This morning we received a message from former CIncinnatian/current Silver Spring, Md., resident Chris Richardson about some Cincinnati music-centric posts on his cool music blog, Zero to 180.
Richardson has a rich knowledge of music in general — his blog “celebrates studio songcraft and some of the lesser-known stories behind the songwriters, musicians, producers, engineers, arrangers, label owners and the like” — and he has good taste because he appears to be a big fan of pioneering local label King Records. (Here’s a great post about an interesting connection between King and Jamaican Ska.)
Yesterday, the blog featured a fun post with a run down of songs from the past to the present that feature Cincinnati in the title. Tracks range from earlier cuts by Duke Ellington (“Cincinnati Daddy”) and Johnny Burnette (“Cincinnati Fireball”) through more recent material, like “Cincinnati Harmony” by The Dopamines, “Oh, Cincinnati” by The Seedy Seeds and “All Roads Lead to Cincinnati” by Jake Speed and the Freddies. Check the full list here.
There are several great tunes on the list, but this one is pretty terrifying:
Anything he missed?
The reigning Cincinnati Entertainment Award winners of the Artist of the Year honors, Alt Pop quartet Walk the Moon, are finally set to release their second album for RCA Records. The album's lead single, "Shut Up and Dance," was released Sept. 10 and last night the group performed the song on Late Night with Seth Meyers. (Watch below.)
The band's sophomore RCA full-length will be out before the year's end, according to the label.
Walk the Moon kicks off its coast-to-coast “Shut Up and Tour” tour of smaller clubs in Seattle on Oct. 8. The band will perform some of the new material on the tour, which does not include a hometown date. The group will be in Columbus, Ohio, on Oct. 21, but that show instantly sold out. The Columbus date is also the first of several shows that will feature like-minded Cincinnati Pop Rock trio Public as opening act.
Be sure to grab a copy of this week’s edition of CityBeat to check out the official guide for the 2014 MidPoint Music Festival, which kicks off two weeks from today. You can also view the guide online here.
The guide once again features short previews of all 150-plus artists performing at MPMF, as well as info on other attractions at the fest, including the MidPoint Midway, transportation options, ArtWorks’ “Ink Your Love” project, a MidPoint visitor's guide (with info on restaurants, bars and more around the MPMF route) and much more.
NOTE: There are some conflicting ticket prices listed in the guide for the stage at Washington Park. Refer to the Ticket and Box Office Info page (page 5) and below for the correct information. We apologize for our error.
Washington Park (All ages)
• Thursday: Chromeo, The Range
$27 advance; $30 at gate.
Gates at 5 p.m.; show starts at 6 p.m.
• Friday: The Afghan Whigs, Wussy, Joseph Arthur:
$27 advance; $30 at gate.
Gates at 5 p.m.; show starts at 6 p.m.
• Saturday: OK Go, Empires, Public, Modoc
$20 advance; $25 at gate.
Gates at 1 p.m.; show starts at 2 p.m.
Visit mpmf.cincyticket.com to purchase three-day passes, VIP tickets (only a few remain), single day tickets and tickets for the Washington Park shows in advance.
And be sure to grab the smartphone app at live.mpmf.com, on which you can customize your schedule and read MPMF-related Twitter and Instagram posts.
And you can listen to most of the performing artists via the Spotify playlist below:
Live Nation, a national live-events company that promotes acts and operates a large list of venues around the country, took over Bogart’s in 1999 in a deal with Nederlander Entertainment, who was operating the venue at the time.
One of the myriad changes they have made over the years has been a revamp of the old website, molding it to the standard format they use for all their venues, which in a way deemphasizes the historical significance of the place. I’d think the wrinkled timeline of the building might be a point of interest, but I suppose concert-goers are more concerned with getting tickets to collectively bob heads in a loud room than the age-old energy of that very room.
Here’s what you may not know about Bogart’s.
hasn’t always been Bogart’s. Built in 1890, it was originally called the
Nordland Plaza Nickelodeon and, fitting with popular entertainment of the
period, it was a vaudeville theater.
