The music he made with groups like The Light Wires, The Great Depression and The Brothers and the Sisters helped make singer/songwriter Jeremy Pinnell one of many local music fans' favorite songwriters. Pinnell's folksy songs were marked by his ability to convey — with an almost uncomfortable accuracy — the kind of dark, ominous emotions most people try to bury. His words, his melodies and especially his muttering yet soulful voice had that rare ability to effortlessly do what most writer's strive for their whole career — to make a deep connection with the listener that goes beyond a hummable hook or slick guitar solo and buries itself deep inside their conscience.
Having practically every person who heard his songs immediately captivated wasn't enough to keep those projects together. Pinnell seemed to ride the waves of success each act experienced (on varying levels), then the band would break up before the project's full potential was reached.
After another dry spell, Pinnell returns to the local stage tonight at MOTR Pub in Over-the-Rhine for the live debut of his latest project, Jeremy Pinnell and the 55's. Once again, Pinnell has hooked up with some gifted collaborators to create more soul-stirring songs to shatter what's left of your fragile, blackened heart.
The 55's reteams Pinnell with one of his earliest musical partners, Cameron Cochran (currently with Pop Empire). When they were 18, Cochran and Pinnell were pals playing Country songs together at their buddies' Punk Rock shows. Cochran says "The Voice" was already in place.
"He had that voice that would shut up a room," Cochran writes in a press release. "It didn't matter what the show was. He would open his mouth and everyone listened."
The two went their separate ways eventually, but recently reconnected. Cochran is vague about the circumstances of their last project ending and this one beginning, saying only that it is a tale of "heartbreak, tragedy, love and redemption" worthy of a Country song. Indeed, the 55's sound is somewhere between AltCountry and Indie Folk, with the timelessness of those genres' precursors driving everything. The band is rounded out by drummer Chris Alley and bassist Ben Franks; Cochran adds spectral atmospherics with his pedal steel guitar work and hovering backing vocals.
Some of the 55's material has come out via a handful of wonderful live videos shot by local photography superstar Michael Wilson. Below, check out one of the clips by Wilson, who is also working with Cochran on a series filming at The Emery Theater called "One Shot Music Videos" (referring to how Wilson shoots each in one continuous shot without edits).
Tonight's show at MOTR is free and starts around 9:30 p.m. Visit JP & the 55's on Facebook here.
On this day in 2002, rapper for the Pop group TLC, Lisa "Left Eye" Lopes died in a traffic accident in the Honduras. The star was allegedly trying to pass a truck, but another vehicle was coming the opposite way when she made her move. To avoid it, Lopes swerved off the road. The Mitsubishi Montero Sport Lopes was driving flipped, hit a couple of trees and threw all four passengers out of the vehicle. Lopes died from head and neck injuries; the other passengers survived.
Left Eye was just a month away from her 31st birthday.
Lopes' casket was engraved with lyrics from the TLC hit "Waterfalls" ("Dreams are hopeless aspirations, in hopes of coming true, believe in yourself, the rest is up to me and you"). Lopes gave an interview to MTV News about her first solo album, 2001's Supernova, in which she described her song/poem "A New Star Is Born," which was dedicated to her late father. In the interview, she said, "That track is dedicated to all those that have loved ones that have passed away. It's saying that there is no such thing as death. We can call it transforming for a lack of better words, but as scientists would say, 'Every atom that was once a star is now in you.' It's in your body. So in the song I pretty much go along with that idea. I don't care what happens or what people think about death, it doesn't matter. We all share the same space."
There are a lot of Left Eye remembrances going on in cyberspace today since its the tenth anniversary of her death. Check out word on a new track — and some remembrances from her former TLC pals — featuring Lopes and Bootleg of the Dayton Family here.
Here's a video tribute to Lopes put together by a fan and set to "A New Star," followed by an earlier different kind of tribute to TLC by Cincinnati's own Afghan Whigs (who just announced their first non-festival reunion date in the U.S., scheduled for October in New York City).
Born This Day: Musical movers and shakers sharing an April 25 birthday include: Jazz/R&B saxophonist Earl Bostic (1913); legendary Jazz vocalist Ella Fitzgerald (1917); influential Blues guitarist Albert King (1923); wildly successful songwriter and producer (with writing partner Mike Stoller) Jerry Leiber (1933); bassist for Classic Rock band CCR, Stu Cook (1945); singer for Prog band Marillion, Derek William Dick, much better known as Fish (1958); singer for Synth Pop legends Erasure, Andy Bell (1964); original Jane's Addiction bassist Eric Avery (1965); and the "Father of Hillbilly Jazz," fiddler Vassar Clements (1928).
