It was recently announced that the historical marker proposed for the former site of Herzog Studios (811 Race St., current downtown home to CityBeat’s offices) has been approved. Thanks to the hard work of the Cincinnati USA Music Heritage Foundation, Brian Powers and others, the marker will be installed at the site — where Hank Williams recorded trademark tunes like “I’m So Lonesome I Could Cry,” and artists like Flatt & Scruggs and The Delmore Brothers also worked — on Nov. 22, the day of the Cincinnati Entertainment Awards.
Those Guys have emerged as one of the more impressive up-and-comers in Cincinnati Hip Hop, both via their digital/CD releases (a handful of singles and a trio of excellent mixtapes) and their live show, which incorporates a three-piece live band. Those Guys features MC's J.Al and Jova, who met as high school freshmen and started the group upon graduation in 2008. Citing influences like Kanye, The Clipse and Kid Cudi, the duo issued Greater Than the Mixtape Volume 1 in 2009.
The most recent in their Greater Than the Mixtape series (Volume 3) was released late last year, kicking off with the monster track "You Ain't Know," which showcases the duo's telepathic back-and-forth, superb lyricism and a fat and funky musical approach.
The duo has been garnering extra attention with their just-released video (Those Guys' first) for "You Ain't Know," which was filmed in Monroe just prior to Halloween and features some spectacular scenes of the crew blowing up a car. Who says you need a big budget for action-movie-like special effects? (The group thanks the City of Monroe's parks, fire and police department as well as the Butler County Bomb Squad in the video description on YouTube, so the fiery shoot was on the up-and-up.)
The video has been creating major buzz on social media, even drawing praise from Hip Hop legend Redman, who tweeted "Dope ass video … thats wut Im talkn bout … sumtn different … hard shit."
Check the clip below, then visit the duo's Bandcamp site to download the latest mixtape and other Those Guys material for free. You can find more about Those Guys at their official site, Facebook page and on Twitter here.
On this date in 1972, Les Harvey — guitarist for the Scottish band (which many believed would become huge) Stone the Crows — died on stage when he was electrocuted by a microphone. He reportedly died when he touched the (probably) ungrounded mic and his guitar at the same time during soundcheck (with what many believe were wet hands).
Harvey is a member of the sad club of rockers who died at the age of 27. He's also a member of a smaller club of known musicians who died from electrocution.
Keith Relf, singer for The Yardbirds, died in 1976 at the age of 33 after being electrocuted by an (again) ungrounded electric guitar.
John Rostill was the bassist for the British Pop group that gave Cliff Richard to the world, The Shadows (he was also a member of Zoot Money Quartet alongside future Police guitarist Andy Summers). Rostill was found dead in 1973, electrocuted by a guitar that was (again!) believed to be improperly grounded.
French Pop singer/songwriter Claude Francois — who cowrote the classic Sinatra tune "My Way" and sold over 70 million records in his career — died in 1978 at the age of 39. Francois returned to his Paris abode after recording a BBC special and was standing in a full bathtub when he tried to adjust a light on the wall above the tub. He was electrocuted and died. As far as I know, everything was properly grounded in the bathroom.
Lessons: Bathtubs and electronics don't mix. And always make sure your equipment is grounded before touching anything.
Born This Day: Musical movers and shakers sharing a May 3 birthday include singer/actor Bing Crosby (1903); early Blues musician and slide guitarist Homesick James (1914); late Funk superhero James Brown (1933); Pop star with the Four Seasons, Frankie Valii (1934); bassist for proto-Garage band The Troggs ("Wild Thing"), Pete Staples (1944); Soft Rock superstar Christopher Cross (1951); singer for Nu Metal band Saliva, Josey Scott (1971); singer/guitarist for Indie Rock favorites Interpol, Paul Banks (1978); and Folk legend Pete Seeger (1919).
Seeger — who will be awarded a "Distinguished Service" honor from the American Academy of Arts and Letters on May 16 — popped up in the news recently in a manner befitting the revolutionary singer/songwriter who penned (or co-penned) standards like "Where Have All the Flowers Gone?," "If I Had Hammer" and "Turn, Turn, Turn!" He also popularized the spiritual "We Shall Overcome," which became the Civil Rights Movement's theme song.
Seeger's social consciousness in song was used once again in a powerful way last week when tens of thousands of Norwegians joined together for a marathon singalong of his song, "My Rainbow Race" (the Norwegian version is called "Children of the Rainbow") as a way to protest/heckle admitted mass murderer Anders Behring Breivik during his trial for murdering 77 people last summer. Breivek had previously dissed the song because it "brainwashed" children into believing that things like cultural diversity and racial harmony are good. He said, in court, that the song was brought to schools by "cultural Marxists."
"The curriculum is stripped of knowledge relating to the codes of honor that have been so important for Europe for thousands of years,” Breivik said. “They put up these songs and propaganda films to get students to despise their forefathers.”
Here's Lillebjørn Nilsen leading the singalong (he popularized the original Norwegian version).
We've written a bit in the past about the new film-meets-music "One Shot Music Video" series, beautifully shot, black-and-white short films of various local musical acts shot at the historic Emery Theatre (which is back in action as a functional venue this weekend). Shot by world renowned photographer Michael Wilson with audio help from the musical duo Pop Empire, the clips are filmed in one continuous take (thus the name).
