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.
Lucinda Williams is a premier female act in Country and American Folk music. She has been blazing the roads since the late ’70s and has not slowed down. She still appears at music festivals all across the country, even gaining international acclaim. Her most recent album, Blessed, is her eleventh studio album. Williams has been nominated for 14 Grammys, taking home three awards. In 2002, Time magazine called her “America's best songwriter.”
After months of rising anticipation and weeks of weirdly intermittent and torrential rain, Bunbury's first day looked to be a winner. A great announced lineup, no precipitation in the forecast and nothing but sunshine expected for the day; against all odds, that's exactly what we got. But it wasn't the rain to come that presented a problem, it was the rain that had already fallen; the area on the Serpentine Wall that had perfectly pocketed the Rockstar Stage last year was completely swallowed by the rising Ohio River, and the stage had to be moved to the opposite end of the field housing the all important Main Stage. It turned out to be a pretty decent fix, all things considered.
After securing my Level Three media pass (which, in the hierarchy of accessibility, I think meant that if any band needed help moving equipment, I was obligated to roadie for them), I headed for the Bud Light stage for Public. I had done a story on them back in January; they were home for Christmas so given their proximity, they came to my house and we did the interview in my basement. My daughter had answered the door and let them in, and for weeks afterward she was telling her friends about the cute guys I had interviewed at the house. Public's teenage girl effect was fully evident at their Bunbury appearance, as squealy females shrieked their appreciation for every song, and randomly shouted "I love you!"s arced over the rather sizable crowd. The trio did songs from their self-titled EP, a new tune called "Honey Bee" and, taking a page from the infinitely talented and creatively twisted Richard Thompson, offered a thunderously blazing turn on Britney Spears' "Toxic." In the studio, Public has the sound of a ramped up Modest Mouse, but in the live arena, they definitely blister and kick a little closer to the Led Zeppelin vibe they claimed as inspiration during our conversation, adding a dollop of harmonic Pop to sweeten the deal. If teenage girls are any indicator — and they usually are — Public could be headed for Walk the Moon territory pretty quickly.
Next up, it was Alone at 3AM at the Lawn Stage. I love these guys; super solid, crunchy heartland Indie Pop/Rock that states its case without a lot of unnecessary flash or padding. The band had plodded along for close to seven years before solidifying a dedicated line-up behind vocalist/guitarist/songwriter Max Fender and bassist Joey Beck and moving forward; a good deal of growth occurred with the additions of Sarah Davis on keys and Chris Mueller on drums (and business savvy). That in turn lit a fire under Fender, leading to a pair of albums in the last three years — 2010's Cut Your Gills and last year's Midwest Mess.
For A@3's Bunbury slot, the quintet was showing off their new guitarist; Clay Cason's recent departure left a gap which has been admirably filled by Jake Tippey, taking a busman's holiday from his howling duties in the Frankl Project and proving every bit as valuable in a Pop/Rock context. The band roared through songs from their most recent albums, introduced a couple of new songs (Chris mentioned after the show that A@3 would be working on an EP, and then tracking a new full length for imminent release) and even dipped back into their debut album, City Out of Luck, for a spin through "Mexico." Max's gruff voice sits comfortably in the Paul Westerberg/Bruce Springsteen range and it's the perfect vehicle for expressing his blue collar love-and-life songs. Can't wait to hear the new stuff in the studio, kids.
Before setting out for the Rockstar Stage, I caught the opening of Ohio Knife, one of Cincinnati's brightest new entities. Initially a side project for the Chocolate Horse, vocalist/guitarist Jason Snell, guitarist Andrew Higley and drummer Joe Suer — who all played together in Readymaid as well — ultimately put the Horse in the stable to concentrate on the Punk-scrubbed Blues of Ohio Knife, and with good reason. The trio is a sweat-soaked hurricane in the studio (their 2012 EP was a marvel), but the live translation hits with the force and heat of a flamethrower in an ammunition dump, and it won't be long before the CEA nominees for Best New Artist wind up taking home some bling. Where are we with the full length, guys?
