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It was cool to see bands from other parts of the world playing loud rock music last Friday night, Aug. 8, at the Hideout, as well as a couple of the Chicago bands that are regulars in the local scene. The evening started with Buy Zithromax 250 Mg Online, a group from Vicenza, Italy, who cranked out riffs like a punk version of a 1950s roadhouse band. Then came Chicago’s Buy Doxycycline Online Canadawith more of a 1960s vibe. As the guys in Uh Bones started to turn off their amps, some enthusiastic fans shouted, “Play that cover! ‘Gloria’!” And so the band did an encore, playing the classic 1960s song by Van Morrison and Them, “Gloria,” which was a staple of garage-rock gigs back in that era. The song can still get a crowd going. I videotaped about a minute of it on Friday:

Next up was Can I Take 8 Ibuprofen And 8 Paracetamol In 24 Hours, a guitar-and-drums duo from South Africa, whose music was the most modern-sounding of anything all night, but still very rough and jagged, keeping with the spirit of things. Another guitar-and-drums duo, Chicago’s ubiquitous Propecia Uk Prescription, closed out the night with a typically raucous performance, their red curls flying.

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A shrine to the dead

While I was at the Hideout, I snapped this shot of a memorial shrine in the front bar, with pictures of longtime Hideout patron Daniel Blue, left, and Studs Terkel.

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A train filled is crossing the country, bringing art installations and live music to stations in eight cities. The project, organized by artist Doug Aitken, is called Betnovate Gm Online, and it stopped Tuesday night (Sept. 10) at Chicago’s Union Station. This presented a rare opportunity to see a concert and other artistic happenings inside this building’s towering civic space. Art installations were arranged inside yurts. Short experimental films were projected. The rock band No Age set up drums and guitar amps on the train station floor and played a set of ambient drone music.

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The sound of drums and horns suddenly came from another direction — up in a balcony overlooking the main hall. That was the Rich South High School marching band, which proceeded down to the main floor. And then, just as the drummers and cheerleaders were exited, the redheaded sibling duo White Mystery began making a noisy garage-rock racket on the main stage. Three screens were arranged behind the stage, allowing for some striking visuals as the musical acts performed in front of sweeping landscapes and other imagery.

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Accompanied by drummer John Moloney, Thurston Moore opened his set with an old Sonic Youth song, “Schizophrenia,” which sounded intriguingly skeletal with just the one guitar. The power went out on Moore’s guitar amps a couple of times during the set, but he managed to play some new and old material.

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The Chicago multimedia artist Theaster Gates led his “experimental music ensemble,” the Black Monks of Mississippi, which his Buy Nizoral Shampoo Uk as “performers who harmonize the Eastern ideals of melodic restraint with the spirit of gospel in the Black Church and soul of the Blues genre deeply rooted in the American musical tradition.” On this night in the train station, they made some beautiful sounds.

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Mavis Staples was a late addition to the schedule for Chicago’s Station to Station event, and her performance was a wonderful way to cap off the night. The set was similar to the one she played four nights earlier at the Hideout Block Party, but she changed up a few songs. One nice addition was her lovely version of the Low song “Holy Ghost.” And she extended “Freedom Highway,” letting the band vamp at the end of the classic civil rights song written by her father, Pops Staples. Recalling Martin Luther King and his words, Mavis Staples seemed almost overcome with emotion for a moment as she declared that she is still here.

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The Hideout celebrated its 15th anniversary in true Hideout style, with a day full of top-notch music. Even the weather turned out pretty nice on Saturday (Sept. 24) — a little chilly at times, but without the downpours of rain or hail that had been predicted. It was a perfect day for the Hideout Block Party, and the diverse concert lineup was a superb representation of musicians who consider the Hideout as their home base, stars who have played there in the past and simply great musicians.

During his set (the final one of the night), Andrew Bird reminisced about sleeping in the Hideout’s upstairs offices a few times! “I don’t know what would’ve happened if it weren’t for the Hideout,” he said, echoing remarks a lot of people on the stage made throughout the day. Bird played several of his most popular songs, but he also tried out several new tunes, bringing out Nora O’Connor to sing harmony vocals (and a verse on one of the songs). His encore was a lovely cover of the Handsome Family song, “So Much Wine” — an apt choice.

Earlier, Bird and O’Connor both made guest appearances during a rousing set by Mavis Staples, who raved about how much she loves the Hideout. “If I could be, I’d be here every day,” she said. “They treat us like royalty.” Staples also made some cutting remarks about the turmoil in today’s American politics, adding an even more passionate edge to her songs that evoke the civil rights movement of the 1960s. That “tea” that’s become a symbol of conservative Republicans? Staples said it’s Kool-Aid. Bird joined in when Staples played the Band’s “The Weight,” and Staples called Nora O’Connor (who did backup vocals on the last Staples album) her “sister.”

