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Over The Rhine at Victoria Theatre

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Fresh off a boatload accolades for their recent Joe Henry-produced CD, The Long Surrender,OVER THE RHINE kicks off Victoria Theatre Association’s 2012-2013 Projects Unlimited Variety Series by bringing their latest studio album to the historic Victoria Theatre stage for one night only, Friday, October 26 at 7:30 p.m. Musical guest Joel Henderson will be the opening act. Tickets are available by visiting or calling Ticket Center Stage at 937/228-3630 or online at www.ticketcenterstage.com.

OVER THE RHINE, a popular southern Ohio-based husband-and-wife team of multi-instrumentalist/vocalist Linford Detweiler and vocalist/multi-instrumentalist Karin Bergquist, is known as Cincinnati’s own indie alternative/folk/Americana duo and has produced over 20 recordings. They have shared the stage with the likes of Bob Dylan, John Prine, Adrian Belew, Squeeze, Ani DiFranco, My Morning Jacket and Hem, as well as toured as “adjunct” members of the Cowboy Junkies.

Tickets for the OVER THE RHINE are on sale now at the Ticket Center Stage Box Office, located in the Wintergarden of the Schuster Center, by phone at (937) 228-3630, toll free (888) 228-3630 and online atwww.ticketcenterstage.com.

For more information about Victoria Theatre Association’s 2012-2013 season, visit www.victoriatheatre.com

About The Long Surrender

The record, released last year on OtR’s own Great Speckled Dog label (named for the couple’s Great Dane, Elroy), marks 20 years since their 1991 debut. It’s the bountiful result of a collaboration between the couple and producer Joe Henry, whose songs they’ve long admired.

“Joe has been quietly making records (well not that quietly, he has won at least two Grammys) that don’t sound like other records bring made,” says Detweiler.

“They are a little bit dark and cinematic and funky and unpredictable. It seems like he loves to help performers who have already covered a lot of miles — Mavis Staples, Elvis Costello, Solomon Burke, Loudon Wainwright III, Ramblin’ Jack Elliot, Mose Allison, Allen Toussaint — rediscover the soul of what they do in a new light.” The Long Surrender was recorded at Henry’s Garfield House studio in South Pasadena, Calif.

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Dayton Most Metro Ticket Giveaway

We have a pair of tickets to give away to see Over the Rhine this Friday 10/26 at the Victoria Theatre – just fill out the form below and then leave us a comment saying that YOU want to win tickets and we’ll draw a winner tomorrow 10/24 before noon.  Good luck!

CONTEST CLOSED

Congrats to our winners:

Scott Ryan

James Brytus

Kickstarting Local Musical Projects With Fan Funding

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Over the past year or so, we’ve seen several local bands turn to their fans for funding musical projects.  The Motel Beds, Me & Mountains and Jasper the Colossal are just 3 of the bands who have been able to release new material thanks to successful campaigns on Kickstarter. There are currently 4 great local music projects on Kickstarter*, some with a deadline just around the corner and one that’s just launched.

Deadline: October 22nd
Trey Stone’s first full studio album, Ahead of the Pack

Trey Stone is the former music director of Chicago’s famous Second City Theater.  He’s landed in Dayton, has been an active participant in the music scene for a while now and is looking to complete his first full length album. Stone has already begun the recording process at Dayton’s Cyberteknics Studio so project funding will go towards the mixing and mastering of final product. Ahead of the Pack will feature Stone’s blend of rock and roll and country with a bit of a funky New Orleans twist.

Deadline: October 26th
Help F.M. Records reach WORLD DOMINATION!

F.M. records goal is to help local and Midwestern bands reach both a local and larger audience through recording, pressing, and distribution, while keeping it all in house. Founder Dustie Pitstick says: “We have an insane amount of local talent, as we have for years. It’s time for everyone to realize that. By talent I mean bands, studio engineers, artists, shops to sell in, and some of the most loyal listeners anyone could ask for. We truly have all the key ingredients in Dayton, so why bother to snub all the great locals who help out and send our work elsewhere? We plan to keep everything in house, and really tap into the potential of a city big enough to have a great music scene, but still small enough to be a tight, self supporting collective… All while putting out diverse and amazing music from so many talented locals!”  Project funding will help F.M. Records stock up on the necessary supplies to release its first 4-8 albums, the profits from which will go toward funding future releases.

Mandy Jewell

Deadline: November 5th
Mandy Jewell’s 1st Professional Demo

Mandy Jewell has been part of the open-mic/Musicians’ Co-op scene in Dayton for many years and has a passion for songwriting, but she’s never released a recording of her music.  Jewell’s songs have an alt-country influence in the vein of Kathleen Edwards.  Project funding will go towards producing a full length album or an EP.

Deadline: December 10th
Triad a new album by James Murrell

Jazz guitarist James Murrell has been a staple of the local jazz scene for several years.  His new album, Triad aims to feature old and new material record in collaboration with local musician serving as guest performing and will be recorded in the Dayton area.  Short solo guitar pieces will also be featured on the album.  Project funding will go toward the recording and production costs for Triad.
To see videos and learn more about each of these projects, including the incentives for backers, visit Kickstarter and search for Dayton, OH.

*Note:  there currently aren’t any local music projects on Indiegogo, a funding site similar to Kickstarter, but there are quite a few local, independent film projects including Filmdayton’s Freak Club web series.  So if you’re looking to support local projects in other realms, check there as well.

Confirmed Dead Dick Hammer Sighting at Daddy Katz

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In a year of predicted end of the world prophecies and reported zombie attacks it only makes sense that the epidemic of the undead makes it way to Ohio, in October no less. It appears some of the undead where purposely brought here for our entertainment. It’s been proven that some zombies still have the skills and talent they died with and can still move with reasonably descent mobility and rock star swagger.  They even play nice, unchained walking around, mingling with their human foo…, counterparts patiently watching them willingly lower/weaken their defenses with strong mind numbing beverages.  Throughout the show there were several patrons that slowly with particular unintentional precision began imitating the walking dead resembling the awkward pace established in many a zombie flick. Whether this mirrored behavior was some kind of voodoo zombie dust used by the band to ensure a midnight snack isn’t clear.

But what I can say is, everything was cool when I left, what happened after, I can’t account for. All I know is that I woke up in one piece, unscathed. I’ve attempted contact with several other people without luck. Memories are still foggy and I have dream like memories of an older gentleman running around half crazy before the alleged attack and Dead Dick delivering a baby on stage but then again, someone could’ve put Zombie Absinthe in my Coke without me knowing.  After a few pots of coffee and several email queries later the following is my best recollection of events that transpired. I can’t accurately describe or prove everything that happened that night really did but as a journalist I have a public duty and commitment to the truth that must be adhered to. So… this is what I remember.

 

The Loveless

Daddy Katz, next door to Truth & Triumph Tattoo is a retro shop specializing in vintage antiques, costumed culture and everything and anything cool brought in the best local rockabilly, blues and country acts Saturday October 6th for a crowd of whooping, hoot n hollerin’ good ole boys, hot inked up biker chicks, some nice kittens, a few skirts, a broad or two, a few greasers and of course…. zombies.  Kinda like Roadhouse but everyone was ‘nice’. The bonfire was blazing and the party was jiving in the old backdoor garage tonight.

The Loveless, named after Willem Dafoe’s first movie was the first group to perform with Dead Dick watching quietly in a dark shadowed corner. The three man jam started out feeling a little Devilish. Guitarists Bret Cottongim’s wolverine sideburns were shaved razor sharp ready to fend off attacks if needed. He did some fancy finger dancing on HellBound, Dead End and the Dead Dick Hammer approved Grave Robbin’ about a doomed cemetery snooper and his girlfriend going to a cemetery lookin’ for a dead rich guy and he ends up diggin’ his own grave. Never trust a dame in a graveyard slick. Upright bass player Tommy Kirkendall plucked the thick strings with precession ready to use the grandfather violin as a club if necessary.  Happy days were back again with some easy ridin’ rock and blues with a southern twang.

Miss Cherry Lee and the Hotrod Hounds

Up next for your listening pleasure ladies and gentlemen, Miss Cherry Lee & The Hotrod Hounds. Opening up the first three numbers, stood the man in black (from the waste up anyway). Then Miss Lee made her entrance singing with the spirit of Rockabilly’s first lady Wanda Jackson with a sassy, sultry, swing.  They played tribute to the pioneers and forefathers of the genre as they rocked this town back to the good ole 50’s. She takes Kim Lentz’s fiery redhead flare on The Swing. She preaches from The Dresser Draw Bible (there’s no failure to communicate here) before they break out The Great Balls of Fire and watch Johnny B. Goode.  Tonight everybody’s got Rockabilly Fever and Miss Lee and The Hotrod Hounds mark their turf leaving us Breathless.

For those who’ve seen his face and lived to tell about it there’s an old legend that goes somethin’ like this. October 30th Richard Hammer and his trio, going to the biggest gig on their careers ran into some bad weather and somehow ended up at the bottom of the Green River. Now many many years later, freshly scooped out of their graves and ready to resurrect music from the evil clutches of the mainstream, Dead Dick Hammer and The TBA Band have returned to wreak havoc and bloodshed. But Richie wasn’t always a Dick, back in the day he was an honor student, big brother, on the glee team and captain of the football team. Later he relocated to Memphis and was a studio musician for some of the biggest names of the time, but due to copyright can’t be mentioned, (I would’ve asked but he flashed his rotting teeth smile at me stinking of fresh meat and I took the hint).  After his awakening his devoured his squeaky clean image turning into the dark, psychopathic, perverted, heartless but surprisingly well behaved Dead Dick we saw in front of us. At least while the crowd outnumbered his band anyway.

