WHAT SHOULD I BE DOING INSTEAD OF THIS?
 
 

A Man on a Mission

The legendary Buddy Guy continues his efforts to keep the Blues alive

0 Comments · Wednesday, August 14, 2013
Buddy Guy may be 77 now, but he doesn’t act anywhere near his age. He’s energetic and passionate about Blues and is doing more shows this year than many musicians half his age. Guy and longtime friend B.B. King, though, are among the last of the major Blues stars from the post-World War II wave of Blues artists still alive and working regularly.  
by Amy Harris 08.13.2013
Posted In: Live Stream, Interview at 04:15 PM | Permalink | Comments (0)
 
 
peter frampton

Q&A with Peter Frampton

The 'Frampton's Guitar Circus' tour with B.B. King hits Riverbend's PNC Pavilion Wednesday evening

Peter Frampton is a true guitar legend, revered by every single one of his peers. As his Guitar Circus tour rolls into town this week, crowds will be amazed by the beautiful music from his catalog of 40 years of music, as well as performances by Blues legend B.B. King and special guests Sonny Landreth and Dave Hidalgo (Los Lobos). CityBeat caught up with Frampton in advance of Wednesday’s tour stop at Riverbend’s PNC Pavilion and discussed how this tour concept came together and what it has been like working with one of his heroes on a nightly basis. CityBeat: What has been the highlight of Frampton’s Guitar Circus so far?Peter Frampton: It is hard to say because we have had so many incredible guitar players play with us already. The list is growing every day. From the other night, Vinnie Moore to Vince Gill to Don Felder to Roger McGuinn. It is like every night is so different. Every night is a highlight with all of these amazing players. Sometimes we only have someone for one night because of scheduling, like Vinnie Moore was only one night. John Jorgenson was only one night from Elton John’s band, who is also a wonderful Jazz artist (and) was with me on my Fingerprints CD. Some nights we get one, some nights we get three and sometimes we are lucky enough and we get Don Felder for six (shows) and Roger McGuinn for six (shows). They are all split up and don’t happen at the same time. I can’t really pick one.CB: When did you come up with the idea and how did you bring it all together for the tour this year?PF: It was last year after my little sabbatical, my year off after the Comes Alive (anniversary) tour. I was going, “What can I follow this with?” because it was a very successful tour and probably one of the most successful tours I have done in years. It was one of those things where I said I have got to do something with other artists. We had been doing shows for quite a few years now with just me, "An Evening with," as it were. It was something I wanted to do with as many guitarists as I could, to have an opening act with a great guitar player and then have some guests. The idea was there. I sat down with my manager Ken Levitan and I said what I wanted to do. He said, “Why don’t we call it something like a 'guitar circus'?" I said that was great. It was fantastic. I have to give him credit. He came up with the idea and then we have as many guests as we can along the way. At that point, we decided we would try to have a three-act show, which  is what it is in Cincinnati, where it is Sonny Landreth opening it up. He is not an opening act, he just starts the evening because he is a headliner himself. He is a phenomenal player and has such a great history. We have him starting the evening off for us with his amazing band and himself. The person that when we first put our feelers out (for) who might be interested in coming along with us on the Guitar Circus and said yes was B.B. King, which blew me away. That set the whole tone for the whole Guitar Circus because everyone said, “If B.B. King is doing it, I’ve got to do it.” It gave us great credibility right from the start. So B.B. King will come on. We played for the first time with him the other night. I got to sit in and jam with him, which was a dream come true. After B.B. goes off we come on and do our hour and a half. During that period, David Hidalgo will come on, he is our guest in Cincy, from Los Lobos. He has played a couple dates with us already and it is incredible. We become Los Lobos and it is phenomenal. It is just great. It is very exciting every night. It is a challenge to be that person’s band when they come on. I’ve got an excellent band so we do a really good job.CB: You mentioned B.B. King, who is an all-time legend. What do you talk to B.B. King about backstage?PF: Well, I went back and saw him when he arrived in his own bus. I thanked him for being the reason why this whole tour is being successful, because