There is no denying the legendary status of Black Sabbath. They are all Rock & Roll superstars, defining Hard Rock and Metal, both as forms of music and lifestyles. Without Sabbath, we would not have seen the likes of the Metal acts of today, like Slipknot and Tool, or fellow legends like Motorhead and Megadeth, as well as much of Grunge (and all of Stoner Metal).
Frontman Ozzy Osbourne does not see Black Sabbath as a Metal band. At a pre-tour press conference Osbourne elaborated on this: “I’ve never really liked that—- using that word 'Heavy Metal' — because ’80s Metal was all Poison, Motley Crue, Ozzy and so on, and the ’70s was a different thing, you know? And it got different in the ’90s. I mean, it’s like it doesn’t have any musical connotations for me.”
The new Black Sabbath album, 13, is not a Metal album. It is more like their earliest work together, not the Paranoid or Masters of Reality years, but the time they were grinding it out as a heavy Blues band. This is, of course, not your typical Blues album, nor has Black Sabbath abandoned what made them the legends they have become.
What gave the band the inspiration to produce their first No. 1 album (yes, I repeat, first No. 1) was one simple concept, one simple word — freedom. Ozzy explains, “There’s a lot of free spirit, which is what (producer Rick Rubin) was looking for, I suppose. It must have been. We did very well, his idea of a Black Sabbath album.”
On Sunday night, Black Sabbath rolls into the Klipsch Music Center in Indianapolis. After nearly 45 years of Black Sabbath, a lot of lineup changes have been made. This is not a different lineup. This is the original crew (minus drummer Bill Ward).
This is Ozzy, clean, sober and still with that distinct sound that no one else in the business can touch. It is guitarist Tony Iommi, who beat cancer while the new album was being made, truly the “Ironman” of the band (as Osbourne refers to him). It is bassist and band lyricist Geezer Butler. Rumors are already flying that this may be their last tour together, so it will be a truly once-in-a-lifetime experience for many.
Here are a few more snippets from the pre-tour press conference to get you fired up. The humbleness and pride really shined through in all of Ozzy’s answers.
Q: Hey, I remember back when Sabbath originally got back together in the late 90s and you guys did a lot of touring then into the next decade. The band had tried back then for a time to get a new record together and then it didn’t materialize. Can you put your finger on what made things different this go around that did enable you to come up with some pretty raw material?
Ozzy Osbourne: You know what? I was doing this television thing with The Osbournes back then, and I had my own career, and I suppose it was a clash of egos and it just didn’t feel right. We tried to force an album. In fact we did — we recorded a demo with a bunch of stuff, which is nothing like the way we used to do. We were forcing it out of ourselves. Whereupon this album, the 13 album (that) just kind of came out, we just clicked. I mean, you know when you’re in a band and you go into something that is working. You know, we didn’t have to force it. It just came naturally.
Q: When did you realize that?
Ozzy: There’s no answer - there’s no formula. There’s no magic — it just happens or it doesn’t. I wasn’t really into it (during the earlier attempt). They weren’t really into it and you can’t force it. It either comes or it doesn’t and I said before in the press that the reunion album was going to have to be something special, the most important album of my career.
When it comes out naturally and you get that tickling feeling in your spine and you know you're on a sort of that spiritual thing you sort of — you know that everything’s working right, you’re not forcing it.
Q: 13 has already proved to be very successful for the band. It’s the band’s first No. 1 album in the U.S. How does this feel after 45 years?
Ozzy: You know what? You’re asking the wrong guy, because when it went to No. 1 in England, it just went No. 1 in England, America, Germany, New Zealand and I’m like, "What?" I mean, I’m still kind of pinching myself, like I’m going to wake up and it’s all been a dream, because had this happened in 1972 after Paranoid, I’d have gone, “Oh, yes, OK.” But now after 45 years up the road and we get our first No. 1, it’s kind of a hard thing to swallow, you know? You just kind of — it’s great. I’m not saying I don’t want it to be No. 1, but I just don’t understand why now, you know? I mean, we’ve been around for a long time, in one way or another.
Q: OK, so now you’ve got the album that you wanted. What’s the live show going to be like?
Ozzy: You know, all I can say is a month or so ago we were in New Zealand, Australia and Japan, and it was astounding how the reception was. We’re going to do some old and we're going to do some new and it’s just kind of interesting to be able to do some new stuff because in the past I haven’t been able to do a lot of new stuff because of the fact that my range is too high and I couldn’t do onstage what I did in the studio.
But now on this, on 13, I sang it in a range that I could do most of them on stage so we did new things, “End of the Beginning”, “God is Dead?" and a couple of others, but we couldn’t do most of the cuts off the album, if you want to change them around and all. We’re not going to go and just do new stuff with very limited old stuff. We’re going to do “Paranoid,” “Black Sabbath,” a good mix of the old stuff as well as the new stuff.
Q: I wanted to see if you could talk about Tony Iommi, just how inspirational for you it was watching your friend battling cancer while making this album, and his courage.
Ozzy: You know, when he came down with cancer, it’s been the way of Sabbath. That is, we’d try to get something going again, and the last time, (original drummer) Bill Ward had a heart attack and we couldn’t do it then. The easiest part of getting back together with Black Sabbath and doing an album is just sitting down and just saying, “Yes, you know,” but then all kinds of crap gets flown in the works.
And Tony kept going. He said, “I’ve got this lump,” and I said, “You know what? If I were you, I’d go and get myself checked out, because you know in a way, it was what I said to Sharon — my wife Sharon went to get checked out early part of of 2000, and she found she had colon cancer, so she had to go and get it checked out.” So he came back and he said, they’ve found I’ve got lymphoma, and I go, 'This is unbelievable.' Every time we start to get going -—it’s like a curse, you know? And believe me, I know from firsthand with my wife that treatment for cancer is not like doing a line of coke and going to a disco. It knocks the crap out of you, you know? But fair play to Tony, it just came down to the studio.
The only thing we had to do was make it easier for him to get treatment. In other words, we started off at my studio in Calabasas, but we all moved to his studio in England, and we all stayed in a hotel for a while to accommodate him, and he would come down to the studio every day. I’d go, “Tony, you’re sure you’re okay to do this, man, are you ready?” And he goes, “No I'll do it," and he came down, he came up with the goods.