Dead Dick Hammer

Dead Dick’s biggest fan, a young lady of grave cadaverous beauty Miss Doreen Laveau tragically took her own life after the accident near the location of The Trio’s final resting place at Wells Family Cemetery in Temple Hill Kentucky. Such fatal devotion didn’t go unnoticed when Dead Dick and drummer Dr. (Doc) Kong unearthed her and through unknown/nefarious means gave her, her step back. Some say she was taken to a castle and electrified on a dark stormy night, but that’s never been proven. Now she plays bass next to her hunky, honkytonk hereafter hero like a good little living dead girl should. Undead drummer, Dr. Kong from parts unknown, actually he hails from the deepest darkest parts of the Amazon, and yes, you should believe him. A licensed professional witchdoctor by trade and this is what he said to me, he said…. well not much really besides grunts and ting tang walla walla bing bang. He deviously smiled at me reaching into his overalls so I stuck a business card in his mouth and ran.

 

Skull 13 makers of cool shot glasses, kreepy key chains, magnets from hell and other just plain weird stuff proudly presents straight from the cemetery gates of Plot 13 (gotta love irony) and the dirty dead six feet under south comes the rotting psychobilly creatures of undead dread Dead Dick Hammer & The TBA Band aka The Embalmers, for the Dayton show. He lets the crowd pick a new band name every show, lets them think they have some power over him. Leaving a dirt trail behind them with every step they played a set of high energy, nasty rock n roll hits and near victim misses. He thanked everyone for not shooting him in the head, yet. Performing with the slick swagger of his passed on pal The King, electric gypsy teeth playing of the wizard (he doesn’t eat nonliving things) and the classic duck walk of ole Mr. Maybelline. He also played guitar with a bike wheel. From what was left of his throat and vocal chords after a career’s worth of Jim Bean compounded by rot came the voices of a few famous rock n roll misfits including Glenn Danzig, the King of Graceland, and a little bit of Randy Travis. One look at Dead Dick and we have the unwanted answer of what Mr. Travis will look like, ten years after his demise. They brought along hell’s version of the good old time gospel hour. Dead Dick Hammer could very well be the darker more animated version of Hank Hill.  He promised everyone that came up and participated wouldn’t be followed home and stared at through the window.

The whole gang at Daddy Katz

They played a death defying set of daisy raising originals like My Baby She Like It Rough (a TMI tune of his personal life). Then came the Res-Erection the hard rock thumpin’ CD opener, the You-Tube friendly Last Call and another TMI tune from the black lagoon. They play an ode to poor sweet Annabelle and another for Sweet Sweet Connie, Dick promises he won’t hit cha but he will do something else.

All in all it was a great night of country rock n roll, drinkin’ and well behaved (for the most part) zombies. Representatives from Truth & Triumph were stationed, guns ready to give Mr. Hammer some new ink or slow him down in case he decided to give chase.   Skull 13’s other worldly connections came through and Dead Dick Hammer came to Dayton.

McGuffys Hosts Project Independent

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Project Independent the worlds ‘only’ independent metal showcase brought it’s traveling talent search to McGuffy’s, it’s only Ohio stop besides Cleveland, Saturday September 29th critiquing 6 bands each vying for a shot at the next level of competition and the coveted spot of Project Independent Featured Artist. Since its inception in 2006, founder/CEO Jeff Totten, a former member of Indecent Xposure and Raising Cain has traveled the world looking for the newest and hungriest home grown talent ready to show they’ll do whatever it takes to succeed. 2012 has taken P.I. across the country making forty-six stops choosing winners each night through a strategic point system based on musicianship, showmanship and workmanship and the competitions fierce for one of the richest prizes in the Indy scene.

To get on the list all Showcase Artists must register, make a deposit and presell tickets to earn spots. Totten says it’s the first step in seeing how much they’re willing to work for it. In return all performing artists receive promotional materials, special offers and are eligible to receive promotional air-play by Project Independent Radio. The day of the show bands are given a thorough 90 minute workshop explaining P.I., its history and a breakdown of the critiquing system. Included is a straight forward no BS discussion about industry issues on the business side including trademarks, copyright and distribution, and the roles of agents, promoters and venues. Totten warns you must be emotionally, mentally and psychically ready for this business and all the rigorous pitfalls and temptations that come with it. Many bands think they’re ready but they don’t have a solid understanding of the business dynamics. If fact he often tells musicians if you’re not serious and can’t handle it, quit, because down the road of success ‘THIS’ is what awaits you.  Totten wants bands already operating with a professional mind set and mission statement with their !@#! together that he can mold/prepare for professional opportunities that will draw people and numbers. He looks at how much they’ve already done on their own. He’s not looking for the weekend bar band.  He wants the next national/global touring act that wants to become household names. After each night’s Showcase he discusses his critiques with each band. So at the minimum all bands have written/verbal advice from a touring industry professional on where they are in terms of song writing, structure, performance, appearance and what they should do next.

The business is a lifestyle and he wants an artist that will represent the genre well.

In-cohesiveness is not an option. The industry is always changing, transitioning, adapting to new trends and of course… always looking for the next big thing. Speaking of, the best artists from each event will advance to The Final Selection Process and a shot at the Holy Grail of Indy Metal. The winner will be chosen in December determined by their Showcase Critique Score, An Industry Panel of record moguls, producers, touring musicians and fan voting….(no pressure). Voting polls open 12/01-12/30. In case of a tie, the artist with the most fan votes wins and will be announced as The Project Independent Featured Artist of 2012 on January 1st.

Prosper

The winner will receive a 60-day promotional tour with headline performances at each Showcase venue and a $5000 cash allowance. In addition they’ll get an industry showcase at The Whisky A-Go-Go in Hollywood, a crowned jewel in itself. One full length retail ready CD with 8-panel, Full Color On-Disc Printing, Barcode, Spine Label and Shrink Wrap. Distribution on Amazon, I-Tunes, You-Tube, Snowcap, etc. including a digital store with downloads, ringtones, CD’s and t-shirts. But wait, there’s more. Merchlive.com will offer the Featured Artist choice of $1000 dollars in Costume Merchandise. They also receive top quality equipment and upgrades from sponsors including but not limited to Peavey, Schecter Guitar Research, and PAiSTe.

So if you don’t think selling a bunch of tickets and performing/playing your ass off for 30 minutes is worth that then you’re definitely in the wrong business. Totten and crew told a few stories of band fights on stage and a particular sobering one about a band whose singer disappeared and the band had to cancel, two weeks later he was found shell-shocked saying he couldn’t handle the pressure. See, all Showcase Bands are not only performing for the crowd, fans and Project Independent, at each show there’s a four camera free webcast streaming live the whole night. So on any given night, 50-80,000 plus around the world are watching.

At some point Totten wants to produce bio segments about the bands, filling the between set down time and eventually have a 24/7 web based music network. You know, what MTV used to be back in the day. If nothing else at the end of the night all bands know where they’re at and what they need to do to move forward. The most important thing Mr. Totten wants made clear is WE ARE NOT A BATTLE OF THE BANDS!!!!!

An impressive list of Dayton/Columbus locals and Kentucky, West Virginia and Maryland’s finest filled out the bill. The Showcase began with state capitol’s Prosper opening with an incredibly unique light, catchy groove metal sound. If such a term as heavy bubble-gum music doesn’t exist, it does now. Singer Xavier McAllister’s words were surprisingly clear and distinguishable in his harmonies and it bears noting he did actually ‘sing’. Though dressed in flannel and thick beard, he hardly resembled the clean cut, suit and tie pretty boy look he was vocally borrowing. Guitarist Sam Ralph resembles Shadows Fall’s Brian Fair with a slight haircut and played the Cemetery Gates inspired Empty with a little bit of Dimebag in him.  Bassist Adam (Tree) Watson used all of his 6’8 to make an impression. I’d say he stood in the background but anyone standing front stage center back to Burkhardt Rd would say he was the background. They played a set filled with youthful energy opening with Horizon, a tune that you’d swear you were watching a heavy version of The Wonders. Symphony of Sinners was next followed by Angel which may be the new power ballad of this generation and the dirty/slightly grimy guitar sound of Disillusion. Their sound is a consumption/corruption of bubble-gum, 80’s, early 90’s metal influences revamped with a modern day delivery.

Johari Window

Louisville Kentucky’s Johari Window stormed the stage ready to assault, rage and decapitate. They definitely brought out the Carcass tonight for all to see and hear in all its smelly, stinky, grindcore glory. Singer Connor Hill even borrows some pipe work from Jeff Walker, including clean melody and a few other choice demon lunged deliveries. It’s Deception At Its Best. Some slow, dirty chug hits hard granite breaking sound with sledgehammer strength. Connor stalked the front row die hards ‘showing love’ screaming in their faces and trading fist bumps. Hey, it’s how some metal singers show affection.  Betrayer slowly slithers up to you with its unexpected slinky ‘charmer’ beginning then attacks like a drill-gun to the head. Just to make everyone do a double take they break out a keyboard which Hill plays on The Begging Dead, quite possibly ‘the’ heaviest song in mankind’s history to bear piano notes. A Johari Window was a psychological tool invented in 1955 used to help people better understand their mental instability. Not a bad idea for a band name considering the five-some could cost any headbanging/thrashing listener a brain cell or two.

