The Style of Betty Buckley
Singer and actress Betty Buckley has one of those show business careers that defies categorization. She's been in critically acclaimed movies, record-breaking Broadway musicals, and on a perennial favorite television series. She can now add record label mogul to her list of accomplishments, as her latest album, the lovely Heart To Heart, has just been released on her own KO record label.
Gregg Shapiro: You released your new album, Heart To Heart on your own record label, KO. Your earlier solo albums were released on relatively small independent labels ( Rizzoli and Sterling ) . Were you ever approached by major labels when you were in the process of releasing an album?
Betty Buckley: No.
GS: Do you think there's a reason?
BB: I was approached when I was younger, in London momentarily, by Polygram. A couple of other major labels had talked to me through the years. But they kept saying to me, "We need to know your bag of music." I didn't have a "bag."
GS: I was thinking about how the cast recording of Dreamgirls was released on Geffen Records and then when Jennifer Holliday put out her first solo albums, they were also on Geffen. The cast recording of Cats, on which you sang, was also on Geffen...
BB: I was hoping that would happen for me, but it didn't. Apparently, Geffen didn't have a great experience with that record. I really don't know the ins and outs of all of it. But the music business changed quite a lot. Unless you were into rock and roll or played an instrument or wrote your own songs, there was a time period where just good singers who did beautiful music had a hard time finding a recording home base. The record business changed somewhat after Barbra Streisand. She was one of the last great singers to be nurtured by a record company. After that, the business was such that you pretty much had to create your own thing and then bring it to the record company, and they would buy it or not.
GS: You got stuck in that gray area between Streisand and Celine Dion.
BB: Precisely. That's exactly what happened. I was creating a body of music, but it wasn't in an easy niche. When I was creating that music, several record companies again came to hear me in concert. When I was developing the music that is chronicled on the Sterling Records albums. Again, it was not easily categorized. It was like, "What is it?" Basically, record executives need to know what things are, so that they can sell them easily. Then Sterling Records approached me and said that they wanted to record me. They were going to have me as their debut artist on their brand new label. They gave us just enough money to go in and make some records. We did five records for them.
GS: How are you enjoying being on your own record label?
BB: It's a great relief, actually. It's me and my partner Kevin ( Duncan ) , and we get to come up with our own ideas and just follow suit. We try to bring them into the world, to manifest them. As opposed to having to get permission from somebody else, so to speak, or meet this other person's standards. The head of Sterling was from a business administration background and was a former attorney of business affairs for Columbia Records years and years ago. We did some nice product for him. But I have more freedom this way, with my friend Kevin, to seek the things that are interesting to me and Kevin and to try and put them out there.
GS: I have to tell you that I was thrilled when I found out that you did another Joni Mitchell cover, "I Had A King," on Heart To Heart. You had previously done "River" and "A Case Of You," on With One Look. May we take a minute to talk about Joni?
BB: I love Joni Mitchell. I just saw her in concert the other night at the Paramount Theater at Madison Square Garden. She was just great. It was really wonderful.
GS: Is she someone that you've been listening to for a long time?
BB: Oh yeah. She scored my life in college. I used sit for whole afternoons and play her albums over and over and over again. She was a great influence on my life. At the concert the other night, there were some young women who were leaving when we were, and they also had my recordings, and were very excited to know that I was a Joni Mitchell fan. This one young woman sad that she was responsible for so much of how we view ourselves and the kind of lives that we lead today, through her poetry. She was such a great influence on our understanding of life and the kind of lives we wanted to live and what we were seeking from relationships, and all of that. I thought that that was a very interesting statement, and I said, "I know. That's really true."
GS: Have you ever had the chance to meet her?
BB: No, I've never met her and I really wanted to meet her. I was sitting on the third row, right in the center, right under her, so it was very exciting.
GS: You also cover Mary Chapin Carpenter's "I Am A Town" on Heart To Heart. Her song, "Come On Come On" was also on With One Look. What is it about her songs that speaks to you?
