by Mike Breen
38 days ago
Rock & Roll guitar legend and area native Lonnie Mack passes away
Yesterday marked the passing of not only Prince, but
another music legend — Lonnie Mack. Mack, who was born in Harrison,
Ind., and cut his teeth in Greater Cincinnati’s nightclubs, died
Thursday at his home in Tennessee from natural causes. The influential
guitarist was 74.
Recording locally and releasing early material on
Cincinnati’s Fraternity label, Mack’s guitar playing is said to have
been a major influence on many Rock superstar players, including Keith
Richards, Eric Clapton and Stevie Ray Vaughn. The pioneering guitarist
was the second artist to receive the Michael W. Bany Lifetime
Achievement Award from the Enquirer’s former awards program, the
Cammys, accepting the award in 1998. Bootsy Collins, who won the award
the year before, has said Mack was a giant influence on the development
of his style.
Mack is considered one of Rock & Roll’s first “guitar
heroes.” He’s in the Rockabilly Hall of Fame and the International
Guitar Hall of Fame, and should be in the Rock and Roll Hall of Fame.
Here’s the press release sent out by Alligator Records (Mack’s final label) late last night:
Groundbreaking guitarist and
vocalist Lonnie Mack, known as one of rock’s first true guitar heroes,
died on April 21, 2016 of natural causes at Centennial Medical Center
near his home in Smithville, Tennessee. His early instrumental
recordings – among them Wham! and Memphis -- influenced
many of rock's greatest players, including Eric Clapton, Duane Allman,
Keith Richards, Jimmy Page and especially Stevie Ray Vaughan. He was 74.
Rolling Stone called him “a pioneer in rock guitar soloing.” Guitar World
said, “Mack attacked the strings with fast, aggressive single-string
phrasing and a seamless rhythm style that significantly raised the
guitar virtuoso bar and foreshadowed the arena-sized tones of guitar
heroes to come.” The Chicago Tribune wrote, “With the wiggle of a
whammy bar and a blinding run of notes up and down the neck of his
classic Gibson Flying V, Lonnie Mack launched the modern guitar era.”
Drawing from influences as
diverse as rhythm and blues, country, gospel and rockabilly, Mack’s
guitar work continues to be revered by generation after generation of
musicians. He recorded a number of singles and a total of 11 albums for
labels including Fraternity, Elektra, Alligator, Epic and Capitol.
Mack was born Lonnie McIntosh on
July 18, 1941 in Harrison, Indiana, twenty miles west of Cincinnati.
Growing up in rural Indiana, Mack fell in love with music as a child.
From family sing-alongs he developed a deep appreciation of country
music, while he absorbed rhythm and blues from the late-night R&B
radio stations and gospel from his local church. Starting off with a few
chords that he learned from his mother, Lonnie gradually blended all
the sounds he heard around him into his own individual style. He named
Merle Travis and Robert Ward (of the Ohio Untouchables) as his main
guitar influences, and George Jones and Bobby Bland as vocal
He began playing professionally
in his early teens (he quit school after a fight with his sixth-grade
teacher), working clubs and roadhouses around the tri-state border area
of Indiana, Kentucky and Ohio. In 1958, he bought the guitar he would
become best known for, a Gibson Flying V, serial number 7, which he
equipped with a Bigsby tremolo bar. (After the release of Wham!,
the tremolo bar became known worldwide as a “whammy bar”.) In addition
to his live gigs, Lonnie began playing sessions for the King and
Fraternity labels in Cincinnati. He recorded with blues and R&B
greats like Hank Ballard, Freddie King and James Brown.
In 1963, at the end of another artist's session, Lonnie cut an instrumental version of Chuck Berry's Memphis. He didn't even know that Fraternity had issued the single until he heard it on the radio, and within a few weeks Memphis had
hit the national Top Five. Lonnie Mack went from being a talented
regional roadhouse player to a national star virtually overnight.
