What are your favorite memories from the Southgate House?
On Monday night/Tuesday morning this week, as news that the popular Newport music venue would cease to exist (in its current state, at least) leaked out, I watched a steady stream of comments on Facebook respond to the news with a mix of stunned disbelief and sad nostalgia, as fans of the club shared some of their best stories and memories.
Many people were quite emotional, and I wondered why I wasn't having similar feelings. Since the late ’80s, I had been a frequent visitor to the club, and, over the entire span of my 20 years writing about music in Greater Cincinnati, I have consistently covered events at the venue. I was not totally unmoved by the sudden announcement, but I certainly wasn't as shaken as others appeared to be.
Where do you begin with a band like Lynyrd Skynyrd? Everyone has been out at a bar or a concert and heard some crazy and/or drunk lunatic shouting to the band on stage, “FREE BIRD!!!” They are the epitome of and gold standard for Southern Rock music. Even now, through the tragedy of the plane crash in 1977 to the re-formed band, Skynyrd still provides electric performances every night. They still happily rock the hits of the early days. like “Simple Man” and “Sweet Home Alabama,” while mixing in the music they are still releasing, most recently Last of a Dying Breed, which came out late last year.
CityBeat had time to catch up with lead vocalist Johnny Van Zant, the younger brother of the band’s original front man Ronnie Van Zant. The two discussed how Skynyrd fits into Rock music today, as well as the wonderful feelings the band still gets performing every night on stage.
Skynyrd performs at Riverbend Music Center tonight with Bad Company, providing the same energy as the cast from the ’70s and showing audiences what real Southern Rock sounds like.
CityBeat: Do you have any crazy Cincinnati memories from the past?
JVZ: We have had so many good shows there. Years back, when a flood hit, there was water in the first four or five rows. People were kind of standing in the water. I was like, “Wow these are really diehards.” I don’t even know how many times we have played at that particular amphitheater (Riverbend), but it has always been a good, hot, sweaty, summer Rock & Roll show, which is how it is supposed to be.
CB: The band has had multiple lineup changes over the years since you joined the band. How do you integrate someone new into the band?
JVZ: For us, they have to be a friend, someone we have known, someone we admire as a musician, someone we think would fit into our family. When we are out on the road, running up and down the road playing shows, you have to be not only a member of a band but, especially with Lynyrd Skynyrd, you have to be a part of the Skynyrd nation. You have to be a part of the family. Our newest member is Johnny Colt, who was bass player with The Black Crowes. Colt fits right in with us. He’s loony as heck and so are we. We have a great time and love doing what we do. I hope Johnny is with us for a long, long time. He is quite the guy. It has been awesome.
CB: I know you guys have worked many times with one of my favorite guitarists, John 5. What was that experience like for you and have you done any collaborations recently?
JVZ: Well, yeah, he was on our last record, Last of a Dying Breed.
John is a good friend of us. We knew we were going to be good friends
with John because we were in Nashville writing and our manager mentioned
John and said, “You know, he is a little different than you guys.” And
we said, “ That’s OK, that’s no problem.”
John walked in, he was just coming from a photo shoot. He had on the fingernails with his hair all up. When he walked in and I went, “Damn, you are different. Damn, are you a freak or something?” And he said, “I was thinking the same crap about you guys.” We just hit it off. He is a wonderful guitar player. Not only can he play Heavy Metal and Rock & Roll, but he can play the hell out of some Country music, which we love. I just admire his work and he is one of the most phenomenal guitar players I have had the pleasure to work with.
CB: A lot of people are saying Rock is dead and Country music is the new Rock. Do you believe that Rock is dead?
JVZ: No. I think Country music is Lynyrd Skynyrd. I
think a lot of the Country music is what we do, but I don’t think Rock &
Roll is dead at all. People have been saying that shit for years and
years and years: "Rock & Roll is dead." Then it comes back. It’s like
For us we just played Houston, Texas, in front of 10,000
people. We played Bristol, Va., I think there were 14,000 people on
a Sunday night. The night before last we were in Camden, N.J.,
14,000 people on a Wednesday night. I’m sure Cincinnati is doing quite
well. We are in Pittsburgh tonight. It is going to be phenomenal here.
