Video Of The Week: Whip Your Hair

The Straight Lines video of the week this week comes to us from the stages of late night television. Upon Bruce Springsteen's release of the The Promise, he hit Jimmy Fallon's show for a few performances and interview. The real surprise though was his duet with Neil Young. Well, if you could look closely, you will see in the video that it isn't really Neil playing with Bruce, but a damn good impersonator. Some really funny stuff. Enjoy!

Foo Fighters Move To Garage?

In a recent interview with Q Magazine, Foo Fighter front-man, Dave Grohl, stated that he and the band recorded their upcoming new album in his garage. In the magazine, Grohl says, "Rather than just record the album in the most expensive studio with the most state-of-the-art equipment, what if Butch and I were to get back together after 20 years and dust off the tape machines and put them in my garage?' I literally backed the minivan out of the garage, pulled the lawnmower out, put a drum set in it and set up mics. We soundproofed the garage door so that my neighbors wouldn't call the f*****g cops."

On the new album, Grohl reunites with former Nirvana producer, Butch Vig, and also does a song with longtime friend and former Nirvana bassist, Krist Novoselic.

The new Foo Fighter record does not currently have a specific release date, but should hit stores sometime next year.

Video Of The Week: Billie Joe Headed For Broadway

Billie Joe Armstrong is headed back to Broadway. After making a guest appearance and starring as St. Jimmy in the Broadway production of American Idiot in September, Armstrong has now signed on for 50 more performances. In September when Armstrong was starring, the production made over one million dollars.

Armstrong will reprise the St. Jimmy role starting in January and ending on February 27th.

With this breaking news, this week's video of the week will give you a taste of what to expect with Billie leading the charge on Broadway. The video of the week comes to you from the stage of American Idiot starring Billie Joe of Green Day. It's only a taste, but it surely will give you a new found reason to go New York City. Enjoy!!

Chicago Weekend Concert Info 11/26-11/28

Here is this weekend's Chicago concert information. Enjoy!

Schubas
11/26 - Bear Hands, Netherfriends, Team Band
11/27 - Michael Tolcher, Nomo, In Tall Buildings
11/28 - Stornoway, Franz Nicoly and Major General

Lincoln Hall
11/26 - The Flavor Savers, The Sweeps, Meagon Hickman
11/27 - The Sea and Cake, Brighton MA

Bottom Lounge
11/26 - Matt Skiba, Brendan Kelly
11/27 - Bruno Mars, Davenport Ed, Tim Cali

Cubby Bear
11/26 - Jip Jop, Mama Dempsey
11/27 - Rod Tuffcurls and The Bench Press

Elbo Room
11/26 - The Northern Skies, S. Joel Normon, The Spectral Folk
11/27 - Moon Rook, Circus Bear, Coyote Camaro, OnYourMarx
11/28 - Michael Liuzza Band, Tom Fuller Band, Bridges Of Koenigsberg

Smashing Pumpkins Add To Teargarden by Kaleidyscope

The Smashing Pumpkins have released volume two of their Teargarden by Kaleidyscope project. Teargarden by Kaleidyscope is a 44 song project that is being released one song at a time. As the project has progressed, when the band has enough songs for a legitimate EP, they have bundled up four to five songs and moved ahead with a release. Volume two is titled The Solstice Bare and contains the songs "Freak," "The Fellowship," "Tom Tom" and "Spangled," along with "Cottonwood Symphony," which is an unreleased B-side track.

Many of these songs can be downloaded for free from their individual releases but it surely is nice to see the band actually putting out CD's again. The volume one release, Songs For A Sailor, was very well received and is becoming increasingly hard to find worldwide.

Bush Confuses Bono for Bono

George W. Bush is at it again. This time reeking havoc in the music world. In his new autobiography, Decision Points, Bush admits that he mistook U2's Bono for Sonny Bono. According to the book, when his advisers asked if he knew who the legendary rocker was after meeting him, Bush responded saying he thought Bono was the man who "used to be married to Cher."

The guy never ceases to amaze...

Beatles, iTunes...What's the Big Deal?

The Beatles' music is finally available on iTunes...so what? It's not like they are U2, signing on at the cutting edge and using a new single to promote a new technology. And it's not like the Beatles' music has been unavailable, making iTunes a savior for long-lost treasures.

It's just that the Beatles and Apple finally settled their score so the Beatles' music is available for $1.29 per song or $12.99 per entire album (with double albums at $19.99). Again, what's the big deal? For a few bucks more (and keep an eye out for online sales aiming to compete with iTunes) you can own the remastered CD.

And the fact is that most fans, casual or not, already own LPs and/or some generation of CD whether it be original 1987 CD issues, the recent stereo or mono remasters, or even the way cool little green apple with music and videos stored at an ultra-high-performance level USB stick. So why would anyone buy these digital downloads from iTunes? You can copy from CD to computer and iPod and any sound you get that way is going to be no worse (and probably better) than the sound quality of anything you can download from iTunes. Plus, iTunes is focused on downloading single songs where the Beatles, especially from 1965's Rubber Soul on, were all about albums - longer pieces of music made up of single songs that belong together. Sgt. Pepper might be considered the first concept album, and though the concept itself might be elusive the songs do hold together: "A Day in the Life" is a great piece of songwriting that stands on its own, but it's the perfect ending and stands even stronger as the coda to that record.

So if you already own the Beatles' music there's little reason for you to buy from iTunes; if for some reason you don't own it, head to your local music store (do those exist anymore?) or go to Amazon or Music Direct and pay for the CDs. You get the packaging, liner notes, something to hold in your hand, better sound, the individual songs in order -- the complete package as the Beatles intended. Plus, you'll always have them to upload to whatever new piece of technology comes along when the iPod has run its course.

Video of the Week: Darkness on the Edge of Town

In honor of the release this week of Bruce Springsteen's expanded and upgraded Darkness on the Edge of Town, quite possibly the high point of his recording career, Straight Lines Music offers this live bootlegged video circa 1978 of the title cut. His intro is brief, to the point, and a little dark. The E Street Band is tight, Little Steven's harmonies are clear, and Roy Bittan's keyboards provide just enough light. His vocals are rough but the music rings true: He's a young man with dreams that just might be fading. A nice clip from the most undocumented part of Springsteen's career.

Check back for a complete review of the whole box set -- blu-ray discs included.

Neil Young's 65th Birthday Present: Archives Avoid Fire Damage

Looks like Neil Young received his 65th birthday present three days early when almost all of his archival material stored in a San Carlos, CA, warehouse escaped serious damage from a fire that apparently started in Young's transformed Lincvolt electronic car. Young's representatives said the warehouse contained a lot of archival material including film, guitars and recordings -- and his transformed Lincvolt electronic car. Reports are more than 85% of everything housed in the warehouse escaped damage, with most of the damage centered in the car. Here's Young's statement, issued Nov. 10, two days before his 65th birthday:

"My wife Pegi and I would like to thank the Belmont-San Carlos Fire Dept for doing such an exemplary job at our recent warehouse fire. A lot of archival items were threatened and the fire department did a first class job protecting them. We are lucky to have these professionals in our area. We are thankful that no one was hurt in the fire. Rest assured that we have the very best fire rescue and protection in San Carlos and Belmont.Lincvolt was severely damaged in the fire. We are still investigating the exact cause although it appears to be an operator error that occurred in an untested part of the charging system.We do know that the car has been operating perfectly for almost 2 thousand miles and the system in question would not be in use while driving the car. We are investigating the components involved with plug-in charging.It is interesting to note that all of the components except the battery systems in Lincvolt are made in the USA. The only components we could not get domestically were the batteries and battery associated systems. We are still looking for a domestic source.There is a computer in Lincvolt. It may function like a 'black box.' It may be useful for gathering data. We will be removing it today and sending it to Lincvolt team member Perrone Robotics. While this is a setback for us we are planning ways to continue. We will begin cleaning and inspecting Lincvolt today."

