What an amazing few months it has been (Volcanic Ash Clouds and Hung Parliaments aside), Lovechild just seems to go from Strength to Strength! April saw two guest DJ’s take to the decks, Danny Bond from the Bassmonkeys certainly had the main room eating out the palm of his hand, whilst Johan Khoury from Sydney rocked the Contact Room! And all of this live worldwide on PushFM!
I’d had the pleasure of meeting Johan last year in Sydney, so it was a pleasure to see him at Lovechild, entertaining the London Crowd.

This month, London’s Love Weekend saw a special “Love-In” at Fire and superstar DJ and producer Albert Neve take over the main room. WOW! I’d heard this master of the decks play at Amnesia in Ibiza last summer, so I was looking forward to that night. He did not disappoint! Kaysee performed her latest track “She Won’t Give Up” along with “She Loves” both produced by Albert Neve, and her version of Toca’s Miracle was amazing!!!

And just this weekend, Lovechild visited Antwerp to play at the legendary Red & Blue club. What an amazing experince! A huge thanks to everyone in Antwerp for making us feel so welcome and we look forward to seeing you all again very soon!

June is going to be an amazing month, I’m heading to Sydney and Melbourne to play THE hottest clubs on the continent. If you’re based in either of these great cities, be sure to book your tickets right away, they’re selling fast!!!

Saturday 12th June – Love Muscle @ The Greenwood Hotel – North Sydney
Saturday 12th June – Live @ 169 Oxford Street – Sydney
Sunday 13th June – Rogue Prince @ Prince Bandroom – Melbourne
Monday 14th June – Rising – Sydney

So on to this month’s podcast…

1) Addicted – Taito Tikaro ft Vanesa Klein (Marcos Rodriguez & Tony Martinez)
2) Leave A Light On – Juanjo Martin & Javi Reina ft Miguel Blonde
3) Amazing Grace – Boy George (Sharp Boys Extended Club Mix)
4) Closer – DJ Nano & T Tommy (Javi Reina Remix)
5) Better Love – Deli (2010 Axwell Dub)
6) I Feel Love 2010 – Rhythm Masters & MYNC (DJ PP Remix)
7) My Life (Summerlove Mix) – Guy Scheiman
Back To The Future – Pagano & Stewart Who (Danny Verde Remix)
9) NRG – Hardsoul ft Mitch Crown (David Penn Remix)
10) The Revolution – Luca Cassani ft Janet Gray (Casting Couch Recs Club Mix)
11) Unbelievable – J Louis & Ferran vs Taito Tikaro (Albert Neve Rework)

If you enjoy this podcast:

1. Let me know, you can find me on Myspace at http://www.myspace.com/funkylondon and Facebook at http://www.facebook.com/phil.hewson
2. Let others know, leave your comments on the iTunes music store and on the website at http://funkylondon.podomatic.com
3. Help me cover the hosting and bandwidth costs, click this link to donate and show your support for the Podcast: https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=6239798 Every donation no matter how small goes towards the increasing cost of running the podcast.

photo: Charles Young

Six years ago Marcus Pettigrew and Michael Cole Jr. had a problem, a big problem. They had been avid record collectors for most of their lives and their collections had grown beyond a manageable size. You know things are getting out of hand when your house transitions from “place to sleep” to “place to store records.” Their solution? Sell off some of the stock to all the international collectors they’d become friends with over the years. And thus, Mr. Peabody Records was born.

Walk into Pettigrew and Cole’s Southwest Side shop and you’ll feel as if you’ve entered a different galaxy, one occupied by an entire community of soul-music fiends. Many of the customers have left their mark on the place – the walls bear signatures from visiting musicians and DJs like Peanut Butter Wolf, Dam-Funk, Kool Herc and Mr. Scruff.

It was a chance meeting through a friend of a friend that allowed Marcus and Centerstage to cross paths. With record fairs about to hit full swing, we thought it would be a perfect time to sit down with him and ask about everything from how Mr. Peabody Records came about to what the duo’s relationship is with the legendary UK label BBE.

How long have you been collecting records and what started the obsession?
I started around the age of 7-8 years old. My older brother was a teenager and had gotten off into the mix thing. He would take me with him downtown to a store called Imports Etc. It was a premier place in Chicago to find the hottest dance music, 1970s thru 1980s, US and International disco records. When he went away to college, I would take the trains and buses around town to record shop. I was younger and the music I collected for the most part was a generation older than me. Then, I found myself selling music as a hustle to DJs ? mostly older ? that had been looking for titles for quite some time. They would say things like, “You’ll never find this. I bet you can’t get this.” Being I was always underestimated, I made it my business to fulfill people’s wants as well as turn them on to music they haven’t heard, mostly along the genre of disco music. Those questions soon turned into, “What the hell is this? I never heard that before, can you find me a copy of that?”

At that time the Internet wasn’t an option for music. So to find even more undiscovered music I went to the library and checked phone books from every major city in the US. I called shops in New York, Pittsburgh, Las Vegas, etc and bought music. I had found my brother’s friend’s Phreek LP in 3 days. I met an older guy who worked at a store in Pittsburgh. He was a DJ for a pirate disco radio show in Pittsburgh during the 1970s. I worked a deal with him, as he was selling his personal collection, to ship me boxes of stuff based on a system of classification for the type of sound I wanted. He would call me and say “Hey Mark I’ve got some good class stuff for you.” I would send money and he would ship.