he was the first person to say yes. I said, “Not only is it an honor that you are on one date, but you are on nearly four weeks of dates with me, every night.” I just couldn’t thank him enough. He said he was thrilled to be a part of it. I think there is a mutual respect as guitarists, definitely my way. To be able to sit and play with him the night before last was incredible. He is going to be 88 and he is still doing it. It is absolutely incredible that he is, and we are all thrilled that he is. He is just the sweetest guy. You wouldn’t think that someone as legendary as him is that nice but he is. He is a sweet, sweet man. You can’t believe it. It is how you wish everybody could be when you meet them. He takes the cake that is for sure.CB: I can hear you smiling through the phone just talking about playing with him. PF: It doesn’t get any better. It is one of those moments I won’t ever forget. I am not sure I will be doing it every night. I hope so. He said I can tell him what I want to do and walk out and play. He means what he says. I am just getting to know him. It is unbelievable that we had never met before until the other night. Now it feels like we have known each other for years.CB: I saw you recently perform this Spring on The Voice. You went on with Terry McDermott during the finals. A lot of artists are coming out and speaking negatively about shows like this that try to make people stars overnight because they don’t have to pay their dues over years. Do you have any feelings about that?PF: I am not a big fan of those shows in general. The part that I don’t like is that it is this nationwide talent show. These people come on, and it’s their fault, they put themselves in that position to have someone ream them on national TV. I sort of cringe every time I see that, (no matter how) rightly or wrongly how the judge is. I have been asked to be a judge on those things. You will never see me as a judge. I would be saying everybody stays. That’s not me. I know what I like and everything, and I will say it in private, but I am not going to say, “You suck and get out of here,” which is basically what happens. They asked me over a weekend, like two days before the show, if I would do The Voice. I asked them to fill me in and tell me what it was about. Then I listened to Terry and liked him a lot, all his clips and everything. I thought it was just excellent. It was a wonderful opportunity for me to go on there and do a duet. For me it was just a performance within one of those types of shows. I wasn’t part of voting anybody on or off. It was something I enjoyed doing and I think it came off really well. We got such a demand for the song, we mixed it and released it as a single. So it is on iTunes as well.CB: What is your favorite guitar to play?PF: I just got my Phoenix back, that is what it has been called. It is the guitar that was supposedly lost and burnt up in the plane crash in South America in Venezuela. After having that back for a year and a bit now, it is definitely my favorite. I have other favorites, but there is something about that one and the history, you know of me getting it in time to play on Humble Pie’s live record, Rockin’ the Fillmore, and everything I did in the 70s, all my solo records. It was one of only two electric guitars that I had. To have that back, it has become my favorite again overnight.CB: I own a few Jim Marshall photographs and one is of you at Oakland Stadium in 1975. Do you remember that day? Obviously that photograph is iconic itself, but is there anything special about that day in California? Did that photo change you in any way?PF: In San Francisco and Detroit and New York, we were already pulling huge crowds just from word of mouth and the solo albums I had out, and obviously my time with Humble Pie. I think that was the very first time we did it at a stadium. There is nothing quite like looking out to 65,000 people … I think the biggest place we had played was Madison Square Garden. There is a huge energy-level discrepancy between an arena and a stadium. There is nothing quite like the adrenaline it gives you to see 65,000 people with their hands in the air shouting at you. You never forget that first time. There were many after that in stadiums, but that first one was pretty incredible.CB: I speak to a lot of guitar players. I spoke to one the other day that said a guitar broke up his relationship. Have you ever had a guitar break up a relationship?PF: No, but it has come really close. The guitar, she is the other woman, always. The passion you have for music is very strong and it does come with jealousy sometimes when you prefer to play the guitar than be with the woman.
 
