Lucy's Fur Coat in the U-T

Lucy's Fur Coat set to rock the house again

By Chris Nixon
For the San Diego Union-Tribune
May 19, 2005

On Sept. 21, 1991, Nirvana released its seminal recording "Nevermind," sending shock waves throughout the music industry. The subsequent explosion of bands hailing from the Northwest sent music company executives scurrying for "the next Seattle."

Desperate to catch wind of young bands, the eyes of the music world for one brief moment turned to San Diego. Local groups (Rocket From the Crypt, fluf and Uncle Joe's Big Ol' Driver) garnered interest from major labels. Expectations ran high for local scenesters.

San Diego's Lucy's Fur Coat found itself swept up in the frenzy, its brand of gritty riffs and melodic choruses convinced record execs at Sony to pen a deal with the band. For a band that just wanted to play live and rock crowds, the attention was welcomed and a little odd at the same time.

"We were a bar band," says lead singer Charles O. Ware, speaking via phone from his home in San Diego. "We were trying to say: 'Sweat, rock 'n' roll, have some drinks, shake your (butt).' That's all we ever wanted to say."

The five guys in Lucy's Fur Coat saw the band as a fun diversion to their "real" careers, which lay in waiting as the group toured the United States and released a couple of albums.

"We all had different career paths laid out for us that we were able to fall back on," recalls Ware. "We had these careers that we didn't want to partake in yet. We were young. We could afford to act out our rock 'n' roll fantasy and not be losers at the end of the day.

"(Bassist) Rob (Brown) and (guitarist) Tony (Sanfilippo) were full computer heads. Rob, if I recall, was working at Solar Turbines running a CAD program. Tony had just gotten his computer science degree. (Guitarist) Mike (Santos) was studying for his CPA exam. I was in law school at the time."

So Lucy's Fur Coat put the serious jobs on hold to jam at bars and carouse rock-star style. In 1994, the band released "Jaundice" on Relativity Records and distributed by Sony.

The album's 12 tracks document the band's ability to strip down guitar riffs to simple, earnest rock. Ware howls and croons, the guitars rage and the songs rock but are catchy, too. The pressure of producing a hit record and the constant touring made what was once a fun ride into the kind of job they were trying to escape from in the first place.

"The touring with Lucy's became such a grind," says Ware. "The first two weeks is boy's club rock 'n' roll party. Three months later, the same scratch you have from climbing on the bus the first day of the tour hasn't healed. It doesn't matter how much money you have in your pocket: you're in Lubbock, Texas, on a Tuesday night and there's nothing good to eat. Three out of five of us were married, and it just becomes a grind."

After getting off the road, the band released one more album – 1998's "How to Survive an Aircrash" – before calling it quits for good. The band has reunited for a few shows since the late-'90s, but Ware and the rest of guys resumed the lives they put on hold to be in the band.

Ware eventually left his work as a lawyer, and now works as a lifeguard on San Diego's beautiful beaches. Brown worked for MP3 before his present gig with Napster. The rest of the band is pursuing their lives after Lucy's Fur Coat.

But this weekend they get back together for three shows three nights at the Casbah and Brick By Brick.

"I think we play (rock) with more sweat and energy and altruism maybe than some other bands," admits Ware. "We're all pleasantly surprised that people want to come and desire to be a part of it."

"I can't personally look at it like a reunion. We're friends. We don't having burning desires to be stars or to be who we once were. I just love rock 'n' roll and I know we can still bring it."

Chris Nixon is a San Diego music writer.

J.E.W.: Investing in 'Futures'

Jimmy Eat World changed producers for new work, new approach

By Chris Nixon
For the San Diego Union-Tribune
May 12, 2005

Talking via cell phone, Jimmy Eat World drummer Zach Lind sounds exhausted, bored and frustrated with his job. The Mesa, Ariz.-based quartet is slogging through three months of touring in support of its new album, "Futures." He graciously answers questions about the record and the band and the tour. But he really lights up when we start talking about San Diego bands.

