== ISSUE 163 ====  CONSUMABLE ONLINE  ======== [November 27, 1998]

  Editor:             Bob Gajarsky
                         E-mail: editor@consumableonline.com
  Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim 
                      Kennedy, Reto Koradi, David Landgren, Tim 
                      Mohr, Al Muzer, Joe Silva, Lang Whitaker 
  Correspondents:     Christina Apeles, Niles J. Baranowski, Tracey 
                      Bleile, Lee Graham Bridges, Jason Cahill, Patrick 
                      Carmosino, Krisjanis Gale, Emma Green, Paul Hanson, 
                      Chris Hill, Eric Hsu, Tim Hulsizer, Franklin 
                      Johnson, Steve Kandell, Robin Lapid, Linda Scott, 
                      Scott Slonaker, Kerwin So, Chelsea Spear, Simon 
                      Speichert, Jon Steltenpohl, Simon West
  Technical Staff:    Chris Candreva, Dave Pirmann

 Address all comments to staff@consumableonline.com ; subscription 
information is given at the end of this issue. 
==================================================================
	All articles in Consumable remain (C) copyright their author(s). 
Permission for re-publication in any form must be obtained from the 
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                            .------------.
                            |  Contents  |
                            `------------'
REVIEW: Various, _The Look of Love - The Burt Bacharach Collection_ - 
   Daniel Aloi / Various, _One Amazing Night_ - Bob Gajarsky
REVIEW: George Michael, _Ladies & Gentlemen The Best Of George 
   Michael_ / Duran Duran, _Greatest_ - Bob Gajarsky
REVIEW: Unbelievable Truth, _Almost Here_ - Tim Mohr
REVIEW: Paul Weller, _Modern Classics_ - Bob Gajarsky
REVIEW: You Am I, _#4 Record_ - Chris Hill
REVIEW: Walt Mink, _Goodnite_ - Kerwin So
REVIEW: Meat Loaf, _The Very Best Of Meat Loaf_ - Bob Gajarsky
REVIEW: Cake, _Prolonging the Magic_ - Christina Apeles
REVIEW: Goodness, _Anthem_ - Chris Hill
MINI REVIEWS: Adamski, Goat, Loose Nuts, Swirl 360 - Bob Gajarsky / 
   Franklin Johnson
REVIEW: The Andersons!, _Separated at Birth_ - Daniel Aloi
REVIEW: David Grahame, _Toy Plane_ - Bill Holmes
REVIEW: Miles, _The Day I Vanished_ - Tim Mohr
REVIEW: Sylvain Sylvain, _Sleep Baby Doll_ - Bill Holmes
TOUR DATES: Better Than Ezra / Bic Runga, Black Crowes, Buffalo 
   Tom / Goo Goo Dolls, Candlebox, Chocolate Genius, Cravin' Melon, 
   Deftones / Pitchshifter / Quicksand, Evelyn Forever, Irving Plaza, 
   Miles, Motley Crue, Offspring, Tricky / Whale
Back Issues of Consumable
---
	REVIEW: Various, _The Look of Love - The Burt Bacharach 
		Collection_ (Rhino)
		- Daniel Aloi
	Pop melody-writer Burt Bacharach provided most of the songs 
an entire generation fell in and out of love to in the '60s and early 
'70s. Even without his recent return to the spotlight (a cameo in 
"Austin Powers," a tribute album by '90s pop acts, and a landmark 
collaboration with Elvis Costello), a definitive Rhino anthology was 
inevitable. And here it is.
	This meticulously assembled three-CD box set essays Bacharach's 
career with due respect, with 75 tracks spanning 40 years, in 
chronological order. There are too many hits to even mention in this 
review. The set begins with "The Story of My Life," a No. 1 country hit 
for Marty Robbins in 1957 (and Bacharach's first work with lyricist 
Hal David) and ends with the 1996 soundtrack commission with Costello, 
"God Give Me Strength" -- written via intercontinental phone lines, 
fax and answering-machine.
	In between, there's a lot of passion and heartbreak that did 
quite well on the pop charts, particularly from 1962 to 1973. (Maybe 
his marriage to Angie Dickinson kept his muse going.)  Everything you 
associate the  Bacharach sound with is here -- from the deliberately 
paced "Baby, It's You" by The Shirelles to the 5th Dimension's "One 
Less Bell to Answer," and the incredible run of hits by Dionne 
Warwick -- "Do You Know the Way to San Jose," "Anyone Who Had a 
Heart," and on and on. Discovered by the composer among a group of 
session backup singers, she became the voice most closely associated 
with his music, realizing all of its emotional power and technical 
complexity to resounding chart success.
	Bacharach was an innovative composer in tune with the human 
heart. His stop-start melodies, sudden chord changes and odd time 
signatures perfectly captured the feeling of a heart jumping and 
skipping a beat when in love, and the heaving sobs from a shattered 
romance. It's no wonder his songs were so successful. Hal (and brother 
Mack) David's lyrical contributions can't be discounted, but 
Bacharach's music gave the songs their real emotional power. Among 
such non-Warwick masterpieces as Herb Alpert's "Casino Royale" and 
"This Guy's In Love With You," Dusty Springfield's "Wishin' and Hopin'" 
and Gene Pitney's "Twenty Four Hours From Tulsa," there were many 
misses, certainly to be expected from songwriters for hire like 
Bacharach and David. A pre-Dawn Tony Orlando overemotes on "To Wait 
For Love," actor Richard Chamberlain struggles with "Blue Guitar" 
(sadly, matinee idols continued to be foisted on the listening public 
as "singers" well into the '80s -- where's the Jonathan Taylor Thomas 
album, hmmm?) and the almost parodic fake beat combo The Five Blobs 
wigs out on the 1958 sci-fi horror film theme "The Blob."
	Bacharach's last great work before his association with 
Costello was "You'll Never Get to Heaven (If You Break My Heart)" 
for The Stylistics, a group suggested by Warwick. After that, 
Disc 4 covers his songwriting partnership (and romance) with Carole 
Bayer Sager and their three less-than-great '80s MOR hits -- 
"Arthur's Theme (Best That You Can Do)" for Christopher Cross, 
"On My Own" for Patti LaBelle & Michael McDonald, and the superstar 
sap of "That's What Friends Are For." It wasn't just Carole's 
fault -- the melodies are far from the level of his earlier 
successes. You can almost see the light of redemption shining on 
Burt on the closing "God Give Me Strength."
	Among the many rarely-heard gems here is Warwick's "Paper 
(sic) Mache'" and Burt's own "Pacific Coast Highway," a nicely 
quirky top-down instrumental, quintessentially California-sounding.
	Among the Warwick and Springfield singles, which seem to be 
embedded in the collective American and British consciousness, there 
are soundtrack hits like "Alfie," well-known cuts by Jackie DeShannon, 
Tom Jones, B.J. Thomas and the Carpenters, and lesser-known songs by 
Manfred Mann and Rick Nelson. In an effort to stay faithful to the 
composer's vision, Rhino A&R Director Patrick Milligan's mission 
was "trying whenever possible to feature the version that Burt was 
most associated with in a producer-and-arranger role, because his 
compositions are totally unique and the complexities of his 
arrangements are sublime."
	That said, there's still something missing here. Opening up 
the retrospective to more seminal early versions and contemporary 
covers on a fourth disc would have shown Bacharach's relevance to 
artists of the '80s and '90s. Why not provide the alternate history, 
the one beyond the charts, to underscore the man's influence? Dusty 
Springfield's 1963 version of "I Just Don't Know What to Do With 
Myself," multitracked for full, Phil-Spectorish emotional effect, 
was a bigger hit than Tommy Hunt's (included here), and certainly 
influenced Costello's 1977 live performances of the song. (Not to 
mention Cameron Diaz's.)
	Costello and Nick Lowe dueted on a lovely "Baby, It's You" 
on a 1986 B-side (and the Rhino book notes that The Beatles, of 
whose cover of that song Bacharach is suitably proud, also made the 
Brill Building sound obsolete).  Susanna Hoffs provided a nicely 
understated "The Look of Love" and the Posies backed Bacharach 
himself on the "Austin Powers" soundtrack. And the Big Deal Records 
tribute _What the World Needs Now,_ released earlier this year, gives 
14 Bacharach songs over to '60s and '70s-influenced underground pop 
acts like Shonen Knife, Splitsville and Michael Shelley -- in cover 
versions both lovingly dedicated and breezily irreverent.
	But "The Look of Love" box set succeeds in capturing an era 
of great songwriting and production. It's as cool and sophisticated 
as its subject. All you need to enhance the experience is a smoking 
jacket, silk pajamas, a martini in hand and a loved one to cuddle up 
with.