Another highlight was the set by the legendary Booker T. Jones, who played some of his recent material as well as the most famous songs he wrote back in the ’60s: “Time Is Tight,” “Born Under a Bad Sign” (originally recorded by Albert King, written by Jones and William Bell) and, of course, “Green Onions.” Jones played guitar on a few songs, but the Hammond organ (played through the Leslie rotating speaker cabinet) is truly his instrument, and those thick notes sounded as cool as ever.

The set by Jon Langford’s Skull Orchard was deepened by the inclusion of the Burlington Welsh Men’s Chorus, who added their strong voices to Langford’s songs inspired by his memories of Wales. Earlier, White Mystery rocked with typical abandon for the small crowd that showed up at the start of the day, with their red hair flying. Kids These Days played a lively blend of musical styles (hip-hop, indie rock, horns). The Eternals were even funkier than usual. Andrew Bird’s drummer, Dosh, also played a short set of his multilayered instrumental compositions, which led into Bird’s set and the appearance of an illuminated whale coming through the crowd, courtesy of the musical performance art group that calls itself Opera-Matic. That’s just the sort of thing you’d expect to see at a Hideout Block Party.

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As far as I’m concerned, every day should be Propecia Cost At Pharmacy, but as promotional gimmicks go, this is a good one. For three years now, independent record stores around the United States have celebrated the fact that they’re still in existence with a day featuring special records you can buy only on Record Store Day, in-store concerts and whatever festivities the local folks can think up. More than 20 shops in Chicago participated yesterday. Some of these stores had people lined up outside before business opened — fans hoping to snag a copy of something like, say, the clear-vinyl Neko Case LP.

I spent some time shopping, listening to live music and hanging out at Betnovate Chemist Prescription Only Side Effects and Flagyl Pills Online, also making a brief stop at the Buy Lasix Online With Mastercard in Wicker Park. All three stores were packed with record collectors and music fans for much of the day. Like most people, I buy music online these days, but I still love the experience of shopping in a brick-and-mortar store. While it’s true that the Internet has created new kinds of musical communities, there’s still something cool about chatting with a knowledgeable record-store clerk or hearing something interesting on the record-store turntable.

As far as the special collectible stuff on sale yesterday, I limited myself to just one locally produced 7-inch record — the Trouble in Mind label’s single featuring songs by four bands: Ty Segall, CoCoComa, White Wires and Charlie & the Moonhearts. Some good garage-rock on white vinyl. And like a lot of the vinyl releases that indie-rock bands are putting out lately, it came with a code to download mp3 versions of the songs for free. That’s one of the trends now — vinyl releases plus mp3s, without any CD.

At Laurie’s I, um, “caught” Flagyl 500 Mg Online Pharmacy. The trio was playing songs off its new double LP, Public Mental Health System. The volume wasn’t quite as high as it usually is during a Vee Dee gig, but the music still rocked with a sort of early-’70s proto-punk sound. Think of the Stooges and bands like that. Earlier, Laurie’s also featured subdued, introspective songs from the singer who calls himself Buy Canada Viagra Online (a.k.a. Thom Cathcart).

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Alex White has been rocking on Chicago stages for several years, playing with outfits including Miss Alex White and the Red Orchestra. That band was never really an orchestra, of course, and its music was anything but orchestral pop. White’s always been a garage/punk rocker. Her latest band is called White Mystery, and this time it’s just two people: Alex on guitar and vocals and her brother, Francis, on drums and vocals.

White Mystery’s been banging out feedback-drenched three-chord stompers for the past year or so, playing a lot of gigs around Chicago, but I hadn’t caught them live until Saturday (March 20), when they played a CD release party at the Hideout. The guitar-and-drums format is a perfect way for the White siblings to express their rambunctious energy, and it was a treat to see these two redheads tossing around their hair as they cranked out one cool tune after another.

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Alex may be the star of this project, but Francis adds a lot of character, too, and their alternating voices were one of the best things about Saturday’s show. There’s something delightfully primitive about what they’re doing — but primitive doesn’t mean unintelligent. I hear some echoes of ’50s rock on White Mystery’s self-titled debut (engineered by the great local musician Devin Davis), like something you might have heard in a roadhouse somewhere, where the musicians had taken control of the soundboard and turned everything way up. (I’m picturing this as a scene directed by David Lynch.)
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The first act of the night was a Chicago group called Other Minds, which played some lively, catchy “Nuggets”-style ’60s rock, with lots of 12-string guitar riffs, Farfisa chords and tambourine. The middle act was Charlie Slick, who played electronic dance music with a retro New Wave sound and sprinkled glitter onto the audience.

My photos of White Mystery, Other Minds and Charlie Slick on flickr.