On Sept. 19, Scruby released Boy Genius, which is his second Hip Hop mixtape in less than a year. In two weeks, Boy Genius is less than a thousand downloads from surpassing Best Foot Forward, which Scruby released last November.
Over the 10 months since officially entering the music scene, Scruby has taken off. While making Boy Genius, Scruby studied at Ohio State University and played a few shows. His biggest shows included opening for J. Cole at May’s BuckeyeThon Benefit Concert at OSU. Recently, he opened for Machine Gun Kelley and performed at Ohio University’s 10Fest.
Along with live performances, Scruby and his team at LandSea Media produced enough videos to keep fans entertained while they worked on Boy Genius.
The wait for the new music was worthwhile. I was instantly blown away at the quality of the music. It didn’t sound as if it was produced in a dorm room, but rather a professional studio. The audio was balanced and the vocals weren’t hidden under a blanket of bass.
As for the lyrics, Scruby uses a mix of wordplay and comedy in his songs, and it works. His tracks follow a life of love (or rather, lovemaking), success and partying. Although I find these themes to be a stereotype of rap, Scruby pulls off the stereotypical rap lifestyle with ease.
Mixtape opener “Double Time” features Cincinnati’s own DJ ETrayn. He welcomes fans to the musical journey before the song begins. The start of this track is reminiscent of Dumbfoundead’s “Green.” This song makes me want to lean my driver’s seat back and drive with one hand on the steering wheel while doing 50 in a 25.
What seems to be a fan favorite is “Fux With Me.” Crowds at 10Fest wore shirts donned with "I Fux With Cal Scruby." The song isn’t my personal favorite, but I enjoy the tour of people who "fux" with Scruby and how he doesn’t let it slow him down.
My personal favorite is the bonus track “Midwest City,” which is a tribute to his hometown, that city where they sin two times. This closes the album and leaves me wanting to hear more from Scruby.
Even though high school is long gone, I can’t go somewhere
without hearing about the guy who was super cereal about ManBearPig and now,
he’s super cereal about his music.
On this day in 1975, pioneering singer/actress/dancer/civil rights activist/spy Josephine Baker passed away at the age of 68. She died just a few days after a retrospective performance at the Bobino in Paris celebrating her 50 years in show biz. Jackie O, Princess Grace and Prince Rainier funded the show and opening night featured a celebrity-studded audience that included everyone from Mick Jagger to Sophia Loren. Baker's body was discovered four days later, reportedly surrounded by newspapers featuring glowing reviews of her performance.
At her funeral, she became the first American woman to garner full French military honors, one of many "firsts" involving Baker. She was the first black woman to star in a major film, the first to demand (and get) integrated audiences at her concerts and the first to become a global superstar. She fought for civil rights in America (offered a chance to lead it after MLK's assassination, she declined for fear of also being killed) and, before that, helped France (her adopted homeland) in World War II, for which she received numerous honors. Baker was also reportedly a bi-sexual who had serious relationships with both men and women in her lifetime, adding some spicy mystique to her life story.
She got her start as a vaudeville dancer at 15 and eventually became one of the highest paid chorus girls on the planet. In the mid ’20s she did burlesque shows in Paris and around Europe, well-known for her trademark banana-skirt and, later, her pet cheetah Chiquita, who would join her on stage (and, reportedly, terrorize the orchestra). Baker was considered a "muse" for artists from Pablo Picasso and Christian Dior to F. Scott Fitzgerald and Ernest Hemingway, who once said she was "the most sensational woman anyone ever saw."
Baker's life has been the source of several films, musicals, plays and books. On screen and stage, she's been portrayed by the likes of Lynn Whitfield, Diana Ross, Keri Hilson and Beyonce, who sported Baker's banana costume during a 2006 performance (see below) and, in her "Naughty Girl" video, she again paid tribute by dancing in a giant champagne glass.
