a solid confidence and sense of purpose deeply woven into all twelve songs. It is clearly an effort of which Sally Taylor and her bandmates are especially proud. To celebrate the accomplishment, the Sally Taylor Band hit the road and have turned every show into the ultimate record release party. With new drummer Kyle Comerford in tow, the band was exceptionally tight at their West Coast tour opener in San Diego last month. Performing a perfect blend of songs from the two CDs, they infused new tunes "Split Decisions" and "4 Kim" with an energy and punch that a solo Natalie Merchant should consider. To the crowd's delight, Taylor and company covered the Stealers Wheel hit "Stuck in the Middle With You." And later in the set, bassist Kenny Castro used his trademark funky groove.to magically transform Traffic's "Pearly Queen." The final surprise of the night was a guest appearance by beloved local singer/songwriter Gregory Page. Page joined Taylor on a stinging version of his brilliant kiss-off tune, "Fare Thee Well" from his 1999 record _The John Doe Sessions_ ( http://www.gregorypage.com ). Taylor then ended the show with a solo acoustic guitar encore of her signature song, "Tomboy Bride." _Apt. #6S_ is available at live shows and online at Taylor's excellent website ( http://www.sallytaylor.com ) . By choosing to remain a fiercely independent artist despite numerous major label offers, Sally Taylor has chosen the road less traveled. And that has made all the difference. Apt success indeed! --- REVIEW: Cravin' Melon, _The Great Procrastinator_ (Seedless) - Bob Gajarsky When Cravin' Melon made the leap from indie world to major-label, they could be excused if they thought life might be just a tad bit easier. After all, touring up and down the southeast had been the ticket for Hootie and the Blowfish to launch to superstardom. But when the band's full length major-label debut _Red Clay Harvest_ didn't generate multi-million album sales, and Mercury became part of a giant corporate merger, things looked bleak. But when the major label life was over, Cravin' Melon did something many other bands don't. They survived. So, with new member Gary Greene (former percussion player for Hootie) in tow, Cravin' Melon has returned to indieland. Their sound hasn't significantly changed - from _Where I Wanna Be_ to _Red Harvest Moon_ and now on _The Great Procrastinator_ - which is a good thing. It shows the band still can write a catchy, infectious Southern pop-rock tune with the best of them. The title track and "Tied To The Wheel" rival the infectiousness of their biggest sing-along songs such as "Sweet Tea" and "Come Undone", and the guitar riff in "Beautiful Thing" is (unknowingly, I'm sure) just half-a-step away from that in Prince's "When You Were Mine". Southern fried funk, anyone? And if you go see the band live, make sure you're not wearing flammable clothing during "Silk Sunflowers" - it's just begging for the lighters to come out. While looking out, the laid-back love song "Right There In Front of Me" tugs at the heartstrings, while NOT being a ballad. Thank goodness... _The Great Procrastinator_ is a wonderful return from the leaders in Southern pop-rock, and proves that the strong not only survive, but flourish. For further information, check out the band's website at http://www.melonpatch.com --- REVIEW: Star People, _Genius_ (Hyperspace) - Dan Birchall Star People garnered some attention two years ago with their debut, _Star People... Are Coming_. Presenting themselves as a group of extra-terrestrials drawn to Earth not by a gold compact disc in a deep-space probe but by broadcasts of Las Vegas lounge acts, clad in tuxedos with