The project has started to take shape and is on a roll now. Pop Empire's Cameron Cochran reports that the series is now named for the venue — "The Emery Sessions" — and will be comprised of footage from 10 artists, all shot at the theater. It's a great way to not only spotlight local music, but also show off the theater in a great light.
Wilson and Pop Empire have completed a couple of videos for Daniel Martin Moore for the first of the series. The second in the series is Over the Rhine (longtime compadres of Wilson's, who has shot OTR album covers and promo shots — including the one above — since the band's very beginning). OTR is familiar with the surroundings; the band played the "preview party" hosted by The Requiem Project which re-introduced the 100-year-old theater to locals late last year.
Here's a clip of Over the Rhine's Linford Detweiler and Karin Bergquist performing "The Laugh of Recognition" from the twosome's latest album, The Long Surrender. (Click over to local blog Each Note Secure to check out another clip from the project.)
Cochran also runs the all-free, all-digital "record label" The Recording Label, which has issued stellar recordings by The Kickaways, Vacation, Sacred Spirits and Pop Empire. He says working on "The Emery Sessions" inspired him to give the label a more local-specific name. The Recording Label is now called Cincinnati Recording Service. Click here for the new site.
And here are a few words from Cochran on the Sessions and the label:
If we are consuming light then sound is accompanied by sight. Many musical performers understand this concept and will incorporate a visual component to their audio performance. The idea behind the "One Shot Music Video" is to approach music from the opposite direction. The audience approaches the music from a visual perspective first because whether they know it or not the first performance they see is the photographer's. It is the photographer's eye that navigates them through the musical performance. The hidden live performance is the one done with the camera.
The Emery Theatre was the perfect place to begin our exploration of this relationship between listening and watching live musical performances. Each musician we have recorded and that we are going to record have a love for this amazing space and understands what the Emery Theatre means to our great city of Cincinnati. It is perhaps our own experiences working in this theatre and the pride that has developed for our hometown of Cincinnati that inspired us to change the name of The Recording Label to Cincinnati Recording Service. This name change is also a tip of the hat to another person who loved his city as well as the power that American music has to bring people together, Memphis' very own Sam Philips.
There is a pretty good chance you haven’t seen the members of Cincinnati’s powder-keg Freak Punk Soul Pop maniacs Foxy Shazam around town lately. That’s because the piano-driven band appears to tour more than stay home these days, ever since the release of its cult-favorite classic, Introducing Foxy, on the indie label Ferret Records back in early 2008.
Things are going to get any easier for the band anytime soon — besides its massive upcoming tour with Swedish new wavers The Sounds (which will take them to every inch of the country for the next seven weeks straight, including a local stop at Covington's Madison Theater on Nov. 3), it was recently announced that the group’s next album will be its first for major label Sire Records
The local music scene lost one of its veteran players this past weekend. Larry Malott — also a veteran of the Vietnam War — suffered a brain aneurysm last Wednesday from which he never recovered.
A gifted bassist, Malott (who was 65) was the low-end anchor of hard-working, popular local Blues band Them Bones. Along with regular gigs with the group around town (and beyond — the band has toured in Europe and represented Cincinnati at 2010's International Blues Challenge in Memphis, Tenn., placing an impressive third overall), Malott and Them Bones were also the anchor of the long-running Sunday night Blues jams at Newport club, Mansion Hill Tavern, hosting the weekly event since 2001. Many local musicians gathered this past Sunday at the open jam to pay their respects to Malott. Judging by the outpouring of grief and appreciation on social media the past few days, Malott was not only a great bass player and dedicated Blues supporter, he was also something of a mentor to other local musicians and incredibly supportive of his fellow artists.
Visit Malott's Facebook page to leave a message for his family and for info on upcoming funeral services (a public tribute appears to also be in the works). His family is asking that, in lieu of flowers, supporters make a donation to their favorite charity and/or one of the following ones — Sophie's Angel Run, Cincinnati Shriners Burns Hospital, Down Syndrome Association and/or Blues in the Schools.
Music lovers complaining about the out-of-touchness of the Grammy awards is like stand-up comedians complaining about airline food. Both are overdone and clichéd, but the frustration is a shared experience that people instantly identify with. With the Grammys, sometimes an unlikely win or loss is so infuriating and baffling, people can’t help but go ballistic. This year’s event was a rollercoaster that reflected both the Grammys’ perpetual practice of giving trophies to irrelevant and/or the “safest” artists and the program’s well-intentioned efforts of late to get with the times. I can’t remember ever describing a Grammys ceremony as “shocking,” but this year’s was full of surprises both pleasant and mind-numbingly inexplicable.
Some sad news on the MidPoint front. Chicago "Chamber Pop" band The Scotland Yard Gospel Choir were involved in a serious highway accident on the way to their MPMF show last night at the Contemporary Arts Center. The Seedy Seeds, playing to a packed room in the slot right before SYGC's, said a few words about the accident during their set (and played a little longer, to the disappointment of no one) and the news has hit the media in the Bloodshot recording artist's hometown.
Ever listened to Paul McCartney’s first two solo albums and thought, “Wow, these are so great, I want to reinterpret them artistically”? If that’s you (or if you’re just looking for a bit of self-promotion), you could win some cool prizes by entering your McCartney-inspired artwork into a unique contest judged by Sir Paul himself.