	REVIEW: Various, _One Amazing Night_ (N2K)
		- Bob Gajarsky
	New York City's Hammerstein Ballroom was the site 
where performers from the world of pop, country, jazz, and 
country gathered to pay homage to Burt Bacharach.  That 
April 8 performance was the basis for the TNT television 
special _One Amazing Night_ and the disc by the same name 
has been released on N2K Music.
	While the scope of the artists remains diverse, 
they generally stay true to the course of Bacharach's 
original songs.  Thus, All Saints' version of "Always 
Something There To Remind Me" may be more familiar to 
fans of the 60s than Naked Eyes' synth-pop cover; Ben 
Folds Five's alterna-geek music serves as the perfect 
platform for "Raindrops Keep Falling On My Head", 
Chrissie Hynde doesn't sound out of place on the 
girl-group-inspired "Baby It's You / A Message To Michael", 
the Barenaked Ladies give a surprisingly serious rendition 
of "Close To You", and Elvis Costello - whose most recent 
album _Painted From Memory_ was in collaboration with 
Burt - performs the first single from that album, "God 
Give Me Strength".
	Any Bacharach tribute would be incomplete without 
Dionne Warwick.  Her pre-psychic network days helped 
simultaneously launch her career and the rising star of 
Bacharach/David, so a medley of some of the biggest hits 
("Walk On By" / "Say A Little Prayer" / Do You Know The 
Way To San Jose") fits in wonderfully with the magic of the 
evening.
	Viewers of the home video for _One Amazing Night_ 
will find extra tracks - by Costello, Warwick, and a medley 
of instrumental versions - but CD buyers will be satisfied 
with this meeting of the old with the new.

