AlsoTo be blunt about it, there's no way people in the Quad Cities have any reason to know of the Los Angeles-based rock band Also, performing Sunday at the Redstone Room in downtown Davenport.

Unless you listen to L.A.'s KCRW - the West Coast's premier public-radio station - it's highly unlikely you've ever heard of Also beyond promotion for the group's Quad Cities show.

The trio is a young and independent band, meaning they have no name recognition, no label, no touring support, and no airplay outside of their own market. The closest the band has been to Iowa - hell, the Midwest - was "the very nearby, adjacent city of Tempe, Arizona," said singer, guitarist, and lyricist Drew Conrad. When they aren't playing within an eight-hour drive of their home base, they go to Europe, where audiences are more open to ... well, bands they've never heard of.

Reader issue #595 The Quad Cities' Future Appletree Records is back in a big way this year, but that might create a false impression. Put simply, the label - home to some of the Quad Cities' most distinctive musical outfits - is struggling to find its place in the new music economy, even as its bands are creating some of the best music of their careers.

"Nobody's making money," said Pat Stolley, one of the label's founders.

The Multiple Cat, The Secret of the Secret of the Multiple Cat

The Multiple Cat During the mid- to late '90s, Pat Stolley's band The Multiple Cat released four albums, a multitude of singles, and a remix album. The Secret of the Secret of the Multiple Cat is a retrospective that makes use of songs from that period.

Retrospectives are made to show what made a band important. Yet often what made a band important was having those songs appear on a particular album at a particular time. Queen's "Bohemian Rhapsody" wasn't an important song simply because it was great, but because it appeared on the bestselling A Night at the Opera.

Wylde Nept "A long time ago, way back in history / When all there was to drink was nothin' but cups o' tea / Along came a man by the name of Charlie Mops / And he invented a wonderful drink and he made it out of hops."

So begins what singer Westan James cheekily calls "a very popular love ballad" entitled "Beer, Beer, Beer," perhaps the most beloved tune performed by the Cedar Rapids Celtic band Wylde Nept. The group's cover of this Irish ditty charted at number one on MP3.com's Celtic chart and number five on the Top 40 chart, and Wylde Nept musician George Curtis, for one, is happily surprised by the song's - and the band's - following.

Tenki By the time the trumpets enter the picture halfway through the opening track of Tenki's new EP, the listener has been enveloped by atmosphere. On top of muted drums and guitar come layers of gentle keyboards - and are those voices harmonizing with the organ? Hints of gull-like string sounds suggest the ocean.

The trumpets turn everything upside down, adding a mariachi flavor. Then the guitar gets agitated and begins to bellow over the trumpet, and the whole thing builds to a climax before eventually calming itself down.

Struggle in the Hive Struggle in the Hive's self-titled debut is caught in limbo - somewhere between adolescence and adulthood, wakefulness and sleep, joy and sadness, hope and loss.

Primarily a two-person project of Pat Stolley (under the name B. Patric) and Jeff Konrad (under the name Nigel Jeffrey), Struggle in the Hive is a quiet, deliberately simple collection of often fragmentary songs that at first blush seem the products of inexperienced songwriters.

You could say that Mark Hummel's career in the blues is rooted in ignorance. Just not his own.

Mark Hummel A few years ago, Hummel's reviews of books about harpist Little Walter and guitar legend Mike Bloomfield were published. "The main reason I started writing," he said in a recent interview, is because so many writers "didn't seem to have a whole lot of knowledge about the music." Now the noted West Coast harmonica player in the trademark porkpie hat has broadened that desire to educate as a contributing writer to the online blues magazine BluesWax (http://www.blueswax.com), where he especially enjoys interviewing musicians whom he thinks deserve more recognition.

Reader issue #592 Although born and raised in Chicago, Liz Carroll has found a stunning amount of success in her ancestral homeland of Ireland. In 1975, at the age of 18, the fiddler won the Senior All-Ireland Championship - the first American to win that title in nine years, she recalled in an interview last week.

And a quarter-century later, in 2001, Irish Echo named her traditional musician of the year - its highest honor.

Carroll will be one of nine main-stage acts at this weekend's Midwest Folk Festival in Bishop Hill, about 30 miles southeast of the Quad Cities. The free two-day event focuses on Midwestern talent but has an international flavor because of artists such as Carroll, who still lives in the Chicago area.

Chris Vallillo Chris Vallillo studied archeology in college, but when that didn't suit him professionally, he decided to give music a shot.

"I figured if I was going to starve, I was going to go ahead and try to play music and just see if I could make a living at it," he said in an interview last week.

But Vallillo's vocational choices aren't all that different: Both archeology and the study of folk music involve the excavation of artifacts to help illuminate the way people lived deep in the past. Vallillo - a singer, songwriter, guitarist, and folklorist based out of Macomb - is one of the main-stage performers at the Midwest Folk Festival this weekend in Bishop Hill, Illinois.

When most people hear the phrase "folk festival," they think of idealistic and liberal white people with acoustic guitars. The Midwest Folk Festival at Bishop Hill this weekend will have a few of those, but it's more of a folklore festival, highlighting ethnic and traditional arts.

So in addition to those acoustic guitars, the Midwest Folk Festival will feature Latin American music, the santur (the Iranian hammered dulcimer), the pipa (a Chinese stringed instrument), and the Irish fiddle. And its conception of "American" music is broad as well, with Delta blues, Cajun, and Creole styles.

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