Voting for Greater Cincinnati's annual celebration of our amazing local music scene, the Cincinnati Entertainment Awards, is now open. Vote for your faves or, even better, do some research online, check out all of the nominees and THEN pick who you think is most deserving.
Click here to get started on your ballot.
The 16th annual CEA ceremony will be held at Covington’s Madison Theater on Jan. 27, featuring more live performances than ever and first-time host Ted Clark, known for his monthly “live chat show” Ted Clark After Dark. Ted will present a special edition of Ted Clark After Dark at the after-party, this year held at The Loft, just around the corner from the Madison and above Tickets (the former home to the Rock club Radio Down). The after-party will also include the annual “Fashion Trashies,” presented by members of local Indie Pop legends The Fairmount Girls and honoring the best/worst/weirdest-dressed CEA attendees.
Tickets to the Jan. 27 ceremony/party will go on sale this coming Wednesday through CincyTicket.com. Proceeds from ticket sales are being donated the Cincinnati USA Music Heritage Foundation.
Another new aspect of this year’s CEAs involves the “New Artist of the Year” nominees. The acts nominated in that category will perform at the first-ever CEA new music showcase at Bogart’s on Jan. 18 (confirmations pending). Audience votes at the event will help determine the winner of the category, along with votes from the nominating committee (who also choose the Album and Artist of the Year winners).
Tickets for the new music showcase will go sale soon through Ticketmaster.
Now, a few words on "the process." Since the nominees were announced on Wednesday, I've received several queries asking "How do I get nominated for a CEA?" from various artists and/or their representatives.
It's the same answer found in the old joke, "How do you get to Carnegie Hall?"
Practice. And also work hard and keep spreading the word about your awesome music.
As has been the case in the entire the 16-year existence of the CEAs (and as has been noted every year in our coverage of the event, including this year), a nominating committee is assembled each year to determine the CEA nominees. These include writers, promoters, club owners, local-music radio hosts and others whose opinion on local music-makers we trust. This year's committee included approximately 40 such people. We try our best to include those whose expertise is either wide-ranging or specific to a particular genre represented in the CEA categories. (Judges do not have votes counted if they're cast for an artist with whom the judge directly works.)
This year, invitations to participate in the nominating process were sent out to nearly 70 people, so obviously certain experts declined to participate, missed the deadline for nominees or just ignored our request.
The committee is asked to nominate up to three artists per category who caught their eyes and ears this past year. The only guidelines are that the artists should have been active in the past 365 days, the nominees should be largely original (though certainly talented, straight-up "cover bands" are generally not eligible) and the judges are also instructed to give special consideration to any act that has released new recorded material in that same time-frame.
The CEA nominating judges are listed in the CEA "program" annually. I will not release their names here because I've personally received many rude or stupid emails telling me what an idiot I am for not nominating "fill in the blank." The nominating committee was kind enough to participate; I don't want to open any of them up to such haranguing and harassment.
Finally, I'd just like to say that every year there are TONS of really great acts that deserve a nomination but don't get one. It's not personal. It's not "political." It's not "who you know." It's simply a matter of time and space. If every artist who deserved a nomination got one, the CEA show itself would run 16 hours — and that's just to read the nominations for each category.
I agree to some extent that award shows like these are a little frivolous and that the process for nominations isn't perfect. It never is, for any awards show. We have thought about letting the public nominate the artists (a la the long-gone "CAMMY" awards presented by The Enquirer), but ultimately feel that the way the CEA process is set up works best. Because, ultimately, whoever wins their category is going to deserve it.
Though we take the process seriously, we've always thought of the CEAs as more of a celebration than a contest. I invite you to think of it the same way and join us for the show, whether you were nominated or not. The CEAs are for the ENTIRE Greater Cincinnati music scene. The awards are just a good excuse to get everyone together. Instead of being a sore sport about your lack of attention, come out and congratulate and party with your fellow nominees.
The album artwork and tracklisting for Bad Veins debut — coming out on Dangerbird Records nationally on July 21 — has been posted on the band's label's Web site. The self-titled record will get a local release party on July 24 on Fountain Square.
In the last year, Alice Cooper could be seen everywhere from special guesting on stage with Vince Gill to rocking out with Rob Zombie. This past weekend he even popped up singing Lady Gaga at Bonnaroo.
Cooper can do anything in music, entertain every audience, and still be cutting edge enough to be a premier name in music after almost 50 years in the business, countless awards and nominations and 36 albums. He shows no signs of slowing down and he is set to continue his monumental career as his band goes on the road with Iron Maiden this summer and fall.
