by Mike Breen
How my musical obsession coincided with the rise of the now 40-year-old Corryville concert venue
Though it hasn’t always been a loving relationship, Bogart’s has been a part of my musical life since the ’80s. I’m slightly older than the venue. I was 5 when it opened. But in less than 10 years, as my music fanaticism truly took hold, Bogart’s would become a place of awe to me. It began when I entered junior high. I went to a school just a few blocks up Vine Street. It was commonly known as Schiel, but I attended during a brief period when it focused on foreign languages and was called the Cincinnati Bilingual Academy. My fellow musically-obsessive friends at the time loved to hang out on Short Vine. The record stores were a big draw, as was the arcade, Jupiter and Beyond. So we spent as much time as we could in the area after school and on weekends. Bogart’s sat right in the middle of it all, but it was this magical, mysterious entity to us. Because the venue was yet to have “all ages” shows, we’d never seen a concert there. But we would stand out front and marvel at the posters in the window, wishing we could go see some of these very bands with which we were becoming deeply obsessed.At some point, we discovered the alleyway that ran behind the club and realized that was where the artists entered and loaded in. So we began a ritual that lasted through high school. A few friends and I would linger around the backstage door before shows by artists we loved, hoping to see our heroes and maybe get an autograph. We would also sometimes be able to hear the musicians doing soundcheck, and every so often during our early high school years we’d be there late enough that we could actually hear some of the concert through those back doors.There I got to meet some artists who were favorites of mine then and remain important to me to this day. Guitarist Andy Summers of The Police stopped at Bogart’s on a solo tour. The Police were by far my favorite band at the time, so it was incredibly exciting to say hello to Summers (who is a tiny, tiny man) and have him sign the pickguard I yanked off of my cheap acoustic guitar. I also got to meet the members of L.A. Punk legends X. Billy Zoom, the band’s blonde-pompadoured guitarist, was hilarious. He chatted with us briefly and then when we asked for autographs, he happily obliged, pulling a silver paint pen from his leather jacket. It must’ve been a new acquisition because he couldn’t get the cap off, so he handed it to me for help. Nervously, I got it off, but also broke the pen in the process somehow. Zoom started giving me shit and I was horribly embarrassed, but later realized he was likely just busting my chops and having fun with me.When I was just starting junior high, British Ska/Pop band The English Beat played Bogart’s on its 1980 tour. The Beat were second only to The Police to me, but the show was during a time where we could only longingly look at the gig posters in the front windows. Later, while in high school, with our back door ritual in full swing, General Public — which featured the Beat’s frontmen Dave Wakeling and Ranking Roger — were booked to play Bogart’s, so we made plans to try and meet Dave and Roger. We arrived a few hours before the show and noticed that a few upperclassmen from our high school were there hanging out as well. It was a cold day and Roger and Dave came hurriedly around the corner towards us, huddled up in coats and trying to stay warm. Dave saw the five or six of us hanging around and instantly invited us in out of the cold. This was my first time inside of Bogart’s and it felt like I’d just entered a sacred temple. I had to leave (Mom was waiting for me), but we got to make that climb up the stairs from the backstage, walk across the stage (where the band members were messing with equipment), then through the big hall and out the front doors. It was a highlight of my life up to that point. I also camped out around back when Adrian Belew and The Bears (featuring local musicians Rob Fetters, Bob Nyswonger and Chris Arduser of The Raisins) were making their Bogart’s debut in 1985 (it was the start of the band’s very first U.S. tour). I was a huge fan of Belew’s solo albums and work with King Crimson and The Raisins were one of my favorite bands. The Raisins were the first “local band” I truly fell in love with and anytime the group played an outdoor, non-club, all-ages show (in a park usually), I was there. Belew finally was making his way into the club as we approached, accompanied by a man we didn’t recognize. It was Arduser, who was actually the drummer during an earlier period of The Raisins, not during the time when I’d go to see them constantly. As Belew jotted down autographs for me and my friends, he introduced Chris with a silly joke I’ll probably never forget: “This is Chris Arduser, also known as Chris Our Drummer.”Years later, when I started my writing career, several of these moments connected and came full circle. While living in New York City, I had the chance to interview X’s frontpeople Exene Cervenka and John Doe in their record label offices (I didn’t bring up the Zoom/exploding-pen incident). I did an extensive phone interview with Belew. And through writing about and interviewing Arduser and Fetters over the past 20 years, I think if they saw me on the street they’d recognize me and say, “Hello.” Just being able to talk to those guys (and Nyswonger), considering my fanaticism over their bands from a young age, was and is pretty