Stone Temple Pilots Some How Still Stole the Show!

Post Scott Weiland Stone Temple Pilots, was possibly the biggest surprise of my rock concert daze. I doubt I will ever have another rock experience quite like this again.

The Revolution 3 Tour, with Bush, The Cult and Stone Temple Pilots... Yes, Stone Temple Pilots, and before you check it out on google, you were not mistaken, Scott Weiland did just die in 2015. But we will go into that later in the article, first things first.



It was the final stop on this tour, and imagine my astonishment when I heard The Cult was the opener of this show. The Cult, had a handful of hits on the Album Rock radio format for sure, and possessed superior talent to many of their more commercialized contemporaries of the 80's. But lets face it, they were never the monsters of rock in their hey day. But they still had the original lineup with the immense power vocals of Ian Astbury and they were great showmen. The Cult is a picture perfect measure of Rock n' Roll professionalism and they have that set down. Certainly, they were no STP in terms of success, but c'mon... STP has a new singer, that should put down a few notches right?




And now on to Bush, was for my age bracket in high school, the "IT" band. They were the next punch of the grunge era after the death of Kurt Cobain. Grunge, but not from America, they were a touch of goth and a sloppy erratic processed guitar effects that were definitely cut from the Seattle sound. But Bush came a bit too late to be pioneers of that genre. They seemed packaged and ready to be sold on lunch boxes and T-shirts at Millers Outpost coming out the gates. But they had an undeniably great sound. It seemed like they were almost accidentally good. The unique vocals of famous frontman Gavin Rossdale gave credibility to what looked like the latest mediocre product of the MTV generation. A desirable crooning English rocker with a god like voice crunching through barely rhythmic power chords, intentional feed back and indiscernible guitar solos. The problem with Bush for most rock fans... they did too good of a job appealing to young girls. They were so popular, they almost became the Nickelback of their era. But they didn't, and here they are, rocking again.

Gavin Rossdale looks almost exactly the same. Same hair, fit and minimal signs of age. Voice hasn't wavered, but let us face it, the grunge voices didn't challenge themselves the way the era of Journey and Bon Jovi did. His stage strutting rock moves weren't the coolest, but I can give him an A for effort.
I couldn't tell if it was the original band. They looked too young to be the originals. They looked liked Rossdale called the ad agency for Old Navy and trained some jeans models to play his old songs. Bush was exactly how I remembered them, no more, no less. Fun, energetic and cool. They sounded just as you would hope. However, Bush made one painful error. They allowed Stone Temple Pilots to open for them.

When I saw the order of bands at the show, I thought it was terrible for STP to be second on the bill. I have seen Skid Row, Blind Melon, Warrant, Queen, and several other bands with new singers. All of them were failures, in tragic ways. I know Sublime sorta pulls it off, but it just seems like a whole new band that plays some Sublime songs. Van Halen is just another band altogether, and I believe so is AC-DC. So, my expectations were pretty much telling me it would be a good time to go to the bathroom and stand in line for a personal pizza. Thank the lord I stayed.













Stone Temple Pilots new frontman Jeff Gutt, was astonishing. I just don't know how else to put it. STP stole the show even with an unknown on vocals. I realize Gutt had a career and was featured on the X-Factor. But my ability to recognize the X-Factor as anything more than a cheap reality show that harnesses no reality dismisses any credibility to a singer might have otherwise had. My brain wants to injustify my interest because, it was no different than watching an Elvis or Micheal Jackson impersonator in Las Vegas, yet we didn't seem to care as an audience. Jeff Gutt did a dead on impression of the charismatic frontman Scott Weiland. Weiland, to me seemed just irreplaceable. And Weiland, I put him in a category of the elite stage strutters of all time. From Elvis, to Jagger, Tyler, Roth, Mercury, Rose... I think Scott Weiland was easily the most magnetic on stage of the 90's. STP took a back seat to the popularity of Pearl Jam, Soundgarden and Nirvana, but I don't think any of those bands would have the gall to have STP open the show.
Having said all that, Jeff Gutt captured Weiland's raw mojo just brilliantly. I wanted to dislike him, but he won me over before the first song was over. Much like a comedian putting his best joke in the front to capture the audience, he sucked me right in. He dressed like Weiland, sang like Weiland and moved distinctly like Weiland's unmistakeable wiry, slightly effeminate yet really cool motions. He was undoubtedly, the coolest man in that arena. He is the guy you want to party with,
banging out album rock hits like Wicked Garden, Sex Type Thing, Big Bang Baby, Vaseline. They had to cut hits off the set list to make room for the new material featuring Gutt. The new material is solid, just as solid as I would imagine Weiland doing had he been alive today.