In celebration today's entry offers three cuts from Young's groundbreaking Time Fades Away LP -- the first live release to include only new material. The LP has not be released on CD...

And on a related topic, consider this a Markowski for Young in the Straight Lines Music Poll for "greatest guitarist in the history of rock," though Hendrix should be a write-in too...

Standing On Your Doorstep: Bob Dylan & The Witmark Demos

With Volume 9 of The Bootleg Series Bob Dylan keeps us on the edge of our living room couch with the stereo cranked up, waiting to hear what will be revealed -- and what could have been released years ago. It should come as no surprise that someone who has recorded for almost 50 years has material in the vault worth hearing, but Dylan continues to astound with what he's held back.

The Witmark Demos: 1962-1964 is a great example (and thanks to CD technology we get to hear them. There is little doubt that these would not be available had we only LPs to listen to). The Witmark recordings are Dylan's (and his publisher's) efforts to make a little money because that's how things were done in the Olden Days. Prior to Dylan (and a few others from the same era) artists did one of two things: they either wrote songs or they sang them. Once a writer wrote a few songs he'd sit down and record them, the publisher would transcribe them, then the sheet music and demo recording were sent to other artists the publisher thought might be a good fit for that song. If the artist recorded the song the publisher and songwriter would make some dough.

That's what's going on in these sparse Dylan-only demo recordings. He's in a small room (you can hear the tight space), he's sitting on chair, and he's playing guitar (mostly) or piano, accompanying himself on 47 songs ranging from straight blues to talking blues to protest music to many of his best-known early masterpieces including "Blowin' in the Wind," "A Hard Rain's A-Gonna Fall," "Masters of War," "Boots of Spanish Leather," "Girl from North Country," "The Times They Are A-Changin'," and "Mr. Tambourine Man." There's obscure music, too, some never released and some heard recorded only by others or on lousy-sounding bootlegs.

So what can you learn from The Witmark Demos? Well, not all that much, really, but that's no reason not to listen. Dylan is prolific, and that comes through. He's developing as a songwriter, and that comes through. He's exploding topically, moving from Woody Guthrie acolyte to protester to introspective chronicler of the soul, to mouthy and ribald frat boy and that comes through. He can (could) really sing, and that comes through loud and clear for tapes as old as these.

But the reason to listen to these demos is this is as close to pure, informal, relaxed Bob Dylan as we're likely to get. It's the heavily bootlegged St. Paul tape from May 1960 or the May 1961 Minneapolis Party Tape with much improved sound -- and with better songs and without the party. It's Dylan in your living room and he's just playing his music. Songs break down once in a while and he tells you why. One goes on for a time and he asks if you're sure you want him to continue "because it's kind of long." He coughs and keeps going. He repeats a verse then tags the correct verse on at the end and tells you what happened. Tempos speed and drag within the same song, and some songs he rushes through. Guitar playing ranges from simple strumming to the complex fingerpicking of "Don't Think Twice, It's All Right" (which he fumbles at one point) and you can hear his guitar skills pretty easily. You can tell he likes some songs more than others but on the whole he just likes playing and singing what he's written.

So here's how to listen to this music: Close your eyes and imagine the doorbell rings. You open it to a windy night and find Bob Dylan standing on your doorstep.

"Oh, Hi Bob."

He looks a little uncomfortable, smirks a bit, and doesn't say anything.

"Come on in outta the cold. Wanna beer?"

He nods and steps in, setting down his guitar case and shirking his pea coat from his slight shoulders. You close the door and head to the kitchen to get a couple brews and when you come back there's Dylan sitting on a dining room chair turned toward your couch and he's got his guitar on his lap and he's tuning it. He's turned down the volume on the TV behind him but he left the picture. He takes a swig and sets the bottle on the floor.

"Got some songs I wanna play" and he starts in on "Man on the Street" while you just sit back and listen.

Video Of The Week: 30 Seconds To Mars And Kanye

The Straight Lines Video Of The Week this week is brought to you by 30 Seconds To Mars and rapper Kanye West. The band and the rap artist collectively recorded Hurricane in 2009 and recently performed it together at the 2010 MTV European Music Awards.

30 Seconds gave some extra time for Kanye to do his thing, and overall, the combo put on a very entertaining performance. Let us know what you think. Enjoy!!

Tune In Saturday Online for Patricia Barber

Idiosyncratic jazz singer, pianist, and hometown gal Patricia Barber, a mainstay at the Green Mill jazz club in Uptown, takes advantage of online technology by performing and streaming a show this Saturday night from Northwestern University's Pick-Staiger Concert Hall. Not only is it Barber, whose silky, smokey tone, offbeat phrasing, and heady approach to jazz standards, pop covers, and her own compositions have made her a darling of critics and generated a rabid following, but she's playing at Pick-Staiger, one of the most acoustically sound venues in the Chicago area.

Barber is a patient singer and pianist, telling the story the song tells her. She takes her time and, as the live recording of "Norwegian Wood (This Bird Has Flown) shows, it's a different tale than Lennon and McCartney had in mind. And check out the great piano playing on "Witchcraft," making it seem like she's happy to be under the spell. Her studio recordings are crisp, moody, sultry, quiet, fun, and energetic yet they hint at a pent-up energy she's trying to contain. It's her live recordings and concerts where she lets loose. And if that's not enough to get you there, consider this: Barber is performing with pianist Kenny Werner, unveiling a new collaboration.

Tickets are still available (and for only $18 from http://www.pick-staiger.org/) so get to Evanston if you can for what could be a once-in-a-lifetime event. And if you can't make it tune in to www.pick-staiger.org/webcasts which will start streaming live at 7:20 p.m.

Chicago Weekend Concert Info 11/5-11/7

Here is this weekend's Chicago concert information! Enjoy!

Schubas
11/5 - Violens, Reds And Blues, Dozens
11/6 - Azure Ray, James Husband

Lincoln Hall
11/5 - Lights, Jeremy Fisher, Smith Western, Mickey
11/6 - Junip, Sharon Van Ettes
11/7 - The Devin Townsend Project, TesseracT

Bottom Lounge
11/5 - The Pony's, Hollows, Lover!
11/6 - Brendan Benson, The Posies, Aqueduct, EOTO

Cubby Bear
11/5 - Mr. Bloto
11/6 - Filter, Middle Class Rut

Kings Of Leon Come Around

Kings Of Leon had a historic 2008 and 2009. For a band that has been on the scene since 1999, they were due for their big break. Turns out their big break may have just been the biggest break for a band in the last 10 years. The group's 2008 studio effort, Only By The Night, could have easily been the album of the year and it did win awards for song and record of the year. Tracks like Sex On Fire and Use Somebody tore up the charts month after month for most of 2009. Couple all of that with a world tour, a headlining slot at Lollapalooza, and the transformation from underground bar band to household name, and you get one of the most meteoric rises in recent rock history.

