Old, new, weird or blue – I can’t get enough.
“Thunder Clatter” – Wild Cub
This hand-clapping, shoe-tapping goodness is by far one of the best new jams I’ve came across, making it impossible to skip when it comes up in my track library. It’s upbeat, it’s joyful, and you’ll find yourself singing the final phrase, “I feel it all in the center of it all, you’re the love of my life — the love of my life” over and over again because it’s so damn catchy. (Not to mention, sweet as a peach.) Wild Club is an American Indie group that defines itself by the brand of '80s-inspired Electro-Pop, with “Thunder Clatter” becoming their most successful track. Listen for yourself and see why.
“My Wrecking Ball” – Ryan Adams
Hands down one of my favorite artists of this lifetime. I first discovered Mr. Adams when I got stranded in Arizona after Cincinnati got hit with the blizzard of the century, and I couldn’t find a flight home. (Not complaining.) I gratefully sat outside in the desert air reading Brain On Fire, in which the author talks about how her best-kept memory was hearing Ryan Adams play. And I soon learned for myself about this man — not only known as a beyond talented musician, but his approach on stage is ridiculously comedic, with a touch of thought and wisdom. “My Wrecking Ball” live at Carnegie Hall is one of my favorite tracks to play. It’s a stunning song filled with so much life, and at the very end he draws a laugh from the audience after dropping his hands onto the keyboard and saying, “I really can’t fucking play this thing at all.”
“Nocturne” – Wild Nothing
I’m starting to notice this bouncy, '80s theme in a lot of contemporary music lately, and this song is perfect example of that exact vibe. It’s a track that’s meant to fade in and out of style, with pops of a deep, deep echoing voice flowing after each verse. Not to mention, the guitar is incredible. Lead singer Jack Tatum’s unique voice and song structure creates a sound that can almost be heard in any setting. I choose Wild Nothing for drives to work, writing at my desk or even when I eat dinner on my couch. No matter what the setting, this song easily fits.
“Drag” – Day Wave
If the artist Day Wave had to go by one phrase, it would read: “I fucked up but I don’t really care.” It’s a quick beat with softly voiced lyrics, giving off the vibe where you want to dance along but also emotionally feed into what they’re saying. Day Wave’s latest track “Drag” is easily heavy on the sounds, and although the lyrics are quick, they’re so simple to catch on to. It’s repetitive without driving you crazy. And sure, it ends before you know it. But that’s all the more reason to play it over again and again and again.
“You Really Got A Hold On Me” – She & Him
Zooey Deschanel (She) and M Ward (Him) have seen individual success within their own careers, but together they turn out to be a surprisingly perfect duo. “You Really Got A Hold On Me” is one of the best examples of how these two artists compliment one another best as Ward’s voice echoes behind Deschanel’s elegant, classic sound so delicately. This song makes it easy to get swept away into a sway with someone you care for, and them swaying you right back. It’s meant to be her unhealthy yearning for him, and the lyrics go, “You treat me badly…I love you madly.” We’ve all been there…right?
With vocals as scratchy as sandpaper and an instrumental rock sound, Bootstraps are killing it with their soundtrack — their only soundtrack, to be exact.
Bootstraps are unique while maintaining a bit of what you’ve heard before. Lead singer Jordan Beckett’s voice is similar to Ray Lamontagne, while the overall sound resembles something along the lines of Coldplay. Explosions in the Sky’s strong yet delicate instrumentals play a part in the vibe this intimate band gives to their listeners.
Based in Los Angeles, Bootstraps’ admiration for California does not go unnoticed in their tracks. “OH CA” speaks for itself, while the rest of the jams have a majestic, passionate sound that carries you away to the oceans of Cali and the scenic roads that lead you there.
Personally, I’ve found Bootstraps to be a beautiful soundtrack for writing, reading and connecting deeply with your own emotions. (That’s right. ALL the feels.) My good friend Amanda with similar music taste commented on this newly discovered band and said, “I want to drink bourbon and sit and in a dark, rich, old bar while I listen to them.”
I couldn’t agree more.
My boyfriend pointed out that “their echo sounds like they are in the room next to you,” and although he wasn’t a fan of that, I absolutely was. If a band can prove to the listener that they sound that good in a live setting, then they are one hell of an artist, filled with the kind of talent that lacks a heavy amount tweaking.
Bootstraps made their mark in my book. Even though their songs remain at a mostly slow pace, I still find myself turning them on even at my happiest moments.
just that good.
