Dayton937

Things to do in Dayton | Restaurants, Theatre, Music and More

Dayton Music

Ugly Kids Club: Recruiting Dayton’s Own To Join

By

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.

An Evening With Bruce Hornsby

By

 Pianist, composer, and singer-songwriter Bruce Hornsby’s recording career has spanned over two-and-a-half decades.  Within that  time, Hornsby’s music has been recognized with several awards/acknowledgements that include the 1987 Grammy Award for Best  New Artist with Bruce Hornsby and the Range, the 1990 Grammy Award for Best Bluegrass Album, and the 1994 Grammy Award for  Best Pop Instrumental Performance.  Tonight-Hornsby will be taking the stage in Victoria Theatre with “An Evening with Bruce  Hornsby”, in support of his recent release, Bruce Hornsby-Solo Concerts.

Growing up in Williamsburg, Virginia, Hornsby graduated from James Blair High School in 1973.  In the spring of 1974 Hornsby’s  older brother Bobby, who attended the University of Virginia, formed the band Bobby Hi-Test and the Octane Kids.  The band, which  featured Bruce on guitar, performed covers at fraternity parties at the college.  Hornsby also studied music at the University of  Richmond, as well as Berklee College of Music and in 1977, he graduated at the University of Miami.

After years of playing in bars and sending demo tapes to record companies, in n 1980, he and his brother John moved to Los Angeles,  where they spent three years writing for 20th Century Fox. Hornsby finally signed his band, the Range, to RCA in 1985.  The Way It  Is, the band’s debut, produced three Top 20 hits, the biggest of which was the socially conscious “The Way It Is,” and the heartbreaking “Mandolin Rain”.

Since the debut with his band the Range and the work that he has done solo, Bruce Hornsby has expanded his music into many genres-pop, jazz, bluegrass, country and modern classical.  He has pursued a musical career that has included collaborations with artists Ricky Skaggs, Don Henley, Ornette Coleman, Bob Dylan, Bela Fleck, Bonnie Raitt, Pat Metheny, and Robbie Robertson.  Hornsby also played piano and accordion for a period of time with the one and only Grateful Dead from 1988 until Jerry Garcia’s death in 1995.

Hornsby’s newest release off his Vanguard Records in August, the two-disc set Bruce Hornsby–Solo Concerts.  The album are culled from Hornsby solo concerts performed in the U.S. during 2012 and 2013.  Bruce Hornsby–Solo Concerts involves what Hornsby calls an “unholy alliance” of comforting Americana and daunting composition.

Hornsby’s performance, which usually contains his backing The Nosemakers, offers audiences a glimpse of a restless spirit who continues to push forward into exciting new musical terrain.  That passionate energy comes alive in each of the shows.

“An Evening with Bruce Hornsby”, will be held at Victoria Theatre tonight starting at 8pm.  Every ticket to this performance includes a copy of Solo Concerts.  Tickets can be purchased at Victoria Theatre’s Box Office or https://www.ticketcenterstage.com.

Daytonpoolza!: Dayton Music Fest 10 Years Strong

By

(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.

JD SOUTHER Singer/Songwriter – The Name May Not Be Familiar, But The Songs Sure Are!

By

j.d.-souther-03It’s not every actor who receives a “good job” email from Don Henley after his TV series premieres, but J.D. Souther isn’t your typical thespian. Sharp-eyed music fans may have done a double take when they saw Souther in the role of fictional country music legend Watty White in ABC’s addictive new nighttime soap Nashville.