With success though comes expectations. But lets be honest. Would it be feasible for anyone to top the kind of success Kings Of Leon had in 2009? Unless you are Taylor Swift, probably not. So, lets just get it out there right away. Kings Of Leon's newest record, Come Around Sundown, is not as good as Only By The Night. It probably isn't even in the same universe as that record. But, that doesn't make it bad.

And it isn't bad. Come Around has some really great songs and fits together nicely as a 13 track record. It kicks off with a slower balladish tune in The End. It picks up for the next few with the first single, Radioactive, Pyro, and Mary. All three were songs that the group road tested towards the end of their 2010 summer tour. From their we get a "live it up" song in Immortals that features some great guitar playing from Matthew Followill. Matthew's guitar is prevalent on virtually every track and is a true high point of the album.

Other song highlights on the record include Back Down South, a country twanging ode to the "good ol days" in Tennesse (which is where the band members grew up). The albums best song is Pony Up, a tragic bar fight love tale. Lyrically, it is pretty simple and to the point, but musically, the various guitar riffs, stifling bass guitar, and patterned drums make it a very interesting and fun listen.

As a whole, Caleb Followill's lyrics are relatively simple all the way through the album. In songs like The End and Pickup Truck he reaches out for a little more and while he succeeds, its as clear as day he won't be becoming the Bob Dylan of our generation any time soon.

Come Around Sundown is a good album, but it is also a safe album. On this follow-up record, it is obvious Kings Of Leon was not interested in drawing a new line in the sand or expanding their musical focus. Come Around is a lot like Only By The Night in that it appeals to many ears and is easy to listen to. Why isn't it as good then? Because Only By The Night was the first of its kind and Come Around Sundown is a carbon copy. It would have been nice to see the Followill's take their music in a more challenging direction. After seeing Kings Of Leon twice in the past year, my fear always was that they would become a new version of an arena rock type band. Come Around Sundown lends more credibility to that fear.

As the years go on, we'll see exactly what kind of band Kings Of Leon morphs into. In the meantime, any follow-up to Only By The Night would have been highly criticized one way or another. Come Around Sundown can stare all the criticism in the eye as it is simply a fun and enjoyable record. Nothing more, nothing less.

Straight Lines Spotlight: My Chemical Romance

Straight Lines Music is a debuting a new feature this month...the Straight Lines Spotlight! Each month, Straight Lines Music will spotlight a different band or artist. This spotlight will highlight band history, discography, current news, music, and videos.

To kick off the Straight Lines Spotlight series, we start with My Chemical Romance.

My Chemical Romance was formed by lead singer Gerard Way and then drummer Matt Pelissier. Over the years Way has stated that the idea to start the band came after experiencing and living through the September 11th tragedy in New Jersey. Along the way, Way and Pelissier picked up guitarist Ray Toro and Way's brother Mikey. In addition, the group added a second guitarist in Frank Lero. After only being a band for about three months, the group recorded what would be released as I Brought You My Bullets, You Brought Me Your Love.

MCR's breakthrough year came in 2003. After a tour with Avenged Sevenfold, the band went back into the studio to record their sophomore record Three Cheers For Sweet Revenge. As things would turn out, for My Chemical Romance, the second time was the charm. Three Cheers went platinum in just over a year and hosted chart topping singles including, I'm Not Okay, Helena, and The Ghost Of You.

I'm Not Okay


Helena


The Ghost Of You


In 2003 and 2004, in addition to much success, My Chemical Romance found some unrest in the group. It was during this time that the group parted ways with original drummer Matt Pelissier. As a group, they have never gone into detail as to why Pelissier left the group. Bob Bryar took over the drumming duties shortly after the split.

Throughout 2004, 2005, and some of 2006 My Chem was on the road performing and headlining various shows and festivals including the first ever Taste Of Chaos tour and Warped Tour. In addition, the band opened for Green Day on their American Idiot Tour.

In April of 2006, My Chem began work on their third studio album, The Black Parade. The record was produced by longtime Green Day producer, Rob Cavallo, and was the band's first concept album. Lyrically, the album took on the topic of death. Musically, it was a smooth transition between emo-punk, rock, and ballads. The Black Parade took My Chemical Romance to a new level. It was rated the 20th best album in 2006 by Rolling Stone magazine and the fourth best album of the year that year by Kerrang magazine. In 2007, the band was nominated for an American Music Award in the category of Best Alternative Band.

Welcome To The Black Parade


Teenagers


Famous Last Words


During live shows in 2006 and 2007, My Chemical Romance ditched the MCR gear and became The Black Parade. The band played The Black Parade in its entirety each night to the delight of millions of fans around the world. The tour culminated with a DVD recording in Mexico that was released in October of 2007.

After The Black Parade tour concluded in 2007, MCR took a much needed break from the road and the studio to spend time with their families and pursue other individual interests.

The band reconvened in 2009 to do a song for the Watchmen movie soundtrack. On the soundtrack MCR covers the historic Bob Dylan and his song Desolation Row.

Desolation Row


Throughout the hiatus, numerous rumors popped up of turmoil within the group and drummer Bob Bryar left the band in early 2010. Like the last drummer, the band has not commented as to why Bryar left the group. In addition, rumors of various recording sessions reportedly took place, but much to the the chagrin of fans, no release date was announced. Until September of 2010 that is. In September, My Chemical Romance announced the release of their fourth studio album, Danger Days: The True Lives Of The Fabulous Killjoys. Danger Days hits stores on November 22nd. My Chemical Romance has announced some concerts here and there, but an official tour has not been finalized. The band will be doing shows in St. Louis and at Q101's Twisted in Chicago, as well as some others overseas. Early reviews on leaked songs as well as Danger Day's first single Na Na Na have been stellar.

Na Na Na


The My Chemical Romance story is certainly one of uniqueness. The five band members from Jersey climbed the rock ranks extremely quick and not just with one off popular songs, but with classic albums that will stand the test of time. The distant future is cloudy for this band but the immediate one couldn't be clearer. With a new album, rejuvenated band, and a beyond excited fanbase, November and 20ll is shaping up to be another great year for My Chemical Romance.

DISCOGRAPHY
* I Brought You My Bullets, You Brought Me Your Love (2002)
* Three Cheers for Sweet Revenge (2004)
* The Black Parade (2006)
* Danger Days: The True Lives of the Fabulous Killjoys (2010)

Buffalo Springfield "Live" and Sounding Great

http://rustfest.org/allonesong/BSB2010SAT/

Yesterday we reported on the Buffalo Springfield reunion at Neil Young's Bridge Benefit concert, but the clip was shaky and the sound was poor. Check out this link for great sound and the complete set -- no video but the band sounds great, especially Ritchie Furay on "Kind Woman" and Steven Stills on "For What It's Worth" and "Rock and Roll Woman." Note the inclusion of "Bluebird" with its extended Stills and Neil Young guitar interplay in the middle -- long considered a classic Springfield tune that was only available in a live version on a retrospective set. Don't wait to listen as this link probably won't be active for too long.

Buffalo Springfield Almost...Again

Well, it wasn't the Whiskey-A-Go-Go, where Buffalo Springfield holds legendary status (along with The Doors) and it wasn't the complete Buffalo Springfield. But it was as close as anyone's gotten to hearing this great band since 1967.

Last weekend at Neil Young's annual acoustic music Bridge School Benefit, where a couple dozen Big Name performers set aside their egos and rider demands for Cristal and caviar to play for free with no expenses paid, Young brought together the two other surviving members of what many say was "the greatest live band no one heard" and they resurrected the old days for a few minutes.

