== ISSUE 163 ==== CONSUMABLE ONLINE ======== [November 27, 1998] Editor: Bob Gajarsky E-mail: editor@consumableonline.com Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim Kennedy, Reto Koradi, David Landgren, Tim Mohr, Al Muzer, Joe Silva, Lang Whitaker Correspondents: Christina Apeles, Niles J. Baranowski, Tracey Bleile, Lee Graham Bridges, Jason Cahill, Patrick Carmosino, Krisjanis Gale, Emma Green, Paul Hanson, Chris Hill, Eric Hsu, Tim Hulsizer, Franklin Johnson, Steve Kandell, Robin Lapid, Linda Scott, Scott Slonaker, Kerwin So, Chelsea Spear, Simon Speichert, Jon Steltenpohl, Simon West Technical Staff: Chris Candreva, Dave Pirmann Address all comments to staff@consumableonline.com ; subscription information is given at the end of this issue. ================================================================== All articles in Consumable remain (C) copyright their author(s). Permission for re-publication in any form must be obtained from the editor. ================================================================== .------------. | Contents | `------------' REVIEW: Various, _The Look of Love - The Burt Bacharach Collection_ - Daniel Aloi / Various, _One Amazing Night_ - Bob Gajarsky REVIEW: George Michael, _Ladies & Gentlemen The Best Of George Michael_ / Duran Duran, _Greatest_ - Bob Gajarsky REVIEW: Unbelievable Truth, _Almost Here_ - Tim Mohr REVIEW: Paul Weller, _Modern Classics_ - Bob Gajarsky REVIEW: You Am I, _#4 Record_ - Chris Hill REVIEW: Walt Mink, _Goodnite_ - Kerwin So REVIEW: Meat Loaf, _The Very Best Of Meat Loaf_ - Bob Gajarsky REVIEW: Cake, _Prolonging the Magic_ - Christina Apeles REVIEW: Goodness, _Anthem_ - Chris Hill MINI REVIEWS: Adamski, Goat, Loose Nuts, Swirl 360 - Bob Gajarsky / Franklin Johnson REVIEW: The Andersons!, _Separated at Birth_ - Daniel Aloi REVIEW: David Grahame, _Toy Plane_ - Bill Holmes REVIEW: Miles, _The Day I Vanished_ - Tim Mohr REVIEW: Sylvain Sylvain, _Sleep Baby Doll_ - Bill Holmes TOUR DATES: Better Than Ezra / Bic Runga, Black Crowes, Buffalo Tom / Goo Goo Dolls, Candlebox, Chocolate Genius, Cravin' Melon, Deftones / Pitchshifter / Quicksand, Evelyn Forever, Irving Plaza, Miles, Motley Crue, Offspring, Tricky / Whale Back Issues of Consumable --- REVIEW: Various, _The Look of Love - The Burt Bacharach Collection_ (Rhino) - Daniel Aloi Pop melody-writer Burt Bacharach provided most of the songs an entire generation fell in and out of love to in the '60s and early '70s. Even without his recent return to the spotlight (a cameo in "Austin Powers," a tribute album by '90s pop acts, and a landmark collaboration with Elvis Costello), a definitive Rhino anthology was inevitable. And here it is. This meticulously assembled three-CD box set essays Bacharach's career with due respect, with 75 tracks spanning 40 years, in chronological order. There are too many hits to even mention in this review. The set begins with "The Story of My Life," a No. 1 country hit for Marty Robbins in 1957 (and Bacharach's first work with lyricist Hal David) and ends with the 1996 soundtrack commission with Costello, "God Give Me Strength" -- written via intercontinental phone lines, fax and answering-machine. In between, there's a lot of passion and heartbreak that did quite well on the pop charts, particularly from 1962 to 1973. (Maybe his marriage to Angie Dickinson kept his muse going.) Everything you associate the Bacharach sound with is here -- from the deliberately paced "Baby, It's You" by The Shirelles to the 5th Dimension's "One Less Bell to Answer," and the incredible run of hits by Dionne Warwick -- "Do You Know the Way to San Jose," "Anyone Who Had a Heart," and on and on. Discovered by the composer among a group of session backup singers, she became the voice most closely associated with his music, realizing all of its emotional power and technical complexity to resounding chart success. Bacharach was an innovative composer in tune with the human heart. His stop-start melodies, sudden chord changes and odd time signatures perfectly captured the feeling of a heart jumping and skipping a beat when in love, and the heaving sobs from a shattered romance. It's no wonder his songs were so successful. Hal (and brother Mack) David's lyrical contributions can't be discounted, but Bacharach's music gave the songs their real emotional power. Among such non-Warwick masterpieces as Herb Alpert's "Casino Royale" and "This Guy's In Love With You," Dusty Springfield's "Wishin' and Hopin'" and Gene Pitney's "Twenty Four Hours From Tulsa," there were many misses, certainly to be expected from songwriters for hire like Bacharach and David. A pre-Dawn Tony Orlando overemotes on "To Wait For Love," actor Richard Chamberlain struggles with "Blue Guitar" (sadly, matinee idols continued to be foisted on the listening public as "singers" well into the '80s -- where's the Jonathan Taylor Thomas album, hmmm?) and the almost parodic fake beat combo The Five Blobs wigs out on the 1958 sci-fi horror film theme "The Blob." Bacharach's last great work before his association with Costello was "You'll Never Get to Heaven (If You Break My Heart)" for The Stylistics, a group suggested by Warwick. After that, Disc 4 covers his songwriting partnership (and romance) with Carole Bayer Sager and their three less-than-great '80s MOR hits -- "Arthur's Theme (Best That You Can Do)" for Christopher Cross, "On My Own" for Patti LaBelle & Michael McDonald, and the superstar sap of "That's What Friends Are For." It wasn't just Carole's fault -- the melodies are far from the level of his earlier successes. You can almost see the light of redemption shining on Burt on the closing "God Give Me Strength." Among the many rarely-heard gems here is Warwick's "Paper (sic) Mache'" and Burt's own "Pacific Coast Highway," a nicely quirky top-down instrumental, quintessentially California-sounding. Among the Warwick and Springfield singles, which seem to be embedded in the collective American and British consciousness, there are soundtrack hits like "Alfie," well-known cuts by Jackie DeShannon, Tom Jones, B.J. Thomas and the Carpenters, and lesser-known songs by Manfred Mann and Rick Nelson. In an effort to stay faithful to the composer's vision, Rhino A&R Director Patrick Milligan's mission was "trying whenever possible to feature the version that Burt was most associated with in a producer-and-arranger role, because his compositions are totally unique and the complexities of his arrangements are sublime." That said, there's still something missing here. Opening up the retrospective to more seminal early versions and contemporary covers on a fourth disc would have shown Bacharach's relevance to artists of the '80s and '90s. Why not provide the alternate history, the one beyond the charts, to underscore the man's influence? Dusty Springfield's 1963 version of "I Just Don't Know What to Do With Myself," multitracked for full, Phil-Spectorish emotional effect, was a bigger hit than Tommy Hunt's (included here), and certainly influenced Costello's 1977 live performances of the song. (Not to mention Cameron Diaz's.) Costello and Nick Lowe dueted on a lovely "Baby, It's You" on a 1986 B-side (and the Rhino book notes that The Beatles, of whose cover of that song Bacharach is suitably proud, also made the Brill Building sound obsolete). Susanna Hoffs provided a nicely understated "The Look of Love" and the Posies backed Bacharach himself on the "Austin Powers" soundtrack. And the Big Deal Records tribute _What the World Needs Now,_ released earlier this year, gives 14 Bacharach songs over to '60s and '70s-influenced underground pop acts like Shonen Knife, Splitsville and Michael Shelley -- in cover versions both lovingly dedicated and breezily irreverent. But "The Look of Love" box set succeeds in capturing an era of great songwriting and production. It's as cool and sophisticated as its subject. All you need to enhance the experience is a smoking jacket, silk pajamas, a martini in hand and a loved one to cuddle up with. REVIEW: Various, _One Amazing Night_ (N2K) - Bob Gajarsky New York City's Hammerstein Ballroom was the site where performers from the world of pop, country, jazz, and country gathered to pay homage to Burt Bacharach. That April 8 performance was the basis for the TNT television special _One Amazing Night_ and the disc by the same name has been released on N2K Music. While the scope of the artists remains diverse, they generally stay true to the course of Bacharach's original songs. Thus, All Saints' version of "Always Something There To Remind Me" may be more familiar to fans of the 60s than Naked Eyes' synth-pop cover; Ben Folds Five's alterna-geek music serves as the perfect platform for "Raindrops Keep Falling On My Head", Chrissie Hynde doesn't sound out of place on the girl-group-inspired "Baby It's You / A Message To Michael", the Barenaked Ladies give a surprisingly serious rendition of "Close To You", and Elvis Costello - whose most recent album _Painted From Memory_ was in collaboration with Burt - performs the first single from that album, "God Give Me Strength". Any Bacharach tribute would be incomplete without Dionne Warwick. Her pre-psychic network days helped simultaneously launch her career and the rising star of Bacharach/David, so a medley of some of the biggest hits ("Walk On By" / "Say A Little Prayer" / Do You Know The Way To San Jose") fits in wonderfully with the magic of the evening. Viewers of the home video for _One Amazing Night_ will find extra tracks - by Costello, Warwick, and a medley of instrumental versions - but CD buyers will be satisfied with this meeting of the old with the new. Acts on One Amazing Night: Sheryl Crow, All Saints, Elvis Costello, Mike Myers, Wynonna, Ben Folds Five, Barenaked Ladies, Luther Vandross, David Sanborn & George Duke, Dionne Warwick, Burt Bacharach --- REVIEW: George Michael, _Ladies & Gentlemen The Best Of George Michael_ (Epic) / Duran Duran, _Greatest_ (Capitol) - Bob Gajarsky George Michael and Duran Duran were two of the main visual images of the 1980s. Posters of them served as the object of many teenager's imaginary journey into adulthood, and the sex-appeal image was one that both strove to shake on their own personal trek towards being musically accepted. _Ladies & Gentlemen_ shows the maturation of Michael. Where the Wham! days were an ode to Motown's upbeat pop hits, his solo career marks a moment to shine the light elsewhere (see the video to "Freedom '90") and focus on a different introspective, yet soulful, side. The first disc of the set includes 14 ballads ("For the Heart", as the liner notes state), some of which have already proven timeless ("Careless Whisper", which was released in most of the world as a George Michael song, and "Kissing A Fool"), and the latter ("For The Feet") includes the 11 minute foreplay-laden version of "I Want Your Sex (Pt 2)", the George and the Hand Jive sound of "Faith", and the disco-laden sound of "Outside", one of two new songs on the compilation. A previously-scheduled Wham! greatest hits scheduled for the States (the Brits' native land has seen 2 issues of Michael and Ridgely's time together) was indefinitely postponed, leaving this collection to serve as the only 'all in one' for his fans. Of the twenty-eight tracks included on this double disc, nearly half (13) were Top 10 hits in the U.S., and some of the others appeared on compilations such as "Desafinado" (with Astrud Gilberto, from _Red Hot & Rio_), and his live recordings from the Freddie Mercury