If I could choose one album to listen to for a month straight (because, let’s be honest, the whole “rest of your life thing” is far too unrealistic), I would choose Repave by Volcano Choir.
A buddy of mine showed this album to be about eight months ago. He was going through some pretty tough stuff at the time, and he couldn’t get enough of this album filled with sorrow, power and beauty altogether. Repave consists of tracks that can almost make listeners feel as if it was written specifically for them, and I understood immediately why he was so drawn to it.
Justin Vernon (best known as Bon Iver) took a different turn with the Volcano Choir project, breaking away from the sound of his album For Emma, Forever Ago, and the more tranquil sound Bon Iver brings to the table. According to a Pitchfork interview, Volcano Choir is supposed to be “fun.” This concept immediately causes me to smile, because as deep and emotional a man Vernon is in comparison to his previous work, it just makes sense.
Although I said I would choose to listen to this album for an entire month straight, that doesn’t necessarily mean you have to be going through a tough time in your life to enjoy it. It’s beautiful in an elegant way, when the (sound) waves crashing into shots of orchestrated sounds that rise up as the track time elapses. Their album cover of a rocky ocean simply speaks for itself. Although it isn’t clear whether or not the dark skies symbolize before or after a storm, I personally imagine it as both. These songs begin with slow rhythms, delicate strummed guitars and a light tapping on the drums. Some even begin with a voice alone. But at some point, it escalates. It kicks your ass, emotionally. And just like the worst things we may face in life, the storm ends. And it slowly, but gracefully, falls.
Whether you’re a Bon Iver fan or not, this album is nothing like what you’d expect, yet, everything you’d expect. Play it over and over again. Face your storm. And rock the fuck out when you do.
The 2015 edition of the MidPoint Music Festival (owned and operated by CityBeat) is less than two months away, returning to various venues in Over-the-Rhine and Downtown Sept. 25-27, and this morning organizers announced the release of the schedule and a few additional performers.
New artists added to this year’s 14th annual event include The Besnard Lakes, Heaters, The Moth & The Flame, Alberta Cross, The Glazzies and Left & Right. A few more local acts — Mad Anthony, Bulletville and Culture Queer — were also added to the roster. Widely-acclaimed Cincy-area rockers Buffalo Killers will also perform at this year’s MidPoint. You can catch a preview when the group headlines a free show tonight on Fountain Square, part of the MidPoint Indie Summer series. The band is joined by Ohio Knife, Pop Goes the Evil and Go Go Buffalo for tonight’s 7 p.m. concert.
The festival also announced new venues for this year’s fest. Woodward Theater and Maudie’s, plus an outdoor stage at the corner of 14th and Sycamore streets, join previous venues Washington Park, Taft Theatre’s Ballroom, The Drinkery, Mr. Pitiful’s, MOTR Pub, Christian Moerlein Brewery and Arnold’s to host this year’s 120-act lineup.
Even if you weren’t around for Mick Jagger when he became a Rock & Roll legend, or to hear Jimi Hendrix’s “All Along the Watchtower” at Woodstock Music Festival, you still most likely know about it. The '60s and '70s were two of the most influential music decades of all time — a time we still appreciate this many years later, and will continue to during the years to come.Much of my appreciation for music today comes from what I’ve heard from the past. (Thank you, Mom and Dad.) Knowing where you are often relies on knowing where you came from — a totally cheesy saying that is completely relevant to the development of music as much as your own life.
John Mayer’s biggest influence was Blues guitarist Stevie Ray Vaughan. Kings of Leon was inspired by Neil Young, CCR and The Allman Brothers Band. Justin Vernon (Bon Iver) was fascinated with the lyrics of Bob Dylan, believing his voice paired as a good sound with his words.
Almost every great artist can root back to what inspires them, and sometimes we overlook that little detail which makes them our favorite contemporary musician.
This playlist is filled with just a handful of my favorite artists I wish I could travel back in time to see with my own eyeballs. But cranking up the volume extra loud and dancing in my kitchen will have to do for now.Led Zeppelin because Robert Plant is the man. And for crying out loud, why NOT?
Pink Floyd because everyone needs a little dose of psychedelic. Or a lot of it.
The Rolling Stones because Mick Jagger has been kicking ass since he was 15 years old.
Creedence Clearwater Revival because you may have seen the rain, but who will stop it?