I ended up having this type of relationship with many people over the years. I often would buy entire collections and flip them to local DJs and record stores. I kept the things I wanted and always enjoyed having obscure music others around me didn’t know about. I gained a lot of respect as a young collector amongst my musical peers. I met Mike in a record shop not long after around the age of 20. Turns out he had the same serious obsession. Out of respect and trust we shared each other’s resources for music and teamed up. We figured two would do more work than one.

Opening a record store is not an easy thing to do, especially in the digital age. How did you guys come to the decision to open Mr. Peabody?
After Mike and myself met, we started hustling records around town to various venues, clubs, collectors, stores, etc. We would travel out of town, and Mike even traveled overseas and made connections with music merchants. We had a huge trade system of vinyl going as his basement turned from a DJ’s basement to looking more like a music distributor. We ended up putting shelves and racks throughout the entire floor space so collectors could deal. We would accommodate DJ’s and stores, locally and internationally, that came by. He was only a block away from the Metra train so it was easy access for out-of-towners. We had been contemplating opening as the Internet started being a dominant source of music ? more record dealers emerging ? so we had to step our game up. We wanted a definite, endless source of music for ourselves and also to be a resource to collectors worldwide. We ended up scoring a multi-truckload collection out of Detroit, an entire record shop to be exact, that had an inventory that had been off the sales floor for years. After that came a decision point. With a ton of inventory that was mounting quicker than we could get rid of it, we decided to take a leap of faith and seize the opportunity to open a shop. We decided on a professional, unpretentious, yet quirky name and Mr. Peabody Records was born.

When I look at the success of an independent record store, a lot of it has to do with how they’ve utilized technology as opposed to fighting it. How have you adjusted over the years?
As far as the new age, we knew we would not exist with the overhead unless we operated on-line, which to this day has been 90 percent of our business. The out-of-towners and international people are the reason we still exist to this day with our retail store during these economic times. We have a worldwide presence and we’re respected globally amongst music lovers, more so than in Chicago itself.

I imagine you get a lot of business from overseas…
As I said, 90% of our business is international and overseas, even through the door, most of our bigger receipts are from traveling customers who come here from out the area. We have a worldwide presence and respect globally amongst music lovers, more so than in Chicago itself.

With your deep ties overseas, how do you think American funk/soul/disco/hip-hop has affected the international music scene?
Well, I will say that there is still and has been a strong market/respect for good vintage music from the United States overseas; mostly of the soul, funk, jazz and dance genre. How has it affected it the international scene? It runs it. Current music has a strong place as well, yet I will say that industry markets overseas are more tasteful and desirable to the ears than the United States. Just listen to the satellite radio stations. Japan which is a market in itself still has a strong identity with old school hip-hop, vintage dance music, as well as being home to some of the top rare-jazz collectors in the world. People say, “they’re taking our music away,” but honestly, I’d rather have good music on vinyl in the hands of people that appreciate, collect, and archive good music rather than it ending up in Comiskey Park at a “Disco Sucks” jamboree.

In regards to your relationship with vinyl enthusiasts overseas, how did you link up with BBE for the Real Sound of Chicago project?
A couple years ago we met Frankie Valentine from London as a customer. After talking with him we were able to compare stories, concerns, and problems with today’s music industry, including people playing follow the leader in Chicago and surprisingly in Britain as well. We quickly became friends with Frankie and started the process of change. He told us he had a friend who ran a label that was suitable for what we all wanted to get accomplished. Frankie presented our idea to Peter Ardarkwah and Lee Bright (BBE Label Owners) to consider doing a release as we felt we would be an asset to each other. We figured that label would be a good avenue for us to present good undiscovered music to a larger audience of listeners, and also set the stage for us to re-start our DJ careers to promote our sound. For the first compilation, we all agreed to highlight the type of vintage dance material we collected and played, in this case from a Chicago point of view: The Real Sound Of Chicago.

Putting together a comp. is a really tough thing to do, especially when you’re representing a specific time and place. What approach did you take?
Well, first off you have to have enough music to do so. The scope of the Real Sound Of Chicago was to highlight underground/undiscovered dance music from Chicago before house music, which Chicago is known for. Pre-house or local Chicago disco was our choice, also highlighting the style of stuff we like and always collected and played as far as DJs. With having the records, and the knowledge of what has been surfaced in the music market, what music is still mostly unknown, we were able to compile a series of comps desirable for music lovers as well as rare music collectors. One of the tracks, The Moore Brothers’ “Bass Come Back,” only existed in the one acetate we discovered as it never made it to press. Its debut release is on the compilation itself. It came through the door of the store along with some gospel records.

Real Sound of Chicago is one in a series of comps, right?
Yes, definitely.

You’ve had a pretty eclectic clientele come through, who are some of your most memorable guests?
We’ve had plenty, if we named one, we’d have to name all. It’s probably better to visit our photo gallery at http://mrpeabodyrecords.com.

Some people flip records solely for the money, but it seems like you guys are really looking to add something significant to the music scene.
Well, someone asked us in an interview at an event, “what are you guys doing for the music scene in Chicago?” Mike looked at him kind of funny and replied, “we opened a record store!” We opened with two purposes, to collect records for ourselves as DJs and also supply others. In between it all, our heart is keeping music that would be let alone forgot or lost, available to lovers of good music and sound.