Although it's hard to imagine STP having a real rebirth, Jeff Gutt is not Brian Johnson or dare I say, Sammy Hagar who can lead the band to new relevance, but damn, can he perform the living hell out of a packed crowd with the arsenal of the original STP behind him. If I didn't know Scott Weiland was dead and if I was sitting even five rows further back, I probably never would have figured out it wasn't Weiland. That in it self was worth the ticket. But eventually, you just listen and realize, Stone Temple Pilots are one of the best rock bands ever, and for me, it required seeing them live to realize that statement. It's almost as if they crept up on us in the 90's and just became an overlooked part of our collective subconscious. They didn't have a Smells Like Teen Spirit, Welcome to the Jungle, or a Surrender. But they had riffs and hooks just as memorable. Guitarist Dean DeLeo is very underrated. He wasn't a virtuoso like Joe Satriani, an innovator like Jimmy Page, but DeLeo wrote some of the best riffs in rock history, that sounded classic on the first time you heard them. Their songs were so commonly slow and steady, not head banger party songs, more like soundtracks to your after prom hangover. It took having these licks jump out of the speakers one after another live on stage for me realize how much they embodied the final great era for popular Rock n' Roll. Watching them live shoots a surges of electricity right into your spine when you hear Jeff Gutt scream the words to Dead and Bloated. It was one of those rare times when watching the opening band systematically cut the heads off of the headliner. Much like Jerry Lee Lewis used to set out to do when being the warm up act to Elvis, Cash or Chuck Berry.

Stone Temple Pilots will never be the same without Scott Weiland as the quarterback, but I think even Weiland would look at Jeff Gutt at the helm and admit from the audience, "Damn, he's pretty good."

Van Halen 2015

Reviewing Van Halen for me is like a preacher reviewing his religion. Sure, it might have flaws, but getting your preacher to admit them is unlikely. I have become the person who goes to a Bob Dylan show in the modern day and swears he is still awesome. It's not easy to be rational, but I will do my best.

I dragged my wife 7 hours away to Phoenix, AZ and took two days of PTO to see Van Halen. Not because she was a big fan, or that we needed a get away, but I took her out social responsibility – she needed to see one of America's greatest contributions to pop culture. She knows they are important to me, and can list about 12 hits if her back is against the wall, but she doesn't know a whole lot more than the fact that they have a good guitar player and a witty and unapologetically sleazy frontman. So, as any good husband should do for a wife who grew up without the proper rock n' roll influences in her upbringing, I had us listen to the honest Van Halen biography on the way to the show. As she listened to the absurdity of the rock n' roll lifestyle that was the 70's and 80's through the lens of the crown princes of excess, I began to watch her understand all the drama, brilliance, disgust and fairy tale story that is Van Halen. Through her eyes, I was beginning to see Van Halen again –for the first time – and found the only way I could to try and be ready to prepare an honest review of a band who I have cherished since I was in diapers.

At the show, we sat in our seats next some obnoxious and overly touchy middle aged drunk men as the opening act, white blues wanker Kenny Wayne Shepard, predictably improvised blues licks to a rudementary bass line for what seemed like hours. Shepard was about as good on the guitar as anybody, but watching him is more of a circus act than musical. He really only appeals to guitarphiles and people who are astonished by the note-to-time ratio.

