Seether lines up a busy summer

South African rock band Seether [ tickets ] has lined up a tour of secondary markets, and is bringing along the likes of Sick Puppies [ tickets ] and Finger Eleven [ tickets ] on multiple dates. The tour kicks off on Independence Day at Milwaukee's Summerfest and continues through an Aug. 24 finale in Nampa, ID. Seether is currently enjoying one of its biggest hits to date, "Fake It," which is the lead track off of last October's "Finding Beauty in Negative Places." The second single, "Rise About This," is gaining momentum on the Billboard Hot 100 singles chart, where it sits at No. 92. The album, which follows 2005's gold-certified "Karma and Effect," reached No. 9 on The Billboard 200. The band also released a live, acoustic set, "One Cold Night," in 2006. Sick Puppies are touring in support of the single "What Are You Looking For," taken from the album "Dressed Up As Live," the Australian band's North American debut album.Recently, Sick Puppies--Shimon Moore (guitar and vocals), Emma Anzai (bass), Mark Goodwin (drums)--completed a two-month headline tour, as well as a series of gigs supporting Evanescence, Deftones, Velvet Revolver, Chris Cornell, Flyleaf, Chevelle, Breaking Benjamin, 3 Doors Down and Finger Eleven. Finger Eleven, who scored a hit with the song "Paralyzer," has canceled all June European dates after singer Scott Anderson injured his neck. In a message to fans on Finger Eleven's webpage, he wrote: "You see: I broke something in and around my neck area. Well, the doc says I sprained it. You know how they always say a sprain is worse than a break? Well, I think I'll stick with a sprained neck over a broken one! Am I right, Internet?" The US dates are a go. Finger Eleven is pushing its album "Them vs. You vs. Me."

R. Kelly trial: Sun-Times critic ordered to come to court

There will be no jail time for Jim DeRogatis, but the R. Kelly trial judge ordered the Sun-Times music critic to come to court Wednesday.

A subpoena had been issued compelling him to appear Tuesday, but DeRogatis never showed.

The newspaper argued the renowned music critic never received the subpoena, though a Sun-Times reporter, attorney and the editor-in-chief's assistant all received legal documents indicating he was expected in court, according to statements made before Cook County Judge Vincent Gaughan.




Gaughan said it was possible DeRogatis was unaware of the ordered appearance and would not issue a warrant for his arrest.

"I'm going to give him the benefit of the doubt," Gaughan said.

Gaughan ordered DeRogatis to appear Wednesday so the defense can question him in front of the jury about his connection to the sex tape at the heart of the case. DeRogatis, who first wrote about Kelly's relationships with young girls in 2000, received the video from an unknown sender in early 2002.

The critic turned the tape over to the Chicago police, prompting an investigation that eventually led to child pornography charges against the singer.

The Sun-Times contends DeRogatis is protected by the reporter's privilege and is not required to testify about information he gathered as a journalist. The judge, however, has ruled he is connected to the trial's most critical piece of evidence and can be questioned.

"He's a material witness," Gaughan said. "He turned over [the sex tape], which is the basis of this prosecution."

The Sun-Times intends to appeal the judge's decision and ask the appellate court to bar DeRogatis from being called as a witness until the matter is settled. Gaughan said he will not delay the testimony unless a higher court orders him to do so.

"I have 15 people in the jury box and this trial is into its fourth week," Gaughan said.

Stacy St. Clair

June 3, 2008 2:04 PM: Newspaper's attorney files appeal on critic's behalf--with the wrong court

Arguments continue over whether Sun-Times music critic Jim DeRogatis will have to appear today before the trial judge in the R. Kelly child pornography case.

Sun-Times lawyer Damon Dunn reasserted that it would be a "serious breach" of DeRogatis' rights if he were compelled to testify as a reporter and said he had appealed last week's decision by the judge ordering the critic to testify.

Kelly's defense team wants DeRogatis to testify about the sex tape at the center of the prosecution's case. Specifically, defense attorneys are interested in what DeRogatis may have done with the tape between the time he received it in early 2002 and when he gave it to police.