BB: Again, it's beautiful poetry and very beautiful and profound statements about life and relationships and living. I think she's an incredible writer. I like her a lot, as well.
GS: Another songwriter that you covered on those albums, as well as on Children Will Listen, is Stephen Sondheim.
BB: I just think he's one of the great masters of song writing and musical theater. He's as good as it gets.
GS: You sing a duet with Johnny Mathis on his new album, which is his first album of all-Broadway music in many years. What was that experience like?
BB: He's a lovely, lovely man. He was another one of my heroes from junior high school on. I would listen to Johnny Mathis and sing along to his recordings while looking out my bedroom window which looked out across this west Texas plain. "Wild Is The Wind," was one of the great songs that I loved growing up. I've been a fan of his for years and years. We have a mutual friend in Richard Jay-Alexander, one of the co-producers of his album, and Richard Jay called me up last year and said that Johnny had requested that I sing a duet with him on the CD, and I was thrilled. I got to go out to L.A. and sing with him on the record. It was very exciting.
GS: I'm glad that you brought up the west Texas plain, because in the movie Tender Mercies you played a country-western singer. Have you ever considered recording an entire album in the country music genre?
BB: We definitely have. I think we will in the future, depending on how well our business goes with KO. That's something I would definitely like to do.
GS: Your live concert album An Evening At Carnegie Hall was a benefit concert for "Broadway Cares/Equity Fights AIDS." Can you please something about your involvement in the fight against AIDS?
BB: Almost all of my best friends are gay people. My youngest brother is also gay. Eighty-five percent of the original cast of Cats has died of AIDS. All of us, I think, in the theater, in the world of the arts, have experienced tremendous losses in personal relationships and friendships, of people who have died of AIDS. It's a terrible plague and we can't stop until we find a cure. All of us in the theater do work for "Broadway Cares/Equity Fights AIDS," but that's my special heart charity. I do anything they ask me to do whenever I can.
GS: There is a whole generation of people who know you from your work on television in Eight Is Enough and from the movie Carrie. Are there any chances that we'll be seeing you on television or in the movies again?
BB: You never know. It's always about the project. There are things that I've talked to some people about. We'll see what happens. It's kind of a come and go process in show business. To be back on television, in a series, I would want to do something that I thought was fantastic. It's a completely absorbing life to be in a series. I had no personal life to speak of in the days of Eight Is Enough, although it was fun. It would have to be something that I would really relish going to work to do, because it's so all-consuming. I'm always up for this or that film. Things come and go. We'll see.
Songs of survival
Carly Simon's albums of original songs, on Arista Records, from the '80s and '90s can't really compare to her remarkable Elektra albums ( especially Another Passenger ) from the '70s. Even her early '80s Warner Brother albums pale in comparison. The very personal The Bedroom Tapes ( Arista ) is her first album in the new millennium and, among other topics, it tackles the difficult subject of Simon's bout with breast cancer.
Songs such as "Scar" and "I Forget" are brave undertakings in which Simon has made art out of illness and tragedy. In "Scar," Simon sings "It's after the knives/and the sutures and needles/I'm left with an arrow that/points at my heart," and just before she has a chance to get lost in self-pity, she gets the wise advice to "Look for the signs/you won't have to look far/Lead with your spirit and follow, follow your scar." The suggestive "Our Affair" and the love-troubled "So Many Stars" find Simon returning to territory that she has covered previously. However, "So Many Stars" benefits from the added flourish of Rankin Family members Cookie, Heather and Raylene on backing vocals. Other standout tracks include "Cross The River" ( which feels like a sequel to "Let The River Run" and the characters from the movie Working Girl ) and "Whatever Became Of Her." There are a few painful missteps on this disc ( such as "Big Dumb Guy" and "Actress" ) that don't detract from the total worth of the album when skipped.