Tribute, "Somebody To Love" and the "Killer / Papa Was A Rolling Stone" medley. While Michael's hits had not been previously packaged here in the States, Duran Duran's initial rush at stardom was captured in _Decade_. This new packaging encompasses all fourteen of the cuts which appeared there, along with (the previously-omitted) "New Moon On Monday" and newer tracks including "Electric Barbarella", "Serious" and the smash comeback hit "Ordinary World". Not greatly different than, to make someone rush out and spend $15 for four other songs, but worthwhile to a fan who, for some reason, never purchased _Decade_. --- REVIEW: Unbelievable Truth, _Almost Here_ (Virgin) - Tim Mohr It's difficult to figure out whether famous siblings are a blessing or a curse. Andy Yorke, vocalist and guitar-player in Unbelievable Truth, is better known as the brother of Thom, singer in Radiohead. Presumably, a record contract is a little itsy bitsy teenie weenie bit easier to come by when your last name is the same as the man who wrote "Fake Plastic Trees." But then the problems begin: Unbelievable Truth don't sound remotely similar to Radiohead. Unbelievable Truth sound more like the latest Creation signing, Arnold, or like Crowded House unplugged. Gentle acoustic guitar strumming and earnest vocals typify the trio, who occasionally add a few strings or - horror! - electric guitars. The lyrics are fitting for Andy Yorke's background - lit student, spent time in Russia, etc. - and well-suited to the style of music. This Yorke is a fine singer, too. But, again, his style is completely his own and shows no trace of Thom. _Almost Here_ is a touching record but not easily comparable to many current British albums. Perhaps they are better compared to the Connells or Toad The Wet Sprocket, with whom Unbelievable Truth share a quiet melodic sound, pleasant vocals, and a leisurely pace. --- REVIEW: Paul Weller, _Modern Classics_ (Island) - Bob Gajarsky When a man who has compiled two of the most popular greatest hits albums in his native land speaks, people listen. Unfortunately for Paul Weller, his huge success in Britain as the leader of the Jam and Style Council never translated into American popularity. After the Council disbanded in 1990, a revitalized Weller set about to prove the critics wrong - that once again, he would rise for the ashes. And so it did; while _Paul Weller_ didn't set the industry on its ears, the soulful 'Dadrock' - as Weller's new music was called - provided the spark for groups such as Ocean Colour Scene to catapult to the top of the British charts and newcomers such as Oasis to worship at the shrine of Mr. Weller. Songs such as "Out Of The Sinking" and "Peacock Suit" harken back to days-gone by of Cream and Joe Cocker. Given Weller's musical leanings in his previous bands (Jam - mod look of the United Kingdom, circa mid 1960s; the Style Council's love affair with Motown), it's not unexpected that his solo efforts would also take the past and throw a decided twist on it for modern listeners. Other tracks follow the pattern; "Sunflower" nips from Hendrix' "Purple Haze" (not the guitar riff, of course), "Above The Clouds" from Marvin Gaye's "What's Going On", even a bit of Springsteen's "Fire" in "Broken Stones". One new track, the raspy yet touching ballad "Brand New Start", is a wonderful addition to an already outstanding history. Many in the United States have not heard Weller's music, but those who have almost immediately succumb and return for repeated listenings. With _Modern Classics_, Weller provides a compelling reason for those who haven't purchased his four solo albums to run out and buy just one. TRACK LISTING: Out Of The Sinking, Peacock Suit, Sunflower, The Weaver, Wild Wood, Above The Clouds, Uh Huh Oh Yeah, Brushed, The Changingman, Friday Street, You Do Something To Me, Brand New Start, Hung Up, Mermaids, Broken Stones, Into Tomorrow --- REVIEW: You Am I, _#4 Record_ (RA Records/BMG) - Chris Hill If beach movies were still being made, You Am I would be the ideal band to plant oceanside, with boys and girls shimmying to the groove, luau going full tilt, and the sun slowly setting on the horizon. You Am I's sound is classic 60s mod drumbeats, achingly pure pop arrangements, and rave-up vocals. Their 1996 cd _Hourly, Daily_, led by gems like "Mr. Milk" and "If We Can't Get it Together" captured them "Album of the Year" and "Artist of the Year" honors in their native Australia. Like its two predecessors, _#4 Record_ debuted at #1 Down Under. The band's been hugely successful as openers for groups as dissimilar as Wilco, Soundgarden, and Oasis. Am I preaching to the choir here? If you've been waffling over getting this album, waffle no more. If you've never heard of them, read on. I'd like to convert you. Vocalist/guitarist Tim Rogers refines his pop style to pure cane sugar on this disc. The band runs between a wistful acoustic ballad ("Heavy Heart"), a punk rocker in pop clothing ("Billy"), an imploring doo-wopper ("Come Home Wit' Me"), and tongue-in-cheek vignettes ("Guys, Girls, Guitars", "Fifteen") with panache and ease. Artistic joy keeps the throwback style from being cloying or saccharine, and George Drakoulias (Black Crowes, Tom Petty, Screaming Trees) envelops each two to three minute nugget with crisp, pristine production. Little fills pop up throughout the record, but nothing is extraneous: a mandolin and organ fade around each other on "...and Vandalism", a slide guitar sinuously winds throughout "Top of the Morn' & Slip of the Day", and the Memphis Horns are bliss personified on "Junk". I'm convinced there's a secret government conspiracy preventing "Rumble" from becoming a radio staple. If the Bay City Rollers' "Saturday Night" is a favorite, "Rumble" is right