I thought my God, man, he is “Ironman.” You know, I mean, my hat goes off to him, because I mean, believe me, I don’t know if you have ever known anybody who had chemotherapy before, but that really knocks the life out of you, man.
Q: I’m just curious what the impetus was that — when you called Tony back in 2010 and said, you know, let’s get the band back together, I want to make another Sabbath album, what was going through your mind at that time?
Ozzy: I can’t really remember who called who. I think it originally was me and Tony doing an album and then we tried various bass lines and we tried the instruments out and we tried a whole bunch of people, and I don’t know who said, what’s Geezer up to and, you know, and it just kind of came together by accident and we all started to write stuff and it started to gel. Whereas we tried before and we all sat there and it just wouldn’t —- it … just wouldn’t work, you know.
But it came together very naturally and it wasn’t too long to where it was like, 'I like that, that’s pretty cool,' and so you can’t force anything, right? You can just, you can try and be Black Sabbath, but we all knew that we didn’t want to put an album out called Black Sabbath, just for the sake of us guys getting together and doing stuff together. At one point there was even talk like not calling it a Black Sabbath album, but eventually it rolled into itself.
Q: I wanted to ask about the lyrics on the album. Now I know Geezer has a big hand in that. How does the process work? Who create the lyrics?
Ozzy: Well, what happens is I get a melody, and I’ll just sing anything, and sometimes it can be like a beginning or a hook line or a couple of words that he gets inspiration from. He’s the main lyricist, although I wrote a couple of the sets of lyrics on the album, but Geezer gives Black Sabbath’s vocal message verbally. I mean, over the years, he’s given me some phenomenal lyrics, you know.
He’s just one of these guys that can do that. I get an idea like “God is Dead?” for instance. One day I was in the doctor’s office waiting room, and Time magazine was just sitting on the front with “God is Dead?” and I thought, 'Wow, that’s a good idea,' and I started singing that on the track, you know, the “God is Dead?” bit.
You know, I thought, 'They've flown planes into the World Trade Center under the name of religion and God and all this shit, and that is not my idea of what God should be.' My idea of what God should be is a good guy, you know? I don't think there's any good in killing people in the name of your God. And so Geezer — that was my idea — and Geezer took it to another level.
Q: Did you ever have to have discussions about things that he writes that you might not agree with?
Ozzy: No, no.
Q: Is there ever a back and forth?
Ozzy: He’s very careful. I mean, if you listen to the lyrics on “God is Dead?” at the end of the song it says, “I don’t believe that God is dead.” people just look at the face value of the title, and I know on this tour we’re going to have Bible thumpers and people picketing us and people telling us that we’re evil and all that. We kind of laugh at it, because people just go the face value (of) “God is Dead?" and it’s all about Satan and it’s just quite amusing, actually, because they don’t really know what they’re complaining about.
Q: This is just a little bit off-topic. In the movie God Bless Ozzy Osbourne, I noticed toward the end you were learning to drive. I just wanted to know what was going on with that.
Ozzy: See what happened, I got a driving license, bought a Ferrari, I bought an RA Spider, and the people would get out of the bloody road when Ozzy was driving, I’m telling you. I was always getting stopped by the cops or running into somebody else’s car, so one day I said to my wife, “You know what? I’m 64. I don’t really want to be found dead in a Ferrari.” I’ve survived this long of all my trials over my life. I don’t want to drive over a cliff in a car, so I haven't really been driving since I sold the Ferrari and the RA.
Head to MPMF.com right now to see the full lineup and schedule for the MidPoint Music Festival, coming up Sept. 26-28 at various venues in Downtown and Over-the-Rhine.
Due to the legal wrangling over the management of The Emery Theatre (widely covered in CityBeat and at citybeat.com), the classic Cincinnati venue — a favorite from last year’s fest — will not be a part of MPMF in 2013. But MPMF’s footprint is expanding to include downtown’s Mainstay Rock Bar (which has participated in the fest in the past) and first-time MPMF venue The Ballroom at the Taft Theatre.
Like the activities on the MidPoint Midway, at the Contemporary Arts Center and in Washington Park, Taft’s Ballroom will be open to MPMFers of all ages. Tickets for individual Taft Ballroom MPMF shows will be available to purchase through Ticketmaster.com (with lower than usual ticketing fees, or avoid the extra fees altogether and buy them in person at the Taft box office). On Sept. 26, the Ballroom will be headlined by just-announced performers The Thermals; Murder By Death, Cory Chisel and the Wandering Sons and Nicholas David perform at the Taft on Sept. 27; and, on Sept. 28, the lineup will feature Daughter, Bear’s Den and Cincinnati’s own Bad Veins.
At mpmf.cincyticket.com, you can buy three-day passes, VIP tickets and other “a la carte” tickets for single shows in Washington Park and at Grammers. Shuggie Otis and Cody ChesnuTT headline the Washington Park stage on Sept. 26; The Head and The Heart and Youth Lagoon head up the Sept. 27 lineup; and Sept. 28 in Washington Park will be “The Breeders Day Party,” which starts at noon, with The Breeders performing their seminal Last Splash album at 7 p.m. Saturday’s Washington Park lineup also includes Twin Peaks, Gauntlet Hair, Foxygen and Cincy’s Tweens, who’ve been doing numerous tour dates with The Breeders.
On the Dewey’s Pizza stage at Grammers (21-and-up only), Kurt Vile & The Violators, Snowmine and Cincinnati Psych Rock trio The Harlequins perform on Sept. 26, Warpaint and Secret Colours top the Sept. 27 bill and Black Rebel Motorcycle Club, METZ and Deap Vally are slated for Sept. 28.
The Cincinnati music scene is well represented once again at this year’s MPMF. Here are some of the area artists confirmed for the fest: Eclipse; Seabird; The Pinstripes; Young Heirlooms; Us, Today; Saturn Batteries; Sun Country; Darlene; Jody Stapleton and The Generals; Electric Citizen; Magnolia Mountain; Allan Pray; The Tigerlilies; Kelly Thomas and the Fabulous Pickups; Public; The Ready Stance; Mad Anthony; Mama's Porch Band; Hickory Robot; Ben Lapps; Ohio Knife; Honeyspiders; New Vega; Archer's Paradox; The Perfect Children; You, You're Awesome; Goose; Chick Pimp, Coke Dealer at a Bar; Plastic Inevitables; redkattseven; SHADOWRAPTR; Halvsies; DAAP Girls; The Cincy Brass; We Are Snapdragon; Black Signal; The Happy Maladies; ADM; Molly Sullivan; Come On Caboose; SOHIO; Wussy; Alone at 3AM; The Natives; Wussy; and The Kickaways.
