Tomorrow is Record Store Day and local shops Everybody's Records, Mole's Record Exchange, Phil's Music and Memories and Shake It Records are all getting in on the action. If you're unfamiliar with "record stores," here's the Wikipedia page. If you're unfamiliar with Record Store Day, it's essentially an annual "holiday" where tons of artists and labels issue limited released goodies in an effort to get music lovers away from their computers and into independent retailers to buy their tunes. Here are a few of the things going on locally related to RSD.
• Everybody's Records in Pleasant Ridge is having a day's worth of live music going on for Record Store Day, as well as the usual deals and fun. Graham Weber, a former local now living in Austin, Texas, kicks things off at noon (he performs a show later tomorrow night at Neon's in OTR), followed by local acts The Newport Secret Six, Jack Logan and Midnight Riders, Strangetunge, The ClaZels and Playfully Yours. Chicago Soul/Funk band The Right Now (performing Saturday night at MOTR Pub in OTR) closes out Everybody's RSD (the live music part, at least) at 6 p.m.
• Phil's Music and Memories in Cold Spring, Ky., got a jump on the RSD action and has been offering deals since Wednesday (and continuing through Sunday) — 20 percent off used vinyl and 30 percent off used CD's and used DVDs. The store apparently has even better deals lined up for Saturday.
• Athens, Ohio-based Indie Roots band The Ridges are releasing a limited edition release and poster that will be available at most local indie retailers. The release, The Insomniac's Song (Live with The Sleepless Singers), features a special live version of the lead-off track from The Ridges self-titled debut album. The exclusive features a download card (encased in a 12-by-12 poster/packaging) that'll get you the live version of the song (with a choir of 20 singers from area bands like The Happy Maladies and Young Heirlooms, as well as Brian Olive Band vocalist Molly Sullivan), a video of that version and the studio version.
• Northside staple Shake It’s Record Store Day events have a lot of local music ties. The label arm of Shake It is issuing a special vinyl version of the debut album from the imprint’s franchise players, Wussy. The remaining copies of the colored-vinyl version of Funeral Dress (including a download card and special LP insert) go on sale via mail order or www.shakeitrecords.com on April 24. (Shake It is also again offering shoppers 10 percent off their entire purchases if they bring canned goods to donate to Churches Active In Northside’s food pantry.)
• Awesome local Indie duo Bad Veins is making its stunning sophomore album, The Mess We’ve Made, available at Shake It for RSD, ahead of its April 24 national street date. The band will perform a short set at the store at 5 p.m. before heading to Taft Theatre for the official release party Saturday night.
• At 7 p.m., potential “next big things,” Cincinnati’s Alt/Dance/Pop troupe Walk the Moon, will be at Shake It to perform a sort set. The band’s debut album for RCA Records now has an official release date — June 19 — but WtM is offering fans a special Record Store Day exclusive in the form of a 7-inch single (pictured) featuring the songs “Anna Sun” and the previously unreleased “Anyway I Can.”
• If you want a little warm-up to bridge the gap between 4/20 and 4/21 (advice: leave your bong at home), head to Northside Tavern on Friday for a special Record Store Day eve party hosted by Salina Underground, an Indie Rock radio show on WVQC (95.7 FM; www.wvqc.org). The free show is headlined by Brian Olive and his band, which recently announced a national tour kick-off at the Ballroom at the Taft for May 25. (Olive is also coming off some promo dates with the legendary Dr. John, on whose new Dan Auerbach-helmed album the local musician also appears). The 9 p.m. show will also feature Indie Rock group The Sweep and rootsy newcomers The Chance Brothers (releasing their debut album, Growing Concern, that night, as well).
• The downtown main branch of the Public Library is getting in on the Record Store Day action. A turntable will be set up for anyone to drop the needle and sample the library’s music catalog (including lots of locally produced tunes) and there will be free live music all afternoon. Experimental guitarist Pete Fosco performs at noon, Art Gore and the Jazz Knights play at 2 p.m.; and Jarrod Welling-Cann from local band The Sleeping Sea plays at 4 p.m.
• Downtown's Arnold's Bar and Grill is reaching out the Record Store Day revelers and, on Saturday, will be offering 10 percent off your bill if you bring in a receipt proving you bought something from a local, independent record store that day.
Click below for a list of many of the Record Store Day exclusives being made available (or here for your own complete copy).
