This concert brings to a close the SSO’s first-ever Mozart Festival; a ten-day celebration of the music of Wolfgang Amadeus Mozart, one of the most creative minds in history. During the summer of 1788, Mozart enjoyed a flurry of compositional activity, producing over a dozen new works, including his three final symphonies. But this composer who always created with a specific occasion in mind wrote these monumental works with no apparent cause. Each one unique in sound, structure, and style, they are marvels of invention, and very human statements. Perhaps they are the result of an inner compulsion to create, somehow knowing that the end of his life was near.
Dayton Music
REVIEW: Operation: Giving Back Christmas Gets Pink Velvet Krushed
PInk Velvet Krush (photo by Mike Ritchie)
On Saturday December 13th The Old Crow Bar in Middletown hosted a special benefit for two families of the Heavy Metal Church of Christ in need over the holiday season. All bands, contributors and supporters volunteered their time and talents (many driving a distance) to help out making sure the families had necessities and the combined seven children, infant to mid-teen, had goodies and toys from Santa under the tree. The Skull Dollz also made an appearance for photo ops and other assorted good natured skullduggery. A donation bin was also previously set up to collect items all of which along with show proceeds will be given to the family on the 23rd.
The owners and staff of the Old Crow were generous with the event, assisting organizer Teri Spence with the offered buffet and setup. Spence also expressed sincere gratitude to Steven Van Skoyck and Tiffany Zulock Van Skoyck, Jessica Tinch, Allen Phyllis, Ann Mason, Ericka McGowan and Michael Anspach along with Rachel Smith, Chrystal Kay, Angie Johnson Castle and Samantha Noble Baumgartner from the Dollz for their hard work and assistance. Tim Guilfoyle from Queen City Drums and Wildman Walker were also in attendance to help support.
Raffled items included numerous gift cards from PF Chang’s, First Watch Restaurant, Frickers, Godfathers Pizza, Chipotle, Rose Retro Rock Shop, assorted metal CD’s, jewelry custom made by Spence and stem wear from BJ’s Brewhouse. The two most popular items of the night were autographed memorabilia/merch personally donated from Straight Line Stitch and Jerry Only of The Misfits.
Cody Ridenour opened with a one man acoustic jam, sharing the spotlight with his lovely wife Chelsea a few songs in. Almost all originals from the Germantown by way of St. Petersburg Florida solo guitarist. Starting with original “Today We Pray” followed by “How Long”, he played and sang with passion pulling unexpected power out of the ‘unplugged’ strings. Thinking ahead he one-upped the crowd and played some Skynyrd with the “Simple Man”. He finished with the impassioned “Cyanide” (You’ve Wrecked Me) ending with a co-written duet with his wife on “Broken Hearted.”
Casey and the Nobodies were next, as the one man jam trend continued. Known for acoustic blues, rock and classic country Casey took over the stage starting with original “Knock on My Door” followed by Alice’s sweet song of war and the “Rooster”. Another of Casey’s originals said “Gotta Get Out” and Chris Isaak said it was a “Wicked Game” to play, to make the video feel that way. The king of pop comes clean about “Billie Jean” sort of, she’s just a girl, alas we’ll never know if he’s the father. The Black Crows still talk to angels and Neil Young is ageless and timeless rocking his crazy horse in the free world.
All the Children made the 3 ½ hour drive from Morehead, KY to help the cause. Playing a set of original alternative rock with a few covers they jammed out “Free Slave”. Alex Clare got a shout out on “Too Close” then made a statement with “We Are One”, the first tune played off their demo. There’s a “Man Overboard” as water engulfs the lungs played with early Nirvana attitude, before the baby went swimming. EP opener “Battle Cry” was next followed by the catchy bounce of “Prepare for War”. Alternative Aussies Silver Chair got some rare love on the lesser known “Pure Massacre” off Frogstomp. They finished with the honkey-tonked electric sound of “Airlock” with a touch of a space odyssey.
Rocky Candy (photo by Mike Ritchie)
Cincinnati’s Shadow of Shepherd is a three brother alternative rock trio. Opening with a one-two “alt” punch they decided to “Send the Pain Below” with Chevelle and Wonder What’s Next opener “Family System”. They switched genre’s slightly with “Somewhere in the Sky” by Kutless. They played original “Fight” then switched feet with Switchfoot on “Meant to Live”. They let their light “Shine” down with some Collective Soul finishing with original “I am Alive”.
All right ladies pay attention and guys, listen up. Rock Candy was here and they took all the good little boys to school. The all- female trio from Cincinnati kicked out some sweet tunes starting right up your alley with one of the classiest lady rebels of early 80’s rock and 2015 RNR Hall of Fame Inductee Miss Joan Jett. Yeah, we’ve all been there cause I “Hate Myself for Loving You”. They pulled out a youthful Sammy Hagar and some of his “Rock Candy”, not in a three lock box. They went old 80’s LA back to the Hollywood Sunset with a young, hungry Crue that’s “Too Fast for Love.” He toured with them in ’83 but for tonight Ozzy’s riding solo on the “Crazy Train”. They got humble playing the “Fool for a Pretty Face”, we’ve all been hurt by love. They finished with an all-girl original “Calling all Girls”.
Coming from Milford Ohio, Dear Agony “smoked” the stage playing a set of originals and covers. Only being together as a band for a couple months they played with experience from their previous stint as Arcadia Backfire. They were kinda like “Whatever” with Godsmack, shared their “Epiphany” with Staind and staged an electric sit down “to get to know everyone’ like “Nothing Else Matters” according to Hetfield. Two of the five originals played included the smooth rocking “Face the Day” and the more emotionally charged “Survive”.
Clockwork Soul (photo by Mike Ritchie)
Dayton’s new and improved for the next generation ClockWork Soul was next with the killer eyes and growl of Mystie Rose. One could and probably would think to see them all on stage that they’re a bit “Out There”. Rose speaks the voice of experience about bad relationships. Make sure the person shares the same feelings you do or you’re living in a “Masquerade”. They play with the BulletBoys and declare, they’ll come back to you “When Pigs Fly”.
Pink Velvet Krush is a modern day throwback to the decadent 80’s glam and sleaze under the blazing LA sunset. Reminiscent of Faster Pussycat and LA Guns, with former members of Bullet Boys, Pretty Boy Floyd, Britney Fox, Steelheart, Dust N’ Bones and Vaudeville, it’s a mass super-group of hair-sprayed experience still swimming in the Aqua Net. They can talk about the Head Bangers Ball days cause they lived it, bringing an 80’s arena show style and delivery to the club stage in the vein of Motley Crue with guitar mannerisms of Tipton and Downing.
