== 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 
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===
