CityBeat Blogs - King Records <![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.

<![CDATA[Bus Tour to Visit Cincinnati Music Heritage Landmarks]]>

The Cincinnati Heritage Programs put together by the Cincinnati Museum Center have been going on for over 30 years now, taking locals and visitors to some of the Queen City's most important and/or interesting landmarks. The programs have included historical presentations and bus and walking tours to the various sites.

This year so far, the Cincinnati Heritage Programs have shown and told the stories of radio pioneer Powel Crosley, "Grand Old Theaters" and Cincy local TV legends. This Saturday, the Heritage programmers present "Subway Talk and Walk," a nighttime exploration of Cincinnati's incomplete subway tunnel project.

On May 18, from 9 a.m.-1:30 p.m., the Cincinnati Heritage Programs presents the first ever bus tour of various important (not just to the area, but to the world) musical landmarks.

Dubbed "When the Queen City was King of Recording," the tour focuses primarily on a pair of historic recording studios that churned out records that would change the face of music. The bus will visit the original site of King Records, which released seminal albums from the worlds of Country and R&B, a gateway to the birth of Rock & Roll. The bus will visit the old King location at 1540 Brewster Ave. in Evanston, where city officials, the Cincinnati USA Music Heritage Foundation (CUMHF), the Rock and Roll Hall of Fame and others helped have an historical marker installed in 2008 to commemorate King's contributions.

Here's James Brown's first single, recorded with his Famous Flames and
released in 1956 through the King subsidiary, Federal Records:

The tour will also visit the former site of the E.T. Herzog Recording Company, at 811 Race St., downtown. In 2009, the CUMHF and others also lobbied successfully for a marker to placed at the site, which now houses the organization's headquarters. The Foundation has turned the floor the studio once stood into a museum dedicated to the space's history, hosting receptions and recording sessions and showcasing a few artifacts (like the piano Hank Williams played when he was in town to record songs that made him a legend, including "I'm So Lonesome I Could Cry") and lots of old photos of the studio in action. The Music Heritage Foundation is currently hosting the photo exhibit, "Annie's Baby Had a Baby," which was part of the big, citywide Fotofocus photography showcase.

The tour ends with lunch and some live music at the Blue Wisp Jazz Club, a block from the Herzog stop.

The tour costs $60 (or $50 if you're a Museum Center member) and some spots are still open. But you'd better act fast. Deadline to register for the "When the Queen City was King of Recording" is tomorrow, May 7. Make a reservation by calling 513-287-7031. And click here for the Museum Center's rundown of great city tours and more. 

You can read a couple of stories from CityBeat about Herzog and King here and here (check our archives; we've written about them a lot).

<![CDATA[Cincinnati Music Heritage Group Offers CEA VIP Perks]]>

The proceeds from the Cincinnati Entertainment Awards (coming up this Sunday at Covington's Madison Theater) have been donated to various music-affiliated charities over the years. For the 2011 edition, money from the show will again be given to the Cincinnati USA Music Heritage Foundation. The non-profit organization has spent the past few years shining the spotlight on Cincinnati’s rich, often-overlooked musical past, reiterating the Queen City’s vital role in the development of so much popular music. CUSAMHF launches its inaugural membership drive with this year’s CEAs. VIP tickets for the CEA ceremony this year are $50 (click here to purchase) and include membership in the CUSAMHF’s Funky Drummer Society, named for the beat of James Brown’s “The Funky Drummer,” one of the most used drum samples in music history. ---

VIP ticket-holders gets some cool perks Sunday, including admission to the pre-party, where locals DJs Pillo and Apryl Reign will riff on the "Funky Drummer" beat, free food and drinks, an advance copy of The Dallas Moore Band's Hank to Thank tribute album with Jody Payne (recorded at the site of Herzog studio, where Hank Williams recorded "I'm So Lonesome I Could Cry" and other classics) and a card honoring the 60th anniversary of Tiny Bradshaw's historic song "Train Kept a-Rollin,'" autographed by King session drummer Philip Paul.

VIPers also receive a one-year membership to The Funky Drummer Society, which includes access to special, free music downloads and streams, invites and discounts for CUSAMHF (and other) events and much more. (If you can't make the CEAs but would still look to join, click here for details).