Doug Savage keeps the frontman flame alive with everything we fondly remember from the days of decadence with a finger point or raised fist. The Krush started with “Nothin’ to Lose”. Metallica said “Misery Loves Company” on the black album but PVK’s saying it now. They slowed it down a little bringing the symbolic lighters up feeding their lonesome, twisted “Obsession”. The dirty blues blasted rocker “F.S.O.A” (Fifty Shades of Anything) chugged along, accompanied by the more serious, life on the road retro feel of “You Take My Life”. Ladies, Savage and the boys wanna make you “Scream”!
That good ole’ damn “Ball and Chain” came out swinging, kicking out the blues and they got two bullets, “One Shot” left to shoot to thrill. They ended the originals with EP title track “Break These Chains”, then asked if anybody was in the mood for some classic ‘hair’ metal.
They decided to break all the rules at the Girlschool with Britney Fox, then got Smooth Up in Ya with the BulletBoys because there were no Congo drums for St. Christopher. They finished with that lovely lady who just can’t go living after midnight as she cries “Somebody Save Me”.
Buffalo Wabs & The Price Hill Hustle In Town Friday
Buffalo Wabs & The Price Hill Hustle is a Cincinnati based, 4 piece Americana/Folk band that blends the tradition of heroes like Woody Guthrie and Mississippi John Hurt w/ contemporary flavor. In its short existence, the band has grown its fan base by getting out in front of folks. Whether it’s the great variety of local shows or their regional touring, they always bring high energy onto every stage on which they perform.
Buffalo Wabs (aka Matt Wabnitz) spearheads this group, playing guitar and taking most of the vocal duties. Casey Campbell,Ian Mathieu, and Scott Risner comprise The Price Hill Hustle side of the equation. The group is deeply rooted in the tradition of Old Time pioneers; however, the energy they bring to a live performance could burn down the rowdiest honky-tonk in town.
REVIEW: Bobaflex Rocks Oddbody’s
They avoided or skipped the chaos of Black Friday in Dayton this year but West Virginia’s hardest working band Bobaflex brought the diesel fumed rock as only they could as the black leathered bad men hit the Dayton stage once again on Saturday December 5th.
Desalitt (photo by Mike Ritchie)
Locals Desalitt brought a unique blend of grunge, punk and metal, and the long haired/dreadlocked blokes from across the sea October Rage brought their version of hard rock bordering on metal to the heartland.
Created in 2008 in Xenia, Desalitt plays rock with a grungy metal twist. They played a few originals with heavy covers mixed in. The dual vocals of the leather and spiked clad, green haired, mic fisted in your face Shug played a nice opposite to the ‘calm, long sleeved but not flannel, and collected’ guitar playing “more serious” Greg Crawford. A ten song set of originals and covers included a mix and match of punk, rock and grunge as the “Bodies” hit the floor. They had a little bit of rage to get out before the Aussie’s had their turn with “Bulls on Parade.” It was time to Take a Look in the Mirror with Korn “Right Now.” Original “Broken Strings” carried a melancholy atmospheric mood in the guitars with a mix of Scott Stapp and Scott Weiland vocals. “Insane” had a swampy guitar attitude digging deep into the Sabbath blues. “Want Me to Be” had Eddie Vedder invading on vocals with Pearl Jam’s angst riddled creed behind him.
Dubbed one of the “hardest working bands in rock” on their seven month USA Outrage Tour racking up over 70,000 miles and 120 shows traveling across the country spreading their October Rage to America, the brother’s and co. have brought their metal tinged Aussie rock to Yankee ears.
Formed by brothers Nick (vocals, guitar) and William (bass) Roberts in late 2008, they’re from the Central Coast of New South Wales, Australia and quickly gained notoriety supporting Bon Jovi on their Circle Tour at sold out shows in Sydney.
With their 2011 debut Outrage and this year’s Fallout, Dust and Guns release under their belts they’ve played with Steel Panther, Saliva, Sevendust among others.
Bobaflex (photo by Mike Ritchie)
The rage began with “Wayside” with Nick and William’s hair and locks flying around the stage like Rob Zombie whiplashing the post at a roadhouse back porch witch burning. “Valkyrie” hits a little harder with some dirt under the wheel riding by with rebel thunder. Beware of the “White Walkers,” you can feel them “Coming in the Air Tonight.” They add in a little acoustic charm with the rock on “Silver Line” floating close to Skillet territory and ‘dangerously’ close to Nickelback. They turn the rock back up on “Set You Free” finishing with the slow bluesy sing along “Reign of Fire”, adding a bit of Skynyrd to the mid-section jam, prompting a lighter tribute, once thought extinct in the era of the cell phone glow.
With hell in their hearts the men in leather and black started with “Low Life.” It was George Thorogood on steroids as they cruised down the “Chemical Valley” screaming loud and proud before crashing and burning with style with the help of some sweet liquid sin. Charlatan’s deadly venom made its first appearance with the loving neck caress of “Strangle You.” The camera does strange things to the “Pretty Little Things” next door. Sweet and innocent turned addicted media queen. From all of us to you, with true sincerity, “I’m Glad you’re Dead.” Can’t you hear me laughing as I dance on your grave? Break out the bubbly.
The life of the trailer park says come back to me but the pleasures and excess of touring say never. It’s so hard to resist the seductive sharp kiss of the “Vampire.” She’s a blood boiler, life sucker. Exorcise her demons with the back of your hand, “Bad Man.” Simon and Garfunkel along with Depeche Mode enjoy “The Sound of Silence.” Bringing a bit of the 60’s hippie folk vibe rocked up with some guitar rev.
They’re losing their minds on motor fuel, decibels and live octane doing it on stage their way. Don’t fall in love and get hurt, they just want a meaningful one night romance, enough time for a “Rogue” dance. They brought the hands up with the ultimate West Virginian rebel rouser anthem. Members of Desalitt and October Rage came out to jam the way any road weathered rock star wants to go out. Die with your boots on so they’ll “Bury Me with My Guns On.” Hey! Sending the crowd home happy, they encored with an attitude on “Better than Me.”
Remembering Tim Taylor and Jeremy Frederick
Written by Art Jipson & Shelly Hulce
Dayton, Ohio-
This Saturday the Dayton music community remembers several members of our music family. Jeremy Frederick Presents: North Of Nowhere South brings together several exciting bands to celebrate the life and music of Jeremy Frederick.
