CityBeat Blogs - Live Music http://www.citybeat.com/cincinnati/blogs-1-1-1-35-10.html <![CDATA[LISTEN: Ill Poetic’s “It’s All Around”]]> Now residing in San Diego, Calif. (where he co-runs the Beat Box Records shop with another Ohio transplant, DJ Inform), former Cincinnati Hip Hop MC/producer Ill Poetic is readying his first new release since 2012’s The Synesthesia Yellow EP. The Silhouette Project is a five-song EP (with an accompanying short film) that is set for release on April 27. 

The new EP began as an entirely different project. Ill Poetic was working on a music video for The Synesthesia Yellow single “Silhouette.” The video grew into a short film and Ill Poetic changed course and created an entirely new EP, which he calls a “companion piece” to Synesthesia Yellow that also “exists in a universe of its own.”

“These are my words about love,” Ill Po says about the new project in a press release. “The record store opened me to genres of music I’d never been aware of but quickly fell in love with, greatly influencing my production. So the music is inspired by what I imagine my favorite artists and producers interpret love to be when they create. Each song is inspired by how I feel love translates through their music.”

On April 1, Ill Poetic’s made The Silhouette Project’s ethereal, melodic and soulful slo-mo jam “It’s All Around” available to stream on Spotify and purchase on iTunes. Check out the single via SoundCloud below. 

The EP is being released through Ill Poetic’s Definition Music, which has morphed into a music, art and film collective. You can find out more about Definition Music here.

Ill Poetic is embarking on a Midwest tour in support of the new EP that kicks of April 29 with a free show (it’s $5 for those 18-20) at Northside’s Urban Artifact. The show will also feature performances by Raised x Wolves, FAROUT, Jay Al, Hafrican and Ronin. Click here for details.


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<![CDATA[Cincinnati Music, Mashed-Up and Live]]>

If there’s one benefit to being a part of Cincinnati’s small but mighty music scene, it’s the ability to meet and mingle with artists far outside of your own particular genre. This accessibility to other musicians and creators is what led to the Cincinnati Soundclash show, featuring Jess Lamb and the Factory, The Cliftones and Buggs Tha Rocka, at Over-the-Rhine’s Woodward Theater this Friday. The three 2016 Cincinnati Entertainment Awards winners will be joined by Dayton’s Moira and Cincinnati altrockers See You in the Funnies.


Lamb and The Cliftones met at the 2016 CEA awards show and immediately saw opportunities that couldn’t be passed up. Neither act had any major, local shows planned in the upcoming months, had the same date available and wanted to bring fans together for a night of vastly differing musical styles. (Read CityBeat’s recent interview with The Cliftones about their newly-released debut album here.) 


While Lamb and The Cliftones have been planning this shindig for months, Buggs Tha Rocka entered the picture on a more casual basis, by simply hanging out with Lamb and her group at their base of operations. Talking about music led to rough vocal melodies, which led to rough pre-recordings, which led to tons of polishing and mixing to produce “Take Two” and “Just Breathe” (listen below). The two tracks will be available to show-goers as a free download from Soundcloud, with physical copies becoming available in the future.


While each act will be bringing their own unique styles to the Woodward stage, they will also be intermixing their performances to give show attendees a truly unique experience. Lamb will perform with the The Cliftones and Buggs Tha Rocka will be showcasing the two tracks that he has recorded with Lamb and the Factory at their home studio. And that’s just the beginning.


In addition to Lamb’s “Industrial Gospel,” The Cliftones’ Reggae and Buggs Tha Rocka’s Hip Hop on display, Moira’s ethereal Pop sensibilities and See You in the Funnies AltRock drive will round out what is assuredly one of the more eclectic lineups seen in town outside of a major festival.


The show is 18 and up, tickets are $7 in advance here, or $10 at the door. Show starts at 8 p.m.

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<![CDATA[REVIEW: Jims – ‘Mandarin’ EP]]>

An EP can be a risky endeavor for any musician. The shorter run time leaves little room for a filler track; the artist has to make their impression and showcase their style in the span of time it takes for some full-lengths to start stretching their legs. Of course, crafting a journey for the listener is a bit easier when their leader is a scene veteran with a wide array of releases to his name. And that’s exactly what makes Northern Kentucky resident Jimmy Snowden’s new EP, Mandarin, so enjoyable. (In his solo guise, Snowden is billed as simply “Jims.”)

Snowden is a member of Cincinnati-area acts like Smoke Signals… and Sweet Ray Laurel, and each of his projects places a spotlight on his myriad influences, from unpredictable Post Punk to acoustic-guitar-driven Indie Pop. Mandarin’s five tracks are undeniably Snowden’s design, each showing a fragment of his musical sensibilities. As a whole, they coalesce to provide a complete picture of the artist and his broad skill set. Snowden wrote, performed, and recorded the EP entirely on his own, and Mandarin bleeds Snowden’s individual playstyles as a result.

The first track, “Systems,” has an initially startling introduction. The track features vocal loops layered over downplayed percussion and acoustic guitar, which lead to a track that mixes unease and catchy melody in equal measure. It highlights Snowden’s more experimental qualities before allowing the rest of the EP to showcase his more traditional, Indie roots. It may not initially line up with the rest of the EP’s auditory aesthetic, but it’s an important track due to its insight into Snowden’s more forceful proclivities.

What follows are four tracks that thematically fall in line more evenly than what “Systems” initially hints at. “She’s Down” and “Hey Nola” feature driving guitar riffs and unconventional percussion set just under Snowden’s emotive singing voice. Snowden’s layering techniques are in full effect on each track. At times, it sounds like Snowden was running between instruments during recording to give each their own standout moment in the mix. The guitar is the star of the show, with Snowden crafting licks that enter your eardrum, weave into the folds of your brain and take up residence long after the disc has stopped spinning.

On the final tracks, “LOVE” and “ALONE,” Snowden takes his formula and makes subtle shifts to alter the mood and take the listener to a more introspective and thoughtful place. “LOVE” introduces keys at critical points of the song to create an almost mournful tone to the balance of guitar and upbeat percussion. Snowden carries the same feeling into “ALONE” by stripping away almost every layer that he had so carefully constructed on the previous tracks and focusing mainly on his vocals and guitar. What comes out on the other side is an artist laid bare. It’s a song that easily climbs beyond its self-imposed limitations and works as a suitably antithetical bookend with EP opener, “Systems.”

While Mandarin’s run time is a scant 14 minutes, Snowden is able to expose his listeners to the many elements of his musical style that enables him to be a part of so many disparate bands and be successful with all of them. Mandarin is a release that gives new listeners a fantastic introduction to Snowden’s skills. But for those of us who are already aware, it’s a solid reminder of his eclectic talents.

Snowden hosts a free EP release party for Mandarin this Saturday at 10 p.m. at The Crazy Fox Saloon (901 Washington Ave., Newport). Click here and here for updates, show dates and more. 


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<![CDATA[National Premieres for Cincy Rockers]]>

A pair of Cincinnati Rock bands had new projects revealed today on a couple of popular and far-reaching music websites. 


Wussy’s music video for “Dropping Houses,” the first single from the band’s forthcoming Forever Sounds album, debuted on Stereogum this morning. The clip was made locally, directed by Lightborne’s Scott Fredette (who gets a shout-out in the accompanying write-up and also plays with local band Culture Queer). Check the clip out below.


Forever Sounds is released by the Cincy imprint Shake It on March 4 and the band plays a pre-release show this Saturday at Woodward Theater. Read CityBeat’s cover story on the band from last week here.



Meanwhile, another band with national/international attention on them growing, Electric Citizen, has its second album for the Riding Easy label, Higher Time, due for release May 13 (you can pre-order here). Today the website for popular Rock mag Revolver premiered a new song from the album, “Golden Mean.” Click here to listen


The Higher Time track “Evil” can be heard below.


Electric Citizen heads out on an extensive European tour supporting Wolfmother beginning in April. 


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<![CDATA[Bunbury Announces 2016 Lineup]]>

This morning, organizers of the Bunbury Music Festival — which returns to Cincinnati’s riverfront (on stages throughout Sawyer Point and Yeatman’s Cove) June 3-5 — announced the lineup for this year’s event. This is Bunbury’s second year under the ownership of Columbus, Ohio-based concert promoters PromoWest Productions and its fifth overall. 


Scheduled to perform at the 2016 Bunbury festival: The Killers, Florence + the Machine, Mudcrutch (featuring Tom Petty), Tears for Fears, Haim, Ice Cube, Of Monsters and Men, Grimes, Big Grams, Umphrey’s McGee, The Neighbourhood, X Ambassadors, Elle King, G. Love & Special Sauce, Charles Bradley, J. Roddy Walston & The Business, Bayside, The Wombats, The Dear Hunter, The Mowgli’s, Diarrhea Planet, Grizfolk, Cincinnati native Cal Scruby, Here Come the Mummies, Austin Plaine, Red Wanting Blue, Oddisee, Coleman Hell, Lany, Whilk & Misky, Connor Youngblood, PVRIS, Louis the Child, Foxing, Lydia, The Shelters and Holy White Hounds. 