Imagine this: lights illuminate figures flying through the air, turning and twisting as they clutch their trapeze over the small stage. They complete a routine and the room is filled with a crowd-hushing roar, followed by the entrance of a ringmaster rearing a lion up to full height right in front of your eyes. He leads it in circles, keeping it calm and cool, before leading it back offstage to allow a magician to come out, accompanied side-stage by two comedic cross-gender impersonators, hooting and howling as the illusionist pulls a hair out of his hat or cuts a man in half. The show ends with a small orchestra playinga classical piece to guide three dancers across the platform.
This was “vaudeville,” fringe American entertainment named after the creation of Sargent’s Great Vaudeville Company in Louisville. It’s fascinating to wonder what wild things we could have seen at the Nordland Plaza in the early 20th century.
As technology developed, folks apparently grew less accustomed to leaving their houses for public, live entertainment, and TV took over the world of entertaining. The theater succumbed to the competition from the television industry and transformed into a German film theater in the mid-1950s under the same name.
later it reverted back to live entertainment, becoming a restaurant theater
with the new name Inner Circle. This nightclub was far from the talk of the
town, slowly spiraling into failure until a man named Al Porkolab and two
partners bought the building.
it Bogart’s, which was short for Bogart’s Café Americain, a reference to the
movie Casablanca, apparently one of
Pokolab’s favorites. In its earliest days it followed the movie as a theme,
decorating with tropical trees and offering food with the ambiance of tuxedoed
servers and a lounge band. The venue only sat a few hundred people at this
point, and the restaurant-club followed Inner Circle down a fissure to failure
in just months.
At this point Porkolab took over, buying out his partners and extensively remodeling the building, turning it into a nightclub that featured local, national and international music acts. It opened as such in 1982.
It remained open in this state, still housing only several hundred people, for a decade. During that time it garnered a little heat, specifically from Cincinnati Mayor Charles Luken in 1985, who wanted the place shut down due to the neighborhood havoc that would ensue after the late-night dance parties the club would host from 2-6 a.m. on Sundays.
The building underwent another round of renovations in 1993 that turned the few hundred seats into 1,500, the current capacity of the venue. With the larger volume, the venue began bringing in acts that were too big for a small bar or club but wouldn’t get booked by a big-time venue.
Many bands you know now that would sell out a huge venue played Bogart’s in their proving days. To name a few, acts such as Red Hot Chili Peppers, Phish, Slayer and Pearl Jam (who, as a matter of fact, is coming in October to play US Bank Arena) impressed crowds on that intimate stage.
In ’97, Nederlander took over operations, leading us back to the highly reputed ownership by Live Nation, who according to their short paragraph of history on the site, “continues the tradition of quality live entertainment that has been [the venue's] forte since the building was built.”
Check out the upcoming shows at this old vaudeville hall:
Taking Back Sunday
Sept. 12: Paul Weller
Sept. 16: August Alsina: Testimony Live
Sept. 19: Nick Carter and Jordan Knight
Sept. 20: Blacklight College Party
Sept. 26: Matisyahu
Go here for Bogart's photos throughout the years.
Three-day “All Music Access” tickets for the 13th annual MidPoint Music Festival remain one of the best music fest deals in the country. But if you wait until after Monday to get yours, you’ll have to pay a little more.
On Tuesday, prices for the three-day passes will increase from $69 to $79. It’ll still be a great deal with the $10 bump, but you like to save money, right? Click here to get your tickets, which will get you into all of the shows throughout the three-day affair (barring shows that reach capacity by the time you get there).
The festival returns in less that a month, running Sept. 25-27 on multiple stages throughout Downtown and Over-the-Rhine and featuring more than 150 performers from all over the world.
MPMF (which is owned and operated by CityBeat) has added a few acts over the past few weeks. Artists added to the lineup in just this past week include Nashville’s Mary Bragg, Columbus, Ohio’s Old Hundred, Stockholm, Sweden’s Baskery, returning MPMF faves Sol Cat (from Nashville), Louisiana’s Baby Bee and L.A. Pop band machineheart.