Acts on One Amazing Night: Sheryl Crow, All Saints, Elvis 
Costello, Mike Myers, Wynonna, Ben Folds Five, Barenaked 
Ladies, Luther Vandross, David Sanborn & George Duke, 
Dionne Warwick, Burt Bacharach
---
	REVIEW: George Michael, _Ladies & Gentlemen The Best 
		Of George Michael_ (Epic) / Duran Duran, 
		_Greatest_ (Capitol)
		- Bob Gajarsky
	George Michael and Duran Duran were two of the main 
visual images of the 1980s.  Posters of them served as the 
object of many teenager's imaginary journey into adulthood, 
and the sex-appeal image was one that both strove to shake 
on their own personal trek towards being musically accepted.
	_Ladies & Gentlemen_ shows the maturation of Michael. 
Where the Wham! days were an ode to Motown's upbeat pop hits, 
his solo career marks a moment to shine the light elsewhere 
(see the video to "Freedom '90") and focus on a different 
introspective, yet soulful, side.  The first disc of the 
set includes 14 ballads ("For the Heart", as the liner notes 
state), some of which have already proven timeless ("Careless 
Whisper", which was released in most of the world as a George 
Michael song, and "Kissing A Fool"), and the latter ("For The 
Feet") includes the 11 minute foreplay-laden version of "I 
Want Your Sex (Pt 2)", the George and the Hand Jive sound of
"Faith", and the disco-laden sound of "Outside", one of two 
new songs on the compilation.
	A previously-scheduled Wham! greatest hits scheduled 
for the States (the Brits' native land has seen 2 issues of 
Michael and Ridgely's time together) was indefinitely postponed, 
leaving this collection to serve as the only 'all in one' for 
his fans.  Of the twenty-eight tracks included on this double 
disc, nearly half (13) were Top 10 hits in the U.S., and some 
of the others appeared on compilations such as "Desafinado" 
(with Astrud Gilberto, from _Red Hot & Rio_), and his live 
recordings from the Freddie Mercury Tribute, "Somebody To Love" 
and the "Killer / Papa Was A Rolling Stone" medley.
	While Michael's hits had not been previously packaged 
here in the States, Duran Duran's initial rush at stardom was 
captured in _Decade_.  This new packaging encompasses all 
fourteen of the cuts which appeared there, along with (the 
previously-omitted) "New Moon On Monday" and newer tracks 
including "Electric Barbarella", "Serious" and the smash comeback 
hit "Ordinary World".  Not greatly different than, to make 
someone rush out and spend $15 for four other songs, but 
worthwhile to a fan who, for some reason, never purchased _Decade_.
---
	REVIEW: Unbelievable Truth, _Almost Here_ (Virgin)
		- Tim Mohr
	It's difficult to figure out whether famous siblings are 
a blessing or a curse. Andy Yorke, vocalist and guitar-player in 
Unbelievable Truth, is better known as the brother of Thom, 
singer in Radiohead. Presumably, a record contract is a little 
itsy bitsy teenie weenie bit easier to come by when your last 
name is the same as the man who wrote "Fake Plastic Trees."
	But then the problems begin: Unbelievable Truth don't 
sound remotely similar to Radiohead. Unbelievable Truth sound 
more like the latest Creation signing, Arnold, or like Crowded 
House unplugged. Gentle acoustic guitar strumming and earnest 
vocals typify the trio, who occasionally add a few strings 
or - horror! - electric guitars.
	The lyrics are fitting for Andy Yorke's background - lit 
student, spent time in Russia, etc. - and well-suited to the 
style of music. This Yorke is a fine singer, too. But, again, 
his style is completely his own and shows no trace of Thom.
	_Almost Here_ is a touching record but not easily 
comparable to many current British albums. Perhaps they are 
better compared to the Connells or Toad The Wet Sprocket, with 
whom Unbelievable Truth share a quiet melodic sound, pleasant 
vocals, and a leisurely pace.
---
	REVIEW: Paul Weller, _Modern Classics_ (Island)
		- Bob Gajarsky
	When a man who has compiled two of the most popular 
greatest hits albums in his native land speaks, people 
listen.  Unfortunately for Paul Weller, his huge success 
in Britain as the leader of the Jam and Style Council 
never translated into American popularity.  
	After the Council disbanded in 1990, a revitalized 
Weller set about to prove the critics wrong - that once again, 
he would rise for the ashes.  And so it did; while _Paul Weller_ 
didn't set the industry on its ears, the soulful 'Dadrock' - as 
Weller's new music was called - provided the spark for groups 
such as Ocean Colour Scene to catapult to the top of the 
British charts and newcomers such as Oasis to worship at the 
shrine of Mr. Weller.
	Songs such as "Out Of The Sinking" and "Peacock Suit" 
harken back to days-gone by of Cream and Joe Cocker.  Given 
Weller's musical leanings in his previous bands (Jam - mod 
look of the United Kingdom, circa mid 1960s; the Style 
Council's love affair with Motown), it's not unexpected that 
his solo efforts would also take the past and throw a decided 
twist on it for modern listeners.
	Other tracks follow the pattern; "Sunflower" nips 
from Hendrix' "Purple Haze" (not the guitar riff, of course), 
"Above The Clouds" from Marvin Gaye's "What's Going On", even 
a bit of Springsteen's "Fire" in "Broken Stones".  One new 
track, the raspy yet touching ballad "Brand New Start", is 
a wonderful addition to an already outstanding history.
	Many in the United States have not heard Weller's 
music, but those who have almost immediately succumb and 
return for repeated listenings.  With _Modern Classics_, 
Weller provides a compelling reason for those who haven't 
purchased his four solo albums to run out and buy just one.

