Icepack

Amorosi on the news, nightlife, gossip and bitchiness beats.

by A.D. Amorosi

I'd like to talk about CP's fall classic — our autumn Music Issue. Sure, there's music in Philadelphia daily. Yet there's something about the texture and breeze of the Philly sound exactly at this time of year. Why did Hall then Oates kvetch about stolen bikes and leaky shower stalls during "Fall in Philadelphia"? There's just something crisper about those same wretched experiences from October on. So, soak in the Palmolive liquid that is our music. Smell the hint of wood chips? That's our fireplace where we're throwing our "Guy 'n' Madonna Forever" commemorative napkins. Nab two copies of this CP, flap your newsprint wings and soar.

► Before rrriot girls ruled the earth and getting songs in Superbad made her cash, Palmyra Delran made zippy, sugary garage acts The Friggs and Pink Slip Daddy sizzle. "The first time I played Philly — Omni's in the early '80s — it burnt down a mere days later," laughs Delran. "We used to joke that clubs burn down after we played them because the same thing happened to Love Club." No matter how many fires she started, Delran never released a record under her name — until now, with She Digs the Ride. Why so long for something sweet, trashy, sinister and o-solo-mio? "I was so busy with other projects I never got around to it, though I've had the solo band together for awhile, and have tons of songs for another full-length ready." Digs is surprisingly romantic, in a dysfunctional fashion, and really loving and hurt. Who knew Delran was so wounded? "In the Friggs, we didn't reveal ourselves. We were on the prowl for fun. With Digs I wanted to actually think about things, then rely on myself to complete the songs. Some songs are not about me. I eavesdrop a lot then put myself in other people's situations and imagine how they deal with stuff. Maybe change the story, not to always have a happy ending. I hope the songs still sound fun. Like misery and sadness in a party dress." Delran's release bash is Oct. 25 at Tritone.

► Delaware isn't just Spinto Band country. The late Rev. Ernest Davis Jr. 's Wilmington Chester Mass Choir got inducted into the International Gospel Music Hall of Fame. The Rev. Chris Squire leads 'em to Detroit Oct. 25 for the honors.

► Stick around after Matt Davis' Aerial Photograph's Oct. 23 Tritone show with Mexican pianist Javier Resendiz. Not only will Davis' focus be the heaviest of his Philly-resident series (This one? Street crime) but Tritone also hosts sax colossus Elliott Levin's b-day concert.

► Pholkstress Nancy Falkow may've moved to Ireland (fuck her for leaving 'n' cramming "u"s into words like "honour") but that don't mean she won't drop lullaby science on us. That's what her CD, Under the Stars, from her new duo with Dublin's Fran King is. Get it digitized at itsaboutmusic.com.

► Paul Green brings honorary Philadelphian Earl Slick (played guitar for Bowie on the Philly-recorded David Live and Young Americans) to play with School of Rock Oct. 24 at Le Black Lodge, 15th and Brandywine. Say hello.

► Philly comic/filmmaker Richie Redding's sketch troupe TV.3 debuts on his b-day, Oct. 24, at Jack's Twin Bar (200 S. Broadway) in Gloucester City, N.J., where Bill Haley's Saddlemen was house band in 1952. Redding's b-day continues as he brings new episodes of his recently filmed Duckumentary to the Danny+Dani Show (Ozark, Mari) at National Mechanics on Oct. 27. Laughs ensue as irked sketch/film troupe The Minor Prophets present new flicks and stage moves at Khyber Oct. 24. And on Oct. 23, host Pat House asks you to think of pals Animosity Pierre, Dave & Brian, and Meg & Rob as you would Tenacious D (Disgustedly? No. Nicely) at Helium's DUOS night of comedy 'n' music Oct. 23.

HALF OFF DEPOT

Why live life at full price?

► When Jay-Z does Wach Center's Powerhouse Jam Oct. 24, will H-to-the-Izzo get a visit from Philly-scribe Terry Lee Barrett with a Shady Dawgs script binder in hand? I hear Hova wants to see Dawgs biz plan.

► When Stephen Starr opens Butcher & Singer at 16th and Walnut streets. Oct. 27, you can't call it a supper club. Despite the pedigree of its exec chef Shane Cash (nephew of Johnny) there'll be no grand music or orchestration. Starr's saving the symphony for the food and the design. "It's definitely a nostalgic look at the steak house and chops idea I'm more excited about than I thought I'd be, honestly," says Starr. Not just because there's a 21 Club vibe to B&S. Think Toots Shore's and Sardi's in Manhattan or even Frankie Bradley's in Philly in terms of B&S's rich cuisine. "We're doing the classics that people don't do anymore; Caesar salads made table-side, a real '50s dish like steak Diane, lobster Newburg, very old-school," says Starr. It's B&S designer Shawn Hausman's swarthy grainy décor, too, that thrills Starr. OK, there's no retro macho Mad Men symbolism to the golden bull's head that Hausman implanted. "It's just Shawn's level of whimsy," notes Starr in regard to B&S's mural of dogs drinking at a bar and his choice of chandeliers purchased from Miami's legendary Fontainebleau. But the whole place is grown up. "More so than my usual efforts," says Starr, who's so pleased, he'll soon do (no date yet) something he's nevahh: an opening cocktail party. "Butcher & Singer isn't as trendy as my past stuff. With Parc and this one, we're doing classic places that I really hope stand the test of time."

(a_amorosi@citypaper.net)