That’s the opening paragraph from David Browne in a Rolling Stone article at J.D. Souther.   When asked how he got cast in the Nashville TV show, he explains, “I flew into New York to play Lincoln Center, and while I was standing at baggage claim, my friend Rita Wilson, who sang “Faithless Love” on her new album, texted me and said, ‘Call when you get to town.’ She said, ‘I’m having dinner with T Bone Burnett, Callie Khouri, Norah Ephron and all these people you like, so come join us.’ I said, ‘I’m in Queens right now.’ But the driver took me right to the restaurant, and Callie said she was writing a show about Nashville and I said, ‘Fantastic.’ A few months went by and my agent called and said, ‘I got a call for you to come in to read for Callie’s new show.’ ”

As one of the principal architects of the “Southern California sound,” Souther played a key role in the formation of the Eagles and co-wrote the band’s hits “Heartache Tonight,” “Victim of Love,” “New Kid in Town,” and “Best of My Love,” and Don Henley’s super hit “The Heart of the Matter,” as well as writing Linda Ronstadt’s classics “Faithless Love,” “Simple Man, Simple Dream,” and “Prisoner in Disguise.” A highly sought-after songwriter and session man, Souther also released three critically acclaimed solo albums—  John David Souther (1972), Black Rose (1976), andYou’re Only Lonely (1979)

In 1984, Souther followed the chart-topping successes of  “You’re Only Lonely” and the James Taylor duet “Her Town Too” with Home by Dawn, an album that Rolling Stone and Time Magazine declared his best. He has collaborated with countless world-renowned musicians including Bonnie Raitt; Warren Zevon; Don Henley; Linda Ronstadt; Paul Williams; Crosby, Stills & Nash; Hugh Masekela; Burt Bacharach; Dixie Chicks; India Arie; Roy Orbison; Arthur Hamilton; George Strait; Brian Wilson; and Trisha Yearwood.

MORE ABOUT JD SOUTHER

 
Following a leave of absence in 1985 to build his dream house, travel and spend time with his dogs (all rescues, of course), Souther marked his return to songwriting with three critically acclaimed albums, If World Was You (Slow Curve Records), Rain: Live at the Belcourt (Slow Curve Records), and Natural History (eOne).

In 2007, he wrote the Eagles comeback single “How Long,” which was featured on Long Road Out of Eden, their first studio album since 1979. In 2009, JD was presented with the Golden Note Award at the 47th annual ASCAP Country Music Awards. He is also regular character on the hit ABC show “Nashville” as legendary producer, songwriter and mentor Watty White.

A decade-long Nashville resident, Souther tells Rolling Stone that the show “feels authentic to people in this world… for most of the people who live here, they’re thrilled there’s finally a show in which they escape the usual stereotype.”

In the fall of 2012, JD released Midnight in Tokyo (eOne Music), a live collection of his music alongside Ellington and Ray Henderson. He describes the album as “rough and smooth and wonderful─ saloon music in the night.” The live album was recorded on in Japan.

Souther was inducted into the Songwriters Hall of Fame in 2013.
Tickets for the Oct 10th 7:30pm show at Victoria Theatre start at $29 and are on sale now.  To purchase tickets in person visit the Ticket Center Stage Box Office located in the Wintergarden at the Schuster Center or call 937-228-3630, 888-228-3630 or visitwww.ticketcenterstage.com today!

DMM TICKET GIVEAWAY!

For one lucky reader- we’ve got a pair of ticket for you to see this show. To enter our random drawing, fill out our entry form and leave a comment below with your favorite Souther written song.  Winner will be named here;

Jimmy Smith- congrats- you’ll be our guest to this show!

 

REVIEW: Oddbody’s Brings the Solstice to Dayton

By

[vc_row][vc_column width=”1/1″][vc_column_text]

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.       

 [/vc_column_text][/vc_column][/vc_row]

Nutt House Hosts Jason Derulo Tour

By

emye4i5s91n1pduy9rgnf2fj50r0d52x Jason’s latest single “Talk Dirty” (ft. 2 Chainz) is his most successful track to date having sold over 5 million singles throughout the world, and has garnered over 200 million views on YouTube and climbing.

Success hasn’t always come easy for the 24-year-old pop singer. After a string of career defining hit singles including “Whatcha Say,” “In My Head,” “Ridin’ Solo,” “Don’t Wanna Go Home” and “It Girl,” Derulo suffered a catastrophic neck injury, which forced him to rehabilitate himself both mentally and physically. He released his comeback record “The Other Side” from his newly announced Tattoos LP in May 2013, which became radio’s #1 most added record of the year and set Derulo on a new and re-energized path.