 

Pro Era

Aug. 11 • Riverbend Music Center

0 Comments · Tuesday, August 6, 2013
The group’s centerpiece is undoubtedly Joey Bada$$, an MC whose style of smart lyrical firepower harkens back to 1990s Hip Hop, even though Bada$$ didn’t exist until the middle of that decade.   
by Amy Harris 07.19.2013
Posted In: Live Music, Music News, Music History, Interview at 10:51 AM | Permalink | Comments (6)
 
 
ia-yellow-foliage-med

Q&A with Jethro Tull's Ian Anderson

Legendar rocker to perform 'Thick as a Brick' and more at PNC Pavilion Saturday

Jethro Tull's unique sound — which eloquently combines Rock, Blues, and Classical music — continues to outlast Father Time and thrill legions of dedicated fans. Leader/singer/Rock flautist extraordinaire Ian Anderson performs the classic Tull album Thick as a Brick (and more, including Thick as a Brick II) at Riverbend's PNC Pavilion Saturday night at 8 p.m., continuing the legacy of Tull’s self-proclaimed “music for grown-ups.”  CityBeat was able to speak with Anderson this week about protests, social issues and his thoughts on performance art.  CityBeat: Why did decide to bring the flute to Rock music? Ian Anderson: When I was a young aspiring guitar player in my late teens I became aware of Eric Clapton, Jimmy Page and Richard Blackmore, who were the hot-shot guitar players down in London, and I decided maybe I should switch from guitar and find something else to play. The shiny precision of the flute, the ergonomics, the design, the manufacture — it’s kind of like a Swiss watch. It appeals to my sense of physics and engineering. For a particularly good reason, other than the way it looks, I decided I would give that a go. I learned to play it by trying to imitate the lines I played on guitar — solos and rifts. So I became the flute player in a Blues band and I was the only flute player in a Blues band, which gave me the difference that helped Jethro Tull stand out from the crowd. CB: One of my favorites on Thick as a Brick II is “Adrift and Dumbfounded.” Can you tell me a little bit of the story behind that song or how it came about? IA: Having been picketed a couple nights ago in Kansas City by the Westboro Church, the “Godhatesfags.com” people … I am seen as a fag-hyphen-enabler according to that unworthy organization. I don’t think I am a homosexual, but I am a supporter of gay rights and a lot of my friends and people close to me are gay people and I find that the prejudices and difficulties faced by young people, particularly in post-puberty, where they are sometimes questioning their gender and their physiology because some people are just born that way … so, it is a difficult time for relationships with parents and for society around you.  It’s difficult now. Back in the ’60s, it was really scary. So at the time when homosexuality wasn’t just a predilection but an actual crime, punishable by the courts by incarceration, being gay was a difficult position for any young person to be in, so I decided I would write a parent’s perspective of what that may be like — to lose a child through lack of communication and understanding with the parental, to lose that child to drugs and to, essentially, male prostitution.  That is an extreme scenario but it happens out there in the world. These are issues that face society today. These are issues that have faced society throughout the history of mankind. These days I suppose we are more able to talk about it and to examine the possibilities themselves. I always have to think when I was 15 years old and a little unsure of myself, maybe that could have happened to me. I try to use some of my personal history with my parents, with the lack of communication, particular on matters of sex. I try to extrapolate a little on my own limited experiences in that world. CB: The Westboro Baptist Church never ceases to amaze me. How did you handle it that day? IA: I was rather hoping to see them in the flesh. Unfortunately, I had my spies out. I had my spies out to try to keep an eye out because I tried to get a photograph opportunity with these people. Unfortunately, at the time, I guess they showed up when the audience was coming in or going out. When the audience is coming in, I am busy in my dressing room changing and tuning up my guitar. Afterwards, I am busy changing again and packing up my instruments. Unfortunately, I did not get to see them. That is very disappointing. I was really hoping to have the opportunity to have a nice smiling photograph with them and their evil representatives. CB: Why did you choose this tour to play the Thick as a Brick albums in their entireties? IA: When you are planning any kind of stage show, your first obligation is to keep it on a level that will engage people and keep it interesting for them and present them with a lengthy piece of musical work with a 15-minute intermission. You have to put your thinking cap on and try to construct everything to keep the audience with you, especially if you are playing a lot of music (with) which the audience is unfamiliar, you have got to make it work the first time around. It is not the result of hearing it many times so you have to make it a piece of working entertainment.  It seems to be successful because I have yet to see, when I go onto the second half of the show, any empty seats as a result of people leaving at halftime. Normally people stay until the end of the show and they seem to follow the momentum of the whole show. You get a personal sense of achievement when you present a large amount of relatively unknown music and you keep people engaged and enjoying the stage.  I don’t think many bands would attempt to do that. I can afford to do it because, a) I am prepared to take more risks musically and, b) I am really kind of doing it for me more than I am doing it for the audience anyway. I have always been a musician who has gone out there to make myself happy. You have to really have your own personal goals you achieve every night in performance. Primarily, I will say, it is nice you folks are here as well, but if you weren’t here, I would be doing this anyway. I am just doing this for fun. CB: You have seen music change in the way it is recorded over many decades. Do you think it sounds better or worse today? IA: Music has evolved in the terms of recording techniques over a period of about 60 years, hugely. It goes back to the early stages of monophonic and stereophonic tape recorders, which is what it was when I was a teenager.  When it got to the mid-’60s, it was becoming possible to create the simplest multi-track recordings, usually using two-track recorders, but bouncing back between the two to get a four-track sound. The very first Beatles recordings were made that way. By the time they got to Sgt. Pepper, they were recording with four-track and shortly on the heels of that came eight-track.  The first album I recorded was done on eight-track in 1968. That quickly evolved into 16-track and then to the most often used standard of 24-track, which continued through the late ’80s and even in some cases into the ’90s.  Frankly, the digital age really came about not in the ’80s or the ’90s but in the last 10 years, because that technology began to support 24-bit audio recording, which effectively mimics the human hearing to detect the difference between that and the original audio signal. We have 24-bit 96k recording, which is essentially all we need. We don’t need to advance upon that standard. We’d have to grow new ears before we could benefit any further resolution of earlier technology.  