• Veteran Indie Rock cult heroes Low pull into town tonight to play the new Ballroom at the Taft Theatre. Formerly known for their "slow-core" approach, the Duluth, Minn., trio has expanded its sound greatly in recently years. Check out a clip from last month, filmed at The Guardian offices in the U.K., of Low explaining and performing the song "Witches."
Opening the 8 p.m. show is R. Ring, featuring Dayton, Kentucky's Mike Montgomery (thistle, Ampline) and Dayton, Ohio's Kelley Deal (The Breeders, The Kelley Deal 6000). The band is getting ready to release a full-length album, but here's a live clip of them performing the song "Hundred Dollar Heat" in Austin, Tex., during the recent SXSW fest.
• Santa Cruz, California-based Psych Rock band Sleepy Sun performs a free show tonight at MOTR Pub at 10 p.m. The band recently released its third album, Spine Hits. Check out what our Jason Gargano has to say about Sleepy Sun here. Space rockers White Hills, which recently issued Frying On This Rock through Thrill Jockey, open the show with their own brand of "fuzzed out psychedelia."
Here's the trailer for Sleepy Sun's Spine Hits, followed by a video for White Hills' "Pads of Light."
Click on for more info on shows tonight by The Fray and Lucy Wainwright Roche.
It's looking like the historic Emery Theatre on the border of Over-the-Rhine and Downtown is back in business as a full-time functioning venue. Bands like Magnolia Mountain and Pop Empire have been using the Theatre to film music video projects and, next Saturday (April 28), the Emery hosts the "Rock This Town" benefit concert for CityLink, which helps resident "break the cycle of poverty" by providing employment training and other assistance. The event's music will be provided several groups of business people who can play instruments or sing (modeled on the "Suits That Rock" concerts that benefit the Carnegie Arts Center in Covington).
On April 27, the Emery will host a dual album release party/concert in honor of two new releases from the label Ol Kentuck, run by SubPop recording artist and Northern Kentucky native Daniel Martin Moore. One of the albums is a vinyl release of producer/guitarist/composer Ric Hordinski's Arthur's Garden (read more about the album here).
The other is the first release from a duo project consisting of Moore and singer Joan Shelley (pictured) titled Farthest Field. The event will also feature readings from authors Silas House and Marianne Worthington (who wrote one of the most engaging press releases for the album I think I've ever laid eyes on for the duo's debut; click the "Bio" pdf link on this page to read it).
It's a great time to check out the Emery circa 2012 because the concert is also free and open to the public. (Rock this Town's tickets range from $35-$100 — for a great cause, of course.)
Here are two video clips (shot by photographer Michael Wilson with help on the audio side from Pop Empire) promoting the concert, with music from Moore and Shelley's Farthest Field (officially available May 8).
Rockin' Cincinnati group The Kickaways have taken to Kickstarter for some assistance in completing the band's sophomore long-player, currently titled Show Yr Teeth, the follow-up to the excellent (and free) debut LP, America! America! The Cincinnati Entertainment Awards' 2011 winners for Best Rock Band have songs at the ready and even picked out a studio – Michigan's Key Club, where Indie duo The Kills recorded its first two albums. The band hopes to start recording in June.
The Kickaways are offering several pledge perks for those who donate to the Kickstarter drive, including handmade art from the band members, special T-shirts, CDs, a B-sides and rarities collection and your very own private concert from the band (within 130 miles of Cincinnati and, per Kickstarter, "if the cops show it's not on us please"). If you're a deep-pocketed Kickaways fan and you wanted to donate, say, $5000, the band will "pretty
much do anything you could think of as long as (it's) not illegal or (could) get
us or someone else hurt." The Kickaways are aiming to have Show Yr Teeth ready by this October.
Here is the official Kickstarter video for the project. Click here for ways to donate.
One of Cincinnati's all-time greatest bands, The Afghan Whigs, have announced numerous overseas dates on its forthcoming reunion tour, but the only U.S. show announced was the Sept. 22 concert headlining the Greg Dulli co-curated "I'll Be Your Mirror" event in Asbury Park, NJ. Today, another American show was announced with the release of the 2012 Lollapalooza lineup (the event takes place in Chicago's Grant Park, Aug. 3-5). The Whigs were up pretty high on the poster for the event, but the top-billed acts announced are soon-to-be Rock & Roll Hall of Famers the Red Hot Chili Peppers, The Black Keys, Black Sabbath and Jack White. (Check the full lineup here and the announcement video below.) Lolla tickets are on-sale here.