Dunn asserted that the Illinois reporter's privilege statute protects the critic from having to testify while an appeal is pending. The judge pointed out, however, that Dunn's notice of appeal was filed to the wrong court—at the Daley Center—and as such is not really on file at this point.

"You filed it in the wrong court," Gaughan snapped. "A notice of appeal has to be filed at the appellate court." Gaughan also rehashed his finding that DeRogatis is not protected under the law as a reporter because he is a "a material witness to a crime" and is not protecting a source.

In his opinion issued Monday, Gaughan said the defense could not ask about the source of the tape and that Kelly attorney Marc Martin said the defense had no plans to ask about the source.

"You're protecting something that nobody is after," Gaughan said to Dunn.

Squeeze

   
Artist: Squeeze

   Genre(s): 
Rock
   Pop
   Indie
   

---

Discography:


   
 Essential Squeeze

   Year: 2007   
Tracks: 20


   
 Big Squeeze - The Very Best Of Squeeze - Disk 2

   Year: 2002   
Tracks: 19


   
 Sweets from a Stranger

   Year: 1998   
Tracks: 12


   
 Singles 45's and Under

   Year: 1995   
Tracks: 12


   
 East Side Story

   Year: 1995   
Tracks: 14


   
 Frank

   Year: 1989   
Tracks: 12


   
 Argybargy

   Year:    
Tracks: 11

---

As one of the nearly traditional pop bands of the new wafture, Squeeze provided one of the golf links between classic British guitar pop and post-punk. Inspired heavily by the Beatles and the Kinks, Squeeze was the vehicle for the songwriting of Chris Difford and Glenn Tilbrook, wHO were hailed as the heirs to Lennon and McCartney's throne during their heyday in the early '80s. Unlike Lennon and McCartney, the partnership 'tween Difford and Tilbrook was a true collaboration, with the former writing the lyrics and the latter providing the music. Squeeze never came close to co-ordinated the popularity of the Beatles, only the reason for that is part of their appealingness. Difford and Tilbrook were wry, insidious songwriters that subscribed to traditional pop songwriting values, merely subverted them with literate lyrics and cagey musical references. While their native Britain warmed to Squeeze immediately, sending singles like "Take Me I'm Yours" and "Up the Junction" into the Top Ten, the striation had a difficult time gaining a footing in the states; they didn't suffer a U.S. Top 40 strike until 1987, closely a 10 later their debut album. Even if the radical never had a score in the U.S., Squeeze reinforced a consecrated following that stayed with them into the recent '90s, and many of their songs -- "Another Nail In My Heart," "Pulling Mussels (From the Shell)," "Tempted," "Disgraceful Coffee In Bed" -- became pop classics of the new waving era, as the atomic number 78 status of their compiling Singles 45's and Under indicates.


Chris Difford (b. April 11, 1954; guitar, vocals) and Glenn Tilbrook (b. August 31, 1957; vocals, guitar) formed Squeeze in 1974. Tilbrook answered an advertisement Difford had placed in a store window, and the geminate began writing songs. By the spring of 1974, the duet had recruited pianist Jools Holland (b. Julian Holland, January 24, 1958) and drummer Paul Gunn, and had named themselves Squeeze, after the disowned Velvet Underground album that featured none of the group's original members. Squeeze began playing the palmy gin mill john Rock circuit, although their songs were quirkier and more pop-oriented than many of their peers. By 1976, the striation had added bassist Harry Kakoulli and replaced Gunn with Gilson Lavis (b. June 27, 1951), a quondam tour of duty manager and drummer for Chuck Berry. They had likewise sign-language a contract with Miles Copeland's burgeoning BTM record label and management company. Squeeze had already recorded several tracks for RCA, including two cuts with Muff Winwood, that the label jilted. BTM went insolvent ahead it could release the band's debut individual, "Take Me I'm Yours" in early 1977, just Squeeze was capable to work with John Cale on their debut EP, due to a abbreviate Copeland had arranged with Cale.


