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It’s a Full Scale High 5 Riot in Dayton!

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h5r_022High 5 Riot hit the scene earlier this year already loaded with experience, talent and a collective drive to succeed and name based on their previous local ventures. Singer/rhythm guitarist Ashley Stacy cut her teeth in Gathering Mercury. With her young spirit and energy, she’ll settle for nothing less than global domination for H5R. The birth came in February at Dayton Does Dayton when GM and bassist Andy Uzzel’s band The Broken Lights were playing. A mutual desire and determination for musical progression brought them together. A massive reaction to their acoustic set at the Songwriters United Show at The Old Yellow Cab Building sealed their partnership. They also earned the Mick Montgomery seal of approval saying ‘this needed to happen’.

They searched and completed the ensemble with guitarist Austin Labig, former drummer of Free Fall Theory, drummer Sean McGrath and keyboardist, formally of In The Cut Aaron Noble. Each shares an incredible drive and desire to strive for the highest level possible. High 5’s debut EP Crowd Control is a pleasant taste of what’s sure to come with elements of pop, rock, punk and acoustic’s. Stacy unleashes her range from a soft soothing serenade to a Linda Perry type wail, over the five tracks particularly ‘going off on’ “Locket”.

“The Pursuit” lyrically dark, is a poppy, rock, addictive tune with psychedelic keyboards winking in the background. Oo, Oo, Oo, a manipulators voice, a cold calculating stalkers heart, it’s me or no one babe. Stacy gets a little sexy with some down and desirable words for them dirty blondes on “Turn Out the Lights”. “Detox” says appearances are deceiving, the truth underneath is revealing. Get the drugs out. “Locket”’s a loud proud proclamation of self-identity, lifestyle and triumph to make your heart happy. The disk ends at “Dusk”, a western styled acoustic vibe, wailing out a life’s tale of ending too soon.

Keep updated on future riotous news at www.high5riot.com.

REVIEW: Ninth Annual JDRF Benefit Weekend for Sonny at Club Panama

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October 4th and 5th Club Panama hosted the annual For Love of Sonny tribute fundraiser to help raise funds and awareness for Juvenile Diabetes treatment and research. This year’s local supporters included Simply Delicious, Schaeffers Amusements Co, Janeen and Joel Naugle for bringing the sweet stuff, Rudy’s Smoke House BBQ, Keg & Cork and Letters to the Blind for CD donation. Other area sponsors included Fazolis, Red Lobster, Olive Garden, Roosters, O’Charleys. Frickers, Chucky Cheese, Cracker Barrel and Golden Corral with all proceeds going to the JDRF.  Not only was this the ninth year for love of Sonny but it was also the 25th year anniversary of Panama bringing metal through the door. In ’89 Susie Maynard put her foot down and welcomed the headbangers.

Mike Defendant (photo by Mike Ritchie)

Mike Defendant (photo by Mike Ritchie)

Columbus transplant Mike Defendant brought the acoustic acolytes back to Springfield opening the ninth annual weekend fresh off a tour with Dead Kennedy’s and TBH. Like last year he brought the hardcore punk and acoustic fury out of his six strings. Plus drinking since 10am helped the creative improvisation flow better. He warned or depending on your POV guaranteed this would be the best or worst thing you’ll ever hear, at least for that night anyway.

Acoustic tunes with speed metal plucking include religion, imaginary friends (his are better than yours and better connected) and a tune about the joys of radio friendly smash hits that never get played. If there’s anything the road’s taught him it’s that there was absolutely no nutritional value in early morning alcohol. He continued with the off the cuff, chaotic, falling off the limb with slight irreverence stepping forward backwards, pacing between the left and right hand paths performance only he could do. Bringing the electricity out of the acoustic he sung a pretty song about having phone sex with your mother. The question was, who hangs up first? His music obviously inspired by SOD and Napalm Death run the length of a few of their old school tunes.

Fletcher Munson was next playing a set of originals with a few varied covers. Not many bands played GWAR and Neil Young in the same show. With a blend of blues, rock and metal inspired with a jam groove they opened with a tribute to the late Oderus Urungus, as we traveled on the Road Behind. They get original on the Vicious Cycle and Crystal. It was a time warp protest trip back to 1970 and Kent Ohio, courtesy of the Crazy Horse. There’s some sort of Mental Delay, in the music they love to play, could be due to the love of ‘the drop’, Raging Alcoholic’s fuel their stomp. It was no secret they came off sounding a bit Wooden but it’s all for the love of those Butthole Surfers.  There’s a certain Hypnotic element to Fletch, maybe it’s the punk rock blue grass attitude of Growing Marijuana.

Troy’s From Silence to Violence started Halloween early with Phil Rindler opening the show in animated ninja attire. The first of the weekend ‘heavies’ busted open an early can of screamin’ hardcore, metalcore with a few sung verses of reality based tunes about partying and the positive/negative aspects of life. Don’t go trick or treating with them, you don’t know What’s in the Bag. Started in late 2012, they’ve opened for Dead by Wednesday and Bobaflex and a video for What’s in the Bag is upcoming.

Abrade the Regal (courtesy of Joel Naugle)

Abrade the Regal (courtesy of Joel Naugle)

Abrade the Regal always brings the infectious groove and the ‘table top’ musicianship. Finding that happy balance between rock and metal without being in mosh territory but heavy enough for a ‘good head bang dance’. Like any band that’s ever played a loud riff they Scream at the World and everything that pisses them off.

The Reefer Hut finished the evening metaphorically putting blood on the wall with a full frontal thrash party and a small but dedicated pit. Mosh pit stompers included the tattooed, metal and proud Inner Pride. Don’t judge a man with a guitar, a black t-shirt and a mic unless you’ve read his lyrics or carried his gear. It’s a Pantera pummeling and there’s No Turning Back from the eardrum Abuse as the guitar chords of Sleep Dred did more damage than Freddy’s glove. They concluded night one with an inspirational neck wrecker about Moving Forward from bad situations and negative sh-. A politely yelled, screamed encore was requested.

The second evening gave us Blackout Method, National Headcase, Chronic Aggression, Legbone and Letters to the Blind, and as the evening progressed everyone in the Springfield metal scene came. It was a claustrophobic but friendly crowd, with beer and shots flowing with a long sometime short list of raffle ticket winners growing with several earning ‘repeat offender’ status. Saturday could also be the first time someone won a Chuck E Cheese prize in a bar. Winner was subject to height check.

Blackout Method (photo by Mike Ritchie)

Blackout Method (photo by Mike Ritchie)

Blackout Method covered the early evening with a set ranging from early Sabbath/Manson to modern day heavy metal Elvis. No better way to start then with some Dumb Luck, Red Line Chemistry style. If only Alice in Chains and Scott Weiland had joined forces. We all went Down (under) with the Sick Puppies, Face to the Floor courtesy of Chevelle. We heard the face painted Warriors Call and got ready to rumble with Volbeat. Rage poured with the Bulls on Parade. We got Sap and we liked it courtesy of Got Me Wrong. They went as old-school as metal goes to the original ‘nativity’ then went a few years forward paying respect to the holy ‘horned one’, on and on, it’s Heaven and Hell. Sadly a crash course in brain surgery had to be postponed but they ended on a trippy note and the death of the 60’s, it’s coming down fast, it’s Helter Skelter.

If you took snake bit blood from Down, COC and Crowbar, spliced it together just right then had something go horribly wrong at the last minute, you’d get the loud, striking serpents tongue in the ear of National Headcase. Playing with two turbine steel ripping guitars, they’re kinda like a metalheads Rush, with a few prog face smacks.

They sliced the crowd open with the razor sharp swamp water riffs of Welcome to the Fallout. The well Worked Over walls of Panama shook with the good heavy vibrations of Brother’s Keeper. The fast galloping drums and guitars on This Sacrifice Endures played the tale of any and all sacrifices made in life.

They played the prophecy of the Oracle, with its early-priest-like opening. Digging riffs down deep into the lower depths of long buried darkness. Don’t dig up what’s not meant to be found. It was a seven and a half minute plus monster chugger fueled by that special made swamp gas. Vultures ended with a tool kit of instrumentalization, thrash vocals with a Chrome Division shine and COC non-conformity.

Springfield’s had a chronic case of loud aggression since December 1999 driven by the raspy vocals of Joe Stafford and the Accept meets Overkill sounds of Chronic Aggression. The thrash of the New Jersey stomp was brought forth and hither with the Neighborhood Dispatch. They brought the crowd to the front including house security for the crowd pleaser sing along Balls to the Wall, Udo would be proud.

Legbone (courtesy of Joel Naugle)

Legbone (courtesy of Joel Naugle)

The Legbone’s been hit, popped, cracked and knocked out of socket a few times since the early 90’s but the Dayton based punk veterans keep on playing bringing the crowds up front surrounding the stage in an old-school punk gathering. Watching the group of fans boxing in the stage, getting uber close you couldn’t help but remember the days predating mosh pits when punks and kids just came to a show and bounced up and down with spikes (on the wrist, hand, hair or elsewhere) in the air. They’ve played with hardcore legends DRI, Gang Green and the Casualties. They played tunes about beer, partying and of course, more beer that’ve kept them going. They’re newest CD It Leads to Poverty is available now.

