Has your partner stuck your heart in a little plastic baggie, seasoned it, shook it up, put it in the oven and forgot it was in there? So, now, have you been burned and shrunk to the degree you qualify for a room with a single bed at the infamous Heartbreak Hotel?

You may have dashed off to vent to a shrink, who you caught checking his or her watch in an OCD-mirrored-manner, because he or she couldn't wait another second until your session was to be over and you'd shut the "f" up! If such a catastrophe of humanity has happened to you, the good thing is, there are musicians in existence whose shows can sew and mend a broken discontented soul. Are Cheyenne Mize and Bonnie "Prince" Billy (A.K.A. Saredren Wells) amongst the healers?

It's atypical to not have a feeling of satisfaction during hearing artists singing, well, lyrics of exactly how you are feeling at the present moment or have previously. That was the incredible gift I received from Cheyenne Mize and Saredren Well's performance the other night at Chicago's pleasingly mellowing lit "Uncommon Ground" restaurant and lounge. The first song they played was Cheyenne's "Waiting," with a line "Waiting for you to keep me, but not completely." If those aren't words everyone with a ticker can say "I can relate" while listening to them, I don't know what are. Plus, the song "Why Didn't Someone Tell Me?" that was written by Saredren carries the same weight, along with the majority of their others.

Furthermore, the performance of songs were from Cheyenne and Saredren's individual CDs, with the premise being love and relationships mostly. It was also coupled with them playing acoustic guitars together, but Cheyenne switched frequently during their playtime to use the fiddle. Cheyenne's voice was not always pretty, as a result, she showed she has the range to execute rawness and believable anger. Saredren's vocals were well projected while they both threw easy-to-decipher-lyrics up onto the laps of the audience.

Cheyenne and Saredren's material did not fall into the category of implementing only 3 chords, normally heard in songs. They have the versatility to also play upbeat songs, which they did so later in their set, and it made their performance not sound like just a pity-pot-party.Besides, Saredren's comment he made between songs that he named all of his 8 cats "Old Lady" resumes to make me chuckle! The fact the venue they played is called "Uncommon Ground" is an entertaining thought, as well. I'll tell you this: My logic leads me to conclude it is not "uncommon" for people to have difficulties walking on the unusual unlevel "ground" of the place, or tripping over unexpectedly planted steps, and coming so embarrassingly close to falling flat on one's face. While one lady walked the same pathway twice, she had to catch her footing, stealing the limelight from Cheyenne and Saredren for a few minutes!

In summary of Cheyenne and Saredren's performance, true love of old-time music is the key ingredient to the musical delights and helpings they serve to their audience. Cheyenne Mize and Saredren Wells play on the vinyl "Among the Gold," which has gotten critical acclaim, and is "a collection of parlor songs from 1915 to earlier (http://thinkindie.com 2010.") Cheyenne's own CD is "Before Lately," and worthy of its' small chunk-of-change price, and so is sweet Saredren Well's "Memories Are Hunting Horns." Saredren's CD is significantly darker and avant-garde than Cheyenne's in all aspects, and each song includes various string and horn sections. Nonetheless, getting each CD should be a "feel good purchase," not just for Cheyenne and Saredren's therapeutic spell-binding lyrics and harmonies, but since a fan passed around a can at Cheyenne and Saredren's gig for people to give them spare change. Lets get these appreciative-acting and starving devoted-to-their-craft-artists away from a daily diet of shrimp-flavored ramen noodles, to at the very least, a platter of Jumbo shrimp at Red Lobster!

Sources:

http://thinkindie.com

Wouldn't it be cool to take a trip to outerspace, and check out what The Jetsons, Mork, and the cast of Star Trek have been up to since their Tv Shows? Therefore, considering a seat on a Space Shuttle to blast off to the moon costs millions, about $20 to hear "Spacemen 3's" music, that has the ample supply of "fuel" to project a person onto another planet, is probably a more feasible option for most earthlings.