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Follow Friday is an interview series in which each Chicago artist we talk to recommends a fellow local act.

Local quintet Algernon takes the jazz-rock stylings of Tortoise and kicks them up a notch, blending gorgeous melodies with psychedelic effects leading to create one noisy, energetic blend. The young group, led by composer/guitarist Dave Miller, recently released its third album, Ghost Surveillance, on Cuneiform Records. In advance of a free lunchtime show at Millennium Park on June 22, Miller filled us in on all things Algernon.

Follow Friday is a weekly interview series in which each Chicago artist we talk to recommends a fellow local act.

This week’s guest: Algernon
Recommended by: Jeff Greene

Describe your sound in 140 characters or less.
Psych/out rock meets electronic meets jazz meets classical at the foot of the apocalypse.

Where and when was your first show – and what was it like?
Our first show was at Cafe Ballistico (run by the Oucho Sparks/Kapsalis crew) in Elmhurst, IL. It was great. The music was obviously in its infancy stage then, but there was a lot of excitement and passion in the playing. I still have a recording of it lying around here somewhere. I think we freaked a lot of people out!

Name three of your favorite Chicago spots.
The Whistler, Hot Doug’s, and Lake Michigan.

What Chicago artist/band should we interview next and why?
You should interview Roommate next. They make very beautiful and thoughtful music and are a great bunch of guys! We’ve played with them at least once or twice and are planning another show for the summer/fall.

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photo: John Broughton

Follow Friday is a weekly interview series in which each Chicago artist we talk to recommends a fellow local act.

This week’s guest: Jeff Greene
Recommended by: Greg Ward

They say you never really stop learning, and bassist/composer Jeff Greene is a good example of that. Though he officially left school in 2004, study has been a major theme of his professional career, from a stop at the Steans Institute for Young Artists at Ravinia and Betty Carter’s Jazz Ahead program at Washington D.C.’s Kennedy Center. Hitting the books has paid off; his ensemble, blink., was signed to the renowned Thirsty Ear label in 2008 and has continued to build a strong following for its creative jazz. Read on for some academic inspiration.

Describe your sound in 140 characters or less.
My sound as a composer and a bassist has curiosity and thoughtfulness, and my goal is to always be genuine.

Where and when was your first show – and what was it like?
My first show after I moved to Chicago was at the Elbo Room on the North Side and I was the house bass player for a jam session. I remember being excited about the level of players that I met that night and the prospect of getting some real experience by digging into the Chicago music scene.

Name three of your favorite Chicago spots.
The Whistler: it’s great to play there but also just to go listen to music and have good drinks.

The Hungry Brain: one of the best improvised music series in the city every Sunday night.

Metropolis: my favorite place for coffee anywhere, they also host live music and work by local artists.

What Chicago artist/band should we interview next and why?
The person you should interview next is Dave Miller, guitarist and leader of the band Algernon. I’m constantly impressed with his passion and dedication to music. His playing and compositions are some of my favorite to listen to and he’s already developed a unique, personal sound for both. He plays with a whole lot of projects around Chicago so you’ll likely, and should, be hearing from him soon.

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Follow Friday is a weekly interview series in which each Chicago artist we talk to recommends a fellow local act.

This week’s guest: Greg Ward
Recommended by: Dana Hall

A jazz musician is a jazz musician, right? Not when you’re a jazz musician who grew up singing gospel and occasionally dabble in classical and chamber performance, like Greg Ward. The saxophonist has had an eclectic career thus far (he’s only 28), having played with everyone from Fred Anderson to Al Jarreau, and while he now mostly calls New York home, he’s still got a soft spot for the city that shaped him.

Describe your sound in 140 characters or less.
My saxophone sound is truthful, raw, and powerful, with a strong melodic and rhythmic foundation rooted in the styles of my heros.

Where and when was your first show – and what was it like?
My first show in Chicago was at a bar in the Lincoln Park neighborhood called Lilly’s. The gig was led by a guitarist named Michael Day and featured some of the scene’s best young talents including Josh Ramos (bass) and Isaiah Spencer (drums) and one of my childhood friends, now based in NYC, Brianna Thomas(vocals). We played one set of standard jazz tunes and featured Brianna on a few songs as well. The gig was going great but we ran into some trouble during the break. I was attempting to buy an orange juice at the bar when the bartender asked for my ID. Since I was only 18 years old, along with Josh and Brianna, who was 17, we were all kicked out of the bar and didn’t even have the chance to play the 2nd set. So, that was the end of that gig but I had an amazing time.

Name three of your favorite Chicago spots.
I love hanging at Pizza Metro on Division in between Ashland and Wood. There’s always great food and conversation there. Also, Cafe Jumping Bean is a great place for coffee and fresh sandwiches. I highly recommend the turkey sandwich. For music, I love hanging at the Velvet Lounge, especially on a Sunday for the jam session. This is a place where many musicians get together to workshop ideas or to just catch up with each other. The Velvet Lounge will always be a special place for me. It’s where I grew up, musically.

What Chicago artist/band should we interview next and why?
You should interview bassist/composer/bandleader Jeff Greene. He’s an inspiration to me and others in Chicago because of his dedication to his art. I believe he will be one of the most creative voices in Chicago and will make a great artistic contribution to the world. Jeff is constantly developing and exploring his artistic voice and pushing the musicians he works with into new areas. More people need to know about Jeff Greene.

