Lightnin’ Malcolm is an emerging driving force in the genre of underground Blues as a member of the North Mississippi All-Stars and also as a solo artist. Alongside counterpart Carl Gentle White aka "Stud" on drums, the dichotomy of their two styles produces a rough, soulful sound that reminds folks of Blues legends like Lightnin' Hopkins and Howlin' Wolf. Audiences should be prepared to dance, party and delight in Malcolm’s deep Mississippi sounds tonight at the Southgate House Revival. Malcolm is opening for and playing alongside the North Mississippi All-Stars. Showtime is 8 p.m.
CityBeat: I know you have an album coming out on Sept. 10. Can you tell me a little bit about it?
Lightnin' Malcolm: Well, it is 14 original songs and they have quite a few different styles on them. It is all based on my style, which is based on the hard driving, raw boogie North Mississippi Hill Country style. It is mostly (the) guitar and drums duo but we add some horns on a few tracks. We have Luther Dickinson playing slide on a few songs. So it is a pretty good mix of stuff.
CB: I was listening to some of it this week. I love “My Life is a Wreck.” Can you tell me the story behind that song?
LM: Well, that is a semi-autobiographical piece. One of my greatest influences was T Model Ford and he recently passed and that song was based on a style he had on the guitar. His grandson Stud is playing drums with me now. That was the first song we did in the studio. That was his first song recording and I thought it was a great way to feature it. My music depends on a great drummer. Drums are so important to the music and he is one of the best. I have known Stud since he was like 1 years old. He grew up watching me play drums with his granddad. He knows the style of drums that I like, the raw, four on the floor, predator style, no messing around. Just raw and making people dance. By us knowing each other so long, he is like my little baby brother. We have this chemistry together that works so well.
CB: I watched some videos of you two playing together. It is super high energy and looks like a lot of fun.
LM: Yeah, that is the key to it all. We don’t have to hit a note exactly right or (do flashy) guitar solos. We just try to create as much … fun for the people as we can. We just want to see people party and have fun.
CB: How old were you when you picked up your first guitar?
LM: I was about 10 or 12. Before that, I really wanted to be a drummer. I used to beat on buckets and pots and pans, put the radio on and play along with them. I didn’t have any actual drums and I finally got a hold of a little piece of guitar. I didn’t know how to tune it or nothing, but I fell in love with the strings in my hand. It took a while to learn how to tune it because I didn’t have anybody around me to show me at that time. Once I learned how to tune it, I started learning pretty fast. It just became everything to me. I look at the guitar like some people look at The Bible. It is like a vehicle for something later. I leave Earth. I can go on a vacation in my backyard with a guitar. I can escape to a whole other world with it.
CB: I know you eventually moved to Mississippi after growing up in Missouri. How did you hook up with some of these great guitar and Blues players in Mississippi?
LM: I just made friends with them. They saw something special in me, I think. I wasn’t trying to blow them off stage. I didn’t ask them many questions, like how to do things. They noticed whatever they played, I could play back. They hadn’t seen too many white guys, or any guys, that could do that. So we just made friends. It was pretty easy. Those were the kind of guys I wanted to be around. They really took me in. They were really nice to me. They never said I wouldn’t be able to do it. There was everybody else saying, “You won’t be able to do it.” They were the guys saying, “You got it. Stick with it.”
CB: Alive or dead, what one person would you want to collaborate with if you could?
LM: That’s a good question. I think, you know what’s funny, there are a lot of people outside of the Blues I’d like to collaborate with nowadays. Of course, like, John Lee Hooker is one of my all time favorites, Howlin' Wolf, there are so many Blues guys. Out of living artists, I’ll tell you a guy I love right now, two guys I love, they are more like R&B. (One is an) artist named Lyfe Jennings, I don’t know if you’ve ever heard of him, he’s fucking awesome, he’s so sincere. Another guy is Anthony Hamilton who is a Soul singer. To me, even though their style is way different than mine, those are guys I really hear singing where I’m like, "Wow, they really hit the ceiling." You don’t hear it that much anymore. Everybody is using effects. You really don’t hear that wail in that voice. Otis Redding had that, you heard his voice and you just had to see him. You don’t hear anybody like that anymore. I know people wouldn’t expect that from me, but when I am riding down the highway listening to music, those are two guys I really listen to, that I look up to and would be great to collaborate with.
CB: That leads me into another question. There has been so much publicity recently around Pop music with Miley Cyrus and the VMAs. To me it shows how much more important it is to keep really authentic Blues music in front of people. What are your thoughts on that?
LM: I agree with that. I’m out here fighting the good fight doing what I can. It’s not always easy. People have to support what is going on. If people start throwing their money at garbage, you’re going to end up with a lot of garbage. I can’t speak for the next person but I can say this — there isn’t enough hours in the day to listen to great music. There is all the great music you can listen to. There is definitely no time for nonsense. I don’t waste time listening to stuff that sounds like garbage. That’s just me.