Cincinnati-area acts booked to perform so far include Dead Man String Band, Dawg Yawp, Mad Anthony, Automagik, Leggy and Arlo McKinley & the Lonesome Sound.


Three-day passes are available now for $169 (single day tickets will also be available for $89). VIP ticket options are also available. Click here for more info.


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<![CDATA[Watch the 2016 CEA Live Stream Here]]>

If you can’t make it out to this Sunday’s Cincinnati Entertainment Awards ceremony at the Madison Theater, you can still watch the performances and see which local musicians won by watching this year’s live stream, brought to you again by the folks at ICRC-TV. 

Starting at 6:45 p.m. the show, featuring performances by The Slippery Lips, The Whiskey Shambles, Rumpke Mountain Boys, Noah Wotherspoon Band, Buffalo Wabs and the Price Hill Shuffle, Abiyah and Jess Lamb, will be simulcast on YouTube. You can watch below:



The show will be rebroadcast television on Sunday, Feb. 21 at 8 p.m. (channels TBA; we’ll keep you posted). 


If you’ve never been and want a taste of what the CEA parties are like, here are the links for the 2013, 2014 and 2015 editions. 


If you’re attending this year’s event in person Sunday, doors open at 6 p.m. Tickets are available in advance here and also at the door. Click here for more info. 

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<![CDATA[Cruisin' with Rockers]]>

CityBeat was on-board for all the fun of the seventh annual ShipRocked cruise, sailing from Miami to Costa Maya, Mexico last week. The cruise provides a unique experience for diehard rock fans to get up close and personal with their favorite bands on the high seas. 

ShipRocked is made up of a tight-knit group of fans called “ShipRockers” They are divided into two categories: Survivors who have endured  previous ShipRocked cruises, and first time cruisers called Newbs.The ShipRocked group of friends stays in touch with each other year-round through a Facebook forum where cruisers can support each other and reminisce about their amazing cruise experiences. 

Diehard Shiprockers start a day early on Sunday night at the official pre-party at the Clevelander Hotel in South Beach, where fans saw performances by The Dead Deads and a surprise acoustic performance with Joe Hottinger and Lzzy Hale from Halestorm.

Halestorm kicked off the party playing “Apolcolyptica” off their new album, Into the Wild Life, and continued to play their hits for an hour as the Norwegian Pearl sailed away from Miami.

While on board, fans saw live music everyday from 1 p.m. until 2 a.m. These fans go from show to show with no nap in sight to see all of the bands perform live. Every band performed two to three shows while on-board to give each person a chance to see every  show. Bands included Halestorm, Five Finger Death Punch, Seether, Nonpoint, HellYeah, Stitched Up Heart, Red Sun Rising, Helmet, 10 Years, Avatar, We Are Harlot, Doll Skin, The Dead Deads, and many more.

Besides the non-stop Rock, other activities also take place, like Deck Wars, where fans competed against each other with members on Nonpoint band teams. Some activities were canceled due to the high winds at sea, but there was always something to do between your favorite band performances. Whether you started your day with Rock & Roll yoga, participated in scavenger hunts or tried your hand at late night karaoke.

Cruise ships in general are pretty fancy, so you really never get over the sight of dudes with mohawks and huge tattoos sipping beverages and eating their four-course meals on fine china.

On Tuesday, Avatar performed as the sunset over day two. Avatar was the most fan-requested band to be added to the ShipRocked lineup and the Swedes did not disappoint. Their high energy show kicked off a night of music that included We Are Harlot, Seether and an on-fire set by HellYeah on the deck that may have been the loudest of the week.

Band members can be seen all throughout the boat taking photos and talking to fans. All bands also participate in meet and greets, where fans can meet and take a photo with their favorites on Tuesday and Thursday. 

The cruise pulled into Mexico on Wednesday and cruisers could disembark for a beach-party option in Costa Maya, where Like a Storm led beach wars and fans could relax with an open bar on the beautiful Mexican sandy beaches.

One of the highlights of Wednesday night was seeing The Stowaways perform. The Stowaways were assembled by Danny Hill with guitar axe throwers like Dave Ellefson of Megadeth/Metal Allegiance, Oli Herbert from All That Remains and Bumblefoot. The band pulled in as many artists onboard as possible and practiced for many hours on Monday and Tuesday to pull off a show that highlighted everyone on stage. Special tribute was made to Scott Weiland and there was also an all-hands-on-deck finale tribute to Lemmy Kilmister and Motorhead.

There were weather issues that forced the cruise to move live performances scheduled for Thursday indoors. Five Finger Death Punch was one of the cruise headliners that was supposed to close out the whole event on the pool deck stage. In true ShipRocked family fashion, when the storm rolled in the band stepped up immediately and said they would play two back to back shows inside the Stardust Theater so that all fans could see the final show. The band played until 2 a.m. to make sure everyone could close out the party in true Metal fashion.

For Amy Harris' photos from 2016's ShipRocked, click here.

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<![CDATA[Review: Madonna in Louisville]]>

Madonna performed in Louisville, Ky., on Saturday for the first time ever. "The Material Girl" took the stage at the KFC Yum! Center around 10:30 p.m., but fans didn’t seem surprised, since the tour has had late starts each night. The tour stop is one of 64 cities on her Rebel Heart Tour.

Madonna has been the “Queen of Pop” for three decades. Most everyone would agree that she paved the way for all of the current reigning Pop stars, including Katy Perry, Taylor Swift and Rihanna and she proved that she still reigns supreme on Saturday night in Louisville. She appeared on the heart-shaped arrow stage in a grand Samurai-themed setup and immediately let everyone know “I’m Madonna Bitch!” as only Madonna can. 

"The Rebel Heart Tour" is filled with spectacle: a host of top dancers and elaborate stage design and set pieces, with Madonna at the center of it all. Even with the grand stage setup that takes 23 semi trucks to pull off, she remains the focus, with her over-the-top personality highlighting her art and athleticism.

The show features four themed sets clocking in at around 30 minutes each, with seamless transitions. The show opened with "Japanese inspired Samurai performance" theme, followed by "Rockabilly Meets Tokyo," "Latin Matador Gypsy" and "1920s Flapper," and each was defined equally by the music, costuming and choreography.

The music reached all the way back to 1980s “Holiday” era, but seemed to disappoint some fans because she doesn’t play the original arrangements of her classics. Most of the show highlighted her most recent album, Rebel Heart. Older songs, like "Material Girl" and "Dress You Up," were reinvented for the stage performance so that they could be inserted into the different themed sections of the show.

“Like a Virgin” was performed by a solo Madonna on stage, but took an EDM/Hip Hop turn for the worse. "Like A Prayer" and "True Blue" were both stripped down to their basic elements. “True Blue” was played as an almost acoustic song on a ukulele sitting on her  Rockabilly Car Shop stage setup, 

Madonna still rides the line between overtly sexual themes on stage and providing a show to which one could bring the whole family. During a few interludes she spoke directly to the Kentucky audience and at one point saying “In the words of Colonel Sanders, my six-pack is finger licking good” as her dancers all showed off their six-pack abs for the crowd. Sex was also a main theme for one set change, as the amazingly talented dancers performed acrobatics on beds in front of the big screen images that looked straight out of the Truth or Dare movie.

The show was a time capsule that took fans through albums that fill 30 years of Pop Music. Madonna showed everyone that she is still on top and, in her words, “Nobody fucks with the Queen.”


 

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<![CDATA[Cincinnati Entertainment Award Nominees Announced (Updated)]]>

On Jan. 31, 2016, the Cincinnati Entertainment Awards winners will be announced at the 19th-annual ceremony/show/party at Covington’s Madison Theater. Today we are happy to announce the nominees for the CEAs, which are presented by CityBeat and honor Greater Cincinnati’s rich and eclectic music scene. 

Again this year, the public was invited to submit nominee suggestions via an online ballot; a list of the top vote-getters in each category was given to members of the CEA nominating committee for consideration. The committee, which features local music writers, club owners, radio DJs and others, helped decide the final slate of nominees in the genre categories, as well as categories for Best Live Act, Singer/Songwriter and Best Music Vide  (which are open to all genres). Public vote decides the winner of a majority of the categories; the nominating committee determines the winner of the Critical Achievement categories (Album of the Year, New Artist of the Year and Artist of the Year). 


This year’s nominees include several artists who have previously been nominated (or won) CEAs, as well as numerous first-time nominees. Walk the Moon have scored two Artist of the Year CEAs in past years and return to the category after exploding internationally with its ubiquitous, Platinum-selling hit “Shut Up and Dance” and Talking is Hard album (both released towards the end of 2014). Singer/songwriter Jess Lamb, who kicked off 2015 by appearing as a contestant on American Idol (and is a previous CEA performer and nominee), earned five nominations, including her first Artist of the Year nod. Artist of the Year nominee Wonky Tonk (the Indie/Country guise of Jasmine Poole) also earned nominations in the Singer/Songwriter, Best Music Video and Country categories, following a 2015 that saw her Stuff We Leave Behind album earn widespread national acclaim. Perennial Hip Hop nominee Buggs tha Rocka, who has been working with indie Hip Hop legend Talib Kweli’s Javotti Media label and played the 2015 A3C Hip Hop fest in Atlanta and Cincinnati’s own Ubahn fest, earned his first Artist of the Year nomination. 