Clements' improv approach to Bluegrass was a revelation. Putting a Jazz twist on Roots music makes him a spiritual godfather of the whole "Newgrass" movement.
Clements grew up in Florida and taught himself to play violin at the age of 7. When he was 21, he joined Bill Monroe's Blue Grass Boys, recording with them in the early ’50s. Word of Clements' prowess and innovative style traveled and he became an in-demand session player. In 1971, Clements joined John Hartford for the groundbreaking Aereo-plain album, widely considered one of the first "Newgrass" records. Hartford and Clements were joined by Norman Blake, Randy Scruggs and Tut Taylor for the album, which was produced by David Bromberg.
During his 50-year career, Clements would go on to become a crucial part of the progressive Bluegrass movement of the ’70s, including appearances on a couple of other trailblazers — the Nitty Gritty Dirt Band's Will the Circle Be Unbroken and Old and in the Way, featuring Jerry Garcia, David Grisam, Peter Rowan and John Kahn. By the time he passed in 2005 at the age of 77 (from lung cancer), Clements had played with everyone from Paul McCartney, The Monkees and The Grateful Dead to Stephane Grappeli and Woody Herman.
Here's Clements performing with the Del McCoury Band in 2003.
This date in music history is a sad one, marking the "gone too soon" deaths of several young musicians with a lot ahead of them.
• Guitarist Paul Kossoff was the cofounder of British Rock band Free with singer Paul Rodgers and bassist Andy Fraser. The band's 1970 Fire and Water album spawned the band's best-known song, "All Right Now," but the band split by the end of that year. They reformed in 1972 and put out two more albums before calling it quits for good. Kossoff did solo work, played with many other artists and formed a band called Back Street Crawler. The guitarist was in poor health in the years after Free, reportedly due to drug problems and frustration over the demise of his most successful musical project. Kossoff died on a flight from L.A. to New York in 1976 from heart problems. His father spent the rest of his life campaigning against the perils of drug abuse, even doing a touring one-man show about his son. Kossoff's headstone contains the epitaph, "All Right Now."
Kossoff was 25.
Click on for Born This Day featuring Bun B, Billy Sheehan, Ricky Wilson and Terry Hall:
The Afghan Whigs' upcoming live reunion shows have generally been in Europe, largely at festivals, save a couple of U.S. shows (in New York City and at Lollapalooza in Chicago and All Tomorrow's Parties in Jersey). Today it was announced that the group's official first show back after 13 years will take place later this month, May 23, at the Bowery Ballroom in New York. Tickets go on sale this Friday in noon, if you're up for a roadtrip. Joseph Arthur opens the show.
It will be the first Afghan Whigs show since Sept. 29, 1999, when the Whigs played a private show at an NYC club called Hush.
If you can't make it to New York in 15 days, two weeks from tonight The Afghan Whigs will make their first public appearance together as a reunited group on Late Night with Jimmy Fallon. The band will be the musical guest on the program's May 22 episode.
Still no word on a Cincinnati date (Chicago's the closest so far). Keep your fingers crossed, local Whigs fans. Keep an eye on the band's official site for the latest Whigs updates. (I've been loving the "On This Date" in Whigs' history; today in 1990, FYI, the band played at Foufones Electroniques in Montreal.)
Fallon wasn't on yet when the Whigs were around previously, but here's a playlist of many of The Afghan Whigs' TV appearances over the years.
While not necessarily “weird,” when fans discovered that bad-ass, longtime local Blues artist Kelly Richey had started a side-business as a “life coach,” undoubtedly a few thought they misheard or misread. It’s not really a logical step from stunning Blues guitarist and vocalist to personal life coach for hire.
Likewise, when I first got an email about the new lineup of Richey’s band, I did a double take. Again, not that it was particularly unusual news — I just didn’t see it coming. (The music world could use a lot more moments like that.)
Joining Richey in the new version of KRB is experienced drummer Jyn Yates from Kentucky and Chris Sherman, the guiding force behind popular local Funk group Freekbass (and his new duo project, Freekbot).