To check out some tunes from this year’s crop of MPMF artists, click below for a 10-and-a-half-hour Spotify playlist.
The Crown Jewels of Jazz Festival returns Friday and Saturday with an adjusted format. While last year’s fest was spread out across the Over-the-Rhine area, this year’s Crown Jewels is more streamlined, with free events concentrated in OTR’s Washington Park.
The fest kicks off Friday night with an 8 p.m. concert featuring unique and widely acclaimed Jazz singer Gregory Porter, as well as Cincinnati native Mandy Gaines (whose been busy performing throughout Europe and Asia).
Saturday at Washington Park, the fest kicks up again with Phil DeGreg, Baba Charles Miller and Kathy Wade (whose Learning Through Art, Inc. presents the Crown Jewels fest) performing and telling the story of Jazz (and other music) in a program called “Journeys: A Black Anthology of Music” at 4 p.m. At 5 p.m., “Piano Picnic in the Park” will showcase area pianists; DeGreg, Jim Connerly, Billy Larkin, Charles Ramsey III, Cheryl Renee, Steve Schmidt and Erwin Stuckey will each perform their two favorite Jazz numbers during the hour and a half performance.
Then it’s time to dance! The fest closes out at 8 p.m. with “Dancing Under the Stars” at the park’s bandstand, featuring music from the 18-piece Sound Body Jazz Orchestra and dancers/teachers from the Dare to Dance Ballroom Dance and Fitness Studio.
Given that it is presented by Learning Through Art, Inc., it is fitting that the Crown Jewels of Jazz fest will also include an educational program Saturday morning for high school musicians at the School for Creative and Performing Arts, just across the street from Washington Park’s 12th Street entrance. The CJ2 Jazz Camp, which will feature clinics, classes and more with many of Cincinnati’s top Jazz musicians and educators (including DeGreg, Stuckey, Jim Anderson, Marc Fields, Ted Karas, Mike Wade, Art Gore, Brent Gallaher and many others), begins at 8:30 a.m. There is a $35 fee per student.
For complete info on the Jazz Camp and all of the Crown Jewels of Jazz events, visit learningthroughart.com. And click here to read CityBeat's interview with Wade about the fest and her org's other work.
500 Miles to Memphis’ two most recent album releases are local classics that reside in two vastly different musical landscapes. Their 2007 album, Sunshine in a Shot Glass, offers 12 tracks of undiluted Country Punk. The album starts off with the band’s hit “All My Friends are Crazy” and doesn’t let up. The band’s followup, 2011’s We’ve Built Up to Nothing, took the Country Punk roots and drastically expanded on the concept. Influenced by The Beatles, the Cincinnati-based quintet added layer upon layer of instrumentation to craft an epic that radically expanded the groundwork laid in 2007.
Now, in 2014 the band is set to unleash Stand There and Bleed. With its latest release, 500 Miles to Memphis has pulled back and opted for a simpler, more straightforward group of songs. In doing so, the band has written its best album to date.
The band will host a listening party for the new album tonight (Thursday) at The Drinkery in Over-the-Rhine. The album will be played in its entirety at 9 p.m., then the group will play an acoustic set at 10 p.m. The event is free. (The official release date for Stand There and Bleed has yet to be announced.)
At its core, 500 Miles to Memphis has always been about vocalist/guitarist Ryan Malott telling the stories of his life. And with three years in between releases, Malott has plenty to talk about. Stand There and Bleed is Malott’s most personal output so far. We see a glimpse of tour life in “Medication,” the joys of marriage in “Takes Some Time” and the trials of addiction in “Easy Way Out.” Malott may have traded the bottle for coffee and a Playstation controller, but the struggle is ongoing. In fact, the best tracks on the album are the ones that document Malott’s missteps, but only because the album has so much hope, as well. There is a light at the end of the tunnel, and Malott is steadily working his way towards it.