My drummer, Stud, he’s young. He was watching the awards the other night and I was laying on the couch trying to sleep. I didn’t miss much. The hours in the day are precious. I would use them wisely. You don’t have to listen to garbage. That’s about the best I can do. If anybody can make some money doing something, good for you, I don’t mean it the wrong way. If you ask me about serious music, there is great music out there being made. It is just underground. Maybe it is too real for people. I am not the expert on this type of thing, I just know what I like, I listen to what I like. Even when I was a kid in school, I was listening to way different music. I was listening to Lightnin' Hopkins and John Lee Hooker and would tell the other kids, “You have got to hear this. Check it out.” They just said, “Whatever.” I thought maybe when they grew up they would understand.
CB: What can the fans expect from you guys at the Southgate House Revival show?
LM: We are coming to rock y’all. We want y’all to come and have fun and dance and boogie. We want you to get in the groove and forget about everything in the outside world for a couple hours and get in the zone. We want to have a party for y’all. Being on stage can be the funnest thing in the world when it is going right. When it is going wrong, you just want to disappear. It is a funny thing. When it is right, it is right as a motherfucker.
Volbeat — performing at Bogart's tomorrow (Tuesday) — may not be a household name around venues in the United States, but they are an intense Danish Heavy Metal band that has played in front of some of the largest crowds in the world overseas. The band — Michael Poulsen (vocals/guitar), Anders Kjolholm (bass), Jon Larsen (drums) and Thomas Bredahl (guitar) — is about to kick off the U.S. leg of their Grand Summer Tour, promoting Volbeat's latest album, Beyond Hell and Above Heaven. CityBeat caught up with lead vocalist Michael Poulson by phone from his home overseas to discuss the band's growing popularity in America, being naked with Metallica and the great successes of the band in Europe.
• Bluegrass ensemble Hayseed Dixie began racking up fans upon its formation at the dawn of the 21st century thanks to its energized and entertaining live show and the contents of the band’s initial setlists and albums. Though all talented and experienced players, it was Hayseed Dixie’s novelty that initial drove attention its way. The group’s debut was a Bluegrass tribute to AC/DC, while subsequent albums have featured a wonderfully ridiculous array of the group’s Appalachian-spun Rock covers (they grass up everything from OutKast and Green Day to Neil Young and Motorhead). After wide exposure through musical- and comedy-world exposure, the Hayseeds began to introduce more and more original material (2008’s No Covers should be self-explanatory).
Hayseed’s members have individually gotten more busy with various interesting side projects while the main band takes a hiatus. As frontman John Wheeler works towards his more serious-minded debut solo album (scheduled for release early in this new year), banjoist Don Wayne Reno carries the Hayseed torch with his band Granny 4 Barrel, self-described as “Country music’s first and only shock Country Rock & Roll band.” If you thought Hayseed Dixie was outlandish, G4B takes it to the next level with their ridiculous outfits and a sound that retains Hayseed’s Rawkgrass attitude and turns the Rawk elements up to 11.
Granny 4 Barrel performs tonight at the Southgate House Revival as part of the opening for area visual artist Derek Toebbe’s “Urban Revival Art Show.” The event (which also includes DJ sets by the Devout Wax crew) is free and starts at 7 p.m.
Here's a sampling for G4B's crazy sound and stage show.
• Wildly entertaining (and wildly eclectic) ensemble The Duke of Uke & His Novelty Orchestra bring its self described "lyrical ukulele jazz-funk-motown popssical" sound back to Cincinnati tonight for a a free show tonight at MOTR Pub in Over-the-Rhine. Drawing comparisons to artists as diverse as Tom Waits, Squirrel Nut Zippers, Amy Winehouse, the B-52s, and Captain Beefheart, the Urbana, Ill.-based septet has been winning fans all over the region with their energized, swinging live shows, which blend smart lyrics, four-part harmonies and diverse instrumentation (ukulele, violin, tuba, saxophones, Latin percussion). Read more about The Duke and Co. in Reyan Ali's preview in this week's CityBeat here.
Here's The Duke of Uke & His Novelty Orchestra's official music video for "Jump Back," a track from their 2012 album April's Empire.
• There were moments over the past few years where it seemed like bassist Nick Oliveri was on the brink of imploding, stuck in that weird, almost dreamlike universe (inhabited by the likes of Courtney Love and Katt Williams) where an entertainer’s fans ultimately just accept that there’s a good chance the performer might die any day. Oliveri’s ornery streak has been consistent but it started out manageable — just some usual Rock & Roll debauchery. Then, in 2004, Oliveri was kicked out of Queens of the Stone Age after Queens frontman Josh Homme suspected he had been physically abusive to a girlfriend.