Then, 8:45, 15 minutes earlier than I expected, the lights went down. Alex banged on his drum as Eddie and Wolf casually walked on stage to a roar of slightly surprised fans. Then, hanging on the edge of the drum riser, standing on one leg, leaning compleley forward with two large drum cymbols clashing together, stood what I believe is the only frontman worthy of side-kicking to Eddie Van Halen, and that was David Lee Roth. Once again, I was a 17-year-old boy.

They opened with Light Up The Sky, an album track from their second record. All I could think of was, "Wow, how ballsy!" The stage was nothing like we would have seen in the 80's. A modest light rig for a stage of that caliber, there were no hanging wires, no inflatable microphones or legs, no pyro technics and no stage that walked deep into the center of the crowd. Van Halen was doing what so few bands at this level dare to do – just let the music do the talking. Van Halen, arguably the group most responsible for outlandish stadium performances, was just playing it straight. The band was all just in plain T-shirts and jeans, except Dave of course,  who was wearing a flashy sequenced jacket. Pretty flashy no doubt, but by David Lee Roth standards, he may as well have been wearing what he wears to a morning radio interview.

The set list didn't include a few obvious hits like Jamie's Cryin', Cradle Will Rock, and I'm the One. So many album tracks were included, along with a track from A Different Kind of Truth. This one was definitely for the fans, the fans who don't have the stamina to crowd the front of the stage and fight for position.

I could wax about how the band was perfect, but other than Dave, you really only are there to watch Eddie Van Halen. Eddie was perfect; he jumped around and had about as much fun on that stage as was possible for a 60 year old cancer survivor. He was not sliding on his knees and blowing smoke rings, but he still gave you just enough to let you know he loves playing for you as much as you love watching it.

I have seen every incarnation of Van Halen: Dave, Sammy, Gary and Dave again. I maintain that Dave was the best, especially on that first reunion tour in 2007. However, Dave was off this night. Certainly, he still has moves. He's not as athletic as a 21 year old, but he can dance like a real pro. What age has done to him wasn't the issue. If you bought the live record, you were probably disappointed in how hard Dave was to listen to. People say he can't sing anymore, if he ever could. Well, only people who have never sung in front of a crowd would dare say that, because, if you try and sing along, you will know that Dave can sing the lights out. And you know what, he still can, but he seems to be choosing not to. Dave spent so much time improvising, changing the timing, pitch and skipping so many words that it was impossible to sing along with, with the exception of the chorus. Don't get me wrong, they are his songs and he can do what he wants, but his improvising was way too much. So much so, it was dissatisfying. It would be easier to accept if Dave was just old and less capable, but he shows you just enough of his voice to let you know that is not the case. He just refuses to sing the song straight; he has sung those songs so many times, he seems to be bored of them.

That being said, one thing Dave will never let us down with is his rapping with the crowd. He is still the crowned king of rock n' roll storytelling. During one of his break downs in "Dance the Night Away", Dave explained the rock n' roll front man trick called the "Half Jesus." I burst out laughing multiple times throughout the show and was completely entertained by Dave's antics. It's been said by many that all comedians want to be rock stars and all rock stars want to be comedians. It is my firm belief that David Lee Roth is the only one who is both, which may be is what best explains why I believe he is the best rock star who ever lived.

Despite the huge set back with Dave's voice, I had the time of my life. Now for the first time, my beautiful bride joined me to watch what is one of the most important things to me. In my never-ending quest to be understood, even to my own wife of 5 years, this was the final thing she needed to see to understand me as a person. After listening to the dirty underbelly of Van Halen's story on the way to the show, she still captured the wow of what she was truly experiencing... that she was watching a legend.  We have gone to a multitude of concerts together, many of them huge bands with storied careers, but for the first time, she understood that we were in the presence of living legends.