It is the same thing as when cameras hit the 10 mega-pixel mark … essentially equal (to) the very best film quality of film cameras in the last 50 or 60 or 70 years. We have now fairly commonly cameras that will deliver resolutions of 24 megapixels, which will be essentially much better quality you or my eye could fully appreciate.  We are there with audio and visual. We have now reached, during these last four or five years, human physiology would have to change for us to benefit from any increase of the resolution of the technology we are working with now. It is as good as it needs to be. We are there. We are done. We have reached the limit in terms of audio recording and digital recording. CB: Was there a single incident that changed how you approached music? IA: Well, I suppose a single incident was the first moment I played notes on a musical instrument, because I was aware as a small child of music as church music and music of Big Band Wartime Jazz, which my Father played on 78-rpm records.  It wasn’t until I was 9 years old and I acquired for a couple of dollars a plastic Elvis Presley ukulele and I strummed my first simple chord on the ukulele. At that point, even though the instrument was a rubbish piece, I could actually strum some little chords and sing along with it, and that was the magic moment of making music the first time.  I suppose that was the single most important moment of discovering music. There are a lot of people who never learn to play anything on a musical instrument and I feel like they are missing out on something. But some of them might be bungee jumpers and they feel like I am missing out on something, because I haven’t thrown myself off a bridge attached to a long piece of elastic. CB: What is your ideal day look like these days? IA: It depends if I’m on tour. My ideal day is to wake up around 7 a.m. and be driving rather than flying and getting to another city, another hotel by lunchtime, finding a Red Lobster or McCormack & Schmidt and (eating) some seafood or that sort for lunch and then having a rest and getting my e-mails in the afternoon before going to sound check.  That’s kind of normal practice. If I am at home, I wake up a little earlier, usually around 6:30 a.m. and I usually, again because of working in different time zones, it’s a good time to check e-mails from last night, generally prepare, shower, play with the cats, let the dogs out. If it’s the weekends, I have to go and feed the chickens.  In my ideal world, it would be a mixture of sitting at my office desk, playing a little bit of music and having a little bit of time to walk around the garden and sit and talk to my cats. CB: What is the biggest difference in touring in 2013 versus 1970? IA: The biggest difference is you can take a little stress (out) as you are touring easily because of more organization. Twenty years ago and 40 years ago, travel was a lot more disorganized that it is today. We can now be planning the next tour while we are doing this one.  Later today and tomorrow morning when I have a little time off, I shall be booking some internal U.S. flights for the next tour, looking at the various cities and suggesting to my U.S. travel agent some hotels I would like to get quotes on. Generally speaking, doing that planning exercise, when it comes to doing the tour itself, hopefully everything is in place. Everybody knows where everybody will be on most hours on most days.  You can take the stress out of things these days, where it was not so easy many years ago. We had to employ tour managers and people to carry our bags and people to herd us like sheep through airports. These days, people have their virtual boarding pass, which they can collect online from the booking reference code, which was on the tour itinerary, and they can print out their own boarding pass and head straight to the gate. I think things are easier these days, not because of the level of security we face now that we didn’t face 40 years ago, even 20 years ago. That makes lines a little more stressful and perhaps a little longer in the course of the day. We allow for two hours at airports from flight times to be safe these days, not knowing how long security queues may be or what indignities we may have to suffer to keep ourselves safe from the bad guys. CB: Do you have any fond or crazy Cincinnati tour memories from the past? IA: Probably with a Holiday Inn, Hilton or a Marriott or two. My bonds tend to be with what my particular life throws at me. The airport, even after all these years, is strangely familiar. I have been tracking the evolution of the airport from the late ’70s — when we were accosted by the children of God, doing their evangelical work, trying to hand out bibles and stuff — all the way to today. Airports quite often have that sense of déjà vu, even that nostalgic memory for me — certain hotels, certain venues of course, iconic venues we still play today.  CB: What was your favorite live performance ever? IA: It is probably the show in an American venue near Washington D.C. called Wolf Trap. It is my favorite because it is the one I am going to be doing tomorrow and the one I have to focus on and prepare for.  Past shows are in the past. I don’t dwell on those. I don’t have favorites. I don’t have preferences, except for a couple iconic venues, as I suggested. My favorite show is the one I am about to go out and attempt to do because I always have to think it could be my last. Walking on stage is not a God-given right; it is a privilege to be able to step out there into the spotlight another time. I just take each show as they come. My next show is always the best show of my life. CB: What can the fans expect here in Cincinnati this weekend? IA: They can expect all they like, but it won’t vary one iota in delivery to them. Their expectation may be many and may be varied, but we try to make a point of emphasis to play Brick 1 and then Brick 2, then a long call of classic repertoire.  We have a very tightly organized show. If anybody starts shouting out during the quiet moments of the show, they will be studiously ignored. I don’t even have time to admonish them. It happened to me last night when I came on stage, I was astonished to hear two female voices shouting at me in one of the spoken words sections with a delivery of theatrical passion. You wouldn’t be considered cultured to be shouting and whistling during a Shakespeare play — please don’t shout and whistle during the performance of mine because I am here to do the work. You are here to listen and if you don’t like it get up and leave. Don’t start interrupting me.  Once in a while you get a drunkard out there that gets to shout at your band, but it happens so rarely these days and it strikes me as so being incredibly curious. I think our audiences do understand this is not a regular Rock show but a theatrical presentation (for which) they have to sit and let me do the work. That’s what I am there for. I may be 66 years old but I am there to do a man’s work for two and a half hours, where you can sit back and, if necessary, bring yourself a comfy cushion and maybe a sandwich because it is a long show.
 
