== ISSUE 213 ==== CONSUMABLE ONLINE ======== [June 27, 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 ; subscription information is given at the end of this issue. ================================================================== All articles in Consumable remain (C) copyright Consumable and their author(s). ================================================================== .------------. | Contents | `------------' REVIEW: Pearl Jam, _Binaural_ - Scott Hudson REVIEW: P.J. Olsson, _Words For Living_ - Paul Andersen REVIEW: Towa Tei, _Last Century Modern_ - Andrew Duncan REVIEW: Matt Suggs, _Golden Days Before They End_ - Christina Apeles REVIEW: Ian Astbury, _Spirit\Light\Speed_ - Wilson Neate REVIEW: 58, _Diet For A New America_ - Bill Holmes REVIEW: Kansas, _Somewhere To Elsewhere_ - Scott Hudson REVIEW: Neve, _Neve_ - Paul Andersen REVIEW: Arab Strap, _Mad for Sadness_ - Wilson Neate REVIEW: Jimmie Van Zant Band, _Southern Comfort_ - Linda Scott REVIEW: Billy Burnette, _Are You With Me Baby_ - Bill Holmes REVIEW: Steely Dan, Live at Universal Amphitheatre - Paul Andersen REVIEW: Car 44, _Platinum Holes_ - Joann D. Ball REVIEW: Jel, _Too Much Imagination_ - Bill Holmes NEWS: Green Day, Hootenanny 2000 TOUR DATES: Cravin' Melon, Deftones, Foreigner, Indigo Girls, Jayhawks, Kansas / Yes, Steve Miller / Gov't Mule, Alanis Morissette, Jimmy Page / Black Crowes, Phish, Sister Hazel, Sally Taylor, 3 Doors Down, Warped Tour, Wheat Back Issues of Consumable --- REVIEW: Pearl Jam, _Binaural_ (Epic) - Scott Hudson On the heels of two lackluster efforts in _Yield_ (1998) and _No Code_(1996), it seemed that Pearl Jam was poised to produce another disappointment. Their overabundant side-projects seemed to have milked the life out of their creativity, leaving nothing of substance for subsequent Pearl Jam records. But with its sixth studio release _Binaural_, the band proved that there is always enough good music to go around. While _Binaural_ contains no monster hits like "Alive," "Evenflow" or "Jeremy" from their enormously successful debut album _Ten_, there is a direct relationship to the band's second outing _Vs._ in terms of the record's musical diversity. Like _Vs._, _Binaural_ moves effortlessly from high-energy grunge tunes like "Breakerfall," "God's Dice," "Grievance" and the punk-tinged "Evacuation" to great lighter-waving acoustic tracks such as "Thin Air" and the subdued "Of The Girl" where Eddie Vedder's gritty but soulful vocals are not only effective, but powerful. However, the tracks that really shine are the mid-tempo rockers like the single "Nothing As It Seems," its B-side "Insignificance" as well as the brilliant "Light Years." Just when you thought the party was over for Pearl Jam, they come back in a big way, raining on the parade of their detractors. While _Binaural_ is not the best Pearl Jam record ever released, it is a damn good one; certainly one that breathes life into a band that we all thought was slowly passing away. --- REVIEW: P.J. Olsson, _Words For Living_ (C2/Sony) - Paul Andersen Cross Brian Wilson with Beck's _Odelay_ period, slice in a voice somewhere between Seal and McCartney, and punch out some lyrics ("had a dream last night 'bout joseph stalin/was his son haulin' out of moscow/on a jelly bean with wheels" from 'Visine') that are as loopy as some of the sound samples, and you will come up with the major label debut by L.A.-based techno-folkie P.J. Olsson. It is a world that may be a harbinger for folk music in the new millennium. And besides, it's damn catchy, too. Along with Nashville's Doug Hoekstra, Olsson is pushing the boundaries of folk-based music by grafting bits and pieces of other seemingly astringent formats into a totally unique mix that pushes the envelope in terms of what we've come to expect from singer/songwriters, one of the most basic of artistic formats. No longer will simply a voice and guitar do, if Olsson is any indication of where it is all going. Yet amazingly, grumblers looking for the good ol' days will be hard-pressed to find fault with any of the ingredients here. That is because, ultimately, regardless of the tools used, a singer/songwriter will always live or die by the strength of the songs themselves. Olsson, through all the smoke and mirrors, is blessed with a head for melody and a knack for words. He may have his pet sounds, but they are always in service of the songs, never at the mercy of their own accouterment. Brian Wilson will smile and understand. It's a gem of an album, folks. Come see the future, today. --- REVIEW: Towa Tei, _Last Century Modern_ (Elektra) - Andrew Duncan It's all a dream. One minute you lie in bed - eyes weighed down - ready to drift off into a golden slumber. The next minute you appear in a foggy French noir-flick strolling through immaculate gardens, picking lush flowers as lovers pass by you in black and white. They stare at you as you somber off into the afternoon dressed in the finest French attire. You are a debonair. You are the last century modern - or that is what turntablist spectacular Towa Tei would like you to believe with his new release, _Last Century