up your alley, with its "R-A D-I-O, Hit me hard and hit me low" chant-along chorus. Humorously, the last use of the chorus name drops the ex-Black Sabbath lead singer ("Ronnie James D-I-O"). The song triggers a wide-open grin and a Pavlovian head-bobbing response. As, in fact, do all the songs on _#4 Record_. Wry lyrics only add to the pleasure. For example: "he's big and dumb like a Dagwood dog", "I know this guy ... if I'm the mayonnaise he's the cream", "the sky's so heavy yeah it hangs like a beer gut", "he can see Wednesday mornin' the way others see Friday night". Combining the lyrics with retro, yet modern, music makes for twelve irresistibly catchy tunes. Judging by the concert spectacle of You Am I in Seattle, 11/19 at the Crocodile Cafe, these songs shine even brighter live. Years of touring have honed You Am I to a tight, polished stage presence. Drummer Russell Hopkinson keeps tempo like an early Ringo Starr, with his hair flopping in rhythm to the beat. He's integral to their charisma, chiming in with harmony vocals and off-beat drumstick pantomimes. Andy Kent, on bass, is a foil to Rogers' jokes, while solidly undercoating the music, and adding his own voice periodically. The band ran through most of _#4 Record_, older catalog staples like "Soldiers", "Trike", & "Mr. Milk", plus a delirious cover of "Hippy Hippy Shake". When Hopkinson broke a sweat before the second song, I had a feeling the show would be good. It was that and more. If they come to your town, it's an experience you shouldn't miss. --- REVIEW: Walt Mink, _Goodnite_ (Deep Elm) - Kerwin So The venerable Walt Mink is gone. Through eight years of drummer mishaps, promising opening slots, and a string of management and label troubles too intricate to list here, the "New York by way of Minnesota" power trio have decided to call it quits. Musically, Walt Mink's sound was grounded in unique time signatures, nimble yet memorable guitar hooks, and singer John Kimbrough's sparkling, freshly-scrubbed tenor. As a final offering to its small but devoted fan base, Walt Mink (with the help of John Agnello and Kurt Wolf) has recorded and released the live album _Goodnite_, capturing the band’s last (and arguably best) moments on stage at New York's Mercury Lounge on November 1, 1997. The recording starts off with the chugging beat of the new song "Fourth Wave" that Walt Mink wrote for just this occasion, and it's clear that this is the band's swan song from the lines, 'Open up your mind / to all the brand new sounds / Listen to the music from the sky / and say goodbye.' While this new tune never fully succeeds in getting off the ground, the Mink get right down to business by blasting next into "Stood Up." You're listening to this track and wondering how Yngwie Malmstein managed to survive the late 90s, and just when you think the pot's gonna boil over, Walt Mink's lightning-quick dexterity clamps the lid down again, never forgetting that 'arena rock', 'prog rock', and 'indie rock' in the end must still... rock. Indeed, all throughout _Goodnite_, Walt Mink rocks you the way you want to be rocked: with crashing dynamics, blazing guitar heroics, and an odd meter twist here and there to keep you on your toes. The blistering version of "Frail" delivered here burns full throttle and convinces you that there is no tomorrow. Many other songs here rage with the same elegant ferocity, making you grind your teeth in delight and ask yourself how they could have kept their energy up through gigs like this. No doubt Walt Mink pummelled the crowd into submission on many nights like this, all the while making it look as effortless as slinging on a feather boa. _Goodnite_ is even arranged to feel like a real live rock concert, complete with snippets of between-song banter and hollerings from the crowd for encores, of which they receive several. "Subway" is a refreshing blast of hummable pop-rock after one of such breaks. The record closes with the acoustic favorite "Settled", during which the audience whistles along and Kimbrough laments, "Love was never here." On the heels of Walt Mink's demise, it doesn't take a genius to figure out what he's implying. Although the live tunes on _Goodnite_ do often blend into each other homogenously, Walt Mink has proven once and for all that it could rock the house till the walls came down. It's proof not soon to be forgotten, and _Goodnite_ is a fitting tribute to a band who will be missed. --- REVIEW: Meat Loaf, _The Very Best Of Meat Loaf_ (Epic) - Bob Gajarsky The magical touch of Jim Steinman has been spread amongst a diverse group of stars. Adult contemporary artists such as Air Supply and Barbara Streisand, pop stars including Bonnie Tyler and Celine Dion, and even the gothic Sisters of Mercy are a few performers who have been united with the hitmaking prowess of Steinman. But mention Steinman's name to a group of rock and roll fans, and there is only one person who is associated with Jim Steinman. Marvin Lee Aday was born in 1951 in Dallas, Texas. Initial musical success was fleeting; a 1971 duet with Stoney under his stage name, Meat Loaf, provided only one minor hit, "What You See Is What You Get". And prior to the Rocky Horror Picture Show (in which he had a minor part as Eddie, singing "Whatever Happened To Saturday Night" before being quite literally served up to guests) became a cult hit, the only real musical exposure for Meat would be his lead vocals on Ted Nugent's 1976 _Free For All_. The subsequent pairing between Steinman and Meat Loaf was a match made in heaven. Meat's bombastic, over-the-top vocals were the perfect complement for Steinman's opera-esque rock epics. The talented backing band (members of the E Street band lent their talents to the project) became perfectionists in