CUSAMHF’s latest activities offer a great example of the organization’s mission of bridging local music’s past, present and future, a goal shared by the CEAs and CityBeat. In a collaborative effort with the Rock & Roll Hall of Fame, a special interactive educational program was developed, aiming to teach young students just how important Cincinnati’s musical history is in relation to the music they know and love today. The unique class (the first such program from the curators of the Rock & Roll Hall of Fame, who'll participate remotely) will be presented for the first time this Friday at the WCET studios for an invite-only audience, including students from SCPA and Cincinnati State. 

If you purchase a CEA VIP ticket by this Wednesday, you'll be entered into a raffle for a seat at the Rock Hall's King Records presentation.

More and more locals (and non-locals) are becoming aware of the city's rich heritage thanks to CUSAMHF’s work to honor such iconic musical institutions as King Records (the local facility that released seminal recordings by many R&B and Country/Roots legends) and Herzog recording studios. CUSAMHF (which counts the legendary Bootsy Collins among its board members) is now headquartered downtown at the site of the former Herzog facilities and the group was instrumental in having an historical marker placed in front of the building where Hank Williams and countless others recorded some of the music world’s most important tracks.

CEA 2011


<![CDATA[Squeeze the Day for 7/25]]>

Music Tonight: Fountain Square will be loaded with music today. At 5 p.m., the Cincinnati USA Music Heritage Foundation presents a tribute to “Train Kept A’ Rollin’,” a Cincinnati-recorded King Records single by Tiny Bradshaw that eventually became a standard for guitar-fueled Rock & Roll bands (ranking up there with “Louie, Louie” and “Smoke on the Water”) thanks to versions by The Yardbirds, Led Zeppelin and scores of others. Read Steve Rosen’s feature story on the song and today’s events at here. Be sure to scroll down to check out some of the more famous versions of the tune. ---

At 7 p.m., Fountain Square jazzes things up with resident Jazz band The Chris Comer Trio. The group features different guest artists each Monday for the Fountain Square Lounge shows. This week, Boogie Woogie/Blues piano hero Ricky Nye and Dan Barger (sax and flute master) sit in with Comer and Co. for the free performance.

Not so long ago it was a no-brainer — if you did not live in a major metropolitan area (preferably L.A., Nashville or New York) and you wanted to be a successful musical artist, then you had no choice but to leave your rinky-dink town in the dust for the big-city bright lights. Now, internet-enabled connectivity has made that way less of an issue.

Rising Indie Rock stars The Poison Control Center are just one of the examples of a band staying put in their non-music-hub hometown, yet still finding success and garnering attention nationwide. PCC — whose music is a swirling blend of Pixies, Pavement and My Bloody Valentine’s noisy squall — hails from Ames, Iowa, which has a population at around 60,000 residents. The band doesn’t just sit in their Iowa rehearsal studio, though; the band tours quite often, if fact. Tonight, PCC is at MOTR Pub for free show with local guests The Dandybeards.

Check out Brian Baker’s preview here and take a gander at the group’s just-released music video for “Dracula’s Casket” below. The song is from the group’s latest album, Stranger Ballet, on Afternoon Records (home to Cincy’s own Pomegranates).

Dracula's Casket by the Poison Control Center from TAPES FOR LIFE on Vimeo.

(Leave your suggestions/promote yourself or your favorites by telling everyone about your favorite music event recommendations for the day in the comments below.)

Momentous Happenings in Music History for July 25

On this day in 1981, Australian Snooze Pop band Air Supply’s “The One That You Love” went to No. 1 on the U.S. singles chart, the soft rockers only single to do so. Here’s a little something to help annoy your co-workers if you’re reading this from a cubicle. Crank it up! Although, I guess if you work in a dentist office, no one will even flinch.

Musical folks born on July 25 include Duke Ellington Band saxophonist Johnny Hodges (1906), Motown session drummer Benny Benjamin (1925), Rita Marley, singer and widow of musical icon Bob Marley (1946), and guitarist for influential Athens, Ga., Art Punk band Pylon, Randy Bewley (1955). And today is the 53rd birthday of Thurston Moore, Sonic Youth guitarist and probably the highest profile booster of experimental and avant garde music in contemporary culture. Raise a toast to Thurston and crank up the below video for “Death Valley ’69.”