amazing.A few years ago, I got to sit backstage at Riverbend with Dave Wakeling when The English Beat opened for 311. He was the kindest “Rock Star” I’d ever met and he actually hung out with me and a few other people I was with before and after the show. (When he let us into Bogart’s, I was convinced it was because one of the older high school girls was very cute, but I’m now more convinced he was just being a cool guy.) At one point, I was standing next to Wakeling at the side of Riverbend’s stage watching 311 play. At one point, he leaned over and said in my ear, “I think me and Roger (who no longer performs with The Beat; Wakeling is the only original member) will get back together at some point.” If my 13-year-old self would have been told that any of those moments would happen several decades later, he would’ve fainted. At some point in the ’80s, Bogart’s began experimenting with having all-ages show. My very first show at the club was to see Violent Femmes (I believe in 1986), but, in the early stages of this experiment, Bogart’s herded us under-agers up into the balcony. I remember loving the show and being in the club, but I more vividly recall looking down on the club’s floor and noticing what a small audience there was. While the balcony had hundreds of kids smushed together and barely able to breathe, it seemed like there were only a couple hundred people below us. Still, I’d made it into Bogart’s! Not long after, I made it to the floor-level when the club was hosting high school cover bands for all-ages shows. The Complaints (who also did some originals I really liked) were the big band at my high school at the time and I remember the club being packed with teens for their show. (Fun fact: The Complaints’ drummer was Michael Meisel, who later became a big-time music manager for several popular artists, including Nirvana.)The club kept expanding its all-ages policy over the next few years. Punk Rock matinee shows were very popular; I fondly remember seeing some of my favorite local Punk acts, like SS-20, The Edge and Human Zoo, thrashing around on the Bogart’s stage. It seems like a weird dream now, but there were also Punk shows that featured wrestling — an actual ring was installed in the middle of the floor and local Punk icon/radio host/Bogart’s employee Handsome Clem Carpenter not only MCed (I believe), but also wrestled. Another early show I saw was True Believers, Alejandro Escovedo’s early punk-ish band. I remember this show because it was the first time I actually was served beer at the club. My teenage friends and I were sitting at a long table and a waitress came up to take our order; she didn’t flinch when we ordered a pitcher of beer. So, of course, we ended up ordering about 20 pitchers of beer throughout the night. Around this time, I played my first shows at Bogart’s, something almost any young musician will tell you is a pretty special feeling. My Punk band was added to a few bills by a gracious promoter or fellow local band. I remember being so nervous at those first shows that I could barely play my instrument, partly because I was thinking about all of the famous musicians (U2, Prince, R.E.M.) who had stood right where I was standing. I ended up playing there many times over the years with various bands (opening for bands like New Model Army, Prong, Matthew Sweet and Fugazi), but the early shows were the most memorable. When my first band opened for 7 Seconds, we started to get heckled by a gaggle of skinheads in the crowd (we mixed Rap, Funk and Post Punk into our sound, which offended their purist tastes apparently). Our singer started taunting them so they approached the stage; as one started to climb up, I punched my combat boot directly into his face at the lip of the stage. After our set, the club provided us with a couple of security guards so that we could walk back up and watch 7 Seconds. We were told some skinheads were waiting for us outside, but by the time we got out, they were gone. By the time I reached college, I was a regular at Bogart’s. I even started befriending some of the staff, dating a couple of bartenders and even marrying one. These were the days when I saw certain bands right before they graduated to “arena rock”-levels of success, like The Smashing Pumpkins, Beastie Boys and Marilyn Manson. One of the more memorable shows was a weird 1995 package tour headlined by Mike Watt and featuring Hovercraft (which included Eddie Vedder on drums, right as he was at his Grunge God peak with Pearl Jam) and a new band fronted by Nirvana’s Dave Grohl on guitar and vocals. Grohl was road-testing his new group, which you may have heard of (rhymes with Doo Righters). Watt headlined the show and was backed by Vedder, Growl and Germs/Foo Fighters/Nirvana guitarist Pat Smear for his set. As mentioned above, I haven’t always loved Bogart’s. The sound has ALWAYS been hit or miss, often frustratingly. I can only imagine it’s best explained by the set-up of the club (basically a big, long brick shed). There was period when the staff was almost universally rude, with harsh pat-downs at the door (at one point, if you tried to bring in anything that could remotely be considered dangerous — a lighter! A pack of cigarettes! A chain necklace! — it was often just tossed in the trash) and overly-aggressive bouncers roughing up kids who were perhaps dancing a little too hard. About 10 years ago, I got an assignment from U.K. weekly music paper NME to review an Insane Clown Posse concert at Bogart’s. During