Third Man Records traveling record shop to hit CMJ, Muddy Roots Festival and MPMF
One of the more popular features at this year's MidPoint Music Festival isn't a band or singer/songwriter — it's a truck. The "Rolling Record Store" used by (and stocked with releases from) Jack White's Third Man Records will be at MPMF Sept. 28 and 29, between visits to the Muddy Roots Festival and New York City's CMJ conference/fest.
An extension of White's tiny Third Man record store in Nashville (connected to his label's HQ), the record truck stocks all kinds of Third Man releases, including limited edition vinyl, as well as various Third Man merch. There is also reportedly a DJ station so visitors can spin tunes and a sound system was installed so that bands/musicians can plug in and play. White himself has performed a few times along the Rolling Store's travels (but it's not a guarantee).
The Third Man Records Rolling Record store — which debuted last year at South By Southwest in Austin, Tex. — will make a great addition to the growing MidPoint Midway, the outdoor area featuring vendors, a side-stage, poster exhibitions and other cool "pop up" projects. The bright-yellow truck even has local ties — it was built by Erlanger, Ky.'s C. Cook Enterprises, a car restoration and metal fabrication shop.
I visited White's Third Man headquarters in Nashville a few weeks ago and got to check out the cool merchandise on sale in that closet-sized shop. The Rolling Record Store was parked in the parking lot. I didn't get a tour, but even from the outside, it's a pretty striking vehicle (and I took a few photos, like the one above). Can't wait to see inside at the end of next month!
Here's White playing a "B show" (side gigs on his current solo tour) next to the truck during the recent Outside Lands Festival.
Stevie Nicks has truly enhanced and defined the role of women in Rock & Roll. She is the gold standard by which female lead singers in Rock bands will forever be measured against. The defining voice behind Fleetwood Mac since the mid ’70s, she has also been able to separate and create a wonderful solo career, recently releasing her seventh album, In Your Dreams, which launched with great success, debuting in the Top 10 of the Billboard album chart. Nicks is currently on the road to promote her latest record and she comes through Cincinnati on Saturday night for a show at Riverbend's PNC Pavilion. We caught up with Stevie via email this week to discuss her upcoming tour stop in Cincinnati, the inspirations for her new album and what a typical day looks like for an iconic Rock star.
An impressive and eclectic roster of local bands will transform an otherwise stark Loveland VFW hall into an artsy, flashy, sorta hippy-ish Rock ‘n’ Roll venue for this year’s third annual Adjust Your Eyes Music and Arts Festival, June 26 and 27. The two-day, two-stage, multimedia extravaganza, which is the brainchild of Grasshopper Juice labelmeister and Wonky Tonk/Chick Pimp band member Nick Mitchell, will feature not only upwards of 28 bands but also art by Jacklyn Howard and CincyStar Glass and stage lights and visualizations by Bunk News.
The Thompson House books The Agrrolites and Smile Empty Soul
It looks like the Thompson House, the venue that is taking the place of the much-beloved Southgate House in Newport, will be open by May. Ticketweb has advanced tickets on sale now for a May 18 concert by trad Ska/Soul revivalists The Aggrolites and Punk Bluegrass band Old Man Markley, as well as a May 27 booking featuring "post Grunge" group Smile Empty Soul. Former Avail singer Tim Barry also has a May 12 booking in the "Parlour" listed on his website.
A lot of Southgate House diehards have made it clear they won't be attending anything at the "new" venue, staying loyal to the former owners and management, who promised a new "Southgate House" would be reopened by the first quarter of 2012. (For those not so good at math, the first quarter of 2012 ended this past Saturday.) Photos emerged online of some of the interior redesign going on in preparation for the Thompson House opening and it's been a bit of a gut-punch for those who loved the old House, with a gaudy purple and gold color scheme and a lot of the vintage appeal (and woodworking) stripped away. (Check out some pics on the Facebook of former SGH bartendress Kristen Kreft, also a local musician with the band The Perfect Children.)
So what say you? If the Thompson House books a show you really want to see, will you attend?
The fruitcakes have been throw away, the eggnog is spoiled, the big ball dropped, the champagne is gone and we’ve all had time to reflect on 2008. Now, chin up, sport — it’s time to start looking ahead to 2009 and what lies ahead for Cincinnati’s local music scene.