Van Halen is 3 decades past their prime, but something about watching them in this day and age almost makes them seem even more interesting. Of all the things that stood in the way of Van Halen coming together for this tour, it was a miracle that we witnessed what I grew up my whole life thinking would never happen. Seeing these living relics of a place in time that existed after the 60's sexual revolution and before the 80's AIDS epidemic and war on drugs, we were gawkers of the pinnacle of everything conservatism was against. From Running with the Devil to Hot For Teacher, we were enveloped in another world where people lived like tomorrow didn't exist, right in the moment of our own being: David Lee Roth, still the most charismatic and funniest front man in the sport, and Eddie Van Halen, still the guitarist that all other guitarists are measured up to.

So much of how I see the world and relate to people can be explained through the details that lay between the lines of Van Halen's lore. My older brothers were mostly good to me, but possibly the greatest thing they inadvertently passed down to me was a passion for rock n' roll in its finest form. Being with my wife, watching a band that is so unique that it's impossible to think that they could ever be recreated or outdone, was, in my crooked world, a perfect moment.

Cheap Trick - I understand the appeal

For some bands, it's not difficult to see how they might age gracefully into their golden years. Nobody should be surprised to see Springsteen still bring down the house, or John Cougar Mellencamp, but I wouldn't have guessed Cheap Trick.

If ever an alien holds a laser gun to my head forcing me to give a top ten list of songs that will most easily rock his brains out, I am reasonably certain I would have to give Cheap Trick's anthem "Surrender" the nod on my list. "Surrender" is most of the reason I felt the need to watch Cheap Trick. It is one of those songs I so badly wish was written for my generation specifically, as if I can claim it is part of my own. Something about that chorus just makes me wish I could see that show with my best friends near the front the stage, aggressively pumping our fists in the air, chanting that chorus as loudly as possible. There are some pop tunes whose charm or power even I can't resist.

Thankfully, they had a hit featured on the 90's teen movie "10 Things I Hate About You," or else I would not have successfully dragged my wife out to see them. "I Want You to Want Me," the hit I am reasonably certain no young woman in the seventies couldn't love, gave my wife just enough interest to drive 15 minutes for the show.

Cheap Trick is a band I never knew what to think of. Their album tracks have a lot of really innovative and rocking solos and psychedelic jams. They have one of the most definitive rock anthems ever written ("Surrender"), followed by one of the worst soft rock jams ever recorded ("The Flame"). They definitely didn't care where they stood with either crowd, and they just played what they liked, which is the other half of what piqued my curiosity to see them when they came to town.

Cheap Trick still sounds and looks great. They didn't trade their loud street-wear for a more contemporary daddy look. They pretty much come on stage with the same look, energy and talent of their former selves. To my surprise, it still works – they were really on their game, and worth the price of the ticket.

Sure, they played mostly music that was captured on vinyl 25 to 35 years ago, but they seemed as good as they ever were, no more, no less. (To be fair, I have only watched taped concert footage before this point.)

However, I am firm believer rock music should not be enjoyed sitting down. Sitting down is for people who either have no choice or have lost their sense of rock n' roll. I made the bad decision of not acquiring the floor area. Nothing can be more frustrating than watching a band really shake the walls and having to sit in seat R92. Seeing the show sitting down was only slightly better than watching it on TV.

My recommendation: if you are fan of Cheap Trick on any level and have an opportunity to see them live, go to the show. It won't disappoint, but do not get a chair. There is nothing more uncool than being the only guy who stands in your row to pump your fist in the air to "Surrender." Had I been in the front, I would have lost myself in the glory of Cheap Trick and had a night never to forget. Cheap Trick puts on a really rocking' show, and most of us in the chairs will never know it.

Wanda Jackson - The Fountain of Youth

It really doesn't matter if you like Elvis or not – if he paid you a complement in public, it will probably wind up on your tombstone. In Wanda Jackson's case, Elvis probably didn't pay anyone a higher compliment than deeming a woman "The Queen of Rockabilly.”

When the rockabilly genre was at its peak in the '50s, Jackson was right in the thick of things. In fact, she even dated Elvis Presley himself! (There is no doubt that woman has serious mojo). 