Deep from the mountains and rough, jagged terrain of West Virginia come Elohim. It’s time to get freakin hateful yells Gibby Haynes look-a-like Tyler Lowe as the rough, gruff mountain boys throw out a sound as loud, strong and potent as the special ‘shine’ made in them parts. They play with a rapid fire acupuncture delivery that sounds like Bigfoot trampling over some very large rock formations. Their music is like a pick hammer to the temple inducing granite clusters and minerals to fall from unscaled heights. Lowe’s beastly growls sound like what might be heard coming out of a dank darkened cave late at night. Lyrically their very in tune to the Demigods, in Monolithic terms of course. I mean really, how many polycephalic (more than one head) beasts and monsters are in the average metal bands songs? They very well could be the ‘gods’ of mountain metal.

Alright gear-heads, time to rev up the engines with Springfields biker metal’s answer to Overkill meets Chrome Division, Chronic Aggression. Singer Joe Stafford spits out a raspy Udo Dirkschneider/Bobby ‘Blitz’ Ellsworth style and seems to have perfected the art of slow motion headbanging. There’s plenty of Motorhead menace and attitude to go around. They play us on a blazing burning ride on the highway to hell and you don’t have to be cursed to feel like your skulls on fire. Opening with If Only they played ReverbNation tracks 6ft to the Rythm, Your Demise and What You Gonna Do. Guitarist Issac Shotts played half the set sporting sunglasses so the futures gonna be bright.

The 10th Hour

2011’s Project Independent winner The 10th Hour took the stage showing why they earned the coveted title Featured Artist. Having a unique almost un-namable sound, they play with the ferocity that helped earn them the nod of Totten and approval of some of Hollywood’s elite judges. They get to play almost every night spreading the holy metal gospel. The 10th Hour comes when the bell gongs, Bryan Hillis growls Zim Smith/Ryan Eiker thrash out a smashing guitar sound playing off each other trading riffs, solos and some comedic comeradery. They perform like they really feel the music going through them. A minute into the 10th Hour they’re Silencing Trepidation and the loud angry beast within trying to tear through. We get Apathy’s Embrace and maybe the only 51 seconds of the hour that’s not loud. They summon the Nexus of Your Fears and it sounds pretty scary. New tune and You-Tube video The Incarceral shows a slower, softer but still dark sound and the inner hell of addiction. Travesty sounds like you’re in an underground street fight smashing against stone walls. Their sound is a mix of fast paced, pounding guitars, solos, vocal screaming/yelling and harmonious singing. A very different mix of musical mind-bending for the poor soul standing ready with a label stamp. Their CD Tides of Despair is as intentionally diverse and changing as their stage show. Once you’ve got an idea of who or what they sound like, the next song starts and your back to zero. Maybe some frenzied frustration’s a good thing but none the less they’ve procured the 10th Hour sound to perfection. Several tracks deal with the struggle/battle/war with inner emotion and torment. Each tune is of a different variety and delivery but carries a certain lyrical gloom with a sliver or two of hope cut through the warped planks. Tides of Despair lets the music do all the talking.

We finish with Dayton’s Coffin Birth Conspiracy a spooky scary movie blend of sound and keyboards intermixed with the shrewd rebellious evil of youth. Beginning with Haddonfields Curse, its October after all. We all love Halloween’s most lovable, namesake, silent killing machine right? Though the throat of the band Ian Overkill, looks just old enough to remember the re-makes.  They spread Dark Pandemonium everywhere Through the Depths enriching the atmosphere with icy shivers and murky ambiance. They should be writing soundtracks for Italian horror movies. Taking elements of 80’s, black and symphonic metal they’ve mingled and mutated into a catchy sound for any stage or movie screen.  Next we hear Wilhelms Scream, the song not the sound effect. Wikipedia has all the details. CFC is a six person horror film showcase in itself, no costumes needed.

Folk Musicians Susan Werner and David Wilcox Kickoff Club Kuss Series

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Susan Werner and David Wilcox

Friday, October 12th marks the first show in this year’s Club Kuss Series featuring singer-songwriter-guitar-playing duo Susan Werner and David Wilcox.  The concert will take place on Friday, October 12, 2012, at 7:30 p.m. at the Clark State Performing Arts Center, Kuss Auditorium in downtown Springfield.

Called the ‘empress of the unexpected’ by NPR, singer-songwriter, pianist, harmonica- and guitar-playing artist Susan Werner turns a corner in her multifaceted musical career with her vibrant new album, Kicking the Beehive. It’s an 11-song collection of provocative, poignant, lyrical originals that are infused with the rustic roots of American folk, blues and country music. Like many songwriters with a literary bent, Werner worries that much of pop music is a mile wide and an inch deep. “But seems to me, the best songs are more like an inch wide and a mile deep,” she says. Produced by Rodney Crowell, recorded in Nashville and featuring such all-star guests as Vince Gill, Keb’ Mo’ and Paul Franklin, Kicking the Beehive is a personal project where Werner intuitively explores the full impact of looking beyond the superficial and delving into soulful honesty. There are few performers out there today that have the voice, musicianship and songwriting abilities that Susan Werner has.

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Susan Werner & David Wilcox
Purchase Tickets
$30 for adults, $24 for seniors and $15 for students
Icludes a pre-show lobby party beginning at 6pm.
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Considered a ‘songwriter’s songwriter’, David Wilcox’s songs have been covered by artists such as k.d. Lang and many others. In addition to his writing prowess, his skills as a performer and storyteller are unmatched. He holds audiences rapt with nothing more than a single guitar, thoroughly written songs, a fearless ability to mine the depths of human emotions of joy, sorrow and everything in between, all tempered by a quick and wry wit. Reflecting on well over 20 years of record-making and touring extensively around the US and the world, Wilcox says, “Music still stretches out before me like the headlights of a car into the night. It’s way beyond where I am, but it shows where I’m going. I used to think that my goal was to catch up, but now I’m grateful that the music is always going to be way out in front to inspire me.”

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Jazz Spotlight: Ronald Hartwell + Upcoming Local Jazz Oct. 10 – Oct. 24

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Happy October 10th; American jazz pianist and composer Thelonious Monk was born on this day in 1917. Check out Wikipeda for more information.

Who is Ronald Hartwell?

     Ronald Hartwell has been performing, teaching and enjoying music for over thirty-five years. He regularly entertains audiences in formal and informal settings. Currently he performs in Columbus, Dayton and Cincinnati areas of Ohio. I’ve seem him lead all size groups from his Different Hats Big Band at RiverScape to jazz jams for young players at the BRD House in Englewood. He is the hardest working musician and educator that I have the pleasure of knowing. He never ceases to amaze me in his ability to play virtually every instrument he picks up as well as being a credible vocalist. He combines a deep love of traditional music from across Europe and the Americas with a flair for innovation, improvisation and composition. He is equally at home performing musical theater and jazz laced rendition of popular songs as he is in the concert hall. Performances regularly include the best of Broadway, Jazz Classics, and gems from the rich heritage of North / Central / South America and Europe.

     Ronald Hartwell has studied historical art music of North America and Europe at the University of Arizona, jazz, theater and composition at Berklee College. His mentors have included Peter Walker (Julliard) for Piano Proficiency Richard Herman (Indiana) Flute, Joseph Viola (Conservatories de Paris – Marcel Mule) Saxophone and Ernest Dalwood (Cambridge – BBC and ESO) Clarinet. In addition to instrumental studies he has studied voice with Carole Forte and acting with Rylan (L.B.) Brenner.

     Upcoming on Saturday, October 20 he is producing, as part of Jazz Central’s resurgence of jazz in Dayton, a tribute to one of the greatest King of Swing legends in history when he plays Benny Goodman and Mark Smarelli plays Lionel Hampton from 8:00 pm to midnight, which will cover the small group music renditions from Goodman’s trios, quartets, quintets and sextets.

Jazz Calendar

Here are some (not all) of the upcoming jazz events for the next couple of weeks:


Tonight Wednesday, October 10 – Randy Fankell’s Jazz Militia is at the Wright State’s Student Union Hearth Lounge inFairborn and Saxophonist Composer Educator Jeff Coffin & the Mu’tet is at Greaves Concert Hall, Northern KentuckyUniversity.
Thursday October 11 – the Street of Dreams (organ & vibes jazz trio) is at Spinoza’s in Beavercreek and Jeff Coffin Mu’tet is at Nighttown in Cleveland Heights.
Friday October 12 – Shawn Stanley Trio performs at Carvers Steaks & Chops in Centerville while fo/mo/deep is playing at Dick’s Den  in Columbus.
Saturday October 13 – Jazz Central is bringing the Blues back to their club for a one evening performance of Big Joe Blue & the Foundations in Dayton and Joe Dunlap, Jim Masters & Chris Berg are at the Worthington Inn in Worthington.
Sunday October 14 – Phil DeGreg Trio  performs at Dee Felice in Covington, Ky. and Dayton’s longest jazz jam continues at Jazz Central in Dayton.
Monday October 15 – the John Taylor Trio is at the Brio Tuscan Grille in Beavercreek and the Clintonville Woman’s Club is hosting Vaughn Wiester’s Famous Jazz Orchestra.
Tuesday October 16 – the Blue Wisp Jazz Club presents Jazz from the Cincinnati Conservatory of Music in Cincinnati and the Park St. Tavern Jazz Jam continues in Columbus.
Wednesday October 17 – Dave Greer’s Classic Jazz Stompers performs at Neil’s Heritage House in Dayton and the James Elliott Project Featuring Roger Baccus is performing at Zanzibar Brews in Columbus.
Thursday October 18 – the Generations Big Band returns for their monthly gig at Jazz Central in Dayton and Ricky Nye plays Betty’s Bar in Cincinnati.
Friday October 19 – Captain Carl (from Florida) and his Jazz Pirates invade Jazz Central and the Thompson House presents a Tribute to Louis Armstrong in Newport, Ky.
Saturday October 20 – Jazz Central will present a tribute to Benny Goodman featuring Ron Hartwell and Mark Smarelli inDayton and The Tommy Wade Orchestra will play at the Aladdin Shrine Center in Columbus.
Sunday October 21 – WDPS 89.5-FM will present their second Listener Appreciation Concert at the David H. PonitzCareer Center offering jazz & swing dance music by a select group of entertainers headlining with the Generations Big Band and the after party jam session will be at Jazz Central in Dayton.
Monday October 22 – Blue Wisp Jazz Club offers a Jazz Jam  hosted by Sandy Suskind in Cincinnati and Tia Roseboro & Vernon Hairston are at the Old Bag Of Nails in Columbus.
Tuesday October 23 – the Tony Monaco Trio is at the Rumba Café in Columbus and the UD University Jazz Band & Jazz Lab Band performs at University of Dayton Boll Theatre.