TRACK LISTING: Out Of The Sinking, Peacock Suit, Sunflower, 
The Weaver, Wild Wood, Above The Clouds, Uh Huh Oh Yeah, 
Brushed, The Changingman, Friday Street, You Do Something 
To Me, Brand New Start, Hung Up, Mermaids, Broken Stones, 
Into Tomorrow
---
	REVIEW: You Am I, _#4 Record_ (RA Records/BMG)
		- Chris Hill
	If beach movies were still being made, You Am I would be 
the ideal band to plant oceanside, with boys and girls shimmying 
to the groove, luau going full tilt, and the sun slowly setting 
on the horizon.  You Am I's sound is classic 60s mod drumbeats, 
achingly pure pop arrangements, and rave-up vocals.  Their 1996 
cd _Hourly, Daily_, led by gems like "Mr. Milk" and "If We Can't 
Get it Together" captured them "Album of the Year" and "Artist 
of the Year" honors in their native Australia.  Like its two 
predecessors, _#4 Record_ debuted at #1 Down Under.  The band's 
been hugely successful as openers for groups as dissimilar as 
Wilco, Soundgarden, and Oasis.  Am I preaching to the choir 
here?  If you've been waffling over getting this album, waffle 
no more.  If you've never heard of them, read on.  I'd like to 
convert you.
	Vocalist/guitarist Tim Rogers refines his pop style to 
pure cane sugar on this disc.  The band runs between a wistful 
acoustic ballad ("Heavy Heart"), a punk rocker in pop clothing 
("Billy"), an imploring doo-wopper ("Come Home Wit' Me"), and 
tongue-in-cheek vignettes ("Guys, Girls, Guitars", "Fifteen") 
with panache and ease.  Artistic joy keeps the throwback style 
from being cloying or saccharine, and George Drakoulias (Black 
Crowes, Tom Petty, Screaming Trees) envelops each two to three 
minute nugget with crisp, pristine production.  Little fills pop 
up throughout the record, but nothing is extraneous:  a mandolin 
and organ fade around each other on "...and Vandalism", a slide 
guitar sinuously winds throughout "Top of the Morn' & Slip of 
the Day", and the Memphis Horns are bliss personified on "Junk".
	I'm convinced there's a secret government conspiracy 
preventing "Rumble" from becoming a radio staple.  If the Bay 
City Rollers' "Saturday Night" is a favorite, "Rumble" is right 
up your alley, with its "R-A D-I-O, Hit me hard and hit me low" 
chant-along chorus.  Humorously, the last use of the chorus name 
drops the ex-Black Sabbath lead singer ("Ronnie James D-I-O"). 
The song triggers a wide-open grin and a Pavlovian head-bobbing 
response.
	As, in fact, do all the songs on _#4 Record_.  Wry 
lyrics only add to the pleasure.  For example: "he's big and 
dumb like a Dagwood dog", "I know this guy ... if I'm the 
mayonnaise he's the cream",  "the sky's so heavy yeah it hangs 
like a beer gut", "he can see Wednesday mornin' the way others 
see Friday night".  Combining the lyrics with retro, yet modern, 
music makes for twelve irresistibly catchy tunes.
	Judging by the concert spectacle of You Am I in Seattle, 
11/19 at the Crocodile Cafe, these songs shine even brighter 
live.  Years of touring have honed You Am I to a tight, polished 
stage presence.  Drummer Russell Hopkinson keeps tempo like an 
early Ringo Starr, with his hair flopping in rhythm to the beat. 
He's integral to their charisma, chiming in with harmony vocals 
and off-beat drumstick pantomimes.  Andy Kent, on bass, is a 
foil to Rogers' jokes, while solidly undercoating the music, and 
adding his own voice periodically.
	The band ran through most of _#4 Record_, older catalog 
staples like "Soldiers", "Trike", & "Mr. Milk", plus a delirious 
cover of "Hippy Hippy Shake".  When Hopkinson broke a sweat 
before the second song, I had a feeling the show would be good. 
It was that and more.  If they come to your town, it's an 
experience you shouldn't miss.
---
	REVIEW: Walt Mink, _Goodnite_ (Deep Elm)
		- Kerwin So
	The venerable Walt Mink is gone.  Through eight years of 
drummer mishaps, promising opening slots, and a string of management 
and label troubles too intricate to list here, the "New York by way 
of Minnesota" power trio have decided to call it quits.  Musically, 
Walt Mink's sound was grounded in unique time signatures, nimble yet 
memorable guitar hooks, and singer John Kimbrough's sparkling, 
freshly-scrubbed tenor.  As a final offering to its small but devoted 
fan base, Walt Mink (with the help of John Agnello and Kurt Wolf) has 
recorded and released the live album _Goodnite_, capturing the band’s 
last (and arguably best) moments on stage at New York's Mercury 
Lounge on November 1, 1997.
	The recording starts off with the chugging beat of the new 
song "Fourth Wave" that Walt Mink wrote for just this occasion, and 
it's clear that this is the band's swan song from the lines, 'Open 
up your mind / to all the brand new sounds / Listen to the music 
from the sky / and say goodbye.'  While this new tune never fully 
succeeds in getting off the ground, the Mink get right down to 
business by blasting next into "Stood Up."  You're listening to this 
track and wondering how Yngwie Malmstein managed to survive the late 
90s, and just when you think the pot's gonna boil over, Walt Mink's 
lightning-quick dexterity clamps the lid down again, never forgetting 
that 'arena rock', 'prog rock', and 'indie rock' in the end must 
still... rock.
	Indeed, all throughout _Goodnite_, Walt Mink rocks you the 
way you want to be rocked:  with crashing dynamics, blazing guitar 
heroics, and an odd meter twist here and there to keep you on your 
toes.  The blistering version of "Frail" delivered here burns full 
throttle and convinces you that there is no tomorrow.  Many other 
songs here rage with the same elegant ferocity, making you grind 
your teeth in delight and ask yourself how they could have kept their 
energy up through gigs like this.  No doubt Walt Mink pummelled the 
crowd into submission on many nights like this, all the while making 
it look as effortless as slinging on a feather boa.
	_Goodnite_ is even arranged to feel like a real live rock 
concert, complete with snippets of between-song banter and hollerings 
from the crowd for encores, of which they receive several.  "Subway" 
is a refreshing blast of hummable pop-rock after one of such breaks.  
The record closes with the acoustic favorite "Settled", during which 
the audience whistles along and Kimbrough laments, "Love was never 
here."  On the heels of Walt Mink's demise, it doesn't take a genius 
to figure out what he's implying.
	Although the live tunes on _Goodnite_ do often blend into each 
other homogenously, Walt Mink has proven once and for all that it could 
rock the house till the walls came down.  It's proof not soon to be 
forgotten, and _Goodnite_  is a fitting tribute to a band who will be 
missed.
---
	REVIEW: Meat Loaf, _The Very Best Of Meat Loaf_ (Epic)
		- Bob Gajarsky
	The magical touch of Jim Steinman has been spread 
amongst a diverse group of stars.  Adult contemporary 
artists such as Air Supply and Barbara Streisand, pop stars 
including Bonnie Tyler and Celine Dion, and even the gothic 
Sisters of Mercy are a few performers who have been united 
with the hitmaking prowess of Steinman. But mention Steinman's 
name to a group of rock and roll fans, and there is only one 
person who is associated with Jim Steinman.
	Marvin Lee Aday was born in 1951 in Dallas, Texas.  
Initial musical success was fleeting; a 1971 duet with 
Stoney under his stage name, Meat Loaf, provided only one 
minor hit, "What You See Is What You Get".  And prior to 
the Rocky Horror Picture Show (in which he had a minor part 
as Eddie, singing "Whatever Happened To Saturday Night" before 
being quite literally served up to guests) became a cult hit, 
the only real musical exposure for Meat would be his lead 
vocals on Ted Nugent's 1976 _Free For All_.
	The subsequent pairing between Steinman and Meat Loaf 
was a match made in heaven.  Meat's bombastic, over-the-top 
vocals were the perfect complement for Steinman's opera-esque  
rock epics.  The talented backing band (members of the E Street 
band lent their talents to the project) became perfectionists 
in Steinman's image, and countless takes were done...and 
redone...until everything was just right.
	And, there was *that* song.  "Paradise By The Dashboard 
Light" has, for all intents, replaced "Stairway to Heaven" as 
the #1 rock song of all time.  It has become a rite of passage 