CityBeat was privileged to speak with the legend to preview his upcoming show near Dayton before he hits the road with Iron Maiden. He spoke about longevity and told of the more bizarre stories of being a tenant in the Queen City. Alice Cooper performs at the Fraze Pavilion in Kettering this Wednesday.
CityBeat: Your show in Dayton is coming up.
Alice Cooper: Yes, we start this tour in June with Iron Maiden. We will be out there as their guest star on the show, their guests, so that’s an hour show. The show we are doing there in Dayton is our regular show which will be a full out Alice Cooper show.
CB: I am actually a photographer and I’ve photographed you many times. You are one of my favorite artists to shoot.
AC: Well we give photographers a lot to shoot. If you are going to go all that trouble to do all that theatrics and really coordinate the show like that, then I want to see lots of shots. I love seeing different angles, people will hand me an envelope full of pictures and I will go, “That’s a great shot. That’s a great shot.” And it gives me a different perspective of what the show looks like because we only see it from the stage. We never see it from the audience point of view.
CB: I have interviewed many of your past guitarists, Jason Hook and Al Pitrelli and people that have toured with you and everybody always has spectacular things to say about you as a mentor and just to be around. One of my questions is how do you choose band members on your tours now?
AC: Honestly, I am very instinctive about guitar players. Of course the guitar players are the gunslingers. They are the guys that you can sit and listen to and go, "When I quit singing, I want to hear something take over," and it better be a guitar that can take over what I’m doing when I step back, I want that guitar player to step up. So getting a Damon Johnson, when we first got Damon, every guitar player wants to stand back a little bit and I say, “No, no, no, when it is your solo, you take two steps forward into the light and let it go.”
A lot of times lead singers don’t want their lead guitar player to share the limelight. I want everybody in that band to have their moment on stage where they are the star. So when you get (young Australian guitarist) Orianthi, who is a natural, she is a natural star up there. I mean the girl is such a great player.
CB: Is she going to be with you?
AC: Yes, I mean she is such a great character for a Alice Cooper show. And you get Ryan Roxie on this tour and Ryan is a show unto himself. He has his own production going on over there which I really like because he really brings it every night. And Tommy, who I have in the middle as a rhythm guitar player, has got his own show going on. It’s great to get guys to come out of their shells and just when you get on stage be a rock star. I don’t want you to be a sideman.
CB: Again, it’s always been amazing to talk to all these people who have worked with you over the years and I know they appreciate it as well.
AC: I think it is because I let them play. I want you to play. When it is your turn to play, I want you to be Eric Clapton, I want you to be Jeff Beck, I want you to be the guy and sometimes it takes a little bit of getting used to. These guys are not used to being the center of attention, they are used to being the guys that stand in the background and play.
Sometimes it’s hard for Johnny Depp, when Johnny plays with us, I kind of have to push him forward a little bit because he likes to hang back a little bit.
CB: We are in Cincinnati. Can you tell me what your craziest Cincinnati story is from your past?
AC: I have the best Cincinnati story you have ever heard. This is a true story. We finally left L.A. We decided we had to move some place out of L.A., out of New York, some place in the Midwest. So we go to Cincinnati and we play this show there and we get a standing ovation. We decided the first standing ovation we get, that is where we are going to move.
So we played in Cincinnati and got a standing ovation, I think it may have been after the Cincinnati Pop Festival, the one we did with Iggy (Pop and The Stooges), and we found this area down by the college. It was this big, beautiful house for rent. So we came in and rented this house at the beginning of summer, and we went in and painted it and did everything like that.
For three months we lived there until in September, all of a sudden, there was a knock at the door, we walked outside and there were 10 guys that are football players and they are going “What are you doing at our house?” And I said, “What are you talking about? We rented this house indefinitely.” And the guy goes, “This is our frat house. I don’t know who rented this to you but they didn’t own the house. You are paying rent to someone that doesn’t even own the house.”
Some guy rented us a frat house and he didn’t even own it. He just walked in and put up a "For Rent" sign because nobody was there and we just assumed he just owned the house. So for these guys, it was kind of cool to them that Alice Cooper was living in their house, but we had to leave because it was their frat house.
CB: So did you pick another city or did you hang around town?
AC: We moved to Detroit then but it was really funny because we really thought Cincinnati was where we were going to live and then we got ejected by the frat house.
CB: I guess it could have worked out a lot different. You could still be in our hometown. You have spoken openly the last few years that you have become a Christian and about your Christian beliefs. Did that change how you put your show together?