It was a rare opportunity, indeed, to see two members of the influential band "Spacemen 3" play together, again. The two English born and raised "bandmates," Jason Pierce (A.K.A. Jason Spacemen) and Peter Kember (Sonic Boom), had enough hates toward one another they had went their separate ways in the early 90's. It has been reported Pierce's chemical dependencies were the "final straw" that broke the band's back (www.myspace.com/spacemen3 2010.)

"Spacemen 3's" run had sprung in 1982, and they were marked for "rocketing" the "shoegazing movement" from "sea to shining sea." Also, their sound is well-suited and fitting of the genres termed "post-rock,"space rock" and "neo-psychedelic." Additionally interesting, is "Spacemen 3's" goal was documented as being: "Taking drugs to make music to take drugs to." "Spacemen 3's" second album, appropriately titled "The Perfect Prescription," ignited their still "kicking" cult fan base who deem it as the band's "masterpiece" (www.myspace.com/spacemen3 2010.)

Now, one month after 4/20, Jason and Peter are to magically appear in Peter's band "Spectrum," which he had formed after "Spacemen 3" "went up in smoke."

When I arrived at The Darkroom, in Ukrainian Village, a light bulb went off in my head. The venue displayed artwork of images created by flames on fabric. Hmmmm, maybe I can make some good cash from the burn holes I have on my comforters, from all the times I've passed out in bed with a cigarette still lit in my hand? Such pieces at The Darkroom are priced at $475! And, do have obvious careful artistic skill, plus talent to them compared to my burn-hole "accidents," however.

Another surprise to me, was there weren't any green-colored species, with cadillac-sized foreheads or alien saucer-like eyeballs, inhabiting the venue to catch "Spectrum's" performance. The main age frame of the fans in earth years was 30's--they wore hip clothes, and a few seemed crazy or super-glued to the front of the stage. They weren't budging, and clearly were determined not to miss getting any "hits" of "space-rock" when Jason Pierce and Peter Kember were to take the stage, after already waiting over two decades since their alienation. Ya gotta love and admire fans who are so stuck on a band and devoted!

Almost immediately following Kemper getting up on stage, and the band playing their first song of the evening, he took a flying leap off toward the sound guy to make some adjustments. Regardless, of the intially heavily irritating sound difficulties, I was eventually "sucked in" to "Spectrum's" "minimalism" style, absent of a wide array or variation of chords, drum beats and intensity of drum pounds, as well as vocal pitch and range. Plus, Kember seductively spoke just about all of the songs they played, sounding so much like Jim Morrison's voice, I couldn't help but wonder if he was channeling him all the way from his grave in Paris, France to the U.S.A. Some dead guys are "dug" to the extent of coming up with a lot of "frequent flier miles," if you will.

Kember lived up to his noted "hypnotic otherworldliness legacy," and not a single soul dashed for the exit or "Porcelain God" from the start to finish of "Spectrum's" performance (www.sonic-boom.info/spectrum.php 2010.) The four-man set, possessed with their droning guitars, eerie theremin and keys, and typically "chill" demeanor, made them suction-cups to people's pupils. Crazy glue is known for being long-lasting and working extraordinarily well, though, too!

As expected at a "Spectrum" show, they performed most of their songs, and their one "You Satisfy Me" was the highest fan-pleasing. However, the audience's hunger for "Spacemen 3" tunes was satiated when the band performed "Revolution" and "Suicide" later in their set.

Fans "cranked out" dance moves that were "eye-brow raising"--highly unusual, yet in a refreshingly mentally stimulating and invigorating sense. For instance, there was a ballerina babe, in a 1950's-style, perfectly tailored and form-fitted blouse and pants, topped with all black stilettos, twirling, spinning, all the while "sporting" gracefully set hands and fingers.

Plus, there was a guy looking as if he was pulling a semi-truck horn while he moved his head and neck forward and backward, and marched in place to "Spectrum's" monolithic beats. Or was one to believe he had to pull an imaginary string to be able to have his extremities "come to life?"

Anyway, the opening band "Apteka," were on the other end of the scale since their pieces were wildly lively, loud to the max, and colored by unpredictable instrumental detours--I couldn't figure out where they were going to go next during their songs. Also, Apteka's drummer played with amazing strength, perpetuating lots of "Woo's!" from the rocked crowd. Their new song "Death" I suspect is strong enough, as well, to awaken a drunk passed out in her car on the railroad tracks.