While Sherman (who goes by his stage name, Freekbass) is best known for his huge Funk grooves, dabbling in modern EDM and rather flamboyant stage outfits at times, Richey’s sound skates the line between hard Blues and Rock; the most flash from her live shows come from out of her fingers as she plays and mouth as she sings.
On the surface, the pairing seems on par with Buckethead joining Bonnie Raitt’s band or Flea sitting in with Stevie Ray Vaughan. In other words, it should be quite interesting to hear what the trio comes up with. The first single, “Fast Drivin’ Mama,” offers a hint — the song is a rocking slice of riffing Blues Funk. It’s not drastically different from Richey’s usual sound, but the groove is appropriately huge.
Here's the debut single/video for "Mama":
The new KRB trio was assembled to record the next Kelly Richey Band album, which the musicians have been working on at Shangri-La Studios in Lexington, Ky. The album — Sweet Spirit — is scheduled for release March 1, followed by tour dates that will take them from Florida to Canada.
The trio’s debut show is Saturday in Northern Illinois (Mishawaka, to be exact), but local fans won’t have to wait long to check out the new KRB. The group performs on Jan. 11 at Legends Nightclub in Cheviot. Showtime is 8 p.m. and there is a $10 cover at the door.
Tonight at the 20th Century Theatre in Oakley, two MidPoint Music Festival alumni team up for an 8 p.m. show, opened by Brooklyn duo and Secretly Canadian recording artists Exitmusic. Tickets are $17.
Welsh-bred, London-based AltRock trio The Joy Formidable were one of the big attractions at last year's MPMF, headlining the big tent stage at Grammer's. Like a lot of MPMFers, the band was on the brink of breaking through in the States and has since been doing pretty damn well — the band's current cross-country tour of America kicked off with four sold out shows (Cincy is the eighth stop on the jaunt). The trio is still doing dates in support of last year's debut LP, The Big Roar, which notched a No. 8 chart position on Billboard's Top Heatseekers charts. Here's a clip of the threesome performing its single "Whirring" at South By Southwest last year.
Another trio that played MidPoint (in 2010) holds down the middle slot tonight. Brooklyn's Post Punk/Noisegaze group A Place to Bury Strangers were also a highly anticipated band at the MidPoint at which they performed. Though their show didn't go exactly as planned (playing the Contemporary Arts Center, the band's light display and legendary volume kept knocking the power out during their set), the group still ended up putting on a stellar performance and didn't lose their cool. In this week's CityBeat, Reyan Ali talks to Oliver Ackermann, singer/guitarist for APTBS, about that CAC show and whether he thinks his band's violent, aggressive sound has helped him release any violence or aggression that may lurk within him. Check it out here. The band is currently working on its third full-length.
Check out the clip for "Keep Slipping Away" from APTBS's last album, 2009's Exploding Head:
• Even more MidPoint vets are playing together at downtown's Mainstay Rock Bar tonight. My absolute favorite show at last year's MPMF was a relatively small gathering at the Main Event club featuring tour-pals Vanity Theft (who originally hail from Springboro, Ohio) and Canada's Hunter Valentine. While some of the other MPMF shows might have had better sound or a dazzling light show, these two all-female groups put on a brilliant display of Rock & Roll, with an impassioned Punk drive, slanted Indie Rock riffs and some New Wave/Post Punk undertones. Both groups were funny, charming and incredibly fun to watch and rock out with, even though they were at the tail-end of a massive North American tour. If Sleater Kinney, The Buzzcocks and Blondie got together for a timewarped jam in 1979, it might have sounded like what you'll hear tonight at Mainstay. Like-minded Indy Pop Punk band Neon Love Life opens the show.
Showtime is 9 p.m. Cover is just $5. Here's Vanity Theft's video for the song "Trainwreck":
• I'd never heard of "Christian Crunk Rock" before I started reading about Atlanta's Family Force 5, but it is definitely now in my Top 10 list of all-time favorite favorite genre hybrids, just behind the Dance/Electronic/Emo mesh EmoDM but a few slots ahead of Doom Jazzcore. Like a good Christian band name, there's honesty in their moniker — there are five members, they are certainly a force in AltChristian music circles and the band contains three brothers. The Olds bros (Solomon Jerome, Jacob and Joshua) are the son of Jerome Olds, who was a popular Christian music performer in the ’80s.