the pat-down, the door person grabbed the pen I needed to take notes and he tossed it into the garbage. I know ICP crowds can be rowdy, but, even after explaining the pen’s purpose, the doorman just blank-stared me, seemingly convinced that I was just the type to go on a serial pen-stabbing spree during the show. I loved the ICP show, by the way. The band is a Bogart’s staple and that was my first time seeing them. The music isn’t really up my alley, but the duo’s ridiculous showmanship is truly something everyone should experience at least once. I’m convinced the two ICP dudes know they’re more a comedy act than anything — and probably chuckle at the fans who take them way too seriously — and that makes me appreciate what they do. It was like a surreal circus show gone awry and I had a smile on my face the entire time. Though afterwards, I felt really bad for the Bogart’s clean-up crew — SO. MUCH. FAYGO. I wonder which show was more dreaded by the janitors — ICP or GWAR? The Bogart’s of today is strikingly different and in the best shape it’s been since I started going there. I remember several years ago writing a rant about the club (probably after the ICP incident) and pointing out that, in the decades I’d been going to concerts there, the venue had made absolutely zero notable improvements. Sure, they’d upgrade the sound system from time to time (usually without much noticeable improvement to the sound), but the club never seemed to improve conditions for the customers (good Lord, those bathrooms approached CBGB levels at times). Maybe it was a money issue or maybe management felt there was no reason to upgrade, since people were coming anyway. And, besides, where else would they go to see these particular acts?But the days when going to Bogart’s felt like entering a prison yard are long gone. A few years ago, I remember going to a show and being stunned at how different it was. It was right after some upgrades and, while nothing drastic, it changed the whole vibe of the club and the experience. The staff was friendly. The front-door inspections were respectful. The bathrooms were clean. It was suddenly customer-friendly in a way I never remember it being.There is no way I can remember every show I saw at Bogart’s, memorable or not. There have been several hundred. But a few stick out. There was the 1990 show when on-the-rise bands Faith No More and Soundgarden opened for cult Metal group Voivod; by the time the tour got to Bogart’s, the openers were blowing up on MTV and radio, which meant that less than half the large crowd stuck around to watch the headliners. Another time, when I started my writing career, I had a pre-show interview with the guitarist for Blind Melon at a restaurant next door to the club. As we chatted, late singer Shannon Hoon (who’d later put on a great show) and the other band members threw food at each other and acted (endearingly) like 12-year-olds. Another favorite memory was a weird Red Hot Chili Peppers/Faith No More show in 1987. This was when Hillel Slovak (who later died from a heroin overdose) was still playing guitar with the Peppers (a favorite band of mine at the time), and Faith No More featured Chuck Mosley on lead vocals (well before Mike Patton took over the mic). Faith No More opened and ran through most of the material from the We Care a Lot and Introduce Yourself albums, its only releases at the time. Then things got weird and Mosley started telling the sizable crowd that the Chili Peppers weren’t going to show. Then the band started doing jams and weird covers, playing for well over an hour. Mosley did an acoustic version of Suzanne Vega’s “Luka.” By the time guitarist Jim Martin began to do a solo Hendrix-esque rendition of “The Star-Spangled Banner,” it felt as if Mosley may not have been kidding. Faith No More was clearly vamping and trying to fill time. Then, in the middle of a song, four heads started weaving towards the stage from the back of the room. The Chili Peppers hopped onto the stage with Faith No More and jumped up and down for a few minutes, then headed backstage. They put on a great, incredibly energetic show (they said their tour van — a VW Beetle Bus with bullhorns on the front that my friends and I saw in the parking lot afterwards — broke down on the highway, but we all suspected something drug-related caused the delay). For their encore, the Peppers came out naked except for the tube socks on their dicks (part of their schtick at the time) and looked nervous as hell, glancing over their shoulders constantly. Apparently they’d been informed about Cincinnati’s low-tolerance for anything sexual in public (remember, this was the ultra-conservative ’80s, when Cincinnati was most associated with shutting down “obscene” art exhibits and hassling Larry Flynt) and were fearful of being arrested. The band played one or two short, fast songs and then booked it off stage. (It’s just a rumor, but I’d heard the police were indeed there and going to arrest them, but the band escaped in a fan’s car and stayed at their house playing video games all night.)I’m not a big fan of huge crowds, so sold-out Bogart’s show always put me in panic attack mode. But I’ve braved several and I’m glad I did. When Bob Dylan decided to play some smaller clubs in 1999 and chose Bogart’s as one of them, I proudly took my dad to see him. I’ve seen Dylan numerous times over the years and more often than not I’ve left disappointed. But at Bogart’s, he sounded amazing and played inspiringly. I also