R.I.P.: Eclectic Country music legend Charlie Rich, who had huge Pop crossover hits in the ’70s like “The Most Beautiful Girl” and “Behind Closed Doors,” died on this day in 1995 from a blood clot in his lung. Rich was on a driving trip to see his son perform in Florida when a serious coughing fit forced him to stop and see a doctor. Rich (who’d been given antibiotics) and his wife continued their trip and stopped driving for the night to get some rest at a motel. Rich died in his sleep that night.

<![CDATA[Squeeze the Day for 7/15]]>

Music Tonight: Lots of strong shows this evening to help usher in the weekend. Tonight’s free MidPoint Indie Summer concert on Fountain Square is headlined by one of Cincinnati’s best bands, Electro rockers Eat Sugar. Get a taste of the sweetness below in the band’s most recent music video (directed by ES drummer Greg Poneris) for the song “Clap Your Hands.” Solid local newcomers Starfox and Louisville Electronic Pop crew The Pass get things started. ---The whole shebang kicks off at 7 p.m.

Americana heroine Lucinda Williams — who performed this spring at Covington’s Madison Theater — returns to the area tonight, joining popular singer/songwriter Amos Lee at PNC Pavilion. Check out Steve Rosen’s interview with Lucinda in this week’s CityBeat here. Showtime is 8 p.m. and tickets will run you about $50-$65. Warm up with the below clip of Williams performing “Drunken Angel” on Austin City Limits.

The 48th annual Edensong concert series — featuring local Roots music every Friday in July for free — continues tonight at the Seasongood Pavilion at Eden Park. Things kicks off at 8 p.m. with local Cajun crew Lagniappe and the show also features John Redell & Rick Howell, Silver Arm, Wild Carrot & The Roots Band and young fingerstyle guitar ninja Ben Lapps. Get a sample of Lapps wizardry in the below promo video, created by area A/V warriors Mind Ignition.

For those who attended last Friday’s Edensong opener but had to park 20 miles away (or those who went but left because there were no parking spots), there’s good news — the Cincinnati Art Museum has decided to allow patrons to park in their lot for the rest of the series.

Ben Lapps promo from Ben Lapps on Vimeo.

(Leave your suggestions/promote yourself or your favorites by telling everyone about your favorite music event recommendations for the day in the comments below.)

Momentous Happenings in Music History for July 15

One of the macho men of the Village People, Victor Edward Willis (aka “The Cop”), was arrested on July 15, 2008, near San Francisco when police find drugs and a gun in his car. Maybe he was just doing some undercover singing/dancing-police work?

Musical folks born on this day include Adams County native, Country music legend and King Records recording artist Cowboy Copas, who died in the same plane crash that killed Patsy Cline in 1963 (born in 1913), R&B singer Millie Jackson (1944), Rock, Pop and Jazz vocalist Linda Ronstadt (1946), New York Dolls/Heartbreakers guitarist Johnny Thunders (1952), Dancehall Reggae fave Buju Banton (1973), and troubled Joy Division singer Ian Curtis, who would have turned 55 years old today had he not taken his own life in 1980.

Julia Lennon, John Lennon’s mother and fodder for a few of Lennon’s greatest songs (including the one below, covered by John and Yoko's son, Sean), died on this day in 1958 when she was hit by a car driven by an off-duty police officer.

<![CDATA[Local King Records Artist Dies]]>

William “Beau Dollar” Bowman, a Hamilton-born singer/drummer who recorded at King Records in the 1960s with both The Dapps and Beau Dollar & The Coins, has died in Cincinnati after an extended illness. Until recently, he had been living in Florida. He was 69. Information on funeral services is available at

According to a Wikipedia entry, “Beau Dollar & The Dapps were formed in Cincinnati in 1965, where they often played the famous Living Room nightclub. The band consisted of Bowman, Eddie Setser, Charles Summers, Tim Hedding, Ron Geisman, Les Asch, and David Parkinson. The band found success after being discovered by James Brown the same year they were formed. Under Brown’s direction, the band produced their first single, ‘It’s A Gas.’ However, Brown’s long-running dispute with King caused the single to be shelved. At the same time, the band also worked with Hank Ballard, who had left The Midnighters in search of solo success. In 1967, they released two singles, ‘Bringing Up The Guitar’ and ‘There Was A Time’ with Alfred ‘Pee Wee’ Ellis. The Dapps eventually broke up in 1969. Brown replaced the band with The Pacesetters, who eventually became the JB’s. Beau Dollar & The Coins had some success with ‘Soul Serenade’ in 1966 (a cover of the King Curtis 1964 single). Beau Dollar’s only solo credited song was ‘Who Knows’ (which is believed to have been backed by The Dapps) in 1970. Beau Dollar also played with Lonnie Mack in the early 60s.”