FF5 transcended the Christian tag by experiencing success in the mainstream with their first full-length, Business Up Front/Party in the Back, and the group didn't do a lot of the things many Christian acts go through when trying to appeal to a wider chunk of the populace. There were no denials and vagueness about their religious beliefs, nor have they ever gone out of their way to specifically target a Christian audience that might want "The Message" a bit more prominent in FF5's music and at live shows. The band wears crazy, colorful outfits, makes songs about partying and having a good time and has a sound that's a blend of Hip Hop's Crunk stylings (as popularized by Lil Jon), Dance-demanding beats and an Emo-y vibe to the melodies and hooks. It's what EMF would be doing if they came out today.
Fortunately or unfortunately (depending on your opinion of Crunkcore, I suppose), tonight's show in Corryville is an acoustic one. The band's Rise Up! Acoustic Tour invades The 86 Club in Corryville, the youth-friendly club on Short Vine (where Top Cat's used to be) that has been presenting modern Christian acts (as well as others) for the past year. The all-ages show starts at 8:30 p.m. (SameState opens) and tickets are $15.
FF5 is premiering an uplifting documentary film on this tour, screening Isaac Deitz's Vital Sign short about FF5 bassist Joshua Olds' battle with kidney failure during a holiday tour in 2009 that almost killed him. Here's the trailer for the flick:
• Always excellent local Rock foursome Messerly and Ewing are playing tonight at The Avenue Lounge in Covington with a pair of cool special guests. New band Hello Mayday has begun kicking around the local club scene in recent months. The group features a quartet of veteran local players — Brian Halloran (formerly of Clabbergirl) joins ex-Crosley members Paul DeNu (also a Clabbergirl for a spell) and Vince and Joel Knueven in the band. The group is currently working on its first recordings with former Moth and The Virgins guitarist Bobby Gayol. Halloran says they hope to have an album this summer and a teaser EP this spring. Opening things up will be a solo acoustic set from singer/songwriter Kevin Nolan, former frontman for the awesome local group Saving Ray.
The show is free and starts at 10 p.m. Click the arrow below to hear M&E's "Living on Lies" from the recent full-length, Every Bitter Thing.
• Great French Jazz guitarist (and Woody Allen collaborator) Stephane Wremble is at the Blue Wisp Jazz Club downtown tonight for two shows — at 7:30 p.m. and 9:30 p.m. Admission is $15-$20 (and, don't forget, you can now have a great dinner at the Wisp, as well). Read more here. Here's some of Wremble's work on the score for Woody Allen's acclaimed Midnight in Paris:
First let me say that I'm not what you would call a huge Olympics fan. This isn't an essay on sports. I'll tune in occasionally for things like basketball, soccer and Brazilian women's beach volleyball (LOTS of Brazilian women's beach volleyball), but it's hardly Must-See-TV for me every four years. If I had more patience, I'd probably watch more — but researching how the scoring works in water polo (and where they hide their horses) kind of takes the fun out of things.
I do love the drama of sports. I grew up the music nerd who didn't like sports because it was for jocks. My stance softened thanks to the 1999 Cincinnati Reds. Living just a few blocks away from the old Cinergy Field, I probably went to 50 home games that year — paid five bucks for a cheap "Top 6" seat (before they'd stop you from moving closer if there were open seats, which there usually were). Some of the dramatics of that season (cut short by a devastating one game playoff loss to the Mets) re-made me into the sports fan I was as a 10 year old.
The way drama in sports moved me reminded me (and still does) of the way music moves me. Though quite different experiences (sports is "thrill of victory/agony of defeat" exciting, while music moves me to my very core, caresses my heart, soothes my pain, gets me pumped up, etc.), they both give me a somewhat similar tingle in my brain.
As this year's Olympics progressed, I began to notice a lot of complaints about NBC's "tape delayed" coverage, whereby the network would hold back all the key, shining (mostly American athlete-oriented) moments for its prime-time broadcast. Of course, as pretty much every person with the ability to communicate online noted, this meant hearing that, say, Michael Phelps and Usain Bolt just made Olympic history … then turning on NBC to hear "tune in at 9 p.m. to find out how!"
Anyone with access to a radio, TV with channels other than NBC, a computer, smartphone or an excitable Olympics superfan BFF usually found out what happened up to 10 hours ahead of time. In some ways, I felt bad for the piling-on of NBC's Olympic events coverage. I mean, they did broadcast hours upon hours of live footage from London on their multiple Olympics platforms (iPad apps, Android apps, websites, additional channels, etc.).