Suddenly, he was booked for
hundreds of gigs a year, crisscrossing the country in his Cadillac and
rushing back to Cincinnati or Nashville to cut new singles. Wham!, Where There's A Will There's A Way, Chicken Pickin' and a dozen other ecords followed Memphis. None sold as well as his first hit (though Where There's A Will earned
extensive black radio airplay before the DJs found out Lonnie was
white), but there was enough reaction to keep him on the road for
another five years of grueling one-nighters.
Fraternity Records went bust, but Lonnie kept on gigging, and in 1968 a Rolling Stone article
stimulated new interest in his music. He signed with Elektra Records
and cut three albums. Elektra also reissued his original Fraternity LP, The Wham Of That Memphis Man!.
He began playing all the major rock venues, from Fillmore East to
Fillmore West. Lonnie also made a guest appearance on the Doors' Morrison Hotel album. You can hear Lonnie's guitar solo on Roadhouse Blues preceded
by Jim Morrison's urgent 'Do it, Lonnie! Do it!' He even worked in
Elektra's A&R department. When the label merged with giant Warner
Brothers, Lonnie grew disgusted with the new bureaucracy and walked out
of his job.
Mack headed back to rural
Indiana, playing back-country bars, going fishing and laying low. After
six years of relative obscurity, Lonnie signed with Capitol and cut two
albums that featured his country influences. He played on the West Coast
for a while and even flew to Japan for a “Save The Whales” benefit.
Then he headed to New York to team up with an old friend named Ed
Labunski. Labunski was a wealthy jingle writer that wrote "This Bud's
For You" who was tired of commercials and wanted to write and play for
pleasure. He and Lonnie built a studio in rural Pennsylvania and spent
three years organizing and recording a country-rock band called South,
which included Buffalo-based keyboardist Stan Szelest, who later played
on Lonnie's Alligator debut. Ed and Lonnie had big plans for their
partnership, including producing an album by a then-obscure Texas
guitarist named Stevie Ray Vaughan. But the plans evaporated when
Labunski died in an auto accident, and the South album was never
commercially released. Lonnie next headed for Canada and joined the band
of veteran rocker Ronnie Hawkins for a summer. After a brief stay in
Florida, he returned to Indiana in 1982, playing clubs in Cincinnati and
the surrounding area.
Mack began his re-emergence on
the national scene in November of 1983. At Stevie Ray Vaughan's urging,
he relocated from southern Indiana to Texas, where he settled in
Spicewood. He began jamming with Stevie Ray (who proudly named Wham!
as the first single he owned) in local clubs and flying to New York for
gigs at the Lone Star and the Ritz. When Alligator Records approached
Lonnie to do an album, Vaughan immediately volunteered to help him out.
The result was 1985’s Strike Like Lightning, co-produced by Lonnie and Stevie Ray and featuring Stevie's guitar on several tracks.
Mack’s re-emergence was a major
music industry event. Keith Richards, Ron Wood, Ry Cooder and Stevie Ray
Vaughan all joined Lonnie on stage during his 1985 tour. The New York Times
said, “Although Mr. Mack can play every finger-twisting blues guitar
lick, he doesn't show off; he comes up with sustained melodies and uses
fast licks only at an emotional peak. Mr. Mack is also a thoroughly
convincing singer.” Other celebrities -- Bob Dylan, Mick Jagger, Paul
Simon, Eddie Van Halen, Dwight Yoakam and actor Matt Dillon -- attended
shows during the Strike Like Lightning tour. The year was capped
off with a stellar performance at New York's prestigious Carnegie Hall
with Albert Collins and the late Roy Buchanan. That show was released
commercially on DVD as Further On Down The Road.
Mack recorded two more albums for Alligator, 1986’s Second Sight and 1990’s Live! Attack Of the Killer V. In between he signed with Epic Records and released Roadhouses And Dancehalls in
1988. Mack continued to tour into the 2000s. He relocated to
Smithville, Tennessee where he continued writing songs but ceased active
touring. In 2001 he was inducted into the International Guitar Hall Of
Fame and in 2005 into the Rockabilly Hall Of Fame.