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Spending much of his time in Detroit and Chicago, MC/poet/award-winning playwright Idris Goodwin has what many would call a blue-collar mentality. His style of rap is an amalgamation of the influential environments he’s humbly been a part of, and the honest, hard-working vision that emits from his words is what the Midwest is all about.

Like many African-American artists before him, Idris first found inspiration as a youngster in church, sitting in the pews watching his pastor pontificate, James-Brown style. Over the years he’s combined that vivacious energy with an academic style of writing into a rich blend of poetry and rap, and it’s no wonder that his words have found a home at places like Def Poetry Jam in addition to many other literary publications. His latest body of work, Break Beat Poems, is his most ambitious attempt at representing what he calls the “middle-class, Midwestern, married man who likes to go to bed at 10 p.m. experience.” Centerstage knows all about that grind, so we thought it would be interesting to chat with Idris about everything from his early days as a budding artist to the liberating affects writing has had on his mind.

Tell me about where you grew up and how you first got interested in writing.
I grew up in southeast Michigan ? Detroit and a nearby suburb. I moved to Chicago when I turned 18. I have been writing as long as I could hold a crayon. Like many African-Americans, the first dynamic writer/performers I heard were in the Baptist Church where the pastor is the headliner every week. He’d come out all cool in his robe, hit the mic, all the deacons would chime in “Tell it!” “Take ya time, doc!” He was a rock star. Seeing that every week had a profound effect on me, there is power in writing and performing material that connects to a very specific audience.

When did hip-hop come into the picture?
I was born in 1977 in Detroit, so it was inevitable. In the early ’80s I remember hearing it everywhere. I remember kids in track suits break-dancing on cardboard; hearing Grandmaster Flash and the Furious Five’s “The Message” blasting out the window of somebody’s hooptie. I remember being jealous of my uncles after they got to see Krush Groove. I decided to really participate in hip-hop during that stage of adolescence when you start thinking about who you want to be. I had an interest in many different kinds of writing, but hip-hop lyricism came the most naturally.

In what ways did your surroundings/environments contribute to your development as an artist?
In the suburbs of Detroit there weren’t many outlets for my creative interests. I really spent a lot of time in my room when I was a kid. I played a little sports, because that’s what boys in Michigan do, but I was certainly no athlete. I was always drawing or writing or day dreaming. Perhaps the desire to go somewhere else helped develop my imagination. But I am really grateful for the time and solitude to teach myself how to take an idea from initial seed to finished product, because when I moved to Chicago I hit the ground running. There were countless avenues for me to express myself. It had a thriving hip-hop, music, theater, film and poetry scene. I had enough energy and interest for all of it.

Tell me a little bit about your work as a playwright.
I went to grad school at the School of the Art institute of Chicago (or “the Tute” as we call it ’round the rec room). I met a man named Beau O’Reilly, who is an icon in the “fringe” theater scene. He brought me into this world of super-literate, highly capable theater artists. They encouraged and inspired me to teach myself how to not only write plays, but also to produce them with no money. The DIY ethic has always been a part of who I am, so naturally I dove in head first. My first play went up in 2001. I got a glowing review and that was all it took. I formed a theater collective called Hermit Arts with some creative buddies. We operated out of Prop Thtr., we made original plays and we toured shows. Along the way I won an NEA award for playwrighting, and gathered some other nice accolades. Nine years later Hermit Arts just produced my latest play, “Action Spectacular,” in the Rhinoceros Theater festival.

So what’s more stressful, engaging a crowd as a lyricist or as a director?
I really don’t get stressed out engaging crowds. That’s the fun, easy part. I’ve had some nightmare performing stories, but nothing to get too worked up about. The real stress comes as you’re trying to get the CD finished or the play on its feet. The process of trying to synthesize the needs of others and your personal vision teaches you patience and how to keep your ego where it needs to be.

What are some of the differences between a spoken-word poet and an MC?
Well there are some obvious differences that come to mind. The MC typically performs to music and rhymes a lot, a spoken-word poet doesn’t, etc. But I can cite exception after exception to many of the most obvious dissimilarities.

I think spoken word and rap are extremely similar. Both forms are closer to our ancient need to gather and listen to stories in community with one another. Despite the worldwide popularity of both forms, they exist on the margins of what the literary intelligentsia – or as I call them, “The Word Mafia” – consider legitimate “poetry.” If you notice there are very few spoken-word or hip-hop artists on faculty at any major universities.

You’ve been a frontman for a couple of different groups, tell me about those experiences.
I just realized that I spent my entire 20s in bands. All the groups I have been a part of were motivated by some desire to push upon the conventions of hip-hop music. Sometimes we were successful, many times we weren’t, but we had a great time trying. I got to perform on a lot of great stages from the Tweeter Center to The Metro to Millennium Park and get paid for it. Even though Farm Crew, Public Housing and Cookies and Dirt are no more, I’m still cool with many of their members. I still collaborate with some of them.