Modern_. The savvy talent behind the early '90s thrift-store house unit Dee-Lite, Towa Tei kept the beat rolling long after their monumental breakthrough hit "Groove Is In The Heart." His first solo album, _Future Listening_ showcased his animate DJ skills with the instantly catchy electronica-lounge hit "Technova." Sound Museum jazzed things up a little, adding in even more international sounds, samba and other Latin rhythms and conveyor-belt loops. Tei's twisted mind was at an all-time high when he got Australian songstress Kylie Minogue to sing an elevator-music version of Hall and Oates, "Private Eyes." Oh yeah - back to the dream. Towa Tei has you soaring through the clouds with accordion hums swooping back and forth on the title track. Strings set the mood with a melancholy waltz, leading into the cocktail hour with "A Ring." Tei twistidly incorporates smoky lounge music with humans mimicking telephone rings. Day draws closer to evening as the Dee-lite pop antics come out of Tei electronic conception. Vocalist Ayumi Tanabe fills in on vocals, singing "Angel" and "Butterfly," two bubbly pop songs that sound better than anything on the Top 40 playlist. Wait a second ... things are changing. Butterflies turn into animated robots and clouds turn into conveyor belts as the dream takes a strange turn. Tei pushes buttons simulating cartoonish glicks and gleeks. So this is what it sounds like in the Acme factory. Neon beats down on the city streets as Tei's style transforms sunny rhythms into moonlight party vibes. The dance beats are heavy and the butts start shaking on "Congratulations!," featuring Corey Daye and "Funkin' For Jamaica," featuring Les Nubians and other guest musicians. "Let Me Know" is the after-party hour, calming things down. Before Tei kicks us back into reality, he revisits the kaleidoscopic French sounds of "Last Century Modern" with "LCM," a chic way of coming full circle. However, before we sober up, Tei gives us two last chances at playboy or playgirl-ism - a Cornelius remix of "Butterfly" and a Mighty Bob remix of "Let Me Know." Thanks to Tei, we can relive the dream over and over again. --- REVIEW: Matt Suggs, _Golden Days Before They End_ (Merge) - Christina Apeles Formerly of indie-pop duo Butterglory, Matt Suggs hits the solo front with a diverse set of tracks packed with crafty lyrics, darling instrumentation and inspiring melodies. Suggs is a true songwriter, with each song thoughtfully assembled, evocative and stirring; as a good album should be. What's most striking about Suggs, is that you could pick up that his heart is all there, laid out for you in every track. Intimacy is the key word here; nice to wake up to or to send you to slumber. Butterglory may have made their name as indie pop favorites but a variety of musical styles come into play in _Golden Days_, from blues to country, creating a unique and entertaining sound, using instruments like the lap steel, mandolin and bells. "Where's Your Patience, Dear?" at its mellow pace, is a standout, very Belle and Sebastianesque, playful piano compositions, with Suggs providing his wit: "as the day turns dark/and it swallows up your heart/I'm leaving your amusement park." Country breakaway "She Kept Time to the Teardrops" is upbeat and fun; "Farewell to a Tightrope Queen," a tragic story, "when all the confetti has been thrown/and swept up in a pile/she'll make the most her new found ghost/and try to force a smile," with a melody to match a big top setting. As good as any opening to a western, the instrumental "Rambler's Ride" evokes exactly what it states. It's hard to place at what point and how it happens, but Suggs' music gets under the skin and quite pleasantly catches you by surprise. Is it the fact that the lyrics aren't fluff? Maybe the twang in his voice? Or just how god darn well he plays that guitar? It's a combination of all of the above, just listen to his closing "Kisses" and if you don't fall for him then, "keep your chimes and /your chinese drums/and your vision when it finally comes/to your senses." --- REVIEW: Ian Astbury, _Spirit\Light\Speed_ (Beggars Banquet) - Wilson Neate In 1994, The Cult's eponymous last album showed that Billy Duffy and Ian Astbury were beginning to distance themselves from the stadium-friendly rockism into which they'd lapsed by the early '90s. Six years later, after a stint with the Holy Barbarians, Astbury has released his first solo effort, _Spirit\Light\Speed_, which attests to an even more marked musical evolution. Taking a cue from one of his admittedly favorite bands, Primal Scream, on _Spirit_ Astbury carries off a convincing hybridization of the textures of electronica and rock. The result is an engaging sonic venture that owes as much to the influence of the techno generation as it does to standard Astbury coordinates such as Led Zeppelin. For the most part, _Spirit_ exorcises any Duffy-esque ax antics and drops the anthemic pretensions and bombast of _Sonic Temple_ and _Ceremony_-period Cult in favor of more subtle, integrated guitar work and an attention to beats and samples. Above all, Astbury shows that not only has he kept up with some