AC: I think what it is, you do a certain amount of your own, not censoring, but you start shaping the show whereas there may be a couple of songs that I used to do that, now when I sing those songs, I don’t believe that anymore. So, it is hard for me to sing that.
It hasn’t been any big hits, “School’s Out”, “18”, “Billion Dollar Babies”, all those songs have nothing to do with Christianity or nothing to do with something that I couldn’t sing as a Christian. Most of it is social satire anyway, but there are a few songs that I looked at and I went, “You know what, I don’t believe that anymore,” so I am going to stay away from that show.
I am just being true to myself to be honest with you. It really hasn’t affected how I do my stage show because I don’t believe Alice was promoting anything that was anti-Christian. We were like a musical horror movie and I think if people took Alice Copper as entertainment, as pure entertainment, there is certainly a dark side to my sense of humor but I don’t think there has ever been anything in there that was, that any Christian couldn’t see and have fun with.
CB: It’s all in good fun. It’s all perspective.
AC: Yeah, and I think if you look at it as a social satire, I am fine with it. I don’t really have a problem with that. I am still very involved, I read twice a day, I have two different times of devotional for myself. I hope and I try not to just be a Christian in “Oh, I’m a Christian.” I try to live that life. It is a one-on-one relationship with Christ so I really try to keep that as my lifestyle. In other words, you aren’t ever going to see me at the strip club after a show.
CB: I know you gave up drugs and alcohol a long time ago for good reasons. Is there still ever a struggle on the road to stay sober?
AC: No, never has been. I was literally healed from that. People say you are cured, I say no, it was much different. I never went to AA. I never had to do any of that. I came out of a hospital and it was gone. It was gone as if I had cancer and cancer was gone the next day. It was totally taken away from me. I never had a struggle with alcohol. When I came out of the hospital, I was absolutely straight as an arrow. I never had a desire or a craving for alcohol which even the doctors say is weird. I know because I have a lot of friends that are in AA and they struggle with it all the time. They say, “How do you do it?” and I say “I am not an alcoholic anymore. I was one but I am not anymore.” I wouldn’t challenge myself. In other words, I wouldn’t sit around and say, “Well I think I will take a drink of beer.” Because I know that could be a trigger that takes me back to where I was. So I won’t even approach that, but at the same time I don’t have any desire to do that.
CB: Well, my Mom saw you in 1974 and she still talks about it today as I go shoot your shows. It was one of her memorable experiences with you and some chickens in Nashville at Memorial Coliseum…
AC: Well the music hasn’t changed much since the ‘70s to now, if you look at the bands that are still out there — Aerosmith, Ozzy, Alice, Thin Lizzy — we are all still playing the same kind of music. I think it is funny that 16, 17, 18 year old kids are more into Classic Rock than they are into modern Rock so I think there is a large audience for us that has never seen us. One of the reasons we are playing the Iron Maiden tour is because I don’t think the Iron Maiden audience has ever seen Alice Cooper so I want to expose them to Alice Cooper.
CB: Has touring for you changed from now to then?
AC: It’s a lot easier now. When you are physically in better shape and you are mentally and spiritually in better shape, (my wife) Sheryl and I have been together for 36 years, and I never been happier in my life. My kids are great. All my ducks are in a row. Physically, I am healthy. Touring is easy then. Physically, it is a workout and you have to get used to traveling and you have to get used to being away from your family a lot even though now my family can travel with me any time they want to. My wife will go out for three weeks then go home for a week and come back out for two or three weeks. So, touring to me is easy.
CB: You spoke about music now and what people are listening to. Are there any current bands you listen to these days?
AC: I wish there was — my pet peeve right now is that 80-90% of the modern Rock bands are just testosterone-free. I am listening to these bands and going, "Where is the spark? Where is the fire?" These bands are whining like crazy. I hear these bands and go, "What is wrong with these guys?" And then I look at a picture of the band and I could go into a mall and pick any five guys, it’s like they are trying not to be rock stars. They just want to be normal guys that play in a band with no image and no fire just we are in a band. “What is wrong with that?” That’s crazy. If you are in a Rock band, you get in a Rock band to be something different. I guess modern Rock bands really just want to blend in and I think it is the most boring time in Rock right now that I have ever seen.
CB: Well you have your Lady Gagas…
AC: There are exceptions. Jack White is amazing. The Foo Fighters are amazing. I don’t know the Black Veil Brides music very much but I love the image. At least they are going out of their way to be something that when you see them on stage you say, “That’s the Black Veil Brides.” But when I see 99% of the other bands up there I say those bands can be anybody. I just don’t get the fact that everybody is so against having image.