Baker released several albums in the early ’50s for Columbia and Mercury. Here she is performing her biggest hit (in France), "J'ai Deux Amours."
Click on for Born This Day featuring Hound Dog Taylor, Tiny Tim, Nick Hexum and Vince Gill.
Music Tonight: Rootsy Connecticut-based trio Plume Giant performs at the Rohs Street Cafe in Clifton Heights with Columbus, Ohio's Deadwood Floats and Cincinnati's own Molly Sullivan (check out Sullivan's lovely, unique track "Bad Weather" here). Plume Giant released its self-titled debut EP last year, drawing praise from Seattle to New Haven, and travelled up and down the east coast in support. The Indie Folk trio — built around timeless songs, amazing three-part harmonies and pure, naked acoustic guitar/viola/violin backing — is taking on the Midwest this month, touring in advance of its first full-length, due this coming spring. Click here to listen to the EP and enjoy the Plume Giant song "Old Joe the Crow," performed live below.
Local RCA Records recording artists Walk the Moon surprised fans today by announcing that they have teamed with video service VEVO to premiere its new, self-titled album, which hits stores this coming Tuesday. The album is being premiered as a "series of officially unofficial videos, hand-made, band-made by yours truly without a film crew or a budget."
Check out the full Walk the Moon album below (in playlist form).
Music Tonight: Ohio musical pioneers Rocket From the Tombs perform at the Southgate House with local greats Buffalo Killers and SS-20. Formed in 1974 in Northern Ohio, the pre-Punk legends might not get the credit of some of Punk's other earliest engineers, from New York and the U.K, but their importance in shaping the music (and the New Wave/Alterntaive/Indie music that followed) cannot be overstated. Like many great artists (Van Gogh, Poe, Kafka, etc.), RFTT weren't appreciated in their time, something not surprising considering they existed for only about a year and never released a lick of music. The band's split spawned two other wildly important bands — Dead Boys, featuring Stiv Bators and TFTT's Cheetah Chrome, and Pere Ubu with RFTT's David Thomas and Peter Laughner (who passed away in 1977). Both "new" (and distinctively different) bands took some Rocket tunes with them — Dead Boys claimed songs like "Ain't It Fun" and "Sonic Reducer," while Pere Ubu took with them "Final Solution" and "30 Seconds Over Tokyo" — all "Punk" classics. In the ’00s, RFTT compiled live and archival recordings so the band would finally have something in the record stores and, in the process, reconnected and, in 2009, the band convened to record its official "debut album" nearly 35 years after originally forming. Read Steven Rosen's interview with frontman (and Art Rock icon) David Thomas for this week's CityBeat here. Showtime tonight is 9 p.m. and admission is $15. Click below to listen to Rocket From the Tombs' rendition of "Sonic Reducer."
Up-and-coming underground rapper Chris Webby performs tonight at downtown club Play. Doors open at 7 p.m. and tickets are $20 at the door. The show is open to all ages. Guests include GMB, Nynewest and hosts DJ Scholar and DJ Drowsy.
Webby is a Connecticut native (he has it tattooed on his chest; I'd move to Ohio if I were going to do that) who started rapping before high school and began to draw crowds at freestyle battles and with his popular mixtapes releases. Webby's built huge buzz in independent Hip Hop circles and has so far resisted signing a record deal. Click here to check out his mixtapes and other releases.
Webby recently tweeted that he's just recently boarded his plane to Cincy. "PLAY in Cincinnati is about to get real weird tonight," he added.
• Utah rockers The Used blast into Bogart's tonight. The 7:30 p.m. show is all ages and includes openers Stars In Stereo. Tickets are $25.
The Used's energized Post Hardcore style is sparked by vocalist Bert McCracken, whose stage antics are an unpredictable throwback to Rock & Roll's more dangerous frontmen (Iggy, etc.). The Used's latest album, Vulnerable, came out earlier this spring on Hopeless Records. The album hit No. 1 on the Top Independent Albums chart when released and made it to No. 8 on the Billboard 200.