of the more significant developments in certain variants of popular music over the last decade but, more importantly, he's able to craft his own distinctive and relevant contribution that doesn't sound out of place alongside many of today's younger acts. Despite its contemporary feel, an unlikely influence on _Spirit/Light/Speed_ is _Jesus Christ Superstar_. Astbury reports being inspired both by the emotive resonance of some of the songs from the rock opera and by its treatment of the notion of martyrdom, one of his own long-held lyrical preoccupations. It's precisely that subject matter that Astbury sets out re-explore on _Spirit_, albeit recontextualized amid what he terms "electronic landscapes." The cover art itself announces a continued thematic concern with the martyr figure, featuring an image that appears to blend the face of Astbury himself and the familiar depiction of the Argentinian freedom fighter Che Guevara -- these days, unfortunately, a largely dehistoricized pop culture fashion accessory. Che even gets his own song ("El Che/Wild Like a Horse") and, while it's one of the more memorable and melodic tracks on the album, it exemplifies a problem that has intermittently undermined Astbury's songwriting over the years: namely, his propensity for awkward lyrics of the high school poetry club variety. Of course, rock lyrics aren't literature and shouldn't be judged by the standards reserved for literary criticism or analysis, but when you do something like rhyming "French symbolist poetry" with "the BBC" -- as Astbury did on the last Cult album -- you've got to expect a few winces. Although there are no cringers of that magnitude on this album, in certain places the lyrical content does blemish this otherwise respectable outing. While Astbury's "electronic landscapes" are fresh and compelling, with their driving beats and layers of sound, and while his voice is as effortlessly commanding and evocative as ever, on occasion you can hear the lyrics just a little too clearly. "Metaphysical Pistol" and "Devil's Mouth" are two instances of solid tracks that are marred by their words. The latter foregrounds the diametrically opposed poles of Astbury's abilities: an unparalleled gift for soaring -- wordless -- vocal flourishes and a talent for unfortunate rhymes (check out the chorus). "Metaphysical Pistol" features some equally dodgy writing and Astbury compounds the problem by enlisting a sampled Alan Watts, spouting popular psychology/philosophy that now sounds only one rung above John Gray or _The Celestine Prophecy_. By the end of the track, however, Astbury introduces some heavy beats into the initially low-key affair, managing to whip it up and salvage things somewhat. Minor grumblings aside, "Back On Earth" and the techno-meets-"Trampled Underfoot" of "High Time Amplifier" are unqualified successes. On these driving, forceful tracks all the components are well-integrated and arranged; and key among those elements is Astbury's voice, serving not so much as a vehicle for lyrics but as the effective and distinctive instrument that it always has been. Also noteworthy is the reworking of "The Witch," the hackneyed rock cliche of the lyrics eclipsed by its hypnotic and relentless, bass-heavy throb, reminiscent of classic Sisters of Mercy tracks like "Floorshow." Equally strong is the straight-ahead, no-nonsense drive of "It's Over," with its vaguely Stooges guitar, bass and drum feel. Judging by this album, it's certainly not "over" for Ian Astbury yet. Indeed, The Cult are currently back together -- again -- and recording. It'll be interesting to see how much of the vitality and momentum of _Spirit\Light\Speed_ Astbury will be able translate back to his renewed partnership with Duffy. --- REVIEW: 58, _Diet For A New America_ (Americoma/Beyond) - Bill Holmes It just goes to show that a little musical credibility and name recognition can still get you into the studio where you can try to fool people. If this music is the diet, we're going to starve to death. "The band has evolved into something really magical and fresh" claims Nikki Sixx, "it's strictly art-driven". Personally I prefer ex-Boxing Ghandi Dave Darling's critique: "It's all bullshit - loud, annoying bullshit". "Piece Of Candy" is one exception, a funky glam/hip-hop tune that sounds like an updated Bowie or Mott tune. It's a good song that seems exceptionally great when surrounded by some of the other failed experiments like "Shopping Cart Jesus" and the well-named "Songs To Slit Your Wrists By". "Stormy" sounds so much like a Garbage song I was amazed it wasn't a cover. But the vocals on several other tracks are grade-Z Eddie Vedder imitations (and considering Ed Ved sucks out loud, imagine what a non-compliment that is). I can't fault the imagination on the record, a swirling mass of rock, funk, metal, industrial and (mostly) beats and scratches. But this record has "unfinished" written all over it. A beat-box version of "Alone Again (Naturally)" complete with gravely sing-along vocals couldn't have looked good even on paper. One play can be tolerated for novelty status, but at six minutes long even