First-time CEA nominees this year include Country artist Taylor Shannon, Jazz player/composer Brad Myers, Metal newcomers Casino Warrior and jazzy Soul/Pop ensemble Krystal Peterson & the Queen City Band.


The New Artist of the Year category (as well as other promising new performers) will again be spotlighted at CityBeat’s Best New Bands showcase at Bogart’s on Jan. 16. This year’s New Artist of the Year nominees are Dawg Yawp, Coconut Milk, The Skulx, Go Go Buffalo, JSPH and Mutlimagic. New Artist nominees from the 18th-annual awards program returning to the CEA ballot this year in a big way include Leggy, Honeyspiders and Noah Smith. 


Public voting opens at noon on Monday, Dec. 21 here.


Bluegrass

Mamadrones

Ma Crow and the Lady Slippers 

The Missy Werner Band 

Rumpke Mountain Boys 

Comet Bluegrass All-Stars 

My Brother’s Keeper 


Country

Jeremy Pinnell 

Bulletville 

Dallas Moore

Wonky Tonk  

Noah Smith 

Taylor Shannon


Folk/Americana

Arlo Mckinley & The Lonesome Sound 

Willow Tree Carolers  

Buffalo Wabs and the Price Hill Hustle 

Young Heirlooms 

Honey & Houston 

Wilder


World Music/Reggae

Elementree Livity Project 

Baoku 

The Cliftones 

Queen City Silver Stars 

Mayan Ruins 

Know Prisoners 


Rock

Mad Anthony 

Wussy 

Alone at 3AM 

Lovecrush 88 

Honeyspiders

Zebras in Public 


Hard Rock/Metal

Electric Citizen 

Ethicist 

Moonbow

Lift The Medium 

Casino Warrior

LiViD 


Singer/Songwriter

Wonky Tonk (Jasmine Poole)

Jess Lamb 

Kate Wakefield  

Royal Holland (Matt Mooney) 

Dallas Moore 

Daniel Van Vechten 


Indie/Alternative

Motherfolk 

Us, Today 

Daniel in Stereo 

Jess Lamb 

The Yugos 

DAAP Girls 


Punk/Post Punk

Leggy 

The Slippery Lips 

Tweens 

Tiger Sex 

The Z.G.s 

Vacation 


Blues

Noah Wotherspoon Band 

Silver Pockets Trio 

Kelly Richey 

Sonny Moorman 

Johnny Fink and The Intrusion 

The Whiskey Shambles 


R&B/Funk/Soul

The Almighty Get Down 

Krystal Peterson and the Queen City Band 

The Perfect Children 

The Cincy Brass 

Freekbass & the Bump Assembly 

JSPH  


Jazz

Brad Myers 

Dan Karlsberg and the ’Nati Six 

The Faux Frenchmen 

Cincinnati Contemporary Jazz Orchestra 

Blue Wisp Big Band 

The Hot Magnolias 


Hip Hop

Napoleon Maddox 

Ilyas Nashid 

Sleep 

Buggs Tha Rocka 

Abiyah 

Mix Fox 


Electronic

Moonbeau 

Ethosine 

Black Signal  

Skeleton Hands 

Playfully Yours 

Umin 


Best Live Act

Tiger Sex 

The Whiskey Shambles 

The Yugos 

The Slippery Lips 

Buffalo Wabs and the Price Hill Hustle  

The Cliftones 

Honeyspiders 

Noah Smith  


Best Music Video

Molly Sullivan - "Before”

 


Jess Lamb - "Memories" 


Automagik – “Pop Kiss” 


Playfully Yours – “Colorvision”  


Puck – “Ruined”


Electric Citizen – “Light Years Beyond”


Wonky Tonk – “Denmark” 

"Denmark" by Wonky Tonk from Mopics on Vimeo.

Zebras in Public – “John Doe”


Critical Achievement Awards

Album Of The Year

Honeyspiders – Honeyspiders 

Us, Today - T E N E N E M I E S 

Dawg Yawp - Two Hearted 

Honey & Houston – Barcelona 

Jess Lamb - Circles 

Noah Wotherspoon Band – Mystic Mud 

Dan Karlsberg - The ’Nati 6

The Sundresses – This Machine Kills


New Artist Of the Year

Dawg Yawp

Coconut Milk

The Skulx

Go Go Buffalo

JSPH 

Mutlimagic


Artist Of The Year

Leggy 

Walk the Moon 

Jess Lamb

Noah Smith 

Wonky Tonk

Buggs tha Rocka 


UPDATE: The CEA ballot is now live. Start voting here.
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<![CDATA[Locals and Legends]]>

David Rhodes Brown's Warsaw Falcons and Nick Dellaposta's To No End could not possibly be any further from each other on the musical continuum. 

The Falcons, recently reborn with the classic lineup of Brown on guitar/vocals, the thunderous John Schmidt on bass and the irrepressible Doug Waggoner on drums, are Rockabilly personified, heavy on the Rock and hypercaffeinated to the point of heart palpitations. 


At the other end of the spectrum, Dellaposta's To No End is a Prog-tinted Blues unit with a propensity for lilting atmospherics and visceral Pop/Hard Rock anthemics.


Oddly enough, both bands are touting new releases, and each one is, in different ways, associated with a legendary entertainment figure. The Warsaw Falcons' new EP, Warsaw Falcons Live with Bobby Keys, features the work of the saxophonist sharing the title, one of Rock's most travelled and compelling sidemen who boasted near-membership with The Rolling Stones and sessions with Joe Cocker, Eric Clapton, Carly Simon and three of the four Beatles, among many others. 


To No End's new video for the track "Twisted Knives" from its third album, Remora, features the on-screen talents of Michael Parks, one of Hollywood's most versatile and durable actors whose television credits include Then Came Bronson in the late '60s and Twin Peaks in the '90s, and who has since become part of Quentin Tarentino's ensemble of reliable players.


The Warsaw Falcons' latest archive release is a five-song excerpt from a live recording done at Top Cat's in Clifton in the very early '90s. Keys, already a fixture in the industry (his iconic blowing was all over the Stones' Sticky Fingers, one of Rock's acknowledged masterworks), had played with Brown in Nashville and had become a semi-official member of the Falcons, eventually guesting on their 2003 album Right It on the Rock Wall.


At the time of the Top Cat's gig, Brown had just returned to Cincinnati to care for aging mother, and had reassembled the Falcons for occasional in-town performances. Bassist John Schmidt reclaimed his spot with the band, while guitarist George Cunningham and drummer Maxwell Schauf rounded out the quartet.


For the Top Cat's recording, the Falcons blew through a jumped-up set of band faves with Keys, visiting from Nashville to lend his towering sax fills. Although there was a good deal more material delivered at the Top Cat's set, the five tracks on the EP represent the songs where Keys was most directly and completely spotlighted. And Live with Bobby Keys might well stand as the most incendiary and pulse pounding 22-and-a-half minutes released this year.


The release starts with the rafter-rattling thrash of "Jello Sal," a five-minute Rockabilly workout featuring Brown's distinctive vocal rasp and his and Cunningham's slinky yet muscular guitar gyrations, grounded by Schmidt's bedrock solid bass and Schauf's technicolor timekeeping. On the EP’s second track, "Sometimes," Keys intros the song by thanking the Falcons for inviting him to the gig and pledging his admiration for Cincinnati and its desire to Rock and Roll. 


"That's what we do," Keys declares in his authentic Texas accent. "Rock and roll!" 


What follows is the Falcons' version of a ballad, a slow-cooking slab of meaty, bluesy Rock that gives way to its primal impulses and howls with blood-boiling intensity, even as the band maintains an almost laconic pace. Brown and the Falcons mix a jaunty Blues stroll with an effervescent Chuck Berry bounce on "You Can't Do That to Me," switching to spy-theme noir for the insistently smoky and sultry "Two Cigarettes in the Dark" and finishing with a pulsating version of Mitch Ryder and the Detroit Wheels' classic cover of the Righteous Brothers' "Little Latin Lupe Lu," with Brown doing his best hip-twitching, lip-hitching impression of Elvis while the band kicks up its heels and swings with deliberate abandon.


Through it all, Keys — who passed away last year at age 70 — does what he always did best; find the emotional heart of the songs and then play the living hell out of them. Keys had the intuitive gift to know when to serve as a brilliant supporting accompanist or elevate his position to an equal partnership in the arrangement, as evidenced by his call and response lick-trading on "Jello Sal." Brown says there may be more recordings of Keys in the Falcons' extensive and as-yet largely unplumbed archive. Based on the results of Live with Bobby Keys, which was officially be released at a Thanksgiving Eve extravaganza at the Southgate House Revival, we can only hope there's a lot more.


