== 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.
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===