He is survived by five children and multitudes of grandchildren and great-grandchildren.
Funeral arrangements are pending.
by Brian Baker
41 days ago
The MudLarks! finally provide potent studio evidence of their passion and experience with their self-titled debut
Although The MudLarks! have only been playing together in
this incarnation for the past six years, the band — which began life as
the Go to Hells in 2010 and switched to its current moniker in 2012 —
boasts an experiential timeline among its four members that, if viewed
consecutively, would stretch back to a pre-Civil War calendar. Now
The illustrious resumes that the individual MudLarks! —
vocalist/guitarist T. Lothar Witt, guitarist/vocalist/keyboardist Jimmy
Davidson, bassist/vocalist Bob "Lamb" Lambert, and drummer Max Cole —
have accumulated collectively over the past four decades is a core
sample of some of Greater Cincinnati's most infamous and well-regarded
bands across a broad sonic spectrum, from the glistening Indie Rock of
The Libertines (now with the legally appended “US” tagged on) and The
Highwaymen, the Punk slash of The Reduced, The Headaches and The Rituals
and the experimental howl of 11,000 Switches, Cointelpro and BPA, to
the twisted Americana stomp of the Wolverton Brothers and the New Wave
bounce of Blanco Nombre and the Babettes. Then there's the long distance
listings of The Reducers, Ricky Barnes & the Hoot Owls and probably
a few that the quartet has inadvertently or deliberately overlooked due
to time, tide, roadburn and hangover.
And so The MudLarks! — complete with two capital letters
in one word and a Hamiltonian exclamation point — have assembled like a
grizzled, creaky yet still powerful Transformer of wildly disparate but
somehow completely compatible influences to create their singular Indie
Punk mash up of local, regional and national music history in 10 tracks
and a little over 46 minutes. Not bad for a bunch of guys whose next
tour could be sponsored by AARP.
The MudLarks!'s eponymous debut disc, released by New
York's Ionik Recordings Company, who also released the latest Wolvertons
EP, Liberty Hotel, last year, whipcracks to immediate life with
opener "Help Us;" guitars spark and smoulder like vintage Neon
Boys/Voidoids while Witt roars with the phlegm-choked outrage of Johnny
Rotten in his Pistols-to-PIL transition. It's the perfect launching pad
for The MudLarks!'s first studio foray, as the foursome careens madly
from the Pere-Ubu-disguised-as-accessible-Indie-Rock-outfit chaos of
"Red Window" to the late-'70s-English-Punk-translated-to-downtown-NYC
swagger of "Dirty Things" to the irresistible Iggy-Pop-James-Williamson
tag-team cage squall of "You Love You."
The MudLarks! are equally adept at slowing down the pace
when necessary. "Mea Culpa" drops tempo while maintaining a booted
throat intensity and volume, "Losing Track" sounds like a Crazy Horse
demo from Danny Whitten's lost heroin weekend sessions and "Love Has the
Power" sways and pulses like The Dictators ballad that Handsome Dick
Manitoba and his boys never attempted. And the album closes with the
majestic "Sunrise," a towering five-and-a-half minute Punk anthem that
somehow manages to corral all of the madness preceding it and herd it
into a set-ending finale that explodes with the beautiful fury and smoke
that typically accompanies a Rozzi fireworks display.The MudLarks! (Single from 2016 Album) by The MudLarks
The reason The MudLarks! are able to tap into all these
various power sources and not overload the system is not because they're
simply familiar with their schematics, it's because they've lived with
them so intimately for so long. They understand the nuts and bolts of
every genre they've played, separately and together, over the past 40
years and they know perfectly well which parts are interchangeable and
will ultimately provide the best performance. Witt and Davidson trade
snarling guitar licks like Babe Ruth and Shoeless Joe Jackson playing
catch by smashing the ball back and forth to each other from bat to bat,
while Lamb and Cole maintain an adaptable rhythm that they can easily
shift from slow boulevard cruise to hyperspace warp jump in the blink of
a bloodshot eye.
