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Consumable Online Issue 215
== 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
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