that's a trial. At least they gave ol' Gilbert songwriting credit; I've heard records sample other songs more completely than this with nary a credit to the original composers and performers. The band, which also includes Barry Gibb's son Steve, is threatening to continue what was originally a one-off project between Sixx and Darling. "Like Steely Dan" says Sixx, "two guys who lived to write music together and made some great records". America - what a country. --- REVIEW: Kansas, _Somewhere To Elsewhere_ (Magna Carta) - Scott Hudson Forget that Kansas was labeled a "progressive rock" band. King Crimson, Yes, early Genesis - those were prog bands. Kansas was the epitome of homespun experimentation. Kansas was to the Great Plains what the Allman Brothers were to the South: a distinctly regional act cultivating an expansive though sometimes uneasy hybrid of styles: blues, classic rock, country, classical. Kansas was "Americana" before the term became hip. Now remember that nearly two decades ago Kansas' principal songwriter Kerry Livgren left the band to labor as a relatively obscure evangelical Christian artist. After his own AD project folded, Livgren reached his zenith with the all-instrumental _One Of Several Possible Musiks_(1989). After his disappointing _When Things Get Electric_ was released in 1994, it seemed this multi-talented musician and arranger had run out of ideas. About the same time a patchwork version of Kansas released the embarrassing _Freaks of Nature_. It appeared the glory had departed from America's heartland. Although Livgren rejoins his former mates on _Somewhere To Elsewhere_, forget that this is a so-called "reunion album." It is a focused, inspired, fresh effort, largely due to the fact that the concept began as Livgren's solo project. When drummer (and Kansas' leader) Phil Ehart heard what Livgren was working on, he was eager to get the old line-up into Livgren's GrandyZine studio. The album opens with "Icarus II", a patriotic ode to a B-17 pilot who sacrifices his life for the sake of his crew. At a critical point in the narrative when the bomber is about to engage, old fans will recognize a haunting reference to the opening theme of the original "Icarus" from _Masque_(1975). This is followed by the rocker "When The World Was Young," which interpolates the familiar finale from "Magnum Opus"(_Leftoverture_, 1976). But this album is not a rehash of nostalgic stock. Grandiose surprises await the patient listener. "Myriad" is not only the best track on this disc, it is one of the finest works Kansas has recorded in its 30-plus year history. The composition is Livgren at his best: abrupt changes in mood, intricate keyboard/guitar counterpoint and development of unusual passages. "Look At The Time" is a sweeping anthem with an unforgettable, apocalyptic theme. "Distant Vision" is an overtly evangelical statement driven by cosmic urgency. And "Byzantium" is perhaps the most unusual song Kansas has recorded, featuring an exotic intro and finale that could easily work as the score to a History Channel documentary. The song encapsulates Livgren's distinct philosophy: "City resting on a hill/Can your walls repel the tide of change/Under Pantocrator's rule/Did your golden domes reveal/ The frailty of the consequence/The conqueror was real." _Somewhere To Elsewhere_ is surprising as well as satisfying. Perhaps all Kansas needed to get back on track was to remember its best songwriter. Then again, maybe this is simply Kerry Livgren getting by with a little help from his old friends. --- REVIEW: Neve, _Neve_ (Portrait/Sony) - Paul Andersen Here is a group that has been blessed with good luck and kissed by bad. Hailing from Simi Valley, California -- perhaps best known as the site of the first Rodney King trial that set off the L.A. riots -- the four members of Neve clicked from the start. Quickly compiling some solid songs and an energetic, fun live show, the band created a huge So Cal buzz and was signed by Sony within months of forming. Everything seemed really to be going their way. They placed a track on the soundtrack to "The Faculty," and it wasn't long before "It's Over Now" was getting airplay on local alternative giant KROQ. Things seemed to be falling in place, and the future required sunglasses. Then a funny thing happened. The album had its release date delayed. Again. And again. And again. I've been listening to an advance I got _last_ summer (they must feel like they have literally given birth to this project), but finally they have got a solid release date, which was once again delayed two weeks - just for spite, I guess. Anyway, let me get to the point. Sometimes, good things don't come easily, and Neve's debut is definitely a good thing. With 13 solid pop songs that show an eye for lyrics that plain folks can relate to and an ear for matching them with melodies that will leave you humming (they've got a knack for hooks so sharp there should be a warning label) after one listening, it was worth the wait. Vocalist John Stephens has an easy voice to like, while guitarist Michael Raphael drives the sound with sparkling riffs. Bassist Tommy