Joining Malott is bassist/vocalist Noah Sugarman, drummer Kevin Hogle, guitarist/vocalist Aaron Whalen and lap steel guitarist David Rhodes Brown. This all-star lineup compliments Malott’s lyrics expertly. Gone are We Built Up to Nothing’s more eccentric instrument choices; 500 stripped away the excess to more fully focus on what it had in house. The result is an album that’s more consistent and true to 500’s vision as a whole. Malott is influenced by Country and Punk Rock in equal measure and these influences come across stronger than ever on Bleed, with each member adding their own touch on the theme. Hogle’s drumming is still some of the best in town; his musical ear enables him to mold his style to each and heighten the mood of all. Brown’s steel playing on Stand There and Bleed keeps the more Punk-based tracks grounded in 500’s roots and elevates the Country tracks to another level with effortlessly delivered solos. Finally, Whalen and Sugarman’s guitar and bass inject energy throughout the record that reinforces Stand There and Bleed’s straightforward, powerful delivery.
Malott’s vocal delivery has been honed and refined on Stand There and Bleed, as well. Malott is an unabashed fan of Green Day and comparisons to Billie Joe Armstrong in songs like “Bethel, OH” and “Abilene” are undeniable. Malott has also continued to inject large amounts of emotion into his vocals. He’s always been an expressive singer but the earnestness and pain in “You’ll Get Around” and “Alone” show a departure from We’ve Built Up to Nothing’s more polished vocals. Part of the recording process was breaking Malott of those good habits and getting him used to putting the feeling back into each take. What results is an album that’s a little rougher around the edges and much more emotionally captivating for the listener.
500 Miles to Memphis has been pushing its music forward for years, constantly hitting the road to share its take on Country Punk. The band has been virtuous to the genre and also bent it to an almost unrecognizable state. With Stand There and Bleed, the quintet has met somewhere in the middle. The band has trimmed the fat, focused on what each (incredibly talented) member brings to the table and built a record that is its most focused and honest to date.
The band has traveled way more than 500 miles to reach where they are now, but with albums like Stand There and Bleed carrying them, they have plenty more ahead of them.
Thanks to an assist from sponsor P&G, one of the more anticipated MidPoint Music Festival performances this year will be a special free “happy hour” concert.
Brooklyn Indie Rock group Real Estate will perform on the Midway stage the Friday of the fest (Sept. 26) at 6 p.m. Cincinnati faves The Yugos will kick the special event off at 5 p.m., with Arkansas’ Knox Hamilton, Nashville’s Colony House and others playing after Real Estate.
The MidPoint Midway is the hub of various activities that runs along a blocked off portion of 12th Street in Over-the-Rhine (between Walnut and Vine streets). The strip has featured the popular “Box Truck Carnival” (the ArtWorks-helmed project will be replaced with a new project this year) and will again have lots of food and other cool/fun vendors.
The Midway’s stage is free and open to music fans of all ages. On Thursday, Sept. 25, the outdoor stage will feature excellent local acts Automagik, Black Owls and Pike 27, plus Columbus, Ohio’s Indigo Wild. On Saturday, Sept. 27, the stage will host Cincinnati’s The Ready Stance, as well as Bailiff, Alex G, Low Cut Connie and Magnolia Sons.
Music on the MidPoint Midway begins at 5 p.m. Sept. 25-26, and 6 p.m. on Sept. 27.
For those who want to catch more than just the freebies, MPMF tickets are available here. The three-day, all-music-access passes are currently just $69; the price goes up to $79 after Sept. 1.
Looking on music shelves this week, it will be hard to miss the bright and loud 1000hp, the latest offering and No. 1 Rock album from Godsmack. It may be a little bit different vibe, but it is the same great Rock music they have given audiences for well over a decade. Since the breakout Awake album in 2000, they have literally been evolving with the genre, captivating audiences and gathering fans with each performance.
CityBeat was able to preview their show at the Uproar Festival Sunday night at Riverbend with drummer Shannon Larkin. After a couple subdued tours in which they let the music speak, they are back to their roots with hard hitting, pyro-filled, knock-you-back action.