Here's the video for The Used's single "I Come Alive."
• The song of legendary drummer Ginger Baker, Kofi, is bringing his Cream tribute band to Covington tonight for an 8 p.m., all-ages show at the Madison Theater. Kofi Baker formed Kofi Baker's Cream Experience after catching the Cream reunion in 2005 and deciding he'd like to pick up where the originals left off. In the Clapton role is Tony Spinner, a Rock/Blues singer and guitarist who was a member of Toto in the ’00s. Playing bass is another talented musician, Ric Fierabracci, who has performed with the likes of Chick Corea, Shakira and Yanni.
Kofi made his first live appearance when he was 6, playing with his pops on BBC's Old Grey Whistle Test in 1975. Here he is rocking with the Cream Experience in more recent years.
• MOTR Pub in Over-the-Rhine has a free show tonight headlined by Canadian Electro Pop group Parallels. Showtime is 10 p.m. and like-minded locals Skeleton Hands also perform.
Parallels has drawn comparisons to New Order and singer Holly Dodson has been likened to singer Kate Bush and Madonna. The band was formed in 2008 by Dodson and Cameron Findlay, the former drummers for popular electronicists Crystal Castles.
Parallels sophomore full-length, XII, is due out June 26. Here's a clip for the band's song "Ultralight."
Click her for more music events around town tonight.
Music Tonight: Popular Detroit Psychobilly/Punkabilly/Powerbilly trio The Koffin Kats hot-rod it into Newport for a show at the Southgate House. While the band, which formed in 2003, has done the Psychobilly schtick, writing songs with Horror and Sci Fi themes, the Kats' more "real life" songs have always been around and, over the years, become more dominant in KK sets and on albums. That should be especially evident on the upcoming Our Way & The Highway, due in mid-January, which reflects what singer/bassist Zac Victor told CityBeat was a general move towards a "Bruce Springsteen approach more than a Dracula approach" and even more reflective of their broad musical influences. Read the entire interview with Victor at citybeat.com, then catch the band tonight at SGH with Dr. Bombay, The Returners, Vice Tricks and Switchblade Syndicate. Showtime is 9 p.m. Tickets are $10 ($13 for those ages 18-20). Below, check out the great, swoony track (anybody else hear some Smiths in there?) "The Bottle Called" from last year's "split album" with 12 Step Rebels called From Our Hands to Yours (it will also be on the new album).
It’s no secret that Chicago is a great place for music. Pretty much any touring band of note — and no doubt many a musical outfit that need not be noted — is sure to include a Chicago stop, and the city’s local scene remains rich and diverse, aided by a host of nurturing venues and an eager, uncommonly discerning base of listeners. That it’s only a five-hour drive from Cincinnati makes it an enticing destination for those of us who yearn to catch shows that skip the Queen City.
Chicago’s embarrassment of musical riches has only grown in recent years with the addition of two high-profile three-day summer festivals: Lollapalooza and Pitchfork. The former needs little introduction — Perry Farrell’s unexpectedly fruitful brainchild is, almost undeniably, the inspiration for the explosion of summer fests over the last two decades, a trend that has grown even more robust since the turn of the century. Every weekend each summer now features at least one festival worthy of audiences’ ears. The trend has even reached Cincinnati, where Bunbury just finished its second successful year — and shared a headliner with Pitchfork. (Whether outdoor settings, marked by often difficult weather conditions and bright sunlight, is the best way to experience the type of music offered at such festivals is a different question.)
Lollapalooza is, alongside behemoths Coachella and Boonaroo, one of America’s biggest and best-attended summer fests, boasting more than 130 artists and an audience in excess of 150,000. Pitchfork, meanwhile, has quickly established itself as a singular presence on the summer circuit, a discerningly curated endeavor that’s an extension of the influential, taste-making webzine that runs it. (Chicago-based Pitchfork.com took over the business side of the fest in 2006 after curating 2005’s initial gathering, which was then called the Intonation Festival). Set in Union Park — a modest city-block space just west of downtown Chicago — Pitchfork now features nearly 50 artists, many of which are still unfamiliar to all but the most plugged-in Indie music connoisseurs. (Ironically, as a champion of cutting-edge acts on the way up, Pitchfork also serves as an early snapshot of future Lollapalooza lineups.)
