== ISSUE 186 ==== CONSUMABLE ONLINE ======== [September 8, 1999] Editor: Bob Gajarsky E-mail: editor@consumableonline.com Managing Editor: Lang Whitaker Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim Kennedy, Al Muzer, Joe Silva Correspondents: Michelle Aguilar, Christina Apeles, Niles J. Baranowski, Mike Bederka, Tracey Bleile, Jason Cahill, Matthew Carlin, Patrick Carmosino, John Davidson, Andrew Duncan, Krisjanis Gale, Chris Hill, Eric Hsu, Franklin Johnson, Steve Kandell, Reto Koradi, Robin Lapid, Wes Long, Karen Mulhern, Linda Scott, Don Share, Scott Slonaker, Kerwin So, Chelsea Spear, Jon Steltenpohl, Michael Van Gorden, Simon West Technical Staff: Chris Candreva, David Landgren, Dave Pirmann Address all comments to staff@consumableonline.com ; subscription information is given at the end of this issue. ================================================================== All articles in Consumable remain (C) copyright their author(s). Permission for re-publication in any form must be obtained from the editor. ================================================================== .------------. | Contents | `------------' REVIEW: Meshell Ndegeocello, _Bitter_ - Jon Steltenpohl REVIEW: G. Love & Special Sauce, _Philadelphonic_ - Matthew Carlin REVIEW: Carl Hancock Rux, _Rux Revue_ - Chris Hill REVIEW: Dwight Twilley, _Tulsa_ - Michael Van Gorden REVIEW: Screamfeeder, _Kitten Licks_ - Kerwin So REVIEW: Bree Sharp, _A Cheap and Evil Girl_ - Linda Scott REVIEW: Cloud Eleven, _Cloud Eleven_ - John Davidson REVIEW: Sunset Valley, _Boyscout Superhero_ - Wes Long REVIEW: Speak No Evil, _Speak No Evil_ - Andrew Duncan REVIEW: Soundtrack, _Universal Soldier The Return_ - Linda Scott REVIEW: Rachael Sage, _Smashing the Serene_ - Jon Steltenpohl REVIEW: Amen, _Sunglow_ - Chris Hill REVIEW: Bigwheel, _Rugby Train_ - Michael Van Gorden NEWS: Cheap Trick, 90s Lyrics Quiz, HBOs Reverb TOUR DATES: Bis, Blinker The Star, Billy Bragg, Church, Girls Vs. Boys, Live, Magnetic Fields, Manic Street Preachers, Men At Work, Alanis Morissette / Tori Amos, Pretty Things, Promise Ring / Euphone, Royal Trux, Splender / Train / Shooter, Sally Taylor, Verve Pipe, Voodoo Glow Skulls, Watsonville Patio, Robbie Williams, Zeke Back Issues of Consumable --- REVIEW: Meshell Ndegeocello, _Bitter_ (Maverick) - Jon Steltenpohl Compromised, abandoned, surrendered, resigned...and bitter. Up until this point, Meshell Ndegeocello's music has had a fair share of pain, hurt and disillusionment in it. Her unorthodox funk and her ability to draw up complex emotions intertwined in a beautiful mixture that seemed too upbeat to cry to, yet too poignant to dance to. On her latest release, _Bitter_, the music is much more fitting to the lyrics. Her trademark bass is quiet and reserved, and Ndegeocello is focused entirely on her lyrical world. _Bitter_ is essentially the perfect title for this album. Too often in the modern world, rage and revenge and posturing are assumed just as quickly as a wrong is committed. But they mask the silent, reflective moments in which there is nothing to do, and no one to lash out at. In a single word -- _Bitter_ -- you encompass a range of emotions, from unrealized desperation to futility. Take this lyric from "Sincerity": "The morning comes he reaches out to feel her warmth / She pulls away/Closes his eyes/He's so ashamed/He's poor in all but truth/But what a fool he is/To wish for wine in her empty kiss." In Ndegeocello's world, "bitter" is a conflicted state of being where one can not move from the spot they simultaneously desire and despise. She paints portraits of relationships that, even when happy, are still filled with loneliness of another kind. It's not that Ndegeocello is focused on negativity or pain. _Bitter_ has many tracks about being in love and joy of it all. Her cover of Hendrix's "May This Be Love," with its metaphor of love as a waterfall, is treated gently and tenderly. In a setting outside of this album, it might even be taken as an unequivocal statement of love. But, on _Bitter_ Ndegeocello is painting a portrait of a relationship. "May This Be Love" is set between the title track and the song of half fulfilled love ("Sincerity"). The title of "May This Be Love" is as much of a question as it is a statement, and as Ndegeocello sings the last lines, it takes on even more uncertainty: "Waterfall don't ever change your ways/Fall with me for a million days / Oh my waterfall." Ndegeocello sings like a woman on the brink of giving up. Even when she sings of love, she comes into the song compromised. "Soothe my broken heart," she sings in "Loyalty." "Your love is my only saving grace," she claims in "Grace." "Satisfy" includes the same emotion: "Grateful at being in love," she sings, "I hold out my hand and touch heaven/Tear out my grieving heart /But you come and fill it with love." Musically, the entire mood of _Bitter_ is subdued compared to the bass-fueled funk you might expect from Ndegeocello. Producer Craig Street's work with the likes of k.d. lang and Cassandra Wilson have prepared him well for Ndegeocello's mood, and in a way, _Bitter_ is for Ndegeocello what _Ingenue_ was for lang. Fans of Wendy & Lisa will note their presence on guitars and keyboards, and the similarity to the duo's self-titled album. The keyboards on "Faithful" are incredible. The rest of the lineup is large and varied, and ranges from avant-garde composer David Torn's "hand-made instruments" to Joe Henry singing a distant, stifled