If the first release of 2009 (well, the first to cross my desk anyway) is any indication, we’re in for another great year for locally crafted CDs. The “New Year’s Eve baby” of the local CD world comes from newcomers Hazle Weatherfield, a promising trio that celebrates its debut release with a show this Saturday at The Mad Hatter in Covington.
Though Rock/Pop chartbusters Journey don't have the same frontman they did when ruling the airwaves in the ’70s/’80s, the band continues to draw big crowds whenever they tour. The band created some of the most well-known songs in modern music — "Don't Stop Believin" is the No. 1 iTunes download of all time, for example. Journey's summer tour for its 15th album, Eclipse, teams the band with fellow Arena Rock soldiers Night Ranger and Foreigner and comes to Riverbend this Wednesday. CityBeat had a chance to speak with the band’s drummer, Deen Castronovo, about touring, the new album, his love of KISS and some fond Coney Island experiences in Cincinnati.
OK, so which Babylonian weather deity did we collectively blow like a $5 crack whore to assure us of an entire weekend without getting firehosed by the kind of precipitation generally associated with tropical monsoons? Because I want to get his number in our rolodex for next year. Another absolutely gorgeous night for another spectacular evening of musical diversion and awesomeness. That’s right, awesomeness.
Rock legends perform Rock Opera in full at KFC "Yum!" Center Saturday night
For a couple of decades, I've resisted going to concerts by legendary Rock bands and icons I've loved who keep touring without much in the way of new material. I'd rather remember The Rolling Stones via video footage of their ’60 and early ’70s peak. I'd rather see The Who when there was an element of chaos and danger, when Keith Moon might pass out and have to be replaced by an eager fan pulled from the audience at the last minute. I'd rather remember The Beatles circa their post-touring years, via footage from their post-"Fab Four" days, working on arty videos and even artier music.
I've seen a lot of footage from The Rolling Stones live in the past nearly 30 years ago and it really set this resistant tone for me. Even back on the tours behind Tattoo You, the Stones largely just seemed to be chugging along for the cash. The most infuriating thing to me has always been their double-speed rendition of classics like "Satisfaction," as if they're just trying to get them out of the way. (To their credit, they seem to be fond of dragging out some "deeper cuts" at more recent shows, which adds at least a little freshness to their stale cavalcade of hits.)
It has to be a bit of a dilemma for some aging legends. The majority of fans want just the hits; they're the ones who complain of Facebook that a certain show was "OK, but they didn't play ___________! So it sucked." The Rolling Stones have a little bit of new material every few years that they'll drop into the set to keep things interesting for the members (or they'll dig out those deeper cuts). Paul McCartney does a total crowd-pleaser concert, basically performing the same exact stage show for seemingly 20 years and running through those classic Beatles/Wings tunes that are guaranteed to bring any house down. McCartney seems more a "give the people what they want" showman, and his performance is note perfect and flawless. I've always respected British Punkish-Pop-turned-Classical-Pop singer/songwriter Joe Jackson for the way he found to keep things interesting — never play every song the same way on every tour. His great live album, Live 1980/86, featuring four concerts from different eras is a brilliant example of this — there are four totally different versions of "Is She Really Going Out With Him?" It's interesting to the players and the die-hard fans. (Casual fans would rather hear the version on the original recording without variation).
The Who has done greatest hits runs and has only released a handful of new recordings in the past 30 years. But they have enough ambitious, grand projects in their impeccable discography that they can pull out, they're capable of doing special shows like the one on their current tour which finds the surviving members (and friends) performing the Quadrophenia album in full.
The Who's sporadic tours of late have often had some special "hook" that, presumably, keeps things interesting for the members who have played "My Generation" approximately 4 billion times. Townshend often makes some comment after a tour that it might be the last. He doesn't seem interested in the greatest hits revue. At Louisville's concert and sports palace, the KFC Yum! Center, The Who — well, original living members Roger Daltrey and Pete Townshend, plus a cast of backing musicians that included Ringo Starr's overachieving bad-ass drummer son Zak Starkey on the skins and Pete's brother Simon Townshend becoming more of a presence on guitar and occasional vocals — played Quadrophenia in full (as they've done with Tommy) and I couldn't help but think that the artistic challenge of performing the group's second notable Rock Opera in full was enough to get Townshend to sign on. And enough to keep The Who on the road.
