Arts & Culture
September 2007
SEPTEMBER 4th Joshua Bell Red Violin Concerto Sony Classical Ted Nugent Love Grenade Eagle Super Furry Animals Hey Venus! Rough Trade SEPTEMBER 11th Black Francis Bluefinger Cooking Vinyl 50 Cent Curtis Interscope The Go! Team Proof of Youth Sub Pop Hot Hot Heat Happiness Ltd. Sire/Warner Monade Monstre Comic Beggars Banquet Orange Escape From L.A. Hellcat/Epitaph Pinback Autumn of the Seraphs Touch and Go Shout Out Louds Our Ill Wills Merge SEPTEMBER 18th Babyface Playlist Mercury bella No One Will Know Mint James Blunt All the Lost Souls Custard/Atlantic The Donnas Bitchin Redeye Kevin Drew Spirit If… Arts & Crafts Dropkick Murphys The Meanest of Times Born & Bred/Warner Gloria Estefan 90 Millas Burgundy/SonyBMG Mark Knopfler Kill to Get Crimson Warner Ben Lee Ripe New West Barry Manilow The Greatest Songs of the Seventies Arista Ministry The Last Sucker 13th Planet Recordings/Megaforce Thurston Moore Trees Outside the Academy Ecstatic Peace Mya Liberation Motown New Found Glory From the Screen to your Stereo Part 2 Drive-Thru SEPTEMBER 25th Athlete Beyond the Neighborhood Astralwerks Devandra Banhart Smokey Rolls Down Thunder Canyon XL Recordings Jim Brickman Homecoming Savoy Jazz Steve Earle Washington Square Serenade New West Melissa Etheridge The Awakening Island Foo Fighters Echoes, Silence, Patience and Grace Roswell/RCA Brian Setzer Orchestra Wolfgang’s Big Night Out Surfdog Freezepop Future Future Future Perfect Rykodisc Herbie Hancock River: The Joni Letters Verve Deborah Harry Necessary Evil Eleven Seven Music PJ Harvey White Chalk International-Island Iron and Wine The Shepherd’s Dog Sub Pop Ja Rule The Mirror The Inc. Chaka Khan Funk This Sony BMG Matt Pond PA Last Light Altitude Nellie McKay Obligatory Villagers Hungry Mouse Meshell Ndegeocello The World Has Made Me the Man of My Dreams Decca Queen Latifah Trav’lin’ Light Verve Shocking Pinks Shocking Pinks Astralwerks Small Sins Mood Swings Astralwerks Stars In Our Bedroom After the War Arts & Crafts
Sep 1st, 2007 by Erin Wolf
Carolyn Mark
Victoria, B.C.’s most acclaimed Party Girl, Terrible Hostess and less lime-lighted half of the Corn Sisters, Carolyn Mark has removed the training wheels of collaboration (her last release was strictly duets) and is again riding solo. Nothing Is Free, whose liner notes devote the disc to “all the Cowboys, Vampires, Pirates, Poets, Scarecrows and Enablers,” is a reflection of the Can-country minx’s adorably kooky “Point o’ View.” In Mark’s universe, hopes are kept “where we can see ‘em,” those without investments can justify spending “thousands of dollars/keeping Friday alive” and aver that “it’s easier to love an idea/than it is a man.” Equally endearing are Mark’s auctioneer vocals on “1 Thing” and “Get Along,” tracks that could easily be caroused to under a state fair beer tent. Not to be pigeonholed to a do-se-do, Mark’s sound flutters from sunny surf rock (“Happy 2B Flying Away” ) to spacey daydream (“Destination: You” ) , pollinated by her husky Natalie Merchant purr and lyrics that pack a Loretta Lynn punch. “Poisoned With Hope” is uncharacteristically bulky and grating, but pardonable given Mark’s unmatched whimsy and otherwise fluid execution. Folksy, nobody’s-fool showstopper “The 1 That Got Away (With It ) ” will most likely earn the attention of femme rags like Venus and Bust, but until she flags down a more mainstream demographic, Mark will continue her notoriety as “the other Corn Sister.” If her liner tribute to the freaks and underdogs is any indication, though, she won’t be shooting off flares any time soon.