Given Jimmy Eat World's long association with the San Diego music scene, it's suggested that Lind's band is a de facto member of the San Diego scene. "That's probably the biggest compliment I'm going to hear today," Lind says.

Growing up in Arizona with no local indie-rock scene to connect with, the guys in Jimmy Eat World felt closest with the San Diego bands in the 1990s. Groups like Tanner and Drive Like Jehu helped mold Jimmy Eat World's sound, and Jehu's drummer Mark Trombino would go on to produce the majority of the band's albums.

"It's tough to answer questions about the (Phoenix) music scene when you're talking to someone who is kicking it in San Diego," says Lind on a recent tour stop at James Madison University in Harrisonburg, Va. "You guys are spoiled, man."

With the help of Trombino, Jimmy Eat World crossed over from indie rock band to mainstream success. Lind – along with Jim Adkins (vocals, guitar), Tom Linton (vocals, guitar) and Rick Burch (bass) – scored huge with their self-titled 2001 album. Originally titled "Bleed American" (but changed after 9/11), the band's fourth full-length studio disc produced singles "The Middle," "Bleed American" and "Sweetness."

Such radio stations as 91X and FM 94/9 seemed to press repeat on Jimmy Eat World's songs, playing the tunes incessantly throughout 2002. After cycling through a few major label deals, the sudden success created a complete change of scenery for the young band. Since 2001, Lind and his band have learned tough lessons about "the culture of the music business" and "the expectations of the music industry."

"Overall, just in terms of being a band, it just becomes more complicated more than anything," laments Lind. "The positive is that we don't have to work second jobs and we can focus on making music all the time. It's all about playing good shows and making good albums, that's the beginning and the end of it. So I think we're trying to learn that again. It's just a totally (messed up) business."

Jimmy Eat World
The lineup:

Jim Adkins – voice, guitar
Tom Linton – voice, guitar
Rick Burch – bass
Zach Lind – drums

DISCOGRAPHY:

"Futures" (Interscope, 2004)
"Jimmy Eat World" (Dreamworks, 2001)
"Singles" (Big Wheel Receration, 2000)
"Clarity" (Capitol, 1999)
"Static Prevails" (Capitol, 1996)
"Jimmy Eat World" (Wooden Blue Records, 1994)

Now signed with Interscope, Jimmy Eat World worked with highly respected Pixies producer Gil Norton for "Futures." After working with Trombino for so many years, the band wanted to try something different.

"Gil is really great at arrangements," Lind reflects. "If you listen to any of the Pixies albums, you can tell. There is not one dead arrangement on any of those albums."

The main difference between Trombino and Norton came down to their characters: "Personality-wise, they are polar opposites. Mark is reserved and a little bit more introverted. Gil is an extrovert and he really communicates a lot. In terms of approach as far as making an album, it's not that much different."

Despite the pressure of following up the successful 2001 release, "Futures" continues Jimmy Eat World's legacy of multilayered, accessible rock songs complete with nice harmonies and well-crafted tunes.

"I think there always is (pressure)," admits Lind. "We tried to ignore it. But there always is, whether there is pressure from outward (sources) or from within the band to make a really good record.

"It was definitely harder for us on this record," says Lind, who plays Sunday at Cox Arena along with Taking Back Sunday and Mates of State. "I'm hoping we learned how to make a record in our circumstances of being a band that's well known. Hopefully, the next record will be really easy to make."

Chris Nixon is a San Diego music writer.


JIMMY EAT WORLD'S TOP 5 SAN DIEGO BANDS
Jimmy Eat World drummer Zach Lind has worked and toured with a lot of San Diego bands, musicians and producers. So the Arizona band's close association with our music scene raised the question: Who are your Top 5 San Diego bands? Lind's picks were:

Rocket From the Crypt: Probably the best San Diego band ever. Period. Full-on horn section. Suave showman John Reis on vocals. Amazing live shows. The band still plays live (the next being 94/9's Independence Jam on June 18) and records sporadically, but many folks feel their chance at mainstream success has come and gone. It doesn't matter: there is more Rocket for San Diego.