Luckily for Oliveri, he had a few side-projects to fall back on, touring with his group Mondo Generator (who comes to Newport’s Thompson House Saturday night), as a solo acoustic act and with veteran Punk sensations Dwarves. But it wasn't enough to keep him out of trouble (click here to read more about Oliveri's various ups-and-downs over the past year).
But Oliveri seems to have rebounded, even reportedly making amends with his old bandmate Homme. Mondo Generator has been perhaps the most consistent part of Oliveri’s life since 1997. Blending the Hard Rock of his previous projects with more Punk Rock chaos, Mondo has built a strong cult following for itself. But, with the way things are going as Oliveri continues to rebound, it’s anyone’s guess if Mondo will go back to “side project” status at some point.
Mondo Generator performs Saturday at the Thompson House with Saviours, Wino, Bearer of Bad News and Mangrenade. Showtime is 7 p.m. and tickets are $18.
Here's Mondo Generator performing "Four Corners" live.
I love the last day of MidPoint and I hate the last day of MidPoint.
I love the energy and anticipation of what has always been the best night of the festival and I hate the thought of going home at the end to the reality of another 362 day wait until we can do it all over again. Other than a couple of hiccups, both personal and universal, this may have ultimately been the most perfect MidPoint ever.
First up for Day 3 was a stroll to Washington Park for Freelance Whales, the Brooklyn, N.Y., Chamber Pop group that filled the void when a skateboard fractured Sleigh Bells touring schedule. This was my first experience in the park since it’s renovation and it really is spectacular from every conceivable vantage point. The design, the playground, the fountain, the attention to detail; Washington Park is destined to become a downtown jewel and everyone who threw in to execute this vision is to be commended, and perhaps knighted, if we do that.
I did want to see Freelance Whales, but I had a side agenda for coming to the show; I figured there might be a chance of spotting my friend (and former CityBeat contributor) Matthew Fenton since this is the kind of show he likes. As I scanned the growing crowd, I spotted and was spotted by none other than former CityBeat editor John Fox, now installed as a big cheese at 3CDC, largely charged with publicizing and programming Washington Park. We talked about the park and the triumphs and travails of attempting to make it as universally inclusionary as possible to all of Cincinnati’s residents. I hadn’t talked to John in a very long time, and it was great to catch up, but it was greater to see him so incredibly excited about the park and its potential. He has always been an incredible friend and booster of the city and he’s in the perfect position to channel that passion.
In the spirit of his being “the host” at the park (and my ever deepening poverty), I let him buy me a beer. In all seriousness, I owe John an unpayable debt. He recruited me as a CityBeat freelancer when he was building the paper back in 1994, and his one requirement for a place on the masthead was that I get back to writing features, something I hadn’t done in well over six years at that point. John’s conditional offer of freelance work launched me on a path that continues to this day, and absolutely set the stage for my transition into full time writing when I lost my full-time design gig in the idiot epidemic of 2001. So many great experiences and interviews and interactions and friendships resulted from a lunch meeting 18 years ago when John looked me straight in the eye and said, “You are too good of a writer to be doing nothing but reviews. You need to be writing features and that’s all I want you to do for me.” Without that firm encouragement and faith, the last couple of decades could have been very different indeed. I owe you an ocean of beer, Sir John Fox, and although it may be awhile before I can start making payments, please know that I acknowledge the debt.
OK, dry your eyes, pussies … on with the shows.
Freelance Whales were an excellent stand-in for the silenced Bells. Their gorgeous Chamber Pop swells and subtlety were made even more majestic and expansive with Music Hall as the backdrop behind the MidPoint stage. As the sun went down and Music Hall lit up in anticipation of the evening’s CSO performance, Freelance Whales’ gorgeous melodicism and quietly powerful presentation was exponentially amplified. Any fan of the Decemberists or Arcade Fire should make room for Freelance Whales in their playlists.
From there, it was a brisk walk through the teeming Midway (what a fantastic idea, please let’s do this forever) to Japp’s Annex to witness the loopy edge of the New World Ancients. The Chicago quartet exudes a definite Pop/New Wave vibe, a quirky clockwork rhythm that suggests Go 2-era XTC and early 10CC with hints of the frenetic artiness of what was known initially as the Mystic Knights of the Oingo Boingo. That 21st century New Wave concept was reinforced on “Shape Shifter,” which careened like vintage XTC and Danny Elfman, while “Hole in the Sky” sounded like a Space Rock anthem collaboration between Andy Partridge and Godley & Creme; they even hauled out the brilliantly weird “We Are the Future,” an old song from Athens, the band that spawned NWA. All four NWA members had all-seeing third eyes painted on their foreheads, which offered just the right amount of creepy fun to the proceedings.