Sep 1st, 2007 by Amber Herzog
Rufus Wainwright at the Pabst – August 26, 2007
It’s always a little surprising that rock bands look and sound as good as they do at the Pabst, a gilded German theater full of red velvet, Italian marble, and busts of famous Austro-Hungarians (Beethoven, Wagner). But it never fails – dirty, dance-y, pounding shows are exalted by the baroquerie of the opera hall, not diminished by it. What a venue like the Pabst does for a performer like Rufus Wainwright, though, is something else entirely, something remarkable. For nearly ten years, the troubador has been crafting exquisite chamber-pop informed by opera, cabaret, lyricism, late-Victioriana, early modernism – melding every manner of anachronistic influence into something metropolitan, contemporary and very intelligent. We had gallery seats – eye-to-eye with the 2-ton Austrian crystal chandelier – but there is intimacy, maybe even privacy, in the vertigo of the second balcony. From way up high, with glasses of wine (actually, I had a glass of wine; my date had a PBR), we enjoyed the sonorous, humble sounds of opening act A Fine Frenzy, a pleasant piano/drum/synth trio that did not in any way overstay their opening act welcome. Not so for The Magic Numbers, a jumpy, bass-heavy band from England that started out fun and stayed on to the point of anxious tedium. Rufus took the stage elegantly late, attired in a patchwork suit, backed by a full band (including three horn players) dressed in stripes. The concert opened with the title track from his new album, Release the Stars; at each chorus, the disco ball over the stage – a grand foil to the crystal chandelier – showered us with hundreds of points of light. He is every inch a star, and probably always has been. His demeanor is classical, his presence hypnotizing. He played brassy, jangly songs with his acoustic guitar and wrought, rich songs on the grand piano: one from his new album, “Going to a Town,” aches with a weary refrain: “I’m so tired of you, America”. The concert was being taped, so some of the songs – notably “Art Teacher,” another sad little aria about a schoolgirl who falls in love on a field trip to a museum – had to be performed twice, which was no cause for complaint. It was almost like a salon, a parlor soiree – another welcome effect of the Pabst’s relative smallness – and Mr. Wainwright was the charming host, endearing us to him with fluttery banter and an uncanny command of the mood, from goofy (performing “Between My Legs” perched atop his boyfriend’s shoulders with a handful of giggly front-row fans dancing around him) to gorgeous (channeling Judy Garland in a lone spotlight) and exuding a certain tenderness for the audience (wearing liederhosen after his first set — this is, after all, German Athens). I felt like an honored guest, even up in the nosebleed seats. I left before the end of the concert, more than two hours into his performance. It was getting late, the dim lights were making me […]
Aug 31st, 2007 by Vital Archives
Moonlight and Magnolias
Milwaukee Chamber Theatre Watch the closing credits of any film and you’ll see a long list of people who lived, breathed and sweated a massive creative project for days, weeks, months or more. Every name on that list has a story behind it that might be just as interesting as the story the film tells. Milwaukee Chamber Theatre opens its 2007-2008 season with Ron Hutchinson’s Moonlight and Magnolias, a comedic tribute to the hard work and dedication of three men striving to finish the final script of what would become the single most commercially successful film of all time – Gone With The Wind. Actor, musician and high school teacher Tom Klubertanz stars as legendary film producer David O. Selznick. Selznick finds himself in the unenviable position of lacking a director on one of the most expensive films in history – a film eagerly anticipated by a legion of fans who have read the book and expect something good. Selznick pulls acclaimed director Victor Fleming (Dan Mooney) off his current project (The Wizard of Oz) to pick up where exiting director George Cukor left off. With a new director in place, Selznick decides to start over with a new script. Bringing in screenwriter Ben Hecht (Michael Herold), Selznick locks himself, Hecht and Fleming in his office to bang out a completely new script in five days. Selznick is aided by a seemingly endless flow of peanuts and bananas brought into the office by his secretary