Steinman's image, and countless takes were done...and redone...until everything was just right. And, there was *that* song. "Paradise By The Dashboard Light" has, for all intents, replaced "Stairway to Heaven" as the #1 rock song of all time. It has become a rite of passage for college students (and high schoolers who want to seem cooler than their age) to know all the words, pair off (with boys on one side of the room/circle, and girls on the other), and alternate the male/female vocals which Meat and Ellen Foley sang. The irony, of course, is that the song was initially deemed too long to be a single, and the Phil Rizzuto baseball play-by-play, synchronized with the sexual imagery conjured up by the Meat/Foley exchange, became one of the best known songs to hit the airwaves. And _Bat Out Of Hell_, which has gone on to be one of the best-selling debut albums in history, was rejected by almost every label. Depending on who you believe, Meat's vocals were shot from overwork, or booze, and the second album ( _Dead Ringer_ ) crashed and burned from the charts, despite Steinman's best single - a blue dressed devil duet with Cher on the title track. Most of Steinman's better tracks from this era were used on his own _Bad For Good_ in 1981, but as Jim's vocals didn't have the power present in Loaf's, it also was a second-rate seller. Steinman has a history of recycling his own songs. The Dion hit "It's All Coming Back To Me Now" previously appeared on the (import only) disc from the all-female Pandora's Box disc, _Original Sin_; Streisand's "Left In The Dark" and the Meat Loaf songs "Out Of The Frying Pan" and "Rock And Roll Dreams Come Through" first showed up on _Bad For Good_ and Meat Loaf's "Two Out Of Three Ain't Bad" was redone - with Steinman's supervision - by Bonnie Tyler. The 1980s weren't kind to Meat Loaf. Subsequent efforts (with new writing partners, and lawsuits with Steinman and record labels) barely made any kind of dent in the charts, and Meat Loaf vanished from sight. That is, until 1993s _Bat Out Of Hell 2_, a reuniting with Steinman, catapulted Meat back into the spotlight. Featuring his first #1 single, "I'd Do Anything For Love", a new generation of fans would get the opportunity to see the portly Texan do his thing live. And that, in turn, inspired people to purchase the first _Bat Out Of Hell_ more than fifteen years after its initial release. _The Very Best of Meat Loaf_ crosses over his multiple labels (Cleveland International/Epic, Arista and MCA) to offer a nearly complete anthology of the Meat Legend. This two disc set's highlights are the songs from both _Bat_ albums, but also the new tracks. There are three new songs from Steinman, two co-written with Andrew Lloyd Webber. "Home By Now / No Matter What" is grandiose in its structure, but has its roots in a traditional Broadway or London musical, rather than the rock format. "Is Nothing Sacred" winds up going nowhere, but the second Steinman-Webber composition, "A Kiss Is A Terrible Thing To Waste", brings together all of the elements fans love (or hate) about the full-fledged productions behind Steinman and Meat Loaf in yet another seven-and-a-half minute epic. In collecting these tracks, there is one pleasant surprise - the inclusion of full length songs. It is obvious that "Paradise" wouldn't appear here in an edited format, but it's a pleasant surprise that songs which perfectly fit their original FM-radio format - such as "You Took The Words Right Out Of My Mouth", "Bat Out Of Hell" and the eleven minute "I'd Do Anything For Love" - appear completely unedited, in their original album format. A searing, more in-your-face remix of "Life Is A Lemon" remains the only tinkering from an original version - and at a length of 8 minutes, there's no editing here for commercial airply. While this compilation is an excellent opportunity to get all of Meat Loaf's best tracks on two discs, it also highlights the marked difference in quality between songs which Steinman wrote and/or produced, and those in which he wasn't present. May the Steinman / Meat Loaf collaborations continue for years to come. --- REVIEW: Cake, _Prolonging the Magic_ (Capricorn) - Christina Apeles _Prolonging the Magic_ is the third release from the Sacramento-based band Cake, which is one of the best cures for SAD (Seasonal Affective Disorder) when a Snickers bar isn’t handly. It is an offbeat, delectable collection of songs where comedic lyrics and mischievous rhythms run rampant. Just take a look at their song titles: "Satan is My Motor," "Sheep Go to Heaven," and "Alpha Beta Parking Lot." Wit is alive in frontman John McCrea’s vocals that are half-joking, half-serious with lines like, ‘When she talks, she moves her mouth instead of her lips’ and ‘If I threw my guitar out the window . . . would I start to regret it or would I smile and watch it slowly fall.’ Cake sings about things most bands don’t: car exhaust, barbers, matches, fingers, and carpenters. This reflection on the ordinary is part of their charm backed by special appearances from neglected instruments like the musical saw, trumpet, mandolin, and moog, which add a unique touch to their brand of groovy, head-bopping pop. --- REVIEW: Goodness, _Anthem_ (Immortal/Epic) - Chris Hill A line from "Wicked Eye" (off Goodness' 1995 self-titled cd) sums up the band's attitude best - "Well, he's coming on / but I'm not worried much / 'cause if we've taught her wel l/ she packs a wicked punch." Self-reliance, personal responsibility, and - dare I say it - empowerment are rare messages in these years of dodging ownership and blaming others. My interest, begun during vocalist Carrie Akre's stint with Hammerbox, and reignited with Goodness' 1994 _6 songs_ cassette-only release, became fannish