If Rock & Roll is dead and gone, man, I am missing out on it.
CB: Tell me a little bit about Last of a Dying Breed and which songs we are going to hear from that album when you come to Cincinnati?
JVZ: Well, it is debatable. What we do, each night we try to think about what new song we want to put in. Right now we are really concentrating on 40 years. It’s been 40 years since (Pronounced 'lĕh-'nérd 'skin-'nérd) came out. It’s been our major focus to play as many songs off that record and celebrate that era.
CB: Where do you see yourself in 15 more years?
JVZ: Hopefully alive. Hopefully playing some shows
and still doing this. Doing a lot of fishing and drinking a good
Budweiser and something like that, I don’t know. If you want to make God
laugh, tell him your plans. I never really plan too much. I just like to
go along with the flow and the good Lord throws me in the direction he
wants me to go.
CB: Do you ever get tired of playing “Free Bird”?
JVZ: Not at all. I am quick to say, "Not at all." How
many bands would love to have songs like that? Most bands say we would
give anything to have one of those. “Free Bird” and ("Sweet Home Alabama"), that’s
the cool thing about Skynyrd. We have three generations of fans who love
those songs. It is amazing to me.
We are out with Bad Company right now and we are real big Bad Company fans. We are at the top of the game with these guys. From my era and a lot of other people’s era, Bad Company was the rule of the roost when it came to Rock & Roll. Paul Rogers is one of the best singers. Simon Kirke and Mick Ralphs have been around for years. It is just great to be out on the road and playing shows with good friends too. We are having a blast. We hope to do it again sometime after this tour and look forward to coming your way.
CB: Are you flattered when someone like Kid Rock uses "Sweet Home Alabama" in his songs? Excited? Upset? How do you feel when someone integrates that song?
JVZ: We were actually doing a tour with Bobby when
he had “All Summer Long” (the song that incorporates "Sweet Home") out. For us, hell, it keeps us in the spotlight.
He did a good job on it. It was a hit song for him and everybody got
paid. So surely, we are like, “Can someone else use it again and again?”
It is kind of funny when you think of stuff like that. Who would have thought when that song was written a long, long time ago, people would still be loving it and a band from Jacksonville, Fla., and what success my brother and Alan and Gary, my hat is off to them. I love keeping the music alive. It is a great thing. It’s a great thing because the song has been used in Forrest Gump and various movies. Any time anything like that pops up as long, as it is not in bad taste, is great. It has been a good ride.
Besides baseball, there are two things that I associate with GABP and the Reds — beer and music. Well, maybe there are three. Losing in the playoffs has seemingly snuck itself in there in the last week or so.
Whatever, I don’t want to talk about it.
Ever since I was a kid, my favorite baseball players' personalities have always matched their walk-on batting intros. (Adam Dunn’s intro, “For Whom the Bell Tolls” by Metallica, was badass, unless he struck out afterward, which was often the case.)
But as I got older and was able to drink at the games (legally anyway), I began to notice a trend in my beer buying regiment. I was buying more booze in the bottom-half of the innings than in the top-half and I had no idea why. But after some deliberation (a couple more beers), I finally figured it out. It was this team’s batting intros that drove me to the stands to go broke on $9 beers (thanks, guys!)
So, in lieu of thinking about my bank account, or the fact that we made history being the only team ever up 2-0 in a series and still, somehow, some way, found a way to lose three straight at home, here is a list of the Reds' starters walk-on songs, rated on a scale of how many beers it takes for me to enjoy them. Even though no amount of booze will ease the pain of that Game 5 loss, maybe making fun of these guys' music preferences will.