harmony. The music is lush, but in a way, the album is a bit too subdued, a bit too mellow. The resignation in her voice is too entrenched in quiet reflection, and it loses a bit of the edge we've come to expect. If ever an album required a dark, damp day, _Bitter_ is it. Ndegeocello goes out of her way to do this, and _Bitter_ doesn't suffer for it, not too much. Instead, it sets out to be an artistic statement. It is not, in any regard, a collection of singles. _Bitter_ is the antithesis of upbeat, and the only real problem with _Bitter_ is that your natural instinct to reach for an Ndegeocello album as a groove will be severely challenged. As Ndegeocello states, "I see this album as a testament to [those] who refused to be pigeon-holed by genre. It's for Joan Armatrading, Ritchie Havens, Cree Summers, Tom Wilson, Jimi Hendrix, and anyone who refused to just do booty songs." Instead, _Bitter_ is a portrait of the bruised heart. A heart which, despite the bruises and bitterness, still holds out hope for love without pessimism or cynicism. It is a painting in a corner of a gallery. Small, sad, lonely...and yet, ultimately beautiful. --- REVIEW: G. Love & Special Sauce, _Philadelphonic_ (Okeh/550 Music) - Matthew Carlin G. Love and Special Sauce never used to get any props from music critics - which really isn't much of a surprise. Because while silly, funky songs like "Baby's Got Sauce" and "Cold Beverage" do get the chicks' booties shaking on the college circuit, crusty old critics usually don't go in for such whimsy - especially when the blues is invoked. In fact, after those minor hits from G. Love's major label debut, radio programmers and the like have also pretty much forgotten about poor Garrett Dutton, the white rapping blues man from Philadelphia. But not unlike a handful of other hard-working bands who constantly tour (moe., Widespread Panic, Strangefolk, etc.), G. and his crew have achieved a modest level of success completely removed from the world of big light shows, MTV and opening up for big arena acts. Now, for whatever reason, critics are giving G. some of the love he deserves. Multiple scribes have even referenced Beck in their reviews for _Philadelphonic_, which in the great elementary school of music writers is like a gold star from your kindergarten teacher. How anyone would reach such a conclusion about a guy who favors the sounds of jazzy upright basses, vintage drums and smooth vocal harmonies over moog synthesizers certainly defies logic. But I suppose any white guy who likes hip-hop as much as the blues is automatically subject to such comparison. I digress... Even though critics are right in giving G. his due respect, truth be told, G. & company haven't changed their formula since their last, and better, release _Yeah, it's That Easy_. Which doesn't mean _Philadelphonic_ isn't worth a listen, after all G. Love's tunes are always pleasant and, well, tuneful. The grooves are always driving without being overpowering, and G.'s guitar and harmonica playing is always tasteful and sincere. Special Sauce, with Jimi "Jazz" Prescott on bass and Jeffrey "Houseman" Clemens on drums, swing better than any zoot-suit-wearing swing bands on the scene today. Basically, G. Love & Special Sauce provide good time music that defies heady analysis. The swooning girls at their concerts can attest to that. High points on _Philadelphonic_ include the cow-bell-driven go-go beat that pushes the self-explanatory "Rock N' Roll (Shouts Out Back to the Rappers)" beyond a laundry list of rappers G. admires, and the mid-tempo hip-hop of "Friday Night (Hundred Dollar Bill)." G. Love achieves the impossible on "Friday Night" with a Slick Rick imitation that doesn't fail miserably. The real stand-out track is "Do it for Free," which starts with a bossa nova-ish beat that gives way to the trademark vocal harmonies and funky guitar parts G. Love shines best at. The kitchen-sink-inclusive song rolls into what the press kit accurately describes as a "sort of D.C. go-go meets New Orleans second line" groove, which builds to some syncopated guitar and bass lines before winding back into the go-go/second line beat. The entertaining lyrics lay out G. Love's deal pretty concisely as well: "The place is filled with smoke and women/You told me that the music really couldn't be much phatter/I said I got a girlfriend/You said it didn't matter/She started pressing up/And I was getting kind of heated/The pressure's building up/And release is what I needed." To make a long story short, the young lady begs and pleads, G. coyly leaves his response open to interpretation, proclaims his overwhelming love for some (other?) girl and talks some more about love that lasts forever and how good it is. As with all his lyrics and music, despite a certain level of cheesiness, G. Love is so sincere you have to like the guy. Thrilled to put a chicken in the pot by playing music, glad to reveal his influences and content to preach to the comfortable number of converted, G. Love seems to fully enjoy life. It comes through on disc and it's best to not think about it too much. --- REVIEW: Carl Hancock Rux, _Rux Revue_ (Sony 550) - Chris Hill This disc succeeds on so many levels, it should be a required musical companion for anyone who's read Richard Wright's "Native Son" or Ralph Ellison's "Invisible Man." _Rux Revue_ is complex and layered, meriting multiple listens to mine the deep wealth of Carl Hancock Rux's Afro-American perspective. Rux