Meanwhile, To No End's new release, Remora, the band's third album since forming in 2012, is not only musically dichotomous from the Falcons' EP, it's quantitatively different as well, with an additional 11 tracks over two discs. But, as noted, the one area where the two bands intersect is in their use of a celebrity guest to enhance their presentation. 


With TNE, it's the presence of famed actor Michael Parks in the band's video for "Twisted Knives." TNE frontman Nick Dellaposta secured Parks' services for the video through Dellaposta's lifelong friend Josh Roush, whose journey is the subject of "Twisted Knives," perhaps the most personal and deliberately direct song he's ever written. 


A decade ago, Roush departed Ohio for Los Angeles, where he has worked in the film industry in various capacities, which led to a position last year on the set of director Kevin Smith's horror film Tusk. During production, Roush met and became friends with Parks, who had a role in Tusk. When Dellaposta invited Roush to partner up to produce the "Twisted Knives" video (the two had worked together on TNE's first video, "Somethin' Wrong with You"), the pair decided to ask Parks if he would be interested in appearing the video, which is largely made up of eerie atmospheric footage that Roush has shot himself over the years.



As for the rest of Remora, Dellaposta takes To No End further down the similar path he and the band explored on last year's excellent Peril & Paracosm, which blended the Kenny Wayne Shepherd-meets-Warren Haynes

Blues direction of the band’s debut with a blistering ’70s Hard Rock energy. In addition, Dellaposta has divided Remora into a pair of 30-plus-minute sides that are stylistically distinct. The harder Side A is subtitled “The Underworld,” while the gentler and more contemplative Side B is themed “The Great Unknown.”


“The Underworld” songs clearly follow Peril & Paracosm's general blueprint, with Dellaposta and guitarist Grant Evans soaring and scorching with the intensity and focus of '70s guitar heroes like UFO's Michael Schenker and Budgie's Tony Bourge, polished to a contemporary but never overproduced shimmer. The opener and ostensible title track, "The Afterlife II (The Underworld)," is a perfect example of Dellaposta's modern Blues/Hard Rock translation, a riff-laden celebration of the forms painted with a new brush. The guitars careen and howl while the rhythm section of bassist Eli Booth and drummer David Nester provide a sturdy but flexible foundation for the song's shifty mood swing between jaunty minor key melodicism and darkly menacing wordplay. 


Elsewhere, "Shatter" starts out with the reflective quiet of an O.A.R./Red Wanting Blue ballad but becomes more forceful and expansive as the song unfolds. "Everybody Talks" offers an indiosyncratic New Wave clockwork guitar motif that displays an interesting new songwriting wrinkle for TNE, while "Like Hell" and "Play That Card" show that Dellaposta's heart will never stray too far away from his KWS/Gov't Mule roots — even if they come out in fascinatingly different ways.


Remora's second "side," “The Great Unknown,” dials down the volume but not the songwriting intensity. Two songs from “The Underworld,” "Twisted Knives" and "Trash Day," are reprised on the second disc, with "Twisted Knives II" presented in an almost Folk/Americana light. "Trash Day" is similarly counterpointed between the pummeling Zeppelinesque boogie of “The Underworld” version and the lilting yet still powerful take of "Trash Day II.” And for sheer beauty, look no further than the acoustic heart-tug of "Hinterland Empire," a gorgeous evocation of The Beatles' classic "Blackbird."


While Remora's 16 songs would have fit comfortably onto a single CD, Dellaposta was clearly more interested in thematic continuity than production costs. Rather than interspersing Remora's more sedate songs with its amped-up fist-pumping anthems, Dellaposta and To No End show two different sides of themselves to suit your listening moods, further proof of his thoughtful creativity and amazing talent.


Warsaw Falcons’ Warsaw Falcons Live with Bobby Keys is currently only available at live shows (look for copies in brick-and-mortar, local-friendly record shops soon). Click here and here for show updates and more.


For more on To No End, click here. Remora is available on iTunes, Amazon and Google Play. Click here and here for more on the album and the band.


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<![CDATA[All Jazz Hands on Deck]]>

That old trope about doers doing and non-doers teaching holds no currency with saxophonist Dave McDonnell. The Chicago native relocated to Cincinnati six years ago to complete his doctorate Jazz studies at the University of Cincinnati's College-Conservatory of Music, which ultimately led to positions at UC and the University of Dayton, teaching both music and music technology.

At the same time, McDonnell never abandoned his love for performance, composition and recording. Early in his Jazz career, McDonnell divided his time between waiting tables, teaching private music lessons and playing in an impossible number of bands; he even worked with Elephant 6 icons Neutral Milk Hotel and Olivia Tremor Control (studio sessions with the former, touring with the latter).

Family life and academic rigors forced McDonnell to dial down his band participation — he currently works with Michael Columbia, Diving Bell and Herculaneum — but his reduced roles also provided him the impetus to resume exploring his own work, leading him to assemble a coterie of friends and bandmates from his Chicago experience (guitarist Chris Welcome, bassist Joshua Abrams, drummer Frank Rosaly, vibraphonist Jason Adaiewicz and cellist Tomeka Reid) and form the Dave McDonnell Group.

Utilizing a blend of crafted and precise composition and free-form improvisation, McDonnell created a masterful and acclaimed debut album, last year's the dragon and the griffin. The album was by turns contemplative and explosive, but always guided by the spirit of Ornette Coleman's similarly constructed pieces, where the tunes' purposefully written passages set the tone and established a foundation and framework for the band's circuitously invigorating spontaneity.

Just a little over a year and a half later, McDonnell and his Group (a version of which features Cincinnati players for area live shows) have returned, once again eschewing upper-case titling and stodgy tradition on the appropriately christened the time inside a year, his debut for esteemed Chicago Jazz label Delmark. While McDonnell adheres to his winning compositional-vs.-improvisational strategy on the time inside a year, he also adds a new wrinkle with a slightly older piece from his canon, namely his three-movement suite "AEpse," which grew out of his doctorate studies at CCM and which he debuted in Chicago two years ago.

"AEpse" stands in contrast to the grooves, shifting rhythms and dazzlingly intricate harmonics of the rest of the time inside a year. "AEpse," as a three-part, 11-minute piece of music, explores a chilly soundscape of electronic expanse, appointed by Reid's mesmerizing cello incantations, which drift through McDonnell's constructed atmosphere like smoke in a virtual opium den. But rather than present this sonorously beautiful piece as a whole, McDonnell chose to intersperse the three "AEpse" movements within his gyrational Bop tracklist, allowing them to serve as way stations along the album's journey.

And what an impressive journey it proves to be. Opening with the quietly propulsive "Bullitt," moving into the slinkily engaging and sensual "Vox Orion" and on to the jaunty "The Contract with Bees," McDonnell displays his considerable skills as both a powerful frontman and a generous bandleader, jumping to the fore with appropriately frenetic flurries of notes or delicately woven passages, or yielding the floor to Adasiewicz's fluid and enchanting vibraphone runs or Welcome's always brilliant guitar contributions, all of it made possible by the gymnastics of Abrams and Rosaly's limber and diverse rhythm section.

Nowhere is this more evident than in the swinging, shattering "Baker's Man," which begins and ends with the band in unison on the song's loping theme and fills its center with a dissonant Sun Ra/Zappa/Beefheart explosion of sounds and ideas. As atypical as it is sonically to the rest of the time inside a year, it perfectly points up McDonnell's incredible compositional skills and DMG's extraordinary ability to go completely off the map and then return to the radar in a fraction of a heartbeat.

Cincinnati has enjoyed a long and storied Jazz tradition, spawning some of the most profoundly talented and inventive players in the country, but even its most revered alumni must be sitting up and taking notice of the jaw-dropping accomplishments of Dave McDonnell and his innovative and musically curious Jazz collective. Clearly McDonnell's depth and breadth of experience informs every second of the Dave McDonnell Group's incredible output, but it is the application of that experience to his own work that is so consistently impressive. Two years and two albums in, and the anticipation of where DMG might head next is palpable and exciting.

THE DAVE MCDONNELL GROUP, with guitarist Brad Myers, bassist Peter Gemus and drummer Dan Dorff, plays Urban Artifact on Tuesday at 8 p.m.



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<![CDATA[Ironfest Rumbles On ]]>

Greater Cincinnati is now home to several major music events. Summer festivals like Bunbury and Midpoint capture a lot of the public interest and fill downtown for days at a time. But for fans like me who prefer their music with a bit more bite, there’s really only one fest in the area that matters — Ironfest. The two-day event, now in its sixth year, is held at Newport’s Southgate House Revival to honor the late “Iron” Mike Davidson, a local musician whose passing inspired the festival’s creation. I may have gone to a Midpoint show or two this year (Jameson makes memories hazy), Ironfest is the one event that I truly look forward.