The Quadorphenia performance was excellent. The band played through without talking or really pausing for a breath, playing the double album from start to finish. This seemed to cause some uneasiness for some in attendance who didn't get the memo about the Quadrophenia-heavy performance and seemed just ready to hear "Teenage Wasteland" and "Squeeze Box." But the crowd, en masse, eventually warmed to the presentation, particularly the "hits" like "5:15," "The Real Me" and a jaw-dropping performance of "Love Reign O'er Me," the story-cycle's emotional climax and finale.
Part of making the medicine go down smoother was the barrage of video clips and photographs of, well, everything. There was plenty of old Who footage and lots of clips of late members Keith Moon and John Entwistle, plus some interesting visual effects involving rain and ocean waves during interludes (like on the album, but visualized). They also included a pair of lengthy montages from the entire history of Western Civilization since WWII. We were treated to images of the Berlin Wall falling, Winston Churchill, Ronald Reagan and other U.S. presidents, war footage. It was a history class presented quick-cut style.
While these video gimmicks were attention-grabbing — everyone likes to watch historical/pop cultural montages — it didn't make much sense in the context of the story. I mean, I suppose EVERY contemporary story told has SOME connection to the entire history of the modern world. But the band was playing a thematic piece of work that told a real, actual story. Why not advance that story? It's a good one, weaving a tale about a common 1960s young man trying to find his way in the world and eventually becoming disillusioned and losing his mind. Maybe they wanted the words to do the talking … in which case, the footage (while visually compelling) was pointless wallpaper.
But most importantly, the band played the album well. It was in essentially the same arrangement as the original album, but with a few interesting added elements. The group's tribute to Keith Moon on "Bell Boy" — during which Moon's vocal part was stitched in seamlessly, with him floundering about in concert with his headphones and sticks to grab the mic and sing (via video) — was touching (and also not spoiler-alerted during the group's performance of it during the Sandy Hook benefit concert). The vocals were laid in over top of the band, so they were basically doing the Elvis-via-film "concerts" where "he" plays with his old bandmates. But it was touching (Daltrey gazed at his old friend lovingly) and an emotional high point of the show.
As was the tribute to the group's stunning bassist John Entwistle. The band gave The Ox a "solo" mid-song and it was disorienting in its brilliance, as Entwistle performed a spine-tingling barrage of bass acrobatics — of course with his trademark deadpan stare making it looking even more effortless. The footage was shot on cameras at an old show placed at the head of his bass and in front of him. Watching his fingers move across the frets was like watching a ballet of finger-work. Greatest Rock & Roll bassist of all time — no contest.
I developed a new appreciation for how hard Roger Daltrey works singing a two-hour plus concert. Unlike Entwistle, he made it look hard … but it was valiant and he hit almost ever note. A few lines would be "jazzily" redirected to avoid a few of the harder notes … but he nailed most of the important ones. By the time they got to love "Reign o'er Me," one of Rock's best, more underrated vocal performances ever, I had to tip my hat. You can tell he's doing everything he can to keep that voice in the best shape possible — there was a warning posted on the screens before the show announcing Roger's allergies, which, it said, would have a detrimental effect on his singing (the notice playfully suggested sticking to brownies). He had some sort of humidifier looking device behind him pumping steam the whole show and, though he played it off like a pro, he seemed a little lost when his in-ear monitors broke down twice during the performance. During the second-to-last song, "Won't Get Fooled Again," Daltrey stopped singing at one point and the band seemed thrown, but quickly recovered. Roger didn't look happy but he eventually came back to better spirits.
Pete Townshend has long been my ultimate Rock & Roll hero — he embodied Rock & Roll to me growing up and I've never grown tired of his songwriting. Pete has a rep for being a grump, but he was downright jolly in Louisville, windmills flying regularly. He joked towards the end about how he could now "jump up and land at the same time," promising to go nuts and act like he was 16 again for the next tune. He never quite managed lift-off — a trademark of his old days, when he'd tuck his knees and jump a good five feet straight up, landing on a big chord or final note. He's technically a senior citizen – the fact that he could roam around the stage and show some intensity is impressive enough. (And, as the man who has written Tommy and "Substitute" and "A Quick One," I'd give him a total pass if he'd decided to play laying down on a bed in the center of the stage.)