Find tickets/more info on Sunday’s Uproar stop here.
CityBeat: You guys have been working hard. You will be releasing the album next week,1000hp. What can the fans expect from this album?
Shannon Larkin: We kind of infused a different sound for us. It’s more of a punkier vibe as far as upbeats and down stroking. Not so much chunk-chunk as the last record or box or Metal. It is a fine tuned thing we do each record because we don’t want to keep making the same record over and over again. Yet you can’t change your sound and alienate your fan base. The last record we went balls out Metal sound. So on this one, we made a conscious effort to try and change things up and give a more punky vibe to it.
CB: What is your favorite track to play off the new album?
SL: “1000hp” the song. I just love it. It has an AC/DC vibe to me. I don’t get to play much four to the floor drumming so it is just a straight ahead full fierce and I love it.
CB: I actually watched the webisodes that you guys created to promote the new album and that was interesting. I’m sure the fans love to see the behind the scenes of the new album and how the album was made. During one of the webisodes, the band talks about how you were the one who introduced Dave Fortman, the current producer, to the band on the last record. Why did you think he would be a good fit for Godsmack?
SL: I was in a band called Ugly Kid Joe with Dave and he was the guitar player and we toured the world together for six years and made a couple records. I knew that not only was he a great producer with great ears and a great engineer and a great mixer, but I knew also he was this great dude. When you start making records, it gets balanced and pressure on and arguments ensue, the producer has to almost be a psychiatrist and step in when band members get in each other’s face and Dave is just a great person that if there is any tension in the room over a part for instance, if we are arguing what is a better part or arrangement of the song, Dave diffuses the situation with humor. He is good at that and just making everybody feel comfortable when the red light comes on. He is just brilliant. I can’t say enough about him. It doesn’t hurt he had made hit records with Evanescence, Mudvayne, Slipknot, and the list goes on and on, but that helped too when I introduced him to (Godsmack singer) Sully (Erna). But then an hour after meeting with Dave, Sully loved him too. I knew he’d get the gig after talking to Sully if it was up to Sully because he co-produces every record. I knew Sully had to like Dave and I knew he would. Perfect fit.
CB: Where did the name come from for the album?
SL:: When we were writing that song, Sully was trying to do a history-of-the-band-type song. He was thinking we are at 100,000 horse power. When the song came together, it was too many syllables and 1,000 horsepower fits perfectly, but is that enough horse power? Ironically, we have this Top Performance Pro Shop beside our headquarters here in New England. They soup up cars and rev up cars and we went next door and the dude fired up a 1003 horsepower Chevelle and that was enough horsepower. It wasn’t even street legal. It ended up being the car we recorded to start the album and the song.
CB: You have been doing a lot of drum clinics. Why is it important for you to get out and work with younger people and do drum clinics across the country?
SL: My company Yamaha gives away drums. They are the best set drums I’ve played, No. 1, so I just love and am honored to be endorsed by them. They have been on me for years about getting out there and trying to push the company. I am the guy who had never done a clinic before and I am not a solo artist or soloist. I am a band guy and always have been a band guy. I never even do a drum solo. When Sully & I play together the whole band is on stage and it is a drum feature.
I had always said no to Yamaha about doing these clinics. Then I heard Paul Bostaphwho plays for Slayer. He did the clinics, but he didn’t do it as a soloist or solos, he played along to Slayer songs he recorded and got the drums taken out. So when I realized I could do that, then I was like “Wow,” I had done like 30 records and I had played a bunch of session work and all these cool records I hadn’t been able to play in years. So when I found out I could have all these drum tracks removed and play a clinic and play my favorite songs I had recorded the last 30 years, I was in.
I only did a one week tour so far and I only did the West Coast and it was really fun and cool but weird with nobody around, not having my guys. It’s funny, I told people you can be on stage in front of 50,000 people and not be nervous, not one butterfly in my stomach, but walk into a Guitar Center that is lit up like a K-Mart and there is only 150 dudes out there, but they are all drummers staring at me, and I’m scared to death. It turned out to be really fun. I was happy to do it.
