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Back during the first few years of the aughties, Chicago’s The Primeridian, comprising See-Me-On and Race, issued “I’ll Meet You in Greenwich.” It was before Kanye dropped out of college and about the same time Common was readying the ill-advised “Electric Circus.” No one knew who No I.D. was. Still. “Musical Mirages,” a single compiled on Primeridian’s first long player, remains sturdy enough to dig up as work exemplifying the group’s style as a whole. But a lot’s happened since 2002. Read the rest of this entry »

RECOMMENDED

It is ironic that Ahmad Jamal is closing out this season’s “Made in Chicago: World Class Jazz” series on the eve of the opening of this year’s Chicago Jazz Festival, for this single concert could well upstage this year’s entire festival lineup.

A seminal pianist and composer of immense imagination and innovation who has had a monumental influence on musicians as diverse as Miles Davis, John Coltrane, Jay Z and Kanye West, Jamal has had strong Chicago ties from the beginning of his career back in the late 1940s when he arrived in the Windy City from his native Pittsburgh as part of the Four Strings, soon to be reorganized as the Three Strings. Read the rest of this entry »

By Tom Lynch

Here’s an example of how much can change over the course of ten years—Lincoln Park’s Lounge Ax, the premier indie-rock venue in the city, which even had a cameo in the Chicago-shot “High Fidelity,” took its final bow on January 15, 2000, just two weeks into the new decade. By now, it’s unlikely the majority of those who frequently attend rock shows at places like Empty Bottle, Schubas or Hideout were old enough to have ever gone there.

When considering changes and adjustments in all mediums over the last ten years, music offers the most significant transformation, not only here in Chicago but across the globe. Moving into 2010 we’re heavily entrenched in the digital age, as it took iTunes, introduced by Apple in January of 2001, and the iPod, which came in October of the same year, a relatively short amount of time to make over the record industry and put the future of record stores, independent and corporate, in limbo. Goodbye Virgin. Goodbye Tower. It was sort-of nice knowing you. Read the rest of this entry »

By Tom Lynch

My fifty favorite records of the decade. Labored over this for the last couple months. Lists like these are never finished, you simply just run out of time.

50. Bon Iver, “For Emma, Long Ago” (Jagjaguwar, 2008)

49. Lil’ Wayne, “Tha Carter III” (Cash Money Records, 2008)

48. Sleater-Kinney, “One Beat” (Kill Rock Stars, 2002)

47. For Stars, “We Are All Beautiful People” (Future Farmer, 2002)

46. M.I.A., “Kala” (Interscope Records, 2007)

45. The Knife, “Silent Shout” (Mute U.S., 2006)

44. The Decemberists, “Picaresque” (Kill Rock Stars, 2005)

43. Styrofoam, “A Short Album About Murder” (Morr Music, 2001)

42. Nada Surf, “Let Go” (Barsuk, 2003)

41. Califone, “Quicksand/Cradlesnakes” (Thrill Jockey, 2003)

40. Pela, “Anytown Graffiti,” (Great Society, 2007) Read the rest of this entry »

By Tom Lynch

For people of a certain age, watching Wrestlemania as a child on cable is a beloved memory. For Melisa Young, aka Kid Sister, it’s from that annual tradition that she fell for Koko B. Ware, the “Birdman,” the Hulk Hogan-era African-American WWF wrestler who carried around a pet macaw. “Koko B. Ware” was to be the title of Kid Sister’s debut record, but the Federation—now known as the WWE—wouldn’t even consider allowing Young to use the name.

“We were like, we’ll give you $10,000, and they were like, ‘We’re not even discussing it, it’s not up for debate,’” she says. “It was pretty crushing.”

Such a devotion to nostalgia, to origin, to not-forgetting-where-she-came-from has helped give Kid Sister some street cred and popularity over the last two years, all without having a full-length album. Young possesses a girl-next-door charm—and works it to her advantage, too—so that even if you try to fight it, you find yourself rooting for her. Her Kid Sister moniker helps to immediately position her as the universal girl everyone helps build up and protect.