Ric Hickey ducked into Japp’s for a tour of the porcelain village, on his way to rendevous with Greg Gaston and Jeff Wilson to check out The Walkmen, and since I was headed that way myself, I followed him out. The four of us drifted down to Neon’s for a beer or two, bullshitted for a spell about music and life (like there’s a difference), watched the Reds tie the game in the eighth (glad we didn’t stick around for the extra innings … cest la vie — still division fucking champs, babe) then headed up to Grammer’s for The Walkmen (Ric rethought his schedule and hung around for the late lineup at Japp’s).
Although we were half an hour late for The Walkmen’s start time, it turned out they hadn’t been particularly timely. As we waited at the front gate (based on the asshole-to-elbow crowd that packed Grammer’s tent, I was convinced the line was designed to grease up latecomers so they could slide into the throng more easily), I was overwhelmed by the exquisite aroma drifting over from the food truck next to the entrance. Greg saw my sidelong glance and gave the taco truck and the young lady taking the orders a ringing endorsement.
The Walkmen were as fabulous as I suspected they would be. Spiffed out like a GQ Rock fashion layout, The Walkmen displayed a similarly stylish edge in the live presentation of their energetic yet restrained studio work. Still going strong a dozen years after forming from the ashes of Jonathan Fire*Eater and the Recoys, The Walkmen have evolved from atmospherically sparse Pop to more visceral and then Folk-tinged Indie Rock. The Walkmen’s new album, Heaven, is a more lush sonic affair, with songs that deal with the pressures of adulthood and the strength of love. The album’s sonic breadth is hinted at in concert but The Walkmen are more than capable of allowing the songs to do the heavy lifting, presenting them with power rather than mere volume.
In an age of disposability, The Walkmen have persevered for 12 years without a lineup change, going their own way in their own time, and seamlessly tempering their youthful enthusiasm with their hard-won maturity. It’s a wirewalk that few bands can pull off but The Walkmen manage to do it with an easy grace and humility; they were clearly affected by the huge turnout for their MidPoint debut.
I reluctantly bailed after about 30 minutes due to the start of the 10:00 pm shows I wanted to catch, and my creeping hunger, the launch codes for which had been entered coming into the show. I headed straight for the Taco Azul truck and quickly discovered Greg was right on all counts. The tacos were otherworldly good. All apologies to Mr. Hanton’s for straying from my steady diet of handwiches, but it was inevitable; when I was at Washington Park, I noticed that Island Noodles, which had been a huge hit at Bunbury and my favorite food of the festival, had a booth near the MidPoint stage and I briefly considered working in a walk back to the park to score a noodle bowl. Saturday was destined to be hot dog free.
I was just finishing my tacos when I ran into Black Owls' Brandon Losacker and three of the Sohio musketeers, who were all headed to Below Zero for The Ready Stance show, which was my destination as well, so off we went to see the wizards. Brandon graciously handed me a delicious Kentucky Bourbon Ale, the perfect cigarette after my taco interlude.
The Ready Stance was already in full swing and what a swing it was. The bar was absolutely sardine packed with fans loaded with love for the Stance and they didn’t disappoint. After a scorching spin through what I’m guessing was a new song (I didn’t recognize it as anything from their debut, the uniformly excellent Damndest), Ric Hickey stood wide-eyed and slackjawed and proclaimed the song’s classic brilliance. He wasn’t wrong. Damndest was a great opening volley, but their next shot could well be the one heard around the world, and this gig was an all too brief example of their talent and passion. A great set from a great band.
Near the close of the Stance’s set, I ran out to the Midway to catch the last three songs from Imperial Teen, because they’re one of my favorite Indie Rock bands with a quirk factor that is discernible but not obvious or trendy. I’d been looking forward to their 11:30 pm slot, but Imperial Teen’s set moved from the Hanke to 10:00 pm to accommodate the outdoor music curfew. It was clearly a great finish to what seemed to have beeen a rollicking set; Sean Rhiney declared it to be his favorite band of this year’s MidPoint. And the band was certainly appreciative of the large crowd that turned out for them; frontman Roddy Bottum noted that this was their only Midwest show and that they were glad that it was happening in Cincinnati. Their new album, Feel the Sound, is fantastic, as is the bulk of their catalog, and I hope they find their way back here very soon.
After that, it was a quick hustle over to The Drinkery to witness the Hard Rock fireworks provided by Thunder Bay, Ontario’s Bella Clava. I had written up the CityBeat preview for the band so I was already inclined to check them out, but the Mad Anthony guys had done some gigs with them and were highly recommending the show, so Bella Clava went from “possible” to “definite” in short order. The adrenalized quartet was hotter than fresh lava and proceeded to melt every face in the jammed Drinkery space with the ferocity of a bull on crystal meth. Frontwoman Caitlin Dacey was a mind meld of Ann and Nancy Wilson, switching between guitar and keyboard, guitarist Steve Suttie channeled the likes of Jimmy Page and Richie Blackmore with sweat-drenched conviction and fury, and the rhythm section of bassist Scott Hannigan and drummer Zack Mykula created a thunderous bottom that could have been registering as a seismic event.
