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The show will be sorely missed. Meanwhile, Jeffries attempts to solve a murder involving a teenage girl that has haunted him for 17 years. Meanwhile, Lilly's troubled sister shows up, but Lilly refuses her dad's request to give her a second chance. The probe reveals that the victim was between tours in Vietnam. During the inquiry, Lilly becomes attracted to a FBI agent working the case. Meanwhile, Vera helps his former girlfriend locate jewelry stolen from her home.

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WATCH RELATED VIDEO: Outkast - B.O.B. (Bombs Over Baghdad) (Official HD Video)

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Support Local Journalism. Join Riverfront Times Press Club. June 03, Music » Music Stories. You can vote for your favorite bands and artists through midnight Sunday, June 7, either online , by filling out the ballot in this week's RFT or at the various RFT Music Showcase venues. During its fifteen-plus years of touring and recording, Brian Henneman's outfit has never rested on its laurels or demanded credit for being one of alt-country's sonic architects.

Instead, the quartet has weathered lineup shifts and record-label hassles by staying true to its smart, broad-shouldered roots-rock. In fact, Bloodshot Records will release a new BoRox LP, Lean Forward, in August — and the core elements of the band's sound Henneman's steely eyed but good-natured lyrics and loud guitars with equal amounts of twang and bite will no doubt be on display.

Bunnygrunt Fuck-it-all twee-punk rock shouldn't age gracefully, but in the case of Bunnygrunt, which formed in , lineup changes and stretches of obsolescence have only made the Matt Harnish-led project stronger, noisier and livelier. Karen Ried rounds out the core duo, although the pair has long been supported by a revolving cast that transforms delirious primitivism into the sonic equivalent of a pillow fight to the death. Kim Massie Even when Kim Massie isn't singing a blues song, the lady still sings the blues.

Her voice is full-bodied, soaked through with emotion, and imbued with a lifetime of love and heartache. Along with her band, the Solid Senders, Massie holds court twice a week on Beale on Broadway's tiny stage, and even while seated, she can command the audience's complete attention as she takes requests and exhorts the patrons to fill up the tip jar.

Whether she sings something by Led Zeppelin or by her beloved Aretha Franklin, Massie owns each song with a gospel choirmaster's grace — and a juke-joint singer's knowing wink. Murder City Players For many, reggae isn't about innovation as much as its love of a traditional musical language.

This is certainly the case with the Murder City Players, which has stayed true to the genre throughout its year career. With devotion and discipline, the band has avoided the temptation to follow trends or exploit the occasional ska resurgence. New music is in the works release date and format: TBA but rest assured that the act still parties like it's , one upbeat at a time.

The Trip Daddys It's hard to think of another St. Louis band that so purely channels the city's diverse and rich musical history. But as long as the music rocks, it's all the same to local rockabilly vets the Trip Daddys.

For nearly fifteen years, the trio has been churning out authentic St. Craig Straubinger's high-intensity stage theatrics and tinges of Misfits-esque punk edginess further keep the group's sound from drowning in nostalgic reverie. Leadville The back-to-basics Americana and Replacementsy rock of Leadville belies the catchiness and distinctive sweetness of singer Tom Buescher's tunes.

On the forthcoming Time Kills, mandolins, acoustic guitars, Telecasters, accordion, fiddle and full-band harmonies weave in and out, creating sonic stories of roads taken and abandoned, risks won and lost. The Linemen It's unfortunate for St. But the band's legacy remains vibrant: It released two solid albums 's Through Side One and this year's Reconsider and brought a refreshingly gimmick-free brand of straightforward, classic-country music to venues around town.

The perfectly controlled cracks in Butterfield's silky tenor croon banter with Scott Swartz's pedal-steel flourishes, while the veteran rhythm section of Greg Lamb and John Baldus perfectly rounds out the Linemen's pure, delicate sound. Rough Shop In storytelling and joke-making, things are always better, funnier and rife with more possibility when they're arranged in sets of three. This rule holds true in music as well, at least when considering Rough Shop's singer-songwriters.

Individually, Andy Ploof, Anne Tkach and John Wendland possess distinct voices and refined songwriting styles; together, the trio combines folk, rock, blues, bluegrass and jazz with an amiable grace and expert chops. CS Pi, 10 p. Tenement Ruth Like a well-seasoned dish, Tenement Ruth's mix of hot and sweet is well-tempered, satisfying and a little bit addictive.

The sweetness comes through in Melissa Anderson's vocals, which are pretty and powerful in equal measure. The heat emerges via the fiery six-string guitar played by her husband, Dave Anderson, who's also a whiz on the pedal steel.