Jackson has certainly been here from the beginning. She is the real deal and there are not many of her contemporaries who survived to be able to play along side her to this day. That certainly makes Jackson seem old, and technically that is true, but her spirit was as young as they come at the Rockabilly on the Route festival in the summer of 2013. Hall of fames for rockabilly, rock n' roll, and Oklahoma country have finally welcomed her and, as a fan, it was long overdue that I made it out to her concert.

The modern rockabilly revivalists generally are not people from the ’50’s. They are in their 20’s and 30’s perfecting the look of the street punks from Rebel without a Cause. Many of them don’t mind or even prefer an exaggerated punk rock version of the Sun Records icons. The Chop Tops, Jackson’s opening act, loved watching her rock that stage like teenagers watching Katy Perry. Jackson’s fan base is not fickle, but a loyal and respectful one.

Jackson sounds EXACTLY like she did in her early records, which is extremely bizarre. If I didn't know better, I can almost believe it was staged. Jackson’s voice hadn't aged a bit. Let's just put this out there: what Jackson sang like in her day wasn't exactly a pretty sound. She had a hardened smoker’s voice, lots of sass, way more so than her predecessors and even contemporaries. It’s difficult to find her direct influence. She sort of reinvented country and rock n’ roll in her own way, with her glittery outfits and her raw and unapologetic delivery. In Jackson’s day, she epitomized youth and was a total rebel to the American establishment. Not only a pioneer of women everywhere, but a pioneer for rock n’ roll music itself.

It’s strange – in 2013, Jackson not only sounds like she did in 1957, but she still has that attitude. Don’t get me wrong, she is not prancing around the stage like a sex goddess (I doubt she ever really did), but she just understands the underlining principle of rock n’ roll – that it’s about energy and rocking like you don’t care what people think.

I was tickled pink to notice that her band was not a touring act, but one of the burgeoning rockabilly bands who came to the festival. They were called Whiskey Kiss and they had never met Jackson before. Whiskey Kiss was not a Wanda Jackson tribute act – they were just the band in town to get the job done. That is old school and bad ass at the same time. You may or may not know this, but most bands were not like Buddy Holly and Crickets or Johnny Cash and The Tennessee Two. People like Chuck Berry came to your town expecting a band to not only know his songs, but the keys and the order he was going to play them in. Honestly, I thought that sort of rock music culture died with the plane crash of ’61, but I guess some things never change for some rockers. Jackson doesn’t travel with a bus full of musicians and roadies, just her husband and personal manager. And it should be noted that these young rockabilly hot shots Whiskey Kiss nailed Jackson’s songs completely seamlessly. 

Jackson had a terrific show, playing her hits as well as some standards, and she even did a nod to her modern day pop collaborators like Amy Winehouse. She told jokes to the crowd and was honestly pretty funny. She made mention of her new record company and jokingly had a senior moment when she honestly could not recall the name of her new label. The crowd gave a big laugh with her, and it was as if Jackson could do no wrong... at least if you were ever a fan to begin with. 

 The highlight for me was when she shook hands with some of the audience in the front, when she got to me, Jackson gave me "Well hello handsome". Her tone very much said, "If I was only a little bit younger…" My wife and I looked at each other in pure glee, she full well knowing I will be proud of that until the day I die.

“Rock n’ roll is the fountain of youth,” is what I have always said. The day you begin to turn your music down to a reasonable level, or just say to yourself, “no honey, I am too tired to go to the rock concert tonight” is the day you get old. Rock music keeps you young and alive. People have argued with me, but they are wrong. As long as Wanda Jackson is still kickin’ around, I will always have proof that age is a state of mind.

Better Than Ezra - A little better than I remember

"Free concert by the mall on the west side, behind the Walmart and near the Chic-fil-A."
"That doesn't sound promising, I think I'll pass. Who is the band?"
"Better Than Ezra."
"Oh really?..Oh why not. I guess"

Yeah, that really happened. Better Than Ezra played at a monthly moving Summerfest in a suburb shopping shopping district in Albuquerque. Is there anything more un-rock n' roll than the lot behind the Walmart, in front of Perfect Teeth dentists, and next to AT&T Wireless? I am sure there is something more uncool, but I would really have to think about it. None of that really matters, though, because Better Than Ezra owned it and certainly made it a lot more out of it than expected.