 

Meg Renee: Troy’s Music “Dream”er

By

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

By

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 

Champioin Guitarist Mark Kroos Plays Canal Public House

By

mark-kroos-6Guitar champion Mark Kroos plays two guitar necks at the same time with a tapping technique that involves both hands fretting the strings. It creates a very explosive and energetic genre that is as entertaining to watch as it is to listen to. In July 2011, Mark won Guitar Player Magazine’s International Guitar Superstar Competition in Nashville and has since shared the stage with artists like Sister Hazel, Edwin McCain and Phil Keaggy. Mark has also picked up sponsorships from Ovation Guitars, D’Addario Strings and Kyser Musical Products.

“Mark Kroos plays with a sensitivity to the music and positive energy that is truly refreshing.”

Muriel Anderson

1989 International Fingerstyle Guitar Champion

Originally from Lansing, MI but currently based in Charlotte, NC, Mark has been touring extensively for the past four years in the US and Canada as an independent artist without record label affiliation.  He has released 2 full-length instrumental guitar albums, And Grace Will Lead Me Home and Down Along the Lines of Joy.  A new album is currently in the works for Mark which will include his arrangements of songs like Canon in D and Dueling Banjos.

Videos of Mark performing are available at www.markkroos.com. His video, “Mark Kroos Plays Dueling Banjos From Deliverance by Himself” recently went viral on social media and has seen success on sites like The Chive and Ebaum’s World.

Mark’s show at Canal Public House will include his own original material, both instrumental and vocal, as well as covers of popular tunes like Folsom Prison Blues, My Heart Will Go On, and of course, Dueling Banjos.  

“I closed my eyes and heard more than one guitarist…It’s obvious that Mark is never musically alone.”

Phil Keaggy

Grammy-Nominated Guitarist

The Canal Public House is located at

308 E. 1st St  Dayton, OH 45402

 Date: Friday, Sept 5th
Music begins at 9:30 PM
Admission: $10

REVIEW: Motley Crue Say Farewell To Cincinnati

By

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.

 

Riff Raff Tavern Celebrates First Anniversary!

By

static.squarespaceIn August of 2013 a dream and vision became a reality and Riff Raff Tavern on the canal opened its doors. What had once been a vacant building has had the entire lower floor remodeled to create a comfortable place for people to gather and have a good time while listening to live music which includes Blues, Southern Rock, Rock and Roll and Country, shooting pool, grabbing a bite to eat or just enjoying good company and a drink.  Mike and Bev spent a lot of time choosing the right décor to give it a relaxed atmosphere. The Blues Brothers are there to greet you when you arrive. An antique back bar that was shipped in from Chicago has become a conversation piece for many patrons with its historic background.

 

Rock Out at Reggae Fest

By

Groove with the best of the beat at the 27th Annual Dayton Reggae Festival on Sunday, August 31. The free-admission event comes to Dave Hall Plaza (Fourth and Jefferson Streets), from 1:00 pm to 8:00 pm.

The 2014 Dayton Reggae Festival will be hosted by WYSO’s Niki Dakota and will include performances by:

1:00 p.m. – Haile Lya Israel

2:00 p.m. – Jah Soul


3:00 p.m. – Demolition Crew

4:00 p.m. – Jonny Dreads & The Mystiks

5:00 p.m. – Seefari

 

6:00 p.m. – Reggae Infinity

 

A variety of food and merchandise vendors will be present. Lawn chairs and blankets are welcome; alcoholic beverages, coolers, tents and pets are not permitted. Dayton Water’s “Take Back the Tap” wagon will be on hand for complimentary cold water, and valet parking for bicycles will be available.

 

The Dayton Reggae Festival is presented by the City of Dayton Department of Recreation and Youth Services, with support from the Downtown Dayton Partnership, Heidelberg Distributing, Crowne Plaza Hotel, WROU Radio and Martin Romie Talent.