The Dayton music community has long had a unique “band of brothers” landscape as far back as anyone can remember. Even in the 1970’s when Dayton funk was taking the world by storm, it was very much a family affair here on the Dayton home front. It might be a Midwest thing, but the social bond between musicians in this town of ours has always seemed to transcend the average notion of a “scene.” In the James Greer book, Guided by Voices: A Brief History Twenty-one Years of Hunting Accidents in the Forests of Rock and Roll, there is a Dayton music family tree. While that book will be 10 years old next month, the truth of the bonds that bind all of us remain eternal. A lot has happened to the music family tree in 10 years (and in Dayton years, that’s a lot longer than 10!) The one element that seems unaffected by time has been the bonds of solidarity, relationships, and family.
Tim!
The ripples of Tim Taylor’s loss can still be felt by music fans, even 17 years later. Those who were closest to the epicenter of that tragedy have a deep survivor’s bond. A wound filled of memories, music, and possibilities. Many of Taylor’s closest friends and band mates resided at the infamous Rock and Roll Bed and Breakfast, 1317 N. Main St. in Dayton and are still shaped by the loss of Tim. As deeply as when he passed, the community at large still has that day etched in their hearts, those in Taylor’s social and musical circle had their lives forever altered.
Another loss equally felt by all of us, was the loss of Jeremy Frederick. Every bit the talented and outlandish a personality as Tim Taylor, Jeremy was a pillar in the music community we call family. Jeremy carried the grief of a brother. Taylor and Frederick were, and still are, twin flames – creating remarkable music in amazing bands that dazzled the Dayton community and beyond. At times, their light was bigger than the room. It’s obvious those flames have never dimmed. The thought of Taylor and Fredericks as surviving brothers in arms joining together in music celebration in one place at one time is sure to create a light that’s bigger than the room itself.
As John Schmersal noted about the musical celebration happening on Saturday: “I happened to be at my folks for Thanksgiving and after to visit so, I wanted to take part. We discussed doing songs from the high school band that Jeremy, Tyler, and I had called Sunken Giraffe. We weren’t able to get the bass player Brian involved and from there it turned into doing a Brainiac thing, since this year the idea was opened to not only celebrating Jeremy’s music but, other local musician’s who had passed. It has never occurred to any of us to reform the band because it is simply not Brainiac without Tim Taylor. This is about celebrating the music of our friends with our friends in the community where it came out from.”
Jeremy!
As anyone who has loved deeply can tell you, the most incredible and humbling thing you’ll ever experience is someone caring for your child. Jeremy loved his daughter like he loved music. A lot of folks in our community remember Jeremy’s joy the day Izzy was born. This annual birthday party for Jeremy Frederick is more than an excuse to keep the fun and the memories going. This annual event also serves in tending to the future. The proceeds from the show go to her education fund. Jeremy and his mother, Jackie, were good examples of higher education to Izzy with their long history of attendance and employment at Wright State University. Jeremy’s personal legacy lives on in the stories of his WSU professors (If you knew Jeremy, let that sink in for a few minutes…).
Always at the forefront of Jeremy’s education and band life was his mother Jackie. This lady should be considered for sainthood. She once said that it was quite normal to awake in the middle of the night to find Jeremy and his band mates in women’s clothing. They were usually her clothes. Jackie cheerfully served as band roadie, chauffer, cook, secretary, you name it. She is very much a guest of honor during the annual benefit show. Jeremy’s father, Butch Frederick, was in ill health but attended the 2013 show.
Butch recently passed away and we send special thoughts and prayers to the Frederick family this holiday season.
Memories such as these are remarkable gifts. And nothing connects memory, loss, and the celebration of life as music. This weekend we have a very rare and special reminder of what music can – and should mean – to us as members of the Dayton community who have lost such remarkable people. The return of We’ll Eat Anything this Saturday night at Blind Bob’s is nothing short of the appropriate celebration of life and music that Jeremy and Tim’s flames require. For you see, We’ll Eat Anything represents not just an opportunity to celebrate lives lost far far too soon but connect us all to a strand of Dayton music that hails from one of the finest Dayton bands, Brainiac.
The late great band known as Brainiac was born in January 1992 with an initial lineup that included Tim Taylor on lead vocals, guitar, keyboards, and synthesizers, bassist Juan Monasterio known in the beginning as “Monostereo”, guitarist Michelle Bodine and percussionist Tyler Trent. On March 12th, the band played an legendary first show at Wright State University’s Cafeteria, under the name We’ll Eat Anything. The band that would become known as Brainiac with the now-classic logo – debuted a short time later: 3RA1N1AC.
Brainiac
The influence of Brainiac on local music cannot be overstated. So many local bands – Oh Condor, Northwest Ordinance, Toads and Mice and so many others were influenced by the sound of Brainiac yet, it is hard to describe Brainiac to the uninitiated. The music was post-punk inspired art noise before such a term had any meaning other than that of John Cage and his musical successors such as Sonic Youth (in New York), Husker Du (from Minneapolis), Blood Brothers (from Seattle), Big Black (started in Evanston, Illinois) to name a few. The music of Brainiac was a joyous clash of sound. The songs were a result of barely controlled alienation fueling the use of discordant guitars playing over a noise-rock combination of percussion, booming bass, and varied aural accompaniment of looping synth elements, beats, and sounds. The use of the synth as an equally aggressive instrument along with the guitars and bass combined expected and unexpected components to the music. In fact, many of the most exciting elements of the early Brainiac sound were the brilliant clash of different tuned guitars, bass, and synth that fused experiments of alternative sound collage, the most liberating elements of DIY punk rock aesthetic, and unique deconstruction of the rock and roll form. What Brainiac did so well – and light years ahead of their peers – was the creation of music that reinvigorated the rock and roll paradigm into directions of heat, light, sound, feeling, body, and musical escape that merged diverse voices and noise, art, sweat, and love and community into a solidarity of music.
Brainiac shows were collections of music lovers, adventurers, neighbors, and friends who were merged into a family through their shared experience and interactions at the performance. The intensity of the vocals – often accompanied with sweaty cathartic movement on stage – were remarkable collective episodes of community. Those who attended the early shows were thrown into a state of near euphoric collective almost tribal activity. You danced. You danced hard. And then you moved around some more.