Miss Poppenghul (Marcella Kearns). Klubertanz doesn’t quite muster the emotional weight onstage to play the mighty film producer convincingly. The gravitas is hardly missed, however, as Klubertanz has a compelling nice-guy stage presence that makes the role work. Michael Herold gives a shrewd, intelligent turn as the last screenwriter to work on Gone With The Wind, performing with a deft comedic perspicacity that unleashes itself from some of the best lines in the script. Dan Mooney summons a great amount of arrogance for his initial appearance onstage as big-name film director Victor Fleming, which gradually erodes throughout play in a hugely entertaining performance. Kearns is perfectly conservative in the role of Selznick’s secretary until just the right moment at the end of the play. More than merely a comedy about the golden age of Hollywood, this is a play about three men working themselves to the brink of death. When everything else fades away, we’re watching three men nearly destroy themselves to build the foundations of what is destined to be an unparalleled success. As the characters’ sense of sanity and decorum start to deteriorate, we see the deeply affecting comedy of three men losing their minds, learning something about the nature of their business in the process. It’s a brilliant opening to what looks like a very promising season with Milwaukee Chamber Theatre. VS Milwaukee Chamber Theatre’s production of Moonlight and Magnolias runs now through August 26th at the Broadway Theatre Center’s Cabot Theatre. Tickets can be purchased in advance by calling the box […]
Aug 13th, 2007 by Russ Bickerstaff
Footloose
By Tracy Doyle Check it: a beloved ‘80s movie starring Kevin Bacon, over a decade later made into a moderately successful Broadway musical, revised in 2007 and this past weekend made its local premiere in Elm Grove’s Sunset Playhouse. Why yes, I am talking about Dean Pitchford’s Footloose! Noi-ce! Mark Salentine’s director’s notes clearly stated what one should and should not expect from the performance. “Don’t expect the movie… and don’t expect the original Broadway play… Expect a story of triumph and celebration. And, of course, you should expect to cut loose – footloose!” I wholeheartedly agree. The musical centers around the story of angst-ridden teenager Ren McCormack (Zander Bednall) who is uprooted from Chicago to the biggest little nothing of a town, Bomont, in the middle of Oneofthosestates. A bit of a troublemaker from the get go, Ren attempts to release his pent up emotions through biting sarcasm, friendly brawls and his real passion: dance. However, Ren quickly discovers that dancing has been outlawed in Bomont and he makes it his personal goal to bring back the beat to this tiny town. Along the way he befriends a hodgepodge collection of kids, the less-articulate, yet heart-of-gold side-kick Willard (Andrew Hollenbeck), the gorgeous misunderstood preacher’s daughter Ariel (Allie Beckmann), the giggling gaggle of teenage girls and the jealous meathead boyfriend of aforementioned preacher’s daughter. With his gang behind him, Ren confronts the religious authority running the town, learns a few heartfelt lessons and becomes a man. I liked the movie (shoot, shouldn’t be talking about movie) but I loved this musical! These kids can rock. The carefully reined enthusiasm of the ensemble paired with the attitude the size of North Dakota oozing out of every angsty pore in Bednall’s body was enough to keep this girl rocking and cause some audience members in close vicinity to shout out “YEAH!!!” at the end of “Footloose (Finale).” Neither Bednall nor Beckmann is the best singer in the world, but their acting was quite believable and enjoyable. Anne Gore (Rusty) shone brightly in her rendition of “Let’s Hear it for the Boy,” one of the several popular ‘80s songs to make it into the musical score. This show is not out to change any lives. It’s not going to change the world and I doubt you’ll leave the theater foaming at the bit over all the unfortunate souls living in danceless communities at this very moment. However, the show overwhelming succeeds in its goals of “triumph and celebration.” You’ll leave the house tapping your toes and humming a catchy bar or two; just promise me you’ll watch where you’re kicking off those Sunday shoes. VS The Sunset Playhouse’s performance of Footloose runs through August 5. For more information, call 262-782-4430 or visit www.sunsetplayhouse.com.