More info and jazz listings can be found at JazzAdvocate.com

WSWO Announces Annual Record Sale Blowout

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Vinyl collectors, mark your calendars for November 10th and 11th when low power FM radio station WSWO will hold its annual record sale.  A wealth of music will be available for sale in an event that benefits the community station.

Local sponsors have donated various items for raffle prizes to raise additional money for the station, including a new USB digital turntable and record care accessories from Omega Music in downtown Dayton.

Known as “Ultimate Oldies Radio,” WSWO 97.5 & 101.1FM airs material that charted during the first 3 decades of rock and roll and is accented with jazz, R&B and cross over religious & country artists, also broadcasting Wayne Warrior sporting events and community based religious programming.  The record sale is the nonprofit station’s biggest fundraiser of the year; the rest of its budget is fleshed out by listener donations and sponsorships from local businesses.

WSWO is still taking music donations through November 1st of gently used 45’s, LP’s, CD’s & cassettes (no 78’s) as well as working turntables & jukeboxes. Donations can be taken to The Heights Cafe’ also located in the Huber Center, or arrangements can be made through the station.

 

Nightwish Enchants Columbus with Imaginaerum Tour

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Friday September 21st the Finnish symphonic power house known as Nightwish visited Newport Music Hall and from the mile long lines it looked like the whole city knew about it. To ever question their drawing power on these Yankee shores would be a grave underestimation of their style and reputation. Maybe it’s the mystery and mystique of singer Anette Olzen that brought out curiosity seekers. I’m sure some long time diehards wanted to compare/size her up to former, long time operatic lunged founding member/singer Tarja Turunen. But fans can rest assured that though their a worlds difference apart in style, Olzen’s own unique voice holds weight backing up the classics as well as her own. It was a night of majestic story telling by both bands.

Kamelot performing in Columbus

Tampa’s power metal conceptual kings Kamelot opened the show walking out to an absolute frenzy of screaming/shrieking voices. Although three members are American and one German, thanks to their new singer Tommy Karevik they were welcomed as Swedish royalty. A night of eternal/infernal majesty was to be had by all. They played choice cuts from several storyline records turning Newport into a medieval ballroom fit for a mad hatters masquerade party. They Rule the World with the first note starting with a double deceased dose of Ghost Opera with Euro-siren Amanda Somerville standing tall above. Karevik takes the crowd in his hand, a black and leather clad Maestro who from a fine ladies POV is ‘smokin’ hot, makes full use of the stage furniture. We then go to The Center of the Universe. We return to the opera and learn the value of life on earth as The Human Stain. He does a manual crowd sound check and When the Lights Are Down the eternal darkness and illusion of Mephisto awaits in the Dark Halo. Then it was time to celebrate this years new CD Silverthorn with Sacrimony, their third concept album, with deep lavender locked guest vocalist Alissa White-Gluz from The Agonist screeching out the voice of 19th Century main character Jolee and Elize Ryd providing the clean soothing delivery. Be careful what you do in this life because Forever’s a long time to deal with Karma.  Gluz reappears stepping into Shagrath’s dastardly evil boots and leaves us with the conniving March of Mephisto.   Silverthorn will be released October 30th.

Formed in 1996, Nightwish were one of the first operatic style metal bands to use a female lead singer. Earning a steadfast/loyal home country following they achieved worldwide success in the late 80’s/early 90’s when 2004’s Once brought them their biggest US single Wish I Had an Angel. In 2005 Tarja was dismissed by open band letter for reasons heavily disputed. A long search commenced searching for a new perfect voice. Over 2000 demos later they decided on Alyson Avenue singer Olzen. The band released two singles Eva and Amaranth, to satisfy/wet fans appetite/curiosity accompanied by videos for Amaranth and another track The Islander. There 6th record 2007’s Dark Passion Play was released. This tour brings us the new conceptual juggernaut Imaginaerum who’s narrative tells us about an aging composer on his deathbed taking a trip back to his youth. A same titled movie version with similar story and themes is being made by The Islander director Stobe Harju.

Nightwish performing in Columbus

They played a nice long theatrical showcase of crowd favorites, choice cuts from Dark Passion Play and a few new stories from Imaginaerum to captivate the mind and please the ear. The lights went out over the full moon, casting illumination over the old man’s childhood dream-scape. The bagpipes played as the crowd unleashed a deafening roar,  its night wish of incredible symphonic metal story telling mastery and macabre answered. It was indeed Storytime, a lyrical and visual journey back in time to Never Never Land inside a childlike dream imperium. The first of Tarja’s tunes Wish I Had an Angel was greeted with great applause and enthusiasm for anyone ear judging. Olzen cranked out her introduction to fans on Amaranth. Then delivered the nights next bedtime Scaretale with its icy witches cackle and vocal taunts, filled with fiendish monstrosities and creepy crawly nightmare creatures reaching out with a crooked old vultures hand inviting the kids into the dark carnival with a tick tock, tick tock, tick tock. Lyrically it’s been called Nightwish’s ‘Enter Sandman.’ Speaking of creatures of the night we return to The Dark Passion Play for 7 Days to the Wolves. We then cross time and space to a 1930’s era jazz club on the Twin Peaks side of town for a Slow Love Slow and sexy sit down sing along. Guest instrumentalist Troy Donockley comes out to play the pipes on the next five tunes. For every fan that’s been seduced,smitten or fallen for Olzen’s voice they all say the same thing. I WANT MY TEARS BACK!  The slower animalistic ballad The Crow The Owl and The Dove flies over the Imaginaerum then we sit/stand around the fire as The Islander tells us an old man’s salty sea’s story bathed in the tranquil glow of cell phones and a few bic flames. The crowd wished for soothing rain and to dream again and thus Nemo came. Olzen gets a break on Last of the Wilds while the flute holds its own against 3 guitars, drums and a keyboard. The final act begins as we take a trip ‘Once’ to the burning world of our dark mistress to worship on Planet Hell taking an escape flight down the deadly Ghostriver but while we’re there we’re tempted to open a Dark Chest of Wonders with really weird things in it. From there they take us Over the Hills and Far Away, skipping over prison we take a second to last ride with Walt Whitman singing a long written Song of Myself hitting you with an ending sledge hammer with bells bombast. Then with the midnight hour approaching, dark clouds loom over the last dim lights of the Imaginaerum,   it’s creaky doors slowly clank closed and the last of the evenings passengers strap in for The Last Ride of the Day on tracks that never end.

The nights collection of  innocent childhood memories, dark fantasy and musical ambiance fade away as the stage lights go out. Songwriter/keyboardist  Tuomas Holopainen brings out sonic sound, the songs of angels and the breathe of the gods through his fingers. Gandolf looking Marco Hietala brings out the devil in his bass playing the creepy comical sideshow ringmaster to perfection. Emppu Vuorinen brought out the heaviest sounds and driving guitar narrative carrying the weight of such huge conceptual ideas and melodies. Jukka Nevalainen kept the beats pounding at a storied pace never letting the fans eyes drift off the proverbial page. Nightwish is a moving musical tapestry. We’ve all heard the term deafening crowd but for a venue it’s size, and the bands playing, I’ve rarely heard a crowd that loud.

If your curious about the movie it’s Finnish release is slated for November and loosely follows the storyline of the record. The first single released Storytime is a lyrical representation of the whole record and a cinematic video previewing characters and plot ideas from both can be seen on Youtube.

Special thanks to Lauryn Campanell for set list information.

Jazz Spotlight: Mike Wade + Upcoming Local Jazz Sept. 26 – Oct. 9

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Happy September 26th; the American composer George Gershwin was born on this day in 1898. More info on George Gershwin can be found here.

Who is Mike Wade?

Mike Wade is currently the Band Director at Withrow High School. He began his journey with the trumpet during his preteen years. While a student at The Duke Ellington School of the Arts in Washington DC, he received a National Symphony Scholarship to study with Symphony Trumpeters. Following a year at Howard University, he completed his musical education with a bachelor’s degree in Music Education at Central State University, he then went on to the University of Cincinnati, Conservatory of Music to complete graduate studies in classical trumpet performance.

Professionally, he is no stranger to the titles of producer, composer, arranger, and educator.  He is also the founder and leader of the Standard Time Quintet, Mike Wade & The Jazz Mafia, and the Mike Wade Reality Band. Mike Wade can blow his trumpet in hard bop style, hence his nickname “Shorty Bop”, and he can also play funky grooves that make you want to swing.  Wade has been prolific in performing, recording, composing, producing and arranging. He has recorded three CD’s under his name; “Standard Time”, “The Broach Approach”, and “Reality.”  A fourth CD is currently in the works, all of which features new arrangements of straight-ahead standards and original compositions.