As the band released a series of singles, the interest in this unique sound grew. The singles sold extremely well in the Dayton and surrounding areas. No other band in the area was fusing indie, post-punk and noise rock in this fashion. The band’s debut was released on the indie Grass, which was distributed by major label BMG Records in 1993. The debut Smack Bunny Baby produced by Girls against Boys Eli Janney was very well received both in the Dayton community that sheltered the developing band and garnered support nationally. The band’s intense performances only increased after the release of their first record. While on a regional tour the band picked up fans from each stop. In 1994, the band released its sophomore record, Bonsai Superstar. The record attracted even more attention than the first from recognized national critics and music fans alike. Pitchfork Magazine has called the record one of the best albums of the 90s. Bodine had left the band shortly after the release of Bonsai Superstar to be replaced by guitarist, multi-instrumentalist John Schmersal.
While supporting Bonsai Superstar, Brainiac’s influence continued to attract the attention of music fans, critics, and other artists. In 1995, Brainiac played on the Lollapalooza side stage and recorded four songs for the venerable Peel Sessions in the UK. The band was courted by Chicago-based independent label Touch and Go and released Internationale, produced by fellow Daytonian Kim Deal (The Pixies and The Breeders). This record continued their uncompromising approach to sound textures while still maintaining the intensity of post-punk, alternative rock, and indie.
Brainiac’s third album came out in 1996, Hissing Prigs in Static Coutre was another record released on the well-respected Touch & Go label. This album also increased the national stature of this local band. The album sold very well for Touch & Go and was listed as one of their best sellers that year. The band released what many consider their finest record a year later Electro Shock for President in 1997. This record has been cited by many artists as an example of what art noise rock can accomplish. Artists as diverse as Trent Reznor (Nine Inch Nails) and Chris Walla (Death Cab for Cutie) cited Brainiac as an influence on their music. Brainiac generated serious attention as the live act to see that resulted in them opening tours for such diverse artists as Beck, The Breeders, labelmates The Jesus Lizard. In addition, the band began receiving offers from major labels for their next record. Unfortunately the ep Electro Shock for President was their last record due to the sudden death of Tim Taylor. Taylor was killed in a car accident on May 23, 1997, during the pre-production for their fourth full length album. The record was to be the first of several for Interscope Records. Without Taylor, the other members decided to disband. A benefit show featuring fellow Daytonians Guided by Voices and The Breeders took place shortly after Taylor’s passing. So beloved was Brainiac that the benefit became more of an elegy to the band and the music that they had created rather than as a simple concert. Many Dayton music fans still remember the outpouring of emotion during that show and carry the memory of Brainiac with them today. Information about the Tim Taylor memorial fund can be found at BigBeef.com.
So, this weekend we have a rare opportunity to see the remaining members of Brainiac along with several great Brainiac-inspired bands, Oh Condor, My Latex Brain, and Cigar Jar Crash Attack. So, what are you waiting for? Make your plans now to join our community as we celebrate Tim and Jeremy’s lives, raise money for Izzy’s education, and remember some of the best of what makes Dayton a vibrant rock and roll city.
To experience some of what made Brainiac so real and so powerful watch the video – Vincent Come on Down And to experience what is special about our music community in Dayton, join us at Blind Bob’s this Saturday from 9 to well, who knows when the celebration will end that’s the thing about family!
For those who cannot make this show and want to contribute to Izzy Frederick’s college fund, you can send checks or money orders to her educational fund at the following address:
Isabella Frederick Educational Fund
Wright Patt Credit Union
P.O. Box 286, Fairborn, Ohio 45324
(photos in this essay contributed by Tim Krug and the Frederick Family)
Funk N’ Brew Fest! Featuring Dayton’s own ZAPP!
Join us for the First Annual Funk N’ Brew Fest!
Featuring Live – Dayton’s own ZAPP!
A Salem Avenue Peace Corridor fundraiser
celebrating Dayton and the Peace Corridor’s rich history of:
Funk
Brewing
WDAO Radio’s 50th Anniversary
Dayton Weekly News’ 20th Anniversary
Miami Valley Golf Club’s 95th Anniversary
and
The Music Lives On Memorial!
Beers from Union Craft Brewing, Baltimore, MD, and many of Dayton’s outstanding breweries including Toxic Brew, Yellow Springs Brewery, Fifth Street Pub, Warped Wing and Hareless Hare. Other beverages will be available.
Buffalo Soldiers: An Interview with Zachary Gabbard of Buffalo Killers
The Cincinnati-based rockers Buffalo Killers have been busy since the beginning of this year.
First, they helped kick off this year’s Dayton Music Festival 10th year anniversary with a special show featuring a church choir in the Christ Episcopal Church in downtown Dayton back in April. They followed that with a coast to coast summer tour, which was in support of the release of Heavy Reverie, which was released in May. During their time on the road, the made their annual stop in Austin, Texas and performed at South by Southwest “This past year was probably the wildest one,” bassist and vocalist Zachary Gabbard says during our phone conversation. “A lot more people, taking every band from everywhere, bunch of people think that they are rock stars, and throw them into one city. It was nuts.”
Whatever they will admit or not-Zachary, along with his brother and guitarist/vocalist Andy, and drummer Joseph Sealy-they are fast approaching their own unique rock star status through their growing library of hook heavy, homegrown rock. The music encompasses the rawness of blues and psychedelic basics. Buffalo Killers play loud and unrestrained, free with a beauty and ease. The trio recently added lap steel/guitarist Sven Kahn’s into the band this year. The guys of the band knew Kahn’s for some time, with him filling in from time to time during shows, and playing in some during the recordings of their album, 3.
Music was always around when Zachary and Andy Gabbard were growing up in their home. Along with hearing the classic records spin from Neil Young, Grateful Dead, and CSNY-their father would play some strung the guitar with friends, and co-workers after work. When Zachary decided that he wanted to pick up playing on his own, he was given a bass because his father said that “guitar players are a dime a dozen.” Andy started to play guitar at a young age as well, playing with a small Fender with a small neck. Along with being taught by their father, Andy particularly would play along AC/DC records.
The Gabbard brothers formed their garage rock band Thee Shams in 1999, along with Sebaali, Max Bender, and Keith Fox. Thee Shams released four albums on four record labels, and toured extensively. The toll of the touring and recording took a toll on the band, and the band broke up in 2005. “It became where we were obviously the three guys (Zachary, Andy, and Sebaali) that were committed to this project,” Gabbard explained. “Us three were ready to go-that’s all we wanted to do. So when it started to slow down, we just say let’s start over.”