Being Alive ( Southport ) , the long-awaited debut album by acclaimed actress, radio personality, and all-around legend Alexandra Billings is, at turns, as intimate as a conversation between friends and as theatrical as a Broadway musical. The appropriately-titled album by Billings, a person with AIDS, is an ode to survival.
Carly Simon, who is herself a survivor ( breast cancer ) , makes two appearances on Ms. Billings's album. As part of the "Haunting Medley," Simon's song "Haunting" is interwoven with Carole King's "It's Too Late" and Simply Red's "Holding Back The Years" for a truly haunting musical experience, indeed. Guest arranger, vocalist and pianist Gino De Luca's presence complements Ms. Billings. Billings's reading of Simon's "Let The River Run" is appropriately spiritual and inspirational.
However, an unexpected choice of a pop song cover turns out to be the most rewarding on the album. "Come Sail Away," originally performed by Styx, becomes a rocking torch-song, perfectly suited to Billings's vocal style. Billings also covers a number of songs from the musical theater realm, including "No One Knows Who I Am" ( from Jekyll & Hyde ) , "Fifty Percent" ( from Ballroom ) , "Some People" ( from Gypsy ) , and "Being Alive" ( from Company ) . Fans of Billings's notoriously sharp wit won't be disappointed by her rendition of "A Simple Christmas Wish."
Victoria Williams's diagnosis of multiple sclerosis ( with no health insurance ) in the early 1990s, brought out a multitude of Victoria Williams's friends ( and fans ) and the result was the excellent tribute album Sweet Relief: A Benefit For Victoria Williams, and the founding of the Sweet Relief Musician's Trust Fund that would aid other musicians in a similar situation. Eight years, and a couple of solo records later Williams has returned with Water To Drink ( Atlantic ) a new album that is a blend of original and cover tunes.
Since her 1994 album Loose, and her subsequent marriage to ex-Jayhawk Mark Olson, Williams's records have become increasingly orchestrated, brassy and sumptuous. Originals such as "Grandma's Hat Pin," "Gladys and Lucy," "Claude," "Joy Of Love," and "Lagniappe" rank among her best. William's idiosyncratic renderings of standards such as "Young At Heart" ( which conjured up Rickie Lee Jones ) , "Until The Real Thing Comes Along," and "Water To Drink," also have the potential to increase the fan-base of this quirky singer/songwriter.
Dusty Springfield succumbed to cancer in March of 1999, but her spirit and influence survives. The various artists compilation Forever Dusty ( R & D Records ) is a brilliant and varied various artists tribute album that is a testament to how important Ms. Springfield was to the world of contemporary pop music. On "Son Of A Preacher Man" by Laura Love Band, Ms. Love does a stunningly on-target version of the song from Dusty's Memphis period. Marti Jones's loving recreation of "You Don't Have To Say You Love" revives the emotion in the song, while the mother-daughter duet by Michelle Malone and Karyn Folmar Malone on "The Look Of Love" is the album's dazzling centerpiece.
SONiA infuses "I Don't Know What To Do With Myself" with hope, while Jill Sobule's sexy "Just A Little Lovin'" should encourage plenty of early risers to rise to the occasion. The Butchies and Indigo Girls turn in uncharacteristic and fantastic performances on the songs "What's It Gonna Be" and "Broken Blossoms," respectively. The remaining performers, including Gail Ann Dorsey, Zrazy, Carole Pope, Vicki Randle, and Jennifer Kimball, to name a few, do their best to guarantee that Dusty will forever be a part of our musical memories.
A different country
The 1999 reissue of Lavender Country's self-titled, early 1970s album on compact disc drove home the point that country music has always been a part of the gay community's musical consciousness. Anyone who has ever been to a gay country bar and has seen the cowboys in their tight-fitting Wrangler jeans and boots and cowboy shirts whirling around the dance-floor knows how sexy that whole scene can be. The good news is that those gay men ( and lesbians, too ) can dance to country music made by out, queer artists. Doug Stevens is one such artist. On their latest disc, From Christopher To Castro ( Red Hill ) , Doug Stevens and the Outband cover several country music styles, including swing ( "Red Headed Country Boy," the title track, and the wonderful cover of Patsy Montana's "Cowboy's Sweetheart" ) , waltzes ( "Miracle In White" ) and Tex Mex ( "Los Dulces Mexicanos," "Amor De Lejos" ) , all with gay-positive messages in the lyrics.