And Cincy Indie Pop greats The Fairmount Girls are slated to make their record 12th appearance at the 12th annual festival.
Here are a few links for and visuals from some of the most recently announced national acts coming to MPMF 2013.
Editor's Note: Brian Penick of local music promotions company The Counter Rhythm Group is guest blogging for CityBeat monthly to provide a behind-the-scenes look at his journey to release his interactive industry guidebook, Musicians’ Desk Reference. Click here for his previous blog entries.
Aaaaaaaaaaand we are done! Well, kind of …
After nearly two years of content creation, testing, editing, restructuring and discussion, I am very proud to announce that the content for Musicians’ Desk Reference is finally complete! There is still much work to be done ahead of the release — completion of web development, beta testing, marketing, promotions and more — but we are at least moving ahead, right on schedule.
It sounds cliché, but it is amazing to take a step back and realize how far this project has really come, in addition to considering how much it has forced me to grow as an individual. It all started with an idea that I simply could not let go of, despite my initial thoughts that The Counter Rhythm Group just could not handle taking on a project of this (theoretical) scale. I tried working around this notion from every angle, discussing it with an array of employees that have helped in our growth, and at the end of each reflection period I knew that we had to still move forward with the idea, any way we could.
Those that know me know that I am a planner. I like making lists — and especially checking things off of that list. I try to find structure in everything when at all possible, and more often than not I find myself asking, “Why?” I have no idea where this mentality came from and my immediate family has reaffirmed that statement over the course of the last few months. It is this mentality, combined with my passion for helping musicians that has provided the fuel for this journey.
I am so excited to share this vision with the world. While it sounds cheesy, I can promise you that every page has my heart and soul poured into it, and that it has been painstakingly been picked apart by myself and a dedicated group of contributors. We are truly aiming to provide the best information possible to be used for many generations to come. I have stated before in these blogs that this is by far the most involved I have ever been in a project — I never considered leaving a legacy, but I am starting to think that this could be it.
So what does this mean for the user? I can say with confidence that there is way more to this project than I ever could have imagined, and the fact that it still consistently “wows” me should be a testament to those who have been patiently waiting for the final product over the past several months.
While the eBook is completely customizable to each individual and scenario, I can honestly say (to those who are interested) to get ready to spend some time reading and considering the subject matter. We have meticulously worked to build the documentation so that it touches base on certain generalities and specifics, offering clarity and understanding on the matter without requiring several days’ worth of reading. I am not a big fan of lengthy reading materials and our generation tends to be intimidated by large batches of text — the sole reason we have invested so much time and resources into a digital platform. To state it conservatively, it will take an artist some time to work through the entire project, which is meant to serve the user through several areas of their career as they develop and grow.
We are so close to being able to put Musicians’ Desk Reference in your hands that I honestly have a hard time sleeping at night. Looking ahead, we will be receiving a beta version of the eBook within the next week and we have many users lined up to participate. If you are interested in being considered for a beta trial, please send an email to email@example.com.
September is when things start getting really exciting, as we are pulling out all of the stops for this release. Without going into too much detail, I can say that we will have an established presence at the Midpoint Music Festival this year, and that this will be the first time the eBook will be available for purchase (acting as our “soft” release, exclusively to those physically at the festival). Pre-orders will be available in early September and are expected to ship the week after MPMF. This will all build up to our national release in October at the CMJ Music Marathon in New York City, where we will be also have a significant presence. There are many more things in the works; I promise that it will all be worth the wait.
I would like to close by thanking all of those that have shown support throughout this process, to The Counter Rhythm Group and to myself. While this is not the time to name anyone individually (that comes later), I want you all to know how much it means to us. Your continued support will help us through the coming months and we hope you will join us in spreading the word about Musicians’ Desk Reference. We have literally put everything we can into this project, and we are proud to say that we were able to build it while living in this great city, utilizing most outsourced services to companies and individuals located in the Queen City. We want to make a significant impact in the music industry, and I look forward to proudly telling anyone and everyone where it all started — right here in Cincinnati.
The Mad Love for Mad Anthony benefit on July 26, organized by the ever-wonderful Kelly Thomas, was a rousing success by any reputable yardstick. The Southgate House Revival was packed to the rafters with friends, fans and family turning out to support Mad Anthony, whose late June van accident had destroyed their touring conveyance, a good deal of their equipment and forced them off the road for an indeterminate amount of time while they heal.
There was plenty to see that night, and I was only able to sample a bit of it, but Smoke Signals rattled the rafters in the Lounge, and Martin Luther & the Kings tested the structural integrity of the Revival Room with an intensity and fury that rivaled most upper class hurricanes. Ryan Malott brought the Lounge back to a slow simmer with a nice acoustic set, The Black Owls, fresh from their triumphant Bunbury gig two weeks previous, filled the Sanctuary with the glorious Glam/Punk hybrid that they've perfected over the past five years and The Sundresses closed things out with a fabulous nutkick of a set featuring their brand new permanent drummer Dave Reid.
Between the money collected at the door, the merch sales and the proceeds from the silent auction, Mad Anthony collected a tidy sum to help defray their medical and related expenses and assist them in getting through the next few weeks of convalescence (and part time gigs for guitarists Ringo Jones and Adam Flaig, who are doing acoustic dates while drummer Marc Sherlock recuperates from a fractured neck vertebrae). The band wrote online that around $5,000 was raised.
For all that was accomplished, there is still more to be done. It will be impossible to erase all of the bills that resulted from Mad Anthony's accident, which came just weeks after the trio had quit their jobs and given up their apartments to devote their full attention to music and touring.
There will be another Mad Anthony benefit, this time at downtown's Mainstay Rock Bar, tomorrow (Friday), featuring music from Mangrenade, Knife the Symphony, Mala in Se, Thee Makeshifts, Alone at 3 AM and others It will be yet another opportunity to show your love for the boys.