The newly formed trio of Buffalo Killers quickly picked up where their previous band left off. They started to gain followers everywhere they went, and even caught the eye of the folks over at Alive Records. The record label received the five-song demo that Zachary sent out to several other labels. It took less than a week for Alive to call the band to sign them. The first album under the label helped Buffalo Killers obtain the opportunity to go play a string of shows with The Black Crowes in 2007. When they returned from touring with The Black Crowes, the band went to work on their second album, Let It Ride, with Black Keys guitarist/vocalist Dan Auerbach serving as producer. With their time being under the Alive Records name, Buffalo Killers would go on to release three more albums: 3 (2011), Dig. Sow. Love. Grow. (2012), and the 2013 Record Store Day only release of Ohio Grass.
This past year, Buffalo Killers made the move over to Sun Pedal Records, and subdivision of Warner Bros. The goal wasn’t to move on from Alive, because the band were happy being
with them. The people from Sun Pedal started showing up at the shows more. Conversations began to become more and more frequent, to which the decision was made to make the move. “Alive was super good to us,” Gabbard says. “It just worked out. They were into doing the record, and making it come out fast. With them having distribution through Warner Bros., we all knew that the records could get out there more. Alive were supportive, and helped us get the deal done with Sun Pedal. It was good for everyone.”
While working on the direction and vision of producer Jim Wirt (Fiona Apple, Incubus), Heavy Reverie and their second release this year Fireball of Sulk have given Buffalo Killers a more cleaner sound while maintain their hard rocking ways and reducing the overdubs being used. While both Gabbard brothers would rely on each other with the vocals, and self-produce most of the albums, working with Wirt also helped the band get out of their comfort zone. “We were open to anything,” Gabbard says. “Jim captured it well.” The making of Fireball of Sulk was documented with a camera crew and photographers to release in relation with the record. The filming included learning the songs to recording them, which allows their fans and others to take a peek into the process of making the album.
When it’s all said and done, 2014 will be remembered to being some kind of year for Buffalo Killers. Under the Sun Pedal name, they have been getting more exposure, including being in a segment on Last Call with Carson Daly this summer when they on the West Coast. “Ah man, that was a big deal for us,” Gabbard gleefully mentions. “My kids think it’s the biggest thing in the world.”
The band also have a new place to practice, Zachary’s home in the country outside of Dayton and Cincinnati. “We can get as loud as we want out there,” Gabbard says.
Something that bearded fellas of Buffalo Killers have no problem doing.
Buffalo Killers will be performing at Canal Public House in support of their latest album Fireball of Sulk with Good English and Tombstone Tremblers. Friday November 28th. Doors open at 7. Show is at 10. $10.00 Day of Show.
Oddbody’s Host UD Metal Conference after Show with Alex Skolnick
Forces of Nature (photo by Mike Ritchie)
There was an addictive, contagious energy in Oddbody’s on Saturday November 8th. Maybe it was due to the night being the top off, after party to three days of multi diverse and cultural information given by respected academic scholars at the University of Dayton on the global impact and culture of metal music and its growing community of supporters. Maybe it was because each of the three bands that performed on stage were handpicked from a group of over a dozen hopefuls from around the state to play for a crowd of appreciative metalheads and also….because one of the distinguished conference guests of the day was in attendance to watch them throw down.
The three full days of lectures and presentations were a true international experience for the 85+ in attendance. With 32 of the 36 presenters being from esteemed collegiate institutions bringing their knowledge and expertise to the eyes and ears of over 50 undergraduate/graduate students and a few select pillars of the local community. Seven countries were represented including the US, England, Canada, Germany, Norway, Sweden and Puerto Rico with Ohio, North Carolina, New York, Pennsylvania, New Jersey, Virginia, Utah, Missouri, Texas, California, Florida and Illinois also represented. Over the course of the conference over 40 attendees averaged each presentation so all information brought and taught was welcomed, wanted and assimilated by ‘suit and tie guys’ and ‘long haired metal heads’ possibly at the same table. Mr. Skolnick averaged the biggest audience with over 50. The film March of the Gods on opening night drew 32 attendees and the art exhibit “Mask: Face Paint, Head Coverings, and Masks in Popular Culture” drew approximately 35 for the formal showing plus more during the week.
Conference topics included: “Queer Metal Matters: Metal, Sexuality, and the Future”, Metal and Religion, Community and Metal, Extreme Metal and the Aesthetics of Community, Metal Under Totalitarianism, Metal and Culture, Cultural Legitimation of Metal, Metal and Education, Metal to the Extreme, Women and Metal, Metal as Performance, “Louder Education–Alex Skolnick,” Defining Metal, and “Heavy Metal: A Business, A Lifestyle, Past, Present, Future”
Lick the Blade (photo by Mike Ritchie)
It’s not every day an Ohio band gets to play a show with a man who’s traveled and performed on the world’s stages with the roaring bellow of Chuck Billy and Bay Area thrash legends Testament. A man many on stage with a guitar idolized and many within the crowd grew up head banging and moshing to his music. On the evening of Saturday November 8th, Alex Skolnick was at Oddbody’s.
The event helped raise money for Project Read of Dayton and the Ronnie James Dio Stand Up and Shout Cancer Fund. Each band played with sincere strength, passion, energy and vigor representing their scene and the Ohio scene as a whole. As the night progressed the musicians performed as if standing in front of a packed, screaming arena.
Cleveland’s Lick the Blade brought the second coming of Iron Maiden from the north with the soaring, searing Ted Anderson hitting Manowar pitch notes with a power metal groove. Dayton reps Engine of Chaos brought the middle ground dividing the night with a slower, smoother bluesy groove mixed in its Dio meets Cornel Seattle sound and finished with the always intense mammoth thrash attack of Forces of Nature.
An arena sized passion was present and played from the beginning with a collective unity showing visitors from other cities, states and countries what Dayton can deliver.
Cleveland’s Lick the Blade brought the modern day classic sound of Iron Maiden mixed with power metal sounds and the endlessly high octaves of vocalist Ted Anderson who ranged from Dickinson, to Halford to Tate peaks. Formed in 2004, they decimated locally, going through a few member changes before acquiring Anderson and songwriter/guitarist Brian French. Signing with Cleveland based metal label Auburn Records in 2006 they released their debut Graveyard of Empires in 2009. From growing popularity overseas they were invited to perform at the sold-out Headbanger’s Open Air Festival in Brande-Hörnerkirchen, Germany. “Royal Blood,” from Graveyard, earned spots on compilation CDs from both Germany’s Heavy and Poland’s Hard Rocker magazines and Lick The Blade was voted “Best Metal Band of 2009″ in Cleveland Scene magazine’s 2010 issue of its annual “Cleveland Music Awards” feature. They’ve opened for Loudness, Exodus, Vader, and 3 Inches of Blood and more currently with a certain amount of musical irony, former Iron Maiden vocalists Paul Di’Anno and Blaze Bayley. Their second album The Sun and Time is out now.