Gruber and drummer Burwell keep the rhythm focused and driving. And don't think that Neve is a powderpuff pop band -- they crank it up and rock. The group has just aligned with alloy.com, a clothing company geared towards teenage girls -- they'll be running audio on site along with contests featuring the band - that should prove to be a perfect fit. Sony has released "It's Over Now" as the first single, and it should be continuing its climb up the charts as you read this. It's a great summer single, and its success should serve as a payback for four patient guys from Simi Valley. And just perhaps, that town will now have another reason for infamy. --- REVIEW: Arab Strap, _Mad for Sadness_ (Jetset) - Wilson Neate Recorded live at London's Queen Elizabeth Hall in September 1998, _Mad for Sadness_ came out in the UK as a limited edition release between Arab Strap's second and third albums, _Philophobia_ (1998) and _Elephant Shoe_ (1999). While _Mad_ draws primarily on material from _Philophobia_, it also incorporates "Blood" from 1996's _The Week Never Starts Round Here_, as well as material from singles/eps ("Girls of Summer," "Phone Me Tomorrow" and "Toy Fights"). Crucial to Arab Strap's formula are Aidan Moffat's understated, spoken vocals. Part Jarvis Cocker and part Ian Curtis -- especially on tracks like "Here Were Go" and "Phone Me Tomorrow" -- he leads the listener on an endless pub-crawl through heavy drinking, small-town boredom, embattled masculinity, largely ill-advised and ill-fated sexual adventure, (self) recrimination and still more drinking. While the subject matter of Moffat's low-spirited mumblings is relentlessly grim, he manages to inject his songs with an almost imperceptible irony and wit that save them from the horror of earnestness. As he has said: "You've got to have a sense of humour about yourself if you want to communicate something quite depressing." With regard to content, Moffat recalls Dave Gedge of the Wedding Present. Gedge was the master of the hysterical and histrionic chronicle of romantic misery and compromised masculinity. Moffat retreads the same miserable ground, albeit over-writing Gedge's realism with dark naturalism; he adopts a resigned tone in the face of his environment and its (female) inhabitants. In terms of his delivery, Moffat also evokes a dissolute Bryan Ferry, if such a thing were possible. Ferry excels at sounding like he's reclining while he sings his ultra cool, laid-back love songs; Moffat's songs of often frustrated love and lust take it further, giving the impression that he's more hung-over and laid out than laid back: perhaps, completely prone as opposed to simply reclining. Above all, however, _Mad_ documents how effectively Arab Strap translate their, for the most part, sparse sound to the live venue. An integral part of that process is the granting of equal billing (and more) to the instrumentation, alongside Moffat's excruciating confessional monologues. While on previous studio recordings the music has, arguably, remained slightly subordinate, the arrangements here bring a refreshing level of intensity and a measure of space to the proceedings, expanding the focus beyond Moffat's insular narrative world. Just as _Mad for Sadness_ particularly underscores Malcolm Middleton's glimmering, minimal guitar work that alternately hovers over and cuts sharply into the tracks, it also stresses the solid bass and drum patterns of Gary Miller and Dave Gow that coax the songs forward. "Girls of Summer" offers a noteworthy example of Arab Strap's live translation of studio material. Its changing tempos, crashing instrumental section and thumping, clubby finale drag us out of the pub, take us to the disco and, ultimately, leave us back where we started -- at the pub -- making an epic sonic binge out of a prosaic, drunken night out. During "New Birds" and "Piglet," the mournful -- and at times blackly humorous -- conversational wanderings of Moffat are offset with moments of guitar intensity, courtesy of Middleton. Similarly, the post-coital duet of "Afterwards" -- one of the two songs on which Moffat is joined by Adele Bethel -- is punctuated by some fiery guitar before the track wanes away. For the novice, this is an unsettlingly beautiful introduction to Falkirk's doyens of melancholy melody and, for fans, it's confirmation of Arab Strap's ability to deliver the goods live and to provide compelling rereadings of familiar material. --- REVIEW: Jimmie Van Zant Band, _Southern Comfort_ (J-Bird) - Linda Scott With that album title and frontman's last name, do you think this might be a Southern Rock album? Absolutely, but its appeal goes beyond that group of fans. If you like rock and roll, you'll like _Southern Comfort_. From the first rocking track, "Get Up", to the "Party In The Parking Lot", you can't sit still and just listen. It's a good time, party, rock dancing album. The Van Zant Band should be proud. The melodies, rock beat, lyrics and vocals shout "talent", and with good reason: Jimmie Van Zant has the music in his blood. His late cousin, Ronnie Van Zant, sang for Lynyrd Skynyrd, and Jimmie and Ronnie were more to