(Showbox) Tonight, a large portion of independent hiphop's illuminati will grace the stage for what very well could be one of the great hiphop experiences of your life. Del Tha Funky Homosapien, Ice Cube's cousin, has worked long hours to convince you that West Coast hiphop is not synonymous with gangsta rap; in the process he and the Hieroglyphics have put out some of the most creative hiphop this coast has seen. As for Casual, no one has brought so much of the Oakland streets to Seattle since Gary Payton. When they drop the mic they'll immediately be upstaged by Prince Paul--who single-handedly engineered on the turntables all that's good about hiphop in the '90s -- no doubt providing everyone in the audience with a crash course in hiphop evolution. It'll be an in-house after-party. What's more, there's a special guest who was recently signed to Innerscope. They won't tell me who, because if I knew then you'd know, and if all y'all knew, there wouldn't be any tickets left. -- Eric Morse

(Breakroom) This Pittsburgh band busts out dense, orchestral, guitar-based rock with no vocals. That usually translates to shit on stage, but my right-coast operatives tell me that's not the case with Don Caballero. -- Erin Franzman

FRIDAY 10/15

( We're all adults here, so let's be up front with each other: The only interesting tracks on Roni Size & Reprazent's epic album New Forms were those containing guest vocalists. In Breakbeat Era, Size and DJ Die team up with Leoni Laws, who brings production savvy and a personal charisma that seem to have catapulted Size/Die's otherwise mundane work into jungle milestones. In fact, Size and Die are conspicuously absent from the live show, replaced by a more organic line-up of drums, bass, vocalist, and a captain holding down the electronic controls. Not to worry, though, Seattle: Jungle Massive will pop up on the turntables later in the evening to lay it down Bristol-style until three in the a.m. -- Eric Morse

(Moore Theater) This is a fragile guy. His daddy whipped him into being a star with the Beach Boys, but all the fame and girls gave him a nervous breakdown at the age of 23. He became a shut-in; he started working on a "teenage symphony to God." For most of his adult life he was abused and ripped-off by his psychiatrist/producer. A court order put an end to all that, and God does change people, so let's give a warm Seattle welcome to the Master of Counterpoint, the original "Beach Boy," in his triumphant return to the performance sta... but wait! He's playing the same old songs: "Barbara Ann," "I Get Around." Screw that. -- Nathan Thornburgh

(Crocodile) Supersuckers frontman Eddie Spaghetti is a natural born crowd pleaser -- but don't touch that bass while he's gettin' busy or he'll boot your sorry ass from here to Tucson. Well, the Supersuckers'll kick your ass regardless, because that's just what they like to do: throttle down from song-one and tear a nasty wake through the middle of the crowd with pulverizing, raunchy rock and roll choreographed to make you hurt. Easily the loudest, tightest, and most entertaining live show in town. -- Rick Levin

(Kane Hall, University of Washington, 8 pm, $10) Ragamala regularly help present shows at the UW and their consistent track record continues with this one-of-a-kind slide guitar player from Calcutta. Bhattacharya was broadcast in recital (at the age of four) by All India Radio, given India's Presidential Award at 21, and has since recorded and/or toured with slide guitar giants such as Bob Brozman, John Fahey, and Martin Simpson. Tonight he'll be joined by fellow Calcuttan Samar Saha on tablas alongside his highly customized, 22-string Hofner acoustic F hole, steel bar, and picks. -- James Kirchmer

(KeyArena) I love novelty rock. The Presidents of the United States of America did it by being silly and a little thrashy. Smash Mouth are doing it by being silly and a little surfy. Did I mention that they're corporate whores? Their website features a link with the following intro: "Smash Mouth has had the pleasure of working with many great companies. Here's some pics of the band sporting their favorite gear." The link takes you to an entire page of "pics" with the Smash Mouth boyz lounging in gear from American Airlines, Nike, and more. It's worse than porn, or better. -- Nathan Thornburgh

(5th Ave Theater) See Stranger Suggests.


(DV8, 2 pm) Crazy Legs of the infamous Rock Steady Crew is bringing back this b-boy/girl (a.k.a. breakdancer) battle with a little help from his friends. New York hiphop group the Arsonists will be blazing up the mics to promote their new album, As the World Burns (Matador). There will also be a discussion panel that includes the legendary Popmaster Fable alongside b-girl Lady Jules, and RSC members Zero-T and Eazy Rok. And local DJs DV One and Insult2Injury will be in the house making everyone bust a move. -- Ethrina Gotico


(Crocodile) Get drunk, take a hazy trip, and fall into the clouds of nostalgia: This wonderful show, with its grandpappy line-up of bands representing the early-'80s, pre-economic-heyday sounds of the phlegmatic Pacific Northwest, should qualify as an historic monument. Every single person in every one of these outfits should be granted a key to the city and a warm six-pack of Pabst Blue Ribbon, not only because they've stuck it out for so amazingly long, but because they're all so very good. -- Rick Levin

(New Orleans) The trombone is a nasty, almost pornographic instrument. It collects a huge amount of spit, and whether you're playing the Breakroom or Carnegie Hall, a lot of bodily fluid is going to be tossed around the stage. Then there's the slide, which needs constant lubing and jiggling so it can pump with ease. Finally, there's the sound, whose blats and bursts have a loose sphincter potential not found in any other instrument. Ray Anderson is the sleazy master of this carnal outrage. Don't concern yourself with his fancy jazz titles -- he will make you feel dirty and delicious at the same time. -- Nathan Thornburgh

(Breakroom) Formerly of Silkworm, Phelps is the sweetest local solo artist in the whole wide world. His songs range from gorgeous to confused, but when he's simple and on, he's completely worth listening to -- and seeing live. He's nerdy, cute, and fun to watch. -- Jeff DeRoche

