Converse has been canvassing the land for its new music series, “Rubber Meets The Road,” which follows independent bands on tour. The first episode features local fellows Yawn, who trek to Brooklyn for the shoe manufacturer’s Rubber Tracks recording studio. Click on!

Part one was posted earlier, and the second of three is online now!

Logically, if you’re surreptitiously stealing time from your employer to scout online deals, you’re probably not wasting a minute on a music site. But if you were . . .

We would spin you around right back into the world of e-commerce for the one music-related item that’s simply a must-have for kids of all ages. Ladies and gents, may we present the “I Am T-Pain” microphone, a riff on the record-while-you-sing children’s toy. If you’re in the minority of people who haven’t gotten their fill of Auto-Tune vocal processing, have at this. For $30, you get the experience of laying out for about three T-Pain albums to which you still have to personally supply the vocals. And think of the fun you’ll have the day you find it in a drawer the next time you’re packing boxes to move! (Recommended age is 7 to 11, an average that’s about nine fewer than you’re supposed to be to buy one of his records.)

– Steve Forstneger

Bluesman David “Honeyboy” Edwards died last Monday aged 96, a dyed-in-the-wool Delta bluesman whose final decade would be his most prolific.

Edwards came up when blues was more a lifestyle than a commercial enterprise. When he was born in Shaw, Mississippi, the style had already navigated the South, but began to flourish when his generation — including friends Robert Johnson and Charley Patton — had some of their sides recorded. Almost as much as his music, Edwards’ contribution to the blues is The World Don’t Owe Me Nothin’, his literary autobiography that details the transient life bluesmen had in his youth. He wouldn’t be properly recorded until folklorist Alan Lomax found him in the ’40s, and the ’50s folk revival would also collect some of his sides.

After infrequent sessions over the next four decades, his relationship with harpist Michael Franks would develop on Franks’ local label, Earwig. In the time since, he’d be awarded various recognitions including the National Endowment For The Arts, Living Blues and W.C. Handy Awards, and, ultimately in 2008, the Grammys. His Earwig family plans to host a tribute concert in October. Check back for details online, in File, and Sweet Home.

– Steve Forstneger

As an actress, Taylor Momsen could have remained involved in high visibility projects like “Gossip Girl,” where she played the character Jenny Humphrey. Instead, Momsen opted to pursue a music career as frontwoman of The Pretty Reckless, an act aiming for a polished, Celebrity Skin-era Hole approach. The group’s debut effort, Light Me Up, dropped in 2010, and Momsen & co. performed in support of the album at this past weekend’s Lollapalooza, where the frontwoman also found time to speak to IE.

IE: Obviously you’ve been involved in the performing arts all your life. How does a music career compare to the other media and performance projects that you’ve been involved in?
TM: There is no comparison, music’s everything. It’s all I want to do for the rest of my life, and, pretty much, I think we got a good thing, so, we’re excited.

IE: Have you brought anything from your acting background into The Pretty Reckless?
TM: Not really, they’re kind of completely two separate entities. Music is, it’s self-expression, I’m singing my own words, we wrote the songs, so it’s not — I mean, there’s an element of performing onstage, but you’re not seeing a character or anything.

IE: Is that something you’re more in favor of, being expressive of who you truly are vs. playing someone else’s written character?
TM: Yes.

- Jaime de’Medici

Read the full version in the forthcoming September issue of Illinois Entertainer.

Some of you suburbanites have seen it already this month, but for the first time the city woke up with the white stuff. So it’s time to: http://bit.ly/hjbNzo

Be sure to check out our exclusive pictures site for recent live shots of Motorhead, Kesha, and Kid Rock! All at illinoisentertainerphoto.com!

Tim Hiatt stood in the pit (the non-snake pit) for a couple weekends and the shots are on our photo site!

Chicago-based Empires are one of 16 unsigned bands vying to land on the cover of Rolling Stone in the coming months. Voting for the first round ends March 2nd.

You can view their voting page here; the magazine has a system where acts are rated via a star system. Empires have an album and, most recently, an EP under their belts, they skirt the darker edges of pop punk (always wearing leather jackets) with a flair for the theatric whether it’s over-the-top instrumental passages, a rampaging drummer, or the vocal histrionics of frontman Sean Van Vleet.

– Steve Forstneger

Rick Rizzo and Janet Bean of underheralded Chicago rock staples Eleventh Dream Day (IE’s Patrick Conlan calls them our Yo La Tengo) have a son with an extremely uncommon condition. In reference to the upcoming Rare Disease Day, they ask you to consider the following.