each other than cousins. Ronnie had a passion for music that he shared with Jimmie as his teacher and mentor. Jimmie's looks and talents are very much like Ronnie's. Ronnie Van Zant was killed in a plane crash that took some other Skynyrd members, and Jimmie commemorates his friend and cousin in "Ronnie's Song". He's also chosen to cover Ronnie's "Simple Man" which was originally performed by Lynyrd Skynyrd. The band is obviously proud of their Southern roots. The CD artwork is covered with Confederate flags and the CD itself looks like Confederate money. Van Zant must realize that the artwork can put off potential fans, as it seems to say that if you're not part of this mindset, then you're not welcome. Pride in one's origins is no problem if you don't mind offending or alienating potential fans. Hopefully, the Van Zant Band will choose a more universally welcoming theme next time. Set the artwork aside if it bothers you, and give _Southern Comfort_ a try. Rockers will love it. --- REVIEW: Billy Burnette, _Are You With Me Baby_ (Free Falls) - Bill Holmes When your father and uncle are Dorsey and Johnny Burnette of The Rock And Roll Trio, you grow up breathing music. And when the very word "rockabilly" is derived from your name (along with that of cousin Rocky), your path is clear. But despite several releases and years as a busy songwriter and performer, Burnette's highest profile gig was probably the several years spent in the last incarnation of Fleetwood Mac (post-Buckingham/Nicks, pre-reunion). In hindsight, that must have been as attractive of a career move as replacing Keith Richards in the Rolling Stones; no contribution would ever erase the burden of following in Lindsay Buckingham's footprints. So back to his roots he went, and found that they not only fit like an old shoe, but he'd also learned a few new steps. Interestingly enough, the least successful material on this record emulates that Fleetwood Mac style of play - for example, the guitar arpeggios that open "Highway Of Love" have Buckingham written all over them. When _Are You With Me Baby_ is at its peak - and that happens frequently - is when Burnette and company lock into a groove and just let it rip. Rafe Van Hoy and Burnette favor a simple and clean production technique which lets songs like "Gimme You" and "Didn't Start Livin'" rock out as much as the cover of the Trio's "Believe What You Say". Just as effective are the mid-tempo rockabilly numbers like "What A Woman Feels", "Too Much Information" and "Love Me Back"; their hiccup-vocal, slap-bass sound recalls early Elvis (down to Kenny Vaughn's Scotty Moore licks on latter tune). Burnette is in strong voice throughout, and the band (also featuring Dave Roe on stand up bass and the underrated Ian Wallace on drums) sound like they're smiling ear-to-ear. Burnette dedicated this record to his famous father and uncle, promising to keep the spirit of their music alive in the new Millennium. Pedigree notwithstanding, the fact that the vintage "Believe What You Say" fits well alongside Billy's self-penned tracks might be the best validation of that promise. File this highly enjoyable record alongside your Dave Edmunds, Robert Gordon and Fabulous Thunderbirds records. Better yet, slap them all into a CD changer, hit shuffle-play and turn it up! (http://www.freefalls.com) --- REVIEW: Steely Dan, Live at Universal Amphitheatre, Universal City, California, June 13, 2000 - Paul Andersen They're back! Patience is rewarded at last. The Dan is back. Instead of a "How ya doin', L.A.?" to pump up the crowd like most groups, Donald Fagen kept proclaiming, "Well, all righty," numerous times throughout the evening, like a somewhat crotchety university professor getting ready to write another theorem on the board. But then, Steely Dan has always marched to its own drummer, often in an odd time signature. Though they did a number of tours throughout the 90s as Steely Dan, Fagen and his partner, guitarist Walter Becker, felt they needed something to promote other than songs that are currently a couple of decades old. They now have their new album, _Two Against Nature_, and the new songs seemed to rejuvenate the pair, as they proved Tuesday night at the Universal Amphitheatre in the first of three local shows. Even with audio problems that distracted Fagen throughout most of the first half, the duo, backed by an eleven member ensemble that understood all the rich nuances inherent in their music, put on a show that will surely rank among the best of the year. Steely Dan has always been as much a jazz entity as a rock band, and that is the side that came across the strongest on this night. Of course, with talent like drummer Ricky Lawson, saxists Cornelius Bumpus and Bob Sheppard and trumpeter Michael Leonhart, it would be hard to sound bad. But thanks to some imaginative rearranging of the older songs, which reached across the breadth of their career, all of the FM staples (including, of course, the song "FM") that have kept their name a constant on classic rock and smooth jazz radio were played with fire, verve and, at times, wild abandon. In retrospect, looking back