Actress/daughter/sister Ashley Judd's schmaltzy introduction to the New Year's Eve reunion concert staged by mother Naomi and daughter Wynonna sets the tone for Reunion: Live December 31, 1999 ( Curb/Mercury ) , a two-disc live set. Live versions of chart-topping hits by the Judds', such as "Love Can Build A Bridge," "Rockin' With The Rhythm," "Have Mercy," "Mama He's Crazy," "Grandpa ( Tell Me 'Bout The Good Old Days ) ," and "Why Not Me," to name a few, are included in this package in highly energetic live versions. There is even a live version of Wynonna's first solo ( post-Judds ) hit, "She Is His Only Need." A must-have for fans, although newcomers might want to sit this one out and wait for the next studio offering.
Something of a Nashville outsider, especially after his well-publicized battle with drug addiction, Steve Earle has found a loyal following among those who appreciate nontraditional new country ( Lyle Lovett, Dwight Yoakam, Rosanne Cash ) and the even more daring insurgent country ( Wilco, Waco Brothers, Son Volt, Kelly Hogan ) scenes. Transcendental Blues ( E-Squared/Artemis ) probably won't win him any fans in tradition-bound Nashville, however it will probably increase his worth in the world of y'alternative. Ironically, while this album features guest artists from the world of contemporary bluegrass ( including Tim O'Brien and Darrell Scott on "Until The Day I Die" ) , Earle seems to be moving towards a cowpunk sound, as you can hear on "All My Life." "Everyone's In Love With You" sounds like a meeting of the Beatles and the BoDeans, "I Can Wait" could be a duet between Michael Penn and Matthew Sweet, while the mini-moog on the title track makes it transcendent indeed. Irish accordionist Sharon Shannon gives "The Galway Girl" its lilt, and the aching "Lonelier Than This" is the album's magnificent centerpiece.
Listening to Lee Ann Womack's chart-topping album I Hope You Dance ( MCA Nashville ) and her terrific cover of Rodney Crowell's "Ashes By Now," "After I Fall," and the album's title track ( with a guest appearance by Sons Of The Desert ) , I had to wonder why she didn't do more songs in that riskier style and fewer in the predictable mainstream country versions in which she performs "Lonely Too," "The Healing Kind," and "I Feel Like I'm Forgetting Something," to name a few examples. However, Womack's uncanny ability to make a tearjerker such as "Stronger Than I Am" rise out of the potentially mucky mess of emotions that it conjures is to her credit.
Sugar Hill, the true-blue bluegrass record label based in North Carolina has been expanding its horizons over the last couple of years. Discs by a Sugar Hill band such as the Bad Livers has appeal to fans of the "no depression" style of music and keeps the label competitive with labels such as Bloodshot. The sextet known as Donna The Buffalo also roams into insurgent and experimental territory as you can hear on Positive Friction ( Sugar Hill ) . Reminiscent of Timbuk 3 ( minus the beat box ) on a song such as "In Another World," this band will probably also appeal to fans of Phish. Tracks such as the title track, "Riddle Of The Universe," "Family Picture," the reggae-ish "Front Porch" and "Revolution," are especially good, too.
With friend-of-the-gay-community Garth Brooks off doing who knows what, other male country artists are getting the chance to be heard. In addition to the incredibly attractive and sexy Keith Urban, there is also Grammy-winner Steve Wariner. Just to show how much of a sport he is, Wariner even invites Garth Brooks to join him in a duet on the song "Katie Wants A Fast One" on his album Faith In You ( Capitol ) . Other guest appearances include Clint Black ( another male country artist who once ruled the country music charts ) , who supplies vocals for the duet "Been There."
