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I think Townshend, Daltrey, McCartney & Ringo should form a band (guitar, vocals, bass, drums, respectively) and call it WHO ARE THE BEATLES?

John

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My first chuckle of the day yesterday was the irony in the origin of your surname. 1495-1505; LL dērogātōrius cursing, equiv. Used as an adjective it is perfect.

Daltry and Townshend will always be "The Who" and will continue to be icons long after some of the other bands you have awarded stellar reviews. They have spawned a generation that yours, will never match in musical creativity.

They were grizzled old pros and my guess is, there wasn't a Who fan in the crowd that didn't want to jump up and fan the strings of their air guitar with Townshend....if only we had help getting out of our wheelchairs!

Townshend's glasses were totally acceptable to a generation that has abused their eyesight from watching laser shows for a lifetime. I'm surprised you didn't mis-identify the earplugs for hearing aids. I'll bet the hat helped reduce the camera flashes from the non fans taking photographs.

I wish I was around to read your reaction to the half time show from Super Bowl LXXIV. Unfortunately I doubt the "Sun-quirer" will be around then.

Until then....."Long live rock, be it dead or alive."

Ed Iphish, Chicago

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YOU REALLY HAVE A LOT OF NERVE INSULTING THE WHO!! YOU HAVE TICKED-OFF A LOT OF WHO FANS, FROM FRIENDS OF MINE WHO ARE IN THEIR 20's TO LONG- TIME FANS WHO ARE IN THEIR 60's!!! THAT 12 MINUTES OF THE WHO WAS REALLY A SHOT IN THE ARM TO US WHO FANS THAT LIKE THEM NO MATTER WHAT SOME TUBBY 4-EYED MUSIC CRITIC HAS TO SAY ABOUT THEM. YEAH, I INSULTED YOU , CAUSE YOU HAVE INSULTED 1 OF THE BEST BANDS OF ALL TIME. I WOULD REALLY LIKE TO SEE YOU SAY WHAT YOU WROTE RIGHT TO PETES FACE!! AS OLD AS HE IS , HE WOULD PROBLABLY HIT YOU SO HARD, HE'D KNOCK YOU BACK TO DIAPERS. BY THE WAY, HOW OLD IS YOUR FAT-ARSE??? I AM 50 & I STARTED LISTENING TO THE WHO AT 9 YEARS OLD , WHEN MOST OF THE KIDS IN MY 4th GRADE CLASS WERE LISTENING TO THE " ARCHIES "!! AS THE SONG GOES " WHO ARE YOU?" , YOU ARE CRAP. FOR 1 THING ,I DARE YOU TO PRINT THIS LETTER TO, 2, WRITE AN ARTICLE SAYING YOU ARE SORRY FOR WHAT YOU WROTE, 3 , E-MAIL ME BACK SAYING YOU ARE SORRY TO ME, 4, I HOPE FOR YOUR SAKE, YOU DON'T RUN INTO ANY WHO FANS THAT HAVE READ THIS ARTICLE, CAUSE THEY WILL PROBLABLY KNOCK YOU IN THE HEAD, & 5 IF YOU DON'T DO 1,2,& 3 , I HAVE ATTACHED A PICTURE OF ME, CAUSE I WILL WANT TO HAVE A WORD WITH YOU FACE TO FACE. HEY, I KNOW WHERE YOU WORK, & IF YOU DON'T WORK DIRECTLY FOR THE SUN-TIMES, WELL, I AM 1 OF THE MILLIONS WHO ARE UNEMPLOYED,SO WHEN I'M NOT LOOKING FOR A JOB, I'LL BE LOOKING FOR YOU. OH, I'M NOT STUPID ENOUGH TO HIT YOU & THEN GET SUED, BUT I WILL DEFINITELY GIVE YOU AN EAR FULL!!

YOURS TRULY ( A WHO FAN),
CHUCK

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I think it's sad people make fun of aging rockers. They're musicians, no matter what their age. Townshend still cranks out new music and plays with passion. You, on the other hand, apparently have nothing worthwhile to say.