over the set list, the group only played four new tunes: "Janie Runaway," "Gaslighting Abbie," the appropriate "West of Hollywood" and the dark, twisted single, "Cousin Dupree." But the manner in which they merged in with the others, seamlessly joining them in such a way as to not know where in the timeline they fit (if you didn't know better), was eerie, proving once again the totally timeless nature of their music. But, the Dan being the Dan, there were a few surprises. Guitarist Denny Dias, an original member of the band in the early 70s, joined them on a number of songs, including his old feature, "Do It Again." A jazzy romp through a Henry Mancini number opened up the second half. Eagle member Timothy B. Schmitt came out to do some background vocals. But mainly, it was a time for celebrating the genius of an unlikely dynamic duo. All righty, indeed! --- REVIEW: Car 44, _Platinum Holes_ (Thirsty Ear) - Joann D. Ball From zero to 100 in a matter of seconds, Car 44 revs up its indie rock engine on the debut CD _Platinum Holes_ (Thirsty Ear). Driving Car 44 are vocalist Dahna Rowe, guitarist/backing vocalist John Conkle, bassist Rob D. and drummer Billy Crawford. And in no time flat, they have made their mark on their local Virginia Beach, Virginia music scene. _Platinum Holes_ arrives just months after Car 44 was named Hard Edge Rock Band of the Year in Nine Volt Magazine's First Annual Music Awards. The band's hometown music magazine also gave the Best Singer award to Rowe and the Best Songwriter award to band leader John Conkle. And now, the New South's indie rockers are ready to move beyond the local and regional scene for the national big time, fully equipped with their loaded guitar rock sound primed and ready to go. The well crafted _Platinum Holes_ was fine tuned by former Rollins Band guitarist Chris Haskett who produced the record, and mixed by Rollins Band engineer Theo van Rock and his partner Peter Rave. Thanks to these extremely able mechanics, Car 44's first run, which clocks in at almost fifty minutes, is a trouble free success. Rowe's commanding vocals are precise and clear, and glide smoothly over Conkle's fully ignited, hooky guitars which run on top of a revved up, highly fueled rhythm section. Car 44 fires up _Platinum Holes_ with the super charged power rocker "Baby It's Me." On this opener, Rowe declares "Baby I got all you need, all of your necessities." And that is most definitely the case, as the band thunders through the propulsive "Fools" and burns rubber on a 'my way or the highway' tale called "Rid of You." Car 44 then changes gears and slows it down for the hauntingly beautiful "John Thomas Lover," which is surprisingly the best track on this otherwise turbo charged release. On the melodic "John Thomas Lover," Conkle's textured guitars are breathtakingly hypnotic as Rowe sings with an ache-filled yearning for a special man to be there in a time of need and fill all of those platinum holes with love and support. On "Rock Star," which Rowe also penned, the longing is not for a lover but for real rock and roll heroes and icons in an era when music is product, images are fleeting, and songs no longer last forever. Car 44 puts the pedal to the metal again on "Fall 4 Me" and charge full speed ahead through the remaining seven tracks, blowing through the hard driving "M-12-11" like a speed demon through a red light. By putting the money on Car 44, Thirsty Ear's A&R wiz Laurie Stalter has picked a real winner. Right outta the box, Car 44 delivers thirteen great songs with intelligent lyrics and fueled by indie rock attitude. Car 44 is this year's model and _Platinum Holes_ is one of 2000's best independent label rock debuts. --- REVIEW: Jel, _Too Much Imagination_ (Smoove) - Bill Holmes It's not easy to break a band these days. Jel's press kit highlights the fact that eleven bands contributed to the formation of this quintet. Excuse me? Hell, I've been in seven myself. (Well, eleven _good_ bands might have been impressive. Maybe that's why they don't send bios to the fans who buy the records.) They are also billed as a power pop band; in fairness, Jel does sustain several vocal moments that make me think of Glenn Tilbrook (Squeeze) or the introspective side of ex-Caulfields singer John Faye. And musically, the leadoff track "What Kind Of Mood" starts out with the right pop song elements, even after some whip-cracking guitars come in to light the fires. But "power-pop" means bands like Badfinger, Raspberries or even Cheap Trick; many of these songs are a lot heavier and sound more like Dada than Big Star. And that's fine - Dada kicks ass, and the Flea-like sonics that bass player Tony Germinario cooks up on "Dreams" (the first single) and "Get In Line" are appropriately propulsive. "Paint" is pretty funky, and Jeff Katz contributes some strong guitar licks. But Jel sometimes falls into that angst-ridden territory where bands like Live.er, live. The drummer overplays, the guitars ring like Metallica, and Preston moans loudly about pretentious nonsense. (Why bands feel the need to record turgid slabs of overbearing crap -here "Suburban Legend" answers