CB: Have you gotten any tattoos recently?
SL: I haven’t. The last tattoo I got was the Ugly Kid Joe Devil logo on my leg. I did a record with them the year before last. I still jam with Ugly. I did a record with them calledStairway to Hell and so I got this logo.
CB: I know you are a big fan of The Ramones too and we just lost the last Ramone. Do you have any thoughts about that?
SL: It’s devastating in so many ways. I just don’t like them, they are my favorite band of all time and I have seen them over 20 times over the last 25 years. When Tommy died, I really felt my mortality because, I don’t know (what) your favorite band is, say it’s Led Zeppelin — there are three out of four of those guys still alive and they were older than The Ramones. I asked everybody. Not one person I know has had every original member of their favorite band die. It really hit me hard. Am I next? It was really crazy there for a minute. Of course, I just saturated my ears with Ramones songs for the last two weeks. It was devastating.
CB: Last time I spoke to you we were talking about your daughters and now they are teenagers. Do you have any advice for other dads?
SL: Yeah, just try to hang in there because they all go through that teenage time where they seem to hate their parents and they don’t. They don’t hate you and will come back around.
CB: What can the fans look forward to here with Uproar here in Cincinnati?
SL: Well we are going to play a bunch of new stuff. I don’t know if fans look forward to that but we sure do as a band. We have been together for 12 years and we love the old stuff, and we will play plenty of that too, but we will be doing five new songs in the set which is exciting for us.
They can definitely look forward to a big show also. You know, the last few tours we toned it down because we used to have these monstrous shows with the pyro going off and bombs going off and video. The last couple tours, we tried to prove to ourselves, we try to be a great live band and don’t need all the bells and whistles, so the last few tours (have) just been the band and some lights. But this time we are bringing it all back, things blowing up and flames flying off the stage.
CB: I always loved the fire.
SL: It definitely is cool having the big columns of flames shooting up. It’s funny because these summer tours are hot as hell anyway and they are flames and are hotter than hell. So we are up there sweating and it is worth it, especially when those concussion bombs go off. I love those, they are my favorite parts, those real loud mortars and everybody flinches in the crowd. It is crazy and cool.
Since then they have accumulated enough hits to fill up any set to keep crowds entertained. With them teaming up with Chicago currently on tour, it brings a nostalgic rush of Rock live to audiences across the country.
CityBeat caught up with founding member and keyboard player Neal Doughty to get a feel of how life has changed over the years in the music business. The band performs at Riverbend Music Center Wednesday night. Find tickets/more info here.
CityBeat: I read in an interview that you found the name REO Speedwagon in an engineering class when you were in school in Illinois. I was curious if you ever finished your engineering degree.
Neal Doughty: No. I did not finish the engineering degree. I went to college for five years and never graduated because when the band got started it was just a little dormitory, a couple guys in the dorm, playing for fun playing on weekends. Then the band got really, really popular and we started branching out to Ohio and Indiana and the first thing we knew is we were too busy to go to class. And if you are in engineering at the University of Illinois, you better go to class because it is not easy. So myself and Alan, our original drummer, neither one of us finished college. We stuck with the band. It was sink or swim in the music business. It was interesting telling my parents that I had dropped out of college after five years, but we were already supporting ourselves with this band. We are already actually making a living. My dad goes, “Hey I can’t argue with that. People go to five years of college and never do get a job.” They handled that OK and I am happy with how that turned out.
CB: I think you made the right choice. That is pretty hardcore to have a full-time band and finish school.
ND: Yeah, I have two nephews that are engineers and it’s a good area because I haven’t heard of an engineer who couldn’t find work. They were hired right out of college. I would have been happy either way. I am still interested in scientific things. I would have enjoyed it and been pretty good at it but this will do. It’s fine.
CB: You have been playing the hits for over 30 years. What is your favorite song to play live?
