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by mbreen 04.21.2011
Posted In: Local Music, MidPoint Music Festival at 07:05 PM | Permalink | Comments (0)
 
 
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MidPoint Indie Summer Series 2011 Preview

This week’s CityBeat features the announcement of the first several weeks’ worth of headliners for PNC’s MidPoint Indie Summer Series. The free, every-Friday concert series on Fountain Square again features an interesting array of out-of-town artists and Cincinnati music’s finest. The concerts begin June 3 with local Electronica duo You, You’re Awesome headlining a typically eclectic night of provocative sounds. It’s good prep for 2011’s MidPoint Music Festival this fall. The Indie Summer kick-off is your first chance to get MidPoint ’11 tickets — MPMFers can buy three-day passes at a discounted rate while they last at the events this summer.

Below, take a look/listen to the performers announced so far.

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by mbreen 10.30.2008
Posted In: Local Music at 12:11 PM | Permalink | Comments (1)
 
 
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Kim Taylor Tells The Greatest Story

Mesmerizing local singer/songwriter Kim Taylor – who performed recently at the CMJ Music Festival in New York City — has a new five-song EP called The Greatest Story …, which is available now for about four bucks if you download it on her Web site. (In fact, all of Kim’s music is only available digitally as of now; CDs are only being sold at shows, while a vinyl version of her I Feel Like a Fading Light is due out in December.) The set will hit the iTunes store in the near future.

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by mbreen 12.30.2010
Posted In: Music News at 03:58 PM | Permalink | Comments (1)
 
 
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Marvin Gaye/Pink Floyd Collaboration?

If someone told you that two of the biggest musical icons of the 20th century had collaborated on an album that was never released and has never been mentioned in the big history book of popular music, what would you think? Sketchy, right? What if you read the same thing on the Internet? Needless to say, the skepticism increases manifold. So is the case with some recent murmurings on the Web about a “long lost” collaboration between Marvin Gaye and Pink Floyd.

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by Mike Breen 01.27.2012
Posted In: Local Music, Music News at 12:23 PM | Permalink | Comments (24)
 
 
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Longtime Music Booster Johnny Schott Dies

Last night, Fox 19's website reported that veteran local musician, talent booker and event promoter Johnny Schott passed away unexpectedly on Wednesday morning in his home in Tennessee.

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by Jason Gargano 05.12.2011
Posted In: Local Music, Live Music at 02:40 PM | Permalink | Comments (0)
 
 
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A Chat with Twilight Singers' Greg Dulli

Greg Dulli needs little introduction in these parts, but for those who are somehow not familiar, the now-46-year-old Hamilton native came up as frontman for The Afghan Whigs in late 1980s and exploded out of the local scene via a string of visceral, dark-hued albums (the best of which, 1993's Gentlemen, continues to grow in stature) that were equally influenced by Husker Du, Prince and moody, noir-infested crime movies. Dulli's post-Whigs output has been just as compelling, including releases by The Twilight Singers, his main project. The band performs Monday at Newport’s Southgate House.

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by mbreen 03.09.2011
Posted In: Festivals, Music News at 10:03 AM | Permalink | Comments (2)
 
 
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The National to Play MusicNOW

In our local music column Spill It from the CityBeat issue out today, we announced the lineup for this year’s much anticipated MusicNOW festival, which includes a closing-night headlining appearance by Cincinnati-bred Indie music stars The National on May 15.

National guitarist Bryce Dessner is the brains behind MusicNOW, which began in 2006 and has featured unique performances by some of Indie music’s biggest names, as well as up-and-comers and those on the edgier fringe of modern Classical/Chamber music. Dessner’s Avant Chamber group Clogs has played the fest in the past, but this is The National’s first time at MusicNOW.

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by Blake Hammond 11.27.2012
Posted In: Music Commentary at 12:06 PM | Permalink | Comments (0)
 
 
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The Mystery of Captain Murphy (and Why It Drives Us Nuts)

Buzzing Hip Hop artist Captain Murphy's unkown true identity highlights our modern intolerance for mystery

There is no mystery in music anymore.

I‘ve been trying to find a scapegoat to blame for this. Most notably, I’d like to blame KISS for taking off their make-up in ’83, unveiling the Demon and Star Child as just a couple of goofy-looking New Yorkers dressed up like extras from a Dokken video.

But as much as I’d love to blame KISS for taking the mystery out of music (Gene Simmons ruins most things so it was a good guess), the problem really lies with the internet and the digital age we are consumed by. (Thanks, Al Gore!) When was the last time you went on Google and couldn’t find what you were looking for? With a few easy clicks, you can find answers to some of life’s most important questions like, "Who was the second guy from Wham?" (Andrew Ridgeley) and was Liam Neeson actually on an episode of Miami Vice (yes, he was).