treats words like communion wafers and wine, slipping them around his mouth, savoring the flavor and the experience, transmogrifying them from simple syllables into messages, explanations, revelations, and observations that elevate the listener to a higher plane. Alliteration, rhyme, repetition, allusion, meter -- all tricks of the poetic trade that Rux uses with practiced expertise. With years of oral performances behind him, his voice carries enough cadence that the music could be left off, and the disc would still satisfy. That the music which surrounds his words varies, wandering from soul to hip-hop to Robert Johnson blues, is another reason for awe and immediate purchase. While some prefer poetry to be unaccompanied by words or explanation, knowing details of Rux's life and surroundings add another dimension to the twelve tracks on the album. The Latin-suffused song "Miguel" pulls its subject from the godfather of downtown New York City poetry, Miguel Algarin. "Blue Candy" is Rux's true life account, from his eyes as a four-year old child, when he was a witness to his grandmother's non-violent death, her tongue stained blue with Rux's recently shared candy. The account is strengthened by the naivete in a child's perspective: "Blue men with shiny buttons bang on locked door / Blue men break locked door open.../Grandmother is asleep/...Blue men... poke and push blue grandmother.../Blue men give naked boy a t-shirt and marbles." "No Black Male Show," a song inspired by a controversial Afro-American exhibition at the Whitney Museum several years ago, examines the schism within the black community, where money and success lead some to abandon their heritage for a corporate-designed image manufactured for inoffensive, wide-market appeal. Rux's language varies from street slang to Harvard-educated purity within the track, depending on the point he's trying to make. Rux unflinchingly paints a portrait of his own birth on "Wasted Seed." Conceived on a rooftop by a father he never knew and a mentally-ill mother, Rux turns a spotlight on his situation, looking at himself with sharp examination and without pity. "He begot her/She belost him/They begat me...I am wasted seed." The track begins with "Do you want this baby?" said five times, a different word emphasized with each repetition, driving five different meanings, from carnal to conceptive. "Languid Libretto (I Can't Love You Better)" pairs Rux's rich baritone against sweet female backing vocals. As close to a "traditional" song as _Rux Revue_ possesses, it's got a honest sexiness Barry White would envy. "I'm waiting for you to come to me...I can't love you better...My song, my dance/That's all I've got/So why don't you breathe with me?" Another gem, "Asphalt Yards" trades an uplifting female sung chorus with Rux's words, spoken with alternating machine-gun speed and measured pace. Rux holds up a circle of light on the cover photograph: a beacon of illumination, or a hand held halo. Either or both, it's light well shed on an artist already renowned in his circle and deserving of a much, much wider audience. Check out his site at http://www.carlhancockrux.com for further words. --- REVIEW: Dwight Twilley, _Tulsa_ (Copper) - Michael Van Gorden Dwight Twilley is back! For those in the know, those 4 words would be enough and I could end the review right here. Thank you. But sadly not every one is a Dwight Twilley fan, and in fact many probably have no idea who he is. Just goes to show you that having a Top 40 hit really doesn't buy you much anymore. But this is not a pop history lesson, for if it were, Mr. Twilley and his band of pop cohorts would require a chapter unto themselves. This is a music review, of a new, yes a brand new release by Dwight Twilley. Entitled _Tulsa_, and released on the Copper Records label, based out of Houston, Texas, this CD for most will be a welcome addition to their collection. Since 1986, we have not been privy to any new music from this pop genius, other than 2 new songs on the _best of XXI collection_, and an album of unreleased songs entitled _The Great Lost Twilley Album_. So how does _Tulsa_ stand up to the rest of Twilley's musical legacy? It stands tall and proud. It is not without flaws, but it is worthy of being heard by more people than his past works. Begun in April of 1998 in his home recording studio, Dwight uses his current stage band to flesh out his new songs. The fact that they have played live before comes through, as the arrangements are tight and to the point, with not a lot of filler or wasted space. Even a song such as "A little Less Love," with its borderline sappy, but sadly true sentiment, sticks with you because of the well written lyrics, strong melody and Dwight's trademark counterpoint vocals. In fact, it is those vocals that make Dwight stand out from the pop crowd. Also noteworthy on "A Little Less Love" is the reunion of Dwight and former DTB guitarist Bill Pitcock IV, whose fretwork adds a nice pop crunch to the seven songs he appears on. On the other four songs guitar duty is split between Oklahoma studio veterans Tom Hanford, Terry Cooper and Pat Savage. Songs like "It's Hard to be a Rebel (No World)" and "Baby's Got The Blues Again" hearken back to the days of _Sincerely_, while other numbers such as "Miranda," "Beauty Dirt" and "Baby Girl" mine the same vein of "Girls" and his later period material such as _Scubadiver_ and _Jungle_. And don't miss the title track "Tulsa." Simply put, a lovely