 

As a Whole

Increased collaboration made Wilco’s latest release the sum of all the band’s parts

0 Comments · Wednesday, July 3, 2013
While Tweedy is the band’s songwriter and he makes the call in terms of what songs end up on the band’s albums, Wilco is far from a one-man show.  

Work Hard, Play Hard, Get Better

Wiz Khalifa adds new dimensions to his tales of “smoking, chillin’, partying and feeling good”

0 Comments · Tuesday, July 2, 2013
 O.N.I.F.C. feels like the logical next step in Khalifa’s development and ability to blend Hip Hop mentality with Pop melody. Tracks like “The Plan” (featuring Juicy J), “Let It Go” (featuring Akon) and “No Limit” are among the songs that feature sleek, synthesized melodies that flow around rapped vocals.   
by Mike Breen 04.22.2013
Posted In: Live Music, Music News at 11:53 AM | Permalink | Comments (0)
 
 
wiz-khalifa-marijuana-1

On Sale Soon: Wiz/A$AP Rocky & Dylan/Wilco Package Tours

Two very different traveling music fests will be coming to Riverbend this summer

A pair of interesting local package-tour concerts were announced today for Riverbend's summer season. • On Saturday, July 6, Bob Dylan and his band are headlining the Americanarama Festival of Music when it comes to Riverbend Music Center. Dylan tours a lot, but making this jaunt extra special are the extra special guests — Wilco and My Morning Jacket. Other acts are to be added to round out the fest-like bill (show starts at 5:30 p.m.). Tickets for Americanarama at Riverbend go on sale this Saturday at 10 a.m. through Ticketmaster. Tickets range from $30-$80; between April 27-28, fans can buy lawn tickets for the show for just $20 (plus all those sketchy ticket fees). Read more about the tour here.• For local fans of modern Hip Hop, mark your calendars for Aug. 11. That's when the second annual Hip Hop tour, Under the Influence of Music, will be coming to Riverbend. The show is headlined by Wiz Khalifa and A$AP Rocky and will also feature B.o.B., Trinidad Jame$, Joey Bada$$, Pro Era and Berner and more. The Cincinnati stop is the last on the tour, which always makes for a fun time for the performers (and, thus, the audience).Tickets go on sale this Saturday at 10 a.m. through Ticketmaster. Click here if you'd like to RSVP for a chance to buy tickets early. Citi card members get access to presale tickets beginning tomorrow at 10 a.m. Riverbend is offering $15 "Early Bird" tickets through April 28.  And here is some info on getting a jump on the public on-sale. Here's an interview with the headliners about the tour.
 
 
by Mike Breen 08.02.2012
Posted In: Live Music, Local Music at 10:19 AM | Permalink | Comments (1)
 