Young looked as dapper as he'll ever look in a great hat and fringed jacket that hearkened back to his Tiger Beat photo spreads, Steven Stills looked thinner and better than he has in years (and a little professorial too), and silver-haired Richie Furay looked like he was thrilled to be their with his old pals. Too bad all five original members weren't there, but bassist Bruce Palmer and drummer Dewey Martin have died and were replaced by members of the CSNY touring band.

The set list included Buffalo gems and classics: "On the Way Home (set opener, click above video), "Rock and Roll Woman," "Do I Have to Come Right Out and Say It," "I Am a Child," "Kind Woman," "Child's Claim," "Burned," "Nowadays Clancy Can't Even Sing," "Bluebird," and "Mr. Soul."

Any chance this sets the stage for a reunion tour?

Q101 Announces 2010 Twisted Lineup

In what has become an annual tradition in Chicago, Q101's Twisted is back. And back with a vengeance. The radio station announced its five night 2010 lineup on Monday morning. All shows will be at Chicago's House Of Blues and will feature five headlining acts: Alterbridge, Five Finger Death Punch, Chevelle, Cake, and My Chemical Romance. Other bands slated to play so far are, Sick Puppies, Bad City, Hellyeah, The Damned Things, Finger Eleven, Hail The Villain, Middle Class Rut, and Greek Fire. More bands are sure to be announced in the coming days.

The true shocker of the lineup is that of My Chemical Romance. The band is coming off an almost five year hiatus and has not even announced a full U.S tour as of yet. The band is releasing a new album in November and a live performance in Chicago is the perfect way to kick off their return.

Q101's Twisted is going to be held on December 11th thru December 15th. Tickets go on-sale to the general public on Friday October 29th at 10am. Stay tuned to Straight Lines for updated band information as it becomes available.

Video Of The Week: KOL Rock SNL

The Straight Lines video of the week this week is from Kings Of Leon. After a historic 2009 for the band, 2010 is looking to be even bigger. KOL just released their newest album, Come Around Sundown on October 19th and hit the Saturday Night Live stage this past weekend to show off some of the new tracks. They group played the album's first single, Radioactive, as well as a track off the record titled Pyro. Check out the performance of Radioactive below!

Rockin' the Vote: These 5 Should Make the Hall for 2011

Well, two of the voters in the recent Straight Lines Music Poll are going to be disappointed if our 2011 Rock & Roll Hall of Fame picks are on the money: Bon Jovi got two votes from SLM readers...and we didn't even know his mom and wife were followers... Seriously, someone's got some 'splainin' to do....

Anyway, over the past couple of weeks Straight Lines Music has taken a look at each of the dozen 2011 nominees, sketching their background, citing their influence, listing their breakthroughs, and providing some sample cuts for you to hear.

But which 5 make get the Straight Lines vote? Well, ladies first:

Laura Nyro, who has been nominated before but has never garnered enough support, clearly belongs, and this year "competing" with these 11 she's going to make it. A songwriter of the highest caliber and a fine, though possibly less-accessible interpreter of her own music, Nyro was at the forefront of the singer/songwriter movement and a transitional women's artist from folk to pop and rock. Without Nyro Joni Mitchell struggles to find an audience -- and maybe a record deal. Without Nyro which white woman pens soulful folk/blues with a jazz or pop influence? Without Nyro how does the 5th Dimension or Blood, Sweat & Tears break through? Without her soul the music that was to follow would be a little thinner, a little less adventurous, a little less interesting. She earns her way in on her own merits and based on what others did with what she wrote.

Still sticking with the ladies... Alice Cooper gets the nod, too, and not necessarily for valuable contributions but for contributions nonetheless. The dangerous early incarnation of the band energized teenagers, damaged eardrums, and scared parents -- all the stuff great rock & roll is supposed to do. Add to that the heavy (for its time) metal sound that can be considered a precursor to Metallica and others, Alice Cooper ripped a hole in rock's niceties and forced its way into the Hall. Then add the great hits and it's almost a dare to keep them out. And, despite those who prefer straight-on music to onstage dramatics, Alice Cooper (the later version) pioneered stage shows that many bands and artists would eventually emulate (and improve on). So Alice Cooper gets in because they were a great metal band and one of the first, because they looked good in ripped lingerie and helped make androgyny acceptable, because they put on groundbreaking if crude stage shows, and because they know what it feels like to be 18. In fact, they get in for "I'm Eighteen" alone.

Now the guys.

Neil Diamond is a no-brainer if there ever was one. Frankly, he gets in for "Cherry, Cherry" alone, but try this: Get a bunch of people in your car, hit the road, and fiddle with the dial until a Neil Diamond song comes out of the speakers -- you won't have to wait long to find one -- and note what happens. Just as with The Beatles, Simon & Garfunkel, the Beach Boys, Creedence Clearwater Revival and many other melodic impact artists, people will know the lyrics and will start singing along. And not just to "Sweet Caroline," either. Whether you consider his writing, his ties to Brill Building excellence, the pop hit after pop hit after pop hit, the length of his career, the devotion of his millions of fans, the dollars of record sales (supposedly not a factor in Hall voting), or the still sold-out concerts, Neil Diamond is the man -- and he would appreciate it if the Hall were to put it that way on his plaque. Just be wary when he strolls to the mic to accept as he has a greater flair for the drama than the dramatic.

Everyone needs a poet, so this year Tom Waits also makes the cut. His is a classic case of being loved by the critics (most of them and most of the time) and being loved by an almost cult following of fans. His very long career has careened from folk to blues to jazz to rock and back and then he mixed parts of all those together seemingly on a whim, generally to solid, engaging, challenging results. He's never been a Big Seller, though releases such as Swordfish Trombones have pushed their way up the chart. But Waits, in many ways like Bob Dylan, Neil Young, and Brian Wilson, walks his own streets in his own mind. His streets are darker, the wind is harder and colder, and most of the streetlights are broken -- but he finds his way.

Last but not least the Beastie Boys. Bands get in the Hall based on their entire output and impact (unless the Hall makes a specific designation of period) but the Boys (with one girl) get in starting with their output from 1984 when Rick Rubens began producing them for Def Jam and they became an impact rap band (from a less-impactful punk band). They hit the big time, bringing rap to the masses, and took another big step when Mix Master Mike joined up in 1998. But in addition to bringing rap to rock and showing it can work at a profitable and artistic level, the Beasties rock the vote by their groundbreaking successes with sampling -- a practice that has dominated rap and hip-hop ever since this band had huge success with Paul's Boutique. That, plus their willingness to fight and win a lawsuit alleging copyright infringement opened the door for hundreds and maybe thousands of bands to give new life to riffs and beats from hundreds of dead or no-longer-performing artists, introducing some of those folks (Hendrix etc) to a whole new generation of listeners.

So, that's the Straight Line on who's going to make it in the Rock & Roll Hall of Fame when ballots are counted. Let us know what you think...and don't wait until winners are announced!

FInally! Some Competition for Ticketmaster...Hopefully

We've all bitched about Ticketmaster's monopoly which results in ridiculous prices, service fees (for what service, by the way?), and a host of other charges that add easily 15% or more to a ticket price. And despite the efforts of a variety of bands (Pearl Jam gets the biggest kudos for the greatest effort) Ticketmaster has challenged all comers and won.

But maybe that will change.