tribute to his home town. It is nice to see someone like Dwight, who has been pretty quiet for far too long, come back and put out some of his strongest material ever. It is nice to see a legend return who has not lost it, but seems to have more of it then before. He is still able to take his influences and create something new, something unique, something Dwight. I say it again, Dwight Twilley is back! Let's treat him better this time around and maybe it won't take so long between records next time. --- REVIEW: Screamfeeder, _Kitten Licks_ (Time Bomb) - Kerwin So Brisbane, Australia's power trio Screamfeeder has been around since 1991, and its latest album (and American debut) _Kitten Licks_ continues the bold tradition of near seamless power-pop innovated by the likes of Pixies and Sugar. Indeed, with bassist Kellie Lloyd stepping up to unprecedented prominence this time around, Screamfeeder recalls the greatness that was the Pixies more than ever. _Kitten Licks_ blasts off with "Static's" relentless sixteenth-note snare shots signalling lead singer Tim Steward's intent to broadcast his energy worldwide, and that he does. "Bridge Over Nothing" rides a careening wall of noise into the album's pure winner by a long-shot, the infinitely catchy "Dart." Here's where the introduction of boy-girl vocal interplay works beautifully for Screamfeeder, in which a children's playground chant is twisted into a sing-song dissection of an adult relationship. However, the album peaks here a bit too soon, and while the rest of the record valiantly explores territories both old and new, it never quite equals the thrill of "Dart". There's some instrumental piano filler and an awkward saxophone solo ending to go along with the snarling yet sunny rock that the band has mastered since its inception, plus of course more vocal efforts by the lovely Ms. Lloyd. Overall, while this CD may not offer track after track of instant hits, nor match the pure anguish of 1994's _Burn Out Your Name_, its sheer catchiness and playability should by all rights open Americans' ears to a treasure that Australians have known about for years. --- REVIEW: Bree Sharp, _A Cheap and Evil Girl_ (Trauma) - Linda Scott Bree Sharp has a whole album full of songs here, but the song people are talking about is "David Duchovny." A huge fan of the _X-Files_ star, Sharp wrote about what it's like to be fascinated with a celebrity and to want to meet them, know them, be them. "David Duchovny" is one of those funny songs with a bouncy melody and lyrics that play over and over in your head. The single is receiving some big radio air play now, and the question is "David Duchovny/Why Don't You Love Me?" Pop songs like "David Duchovny" can be the beginning and sometimes also the end of careers. Labels and the public expect clever, funny songs the next time out. Sharp is a pop/folk/soft rock artist; and if she can just get us to listen to the other nine songs on _A Cheap And Evil Girl_ and get some airplay for these, she may be on to something. Bree Sharp writes story-telling songs, and the good ones here can pull you in, make you think, and make it worthwhile buying the album -- not just the Duchovny single. "Faster Faster" is a good one about a beautiful but evil motorcycle queen. Another is the title track, "Cheap and Evil Girl," which is a dark one, too. It paints a mind picture like the garish drugstore paperbacks have. On some songs Sharp comes on like Alanis Morisette, but she doesn't yet have Alanis' intensity and power. Love songs suffer most from this, although Sharp works hard with her acoustic guitar to create the right mood. Just frankness and experience seem to be missing on this debut album. Her voice is strong and clear and easy to listen to. Production worked hard not to bury her under the electric guitars that come in from time to time. Even songs like "Smitten," that have a full electric band, still allow the smooth vocals and interesting lyrics to be clearly heard. With imagination and inspiration to spare, Bree Sharp could be around for a long time. Her vocals are very good, as are the lyrics, and with a firm control on production, she will be able to produce albums that move to the light rock and pop groups. "David Duchovny" will either be the attraction that draws interest to the album, or it may be a single that is too strong. But as a newcomer, Bree Sharp is happy to have her first big single. Extensive touring is planned that should have audiences talking a lot about the rest of _A Cheap And Evil Girl_. --- REVIEW: Cloud Eleven, _Cloud Eleven_ (Del-Fi 2000) - John Davidson When you see the Del-Fi label, you can't help but be impressed. After all, this legendary indie was a start for many famous acts, from Barry White to Richie Valens to Frank Zappa. Right out of the chute, Cloud Eleven seems pretty lucky to be the first band to get a shot on the future-thinking Del-Fi offspring, DF2000 (dee-eff-two-kay!). Then again, with that rich history comes high expectations, and that's probably where this eponymous album falls short the most. Cloud Eleven is pretty much the mind and talent of pop lover Rick Gallego. Like Jason Faulkner, the guy has an uncanny ability to play all the instruments (except the drums) and make it sound like a pretty tight band. The great lead-off, "Tokyo Aquarium," is a happy romp through the land of _Dear 23_-era Posies, and his lush, layered harmonies strongly recall Teenage Fanclub on songs like "Take Control," "Superfine" and