ND: I think my favorite song live, I love playing “Can’t Fight This Feeling” because I get to showcase the piano a bit on that intro. I also love playing “Back on the Road,” the song that Bruce sings. It is somehow the perfect tempo and a crowd who hasn’t been on their feet yet will always get up for that song.
Of course with all the changes and stories of our career, there isn’t one song we play live that I don’t like, which is a great luxury. A lot of bands don’t have that. We have been together so long and have so many records out that we can pick our favorite songs to play live and it usually turns out to be the favorites of the audience too. Most bands, they probably play some songs that at least two guys hate it, but we have been very lucky to have a lot of songs to choose from. I’m happy.
CB: What has been your greatest Rock star moment?
ND: My wife is in the room and she is laughing because I think she had something to do with my greatest Rock star moment. I don’t know if we should go into the details. We met at a show. We had known each other for a long time and had never quite gotten together. One night after the show, she pretty much attacked me in the dressing room in front of the entire crew. There were no clothes that came off. It was all very legal and everything. All I can say is within three months, instead of living at the beach in California I was living in Minnesota where it gets really cold. This was eight years ago and so far it has been totally worth it. Yes, that was my greatest Rock star moment … to have a woman that was so affectionate in front of so many people.
CB: That is the best story I have heard in a while.
ND: She is laughing her head off right now.
CB: There is nothing illegal about clothes coming off, by the way. It is fine.
ND: Everybody kept their clothes on. It was just kind of a message that I like you, a really nice way of saying I like you. In fact, I was supposed to leave town that night but the band got me a hotel room and a plane ticket. It turned out to be fairly innocent, but it was the start of a great relationship that is going eight years later. You definitely meet some of the wrong women on the road, and this is one of the rare instances where I met the right one.
CB: The internet and social media have totally changed the way bands can make it and get on the radio and get famous now. Do you think it is easier or harder for a band to make it today?
ND: It is a whole different thing. It used to be very, very hard to get a record contract. We were together four years just starting before we got somebody interested with us. We were lucky to be with Epic Records for so many years. They let us do like 10 records that weren’t hits until we had High Fidelity in 1980 and 1981. There is no record label that would give a band that many chances to turn in a hit.
On the other hand, now you can make a record on your telephone and upload it to the internet. If it goes viral, anything can happen. I live in a small town in Minnesota, and one of the students there, one of my wife’s English students, made a video on a broken iPhone with an out of tune piano and it went viral. It has 10 million views on YouTube and she now has a couple record companies fighting over her.
I don’t mind how it’s working today. If I were going to, in my old age, try to make a song of my own, I think I would like the fact I could make it at home, upload it to the Internet and see what happens. I have nephews who are in a Rock band. They have become the most popular band in the St Louis area just from all their sales online. I think it is a great equalizer. You no longer need a lot of money behind you to get a break and that’s good. Any kid in a basement has the same chance as somebody with a million dollars to spend in a studio and I think that’s truly great.
CB: Are there any new up and coming bands or current artists that you would want to collaborate with?
ND: I tend to like one song by an artist and just buy that one song, which you can do now. I tend to have this really crazy range of tastes in bands. I like Foster the People on one end and I like Brad Paisley on the other end of the scale. Brad happens to be a good friend of ours, so I may be biased.
My taste in music is so eclectic now, something that maybe couldn’t have happened before the Internet. You hear a song on a TV show in the music in the background and there was no way you would ever find out what that song was. A lot of the new groups that get discovered, that I like now, it started watching a TV show, with a great song in the background. You just now have to aim your phone at the TV and it will tell you who the band is. That is really the greatest invention ever. There are songs I hear on the radio or in a movie or in the background of a TV show and you could have searched for the rest of your life and never found it. Now, being able to find anything you might hear is my favorite thing that has happened to the music business. If you look at the playlist on my phone, you would think this guy is all over the map with the stuff he likes. I am very happy about that development.
CB: You have been on the road for many, many years. Do you keep journals or photographs? How do you keep the history of the touring and the memories?