However, that entry conflicts with information available on, so further research is necessary to establish Bowman’s exact body of work. Discogs also points out that the Nashville guitarist/songwriter Troy Seals also was in The Dapps for a while, when he lived in Cincinnati. And the site lists Beau Dollar’s “I’m Ready, I’m Ready (I Got Me Some Soul)”/”At The Dark End Of The Street” as a 1969 release. “Soul Serenade” was included on the British multi-artist CD A Cellarful of Soul. In the compilation’s liner notes, it says, “Beau Dollar’s single may have been produced and inspired by a white Cincinnati guitar hero, but the guys got the feel of King Curtis‘ 1964 hit ‘Soul Serenade’ just right for its 1966 soul loving audience. So much so that it became the theme tune for the UK’s main black music radio show.”

“Soul Serenade,” released on Prime, was produced by Lonnie Mack and is a guitar rave-up.

As the Funk/Soul/King Records revival has grown, interest in Bowman, as well as The Dapps, has also increased. In an interview last year with CityBeat, Neal Sugarman of Brooklyn’s Daptone Records said the Dapps were an inspiration for both the label and the name of its most successful act, Sharon Jones and the Dap-Kings.

<![CDATA[A King Records' Record Broken]]>

Thanks to Paul Grein, who writes the "Chart Watch" blog for Yahoo, we now know that one of legendary Cincinnati-based King Records' impressive chart-topping records has been toppled. James Brown's King release Pure Dynamite! Live at the Royal was the last mono-only release to make Billboard magazine's Top 10 until John Mellencamp's new No Better Than This, which recently hit No. 10 in its first week of release.---

Brown's album — recorded at the Royal Theater in Baltimore — reached No. 10 in April, 1964, less than a year after his classic Live at the Apollo had been released. This research was prompted by a question from Mellencamp's publicist, Bob Merlis.

FYI, check out Brian Baker's review of No Better Than This here.

<![CDATA[King Records Book Spotlighted on NPR]]>

The long overdue appreciation of Cincinnati-based King Records gets another shot in the arm with the publication of Dayton-native Jon Hartley Fox’s King of the Queen City: The Story of King Records, a detailed look at the various personalities, including kingpin Syd Nathan, that made the studio such a culturally groundbreaking and creatively vital musical force.

For those who can’t wait for Fox’s appearance at the Books by the Banks festival at the Duke Energy Center on Saturday or at Shake It Records on Sunday, the author discussed the book with Terry Gross on NPR’s Fresh Air today. The show also included separate interviews with Bootsy Collins and former King staffer/Sire Records founder Seymour Stein, both of whom talk about their memories of King. --- (The show will also air on 89.7 WNKU at 5:30 p.m.)

The current interest is just the latest in King’s recent resurgence: You’ll recall CityBeat celebrated the record label’s rich legacy at last year’s CEA Awards, which opened with a lively tribute to King’s most famous alumnus, James Brown, and concluded with a 30-minute set from Ralph Stanley, who recorded for King in the 1950s.

<![CDATA[Another Historic Day for Cincinnati Music]]>

The group behind last fall's successful effort to erect a Rock & Roll Hall of Fame historical marker at the former King Records studio is at it again. They're now hoping to memorialize Herzog Studios' contributions to local and national music history.

At a press conference downtown this morning, leaders of the Cincinnati Music Heritage Foundation announced plans for a marker at 811 Race St., where in the 1940s and ’50s Herzog Studios hosted recording sessions by Hank Williams, Patti Page, Ernest Tubbs, Flatt and Scruggs and other notable "Country & Western" acts. ---The first King Records titles were recorded at Herzog before founder Syd Nathan moved the label to Evanston. CityBeat's world headquarters happen to be located on the top floors of 811 Race St.

In fact, 60 years ago Williams recorded one of his biggest hits, "I'm So Lonesome I Could Cry," at Herzog, which was located on the building's second floor. The song put Williams on the top of the charts and led to his invitation to perform at the Grand Ole Opry.