Donavon

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You don't know your ass from a hole in the ground. You can't tolerate the sight of 65 year old men belting out a 12-minute medley of anti-establishment rock anthems that are now mainstay commercial props on our TV sets. There's certainly something sad and wrong about that, and I'm sure it's offensive to some that the surviving half of The Who would "Sell Out" for the Super Bowl stage. It's undoubtedly the last time we'll see this "tired act." It's too bad you couldn't show just a hint of respect. For old geezers, they performed well. Their voices weren't flat -- they chose lower-register alternatives to some of the original parts to avoid disaster. But Daltry's voice was yet powerful, and Townsend's guitar playing was sharp and out in front of the band. Most of his licks were updated. Your review didn't even address his playing. I think you just bashed these guys for being 65 years old.

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As a card carrying member of the "Old-Age Wasteland" I found your criticism of the Who's performance at the Super Bowl both amusing and addle-headed at the same time. As a group of over the hill football and music fans sat and sang along with the Who's performance we found it fun that the fans at the Super Bowl were singing loud and proud with the Who. You complained that songs were over 30 years old but here's a news flash for you...there has to be some relevance to the music that has endured for three and four decades. My 16 year old niece was singing along with us 50/60 somethings. She recognizes the music of all the groups you disparaged in your review. I daresay there aren't a hand full of groups or "songs/music" that will endure 30 years from now let alone a decade that will be sung by all ages of music lovers.

And finally "Who" do you think is in attendance at the Super Bowl...fans of Flava Fla? "Who" makes up the bulk of the viewing audience...fans of a bejeweled, lip-singing, studio enhanced hip-hopper with a career expectancy of a year? I don't think so. The people filling the seats and providing the eyeballs at home are the ones "Who" were singing along with the Who, "Who" have the money to attend THE game, "Who" normally don't watch the halftime entertainment because it just isn't entertaining or memorable. The Who and Bruce Springstein and the other "over the hill" groups you disparaged will endure and have their songs sung for decades to come as opposed to today's musical talent. Know your true audience. The Who were perfect for the fans actually paying the bills and buying the advertised products.

Steve

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Go f--- yourself. You suck as a writer. When you reach your mid 60's you will most likely be found in a adult video store jerking off in a back room.

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.....yep, they plain and simple sucked....can't sing, can't harmonize. I thought I saw the 'finale' of their touring prowess back in the mid-80's (or at least that's what they billed it as with a show at the then Rosemont Horizon), but they just won't go away!!!

Please help!!!!

Hank Arnold

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I find it amazing how the columns that I have read have bashed the Who. The stage and lighting were great. The band was great and Pete and Roger were Pet and Roger. If you want to talk about off vocals look at Queen Latifah and Carrie Underwood both were flat in parts. Come on it is live and the Who has always been The Who. Love them or hate them, you know what you are going to get...a bunch or loud fun!

Jeff Fox

Atlanta Georgia

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Jim,

Who are you, would be my question to you, to even try to understand what the consequences of singing, no make that screaming, your heart out to legions of faithful fans for DECADES, and even come close to what is expected of you. Yes I'll grant you that they're not the Who that hit the Auditoroum Theatre stage,spring of '70, the first time Tommy was performed in Chicago, I know I was there, you, on the other hand weren't even born yet. I empathize with you, having to grow up listening to the sewer that was rock & roll, in the 80s & 90s, but please leave the great rock bands from the 60s & 70s alone, to bask in the glow of their achievements, and be enshrined,rightfully so, in The Rock & Roll Hall Of Fame.

Mike B.

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Surely you jest! How can you possibly rag on the half-time Who leftovers when they sounded neither better nor worse than any of the other maladjusted, spoiled-brat misfits 40 years younger, making the same maddening racket, that you inexplicably adore? There's no "there" there.

To a performer, they think their high-decibel noisemaking is an exercise in artistry when in fact they are merely throwing angry, rebellious, narcissistic temper tantrums like all the rest in the genre. It's all a scam. Evidently it's easier and cheaper than seeking professional help ---- especially when there are so many foolish enough to pay to be aurally tortured by them.