The first time I ever heard Kathy Mattea sing the song "Where Have You Been" I had something akin to a religious experience. After I stopped crying, I played it again ( and again and again ) . Although there's nothing on The Innocent Years ( Mercury ) that achieves the same kind of powerful connection with this listener, there is still plenty to recommend. The bonus track, "B.F.D.," for instance, recalls the wordplay of lesbian singer/songwriter Ann Reed, and is a lot of fun. "Callin' My Name" is a catchy pop song, and the ballads "Out Of The Blue" and "I Have Always Loved You," show that Mattea still has a gift for interpreting songs such as these.
Patsy Cline sings Cole Porter! It's true! The opening track on True Love: A Standards Collection ( MCA Nashville ) , an extremely romantic collection of standards, recorded during the early 1960s, is Cline's rendition of Porter's "True Love." Having Cline's country-torch versions of songs such as Irving Berlin's "Always," compiled on one disc is a wonderful idea. Other standards that get the Cline treatment include "You Belong To Me," "Love Letters In The Sand," "You Made Me Love You ( I Didn't Want To Do It ) ," and "Bill Bailey, Won't You Please Come Home." You don't have to be a country music fan to appreciate Cline's way with a song.
Coincidentally, Love Always, Patsy: Patsy Cline's Letters To A Friend ( Berkley Books, New York, NY ) was published late last year. The correspondence, covering the period of 1955 through 1959, between Cline and a fan ( Treva Miller Steinbicker ) is represented in the book with reproductions of the handwritten letters, postcards and photos. The book makes a perfect companion piece to the CD.
Where it's @
compiled by Gregg Shapiro
@ The Abbey - 773/478-4408: Kimi Hayes Band 7.27
@ Arie Crown - 312/791-6000: Dennis Miller 11.3
@ Auditorium Theater - 312/559-1212 ( TM ) : Savage Garden 8.18 / k. d. lang and Shelby Lynne 8.19
@ Beat Kitchen - 773/281-4444: The Slugs 7.28
@ Big Horse - 773/583-2838: B-Line 8.12
@ Bordo's - Gayle Ritt ( Tuesdays )
@ Chicago Theater - 312/559-1212 ( TM ) : D'Angelo 7.29
@ Davenport's - 773/278-1830: 3Girl3 7.26 / Anne Pringle 7.27 / Justin Hayford ( Fridays 7.28 - 8:00 ) / Greta Clark w/ Jack Short ( Fridays 7.28 10:30 ) / Joan Curto ( Saturdays 7.29 - 8:00 ) / Johnny Rogers ( Saturdays 7.29 - 10:30 ) / Matt Davis ( Sundays 7.30 ) / Dan Stetzel ( Mondays 7.31 - 8.28 )
@ Double Door - 773/489-3160: Dandy Warhols 7.26 / Grandaddy 7.27 / Gaberdine 7.28 / Verbow and Diane Izzo 7.29 / Menthol 8.17 / Dolly Varden 8.18 / Snake River Conspiracy 9. 2 / O M D 10.7
@ Drink - 312/733-7800: Bumpus 8.3