You’re also an educator. In what ways can hip-hop or just writing in general be empowering for people?
There other day I was asked to show my ID and I had one of those strange moments where the regular seems odd. It occurred to me that I walk around with a piece of plastic that proves who I am. The social security card is my designated number. I have a number! We are a document driven society. Even though as a writer I deal in paper, I am very suspicious of this reality. What happens if all the documents burn up? Then who the hell are we? How do you prove who you are? So I think it’s vital, particularly to students from underserved cross sections, to understand that the ability to master language is powerful. Everyone should be encouraged to have a hand in crafting their own history because hip-hop culture was built on the tenants of “peace, love, unity and having fun.” It’s usually in this context that the process can begin. Hip-hop is all about representation of self and community. It’s always different for each student, but generally speaking most have never been asked to articulate their personal ideas on paper. I see the lights turning on inside their heads.

How did you link up with Def Poetry Jam and what was that like?
Chicago’s own Kevin Coval was a regional scout of sorts. He arranged a show with a bunch of Chicago spoken-word types and had it videotaped. They liked my work. The experience was great. Now I have my “I met DMX” story. I got paid pretty well and of course if the talking box approves then that legitimizes you to your family. It gave me some international exposure which is always a good look.

Tell me about Break Beat Poems and what went into that project.
I have been a fan of SGE beatmaker Anomaly since he put out The Long Road, so the opportunity to work with him, Lee Chest and Shotgun Start was appealing. We started the record when I was temporarily in Chicago working on a play, then I went back to New Mexico. They’d send beats, I’d record vocals and send those back. We wrapped last summer. When I started the record I was listening to a lot of Del’s No Need for Alarm, Eric B and Rakim’s Follow the Leader and KRS ONE’s Return of the Boom Bap. I was also reading a lot of poetry by Rita Dove, Martin Espada, and a bunch of people whose names escape me at the moment. I wanted to make a hip-hop record that was approachable, of this world and yet somehow magical in its “regular-ness.” When I started making records as a young man I adopted a persona as a way to give me the confidence to even get in front of people. So my songs were 35 percent me, 65 percent alternative-universe Idris. My goal with Break Beat Poems was to be 99.999999 percent earthly Idris, to convey who I am as a person in 14 songs – really push the person-to-person conversational style ? really focus on playful, unobtrusive lyricism that celebrates the familiar.

I listen to a lot of hip-hop music and while I enjoy most of what I hear, I rarely feel like I am being represented. Where is the middle-class, Midwestern, married man who likes to go to bed at 10 p.m. experience? Break Beat Poems is my attempt to make the sort of album that I think the hip-hop canon lacks. Break Beat Poems is one of the best projects I have ever done. I think it’s beautiful and I think hip-hop and non hip-hop fans alike will be able to find something to appreciate. So buy it, or illegally download it…whichever you prefer!

You’re not living in Chicago anymore. What prompted the move?
As I mentioned earlier I came to Chicago as this 18-year-old bursting with ideas. The city provided me with so many opportunities. After 11 years I was starting to express the same ideas over and over in the same sort of way. The last couple years before I left I started traveling a lot more and became hungry for a new environment. My wife, who was then my girlfriend, had been there seven years and had similar feelings. We wanted a different physical environment. Natural beauty, sunlight, parking spaces. We both had ties to New Mexico, so we moved there. About a year later my wife was offered this amazing fellowship to attend the University Of Iowa’s MFA program for Creative Non Fiction, an offer we couldn’t refuse. So we turned around and came right back to the Midwest. Iowa City is a cool little town whose location is ideal for my interest in serving the Midwest region exclusively. So it’s been a blessing in disguise.

In retrospect, what are some of the things about Chicago that inspire you?
Chicago is a real true American city. It has the cosmopolitan, the cultural, the grit, the grime, the disparity, the pride, the food, the smells, everything. There is something for everyone. It’s in the Midwest so it’s still got some of that home-style vibe. Chicago is still a little bit country and I think that’s important to maintain as it continues to grow and change.

What can we expect from you in the coming years?
More of the same. More writing and performance. More teaching. More albums. Hopefully more interviews. Thanks!

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Rather than bore you with the numbers that show vinyl is getting its industry groove back, or make like “High Fidelity” reenactors and expound on the superiority of the medium, let’s get to the Record Store Day bottom line: On April 17, some fine music shops across the nation will offer limited pressings for a small sampling of record collectors.

Of course, supporting your local, independent retailer is part of the package, with more than two-dozen Chicago-area shops participating in different ways, from in-store performances to free turntable repairs. But if you’re really into keeping things close to home, consider dropping that tax refund on a limited-edition release from a local act. Here are some of our favorites to scope out on Saturday (these should be available at all participating shops, but you may want to call and check first):

Buddy Guy ? A Man and The Blues 12-inch
(Vanguard)
500 copies, $21.99
A lot of Chicago blues musicians are hailed as the originators of the modern sound, but it’s tough to deny the influence of Buddy and his Fender Stratocaster. The former session star proved himself with this 1968 release, earning the right to be mentioned in the same sentence as B.B. King and Muddy Waters.

Tutu & the Pirates ? Sub-Urvan Insult Rock For the Anti-Lectual

(Factory 25)
1500 copies, $15
As shown in the 2007 Chicago punk documentary “You Weren’t There,” Tutu & the Pirates were some of the first misfits to hit the local scene in the late ’70s. But though they played clubs from Mother’s to La Mere Vipere (using guitars fashioned from toilet seats), they never released so much as a single. Until now. And these are just demos. What’s not punk about that?