 

 

 

Finding Some “Me Time”

By

Andy Smith and I are sitting in one of the tiny, wooden booths at the independently owned Christopher’s Restaurant in  Kettering, Ohio.  The cozy restaurant is serving breakfast at the time the two of us agreed upon to meet up.  Dayton has  some of the greatest breakfast spots around.  One of the spots to hit is Christopher’s.  The restaurant, which has homey,  country-like setting and feel when you enter, caters to all lifestyles with their menu.  This morning-Smith and I will be  diving into some of the essential staples that make up the best breakfasts-eggs, home fries, and toast.  “You ever been  here before?,” Smith asked me as I sat down in the booth.

“Yeah.  Several times.  Love it here,” I answered.

“They have the best breakfast.  I’m so ready for it,” Smith says back to me with a confident and determined look on his  face.

Smith is about to embark on a trip up north for a small vacation in Michigan.  Traverse City to be exact.  Smith begins to go in detail on what the weeklong trip is going to be -hiking in the picturesque woodlands, tipping his feet in Lake Michigan, and maybe do some sightseeing in town.  The sparkle that is coming through his circular black frames, and lens on his glasses, along with the smirk of his face, tell the tale of an individual who is biting at the bit to go now.  It’s obvious by the way he divulges to me the serenity and peace he experiences when he is the forest.  The appreciation and self-discovery really become clear when Smith describes the feeling he gets when he is out of the terrain.  “It’s so cool.  I just go out and just clear the mind,” Smith says.  First things first, though, before his trip can begin.  He has to take care of a few errands before he heads up.

Smith started to play guitar when he was in school.  “I was obsessed with Motown, and Stax,” Smith explained.  “I couldn’t get enough of it. Still can’t. Del Shannon, Curtis Mayfield fronting The Impressions.  Love it.”  In 2010, Smith was at J-Alans and overheard the bartender complaining that a band canceled an upcoming show.  Smith interrupted the conversation and mentioned that he could fill in.  Smith rounded up some close friends, and Andrew & the Pretty Punchers debuted.  The band’s run in town was short lived, though, in part to everyone’s lives going in different directions.

Soon after Andrew & the Pretty Punchers, Smith began playing drums for Dear Fawn and was the lead vocalist for King Elk.  Both bands saw some critical success in the local scene, and also saw people becoming faithful followers.  Both bands gave Smith a sense of fun and enjoyment, but in time it started to take a toll.  “It just wasn’t fun after a while,” Smith explained.  “I was drinking a lot and it was becoming a problem.”

With the out of control behavior, and the band just running its course-King Elk decided to take some time off.  “I still love those guys.  Always will,” Smith says.  “They are simply the best.  I just think that we ran our course, and we needed to just shut it down for a little bit.”  On top of that-Smith left Dear Fawn because the band wanted to go a different direction.

With King Elk on hiatus, and his  departure from Dear Fawn, Smith needed to start something.  He was continuing to write songs at a steady pace, and he wanted to put them on tape as quickly as possible.  “That’s how I work,” Smith says.  Smith started doing some recordings with local musician, and previous bandmate from King Elk and Dear Fawn, Kyle Melton at his studio.

At the beginning of the recordings, Smith started to notice that he wanted to add some others to join him and see how the vibe and sound 10247219_1411493642449974_8240017480159031169_nwould go.  He recruited drummer Elliot Ward, former Andrew & the Pretty Punchers Josh Wickersham, and Melton to play on the project.  With the foursome confirmed, they went back to Melton’s studio and started to flesh out some songs that Smith written.  The project became Smith’s newest band-Me Time.

This past May, Me Time released an EP with his new band, titled Vol. 1.  The five song EP (which can be ordered on http://gasdaddygo.bandcamp.com/) is a lo-fi indie rock beauty that blends Smith’s charming vocals, along with his admiration and infatuation with rich 50s rock and 60s pop.  Kent Montgomery (from The New Old Fashioned) sang harmonies, and Derl Robbins (from Motel Beds) mixed and mastered the EP.  Tyler Bellinger (from Smith’s previous band King Elk) played some organ and piano on the EP.  The finished product is soft and warm, while generating catchy hooks throughout-which is exactly what Smith intends to aim for with his music.  “All I want to do is just write catchy songs,” Smith playfully says.  “Who doesn’t love catchy songs?”

