Alibi V.13 No.24 • June 10-16, 2004 

Music to Your Ears

For those of you who don't know, especially club owners and talent buyers, our calendars editor of the past two-and-a-half years, Rachel Heisler, has moved on to the hellish desert shithole that is Las Vegas, Nev., where she hopes to land a job with the Las Vegas Weekly and pursue musical endeavors. Luckily, though, we won't have to 86 our calendars, because the more-than-capable and immensely talented and friendly Laura Marrich (pronounced Merrick, like the Elephant Man) has come on board as our new calendars editor. All calendar rules remain the same, but you'll need to contact lauram@alibi.com (or clubcal@alibi.com for those of you bad with names) to continue to get your listings published for free. Good luck, Rachel, and welcome Laura! ... Whatever you do, don't miss Alabama Thunderpussy with Rwake and our own Fivehundred on Friday, June 11, at the Launchpad. ... On Friday, June 18, the Mountainside YMCA will host “Band Together,” a showcase of local bands at the Mountainside branch (12500 Comanche NE, 292-2298) from 7 p.m. to midnight. The event will be headlined by Unit 7 Drain at 11:15 p.m. and is sponsored by the fine folks at Music Go Round, so that's where you should spend your money. Look for details right here in next week's issue.

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Blue Note

The Tommy Castro Band

On his first album for Heart & Soul Records, Bay Area bluesman Tommy Castro makes it abundantly clear that there's no room in his soul for blues-lite. Gratitude is marked by its staunch refusal to shove anything but pure, expressively crafted jump blues across the table, all of which, in this case, was written by one of Castro's influences. Backed by a phenomenal band, including saxophonist Keith Crossan, Castro steps his best Albert Collins up to the plate—a fiery guitar style not, thankfully, mired in cliché ridden Texas blues, the West Coast rut or the safety of the Chicago sound. Instead, Castro infuses hints of classic R&B and blues rock into this collection, affording himself songs that virtually stand alone among contemporary blues.

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Sonic Reducer

Patton Oswalt Feelin' Kinda Patton (United Musicians)

Comedian Patton Oswalt has appeared in plenty of movies and on television shows from “Late Night” to “The Man Show,” but his first full-length recording contains material more akin to his HBO specials. Feelin' Kinda Patton runs the rather broad comedic gamut between dick jokes and high-brow analyses of the impending apocalypse. Oswalt handles all of his material with the same verve and panache as comedy's current Golden Boy, David Cross, but he's got his own brand of edginess. This one's a screamer by any standard, and specifically geared toward Bill Hicks' fans.

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Interview

Rock 'n' Roll Over and Over and Over ...

My Last KISS Interview Ever (with apologies to Brett Baker)

Farewell, my ass. Count KISS among the many bands who've hoopla'ed their farewell tours only to quietly hit the road again shortly thereafter in search of more money, acceptance and, as KISS founding member Paul Stanley puts it, the "high." So they changed their minds. So what? Michael Jordan did it. Dennis Rodman is threatening to do it and the number of rock bands that have done it—many of them multiple times—is nearly inconceivable.

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EVENT HORIZON ()

Why Not?

Why? • indie rock, alt.hip-hop, alt.rock, pop, folk • Go Dark • experimental

If you want a reminder—and not from Radiohead—that hip-hop is everywhere, even in the indie rock that millennials are sorta into (but only after they listen to every goddamn thing they can find by Kendrick Lamar) then trip, trip, trip on down to Sister on Monday, Feb. 19 at 8pm for a recital of sorts by Cincinnati alt-rappers cum indie rock stars, WHY? Founded by a dude named Yoni in the distant and unremembered aughts, WHY? has gained traction among rockish young audiences with their pop-nuanced mash-up of rocanrol and hip-hop. They got all kinda crazy rhythms, jams and flows going on betwixt rock references and may do some drugs; their latest effort is called Moh Lhean, after all. Additionally, the critics at Allmusic have judged their music as “quirky” which oughta count for something, amirite? They do have some pretty righteous tuneage, including works like “George Washington,” “White English” and “Into the Shadows of My Embrace.” Seriously, this one's worth the price of admission and if you're into skinny jeans and man buns, then damn, get out there, girl! The cover is $15 to $18, 21+.
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