Juicehead ? “Rotting From The Inside” b/w “Death of Democracy” 7-inch
(Misfits)
500 copies, $5.99
In contrast to Tutu’s early punk rumblings, this DIY start-up got off on a crunchy, lo-fi collection of seemingly 4-track-recorded pop numbers about blood and whores. They’re actually kind of charming, in a NOFX, Operation Ivy kind of way. This 7-inch is their first proper recording on the Misfits imprint and should be a game-changer.

Wilco ? Kicking Television 4 X 12-inch box set
(Nonesuch)
1000 copies, $65
With this live album – recorded over four nights at the Vic Theatre in 2005 – the Chicago indie act was able to capture the perfect balance between the experimental jams of 2001′s Yankee Hotel Foxtrot and its later dad-rock leanings (with a little alt-country thrown in for good measure). This is the first release of the 23-song set on vinyl, with fewer copies available than there were tickets to the actual shows.

Mr. Russia ? “Boys Keep Swinging” 7-inch

(Lens)
500 copies, free
Each side of this single – free with any Record Store Day purchase at Reckless Records – offers an alternate cover of David Bowie’s garage-glam classic. The local trio tackles the song seemingly using only a bass guitar, which might make the androgynous hero raise an eyebrow, but we’re excited about a hometown revival of the niche genre.

Bitchin Bajas/Moon Duo ? Split 7-inch

(Permanent)
750 copies, $5.99
This one’s a local double-shot. Ukrainian Village shop/label Permanent Records brings together two of its talents, San Francisco summer psych-rockers Moon Duo and Chicago’s Bitchin Bajas, a Cave side project that will surely start some conversations if you whip ‘em out at your next BBQ.

Ty Segall/CoCoComa/White Wires/Charlie & the Moonhearts ? 4-Way Covers Split 7-inch

(Trouble In Mind)
1000 copies, $7.98
Trouble In Mind is the start-up label of CoCoComa’s Bill and Lisa Roe, who are currently issuing garage singles in the hopes of ?proving that the two-and-a-half-minute pop song is alive and well.” Though all three other bands featured on this compilation pay their taxes in non-Illinois states, the label is housed in our fine city and CoCoComa’s cover of The Wipers’ “Messenger” is worth the price alone.

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Follow Friday is a weekly interview series in which each Chicago artist we talk to recommends a fellow local act.

This week’s guest: Dana Hall
Recommended by: Chicago Yestet

It’s a common question in this city: How long do you have to live here to be able to call yourself a “Chicagoan”? By almost any standard, jazz artist Dana Hall has earned the right, despite spending his formative years on the East Coast. The 40-year-old drummer and composer has paid dues in clubs across the city since the mid-’90s, crossing paths with everyone from Branford Marsalis to Joe Henderson along the way. Last year, the longtime supporting player made his debut as a bandleader with the much-praised Into the Light. Hall recently took some time to answer questions about his still-evolving career – and his adopted home.

Describe your sound in 140 characters or less.
My sound on the drums is passionate, dynamic, encircling, probing, and informed by the great masters who have and continue to inspire me.

Where and when was your first show – and what was it like?
My first performance in Chicago was at The Bop Shop, a club that is now closed but was just off the corner of Wood St. on Division. I was performing with trumpeter Rex Richardson, July 1993 on a Friday night (maybe the 16th?). I was a last-minute substitute for drummer Michael Raynor, who, having just met me three nights earlier at a jam session at the New Apartment Lounge, asked me to cover for him. I was not a resident of the city, but had a suit, drums, cab fare, and desire. I still do. The show went well and I still have it on cassette tape, recorded on my old Walkman (remember those?). We played mostly standards and some of Rex, saxophonist Mike Pendowski, and pianist Sam Stryke’s compositions. Nick Tountas was the bassist on the gig and rounded out the quintet. That was my first full Chicago performance. The two songs I played at the New Apartment Lounge that week with Von Freeman were my very first notes played in Chicago.

Name three of your favorite Chicago spots.
a) Promontory Point, facing North on a clear Spring day or the Sky Theater at the Adler Planetarium on a clear night (tie).
b) The Violet Hour, with no line and no waiting.
c) Tom and Wendee’s Homemade Italian Ice in all kinds of weather.

What Chicago artist/band should we interview next and why?
You should definitely interview composer and flutist Nicole Mitchell. She is an amazing and amazingly creative musician on the local, national, and international music scene, performing and composing works for a number of ensembles she leads, and is an artist I, and I am sure your readers, would love to know more about.

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Alexander Fruchter aka DJ RTC (Roosevelt Treasurechest) is a local DJ, writer, educator, entrepreneur and all-around music virtuoso. His highly coveted mixtapes have quickly made him one of the most in-demand DJs in the city, but his real bread and butter for the past two years has been RubyHornet.com, an independent, web-based publication that specializes in urban fashion, culture and music. Since 2008, RubyHornet has been a virtual nexus for all things hip-hop with its in-depth interviews, music reviews, DJ mixes and web-based TV, all of which is compiled by a team of expert journalists.

Recently RTC has been spending more time in the studio, maximizing the potential of his newest project “Closed Sessions,” which so far has featured some of the underground’s finest including Rhymefest, Tanya Morgan, Bun B, Rapper Big Pooh, Amanda Diva, Kidz in the Hall and Hollywood Holt. With RTC’s resume growing bigger by the minute Centerstage ,thought now would be a perfect opportunity to catch up, and chat about everything from his collaborative projects to his top five favorite records.