Mike is no stranger to the Dayton scene having performed with the Sinclair College Jazz Ensemble at Blair Hall, and numerous times at The Dayton Art Institute and Gilly’s.
On Saturday, October 6 he is bringing a quartet to Jazz Central consisting of Mike Wade (trumpet), Dr. William Menefield (piano), Anthony “T” Lee (drums) and Brandon Meeks (bass), which will afford local Dayton fans to see a great group from Cincinnati.

Jazz Calendar

Here are some (not all) of the upcoming jazz events for the next couple of weeks:

Tonight Wednesday, September 26 – Lizz & Rex Quartet are at The Dayton Event Connection in Dayton and John LaIacona is at Eddie Merlot’s in Cincinnati.
Thursday September 27 – the Mike Teckenbrock Trio is at Spinoza’s in Beavercreek and Marcus Miller is at Nighttown in Cleveland Heights.
Friday September 28 – Terry Murphy and Company Band performs at the De’lish Cafe in Dayton while Kathy Wade & Ed Moss are at Schwartz’s Point in Over-The-Rhine, Cincinnati.
Saturday September 29 – Jazzy 88.9 WCSU, is celebrating 50 years and will present the award winning contemporary jazz group The Jazz Patrol with Randy Villars at Gilly’s in Dayton. This Anniversary Benefit Concert is one night only- two shows beginning at 8:30 PM with all proceeds going to support their public radio station. Check it out at: http://www.wcsufm.org/
Sunday September 30 – Hoo Doo Soul Band performs at the Rumba Café in Columbus and Dayton’s longest jazz jam continues at Jazz Central in Dayton.
Monday October 1 – the John Taylor Trio is at the Brio Tuscan Grille in Beavercreek and a Jazz Jam hosted by Sandy Suskind is at the Blue Wisp Jazz Club in Cincinnati.
Tuesday October 2 – the UD Jazz Ensemble is at University of Dayton Boll Theatre in Dayton and the Tony Monaco Trio is at the Rumba Café in Columbus.
Wednesday October 3 – the Blue Wisp Big Band is at the Blue Wisp in Cincinnati and Dave Greer’s Classic Jazz Stompers performs at Neil’s Heritage House in Dayton.
Thursday October 4 – Math Games does the Dayton Art Institute Vectren Jazz & Beyond and “Jazz on an Autumn Day” concert by Jazz Spoken Here! is at the Union Hall Theater in Chesterhill, OH.
Friday October 5 – Doc Broadnax and the Thompson House in Newport, KY presents the Tessa Souter Quartet and Ricky Nye will be at Anna Ree’s Andouille in New Richmond, OH.
Saturday October 6 – the Mike Wade Quartet plays at Jazz Central in Dayton and Lavieena Campbell presents…MOCHA at The Greenwich in Cincinnati.
Sunday October 7 – Phil DeGreg Trio performs at Dee Felice in Covington, KY and Randy Reinhart & Bill Glemmer’s Small Band is at Gallagher Student Center Theater, Xavier University in Cincinnati.
Monday October 8 – Vaughn Wiester’s Famous Jazz Orchestra is at Clintonville Woman’s Club and Mark Flugge, Derek Dicenzo & Jimmy Castoe are at Due Amici in Columbus.
Tuesday October 9 – Phil DeGreg’s Samba Jazz Syndicate is at the Cactus Pear Southwest Bistro in Cincinnatil and the great jazz jam at the Park Street Tavern continues in Columbus.

More info and jazz listings can be found at JazzAdvocate.com

Heavy Lies The Crown Pummels The Shrunken Head in Columbus

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Friday September 14 in an assuming cozy bar nesting on the West 5th Ave side of town, four bands played an intimate performance that shook the walls of the redrum, err red painted rooms. Though no blood was spilled there was plenty of gore and violence spewed/hollered/screamed/roared/screeched/squealed from the stage to accommodate the nights musical debauchery.

Columbus has an Esoteric Agenda or at least four long haired metal freaks do. Their name based on a documentary about symbolism and conspiracy in society and their agenda was to open up the Sinister Elixir and play the loudest, most evil sounding technical death metal this side of the northern state. When your singer looks like kin to Testaments Chuck Billy and George ‘Corpse Grinder’  Fisher from Cannibal Corpse there’s really only one kind of music you can get away with playing. Singer Nick Larry inhabited the ‘very’ tight claustrophobia friendly stage making good use of the self brought strobe light. Hurling out straight jacket excitement from the deepest darkest corner of the insane asylum contorting into all forms of menacing screeching facial beasts unleashing the chained up tortured soul within. His head bouncing and twisting as if awoken in a Jigsaw booby trap.  The surrounding music gave praise to all that could be used in a ‘Hostel’ environment. A dual guitar audio onslaught free for all of airborne torture utensils and resulting noise splatter.  Fourth of six decibel shredders was The Mechamortal Eradicator about bringing an Assassin back to life with robotic limbs, for those that like their robotic synthetic engineering with a few pounds of flying flesh. Illuminating the Dogmatic Index can be heard on their Facebook page along with video updates and a live performance presumably in someone’s hard-core basement.

Now for something completely different as Dayton’s power trio Ex Luna Ut Terra (From Moon to Earth) set up shop opening with Death Stumbles Drunk on Its Way (we’ve all been there on a weekend night or two). An audible tribute to the basement sound of early 90‘s black metal, fitting given the singer/guitarist resembles Dimmu Borgir’s Galder minus the corpse paint of course. Their music can be described as black metal fused with psychedelic experimentation. Black metal meets Opeth with groove, Black Sabbath breakdowns with some slow carefully placed tranquility edged with a trippy 60’s feel. Mikael Akerfeldt would be proud. The slow stirring growling candlelight vigil with a bite feel of Soaring Above Moonlit Clouds followed by Last Sunset Seen Through These Eyes finished a uniquely cerebral set.

The second of a double dose of Dayton’s best, Lysura came on performing their debut set and show as a functioning band. Yet another musical project/incarnation of skins smashing madman Eric ‘Hammering Hobbit’ Barnes who has no less than five active bands going at any given time. Melodic Black/Death metal featuring former members of Acheron and Beneath Oblivion. Their set featured two Facebook tunes the underground echo bass line opening of Fusion Script and A Human Portrait not to be confused with King Diamonds Fatal Portrait complete with its monster crunching Sabbath tidal wave riff s accompanied by evil screeching vocals from hell’s underground. They brought out the darker side of what Opeth might sound like minus the slower parts if they were black metal inclined. Quite fitting in that screecher Max Otworth resembles a cross breed of a young Tony Iommi and Mr. Akerfeldt.

Now that we got all the nice family friendly metal out of the way its time to break out the animal decapitator and do some good ole fashion swine chasin’ as Indianapolis death metal flesh churners Heavy Lies The Crown break out a slaughter house wake up symphony that would put fear into any healthy livestock worldwide. Incorporating the very genre specific vocal style sounding like your hearing the last moments of Wilbur’s life. With 1000 beats a minute, carnivore munching guitars and a dinner bell clanging bass this is the kind of dirt road backwoods noise used to torture terrorists with.  Definitely not for light hearted folk but if your familiar and/or love bands like Suffocation, Cannibal Corpse or enjoy farmhouse documentaries this might be heaven on CD.

Thank God It’s Funky – Ruckus Roboticus

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The guy behind the Roboticus – Dan Haug

The technology age that we are living now is well beyond our wildest dreams.  Seriously-think about it.  Vinyl gave way to cassette tapes.  The cassettes then stepped aside to give CDs their day in the sun.  Now, downloading music from the internet is the current craze.  Music also experiences changes.  Elvis shake, rattled, and rolled to become the king of rock and roll.  The 70s paved John Travolta to become a mega superstar.  The 90s was the grunge era.  Currently, electronic dance music is starting to put its footprint on the music scene.

Deadmau5, and Skillrex have become extremely popular as the electronic dance movement has started picking up speed.  Top 40 artists and producers are including the up-tempo vibe, and drum beats DJs are creating.  Also, seeing an EDM show is simply stunning these days, with the light and sound shows being produced.  The quickness you can download it, and the amount of music you can get online just makes things easier for DJs to set up their sets.

Locally, we have a crop of DJs that have honed on the skill of dubbing music together and mixing drum sounds with it.  One DJ that is currently making some noise is Dan Haug.  In case you don’t recognize that name, you probably know him as Ruckus Roboticus.  Tonight (September 20, 2012), Roboticus is going to be releasing his newest single and video for the song ‘T.G.I.F. (Thank God It’s Funky) at One Eyed Jacks in Fairborn, Ohio.  With the release, Roboticus will also be performing all night with another local DJ Jay Madewell.  Both plan on bringing the dance jams all night for the patrons that visit the intimate establishment.

‘I started DJ-ing in 1998’, Haug told me during a phone conversation.  ‘I started to discover electronic music, rap music, and I wanted to make stuff.’  Haug saved up money to buy a turntable, and started to work on his craft.  By bringing in old school rap from the rap pioneers N.W.A. and Run DMC, he slowly started to bring his touch on DJ-ing.  He went to parties, dancehalls, and clubs to perform.  He would practice with friends hanging around.

The practice started to pay off as Haug started to get work outside of town.  Some of his work includes remixing with bands Bloc Party, and Vampire Weekend, game developer Rockstar Games, and car company Scion.  He’s done shows on stage with other acts like DJ Jazzy Jeff.  In 2008, he released his first album, Playing with Scratches.  All this praise and good fortune hasn’t got to Haug’s head, he says. ‘It’s great that I have gotten to where I am, but I know that I need to keep getting better.  I don’t want it to ever to get to my head.  It’s not me.’