Bully for you for riding such a godawful wave of popularity among the music know-nothings; at least it's a meal ticket. It only means that either you know better, but are willing to play along for money, or you're posing because your editor has saddled you with this reporting assignment and you dare not object or quit, or that you're as musically ignorant as the fools who throw money at any of countless
rock groups, plague take them.

Will the next "new" wave of popular musical expression please step forward? The sooner, the better? Nothing could be worse than the tastelessness we are bombarded with now, pretending to be music.

Ted Manuel

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In refernce to your comments about the WHO. I will consider the source. The new genration who loves Rap music and wants to be black. It was great to see the Who perform since the new generation has nothing better to offer.

Paul

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Hi!

Read your column about the Super Ball's half-time entertainment....

Observation: Obviously, you are too young and/or didn't care for the music of the last five talents that crossed the stage. Funny, but most of those men didn't move around much to begin with and they happen to have more talent that you have in your little finger nail. And yes, they're getting old. Look in the mirror lately? I image the mean age of attendees is between 40 and 70. Duh. It's what we want to hear and we are spending the money. Maybe we should have some rapper??????? Oh, how about Nine Inch Nails??? I believe you like them.... I'm sure that they would wow the crowd. Grow up. It's business. Good thing no one says the same thing about you!

Ellen

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Your review of THE WHO, proves that you have a tin ear. THE WHO did not lip-sinc, or undress, as in years past performers. Furthermore, LIVE music in a venue will not have studio quality sound. THE WHO sounded better last night than most of the wannabe, alleged, no talent bums of the Music Industry over the past 25 years. However, I would not expect someone from your generation to know talent from garbage. My condolences to you for being born too late, to have seen many of the truly Great Rock and Roll Bands. Keep up your bad work.

Fred

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Typical of your condescending reviews. As one DJ in Chicago put it so well Jim will rip into legends like the Who or the Stones yet tell you some no name band will change the world. Usually a band that will sell life insurance in about a year. It's too bad your bitterness affects your judgment.

Sean

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Jim,

Boy, you really took it in the head re your review of the Who's performance at the Super Bowl. Sorry to disappoint all the 50-60-somethings that can't let go, but I thought the Who kinda blew myself. I'm in my mid-50's, grew up on the British Invasion and have been playing music since 1966. The difference between myself and the Who-sterbators is that I'm not afraid to show my age by letting go of past heroes who have seen much, much better days.

While many, including yourself, claim the Who died along with Moonie, I think they died when the Ox passed. I saw the first tour with Kenny Jones on drums, and I was pretty much blown away. The thing about that tour was it happened in the late 70's, when Pete and Roger still had John and were still relevant. I've never been overly-enamored with Pete Townsend. I think his writing is just above average, especially when compared to many of his contemporaries. For some reason, too many people worship at the altar of Pete. Maybe one day I'll understand why.

Anyway, I thought you might like a little companionship in your dislike of the half-time show. However, to put Prince and Petty in this same basket is a large mistake. I'm not a big Prince fan, but I though he kicked some purple ass in his half-time show. Petty and the Heartbreakers are still, IMO, one of the best live bands around. Sure, there are no windmills nor screaming, but for my money, Mike Campbell's solos blow away anything average Pete ever played, especially live. If Pete's hearing is so bad as to affect his singing in such a derogatory way, maybe he should take that hint and hang up the live performances.

Jimmie Scott Lawless
Guitar, vocals and songwriting, The Lawless Brothers

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Ok, now it's my turn for a free swing. In the next few yrs. my friend, the artists like Springsteen, Mcartney, Petty, Stones, Who etc. will be gone from the music world. You and your ilk can then petition for Lady Ga Ga, Lil Wayne, Black Eyed Peas, Jay Z or whatever flavor of the month you desire. These classic artists bring something called passion to their performances. The talent and creativity spans a couple of generations. They play instuments, write songs which stand the test of time, and draw the largest live concert audiences along with country. There is something compelling about bass, drums and guitars. Oh....you have to practice and be dedicated as opposed to the electronic, lip-synching garbage. Of course you sing in a lower key at 60 plus than you do at 30. However, the essence and instrumental skill do not diminish. What is the most active and passionate thing you do in life when you leave your cubicle? Cut the lawn, try to walk a mile? We should all be so fortunate to do something we truly love, and yes, still be damn good at it. Most of us tolerate our jobs. These lucky and talented people embrace and share something with the world. They brought serious force for 64yrs. old. Snow Patrol ain't getting that gig. Maybe NIN or Metallica or Chili Peppers. Be cool.