You cite Hyde Park as an influential place for you. In addition to it being where you grew up, what else about the neighborhood speaks to you?
When I was a kid I really thought I lived on Sesame Street because of how diverse Hyde Park is and how the neighborhood looks. Obviously there were no huge birds walking around, but the plethora of cultures and experiences are there. You have a little bit of everything, and I’m really lucky to have grown up there. Hyde Park is where I listened to music overlooking the alley behind my house and really thought, “I want to be a part of this.” Hyde Park will always represent that for me, and whenever I hear something that really touches me it reminds me of how Hyde Park looks and feels.

What about Chicago as a whole? How does the city inspire you as writer, DJ and educator?
The buses, trains, the buildings, the intricacies of each neighborhood, the politics, the rough edges and friendly cores, the White Sox, all of those things inspire me on a day-to-day basis. The more I travel the more I see the uniqueness of this place we call the Windy City, and how it influences us, both good and bad.

When did you start DJing? Was there a particular person who got you interested?
I got my first turntables at the age of 21, during the summer between my junior and senior years of college. I was attending Indiana University at the time, and was also the president of IU’s Hip-Hop Congress. I was in Chicago for a few weeks for my brother’s wedding, and my parents planned to get me a used car so that I could finally have a vehicle to use in Bloomington to get around, and take girls out and what not. I think we were actually about to go look at some cars when I was flipping through the channels and caught a segment of the movie “Scratch” in which they were interviewing Z-Trip and he was demonstrating with some of his skills.

I was always drawn in by turntablism since I first heard it through groups like Gang Starr, Dilated Peoples, Q-Bert, etc. The segment ended, I turned off the TV, walked into the living room where my dad was reading or something and told him I didn’t want a car anymore. The whole setup of a mixer, turntables, needles etc. cost pretty much the same as the car. They said they would buy that for me instead, but would not get me a car. So, I walked everywhere my senior year of college and never looked back. It’s interesting how one morning of channel surfing has changed my life so much.

People are just as familiar with your writing as they are with your skills as a DJ. What were some of the most memorable stories you’ve covered over the years?
That’s a really good question, and the funny thing is that it is hard to answer. I cover so much, and have been lucky enough to be a part of so many cool, powerful, and inspiring events that I really don’t reflect enough. I get caught up in the present a lot and really don’t pause to think about what I’ve done. One thing that comes to mind now is the Fader Fort in Austin 2008. There was a G.O.O.D. Music showcase there last year and Kanye West literally brought everyone out from Common to GLC, Kudi to Erykah Badu. GLC snuck me a backstage pass and it was great seeing so many people from Chicago living it up in Austin. It was like our own Lava Lounge back there. RIP to Lava Lounge, my favorite place to DJ.

You’ve also interviewed some legendary hip-hop artists. Any outstanding moments in particular?
Definitely. In 2004 I interviewed the Beastie Boys at the United Center. It was the day after the election, and there was kind of a deflated feeling especially since the Beastie Boys were pretty outspoken during that time. The Beastie Boys were a huge influence on me, and it was always kind of a dream for me to meet and interview them. It was also the last interview where I was really nervous, and to be honest, it wasn’t even that great of an interview. I’ve improved tremendously since that time.

After the interview Mike D. and MCA were talking to me and asking me how I got my DJ name. They thought I reminded them of someone they knew from Chicago and were convinced they’d met me before. I had a mixtape on me and told Mike I would give it to him if he wanted and he said, ‘yeah definitely.’ Giving the Beastie Boys one of my mixtapes was a great feeling. Even though they get a lot and may have never even listened to it, not a lot of people get to give music to a band that has really inspired them and that is something I’ll never forget. It also taught me a lot about myself and my own goals. For so long meeting the Beastie Boys was a pinnacle in my eyes, and I really didn’t expect it to happen at the age of 22, but it did, and the next day I was right back at Henderson Elementary teaching 25 second graders how to read and write. They didn’t really care about the Beastie Boys, that I stayed up all night at their show, or anything like that. It put everything in perspective and helped me form new goals.

Speaking of education, you’ve also weaved together hip-hop culture and learning into one with your “You Can Quote Me On That” program. Tell me a little about that.
I taught for two years through the program Teach For America. During this time I was also writing for SoundSlam.com. Hip-hop was a way for me to connect with my students and I used it in many different ways. My second year of teaching was spent teaching fifth grade, and kids that age are just looking for something more. I started every class with a quote of the day, which came from a lot of hip-hop songs, but also people like Abe Lincoln, JFK, various painters, politicians etc…The kids would be presented with a “Quote of The Day” and a question relating to it, which they would journal about as a way to ease into a day of learning. “You Can Quote Me On That” is a curriculum that came from those journal sessions. I wrote that curriculum and taught it throughout the city of Chicago. It uses hip-hop songs to teach basic sociology and psychology principles such as self-fulfilling prophecy, social stratification, self-efficiency, and other things that affect these kids every day. These are things that they can understand and would greatly help them evaluate the world around them, it’s just that no one ever tells or breaks it down. That’s the goal of “You Can Quote me On That.”