for college students (and high schoolers who want to seem 
cooler than their age) to know all the words, pair off (with 
boys on one side of the room/circle, and girls on the other), 
and alternate the male/female vocals which Meat and Ellen Foley 
sang.  
	The irony, of course, is that the song was initially 
deemed too long to be a single, and the Phil Rizzuto baseball 
play-by-play, synchronized with the sexual imagery conjured up 
by the Meat/Foley exchange, became one of the best known songs 
to hit the airwaves.  And _Bat Out Of Hell_, which has gone 
on to be one of the best-selling debut albums in history, was 
rejected by almost every label.
	Depending on who you believe, Meat's vocals were shot 
from overwork, or booze, and the second album ( _Dead Ringer_ ) 
crashed and burned from the charts, despite Steinman's best single -
a blue dressed devil duet with Cher on the title track.  Most of 
Steinman's better tracks from this era were used on his own _Bad 
For Good_ in 1981, but as Jim's vocals didn't have the power 
present in Loaf's, it also was a second-rate seller.
	Steinman has a history of recycling his own songs.  The 
Dion hit "It's All Coming Back To Me Now" previously appeared 
on the (import only) disc from the all-female Pandora's Box disc, 
_Original Sin_; Streisand's "Left In The Dark" and the Meat Loaf 
songs "Out Of The Frying Pan" and "Rock And Roll Dreams Come 
Through" first showed up on _Bad For Good_ and Meat Loaf's "Two 
Out Of Three Ain't Bad" was redone - with Steinman's supervision - 
by Bonnie Tyler.
	The 1980s weren't kind to Meat Loaf.  Subsequent efforts 
(with new writing partners, and lawsuits with Steinman and 
record labels) barely made any kind of dent in the charts, and 
Meat Loaf vanished from sight.  That is, until 1993s _Bat Out Of 
Hell 2_, a reuniting with Steinman, catapulted Meat back into 
the spotlight.
	Featuring his first #1 single, "I'd Do Anything For Love", 
a new generation of fans would get the opportunity to see the 
portly Texan do his thing live.  And that, in turn, inspired 
people to purchase the first _Bat Out Of Hell_ more than fifteen 
years after its initial release.
	_The Very Best of Meat Loaf_ crosses over his multiple 
labels (Cleveland International/Epic, Arista and MCA) to offer a 
nearly complete anthology of the Meat Legend.  This two disc 
set's highlights are the songs from both _Bat_ albums, but also 
the new tracks.  
	There are three new songs from Steinman, two co-written 
with Andrew Lloyd Webber.  "Home By Now / No Matter What" is 
grandiose in its structure, but has its roots in a traditional 
Broadway or London musical, rather than the rock format. "Is 
Nothing Sacred" winds up going nowhere, but the second 
Steinman-Webber composition, "A Kiss Is A Terrible Thing To 
Waste", brings together all of the elements fans love (or 
hate) about the full-fledged productions behind Steinman and 
Meat Loaf in yet another seven-and-a-half minute epic.
	In collecting these tracks, there is one pleasant surprise - 
the inclusion of full length songs.  It is obvious that "Paradise" 
wouldn't appear here in an edited format, but it's a pleasant 
surprise that songs which perfectly fit their original FM-radio 
format - such as "You Took The Words Right Out Of My Mouth", "Bat 
Out Of Hell" and the eleven minute "I'd Do Anything For Love" - 
appear completely unedited, in their original album format.  A 
searing, more in-your-face remix of "Life Is A Lemon" remains 
the only tinkering from an original version - and at a length 
of 8 minutes, there's no editing here for commercial airply.
	While this compilation is an excellent opportunity to get 
all of Meat Loaf's best tracks on two discs, it also highlights 
the marked difference in quality between songs which Steinman 
wrote and/or produced, and those in which he wasn't present.  May 
the Steinman / Meat Loaf collaborations continue for years to come.
---
	REVIEW: Cake, _Prolonging the Magic_ (Capricorn)
		- Christina Apeles
	_Prolonging the Magic_ is the third release from the 
Sacramento-based band Cake, which is one of the best cures 
for SAD (Seasonal Affective Disorder) when a Snickers bar 
isn’t handly.  It is an offbeat, delectable collection of 
songs where comedic lyrics and mischievous rhythms run rampant. 
Just take a look at their song titles: "Satan is My Motor," 
"Sheep Go to Heaven," and "Alpha Beta Parking Lot."
	Wit is alive in frontman John McCrea’s vocals that 
are half-joking, half-serious with lines like, ‘When she 
talks, she moves her mouth instead of her lips’ and ‘If I 
threw my guitar out the window . . . would I start to regret 
it or would I smile and watch it slowly fall.’  Cake sings 
about things most bands don’t: car exhaust, barbers, matches, 
fingers, and carpenters.  This reflection on the ordinary is 
part of their charm backed by special appearances from neglected 
instruments like the musical saw, trumpet, mandolin, and moog, 
which add a unique touch to their brand of groovy, head-bopping 
pop.
---
	REVIEW: Goodness, _Anthem_ (Immortal/Epic)
		- Chris Hill
	A line from "Wicked Eye" (off Goodness' 1995 self-titled 
cd) sums up the band's attitude best - "Well, he's coming on / but 
I'm not worried much / 'cause if we've taught her wel l/ she packs 
a wicked punch."  Self-reliance, personal responsibility, and - 
dare I say it - empowerment are rare messages in these years of 
dodging ownership and blaming others.  My interest, begun during 
vocalist Carrie Akre's stint with Hammerbox, and reignited with 
Goodness' 1994 _6 songs_ cassette-only release, became fannish 
appreciation after that song.
	It's indicative of the band's character that three years 
later they espouse the same idea on the first track, "Anthem": 
"This is a call to all of you / to come around... / there is a 
reason to get out of bed... / I don't have all the answers / but  
I know it can be found."  Their work ethic hasn't atrophied, 
despite the tribulations following their Y Records debut cd: 
Following _Goodness_, the band signed with Atlantic, re-released 
the album with an extra track, then left the label when the 
atmosphere constricted.  The D.I.Y. waters were tested with 
1997's self-released _a five-song ep_, and now in 1998, the 
band is back aboard the major label train, on Epic's indie 
subsidiary, Immortal Records.
	"Anthem" is one of three tracks written with outside 
songwriters (ex-Heartbreakers Stan Lynch and Jamie Houston), 
but the sentiment remains pure Goodness.  Drafted back into service 
from _a five-song ep_, along with "Pretender" and "Lost", the 
song is a fitting titular track for an album of unadulterated, 
unapologetic rock & roll made for people who wear off-the-rack 
clothing.
	Guitarists Danny Newcomb and Garth Reeves pervade the 
album with power chords and guitar solos, but there's room in 
the bag for other tricks.  To wit, the gentle, acoustic "I'd 
Rather", the GoGos-esque "Turn the World Around", the mnemonic 
device chorus-driven "Lost" ("L is for lonely as she can be, O 
is for..."), and the cricket noises that fade up to close the 
album.  Rock 'n' roll and crickets - the combo shouldn't work, 
but it does.
	The blistering guitar solo that lynchpins "Lost" also 
underscores the fact that Goodness is a full band, not simply 
a supporting outfit assembled post-Hammerbox for Akre's talent. 
Each of Goodness' members list at list two bands, either ex- or 
current, in their resume, and each contributed to the writing. 
Drummer Chris Friel, Reeves, and bassist Fiia McGann log a song 
each, with Akre and Newcomb covering the remainder.
	If you're impressed by McGann's backing vocals (listen 
to "Bitter Man" - she makes that chorus), check out Miracle 
Baby, her side project, where she steps to the fore.  _Anthem_'s 
bruised heart-acher "Night & Day" is written by her.  It's the 
only tune of twelve not written in part by Akre, testifying to 
its lyrical strength.
	Browse http://www.goodness.com - run with direct 
involvement with the band - when you need a breath of fresh air 
from media savvy, conglomerate music.  Honesty isn't a bad 
thing.  Rock 'n' roll isn't trite.  Sometimes, when it has heart 
and talent, it's just ... goodness.
---
	MINI REVIEWS: Adamski, Goat, Loose Nuts, Swirl 360