There has been plenty of concrete evidence within our own
music scene lately to prove that age does not equal obsolescence —
witness the triumphant returns of the Warsaw Falcons and Ass Ponys — and
The MudLarks! are yet another sterling example of an assertion that
author P.J. O'Rourke made 20 years ago in the title of his 1995 essay
collection; Age and Guile Beat Youth, Innocence and a Bad Haircut.The MudLarks! play a free show at York St. Cafe in Newport Friday with The Tonics
by Brian Baker
75 days ago
Posted In: Local Music
at 10:37 AM | Permalink
Cincinnati's multi-instrumentalist Joey Cook presents a fascinating and layered side of his musical persona with 'There Comes the Lord'
Forget about Kermit the Frog's emerald-tinted angst, it's
not easy being Joey Cook. The erstwhile
multi-instrumentalist and songwriter known for his work with Cincinnati Indie Pop crew Pomegranates has long been stockpiling songs and
ideas for solo projects, but with the completion of his very first full-length
album, There Comes the Lord, he found himself in the midst of a slight
Cook couldn't release the album under his given name since
that had already been claimed on Bandcamp by last year's seventh place
finisher on American Idol. He considered using his proper first name but
there was the risk of confusion with local R&B/Hip Hop sensation
and 2016 Cincinnati Entertainment Awards New Artist of the Year nominee Joseph Nevels, aka JSPH. In the end,
Cook chose to adopt the creatively misspelled moniker Joesph as his solo
Although There Comes the Lord is largely Cook's true solo
construction — his Pomegranates bandmate Isaac Karns appears on the
quivery reverb '60s AM Pop of "Jesus" and the epic and sprawling closer
"Spirit of the Lord," and his sister Alisa provides vocals on three
tracks, but otherwise it's all Cook — he has fashioned a band, including
Pomegranates bassist Pierce Geary and ex-Kickaways guitarist Devyn
Glista on drums, which he's dubbed Joesph in order to play the new album
as well as other material he's written.
According to Cook, last Saturday's intimate release show
at White Whale Tattoo in Walnut Hills was a rousing success, and the
album is already generating online sales.
As for the album itself, There Comes the Lord is a marvel
of influence, invention and translation. Cook blends a brilliant
evocation of ’60s and ’70s Pop and Rock with a thoroughly modern Indie
Rock ethic in a raw and immediate home recorded atmosphere that serves
as the soundtrack for an intriguing concept.
Cook, who self-identifies as Christian, has created a song
cycle that imagines what it might have been like to stand in the
presence of the physical manifestation of Jesus in the Godspell/Jesus
Christ Superstar era that spawned a generation of long-haired believers
who came to be known as Jesus freaks.
The difference is that Cook doesn't attempt to
contemporize his message in an effort to appeal to millennials, nor does
he use There Comes the Lord as a pulpit to proselytize and ultimately
convert. He merely tells this interesting story in a wonderfully
musical, lyrical and compellingly listenable manner.
The album begins with the title track, which comes into
focus through a gauzy haze of moody Synth Pop melodicism as Cook intones
quietly, "Oh, the Lord, He's right here, He's right here," until the
song's midway point when it explodes into a propulsive mash-up of the
Polyphonic Spree and The Flaming Lips. At the song's conclusion, "There
Comes the Lord" returns to the relative calm of its introduction, but
Cook maintains his blissful church choir perspective from beginning to
Comes the Lord - BROW004 by JOESPH
On "Jesus," Cook offers up a twisted Curt
Boetcher/Association/’60s sunshine Pop flashback with a reverbed Byrds
undertone - they are the band that originally noted Jesus was just
alright, after all - as well as a uniquely modern revelatory lyric ("He
showed me some shit I never knew before He came..."). And "Jesus" morphs
buzzingly into the compelling Psych Folk Pop of
"Wind Hovering Over Water," which quivers with the lysergic
introspection and melancholic portent of the last iteration of The
Monkees, when the quartet wanted to be Rock mystics and Mickey Dolenz
had dibs on the shamanic frontman role.