Right now, though, I need to tell you why I hate Mad Anthony.
I hate Mad Anthony because they're so good. I hate that they've made me love them as a band, appreciate them as friends and care for them as if they were my own sons. How shitty is that?
I hate that I love their albums so much that I often play them when I should be listening to something that I'm supposed to be writing about, something that's likely twice as long and half as good. And so I listen to Mad Anthony twice. I hate that.
I hate Ringo. He's like a big dopey Labrador who loves his owners unconditionally no matter how badly they treat him, and his abusive owners are the harsh realities of life and the cruel indifference of the music
industry. And no matter how much they beat him, he just comes back for more, wagging his ass and smiling like he's won the lottery. Then he straps on a guitar, hits a chord, opens his mouth, shrieks a lyric and the whole thing sounds like a tornado tearing through a ball bearing factory, and somehow that makes him smile even more. I hate that.
I hate Adam. He's got that smirk permanently tattooed on his face, which makes it seem as though he knows something that you don't. And dammit, he probably does. I suspect his secret knowledge is that he would throttle his guitar and scream songs with the unbridled fury of a charging wildebeest whether his audience was no more than you and me and the waitstaff in some stinky little club or an entire arena filled with debauched pirates, and he would play with the same authenticity and passion in either event. I hate that, too.
And I hate Marc. He's thin enough to be mistaken for one of his drumsticks (you'd think a good stiff wind would blow him into the next county) and then he sits on the stool and hits the kit with subtlety and invention and musicality and the big hairy power of at least one of John Bonham's arms. And he does it all with the joy of a kid on Christmas morning. I really hate that.
So here we stand, charged with the moral duty of raising funds for Mad Anthony while they recuperate from the accident that destroyed their van, busted up their equipment and nearly killed them. I really would have hated them for that. Marc got bounced around with the gear in the back of the van like a pebble in a rock polisher and wound up snapping something relatively important in his neck, and both he and Ringo collected a Frankenstein's monster-like number of staples and stitches. Adam was mildly bruised and cut, because his secret knowledge that night was apparently, "Wear your fucking seat belt."
At any rate, tomorrow we'll gather with the intention of dropping a few semolians into the collection plate for the purpose of getting Mad Anthony back on its feet. And it seems to me that, since we're the ones raising the cash, we should have some say in how the funds are directed. So here are a few suggestions:
• Against all odds, the boys may have come out of the accident even prettier than before. I think maybe we should send them to a cut-rate, unlicensed plastic surgeon who takes buy-one-get-one-free coupons who will sort of ugly them up a little. Not on purpose, of course. That would be unethical. But it could be a good career move to come away from this experience with the kind of scars that can be seen from across a city block.
• The fact that there was an accident at all could possibly call the band's driving skills into question. On the one hand, maybe it was skill that saved them all. On the other hand, it may well have gone like this: "Look, shiny
thing..." Water, crash, roll, blood, hospital. So unless we want to be here every few months shelling out contributions to the Mad Anthony School of Sideways Driving, maybe we should insist that their next tour vehicle is an armored troop carrier with an interior made entirely of memory foam mattresses.
• Ringo and Adam are currently out on the road making up their dates by playing acoustic sets, but it might be a good idea for the foreseeable future to replace their whole rig with banjos and mandolins, at least until they prove that they can haul around big boy equipment and not wrestle with it in mid-air. Plus it would just be interesting to see if Mad Anthony could go full-metal-porch Tillers for awhile.
• There is at least one conspiracy theory (which I started) that states Mad Anthony got into this accident with deliberate certainty because they were afraid to get back in the studio to follow up their last album. I think we should make them use part of tonight's proceeds to record a triple album, Mad Anthony's version of All Things Must Pass or Wings Over America. Of course, a Mad Anthony triple album wouldn't be much longer than one side of a Grateful Dead bootleg jam, but it would still be a lot of work. Triple album, bitches.
• And finally, I think they should get a jaunty bow tie for Marc's neck brace. Because nothing on earth is going to make that neck brace look remotely cool other than a sporty bow tie. Even a drawing of a bow tie would be a step in the right direction. Or an ascot. Look what Hugh Hefner's done for the ascot. Of course, he has a billion dollars to back up the ascot. Let's stick with the jaunty bow tie for Marc.
Now let me tell you what I love about Mad Anthony. I love that they are louder than God's righteous rage and as indestructible as fucking cockroaches. I love that Ringo and Adam are actually doing the aforementioned acoustic thing until Marc is healthy, and I love that it's probably just as intense as when they plug in. I love that they didn't ask for help and when people offered, they said, basically, "Buy our music, and if you've already got it, buy another local band's music." That speaks volumes to their character, as a band and as people. Give them your money, give them your love, give them your respect, because Mad Anthony deserves all of it.
If you can't make it to the Mainstay show, there are a number of additional ways to get in on MadAid. You can purchase the band's music and merch, either through Phratry Records (phratryrecords.com) or from the band directly (madanthonyband.com or madanthony.bandcamp.com). If you're more inclined to give directly to the band, you can send your donation to them through their Paypal account (firstname.lastname@example.org).
Do all you can for them, because every time Mad Anthony hits the stage, they go to the end of the chain for you.
This weekend, the Cincy Blues Fest — presented annually by the Cincy Blues Society — returns for its 21st year, a remarkable accomplishment for a music festival of any sort. The festival kicks off tonight and continues tomorrow at Sawyer Point along the riverfront.
The weekend features two main stage acts with serious ties to Cincinnati’s Blues past. Educator, author, DJ, singer and harmonica player Steven Tracy returns to Cincy to play the main stage on tonight at 7 p.m. with his band the Crawling Kingsnakes. A Walnut Hills High School graduate, Tracy worked with local Blues icons like Pigmeat Jarrett and Big Joe Duskin, becoming a part of the scene he’d later dig deeper into in the 1993 book, Going to Cincinnati: A History of the Blues in the Queen City. His writing career is extensive — Tracy has written dozens of album liner notes and edited/wrote/intro-ed several other books on a variety of subjects. Today, Tracy is a professor of Afro-American Studies at University of Massachusetts Amherst.