@ Empty Bottle - 773/276-3600: Gaza Strippers 7.29 / Him 8.1 / Sin Ropas 8.3 / The Lonesome Organist 8.5 / The Kimball Roeser Effect 8.11 / Bobby Conn 8.12 / Evil Beaver 8.14 / Fareed Haque 8.16 / Demolition Dollrods 8.24 / Gaza Strippers 8.25 / The Vandermark Five 8.26 / Enon 8.27 / The Puta-Pons 8.31 / Rebecca Gates 9.14 / The Adventures In Stereo and Waxwings 9.15
@ Fermilab - 630/840-2787: Odetta 8.19
@ FitzGerald's - 708/788-6670: Austin Lounge Lizards 7.27 / Split Lip Rayfield and Cowlilly 7.28 / Kathy O'Hara, Diana Laffey & Mary Furlong 8.3 / Lunasa 8.16 / Rosie Flores & Sonny Burgess 8.24
@ Gentry of Chicago ( Halsted ) - Rudy De La Mor 7.26 - 30 Honey West ( Wednesdays & Fridays )
@ Gentry of Chicago ( State ) - 312/836-0933: Open Mic w/Beckie Menzie ( every Sunday ) / Honey West ( Sundays 6 - 9 )
@ Gunther Murphy's - 773/472-5139: Scarlet Life 7.29 / Karma Sutra 8.19
@ Heartland Cafe - 773/465-8005: Tim Hort 9.2
@ Hot House - 312/362-9707: Mambo Express 7.29 / William Parker and Matthew Shipp 9.1 & 2 / 2nd Annual World Music Festival 9.19 - 30
@ House Of Blues - 312/923-2000: Third World with Andrew Tosh 7.26 / The Pat McGee Band and The Samples 7.28 & 29 / All and The Pietasters 7.30 / Kottonmouth Kings 7.31 / The Urge and Lucky Boy's Confusion 8.1 / Wu-Tang Clan ( 7 p.m. And 11:45 p.m. ) 8.2 / The Misfits 8.3 / The Blasters 8.4 / Peter Frampton 8.6 / Ratt 8.10 / Blue Floyd 8.11 / Hello Dave 8.12 / Amel Larrieux 8.15 / Zakk Wylde 8.16 / Lucy Pearl 8.17 & 18 / Wilson Pickett 8.26 / Buzztopia 2000 w/Rob Wasserman's Space Island, Jazz Mandolin Project, and The Dirty Dozen Brass Band 9.1 / Tower of Power 9.2 / Eddie Griffin 9.9 / Son By Four 9.21 / Smokey Robinson 9.23 / Judybats 9.30 / Burning Spear 10.21
@ Jazz Showcase - 312/670-2473: The Chicago Jazz Ensemble 9.11
@ Joe's - 312/337-3486: Mr. Blotto 7.28 / The New Bohemians featuring Edie Brickell 8.19 / Leftover Salmon 8.20
@ Lincoln Park Zoo - 312/742-2283: "Jammin' At The Zoo" - Steve Earle & The Dukes 7.28
@ Martyrs' - 773/404-9494: Los Amigos Invisibles 7.29 / Ulele! 8.5 / Project/Object 8.12 / Trey Gunn 9.6 / Andy Summers 10.4 / Jupiter Coyote 11.3
@ Metro - 773/549-0203: Einstruzende Neubauten 7.27 / Vibeonauts 5 Year Anniversary featuring Derrick Carter, Huggie, Lego, Justin Long 7.29 / The Queers 7.30 / My Life With The Thrill Kill Kult 8.4 / Poi Dog Pondering 8.8 & 9 / Terry Callier 8.10 / The Subliminal Tour: Jose Nunez, Richard F., Mateo & Matos, Miss Honey Dijon 8.11 /
Deep Sky-Live, Christopher Lawrence, Nosmo, Geoffrey 8.12 / Relative Ash 8.16 / Saw Doctors 8.23 / The 7th Annual Ball Of Whacks feat. Cannibal Cheerleaders On Crack 9.23 / O M D 10.8
@ Navy Pier's Skyline Stage Courtyard - 312/595-7437: Nick Colionne 7.27, 8.10 & 9.21/ Reginald T. McCants 8.3 & 17, 9.7 & 28 / Ron Haynes 8.24 / Joan Collaso and The Larry Hanks Trio 9.14 /
@ Navy Pier's Skyline Stage - 312/902-1500 ( TM ) : Paula Poundstone 8.23 / The Four Tops 8.25