Drive Like Jehu: The aforementioned Reis teamed with Tanner drummer Mark Trombino (who would later produce Jimmy Eat World, blink-182 and No Knife and a cast of thousands) in this classic San Diego band. You'll hear a lot of people name-dropping Jehu, and for good reason. Its brand of angry, sweaty indie rock influenced a huge group of smart punk rockers nationwide who later would start their own bands.

Tanner: Singer-guitarist Gar Wood, bassist Matt Ohlin and drummer Prescott (also of No Knife) teamed with Drive Like Jehu drummer Trombino (the producer) to produce vicious, intelligent rock. Wood would later play with Reis in the Hot Snakes and produce the lion's share of good San Diego releases in the last five years. Are you starting to see an incestuous theme here?

No Knife: San Diego's No Knife takes a more calculated approach compared to Drive Like Jehu and Tanner. Instead of thrashing about, Mitch Wilson (guitar and vocals), Ryan Ferguson (guitar and vocals), Brian Desjean (bass) and Chris Prescott (drums) choose more sharp, crystalline guitar lines over fuzzy punk-rock tones. The quartet re-emerged after a long absence with 2002's excellent "Riot for Romance!" Jimmy Eat World has toured with No Knife several times.

Jejune: After years of wondering, this reporter looked up the word "jejune" in the dictionary. It's a real word: "Lacking in nutritive value, or displaying or suggesting a lack of maturity; childish." Question answered. Guitarist-singer Joseph Guevara, drummer Christopher Mendez Vanacore and bassist-singer Arabella Harrison created pretty indie rock with boy-girl harmonies before disbanding before the release of their final disc in 2000 "R.I.P." Jimmy Eat World and Jejune did a split 7-inch (each contributing two songs), recorded in 1997.

– CHRIS NIXON

P.B. Block Party: Robert Walter

CENTERPIECE
Put an extra fish taco on the barbie for him

The 30th incarnation of the P.B. Block Party should be a nice homecoming for Robert Walter

By Chris Nixon
For the San Diego Union-Tribune
May 12, 2005

As a founding member of the San Diego-based Greyboy Allstars, Robert Walter helped establish the acid-jazz mainstay as one of the best jam bands in the country. Now, with his 20th Congress, Walter returns to San Diego from his new home in New Orleans for a performance at this year's P.B. Block Party.

Say you have to move away from San Diego. Housing prices are high. You can't find enough work to get by. What's the one thing you'll miss the most? The beach? The sun? The Mexican food?

"I miss the Mexican food for sure," says former San Diegan and jazz-funk organist Robert Walter from his new home in New Orleans. "There's nothing even close here, although there is a lot of great food. I was raised on taco shop food and Mexican restaurants in San Diego."

This Saturday, Pacific Beach will offer its typical charms – the beach, the sun and the Mexican food – at the 30th annual Block Party. But P.B. also will present Robert Walter's 20th Congress and more than 40 other bands – both local and nationally recognized acts – for free. So you can enjoy the beach, the sun, a great plate of tacos and great music.

The line of musicians who developed their style here before moving on to other locales and greater notoriety is long and illustrious: Jewel, Jason Mraz, jazz pianist Bill Mays and DJ Greyboy. Walter hopes to add his name to the list.

Before migrating with his family to NOLA last July, Walter had co-founded the Greyboy Allstars with Karl Denson, then headed out on his own with Robert Walter's 20th Congress. As Walter describes it, the relative seclusion of San Diego allowed the Greyboy Allstars and other musicians to develop their own sound.

"It's never been a real thriving scene to the point where everyone is looking over their shoulder and trying to compete," Walter says about his days in the local music scene. "It's a good place to develop your own ideas and your own identity because you're in your own world. We developed our own little scene with the Greyboy Allstars and everything coming out of the Casbah, Black Heart Procession and all that stuff. The music gets to develop in its own world and be different."

