Cincinnati Garage Rock heroes The Greenhornes seemed headed for big-time success, a gradual build-up that ultimately found them recording for the V2 label with Power Pop cult fave Brendan Benson producing, having songs placed in Jim Jarmusch movies and playing to gigantic arena/stadium-sized crowds touring with The White Stripes.
But the band’s momentum was halted when Jack White decided their rhythm section (drummer Patrick Keeler and bassist Jack Lawrence) was so good, he’d like to work with them.
Music Tonight: Hailing from the same Tulsa, Okla., suburb (Broken Arrow) as singer/actress Kristin Chenoweth, Saturday Night Live comedian (and South Park writer) Bill Hader and Hall of Fame baseball pitcher Warren Spahn, singer/songwriter JD McPherson's upbringing found him youthfully exploring the music of Nirvana and The Stooges right alongside Carl Perkins and Buddy Holly, a signal of things to come. Today, McPherson (now based in the Chicago area) is making a name for himself with songs that reflect the influence of Rock & Roll's breakout period. McPherson performs tonight at MOTR Pub in Over-the-Rhine. The free show also features an appearance by like-minded locals (although with a bit more of a Honky Tonk stride) Straw Boss. Showtime is 9 p.m. Check out this potential Northside anthem, "North Side Gal," and dig McPherson's incredibly soulful and authentic ’50s vibe:
There are a couple of things that have been on my mind of late, and this always seems like a decent forum to vent my musings, particularly since I'm not in therapy. First of all, what exactly constitutes medical attention for an erection lasting more than four hours? Does a stereotypically sexy nurse, um, give you a hand? Or does a mummified doctor from the bygone era of bone saws that could drop an oak tree and hand-cranked skull drills apply leeches to the affected area and then show you pictures of Yogi Berra and golf videos to bring down the swelling, so to speak?
While we wait for an answer to arrive, let's move on to the other, perhaps more salient issue that I've been pondering. As everyone knows, the end of the year brings the Cincinnati Entertainment Awards nominations, which then inspires a good deal of grumbling speculation about who has gotten nominated and, more importantly, who has not.
Look, no one understands better than I the elation that accompanies being recognized for your work. Six years ago I nabbed second place in the Non-Daily Newspapers Feature Personality Profile category of the Ohio Excellence in Journalism awards. I know, right? At the same time, I can count on fingers and toes the number of letters I've received over the years about things I've written, and many of those have been from the subjects I've written about just to say thanks.
My prized correspondence was from now-deceased Rolling Stone/Billboard editor Timothy White for getting the title of his Beach Boys biography wrong in a piece I wrote about Dick Dale. I had cited White's book as The Nearest Faraway Beach, largely due to my love of the Brian Eno song, "On Some Faraway Beach," and partially because I jotted down my notes in Joseph-Beth Booksellers when I was in the throes of a flu that would have eaten a vaccine for an appetizer. White's book was, in fact, The Nearest Faraway Place, and in it, he mentioned that Dale had been born in Beirut, Lebanon, among other interesting tidbits about the legendary guitarist. When I asked Dale about some of the entries in White's book, he countered with, "Does it say Dick Dale was born in Lebanon?" (he referred to himself in the third person, a lot). I said that it did, and he responded, "Then throw that book in the garbage."
It was a great quote so I used it in the story, which prompted White's letter, where he first corrected my idiot error and then clarified that he had interviewed Dale personally at a time when White speculated that Dale thought being born in Lebanon would make him seem more exotic (he was of Lebanese extraction), but when Beirut became synonymous with terrorism, he claimed Boston as his birthplace. All in all, though, he was very complimentary about the article.
As usual, I digress. As much as people love being hailed for their accomplishments, they are stung when they feel they've been passed over, for whatever reason, and that's completely understandable. It becomes slightly problematic when people demonize the process in an effort to explain their absence from the end result.
Here's the thing; those of us who comprise the nominating committee try not to take ourselves too seriously, but we are very serious about the task of establishing these nominations on an annual basis, for a variety of reasons. First and foremost, we love music and we respect the people who make it. We also feel it is extremely important to recognize great work and to share that recognition with the entire music community.
And that's pretty much it. We don't have an agenda to push. We don't nominate our friends (although our friends sometimes get nominated). Speaking for myself, I really try to set personal feelings aside when the time comes to look at the past year and determine who has done work worthy of CEA recognition.