the call - is beyond me. But I'll bet other reviews highlight this track as "intense".) Vocalist Jeff Preston sounds like three different people on _Too Much Imagination_. When Jel rips through melodic rock material, the Tilbrook/Jude Cole comparisons are apt. Acoustic tracks (and "Long Green Hair" and "Renew" are the best songs on the record) suit Preston best; his voice commands the material and the band is powerful but restrained. I must admit I miss bands like Toad The Wet Sprocket, and if Jel had an inkling to focus in that direction they'd be as good or better. They flash the lyrical chops ("More A Mystery", "Renew") that could separate themselves from the alterna-wannabe pack. I think _Too Much Imagination_ has many strengths, but I'm not sure which is the wolf and which is the sheep's clothing. (http://www.jelbait.com) --- NEWS: > Green Day has launched their official web site, http://www.officialgreenday.com . The band have also set October 3 as the official release date for their forthcoming Reprise album, _Warning_. > Hootenanny 2000 will take place on Saturday, July 1 at 11 am at the Oak Canyon Ranch in Irvine, CA. Performers include Chris Isaak, Rev. Horton Heat, Lee Rocker, Royal Crown Revue, Hank Williams III, Blasters, Amazing Crowns and more. --- TOUR DATES: Cravin' Melon Jun. 30 Greenville, SC Handlebar Jul. 1 Columbia SC Elbow Room Jul. 2 Atlantic Beach NC Ziggy's By The Sea Jul. 3 Wilmington NC Marrz Jul. 4 Charleston, SC Brittlebank Park Deftones Jul. 1 Chicago, IL Riviera Theatre Jul. 3 Kansas City, MO Uptown Theatre Jul. 6 St. Louis, MO American Theatre Jul. 8 Columbus, OH Newport Music Hall Jul. 9 Grand Rapids, MI Orbit Room Jul. 10 Cleveland, OH Agora Ballroom Foreigner Jul. 7-8 Las Vegas, NV Flamingo Hilton Jul. 9 Redondo Beach, CA P.A.C. Indigo Girls Jun. 28 Cedar Rapids, IA Paramount Theatre Jun. 29 Milwaukee, WI Milwaukee Summer Fest Jayhawks Jun. 28 St. Louis, MO The Firehouse Jul. 4 Albuquerque, NM KPEK, The Peak Picnic Jul. 6 Chicago, IL Petrillo Band Shell Jul. 8 Minneapolis, MN Basilica Block Party Kansas / Yes Jun. 28 Denver, CO Fillmore Jun. 30 St. Louis, MO Riverport Amphitheater Jul. 1 Kansas City, MO Sandstone Amphitheater Jul. 2 Dallas, TX Starplex Jul. 5 Pittsburgh, PA Post-Gazette Star Lake Amphitheater Jul. 6 Cleveland, OH Blossom Amphitheater Jul. 7 Columbus, OH Polaris Amphitheater Jul. 8 Chicago, IL Taste of Chicago Festival Jul. 11 Detroit, MI Pine Knob Jul. 12 Cincinnati, OH Riverbend Amphitheater Steve Miller / Gov't Mule Jun. 28 Indianapolis, IN Deer Creek Amphitheater Jun. 30 Dallas, TX Starplex Amphitheater Jul. 1 Oklahoma City, OK Zoo Amphitheater Jul. 2 Albuquerque, NM Mesa Del Sol Amphitheater Jul. 6 Sacramento, CA Sacramento Valley Amphitheater Jul. 7 San Jose, CA Shoreline Amphitheater Jul. 8 San Bernadino, CA Blockbuster Amphitheater Jul. 9 Temecula, CA Pechanga Entertainment Center Alanis Morissette Jun. 29 Chennai, India Jawarhal Nerhu Indoor Arena Jun. 30 Delhi, India Indira Ghandi Indoor Stadium Jul. 2 Mumbai, India Film Studios Jul. 5 Beirut, Lebanon La Marina Jul. 7 Mulhouse, France Belfort Festival Jul. 8 Frauenfeld, Switzerland "Out In The Green" Festival Jul. 9 (near) Milan, Italy Monza Festival Jul. 11 Lucca, Italy Town Hall Jul. 12 Pula, Croatia Arena Jimmy Page / Black Crowes Jun. 28 Pittsburgh, PA Coca-Cola Star Lake Jun. 30 Holmdel, NJ PNC Bank Arts Center Jul. 2 Boston, MA Great Woods Jul. 4 Raleigh, NC Walnut Creek Amphitheatre Jul. 6 Washington, DC Nissan Pavilion Jul. 8 Philadelphia, PA E Center Jul. 10 Wantagh, NY Jones Beach Amphitheatre Phish Jun. 28-29 Holmdel, NJ PNC Arts Center Jun. 30-Jul. 1 Hartford, CT Meadow Music Theatre Jul. 3-4 Camden, NJ E Centre Jul. 6 Toronto, ONT Molson Amphitheatre Jul. 7 Burgettstown, PA Star Lake Amphitheatre Jul. 8 East Troy, WI Alpine Valley Jul. 10-12 Indianapolis, IN Deer Creek Music Center Sister Hazel Jun. 29 Tampa, FL Jannus Landing Jul. 1 Myrtle Beach, SC House of Blues Jul. 2 St. Louis, MO Laclede's Landing Jul. 2 Chicago, IL Lincoln Park Zoo Jul. 3 Orlando, FL Crane's Roost Lake Park Jul. 4 Milwaukee, WI Summerfest Jul. 7 Charlotte, NC Tremont Music Hall Jul. 8 Birmingham, AL 5 Points Music Hall Jul. 9 Memphis, TN New Daisy Theater Sally Taylor Jun. 29 Salt Lake City, UT - Zephyr 3 Doors Down Jun. 28 Philadelphia, PA WPLY Show Jun. 29 Toledo, OH Continental Terrace Jul. 4 Milwaukee, WI Summerfest Warped Tour (Green Day, Long Beach Dub All Stars, NOFX, Mighty Mighty Bosstones and many more) Jun. 28 San Diego, CA Coors Amphitheater Jun. 29 Los Angeles, CA Arrowhead Pond Lot Jun. 30 Los Angeles, CA Arrowhead Pond Lot Jul. 1 San Francisco, CA Pier 30/32 Jul. 2 Lake Tahoe, CA Boreal Ridge Jul. 3 Boise, ID Idaho Center Jul. 4 Seattle, WA The Gorge Jul. 6 Calgary, ALB Race City Jul. 7 Missoula, MT Grizzly Stadium Jul. 8 Salt Lake City, UT Fairgrounds Jul. 9 Denver, CO Mile High Stadium Jul. 11 Minneapolis, MN Metrodome Lot Jul. 12 Chicago, IL World Theater Wheat Jul. 7 New York, NY Knitting Factory --- Founded in August, 1993, Consumable Online is the oldest music reviews publication on the Internet. 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