The Greyboy Allstars, Karl Denson's Tiny Universe and Robert Walter's 20th Congress forged their own version of jazzy funk sounds. Inspired by James Brown's Horny Horns and 1960s and '70s improvisational funk, these San Diego bands updated the sound to create dance-floor jazz.

But without steady work at home, Walter and his cohorts felt they had to go out on the road to spread the good word.

"The blessing of San Diego for me was it forced me to get out on the road and create a national presence to get my career going. I had to leave to make a living," says Walter. "Had I been in a city with more local music, I might have never left. I might have been playing in bar bands for the rest of my life. If you really want to have longevity in your career as a musician, you need to get out there and tour."

With the move to New Orleans, Walter continually creates new music with new collaborators. He's currently touring with Frequinox, consisting of members from Galactic, the Headhunters and T.J. Kirk. The organist will release a new album in late summer titled "Super Heavy Organ" with the help of New Orleans funk pioneers past and present.

For the upcoming 30th annual Pacific Beach Block Party, Walter will take the stage with longtime 20th Congress collaborator Cochemea Gastelum on sax and Greyboy Allstars drummer Zak Najor.

One of the knocks on the local music scene is the "fair-weather fan" syndrome: "It's beautiful out all day and everyone goes to the beach during the day and goes home at night. So it's a difficult town as far as getting a real nightlife scene going. It's always had creative people. It's difficult to get people to come out."

Chris Nixon is a San Diego music writer.


BEST BETS *
BENEVENTO-RUSSO DUO (Karl Strauss Stage, 1:45-2:25 p.m.): Drummer Joe Russo and organist Marco Benevento manage to create a joyful cacophony. Embraced by the jam-band crowd, this duo combines elements of jazz and funk in a prog-rock package.

TRUCKEE BROTHERS (Mojo Sounds Acoustic Stage, 2:10-2:50 p.m.): Self-dubbed as "evil Everly Brothers," Peat Truckee (Patrick Dennis) and Cady Truckee (Christopher Hoffee) have taken the local scene by storm since their six-song 2004 EP "Wall to Wall." The band's 2005 release, "It Came From the Speakers," ranges from dirty rock 'n' roll ("Billy Club") to loungy 1960s pop (title track).

HOLIDAY & THE ADVENTURE POP COLLECTIVE (Mojo Sounds Acoustic Stage, 12:05-12:35 p.m.): Strumming guitars, singing strings and twangy pedal steel fill the music of Derric Oliver (vocals, violin, strings) and Louis Caverly (acoustic guitar, trumpet, tuba), aka Holiday & the Adventure Pop Collective. The Encinitas-based band recorded their excellent debut "Become" at Big Fish Studios in 2004.

STEVE RILEY & THE MAMOU PLAYBOYS (Sycuan Mardi Gras Stage, 2-3:30 p.m.): It's not Mardi Gras and we're not on the bayou, but Steve Riley will serenade P.B. with the sweet sounds of Cajun music. Hailing from Mamou, La., in Evangeline Parish, Riley and his band play old-timey Cajun music like it should be played.

YOUNG DUBLINERS (San Diego CityBeat Stage, 4:20-5:30): Grounded in both Irish traditions and mellow contemporary rock, the Young Dubs have grown a devout audience here in San Diego. This Los Angeles quintet is less punk than Flogging Molly and not quite as traditional as the Chieftains.

– CHRIS NIXON

Ivy in the U-T

For Ivy's members, the path is 'Clear'

By Chris Nixon
For the San Diego Union-Tribune
May 5, 2005

'English is the language of pop music."

So says Ivy lead singer Dominique Durand in her exquisite French accent. The Paris-born vocalist grew up listening to the Beatles and the Rolling Stones even before she understood what they were saying.

Fifteen years ago she moved to New York City to study English, figuring to stay only a year. But an unexpected music career and her relationship with musician Andy Chase has kept her there. Durand came to learn English; now, she sings in English for a living.