The band was clearly moved by the MidPoint love they were receiving; at the end of their set, Caitlin noted, “I need to get a picture of you guys; my mom won’t believe it.” Ringo Jones hopped on stage and got a shot of the band with the Drinkery’s Rock drunk crowd behind them. It was a thing of beauty.
Then it was back to Below Zero to yet another near capacity audience for yet another Canadian import. Zeus came highly recommended by Losacker and several others, so I decided to check them out. The quartet were as good as advertised, sort of a Hard Rock spin on the Beatles and the Kinks. In the studio, there is a more than noticeable Sgt. Pepper vibe to Zeus’ sound, but in the live context, some of that psychedelic subtlety gets shaved off in favor of a leaner, more visceral Rock experience. It was clear that a fairly large percentage of the audience knew what they were coming to see, because there was a good deal of song recognition and wild response in the crowd.
I ducked out after about 30 minutes of Zeus’s sonic lightning bolts to catch the end of the road for local Rock heroes The Dukes Are Dead. Here’s proof that sometimes bad luck can result in good things; London’s Leogun was forced to cancel their MidPoint appearance and so the Dukes’ final show was pushed to the closing slot, allowing them the leeway to play considerably longer than their original 9:45 time would have accommodated. In some ways, it’s been a bad year for straight-up Rock in Cincinnati, with the recent demise of Banderas (MPMF regulars) and now the dissolution of the Dukes. As befitting a band that was playing its last show in the last slot on the last night of MidPoint, the Dukes left nothing in the bag. The band’s frenzied set was a thrashfest of howling vocals and grimy, guttaral riffage that was so explosive it was tempting to think that Luke Frazier and Luke Darling were playing six string grenade launchers, while bassist Randy Proctor worked his bass like a lead guitar and drummer David Reid hammered his kit like he was forging broadswords for Middle Earth giants on an anvil made of asteroids and pain. Formed just three years ago, it looks like the Dukes are going their separate ways to pursue new musical projects, which we can only hope results in a massive stock split as four hugely talented Hard Rock provocateurs subdivide into a handful of new and similarly bent projects.
We will certainly welcome the Dukes Are Dead in their new individual configurations, but anyone was there will never forget the way they went out collectively. It could have been a bittersweet moment, and to a certain extent, it was, but it was also the joyous beginning of the rebirthing process, and in that context, the final show of The Dukes Are Dead was an absolute perfect way to draw the curtain on MidPoint 2012.
MidPoint 2012 Saturday Night Notes:
• Even by my standards, I swilled a lot of beerage at this year’s MidPoint. Mike Breen threatened me with an intervention and a film crew from the so-titled A&E show, but he also offered to buy the beers, so it was all good. Still in all, if you ran into me and expect to see our exchange in these musings and it’s not here, don’t feel left out. There are events that, even just hours old, are vague and unstable memories to me now. It’s a lot to expect for an aging and beer-sodden brain, so bear with me.
• Day 3, no Matthew Fenton. It cannot be that we didn’t cross paths even once over the course of the three days here, so I have to believe that he skipped this year’s soiree. He and Kelly were here for Bunbury in July so maybe that was the reason he bailed this year. A MidPoint without Matthew is like a MidPoint without sunshine, and while I get that the vast majority of it happens at night, you know what I mean (or refer to the preceding paragraph for clarification).
• Ran into MPMF stalwart/stage manager/former Buckra guitarist Jacob Heintz, his niece and pal Brome (the spelling of which I’m guessing at). It was the first time I’d spotted Jacob all weekend … I was beginning to think maybe I should take a shower, the way I was being avoided. Then I decided that was a rash decision. Or maybe just a rash. Either way, it was great to see Jacob.
• Crossed paths with Paul Roberts and his sister at Japp’s during the New World Ancients. It was the first of many crossings with Paul and his merry band of Rock rangers, including Faint Signal guitarist Randy Campbell, big Jim and the little guy whose name always eludes me (see the opening paragraph for clarification).
• I love that local singer/songwriter Ric Hickey is back in town after a stint on the west coast. And more importantly, Ric Hickey loves that Ric Hickey is back in town. Time to strap up and Rock on, my brother. Welcome home.
• The Ready Stance gig was a stacked deck of musical luminaria; The Purrs’ Jim Antonio, drummer to the stars Dana Hamblen, Black Owls’ Brian Kitzmiller and Brandon Losacker (who repeatedly supplied me with Kentucky Bourbon Ales, which I may have developed a dependence on), the above noted Ric Hickey and CityBeat head man Dan Bockrath, who repeatedly bought the beer at every possible opportunity. I’m thinking of starting a Kickstarter campaign to fund the construction and upkeep of the Brian Baker Beer Buying Hall of Fame. I smell a plaque with Dan’s name inscribed on it. Or maybe I just missed the urinal. Again.