others. He's an experienced musician, and he seems happy chasing the ghosts of the usual suspects, whether it's the early Bee Gees, the Beach Boys, or Big Star. He even goes the Freedy Johnston route on the brooding "Didn't Want To Have To Do It." However, the album is so friendly that you may wonder what you're missing. There aren't many jagged edges in his songwriting, only dreamy exploration of relationships and easygoing melodies. Let's face it -- lyrics like "Don't make it hard/see yourself another way/you might reveal/something deep in quiet truth" (from "Show Me") aren't too bad, but they're not too challenging either. You get the feeling that Gallego poured his heart into the album, but it's hard to see his soul when you're so distracted by the beautiful sheen. In other words, for an album filled to the rim with hummable, catchy tunes, there's just not much wit about it. Plenty of sugar, but not much spice. Still, the album isn't a case of overblown ambition. It doesn't try to expand the limits of pop music. It's not obsessed with sounding different or unapproachable. It doesn't have weird moments of "art" that leave you wondering who left the tape on while the "artist" was jacking around with looping knob. Leave that to whatever Elephant 6 band has the impulse. Instead, while not groundbreaking, Cloud Eleven has a pretty convincing album that reflects a love for '60s AM and modern indie pop. As a stepping stone for the future of Del-Fi, that's not such a bad place to begin. --- REVIEW: Sunset Valley, _Boyscout Superhero_ (Sugar Free) - Wes Long Picture Steve McQueen and Arthur Fonzarelli cruising Santa Monica Boulevard in a sweet assed midnight blue mid 70's convertible muscle car with music amalgamating the hurricane swagger of The Pixies and the goofy sensibilities of early 80's proto punk pop pumping out from behind the grills of its speakers. The perfect soundtrack to the scene, ballsy tunes befitting slicker than thou McQueen and campy songs for the ultra goofy cool Fonzie. Sunset Valley's _Boyscout Superhero_ is that soundtrack. There aren't many artists that can send you a flowergram of a song like "Fairy Theory": "Your sunset smile is flawless / a tooth reflection galaxy / a croquet matchbox miracle / you tiptoe through mint juleps", then suddenly switch masks and crank out murky testosterone laden pop of the highest order. Herman Jolly, Sunset Valley's brains and voicebox, can and does on the Oregon band's sophomore effort. "I Got Fair" and "Megapills" are megacool, vibrating with the same electricity that powered The Breeders "Cannonball", with heavily geeked out "Stay Hungry" era David Byrne-ish vocals and tilt-a-whirl happy grooves that will greedily bore themselves a nest in your head. It's on songs like "Tornado", "Jackass Crusher" and "Solid Goldmine" (which smacks of a bravado laden Devo fed on a steady diet of steroids and Jawbox) that Sunset Valley really hit their collective stride. Good thing music isn't capable of dishing out deep bone bruises 'cause these tunes would put a man sized hurtin' on ya. Sadly, we'd have to be able to suspend reality to create my ultra gear surreal landscape. Steve McQueen is dead and the Fonz has morphed into a middle aged and miles from cool Henry Winkler. The car and the tunes can be done though. If I were you, I'd start with the tunes. Sunset Valley's Boyscout Superhero won't change your life, but it's likely to remind you why you fell in love with music in the first place. A 35 minute 31 second crash course in cool. --- REVIEW: Speak No Evil, _Speak No Evil_ (Universal) - Andrew Duncan Speak No Evil is the tale of a traditional hard-rock drama. Greg Weiss, Miami native and bassist, was tired of doing session work and playing cover gigs night after night. He did what any struggling musician would do - he packed his bags and left town. He went where every hard rocker dreams of going - Los Angeles, home of long hair and leather pants. Determined to find fame, he convinced his hometown buddy Lee Rios, guitarist, to take the advice that Robert Plant sang while in Led Zeppelin, and Rios joined Weiss in California. Soon he recruited lead vocalist Curtis Skelton, drummer Chris Frazier and guitarist Danny Gill to join the brigade. So the story went, the group went forth and rocked hard. For four years, they rocked the L.A. night clubs, and eventually released a self-titled debut CD. _Speak No Evil_ follows the Chris Cornell/Layne Staley paradigm with part sludge-rock, and part thick-and-juicy-rhythm-groove rock. Skelton, who grew up in Southeast Texas, sings like he lives in the Pacific Northwest. Like most groove-metal of today, the album is darkly written with down-tuned thundering rhythms. In some cases, the band only opens a jar of flies, with songs like "Small Words" and "All Is Well" showing off their acoustic and percussive abilities. The other nine songs are electrified, commonly utilizing lower-end chord structures to give the songs weight. The band is good at what they do while rocking out with the best of them. However, with a lack of innovative structure, the band could easily blend in with the world of alternative-rock radio-ites. --- REVIEW: Soundtrack, _Universal Soldier The Return_ (Trauma) - Linda Scott Quick summary: if you like soundtracks featuring metal and aggro, this album's for you. Not for the faint of heart; but, then, neither is the movie. _Universal Soldier: The Return_ is a Jean-Claude Van Damme sequel to _Universal