The “Mark of Nero” opened with galloping guitars as Tim ‘Ripper’ Owens aka Anderson owned on old school early Dickinson era maiden. There was history in them riffs on “Guns, Germs and Steel” as they went back to the Di’Anno club days when Eddie was just a face on a sign. They headed back to the inspiration of Ra and the Powerslave era on “Blood-Soaked Majesty.” The chalice runneth over with glorious crimson on the celebration table. “Voyage of the Damned” could be their “Rime of the Ancient Mariner” as the ship traveled through the sea of madness through murky fog, where spirits of dead pirates waited to steer their vessel a foul. A majestic opening with Anderson singing a soft wail of woe of land not seen till forever’s end. “Twilight of the Idols”, it’s metaphysical with twilight in the sky of the ancient and eternal idols. The hooded Charon the Ferryman made an appearance, pointing his oar to all souls looking for transportation after adding to his pouch of coins. “Charon’s Obol” gave protection to the soul with safe passage to the next world. Album title track “The Sun and Time” was next followed by “Thanatos” bringing the death of us all riding the battle plight of “The Trooper.”
Engine of Chaos with Alex Skolnick (photo by Mike Ritchie)
Engine of Chaos came out ready to deliver the midsection of the night’s metal from Ohio selection with a set heavy with jam, groove and blues. Sirens went off as guitar reverb filled the speakers and bass thundered in. The first crunch of the almighty riff hit with the thunderous melodic yell of Scott Toops. Title track from Uncover the Bones brought forth some dirty buried secrets straight from the depths of Nola, LA. They went Down with conformity playing the warriors call, marching with stained feet from “Blood on the Shore.” The guitars got slow, moody and melodic with their own super-“Unknown.” The silence of the swamp was mucked up and smashed by the “Tug River” as watery guitar notes slithered down the river like hissing snakes venom. The bouncy thrash infused blues of “The One” was fused and followed by the dark tale of the “Deceiver.” Some bitches were born to deceive. They got a lil’ Sabbathy on the “Change” then the premiere of the new/unreleased “Dream the Past.” Dude Mounts guitar chugged and marched with searing notes, telling them God-Damned “Lies.” “7 Demons” finished up the set with special guest vocalist Joseph Palmer.
Then a special encore happened with the world renowned guest guitarist. “This song needs no introduction. If you’re a metalhead you’ll know this.” Toops proudly proclaimed. “Are you guy’s metalheads out there? Are you mother——‘s metalheads out there?” The opening notes of one of the greatest metal anthems began. “I wanna hear ya Dayton Ohio, get the f- up off your chairs (in the back) and get up here!” Tonight Dayton gathered in their masses, to see Alex Skolnick on stage, shredding Sabbath, kicking our asses.
Forces of Nature came forth and played with the power and passion of the gods and goddess’s. Marc Godsey took the mic speaking with genuine, heartfelt emotion about how incredible the last few days had been, the knowledge gained at the conference and the feeling of true love, unity and dedication displayed by the local scene. Not to mention meeting one of your guitar idols and being on stage with him. He stamped the statement with “and I CAN’T WAIT to play this set.”
The opening iron welding riff and yelling notes of “Magnus Lee” shot out of Jimmy Rose and Marc Godsey’s guitars laying inflamed ground work for Tate Moore’s screeching serpent’s tongued dark demonic delivery. It was a sharp, hard punch to the face with a warm hello, saying we’re here, now f—–g pay attention! It started raining blood in the “Forest of Corpses” from a lacerated sky. Drums hit guitars grinded and riffed upward in a tale of tortured self-hate. Mary’s one messed up bitch, in a moshed up f’n mess.
“Throwing Fists” in a cage or a concert, you’ll get hit back either way… and the cage is safer. Drums tapped ushering in the ram-rodder guitars smashing TV’s with wrecking balls, sledgehammers and other hardcore fist shaking plunder. It’s the only way to get that crap off “A.S.O.T.” “Nevermore” slows it down ‘a bit’, enough for a short pit-break before your personal “Apocalypse” comes on reentry. Get ready you stupid, stupid, stupid son of a bitch! Rose shined on the six minute instrumental opus “Dark Carnival” bringing the addictive emotional darkness and thrash poetry from his fingers. Something wicked as shit, this way came. The heavy pair of double D’s was shown in public again with “Deception” and “Devices.”
After the show Rose got his guitar neck signed by Skolnick and enjoyed a few surreal, inspirational moments with the guitar legend as did other members of Forces and other audience members throughout the evening.
The Last Waltz Live to Benefit WYSO 91.3FM
Nearly 30 local musicians will once again gather on the stage of The DAI’s NCR Renaissance Auditorium to recreate the historic performances of The Band’s Last Waltz.. There will be two performances this year: one on Wednesday, November 26 and an encore performance on Friday, November 28. Proceeds from the concerts will benefit WYSO 91.3FM. Last year’s concert sold out – don’t wait until the last minute to get your tickets!Such a Night features many of Dayton’s most talented musicians, including a seven-piece horn section. The original film The Last Waltz featured performances by Dr. John, Neil Young, Joni Mitchell, Neil Diamond, Van Morrison, Emmylou Harris, Muddy Waters, Paul Butterfield, Eric Clapton, and Bob Dylan, and it documented The Band’s final concert on November 25, 1976.
Presented by The ‘Old’ Yellow Cab Building in Collaboration with The Dayton Art Institute. Cash bar available.
Art Jipson: Still Teaching Us After 10 Years Being On-Air
It’s another Tuesday afternoon, and that means University of Dayton students, along with devoted followers, have their radio dials locked onto the college station WUDR 98.1/99.5 FM and Flyer Radio online. Between the hours of 3-6pm in the WUDR Studios at ArtStreet on the University of Dayton, the animated and jovial voice of Art Jipson (aka his radio persona Dr. J) graces the airwaves as they spin music from local and national bands and artists. Jipson wears multiple hats in his role with the university-Director of Criminal Justice Studies Program, professor, coordinator of the Self and Community in the 21st Century Learning and Living Community.