Gary

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Are you out of your mind? Sure the years have taken their toll on Daltry's vocal cords.. but God love him and Pete. It seems sacrilegious to discredit or smear such legendary talent. I thought they were spectacular last night.. (and Townsend's guitar work was absolutely superb). Your critical analysis was abhorrent.

Paul

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Hey, who ever you are - You are so full of s--- on your Who review.

I watched it with a packed house and everyone loved the halftime show.

Remember: Those who can, Do. And those who can't, Review.

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Mr. DeRogatis,

Your review of The Who's halftime show tells me that you don't know a damn thing about Rock 'n' Roll. That was a wild and raucous performance worthy of The Who's legacy. Townshend and Daltrey were occasionally out of sync? Who cares?!? What is this, chamber music? It's Rock 'n' Roll! Tell Strummer and Jones they were out of sync. Tell Neil Young he's out of tune. Tell Bob Dylan his voice is weak. Heck, why don't you go tell Chuck Berry and Jerry Lee Lewis to hang it up, since you're so convinced that performing is a young man's game? Comparing rockers playing music to athletes playing football? Are you really that clueless? You even have the nerve to say The Who haven't really been The Who for twenty years, now. Twenty years ago is 1990, one year after The Who's uber-professional, thoroughly rehearsed, perfectly in sync, and utterly soulless 25th anniversary tour. That wasn't Rock 'n' Roll. But that Super Bowl halftime show? That was thrilling and wild and exciting and powerful. I loved every second of it. To paraphrase Ash in Army of Darkness: You know two things about Rock 'n' Roll, Jim. Jack and Shit. And Jack left town.

Tim Eimiller
Manhattan, NY

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Jim -

Finally, someone with an honest assessment of a painful spectacle.

As a music lover, I have the utmost respect for what this band has contributed over time (and that's from a guy who has little patience for The Who's music). However, it's time Daltrey and Townshend focus their efforts in the studio - specifically sharing their craft and knowledge, etc. with up and coming bands. Otherwise, as demonstrated last night, they have become a characture of themselves.

Nice piece.

P.S.: Spoon is over-rated (just one guy's opinion).

All the Best,

Dave

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Man I hate articles like yours.

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Dear Jim,

I follow you on Sound Opinions, and love that NPR show (I'm even a Fan on Facebook!). Ironically, it was my parents, being from Chicago, and visiting me in Durham this Spring, who forwarded your review the Super Bowl Half Time "Show" - The Who. I'd been griping and snipping since I sat down for the game last night and learned that the half time show would be performed by The Who. It's the only reason I watch the Super Bowl, so I want to look forward to it. But I dreaded it from the start of the game. I was able to name, with incredible accuracy, the boring, tired list of songs they'd play. I mean, when was the last time The Who had a new release, anyway? (only you would know) I only recognized two of the band members, and your review explained why. I think it is time that the NFL, or whoever the powers-that-be are who select these acts, to review the statistics on the decade's top selling albums, artists and singles, the one you shared with us on Sound Opinions. Not that I can see Eminem doing a Super Bowl show (even if he isn't incarcerated at the time)...but it doesn't hurt to ask him.

Sincerely, reverently, and with appreciation,

Sabrina

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Greetings,

Wow, I just read your Who review from the SuperBowl. Seriously, was this supposed to be an "attention grabber" on your part? I thorougly enjoyed the Who's performance. Most of the reviews I saw today also were very positive except for yours.