“Most everyone receiving this knows our wonderful son Matt, and if you don’t you’ll just have to believe me on his wonderfulness! Besides having a great personality, he also has a rare genetic mutation referred to as Glut1 DS. In 1993 Matt was the 8th person in the world diagnosed with this condition. Since then hundreds more have been diagnosed, yet the research for a cure is grossly underfunded. The challenging effects of this condition are many and the only treatment to date, the ketogenic diet, falls very short of a comprehensive treatment.

Being the parents to the eighth child in the world diagnosed with Glut1 DS meant, at that time, a dearth of information on the subject and virtually no support groups. Thankfully that is changing with the hard work and commitment shown by many of the parents of children with Glut1 DS. It is that hard work that has created the organization Milestones For Children. The organization’s focus is fund raising to further research towards a cure and to make aware parents, and those in the medical field, the existence of this rarely diagnosed condition. This month, to coincide with Rare Disease Day 2011, Milestones for Children, through their website Milestonesforchildren.org, has set up a challenge to all those out there to donate $21 within the next 21 days- just a dollar a day! [Update: the 21 days ends March 3rd; IE's a little tardy.] This is a cause obviously very close to me, my son Matthew, and all those out there dealing with Glut1 DS. Your support means the world to us. If it is not possible to make a donation at this time, please visit the Web site and learn more about this condition. Diagnosing Glut1 DS as early as possible means a world of difference. Thank you. — Janet Bean”

If you long ago dismissed the Grammys (or are an Eminem fan) you were likely surprised that Arcade Fire took home Album Of The Year last night. If you long ago dismissed the Grammys, you believe everything happens for a reason (a.k.a. the fix is in).

Most conspiracy theorists will tell you the “academy” — whoever they are — refused to acknowledge Eminem, whom they consider a contemptible, vulgar annoyance. Even the feelgood backstory of the rapper’s Recovery from prescription-medication addiction wasn’t enough to overcome his hyper-violent, unapologetic image.

All well and good. But it doesn’t explain why Arcade Fire would triumph also over Katy Perry and the Ladies Gaga and Antebellum. The media’s early coronation of Eminem as favorite strangely overlooked the Gaga juggernaut, especially after the recording academy changed its rules to coattail artists like her. Perry and Antebellum similarly dominated the charts over the summer, though, it’s doubtful Perry was ever under serious consideration and was a cheap ploy to boost ratings. Arcade Fire debuted at the top last summer, but aren’t nearly as exciting as they were five years ago.

If you’re to give voters a benefit of the doubt, they simply chose the least of four evils. None of these albums were particularly great, understand. Even if Eminem had won, the build-up considered it payback for a career previously ignored outside of the rap categories, and not an honorific paid to a masterwork. Gaga’s Fame Monster was only a mini album, a sweetener packaged along with her debut to increase saturation during Christmas-shopping season ‘09. Going with Antebellum so closely after Taylor Swift’s sweep in ‘08 would have lended too much credence to manicured “country” pop, though their success in the single/record categories surprised many. Even Arcade Fire’s The Suburbs slogs in comparison to the Montrealers’ first two albums — its sequencing completely ungainly.

The most logical conspiracy is one that came to light after Norah Jones’ big wins nearly a decade ago. The feeling then was that the “industry” was signaling its intent to go after older listeners who — while the RIAA sued filesharers — still bought records, but album sales are a thing of the past. Maybe we’ll start seeing wider recognition of artists reflected in the articles of Pitchfork, Spin, Paste, the Pazz & Jop poll, and, to a degree, IE. Why? The Grammys can rebuild a ragged reputation around an ascendant genre with fans who have disposable income and go to concerts. (That they also buy records doesn’t hurt.)

Or maybe last night was a total fluke.

– Steve Forstneger

Heartland Cafe, the nearly 50-year-old Rogers Park institution, is on the brink of financial collapse. Click here to learn how you can help.

New music from Smashing Pumpkins, Urge Overkill, and Kanye West!

While the Pumpkins (this through Sweet Relief) and West uploading single tracks into the ether is nothing new, the real surprise is the first new track from Urge in about 15 years. The single, “Effigy,” has been made available at Spin.com.

In other news, Common — rather unsurprisingly — contributes a verse to the new John Legend and The Roots collaboration, and Mike Reed, whose production company helps assemble the Pitchfork festival, steps into local heritage by contributing drums to Jason Adasiewicz’s Sun Rooms on Delmark.