But some people are busy, work strenuous jobs (without access to the aforementioned fancy devices) and want to come home, have some dinner, maybe smoke a doobie and THEN see what happened earlier at the Olympics. I'd be curious if anyone was actually able to avoid all spoilers — every time someone won a medal, I received a "news update" alert on my smartphone or would find out instantly on a British news website or within my Twitter or Facebook feed.
So I cut NBC the slightest of slack for fouling up some of the tape-delayed broadcast decisions (but there was no excuse for promoting Today show interviews with "new gold medalists" right before viewers actually saw said gold medalist win the top prize, something NBC did multiple times). If you really wanted to see an event live, you could do so.
The same can be said for the Closing Ceremonies, which streamed live on the Olympics many media platforms. But when it came time for editing it all down to a tight two-and-a-half hour or so prime-time broadcast, NBC had to cut some material out of the Closing Ceremony to make it fit and leave room for McDonald's and Coke commercials.
During the Opening Ceremonies, NBC shamefully cut away to show Ryan Seacrest interview Michael Phelps instead of airing the ceremony's tribute to the 52 victims of the July 7, 2005, terrorist attacks in London.
There's editing for time and then there's just rude ethnocentrism. If New York City hosted the Olympics and the BBC cut away from the broadcast to show Simon Cowell interview legendary British track cyclist Chris Hoy, I wouldn't be shocked if the U.S. immediately began discussions about when to start the bombing of London.
Thankfully, nothing quite that insensitive occurred during the Closing Ceremonies.
The Closing Ceremonies piqued my interest the most of all of the Olympic happenings, mostly because I'm a proud Anglophile when it comes to music. Of my favorite artists ever, I'd be shocked if half weren't from the U.K. (if not more).
So I was fairly excited when I heard that the Closing Ceremonies would be titled "A Symphony of British Music" (look, you can already buy a CD) and focus primarily on England's greatest export, alongside comedy (which was spotlighted cleverly in both the opening and closing events) and Cadbury Creme Eggs. (I was only "fairly" excited because these things can often be cheesier than a Super Bowl halftime show with Up With People)
I had a slightly busy Sunday (well, busy enough that I couldn't watch stuff on TV or online all day), so I checked a handful of performances from the Olympics live stream, figuring I'd be able to catch the whole thing later.
There were some great moments. The John Lennon/"Imagine" salute was touching in a pure, unforced and restrained manner (not much else was, but that's not what ceremonial, once-in-the-lifetime, music-driven ragers should be about, especially in London).
It was interesting to see athletes from other countries singing along to Oasis' biggest hit, "Wonderwall," in seemingly their own languages (not sure how Noel Gallagher felt about his little bro's band Beady Eye playing it, though; Noel did turn down a chance to participate).
The unfussy cover of Pink Floyd's "Wish You Were Here" was serviceable, but gets bonus points for bridging a generational gap by bringing together hot new singer/songwriter Ed Sheeran and RIchard Jones from young Brit band The Feeling with PInk Floyd drummer Nick Mason and Genesis guitarist Mike Rutherford.
Meanwhile, the only thing missing from Eric Idle's perfectly nonsensical performance of "Always Look on the Bright Side of Life" was a chorus line of singers nailed to crucifixes (a la Monty Python's Life of Brian, the film in which it first appeared).
And, cheesy as it may have been, Freddie Mercury (in video projection/hologram-ish form) leading the stadium through a chant proved he is STILL the best frontman in Rock, even in death.
There were also, as is to be excepted, several cringe worthy moments.
The Spice Girls were a big deal for a few minutes, but did they deserve to perform more than one song at a global event like the Olympics? What exactly did they give the world besides a lady-friend for one of the planet's (former) greatest soccer players? I know, I know — it was a "rare" reunion (though it feels like they have "rare reunions" ever six months or so). I kept hoping for a five-olde-timey-taxi pile-up as they zoomed around the performance area at seemingly dangerous speeds.
Singer Jessie J must now be bigger than Princess Diana in the U.K., because she was able to perform multiple songs as well, like her big hit "Price Tag," showing the U.K.'s contribution to crappy Pop music, and "We Will Rock You" with Roger Taylor and Brian May, presumably because Paul Rodgers either wasn't available, passed away recently or refused to wear a nude, bedazzled unitard.