After a quick shot of Ohio Knife, it was time to motor to the other end of the festival to check out the Dunwells. The UK outfit fronted by, logically enough, the Dunwell brothers, has found a good deal of success with their debut album, Blind Sighted Faith, and its ubiquitous single "I Could Be a King." When they played the single, frontman Joseph Dunwell thanked Q102 for their support, but it bears pointing out that, WNKU has been beating the drum for the Dunwells for quite some time now (just as they had for the similarly Folk/Pop toned Mumford & Sons). That being said, the age of the crowd seemed to indicate that Q102's demographic was probably best represented here today, so perhaps the win should be scored in their column after all. However the commissioner decides to rule, the Dunwells put together a crisp and wonderfully vibrant set that pays homage to the West Coast sounds of the Eagles and CSNY. The one exception to that sonic blueprint is the aforementioned "I Could Be a King," which offers an irresistable Pop edge that shimmers like the best of Crowded House. When brother David Dunwell strapped on the old five string to play the hit, he noted wryly, "I think every Englishman should at some point come to America and stand in front of an American audience holding a banjo with no idea how to play it." I think he was being graciously self-deprecating. The Dunwells seemed to go down a storm and I think they would find a large and enthusiastic audience if they returned outside of the auspices of the Bunbury Festival. Quick note: If you see a Dunwells album titled Follow the Road in stores (for you youngsters, a building where your parents buy music) or online, it is actually a re-sequenced and remixed version of Blind Sighted Faith, with a few alternate versions tossed in for flavor.
I briefly considered heading over to the Bud Light Stage to see some of Everest (a pick from Bunbury worker bee extraordinaire Jacob Heintz), but opted to check out a bit of Tegan and Sara at the Main Stage before making a definite decision.
I've interviewed both Quin twins over the years — most recently, I talked to Sara the year after the release of 2009's Sainthood — and while I lean toward their early work as far as my personal taste is concerned, their last trio of albums have been fairly well stacked with radio-friendly Pop songs with the potential to reach a massive audience. The enormous turnout for their Bunbury set would seem to support their decision to go the pure Pop route, but the fact is that Tegan and Sara have been cultivating a large and diverse audience for the past decade and a half, and their synth-driven Pop direction was not enough of a departure to alienate any portion of their slavishly loyal fan base. Predictably, the bulk of their set was devoted to Heartthrob, along with faves from The Con and Sainthood; they also reached all the way back to 2002's If It Was You for "Living Room" and they threw in a cover of Tiesto's "Feel It in My Bones," on which they originally guested. As expected, the adrenaline and volume of the live experience ferments Tegan and Sara's sugary Pop confections into something with a little more bite. Even for those who weren't completely sold on their recent work (my hand is up), Tegan and Sara's live presentation could make you see the light.
After T&S, it was time to hit the Amphitheater Stage to see Buffalo Killers. If you missed seeing the James Gang in 1971, here's your chance. Because I'm old enough to have actually missed the James Gang (with Joe Walsh, that is; I was lucky enough to see the even rarer sight of the James Gang with Tommy Bolin. Look that up in your Funk and Wagnalls …) that joke is only marginally funny. Luckily, Buffalo Killers have approximated the trio's fuzzy guitar assault and maniacally furious rhythm section here in the 21st century to give an indication of what Joe and the boys might have sounded like if they had stayed together a little longer and gelled a little better. And even though Buffalo Killers have managed to inject a bit of poppy sunshine into their bunker-busting sound, in the live arena the band still rumbles and shoots like a rhythmic Sherman tank. The Killers hit all of my teenage buttons (which were installed long ago and have never been fully deactivated, same as every man on the planet, I suppose) and any opportunity to witness their feedback-through-an-elephant-gun glory is a chance to time machine back to the days when electric dinosaurs roamed the earth and their squalling racket could be heard from sweaty and sparsely attended auditoriums to densely populated arenas. I love Buffalo Killers. They remind me that there is wisdom in remembering the past, joy in celebrating the present and excitement in anticipating the future.
After a brief stroll around the grounds to grab something to eat, it was back to the Amphitheater Stage for a healthy dose of Rock hard Americana with Those Darlins. The Nashville outfit has been down a Darlin since early last year when Kelley Anderson opted out of the band to pursue other musical projects (her new group, Grand Strand, got a good buzz after touring with Richard Lloyd last year), and her amicable departure has obviously changed the group's dynamic, particularly the absence of their signature three-part harmonies. The remaining Darlins — Jessi (Wariner), Nikki (Kvarnes) and drummer Linwood Regensberg — are carrying on with the-show-must-go-on determination; new bassist Adrian Barrera seems to be slotting in quite well and Those Darlins' core sound, along the lines of the Pandoras if they'd been influenced by Wanda Jackson and the Ramones, remains largely intact. Their Bunbury set did display a good deal more Rock and a good deal less twang than you'll find on their first two albums — 2009's Those Darlins and 2011's Screws Get Loose — and it's a safe bet that the new album they're currently working on will follow that blueprint as well. No one at the Amphitheater seemed too dismayed at the shift, particularly the hyperactive dance contingent in front of the stage. Two Darlins is clearly enough Darlins to make Those Darlins.