The Ninth Annual weekend closed with Letters to the Blind, the only band to bring electric drums. Playing their fourth show ever they began with Once, painting a progressively heavy picture with power and death metal elements. Though they have a short scene history their members date back to the Biogenesis days.  Throughout the set guitarist Blaine Gordon showed of Satriani like skills, As Color Fades casted a Dream Theater like quality over the club. They talked about the drones in line following the status quo indulging the late night stayers in a few more new tunes. Their five song EP is available at shows and online.

Club Panama thanks everyone involved in this year’s benefit, all the bands who played and everyone who came and rocked out for Sonny.

 

 

 

REVIEW: Bocca Live Goes Country for Wounded Warrior Benefit

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DSC_0024Saturday October 11th was a chance to give back and show appreciation to all the brave men and women of the armed forces for all their hard work and sacrifices to ensure our safety and freedom.

Event organizer Brian Gilliams put together a two band tribute evening with raffles, prizes and cool autographed baseballs from the legends of the game. Gilliam’s band Throw it Down headlined the show playing three sets of the best of modern day rocking country with a few throwbacks to the legends that paved the way including some southern fried rock and a little old school metal.  The C.G.I Acoustic Trio opened the show with a unique set of songs some of which had never seen an acoustic chord played.

“I was inspired to host this event in memory of my brother, LCpl Kevin Creech of the United States Marine Corps. Kevin fought in Operation Iraqi Freedom, deployed to Fallujah, Iraq in 2005. Returning home from war he struggled with posttraumatic stress disorder and had many of his fellow USMC brothers take their own lives due to PTSD. I’ll be requesting a percentage of the funds raised be spent on vets with PTSD, dedicated in his name,” said Gilliams.

Key event contributors included Office Depot, Arby’s, Chick-Fil-A, Throw It Down band, Bocca Live, Smoothie King of Dayton, 700 WLW Radio, Frisch’s Big-Boy, 20Brix/Padrino, John and Chris Ritchie, Mark and Lisa Tesmer, Kyle and Erin Lemaster and Envi Nails.

All event proceeds were donated to the Wounded Warrior Project. Founded in 2003, WWP helps those that’ve returned from duty with the emotional, physical and mental recovery of returning from combat helping with readjustment back into civilian life and aid in finding them employment. Also aiding those injured with multi-range programs, therapies, counseling and peer support.

C.G.I. Acoustic (photo by Mike Ritchie)

C.G.I. Acoustic (photo by Mike Ritchie)

C.G.I. Acoustic is brought to you by bass, acoustics and the old fashion Cajon drum box. Songs you’ve never imagined unplugged, ‘go there’ from pop to rock to metal. No Slayer or Skynyrd but BOC was teased twice with the reaper. Playing stripped down is their Rock & Roll fantasy and they can rock out as good as any three piece acoustic band. We heard what Neil Young said about them, Keep on Rocking in the Free World. A rare Fleetwood Mac tune by Christine McVie was sung by Mr. Chris Lee. After the Doobies Listen to the Music, CGI told the bitter sweet story of Johnny and the Bad Company that made him famous.

Taking a turn to the early 80’s they gave Prince some of their extra time with bassist James Isbell showing some impressive range. They played a non-electronic/non-synth version of In the Air Tonight, oh Lord. They downsized to a three man acoustical jam for Signs then paid tribute to the purple one as the Purple Rain came down with a little sample from Journey done Faithfully. Come Sail Away with them to the march of the War Pigs. Generals gathered in their masses, just like acoustic guitars at country bashes. CGI Trio thanks you all!

Throw it Down’s  first set opened with all country prepping the crowd for the upcoming till early morning party. According to Eric Paslay the first song ain’t about money, back-roads, come backs or drinking, it’s a Song About a Girl and it’s all Waylon’s fault. Josh Thompson and Jason Cassidy both agree on the crazy lifestyle of a country boy singer. That night in Milford, Dierks Bentley wasn’t the only one that wanted to have some fun with a cold beer and raise some hell up in here. Thomas Rhett’s trying to find the right girl that just does something to bring out the lyrics inside, and It Goes (a lil somethin’) Like This.  Geddy Lee may have been called the working man but Mr. Haggard sang about those hard Workin’ Man’s Blues long before, paving the way. It’s a semi ride party on the hot tin roof cruising down the Florida Georgia Line on diesel and dust, kicking up the BMX smoke because that’s how they role. Kenny Chesney’s a self-proclaimed hillbilly rockstar out of control. From the smoky bars to an arena star, he’s Living in Fast Forward. Brantley Gilbert throws it back to the prohibition days. It’s Bottoms Up and the guns are serving more shots than the bar.

Throw It Down (photo by Mike Ritchie)

Throw It Down (photo by Mike Ritchie)

Lee Brice keeps the Parking Lot Party going before and long after the show. Could it be the country rocking cousin of heavy metal parking lot? Brice inspired a full house ‘holler swaller’ the good ole boys version of a social. Big & Rich share their concern with the conservation of ungulate mammals and encourage all to Save a Horse (Ride a Cowboy). Luke Bryan enjoys his rattlesnake shake as much as any six stringed cowboy with the company of a beautiful Country Girl working her magic by his side. Tonight was Jason Aldeans kinda party, whether on stage, in any state or the back of a jacked up tailgate. The Church of Eric was in session, closing out their first set and he preached the all American gospel living that hard working blue collar dream with pride, How ‘Bout You?

Their second set included a mix of country, southern and hard rock and the appearance/contributions of several local musicians including Erick Daniels (AfterMidnight),
Charlie Grau (After Midnight), Alan Cyr (After Midnight), “Izzy” Isbell (CGI/Hollywood Tragedy), Lance Boyd (The Medicine Men). (The first time Gilliam’s ever played live at a bar, he sat in with blues legend H-Bomb Ferguson. Boyd was H-Bomb’s longtime guitarist, and he handed him that guitar to play that night). Chris Lee (CGI/Hollywood Tragedy), Josh Cupp (Pistol Holler), Steve Witherby, (Second Wind), Don Overberg (Slowhand) and Rick Grabencamp (Marsha Brady) also made appearances.

They started with a second helping from the Florida Georgia line. Cruis(‘n) down the road with the windows down and the open air on the path of life to anywhere. Blake Shelton told it straight about the Boys ‘Round Here, backwoods legit, dirt stained, hard work trained and not taking any lip. We got the word on drinkin’ and smokin’ from Bocephus talking about the Family Tradition. We boogied to some sweet southern rock done Skynyrd style singing about the southland. We did some welcome time at Folsom Prison with the man in black then took a trip to the Red House over yonder hanging with Jimi. We got a double but different dose of ZZ, first hearing Mr. Hill talk about them Down Home Blues, then got bearded with those crazy girls and the Sharp Dressed Man. Georgia Satellites talking about love, talking about sin. Don’t hand them no lines. We were christened with our first dose of ‘metal’ with the prince of darkness flying solo on the Crazy Train. The potion came with the antidote from the Old Crow Medicine Show traveling on their never failing Wagon Wheel. To close out the late evening set they tore into one of the South’s most sacred and time honored/respected anthems, fly high.

For all the cricket loving, moon shine jugging creatures of the night, they went a ‘lil’ past the midnight hour starting the evenings third and final set in honor of all the brave men and women that don’t have the luxury of sleeping, on beds, when they want to. Luke Bryan says it’s his kind of night and he’s not done yet. Second gospel according to Mr. Church says put a Drink in My Hand! Aw Naw, Chris Young’s getting it on at the convenience store till dawn again, the stuff you find behind the cooler curtain. Rains a good thing when it ‘warsh’s’ all your troubles down the drain, says Luke Bryan. Brooks & Dunn love to keep those beautiful cowgirls happy when they Play Something Country. It’s way past the witching hour but it’s the perfect time to Take a Lil Ride again with Jason Aldean, big wheels, dirt fields, mudden all day and night in cowboy boots and high heels. Take the Ride with Mr. Coe; it’s a strange one you know. Steve Earle tells those tales of what happened (and didn’t happen) back on Copperhead Road. Tim McGraw got sucked into the web of love and likes it, no he loves it! Jamey Johnson sees it all In Color from the hard times of the past, remember, respect and make those memories last. The midnight country mass is almost over with Mr. Church making one last appearance Creepin’ on that all night train. The Cadillac Three love the south, Georgia, Alabama, Mississippi, Louisiana, Carolina and tonight’s honorary guest Milford, Ohio. Mr. Brooks finished up the evening with all his Friends in Low Places. Yee-ha!

Mr. Gilliams can also be seen performing in his fulltime band After Midnight.

Western Sky: Dorsie Fyffe Comes Full Circle

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 The story that is Dorsie Fyffe’s life has seen the highest of the highs, and the lowest of the lows.  Each page of his existence that has  been written is chalk full of experiences that have molded him into the person that he is today.

Fyffe will be releasing his new limited edition 7-inch single featuring the original song “Western Sky,” Dayton.  The single is a tour  de force of shimmery guitar, driving bassline and traditional country beat.  Another single being released this Saturday will also  contain a version of “Amazing Grace”, which was recorded live at the historic Ryman Theatre in Nashville.  Fyffe has more music  already recorded, and plans to release it as a vinyl series.  The next 7 inch will be released in July.  Each year, Fyffe plans to release  two limited edition 7 inch will include something special.