Ms. J also jammed with the artists during the segment where the London Olympics showed the world that there are indeed black people in the U.K., though Taio Cruz and Tinie Tempah are essentially carbon-copies of crappy American R&B/Pop singer/rappers. They did do a fun, mercifully short cover of the Bee Gees's "You Should Be Dancing," which probably pumped up views of the Bee Gees' Wikipedia page thanks to all of us who could have sworn the trio was from Australia (they were born in the U.K., moved to Australia, then back to the England where their career kicked off in earnest … in case you don't get Wikipedia).
There were a few glaring omissions from the parade of British Music stars, but the ceremony director gets a pass for that. How do you fit a century of music into three hours? Still, I could have done with seeing The Cure play (anything but "Killing an Arab") or New Order do a Joy Division/New Order mini-set or even Def Leppard (at least!) representing the influential New Wave of British Heavy Metal movement in lieu of Russell Brand singing a Willy Wonka tune and miming "I Am the Walrus."
And, hey, remember how Britain co-invented Punk Rock? Beside awkwardly copping "London Calling" as a sort of unofficial anthem (before people apparently listened to the lyrics) and a mention of designer Vivienne Westwood, Punk Rock wasn't very big in the U.K., I guess. And Fatboy Slim apparently invented the British rave scene and U.K. dance music (while living inside a giant inflatable octopus).
Finally, in the spirit of mixing British humor and music, it would have been hilarious if George Michael would have appeared with former Wham! mate Andrew Ridgeley clasped around his leg ("I let go once — never again!").
The Rolling Stones, David Bowie, Sex Pistols, Kate Bush and others reportedly turned down invites to be involved in the ceremony, though at least most were given props during the ceremony (Bowie's "Fashion" soundtracked the tribute to British fashion through the years, while a remix of Kate Bush's "Running Up That Hill" was used as the music for a dazzling dance number spotlighting the tune).
The biggest blunder of the Closing Ceremonies, though, came once again courtesy of NBC's prime time broadcast.
I'm an editor and I understand that sometimes you can't fit every single thing you want into the tiny box given to you; tough calls must be made sometimes.
But what network exec's 14-year-old niece was given control over the U.S. broadcast's final cut on NBC? Whoever made the tough decisions made a few seriously bad ones and the internet has been screaming about how much it SUCKED ever since.
The Kate Bush-soundtracked performance was cut, but I get that. Kate's not a household name in the States. I caught rockers Muse — who wrote and recorded the official song of this year's Olympics, "Survival" — and can forgive that one too — their performance was a bit lackluster and the song has an oddly ominous tone, like something Mussolini would have commissioned had the Olympics ever come to Italy during his reign.
Ray Davies' performance might have been spared if he'd playing "You Really Got Me" or some other U.S. FM radio staple. But Davies could play nothing but his gorgeous ode to London, "Waterloo Sunset," because it was the perfect time and place for the beloved British hit to be performed.
(Click ahead to the 1:35 mark to see it, until NBC removes it)
When I realized NBC cut "Waterloo Sunset," that's when my head-cocked bemusement turned to "WTF!" annoyance. A peek at the internet revealed I was not alone (I think the Davies cut was the hardest for most true Rock fans to take).
That is, until the end of the broadcast.
The absolute worst cut from NBC's primetime broadcast was the deletion of The Who, the perfect British band to provide a grand finale. If you were watching live, you saw the extinguishing of the Olympic flame and then, while Bob Costas was allowed to blather on about nothing over the allotted air time a day or two earlier, causing the show to "run over," Costas signed off with a very quick, "We'll be back from Olympic Stadium in about an hour for the London closing party featuring The Who. But stay tuned now for a full episode of Animal Practice, the new NBC comedy presented commercial free."
The network switched over to Monkey Doctor (or whatever it's called) and then followed it with local news.
THEN The Who's impressive eight-minute medley — touching on proudly anthemic and quite British tunes like "My Generation" — was allegedly aired, an hour after prime-time programming had ended. Pete, Roger and their ringers kicked things off with "Baba O'Reily," with its perfectly dramatic, almost always spine-tingling opening keyboard riff, which would have made a perfect segue way from the flame being put out. Instead — Hospitals for Monkeys (or whatever it was called), commercial free!