Saturday at 6 p.m. on the fest’s main stage, Stacy Mitchhart and his band are slated to perform. Mitchhart grew up in Cincinnati and spent time playing music on the East and West Coasts before returning to his hometown in the early 1990s and forming Stacy Mitchhart and Blues-U-Can-Use, a staple on the local Blues scene for a few years. After a move to Nashville, Tenn., in the mid-’90s, Mitchhart’s musical career really took off. His albums have been widely acclaimed and done well commercially — his 2011 release, Live from B.B. King’s, debuted at No. 6 on the Billboard Blues charts — and he’s received high-praise for his showmanship and remarkable Blues voice. In 2008, Mitchhart was the subject of the well-received documentary NashVegas Blues.
Here is tonight's main stage schedule:
5:45-6:45 p.m. Dave Muskett
7:00-8:15 p.m. Steve Tracy & the Crawling Kingsnakes
8:30-10 p.m. Reba Russell Band
10:15-11:45 p.m. Watermelon Slim & the Workers
And here's the lineup for the Main Stage tomorrow:
4:15-4:45 p.m. Blues in the Schools (BITS) Band
5-5:45 p.m. The Juice
6-7 p.m. Stacy Mitchhart Band
7:15-8:30 p.m. Nikki Hill
8:45-10:00 p.m. Honey Island Swamp Band
10:15-11:45 p.m. Ana Popovic (all the way from Serbia!)
Some of the coolest things at the Cincy Blues Fest can be found on the “specialty” stages — a “specialty” of the fest — which this year includes a “Women of the Blues” stage on Friday, headlined by national act EG Knight and also featuring locals Rio & The Ramblers, The Juice and Tempted Souls Band.
Here is the "Women of the Blues" stage ((aka the Arches stage) schedule for tonight :
5:45-7 p.m. Rio & the Ramblers
7:15-8:30 p.m. The Juice
8:45-10:00 p.m. Tempted Souls Band
10:15-11:45 p.m. EG Kight
Saturday sees the return of the “Boogie Woogie Hall of Fame Piano Stage,” featuring an international cast of top-shelf Boogie Woogie pianists, including local favorite Ricky Nye and former locals (now Florida-based) Liz Pennock & Dr. Blues. The house band for the Boogie Woogie stage is Johnny Vidacovich (drums), George Bedard (guitar) and Chris Douglas (bass).
Saturday's Boogie Woogie Piano Hall of Fame stage (aka Arches stage) lineup:
4:30 p.m. Ben Levin
5 p.m. Ari Borger
5:40 p.m. Ricky Nye
6:20 p.m. Liz Pennock & Dr. Blues
7:10 p.m. Bruce Katz
7:50 p.m. Al Hill
8:30 p.m. Axel Zwingenberger & Lila Ammons
9:10 p.m. Joshua Paxton
10 p.m. David Vest
10:40 p.m. Bob Seeley
11:20 p.m. Chris Conz
The Blues Fest again presents the St. Vincent De Paul Local Stage on both days of the event, always an excellent snapshot of the current local Blues scene.
Friday's St. Vincent De Paul Local Stage schedule:
5:45-6:45 p.m. Thomas Long & Blue Sacrifice
7-8 p.m. Noah Wotherspoon Band
8:15-9:15 p.m. Ralph & the Rhythm Hounds
9:30-10:30 p.m. Brad Hatfield Band
10:45 p.m.-12 a.m. G Miles & the Hitmen
Saturday's St. Vincent De Paul Local Stage lineup:
4:30-5:30 p.m. The Blue Birds Big Band
5:45-6:45 p.m. Jay Jesse Johnson Band
7-8 p.m. The SoulFixers
8:15-9:15 p.m. Doug Hart Band
9:30-10:30 p.m. Chuck Brisbin & the Tuna Project
10:45 p.m.-12 a.m. Leroy Ellington Blues Band
Here is a map of the Blues Fest grounds:
Tickets are $15 for Friday, $20 for Saturday or $25 for a
two-day pass (tickets can be purchased at the gates or here). Visit
cincybluesfest.org for everything else you need to know about the
One of the oldest free series of its kind in the region, the It’s Commonly Jazz showcases have now been running for 28 years, presenting marquee artists like Eddie Harris, McCoy Tyner, Javon Jackson and David “Fathead” Newman.
The free series — running every Thursday in August (lucky Jazz fans get five events this year) — returns to the outdoor Seasongood Pavilion in Eden Park tonight. The opening show features renowned saxophonist Craig Bailey.
Nice interview from Greece with Bailey:
Here is the rest of the It’s Commonly Jazz lineup for 2013:
Trinidad-born Etienne Charles, acclaimed for his mix of island rhythms and Jazz, plays Aug. 8.
Charles jazzing up Marley:
Young tenor sax wiz J.D. Allen performs at the Aug. 15 show.
Allen and his trio play "The Matador and the Bull":
Grammy-nominated singer/songwriter/actor Gregory Porter on Aug. 22, presented with Learning Through the Arts, Inc. as part of the Crown Jewels of Jazz Heritage Festival. For tickets to (and more info on) the Crown Jewels fest — running at various venues in Over-the-Rhine and Mt. Adams Aug. 21-24 — click here. Here's LTtA's Kathy Wade explaining the festival:
Gregory Porter's official music video for "Be Good (Lion's Song)":
For the finale, vibraphonist Warren Wolf, who will be joined by his group of young Jazz lions, Wolfpack, comes to the ICJ stage on Aug. 29.
Warren Wolf's video biography:
Music runs 6-8 p.m. For complete info, visit itscommonlyjazz.com.
There is an old homily which quite wisely states that if something is operating properly, it might be considered imprudent to attempt a repair.
Or, in a slightly less circuitous manner of speaking, if it ain't broke, don't fix it.
For well over a decade, the Sundresses have been anything but broken. Brad Schnittger, Jeremy Springer and Makenzie Place have been churning out a visceral pretzel logic version of the Blues with elements of manic Swing, hot foot Jazz, brutal Punk and blistering Indie Rock, heated to the temperature of molten rock and detonated over unsuspecting audiences with an animalistic ferocity. A formula like that is both tremulously volatile and erratically perfect. Why would anyone feel the need to take a wrench to it?