Turns out former Ticketmaster CEO Fredric Rosen is going to become CEO of an Outbox Technology subsidiary that enables organizers of concerts and other events to sell tickets through their own websites. The subsidiary, Outbox Enterprises, provides ticket-processing technology to performers, events, and venues -- essentially cutting out the middleman.

In addition to hopefully providing a credible challenge to Ticketmaster, which could drive costs down, Outbox turns the entire ticket-selling system on its head. Where Ticketmaster has developed a centralized ticket processing operation the Outbox approach is to decentralize ticket sales, creating an almost grass roots approach to sales.

Of course just because there's competition doesn't mean the additional fees would suddenly vanish -- those are here to stay. But the Outbox approach does allow artists and venues to decide how much of a service fee to charge, and Outbox receives a percentage of that fee.

Sufjan Fever Hard To Catch

Stinks is probably a tad bit to harsh, but disappointing certainly fits when describing Sufjan Stevens at the Chicago Theatre this past Friday night. Maybe it was the fact that the hype and expectations were too high? I'm not sure really. What is for sure though was the feeling that I was missing something that everyone else saw. Sufjan fever? Apparently it is hard to catch.

The first taste of Sufjan Stevens that I had was with his album Illinoise. After hearing about it from various sources and people that I trust musically, it was a natural fit as something to check out. Again, I was a tad bit disappointed after the first listen. Not that it was bad or anything. I found myself enjoying many of the songs including Jacksonville, Chicago, and Casimir Pulaski Day. The album, as a whole, just did not deliver like I thought it would.

Friday night was the same. While the rest of the sold out crowd was bobbing their heads and singing, I was glancing around wondering if they had their Ipods on and were listening to something else. Virtually the entire set list revolved around Sufjan's new record "The Age Of Adz," which makes sense considering the album just came out October 12th. The fact that he played only his new stuff was not the problem. The problem was that nothing clicked. Sure, it was unique, quirky, and sounded nothing like anything being released these days, but it still was just boring. The songs weren't pleasant to listen to or thought provoking. If it wasn't for the artwork corresponding to the certain songs on the video screen, I undoubtedly would have fallen asleep. The crazy thing though? I would have been awakened by all the cheering from the audience once the song had concluded.

After a few days to digest the show and listen to some more Sufjan material, the only conclusion that I could make as to why I was so out of touch with the rest of the audience on Friday goes back to that element of unique. Obviously, people listen to music for different reasons; but it truly felt that the majority of the Sufjan audience was there to listen to his music strictly because it was different. Not necessarily because it is good. And to their credit it is different and it is very unique. But is it worth two hours of your time? Sure, if you're looking to take a nap.

All in all, I can't catch the Sufjan fever. I've tried the albums and I've tried him live and I just can't understand what the fuss is all about. To me, good music is good music. If it is played on an electric guitar with a traditional four piece band, great. If it is played on a piece of wood with a rubber band, even better. Good means good, not different or unique.

As for the Sufjan fever? Wake me up when they find a cure.

Video Of The Week: My Chemical Romance Returns

The Straight Lines video of the week this week is from My Chemical Romance. After a bit of a hiatus, the band is back with a new album, Danger Days: The True Lives Of The Fabulous Killjoys. The album comes out on November 22nd, but the group has released a video for the first single Na Na Na. Check it out below and let us know what you think!

Arcade Fire Frontman To Lecture At Northwestern

Arcade Fire front-man, Will Butler, will be moving from the big stage to the classroom. Northbynorthwestern.com is reporting that Butler will give a lecture at Northwestern University in Chicago. Butler attended Northwestern and majored in poetry and creative writing.

The lecture he will be giving is slated to be about how he has influenced the world by combining his music career and love for social activism. It will take place during Civically Engaged Young Alumni Week on the Northwestern campus. Butler will speak on November 2nd at 7pm. For more information, click here.

Chicago Weekend Music Information 10/15-10/17

It has been a little while since we did this, but the weather is getting cooler and its time to get back at it! Here is your concert information for this weekend in Chicago.

Schubas
10/15 - King Sparrow, Pet Lions, This Is Versailles
10/16 - Nathan Xander & Witchhouse, The Kickback, The Migrant
10/17 - Pepper Rabbit, From A Fountain, Words And Numbers

Lincoln Hall
10/15 - DeVotchKa, Angus And Julia Stone
10/16 - DeVotchKa, Angus And Julia Stone

Bottom Lounge
10/15 - The Octopus Project, Starfucker
10/16 - 1349, Triptykon
10/17 - Eli "Paperboy" Reed

Cubby Bear
10/15 - Stellar Road, Lying Delilah, Backyard Cohort
10/16 - Peter Terry, Murley Shertz, Train Company

Elbo Room
10/15 - Finley Night, Even Bigger, The Nows
10/16 - Scott Wesley, Jeanne T. Arrigo, Al Day and Victor Saunders

Chic, Beastie Boys and LL Cool J Round Out R&R HOF Nominees

The final three nominees for the 2011 Rock & Roll Hall of Fame are Chic, Beastie Boys, and LL Cool J.

Chic

We'll start with Chic, a primarily disco band founded by Nile Rodgers and Bernard Edwards that made its mark as producers as much as with "Dance, Dance, Dance (Yowsa, Yowsa, Yowsa)," "Le Freak," and "Everybody Dance," among other disco ditties. Originally a rock and R&B band, Rodgers and Edwards added Tony Thompson and Norma Jean Wright as a lead singer (eventually adding Luci Martin too). The renamed group hit the road as Chic as dance fever infected the country. While still releasing dance LPs as Chic the group also wrote and produced a host of other chart-topping records including Sister Sledge's We Are Family, Diana Ross' Diana, and Blondie's Debbie Harry's solo outing KooKoo. Chic has been nominated to the R&R Hall in 2003, 2006, 2007, 2008 and 2009. Rodgers and Chic still perform, though without original members Edwards and Thompson who died in 1996 and 2003 respectively.

Beastie Boys

Started in 1979 as a punk rock band, this New York City group took the name Beastie Boys in 1981 and quickly found itself supporting Bad Brains, Dead Kennedys and other punk bands at popular New York punk clubs such as CBGBs and Max's Kansas City. FOllowing siginng in 1984 to Def Jam with producer Rick Rubens, Beastie Boys went from punk to rap and became a trio, releasing the breakthrough Rock Hard EP in 1985 and License to Ill in 1986. The sample-heavy Paul's Boutique which eventually sold a million copies followed in 1988 with Check Your Head in 1992 on the band's own Grand Royal label (which featured former Beastie Kate Schellenbach's band Luscious Jackson as well as Julian Lennon, John's first kid). The Beasties returned to the top of the charts with Ill Communication in 1994, earned a headlining slot opposite The Smashing Pumpkins at Lollapalooza the same year, and in 1998 released Hello Nasty, which featured the addition of Mix Master Mike and catapulted them to #1 in the U.S. The Beastie Boys made another impact in the music industry when in 2003 a judge ruled in their favor in the case Newton vs. Diamond. The judge ruled that the Beastie's sampling of six seconds of James Newton's "Choir" in their song "Pass the Mic" did not violate copyright law -- a ruling that nudged open the door to sampling by other rap and hip-hot artists.