	In 1990, Adamski hit the top of the British charts - 
featuring Seal on vocals - with "Killer".  Eight years later, 
he has returned (with New York house singer Gerideau taking 
the mic) for a new disc, _Adamski's Thing_ (Universal / ZTT).
The groove-heavy feel of "Memories of the Future", the 
techno-spy instrumental "Sparklin'" , and the Stevie Wonder-like
vocals on "Antibody" are the perfect fix for anyone missing 
the sounds of Stereo MCs - or Adamski himself - and looking to 
move their feet. - Franklin Johnson

	The Beck meets funk sound of the radio hit "Great 
Life" first appeared in the movie thrilled _I Know What You 
Did Last Summer_.  And when the man known as Goat (formerly 
Goatboy, until Jim Breuer's hideously un-funny Saturday Night 
Live routine gained national prominence) released his debut 
album _Goat_ (Ruffhouse/Columbia), he kept the same type of 
free-wheeling approach to the music.
	The well-known Butcher Brothers produced this lesson 
in musical diversity.  Whether on the Dylan-esque rap of 
"Free", his cover of Brian Eno's "Baby's On Fire" or the 
INXS-meets-techno driving beats of "I Will Fly", it is clear 
that Goat refuses to be contained within typical musical walls. 
- Franklin Johnson

	While the ska-volution may be slowing down, those 
looking for a new group may want to turn to the East Coast. 
After opening up for bands such as Reel Big Fish, the Mighty 
Mighty Bosstones and Goldfinger, New York City's Loose Nuts 
have taken their own place in the punk/ska circle.  On the 
debut _Oh God Help Our Fans_ (Gotham), this seven person group 
(with the obligatory trumpet and trombone included among 
their instruments), the Nuts pay homage to the Bosstones 
with a sound which - just like their Boston compadres - 
forces slam-dancing, and a good time.  Check out "Wishen" and
"Roots" for further inspiration - or for more information, 
go to the label's website at http://www.gothamrecords.com 
- Franklin Johnson