@ New World Music Center -708/614-1616: Red Hot Chili Peppers, Stone Temple Pilots and Fishbone 8.2 / LFO, B*Witched and others 8.3 / 3 Doors Down 8.11 / Beastie Boys, Rage Against The Machine, and Common 8.16 / Duran Duran 8.18 / Santana 8.19 / John Fogerty, Aaron Neville and Marcia Ball 9.1 / Neil Young and The Pretenders 9.2
@ No Exit - 773/743-3355, 6870 N. Glenwood: New Music Sundays hosted by Laurie Lee Moses / Jeff Parker 7.30
@ Northalsted Market Days - 773/868-3010: Jill Sobule, Joi Cardwell, SONiA, Ellen Rosner, and others 8.5 & 6
@ Old Town School of Folk Music - 773/278-6000: Huun-Huur-Tu: The Throat Singers of Tuva 8.5 / Ali Farka Toure with Affel Bocoum 8.9
@ Ravinia - 847/266-5100: Betty Buckley 7.27 / David Broza and Alabina 8.1 / Clint Black 8.2 / The Eternal Feminine with Susanne Mentzer, mezzo-soprano 8.7 / Jethro Tull 8.8 / Celia Cruz and Albita 8.9 / Kathleen Battle, soprano, 8.14 / Audra McDonald 8.16 / Tony Bennett and Diana Krall 8.17 & 18 / Peter, Paul & Mary 8.19
@ Riviera Theater - 773/275-6800: Lords Of Acid 8.6
@ Rosemont Theater - 312/559-1212 ( TM ) : Culture Club 10.4
@ Schuba's - 773/525-2508: Leona Naess and Peter Stuart 7.27 / Freakwater and Kelly Hogan 7.28 / Chris Mills, Mr. Rudy Day and Marta Tenae 7.29 / Danny Barnes ( of Bad Livers ) 8.1 / Jonny Polonsky 8.4 / Summer on Southport ( w/Shivaree and others ) 8.5 & 6 / Pistol Whipped 8.10 / New Orleans Klezmer All Stars 8.11 / Kathy Mattea 8.14 / Superdrag 8.17 / The Posies and Rebecca Gates 8.18 / The Posies 8.19 / Melissa Ferrick and Anne O'Meara Heaton 8.20 / Kelly Hogan & The Pine Valley Cosmonauts and Deanna Varagona 8.24 / The Drovers and The Mary Janes 8.25
@ Starbucks - Andersonville: Chris Mills 7.27, Steph Turner 8.3, Beki Hemingway 8.10, Diane Izzo 8.24, Ted Ansani 8.31 / Lincoln Park: Justin Roberts 7.27, Ellen Rosner 8.3, Scott Stenton 8.17, Chris Mills 8.24, Mark Fegerighi 8.31 / Lincoln Square: Robert Cornelius 7.27, Diane Izzo 8.3, Nicholas Tremulis 8.10, Jason & Allison 8.17, Nicholas Barron 8.24, Ellen Rosner 8.31 / Piper's Alley: Beki Hemingway 7.27, Nora O'Connor 8.10, Ellen Rosner 8.17, Frisbie 8.31 / Rogers Park: Robbie Fulks 7.27, Alice Peacock 8.3, Dag Juhlin 8.10 / Roscoe Village: Nora O'Connor 7.27, Mark Fegerighi 8.17, Beki Hemingway 8.24 / Rush Street: Michael McDermott 8.3, Robert Cornelius 8.10, Ted Ansani 8.17, Dag Juhlin 8.31 / Wicker Park: Mark Fegerighi 7.27 / Schaumburg: Jonny Polonsky 8.3 & 10, Antje 8.17, Scott Stenton 8.31 / Wheaton: Dolly Varden 7.27, Neal With An "A" 8.3, Nick Markos 8.17, Steph Turner 8.31
@ Stargaze - 773/561-7363: Suzette 8.4
@ Uncommon Ground - 773/929.3680: Al Rose 7.28 & 8.26
@ United Center - 312/559-1212 ( TM ) : Christina Aguilera and Destiny's Child 8.19 / Tina Turner and Joe Cocker 10.4
@ The Vic - 312/559-1212 ( TM ) : Dido 8.3 / Face To Face 9.15