CB: Are you working on any new music, maybe another album?
AC: The Welcome to My Nightmare album has been out for about a year now and that was our highest charting album for quite a long time. So after this tour, we will go back in the studio again, Bob Ezrin and I will, but we were very, very happy with Welcome to my Nightmare.
CB: I briefly spoke to you at the Rock and Roll Hall of Fame Induction this year in Cleveland. I know you weren’t performing but what your favorite part of the night?
AC: You mean the last one. I thought Guns N Roses were amazing. I thought Slash and the boys were the best band there. They just rocked that place.
CB: We are heading into a critical election year, are you planning on backing any candidates this time?
AC: Boy, I’ll tell you at this point right now I almost want to go independent. I am not political in the least bit. I am not in the least bit political. So when somebody says, “Who are you voting for?” I’m going, “Wow!” It’s like saying, do you want a poke in the eye or a poke in the ear. Nobody is making me smile now.
CB: And it is very narrow now.
AC: Yeah, as far as I’m concerned, I wish there was somebody out there that had some spark that would make a difference but I don’t think either one of these guys are.
CB: Do you have any plans to slow down or stop touring?
AC: No. For me, physically everything is fine right now. Until I physically can’t tour, I think I will be touring every year.
On this date in 1979, 11 music fans died when trying to see The Who perform at Riverfront Coliseum. Check out this video for "Feel The Holes" about the tragic event, by Toronto Hard Rock duo The Shanks.
The video was made in Cincinnati and directed by David Markey. The Shanks (who released the Feel the Holes EP just a couple of weeks ago on German label Broken Silence) work with local music promotions org The Counter Rhythm Group and are set to appear in Cincinnati on Saturday, Dec. 15, at Northside's Comet as part of the free release party concert in honor of a new "split LP" release (on area label, Phratry Records) by local acts Knife the Symphony and Swear Jar.
R.I.P. Peter Bowes, Teva Ladd, David Heck, Connie Burns, James Warmoth, Bryan Wagner, Karen Morrison, Jacqueline Eckerle, Walter Adams, Jr., Stephen Preston and Phillip Snyder.
Over the past decade-plus, Cincinnatian Eric Diedrichs has continually made splashes on the local music scene with the Pop/Rock band The Simpletons and his Cari Clara project (a mostly solo venture in the studio, but also a live band). A few years back, Diedrichs moved to Lexington, Ky., but Cari Clara continued, the live version of which (though largely on hiatus the past year or so) still featuring mostly Cincinnati area musicians — Eric’s brother Mark Diedrichs, Greg Tudor, Jason Arbenz (also of Goose), Josh Hagen and 500 Miles to Memphis frontman Ryan Malott.
Last summer, Diedrichs digitally released his fourth effort for Deep Elm Records, the elegant, evocative 10-track album, Midnight March. This Friday, Diedrichs returns to Cincinnati to celebrate the album’s physical release at Northside Tavern. The free local appearance will feature the full Cari Clara band, plus Cincinnati’s Ohio Knife and Dayton’s Motel Beds as openers.
Diedrichs recorded and produced the expansive and engrossing Midnight March in his home studio in Lexington and the crisp sound welcomes the listener to come inside and get lost in the unique textures and tide-like tempos and structures. Though a lot of “one-man show” albums lack a certain warmth and cohesiveness, Cari Clara is the rare all-solo effort that sounds and feels like a large, full band. But the music is rarely grounded, instead relying on a magical, ethereal aura upon which the songs hover.
Diedrichs has skills to spare — he’s an amazing vocalist, brilliantly able to translate emotion into words, melody and voice, and his top-notch musicianship (on guitar, bass, piano and a variety of programming and other instrumentation) is apparent on first listen. But as Cari Clara grows and evolves, the way Diedrichs constructs and conducts the varying sounds and layers has become dazzling, adding an extra level of enchantment to his always stellar songwriting prowess.
Midnight March is best listened to in full (once you start, you’ll have a hard time stopping anyway), a victory for the dwindling art of making a cohesive album and not just slapping together a collection of songs. Diedrichs says the album is something of a “coming of age” story, saying it’s “an emotional exploration of my own journey from childhood to adult.” That thematic thread is something everyone can relate to and Diedrichs’ lyrics have never been better.