 
southpark_buffett

Rewind: Why Parrotheads Hate Me

Celebrating the 12th anniversary of the CityBeat/Jimmy Buffett shitstorm

A dozen years ago, I was asked to come up with something for CityBeat's annual summer preview "Hot Issue." At the time, easy-groovin' singer/songwriter Jimmy Buffett was the king of Cincinnati's summer concert scene, selling out his shows in minutes and routinely winning the "Best Concert" award in CityBeat's "Best of Cincinnati" readers' poll. So I figured that, five years into CityBeat's existence, it was time to weigh in on the Parrothead phenomenon. I've told the story of the backlash a few times in the past (apologies if you've heard it before). After the article was published, I received the most hate mail I've ever seen for a story appearing in the paper. My colleagues printed out the emails and wallpapered the area around my desk; it covered a good quarter of that room in the old CityBeat building on Seventh Street. I expected some of it (and probably deserved some of it, too; as a young punk-ass writer, I was an even bigger dick then). But the sheer amount of correspondence was kind of a shock. I soon discovered it was the result of a cheap Buffett fan website that literally told its members to attack. In the vein of anti-abortion activists publishing the names and home addresses of doctors who dare provide abortion services, the site ran Mike Breen's home address. I probably would have filed a police report were it not for the fact that the site ran the wrong Mike Breen's home address. Some other poor Mike Breen in Cincinnati probably received a few house-eggings and tree-TPings (hopefully nothing worse). I sent the site owner a polite note advising them that they had the wrong Mike Breen's address and invited them to publish CityBeat's business address for anyone who'd like to chime in with a letter. (They already had our email up there.) Eventually, they removed the innocent man's address. Out of the 300 or so emails of protest sent, about 10% simply suggested that Buffett concerts are just good fun and I shouldn't criticize how people get their ya-yas out (fair enough). About 5% were supportive of my comments. Around 2% said they were indeed Parrotheads, but found my article amusing and felt the pilers-on were being stupid and taking it all too seriously (my favorites).The rest of the emails were the opposite of Jimmy's good-time, laid-back vibe. Most just called me rude names (totally fine). Some wished death on me (not cool!). The only one I remember with any kind of clarity was the note that said, "I hope your children are raped by drug dealers in Over-the-Rhine and get AIDS and die" (come near my family and I WILL cut your balls off). Included in many of the death-wishes and "Fuck you, asshole!" comments were a few people who trumpeted Jimmy's great contributions to charity. I applaud that, as well as the efforts of the Cincinnati Parrot Head Club, who also work good deeds into their good times. Buffett and I also share a lot of the same political/cultural/social views (I can find no evidence, but I'd be willing to wager that Jimmy's NOT anti-gay marriage and he is definitely a Democrat). I also thought it was kind of funny/cool that Jimmy got booted from an NBA game for passionately (and good-naturedly) sticking up to the refs that were giving his team (the pre-LeBron Miami Heat) the shaft. I also thought it was really cool that Jimmy found Bill Paxton's fairly scathing parody of him (as "Coconut Pete") in the Broken Lizard film Club Dread to be hysterical. (On the DVD commentary track, the filmmakers say Buffett asked for permission to perform some of the parody songs on tour.)Here's Paxton doing Coconut Pete's hit "Pina Coladaburg":I'm unsure how Jimmy feels about South Park's much rougher treatment in the show's own parody (pictured above). (For the record, I think the spreading of quotes from and footage of Buffett fans being bigoted is really unfair, in a Breitbart kind of way.)So, as I've matured, I've found at least five things I like about Buffett. If I drank, I bet he'd be fun to have a beer with and talk politics and sports. (Drop me a line, Mr. Buffett; I'll be designated driver!)There are still tickets available for tonight's Buffett concert at Riverbend, which would have been impossible to imagine 12 years ago. When the Radiohead concert earlier this summer was announced, I had a chat with our publisher about how fast it would sell out. When it didn't, we bemoaned the fact that Buffett's show would still sell out in minutes. It didn't. Is the Parrothead era over in Cincinnati? Here, from the May 25, 2000 edition of CityBeat, are the "Ten Things I Hate About Buffett." Feel free to chime in with your Buffett support and call me a few names if you'd like. (But threats will be taken seriously this time around and if you come near my family … well, see above.) I sincerely hope that, if you're going, you have a great time. Just be safe! I have to imagine that cops see Buffett visits as a good chance to make a few extra DUI arrests. Like death, taxes, Who reunion tours and Wolfen sequels, one certainty every year in Cincinnati is a local summer appearance by the master of mediocrity, Jimmy Buffett. If you live here, it's as inevitable as the changing of the season: Buffett brings his plastic palm tree and awful music to Riverbend, and thousands of morons flock to see him. We've resisted writing about this "phenomenon" in the past. It's kind of like making fun of Kathie Lee Gifford or Kenny G -- it's just too cheap and easy. Of course, CityBeat is nothing if not cheap and easy. So, here, we bring you the only press you will ever read about Jimmy Buffett in this publication. Unless, of course, there's a shooting spree in the middle of the concert or Riverbend sinks into the river. 10) His music It's sorta tropical, sometimes Country-ish, sometimes "silly," and always boring. It's music for people who don't like music: background, laid-back fluff. It's easy listening for Boomers. 9) His lyrics "Blew out my flip flop/Stepped on a pop top/Cut my heel, had to cruise on back home." "So he took her to this movie called Body Heat/She said, 'The Junior Mints were mushy and the sex was neat.' " "Fruitcakes in the kitchen/Fruitcakes on the street/Struttin' naked through the cross walk/In the middle of the week." "Evolution can be mean/There's no 'dumb-ass vaccine.' " Apparently not. 8) His album titles A White Sport Coat & A Pink Crustacean. Last Mango in Paris. Off to See the Lizard. This guy makes "Weird Al" look like Oscar Wilde. 7) He recorded a cover of "Purple People Eater" "Itsy Bitsy Teeny Weeny Yellow Polka Dot Bikini" is bound to be next. 6) He likes to sue aspiring restaurateurs Buffett's lawyers have gone after entrepreneurs for calling their new bistros things like "Margaritaville" and "Cheeseburger in Paradise." Hey, if they're that stupid ... 5) He was a fratboy No doubt. At the University of Southern Mississippi. Shocker! 4) He wrote and staged a musical (Don't Stop the Carnival) Rock stars shouldn't do that. 3) He tricked Brian Wilson into recording one of his songs "South American" on Wilson's Imagination record. Hasn't this man been taken advantage of enough? 2) His CDs don't even make good coasters I proudly own one Jimmy Buffett CD -- 1999's Beach House on the Moon, which I use on my desk to set my drink on. Damn things keep slippin' off. 1) Parrotheads Fans of Buffett use his summer concerts for an excuse to get completely obliterated and "partay." It's like Mardi Gras with tasteless people in stupid hats and Hawaiian shirts. Not so amazingly, his strongest cult is here in Cincinnati. Like we need some other cultural crisis to be embarrassed about.
 