(Fenix) Because you read Rolling Stone you think of Living Colour as the great, courageous, black crossover band of the '80s. What about Fishbone, fool? Those bad boys were misceginating da funk, da punk, and da ska for yo' white ass way back in 1985. Ronald fucking Reagan was still the president, you dig? That's crossover. Sure, their music may sound ridiculous now.... Okay, it's always been silly, but no sillier than the Chili Peppers, and I bet you just love THEM, don't you? -- Jeff DeRoche

SUNDAY 10/17

(Columbia City Theatre, 2 pm) Turntablism is music created when a DJ scratches, juggles, and chops up various parts of a record; it's turntable music. It may make more sense if you check out Tech-Styles, Seattle's only ongoing DJ competition. Founder DJ E-Rok hopes to lay a foundation for aspiring DJs and educate the public on this unique art form. Three national champions, DJs P-Trix, Chopps, and Wax will be showcasing their talents at the event. There will also be a performance by the hiphop group Bedroom Produksionz as well as a beat box competition. -- Ethrina Gotico

(Tacoma Dome) It's a moving story from the swamps of North Florida: Nutty white boy Fred Durst works in a tattoo parlor by day, plays rapcore with his unknown band by night. One day, Reginald "Fieldy Snuts" Arvizu, the bassist from thrashfunk superstars Korn, stops in to get a couple tattoos from Fred. The two find they share a love for white-metal-rap, and "Fieldy Snuts" (Get it? "Feel these nuts") presses Limp Bizkit's demo into the sweaty palms of Hollywood. From underground phenomenon to MTV's Spring Break '98 fashion show -- now "Limp Bizkit" is written in white-out on little boys' backpacks throughout the land. -- Nathan Thornburgh

(On the Boards) As the Earshot Jazz Festival's most bizarre entry, the Dutch megagroup William Breuker Kollektief offer a potent glimpse at the weird revelry of Dutch jazz. With names like Henk de Jonge (piano) and Nico Nijholt (trombone), you might expect something silly, so here it is: big band jazz wrecked by anarchy and dashes of circus music, Latin rhythms, and show tunes. Bring your clogs and maybe some hooch -- these guys are a freak show. -- Nathan Thornburgh

(Showbox) It's true that alto funk legend Maceo Parker still covers P-Funk and all the old James Brown favorites, making it the same set you hear at every State College Greek Week across the land, but this is different. It's all the more reason why you should go see the man who helped start it all. Like James Brown said of his favorite saxman years ago, "Look hey over there, do you see that boy playing that horn. Dig that soul brother, look at him doing the popcorn. I'm gonna dance, dance, dance, do the popcorn." Same goes for Seattle's grooving Maktub, who have been making people do the popcorn at the 700 Club all year. -- Nathan Thornburgh

(Breakroom) Power, indeed. Part of the powerful Southern music collective Elephant Six, Elf Power's new album, A Dream In Sound, features the helping hands of Dave Fridmann of Mercury Rev, John D'Azzo (the Gerbils), Will Cullen-Hart (the Olivia Tremor Control), Jeff Mangum (Neutral Milk Hotel), Scott Spillane (Neutral Milk Hotel and the Gerbils), and Dave Rathgeber (fablefactory). Elf Power kind of creep me out; they remind me of the Mafia. See them at the Breakroom or they'll make you an offer you can't refuse. -- Erin Franzman

(Tacoma Dome) "When the going gets tough and the stomach acids flow, the cold wind of conformity is nipping at your nose. Some trendy new atrocity has brought you to your knees. Come with us and we'll sail the seas of cheese." Has Primus paved the way for their own seas of cheese? Sailing the Seas of Cheese went gold; Pork Soda is certified platinum. Their success has softened the mainstream up for Korn, the Insane Clown Posse, and Limp Bizkit. They've also written for South Park, Bill and Ted, and Beavis and Butthead. But Primus is and always will be a showcase for Les Claypool -- and unlike the pop posers who follow, he's genuinely fucked in the head. You gotta respect that. -- Nathan Thornburgh

MONDAY 10/18

(5th Avenue Theatre) "I have an image that has been cultivated, derived from the way I am. I just try to steer a course between the pomp and the piss." That's Tom Waits, explaining the stress of leading three completely different musical lives. In the '70s he was a boozing, growling beat poet. In the '80s he was a demented cabaret singer. In the '90s he's gone minimalist and morbid. Each time he morphs, 1,000 fans walk away and only 500 new ones show up. But Waits has shown more integrity in his wild mood swings than 99.9 percent of the do-what-sells musicians. -- Nathan Thornburgh


(Brechemin Auditorium, UW) Yes, this show is at the University of Washington, and no, it's not one of those blunt-and-a-40 kind of nights. This is John Hicks, a deeply able jazz pianist, playing solo interpretations of Duke Ellington compositions. If you've got the stamina and the interest, Hicks, who is here as part of the Earshot Jazz Festival, is the kind of talent you won't find every day in Seattle. Besides, he's from East St. Louis, so you know he's gonna burn that Miles Davis-Oliver Nelson bop. -- Nathan Thornburgh

(Fenix Above) See Live Preview pg 51.


(Pink Door Ristorante, 1919 Post Alley) Lest you were thinking that your Press Release of the Week panel of judges were getting soft and flabby, revel in this week's (handwritten, in cursive!) runner-up: "Chanteuse on stilts sings French Bistro Songs. No Cover." The panel of judges interprets that the chanteuse will be covered, and the restaurant will not. Or perhaps the other way around? That's every Wednesday in October and November. Music fans, it makes your panel of judges all choked up to think that French Bistro songs are being sung again. What riches! -- Erin Franzman

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