However-the show, titled “Your Tuesday Afternoon Alternative”, offers much more than most imagine. Ten years later, the show continues to be one of the premier staples that features music to the community. To celebrate the show’s 10 year anniversary, Jipson and the Learning and Living Community program will be presenting The Motel Beds and Ghost Town Silence (formally The Rebel Set) on Friday night. The show will be the ending of Learning and Living Community’s theme of music. The collection of first year students majoring in social science, sociology, criminal justice, political science, psychology who all live in the same dorm and attend similar events. Last year, a group of local musicians spoke to the group and explained what it was like being a musician in Dayton.
The love for music began for Jipson when he was growing up in the western central part of Minnesota. His folks were heavy into music from all corners. Jipson’s father was a fan of country and Elvis, while his mom was a Californian who adored The Byrds, early Linda Ronstadt. In his teens, he was listening to music what he called “terrible pop radio”, and was wanting more. One day, Jipson’s wish came true. “I am listening to the worst of the 70s music, and my cousin Steve introduces me to Kiss’ Alive, and I am changed. Another cousin introduces me to Iggy and the Stooges. It’s all gone from there,” he added.
Jipson began to dig deeper and deeper in different genres. Jipson recalls collecting albums from Television, Patty Smith. He talked about diving into punk rock, and getting in trouble in school because of it. Due to where he was living at the time, Jipson says that he had to travel farther than most to catch live music. “When I wanted to go see shows, I had to drive 3 and a half hours to get to Minneapolis. I would drive 3 or 4 hours to see The Replacements, and wait in line.” Jipson’s passion for music allowed him to discover more than he could ever imagine.
In 1988, Jipson received a bachelor’s degree in Sociology, Anthropology, and Political Science from the University of Minnesota. He also received his Masters and Doctorate degrees in Sociology, Criminology, and Social Theory from Bowling Green State University. When he was at BGSU, Jipson was the last grad student to study with Ron Denisoff, who wrote the definitive autobiography on Waylon Jennings, which was published in the 80s. Denisoff was among the first generation of sociologists who took music seriously as part of culture, not just musicology alone.
In 2001, Jipson arrived at the University of Dayton after teaching in Miami University for several years. One of the goals he wanted to achieve when he arrived on campus was to connect to the city. He started doing projects where his students would work with various schools and literacy programs in Dayton. He created a pop culture class that is now in the Sociology department. “We talk about the history of popular music,” Jipson says when describing what the class entails. “I take them back to the 1910s, and work my way from turn of the century all the way up to the present. It’s a fun class, and we all learn from each other.”
With only so much that Jipson could do within the class with the sociology of popular music and culture, he wanted to do more. He envisioned what he could do to have his students understand more about the depth of music, and even more so that is being made in their backyard. It was then that Jipson began his weekly radio show, which debuted in November 2004.
When you sit down with Jipson, you immediately see that his excitement that comes off on-air isn’t something that is produced or fake. There is no possibility that it can be. When you listen to him talk, you get just as excited about the topic you are discussing. Jipson comes off as a real life John Keating from the movie Dead Poets Society. You could only imagine the methods that Jipson uses to reach his students. Encouraging them to seize life, and become enchanted with the city that they are living in.
The show has grown over the years. During the early days, the show was called “School of Rock with Dr. J”. Jipson centered the show with a focus on connections with music and bands. He incorporated some musicology, sociology, and psychology. After a couple of years, Jipson’s wife, Tracey (aka to listeners as Mrs. Dr. J), joined the show full-time after she was mostly calling in and suggest music. The format also was modified. The music that is played on the show started to shift towards mostly local music around that year, with also playing music regionally and nationally, ranging from new to older songs.
Ten years have magically come and gone, and there are no plans for Art and Tracey to slow down. They are hoping to eventually have the show more accessible after the original airing. For now, they will continue to come to the airwaves every Tuesday, and provide all of their listeners with great music, CD reviews, upcoming show announcements, interviews, and so much more. Lessons are being taught to all of us, indirectly.
There is not a doubt that we are all standing on our tables in unison, staring straight down at Art Jipson, Dayton’s own music professor.
One by one, we say to him, “O Captain, my Captain”.
Your Tuesday Afternoon Alternative and Self and Community in the 21st Century Learning and Living Community in cooperation with WUDR Flyer Radio 99.5/98.1 will present The Motel Beds and Ghost Town Silence on Friday, November 21st at McGinnis Center Multi-Purpose Room, next to the ArtStreet complex. Show is free. Pizza and drinks will be provided.
It’s a Full Scale High 5 Riot in Dayton!
High 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
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)
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 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 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)
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.
Tele Novella In Dayton: No “Trouble In Paradise”
Before Tele Novella was formed recently, lead singer Natalie Gordon was in a band titled Agent Ribbons. Gordon and her band mate at the time, Lauren Hess, met while Gordon was scrolling through the catalogs of music at a local record store in their hometown of Sacramento. Their newly formed friendship and love for music inspired them to set up the band. Once things started to pick up, setting up dates that spanned throughout the Western seaboard, and some other cities, Gordon and Hess enlisted Austin, Texas native Naomi Cherie to play violin.
Soon Agent Ribbons started seeing success come faster than they could ever imagine. The dreamy but eerie guitar play from Gordon, along with the simplistic drumming channeled a following of people who couldn’t stay away from the duo’s haunting mix of garage rock with pop melodies that were heavily influenced with The Velvet Underground and The Shaggs.
When Gordon and Hess added Cherie to the band, they began by buying her plane tickets to fly out to California to perform with them whenever they went out to tour. When Cherie was unable to move to California, along with the costs of getting Cherie to California all the time, Gordon and Hess made the decision to move out to Austin. What was believed to be what was best for the band only ended becoming an upsetting nightmare.
Shortly after Gordon and Hess moved to Austin, Cherie decided to leave the band. On top of that, the momentum and success that Agent Ribbons built by being on the West Coast abruptly came at a standstill when the relocation to Austin was complete.
“It felt that the band should have ended before we moved to Austin,” Gordon disclosed.
However, the duo kept moving forward. In late 2012, Gordon and Hess passed through town and performed a show at South Park Tavern. The duo was touring in support of their latest album at the time Let Them Talk. During our phone conversation, Gordon couldn’t help but gush over how her experience went while visiting the Gem City.
“I really feel in love with that weird little town,” Gordon modestly said. “We had such a great show, and I met a lot of great people there.”