But even with the constant flow of status updates, tweets and information that has caught Americans in this perpetual technology loop, over the last five months there has been one artist that has captured some sense of anonymity in the music industry. That artist is Captain Murphy.

For those of you who don’t know who Captain Murphy is, don’t worry. No one does.

When Captain Murphy burst onto the scene with his impressive verse on Flying Lotus’ Adult Swim single, “Between Friends," the music media and Hip Hop heads alike immediately got a raging hard-on for the guy. His use of voice modulation and his style, which carries the complexities of MF DOOM’s flow with just a hint of the silly attitude of Tyler, The Creator, caused a sea of speculation about his identity and spawned more gossip than when Honey Boo Boo Child gets pregnant before her My Super Sweet 16 special.

After the release of “Between Friends,” Murphy has intermittently dropped singles over the last couple months, turning the internet into his own personal Gotham City (Murphy playing the part of the Dark Knight) and leaving every music journalist and tons of Hip Hop fans trying to figure out who the hell is playing Bruce Wayne.

Now, Captain Murphy has dropped his mix tape, Duality, which takes the listener on a 35-minute Psychedelic Hip Hop excursion into the mind of a cult leader and has only heightened the anxiety attacks over his true identity.

But what’s the point?

Can we, journalist and fans, just relish in the secrecy of this up and coming artist without freaking the fuck out about it? I know that our job as journalists is to report information that people want/need to know, but I didn’t think obsessing over people who just want to make music and making their lives more difficult was in the job description.

The perfect example is last year’s music industry enigma, Earl Sweatshirt.

When the music media received news that Earl Sweatshirt, the most mysterious figure of the then-exploding Odd Future gang, was nowhere to be found, they began foaming at the mouth. The “Free Earl” campaign and the lack of knowledge of his whereabouts were covered by everyone from bottom feeder music blogs to The New York Times. But while Earl wasn’t even in the country (he was allegedly located at a troubled boy’s camp in Samoa), America was getting their rocks off on glorifying him as Hip Hop’s second coming and propelling him into stardom and fame before he was even old enough to vote.

Sweatshirt tackles this invasion of privacy on his latest single “Chum,” when he spits, “Tolerance for boundaries, I know you happy now/Craven and these Complex fuck niggas done track me down/Just to be the guys that did it, like I like attention/Not the type where niggas trying to get a raise at my expense/Supposed to be grateful, right, like thanks so much you made my life/Harder and the ties between my mom and I strained and tightened/Even more than they were before all of this shit/Been back a week and I already feel like calling it quits.”

It’s a shame that our insatiable infatuation with artists has been pushed to the point where we force young creators like Sweatshirt (and, to an extent, the seemingly fragile mainstream crossover star Frank Ocean) to want to give up on their budding careers, but what if the consequences were more severe? Sure, this constant media intrusion could push Earl to quit rapping and that would be a terrible loss of potential in the Rap game. But what if instead of quitting, this media malpractice pushed him to the bottle and drugs like Amy Winehouse or even a shotgun like Kurt Cobain?

On a smaller scale, it’s the same kind of information-driven OCD that makes people sign off of Facebook only to almost simultaneously check the Facebook app on their phones. Many of us now have an endless need to be in the know.
But in more serious cases, it’s the kind of obsessive behavior that caused fans like Michael Abram to break into George Harrison’s house and stab him in ’99, caused Mark Chapman to shoot John Lennon in Manhattan in ’80 or Nathan Gale to shoot “Dimebag” Darrell Abbott in that Columbus nightclub in ’04.

We have an opportunity to change this "gotta know now!" behavior with Captain Murphy. Here’s my proposal — every copy of Captain Murphy’s first album should include a prescription for Xanax and Prozac (maybe even a spliff or two for our friends out in Colorado). Maybe that would allow everyone to enjoy the music without having a mental breakdown about who is making it.

In the end, if Murphy doesn’t want us to know his identity, then we don’t need to know his identity. So unless the Captain is 2Pac revitalizing his career under this new alias, let’s all just keep calm and enjoy the mystery. While it lasts.

UPDATE: Aaaaand that didn't last too long. No more mysteries! Captain Murphy was revealed to be Flying Lotus (details here).