Aug 1st, 2007 by Vital Archives
The Spitfire Grill
“Shoot the moon, life is hard and gone too soon,” sings Percy, Hannah and Shelby in The Spitfire Grill. Set in the north woods of Gilead, Wisconsin, this production was adapted from Lee David Zlotoff’s film. Fellow Wisconsinites Fred Alley, co-founder of American Folklore Theatre in Door County, and James Valcq, who started at the Skylight Theatre in Milwaukee, collaborated on the themes of hope and redemption. Those familiar with Alley’s music, including the often-produced Guys on Ice, will reconnect with some of the haunting lyrics in this piece of musical theater. Several include “A Ring Around the Moon,” “Wild Bird,” “Shine” and “Shoot the Moon,” which are all made more memorable by Valcq’s melodies. Brenda L. LaMalfa, who plays the poignant main character of Percy, captures each note perfectly. Her persona of the young girl being released from prison radiates every nuance. Struggling to create a new life, Percy is placed in Hannah Ferguson’s Spitfire Grill, the only restaurant in town. When Hannah breaks her leg, Percy and Shelby, another young woman imprisoned in a stifling marriage, carry the responsibilities of the grill as Hannah recuperates. But the town busybody, Effy, and Shelby’s husband, Caleb, complain as Percy continues to bring her rays of hope to Gilead. Throughout the two acts, every character tries to shoot the moon as secrets are revealed and light flickers through the windows of the Spitfire Grill once again. But full summer moonlight shines on this production. Elaine Rewolinski as the cantankerous Hannah acts with appropriate audacity while beautifully singing every measure. And only 18, Cherissse Duncan as Shelby is an admiral addition. But LaMaffa is a Percy the audience will remember, as even a faulty sound system during the first half refused to let her character or vocals dim. This trio enlightened the stage with a glow that gives life to Gilead, their performances enhanced further by live instrumental accompaniment. Acacia Theatre’s Spitfire Grill would make Valcq and Alley proud as it retains the spirit of their script and score. These were to be Alley’s last lyrics, and final time the two long time friends combined their talents. He was unable to receive the prestigious Academy of Arts and Letters Award for New American Musicals in 2001 that was given to this show as he died that spring of a heart attack, and for him life was indeed gone too soon. The tragedy of September 11 followed closely, and this musical resonated more deeply than ever as the then Skylight Opera produced the show the following fall. Six years later, the themes are ever timely and the ability to shoot the moon still illuminates hope. As the production continues until July 22, spend an evening in the light and shadows cast by this Spitfire Grill. VS The Spitfire Grill is presented by Acacia Theatre Company in the Todd Wehr Auditorium at Concordia University through July 22.For tickets or information call 414-744-5995 or visit www.acaciatheatre.com. .
Aug 1st, 2007 by Peggy Sue Dunigan
2007 Short Fiction and Poetry Contest
Intro by Jon Anne Willow It’s possible that only a writer can understand the difficulty of being one. It is not a skill or avocation, but the most primal of callings, an obsession at least as deep-rooted as any felt for love or high ambition. Writing is a cruel muse, leaving you when you need her most, clawing at your back when your thoughts should be turned to other things. Follow her and you may, through a tortuous process, eventually taste the manna of creating something that isn’t truly awful; turn your back and you will surely be left in peace to wade eternally in the tide pool of regret that you did not listen when you had the chance. Just the act of writing consistently takes courage; to actually put your words out there for others, even more: any “writer” who does not know this is either a rank amateur or an imposter. With this belief, VITAL would like to extend our gratitude to everyone who submitted their work to our first Short Fiction and Poetry Contest. Their work was judged blind by talented working professionals who all used the same criteria to score each piece up to 100 total points in different categories. Both first and second place winners in each category are printed here; first place winners will also receive a $50 gift card to Barnes and Noble, whose Mayfair store helped to sponsor this competition. Enjoy. —Jon Anne Willow FICTION WINNER “Confitero” By Anne M. Rice Like savoring a last cigarette before the executioner’s blindfold, I hold the gold cufflink between my fingers, tracing the engraved initials repeatedly with my thumb. The arc of my fingernail revisits the path of the engraver’s pen in lines and curves. Whether I do this to scratch the initials out of existence or because I feel them branding my being, I do not know. I stand motionless – except for this tiny, recurring gesture – in the middle of the bedroom, staring out the leaded glass windows, for what might be hours. Again, I do not know. Time seems almost intractable. Below, the light is reflected on the wet pavement where milky shafts glare up at me. He was in a desperate hurry to leave this evening, choosing to wear the lapis pair – barely securing his French cuffs, grabbing his suit jacket, knocking this offending monogrammed piece onto the Oriental rug near my toe as he flew past, the scent of Kiel’s almond lotion lingering behind him. “Don’t wait up,” he offered, not unkindly, but unnecessarily. I know better than to do that. These evenings have become a part of our routine, even if they are a charade. And I am very clear about how to carry out my role. Early on in this arrangement, I would boast of a busy schedule and a vibrant, separate social life that also kept me out on evenings such as these. And occasionally, I indeed had penciled things in on nights like […]