LL Cool J

From his earliest release, Radio, with hits "Rock the Bells" and I Can't Live Without My Radio," LL Cool J (Ladies Love Cool James) signaled that he was anything but a "typical" rapper. His romantic ballads, his use of standard song structures, and his almost pop-oriented approach made rap accessible to more than that music's core audience. Consider these numbers: Radio, 1.5 million in sale; Bigger and Deffer, 2.3 million; Walking with a Panther, 1.1; Mama Said Knock You Out, 2.7 million. And that's just his first four Def Jam releases. He went on to release another eight records, plus a greatest hits package, and almost all of them were driven by singles that burst onto the charts and stayed there: "I Need Love," "Goin Back to Cali," "I'm That Type of Guy," Jingling Baby," "Doin' It," and "Phenomenon" are just a few. Following his last release, Exit 13 in 2008, LL focused on the acting career he had dabbled in. He is now a regular on NCIS: Los Angeles.

NEXT WEEK: Straight Lines Picks Its 2011 R&R HOF Inductees! Make sure to check back!

New My Chemical Romance Hits The Web

My Chemical Romance is back with a brand new album on November 22nd. Before that though, the group was nice enough to release Na Na Na, the first single from the record and now have released a second single to further soothe fan excitement. The second single is called The Only Hope For Me Is You and is available right down below.

The new My Chem album is titled Danger Days: The True Lives Of The Fabulous Killjoys and will be released on November 22nd. The group is offering a very special box set version of the album that includes a special EP and various other My Chemical Romance goodies. For more information on that click here.

More R&R HOF: Diamond and Rough

While he's become something of a punch line in the later stages of his career -- he's sometimes derided as the Jewish Frank Sinatra -- few U.S. pop singer/songwriters can stand alongside Neil Diamond. From his early days as a shining cog in New York's Brill Building songwriting machine to his mid-career heights of Beautiful Noise (and even select tracks from Jonathan Livingston Seagull) Diamond has been known as a songwriter and singer of melodic (most of his stuff), sometimes dramatic ("I Am...I Said,") and sometimes syrupy ("You Don't Bring Me Flowers" duet with Barbra Streisand) music. But his 1960s and 1970s output carried a real pop charge. His early Brill hits -- "I'm A Believer," "Look Out (Here Comes Tomorrow)," "A Little Bit of Me, A Little Bit of You" -- helped put The Monkees on the musical map and generated industry interest not only in Diamond's writing but in his singing, at which he'd been unsuccessful to that point. He inked a contract with Bang Records in 1966 and the hits started to come. "Solitary Man" was his first success, soon to be followed by "Cherry, Cherry," "Kentucky Woman" (eventually covered by both Elvis Presley and Deep Purple), and "Thank the Lord for the Nighttime."



Following a switch to MCA Records in 1970 he dominated the charts with "Sweet Caroline," "Holly Holy," "Cracklin' Rosie," "Song Sung Blue," and "I Am...I Said." He simply was everywhere on the radio. Then in 1972 he performed at L.A.'s Greek Theater, recording the event for arguably one of the finest live recordings ever made, Hot August Night. Not only does the recording showcase every facet of Diamond's greatest songwriting in a live setting and with a full band, but it demonstrates his ability to connect, albeit a little dramatically, with a pop audience. His introduction to "I Am...I Said" is classic Diamond, "Brother Love's Traveling Salvation Show" is a close-to-perfect embodiment of the gospel-tinged musical era portrayed in the song, and "Cherry Cherry" rocks with Diamond doing a great job on rhythm guitar.

In 1976, on the verge of becoming musically irrelevent, he was invited (surprisingly) to perform at The Band's The Last Waltz concert, singing the overwrought "Dry Your Eyes" he'd penned with Robbie Robertson. (Robertson fought for the invite and defended it by saying Diamond represented the Brill Building era...true enough but his selection probably had more to do with the fact Roberston was currently producing Diamond's Beautiful Noise record.) After that Diamond's career, which had had its peaks, settled into a long creative valley, with the 1980s, 1990s, and 2000s being relatively uninspired despite scoring some big middle-of-the-road hits such as "Love On the Rocks." His biggest impact lately has been when others recorded his songs (such as UB40's cover of "Red Red Wine" and Johnny Cash recording "Solitary Man"). But his own output has been, to put it mildly, dreck. "America" is representative, and though it gets oldsters tuning in the radio, buying the CDs, and on their feet (though not on their chairs) at his still sold-out concerts, he's written nothing in the last 25 years with the strength, polish or insight of his early work.



Where Neil Diamond is polished and slick straight-ahead pop, Tom Waits is rough, unfinished, and more than a little scary. He's the guy huddling in the alleyway, his hands stuffed in his torn pockets, pulling his jacket down so his neck gets cold...stay away! He's the guy in the knit cap who rides the L all night long...don't make eye contact! He's a raconteur for the dispossessed with a voice that almost makes Bob Dylan sound like Bing Crosby, singing and writing from the dark side of the soul. He blends rock, blues, and jazz in unexpected ways, and his lyrics about the forgotten and the feared and the afraid have generated critical raves, enormous respect from other artists who cover his songs with regularity -- and barely enough popular success to survive doing what he does.



Those who aren't fans might know him for the knockout "Jersey Girl," covered by Bruce Springsteen & the E Street Band (check out this live version which starts after a meandering coffeehouse intro), and by "Downtown Train," a hit for none other than late-period Rod Stewart. And his reworking of the Australian anti-war "Waltzing Matilda" in his "Tom Traubert's Blues" is heart wrenching and masterful -- listen to this gorgeous cut from The Old Grey Whistle Stop. His music and lyrics are rarely upbeat, but given the undertone of life on the edge that permeates his writing that's no surprise. His melodies have a creeping impact on the listener -- often you can't pick them out right away because he growls them at you, but they sneak up on you by the end of the song. And Waits is an experimenter, his recordings and concert tours ranging from acoustic folk efforts to electric metal, jazz-infected rock, blues for the down and out, and just about everything in between. He's a melting pot of styles and sounds, making his vast catalog well worth dipping into.

Joe Tex, Chuck Willis and the R&R HOF

Despite having a million-selling single, "Hold What You've Got," which spent 11 weeks on Billboard's Top 100, and releasing 30 successful singles before 1965 on, Joe Tex will likely best be remembered as a songwriter who penned "Baby You're Right," which James Brown covered to great success in 1962.... that and a lifelong feud with Brown that culminated in Brown shooting at but not hitting Tex in a nightclub.

Tex's own singing spent quite a bit of time on the airwaves. Hits such as "A Woman Can Change a Man," "Skinny Legs and All," "Men Are Getting Scarce," and "The Love You Save (May Be Your Own)" were among the barrage of 45s he released in 1965 (7 releases), 1966 (6 releases), and 1967 (5 releases). His last big hit was 1972's "I Gotcha," which reached #2 on the charts and eventually earned him a gold record for 2 million in sales. He converted to Islam in 1966.



Harold "Chuck" Willis is known to many through his music -- but few fans know his name. Willis saw fame early in his career with "It's Too Late, She's Gone," which has been covered by Derek & the Dominoes, Jerry Garcia Band, Roy Orbison, Buddy Holly and the Crickets, and more. In addition to that, his "C.C. Rider" was not only a hit for him but has been covered by Elvis Presley among others. He is known as "The King of Stroll" for his performance of that dance, which resulted from an easygoing sound that led to an easygoing dance step. Pretty nice impact for what was a very brief career. Willis died during surgery in 1958 at the age of 30.

The Women Nominees: Distinct Styles Define Love, Nyro, Summer

Grouping the three women 2011 Rock & Roll Hall of Fame nominees together almost does them a disservice because they represent such distinctly different styles and eras -- but we're going to do it anyway.