The founder of Ironfest, John Gerhardt, created the show to raise money for Davidson’s family and he is steadfast in his goal. Tickets for the event are $5 online or $10 at the door for each night, and I suspect that price will stay the same for years to come. With over 50 bands on the bill, the price-to-band ratio obviously can’t be beat, and that’s just how Gerhardt likes it. The low-price mantra even carries over to the merch. An Ironfest shirt will set you back $5 and items like hoodies and hats are also reasonably priced. Even the pizza that’s brought in to help soak up the booze is free, with only a donation requested.

While the fundraising tradition that built Ironfest continues, the festival itself has grown immensely over the last few years. Gerhardt works all year to bring together local and regional talent to fill the house’s three stages, and this year’s lineup was the most eclectic and vast group of bands fans have seen yet. Groups came from Cleveland, Dayton, Chicago and Boston to be a part of this year’s Ironfest, and the genre mix was as wild as ever.

The majority of the bands fell into the heavier genres of Rock & Roll, Punk or Metal, but this year saw Industrial music (Chicago’s Hide), an experimental string music (Kate Wakefield) and Electronica (Black Signal) represented, amongst many other styles. To say that a fest has a little bit of everything is an advertising trope nowadays, but having this kind of diversity in one house over a two-day period is pretty damn impressive. Especially when walking from one room to the other provided massive swings in sound each time you transitioned. The lineup was spread out in such a way that if you truly wanted to see every band (a daunting task to be sure), you could give each group at least some of your time.

As music journalist, Ironfest makes my job easy. With so many great bands onstage at once, there’s bound to be some that I haven’t heard or a young band who’s just starting out. Buying several CDs in one night may hurt my wallet, but my ears couldn’t be happier. Thanks Hide, Good English, Tiger Sex and The Skulx for all making one hell of a first impression on a grizzled veteran (which is a fancy way of saying the drunk guy whose neck is sore from head-banging this weekend).

That isn’t to say that returning bands were slouches this weekend either. There were a ton of amazing performances, but a few are worth a special mention. Valley of the Sun played its first show in months in Southgate House’s Lounge and promptly blew eardrums with a six-song set that featured three new tracks from the band’s upcoming release. The Honeyspiders released its highly-anticipated debut album in conjunction with their Ironfest appearance and offered something special for fans of the Harrison brothers’ previous band when they were joined onstage by former Banderas guitarist Jesse Ramsey (in town playing with his new band, Punching Moses) to perform an old Banderas track to round out the set.

I would be remiss if I didn’t mention the dirty elephant in the room. With Mainstay Rock Bar’s closing late last year, Cincinnati filth mongers Dandelion Death no longer had a place to hold its yearly show. So when the group were added to this year’s Ironfest lineup, there’s was much rejoicing. When the band took the stage to close out Saturday night in the Sanctuary, the room was full of people who had no idea what they were in for. But those of us who did got to see a Dandelion Death at its most ridiculous, with a stage large enough for the band and its female companions to actually fit on. While Mainstay’s center stage pole was sorely missed, it didn’t hinder any of the ridiculous Metal that only Dandelion Death can get away with.

While Ironfest may be built on a very Metal foundation, for many, it is about more than the music — it’s about community. For anyone plugged into Cincinnati’s Rock scene, Ironfest is akin to a high-school reunion, except everyone’s drunk and people are actually having fun. The sheer number of musicians in the house leads to tons of Rock & Roll run-ins with longtime friends. At times, it’s hard to go outside for a smoke or grab a drink at the bar because walking the 20 feet to either location involves stopping, saying hi to an old friend and catching up. By now, my friends know to just abandon me if I stop on the way to a destination; I’ll catch up eventually.

Ironfest started as a way for one friend to honor the life and memory of a fallen buddy and, at its core, that is what Ironfest still is. But in the past six years, Ironfest has grown into a massive beast that many music fans eagerly look forward to year after year. Those that knew “Iron” Mike speak of the man with nothing but the upmost respect and fondness. His passing truly rocked those who knew him and Ironfest’s origination becomes obvious if you hear just one of his friends speak about his legacy. While I never knew the man, every year I thank him, because his memory spawns an amazing event full of amazing bands and people, and personally brings me so much joy. So cheers to you, Mike; I may not have known you, but I really wish that I did.


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<![CDATA[How Ass Were My Ponys]]>

The wholly unexpected announcement of a pair of reunion shows by one of Cincinnati’s greatest bands, Ass Ponys, inspired a sense of excitement within me that was matched only by the birth of my two children, the legal end of my first marriage and meeting the woman who convinced me to sign up for a 33-year-and-counting second hitch. 


You might think that's overstating a case, and I might think so as well, but the fact remains that I was beside myself at the thought of seeing Ass Ponys in action after a decade-long hiatus. And the reason was quite simple — I had never seen the Ass Ponys during their 17-year run.


As Ass Ponys frontman Chuck Cleaver has said many times since the reunion was trumpeted, the band was never nearly as popular here in Cincinnati as they were out in the wider, smarter world. That fact had nothing to do with the reality that I had never seen them play. I loved them before they'd recorded a single note of music.


My first exposure to Ass Ponys was their one-song appearance on WVXU's tribute to The Who in the summer of 1989, simulcast live from the station’s studios and appropriately dubbed “Who Cares.” Ass Ponys were among a stellar local lineup that included The Afghan Whigs, The Speed Hickeys, The Thangs, Human Zoo, Bucking Strap, SS0-20, Warsaw Falcons and many others. Each contributed a single song to the proceedings. Ass Ponys, accompanied by local guitar legend Bill Weber, roared through a Who rarity, "Glow Girl," an outtake that appeared on the 1974 collection, Odds & Sods. Having heard about them but never actually having heard them, the band’s R.E.M.-esque take on "Glow Girl" sold me in half a heartbeat. I taped all of the musical performances from “Who Cares” on that July evening (oddly enough the 20th anniversary of the moon landing — insert inadvertent Keith Moon reference here) and I cherish that cassette. Ass Ponys' rendition of the Who's archive gem remains a personal highlight.


Four months later, I took a job with a design/marketing firm and almost immediately began clocking serious overtime. Just over a year after that, I revived my freelance writing career as an adjunct to my full-time position, and hours that might have been used to see local shows dissipated like cigarette smoke in a cyclone. As much as I wanted to see Ass Ponys, the planet alignment of my ability to slink out into a night coinciding with one of their local appearances never occurred.


But I avidly followed the band’s recording endeavors. I bought Mr. Superlove and Grim upon release in the early ’90s, and my freelance writing activity earned me a contact at A&M Records, which resulted in Electric Rock Music and The Known Universe showing up in my post office box. I raged at the cosmos when Ass Ponys was dropped from the label's roster and exulted when they chimed with typical Cleaver "fuck it" bravado and re-blazed their independent trail with Lohio and Some Stupid with a Flare Gun.


Ass Ponys' catalog took on the gravitas of scripture for me, stone musical tablets engraved by the flaming finger of God and sent forth into the world to instruct the unwashed and convert the unconverted. They sang about loss and death and dysfunction and insanity with a cheerily twisted conviction that was infectious and transcendent, and I drank their bitter Kool-Aid with a smile on my face and their songs in my heart.


Obviously, just as the Ass Ponys blipped off area radar screens in 2005, Cleaver’s musical collaboration with Lisa Walker was blossoming, laying the foundation for a decade of Wussy brilliance (which continues next March with the release of Forever Sounds). Yet even as Wussy's star ascended, and the band's permanence was asserted, questions lingered about Ass Ponys' status. They had never regretted to inform their fans of their demise, never bid the faithful a teary farewell at the finale of a blaze-of-glory last show. Ass Ponys simply ceased to be, its members scattering to new situations and directions.


Maybe that's why the announcement of Ass Ponys' reunion shows at Over-the-Rhine’s Woodward Theater Nov. 6 and 7 was met with such an exuberant reception. As inauspiciously as the band retreated into the shadows, Ass Ponys planned their return with an equal lack of fanfare. But the loyal had little interest in allowing the band to shuffle quietly back into the spotlight. It was quickly apparent by way of social media posts that fans from around the country were already planning their Cincinnati pilgrimages to crowd the front of an Ass Ponys stage one more time.


With the Friday night show, after weeks of fairly intense rehearsals, the waiting came to an end and Ass Ponys steeled themselves to the task of presenting material that was, in some cases, close to a quarter-century old. Cleaver reported just prior to the show that he was likely the least nervous member of the band, revealing that bassist Randy Cheek had been up all the previous night thinking about their first show in over 10 years; presumably, guitarist John Erhardt (who plays with Cleaver in Wussy) and drummer Dave Morrison expressed similar signs of anxiety. But Cleaver also noted that the Woodward shows would be populated by the friendliest audiences Ass Ponys had ever attracted.