Fyffe was one of the faces of the burgeoning music scene in Dayton during the 90s.  He worked as a DJ and music director for the  influential WOXY-FM (“97X”) that was beloved in the area for their role in playing alternative and independent music.  Fyffe was  nominated by Billboard magazine for its “Music Director of the Year” award when working at the station.  At the time Fyffe was working at WOXY-FM, he also began singing in the local Dayton band Johnny Smoke.  The country-punk band saw some success, releasing three cassettes, a 2-song vinyl 45, and a well-reviewed full-length CD, Launcher.

In 1997, Fyffe decided that he needed to pack his bags and move out of the Dayton and move to Cincinnati.  He talk during our recent phone conversation that he needed to get out of the scene during that time.  At the time, Fyffe was living in Dayton with rockers Tim Taylor of Brainiac and Dave Doughman of Swearing at Motorists.  Taylor famously was killed early in May that year when he lost control of his new Mercedes and slammed into a fire hydrant.  The death of not only his roommate/dear friend, along with a female made Fyffe reevaluate some things.

“We lived at the rock house on Main, which was kinda party century for everyone,” Fyffe explained.  “It got to the point where I just wanted to get back to normal.”

Fyffe continued commuting up to Dayton when he was playing in Johnny Smoke.  In 2000, the final show of Johnny Smoke was held in Dayton, and Fyffe began moving around.  In twelve years, Fyffe moved to San Francisco, Seattle, and Kansas City in hopes to find musicians that would fit into his stripped down sound.  Each stop hold some significance to Fyffe.  When talked about living in San Francisco, Fyffe talked about working at Tower Records, and how beautiful the city was.  “Even a rainy day isn’t a bad day in San Francisco”, Fyffe says.  When living in Kansas City, Fyffe experienced some unfortunate events that eventually led him to reconsider even playing music.

Fyffe’s music was starting to generate some buzz not only around the Kansas City area, but in national publications like the bi-monthly magazine No Depression. Bloodshot Records artists and other alt-country music forums.  After releasing the 45 which included singles “Backseat” and “Open Relationship” in 2011, Fyffe and his band filled in for John Doe from the punk band X at a record store day event in Lawrence, Kansas.  While prepping for a 10-day East Coast tour with alt-country singer Lydia Loveless, a series of unfortunate events started to snowball downhill.

“When I get back from Kansas City with all of my stuff, and the drummer says that he couldn’t do the tour.  The bassist wasn’t returning any of my phone calls.  It’s five days before going on tour, and I have to make a decision,” Fyffe explains.  “Apparently we aren’t going on tour, I have $4000 sitting over, and call Lydia Loveless’ manager and explain that bassist isn’t calling me back.  I’m starting to sweat, and mentioned that maybe we should cancel the tour.”

The canceling of the tour led him to move to where he is now-Austin, Texas.  Fyffe took a hiatus from music, trying to even come to grips of what happened in Kansas City.  He saw his opportunity to further his music quickly burn out.  However, Fyffe won’t go down that quietly.  He decided to make his shows more of an event.  His trip to Dayton will be only the 20th show in twelve years.  However, Fyffe scuffs out the thought that he should have been playing more.  “

While he has enjoyed living in Austin, he will be moving Los Angeles in April.  “All of the moves have been basically directly or indirectly involved trying to make music,” Fyffe says.  The move will also allow him to be closer to a dear friend of his, ex-Dayton Daily News writer Sara Baker Farr.  The two met when Baker was writing about the final show of Johnny Smoke in Dayton.

“We lost touch for a while, as I wound up moving to Chicago and then out to Los Angeles in 2006,” Farr said during an exchange of emails.  “Dorsie found me somehow and we reconnected. He started sending me some of the songs he’d been working on, and they were really good. His voice had gotten even stronger, and his songwriting was even better. The songs resonated. They had depth. They had soul. They were personal, but universal. They were an expression of where he was at, both as a songwriter and a man.”  Farr is currently working on a book that will feature Fyffe’s life.  “I asked Dorsie what he thought about the idea of a book. There was a pause — the kind that makes you wonder if you’ve lost your bloody mind and your grandiose scheme is going to crash and burn around you — and then he said that he’d love to do it,” Farr says.

The story that is Dorsie Fyffe’s life has seen the highest of the highs, and the lowest of the lows.  Each chapter that has been written is chalk full of experiences that have molded him into the person that he is today.  The moments that have led him up to this day have all played a part in the setting up the next one.  When talking to Farr about Fyffe, she summed up perfectly.

“Dorsie’s story is not only a personal history for him, nor is it just a glimpse into a time when Dayton was really on the precipice of something musically. It reaches beyond that, I think, and is about what it means to try and follow your dream despite almost ridiculous odds and one struggle after another. And to keep making these great songs during all of it? Well, there’s the hook – it’s a classic American country-rock story.”

This Saturday, Fyffe will be reuniting with some friends that he hasn’t seen since that night in left Dayton.  He will taking the stage, and surely will be getting those feelings like he once had when he played in the local venues.  The release of the vinyl singles will be in correlation with the holiday Dia de los Muertos, as he will be celebrating the life of friends that have passed.

Fyffe will be returning home to start a new chapter of his life.  It’s only fitting that he begins it here in Dayton.  It’s where it all began.

It’s where it will begin…again.

Dorsie Fyffe will be performing at Blind Bob’s Bar on November 1.  Also on the bill includes Tim Pritchard and the Boxcar Suite, and Smug Brothers.  10pm  $5 cover.

Country Strong: An Interview with Mack McKenzie

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(Photo Courtesy: Jennifer Clarke)

Aaron McKenzie slowly inhales a drag off his cigarette on the front patio area at Toxic Brew Company on a chilly September evening  and exhales.  Wearing a simple black t-shirt and blue jeans, he quietly looks onward.  He watches the people walking around the  Oregon Express, heading to and from several of the establishments in the small area.  When he finishes his cigarette, we walk back  into the bar and take a seat.  It’s a quiet night in the brewery, but begins to pick up.  Sitting next to the stool is McKenzie’s guitar  inside a black, leather case.

Music has been present throughout McKenzie’s life.  On most Saturday nights, some of McKenzie’s family would all congregate over  to his grandparents’ home.  While sitting at the large table in the kitchen, a group of friends and his grandparents would play music  till the late hours of the night.

“They would bounce songs off one another as they sat there playing,” McKenzie says.  “There will be somebody playing fiddle.  There  will be somebody would be bass.  Like five or six guitars.”

At the age of twelve, McKenzie himself picked up the guitar after exploring classic rock-mainly Clapton.  “I got this resource with my  grandparents, so I grabbed my grandfather’s guitar and they showed me a few chords,” he explained.  On those Saturday evenings  with everyone being over, McKenzie would sit in and try to play with them.

 

Xenia, Ohio is where McKenzie first called home.  After his father passed at the age of eight, he lived with his mother till he reached his teens.  After some time residing with his grandparents, McKenzie moved in with some older guys when he was seventeen.  Living with the roommates that according to McKenzie were all about “hell raising and beer drinking”, he got pass high school barely.  It wasn’t due to his grades, he passed his courses with flying colors. His job which was third shift, along with attention span to actually go and spend the whole day there, almost got him.

“I was actually told by a guidance counselor that I was cheating the system, and that it wasn’t fair for other students,” McKenzie says.  “I said ‘It’s not my problem that I can show up two days a week and get enough grades to pass.’”     When high school was coming to a close, McKenzie needed to figure out what was going to be next.  McKenzie decided to follow a list of family members that included his grandfather (whom fought in the Korean War) and great-grandfather (World War I) and joined the United States Army.

From 2006-2010, McKenzie’s time in the Army included being stationed in Fort Campbell, working in the intelligence department and doing a tour in Afghanistan.  During his stint in Afghanistan, McKenzie explained about how depending on your situation and position, the adjustment to life was hard to grasp.  A simple thing like falling asleep at night, for example, loomed with uncertainty due to what was transpiring.

“We were on this base, and out of the blue you hear these sirens going off.  A mortar was coming in, and hit somebody’s wooden shacks.  In the beginning, you are deeply disturbed.  After a while, you get used to it,” McKenzie says.

Luckily for McKenzie, he was able to get out of his military duties four months early.  When he left the Army, he took a position that landed him in Qatar for a year.  McKenzie would take another position in Washington, D.C. that allowed him to travel.  He enjoyed experiencing seeing the sights and sounds of his voyages, including the opportunity of witnessing the international cricket tournament Asia Cup.  The fatigue of never being home eventually got to him, and he needed a change.

“The job I had down there (in Washington, D.C.), I was in a hotel over 120 days a year,” McKenzie says.  “I knew I wanted to end up back here.”  Before McKenzie, he bought a Martin guitar and started slowly writing songs.

“I told myself, ‘Alright-if I buy this thing, I got to start writing more.  I least got to it a shot.’” McKenzie says.  He wrote some music when he was in bands in his younger days.  McKenzie explained that now being older, he could appreciate music better, craft better material.  He began playing his music to friends at parties, and even started recording some.  When he moved back to the Dayton area-he continued to hone his songs.  Finally, when eating at Dublin Pub one night, he asked if they had an open mic night at the establishment.

“I came back the next night, and it was probably the worst performance of my life,” McKenzie jokingly said.  “But I kept at it, and kept at it.  It was really a confidence building thing.  It’s a different vulnerability in getting up there and singing your songs.”