• Zack Cozart: “Too Close” – Alex Clare:
Alex Clare’s DupPop single “Too Close” (best known for soundtracking an Internet Explorer commercial) has risen on the pop charts at the same rate as Zack Cozart’s batting average over the past season. Coincidence? I think not.
But really, Zack? This is your walk-on song? This is what gets you pumped up? I mean, for God’s sake, the lyrics don’t make any sense. “I feel like I am just too close to love you”? It would make much more sense if the lyrics were, “I feel like I’m too just too drunk to do you.” That would be a song I could connect with.
Rating: 8 beers.
• Drew Stubbs: “Breakin’ a Sweat” – Skrillex and The Doors
There is no excuse for this. The whole thing sounds like Netzero fucked Jim Morrison and it’s just not OK. I honestly think this may be half the reason why Stubbs’ hitting had been so atrocious over the last season. Really though, if I had to hear this screeching dial-tone noise ringing throughout GABP every time I went up to bat, I wouldn’t be able to concentrate either.
Rating: 20 beers. Alcohol poisoning sounds better than this song.
• Brandon Phillips: “Turn Up” – 2 Chainz; “Turn On The Lights” – Future; “Everythang” – Young Jeezy; “Pop That” – French Montana; “Bandz a Make Her Dance” – Juicy J
All right, DatDude, what the hell? I understand wanting to switch it up during the game and maybe having two or even three songs tops. But five? In most games you don’t even get to the plate five times!
It’s OK, though. It’s worth it just to see all the old white people get uncomfortable when there is some Rap music blowing through the speakers at GAB.
Rating: 2 beers.
• Joey Votto: “Paint it Black” – The Rolling Stones
I like to picture Joey Votto sitting at home alone, crying, listening to this song and asking, “Why do I have to do everything?!?”
Seriously though, when you hear that thumping drum beat in the beginning of the song, you know fear strikes the heart of any opposing pitcher having to face Votto-matic.
Rating: Zero beers. No alcohol needed for this one.
• Ryan Ludwick: “Brass Monkey” – The Beastie Boys
While Phillips' newer Rap joints are a little too hood for the white people in the crowd, this is something they can relate, too. I wish Ludwick could bat twice in the order, not only because he’s a great hitter, but so I can see the drunk 40-something in front of me gyrate and giggle some more when this song comes on.
Rating: 2 beers. It’s a fantastic song but it is about drinking, so it only seems right to have a little bit of a buzz.
• Todd Frazier: “Come Fly With Me”/ “Fly Me To The Moon” – Frank Sinatra
Todd Frazier is a class act. His intro songs were chosen because they remind him of his grandparents (seriously dude — is there a bad bone in your body?). But honestly, who better than Old Blue Eyes to bring out the classiest Red since Sean Casey?
Rating: Zero beers. Maybe a “Daniels on ice, two fingers” though, in salute to Sinatra.
• Jay Bruce: “Everything I Do” – Timeflies
I don’t know who these guys are, but based on the 15-30 second judgment made when I heard it every time Bruce came up to bat, I’m not a fan. (Sidenote: I’m going to blame this song on that pop-fly he had in the ninth inning of Game 5. Thanks a lot, Timeflies — you ruined the season!)
Rating: 5 beers.
• Ryan Hannigan: “The Show Goes On” – Lupe Fiasco
I applaud Hannigan for throwing up a Lupe song as his walk-on. It’s cool that he listens to some good Hip Hop. But this song was quite possibly the worst choice he could have made. The sample of Modest Mouse’s “Float On” alone makes me want the “show” to stop and never go on again.
Rating: 5 beers.
• Scott Rolen: “Viva La Vida” – Coldplay
This might be the weirdest choice on the whole list. When you see Scott Rolen up to bat, he just looks pissed off. Like he’s Liam Neeson and the ball he’s about to smash just took his daughter and sold her into the sex trade.
But then you hear his walk-on music and it’s freakin’ Coldplay? I was expecting some AC/DC, even some Motorhead, but Coldplay? I would go on, maybe even make a “You know how I know you’re gay?” joke — but honestly I’m afraid of this guy. Even if he does listen to Coldplay.