• A couple of Sean Rhiney (musician and co-founder/operator of MidPoint before CityBeat took over) sightings, first at Washington Park as I was departing Freelance Whales, and again at the Imperial Teen show. Sean is a prince among men, and even has a princely look. If royalty ever comes back to America, Sean should be in line for some kind of dukedom or earlship or lordiness. Really.
• I happened upon former Host vocalist Chris Charlton, who was handing out free copies of the debut issue of his new comic book, Sleepless. His written all the stories and worked with a variety of artists to bring them to life in Sleepless, which is being published by Assailant Comics; there will definitely be a #2. Chris says he may get back to music at some point, but right now he’s concentrating on the comic. The first story is a zombie love story, but my fave was “Artificial Unintelligence”; pick one up and enjoy at your leisure.
• Randy Cheek (member of The Ready Stance and Fairmount Girls and former bassist for Ass Ponys) needs to write a book. After the Stance gig, his stories in the alley next to the dumpsters beside Below Zero were all incredible, ranging from stepping in human waste after a gig (the phrase “slightly melted poopsicle” was used) to seeing a bedbug on an amputee’s stump in his daytime role as an exterminator, all of which was punctuated by a guy pissing on the other side of the dumpster. Randy really needs to write a book. Really.
• The old saxophone player who was blowing on 12th Street just down from the Midway segued from the theme song for Sanford and Son to George Michael’s “Careless Whisper,” which, in my state at that moment, was a sure sign that a portal to another dimension had been accessed, or that alien beings had just been contacted, like with that weird note sequence from Close Encounters of the Third Kind. I’m still not sure it didn’t.
• I stumbled into Mark Messerly, Eric Appleby and his lovely wife Trish on the way to Bella Clava. I should have asked Eric about Matthew. There were exchanges, a bad vaudevillian punch line (mine, naturally) and gales of laughter (a drunk is never not funny), as well an introduction to some lovely people whose names were obliterated by the first stormtrooping guitar chord that hit me at The Drinkery. I pulled out my pad to write them down on my big notepad titled "Don’t Forget, Dumbass," and they were gone. Regardless, it was nice to meet you. The second introduction usually sticks.
• There were so many people at the Bella Clava and The Dukes Are Dead shows that my memories are kind of bubbly around the edges, like a burnt photograph. The Mad Anthony guys were all there, Jeremy Constantinople from Banderas, Paul Roberts and the gang (which sounds like they’re the Cosby Kids or something, but they’re not, I’d bet), and Beth, who I met at the Black Owls show, and a guy named Chad who has a band in Newport and wanted to hire Randy after the last Dukes show (he told me the name of his band, but the opening paragraph should be referenced for clarification) and Dan Bockrath who bought me a Red Stripe because it was the only beer the Drinkery had left, and you were there, and you and you. And it was a beautiful, beautiful night filled with amazing people and fabulous music and love. Or at least really intense like. And it stoned me. Or the opening paragraph did. Either way, blissed out at MidPoint again and again and again.
• As always, thanks to the great (and nearly jailed) Dan McCabe for his grace under fire and his dedication to making MidPoint one of the best things that happens in Cincinnati. He is a king in the new royalty, a king I tell you. Thanks also to the tireless volunteers who make this run like a well-oiled machine (I use beer to oil my machine, and it’s a good thing the volunteers don’t take that approach or nothing would get done), the fans who spend their hard earned money on wristbands and venue tickets and food and gallons of goof juice and souvenirs, and of course the bands who come from
around the corner, across the state, around the country and the globe to entertain us and bring a little musical sunshine into our spongey consciousnesses. Or is it consciousnessi? I don’t have time to look it up. MidPoint 2012 is a lovely memory, and I’m drooling like Pavlov’s dogs for next year’s lineup, whatever it may be. Matthew Fenton, your place is saved. Next year, for sure.
I love the last night of MidPoint. And I hate the last night of MidPoint. I love it because it’s typically the most attended of the festival’s three nights, the energy is beyond amped, the venues are packed, the very air seems charged, like Duke abandoned electric cables and is beaming power through the aether straight into your skull.
I hate it because this is the end, my only friend the end, and even as the evening begins with a promise of greatness, it comes with a melancholic touch and before the light has started to diffuse, I’m already missing this year’s festivities and anticipating next year’s first night.
Buckcherry has been epitomizing Hard Rock since the late ’90s. The band recently started touring behind its sixth studio album, Confessions, adding to a great and energy filled set-list, alongside crowd favorites and major hits “Crazy Bitch” and “Lit Up."
CityBeat had a chance to speak with enigmatic Buckcherry singer Josh Todd in preparation for the band's set at Rock on the Range in Columbus this weekend (May 17-19). Buckcherry takes to the stage Friday night alongside Hollywood Undead, Cheap Trick and Korn. Click here for more Rock on the Range info.