Durand continues to make music with her husband Chase and Adam Schlesinger in their band Ivy. Durand and Chase met in the early 1990s. Sharing a passion for music, the two hit it off and started writing songs together. Durand had never sung professionally before hooking up with Ivy. Within a year, the band had signed a record deal with indie label Seed, even though the French-born singer had never performed live.

"So many great bands struggle for years and still have trouble getting signed," says Durand, who still sounds amazed that Ivy was able to pen a record deal in such a short time. "But we have to remember it was '94. It was a different time. It was an indie underground scene where being not so professional was actually a good thing."

The trio released a five-song EP – basically the band's demo tape – titled "Lately." The album lacks slick production, but captures the band's trademark breathy vocals and airy, guitar-driven compositions. With the full-length release "Realistic," the trio began learning the craft of record production and live performance.

" 'Realistic' came out and for the first time we had to start being a real band, going out on tour for long periods of time," says Durand. "That's when we started learning to become better musicians and for me, (I became) a better singer."

Ivy's breakthrough album was 1997's "Apartment Life," capturing the endearing qualities of the band's early recordings paired with a more mature approach to recording and production. Says Durand: "And for every album since then, we've gotten better at the touring and recording just by learning. We've been learning how to feel comfortable in the studio and learning how to produce yourself and arrange your songs."

The latest evidence of Ivy's maturation process is 2005's "In the Clear," a breezy collection of 10 gorgeous tunes. The beautifully layered work presents the problem of reproducing the album's tracks live. For the current tour – which stops by the Casbah Monday night – the trio enlists a little help. Guitarist Josh Lattanzi, drummer Ethan Eubanks and keyboardist Bruce Driscoll joins vocalist Durand, guitarist Chase and bassist Schlesinger.

"Live, it's a big challenge for us to reproduce the sound of our records because there are so many layers and so many textures," says Durand. "But I think we manage to do it. Live, Ivy is actually six people. That's the beauty of playing live: You're capturing what's on the record, but in a way it's more visceral."

Ivy's three members are able to break away from the band to pursue side projects, which gives the group's music new life when they reunite. Schlesinger is a member of the highly successful rock band Fountains of Wayne, while Chase produces bands and participates with Durand with the trip-hop project Paco.

"The three of us are very independent people," says Durand. "We need to be able to do other things creatively to feel good about working together and feeling fresh again. When we were ready to make 'In the Clear' it had been three years since the last record. It was just such a great feeling to be back in the studio together and starting to make music again. The main thing about creativity is to feel inspired and excited and feel like it's the first time."

Chris Nixon is a San Diego music writer.

Maroon5, The Thrills: The High Life

The High Life

The Thrills quickly hit the pop heights; now, all they have to do is adjust to the surroundings
By Chris Nixon
For the San Diego Union-Tribune
May 5, 2005

There are many paths to the top of the music industry's rocky mountaintop. A lucky few stumble into a record deal and immediate exposure, others toil for years wearing pink tuxedos while playing the Tic-Tock Lounge on the Jersey Shore before finding an audience.

Chances are Maroon5 never unwillingly wore pink tuxedos, but they did take a winding path to the top. After beginning their careers as Kara's Flowers in September 1995 while finding regional success in L.A.'s music scene, the boys in Maroon5 survived a name change and a record-label switch to score huge success with 2002's "Songs About Jane."

For the Irish quintet the Thrills, just two years after forming in 2001, the band scored a record deal with Virgin and released a critically acclaimed debut with 2003's "So Much for the City."

For lead singer Conor Deasy, the sudden change of fortunes for the band didn't come without its own trials and tribulations.

"It's a very strange process, because in some ways you've gone from zeroes to heroes," said Deasy during a concert stop in Milwaukee. "One minute, you're just another band throwing your demo tapes around like any other band, and the next thing you know you've got a deal.

"On the other hand, you're conscious of the fact that there's so much to play for. You've got so much to prove. You know how fleeting that moment can be. So many bands get dropped in the blink of an eye, especially with all the hype and hot air that surrounds debut albums these days.