Elton John because he’s my favorite human being that ever lived. “Tiny Dancer” makes me want to be Penny Lane from Almost Famous, singing my heart out on a bus with a band and their groupies. (But that’s just me).
Tom Petty And The Heartbreakers because they’re the perfect blend of driving in the summer and smoking weed in your basement.
*Notice there are no Beatles on here. Sure, they began the “British Invasion” after breaking into the U.S. music scene in 1963, causing one of the wildest movements in music history. However, they get enough credit almost everywhere else and don’t necessarily fit into the Rock & Roll I’ve chosen for this playlist.
Everyone gets hooked on a handful of songs they can’t seem to skip over during a period of time. Well, these are mine from the month of July.
“Crystals” – Of Monsters and Men
This song kicks complete butt. The heavy drum intro leads into the crashing of symbol waves throughout the entire track, while lead singer Nanna Bryndis Hilmarsdottir’s voice carries the powerful lyrics along the melody. This entire album is unique to their previous style, developing lyrics on a more honest and open level. Seriously, listen for yourself.
“Red Eyes” – The War On Drugs
This retro Indie Rock band from Philly wraps their beat around modern-meets-’80s music, especially their on this, their most popular jam. The impeccable beat is bob-your-head worthy, in addition to the powerful voice of the longhaired lead singer Adam Granduciel. Such a cool dude.
If you’re taking a long drive through the night with flickering highway lights passing your cracked windows and a chill in the air blowing through ever so slightly, you’ll easily feel like you’re racing back through time. It rocks so hard you’ll find it hard to skip.
“Soul Is Fire” – Elliot Root
I dare you to play this at your desk and try not to tap your foot (I tried, and it’s pretty impossible). Scott Krueger’s upbeat and unique voice is enough to turn any song into a party, especially this particular jam. It’s catchy, it builds and it’s just plain fun. Elliot Root got their own roots in the heart of Nashville, Tenn., but they’re not what you’d expect from the South. Give them a listen and dance around with your shoes off. It won’t be hard.
“Delilah” – Florence + The Machine
Delilah” is one of Florence + The Machine’s many singles sung by the beyond-badass Florence Welch and those incredible pipes of hers. This single, and two others that were released prior, are now featured on their latest album How Big, How Blue, How Beautiful. The entire album just continues to follow up with Welch’s tough-as-nails attitude and lyrics, giving women the sense of ability and power they should all possess. Not to mention it makes you want to dance.
“Wolves” – Phosphorescent
remember 2013’s “Song for Zula,” right? Turns out Phosphorescent has other
hidden gems, and I choose to listen to this gentle tune before I close my eyes
for the night. It’s simple, genuine and repetitive in a way that doesn’t feel that way. The unique use of a
ukulele as a long introduction pieced together with a soft, electric guitar and
the thick sounds of an accordion subtly enter into the center of the song.
Matthew Houck’s sad and sincere voice has that “cabin in the woods” vibe to it,
similar to Bon Iver’s For Emma, Forever Ago.
It’s overall a beautiful piece, even if it took me this long to discover
Though it hasn’t always been a loving relationship, Bogart’s has been a part of my musical life since the ’80s. I’m slightly older than the venue. I was 5 when it opened. But in less than 10 years, as my music fanaticism truly took hold, Bogart’s would become a place of awe to me.
It began when I entered junior high. I went to a school just a few blocks up Vine Street. It was commonly known as Schiel, but I attended during a brief period when it focused on foreign languages and was called the Cincinnati Bilingual Academy.
My fellow musically-obsessive friends at the time loved to hang out on Short Vine. The record stores were a big draw, as was the arcade, Jupiter and Beyond. So we spent as much time as we could in the area after school and on weekends. Bogart’s sat right in the middle of it all, but it was this magical, mysterious entity to us. Because the venue was yet to have “all ages” shows, we’d never seen a concert there. But we would stand out front and marvel at the posters in the window, wishing we could go see some of these very bands with which we were becoming deeply obsessed.
At some point, we discovered the alleyway that ran behind the club and realized that was where the artists entered and loaded in. So we began a ritual that lasted through high school. A few friends and I would linger around the backstage door before shows by artists we loved, hoping to see our heroes and maybe get an autograph. We would also sometimes be able to hear the musicians doing soundcheck, and every so often during our early high school years we’d be there late enough that we could actually hear some of the concert through those back doors.