	Swirl 360 may have gotten their foot in the door 
from being signed by the same person who signed Hanson, 
but their claim to fame is a power-pop sound that echoes 
traces of Savage Garden and Jellyfish rather than the 
Kansas pre-pubescent trio.
	The Scott brothers who comprise Swirl 360 - 
Denny and Kenny - write their own material, but also bring 
in some outside assistance.  Adam Schlesinger (Fountains 
of Youth, writer for "That Thing You Do") and Ken Stringfellow 
(Posies) are two of the contributors who bring a modern 
element to the world of classic power pop on the Swirl 
360 debut,  _Ask Anybody_ (Mercury).
	"Hey Now Now" was the first single - eminently 
hummable, and just like any good power-pop song, with a 
chorus that grabs ahold of the listener and won't let go.  
Eager to show they're not a one-trick pony, the electronica 
edge to "Candy In The Sun" is destined to bring in listeners 
who weren't around when Cheap Trick and Badfinger were the 
rage, Smashing Pumpkins ("1979") feel of "Rewind", 
sugary-sweet ballad "There" and the straight-ahead, rock 'n' pop 
sound of "Stick Around" are sure to bring in anyone who loves 
power pop and wants to get some of the best that's out there.
It's just too bad that until a pure pop sound is deemed 
'en vogue', Swirl 360 may only be heard out of your discman, 
rather than the radio.  - Bob Gajarsky
---
	REVIEW: The Andersons!, _Separated at Birth_ (Lime Vinyl)
		- Daniel Aloi
	This L.A. quartet has all of its power-pop ducks in a row: 
Solid three-part vocal harmonies, jangly guitars, resounding choruses, 
and hook-filled and often humorous songwriting about girls, traffic 
jams, girls, TV and girls.
	"Less angst, more bounce, still rocks" is the band's motto 
since 1995, which might explain how they can anchor a very competitive 
pop scene in Los Angeles and walk away with reams of critical praise.
	If they're this engaging on stage, they must aim to keep 
audiences happy.  Very happy. The band's music is notable not so much 
for being art but for its sincerity. You can tell The Andersons! have 
an appreciation for a good hook, a funny concept, and a bed of 
musical references from the classic Beatlesque mold.
	Together, Derrick, Bob, and Bill Anderson are up against the 
gloomy blackhearted icons of modern rock's status quo -- and they're 
heavily armed with melody and wit in some great songs like "The Truth 
is Out," "You'll Get Yours Yet" and "(I'm In Love With A) TV Girl."
	As good as their own work is, The Andersons! also have an anvil 
case full of impressive, dare-I-say mainstream pop credentials. Some of 
the band member's resume items:
	-- Lead vocalist, bassist and ringleader Derrick Anderson helped 
flesh out the songs of Badfinger casualty Pete Ham on the posthumous 
collection _7 Park Avenue._ He also played on the 1997 debut album by 
Chewy Marble, former Wondermint Brian Kassan's new band.
	-- Bob Anderson led the now-defunct pop group Wonderboy, and 
spent last winter touring with Big Deal act Cockeyed Ghost.
	-- New drummer Jimmy Anderson, an alumnus of Green Jello, 
replaces Brian Bawinkel, who played on the album. Jimmy has also toured 
with Dave Davies and The Muffs (Kim Shattuck provides "screams and 
backing vocals" here on "Symbiosis").
	-- Bill Anderson is a journeyman singer-songwriter and 
guitarist with more than 20 years;' experience.
	The package design (by Grammy winner Rachel Gutek) says it 
all - it's all in a spirit of fun, from the non-lookalike guys on the 
front to the mismatched photos atop the Danish modern stereo console 
on the back to the three bespectacled adult heads on wriggling sperm, 
printed on the disc itself.
	The album was co-produced by the band and Jeb Lipson, and 
mixed by Brian Kehew, a Moog Cookbook member who also adds keyboards 
to one track here. His playing and production credits include Redd 
Kross, The Muffs, The Dickies, That Dog and Pat Smear.
	For more information online, go to http://theandersons.com
---
	REVIEW: David Grahame, _Toy Plane_ (Dog Turner)
		- Bill Holmes
	It only takes two or three syllables coming out of his mouth 
before you realize that David Grahame is something special. From the 
opening notes of the title track's overture, Grahame's uncanny vocal 
resemblance to Paul McCartney can't help but grab your attention, 
especially since the opening to the next track "Each First Kiss" is 
so reminiscent of "Too Many People". But "Kiss" is its own charming 
piece of pop magic with an irresistible hook and chorus that has you 
singing along by mid-song. And it just gets better from there. "The 
Rut" sounds like it should be a dirge, but ringing guitar tones and 
taut harmony vocals drive this Badfinger-ish song faster than its 
mid-tempo pace.
	Grahame's lyrics excel - relationships of love, pain and wonder 
are set forth in each musical short story. "Love is holding me here / 
and I'm trying to get over there" he sings in "Everyday", and consider 
this prose from "Steady Thing":
	"But every now and then / I find her back in my arms again / 
Where it's so easy to / pretend it's true love / When she kisses me / 
I think it can be different / But when she stops / I know it really 
isn't..."
	His urgent, impassioned vocal on "Steady Thing" makes it the 
highlight of the record, and considering the balance of material 
that's no small feat. "Losin' A Love Like You", slower and quieter, 
bridges the gap perfectly between McCartney and Del Amitri, while the 
closing rocker "Try Love" recalls World Party when they sound like...
well, you know who. "Me & My Friend" is a song Kyle Vincent would 
kill for and "Song Equals House" (a tip and pun to his success writing 
a hit for the band Mr. Big) would be a hauntingly beautiful song even 
without the reference. Grahame , with the exception of slide guitar on 
one track and background vocals on two others) handles all the 
instrumentation and wrote all the songs (four with co-writers). It 
might be a low budget production but in name only - _Toy Plane_  has 
a very full and rich sound throughout.
	There will be those who make the mistake of dismissing Grahame 
as just another poser aping The Fab One. To them my answer is this - 
Paul McCartney hasn't written songs as good as  "Steady Thing", 
"Everyday", "Each First Kiss" and "We're Past All That" (another 
lyrical gem) since his first solo album. Instead of thinking that 
he can't be this good just because you haven't heard of him before, 
relish the fact that you now have the opportunity to get on the 
bandwagon while it's still parked.. David Grahame and his songs are 
THAT special.
	_Toy Plane_ may not be carried in the mom'n'pop near you; but 
you can order it through the mail for only $11 postpaid. (Send a 
check or money order payable to DOG TURNER RECORDS, 4219 Kraft Avenue, 
Studio City, CA 91604; allow 7-10 days for delivery)
---
	REVIEW: Miles, _The Day I Vanished_ (V2 Import)
		- Tim Mohr
	The latest in a string of excellent new German bands, Miles 
add to their foreign appeal by singing in (un-accented) English. 
Their style is reminiscent of the poppier moments of the Boo Radleys 
(i.e. "Find The Answer Within"), Teenage Fanclub, Fountains of Wayne, 
and Superdrag.
	The most distinctive element to the music of Miles is the 
vocal harmonizing--built around fairly high-pitched lead vocals. It 
is the vocal register that causes the Boo Radleys comparison, though 
the thick but structured layers of guitar are also somewhat Boo-esque.
	The lead single, "Pretty Day," offers a perfect example of 
the Miles sound: intense guitar strumming, a bunch of "oooh"s and 
"da doo"s, verses about a girl who doesn't understand, an inescapable 
chorus, a lilting bridge. It is surprising just how much guitar crunch 
Miles can heap on without upsetting the gentle pop effect of the sunny 
vocals. In that respect, Miles can bring vintage Ride to mind.
	Elsewhere, Miles add organs and a few other instruments, 
though the concentration remains guitars and vocal harmonies. The 
prominent guitars, coupled with the Brian Wilson-esque vocal 
arrangements, lend _The Day I Vanished_ an American feel, though as 
with many Scottish bands (Teenage Fanclub, Pearlfishers, Snow Patrol, 
even the Jesus & Mary Chain), the American atmosphere seems more 
coincidental than imitative.
	V2 made Miles their first German signing on the strength of 
their demos and live shows; Miles also signed on with prestigious 
Powerline Management, who already have most of the best German indie 
bands (Stereo Total, Tocotronic, Die Sterne) under contract. Still, 
these indirect praises seem unimportant the moment that Miles start 
to sing: the songs - painted with elaborate vocal colors and textured 
by gritty guitar tones - are worthy of direct, immediate praise.
---
	REVIEW: Sylvain Sylvain, _Sleep Baby Doll_ (Fishhead)
		- Bill Holmes
	After leaving the New York Dolls, guitarist Sylvain Sylvain 
released a couple of very good pop records that somehow got lost in the 
shuffle. When no third record materialized, it was a disappointment but 
not a big surprise - after all, post-punk pop was finding no welcome mat 
in the synth-happy 1980s, and even David Johansen had to whore himself 
out as "Buster Poindexter" just to put food on the table.
	Imagine my delight when Fishhead Records not only released some of 
Sylvain's previous songs on one CD (_Sylvain Sylvain.....In Teenage News_), 
but a brand new collection of twelve songs! Adding to the good news was the 
announcement that Sylvain was hitting the club circuit again, band in tow.
	He's still a pop guy with 50's doo-wop roots glowing through his 
songs. The title track, an ode to his lost bandmates, is reminiscent of 
Little Anthony and The Imperials, while "Another Heart Needs Mending" 
mines the same sock-hop vocal territory. But grit abounds too, thanks to 
a crack band of backup musicians, among them Frankie Infante and Fuzztones 
Rudy Protrudi and John Carlucci. "Oh Honey" is pure Bo Diddley, and "I'm 
Your Man" is a finger-poppin' rework that jumps out of the speakers.
	Although proud of his Dolls roots, reading Sylvain interviews 
gives a strong clue that a reunion will never happen, mostly due to a 
fractured relationship with Johansen. Still, Sylvain has no qualms with 
the great songs they wrote; three are included here, among them a 
spirited rendition of "Trash" (a song also recently covered by soulmate 
Gilby Clarke). And only a former Doll could write a "Sleepwalk" style 
instrumental and call it "Forgotten Panties"!
	Hopefully this signals the beginning of the second half of 
Sylvain Sylvain's career. For tour dates and more information, visit 
the label's website at http://www.fishheadrecords.com .
---
TOUR DATES:
	Better Than Ezra / Bic Runga
Dec. 2 Salt Lake City, UT  Dv8
Dec. 3 Aspen, CO Double Diamond
Dec. 4 Vail, CO Garton's
Dec. 5 Colorado Springs, CO Colorado Music
Dec. 6 Denver, CO Bluebird Theatre