Let us analyze what I just said: "Better Than Ezra owned it," a band while I was in high school who were really only for teeny-bopper girls. There were really no boy bands in that era of music – BTE was about as close as we got – and they were borderline adult contemporary. If any boy liked them, they had to keep it pretty quiet. They are a group that had a few minor rock hits scattered throughout the mid- to late-nineties. They had at least four that even people who weren't paying attention will probably remember. And yes, I learned how to play the song "Good" on the guitar if for no other reason than to garner attention from the cute girls. So I guess you could say I owe them one.

The concert setting was as bad as I described. It had a beer garden about 100ft from the stage off to the left, where a great chunk of their original fan base resided. There were a few food trucks where you could buy some fair food, a few booths from local vendors, and a modest bounce house. Aside from the potential for some professional rock n' roll, it was possibly the lamest festival you have ever seen.

The opening group was an ensemble of pop/bluegrass style female quartet. They were certainly talented but probably not a good lead in for the band. As we endured the rain in Albuquerque, waiting to see what BTE looks like now, it was very difficult to imagine they would have a crowd at 9pm, even for a free show. The place was filled with 5 years olds, which I imagine most BTE fans have about now. Things looked bleak for the former MTV golden boys. Then the show started and the skies cleared for some fine rock n' roll.

At first, they are exactly who we remember – no more, no less. With the exception of about 10 pounds and 2 crow's feet, they look exactly the same as when they first broke out. In the most understated era for rock since the 50's, Better Than Ezra was probably the most understated of them all. They were the antithesis of Van Halen, Guns n' Roses – hell, they didn't even really have the grunge thing going that Nirvana did. They were clean cut and tattoo free. BTE was certainly not a band whose lifestyle you really envied behind closed doors. They looked more like the guys you stayed up with cramming for that Western Civilization final exam in college than a bunch of rock stars. There were no wanking guitar solos, controversial lyrics, or complicated music structure to speak of. Maybe that was their secret – they were very safe, very accessible, and very separated from the image of the day. Or maybe having no image or excess was their image. We can relate to them.

As much as my adolescent self wanted to deny them any credibility as a rock band, there was something disarming and hard not to like about singer Kevin Griffin's unique voice. Much like some of their contemporary light alternative rockers, Gin Blossoms, Soul Asylum, and Counting Crows, it was a voice that you listened to that made you feel better on a bad day, a voice that almost seems to take a photo of warm sentimental moments of being young. Music that just sounded good in the morning after a great party with your best friends.

This was the  realization that occurred to me only while finally watching them live. Much like their music and image suggests, they are not a wild stage show, they are not a particularly funny group of guys like Blink 182, and they are certainly not the dangerous type. Still, they are fun and you would be hard pressed not to smile even if you don't catch yourself hand-banging. They made plenty of 90's-esque self-deprecating jokes, particularly about playing across from a Best Buy and Chi-fil-a. They like to toss their picks in the crowd and walk to the edge of the stage and smile. Better Than Ezra for me proved that if you honestly have a great time earning your check the fun way, it can be infectious to those around you, in their case the crowd. We were truly entertained.

The crowd did fill right up as the show began. It wasn't a hostile or crazy-girl crowd, but one that preferred standing. I would guess around 400 people showed up to enjoy the show with sincere enthusiasm. The stage, although collapsable, was large with professional lighting and sound.Other than its odd placement, there was nothing to suggest the band has fallen from relevancy. Clearly they maintained marquee value, even if it was a community event. And for what it was, it was spectacular. My hat's off to who ever booked Better Than Ezra – it looked to have been a huge success and a memorable concert. Safe enough for the family, fun enough for the teenagers.