In close, Jason Pierce is to continue performing in his long-living "neo-gospel" and "trance-rock" band "Spiritualized," and "Spectrum" has a new album said to be released toward the end of this year (www.sonic-boom.info/spectrum.php 2010.) I am going to make a wish upon a star Pierce and Kember will play together again soon, and have another dead guy, Timothy Leary this time, "fly in" for it!

Sources:

www.myspace.com/spacemen3  

www.sonic-boom.info/spectrum.php  

On the Run (photo by Tracy Walsh)

Have you ever wondered the sound whales make while they hump? A certain Chicago musician claims he knows and that it's one of his musical influences. I have to say I've never heard that one before!

The musician is, Mike Romanzow, and he has longed to be in a band or a telepathic dolphin interpreter since he was very young. He's a member of the band named, On the Run, whose name reminds me of the phrase: To go on a beer run. I'm eager to see if their live performance is any fun without having to have a "cold one."

Prior to going on stage, I overheard the band ordering bottles of Miller Lite and Quesadillas, it was refreshing to hear they were polite to the bartender and did not have a "My shit don't stink" and demanding "wait on me hand and foot" attitude. On the Run also appeared to be down-to-earth with their fans and not aloof or rude.

On the Run (photo by Tracy Walsh)

When On the Run first came out, they hit me sort of like a tsunami--they had displayed such an amount of energy I would've sworn they were all manic or "running high" on cans of Red Bull! But, before the show, I did not see them order any energy drinks or pop any amphetamines.

It was so extreme-energy-wowing I don't know how any sane non-polluted human beings could maintain it all the way to their ending. And, they didn't, but On the Run's bass player was "a real looker" and charismatic as all hell, plus the entire band played together impressively well. They clearly had positive chemistry and played tight throughout the whole night.

The Lead Vocalist and Guitarist, Tyler Imbrey, of On the Run was founder of the now deceased group, "The Liquid Courage Band." He was raised in North Carolina while Lead Guitar/Vocalist (Luke Gale) and Percussionist and Drummer (Tim Williams) are from Chicago. Plus, Mike Romanzow grew up in the Chicagoland area, and is noted for: "his smooth double-finger rhythm action [that] can "funkify" the rockiness of your soul while stimulating your senses. And, he plays bass in the band! (www.ontherunmusic.com 2010")

On the Run played predominately upbeat tunes, yet threw in some soulful slow and smooth ones, too. The fans and I were especially moved when they covered the Beatle's song "Come Together" and sounded like them almost identically.

All in all, On the Run led a fun show--they were entertaining enough for me and most of the people in attendance to not have to leave and order more alcohol or flee to go potty. Their only downfall, in my opinion, was they did not sound unique--however, who truly can these days anyway. I had thought they would since they have some mighty pricey customized and high-tech instruments, but they reminded me of the Dave Matthew's Band. On the Run had their saxophonist, Justin Keirans, and a local keyboardist play with them during over half of the show. The ingredients of On the Run include a dash of rock, reggae, blues and funk.

I concluded where the band played, Martyr's Restaurant and Pub, was pretty cool since they have two bars, and a mural of dead music legends (Bob Marley, John Lennon and Jimi Hendrix.) Their walls also featured individual posters of The Tragically Hip, Iggy Pop and the band, Government Mule. Martyr's had delicious food, too, allowing for drinking more alcohol and having extra dancing fuel.

Oh, and I can't go without mentioning the band who performed before On the Run (Surrender Dorothy) whose Lead Singer swirled up a stellar vocal performance and their electric guitar player was thrilling to watch, jumping high time after time.

Every single member of the band, consisting of "Guitarist/Singer Chris Barker, Joe Barker on Electric guitar, Bill Bush on Guitar, Josh Clark on Bass Guitar and last but not least Brian Kutanovski on drums" gave a wicked pure rock-in-roll performance (www.myspace.com/surrenderdorothyorelse 2010.)

Chris Barker later sang with On the Run, covering the Marshall Tucker Band's song, "Can't You See," having me to firmly believe the guy can really sing!