 
by Mike Breen 07.31.2012
Posted In: Festivals, Live Music, Local Music, Music Video at 08:41 AM | Permalink | Comments (0)
 
 
letithappen

Warped Tour Hits Riverbend Today

The 18th annual Punk/Metal/Hip Hop/etc. traveling fest winds down after today's Cincy stop

The Van's Warped Tour might not be the most financially successful summer package tour of all time (the promoter and performers work together to keep an ego-free environment and low ticket prices), but it's hard to argue that it is not the most successful overall, especially in terms of longevity. Now in its 18th year, Kevin Lyman's eclectic traveling festival has outlived all of the roving music events that sprouted up around the same time (from Lollapalooza to Lilith Fair) by creating a "customer friendly" experience that's also very "artist friendly." The tour's 2012 finale is this weekend in Portland, but before shutting things down for the summer, the fest makes its annual stop at Cincinnati's Riverbend today. Doors open at 11 a.m. and music kicks off shortly after. The show ends around 9 p.m. Tickets at the box office will cost ya $42 (about a dime a band, by my estimation). Click here for more local show details, including info on how you can "Skip the Line" and walk right into the venue. The set-times for each act are decided just prior to the gates opening; if you're going, look for the giant inflatable Warped logoed amp to see when your favorites are playing. I also highly recommend grabbing the official Warped Tour app.Be sure to support our local music scene reps — The Few The Fallen, Heres To The Heroes and Let It Happen will play the Ernie Ball Stage. Check out Let It Happen's recent video for "Bridges" from the great release, It Hurts, But It's Worth It.Here is who's playing where (via Riverbend's site). (Welsh rockers Lostprophets are also on the bill, though not listed on Riverbend's site; all info is subject to change.) MAIN STAGE: Taking Back Sunday, All Time Low, New Found Glory, Streetlight Manifesto, Yellowcard, Piece The Veil, Four Year Strong, Of Mice and Men, We The Kings, Breathe Carolina, Miss May I, Falling In Reverse, Blood On The DanceTBD STAGE:  Every Time I Die, Mayday Parade, blessthefall, Chelsea Grin, For Today, Memphis May Fire, Motionless In White, Rise To Remain, Sleeping With Sirens, The Ghost Inside, Vampires Everywhere!, Title FightTILLY’S STAGE: Senses Fail, Vanna, Polar Bear Club, We Are The Crowd, Man Overboard, A Loss For Words, Funeral Party, I Fight Dragons, Machine Gun Kelly, Oh No FiascoTBD STAGE: Echo Movement, G-Eazy, Stepdad, The Constellations, Ballyhoo!, Champagne, T. Mills, Tomorrows Bad Seeds, Mod Sun, The Green, AmystERNIE BALL STAGE:  iwrestledabearonce, Born Of Osiris, Chunk! No Captain, Fireworks, Transit, Cold Forty Three, The Scissors, The Few The Fallen, Here's To The Heroes and Let It Happen. KEVIN SAYS STAGE:  Make Do And Mend, Matt Toka, Tonight Alive, Skip The Foreplay, Sick of Sarah, Mighty Mongo, Captain Capa, I Call Fives, Hostage Calm, The Silver Comet, Twin Atlantic, The Darlings, Dead SaraACOUSTIC BASEMENT:   A Loss For Words, Koji, Brian Marquis, Rocky Votolato, Transit Owen Plant, Anthony Raneri
 