Needed or not, a-wrenching they have gone; for the first time in The Sundresses' long history, the tight-knit trio has added a new full fledged member with the hiring of former Dukes Are Dead drummer Dave Reid. The new lineup was unveiled on July 19 for the band's appearance at the MidPoint Indie Summer Series on Fountain Square, and then again a week later when The Sundresses tore through a set at the Mad Love for Mad Anthony benefit at the Southgate House Revival.
Rabid fans and casual observers may have differing opinions on how Reid's addition will impact the Sundresses going forward, but one thing is certain; this was anything but a routine lineup decision. Bringing in a permanent drummer changes the group dynamic, eliminates one of the band's most popular and unique live features and may actually set the stage for broader success.
After 13 hard fought calendars, the Sundresses have recorded sporadically — a few EPs, a split with Dylan Ewing's 4192, a pair of brilliant studio documents (2003's The Only Tourist in Town, 2008's Barkinghaus) and Off, their scalding and ingeniously marketed 2010 live album — and toured relentlessly, without a great deal of forward progress being notched. The trio has always generated a good deal of extremely positive press, and their string of five trips to Austin for South by Southwest has to stand as some kind of local record.
My personal obsession with the Sundresses began at their first SXSW appearance in 2004, which coincided with my first trip to Austin for the festival. As it turned out, the band's gig at the Blender Balcony was only the ninth out-of-town show in their two-year history, and I felt as though I had just witnessed the cosmic birth of a great musical entity. I still feel that way. I drank more than a dipperful of The Sundresses' Kool-Aid that night, and I've been feverishly blathering on about them ever since to anyone who will listen.
For whatever reasons, the brass ring of label offers and more tangible measures of success have eluded The Sundresses. At the same time, the trio has remained committed to the cause and continued to pursue their singular vision with an almost psychotic tenacity and zealous passion. And their focused determination may have made it difficult for those of us who love them unconditionally to admit that there was indeed a fundamental issue that may have been blocking their path.
From the very start, Brad and Jeremy envisioned and executed one of their most cherished gimmicks, namely their patented guitar/drum switch; at their 2005 SXSW show, Jeremy informed the audience, "You were supposed to close your eyes..." It has long been an admittedly fabulous element of their live presentation, but it may have been so entertainingly original that it became a detriment.
The basic issue may be that Brad plays drums with the subtlety and invention of a studied and seasoned beatkeeper and Jeremy plays with the brute force of a blacksmith hammering on an anvil. Both approaches to playing the drums have legitimate advantages and both clearly have a role in shaping the diverse sonic identity that the trio has been trying to define since forming The Sundresses in 2002.
Although it may never have been perceived as a problem, the difficulty with rotating drummers is that Makenzie — who learned how to play bass in order to be a part of the band — has had to adjust her groove based on those two very distinct drum styles. In essence, the Sundresses' rhythm section has never really had an opportunity to build a discernible foundation.
With Dave behind the kit, that opportunity becomes a reality.
Based on the Sundresses' roaring set at the Mad Anthony benefit on July 26, the band's newly established rhythm section has already started paying dividends. Makenzie is now locked into a single percussionist and she and Dave collectively control the band's tempo. Dave has the latitude to incorporate Jeremy's power and Brad's nuance into his singular drum repertoire and Makenzie is learning the joy of shifting gears without changing cars.
Relying on primarily new and largely unrecorded material, The Sundresses blazed through an all-too-brief ten song set with a rejuvenated energy that smacked of their early days. Opening with the swinging funky Blues of the brand new "Banker's Blues" and the loping howl of the equally fresh "Whisper Touch," the quartet bounced megawatt riffs through every body and against every conceivable surface in the Revival's sanctuary. They slowed down a shade for a spin through Hank Williams' "Ramblin' Man," and Jeremy's quick documentary on the size of MA guitarist Ringo Jones' manhood before tearing into another relatively new track, "Zap a Deux," but it was all good in the hood regardless of speed or sonic profile. Finishing up with longtime faves "Hey! Hey! Bang! Bang!" and the propulsively jumping "Larry Nixon," the Sundresses gave both a glimpse at the sound of their much-anticipated third studio outing, hopefully coming out before the end of the year, and the direction they'll be taking as a quartet.
Perhaps one of the more interesting side effects from The Sundresses' expansion is the fact that Jeremy and Brad are now playing guitar together, which means their distinct stylistic differences are blending and cross-pollinating rather than occupying discernibly different spaces within the set. As they become more acclimated to this arrangement, and as Makenzie and Dave fully tune up the engine they've just rebuilt, it's bound to have an incredible impact on the songs they start writing. As it stands, the songs The Sundresses have already written sound magnificent coming from the newly minted quartet, proving once again that even the best can get better
Heart introduced a fresh, rebellious sound in the early 1970s when a particular voice was truly needed. That timeless voice belonged to singer Ann Wilson. In a time when the female frontwoman was just gaining steam, Heart found their identity in theirs. To this day Wilson embodies the band’s sound and message. She helped make it possible for generations of others to find their voice in Rock & Roll.
The band's legacy was celebrated on a grand scale this year when Ann, her sister, guitarist Nancy Wilson, and the rest of the Heart family were inducted into the 2013 class of the Rock and Roll Hall of Fame with the likes of fellow legendary groups Rush and Public Enemy.
CityBeat had the privilege of speaking with the legendary vocalist in advance of Heart's performance Saturday at Riverbend Music Center. Audiences can anticipate hearing classics like “Barracuda” and "Crazy on You," as well as fresh music off of the 2012 album Fanatic, which nicely continues the Heart legacy. Don’t miss the finale with Jason Bonham (opening the show with his Led Zeppelin tribute) joining them on stage.
CityBeat: What was the highlight of your Rock and Roll Hall of Fame Induction this year?
Ann Wilson: The highlight of my (RRHOF) induction this year was standing beside Nancy at the podium. That was a feeling of great pride I will never forget.
CB: What is the most number of days you have gone without playing music?
AW: I have gone months sometimes without playing a guitar, but never a day goes by where I don't sing.
CB: What does your ideal day look like these days?
AW: Sleep in late, have a great pilates/yoga workout, hang out with my kids and their kids, cook dinner, meditate, sleep with my dog nearby.
CB: If you could trade places with someone for a month who would it be and why?
AW: I guess I couldn't do that. I don't envy anyone else that much!