I bailed out of Those Darlins a bit early to make the long walk back to the Rockstar Stage to take in the Gypsy Jazz goodness of DeVotchKa. I've long been a fan of the Denver-based outfit (I came to them through 2004's How It Ends, fell in love with their version of the Velvets' "Venus in Furs" from the Curse Your Little Heart EP and adored their work in Little Miss Sunshine) but have never had the opportunity to see them in the flesh, and when I saw them on the Bunbury schedule, I knew there was little that could draw me away from their show. Luckily, their 9 p.m. slot meant they weren't programmed against anyone else, so the way was cleared for my first live DeVotchKa experience.
DeVotchKa lived up to and surpassed all advance billing with a set that walked the wire between frenetic and atmospheric but maintained high energy from start to finish. Even when they slowed the pace, there was an electric tension in their presentation that made clear something explosive could happen at any moment. And it usually did. All four members of the band — Nick Urata, Jeanie Schroder, Tom Hagerman, Shawn King — play multiple instruments so almost any sound is available to DeVotchKa, including theremin, boukouki, accordion, trumpet and Melodica. And Schroder does the heaviest lifting, either plucking with power and subtlety on her enormous upright bass or blowing away like Dizzy Gillespie on steroids into a gigantic sousaphone that looks as though it would be the punishment instrument for getting bad grades in high school band ("Okay, Baker, D in Orchestra, 10 solos with the death tuba..."). It wasn't a performance to analyze or interpret, it was a Gypsy Jazz soundtrack for a magic show, a feeling to wash over you like cool waves on warm sand, a Slavic Rock and Roll dance party. More than a few people on DeVotchKa's Facebook page declared it the best show of Bunbury's three-day weekend. It was most assuredly one of them.
Finally, it was time for fun. Not the fun that we'd been having all day at Bunbury, but the fun. that's topping the charts and recently played Saturday Night Live and won a couple of Grammys this year. Admittedly, I'm not a huge fan of the band. I like their sound to a certain extent, it's energetic and entertaining and I really like Nate Reuss' voice. I actually interviewed him a decade ago when he was fronting the Format; ironically and perhaps presciently, he used the word "fun" a half dozen times to describe his band at the time.
At any rate, I hung around to see the show to be able to report how it was to my daughter, and because the band clearly doesn't take itself too seriously. When they accepted their Record of the Year Grammy for "We Are Young," Reuss said, "I don't know what I was thinking, writing the chorus for this song. If this is in HD, everybody can see our faces, and we are not very young." All in all, I was expecting a pleasant if unassuming concert experience.
And that's pretty much how it started, with the "Some Nights" intro, the title track to their sophomore album (it would show up in its entirety during the band's two-song encore, leading into "One Foot" from Some Nights). In fact, fun. performed almost all of Some Nights (save for "All Alright"), and over half of their debut album, 2009's Aim and Ignite, perhaps best represented by "At Least I'm Not as Sad (as I Used to Be)" and the nearly eight-minute closer, "Take Your Time (Coming Home)." Of course, they saved their anthemic signature singles for the second half of the set, first "Carry On" and then, two songs later, the epic Grammy-winning Pop of "We Are Young." Sandwiched in between though was a very charming version of The Rolling Stones’ "You Can't Always Get What You Want," an interesting lead-in to "We Are Young," a song that would seem to sport a diametrically opposed message. By the time fun. concluded with "Stars" as the second song of their encore, they had fired a confetti cannon (there was still yards of fun. confetti on the field when The National played Sunday night), performed the majority of their two studio albums and put on a show that proved they were worthy of their first-night-closing status. While I think they should remove the rather severe punctuation from their name, I have to say I was at least slightly converted toward a fun. lifestyle.
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.
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.
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.
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.
Bootsy Collins spoke with music writer Brian Baker for this week’s CityBeat, revealing the conceptual, philosophical and educational elements behind his new album, Tha Funk Capital of the World (out this Tuesday). The album’s label home, Mascot Records, is giving a sneak peak in the form of tribute track “JB-Still the Man,” Bootsy’s James Brown requiem featuring a spoken-word tribute to Brown’s rare influence on the world by Rev. Al Sharpton. The groovy track (available as a free download at the link below) is just one of the tributes to Collins’ heroes on the album. Collins talked to Baker about how Jimi Hendrix’s own voice ended up on Funk Capital’s Hendrix tribute, “Mirrors Tell Lies.”
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.
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.