Soldier_. Van Damme seems to release one bomb after another, but if you can ignore the ridiculous plot and bad acting, you'll see a better than average, explosive action movie with battles and gory deaths aplenty. The soundtrack reflects the movie well. It's really heavy rock, sometimes techno, sometimes thrash, but always aggro, in your face, pounding tracks. The album's highpoint is clearly the Megadeth contribution on the first track. "Crush 'Em" is the first single and first music video off the soundtrack. Megadeth's lead singer Dave Mustaine says he wanted to write a song for sports that pumps up the audience and the teams. He calls "Crush 'Em" a "bone crushing kick...or a body...slam to the mat." It fits the Van Damme movie like a fist in the eye. Another good one is the new version of Ozzy Osbourne's "Crazy Times" which is covered by the Flys. This recording and two others on the soundtrack are not in the film. Thrash metalists Anthrax put up a remix of "Fueled" which was previously available only in Australia. Fear Factory comes through with "Securitron (Police State 2000) a killer song from their new album _Obsolete_. Other notable tracks are GWAR's "Saddam A Go-Go" from _This Toilet Earth_. Long time favorites Ministry surface with "Eureka Pile" to give a touch of techno and heavy rock to the soundtrack. All the tracks here have appeared on other CDs by these artists. So there's nothing new except the movie score. If you like these artists, you probably have every one of these tracks somewhere. Now you can gather them up on one CD which seems to be the main benefit to this soundtrack along with providing a great backdrop for Van Damme and his _Universal Soldier_ escapades. --- REVIEW: Rachael Sage, _Smashing the Serene_ (MPress Records) - Jon Steltenpohl Bob the Editor, who knows my love for Ani DiFranco, says, "Trust me on this disc, you'll see why." So, I wait for the packet on Rachael Sage. When it arrives, the bio is heavy, at well over 20 pages, and the rhetoric contained in it is just as thick. The references to being "discovered" by and touring with Ani DiFranco are sprinkled so liberally as to be the major theme, and the emphasis that Sage is doing this without a major label is heavy. The part about her being a woman pop artist is kind of in the background. In reality, Rachael Sage needs only to convince you to put _Smashing the Serene_ in the player so that you might enjoy the beautiful music inside. "Sistersong" launches the album with a peppy acoustic guitar and Sage's sweet, whispered voice. By the end, you have Sage's simple piano complementing the band's lone violin, sparse percussion and fretless bass, and it matures into a nice little song. There's no real burning stress, no brilliant points to make. In fact, there's really nothing much there other than a simple song about being a sister. Which is, quite frankly, refreshing for a change. Here's an artist whose angle is to be nice and positive. Not everything is rosy in Rachael Sage's world, but the final assessment is never that everything is doomed or broken. Take "Alive Before You." Sure, it's a song about breaking up. "I'm cold since you have left me," sings Sage, but by the end of the song, she is building herself back up again. No ball busting, no ethical statements, no childhood traumas. Just simple songs about friendships and relationships with a little hope thrown in for good measure. The piano is Sage's instrument of choice, and, it leads to a quick comparison to Tori Amos. The hints of classical music influence and Sage's impassioned vocals add to the similarity. The songs have a plucky beat, and she uses her voice in arpeggio trails. But, unlike Amos, Sage doesn't seem hell bent on being the singer/songwriter version of Led Zeppelin. The rebellion and redemption of Amos don't figure into the equation that makes _Smashing the Serene_ so compelling. "Bruises Without Blue" and "Conversation" are probably the closest to emulating some of Amos' sneer. Instead of aiming at and dwelling on defiant condemnation, Sage uses the songs to triumph over her problems and move beyond. By the end, she is boldly charging into the new dawn with jaw set and shoulder forward. On "Conversation," Sage sings, "I'm as high as any mountain / But so weak when you attack / and I'd love to know your anger / If it'd keep you coming back." It's a tone much different from Amos' bold and unrelenting pen, and it is an alternative of refreshing honesty. At other times, Sage is a bit like Dar Williams. Vocally, she shares Williams' slight childlike quality to her voice. The earnestness bursts impetuously from the corners and, like William's, sometimes get the best of her. But, where Williams succeeds by her honest lyrics and intimate sound, Sage excels with flowing melodies and musical pageantry. Other similarities are shared with Kate Bush, Natalie Merchant, and even newcomer Natalie Imbruglia. The standout song of the album, "Crack of Dawn," seems to share a little with every impressive female vocalist since Carole King. "Uplifting" can be a damaging descriptor when used in conjunction with names like Yanni or Tesh, but Sage manages to genuinely impress hope through her songs without any traces of a pretentious nature. The music on _Smashing the Serene_ can be as lyrical and moving as purely instrumental works. Sage and her band have created arrangements that dip and dart in and out of each other. They rise and swell with purpose, and you're more likely to