There I got to meet some artists who were favorites of mine then and remain important to me to this day. Guitarist Andy Summers of The Police stopped at Bogart’s on a solo tour. The Police were by far my favorite band at the time, so it was incredibly exciting to say hello to Summers (who is a tiny, tiny man) and have him sign the pickguard I yanked off of my cheap acoustic guitar. I also got to meet the members of L.A. Punk legends X. Billy Zoom, the band’s blonde-pompadoured guitarist, was hilarious. He chatted with us briefly and then when we asked for autographs, he happily obliged, pulling a silver paint pen from his leather jacket. It must’ve been a new acquisition because he couldn’t get the cap off, so he handed it to me for help. Nervously, I got it off, but also broke the pen in the process somehow. Zoom started giving me shit and I was horribly embarrassed, but later realized he was likely just busting my chops and having fun with me.
When I was just starting junior high, British Ska/Pop band The English Beat played Bogart’s on its 1980 tour. The Beat were second only to The Police to me, but the show was during a time where we could only longingly look at the gig posters in the front windows. Later, while in high school, with our back door ritual in full swing, General Public — which featured the Beat’s frontmen Dave Wakeling and Ranking Roger — were booked to play Bogart’s, so we made plans to try and meet Dave and Roger. We arrived a few hours before the show and noticed that a few upperclassmen from our high school were there hanging out as well. It was a cold day and Roger and Dave came hurriedly around the corner towards us, huddled up in coats and trying to stay warm. Dave saw the five or six of us hanging around and instantly invited us in out of the cold. This was my first time inside of Bogart’s and it felt like I’d just entered a sacred temple. I had to leave (Mom was waiting for me), but we got to make that climb up the stairs from the backstage, walk across the stage (where the band members were messing with equipment), then through the big hall and out the front doors. It was a highlight of my life up to that point.
I also camped out around back when Adrian Belew and The Bears (featuring local musicians Rob Fetters, Bob Nyswonger and Chris Arduser of The Raisins) were making their Bogart’s debut in 1985 (it was the start of the band’s very first U.S. tour). I was a huge fan of Belew’s solo albums and work with King Crimson and The Raisins were one of my favorite bands. The Raisins were the first “local band” I truly fell in love with and anytime the group played an outdoor, non-club, all-ages show (in a park usually), I was there.
Belew finally was making his way into the club as we approached, accompanied by a man we didn’t recognize. It was Arduser, who was actually the drummer during an earlier period of The Raisins, not during the time when I’d go to see them constantly. As Belew jotted down autographs for me and my friends, he introduced Chris with a silly joke I’ll probably never forget: “This is Chris Arduser, also known as Chris Our Drummer.”
Years later, when I started my writing career, several of these moments connected and came full circle. While living in New York City, I had the chance to interview X’s frontpeople Exene Cervenka and John Doe in their record label offices (I didn’t bring up the Zoom/exploding-pen incident). I did an extensive phone interview with Belew. And through writing about and interviewing Arduser and Fetters over the past 20 years, I think if they saw me on the street they’d recognize me and say, “Hello.” Just being able to talk to those guys (and Nyswonger), considering my fanaticism over their bands from a young age, was and is pretty amazing.
A few years ago, I got to sit backstage at Riverbend with Dave Wakeling when The English Beat opened for 311. He was the kindest “Rock Star” I’d ever met and he actually hung out with me and a few other people I was with before and after the show. (When he let us into Bogart’s, I was convinced it was because one of the older high school girls was very cute, but I’m now more convinced he was just being a cool guy.) At one point, I was standing next to Wakeling at the side of Riverbend’s stage watching 311 play. At one point, he leaned over and said in my ear, “I think me and Roger (who no longer performs with The Beat; Wakeling is the only original member) will get back together at some point.”
If my 13-year-old self would have been told that any of those moments would happen several decades later, he would’ve fainted.
At some point in the ’80s, Bogart’s began experimenting with having all-ages show. My very first show at the club was to see Violent Femmes (I believe in 1986), but, in the early stages of this experiment, Bogart’s herded us under-agers up into the balcony. I remember loving the show and being in the club, but I more vividly recall looking down on the club’s floor and noticing what a small audience there was. While the balcony had hundreds of kids smushed together and barely able to breathe, it seemed like there were only a couple hundred people below us. Still, I’d made it into Bogart’s! Not long after, I made it to the floor-level when the club was hosting high school cover bands for all-ages shows. The Complaints (who also did some originals I really liked) were the big band at my high school at the time and I remember the club being packed with teens for their show. (Fun fact: The Complaints’ drummer was Michael Meisel, who later became a big-time music manager for several popular artists, including Nirvana.)
