Todd Lipscomb didn’t deliberate very hard
or very long in conceiving the concept around the second album from his
locally based band The Kentucky Struts. Like most great ideas, it was a
flash of illumination in a contemplative moment.
For a show focused on two skeevy, aimless teenagers, Beavis and Butt-Head
sure has done a lot of good for the world. In its original run, the MTV
program delivered endless numbers of gloriously stupid dirty jokes, set
the stage for Daria, and gave hundreds of musicians exposure by way of playing music videos alongside the duo’s inane commentary. That last practice inadvertently led to
the creation of The Koffin Kats.
Wussy’s members are in the MOTR Pub
basement, basking in the post-Cincinnati Entertainment Awards glow after
closing the 2011 ceremony with a clattering bang. The new songs from
the just-released Strawberry are still gelling on stage, but the
thrilling anticipatory undercurrent in Wussy’s performance suggests
these fresh set additions are blossoming with time-lapse photography
The remarkable resurgence of Rocket From the Tombs is a historic band reunion, one that comes with classic
old material plus a brand-new album.It also
brings to town two legends of Punk/Post Punk who now play in Rocket —
Pere Ubu’s David Thomas and Dead Boys’ Cheetah Chrome.
Sherman, set the Wayback Machine to 1983.
We’re visiting Bogart’s in Cincinnati, Ohio, where young publicity
manager Brian Baker is witnessing the second area appearance of R.E.M.,
which he’s vigorously advertised for a net result of just over 300
attendees. Local Art Pop provocateurs Junta have just finished, and the
stage is taken by The Replacements, a last-minute addition via R.E.M.’s
The 15th annual Cincinnati Entertainment
Awards Nov. 20 at Covington’s Madison Theater once again brought
together people from all facets of the Greater Cincinnati music scene
and gave them one hell of a party. Along with offering one of the best
people-watching experiences of the year, the packed crowd in attendance
was treated to great “mini-sets.”
So much has happened in The Tillers’
universe that it’s overwhelming for the band to consider events that
have transpired between their 2009 sophomore release, By the Signs, and their new album, Wild Hog in the Woods. “We got haircuts,” guitarist Sean Geil
deadpans, alluding to his closely cropped hair and vocalist/banjoist
Mike Oberst’s obvious lack of braids.
In honor of efforts of The Who Concert Victims
Memorial Committee, CityBeat
contributors Tom Bolton (artist) and Rich Shivener (writer)
collaborated on a special “comic strip” about that fateful night on the
riverfront, a watershed moment for concert crowd management. This is the first
part of the strip; the second will run at citybeat.com on Dec. 3, the 32nd anniversary of the tragedy.
Perhaps we should begin with a
clarification. It seems that Frontier Folk Nebraska’s name has sparked
some misconceptions about the band that should be addressed. Frontier
Folk Nebraska does not have any particular affinity for the frontier,
they are not necessarily a Folk band and … well, you can guess where
this is going.
When local Bluegrass legend Ma Crow
considers the question of what makes her latest group, the all-female
Lady Slippers, so unique among all of the amazing outfits on her storied
résumé, she doesn’t hesitate in delivering her answer. “They’re ladies!” Ma exclaims at the
Northside Tavern, responding figuratively and literally at the same
time. “They’re down to earth, genuine."
I’m not sure what I’m supposed to write
about here, but I’m already overdue on turning this column in, so I’m
sure I’ll think of something soon enough. I haven’t written one of these
in a few months now. Truthfully, I haven’t even thought about writing
one of these. It occurred to me a couple weeks back that it’s been a
pretty minute since the last one, so I told Mike (the editor) that I
would probably fall back for a while.
Lou Barlow is a direct guy. The
45-year-old founder and main frontman for lo-fi Indie Rock stalwarts
Sebadoh doesn’t mince words or waste time — a fact easily discerned when
listening to his band’s concise, emotionally direct songs. It makes sense, then, that Barlow would be similarly to the point when discussing Sebadoh’s return via the “Bakesale/Harmacy
Remembering Time Tour,” which stops at the Southgate House Thursday.
Bettye LaVette’s late-career success story
is one of the music business’ most remarkable. The powerful 65-year-old
R&B singer/stylist first recorded in 1962 — “My Man — He’s a Lovin’
Man” for Atlantic Records, home in that era of such other classic Soul
vocalists as Ben E. King, Solomon Burke, The Drifters, Percy Sledge and
After nearly a dozen years and four highly
acclaimed albums as for algernon, Cincinnati singer/songwriter Jason
Wells is experiencing something totally foreign but completely welcomed.
Wells, the lone constant defining the band’s Indie Folk/Pop/Rock
direction, is finally feeling confidence.