Nights like the one Gordon had in Dayton would be one of the few highlights of that tour. With Cherie leaving, and the unhappiness of moving to Austin looming over the duo, an unfortunate accident in Memphis was the final blow that would eventually end Agent Ribbons.
“We haven’t seen each other since Memphis,” Gordon says. “The whole tour was already so bad. And the accident just completely made everything so much more terrible.”
With Agent Ribbons dissolving, Gordon had a dilemma. She already had booked a showcase at South by Southwest Festival for the upcoming year, and wasn’t going to be able to cancel. Even though she explained to her label at the time what had transpired in Memphis, they still weren’t going to let Gordon cancel. As luck would have it, Gordon was able to throw together a band that included her boyfriend Jason Chronis, drummer Matt Simon, and Sarah La Puerta on keyboards. The group received high praise with their music, and decided to go and record their first EP Cosmic Dial Tone, which was released this past summer.
The newly formed Tele Novella feature Gordon’s alluring vocals that transcended when she was Agent Ribbons, along with Chronis and Simon’s English rock inspiration with their work in Voxtrot. The blend of the two results in a breezy, psychedelic pop sound that easily captures the essence of their influences from the great bands Os Mutantes and Belle and Sebastian. “Trouble In Paradise”, and “Umbrella at the Station” accentuate their progressing sound. As soon as this tour run is complete, Tele Novella will be headed into the studio to work on their first full length LP.
The run with Agent Ribbons will always be special for Gordon. As she looks back, she is introspective about how her time with Hess and Cherie helped mold her into being a better musician.
“I wished it hadn’t ended the way that it did. We had a seven-year run, and it blows my mind on how much I learned. Several European tours, and slumming it really hard, and also living high off the horse with these bigger bands-I feel like I just got this huge wide spectrum of experience.”
For us here in Dayton-we are very fortunate that one of the experiences was our little town.
Luckily for Gordon, she will have the opportunity to renew those feelings while being with Tele Novella.
Tele Novella will be performing at Blind Bob’s tonight with Dear Fawn, and Tree No Leaves. Doors open at 9pm. $5 cover and 21+. To hear more of Tele Novella, click onto their website: http://telenovella.bandcamp.com/.
Byzantine Bring the Release and Resolve Tour to Dayton
Forces of Nature (photo by Mike Ritchie)
Oddbody’s brought the metal October 25th, from New York, Rhode Island, West Virginia and of course Dayton with four bands of different types and styles but all screaming for metal.
One of the rock-solid pillars of the Dayton metal scene Forces of Nature owned the stage as only they can playing set staples “Mary Hates Herself”, usual opener “Magnus Lee” and the newer enchanted “Forest of Corpses”. They gave what every male and some female metal-heads love with a set of double D’s playing “Deception and Devices”.
New York’s IKillYa touring on their second release Vae Victis, naming their outfit after the boiling point where you just can’t take the stress, bullshit, stupidity and hopelessness of a situation anymore and go do something constructive about it. So it was fitting they started out loud, roaring and angry with a “Godsize” problem. The warrior spirit came out with a vengeance tearing up the stage with a DevilDriver rasp and Danzig’s yelling throat. “And Hell Followed With Him”…engraved upon these knuckles the frantic need to escape a car wreck before the flames attack, OH! The tempo changes of “Driven” were enough to trip up any mosh pit to fall into each other. “E.H.R”, screaming is just vocal therapy that must be exhaled to sooth the tortured voice of Jason Lekberg. “Jeckyl Better Hyde” was the good and the bad of dueling personalities always at war. Can’t let the darkness win. They finished with “Vae Victis” and woe ye to the vanquished and the conquered.
They Will Be Done (photo by Mike Ritchie)
Thy Will Be Done, began with the severe head beating, ear bleeding “Solemn Oath”. With the brutal tastes and stage tactics of Machine Head and Hatebreed they blasted and banged through eight throttle churning road burners. J. Costa had an eerie presence which probably had nothing to do with his odd resemblance and stage charisma to a late 60’s hippie guru. “Unto the Sanctified” spilled the blood of Rob Flynn’s fret fingers down the Nile with enough growling to appease the gods and enough gear rattling guitar work to keep the machine roaring. Taking a piece of the temple “The Apathy Divine”’s was a chug, head stomper leaving debris on the dance floor. YouTube video “Earth’s Final Embrace” was three minutes of pre-apocalypse warning. Crush the distracters, naysayers and spirit draining vampires with the strength and passion of “A Lion and A Lamb”.
The groove metallers of the underground have achieved cult status after a 2013 comeback after half a decade away, playing support to their upcoming 2015 release To Release is to Resolve early next year. Byzantine opened with The Fundamental Components of “Hatfield”, reviving the family feud, the metal way. The metal mathematicians went to work making us earn our penance the hard way by the “Stick Figure” and “Slipping on Noise”. They broke out the serpents on “Justica” and “Taking Up Serpents” and traded screeching/clean vocals on the sizzling groove thrash and bluesy melody of “Jeremiad”. Oblivion Beckons on “Nadir” then they came current on “Efficacy” and style defying “Signal Path”, finishing with the black tar grin of the “Soul Eraser”. A throwing wall of death of personal conflict and self-made chaos get thee behind me Satan.
Forces of Nature will be with us again on Saturday the 8th at Oddbody’s with Engine of Chaos and Columbus’s Lick the Blade for the University of Dayton Metal and Cultural Impact Conference Aftershow featuring legendary guitarist, Testament’s Alex Skolnick. All door profits are being donated to the Ronnie James Dio Stand Up and Shout Cancer Fund and Dayton’s Project Read! Come out and support the bands, the charities, and have a banging good time.
Country Music Superstars Maddie & Tae and RaeLynn Live at Milano’s
Join us for this exclusive one-night only event to raise money for Dayton Children’s and the annual K99.1FM Cares for Kids Radiothon! Mingle with several of your favorite Dayton media celebrities including Nancy Wilson, Frye Guy, Gabrielle Enright and other K99.1FM and WHIO-TV personalities. Country Music superstars Maddie & Tae and RaeLynn will be performing live at Milano’s in Springboro on November 12.
There’s limited seating capacity inside Milano’s so tickets will go extremely fast!
Ticket Prices are as follow:
Vip Seats: $35.00 General Admission/Bar Seats: $25.00
Meet & Greet Passes to hang meet the artists: $25.00 (only 40 passes available for each artist) Buy tix here:https://daytonchildrens.thankyou4caring.org/events
REVIEW: Bocca Live Goes Country for Wounded Warrior Benefit
Saturday 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 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)
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.