 
by Amy Harris 07.24.2012
Posted In: Interview, Live Music at 10:57 AM | Permalink | Comments (0)
 
 
motorhead

Q&A with Motorhead's Phil Campbell

Motörhead are Metal gods. They’ve been rocking arenas and stadiums for 37 years and are currently out on the Mayhem Tour with Anthrax and other major acts of Heavy Metal and Hard Rock. They’ve released 21 albums and have played in front of millions across the world with the loyal support of their super-fans, the Motörheadbangers. CityBeat spoke with guitar player Phil Campbell to preview their set today Riverbend. They spoke about how life in the band continues to thrive on the road after so many years and his impressive collection of guitars. Mayhem Fest will rock Cincinnati Tuesday and will also feature Anthrax, Slayer, Slipknot and The Devil Wears Prada. CityBeat: What has been the craziest story from Mayhem so far for you guys? Phil Campbell: We had a good party the other night. It was a costume party. All our band and crew went dressed pretty strange. There were quite a few strange costumes there. I think Lemmy and his assistant went as the Blues Brothers. I dressed as a clown. Mickey dressed as a frog. One of our crew dressed as Larry King. That was pretty good. It was a good party anyway. We are just too busy to get wild at the moment.  CB: You guys are famous for your pranks on the road. Have you played any pranks on any of the other bands yet? PC: No not yet. We leave that for the end. CB: What is the best and worst part of being out on the road now? You guys have been touring for 30 years.  PC: You are home for three weeks and then you are ready to come on the road for two months. You are dying get back home. We are not really complainers. One of the worst parts obviously is not having your family there, home comforts and your dogs and things like that. The food can be tough because you really don’t have much choice. That’s not particularly good. The best part is you don’t have to get up early in the morning anymore. We sleep in until really late so that’s very cool. CB: What is your favorite guitar to play? PC: My favorite guitar? I just bought a 1957 Les Paul a couple weeks ago so that is probably my favorite now. CB: I know you have over 260. Do you rotate them in during the shows or do you pretty much stick with the same ones for the live performances? PC: No I have about 12 on the road at any given time, so sometimes I rotate a couple. Some of the real amazing ones I don’t really want to take on the road. They are safer in different storage locations, but I have plenty to choose from. CB: Any regrets through the years? PC: No, not really, none. It has been pretty good. It has been a privilege to be able to play music for people who enjoy our music. No, no major regrets, no. CB: Supergroups are very popular right now with bands like Chickenfoot and musicians doing side projects. If you could put together a dream supergroup who would you want to play with from any band? PC: Elton John, Adam Jones from Tool, David Bato on the drums and Victor Wooten on bass. CB: That’s pretty good. I know your children are also in bands. Have you thought about recording with them anytime in the future? PC: Yeah, they are doing really good. I have some children in a band called Straight Lines. They have their second album out and they are doing lots of shows. They have great reviews in all the magazines and everything. Hopefully they will be doing the Warped Tour next summer. Another is in a band called Inside the Trees but they changed their name to The People’s Poet and they are recording their new album now, as we speak. It’s a quite different kind of music. They have their own sound as well. They are all doing really well. CB: Do you ever play with them? PC: I used to when they were younger but they won’t let me play anymore. I’m not good enough.  CB: They tell me you are a Lord. How did that process come about to become Lord Axesmith?  PC: I applied. The title goes back 500 years, Lord of Axesmith. It’s on my credit cards now and everything. I am an honorary member of the Knight’s Templar of Brittannia. It is a bit of fun when the crew has to call me “My Lord.” CB: I was going to ask you what the best part is of being a Lord but that’s probably it, people have to address you as Lord.  PC: When we are at restaurants and they ask for the name of the party, if you say Lord Axesmith then you know they will give you a good table. Even before I became Lord Axesmith, I was told it did the trick.  CB: What can the fans look forward to from the Motörhead show in Cincinnati on Tuesday? PC: Just another killer Motörhead show. It is only going to be about 50 minutes long because we have to have all the other bands on. So it will be loud and nobody will be disappointed.
 
 

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