"We very much live in the era of the debut album. If it doesn't happen immediately, it can be pretty rough on a band."

The Thrills
Lineup:
Daniel Ryan – guitar
Padraic McMahon – bass
Conor Deasy – vocals
Kevin Horan – keyboards
Ben Carrigan – drums

Discography:

"Let's Bottle Bohemia" (2004, Virgin)

"So Much for the City" ( 2003, Virgin)

TALES OF SAN DIEGO:

The Thrills lead singer, Conor Deasy, spent much of the 30-minute interview telling tales about past experiences and the current tour, showing his Irish storytelling roots. Here are a few of the shorter tales he told:

On Shane MacGowan of the Pogues, a notorious drinker, drying out in San Diego (the Thrills lived behind Taang! Records in Mission Beach during their stay here):

"Above Taang! Records was this empty, vacant apartment that was used for a whole number of different things. Even during our few months there, it changed from a souvenir shop to a fast food joint.

"At one point, it was rented out to people who ran a detox clinic, and he told us that Shane MacGowan once stayed there. But unfortunately, the temptation – being so close to the Mexican border – meant that he didn't stay on the straight and narrow for too long. The term 'from the frying pan and into the fire' might come to mind."

On living in San Diego before recording the debut record "So Much for the City":

"So when we picked San Diego, we were just thinking of the beaches and the weather in California. It didn't seem like an obvious choice. I guess a lot of people would go to L.A. or San Francisco. We liked the fact that it was close to the Mexican border. It just seemed like a fun place.

"The only problem was when we first arrived, we couldn't get any work, we couldn't get any accommodations and we couldn't get into bars. So that was a little bit of a setback for the first couple of weeks.

"Once we got around that, we started having a great time. We really loved the place and it became one of those magical little experiences."

– CHRIS NIXON

After Maroon5's win at the 2004 Grammys (ironically for Best New Artist) and the Thrills' successful sophomore release, "Let's Bottle Bohemia," the two bands who took different paths to recognition join forces for the Honda Civic Tour, which stops at USD's Jenny Craig Pavilion Monday.

The Thrills and Maroon5 take different views of the three-minute pop song format. The Los Angeles quintet incorporates snappy melodies and catchy choruses to ensnare new fans. The Thrills woo audiences with a taste of Irish bittersweet balladry.

Deasy recognizes the craft in Maroon5's music, despite not having the indie street cred.

"I think Maroon5 is a really good pop band," says Deasy in his mild-mannered Irish brogue. "They do what they do really well. The three or four big hits, there's a real class to what they do. They're not considered a very cool band, but more often than not 'cool' bands are full of (crap) anyway.

"I think there's a good pop craft to what they do. I guess they are just one of those bands that pops up and becomes the biggest band in the world for a moment."

After the mellow pop sounds of "So Much for the City," many critics compared the Thrills to Brian Wilson, the Beach Boys and the surf music of the 1960s. Despite writing the album while living in San Diego and recording the album in L.A., Deasy doesn't make a direct link between his music and Wilson's.

"I think there are obvious West Coast influences in our music," corrects Deasy. "But I really wouldn't call ourselves surf music. The only thing we have in common with Brian Wilson is we don't surf."

Deasy sounds a little worn out through the phone lines and with good reason: Since the band released "So Much for the City," the Thrills has toured constantly and released its sophomore effort without a break. And after four years in the cutthroat music business, Deasy has learned some hard lessons.

"We need to get the balance right and do things on our terms," says Deasy, looking down the road at a possible break this summer and recording the next album. "Putting out a record, it's a great feeling. But once the record's out and the merry-go-round begins, you have to be prepared for that because it takes a lot out of you."

Right now, the Thrills is getting a taste of the pop high-life, touring with the wildly successful Maroon5.

