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The closing track on Killin' It, the new release from the Quad Cities reggae-rock trio Rude Punch, is called "Payment," and unfortunately it's overdue. Loose and light, the guitars and drums at the outset seem to be searching for the groove, and when they find it 35 seconds in, they sustain it for another four minutes. Brady Jager's singing is heartfelt and nimble, and background vocals and twin guitars add satisfying accents and interplay, while bassist Robb Laake and drummer Adam Tucker are each given opportunities to fill in the gaps. The lead-guitar and drum breaks suggest a band adept at jamming within a song's structure.

I'm guessing the band's CD-release party on Saturday at the Redstone Room will be a good time, as its music goes down easily and has the benefit of familiarity. If you've heard reggae, you'll have plenty of reference points. Most importantly, the band works it right on stage, and "Payment" shows what they're capable of.

But the album itself suffers from a lack of imagination.

Images by photographer Chris Jones from Wednesday's Motley Crue show at the i wireless Center. Also on the bill were Theory of a Deadman, The Last Vegas, and Hinder. Click on any photo for a larger version.

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deer-tick.jpgIf you listen to the three bands on a Daytrotter.com bill at RIBCO next week, the impression their recordings leave might mislead you.

Headliner Deer Tick released War Elephant in 2007, and it's mostly a shit-kicker. But leader John McCauley said last week: "I'm certainly not a cowboy." And: "I was so sick of being called alt-country."

So he promises that Deer Tick's forthcoming album - due out this summer - will be more of a rock-and-roll affair. One can certainly imagine McCauley rockin' out, but it's hard to imagine him with less twang.

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Magna Carta Records has just released a snarling six-string shredfest specially designed for metalheads in need of a blazing beat-down. Guitars That Ate My Brain is a dozen ax-grinding instrumentals that signify the state of the metal arts with a devil-horns salute. The who's who of squeal merchants include Guns N' Roses' Bumblefoot, Testament's James Murphy, Daath's Eyal Levi and Emil Werstler, Korn's Shane Gibson, and Strapping Young Lad's Devin Townsend.

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The Flight of the Conchords should look over their shoulders, as the comedy-music department gets some stiff competition next week from Saturday Night Live's Andy Samberg and staff writers Akiva Schaffer and Jorma Taccone, calling themselves The Lonely Island. Their new CD, Incredibad on the Universal Republic imprint, features the smash Saturday Night Live hits "Lazy Sunday" and "Jizz in My Pants," plus new songs with guests Jack Black, Julian Casablancas of The Strokes, T-Pain, E-40, and Norah Jones. The cover spoofs the film E.T., and the CD adds a bonus DVD with eight of the group's videos, including the new singles "Just 2 Guys" and "We Like Sportz," and the YouTube sensation "Dick in a Box" with Justin Timberlake.

kaisercartel.jpgThe influences of the Brooklyn-based duo KaiserCartel include punk rock on the "his" side and The Cure and My Bloody Valentine on the "her" side.

But good luck finding much evidence in the sound of the group, which is playing at RIBCO on Thursday in a Daytrotter.com show. The band's music is largely acoustic pop, and Courtney Kaiser's voice has a character like Aimee Mann's but without the flat disillusionment. Whistles and xylophones add sunshine to some tracks, but there's also a magnetic sadness in many.

Kaiser and Benjamin Cartel - both of whom sing and play multiple instruments - insist that the influences can be heard, and their comments reflect a wise understanding of the efficiency and directness of their own songs.

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Willie Nelson is "on the road again," spending next month touring the East Coast with Asleep at the Wheel and their new album of western swing. Austin's own Bismeaux Records releases Willie & the Wheel this coming Tuesday, an album that the late producer Jerry Wexler had been imagining for 30 years, now fully realized with his hand-picked song list. One selection, the 1927 instrumental favorite "South," features guests Vince Gill and Paul Shaffer. A deluxe edition is also available, with bonus postcards and stamps tucked in the digipack CD and vinyl LP.

beausoleil1.jpgAs Michael Doucet tells it, the Acadian people of Louisiana have in their blood a penchant for both adaptation and preservation. They moved from France in the 17th Century and colonized Acadia - in what are now the Canada Maritime provinces and Maine. And many settled in Louisiana after the Great Expulsion of 1755 and became Cajuns.

"I think our culture has always looked at this - and not necessarily intellectually, but more on an emotional level - that you would adapt to whatever was around," Doucet said last week in a phone interview from his southwestern-Louisiana home. "That's how the Acadian sort of ethnic culture continues to be vital today, because it adapted.

"That's what we're doing now, is adapting to where we are now."

Reader issue #718 On the 1996 benefit album Sweet Relief II: The Gravity of the Situation, the songs of Vic Chesnutt were covered by everybody from Madonna to R.E.M. to the Smashing Pumpkins to the Indigo Girls. Early in his career, the singer/songwriter was championed by Michael Stipe, who produced Chesnutt's first two records, released in 1990 and 1991. Early in his career, PBS aired a documentary titled Speed Racer about his life. He had a small part in Sling Blade.

He has collaborated with a diverse slate of artists from Widespread Panic to jazz guitarist Bill Frisell to the Cowboy Junkies to members of Fugazi and Godspeed You! Black Emperor. Chesnutt's latest partnership is with the psychedelic-pop group Elf Power, part of the Georgia collective that spawned The Apples in Stereo and Neutral Milk Hotel. Chesnutt and Elf Power will be among the performers at a March 18 R.E.M. tribute concert at Carnegie Hall, at which they'll perform "Everybody Hurts."

I start with the résumé because even if you've heard Chesnutt's name, he's not exactly famous. He has an immense reputation but a relatively small audience.

RodriguezOn record, Rodriguez has an assured, slightly too-knowing voice, pleading to a drug dealer - "Won't you bring back all those colors to my dreams" - over a wistful, wheezing musical backdrop that gives way to agitation. The song is "Sugar Man" (available for free download at LightInTheAttic.net/releases/rodriguez/sugar_man.mp3), from the album Cold Fact, and based on them, one gets an image of a street-wise documenter of the dark sides of urban society: "The ladies on my street / Aren't there for their health."

On the phone, though, he's soft-spoken, apologizing that he needs to have questions repeated because of his phone and his hearing.

That disconnect makes sense when one knows that the gulf between Cold Fact and Americans' awareness of it is nearly four decades. Rodriguez released the record in 1970, and its follow-up in 1971, but the apathy that greeted them forced him to give up on music.

"I thought we were going to hit," he said last week. "Didn't happen, though."

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