CityBeat: I have seen you at Rock on the Range many years. What is your favorite Rock on the Range moment from the past?
Josh Todd: One year we were there performing “Lit Up” or “Crazy Bitch," I can’t remember, and a guy in a wheelchair started crowd surfing. That was a pretty memorable moment.
CityBeat: You guys just came off a tour with Kid Rock recently, which is a great match. What was your craziest tour story?
JT: Surprisingly, it was a pretty tame tour. We didn’t have too many backstage parties. The coolest thing we did, Bob — Kid Rock — invited Keith and I to his place in Alabama. We got to go and do some skeet shooting and eat some barbeque. I had a lot of deer meat which I hadn’t had in a long time, a lot of deer jerky. So that was a lot of fun.
CB: I was just covering the Kid Rock cruise and he was singing “Crazy Bitch.” It was a cool moment, one of my favorite songs with him singing.
JT: Yeah. I don’t know what to think of that. I’m flattered, you know, but it is kind of strange since we were on tour with him. I think it is cool because he loves the song.
CB: I want to talk about the record a little bit. I know Confessions is loosely based on the seven deadly sins. Which sin do you think is the worst?
JT: The worst or the most hard to manage?
CB: Either is fine?
JT: Probably lust, especially when you have been in a Rock band since you were 15 … it is something that comes up a lot.
CB: I know “Sloth” was written about your experience with your Father’s suicide. Is it ever hard to perform that live?
JT: I have never performed that live. We are working on it right now. We have six records. We have 80 some odd songs to really sift through. The songs we have performed off Confessions so far are “Wrath” “Gluttony” “Greed” “Air” and “Nothing Left but Tears.” We will get there eventually. I don’t think it will be hard for me because I just got a lot of great feedback from a lot of people who really connected to that song. That makes it a lot easier for me. It was real tough to record, but I think now it will be all right.
CB: Are there any habits you would like to break?
JT: Yeah. I struggle with sugar. So, yeah, not so much sugar.
CB: I know your songs are very autobiographical. Is there anything you have regretted writing about in any of your 80 songs?
JT: Since I write all the lyrics, it is kind of therapeutic for me to get out what is going on inside of me and somehow make it where a lot of people can relate to it. That is the challenge of the songwriter, to take a piece of your personal life and the lives around you and try to create a song where lots and lots of people can remember. That is the fun of it and also the challenge of it all.
CB: What does your perfect day look like?
JT: A perfect day would be to be home with my family. Just getting to spend time with them is a perfect day to me because I tour so much. To be home with my family is great.
CB: Is there anybody you would like to trade places with for a month?
JT: Yeah, I would like to be Kyle Busch for a day.
CB: Oh, a race car. Do you have fast cars?
JT: Yeah, I race fast go-carts. I have a race cart at home. I race that as much as I can. I did a NASCAR experience out here in Fontana and that was a lot of fun. I have always wanted to race an oval track race in a stock car. That would be amazing.
CB: Can you tell us what the fans should expect from your set at Rock on the Range?
JT: They can expect what we always deliver — their money’s worth.
CB: Are you going to be performing any of the new album?
JT: We will be performing “Gluttony” “Wrath” and “Nothing Left but Tears,” which is going to be the new single. Plus, we have to get to a lot of other songs. I don’t know how long our set is, but depending on how long our set is, we have been doing “Greed” recently and it is really great live now.
Hip Hop star Young Jeezy performs tonight in Corryville, bringing his tour behind the recent Thug Motivation 103: Hustlerz Ambition album to Bogart's for an 8 p.m. show. The Def Jam Records recording artist released his major label debut, Let's Get It: Thug Motivation 101, in 2005, spawning the hit single "Soul Survivor," featuring singer Akon. The South Carolina-born, Atlanta-based MC (once a member of the group Boyz n da Hood) put out two more albums — The Inspiration and The Recession (in ’06 and ’08, respectively) — which featured guests from R. Kelly and Keyshia Cole to Nas and Kanye West (their collabo "Put On" was nominated for a Grammy), and he's appeared as a guest himself on singles by Usher ("Love in This Club") and Rihanna ("Hard"). The Thug Motivation masterclass skipped ahead to 103 (perhaps Thug Motivation 102 is audit-only?) and was released late last year after several announced release dates came and went. The album landed at No. 3 on the album charts its first week out (in the midst of holiday shopping fever, making it more impressive).
TM 103 once again features a pretty heady guest list, with cameos by Yo Gotti, Lil Wayne, Freddie Gibbs, Jay-Z, Andre 3000, Jill Scott, Snoop and Ne-Yo, who appears on the most recently released single "Leave You Alone." Check the video below (NSFW for language, excessive head tattoos and gratuitous product placement for Crown Royal and Ciroc vodka). Tickets for tonight's show are $25 (plus fees). Read more about Jeezy here.