"It starts off younger in the front rows," says Deasy of fans at the recent Honda Civic shows. "There's a little bit of the 'teenage girl' element. If you say hello, you tend to get an ear-deafening screech from the front. As you move back in the crowd, you see more women in their early-30s and a few boyfriends who've been dragged along. It's quite a varied audience really."

Chris Nixon is a San Diego music writer.

Coachella preview: Fill it to the brim

Fill it to the brim

A wide range of good music, good vibes will spill out on the field at annual Coachella fest
By Chris Nixon
For the San Diego Union-Tribune
April 28, 2005

Each year in the Empire Polo Field's wide-open spaces, the desert serves as a backdrop to one of best music festivals in the business: the Coachella Valley Music & Arts Festival.

Polo fields happen to be the largest playing fields with boundaries in organized sports (300 yards by 160 yards), so the locale just outside of Palm Springs provides acres of manicured grassy fields and spectacular views of desert mountain ranges in the distance.

Striking scenery may serve as the setting, but music remains the reason people drive to the desert. Modeled after European festivals drawing diverse artists and crowds, Coachella makes a point each year to include artsy headliners with worthy smaller arts from indie rock, hip-hop and electronica with a smattering of world music and jazz.

This year, Coldplay headlines the Saturday show, while Nine Inch Nails brings big-name clout to the Sunday lineup.

Many San Diegans make the trip to Indio each year to take in the unique atmosphere and the wide array of bands. This year's lineup also features such San Diego-bred favorites as Pinback and the Locust.


BEST MUSICAL BETS
SATURDAY

Bauhaus: The Goth-rock originators have re-formed with the lineup of Peter Murphy, Daniel Ash, Kevin Haskins and David J (now living in North County). Such post-Bauhaus side projects as Tones on Tail, Love and Rockets and Peter Murphy's solo albums surpassed the popularity of the original band, but true connoisseurs understand Bauhaus' importance.

Cafe Tacuba: Bands singing lyrics in Spanish tend to get lumped into the rock en espanol bin, but this Mexican quartet transcends the tag with quirky songwriting and a Beck-like cohesiveness despite using alt-rock, hip-hop and Latino influences. Cafe Tacuba – which won a 2004 Grammy for its "Cuatros Caminos" – gave a great performance at 2003's Street Scene, so it's good to have them back in Southern California.

Spoon: "That's the way we get by," croaks Spoon lead singer Britt Daniel on the Austin, Texas, quartet's excellent 2002 release, "Kill the Moonlight." This is indie music with melody stretching the boundaries of guitar-driven rock. Spoon will release a new disc, "Some Fiction," on May 10, so expect a bunch of new tunes at the Coachella performance.

Zap Mama: How wonderful is Zap Mama? Zap Mama's Marie Daulne – with her rhythmic, raspy vocals – understands the connection between African music and contemporary R&B, soul and hip-hop. Zap Mama's 2004 release, "Ancestry in Progress," taps the skills of the Roots, Talib Kweli, Common and Erykah Badu. Kweli will be on hand as part of Black Star, so expect a guest spot at Saturday's Zap Mama performance.

Amp Fiddler: After spending years honing his funk/soul skills as a sideman for Maxwell and George Clinton's bands, Amp Fiddler made a name for himself with the smooth R&B sound of his 2004 solo disc, "Waltz of a Ghetto Fly." Criminally overlooked, the album gives Fiddler (a Street Scene alumni) free range to explore stripped-down funk-tinged soul music.

SUNDAY

Nine Inch Nails: Anyone interested in attending Coachella probably knows about Nine Inch Nail's Trent Reznor and his penchant for creating accessible industrial music accented by crunching guitars and angst-ridden vocals. But NIN still deserves to be mentioned because the band puts on an amazing live show. "With Teeth," the new disc from Reznor, appears in record stores Tuesday, so expect to hear some new songs.