took the love of my life to an over-stuffed Bogart’s in 2003 see her favorite band of the time — The White Stripes — when she was several months pregnant with our child (if she’d given birth, the baby would have had to have been passed to the exit, crowd-surf style, because it was so packed). Bogart’s has admirably supported local and regional artists since as long as I can remember. Locals were given opening slots for big-time bands often. After my first band played a crazy set at one of the club’s battle of the bands (competing mostly with straight-forward Hair Metal bands), Dan Reed, manager at the time, came up and asked if we wanted to open for Jane’s Addiction. We very much did, but Jane’s took off and ended up playing Hara Arena in Dayton instead. The aforementioned local Punk shows were always a blast. And I have fond memories of 97X’s old 97Xposure band contests. The club’s “battle of the bands” events (which I mostly attended as a guest judge after my competitive years were over) could sometimes be painful, but I always enjoyed watching the younger bands exhibiting that same awe that I felt the first time I played there (and it was fun to play “Spot the Parents”). The club also hosted a couple of benefits for local community radio station WAIF that were a lot of fun, one featuring a ton of local bands playing Christmas songs (my band decided to perform in just Christmas underwear — briefs! — which must’ve been horrifying) and one with local groups playing David Bowie songs. And I spent many great New Year’s Eves at Bogart’s when the great Columbus, Ohio band Royal Crescent Mob played there every year. I seem to remember The Afghan Whigs taking the slot a few times, too. (The many Whigs shows I’ve seen at Bogart’s, including their most recent one a couple of NYEs ago, have been some of my all-time favorites.) In recent years, CityBeat has hosted a new band showcase at Bogart’s — the staff has always been great and I’ve thoroughly enjoyed the shows. I wouldn’t say Bogart’s is my favorite club — I prefer smaller venues, in general. But I’m very thankful it exists. It has been the one constant, reliable place to check out live music of every sort in Cincinnati ever since I was a teen, and its mid-size has made it possible for mid-level acts to play the Queen City instead of skipping it altogether. More or less, my musical life has revolved around Bogart’s, and it’s hard to imagine what it (or Cincinnati’s concert scene, in general) would have been like without it. Thankfully, we don’t have to.CityBeat celebrates the 40th anniversary of Bogart's with this week's issue. Check out Brian Baker's overview Cover Story on the club's rich history and promising future, plus sidebars on Brian's favorite moments, the view from John James' nearby record stores, Prince's surprise visit in 1984 and the infamous Heavy Metal Wheel of Sex.
by Mike Breen
Northern Kentucky native and genuine guitar god Adrian Belew returns to the area tonight for a show with The Crimson ProjeKct at the Taft Theatre. Belew is spending half his summer on the road with the ProjeKct — a King Crimson offshoot that also includes KC’s Tony Levin and Pat Mastelotto, plus Markus Reuter, Julie Slick and Tobias Ralph — touring as opener for modern-day Prog Rock legends Dream Theater. The ProjeKct set lists so far on the tour have been all King Crimson, primarily from Belew's initial period with the group ("Elephant Talk," "Thela Hun Ginjeet") and the ’90s KC period when Mastelotto joined the fold ("B'Boom," "THRAK"), but they've also been doing the title track from KC's 1974 album, Red. In August, Belew, Levin and Mastelotto will be going to camp in the Catskills. The second annual “Three Of A Perfect Pair Music Camp” — which will include workshops, story sharing, hangouts and lots of music-playing — takes place Aug. 20-24 (visit threeofaperfectpair.com for full details or check out the video overview below).But first things first — Belew and The Crimson ProjeKct perform tonight at the Taft at 7:30 p.m., followed by Dream Theater. Tickets are $27.50-$53.Here's a clip from 1982 of Crimson performing another song the ProjeKct has been playing on its current jaunt.• The name Marsalis is a quality-ensurer in Jazz. So many family members have made a name in music, the Marsalis family tree is a full branch of the general American Jazz family tree. Esteemed trombonist Delfeayo Marsalis is the brother of famed trumpeter/historian Wynton, modern sax icon Branford and respected drummer-turned-vibraphonist Jason, and son of Louisiana Music Hall of Famer Ellis Marsalis, Jr. Together, the musical family received the NEA Jazz Masters Award in 2011. Of course, the Marsalis' individual achievements are still wildly impressive outside of the context of the family's accomplishments. Delfeayo has released a handful of acclaimed albums since the ’90s, including 2011's Sweet Thunder: Duke and Shak, but his greatest contribution to Jazz may be his work in production. Handling the boards on over 100 albums over the years, Delfeayo helped steer recorded Jazz back to a more acoustic mindset, eschewing tech "advancements" like the "dreaded direct bass" for the ambiance of early, classic Jazz sessions. The Delfeayo Marsalis Sextet (with saxman and clarinetist Victor Goines) begins a two-night stand (with shows at 7 p.m. and 9:15 p.m.) tonight at downtown's Blue Wisp Jazz Club. Admission is just $15 ($10 for students with ID). Here's a clip of Delfeayo with his pops, performing "Sultry Serenade."