Of course, that determination is open to a certain amount of subjectivity. We are human beings, after all. That's why we cast our nets as far as we can, to make sure the nominating process is as fair as humanly possible. Is it a perfect system? Not hardly. But I think we've gotten it pretty close to right. This year we involved the public in the process and that helped widen the focus even further, but there still seems to be a certain amount of dissatisfaction about the nominees and conjecture about how they got there. In the final analysis, it boils down to a few simple facts. If you're nominated, congratulations; you've distinguished yourself in a music community that I honestly feel is one of the best in the entire country. If you win, huzzah and holy shit, you've further distinguished yourself within a formidable slate of your musical peers.
And if you're just a spectator, keep working. Keep doing what you do. The accolades are nice, but put things in perspective; at the end of the day, the CEAs are a party with door prizes. Prestigious door prizes, but door prizes nonetheless. And whether you're a winner, a nominee or neither of the above, don't allow your recognition or lack thereof to overinflate or devalue your sense of what you do. What matters is the work. Your work. Whether it garners you a nomination or not.
It's the same in any field of endeavor. How many painters wind up in museums in their lifetimes? How many athletes give their lives over to the sports they love for an almost microscopic chance to get a plaque in their respective halls of fame? Celebrity, wealth and notoriety are all fairly illusory. What matters is the work.
The immortal and forever great Frank Zappa may have put it best: "Information is not knowledge. Knowledge is not wisdom. Wisdom is not truth. Truth is not beauty. Beauty is not love. Love is not music. Music is the best."
And there it is, in it's simplest and most potent form. If you are out there, turning words and melodies in your head into real music with your hands, heart and soul, you are contributing to one of the best things in life. Awards are the icing on a cake that doesn't necessarily need to be iced. When you make great music, we are the winners. And we'd like to thank you. And God and our families and friends and our eighth grade English teacher who said we'd never amount to anything, because he was sort of right. Thank you.
I keep waiting to receive a new release from the locally-based label Phratry Records that is subpar. The label — specializing in Indie/Post Punk/Punk-flavored sounds — is celebrating its sixth anniversary this month and its next release is its 22nd so far. The law of averages would suggest that, especially given the imprint’s increased output in the past year, at least one stinker would sneak by. But every time I click on a new MP3, slip in a new CD or drop the needle on the latest release’s vinyl version (Phratry’s offerings usually come in all three formats), I never fail to be impressed. And that 22nd release — the full-length debut from Cincinnati’s State Song, Dear Hearts & Gentle People — is definitely not the stink-bomb I’ve been half-expecting from Phratry. In fact, it may just be the label’s finest offering yet.
The Cincinnati-born, Brooklyn-based members of Indie Rock sensations The National recently announced details about their first new album since 2010's High Violet, Trouble WIll Find Me. The album is due in the U.S. on May 21 on the 4AD label. (Click here for the album cover, track listing and more National news.)
Today, The National unleashed the first song from Trouble, the warm, crawling "Demons." Check the tune and a video for it below.
UPDATE: Today (April 11), The National released audio of the first single from Trouble Will Find Me, "Don't Swallow the Cap." Check it out:
The National perform a homecoming show on July 14, headlining the final night of the three-day Bunbury Music Festival at Sawyer Point Park. For tickets and more info, click here.
Check it out — the new Cincinnati Entertainment Awards site is up and the ballot is ready. Get your vote on now — the window is a little shorter than normal this year. Voting ends Nov. 10. Let us know what you think of the nominees and categories. Be nice!
Legendary Bluegrass musician Ralph Stanley is scheduled to close the show with a set, as part of the CEA's celebration of the legacy of King Records, which began 65 years ago. With the Stanley Brothers, Ralph was an important member of the King roster and a pioneer in his field. Another King tribute at the show is also in the works. Stay tuned.
Pick up a CityBeat today and check out the cool ad art for the CEAs, crafted by local musician Jason Snell. A sampling of the art can be seen above and at the CEA site.
— Mike Breen
For many Cincinnati natives, seeing Jess Lamb perform her audition in Kansas City for the American Idol judges was the first time they had ever heard her powerful and emotive voice or seen her honest, determined spirit. But for anyone who has their ears to the ground in Cincinnati’s local music scene (or has drunkenly wandered into Japps on a Tuesday night) knew that Lamb was more than ready for the limelight. Lamb has been performing all across town for years and has consistently turned heads with her stable of classics and originals, paired with her pronounced and technical work on the keys. (In 2013, Lamb was nominated for an R&B/Funk/Soul Cincinnati Entertainment Award and performed at that year’s ceremony, a mini-clip of which was used in her initial biographical segment on Idol.)
But a rise in local and national exposure brings a great deal of opportunities and challenges tied together. And it is those opportunities and challenges that my series of posts following Lamb’s experience will reflect upon. Lamb is an indie artist to the core; she writes and records with many different projects beyond her solo work. She plays all around town in the hopes of steadily increasing her visibility. But how does an artist used to local coverage deal with the sudden influx in national attention? What effect will American Idol have on local attendance or the reception at her shows? Will there be any long term changes or will this ultimately be a flash-in-the-pan experience for Lamb? These are the types of questions that will be explored as the show carries on.