 
 
by Mike Breen 10.26.2012
Posted In: Live Music, Reviews at 01:09 PM | Permalink | Comments (2)
 
 
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Review: The Afghan Whigs & Wussy at Bogart's

Two of Cincinnati's finest play much aniticpated homecoming show and exceed expectations

“I’ve been waiting for this for six months,” Afghan Whigs frontman Greg Dulli said to start off the Cincinnati-spawned Rock crew’s first concert in the Queen City since a Sept. 25, 1999, appearance at the same venue. That ’99 show turned out to be the Whigs’ last public concert anywhere before the group’s recent return on a global reunion tour earlier this year.

As the extended band built upon the swarming buzz of opener “Crime Scene (Part One),” a lot of fans in the audience could relate to Dulli’s excitement for a hometown show, something most for years thought would never happen. They’ve been waiting a lot longer than six months (when the show was announced), though. More like 13 years.

The show kicked off a little after 9 p.m. with Cincy favorites Wussy. The foursome is opening several of the shows on the Whigs’ current U.S. run. Though the group had some sound issues (they clanged away to get levels a little before starting, apologizing and telling the audience they hadn’t gotten a soundcheck), many in the crowd got swept away by the rockers’ ragged, emotive and infectious sound. Though the Cincinnati stop on the tour is obviously the show where the audience would be most familiar with Wussy (many fans around me were dancing and shouting every lyric back as co-frontpeople/singers/guitarists Lisa Walker and Chuck Cleaver switched off vocals), it was fascinating to see that moment on people’s faces when you can tell they’ve been lured in — “Hey, these guys are really good.” It bodes well for the band, which will join Heartless Bastards on tour as soon as the Whigs dates end.

Short on its trademark hilarious banner (a theme for the night, though in Wussy’s case, it was difficult to hear much of anything the members said between songs), Wussy busted through a great set that touched on all four of their studio album releases to date. Like the albums, that created a great “calling card” of a set for potential new fans, as Wussy moved from more emotionally moving, slow swaying songs (like opener “Waiting Room” from last year’s excellent Strawberry and the transcendent “Muscle Cars” from 2009’s self-titled effort) to its often humorous (though still often just as passionate) and punkish upbeat tunes like the uber-catchy “Happiness Bleeds” and the relentless, wired “Pulverized” (another Strawberry track).

The core quartet was rounded out by John Erhardt, a former bandmate of Cleaver’s in The Ass Ponys who added some tasty shading with his pedal steel guitar (unfortunately, his contributions were probably effected most by the weak sound, which often made him inaudible in the mix). Whigs bassist John Curley sat in on a song, putting a jolt into the crowd and leading bassist/multi-instrumentalist Mark Messerly to joke that, while everyone should be excited about the Whigs reuniting, they were now going to be treated to a “Staggering Statistics reunion” (Curley played in that local band with Wussy drummer Joe Klug; SS singer/guitarist Austin Brown was not present, so it was really a 2/3 reunion-ish).

Between sets, the anticipation of Whigs’ fans that could be seen on social media sites since the show was first announced six months ago was becoming palpable. The lights went down, the crowd erupted and The Afghan Whigs took the stage (adorned with a simple red backdrop, reminiscent of the one at the old Southgate House, and a shimmering disco ball) to kick off an hour-and-a-half-plus show that showed that this was far from the same band that performed at Bogart’s 13 years ago.

The Whigs have always been an amazing live band, but the current incarnation was a different kind of amazing — tight, focused and seemingly thrilled to be playing with each other again. Exemplifying the band’s decision to return for a full tour and do things smarter were the mere physiques of Curley and Dulli, who seemed to have recognized the unhealthy trappings of touring and preemptively hit the gym hard so they were ready for them. The always rail-thin original guitarist Rick McCollum was his usual enigmatic self, knocking out his brilliant, snaking leads while practically hidden on the far left of the stage. Though fairly subdued, occasionally McCollum stepped out of the shadows, doing his Jimmy Page-influenced stutter-step stage moves.

The Afghan Whigs were literally a different band than 13 years ago as well. Longtime associate Doug Falsetti was back on percussion and back-up vocals, but there were plenty of new faces — guitarist Dave Rosser and drummer Cully Symington (members of Dulli’s Twilight Singers) plus Rick Nelson, who played cello, violin and keys.

Perhaps the biggest difference between the Whigs that broke up in 1999 and the one that played last night was focus. I personally missed the funny, sometimes baiting banter for which Dulli’s infamous, but it made the show more powerful and fluid just sticking to the songs. The Afghan Whigs proved themselves one of the best live Rock & Roll bands on the planet right now with a no-BS set that hit upon songs from their entire career.

That was another “new thing” — the band’s last Bogart’s show featured no material from the Whigs’ first two SubPop albums (save standard finale “Miles Iz Dead” from Congregation). Last night, the band did “Miles” as the finale again, but also did ferocious versions of Congregation’s “I’m Her Slave” and “Conjure Me” and even “Retarded,” the fiery lead-off track from the 1990 SubPop debut, Up In It.