find yourself moving to the melody than singing along with the lyrics. On "My Eliza," the interplay of piano, violin, and melodica is simply incredible. It's a crowded place for incredible singer/songwriters these days, and "female singer who plays piano" is already a cliche. Fortunately, Rachael Sage doesn't come across as a wannabe or a straggler. At worst, she might be called a student of those who came before. _Smashing the Serene_ may be an independent release by design, but it certainly doesn't suffer in any regard because of it. It is every bit as complex and moving as anything Tori Amos has released, and there are many major label releases which don't even come close. If you enjoy immersing yourself in passionate albums, Rachael Sage's _Smashing the Serene_ is exactly what you need. For more information on Rachael, visit http://www.humbucker.com/rachael/smashing.html --- REVIEW: Amen, _Sunglow_ (Primal Music) - Chris Hill Amen's U.S. debut, _Sunglow_, culls tracks from their two European releases, _Silver_ & _Lakefront_, to form an eleven song compilation, filled with languid vocals, trip-hop and industrial rhythms, and a refreshing joie de vivre. Johan Israelson and Carl-Michael Herlofsson write their songs with lazy focus, meshing samples, rock guitars, ambling beats, and percussive thunder into a heady mixture, no doubt fueled by Johan's "intense love of smoking pot" (according to the press release). "Bonzo," a 2:28 instrumental of sampled laughter and cavorting synthesizers, proves that isn't an idle claim, and if substances help in their creative process, more power to them. As with the similarly substance-fueled _Screamadelica_ by Primal Scream, there's a indolent lack of urgency to both the music and the vocals. "Half Way Inn," with Caméla Leierth on backing vox, exemplifies this amiable bliss. Acoustic guitar, scratching and sampled chimes play against the ecstatic lyrics: "Come/I just want to feel/Feel the spirit of the Half Way Inn." _Sunglow_ inspires a sense of déjà vu at times. "Please" combines a Nine Inch Nails synth riff with singing that fades in and out of easy intelligibility. "Totally high/totally free/totally drugged/totally me / totally wrong/totally right/totally strong," comes through loud and clear, though fortunately the repetition works for emphasis, instead of annoyance. "Pain Day," another tune reminiscent of early NIN, begins with a subterranean bass bubbling under the surface of a snare-driven beat, leading to a choppy, dark guitar and a punchy, memorable chorus. In fact, most of _Sunglow_'s choruses set their hooks on first listen: a trademark of good pop music. "Dryer" uses the nonsensical yet effective "dryer/dryer/dryer/against my skin" for a chorus, after starting with notable synthesized sirens that switch from alarm to air raid. "We will shine/casual love/we will shine and rise above" simply and ably anchors "Casual Love." "Justify" sees Johan's voice rising to a falsetto for the chorus, jibing well against the deeper-voiced verses. "Vacuum," a personal fave, builds inevitably and cinematically to its own pulsating chorus. Catchy and agreeable, _Sunglow_ makes one of the best roadtrip CDs I've heard this year: music which makes the miles fly by unnoticed. For more band info, go to http://www.primal.se/ . --- REVIEW: Bigwheel, _Rugby Train_ (Sandbox) - Michael Van Gorden I am what you would call a first cut junkie. When I put on a new CD, I always want the first cut to grab me, shake me or move me. If it does, I usually enjoy the rest of the CD. When the first cut doesn't grab me, well...that's what used CD stores are for. Listening to Bigwheel's second and latest CD, I did not have that problem. With a sound that would be welcome in any pop fan's house, hearing _Rugby Train_ was a pleasure. The CD takes off with a pure pop song called "Plaintive Ballad of the 90's." Think Shoes, think Fountains of Wayne, think Big Star, think fun, think tight harmonies, windows down, wind in your hair. "Veins of the Machine" continues that airy, power pop feel that flows through better pop records. With a wide range of topics and styles, Bigwheel keeps on turning (sorry) out the pop hooks for your enjoyment. Take for example "Silicon valley Girl," the first angst-filled love song of the cyber age that I know of. "I saw your picture on the Internet/that's as close as I'm ever gonna get/you're just some electrons on my screen" opens this digital love song sounding a little like the intro to the Buggles' "Video Killed the Radio Star." And when he sings "Now I'm trapped in your web/you're in my site," the tongue-in-cheek humor sounds like vintage Elvis Costello, right down to the vocals. Singer Scott Rhoades sounds like Elvis at various times throughout this hook filled CD. Most notably the ska-flavored "The Man," the bouncing "Strange" and the Beach Boys-meet-Elvis Costello CD closer "Graven Image." "Gravedigger," a song about a jaded lover who needed someone to dig deep to unearth his feelings, has a rolling carnival feel to it, very similar to the Beatles' "For the Benefit of Mr. Kite." While "1967," a funny nostalgic look at a lost love who "moved away from love street, now she lives on Haight" will have you trying to pick out the lyrical and musical reference points. Bigwheel's pop credentials are solidified by their guest appearances. Chris Von Snierdon produces, plays guitar and sings backup, while Donn Spindt of the Rubinoos and Vox Pop helps out keeping time. The CD is