 

(Photo Courtesy: Jennifer Clarke)

Going under the moniker Mack McKenzie, the recording of his debut album, is now complete.  Drawing inspiration from his favorite country singer, Sturgill Simpson and musicians from the days of old, McKenzie went in the studio with a goal in mind.  He wanted to record an album that went back to the roots of when country music was heavily influenced with bluegrass and folk.  Expect the blend of soft ballads, acoustic guitar, steel guitar, drums, and keyboards to be present in the album.  McKenzie hopes to change people views on how his music is totally opposite from the mainstream country music that is made today.

“When it comes down to it, Garth Brooks was the turn of country music changing,” explains McKenzie.  “Before him, you had guys like Willie Nelson, Waylon Jennings, and Kris Kristofferson.  They wrote some of the best songs-so simply written, but they convey so much.  Garth Brooks comes, and takes it from a regular concert from to an extravagant show.  It was an experience.  So, after that, it became more about the look and more about the show than it did about the music.”

Nights like tonight, telling stories like the one with his attempt to play along with his family over a few beers, are a rarity these days for McKenzie.  Being in the middle of the hustle and bustle that city life offers isn’t too appealing to him like it once was.  McKenzie’s budding musical career does allow him to come to town.  As he refers to himself as a “homebody”, McKenzie doesn’t come out much.  He just prefers quiet evenings staying in his home, which is located in the country a little north from the outskirts of Dayton.

“Volume has turned way down,” he says.

As McKenzie slowly finishes drinking one of the brews that are glistening inside the clear glasses at Toxic, there is a calm, even-tempered look casted upon his face.  He has plans on walking over to Ned Peppers as soon as we are done, and performing at the open mic night.  He knows that it’s a long road ahead.  At least he will have plenty of material to write about.

Ugly Kids Club: Recruiting Dayton’s Own To Join

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One of Aliegh Shields’s older silbings was part of an emo/indie rock band from Nashville, Tennesse titled The Class of 98.  The  band, led by guitarist and vocalist Steve Wilson, saw some of success with some of their songs being played on some of the television  programming on the E! and the WB networks.  The band was short lived, only being together between years 2004-2007, and 2010-  2014.  During a tour across the Midwest, however, Wilson and the band stayed over at the Shields residence instead of getting a  hotel room.

During the duration of the band crashing at the house where the older Shields lived in Springfield, Illinois, Wilson overheard Aliegh  singing one night, and fell in love with her voice.  Being the youngest of four-Aliegh always had her dreams and aspirations set to  eventually become a singer.

“I was making everything a microphone,” Shields explained during a recent phone conversation.  “A lot of times I was in my room  singing to the wall (laughter).  I was constantly my way of playing-singing and playing like I was in concert.  I think I sang to our fish, which made a pretty fun.  They were a good audience.”

After moving to Nashville right after high school, Shields was a guitar playing songstress with a solo development deal and started working with one of the producers in town.  When they parted ways, Shields turned to Wilson to help and finish up the solo tracks.  She knew that Wilson was living in Nashville, and was producing music projects with group such as The Juliana Theory and Jonezetta, while writing, producing and playing in The Class of ‘98 and Hether, who got a development deal on their own with Interscope Records. Wilson also was Grammy nominated with his work with the band Leeland.

Already knowing each other, the two felt comfortable with working together.  They soon would uncover a mutual desire over their love for minimalist rock duos like Sleigh Bells, Crystal Castles and The Kills.  In 2011-the duo of began the group Ugly Kids Club.

“We worked so well together, and I wanted someone that was into a little more team effort,” Shields mentions.

In January 2012, Ugly Kids Club released their first self-titled EP.  They were able to grab ahold of their own sound with a mixture of grungy rock embedded with electronic beats that is not only dark but also catchy with pop undertones.  After releasing the self-titled EP and going on the road for a little bit, they decided to take a break.  The goal was to become more cohesive in their writing.

Their recent EP release, Head Games, is a more polished album that contains whimsical soundscapes to lush 80s synths.  The duo crafts electro-pop driven tunes, while still maintain that pop-grunge vibe that was so visible in their first EP.  The EP involves all the stages of a relationship that eventually doesn’t really work out.

With the duo continuing to work on building their sound, both Shields and Wilson both strive to push each other creatively.

“We’ve written a bunch of other songs, so we working towards another EP early in the next year,” Wilson stated.  For now, though, the duo plan on hitting the road-which includes making a stop in Dayton tonight at Blind Bob’s.

It was a little over seven years till both Shields and Wilson’s lives would interconnect again, and form Ugly Kids Club

And this time-the duo are planning to make it more long-lasting.

Visit Ugly Kids Club here: http://www.uglykidsclub.com, or check them out at Blind Bob’s tonight with Dear Fawn, Skurt, and A Shade of Red.

Daytonpoolza!: Dayton Music Fest 10 Years Strong

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(Manray Photo courtesy: Dayton Music Fest)

Dayton Music Fest organizers Don Thrasher and Kyle Melton take a seat with me in the patio area at South Park Tavern.  While we  are sitting at our table, an influx of people come and go throughout the duration of the early evening.  It’s mostly due to the  establishment’s half off priced pizza promotion that they are running that evening.  For some others, they have chosen to stick  around and settle in the covered patio.  Those same individuals are also taking full advantage of the fall weather and the terrific  selection of craft beers that are waiting on tap.

Since the end of May, the duo listened to 60-100 demos of submitted music from bands that wanted a chance to be selected.  Now  the final preparations are underway.  The duo are in the middle of a press junket, including a couple of radio spots and our  meeting.  Melton and Thrasher have also been preparing for their set in the music event with their band, Smug Brothers and  currently run the indie label Gas Daddy Go.  While sipping on a beer, Thrasher and Melton talk about some of the acts that will be  taking the stage.

“Have you had the chance of checking out Manray yet?  Definitely check them out,” Thrasher mentions.  “Also don’t miss out on catching Dead Rider.  They love playing here in Dayton, so we are thrilled to have them coming and playing in town.”

Dayton’s music scene has seen some bands get included in the national spotlight.  You have Kelley and Kim Deal’s alternative rock band The Breeders see their hometown success sky rocket in the 90s to become indie legends.  You have the recently split lo-fi rockers Guided By Voices, led by the one and only Robert Pollard, blaze through with their endless releases of new material.  You also can’t forget the past local bands Enon, Swearing At Motorists, and Brainiac who left their imprint on the music scene in Dayton.  With the widespread talent circling around the area, it would be difficult to not have an event like Dayton Music Fest.  It’s a celebration of the melting pot that is the music that surrounds the city.

In 2004, Dan Clayton, Andy Ingram, and Shawn Johnson felt that the national scene wasn’t giving the Dayton area the appreciation that it once did.  Johnson and Clayton threw out the idea that Dayton needed a showcase the burgeoning music scene.  The duo quickly went to work on setting up the bands and locations for the shows to be at.  They then recruited Ingram to create the posters and flyers.  No one knew exactly how it was going to turn out, but they felt that it was needed to be done.

Now it’s 10th year, the Dayton Music Fest has become one of the highly anticipated and heavily attended events in the area each fall.  Individuals from all corners of life will be able to seize an opportunity to come out and partake in the celebrated music scene.  Festival goers will fully consume all of the special, unforgettable performances, along with some surprises.

As soon as the final band finishes up their set Saturday night (Motel Beds at Blind Bob’s), both Melton and Thrasher will be no longer curate the event.

“We were at practice Sunday night, and afterwards we looked at each other and said, “You done after this one?”.  We shook our head in agreement,” Thrasher explains when the decision was made to call it a day.

Besides increasing the visibility by scheduling some of the selected bands and artists to perform at The Midwest Outdoor Experience, which is one of the largest festivals in the Midwest.  This past April, Melton and Thrasher had a kickoff event for the Dayton Music Fest with a special concert-the Buffalo Killers performed with a backing choir at the Christ Episcopal Church in downtown Dayton, 20 W. First Street.  You can get the DMF mobile app, where you can rank and follow the bands with Q&A posts.

The duo has handpicked local band’s Speaking Suns bassist Conor Stratton to take over the reins.  “We think that he is going to be great,” Thrasher says.  “He manages the band, and runs his record label (Great Guys Records).  He’s already been calling some people and is getting a team together.”  As for Melton and Thrasher?  They will continue to play in Smug Brothers and prep some upcoming releases with Gas Daddy Go.

While it will be tough for Melton and Thrasher to no longer coordinating the yearly festival, they have no regrets on ending their run.

“We wanted to give someone else a chance to do it, and make it even better,” Melton says.  “We did some great things to make the festival better.  Five years is a great run.”

A run that deserves a toast while sitting in the patio at South Park Tavern.

The Dayton Music Fest is on Friday, October 3rd starting at 7pm at The “Old” Yellow Cab, Saturday October 4th from 11 a.m.- 8 p.m. at Eastwood MetroPark, or Saturday night beginning at 9 p.m. in the Oregon District.  For more information on the Dayton Music Fest, please visit daytonmusicfest.com.

REVIEW: Oddbody’s Brings the Solstice to Dayton

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Crucifixion (photo by Tom Wilson)

Crucifixion (photo by Tom Wilson)

Saturday September 6th, could be seen as a night when the perpetually moving solstice of change and evolution in the Dayton scene was showcased on the Oddbody’s stage. The young, upcoming new blood opened followed by the established former instrumentalists with a new voice and the scene veterans played direct support to the national headliners.