Among the speakers this morning were local musician Elliott Ruther, ex-City Councilman John Cranley and Bootsy and Patti Collins, who are part of the core group that launched the Cincinnati Music Heritage Foundation. After years of talk and little action from city leaders, the foundation was able to arrange for the Rock & Roll Hall of Fame to create and install a historical marker at the former King Records; the marker was installed Nov. 23, and Collins led a celebration of the King legacy that evening at the Cincinnati Entertainment Awards. [The New York Times covered that day's events here.]

Ruther announced plans for a benefit concert Aug. 22 at the Southgate House. Musicians will donate their performances of Herzog-recorded songs, especially Hank Williams tunes, and offer their own originals. Proceeds will go toward funding the historical marker. The lineup is an impressive representation of Greater Cincinnati's Roots music scene, featuring The Hiders, Straw Boss, Magnolia Mountain, The Sally Nixes, The Crick Gypsies, Mack West, Billy Catfish Orchestra, Katie Laur, The Comet Bluegrass All-Stars, The Kentucky Struts and Marvin Hawkins. Show details are here.

Sponsors include CityBeat, Shake It Records, Neltner Creative, Guitar Center and ReinstateHank.Org. Research and song compilations being used by the performing musicians are thanks to Brian Powers of the Cincinnati-Hamilton County Public Library.

<![CDATA[Remembering Cowboy Copas]]>

On Saturday, Brian Powers of the Public Library of Cincinnati and Hamilton County — so instrumental in organizing that institution's ongoing tribute to the legacy of Cincinnati's King Records — put together and conducted one of the best King events yet, a panel discussion on Cowboy Copas & the Golden Age of Country Music. ---

Despite his use of the name "cowboy", Lloyd Copas was born in a remote hollow in Adams County. Learning to play rhythm guitar with the support of his father and schoolteacher, and blessed with an agreeably smooth and expressive voice, he developed a career as a Country-music sideman until scoring King's first national hit record with 1946's "Filipino Baby." More hits followed — including the first recording of "Tennessee Waltz" — until he was killed in a 1963 plane crash that also took the lives of Patsy Cline, Hankshaw Hawkins and Copas' son-in-law (and Cline's manager) Randy Hughes.

At Saturday's discussion were John Simon, a Portsmouth-based professor who has just published the book Cowboy Copas and the Golden Age of Country Music; Cathy Hughes, Copas' daughter (and Randy Hughes' widow); and Judy Perkins, now a spry octogenarian, who was Copas' friend and a country singer on WLW-TV's Midwestern Hayride as well as a syndicated radio show featuring Eddy Arnold. All three told some fascinating stories about a time when Country was still an entertainment-business subculture known as "hillbilly music" to society-at-large, but was a growing and lively scene just waiting to become as large as it is today.

Simon recalled how, as a child, he saw Copas perform at a Portsmouth theater on a white horse — without either band or microphone. Powers had assembled an impressive collection of audio and video clips, not just of Copas but also of Perkins singing on television and radio. The panel discussion also served as the formal announcement that the Cincinnati Museum Center is planning to host the exhibit Back Roads to Big City: A Journey Through the Heart of Honky Tonk Music: Collections From the Nashville Honky Tonk Hall of Fame. It will feature some 300 artifacts, tentatively including Nudie suits. Johnny Cash baptism notes, Patsy Cline's cowboy boots and a handwritten letter from Dolly Parton to Skeeter Davis among much else.

There will also be audio recordings and a special section on King Records, including James Brown's pink stage cape and jacket. More details as they become available, but in the meantime don't miss the next superb panel discussion organized by Powers, "Blues Stay Away From Me: A 60th Anniversary," at the downtown library at 3 p.m. on May 9. It will commemorate the 60th anniversary of the recording of one of King's most important milestones, the Delmore Brothers' "Blues Stay Away With Me," a classic country song written by African-American producer Henry Glover with Wayne Ramey on harmonica and cited as a precursor of Rock & Roll. And there will be more — much more.

<![CDATA[New York Times Highlights King Records]]>

The New York Times published a story in the paper's arts section today about the history of Cincinnati-based King Records and those around town who have made it their mission to put the once-vital label back in the spotlight. The story mentions everyone from old-school King artists James Brown, Charlie Feathers and Nina Simone to current-day champions John Cranley, Elliott Ruther and Brian Powers.