appreciation after that song. It's indicative of the band's character that three years later they espouse the same idea on the first track, "Anthem": "This is a call to all of you / to come around... / there is a reason to get out of bed... / I don't have all the answers / but I know it can be found." Their work ethic hasn't atrophied, despite the tribulations following their Y Records debut cd: Following _Goodness_, the band signed with Atlantic, re-released the album with an extra track, then left the label when the atmosphere constricted. The D.I.Y. waters were tested with 1997's self-released _a five-song ep_, and now in 1998, the band is back aboard the major label train, on Epic's indie subsidiary, Immortal Records. "Anthem" is one of three tracks written with outside songwriters (ex-Heartbreakers Stan Lynch and Jamie Houston), but the sentiment remains pure Goodness. Drafted back into service from _a five-song ep_, along with "Pretender" and "Lost", the song is a fitting titular track for an album of unadulterated, unapologetic rock & roll made for people who wear off-the-rack clothing. Guitarists Danny Newcomb and Garth Reeves pervade the album with power chords and guitar solos, but there's room in the bag for other tricks. To wit, the gentle, acoustic "I'd Rather", the GoGos-esque "Turn the World Around", the mnemonic device chorus-driven "Lost" ("L is for lonely as she can be, O is for..."), and the cricket noises that fade up to close the album. Rock 'n' roll and crickets - the combo shouldn't work, but it does. The blistering guitar solo that lynchpins "Lost" also underscores the fact that Goodness is a full band, not simply a supporting outfit assembled post-Hammerbox for Akre's talent. Each of Goodness' members list at list two bands, either ex- or current, in their resume, and each contributed to the writing. Drummer Chris Friel, Reeves, and bassist Fiia McGann log a song each, with Akre and Newcomb covering the remainder. If you're impressed by McGann's backing vocals (listen to "Bitter Man" - she makes that chorus), check out Miracle Baby, her side project, where she steps to the fore. _Anthem_'s bruised heart-acher "Night & Day" is written by her. It's the only tune of twelve not written in part by Akre, testifying to its lyrical strength. Browse http://www.goodness.com - run with direct involvement with the band - when you need a breath of fresh air from media savvy, conglomerate music. Honesty isn't a bad thing. Rock 'n' roll isn't trite. Sometimes, when it has heart and talent, it's just ... goodness. --- MINI REVIEWS: Adamski, Goat, Loose Nuts, Swirl 360 In 1990, Adamski hit the top of the British charts - featuring Seal on vocals - with "Killer". Eight years later, he has returned (with New York house singer Gerideau taking the mic) for a new disc, _Adamski's Thing_ (Universal / ZTT). The groove-heavy feel of "Memories of the Future", the techno-spy instrumental "Sparklin'" , and the Stevie Wonder-like vocals on "Antibody" are the perfect fix for anyone missing the sounds of Stereo MCs - or Adamski himself - and looking to move their feet. - Franklin Johnson The Beck meets funk sound of the radio hit "Great Life" first appeared in the movie thrilled _I Know What You Did Last Summer_. And when the man known as Goat (formerly Goatboy, until Jim Breuer's hideously un-funny Saturday Night Live routine gained national prominence) released his debut album _Goat_ (Ruffhouse/Columbia), he kept the same type of free-wheeling approach to the music. The well-known Butcher Brothers produced this lesson in musical diversity. Whether on the Dylan-esque rap of "Free", his cover of Brian Eno's "Baby's On Fire" or the INXS-meets-techno driving beats of "I Will Fly", it is clear that Goat refuses to be contained within typical musical walls. - Franklin Johnson While the ska-volution may be slowing down, those looking for a new group may want to turn to the East Coast. After opening up for bands such as Reel Big Fish, the Mighty Mighty Bosstones and Goldfinger, New York City's Loose Nuts have taken their own place in the punk/ska circle. On the debut _Oh God Help Our Fans_ (Gotham), this seven person group (with the obligatory trumpet and trombone included among their instruments), the Nuts pay homage to the Bosstones with a sound which - just like their Boston compadres - forces slam-dancing, and a good time. Check out "Wishen" and "Roots" for further inspiration - or for more information, go to the label's website at http://www.gothamrecords.com - Franklin Johnson Swirl 360 may have gotten their foot in the door from being signed by the same person who signed Hanson, but their claim to fame is a power-pop sound that echoes traces of Savage Garden and Jellyfish rather than the Kansas pre-pubescent trio. The Scott brothers who comprise Swirl 360 - Denny and Kenny - write their own material, but also bring in some outside assistance. Adam Schlesinger (Fountains of Youth, writer for "That Thing You Do") and Ken Stringfellow (Posies) are two of the contributors who bring a modern element to the world of classic power pop on the Swirl 360 debut, _Ask Anybody_ (Mercury). "Hey Now Now" was the first single - eminently hummable, and just like any good power-pop song, with a chorus that grabs ahold of the listener and won't let go. Eager to show they're not a one-trick pony, the electronica edge to "Candy In The Sun" is destined to bring in listeners who weren't around when Cheap Trick and Badfinger were the rage, Smashing Pumpkins ("1979") feel of "Rewind", sugary-sweet ballad "There" and the straight-ahead, rock 'n' pop sound of "Stick Around" are sure to bring in anyone who loves power pop and wants to get some of the best that's out there. It's just too bad that until a pure pop sound