Friday's show began with a terrific set from Swim Team, which rocked a vibe that was part '60s-Pop melodicism, part Blondie-tinted New Wave edge and part Slits avant Art Rock eclecticism. Frontwoman Lillian Currens veered from a sweet Pop croon to a visceral Rock wail while the rest of the band provided an appropriately dynamic soundscape for her gymnastic vocals to pinwheel around in, creating a Riot Grrrl/Lana Del Ray mixtape. The quartet's brash and jittery opening set was the perfect introduction to what would prove to be an incredible moment in Cincinnati's musical history.


Given that I was an Ass Ponys stage virgin until Friday's glorious deflowering, I can offer no comparisons, no yardstick of performances past by which to measure the band's transfiguration into a contemporary unit. What I do know is that the four members of Ass Ponys have spent the last 10 years playing in some of the best and brawniest and most creative bands in recent memory, and that expansive breadth of experience couldn't help but elevate Ass Ponys' performance to an incredible new level in the modern context. Cleaver had noted during an interview on Class X Radio with Eddy Mullet and I the Monday before the shows that the band had discussed how to approach their material, with everyone agreeing it was best to relearn and rearrange the songs with their current expertise, rather than to recreate them note for note for the sake of some manufactured nostalgia.


The wisdom of that decision was proven with indelible and muscular versions of some of the best selections from Ass Ponys' powerful songbook. They went effortlessly from strength to strength, spitting and kicking and tearing through early classics ("I Love Bob," "Azalea"), A&M-era standouts ("Earth to Grandma," "Shoe Money," "Under Cedars and Stars") and late period wonders ("Butterfly," "Pretty as You Please," "Astronaut"), all with a renewed vigor and the hyper-electric jolt of pissing on an electric fence.


As usual, Cleaver was an engaging ringmaster. Three songs in, he noted in classic style, "Some things never change. I still sweat like a whore in church." He then recounted an observation made by a woman he overheard at an Ass Ponys show years ago: "I've never seen a man sweat that much without passing out." Throughout the night, people would call out unrehearsed requests which Cleaver fielded with a definitive "Nope." Cleaver explained the origins of songs ("This one's about a monkey …”) and kept up his standard patter-on-wry, but mostly he thanked the multitude for its dedication and passion, noting how humbling it was to see how many people drove and flew in from all over the country (rumor had it someone was coming from England) with the sole objective of witnessing the Ass Ponys' fresh splendor.


At the end, Cleaver announced — sarcastically and yet somehow lovingly — "This is the one that bought us our luxurious lifestyle," and the group launched into its MTV/college radio hit, "Little Bastard," the last in a long string of sing-along moments. If the show had gone on for another two hours, it would have seemed too short, but with the fading strains of "Little Bastard" ringing in my ears, I felt that my first and likely last live exposure to Ass Ponys was an overwhelming success and quite possibly an ecstatic religious experience.


As Wussy bassist Mark Messerly noted before the show started, the atmosphere at the Woodward was like a high school reunion "where you like everyone and you want to be there." 500 Miles to Memphis frontman Ryan Malott recounted how he had grown up down the street from Cleaver and had graduated with his daughter, ultimately crediting the Ass Ponys with sparking his interest in picking up a guitar and making his own music.


A lot of Friday's attendees had a direct connection to Ass Ponys' past and present. Vacation/Tweens drummer Jerri Queen (who would be opening Saturday's show with Vacation) helped produce and engineer the new Wussy album (as did Swim Team guitarist John Hoffman). The Ready Stance guitarist/vocalist Wes Pence, now bandmates with Cheek, was a contemporary of Ass Ponys with his ’90s outfit Middlemarch. Afghan Whigs bassist John Curley produced or engineered the first four Ass Ponys releases. Tigerlilies guitarist/vocalist Pat Hennessey was fronting The Thangs back in ’80s and ’90s, and was in a Fairmount Girls lineup with Cheek. Jim and Darren Blase helped maintain the Ass Ponys' flame by releasing the 2005 two-disc retrospective, The Okra Years, on their Shake It Records imprint.


Blase, freshly relocated back to Cincinnati after several years in Cambridge, Mass. (stop into Shake It’s shop and welcome him home), rightly noted that while Ass Ponys' influence is far-reaching and pervasive, no one, from the time of their first rehearsal in 1989 to the Woodward show we were anxiously awaiting, sounds quite like they do, a sound Blase likened to "an Americana Pere Ubu." No truer words.


The two Woodward appearances could well be the last we ever see these members on stage together. There are still plans afoot to reissue the band's long out-of-print catalog, and several people noted that both shows were being recorded, suggesting a live record could be in the works. And since Cleaver never says never, he answered the point blank question from a fan after the show — “Will you guys ever record again?” — with a nebulous yet hopeful, "Who knows?" 


Whatever happens, however it shakes out, my first Ass Ponys show was a blast. If more crop up going forward, I'll be there, as well. But you never forget your first.


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<![CDATA[Delmore Brothers Honored at Herzog]]>

In the fall of 1946, sibling Country (or “Hillbilly,” as it was dubbed) singing duo The Delmore Brothers came to downtown Cincinnati to record a session at E. T. Herzog’s studios (where famed sides by Hank Williams, Patti Page, Ernest Tubbs, Flatt and Scruggs and numerous other legends also recorded) on Race Street. Beginning their career in the ’30s, the Alabama-bred brothers had become well known for their stunning harmonies, incorporating Gospel, Blues and Folk traditions into their Country stylings. 


In the mid-to-late-’40s, Rabon and Alton Delmore’s sound began to shift towards something more innovative and modern. The duo was recording for King Records, the legendary Cincinnati institution that made (and, many say, changed) music history when it began releasing R&B records alongside its Country ones. The Delmores were a part of the bridge to this open blending of styles, something that ultimately helped lay the groundwork for the creation of Rock & Roll. 


Many consider The Delmore Brothers’ indispensable contributions to the genre dubbed “Hillbilly Boogie,” which blended bluesy rhythms and chord structures into the Country aesthetic, a crucial building block that helped pave the way for Rockabilly and Rock & Roll. 


Former Rock and Roll Hall of Fame curator Jim Henke is quoted as saying, “‘Hillbilly Boogie’ by the Delmore Brothers directly anticipated the development of Rockabilly and, later, Rock & Roll. With their close-knit harmonies and their guitar playing, the Delmores influenced the Everly Brothers and countless other Country, Rockabilly and Rock & Roll artists.”


During the Cincinnati sessions at Herzog, the Delmores cut tracks like “Boogie Woogie Baby” and the seminal “Freight Train Boogie,” one of the most distinct precursors to Rockabilly (some even call it the first Rock & Roll record).



This Saturday at 7 p.m., several area musicians will gather at the site of those early recordings (811 Race St., second floor, now the downtown headquarters of the Cincinnati USA Music Heritage Foundation) to celebrate their 69th anniversary and the Delmore’s huge contributions to music. The local musicians who will gather for "Delmore Day" to talk about and perform songs by The Delmore Brothers include Edwin P. Vardiman with Kelly Thomas, J. Dorsey, Big Bob Burns with Jeff Wilson, Margaret Darling, Joe Mitchell, Joe Prewitt and Don Miller, Elliott Ruther, Tim Combs, Mark Dunbar, Travis Frazier, David Rhodes Brown with Jared Schaedle and Ally Hurt. 


The event is open to the public (fans of all ages are welcome) and free. Here is the Facebook event page for more info.



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<![CDATA[Pomegranates Offer One More Album, Two More Shows]]>

After a tumultuous period that included personnel change, a career lull, an identity shift and finally an unexpected and unfortunate dissolution, the members of Pomegranates clearly thought their time had come and gone. But now, in a story twist that is equally unexpected and exultantly hailed by even the most casual fan, the Cincinnati band is taking two final bows on stage at Newport’s Southgate House Revival this Saturday, and one final stab at studio redemption with the release of its fifth album, Healing Power.


Two years ago, Pomegranates played what they intended to be their last show. The quartet had toured relentlessly behind its fourth album, 2012's Heaven, and when the band finally dropped anchor, the members began work on what should have been their fifth album.


"We thought we were going to make a noisier Rock record and instead, overall, it seems pretty low key and way more chilled out," drummer Jacob Merritt says. "And it's pretty long, also, with more songs — I don't know if ‘sprawling’ is the right word."


When Pomegranates started shopping their new tunes around, they were more than a little dismayed at the lukewarm reception they received. The departure of multi-instrumentalist Curt Kiser and the arrival of the similarly-talented Pierce Geary infused the band with a fresh perspective, but the indifference to Healing Power flooded them with self-doubt. And with members Isaac Karns and Joey Cook thinking about solo projects, the quartet began to reconsider everything.


"We were a nominally successful, mid-level band and we had been for a few years," Merritt says. "We gave (Healing Power) to a bunch of labels and managers and no one seemed to care. There was this weird stigma, where people were like, 'You guys have been around so long (the band formed way back in the mid-’00s), and you get on all these great tours. Why aren't you more successful?' And no one wanted to take the jump to help us become more successful. Nothing seemed to happen, and the guys were getting tired of the slow, steady growth and the grind of being away for weeks at a time, so we were very disappointed. The lineup had changed with Pierce, and it didn't make sense to release the album as it was, and we were second-guessing ourselves because no new people in the industry seemed to be interested and we were like, ‘Maybe this isn't good.’ ”


Thinking that perhaps they needed to shake things up, with a personnel change representing a good time to implement just such a jostle, Pomegranates dropped their name and adopted the title of the new album as their new moniker.