Squeeze released their debut EP, Packet of Three, on Deptford Fun City Records, in the summer of 1977 and before long arranged an international get with A&M Records, becoming the label's low new waving act since their calamitous signing of the Sex Pistols. The striation entered the studio with producer Cale later that year to act upon on their debut album, provisionally titled Gay Guys by the group's producer. Cale had the group contrive extinct most of their standard material, forcing them to write newfangled material; consequently, the record wasn't necessarily a good representation of the band's early healthy. By the time the album was released in the spring of 1978, the group and A&M had deserted the record's working title, and it was released as Squeeze. In America, the set and album had to change their identify to UK Squeeze, in order to forefend muddiness with an American set called Tight Squeeze; by the end of the class, they had reverted back to Squeeze in the U.S.. Preceded by the hit single "Take aim Me I'm Yours," the album became a soften success, just the group's on-key British breakthrough arrived in 1979, when they released their second album, Cool for Cats. More representative of the band's good than their debut, Cool for Cats generated two numeral deuce singles in the title track and "Up the Junction." Later in 1978, the EP 6 Squeeze Songs Crammed Into One Ten-Inch Record EP was released. Squeeze well-tried for a seasonal worker reach that year with "Christmastime Day," just the single failed to chart. Kakoulli was fired from the band after the firing of Cool for Cats and was replaced by John Bentley.


Released in the outflow of 1980, Argybargy received the strongest reviews of any Squeeze album to date, and produced mince U.K. hits with "Another Nail In My Heart" and "Pull Mussels (From the Shell)." Both songs, asset "If I Didn't Love You," became hits on college radiocommunication and new wave clubs in America, increasing the band's profile well; it was the first-class honours degree Squeeze album to chart in America, stretch numeral 71. Jools Holland, whose fascination with boogie piano was starting time to sit uncomfortably with Difford and Tilbrook's more and more sophisticated compositions, left the lot in late 1980 to kind the Millionaires; he was replaced by Paul Carrack, at one time of the gin mill rock lot Ace. Following Argybargy, critics in both the U.K. and U.S. were vocation Difford and Tillbrook "the new Lennon and McCartney," and in order to consolidate their growing reputation, Squeeze made an attack at their own Sgt. Pepper with 1981's East Side Story. Initially, the album was to be produced by Dave Edmunds, just the group scrapped those sessions to mold with Elvis Costello and Roger Bechirian. Upon its summer press release, East Side Story was hailed with excellent reviews, only it didn't become a brobdingnagian stumble as expected. Nevertheless, it establish an audience, peaking at numeral 19 in the U.K. and number 44 on the U.S. charts. The soulful, Carrack-sung "Tempted" failed to reach the U.K. Top 40, just it did become the group's first base charting U.S. individual, arrival the Top 50. The country-tinged "Tagged With Love" became the group's third, and last, British Top Ten hit that descend. Carrack left at the end of 1981 to join Carlene Carter's funding band; he was replaced with Don Snow, a classically trained pianist wHO once played with the Sinceros.


Ever since the press release of their debut, Squeeze had been touring and recording without break, and signs of fatigue were patent on Sweets From a Stranger. Though it was the group's highest-charting U.S. album, arrival figure 32 shortly afterwards its springtime button, Sweets From a Stranger was scratchy. In the U,K,, it was a considerable disappointment, reaching issue 37, with its individual "Sinister Coffee in Bed" stall at phone number 51. Nevertheless, the band had earned a considerable fan base, and were able to play Madison Square Garden that summer. Tired of touring and its thwarting commercial fortunes, Difford and Tilbrook distinct to disband Squeeze late in 1982, cathartic the digest Singles -- 45's and Under, shortly after its proclamation. Ironically, Singles peaked at figure threesome on the British charts; it would afterwards go platinum in the U.S..