Rating: 4 beers. After about four large drafts I’d be singing along. It’s just got that Pop-chant chorus that I can’t resist when intoxicated.
I wasn’t going to do any pitchers but this one was too hard to resist …
• Mike Leake: “Some Nights” – Fun
You know what would be fun, Mike? If “Some Nights” you’d stop choking and pitch to your full potential.
Rating: 6 beers.
(While we know up-to-bat music is irrelevant in Major League Baseball and cannot actually be blamed for the Reds blowing it in the playoffs, we'll offer our suggestions for new walk-on music this coming spring. Look for it in about six months. Leave your own suggestions in the comments.)
Revitalization group 3CDC's live music programming throughout the past few summers has helped turn Fountain Square into the heart of Cincinnati's increasingly active downtown area, drawing thousands to the Square every week to catch everything from Reggae and Salsa to Hip Hop and Indie Rock.
The group will be doing the same thing in Over-the-Rhine at the newly renovated Washington Park across from Music Hall. The Park officially opens tomorrow (July 6) with a 10 a.m. ribbon-cutting ceremony. The christening will be followed by tours of the park, then a free 5 p.m. World Choir Games "friendship concert" at the Bandstand.
Like with Fountain Square, Washington Park's weekly music series will showcase local musicians, with live performances on Wednesdays, Thursdays and Fridays.
Wednesday will be "Bandstand Bluegrass" night, featuring some of the best area Bluegrass artists. The shows begin July 11 and will run every week, starting at 7 p.m., until Sept. 5. On Fridays, the Park features "Friday Flow," a night of R&B and Soul that starts July 13 and runs each Friday through Sept. 5.
The lineups for Wednesdays and Fridays have yet to be announced, but more details have been made available about the every-Thursday Jazz in the Park series. Beginning July 12, the lineup has been curated by local Jazz pianist Chris Comer, who held a similar role on Fountain Square last year. The first Jazz in the Park concert is July 12 and features Comer and his quintet, plus special guest Napoleon Maddox from the progressive Jazz/Hip Hop group IsWhat?!
Jazz in the Park performances run 7-9 p.m. through Aug. 30. Other shows in the series include the P&G Big Band (July 19); The Cincy Brass (Aug. 2); Steve Schmidt (Aug. 9), Ricky Nye Inc. (Aug. 16); and the Dick Sorice-Dan Jackson Quintet (Aug. 23).
Along with many other special concerts — like Over the Rhine's (the band) free show July 22 and the rare joint performance featuring Cincinnati Pops, May Festival Chorus, Cincinnati Opera and Cincinnati Ballet — the Washington Park summer schedule is filled with other types of events, from community festivals to "dog programs" to movie nights and special "Curiosity Saturdays" for kids.
One of the coolest physical changes to Washington Park is the interactive Classical Music Walk of Fame, a project in conjunction with the American Classical Music Hall of Fame and InfoTrust which will enable visitors to use their smartphones and tablets to play various musical selections through the park's sound system or through the very cool "musical fountains," which will change appearance/flow/color depending on which music is selected.
Here's a quick overview of how the interactive Classical Music Walk of Fame will work.
To read about all of the things Washington Park has planned just this summer alone (remember, it will be a primary venue for the MidPoint Music Festival at the end of September) click here.
The members of Kentucky's Black Stone Cherry take pride in their closeness. They are still just four guys rocking out and living their dream. BSC's just-released third studio album, Between the Devil and the Deep Blue Sea, reached the Top 30 in the Billboard 200 and the group is currently on the Carnival of Madness tour with Alter Bridge, Theory of a Deadman, and Emphatic. The tour hits Dayton's X-Fest, at the Montgomery County Fairgrounds, this Sunday (click here for concert details). CityBeat recently spoke with Black Stone Cherry lead singer Chris Robertson in depth about the band and the personal issues he has dealt with over the past few years.