The origins of Crucifixation spawned when guitarist Max Mobarry and bassist Shane Tucker finally got a chance to jam during the summer of 2012. A few months later the two, along with vocalist Eric Bucio started jamming discovering a mutual love of intense metal music. Eric suggested they form a band and Crucifixation was brought forth onto this earth. After a year-long search, they were contacted by drummer Jorden Garberson, who became the man behind the kit. They’ve assembled an onslaught of brutal thrashing metal honoring the greats and destroying those who stand in the path of their unholy Crucifixaters.

Playing hard and banging harder they tore into their set playing with an old school Sepultura meets early 90’s Florida death metal roar, throwing buckets of adrenaline and fury on stage. Opener Infestation carried the militaristic march of the young soldiers hitting with the first wave of heavy artillery. Redemption brought the slow, evil, seething technical death thrash slowly slithering towards you. Breastflesh cracked the bones, softening up the anatomy for the pluck pounding and Cannibal Corpse lyrics. Max Mobarry was definitely Puckin’ Around waving his long crimson red windmill mop at hurricane speed as they played homage to the game on ice and any other hockey masked guy prone to violence. What could be their future Toxic Waltz, Stand Up and Thrash had a nice bass groove with some Slayerish riffs and an almost boogie feel. Bucio delivered screams, growls and some spoken word vocals. Besides Death, Cannibal Corpse and Six Feet Under it’s fitting that Morbid Angels in there as Mobarry could be the younger doppelganger of Erik Rutan.

Zuel now has the voice of Brandon Hawk, a younger Dan Lilker in appearance, and they started with No One Has Partied Here in Years, aka Johnny. They bring the hardcore belated hangover shoveling it in with bulldozer guitars, a bit of Fear Factory industrial tools, some sweet melodious Death courtesy ofUncle Chuck and some Morbid Angel signature guitar slides providing the musical diary and building blocks of a madman’s metal puzzle.  Unfettered aka Year Long sounded like Opeth falling down an open air spiraling staircase, smashing into an ascending Mastodon during a lightning storm. Whisper in the Ear aka 1984 had a nice descending mental melody and deliriously mad, dark mood.

They finished with Take Kindly/Endless Rapture and The Flaws We Seal as Secrets. Keep updated on these multi-stylistic noise makers often seen at Hanks Pub, Oddbody’s, Blind Bob’s and on top of tall buildings being shot by proton packs.

Forces of Nature (photo by Tom Wilson)

Forces of Nature (photo by Tom Wilson)

One of Dayton’s hardest working/scene supporting bands Forces of Nature played the stage under the Oddbody’s banner for the first time cranking out metal meal riff-muncher Magnus Lee as Tate Moore summoned his inner cookie monster and accompanying serpents tongue. We took a lovely stroll through piles of death and carnage caused by one man’s madness and wrath or your favorite conqueror, tyrant or serial killer of choice. The Godsey’s, Jimmy Rose and Johnnie Wallace gave the Forest of Corpses life; Moore gave mutilation and anguish a voice. They played the stalking chainsaw wielding killer in the woods past midnight pace of Mary Hates Herself. It’s a wonderful life, live it loud and play it with metal. Quote, the Forces of Nature, Nevermore. Throwing Fists in the pit, it’s hit or miss, till you get your ass kicked for being a dick. Wallace continues to shine against two powerhouse guitarists bringing Dimebag’s spirit to the bass. They gave a loud reminder that we’re all dwellers on this Black Earth. A set mostly taken from the new Dark Ages CD ends with A.S.O.T. questioning God and country’s need for martyrdom and some seriously weird, creepy s**t descending down the walls as blood runs up.

From the air, heat, sand and dirt of Florida’s early 90’s death/thrash metal explosion spawning Death, Deicide, Obituary and Cannibal Corpse among many others comes the Solstice. Founded by drummer Alex Marquez (Malevolent Creation), Rob Barrett (Cannibal Corpse) and Dennis Munoz (Iniquitous) and newly recruited Ryan Taylor (Atomik) on rhythm guitar and vocals they brought three records of speed and thrash to the stage. Taylor brought the noise Vio-lence to the forefront starting with an Age of Quarrel song from the Cro-Mags. Starting from 1992’s self-titled debut, they dove straight into the darker side of the mirror on Netherworld. Upon the wastelands arose a true unholy decimator of all that’s conquerable with a Cataclysmic Outburst. The land of the free, pulled by the strings of filthy politicians, must be Cleansed of Impurity. By any means necessary. Aberration asks how much pain can we possibly bear with such a young soul. They send some respect to the Bronx, pounding with 44 Caliber Brain Surgery to the head, Demolition Hammer style.

Plasticized, your aging body is rotten as you’re rolled up into a corner and forgotten. The Eternal Waking of one’s inner self to a world of inner consciousness and dreams. They took the first page from the steamrolling/wrecking ball guitars and banging bass book of Pray and played the title track prophesizing the triumph of science over the hypocritical elements of religion. Survival Reaction, seeing red as the instinct to survive kicks in, at all costs.

They play a Peter Steele tribute Carnivore style and possibly one of the reasons Playgirl called. When one is six-foot-seven, size matters. They end with the weak, aging mind Transmogrified by dementia and loss of faculties.

Crucifixation, Forces of Nature, feature images courtesy of Tom Wilson

Editor’s Note-On Saturday September 20th, for the 8th straight year Forces of Nature volunteered their time, working with event coordinator Jeanette Monaghan, performing at the Wright Pat Air Force Base Marathon. They played a non-stop, six-hour (7am-1pm, with pre-dawn setup/5:30 am sound-check) gig positioned near the last leg of the course. They banged and thrashed as over 15,000 runners went by, many raised the horns in respect and gratitude for the extra effort, adrenaline and energy to the finish line of the 26 mile trek. When the set-list started getting low their ‘late morning’ creativity-caffeine kicked in with adlibs and jams coming up with new material.  Tom Wilson along with event supporter Kelli Wilson also made the early morning base trip making sure the heavy metal patriotism was documented. After playing all morning and a brief break Mr. Godsey spent the evening at Oddbody’s working security for the Nonpoint show.       

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Meg Renee: Troy’s Music “Dream”er

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This past May, Meg Renee released her first album, Dream Awake.  While sitting inside the Winan’s Chocolates and Coffee located  in the heart of downtown Troy, Ohio, I asked singer/songwriter Meg Renee a simple question.  A question that I thought would be  probably be one of the easiest to answer for her.  A question that most musicians get immediately.  I questioned her on when she  realized that she wanted to go into music.

Her response?

“I honestly don’t know,” Renee replied with a giggle.

That’s it.  Nothing more.

At a time when people that when teenagers, like Renee, are slowly turning the corner on maybe knowing what they want to do, she  was already ahead of the curve.

Renee claims that there was no “a-ha” moment when she discovered she wanted to be in music.  She maintains didn’t she have the switch flipped to the opposite end, and have the light bulb flicker on that’s above all of our heads.

She just simply couldn’t tell me as we sat there in that small coffee shop.

Regardless of what she says on what knowing when the opportunity struck her, Renee started to show signs that a career in music was inevitable early in her life.  At the age of six, Renee and her friend would hang out the house and sing Brittany Spears songs, and talk about maybe one day forming an all-girl band.  They would write songs that they would hope to one day be able to play in front of an audience.  Renee would also write and create stories with stickers that incorporated with them, along with poetry on the side.

It was at age nine when Renee started learning how to play the guitar.  Renee’s father, who also was a musician years ago when he would perform in a country band, began instructing her and then she followed it up by taking lessons at Sound City Music in town.  After a while, Renee wanted to separate herself away from other musician’s songs and try to work on some of her own.  “I wanted to try to teach myself a little bit.  I felt like I got a lot of skills from it (taking lessons) and it was time to make myself practice on my own stuff,” Renee said.

During one of her music classes when she was in the sixth grade, the teacher requested that each of the students write down a musical goal for themselves to obtain that year.  Renee’s goal was to fill a notebook that she brought to class full of songs that she wrote.  It was then that she fully understood that her aspiration to become a musician was more than just a silly fantasy.  It was going to become her life.  Her purpose.

Maybe there was the “a-ha” moment after all, I sheepishly said to myself.

Renee’s first gig was at the age of thirteen when she opened for a band that was slated to play at the recreational center in town.  The organizer of the show was impressed with Renee, and helped her get into some other events.  She sang in the local church that she attended, and was in some talent shows.  She has also participated in Miami County Fair, Troy Strawberry Festival, Rohs Café in Cincinnati, 2nd Street Market in Dayton, Courthouse Square in Dayton, Miami Vallley Music Festival, Holiday at Home Show, Brandeberry Winery among others.

In the beginning of January, Renee went into the studio to record Dream Awake in Popside Recording, located in Troy.  Being recommended to go and record, Renee worked with engineer/producer, and guitarist for Hawthorne Heights Micah Carli.  “I was very nervous going in,” Renee says when describing the first day of recording.  “You are taking your songs and that’s your baby, and they said, “Let us help you with it.””  Along with Renee singing and playing rhythm guitar, Cali recruited some others to help record the other instruments while he played on lead guitar.

The album begins with the terrific, country-influenced “Calloused Wings”, and is followed by the jazzy “Chase Me Through The Streets”.  Much like the playful song “Crazy”, Dream Awake captures the softness of Renee’s vocals, following her influences of Brandi Carlisle and Regina Spektor.