Where Laura Nyro and Donna Summer staked a claim to solo artistry with white soul and disco respectively, Darlene Love spent most of her career singing mainly in the background but always with distinctive voice. After being "discovered" by Phil Spector in an all-girl group The Blossoms in the early 1960s, Love (with or without The Blossoms) can be found singing behind Elvis Presley, Johnny Rivers, Shelly Fabares, The Beach Boys, Tom Jones, Sam Cooke, and Dionne Warwick. But her greatest recognition came from singing lead on the Phil Spector-produced girl group hits "He's a Rebel" and "He's Sure the Boy I Love," both released under the name The Crystals, and on "Today I Met the Boy I'm Gonna Marry," where Love was credited as the solo artist. She is also known for "Christmas (Baby Please Come Home)" from 1963's A Christmas Gift for You from Phil Spector.



Where Love made it by supporting and singing songs penned by others, Laura Nyro carved her own niche by writing songs for herself. Her unique blend of white, woman, soul, jazz and blues with a little gospel thrown in defined a territory that few have entered since. And while she achieved critical success early and throughout her career, her recordings never attracted the attention they deserved. What they did attract, though, was other artists. So despite an outstanding recording and intermittent performing career Nyro is best known as a songwriter others have covered. Her own recorded versions of her songs are not as accessible as the pop interpretations, but her versions are the ones that stand alone. Still, Fifth Dimension's covers of "Wedding Bell Blues" and "Stoned Soul Picnic," Three Dog Night's "Eli's Coming," Barbra Streisand's "Stoney End," and Blood, Sweat & Tears "And When I Die" showcase her songwriting talents and did introduce Nyro to a wider set -- even if they didn't go out and buy her records. Never a comfortable performer, Nyro shunned the spotlight and toured rarely. She died of ovarian cancer in 1997 at age 49.



Unlike Nyro and Love who succeeded in near obscurity, Donna Summer was the pride and focal point of a musical movement. Born LaDonna Adrian Gaines, Summer was the face of disco -- "The Queen of Disco" -- virtually from the start of her success with producers Giorgio Moroder and Pete Belotte who helped craft some of disco's signature songs: "Love To Love Ya Baby" (eventually redone in a 17-minute version featuring Summer moaning over a middle instrumental), "Hot Stuff," and "Last Dance." Following a break with disco she recorded Bad Girls with its working girl slant and launched another hit with "She Works Hard for the Money." In later years Summer recorded more varied fare, even winning two Grammys for "Inspirational" recordings. In all she has been nominated for 12 Grammys and has won five.

Rock's Julia Roberts, The Night Tripper, Bar Blues at Its Finest, and the Hippiest of Folksingers

The initial criteria for Rock & Roll hall of Fame nomination is an artist is eligible 25 years after releasing his or her first record. From that standpoint Bon Jovi, J. Geils Band, Dr. John, and Donovan all qualify.

Bon Jovi

Bon Jovi has sold a ton of records, but there's just no "there" there. Sure, this hard rocking band with lead singer/songwriter Jon Bon Jovi and guitarist/songwriter Richie Sambora made its mark with "Living on a Prayer" and "It's My Life," but Bon Jovi is rock's Julia Roberts.

J. Geils Band

J. Geils Band is a great R&B band with a blues bloodline starting way back in the early 1960s when John Geils, Danny Klein, and Richard Salwitz (known as Magic Dick) performed as Snoopy and the Sopwith Camels. Additions including Peter Wolf led to a name change to J. Geils Blues Band, eventually dropping the "blues" characterization -- but dropping it in name only.

Since the late 1960s J. Geils Band was a hot group to see live, especially if you could see their patented brand of blues rock up close and personal, like in a bar. That's what they are, a pure bar band -- a great party band -- and that's not taking anything away from them. Put on anything from The Morning After, "Live" Full House, Bloodshot, Ladies Invited, or Nightmares...And Other Tales from the Vinyl Jungle and you'll get this party started. For many early fans interest faded as the group "went commercial" with Love Stinks and Freeze Frame.

The J. Geils Band broke up in in the early 1980s, reuniting once in a while for various reasons. But Wolf still tours and records and he's worth the price of admission in the places he plays: Clubs, bars and smaller music theaters.



Dr. John

Also known as Mac Rebbenack, Dr. John started as a guitar player, switching to piano after almost losing one of his fingers to a gunshot while defending a bandmate. Probably accounts for his distinctive keyboard style. His biggest record, Gris-Gris, takes full advantage of his New Orlean's background and he played it to the hilt by developing a murky, funky voodoo persona he dubbed "The Night Tripper." It worked for years, got him a lot of attention, and made for some interesting live gigs, but he tired of it and when he released Dr. John's Gumbo in 1972 he shifted to New Orleans Mardi Gras music, hitting the charts with "Iko Iko" and "Such a Night," which The Band eventually asked him to perform with them on their Last Waltz concert event. An aficionado of just about every type of piano sound from jazz and blues to zydeco and boogie woogie, Dr. John has backed artists from Carly Simon and James Taylor to Rickie Lee Jones and Neil Diamond. He has become an Elder Statesman of New Orleans Music and often gets the call when artists need piano versatility or New Orleans authenticity on their records.



Donovan

You cannot get a more representitive folksinger of the peace-love hippie era than Donavan Leitch, who from the start went by just his first name. You want some hippy-dippy songs? Check out "Sunshine Superman," "Mellow Yellow," "Jennifer, Juniper," and the pseudo-psychodelic "The Hurdy Gurdy Man." It's enough to give you a bad trip. But while those are the songs that kept Donovan on the radio almost to the end of the 1960s, he crafted and sung some gorgeous ballads including "Colours" and "Catch the Wind," both covered by many, though few have managed to capture the longing and resignation of his Pye-label recording of "Catch the Wind." And "Atlantis," while never a hit with such a long utopian "hippie dream" intro, was a significant deep track and 45 B-side. It crops up every now and then on FM oldies playlists because it has such a catchy singalong chorus you just can't get out of your head. You were warned...Hail Atlantis!.

All the Young Boys Love Alice

Unless you want to count Little Richard (and a case can be made), Alice Cooper broke ground for for all androgenous rockers to come, from David Bowie to Marc Bolan, David Surkamp, and Michael Stipe. He wore dresses -- tight ones. He wore lingerie -- skimpy stuff. He wore makeup -- a lot of it and not always well done. But Alice (born Vincent Furnier) wasn't just another pretty face. In fact initially Alice Cooper was a band, suffering the same fate Pink Floyd laments in "Have a Cigar"... "By the way, which one's Pink?"

But with Furnier on lead vocals and harmonica, Glen Buxton on lead, Michael Bruce on rhythm, Dennis Dunnaway on bass, and Neil Smith on drums Alice Cooper the band could rattle balconies and damage eardrums with the best of heavy metal rockers. And despite Furnier's penchant for hitting the links with Hollywood stars, aging crooners and Republican politicos, in his and the band's time Alice Cooper was considered as "dangerous" as they come.

From the cover of the first LP, Pretties for You, which featured a strategically placed sticker on the cellophane wrapper, to the breakthrough and incendiary "I'm Eighteen" (the "Satisfaction" of the 1970s)from the classic metal Love It to Death, to 1971's reptilian Killer Alice Cooper the band gave voice and swagger to teenagers who locked themselves in their bedrooms and cranked tunes of declaration and depravity while parents in the living room were wondering what the hell was going on. Check out the above live demo of "I'm Eighteen" -- it smolders for almost a minute, making it longer than the edited-for-AM Radio version -- but if you've ever been 18 you get it -- and you like it.