Cook's ’70s evocation comes to a crescendo on the album's
final four tracks; the gentle Harry Nilsson-meets-Velvet Underground
warble-and-strum of "At a Well," the Kinks go-go cage dance of "My
Master's House," and the Bowie demo snippet of "The Rolling Stone." It's
all reminiscent of that magic time four decades ago when bands'
theologies could easily co-exist with their musicologies, and the
results could be spectacular.
Cook saves spectacular for the big 12-minute finish of
There Comes the Lord. "Spirit of the Lord" opens with a Floydian synth
drone/march and the imploring lyric, "Master, why did you let them take
you?" which quickly erupts into the kind of organized chaos that Alice
Cooper orchestrated to perfection, which leads to a Beatlesque
"Blackbird" homage which in turn devolves into a Brian Eno soundscape,
trembling on the surreal edge of perception.
And with that, There Comes the Lord is over all too soon.
Cook has said that he's got at least a couple of albums' worth of albums
stockpiled in his archive; if that material is anywhere near as engaging
and mesmerizing as There Comes the Lord, Joesph could be gearing up for
one of the most thrilling and provocative solo careers to emerge from a
Cincinnati band in quite some time. Good news indeed.
Stream/purchase There Comes the Lord here.
Plus, Rectify Cincinnati hosts concert for A Voice for the Innocent, Mint Leopard teases new album and Lawson-Yeardley Project debuts
0 Comments · Tuesday, March 15, 2016
Cincinnati’s Music and Event Management, Inc. is now producing the annual, early-fall MidPoint Music Festival. Plus, Rectify Cincinnati presents Founding Fathers, Go Go Buffalo and more for a good cause, Mint Leopard wants you to want its debut album and The Lawson-Yeardley Project host a coming-out house party concert.
Plus, The Grove hosts massive benefit concert for UC Brain Tumor Center
0 Comments · Tuesday, March 1, 2016
Psych/Rock/Garage/Punk trio Bummers Eve celebrates the release of its excellent debut full-length Friday with a free MOTR Pub show, while The Grove presents over a dozen area
artists Saturday at the Southgate House Revival for the Rock N’ Revival for a Cure concert, a benefit for cancer research at the UC Brain Tumor Center.
by Mike Breen
122 days ago
Posted In: CEAs
, Live Music
at 09:46 AM | Permalink
19th annual Cincinnati Entertainment Awards show to be broadcast live this Sunday
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.
by Brian Baker
Cincy Indie Rock favorites return with their final album and a pair of final shows. Unless …
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.
Plus, Alone at 3AM, Mohenjo Daro and The Cla-Zels play gigs this weekend to promote new releases.
0 Comments · Wednesday, October 7, 2015
The AYE Music & Art Festival —
founded in 2006 to raise money for various charities — returns for its
biggest fest yet this Friday-Sunday. Held at several venues in
Over-the-Rhine, proceeds from the 2015 edition of AYE will go to Boys Hope Girls Hope.
A pair of music festivals just northeast of downtown Cincy feature wide array of local talent
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.
Plus, Leo Coffeehouse stars new season at former home and The Mitchells and concert:nova team up for unique concert
0 Comments · Wednesday, September 9, 2015
Some cross-generational Cincinnati Hip
Hop champs (Hi-Tek, Donte from Mood and Buggs Tha Rocka) are currently doing a series of Ohio dates with modern legend
Talib Kweli, including a Cincy stop at Bogart's. Plus, Leo Coffeehouse returns to Zion United Church of Christ in Norwood and The Mitchells and concert:nova team up for a unique cross-genre concert at the Woodward.