available now from Not Lame records, as well as from their website http://www.thebigwheel.com --- NEWS: > Cheap Trick was recently joined by Billy Corgan, Slash and Everclear's Art Alexakis at their 25th Anniversary show in Rockford, Illinois. Corgan appeared on "Just Got Back", Slash on "You Are All Talk" and Alexakis on "Day Tripper". The show's finale was a send-up version of Bun E. Carlos' composition "Who Da King," the only Cheap Trick song on which he sings lead, accompanied by Illinois' 36-piece Phantom Regiments drum corps. > While the 1980s lyrics quiz has been making the rounds on the Internet, Consumable Online's own Scott Slonaker has written his own 1990s lyrics quiz. This can be found at: http://www.consumableonline.com/1999/1990s.html and can be freely distributed. > HBO's weekly music series, Reverb, returns for its third season on September 21 at 11:30 p.m.-12:30 a.m. EST, followed by other shows on subsequent Tuesdays at the same time. The lineup for this season includes live performances from Beck, Everlast, Hole, Kid Rock, Alanis Morissette and Sugar Ray. --- TOUR DATES: Bis Sep. 8 San Francisco, CA Great American Music Hall Sep. 9 Los Angeles, CA Roxy Sep. 10 Pomona, CA Glass House Sep. 11 San Diego, CA Casbah Sep. 14 Denver, CO Bluebird Sep. 16 Minneapolis, MN 7th St. Entry Sep. 17 Chicago, IL Metro Sep. 18 New York, NY Bowery Ballroom Blinker The Star Sep. 8 Milwaukee, WI The Rave Sep. 11 St Louis, MO Side Door Sep. 12 Grand Rapids, MI Subculture Sep. 16 New York, NY Westbeth Sep. 17 Boston, MA TT Bears Sep. 18 Washington, DC The Garage Sep. 19 Philadelphia, PA Pontiac Grille Billy Bragg Sep. 9 Minneapolis, MN First Avenue. Sep. 10 Grinnell, IA Harris Center, Grinnell College Sep. 11 St Louis, MO Mississippi Nights Sep. 15 Washington, DC 9.30 Club Sep. 17 Philadelphia, PA Trocadero Sep. 18 New York, NY Town Hall Church Sep. 14 Santa Barbara, CA Coach House Sep. 15 Los Angeles, CA House of Blues Sep. 16 Belly Up Tavern, Solana Beach, CA Sep. 17 West Hollywood, CA House of Blues Sep. 18 San Juan Capistrano, CA Coach House Sep. 19 San Francisco, CA Slim's Girls Vs. Boys Sep. 8 Madrid, SPAIN El Sol Sep. 9 Valencia, SPAIN Roxy Club Sep. 11 Barcelona, SPAIN Garage Club Live Sep. 18 Atlanta, GA Big Day Out Magnetic Fields Sep. 9-10 New York, NY Knitting Factory Sep. 15 Toronto, ON Lee's Palace Sep. 16 Detroit, MI Magic Stick Sep. 17 Chicago, IL Double Door Sep. 18 Oberlin, OH The Dionysus Manic Street Preachers Sep. 13-14 New York, NY Bowery Ballroom Sep. 17 Detroit, MI St. Andrews Hall Sep. 18 Chicago, IL Metro Men At Work Sep. 8 Des Moines, IA Main Event Sep. 9 Springfield, MO Juke Joint Sep. 10 Chicago, IL House of Blues Sep. 11 Columbus, OH Mekka Sep. 12 Dayton, OH WXEG Festival Sep. 16 Austin, TX Paradox Sep. 19 Dallas, TX Caravan of Dreams Alanis Morissette / Tori Amos Sep. 7 Toronto, ONT Molson Amphitheater Sep. 10 Pittsburgh, PA Starlake Amphitheater Sep. 11 Chicago, IL World Amphitheater Sep. 12 Detroit, MI Pine Knob Amphitheater Sep. 14 Cincinnati, OH Riverbend Amphitheater Sep. 15 Milwaukee, WI Marcus Amphitheater Sep. 16 Minneapolis, MN Target Center Sep. 19 Concord, CA Pavilion Sep. 20 Bakersfield, CA Centennial Gardens Pietasters Sep. 7 Lisbon, PORTUGAL Lisbon Praca Sony Pretty Things Sep. 9 Englewood, CO The Gothic Sep. 11 Minneapolis, MN 400 Bar Sep. 12 Chicago, IL House of Blues Sep. 14 Ferndale, MI Magic Bag Sep. 15 Cleveland, OH The Grog Shop Sep. 17 Hoboken, NJ Maxwell's Sep. 18 Springfield, VA Jaxx Sep. 19 New York, NY Bowery Ballroom Promise Ring / Euphone Sep. 14 Toronto, ONT Reverb Lounge Sep. 15 Ottawa, ON Molly Mc Guires Sep. 19 Lancaster, PA Chameleon Sep. 20 Columbus, OH Bernies Royal Trux Sep. 11 Cambridge, MA Middle East Sep. 12 Quebec City, QC Bar Spectacie D'auteuil Sep. 13 Montreal, QC Jailhouse Rock Cafe Sep. 14 London, ON Call The Office Sep. 15 Toronto, ON El Mocambo Sep. 16 Detroit, MI Gold Dollar Sep. 17 Chicago, IL Empty Bottle Sep. 18 Minneapolis, MN 7th St. Entry Sep. 19 Iowa City, IA Gabe's Oasis Sep. 20 Lawrence, KS Replay Lounge Splender / Train / Shooter Sep. 15 New York, NY Irving Plaza Sep. 16 Miami Beach, FL Warsaw Ballroom Sep. 19 Phoenix, AZ Alice Cooper's Town Sally Taylor Sep. 8 Burlington, VT The Metronome Sep. 9 Cambridge, MA House of Blues Sep. 10 New York, NY Mercury Sep. 11 Providence, RI Hot Club Festival Sep. 12 Philadelphia, PA Painted Bride Art Center Sep. 13 Media, PA Walden School Sep. 15 Washington, DC Metro Sep. 16 Richmond, VA J.M. Sep. 17 Charlotte, NC The Great Aunt Stella Center Sep. 18 Atlanta, GA Cotton Club Sep. 19 Nashville, TN 3rd and Lindsey Verve Pipe Sep. 11 Chicago, IL City Festival Sep. 12 Dayton, OH UD Arena Sep. 18 Atlanta, GA Lakewood Amphitheater Sep. 19 Charlotte, NC Blockbuster Pavillion Sep. 24 Hartford, CT The Meadows Voodoo Glow Skulls Sep. 15 Seattle, WA RKCNDY Watsonville Patio Sep. 15 Santa Monica, CA Borders Sep. 18 Fort Spokane WA Fort Spokane Brewery Sep. 20 Moscow, ID John's Alley Robbie Williams Sep. 9 Offenbach Stadhalle Sep. 10 Hamburg Cch3 Sep. 12 Tilburg D13 Sep. 13 Paris Zenith Sep. 15 Berlin Columbiahalle Zeke Sep. 14 Boston, MA The Paradise Sep. 15 Philadelphia, PA Upstairs At Nick's Sep. 16 Philadelphia, PA Pontiac Grille Sep. 17 Pittsburgh, PA City Limits Sep. 18 New York, NY Life Sep. 19 Brooklyn, NY L'amour Sep. 20 Carrboro, NC Cat's Cradle --- 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 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. PMB 294, Hoboken, New Jersey 07030 ===