"We wanted to call the album Healing Power but at that point, we were like, 'Let's turn a new leaf and just be Healing Power,’ ” Merritt says. "It seemed to confuse a lot of people, because we weren't doing anything differently. We were still Pomegranates, playing the same set, but there were people who were like, 'I don't know about Healing Power, I like Pomegranates.’ That was perhaps a mistake, if you want to call it that.”


Healing Power lasted for close to a year before the quartet decided to pack it in. The band's official last show came almost exactly a year ago at the request of one of its biggest fans in Virginia, who messaged the group through Facebook and asked if it would consider getting back together to play a wedding. They thought it was a nice way to go out.


"Our last show was a wedding in a bike shop," Merritt says. "We were like, 'Why not?' We just felt like it."


The reclamation of the Healing Power album began with Merritt's friend Ben Wittkugel, who had become interested in the music industry while a student at Indiana University. Knowing Pomegranates were sitting on an unreleased album, Wittkugel proposed an interesting idea.


"He wanted to start a cassette tape label to go hand-in-hand with a concert promotion company he was trying to get started," Merritt says. “He wanted to put this thing out and we were like, 'Sure. Whatever.’ ”


Wittkugel will release somewhere in the neighborhood of 100 first-edition cassette copies of Healing Power through his Winspear label, and the band has pressed up about 100 CDs — there's also a four-song vinyl EP of re-recorded tracks and one song that was dropped from the album ("I don't know why we were so adamant about not having it on the album because it may be one of the better songs …") — which will all be available at the Southgate House shows. The album and EP will then be available digitally when the limited pressings are sold out.


"Unless something that happens to people in the movies happens to us," Merritt clarifies with a laugh.


Merritt's description of Healing Power as sprawling is appropriate; the album has several propulsive moments, including the staggering, stuttering majesty of the seven minute "Hand of Death" and the tribal electric blast of "House of My Mortal Father." There is also a fairly diverse dynamic across Healing Power's 13 cuts, which careen from those spurts of high energy to atmospheric and moody Pop confections, like the gentle and aptly titled "Taking It Easy" and the melancholic reverie of "Morning Light," with the strolling bounce of the title track finding the middle ground between those stylistic ends of the spectrum. Logically, Healing Power stands as a natural progression from Heaven, which the band also thought would be louder and less constrained, and it also reveals Pomegranates' impending solo directions, as the majority of the album consists of songs that Karns and Cook brought to the band in more or less completed form.



"In the past, it was 80% Pomegranates, 20% their songs, and this time it's probably 40% Pomegranates and 60% their songs," Merritt says. “It's hard to know, because you perceive it differently than other people perceive it, because you're so close to it. In my mind, (Healing Power) seems less reverb-y and more introspective. Not that there's not a few moments that are a little more up-tempo."


Although Pomegranates splintered at the end, there's no hard feelings among the band members; they continue to work and hang together ("We've been in each other's weddings …"). Cook and Geary are working on Cook's solo project, Merritt runs the Sabbath Recording — where Karns also works, including on a recent project with Aaron Collins — and he keeps a busy schedule recording local bands like Dark Colour and The Yugos, as well as bands outside of the area.


Pomegranates' live return has generated a huge buzz, with the Southgate show selling out so quickly that the band added a second, earlier show to the slate (both of which will be opened by Keeps). That response begs the question of any possible consideration for maintaining Pomegranates as a side project going forward.


"I would say, ‘We'll see,’ ” Merritt says, diplomatically. "Obviously, we aren't opposed to things happening if and when the time arises to play a show here or there. Beyond that, I'm not really sure."


The band's two shows will be structured the same, with older catalog material comprising the first half of the set and songs from Healing Power populating the second half, which will also be distinguished by an appearance from Kiser, who will join the lineup to play the new songs.


Given the fact that these two shows could represent the last time Pomegranates play together for the foreseeable future, though they also seem to be keeping their options open, there is both very little and potentially quite a lot at stake with the release of Healing Power. Still, the band members are happy to just live in the moment and cherish the memory of the impact they've had to this point.


"I know how difficult it is for a band to find their audience and to play music for people," Merritt says, philosophically. "To know that our music has meant enough to people that, if even 30 people showed up for one show, it's like, 'Cool, you guys still care.' But when you hear stories about people who were suicidal and they heard your music and it changed their lives and they credit you as a piece of why they're still alive — those sorts of things are really awesome. There's people coming from Chicago and Virginia and Michigan and North Carolina (for the Southgate shows). It's cool. We found people that our music really resonated with."


Tickets for Pomegranates’ 9 p.m. Southgate House Revival show Saturday are sold out, but some remain for the 5:30 p.m. show here



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<![CDATA[WATCH: Alone at 3AM’s “I’m Dying” Music Video]]>

Over the past year or so, Northern Kentucky’s SofaBurn Records has risen to become one of the more notable independent record labels in the region. The imprint has helped draw national attention to locally-produced gems like singer/songwriter Jeremy Pinnell’s amazing OH/KY album, and it has also released various singles featuring area artists like Buffalo Killers and R. Ring (featuring Kelley Deal and Northern Kentucky’s Mike Montgomery). Tomorrow (Oct. 9), the label is putting out the latest from former SubPop recording artist and Kentucky native Daniel Martin Moore; you can listen to Moore’s Golden Age (produced by My Morning Jacket’s Jim James) now via the Wall Street Journal’s website


Another great local band that is part of the SofaBurn roster is Alone at 3AM, the soulful and melodic Roots Rock crew fronted by singer/songwriter Max Fender that has been kicking ass for the past decade and a half-plus with consistently excellent releases showcasing Fender’s compelling songwriting abilities. 


Alone at 3AM’s fantastic new album, Show the Bloodwas released by SofaBurn last month and it has already scored some glowing reviews, including one from Roots Rock/AltCountry bible No Depression, which called the LP “a superb album from the first to the last track.” 


This Saturday, Alone at 3AM is playing a free show at Northside’s Comet to support the new release. The 10 p.m. show also includes sets from Northern Kentucky’s A City on Fire and Joliet, Ill.’s Death and Memphis. 


Ahead of the show, the band has unveiled a new music video for Show the Blood track “I’m Dying,” a Heartland Rock ear-worm that Springsteen/Petty fans should instantly fall in love with. (The track was premiered on Guitar World’s website back in July.)  


The “I’m Dying” video is a no-nonsense clip shot in Northern Kentucky. "This video is just a little window into what life is like in Dayton, Ky., where I wrote the album,” Fender says. “(We) had lots of fun shooting it with Sarah (Davis, Alone at 3AM harmony singer and keyboardist).” 



After the show at The Comet, Fender is setting off on a European solo tour with labelmate Pinnell. Click here to keep tabs on the latest Alone at 3AM happenings. 

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<![CDATA[Foxfire, Longstone Fests Spotlight Local Music and More]]>

With the summer music-festival season winding down and Cincinnati’s MidPoint Music Festival just two weeks away (did you pick up this week’s CityBeat for official guide, right? If not, you can find info here), you might think there’d be a music-fest lull this week. But two (very different) festivals northeast of Cincinnati are keeping the vibe alive this weekend — the Foxfire Freedom Festival in Morrow, Ohio, and the Longstone Street Festival in Milford, Ohio. 

The Foxfire fest, dubbed a “music and sustainability festival,” takes place Friday and Saturday at Morgan’s Riverside Campground & Cabins in Morrow, along the Little Miami River (you can even go canoeing if you’re up for it!). The $45 two-day ticket, available at the gate, covers camping Friday and Saturday night (one-day, non-camping tickets are $15). Foxfire will feature vendors and information related to being an environmentally-friendly citizen (the “sustainability” mention), with live music from several area Roots/Americana/Bluegrass performers, as well as acts that play other genres (or a fusion of several). 


Friday’s Foxfire lineup kicks off at 6 p.m. and features Dead Man String Band, Easy Tom Eby, Jared Schaedle, Joe Wolf, Heather Hamlet and Richard Cisneros. On Saturday, music begins at noo. The Saturday lineup features Common Center, Baoku Moses And The Image Afro-Beat Band, Lawson Family Reunion, Simply Dan String Band, Aaron Hendrick Trio, Black Mountain Throwdown, Adam Singer, Little Miami String Band, Allen Talbott, Blue Caboose and a songwriters-in-the-round session with Greg Mahan, Wolfcryer and Achilles Tenderloin. 


Click here for links to more info on all of the artists. 


More on the campground can be found here. And further info on the Foxfire Freedom Festival is available at the fest’s official site and Facebook page.