After high school, Renee mentioned that she would like to move to Nashville.  She has her eyes focused on attending Belmont University, though she is still looking at some other schools.  She visited the campus last summer, and soon started to adore the city of Nashville-where the school is located.  She became fond of the possibilities of advancing her music career there.  “I love the music there,” Renee explains with a twinkle in her eye the minute she begins talking about the city.  Also as an added bonus-there is a songwriting major there.

With her focus squaring straight up on being a better singer/songwriter, there are times when Renee misses out on being a typical teenager.  Most of her weekends consist of gigs, while sometimes the occasional dance is not going to be attended.  However, the music comes first for her.  Renee is hopefully that when she arrives in Nashville, and gets settled-she would like to set up a band.

First things first, though-Renee’s high school football team has a home game that she is going to.  “I am going to be painting faces and hang out with my friends.”  Across from the coffee shop where we sat at, The Fries Band are setting up on the stage as part of The Summer Music Concert Series.  The Fries Band play of popular and obscure cover songs from the 60’s, 70’s, and 80’s. They blend their complex vocal harmonies driven by acoustic guitars with keyboards, bass, and drums to re-create very distinctive musical arrangements of bands like Crosby Stills Nash & Young, America, The Beatles, Eagles, Jimmy Buffett, etc.  Renee takes a peak to see the band setting up outside the window.

You just know that she would love to be the one setting up to be playing.

REVIEW: Hollow, Damaged Soul Play Oddbody’s

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Hollow (photo by Mike Ritchie)

Hollow (photo by Mike Ritchie)

Hollow, Dayton’s tribute to dual era Alice in Chains and Damaged Soul a tribute to the music of Black Sabbath and Ozzy played the newly reopened House of Rock now known as Oddbody’s on Saturday August 23rd. The place slowly filled with local fans and musicians showing up supporting the new venue and showing respect for the stage and appreciation that a long time live music staple was back again.

Alice Cooper probably did it first but Alice in Chains took the name bringing their dark, dismal, murky but incredibly catchy and moody metal from the Seattle rainfall to the world. Vocalist Greg Smith brought the spirit of Layne Staley and the continuing saga of William DuVall to the room with a career spanning set of favorites and obscure tunes from Facelift to The Devil Put Dinosaurs Here.

They started, digging up the Dirt on Them Bones and Dam That River then gave those unfamiliar, the first dose of DuVall era from Black Gives Way to Blue, the deep opening guitar note drag of Check My Brain. The Dirt continues to fall Down in a Hole followed by album mid-number Junkhead. The Dinosaurs return on Stone.

We finally got a loud, uncomfortable Facelift that’s somewhere between Love, Hate, Love sticking around for seconds. We could say it was sloppy but It Ain’t Like That. We got factory sludge in the face then went to Jar of Flies to get cracked open like a Nutshell. They played their namesake tune then went out and snuffed the Rooster, in a Sea of Sorrow.

AIC’s biggest hit was next, and he’s still bur-ied in his s**t. They finished with the instantly recognizable seductive bass line.  If I could Would you? There were no angry chairs and heaven wasn’t beside us but still the goods were delivered.

Damaged Soul (Photo by Mike Ritchie)

Damaged Soul (Photo by Mike Ritchie)

Damaged Soul came up to play two sets from the Sabs and the prince of darkness. They started at the beginning… of Ozzy’s solo career with I Don’t Know. Go backwards to the early days of Paranoid, watching those Fairies Wear Boots in the park. Fast forward to the mid- eighties and relive Ozzy’s silver sparkle jacket and life sized stage Buddha with Shot in the Dark. They went back to Sabbath with a winter’s offering from Vol 4. Snowblind: a type of temporary eye damage caused by snow reflecting UV light, or……

The legendary drum beat began as the guitar dragged/wrenched out the pioneering first notes of Iron Man. Electric Funeral fire flared up next then they finished with the song ‘penned’ about Wards beard and widely interpreted as about the nativity.

They return for set 2 with a happy birthday tribute to Tim and Dimebag Darrell Abbott. Do what thou wilt shall be the whole of the law. With that in mind they invite in Mr. Crowley. As much as he enjoyed rum soaked tobacco, the Birmingham boys loved their Sweet Leaf. We’re all Believer(s) in Ozzy and the power of metal that compels us. The rest of the band took a break while Tim and bassist Norm Lilly of WTUE took us all through some Changes. We got mixed up in a Suicide Solution of lyrical misunderstanding.  We got the old school version of the walking dead on Children of the Grave. We took a few more hits off the leaf and went Flying High Again just in time to climb aboard the Crazy Train ay, ay, ay, ay… It’s enough to occupy anyone’s brain making them Paranoid.

They finish with the dance of the War Pigs and Kent Martin ends a Damaged Soul show with a damaged guitar string. Crazy, yeah, but that’s how it goes.

Photography by Mike Ritchie 

REVIEW: Motley Crue Say Farewell To Cincinnati

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Photo by Dave Gabbard

Photo by Dave Gabbard

All bad things must come to an end so they say. Since 1981 we’ve gotten the good, the bad and the ugly from the Sunset Strip bad boys. Drugs, booze, sex, countless nights of untold, unseen debauchery and decadence. They’ve never been shy about pushing the envelope, before setting it on fire. They’ve sold over 80 million records and have over 2500 different branded items sold in 30 countries. For all the headlines, documentaries and tales of legend and lore, it’s a miracle they’re all still alive and healthy let alone finishing their three decade plus career with a ‘final goodbye tour’. Yes, many bands have done retirement tours only to come back (in one variation or another) a few years later to give fan’s more. However, Vince, Tommy, Nikki and Mick have made good on their word signing a legally binding Cessation of Touring Agreement stating after their last show (Mick’s mentioned the idea of having their final show at or on top of The Whisky on Sunset) they will never tour again as Motley Crue with each pursuing their own endeavors afterwards.

The show itself; was over 20 songs of classics, favorites and obscure tunes from Too Fast For Love-Saints of Los Angeles, excluding possibly Generation Swine, New Tattoo and the self-titled disk. This is, the Crue giving each city one final chance to Shout at the Devil. Presented by Dodge and produced by Live Nation the 72 date tour covers the country with the band playing a fire breathing, scantily clad show at each stop till the end of the year, going overseas in 2015. Though it started off a bit rocky in Grand Rapids a few nights earlier with technical glitches and issues with Tommy’s arena wide Cruesifly kit malfunctioning and the setup being too big for some venues to hold.  You’ll still get Sixx’s bass-neck fire starter, the always present hot vixens and a solo only Mick Mars can do.

Alice Cooper (photo by Dave Gabbard)

Alice Cooper (photo by Dave Gabbard)

Touring with the original pioneer and godfather of shock rock Alice Cooper, it seems that the creator/teacher is helping say goodbye to the students and having started in the late 60’s may have ‘continuing’ bragging rights.

New York born/LA transplants The Raskins opened the show with brothers Logan and Roger throwing down their own brand of rock n roll, trying to win over the early crowd.

Opening with Hello Hooray with the huge, hypnotic, menacing gaze of Alice starring at the crowd, old black eyes still said No More Mr. Nice Guy. Quite possibly the greatest teenaged angst and rebellion anthem ever made, or at least one of the first. We’re all eighteen again and we like it. Alice pulled out the Cooper confetti cash and spread the mean green. We went from cash to Trash and tasted the bitter sweet Poison. Diamonds and pearls are a girl’s best friend, even dirty ones.

The demented ringleader emerged top hatted and snake bit. Alice haunted your nightmares way before Freddy was conceived.  The blood caked mad scientist brought out the high voltage to feed his larger than life creation. Gas masked and ready, lightning struck and his Frankenstein was alive!

A few decades before Silent Hill, Alice dressed in straight-jackets assisted and tormented by demonic sexy nurses. Good ole Dwight. He loves the guillotine as much as the dead and he’s a Killer showman.  Alice, sweet Alice, the principal every student wished they had, Schools Out…forever! He said goodbye, but unlike Motley, we will see him again.

The number of times The Sound of Music and Motley Crue were spoken in the same sentence is (probably) nary a one but the boys introduce the show with a sly, sarcastic So Long, farewell tear down the eye. If all bad things Motley are coming to an end then on Sunday July 6th it was time to kick Cincinnati’s Red, White and Crue ass.

No ride through Tommyland for Riverbend that night but it was no less the spectacle accustomed to by the Crue, even if it was scaled down a bit from the carnival and The Tour’s stage.

The biggest, baddest Mother Fucker’s of the year from Los Angeles started the show. Doesn’t take long to take a ride on the Wild Side, bathed in downtown beckoning crimson and assorted lights, the first of the night’s beastly beauties seduce on stage. The Primal Scream sent flames shooting in all directions. Nikki proudly announced it’s been 33 years, starting on Sunset Strip with four brothers and the rock n roll family. The Same Old Situation never gets old; it’s a very ‘feel good’ moment.

(Photo by Dave Gabbard)

(Photo by Dave Gabbard)

Our first chance to shout at the devil came with Looks That Kill with the tempting hot silhouette of an unnamed lady giving the crowd an early kick start. Close your eyes, its 1981 again, On With The Show! Too fast, Too Fast For Love, do you remember? Smokin ain’t allowed in school but there’s plenty in the boys room. We got an older one they hadn’t played in a while. The girls screamed as Tommy hit the first beats to Without You as dreamy, emotional confetti poured from the ceiling. Mick hit a few off notes in the solo, but it’s forgivable.