This year’s Pitchfork, which ran July 19-21, offered one of its most curious lineups to date, especially as it pertains to the headliners, which included Bjork, Belle and Sebastian and, somewhat controversially, R. Kelly. Sure, there were several typically lesser-known acts on the bill, but almost all of them graced the Blue Stage, the smallest of the fest’s three stages. Whether this year’s more accessible bill might have been a reaction to last year’s fest, which gave relatively high-profile slots to such interesting but largely faceless artists as AraabMuzik, Purity Ring, The Field, Big K.R.I.T., Hot Chip and Chavez, among others, is anyone’s guess, but a realignment of sorts from Pitchfork’s powers that be seems plausible.
More proof of a possible shift in booking philosophy: There were more veteran acts than ever this year. Beyond the headliners, each of which has been making music for more than two decades, there was Wire, The Breeders, Swans, … And You Will Know Us By the Trail of Dead, Low and Yo La Tengo. The only comparable 2012 act in terms of longevity — admittedly not the best gauge when it comes to creative vitality, but we’re talking audience-drawers here — was Godspeed You Black Emperor, which headlined along with Feist and Vampire Weekend. All are solid acts, but none of them are likely to perk the senses of those looking for a little “star power.” Enter Kelly, one of the era’s preeminent hit-makers (more on that later).
As usual, many of Pitchfork 2013’s most interesting artists emanated from the Blue Stage, which is the most intimate of the fest’s three stages — the larger Green and Red stages (note the refreshing lack of corporate branding, another sign of Pitchfork’s discerning nature), which are but 50 yards (or so) apart, alternate acts at the north end of Union Park, while Blue’s lineup overlaps with the other two. Tucked into a tree-laden area of the park’s southwest corner, the Blue Stage is something of a festival unto itself, its cozy confines offering a break from the spacious, open-air spots where the Green and Red reside.
Multiple Blue Stage artists delivered strong sets, including Frankie Rose, a former Dum Dum Girl whose latest album, Interstellar, is a Synth Pop gem that wouldn’t sound out place alongside Beach House; Mikal Cronin, a little ragamuffin of a guy whose latest album, MCII, is a Power Pop keeper; Angel Olsen, whose Americana-flavored songs and swoon-worthy voice and visage compelled much of the audience during her late-afternoon slot; Metz, a Canadian trio coming to Cincy for this year's MidPoint Music Festival in late September, whose terse songs roared even more righteously in a live setting (think Nirvana on fast-forward); Minnesota mainstays Low, who seemed oddly out of place but still effective in the early evening light; and Trash Talk, a Hardcore crew from Sacramento, Calif., whose long-haired frontman delivered the funniest line of the fest after noticing a number of “old people” in the relatively sparse Friday-afternoon crowd: “I like old people. Old people make the world go around. They fucking had us and shit.”
Best of all — or at least the biggest surprise — was Brooklyn-based Post Punk quartet Parquet Courts, whose playful, twisty tunes recall everyone from early Pavement to the Minutemen to a far less trashed Guided by Voices. Frontman Andrew Savage’s voice is thin but endearing, and his dynamic guitar interplay with fellow frontguy Austin Brown had more than one rapt audience member shaking their ass in the Saturday-afternoon sun.
One got the sense that the Parquet Courts dudes would have been just as happy performing on the street corner just beyond the fence behind them. The fact that they had a much bigger platform to deliver their slanted gospel is just one example of what has made Pitchfork so vital for those looking to experience something rawer and less polished than the acts that dominate other festivals. (Go get Parquet Court’s recent full-length, Light Up Gold, as soon as possible.)