The Longstone Street Festival takes place Saturday along Main Street in Milford’s historic downtown district. The annual free event celebrates Milford with various food and arts and crafts vendors, plus a stage featuring a variety of musical acts all day long. This year, the music starts at noon with My Brother’s Keeper (featuring Andrew Hibbard). Other Longstone performers include Seabird, Harbour, Along the Shore, Taylor Shannon, Shiny and the Spoon, Daniel in Stereo, Static Wonder and a band featuring students from the School of  Rock Mason. 


For full details (including info on vendors, kids’ activities and more), visit longstonestreetfestival.com. The times the various performers are playing the Longstone Street Festival can be found at the event’s Facebook page, which also includes music and video samples of several of the artists. 


The Foxfire Freedom Festival and the Longstone Street Festival are both open to all ages and are family friendly.


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<![CDATA[Cincinnati at the VMAs]]>

I tried to watch last night's Video Music Awards on MTV, but it was such an awkward and confusing clusterfuck, I couldn’t take much of it, flipping through for a few moments before moving on out of embarrassment for the people on the screen. I usually like when awards shows are a little chaotic (and the VMAs are known for their often-desperate attempts to be “not your mama’s awards show”). And I actually have always enjoyed the pop-culture pageantry of awards shows in general. But on last night’s VMAs, the annoyance factor was so high, I couldn’t even watch it on a “so bad you can’t look away” level. It made me anxious and uncomfortable, like watching someone fumbling over their words and breaking down while giving a speech in public (kind of like Kanye on last night's show). 

It wasn’t really even the performances that made it so unwatchable (most were pretty solid for what they were). It was all of the in-between absurdity that made it so cringe-worthy.


Speaking of performances, some Cincinnati artists did well on the big stage. Walk the Moon has become so experienced with these kinds of high-profile appearances that it wasn’t surprising the band’s umpteenth performance of “Shut Up and Dance” was flawless. Airing during the opening of the pre-show “rainbow carpet” portion, I found myself thinking (as I do whenever I hear the hit on the radio), “You know, they have other songs, including a new single?” “Shut Up” was considered a “song of the summer” contender, though it’s been on the radio for like 15 years (OK, it was released as a single in September of 2014, but still). Then the band played the new single, “Different Colors”! And MTV promptly cut them off. (Even “Shut Up” was interrupted mid-song so the pre-show hosts could introduce the program, the clumsiness of which ended up being indicative of the overall mess the VMAs turned out to be.)



The weirder Cincinnati-related appearance came during Macklemore & Ryan Lewis’ performance of their new single, “Downtown.” I was not aware of the guest artists on the song (OK, I was not aware they had a new song), so I turned it on just as Hip Hop legends Melle Mel, Kool Moe Dee and Grandmaster Caz were rapping while walking down the street, thinking it was some cool old-school tribute the awards show was presenting. Then Macklemore came on and I reached for the remote, still unable to figure out what was going on. Then Eric Nally from late Cincinnati greats Foxy Shazam joined in, singing the chorus and doing some of his trademark stage moves and I officially thought I was just having a dream. 


Nally did a great job and he caused a lot of buzz online, mostly of the “Who was that guy?” variety (when the single was released last week, a bunch of idiots rehashed the “Eric Nally is racist” stories from back in 2013 when Foxy Shazam released the single, “I Like It.”)



It’s weird mash-up of a song, parts of which I like, while other parts I find tremendously aggravating. Which is kind of what the VMAs were. Is this the present state of popular youth culture? Throw a bunch of unrelated stuff together, put it in a blender and then just stare at the blender, not caring or knowing what the end result is? 


MTV/Viacom had something called the O Music Awards for a few years recently, honoring things like “Favorite Fuck Yeah Tumblr,” “Favorite Animated Gif,” “Best Tweet” and “Best Artist With A Cameraphone.” The O Awards ceremony seemed unscripted and filmed without any director whatsoever. It doesn’t appear the O awards are still a thing; perhaps last night’s VMAs were a sign that the network is turning its long-running awards program into the Os? 


The VMAs were largely just a big WTF moment that people would talk about/complain about/make fun of online. Which is probably exactly what MTV was going for and, scarily, perhaps the shape of youth-oriented entertainment to come. 


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<![CDATA[MidPoint Music Festival Adds More Acts, Venues]]>

The 2015 edition of the MidPoint Music Festival (owned and operated by CityBeat) is less than two months away, returning to various venues in Over-the-Rhine and Downtown Sept. 25-27, and this morning organizers announced the release of the schedule and a few additional performers. 

New artists added to this year’s 14th annual event include The Besnard Lakes, Heaters, The Moth & The Flame, Alberta Cross, The Glazzies and Left & Right. A few more local acts — Mad Anthony, Bulletville and Culture Queer — were also added to the roster. Widely-acclaimed Cincy-area rockers Buffalo Killers will also perform at this year’s MidPoint. You can catch a preview when the group headlines a free show tonight on Fountain Square, part of the MidPoint Indie Summer series. The band is joined by Ohio Knife, Pop Goes the Evil and Go Go Buffalo for tonight’s 7 p.m. concert. 


The festival also announced new venues for this year’s fest. Woodward Theater and Maudie’s, plus an outdoor stage at the corner of 14th and Sycamore streets, join previous venues Washington Park, Taft Theatre’s Ballroom, The Drinkery, Mr. Pitiful’s, MOTR Pub, Christian Moerlein Brewery and Arnold’s to host this year’s 120-act lineup. 


Get a look at the schedule so far right here. Tickets are available here. And more info on today’s announcement can be found here. All details can be found at mpmf.com


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<![CDATA[‘American Originals’ Pops Concert Recording Due in September]]>

Back in January at Music Hall, the Cincinnati Pops Orchestra, under the direction of conductor John Morris Russell, presented its unique “American Originals” concerts. During the performances, the orchestra collaborated with several local and national Folk/Americana artists to perform and celebrate the music of Stephen Foster and other early songs that are the foundation of the “Great American Songbook.” 

Read CityBeat’s cover story on the project here.


Rosanne Cash, Aoife O’Donovan (who recently returned to join the Pops for its Fourth of July concert at Riverbend; read our interview with her here), Dom Flemons (formerly of the Carolina Chocolate Drops) and Joe Henry joined Cincinnati area artists Over the Rhine's Karin Bergquist and Linford Detweiler, members of the Comet Bluegrass All-Stars and others to perform specially arranged versions of Foster compositions like “O! Susannah,” “My Old Kentucky Home,” “Camptown Races” and “Beautiful Dreamer,” as well as traditional numbers like “Red River Valley,” “Kumbaya” and “Amazing Grace.” 


A live recording of the concert featuring 17 songs will be released on Friday, Sept. 11. (You can pre-order it now here from Amazon.)


Here is the detailed track listing for the American Originals release (via cincinnatisymphony.org):


1) “O’ Susannah” (written by Foster, arranged by Chris Walden and with Joe Henry on vocals)


2) “Jeanie With The Light Brown Hair” (written by Foster, arranged by Rob Mounsey and with Aoife O’Donovan and Karin Bergquist of Over the Rhine on vocals)


3) “My Old Kentucky Home” (written by Stephen Foster, arranged by Rebecca Pellett and featuring Rosanne Cash on vocals)


4) “Amazing Grace” (traditional, arranged by Pellett and featuring Aoife O’Donovan and the Comet Bluegrass All-Stars)


5) “Rolling River: Sketches On Shenandoah” (composed by Peter Boyer) 


6) “Why, No One To Love?” (written by Foster, arranged by Pellett and featuring Over the Rhine’s Bergquist on vocals and her OTR partner Linford Detweiler on Rhodes keyboard)


7) “Old Folks At Home” (by Foster, arranged by Timothy Berens and featuring Dom Flemons on vocals and harmonica, Timothy Berens on banjo and Paul Patterson on fiddle)


8) “Kumbaya” (traditional, arranged by Berens and featuring Timothy Lees, Kathryn Woolley, Gabriel Pegis and Scott Mozlin on violins and Richard Jensen on djembe


9) “Slumber My Darling” (by Foster, arranged by Chris Walden and featuring O’Donovan on vocals and guitar)


10) “Aura Lee” (by Foster, arranged by Pellett and with Henry and Ed Cunningham on vocals)


11) “Foster's Folly” (by Foster, arranged by Berens)


12) “Ring, Ring The Banjo” (by Foster, arranged by Walden and featuring Flemons on banjo and bones
 and Cunningham on fiddle)


13) “Red River Valley” (traditional, arranged by Berens and featuring the Comet Bluegrass All-Stars)


14) “The Battle Cry Of Freedom” (composed by George Frederick Root and arranged by Berens)


15) “Beautiful Dreamer” (by Foster, arranged by Mounsey with Cash on vocals)


16) “Hard Times Come Again No More” (by Foster, arranged by Berens and featuring Over the Rhine, with Bergquist on vocals and Detweiler on guitar)


17) “Camptown Races” (by Foster, arranged by Mounsey and featuring the Comet Bluegrass All-Stars, as well as Cash, Flemons, Henry, O’Donovan and Over the Rhine on vocals)





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