ND: No, once again, the Internet has helped with that. There were some lost photographs. We have had a million things happen that were great. Recently one of our old crew members from 30 years ago found a picture of John Entwistle jamming with us on stage in London, and Brian May for Queen hanging out with us in the dressing room that night. These old black and white pictures so people will actually believe that something that great happened to me. We found a picture of literally the house 157 Riverside Ave., which we rented in Rockport, Conn., where we did our first album. Now we found what it looks like recently. Then we also found they tore the thing down. Granted, it was not a national landmark, but seeing pictures of it a few years ago, we could see why they tore it down. It was about to fall down and we probably had something to do with that.
CB: You have had a few band members change over the years. How do you know you have a right fit?
ND: Well we have been kind of lucky we had only one real change happen and it all happened at the same time. Our current lineup has been together for 25 years, which is longer than the original group was together.
Back in the late 80’s, our original drummer Alan who I started the band with, and our original guitar player Gary both left around the same time. Alan couldn’t handle the road anymore because he was too attached to his family. He quit for the best of reasons, to be with his kids and wife. He opened a restaurant and is doing well. Gary started not handling the road well. The road brought out all of his demons. There was a point when he just couldn’t do it anymore because it’s too hard.
That really is when we got Brian, our drummer, and Dave, our guitar player, and that all happened very fast. We did a major set of auditions for drummers. I think we auditioned eight drummers in two days. Brian was the first one and we knew right then he was the guy we wanted. I asked Kevin if we had to listen to seven more drummers but he wanted to be fair to them. But Brian easily passed that audition. Dave Amato, our guitar player has a great background. He played with Ted Nugent. He has been on Motley Crue albums. He was a known studio guy in Los Angeles. He came over to Kevin’s house and we jammed for about half an hour and then immediately asked him to join the band. It was a perfect fit from the first note.
We were lucky to get Brian and Dave. They brought new energy into the band. I am not sure if we would be together now if it wasn’t for what those guys brought, which was new enthusiasm. We still call them the new guys after 25 years and they are getting kind of sick of it. That is the only real change we have made and it was 25 years ago. I am happy we still have our original vocalist which not every band is lucky enough to say that. We made one change and it has been great since.
CB: Do you have any regrets over the years?
ND: I have no personal regrets. I have done some incredibly, stupid, horrible things but I don’t regret them because they all led to where I am now and I am a very happy person right now.
CB: What can the fans expect when you come to Cincinnati this year?
ND: First of all, they can expect us to play a one hour set of our favorite songs and they’ll know all of them except for one surprise new song. I know the audience cringes when a band plays that new song because they want to hear the familiar stuff. This song is good, really good. We wouldn’t do it live otherwise. It’s got a hook right from the beginning. It has gotten nice mentions in our reviews so far.
Then Chicago comes on and does all of their hits. Then the lights go down and come back up three minutes later (with) both bands on stage doing three individual hits by each band. Six songs, literally the biggest hits of each band, played together, 14 individuals playing at the same time. That took about a 12-hour rehearsal to put that together and it is just amazing. The Phoenix newspaper called it one jaw-dropping moment after another. I have to agree. I am way in the back of the stage on that part and I love it because I can watch the whole thing. These guys from both bands are just running around having the best time of their life.
We have known some of the guys for Chicago for decades. Robert Lamm, one of the lead singers and writers was a neighbor in Beverly Hills back when I lived there 35 years ago and somehow we never toured with them.
We didn’t know if (the onstage collaboration) would work. They were a little more progressive, a little Jazz oriented, but they are still Rock & Roll. We are more Country or Folk. We weren’t sure the same audience would show up for both bands and it has worked beautifully. The shows so far have been virtual sellouts. The thing has blended so well.
Picture “Keep on Loving You” with that beautiful Chicago horn section. It gives me chills and I have been playing it 40 years. The crowd, the lights come up, and every camera comes out at the same time. They can’t believe … that we have that many people on stage and they are technically all playing together and we know what we are doing is more amazing. It is something you won’t see very often. We haven’t done anything like this. I am definitely having a really good time, we call it the grand finale. I am sure it shows to the audience we are having so much fun.