RJ Smith, the author of the piece entitled "Rocking Cincinnati's R&B Cradle," was on hand for the King Records memorial back in mid-November, as well as the Cincinnati Entertainment Awards, presented by the good peeps at CityBeat, later that night. ---

<![CDATA[CEA Controversy No. 2: "Mr. Cranley, Tear Down That Building!"]]>

There appears to have been a second small controversy over remarks delivered at the podium at Sunday night's Cincinnati Entertainment Awards. At least this time it didn't involve anyone's penis.

Before Mr. Rhythm Man, who spins stacks o' shellacks every Saturday night on WNKU (89.7 FM), presented the award for R&B/Funk, he offered his thoughts on the past and future of King Records, which was a major topic throughout the evening's event. Earlier in the day a historical marker had been unveiled at the former King studio and offices in Evanston, followed by a reception to celebrate a proposed new King studio and community center being developed by Xavier University, Ultrasuede owner John Curley and others.---

Mr. Rhythm Man opined that, instead of spending any more money to save and memorialize the old King facility on Brewster Avenue, city officials should pour funds into the next generation of Cincinnati musicians who can be helped via a "reborn" King Records. He focused his plea on City Councilman John Cranley, who spearheaded the city's contribution of money toward the Brewster Avenue historical marker and getting Ralph Stanley to play CEA event (Cranley also was an award presenter at the CEAs).

When Mr. Rhythm Man suggested the city "let this old building fall down," apparently some audience members thought he was referring to the Emery Theatre, site of the CEAs. Others thought he was being too hard on Cranley.

Mr. Rhythm Man has written to explain it all:

"Congratulations to everyone who worked on the CEAs. It was great to be back in the Emery, and Bootsy's set was very cool. Thanks for having me.

I got an e-mail from an interested party the day after the CEAs asking if I 'took a shot' at John Cranley. Here's my spin: Cranley announced at the CEAs that as a city councilman he will get a resolution passed, or something like that, so that the King building 'will never be torn down.' My point was that he missed the point. The focus/energy should be on the new King building to benefit the community, which a lot of good people are working on.

Rick Bird's article in CityBeat said the old King building is not usable. I was in there that day James Brown checked it out 10 to 12 years ago, and there's no 'there' there anymore.

I suggested letting the building fall down and auction off the pieces — each brick or whatever could be designated as representing a King/Queen/Federal etc. record. So there would be one brick that was inscribed, for example, '60 Minute Man' by The Dominoes, another brick a record by the Stanley Brothers and so on.

I was moved that there are people who still keep the faith and care enough to have a $12 million dream for a new King studio. It's a feeling I heard when some of the award-winners joyfully shouted, 'Obama !'

So when John Cranley said his thing, it bummed me out. It just sounded like he didn't get it. I wouldn't say I took a shot at him, and anyway I think the crowd liked his idea more than mine!

Peace, love, soul,
Mr. Rhythm Man"

Stayed tuned for further CEA controversies as they develop. Next: Where are the missing port-o-lets?

Interested in remembering the day's historic events, the CEAs and the CEA Afterparty? Tons of photos here.

<![CDATA[King Records to Have Its Day]]>

The city of Cincinnati is prepared to formally recognize King Records’ place in the city’s cultural history with a historic marker, a partnership with the Rock and Roll Hall of Fame, a King-oriented class or lecture series, a King Records Center on the campus of Xavier University and a prominent role in this year’s Cincinnati Entertainment Awards for Music (CEAs). City Councilman John Cranley, Bootsy Collins and others announced the plans at a news conference this morning at the former King Records site in Evanston.

[See photos from this morning here.]

Cranley read from a motion he introduced to City Council that asks for up to $10,000 in city funds to install a historic marker on the former King Records office/studio in Evanston to be unveiled on Nov. 23, with the remaining funds used to book a former King recording artist to perform at that night’s CEAs. This year is the 65th anniversary of the founding of King Records in Cincinnati.

The Rock Hall of Fame in Cleveland has agreed to construct, donate and maintain the historic marker, and if Cranley’s funding request is granted the Rock Hall president has agreed to attend the marker unveiling and the CEAs. The institution also will work to develop a class or lecture series on King Records at Cincinnati State.

Other newsworthy items from this morning:

• Xavier officials are looking into developing a King Records Center on campus, a history exhibition that also could be a working recording studio for use by students and the public.

CityBeat Marketing and Promotions Manager Dan McCabe announced that the 12th annual CEAs for music will be the first event held at the reopened Emery Theater in Over-the-Rhine. The CEAs were the final public event at the Emery just before it closed in 1999.