The club kept expanding its all-ages policy over the next few years. Punk Rock matinee shows were very popular; I fondly remember seeing some of my favorite local Punk acts, like SS-20, The Edge and Human Zoo, thrashing around on the Bogart’s stage. It seems like a weird dream now, but there were also Punk shows that featured wrestling — an actual ring was installed in the middle of the floor and local Punk icon/radio host/Bogart’s employee Handsome Clem Carpenter not only MCed (I believe), but also wrestled.
Another early show I saw was True Believers, Alejandro Escovedo’s early punk-ish band. I remember this show because it was the first time I actually was served beer at the club. My teenage friends and I were sitting at a long table and a waitress came up to take our order; she didn’t flinch when we ordered a pitcher of beer. So, of course, we ended up ordering about 20 pitchers of beer throughout the night.
Around this time, I played my first shows at Bogart’s, something almost any young musician will tell you is a pretty special feeling. My Punk band was added to a few bills by a gracious promoter or fellow local band. I remember being so nervous at those first shows that I could barely play my instrument, partly because I was thinking about all of the famous musicians (U2, Prince, R.E.M.) who had stood right where I was standing. I ended up playing there many times over the years with various bands (opening for bands like New Model Army, Prong, Matthew Sweet and Fugazi), but the early shows were the most memorable. When my first band opened for 7 Seconds, we started to get heckled by a gaggle of skinheads in the crowd (we mixed Rap, Funk and Post Punk into our sound, which offended their purist tastes apparently). Our singer started taunting them so they approached the stage; as one started to climb up, I punched my combat boot directly into his face at the lip of the stage. After our set, the club provided us with a couple of security guards so that we could walk back up and watch 7 Seconds. We were told some skinheads were waiting for us outside, but by the time we got out, they were gone.
By the time I reached college, I was a regular at Bogart’s. I even started befriending some of the staff, dating a couple of bartenders and even marrying one. These were the days when I saw certain bands right before they graduated to “arena rock”-levels of success, like The Smashing Pumpkins, Beastie Boys and Marilyn Manson. One of the more memorable shows was a weird 1995 package tour headlined by Mike Watt and featuring Hovercraft (which included Eddie Vedder on drums, right as he was at his Grunge God peak with Pearl Jam) and a new band fronted by Nirvana’s Dave Grohl on guitar and vocals. Grohl was road-testing his new group, which you may have heard of (rhymes with Doo Righters). Watt headlined the show and was backed by Vedder, Growl and Germs/Foo Fighters/Nirvana guitarist Pat Smear for his set.
As mentioned above, I haven’t always loved Bogart’s. The sound has ALWAYS been hit or miss, often frustratingly. I can only imagine it’s best explained by the set-up of the club (basically a big, long brick shed). There was period when the staff was almost universally rude, with harsh pat-downs at the door (at one point, if you tried to bring in anything that could remotely be considered dangerous — a lighter! A pack of cigarettes! A chain necklace! — it was often just tossed in the trash) and overly-aggressive bouncers roughing up kids who were perhaps dancing a little too hard. About 10 years ago, I got an assignment from U.K. weekly music paper NME to review an Insane Clown Posse concert at Bogart’s. During the pat-down, the door person grabbed the pen I needed to take notes and he tossed it into the garbage. I know ICP crowds can be rowdy, but, even after explaining the pen’s purpose, the doorman just blank-stared me, seemingly convinced that I was just the type to go on a serial pen-stabbing spree during the show.
I loved the ICP show, by the way. The band is a Bogart’s staple and that was my first time seeing them. The music isn’t really up my alley, but the duo’s ridiculous showmanship is truly something everyone should experience at least once. I’m convinced the two ICP dudes know they’re more a comedy act than anything — and probably chuckle at the fans who take them way too seriously — and that makes me appreciate what they do. It was like a surreal circus show gone awry and I had a smile on my face the entire time. Though afterwards, I felt really bad for the Bogart’s clean-up crew — SO. MUCH. FAYGO. I wonder which show was more dreaded by the janitors — ICP or GWAR?