Currently, Haug is working on his next album, Phantom of the Disco.  Disco will be a concept album, telling the story of a dark and mysterious man.  ‘The album will talk about the nightlife and clubs at night’, Haug explained.  ‘It talks about shady people.  Greedy people who are in these clubs just for the money.  The phantom steals from the show, brings the love of music to them.’  There isn’t a
release date yet for the album.  Haug will be doing a few shows around the area, and then pack up and move to Los Angeles in the middle of October.  ‘I have been thinking of moving to Los Angeles for the last couple of years’, explained Haug. ‘There’s a lot of great things happening there for DJs, and I feel that it would be great to move there, get some great experience, and network.’  Haug then told me that he still will have family here in town, and he will coming to visit.

One Eyed Jacks in Fairborn, Ohio will be generating a lot of people getting their dance on with old school rap and electronic dance beats and also celebrating the single release of Ruckus Roboticus new song, ‘T.G.I.F. (Thank God It’s Funky) at 9pm.  The video for the song is also being shown at the show, starting at 9:30pm.  Also, Roboticus will be performing at the Trolley Stop on October 6th, as he will be part of the 2012 Dayton Music Fest.

[yframe url=’http://www.youtube.com/watch?v=X4ywnAyn3aA’]

Scale The Summit At The Spitfire Lounge

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It’s been said that music is the universal language, transcending the spoken word and communication not just on an audible level but conveying emotion, unspoken thoughts, messages and conjuring images and pictures without a single utterance. Saturday night September 15th  at The Spitfire in Vandalia Winding Hollow Productions presented four bands that played the stage to an appreciative crowd with nary a word spoken and all performances were instrumental to the nights supreme musicianship.

Dayton’s very unique bass and drums two man band Shadows In The Hour Glass started the evening proving a great band doesn’t need shredding guitars or vocals to create a powerful sound. Illusions of Serenity opened with its creepy, eerie ambiance making you feel like your walking down a long dark tunnel and you suddenly feel like something’s behind you. Four string finger player Zack Ryan and skins striker Travis Abling display intricate knowledge and proficiency creating dark, deep malevolent musical stories with Ryan’s bass as the main character and Ablings beats as the surrounding plot. The frantic playing gives chase to images of feeling lost or being chased in trippy movie sequences. He creates suspense, melancholy, apprehension, fear and caution playing the strings at walking, running, sprinting speed with Chuck Schuldiner technical prowess. He can also make it gurgle as the atmospheric fog rolls in. When someone hears the term ‘band’ its widely assumed there are at least three instruments involved but Shadows prove that so much can be done with only a duo of sound. The hourglass of time runs waiting for no one while the shadows of people slowly start to fade as time runs away. Shadows was originally a side project by Covered in Scars bassist Ryan and C.I.S. drummer Abling but has become its own identity with elements of technical death metal, jazz and classical with a darker more sinister edge.

Dayton’s next experimentation into noise and sound I Died Trying was ironically the only group that did ‘have something to say’. Between the screaming hidden yells from the darkness of drummer Bret Newland and the frantic yelling/auctioneer-esque lyrics spitting of guitarist Tony Goff  I’m not sure what all was said but the music and pure performance of the show did all the talking. I.D.T. is a uniquely distinguished select taste of heavy music, constant tempo changes, audio samples and any and all types of guitar shredding, chopping, hammering, tweaking techniques. Kind of like watching a multiple car wreck in slow motion. Think Dillinger Escape Plan meets Cattle Decapitation with some Slipknot turn table effects. Imagine hearing all emotions and thoughts from the mind of a schizophrenic at P.A.volume. They attack your brain like a drug. Even though Goff took to the floor to sing a few number it’s not all in your face pandemonium.There’s tastes of Opeth and Godflesh to keep the variety factor interesting. The music is tough, angry, artistic and violent which is good considering Goff has a passing resemblance to MMA fighter Keith Jardine. I Died Trying is a musical hangover that keeps the ears ringing but keeps you out of the bathroom.

It’s a pretty universally regarded given that everyone likes great sax. Well Greensboro North Carolina’s Trioscapes are no different. In fact Walter Fancourt excels at it. Playing in the three man bass, drums, saxophone ‘trio’ they bring an incredibly different, catchy ‘rock’ feel to instruments usually regarded as in the background or more ‘laid back’. They Blast Off and for those who think of the slow, moody, sexy sound ,made popular in numerous mob movies Fancourt’s sound includes that, for a collective minute or two anyway. For the rest of the performance he treats the sleek brass piece like a lead guitar shredding the keys/pedals taking the instrument to its very physical limits. When Adophe Sax invented it in 1846 he wanted to create the most powerful single reed playing instrument there was. Fancourt has taken that vision to the literal pipe blowing edge with his own furious heavy style. With neck muscles bulging he summoned the air from the Woodwind Gods above and played a speed metal version of The Pink Panther theme…. for 30 minutes. Fancourts lip piercing pursuits speeds up, slows down, breathes out some sexy seduction, solos, bends notes, and makes it shriek, scream, wail, caress and cuss. This is classy ballroom/ smokey cocktail lounge music brought into the rock arena. He takes you on a mile a minute saxy conversation then puts you on a rainy street round midnight filled with smog and broken dreams. I’m pretty sure sax’s don’t have toggle switches but he’s found a way to create one. Bassist Dan Briggs thumped his way through the set creating deep Opeth on the Moore imagery. Drummer Matt Lynch kept the pace with perfect time and precession. Not every drummer has the challenge to ‘keep up’ with the sax player. Of the four songs played they closed with ‘their’ version of an Mahavishnu Orchestra song called Celestial Terrestria Commuters.

For those that remember the PBS show The Joy of Painting With Bob Ross know that with each painting it was just him, the paint and the story of what he creates. Houston’s Scale The Summit draw similar comparison. Their unique brand of instrumental rock leaves no room or need for words and they let the music tell the story and take us along for the ride. They deliver strong driving songs weaving long intricate stories. Chris Letchford and Travis Levrier play cascading chords creating lush, vast musical landscapes with scenic soloing. Bassist Mark Michell gives the moody depth and weight holding down the structure while Pat Skeffington pounds out the backbone keeping the story going. Many influences can be heard when it’s just the music. The prog sound of Opeth, unique catch of Tool, wizardry of Steve Vai with the technical style of Death all mixed in weaving and intertwined into their own musical novel style. They create atmosphere, space and time with narrative and hundreds of notes but each is part of the whole plot.

Tonight proved without a doubt that music is indeed the universal language no matter how light, heavy, complex or simple. When you have people in Iced Earth/Tool shirts rocking out to a guy playing saxophone you know you have an audience that’s open minded and appreciates great musicianship and delivery.     

Playing for Change Day 2012

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Playing for Change is an international music education movement that works to break down barriers between people through the universal language of music! Shortened: peace through music! YES! What an incredible initiative! People all over the world follow this movement through videos, concerts and social media. Communities are transformed by shared music, fund drives and ultimately music schools built in their regions to grow the skills and passions of young people through music!

After an inspiration visit with PFC Founder, Mark Johnson, last spring, Cityfolk became engaged in learning more about Playing for Change. The parallels between missions were revealed.  As a traditional arts presenter, much of which has been music, Cityfolk has been driven by the universal language of music in a highly diverse community. Our partnership with the Welcome Dayton initiative has put us in a unique position to explore the breadth of culture in Dayton through our Culture Builds Community program. In a given year, we share a myriad of musical styles and performers. As we talked through the Playing for Change goals, we felt drawn to the tasks. It felt like a call to answer.

Culture Builds Community works in multiples: multiple art forms, multiple ethnicities, multiple schools, neighborhoods and age groups. This outreach arm of the Cityfolk mission was just the place to introduce a year-long commitment to an international movement. In fact, maybe it wouldn’t be just a year. Perhaps this collaboration could really take off! Again, the multiples: multiple staff members, volunteers, musicians and administrators came together and determined that Playing for Change Dayton was going to happen!!!

It all began during the Cityfolk Festival when our street team of musicians, The People’s Music, went out to share music with the gathered crowd. They had lots of interaction with folks there! During our Sunday rain delay, the street team got folks together in the parking garage, spurring a creative experience that motivated all involved: drums, vocals, dancing, over a hundred folks, joining energies to transform disappointment into possibility. PFC Dayton was officially in gear. The spontaneous jam was caught on videotape. Participants shared contact info. Culture was building community, right there, in the eye of the storm. That brings us to current day. Now with a structured Dayton team, a new partnership with Wright State University and lots of interested musicians, PFC Dayton is ready to roll.

This Saturday, September 22nd, is Playing for Change Day! It is celebrated all around the world. Cityfolk has registered an event with Playing for Change Day International here in our Dayton Community. We will be raising money for the local realization of music education across cultures! Our short goal is to share PFC programs in Dayton all year. The long goal: establishing a Playing for Change music school in Dayton. We begin with supporting CBC music programs for the coming year!

PFC Day at the Trolley Stop begins at 6:30 Saturday evening in the beautiful, historic Oregon District! Bring your friends and enjoy the sounds of local musicians with global flare: Son del Caribe, The Odyssey, Eric Jerardi Band, Jay Martinez and Puzzle of Light. This is a fundraiser. These artists are donating their time to support the cause. The event is hosted by Sandy & Michael Bashaw from Puzzle of Light!