Instead of the swaggering “gentleman” teasing the crowd and making jokingly arrogant statements between songs, Dulli came off like a master frontman, taking off his guitar for the old R&B cover of “See and Don’t See” and roaming through the crowd, dancing frequently and, most importantly, hitting every note. Dulli has reportedly quit smoking and it has done wonders for his voice. In the past, he’d sometimes gasp for air doing a song like “Conjure Me” or nearly choke on some of the more throatier howls; last night, all cylinders were clicking and he hit all the right notes, including the “Yeah!” yells of “Retarded” (one of the best screams in Rock & Roll), which he's now nailing probably better than he has since the group recorded the song.

The more upbeat material from the Whigs’ swan song, 1965, got the crowd moving even more intensely as the Whigs grooved hard on their distinctive funkiness. And tracks from Gentlemen and Black Love were received like the classics they are, from the ominous “Fountain and Fairfax” and the whip-snap of “Gentleman” to the woozy teetering of “When We Two Parted” (which was given a bigger, sharper reworking), a hard and heavy “My Enemy” and a soaring “Faded,” one of the best “ballads” of the ’90s during which the group paid tribute to one of the best ballads of the ’80s, “Purple Rain.”

The Whigs have always quoted from other songs during their sets (kind of like how a Jazz saxophonist will sneak in various melodies while playing) and last night was no exception. Dulli inserted a touch of Prince’s “Little Red Corvette” into “66” (a holdover from their final touring days) and also worked up a snippet of The Emotions’ Disco classic “Best of My Love” as an intro. And during their most recent new song, a great cover of Frank Ocean’s “Lovecrimes,” Dulli (playing keys) segued into “Wicked Games” by Canadian R&B newcomer The Weeknd.

Early on in the set, Dulli thanked Wussy for opening up and remarked on how Cincinnati has always produced a ton of great bands. “Always has, always will,” he added. Those words carry a lot of weight coming from a Cincinnati music icon.

I came away from the show with one thought — “This can’t be it.” Yes, the group is returning for another Bogart’s show on New Year’s Eve, but The Afghan Whigs are better than they’ve ever been right now and, judging from various interviews, all three members are enjoying the experience immensely — why stop now? If they can get through this tour with those good vibes still peaking, why wouldn’t they make a new album and keep it going?

UPDATE: Here's is the full setlist from the Bogart's show Oct. 25 (from setlist.fm):

    1.    Crime Scene, Part One 

    2.    I'm Her Slave 

    3.    Uptown Again 

    4.    What Jail is Like 

    5.    Conjure Me 

    6.    When We Two Parted/Over My Dead Body 
(Drake cover)
    7.    Gentlemen 

    8.    Crazy 

    9.    Best of My Love /66 
(The Emotions cover)
    10.    My Enemy 

    11.    Retarded 

    12.    See and Don't See 
(Marie "Queenie" Lyons cover)
    13.    Lovecrimes /Wicked Games 
(Frank Ocean cover)
    14.    Going to Town 

    15.    Who Do You Love?/Fountain and Fairfax 
(Bo Diddley cover)
    16.    Faded
Encore:
    17.    Miles Iz Ded 

    18.    Into the Floor

 
 
by Alex L. Weber 06.18.2009
Posted In: Live Music, Reviews, Music Commentary at 04:15 PM | Permalink | Comments (2)
 
 
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Live Review: Hank III at Bogart's

The Hank Williams family Country music legacy is fairly remarkable when you consider how three generations of men have built up audiences that would likely stand aghast at one another. Hank Williams, Sr., is a founding father of Country and Honky Tonk Music as we know it and, rightfully so, a certified historical figure, institutionally and critically bestowed with all the respect due our revered cultural heroes by the Time-Life crowd.

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by mbreen 02.02.2011
Posted In: Music News at 03:42 PM | Permalink | Comments (0)
 
 
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The Baseball Project's Pete Rose Song

In September of last year, The Baseball Project — an all-star band featuring Peter Buck (R.E.M.), Scott McCaughey (Young Fresh Fellows), Steve Wynn (Dream Syndicate) and Wynn’s wife, drummer Linda Pitmon — publicly debuted its song “Pete Rose Way” in Greater Cincinnati when it performed at the Southgate House. The band (which, as the name suggests, explores America’s national pastime in its lyrics) had recorded the song a week before the Southgate show and it will finally be released a part of the Volume 2: High and Inside album, scheduled for a March 1 release. But you can hear "Pete Rose Way" right now by clicking the play button below.

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