I can't tell you after watching them that I would drive two hours to see them again or even buy their newest record. I was never able to listen to their records front to back in first place. Sincerely do I doubt I will ever be faced with voting for BTE on the ballot for the Rock n' Roll Hall of Fame. Despite all that, I will say, I cannot listen to a 90's compilation and feel it to be complete without some peppering of Better Than Ezra. After seeing them live, I still don't envy their lives back stage, because it is probably exactly like mine, but I certainly envy their lives while on stage. "Keep spreading the good cheer Better Than Ezra, and rock on."

Donna Dunne - Ireland's best kept secret... for now.

Traveling to Ireland on holiday, I had lots of anticipation for the country side, historical landmarks, and culture, but what I wasn't looking for that I found was the most alive bar district and music scene I have ever experienced. And I definitely wasn't expecting the local rock starlet Donna Dunne.

To digress a bit, nobody ever told me, "Hey Randy, you need to go to Dublin, you would love it there. It's an endless sea of pubs almost all with live music entertainment." Yes, I do feel my surroundings have let me down. I have partied in Memphis, Hollywood, Kansas City, Seattle, Nashville, and Austin with the best of 'em, but none was more fun than Dublin. With U2, The Cranberries, Thin Lizzy, Dave King (Flogging Molly) and a few others who hail from there, I should have suspected it was a vibrant scene, but I was still taken for the ride of my life. But this isn't a travel blog; this is about Donna Dunne.

Donna Dunne is someone I unearthed on the web as an Irish rockabilly act. She is very hot, she has instantly catchy songs (strangely very rare in the rockabilly revival world), a fantastic voice and she has a pretty polished couple of music videos. Since I love a good rockabilly show,  I was excited to see she had a gig the night after I got into town. What I saw live, though, was something different than I had seen online – it was intense, inspirational and highly intriguing.

In the heart of the Dublin Temple Bar district lies a rock pub that was filled wall to wall with patrons that should have been considered a dangerous fire hazard with eager fans. In the U.S., keeping the crowd dancing at full stamina until 1:30 A.M. on a school night requires you to be something very special, and I imagine it is the same in Ireland as well.

Rockabilly music, although very fun live and even more fun to play, usually does not translate well to a record, and I certainly gave up hope years ago that there will ever be another Stray Cats. Dunne's show didn't have the rockabilly essentials: no slap echo guitar, string bass, pompadour (or whiff as they call them in Ireland), cliche tattoos of the devil and juke boxes. No, Dunne and her band looked very original, modern, even, and only carried a slight nod to the 50's era of rock. Normally I wouldn't put much emphasis into image, but it seems to say a lot about what they are not. Donna Dunne is not a novelty act who should get a standing gig at the Elvis Presley Cafe in Memphis or the Flamingo in Las Vegas – she is an act dripping with potential for something much greater.

They came out swinging with her single Woman In Black, high energy with a dynamite gunslinger on the guitar who plays like Chuck Berry going through a pencil sharpener. Crowd responded accordingly because, it almost seems as if they all know the song, perhaps she is supported by her local radio stations.

The band almost reminded me of the 70's girl punk band The Runaways, only far more gifted musically. They are both intense and listenable, which can be a tricky combination. Maybe it is the culture Dunne comes from with the Irish and their sing-a-long tunes, but she knows how to craft an instantly catchy melody and the band knows how to rock that melody until the walls shake. The ensemble really gets into the music, particularly Donna, and when they do, it is very hard to stand still.

Donna Dunne, although original and different from what she may have already put out on the web, still wears her greatest influences on her sleeves: Elvis, Johnny Cash, and a host of other Sun Records icons. She likes to talk about her pilgrimage to Memphis where her music career took a drastic turn and she wanted bring those great performers back to life in her music. Can she be wrong to draw heavy influence from rock music still most treasured icons?