Aug 1st, 2007 by Vital Archives
Found in translation
By Evan Solochek With so many misconceptions, half-truths and flat-out ignorance surrounding the Middle East, immersing yourself in its diverse culture and rich history for a weekend seems a good first step to enlightenment. In a time where stories of bombings and body counts are a nightly fixture on local and national news, it’s easy to overlook the positive and encouraging aspects of one of the oldest and most influential cultures in history. During Europe’s Dark Ages, Arab nations took in its “heretical” scholars, especially those practicing science and medicine, fostering their work and saving the world from losing invaluable knowledge. They gave us our system of numbering and have produced some of the finest architecture, artistic artifacts and textiles known to man. This month, Milwaukeeans can witness first-hand what we won’t be likely to see on television. Now in its ninth year, Arab World Fest is a multi-cultural celebration loosely grouped under the label “Arab World,” which is itself one of the biggest confusions. Much greater than just the Arabian Peninsula, the Arab world spreads across 22 countries in the Middle East and Northern Africa, and while most Arabs are Muslims, the Arab world also includes significant Christian and Jewish communities. Yes, there will be falafel and belly dancing and camel rides. But more importantly, there will be the opportunity to foster a better understanding of and appreciation for Arabian cultural heritage and the political awareness and sentiments of its citizens. To that end, one of the Fest’s newest and most highly anticipated attractions will be its film festival, highlighted by Occupation 101. “We brought this last year and were showing it in a small tent and there was standing room only,” says Ihsan Atta, President of Arab World Fest. “We were surprised at the overwhelming positive response, which led us to have a film festival this year.” A powerful and moving documentary, Occupation 101 details the current state and the historical roots of the Israeli-Palestinian conflict. From the first massive Jewish immigration from Europe in the 1880s and the 1948, 1967 and Yom Kippur wars to the Oslo Peace Process and Intifadas of 1987 and 2000, this film offers one of the most comprehensive analyses – along with first person testimonials – of this seemingly unending conflict. Other entries of note include Paradise Now, which was released in 2005 by Warner Independent. The harrowing story of two Palestinian childhood friends who are recruited for a suicide strike on Tel Aviv, Paradise Now chronicles their last two days together as they say goodbye to loved ones and family and prepare for their mission. While en route to meet a driver who will take them to Tel Aviv, the two young men are separated from their handlers and intercepted at the Israeli border by a young woman who, after discovering their plan, tries to make them reconsider their path. It’s a first-hand look at the lives and motivations of two would-be faceless martyrs. Most Westerners don’t really understand what the […]
Aug 1st, 2007 by Vital Archives
Coventry Jones
A fixture at Summerfest’s lake path stage or busking around town, Coventry Jones has finally released another album of original tunes. Sure he can hack out requests for covers with the best of the weekend warriors, but on the 10-track Time Stands Still Jones takes a few strides away from the ever-smiling Summer of Love persona with which he’s been tagged. Bolstered by Gregg Slavik’s drums and producer Scott Finch’s killer piano “John Glenn & I” rocks like a Chuck Berry nugget until it hits a woozy psychedelic breakdown before cranking it up again and “Delta Queen” mixes Jones’ wailing harmonica and slide guitar with Mike Woods’ sax for a particularly thick swampy gumbo. “Standing at the Station” finds a hapless Jones trying to get bailed out by his family, his lawyer, hell even Perry Mason – Wood’s soprano sax lends a music hall vibe that would not be out of place on them dodgy ‘70s concept albums by The Kinks. Utilizing a different lineup of acoustic players (mandolinist Bob McDermott, John Banshaw on banjo and upright bassist Jeff Coulliard) Jones taps into his British Isle roots on traditional tunes “Wild Rover” and “Whiskey in the Jar” – not exactly Thin Lizzy but a nice move away from patchouli pathways. Then again, if you just can’t live without a money shot, the opening track “Elissa” finds Jones back in mellowed out Allman Brothers territory, singing about a wooden ship on the water. VS Coventry Jones Time Stands Still CD Release Party is Friday July 27 from 7 p.m. – Midnight at Rip Tide Seafood & Grill, 649 E. Erie Street. 414-271-8433