Alice Cooper had what is arguably the Number One anti-school anthem, "School's Out!" in 1972 and hit their popular peak in 1973 with Billion Dollar Babies. It was only then that Furnier answered that he was Alice Cooper, and he began performing on his own with a backup band, touring and releasing solo records, the first of which, Welcome to My Nightmare, spawned a hit, "Only Women Bleed," along with "The Nightmare," now considered rock's first long-form video, and a concert film that was a commercial and critical flop but a constant at midnight showings.

It was at this point that Cooper introduced stage theatrics -- primarily horror theatrics including a guillotine, snakes, bloodied and decapitated babies -- to rock. Pink Floyd, U2, Neil Young, and every other artist that attempts more on stage than just playing the music owes Alice Cooper -- and there's at least one whole generation of men (and probably some women too) who can say the same.

But the question is: Which Alice Cooper is nominated? The band? The Man? Both? Does it matter?

Tomorrow: Bon Jovi... and more 2011 R&R HOF Nominees!

R&R Hall of Fame Nominees Announced...Who Really Belongs?

Last week the Rock and Roll Hall of Fame announced its list of nominees for 2011 induction -- and head banging among fans, purists, and critics alike immediately ensued. At issue, among other things, is what constitutes "rock and roll" as artists such as Beastie Boys, Dr. John, Chic, Donna Summer, LL Cool J, Joe Tex, and Laura Nyro were included among this year's nominees. Did these folks really contribute to rock and roll? Some certainly contributed to rap, disco, folk, blues, white soul music -- but apparently many out there think each musical genre should have its own Hall.



Don't think so. Arguments of this type are ongoing -- there are many people who draw a firm distinction between "rock" and "rock and roll," saying that the only true rock and roll was recorded by Sam Phillips and Norman Petty. But the fact is that each of those types of music had a significant influence on the broader "rock" music so the justification for their names on the ballot seems clear. Now, whether they actually belong in the Hall -- well that's a question Straight Lines is going to tackle over the coming days. We'll take a brief look each nominee, offer some click-throughs to representative performances -- and let you know whether we think each artist should make the cut.



Then we'll take it a step further and predict which five artists will make it -- and who won't. So here's a list of this year's nominees. Check back every day to see who we think is deserving of membership in rock and roll's most exclusive club...and don't be shy about letting us know if we hit a sour note!

Alice Cooper
Bon Jovi
Beastie Boys
Chic
Neil Diamond
Donovan
Dr. John (Mac Rebennack)
J. Geils Band
LL Cool J
Darlene Love
Laura Nyro
Donna Summer
Joe Tex
Tom Waits
Chuck Willis

Who Do You Want to Hear at Lollapalooza 2011?

Visitors to Grant Park are still probably picking up remnants of Lollapalooza 2010 -- but it's already time to weigh in on what the 2011 event might look like. Today Lollapalooza's site began seeking suggestions for the bands people want to hear at the 2011 event, which will be held Aug. 5-7. Visit the site and you can suggest your top 3 bands for what will be the 20th anniversary fest.

So will Neil Young or Bob Dylan finally get the call to fill the "older" icon artist slot (where Jimmy Cliff fit this year and Lou Reed last year)? Or maybe Booker T. Jones or John Fogerty, or even Wanda Jackson -- all of whom are out on tour this year. And speaking of Wanda, how about and Jack White/Wanda Jackson set (following his production of her recent new record)...or will White show up with his other Stripe? Maybe as a Raconteur? Or will he blow in with The Dead Weather?

Grace Potter & The Nocturnals are due an invite, as is Martha Wainwright, The Hold Steady, and Conor Oberst with some version of Bright Eyes. And then there's The Vulgar Boatmen -- maybe they can be talked into playing.

One of the great things about this fest is that it''s proven over the years that it can handle any act from the unknown to the biggest name, so don't let the 2011 schedule be set without your input!

Jackson Browne Rolls Back the Years at Chicago Theater

Closing your eyes last night at Chicago Theater it was easy to think you were sitting in 1975, when Jackson Browne last toured with David Lindley as part of his full band. What a great place to spend the night.



Lindley, who is adept on just about any stringed instrument on the planet, has always lent Browne's music a tone and texture that has carved a special place for the early-era Jackson Browne records and concerts among Browne fans. And last night's performance, while making no nostalgic effort to recreate those days, demonstrated from start to finish the bond the two artists share, both musically and personally.

Browne and Lindley performed as coffeehouse duo for much of the first hour, bantering and offering musical insights to introduce a varied set of acoustic music. Starting with Warren Zevon's "Seminole Bingo," Browne's "For Everyman," and Bruce Springsteen's "Brothers Under the Bridge," Browne supplied the rhythm while Lindley played often intricate lead (and sang lead on "Brothers"), and he provided a Middle Eastern feel to Browne's political "Looking East." Browne, known for changing set lists on the fly, (though he admitted that's tougher to do with a full band), then surprised even Lindley by dusting off "Call It a Loan," co-written with Lindley, for a strong, up-close-and-personal reading. Browne left the stage to Lindley for a reinterpreted "Soul of a Man" by Blind Willie Johnson as well as a great cover of Steve Earle's "Copperhead Road."



But as strong as the first set was, the strength of Browne's music really showed when the full band took the stage after the break. Selecting songs spanning virtually his entire career (including spontaneous changes "Rock Me On the Water," "Sky Blue and Black," and "I'm Alive" prompted by audience shout-outs) Browne split the night between acoustic guitar and electric piano, giving fine voice to the three best cuts from his newest CD Time the Conqueror "Off of Wonderland," "Giving That Heaven Away," and "Just Say Yeah" (an updating of "Call It a Loan.") Hits "Running on Empty" and "The Pretender" and fan favorites "Bright Baby Blues," "Late for the Sky," and "Fountain of Sorrow" really benefit from a solid sonic background as well as from the ability of the band to kick each of those songs into a higher, more powerful, and in some cases more spine-tingling gear. "Too Many Angels" and encores "Mercury Blues" and "I Am a Patriot" allowed the band to stretch instrumentally and rock a little harder, particularly on "Mercury Blues."



Special mention must be made of "For a Dancer," possibly the saddest, most joyous song of the Browne canon. And while Browne hasn't neglected this Late for the Sky cut over the years, solo piano just doesn't do it justice. Lindley on fiddle instantly creates an atmosphere of melancholy and provides a depth that underpins Browne's cathartic vocals. A highlight of a great night, 2010 or 1975.

Be One of the First to Hear Neil Young's Le Noise...Today on NPR

Neil Young's collaboration with producer Daniel Lanois is getting its first complete public airing via National Public Radio's First Listen segment on the NPR website. Already receiving widespread acclaim as his best record in a handful of years, Le Noise showcases Young's grunge guitar sound -- which started with a specially outfitted acoustic guitar Lanois had ready for Young when he showed up to record. Young reportedly loved the sound and was even more enthused when he switched to electric, telling one interviewer that when he started playing "It sounded like God."

Much of this record was reportedly created on the fly, with Young melding with the guitar and playing with the big sound, loops, fuzz, and feedback Lanois was creating for him. Murky sounding music showcased well by the spooky, stark black-and-white videos of Young performing. Look for a Straight Lines Review!