Don't get me wrong, she may be bursting with potential, but Donna Dunne is not a complete product. Although she has been performing for nearly a decade, her current band is still gelling together, and she has only discovered who she was musically a few years ago. Her first full length record comes out this month and she is still a self-managed artist with a new record contract. To say the least, the rocket ship is only now launching up the into atmosphere, but I am one who is certainly going to keep an eye on the journey. Hardly ever do I hitch my wagon to such a young talent, but I have a feeling about this one. In the U.S., rock music has to make a triumphant comeback sometime, and when it does, there is no foreseeable reason Donna Dunne can't make her presence known across the pond.

Lit - Still lighting it up like its 2002

Starting off the summer touring season our old friends from Orange County, Lit. Lit is chipping away towards a triumphant return with a new record and a couple of fresh faces. Starting in Ft. Lauderdale florida, Lit set out to make a statement, and that statement is, "Were not done yet."

Incase you were in solitary confinement from 1998 to 2003, you could not have escaped Lit's radio domination. They had become one of the few thriving faces of Rock music when the Brittney's, Ricky's, and boy bands took over. Much like their contemporary No Doubt, they were a definitive representation that the anger/ apathetic grunge movement was coming to an end. They were in that rare space of being accesable enough to play on top 40 stations, and hard enough to play on rock stations, safe enough for Hot AC, edgy enough for Alternative. MTV's final days of being a music formatted station had plenty of room in their programing to show Lit's stylish fun loving music videos over and over. Lit was any record label's dream come true.

Backtrack, I went to this show under a pretense that I might be uncomfortable reviewing it. For one, I can't help that I am a fan and have to try and remain objective. More importantly, I have an old friend who we used to play music together in my early rocking days. His name is Ryan Gillmor and he has been added to the Lit roster as a second guitarist, backing vocalist, keyboards and song writer. Unbenounced to Ryan I showed up ready to give an honest review despite my reservations. Luckily, giving an unforgiving review will not be an issue.

Curtains were drawn for an anticipated arrival of a crowd of approximately 250 eager fans. 250 didn't make for a packed house, but what they lacked in numbers they made for in fervor when guitarist Jeremy Popoff tour into the chords of their semi-hit "Four." Ajay Popoff strutted on the stage with no humility, no apologies, he came on like he had never been gone, just they way you would want him to come on.

The sound was pristine, its obvious they take the sound seriously, lit is not a bunch of rookies, they were polished before they hit it big. Lit also takes the stage show seriously. Watching the band play is like they are doing a rock zoomba class on speed. The band moves with an intensity like Mr. T in Rocky 3, you can't take your eyes off them for a second. But the most glaring observation that I could make is that the band doesn't have appeared to age a single day. From ten feet away I couldn't tell that I didn't fall into a time warp of the '90s. Lets face it, even when they were just a burgeoning on the national scale, they were not kids anymore, I would be surprised if they had a gold record before their ten year high school reunion. So imagine my surprise when the entire crowd seems to have aged older then the band.

The addition of Ryan Gillmor seems to have brought in a grander arena rock element to the ensemble. Growing into the music scene with Ryan I can vouch that he is the perfect combination of talent and humility, perfect to supplement the already supperior lineup that hadn't been altered for nearly 20 years prior.

Deeper than just making a live stage show interesting with energy, maintaing the youthful exuberence like the Stones, sounding as good as the record and adding a gunslinger to the mix, Lit seems to be out to out make some waves one more time.

They played at least 8 new tracks from their up coming record being released in mid june. All of which present material equal to or greater than what was on the record that put them on the map. However, anyone who knows anything about this unscientific business, is that there is no gaurantee good material will get noticed even if the band has Marquee value. Regardless, these guys are not rockers on walkers phoning in the new CD early just to have something to put out, they seem to have an agenda and that agenda could get interesting in the coming days. Lets put it like this, there is a good reason they are on the tour that Rolling Stone Magazine is calling the number 1 tour of the year.

At the end of the day, let it be known that when I am a multi-millionaire living on beach front property, Lit is high on my shortlist of bands who I want to come and entertain 1000 of my closest friends.