Aug 1st, 2007 by Blaine Schultz
Jim Ford
Odds are you have never heard of Jim Ford. But Ford, as they say, is the man. Don’t take my word for it. Those who cite him as an influence or collaborator include Nick Lowe and Bobbie Gentry. It is a short list of musicians who qualify as Deluxe Cracker: white guys brimming with such soulfulness that their music transcends race and easy shorthand musical genres. The Band, Tony Joe White, Joe South, Delaney Bramlett and Eddie Hinton are a few of that exclusive club, and among them Ford’s recorded output remains the most meager. A single album, Harlan County, and a few 45s scattered among small record labels back in the late ‘60s and early ‘70s is all there is in Ford’s name. Leave it to German label Bear Family to revive the Gospel According to Jim Ford. The Sounds of Our Time compiles Harlan County with scattered singles and previously unreleased tracks. And the story the liner notes tell of tracking down Ford could be a movie for its twists and turns. Yet it is Ford’s music that draws the listener in. Reflecting on his hardscrabble upbringing in Kentucky where he trekked over to neighbor Loretta Lynn’s house to listen to the radio, to a stretch living rough in New Orleans where that city’s sound got under his skin, to ending up in Hollywood where he tried his hand at the music biz to largely deaf ears, The Sounds of Our Time takes the listener on an epic journey. The crossroads of country and R&B is Ford’s home turf. While some of the songs seem autobiographical (“Harlan County,” “Working My Way to L.A.” ), Ford also invests himself fully in tunes that point to a social conscience without ever dipping into the maudlin. Ford’s original “36 Inches High” – later covered by Nick Lowe – is here, but what we don’t get is equally intriguing. Lowe’s old group, Brinsley Schwarz, recorded Ford’s epic “I’ll Be Ahead If I Can Quit While I’m Behind” and Ford is also the uncredited author of Bobbie Gentry’s Southern-noir classic “Ode to Billie Joe.” Neither of these gems are included. But the liner notes allude to boxes of unreleased material by Ford at his trailer park home in rural northern California. Let’s hope for a second volume. VS
Aug 1st, 2007 by Blaine Schultz
Bad Religion
“We’re animals with golden rules/Who can’t be moved by rational views/Welcome to the new dark ages.” Iraq’s a mess, our civil liberties are eroding and Scooter Libby was basically pardoned. Leave it to six years of an oppressive Republican regime to light a fire under Bad Religion’s ass. Anyone who’s heard a Bad Religion song, much less an entire album, knows what to expect from New Maps of Hell: hyper-intelligent lyrics, dramatically gorgeous vocal harmonies and punk riffs that spawned legions of imitators who took more time explaining what their songs were about than actually playing them. But to criticize Bad Religion for not evolving over the years would be a futile exercise; one may as well complain that AC/DC has recorded the same album 18 times. While other bands would be accused of having run out of ideas, New Maps of Hell feels more like re-visiting a favorite book, if that book were Dude, Where’s My Country? Ironically, as solid as the formula tracks are, it’s when the band changes things up a bit that we find the standout cuts – notably the single “Honest Goodbye,” which uses a thundering mid-tempo verse to anchor a sugar-coated hook. Closing track “Fields of Mars” does the same thing using piano while fantasizing about a time when we can get off this rock, away from the Neanderthals running the show. But how fun woul these guys be if they were happy? If you’re not already a Bad Religion fan, you could pick a worse starting point than this. After all, it’s important for us Americans to familiarize ourselves with our most venerable institutions. VS
Aug 1st, 2007 by DJ Hostettler
August 2007
August 7th Peter Case Let us Now Praise Sleepy John Yep Roc Kat DeLuna 9 Lives Epic Drowning Pool Full Circle Eleven Seven Music Fuel Angels and Devils Epic June Make it Blur Victory Grace Potter and The Nocturnals This is Somewhere Hollywood The Pretty Things Balboa Island Zoho Music August 14th Peter Cincotti East of Angel Town Warner Collective Soul AfterwOrds El Music Group Junior Senior Hey Hey My My Yo Yo Rykodisc Mae Singularity Capitol Lori McKenna Unglamorous Warner Bros. Matt Nathanson Some Mad Hope Vanguard The Seldom Scene Scenechrnized Sugar Hill Linda Thompson Versatile Heart Rounder Turbonegro Retox Cooking Vinyl Paul van Dyk In Between Mute August 21st Adema Kill the Headlights Partnership/Immortal Architecture in Helsinki Because I Love It Columbia Peter Buffett Staring at the Sun BeSide Earlimart Mentor Tormentor Majordomo/Shout! Foreign Born On the Wing Now Dim Mak Idiot Pilot Wolves Reprise Minus the Bear Planet of Ice Suicide Squeeze The New Pornographers Challengers Matador Rilo Kiley Under the Blacklight Brute/Beaute/Warner Nikki Sixx The Heroin Diaries Eleven Seven Music August 28th Atreyu Lead Sails Paper Anchor Hollywood Ben Harper & the Innocent Criminals Lifeline Virgin Kula Shaker StrangeFolk Sony Music Liars Liars Mute Lyle Lovett and His Large Band It’s Not Big It’s Large Lost Highway Meshell Ndegeocello The World Has Made Me the Man of My Dreams Decca Northern State Can I Keep This Pen? Ipecac
Aug 1st, 2007 by Erin Wolf