Add a stellar rhythm section, and Tenement Ruth's smoky, seductive country rock lulls you into a dreamy haze — before landing a few well-placed sucker punches. Theodore It's tough to decide what's more attractive about Theodore — is it the to-the-bone songwriting or its restless, creative musicianship? Justin Kinkel-Schuster's lyrics narrow in on woe, worry and wantonness with a poet's precision; his instrument-swapping bandmates, meanwhile, paint a perfect backdrop with loud guitars, bowed upright bass, mellow horns and raucous percussion.

But Theodore's continuous oscillation between country weepers and boundaryless maelstroms ensures that it's both a must-see live act as at this year's SXSW and an excellent studio band see 's Defeated, TN.

The Dock Ellis Band The Dock Ellis Band has no interest in cutting its down-home influences with trendy eccentricities or artsy gimmicks. No, Dock Ellis serves it up straight — like an oversized shot of rail whiskey, straight, no chaser. The band's barroom-country-meets-Southern-rock tunes are a fitting backdrop for early summer drinking nights out in St. Louis, thanks to their references to hometown sports, run-ins with the law and comical romantic misadventures.

Add to this the always-entertaining Jesse Irwin, who provides quick-witted stage banter, spot-on covers of country classics and a few more drinks for good measure — and you've got yourself one hell of a night on the town. Louis via some magical, time-traveling boxcar that plunked him on a set of rusty railroad tracks alongside the Mississippi River, you could almost believe it.

Either way, the singer and guitarist — who's also spent a lot of time in Louisville, Kentucky — brings with him an old-timey sensibility and a love of prewar blues music. The Monads To say that the Monads has matured is like saying the pirates of Hormuz have gotten more sophisticated. But the quartet has matured — by tightening, tuning and synthesizing while it pursues its heathen raids on both bluegrass and punk. It knows one speed — runaway tanker truck — but, thanks in large part to Matt Shivelbine's exquisite fiddle work, the Monads keeps the structure of its whiskey-swilling, death-defying songs from splintering to pieces.

And the band still takes no prisoners live, leaving a trail of broken blood blisters and busted banjo strings along the way. The bandmates make swirling and stirring instrumental sounds to accompany silent films, notably by directors such as Buster Keaton and F. Murnau, but their music, intricate and suggestive, can more than stand on its own.

But the band's blend of heavy piano textures, vintage synth flourishes and heavy-handed drumming gives it a sound all its own. In fact, until it broke up last weekend, the Kites was probably one of the hardest bands in town to categorize, as it often cycled through a variety of styles live — from folk-influenced indie rock and hard-driving country to dirge-like, minor-key blues and sea-shanty drinking songs.

Honey Bowl assured listeners that Jett and company have mastered the genre's love of tongue-in-cheek sexuality check out the double-entendre-laden title track while still keeping an eye on social issues the crack-head lament "Zombie Land".

But you listen to the blues for the licks as much as for the lyrics, and Jett has a blistering technique that goes from cool and smooth to hot and raw at a moment's notice. Louis sits midway between Mississippi and Chicago — a parallel to how his music blends the rural blues of his Southern birthplace with the electric sound popularized by Chess Records in the '50s. Although now in his mid-'70s, Brock is still going strong: He remains a powerful vocalist and ebullient showman who punctuates his band's ragged-but-right arrangements with spare, no-nonsense blues-harp playing.

Tom Hall The phrases "low-key" and "guitar hero" don't often appear in the same sentence, but both could be applied to Tom Hall, whose laid-back stage presence tends to make one forget that he's a truly exceptional guitarist.

Hall has absorbed Delta blues, folk and a host of other styles to create his own approach to acoustic roots music, while his personal picking style displays both a deep understanding of the blues and fluid technique. Uvee Hayes A blues singer with a love of funk, soul and jazz, Uvee Hayes is a versatile performer who is at home with every genre she approaches.

Her latest record, Play Something Pretty, is a guided tour through her range — she can be deep, soulful and stirring or move toward nimble, jazz-inflected fare. Hayes made her first recording in , and in her 40 years in the business, she has grown into an assured artist who makes sure that the blues are alive and well in St. Rum Drum Ramblers Give the Rum Drum Ramblers a stage — or hell, create a makeshift one out of just about any space big enough to fit three people — and the rowdy, ragtag blues bunch will play a set.

Flex Boogie The Sol Lounge's recent appearance on the local social map is in no small part due to St. Louis nightlife fixture Flex Boogie, who's one of the city's most versatile DJs and producers. His Gilles Peterson-like range includes jazz, downtempo, hip-hop, house, broken-beat and dub-step. Flex can either be heard spinning in the newly renovated, elegant upstairs section of the Central West End hot spot, or in its main room the second Saturday of every month.