I like all kinds of music from various generations. I have no emotional investment in the Who what so ever. I like to hear songs I know, I like the artists to have energy and appear to be enjoing the moment, and I like the crowd to be into it. I believe the Who accomplished all of the above. I'm not quite sure what you were watching.

Thanks for reading my input. I just wanted to take a moment to write you with my thoughts. It seemed to me from your artice you are either very young and don't appreciate some of the true music pioneers or you wanted to get some headlines by trashing the Who. It is sad you could not have a non-biased view of the Who. I think you had your mind made up way ahead of time about how your article was going to go. This is unfortunate and made you look like a music amateur. I "Won't Get Fooled Again" and read any of your out of left field music reviews.

Thanks,

Charles Johnson

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Maybe we need some of that corporate country rock eh? You know -
where nobody even knows who actually wrote the song on Protools - but
it's current? Rock is dead they say...

Tim

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I am not a football fan, but I checked out the Super Bowl as civic duty. It's not just the Who, the entire thing is so hyped and self-important that it collapses under its own weight.

I did notice the Arcade Fire music used in all the NFL promos. Maybe next year the NFL will give Arcade Fire a shot. We can only hope.

Jack Siegel

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Jim, I found this part of your article ("Out there in the field, fossils barely resemble the Who") particularly amusing:

But the lasers, fireworks, geysers of flame and an elaborate illuminated stage that put U2's current tour setup to shame couldn't disguise the fact that these were two grizzled old pros going through the motions for a high-profile payday, with barely a hint of the powers they possessed at their peak.

Uh, Jim, I've seen U2's current tour twice (once at Soldier Field and once at the Georgia Dome in Atlanta) and that stage show isn't 1/10th of what U2's current setup is currently like. Have you even seen the current U2 tour? Apparently not or you wouldn't have told such a big lie. Critics lying. Who knew?!

Give me what is left of The Who over the s--- that passes as music today every single year during halftime. Justin Timberlake, Janet Jackson or some other senseless pop/rap bulls--- is just that. Bulls---.

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Turn it up and give it another listen. Best halftime show in years. Beats the hell out of trying to mash up country/hip-hop and rock and roll into a Donny-and-Marie style medley, as they've done in the past. I'm surprised by your opinion, especially since as a musician you understand the value of seeing a band perform live playing all its own instruments. Too bad you felt the need to add your voice to the youth chorus that abhors anything but the latest thing. Grow up, Jimbo.

Gary Lazarski, Chicago

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I noticed you not only ripped the who but every halftime act since Jackson/timberlake. Do you just hate life in general???? Ok who should be the halftime act since no one else is qualified to do it?

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Jim, I normally agree with and enjoy your reviews, but will have to
disagree with you about the halftime show. Not about the Who being old
and past their prime, yes, they are. But, I still think that was a
great halftime show. We all thoroughly enjoyed their performance and
it was far better hearing a menagerie of old hits rather than the
latest top 40 one hit wonder (timberlake/jackson) then forgotten by
the next day (the song, not the titty). Yes, I'm older and grew up
with the Who, so I'm biased. But that was still a great halftime show,
again, thoroughly enjoyed at our place.

Just had to give you my 2 cents.

Thanks,

Dean

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Your review of the Who ...sucked...and was wrong.

They were great. you're just another music critic who doesn't know squat.

You're worthless. Now f--- off.

After the ferocious explosion of the Jesus Lizard on opening night, the bands on the middle day of last summer's Pitchfork Music Festival had a tough act to follow. But Toronto's art-punk provocateurs F---ed Up were up to the task.

As the group tore through a riveting set of unrelenting yet ultra-melodic hardcore punk, including tunes from its stellar 2008 album "The Chemistry of Common Life," bald, bearded and beer-bellied singer Pink Eyes, a.k.a. Damian Abraham, spent most of the set in the field with the fans, standing atop the crowd barrier or using his teeth to tear apart any stray beach ball tossed his way in an ecstatic explosion of unbridled energy.

I spoke with this unique rock front man as he and the band prepared for three events in Chicago next Saturday, Feb. 13: two shows and an exhibition of his drawings at the Concertina Gallery, 2351 N. Milwaukee, from 6 to 8:30 p.m.