Yay us!

– Steve Forstneger

Hurley doesn’t arrive for another couple weeks (Sept. 14th), but Epitaph Records, Weezer’s new indie-label home, gave critics a sneak preview today.

Coming from someone who didn’t like even the “Green” album, Hurley feels like a natural successor to their second album, 1997’s Pinkerton. Despite an exacting production job by Rivers Cuomo and Shawn Everett, the guitars feel dirtier and you can actually hear the bass-guitar strings on “Memories,” “Ruling Me,” and “Where’s My Sex.” “Sex,” in more ways than just the title, recalls Pinkerton opener “Tired Of Sex” and tinny guitar squeals and surging keyboard harmonies. For the first time in awhile, Cuomo sounds like he wants to have fun with his audience, instead of poking fun at it.

Before we go canonizing anyone, however, the figurative sides A and B are Jekyll and Hyde. The songwriting falters (see the limp “Run Away,” co-written by Ryan Adams), and the band’s dependency on formula proves stifling. “Hang On” feels like a mailed-in submission for radio-rock’s early Springsteen sweepstakes, with the weakest lyrics of their career. “Smart Girls” could be a Fall Out Boy b-side before “Brave New World” comes correct and “Time Flies” marries Neutral Milk Hotel to The Dodos.

– Steve Forstneger

Last week, LizPhair.com supplied a download link for Funstyle, 11 experimental songs for $5.99. It quickly scored reviews as one of the worst sets ever. Now, Phair has a note on her Web site commenting on it.

According to Lizphair.com, the former Winnetkan sighs, “You were never supposed to hear these songs. These songs lost me my management, my record deal and a lot of nights of sleep.” Continuing, however, she sounds resigned if somewhat happy at their inclusion in her catalog, “Yes, I rapped one of them. Im [sic] as surprised as you are. But here is the thing you need to know about these songs and the ones coming next: These are all me. Love them, or hate them, but dont [sic] mistake them for anything other than an entirely personal, un-tethered-from-the-machine, free for all view of the world, refracted through my own crazy lens.”

There’s more? Hmm.

– Steve Forstneger

Visit our photo page for shots from holiday-weekend shows Silversun Pickups with Against Me, and then Rush. Also be on the lookout soon for a full Clapton Crossroads Guitar Festival exposé!

Jon Fratelli threatens to become this spring’s Steve Perry when the Metro hosts him Sunday, June 6th as the Blackhawks try to capture their first Stanley Cup since 1961.

Bringing you up to speed, there’s this game called “hockey” invented by “Canadians.” Chicago’s top-tier entrant in the North American competition is called the Blackhawks (formerly Black Hawks) and this very week they’re competing for its top prize. If they defeat the Philadelphia Flyers on Friday night, they have a chance to win the whole Jake Taylorin’ thing Sunday.

Where does Jon Fratelli fit? The Scot’s band – The Fratellis – are heard each time the Blackhawks score and win on home ice, specifically the tune of their 2006 single “Chelsea Dagger.”

The Metro will also show Game 5 on its big-screen. Free ticket vouchers can be downloaded at 93XRT.com, scored by texting HOCKEY to 5-9393, or had through contests broadcast on WXRT-FM (93.1).

– Steve Forstneger

It’s official: Despite what you read in our new issue today, the new Buddy Guy’s location is open with about a week to spare for Blues Fest.

The new location (700 S. Wabash — just a block from the old one) gutted the space formerly occupied by Hothouse, and guess what? No poles on stage! (Well, that might change for guitarist Leszek Cichonski, if he ever comes to town.) Anyway, Shannon Curfman and Eric Davis kick off the inaugural.

Huzzah! Visit buddyguy.com for news and schedule.

– Steve Forstneger
photo courtesy Buddy Guy’s.

Rock ‘n’ roll is a lot like sports, in that such a small minority of artists make it — and define those words at your own peril — the failure rate doesn’t justify the numbers in pursuit.

O.K., so the salary numbers seem to make it worthwhile. But why bother learning chords or press schedules or paternity hearings when you can just put some ink on cotton and call it a day? Music Allies offers two tickets to this year’s festival and $500 bonzonis to anyone who can put together a retro design honoring Palooza’s (non-contiguous) 19 years. Visit Creative Allies for the rules. Submissions are due by May 30th. Think fast!

It’s not quite what everyone was looking for, but Metallica, Slayer, Megadeth, and Anthrax will share the stage on June 22nd. Tickets on sale TODAY!