CB: You have seen music recording formats change from vinyl and 8-track to cassette, CD and MP3 through the years. Do you feel like music sounds better or worse with the use of technology?
AW: Music definitely sounds worse to my ears because of digital technology. There is a hard, brittle sound to it. Analog music sounded warmer and deeper, though maybe not as " perfect." Auto-Tune makes me crazy because it removes all individuality from a person's voice. Everyone ends up sounding anonymous. The imperfections are where the soul is, I say leave them in. Leave in the humanity.
CB: How did the latest tour come about with Jason Bonham? Any favorite tour stories from the current tour?
AW: Many people saw the Kennedy Center Honors show on TV or YouTube and loved the tribute to Led Zeppelin. The management was listening and everyone agreed it would be a beautiful idea. We've only done two weeks so far, and it's been amazing. No train wrecks yet!
CB: Do you journal or take photos over the years with special tour memories. How do you document your stories and memories?
AW: We record every night and have photographers on sight. Occasionally I will blog, but I am usually pretty wound up after a show. Maybe this will be the year I take up a journal. A person can't count on their memory forever!!
CB: Does it ever get tough being on the road with family? How have you handled it for so many years?
AW: Yes, the road is rough. Traveling and performing together takes a lot out of you and sometimes things do get emotional. We are lucky to have each other for support. I don't know how I would have made it all these years without Nancy's love, strength and sense of humor!
CB: Are you working on new music while on the road?
AW: My head is full of new songs at the moment.
CB: What can fans looks forward to when the tour hits Cincinnati?
AW: The show in Cincinnati will open with Jason Bonham's Led Zeppelin Experience, Next will be the heart show, after which there will be a finale consisting of about 30 minutes of Zeppelin songs with Jason Bonham and (Bonham's guitarist) Tony Catania joining in.
CityBeat was able to speak with Anderson this week about protests, social issues and his thoughts on performance art.
CityBeat: Why did decide to bring the flute to Rock music?
Ian Anderson: When I was a young aspiring guitar player in my late teens I became aware of Eric Clapton, Jimmy Page and Richard Blackmore, who were the hot-shot guitar players down in London, and I decided maybe I should switch from guitar and find something else to play. The shiny precision of the flute, the ergonomics, the design, the manufacture — it’s kind of like a Swiss watch. It appeals to my sense of physics and engineering. For a particularly good reason, other than the way it looks, I decided I would give that a go. I learned to play it by trying to imitate the lines I played on guitar — solos and rifts. So I became the flute player in a Blues band and I was the only flute player in a Blues band, which gave me the difference that helped Jethro Tull stand out from the crowd.
CB: One of my favorites on Thick as a Brick II is “Adrift and Dumbfounded.” Can you tell me a little bit of the story behind that song or how it came about?
IA: Having been picketed a couple nights ago in Kansas City by the Westboro Church, the “Godhatesfags.com” people … I am seen as a fag-hyphen-enabler according to that unworthy organization. I don’t think I am a homosexual, but I am a supporter of gay rights and a lot of my friends and people close to me are gay people and I find that the prejudices and difficulties faced by young people, particularly in post-puberty, where they are sometimes questioning their gender and their physiology because some people are just born that way … so, it is a difficult time for relationships with parents and for society around you.
It’s difficult now. Back in the ’60s, it was really scary. So at the time when homosexuality wasn’t just a predilection but an actual crime, punishable by the courts by incarceration, being gay was a difficult position for any young person to be in, so I decided I would write a parent’s perspective of what that may be like — to lose a child through lack of communication and understanding with the parental, to lose that child to drugs and to, essentially, male prostitution.
That is an extreme scenario but it happens out there in the world. These are issues that face society today. These are issues that have faced society throughout the history of mankind. These days I suppose we are more able to talk about it and to examine the possibilities themselves. I always have to think when I was 15 years old and a little unsure of myself, maybe that could have happened to me. I try to use some of my personal history with my parents, with the lack of communication, particular on matters of sex. I try to extrapolate a little on my own limited experiences in that world.
CB: The Westboro Baptist Church never ceases to amaze me. How did you handle it that day?
IA: I was rather hoping to see them in the flesh. Unfortunately, I had my spies out. I had my spies out to try to keep an eye out because I tried to get a photograph opportunity with these people. Unfortunately, at the time, I guess they showed up when the audience was coming in or going out. When the audience is coming in, I am busy in my dressing room changing and tuning up my guitar. Afterwards, I am busy changing again and packing up my instruments. Unfortunately, I did not get to see them. That is very disappointing. I was really hoping to have the opportunity to have a nice smiling photograph with them and their evil representatives.
CB: Why did you choose this tour to play the Thick as a Brick albums in their entireties?
IA: When you are planning any kind of stage show, your first obligation is to keep it on a level that will engage people and keep it interesting for them and present them with a lengthy piece of musical work with a 15-minute intermission. You have to put your thinking cap on and try to construct everything to keep the audience with you, especially if you are playing a lot of music (with) which the audience is unfamiliar, you have got to make it work the first time around. It is not the result of hearing it many times so you have to make it a piece of working entertainment.
It seems to be successful because I have yet to see, when I go onto the second half of the show, any empty seats as a result of people leaving at halftime. Normally people stay until the end of the show and they seem to follow the momentum of the whole show. You get a personal sense of achievement when you present a large amount of relatively unknown music and you keep people engaged and enjoying the stage.
I don’t think many bands would attempt to do that. I can afford to do it because, a) I am prepared to take more risks musically and, b) I am really kind of doing it for me more than I am doing it for the audience anyway. I have always been a musician who has gone out there to make myself happy. You have to really have your own personal goals you achieve every night in performance. Primarily, I will say, it is nice you folks are here as well, but if you weren’t here, I would be doing this anyway. I am just doing this for fun.
CB: You have seen music change in the way it is recorded over many decades. Do you think it sounds better or worse today?
IA: Music has evolved in the terms of recording techniques over a period of about 60 years, hugely. It goes back to the early stages of monophonic and stereophonic tape recorders, which is what it was when I was a teenager.
When it got to the mid-’60s, it was becoming possible to create the simplest multi-track recordings, usually using two-track recorders, but bouncing back between the two to get a four-track sound. The very first Beatles recordings were made that way. By the time they got to Sgt. Pepper, they were recording with four-track and shortly on the heels of that came eight-track.