Just relax. It'll go up by itself. Don't put nothin' in it unless you feel it. Alphahouse members such as JNX use minimal, house and techno tracks to their best advantage, but courteously request that you leave your shiny Ed Hardy shirt at home. In other words come for the music, and JNX will deliver soulful, naked, of-the-moment tracks for anyone who wants to listen.

His glitzy, synth-heavy progressive tracks have a polished, high-energy appeal that fits Home's upscale bill, while the fast-paced minimal and deep house tracks he spins at Sol early in the evening are an effective Saturday night jump-starter. Scotty Mac Whether he's spinning deep warehouse for a Fly event at the Upstairs Lounge, tribal on Sunday afternoon at F15teen, soul on Lush's rooftop patio or entertaining a recent disco obsession in the basement of the Thaxton, Scotty Mac is targeting those who are on the periphery, nodding their heads.

They'll be dancing soon — his mixes are dynamic and slick, his transitions are as undetectable as he wants them to be, and his tracks always have one thing in common: fun. Thumpasaurus Ask improvisational DJ Thumpasaurus about the evolution of his dubstep repertoire, and he'll reply, "I'm just a simple reptile trying to prepare for the Ice Age. Louis: He uses a laptop and MIDI controllers instead of turntables or CD players to churn out grinding, glitchy, unpredictable sets that have all the chaotic energy of a good jam band.

KW Pin-Up Bowl, 7 p. That charming antiquity marks the trio, whose Krautrock-influenced, midnight-hued psych-rock can hit like a sledgehammer or float like a post-apocalyptic morning. She stacks sparkling guitar chords and the occasional thrift-store keyboard atop janky drum-machine beats like an awesome game of Jenga, balancing seemingly endless layers with hushed vocals and sweet melodies. Among all the noise,. Eric Hall Like many noise artists, Eric Hall is curious and prolific.

Unlike many noise artists, Hall is fearless and consistent, succeeding whether improvising found-sound collages; remixing twee-poppers Bunnygrunt, sludging up with stoner metal outfit N. Such versatility leaves little room for pretension — and in fact, Eric Hall is just a kid in a candy store when it comes to sound. RW Vintage Vinyl, 6 p. Lonely Procession The duo of Kevin Schlueter and Chris Muether is aptly named: Its shadowy instrumentals sound like the soundtrack for the condemned walking to their execution or an Edgar Allan Poe short story come to life.

Cinematic, grayscale cellos and clarinet courtesy of Muether do a danse macabre with Schlueter's droning soundscapes; think Glenn Branca, A Silver Mt. Zion and other spook-imental instrumentalists. A fave of Cherokee venue Cranky Yellow, the Lonely Procession bewitches by exploring the things that make us uncomfortable. Raglani If Brian Eno taught us anything, it's that the corralling and manipulating of raw sounds, waveforms and frequencies is a fine art in and of itself, on par with mastering the guitar or violin.

Joseph Raglani, who performs and records under his surname, has taken the act of knob-twiddling and turned it into an art form, by crafting instrumental pieces that range from dark and throbbing to bucolic and mystical. Sadly, Raglani's entire arsenal of synthesizers, effects pedals and signal processors was stolen after a recent show in New York City, but if there's any justice, his gear will be returned or replaced and he can continue creating challenging, intuitive music.

Dogtown Allstars At its heart funk music is all about simplicity: the repetition of a groove, the dependable rhythm of a drumbeat, the few chords it takes to make audience members bob their heads or shake their asses. The Dogtown Allstars has remained a St. Louis funk fixture all these years by keeping things simple: The quartet borrows the formula from the almighty Meters — jazzy guitar, gospel-fueled organ and an in-the-pocket rhythm section — to make music that drips with soul and oozes sophisticated cool.

The well-trod dance floors of this city's music clubs are a testament to the quartet's ability to squeeze out the funk — and never stray too far from the groove. These days, St. Louis has its own second-line-style group in the Funky Butt Brass Band, where a sousaphone holds down the low end and bright brass and woodwinds carry the tune.

Gumbohead If you're craving some Louisiana music but can't make it to New Orleans, a big helping of Gumbohead is the next best thing.


89 DMZ 2020's Music Playlist (2020-present)

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Southernplayalisticadillacmuzik is the debut album of American hip hop duo Outkast, Outkast, who later bought the studio in and renamed it "Stankonia".

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  1. Umarah

    I think I've already read about it somewhere