== 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 
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==================================================================
	All articles in Consumable remain (C) copyright Consumable 
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                            .------------.
                            |  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
---
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