Even the Blue Stage’s less successful performances were compelling in one way or another: while Julia Holter, Ryan Hemsworth, Andy Stott and Evian Christ — the latter three DJs who essentially stand behind a table — have issues in the area of crowd interaction and sometimes suffered from spotty sound mixes, each was able to convey its mood-altering music in ways that, at the very least, provided sonic respites from the relatively more conventional acts at the bigger stages, whose roar often bled into the Blue’s.
On to the two main stages, which drew large, unusually enthusiastic crowds all weekend. Long a champion of adventurous Hip Hop, Pitchfork again featured some intriguing purveyors of the form, most notably Sunday sets by Killer Mike and El-P. The pair released two of the best albums of 2012, and their stellar recent collaboration, dubbed Run the Jewels, dropped as a free download in June. After a sweaty set in which Mike ran through songs from his R.A.P. Music — including strong versions of the title track and the politically cutting “Reagan” — he joined his buddy El-P for a batch of Run the Jewels cuts that mixed verbal dexterity with a healthy dose of levity. Their record, simply titled Run the Jewels, is something of a break from the duo’s doomsday aesthetic as solo artists — Jewels is an exuberant, sonically diverse fun-ride that makes light of Hip Hop’s silly preoccupation with bling (the two performed with fake gold chains around their necks), among other Pop-culture oddities. (El-P later tweeted, “I’ll just go ahead and say @pitchforkfest is the most chill, fun ass festival around right now.)
Run the Jewels was an interesting transition into a set from the ever-vital Yo La Tengo, which mixed choice cuts from its vast back-catalog (including sweet reworked versions of “Autumn Sweater,” “Tom Courtney” and “The Hour Grows Late”) with several tunes from the New Jersey trio’s latest record, Fade. As usual, they didn’t interact much with the crowd, though frontman Ira Kaplan, who dropped in several impressive guitar freak-outs, did joke that it was “good to be opening for R. Kelly again.”
The fest’s most curious social-media-stirring moment occurred Sunday evening as M.I.A., amid a garishly colorful backdrop of spinning wheels and neon lights, unveiled songs from her forthcoming album, Matangi. A sea of cell phones rose to record her entrance; many stayed aloft throughout. It was a departure in audience etiquette — somewhat unexpectedly, much of the festival was free of such ubiquitous use of technological interference.
Clad in a flashy gold top and orange short-shorts, M.I.A. stalked the stage, often with dancers at her side, as bass-heavy Dance-Rap arrangements thundered through the ample soundsystem with almost netherworldly force. The ceaseless sonic assault pretty much drowned out whatever she might have been trying to convey in her new songs — which, based on the spottiness of her previous record and the delayed release of Matangi, might be a good thing. Only when her set was interrupted by technical glitches did she seem spontaneous or even all that engaged. It was a weird, disjointed set, the kind of whiz-bang spectacle that rarely rears its head at Pitchfork.
In contrast, Savages Saturday afternoon appearance was a model of lacerating intensity. The buzzed-about British quartet — whose recent debut Silence Yourself is a satisfying blast of atmospheric Post Punk — was one of the most anticipated acts of fest. They didn’t disappoint, delivering blistering versions of “I Am Here,” “She Will” and “Fuckers,” a new song about not letting the “fuckers get you down.”
Jehnny Beth is a captivating frontlady, her no-bullshit stare and frequent high-pitched yelps lifting the music’s familiar elements — everyone from Gang of Four and Patti Smith to Siouxsie Sioux and PJ Harvey come immediately to mind — to uncharted heights. More unexpected was the band’s tendency to evoke ’80s-era U2, which isn’t necessarily a bad thing. Even more curious was Beth’s evocation of Ian Curtis, both in terms of her appearance (lean with close-cropped hair) and in some of her mannerisms (as if the music were transporting her somewhere beyond the stage).