(Click here for our event calendar listing where you can listen to the performers)

The Trolley Stop is a local treasure: good drinks, good food, good friends, a lovely intimate music venue and the best patio around! We are grateful for their involvement in Cityfolk projects. (You will notice a giant mosaic banner on the side of the bar when you stop by on Saturday!) We are all cityfolks! Come enjoy the fun! We hope you will give generously!

 

 

2012 Downtown Dayton Revival Festival Recap

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Ivan Neville's Dumpstaphunk (Photo Credit: Tracy Malott/Blush Boudoir)

The music scene in Dayton has always been packed with great talent. From the new-age bluegrass and folk artist Todd the Fox, to the great indie rock band Me and Mountains, to the energy Orange Willard brings to each set-the Dayton music scene is impressive.

However, a lot of people outside Dayton don’t see that way.  Actually, they don’t see anything.  The popularity of the music scene in town has dropped some, to where only the people in the town are really the only ones that pay close attention to what’s going on.  And with the accessibility of local music (websites, Facebook, record shops), the scene isn’t what it once was.

Matt Luongo noticed this dilemma, and wanted to change it.  For eight years Matt crafted an event that would bring Dayton music back to the way it used to be, and also have major recording acts come to the party as well.  Thus, the Downtown Dayton Revival Festival became reality.  The festival just had their first weekend take place on September 8th and 9th.

The first performance to get the festival started was Dayton’s own, The Giant Steps.  Their slow, psychedelic sound made the early crowd slowly ease themselves into getting ready for a full day of music.  The Giant Steps blasted the stage with smooth guitar play that was well beyond their years of age (the oldest members are close to, if not already, 17 years old).

The Werks

Bronze Radio Return made their presence known early in the day.  The band’s soulful, indie rock provided the crowd to get into the music early and often. After their set, the lead singer, Chris Henderson, met up with me and just raved about how the festival was going.  “This is incredible”, Chris mentioned.  “The people here are amazing.  I can’t wait for us to come back.”

Griffin House talked about being a waiter when he was younger.  He mentioned that he was just awful at it.  He was so bad that he knew that it wasn’t going to make enough to pay rent.  So, he took his guitar with him after work one night, went to a corner, and just playing and singing.  People started dropping money down for him, and he soon realized that this was going to help him make money (and pay rent).  House’s alternative, very mainstream-friendly sound had the crowd singing and dancing to his music.

One of the most powerful performances on the first day of the festival was the one that Kristy Lee gave.  Kristy immediately engaged the crowd that brought her in with open arms.  She talked about having gone through bad breakups, seeing her friends go through rough times, etc.  Her music was very Adele meets Tracy Chapman-stripped down vocals with amazing acoustic guitar play.  It was truly a performance that a lot of people, including myself, left talking about.

One act treated us to a show that was very much like seeing Phish-a psychedelic rock band with instrumental play that is simply out of this world.  The band is Dayton’s own, The Werks.  The chilled out band ripped on their guitars as if they were gods standing on the clouds of the sky.  The play of the bass was impressive.  The drum play was off the charts.  The crowd danced throughout the whole set with freedom and joy, as if they channeled themselves to the days of Woodstock.  The Werks had everyone in the palm of their hands.  For the people that follow them, this set was just another fantastic show.  To the others that were seeing them for the first time-they will make it a point to make it to see them time and time again from this point on.

Guided By Voices (Photo Credit: Tracy Malott/Blush Boudoir)

Wheels brought a show that made everyone in the crowd completely stunned.  The 5 member band from Yellow Springs brought a show that was filled with folk rock and bluegrass. The band showed their musical range throughout their set, including a brilliant Dr. Dog cover.  Their dreamy play of the harmonica and banjo only enhanced the experience of watching Wheels perform.

Guster has always been known to always have a show that is different.  During a recent tour, they requested their fans to bring things to put on the stage.  For example, they ask their fans to bring matchbox cars to put on the stage during one of their sets.  It’s fun for the band and their fans to have that interaction.  At the Revival Festival, Guster made a young girl become a fan for life.  The lead singer, Ryan Miller, noticed a young girl that was holding up a sign mentioning that this was her first concert.  Miller asked the young girl to come up on stage, and they wrote a song together on the spot.  Everyone in the crowd loved it.  If anything, this was the top 5 moments that the weekend brought us.

Guided By Voices came home to Dayton to be part of the inaugural event.  They haven’t lost a step after all these years.  Robert Pollard and crew took the stage as if they were still in the teen years.  With their garage rock influenced sound blaring through the guitars, their trademark short songs, and their punk-like attitude; it was simply tremendous to see the boys back home.  They gave their old fans more reason to keep trucking along with them, and it gave the younger generation to true sense on what Dayton music is all about.

John Legend (Photo Credit: Tracy Malott/Blush Boudoir)

The headliner on Saturday was John Legend.  The hometown boy (Legend is from Springfield, Ohio) gave a performance that was simply one word-sexy.  The singer brought the crowd to frenzy with his smooth, signature sound and his lyrics about love.  ‘Slow Dance’ featured a young lady that came from the crowd and danced with Legend on stage.

On the second day of the festival, another hometown act came home.  Heartless Bastards came in town and absolutely brought everyone to their knees with Erika Wennerstone’s haunting, Janis Joplin-like vocals, and the bands incredible instrumental play.  ‘My face is melting with excitement’, screamed people from the crowd.  I have to admit-one of those people was me.

Andy Grammer brought the crowd a performance that didn’t almost happen.  Grammer had some issues getting to town that day, and it seemed like he wouldn’t be coming to town.  Luckily, he got into town and gave the crowd an acoustic set that didn’t disappoint.

The Ohio Players (Photo Credit: Tracy Malott/Blush Boudoir)

Some other highlights on the second day of the festival included The Ohio Players bringing their signature funk sound to the Dayton festival.  It was a true honor seeing the band play.  Much like the way Guided By Voices, some of the young people in the crowd got a chance to see a band that has influenced many after them.  Rusted Root gave their ‘Fortunate Freaks’ another suburb show.  Buffalo Killers brought their signature sound, and made a few people in the crowd become diehard fans going forward.  Robert Randolph and the Family Band had a dance party break out on stage during their set.  They promised to bring a party, and they delivered.  Train performed a fun, energetic set that closed the weekend off in style.

The two day festival brought a lot to the people that attended.  It brought music that included folk, soul, R&B, alternative, rock, and so much more.  What the festival brought most of all was the awareness that Dayton is still alive and well in the music scene.  Walking around the festival, you noticed the attendees of the festival enjoying every act that took to the three stages.  You saw people old and young joining together to hear music from the past and present.  People from all around the United States came to this festival.  People who never heard of some the local acts got to see the fantastic music being played here. You can say the festival gave Dayton music the revival it needed.

Cityfolk World Music Series Presents Fatoumata Diawara at UD

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Photo Credit: Phil Sharp

Malian singer, songwriter and guitarist Fatoumata Diawara, a resident of France since the late 1990s, has gained considerable momentum in world music circles over the past two years. She released her debut recording, an EP, Kanou, in Europe in May 2011, and followed that in September with Fatou, which won the prestigious 2012 Songlines Music Award for Newcomer of the Year.

Fatou was greeted with universal acclaim; the Telegraph says “this stylish debut doesn’t put a foot wrong,” the Times of London says “the air of wistful, understated beauty draws you in, and Mojo calls her a “spell-weaving new voice.” The album, which held the top spot on European world music charts for six months, was released in the U.S. last month by Nonesuch.

Born in 1982 in the Ivory Coast to Malian parents, Diawara joined her father’s dance troupe as a child and soon achieved local fame for her prowess in the didadi, an energetic dance from the Wassoulou region in southwestern Mali. She left her family at age 12 to move to Bamako to live with an aunt, an actress. This led to an acting career for the young girl; as an actress, Diawara has toured the world with the French theater company Royale de Luxe and appeared in such films as Taafe Fangan, La Genèse and Sia: The Dream of the Python.

During her travels with Royale de Luxe, Diawara began singing for her own enjoyment. She was overheard by the company’s director, who encouraged Diawara to begin singing in the ensemble’s shows. Encouraged by the audience reaction, she started singing in Paris clubs when she wasn’t touring. She also started playing guitar and writing songs.  Diawara met the famous Malian musician Cheikh Tidiane Seck at one of these Paris shows, and he hired the young singer to provide backing vocals on albums he was producing back in Mali by Dee Dee Bridgewater (the Grammy-winning Red Earth: A Malian Journey) and Oumou Sangare.

In addition to her work with Sangare and Bridgewater, Diawara has recorded with Damon Albarn, Herbie Hancock, AfroCubism, Bobby Womack and the Orchestre Poly-Rythmo de Cotonou. She has toured with her own band, with Sangare and Bridgewater and with Damon Albarn in both his Africa Express project and the band Rocket Juice and the Moon with Tony Allen and Flea.

Photo Credit: Ellen Doherty

Diawara’s music blends funk, rock and world music touches with Wassoulou traditions, and like many Wassoulou women artists, Diawara writes and sings songs that forcefully advocate for women’s rights, an issue of fundamental importance for the young singer. And for an actress trained in a collaborative, scripted medium, writing and singing her own songs—and playing the guitar, too—represents the ultimate freedom. “To me it was a wonderful and daring thing,” Diawara says, of her decision to follow her musical instincts, “a Malian girl with an acoustic guitar. Why should the guitar be only for men?”