This city full of plastic angels will seduce you, welcome to Los Angeles. It’s a dirty job but they all did it after Sixx met Tommy, drunk in leopard pants at the Starwood and Mick through a fucking insane guitar player ad in The Recycler. One long persuaded audition later after singing Cheap Trick at The Starwood Vince joined and ‘a motley looking crew’ was born, drenched in Lowenbrau.

They’re no strangers to anarchy, debauchery or heresy, in the US, UK or elsewhere.  Vince asked where all the young people were at. You’re Too Young To Fall In Love. Darkness eclipsed the stage as a symbolic, subliminally faded pentagram appeared on screen. The flames of hell bellowed on stage and Nikki’s flame thrower bass shot out balled up infernos singeing the air. Come now children of the beast be strong and Shout At The Devil. Don’t Go Away Mad, Just Go Away.

Mick played a truly mind-bending solo of Pink Floyd meets Van Halen fit for a mad scientist or a vintage horror movie villain. Live Wire, the very origin of the band, was another historical feel good moment followed by the good doctor’s Frankenstein remedy. The national anthem for all the lovely ladies of the CrueNation started as the bikes revved up for the cruise. Mick kick-started the finale with the adrenaline fueled riff and an extreme assault of fire, steam and explosions as all other on stage nasty’s exploded and boomed.

Tranquil music played at the Motley’s traveled to mid-pavilion, performing Home Sweet Home on the small, rising makeshift stage.

Then all good things Motley that were bad did end, for Southern Ohio/Northern Kentucky. No matter when they finally call it quits their legend and legacy in rock n roll, metal, LA and music will live forever. Vince capped the night off best “We’re gonna miss you fuckers, man. Thank you, goodnight.”

Photography by Dave Gabbard.

 

REVIEW: The Big Four of Dayton Release Quadruple CD’s at Courtyard Lounge

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(photo by Mike Ritchie)

(photo by Mike Ritchie)

It wasn’t a stadium or in Sofia, Bulgaria but any of the five bands that played Saturday July 5th could be considered in Dayton’s big thrash four debate. The crowd turned out in droves, jamming the cramped but cozy ‘by metal standards’ space of the Courtyard Lounge into a shroud of die hard, shoulder to shoulder black t-shirts sweating, screaming, yelling along, to Dayton’s ‘metal uniformed’ finest , spilling out into the outside lobby. It was a four band quadruple CD release party and birthday bash for a local guitar hero. Foul Stench’s Blood Orgy, Forces of Nature’s Dark Ages, Eooonmai’s The Witches Hammer and Engine of Chaos’  Uncover the Bones each had new tunes to indulge in while The Reefer Hut came to help kick ass and Horlet played a show off their The Keys of Life and Death release.

Reefer Hut (photo by Mike Ritchie)

Reefer Hut (photo by Mike Ritchie)

The first collaborative-morphing/heavy mixing of Death Rot Productions and Zeently Productions brought a who’s who of the local scene, along with dedicated fans from afar and some from parts unknown in attendance including Shadows in the Hourglass, Killed By Art, Jebenezzer Law, local artist Sam Holliday who designed the cover art for Forces of Nature’s new CD, their reissues along with their new banner and Engine of Chaos’s new release. SITH’s Zack Ryan was also responsible for the blasphemous cover art on The Witches Hammer.  Though his music wasn’t performed live, a few choice tracks between sets from TWH were hell spawned out in God defying black metal manor, giving all a loud satanic sample of the battle of inquisition between God, Satan and the witches. Enoonmai’s captured a dark, melodious feast of death, murder and sound torture fit for a midnight graveyard cult ceremony as the symphony of horror movie effects and the walking dead play.

The musical reefer was burning heavy as the thrashing began with Tomorrow is Calling. The personal/professional sacrifices one must make to the dedication and passion of music is a true tale of abuse as the military tank pummeling guitars shovel it out with Pantera sludge and blast beat breakdowns. Inner Pride’s an oldie, but goodie. No Turning Back was written when Adam Baumann was a bit skinnier with plenty of guitar hammer chugging and drum buildup. The Sepultura flavor of Moving Forward was about recovering from the bad times and getting on with it.

Foul Stench (photo by Mike Ritchie)

Foul Stench (photo by Mike Ritchie)

Dayton’s favorite Horlet’s of Nile meets King Diamond with Iron Maiden’s 666 foot flight above brought the keyboard ambiance along with tunes from their latest offering. From the Clouds started it off and Annabelle’s Curse was played in birthday dedication to one of the pillars of Dayton’s metal foundation Marc Godsey. Siren’s rang out, it’s still f’n hot but fall will soon bring the Signs of Winter and The Awakening followed by crowd pleaser Wings of Ariel, dedicated to a hardcore fan that made the trek from Pennsylvania to attend.

Foul Stench ripped open a set full of blasphemous odes to Dayton’s darker dwellers and places unspoken of, playing a diverse selection from their career catalogue featuring Orgy opener Razor Fist, a two minute slice and dice gusher splattering of serial killer friendly crimson to make Dexter smile with ‘more’ than a single drop of blood. We got a Fake rip and tear off The Bone, punk speed and style.  The saw bone guitars of The Gash made way for the deep demon throated Blood Orgy as it slowly chugged, writhing along with a dirty, puritanical misanthropic motion and lust. They rung the five minute doorbell To Hell, recorded behind closed doors. We got Fukd by Eternal Rot and over ten tastes of blackened growled sonic thrash and death flavored assault. Along with the lung caterwauling and pig squealing growl of the King was the mobile and thrashing out Eric Nye with the crowd demanding an encore.

Forces of Nature are legendary in D-town, having played pretty much everywhere and continue to kick ass supporting the scene. They opened sending some love to the Dimebag-Nation with some Domination.  Midnight came early with the evil witching sounds of Tate Moore’s unearthly screeching dark hole. A midsummer’s night tune came for those souls graveyard enchanted or so inclined. The Apocalypse came with twisting down the spine guitar riffs and just a generally beautiful uncomfortable feeling.  The digging, devastating pummel of Magnus Lee played the picture of an evil hooded spell-caster’s hands hovering over the dark cauldron of mirk and mire. Rotten Tooth’s brutal, thudding pace proved a dentist’s drill is more bad-ass than a doctor’s scalpel. Mary Hates Herself but black metal clad Enoonmai hated her more with a brutal shredding.

A new banner debuted on Forest of Corpses. A.S.O.T’s a musical picture of the carnage and violence the old boob tube shows, while most of America watches the Kardashians and ‘reality’ shows. With high, hypnotizing flames illuminating some yummy looking icing Birthday Boy Marc was offered his ceremonial/sacrificial cake of sweet sin.

Engines of Chaos (photo by Mike Ritchie)

Engines of Chaos (photo by Mike Ritchie)

Engine Of Chaos came out with something a bit more or completely different. A set full of Black Sabbathy, rocky metal tunes with funky grooves from their new Uncover the Bones release along with some older stuff. Them ‘Bones’ got started with the CD title track as Scott Toops outshined on the opening of Change. The engine revs and roars as chaos ensued with Toops bringing out the holy rasping Halford. The slower, melodic Unknown slithered like a sweet serpentine alongside Scott’s snake leathered pipes.  The guitar notes rippled the intrepid waters of the blues submerged with the Frogs in the Tug River as he blended the whisky-moonshine strong embrace of Dio, Udo and Dickinson. Nick Wheelers bass brought out the 7 Demons and told Lies of all-holy/hypocritical dictators and leaders.  Toops and co finished with the Chris Cornel/Wylde wicked cry of the Deceiver.

It was a night of horns up plusses and gains for the local metal community showing the collective collaboration and unity of the scene. When everyone works together, we make s**t happen! The Dayton metal scene added another great stage to its list of venues that appreciate good, heavy, loud music along with the ews of Nielson Hixon reopening one of Dayton’s longtime signature staples, the newly renamed Oddbody’s.

Eat me, I’m Celtic !

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Here’s to the 2014 Dayton Celtic Fest

Tonight, tomorrow and Sunday.. there is an Irish Food Adventure brewing on the streets of Dayton.  It is the wildly popular Dayton Celtic Festival.  Who better to tell you lasses and lads about it than The Food Adventure Crew?

 

Listen up as we give a tip of our cap to the festival for the good old Emerald Isle!

HERE’S THE SKINNY:

— It is a street party celebrating Irish Heritage at RIVERSCAPE METRO PARK with dancing, music, beer and FOOD ! Admission is FREE

—FESTIVAL GOES FROM FRIDAY – SUNDAY !

  • Friday – 6:30pm – 10:30pm
  • Saturday – Noon – 10:30pm
  • Sunday – Noon – 5:30pm

— Want directions??? CLICK HERE !

 

A Cheeky Meat Pie is in your future

What to eat??  This isn’t our first blarney stone, so take our advice or we will hit you in the head with a Shillelagh.

So by “faith and begorrah,” here are our patented “must eats” !!

 

MUST EATS:

— REUBEN SANDWICH FROM CLADDAGH’s BOOTH: We love a good Reuben, and we have found a delicious one here!  Served freshly grilled and hot, this is a big sandwich, that will fill you up.

— CHEEKY MEAT PIES:  Whether you order the Distinguished Darby version, or another type, these pies are fantastic and perfect for “on the go eating.”  Watch out!  They are hot inside!  Australian pies at an Irish Festival??  You betcha !