The Bogart’s of today is strikingly different and in the best shape it’s been since I started going there. I remember several years ago writing a rant about the club (probably after the ICP incident) and pointing out that, in the decades I’d been going to concerts there, the venue had made absolutely zero notable improvements. Sure, they’d upgrade the sound system from time to time (usually without much noticeable improvement to the sound), but the club never seemed to improve conditions for the customers (good Lord, those bathrooms approached CBGB levels at times). Maybe it was a money issue or maybe management felt there was no reason to upgrade, since people were coming anyway. And, besides, where else would they go to see these particular acts?
But the days when going to Bogart’s felt like entering a prison yard are long gone. A few years ago, I remember going to a show and being stunned at how different it was. It was right after some upgrades and, while nothing drastic, it changed the whole vibe of the club and the experience. The staff was friendly. The front-door inspections were respectful. The bathrooms were clean. It was suddenly customer-friendly in a way I never remember it being.
There is no way I can remember every show I saw at Bogart’s, memorable or not. There have been several hundred. But a few stick out. There was the 1990 show when on-the-rise bands Faith No More and Soundgarden opened for cult Metal group Voivod; by the time the tour got to Bogart’s, the openers were blowing up on MTV and radio, which meant that less than half the large crowd stuck around to watch the headliners. Another time, when I started my writing career, I had a pre-show interview with the guitarist for Blind Melon at a restaurant next door to the club. As we chatted, late singer Shannon Hoon (who’d later put on a great show) and the other band members threw food at each other and acted (endearingly) like 12-year-olds.
Another favorite memory was a weird Red Hot Chili Peppers/Faith No More show in 1987. This was when Hillel Slovak (who later died from a heroin overdose) was still playing guitar with the Peppers (a favorite band of mine at the time), and Faith No More featured Chuck Mosley on lead vocals (well before Mike Patton took over the mic). Faith No More opened and ran through most of the material from the We Care a Lot and Introduce Yourself albums, its only releases at the time. Then things got weird and Mosley started telling the sizable crowd that the Chili Peppers weren’t going to show. Then the band started doing jams and weird covers, playing for well over an hour. Mosley did an acoustic version of Suzanne Vega’s “Luka.” By the time guitarist Jim Martin began to do a solo Hendrix-esque rendition of “The Star-Spangled Banner,” it felt as if Mosley may not have been kidding.
Faith No More was clearly vamping and trying to fill time. Then, in the middle of a song, four heads started weaving towards the stage from the back of the room. The Chili Peppers hopped onto the stage with Faith No More and jumped up and down for a few minutes, then headed backstage. They put on a great, incredibly energetic show (they said their tour van — a VW Beetle Bus with bullhorns on the front that my friends and I saw in the parking lot afterwards — broke down on the highway, but we all suspected something drug-related caused the delay). For their encore, the Peppers came out naked except for the tube socks on their dicks (part of their schtick at the time) and looked nervous as hell, glancing over their shoulders constantly. Apparently they’d been informed about Cincinnati’s low-tolerance for anything sexual in public (remember, this was the ultra-conservative ’80s, when Cincinnati was most associated with shutting down “obscene” art exhibits and hassling Larry Flynt) and were fearful of being arrested. The band played one or two short, fast songs and then booked it off stage. (It’s just a rumor, but I’d heard the police were indeed there and going to arrest them, but the band escaped in a fan’s car and stayed at their house playing video games all night.)
I’m not a big fan of huge crowds, so sold-out Bogart’s show always put me in panic attack mode. But I’ve braved several and I’m glad I did. When Bob Dylan decided to play some smaller clubs in 1999 and chose Bogart’s as one of them, I proudly took my dad to see him. I’ve seen Dylan numerous times over the years and more often than not I’ve left disappointed. But at Bogart’s, he sounded amazing and played inspiringly. I also took the love of my life to an over-stuffed Bogart’s in 2003 see her favorite band of the time — The White Stripes — when she was several months pregnant with our child (if she’d given birth, the baby would have had to have been passed to the exit, crowd-surf style, because it was so packed).