Though they had disbanded Squeeze, Difford and Tilbrook had no design of end their coaction -- they only wanted to go after other projects. In particular, they saw themselves as songwriters in the classical tradition of Tin Pan Alley or the Brill Building, and began writing for Helen Shapiro, Paul Young, Billy Bremner and Jools Holland. They as well worked on Labelled With Love, a musical based on their songs, which played briefly in Deptford, England early in 1983. The duo released an eponymous record album in the summer of 1984, showcasing a sophisticated new reasoned, as well as long, flow haircuts and coats. The record was a moderate success, only the couple already were cerebration of re-forming Squeeze. Early in 1985, the band reunited to play a charity gig, which prompted Difford, Tilbrook, Holland, and Lavis (world Health Organization had been driving a cab) to permanently reform, adding bassist Keith Wilkinson. Cosi Fan Tutti Frutti was released in the fall of 1985 to positive reviews and fairly successful sales. During 1986, Andy Metcalfe, a member of Robyn Hitchcock & the Egyptians, linked the dance band as a second keyboardist. Babylon and On followed in the fall of 1987, and the album became a surprise run into, stretch bit 14 in the U.K. and generating their biggest American hits -- "Hourglass," which reached phone number 15 on the speciality of MTV's heavy rotation of the song's inventive video, and the Top 40 "853-5937." After completing an external circuit, which featured another concert at Madison Square Garden and a headlining spotlight at the Reading Festival, Metcalfe left the dance band; he was non replaced.


Babylon and On crataegus oxycantha throw been a hit, only Squeeze's renewed success wasn't lasting. The group's following album, Frank, was released in the fall of 1989 and it wasn't given very much a promotional press by A&M. Consequently, it flopped in both the U.S. and the U.K.. During the load-bearing go for Frank, A&M dropped Squeeze, going away the dance band in the cold. Following the tour, Holland left the dance band to concentrate on his calling as a recording creative person, as intimately as a boob tube host for the BBC. Squeeze released a live album, A Round and a Bout, on I.R.S. in the spring of 1990. Early in 1991, the band gestural with Reprise Records and began recording a new record album, hiring Steve Nieve, Bruce Hornsby and Matt Irving as session keyboardists. The resulting album, Play, was released in the fall of 1991 to small attention, part because it received no support from the label. During the Play go, the band hired Don Snow and Carol Isaacs as keyboardists. Over the course of 1992, Difford & Tilbrook began to play the occasional acoustic concert, as Squeeze revamped its touring batting order over again, hiring Steve Nieve as their touring keyboardist. Longtime drummer Gilson Lavis left wing the band afterward that yr to play in Jools Holland's big band; he was replaced by Pete Thomas wHO, care Nieve, was a member of the Attractions.


Squeeze resigned from A&M Records in early 1993 and recorded their new record album, Some Fantastic Place, with Thomas on drums and Paul Carrack on keyboards. Released in the September of 1993, the record album became a chair British rack up, debuting at telephone number 26; it was ignored in the U.S.. During 1994, Thomas left wing the band to join the reunited Attractions; by the end of the year, the grouping had replaced him with Andy Newmark. Prior to the transcription of 1995's Ridiculous, Kevin Wilkinson -- no relation to bassist Keith Wilkinson -- became the group's drummer. Released in the U.K. in the fall of 1995, Ridiculous became a mince hit, generating the hits "This Summer" and "Electric Trains." The record album was released in America in the give of 1996 on I.R.S. Records. Under the identify John Savannah, Don Snow contributed keyboards on Nonsensical and the album's supporting circuit.


During 1996, Squeeze released deuce compilations, the single-disc Piccadilly Collection in the U.S. and the double-disc Surfeit Moderation in the U.K.. The following year, A&M U.K. issued the box set Six of One..., which contained remastered versions of their number one six albums, plus deuce fillip tracks on each platter. A second box, covering the second six-spot albums, was scheduled for release in 1998, just it was canceled after the label folded. By that time, Squeeze had finished their contractual indebtedness for new studio apartment albums with the pronounce. They signed with main Quixotic Records, releasing a unexampled album, Antoine Domino, in November of 1998. Domino was recorded with a new lineup, featuring Difford and Tilbrook, plus Jools Holland's brother Chris Holland on keyboards, bassist Hilaire Penda and drummer Ashley Soan, a former fellow member of Del Amitri.