Hopefully, if On the Run makes it big, they'll remember their poop still stinks. "On The Run competed in the Emergenza Chicago Finals this past June 21, 2009 and did take home first place (www.ontherunmusic.com 2010.") Besides, I can easily see Lead Vocalist and Guitarist, Tyler Imbrey, and Bass player, Mike Romanzow being each a Rock Star because of their magical instrumentals, stage presence and friendly way (before they took the stage) with patrons of the bar. Plus, On the Run's new ep, "Stage Lights," reveals the band's goal to be in California and has indeed the potential to go that far.

By Tracy Walsh

Sources:

www.myspace.com/surrenderdorothyorelse

These are the very guys I can imagine having had shot spit balls out of a straw at teachers with in 5th grade, being staples on the "Smoker's Corner," right outside of school, and "playing hooky" with to have some cans of cheap ol' Milwaukee's Best or Pabst Blue Ribbons.

Have you ever had the pleasure of hearing the song titled "My Ding-a-ling-a-ling?" Some of its' lyrics are: "My Ding-a-ling..My Ding-a-ling..I want you to play with My Ding-a-ling!"

At the time Country music is mentioned, the following may pop into your mind: Moon Mullican, Willie Nelson, tax evasion, banjos, fiddles and the "jugs" of Dolly Parton.

Yet, if not already, the Eli Young Band might just come to mind when first thinking about country and western music. Unlike Moon Mullican's genre (Western Swing and Rockabilly), Willie Nelson (Outlaw country) and Dolly Parton (Mainstream country and pop), the four man band's sound fits into the Country music's genre of Country rock. And, after playing together for some eight years, they have had their career explode.

The Eli Young Band, began with relatively small goals, such as being the best band in their dinky town in Texas. Since then their single "When it Rains" "ultimately became the longest running single in the history of the country chart." Their single "Always the Love Songs" "eventually became their first Top 10 hit at country radio (www.eliyoung.net/ 2009.")

They have performed on the Jimmy Kimmel Show and Jay Leno's twice. Plus, "the band made their debut at The Grand Ole Opry, earned their first ACM nomination, CMT nomination and a performance spot at the CMT Awards (www.eliyoung.net/ 2009.") Their list of critical acclaim and other accomplishments goes on and on!

Appropriately, the Eli Young Band have been riding in major style; click the link below to check out the limo they rode in to the Country Music Awards:schlicken.blogsome.com/2007/09/03/redneck-limo/

(I'm thinking no one will be offended by that photo because all of the self-proclaimed, "Rednecks," I know poke fun at themselves and are easy-going people.)

Just for the record, the band actually rode in a jet black limo to the CMA's, which they have a video clip of on their website @ www.eliyoung.net/

Moving along, no one can truthfully say the Eli Young Band didn't work their way to where they are now--they have made the ultimate and painstaking sacrifices in every single area of their lives. From the band's very start in their small town of Denton, Texas, they rehearsed and played local shows while cramming in the duties of being college students and often working two day jobs on top of it all. (Now, that's what I call criteria fit for serious exhaustion and a nervous breakdown!)

As a result, they have missed priceless special moments with their families, the chance to have steady romantic relationships and the comforts and luxuries of home sweet home (e.g. assumingly not having to empty the waste of four men from an R.V plus being overpowered and overwhelmed by the putrid stench of each other's feet!)

Regardless of the Eli Young Band's grueling hard work, heartbreaking sacrifices, and the rough times they've seen in the lives of others, their music is explained as being colored with an underlying infectious optimism. Jon Jones (bass player) sums up the predominate theme of their music best, "It might be raining today, but it might be sunny tomorrow, so it's worth sticking around for (www.eliyoung.net/ 2009.")

Given the band's mighty impressive history, credentials and drive, the question lies whether they will fall short of people's expectations at their show tonight at Joe's Bar in Chicago?

When I walked into the tavern, I couldn't help but notice it was jammed packed with people in their 20's or so, with a basically even guy to girl ratio. To my surprise though I saw more baseball caps than cowboy hats.

