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CONCERT REVIEW


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.... METHODS OF MAYHEM- "Tommy Lee on the Prowl"
...
........................................................................................................................3/20/00 Warfield SF

Methods of Mayhem at teh Fillmore
...Methods of Mayhem, which performed Monday at the Fillmore in San Francisco, Lee successfully salutes the world of heavy metal while combining elements of techno and acid industrial into a CD full of heavy metal dance grooves that are puffed up with cameos from Snoop Doggy Dogg, Limp Bizkit's Fred Durst, Kid Rock, Lil' Kim, The Crystal Method, Wu Tang's U-GOD and George Clinton, among others.
.....The road to Mayhem began when Lee was in the slam. TiLo quit his band, Head P.E., and began communicating with Lee while he was in jail. From there, Mayhem grew from a casual side project for both artists into a full-time partnership, culminating with a record deal with MCA. Enlisting the renowned DJ skills of The Beastie Boys' Mix Master Mike, Lee and TiLo traverse the rap-metal landscape with a selection of nasty and sonically brash mixes that represent a departure for the Cre drummer. To many '80s hard rockers, hip-hop and rap were the enemy, representing a conflicting lifestyle and culture from the other side of the tracks.
.....Lee may be the first former Party Rock God to officially make the jump into the rap-metal camp. The results of that jump may not be for everyone: The profanity overkill on most of Methods of Mayhem's tracks follows the music industry's currently Tommy Lee on Guitaraccepted obscenity standards, although for radio play the legion of vulgarities have been bleeped out. The deletions sometimes leave songs sounding like they have a damaged vocal track. In the context of the album, however, some of the tracks work. The dance-oriented power grooves and savvy mixes throughout the CD would seem at home at raves on both coasts; heaping portions of rock guitar crunch are laced throughout, giving an arena rock cachet to the hip-hop funk. The highly sequenced "Get Naked" and the slightly heavier "New Skin" are receiving airplay on alternative rock radio, but they are two of the more sonically courteous tracks on the CD. The muscle dirge of "Who the Hell Cares" and the repetitive "Crash" hark back to the hollow depths of the rockin' '80s when hair bands ruled and Mötley Crüe left its mark. As a solo performer, Lee's skill as a vocalist is immaterial in a genre of performance art where melody is relatively Mix Master Mike Having Funnonexistent and attitude and delivery have the most impact. Singing is absent, but raps abound amid the din of frequency overload with Lee and the bevy of guest performers injecting street into the mix. Lee seems serious about making his commitment to Methods of Mayhem stick.


By Randy Cohen





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