Local singer/songwriter/multi-instrumentalist S.R. Woodward is not your average clean-cut, guitar-strumming, doe-eyed heartthrob. No, this guy is far too weird for that racket. Combining slightly-flat-yet-charming harmonies sung in a baritone warble with peppy, synthesized musical backing tracks, he’s a troubadour of minimalist ditties that lie somewhere between cheeky and heartfelt.
The long overdue appreciation of Cincinnati-based King Records gets another shot in the arm with the publication of Dayton-native Jon Hartley Fox’s King of the Queen City: The Story of King Records, a detailed look at the various personalities, including kingpin Syd Nathan, that made the studio such a culturally groundbreaking and creatively vital musical force.
For those who can’t wait for Fox’s appearance at the Books by the Banks festival at the Duke Energy Center on Saturday or at Shake It Records on Sunday, the author discussed the book with Terry Gross on NPR’s Fresh Air today. The show also included separate interviews with Bootsy Collins and former King staffer/Sire Records founder Seymour Stein, both of whom talk about their memories of King.
On Sunday night, hundreds of local musicians — as well as the many of the fans who love them — had Covington's Madison Theater packed to capacity to celebrate the 16th annual Cincinnati Entertainment Awards.
It was another love fest, as the music, laughs, camaraderie and drinks flowed throughout the tight three-hour ceremony/party CityBeat founded over a decade and a half ago as a means of honoring Greater Cincinnati's music makers (and, originally, local theater artists and productions).
Though it has lessened over the years as more people have grown to understand the CEAs better, there is still plenty of griping about the awards every year. The vast majority of complaints are about who gets nominated. It's understandable in light of the talent that is overlooked annually. Having so many talented and deserving artists in our city making quality music is a good problem to have. But if every worthy musical act in the Tri-State area were to be nominated for a CEA each year, the categories would include dozens of nominees and the show itself would have to be a sleepover affair. You think the Oscars are too long? Sit through one 16-hour CEA show and you'll be begging for a witty Billy Crystal musical number.
Like every year, the sport of CEA bashing is quickly forgotten once inside the venue for the ceremony. The awards celebration is the one time of the year where fellow musicians from every genre — some friends already, some friends-to-be, others perhaps only known via social media messages — gather in one place. There doesn't seem to be a ton of competitive spite within our music scene and the musicians I've talked and worked with, for the most part, are always pretty down to earth. (As if on cue, the griping returned right after the show — a comment on Sunday night's blog post featuring the winners of this year's awards deemed the whole program an embarrassment. Sixteen years of my life, wasted! Oh, anonymous trolls, where would you be without the internet?)
The CEAs can't help but become a communal love fest. (Yes, the drinking probably helps this quite a bit, as well.) In general, there seems to be a lot of internal support amongst local musicians, and it feels like external support and appreciation (outside of jerky, anonymous comments) is on an upswing. The CEAs are always a great reflection of that community spirit.
Ben Davis of Indie Pop duo Bad Veins kicked off the CEAs with his trademark taped accompaniment, but without bandmate, drummer Sebastien Schultz. Davis' performance was still compelling, capped off by that timeless ode to magic and mystery, The Muppets' chestnut, "Rainbow Connection." The singer/multi-instrumentalist set the tone (and the bar) for the night's performances, which included plenty of revelations and some fun, novel surprises.
Those unexpected moments are always the performance highlights of any awards show and this year's CEA lineup and production provided loads of highlights. Local Boogie Woogie torchbearer Ricky Nye rumbled through a great set of rollicking Blues, building up to a cool collaborative climax as Blake Taylor and Jonathan Reynolds of fellow CEA "Blues" category nominees 46 Long joined the pianist/singer. Nye and 46 Long had been embroiled in a mock online feud leading up to the show. Music heals! (Nye ended up winning the category.)
International Punk sensations The Dopamines gave the show a jolt with their explosive performance, launching into Guided By Voices' "A Salty Salute," but only after bassist Jon Weiner managed to insult nerds and "old fucks" in his introduction (they're "Punk," he reminded everyone later). From there, the trio launched into a mini-set of their own adrenalized anthems with fiery swagger. Fans were made.