The Eli Young Band played their song "Radio Waves" first and their energy as well as the audiences' was depressingly lacking. Yeah, initially their performance was disappointing until they "belted out" their third or fourth song, which was "When it Rains."

Most of the band's songs that followed would start off slow and mellow, and at the middle to end they would have instrumental passion, intensity and vocals of strength, ownership, confidence--gusto!

The Eli Young Band are tight, polished musicians who not only know how to play their instruments well, but also a crowd. For instance, Chris Thompson on drums and lead guitarist, James Young, usually did not stop playing at the end of the band's songs. That is, Thompson gave fun funky beats of the drums while Young displayed eclectic guitar riffs, psychedelic, rock and so on. They created a greater anticipation, in a good way, for the next song to be played and sung.

Jon Jones was no slouch, either--he played the bass right on, masterfully and seemingly effortlessly while having a stoic-like stage presence. His younger brother, Mike Eli (vocals and guitar), interacted with the crowd just the right amount--not to the point where you're thinking to yourself, "Man, c'mon--would you just shut up, and play already"!

A few times Eli ordered him and the rest of the band shots and they raised their glasses to give cheers to the audience. The fans would hold their bottles of Bud and pitcher's of Coors Light up high in the air, before them and the band "tossed them down the hatchet." Eli also held the mic over the fans, who sang at least three of the band's songs back to them.

Yet, my cowgirl hat really goes off to them for their rendition of the Beatle's song "Come Together." It was played low-key, sensually and seductively until in the midst of it when the band turned it into nothing short of awe-inspiring, with chaotic and extra loud sounds coming from all of the band's instruments. It resembled the music in the song "Helter Skelter," magnificently!

After the band played "Always the Love Songs" and for their encore "Small Town Kid" they gave their autographs and threw a bunch of guitar pics and some of their t-shirts to their fans. (During which time the band wore genuine smiles.)

I spoke to about three people after the show and they said it was good and they didn't have any complaints.

An additional person I probed, Ken Snyder, told me his favorite thing about the Eli Young Band is how they are with their fans. He revealed they had allowed him to party with them on their tour bus before. Ken said he was so taken by the band, being "very personable" coupled with their "great music," he has been following them for the past two years. Ken, whose from Ohio, has been driving from state to state in even the worst of winter weather to make their shows.

Another long time fan of the band, Shannon Sawyer, whose also from the band's little Texas town, had no difficulty answering what she likes most about the band--she said she really likes "that they're not mainstream country."

Perhaps, more interesting, though, was I saw Eli stick his tongue out at a pretty blonde backstage. It did not look as if he meant in a good way, either. I'm so nosey, I would love to know how he and the lady are associated! Maybe, the National Inquirer will let us "busybodies" know someday.

Of greater significance, new songs from the band's "Jet Black & Jealous" album were well received from the crowd this evening. I'd say the loudest screams from their most recent songs came from after they played the one "Crazy Girl." So, "for whatever my two cents are worth," I predict we will be seeing and hearing a lot more from these guys.

Lastly, speaking for fans of the Eli Young Band in Chicagoland, "Y' All Come Back Now, Ya Here?"

The crowd outside of the Aragon Ballroom, a historic Chicago venue, toked and were stoked right from the get go for the other night's Kottonmouth Kings and 311 show.

Most of the fans were in their teens or were 20 somethings who weren't funked, punked, rocked or hippied out. I did, though, get a glimpse of a few Grateful Dead threads and one of a Phish t-shirt drifting about.

Also, most of the fans I spoke to were residents of Chicagoland, and, some of them made passionate screams and demands to "Free Weed!" while waiting outside the Aragon to see the bands.

But, what other kind of behavior is one to expect or suspect from a band named, the Kottonmouth Kings or from a 311 show. They're 2 bands who convey it's okay to smoke pot and make it grow.

That is, one of the Kottonmouth King's songs is, "Where's the Weed,?" and one of 311's is, "Whose got the Herb?"

This article is to focus on the band 311 though, and there may be folks who after finding out the meaning of 311's name, may be a wee bit disturbed.