— IRISH BEER:  There are the three types we recommentd – the lighter beer (HARP LAGER), the red beer (SMITHWICK’S), and the dark beer (GUINNESS).  Or make Ireland proud. and go through all the colors of the rainbow, they say there is a pot of gold at the end….

— FISH AND CHIPS: High demand on these might mean a line, but it ensures you get a piping hot, fresh out of the fryer, batch of fish and chips.  Whether you do tartar or vinegar, you will be glad you did some pub style sea fare.

— GRILLED SALMON SANDWICH from BROCK MASTERSONS: Looking for a lighter treat?  Try one of these babies with or without a bun.  The secret is the dill sauce topping, so ask for extra.  Honorable mention goes to their crab cakes, which almost made the list. This is a Food Adventure all time fave.

 

Fish and Chips – Must Eats at the Celtic Festival

An important tip.. there is a dish called haggis at the festival, which traditionally is chopped up liver served inside pig intestines… we tried it last year.   Once was enough for us.  For some of you purists with adventurous pallets, go for it.

Hopefully we pointed you in the right direction for a weekend Food Adventure.

There is one more wee bit of advice we have about the festival, and that is make sure you stop in and listen to the music under the big white Riverscape tents.  It makes the food and beer taste better too.  Musical acts are flown in from Ireland for this event, so take advantage of it.

See you at the festival, please say “hi” to The Food Adventure Crew, and we will try to wave or shake hands while carrying beer and festival food.

Check out our gallery below for some killer food pics from Celtic Fests of yesteryear!
Want more from these leprechauns? Then like Food Adventures on Facebook by CLICKING HERE !

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“Silent” and Loud: The Gunshy Comes To Dayton

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The open road.

Miles and miles of paved cement that stretches and bends at every turn and direction of the United States.  When you  are driving on the open road, you take in the sweeping land that is untouched.  You take in the wide-ranging view of  countryside that surrounds all around you.  You roll down the windows and move one of your hands outside.  You  allow the blowing wind to sway your hand all around.  You turn up the radio to the highest volume, proceed to blare  your favorite song.  The people that accompany you on this journey more important to you than you will ever know.

For Matt Arbogast, the open road is therapeutic.  It allows him to escape.  Being on the open road helps take care of  those voids that are needing to be filled.  “I have told my wife every couple of months, I need to get out and get on the  road,” Arbogast mentions during a recent phone conversation.  “She understands (laughter).”

Arbogast too many is known to be part of the moniker The Gunshy, and he will be stopping by Dayton to play Wednesday night at the Canal Public House alongside Mean Mug, The Florals, Meridian, and Joe Anderl.

The Gunshy released their latest album, Silent Songs, back in September 2013.  The album highlights some of Arborgast’s best work to date. His tone when singing is coarse and gritty.  “The Independent” is a bombastic opener that sets the tone with roaring strings.  The heavy-toned “Getting High In Denver” features some of remarkable and compelling storytelling.  Silent Songs emphasizes throughout the album that you need to keep living your life to the fullest and love every moment.

Arbogast grew up in Lancaster, Pennsylvania-right in the heart of Amish Country.  10 years ago, Arbogast started to notice that his music playing in town has fast approaching an expiration date, and decided to move to Chicago.  “Lancaster was a great city,” he explains.  “I just wanted to go somewhere else and tryout my music there.  Have a chance at least.  I figured Chicago would be a great place to do so.”  Chicago has treated him well since then.  For starters, he met his wife at a show in town.  He has made close friends that tour and also live in the city.  He also has built a recording studio in Logan Square three years ago called 8AM.

8AM not only has the recording studio, but also the attic is used for acoustic shows and yoga classes.  “I wanted to create a space that people could record and feel relaxed,” Arborgast mentions.  “I wanted the studio to be a fun place.”  Arborgast quickly mentioned afterwards that the title of the studio is 8AM for one main reason.  “I want you to come in and get to work.  No screwing around.  We start early around here.”  Establishing 8AM in some ways even helped Arborgast become passionate about music again.  At one point-the touring became a hassle for Arborgast.  “I got a little burnt out on touring. While tours were slowly starting to get better, it can be tough playing to empty rooms most nights,” Arborgast explained.  The mentality of touring has changed now.  As mentioned earlier, Arborgast has developed the need and drive to hit the road with the band, and at times-solo.

The future is bright for Arborgast.  He plans to start recording other artists in his studio, and releasing records for other people/bands next year.  As far as new music from The Gunshy-“I want to make a simple record next,” Arborgast reveals.  “Silent Songs has so much happening.  I just threw a ton of different instruments into the album that I had laying around.  For the next album, I just want to strip it down and get back to basics.  Just make it simple.”

For now, the open road is calling.  And The Gunshy have responded.

The Gunshy, alongside Mean Mug, The Florals, Meridian, and Joe Anderl will be performing at Canal Public House Wednesday night.  8:30pm. $5 cover.

To hear more from The Gunshy, click onto http://thegunshy.bandcamp.com/.

Local Bands To Reload The 90s Friday Night At Gilly’s

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10537436_732671790124137_5601893437841302519_nFriday, July 25th marks the fourth annual 90s Reloaded tribute show, the first time for this particular event, at Gilly’s in downtown Dayton.  The show will feature seven local bands performing sets that include both 90s favorites and their own original material, as well as five acoustic performers doing an “in the round” style set, belly dancing, DJ sets and more.

“The 90s is my second favorite musical decade,” says presenter Louie Wood Jr.. “I grew up on five albums: Emf Schubert’s Dip, Jesus Jones’ Doubt, Primitive Radio Gods’ Rocket, Kristen Barry’s The Beginning Is The Middle Is The End and U2’s Achtung Baby. I am a big fan of post punk, electronica, techno, alternative and EDM.”

90s Reloaded is one of several signature shows Wood produces throughout the year including 80s Rewind, which is heading into its sixth year, and Dayton Does Dayton, which will see its fifth Gem City outing in January.

“I think one of the very good things about these shows is that they sometimes present a challenge to musicians.  And a very worthy challenge,” Wood says.  “I saw this happen from the very start at the 2009 Dayton Dirt Collective Smiths/Morrissey tribute we threw, my very first tribute show.  Just a month after that it was a tribute to the Cure, which was just as interesting and fun as the Smiths/Morrissey tribute.  Bands get to succeed out of their element at these shows in front of new people.  This is a good thing for Dayton.”

The seven bands on Friday night’s bill are all original and will combine their own material with the 90s songs they’ve chosen to cover.

“I let all the bands/musicians choose their cover songs and then ask them to perform their best originals.  This of course is so that the bands get the most out of performing at the shows, and so they connect to the audience better.”

This year’s lineup features both new-to-the-scene and well-established acts with a range of styles and ages represented.

“Having lots of styles of music at these tribute show makes them special and a lot of fun, I think it really helps them succeed,” says Wood.  “The younger bands that participate in the shows are always very enthusiastic about performing and always put on a good presentation.  They are also always very talented; it always creates a cool energy at the beginning of the show to get the party started.”

In addition to the live music, Bronwen Dancer and her regional belly dancing troupe will perform a set as part of the evening’s festivities and Wood will DJ 90s music between sets.

“I like to do fun things while people are waiting for the bands to perform like play TV movie these songs and jingles from that era.  People really get a kick out of it.”

HOW TO GO:

Meghna Mahambrey will perform as part of 90s Reloaded

Meghna Mahambrey will perform as part of 90s Reloaded

90s Reloaded
Friday, July 25th at 7:30PM
at Gilly’s, 132 S. Jefferson St.
$7 at the door

Lineup includes:
Crazy Damn Good
Cinder Home
Plush
Able Danger
Queen of Hearts
Moroni Lane
Reyna Spears
Meghna Mahambrey
Katherine Mullins
Lost Cause
John Mullen
Daniel White aka Barefoot Dan
a 30 minute belly dance presentation by: Bronwen Dancer and her regional belly dancing troupe

Get the Blues at the 29th Annual Dayton Blues Festival

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Free summer entertainment returns to downtown Dayton’s Dave Hall Plaza (Fourth and Jefferson Streets) on Sunday, July 20, as Recreation and Youth Services presents the 29th annual Dayton Blues Festival, with the finest in local and regional blues from 1:00 p.m. to 9:00 p.m.The line-up includes:

  • Joe & Jack Waters – Dayton
  • The Wright Brothers Band – Dayton
  • Back Talk Blues Band, featuring Gary ‘Guitar’ Williams – Dayton
  • The Mojo Kings – Columbus
  • Mark May Band, with the Soul Horns – Columbus
  • Cheryl Renee Project – Cincinnati
  • Joey Gilmore ‘The Blues Legend’ – Ft. Lauderdale, Florida
  • Emcee – Earl “South Side” Hayes

In addition to great blues, there will be food and merchandise vendors, and Heidelberg will offer premium beers. Concertgoers are welcome to bring lawn chairs or blankets.  However, shade tents, coolers, pets, outside food and drinks are not permitted.  The City of Dayton’s Take Back the Tap Trailer will offer free water (guests are encouraged to bring their own water cup or bottles).

The Dayton Blues Festival is the second of a three-festival Downtown Summer Music Series presented by the Dayton Department of Recreation and Youth Services, and is supported by Heidelberg Distributing, the Downtown Dayton Partnership, the Crowne Plaza Hotel, WROU Radio, and Martin Romie Talent.  The Downtown Summer Music Series will continue with the Dayton Reggae Festival on August 31, also at Dave Hall Plaza and with free admission.