I left NBC as soon as Marcus Monkeypants MD started and ultimately fell asleep, mumbling to myself about how I'll never watch another episode of America's Got Talent or something like that. Then I spent today looking up what I missed on YouTube and other sites … when available. There was some good footage posted for a few minutes, but NBC and the Olympics yanked them faster than Fred Willard in a movie theater.
The nbcolympics.com site DID have The Who segment up by this evening. But they called "Baba O'Riley" by its not-actual-title, "Teenage Wasteland."
See — 14-year-olds are running NBC!
Ultimately, it's not that big of a deal — today there was another sad, tragic, inexplicable shooting in public near Texas A&M University. We STILL have not seen what Paul Ryan's abs look like. And NBC says the Olympic games were the most watched in history; one ad exec went so far as to suggest the high ratings in the U.S. were BECAUSE of the weird tape-delay approach. It created excitement (not hair-pulling-out frustration?).
So keep it in perspective and start getting ready for the 2016 Olympic games in Brazil. I'm already plotting how to watch it all as it should be watched — on a live stream, on Brazilian TV or in person (CityBeat, I'm volunteering my services). Because you just know NBC is going to shoot 90% of it from "above the waist." Some of those amazing booties over there are definitely NSF-NBC.
Australian Dance Rock trio Art Vs. Science headlines the free MidPoint Indie Summer concert on Fountain Square tonight at 7 p.m. Also on the bill is Electro duo You, You're Awesome and unique Indie Rock group SHADOWRAPTR.
AvS keyboardist/guitarist/vocalist Dan McNamee spoke with CityBeat this week about the band's "conversion mission"/U.S. tour and how they borrow elements from various Dance music styles to create their own distinctive sound. Read Brian Baker's interview with McNamee here.
Below, check out a live video from Art Vs. Science, a recent clip from Shadowraptr and You, You're Awesome's cover of Gary Numan's "Metal."
• It's a night of Doom, Sludge and Crust as rising underground Metal locals Beneath Oblivion headline a free hometown show tonight at Baba Budan's in Clifton Heights. BO has been continuing to tour behind its latest From Man to Dust album, which was released by former local label The Mylene Sheath and has been receiving glowing reviews from outlets like Decibel Magazine and MetalSucks.com. The band will be hitting the road again in August.
Performing with Beneath Oblivion at its 8 p.m show will be Grass (Sludge band from Philadelphia), Before the Eyewall (Sludge from Columbus) and Cincy Crust Punk crew Coelacanth.
• The new group DAAP Girls makes its live debut tonight, opening for solid Detroit rockers The Sights at MOTR Pub in Over-the-Rhine.The Girls consists of members of local Rock band The Lions Rampant and NoKy Ska/Reggae crew The Newport Secret Six. Lions/DAAP Girls member Stuart MacKenzie describes the band as a “dance-oriented mix of early Stones’ guitars, Funk breakbeats, three-part harmonies and Reggae bass.” Tonight's free show kicks off at 10 p.m.
Headliners The Sights begin touring with Tenacious D tomorrow (playing Nashville's Ryman Auditorium) and are promoting their latest release, Left Over Right. Here's the Garage Pop band playing the title track at a show in Ypsilanti last month.
• Fans of Americana/Roots/Folk music can catch some of the area’s finest tonight at Paddlefest out at Coney Island, as WNKU presents the Roots on the River Music Festival. The fest (and parking) are free. Artists scheduled to appear (5-11:30 p.m.) include Jake Speed & The Freddies, Tex Schramm & the Radio King Cowboys, The Lewis Brothers, Magnolia Mountain and Brown County, Ind., Country Blues faves Reverend Peyton’s Big Damn Band. Full details on Paddlefest can be found here; click here for the music schedule.
• The Jam band kings of Phish return to Cincinnati tonight for a 7 p.m. concert at Riverbend. Tickets are $41.50-$56.50.
Perhaps because Cincinnati is becoming such a cool city to hang out in lately, like the members of the Red Hot Chili Peppers (who hung out at the Radiohead concert and took batting practice with the Reds the night before their show in Cincy recently), the Phish phellas spent an off day in the Queen City yesterday. Singer/guitarist Trey Anastasio and bassist Mike Gordon spent at least part of the day shopping for and/or playing with gear at Mike's Music in Corryville. Check out the pics below of Trey and Mike noodling about in the store (from the Mike's Music Facebook page here).