Bogart’s has admirably supported local and regional artists since as long as I can remember. Locals were given opening slots for big-time bands often. After my first band played a crazy set at one of the club’s battle of the bands (competing mostly with straight-forward Hair Metal bands), Dan Reed, manager at the time, came up and asked if we wanted to open for Jane’s Addiction. We very much did, but Jane’s took off and ended up playing Hara Arena in Dayton instead. The aforementioned local Punk shows were always a blast. And I have fond memories of 97X’s old 97Xposure band contests. The club’s “battle of the bands” events (which I mostly attended as a guest judge after my competitive years were over) could sometimes be painful, but I always enjoyed watching the younger bands exhibiting that same awe that I felt the first time I played there (and it was fun to play “Spot the Parents”). The club also hosted a couple of benefits for local community radio station WAIF that were a lot of fun, one featuring a ton of local bands playing Christmas songs (my band decided to perform in just Christmas underwear — briefs! — which must’ve been horrifying) and one with local groups playing David Bowie songs. And I spent many great New Year’s Eves at Bogart’s when the great Columbus, Ohio band Royal Crescent Mob played there every year. I seem to remember The Afghan Whigs taking the slot a few times, too. (The many Whigs shows I’ve seen at Bogart’s, including their most recent one a couple of NYEs ago, have been some of my all-time favorites.) In recent years, CityBeat has hosted a new band showcase at Bogart’s — the staff has always been great and I’ve thoroughly enjoyed the shows.
I wouldn’t say Bogart’s is my favorite club — I prefer smaller venues, in general. But I’m very thankful it exists. It has been the one constant, reliable place to check out live music of every sort in Cincinnati ever since I was a teen, and its mid-size has made it possible for mid-level acts to play the Queen City instead of skipping it altogether. More or less, my musical life has revolved around Bogart’s, and it’s hard to imagine what it (or Cincinnati’s concert scene, in general) would have been like without it. Thankfully, we don’t have to.
CityBeat celebrates the 40th anniversary of Bogart's with this week's issue. Check out Brian Baker's overview Cover Story on the club's rich history and promising future, plus sidebars on Brian's favorite moments, the view from John James' nearby record stores, Prince's surprise visit in 1984 and the infamous Heavy Metal Wheel of Sex.
Back in January at Music Hall, the Cincinnati Pops Orchestra, under the direction of conductor John Morris Russell, presented its unique “American Originals” concerts. During the performances, the orchestra collaborated with several local and national Folk/Americana artists to perform and celebrate the music of Stephen Foster and other early songs that are the foundation of the “Great American Songbook.”
Read CityBeat’s cover story on the project here.
Rosanne Cash, Aoife O’Donovan (who recently returned to join the Pops for its Fourth of July concert at Riverbend; read our interview with her here), Dom Flemons (formerly of the Carolina Chocolate Drops) and Joe Henry joined Cincinnati area artists Over the Rhine's Karin Bergquist and Linford Detweiler, members of the Comet Bluegrass All-Stars and others to perform specially arranged versions of Foster compositions like “O! Susannah,” “My Old Kentucky Home,” “Camptown Races” and “Beautiful Dreamer,” as well as traditional numbers like “Red River Valley,” “Kumbaya” and “Amazing Grace.”
A live recording of the concert featuring 17 songs will be released on Friday, Sept. 11. (You can pre-order it now here from Amazon.)
Here is the detailed track listing for the American Originals release (via cincinnatisymphony.org):
1) “O’ Susannah” (written by Foster, arranged by Chris Walden and with Joe Henry on vocals)
2) “Jeanie With The Light Brown Hair” (written by Foster, arranged by Rob Mounsey and with Aoife O’Donovan and Karin Bergquist of Over the Rhine on vocals)
3) “My Old Kentucky Home” (written by Stephen Foster, arranged by Rebecca Pellett and featuring Rosanne Cash on vocals)
4) “Amazing Grace” (traditional, arranged by Pellett and featuring Aoife O’Donovan and the Comet Bluegrass All-Stars)
5) “Rolling River: Sketches On Shenandoah” (composed by Peter Boyer)
6) “Why, No One To Love?” (written by Foster, arranged by Pellett and featuring Over the Rhine’s Bergquist on vocals and her OTR partner Linford Detweiler on Rhodes keyboard)
7) “Old Folks At Home” (by Foster, arranged by Timothy Berens and featuring Dom Flemons on vocals and harmonica, Timothy Berens on banjo and Paul Patterson on fiddle)
8) “Kumbaya” (traditional, arranged by Berens and featuring Timothy Lees, Kathryn Woolley, Gabriel Pegis and Scott Mozlin on violins and Richard Jensen on djembe
9) “Slumber My Darling” (by Foster, arranged by Chris Walden and featuring O’Donovan on vocals and guitar)
10) “Aura Lee” (by Foster, arranged by Pellett and with Henry and Ed Cunningham on vocals)
11) “Foster's Folly” (by Foster, arranged by Berens)
12) “Ring, Ring The Banjo” (by Foster, arranged by Walden and featuring Flemons on banjo and bones
and Cunningham on fiddle)
13) “Red River Valley” (traditional, arranged by Berens and featuring the Comet Bluegrass All-Stars)
14) “The Battle Cry Of Freedom” (composed by George Frederick Root and arranged by Berens)
15) “Beautiful Dreamer” (by Foster, arranged by Mounsey with Cash on vocals)
16) “Hard Times Come Again No More” (by Foster, arranged by Berens and featuring Over the Rhine, with Bergquist on vocals and Detweiler on guitar)
17) “Camptown Races” (by Foster, arranged by Mounsey and featuring the Comet Bluegrass All-Stars, as well as Cash, Flemons, Henry, O’Donovan and Over the Rhine on vocals)
Anyone with an adventurous bone in their body naturally loves road trips. It’s the quickest way to embrace your passion for exploration by simply hopping into your vehicle and hitting the road filled with destinations and opportunities. And what’s the ultimate source of entertainment during your long trip? Music.