• Indie rockers Brighton MA — neither from Brighton nor Massachusetts — hit MOTR Pub tonight for a free show with great locals The Mighty. The Chicago band was formed by two members of Scotland Yard Gospel Choir upon their departure from that acclaimed Indie Pop ensemble, emerging as a successful and acclaimed unit in its own right not long after. An intense mesh of Folk, Rock and Pop, the band's songs have been used on TV shows (like Gossip Girl and Community) and in a successful Jack Daniels ad campaign last year during the holidays. The band also scored a sweet tour van to take a trip on Route 66 for an extensive promotional web series called "Rock the Route," which was sponsored(-the-hell-out-of) by Red Bull. Earlier this year, the group released a new 7-song EP called Billboard Sun, a warm-up for their second full-length, due later this year. Tonight's show starts around 10 p.m.
Oh, and Brighton, Mass., is the neighborhood in which singer Matt Kerstein was born (in case you were wondering).
Here's the band's "Good Kind of Crazy" (aka "the song from the Jack Daniels commercial"):
Music Tonight: Music legend Paul Simon brings his tour behind the recent full-length, So Beautiful or So What, to The Bank of Kentucky Center on Northern Kentucky University's campus in Highland Heights for a 7:30 p.m. concert. The tour also happens to coincide with the even-more-recently-released retrospective compilation, Songwriter, a nice reminder of just how many iconic tunes Simon has crafted, classics like "Bridge Over Troubled Water," "Still Crazy After All These Years," "The Sound of Silence," "Graceland" and "The Boxer," to name just a few. (Simon's first four solo albums were also reissued this year.) When Simon's current tour ends early next month, the singer/songwriter will turn his focus to next year's touring plans — a jaunt celebrating the 25th anniversary of his genre-defying smash hit Graceland (an anniversary "box set" — featuring a documentary and the usual array of B-side and outtakes — will also be released). Opening up the show in Northern Ky. tonight is progressive Bluegrass troupe Punch Brothers. The group was formed by mandolinist Chris Thile after his band Nickel Creek called it quits and also features musicians who have worked with Leftover Salmon, Jerry Douglas, Tony Trischka and other modern Bluegrass big-timers. Ticket prices range from about $54 up to around $86. Click here for more. Below, to get warmed up for what will surely be a calm, orderly shopping experience on Black Friday (right?), check out "Getting Ready for Christmas Day," a holiday tune on Simon's new record.
The music he made with groups like The Light Wires, The Great Depression and The Brothers and the Sisters helped make singer/songwriter Jeremy Pinnell one of many local music fans' favorite songwriters. Pinnell's folksy songs were marked by his ability to convey — with an almost uncomfortable accuracy — the kind of dark, ominous emotions most people try to bury. His words, his melodies and especially his muttering yet soulful voice had that rare ability to effortlessly do what most writer's strive for their whole career — to make a deep connection with the listener that goes beyond a hummable hook or slick guitar solo and buries itself deep inside their conscience.
Having practically every person who heard his songs immediately captivated wasn't enough to keep those projects together. Pinnell seemed to ride the waves of success each act experienced (on varying levels), then the band would break up before the project's full potential was reached.
After another dry spell, Pinnell returns to the local stage tonight at MOTR Pub in Over-the-Rhine for the live debut of his latest project, Jeremy Pinnell and the 55's. Once again, Pinnell has hooked up with some gifted collaborators to create more soul-stirring songs to shatter what's left of your fragile, blackened heart.
The 55's reteams Pinnell with one of his earliest musical partners, Cameron Cochran (currently with Pop Empire). When they were 18, Cochran and Pinnell were pals playing Country songs together at their buddies' Punk Rock shows. Cochran says "The Voice" was already in place.
"He had that voice that would shut up a room," Cochran writes in a press release. "It didn't matter what the show was. He would open his mouth and everyone listened."
The two went their separate ways eventually, but recently reconnected. Cochran is vague about the circumstances of their last project ending and this one beginning, saying only that it is a tale of "heartbreak, tragedy, love and redemption" worthy of a Country song. Indeed, the 55's sound is somewhere between AltCountry and Indie Folk, with the timelessness of those genres' precursors driving everything. The band is rounded out by drummer Chris Alley and bassist Ben Franks; Cochran adds spectral atmospherics with his pedal steel guitar work and hovering backing vocals.
Some of the 55's material has come out via a handful of wonderful live videos shot by local photography superstar Michael Wilson. Below, check out one of the clips by Wilson, who is also working with Cochran on a series filming at The Emery Theater called "One Shot Music Videos" (referring to how Wilson shoots each in one continuous shot without edits).
Tonight's show at MOTR is free and starts around 9:30 p.m. Visit JP & the 55's on Facebook here.