Here's the story, it does not mean KKK, rather it stands for the police code (311) for indecent exposure a friend of the bassist for the band was charged with, after getting caught skinny dipping back in the day. The teen wasn't allowed to put on his clothing, so his weenie was dangling freely for all to see while the cops whisked him away in handcuffs anyway.

Now, that that's out of the way, 311 describes their music as a magical potion of Rock, Hip-Hop and Reggae.

311, whose members have been together for a whopping 19 years, is comprised of Nick Hexum (Vocals, Guitar and Songwriter), SA Martinez (Vocals and DJ Scratches), P-Nut (Bass), Tim Mahoney (Guitar) and Chad Sexton (Drums, Percussion), show no signs of their musical careers together being done.

Their new and 9th album, Uplifter, is hoped by the band members to make people uplifted by listening to it, and I was really curious to see if it's the sh*t!

During the opening act, played by the Kottonmouth Kings, you didn't have to spend a dime on weed--there was a sufficient amount of smoke to be able to score a "contact high" if in need.

I'm pretty sure I got one, but I'm by no means complaining!

The anticipation to see 311 play was building and smokin' hot, and, the show emerged at about 9 p.m. on the dot.

The stage turned pitch black, except for the glow in the dark bass keys. Then, shazam--me and the rest of the audience sees white, shock-like lights to the eyes that reveal the entire band, and the "house party" quickly began!

The stage looked similar to a gigantic Easter Egg Basket with its' handle made up of blue and pink pastel flashing lights.

The crowd was singing along to 311's catchy songs from the start. The first song they played was "Sick Tight" and the last was "Feels So Good." You could tell 311 still loves to play and they do so from the heart. Tim kept bopping his head, and P-Nut smiled from time to time while they both performed their mastered art.

Nick, and especially SA, were the band's main "energizer bunnies" on stage, though, for every single song because of their amazingly tireless hopping and jumping. Although, Chad's drum solo was even more incredible and really got my heart thumping.

Chad did a spectacular, predominately primitive sounding solo, something like, da, da, da, da, BOOM! Da, da, da, da, BOOM-BOOM-BOOM-BOOM! I would have been so pissed if I would have missed it because I had to go downstairs to use the bathroom!

Yet, the highlight of the show was shown when all of the band came back out on stage toward the end of Chad's solo with big drums of their own.

Imagine, intense pounding of the drums that seemingly couldn't be beat--each pound of the drum all members of the band played simultaneously, was galaxies away from being anything close to humdrum, and I didn't catch any fans in their seat.

Pound! Pound! Pound! It was a profound, entire body consuming power of immensely strong sound, that'll make a lot of people see them when they come back around.

However, I spoke to about 10 fans after the show, and they said 311's performance was good but too short--they wished it lasted much longer. They did only play for approximately an hour, but it's because the venue threatened the band that at 10 p.m.. they would shut off the power.

Since the show, 2 days after, my mind continues to play 311's new song "Jackpot" and their old one "Beautiful Disaster!"

Bored? Are you also so stressed out about your finances you feel you're going to "lose it" and end up in a psych ward? Do you feel desperate to escape the norm and everyday worries galore, but can't think of how to do it or what kind of getaway you can afford?

The lyrics, harmonies and melodies of the indie pop band, Wild Beasts, beat any Sanford and Son, Saved by the Bell, or The Maury Povich's Show, "Who's her baby's daddy?" episode. I have a suspicion the Wild Beast's titles of their tunes, alone, will too put your mind into a Sherlock Holmes's mode.

For instance, some of the names of Wild Beast's songs include: "The Fun Powder Plot," "The Devil's Crayon" and "Please Sir (www.wild-beasts.co.uk 2010.")

I'll let your intellect and imagination decipher what the Wild Beasts are trying to say, because that's a lot of the fun one can get while reading their song's titles and listening to the lyrics they deliver. But, can the Wild Beasts be sufficient in being a Chicagoan's reliever of economic headaches and "cabin fever?"

On February 13th I was in a real crappy mood. My disposition wasn't even being lifted by fulfilling my chocolate addiction or "scarfing down" other A-Z junk food. Seeing the Wild Beast's show at Schubas in Chicago was my last conceivable option for some way to be comforted and soothed.