I took a different approach while selecting these particular artists/songs. Playlists don’t always have a major theme to them. It’s not always necessary, and road trips are the best time for these types (or non-types) of soundtracks. As quickly as the double yellow line flickers along the street below, sometimes, so does your mood. There’s the beginning and the end of the drive when you’re nothing less than sitting out of the edge of your seat, the mid-drive mood when you need a bit of a change-up, and the nighttime (my absolute favorite part) when you’re chugging your gas station coffee, munching on beef jerky and letting the jams take you away — father than your car ever will.
This playlist meets all these moments in a road trip. Just by looking at it, it’s like I reached my hand into a pot full of weirdness and grabbed whatever I could. In reality, I selected these babies for a reason.
There were a ton of artists I considered putting on here. Candidates included Mumford & Sons, Hozier, John Mayer, and those other mainstream, super-duper talented artists we already love. Instead of giving you something you already know, I wanted to introduce you guys to some folks that may be potentially new to your music library. There’s no better time to indulge yourself in new music than driving in a car for hours, watching your view from the window change in the blink of an eye.
It’s totally OK to have it all. Ya dig? Now grab your keys and get going.
The MidPoint Music Festival today announced a third wave of artists scheduled to perform at the 14th annual event this fall.
Locals Heartless Bastards will headline Friday night's shows at the Christian Moerlein stage, touring in support of their new album, Restless One. The band will join Purity Ring and Matthew E. White on Friday night's schedule, with Saturday performers including Ride and Sylvan Esso. Iron & Wine and Tune Yards highlight Sunday's slate.
MidPoint, which is owned and operated by CityBeat, is scheduled for Sept. 25-27 and once again will take place in and around Over-the-Rhine. The full schedule will be released in the coming weeks.
The festival expects a total of around 125 total artists to perform. So far, the following have been confirmed: Heartless Bastards, Nick Diamonds, Good Graeff, Heat, Nick D' & the Believers, Roadkill Ghost Choir, Ona, The Eagle Rock Gospel Choir, Alanna Royale, Sphynx, Charles Walker Band, EZTV, Miracles of Modern Science, Bailiff, The Ghost Wolves, Wild Ones, Big Scary, Mothers, Xoe Wise, Turbo Fruits, Young Empires, Grandchildren, Forest and The Evergreens, Great Peacock, Kinky Love, Elk Creek, Ancient Warfare, What Moon Things, Bones Jugs N Harmony, Little Racer, GGOOLLDD, No/No, Kid Runner, Chrome Pony, Dirty Fences, Rose Quartz, Jackson Scott, Eclipse Movement, MULTIMAGIC, Sweet & the Sweet Sweets, Dawg Yawp, Gran Bel Fisher, Automagik, Coconut Milk, Jane Decker, Orchards, Kate Wakefield, Little Lights, DAAP Girls, The Yugos, Marcus Alan Ward, The Harlequins, yler Childers & the Food Stamps, Young Heirlooms, Us, Today, Public, Holiday Mountain, The Almighty Get Down, Noah Smith, Leggy.
Weekend passes will be available at a discount rate ($10 off) at the MidPoint Indie Summer concert at Fountain Square this Friday. Saint Motel, The Modern Novas, Grenades!? and Jane Decker will perform. More artists will be announced in the coming weeks. More info: mpmf.com.