Black Star: With almost a dozen hip-hop artists gracing the Indio stages, Coachella reaffirms its love for hip-hop that shuns materialistic blather in favor of rhythmic art and lyrical intelligence. Before Mos Def graced the silver screen and Talib Kweli broke loose as a solo artist, these two MCs rocked the hip-hop world as Black Star. Their 1998 debut "Mos Def & Talib Kweli Are Blackstar" did more than just launch the careers of two promising MCs, it reminded us that hip-hop doesn't have to be coated in diamonds.

Pinback: If you're into the local music scene, you probably know about Pinback and its beautifully crafted, transcendent indie rock songs. Touring in support of 2004's "Summer in Abaddon," Zach Smith and Rob Crow are gaining notice from more than music journalists and indie rock aficionados. Pinback's Sunday performance at Coachella should help expose the band to a larger audience.

DJ Krush: Japanese DJ-producer Krush, aka Hideaki Ishi, creates introspective, mainly instrumental hip-hop tracks. Splicing underground hip-hop cred (he's worked with the Roots, Aesop Rock, Company Flow, DJ Shadow and Mos Def) with samples of wooden flutes and traditional Japanese instruments, Krush remains one of hip-hop's most imaginative songsmiths.

The Stereophonics: This Welsh trio feels equally at home in meat-and-potatoes, Stones-influenced rock, U2-tinged melodic rock and fuzzy garage indie rock. Note the common word here: rock. The Stereophonics are simply a great rock band. The group just released the cleverly titled "Language. Sex. Violence. Other?," another set of excellent multi-chromatic rock tunes.

Chris Nixon is a San Diego writer.

NUTS AND BOLTS
All ages are welcome; children under 5 are free. Festival gates open at 11 a.m. each day and parking lots and box office open 9 a.m. The event is rain or shine. Everyone entering the venue is subject to a search. Photo ID required for all will-call ticket pickups. Tickets can be purchased at the box office on event days. Once in the festival, you can't leave and go back in.

Tickets are $81 per person per day, and Ticketmaster is adding $11.05 for a convenience charge and $3 for a "Building Facility Charge."


Directions and parking
From San Diego: Take I-15 north to I-215 north. Take state route 60 east to I-10 east toward Palm Springs, past Highway 111; exit at Indio Boulevard. Traffic personnel will direct cars to the Empire Polo Field and event parking lots. Parking is free; no overnight parking without a camping permit.

Camping: Coachella provides on-site camping. Guidelines: www.coachella.com. On-site camping tickets can be purchased through Ticketmaster: (619) 220-TIXS or www.ticketmaster.com.

Can bring: Backpacks, hat, sun block, lighters, sunglasses, cigarettes, small beach towel, fanny packs, digital cameras (nonprofessional), disposable and nonprofessional film cameras.

Can't bring: Musical instruments, knives, weapons, chains, chain wallets, blankets, outside food and beverage, camel packs, tents, flags, chairs, video cameras, audio recording devices, bota bags, professional cameras, stuffed animals, pets, drugs and drug paraphernalia.

Tips for Coachella
Get there early: Most Coachella-goers don't bother with the early afternoon hours of the festival. That makes the early afternoon hours the best time to go. The line at the entry gates can be long from 1 p.m. on, so line up before noon. The early shows from lesser-known bands are often the most rewarding, allowing stage-front access and dancing room.

Bring sunscreen, a hat and a small backpack: It's the desert; the sun will be intense. Use sunscreen, bring a hat and bring a small backpack to carry everything in. The official Coachella site (www.coachella.com) defines the regulation backpack size.

Bring money: The organizers of Coachella know they have a captive audience, so they will charge for food, beer and alcohol. The festival T-shirts feature cool designs and run $20 to $30.

Stay the night: Driving to Indio takes approximately three hours from San Diego. Add six to 12 hours of music and the time it takes to get in and out of the venue, and you have more than a full day. The Palm Springs area offers a wide variety of lodging options from on-site camping to fancy hotels. Check out www.coachella.com or call the lodging hot line at (800) 537-6986.

Patience: Coachella is a huge festival. There will be a lot of people there. There will be lines. But, in general, everyone is mellow. If you have a little patience, you'll have a better time and fit right in.