That sets up a loose timeframe for more U.S. dates for the Whigs — Aug. 3-Sept. 22 (minus about three days in August when they'll be back overseas). We've been hearing about a few offers to the band for shows in Cincinnati from a pair of larger festivals, but so far nothing official has been ironed out (at least to the point that an appearance could be announced). Stay tuned. The band now has about 20 dates booked worldwide.
On this date in 1962, a pre-performance speech by legendary conductor Leonard Bernstein, seen by some as an attack on guest pianist — the almost equally as legendary Glenn Gould — caused quite a stir in the Classical music world. The concert was to feature Gould performing Brahms' "First Piano Concerto," but apparently the pianist and music director (Bernstein) disagreed on how it was to be performed. The New York Philharmonic concert came towards the end of the orchestra's final season at Carnegie Hall.
The disagreement was largely over tempo — Gould felt the composition should be played very slowly. Before the intermission, the orchestra played selections by Carl Nielsen. Fearful that Gould would not even show up (he was notorious for last-minute cancellations), Bernstein had the Philharmonic prepared to play Brahms' First Symphony just in case. Gould showed, but to prepare the audience for the unorthodox performance, Bernstein took to the podium and delivered the controversial introduction/disclaimer/diss. (Bernstein delivered the same speech at a preview performance the night before.)
Don't be frightened. Mr. Gould is here. He will appear in a moment. I'm not, um, as you know, in the habit of speaking on any concert except the Thursday night previews, but a curious situation has arisen, which merits, I think, a word or two. You are about to hear a rather, shall we say, unorthodox performance of the Brahms D Minor Concerto, a performance distinctly different from any I've ever heard, or even dreamt of for that matter, in its remarkably broad tempi and its frequent departures from Brahms' dynamic indications. I cannot say I am in total agreement with Mr. Gould's conception and this raises the interesting question: "What am I doing conducting it?" I'm conducting it because Mr. Gould is so valid and serious an artist that I must take seriously anything he conceives in good faith and his conception is interesting enough so that I feel you should hear it, too.
But the age old question still remains: "In a concerto, who is the boss; the soloist or the conductor?" The answer is, of course, sometimes one, sometimes the other, depending on the people involved. But almost always, the two manage to get together by persuasion or charm or even threats to achieve a unified performance. I have only once before in my life had to submit to a soloist's wholly new and incompatible concept and that was the last time I accompanied Mr. Gould. But, but this time the discrepancies between our views are so great that I feel I must make this small disclaimer. Then why, to repeat the question, am I conducting it? Why do I not make a minor scandal — get a substitute soloist, or let an assistant conduct? Because I am fascinated, glad to have the chance for a new look at this much-played work; Because, what's more, there are moments in Mr. Gould's performance that emerge with astonishing freshness and conviction. Thirdly, because we can all learn something from this extraordinary artist, who is a thinking performer, and finally because there is in music what Dimitri Mitropoulos used to call "the sportive element", that factor of curiosity, adventure, experiment, and I can assure you that it has been an adventure this week collaborating with Mr. Gould on this Brahms concerto and it's in this spirit of adventure that we now present it to you
Many critics wrote about the intro and viewed it as the conductor's way of saying, "If this sucks, it's his fault." And many took Gould to task for his interpretation of the music (though some musicologists later said Gould's version was a correct reading of the material). Gould, for his part, said he enjoyed the performance and liked that it caused some in the audience to boo. Columbia had planned to release a recording of the performance but backed off given the controversy. Bootlegs spread like wildfire and Sony Classical, years later (in 1998), released the recording with Bernstein's remarks in tact. In the liner notes, Gould is quoted as saying, "Soloists and conductors disagree all the time. Why should this be hidden from the public, especially if both parties still give their all?" Bernstein also didn't seem too bothered by the controversy and he never stopped praising Gould's unique talent.
Here's a clip of Bernstein and Gould getting along just fine in 1960, performing Bach's "Piano Concerto No. 1 in D Minor."
Click on for Born This Day featuring Warren Haynes, Gerry Mulligan, Merle Haggard and Cobra Starship's Alex Suarez.