The first album I recorded was done on eight-track in 1968. That quickly evolved into 16-track and then to the most often used standard of 24-track, which continued through the late ’80s and even in some cases into the ’90s.
Frankly, the digital age really came about not in the ’80s or the ’90s but in the last 10 years, because that technology began to support 24-bit audio recording, which effectively mimics the human hearing to detect the difference between that and the original audio signal. We have 24-bit 96k recording, which is essentially all we need. We don’t need to advance upon that standard. We’d have to grow new ears before we could benefit any further resolution of earlier technology.
It is the same thing as when cameras hit the 10 mega-pixel mark … essentially equal (to) the very best film quality of film cameras in the last 50 or 60 or 70 years. We have now fairly commonly cameras that will deliver resolutions of 24 megapixels, which will be essentially much better quality you or my eye could fully appreciate.
We are there with audio and visual. We have now reached, during these last four or five years, human physiology would have to change for us to benefit from any increase of the resolution of the technology we are working with now. It is as good as it needs to be. We are there. We are done. We have reached the limit in terms of audio recording and digital recording.
CB: Was there a single incident that changed how you approached music?
IA: Well, I suppose a single incident was the first moment I played notes on a musical instrument, because I was aware as a small child of music as church music and music of Big Band Wartime Jazz, which my Father played on 78-rpm records.
It wasn’t until I was 9 years old and I acquired for a couple of dollars a plastic Elvis Presley ukulele and I strummed my first simple chord on the ukulele. At that point, even though the instrument was a rubbish piece, I could actually strum some little chords and sing along with it, and that was the magic moment of making music the first time.
I suppose that was the single most important moment of discovering music. There are a lot of people who never learn to play anything on a musical instrument and I feel like they are missing out on something. But some of them might be bungee jumpers and they feel like I am missing out on something, because I haven’t thrown myself off a bridge attached to a long piece of elastic.
CB: What is your ideal day look like these days?
IA: It depends if I’m on tour. My ideal day is to wake up around 7 a.m. and be driving rather than flying and getting to another city, another hotel by lunchtime, finding a Red Lobster or McCormack & Schmidt and (eating) some seafood or that sort for lunch and then having a rest and getting my e-mails in the afternoon before going to sound check.
That’s kind of normal practice. If I am at home, I wake up a little earlier, usually around 6:30 a.m. and I usually, again because of working in different time zones, it’s a good time to check e-mails from last night, generally prepare, shower, play with the cats, let the dogs out. If it’s the weekends, I have to go and feed the chickens.
In my ideal world, it would be a mixture of sitting at my office desk, playing a little bit of music and having a little bit of time to walk around the garden and sit and talk to my cats.
CB: What is the biggest difference in touring in 2013 versus 1970?
IA: The biggest difference is you can take a little stress (out) as you are touring easily because of more organization. Twenty years ago and 40 years ago, travel was a lot more disorganized that it is today. We can now be planning the next tour while we are doing this one.
Later today and tomorrow morning when I have a little time off, I shall be booking some internal U.S. flights for the next tour, looking at the various cities and suggesting to my U.S. travel agent some hotels I would like to get quotes on. Generally speaking, doing that planning exercise, when it comes to doing the tour itself, hopefully everything is in place. Everybody knows where everybody will be on most hours on most days.
You can take the stress out of things these days, where it was not so easy many years ago. We had to employ tour managers and people to carry our bags and people to herd us like sheep through airports. These days, people have their virtual boarding pass, which they can collect online from the booking reference code, which was on the tour itinerary, and they can print out their own boarding pass and head straight to the gate. I think things are easier these days, not because of the level of security we face now that we didn’t face 40 years ago, even 20 years ago. That makes lines a little more stressful and perhaps a little longer in the course of the day. We allow for two hours at airports from flight times to be safe these days, not knowing how long security queues may be or what indignities we may have to suffer to keep ourselves safe from the bad guys.
CB: Do you have any fond or crazy Cincinnati tour memories from the past?
IA: Probably with a Holiday Inn, Hilton or a Marriott or two. My bonds tend to be with what my particular life throws at me. The airport, even after all these years, is strangely familiar. I have been tracking the evolution of the airport from the late ’70s — when we were accosted by the children of God, doing their evangelical work, trying to hand out bibles and stuff — all the way to today. Airports quite often have that sense of déjà vu, even that nostalgic memory for me — certain hotels, certain venues of course, iconic venues we still play today.
CB: What was your favorite live performance ever?
IA: It is probably the show in an American venue near Washington D.C. called Wolf Trap. It is my favorite because it is the one I am going to be doing tomorrow and the one I have to focus on and prepare for.
Past shows are in the past. I don’t dwell on those. I don’t have favorites. I don’t have preferences, except for a couple iconic venues, as I suggested. My favorite show is the one I am about to go out and attempt to do because I always have to think it could be my last. Walking on stage is not a God-given right; it is a privilege to be able to step out there into the spotlight another time. I just take each show as they come. My next show is always the best show of my life.
CB: What can the fans expect here in Cincinnati this weekend?
IA: They can expect all they like, but it won’t vary one iota in delivery to them. Their expectation may be many and may be varied, but we try to make a point of emphasis to play Brick 1 and then Brick 2, then a long call of classic repertoire.
We have a very tightly organized show. If anybody starts shouting out during the quiet moments of the show, they will be studiously ignored. I don’t even have time to admonish them. It happened to me last night when I came on stage, I was astonished to hear two female voices shouting at me in one of the spoken words sections with a delivery of theatrical passion. You wouldn’t be considered cultured to be shouting and whistling during a Shakespeare play — please don’t shout and whistle during the performance of mine because I am here to do the work. You are here to listen and if you don’t like it get up and leave. Don’t start interrupting me.
Once in a while you get a drunkard out there that gets to shout at your band, but it happens so rarely these days and it strikes me as so being incredibly curious. I think our audiences do understand this is not a regular Rock show but a theatrical presentation (for which) they have to sit and let me do the work. That’s what I am there for. I may be 66 years old but I am there to do a man’s work for two and a half hours, where you can sit back and, if necessary, bring yourself a comfy cushion and maybe a sandwich because it is a long show.