After the group finished Quadrophenia, they didn't even leave the stage. Pete, like an orchestra conductor might, spoke to the audience about their performance and introduced the great back-up players (which included a horn section and a pair of keyboard wizards). The group then ran through a stream of hits that, at least in terms of intensity, fed into my old fears that seeing my idols past-prime might replace a good memory with bad ones. The versions of "Who Are You," "Pinball Wizard," "Baba O'Reilly" and "Won't Get Fooled Again," weren't "bad," but, miraculously, had a couple of sloppy moments. I actually liked that — I'd stay home and listen to the albums if I wanted perfection — but it seemed like the band was ready to go back to the hotel. The power chords more often than not lacked the "power" element. They just weren't stepping into it — they were lightly breezing through.
The full band left and Roger and Pete did one of their few newer songs, an acoustic number about growing older, friendship, tea … and theatre (apparently), called "Tea & Theatre." As on the Hurricane Sandy benefit show, it seemed an odd closer, though it was sweet. These two old friends who have hated each other at times over the years seem at peace with The Who's legacy and their own partnership.
Townshend announced that Roger had arranged the whole Quadrophenia performance, which immediately made me believe Daltrey brought the idea to Townshend, knowing he'd have a better chance presenting something his old mate would find challenging if he wanted to go on a "Who tour" again. Daltrey could've staged it himself, but I envision him going to Pete and saying, "I do this one my own, I'm doing casinos and theaters; you come with and it's a lucrative arena tour."
Like all bands with longevity, The Who have found a dynamic that seems to work. It's something every enduring band has to come to peace with – from The Stones to The Black Crowes to Pearl Jam, all bands that seem to have realized they need each other to do their job most effectively (and profitably). Once they find that peace, they seem much happier. The Crowes have split or taken long breaks numerous times, but they know their future is like Keith and Mick's — they need to tour together because that's what their fans (and customers) desire. And Pearl Jam fairly early on seemed to come to an understanding that their place is on the road and together. They seem happy these days and you rarely hear them complain about "fame" anymore (as Mr. Vedder had been known to do at one time). They even play songs they've played millions of times — like "Alive" and "Even Flow" and "Jeremy" and "Black" — with passion, fire and smiles on their faces. They have inherited a bit of "Uncle Paul's" crowd-pleaser genes.
All of these artists seem in a good place in terms of tending to their legacy, finding what works best for them. The Who seemed that way as well Saturday night in Louisville, but I left wondering "What's next?" Might this really be a farewell tour. They've been doing them since the early ’80s, but if Pete and Roger don't come up with an approach that satisfies their artistic/performance needs, I wouldn't be shocked to hear that they've decided to call it quits after this round of travel.
While my personal concerns about seeing some of my favorite artists before they are no longer able to perform have been both confirmed and assuaged at shows by The Who and McCartney, I'm still happy I've seen those artists play in my lifetime. I've now decided to look at it like those fans who wanted to see early musical icons like Muddy Waters or Howlin' Wolf or Charles Mingus or any legendary player play one more time before he or she passed away — I'm sure they might not have been spellbinding, but I'm also sure it gave great joy to those fans who saw them.
And I've also realized that there's nothing wrong with indulging your nostalgic instincts in these situations. There's room in most of our minds for multiple memories about the same people. I will remember Pete and Roger killing it on The Smothers Brothers show and I can remember them keeping the spirit live almost 50 years later in Louisville … and neither memory has to cancel the other out.
Grace Potter and the Nocturnals' Blues- and Folk-tinged sound is a wake-up call to the shift in the music quality that is overtaking American Rock music right now. The band continues to promote its 2010 self-titled album, which has given them their biggest spike in popularity, in part due to hit single, “Paris (Ooh La La).” Her current Country collaboration with Kenny Chesney, “You and Tequila,” is also getting heavy radio play right now. CityBeat spoke with Potter to preview her appearance in Cincinnati Friday at PNC Pavilion.
Music Tonight: Tonight’s the last time you’ll be able to catch Cincinnati-based trio The Rubber Knife Gang in town for a while. But it’s not for any kind of hiatus — no rehab or plastic surgery or whatever it is bands do on such breaks. Quite the opposite. It’s because the band is jumping on a plane in a few weeks and heading overseas to spread RKG’s soulful Americana/Roots/Bluegrass sound. Tonight, the Gang joins Nashville’s Grace Adele and the Grand Band for a free, 10 p.m. show at MOTR Pub. The two acts reteam for a Columbus show this weekend, then RKG hops on a plane for Belgium, where the threesome will play two weeks’ worth of dates through mid-September (with a few shows in Germany and the Netherlands sprinkled in).