A. It's weird: I want to walk this line and make it as honest as possible, but I also want to be as entertaining as possible. Sometimes those things go hand in hand; sometimes they are diametrically opposed. When you're having a terrible day, it's really hard to go on stage and be as honest as possible, because you're having a really bad day. But you still owe people a show because they sacrificed their time and money to come see you.

When we first started playing, I was almost playing a character. I would be super serious and like, "Alright, shut up and listen." Now I can't do that. I am just so excited and I get such a shock and thrill that people are there to see us. I want to find a way to express that to people watching us--I'm just as excited as they are if not more.

Q. I'll preface this by noting that I'm a guy who's built a lot like you, which is to say the exact opposite of the rock's svelte and stylish lead singers. Is it daunting for a guy who is not a traditional front man-type to get up there and let it all hang out?

A. It's true: We are conditioned to accept that musicians are sent down from heaven and cut/chiseled from marble gods. I don't think rock and roll has ever been that until the advent of the video generation. If you look at Bill Haley, he was no looker. Ritchie Valens, the Big Bopper... I think the rock 'n' roll image of the perfect singer is kind of working against bands. No one stays beautiful forever.

The thing with punk is that it's always been about playing with conventions and bucking them. For someone like me, I really don't think I have very much musical talent at all. I've been in bands since I learned about punk rock, but I do not have a lot of skills to show for it. I can't play guitar, and I can't drum for the life of me. Yet it's just one of those things: I like that anyone can do it. Not everyone should do it, but anyone can do it. And if it gives them joy and they have a good time, they should keep up with it.

Q. When we look at the band's long discography, it seems as if something clicked with "The Chemistry of Common Life," and suddenly a lot more people were excited about the group.

A. I think for us it was a perfect storm. There was a tendency for a lot of people outside of punk and outside of hardcore to kind of devalue the importance of punk and hardcore, even though it is kind of ironic because a lot of people come from that background. And I think had to do with signing to Matador. What we were doing was suddenly available from an acceptable source of this information; it wasn't us putting out a seven-inch on some little obscure punk label.

Q. You've just collected a lot of the earlier recordings on new "Couple Tracks: Singles 2002-2009." Do you think it holds up as an album?

A. To a certain extent. It's funny to look at it now, because it's hard to separate the events that were involved in each of those recordings. When I listen to "The Chemistry of Common Life," I picture it as a whole album because it was recorded that way. This one, the first song on it is from 2002 and the most recent is from last year. It is all over the map for us. It's really hard to picture it as a complete album, but I think what it does do is put in perspective how our sound has changed. A lot of people have criticized us for changing our sound [to be more melodic], but we're not smart enough to make a conscious decision to change our sound! I think this illustrates that we just drifted that way.

Q. There always has been a lot of melody in your songs. I thought you just got better at recoding them!

A. For us as a band, the stuff we were looking at as reference points definitely included the Germs and bands like that. But there were also bands like Mission of Burma and Wire--bands that strived to be more with what they had at their disposal and went to the studio to do weird things.

Q. Anyone who really listens to your music or looks beyond Wikipedia will quickly discover that this a very smart, thoughtful and enlightened band, yet a notion persist that you guys are right-wing reactionaries because of some images in your artwork early on.

A. Any press is good press until someone calls you a Nazi or pedophile. Obviously our intention of putting a Hitler rally on our record is not saying, "Hey, look how awesome it was." It was more like, "Hey, look how easy it is to fall into this certain trap of a totalitarian dictatorship." It inspired conversation, which is great. But it inspires a conversation that is so inane that you do not feel like having it.

We were never really thinking about long-term plans. Naming your band F---ed Up wasn't the best idea; putting sketchy stuff on the covers of our records that could be misinterpreted by people was not the best idea. But the level of success we have achieved was never something any of us considered possible, so we didn't think about those things.