Fatoumata Diawara will be begin her U.S. tour at the University of Dayton on Thursday, September 20. The concert, sponsored by Cityfolk and the University of Dayton Arts Series, will take place at the Kennedy Union Boll Theatre at 8 pm. Tickets are $20;  $18 for seniors, military, UD faculty and staff; and $10 for students. For tickets, visit Cityfolk.org or call 937-496-3863.

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(thanks to UD senior Lauren Glass for input on this article)

 

Kiss and Motley Crue Bring ‘The Tour’ To Cincinnati

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Friday August 31 two bands known for their legendary histories of indulgence and decadence brought what some have called this years Metal Hall of Fame tour to Riverbend for a night of blasting noise, theater, spectacle, bombast, showmanship and just plain kicking the audience’s ass. Say what you want about Motley Crue, The Sunset Strips favorite sons gave birth to the scene back in the day and besides after all the partying, car crashes, OD’s, arrests, scandals, a few educational films, personal issues and drama that has followed them since the early 80’s it’s a freaking miracle their still alive and in decent health. But after decades of access they’re proving they can still put on a breath taking show and bring it like no other. Some have questioned Vince Neil’s voice but tonight he was in fine form with a flawless high pitched, cat scratch howl. Mick Mars can still play like a madman soldiering on despite his Ankylosing Spondylitis, an uncomfortable and painful inflammatory condition that mainly affects the joints of the spine. Tonight proved that only Kiss can follow Motley Crue live in 2012.

Many things have been said about Kiss but from shear staying power they’ve earned their place in music history and the two original members continue to defy father time delivering a rock show for the ages.With due respect to Ace and Peter Kiss’s 2012 show still carries the impact, decibel levels and visual wallop with Tommy Thayer and Eric Singer on stage. People talk about Gene Simmons a lot. Musician, rock-star, actor, author, publisher, business man, father (of presumably more than 2), reality show star, and in his early 60’s a happy newlywed. ‘The Tour’ is the first time since 1982 when Motley were just young pups that both bands have shared the same stage together.

Making their first trip to the states from Cambridge England openers The Treatment came out with pomp and circumstance determined to get the crowd to c’mon and give it all they had. Vocalist Matt Jones swings himself around on stage like he’s already been on Tommy’s coaster ride once or twice. He delivers a bluesy high pitched wail of what it would sound like if Tesla’s Jeff Keith sang for The Black Crowes/Buck Cherry or Velvet Revolver. Playing hard edged tunes The Doctor, the slower future arena‘lighter’ ballad Nothing To Lose But Our Minds, Departed (with a bang bang bang) and Shake The Mountain.

Motley Crue’s curtain drop reveals a stage empty of band members but full of machinery, industrial ambiance, a big screen with a large cold steel wheel with drum kit, 4 large hydro fans, and a long cane like mic for Nikki. The show itself has enough lights, fire and pyro to make Rammstein envious. The clock starts ticking away slowly as a very apropos Ministry song plays that if you have any knowledge of their history you’ll appreciate the joke. The tick-tock slowly gains weight and deepens into a grandfather pendulum foreshadowing LA’s finest 80’s export. Two large red cloaked figures with bull horns appear on stage ushering the ‘thru the crowd’ arrival of the evenings Co-Headliners. Marching in amongst the people carrying medieval Motley Flags, lead by William Wallace… err, another red cloaked figure followed by a scantily clad hot chick the Motley Parade start up the war path. A unique rock-star entrance brushing past mingling with everyday common folk but it’s the beginning of the nights show of friendly competition/delivery as the head-liners are the forefathers of good theater.

They launch into the autobiographical Saints of Los Angeles as trapezist’s twirl on long satin sheets and puppets hammer on the drum rails. Second song in we take a trip to The Wild Side in multi colored light and some hot gyrating dancers Vince plays with.We go next door to the dark side and Shout At The Devil in a sea of floating blood clot’s, hellfire and spinning pentagrams. Out comes a young lady in a large Victorian dress, after asking if she’s single Vince asks the obvious question taking a peak as two more hot chicks emerge (it was a large outfit) one gives him a guitar while the other in S&M gear leads the properly dressed lady away. Yep, every night, Same Old Situation. You’ve seen the video. If you’ve followed them at all you know for 31 years it’s been all about the sex; so leave it to the Crue to put on a live Sex show with side stage spray gun shooters to relieve the crowd, ending in an on stage sex scene literally spelled out, and if you don’t like it Don’t Go Away Mad Just Go Away. The cascading white lights bounce off the silver tiled piano that magically appeared. After an emotional band fist bump, Tommy intro’s the monster laser light lit ballad Home Sweet Home.

Next up your average Tommy Lee drum solo with a 360 degree mini roller coaster chair, enough noise and music samples to give the hippest DJ a brain aneurysm. Plenty of split second fire visuals and…. oh yeah, Tommy Lee beating the crap out of his skins while an ego sized version of his hand pulls him up the hill. Luckiest fan of the night Roger got to ‘hookup’ and play sidekick behind Tommy on the roller coaster of love for a minute. Tommy asked if he came with his girlfriend, wife or a hooker. Next the song and video that started it all Live Wire. Followed by the Primal Scream of everyone in the pavilion ending with a cannon ball boom. It was finally time to Feelgood and call every junkie’s favorite unlicensed medical physician with straight jacket dancers dangling from the ceiling. Then the motorcycle engines roared and they played the national anthem for working girls across the country with Mick Mars Kickstarting a solo into  Niki’s tale of near death experience. The Motley Crue of members and performers bowed as the madness ended (for about 30minutes anyway). Next up, a little band from New York you might’ve heard of formally called Wicked Lester.

….Anticipation builds. Then… the lights go out, the sky darken’s as the heavens open and the Gods and Deities of all things rock n roll and good taste look down upon the Southern Ohio congregation of ‘The Army’  smile, nod and wave a blessing over tonight’s show and thus another night of K(h)isstory begins.

We get a little peek at the nights horror movie hero’s walk the walk backstage. The large silver emblazed logo lights up on the big black curtain as the roar begins. CIN-CINN-ATI!!!!……. You wanted the best, you got the best. The hottest band in the world….. KISS!!! Curtain falls as the famous hydrolic platform descends with rocks living breathing comic book characters standing triumphant ready to play and annihilate with all the lights, flames and bombast you’d expect from a Kiss opening; and for the first five minutes Cincinnati becomes Detroit Rock City. For those who still had a voice left afterwards Paul told us to Shout It Out Loud. The crowd was definitely having a party but just to be sure he did a sound-check wanting to hear all the wild animals out there, because no other band gives it to you or Loves It Loud right between the eyes. Next, sirens go off, a raging inferno erupts and the whole place goes up in flames. It was already hot as hell but Kiss brought out the heat, frenzy and adrenaline of the Firehouse complete with Gene grabbing his sword spewing holy fireballs.  They intro a brand new one from the upcoming Monster album, and I’m sure it’ll be a monster album called Hell or Hallelujah. Accompanied by an on screen sinful seductive fire angel and the red flame licked gates of the netherworld. Lights go out.

Then…..a low, deep hellish crunching, clanking bass-line comes out of the darkness like the hammering and riveting of steel girders taking us on an uneven, jerky, curving roller coaster ride of twisting steel and rusting iron. ‘A moment or two’ of impending silence before the ominous Demon appears standing front stage center as the fog slowly creeps towards him surveying the dripping masses, listening to their praise. He leans forward peering at the closest of his disciples as green light illuminates his armor looking like the Emerald City’s favorite dark knight, his timeless black n white image on the screen resembles an old graveyard spirit. A group of dead pirates wander the stage behind looking for a lost gold cross….., not really, but I’m sure they could find a way to pull it off if they wanted to. The Rock God’s face quivers and shakes going into conniption’s of earned evil glee as a haunting church bell gongs releasing a river of red pouring from his sinister gape the performance turning his howling face into a possessed savaged soul. After the world famous ritual was done he stood silent and still, hands folded, showing off his stained ghostly visage to our enraptured eyes, but more importantly our camera’s and cell phones delight. He sneered, smiled, the worlds most infamous tongue making a licking appearance. He posed ascending to the Riverbend’s highest plateau. The God of Thunder, Rock n Roll and lord of the wastelands played to his minions as they worshiped. Tommy Thayer played the solo as the blood spewer returned to his earth bound position.

They pull out the Love Gun and The Starchild flies solo across the human sea  visiting the crowd on the other side for a few minutes returning to play a little bit of The Who as The crimson Demon points and sneers. It’s a well known fact that the Black Diamond is one of the most sacred jewels in all of metal and they want to keep it that way but they only want to hear from the leaders not the followers so don’t worry about who’s around you just keep your eyes on Mr. Stanley,  the Singer on the rising drums and the cat’s eyes.

The destructive merciless War Machine was unleashed soaring over legions of robotic armies with fire breathing menace and vengeance. If the crowd wasn’t Shocked yet, they were now with Thayer stretching the feeling into a searing solo from the stage to the rafters with Singer shooting a flare gun from his kit causing some ‘stage damage.’ Next Paul asks the number one fans to Lick It Up. Then checked on our condition before calling The Doctor.

Saving the best for last they encouraged the crowd to take a little time away from the negativity of the world with a white storm of Konfetti and Rock N Roll All Night. Then the tired, sweaty, partially-totally spent and dehydrated fans muddled together, some trying to grab the wet paper particles, some being ‘helped’ out awaiting their air-conditioned vehicles. Seeing both bands for the first time I can see by reputation alone why they’ve lasted so long but to see the respective shows they put on, especially with Motley being the ‘junior’ act it’s easy to see why they keep doing it and why the fans keep coming back for more every time. The bottom line is if you haven’t seen Motley Crue or Kiss yet you just F’n need to!