Of course, to answer where Lamb will be going, it helps to know how she even became a part of American Idol. It all happened by chance.
“I went to Columbus for what they call the ‘Bus Tour.’ Basically you go down there and stand in front of executive producers of the show. From there, they just call you and tell you where to go next. You’re just playing the waiting game after that,” Lamb says.
Lamb and her friend’s spontaneous trip to Columbus led to the next stage of the journey — performing for Keith Urban, Jennifer Lopez and Harry Connick Jr. (one of Lamb’s musical idols).
There was a month in between both auditions, leaving plenty of time to think and speculate. After the audition in Kansas City and the announcement of her participation on the show, Lamb has been speaking to the media while still finding time for her day job and performing at night.
With “Hollywood Week,” featuring the singers who made it past the initial auditions, approaching, Lamb’s Amercan Idol adventure is just about to truly take off. Here at home, she’s already seen a change in her local reception.
“I’ve felt a lot of support from the people that I look up to. Frankly, I’m shocked at the support. I’m shocked that a lot of people see where I’m going with this,” Lamb says.
After her audition aired, Lamb played a show in West Chester, where she was greeted by an entirely different type of crowd than the Main Street district mainstays. Instead of young people buying her shots, she was met by a group of older women who brought her flowers.
The crowds aren’t just growing at her shows either; her online presence has grown as well. American Idol fans have flocked to Lamb’s Facebook, Instagram, email box and Reverbnation page. So many, in fact, that Lamb is having a hard time keeping up with all the attention.
“There’s been so much [growth] on social media, so many great emails. I’m trying to respond to every email and I have to take hours out of every day to do it and it’s amazing, I love it,” Lamb says.
In many ways, that excitement is indicative of Lamb and her Idol journey thus far. It’s been a whirlwind of activity that is guaranteed to grow as the show progresses. But she has taken it all in stride and is taking every opportunity the show has provided her. We’ll just have to tune in to see what other opportunities arise in the coming weeks.
The Hollywood Week episodes of American Idol air locally this Wednesday and Thursday on Fox 19.
When you say the letters “C&D” to any member of Cincinnati’s hip, bar-going, Shake-It-haunting scene, most people will nod their heads in recognition, knowingly acknowledging the “Complete Dive” on the corner of Hanfield and Witler, a block down from Chase. Now append the words “Record Bar” at the end of “C&D” and quite a few of those nods of familiarity will turn to blank stares.
One of the coolest, more unique musical experiences to be had in Cincinnati is at the concerts presented by The Loft Society, an on-the-down-low, speakeasy-like venue housed in the top-floor loft of an apartment building on Calhoun Street in University Heights (next to Mayra’s restaurant). Programmed and hosted by Al Williams, the Loft has been featuring artists on the more exploratory side of Jazz (with occasional guests from other genres) for the past two decades. The atmosphere is relaxed and communal and set up as a great listening experience first and foremost (obnoxious chatter during performances is strongly frowned upon). If you’ve yet to visit, Saturday’s “A Tribute to MLK” concert is a great place to start.
It was the keen eye of photographer and close friend Chuck Madden who first caught the clues on Walk The Moon's Facebook page that seemed to indicate the band would be doing something special for their fans at Bonnaroo this weekend.
On little more than a hunch Chuck insisted that we check out "Kaleidoscope Space Tribe" at 3 p.m. on the Sonic Stage. Sure enough, at five past the hour WTM bounded out on stage and proceeded to artfully bash through a 30 minute set of Talking Heads songs including "Girlfriend Is Better," "Burning Down The House," "Psycho Killer" and more. Considering the huge crowd they played to just two nights ago in the Other Tent, this performance was an ultra rare treat for the clever and faithful two or three hundred fans who figured it out.
Dwight Yoakam seemed mildly irritated at Saturday's 4 p.m. press conference. Perhaps sensing that the Bonnaroo press corps might be too young to know his story, Yoakam quickly sketched a casual crash course on his career dating back to the ’80s. Rather unexpectedly, Dwight struck up a rapport with fellow panelist, comedian Reggie Watts, as the two of them discussed their mutual love of Hee Haw.
Dwight's 7 p.m. performance in That Tent began with an eight-song medley during which the band never paused for a breath, rocking through one continuous segue that included the songs "Please Please Baby," "Little Sister," "Streets Of Bakersfield" and Buck Owens' classic, "Act Naturally."