How and when did RubyHornet come about?
RubyHornet started in the spring of 2008. I was doing various work in the music industry and was growing tired of SoundSlam, it just wasn’t working out anymore. I actually was in the process of applying to graduate school and was accepted to University of Chicago when I met Virgil, Omar, and the rest of the team behind RH. We met through a mutual acquaintance and just really hit it off. They were looking for someone to take their resources and create a site, and I was looking for someone with resources to let me keep writing for a living. It’s another example of how a small decision can have a tremendous impact. When RubyHornet started I knew it would be successful, but couldn’t have envisioned all the great things that have come from it. I have a team of excellent people behind me, people dedicated to their craft, and we’ve been able to work with other talented and inspiring individuals.

In addition to a wealth of mixtapes, you?ve also started a really exciting project called Closed Sessions. How did that start and how is it going so far?
It’s going great. We just released our first project, Closed Sessions Vol. 1 (closedsessions.com), which is a free EP created entirely at SoundScape Recordings. The EP has gotten a great response from various artists, fans and the initial line of tastemakers. I’m actually writing this email from Austin, Texas where we are going to record Vol. 2 of Closed Sessions. It started from a chance meeting with Michael Kolar of SoundScape backstage at Rock The Bells a few years ago. I started to go to SoundScape more and more to do interviews, and Mike began to master all my mixtapes. We were both looking for ways to expand, and Closed Sessions was the natural evolution of our relationship. As RubyHornet we were interviewing, and working with really buzzing artists. We were doing shows with them as part of Dimes and Dozens, and I was also making mixtapes. We thought it’d be a great idea to bring an artist to the studio and just see what would come out of it. We put artists in the studio, gave them access to high-quality production, introduced them to talented artists they have not previously met and just got out of their way and let them do what they do: create great music. Our video/photo team is there to capture the full experience and we’re able to release the music along with a documentary for each session, original artwork and photos as well.

So you’ve had the opportunity to cross paths with some of the most influential artists in hip-hop. What’s your take on hip-hop now? I think people forget how young a genre it is, and it’s certainly one of the most misunderstood.
That’s a tough question. I will say for that there are times when I’m inspired by hip-hop, and times when I’m fed up with it. Meeting so many people as a journalist, a DJ, and now as the president of a record label has introduced me to the business and creative sides of hip-hop in different capacities. I like being able to wear different hats, and move around. Do I see hip-hop as I did when I was a kid and everything seemed so untouchable? No. Am I still amazed by it at times? Yes. I think at the heart of it, I’ve learned that not everything is as it seems. Hip-Hop is one of my first loves, and I hope to never lose my connection to hip-hop’s history and culture. If I ever do then it is time for me to leave.

What about the local scene?
Chicago’s local scene is one with a ridiculous amount of talent. The competition is great and really pushes people to perform at a high level. I think some people move a little too fast, or move in directions without really thinking. It’s like we’re all just scrambling around because there is no real business structure in the city. Everyone is forming their own blueprints, and it’s harmful at times.

This one is a difficult question for a lot of DJs. What are your top five favorite records?
Wow, I don’t even really know where to start this one. Here are some records I am really digging right now:

“Kindness For Weakness”-Dilated Peoples featuring Talib Kweli
“You Can Call Me Al” -Paul Simon (really anything Paul Simon)
“I Shall Be Released”-The Band
“Spaceship”-Kanye West featuring GLC and Consequence
“Hip-Hop”-Mos Def

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LOVECHILD @ FIRE
A Supersexed Spring Affair – Saturday 27th March from 11pm to 7am

Lovechild has grown to become one of London’s masculine and sexed up yet glamorous parties! This month, Nick Tcherniak and Terry Vietheer will be joining me and the Lovechild DJ residents: Brent Nicholls, Paul Heron, Tony English from Push FM, Alessandro Londra and Saki to give the crowd a unique mix of deep, dirty, electro and funky house for the night.

Also, this month… Brazilian singer/songwriter/dancer Rodrigo Moratto will make a special public appearance with the song “Whatever, Whatever” from his upcoming album due to be released in the UK and Ireland in summer 2010. This single has been remixed by Per QX and Alan X Cross exclusively for this Lovechild party, check out the video on YouTube: http://www.youtube.com/watch?v=ZaF25LeTYzs

Tracklisting:

1) Come Get My Lovin – Paul Gardner, Hugh Gunnell Feat Marcella Woods (Plastik Funk)
2) Never Leave Me – Sebastian Courtier feat Maxx Diago (Dave Ramone Remix)
3) Beat The Sweet – Serge Devant vs Michael Jackson (Jerome Isma-Ae Bootleg)
4) Carte Blanche – Juanjo Martin & Javi Reina feat Priscilla Due
5) Mistery – Danny House & Joey Plastic (Carlos Gallardo GT2 Remix)
6) To The Stars – The Free Radicals Formation
7) Don’t Stop Movin’ – Mobin Master (Mobin’s Tribal Funk Mix)
Feels Like A Prayer – Meck vs Madonna (Saradis Remix)
9) Addicted – Serge Devant
10) In My Life – Se:Sa ft Erin
11) I Give My Soul ft Marta Carlim – Javi Reina
12) From The Stars – Montilla (David Penn & Rober Gaez Rework)
13) Speed Up – Teo Moss & Jeremy Reyes Re-Worked Mix
14) Delirium – Javi Reina feat Marta Carlim (Alex Guerrero Remix)

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