The catch is the show’s in Sofia, Bulgaria and will be simulcast to theaters worldwide. Four-hundred-and-fifty U.S. theaters will carry the event, what’s unclear is the time of day, as Bulgaria is 8-hours ahead of Chicago. June 22nd is a Tuesday, so that might mean taking a halfday at work if it begins at a reasonable 8 p.m. Baltic time.

Oddly, this comes in a summer when three-quarters of the original European Clash Of The Titans tour rolls through the States. Slayer, Megadeth, and Testament took Suicidal Tendencies as their opener in 1990; Slayer, Megadeth, and Testament play UIC Pavilion on a rescheduled August 22nd. (Alice In Chains opened the U.S. jaunt, on which Anthrax replaced Testament.) This is believed to be the first time Metallica and Megadeth have shared a stage; Dave Mustaine was ousted from the former in 1983.

Visit thebigfourlive.com for more information.

– Steve Forstneger

Don’t forget! Saturday is Record Store Day. Visit www.recordstoreday.com for participating stores, events like in-store performances, and the thousands of exclusive items!

This weekend (April 10th and 11th) is the Chicago Independent Radio Project (CHIRP)’s annual record fair, once again in the West Loop at 1340 W. Washington.

While dealing in the usual stock-in-trade like LPs, CDs, posters, and crafts (think what you’ve seen at Pitchfork Festival), if you stop chirping for a second you’ll hear tracks pulled by local-star DJs from bands like Allá, Mannequin Men, and Disappears, as well as live performances from Pretty Good Dance Moves and Judson Claiborne. If that’s not enough, Goose Island headlines the food and drink vendors.

CHIRP is a volunteer organization whose aim is to lobby the FCC and Congress on current radio-broadcast laws, “to remove existing barriers that prohibit granting of low power FM radio licenses in urban areas, including Chicago.”

Visit Chirpradio.org to learn more about the vendors, how to become one, or to donate.

– Steve Forstneger

Now’s your chance to win two passes to the Chicago viewing of Tool frontman Maynard James Keenan’s film documentary on March 25th.

Blood Into Wine, showing at the Music Box on Southport between Waveland and Grace, chronicles how Keenan and business partner Eric Glomski brought their vineyard to life in Northern Arizona. The film also features a number of actors and comedians including Milla Jovovich, Patton Oswalt, Eric Wareheim, Tim Heidecker, and Bob Odenkirk.

To enter, simply e-mail ed [at] illinoisentertainer.com what you think our favorite Tool song is, and we’ll give the winners closest to our top 3 the victory. Entry is limited to a single person from the combination of any one e-mail/home/or IP address. Contest ends Wednesday, March 23rd.

Billy Corgan’s bassist Ginger Pooley has left Smashing Pumpkins to concentrate on raising a family, which creates an obvious void. Before you clamor for “D’Arcy!!,” Corgan’s going to the fans.

Because he found his drummer, Mike Byrne, this way, the Great Pumpkin will request audition tapes and materials to be sent via e-mail for bassists and keyboardists. Deadline for submissions is March 31st. Send to pumpkinsbass [at] gmail.com or pumpkinskeys [at] gmail.com. Note: Only musicians with video clips can be considered. Youtube.com type posts are perfect–that’s how Mike was found.”

We don’t expect you to actually bow down to 93.1-FM, but 2009 is advancing in age, which means it’s time for local holiday jingles.

Two Sundays before Christmas, Richard Milne annually dedicates “Local Anesthetic” to “seasonal salutations” from local bands. This year’s show goes down on December 13th, and as for criteria, it’s best we leave it to Milne:

“Deadline for entries is 5 p.m., Wednesday, December 9th, 2009. The greetings need to be musical. Sound effects are also an option. Bands/performers need to identify themselves collectively or individually, mention 93XRT, Chicago’s Finest Rock, Local Anesthetic, etc., and most importantly, include a holiday greeting (Merry Christmas, Happy New Year, Chanukah, etc; the choice is yours). Be as creative as your talent allows. Simple recordings and performances are fine but use your imagination. Keep the sound quality clear and crisp. Poorly recorded pieces are less likely to be given a slot on the show but every attempt is made to include all submissions. Try to avoid references that will date your piece to “2009″ because if it’s good, I can use it again next year.

Duration: 30-45 seconds in length.
Format: CDs or e-mail digital files, please.
Mail to: Richard Milne, WXRT, 455 North CityFront Plaza, 6th Floor
Chicago, Illinois 60611. E-mail Richard [at] wxrt.com with any questions.