FACTS

Tickets $12 for each show via www.emptybottle.com

The queen of "quiet storm" R&B from the mid-'80s through the early '90s, Nigerian-born, British-raised Helen Folasade Adu has been missing from the pop world for nearly a decade, since the release of her fifth album "Lovers Rock" in late 2000. Sade--which, like PJ Harvey, has always been the name of the singer as well as her band--seemed to have said everything she wanted to say, varying the formula of intimate, sultry vocals and exquisitely recorded but minimally arranged instrumentation very little on signature hits such as "Smooth Operator," "Hang on to Your Love" and "The Sweetest Taboo," but nonetheless selling 17 million albums in the U.S. alone.

A staple in the then-new CD players of Reagan-era yuppies, some detractors branded the former fashion designer with epitomizing that era's sleek, superficial and materialist values. But there always were many facets to the diamond life Sade sang about, with a bottomless reservoir of soul obvious to anyone who really listened to her work instead of treating it as mere background music. So it will come as no surprise to those fans that Sade is exploring a much darker vibe on her long-awaited new disc.

As the title might indicate, the theme of love as a battlefield dominates these 10 tracks, and Sade certainly has earned her stripes: During her Greta Garbo-like exile, she endured the dissolution of a marriage in Spain and another relationship in Jamaica that produced a daughter before finding true love with a former Royal Marine in the English countryside. But like Mary J. Blige, she has emerged as an optimist, though one whose eyes are wide open. "There's no way I can find peace and the silence won't cease," she coos in the lovely "Morning Bird," though over a martial beat in the title track, she adds, "I've lost the use of my heart, but I'm still alive."

While the song "Soldier of Love" has a harder, angrier edge than anything Sade has recorded in the past, and her voice has become a little deeper and huskier at age 51, most of the other tracks settle into that familiar late-night groove as the singer reunites with her longtime band mates, including key player Stuart "Cottonbelly" Matthewman, who spent some of his long vacation working with another neo-soul great, Maxwell. Sony is banking on this album to duplicate the sales success of Susan Boyle, believing it's tapped a new market for "adult" (some would say "senior citizen") sounds. But don't let that stop you from enjoying these sophisticated and soulful grooves: Sade may not be giving us anything radically new, but it's a pleasure just to have her back doing what she's always done so well.

(The photo, by the way, depicts Johnny Cash's 1986 award, sold to an anonymous bidder for $187,200 in auction at Sotheby's in 2004. It was the 20th time the award had changed hands.)

Several other things worth noting about this year's Grammy nominees: The proliferation of connections to everybody's favorite Chicago dive, the Hideout.

I will let co-owner Tim Tuten tell the story, as only he can in his inimitable way:

Of course I have to toot the Hideout's horn a little more to you. I think the Hideout has a great Grammy story this year.

* I think I already told you that the Hideout's long-time bartender / poster artist, Kathleen Judge was nominated for a Grammy for best album art for Neko's Middle Cyclone. She would be a great story!

* Neko Case was also a Hideout bartender at the Hideout, as was her Hideout bartender / background vocalist Kelly Hogan, Neko's bass player, Hideout bartender Tom Ray of Devil in a Woodpile (now Sanctified Grumblers) played at the Hideout at least two to four times a year.

* Honey Boy Edwards will receive a Grammy life-time achievement award this year. The Hideout has been his home bar for 10 years, where he plays with Devil in a Woodpile at least two to four times a year. He flew into Washington DC last year just to play our Inauguration Party. As Tipitina's in New Orleans was Professor Longhair's final home, we have always felt the Hideout is the place where Honey Boy could receive the comfort and respect he so long deserved.

* Wilco's Jon Stirratt's sister Laurie was a long-time Hideout bartender.

* AND... Mavis Staples "Live: Hope at the Hideout" was recorded at the Hideout too!

The dream that we had at the Hideout in 1996 has really come true. To nurture unknown artists, to employ them, to help them pay their rent, and provide them with practice and performance space, so they could develop their art. Our Hideout goal was not just to say that the White Stripes (for example) played here, which they did, but to say that great artists lived, worked and created at the Hideout.

Thanks, Tim. If you ask me, you wuz robbed in the best spoken word category!

