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Join CHIRP on June 11th at the Bottom Lounge to take in the musical spectacle that is Fuck Buttons. Duo Benjamin Power and Andrew Hung started in the Bristol noise-rock community in 2004, but have since moved on to something much bigger. They met back in art school working on a soundtrack for one of Hung's films, but soon began performing live and quickly gained fans. A product of heavy drums, synthesizers, and even children's toys (think Fisher-Price karaoke machines), their sound doesn't fit any mold or genre, and truly needs to be experienced to be understood. They've been lying low for a while, but they're kicking off their US/Canada tour on June 11 at the Bottom Lounge. Doors are at 8pm, and the 17+ show is at 9pm. Stop by and check out some music that is truly unlike anything else out there right now!
In 1954, Levi Stubbs formed a singing group with three high school friends called The Four Aims. Two years later, they changed their name to The Four Tops. Over 43 years, those four performed together, with Stubbs in the front. Initial recording efforts were not successful, but after they signed with Motown, the hits came one after the other. Stubbs was known for his passionate voice. Although a baritone, he was given songs written for tenors, to get that desperate passionate sound heard on classics like “(Reach Out) I’ll Be There” and “Bernadette”. Stubbs became one of the most distinctive voices in soul music, but spurned chances to go solo out of loyalty to his friends. He also became a noted voiceover talent, providing the voice of Audrey in the 1986 remake of the movie Little Shop of Horrors. Stubbs kept on singing for the Tops until he suffered a stroke in 2000 and passed away in 2008. In honor of Stubbs on his birthday, please grab your iPod or MP3 player, hit shuffle and share the first 10 songs that come up.
People say that punk rockers didn’t have great musicianship. That was a broad and oft-incorrect generalization. For example, today’s birthday celebrant was dubbed “the Human Drum Machine” by producer Sandy Pearlman, due to his impeccable timing. Topper Headon had that and more. He may have been the second drummer for The Clash, after Terry Chimes was bounced, but he was definitely the best. Without Headon’s underrated playing, The Clash couldn’t have achieved the stylistic breadth displayed on classic albums such as London Calling and Sandinista!. Moreover, he also contributed songs, such as “Ivan Meets G.I. Joe” (which he also sang) and the band’s biggest hit single, “Rock the Casbah” (on which he played drums, piano and bass when he got tired of waiting for his bandmates to get to the studio). In honor of Topper, grab your iPod or MP3 player, hit shuffle and share the first 10 songs that come up.
(Weekly Voyages is CHIRP Radio's listing of concerts in Chicago at select venues. Information about tickets can be obtained from the venues' Web sites. Do you have corrections or updates for this list? Send us an e-mail.)
DreamTAp Sun Stereo
Abbey Pub 9pm, 21+
Paul Dunski Present!: Pseudogod Wrathprayer, Sacrocurse, Diabolical Messiah, Infernal Sacrament, Hellfire Deathcult
Beat Kitchen 8pm, 21+
Audiobakery, Adora, Draft Week, Bury Me In Lights, HeroInEden
Bottom Lounge 6:30pm
PJ Morton Special Guest: Chantae Cann, Guest DJ: Charles Protege
Double Door 8pm, 21+
DEPARTURE, Mercaba, Icky Thump
Elbo Room 9pm, 21+
Today we celebrate one of the most important figures in music over the past half century. This man wasn’t a musician – he was an inventor and innovator. Robert Moog (last name rhymes with ‘vogue’) got his start making theremin kits. By 1964, having taken a keener interest in electronic music, he developed a prototype Moog synthesizer that was designed to make electronic music markedly easier to play. The next year, Moog was making custom synthesizers and by 1967, the machines came into somewhat more common use, aided by Switched on Bach creator Wendy Carlos, who made many suggestions on how to improve the instrument. The instrument was featured on recordings by The Supremes, The Monkees, The Rolling Stones and The Byrds. Over time, Moog continued to improve and make his instrument smaller and more portable. Throughout the ‘70s, the instrument became more prominent, in the hands of masters like Giorgio Moroder. Moog passed away in 2005, but his legacy lives on, both in music and in the festival in Asheville, North Carolina that bears his name. In honor of Mr. Moog, please grab your iPod or MP3 player, hit shuffle and share the first 10 songs that come up.