is deemed 'en vogue', Swirl 360 may only be heard out of your discman, rather than the radio. - Bob Gajarsky --- REVIEW: The Andersons!, _Separated at Birth_ (Lime Vinyl) - Daniel Aloi This L.A. quartet has all of its power-pop ducks in a row: Solid three-part vocal harmonies, jangly guitars, resounding choruses, and hook-filled and often humorous songwriting about girls, traffic jams, girls, TV and girls. "Less angst, more bounce, still rocks" is the band's motto since 1995, which might explain how they can anchor a very competitive pop scene in Los Angeles and walk away with reams of critical praise. If they're this engaging on stage, they must aim to keep audiences happy. Very happy. The band's music is notable not so much for being art but for its sincerity. You can tell The Andersons! have an appreciation for a good hook, a funny concept, and a bed of musical references from the classic Beatlesque mold. Together, Derrick, Bob, and Bill Anderson are up against the gloomy blackhearted icons of modern rock's status quo -- and they're heavily armed with melody and wit in some great songs like "The Truth is Out," "You'll Get Yours Yet" and "(I'm In Love With A) TV Girl." As good as their own work is, The Andersons! also have an anvil case full of impressive, dare-I-say mainstream pop credentials. Some of the band member's resume items: -- Lead vocalist, bassist and ringleader Derrick Anderson helped flesh out the songs of Badfinger casualty Pete Ham on the posthumous collection _7 Park Avenue._ He also played on the 1997 debut album by Chewy Marble, former Wondermint Brian Kassan's new band. -- Bob Anderson led the now-defunct pop group Wonderboy, and spent last winter touring with Big Deal act Cockeyed Ghost. -- New drummer Jimmy Anderson, an alumnus of Green Jello, replaces Brian Bawinkel, who played on the album. Jimmy has also toured with Dave Davies and The Muffs (Kim Shattuck provides "screams and backing vocals" here on "Symbiosis"). -- Bill Anderson is a journeyman singer-songwriter and guitarist with more than 20 years;' experience. The package design (by Grammy winner Rachel Gutek) says it all - it's all in a spirit of fun, from the non-lookalike guys on the front to the mismatched photos atop the Danish modern stereo console on the back to the three bespectacled adult heads on wriggling sperm, printed on the disc itself. The album was co-produced by the band and Jeb Lipson, and mixed by Brian Kehew, a Moog Cookbook member who also adds keyboards to one track here. His playing and production credits include Redd Kross, The Muffs, The Dickies, That Dog and Pat Smear. For more information online, go to http://theandersons.com --- REVIEW: David Grahame, _Toy Plane_ (Dog Turner) - Bill Holmes It only takes two or three syllables coming out of his mouth before you realize that David Grahame is something special. From the opening notes of the title track's overture, Grahame's uncanny vocal resemblance to Paul McCartney can't help but grab your attention, especially since the opening to the next track "Each First Kiss" is so reminiscent of "Too Many People". But "Kiss" is its own charming piece of pop magic with an irresistible hook and chorus that has you singing along by mid-song. And it just gets better from there. "The Rut" sounds like it should be a dirge, but ringing guitar tones and taut harmony vocals drive this Badfinger-ish song faster than its mid-tempo pace. Grahame's lyrics excel - relationships of love, pain and wonder are set forth in each musical short story. "Love is holding me here / and I'm trying to get over there" he sings in "Everyday", and consider this prose from "Steady Thing": "But every now and then / I find her back in my arms again / Where it's so easy to / pretend it's true love / When she kisses me / I think it can be different / But when she stops / I know it really isn't..." His urgent, impassioned vocal on "Steady Thing" makes it the highlight of the record, and considering the balance of material that's no small feat. "Losin' A Love Like You", slower and quieter, bridges the gap perfectly between McCartney and Del Amitri, while the closing rocker "Try Love" recalls World Party when they sound like... well, you know who. "Me & My Friend" is a song Kyle Vincent would kill for and "Song Equals House" (a tip and pun to his success writing a hit for the band Mr. Big) would be a hauntingly beautiful song even without the reference. Grahame , with the exception of slide guitar on one track and background vocals on two others) handles all the instrumentation and wrote all the songs (four with co-writers). It might be a low budget production but in name only - _Toy Plane_ has a very full and rich sound throughout. There will be those who make the mistake of dismissing Grahame as just another poser aping The Fab One. To them my answer is this - Paul McCartney hasn't written songs as good as "Steady Thing", "Everyday", "Each First Kiss" and "We're Past All That" (another lyrical gem) since his first solo album. Instead of thinking that he can't be this good just because you haven't heard of him before, relish the fact that you now have the opportunity to get on the bandwagon while it's still parked.. David Grahame and his songs are THAT special. _Toy Plane_ may not be carried in the mom'n'pop near you; but you can order it through the mail for only $11 postpaid. (Send a check or money order payable to DOG TURNER RECORDS, 4219 Kraft Avenue, Studio City, CA 91604; allow 7-10 days for delivery) --- REVIEW: Miles, _The Day I Vanished_ (V2 Import) - Tim Mohr The latest in a string of excellent new German bands, Miles add to their foreign appeal by singing in (un-accented) English. Their style is reminiscent of the poppier moments of the Boo Radleys (i.e. "Find