Our waitress delivers our meals to us, and immediately the aromas and flavors are jumping off the plate.  The eggs perfectly cooked flawlessly (over-easy).  The home fries have a flawless golden-brown exterior.  The bread that came with the dishes we ordered are toasted to perfection.  Smith opens up his folded napkin that caressed the silverware.  “Looks good, right?,” Smith asked me, with that confident look on his face again.  I couldn’t help but agree with him.

The Mitchells: Coming Over To Visit Dayton

By

Joseph William Mitchell, Marc Aiello, Carlos Mitchell, Nick Mavridoglou-who make up the Cincinnati band The  Mitchells-have been in their share of bands.  When the foursome joined together to make up the current group, they all  vowed that they wanted to make this special.  They grew tired and unhappy with making music that they weren’t happy  with it.  “You just always know where you missed…you were slow on the beat, you didn’t rushed it just to get it to a point  that worked.  At the end of the day, you have all these albums that you are genuinely are unhappy with,” guitarist and  lead singer for The Mitchells’ Joseph Mitchell says.  “As a musician, you start to think what I’m leaving behind a legacy.    You want something to be proud of.”

The Mitchells released their first EP in November 2012.  Earlier that year, the band formed when Joseph and Carlos  started developing the desire to expand their sound.  Playing around establishments like the classic Arnold’s in the  summer, Joseph and Carlos enlisted Mavridoglou and Aiello to join them.  Bird Feather was a fantastic introduction to  the music scene for The Mitchells -highlighting gorgeous violin and cello play, rich harmonies, soft vocals.  It was well-  received to the point that the organizers of the annual Bunbury Music Festival and the MidPoint Music Festival added  The Mitchells to the lineups in 2013, and the band had a successful Midwest tour.

When the band returned from their tour, there was some talk of rushing and getting another album out.  After some  discussion amongst the band, they all realized that by speeding up the process and getting something out, it wouldn’t be in the best interest for them.  They felt that by releasing it quickly, it wouldn’t be as satisfying.   “A lot of times you kind of want to record something to show people what you have.  We already had the EP out there.  We felt it would be better for the LP to really take our time with it,” Mitchell said.

The Mitchells went on to record the LP in Lebanon at All Nighter Studio, the album’s engineer’s Tommy Cappell and Aiello’s studios.  The Mitchells also wanted to release the LP on vinyl, so they spent a significant amount of time doing research on how to have the sound of it be spot-on and perfect.  Overall, the freshman LP took The Mitchells over a year to craft.  In the end, the band was pleased with how everything came together.  “I don’t know if it’s the right way, but for us it was worth it,” Mitchell says.

The Mitchells self-titled album is a beautiful, open piece of work that truly captures the spirit of alluring storytelling, along with irresistible composition.  Throughout the album, a flawless weave between classical and indie rock comes alive in the album, and offers a little bit of everything.  “Driving In Cars”, the album’s opener, blends pop and roots rock seamlessly with singer/songwriter Caroline Kingsbury offering a softness to it.  The eight-plus minute dreamy “Absalom” slows everything down so effortlessly, and gets picked right back up with the rocker “Denmark”.  Guitarist virtuoso Noah Wotherspoon adds some grit to “Willie Mays”.

In the meantime, The Mitchells have plans on releasing a book next summer containing the lyrics to the album.  Mitchell explained that each song on the album has a specific little story that goes along with the lyrics.  They crafted the stories after putting the music together.  Once the book is released, the band plans to give it as a gift when someone buys an album.  This fall, The Mitchells also plan to release some work with the Cincinnati Chamber Orchestra.

To hear the self-titled album from The Mitchells, and even get a copy of it on the custom marbled vinyl they released it on, go to the band’s Bandcamp site:  http://themitchells.bandcamp.com/album/the-mitchells.

The Mitchells will be performing at South Park Tavern on August 16 with Dayton’s own The 1984 Draft and Tender Mercy (Louisville). Doors open at 9pm.

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

By

(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.