bow-ties, they served up a peculiar blend of rock, funk, spoken-word and of course lounge music. The wild ride continues on _Genius_, Star People's sophomore release. Sinatra-esque lounge music segues into otherworldly progressive and funk solos. Lyrically, the album is equally far-ranging, from love songs like "I Love You Stargirl" to songs like "Scientific Prey," about alien autopsies in Roswell, New Mexico. While much of the lyrical content is more or less what one would expect from a group of aliens, the creative, funky music sets this band apart from all the other alien groups out there. If you enjoyed the band's first album, this should obviously be on your shopping list. If, like many earthlings, you haven't heard the Star People already, this album should fit nicely amidst your existing collection of The Bobs, Echolyn, Platypus, Henry Rollins, Sinatra and P-Funk albums. --- NEWS: > DJ and producer King Britt has been tapped to provide his additional production and remixing skills to the UK's premiere trip hop group Attica Blues, Brazilian superstar Bebel Gilberto and one of music's greatest rock-jazz outfits Mahavishnu Orchestra. King Britt will be remixing the single "What Do you Want" from Attica Blues' upcoming sophomore album _Test, Don't Test_. The album will be released through Higher Ground/Sony. --- TOUR DATES: Dandy Warhols Jul. 25 Detroit, MI Shelter Jul. 26 Chicago, IL Double Door Jul. 27 Minneapolis, MN 400 Bar Jul. 29 Denver, CO Bluebird Jul. 30 Salt Lake City, UT Liquid Joe's Drunk Horse Jul. 25 Atlanta, GA Earl Jul. 26 Athens, GA Caledonia Jul. 27 Columbia, SC New Brookland Tavern Jul. 28 Raleigh, NC Kings Jul. 29 Baltimore, MD Otto Bar Jul. 30 Philadelphia PA Kyhber Jul. 31 Washington, DC Black Cat Einsturzende Neubauten Jul. 25 Lawrence, KS The Granada Jul. 26 Minneapolis, MN First Avenue Jul. 27 Chicago, IL Metro Jul. 29 Boston, MA Axis Gaza Strippers Jul. 26 St Louis, MO Side Door Jul. 27 Springfield, IL The Alley Jul. 28 Madison, WI O'cayz Jul. 29 Chicago, IL Empty Bottle Goldfinger / Dynamite Hack Jul. 25 Anaheim, CA Sun Theatre Jul. 28 Las Vegas, NV Huntridge Theatre Jul. 29 Tucson, AZ Rialto Theatre Indigo Girls Jul. 25-26 San Diego, CA Humphery's By the Bay Kansas / Yes Jul. 25 Virginia Beach, VA GTE Amphitheater Jul. 27 Raleigh, NC Alltel Pavilion Jul. 28 Charlotte, NC Blockbuster Pavilion Jul. 29 Nashville, TN First American Music Center Jul. 30 Atlanta, GA Lakewood Amphitheater Queers Jul. 25 Pontiac, MI 7th House Jul. 29 St. Louis, MO Creepy Crawl Sister Hazel Jul. 26 New York, NY Irving Plaza Jul. 27 Buffalo, NY Lafayette Square Jul. 28 Boston, MA The Avalon Soulpreacher Jul. 29 Wilmington, NC Bessie's Splender Jul. 25 Darien Center, NY Darien Lake Perf Arts Center Jul. 27 Columbia, MD Merriweather Post Pavilion Jul. 28 Wantagh, NY Jones Beach Amphitheatre Jul. 29 Holmdel, NJ PNC Bank Arts Center Jul. 30 Wallingford, CT Oakdale Theatre Sally Taylor Jul. 25 Cambridge, MA House of Blues Jul. 28 Oakland, MD Festival Tonic Jul. 27 Des Moines, IA KSTZ Show Warped Tour (Green Day, Long Beach Dub All Stars, NOFX, Mighty Mighty Bosstones and many more) Jul. 25 Washington, DC RFK Lot Jul. 26 Norfolk, VA Naval Station Field Jul. 27 Knoxville, TN World's Fair Jul. 28 Jacksonville, FL Fairgrounds Jul. 29 Miami, FL Bayfront Auditorium Jul. 30 Orlando, Fl Central Florida Fairgrounds Jul. 31 Panama City, FL Club La Vela --- Founded in August, 1993, Consumable Online is the oldest music reviews publication on the Internet. To get back issues of Consumable, check out: WWW: http://www.consumableonline.com Web access contributed by WestNet Internet Services (westnet.com), serving Westchester County, NY. ===