	Black Crowes
Dec. 1 Seattle, WA Showbox Showroom & Lounge
Dec. 2 Portland, OR La Luna
Dec. 4 San Francisco, CA Maritime Hall
Dec. 5 Santa Cruz, CA The Catalyst
Dec. 6 Fresno, CA Rainbow Ballroom

	Buffalo Tom / Goo Goo Dolls
Dec. 1 San Francisco, CA Fillmore
Dec. 3 Los Angeles, CA Palace

	Candlebox
Dec. 2 Weymouth, MA Alternate Route
Dec. 3 Nashua, NH Sharkey's
Dec. 4 Brewer, ME Babe's
Dec. 5 Syracuse, NY Club Mirage
Dec. 6 Poughkeepsie, NY Chance

	Chocolate Genius
Dec. 6 Washington, DC Lota Cafe

	Cravin' Melon
Dec. 4 Spartanburg, SC Clanceys
Dec. 5 Asheville, NC Be Here Now 

	Deftones / Pitchshifter / Quicksand
Dec. 1 Chicago, IL Riviera
Dec. 2 Minneapolis, MN The Quest
Dec. 3 Milwaukee, WI The Rave
Dec. 4 St. Louis, MO American Theatre
Dec. 5 Kansas City, MO Memorial Hall
Dec. 7 Denver, CO Mammoth Events Center

	Evelyn Forever
Dec. 3 New Brunswick, NJ Court Tavern
Dec. 5 Philadelphia, PA Helena's

	Irving Plaza (New York City Concert Hall)
Dec. 1 Toasters
Dec. 3 Squirrel Nut Zippers
Dec. 4 Anthrax
Dec. 5 Golden Smog

	Miles 
Dec. 1  Hamburg, Germany Molotow
Dec. 2  Kiel, Germany Tanzdiele
 
	Motley Crue
Dec. 1 Austin, TX Music Hall
Dec. 2 Dallas, TX Bronco Bowl
Dec. 4 Little Rock, AR Robinson Auditorium
Dec. 5 New Orleans, LA Saenger Theatre
Dec. 6 Houston, TX Aerial Theatre

	Offspring
Dec. 4 Detroit, MI St. Andrews
Dec. 7 Worcester, MA Palladium

	Tricky / Whale
Dec. 2 Vancouver, BC The Rage 
Dec. 3 Seattle, WA DV8 
Dec. 5 Santa Cruz, CA Palookaville 
Dec. 6 San Francisco, CA The Fillmore 
---
Founded in August, 1993, Consumable Online is the oldest 
music reviews publication on the Internet.
To get back issues of Consumable, check out:
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