And, let me tell ya, I seriously practically had to "pick my jaw up off the floor" after hearing the Wild Beast's first song, "The Fun Powder Plot"--the singer's voice was countertenor and to almost die for!

The song was sung by, Hayden Thorpe, who I swear must have been abducted by some extraordinarily kind and generous aliens who gave him his vocal abilities. His vocals were that amazingly different, they were out-of-this-world--surely seemingly extraterrestrial, from outer space and/or the heavens.

However, Hayden Thorpe (Lead singer, guitar, bass and keys for Wild Beasts) is not from galaxy "whatchamacallit"--nor does he look like an alien by any socially contrived means. He's from England and so is the rest of the constellation, whose performance I also fancied: Ben Little (guitar and keys), Tom Fleming (bass, vocals, guitar and keys) as well as (Chris "Bert" Talbot (drums and vocals) (http://en.wikipedia.org 2010.)

The Wild Beast's first tune also set the stage for shock value because of it's lyrics, which partially include, "With courage and conviction, in donkey-jaw diction, we cry for the cause because the courts have left us lonely; disowned us daddies like the poopers of the party. Gently, gently take them from me… gently, gently take them from me…gently, gently take them from me, and I’ll be left dumfound as a donkey. This is a booty call; my boot up your arse hole. This is a Freudian slip; my slipper in your bits (www.wild-beasts.co.uk 2010.")

Plus, the "gents" moved their heads and necks similar to that of a camel from the start of their show, "stirring up" a goofy, highly "groovalicious" tone. Speaking of camels, five plus of their song's melodies lead me to think of the sound of a camel's hooves on the ground, and I felt as though I was riding on the back of one in the desert on a cemented path--I was baby steps away from my ideal new home and life in my very own human-sized sand castle.

Other times during the Wild Beast's performance, I continued to be "swept away" by a camel in the desert, but I received the vision and emotions of going in and out of circles that were comprised of eye-popping varying indigenous tribes playing primitive, enchanting, hypnotic all-four-senses-fascinating, invigorating and ever-so-soul-refreshing music.

(And, I wasn't too hot or thirsty for a drink one bit on my trip.)

The only bad things I can think of about the show were for one, Schubas was like what I would imagine being in a sardine can would be like--truly a claustrophobe's nightmare! The Wild Beasts had to be exceptionally good for me to not have seen a single soul fight his or her way the hell out of there! I had to stand on one of the two benches they had along each of the walls of the sides of the venue in order to get a decent view of the band and to move or dance had to be done with great care--I could seriously only budge a hair--I couldn't even stand with my legs apart in there!

(I hate to be a "Debbie Downer" for anyone who has tickets at Schubas for an upcoming show, I can say their employees I encountered ranked high in regard to their customer service skills, though.)

My second complaint is, the Wild Beasts had to have been a half an hour or more late to take the stage, but Hayden Thorpe and Tom Fleming apologized for the delay and thanked the audience for waiting and being such great fans more than a few times throughout their performance. They had come straight from an especially rushed and long road trip (all the way from the west coast to Chicago.)

With that being said, I'd like to give the Wild Beasts some well-deserved kudos for still being able to be so gracious toward people and sing and play their instruments with razor-sharp precision. They did have a bit of a problem with the sound system and broke a guitar string about four songs into their show, also. Yet, each of the "brutes" handled his extreme fatigue and the technical difficulties like a triathlete and entertainer pro.

My third and final "bone to pick" with the Wild Beasts is I, along with other audience members I had talked to right after the performance, wish they had played more. Their performance wasn't the slightest bore and it made all my problems go out the door. It's worth the price of a ticket ($20 or so), and I'm going to spend the money to buy both of their CDs ("Limbo, Panto" and "Two Dancers") from the store.

The journey of my entirety the Wild Beast's live show took me on covered as many as three differing cultures and countries. Which, in reality, would have been a vacation that would have cost me far too many "pretty pennies." And, in my humble opinion, you have to see one of the Wild Beast's performance's in order to fully believe their musicianship bestows such transcending properties.