The same can be said for singer Jess Lamb, the soulful vocalist who wowed the crowd with a few hypnotic songs, joined by her guitarist and bassist (who doubled on throbbing kick-drum). The sparse set-up belied the soaring sounds conjured, guided by Lamb's remarkable voice. Lamb was nominated for a CEA in the R&B/Funk/Soul category, a testament to her unique sound, which comes closer to resembling Florence and the Machine than, say, Usher. We may need to create an "Alternative/Soul/Rock" category to accommodate Lamb next year.
The Hip Hop/Rock band Gold Shoes are also keen hybridizers, and their CEA performance was a great display of the group's unique spin on Hip Hop fusion. The band provides a dynamic backdrop that's spiced with elements of Funk, Rock, Pop, Jazz and beyond. But the group isn't just providing a playground for frontman Buggs Tha Rocka to unleash his tight, captivating flow. The group writes melodic songs with strong, unique chorus hooks. Their CEA performance was a clinic on how to combine Hip Hop with other types of music without sounding like a cheap Pop grab (" … featuring Adam Lavine!"), Gym Class Heroes or, God help us all, Limp Bizkit.
The Cincinnati USA Music Heritage Foundation, which provided a great experience for VIP ticket buyers in the balcony, reminded everyone of the Queen City's place in shaping popular music with a segment presented by the group's president, musician Marvin Hawkins. After talking a bit about the organization's plans to continue honoring the area's rich musical past in 2013 (expect a lot of King Records-related events in honor of the locally-based groundbreaking label's 70th anniversary), Hawkins joined a host of local Roots musicians for a spin through a pair of songs from the recent collection, The Lost Notebooks of Hank Williams, a project spearhead by Bob Dylan that involved writing songs from a cache of unearthed lyrics written by the American music icon. The all-star band assembled — including Magnolia Mountain's Mark Utley and Renee Frye, David Rhodes Brown and Sylvia Mitchell — expertly played songs they had recorded at the Music Heritage Foundation's downtown headquarters, in the same space once occupied by Herzog studios, the site where Williams recorded "Lovesick Blues" and other classics.
The CEA show itself ran smoothly and first-time host Ted Clark proved to be a great fit for the show. Clark's deadpan, sardonic humor — familiar to those who flock to his "live talk shows" at MOTR Pub — was reminiscent of Zach Galifianakis and sometimes he had great lines that were maybe to subtle for the CEA's "party atmosphere." But from those of us paying attention — bravo, Mr. Clark.
There was an array of entertaining acceptance styles from the winners, ranging from choked-up and sincere to pumped-up and enthusiastic to more matter-of-fact. Wussy had a huge night, taking home the Album of the Year (for Strawberry) and Artist of the Year CEAs, capped by some funny lines while accepting. Drummer Joe Klug joked that, for anyone doubting they deserved the Artist award, Wussy "played Little Rock, Ark., four times in the past year."
The award presenters — a collection of local music supporters and personalities, mostly from radio and press outlets, as well as sponsor reps — did a great job hammering home the "support local music" message of the CEAs' mission. But presenter and CityBeat Arts and Culture Editor Jac Kern provided one of the funniest bits in CEA history with her tribute to Beyonce — via a soon-cut-off lip-synced performance of the National Anthem.
Culture Queer capped off the show (or warmed up the after party?) with a set that captured the fun of the night, rocking out a trio of quirky, animated Electro Indie Art Pop gems with their trademark film backdrop. The sprightly CEA trophy hostesses came out for some dancing on finale "Born Again," their funky get-ups matching CQ's twitchy, offbeat anthem — and the jubilant, colorful energy of the entire night — perfectly.