Fellow travelers of Fall Out Boy and beneficiaries of an ever-growing following thanks to years of constant touring--including a high-profile slot on the 2006 Warped Tour--the members of the Chicago quintet The Academy Is... are pausing to take stock of everything they've accomplished during the whirlwind rush of the last few years.

Formed in the Chicago suburbs in 2002 by singer William Beckett and guitarist Mike Carden--with Michael Guy Chislett, Adam T. Siska and Andy Mrotek completing the current lineup--the group is celebrating the fifth anniversary of the release of its first album with a homecoming show next weekend. As the band gears up to return to the studio, it seemed like high time to catch up with Beckett.

A. Well, it's been five years since the release of our first album "Almost Here," and we wanted to do something special for it. We were debating about where to do it, but the general consensus for all of us was that Metro is one of the best venues around. It's a little smaller than some of the places we play now, but one of our first shows ever was at the Metro. To be able to celebrate where we started, that was just great.

Q. With the following the band has now, it seems as if it has one foot in the emo/punk underground and one foot in the mainstream. Is that a strange place to be?

A. We're bridging the two worlds in a way. The thing for us is that we've always believed our band is its own entity. We've clearly separated ourselves from any particular scene, but we don't belong in the same sentence as Nickelback or any of those mainstream rock bands. For us, we focus on what we do, and what we want to accomplish is something where the mold isn't already set. We're not trying to belong to an underground scene any more than we're trying to belong to a mainstream scene; we're just trying to make the best music we can and stay true to ourselves and our roots. A show like this brings it all together, and I think it speaks volumes to our fans and their loyalty that there are people flying in from Europe to see the show. It's incredible.

I guess there are a lot of people who like our band because they're a fan of the FBR [Fueled by Ramen record label] world, or they're a fan of Fall Out Boy or Something Corporate. But we also have fans who've never heard of Something Corporate or Fall Out Boy--well, they've probably heard of Fall Out Boy, because it's hard not to have! [Laughs] But yeah, it's a strange place to be, but it's also strangely comforting, because we rely on ourselves and we don't need to rely on any particular scene.

Q. It does seem that one of the band's strengths is it's never pretended to be something it's not. You guys were from the suburbs, and you put it right there in the title of your last album: "Fast Times at Barrington High" (2008).

A. We're suburban kids, and we've never pretended that we were on the mean streets. Adam and I never actually went to Barrington; it was meant to be more a state of mind, and it just sounded better than "Fast Times at Schaumburg High." For us, it was a snapshot of the suburban life--growing up in the suburban American environment.

Q. Tell me how the songs come together.

A. Sometimes I'll have a song on acoustic and write it and record it and send it to the band, and then they'll turn it upside down. Other times, it will just be from scratch in a room together; we'll write a song out of nowhere. Or someone else in the band will have a piece of music that they're excited about and bring it in. It's pretty open.

Q. But you write all the lyrics?

A. Yeah, I write the lyrics, but we'll discuss themes and things that are on our mind that we want to focus on. For instance, on our last album, it was very nostalgic: We were trying to lyrically capture that time and reflect on our experiences growing up in the Midwestern suburbs. We wanted to touch on those things that everybody experiences. But once something is covered, I don't really want to go back to it. We wrote "Fast Times" and it sounds the way it does and the songs and the lyrics are the way that they are; it's great, it's a snapshot, and I feel like we accomplished what we were trying to do with that album and that concept. But now we've been there and done that.

Q. So the band is gearing up to record again--what are you excited to write about now?

A. I have a two-year-old daughter, and she's changed my life in incredible ways and scary ways. I'm viewing the world in different ways through different eyes. I guess I'm just alarmed at some of the things that are happening in our country and across the world, as far as how the economy has been in the s-----er, and how people's entire lives are being turned upside down and how that's affecting people socially. And the Internet age and how that affects things socially. It scares the s--- out of me, when I think about my daughter. But I view it as an opportunity for me to impart my perspective on the world today and on people and on myself--my fears and aspirations and goals that I still have and the hope that I still have for myself and my family. How you approach these things has a lot to do with how you survive and flourish today.

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