Music

Michelle Malone

Listen Up
Sugarfoot is one of those c.d.’s that can be inserted in the space between the blues and rock without really adding anything new to the pile.


Cross Canadian Ragweed

Back to Tulsa: Live and Loud at Cain’s Ballroom (Universal Records South)
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This four-piece band from Oklahoma kills at live shows, especially for listeners hoisting beer bongs and sucking reefer.



Yo La Tengo

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After dropping a slew of compilations and covers albums (one by caller-request for a radio station pledge drive), and being met with varying reviews, Yo La Tengo is back to form on a seamlessly style-shifting album.


Motley Crue

The Show
Aerosmith and Mötley Crüe are in town tonight at the Smirnoff, and if the pairing seems a little odd, realize that the bands have more in common than decades of drug use.



Red Monroe

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Red Monroe’s influences are obvious: the Stones, New York Dolls, The Animals, Moby Grape, and even a little Hold Steady action.


PlayJazzPlay

Hearsay
Just when you thought the days of major labels’ swooping down from above and plucking obscure bands from the bowels of local music scenes were gone, along comes the news that one-man straight-edge softcore band PlayRadioP...



Big Bill Broonzy

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Big Bill Broonzy claims, “All songs in the world that you sing are folk songs, because horses don’t sing.” On the straightforward solo acoustic Amsterdam Live Concerts 1953, he offers originals and interpretations, many o...


Suicide Girls

The Show
The Suicide Girls are a nationwide group, like the Red Hat Society or Rotary Club, but one whose mission is to torpedo the popular perception that to be beautiful, young women must look like supermodels, tall and skinny, with g...



Will Rogers, Sludge Metal, and You

Hearsay
As you may (or may not) have noticed, Will Rogers Memorial Center Auditorium is on its way to becoming a bona fide rock venue, kind of like our very own Gypsy Tea Room, in Dallas, minus the gross floors and stinky bathrooms.


Present Tense

Don’t call Ornette Coleman’s Sound Grammar a comeback.
BRENT BURTON
Many folks will no doubt mistake Ornette Coleman’s new Sound Grammar for a comeback — and with good reason. For starters, its creator — the alto saxophonist who, in the ’50s, more or less invented free jazz — is now 7...