Her rise as an artist is unique not only for her rapid ascent but also because of her determination to remain true to her vision. Read the rest of this entry »

By Tom Lynch

“Does this mean I can leave early?”

That’s the question I’ve heard most from friends and acquaintances attending Lollapalooza this year as they look over the three-day schedule. That’s because Chicago’s Lollapalooza, in its fifth incarnation since the Grant Park debut in the summer of 2005, hasn’t had a weaker lineup.

Anybody want to disagree? Looking back at previous years, it makes this weekend’s festival seem even thinner. Read the rest of this entry »

By Tom Lynch

Last month local four-piece Coupleskate traveled to Austin for South by Southwest and played a bill that also included Peter, Bjorn and John… and one Kanye West. In fact, while at the venue, the women in the band were unwittingly leaning against Kanye’s gear and talking, when they were asked to move by one of the hip-hop star’s crew. Because nobody touches Kanye’s gear. Nobody.

“We were good sports about it,” laughs guitarist and vocalist Andrea Bauer.

Coupleskate has gone through a few variations over the years, producing the 2006 EP “Trophy” and this year’s full-length “Don’t Scare the Horses.” Read the rest of this entry »

Driving eighteen hours and 1,200 miles from Chicago to Austin, Texas for the annual mayhem that’s the South by Southwest music festival seemed like an insane idea. Since I’d procrastinated on purchasing a plane ticket a few weeks ago, the price had reached an implausible amount. I’d never been to the fest and wasn’t going to let money hinder me from experiencing one of the greatest musical weekends of my life. With our iPods fully loaded, I, my boyfriend and our French-Canadian friend depart Chicago in the middle of the night and head southwest. During the expedition, we escape a speeding ticket, experience the surprising beauty of Arkansas, drive through the R.E.M.-inspiring city of Texarkana and eat dreadful fast food at Bush’s Chicken. At 3pm, we arrive in warm and verdant Austin. Spring has definitely sprung in The Lone Star State. I can’t stop thinking about the scene in “Pee Wee’s Big Adventure” when Pee Wee incites the Texans to sing “Deep in the Heart of Texas.” Read the rest of this entry »

It’s 2pm outside of Los Angeles, and Sam Spiegel, aka Squeak E. Clean, is cruising down the freeway after a late breakfast with his girlfriend. “Late night, actually,” he explains. “We went out, had some drinks and got wild.” You can’t blame the guy for feeling a bit celebratory. After all, his new NASA project with buddy DJ Zegon (Ze Gonzales) has just released its debut album, “The Spirit of Apollo,” after five-plus years of conceptualizing, collaborating and recording.

The pair first met at a party in LA, with their love of Brazilian music first breaking the ice Read the rest of this entry »

RECOMMENDED

With her 2008 release “Shine” (Homeschool/Atlantic), this London-born neo-soul singer shows that she can hold her own in the business, starting from the catchy “Wait A Minute (Just A Touch),” in which she showcases both a sensual, soulful singing voice alongside strong rapping chops. Her duet with Kanye West on “American Boy” proved to be her breakout hit—a playful party track in which the pair talk about visiting each other’s countries. While Estelle takes a romantic view of LA and Brooklyn, West looks at London from a more jaded point of view. She shows an open musical mind by taking on reggae on “Magnificent,” which features Toronto’s Kardinal Offishall. Unlike other artists, Estelle seems incredibly comfortable in the genre, which is highly popular within London’s expat circles. Mentor John Legend makes an appearance on the uptempo romantic ballad “You Are,” a song obviously targeted to more old-school audiences. The same can be said of the retro-sounding “Pretty Please (Love Me),” which sounds like it could be covered by Diana Ross. The title track closes the disc on an upbeat note, sounding like an invitation for remixers to send it to the dance floor. (Ernest Barteldes)

February 25, House of Blues, 329 N. Dearborn, (312)923.2000, 9pm. $30.50-$33.