The Answer Within"), Teenage Fanclub, Fountains of Wayne, and Superdrag. The most distinctive element to the music of Miles is the vocal harmonizing--built around fairly high-pitched lead vocals. It is the vocal register that causes the Boo Radleys comparison, though the thick but structured layers of guitar are also somewhat Boo-esque. The lead single, "Pretty Day," offers a perfect example of the Miles sound: intense guitar strumming, a bunch of "oooh"s and "da doo"s, verses about a girl who doesn't understand, an inescapable chorus, a lilting bridge. It is surprising just how much guitar crunch Miles can heap on without upsetting the gentle pop effect of the sunny vocals. In that respect, Miles can bring vintage Ride to mind. Elsewhere, Miles add organs and a few other instruments, though the concentration remains guitars and vocal harmonies. The prominent guitars, coupled with the Brian Wilson-esque vocal arrangements, lend _The Day I Vanished_ an American feel, though as with many Scottish bands (Teenage Fanclub, Pearlfishers, Snow Patrol, even the Jesus & Mary Chain), the American atmosphere seems more coincidental than imitative. V2 made Miles their first German signing on the strength of their demos and live shows; Miles also signed on with prestigious Powerline Management, who already have most of the best German indie bands (Stereo Total, Tocotronic, Die Sterne) under contract. Still, these indirect praises seem unimportant the moment that Miles start to sing: the songs - painted with elaborate vocal colors and textured by gritty guitar tones - are worthy of direct, immediate praise. --- REVIEW: Sylvain Sylvain, _Sleep Baby Doll_ (Fishhead) - Bill Holmes After leaving the New York Dolls, guitarist Sylvain Sylvain released a couple of very good pop records that somehow got lost in the shuffle. When no third record materialized, it was a disappointment but not a big surprise - after all, post-punk pop was finding no welcome mat in the synth-happy 1980s, and even David Johansen had to whore himself out as "Buster Poindexter" just to put food on the table. Imagine my delight when Fishhead Records not only released some of Sylvain's previous songs on one CD (_Sylvain Sylvain.....In Teenage News_), but a brand new collection of twelve songs! Adding to the good news was the announcement that Sylvain was hitting the club circuit again, band in tow. He's still a pop guy with 50's doo-wop roots glowing through his songs. The title track, an ode to his lost bandmates, is reminiscent of Little Anthony and The Imperials, while "Another Heart Needs Mending" mines the same sock-hop vocal territory. But grit abounds too, thanks to a crack band of backup musicians, among them Frankie Infante and Fuzztones Rudy Protrudi and John Carlucci. "Oh Honey" is pure Bo Diddley, and "I'm Your Man" is a finger-poppin' rework that jumps out of the speakers. Although proud of his Dolls roots, reading Sylvain interviews gives a strong clue that a reunion will never happen, mostly due to a fractured relationship with Johansen. Still, Sylvain has no qualms with the great songs they wrote; three are included here, among them a spirited rendition of "Trash" (a song also recently covered by soulmate Gilby Clarke). And only a former Doll could write a "Sleepwalk" style instrumental and call it "Forgotten Panties"! Hopefully this signals the beginning of the second half of Sylvain Sylvain's career. For tour dates and more information, visit the label's website at http://www.fishheadrecords.com . --- TOUR DATES: Better Than Ezra / Bic Runga Dec. 2 Salt Lake City, UT Dv8 Dec. 3 Aspen, CO Double Diamond Dec. 4 Vail, CO Garton's Dec. 5 Colorado Springs, CO Colorado Music Dec. 6 Denver, CO Bluebird Theatre Black Crowes Dec. 1 Seattle, WA Showbox Showroom & Lounge Dec. 2 Portland, OR La Luna Dec. 4 San Francisco, CA Maritime Hall Dec. 5 Santa Cruz, CA The Catalyst Dec. 6 Fresno, CA Rainbow Ballroom Buffalo Tom / Goo Goo Dolls Dec. 1 San Francisco, CA Fillmore Dec. 3 Los Angeles, CA Palace Candlebox Dec. 2 Weymouth, MA Alternate Route Dec. 3 Nashua, NH Sharkey's Dec. 4 Brewer, ME Babe's Dec. 5 Syracuse, NY Club Mirage Dec. 6 Poughkeepsie, NY Chance Chocolate Genius Dec. 6 Washington, DC Lota Cafe Cravin' Melon Dec. 4 Spartanburg, SC Clanceys Dec. 5 Asheville, NC Be Here Now Deftones / Pitchshifter / Quicksand Dec. 1 Chicago, IL Riviera Dec. 2 Minneapolis, MN The Quest Dec. 3 Milwaukee, WI The Rave Dec. 4 St. Louis, MO American Theatre Dec. 5 Kansas City, MO Memorial Hall Dec. 7 Denver, CO Mammoth Events Center Evelyn Forever Dec. 3 New Brunswick, NJ Court Tavern Dec. 5 Philadelphia, PA Helena's Irving Plaza (New York City Concert Hall) Dec. 1 Toasters Dec. 3 Squirrel Nut Zippers Dec. 4 Anthrax Dec. 5 Golden Smog Miles Dec. 1 Hamburg, Germany Molotow Dec. 2 Kiel, Germany Tanzdiele Motley Crue Dec. 1 Austin, TX Music Hall Dec. 2 Dallas, TX Bronco Bowl Dec. 4 Little Rock, AR Robinson Auditorium Dec. 5 New Orleans, LA Saenger Theatre Dec. 6 Houston, TX Aerial Theatre Offspring Dec. 4 Detroit, MI St. Andrews Dec. 7 Worcester, MA Palladium Tricky / Whale Dec. 2 Vancouver, BC The Rage Dec. 3 Seattle, WA DV8 Dec. 5 Santa Cruz, CA Palookaville Dec. 6 San Francisco, CA The Fillmore --- 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 (Delphi) Music Fandom forum; GO ENT MUSIC To subscribe to Consumable, send an e-mail message to consumable-request@westnet.com with the body of the message stating "subscribe consumable". To unsubscribe, send a message to the same address stating "unsubscribe consumable". Web access contributed by WestNet Internet Services (westnet.com), serving Westchester County, NY. Address any written correspondence to Bob Gajarsky, Consumable Online, 409 Washington St. #294, Hoboken, New Jersey 07030 ===