Michael Gira, Swans’ longtime ringleader, was impressed,
asking the audience, “How about them lady Savages?” before clapping in
appreciation. Gira’s band immediately followed Savages, and it was an
apt pairing, like opposite sides of the same coin. His crew of gifted
Post Punk vets — which includes a hairy multi-instrumentalist named Thor
and a suave German slide-guitar player who looks as though he’d be
right a home in a David Lynch flick — conjured an unholy racket during a
truncated version of “The Seer” and offered an inspired take on
“Oxygen,” which featured Gira doing a spooky Indian-like dance
throughout. While it was odd to witness Swans’ menacing, ebb-and-flow
soundscapes in broad daylight, the outdoor setting still left those in
attendance vibrating long after the band’s final drone leaked from the
That brings us to the three headliners. The festival’s mission — it attempts to highlight the most adventurous, zeitgeist-channeling acts on the current landscape — makes choosing an anchor to each day’s events a challenging dilemma for Pitchfork organizers. Given the esoteric nature of many such music-makers, there are only so many high-profile acts that fit the typical “headliner” criteria. Past choices have included such Alt-Rock mainstays as Flaming Lips, Spoon and Sonic Youth to more contemporary entries in the canon like TV on the Radio, Animal Collective and LCD Soundsystem.
Pitchfork even had Yoko Ono headline one year, which makes the choice of R. Kelly as Sunday night’s festival-closer even odder one on multiple levels. First, there’s the fact that Kelly — no doubt one of the most important R&B artists of the era, and a Chicago native to boot — is the most mainstream artist the festival has ever booked. Second, and far more troubling for many, is Kelly’s reputation as a serial misogynist who never got the legal reprimand he deserved.
The most vociferous critic has been longtime music writer Jim DeRogatis, who broke the story of Kelly’s indiscretions while working at the Chicago Sun-Times in 2002. DeRogatis called Pitchfork’s decision to book Kelly and the subsequent excitement from “some (not all) paying customers” as being “fueled by irony.”
No doubt there are legitimate questions about how an artist’s personal issues should impact the way in which we experience their music, but, for better or worse, those knotty questions were not going to be answered during Kelly’s Pitchfork set.
In fact, based on the reaction of those in the massive crowd — probably the festival’s largest ever — irony was not as prevalent as DeRogatis wanted to profess. The overwhelming majority of those in attendance, which ranged from fortysomething African-American couples to teenage hipsters, seemed genuinely excited to be taking in Kelly’s sextastic jams. The performance itself, meanwhile, was largely standard-issue R&B stagecraft, as Kelly ran through much of his extensive songbook medley-style (38 songs!). Not even a steady drizzle of rain could dampen the mood, as many swayed and sang along straight through to a set-closing version of “I Believe I Can Fly,” which was accompanied by the release of dove-shaped balloons.
If Kelly’s presentation was fairly straightforward, Bjork’s closing set on Friday was anything but. Or so it seemed — unless one was within 75 yards of the stage, it was hard to see what was going on besides fleeting glimpses of Bjork’s elaborate headgear, which looked like a porcupine lit up from within. Worse, the two video boards that flanked the Green Stage were mounted too low, rendering them almost useless to those they should intend to aid.
No matter: Bjork’s expressive voice was just as fluid and otherworldly as one would expect on slightly reconfigured versions of “Hunter,” “Joga” “Pagan Poetry” and “Army of Me.” When rain and pending lightening and thunder prompted festival organizers to pull the plug after an hour, Bjork responded with this curio: “It’s calm. I don’t know. This wouldn’t be much in Iceland, I can tell you that much.”
It also rained on Belle and Sebastian Saturday night, but not enough to cut short what was the festival’s most overt nod to nostalgia. The Scottish crew ran through a career-spanning set that crested early with rousing versions of “I’m a Cuckoo” and “The Stars of Track and Field,” which had more than one thirtysomething couple embracing amid all the tuneful sweetness.