From the shiver-sending ambiance of “When You Knew It” and orchestral, acoustic guitar-driven “Homage to Excess” to the slinky verses and charged, towering choruses of “Battle Hymn” and the Radiohead-meets-Postal Service slowburn of “Safe,” Midnight March is loaded with musical drama, with practically each song building from a hypnotic hush to exhilarating crescendo. With deft arrangements and orchestration, provocative lyrics and brain-burrowing melodies, Diedrichs has made the recording of his career. And, in many ways, it feels like he’s just getting started.
Deidrichs has the talent to become a career artist; hopefully Midnight March reaches the wider audience Cari Clara deserves so he is able to do just that.
Click below to preview and purchase Midnight March.
No, by "Local MTV," we don't mean some new reality show featuring pregnant 16-year-olds entering rehab for their crack addiction, hoarding and narrow interior design skills. That "M" once stood for music (or so we're told) and today we are offering you a look at a couple of local musical acts that recently produced music videos — Dance Rock band Walk the Moon and Hip Hop's Trademark Aaron. Like audio recordings, it's become easier to make quality films (and music videos) with little money, as these clips show.
On this day in 2003, The Rolling Stones were slated to perform in China and, like certain big tech companies, were keen to oblige the nation's government in order to take advantage of the lucrative marketplace. The event came as China seemed ready to fully embrace Western popular music performers; since Wham! broke the barrier in the mid ’80s, the country has allowed performers from Sonic Youth and Linkin Park to Public Enemy, Nine Inch Nails and Ill Divo the chance to come play for their Chinese fans without much fuss. That was until the "Bjork incident," when the Icelandic singer performed in Shanghai in March of 2008 and attempted to lead the crowd in a chant of "Tibet! Tibet!," according to reports in Rolling Stone. That led to even more vetting before artists are allowed to play the country.
But even in the salad years of westerners performing in China, the country had tight restrictions and guidelines. While even Ed Sullivan allowed the Stones to perform "Let's Spend The Night Together" with altered lyrics ("Let's spend some time together"), the Chinese government wasn't so permissive, reportedly demanding set-list approval before the show could go on. The band was told they could not play four of their biggest hits due to apparently salacious lyrical content — "Best of Burden," Brown Sugar," "Honky Tonk Women" and the aforementioned "Spend the Night."
Those shows ultimately ended up canceled due to an issue in China of a bit more importance — the SARS outbreak — but the band did return in 2006 and played by the rules, leaving those classics out of their sets.
So here's a chance to not take your country's freedoms for granted. Watch this old clip of "Let's Send the Night Together" from a 1967 episode of Top of the Pops and sing along as loud as you can.
Click on for Born This Day featuring Liza Minnelli, Al Jarreau, James Taylor and Blur's Graham Coxon.
Last night, the music of Cincinnati — past, present and future — was on glorious display at Covington's Madison Theater. Yes, we realize it's a little weird to have the Cincinnati Entertainment Awards (which celebrated its 13th birthday last night) in Kentucky. But the Madison provided a more casual "Rock & Roll" atmosphere than past years' events, so, just as airport developers did in the ’40s, we've decided to claim Covington as Cincinnati, at least for one night.
The "bar" ambiance (and lack of a smoking ban in Kentucky) kept everyone off the sidewalks and in the venue, though we're certain many woke up this morning with the old "my clothes and hair smell like smoke" complaints. Fear not: Official CEA2010 gasmasks and Hazmat suits are being produced as you read this.
Tim Wilson is a comedian and singer/songwriter who represents Southern culture and lifestyle with his songs and stand-up. He is often featured on national telecasts of the syndicated radio shows The Bob and Tom Show and the John Boy and Billy Morning Show and Wilson has also been appeared on many of the late-night talk shows. With a dozen comedy albums featuring his original songs, Wilson has found crossover success on both the comedy and Country music charts.
CityBeat caught up with Wilson by phone to preview his appearance in Cincinnati and discuss southern roots in comedy and the assimilation of music into his comedy. Catch him performing live Saturday night at the Taft Theatre with Patti Vasquez (ticket info here).
In the days after local TV news reported on the death of David Hebert — a longtime drummer better known to everyone as “Bones” — it was clear that the New Orleans-style memorial procession (a nice nod to Hebert’s hometown) and gathering in Northside in the wake of his shooting at the hands of police was going to be the image most (especially those who didn’t know him personally) would remember. The large group of friends who came together amidst the deep hurt and shock showed how much Bones meant to the community and was a testament to his kind spirit. As the police investigation continues and those friends skeptical of the “official report” try to find justice, some local musicians moved by the sudden, violent death of Bones are using their skill set to express their feelings about the situation.