It is shaping up to be a great summer in Cincinnati for fans of popular, contemporary Country music. First it was announced that the giant Tim McGraw/Kenny Chesney tour (with Grace Potter and the Nocturnals opening up) would come to Paul Brown Stadium on July 1. Now, Riverbend has unveiled an impressive lineup of some of the top names in Country scheduled to appear at the outdoor shed this year (including Miranda Lambert, pictured at the right). An on sale date for the individual concerts has yet to be announced; the lineup was released this morning because of the return of the B105-sponsored "Country Megaticket" offer, where fans can save some money by purchasing ticket packages that will get them into all seven concerts. The "Megatickets" (packages range from $200-$385) go on sale this Friday at 10 a.m. through www.Riverbend.org or www.B105.com. Click here for more details and check below for the full lineup.
This Saturday is Record Store Day, which began in 2007 as a way to celebrate (and draw business to) independent, brick-and-mortar record shops all over the globe.
In the Cincinnati area, four longtime record shops with loyal fanbases will officially participate — Everybody’s Records in Pleasant Ridge, Shake It Records in Northside, Mole’s Record Exchange in Clifton Heights and Phil’s Music & Memories in Latonia, Ky. That means you’ll be able to get your hands on some of the thousands of exclusive, RSD-only releases coming out this year from a wide range of acclaimed artists, new and old. (See the huge "The List" of exclusives below.) Other stores may also be doing fun, interesting stuff for the "holiday"; be sure to visit all of your favorites. That's what the day is all about.
• The local shops usually do it up big for RSD. At Everybody’s Records, you can listen to live music (including a 2 p.m. acoustic set from Jody Stapleton and Brandon Losacker of Jody Stapleton and the Generals) and DJing (from local Reggae DJ squad Queen City Imperial Soundsystem at 5 p.m.) throughout your RSD adventuring at the store.
• At Shake It, Grammy-winning (for his work on Dr. John’s last album) rocker Brian Olive performs at 6 p.m. (he and his band play MOTR Pub later on Saturday for free), while Chuck Cleaver and Lisa Walker of Wussy play at 8 p.m. Shake It is offering a 10% discount on purchases for anyone bringing non-perishable food items for Churches Active in Northside’s Choice Food Pantry.
• Shake It’s “record label” branch is also getting in on the RSD fun, putting out a pair of new, limited, exclusive releases by a couple of local music giants. Saturday at the shop, you’ll be able to pick up a live vinyl album featuring a performance at Shake It by The Greenhornes over a decade ago. The Live at Shake It Records 2001 LP featuring 14 tracks representing the band’s first three albums (one song was previously released by the label on a 7-inch in 2002, but it went out of print instantly).
Shake It will also release an EP of songs by Walker and Cleaver — a.k.a. Wussy Duo, which plays when the full band is not available. The CD features seven tracks from the slimmed-down lineup.
• With Record Store Day falling on 4/20, it should be no surprise that critically-acclaimed Cincy-area rockers Buffalo Killers would get in on the action; pot references are sprinkled throughout the band’s discography and their deft blend of vintage Psych Pop and swampy Blues Rock is certainly THC-friendly. The trio — which tours frequently and has made fans out of The Black Keys, The Black Crowes and many others across the U.S. — is coming through big with a new six-track, 12-vinyl EP titled Ohio Grass. The follow-up to the band’s fourth and finest full-length, 2012’s Dig. Sow. Love. Grow., has more than just a title reference to the smoky stuff — the EP’s cover (see above) features a giant, burning joint and the vinyl itself is colored “Herb Green” (as noted on the pot-leaf sticker also gracing the cover). The EP is a Record Store Day exclusive through the band’s label, Alive Naturalsounds Records.
The Buffs will be spending 4/20 in Dayton, performing an in-store at Omega Records to celebrate the release and RSD, but on Friday, Buffalo Killers perform a free show for Cincinnati fans at MOTR Pub with special guests, The Cincinnati Suds. Showtime is 10 p.m.
Click below for a huge list of Record Store Day exclusives from the RSD official site. (Click here for more, including the special RSD releases that will still be available post-Record Store Day.)